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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:09):
Ah my dear, so good of you to join me again.
How are you? How's your week been? Or what's that?
Oh well, I'm sorry to hear that, but you are
in the right place, after all. This little stone enclave

(00:34):
is a bit of an oasis if you want it
to be. Of course, it can be more of a
crypt if you take it at face value. That is,
let's move away from the anxious you and the anxious me,
to the hustle and bustle and disappointments of day in,

(00:56):
day out life. Let's focus on something more constructive. Let's
focus on the Killer Inside.

Speaker 2 (01:19):
Then go in. Welcome. Hi'm a g Marshall. There are
two worlds. The first is the one we know. It
has rules, it has boundaries, it has structure. For lack

(01:40):
of a better name, we call it the real world.
The second world. The other world is always waiting somewhere,
just beyond the edge of understanding. Perhaps it is perceived
most clearly in dreams. It is a world without form
or shape, without reason or logic, And that world still

(02:02):
threatens to overwhelm us. That world, with its demons and
dangers and madness. Our mystery drama, The Killer Inside was
written especially for the Mystery Theater by Sam Dan and
stars Anne Mirrah. It is sponsored in part by Buick

(02:26):
Motor Division and Uncle Ben's Long Grain and Wild Rice.
I'll be back shortly with that one. Perhaps you know
a girl like Gwendolen. Her mother generally introduces her as
my unmarried daughter. What Mama conveniently overlooks is the fact

(02:46):
that Gwendolen may be unmarried because she is a kid
who stayed home to look after her parents. Gwendolen believes
in being sensible. The only nonsensible thing that Gwendolen ever
did was to buy a raffle ticket, so it wasn't
completely frivolous either. After all, it was for a charitable cause. However,
maybe doing something that isn't completely sensible might be catching

(03:10):
because lightning figuratively speaking, has struck and Gwendolen's was the
winning ticket and the prize is a ten day trip
to London, and that's what the argument is about.

Speaker 3 (03:24):
But you don't have to go on the trip, Mama.
That's why I bought the raffle ticket.

Speaker 4 (03:29):
Well, I understand you can cash it in, but where
will I.

Speaker 3 (03:32):
Ever get another chance to see London?

Speaker 5 (03:35):
What's there to see.

Speaker 3 (03:36):
In London, Mama, London, London, fairly.

Speaker 2 (03:40):
Weeks with history?

Speaker 5 (03:41):
What's history? The past? And what is the past?

Speaker 2 (03:44):
It's dead.

Speaker 6 (03:46):
You should be concerned with the future. You go to London,
you spend ten days, it's very chilly, it rains all
the time.

Speaker 5 (03:53):
That have a lot of fried foods. That ten days
are over. The whole thing is finished and it's gone.

Speaker 3 (03:57):
Forever, Mama.

Speaker 5 (03:59):
Whereas if you buy yourself a couple of.

Speaker 3 (04:01):
Outfits, Mama, I am going to run clothes.

Speaker 5 (04:04):
You can wear every day for.

Speaker 4 (04:06):
Weeks, months, two years, Mama, I say, Or you can
you can put the money in the bank. Mama, I'm
thirty years old, only twenty six. You don't have to
lie about my age to me.

Speaker 6 (04:18):
Look, it's a woman's right, it's her duty, her obligation
to lie about her age.

Speaker 4 (04:23):
I'm thirty years old and I've never done anything, and
I've never gone anywhere.

Speaker 3 (04:28):
Or be practical.

Speaker 6 (04:30):
Consider Norman, Norman, What about Norman? Can you risk leaving
Norman alone for ten whole days?

Speaker 5 (04:39):
Well?

Speaker 3 (04:39):
Can you do you know how long I've known Norman?

Speaker 5 (04:43):
Exactly?

Speaker 7 (04:44):
Three years?

Speaker 3 (04:45):
Three long years, three wasted years.

Speaker 5 (04:49):
Well, it's an investment. You have to protect it.

