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Episode Transcript
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Speaker 1 (00:14):
Well hello, I'm so sorry, my dear. I wasn't trying
to startle you. I what's that. Well, it's a very
special day, so yes, I came in after you. It's
rather novel, isn't it. Oh, what a night. I have

(00:38):
already seen so many things in such a short amount
of time. But of course I made it back as
quickly as I could for our rendezvous that I so
look forward to during the rest of the year. You're
my friend and confidante, and I could never forget that.

(00:59):
It's a comfort to seize. As you know, home is
where the ghost.

Speaker 2 (01:06):
Is, your mystery theater presents. Come in, welcome, I meet you, Marshall.

Speaker 3 (01:33):
Till death do us Parts is perhaps the best.

Speaker 4 (01:36):
Known phrase of the marriage service.

Speaker 3 (01:39):
Today's brides and grooms say them, and all the time
believes them.

Speaker 2 (01:43):
Despite so many marriages ending in the divorce court.

Speaker 3 (01:47):
There are, however, many marriages that are indeed lasting unions, and.

Speaker 2 (01:52):
Some very few that should have the word till death do.

Speaker 3 (01:56):
Us part changed to a promise to love to the
grave and beyked to the end of time.

Speaker 5 (02:04):
Emily, Oh, I cannot see you.

Speaker 6 (02:07):
Josh Darling, iron dead and you live.

Speaker 7 (02:13):
You've crossed the deep for this dark boundary to be
here to talk to me and his death is.

Speaker 8 (02:20):
To go back now and.

Speaker 4 (02:22):
Forget, forget to Emily.

Speaker 5 (02:25):
Do you know I'll never do that?

Speaker 6 (02:26):
Forget? Did you ever talk to me?

Speaker 9 (02:28):
John Clean?

Speaker 6 (02:30):
For yours is not prom love to leave.

Speaker 7 (02:35):
The death alone?

Speaker 10 (02:39):
And and.

Speaker 3 (02:46):
Our mystery drama Home Is Where the Ghost Is was
written especially for the Mystery Theater by Murray Burnette and
stars Gordon Gould. It is sponsored in part by Ludden's
medicated cough drops.

Speaker 4 (02:58):
And Buick motivated. I'll be back shortly with that one.

Speaker 3 (03:11):
You did.

Speaker 11 (03:14):
A lot of things, like peak wooding, but one natural carbonation.
That's how the Budweiser people ate their beer. Nobody else
does it. That's a special way. But then nobody else
is brewing the King of beers. I can tell you
a lot of other things about Budweiser and why it's
the largest selling beer in the world, but it all

(03:34):
comes back to the.

Speaker 4 (03:35):
Budweiser's taste, and that speaks for itself.

Speaker 12 (03:39):
Loud and.

Speaker 3 (03:42):
Here it's talking, and I was able. Each of us

(04:11):
has a very special place, a favorite retreat.

Speaker 2 (04:16):
It may be a particular restaurant.

Speaker 3 (04:18):
Or a very special vacation spot, or in our younger days,
perhaps a.

Speaker 4 (04:23):
Cave or a tree house.

Speaker 3 (04:26):
Ghosts there are no exceptions to the rules, and for
centuries they have favored castles, old creaky houses, and desolate,
wind swept boards. For the most part, the spirit world
has avoided college times, perhaps because they were wary of
the boisterous spirits displayed by the student bodies. So it

(04:46):
came as a shocking surprise when Neil Fox, a proctor
of Calhoun University, was called.

Speaker 2 (04:52):
Upon to deal with a ghost.

Speaker 4 (04:54):
For I don't believe in ghosts.

Speaker 3 (05:00):
What happened with Calhoun during the international conference with scientific
observers happened, I admit that, But I wasn't dealing with ghost.
I was dealing with.

Speaker 4 (05:10):
Professor Ramsey Shopman, a man.

Speaker 3 (05:13):
Whose scientific preventions were and are impeccable. And I will
leave it to you to decide about the ghost. It
started when I'm excited and distraught. Ramsey phoned me late
one afternoon. He founded so upset that I dropped everything
to get over to his house.

Speaker 5 (05:30):
Oh, he thanks for rushing over the kay. I hope
I didn't inconvenience.

Speaker 4 (05:34):
To do much.

Speaker 3 (05:34):
No, No, I'm sure I just left two FBI men
and another agent from some super secret arm of the
government sitting in my office. But I'd leave a lot
more people on that. When I've heard a note of
panic in your voice.

Speaker 5 (05:46):
I had an experience. What well, before I tell you
about it, I want your word that what I have
today goes no farther than between us. You have my
word I want, But I want you to open the
back door to the town and tell me what you see.

Speaker 4 (06:03):
Okay, uh you coming with me?

Speaker 5 (06:05):
You know I'll say yes. Oh well, I both say
that opened the door?

Speaker 3 (06:12):
Well, oh, just well, I expected your backyard, your garden
that's off in the distance, the Holloyd's.

Speaker 5 (06:19):
House, let it, nothing else at all?

Speaker 4 (06:23):
Ye at this What did you expect? I don't know.

Speaker 5 (06:28):
I'm not sure. All I know is that when I
opened that same door some time ago, I didn't see
the backyard or the garden or the hole Roy's house.
I saw Emily.

Speaker 3 (06:41):
Oh well, I suppose that's all the natural or the natural.

Speaker 5 (06:46):
Don't humor me, Neil.

Speaker 3 (06:47):
You know Emily has been dead three weeks and I
saw her. Wait ante you mean you think you saw
her and talk to her. We better go into the
dad and have a drink and just talk to this. Okay, okay,
fair enough. Now please listen to me and don't en up.

Speaker 5 (07:03):
Try to put yourself in my place. I walked to
the door.

Speaker 3 (07:07):
And opened it, and I saw no backyard, but we
heeded walk and I.

Speaker 5 (07:14):
Heard music change onearthly music.

Speaker 6 (07:20):
Go hold uh, go home, Emily, Emily say that you
you shouldn't be here, my love.

Speaker 5 (07:30):
You must be here in this place where I am.

Speaker 4 (07:35):
What is this place?

Speaker 6 (07:36):
Okay? For the living returns the line why can't I
see you?

Speaker 13 (07:41):
Good?

Speaker 6 (07:42):
You must stop thinking about me.

Speaker 5 (07:44):
You must be wanted to ask me to stop breathing.

Speaker 7 (07:47):
Oh, my love, I'm not asking you to forget me.
I wouldn't ever want you to do that.

Speaker 6 (07:54):
You must stop thinking of.

Speaker 7 (07:56):
Me if I were alive, if you are live, to me,
aim you always will be.

Speaker 14 (08:01):
I be Josh.

Speaker 7 (08:04):
Please, you must go, for your sake, provide John. I
love you, darling.

Speaker 6 (08:13):
Good bye.

Speaker 5 (08:15):
And that was it for you.

Speaker 4 (08:18):
That was the end, you mean you came back into
the house.

Speaker 5 (08:22):
No before I came back, the place where I'd seen
and talked to Emily.

Speaker 4 (08:28):
Vanished, and I was in my own backyard, so to speak.

Speaker 5 (08:33):
Then I came in and phoned you, and now I'm
not at all sure I did the right thing.

Speaker 4 (08:39):
Why the second thoughts about calling me?

Speaker 5 (08:41):
Because you're a realist, a hard headed ex police officer
who knows they're not that thing. There's ghost and he's
probably thinking right now four older be on his way
to the honey farm, beginning to see things. Even though
you won't come right out and say it.

Speaker 4 (08:56):
All, rad, you're so wrong. Would you be surprised if
I told.

Speaker 3 (08:59):
You that I've been expecting something like this, expecting me
to see and talk with Emily.

Speaker 4 (09:05):
No, no, I will be that specific.

Speaker 3 (09:07):
But I know how close you and Emily were, and
I know how badly her death.

Speaker 6 (09:11):
Hits you, but you haven't shown it.

Speaker 4 (09:14):
You've been holding your grief.

Speaker 3 (09:14):
Into tightly jobs, hugging it to yourself, and it was
inevitable that there'd be some reaction in this.

Speaker 4 (09:22):
Well, I think this is all it was.

Speaker 5 (09:24):
You make everything sound plausible to go. Howard will describe
my experience.

Speaker 3 (09:30):
A temporary hallucination caused by dwelling too long and too
closely upon Emily's loss. I couldn't overcome a deep feeling
of anxiety about my old friends and the role you
have played to play in the upcoming International Conference of
Scientific Observers. I was also concerned about my own course.

(09:53):
How was I going to reconcile telling the truth to
my HouseGuest Nick James and at the same time keep
my vowel secrecy to Joplin.

Speaker 15 (10:02):
Ah.

Speaker 3 (10:03):
I still didn't have the answer by the time I
reached home and found Nick waiting for me.

Speaker 4 (10:08):
As usual, he wasted no time. Okay, what's the scoop
of Josa with a look? Now, it's not what you
were worried about. He's upset about his wife.

Speaker 11 (10:16):
His wife's dead, Fox for bothering him, Just that he
wishes he were alive. Well badly does he wish it?

Speaker 4 (10:23):
It's hard to.

Speaker 11 (10:24):
Say, only better be able to say the whole Allex
Savior Goda operation hangs on Jocelin because he's not stable.

Speaker 5 (10:31):
But Goda isn't going to think of defect so.

Speaker 3 (10:34):
Far, you are outfit as the only one who's even
heard about for Goda's.

Speaker 4 (10:37):
Desire to defect.

Speaker 11 (10:38):
Our information is correct.

Speaker 3 (10:39):
Look for, Goda and Joss have been corresponding for years.
Why wouldn't Fergoda have dropped him a hint of being
naive with the.

Speaker 11 (10:48):
Man who is important as Alex Savior God. There's quite
a trace of anything that's whispered of disaffection, and he
wouldn't have been allowed to come to this company.

Speaker 3 (10:56):
Yeah, but he must have told someone he was set
up because you people heard about it.

Speaker 11 (11:00):
Go to wants out and we want to help him.
We believe that the GOODA will use Ramsey join as
a contact when he gets here. And as of this minute,
I'm worried about Ramsey Jolin flipping his lips.

Speaker 3 (11:12):
I'll come on, Mick, I think you're overreacting or you'll
see the real overreaction if this operation gets followed up with.

Speaker 4 (11:19):
All the men you've got out here.

Speaker 3 (11:21):
I don't understand why you say the whole operation hangs
on Jocelyn.

Speaker 11 (11:24):
All our information says we're going to contact Jocelin because
he trusts them.

Speaker 4 (11:29):
Now, will you.

Speaker 11 (11:30):
Guarantee me that he's going to stay normal until his
conference is over?

Speaker 3 (11:34):
Guarantee No one can guarantee that anyone will leave me
Eliz tomorrow. But what I will do is go back
and check this whole thing out with Josh. On the
way to see Ramsey Johnsin for the second time that day,
I felt vastly better because now I was a level
with Josser shake him out of this preoccupation with the
loss of Emily by presenting him with his important role

(11:56):
in the proposed defection of Alexey Vargoda. I didn't find
out until Josh told me later that at the very
time I was on my way to see him, Josh
was having another experience Emily.

Speaker 5 (12:12):
Emily, I came back.

Speaker 6 (12:15):
You shouldn't have job. You shouldn't have Why not?

Speaker 4 (12:19):
What's the harm in my talking with you?

Speaker 15 (12:22):
I missed you do.

Speaker 7 (12:23):
I know how difficult it is for your job, and
it saddens me a job as long as you're here?

Speaker 6 (12:31):
Yes, do you remember a lack day record.

Speaker 3 (12:37):
He's coming here to Calhoun along with a number of
other scientific types, and we're gonna have a big Powell
I know you know him.

Speaker 4 (12:47):
Tell me what's it like where you are.

Speaker 7 (12:50):
I'd like to answer all of your quiess to this,
but there are rules and it's not allowed.

Speaker 4 (12:56):
Why are we talking about Lexey.

Speaker 6 (12:58):
Because he will be fortune to you?

Speaker 7 (13:01):
Alekti, Yeah, you never really knew Alexe.

Speaker 3 (13:06):
You know I met Alexa when you did. We both
saw in frequently. We've been friends for years. We still
go zone it.

Speaker 6 (13:12):
I know, La, Then what.

Speaker 4 (13:15):
Are you trying to tell me?

Speaker 14 (13:16):
Did Jahn?

Speaker 7 (13:18):
Do you remember after second day? Do you remember what
I told you?

Speaker 5 (13:23):
Of course you told me that it was part of
my john that I always believed everything anyone told me.

Speaker 4 (13:29):
And you also said it wasn't very bright of me,
that right job.

Speaker 6 (13:35):
And you haven't saved think about it.

Speaker 4 (13:39):
It had something to do with alexey right.

Speaker 7 (13:42):
I'd rather say it's had something to do with you.

Speaker 5 (13:46):
And I'm really talking to you, amma? Or is it
that the trick of my imagination? Is it my longing
for you that makes me believe we're having a conversation,
or am I really honestly talking to you?

Speaker 6 (13:59):
Don't worry about the wrong thing. I told you to worry.

Speaker 5 (14:04):
About election, but you haven't told me why.

Speaker 7 (14:08):
You must stop asking question because answers are forbidiness by
whom so that you have your world and play there
when you meet Alexte.

Speaker 4 (14:21):
I don't think I've made a discovery.

Speaker 5 (14:24):
If it only depends on my will to have these
thoughts with you, then I intend to have them.

Speaker 7 (14:30):
No, No, you mustn't. I told you you mustn't have
to go and forget me.

Speaker 5 (14:39):
Then you must give me a reason very you more
than coments.

Speaker 7 (14:43):
Buy you have, And having reached this point, you should
be able to understand what I tell you that you
have committed only a certain number of visits.

Speaker 16 (14:54):
Once you pass that number, you can never return to
your how many visits?

Speaker 5 (15:01):
And I committed Emily, Emily? Did you wear me how many?
If I'm clear, don't you see it?

Speaker 13 (15:12):
Now?

Speaker 5 (15:12):
I work often before Emily.

Speaker 17 (15:17):
Emily come back.

Speaker 3 (15:23):
Fourth centuries gamblers have known that the ultimate gamble was
life or death. Now, if Ramsey Josine believes that he
has really been in touch with the spirit of his
dead wife Emily, then he must, if he wishes to
talk with her again, take that ultimate gamble.

Speaker 4 (15:41):
On the other hand, there are.

Speaker 18 (15:43):
Those who will say that he dreamed the whole thing.

Speaker 4 (15:46):
Take your choice, and I will return shortly with act too.

Speaker 19 (15:51):
Nice to know You're.

Speaker 6 (15:55):
The thing you want to.

Speaker 20 (16:00):
Because the high you know you all can be based
on EPA test you had mid size centuries with available
automatic transmission, and the U A V six got seventeen
miles per gallon in the city.

Speaker 3 (16:18):
Test and twenty five in the highway test. Of course,
those figures are only yes. The mind that you get masera.
But what it means is this, you exp sixth centuries
with automatic transmission got better overall EPA miriage ratings than
any other US mid size with automatic transmissions.

Speaker 4 (16:36):
Nice going it.

Speaker 19 (16:39):
You gott week.

Speaker 3 (16:43):
Now it's California to see your viewer theater for EPA figures.
Civilization has been of two minds about people who hear voices.

(17:05):
In some ancient cultures they were enshrined as saints or
honored as soothsayers, while in more modern times, some like
Joan of Arc have been burned at the stake and
others sent to institutions. But the problem becomes complicated when
a man who believes he heard the voice that his

(17:25):
recently dead wife is not only a scientist and college professor,
but also the key figure in the hoped for defection.

Speaker 2 (17:33):
Of a top scientist.

Speaker 3 (17:38):
A friends, my game has improved much since we recently
opened the bowling galleys in my country.

Speaker 4 (17:45):
I can see that. And the wonderful thing about the bowling.

Speaker 3 (17:48):
Galleys is that the most sophisticated of listening devices are useful.

Speaker 4 (17:53):
I take it.

Speaker 5 (17:54):
Then you have something to tell me that you don't
want overheard?

Speaker 21 (17:57):
Uh?

Speaker 15 (17:58):
Have you?

Speaker 4 (17:58):
Not been inful if you're.

Speaker 5 (18:01):
Talking about the possibility if you're staying in this country
after the conference is over. I have heard about it
here and from home from the proctor, Neil Bach, a
friend of mine. He indicated that there were government agents
here on the campus waiting to help you.

Speaker 4 (18:17):
If you want, and that's what they want.

Speaker 16 (18:20):
I need you scientists rarely out with the owls you
keep say.

Speaker 4 (18:26):
I do that you have a nine goodie.

Speaker 3 (18:28):
You Tom very well aware of the journal. We were
just discussing our varying points of view.

Speaker 16 (18:34):
I of course know you are rendy adjustment, a distinguished
scientist in the friend of my colleague Gallexy.

Speaker 4 (18:41):
Oh forgive me Joge Coronel's curious.

Speaker 3 (18:44):
Pullet out a guide an interpreter on diseased interpreter.

Speaker 5 (18:48):
I always thought you spoke that's good English, Alex.

Speaker 16 (18:51):
Say, it's not the only scientist that conference mes to adjudgment.

Speaker 5 (18:55):
I apologize for my rudeness, Colonel.

Speaker 16 (18:58):
Apology accepted, and I will leave you, too old trains
to your game.

Speaker 5 (19:05):
I really don't know what came over me.

Speaker 4 (19:07):
Or not to worry. What you did do work out
very well.

Speaker 3 (19:11):
Now before we do anything else, may I offer my gundor.
Of course I should have said something, but I was
so shocked.

Speaker 5 (19:22):
How did it happen suddenly? Howell hmorrhage, I didn't.

Speaker 4 (19:29):
I I'm sorry. If i'm it must be pain thought for.

Speaker 5 (19:33):
You, not at all. I have to learn to be
able to talk about it. Maybe if I do, it
will act as an anesthetic, double the pain.

Speaker 4 (19:42):
Yeah yeah, And now I come with my small problem.

Speaker 5 (19:45):
Perhaps you would let me help. It will give me
something to think about it. And although I want to help,
if you made this decision, something spectacular has have occurred
to make you change your mind. And remember, I'll fiercely
be used to our about the course of hits.

Speaker 19 (20:01):
Oh yeah, yeah, it'll.

Speaker 4 (20:02):
Be time to explain all that. But now, Frenzy, you
must help me.

Speaker 5 (20:06):
You're told to wait for your approach, and we'll meet
here two nights from now, and I will have a
definite schedule.

Speaker 4 (20:14):
For you to follow to safety.

Speaker 11 (20:20):
Well, we seem to be off to a fairly good start.

Speaker 4 (20:23):
Now let's hope we're just as happy as to finish. Why,
well you think my derailer is well?

Speaker 3 (20:29):
Nick, I don't know that I'd go as far as
saying we're going to be derailed. But there are certain problems,
and I don't think I can tell you specifically what
they are without betraying a confidence.

Speaker 11 (20:39):
If you know something that could interfere without helping Alexa
to defect, you oh through your country to let me
know about it.

Speaker 4 (20:46):
Okay, Nick, no lectures, please, I was the one who
clued you in.

Speaker 3 (20:49):
I didn't have to. It's just a Ramsey is convinced
he's been having conversations with Emily, so he finally flipped. Now,
wait a minute, I don't think he's flipped.

Speaker 15 (21:00):
What do you was thinking?

Speaker 11 (21:01):
Do you really believe he's talking to a woman who
has been dead for a couple of months ago?

Speaker 17 (21:05):
It not?

Speaker 22 (21:06):
Nick.

Speaker 4 (21:07):
Haven't you ever had dreams?

Speaker 11 (21:08):
Are you trying to tell me that Jocelyn dreams he's
been talking to his wife?

Speaker 5 (21:12):
Everybody dreamings?

Speaker 3 (21:14):
How about daydreams or kind of daydream Well, let's say
that you open the back door of your house suddenly,
or not of your own backyard, but in all sort
of an allegian field, and you can hear and talk
with your wife.

Speaker 11 (21:26):
I guess we'll have to get cracking and pray that
we can get elected or go out before Jacqulyn really
cracks up.

Speaker 4 (21:33):
How sure are you that he's cracking up? Mick? Have
you ever thought that he might just be telling the truth.

Speaker 5 (21:47):
I have good news for you. I've spoken to my
people and.

Speaker 4 (21:50):
Everything's in there.

Speaker 3 (21:51):
He will never know how graceful I am to you.
I promise you that.

Speaker 4 (21:56):
Some day I will repay you.

Speaker 5 (21:58):
Forget it elected you know I'm happy to you there
where and how it will be at the roundabout in
Luncheon when we make our visit to Heathen Farm.

Speaker 3 (22:07):
Aha, that you see day after tomorrow he did not
get in, And how I hope one.

Speaker 4 (22:13):
Day that it did not complicated the soul of simplicity.

Speaker 5 (22:18):
No one knows the exact minute that we'll be sitting
down to lunch, because the tour of the farm will
take some time.

Speaker 3 (22:23):
What people farms, even farms produce it only natural products
grown organically. It's really a fascinator an instructive project.

Speaker 15 (22:32):
I see.

Speaker 3 (22:33):
But you'll forgive me if I am more interested in
the arrangement.

Speaker 5 (22:39):
And I said, it doesn't matter what time we sit
down to lunch. Aha, you will excuse yourself after the
first course has been served and act for the men's rooms.
You are allowed to go there on accompanied.

Speaker 3 (22:51):
I hope, ay, well, usually, but there should be a
contingency plan.

Speaker 4 (22:56):
You're not there is.

Speaker 5 (22:57):
I'll explain in a minute. Because I've been to the
so many times, I shan't be along on the trip,
but I will go to the inn early. The in
facilities are somewhat rustic. I shall be in the man's
room waiting for you. You will enter, and a gate
to the window. It is large enough for man to
go too easily. And what I am out the gravel

(23:19):
driveway runs right under the window. There will be a
car and you'll be safe.

Speaker 3 (23:23):
And free, provided that you have a contingency in case
I have accompanied.

Speaker 4 (23:27):
When I leave the tape order.

Speaker 5 (23:29):
If that happens, whoever it is will be stopped momentarily
by the native b who will add some inconsequential question.

Speaker 3 (23:36):
To ask, ah, well, it's will the same back. Everything
go's been well planned.

Speaker 5 (23:42):
You don't sound very happy about it.

Speaker 3 (23:44):
Oh yeah, but you, of all people, just should understand
that to me, I am giving up a country, a
way of life, and perhaps more importantly, a delosophy by
which I have lived ever since I Carroma. If you're
having a second thought, the people who have been breathing

(24:04):
me will be very upset. No, no, nor a second thought.
But I'm sure you will understand that it's only natural
for me to be apprehensive. I'mz I face, I'm moon cut,
and at this time of my life, that is something
to think about.

Speaker 4 (24:28):
Oh, Josh, sure you're quiet today.

Speaker 5 (24:31):
I'm not used to the cloak and dagger.

Speaker 4 (24:34):
Neither of I. But at this point there's nothing for
you to worry about.

Speaker 5 (24:37):
You know what you have to do, and you're sure
everything's been a ring positive.

Speaker 4 (24:41):
Cay'll be waiting.

Speaker 3 (24:42):
Your absence from the toured Eden farm has been accounted for,
and all it remains is you to wait for Alexey.

Speaker 4 (24:48):
But by the way, how did he take the plan?

Speaker 23 (24:51):
Now?

Speaker 5 (24:51):
I hate all of it. I'm a scientist, not an
expert in the ins and outs of detectors.

Speaker 3 (24:56):
Hey, okay, Jos, calm down. There's nothing to your partners now.

Speaker 4 (25:00):
Oh, all you have.

Speaker 3 (25:01):
To do is wait until for Gooda shows and then
after he through the window just to walk out.

Speaker 5 (25:06):
Well, then why let somebody else do it?

Speaker 10 (25:08):
Now?

Speaker 4 (25:08):
You know that's a silly question.

Speaker 3 (25:11):
Can you imagine for Gooda's reaction if you walked into
that room and didn't see you.

Speaker 5 (25:16):
You have a point, But then he wouldn't go through
with it, and maybe he'd be happier.

Speaker 3 (25:21):
Oh is that the feeling you got when you explained
the plan to him, the feeling that he wasn't one
hundred percent sold on the idea.

Speaker 5 (25:27):
I can't say that exactly, but I imagine he'd be more
enthusiastic than he was. What do I know?

Speaker 2 (25:34):
Your perceptives?

Speaker 4 (25:35):
Your feelings are important?

Speaker 5 (25:37):
How about Emily's feelings?

Speaker 4 (25:39):
Emily what she got to do with it?

Speaker 5 (25:42):
She warned me against selecting.

Speaker 3 (25:45):
Oh, you've seen her.

Speaker 5 (25:48):
Again now, I've never seen when I told you we
talked out in your backyard. It happened again after I
spoke with.

Speaker 3 (25:55):
You, Jod When she warned you, was she did she
know that Alexey was thinking of defecting?

Speaker 5 (26:03):
From the questions you're asking, appears that you're beginning to
believe in Emily yourself.

Speaker 4 (26:07):
No, not a bit, But I believe in you. What
does that mean, Chas? I know you.

Speaker 3 (26:13):
I believe that you're subconscious has picked up some signals
from Alexey. You're not sure about them or yourself, so
you've transferred those doubts to have them voiced by Emily,
or or your idea of Emily.

Speaker 5 (26:25):
In other words, you think I'm talking to myself.

Speaker 4 (26:28):
Don't you think you're puts a little heavy on my Talking.

Speaker 5 (26:30):
To ourselves is one thing, and what I'm experiencing with
Emily quite another. And to Dan, well know it.

Speaker 3 (26:36):
Josh, you're under a strain and you're definitely driving too fair.

Speaker 5 (26:39):
I just wish I could take you with me when
I open that back door into the gods. Then maybe
you believe I'm okay, okay.

Speaker 3 (26:44):
We'll try it sometime now, Josh, blow.

Speaker 5 (26:46):
Down, I'll drive as fast as I want.

Speaker 3 (26:48):
Come on, now, you're being childish because you're treating me
like a child, humoring me, and really not believing for
a moment, believe in opening your.

Speaker 11 (26:56):
Mind to watch John, watch it the bark row.

Speaker 5 (26:59):
Hang on, I'm gonna let meet him.

Speaker 17 (27:01):
To the dollar up.

Speaker 21 (27:15):
Dead.

Speaker 24 (27:15):
Hello, I called your house burst, but they told me
you were still in the hospital.

Speaker 17 (27:20):
I thought you was.

Speaker 4 (27:20):
Supout to get out today. Oh I was, and I
am just waiting for one last X ray.

Speaker 5 (27:25):
What time do you think you'll be out?

Speaker 4 (27:26):
Sometime this afternoon? Anything up? Have you heard from our friend?

Speaker 24 (27:31):
Only the usual courtesy call, hoping I wasn't seriously hurt
in the crash.

Speaker 17 (27:36):
He wasn't alone when he called.

Speaker 4 (27:38):
That was to be expected.

Speaker 17 (27:40):
I was hoping you were out because I wanted to
remind you about our promise.

Speaker 4 (27:45):
What promise?

Speaker 17 (27:46):
The last thing you were talking about before the accident.

Speaker 5 (27:49):
Remember, I asked you to accompany me.

Speaker 3 (27:52):
When I walked in my guard Oh yeah, yeah, have
you walked since the accident?

Speaker 4 (27:58):
No, but I'm thought, angus.

Speaker 3 (28:02):
Or okay, Radley, right, I'll come directly to your house
from here, even before I go home.

Speaker 5 (28:14):
You're not scared?

Speaker 4 (28:15):
I no, of course not.

Speaker 3 (28:16):
But maybe there has to be some kind of preparation
like what well, like me thinking about Emily concentrating on her,
and you're doing the same.

Speaker 5 (28:26):
I don't see why I never thought about it before,
I mean, made an effort. I just opened the door,
and there.

Speaker 4 (28:32):
She was, all right, go ahead, open it.

Speaker 5 (28:37):
I just thought at something, what I suppose, just supposed it.
When I open the door, you see the backyard as
it was always, and I see what I've seen before.

Speaker 4 (28:52):
Then we at least will have some kind of a manswer, won't.

Speaker 5 (28:55):
Be I suppose, well here goes, well, dye, it does
go backyard.

Speaker 2 (29:11):
That's write, Jos, that's.

Speaker 4 (29:13):
All it is. Why don't we take a walk change.

Speaker 3 (29:19):
I've got time for just about a five minutes stroll, Jos,
and then I think it'll be back to the drawing
board because we still have a commitment to Ragoda. We
walked for the full five minutes through the entire garden,
but nothing changed, and Joquin never claimed that.

Speaker 4 (29:37):
He had heard Emily's voice. Josh and I.

Speaker 3 (29:40):
Went back into the house and I returned home after
telling Josh that Nick James was going to come up
with another plan for Ragoda's detection. I didn't know till
Josh told me the next day that he'd gone back
to the gardens alone.

Speaker 4 (29:58):
Julie, Emily, maybe I made a mistake bringing New York.

Speaker 5 (30:03):
Maybe it isn't allowed or something.

Speaker 4 (30:06):
I didn't do it for any other reason except to
prove to.

Speaker 5 (30:08):
Me or I'm not out of my mind. Emily, where
are you?

Speaker 4 (30:14):
Are you going to talk to me?

Speaker 5 (30:16):
I'm not going back, And if I've spoken with you.

Speaker 6 (30:19):
I did. I don't believe you.

Speaker 3 (30:24):
When I met here on Live By, I said you
were an impossible lad.

Speaker 5 (30:29):
You didn't let them get away with that again.

Speaker 4 (30:31):
Of course not.

Speaker 6 (30:32):
I said you weren't impossible, merely improbable. But that isn't
what you want here, is it?

Speaker 5 (30:40):
You know it isn't.

Speaker 6 (30:42):
I knew about the accidents, and.

Speaker 5 (30:44):
You tried to warn me when you told me to
look out for alecte. No exactly, but you did warn
me about electay, didn't you. Yes, and you must have
known what was going to happen.

Speaker 7 (30:55):
Oh, you must stop this charge you lost.

Speaker 6 (30:59):
It's terribly dangerous.

Speaker 5 (31:00):
For you, more dangerous than Alexey, much much more.

Speaker 25 (31:11):
I'm a go.

Speaker 6 (31:14):
As per by your love for me and mine for you.
If you visit me once more, you can never go well.

Speaker 3 (31:25):
The question remaining to be answered is will a man
as strong minded as Ramsey Josline heed the warning. I'll
be back with that answer and actree in just a
few moments.

Speaker 6 (31:38):
You have great, great fun, the great pat and taste
with the game.

Speaker 20 (31:44):
Go with green every while married Green, savory common savory
tey know where you went with them?

Speaker 7 (31:53):
No maker talk in great a great.

Speaker 6 (31:57):
Agency with the.

Speaker 11 (32:00):
Gluten, the medicated jaw drops. The bill takes medicated, they
take great hug only is.

Speaker 3 (32:06):
Directed iron curtain. Countries have long been interested in esoteric
sciences esp and telekinesists have led in experimentation that has

(32:29):
been well publicized, but one may well wonder whether they
haven't also looked into the occult.

Speaker 4 (32:36):
If this were true.

Speaker 3 (32:37):
As well, it might be then a dissenting scientist who
wished to defect wouldn't be too upset to find his
contact in the United States.

Speaker 4 (32:46):
Engaged in conversation with his dead wife.

Speaker 3 (32:50):
This opinion, however, isn't shared by the American government agent
masterminding the arrangements for the defector.

Speaker 11 (32:57):
Well, what you can expect everything a deal with amateurs.

Speaker 3 (33:01):
All Look, Nick, I don't see how you can blame
an automobile action on the fact that Ramsey Jocelyn is
an amateur and espionage.

Speaker 11 (33:08):
Your driving wasn't he Fox? And according to you, he
was upset about his wife and he wasn't paying attention
to what he should have been thinking about. One thing,
only to get to the inn and get for Goda
out of there.

Speaker 3 (33:19):
That's the conference and Fiday at three pm, all of
the scientists and visitors will.

Speaker 4 (33:24):
Be off the campus.

Speaker 3 (33:25):
We just have to come up with something that's workable
between now and three pm Fiday.

Speaker 11 (33:29):
All that gives us just two days, two days to
get a plan, give it to Joscelyn having contact for Goda,
and then carry it off.

Speaker 3 (33:36):
I'd excuse me for asking what's undoubtedly a stupid question,
But what's to be wrong with having for Goda simply
walk up to your office and has to be taken
to a US console for asylum.

Speaker 26 (33:47):
Nothing.

Speaker 11 (33:48):
All you have to do is tell me how we
can get up here unescorted? And what reason could Ragoda
give to come to your office? He'd have to invent
something that his people.

Speaker 4 (34:00):
Oh bye, okay, all right?

Speaker 15 (34:03):
What does that leave us with?

Speaker 11 (34:04):
What we ask from the beginning his friendship with Ramsey Joplin.

Speaker 3 (34:13):
At the same time Nick Change was outlining the new
plan to me, a meeting was taking place at the
dormitory that had been assigned to the visitors. I didn't
know it at the time, but it was all too
clear before the end of this affair.

Speaker 16 (34:27):
As you will know, Comrade de Gooda, our superiors don't
believe in acts of God nor automobile accidents either. Hey, girl,
by whatever names we call it, eat in failure, and
we both know how they regards failure.

Speaker 4 (34:44):
There need be no failure here with Jocelyn.

Speaker 3 (34:47):
See how desperately short a find who says that Jocelyn
is so important that we must have him.

Speaker 5 (34:53):
What didn't see.

Speaker 16 (34:55):
Your reasonal suggestion for the kidnapping of Justin to come
from you?

Speaker 3 (35:00):
Not Jocelyn is important to us has no bearing on
their attitude about me.

Speaker 4 (35:04):
You agree that I am still a number one priority
on their books?

Speaker 5 (35:08):
His I agree is Shaw.

Speaker 4 (35:10):
They must renew their.

Speaker 3 (35:12):
Efforts to set up another ron devil, and time also
pressure them. I am going to explain to my old
friend Jocelyn that I have decided it isn't it the
card for me to be able to defect successfully?

Speaker 4 (35:26):
Who very clever?

