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Episode Transcript
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Speaker 1 (00:09):
Ah, welcome back, my dear. How have you been?

Speaker 2 (00:15):
Ah?

Speaker 1 (00:16):
Very good, very good? Oh what's that? Oh no, no,
not too shabby at all. I may have a bit
of a sunken appearance in my visage, but well, I've
never been a big fan of sleep, but now, well

(00:37):
who could sleep at a time like this? Not when
they're so much fun to be had. So please sit
back and relax. I'll put the tea kettle on. I
know it's been very hot out there, but I think
it will soothe you, and we could all use a

(00:57):
little soothing as we realize that well forsngs tomorrow is never.

Speaker 3 (01:07):
The CBS Radio Mystery Theater presents.

Speaker 4 (01:28):
Come in.

Speaker 2 (01:30):
Welcome. I'm e. G. Marshall.

Speaker 3 (01:34):
When you come right down to it, there are three
mysteries we experience which have much in common. The mystery
of dreams, the mystery of hope, and the mystery of
evoking imagination. Mystery Theater best fulfills the last one, but
it is the first two enigmas we will explore today. Hope,
the fantasy of our waking hours and dreams, those visions

(01:58):
of both night and.

Speaker 2 (01:59):
Day, to make our lives more bearable.

Speaker 5 (02:02):
It hasn't only been the money, Larry. Everything has conspired
against my seeing Europe. It's a strange thing. I'm almost fated.
If one believes in fate.

Speaker 6 (02:14):
I don't, Caroline. You are what you make of yourself.
You do what you really wish to do.

Speaker 5 (02:20):
It's in my castle in the air. I'm almost afraid
to talk about it anymore. Whenever I make plans and
it seems to come nearer, it all melts away. It
as if I were doomed never to leave this town.

Speaker 3 (02:38):
And our mystery drama Tomorrow Is Never was adapted from
a story by Henry James by James Aggott Junior, especially
for the Mystery Theater, and stars Marion Zeldis and Larry Haynes.
I'll do that shortly with that one.

Speaker 2 (03:04):
And her name was Caroline Spencer.

Speaker 3 (03:14):
Caroline teaches school, and sometimes her fourth grade students would
wink and make fun of her. For Caroline might suddenly
be gazing out the wind over a classroom, looking far
beyond the snow covered New England hills, daydreaming of Rome
or Paris, places she'd never seen. Today, at a party,

(03:36):
she will meet Lawrence Stamford, a man who may change
her whole life and thanks for invitingly open.

Speaker 7 (03:46):
Laurence Stanford, don't stand in the doorway, come in, or
it'll be snowing in my Hallan first.

Speaker 2 (03:52):
Let me fall out. It's called out there. Take your coad.
We'll be patient with me.

Speaker 7 (03:59):
I'm glad you brave the storm to come to my party.
People are so rude, hardly anyone has arrived yet. You'd
think they'd have the decency to let.

Speaker 6 (04:07):
Me know, Aunt Pega, who being fair that drifts are
three feet high? Not everyone is used to climbing the
apps like I am. But Mark is nothing compared to that.

Speaker 5 (04:17):
Well, so it's snowy.

Speaker 7 (04:19):
You'd think they'd find some other means of letting me know.
I see you've brought along.

Speaker 8 (04:24):
Your album of photographs, as I asked you to.

Speaker 7 (04:27):
I am just the person for you who will be fascinated.

Speaker 2 (04:31):
Oh, I don't mind showing my pictures in the slightest
that way.

Speaker 6 (04:34):
I don't have to be witty or charming or even
talk evidence of my travels talk for me.

Speaker 7 (04:39):
We stop talking now and join us in the parlor. Oh, Caroline, yes,
missus Peggerson, May I introduce you to Lawrence Stanford. Lawrence,
this is Caroline Spencer. Lawrence is my nephew and my
neighbor when he isn't gallivanting about the world.

Speaker 5 (04:57):
How do you do, missus Stamford A pleasure?

Speaker 7 (05:00):
I have a special purpose in mind introducing you to Lawrence,
as young as.

Speaker 5 (05:05):
He is, is a world traveler.

Speaker 7 (05:07):
Oh, how wonderful there you see, Lawrence here is a
young lady to whom traveling is the nut.

Speaker 6 (05:13):
Plasutra well as pagan And he said to the King
of Prussia only yesterday, I just.

Speaker 2 (05:17):
Happened to bring my violin.

Speaker 8 (05:19):
Oh, stop flording, Lawrence.

Speaker 7 (05:21):
What my nephew means is that he brought a whole
portfolio pictures of the places he's been to.

Speaker 5 (05:27):
I understood that.

Speaker 2 (05:28):
Oh did you man peg? I think I hear someone
at the door.

Speaker 5 (05:32):
Good.

Speaker 7 (05:33):
Hopefully someone else has braved the storm to join us.

Speaker 2 (05:36):
Miss Spencer. Whether you're ready for it or not, and
whether I am or not, it's travel time for both
of us. Let's sit over here by the.

Speaker 3 (05:46):
Fire now on this page some pictures I took in Switzerland.

Speaker 2 (06:00):
If sure, I'm not worrying you, we've already been through
half my photograph.

Speaker 5 (06:04):
Not a date. I'm quite fascinated. Please go oh oh,
the lake is like glass. Have you been on the
shore to that big building.

Speaker 6 (06:13):
Oh, that's the Castle of Chilon on Lake Ghanida. Yes,
many times?

Speaker 5 (06:17):
Saloon isn't that way? Bonavard was imprisoned. Byron wrote about
it in the Prisoner of Galom.

Speaker 2 (06:22):
You're quite right that one picture brings back Byron and
his poetry.

Speaker 5 (06:28):
Oh, yes, and more I see.

Speaker 6 (06:32):
Well, if you can understand how art and literature and
music are all part of European life, I'd say that
you are well equipped to visit many countries, Switzerland, Italy, everywhere.
But if you want to see Europe, as Byron described,
that you'd better make your trips soon. The continent is
getting sadly dispyronized.

Speaker 5 (06:52):
How soon must I go?

Speaker 2 (06:53):
I'd give you ten years.

Speaker 5 (06:55):
Oh, I think I can go in that time.

Speaker 7 (06:58):
Well, you two have been sitting by fire for an hour?

Speaker 5 (07:01):
Don't you want some tea?

Speaker 2 (07:02):
Can I get you a cup of special? Thank you?

Speaker 5 (07:04):
Here's just plain, no sugar or milk.

Speaker 2 (07:05):
Plain, no sugar, no milk cake.

Speaker 7 (07:07):
Laurence, come back here.

Speaker 5 (07:09):
I'll bring you both some tea.

Speaker 2 (07:11):
Are you sure, Aunt? Peg?

Speaker 6 (07:12):
Besides, I may be taking up too much of the
Spencer's time.

Speaker 7 (07:15):
Why do you think I invited you here? Now put
that portfolio back in your lap, and I'll bring you.

Speaker 5 (07:21):
Both a top. Missus Pegass is a sweet lady.

Speaker 2 (07:26):
Yes, how do you know my head? Well?

Speaker 5 (07:29):
Three of her little grand nieces are in my English class.

Speaker 2 (07:31):
Oh oh, so that's what you do. You teach English.

Speaker 5 (07:35):
Well with half a mind? Really do you speak many languages?

Speaker 2 (07:39):
Well after fashion.

Speaker 6 (07:41):
But well enough to make myself understood? From Geneva to Rome?

Speaker 5 (07:44):
I envy you. Have you been over there many years?

Speaker 6 (07:48):
Well?

Speaker 2 (07:48):
It does mount up. Put all the visits together.

Speaker 5 (07:51):
You've traveled everywhere.

Speaker 2 (07:53):
Oh no, not everywhere. I love it, and happily I
can indulge.

Speaker 5 (07:58):
All of this is like a fairy tale to me.
I suppose it's all very expensive, isn't it?

Speaker 2 (08:05):
Europe?

Speaker 6 (08:05):
Well, depends how you go the big ocean liners. They're expensive,
but one can go third class. It takes no more
than two weeks. Once you're over there, you can manage
with very little.

Speaker 2 (08:16):
You can see a great deal if you spend it wisely.

Speaker 5 (08:18):
Well I think I could. I've saved and saved, and
I'm always adding a little bit to it. And I
don't mind doing without things as long as oh, well,
there's that part of gold at the end of my rainbow,
those countries, their history.

Speaker 6 (08:34):
You must never give up that dream, Caroen, when your
rainbow ends in such beautiful colors.

Speaker 5 (08:42):
You say that in such a kind way. I don't
even mind your calling you by my first name, and
yet we hardly know each other.

Speaker 6 (08:50):
Well, I didn't mean to be forward. My friends call
me Larry.

Speaker 5 (08:53):
It's all right. I feel I can trust you. It
hasn't been only saving up the need to call it.
It's been other things. I'm almost afraid to talk about
it anymore. Two or three times it's come a little
nearer and I start making definite plans, and then I
talk about it and it melts away. I can't explain it,

(09:19):
but I'm still possessed with a kind of madness to travel.

Speaker 6 (09:22):
Well, there's only one cure for it, and that is
to make up one's mind and go.

Speaker 2 (09:27):
Keep believing, and you will.

Speaker 5 (09:29):
I've read and read, I've prepared my mind. I think
as well as anyone can, not just byron, but but
histories and guide books, betekers. And when I'm at long
last there, when I put my foot on that ground,
I know I shall rave about everything.

Speaker 6 (09:46):
Well, as I say, the only cure is to go
indulge in years.

Speaker 5 (09:50):
I've got a relative who lives in Paris. He's an
art student, so it isn't as though I be completely alone.

Speaker 6 (09:55):
Yes, well, I'll be going back pretty soon. One has to,
and I'll be looking for you, Caroline, and I'll expect
to find you there.

Speaker 7 (10:03):
Here you are you two two tops of teeth, Lawrence,
I believe it stopped knowing well, my dear. Meeting this
young man is almost like an adventure with an explorer,
isn't it, missus peggas as you couldn't have given me
a more enjoyable afternoon.

Speaker 6 (10:20):
I do appreciate it, Miss Spencer, Caroline, i'd done. I'd
better circulate a bit. They'll accuse my ad of inviting
a very rude nephew. But if you do go abroad,
remember I shall be on the lookout.

Speaker 5 (10:36):
For you, and i'll tell you if I'm disappointed.

Speaker 6 (10:45):
That was how I met Caroline Spencer. Almost three years
went by. I was living in Paris, and in October
i'd gone to the French port LaHave to meet my
brother Freddie and his wife. I got there late. Their
ship had already docked and I finally found them at
the Grand Hotel.

Speaker 3 (11:03):
Larry, I'll good to see you. You never get me
the older you wondered what happened to you?

Speaker 6 (11:08):
The train was late leaving the gar san Lazaar, and
then every farmer in northern France took it into his
head to drive his cows across the tracks, just as our.

Speaker 2 (11:17):
Book train wanted to.

Speaker 3 (11:20):
How is Elizabeth not well at all? And a good
start to a vacation?

Speaker 2 (11:24):
All? What is it now? You know?

Speaker 3 (11:26):
Stale fields the boat under She's the next room now trying.

Speaker 9 (11:30):
To sleep well?

Speaker 2 (11:31):
Aren't we taking the four thirty back to Paris.

Speaker 3 (11:33):
It's unlikely, Larry, better to spend the night here and
when Elizabeth's had a good sleep to start off fresh tomorrow.

Speaker 2 (11:41):
What we'll see if if.

Speaker 6 (11:44):
That's the case, Ready, the first thing to do is
for you and need to find ourselves a cafe on
the waterfront and have a spot of cognac at two.

Speaker 2 (11:51):
In the afternoon. Corgnac.

Speaker 6 (11:53):
Ready, my boy, You are in France, and when you'll
get to Rome, I expect you'll do as the Romans do.

Speaker 2 (12:00):
But till you get there. While you're here you'll do
as the French do.

Speaker 3 (12:03):
Cognac at two cheers to your help, to Larry, oh
and to elizabeths and hope she's back on her feet
by dinner time.

Speaker 2 (12:17):
Hm hmm, good cogya. I can't say that thought and cheap,
great Scott m as she is the little lady of
the steamer. M Oh, you mean that girl at the
farthest table under the army? Was she on your.

Speaker 3 (12:31):
Boat on deck from morning till night? She's never sick.
I didn't tell you all roughly Atlantic could be in
October now every day she'd sit there just as she
do me now, hands folded, looking out of the horizon.
They head every single day is a hypnotized So why
don't you.

Speaker 2 (12:48):
Go speak to her? Why don't know her? We never
met she's taught to know him. You know, I have
an idea.

Speaker 3 (12:54):
She's a Yankee school mistress on her first trip to Europe.

Speaker 2 (12:58):
Yes, because I think you're right, I think i'll speak too.

Speaker 6 (13:03):
I wouldn't Larry. She's very shock Freddy, Freddy, I know her.
I'm sure I met her at a tea party.

Speaker 2 (13:09):
At aunt Peg. Well. Matter of fact, I'm.

Speaker 3 (13:11):
Getting twinges of conscience about Elizabeth. I'll be starting back
to the hotel. Well, i'll walk you back. Oh no,
it's just up the road. I can find it. I
suppose you come knock at our door about six and
we'll see if she's well enough for us all to
go down that in early dinner.

Speaker 5 (13:29):
Good afternoon, take your part, Oh aren't you?

Speaker 2 (13:35):
Do you mind if I sit with you at your table?

Speaker 6 (13:39):
So so here you are in Europe. I hope you're
not disappointed.

Speaker 5 (13:46):
It was you who showed me photographs of your travel.
You're Missus Pegas's nephew. I remember that afternoon, so very well.

Speaker 2 (13:54):
It's so do lie, so do I.

Speaker 6 (13:58):
The last thing you said to me was I'll tell
you if I'm disappointed, and you're not.

Speaker 5 (14:03):
Oh, I can't begin to tell you how happy I
am just to be sitting here in this cafe watching
the people. It's like a dream. I've been right here
for over an hour and I don't want to move.

Speaker 6 (14:15):
But if you're that enchanted with poor prosaic Lahab, you'll
have no admiration left for better things. There are so many,
so many more beautiful places just waiting for you. And
why are you still in the harv anyway? Why haven't
you gone on to Paris.

Speaker 5 (14:33):
It's quite a long story. It's because of my cousin George.
You see, he has all my money.

Speaker 2 (14:46):
Here it happens.

Speaker 3 (14:48):
There seems to be no end of naivete of trusting
people who believe the best of others. Caroline Spencer seems
to be one of those.

Speaker 2 (14:58):
But not so Larry.

Speaker 3 (14:59):
Stamford, who is beginning to feel compassion, if not to
care and conscience for this neophyte, innocent traveler. I'll be
back shortly with that too, and I won't be as

(15:22):
brash as that Broadway figure who once said there's a
sucker born every minute. But when Larry Stanford heard the
young school teacher had handed over all her savings for
a European trip to a mysterious cousin, he was apprehensive.
He would have been downright a pall had he been
able to overhear cousin George two weeks before cousin Caroline arrived.

Speaker 2 (15:45):
There is no other words.

Speaker 7 (15:47):
But Josh, I don't think I can do it by
handwriting is.

Speaker 2 (15:51):
Terrible, Bertha, it will be good enough for this.

Speaker 7 (15:54):
I am supposed to be a French countess. If anyone
can understand my handwrite, I think they would never believe it.

Speaker 3 (16:01):
I tell you, brother, it doesn't matter. She won't know
the difference. Now I've given you some nice clean paper.
There is the ink, take up the pen and will begin.

Speaker 7 (16:12):
But georsh Sherrie, why am I writing this letter? If
your cousin, this Mademoiselle Caroline from America, arrives at Love
in two weeks, why write her a letter? She won't
receive it before her departure.

Speaker 2 (16:29):
Because Marpa tit.

Speaker 3 (16:30):
I shall go to meet the ship when it arrives,
and when I think the moment is right, I will
give it.

Speaker 2 (16:36):
To her to read.

Speaker 3 (16:38):
Now right, sher Mademoiselle, I appeal to you as one
woman to another woman to another new sentence, Your wonderful cousin, George.

Speaker 7 (16:55):
You don't think much of yourself.

Speaker 3 (16:56):
Do you?

Speaker 10 (16:57):
Brother?

Speaker 3 (16:57):
Way you start this nonsense and write when I tell you, Look,
I don't know whether my cousin is rich or not.

Speaker 2 (17:05):
Whatever, she certainly better often we are.

Speaker 3 (17:09):
All I'm asking is to borrow some money until I shay, oh,
my big painting is completed.

Speaker 2 (17:16):
How does that satisfy you?

Speaker 5 (17:17):
Then?

Speaker 7 (17:18):
Why is it I appeal from one woman to another?

Speaker 5 (17:23):
What are you up to? George?

Speaker 11 (17:24):
I want to know.

Speaker 5 (17:25):
I have a right we your husband and wife, aren't we?

Speaker 2 (17:29):
You don't trust me?

Speaker 11 (17:30):
And why do I have to be a countess?

Speaker 7 (17:34):
I work in a bakery shop in my spare time.

Speaker 5 (17:37):
That's honest work, isn't it.

Speaker 3 (17:40):
You don't understand the romantic mentality of an American spinster?
Now shall we continue?

Speaker 6 (17:51):
When Caroline told me she'd handed her American dollars over
to her cousin, I admit I was more than suspicious.
I became a learned I can't say why, but it
gave me a definite chill. And I suppose I looked
uneasy as we sat together at that waterfront cafe.

Speaker 5 (18:10):
What a safe you're making Larry's deathrift. It's all right,
I hope, so, Carl, then stop frowning.

Speaker 6 (18:18):
No, I'm wincing at the thought that half an hour
after you land in Europe, your friends should have passed
into someone else's hands.

Speaker 2 (18:24):
Is this cousin, George? George? Is he? Is he going
to travel with you only.

Speaker 5 (18:31):
As far as Paris? He's an art student.

Speaker 2 (18:34):
Yes, you told me that he was an art student
three years ago.

Speaker 5 (18:37):
I've always thought that so splendid. I wrote to him
when I was sailing. But I never expected him to
come all the way here to love. I mean, that's
very kind of him. Don't you think he's very kind
and very bright?

Speaker 2 (18:49):
Yes, but you say he has your money? Where did
he go?

Speaker 5 (18:55):
What is to the bank to change some of my dollars?
He said I should wait for him here? Minded it
a bit?

Speaker 2 (19:01):
I see?

Speaker 6 (19:02):
And when cousin George returns, are you going to Paris?

Speaker 2 (19:08):
Oh?

Speaker 5 (19:08):
George thinks I should stay here for a few days here,
poor man?

Speaker 2 (19:14):
Why do you say that?

Speaker 5 (19:15):
Oh, something's troubling him. He said, when he came back
with my French money, he'd have something important to tell me,
and that we shouldn't really decide anything until he's told
it to me. Ah, I thought, so he's been so thoughtful,
So how can I not listen to him?

Speaker 2 (19:31):
Caroline?

Speaker 6 (19:32):
You did not come all this distance to listen to troubles,
but to go to new place.

Speaker 5 (19:37):
Oh I will, I will? I have it all planned.
Did that's him be coming back?

Speaker 2 (19:42):
The tall one, Yeah, the one with the swagger stick
on the red head and.

Speaker 5 (19:45):
The velvet jackets. Don't you just love the velvet jacket and.

Speaker 2 (19:48):
Miss louche hat.

Speaker 5 (19:49):
That's my cousin I told you we'd be along. George
over here.

Speaker 12 (19:55):
How do you do?

Speaker 2 (19:56):
I'm Laurence Stanford. I'm an old friend of Carol.

Speaker 5 (19:58):
Hello, Oh you were on the ship with her? Stand George,
sit down, he's got my chair. Well, fetch another one, silly, Larry,
Please don't.

Speaker 6 (20:09):
No, no, I think i'd better be off. My sister
in law didn't make the voyage too well, and I
wanted to back see how she is well.

Speaker 2 (20:17):
I was hoping to stand us all to a dream.

Speaker 6 (20:19):
Well, I'm afraid I haven't the time, but thank you, Caroline,
in case I don't return to Paris this evening with
my brother and sister in law.

Speaker 2 (20:26):
Where are you staying here? I've put her unto La
Belle Norma.

Speaker 5 (20:30):
Is that a pretty name? It's a lovely old and
yes it's a good place.

Speaker 2 (20:33):
I've been there myself.

Speaker 3 (20:35):
I know my way around old chap Oh wha, Carolina, Caroline,
it's Larry.

Speaker 2 (20:49):
May I sit here? Oh?

Speaker 5 (20:50):
Yes?

Speaker 2 (20:51):
Are you?

Speaker 5 (20:52):
If you wish.

Speaker 2 (20:54):
Beautifully me, isn't it?

Speaker 6 (20:56):
My brother and his wife have decided to spend the
night and oh good cars tomorrow, so I thought i'd
come over to Love bel Normand and see if you're
still here.

Speaker 5 (21:05):
Oh huh, I'm still here.

Speaker 2 (21:10):
Have you been crying me? Yes? Yes, I thought something
was wrong. You're sitting here in the dark.

Speaker 5 (21:17):
Lots of stars in the sky.

Speaker 2 (21:19):
Caroline, tell me what happened?

Speaker 11 (21:23):
How can you tell?

Speaker 6 (21:24):
By the way you've gathered yourself together as if you'd
been hit, And we're trying to ward off any more blows.

Speaker 2 (21:32):
Your cousin gave you bad news, isn't it it? Between
the time I left you this afternoon and now you've
had a very bad time?

Speaker 5 (21:40):
No, no, not I. It's George who's been having one.
He has great worries, and he asked me to, oh
you won't be angry with me, angry with you?

Speaker 13 (21:50):
No?

Speaker 2 (21:51):
Never. He was in dreadful need of money in warmth
of yours?

Speaker 11 (21:55):
You mean, oh.

Speaker 5 (21:56):
Anny, he could get honorably, of course, Oh, of course honorable,
And mine was all that was available.

Speaker 2 (22:03):
And he has taken all of it from you.

Speaker 5 (22:06):
Well, I gave him what I had, Oh, great.

Speaker 6 (22:08):
Scott, Carolina, is that what you call his getting money
honorably all you had?

Speaker 5 (22:12):
He's just badly in debt, yes, no doubt he is.

Speaker 2 (22:15):
But what was the rush to take yours?

Speaker 11 (22:17):
Well?

Speaker 5 (22:18):
I felt so much for him.

Speaker 6 (22:19):
Yes, so do I. I hope at least he's gonna
give it back to you very soon.

Speaker 5 (22:24):
Oh, yes, as soon as he can.

Speaker 2 (22:26):
And when will that be?

Speaker 5 (22:27):
When he's finished his great painting?

Speaker 6 (22:29):
Now, Caroline, Caroline, you can't accept that is his great picture.

Speaker 2 (22:34):
He's an art student.

Speaker 4 (22:36):
Where is he now?

Speaker 5 (22:37):
He's in the dining room having his dinner.

Speaker 2 (22:40):
Why aren't you eating with him?

Speaker 5 (22:41):
I wasn't hungry. I wanted to be under the sky
in this little courtyard. You do understand, Larry. Look at
that beautiful little outside staircase, in the fountain of the
small statue. I have to stay out here as much
as I can, soaking it all up, breathing it.

Speaker 2 (23:03):
Caroline, Caroline, was the girls in the world?

Speaker 5 (23:07):
Could you find such a player?

Speaker 2 (23:10):
I don't know what to say to you.

Speaker 6 (23:13):
You see romance everywhere, and this man, this, this cousin
of yours. Caroline, you're too generous. He laid the debts
himself for you, or to pay for them.

Speaker 5 (23:25):
Oh, he's been foolish. George admits that he told me everything.
He threw himself on my charity. It's not only for him,
it's for his wife. The poor young thing.

Speaker 2 (23:33):
Oh, so he has a poor young wife.

Speaker 5 (23:36):
Now well, he married two years ago.

Speaker 8 (23:38):
Secretly, Oh why secretly he was a countess.

Speaker 2 (23:42):
Oh are you sure of that?

Speaker 5 (23:44):
Yes, she's written me the most beautiful.

Speaker 2 (23:46):
Letter, asking you, whom she's never seen, for money.

Speaker 5 (23:50):
Asking me for confidence and sympathy. She's been cruelly treated
by her family for marrying George. He told me that
she's a beautiful young widow of a high born count.
I want you to read her letter. She begins by saying,
she appeals to me, one woman to another.

Speaker 2 (24:07):
Caroline, I'd rather not read it.

Speaker 5 (24:09):
See they're going to have a baby. There's not enough
money even to feed it. How could I refuse George?