Speaker 3 (04:52):
What you're saying is I'm stuck with it.

Speaker 5 (04:56):
But it's your fault if you don't go out with
anyone else.

Speaker 4 (04:59):
Don't go out with anyone else because no one else
asks me, then it's your fault if you don't get around.

Speaker 3 (05:06):
Isn't that what I'm trying to do now by going
to London?

Speaker 5 (05:09):
But who do you meet in London? A bunch of foreigners?

Speaker 3 (05:12):
Mama? Nothing you can say will make me change my mind.

Speaker 6 (05:16):
Was suppose Norman meets somebody else in ten days?

Speaker 5 (05:21):
It could happen in ten minutes.

Speaker 3 (05:22):
Good, he can waste three years of her life. What's
gotten into you? Nothing?

Speaker 5 (05:28):
Usually you're so sensible.

Speaker 3 (05:30):
Maybe that's my problem.

Speaker 4 (05:32):
Oh well, if you have a problem, you better see
doctor Morris.

Speaker 3 (05:35):
Oh please forget it.

Speaker 4 (05:36):
If you have a problem, you shouldn't let it fester.

Speaker 5 (05:40):
Oh my, who could that be?

Speaker 4 (05:42):
Mama? You know perfectly well who it is. Who else
could it be?

Speaker 8 (05:49):
How good? Good? Evening?

Speaker 2 (05:50):
Gwynlan Norman?

Speaker 3 (05:53):
What a surprise?

Speaker 2 (05:54):
Yeah? May I come in?

Speaker 3 (05:57):
What would you do if I said no?

Speaker 2 (06:00):
You don't understand? Why would you say no?

Speaker 4 (06:02):
Oh, don't pay any attention to a Norman.

Speaker 2 (06:04):
Her heads in the cloud.

Speaker 3 (06:07):
We're just about to start under some.

Speaker 2 (06:10):
Yeah, thank you, I will. I saved up three hundred galleries.

Speaker 5 (06:14):
For you with a little you know what.

Speaker 4 (06:17):
Gwendolin is down for London, norm and I just couldn't
talk her.

Speaker 9 (06:21):
Out of it.

Speaker 2 (06:22):
Oh I think she should go, you do. Oh yes,
it'll be an enriching educational experience.

Speaker 4 (06:29):
Oh you know, that's exactly what I kept telling you.

Speaker 2 (06:32):
Now, Quenland, I've a compiled a list of places you
mustn't miss, all the important museums.

Speaker 6 (06:39):
You know, I understand that London is a very romantic city.

Speaker 2 (06:43):
Oh yes, rich with the romance of history.

Speaker 6 (06:47):
I also understand it it's a wonderful place to.

Speaker 5 (06:50):
Spend a honeymoon.

Speaker 3 (06:51):
Mama.

Speaker 4 (06:52):
Look now, you're both practical, sensible people, and you're as
good as.

Speaker 5 (06:57):
Engaged, aren't you well, Mama Norman.

Speaker 6 (07:01):
Norman dear, he is a once in a lifetime chance
for a half price honeymoon because her expense is.

Speaker 3 (07:07):
All that he paid for.

Speaker 2 (07:09):
Uh yeah, but you see it would be a false economy,
missus Wilkinson. We can't afford marriage until I become an
associate professor, at which time I'll have tenure and we'll
be able to assume the responsibilities.

Speaker 4 (07:23):
That Norman, aren't you afraid to let Gwendolyn.

Speaker 5 (07:27):
Go off alone?

Speaker 2 (07:29):
Why should I be afraid?

Speaker 4 (07:30):
Well, she could meet some titled englishman, some some.

Speaker 2 (07:34):
You or not a duke. Even an ear wasn't looking
for playing girls?

Speaker 1 (07:39):
Really?

Speaker 2 (07:40):
Huh oh oh? Well, what I meant was playing in
the generic sense of the lord. I mean, in ordinary
that is off the people as opposed to the nobility.