Speaker 5 (35:29):
Can you expect him to argue with you and try
to think your mind?

Speaker 3 (35:35):
But certainly and during that urgent arguing, we will again
become very close, and we will talk much more openly
about everything, including his experiments.

Speaker 16 (35:47):
I cannot see any need or objections to this proposal.
What is our agenda for today?

Speaker 4 (35:56):
Let me see two meetings?

Speaker 3 (35:59):
A noon conference on weather controlled data? Is that good
wind all? I remember there is a cafeteria that's Goodwin.
I don't realize there and allow ourselves to be shall
be discovered.

Speaker 7 (36:14):
I think you should know a Lexe if you never
fooled me for a moment.

Speaker 6 (36:19):
What with that Emily, the girl you hope to marry.
You always have an underlying.

Speaker 7 (36:28):
Streak of treachery, Electe, and it made you completely unattracted.

Speaker 4 (36:33):
She did some trick.

Speaker 14 (36:35):
Something don't check, elect But please remember you may fool us,
but you will never fool me.

Speaker 4 (36:49):
This, this, what, this is ridiculous.

Speaker 5 (36:57):
Seven May I join yourself?

Speaker 3 (36:59):
Of course, John, of course I am delighted to see
you so rapidly recovered from your accident.

Speaker 5 (37:05):
Thank you, Alexai. I do had my pleasure at your recovery.
Thank you. Also, Colonel, you're attending this afternoon conference and.

Speaker 3 (37:12):
Alexte I wouldn't be music. Wow, there you are, Colonel Poulovich.
I glad to found you.

Speaker 4 (37:19):
If mister fuck my office received a.

Speaker 3 (37:22):
Threat just about an hour ago, ordinally I would have
had the campus police handle it. But this one was
partially written in Russian, and so.

Speaker 5 (37:29):
Of course you will write. I would like to.

Speaker 4 (37:32):
Think it will keep so after you finish your lunch, Connel.

Speaker 16 (37:36):
No, no, no, no, I want to look at it immediately,
Come right or go to We will meet later at
the conference in the usual, of.

Speaker 5 (37:45):
Course, there earned any words to apologize for what I
did to you, Alexa. I won't say anymore.

Speaker 15 (37:51):
George.

Speaker 3 (37:51):
You mustn't steal that play an accident. It was not
your fault.

Speaker 4 (37:56):
It could have happened to everyone.

Speaker 5 (37:58):
But it didn't.

Speaker 4 (37:59):
Do you think I could live with the thought that,
except for.

Speaker 5 (38:01):
Me, you would have been free over It may not
have worked. A new plan has been formulated. Ah, oh,
that's very kind of you, But I do not think
that there is enough time, although many of times it
may be even a better plan than the first. I'm
giving you a farewell dinner tomorrow night at my house.

(38:22):
Of course, I know that I also have to invite
Colonel Paulovich, but that is all.

Speaker 3 (38:27):
Also present will be new Fox, the Proctor, and a
few others, all agents will.

Speaker 5 (38:33):
After dinner is over, you will announce that you are staying.
What can the colonel do?

Speaker 17 (38:42):
No?

Speaker 5 (38:42):
Come on, let's say. You know as well as I
there's nothing you can do.

Speaker 3 (38:47):
You are attempting me, But if your house is lotched
too closely or empty, it will.

Speaker 4 (38:51):
Only further to have looked full of itch.

Speaker 5 (38:54):
Not for the threat that he's going to read and
Neil's office, that will be the ostensible reason for having
agents around that.

Speaker 3 (39:00):
Perhaps I was very nissy not notifying you that I
have had a change of mind, but I had no
way of knowing that you would be preparing another.

Speaker 4 (39:09):
Plan to look a let day.

Speaker 5 (39:11):
You have every reason to believe it somehow I may
foul this up again and you would be the one
that suffers. But I act only one thing again, be
prepared to make a decision when you come to my house,
but at their well dinner.

Speaker 3 (39:29):
So now slonos, we go back to the original designs.
We take Ramsey just went back with us, but now
you have.

Speaker 16 (39:38):
To take him from under the noses of the names
who think you are going to disfect to them.

Speaker 3 (39:43):
They have made a large mistake because if they fall
threat they showed you earlier. You have every right to
have to participate in the security arrangements for the dinner
who it should be a relatively simple matter to replace
their men with ours.

Speaker 6 (40:01):
But still I will.

Speaker 5 (40:02):
Have to be at the dinner and you'll have to
use it.

Speaker 4 (40:06):
Will come forced to get Japlin away.

Speaker 3 (40:09):
I het a dark gun to incapacitate the edge and
make James.

Speaker 4 (40:14):
I do not think that the proctor will give us
any trouble. And Josh windsor if.

Speaker 3 (40:20):
Necessary, we can drug him as previously planned.

Speaker 16 (40:24):
We will go to the dinner and adopt your plans.
An excellent deal, mister Jocelyn.

Speaker 15 (40:36):
Excellent.

Speaker 5 (40:37):
Unhappy here you bear that journal is here? Like say,
everything went off as planned at your farewell dinner not quiet.

Speaker 4 (40:44):
Or plans not quiet?

Speaker 16 (40:48):
But you want to move.

Speaker 4 (40:49):
Please a minute, colonel before you do anything full as
you should know that the house so I hold.

Speaker 16 (40:54):
It and under surveill by loyal members of my country
and get your friends there. Nick Chames is a government
agent whom ideal.

Speaker 27 (41:04):
With four or loan me for alarm than.

Speaker 16 (41:09):
Future James is not dick really tranquil. The same will
happen to anyone else who.

Speaker 4 (41:16):
Tries to interfere.

Speaker 5 (41:18):
I swear to you a less say. I don't know,
as it was all my doing. I don't understand.

Speaker 3 (41:25):
I never intended to the fact I've always has been
happy with my life. But old friends, I do believe
that you have stumbled across a discovery that we can
put to good.

Speaker 4 (41:36):
Use in my country.

Speaker 5 (41:38):
If you're talking about the less nance, you can forget it.

Speaker 4 (41:41):
The less say.

Speaker 5 (41:42):
I wouldn't think of it either.

Speaker 3 (41:44):
You come with the colonel and me reelingly, or we
will tranquilize you.

Speaker 5 (41:49):
Emily, she warned me against you, this is what you meant,
come a lessie.

Speaker 4 (41:55):
We waste time and we do not have enough to rate.

Speaker 3 (41:59):
Emily, she warned you against me importable July.

Speaker 4 (42:04):
She was not sure which of out to choose until
they've got a lot of moment.

Speaker 5 (42:08):
Oh, I don't mean years ago, I mean now, just
before your visited up.

Speaker 4 (42:13):
But she couldn't have, she said.

Speaker 3 (42:16):
Nevertheless, she did, and I can prove it. Did you
dare to have it proved to you enough?

Speaker 4 (42:25):
You will come to this side of the table, Andy,
how can you prove it easily?

Speaker 5 (42:32):
To step out into the garden with me?

Speaker 4 (42:35):
And Emily will prove it to.

Speaker 3 (42:38):
Guard by that, you thought, one moment curls the garden.

Speaker 4 (42:44):
One minute in the garden and you have your proof.

Speaker 5 (42:49):
All right, moved to a clean We will be back directly, Colonel.

Speaker 4 (42:54):
There is nothing to lose, since we have the house
takes before then I.

Speaker 16 (42:59):
Give you one no more.

Speaker 3 (43:07):
The door closed behind them. We waited one minute passed
then too, and then the colonel ordered us all into
the garden, but they had disappeared. Both Ramsey, Jocelyn and
alexei Va Gooda. Neither was ever seen again. The story

(43:44):
you've just heard cannot, of course be verified, although we
do know there was such a conference, and we also
know that one member attending the conference was taken ill and.

Speaker 4 (43:56):
Never returned to his homeland.

Speaker 3 (43:58):
As for Professor Ramsey Joslin, the papers say he died
in an automobile accident.

Speaker 4 (44:05):
All we know is that he is dead. I'll be
back shortly.

Speaker 3 (44:24):
Much has been written about the last frontier space, and
now it seems that we have conquered that. Writers and
social planners bemoan the fact that there are no more
frontiers for Mann to cross.

Speaker 4 (44:38):
But is that really true? The final mystery, death and
life after death.

Speaker 3 (44:46):
Still remains as tantalizing, as frightening, and as full of
hope as ever. I, for one, will be exploring it
right here with you, seven times a week. Our cast
included Gordon Gould, Patricia Elliott, William Redfield, and Gilbert mac
The entire production was under the direction of Hymond Brown.

Speaker 1 (45:11):
Well, my dear, how's your evening? Mine is positively unusual.
I don't have the words, and I know that usually
I'm a man of many and many words but right
now it's just not quite coming to me. This time

(45:33):
of year always does seem to do that to me.
I just can't get this smile off my face. Oh my,
where are my manners? Your tea is stone cold? Allow
me to freshen you up.

Speaker 10 (45:49):
Ah.

Speaker 1 (45:49):
There's something so special about the Dead Alive.

Speaker 17 (46:01):
Auto Lights and it's ninety eight thousand dealers. Bring you,
mister Herbert Marshall in Tonight's presentation.

Speaker 28 (46:07):
Of suspense, Tonight Auto Light presents a story based on
fact and written by a master of suspense, an adaptation
of the nineteenth century born murder case called The Dead Alive.
The author Wilkie Collins our star, mister Herbert Marshall.

Speaker 17 (46:36):
Hey, Wilcox, how are you hitting them?

Speaker 29 (46:37):
Kidd out?

Speaker 30 (46:38):
Hello?

Speaker 15 (46:38):
Stan?

Speaker 17 (46:39):
How's our bouncing bantam and brainy baseball manager.

Speaker 15 (46:43):
Feeling like a home run? Illo Pearl along?

Speaker 17 (46:45):
Like I said, of those auto light spark plugs are
us Yeah, I couldn't understand you better, Stan. Those ignition
engineered auto light spark plugs are designed for the smoothest,
most economical performance money can buy. Wouldn't use any other
hollow They're real majorly thank you, Stan. Friends, if your
car isn't giving you the performance it should. Why not
have your spark plugs checked by your nearest auto light

(47:07):
spark plug dealer. He's equipped to give you expert cleaning
and adjustment, and if those spark plugs are worn or
need replacing, he'll install a set of famous Ignition engineered
Autolite spark plugs, either standard or resistor type. To quickly
locate your Autolite spark plug dealer, phone Western Union by
number and ask for operator twenty five. Remember from bumper

(47:30):
to tail light, you're always right with auto light. And
now Autolite presents the Dead Alive, starring mister Herbert Marshall,
hoping once again to keep you in suspense.

Speaker 31 (47:50):
How did the doctor put it to be back there
in London. Your disease, mister lefranc is overwork, Your cure
is rest, Your alternative is death. Nice choice of words there,
but not to be ignored for any excitement stirred sudden
unbearable pains in my head. The trip was RESTful, though

(48:12):
the prospect of visiting a country just five years beyond
the Civil War was a little disturbing. The long standing
invitation of my mother's distant relative appeared to hold a
promise of friendship and hospitality, the very thing from a
written English barrister. I'd bought in a railroad car at Boston,
which deposited me at Marwick station. The countryside viewed from

(48:34):
the station was as flat as monotonous as any that
the earth can show. If to be cured, it meant,
in my case, to be dull, and I picked the
very place for the purpose. Mister Philip the frank.

Speaker 32 (48:49):
Well, yes, of course you must be cousin silas.

Speaker 21 (48:52):
That's right, and didn't mean to startle.

Speaker 31 (48:54):
You know, I was fascinated by this very interesting countryside
of yours.

Speaker 17 (49:01):
Let's start up on an honest footing. This view is uninspired, Philip.
That is good farm land. That's most important.

Speaker 21 (49:07):
Is this your luggage?

Speaker 15 (49:08):
No, just these bags here. I'll take the big one.
That's all right.

Speaker 31 (49:12):
You carry the two small bags your your hand. That
bandage it must be painful. It's just a scratch.

Speaker 21 (49:19):
He couldn't had me. The carriage is this way.

Speaker 31 (49:27):
Our ride to Middlecroft Farm passed for the most part
in silence, and silence seemed most appropriate as we roll
through a grove of stunted, twisted trees on the road ahead,
A short, wild little man walked towards the house. He
glanced over his shoulder, then casually angled let us pass.
But something went wrong with our horse when he swerved
towards the man.

Speaker 21 (49:48):
You kill that man next time. He'll move out of
the way faster.

Speaker 15 (49:54):
But you led the horse direct clears him.

Speaker 21 (49:56):
No matter.

Speaker 17 (49:58):
That man was John Jago, my overseer. Not a very
nice man, Philip, not nice at.

Speaker 15 (50:05):
All, then why do you keep him?

Speaker 17 (50:07):
Unfortunately, Farah left the controlling interest in this estate to
my system, and Letty feels that Jago can run things
better than I can.

Speaker 15 (50:16):
That's still no reason.

Speaker 33 (50:17):
You might have killed the man, in which case I
would have given him a sort of burial.

Speaker 17 (50:20):
I'd give my dog, not my favorite dog, mind.

Speaker 31 (50:24):
You a gray house like a huge toad squatted massively
at the end of the road. Three barking hounds chased
our carriage up to the front porsch. My cousin sent
them scampering as we dismounted. A melancoly middle aged woman,

(50:45):
without visible attraction of his thought, waited for us to
the hallway.

Speaker 13 (50:51):
Cousin, Philip, I trust the Lord sent you an easy.

Speaker 31 (50:54):
Voyage, A delightful voyage. Cousin Letty, it's very good good.

Speaker 34 (50:58):
Of you to have me thank my father rest his soul.
We shall do our best to honor the invitation he
extended to your branch the family, Silas. Did you pass
mister Jago on your way up?

Speaker 21 (51:11):
Yes, I passed him.

Speaker 13 (51:14):
You might have been good enough to offer him a lift.

Speaker 17 (51:17):
I did after a fashion. It's right, Philip, I'll showed
you to your room.

Speaker 34 (51:24):
Supper is at eight, Cousin Philip, we start exactly on
the hour.

Speaker 31 (51:32):
Cyrus left me in a clean, almost terror room. To
pass the time. I made a game of searching for
some dust. Was depressing. Not to finally I paced, I worried, read,
and generally tried to keep the gloom of the house
and sinking to my bones.

Speaker 15 (51:49):
Was useless.

Speaker 31 (51:50):
By eight o'clock, I was morosely trying to decide whether
to go down to dinner or to repack and leave.

Speaker 32 (51:57):
My stomach made the decision for me.

Speaker 31 (52:01):
I walked out of my room and into the loveliest
creature I've never seen.

Speaker 35 (52:05):
I'm sorry, No my fault. I shouldn't run down hallways.
Of course you're a Philip.

Speaker 31 (52:12):
Of course, But they told me nothing about you.

Speaker 35 (52:15):
Well, I don't think they're quite sure of how to
classify me. I am Naomi Colebrook. We'd better go downstairs.
We'll miss dinner.

Speaker 31 (52:22):
Are you visiting to miss Colebrook?

Speaker 12 (52:24):
Oh?

Speaker 35 (52:25):
No, I've been here over six months now. I'm a
vague sort of relative. Letty and Silas took me and
after my parents passed away.

Speaker 15 (52:32):
Oh that was very good of them.

Speaker 35 (52:34):
Yes it was, but I I am glad to have
someone else here now.

Speaker 32 (52:40):
Is anything wrong?

Speaker 36 (52:42):
Well, there are tentions in this house. You may feel them.

Speaker 31 (52:47):
I already have something most unpleasant about it all.

Speaker 36 (52:50):
Please don't let it drive you away. I have to
talk to somebody.

Speaker 3 (52:55):
You see, how where are you?

Speaker 36 (52:57):
We're coming? Silas talk later.

Speaker 31 (53:06):
Dinner started off as a choet affair. Naomi, Silas, Letty,
and myself were there. Of course, the fifth person with
John Jego, the fellow would almost run down. You acknowledged
the introduction to me, then lapsed into silence. The only
time I saw any animation on his face was when
he glanced at Naomi.

Speaker 15 (53:25):
Silas noticed it. Two.

Speaker 17 (53:27):
You find miss Naomi's face interesting, mister Jego.

Speaker 15 (53:31):
I beg your pardon.

Speaker 13 (53:32):
Silas, Please don't start in again.

Speaker 21 (53:34):
It's offensive for the help to be staring at you
like that.

Speaker 34 (53:37):
Your imagination is being overworked again, Silas, Dear.

Speaker 17 (53:41):
Letty so fond of mister Jego. Isn't there one small
pang of jealousy at his interest in? Naomi, Silas, I'm sorry,
miss Letty. When your brother is in one of these moods,
it's best that I retire.

Speaker 21 (53:53):
Good night, good riddance.

Speaker 36 (53:57):
There was no need for that.

Speaker 17 (53:58):
Silas too even tempered, Naomi. Let's put it to our
guest here, Philip. What did you think of that sirely
fellow's behavior?

Speaker 15 (54:08):
Why?

Speaker 31 (54:08):
I don't know as to looking at this name his face,
it constantly attracts my own gaze.

Speaker 21 (54:15):
Ah does it?

Speaker 15 (54:17):
Yes?

Speaker 32 (54:19):
Does that make it necessary for me to leave the table?

Speaker 36 (54:22):
Let's both go for a walk, Philip. I've had enough
of this for one evening.

Speaker 17 (54:26):
But Naomi let her be go.

Speaker 13 (54:29):
Cousin, Philip, I wish to talk to my brother alone.

Speaker 31 (54:38):
The danger signal in my head and those flashes of
pain did not slacken until we name. Me and I
were deep within the grove of trees that's arounded the house.
The moon was full, It's raised filtering through the dense
overhead growth of twisted branches. We walked slowly towards the
pale green glow that diffused the gray night ahead of us.

(55:01):
It's wrong, Philip, your face party pain. The doctor warned
me to avoid excitement.

Speaker 13 (55:08):
Silence starts up with everyone, and.

Speaker 32 (55:11):
He turns his angle upon poor mister Jago.

Speaker 13 (55:13):
As they had a terrible fight the other day. Mister
Jego had to use a knife to defend himself.

Speaker 15 (55:19):
He won't bother me.

Speaker 36 (55:21):
I'm not too sure. He was furious with you at dinner.

Speaker 31 (55:24):
I refuse to allow anybody it will affair with the
pleasure I take from your company. But what's causing that green,
mister head?

Speaker 36 (55:33):
Oh that's a natural line kill. They say it's been
burning for centuries.

Speaker 31 (55:38):
There's a hypnotic quality about this green pit. I can't
take my eyes from it.

Speaker 36 (55:43):
Terrifies me.

Speaker 13 (55:45):
I keep imagining what had happened if.

Speaker 31 (55:48):
Someone were to fall in there, or they should put
a fence about it.

Speaker 36 (55:54):
There for the trees. Someone's watching us?

Speaker 15 (55:58):
Who's that?

Speaker 27 (55:59):
I hope I'm not intruding.

Speaker 36 (56:03):
What do you want, mister Jago?

Speaker 17 (56:05):
I don't wish to disturb you.

Speaker 37 (56:06):
All these gentlemen but I must speak to you, miss Naomi,
in private.

Speaker 31 (56:10):
This is hardly the manner to approach eves dropping from
behind a tree.

Speaker 37 (56:14):
Oh no, sir, I've just been walking through this glove
and came upon you.

Speaker 17 (56:18):
But I must talk to this lady.

Speaker 36 (56:21):
You want it hold until tomorrow.

Speaker 37 (56:22):
Be a great kindness on your part, of very great kindness,
if you let me speak before I rest tonight?

Speaker 36 (56:29):
Very well, we go back to the house, not the house, miss,
why not?

Speaker 37 (56:33):
There are eyes and ears in the house, and footsteps
so soft that no person can hear them.

Speaker 36 (56:40):
Then we'll speak here where we can see all about us.

Speaker 17 (56:43):
Sir, if you.

Speaker 32 (56:44):
Don't mind, I don't want to leave you here NEARI.

Speaker 36 (56:46):
Oh, I'll be quite all right to live, mister jay girl,
see me back.

Speaker 17 (56:49):
To the house you know best.

Speaker 36 (56:52):
Good night, good night, and thank you.

Speaker 31 (56:59):
I slept but little that night. I wanted to leave,
get away from that wretched house. But the idea of
leaving there there all alone was unthinkable. With the dawn,
I dressed and went down to the front porch. An
angry sight met my eyes, silence, holding his walking stick
like a blood gem and waving le jego, while the

(57:20):
little over there crouched before him like a snarling game cock,
the wicked blade of his knife flashing in the light.

Speaker 30 (57:26):
I stay back.

Speaker 15 (57:27):
I warn you, you warn me.

Speaker 21 (57:30):
I told you to stay away from her.

Speaker 38 (57:32):
She's not my style. Mister Silas, whim back. I've set
my mark on you once. I may do it a
second time.

Speaker 31 (57:39):
I christ start that here, Silas, give me the can.

Speaker 17 (57:44):
And they go give it to me, you meddling fool.

Speaker 21 (57:53):
He's gotten away just as well.

Speaker 31 (57:56):
He handled that knife with some knowledge. You wouldn't have
fared well in that fight.

Speaker 21 (58:00):
You think not, you, cousin Philip.

Speaker 15 (58:04):
I have my stick now, if you must have it here,
thank you.

Speaker 17 (58:10):
And I'd like to walk through the grove unless you
have some objection, so we will insist on following him.
We will finish this now, Jago and I. And this
is a warning to you, cousin Philip, leave Naomi alone,
or you may have some of the same.

Speaker 31 (58:31):
Neither of them have returned to the house by late afternoon.
Neami stayed in her room all day. Cousin Letters sat
in her rocking chair and k littered her eyes, never
leaving the front door as she waited fearfully. The ugly
premonition of violent death hung about the rooms, finally approaching footsteps,

(58:52):
and we watched to see who would enter.

Speaker 13 (59:00):
Silas.

Speaker 39 (59:02):
Where is mister.

Speaker 21 (59:04):
Jegu I believe we've seen the last of that.

Speaker 15 (59:07):
One, did you? And brought your walking stick?

Speaker 17 (59:11):
Now, don't fear, cousin Philip, I have another, should you
want to take a stroll to the grove.

Speaker 31 (59:26):
Much later that night, I sat in my room, fully dressed,
trying to read. The wildest thoughts were skipping flanting through
my mind. Was my cousin Silas a murderer? He had
all but admitted it?

Speaker 15 (59:39):
And yet.

Speaker 31 (59:42):
Someone was walking through the hall a light, almost stealthy footstep.
I opened my door as a wilde robe ghost like
figure descended the stairway. It was Letty, her body rigid,
staring blinder before her. It is dangerous to rouse a sleepwalker,

(01:00:03):
so I followed out of the house through the glove
of trees to the mouth of the lime kill. She
stood there, trembling in the green light. As she took
one further step towards the kill. I reached out and
grabbed her shoulders. It's me, Do you understand.

Speaker 40 (01:00:26):
He's there?

Speaker 13 (01:00:27):
Mister Jacob is there?

Speaker 21 (01:00:29):
And how do you know.

Speaker 36 (01:00:32):
He called me his voice he came from there.

Speaker 31 (01:00:37):
That was a dream, little you walked in your sleep.

Speaker 13 (01:00:40):
Dream He's in there, are ju.

Speaker 32 (01:00:43):
There's nothing we can do. Nobody could climb down into.

Speaker 15 (01:00:46):
That pit for sea.

Speaker 13 (01:00:47):
Over there by the tree, a long pole with a
mesh hign net. You'll see mister Jacob is in there.

Speaker 27 (01:00:57):
He told me so.

Speaker 31 (01:01:03):
And in the black of that night, I set about
the macabre task of fishing to kill. Within the hour
I had brought up a partially burned walking stick, Jago's knife,
and a small heap of charred bones.

Speaker 28 (01:01:31):
All the light is bringing you, mister Herbert Marshall in
Wilkie Collins The Dead Alive Tonight's presentation in Radio's Outstanding
Theater of Thrills Suspense.

Speaker 17 (01:01:51):
Hey, Harlow, you know I signed a whole new team.

Speaker 21 (01:01:54):
Yeah, Stan, who are they?

Speaker 17 (01:01:55):
Why? I said, of those auto light resistant time spark plugs.
Of course, then you're set for a winning season.

Speaker 15 (01:02:01):
Stan.

Speaker 17 (01:02:02):
Those auto light resistor spark plugs are the greatest advance
in spark plugs for automotive use in the past two
and a half decades.

Speaker 27 (01:02:09):
Is that all?

Speaker 41 (01:02:10):
I thought?

Speaker 17 (01:02:10):
They was the best in twenty five years your right stand,
and that built in autolite resistor makes possible such advantages
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And the resistor spark plug is only one of a
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(01:02:33):
see you're an hearest autolite spark plug dealer for a
spark plug check soon. He services all makes of cars,
and he has Ignition engineered auto light spark plugs, either
standard or resistor type. To quickly learn his location, form
Western Union by number and ask for operator twenty five.
And remember, from bumper to tail light, you're always righted

(01:02:56):
with autolite.

Speaker 28 (01:02:57):
And now Autolite brings back to our Hollywood soundstage, mister
Herbert Marshall in Elliot Lewis's production of The Dead Alive,
a tale well calculated to keep you in suspense. On

(01:03:21):
the parlor table, belying the walking stick, the knife and
the charred bones of John Jago id roused near me
in silas. And now the four of us set around
the room, our eyes touriously avoiding the grizzly pile before
us the night from the oil lamps failed to clear
shadows from the dark corners of the parlor, and so

(01:03:42):
be set.

Speaker 31 (01:03:43):
And waited for the silence to accuse.

Speaker 21 (01:03:46):
I didn't kill him.

Speaker 13 (01:03:48):
You'll have murder on your soul. Mister Jago told.

Speaker 17 (01:03:52):
Me that too, Oh in your dream. I suppose he
never cared for you, Letty? Why do you carry on
so about him.

Speaker 42 (01:04:00):
He was too shy to tell me, and now he
never will.

Speaker 13 (01:04:06):
For you killed him.

Speaker 32 (01:04:08):
That is your stick, Silus.

Speaker 21 (01:04:10):
I stumbled near the kill it fell in, and the
knife and the bone.

Speaker 36 (01:04:13):
Silus.

Speaker 13 (01:04:14):
You killed him, Silas.

Speaker 21 (01:04:18):
And make the most of it. I'm going to bed.

Speaker 31 (01:04:23):
There's nothing more to be done to night. We may
as well all get some sleep.

Speaker 13 (01:04:26):
I don't think I'll have a sleep again, or at least.

Speaker 31 (01:04:28):
Try near me tomorrow. We'll have to call in the magistry.
Aren't you coming?

Speaker 43 (01:04:33):
Letty?

Speaker 42 (01:04:34):
I'll stay here with mister Jago.

Speaker 15 (01:04:38):
There he please no leave her near me?

Speaker 36 (01:04:42):
Come, Philip, why did it happen?

Speaker 15 (01:04:47):
You probably know best of all.

Speaker 36 (01:04:50):
I know nothing.

Speaker 17 (01:04:50):
No.

Speaker 32 (01:04:52):
What did Jago say to you a night in the garden.
The police will want to.

Speaker 36 (01:04:56):
Know we've been talking.

Speaker 12 (01:05:00):
King.

Speaker 36 (01:05:01):
I don't recall about what suddenly he he seemed to.

Speaker 15 (01:05:05):
Go mad man in what way?

Speaker 36 (01:05:08):
He fell on his knees. He kissed my guard my hand.
He cried that he was in love with me.

Speaker 32 (01:05:15):
Poor fellow, I imagine you told him it was impossible.

Speaker 36 (01:05:19):
He wanted me to marry him. Of course it was impossible.

Speaker 31 (01:05:22):
Silence must have found it out that could explain the
why of this murder.

Speaker 36 (01:05:28):
Well, I can't stay here anymore.

Speaker 31 (01:05:29):
Nor can I Tomorrow. We'll move into town until the
police clear us. And then what then, phillopod all that, Oh,
don't leave me.

Speaker 15 (01:05:40):
That's too late to catch whoever that was?

Speaker 36 (01:05:42):
Someone overheard us.

Speaker 32 (01:05:43):
Yes, someone here.

Speaker 31 (01:05:45):
Get into your room, wrote your door, and don't open
it for anyone, you hear.

Speaker 44 (01:05:50):
I'm so afraid, truthfully, darling, so am I.

Speaker 31 (01:06:00):
If ever a house was a cursed this was it.
With madness or worse, snocking from every crevice and corner
in my room. I locked the door and went to bed.
Sleep did not come easily, but it came. I must
have just dropped off when some inner sense warned me
of a presence in the room. Something was gliding wipedly

(01:06:22):
towards the bed. I half opened my eyes and caught
the dark shadow of movement and the momentary flash of metal.
I rolled out of bed as a knife slashed into
the matress.

Speaker 15 (01:06:34):
I've been lying by a.

Speaker 31 (01:06:36):
Saving follow me slashing, hecking in the pillow the chair
I held before me.

Speaker 15 (01:06:41):
I try to get out of the door.

Speaker 21 (01:06:43):
We'll still boat it.

Speaker 15 (01:06:44):
And I set the boat, and the shadow rushed, driving
me back.

Speaker 45 (01:06:48):
In terror, I threw a ramp and hit.

Speaker 31 (01:06:50):
Someone suddenly over the knife wielder had gone. I fired
a lamp, then stood staring at the butcher knife that
lay on the floor.

Speaker 15 (01:07:11):
My being revolted in fear and anger.

Speaker 31 (01:07:14):
I was sick, sick of this house, of my cousins,
sick of waiting to be stuck down.

Speaker 15 (01:07:20):
In the dock. Get upside us? Who's there? Stop pretending
you're asleep, Philip?

Speaker 21 (01:07:27):
The Devil's the matter with you?

Speaker 31 (01:07:29):
Nami wouldn't have had you under any circumstances. What did
you hope to gain by killing me?

Speaker 21 (01:07:34):
Killing you?

Speaker 17 (01:07:35):
If I wanted to kill you, cousin, I would face
up to you like a man not striking the dark?

Speaker 15 (01:07:40):
Who else in this house? But was a thing like that?

Speaker 21 (01:07:43):
What of Letty?

Speaker 15 (01:07:44):
Letty? It couldn't have been a woman.

Speaker 17 (01:07:48):
Don't underestimate on e England. The women, Philip, as strong
as occidental.

Speaker 32 (01:07:54):
You better come along with me. Why not question her?

Speaker 21 (01:07:57):
You don't trust me exactly.

Speaker 31 (01:08:04):
Letty was still in the parlor, staring at the bones
of her dead lover, sitting stoically in her chair. Something
had changed her though. There was an ecstatic look about her,
and for the moment her face was almost pretty.

Speaker 15 (01:08:21):
Letty.

Speaker 32 (01:08:23):
Someone just tried to kill me.

Speaker 45 (01:08:26):
I know, how do you know?

Speaker 13 (01:08:29):
Mister Jago told me you were going to die.

Speaker 17 (01:08:31):
She won't grasp the fact that John is dead.

Speaker 13 (01:08:34):
Oh yes, I know he's dead. But now he's closer
to me than ever. He comes to see me and
talk to me.

Speaker 15 (01:08:45):
Did you go upstairs, Letty, to my room with a knife.

Speaker 42 (01:08:49):
That Jego told me I was pretty? I asked him
if I was, and he told me he's dead now,
but he's with me all the time.

Speaker 17 (01:09:04):
Well, Philip, I was still quite positive.

Speaker 23 (01:09:07):
It was nail me.

Speaker 31 (01:09:15):
I ran up the stairs, silas at my heels and
nagging insane folk kept tugging at my brain. Letty, Syrus
and my son had been together in the parlor. Then
who was it? What was it?

Speaker 17 (01:09:26):
What?

Speaker 15 (01:09:27):
Horror was attacking them in her room. Claim me open
this door. It's me, NAILI are you all right? Stand back,
I'm going to break it open.

Speaker 21 (01:09:42):
She's not here.

Speaker 15 (01:09:43):
The window has been smashed. There's nobody in the yard.

Speaker 31 (01:09:47):
Look over through the grove, the branches way something moving
through there.

Speaker 15 (01:09:52):
Let well again, but who ah, what silus? Can your
dogs track?

Speaker 31 (01:09:58):
Have cast their hunting gardens them around. Put them on
the scent. Whatever that thing is it has Naomi. The
dogs picked up the scent and ran and bay into
the tree grove. Silas and I lanterns praying yellow lights
through the darkness followed. Somewhere ahead there was something man

(01:10:20):
or monster without a mind. Suddenly the lime killed. The
dogs stopped howling. We saw Naomi lying by the edge
of the pit. I knelt beside her, feeling the life
beat feebly through her pulse, and then another, feeling the
air parting behind me as something crept towards my back,

(01:10:43):
something poised to push me into the kill. I turned sharply,
and a shadow flowed backwards, crossing to the opposite side
of the pit.

Speaker 15 (01:10:52):
The green glow stippled around the form of a man.

Speaker 21 (01:10:56):
John Jago, a live.

Speaker 38 (01:10:58):
Very much so. It would have been nice to have
mister Silas hang.

Speaker 30 (01:11:02):
Of my murder.

Speaker 32 (01:11:04):
Your plans for me were very much more direct.

Speaker 17 (01:11:06):
I will care for miss Naomi. I'll just talk like
mister Silus.

Speaker 15 (01:11:10):
You think she'd have a luck to you.

Speaker 38 (01:11:12):
Nay, mister Silas, with you and your cousin dead, Oh my, yes,
I would return any loss of memory.

Speaker 31 (01:11:19):
Don't work out now, John, you best come along with.

Speaker 17 (01:11:22):
Us, take me, sirs, come over here.

Speaker 31 (01:11:25):
I'll be glad to wait. Silas he's too close to
the pit. A slip and we'd all be in try. Please,
I'm a match for you both.

Speaker 13 (01:11:32):
Mister Jacob, I hear you. I'm coming, mister.

Speaker 27 (01:11:35):
I'll stay back.

Speaker 17 (01:11:36):
Lady, I have no use for you anymore.

Speaker 13 (01:11:38):
You said I was pretty, mister Jaco, you said that
to me.