Speaker 6 (24:17):
My dear Caroline, My concern is for you. I don't
want you to be stripped of every dollar you've saved
for this trip for such a rigamarole.

Speaker 5 (24:27):
It's not a rigamarole. And how could I enjoy Europe
knowing George and the Countess are suffering?

Speaker 2 (24:34):
Oh yes, the countess.

Speaker 5 (24:35):
Look here she signed it. Countess better. Oh, I shan't
live any worse than I've lived. And besides, the next
time I come, I'll go first to England to see
Stratford where Shakespeare lives.

Speaker 6 (24:48):
You speaker next time? What of this time? You're being
used unfairly, Caroline. You've worked for that money. I don't
know how many years.

Speaker 5 (24:57):
I'll be coming back, and I'll stay with George and
the count as he said, so, he insisted. And by
that time I'll have everything back that I loaned him.
It's alone.

Speaker 2 (25:05):
You know you mean you're going home right away.

Speaker 5 (25:09):
Well, i've nothing left for the tour.

Speaker 2 (25:14):
You gave it all up.

Speaker 5 (25:16):
Well, it's just a loan. George insisted on signing notes
for all of it, every dollar, even though I told
him with families, how.

Speaker 2 (25:25):
Large and amount.

Speaker 5 (25:26):
Caroline, Well, I've kept enough to take me back pay Flowry.
Don't feel sorry for.

Speaker 2 (25:38):
Me, Fred. It's absolutely unbelievable.

Speaker 6 (25:47):
His so called art student has taken that poor teacher
for every dime she brought with her to see Paris, Marseille, Florence, Rome.

Speaker 2 (25:55):
It's pathetic.

Speaker 6 (25:56):
The trip she's had a heart set on for yearsugus
Man has shattered a dream and made her feel sorry
for him in the bark, and he's made her believe
he was doing her a favor by accepting her savings.
I told you, I'm so angry, I don't know what
to do. By the way, how is Elizabeth no better?

Speaker 3 (26:17):
Yeah, after a good night's sleep, she'll be able to
start prepares tomorrow.

Speaker 2 (26:22):
Fred, I wish you could see this character.

Speaker 6 (26:24):
He wears a slouch hat, a black velvet jacket velvet
mind you like a caricature of a dagar or Seizan
pretending to be an artist.

Speaker 2 (26:33):
He's nothing but a pretentious liar and a cheat. And
you didn't tell himself? Well, how could i? The poor
girl is enchanted with this figure. Well let her keep
her illusions. That's all she has.

Speaker 6 (26:44):
Left, and I'm not the one to break them.

Speaker 2 (26:49):
What train shall we get you tomorrow?

Speaker 9 (26:51):
Oh?

Speaker 3 (26:51):
By the way, Elizabeth said to thank you, Larry, we've
already taken up so much of your time.

Speaker 6 (26:55):
Freddie, if I hadn't come down to La hob to
meet you both, this whole episode with the poor school teacher,
how it's so tragic.

Speaker 2 (27:05):
I wouldn't have known about that, Hilary.

Speaker 3 (27:08):
Have you thought maybe you should should do more than complain?

Speaker 2 (27:13):
You're right, You're right, Fred.

Speaker 6 (27:16):
Tomorrow morning I'll go to where she's staying and make
her accept alone from me, just so she can do
a tour. After all, we're related in a way, and
Peg introduced us. Of all the times in my life
to have overslept, this time was unforgivable. Not that our

(27:40):
train for Paris was to leave till noon, but what
were Caroline Spencer's plans? As I dashed through the crooked
streets to Lapel normand one sound echoed my worst fears.

Speaker 2 (27:54):
Looking for my cousin.

Speaker 6 (27:55):
Are you yes, good morning to you? I just Caroline
up yet?

Speaker 9 (27:58):
Ah?

Speaker 2 (27:58):
Yes, you's up? All right?

Speaker 3 (28:00):
Nice little courtyards, don't you think has she had a breakfast?

Speaker 14 (28:04):
Oh?

Speaker 2 (28:04):
Yes, we shared a few croissants and coffee. Is that
right here? Oh, nice mellable place. Don't you call out? George? George.

Speaker 6 (28:12):
We can talk about all that later. All right, Where
is your cousin now?

Speaker 2 (28:18):
Oh?

Speaker 3 (28:18):
Didn't I tell you? She went to the boat about
seven this morning. I helped over their suitcase, took Carolyn
right up the gangplank. She's on board. You might be
able to wave to her. If you go up the street,
you'll see the ship pulling away.

Speaker 2 (28:37):
I was too late.

Speaker 6 (28:39):
I turned away, conscious of the tears starting up in
my eyes. That poor poor woman, the end of her
rainbow had been some nineteen hours in Europe.

Speaker 3 (28:57):
Describing his own technique, Henry J. James tells us make
the reader's general vision of evil intense enough, and his
own imagination, his own sympathy or horror, will supply him
with the particulars precisely our aims and ambitions here on
Mystery Theater. Indeed, were he alive today, what fabulous, spying,

(29:21):
tingling dramas.

Speaker 2 (29:22):
Could Henry James have written for us?

Speaker 3 (29:26):
I shall return shortly with Act three.

Speaker 15 (29:32):
And.

Speaker 3 (29:40):
The anguish we suffer at time present lessons with time passing.
So it was with Larry Stanford. For a long time
he did not forgive himself for having literally missed the
boat and allowing circumstances to take over Caroline Spencer's life.

Speaker 2 (29:57):
But months went by, then years.

Speaker 3 (30:00):
I'm not saying he forgave himself, but he did forget.
And then.

Speaker 2 (30:08):
Suddenly it all came back to me. Five years after.

Speaker 6 (30:13):
That dreadful episode at Laharb, I found myself back home
in America.

Speaker 2 (30:18):
It was spring again.

Speaker 6 (30:20):
I was a guest at one of Aunt PEG's tea
parties with the same alderman and his wife. It's selectmen
and a few teachers, but no Caroline.

Speaker 7 (30:29):
And doesn't my nephew look well after five years absence
from his homeland when he has all sorts of things
about Americans abroad. The weather is disagreeable, the food unpleasant.

Speaker 2 (30:40):
Not the food it couldn't be better.

Speaker 7 (30:43):
Well, while you're in this house, Lawrence, you'll just have
to be satisfied with molasses, cookies, angel cake and my
own Boston tea.

Speaker 6 (30:51):
Or I'm not criticizing things at home, Far from it.
I hate to hear Americans who come to Europe and
run down their own country.

Speaker 8 (30:58):
I didn't think he remained long enough in one place
to need many Americans.

Speaker 6 (31:03):
Lawrence, which reminds me, does that does that little miss
Spencer still teach school hereabouts?

Speaker 7 (31:12):
Caroline Spencer?

Speaker 5 (31:13):
Indeed she does.

Speaker 7 (31:15):
You'll find her quite changed, for dear, she hasn't really
been very sprightly since her visitor arrived.

Speaker 2 (31:23):
What visitor?

Speaker 7 (31:24):
Why don't you run along and see for yourself.

Speaker 2 (31:26):
She's had a visitor for long, oh.

Speaker 7 (31:28):
Longer than she expected, No question about that, Frankly, Lawrence,
I think it's an imposition. She's quite a changed person now,
lives most abominably, and or to accommodate her visitor, she
looks ten years older than she should Drake pity.

Speaker 6 (31:54):
Caroline Specer did appear ten years older, and it had
been only five when I arrived the next day at
about two Wood was at a grab little house.

Speaker 2 (32:04):
At the edge of town.

Speaker 6 (32:06):
Caroline looked at me as though she wished I hadn't come,
and then led me through a hallway up the backstairs
to a tiny room which looked out on a small
woodshed and two plucking hands.

Speaker 5 (32:19):
Isn't this a bright cherry room?

Speaker 2 (32:22):
Ah? Yes, yes, lotly.

Speaker 5 (32:25):
I didn't expect to see you ever. Again.

Speaker 2 (32:28):
Well, I waited for you over there to come back,
but you never came.

Speaker 5 (32:33):
Waited where at the old French port?

Speaker 2 (32:38):
Blah?

Speaker 5 (32:39):
Remember, yes, I remember that day. How have you been, Larry?

Speaker 2 (32:48):
You remembered my name?

Speaker 5 (32:50):
I never forgot it?

Speaker 6 (32:52):
Caroline? Have I come here today at a bad time?
Do I inconvenience you?

Speaker 2 (32:57):
Perhaps? Two in the afternoon is the wrong time?

Speaker 16 (32:59):
No?

Speaker 5 (33:00):
Not you?

Speaker 2 (33:00):
No, no, no, Well again again you're in distress. What
have I said?

Speaker 5 (33:05):
Oh?

Speaker 2 (33:05):
Please please, Caroline, take your hands away from your face.

Speaker 5 (33:11):
It's because it's because you remind me.

Speaker 2 (33:15):
To remind you. Oh you mean that miserable day in Lahah.

Speaker 5 (33:20):
Don't say that, please, what miserable it was wonderful.

Speaker 6 (33:23):
I can't tell you how it felt going back the
next morning to the end and finding that you had retreated,
and to see the boat sailing away with you Anna.

Speaker 5 (33:33):
How can we not talk about that?

Speaker 2 (33:35):
And you've been here ever since, yes.

Speaker 5 (33:38):
Ever since.

Speaker 2 (33:39):
I hope at least your cousin repaid you that money.

Speaker 5 (33:43):
Oh I don't care for it.

Speaker 9 (33:44):
Now.

Speaker 2 (33:45):
You don't care for your money for going.

Speaker 5 (33:47):
To Europe anymore. It's all over, everything's.

Speaker 2 (33:51):
Different.

Speaker 5 (33:53):
I never think of it.

Speaker 2 (33:54):
Oh, the scoundrel never repaid.

Speaker 5 (33:57):
Please please, oh my share. I didn't know you had company.

Speaker 7 (34:04):
The gentleman came in so quietly.

Speaker 5 (34:06):
We didn't wish to disturb you in the garden. I
know how much you like your afternoon.

Speaker 2 (34:11):
Now.

Speaker 7 (34:12):
I have only interrupted to speak of my cafe.

Speaker 11 (34:15):
Will you bring it to me? Please? Under the little
Queen's tree.

Speaker 5 (34:20):
I'll bring you your coffee.

Speaker 7 (34:22):
So yeah, and don't forget again, you know those monsieur?

Speaker 2 (34:30):
Well, who in the world is that?

Speaker 5 (34:33):
It's getting a little close in here? Do you mind
if I open the window? I don't usually because of
the hens.

Speaker 2 (34:41):
Sure mine? Isn't this your own house?

Speaker 11 (34:46):
Oh?

Speaker 2 (34:47):
Yes?

Speaker 6 (34:47):
I bought it well them without trying to be funny
about those hens. Why are you cooped up in this
little room over the henhouse?

Speaker 2 (34:56):
Surely there must be other rooms in your own house.

Speaker 5 (34:59):
Oh yes, but she hasn't.

Speaker 6 (35:02):
I mean the person who just boarded.

Speaker 5 (35:04):
Coffee as they called her in France like cuisine. I
told you about her that day, the letter she wrote me.

Speaker 2 (35:13):
Remember, oh cousin George's Yes.

Speaker 5 (35:16):
Disowned by her own family for marrying George.

Speaker 2 (35:19):
H huh? And where is he?

Speaker 5 (35:22):
George is dead?

Speaker 2 (35:23):
Oh? I'm sorry? And what happened to your money?

Speaker 5 (35:30):
I don't know?

Speaker 2 (35:32):
And wasn't there supposed to be a baby?

Speaker 5 (35:34):
Or? She never talks about it?

Speaker 2 (35:36):
I see, so on her husband's death she came over
here to live with you.

Speaker 5 (35:42):
Yes, she just arrived one day for a visit.

Speaker 2 (35:45):
How long ago?

Speaker 5 (35:48):
Two years and four months.

Speaker 2 (35:52):
She's been here ever since, ever since?

Speaker 5 (35:56):
Will you excuse me? I better go and get the
countesses coffee.

Speaker 2 (35:59):
There's no one else to.

Speaker 5 (36:00):
Do it, no one but me. I do it every
day at this time. Will you go out into the
garden talk French to her? Would you please?

Speaker 2 (36:10):
Dirry?

Speaker 5 (36:11):
And I'll bring the coffee along.

Speaker 2 (36:12):
What can't she wait on herself.

Speaker 5 (36:15):
Well, she isn't used to manual labor.

Speaker 6 (36:20):
I see, and you were hand and footnote doubt.

Speaker 5 (36:24):
Her family is of the oldest provencyle nobility.

Speaker 2 (36:27):
Oh sure, I could see it written all over her.

Speaker 5 (36:30):
Please I don't spoil everything. Go outside, I'll be there
in ten minutes.

Speaker 6 (36:41):
I wandered out into the garden. We're seated under a tree.
Was this woman posy as a coddess? Living off Caroline Spencer?
As I walked across the grass charter, I knew in
an instant all about her, a plumped, dead white face,
vulgar and commonness. Any person from the streets of Paris.

Speaker 5 (37:05):
Let you Lisieu.

Speaker 2 (37:06):
Oh sure, my dam.

Speaker 11 (37:09):
Please be comfortable on the grass Motieu. Unfortunately there is
only one shair.

Speaker 2 (37:16):
Salametta gar Madam takes a difference to me.

Speaker 7 (37:19):
Oh I knew you could speak French to think I
would end in a foreign country here and exile.

Speaker 17 (37:27):
My family drove me away.

Speaker 5 (37:30):
You get used to it.

Speaker 7 (37:31):
But something you know, For example, my coffee, all I
ask is a little cup after breakfast, I.

Speaker 2 (37:40):
See, and when do you have breakfast at noon?

Speaker 5 (37:43):
As I always did?

Speaker 7 (37:44):
And the coffee the last row I asked, so little
a cup of black coffee with a drop of cognac.
My cuisine is a charmond, but she cannot understand the
habits of a lifetime. Every day take to her, don't
forget the d of Komiak.

Speaker 6 (38:03):
Well, let me go back into the house and see
if I can rush things along, Charleine, Caroline, where are you.

Speaker 5 (38:14):
In the kitchen? I've forgotten where I left the tray
because I'm so nervous these days.

Speaker 2 (38:21):
The coffee is boiling over us.

Speaker 8 (38:24):
To boil like.

Speaker 5 (38:24):
That, get black or she won't drink it, Caroline.

Speaker 2 (38:29):
Don't you see what she's doing.

Speaker 3 (38:31):
You've got to stop letting people walk all over you.

Speaker 5 (38:34):
Do people only walk on me because I want them
to what bring me that small cup? And oh that
one's dirty. I'll get one from the shelf up here.

Speaker 6 (38:44):
Caroline, look out for coffee. Silly goodness, it's all over you. Well,
where's the butter? But yes, do you have any butter
in the kitchen to put on your hand and rest
to stop the burns.

Speaker 5 (39:05):
I don't think I can go on much more. It's
too much for me. My strength has all left me.
I don't know what to do next with my wife.

Speaker 6 (39:15):
Caroline, Caroline, what do you want to do?

Speaker 5 (39:19):
I don't care anymore. That's it. If only I could
start my life over, I'm afraid no one can do that.
I think you're the only person I've ever known, Larry
who didn't cheat me somehow.

Speaker 2 (39:38):
Even cousin George, Oh.

Speaker 5 (39:41):
I suspected he wasn't what he made himself out to be.
But I thought it was wicked to be suspicious. And
his wife, she doesn't seem to behave like someone of
noble birds?

Speaker 18 (39:54):
Does she?

Speaker 5 (39:56):
Perhaps I just don't know Europeans, but we she's.

Speaker 2 (40:00):
A left guard.

Speaker 5 (40:01):
Now what else is the left for me? I've been
cheated made use of? My life is absolutely worthless?

Speaker 2 (40:10):
Is that what you tell your little students?

Speaker 6 (40:13):
Caroline? Why must life be worthless? Why do you let
people walk all over you?

Speaker 2 (40:18):
Are you afraid of life?

Speaker 5 (40:20):
Afraid?

Speaker 9 (40:20):
Why all is make believe?

Speaker 6 (40:23):
Making yourself believe that by taking care of this vulgar,
pretentious creature who happened to marry your cousin.

Speaker 2 (40:28):
George, that this is Europe, that with her in the
house sipping.

Speaker 6 (40:32):
Your coffee, you're in a cafe at Lahav It's no
such thing. And why do you fool yourself like this, Caroline,
life hasn't cheated you.

Speaker 2 (40:44):
You've cheated yourself.

Speaker 5 (40:46):
Is that what I'm doing?

Speaker 6 (40:48):
You, of all people, an intelligent, sensitive, educated woman, Caroline,
get on, get on with your own life, live it blood, vicariously,
experience it first.

Speaker 5 (41:00):
And oh I'm so ashamed ry you.

Speaker 2 (41:02):
You should be.

Speaker 6 (41:04):
Now you must make that trip, and more than one.
You owe it, not only to yourself, but to all
the little ones.

Speaker 2 (41:11):
In your classes.

Speaker 6 (41:12):
Just think, Think what you could tell them, what you've
seen with your own eyes.

Speaker 2 (41:19):
How's your hand?

Speaker 5 (41:21):
I feel much better?

Speaker 2 (41:23):
Good?

Speaker 6 (41:24):
Then you cook up some more black coffee and I'll
go out and tell the widow George it's on the.

Speaker 8 (41:29):
Way, missus.

Speaker 7 (41:35):
Whatever has happened to that wretched girl and my coffee?

Speaker 6 (41:38):
There was a slight accident in the kitchen. Miss Spencer
burned her hair.

Speaker 7 (41:41):
Oh no, wonder flemsy little fool. Oh, I sha't been
my morning coffee. Hold the train me up to me,
Ma petite.

Speaker 19 (41:52):
I do hate reaching for things.

Speaker 16 (41:53):
You know.

Speaker 5 (41:56):
Ah, it's miss.

Speaker 2 (41:59):
No taste?

Speaker 7 (42:01):
Huh no, no, no, no no. Mademoiselle Doroline, what was
your cousin, Jersie? You begin forgotten in my coffee? A
drop of cognac.

Speaker 5 (42:14):
I didn't forget better. I merely decided, since this was
the very last cup I should ever again serve you.
I brought it the way.

Speaker 7 (42:27):
I prefer it, Am toyab what to see better?

Speaker 5 (42:31):
I have several plans for myself, and they do not
include you. Right now, mister Stamford and I are taking
a ride into town, a pleasant airing. We are decidedly,
and when I return better it will be to pick
up your luggage and yourself and take you to the train.

Speaker 17 (42:53):
But ma Cherie, where should I go?

Speaker 5 (42:56):
The train goes to Boston, and from there you may
take a boat back to your beloved Taris au Revoir.
Goodbye debt.

Speaker 3 (43:16):
Was it common sense or the urging of a friend
that caused the final turning of Caroline Spencer? The unfathomable
and mysterious ways of man's behavior never ceased to confound us,
And as Byron himself said, never take a female's actions
for granted. I shall rejoin you shortly. And who has

(43:47):
not read the aspern Papers, Daisy Miller, the Bostonians, and
the hundreds of great short stories by Henry James, And
who hasn't been horrified and hypnotized by the turn of
the screw.

Speaker 2 (44:00):
In the countless volumes of this master writer.

Speaker 3 (44:03):
There is story upon story of man against evil, none
the least of which is man himself. We hope the
next time the name Henry James appears on our program
listing that you will not fail to join us on
Mystery Theater. Our cast included Marionseldis, Larry Haynes, Ray Owens,

(44:24):
and Briana Raeburn. The entire production was under the direction
of Hymon Brown.

Speaker 1 (44:33):
So, my dear, did you find that one to be
enlightening or was it more darkness? I myself am on
the fence, but I'm sure I'll figure out how I
feel you eventually. Well, I think it's it's a good

(44:59):
now to stay up late, So why not keep the
party going?

Speaker 2 (45:07):
After all?

Speaker 1 (45:08):
If one thing is certainly true, it's that we're all
headed deep into darkness.

Speaker 20 (45:19):
In just a moment suspense starring Douglas Fairbanks Junior.

Speaker 21 (45:25):
Now, let's stop in.

Speaker 22 (45:26):
It at Jones for a moment.

Speaker 8 (45:27):
Believe Okay, Dan?

Speaker 4 (45:29):
Hello ahead, how's.

Speaker 8 (45:31):
The world's greatest ignition service station?

Speaker 9 (45:33):
Tonight?

Speaker 23 (45:33):
I have I believe Hi, I'm busy on a couple
of cranky ignition jobs.

Speaker 4 (45:38):
Hey, how's car on it?

Speaker 2 (45:39):
Never better take a look.

Speaker 22 (45:40):
You're glad, Hey Dan, it's.

Speaker 24 (45:42):
Got his radio one?

Speaker 8 (45:43):
Is it the auto light show?

Speaker 2 (45:44):
That's it?

Speaker 25 (45:45):
Believed, Spence is my Thursday night special ignition systems, spark plunks, batteries.

Speaker 20 (45:51):
Head, You've got everyone in town switching auto light.

Speaker 23 (45:53):
Believe your dad's trying to take over the auto light
announcers to George Hey Fairbanks Junior is on suspense.

Speaker 24 (46:00):
I can believe, Yes, sir, he's a self start and
smooth run and humbinger. Why he's got the pep of
an auto light ignition system, a set of spark clubs,
and a stateful battery combined.

Speaker 5 (46:10):
Oh, here's the show.

Speaker 15 (46:20):
Suspens Auto Light and at sixty thousand dealers in service
stations bring you Radio's outstanding theater of thrills starring Tonight
mister Douglas Fairbanks in a tale well calculated to keep
you in suspense.

Speaker 20 (46:43):
Today everybody is switching to auto light, and Tonight Auto
Light takes pleasure in presenting.

Speaker 15 (46:48):
Anton Leader's production of Deep Into Darkness, starring Douglas Fairbanks.

Speaker 26 (47:04):
This is a story about fear, and I'm an expert
on fear me, Ken Matthews. That cheap, broken down hotel
room is as good a place as any to start.

Speaker 22 (47:20):
It was all I could afford.

Speaker 26 (47:21):
New York, the city of bride lights, and me stretched
out on a squeaky bed, watching a spot change shape
on the ceiling. It's a kind of game to keep
a man from going crazy. For seven years, I watched
another spot, changed it into a million shapes. Got to
know it better than I knew myself, that spot on
the ceiling of my cell at Joliet Penitentiary. When it

(47:49):
was over, when they were finally ready to let me
go back into the world, the warden had something to
say to me, some advice.

Speaker 15 (47:55):
Let's usual even us early because of your good behavior record,
Oh you, I'd start fresh on the outside, Stay away
from Chicago, go someplace new where they don't know you.

Speaker 22 (48:06):
I sort of figured on doing that warding good.

Speaker 2 (48:08):
You don't find it easier.

Speaker 26 (48:14):
I'd find it easier. I wonder how it is when
it's tough. Nobody knew me in New York. Nobody wanted
to know me. And as for a job, well, did.

Speaker 22 (48:23):
You ever wash dishes? I washed a million?

Speaker 2 (48:26):
Now?

Speaker 22 (48:26):
Any dirty jobs? Nobody wants to do. I did them all.

Speaker 26 (48:28):
That's how I build up my fortune. Seventeen dollars and
fifty cents United States currency.

Speaker 22 (48:34):
That's how much I was worth.

Speaker 26 (48:35):
This one morning when I saw a sign out in
front of a construction job men wanted the sign said,
I believed it and looked up the form.

Speaker 16 (48:43):
Here.

Speaker 21 (48:43):
What's that compression? O't yet even moving? Looking for something bad?

Speaker 22 (48:48):
Yes, so you have a sign out there? Are you
hiring men?

Speaker 2 (48:52):
Could be?

Speaker 21 (48:53):
What do you do?

Speaker 26 (48:54):
Oh? Just about anything. I can keep books, handle your time.
I used to be an accountant. Yeah, but if that's
not what you're looking for, well, I can swing.

Speaker 22 (49:03):
A shovel too. I just want a job.

Speaker 25 (49:05):
I like that attitude.

Speaker 22 (49:07):
Got your discharge certificate with you? Discharge?

Speaker 21 (49:09):
Yeah, honorable discharge.

Speaker 25 (49:10):
I always like to give a break the egg service guy.

Speaker 22 (49:12):
Oh well, I wasn't in the service for it.

Speaker 2 (49:16):
No.

Speaker 22 (49:17):
No, I I sat out the war. I was in jail.

Speaker 8 (49:21):
It's tough.

Speaker 22 (49:22):
Hey, I got a little mixed up on your accountant.