Speaker 3 (07:50):
It doesn't get any better.

Speaker 6 (07:52):
Well, I should leave you to alone. I'm sure you
have so much to say to each other.

Speaker 2 (07:57):
I was just about to leave. I have to attend
a meeting.

Speaker 4 (08:01):
But Norman, it's my last evening before the trip.

Speaker 2 (08:05):
I understand, Gwendolen, but there's a.

Speaker 4 (08:08):
Very artistic Albanian film playing at you.

Speaker 2 (08:11):
But this is a vitally important meeting of the language Association.
I'm to read a paper.

Speaker 4 (08:17):
Oh, I thought we would spend the evening together.

Speaker 2 (08:21):
We're always together, my dear, We're always together in spirit.
And besides, transoceanic flying is extremely fatiguing. You should get
some ras And.

Speaker 6 (08:31):
Norman is right, Gwendolen, I suppose so it's the best
way to avoid jet lag.

Speaker 3 (08:38):
It's more pie.

Speaker 2 (08:40):
No, you mustn't tempt me. Oh, where's the time gone?
Suddenly it's late. I have a glorious trip, my dear,
and oh oh I almost forgot. Do you suppose you
might run an eron for me while you're in London?

Speaker 10 (08:56):
And er Well, I got a friend.

Speaker 2 (08:58):
Well, we've never met person, but we've been corresponding for years.
He teaches linguistics at the university. Would you would you
mind giving him this envelope?

Speaker 3 (09:07):
What is it?

Speaker 2 (09:08):
Well, I've compiled what I think is a list of
hitherto I'm known in the European language root words, and
I'm anxious for his opinion. His name and addresser on
the envelope right now, mister Toby haberth at six goldens crescents.

Speaker 5 (09:23):
Make sure you don't lose it, Mom.

Speaker 2 (09:26):
I was going to mayl it. But since you'll be
in London tomorrow, you know it might be fun for
you to meet him.

Speaker 9 (09:31):
He's the story who.

Speaker 2 (09:33):
Likes to sit around and discuss in the European roots
for hours.

Speaker 3 (09:37):
It should be a lock.

Speaker 2 (09:39):
Well, Donnie, the swiftest partings are the sweetest, as they say,
I see you in exactly eleven days. Goodbye, Norman and
the Goodbyma, says Wilkinson.

Speaker 4 (09:53):
Goodbye, Yes, goodbye Norman or I admit he isn't very exciting,
but his kind makes the best. Husband's sure, let me
help you pack. You better take a long sensible shoes.

Speaker 3 (10:14):
I don't think I have any other kind, and the
heavy sweater. Mama, maybe I shouldn't go.

Speaker 4 (10:21):
What Oh, what's the use?

Speaker 3 (10:24):
Nothing's gonna happen to me over there?

Speaker 5 (10:26):
Well, what do you want to happen?

Speaker 4 (10:28):
I don't know something, something different, something exciting, but it
won't I.

Speaker 3 (10:34):
Don't know anyone. I won't meet anyone.

Speaker 4 (10:37):
Well, that's not true that it is this man. Oh
what's his name again, Tony Hazlitz. He might be interesting, Mama,
How can he possibly be interesting?

Speaker 3 (10:48):
He's Norman's friend.

Speaker 4 (10:59):
Colin Street, and this corner should be Golder's crescent.

Speaker 2 (11:06):
Mm hmmm, number two.

Speaker 3 (11:11):
Four six. I'm just hand him the envelope and leaves.

Speaker 4 (11:20):
I don't intend to get sidetracked by any of Norman's
stuffy old.

Speaker 8 (11:25):
Yes.

Speaker 4 (11:26):
Oh, uh, my name is Gwendolyn Wilkins's nice to do. Oh,
I have something for a mister Haslett, mister Toby Haslett,
that's what I man.

Speaker 2 (11:40):
Oh, but you can't be Well, why do you say that?