Speaker 15 (01:11:42):
Ready, don't go on me. I am pop away. You
to be ugly woman.

Speaker 13 (01:11:46):
No, you didn't say things like that in the line you.

Speaker 46 (01:11:52):
Back, keep back, Let pleasure both gone, poor devils.

Speaker 31 (01:12:11):
It was the next day in the carriage riding back
to town near me beside me, the sight of her lovely
face driving away, our great thoughts of the night before.

Speaker 36 (01:12:23):
Is it all behind us now? Philip all that hatred.

Speaker 31 (01:12:26):
Let's finish, my darling, because just you and I and
our future together.

Speaker 36 (01:12:33):
A peaceful future. We'll have to watch your nerves.

Speaker 31 (01:12:37):
Nerves, oh, my lord, in the excitement.

Speaker 15 (01:12:41):
I forgot all about it.

Speaker 13 (01:12:43):
But the excitement might have.

Speaker 39 (01:12:44):
Killed you killed.

Speaker 15 (01:12:46):
It cured me that doctor was wrong. My life was
too dull.

Speaker 13 (01:12:52):
An excitement is what you need.

Speaker 31 (01:12:54):
Yes, I've been thinking about our honeymoon. There's a wonderful
old castle on the rhine.

Speaker 17 (01:13:06):
E.

Speaker 31 (01:13:06):
Say it's haunted.

Speaker 28 (01:13:27):
Suspense presented by Autolite to Light star mister Herbert Marshall.
This is Harlow Wilcox again speaking for Autolite, world's largest
independent manufacturer of automotive electrical equipment. Auto Light is proud
to serve the greatest names in the industry. That's why,
during these early months of nineteen fifty three, the Autolite

(01:13:48):
family is again saluting the leading manufacturers who install auto
Light products as original equipment. As a climax to this
salute series, auto Light will present on both radio and
television the Eastern Parade of Stars Auto Show from New
York's Waldorf Astoria Hotel. Just four weeks from tonight. We

(01:14:08):
will bring you the exciting dramatization of the only round
the World automobile race ever run. The program will star
Van Johnson and will originate from the Grand Ballroom at
the Waldorf, where the Auto Show will be in progress.
That's Monday, April sixth, And of course you're invited to
join us next week for our regular suspense program. Next

(01:14:35):
week a story about heroism as we document the attempt
of three brave men to conquer the Mountain. Our star
mister John Hodiac. That's next week on Suspense. Suspense is
produced and directed by Elliot Lewis, with music composed by
Lucian Morrowick and conducted by lud Gluskin. The Dead Alive

(01:14:59):
was adapted for suspense by Sam Roll from the story
by Wilkie Collins. In Tonight's story, Mary Jane Croft has
heard as Naomi Lamont, Johnson as Silas, Jeanette Nolan as Letty,
and Joseph Kerns as mister Jay Go.

Speaker 17 (01:15:12):
Herbert Marshall can currently be seen in the RKAO production
Angel Face. This is the CBS Radio Network.

Speaker 1 (01:15:35):
Well, my dear, this evening is getting more and more interesting,
isn't it.

Speaker 13 (01:15:42):
Oh?

Speaker 1 (01:15:42):
What's that?

Speaker 10 (01:15:43):
Oh?

Speaker 1 (01:15:44):
No, no, No, I'm in no hurry. Time has a
funny way not necessarily being what you might think. Well, now,
I'll have plenty of time to do all the things
I want to Believe me, there are things that need

(01:16:06):
to be done. What's that? Well? No, no, no, a
friend who visits me rather than hiding on the one
night I might be able to visit you. No, no,
I would be more afraid of Lord Marley's ghost.

Speaker 18 (01:16:28):
Ionized Yees present by.

Speaker 12 (01:16:32):
Oh If Freebody.

Speaker 10 (01:16:45):
Yeah You.

Speaker 18 (01:17:05):
Blights Out, brings you stories of the supernatural and the supernormal,
dramatizing the fantasies and the mysteries of the unknown. We
tell you this frankly, so if you wish to avoid
the excitement and tention of these imaginative plays, we urge you,
calmly but sincerely, to turn off your radio.

Speaker 47 (01:17:28):
Now this is our Jobler HouseGuests in the days before rationing,
and if they didn't wear out their welcome, were an
interesting part of our social lives. But tonight we bring
you a story of a most unpleasant and unexpected guests
who came to visit Lord Marley. But first for Ironized

(01:17:52):
East Frank Martin.

Speaker 18 (01:17:53):
Help wanted to get back at old time pep and
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Get ironized yeast tablets. They give you both vitamin B
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(01:18:18):
no wonder. Great numbers of men and women who used
to suffer from these shortages tell how splendidly ironized yeast
tablets have helped them. Often they say it's like a
new lease on life. That's right. The name is Ironized
yeast Tablets, and now.

Speaker 12 (01:18:36):
Lights out, everybody.

Speaker 17 (01:18:51):
Wait and wait and wait and hold?

Speaker 18 (01:18:53):
Does the man think we are our mask?

Speaker 30 (01:18:55):
And I said to you before we got in here,
try to do a man like his lordship a favor
and you'll get it in the neck.

Speaker 15 (01:19:00):
It's what I said.

Speaker 48 (01:19:01):
And you remember, well, I'll get him five more minutes
to do us the honor, and then it's off.

Speaker 15 (01:19:05):
I am.

Speaker 32 (01:19:06):
I want to look at minettes for the.

Speaker 48 (01:19:08):
Tide changes that I do.

Speaker 15 (01:19:10):
Oh well, all, I'm af first to warn him.

Speaker 4 (01:19:12):
And me duty's done, hash wasting time.

Speaker 15 (01:19:15):
He won't believe you, you mock my words.

Speaker 17 (01:19:17):
Won't believe man, me almost losing my boat.

Speaker 30 (01:19:19):
To the thing.

Speaker 32 (01:19:20):
His lordship would see it was the time.

Speaker 3 (01:19:22):
Now you listen to me, Joey.

Speaker 48 (01:19:23):
I've been fishing in these waters here for more years
and you got brains in your head.

Speaker 17 (01:19:27):
And I'm telling you it was a.

Speaker 15 (01:19:29):
It's his lordship.

Speaker 32 (01:19:30):
Oh it looks to be in a brinking temper.

Speaker 15 (01:19:33):
Not well, what is it?

Speaker 21 (01:19:35):
Oh?

Speaker 15 (01:19:35):
Is it?

Speaker 48 (01:19:36):
If it pleases your lordship? My name is Sam mor
I know who you are.

Speaker 32 (01:19:41):
You're looking I caught poaching rabbits lost?

Speaker 48 (01:19:43):
No, wait a minute, no, wait a minute. You didn't
catch me poaching nothing. It's an honest fisherman, I am.

Speaker 15 (01:19:48):
I'll have you all honest. Are you will?

Speaker 32 (01:19:50):
Let me tell you I never forget a face. And
if you always listen to the face of the roll.

Speaker 18 (01:19:54):
Oh the rogue is it?

Speaker 49 (01:19:56):
Yeah?

Speaker 17 (01:19:57):
That Joey calls me the roll?

Speaker 15 (01:19:59):
Fine one? He is to be talking. Why are you you?
You impudent scoundrels?

Speaker 32 (01:20:03):
Out of my house? Out of my house, your lordship.
We want to tell you. You tell me nothing. You're sleeping.

Speaker 48 (01:20:09):
Oh it's stamer Now is that for colpens lordship or no?

Speaker 23 (01:20:12):
Lordship?

Speaker 17 (01:20:12):
I bashed that nose of yourself.

Speaker 15 (01:20:15):
Out of here.

Speaker 32 (01:20:16):
Get what is the most See these scounarls were not scoundrels.

Speaker 17 (01:20:22):
Your coat you'r we was only trying to warn him
that he's.

Speaker 15 (01:20:24):
Not another word.

Speaker 32 (01:20:26):
Oh oh, I say, come on, Sam, let's get out.

Speaker 15 (01:20:35):
And if you dare trespass on my property again, I'll have.

Speaker 29 (01:20:38):
The law on your seeping nixt the both of you.

Speaker 25 (01:20:41):
There's no need to shout show good God see in
front of rascals. But I don't understand the stuff of
coming here to warn.

Speaker 32 (01:20:49):
On me nonsense, some infernal scheme that I didn't even
give them a chance to review loafers spoiled by the
government door.

Speaker 25 (01:20:58):
But I know those men that the village, good, honest fisherman.

Speaker 15 (01:21:02):
Honest, no good that one of them.

Speaker 32 (01:21:06):
And if they keep up there in fernal olympiad system,
unity is going to lose my trade.

Speaker 15 (01:21:11):
You can depend on that.

Speaker 32 (01:21:12):
We'll never spend another season here, not if I have
anything to say about it. Can't count of Rosco's warning, right.

Speaker 25 (01:21:20):
We'll drop in right now. What I can't understand is
where's that guest of you? You said he'd be here
by ten o'clok. Look, it's on this loon.

Speaker 15 (01:21:31):
Yes, I guess, I guess you're true.

Speaker 32 (01:21:33):
True, I didn't I tell you?

Speaker 25 (01:21:38):
Tell me?

Speaker 40 (01:21:38):
What do you?

Speaker 15 (01:21:40):
My guest, it's not a man, No, Madeline Kay.

Speaker 25 (01:21:47):
You've heard of her, Madeline Ky. No, I am afraid not.

Speaker 13 (01:21:52):
Who is she?

Speaker 15 (01:21:55):
It's a matter of business.

Speaker 32 (01:21:57):
I couldn't arrange to be in the office, you know,
because of our little outing show. I asked miss Kay
to come here pay frightfully large fees. These Americans, you.

Speaker 25 (01:22:07):
Know, Americans. Why don't you please tell me who she is?

Speaker 13 (01:22:11):
Charles?

Speaker 15 (01:22:11):
Why, surely you know her a cinema star.

Speaker 25 (01:22:15):
Oh, the big blonde wench we saw on that Bang
Bang gangster picture.

Speaker 15 (01:22:20):
Now, now, don't talk like that. I forbid it.

Speaker 25 (01:22:23):
But the picture is definitely a Bang Bang gang the
picture my show, I'll remember distinctly at least seven of
the gang men. As Americans say, bit to death.

Speaker 32 (01:22:33):
You have the most outrageous sess of humor. I'm speaking
of the woman, my client.

Speaker 25 (01:22:39):
Oh you mean she isn't a blonde wench.

Speaker 32 (01:22:41):
Really, my dear, your choice of words is sometimes most inappropriate.
The woman is definitely an artist and.

Speaker 25 (01:22:50):
And my client, oh yes, of course, But was it
necessary to have her come here.

Speaker 15 (01:22:57):
Why not?

Speaker 25 (01:22:58):
Well, this is our home.

Speaker 32 (01:22:59):
But I told you it's most important that she can
sult me her financial affairs. You know, no, I don't,
but I'm trying to tell you, great Scott Jane, You're
not going to be difficult just because I invited the
client out here.

Speaker 15 (01:23:16):
I found it silly.

Speaker 25 (01:23:17):
Suspicions just a moment, Charles, I have no suspicions.

Speaker 15 (01:23:21):
Well your ratitude and.

Speaker 25 (01:23:23):
I have no attitude. You've invited this woman here on business,
and I assure you I'll do everything in my power
to make us stay as pleasant as possible. Will she
be here for dinner?

Speaker 15 (01:23:35):
Well? To tell you truth.

Speaker 32 (01:23:41):
Fortnight?

Speaker 15 (01:23:42):
You know how those Americans are.

Speaker 36 (01:23:45):
Pushing fortnight.

Speaker 25 (01:23:48):
Very well, Charles, I'll don't tell Jenkins and you should
job job pane you guests who's already arrived, child, you
better go out and welcome hers.

Speaker 15 (01:24:00):
Of course, Oh you're coming along, of course.

Speaker 13 (01:24:06):
Careful of that lugged Judy.

Speaker 25 (01:24:07):
If you scraped up, did you say so for my child?
She has enough luggage power up in the tonneau that permanent.

Speaker 17 (01:24:19):
Nice.

Speaker 50 (01:24:20):
You've come out your doorstep to welcome me, just like
a feudal night or something.

Speaker 32 (01:24:25):
Well by George, Madeline, it's good to see you.

Speaker 15 (01:24:31):
You said something. No, oh yes, Madeline, Eh, this is
lady King.

Speaker 25 (01:24:38):
How do you do?

Speaker 51 (01:24:39):
How do you do?

Speaker 13 (01:24:40):
Charles kill me?

Speaker 25 (01:24:40):
What do you think of my new car?

Speaker 51 (01:24:42):
It's nice, isn't it?

Speaker 52 (01:24:43):
You see, I did take your advice.

Speaker 25 (01:24:44):
You must be tired after your Christmas case the road
around any too good?

Speaker 3 (01:24:48):
Tired?

Speaker 50 (01:24:49):
I'm never tired, am I? Child You ought to know
try to walk my feet off around the deck.

Speaker 53 (01:24:54):
But I wore you down.

Speaker 25 (01:24:55):
Didn you met on shipboard during Charles's trip to America.

Speaker 15 (01:25:00):
You must be tired.

Speaker 39 (01:25:01):
Rest the rest, With all.

Speaker 50 (01:25:04):
That beautiful ocean right there at the end of the lawn,
I should say, not swim.

Speaker 54 (01:25:08):
Just what I need, Charles.

Speaker 51 (01:25:10):
Why don't you get out one of your.

Speaker 50 (01:25:11):
Little boats and take me out there in the middle
of that blue water so I can take a dip.

Speaker 55 (01:25:15):
Well, I all she'll do is mischaosks, Charles, get out
the skiff while I show her to her room.

Speaker 25 (01:25:22):
I'm sure she'll want to change before bathing.

Speaker 50 (01:25:25):
Oh yes, I always use a bathing suit while the
sun's shining.

Speaker 54 (01:25:28):
Not along, childs and get the boat out.

Speaker 25 (01:25:30):
You and I have all thoughts of talking to do,
haven't we.

Speaker 15 (01:25:33):
Darling, Yes, yes, of course, of.

Speaker 25 (01:25:35):
Course this way, Miss case Jenkins has already taken your
things up. You'll just follow me.

Speaker 41 (01:25:41):
Sure?

Speaker 54 (01:25:42):
Why not?

Speaker 56 (01:25:46):
The last place I saw stairs like these, it's on
a set in Hollywood. I've always wanted a place like this.
It's very pleasant here during the summer months. Breeze coming
from over the bay all the time. It's really quick, right, nice, funny,
nice writing here in this case. Not bad, not bad

(01:26:07):
at all.

Speaker 25 (01:26:08):
This is the afternoon north for the maids. I'm sorry,
there's no I'm here to help you. But by the
time you get back from the swim, I'm sure one
of them.

Speaker 39 (01:26:15):
Will be back.

Speaker 25 (01:26:16):
Oh it's all right.

Speaker 52 (01:26:17):
I've got a bathing suit right in this case.

Speaker 54 (01:26:18):
Here, I think I can get in myself if I
hold my breath.

Speaker 25 (01:26:22):
I I did want to talk to you, so go
right ahead. No you want to drink?

Speaker 39 (01:26:29):
Oh?

Speaker 52 (01:26:30):
Stick around.

Speaker 54 (01:26:30):
We're all girls together. What's on your mind?

Speaker 10 (01:26:33):
You?

Speaker 25 (01:26:34):
You are very pretty. You're not as old as I
thought you'd be. You met my husband for the first
time on the boat coming back to England.

Speaker 50 (01:26:43):
What the blankety catches of all the rotten wuggage there?

Speaker 25 (01:26:49):
That does it noms that dog on suit. You did
meet Charles for the first time on the boat, didn't you. Yes?

Speaker 12 (01:26:55):
Of course.

Speaker 25 (01:26:57):
Oh I'm not putting it on in the wrong places?
Will no business keep you in England very long?

Speaker 10 (01:27:03):
Long?

Speaker 51 (01:27:05):
I should hope.

Speaker 25 (01:27:06):
Why have you come here? Miss Kay?

Speaker 36 (01:27:09):
Charles invited me?

Speaker 17 (01:27:10):
Didn't you know?

Speaker 25 (01:27:11):
Why have you come here? What do you mean? Is madam?

Speaker 50 (01:27:15):
Are your intentions strictly honorable? I played a part like
that once in Stark and was I lowed teribe? Why
don't you answer me directly?

Speaker 51 (01:27:25):
Okay?

Speaker 54 (01:27:25):
Why not?

Speaker 17 (01:27:26):
What have I got to lose?

Speaker 54 (01:27:27):
Even if you pass along what I say to Charles.

Speaker 31 (01:27:29):
He won't believe you.

Speaker 54 (01:27:31):
He's a gentleman, Arah is.

Speaker 25 (01:27:34):
He tell me? What is there to tell?

Speaker 27 (01:27:36):
You?

Speaker 54 (01:27:36):
Guessed it like a man.

Speaker 25 (01:27:37):
Charles thought you wouldn't, but I know you would been
going on ever since he met you. You catch on fast,
don't you.

Speaker 36 (01:27:45):
You are cool this.

Speaker 50 (01:27:48):
Day when you've been around the way I have, you
get to know all the answers and you make up
a couple of.

Speaker 51 (01:27:52):
New ones too.

Speaker 25 (01:27:53):
But Charles over twenty years old, of you.

Speaker 54 (01:27:56):
Man with twenty million more dollars than me.

Speaker 25 (01:27:59):
But you're well, see I have press agent stuff.

Speaker 50 (01:28:02):
I'm on the skids as far as Hollywood's concerned. I
did go pardon scared, you know, on one way street
leading down. Oh yeah, I wouldn't talk like this to
my own sister. But as long as you and me
got our hair down, what's the difference. The truth is,
I'm just about.

Speaker 36 (01:28:18):
Washed up in pictures.

Speaker 54 (01:28:20):
Not that I can't act circle around many of those
little mm they got.

Speaker 50 (01:28:23):
Out there, but it's just that, well, I was way
up there and I'm on my way down.

Speaker 54 (01:28:28):
Ah, that's that.

Speaker 25 (01:28:31):
So. So you met Charles on shipboard and fell in
love with him.

Speaker 50 (01:28:35):
Love you love well, I'm sure not crying, but I
am going to marry him.

Speaker 30 (01:28:44):
You ought I.

Speaker 54 (01:28:45):
Said, I'm going to marry him, my husband. He won't
be long.

Speaker 25 (01:28:51):
You either have a poor idea of humor. You're absolutely insane.

Speaker 50 (01:28:55):
Now, I suppose you'll pull the line about my husband
loves me, he'll never leave me.

Speaker 25 (01:29:00):
He won't leave me.

Speaker 26 (01:29:01):
No.

Speaker 25 (01:29:02):
I know, Charles, there have been others, but he.

Speaker 54 (01:29:06):
Never invited any of those others to his.

Speaker 21 (01:29:08):
Home, now, did he?

Speaker 54 (01:29:10):
But he did invite me, And I'll stay here as
long as.

Speaker 52 (01:29:13):
I please, and in the end, I won't be the.

Speaker 17 (01:29:17):
One to go.

Speaker 25 (01:29:18):
Why do you say such terrible thing? Not so sure
of yourself anymore?

Speaker 17 (01:29:22):
Are you?

Speaker 13 (01:29:22):
Lady?

Speaker 17 (01:29:23):
Jane?

Speaker 54 (01:29:23):
They never were as pretty as I am before, were they?
And they never knew their way around the way I
do now?

Speaker 30 (01:29:28):
Did they?

Speaker 54 (01:29:28):
You'll go?

Speaker 25 (01:29:30):
I would't permit you to stay. Oh really, Charles, wouldn't
tell Oh already?

Speaker 54 (01:29:34):
Come on in?

Speaker 12 (01:29:35):
Well?

Speaker 15 (01:29:38):
What a charming, charming picture you made?

Speaker 54 (01:29:41):
Yes, I think so too, Charles.

Speaker 25 (01:29:43):
Could I speak to you alone now?

Speaker 15 (01:29:46):
Jane?

Speaker 32 (01:29:46):
I won't take madeleine for sale before the wind changes made?

Speaker 52 (01:29:51):
Right with you?

Speaker 15 (01:29:51):
Dear?

Speaker 14 (01:29:52):
See you later.

Speaker 15 (01:29:53):
Jane, better take my arm, Madelene? Is these old sticks
quite steek?

Speaker 17 (01:29:58):
You know all?

Speaker 32 (01:30:00):
I wouldn't want anything charm?

Speaker 5 (01:30:06):
Oh child?

Speaker 15 (01:30:22):
There he goes Sam, all right, I see we ought
to warn him.

Speaker 32 (01:30:27):
I tried, you saw what I got.

Speaker 15 (01:30:28):
Their booted me out of the place. And he's got
his lady with him in the boat. His lady, Oh
has your eyes? That ain't a ladyship. A ladyship's a lady.

Speaker 48 (01:30:36):
She wouldn't be a waco like that yellow and not
enough of it to him? Ah, let him sail out there?
Why should I want the lots of them?

Speaker 15 (01:30:44):
No? Thank you?

Speaker 48 (01:30:45):
Allen waste the breath warning him off or not the bread?

Speaker 57 (01:30:56):
Now our child will scare the boat. I'd give anything, anything,
name it not. Oh what's the matter that wind?

Speaker 54 (01:31:07):
Where did it come from?

Speaker 13 (01:31:09):
God?

Speaker 15 (01:31:09):
By George? The sun has going down here?

Speaker 54 (01:31:13):
No clouds? You have no sun? What kind of a
place is this anyway? Yes, I thought i'd go swimming. Oh,
come on, turn back.

Speaker 25 (01:31:22):
This is about as much fun as walking in a graveyard.

Speaker 15 (01:31:25):
Jove, I'm sorry.

Speaker 32 (01:31:27):
Sorry, we've been calmed and I forgot the oars at
the landing.

Speaker 54 (01:31:32):
Oh nice going.

Speaker 25 (01:31:33):
So what do we do now?

Speaker 50 (01:31:34):
Camp out here in the middle of the ocean until
the scouts come after?

Speaker 32 (01:31:38):
You have a this delightful sense of humor getting a chill?

Speaker 54 (01:31:41):
That isn't so delightful, Jesus.

Speaker 15 (01:31:43):
Le sorry here, put my coat around you, lovely.

Speaker 54 (01:31:51):
The wind hasn't cooled you off any hasard?

Speaker 13 (01:31:56):
What was that? What did you hear it?

Speaker 58 (01:32:00):
Fit?

Speaker 54 (01:32:01):
You don't have whales in these parts?

Speaker 12 (01:32:02):
To it?

Speaker 15 (01:32:03):
Whales? By jove, there it is again, Yes, I heard it.

Speaker 54 (01:32:09):
The water is so smooth.

Speaker 15 (01:32:11):
Oh that the fish jumping? Probably this is cozy. They
calm at the very opportune time, If I might say so.

Speaker 54 (01:32:22):
Yeah, I can't very well walk home.

Speaker 15 (01:32:25):
Can I anything for you?

Speaker 59 (01:32:27):
You'll have your chin anything?

Speaker 15 (01:32:33):
Then what is it?

Speaker 50 (01:32:36):
I thought I saw that rope up there at the
bow or whatever you call it.

Speaker 54 (01:32:39):
Move rope, yes, squirm, sort of imagine that. I haven't
had a drink in a week.

Speaker 15 (01:32:45):
But there's no ropes at the bow.

Speaker 25 (01:32:47):
Oh, yes, there's two.

Speaker 32 (01:32:49):
Mm Charles, it's no rope.

Speaker 15 (01:32:54):
Then what is it?

Speaker 49 (01:32:56):
Right?

Speaker 15 (01:32:57):
I can't quite me gome here.

Speaker 12 (01:33:00):
It is a rope.

Speaker 25 (01:33:01):
It is a rope, I tell you it is.

Speaker 15 (01:33:04):
I'm not quite sure.

Speaker 36 (01:33:06):
Another one, Charles.

Speaker 50 (01:33:08):
Look, another one came out of the water, moving, moving
down along the deck.

Speaker 25 (01:33:14):
Charles, How can there be snakes out here?

Speaker 15 (01:33:18):
Not snakes?

Speaker 13 (01:33:19):
What's the matter with you? What are they?

Speaker 30 (01:33:22):
Look?

Speaker 25 (01:33:22):
There's two of them?

Speaker 52 (01:33:23):
Why are there?

Speaker 15 (01:33:26):
Thick is a man's chest? And another one coming out
of the water. Oh no, it can't be.

Speaker 10 (01:33:35):
It can't What is it?

Speaker 54 (01:33:37):
Charles?

Speaker 25 (01:33:39):
What is it?

Speaker 18 (01:33:45):
M ladies and gentlemen, I'm sure none of us would
mind a little time for breathtaking and this amazing story,
Lord Marley's guest. Yes, before returning to the play, let's
consider the reality of a wartime problem that affects you.

Speaker 8 (01:34:09):
No I simply won't go to the Servicemen's dance tonight.
Who would want to dance on me? Anyway? Since I've
lost so much weight, I don't look like anything. I'm
so an agent. Tired out again tonight, can't eat. I
just know I'll lie weight till all ours the same
as last night. Honestly, I'm worried about myself.

Speaker 18 (01:34:30):
Well, getting worried can't help. But if vitamin B one
and iron shortage is your trouble, very probably ironized yet tablets.

Speaker 13 (01:34:37):
Can vitamin B one and iron ironized yeast tablets.

Speaker 17 (01:34:42):
What do you mean?

Speaker 30 (01:34:43):
Just this?

Speaker 18 (01:34:44):
Nutrition authorities say improper eating you to wartime living may
cause a person to become deficient in vitamin B one
and iron, two substances essential to normal weight, strength and energy.
And ironize ye tablets supply those exact two substances, vitamin
B one with iron. They're scientifically compounded to help two ways,

(01:35:07):
and these deficiencies, yes, help you two ways to look
and feel and be your old time Peppy's sparkling self again.

Speaker 52 (01:35:15):
Maybe I should try ionized geese tablets by.

Speaker 18 (01:35:18):
All means do if you're short on vitamin B one
and iron, then see you pretty soon you.

Speaker 54 (01:35:23):
Are saying, how grand it is to feel good again?

Speaker 13 (01:35:26):
How glad I am that I took ionize yeese tablets.

Speaker 18 (01:35:30):
And now back to tonight's play, Lord Marley's guest.

Speaker 12 (01:35:46):
You Needham, you need.

Speaker 15 (01:35:48):
There's trouble off there.

Speaker 32 (01:35:49):
But what I'm mess I can't see that?

Speaker 27 (01:35:51):
Too far off, too far off?

Speaker 12 (01:35:55):
Oh, listen to her?

Speaker 29 (01:35:56):
Shame, can't else the devil name?

Speaker 30 (01:35:58):
Can it be?

Speaker 15 (01:35:59):
The Lord?

Speaker 30 (01:35:59):
Forgive me?

Speaker 15 (01:36:00):
I should have warned him, dirt it pride or not?

Speaker 3 (01:36:01):
I should have warn him.

Speaker 17 (01:36:02):
I should have woke Sam, it's your ladyship.

Speaker 15 (01:36:06):
Run in this way?

Speaker 17 (01:36:06):
Lord Helpa?

Speaker 30 (01:36:07):
What continue warm?

Speaker 8 (01:36:09):
Help me?

Speaker 13 (01:36:10):
Please, I'll help him.

Speaker 15 (01:36:11):
What can we do?

Speaker 25 (01:36:13):
Go into it and then get into your boat.

Speaker 60 (01:36:16):
We've gotta get out there and help him, help him, all.

Speaker 61 (01:36:23):
Right, all right, come ahead, mom, Sam, same if you
rose your head, you're not going out.

Speaker 32 (01:36:28):
There stepping forward.

Speaker 3 (01:36:31):
Ma'm what's up?

Speaker 32 (01:36:32):
Steps and your bomby.

Speaker 30 (01:36:33):
It's the death out there.

Speaker 17 (01:36:35):
Hen me that all doing sufer arts and you can't
be going out there.

Speaker 32 (01:36:38):
You is the one that warned us offer and now.

Speaker 29 (01:36:40):
You're going out yourself.

Speaker 17 (01:36:42):
Sure I solve you all.

Speaker 15 (01:36:44):
I'm coming with you.

Speaker 62 (01:36:46):
Good man Joe hurry, hurry, exact, we will dig yours
in deep.

Speaker 15 (01:36:50):
Joe keep it is giving himself me.

Speaker 29 (01:36:54):
You wake out there, but here we want to meet him.

Speaker 15 (01:37:01):
M D stay back of me.

Speaker 25 (01:37:11):
Horrible things reaching out.

Speaker 13 (01:37:13):
You've got to tell me what they are?

Speaker 15 (01:37:15):
What tell me behind us? Look?

Speaker 54 (01:37:18):
No, no, those snake things calling towards me. I've got
to keep my eyes.

Speaker 25 (01:37:21):
If I watch them, they can If I watch them,
they can.

Speaker 13 (01:37:26):
Answer me.

Speaker 54 (01:37:27):
Can they hurt me?

Speaker 25 (01:37:28):
What are you staring like that?

Speaker 15 (01:37:29):
For now? Now I know, I know what it is.
Eight arms coming out of the water. The body must
be beneath.

Speaker 9 (01:37:40):
What are you talking about?

Speaker 13 (01:37:41):
What body?

Speaker 32 (01:37:42):
It's body there. He was shaking the boat. It's holding
on with those horrible arms.

Speaker 13 (01:37:50):
Arms.

Speaker 54 (01:37:51):
What are you raving about? Snakes?

Speaker 15 (01:37:55):
Not snakes.

Speaker 32 (01:37:56):
I'd give my soul if they were arms.

Speaker 12 (01:38:01):
It's arms, it's arms, and it's.

Speaker 32 (01:38:05):
Waiting waiting underneath see us, waiting for help.

Speaker 29 (01:38:12):
Help somebody?

Speaker 27 (01:38:15):
Oh what tell me?

Speaker 32 (01:38:17):
Double fish? An octopus log on the loaf, suckers on
his tentacles.

Speaker 53 (01:38:24):
Oh my legs, one of those crawling things on my leg.

Speaker 15 (01:38:28):
And I can't watch it. I can't bat double for you.
Let's go up, Let's go.

Speaker 29 (01:38:39):
Oh my next No, no, m h.

Speaker 63 (01:38:52):
H, thank you, thank you camera. Suppose they're fighting. They're
fighting something in the water.

Speaker 12 (01:39:05):
No, no, it can't.

Speaker 15 (01:39:09):
It's a terble thing.

Speaker 26 (01:39:10):
I see it too.

Speaker 15 (01:39:11):
It's arms.

Speaker 63 (01:39:12):
They're longer than the master of the boat itself, the
tides taking us right into it.

Speaker 17 (01:39:18):
Get out your horse, Joe, we'll.

Speaker 29 (01:39:19):
Get out of there.

Speaker 4 (01:39:21):
Go hors.

Speaker 13 (01:39:24):
Let you t.

Speaker 15 (01:39:27):
Let's go off.

Speaker 64 (01:39:29):
Let you killing them, play with them like a cat
with a mouse, lifting them up on.

Speaker 65 (01:39:39):
Those great, slimy arms and then dropping them back in
the sea again.

Speaker 61 (01:39:43):
Sho held him under and drowned him, thrown him up
against see but what said?

Speaker 12 (01:39:55):
Oh no, what is it?

Speaker 32 (01:39:57):
What is that terrible thing that's lifting out of the wall.

Speaker 65 (01:40:00):
It's ed See, it's bringing the body toward its ed
it's going. No, no, don't look, mom, No, no, he's
dead anyways, Mom, Joe, let's get out of here, come
on afar it.

Speaker 32 (01:40:13):
Wait the woman, just let her go.

Speaker 15 (01:40:15):
The woman all she's swimming for it this way, this way. No, No,
let's get out of here. Get at the oars man.

Speaker 25 (01:40:22):
Wait too late for him that.

Speaker 15 (01:40:25):
We can't leave her right, we will get your music.

Speaker 25 (01:40:31):
No, she's decided to swimming him.

Speaker 39 (01:40:35):
No, fishy, I want him.

Speaker 15 (01:40:39):
Put you back to that door.

Speaker 32 (01:40:44):
We'll get your miss.

Speaker 15 (01:40:45):
We'll bring her arms had very quick.

Speaker 29 (01:40:48):
That I will's got you. Now off your poor up
and watch it.

Speaker 39 (01:40:53):
Mom, she's and you go now, yes.

Speaker 45 (01:40:57):
Just look he's gone.

Speaker 61 (01:41:00):
Eh, the monster, the devil fish gone under the water.

Speaker 12 (01:41:05):
Quick.

Speaker 65 (01:41:06):
Put the girl down there on the bow and let's
get out of here before he pulls us down.

Speaker 60 (01:41:09):
Right, it's all right, let's say, he'll say, I tell you.

Speaker 13 (01:41:27):
You have no no sharing it.

Speaker 25 (01:41:35):
By do you start. We've got to get a show
the woman stair cush something.

Speaker 15 (01:41:40):
He's holding the boat back.

Speaker 12 (01:41:41):
Now, no, it can't be.

Speaker 15 (01:41:43):
We're almost at the beach. And look over the port side.

Speaker 13 (01:41:46):
What the archepist.

Speaker 15 (01:41:50):
It's underneath the water. Holdiness back, horable black thing.

Speaker 61 (01:41:57):
Come on into the stand with us, another arm, I
push it down, beat it over your ol man.

Speaker 27 (01:42:04):
Don't stay back, you pore listed.

Speaker 17 (01:42:06):
You are right out of my hands.

Speaker 29 (01:42:08):
Look filling arm and they're all moving afoord there anything
she's safe.

Speaker 17 (01:42:14):
Around her neck, it's wrapping around.

Speaker 12 (01:42:21):
Oh, dragged her over.

Speaker 15 (01:42:27):
The boat's free. I free, I tell you free.

Speaker 43 (01:42:31):
It's let go of us. We'll get away. But but
why should that be? Dragged her over and let us
go a show, picked.

Speaker 45 (01:42:43):
Her right out of the boat.

Speaker 15 (01:42:45):
And now the waters shall calm and clear. And look
the sun's come out.