Speaker 26 (49:25):
No, it was manslaughter. I killed a man. What about
the job I really needed?

Speaker 3 (49:32):
Buddy, I don't want you to think this is my idea, but.

Speaker 22 (49:35):
You can't use me.

Speaker 2 (49:37):
No, I can't you see?

Speaker 22 (49:38):
Yes, I see start fresh.

Speaker 2 (49:41):
I got no order.

Speaker 25 (49:42):
See you know how it is a boss's figure. There's
a lot of vets looking for jobs, and I got
to give them the first crack at thing.

Speaker 26 (49:48):
Oh if I was, it's all right, this isn't your fault.
Maybe maybe some other war.

Speaker 22 (49:57):
Somehow.

Speaker 26 (49:57):
That was the last traw started to hate. I hated
everything and everyone. And then I thought of my fortune,
my seventeen dollars and fifty cents.

Speaker 22 (50:09):
And suddenly I knew there was something I wanted to buy.

Speaker 27 (50:11):
What do you want to use the gun for?

Speaker 2 (50:13):
Mister?

Speaker 22 (50:13):
I don't know. I just want to have it.

Speaker 27 (50:16):
I always supposed to put something down here, I mean,
along with your name and everything.

Speaker 22 (50:20):
Oh well, put down target practice. That's good enough in there,
I guess. So what's the name? Put don Smith?

Speaker 4 (50:26):
Smith?

Speaker 27 (50:26):
Oh it's like that. Uh look, mister, I don't want
to get into any trouble. I want a respectable place
of business here.

Speaker 26 (50:32):
You want to sell a gun, don't you. Well sure,
but you want the fourteen dollars, aren't you.

Speaker 27 (50:34):
Okay, okay, so it's Smith and you're gonna do some
target practice. Give me the fourteen bucks and get lost.

Speaker 26 (50:40):
Thanks thanks a lot, funny thing. I still don't know
why I wanted that gun. I swear I don't kill
myself rob a bank or a filling station.

Speaker 22 (50:51):
I haven't any idea. I suppose I just thought that
having it would make me feel better. Only it didn't.
It hung in my pocket, heavy as lead, cold dead,
just like its owner.

Speaker 26 (51:06):
I turned into a side street fifty second fifty first,
I wasn't sure.

Speaker 22 (51:09):
I stopped to light a cigarette, and the car pulled
up to the curve.

Speaker 26 (51:14):
It was a big car with a chauffeur, a black car,
smooth and shiny, and the man getting out. Just one
look and wheedles started spinning around in.

Speaker 22 (51:26):
My head like a dizzy.

Speaker 26 (51:29):
The sidewalk twisted and bounced around like it was having
a convulsion. But when he spoke, the shock of hearing
his voice straightened it all out, made it cold and
clear as.

Speaker 22 (51:39):
Hard, crisply. Just a few words to that chauffeur, Wait
for me, Davis, how will be long? He turned and
walked past me, right by me, into the bank. But
he couldn't walk, He couldn't do anything. That was Lee Burke.
I was staring at Lee Burke.

Speaker 26 (51:56):
The man I'd killed seven years ago.

Speaker 15 (52:08):
For suspense. Auto Light is bringing you, mister Douglas Fairbanks Junior,
in Deep into Darkness, Auto Light's presentation of radio's outstanding
theater of thrills.

Speaker 2 (52:18):
Suspense.

Speaker 24 (52:27):
Sure looks like young Doug's got it a billy boy,
I'll say, has what a chip he's got in his shoulder?

Speaker 2 (52:32):
Really?

Speaker 22 (52:32):
Stop chipping and chirping like you mun Oh.

Speaker 25 (52:35):
By the way, in that ignition system of mind Scora
bull tie, she's completely on the beam.

Speaker 23 (52:41):
My jobs usually are, especially when they're Auto Light.

Speaker 20 (52:43):
Yes, sir, money can't buy better ignition equipment for your car.
Auto Light parts are made with the world's largest independent
manufacturers of automobile electrical equipment, and Auto Light service stations
are equipped with highly trained men and specialized machines to
give your car the best in automobile service.

Speaker 24 (53:00):
That Auto Light ignition system sounds intelligent enough to take
an IQ test ahead.

Speaker 4 (53:05):
Start pulling edge legally.

Speaker 23 (53:07):
I'm used to it half, but I'll tell you this.
Auto Light makes original equipment for many of the finest
cars in America. Ignition systems, batteries, mark plugs, generators, lots more. Sure,
it's only natural that Auto light ignition is well, it's
a perfectly timed team with smooth on the dot performance.

Speaker 20 (53:26):
So when your car's electrical system needs attention, drive into
your nearest auto light service station or the dealer who
sells your makeup car and asks for original factory parts.

Speaker 17 (53:40):
Autoline auto light service stations are listed in your classified
telephone directory under Automotive Electrical Service.

Speaker 15 (53:51):
And now auto light brings back to our Hollywood soundstage.
Mister Douglas Fairbanks Junior as Ken in Deep into Darkness,
Well calculated to keep you in suspend.

Speaker 26 (54:17):
And those few moments of watching a man walk across
his sidewalk into a bank I lifted all over again
the way it happened when I killed him seven years ago,
back in Chicago.

Speaker 22 (54:26):
There wasn't anything about it. I couldn't remember.

Speaker 28 (54:30):
Kim Darling, Yeah, do you love me?

Speaker 11 (54:32):
Ken?

Speaker 22 (54:33):
Do I love you? No, not at all.

Speaker 26 (54:36):
I just sit in that goofy nightclub, night after night
because the food's so good.

Speaker 28 (54:39):
Oh can you're sweet?

Speaker 11 (54:41):
Wen't?

Speaker 22 (54:41):
Why don't you forget that? Please give it up? Where's
it going to get a girl like you dancing in
a cheap honkey tar?

Speaker 28 (54:46):
You have something better to offer that I've.

Speaker 22 (54:48):
Offered it a half a dozen times. Marry me. I
got a good job, it'll it'll get better.

Speaker 28 (54:53):
Hand me my drink.

Speaker 22 (54:54):
Will you sure here? What do you say?

Speaker 29 (55:00):
You ken over and over again. I'm not getting married,
not to you anyway. You're a sweet guy, sure, and
I'm very fond of you. But little Lily isn't burying
herself in any house with a bunch of squalling kids.

Speaker 22 (55:12):
That's for I don't think you mean that at all.

Speaker 28 (55:15):
No, well, you just watch, darling.

Speaker 29 (55:17):
I'm going to wind up with the diamonds so big
it'll take a two ton truck to deliver it to me.
I'm gonna have so many mink coats I'll use them
for pajamas.

Speaker 8 (55:24):
Yeah, that's the way it talks this.

Speaker 30 (55:26):
You tell him, Hello, Lee, you're beginning to sound like
you're getting good sense.

Speaker 9 (55:31):
Now what are you doing up here with this bookkeeper?

Speaker 2 (55:34):
Anyway?

Speaker 22 (55:34):
And a good evening to you too, Lee.

Speaker 30 (55:36):
Never mind, I thought I said I didn't want you
wasting your time with him.

Speaker 22 (55:40):
He's all right, get out of here, Matthews. Wait a minute,
if Lilah wants me to go not.

Speaker 30 (55:44):
Satisfied with my suggestions, eh, I have a good mind.

Speaker 29 (55:47):
Please stop it. Put that gun away. Every time you
have a few drinks. You stopped waving that gun around.

Speaker 26 (55:52):
Really, you better put it down. Stop acting like a kid.
Like a kid, eh, I'll show you who's acting like
a kid. I don't give me that gun, Lee, Come on, Lee,
give it to me.

Speaker 22 (56:02):
I'll break.

Speaker 9 (56:07):
It.

Speaker 22 (56:08):
Went off right. I was only trying to take it
away from him.

Speaker 28 (56:12):
You killed him, then you killed my brother.

Speaker 22 (56:16):
I didn't mean it. I tell you you saw what happened.
I was only trying to get the gun.

Speaker 28 (56:20):
Get off. Can the police will find you.

Speaker 11 (56:22):
Get out of here, hurry, I tell you, get out.

Speaker 22 (56:32):
I got out all right, in a hurry.

Speaker 26 (56:34):
It was pouring that night, and I ran down the
street with a rain slapping me in the face.

Speaker 22 (56:38):
I ran up a back alley into the.

Speaker 26 (56:39):
Darkness, and then I stopped. I didn't want to run,
not for the rest of my life. I went to
the nearest police station, turned myself in. It took me
back to the berks, and we found Lilah sitting in
a chair, glassy eyed, just staring down at her brother.

Speaker 2 (56:55):
Lee.

Speaker 22 (56:56):
He he was.

Speaker 26 (56:58):
Right where I'd left him, sprawled on the floor, face down.
Lee Burke was dead, and they gave me ten years
for killing him.

Speaker 22 (57:11):
I mean, now, he wasn't dead. He couldn't be. I've
just seen him walk into a bank. Uh. And nice
car you got it? Yeah, must must be an important man.
I have a car like that.

Speaker 2 (57:25):
Yeah.

Speaker 1 (57:26):
He's a big guy.

Speaker 22 (57:27):
That's lots of money.

Speaker 2 (57:27):
I suppose.

Speaker 4 (57:28):
Eh.

Speaker 2 (57:29):
Yeah, he's crawling with it.

Speaker 4 (57:30):
Doesn't make you happy?

Speaker 22 (57:31):
Is his name? It doesn't happen to be Burke, does it?

Speaker 31 (57:35):
No?

Speaker 2 (57:35):
Wilson, Keith Wilson. He also happens to be a startbroker.
Anything else you want to know?

Speaker 22 (57:41):
Keith Wilson.

Speaker 1 (57:42):
Yeah, and I'll beat it.

Speaker 2 (57:43):
The boss is coming the boss.

Speaker 22 (57:45):
Isn't that something?

Speaker 2 (57:46):
All right, Davis?

Speaker 22 (57:46):
I'll go stick to the office now, yes.

Speaker 4 (57:48):
Sir, in a hurry.

Speaker 30 (57:49):
Lee huh oh, there must be some mistake.

Speaker 22 (57:54):
My name isn't Lee. Oh pardon me?

Speaker 2 (58:02):
But it was Lee.

Speaker 26 (58:03):
There was many doubt about it, and he knew me too.
I could see it in his eyes and the way
his face went white. I didn't understand that. I couldn't
figure out why or how, But Lee Burke was a lie.
The rest of the fortune went for a taxi ride,
but it was worth it to me, and I guess

(58:24):
if I hadn't had enough money to follow Lee's car
wherever it went, I'd forced the cab driver with that
gun I'd bought, but it wasn't necessary. We went out
to Long Island way out, and then the car swung
into a place with a big half circle drive. Lee Burke, Now,
mister Keith Wilson was doing very well for himself, and
so was Lilah.

Speaker 22 (58:46):
It's a man of Lilah. Ken, Is it like seeing
a ghost?

Speaker 28 (58:50):
Can?

Speaker 11 (58:52):
Can?

Speaker 28 (58:52):
It's really you?

Speaker 26 (58:53):
I saw a ghost just now too, only he was
very much alive.

Speaker 28 (58:56):
So that's what he was so excited about.

Speaker 1 (58:58):
Lee.

Speaker 28 (58:59):
Yes, he came in, rushed.

Speaker 29 (59:00):
Upstairs, told me to call the airport, get him a
plane for Miami?

Speaker 22 (59:02):
Did you not yet? I won't do any good.

Speaker 28 (59:05):
Ken, Ken, What do you want? Why did you come here?

Speaker 26 (59:09):
I just wanted to be sure, Lila, absolutely sure?

Speaker 5 (59:12):
What are you going to do?

Speaker 22 (59:13):
I'd like to kill him, I order to kill you both.

Speaker 28 (59:17):
No, Ken, don't talk like that. It wasn't me. I
didn't plan it.

Speaker 22 (59:22):
It was a plan, wasn't it like? Wasn't it?

Speaker 2 (59:25):
Yes?

Speaker 22 (59:26):
You want to tell me about it? Or do I
have to choke it out of him.

Speaker 28 (59:29):
I'll tell you.

Speaker 16 (59:32):
What's the difference.

Speaker 28 (59:34):
You didn't kill Lee, You didn't kill anybody.

Speaker 2 (59:37):
Huh.

Speaker 28 (59:37):
It was a frame up?

Speaker 22 (59:39):
Then how could I have seen him like that? He
was on the floor dead, No.

Speaker 11 (59:45):
That wasn't Lee.

Speaker 29 (59:46):
He he found the man Kenna a stumble bomb or drunk,
and the man looked just like him, close enough.

Speaker 28 (59:53):
For what Lee had figured out. There was the crooked
of scheme you ever heard to.

Speaker 29 (59:58):
Got insurance with every company in town, half a million
dollars with me is beneficiary. He's going to kill this
drifter and disappear. Let me collect the money. It was
as simple as that.

Speaker 22 (01:00:07):
At first, keep talking.

Speaker 29 (01:00:09):
I told him it wouldn't work, inn that they'd never
pay off, not that much, not till they checked fingerprints,
teethed everything.

Speaker 28 (01:00:14):
But he had that figure two. They wouldn't check a
thing if a fall guy pleaded guilty to a murdered charge.

Speaker 22 (01:00:19):
So that's how it was.

Speaker 28 (01:00:20):
You were the fall guy.

Speaker 29 (01:00:23):
I'll let you take me home that night, Remember I
remember Lee had his gunloaded with blanks.

Speaker 28 (01:00:27):
It was an act, the whole thing. Then when you ran,
he finished the job.

Speaker 29 (01:00:32):
He had the drunken the bedroom, dressed in his clothes,
brought him into the living room, killed him right in
front of me. That's who you saw when you got back.
That's why why I hate my brother. I don't care
what happens to him.

Speaker 22 (01:00:49):
Thanks, that's going to make it easier.

Speaker 8 (01:00:55):
No, Lee, not yet.

Speaker 21 (01:00:56):
But I told you not to waste any time. You
don't know what this means.

Speaker 22 (01:00:59):
She knows what it means. Lee, We all do.

Speaker 2 (01:01:03):
What do you want?

Speaker 22 (01:01:04):
Why do you follow me here? Look, I think you
better get out of here. You I'd stay away from
that telephone me. I'd stand still.

Speaker 28 (01:01:10):
If I were you, you'd better do as he says. Lee,
he's got a gun.

Speaker 2 (01:01:13):
Ken, listen to me. You can't do this, not now.

Speaker 8 (01:01:17):
You don't want any more trouble.

Speaker 19 (01:01:18):
Why if the police found out?

Speaker 26 (01:01:19):
The police if you told him I was going to
kill you, it would make sense, Lee, because I've already
done that.

Speaker 22 (01:01:26):
Remember. Look, I can explain the whole thing. It was
a mistake. I'm glad you know that now.

Speaker 2 (01:01:32):
I made a lot of money.

Speaker 21 (01:01:33):
Ken, I've been very lucky.

Speaker 22 (01:01:35):
I'll split with you. You look like you could use some money, Yes,
I could.

Speaker 30 (01:01:39):
Sure, that's good.

Speaker 22 (01:01:40):
Only forget the gun.

Speaker 30 (01:01:42):
Huh and stop acting like you want to kill me.
You wouldn't gain anything that way. Come on, Lila fixed
some drinks or something. Huh, Well, we'll talk this over friendly, Like,
can you know Lilah was always crazy about you?

Speaker 22 (01:01:55):
I was always crazy about her?

Speaker 16 (01:01:57):
Can I?

Speaker 26 (01:01:58):
Well, let's talk about something else right now, Lee, Let's
talk about America. You know this is a wonderful country.
The way the laws is set up to protect a man.
Heavy Hero of Double Jeopardy ly brings up a rather
interesting fact. But you can't try a man twice for
the same crime. Seven years I spent paying for killing
you seven years at Jolliet, and you weren't even dead.

(01:02:19):
That means I've paid for something I haven't done yet.
I still have the right way to kill you once more.

Speaker 22 (01:02:27):
Can't stop it. You're talking crazy that there must be something.

Speaker 26 (01:02:30):
You why I only want to kill you because you
deserve to be killed.

Speaker 22 (01:02:35):
We both know that, don't we. Only I don't think
I'll kill you now, not right away?

Speaker 2 (01:02:39):
Oh, we'll be reasonable. Is that it can be reasonable?

Speaker 22 (01:02:44):
I say, I'm going to stay right with you twenty
four hours a day, right up to the time you deal.
I know exactly when and how I'm going to kill.

Speaker 2 (01:02:53):
You, and you won't know.

Speaker 26 (01:02:55):
You'll never know Lee until it happens. You'll just wait,
just sit and wait.

Speaker 2 (01:03:00):
Wait.

Speaker 26 (01:03:08):
I never left the Birks mansion, never let them leave.
I was with leave from the time he got up
until he went to bed. I stayed with him every
waking hour. And I never stopped twisting his life like
a piece of putty, putting fear in his mind until
well until it didn't seem to be anything else left
there at all, just a trembling driving fear in everything
he did, everything he said, while, Lilah.

Speaker 2 (01:03:31):
Can't we do something? Get to somebody?

Speaker 1 (01:03:34):
Holy?

Speaker 28 (01:03:35):
What can I do?

Speaker 30 (01:03:36):
You could have said something to the servants. You had
a chance before he sat him away.

Speaker 22 (01:03:40):
I didn't.

Speaker 29 (01:03:40):
It all happened too fast, got rid of them as
easily as he cut the telephone wires.

Speaker 30 (01:03:44):
Oh we gotta do something. Get in touch with somebody
with Madeline maybe.

Speaker 29 (01:03:49):
Oh yes, What will your blue blood fiance think of
you now when you suddenly stopped calling two days before
your wedding and then don't show up the wedding?

Speaker 30 (01:03:58):
Oh, Lilah, don't you see if anything should happen to
the wedding now, I'd be ruined. He can't get away
with this right down. Sometime he's got asleep, So LA's rightly?
Can you you were there by the door, you heard.

Speaker 22 (01:04:14):
About your wedding? Yes, Lee, I got back just in time.

Speaker 2 (01:04:16):
Tonight.

Speaker 22 (01:04:17):
Can I pull you in Manhattan? Oh no, no, I
don't want anything a funeral.

Speaker 2 (01:04:21):
No, don't, don't say that.

Speaker 22 (01:04:24):
You're falling apart much faster than I thought.

Speaker 26 (01:04:26):
Lee, It wasn't taking long at all.

Speaker 9 (01:04:37):
Lee.

Speaker 26 (01:04:37):
Couldn't sit still for a minute, couldn't take his eyes
off me. Of course, little things like this didn't exactly help.
Who is it Ken, Yes, Lee, it's Ken.

Speaker 2 (01:04:53):
Got the gun?

Speaker 22 (01:04:55):
I have the gun?

Speaker 2 (01:04:56):
Leeve this this the time?

Speaker 22 (01:05:01):
No, Lee, No, I don't think so here, drink this?

Speaker 2 (01:05:06):
What is it? Milk?

Speaker 22 (01:05:08):
Warm?

Speaker 2 (01:05:08):
Milk?

Speaker 22 (01:05:10):
It will put you to sleep for good?

Speaker 2 (01:05:12):
You mean no, no, no.

Speaker 22 (01:05:14):
Just until morning. You see. I wouldn't think of killing
a man on his wedding day.

Speaker 26 (01:05:19):
Don't tell me you've forgotten your wedding to the blue
blooded mister. Haven come a long way, Lee, marrying into
the social register. Don't you come on drink up?

Speaker 22 (01:05:29):
You will need your strength for the wedding.

Speaker 2 (01:05:31):
No, no, that's all off.

Speaker 22 (01:05:33):
I haven't even called it.

Speaker 26 (01:05:34):
Klilah has I made her call. She made some very
pretty excuses for you, and the wedding will go on
as scheduled.

Speaker 2 (01:05:42):
What are you going to do?

Speaker 22 (01:05:43):
Nothing?

Speaker 26 (01:05:43):
Only behave yourself tomorrow. Do as you're told, and you
might live through the ceremony.

Speaker 32 (01:05:56):
Wilt thou keith take this woman to thy wedded wife,
to live together after God's ordinance in the holy state
of matrimony. Wilt thou love her, comfort her honor, and
keep her in sickness and in health, and forsaking all others,
keep thee unto her so long as you both shall live.

Speaker 26 (01:06:18):
Say no, can say no, I'll kill your right here
in front of them all.

Speaker 27 (01:06:22):
Say it, lee, mister Wilson, the answer please No, No,
I can't.

Speaker 8 (01:06:27):
I can't can answer.

Speaker 22 (01:06:35):
There was only one thing wrong with that little wedding scene.

Speaker 26 (01:06:38):
I had fun, sure, but in the excitement, I'm afraid
I relaxed a it. I wasn't sure how much it mattered.
That depended on Lilah. When I was surely was asleep
that night I met her in the living room. Got
right to the point.

Speaker 28 (01:06:52):
Something on your mind?

Speaker 22 (01:06:53):
Can yes, mousie, who's mousey?

Speaker 33 (01:06:56):
Can you look so tired, So thin, Tell me, Lilah,
tell me about Mousey.

Speaker 28 (01:07:02):
What do you know about him?

Speaker 22 (01:07:03):
He's been talking about him in his sleep, talking about
Mousie and you and me. You'd better tell me all
about it.

Speaker 28 (01:07:10):
Ken, you're hurting my armor. I don't know anything about Mousey.

Speaker 22 (01:07:14):
Maybe he was there at the wedding. Maybe you saw it.
Maybe you gave him the message, did you? Lilah, can't
stop it.

Speaker 28 (01:07:19):
You know I promised I wouldn't do anything like that.
Don't you trust me?

Speaker 22 (01:07:22):
You should, Elilah, Do you really think I should?

Speaker 11 (01:07:24):
But you know how I feel about you.

Speaker 28 (01:07:27):
Surely you don't think Ken, Ken Darling get away from me.

Speaker 29 (01:07:32):
Ken, So that's it. It was all just a gag
to keep a little girl in line.

Speaker 22 (01:07:41):
How did you expect me to feel after all this happened?

Speaker 28 (01:07:44):
That's right. I was naive, wasn't I.

Speaker 16 (01:07:48):
Sure?

Speaker 28 (01:07:50):
Okay, Well, I won't be naive anymore.

Speaker 22 (01:07:55):
You can bet on that, Lila.

Speaker 5 (01:07:56):
Good night.

Speaker 28 (01:07:57):
Ken Darling.

Speaker 22 (01:08:06):
And I cooled off. I realized I'd gone too far.

Speaker 26 (01:08:09):
She wouldn't be on my side anymore unless unless I
could talk to her again and make it make it
all seem like like a mistake.

Speaker 22 (01:08:16):
A joke.

Speaker 26 (01:08:17):
Maybe, yeah, that that'd be the thing. But when I
went to find her, she wasn't around. I didn't see
her again until next morning. Every morning I went out
to the gate for the paper, but this time I
waited for Lila to get up and come down so
I could talk to her before Lee came in. Try
to try to fix things, and standing there in the hallway,

(01:08:38):
I fixed things, all right, fixed them.

Speaker 2 (01:08:40):
Good, Lila.

Speaker 26 (01:08:42):
Yes, I I want you to know that well that
I'm sorry about last night.

Speaker 22 (01:08:49):
It's all right, No, it is no. I didn't mean
what I said it tall. I guess i'd built up
so much hate. Well, I was upset.

Speaker 26 (01:08:59):
I was blind to how you feel about me, how
I really feel about you.

Speaker 28 (01:09:02):
Can you're asking me to be naive again?

Speaker 26 (01:09:05):
Yes, I guess I am. I like you that way.
I looked for you last night to tell you weren't around.

Speaker 22 (01:09:11):
Where'd you go? I can It's all right. I don't
care where you went anyway. Now you know how I
really feel?

Speaker 28 (01:09:19):
Can you? You don't know what you're saying?

Speaker 22 (01:09:21):
Yes, I do, Lilah.

Speaker 26 (01:09:22):
I've been thinking that's the way it ought to be.
We've been a couple of lost souls, but maybe by
forgetting the past, trying to find some peace of mind.

Speaker 22 (01:09:31):
Can think about it, Willia Lela.

Speaker 26 (01:09:37):
I went out, then out the door and down the
driveway after standing there steering after me. Suddenly, as I
was almost at the gate, I heard it coming running fast.

Speaker 5 (01:09:46):
Can no can come back?

Speaker 26 (01:09:48):
And I saw it a car that had been parked
down the road. It was moving now, gathering speed, coming
right past the gate.

Speaker 22 (01:09:53):
Can Can and she was there. She threw herself in
front of me. I heard the shouts. I felt her
thrown heavily against me, and then and then her body went.