Speaker 3 (11:44):
Because I do.

Speaker 2 (11:46):
You know, mister Haslett, No, he said not Toby Haslett.
The jests sparkling blue eyes did not give you the
right to deny people their identity.

Speaker 4 (11:56):
Well, I was sent here by mister Norman Radcliffe, A
Norman the.

Speaker 3 (12:01):
Uh Indo European root words the new one. He compile
this list for you.

Speaker 2 (12:06):
Oh yes, yes, yes, of course, of course the Indo
European roots. That won't you come in?

Speaker 11 (12:10):
Well?

Speaker 3 (12:11):
I uh uh.

Speaker 2 (12:15):
Oh, thank you?

Speaker 3 (12:18):
Well, this is the most attractive place you have here.
I uh, I mean I wouldn't have thought that you
were university professor.

Speaker 12 (12:25):
And why not?

Speaker 4 (12:27):
Well, most faculty people I know have rooms that are cluttered.

Speaker 2 (12:30):
With books and tho is Norman or theill's candle.

Speaker 8 (12:34):
Up to these days?

Speaker 2 (12:36):
Well, mister Hazlit, no, you must call me Toby, and
I should call you Gwen.

Speaker 3 (12:41):
No one ever calls me Gwen.

Speaker 2 (12:43):
Well I refused to call you miss Wilkinson two maide
school teacher, issuer.

Speaker 4 (12:49):
Well, the fact is I am an old maid school teacher.

Speaker 2 (12:52):
Oh I can't believe it?

Speaker 3 (12:54):
Well why can't you?

Speaker 4 (12:55):
I mean I look at don't I whoa I'm rather playing.

Speaker 3 (12:59):
Oh no, no, no, no, I have no illusion.

Speaker 2 (13:02):
Well, every woman should have illusions. All she needs is
is a man who can support them.

Speaker 3 (13:09):
Well, Norman and I, we are both on the faculty
at Metropark and University. What do you teach higher mathematics seminars?

Speaker 4 (13:16):
Mostly in the theory of numbers? And it really has
no practical application?

Speaker 13 (13:20):
Oh? What is that?

Speaker 2 (13:21):
Why everything else about you so practical?

Speaker 3 (13:25):
You know you're not at all the way I imagined you,
mister Hazlitt Toby, Toby, Toby, I thought you'd.

Speaker 4 (13:32):
Be a stuffy conservative old gentleman. Why because you're a
friend of Norman.

Speaker 2 (13:38):
Who happens to be or of a stuffy conservative young gentleman.

Speaker 4 (13:44):
I really should be going why, Well, because I have
so many things to do?

Speaker 2 (13:52):
Well, can you have them all attended? Tool by? Say?

Speaker 3 (13:56):
Why?

Speaker 2 (13:58):
Because that's what I intend to pick you up for dinner?

Speaker 3 (14:01):
Oh uh? Oh, well, I I couldn't go out to
dinner with you?

Speaker 2 (14:05):
I well, why not?

Speaker 3 (14:07):
Why not?

Speaker 12 (14:08):
Hm?

Speaker 3 (14:08):
Uh huh?

Speaker 7 (14:09):
Why not?

Speaker 3 (14:10):
Uh? I don't really know? Why not? Dear Mama. Here
it is my first night in London and I have
a dinner day.

Speaker 4 (14:28):
Mister Toby Hazlet is dirtyish, handsome, and if Norman doesn't
like it, well, he had no business arranging for us
to need. Uh uh just a minute, he's here now,

(14:49):
I'll finish the leader later, I'm tell me.

Speaker 2 (14:56):
Oh uh, Miss Gwendolyn Willkinson. Yes, my name is Inspector Stokes,
my prudentials.

Speaker 3 (15:04):
Oh well, uh what can I do for you? Mister?

Speaker 2 (15:08):
I am afraid that you'll have to come to headquarters now. Yes,
Miss Wilkinson, Now, but why what's wrong? You're wanted for questioning?