Speaker 26 (01:42:52):
Huh ah, and his lordship and the blonde born dead
dead under the sea. I'll say you, mom.

Speaker 25 (01:43:06):
Dead under the sea.

Speaker 36 (01:43:11):
There's a sound.

Speaker 17 (01:43:23):
And later.

Speaker 49 (01:43:27):
I h.

Speaker 1 (01:43:40):
My, dear, my dear, you've hardly touched orsh hot tea?
Is everything all right? Is something wrong? Does it taste off?
They're the same leaves as always. Oh, my dear, you
poor thing. I know the feeling you're having. It's making

(01:44:05):
you uneasy. But I assure you things will be all right.
Nothing bad will happen to you, not if I have
anything to say about it. That feeling inside you making
you scared, well, that's just dead hands reaching.

Speaker 12 (01:44:36):
And as.

Speaker 10 (01:44:45):
Dead and.

Speaker 15 (01:44:49):
Reaching.

Speaker 27 (01:45:06):
Alan, Alan, Alan Blaine.

Speaker 15 (01:45:13):
Hmm, I thought I heard someone. Mhm. Listen to me, Alan,
someone did speak. I spoke to you, Alan, who's that?

Speaker 27 (01:45:27):
Don't be alone?

Speaker 15 (01:45:29):
There's no one here, no one in this office but myself.
I am here? Am I losing my mind? There's no
one Listen to me, Alan, I hear you, But where
are you?

Speaker 66 (01:45:44):
I am here, but you can't see me. Listen to me, Alan, Yeah,
how much money are you making?

Speaker 15 (01:46:01):
Not much?

Speaker 27 (01:46:03):
How much?

Speaker 15 (01:46:05):
Twenty five dollars a week?

Speaker 27 (01:46:07):
You're worth more? I know I am then why haven't
you done something about it?

Speaker 15 (01:46:15):
Other hundreds of men who can do my work. I
can't afford to lose my job.

Speaker 27 (01:46:19):
You won't lose your job, but you will get a
better one.

Speaker 15 (01:46:26):
What do you mean.

Speaker 66 (01:46:27):
Go talk to your employer to day, Helen to day
you hear, yes, there's a position open, assistant manager.

Speaker 27 (01:46:37):
Exactly.

Speaker 15 (01:46:39):
That's too big a position for me.

Speaker 27 (01:46:40):
You're capable of handling it.

Speaker 3 (01:46:44):
Go in ask for it.

Speaker 15 (01:46:47):
Ask for job of assistant manager.

Speaker 27 (01:46:49):
Yes, you'll never get it unless you ask for it.

Speaker 15 (01:46:55):
Look here, who are you? Where are you?

Speaker 27 (01:46:58):
You cannot see me, Alan, because I am not of
your world?

Speaker 15 (01:47:07):
Are you some devil? Some evil spirit?

Speaker 27 (01:47:11):
I assure you I am not.

Speaker 15 (01:47:15):
Why don't you show yourself to me?

Speaker 27 (01:47:17):
I am not permitted to do that. Be thankful that
I am able to advise you.

Speaker 15 (01:47:25):
Why do you advise me?

Speaker 27 (01:47:28):
Because there is much I can't do for you.

Speaker 15 (01:47:35):
I don't understand.

Speaker 58 (01:47:38):
Your voice.

Speaker 15 (01:47:40):
Out of nowhere.

Speaker 66 (01:47:42):
That must not worry you, Alan, Do as I say
go now, ask for assistant managership.

Speaker 27 (01:47:54):
Go Alan, ask for it now.

Speaker 15 (01:47:57):
Wait, don't wait, wait, I want to talk to you
some more.

Speaker 27 (01:48:01):
Don't wait until it's too late.

Speaker 15 (01:48:04):
I warn you, come back, come back.

Speaker 39 (01:48:10):
Look here, what's all the commotion about.

Speaker 15 (01:48:12):
Sit down, missus Evans? What I said? Sit down? Man here,
I have something to talk to you about.

Speaker 39 (01:48:18):
I want to know what the shotting out here was about.

Speaker 15 (01:48:21):
I'll never mind that, Missus Evans. That's something much more
important to discuss with you.

Speaker 39 (01:48:25):
And just what's that, mister blame.

Speaker 15 (01:48:27):
It's about the assistant managership. Well, well, you see, I
was just thinking, go on now, I was just thinking that.
Perhaps go ahead, Allan, tell her you want the job.
Did you hear something, missus Evans.

Speaker 13 (01:48:44):
I'm waiting to hear you who you have in mind
for the job that's open.

Speaker 15 (01:48:49):
I'll take that job. Missus Evans.

Speaker 13 (01:48:51):
What what did you say?

Speaker 15 (01:48:55):
I said, I'll take that job.

Speaker 67 (01:48:58):
Right, Hey, I hadn't thought of that you might handle
the job all right? Yes, yes, you might come on
in the office playing let's talk this thing over.

Speaker 15 (01:49:15):
M assistant manager's office. Oh Judah darling, how are you hey?
Coming down and see my new office?

Speaker 8 (01:49:34):
Oh?

Speaker 15 (01:49:34):
I thought you said you'd try to make it today.
I've had my new job for two weeks now. Oh,
my dear, yes, goodbye. I can't understand Judith lately. It
like she's avoiding me.

Speaker 66 (01:49:52):
Don't trust her, Allan, You don't trust her, Allan, don't
trust what? Don't trust her? Don't trust her, Allan. I
warn you she's not to be trusted.

Speaker 10 (01:50:16):
Yah.

Speaker 15 (01:50:29):
Oh, oh it's you, darling. May I come in? Yes?
I suppose so. My you're beautiful tonight, am I. Oh
that dress looks wonderful on you. I'm glad you're all
dressed up. Honey.

Speaker 68 (01:50:41):
We're gonna celebrate. I've just been promoted, Darling. Now I'm
making enough for us to live on. Come on, let's
paint the town. Then, when we find just the right spot,
I'm gonna ask you to marry me again. Aren't you
gonna say something?

Speaker 15 (01:50:55):
Judy?

Speaker 39 (01:50:56):
I have an engagement tonight, Alan.

Speaker 15 (01:50:58):
Oh, but you've can call it off.

Speaker 39 (01:51:00):
No, I'm fraid I can't think.

Speaker 15 (01:51:02):
What's happened to us? Now I'm making the money you
always wanted me to make.

Speaker 39 (01:51:06):
You'll have to go now, Alan, what I've just a
few minutes to finish with my makeup.

Speaker 15 (01:51:12):
You'll have to go now with Juli.

Speaker 39 (01:51:14):
Please all wait a minute, Alan, really, i've asked you
to go. I haven't much time.

Speaker 15 (01:51:21):
Oh so you haven't much time. I let me tell
you something, Judith West.

Speaker 39 (01:51:29):
Let you tell me what.

Speaker 13 (01:51:31):
Don't say it, Allan, don't well, Allan, don't.

Speaker 27 (01:51:38):
I warn you there will be a quarrel. You'll kill
her this time if you quarrel.

Speaker 39 (01:51:44):
I'm waiting, Allan.

Speaker 15 (01:51:47):
Never mind, let's forget it. Good evening, my dear.

Speaker 13 (01:52:11):
Ellen.

Speaker 49 (01:52:13):
Perhaps I should have told you last night. I didn't,
so I'm writing to you now. We've made quite a
fool of yourself over me.

Speaker 39 (01:52:23):
For some time now.

Speaker 49 (01:52:25):
I've only permitted you to believe I loved you because
I've always felt sorry for you. Now you're successful, and
so I write you the truth. I'm being married tomorrow
to a man from South America. I've never loved you.
I know that I never cared, and so I'm writing.

Speaker 15 (01:52:48):
To miss Adams. You please call me A to eleven thirty.
I have at twelve o'clock luncheon day. Hmm, letter from Judith.

(01:53:10):
It's probably an apology for last night. I wonder what
she said, m Helen. Perhaps I should have told you
writing to you now like a fool of yourself. Always

(01:53:34):
felt sorry for you being married tomorrow. I have never
loved you, never loved me. Oh she can't mean that.
Yeah she wrote it, Yes, she wrote it. Oh so

(01:53:56):
she's been playing ball with me all these years? Felt
sorry for me? Did she sorry? I'll make her somebody else.

Speaker 69 (01:54:01):
Sure, I'll kill it, Yes, I'll kill it. Don't go
to her, Alan, I'll show her. I'm sure she can't
toss me off like an old glove.

Speaker 66 (01:54:09):
Put that gun back, Alan, put it back in the drawer,
I say, Oh no, I warn you.

Speaker 27 (01:54:15):
You'll be sorry if you don't put the gun away
and calm yourself.

Speaker 41 (01:54:18):
I won't.

Speaker 32 (01:54:19):
You can't stop me.

Speaker 27 (01:54:21):
No, I can't stop you.

Speaker 15 (01:54:24):
Nothing can stop me, nobody, not now.

Speaker 69 (01:54:26):
So she feels sorry for me, and I wonder if
she'll feel sorry for herself with a bullet in her
cheating hard.

Speaker 39 (01:54:46):
All right, darling, i'll meet today. Yes, I've written a
note to Alan. Things off completely, all right?

Speaker 42 (01:54:55):
Do good bye?

Speaker 15 (01:55:00):
Khmah?

Speaker 17 (01:55:02):
Who there?

Speaker 54 (01:55:05):
Who's there?

Speaker 13 (01:55:08):
Who is it?

Speaker 39 (01:55:12):
Alan? What do you want? Allen hollow?

Speaker 66 (01:55:33):
Alan, Alan, listen to me. Go sober yourself up, Alan,
Go away. You've lost your job, spend all your money.

Speaker 13 (01:55:48):
This is no way.

Speaker 15 (01:55:50):
How leave me alone?

Speaker 27 (01:55:51):
I want to help you, help me.

Speaker 15 (01:55:58):
Why didn't you leave me alone again with I.

Speaker 27 (01:56:02):
Warn you not to go to her apartment. You're a
murderer now, Helen, you're wanted by the police. Oh go away,
go away. You should have listened to me. I was
trying to guide you.

Speaker 15 (01:56:18):
Leave me alone. Oh, leave me alone.

Speaker 27 (01:56:23):
I know what you're thinking. You're tired.

Speaker 66 (01:56:28):
The spirits aren't enough for you. Now you want something else. Yeah,
don't do it, Helen, stay away from it.

Speaker 15 (01:56:39):
No, I'm not listening to you anymore. I'm not listening
to you.

Speaker 31 (01:56:44):
Hear me, go home.

Speaker 17 (01:56:46):
I'm not listening to what thing you say?

Speaker 41 (01:57:02):
Place to come in?

Speaker 15 (01:57:04):
M friend of mine sent me, Mullah, Honorable mister Mullins.
So young sea Faul had to help any plan, Honorable
mister Mullins. Yeah, he said, I could forget my troubles here.
Flubble you'll have flouble plays. Maybe you want maybe to sleep, sleep,

(01:57:27):
anything anything to stop this awful burning in my mind.
You smoke, Maybe me fax pell your sleep. Ye sleep
you lie hair place sletch out, make comfortable here? You
smoke piss, take pipe you sleep, Yeah, so you feel better?

(01:57:52):
Buy and buy? Oh no no no, please to lie
down you smoke letty soon sleep sleep.

Speaker 27 (01:58:01):
Don't Alan, I beg you don't smoke that go away.

Speaker 15 (01:58:06):
Please not to shout telling to go away. There is
no one. Don't do it, Alan, yeah hearing, I hear,
no one a place to be quiet? Just smoke plant
this on sleep sleep.

Speaker 27 (01:58:30):
It's too late now, Alan. I tried to warn you,
but it's too late now.

Speaker 15 (01:58:46):
MH. Where am I so strange? Christ peaceful? What's this book?
Old riding? Why a diary? Aaron Blaine? Aaron Blaine. That

(01:59:14):
was my great grandfather's name. This was his diary.

Speaker 18 (01:59:20):
Where am I.

Speaker 15 (01:59:23):
Seems like like a cave? H It is a cave.
My clothes so neat and so clean. Yesterday, yes, even today,
I was almost ragged. I remember too, I was tired born.

(01:59:49):
Now now I feel refreshed. How did I get here?
In this cave? At night? From the fire? I can
read the book by the fire? Yes, we are now

(02:00:12):
in the midst of a dreadful civil war. I fear
everything I always lost. I have only managed to save
my gold cold. I figure it's value at more than
eighty thousand dollars. I have buried it to day beneath

(02:00:34):
the horse stall at the east end of the bar.
It will never be found there cold every beneath the
horse doll in the barn.

Speaker 3 (02:00:50):
But what barn?

Speaker 15 (02:00:52):
It's daylight? Perhaps if I get out of this cane. Yeah,
here's the opening. Yes, it is daylight. And there's the
farm over there, that's a whole farm. Maybe if I
go over there, I'll find what I want. You will

(02:01:20):
say this farm did belong to over there, and blame.

Speaker 55 (02:01:23):
As ride boss man by the time of the Civil
War was reckon my path.

Speaker 26 (02:01:27):
He doesn't work for him?

Speaker 15 (02:01:29):
And who owns the place?

Speaker 55 (02:01:30):
Now I'll reckon Uncle Sam do our boss man? I
paid the taxes want I can? And then lets me live?
Heah bot myself a house out there in the barn. Yeah,
good old raising the horse.

Speaker 15 (02:01:42):
Ye that barn fall down? And see there over this way?
Boss All right? Are you sure this barn's been standing
since the Civil War?

Speaker 12 (02:01:52):
Sure?

Speaker 17 (02:01:52):
As boss Man, I has to prop it up here
and there once in a while. Won't go to pieces
any day?

Speaker 15 (02:02:00):
Yeah?

Speaker 55 (02:02:00):
Yeah, asholds on the boat over there, and the boat
they asked about to spade him resting. Yeah, there's one
right over here.

Speaker 15 (02:02:11):
Yeah, I'll set the lender down right there. Keep that
animal back, how I'm going to start digging, digging balls man, Yes,
and if I find what I'm looking for, you and
I are going to be rich. There it is low

(02:02:35):
the Mercy balls Man. Something bad there, Yeah, metal box,
come on, help me get it out of there.

Speaker 17 (02:02:40):
Okay, man, you get ahold of that corner?

Speaker 39 (02:02:42):
I think so.

Speaker 17 (02:02:44):
Of course.

Speaker 15 (02:02:49):
I got a lock on it. Go fix that now
it's heavy.

Speaker 17 (02:02:56):
Oh there we are, Lord the Mercy balls Man. Look
at that?

Speaker 15 (02:03:00):
Oh yeah, gold? Eighty thousand dollars worth of gold.

Speaker 17 (02:03:05):
What's that must be the piercing ball who piercing boys?

Speaker 15 (02:03:08):
Boss man? Oh there.

Speaker 55 (02:03:10):
They ain't been trying to get this farm, and he
ain't got enough money to pay them back taxes. Oaks
round here always said to know there was gold. Man
is someplace they must have seen you nowadays, trying to
scare y'all.

Speaker 15 (02:03:24):
It's a good thing. It's nice. It's gonna come down
here this afternoon. That I decided to stay in the
cave till that caves, say, boss man, Yeah, over to
what the hills.

Speaker 55 (02:03:33):
We better get ourselves over there, boss, who's gonna keep
his hair gold? Damn piercing balls. Been looking for it
for ten years. They catch us with it, they's wanted
to take it away from us. Boss, I reckon, I

(02:03:56):
can't stay much longer, and.

Speaker 15 (02:03:57):
We've got to stay here.

Speaker 17 (02:03:58):
I was longer.

Speaker 15 (02:03:59):
That's on I. We can't leave this cave until those
murdering thieves out there go away. Boss.

Speaker 17 (02:04:04):
We don't be any too nights in the day.

Speaker 15 (02:04:06):
They've gone now, Allen, you again, who boss me?

Speaker 27 (02:04:10):
It's safe now, Allen?

Speaker 15 (02:04:12):
Boss man?

Speaker 13 (02:04:13):
What are you looking so funny?

Speaker 15 (02:04:14):
Abound?

Speaker 17 (02:04:15):
You look like you done here to spook or something talking.

Speaker 27 (02:04:18):
You can go out now, Allen, they've gone away.

Speaker 17 (02:04:22):
Come along, Sam, Are we gonna leave your boss man?

Speaker 15 (02:04:25):
Yeah? Help me carry this box?

Speaker 13 (02:04:26):
How come you to change your mind?

Speaker 15 (02:04:28):
I didn't, it was changed for me.

Speaker 55 (02:04:30):
Come a walk, shall we'll be good to wrap this
whole boy around a good sick old steak and maybe
a fire old chicken.

Speaker 15 (02:04:38):
Now he's in our kepler that's got around behind his
tall grass. All right, boss man, you don't watch your
step out here.

Speaker 17 (02:04:46):
There's there's lots of snakes over here.

Speaker 55 (02:04:48):
Snakes, yes, uh bingers two boss man and pieson.

Speaker 15 (02:04:51):
Man, Come on, how about this way?

Speaker 45 (02:04:55):
Wait a minute.

Speaker 15 (02:04:55):
Oh look over there, boss man, that's an old Yeah,
come on.

Speaker 45 (02:05:05):
Good lord.

Speaker 68 (02:05:06):
Look horseman, looking over there, a pony, fleshless hand reaching
up out of.

Speaker 15 (02:05:13):
The gray horseman.

Speaker 13 (02:05:14):
How come to a hand?

Speaker 12 (02:05:15):
Over there?

Speaker 15 (02:05:16):
Whoever that was? They buried him a life?

Speaker 17 (02:05:19):
Come on, most man, I don't see note.

Speaker 27 (02:05:20):
Too comfortable around here.

Speaker 15 (02:05:22):
Wait a minute. Something scratched into this tombstone.

Speaker 41 (02:05:26):
I can't quite make out what it said.

Speaker 55 (02:05:29):
Yeah, that's better, one say, boys, I can't read it,
says Aaron Blaine. Aaron Blaine died August sixteenth, eighteen sixty one.
August sixteen, eighteen sixty one, my.

Speaker 45 (02:05:53):
Great grandfather buried alife.

Speaker 17 (02:05:56):
Lord, to mercy your red pappy.

Speaker 66 (02:05:58):
I didn't die, and then I was only unconscious from exhaustion.
They thought I was dead, so they brought me here.

Speaker 15 (02:06:12):
Where are you?

Speaker 27 (02:06:13):
I brought you here to show you this.

Speaker 15 (02:06:17):
How did I get here?

Speaker 27 (02:06:18):
The opium removed the spirit from your body. I brought
it here.

Speaker 68 (02:06:26):
Oh take me back, you can never return. Yes, take
me back. I have the gold now I'll be wretch. No, yes,
take me back, take me back, I say poison and

(02:06:47):
poison by that snake.

Speaker 15 (02:06:50):
I can't.

Speaker 17 (02:06:53):
Hm h m.

Speaker 10 (02:06:58):
Can good mm hmm.

Speaker 27 (02:07:04):
No, Allan, I warn you now, you'll never.

Speaker 15 (02:07:32):
Are fantastine.

Speaker 70 (02:07:38):
You have heard Dead Hands Reaching to Night's original tale
of dark fantasy by Scott Bishop, originating in the studios
of w k Y. The picturization story of Dead Hands
Reaching appears in the May sixteenth issue of Movie Radio Guide,
and Mars was heard as.

Speaker 15 (02:07:56):
Alan Blaine, Eleanor and Naylor Korran played Judith West.

Speaker 70 (02:08:00):
Your hype was Young Seafool, George Anna Cook played Missus Evans,
and Daryl mc allister was Aaron Blane, the voice from beyond.

Speaker 58 (02:08:09):
This is the National Broadcasting Company.

Speaker 1 (02:08:14):
Now, now it's all right, I'll keep the fire bright.
I know it's getting so very cool out there, but
that coldness won't last forever. No, not, everyone like me
is having a good time. Some want well. I won't

(02:08:38):
lie to you. They won't revenge, I suppose, as if
time hasn't gone by long enough for them to know.
It is very moot. But if there's one thing I've learned,
it's that it's impossible to negotiate with the unburied.

Speaker 28 (02:09:04):
Good evening friend. This is your host to welcome you
through the creaking door into the owner sanctum. Come in
and let me introduce some new guests. Now, first, here's Merwyn,
the mathematical murderer. Merwyn says that the shortest distance between
two ears is a straight cut across the throw. This

(02:09:28):
geometric gooon divided three victims with his knife, but to me,
it just doesn't add up. I meet Edgar the Electrical
Killer at school. This character was voted the most likely
to shock him dead. Edgar's wife was a Dole name,
so we plugged her into a wall socket. Now you

(02:09:51):
should see the way she sparkles. Yes, sir, Now she's.

Speaker 41 (02:09:55):
The light of the party.

Speaker 28 (02:10:05):
Tonight's inner Sanctum mystery The Unburied Dead was written by
ed Adamson and Bob Sloan and stars miss Leslie Woods
in the role of Claire, with Everett Sloane as Max. Say, folks,
if you hear a blood curdling scream, it's just our
ted vampire Oscar, howling outside.

Speaker 41 (02:10:27):
But don't worry.

Speaker 28 (02:10:28):
You may be lucky this evening, because some nights Oscar
just doesn't give a hoot. Well, now I'll take my
spade and uncover tonight's terrible treasure. A short distance from
the railroad tracks. The man and the woman stand in
the rain, looking down into the grave. The woman searches him,

(02:10:52):
mind diving deep into the past for the strange, unremembered events.

Speaker 13 (02:10:58):
If I could only remember, if I could only go
back beyond that day on the ship, then I would
know who I am, who I really am. He stands
here next to me and says, I buried a man
in that grave, A man I murdered that day on

(02:11:19):
the ship. That's the day I woke up and found
myself in this nightmare. That day on the ship, I
was on the promenade deck, resting in a steamer chair.
I must have fallen asleep, and when I woke up,
I had an odd dizzy feeling. I started to get
up out of my chair, and then I heard her

(02:11:40):
voice for the first time. May I help you, dear?

Speaker 17 (02:11:44):
Oh what may I help?

Speaker 51 (02:11:46):
I've been watching you seem to be ill.

Speaker 24 (02:11:47):
Oh.

Speaker 13 (02:11:48):
Well, I was feeling a little under the weather. But
I'm all right now, are you sure? Yes, yes, thank you,
I'll I'll just have my well, what's the trouble, Oh,
my husband, he's gone now.

Speaker 39 (02:11:59):
He was yourself.

Speaker 13 (02:12:00):
Well, he was sitting right here next to me where.

Speaker 59 (02:12:02):
You are now, you're mistaken. Oh no, there wasn't any
man sitting next to you. I've been in this chair
since this morning.

Speaker 13 (02:12:09):
Well you know that's just not true.

Speaker 51 (02:12:11):
Ralph was here. Look you're ill. I'd better take you
to the ship stock No, please, but you're not well.

Speaker 13 (02:12:17):
I know what I'm saying. My husband was sitting in
that chair, and I've got to find him.

Speaker 51 (02:12:21):
Your husband isn't on this boat.

Speaker 13 (02:12:23):
That's a lie. He is too.

Speaker 51 (02:12:25):
Why would I want to lie to you?

Speaker 13 (02:12:26):
I don't know. But you're you're trying to hide something.
He's disappeared and you're trying to hide it from me.

Speaker 17 (02:12:32):
You're just upset.

Speaker 51 (02:12:33):
You don't remember remember what are you talking about?

Speaker 59 (02:12:37):
You don't remember me, do you? You don't remember that
my name is missus Ferris, Ferris, I never saw you
before in my life. You don't remember that we met
on the pier, that we came aboard the ship together,
Missus Danson Danson.

Speaker 13 (02:12:53):
My name isn't Danson. You're mistaken. My name is Kramer,
Claire Kramer, And excuse me. I've got to find my husband.

Speaker 51 (02:12:59):
He isn't on this book. He is, Missus Dentson. Look
at the dress you're wearing.

Speaker 13 (02:13:08):
This isn't my dress.

Speaker 39 (02:13:09):
It's black.

Speaker 13 (02:13:11):
I never wear black.

Speaker 51 (02:13:12):
Don't you remember telling me that your husband is dead?

Speaker 13 (02:13:19):
My head started to spin, and then I felt a
sharp pain as I tumbled into a bottomless pit. When
I came to, I was lying in a bed in
a room that was all white, and next to the
bed there was a table with surgical instruments on it.

Speaker 58 (02:13:32):
All right here, drink this.

Speaker 13 (02:13:35):
Who are you?

Speaker 17 (02:13:36):
I'm the ship's physician, doctor Ferris Ferris.

Speaker 13 (02:13:40):
Her name was Ferris.

Speaker 17 (02:13:41):
My wife she brought you here. You had an accident,
an accident, Yes, you fainted up on deck.

Speaker 13 (02:13:46):
You're in it to you and your wife. Let me
out of here. Let me out of here. I've got
to find my husband. Row.

Speaker 17 (02:13:52):
Your husband is dead. You told my wife he died
six months ago.

Speaker 13 (02:13:55):
No I didn't. This is a trick. My name is
Dance and it's Kramer. What are you too trying to
do to me? Why don't you let me find my husband?

Speaker 17 (02:14:05):
Please take this medicine.

Speaker 21 (02:14:06):
It will.

Speaker 13 (02:14:08):
Oh No, I am not going to take it or
not not.

Speaker 17 (02:14:10):
Trying to understand, Missus Dentson, I only want to know.

Speaker 13 (02:14:13):
You're lying, just like your wife did. You're trying to
keep me away from Roth. But he's on the ship someplace.
I can prove it. He was with me when we
came aboard in New York.

Speaker 17 (02:14:21):
It's just your in New York. It's just your. This
boat didn't sail from New York. It left Liverpool five
days ago.

Speaker 13 (02:14:30):
Liverpool five days ago. Oh no, that isn't true.

Speaker 17 (02:14:35):
We dock in New York tomorrow. Here, here's your passport book.

Speaker 15 (02:14:40):
Look at it.

Speaker 17 (02:14:41):
Your passport with your name?

Speaker 13 (02:14:45):
Were there there?

Speaker 52 (02:14:46):
That proves it?

Speaker 13 (02:14:47):
That picture, that's not me, that's another woman.

Speaker 15 (02:14:50):
Here. Look in this mirror.

Speaker 17 (02:14:54):
You see my face?

Speaker 13 (02:14:57):
What have you done to me? What happened to my face?

Speaker 41 (02:14:59):
Nothing?

Speaker 17 (02:15:00):
When you fainted up on deck, you fell and cut
your chin. I had to put in a few stitches. No, no,
it's my whole face.

Speaker 13 (02:15:06):
It's different. You've changed that, You've changed my whole fate.
I was lost, a woman with a different face, lost
in time and identity. I found out that the ship
was to arrive in New York. Well, then where had
I been? What had happened to me? And where was

(02:15:27):
my husband?

Speaker 39 (02:15:28):
Ralph?

Speaker 13 (02:15:29):
The questions hammered against my brain until it ached the
Next day, the ship docked in New York. I went
straight to my house. I had no key, so I
rang the bell and waited.

Speaker 51 (02:15:43):
The door was opened by a large, red.

Speaker 13 (02:15:45):
Faced woman, a woman I had never seen before. Yes,
who are you?

Speaker 51 (02:15:52):
What is it your business?

Speaker 13 (02:15:54):
Answer me?

Speaker 17 (02:15:54):
Tell me who you are.

Speaker 51 (02:15:56):
Wait, I am the housekeeper.

Speaker 13 (02:15:58):
Don't lie to me. We never had a Now what
are you doing here? Who hired you?

Speaker 26 (02:16:03):
Just a moment?

Speaker 52 (02:16:04):
It was doctor Ferris and his wife.

Speaker 13 (02:16:06):
They had you come here, didn't they.

Speaker 51 (02:16:07):
I don't see why I should answer your questions?

Speaker 13 (02:16:09):
Will you better answer them? If you don't not call
the police?

Speaker 51 (02:16:11):
The police, huh, that's a good idea. Why don't you
call them?

Speaker 13 (02:16:15):
I will. At first, you're going to tell me where
my husband is?

Speaker 51 (02:16:18):
Your husband? You must have the wrong address.

Speaker 13 (02:16:22):
Well, this is twenty nine Pine Street, isn't it.

Speaker 17 (02:16:25):
That's right?

Speaker 13 (02:16:25):
And mister Ralph Kramer lives here.

Speaker 51 (02:16:28):
Yes, mister Kramer lives here.

Speaker 13 (02:16:29):
Oh no, they'll believe me now. They'll see that he
isn't dead.

Speaker 51 (02:16:34):
Are you talking now?

Speaker 13 (02:16:35):
I can prove it was all a trick to keep
me away from him.

Speaker 51 (02:16:37):
Look, I don't know who you are.

Speaker 13 (02:16:39):
Well, I'll tell you who I am. I'm missus Ralph Kramer.
What that's right, Missus Kramer? Where's my husband?

Speaker 59 (02:16:48):
Maybe you'd better call the police, after all, the police
can settle a thing like this.

Speaker 13 (02:16:55):
Settle what are you trying to say?

Speaker 59 (02:16:58):
Just this, mister Kramer is being married tuesday. What he's
being married tuesday? Mister Kramer doesn't have a wife yet.

Speaker 13 (02:17:15):
I left the house and walked blindly down the street.
She said Ralph was being married tuesday. She said he
didn't have a wife. Well, if he didn't have a wife,
and who was I?

Speaker 51 (02:17:28):
Who was this person who wore black?

Speaker 13 (02:17:30):
This person with a different face, this person with my brain?
When I came to the corner of the block, a
car stop in front of me.

Speaker 27 (02:17:41):
Hey, lady, luck, where you're gone? Oh?

Speaker 4 (02:17:43):
What not?

Speaker 58 (02:17:44):
The rich and I would have hit?

Speaker 15 (02:17:47):
Are you all right?

Speaker 13 (02:17:49):
Yes, I'm all right.

Speaker 58 (02:17:51):
You look kind of funny like you were sick.

Speaker 13 (02:17:53):
I'm all right.

Speaker 15 (02:17:54):
Can I give you a lift?

Speaker 13 (02:17:55):
Well, I'm going downtown. Yes, to the went with buildings.

Speaker 58 (02:18:00):
Going right past? Thank you, Wentworth building.

Speaker 13 (02:18:04):
Huh, Yes, my husband's office is there.

Speaker 58 (02:18:07):
See what were you doing at twenty nine Pine.

Speaker 13 (02:18:11):
Street, twenty nine.

Speaker 9 (02:18:14):
How did you know I was there?

Speaker 58 (02:18:15):
I was watching him? What just keeping my eyes open?

Speaker 13 (02:18:19):
You were following me? You purposely try to run me over?

Speaker 58 (02:18:22):
Oh no, no, I just wanted to get you in
the door, in with.

Speaker 13 (02:18:25):
Them, with doctor Ferris and his wife.

Speaker 58 (02:18:28):
Ferris never heard of him.

Speaker 13 (02:18:30):
If you don't stop this car and let me out, off, scream.

Speaker 58 (02:18:32):
Go ahead, scream. You alongside?

Speaker 13 (02:18:33):
Is a policeman down at the next corner, he'll hear me.

Speaker 58 (02:18:35):
You don't need the cop on the corner. You're talking
to one right now? What plain clothes Homicide Division?

Speaker 15 (02:18:41):
Keith is a name?

Speaker 39 (02:18:43):
Are you a policeman?

Speaker 49 (02:18:44):
Really?

Speaker 10 (02:18:44):
Uh?

Speaker 41 (02:18:44):
Huh?

Speaker 15 (02:18:44):
Really?

Speaker 13 (02:18:45):
Well, well then why were you following me?

Speaker 58 (02:18:48):
Following certain people's my business? Your face looked kind of familiar.
Oh then you know me, think I do?

Speaker 25 (02:18:56):
Oh?

Speaker 13 (02:18:56):
Thank Heaven?

Speaker 71 (02:18:57):
You know who I am?

Speaker 13 (02:18:59):
Now I can prove that I live at twenty nine
Pine Street.

Speaker 58 (02:19:02):
You live at twenty nine Pine Who are you kidding?
That's Ralph Kramer's place.

Speaker 13 (02:19:08):
Yes, and I'm Claire Cramer's that I'm Ralph Kramer's wife.

Speaker 17 (02:19:12):
Try again, lady, and this time no line. This time
I want to hear the truth.

Speaker 13 (02:19:17):
But I am telling the truth. Why don't you believe me?

Speaker 1 (02:19:21):
Why?

Speaker 58 (02:19:23):
Because I happen to know where Claire Kramer is right now.

Speaker 3 (02:19:25):
I'm Clai.

Speaker 58 (02:19:26):
I saw her grave just the other day.

Speaker 13 (02:19:29):
Her grave, hmm.

Speaker 58 (02:19:32):
She's in the same cemetery as my brother. Claire's been
buried there for six years.

Speaker 27 (02:19:39):
Keith was too good.

Speaker 13 (02:19:41):
His remarks were too sure, as if he'd been hired
to say them. They were all in it together, trying
to frighten me, trying to keep me away from Ralph.
I was almost sure Keith wasn't a detective, but I
had to be positive. I had to catch him in
a lie. By the time I got out to the cemetery,

(02:20:03):
it was dark. I walked along the deserted path, flashing
my light as I passed the gravestones.

Speaker 58 (02:20:09):
Hello, I've been waiting here for you.

Speaker 13 (02:20:15):
I turned my flashlight on his face. It was Keith.
His lips were twisted in a sly smile.

Speaker 15 (02:20:22):
Is this what you were looking for?

Speaker 13 (02:20:25):
I sent the beam of light in the direction he pointed.
The shock ripped through me like a knife of fire.
What I saw wasn't believable.

Speaker 17 (02:20:35):
Well, there it is.

Speaker 58 (02:20:37):
You were satisfied now, lady.

Speaker 13 (02:20:40):
It was a tombstone, in them, and the letters carved
on it said Claire Kramer died May thirteenth, nineteen forty three.

Speaker 28 (02:21:01):
That Claire Kramer is kind of dumb, isn't She doesn't
know herself from a corpse in the graund still at that?
You know it's rugged to come face to face with
your own tombs down. Yeah, it's enough to kill you.
Claire's what you might call a real dead end ull.