Speaker 2 (01:10:05):
Limp in my arms.

Speaker 26 (01:10:06):
I held her close for a second, and then I
lowered her to the ground. I walked back up the
drive alone. Lee was out in front of the house,

(01:10:27):
sitting on a bench in front of a big tree.
He'd heard the shots, I'm sure, but he was just
sitting there, probably waiting for Lilla to come back and
say that that mousey had taken care of me. He
turned and looked up as I walked toward him.

Speaker 22 (01:10:43):
Milah, Oh, his eyes seemed to look right through me.
Somehow he was that full of fear.

Speaker 26 (01:10:53):
I guess his fingers gripped the tree in back of him,
done deep into the bark. He was waiting for me
to kill him.

Speaker 22 (01:11:05):
Lylah's deadly. Your your gunman gut her instead of me, Rila.

Speaker 31 (01:11:13):
Ria.

Speaker 26 (01:11:14):
I'm sorry because because there was something I didn't have
time to tell her. I never intended to kill you, Lee,
I was just just showing you how seven years looked
crowded into a few days.

Speaker 21 (01:11:27):
Seven years.

Speaker 22 (01:11:28):
Ah, that's right. I guess you know now, I guess
you know I and what you did Lee, Lee. This
is Ken. I'm talking to you.

Speaker 33 (01:11:38):
Ken, Ken. I I don't know any can and he didn't.
He didn't even know himself where his eyes looked. I
don't think he ever will again. They weren't Lee Burke's

(01:11:59):
eyes anymore. They belong to someone else.

Speaker 26 (01:12:02):
Funny, A man who tried to be somebody else had
finally made it, and it was not good to look upon.

Speaker 15 (01:12:28):
Thank you Douglas Fairbanks for an outstanding performance on suspense.

Speaker 24 (01:12:37):
Talk about performance, Dad, auto light ignition is good, but
what about Doug Fairbanks.

Speaker 22 (01:12:42):
He's really got it. Believe well, that's good going.

Speaker 24 (01:12:45):
Your mother mom will be is full of suspenses. Your
auto light ignition system is full of pep per power
and pistol point performance.

Speaker 23 (01:12:52):
That boy knows his auto light piece and he doesn't
miss any cues they have.

Speaker 20 (01:12:56):
Yes, an auto light is your cue to real motoring enjoyment.
So remember wherever you go.

Speaker 34 (01:13:02):
Auto light means bark plug, ignition engineer's bark plug.

Speaker 20 (01:13:07):
Auto light means batteries stay full.

Speaker 31 (01:13:10):
Batteries.

Speaker 34 (01:13:12):
Auto light means ignition system, the lifeline of your car.

Speaker 1 (01:13:26):
My dear, you seem a little little peaky. Sometimes I
forget that in the fun of being scared, well, you
can end up a bit shaken. I suppose in many
ways I'm shaken, and I'm not sure if this kind

(01:13:48):
of shake can be un shook. Well that's a worry
for another day, for another night, for another time. But
I say we keep going, We keep moving forward, because
there's so much more to enjoy, and I'm in no

(01:14:12):
mood to stop stuff. We all deserve a little bit
of the Devil's.

Speaker 35 (01:14:18):
D right, everybody, hic.

Speaker 8 (01:15:10):
You shouldn't have done it, mits quit beef and you're
going so no, of course, not chopping the old guy
and I didn't need.

Speaker 4 (01:15:18):
To, didn't need to.

Speaker 36 (01:15:19):
He saws didn't he could turn us into the description God.

Speaker 8 (01:15:22):
She'd never be able to describe us for us to dark.

Speaker 36 (01:15:25):
Uh, well, Midszinskis, don't take chances. See anyhow your case
to joint. Why didn't you splat the burglar alarms? And
that's saved safe?

Speaker 8 (01:15:33):
Say my record, mats you're a peduman.

Speaker 9 (01:15:37):
Knaves?

Speaker 8 (01:15:37):
Is your record a cookie sleeping.

Speaker 36 (01:15:40):
In the guy's ribs when you're backs we're talking about
the crocod we've done?

Speaker 2 (01:15:45):
You give me the.

Speaker 8 (01:15:47):
Yeah, yeah, it's just nervous. It's rating fog. Shut me down.
Say be sure you know for your own.

Speaker 21 (01:15:55):
Course, and now I can find it farther. No fark,
we're almost there.

Speaker 8 (01:15:59):
Are you sure? What we're gonna be safe?

Speaker 21 (01:16:00):
In the string drops, you'll never find us.

Speaker 36 (01:16:02):
It's all ware has ain't been used for year as well?

Speaker 9 (01:16:06):
Right?

Speaker 21 (01:16:06):
And I always read, yeah, yeah, you don't get sore?

Speaker 4 (01:16:11):
How much fun?

Speaker 21 (01:16:11):
Heady son? Almost dead?

Speaker 17 (01:16:15):
Hey, it's like.

Speaker 21 (01:16:22):
It's nothing.

Speaker 36 (01:16:23):
So many people that live around here keep goat see
probably one of them.

Speaker 8 (01:16:28):
I think, what rights?

Speaker 21 (01:16:30):
What's getting into you?

Speaker 37 (01:16:32):
Means I got something? I'll tell you I did, But
there wasn't anything there. The loss cost me, but there
ain't nothing.

Speaker 36 (01:16:40):
Listen, cocaine a minute not I'm gonna let you have it.
You're squeezing like a squad.

Speaker 8 (01:16:45):
I'm scared. There's something from me.

Speaker 21 (01:16:47):
Here that killing we did? Is that skarting on?

Speaker 8 (01:16:51):
Maybe it's it's just this lousy fuck.

Speaker 4 (01:16:54):
I don't know.

Speaker 21 (01:16:55):
I don't get nerves.

Speaker 5 (01:16:56):
Now.

Speaker 21 (01:16:56):
We got to get away to worry.

Speaker 17 (01:16:57):
But let's d up the street.

Speaker 8 (01:16:59):
Let's stet up away from whatever us some.

Speaker 21 (01:17:02):
Don't cleep you cooky.

Speaker 36 (01:17:03):
This fog was made the water perfect getaway and for
grand and our key.

Speaker 8 (01:17:08):
Oh I know, Mits, but with little Hoatson fantastic eye,
but nothing make him Hans.

Speaker 36 (01:17:14):
Hey, here's the black you're looking in his building. We'll
come to a bunch of doors close together.

Speaker 2 (01:17:21):
I don't like this.

Speaker 9 (01:17:23):
You know what do you want to.

Speaker 8 (01:17:25):
Come your doors? It's want to be quiet.

Speaker 21 (01:17:27):
Wait, I've got a future. I can't remember that it
was the third Yeah, I.

Speaker 8 (01:17:32):
Know it was right the dead door. That's that mess.

Speaker 21 (01:17:39):
Guy, you start talking, where are you pop up from?

Speaker 8 (01:17:42):
That is not important. You are called Mits Razinski and
you love cookie.

Speaker 21 (01:17:48):
Listen, brother, you're talking out a pun.

Speaker 8 (01:17:51):
So that we have much in coming to talk about.
Come on, Mitz, let's cramp.

Speaker 36 (01:17:56):
I don't like this guy's look trap down you listen, guy,
talk fast.

Speaker 2 (01:18:00):
I that is not important.

Speaker 8 (01:18:03):
Now suffice to say that I have come to meet you,
to take you where the police will never find you.

Speaker 11 (01:18:10):
That I kind of like this guy.

Speaker 21 (01:18:13):
No, you're can hid us had huh?

Speaker 8 (01:18:16):
No one will ever find you? Rest assured?

Speaker 21 (01:18:19):
It sounds like you've got something there.

Speaker 8 (01:18:22):
But now do we know you're only level rather not
choose you to my one? Can it be said that
the mighty big mistrusting ski is frightened?

Speaker 2 (01:18:32):
Scared me?

Speaker 21 (01:18:34):
I scared of a man of the drivel.

Speaker 8 (01:18:36):
I have heard that interesting. I'm telling you making a
wrongos doing.

Speaker 21 (01:18:43):
So how do we get to this hide out of yours?

Speaker 8 (01:18:45):
You are about to enter the third door of this building.
That will be as good as another.

Speaker 21 (01:18:51):
Yeah, what a you're trying to hand us?

Speaker 2 (01:18:52):
What happened?

Speaker 8 (01:18:53):
This is joined already most excellent. Then the door is open?
Shall we enter? Don't tell me there's something funny?

Speaker 21 (01:19:03):
Listen, what's going on here? Fella? I just tried that
door and it was locked tight.

Speaker 8 (01:19:07):
Now it is open. Let us going in there.

Speaker 21 (01:19:11):
You know, I think these guys got something on the ball.
I think you know some real trades.

Speaker 8 (01:19:15):
He tricks of our trade friend.

Speaker 21 (01:19:19):
That's right, Maybe we can do a little business together home.

Speaker 8 (01:19:22):
There is work for both of you, Mitch, I can
I can see something.

Speaker 21 (01:19:29):
This fellow setting up right with his mom.

Speaker 8 (01:19:31):
I have reserved prominent cases for you. No, that's a
company up.

Speaker 21 (01:19:34):
I am getting sick of your screen.

Speaker 8 (01:19:36):
And you get in and I lead the way, lady,
come with me, my friend.

Speaker 17 (01:19:44):
To go back.

Speaker 8 (01:19:45):
Will you mus Come on, here's something funny here. I'm trying.

Speaker 21 (01:19:48):
Why we got a chance to be big shots with
smart guy like this?

Speaker 8 (01:19:52):
Then will be closer to me, I promise you, he cooky.

Speaker 36 (01:19:55):
I got the idea this fellow can do big things
for fellas in our racket.

Speaker 8 (01:19:59):
I shoot my good friends. I know exactly the things
for men like No.

Speaker 21 (01:20:04):
Listen to that. Now, what do you think I'm scared?

Speaker 8 (01:20:08):
Take a good look at this guy, that's all. I
look close for you, eye, you look very closely. I
want you to remember me.

Speaker 21 (01:20:16):
You'll never see a classical guy.

Speaker 36 (01:20:17):
You look at them close like this world where that
is class. He looks like big society.

Speaker 21 (01:20:23):
I don't like it.

Speaker 36 (01:20:24):
What's the matter with you? I ain't never seen you
like this before.

Speaker 21 (01:20:28):
Way o, mister, I.

Speaker 8 (01:20:29):
Don't go so far ahead, Hey, hey, where do you go?

Speaker 17 (01:20:34):
Mister?

Speaker 22 (01:20:35):
Come up?

Speaker 38 (01:20:35):
Come after you. There is the way.

Speaker 8 (01:20:55):
That's gonna to do with that.

Speaker 21 (01:20:56):
And that's why your friend, and I'm willing to get
out of here.

Speaker 8 (01:21:00):
I can't see in the dark on no cat here.

Speaker 21 (01:21:03):
Never mind, I got a little players much goodness mine.

Speaker 8 (01:21:06):
No, it is a feel like where are you come from?
I had not to have.

Speaker 13 (01:21:14):
You?

Speaker 21 (01:21:14):
Who are you? Where are you come from?

Speaker 8 (01:21:16):
I have always been here. Watch your interesting partnership. There's
something for him, that's man.

Speaker 21 (01:21:22):
I think maybe you're right talking hear me out?

Speaker 8 (01:21:26):
Did you not know that I have long considered myself
a silent partner and you are enterprises?

Speaker 21 (01:21:32):
What do you mean?

Speaker 8 (01:21:33):
This hour shall see my partnership become active. I have
joined you, my very dear friends.

Speaker 5 (01:21:42):
Of course.

Speaker 8 (01:21:45):
I have had many names. What does it matter? What
would my name mean to you?

Speaker 2 (01:21:50):
Yet?

Speaker 8 (01:21:51):
I have told you we are partners. Tonight our partnership
would be consummated. I will show you how strongly it
can be. Well, remember the first job you give, say
Jimmy in the windows, have sense for you? Anything you

(01:22:13):
said something at that time?

Speaker 21 (01:22:15):
Boy, You're still gonna be glad your teamed with me?
Will make some real dough.

Speaker 8 (01:22:18):
Yeah, I'll be careful on this job.

Speaker 1 (01:22:19):
Yeah.

Speaker 21 (01:22:20):
Hell what this old birday and couldn't give us any trouble.

Speaker 17 (01:22:22):
I know, I know.

Speaker 8 (01:22:23):
But we're gonna make him talk, so we can't have
a lot of racket.

Speaker 21 (01:22:26):
We coudn't find his roll, all right. Probably he's mad.

Speaker 8 (01:22:29):
I went through this joints when he was out the
other day. He couldn't find a thing, So you called
me a smart boy.

Speaker 2 (01:22:35):
Here we go clad.

Speaker 8 (01:22:39):
When we get in and I jump him.

Speaker 2 (01:22:41):
This is bad.

Speaker 8 (01:22:42):
In his room just to right of the window, there's
only one woman. Shack. Okay, come on, who's there?

Speaker 17 (01:22:51):
Who's there?

Speaker 21 (01:22:52):
I scrangler. Listen, guy, I'm gonna let loose of you.
Better remember one year body you on your dead and.

Speaker 36 (01:22:58):
Remember now what do you want?

Speaker 21 (01:23:03):
What do you think we want?

Speaker 2 (01:23:04):
Cocky?

Speaker 36 (01:23:05):
Snap on your place, next next to somebody, your spot,
the country, snap it all. I can't do my best
work less I can see.

Speaker 21 (01:23:11):
Okay, there you are as well? Are you?

Speaker 8 (01:23:14):
Where do you keep it?

Speaker 9 (01:23:15):
Keep?

Speaker 16 (01:23:15):
What?

Speaker 21 (01:23:16):
Don't give me that? You know what I mean? Why
do you keep your roll? Your door? Your money?

Speaker 8 (01:23:20):
I have no money, I have a pool. You're a
poor old fool. Let him have it.

Speaker 36 (01:23:27):
One guy, where's the door? Just okay, mister willm got
on that cocky?

Speaker 3 (01:23:33):
Yeah, what do you want?

Speaker 36 (01:23:35):
You brought along some big needles, didn't you? You know
me mites s Loupkay, turn on that gas plate over
there and heat them up.

Speaker 21 (01:23:42):
This guy needs working on. Please please, I'm telling the truth.
I haven't you to turn that out. Everybody around here, nose.
You've got plent of money hit somewhere. That's a poat room.

Speaker 8 (01:23:52):
It isn't true expirit hits of pirates.

Speaker 21 (01:23:56):
Right, good, Jimmy, Nah, you're gonna tell us? Yeah, okay,
hold his hand a hot needle, pray singernails, hold him, yeah,
give me that other needles? Grab him, cooky?

Speaker 8 (01:24:23):
And I thought he came around.

Speaker 21 (01:24:25):
They all talk all that guy?

Speaker 2 (01:24:27):
Quick?

Speaker 21 (01:24:27):
Where is it.

Speaker 2 (01:24:30):
Behind?

Speaker 21 (01:24:32):
You'll hold him, cocky? Did I see?

Speaker 8 (01:24:35):
Mh Hey here that's the stuff what I do Now?

Speaker 21 (01:24:42):
He knows what we look like? Got a knife?

Speaker 36 (01:24:46):
Yeah, okay, Cooky, you don't know how please please don't don't.

Speaker 8 (01:25:00):
Yes, that was a splendid beginning to our partnership. A
very well handled job and comfortable for you. But people
told you that how do you know about that job?

Speaker 2 (01:25:17):
How do I know?

Speaker 8 (01:25:19):
But I was there, I watched you. That's I'm scamming
on here. I'm going to run. No, no, my friend,
you will not run. Instead, we will look at more
of our partnership records. We must have a full accounty
that I'm scared. So while you hear all this, I
know so many things. Why don't you remember.

Speaker 21 (01:25:49):
I have that record?

Speaker 8 (01:25:50):
You ain't hurt? Please please let me go. Of course
you haven't. That's a sister. Where did you snatch it?
Because we'd like to pay face, we want doe get it?
Do pay well?

Speaker 11 (01:26:07):
Oh my volume, let me go. Please, I know you'll play.
I'll see that a nuts and we.

Speaker 8 (01:26:14):
Get the money from your own man.

Speaker 22 (01:26:15):
We'll let you go.

Speaker 8 (01:26:15):
And look, we don't get it. I promise you shut up.
Had you meant yeah? Did you get nothing?

Speaker 21 (01:26:30):
Dirty croops crossed us off?

Speaker 4 (01:26:32):
What you means?

Speaker 36 (01:26:32):
I went to the spot Evacon lot, you know. I
got up on the garage roof across the street. Nobody
figures me to be up there, so I get a
good look at her.

Speaker 21 (01:26:39):
Oh what do you think? The place is lousy with coppers?

Speaker 8 (01:26:43):
Tell you to beat that, you know? And I thought
the guy I'm kicked too. We'll have a spot.

Speaker 21 (01:26:47):
Don't worry. When I get through, he will Yeah.

Speaker 8 (01:26:50):
Yeah, but this dame, she's halful, dangerous. To keep her
onund along, we'll hot on a firetruck and speed things
up later. I say, let's get this. Let's knock off
the babe and beat it before the coppers catch up.

Speaker 21 (01:26:59):
Guys, and yeah, I got better idea.

Speaker 4 (01:27:02):
Hey you what do you your old man?

Speaker 21 (01:27:07):
Tippy police?

Speaker 11 (01:27:09):
I'm kidding.

Speaker 17 (01:27:11):
I'm welcome to your name.

Speaker 21 (01:27:13):
Yeah, but it didn't work. We have to show your
old man we mean business.

Speaker 11 (01:27:18):
You gotta do.

Speaker 8 (01:27:18):
You will see, cocky, you've got that big knife with yours?

Speaker 4 (01:27:22):
Sure, what are you going to do?

Speaker 36 (01:27:24):
Send me a little present in this babe's father hold
her left hand.

Speaker 8 (01:27:27):
Cookie, ladies, are you.

Speaker 21 (01:27:34):
Guess what I'm going to get? Send one of those
pretty fingers to your old man.

Speaker 8 (01:27:39):
For the love of mercy all around cooking. Hey, what
happened to her?

Speaker 36 (01:27:53):
As she's just passed off? Here we are that'll make
the old buzzard team.

Speaker 8 (01:27:59):
At that ring on that finger.

Speaker 11 (01:28:02):
Let's keep it.

Speaker 21 (01:28:03):
Wart and join her old man. A numbers of guys.
The finger went out, You pay on the other end
of it. But he will recognize that ring. No, we're
not pulling now.

Speaker 8 (01:28:27):
Yes, you handle that job very well, my friends, And
when you scent the finger. No time was lost in
paying you off. Remember you made a neat sum and
what a splendid you're kind of followed the girl she
was already dead and he paid you.

Speaker 21 (01:28:48):
We didn't prop that, damn. I was ancient that we didn't.

Speaker 8 (01:28:51):
Of course you didn't. But blood poisoning is a fine assistant,
isn't it.

Speaker 2 (01:28:58):
Ah?

Speaker 8 (01:28:58):
But we have still another about part wiship activities.

Speaker 17 (01:29:02):
To be reviewed.

Speaker 8 (01:29:04):
There there you displayed an amazing ingenuity. It was a bakery, remember,
a small bakery. One man ran it, a stolid old German,
too stolid, remember, but you beat him. He got nothing

(01:29:25):
for his stuff.

Speaker 21 (01:29:29):
I had to hold you give us a batter, will you?

Speaker 36 (01:29:33):
Why on there you're asking what step let's get going
on the site, and I'd like to give this money works?

Speaker 8 (01:29:40):
I know, I know, but there's twenty five grand and
that's say and that's the new patent newspapers, a kidmas,
let's get the pot. We want this hope, huh. I
don't ask me. I don't pack your ring.

Speaker 2 (01:29:49):
Hack cock.

Speaker 21 (01:29:50):
We ain't got to beat the night. Bro, how are
we gonna blow that safe?

Speaker 8 (01:29:53):
Oh man, it's not coming. We're stuck.

Speaker 21 (01:29:55):
Now, we ain't stuck. Let's go talk to our friend. Hey,
you we ain't.

Speaker 8 (01:30:00):
Kind of food.

Speaker 19 (01:30:01):
Try up.

Speaker 21 (01:30:01):
I know what I'm doing. Hey, honey, I want the
combination of that's safe and quick. But for God's safe,
he's empty. What are you handling me? Listen? We read
the papers.

Speaker 36 (01:30:14):
You had a ticket on a horse that ran perd
Any sweepstakes and they paid off twenty five g's your
case to checking.

Speaker 21 (01:30:19):
But they do in that's safe? We saw it any papers.

Speaker 22 (01:30:22):
No, what you say?

Speaker 2 (01:30:23):
They said?

Speaker 21 (01:30:24):
You give yeah a tough guy. Look, you give us
that combination? Or do we gotta work on you?

Speaker 2 (01:30:33):
Don't talk?

Speaker 21 (01:30:34):
Hey, you've been making donuts?

Speaker 2 (01:30:37):
Eh?

Speaker 21 (01:30:38):
Trying him in that oil? Eh? I do not talk
to you. That grease looks pretty hot. It is bubbling.
Do we get the combination? Or do I drop a
little of this grease on your neck?

Speaker 16 (01:30:48):
Ah?

Speaker 8 (01:30:49):
You do not scare me.

Speaker 11 (01:30:50):
Scare you?

Speaker 2 (01:30:52):
Hey?

Speaker 21 (01:30:52):
You look, I'm not trying to scare you. Cooky here,
stretch this guy out on the table. He did send kitty.

Speaker 8 (01:30:58):
Yeah some awful surprise. Yeah, give me your hand, miss,
how handy?

Speaker 2 (01:31:07):
What you want?

Speaker 9 (01:31:09):
Well?

Speaker 36 (01:31:09):
Answer when we're spending your door? Hold his head over.

Speaker 8 (01:31:12):
Here, don't let him have a taper form a face
that is light.

Speaker 21 (01:31:16):
Cockie, let's show the gentle we're going to entertain him.

Speaker 16 (01:31:19):
Here.

Speaker 36 (01:31:19):
You look, that's holding hot nice Huh.

Speaker 21 (01:31:25):
How'd you like some of that on the back of
your neck?

Speaker 8 (01:31:27):
Huh?

Speaker 21 (01:31:27):
You're gonna give us a combo, I give you knocking.
Well here, let me get a different of this stuff.
It's just drop a few little drops on your neck
like this. Oh ah, he producing up your tongue.

Speaker 9 (01:31:46):
So the oil it.

Speaker 21 (01:31:47):
You might say, well, how.

Speaker 8 (01:31:50):
About you a little chattering? Or should we stick your
face in it?

Speaker 2 (01:31:56):
You lodgings?

Speaker 8 (01:31:57):
Yes, all right, mister.

Speaker 36 (01:32:01):
Let's do this slow and anytime you want to quit,
you say, so, they don't talk, I don't talk, ye, okay.
Then let's get a little taste of this hot grease
and we.

Speaker 2 (01:32:14):
Do this slow.

Speaker 8 (01:32:15):
See we pushed on your bull head down down, it's
more going to get a peaste to that grease.

Speaker 21 (01:32:23):
So don't do it.

Speaker 8 (01:32:25):
Don't do it.

Speaker 21 (01:32:26):
I got an evil don't.

Speaker 9 (01:32:29):
Oh ah?

Speaker 21 (01:32:31):
You ready to give us a combination about it?

Speaker 17 (01:32:35):
Amen?

Speaker 8 (01:32:36):
It's too rough. Look, the guy can't talk. He's fined.

Speaker 36 (01:32:39):
They can't talk about that rat.

Speaker 21 (01:32:43):
You show the talk before I shut his face and
that stuff. Yeah, and he can't give us a como.
He can't talk. But he ain't too late for this
guy to find out.

Speaker 8 (01:32:53):
You can't cross up, Mitch Rasinski.

Speaker 21 (01:32:55):
I saw him, I saw him go away.

Speaker 9 (01:32:58):
Len he get a.

Speaker 21 (01:32:58):
Soul and under that guy, what are you gonna do?
What am I going to do? He stray? I'm so
anxious to pray. Okay, so you'll pray. Open that oven door.
This is your teacher across me.

Speaker 17 (01:33:12):
Get in there.

Speaker 8 (01:33:14):
Yeah, you can't, can't.

Speaker 21 (01:33:17):
We will make it.

Speaker 37 (01:33:23):
Hey, what you were You were shoving too hard knts.
I guess you busted his neck. And indeed, see so
you gotta watch out for him. Admits he is him
pretty strong.

Speaker 21 (01:33:38):
What's the difference. We don't have to crowk in many
ways seeing us. He to remember what we look at?