Speaker 4 (15:19):
But are you sure you're looking for me? Gwendolyn Wilkins,
Oh yes, miss mistake. I don't understand what is wrong.

Speaker 2 (15:28):
There has been a murder?

Speaker 3 (15:31):
What murder?

Speaker 2 (15:34):
Mister Haslett, mister Toby Hasard.

Speaker 4 (15:38):
Oh but but but that's impossible, brow.

Speaker 3 (15:41):
I just who would want to kill mister Haslet?

Speaker 2 (15:45):
That's what we'd like to find out from you, Miss Wilkinson.
Gwndolyn Wilkinson is a girl of many attainments, but one
quality she doesn't have is the ability to predict the future.
Isn't she the young lady who, only twenty four hours
ago sadly announced to her mother that nothing would happen

(16:08):
to her in London. Nothing exciting, nothing different. Well, it
isn't every day that a quiet, shy, retiring girl is
accused of murder. We'll all be present at police headquarters
when I return with Act two in just a few moments. Well,

(16:30):
for most people, the world is a well ordered place.
What happens when one is no longer a working part
of the social engine, and indeed discovers that the machine
of society is no longer something that offers protection, but
seems instead bent on one's destruction. It's bad enough to
be accused of a murder that one didn't commit. It's

(16:52):
infinitely worse to have to meet that accusation when one
is a stranger and alone in a foreign country. Inspector said, well,
I know that she hasn't confessed. Oh, I'm quite sure
she'll see reasons of hydric Is that's true? We have time,

(17:14):
We have all the time in the world. I was
a well, as you might have assumed, Miss Wilkinson, that
core concerned you will. Are you ready now to make
a statement.

Speaker 3 (17:25):
I don't know what you're talking about.

Speaker 2 (17:27):
Miss Wilkinson. We're only asking you to make it easier
for whole concern.

Speaker 3 (17:31):
You mean make it easier for you. I told you
I know nothing about that murder or any murder. I
don't murder people myself.

Speaker 4 (17:38):
I don't associate with people who commit murdered that this
whole thing is alien to me.

Speaker 2 (17:42):
My dear Miss Wilkinson.

Speaker 3 (17:43):
I'm trying to explain, and you must listen.

Speaker 2 (17:46):
Even if you agree to cooperate.

Speaker 4 (17:48):
Let me remind you that I happen to be an
American citizen.

Speaker 2 (17:51):
Oh yes, I've got awarence.

Speaker 3 (17:52):
I demand to see the American concert.

Speaker 2 (17:54):
I can assure you, Miss Wilkinson.

Speaker 3 (17:56):
I can accept no assurances from you.

Speaker 5 (17:58):
I know my rights and very.

Speaker 2 (18:00):
Well, Miss Wilkinson, if you insist, I.

Speaker 4 (18:11):
Don't think you understand, missus Plover, missus Plover, is it
possible you haven't heard a single word I've said. I
heard every word you said, Miss Wilkinson. You heard every
word I said, and you can sit there and tell
me there's nothing you can do for me. I thought
I had explained, but I don't understand.

Speaker 3 (18:33):
I have always been a law.

Speaker 4 (18:35):
Abiding citizen of the United States. I've never asked for anything,
And are you telling me that when I am being
railroaded for murder? My country, the strongest country in the
world is just going to stand by quietly, Miss Wilkinson,
your American citizenship, there's not a suit of armor that
protects you from the laws of the country.

Speaker 5 (18:54):
You happen to be visiting.

Speaker 14 (18:56):
Missus Plover, please listen. I I am being framed. Framed
that work, hope fraened. I hear it in gangster movies.
Strange word.

Speaker 4 (19:07):
But now, I mean, right now, this is happening to me.
I ain't being framed, and everyone simply stands by.

Speaker 3 (19:15):
Miss Wilkinson, You, ma'am, are standing by.