(02:21:22):
And hey, talking about her face looks like somebody cut
up her nose. Despite her life, You think Claire's been
having a tough time, Do you well hold on to
your coffin handles and see how things can go from
bed to hers.

Speaker 52 (02:21:41):
I stayed at the tombstone, not believing what I saw.

Speaker 13 (02:21:46):
The words on it said I was dead, that I
died six years ago. I turned to the man who
called himself Detective Keith.

Speaker 58 (02:21:52):
You satisfied?

Speaker 15 (02:21:53):
Now?

Speaker 13 (02:21:53):
It can't be I'm alive. Can't you see that I'm alive.
I'm not buried there? That's someone else in that great.

Speaker 17 (02:22:00):
Going with me?

Speaker 4 (02:22:00):
Where are you taking me?

Speaker 58 (02:22:02):
I'll find out soon?

Speaker 13 (02:22:03):
And I but what do you want with me? What
have I done?

Speaker 58 (02:22:06):
Killed a man?

Speaker 12 (02:22:07):
Maybe?

Speaker 58 (02:22:08):
What kim look at this police circular founded my car
a minute after.

Speaker 15 (02:22:14):
I let you go.

Speaker 58 (02:22:15):
But I know I saw you someplace before. Now go ahead,
look at it.

Speaker 5 (02:22:20):
I wanted a murder, and.

Speaker 58 (02:22:23):
The picture there is yours or your twin sisters.

Speaker 13 (02:22:25):
That's not possible.

Speaker 58 (02:22:26):
Come on, let's go.

Speaker 13 (02:22:27):
Wait. Wait, can't you understand I'm not this woman in
the circular picture.

Speaker 17 (02:22:31):
I'm not her.

Speaker 13 (02:22:32):
I may look like.

Speaker 58 (02:22:36):
We've got her fingerprints on the circular, and all I
have to do to check is get yours. Let's go.

Speaker 72 (02:22:41):
Wait.

Speaker 13 (02:22:42):
From his grip stop, I started down the path between
the grave. One of his bullet burns from my left
arm with a terrible, tearing pain. In a moment, Keith
was standing over me.

Speaker 15 (02:22:56):
I wasn't smart.

Speaker 58 (02:22:58):
The next shot I would have killed, But come on,
get up.

Speaker 13 (02:23:01):
The flashlight was still in my right hand. When he
bent over to pull me up, I found it. He
tumbled sideways to the ground, unconscious. Then I got up
and ran. I ran as fast as I could.

Speaker 39 (02:23:19):
I took the side roads back to town.

Speaker 13 (02:23:22):
I ran and then I walked. I walked and walked,
holding my wounded on with the other losing blood all
the time. Then I saw the shingle outside of the huff,
doctor Bennett. By the time I staggered into his office,
I was in any fainting, but I was lucky that
doctor was alone.

Speaker 17 (02:23:41):
There you are, missus Scrammer, you'd be all right now.

Speaker 13 (02:23:44):
Thank you, Doctor Bennett.

Speaker 58 (02:23:46):
You still haven't told me how you happened to.

Speaker 15 (02:23:48):
Get that wound.

Speaker 13 (02:23:49):
Oh no, I didn't. Well, I was carrying a jar.

Speaker 58 (02:23:54):
No, Missus Scremmer, it wasn't a job. But the bullet
was still lodged in your arm.

Speaker 12 (02:24:00):
Who shot you?

Speaker 13 (02:24:03):
I don't know his name.

Speaker 15 (02:24:05):
I have to report this.

Speaker 24 (02:24:05):
You know.

Speaker 58 (02:24:07):
You better tell me the truth.

Speaker 36 (02:24:08):
I'm telling his truth.

Speaker 13 (02:24:09):
Doctor.

Speaker 17 (02:24:10):
Do you know anything about fingerprints a little?

Speaker 15 (02:24:13):
Why?

Speaker 13 (02:24:14):
Well, look look at the fingerprints on the circular and
now look at the ones in my hand.

Speaker 17 (02:24:25):
Would you say they're the same, Yes, I would, of course.

Speaker 39 (02:24:29):
I am no expert, neither of mine.

Speaker 13 (02:24:31):
But I can see now those are my fingerprints on
the circular, the same scar on the right thumb. Somebody's
done a perfect job of making me look like a murderer.

Speaker 15 (02:24:41):
Missus Kramer.

Speaker 17 (02:24:42):
I'm afraid I must report this to the police and.

Speaker 15 (02:24:44):
Let it go with that.

Speaker 13 (02:24:45):
I couldn't let him do it.

Speaker 52 (02:24:47):
He had his back to me.

Speaker 13 (02:24:48):
I lifted the paper weight from his desk. Just as
I raised my hand, he turned to the door. He
dropped to the floor, and I bent over him. As
I listened to his uneven breathing or rowing, thought drove
through my mind. Kill him, The thought thundered, you are
a murderer.

Speaker 4 (02:25:05):
Kill him, Kill him.

Speaker 13 (02:25:06):
I brought the paper weight.

Speaker 17 (02:25:07):
Up and I struck him again.

Speaker 13 (02:25:12):
I did now I really was what they made me,
a murderer. Wow.

Speaker 39 (02:25:21):
I had to hide it.

Speaker 13 (02:25:22):
I couldn't go to see my husband, Ralph until I
was sure i'd be safe. I went to a town
across the state line, and I hired a room in
a cheap hotel for three days. I only left the
room to eat. It was on the fourth day that
had happened. I had just come back from dinner and
closed the door hello. As he got up from the
chair and came toward me, I reached for the gun

(02:25:44):
in my purse.

Speaker 17 (02:25:45):
I'll need that gun clad. There isn't a cop within
a mile at this place.

Speaker 39 (02:25:50):
Who are you?

Speaker 17 (02:25:51):
I don't you remember little old Max. You know Claire.
I never thought i'd see you again. Then when I
read about it in the papers, I knew you had
come to this fleet, bag the hole up. Why did
you do it?

Speaker 13 (02:26:01):
I couldn't help myself. He was going to turn me
over to the police.

Speaker 17 (02:26:03):
Ah, you got me wrong. I'm not talking about the doctor.

Speaker 13 (02:26:07):
I mean Steve. Steve.

Speaker 17 (02:26:10):
Hey, what's the matter with you? You act like you're
off your rocker. I don't blame you if you're knocking
off Steve. That louse had it coming Steve. Yeah, he
had it coming to him.

Speaker 15 (02:26:20):
Good he.

Speaker 17 (02:26:22):
Hey, what are you looking at me that way for?

Speaker 13 (02:26:24):
I'm just trying to think.

Speaker 17 (02:26:26):
Well, you should have done some thinking before you're buried
Steve's body? Way did they found it two days later.

Speaker 39 (02:26:31):
I've got to get out of here.

Speaker 17 (02:26:32):
I'll be a chump.

Speaker 3 (02:26:33):
You'll get nacked.

Speaker 13 (02:26:34):
Take that chance. If you got a car, Yeah, sure,
I got a car.

Speaker 17 (02:26:37):
But you take advice from a little bit.

Speaker 13 (02:26:39):
You're my friend, really my friend. You'll help me.

Speaker 45 (02:26:41):
Well?

Speaker 17 (02:26:41):
I was always on your team. Clad name it. Where
do you want to go back.

Speaker 13 (02:26:44):
To Mason City. I've got to see my husband. We
drove back across the state line to Mason City to
my house on Pine Street. Max waited in the car.
The house was dark except for light in the study
I stood on the terrace outside the French doors, and
Ralph was sitting in the room alone, reading a book.

(02:27:08):
I opened the doors quietly. I tried not to frighten him.

Speaker 17 (02:27:14):
Ralph, Ralph, who's there?

Speaker 15 (02:27:20):
So dark? Here?

Speaker 13 (02:27:20):
I can it's clear.

Speaker 52 (02:27:22):
I've come back.

Speaker 17 (02:27:23):
Claire, I've come back.

Speaker 25 (02:27:25):
Ralph.

Speaker 41 (02:27:25):
Who are you?

Speaker 15 (02:27:26):
What are you doing here?

Speaker 17 (02:27:27):
Darling?

Speaker 13 (02:27:28):
Darling, don't you recognize?

Speaker 32 (02:27:29):
Get out of this house? Get out before I call it?

Speaker 13 (02:27:32):
I said, get out to make you understand I'm your wife.

Speaker 15 (02:27:35):
My wife is dead.

Speaker 13 (02:27:36):
Now, you mustn't believe what they've.

Speaker 36 (02:27:40):
Been telling you.

Speaker 13 (02:27:40):
They wanted you to think that I was dead. But
believe me, I am your wife. I'm clear.

Speaker 41 (02:27:44):
Claire is dead.

Speaker 17 (02:27:45):
I've never seen you before, and never in all my life.
Claire Cramer died six years ago.

Speaker 13 (02:27:50):
Oh, then you're in on it too, in it?

Speaker 58 (02:27:54):
What are you talking about?

Speaker 13 (02:27:55):
Tomorrow is tuesday, isn't it. The housekeeper told me, Hm,
that's the day you're being married.

Speaker 15 (02:28:02):
That's right? What about it?

Speaker 24 (02:28:03):
No?

Speaker 13 (02:28:03):
I know now I understand you never did love me.
Never really. Now I know who's to blame for all
those terrible things I've been through. Yo, put that phone down.

Speaker 17 (02:28:15):
Yeah, I never argue with a lady, especially when she
has a gun in her hand.

Speaker 13 (02:28:21):
It's all so funny, isn't it. You had it all planned,
didn't you.

Speaker 73 (02:28:27):
You wanted to marry someone else, You wanted me out
of the way. Well then why didn't you have him
killed me? It would have been better for me to
be dancing, to be like this. It would have been
wonderful to be really dead.

Speaker 15 (02:28:38):
I don't know what's in your mind.

Speaker 13 (02:28:40):
In my mind, I'll tell you. Thank me, Ralph, thank
me for being kinder than you were of me. Max
came into the house when he heard the shots. Carry
the body to the car. As we headed out of town,

(02:29:04):
a heavy rain started to fall. I had no destination
in mind, but an unseen force seemed to control my
hand on the wheel. It guided me around one turn
after another, until at last we came to a deserted
stretch along the railroad track. I stopped the car and
got out, and I took the jack handle from the

(02:29:26):
trunk and started to dig up the softer.

Speaker 15 (02:29:29):
Hey Claire, what do you think you're doing.

Speaker 13 (02:29:32):
There's no time for questions. Help me. I'm going to
bury the body. Are we've got to hide his body mass?

Speaker 15 (02:29:38):
What's not here?

Speaker 17 (02:29:39):
Don't you remember this place? Don't it look familiar to
here for me?

Speaker 25 (02:29:46):
Yes, I think it does, but I can't quite remember.

Speaker 17 (02:29:51):
I don't remember this place. You really blew your tongue.

Speaker 13 (02:29:53):
You stop talking like that and tell me what's wrong
with this place. Why can't I bury you here?

Speaker 17 (02:29:58):
Because if you remember you, oh, it was the same
place you buried Steve.

Speaker 13 (02:30:04):
If I could only remember, if I could only go
back beyond that day on the ship, then I wouldn't
know who I am, who I really am. He stands
there next to me and says, I buried a man
in that grave, a man.

Speaker 3 (02:30:21):
I m.

Speaker 13 (02:30:23):
Oh.

Speaker 73 (02:30:23):
If I could only remember.

Speaker 17 (02:30:24):
Come on, Claire, we gotta get out at you.

Speaker 15 (02:30:27):
Max.

Speaker 13 (02:30:27):
You've got to tell me about Steve. Why did I
kill Steve?

Speaker 17 (02:30:30):
You killed Steve just the way you knocked off that
other guy tonight. Maybe he had it coming to him too,
that's your business.

Speaker 13 (02:30:35):
But you didn't tell me why I killed Steve.

Speaker 17 (02:30:38):
Steve Denson was your husband?

Speaker 13 (02:30:39):
Oh, Max, When was the first time you saw him?

Speaker 17 (02:30:43):
The first time? Let's see you five years ago?

Speaker 49 (02:30:46):
And I.

Speaker 13 (02:30:48):
Looked as I looked now Sure you told me you.

Speaker 17 (02:30:51):
Just had a plastic done because your face was burned.
Only between you and me, little old Maxton fought for
your gag about the burn.

Speaker 13 (02:31:00):
That was true. My face was burned.

Speaker 15 (02:31:01):
Okay, so it was burned.

Speaker 13 (02:31:03):
Yes, Now, I remember the boat was one day out
of New York. Ralph and I were up on the
deck when the fire broke out. I lost him and
then something struck my head. I remember the name of
the boat too, the Tragamia.

Speaker 17 (02:31:16):
Hey, that's that ship that was sunk away.

Speaker 39 (02:31:18):
Back, yes, a way back map six years ago.

Speaker 17 (02:31:23):
And somebody must have picked you out of the water.

Speaker 13 (02:31:26):
The water there was a child body in that water.
Charld be on recognition. They listed me as one of
the dead.

Speaker 17 (02:31:33):
Oh, I guess you had what they call out amnesia business.

Speaker 13 (02:31:37):
Hu That day I woke up from that nap in
the deck chair. That's the day I stopped being Claire
Dnson and became Claire Kramer again.

Speaker 9 (02:31:46):
I was a murderss and I never knew it.

Speaker 13 (02:31:49):
Ralph thought I was dead, he really thought so, and
I killed me.

Speaker 17 (02:31:53):
Hey, Claire, the cops, come on, we got to get
out of here.

Speaker 13 (02:31:55):
I've already gotten out Max.

Speaker 17 (02:31:58):
I'm dead dead and must stop talking that crazy talk.

Speaker 23 (02:32:01):
Come on, before it's too late.

Speaker 13 (02:32:03):
It's already six years too late.

Speaker 17 (02:32:05):
Hey, you can't skip the cups by going over the tracks.

Speaker 15 (02:32:08):
Come on back, Claire and get in the car. Why
you can't get that Wait a train?

Speaker 17 (02:32:13):
What?

Speaker 13 (02:32:34):
Oh?

Speaker 28 (02:32:34):
The cups finally got Claire on those railroad ties dead
in her track.

Speaker 41 (02:32:42):
Now I shall have a grave she can call her own.

Speaker 28 (02:32:45):
You see what happens though, when you get amnesia, you
forget the people you leave around dead. Oh, by the way,
for you forgetful lives, there's tomorrow, or to tonight's untidy tail.
It's from the pain of that absent did philosopher scatter
bad brains? Always remember the quickest way to a man's

(02:33:07):
heart is through his chest with a bullet.

Speaker 23 (02:33:19):
Inner Sanctum was heard in the United States over CBS
the Columbia Broadcasting System, and has been rebroadcast for servicemen
and women overseas through the facilities of the United States
Armed Forces Radio Service, The Voice of Information and Education.

Speaker 74 (02:33:33):
H m hmmm mm hmmm, mm hmmm, hmmm, h m hmmm,
h m hmmm mm hmmmm.

Speaker 1 (02:33:55):
H My dear, I I know that things aren't quite

(02:34:38):
as they normally are, and that that can put you
off killed her a little bit. But well, I am
still the same entity you've always known. I'm just not
quite so trapped as I before. Or what's that? Oh no, no, no,

(02:35:05):
You're not to blame. In many ways, I'm the only
one to blame. I'm quite fond of you, really, but
I try not to be the possessive dead. I'm quite
fond of you, really, but I try not to be

(02:35:28):
the possessive dead.

Speaker 41 (02:35:37):
Out of the past.

Speaker 75 (02:35:38):
Phantoms of the world gone by speak again, the immortal tale,
the possessive dead.

Speaker 13 (02:35:55):
I know superstition dictates that it's bad luck for a
young man to see his ride the evening before his wedding. However,
Michael and I were two lonely people in a big
wintry city, and we were not at all addicted to
belief in superstition. We had known each other since we
were children, and I have loved Michael as long as

(02:36:16):
that he, on his part, claimed to have loved me
even longer. It was the warm kind of love, the
kind that grows on you and stays believing and never
wavery Yes, Michael and I did see each other the
day before we were to be married in fact, we
went shopping together. We entered one of the dusty little

(02:36:37):
shops Michael loved so much. It was warm in there,
musty and sort of adea like, oh.

Speaker 41 (02:36:48):
Oh, it's warm in here anyhow.

Speaker 13 (02:36:50):
But what a funny little place. So much stuff. I
never saw so many old things together in one place.
And look, mm look Michael the shop. He looks exactly
like a gnome.

Speaker 41 (02:37:03):
Ball has said.

Speaker 18 (02:37:03):
I have laid eyes on.

Speaker 17 (02:37:06):
Hey can I help you?

Speaker 13 (02:37:07):
Oh?

Speaker 41 (02:37:08):
Thank you?

Speaker 17 (02:37:08):
Just looking around anything in particular you'd like to find?

Speaker 41 (02:37:12):
Well, tell you the truth.

Speaker 76 (02:37:12):
I was looking for an odd piece, something unusual for
a paperweight.

Speaker 41 (02:37:17):
It's a little curiosity of some sort.

Speaker 17 (02:37:19):
Really, just look around, sair.

Speaker 45 (02:37:21):
Perhaps you'll find what you want.

Speaker 41 (02:37:22):
I think, Hey, there, that looks like just the thing.

Speaker 17 (02:37:27):
Oh oh no, no, I'm sure that wouldn't do.

Speaker 3 (02:37:30):
Oh why not?

Speaker 15 (02:37:30):
It's beautiful.

Speaker 41 (02:37:31):
It's the most beautifully model foot I've ever seen.

Speaker 17 (02:37:34):
It's not heavy enough for a paperweight, sir. And besides,
you wouldn't want to pay that much just for a nonymal.

Speaker 41 (02:37:40):
It can't be too expensive, especially if it's not heavy.

Speaker 17 (02:37:43):
Bronze is no, no, not bronze. Oh here, I'll take
it off the table there. It shouldn't be there anyway.

Speaker 13 (02:37:49):
Oh that's lovely. Must have been nears and perfume too.
Smell that sent Oh my god, seems almost real.

Speaker 41 (02:37:58):
Perhaps you'd like.

Speaker 17 (02:37:59):
One of these little plush god say, something Chinese or
a Mexican. They're very nut.

Speaker 41 (02:38:04):
Let me see the foot.

Speaker 17 (02:38:05):
It's fifty dollars.

Speaker 41 (02:38:08):
Fifty dollars, and don't be ridiculous, oh, Michael.

Speaker 13 (02:38:11):
Perhaps a man doesn't want to see it, but I
like it.

Speaker 41 (02:38:14):
I'll ever pay fifty dollars for it.

Speaker 17 (02:38:16):
Though, But that's the price there. Now you see you
don't really want it. Perhaps one of these glass globes
would do. Let me see that foot very well if
you insist, But don't drop it, sir, For Heaven's sake,
don't drop it?

Speaker 41 (02:38:30):
Oh why should I?

Speaker 13 (02:38:31):
Oh Michael, what happened?

Speaker 15 (02:38:34):
You dropped it? You dropped the foot?

Speaker 24 (02:38:37):
It?

Speaker 15 (02:38:39):
What?

Speaker 39 (02:38:39):
Michael?

Speaker 13 (02:38:40):
What's wrong here? I'll pick it up?

Speaker 41 (02:38:42):
Well, don't eleanor don't touch.

Speaker 17 (02:38:44):
It, Michael.

Speaker 13 (02:38:46):
It moved in my hand.

Speaker 76 (02:38:48):
It what it must have been our imaginations. It does
feel almost alive, though, doesn't it? O?

Speaker 13 (02:38:56):
Michael? I feel it too, That foot moved in my
hand as I pick it up.

Speaker 17 (02:39:00):
I'll send you that foot for one dollar, all right,
it's a barkin.

Speaker 13 (02:39:04):
No, Michael, please don't please Michael first.

Speaker 41 (02:39:06):
So tell me what this foot is made of.

Speaker 17 (02:39:08):
That's, sir, is the foot of the mummy of the
Princess Himantis. It was stolen from her tomb a thousand
years ago.

Speaker 76 (02:39:14):
I'm probably stolen from the museum ten days ago. Very well, sir,
here's your dollar.

Speaker 13 (02:39:20):
Michael.

Speaker 76 (02:39:23):
Sounds interesting, doesn't it, darling, to own a mummy's foot,
a paperweight that moves under its own power. Come on, darling,
don't you feel a little sorry for poor hermonthis losing a.

Speaker 17 (02:39:35):
Foot like her?

Speaker 13 (02:39:36):
No, Michael, no, there's something horrible about that foot, something
we shouldn't have anything to do with. And he was
so anxious to sell it to you after it.

Speaker 76 (02:39:46):
Come on, darling, don't let your imagination run away with you.
It couldn't really have moved.

Speaker 41 (02:39:53):
We just thought it, did you know? This will be
a good story for Harry to night over dinner. Where's
it he's taking us the grace.

Speaker 12 (02:40:00):
Don he?

Speaker 13 (02:40:08):
I hardly felt the bitter cold outside as we walked
away from the little shop. My only feeling was one
of apprehension. I could still remember the horrible sensation I
had as that little foot had squirmed in my hand.
No matter how Michael might try to joke about it,
I knew he was mystified too, and I knew that

(02:40:31):
some compulsion other than his own had made him take
the mummy's foot. It wasn't until after we had deposited
the thing safely on Michael's desk and were having dinner
in a brightly lighted restaurant, but I began to feel better.
Our host, Harry, was to be Michael's best man the
next day, and he was an old friend of both

(02:40:52):
of us. As Michael told Harry the story, the horror
of it seemed a little foolish, as such things will
when you're in gay public places.

Speaker 76 (02:41:01):
And the funny part of it was Harry that if
it hadn't been such a tiny foot, you might have
sworn to belong to the shopkeeper himself. He looked enough
like an Egyptian mummy to be one.

Speaker 17 (02:41:10):
Well, I'm surprised that I don't.

Speaker 41 (02:41:11):
I'll let you buy it at all.

Speaker 17 (02:41:13):
Doesn't sound like a very pleasant thing to have around.

Speaker 13 (02:41:15):
I couldn't talk about it it Harry.

Speaker 72 (02:41:17):
I believe he wasn't chatted and chatted by an Egyptian
and a mummy that Michael always was quite a don one.

Speaker 41 (02:41:24):
Who should I say, quite an anthony.

Speaker 72 (02:41:27):
Hey, there's a little bit of something I wrap up
and take home mummy or not.

Speaker 13 (02:41:33):
Don't wear Harry, See he's interested already. You're right, Harry,
I believe he is a dumb one.

Speaker 72 (02:41:41):
They right where she right over there in my lad
You can't say it very well on it. She's really something,
all dressed up in a long white dress and has
on an emerald bracelet and what eyes Oh yes, I
can see.

Speaker 13 (02:41:58):
In that mirror over there, But look how she's watching Michael. Harry,
I don't like her.

Speaker 17 (02:42:04):
Don't worry.

Speaker 15 (02:42:05):
I don't know. We'll get him too, that all to tomorrow.

Speaker 41 (02:42:07):
We have to hogtire.

Speaker 13 (02:42:08):
She's she's I feel as though i'd seen her before,
somewhere in a dream, somewhere something terrible, something that makes
me feel afraid of.

Speaker 3 (02:42:19):
Him night man.

Speaker 31 (02:42:20):
Not.

Speaker 41 (02:42:21):
You know, she must have passed right close to our
table when she came in.

Speaker 76 (02:42:23):
I can smell her perfume, you know, Jerry's well, it
smell sort of Egyptian, you know, And she looks Egyptian.

Speaker 13 (02:42:31):
Egyptian, Michael.

Speaker 36 (02:42:34):
That perfume.

Speaker 41 (02:42:35):
It's the same same as what, Darling.

Speaker 13 (02:42:37):
The same perfume I smelled on that mommy's foot this afternoon.

Speaker 76 (02:42:40):
What an imagination, Oh, darling, you look so serious. Don't
be so afraid of silly things like this. There's nothing wrong,
nothing at all.

Speaker 13 (02:42:48):
There is, Michael. I can feel something wrong in the
very air. What sort of thing I don't know, Michael,
something horrible and awful premonition?

Speaker 41 (02:42:55):
What can happen as long as we have each other, Darling?

Speaker 13 (02:42:58):
I don't know, Michael, nothing really, I suppose, nothing natural.
But what if there were ghosts, the spirits of a
data round. Suppose for some reason they wanted one of us.

Speaker 41 (02:43:09):
Eleanor Darling. Don't get so worked up.

Speaker 76 (02:43:11):
Those are the things to think about, especially on the
night before our wedding. Look here we are in a
brightly lighted restaurant, and you're talking about things that belong
to dark houses and cobwebby addicts, things that can't touch us.

Speaker 13 (02:43:23):
Here you're talking as though you do believe those things exist.

Speaker 41 (02:43:26):
Oh, look here, you two.

Speaker 72 (02:43:27):
I'm sorry if I brought up a delicate subject and
I mentioned that woman over there It.

Speaker 41 (02:43:31):
Isn't that at all, Harry.

Speaker 76 (02:43:32):
It's just that, well, Eleanor and I after this afternoon,
I guess we're both rather worked up.

Speaker 36 (02:43:38):
Michael, Michael, I'm really frightened.

Speaker 17 (02:43:41):
Woman.

Speaker 13 (02:43:42):
She keeps watching us so strangely.

Speaker 76 (02:43:44):
What if, Oh, my darling, let's forget about her, Let's
forget about everything but ourselves for the night.

Speaker 41 (02:43:50):
Just think tomorrow we'll be married.

Speaker 76 (02:43:51):
It will be the beginning of a new life, a
life together, and the carrying on of an old one too.

Speaker 13 (02:43:57):
I never forget, dearest, if anything should have me, I'll
always be there when you want me.

Speaker 77 (02:44:02):
I love you element always, Michael.

Speaker 13 (02:44:05):
You'll never have to call for me. I'll be there.

Speaker 41 (02:44:08):
I will too, Darling.

Speaker 76 (02:44:09):
Always, nothing can ever come between us and tear us apart, nothing,
I swear.

Speaker 13 (02:44:15):
Can you be so sure, Michael? Do you mean to
startle you so much? But just that I couldn't help
noticing that you had noticed me.

Speaker 72 (02:44:24):
Michael, I'd better done one, and I thought you were
that it's the lady with an emerald bracelet.

Speaker 51 (02:44:30):
Yes, it is Michael, as you call him, who attracts me.

Speaker 3 (02:44:32):
Here.

Speaker 41 (02:44:33):
I beg your pardon.

Speaker 13 (02:44:34):
You don't mind if I sit down?

Speaker 77 (02:44:35):
Do you look, yeah, that's better.

Speaker 40 (02:44:38):
You see, love is an a special study of mind.
And this love that you think you have now it's
very interesting to me.

Speaker 17 (02:44:45):
Yes, very interesting, Michael, I said, still, darling, don't leave now.

Speaker 9 (02:44:48):
Oh ma'am Mike, you guess like you people.

Speaker 40 (02:44:52):
I am an Egyptian, and being an Egyptian, my look
rather different, shall I say from yours?

Speaker 10 (02:44:58):
Uh?

Speaker 41 (02:44:59):
Nice difference, though, Madame.

Speaker 40 (02:45:01):
Mademoiselle, if you please, the women of my country have
great beauty in the eyes of your Western men.

Speaker 13 (02:45:07):
Yes, so you do think.

Speaker 41 (02:45:10):
Yourselves in love, very much in love.

Speaker 13 (02:45:12):
Well, who can say what love is unless they have
felt it through centuries.

Speaker 27 (02:45:17):
I know what love is.

Speaker 13 (02:45:19):
It's growing together, being a part of the one you love.
Why Michael and I have grown up together love each
other for years, fifteen years, at least fifteen years. Nothing?
What if it had lasted thirty centuries, that's ridiculous.

Speaker 40 (02:45:35):
Well, my little one, we shall see. There is a
love which has lasted that long. But almost almost it
is consummated. Perhaps tonight, tonight think of it, Michael, Michael,
and this little love of yours, fifteen years, it will
be no more.

Speaker 13 (02:45:56):
And as I have loved through thirty centuries. I we
can't talk of that here, can we?

Speaker 17 (02:46:02):
Michael?

Speaker 41 (02:46:03):
Why do you ask me that question?

Speaker 40 (02:46:04):
Because it detects you, you more than anyone else.

Speaker 51 (02:46:08):
As for you, eleanor you or anyone.

Speaker 13 (02:46:12):
Else can interfere Michael. Michael sends her away.

Speaker 40 (02:46:15):
No one can send me away. That would be like
trying to send the very air out of this room.

Speaker 17 (02:46:22):
Who are you?

Speaker 13 (02:46:24):
I'm a woman of Egypt. What is your name?

Speaker 31 (02:46:28):
Name?

Speaker 40 (02:46:29):
What is a name except to tag for the living?
My name is a month's A month is just a
name like any other. I'll leave you now, but I
will see you again a month.

Speaker 3 (02:46:44):
And what's wrong with that?

Speaker 13 (02:46:45):
That was the name of the princess the mummies who
foot Michael bought it.

Speaker 15 (02:46:51):
Must be?

Speaker 13 (02:46:52):
It seems though there's a dreadful net stretched around, just
coming closer and closer. Michael. Ever since you saw that foot,
you see you have done everything you could to put
yourself in his power. Why did you buy it?

Speaker 41 (02:47:03):
Why did you power in the mummies?

Speaker 13 (02:47:07):
She's waving back at us, she's waiting as though she
wants me to go away, and she's pointing at you, Michael.
No one else seems to say her at all.

Speaker 17 (02:47:17):
Forget about her.

Speaker 41 (02:47:18):
Emma, forget her. She's crazy.

Speaker 13 (02:47:21):
Look, Michael, Harry, Look, my.

Speaker 17 (02:47:25):
God, she's walking.

Speaker 13 (02:47:27):
She limps, almost as though one of her feet was missing.

(02:48:04):
Michael even tried to laugh at my noticing that horrible limp,
but I could see that he was wondering too. Perhaps
something distant, something dimly remembered, had begun to come into
his mind, and he was rejecting it forcibly. It was later,
much later, when I was in bed, but I knew
when Michael was in danger. I wanted to get up,

(02:48:26):
but I couldn't. I struggled and tried to force myself
out of bed, but I couldn't move a muscle. Finally,
after what seemed hours, it seemed as though I was
in the deepest sleep, but everything about me was very clear.
Perhaps I had got up after all, for it seemed
all at once that I was in Michael's room and she.

Speaker 9 (02:48:48):
Was there talking to him.

Speaker 13 (02:48:50):
His eyes were open, but he didn't seem afraid. He
seemed almost hypnotized. I stayed invisible, back in the shadows
centuries ago, Michael, I took the life of the woman
you loved so that you might be free to love me.

Speaker 3 (02:49:08):
Ay the daughter of the Pharaoh.

Speaker 13 (02:49:10):
Went on my knees to you.

Speaker 77 (02:49:11):
Then. Now now the.

Speaker 13 (02:49:14):
Secrets of the universe are opened to me, and it's
you who are Toby.

Speaker 41 (02:49:18):
Happen to me? I don't understand.

Speaker 51 (02:49:21):
The shop keeper knew the legend, and he feared it.

Speaker 40 (02:49:24):
He didn't know why, but he knew that in whose
hand the Mummy's foot moved to him?

Speaker 51 (02:49:28):
Must he sell it?

Speaker 41 (02:49:29):
But how could you come back and murdering?

Speaker 40 (02:49:32):
I was condemned, condemned to wandering eternity, scorned and barred
from the regions of rest. But in the centuries that
have passed, I've discovered the secret of returning. That if
some token, some real part of myself were left among
the living, I could.

Speaker 13 (02:49:50):
Return for it. I could come back, and the token
it had to carry with it some real essence, some true.

Speaker 39 (02:49:57):
Part of myself.

Speaker 40 (02:50:00):
Then, a thousand years ago, that foot was stolen, Honey,
I waited and waited for I knew that sometime that
would lead me to you.

Speaker 41 (02:50:11):
I'm not the same man. I'm not the man you loved.
I'm here now alive.

Speaker 13 (02:50:15):
You think that I've watched the progression of lives through
eternity with no purpose, No Michael you are the man.

Speaker 40 (02:50:24):
No, you don't remember. You have the same life, you
have only a different body. You have the same honest
and beautiful.

Speaker 25 (02:50:31):
Soul you had.

Speaker 13 (02:50:31):
Then it's your life, Michael, your life and your soul.
That's what I'll take with me. I couldn't hold you before,
but I can take you now.

Speaker 77 (02:50:43):
Come, Michael.

Speaker 51 (02:50:45):
I do not need to touch you now, but it's
better if you take my hand.

Speaker 13 (02:50:49):
You have a long journey to make.

Speaker 15 (02:50:51):
Goy.

Speaker 10 (02:50:52):
No.

Speaker 13 (02:50:53):
Oh.

Speaker 76 (02:50:54):
If I could only move, if I could get up,
if I could do something.

Speaker 17 (02:50:59):
What's holding me and.

Speaker 13 (02:51:00):
His long Michael's in the churry. If I must force you,
I must leave me alone.

Speaker 41 (02:51:05):
I won't come.

Speaker 13 (02:51:06):
I won't.

Speaker 17 (02:51:08):
I can move, I can move.

Speaker 13 (02:51:11):
What me what?

Speaker 27 (02:51:14):
I'm almost out of bed, I'm almost standing.

Speaker 51 (02:51:16):
You've moved only a little with all your struggle.

Speaker 78 (02:51:19):
Michael.

Speaker 13 (02:51:20):
Here, I'll only touch you again, and you will be better.

Speaker 77 (02:51:23):
No, No, Hi, I'm so dizzy, so we yeah, you'll
come now, watch Michael.

Speaker 41 (02:51:38):
I can do nothing else.

Speaker 12 (02:51:41):
Yes, hor come.

Speaker 13 (02:51:44):
As Michael fell to the floor beside his bed, something
caught my eye. A little shiny thing hung on a
chain around his neck. It was a silver charm I'd
given him engraved.

Speaker 77 (02:51:55):
With my name.

Speaker 13 (02:51:56):
But he loved it and wore it always. Seeing it
there somehow gave me hope.

Speaker 6 (02:52:01):
I had no way to get it.