Speaker 8 (01:33:44):
Sure, sure only and we ain't gonna get that twenty five.

Speaker 21 (01:33:48):
Now let's get out of here.

Speaker 8 (01:33:52):
Hey, he missed.

Speaker 5 (01:33:54):
Look, let's say they locked.

Speaker 8 (01:33:56):
Look, oh but just a little sure enough. O. That's
good of it is.

Speaker 5 (01:34:06):
It works.

Speaker 8 (01:34:07):
It's a more cast a boy worried.

Speaker 21 (01:34:09):
The t are that's good girl, okay? Ever done that?

Speaker 2 (01:34:16):
Cookie?

Speaker 8 (01:34:30):
An unusual piece of work? Novel and complete? I congratulate
you both.

Speaker 21 (01:34:37):
You know all these things?

Speaker 9 (01:34:39):
Who told you?

Speaker 2 (01:34:40):
I was there? My friend?

Speaker 8 (01:34:42):
Haven't I assured you yet that I am your silent
partner in all these little affairs? It's this guy's lile.
We never saw anyone in our jobs. It is not
difficult for me to make myself cospicuous.

Speaker 21 (01:34:56):
It's that I think copy was right.

Speaker 36 (01:34:57):
There's something funnier about you beginning to feel it poor.

Speaker 8 (01:35:01):
On the country. You will find that I am very genuine.
You must come with me. You will meet your friends,
many of them. That's we don't want to join up
with this guy's mom. I don't know, he says. We
got friends in his crowd. My home is full of
your acquaintances, and many more will soon be there to

(01:35:24):
keep you company.

Speaker 21 (01:35:26):
Is on a level to be sure we.

Speaker 8 (01:35:29):
Are not without a certain honor.

Speaker 2 (01:35:32):
Ah, my fred.

Speaker 8 (01:35:33):
Friends, tell me one guy you got with you that
I know you once had a brother? Or have you
forgotten Cookie? I meant, no, how lucky at with you?

Speaker 5 (01:35:44):
No?

Speaker 8 (01:35:45):
No, A kind of lucky. He is well at with you,
That's all.

Speaker 21 (01:35:50):
I did not know you had a brother Cookie.

Speaker 8 (01:35:52):
Oh I haven't. Cookie and his brother quarreled mist over
the spoils of a little job. There was nothing for
you to do but use his knife. I do know
that it is my business to know these things. Then
if I tug Lefty, how is he in your mob?
You disbelieve very well? You will meet him soon.

Speaker 21 (01:36:17):
I don't know.

Speaker 36 (01:36:17):
I can't figure this out, but I don't think I
like it.

Speaker 8 (01:36:20):
Come, we will seal our bargain. You will join me.
I have places ready for both of you so that
you can join me and pay me my due?

Speaker 21 (01:36:32):
What do your man pay?

Speaker 8 (01:36:34):
Have we not had a partnership? And until now I
have not shared in the spoils.

Speaker 21 (01:36:39):
I don't get it.

Speaker 8 (01:36:40):
What do you mean we shouldn't have come here? I
tell you we shouldn't have come. We close our bargain.
My hand, take it to bind our fact. Come take
my hand and place it on your heart. He had

(01:37:01):
a monster, Y's not.

Speaker 17 (01:37:04):
I see his hand?

Speaker 29 (01:37:07):
What fire?

Speaker 5 (01:37:08):
What way?

Speaker 21 (01:37:09):
Who are you?

Speaker 8 (01:37:10):
Do you have any doubts? I am fells above or
a baton or billial, But you will lucifer if it
pleases you, your partner, my friends, your partner, and the
unholiest of your enterprises. There ain't no such thing.

Speaker 21 (01:37:31):
Let me go, Let me go.

Speaker 8 (01:37:32):
You cannot leave here. From here, there is no leaving,
and you have not yet met your friends. Your brother
Cookie will be glad to see you, your erstwhile partner.
It's Cano was his name. The marks of your huge
hands are still on his throat.

Speaker 21 (01:37:50):
So I didn't croak him much. I don't know what
you're talking about.

Speaker 16 (01:37:55):
No he knows, though.

Speaker 8 (01:38:00):
Oh bring me my light, my dancing light, the light
that flames and sears. Here are two black souls, coals
for our fires, two hearts to lighten the frames of inferno.
Oh Alaska polls the king of the dark angels.

Speaker 27 (01:38:20):
Eyes, they welcome you, my cohorts and minions.

Speaker 8 (01:38:29):
See how quickly they answered. Listens, Ah, they welcome you,
my partners. Indeed, you are welcome.

Speaker 2 (01:38:43):
What is it?

Speaker 8 (01:38:44):
Damn sure?

Speaker 21 (01:38:45):
So that's what corky, Lord is the red all around
this road, the last dancing cocky.

Speaker 11 (01:38:52):
Why is it?

Speaker 8 (01:38:53):
Why is it who fed the help?

Speaker 38 (01:38:56):
Who fight the help?

Speaker 8 (01:38:57):
I know you are most welcome, my partners. You are
accepted into our confraternity. The confraternity of blood and blackness
of souls damned to eternal fires. Come, come, my friends,
hear my voice.

Speaker 4 (01:39:14):
And heed it.

Speaker 8 (01:39:16):
Come, Come, yes, a yes, willingly come, Come with me
into the depths where the flames our hottest. Come, where
you will be consumed entirely, and yet will never be consumed.

(01:39:37):
First your hearts red for the flames, then your night
black souls. Sure, the finest of the finest. Lookie is

(01:40:01):
the river beat getting too tough for you?

Speaker 21 (01:40:02):
Already?

Speaker 2 (01:40:03):
That work?

Speaker 8 (01:40:03):
Well, no, sir, I'm sorry to call your sergeant, but
I didn't know what else to do. That's all right now,
led me by. I'd rather you'd call me than the
chance of a stake.

Speaker 2 (01:40:10):
Now, what is it?

Speaker 8 (01:40:11):
Well, a bottom I picked up, hysterical babbling over a
crazy story about the squadman took him and he was
raving drunk delirium.

Speaker 21 (01:40:19):
Threeman door.

Speaker 19 (01:40:21):
No, I don't think so let me show you.

Speaker 2 (01:40:23):
It's right down here. Where are we going? All?

Speaker 5 (01:40:28):
Right?

Speaker 16 (01:40:28):
Here?

Speaker 2 (01:40:28):
This old warehouse he was sleeping on the loading platform.

Speaker 8 (01:40:31):
Said he was waked by a bright red glow. He
go on, he said, He looked in the window, and well,
I know this sounds kind of quite as even. But
he said he saw the devil. Huh, yes, I know
that's crazy. But well, here's the door of the warehouse.
They are go to the old warehouse.

Speaker 2 (01:40:51):
We take the third door.

Speaker 8 (01:40:52):
I wouldn't have held the doors and back are This
ain't been open for months. But you can see that
the back door of the same windows loth is used
for dad storage. Well that red, low white and bitter fire.
Let's take a quick gander through the place anyway here
if you can't pass ski, yes, yes, I have one
stage at wait minutes. Careful, loud lad, what's over there

(01:41:19):
looks like whole furniture. Let's take a peeka turn your
flat flag of it. That's careful than loose boards. No,
don't you notice a peculiar odor? M this is it's
kind of creepy one with this devil business. None especially
burning self ifs in fall of that devil business stars him,
but I didn't figure something was Look two of them

(01:41:42):
come back. They're dead short they are, and man, look
at the whole scoop to the out of their chests.
Claw marks too, the claw marks, But it's sergeant. The
flesh around the wound is burnt and it's scorched. That's
devil's work.

Speaker 2 (01:41:57):
I see it.

Speaker 19 (01:41:58):
Nor.

Speaker 8 (01:41:58):
It looks like a huge flame in claw reached out
scooped the hearts out of them. Sounds like you almost
believe this devil's business. Sergeant, I ain't saying, lad, but lookie,
maybe you can explain them marks in the dust there
on the floor, where right there, those prints were made
by hoofs, cloven hoofs. Maybe you will write that, maybe

(01:42:22):
it is the divil's work.

Speaker 2 (01:42:30):
Devil's Due.

Speaker 12 (01:42:31):
This Evening's lights Out drama was adapted from the idea,
which won first prize in the Chicago American Lights Out Contest.
The idea was submitted by fred M France and the
adaptation was made by Hobart Dunovan. Devil's Due was produced
by win Right. This is the National Broadcasting Company.

Speaker 1 (01:42:49):
Oh oh, I know what you're thinking, my dear. It
is getting a bit late. I know how appealing can be.
Close your eyes and embrace the oblivion. But hold on now,

(01:43:12):
I think we could have even more fun. I feel
like rest is for a wicked so perhaps we should
be good little boys and girls. Perhaps this will help
you stay awake a little later, stay alert a little longer.

(01:43:39):
I think it will help me, that's for sure, because
we must avoid the sleeping death.

Speaker 2 (01:44:01):
Dark and to see the sleeping day and just lying quietly,

(01:44:26):
mister Wentworth Cotton nurse.

Speaker 5 (01:44:29):
Yes, and a septic bolts normal temptare normal.

Speaker 2 (01:44:36):
How long have you had these symptoms, mister Wentworth? About
two weeks? Have you been walking with a limp as
long as two weeks?

Speaker 9 (01:44:44):
Yes?

Speaker 5 (01:44:45):
I have.

Speaker 2 (01:44:46):
When did you first notice the injury? Oh, it must
have been six months ago. Yes, at least not long ago.
There was a slight swelling in the black and blue mark.
Then it disappeared. I thought nothing more of it until
my leg can't painting me two weeks ago. I see,
is there much pain now?

Speaker 16 (01:45:06):
No?

Speaker 2 (01:45:06):
None, The leg feels none. Let me see the X
raised nose, hear the eye.

Speaker 5 (01:45:14):
Doctor.

Speaker 31 (01:45:15):
It got so I couldn't stand on the leg more
than an hour at a time, and I began walking
with a cane after that. About three weeks ago, I
couldn't put weight on it at all, and I had
to buy the crutches.

Speaker 2 (01:45:28):
Who suggested the crutches? Why no one? You should have
seen a doctor two months ago. I didn't suspect that
anything was wrong two months ago. You you might have
saved your leg, saved my leg. Yes, I'm sorry, mister Wentworth.
Will have to be amputated at once. WHOA lose my leg?

(01:45:54):
Lose my leg, lose my leg? No, doctor, no, you can't,
you can't. I'm afraid, mister Wentworth. It isn't a matter
of canner can't. None of us have any choice in
the matter now. But doctor, naturally, I can't compel you

(01:46:15):
to undergo the operation. The choice is up to you.
But if you refuse, I cannot take your case or
be responsible for your life. My life, yes, unless that
limb is removed instantly. I'm afraid, mister Wentworth. A poison
in your body will never stop until it has reached

(01:46:38):
your brain. It's that bad. It's more serious than I
can tell you. Yes, fall well, doctor, do what you
think is best. Oh no, what was that? Nurse?

Speaker 5 (01:46:55):
Nothing, Doctor Mason?

Speaker 2 (01:46:58):
Nothing, repare this man for surgery. Yes. Have you any
any people you wish to notify mister Wentworth? No, no one,
no one who would care. You have no living relative?

(01:47:18):
Do you?

Speaker 9 (01:47:19):
I know.

Speaker 2 (01:47:21):
What makes you ask? I didn't think so. I mean
we want to be sure relatives are notified in cases
such as this. No, there's no one you'll perform the
operation at once. There there's just one thing I don't understand. Yes,
what's that? I don't know how I got here? You fainted.

(01:47:46):
You were found unconscious by by one of my assistants.
He saw that you needed medical attention, so he hurried you. Here.
Your name doctor Mason, Doctor Parence Mason. I see, and
the hospital This isn't a hospital? But well then where

(01:48:11):
am i? You are at my private sanitarium sanitarium? Yes,
I just like quietly please? But which sanitarium? You might
as well know now you will sooner or later. This
is fair Child Sanitarium. Fair Child Sanitarium on the Island. Yes,

(01:48:37):
but fair Child has been closed for ten years, has it?

Speaker 16 (01:48:44):
Why?

Speaker 2 (01:48:45):
Well? Yes, I used to work there just before it closed. Yes,
I know.

Speaker 5 (01:48:51):
You do.

Speaker 2 (01:48:53):
Don't you remember me? Went Worth? No, No, I've never
seen you before. Certainly you have look at me closely,
Look into my eyes. Imagine me without this beard, Picture
me as you think I might have looked ten years ago. Holts,

(01:49:19):
Abraham Holes. You see you hadn't forgotten me. But don't
you wish you had? Holes said? No, it can't possibly
be who you remember Wentworth that I once told you
nothing is impossible for Abraham Holts. It is you Holts. Yes,

(01:49:46):
I finally caught up with you, caught up with me. Yes,
I warned you ten years ago that you would suffer
for what you did to me, what I did to you.
Of course, you thought you were testimony again would give
you a good position at the sanitarium, didn't you. Testimony
against you was given regretfully, but in good faith, good faith,

(01:50:08):
you'll say, good faith. Indeed, you thought by ridding the
sanitarium of me, you would win your way into the
good graces of doctor Vansickle. Doctor Vansickle died about a
week after your trial. Yes, the pity and strange, wasn't it.

(01:50:31):
What do you mean that the man who swore out
the charges against me didn't live two hundred hours after you?
He said there was something strange about Vansicle's death. But
whatever it was, it completely baffled the experts. Yes, they're

(01:50:51):
so easily baffled. Poor, stupid and income boots. You kill Vansickle?
Do you think you could prove that went word? You
were supposed to be in the penitentiary at the time yes,
and so I was what I was in the penitentiary.
I am now now now you say, yes, indeed that

(01:51:17):
you forget my sentence was for life. I could hardly
serve a sentence like that in ten years you escaped
in a sense, What do you mean? I haven't the
inclination to explain it to you now, suffice it to
say it has been impossible from the first to imprison

(01:51:41):
the one whom you first knew as doctor Abraham Host.
How could you be in prison and here at the
same time mad? You're mad completely. That is probably what
the doctors would say, but I repeat the plain out

(01:52:05):
and out. Stupidity is as amazing as it is alarming.
I'm getting out of here, out of here, yes, of course,
go right ahead, you bet I will.

Speaker 31 (01:52:17):
I'm going to get out of here so fast. I well,
something delaying you went with, I like, I can't move it.

Speaker 2 (01:52:32):
What have you done to me? I have merely made
it a little inconvenient for you to leave you, you devil.
I think that's what you said, went Worth in the
courtroom and you testified against me ten years ago. Remember

(01:52:55):
remember what you said, went Worth? I do remember quite
distinctly what you said you've.

Speaker 31 (01:53:04):
Asked me to testify in this court just what my
reaction has been to the practices of doctor Abraham Holtz. Well, gentlemen,
when I first came to Fairchild Sanitarium, doctor Holtz was
apparently a normal, capable, practicing surgeon with a very extraordinary ability.
Then he began to change. Yes, change, He ceased to

(01:53:29):
be human. Yes, he he became more like a devil.

Speaker 2 (01:53:34):
That's it. He became more like a devil. You remember that,
don't You went with why, and he said what I
thought was true. You did cease to be human. You
treated me and the rest of the interns like we
were beasts. You were like beasts to me. Suddenly everyone

(01:53:56):
became beast like. Well, suddenly I found myself in a
position that put me far above every other human on earth,
made all mankind to me like beasts are to man.
What do you mean, found yourself in a position? Sometime,

(01:54:17):
went Worth. Sometime soon perhaps you'll know the electric warning
someone who's just entered the front door of the sanitarium
must leave you now. But first, what are you doing
while I am gone? You must rest? Get away, get away,

(01:54:40):
get away. An injection of this went Worth to quiet
feel no, no, keep away from your while there. What
will happen next will probably a maze as you you.

Speaker 5 (01:55:03):
You do.

Speaker 2 (01:55:07):
You persist in calling me that?

Speaker 13 (01:55:09):
Do you?

Speaker 2 (01:55:11):
Very well? Went worth? At first, I was going to
take only one of your legs in exchange for what
you did to me with your testimony. Now I shall
take them both.

Speaker 17 (01:55:28):
No, no, oh, you can't do a thing like that
to me.

Speaker 13 (01:55:49):
Is doctor Mason here, Miss Young? Yes, I have an
apartment with the doctor. Go miss go away quickly? What please? Please?
I beg you, I beg you to go away before
it's too late, too late. Yes, there's nothing but trouble
for you here, trouble.

Speaker 16 (01:56:08):
What do you mean?

Speaker 5 (01:56:09):
Tell you? I can't just just go away, Miss Young
while there's still timing.

Speaker 2 (01:56:18):
Perhaps nurse Miss Young doesn't wish to go away. Door hosts, please,
we'll go take care of the patient and surgery nurse.

Speaker 5 (01:56:33):
Yes, doctor.

Speaker 2 (01:56:43):
I must apologize, Miss Young. See my nurse is quite upset.
One of our surgeons operated this morning under most adverse conditions.
The death resulted. The nurse has been quite upset about
it all because will to be quite frank. The surgeon
was her brother. I'd warned him in operation would be

(01:57:06):
fatal to the patient, but he went ahead anyway while
I was away from the sanitarium. When I came back,
I did everything I could resuscitate the patient, but I
were just minutes too late. I was compelled to discharge
of the surgeon for my staff. His sister is merely
upset about the whole thing. She called you, doctor Holds.

(01:57:31):
But yes, I heard her. She called you doctor Holdes.
Did she well, that's her brother's name. She's so confused
about everything.

Speaker 13 (01:57:43):
No, no, I said, no, that isn't her brother's name.
It's your name, doctor, miss Young. Yes, when you telephoned
me yesterday, I knew there was something about your.

Speaker 5 (01:57:58):
Voice I vaguely recognize.

Speaker 17 (01:58:01):
Now I know.

Speaker 5 (01:58:03):
You are doctor Abraham Holst.

Speaker 2 (01:58:07):
You always were a very keen and intelligent woman. Monsng doctors.
It's nice to see you again, Linda, he.

Speaker 5 (01:58:16):
Escaped from prison.

Speaker 2 (01:58:18):
In a way.

Speaker 13 (01:58:19):
You lured me here, pretended you needed a supervisor for
your sanitarium.

Speaker 2 (01:58:25):
I should have known better. Yes, Linda, perhaps you should
have what do you want? I thought perhaps we could
have a good laugh together over my court trial.

Speaker 5 (01:58:37):
Laugh.

Speaker 2 (01:58:38):
Yes, just so you remember, don't you that it was
partially your testimony that sent me to prison.

Speaker 5 (01:58:45):
You had a fair trial?

Speaker 2 (01:58:47):
Are you so very certain I did?

Speaker 13 (01:58:49):
Of course, you had every opportunity to explain your devilish actions,
but you refused devilish actions.

Speaker 17 (01:58:58):
Yes, you run a devil.

Speaker 2 (01:59:02):
That's what he said just a few moments ago. Who
went with Paul? Yes, and both of you call me
a devil when you testified at my trial. You will
see him, my dear, much sooner than you expect. What
do you mean, I have great plans for you, Linda, Yes,

(01:59:23):
for you and went worth.

Speaker 5 (01:59:26):
You were supposed to serve life in prison, life.

Speaker 1 (01:59:30):
Life you say, It's okay, my dear. I won't be
angry with you for yawning a little bit. I mean
it's only human, right. Oh No, No, The truth is

(01:59:53):
sleep is simple and as natural as breathing. You'll have
to do it a or else. Well, you don't want
to see what happens next. But well, that all being said,
sometimes I can't help, but ponder would we close our

(02:00:15):
eyes and nod off so gingerly and excitedly after a
long day if we knew what exactly was in with
the dark?

Speaker 2 (02:00:29):
Have you heard the strange tales of the whistler.

Speaker 19 (02:00:51):
I'm the whistler. You can't leave me now, Elizabeth. I
need I've just come from doctor Elston.

Speaker 2 (02:01:03):
It's my eyes.

Speaker 8 (02:01:03):
I'm on the.

Speaker 19 (02:01:05):
Verge of going blind.

Speaker 39 (02:01:10):
Another Sunday night, and again CBS presents the Whistler.

Speaker 8 (02:01:18):
I the Whistler know many things, for I walk by night.

Speaker 40 (02:01:23):
I know many strange tales, many secrets hidden in the
hearts of men and women who have stepped into the shadows.
And so I tell you tonight, the extraordinary story.

Speaker 8 (02:01:33):
I'll in the dark.

Speaker 40 (02:01:37):
Thomas Northcotte was a very busy man, a marine architect,
a wealthy shipbuilder, and by the summer of nineteen forty
he found himself working harder than ever and longer hours.
He became the victim of severe headaches. So finally he
visited his friend and physician, doctor John Elston.

Speaker 4 (02:01:55):
The pain hasn't constance, you say, Tom.

Speaker 19 (02:01:57):
No, it comes and goes when it strikes. It's almost unbearable.

Speaker 4 (02:02:02):
Been working unusually long hours, haven't you?

Speaker 19 (02:02:04):
Yes, all day and for the past six months till midnight.
What do you think is wrong with me?

Speaker 4 (02:02:10):
Well, when a man passes forty subject or a lot
more things than when he's younger.

Speaker 19 (02:02:14):
Yes, but what is wrong with me?

Speaker 4 (02:02:15):
Pretty exacting work? You're why don't you tell me you
can't afford to spend the day here? Don't get excited,
Calm down. I'll tell you you won't like to hear it.

Speaker 19 (02:02:24):
What you you don't think? I'm losing my mind? I
didn't say that, but that's what you mean? Please, Tom,
that's ridiculous.

Speaker 4 (02:02:32):
Why I've known all about my family for two hundred years?
Back at a trace of insanity in one of them,
I said nothing about insanity.

Speaker 19 (02:02:38):
Well then, what are you talking about?

Speaker 4 (02:02:41):
It is possible, however, to throw yourself completely off balanced
by overwork, worry, mental strength. I know, I know your
nerves are shot to pieces. What does Elizabeth think about
your working like this?

Speaker 2 (02:02:53):
I don't know. What can she say? It's got to
be done.

Speaker 4 (02:02:57):
Well, Tom, you're going to let someone else do it
for a while?

Speaker 2 (02:03:00):
What I mean it?

Speaker 4 (02:03:01):
You're headed for a nervous breakdown and something else?

Speaker 2 (02:03:04):
What else?

Speaker 4 (02:03:06):
Blindness?

Speaker 2 (02:03:07):
Good heavens?

Speaker 4 (02:03:08):
You have an eye condition which has become aggravated by environment.

Speaker 2 (02:03:12):
What can be done about it?

Speaker 4 (02:03:13):
Stop working immediately, rest, get out doors, get away for
how long months?

Speaker 2 (02:03:17):
At least?

Speaker 4 (02:03:18):
Maybe longer? Put that yacht you've built of some use.
It's been tied up for over a year, So you
sure about all this?

Speaker 2 (02:03:25):
Positive?

Speaker 19 (02:03:27):
All right, John, have no choice in the matter. I'll
drop in again in a few days.

Speaker 2 (02:03:32):
Of course.

Speaker 4 (02:03:33):
Goodbye, Tom.

Speaker 40 (02:03:44):
So Tom, completely flabbag asted, goes back to his office
and tries to finish some plans and specifications, but he
cannot keep his mind on the work, so he goes
home early.

Speaker 19 (02:03:55):
Well, good evening, mister Northcott, the evening Billings. This is
most unusual. I mean that we didn't expect you for dinner.
I know I didn't feel so well this afternoon. I'm sorry, sir.
Isn't Elizabeth having dinner here? No, sir, missus Norcott hasn't
had dinner in for several weeks. I didn't know that
she's been going out every evening. Well, I don't want much,

(02:04:16):
something like very good, sir. Oh, there's a letter for
you in the library. Letter, yes, sir, thanks billings letter
h certainly not a business letter nor return address.

Speaker 2 (02:04:33):
Yes, yoh.

Speaker 19 (02:04:34):
I feel Elizabeth doesn't stay away from a certain man.
There's going to be a scandal in this town that
you won't like A friend with heavens stay away from
a certain.

Speaker 2 (02:04:48):
Man, Pillings.

Speaker 8 (02:04:50):
Pillings, Yes, mister Norcott.

Speaker 19 (02:04:51):
Do you know where missus Knockett's gone?

Speaker 2 (02:04:53):
Did she say who she was to meet?

Speaker 8 (02:04:54):
No, she'd never done it, just goes out for.

Speaker 19 (02:04:56):
The evening sometimes in the afternoon as well. I see
you look a bit pale, sir. Should I call doctor Wilson? No, Billings,
I don't.

Speaker 2 (02:05:03):
Think he could be of much hope at the moment.
I'll be all right. Good night.