Speaker 4 (19:18):
You are subject to the laws of this land, I admitted,
and that's the way it should be. But I didn't
break any of the laws.

Speaker 3 (19:24):
Of this country. That would be a matter for the
jury to decide. Jury.

Speaker 6 (19:29):
Our office has discussed the case with the police, and
they have a case. They have what they have enough
evidence to go to trial, what evidence. You are entitled
to a fair trial and to comfortent counsel, and you'll
get it.

Speaker 5 (19:44):
There has been a mistake.

Speaker 4 (19:46):
It's a dreadful mistake. I never met mister Toby Haslet before.
If I murdered him, what was my motives?

Speaker 3 (19:54):
I mean, why would I kill him?

Speaker 5 (19:55):
Why Miss Wilkinson.

Speaker 3 (19:58):
We are fully aware of the other thing. I mean,
why that I want to killt Why? What other things?
Who do you know, Miss Wilkinson? What other thing? We
are aware of the.

Speaker 6 (20:09):
Activities you've been engaged in for the past three years
at least activities, and we are aware of mister Norman
Radcliffe's activities also.

Speaker 3 (20:19):
Norman.

Speaker 4 (20:20):
Oh no, Norman has absolutely no activities at all. Now,
if you cooperate with the police, it's possible you could
get off.

Speaker 3 (20:29):
Of the relatively short sentence. This this other thing you're
talking about, I mean, what is it?

Speaker 5 (20:38):
I'm sorry, Miss Wilkinson.

Speaker 3 (20:40):
There's nothing we can do for you.

Speaker 2 (20:46):
Well, then, Miss Wilkinson, are we ready to finally to
face the facts you killed Toby has Its.

Speaker 4 (20:53):
I met Toby Hazlet for the first time yesterday afternoon.

Speaker 3 (20:58):
I wasn't with him for more than ten minutes. I
even liked him. I agreed to have dinner with him.
Those are the only.

Speaker 2 (21:05):
Fact ernel the truth. Facts are in this photo. Shall
we go through them?

Speaker 3 (21:10):
Inspector Stokes.

Speaker 4 (21:11):
My name is Gwendolyn Wilkinson.

Speaker 3 (21:14):
I teach mathematics. I've never done anything wrong. Why would
I want to kill Toby.

Speaker 2 (21:20):
Hasley because he'd decided to defect to oursiddn't.

Speaker 3 (21:26):
The faintest idea what you're talking about?

Speaker 2 (21:29):
Toby Hasard ran the central message point for an espionage network.

Speaker 3 (21:33):
What would that mean to me?

Speaker 2 (21:34):
Please, Miss Wilson, We are not idiots. You delivered the
message to Toby Hasard yesterday. Will you deny it?

Speaker 3 (21:42):
Oh?

Speaker 4 (21:43):
Yes, that it wasn't a message, of course not well,
I mean not in the espionage sense, with merely a
discussion of early Indo European language routs.

Speaker 2 (21:55):
Yes, that's been an excellent cover these past three years.
That's how Norman Radcliffe has been sending you coded messages
to Toby Hasn't And why do you say no?

Speaker 3 (22:06):
Because because you don't.

Speaker 2 (22:09):
Know Norman, the secret services of both our countries are
very much aware of your Norman.

Speaker 3 (22:14):
Do you do you mean that Norman is a spy?

Speaker 2 (22:18):
Please, Miss Wilkinson. Such a display of outraged innocence is
just too much. You're all in it, the three of you,
the three of us. Norman gets the information, you as
the mathematician, devised the codes, and your mother my mother. Yes,
your mother provides a place for the activity her apartment

(22:38):
and also lends it a certain air of respectability.

Speaker 4 (22:42):
You may be a police inspector, but you you are mad,
Miss Wilkinson.

Speaker 2 (22:49):
Why do you fight reality?

Speaker 3 (22:51):
Maybe maybe I'm the one who's mad.