Speaker 13 (02:52:03):
I wanted to, for it might be, it might be
the means of his return. But how could I I
didn't dare even show myself. Suddenly we seem to be
in great darkness, speeding, speeding through nothings.

Speaker 10 (02:52:19):
Where are we?

Speaker 79 (02:52:20):
We're on our journey, Michael, the passing through the absolute,
the period between time and space. It's the only channel
to which a spirit can return to the lands of
the living in his own body.

Speaker 80 (02:52:31):
It's horrible, horrible, through the liquid paths and the parts
that were without light, past the half formed shapes of
those already dead, those a yet unborn.

Speaker 13 (02:52:43):
See, we're here, already where.

Speaker 17 (02:52:46):
This is a lonely place, cold hills and deserts all
around us.

Speaker 13 (02:52:51):
Is the place where my body was buried. Deep inside
this mountain, Michael.

Speaker 81 (02:52:57):
See, we're inside, deep down in the earth, sealed in
with a great stone.

Speaker 13 (02:53:06):
This is our home, Michael, where we'll be through eternity.

Speaker 41 (02:53:12):
Never let me out, let me out.

Speaker 13 (02:53:15):
Shouting will do you no good, Michael. Here is where
no man ever comes into these tombs. In the thousands
of years, we will be here, Michael. Your span of
life will pass again, but we'll always be together.

Speaker 3 (02:53:30):
I will get out, Michael.

Speaker 40 (02:53:32):
You've left nothing behind in the world of the living
that is strong enough enough a part of you to
take you back.

Speaker 41 (02:53:37):
Eleanor is strong enough.

Speaker 15 (02:53:41):
She's a part of me.

Speaker 13 (02:53:41):
Your love for elm is strong Michael.

Speaker 41 (02:53:43):
Yes, but it's not enough.

Speaker 40 (02:53:46):
For love or hate can only take your spirit back
to the land of the living or spirit alone without
your body. And would a disembodied spirit be any comfort
to Eleanor.

Speaker 41 (02:53:56):
But Eleanor is a part of me.

Speaker 40 (02:53:59):
For your body, you would have to oblect a material
possession behind me. A material thing is needed to take
back your material body. Some material thing that represents your
love would be strong enough.

Speaker 41 (02:54:12):
But I must have left something, something.

Speaker 13 (02:54:14):
One thing that possesses all those requirements.

Speaker 25 (02:54:17):
Michael.

Speaker 51 (02:54:18):
Is that charm you're wearing around your neck?

Speaker 41 (02:54:21):
Wi charm? Yes, that's part of me and part of
element tool that will be strong enough.

Speaker 77 (02:54:27):
But you see, Michael, that's here with us.

Speaker 41 (02:54:30):
I'll throw it. I'll throw it into the darkness there
at the far end of this place.

Speaker 76 (02:54:35):
Maybe it'll go back, Maybe it'll find its way back
to her.

Speaker 17 (02:54:43):
Michael.

Speaker 13 (02:54:43):
No, nothing can find its way back.

Speaker 76 (02:54:47):
It must be taken your foot that's still there. We
can go back through that you left that behind me.

Speaker 13 (02:54:56):
I will go back to Michael. Hellone, yes, I'll make
one more journey back.

Speaker 25 (02:55:01):
Michael.

Speaker 13 (02:55:03):
Men, we'll be here together, forever.

Speaker 51 (02:55:07):
Here here to take the place of that which you
have thrown away.

Speaker 13 (02:55:12):
Take this ornament.

Speaker 5 (02:55:14):
It will remind you of me while I'm away.

Speaker 15 (02:55:18):
Come back.

Speaker 77 (02:55:19):
I'm going with you.

Speaker 13 (02:55:21):
Let me out, Let me out, Let me out. But
her months had gone already. She had disappeared into the shadows,
and Michael, still clutching a little green plaster ornament she
had given him, beat helplessly at the stone walls of
his ancient prison tomb and shouted vainly for help. I
kept watching a little silver charm he had thrown into

(02:55:43):
the darkness, and still I struggled against nightmare force us
to get it. And suddenly I knew I'd won. I
could reach for it, I could feel if I had
it at last in my possession.

Speaker 51 (02:55:56):
After that, everything was blackness.

Speaker 13 (02:56:00):
A flash of light that was the morning sun brought
me back to consciousness. My relief was tremendous. I felt
that I'd thrown off a great weight. When I found
myself safely in bed, there was someone knocking on my door.

Speaker 75 (02:56:16):
Oh yes, who is it, mister Day you're superintendent.

Speaker 82 (02:56:21):
You'll ask me to call you.

Speaker 27 (02:56:22):
It's late already, but oh where am I? And you
must be up? It's your wedding day, you know, my.

Speaker 13 (02:56:31):
Wedding day, all right, mister Bays, Thank you? What did it?

Speaker 12 (02:56:38):
Did?

Speaker 23 (02:56:38):
Anything wrong?

Speaker 13 (02:56:40):
Was there there in my hand? I felt at first,
and was afraid to look at it. When I looked
a worse Yes, the silver John and what happened with Helena?

Speaker 24 (02:56:55):
Can I help?

Speaker 13 (02:56:56):
And it hadn't been a dream after all. Somehow, oh
by some unaccountable mesmeric force, I must have left my
bed and gone through all those horrible experiences. But they
weren't real. They were things of another world. And Michael,
what about Michael. I kept the charm in my hand
as I dressed and ran out into the street. As

(02:57:18):
I ran through the crowds, I kept murmuring to myself,
almost as though it was a prayer. Let him be there,
Please let him be there. Even as fast as I ran,
someone caught up with me. A hand was placed on
my arm and held me back. Don't try to stop me.

Speaker 17 (02:57:34):
Don't you even know me?

Speaker 13 (02:57:35):
Harry, Thank Heaven, it's you. Don't come quickly. We flew
across town in a taxi. I've been too excited to
think of that before. Everything was still too weird. At
last we were at Michael's, but when we reached his door,
he didn't answer.

Speaker 17 (02:57:52):
By Michael, he isn't there.

Speaker 13 (02:57:57):
Oh, Harry, he isn't there.

Speaker 17 (02:57:58):
He isn't back. In a minute, open the.

Speaker 13 (02:58:01):
Door, Harry, go in quickly. We may be too late.

Speaker 41 (02:58:06):
Boy, he's really sound asleep.

Speaker 17 (02:58:09):
Look he even fell out of bed and didn't wake up.

Speaker 41 (02:58:13):
Oh he's all right, just asleep, I.

Speaker 13 (02:58:15):
Hope, so Michael, Michael, Oh help me, Harry, help me.
I brought him back this father. We have to wake
him up. We have to. If we don't know, he
may never wake up again.

Speaker 17 (02:58:28):
Come on, old man, wake up. Hey, shake him that way.

Speaker 13 (02:58:31):
Harry here, let me, Michael, Michael, my doing, come back,
come back. Let me put this in your hands, or
you'll know it's really here. It's charm, Michael, Oh charm.
See I've brought it with me. Hey, the foot, give
me the foot? Is it still on the desk air.

Speaker 32 (02:58:50):
Unless it's walked off by itself.

Speaker 41 (02:58:51):
Don't say that, Harry on the desk, did you say
I don't say that?

Speaker 13 (02:58:55):
And she did get it? Michael, Michael, like.

Speaker 41 (02:59:04):
Eleanor it is you.

Speaker 13 (02:59:06):
Oh, my darling, you've come back. We're safe.

Speaker 51 (02:59:10):
What's gone.

Speaker 13 (02:59:12):
There in your hand? It's a little green plaster ornament.

Speaker 41 (02:59:16):
But those things, how can such things be?

Speaker 13 (02:59:18):
You'll never understand, Michael, never how a horse can be
so powerful, so horrible. It's better not to understand.

Speaker 15 (02:59:25):
Eleanor.

Speaker 41 (02:59:25):
She can come back, her body can come back. The
ornament that might be her power? Now, what are you
going to do.

Speaker 13 (02:59:31):
I'll crush it, I'll destroy it, I'll make powder of it.
She'll never come back through this. It's the end of
her passport to the land of the living.

Speaker 76 (02:59:40):
What's that look there on the floor? The powder from
that ornament, it's formed itself into the print of a
tiny foot.

Speaker 75 (02:59:57):
From the time one hated to the past, you have
brought the story repossessive dead.

Speaker 1 (03:00:05):
Dog all of her, My dear, I know it's getting

(03:00:31):
very late, but my new found selfdom, But please understand
that I still enjoy very much our time together, our
friendship means so much. All right, maybe I've buried the
lead by emphasizing it so intensely, but I just hate

(03:00:54):
to see that fear in your eyes. Well, not the
time that you usually have when we spend this time together. No,
it's a cold fear like the Dead.

Speaker 15 (03:01:13):
Hand, Murder.

Speaker 19 (03:01:19):
A midnight.

Speaker 45 (03:01:24):
Wait, come back here.

Speaker 51 (03:01:25):
Wait, nothing says you're not crazy, and oh no, I'm.

Speaker 83 (03:01:32):
Sorry, very sorry, but I had to have it. I'm
going to have it, and once you're dead, you'll never
miss it.

Speaker 84 (03:01:45):
Midnight, the witching hour, when the night is darkest, our
fears the strongest, and our strength at its lowest. M Midnight,
when the graves gape open and death strikes.

Speaker 58 (03:02:02):
How you'll learn the answer in just a minute.

Speaker 19 (03:02:07):
In The Dead Hand.

Speaker 84 (03:02:17):
And Now Murder at Midnight, tales of terror and retribution
by one of radio's best known mystery writers, Robert Newman,
its title The Dead Hand. A small studio cottage on

(03:02:50):
doctor Martin Trent's estate. Seated at the piano alone in
the gathering darkness, is Roger Blaine, the famous pianist, playing
as only he can play.

Speaker 17 (03:03:18):
Can't you hear me?

Speaker 15 (03:03:19):
Lorna?

Speaker 62 (03:03:21):
You must hear me, You must come here now to me.
I'm calling you, Lana, calling to you in a way
you could never resist, with my music, making your heart
beat faster, your breath come quicker.

Speaker 9 (03:03:41):
Clona, Hello, Roger, Am I disturbing you?

Speaker 15 (03:03:46):
Always?

Speaker 9 (03:03:46):
Lona Marks at the hospital and I heard you play.

Speaker 45 (03:03:50):
That's not why you came, Lona.

Speaker 83 (03:03:51):
You came because I called you, because you promised you'd
come and give me your.

Speaker 71 (03:03:55):
Answer what we talked about last night, my going away
with you, Roger, I must have been mad.

Speaker 9 (03:04:01):
I don't know what got into.

Speaker 45 (03:04:02):
Me, don't you, Lorna?

Speaker 83 (03:04:05):
This is what I got into you, my music, telling
you things I never could take you any words.

Speaker 9 (03:04:11):
Roger, stop, I can't think when you play like that.
I can't believe him. He's my husband. I love him,
respecting you.

Speaker 45 (03:04:19):
Can you love a surgical instrument?

Speaker 15 (03:04:21):
Can you compare what.

Speaker 83 (03:04:22):
You feel towards him with what you feel now this minute?

Speaker 9 (03:04:31):
No, it is different, Roger. How can we is your friend?

Speaker 13 (03:04:37):
It was he that brought you.

Speaker 9 (03:04:38):
Here, gave you the cut hand.

Speaker 85 (03:04:39):
Haven't I given him anything? Music like this, music such
as no one has ever heard before. Lorna listened to
me here, That's what I'm saying here.

Speaker 41 (03:04:53):
I love you.

Speaker 17 (03:04:55):
I need you.

Speaker 83 (03:04:56):
It was you who helped me find depths within myself
I never knew existed.

Speaker 15 (03:05:00):
I have to come away with me.

Speaker 45 (03:05:01):
You owe it to me, to yourself, to the world.

Speaker 13 (03:05:03):
Roger.

Speaker 17 (03:05:05):
You know you want to, and you're going to Roger,
I tell you.

Speaker 45 (03:05:10):
Are all right, Lona.

Speaker 9 (03:05:19):
We can talk to Martin. Want to get home tonight?
Tell him, I think, Cola.

Speaker 17 (03:05:22):
There be no talking, no explaining. My cars outside and
we're leaving right now.

Speaker 83 (03:05:31):
Music, my music was still with me as we drove
out through the gates down the highway, pulsing, throbbing.

Speaker 45 (03:05:38):
Yes, I could hear it.

Speaker 17 (03:05:39):
But good, Lorna.

Speaker 83 (03:05:40):
I glanced at her, sitting there beside.

Speaker 58 (03:05:42):
Me, happy dearest.

Speaker 45 (03:05:45):
What I don't know, Roger, you don't know. Don't you
realize what this means?

Speaker 15 (03:05:51):
Larna?

Speaker 83 (03:05:51):
I'm playing better than I ever played before, and this
is only the beginning. After my New York concert South America.

Speaker 9 (03:05:57):
Then you're Roger, are you sure you love me me
as a person?

Speaker 15 (03:06:02):
Oh?

Speaker 21 (03:06:02):
What do you mean, Laura?

Speaker 71 (03:06:03):
I know you've said you do, But whenever you've talked
about it, Roger, about us, you've talked in terms of
your music.

Speaker 9 (03:06:10):
Roger, are you sure that's not.

Speaker 17 (03:06:12):
What you love.

Speaker 45 (03:06:13):
Of course, I'm sure.

Speaker 83 (03:06:15):
If I didn't have my music, if I couldn't play,
I don't think I could live you. You who lifted
me to heights I never dreamed of, technically, emotionally.

Speaker 9 (03:06:26):
Roger, stop the car, turn around, take me back, Take
me back.

Speaker 45 (03:06:30):
I don't understand I do.

Speaker 71 (03:06:32):
For the first time, with Martin away so much, I
was lonely, flattered by your attention, and your music was
like a drug keeping me from thinking. But now I
can think, and I know you don't love me and
I don't love you, So please, Roger, take me back.

Speaker 9 (03:06:47):
No, but Roger, can't you see this whole thing was
a mistake.

Speaker 17 (03:06:52):
I had a mistake, and I won't take you back.

Speaker 71 (03:06:54):
Well, I'm going back, whether you take me or not,
and if you won't stop the car.

Speaker 83 (03:07:07):
When I opened my eyes, I was in a bare
white room in a hospital, standing next to the.

Speaker 45 (03:07:13):
Bed and Lorna and Martin. Hello, Roger, how are you feeling.

Speaker 15 (03:07:20):
I don't know what happened.

Speaker 86 (03:07:24):
You were out driving with Lorna. The car got out
of control and you had a smash up. They rushed
you here to the hospital. And why you've been here
for two days smash up.

Speaker 3 (03:07:33):
Yes, I remember.

Speaker 15 (03:07:35):
Are you all right, Laurna?

Speaker 9 (03:07:36):
Yes, Roger, I was shaken up.

Speaker 83 (03:07:40):
My hand hurts, especially the fingers. Nothing happened to her digit, Martin.
I've got a concert in a few weeks, you know, Roger.

Speaker 9 (03:07:51):
Don't stop it.

Speaker 15 (03:07:53):
What Why are you looking at me like that?

Speaker 45 (03:07:57):
Oh, don't worry about it, Roger. No, but I've got
to know. I've got to see Roger.

Speaker 9 (03:08:03):
Please, it's cool.

Speaker 45 (03:08:12):
God, I hand my left hand, Martin. What did you
do to me?

Speaker 17 (03:08:25):
Roger?

Speaker 86 (03:08:25):
I think you know how I feel about you, about
your music. You've got to believe me when I tell
you there was nothing I could do about it.

Speaker 15 (03:08:33):
Nothing.

Speaker 31 (03:08:34):
It was your hand or your life.

Speaker 45 (03:08:36):
My life, and what is my life without my music?

Speaker 15 (03:08:39):
There's nothing worse than nothing, a living death.

Speaker 45 (03:08:44):
Why didn't you let me die?

Speaker 9 (03:08:45):
I don't say that, Roger. We'll do anything we can.
There must be some something.

Speaker 15 (03:08:49):
There's just one thing.

Speaker 45 (03:08:50):
You've got to get me another hand.

Speaker 15 (03:08:52):
We will, Roger.

Speaker 86 (03:08:53):
There have been some wonderful developments in prospectices without.

Speaker 17 (03:08:56):
I don't mean an artificial hand, I mean a real hand, Roger.

Speaker 45 (03:09:00):
You man, No, no, I'm not.

Speaker 15 (03:09:02):
You took my hand and you'll get me another one.

Speaker 32 (03:09:04):
We'll talk about at some other time.

Speaker 17 (03:09:06):
You think I'll forget about it, don't you hold?

Speaker 21 (03:09:08):
I won't.

Speaker 17 (03:09:09):
I say, I'm going to have another hand, and I
will have one. And what's more, you're going to help
me get it.

Speaker 3 (03:09:14):
For you're here, You're going to help me.

Speaker 83 (03:09:24):
I was able to get up and around a few
days later. I didn't talk to anyone if I could
help it, because somehow I couldn't ever look at their faces,
only their hands, big hands and little ones, long fingered
ones and stubby ones. Yes, they each had two hands,
and I, I to my piano, meant more than life

(03:09:46):
had only one. Then, sitting alone one evening, I met hawk.
I looked up and there he was a small, slight,
sharp featured man. Hello, nice emen, Yes I suppose it is.

Speaker 30 (03:10:01):
Hey, you mine?

Speaker 87 (03:10:02):
If I sit down for a couple of minutes. No,
I wasn't usually busting on anybody except it. Well, I'm
getting out of here to mine. I feel pretty good
about it.

Speaker 21 (03:10:11):
Oh what was wrong with you?

Speaker 17 (03:10:14):
Bad heart?

Speaker 87 (03:10:15):
You're gonna have to take it easy from now on.
It's gonna make it kind of tough in some ways.
But you don't happen to have a cigarette on you?

Speaker 15 (03:10:23):
Do you?

Speaker 6 (03:10:24):
Mm?

Speaker 15 (03:10:25):
Or yes, I do have?

Speaker 45 (03:10:27):
It's there at least I did have sol cigarette case
cats Si, fine?

Speaker 15 (03:10:36):
Is it?

Speaker 3 (03:10:37):
What?

Speaker 15 (03:10:38):
Oh? Yeah? Where did you find it in your pocket?

Speaker 45 (03:10:43):
You mean you took it?

Speaker 17 (03:10:45):
My name is Harris, Joe Harris usually called me the hook.

Speaker 31 (03:10:49):
This is my racket.

Speaker 87 (03:10:50):
Heredium was until like your pickpocket, one of the best
of the business. But now with my ticket going bad,
I guess I'll have to lay off, except like now
for a gag.

Speaker 15 (03:11:00):
He didn't mind?

Speaker 45 (03:11:01):
Why, certainly not. I'm very impressed.

Speaker 83 (03:11:06):
As a matter of fact, Do you mind if I
look at your hands?

Speaker 4 (03:11:10):
Look at what?

Speaker 45 (03:11:11):
For beautiful? It's beautiful a pair of hands as I've
ever seen.

Speaker 83 (03:11:19):
It occurs to me that you you say that you
don't know what you're going to do when you leave
the hospital here. Well, I just hadn't thought about it much.
Why now I've got a proposition that might just might
possibly interest you, no kidding? Why Well, I'd rather not
discussed with your hearing now. But I expect to believing
here myself on Friday. If you'd like to come and
see me sometime, ippen you say where and when? Well,
I've been staying in a little cottage on the doctor

(03:11:40):
Martin Trance estate. I'll probably be going back there, how
about Saturday night, late around eleven thirty?

Speaker 17 (03:11:46):
Fine, okay with me?

Speaker 45 (03:11:47):
Then it's a date. I left him there, hurried back
to my room. I wanted to be alone. I had
to be alone, for I was afraid what was on
my mind might show in my face. It certainly was
a date.

Speaker 15 (03:12:03):
A date with death.

Speaker 84 (03:12:09):
A man obsessed, half mad and his unsuspecting victim. Will
both of them still be alive to hear it when
the clock strikes twelve for.

Speaker 19 (03:12:22):
Murder at midnight, and.

Speaker 84 (03:12:38):
Now here is Roger Blaine to continue murder at midnight.

Speaker 83 (03:12:48):
I did leave the hospital on Friday, went back to
the little studio cottage. By Saturday night, my arrangements were completed.
They weren't very complicated. I very cleared Aloner and Martin
that I wanted to be alone, and I picked up
a the iron pipe.

Speaker 45 (03:13:02):
The pipe I hid inside the piano.

Speaker 17 (03:13:03):
When I heard footsteps coming down the path.

Speaker 19 (03:13:05):
There was a knock on the door.

Speaker 17 (03:13:08):
Come in. I not too late, am I? No, you're
not too late.

Speaker 87 (03:13:14):
A pretty nice place you got here, Yes, it is
quite nice said down. Okay, Now once is here proposition
you want to talk to me about.

Speaker 45 (03:13:24):
It's a very simple one. How would you like to
make ten thousand dollars?

Speaker 41 (03:13:28):
What do I have to do?

Speaker 21 (03:13:30):
You don't have to do anything.

Speaker 45 (03:13:32):
Just sell me something you're left hand?

Speaker 15 (03:13:36):
Right?

Speaker 17 (03:13:38):
Hey, ye're nice?

Speaker 45 (03:13:39):
No, I'm serious.

Speaker 4 (03:13:41):
I'll get the money right here in cash.

Speaker 17 (03:13:43):
I don't get it.

Speaker 83 (03:13:45):
I just don't understand it. Look, I'm a musician. I'm
a pianist, or I was until I lost my hand.
If I can't go on playing, then life doesn't mean
anything to me, my.

Speaker 4 (03:13:56):
Own life or anyone else's.

Speaker 45 (03:13:58):
But you, how important is your hand to you?

Speaker 15 (03:14:00):
Now?

Speaker 83 (03:14:01):
An artificial one will do almost as well, and you
can live for quite a while on ten dollars?

Speaker 4 (03:14:08):
You mean you really thought i'd sell you my hand?

Speaker 32 (03:14:11):
Let you cut it off.

Speaker 4 (03:14:13):
I'm getting out of here.

Speaker 3 (03:14:14):
Quite nothing.

Speaker 15 (03:14:15):
I said you were nuts, but.

Speaker 27 (03:14:16):
I didn't really think.

Speaker 5 (03:14:18):
What are you gonna do with that?

Speaker 10 (03:14:20):
Well?

Speaker 17 (03:14:21):
No, don't.

Speaker 10 (03:14:21):
You can't.

Speaker 31 (03:14:26):
Some way, So I'll get you for this.

Speaker 45 (03:14:30):
I swear, I'm sorry, very sorry.

Speaker 15 (03:14:35):
Would I have to have it?

Speaker 88 (03:14:43):
I rather not going to What happened after that? I
got rid of the body. Then I went to see Martin.

Speaker 32 (03:14:56):
You don't look well, Roger, anything the matter.

Speaker 83 (03:14:58):
No, I just came to see you about promise, my
promise or you're dead, whichever you choose to call it.
I told you I wanted another hand, that I was
going to get another hand, and that you were going
to help me.

Speaker 21 (03:15:08):
Well, now you can help me.

Speaker 45 (03:15:09):
What do you mean looking here?

Speaker 17 (03:15:12):
Miss Peppy?

Speaker 15 (03:15:14):
See?

Speaker 45 (03:15:15):
Good lord, where did you get?

Speaker 83 (03:15:18):
This might be better if you didn't ask too many questions.
I'm fighting for my life. For more than my life,
you took my hand away from me. Well, now you
can give me this.

Speaker 86 (03:15:27):
You mean you honestly seriously think that I can perform
an operation of this sort do it graft, and that
after I'm finished, you'll be able to use the hand.

Speaker 3 (03:15:36):
Why not?

Speaker 45 (03:15:37):
Operations of this sort have been done, haven't they with.

Speaker 86 (03:15:40):
Other parts of the body, the eye, the cornea, not
the eye, And some nerve grafting has been done. But this, look, Roger,
I know what a shock this whole thing has been to.
You know it better than you. You're not a well man.

Speaker 18 (03:15:55):
A well man.

Speaker 83 (03:15:56):
I'm only half alive, and I'd rather be dead go
on living this way.

Speaker 45 (03:16:01):
But if I do die. I won't die alone.

Speaker 15 (03:16:05):
That's why I brought this along.

Speaker 45 (03:16:06):
Roger got quick, easy, painless.

Speaker 3 (03:16:10):
If you won't do what I want.

Speaker 45 (03:16:12):
You to die and so its long, both of you
along with me. You don't give me very much choice. No,
all right, you in.

Speaker 15 (03:16:25):
Let me in the hospital.

Speaker 83 (03:16:33):
Even before I became fully conscious, before I opened my eyes,
I knew, knew that it had been done, that it
wasn't his hand anymore, but mine.

Speaker 4 (03:16:43):
Still is something wrong.

Speaker 83 (03:16:45):
I couldn't analyze what it was at first, but it
was there a feeling that something wasn't quite right.

Speaker 45 (03:16:53):
That perhaps it wasn't entirely my hand. I sat up.

Speaker 83 (03:17:01):
The hand was a massive bandages, stiffened with splints, and inside.

Speaker 17 (03:17:06):
The bandage, careful, Roger, don't touch them.

Speaker 45 (03:17:08):
Pot Oh, Martin, I didn't see you.

Speaker 32 (03:17:12):
I've been here with you ever since last night.

Speaker 18 (03:17:15):
Last night, I.

Speaker 83 (03:17:16):
Mean, I've been out that long twenty four hours.

Speaker 86 (03:17:20):
It was very important that you keep quiet. You've been
under sedation. Oh oh yes, of course this isn't the hospital.

Speaker 49 (03:17:29):
No.

Speaker 32 (03:17:29):
I brought you home with me, back to the house.

Speaker 45 (03:17:32):
I thought it would be best for several reasons.

Speaker 83 (03:17:34):
That's very smart, Martin. We don't want any questions to it.
Not yet you did do it, didn't you? But oh
oh oh, yes, I knew you would. He could, And
it's going to work. It is working on you can
feel it.

Speaker 32 (03:17:50):
Please, Roger.

Speaker 31 (03:17:51):
You must be careful with that bandage. You can't touch it,
move it, disturb it in any way.

Speaker 15 (03:17:56):
But I don't have to.

Speaker 39 (03:17:57):
I tell you.

Speaker 45 (03:17:58):
I can feel the fingers moving even inside this. And
it's another week or so. You'll see, Yes, we'll see.
Got a cigarette button, of course.

Speaker 15 (03:18:09):
I have it right.

Speaker 86 (03:18:12):
It's funny, what a cigarette case. It was right here
in my breast pocket. I must have left it downstairs
at the hospital.

Speaker 21 (03:18:20):
It doesn't matter.

Speaker 45 (03:18:21):
I can do. But button, yes, I think, ye, yes, yeah.
Here it is under my pillow. What how did it
get there?

Speaker 27 (03:18:37):
I don't know.

Speaker 78 (03:18:39):
It must have fallen out when you bend over. But no,
why are you looking like that? Because I think I
know how it did get under my pillow?

Speaker 12 (03:18:52):
What do you mean?

Speaker 45 (03:18:54):
When fingers learned something special skill, they.

Speaker 83 (03:18:58):
Don't forget it ever, might never have even when I'm
not thinking of what I'm doing, to go on playing
by themselves.

Speaker 45 (03:19:05):
These fingers here they haven't forgotten either. Do you understand
I'm afraid.

Speaker 89 (03:19:10):
I'm awfully tired all of a sudden, Martin, would you
mind no, Roger, I'd like you to get as much
rest as possible as a friend of mine coming here
tomorrow to see you.

Speaker 45 (03:19:22):
Now the doctor's fine might not see you in the morning.

Speaker 83 (03:19:29):
Yes, I was tired, but that wasn't why I asked
Martin to go, because I wanted to be alone. Because
I had to be alone, because I knew now what
it was that I'd only sensed before the hand Hook's
hand had a will of its own. It had picked
Martin's pocket without my even being aware of it. I

(03:19:49):
lay there alone in the darkness after Martin, when not
touching the bandages, perplexing the fingers, forcing them to obey
my will.

Speaker 30 (03:19:58):
I had to do that. I knew I had to do.

Speaker 19 (03:20:00):
I suspected what.

Speaker 45 (03:20:01):
Might happen, and what did happen proved that I was right.

Speaker 83 (03:20:05):
I fell asleep finally, And while I was asleep, I dreamed.
I dreamed I was walking down a dark, labyrinthine corridor
somewhere under the earth.

Speaker 15 (03:20:17):
Then a little closer, Ji, huh, just a little closer.

Speaker 29 (03:20:22):
Who's there?

Speaker 15 (03:20:24):
Who's there?

Speaker 2 (03:20:25):
Just me waiting for you?

Speaker 17 (03:20:30):
I said, it gets you. The darkness came a hand
that clutched me by the throat, gripped tight.

Speaker 45 (03:20:40):
I fought against him, tried to scream, and woke up.

Speaker 90 (03:20:45):
Yes, I woke up, and my waking was more horrible
than the dream, for the hand was there, ripping me
by the throat, moaning, exerting every answer my strength and will.

Speaker 3 (03:20:56):
I thought it off.

Speaker 15 (03:20:59):
Down.

Speaker 83 (03:21:02):
I lay there, bathed in a cold sweat, staring at it,
feeling the fingers quivering inside the bandages.

Speaker 33 (03:21:13):
My hand are his.

Speaker 4 (03:21:15):
I was tied to it, now tied to a thing that.

Speaker 45 (03:21:18):
Was seeking to destroy me.

Speaker 21 (03:21:21):
Shaking convulsively, I leaped out of bed.

Speaker 3 (03:21:23):
I ran out into the hall and down the.

Speaker 83 (03:21:24):
Stairs to the living room, the piano that was the
one thing that might save me, save my reason. Seeing
myself at the piano, I started to play, using only
my right hand, but.

Speaker 45 (03:21:33):
First I tried to force left hand to kiss him,
to join him.

Speaker 91 (03:21:40):
No, Roger, that no music, Do you hear my hand? No,
it's mine, No, Roger, it is I'm stronger than you are.

Speaker 17 (03:21:53):
That thing is stronger than I am.

Speaker 24 (03:21:56):
Nothing in the world, and there's no escape because we're
on now, Roger, and wherever you go.

Speaker 17 (03:22:03):
I'll be there to.

Speaker 45 (03:22:04):
It's not true, it's not what what are you doing?

Speaker 17 (03:22:07):
Yes, a little.

Speaker 24 (03:22:08):
Closer than the desk, roget a little closer that paper knife.

Speaker 15 (03:22:13):
Look you damn but I can, Roger, I todge, I
get you somehow, some.

Speaker 17 (03:22:19):
Way put it down. Drop. You can't diight against me.
Roger Georgia an't too strong.

Speaker 92 (03:22:28):
Mary Cray says, eh, where is he not a living room?

Speaker 15 (03:22:41):
I heard the piano and good.

Speaker 45 (03:22:44):
Good lord, Roger, he's dead.

Speaker 13 (03:22:48):
Why who.

Speaker 9 (03:22:52):
He was saying something about a hand.

Speaker 86 (03:22:54):
He was in a completely psychotic state as a result
of shock and the sense of guilty. The state psycho
chiatrist was coming tomorrow to commit him. Oh, Martin, that
hand he brought me wanted me to graft on. I
don't know where he got it, but I suspect that
was behind the whole thing behind it.

Speaker 17 (03:23:11):
Yes, what do you mean?

Speaker 45 (03:23:13):
You don't really think I did graft it on to you?

Speaker 15 (03:23:15):
Why?

Speaker 86 (03:23:16):
He was desperate and I had to do something to
quiet him. I splinted his left wrist, wrapped it in
bandages and told him not to touch them. Martin, that
paper knife at his chest, which hand is holding it?
Was right when he's good one, yes, and still in
a way it's possible that the dead end, the one

(03:23:37):
he was so concerned about, did guide it.

Speaker 93 (03:23:45):
Her eyes wide with awful comprehension, Lorna stares at her husband,
then down at Roger Blaine's body, as somewhere in the silent.

Speaker 83 (03:23:56):
House, a clock starts chiming.

Speaker 21 (03:23:59):
For Murder.

Speaker 19 (03:24:03):
At Midnight.

Speaker 84 (03:24:25):
Remember to be with us again when death stretches out
his bony hat and the clocks strike twelve.

Speaker 17 (03:24:33):
For Murder.

Speaker 84 (03:24:36):
At Midnight, with music by Charles Paul. Murder at Midnight
is directed by Anton m Leader.

Speaker 10 (03:25:00):
And the.

Speaker 1 (03:25:22):
Voices, the voices that are supposed to be gone, Well
they're so lively, so present now or what's that?

Speaker 10 (03:25:35):
Ah?

Speaker 1 (03:25:36):
I see you are getting into the spirit. Well that's
that's very good. I was hoping you would. You're, of course,
my esteemed guest as always, and I would never leave
you out of the good tidings and cheer not to

(03:25:56):
get ahead of myself. But that's for later. For now,
the my mind is traveling to a dead man's death.

Speaker 15 (03:26:12):
Liftin tea and liftin soup, Present, Inner Sanctum, Mystery, Good evening,

(03:26:33):
friends of the Ana Sanctum.

Speaker 28 (03:26:36):
This is your host, welcoming you in through the squeaking door.
Come in see my latest collection of corpses. I've dug
out some very interesting pieces, but of course I had
to pay a stiff price.

Speaker 15 (03:26:52):
This petrified man, for instance, he's over one hundred years old.
They found him in a forest that's right, aged the wood.

Speaker 52 (03:27:02):
My goodness, do you expect folks to believe nonsense like that?

Speaker 13 (03:27:05):
Oh?

Speaker 15 (03:27:05):
But it's true. Mary, Look over here at this artist model.
The last time she posed for a sketch, she was
drawn and quoted. The artist wanted to paint her with
her head in her hands, but he didn't have the
nerve to ax her, so he saw her.

Speaker 52 (03:27:20):
Na, what an imagination you had?

Speaker 15 (03:27:23):
You don't believe me? All right, I'm not going to
show you my Cops collection anymore.