Speaker 40 (02:05:16):
Tom moves slowly up the stairs to his room and
goes to bed. He has difficulty falling asleep, stares into
the darkness, and through his mind runs the phrase A
certain man, a certain man, But what man? Finally he
drops off the sleep. He rises early, and, without seeing Elizabeth,

(02:05:37):
goes to the office to wind up his affairs. Then
arrives home early again, but Elizabeth is not there. Elizabeth
is sitting in a cocktail lounge with Charles Carroll, her attorney.

Speaker 17 (02:05:48):
I never see Tom anymore. He leaves early, comes in
late business business business. I just can't go on like this.
It's driving me mad.

Speaker 18 (02:05:58):
You know, difference from a lot of women in this country.
Production is speeded up, and there's nothing a man can
do about it.

Speaker 17 (02:06:02):
But if Tom loved me, you could find a little
time to spend with me. You still love Tom, I did,
but his indifference has made me cold as a cucumber.

Speaker 18 (02:06:12):
As but you have everything, money, position my throat away.
This condition may only be temporary.

Speaker 17 (02:06:18):
I can't understand you, Charles. We went through puppy love together,
went through school together, then we drifted apart and I
met Tom.

Speaker 4 (02:06:27):
Why can't you understand me?

Speaker 17 (02:06:29):
Because for three weeks now and I've seen you almost
every day, you, of all people, have been trying to
talk me out of divorcing Tom.

Speaker 2 (02:06:36):
That's right, But do you want me to go on
like this? I want you to be sure, Elizabeth.

Speaker 11 (02:06:42):
I am sure.

Speaker 17 (02:06:44):
Are you afraid you'll lose some business if I divorced
Tom with you as my attorney?

Speaker 18 (02:06:48):
Elizabeth, you know I'm terribly fond of you. I always
have been and always will be. Your happiness means a
great deal to me. That's why I don't want you
to take this step until we're sure that you not
be sorry later. You're the one who isn't sure, Darling
is for your own good?

Speaker 17 (02:07:05):
Please wait all right, Charles, that's the way you feel
our wait good can you drop me off at my please?

Speaker 2 (02:07:13):
Yes?

Speaker 18 (02:07:13):
I can, but but what Well, look, Elizabeth, I'm going
to be very busy for the next two or three days,
and we've talked over this situation for weeks. So I
suppose you think on it for a while and make
up your own mind and call me.

Speaker 1 (02:07:32):
Why.

Speaker 17 (02:07:32):
Of course, John, I have been taking a lot of
your time lately.

Speaker 5 (02:07:37):
I'm sorry.

Speaker 4 (02:07:38):
S all right, darling, come along.

Speaker 40 (02:07:44):
Charles takes Elizabeth home and leaves her at the door.
Tom Northcott is in the library waiting, waiting for Elizabeth.

Speaker 17 (02:07:53):
Tom, Huh, what on earth are you doing home so early? Well,
I'm certainly are you. What's happened?

Speaker 2 (02:08:03):
What did you do this afternoon?

Speaker 17 (02:08:05):
The same thing I do every afternoon and every evening,
try to kill time.

Speaker 19 (02:08:10):
I suppose it has been rather boring lately since I've
had to spend so much time at the plant. Yes,
it has been playing bridge a lot, have you?

Speaker 17 (02:08:18):
Yes? Bridge and parties. Oh, there are number of things
one can do when one has to.

Speaker 19 (02:08:24):
I'm sorry, Elizabeth, but this extra heavy load of businesses
not of my own making. I thought you would understand.

Speaker 17 (02:08:31):
I understand that you work hard, that you're very busy,
but even when you are here, you seem to be
completely unaware of my presence. You come in late, go
to your room without a word, get up with the birds,
and leave without a word.

Speaker 2 (02:08:42):
I wasn't aware of that, but I suppose it's true.

Speaker 17 (02:08:46):
I was able to stand it at first, and then
I became horribly lonely, so longly I couldn't bear this
house another moment, so I started going out.

Speaker 41 (02:08:56):
Here and there.

Speaker 17 (02:08:56):
That should have helped for a while. You you had changed, Tom.
I did attribute it to business. But when you changed
so completely, became so indifferent towards me, I suddenly realized
that you no longer loved me, And then I changed.

Speaker 2 (02:09:11):
You changed.

Speaker 17 (02:09:13):
Yes, finding some way to occupy my time is no
longer the difficulty.

Speaker 2 (02:09:18):
No, what is the difficulty.

Speaker 17 (02:09:21):
My difficulty is forcing myself to come back to this
empty shell each night.

Speaker 2 (02:09:25):
You think I don't care for you?

Speaker 17 (02:09:28):
What else could I think?

Speaker 19 (02:09:29):
You're saying you've lost your affection for me. Yes, and
you found someone who is more, more attentive. I have
many friends whose company is most pleasant. A man friends
men and women, friends who understand Elizabeth. They don't understand,
and you don't understand another moment, you'll be telling.

Speaker 2 (02:09:49):
Me you want to leave me.

Speaker 11 (02:09:50):
I do.

Speaker 19 (02:09:50):
I can't stay here any longer, and we both leave together.
What this is all a complete misunderstanding, Elizabeth. We love
each other regardless of what you think. Can be remedied
very easily.

Speaker 8 (02:10:01):
Please listen to me.

Speaker 19 (02:10:02):
I need your help.

Speaker 11 (02:10:05):
Help.

Speaker 17 (02:10:06):
What do you mean?

Speaker 19 (02:10:07):
For some time now I've been here, I've said nothing
about it, but it's growing worse.

Speaker 2 (02:10:14):
The pain has increased.

Speaker 11 (02:10:15):
Pain.

Speaker 19 (02:10:15):
Yes, in my head, my eyes flashes of light. I
went to see doctor Elston John. Yes, doctor Elston. He
told me that I must quit work, take a complete rest, or.

Speaker 2 (02:10:32):
Go blind blind.

Speaker 17 (02:10:35):
Oh Tom, how awful.

Speaker 19 (02:10:36):
We'll take the yacht Elizabeth a long cruise. It'll save
my sight and it'll help us too. We can pick
up where we apparently left off, Elizabeth.

Speaker 2 (02:10:46):
I need you.

Speaker 17 (02:10:48):
All right, Tom, I'll go.

Speaker 19 (02:10:50):
We can leave in a few days, and we needn't
go alone.

Speaker 2 (02:10:53):
If you prefer, we can have some guests along. What
would that help?

Speaker 17 (02:10:56):
Yes, yes, I believe it.

Speaker 2 (02:10:58):
Would very well.

Speaker 4 (02:10:59):
Who would you like?

Speaker 19 (02:11:00):
You select someone you'd like to have along, and I'll
select someone people we both know.

Speaker 17 (02:11:05):
Yes, well, I'd like to have Yes, Doctor Elston.

Speaker 2 (02:11:14):
John. We'd like to have him along very much.

Speaker 17 (02:11:18):
His charming company besides him a prevailable And.

Speaker 8 (02:11:21):
It's John Helston.

Speaker 16 (02:11:23):
M hmm.

Speaker 19 (02:11:24):
I'll ask him tomorrow and say how about Charles Carroll?
Always like Charlie and Marge Durant. They're still engaged, aren't they?

Speaker 16 (02:11:33):
Why?

Speaker 19 (02:11:33):
I don't know, By George Elizabeth. I'm going to enjoy
this trip. I feel better already. I wonder if the
doctor will join us.

Speaker 17 (02:11:39):
I'm sure he will.

Speaker 19 (02:11:40):
Well, if he turns me down, I'll let you talk
to him. I'm sure you can persuade him.

Speaker 40 (02:11:58):
Next day, Tom, it's the doctor, John Elston, And after
some persuasion, the doctor accepts the invitation. Then Tom runs
into Marge Durant in the doctor's waiting room.

Speaker 19 (02:12:10):
Well, hello there, Marge, How are you all right? I
haven't seen you at Charlie in sometime. How is Charlie
all right? I guess you guess? Haven't you seen him?
Don't tell me you to have broken off your engagement home, No.

Speaker 17 (02:12:23):
Not officially. Charles has been exceptionally busy for several weeks.

Speaker 4 (02:12:27):
You mustn't be too hard on us men, and times
like these we don't mean to be neglectful. No, I'm
taking a cruise in the old Yard, going to leave
in a few days. We've gone several weeks.

Speaker 11 (02:12:37):
How would you like to.

Speaker 19 (02:12:38):
Join us us? Yes, Elizabeth and me and doctor Elston.
He's just accepted, Well, I'd love to go. We all
need to get away from things now and then.

Speaker 42 (02:12:47):
We certainly do.

Speaker 17 (02:12:48):
But I oh, I've already.

Speaker 19 (02:12:50):
Asked Charlie and he said he'd love to go if
I could persuade you to go. Charles said that he did,
so you'll have a chance to see him every day.

Speaker 17 (02:12:59):
Well, I'll be tickled to death to join.

Speaker 4 (02:13:02):
The party's complete. Come aboard Saturday night. We'll sail early
in the morning. See you later, Marge.

Speaker 8 (02:13:18):
Now it is Saturday evening, the eve of departure.

Speaker 40 (02:13:22):
After an early dinner, Tom, suffering from severe head pains,
goes to the library where he dozes in an arm chair.

Speaker 17 (02:13:32):
Tom, Tom, Tom, wake up?

Speaker 19 (02:13:38):
What Oh Elizabeth must have had quite a nap. Well,
the pains are gone.

Speaker 2 (02:13:46):
I'm glad of that.

Speaker 17 (02:13:47):
It's eight thirty. We better leave for the yacht eight thirty.

Speaker 19 (02:13:50):
Good heavens. Turn on the lights of Elizabeth. What push
the switch?

Speaker 17 (02:13:56):
Tom?

Speaker 2 (02:13:57):
What's wrong with Elizabeth?

Speaker 17 (02:13:59):
Tom, the the lights are on, Elizabeth. Yes, I just
turned them on.

Speaker 2 (02:14:06):
Good Lord, and it happened.

Speaker 17 (02:14:10):
Oh Tom, I'm terribly sorry. Shall I call it after?
We better cancel the trip?

Speaker 16 (02:14:16):
No?

Speaker 19 (02:14:16):
No, please, I I'd rather go on, and I'd rather
we didn't say anything about this. I'm sure it will pass.
We'll go ahead now, bluff it through for a while.
You will help me, won't you? Elizabeth?

Speaker 17 (02:14:33):
Here, Tom, I'll help you.

Speaker 40 (02:14:47):
Tom notifies his skipper he'll be late in coming aboard,
and when he is sure his guests on the yacht retired,
he and Elizabeth arrive and he goes to his cabin.
Next morning, the guests lounge in the sun on the
after deck. Palm appears and moves along the deck to
the stern stops and, leaning against the rail lights his pipe.

Speaker 4 (02:15:10):
Good morning, everybody. Wonderful day, isn't it, eh, Clar's Crystal?

Speaker 17 (02:15:13):
Where are we going?

Speaker 2 (02:15:14):
Does it? Madame Marge? This is a cruise to nowhere.

Speaker 4 (02:15:18):
The lesson we know about where we're going the biggest
surprise we get when we get there, don't you know?

Speaker 16 (02:15:22):
No?

Speaker 19 (02:15:22):
My escape does makes it more interesting, don't you think that?

Speaker 4 (02:15:27):
I suppose?

Speaker 19 (02:15:27):
So that was Elizabeth's idea.

Speaker 2 (02:15:31):
Wasn't it?

Speaker 4 (02:15:33):
Are you asking us?

Speaker 28 (02:15:35):
Oh?

Speaker 19 (02:15:36):
I thought, Elizabeth, that is that? I thought.

Speaker 42 (02:15:39):
She told me it's a swell idea, just to say, hr, yeah,
it's all right with me.

Speaker 2 (02:15:45):
Hope the weather stays like this?

Speaker 4 (02:15:47):
Yes, I was wondering about those dark clouds gathering off there?
They mean anything, Tom?

Speaker 9 (02:15:51):
Or Yes?

Speaker 4 (02:15:53):
Well maybe maybe not pretty black, aren't they?

Speaker 2 (02:15:57):
Yes?

Speaker 1 (02:15:58):
Yes they are?

Speaker 4 (02:16:00):
Were you looking over here? Tom on the porch side?

Speaker 2 (02:16:03):
Huh?

Speaker 3 (02:16:03):
Oh?

Speaker 4 (02:16:04):
Those well they are dark, but we may see them
for days and never contact them. I hope you're right.
I'm not much of a sailor. No, how about you, Elizabeth?

Speaker 19 (02:16:14):
All good morning there? Sleep well, I've had the best
rest in years. I look lovely this morning.

Speaker 9 (02:16:20):
Tom?

Speaker 2 (02:16:21):
What's wrong with you?

Speaker 8 (02:16:22):
What do you mean good morning?

Speaker 17 (02:16:24):
For such a sleepy head that I was dead tired?
How do you feel?

Speaker 2 (02:16:28):
Tom? I confound it my best pipe.

Speaker 17 (02:16:31):
I'll get it.

Speaker 4 (02:16:32):
Wait a minute, Tom can get it. It's right at
his feet.

Speaker 1 (02:16:36):
John.

Speaker 4 (02:16:39):
Here is Tom? When this happened last last evening, weren't
going to tell me and to bluff it through? And yes,
you know it was going to happen this soon. But
you said if I took a rest of you, all right,
I didn't want to alarm you. I hope my diagnosis
was wrong, but you.

Speaker 19 (02:16:54):
Knew it wasn't.

Speaker 2 (02:16:57):
I'm sorry.

Speaker 4 (02:16:58):
Tell Captain Baker I want to him in my cabin.
Please forget all listen, try to enjoy yourself. I'll help
you to Kevin.

Speaker 19 (02:17:05):
Tom, No, thanks, Charlie. I designed this ship. I built it.
I know every corner and cranny. What a rotten shape.

Speaker 5 (02:17:16):
Full time, poor fellow.

Speaker 40 (02:17:28):
That evening, after dinner, Elizabeth visits doctor Elston in his cabin.
Half hour later, Tom gropes his way along the rolling
deck toward the doctor's room.

Speaker 8 (02:17:38):
Elizabeth has just left.

Speaker 4 (02:17:43):
Would you say, come in, doctor, I couldn't quite hear
storm coming up? Yes, of course, come in, Tom.

Speaker 19 (02:17:51):
I wanted to talk with the John before I turned in.

Speaker 4 (02:17:54):
Certainly, sit downtown.

Speaker 19 (02:17:57):
Yes here we are not a bad storm, not bad
at all. It's a blowover.

Speaker 4 (02:18:05):
Yes, I suppose.

Speaker 19 (02:18:06):
So that's strange that odor. You don't smoke, do you?

Speaker 9 (02:18:13):
John?

Speaker 8 (02:18:15):
Well?

Speaker 4 (02:18:15):
Once in a while, Why I smell a strong odor
of tobacco, the same peculiar aromatic blend Elizabeth uses. That's
quite possible. Elizabeth was just here, really poor girl. She's
terribly upset about me, came to talk over my condition. Yes,
she's quite worried, I can imagine. And you're worried too,

(02:18:40):
aren't you.

Speaker 2 (02:18:40):
John.

Speaker 4 (02:18:41):
Well, I'm concerned.

Speaker 2 (02:18:44):
It's a terrible thing.

Speaker 19 (02:18:46):
One can't possibly realize how terrifying it is till it
happens to him.

Speaker 4 (02:18:50):
I think I can fully appreciate it, Tom, can you?
I wonder think about it turning?

Speaker 11 (02:18:57):
Well?

Speaker 19 (02:18:57):
Perhaps you're right I should steal myself against sympathy, sympathy
of others and sympathy for myself. Poor Elizabeth. I feel
sorriest for her. What a fate to be tied down
to a blind man for the rest of her life.

Speaker 4 (02:19:14):
She'll understand. I'll look after Elizabeth.

Speaker 2 (02:19:17):
Will you, John. That's awfully good of you. I appreciate that.

Speaker 4 (02:19:22):
Better run along to bed, Tom, get all the rest
you can't. Yes, Yes, of course, good night her. Good night.

Speaker 40 (02:19:39):
The next evening, after dinner, Elizabeth is in her cabin.
Elizabeth feigned sea sickness and did not appear, so Charlie Carroll.

Speaker 2 (02:19:48):
Goes to her room.

Speaker 4 (02:19:50):
You're not seasick, Elizabeth. You and I have sailed rough
awards than.

Speaker 17 (02:19:53):
These, But I don't want anything to eat.

Speaker 2 (02:19:55):
Charles.

Speaker 19 (02:19:56):
Now, please, Darling, you can't go on like this. You've
got to put yourself together.

Speaker 17 (02:20:00):
No, I know what am I going to do.

Speaker 11 (02:20:03):
I'm bewildered.

Speaker 17 (02:20:04):
A few days ago, I was positive he didn't love
me and I didn't love him. Now this happens and
everything has changed. How do you mean, Well, now I'm
sorry for him, and the indifference has changed to.

Speaker 18 (02:20:15):
Something else, change too, biddy, Perhaps that's it. You mean
you don't want to divorce him now?

Speaker 17 (02:20:24):
I don't see how I could.

Speaker 2 (02:20:25):
Afraid of what people would say.

Speaker 17 (02:20:26):
Oh no, but somehow it just doesn't seem right now
Tom's different. Maybe it took this darkness to show him
the light. I mean, Oh, I don't know what I mean.

Speaker 4 (02:20:40):
No, No, Lizabeth, come on, darling, get a hold of yourself.

Speaker 17 (02:20:45):
Oh Jo, I don't know what to do. I don't
know what to say.

Speaker 4 (02:20:49):
Don't say anything, Darling. Everything will turn out all right.

Speaker 2 (02:20:54):
I know what to do.

Speaker 11 (02:20:55):
Cho You're a darling.

Speaker 17 (02:20:58):
I don't know what I'd have done without you all
these long weeks.

Speaker 2 (02:21:02):
Now, I just take it easy.

Speaker 17 (02:21:04):
Well, take a look at that doctor.

Speaker 42 (02:21:07):
We certainly ought to apologize, but we were stricken dumb Midge.

Speaker 2 (02:21:10):
What are you talking about?

Speaker 42 (02:21:11):
Oh, dear, the sweet little innocence. You give them a
lecture on life.

Speaker 2 (02:21:14):
Doctor.

Speaker 4 (02:21:14):
Now wait a minute, mind.

Speaker 42 (02:21:15):
Three weeks child has been busy, busy, busy, and this
is why.

Speaker 17 (02:21:18):
What a nice way to be busy, Marge?

Speaker 4 (02:21:20):
Please jumping to conclusion, are you kidding?

Speaker 42 (02:21:24):
Child's been avoiding me for three weeks and there's the
reason in all her glory.

Speaker 17 (02:21:27):
Mount you're out of your mind. You can't believe such
a thing, not unless I heard it, and I heard
it and saw it.

Speaker 42 (02:21:34):
Tom would just love to hear about this, Marge.

Speaker 17 (02:21:37):
You mustn't know.

Speaker 8 (02:21:39):
Watch me, just watch me.

Speaker 4 (02:21:41):
Don't worry, Elizabeth.

Speaker 2 (02:21:55):
What is it?

Speaker 21 (02:21:55):
Doctor?

Speaker 4 (02:21:56):
Come in, Tom? I want to talk to you. But
do you want doctor? I want you to turn the
ship around, go home. Oh but that's silly. You needn't
worry about me. I think you should turn around. What
are you so upset about? I insist that you take
the ship back. You seem frightened, doctor, What do you anticipate?

(02:22:17):
An unpleasant situation exists aboard the ship?

Speaker 16 (02:22:20):
What?

Speaker 4 (02:22:21):
I'd rather not say. But I don't want to return
unless you can give me a good reason. Can you
I'd rather not say you're afraid of me, aren't you?
Certainly not.

Speaker 19 (02:22:33):
I know what's troubling you. You know that I know
about you. You and Elizabeth?

Speaker 4 (02:22:38):
What why you're crazy? You and my wife have been
seeing each other for weeks and weeks. You realize now
that I know the truth, you're afraid that I might
do something drastic that I kid you such nonsense. Wait
a minute, is that why you were so insistent that
I come on the trip. Maybe I don't know where
you've got such an idea, but you're all mixed up.

(02:22:58):
She's been seeing anybody and me. Oh, come now, I
didn't want to tell what I know to see, Now
that i'll have to. You come with me to Elizabeth.

Speaker 19 (02:23:09):
Elizabeth, you expect me to believe that shield tell the truth.

Speaker 4 (02:23:13):
You come along just the same.

Speaker 19 (02:23:15):
Let's wait till morning. Pretty rough weather, that waves are
breaking clear over the decks.

Speaker 4 (02:23:21):
No, I don't want to wait till morning. Now, very well, doctor,
if you insist, I'll lead the way. I wouldn't want
you to get washed over the side got to be
too bad. We'll go around by the stern up the

(02:23:42):
other side. Look out, here comes a big one. Hang on, doctor, doctor,
Where are you?

Speaker 9 (02:23:58):
Doctor?

Speaker 4 (02:23:58):
I have got in, mister norsk He almost went over.

Speaker 2 (02:24:01):
Is he all right? Captain?

Speaker 4 (02:24:03):
You got a deep would in the back.

Speaker 9 (02:24:04):
Of his head.

Speaker 19 (02:24:05):
Must have struck the opposite rail when the wave hit ray.

Speaker 2 (02:24:08):
Think he's dead. No, good, dead, good lord, he's dead.
All right.

Speaker 4 (02:24:13):
I'll get him off the deck before we hit another
big one. Let it get back to your corners, mister Nskirt,
hang on to rail.

Speaker 2 (02:24:30):
Elizabeth?

Speaker 21 (02:24:31):
Are you here?

Speaker 17 (02:24:32):
Yes, Tom? What's wrong?

Speaker 19 (02:24:33):
Something terrible has happened? An accident?

Speaker 17 (02:24:35):
An accident?

Speaker 2 (02:24:36):
What is it?

Speaker 4 (02:24:36):
It's doctor Elston. He's dead dead?

Speaker 17 (02:24:40):
What are you saying?

Speaker 19 (02:24:41):
He was coming along the after.

Speaker 4 (02:24:42):
Deck and a big wave came over and washed him
against the opposite side, struck his head.

Speaker 19 (02:24:46):
The captain said, he's dead. Well, how don't you say something? Elizabeth? Elizabeth, Charlie,
I didn't know you were here. She's fainted, painted really well,
that's strange, Elizabeth.

Speaker 4 (02:25:03):
You're all right, Donny you drink this?

Speaker 42 (02:25:07):
John, John, Oh, chum, I'll here you are, Tom, You're
just the one I wanted to see.

Speaker 19 (02:25:16):
Yes, mug, what's the matter with her?

Speaker 4 (02:25:18):
She fainted when I informed that doctor Elston had been killed.

Speaker 2 (02:25:21):
Doctor what happened?

Speaker 4 (02:25:23):
A big wave tossed him across the deck. He struck
his head on the opposite rail.

Speaker 17 (02:25:27):
Good John, let's turn back.

Speaker 5 (02:25:30):
I can't go on.

Speaker 2 (02:25:31):
Why can't you go on?

Speaker 5 (02:25:32):
I just can't.

Speaker 11 (02:25:33):
Please turn back.

Speaker 8 (02:25:34):
That's ridiculous.

Speaker 4 (02:25:35):
I have to bury him a sea, of course, But
why shouldn't we go on?

Speaker 11 (02:25:39):
Are you out of your mind?

Speaker 2 (02:25:40):
No?

Speaker 19 (02:25:41):
Why are you so terribly upset about the doctor?

Speaker 1 (02:25:44):
Why?

Speaker 17 (02:25:44):
How can you ask such a thing? You sound as
though you didn't care.

Speaker 19 (02:25:47):
Maybe I don't, but it's very obvious.

Speaker 9 (02:25:49):
That you do.

Speaker 17 (02:25:50):
You're out of your mind.

Speaker 19 (02:25:51):
Would you faint if anything happened to me?

Speaker 9 (02:25:53):
No?

Speaker 2 (02:25:54):
But the doctor?

Speaker 21 (02:25:55):
That's different.

Speaker 17 (02:25:56):
Are you trying to say what you want?

Speaker 2 (02:25:58):
A doctor? And are?

Speaker 19 (02:26:00):
Days ago?

Speaker 2 (02:26:01):
You tried to blame me?

Speaker 19 (02:26:02):
But I know differently now.

Speaker 4 (02:26:04):
I received a letter from someone telling me that you
were running around with a certain man.

Speaker 19 (02:26:08):
That man was John Elston.

Speaker 11 (02:26:09):
I never heard of such a lie.

Speaker 42 (02:26:11):
I haven't seen John in weeks.

Speaker 17 (02:26:13):
Who sent you that letter?

Speaker 42 (02:26:14):
I did, but I wasn't referring to John.

Speaker 4 (02:26:17):
You said it, and who did you mean?

Speaker 42 (02:26:20):
I meant you?

Speaker 17 (02:26:21):
You and Elizabeth.

Speaker 42 (02:26:22):
You've been seeing each other every day for weeks.

Speaker 17 (02:26:24):
You and Elizabeth. Think you're clever, but you're enough.

Speaker 42 (02:26:26):
You sent the letter, Yes, and it wasn't John, No,
it was Charles.

Speaker 21 (02:26:30):
I've seen them.

Speaker 42 (02:26:30):
They've been meeting every day.

Speaker 17 (02:26:31):
For a week. We have been meeting every day for weeks.

Speaker 21 (02:26:34):
You admit it, then, certainly, but not for the reason.
You think you're both stupid?

Speaker 19 (02:26:37):
And why were you meeting?

Speaker 17 (02:26:38):
Charles and I are old friends and he is an attorney,
my attorney. We've been discussing a divorced Yes, I was
determined to divorce you, but Charles tried to talk me
out of it. We've been arguing for weeks.

Speaker 18 (02:26:49):
Certainly, Maud, you're nothing but a silly, little trouble maker.
I have known that for a long time. Now, maybe
you know why I broke off with you, why I
stopped seeing you. I wouldn't trust you across the street.

Speaker 17 (02:27:00):
Now do you believe me? Tom, come in, mister.

Speaker 19 (02:27:04):
North Doctor Elston just died, just died. Well, I thought
he was dead when you found him on the deck,
So did I. When I got into his state room,
he regained consciousness for a few moments.

Speaker 41 (02:27:16):
What.

Speaker 19 (02:27:16):
Yes, I saw the way you strike, mister Northcott, and
I also saw what happened just before it struck.

Speaker 2 (02:27:22):
Captain.

Speaker 4 (02:27:23):
Go on, this man here is Johnson, one of the crew.

Speaker 2 (02:27:26):
He was with me when Dr.

Speaker 21 (02:27:27):
Elson regained consciousness.

Speaker 19 (02:27:29):
Tell him what the doctor said just before he died Downson.

Speaker 40 (02:27:31):
Well, Doctor Elson said that he was walking ahead of
mister Northcott as he struck him on the head with something.

Speaker 19 (02:27:36):
He fell and away washed him across the deck.

Speaker 21 (02:27:39):
That's right, and he died, searched mister Nursott Jinsen.

Speaker 16 (02:27:42):
That's is ridiculous.

Speaker 4 (02:27:43):
I own this ship, but I'm the captain. Sorry, mister Nurcott. Hey,
you know captain a gun. Mister Northcott, you're under arrest.
You're fired, both of you.

Speaker 19 (02:27:53):
Yes, mister Nurscott, that's to be expected, but not until
we tie up in New York. It's quite natural that
you'll have no further use of the ship. I turn
you over to the police. You're a fool. Johnson radio
port officials in New York and asked mister Spenson.

Speaker 21 (02:28:06):
To put about.

Speaker 40 (02:28:10):
Well, Tom, you had a plan, a setup for a
perfect crime, but like all so called perfect crimes, it failed.
You jumped to conclusions, worked a little too fast. Marge
was wrong in her suspicions and you followed along without
investigating the source of the letter. Now Marge has lost
Charles forever, and you have certainly definitely lost Elizabeth. You

(02:28:33):
deserve what's coming to you. You planned the crew of
the diabolical purpose. And furthermore, you did not lose your eyesight.
That was a hoax, a trick to trap the man.
But very soon you will lose your sight and your
hearing and your speech. In fact, you lose all your
faculties because you'll be dead.

Speaker 2 (02:28:54):
I know.

Speaker 39 (02:29:18):
CBS has presented The Whistler. Original music for this production
was composed and conducted by Wilbur Hatch. The Whistler has
written and directed by Jay Donald Wilson and originates from
Columbia Square in Hollywood.

Speaker 1 (02:29:37):
Oh my, it is getting late here, but the Whistler
always helps me. Parker, how about just one more before
you find your way back into reality once again?

Speaker 2 (02:30:00):
That's that.

Speaker 1 (02:30:01):
Oh, don't you worry, It'll be waiting for you, I
assure you. Of course, some people believe they are free
and out there in the thick of things, when in reality, well,
your life, the world you live in, it could simply

(02:30:23):
be a kind of dark closet.

Speaker 9 (02:30:47):
Come in.

Speaker 2 (02:30:50):
Welcome. I'm e. G. Marshall.

Speaker 3 (02:30:53):
It's pleasant out with the moon riding high, bright enough
almost to read by the very opposite of the night
that Julie Connor's story begins for us, a black and
lowering night, the atmosphere heavy with a promise of rain, dark,

(02:31:14):
the dark, not being able to see, only to imagine
what surrounds us. For some it is peopled with presences
and all things and unimaginable horrors. Why that's what our
story is about. It begins as we listen to Julie

(02:31:35):
move and moan in her sleep. Our mystery drama The
Dark Closet was written especially for the Mystery Theater by
Ian Martin and stars Fred Gwynn. It is sponsored in
part by Buick Motor Division and sin Off the Sinus Medicines.
I'll be back shortly with that one, for the goblins

(02:32:03):
will get you if you don't watch out. No American
kid of my generation escaped the dire prediction of little
Orphan Annie, for whom James Whitcomb Riley had begun his
poem prophetically with the words came to our house to stay.

Speaker 2 (02:32:20):
I know for me she did.

Speaker 3 (02:32:22):
I can still remember the little boy who went to
bed and when they turned the covers down, he wasn't.

Speaker 5 (02:32:28):
There at all.

Speaker 2 (02:32:30):
Or the little girl who says, two.

Speaker 3 (02:32:32):
Great, big black things are standing by her side, who
snatched her through the ceiling, for she knowed what she's about.
For the goblins. He'll ketch you if you don't watch out.
I wonder what goblin holds Julie Connors in his.

Speaker 2 (02:32:52):
Thrall he do.

Speaker 11 (02:33:00):
Right? Please, thank God, thank God.

Speaker 9 (02:33:05):
Why didn't you turn on the light by the bed?
Did you have to break that lamb?

Speaker 11 (02:33:11):
I didn't mean to.

Speaker 41 (02:33:13):
I was just so scared I reached out to turn
it on and knocked it over by accident.

Speaker 9 (02:33:16):
That was one of your mother's favors.

Speaker 11 (02:33:19):
Pop, don't blame me too much. Someone turned it off.

Speaker 9 (02:33:22):
Someone meaning me. I told you time and time again, Julie,
waste not, want not. I looked in here when I
got home and you were still asleep, lamps still lit.

Speaker 11 (02:33:31):
I only keep it that way this time of the year,
when it gets dark so early, just time we you're home.

Speaker 9 (02:33:37):
Huh, Why what are you afraid of? And you don't
have to go to bed so early?

Speaker 11 (02:33:43):
I got nothing else to do.

Speaker 9 (02:33:45):
Oh, we're in town. You've got the television.

Speaker 11 (02:33:49):
I'm tired of that old too, moliving other people's lids.
I want to live my own.

Speaker 9 (02:33:52):
Yeah, time enough for that.

Speaker 11 (02:33:54):
I'm seventeen going on eighteen.

Speaker 9 (02:33:55):
All the more reason. You don't need lights on when
you're sleeping, and stop having those nights. Yes, I reckon,
that's what it was again? Huh not one of them?

Speaker 10 (02:34:04):
Yes, what.

Speaker 11 (02:34:08):
Doesn't matter?

Speaker 9 (02:34:09):
H Then I'll say it for you. The boogeyman again,
that's bull. I swear, I don't know what I'm gonna
do with you, child, Kyle. That's the trouble. That's what
you ain't anymore, except in half the time you act
like it was one.

Speaker 11 (02:34:24):
Maybe it would help Pop you stop trying to treat
you like one.

Speaker 9 (02:34:28):
You think you're not.

Speaker 41 (02:34:29):
I mean my last year of high school. Let him
keep the house for you ever since Mamma.

Speaker 9 (02:34:35):
We won't talk about your mother, okay, Pop.

Speaker 41 (02:34:39):
All I meant to say was, if you can trust
me to take care of the house, well you could
trust me to take care of myself. You work afore
the midnight shift, eh, I keept only here nights I
could date, except I.

Speaker 9 (02:34:53):
Don't want you dating, and I'm not around me the
kind of guy you're going with, not these days the
riff raft that's abroad.

Speaker 41 (02:35:00):
Because maybe a guy has long hair, and whereas old Geene.

Speaker 11 (02:35:02):
Should make so much different from the farm what we
wore was jeans.

Speaker 9 (02:35:05):
I just don't want to see you run around the trash.
He was all the level, truly. Don't try to be
one Hay in the city. Think you.

Speaker 2 (02:35:15):
Thank him.

Speaker 9 (02:35:17):
That's the way you are to turn out.

Speaker 2 (02:35:20):
And see.

Speaker 11 (02:35:20):
Can't you ever forget mom?

Speaker 2 (02:35:22):
What I mean?

Speaker 11 (02:35:25):
Try to hide your way in the back of your
mind like we all have to just think of today.

Speaker 2 (02:35:31):
I can. I can never shut your mother away. Yeah.

Speaker 9 (02:35:36):
I just wish you could let live like it, make
your peace with the world. Then maybe you could set
off these dreams that hurt you. Yeah, and it hurt
me too.

Speaker 11 (02:35:44):
Maybe if I just had a little more freedom.

Speaker 9 (02:35:46):
In a couple of months, you'll be eighteen. I have
no control over you then, But until you reach that birthday,
I will not let you run wild like all the
other kids. I promised your mother that Porce died.

Speaker 11 (02:35:56):
Why don't you trust me, Pop leave me to make
my own decisions.

Speaker 9 (02:36:00):
I can't I promise married. She wanted only the best
for you.

Speaker 11 (02:36:03):
She isn't here to find it for me anymore. Let
me do my own finding.

Speaker 9 (02:36:07):
No, by heaven, I get my word, I keep it.

Speaker 41 (02:36:10):
Jim Savage, that's me for a day tomorrow night.

Speaker 9 (02:36:12):
Yeah, I don't hear good things about him.

Speaker 11 (02:36:14):
You mean I can't go.

Speaker 2 (02:36:15):
I mean you better not.

Speaker 9 (02:36:16):
I have six months left to bring you to your
mother's image. I will do everything I can to make
you that. But it's about your dream.

Speaker 11 (02:36:25):
Forget it. It doesn't matter anymore. I'm just being a child,
and I know it. I can see that. It's time
for me to grow up tonight, Pop, you need your sleep?
Me too? Yeah, and you're sure you okay, don't worry
about me three teens?

Speaker 9 (02:36:48):
Yeah, got me left for me. I just wish I
could make sure that the whole last time I might
have for you. Well, uh, turn off for life.

Speaker 16 (02:36:59):
No, I mean I'll get it.

Speaker 11 (02:37:02):
I have I have to go to the bathroom.

Speaker 2 (02:37:05):
Pop, h, I love you, sure, all right?

Speaker 9 (02:37:13):
You know I try to feel you. It's just since Mary. Yeah,
it was much to give? Yeah, good not.

Speaker 16 (02:37:23):
It's not.

Speaker 11 (02:37:26):
When she was alive. It wasn't much for you to give?

Speaker 2 (02:37:31):
Oh God?

Speaker 11 (02:37:33):
Well was daylight never come?

Speaker 9 (02:37:41):
Hey? You are pretty freaked out there my old lady.

Speaker 11 (02:37:43):
Thanks for the lift, and I'm not your old lady.

Speaker 14 (02:37:46):
Oh he's the last few weeks I thought we were
finally gonna begin to make it.

Speaker 11 (02:37:50):
Oh damn, it's not you.

Speaker 9 (02:37:52):
It's I know you're five.

Speaker 11 (02:37:54):
No, no, not that so much?

Speaker 2 (02:37:58):
Nothing else for what?

Speaker 11 (02:38:01):
Oh something I can't explain. Maybe you ought to dumped me?
Not any good for you?

Speaker 14 (02:38:07):
Well, yeah, I've been stringing me along there. What's got
you down? Sneaking out with me?

Speaker 2 (02:38:12):
Night?

Speaker 9 (02:38:12):
Spinee old dodos back.

Speaker 11 (02:38:14):
I don't like it. For what other way is there?

Speaker 9 (02:38:16):
Still expects you to sit on the knit or something?

Speaker 16 (02:38:18):
Huh?

Speaker 11 (02:38:19):
What's the way he was brought up and mom? They
were fond people.

Speaker 14 (02:38:22):
Your mother's been dead for uh six years, hasn't she.

Speaker 11 (02:38:25):
Yeah that's a big hang up.

Speaker 41 (02:38:26):
Really, Pop goes overboard about trying to, you know, protect
me like he thinks mom would have.

Speaker 11 (02:38:33):
Oh I forget it.

Speaker 9 (02:38:34):
Look he still got a date for tonight, right.

Speaker 11 (02:38:37):
Oh sure.

Speaker 41 (02:38:39):
I even tried to tell Pap about going out with
you when he came home when he blew a gask.

Speaker 22 (02:38:43):
And I let it go.

Speaker 11 (02:38:44):
I didn't want to upset.

Speaker 14 (02:38:45):
Him set up he's got out of style. Baby, he
belongs to a wax museum. Take a good look at
yourself in the mirror. You got circles under your eyes
like some old broader thirty.

Speaker 41 (02:38:56):
I told you that isn't pop, it's this is crazy
nightmare I have all the time.

Speaker 16 (02:39:03):
Oh yeah, okay, let's see.

Speaker 3 (02:39:04):
I tell you what.

Speaker 14 (02:39:06):
You're gonna get a good sleep tonight. Old Doc Tim
is gonna guarantee it. Oh how I'm gonna borrow.

Speaker 16 (02:39:12):
Some wheels and take a little booze, and you're gonna.

Speaker 11 (02:39:14):
Take a couple of belts.

Speaker 8 (02:39:16):
See what you need is to relax.

Speaker 11 (02:39:18):
Maybe you're right, Tim, up tight. You know something last
few weeks, I I think it's gonna fight. I'm gonna
with my legs.

Speaker 14 (02:39:29):
Well at the night, we're gonna do better than that.
You're gonna blow your mind.

Speaker 11 (02:39:40):
Gee, where'd you get a car like this?

Speaker 14 (02:39:43):
That's do but stoging Marvel the magician? I waved my
match ground.

Speaker 11 (02:39:47):
And you've been drinking?

Speaker 9 (02:39:50):
How could you tell hey?

Speaker 14 (02:39:52):
Open the glove compartment.

Speaker 11 (02:39:55):
Oh it's a liquor. Where'd you get that?

Speaker 14 (02:39:58):
So on the family kiddo way, My old man points
is down. You'll miss one bottle here there and the
causm uncle Joe's go ahead, take the bottle out.

Speaker 11 (02:40:08):
I don't want them yet. You shouldn't have any more.

Speaker 9 (02:40:11):
Oh, come on, I'm just putting you on.

Speaker 14 (02:40:14):
I only had one little drink, and as I remember,
you promised you were gonna join me.

Speaker 41 (02:40:19):
Okay, why not right out of the bottle.

Speaker 9 (02:40:22):
I got no glasses.

Speaker 11 (02:40:24):
Okay, here goes hey, it's almost empty. Could choo?

Speaker 16 (02:40:31):
No, no, no, I ain't steak a foe bottle.

Speaker 27 (02:40:34):
Go ahead, come on, kill it.

Speaker 11 (02:40:36):
No, I just want a small sip. Where are we going?

Speaker 21 (02:40:41):
Styland?

Speaker 14 (02:40:42):
Live it up, big goll and ride the games that
disco I liquid Starland.

Speaker 11 (02:40:47):
You ain't gonna use for money? That is no problem
what we're starting out for.

Speaker 4 (02:40:53):
There's uh liquor store up.

Speaker 9 (02:40:54):
Ahead of here.

Speaker 11 (02:40:54):
Oh, why don't we forget it? I don't want.

Speaker 14 (02:40:57):
Anymore, baby, baby, don't you remember Tonight's then right, We're
gonna open up your skull and let all those little
men out.

Speaker 9 (02:41:06):
You just keep a running. I'll be right back.

Speaker 11 (02:41:08):
It's serious, so deserted.

Speaker 16 (02:41:10):
Yeah, get on the radio, keep the company.

Speaker 11 (02:41:12):
Okay, put the shot. He sounded like joy. Come Joey Kim.

Speaker 16 (02:41:28):
Julie, help me hit him?

Speaker 11 (02:41:30):
What happened? Hold me, I can't stay.

Speaker 2 (02:41:33):
You gotta get to the kid.

Speaker 11 (02:41:36):
I've got you. Kill let the gun.

Speaker 5 (02:41:38):
You got a gun?

Speaker 16 (02:41:39):
Kill him that?

Speaker 2 (02:41:40):
What's he doing?

Speaker 16 (02:41:41):
You the gun?

Speaker 11 (02:41:45):
I'm killing?

Speaker 16 (02:41:47):
Let's him?

Speaker 8 (02:41:50):
Her currents are today, says So I just took your guns.

Speaker 11 (02:41:53):
It isn't mind up of it.

Speaker 2 (02:41:55):
Okay, Jake, get inside the Laker store and see what happened.
I'll handle this end of this. I'll put your hand
behind your back.

Speaker 16 (02:42:00):
Oh but that I do.

Speaker 9 (02:42:01):
You want your sidekick here to bleed the.

Speaker 8 (02:42:03):
Debt out behind the back?

Speaker 16 (02:42:05):
All right? Oh no, I'm sorry you do.

Speaker 2 (02:42:09):
I'm sorry you play rough games. You got to take
what comes with him.

Speaker 3 (02:42:12):
I climb over to the car. I've got a radio
emergency for an ambulance. Well, doctor Sarah, problem me, what
are you doing here this time of night?

Speaker 16 (02:42:28):
Well, i'll tell you. Reverend's Annuel Pryor. I've been called
in as a special consultant on the shooting case that
was brought in.

Speaker 3 (02:42:35):
Oh you mean the boy killed the liquor shopholder.

Speaker 16 (02:42:38):
Mm hmmmm.

Speaker 3 (02:42:40):
Well he doesn't need a psychiatrist, Sally. He's more apt
to need me. They've had he been on R two
and a half hours already.

Speaker 16 (02:42:47):
He's not my patient. Little girl who was with.

Speaker 3 (02:42:49):
Him finally took her back to the station house, requestioning
and to lock her up.

Speaker 16 (02:42:55):
Only she didn't stay locked up. There's a Sergeant Lawrence
on the way back here with her. Oh, I guess
there's you. Well let me go there, Connors.

Speaker 3 (02:43:03):
Just you pull down now, if you'll only talk.

Speaker 11 (02:43:08):
Oh, you're not gonna lock me up again. It's time.
I will burst my head wide open. I won't let
him get me.

Speaker 16 (02:43:15):
Of course, we won't let him get you, whoever he is, Julie,
this is a hospital. You're perfectly safe, now, aren't you
being foolish?

Speaker 11 (02:43:23):
How do you know me?

Speaker 16 (02:43:24):
Come on, I've been expecting you. I'm doctor Browning.

Speaker 11 (02:43:28):
Oh sure, the doctor.

Speaker 41 (02:43:31):
Don't figure out putting me in any pet itself, because
if you do.

Speaker 11 (02:43:34):
You'll see the biggest winging.

Speaker 16 (02:43:35):
Yet, no padded cell, no keys. You'll have to be
confined to your room, but you don't have to close
the door, and there are two big windows. Honest. But
then what it's late. I want you to get undressed
and get into bed. Then i'll give you something to
help you sleep and while we're waiting for it to work.

Speaker 17 (02:43:55):
We'll talk a little.

Speaker 2 (02:43:56):
Nurse.

Speaker 16 (02:43:57):
When you show Miss Connors to her room, Miss, do
I have heavy sergeant? Does she have to be handcuffed?

Speaker 13 (02:44:05):
No?

Speaker 2 (02:44:05):
If you don't think she needs them now, Doctor, No,
I don't.

Speaker 16 (02:44:09):
Okay, you go with the nurse and the sergeant. I'll
be up in a moment.

Speaker 11 (02:44:15):
I will for you.

Speaker 2 (02:44:18):
Well, looks like you just made a friend.

Speaker 16 (02:44:21):
Yes, and I need you, Sam. Could we go to
my office for a moment or two. Something's haunting that child,
something beyond tonight. You talked to her earlier, Maybe you
can give me a clue to who her private boogeyman is.

Speaker 3 (02:44:41):
It's so easy for all of us, no matter how
sure we think we are, to panic at what we
don't understand, terrors and strange noises that come to us
from the dark outside. But when the nameless fight wells
up from inside, creating our own books. Call it what
you want, then we are truly possessed, and the only

(02:45:05):
last hope is to exorcise the unnamed thing within us.
I'll return shortly with that too. Exorcism is a convenient,

(02:45:27):
old fashioned word. It conjures pictures of the damned or possessed,
rising under the influence of some foul demon. It once
was the sole province of the religious and even in
modern terms still is. But it is well established by
now that the psychiatrist is equally important, and church and

(02:45:49):
medicine work as partners, like the Reverend Sam Pryor and
doctor Sarah Browning.

Speaker 16 (02:45:56):
So the police wat a pychiatric evaluation of Julie Connor's
They were holding her for bail and locked her in
a cell, and she went berserk. Did you see the
bruises on her forehead?

Speaker 2 (02:46:06):
I did, claustrophogia.

Speaker 16 (02:46:08):
Apparently, but that's for later. The point is that even
if it is bonafide, it's only a symptom, not a disease.
What worries me is less a.

Speaker 4 (02:46:18):
Girl than the father.

Speaker 2 (02:46:19):
Oh, it's the matter with mister Tunners.

Speaker 16 (02:46:21):
What kind of father abandons a seventeen year old girl
who's never been in any real trouble to face jail
before she's been found guilty.

Speaker 3 (02:46:30):
Well, she's a suspected accomplice, and the murder of a
liquor store hold of her.

Speaker 16 (02:46:34):
Even the murder, Sam, can you honestly believe that child
could handle a heavy gun like the one that was used.

Speaker 3 (02:46:41):
Was no way of proving that until the boys she
was with comes too. If he ever does that, bad Sam,
he's young.

Speaker 2 (02:46:51):
It's not so good, Sally. Oh, what was the bond
on the girl?

Speaker 16 (02:46:55):
The police don't really suspect her as a principal, only
a few thousand, except her father refused to post it.

Speaker 2 (02:47:02):
Well, maybe he can't afford it.

Speaker 3 (02:47:04):
He can.

Speaker 16 (02:47:05):
I call him this morning? He refused to talk to me.

Speaker 3 (02:47:09):
Do you seriously imagine that my wining personality might succeed
where yours failed?

Speaker 16 (02:47:15):
The doctor, you might apply a little occupational leverage. The
father is a deacon at the plane View's church, Oh,
of which the minister happens to be a close friend
of mine. Sam, I can't judge the girl without knowing
something about her background, her history to life. There isn't

(02:47:35):
time for deep analysis. Her father is the only one
who can tell me quickly.

Speaker 2 (02:47:41):
Oh, no mother or relatives.

Speaker 16 (02:47:42):
No mother, no relatives close enough to be of value.
I know it's an imposition.

Speaker 3 (02:47:48):
Well that when you asked me, Sally, you give me
the address and I'll go Beard your lion in his death.

Speaker 11 (02:48:00):
Hello, Julie, Oh to you doctor?

Speaker 16 (02:48:04):
Have tim he's still in the recovery room. How are you?

Speaker 41 (02:48:10):
I don't know.

Speaker 16 (02:48:11):
I promised you a view from a window. Is it
all right?

Speaker 41 (02:48:14):
Ever since the sun came up, trees and shrubs, flowers
and green rolling out as far as you can see,
just like the farm.

Speaker 16 (02:48:25):
Was the farm where I grew up before we moved
to the city.

Speaker 11 (02:48:31):
About a thousand years ago, maybe five thousand. Okay, Doc,
what do we start with the lie detector?

Speaker 16 (02:48:40):
Don't fight me, Julie. I'm on your side.

Speaker 11 (02:48:43):
Do me a favor, and I guess I owe you
one getting those handcuffed soft of me.

Speaker 16 (02:48:49):
So i'll trade. Just tell me the truth about everything, good,
bad and different.

Speaker 2 (02:48:55):
Just all the truth.