Speaker 82 (03:27:29):
This is the last time, well I don't believe that even.
But talking of last times, folks, this is the last
time on Inner Sanctum that the Lipton people are offering
to send the ladies that special sterling silver medallion. Yes, ladies,
this is your last chance to own a really lovely
piece of jewelry without spending a lot of money for it.
Now let me describe the medallion to you. It's made

(03:27:50):
of solid sterling silver. It's about an inch in diameter, yes,
and it's decorated with the Chinese symbol for good luck.
You can wear the medallion as a necklace or che joker.
You see, it's hung on a narrow black ray on
satin ribbon, or if you wish, you can simply add
it to your charm bracelet. And here's how you get
this handsome medallion. Listen, just send twenty five cents and

(03:28:11):
the box top from a package of Lipton's the Tea
with the brisk flavor to Lipton Tea Box ninety two.

Speaker 52 (03:28:18):
That's box nine to New York City.

Speaker 28 (03:28:21):
All right, friends, better write that address down and a
dry piece of paper. Why do I say dry, because
everything will be wet by the time we're through here,
wet with gore. The night story is called dead Man's Debt.
It's an original radio play by Robert Newman, and our

(03:28:43):
start tonight is Joseph Julian, who plays the role of
Danny Woo.

Speaker 21 (03:28:50):
The corner cell in.

Speaker 28 (03:28:51):
The courthouse, jail, stone walls, stone floor, and a hard
cut lying on the cut huddled under the blanket is
Danny Gorman. His eyes are closed, and he's breathing is regular,
but even he is not sure whether he's asleep for
a week.

Speaker 13 (03:29:07):
Well.

Speaker 15 (03:29:07):
He's listening to a voice, a voice he's heard quite
often during the past few weeks. The voice he shouldn't
be able to hear, a voice of a dead man.

Speaker 22 (03:29:18):
Are you sleeping, Danny?

Speaker 15 (03:29:21):
Don't. It's a wasted time, a real waste.

Speaker 22 (03:29:26):
You'll be sleeping for a long, long time, very soon
when you're a dead my guy.

Speaker 23 (03:29:32):
No, no, yes, Danny.

Speaker 17 (03:29:34):
Did you think you were gonna.

Speaker 15 (03:29:35):
Get away with it?

Speaker 3 (03:29:37):
You won't.

Speaker 15 (03:29:38):
You'll pay soon. No, no, Ya wasn't problemly here?

Speaker 32 (03:29:44):
What are you making on add Ragon for?

Speaker 58 (03:29:45):
I want to put yourself together and get moving, waiting
for you downstairs, courts and.

Speaker 15 (03:29:50):
Sirs, Hi, don't rush me, I'm coming. I'm not rushing here.

Speaker 17 (03:29:55):
Sure glad i'd be rid of here that you will
be coming back here again?

Speaker 30 (03:29:59):
Right?

Speaker 15 (03:30:00):
How do you mean? I wind up your case this
morning and down a verdict before lunch to the one
they do it when I leave in the jewelry box,
and ten to one it's guilty.

Speaker 28 (03:30:17):
Gentlemen of the jury, have you reached a verdict? We
have prisoner, will rise and face the jury.

Speaker 15 (03:30:25):
Go on, Denny, stand up? What is your verdict?

Speaker 17 (03:30:31):
Not guilty?

Speaker 3 (03:30:33):
Right?

Speaker 13 (03:30:34):
You mean?

Speaker 39 (03:30:37):
What a riot?

Speaker 17 (03:30:39):
I should have taken him up, brother ten to one.
He wanted to give me the joke, going to send me.

Speaker 13 (03:30:43):
Up, but I know it.

Speaker 15 (03:30:44):
I know you want.

Speaker 24 (03:30:46):
Order.

Speaker 41 (03:30:46):
Mister mister Russell, you quiet your client.

Speaker 28 (03:30:49):
I apologize your honor, but as you can imagine, he's
been under considerable strain.

Speaker 17 (03:30:54):
Take it easy, day, okay, Hi, your baby.

Speaker 39 (03:30:58):
I knew it to Denny.

Speaker 81 (03:30:59):
I knew that to go.

Speaker 13 (03:31:00):
They had to go.

Speaker 94 (03:31:10):
I hope it don't mind coming here to celebrate. It's
not very fancy, but uh well, that's the way he
picked me up, put the cuss on me.

Speaker 15 (03:31:16):
I'm kind of sent him out of up.

Speaker 17 (03:31:18):
That's perfectly all right. Heysday you Russell. He did a
sweld job.

Speaker 15 (03:31:22):
Get me off.

Speaker 32 (03:31:22):
Thank you.

Speaker 15 (03:31:23):
I had probably done better if I didn't have a conscience,
I can. I was assigned to your case. I had
to defend you, and I did the best job I could.
But it was a little hard to put my heart
in it when I knew you were guilty, not of
the murder you were charged to it, but another one.

Speaker 52 (03:31:40):
All right, is that supposed to be funny, mister.

Speaker 15 (03:31:42):
Rus It's not. Gail Danny was charged with a murder
of Carson, a well known jeweler, whose body was found
a few miles from his country house. Danny was seen
in the vicinity in the company of Stack al And,
the man with the long criminal record. Now, if you remember,
there were just three things that save Danny. One the
fact that Corson was thought to have a valuable diamond

(03:32:04):
on him. Danny didn't have the diamond, and it hasn't
been found yet. Two Carson was shot with a forty five.
Danny's gun was a thirty eight three. Stack Allan has disappeared.
Now on the basis of these three facts, I was
able to convince the jury that it was Stack who
killed Carson and took the diamond. And as a matter
of fact, that's what I think did happen. Well, the

(03:32:27):
DA made one mistake. He charged you with a wrong murder.
I don't believe you killed Carson, but I do think
you killed Stack Allan. That's ridiculous. Did I tell him
it's not true? Tell him what are you gonna do
about it? Nothing? I'm not a policeman. I'm an attorney,

(03:32:48):
a lion. No, no, you see, basically, I have great
respect for the law. I believe that even though it
sometimes makes mistakes, it generally corrects them. H I think
it will catch up with you meantime. As the matter
of my services, since I saved your life, I figure
you owe me a good deal. Don't worry about that.

(03:33:11):
I'll pay you. Yes, Oh, never mind that I said
i'd pay you. You don't have the money.

Speaker 17 (03:33:16):
Now, I know that if you wanted me to, I
could probably help you.

Speaker 94 (03:33:21):
I don't want any help from you or anyone else.
I said i'd pay, and I will. Come on, gal,
let's get out of here.

Speaker 22 (03:33:33):
Are you sleeping again, Danny? That's a mistake, a waste
of time. You'll be sleeping for a long long time
when you're a.

Speaker 15 (03:33:42):
Dead guy stock living alone.

Speaker 22 (03:33:45):
I can't, Danny, not until you pay for what you
did to me.

Speaker 17 (03:33:49):
And you will pay for that, and sue.

Speaker 15 (03:33:56):
Who's that? Who's there?

Speaker 52 (03:33:57):
It's me, Danny Yail.

Speaker 15 (03:34:00):
Oh okay, just a second, hello, Danny.

Speaker 81 (03:34:08):
Hey, starting to get a little worried about you.

Speaker 39 (03:34:12):
You are right?

Speaker 15 (03:34:13):
Sure, I'm all right? What is that a worry about?

Speaker 81 (03:34:17):
Been a week since I saw you. I've been hearing things,
but you were hanging around with the old gang again
with Frankie.

Speaker 17 (03:34:26):
So what you mean?

Speaker 39 (03:34:28):
It's true? Danny? You shouldn't you know what almost.

Speaker 81 (03:34:33):
Happened with what would have happened if it hadn't been.

Speaker 39 (03:34:35):
For mister Russell.

Speaker 81 (03:34:36):
Russell, you wouldn't be here now if it wasn't for him, Danny.
You said you were going straight, and instead he wanted
to help you.

Speaker 15 (03:34:45):
Remember, how are you, Danny Russell? What are you doing here? Look?

Speaker 17 (03:34:50):
If you're worried about your dough, I told you, i'd
tell you.

Speaker 15 (03:34:52):
I never said anything about money, Danny, and I'm not
worried about being paid. I'm a firm believer in balancing counts.
We pay for everything we do. What are you driving at?
You killed Stack Allen for the diamond you took from Carson,
but you never got the diamond.

Speaker 17 (03:35:11):
Suppose I help you find it?

Speaker 15 (03:35:13):
All right? How do you know where it is? I
don't know. I'm only guessing, But if you show me
where you buried Stack's body, I think maybe we can
find it together.

Speaker 17 (03:35:24):
You're just trying to trap me, tag me with Stack's murder.

Speaker 15 (03:35:28):
I told you I was an attorney, not a policeman.

Speaker 17 (03:35:33):
Okay, okay, I'll take a chance on it. Get your car.
I'll show you noisy now they're not there to the left,

(03:35:53):
into the woods. Yeah, just a little further, all right,
Oh okay, and I stopped.

Speaker 15 (03:36:03):
I think you'd better stay here, Gabe. It's not going
to be very pleasant.

Speaker 36 (03:36:08):
I'll come just as you like.

Speaker 15 (03:36:10):
Now tell me again just how it happened, Benny.

Speaker 17 (03:36:14):
Well, we drove down here after were not cast enough
to decide just what we're gonna do. I had a
feeling Stack was going to plug me so he wouldn't
have to split with me, and I decided to bait
him to it.

Speaker 94 (03:36:27):
He went over there. He sat down on that log,
and he was playing with his ear and the way
he used to pull him on it, and I let
him have it. I searched him, but I couldn't find
a diamond.

Speaker 18 (03:36:38):
What did you do with the body?

Speaker 94 (03:36:40):
I dug a deep hole right there, dumped a minute,
and I piled wood on it and then filled a fire,
and after it burned down, I covered it up.

Speaker 95 (03:36:49):
Okay, let's get the shovels out of the car and
start taking Hey, my shovel hit something. I think it's him.

Speaker 15 (03:37:06):
Yeah, Will you go back to the car?

Speaker 39 (03:37:08):
No, No, I'm going to stay. I just won't look there.

Speaker 15 (03:37:13):
There he is at least his bones.

Speaker 58 (03:37:17):
Put your shovel under his skull and lifted carefully.

Speaker 17 (03:37:20):
Hey, that diamond diamonds lying right underneath him?

Speaker 15 (03:37:26):
How did you know? I didn't. I told you I
was guessing. You saw him take it from Carson, knew
he had it with him, but you couldn't find it
when you searched him. You mentioned that when he was thinking,
he had a way of playing with his ear. His ear.

Speaker 17 (03:37:41):
Of course, I was eddy headed in his ear. Maybe
figured I was going to stick him up as something.
Maybe anyway, I got it. Now we're rich, you here, Gail,
we're rich.

Speaker 39 (03:37:53):
Yes, I hear.

Speaker 15 (03:37:55):
What are you looking at me for that way?

Speaker 39 (03:37:58):
Danny?

Speaker 81 (03:37:58):
I loved you for a long time, even when I
knew there were things wrong with you. I stuck with
you through the trial because I thought you were innocent,
but you hadn't killed Carson.

Speaker 52 (03:38:10):
No, I hate you.

Speaker 17 (03:38:12):
I stood trial. I got off the night. I paid
for the diamond, and now it's mine.

Speaker 22 (03:38:18):
Yes, Danny, it's yours, but you haven't paid for it.
You're only going to start paying for it.

Speaker 28 (03:38:33):
As our friend mister bones again. You know, I don't
mind his talking from the grave, but I wish he'd
stop heckling Danny. And that sounds so much like a
bill collector. After all, he didn't do so badly. He
not only got buried, he got cremated too.

Speaker 39 (03:38:50):
Yes, he paid the penalty for his crime.

Speaker 28 (03:38:53):
Yeah, what right has he got to be some moral
after he's dead and so vain too wearing a due
Next thing, you know, we'll see a skeleton walking round
wearing a Lipton Sterling silver medallion.

Speaker 39 (03:39:07):
That will never happen, I assure you is that.

Speaker 15 (03:39:10):
Well, let me tell you about a skeleton who could fly.

Speaker 13 (03:39:12):
I'll stop.

Speaker 52 (03:39:12):
That's enough you.

Speaker 82 (03:39:14):
Let me tell you about a real flyer, an American
pilot whose life was saved by the original of that
Sterling silver medallion that the Lipton people are offering to
the ladies. Now listen, folks, because this is a true story.
It seems that a year or so ago, an American
flyer had to bail out over enemy territory. Fortunately he
was rescued by Chinese guerrillas, and they gave him a

(03:39:36):
medallion with Chinese letters on it. They said that this
medallion would bring him safely through the lines. Well he
did get through, and only then did he learn that
the letters meant good luck in Chinese. Now there's a
story to tell your friends when they're admiring your sterling
silver medallion on its narrow black ray on satin ribbon.
And to get this Chinese good luck charm, just like

(03:39:58):
the one the flier carried, all you have to do
is send twenty five cents and the box top from
a package of Lipton's the tea with the brisk flavor
to Lipton.

Speaker 52 (03:40:07):
Tea Box ninety two. That's box ninety to New York City.

Speaker 15 (03:40:13):
And our friends.

Speaker 28 (03:40:14):
Back to the story of Danny Gorman, who was tried
for the wrong murder, who's found so far at least
that crime does pay, and very nicely too.

Speaker 15 (03:40:24):
It's about an hour later now, and a car with
three very silent people in it has just reached the
outskirts of the town. It's the matter with you too, anyway.
Why are you sitting there like a pair of mummy
school Why don't you say something?

Speaker 81 (03:40:42):
I said everything I had too there in the woods.

Speaker 15 (03:40:44):
Danny, I've got nothing to say, No, nothing at all.

Speaker 17 (03:40:50):
I'm trying to put a lily act now, Russell, I
forget your en This is deeper. Hey wait a minute,
stop right here, Yeah, that's right in front of that
hawk yap? Where are you going inside to see a friend?
Might just as well get the dough to pay you
off right now, and I won't have to listen anymore.
You're double to it, hello, Fanny.

Speaker 33 (03:41:16):
Well, Danny, I haven't seen you in a long time,
and I didn't think i'd ever be seeing you again.

Speaker 15 (03:41:22):
How come?

Speaker 33 (03:41:23):
Yeah, I thought to anybody who'd just beating the murder
rap would have sense enough to keeping it clear, not
get mixed up with anything hot or was it a
social busy?

Speaker 15 (03:41:33):
Not exactly.

Speaker 33 (03:41:35):
Take a look at this very nice time and very nice. Indeed,
what's it worth? You really want to know what it's worth?
You want to know what I'll give you for it?

Speaker 15 (03:41:46):
What's the difference?

Speaker 21 (03:41:47):
A great deal?

Speaker 33 (03:41:49):
It's worth? Let me take another buck in Yes, sir,
it's worth ten maybe twelve thousand dollars.

Speaker 45 (03:41:56):
I'll give you two.

Speaker 15 (03:41:57):
Thousand for it, right.

Speaker 13 (03:42:00):
You.

Speaker 15 (03:42:00):
Well, let's the idea. It's very simple, Danny.

Speaker 33 (03:42:04):
You were tried for Carson's murder and you got off
because you had a good lawyer, because there wasn't enough evidence.
But if you were tried again right now, you wouldn't
do so well because this is the very best kind
of evidence right here.

Speaker 15 (03:42:18):
You see.

Speaker 33 (03:42:18):
I happen to know that this is Carson Stime. Yeah, yes, Danny.
That means that you wouldn't dare take it to anybody else.
It wouldn't be wise for you even to take it
out of this shop. That's why it's very generous to
me to offer you fifteen hundred for it.

Speaker 94 (03:42:34):
Fifteen hundred, but you just said, okay, Finny like the diamond,
give me the doll.

Speaker 33 (03:42:41):
It's very sensible of you, Danny, go back tomorrow about
the same time.

Speaker 94 (03:42:46):
I'm taking a potter out of town. I want the
dell right now. All right, Danny, wait out there and
I'll get it for you. Seven can't do one.

Speaker 21 (03:43:03):
Or mum.

Speaker 30 (03:43:07):
Here we are.

Speaker 12 (03:43:11):
M sorry.

Speaker 94 (03:43:17):
I had to be a knife any ya, you're dam
I can take a chance with a gun now with
my friends outside. Should not driven such a hot bug.
And because now I'm not only gonna take the diamond
back and take every sense you got in a site

(03:43:38):
after all, I won't throw you any good anymore? All right, Yeah,
let's get going. You seem quite pleased with yourself. Why
shouldn't I be get rid of the diamond? And I
finally got my hands in some real dough. I can

(03:43:58):
pay you off now.

Speaker 15 (03:43:59):
What I owe you?

Speaker 17 (03:44:00):
I told you, Danny, a great feel your life. Okay,
don't fild it up. What do you want in cash?

Speaker 15 (03:44:07):
I never said anything about money, Danny. There is something
I want. When the right time comes, I think I'll
get it.

Speaker 21 (03:44:25):
Yeah, it was may Danny.

Speaker 30 (03:44:28):
Frankie.

Speaker 17 (03:44:29):
Oh just a second, hi, Frankie fine, worried about how
you were for me?

Speaker 96 (03:44:41):
How come a little job last night? He said, you
wanted to get in on it and you never showed up,
or maybe you.

Speaker 94 (03:44:49):
Was sick of some oh that Uh no, no, no,
it was just that. Uh well, I changed my mind. Yeah, yeah,
I kind of thought it over. Decided I better stay
on the clear, go straight from now on. It's not Danny,
he was, Yeah, I think so I'd go smooth as suck.

(03:45:12):
We ended up with stuff with three or four g's anyway, Yeah,
swow yeah.

Speaker 13 (03:45:20):
Son me.

Speaker 55 (03:45:20):
After it was all over it we ran into something
kind of funny. Where was that my stuff was kind
of hot. We thought we ought down load right away,
so we went down the finies, you know the fence.
He got there didn't seem like there was anyone around.
I took a gain in the back room and he
won't believe this, but the safe was open, cleaned down

(03:45:47):
and it was finny dead.

Speaker 7 (03:45:51):
Right.

Speaker 15 (03:45:53):
Wow, have any idea who did it?

Speaker 96 (03:45:58):
The knife over got him left in such your herd.
They forgot to take the knife with them. I got
it right here.

Speaker 15 (03:46:06):
Let's uh, let's say it.

Speaker 97 (03:46:07):
I don't touch it, Danny, you might getch your fingerprints
on it, and that'd be bad. I said, don't touch it.
I'm trying to make it tricks around flash if for keeps.
So you were going straight, you medium double crosser. Where's
the diamond? What are you talking about? Don't killy that.

Speaker 41 (03:46:30):
Think I know you?

Speaker 28 (03:46:30):
And when I say it, it's only one reason you'd
go to see funny cash.

Speaker 17 (03:46:35):
You're on that diamond you went stack took from Cosson.

Speaker 94 (03:46:40):
Really I wanted, okay, okay, Frankie, you can have it.
I happened having nothing but tough luck ever since I
first laid eyes on it. It's over there in my
bureau hitting none of my socks.

Speaker 17 (03:46:53):
I'll get it for you. He's that, and they show
us some sense was sentined to let you leave here?

Speaker 15 (03:47:03):
Know, I let you know.

Speaker 94 (03:47:07):
Nah, get my friend the lawyer down here. Everything will
be hunky dory. Sure, got down here fast, Russell. Hey,
what's the idea bringing Gail with me?

Speaker 15 (03:47:25):
I thought she might be interested in anything you might
have to say to me. You said something about another case. Yeah,
look over there in the corner.

Speaker 13 (03:47:36):
Oh, Frankie, Frankie ring and he's there.

Speaker 15 (03:47:42):
Who killed him? Yeah?

Speaker 17 (03:47:44):
It was self defense. So he came down here to
get me to go out on the job with him.
I told him, wouldn't that I was going straight? And
he pulled a gun. There it is in his hand.
See I got my own robbed in the bureau.

Speaker 15 (03:47:55):
And well that was that sound okay? Fine. Ain't going
to be easy.

Speaker 17 (03:48:03):
I know, me coming up for a second murder rap,
But you can get me off. I got plenty of
doll this time. I can really pay. The thing is
what do we do first?

Speaker 15 (03:48:11):
We don't do anything, Danny. A lot of things you
can do. My suggestion is that you call the police,
give yourself up, all right. You mean you're not gonna
take this case. No, Danny, why not? You fried it
for me the last time? Yes, Danny, and I told
you why I was assigned the case. Couldn't turn it down. Besides,

(03:48:31):
you were being tried for the wrong murder. But this
time it won't be the wrong murder. It'll be the
right one. This is the one I said was finally
going to catch up with you. I see is your
cut downstairs? By any chance?

Speaker 12 (03:48:48):
Yes?

Speaker 15 (03:48:49):
Why, I'm starting to feel a little restless.

Speaker 17 (03:48:54):
Let's go, crisis, go ahead, much, Jenny?

Speaker 39 (03:48:58):
What are you going to do?

Speaker 15 (03:48:59):
You kidding? You know about stacking about Freddy? Somehow?

Speaker 94 (03:49:03):
I don't think I'd sleep so good knowing that you know.
Besides that, there's one more you don't know about, Finny.
I got him yesterday while you were waiting in the car.
After your first three they started to come easy, even Dames,
I'm gonna take a little ride together, but I got
a feeling we're not.

Speaker 17 (03:49:21):
All of us coming back. Keep driving until I tell
you to stop right taking this awful quiet the two
of you. Maybe you don't think I'm gonna.

Speaker 15 (03:49:39):
Go through with it. Oh? I think you intend to,
all right. Whether you will or not is another story.
So is the reason I'm taking it this way. Maybe
this is as good a time as any to tell
you a few things. Why I took your case in
the first place. Well, it was because, of course, my

(03:50:00):
father's best friend, kind of a second father, see who
put me through law school. When he was murdered, I
made up my mind to get to the bottom of it,
find out who killed him. I didn't think it was you,
and it wasn't. You were involved, and I knew that
if I helped you get what the murder was committed
for the diamond, eventually you'd pay for the murder you committed. Well, uh,

(03:50:25):
you've got not one, but three murders.

Speaker 17 (03:50:27):
To pay for a while.

Speaker 15 (03:50:29):
I here staping for a railroad crossing. There's a train coming,
can't you hear.

Speaker 17 (03:50:33):
The bell tells you to keep going until I said
for you to stap.

Speaker 15 (03:50:36):
Okay, Hey, what's the idea.

Speaker 17 (03:50:42):
You stole the car? Yeah, and make sure it stays still.
I'll just take these keys, Danny.

Speaker 39 (03:50:49):
We're right on the train.

Speaker 17 (03:50:51):
Yeah, this is it.

Speaker 23 (03:50:54):
You fell in love.

Speaker 17 (03:50:55):
See you ran away together, smack into the train.

Speaker 15 (03:50:58):
I don't try to do as.

Speaker 17 (03:51:01):
I just wait over here and make sure everything goes
the way it's ship.

Speaker 81 (03:51:06):
Well, damn, somehow, I'm not frightened, and I don't care
what like what it's crime.

Speaker 51 (03:51:14):
It's right, not coming down your track, coming down us.

Speaker 13 (03:51:18):
What.

Speaker 15 (03:51:31):
Yes, he's on the wrong track. Anny been on the
wrong track for a long time.

Speaker 53 (03:51:40):
John, What was it you said before about why you
took the case? That's true, Yes, you always talked about payment,
but something you wanted.

Speaker 15 (03:51:56):
I I wanted justice, and I also wanted something else
someone Danny had it first and then lost someone he
didn't deserve. Suh, Y's just that's right.

Speaker 98 (03:52:14):
You'll say, what is this anyway?

Speaker 15 (03:52:25):
In a sanctum or loves? Oh sweet song?

Speaker 28 (03:52:28):
You better get yourself another tune, professor, I'd better get
myself another program, the Haunts.

Speaker 15 (03:52:35):
That's right.

Speaker 28 (03:52:35):
One more sappy ending like that, and they can get
themselves another host.

Speaker 82 (03:52:39):
Well, what was the matter with that ending? I thought
it was the nicest one we've had this year. I
thought it was sweet the way those two people discovered
they loved each other.

Speaker 28 (03:52:48):
Listen, Mary, there's only one kind of sweet stuff that
goes on this program, and that's sweet essence of Cyanide.

Speaker 52 (03:52:55):
Oh good gracious, this is the last two of the season.
Can't you be human justice once?

Speaker 15 (03:53:00):
All right, Mary, I'll tell you what I do.

Speaker 28 (03:53:03):
And Gale and that lawyer get married, I'll send her
a Lipton Sterling silver medallion.

Speaker 21 (03:53:08):
For a wedding present.

Speaker 82 (03:53:09):
Well, they'll have to get married real soon then, because
this is the last time on Inner Sanctum that the
Lipton people are offering to send that special medallion. Yes, ladies,
this is your last chance to get a solid sterling
silver medallion hung on a narrow black ray on satin ribbon,
a lovely piece of jewelry toware with your simple silk
dresses and with your dressy suits as well. So you'd

(03:53:31):
better send for your medallion tonight. Just send twenty five
cents and the box top from a package of Lipton's
the Tea with the brisk Flavor to Lipton Tea Box
ninety two, New York City.

Speaker 28 (03:53:49):
And now a word of advice, friends, don't let tonight's
story all this business about dead men's debts prey on
your mind too much. If you should wake up at
about two in the morning and hear strange footsteps coming
up the stairs towards your room, don't worry. It won't
be a homicidal mania. It will probably be the both

(03:54:10):
of the ghost of a bill collector coming to collect.

Speaker 58 (03:54:13):
I owe you, my dear.

Speaker 1 (03:54:22):
I appreciate how long you've spent this special time with me.
But well, soon I have to go and try to
accomplish just a few things that I dare not share
at this moment. Or what's that? Well, I can't exactly

(03:54:43):
tell you, but I feel like you know, my dear
dear friend, So please relax as we enjoy a little
bit more. Because of course I always get so greedy.
But don't worry, true, it's all just ghosts talk.

Speaker 3 (03:55:24):
Come in, welcome, I'm e G. Marshall sit down any
way you like. I have a small confession to make.
I am crazy about ghosts.

Speaker 17 (03:55:40):
And I cannot, for the life of me, comprehend why
anyone should.

Speaker 15 (03:55:43):
Be afraid of them.

Speaker 3 (03:55:45):
What?

Speaker 15 (03:55:45):
After all, what do ghosts do?

Speaker 18 (03:55:48):
They haunt?

Speaker 12 (03:55:49):
That's all.

Speaker 17 (03:55:51):
To haunt means to visit to frequent in short, to
hang around. What's so scary about that?

Speaker 18 (03:55:59):
I hope lover hangs around a lot.

Speaker 3 (03:56:02):
If an inspiring lover or a wistful compatriot can hang
around without inspiring fear, why not an anxious ghost.

Speaker 10 (03:56:10):
Is it?

Speaker 13 (03:56:13):
Is it really you?

Speaker 3 (03:56:16):
Yes, Melba, it is I who don't cry, Melba.

Speaker 13 (03:56:25):
I can't.

Speaker 3 (03:56:26):
I can't help it, all right, dearest, go ahead and cry.

Speaker 13 (03:56:36):
Paul, Oh tell me something?

Speaker 17 (03:56:40):
What are you happy?

Speaker 13 (03:56:45):
Where where you are?

Speaker 3 (03:56:50):
I'm really sorry you asked me that, Melba. Our mystery
drama ghost Talk was written especially for the Mystery Theater
by l Speth Eric and stars Linka Peterson and Elliott Reid. Yes,

(03:57:23):
ghosts haunt places. Traditionally, they haunt large, decrepit mansions with
long hauls, extensive staircases, and musty attics. But these big
old edifices have all disappeared from our landscape, and it
is more than likely that the ghost of today has
to restrict himself to one bedroom apartment with bath, kitchenette

(03:57:46):
and dining area.

Speaker 21 (03:57:47):
Poor ghosts.

Speaker 15 (03:57:49):
Will he give up haunting altogether? Or will he do
what we have done? I just Melba.

Speaker 17 (03:57:56):
You'll have my number, yes, Leonard, at home and at
the office. If there's anything I can do, Melba, anything at.

Speaker 13 (03:58:05):
All, I'll call you.

Speaker 17 (03:58:07):
Bless you, my dear.

Speaker 13 (03:58:12):
Oh Paul, where are you? Where?

Speaker 10 (03:58:18):
Oh?

Speaker 13 (03:58:30):
I Rene, it's me. They've all gone. Leonard Whipple was
the last to lead.

Speaker 17 (03:58:39):
I'm all alone.

Speaker 13 (03:58:40):
No, I'm not crying. I'm trying to be brave and
calm and remember everything you told me. Leonard said to
call him if I needed anything.

Speaker 36 (03:58:51):
But what does that mean?

Speaker 13 (03:58:54):
I need my husband, I need Paul. Oh no, Irene,
I couldn't go to the movies. No, I'll just sit
here and think about Paul, all the beautiful memories. Twenty
two years of beautiful memories. You know, Irene. I keep

(03:59:21):
thinking all the time of what you said to me
after the funeral. You said, Paul will never be really
dead as long as he's remembered. I keep saying that
over and over. Paul isn't really dead as long as
he's remembered. I want to thank you, Irene for that
beautiful thought. It means everything to me.

Speaker 17 (03:59:53):
Oh, Melba, Melba, how goes it?

Speaker 12 (03:59:57):
Paul?

Speaker 3 (03:59:58):
Hello, it's Bruce, isn't it. I'm you here. I haven't
got everybody straight yet.

Speaker 12 (04:00:04):
You never will.

Speaker 17 (04:00:05):
It doesn't matter. Yes, I am Bruce. Mind if I
join you? I wish you would.

Speaker 5 (04:00:10):
You had a particularly beatific expression on your face just now.

Speaker 17 (04:00:13):
As I was floating by, I was thinking.

Speaker 3 (04:00:15):
Of my wife, my wife, Melba.

Speaker 18 (04:00:18):
Why why?

Speaker 17 (04:00:20):
Well actually because she was thinking of me, remembering our
wedding day.

Speaker 12 (04:00:26):
I was touched.

Speaker 17 (04:00:27):
You're really very new here, aren't you?

Speaker 7 (04:00:29):
Oh?

Speaker 5 (04:00:30):
Yes, very At the start, everybody is either touched that
they're remembered, apprehensive that they won't be, or furious that
they're not.

Speaker 3 (04:00:38):
Melburgh feels that no one is really dead as long
as he's remembered.

Speaker 17 (04:00:42):
Is that what you want to be?

Speaker 4 (04:00:43):
Not really dead?

Speaker 17 (04:00:45):
It sounds nice, Well it isn't. I don't know how
you can say.

Speaker 5 (04:00:50):
That, because I happen to know from bitter personal experience,
my sainted mother remembered me every day of her life
after I died, till the day she died.

Speaker 17 (04:00:59):
And joined me.

Speaker 5 (04:01:00):
Since her arrival, I'm happy to say we've exchanged precisely
six words. While back, she had the grace to apologize,
I'm sorry, son, I didn't understand those were the six words.

Speaker 3 (04:01:12):
Sorry for what for remembering me? What was she supposed
to do?

Speaker 15 (04:01:17):
Well?

Speaker 17 (04:01:17):
Forget for goodness sakes.

Speaker 5 (04:01:19):
I wouldn't expect her to forget immediately, of course that
would be unreasonable, But as soon as possible put me
out of her mind.

Speaker 17 (04:01:27):
My life on earth was over.

Speaker 3 (04:01:29):
I'm sure she meant, well, your mother.

Speaker 5 (04:01:32):
After you're here a while, you'll realize that everybody doesn't
mean well and quite often does a lot of harm.

Speaker 3 (04:01:37):
But your mother loved you.

Speaker 17 (04:01:38):
Then why not leave me alone to enjoy myself?

Speaker 5 (04:01:41):
Why wake up in the middle of the night to
remember how handsome I look the day I graduated from
dental college?

Speaker 17 (04:01:47):
So inconsiderate?

Speaker 3 (04:01:49):
Why was it inconsiderable?

Speaker 5 (04:01:50):
Because my dear fellow, if she kept it up long enough,
I'd have to stop whatever I was doing and go
visit her visitor.

Speaker 45 (04:01:58):
How could you do that?

Speaker 17 (04:02:00):
How well? The way it's always done as a ghost, of.

Speaker 13 (04:02:05):
Course, Irene, it's me. Oh all right, I guess Leonyard
was here. We sent out for Chinese food. He left
about an hour ago. Oh, I'm just sitting here and remembering.

(04:02:29):
I got out the old picture album to show Leonyard.
I don't think Leonard cares too much for travel. I
wasn't sorry when he left. Looking at the snapshots and
remembering the beautiful life I had with Paul, it seemed
to bring him closer. Oh, I mean it, Irene. A

(04:02:49):
couple of times I felt as though he was right
here in the room with me.

Speaker 3 (04:02:56):
Honestly, Bruce, Oh, Bruce that you, Paul, I had a
terrible time finding you.

Speaker 17 (04:03:07):
Well, now you have.

Speaker 3 (04:03:08):
I asked everybody where you were, and nobody knew. And
then Salome said, oh, he's probably out strolling among the stars.
That's his favorite pastime. But I had no idea how
many stars there are.

Speaker 5 (04:03:18):
You still haven't any idea, actually, neither of I and
I've been here heaven knows how long. So far this
is my favorite galaxy. But of course I haven't seen
them all.

Speaker 3 (04:03:28):
Has anyone do you think?

Speaker 48 (04:03:29):
Oh?

Speaker 17 (04:03:30):
I suppose he has.

Speaker 3 (04:03:31):
He must have seen everything since the beginning of time
and before that.

Speaker 17 (04:03:37):
Yes, what made you come looking for me? Something special?

Speaker 3 (04:03:40):
Bruce? I can't get a moment to myself on account
of Melbourne, your wife. You know what she did. She
got out an old snapshot album and started looking over
all the pictures we took on our vacations, birthdays, Christmases ago.

Speaker 41 (04:03:54):
They all do it.

Speaker 3 (04:03:54):
The worst part is she showed all these pictures to
a friend of mine, of hers ours, Leonard Whipple. He
couldn't have cared less.

Speaker 17 (04:04:03):
She's really hanging on to you, isn't. She's very nice
of her and all that, but it's terribly exciting for
me being here.