Speaker 16 (02:48:57):
That's what I'm after.

Speaker 11 (02:48:59):
You don't ask them much, Huh.

Speaker 16 (02:49:01):
When I was a little girl, my father used to
say to me, Sally, Sally, Well, my name's really Sarah,
but I always hated it, so I got to be
called Sally anyway. Pop.

Speaker 11 (02:49:12):
Uh, that's what I call my father.

Speaker 16 (02:49:16):
Anyway. Pop always said to me, don't do a power
of wishing, sallye, because the Lord's too busy to come
through for everyone. But if you do wish, always wish big.
So that's how it is with you and me, Julie.
I'm wishing big you'll tell me everything.

Speaker 11 (02:49:34):
Gee dot, Oh, what's the difference? What have I got
to lose? So too much? Like any other boy? Paid
the bust out of home for some kicks some of
the time.

Speaker 16 (02:49:53):
But you've known him for a while.

Speaker 11 (02:49:54):
Well, sure we were in the same class at school.

Speaker 16 (02:49:57):
You weren't surprised when he picked you up in a
car this time.

Speaker 41 (02:50:00):
Sure he was, especially when he said we were heading
the Star and Park. You know the rides are all
and he wanted to go to the disc attack. I
just didn't feel that he never had money like that before.

Speaker 16 (02:50:11):
But you went, yeah, I went.

Speaker 11 (02:50:14):
I was ready to go anywhere that night. I thought
I even had a drink. Now I don't usually because
it makes me feel kind of dizzy, but I thought
it might chase away. But the guy that.

Speaker 16 (02:50:28):
Follows me go on, Tim.

Speaker 41 (02:50:32):
Had an almost empty bottle. He gave me a drink,
and he he said he wanted.

Speaker 11 (02:50:37):
To stop and get more.

Speaker 16 (02:50:38):
Tell me about the man you say follows you.

Speaker 11 (02:50:41):
I don't want to talk about that.

Speaker 16 (02:50:43):
Then don't tell me more about what happened.

Speaker 11 (02:50:47):
Well, we stopped at this liquor store and Tim left
me in the car.

Speaker 41 (02:50:52):
He told me to turn on the radio. I heard
him so away the empty because it broke and smashing
the street.

Speaker 11 (02:50:59):
I didn't like that. Why things should be tidy in me?

Speaker 16 (02:51:03):
Normal is well?

Speaker 11 (02:51:06):
I was listening to the radio and then mean these
two noises.

Speaker 41 (02:51:12):
I just couldn't believe he was shot. When Tim came out,
he was all bleeding, he could hardly stand up. And
then I don't know, the police came in the ambulance.

Speaker 11 (02:51:22):
They took Tim away to the hospital and needed stations
house and.

Speaker 16 (02:51:27):
Booked you as an accessory. Yes, do you know the charges? Well,
rob Rian, you didn't know Tim was driving a stolen car.

Speaker 11 (02:51:40):
No, he said it with his uncles and he meant
it to him. Why are you asking me all these questions?

Speaker 16 (02:51:48):
Some of them I'm asking because I felt you'd rather
have me do it than the police.

Speaker 11 (02:51:51):
Oh, why doesn't Tim tell him the truth?

Speaker 16 (02:51:54):
Julie, Dear, Tim is still unconscious, he can't talk, and
Tim is in my interest. You are tell me more
about the police station.

Speaker 11 (02:52:05):
Oh, I don't know. Things took forever and they came
and took my fingerprints, and.

Speaker 41 (02:52:11):
Then they put me to sell and knocked the door, yes,
and it turned out the light and I tried.

Speaker 11 (02:52:23):
To tell him not to because my pop was coming.
I asked him to call him. They just didn't pay
any attention. And suddenly the wall he was there. I
knew he was gonna get me. I just screamed and screamed.
The police lady came. I told her to get my pop,
to get me out of there.

Speaker 16 (02:52:39):
And what did she say.

Speaker 11 (02:52:40):
She said he'd been there and he wasn't going to
let me out.

Speaker 28 (02:52:45):
I've just been the all day.

Speaker 11 (02:52:48):
And so I went bananas. I beat my head against
the wall and the bar, and I don't know.

Speaker 16 (02:52:55):
Everything just went last and when you woke up.

Speaker 11 (02:53:00):
Me in here at the hospital, when I met you.

Speaker 16 (02:53:05):
All right, Julie, just a few more questions. Sit on
the bed, Okay, then okay, why don't you just lie back?
That's right. Look, I know you've been through a bad
time and jail would scare the daylights out of me,
But why would it drive you up the wall the

(02:53:25):
way it did?

Speaker 41 (02:53:27):
Because it's just like like when I was a kid
and I.

Speaker 16 (02:53:37):
Close to punish you. Who who?

Speaker 10 (02:53:42):
What?

Speaker 2 (02:53:43):
Who?

Speaker 16 (02:53:43):
Locked you up like.

Speaker 11 (02:53:47):
My mother?

Speaker 16 (02:53:49):
And inside in the dark, you were terrified, always the
hight choke.

Speaker 11 (02:53:55):
It wasn't any light. You couldn't see the walls.

Speaker 5 (02:54:01):
You could just feel them.

Speaker 11 (02:54:03):
You could feel the moving in close my eyes.

Speaker 41 (02:54:08):
I always hope my own private Darth wouldn't be scary
at the other, the other that would come the other.

Speaker 2 (02:54:19):
First first, good.

Speaker 11 (02:54:21):
Hairs, breathing his voice, Oh, terrible whispering fact.

Speaker 16 (02:54:51):
But how did you know that this boogie man wouldn't
get you?

Speaker 11 (02:54:56):
I always knew pot would come to debt free.

Speaker 16 (02:54:59):
And you always did.

Speaker 11 (02:55:00):
It's except this time.

Speaker 16 (02:55:02):
How could he do that to me?

Speaker 11 (02:55:05):
How can he even shut up when he loves me
just the way I love him? How can you let
me be there alone, to be swallowed up by the
dog forever?

Speaker 16 (02:55:15):
All right, all right, Julie, it's gonna be all right.

Speaker 2 (02:55:18):
Don't worry.

Speaker 16 (02:55:18):
We're gonna get you all straightened out.

Speaker 11 (02:55:20):
Oh I'm so afraid.

Speaker 16 (02:55:25):
We're all afraid, Julie, of so many things. If I
asked you to call me Sally as I called you, Julie,
would that make it easier?

Speaker 11 (02:55:34):
You're so kind? I do trust you. How do you say?

Speaker 16 (02:55:41):
Oh, I just want my ba I know you do.

Speaker 41 (02:55:44):
Really, Please don't let him walk away from me?

Speaker 11 (02:55:48):
If he did, I couldn't live. You don't think he
really will.

Speaker 3 (02:55:54):
Doctor Ronnie isn't back in her office, but she should
be shortly.

Speaker 2 (02:56:09):
We can wait for her there.

Speaker 9 (02:56:10):
I don't know why I was talking of this, except
that you and my pastor good friends with him A
friend in need?

Speaker 2 (02:56:17):
Yeah?

Speaker 9 (02:56:17):
What was that?

Speaker 2 (02:56:18):
There?

Speaker 3 (02:56:19):
Something we all need on particular occasions, but really all
the time. Yes, this is doctor Browning's office. I can't
imagine going to a woman's psychiatrist.

Speaker 2 (02:56:32):
Neither can I.

Speaker 9 (02:56:34):
Be usual, minister?

Speaker 3 (02:56:36):
No? No, because I don't need one. And my collar,
you must remember, makes sex the material. Yeah, of course,
whatever criminal aspects this case involves can scarcely touch your daughter.
She was by all evidence, she was an innocent bystander,
except for the impetus that I all drove her on

(02:56:59):
an empty house an involved her. What do you trying
to say, I'm not trying you say. I discussed this
case with doctor Brownie, and we are both in agreement.
Your daughter is possessed by a malignant spirit, something beyond
her comprehension or ability to handle, which has driven her
into a horrendous situation, one innocent man's death and another

(02:57:24):
possible one. The young man was the instrument.

Speaker 2 (02:57:27):
Of the first.

Speaker 3 (02:57:29):
But where does your daughter's guilt lie, or tashi any
real guilt at all? The bear on those young shaken shoulders.
The hold up of a liquor store goes wrong, the
owner is shocked to death. A boy is the apparent murderer,

(02:57:52):
A girl within a possible accomplice. What peculiar twist of
fate put her there? What punishment or resolution should come
from the circumstances. We will leave you to judge that
after I return shortly with the third act.

Speaker 2 (02:58:18):
This is a story which.

Speaker 3 (02:58:20):
Wanders the fields of modern psychiatry and tries to plumb
the depths of subjective terror grown from within rather than
impressed from without. So we return to a minister who
faces an anguished father and a history still buried in
the shadows of the past.

Speaker 9 (02:58:39):
I don't know why I let myself get talking of
this reverend.

Speaker 3 (02:58:41):
For your daughter's sake, I told you, true, Ms Connors,
you cannot abandon your child. She's only been arrested, not sentenced.
She hasn't been proven guilty.

Speaker 9 (02:58:52):
She was in a stone call the boy what a record?

Speaker 16 (02:58:54):
Well, I don't know that.

Speaker 3 (02:58:56):
So isn't it just possible that Julie didn't need it.

Speaker 9 (02:59:01):
She lied anyone to try and take him in. But
there's times she didn't get away with it, except she
managed to take.

Speaker 2 (02:59:06):
Away out of jail.

Speaker 16 (02:59:07):
Me.

Speaker 2 (02:59:07):
Why are you so bitter against her?

Speaker 9 (02:59:09):
I'm not bitter.

Speaker 3 (02:59:10):
Are you sure doctor Browning doesn't think she's faking? She
thinks Julie has real claustrophobia?

Speaker 9 (02:59:17):
Yeah, what do you mean?

Speaker 3 (02:59:19):
A terror of being shut away in a confined or
narrow space sick.

Speaker 9 (02:59:23):
So that's the story she's trying to sell.

Speaker 3 (02:59:25):
You know, we all have it more or less.

Speaker 2 (02:59:27):
Now, perhaps your daughter.

Speaker 16 (02:59:29):
I didn't mean to eaves drop, but I just had
a long talk with your daughter. Mister Connors, I think
it's true.

Speaker 9 (02:59:35):
Who are you?

Speaker 3 (02:59:35):
Oh, this is doctor Browning, the psychiatrist in charge of
your daughter's case.

Speaker 16 (02:59:39):
Huh psychiatrist, that's right, a profession I gather may not
be too popular with you, mister Connors, but I am
going to be important in your life.

Speaker 31 (02:59:48):
Uh.

Speaker 16 (02:59:50):
I want to be frank, and I don't want to
sound arbitrary, but what happens in a few weeks until
the trial, as far as Julie is concerned, is almost
entirely up to me.

Speaker 9 (03:00:00):
If you're trying to trick me into posting a bond
for the AD says no, let us stay in jail
learn a lesson for once.

Speaker 16 (03:00:07):
That's just what your daughter shouldn't well all AMENDBA can't do.
She's a very insecure and disturbed girl.

Speaker 9 (03:00:13):
Am I supposed to be responsible for Julie? Am I
to take the blame?

Speaker 16 (03:00:17):
I don't like the word blame. Let's say you might
be a factor along with others. What other Julie's mother
for example?

Speaker 2 (03:00:25):
Don't you say one word against Julie's mother Mary?

Speaker 16 (03:00:28):
It was a scene from what Julie told me. A
different picture could be imagined.

Speaker 2 (03:00:32):
Whatever she said was lies lie possibly, But.

Speaker 16 (03:00:36):
If she's lying, I'd like to find out why. Now,
mister Connors, won't you sit down and help them?

Speaker 2 (03:00:41):
I'm sorry, doctor, I have a job do. I don't
see how I can help you.

Speaker 3 (03:00:44):
If you'll excuse me, I think i'm superfluous in this discussion.
And also I have word to do now. I promise
to visit your daughter. Can I tell her you'll be
up to see her?

Speaker 9 (03:00:53):
Mister Conna, you can tell her I never want to
see her again. Well, that's a message you'll have to
convey by your self. Excuse me, I, reverend, prior this
intensive care. Yes, I want to ask about Tim Sadler,

(03:01:17):
the boy who was shot in the hold up. I say, well,
if there's any change, I'll be on four fifty. Would
you will notify you please immediately?

Speaker 2 (03:01:26):
Yeah? Thank you a lot, Miss Connors. Hi.

Speaker 11 (03:01:35):
Oh excuse me, reverend, Well for what would You're a
minister and all. I didn't need to be rude. I
don't want to answer any more questions.

Speaker 2 (03:01:45):
Oh who does so? Will avoid them leading ones anyway. Oh,
it's a pretty nice view I have.

Speaker 11 (03:01:50):
That wonder reminds me of the farm I was where
where I grew up.

Speaker 2 (03:01:56):
Do you like being out there?

Speaker 11 (03:01:58):
Is that in the city? These Papa's happy out there?

Speaker 16 (03:02:02):
Nice?

Speaker 2 (03:02:03):
He's still see it's pretty nice.

Speaker 11 (03:02:05):
He's here in the hospital talking to the shrink. Shrink,
you know, doctor Brownie.

Speaker 2 (03:02:11):
Uh huh.

Speaker 11 (03:02:13):
People won't come and see me. You don't have to
tell me.

Speaker 41 (03:02:16):
I know.

Speaker 11 (03:02:18):
It doesn't matter. Nothing matters.

Speaker 2 (03:02:21):
Talk you about houpetually. Oh.

Speaker 11 (03:02:23):
I gave it up soon.

Speaker 41 (03:02:23):
After mother died, when I got old enough to realize
he never wanted me.

Speaker 11 (03:02:29):
I could never take her place. I ought to die too,
never been able to.

Speaker 41 (03:02:36):
Didn't he hates me for being alive instead of her, Holly,
why can't I even it.

Speaker 11 (03:02:42):
Up and hate him back?

Speaker 16 (03:02:49):
And I don't mean to pry, but you did love
your wife very much.

Speaker 2 (03:02:52):
Mister Connor's mild life began and ended with her.

Speaker 16 (03:02:57):
She returned that love.

Speaker 2 (03:02:58):
Oh yeah, they loved me?

Speaker 16 (03:03:02):
Is that why she resented it? When Julie arrived?

Speaker 9 (03:03:06):
Mary resent Julie. She loved her? Are you, of course?
Who doesn't want kids?

Speaker 16 (03:03:14):
Oh?

Speaker 2 (03:03:15):
Shore on a farm?

Speaker 9 (03:03:16):
Maybe I was kind of disappointed. It wasn't boy farmer
needs a boy and one girls.

Speaker 2 (03:03:20):
But that was only first At first.

Speaker 9 (03:03:24):
Well, there was things went wrong. We wanted to have
any more kids. That was the Lord's will. Then after
all the years we tried and found God said against us,
Julie was growing up. Bad street was showing through. I
told Mary she was too soft on her.

Speaker 16 (03:03:42):
What bad streak, The things she do.

Speaker 9 (03:03:45):
When she was eight she climbed that big old maple
behind the house and got tree like a cat. We
had to get the county hooking ladder from the fire
department and sets her down. And then one summer she
fooled us off. She was down the river. By the
time she was ten, she run away from home regular
not so far she couldn't be found. Then at twelve,

(03:04:06):
I swear I couldn't blame him. The boys came swarming around.
Tell you true, she was lovable and damnable to handle.

Speaker 2 (03:04:14):
Doctor, and your.

Speaker 16 (03:04:15):
Wife tried to punish her somehow, or at least controller,
so she took to locking her in the closet.

Speaker 2 (03:04:21):
Who told you that? What Julie?

Speaker 9 (03:04:24):
That was what she said? Yes, damn if now you
don't see what a liar she is. Someone not to
punish her now. I was the one that locked them
in closet.

Speaker 16 (03:04:34):
Oh, I see, But you were always the one who
came back to let her out.

Speaker 9 (03:04:39):
Up till now.

Speaker 2 (03:04:40):
Doctor.

Speaker 9 (03:04:40):
But I'm not failing out anymore as a father.

Speaker 2 (03:04:44):
Or a bailiff.

Speaker 9 (03:04:45):
This time she brought her whole problem and she can
stay in the closet for good.

Speaker 16 (03:04:48):
Mister Connors, I want you to listen.

Speaker 9 (03:04:50):
To no, ma'am. You can take up for Julia all
you want, but you ain't gonna change my mind.

Speaker 16 (03:04:54):
I'm not taking up for Julie. I'm taking up for
both of you. Uh, And I'll thank you not to
call me ma'am. I am doctor, doctor Sarah Brownie and
a specialist in human relationships. Two minutes is all I ask? Yeah,
two minutes, well a reasonable time.

Speaker 9 (03:05:12):
No, that isn't what I mean.

Speaker 2 (03:05:15):
It's just.

Speaker 9 (03:05:19):
That's what Mary always used to say to me when
she wanted something good. First, I like, I'll give you
your two minutes, doctor.

Speaker 16 (03:05:28):
For what to Try to get you to look at
your lives clearly yours and Julie's, to give you what
you need. Mister Connor's love I had, that must your wife's,
but not your daughter's.

Speaker 9 (03:05:42):
Julie, don't love me, not like, not, not the way.

Speaker 16 (03:05:46):
You couldn't be more wrong.

Speaker 9 (03:05:48):
All her life she was set against me, trying to
be devil me, show me her own.

Speaker 16 (03:05:51):
Way, fight me, because all her life you couldn't give
her what she really wanted, a father's love. Try to
see it from her point of view, mister cann. She
was a child who grew up in a house where
her parents loved each other so much. She felt excluded,
an only child with nowhere else to reach for love.

Speaker 9 (03:06:08):
But Mary loved her.

Speaker 16 (03:06:10):
Of course, a girl takes her mother's love for granted,
except that she so often thinks of her as a
rival for her father's affections. How much love did you
offer her? Did she ever find from you?

Speaker 9 (03:06:23):
I was a farmer, I was up from donald sundown
them still chores knight, so was so tired of.

Speaker 16 (03:06:32):
Had much time for exactly. And it was always the
thought that had Julie been a boy, she could have
worked with you, taken some of those chores off your shoulders,
been more of a companion.

Speaker 9 (03:06:43):
Don't make me out, no ogre. Maybe some of the
things you say true, But Julie didn't have to act up.

Speaker 2 (03:06:49):
The way she did.

Speaker 16 (03:06:49):
That's just the point of course she did. She was
trying to win your love the only way she could,
or at least attention. She climbs a tree, pretends to drown,
runs away from home, anything to get you to come
and rescue her. Even the punishment was worth it, the
agony of the dark closet, because she knows you'll be

(03:07:10):
the one to come and save her.

Speaker 9 (03:07:12):
I ain't proud of that.

Speaker 16 (03:07:13):
We're human. We do what we do. But have you
any idea what that child.

Speaker 11 (03:07:18):
Suffered for your love?

Speaker 2 (03:07:19):
What do you mean?

Speaker 16 (03:07:21):
Claustrophobia is the most common fear people have. Have you
ever been locked up in the dark, mister Connors.

Speaker 9 (03:07:28):
M ever since my wife died, shut myself in the closet. Hi,
don't it because I don't want to wake up and
open the door to life again.

Speaker 16 (03:07:39):
I had such love that you could have it again
a different way from Julie.

Speaker 9 (03:07:45):
No, she doesn't love me, she hates me.

Speaker 16 (03:07:48):
She wants to love you. Do you want to love her?

Speaker 2 (03:07:53):
I don't know.

Speaker 16 (03:07:53):
I don't throw it away. I've talked to her. Mister Connors.
Do you know about the Boogeyman?

Speaker 9 (03:08:00):
Oh that's schilish myself.

Speaker 16 (03:08:01):
Yeah, childish perhaps, but not nonsense. Imagine. Just shut your
eyes and try to think back to your kid years.
Thrust into inky blackness, but he turned no escape, the
gradual feeling that the air was getting too thick to breathe.
Above all with dark, and the fear that you were.

Speaker 10 (03:08:24):
Locked in a coffin, and then from somewhere some fairy tale,
a ghost story, you begin to hear voice.

Speaker 2 (03:08:38):
Tidy trod Nord tell you nor to love you.

Speaker 9 (03:08:46):
At last, I can give rid of you the way
I are, you, the way I should have because you
are never should you?

Speaker 2 (03:08:56):
Do you feel crying like the walls? Hush you deloy,
Stop it.

Speaker 9 (03:09:06):
Stop it. Don't you know how wrong I was? Don't
you see? No matter what she says, I know she
hates me.

Speaker 16 (03:09:12):
But she doesn't. In spite of everything, you couldn't be
better loved. And I can prove it to you. How
Whose voice do you think it was? She heard? Because
she wasn't a boy but just a little girl, because
she felt unwanted? Whose voice, mister Connors?

Speaker 2 (03:09:30):
Oh?

Speaker 16 (03:09:31):
Oh, oh, oh, yes yours?

Speaker 2 (03:09:36):
God forgive me he will.

Speaker 16 (03:09:39):
And Julie, it isn't too late. All her rebellion, everything
she's ever done, even last night, if she has any
guilt in what happened, has been a cry for your love.
Can't you offer it to her? At last?

Speaker 2 (03:10:00):
Pop?

Speaker 11 (03:10:01):
Julie, I I thought you.

Speaker 3 (03:10:05):
I never thought you'd come well about time.

Speaker 11 (03:10:10):
I I didn't rob anybody, Pop, honest, I didn't. I
didn't know it.

Speaker 9 (03:10:14):
It doesn't matter how All all I know is you're
at least from the hospital, and you're getting dressed, and
you and me and going to the police station to
post that bond, and then we're going home, and no
matter what happens, I'm gonna fight to keep you there.

Speaker 11 (03:10:30):
Oh Popp, I don't know what to say not.

Speaker 2 (03:10:34):
Do that much.

Speaker 9 (03:10:36):
It ain't gonna be easy, so many years to make
up for.

Speaker 11 (03:10:40):
Y you could just one way, with one move, h
could you? Could you just hold out your arms.

Speaker 2 (03:10:50):
Julie, Julie, M my little girl.

Speaker 11 (03:10:54):
Oh pop, all my life, just this, It's all I
ever wanted.

Speaker 3 (03:11:12):
All of us have closets in the mind, where skeletons
rattle and boogeymen breed heavy in the dark. Thank the
Lord for the people who open the doors for us,
and pity all those who don't have the doors opened.
I'll be back shortly. Well, Julian Seth Connor has made

(03:11:41):
their piece the hard way. Perhaps this time it will stick.
At least there won't be any more dark closets. Life
is too full of them, and the trick is to
find out how to open them. The key is easy
to find, of course, it's something very simple.

Speaker 9 (03:12:00):
Hello.

Speaker 3 (03:12:02):
What the real trick is, however, is to be able
to give it to the right person. Our cast included
Fred Gwynn, Jodda Rowland, Christopher Tabori, Francis Sternhagen and Earl Hammond.
The entire production was under the direction of Hymon Brown's
Radio Mystery Theater was sponsored in part by Uncle Ben's

(03:12:23):
Long Grain and Wild Rice and Anheuser Busch Incorporated.

Speaker 2 (03:12:27):
Brewers of Budweiser.

Speaker 16 (03:12:29):
This is E. G.

Speaker 3 (03:12:30):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre.

Speaker 2 (03:12:37):
Until next time, Pleasant dream.

Speaker 20 (03:12:57):
The March Doub War, Mystery Bitter with all the baltume
by Shop Right Supermarket.

Speaker 2 (03:13:01):
Where you get a lot more or a little less.

Speaker 3 (03:13:09):
The preceding program was produced by the Columbia Broadcasting System.

Speaker 1 (03:13:15):
We've certainly earned a little happy record playing after a
long night of experiences. But I have to say, my dear,
as usual, I'm very, very thankful to spend this time
with you. I so look forward to it, and I

(03:13:35):
hope you'll come back very soon. I'll be here. Oh
where else would I be, I suppose, But for now
the sun will be up soons. You need to get home,
and I need to get back to well, wherever it
is that I come from.

Speaker 2 (03:13:55):
What's that? Well?

Speaker 1 (03:13:57):
No, but good guess. So now please head home. As
you head over the river and through the woods, past
the railroad tracks, as you open your door, as you
go through the threshold of your beautiful home, of your
seemingly normal life, and as you lay your head down

(03:14:18):
to head into the dark yourself, please just take a
moment to be thankful for what you have, and I'll
be right here until next time.

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Unknown Broadcast | Darkness Awaits: 6 Terrifying Tales of Fate, Fear, and the Supernatural

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Unknown Broadcast | Darkness Awaits: 6 Terrifying Tales of Fate, Fear, and the Supernatural