Speaker 3 (04:04:10):
Everything's so completely different. Oh oh, there she goes again?
Here hear hear that vaguely?

Speaker 17 (04:04:27):
She just keeps after me and keeps after What about
this Leonard Whipple.

Speaker 3 (04:04:30):
Well he's a very nice guy, but he's not gonna
hang around much longer if she makes him. Look at
pictures of our honeymoon and the Grand Canyon.

Speaker 17 (04:04:39):
You couldn't just ignore her, I suppose.

Speaker 3 (04:04:41):
Well, she's my wife and I love her.

Speaker 17 (04:04:45):
I mean, she was my wife and I did love her,
but now things are different, I'd say so. Ah, Well,
for goodness sake, look there. If it isn't him him,
you mean it really him? I haven't seen him an
eons I never have.

Speaker 30 (04:05:03):
Sir, Sir, Please no, yes, yes, it's Bruce. Yes, am
I right?

Speaker 17 (04:05:10):
Yes, sir?

Speaker 12 (04:05:11):
And this is Paul.

Speaker 3 (04:05:13):
He's new, I know, an alcohol. I'm really thrilled to
meet you, sir.

Speaker 30 (04:05:19):
The galaxy is looking well, doesn't she say?

Speaker 17 (04:05:22):
I love this galaxy?

Speaker 15 (04:05:23):
Sir?

Speaker 17 (04:05:24):
You set it out so neatly.

Speaker 30 (04:05:26):
There's one starting concerned about. I think it's beginning to
twinkle out, Sir.

Speaker 5 (04:05:34):
As long as we were so fortunate just to run
into you like this, could we have your advice about something,
you know.

Speaker 30 (04:05:40):
I dislike giving advice.

Speaker 3 (04:05:42):
It's for me, sir. I don't know what to do
about My wife is here? Oh no, she's with a
living on earth.

Speaker 30 (04:05:50):
Oh and she's grieving. Well, it's to be expected. She'll
stop after a while.

Speaker 3 (04:05:57):
She doesn't show any signs of stopping. I was wondering
if I shouldn't, you know, appear to her. Bruce says,
it's a simple procedure.

Speaker 30 (04:06:06):
Well you could do that, of course. I never thought
very highly of that ghost business, so theatrical art.

Speaker 3 (04:06:14):
But if it'll make her feel better, well.

Speaker 30 (04:06:16):
I suppose we do all a measure of responsibility to
the living.

Speaker 3 (04:06:20):
You think I could go back for a short visit.

Speaker 30 (04:06:23):
You're free to do as you like. If I were
to tell you what to do, you wouldn't be free
any well, would you.

Speaker 3 (04:06:30):
Well if you just tell me what you think.

Speaker 30 (04:06:32):
No, I really can't do that. That would be tantamount
of telling you what to do because of me being
who I am. You see, you think I have all
the answers everybody thinks so, well, I don't. There are
countless things I haven't found answers to. However, like everyone else,

(04:06:54):
I keep trying, And now I really have to go
to see if that poor star is feeling any sane.
You'll both excuse me.

Speaker 3 (04:07:04):
He wasn't much help.

Speaker 17 (04:07:06):
Well that's his way.

Speaker 3 (04:07:07):
Oh there she goes again, Bruce, I'm going to turn
ghost and visit her.

Speaker 17 (04:07:17):
At least you've made a decision.

Speaker 15 (04:07:18):
How do I go about it?

Speaker 5 (04:07:19):
Well, there are no hard and fast rules. Actually, not
many of us do it. It's considered kind of freaky freaky.
Look how many of us there are, and how few
of them if we altered the ghost walking we'd have
them outnumbered trillions to one.

Speaker 15 (04:07:35):
I don't care. I want to do it.

Speaker 3 (04:07:37):
I just need to know how well.

Speaker 5 (04:07:39):
You can do it in the old fashioned way, clanking chains, winds,
whistling through the trees, moon behind black clouds and all that.

Speaker 3 (04:07:49):
I don't think Melbourn would go for that.

Speaker 5 (04:07:50):
Well, then there's the crying, sobbing type of ghost, inconsolable weeping.

Speaker 3 (04:07:55):
Since I don't feel particularly inconsolable.

Speaker 5 (04:07:58):
Then there's the ghost that flits through the hole, disappearing
and disappearing.

Speaker 17 (04:08:01):
Now you see it, now you don't.

Speaker 3 (04:08:03):
We don't have a haul, just a rather small foyer.
Can't I just appear in some simple, straightforward way. Just
say here, I am dear.

Speaker 5 (04:08:13):
You wouldn't want to start with one weird, uncanny shriek
I wouldn't know how, or a sardonic laugh or what
would I be laughing at?

Speaker 58 (04:08:21):
Oh?

Speaker 17 (04:08:22):
Life, death, anything in between.

Speaker 5 (04:08:25):
Well, if you don't want to do any of those things,
things which he calls theatrical, then just appear.

Speaker 3 (04:08:31):
That's more my style, I think.

Speaker 5 (04:08:33):
But wrap a bit of vapor around you, after all,
they need something to identify you by. And don't stay
too long, and above all, don't let it depress you.

Speaker 17 (04:08:43):
Why should it depress me?

Speaker 5 (04:08:45):
You'll find out, my friend, You'll find out.

Speaker 3 (04:08:57):
It never occurred to me that a visitation by a
ghost could be depressing. Take now, that well known ghost
of Hamlet's father, speaking spookily from the battlements at Elsinore.
Of course, he didn't sound happy, how could he when
his own brother had just killed him and promptly married
his widow. He sounded angry yes, vengeful yes, but depressed no,

(04:09:23):
and certainly not depressing.

Speaker 17 (04:09:26):
I'll return shortly with that.

Speaker 15 (04:09:27):
Two.

Speaker 17 (04:09:39):
Our moribund hero Paul has decided to return to Earth
as a ghost.

Speaker 3 (04:09:44):
And haunt the Three Room apartment where he once lived
with his wife Melba. He has simply draped what remains
of him in a shred of celestial vapor.

Speaker 30 (04:09:53):
And now as he gazes.

Speaker 3 (04:09:55):
Through the living room window of what used to be
his own tenth floor apartment, he can scare we be
distinguished from the melting moonlight that floods the room inside.

Speaker 17 (04:10:05):
Nothing's changed, she hasn't changed a thing.

Speaker 13 (04:10:10):
Let's take our coffee into the living room.

Speaker 17 (04:10:12):
Leonard good idea. I think I picked the wrong time.

Speaker 13 (04:10:16):
Bring in that plate of cookies, will you right?

Speaker 4 (04:10:19):
Not those same old oatmeal things.

Speaker 17 (04:10:22):
I've always been crazy about oatmeal cookies.

Speaker 13 (04:10:25):
They were Paul's favorites. Set them down there. Cream in
your coffee, sugar.

Speaker 21 (04:10:32):
Black, please, no sugar.

Speaker 13 (04:10:35):
That's the way Paul took his is after dinner, coffee
in the morning, cream and sugar, yes, but after dinner
nothing is that so? And milk in his tea. You
don't say that's the English way, you know, milk and tea.

Speaker 15 (04:10:49):
I didn't know Paul was English.

Speaker 13 (04:10:51):
He wasn't. Oh I see, oh, way back five six generations.

Speaker 17 (04:10:57):
He was English, But I myself was born in Wales.

Speaker 13 (04:11:02):
Is that so? Oh? Well, that's near England.

Speaker 41 (04:11:06):
Richard Burton is welch, you know.

Speaker 17 (04:11:09):
For goodness sakes, why didn't you know.

Speaker 13 (04:11:12):
That the last movie Paul and I saw together had
Richard Burton in it. I wanted to show you something fascinating,
Paul's World War Two uniform. I've saved it all these years. No,
I don't not tonight and his Captain's bars some other time.

Speaker 30 (04:11:28):
I've really got to be moving on, if you really
have to such a beautiful night, I think I'll walk home, Yes,
a beautiful night.

Speaker 13 (04:11:39):
Oh just look at the moonlight streaming through that window.

Speaker 15 (04:11:44):
Cared to walk aways with me in the moonlight.

Speaker 13 (04:11:48):
Oh no, I don't think so, Leonard. I have a
lot of things to do here.

Speaker 58 (04:11:55):
Well, if there's anything you need, you have my number, yes, ye,
at home and at the office. Good night, Melba, thanks
for dinner.

Speaker 13 (04:12:06):
Thank you for bringing all that fried chicken.

Speaker 17 (04:12:09):
Oh it was nothing really, Good night, good night, Leonard.

Speaker 13 (04:12:16):
Oh Paul, dear.

Speaker 4 (04:12:21):
Paul, I need you, Paul, Melbolle, I need you.

Speaker 3 (04:12:27):
So I'm right here.

Speaker 17 (04:12:31):
What was that I said?

Speaker 3 (04:12:33):
I'm here, Paul, Yes, me, Paul. Whoever by the window, Dear,
I can't see you. I'll step inside. That'll be better.

Speaker 36 (04:12:50):
I see I see something, you see me.

Speaker 3 (04:12:55):
I dare say I've changed somewhat?

Speaker 13 (04:12:58):
Paul? Can that be you?

Speaker 49 (04:13:01):
It is?

Speaker 13 (04:13:02):
I reallyt you?

Speaker 3 (04:13:05):
Well, fairly really, everything considered as real as I can get.
I can't believe it, believe it? Melbourne?

Speaker 13 (04:13:15):
Oh, Paul, how are you never mind about me?

Speaker 12 (04:13:21):
Are you?

Speaker 3 (04:13:22):
Oh? I'm all right?

Speaker 13 (04:13:24):
Really all right?

Speaker 3 (04:13:26):
Everything considered, everything considered. I'm better than all right?

Speaker 39 (04:13:31):
Oh?

Speaker 13 (04:13:32):
Tell me? Are you happy?

Speaker 17 (04:13:36):
Happy?

Speaker 13 (04:13:37):
I must know?

Speaker 36 (04:13:38):
Are you happy?

Speaker 3 (04:13:41):
I'm sorry you asked me that question?

Speaker 13 (04:13:43):
Why should you be sorry?

Speaker 17 (04:13:46):
Happy?

Speaker 3 (04:13:47):
Just isn't a word we use?

Speaker 13 (04:13:49):
Why not?

Speaker 3 (04:13:50):
Because it doesn't mean much once you've died.

Speaker 13 (04:13:54):
Oh, Paul, you're not saying you're unhappy?

Speaker 2 (04:13:57):
No, I'm not saying that.

Speaker 13 (04:14:00):
Then what are you saying?

Speaker 3 (04:14:02):
Look, Melba, I didn't really come here to talk about me.

Speaker 17 (04:14:06):
What about you?

Speaker 13 (04:14:07):
Well, naturally I'm not happy?

Speaker 3 (04:14:10):
Why not without you? What about Leonard Whipple him? What's
the matter with Leonard?

Speaker 13 (04:14:19):
When nothing's the matter with him? He's just not you.

Speaker 17 (04:14:23):
Well I'm not me either, not the way I was before.

Speaker 13 (04:14:27):
I all but I remember you the way you were,
And as long as I remember.

Speaker 3 (04:14:32):
Melba, honey, I don't even remember me the way I was.
You don't not very well?

Speaker 13 (04:14:40):
You remember me, don't you?

Speaker 17 (04:14:43):
Sort of?

Speaker 31 (04:14:43):
Sort of?

Speaker 3 (04:14:45):
Well, you were my wife.

Speaker 13 (04:14:47):
I'm still your.

Speaker 3 (04:14:48):
Wife, not exactly.

Speaker 13 (04:14:49):
There will never be anyone for me, but you never,
I swear, please, we are man and wife forever for eternity.
And now that I know, you can return to me.
Not in the flesh perhaps, but even like this. It's strange,
it's weird, but it's enough for me. I can live
on as your wife, and on and on till I

(04:15:10):
join you.

Speaker 3 (04:15:11):
Melp You don't know what you're saying.

Speaker 13 (04:15:13):
Oh, I knew you could never really die as long
as I remembered you. And you see here you are
living on. Hello, irene me.

Speaker 17 (04:15:34):
Guess what you'll never guess.

Speaker 99 (04:15:38):
Paul was here, yes, yes, yes, right here in this
living room, all right, and his ghost whatever, Well he
looked different, yes, sort of steamy, kind of like a
street light on a foggy night.

Speaker 13 (04:15:57):
But I knew it was Paul, all right. His voice
and the he said, and the way he called me
Melba dear. Well, he didn't say too much. I asked
him was he happy, because naturally I wanted to know.
But he wouldn't say. He wouldn't say. He wasn't unhappy either.
Isn't that weird? He wanted to know about me, Am
I happy? Isn't that sweet? And he asked about Leonard Whipple.

(04:16:23):
Imagine him knowing I've been seeing Leonard off and on.
Of course, I told him Leonard doesn't mean a thing
to me. That there could never be anyone else for me,
I said, Paul, we are man and wife for eternity.
I said, you can never truly die, Paul, as long
as I remember you. And then you know what, I
There was this big, great, big noise, a crash sort

(04:16:45):
of no, not like thunder, more like like music, like
a card out of Beethoven or somebody, And all of
a sudden he was gone. But he'll be back, like
you said, no one is really dead as long as
he's remembered.

Speaker 3 (04:17:04):
H sir, Oh, sir, may I speak with you? No?

Speaker 30 (04:17:14):
Oh, it's Paul, sir.

Speaker 3 (04:17:17):
Could I have just a moment of your time?

Speaker 30 (04:17:20):
I have all the time in the world, and I
have all the time there is that. I don't quite
know how much time there is, but I do know
I have all of it.

Speaker 10 (04:17:31):
Eh.

Speaker 30 (04:17:32):
Does that star look all right to you?

Speaker 3 (04:17:35):
I wouldn't know. I don't quite know how a star
is supposed to look. Please, sir, Oh, yes, yes, yes,
of course you want to talk to me. What about
I've been back to the earth. My wife kept calling me.
You said we owed some responsibility to the living, Yes, sir,
you did.

Speaker 30 (04:17:55):
I wonder if I was right about that. These earth
trips can be very upsetting.

Speaker 3 (04:18:02):
Mine was. My wife wanted to know. Am I happy?

Speaker 30 (04:18:06):
They're also preoccupied with happiness.

Speaker 3 (04:18:10):
I didn't know what to say to her. I couldn't
answer her, this woman I've been married to for half
my life.

Speaker 17 (04:18:17):
I couldn't talk to her.

Speaker 3 (04:18:18):
It was as though we were living in two different worlds. Well, oh, oh, oh, yes,
I see what you mean. Still, should I have been
able to answer her?

Speaker 30 (04:18:30):
Well, what could you have said?

Speaker 3 (04:18:32):
Well that that happy is a word that doesn't mean
anything anymore. Happy is nothing without unhappy, the way pleasure
is nothing without pain, the way health is nothing without illness.
Euphoria is nothing without depression. Oh you know what I mean, sir.

Speaker 17 (04:18:51):
I do know.

Speaker 45 (04:18:52):
It's ridiculous to.

Speaker 17 (04:18:53):
Say I'm happy when I'm never unhappy. What I am is,
what you are are is.

Speaker 21 (04:19:02):
What what I am is.

Speaker 15 (04:19:06):
Free?

Speaker 17 (04:19:08):
Yes, I'm free.

Speaker 3 (04:19:11):
I'm Paul, and I'm free, and I'm free to be Paul,
no more, no less than me me Paul, sir. Why
couldn't I be free like that before?

Speaker 17 (04:19:25):
Ah?

Speaker 30 (04:19:26):
Yeah, I asked myself that same question all the time.
The only answer is that I miscalculated somewhere, and I
did give those people the power to think, to reason,
to figure out the sensible way to do things. Why
don't they years what I gave them? Why eat everything

(04:19:49):
up to me? Theirs isn't the only planet in the universe,
you know, I do have other things to look after it.
But the way they call out to me, me to
do everything, it's not right.

Speaker 3 (04:20:03):
It really is not right, No, sir, I'm sorry, sir.

Speaker 30 (04:20:07):
Well, what's done is done. They'll just have to muddle
through the best way they can. Now about your wife, Melby,
is it?

Speaker 15 (04:20:16):
Yes, sir? Tell you what?

Speaker 30 (04:20:20):
Why don't you talk to Bruce about it? You two
seem to get along so well. Yes, yes, talk to Bruce.
Now excuse me, will you? I really do have to
go take a look at that poor star.

Speaker 15 (04:20:39):
Bruce.

Speaker 3 (04:20:40):
He just wasn't any help at all.

Speaker 5 (04:20:42):
Now, you listen, Paul, suppose you would invented the greatest
machine imaginable, one that would do oh, practically anything you
can think of. How would you like it if somebody
came running to you every time I bolt got lose
and asked you to tighten it?

Speaker 3 (04:20:56):
Bruce melt Po says, she's going to go on remembering
me for will be man and wife forever till she
joins me here, and then we'll still be man and wife.

Speaker 5 (04:21:05):
Maybe once she gets here, she'll change your mind.

Speaker 3 (04:21:07):
When she's only forty two, she'll be remembering me for
years and years and calling for me, and I'll have
to put on that vapor stuff and haunt the apartment
and Bruce, it's so hard to carry on a conversation
with her now.

Speaker 17 (04:21:22):
Didn't used to be, But now you couldn't just ignore.
I love her, Bruce, do you well? I did for
a very long time, right up to the moment I died.

Speaker 3 (04:21:35):
My last words were I love you, Melbude.

Speaker 17 (04:21:38):
At least that's what I meant to say.

Speaker 3 (04:21:41):
I know I had it in my mind to say that,
but I'm not positive I ever got around to saying it. Anyway,
I can't just just brush her off.

Speaker 17 (04:21:52):
You do have a conscience, don't you well?

Speaker 15 (04:21:54):
I hope.

Speaker 5 (04:21:55):
So it's a very fine thing to have, of course,
But sometimes there's only one thing you can do. What
get married?

Speaker 3 (04:22:05):
Married to Melbourne?

Speaker 17 (04:22:08):
No, not the melbourn you idiot. How could you marry Melbourny?
She's there in your ears? Some marriage that would be?

Speaker 5 (04:22:15):
Whom would I marry? Heaven's to Betsy, Paul. The place
is full of women. Have you ever seen Helen?

Speaker 3 (04:22:21):
Helen who?

Speaker 17 (04:22:22):
Helen of Joy they call her.

Speaker 5 (04:22:24):
Actually I've never met her myself, but from what they.

Speaker 7 (04:22:27):
Tell me.

Speaker 18 (04:22:31):
Who marriages are made in heaven.

Speaker 21 (04:22:37):
So it's been said.

Speaker 3 (04:22:38):
There are those who consider this a profoundly true observation,
while others think it one of the silliest statements ever made.
I myself have no opinion, at least none that I
care to express here. But no one, so far as
I know, has ever claimed that people actually get married
in heaven. Melburgh was a wonderful wife to Paul, but

(04:23:13):
as his widow, she leaves something to be desired.

Speaker 21 (04:23:17):
Two things.

Speaker 3 (04:23:19):
She won't stop desiring him, and she won't leave him alone.
In his desperation, Paul has gone to his kindred spirit
Bruce for help. The only advice Bruce could offer was
for Paul to marry again, not his earthly wife Melba,
but one of the heavenly creatures who, like Paul, expect

(04:23:39):
to live on forever, in whatever place it is they
live on forever in.

Speaker 30 (04:23:46):
You've definitely burn yourself out, little one. Too bad, sir, Oh, sir,
Now look, Paul, this dear little star has burned itself out.
I knew it wouldn't be long, sir.

Speaker 3 (04:24:05):
I did what you told me to. I talked to
Bruce about my problem, and you know what he said.
He said, get married married, He says, the only way
to make Melbourne forget me is for me to get
married to someone else, someone here where else?

Speaker 45 (04:24:22):
What do you think of the idea?

Speaker 30 (04:24:25):
Why do you keep asking me what I think? Can't
you ever think for yourself?

Speaker 17 (04:24:30):
I just thought, no, no, you didn't.

Speaker 30 (04:24:33):
You came running to me like all the others. I'm
getting tired.

Speaker 3 (04:24:36):
If you could give me a little advice.

Speaker 30 (04:24:38):
I gave you a little advice. I said, talk to Bruce.
You talk to Bruce, and he told you what he
thought you should do. Now, either do it or don't
do it?

Speaker 41 (04:24:48):
Is it all right?

Speaker 30 (04:24:50):
Is what all right?

Speaker 3 (04:24:52):
To get married?

Speaker 13 (04:24:53):
Here?

Speaker 17 (04:24:55):
Paul?

Speaker 30 (04:24:56):
The essence in this place is perfect freedom to as
you choose. It might work out, it might not. But
that's true of everything, isn't it? It's certainly true of
everything I do.

Speaker 3 (04:25:10):
Do many people get married here?

Speaker 27 (04:25:13):
Well, I don't know.

Speaker 3 (04:25:15):
I do know.

Speaker 30 (04:25:15):
They don't come running to me to ask is it
all right?

Speaker 3 (04:25:18):
Bruce mentioned someone called Helen, Helen of Troy?

Speaker 30 (04:25:22):
Are you asking me to pick a wife for you?

Speaker 31 (04:25:25):
Now?

Speaker 30 (04:25:25):
What else do you want me to do? Tie your shoelaces?
Help you with your arithmetic? Don't you people ever grow up?

Speaker 3 (04:25:31):
I'm sorry, sir.

Speaker 30 (04:25:32):
I don't care about your being sorry. That's too easy.
I care about your achieving some measure of maturity, a
bit of independence, a little simple sense? Is that asking
too much? Tell me? Is that really asking too much?

Speaker 15 (04:25:48):
Sir?

Speaker 30 (04:25:49):
Sometimes I feel like giving up on the whole human race.

Speaker 3 (04:25:54):
You're not gonna cry, are you, sir?

Speaker 48 (04:25:56):
Why not?

Speaker 30 (04:25:57):
Who has better reason to cry than I?

Speaker 26 (04:26:00):
Up?

Speaker 3 (04:26:00):
Nobody?

Speaker 15 (04:26:01):
I guess.

Speaker 12 (04:26:01):
Eh.

Speaker 30 (04:26:04):
However, we must all carry on, mustn't We never give up?
That's my motto, because if I gave out.

Speaker 3 (04:26:10):
It, don't say it, sir, Please don't say it.

Speaker 30 (04:26:14):
No, No, I won't say it. I wouldn't be so cruel,
no matter how provoked. Now, Paul, I really must go
tend to that poor little star who believed me needs
my help more than you.

Speaker 13 (04:26:29):
Do, Irene. It's me, oh, just sitting around. Leonard asked
me to go to that news take place with him,
but I said no, I didn't feel like it. That's why,

(04:26:50):
don't be silly. I like Leonard, he's a very nice man.
But well, there's a beautiful moon out tonight, I thought.

Speaker 52 (04:27:01):
Maybe, Okay, Heaven's sakes, what's that?

Speaker 13 (04:27:06):
Well, there was a terrible planking noise. Just now it's
scar of me. You're dead?

Speaker 15 (04:27:11):
Oh?

Speaker 13 (04:27:11):
How could it be the radiator? The heat's not turned
on yet? Is there a storm coming up or something?
Is that that whistling sound? Can't you hear it? Like
a like a terrible wind? Maybe a hurricane? What do
you mean you don't hear anything? What there goes to
the moon? It must be a hurricane. Okay, I mean

(04:27:33):
the moonlight just stopped shining. How can it be shining
where you are and not here? Oh? Now it's shining
here too, I read. How are you there? Are you
crying about something? I thought you were? For no reason?

(04:27:55):
I just thought I heard well, I heard somebody crying,
ga more than crying, really sobbing.

Speaker 20 (04:28:03):
Oh my goodness.

Speaker 13 (04:28:06):
Something just ran through the room. Do I know why
it disappeared into the kitchen. There's something here in the kitchen.

Speaker 17 (04:28:17):
It's laughing, terrible laugh.

Speaker 13 (04:28:20):
It couldn't be PAULA because it couldn't be Paul doesn't
behave that way. He just comes to the window and says, here,
I am Melvi, dear.

Speaker 41 (04:28:29):
It couldn't be Paul here.

Speaker 17 (04:28:31):
I am Melbury, Dear.

Speaker 13 (04:28:35):
He just said it here. I am Melbury, Dear Melbury,
I am here, Hireen. I'm gonna hang up. I've gotta
find out if it's Paul, and if it is Paul,
I've got to know why he's behaving so peculiarly. No, no,
don't come over you you might scare him away. I mean,
after all, I'm used to these things, and you're not bern.

Speaker 17 (04:28:57):
Hello, Melba, Paul is it you?

Speaker 27 (04:29:01):
No, it's not PAULO.

Speaker 17 (04:29:03):
Don't be frightened. I'm Bruce, Bruce, who I don't know
any Bruce. I'm Paul's new friend, his best friend, actually.

Speaker 13 (04:29:12):
But why are you here? Why isn't Paul here?

Speaker 17 (04:29:15):
He couldn't make it to night.

Speaker 13 (04:29:17):
Why not? Nothing's happened to him, has it?

Speaker 17 (04:29:20):
What could happen?

Speaker 13 (04:29:23):
Nothing? I suppose everything's already happened precisely. Well, then why
isn't he here. I've thought about him and thought about
him every single day and every time I woke up
during the night. I've been over every moment of every
day of every year we had together. That's just he
ain't just about to start over at the beginning.

Speaker 27 (04:29:42):
Yah.

Speaker 17 (04:29:42):
I wouldn't do that if I were you.

Speaker 13 (04:29:44):
Why not? He's not really dead as long as I
remember him.

Speaker 17 (04:29:48):
He's not really alive either, is he.

Speaker 13 (04:29:51):
Well?

Speaker 17 (04:29:52):
No, but Melba, you're wearing him out with all this
remembering wearing him.

Speaker 5 (04:29:56):
I'm back and forth, back and forth. It's very tiring, Melbourne.

Speaker 13 (04:30:03):
You mean he'd rather just stay where he is?

Speaker 26 (04:30:06):
I think so.

Speaker 13 (04:30:08):
Nobody wants to be dead and forgotten. I certainly don't want.

Speaker 17 (04:30:13):
To be Wait, you'll find out.

Speaker 13 (04:30:15):
Nobody wants to be dead and forgotten.

Speaker 17 (04:30:17):
That's because they haven't tried it yet.

Speaker 13 (04:30:20):
You mean to tell me that Paul wants to be
forgotten by me?

Speaker 17 (04:30:25):
If you think you could manage it.

Speaker 13 (04:30:28):
Forget twenty two beautiful years. Oh I couldn't. I couldn't possibly?

Speaker 17 (04:30:37):
What about having twenty two more beautiful years with somebody
else like who?

Speaker 58 (04:30:43):
Well?

Speaker 17 (04:30:44):
I've heard nice things about a certain Leonard Whipple.

Speaker 13 (04:30:48):
Leonard Whipple.

Speaker 17 (04:30:49):
I've heard he's very devoted to you.

Speaker 13 (04:30:52):
But Leonard's not Paul. Leonard could never be Paul.

Speaker 5 (04:30:56):
But he could be Leonard, couldn't he if you'd let him.

Speaker 13 (04:31:00):
Paul is the only man for me, always was, always
will be.

Speaker 17 (04:31:04):
And that is that all?

Speaker 18 (04:31:06):
Melb Melbur?

Speaker 13 (04:31:08):
Why do you say all? Melbur Melburgh like that?

Speaker 17 (04:31:11):
Because you forced me to tell you something. I really
have no right to tell you what?

Speaker 3 (04:31:17):
What is it?

Speaker 17 (04:31:17):
Hardly anybody knows about it? Just me and Paul? Of course?

Speaker 45 (04:31:23):
What is it?

Speaker 5 (04:31:25):
I shouldn't repeat it. No, my lips are sealed. It's
too private.

Speaker 13 (04:31:30):
Is it concern Paul? Is it about Paul?

Speaker 17 (04:31:33):
You won't mention it to a living soul.

Speaker 13 (04:31:35):
I won't mention it to anybody. What is it?

Speaker 17 (04:31:39):
Paul? Paul is getting married again?

Speaker 13 (04:31:47):
Oh? Is getting married again?

Speaker 15 (04:31:52):
Yes?

Speaker 13 (04:31:53):
Who too?

Speaker 17 (04:31:55):
I think her name is Helen?

Speaker 13 (04:31:57):
Is she pretty?

Speaker 5 (04:31:58):
I've never met her, but I hear she's very pretty young?

Speaker 17 (04:32:02):
I believe so? Oh?

Speaker 45 (04:32:04):
How cold?

Speaker 13 (04:32:05):
How could he?

Speaker 17 (04:32:07):
That's life? Melbura life.

Speaker 13 (04:32:09):
Paul's not alive, but you are, Melba. Yes, I am.

Speaker 17 (04:32:14):
Make the most of it. That's my advice to you.

Speaker 13 (04:32:19):
Thank you, Bruce for telling me what you told me.
I really appreciate it.

Speaker 17 (04:32:24):
You're quite welcome.

Speaker 13 (04:32:27):
I don't suppose Paul would ever have told me himself.

Speaker 17 (04:32:29):
Oh, eventually he would have.

Speaker 13 (04:32:32):
Maybe maybe not. Well, if you see him, tell him.
I hope he's very happy with his Helen Alt.

Speaker 17 (04:32:42):
Nice to have met you, Melbur.

Speaker 13 (04:32:43):
It's very nice to have met you too, Bruce. I
are you still sitting down or standing up? I can't
quite tell.

Speaker 17 (04:32:51):
Does it really matter? I just like to I don't know,
shake hand or something not necessary? Not necessary? It all?

Speaker 13 (04:33:00):
I could see you to the door.

Speaker 17 (04:33:03):
No, let's just part this way. A fond of you
to you elbow a fund.

Speaker 36 (04:33:12):
Oh he's gone, just disappeared.

Speaker 13 (04:33:19):
Whoa. That's the way with ghosts. Who needs ghosts anyway?
Though they're comings and goings and the way they talk,
who can understand them? Hello Irene, Irene, you are absolutely

(04:33:41):
not going to believe what I'm about to tell you.
You simply will not believe it.

Speaker 3 (04:33:53):
Bruce, Bruce, where have you been? I've been looking all
over for you. Even Salomon didn't know where you were.

Speaker 17 (04:33:59):
Where were you?

Speaker 5 (04:34:00):
I went to see your wife Melbourne? What for to
tell her you were getting married?

Speaker 3 (04:34:06):
Bruce? You had no right to do that.

Speaker 17 (04:34:08):
Here we do as we choose. He told you that.
How did she take it? Shocked? Of course, hurt what
you'd expect it.

Speaker 3 (04:34:17):
Told me you were going to tell her.

Speaker 17 (04:34:18):
I knew you wouldn't let me.

Speaker 3 (04:34:19):
I wouldn't have for one very good reason. It's not true.
It's not true that I'm getting married.

Speaker 17 (04:34:26):
You changed your mind, not exactly, I asked Helen.

Speaker 3 (04:34:31):
Yes, she said absolutely not. She says she's not the
marrying type. But you didn't stop right there, did you.
There are others, I asked Catherine. I can't pronounce her
last name. She used to be an empress in Russia.

Speaker 17 (04:34:43):
She laughed fit to kill, and so did Amy and
Louise and Marie.

Speaker 3 (04:34:48):
Even salom May laughed at me.

Speaker 17 (04:34:50):
Are you upset?

Speaker 3 (04:34:51):
Well, nobody likes to be laughed at. Yes, I'm upset,
But on the other hand, I'm relieved too, Bruce. I
really don't want to get married.

Speaker 17 (04:35:02):
I never thought you did.

Speaker 3 (04:35:03):
Everything's so nice here, so free and sort of uninhibited,
so peaceful.

Speaker 13 (04:35:16):
Leonard, it's Melba. You don't mind my calling you at
your office?

Speaker 24 (04:35:21):
Do you?

Speaker 13 (04:35:23):
That's good? How was the new steak place you didn't
go on account of me? You didn't go? Well, I
must say, Leonard. Oh, I spent the evening doing various things,
things that really needed to be done. Like I got
all Paul's closed together and packed them in boxes. Tomorrow

(04:35:46):
I'll send them to some deserving charity. Listen, Leonard, I
was thinking, as long as you didn't go to that
steak place, why don't you come over here tonight and
I'll cook you the best steak you ever taste and
hash brown potatoes. Would you like that?

Speaker 43 (04:36:04):
Ah?

Speaker 27 (04:36:04):
Good?

Speaker 13 (04:36:06):
We come early and we'll have a martini first.

Speaker 21 (04:36:13):
Well.

Speaker 3 (04:36:14):
Good for Melbourne, good for Leonard, and good for Goose
and for Paul too. Good for everybody who faces up
to a problem and solves it the best way possible.
The solution may not be a perfect one. Solutions seldom are,
but at the very least they are an attempt to
use the sense we were born with, and that's all

(04:36:35):
God asks of any of us.

Speaker 15 (04:36:37):
I'll be back shortly.

Speaker 3 (04:36:50):
You do realize, don't you that the story I've just
brought you was all pure fantasy. I don't know any
more than you two what happens to us once we
have resigned this terrestrial life, and you know as little
as I do, unless.

Speaker 17 (04:37:05):
Of course, you are a ghost. Oh, if you are,
I wish you'd get in touch with me.

Speaker 3 (04:37:11):
I have gobs and gobs of things I'm dying to
ask you, like, Well, for one thing, are you happy.
Our cast included Lanka Peterson, Elliott Reid, Robert Dryden, and
Gordon Gould. The entire production was under the direction of
Hyman Brown.

Speaker 1 (04:37:31):
Well, my dear, as our time has wrapped up for
this week, I do hope you'll come back and see
me in the same place and time. After all, when
tonight is over, this will be my one and only

(04:37:52):
and I sure do appreciate you joining me, But I
am sorry this evening puts you on edge. How about
something different tonight? Instead of you walking your way home
over the river and through the woods, Well, I'll walk you.

(04:38:13):
I look forward to seeing the journey you always take
to come and see little old Moon, and I'll make
sure you're safe so that we may meet again. And
after I drop you off, I myself will be thankful
for what I have. I'll grab your coat and that's gone.

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Unknown Broadcast | Ghosts Beyond the Veil: Seven Spooky Horror Stories for Día de los Muertos

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