Speaker 2 (22:54):
Shall we continue see that I'm mad?

Speaker 3 (22:57):
Or it's a nightmare.

Speaker 2 (22:59):
I just have to wake up somehow, Toby has it,
had become frightened, he decided to defect. He had begun
negotiations with us. But there must have been a leak
in our security. Your people got wind of it somehow.

Speaker 3 (23:12):
My people I don't have any people.

Speaker 2 (23:15):
And you were sent here to kill him.

Speaker 4 (23:18):
I was sent here to kill him exactly. And that's
the reason I came here to.

Speaker 2 (23:25):
Kill him precisely.

Speaker 3 (23:26):
No, no, no, Willkinson.

Speaker 2 (23:29):
Sooner or later you'll have to Oh yes, look you
really you have spun a neat little web, inspector.

Speaker 4 (23:37):
But here's how it all falls apart, becomes unstuck. Send
here was How do you know why and how I
was able to come to London? I won a prize
and a raffle that accounts for my presence here?

Speaker 2 (23:50):
Oh yes, your organization is extremely creative. Credit where credit
is due. That raffle was an excellent cover. How could
a raffle be a cover for a way to make
your tip seem so so random, so accidental.

Speaker 4 (24:04):
Inspect let's assume, for the sake of argument, that I'm
a member of some spionage group. Do you mean that
this clever organization would depend on buying a raffle ticket
to get me to London. It's like buying a sweet
Steaks ticket so you could be.

Speaker 2 (24:20):
Sure paying the rent, Miss Williginson? Which organization sponsored that ravel?

Speaker 4 (24:27):
The Metro University Faculty and Student Association.

Speaker 13 (24:31):
That's correct?

Speaker 2 (24:31):
Now tell me who was chairman of the Raffle Committee.

Speaker 9 (24:35):
I don't.

Speaker 2 (24:36):
You mustn't say you don't know. It was Norman.

Speaker 3 (24:40):
But Norman would he He couldn't. He's extremely ethical.

Speaker 2 (24:47):
Now now we have such an innocent looking way to
get you to London, and such an excellent cover a
naive tourist.

Speaker 3 (24:54):
But I am naive and I am.

Speaker 2 (24:58):
A tourist, and you killed till they hasn't.

Speaker 7 (25:01):
Oh?

Speaker 4 (25:02):
Please please with whatever I say, you can turn it
and twitt me.

Speaker 3 (25:07):
Do let me alone. Please, I'm I'm just so tired.
I can't the prince straight just running alone.

Speaker 2 (25:15):
I've been saying that along. We have time, we have
plenty of time.

Speaker 3 (25:24):
My name he's going and Wilkinson.

Speaker 15 (25:29):
I didn't do anything, never done anything, innocent, not a spy.

Speaker 3 (25:41):
I'm here here, Norman divi, Norman.

Speaker 16 (25:52):
Houseless.

Speaker 3 (25:54):
Mama is dead. Tell the a't we we tell my dear?

Speaker 2 (26:03):
Don't talk. Remember you must not talk if you have
a talk, she doctor bous.

Speaker 3 (26:13):
Oh, Mama, don't expess. I'm not a spy. A lot
of more places, no more.

Speaker 11 (26:25):
No one would suspect to play girl.

Speaker 17 (26:29):
But we're not.

Speaker 3 (26:30):
We're not spies. Do not I Who who is that? Oh?

Speaker 13 (26:41):
It's you?

Speaker 9 (26:43):
May I come in?

Speaker 3 (26:45):
What would you do if I said? No? Oh, that's funny?

Speaker 2 (26:50):
What's funny?

Speaker 18 (26:51):
No?

Speaker 3 (26:51):
I said that to someone once.

Speaker 2 (26:53):
Before, missus Williamson.

Speaker 3 (26:55):
What are we gonna do, inspector, you're accused. I'll deny.

Speaker 2 (26:59):
We'll go round and write very well. If that's the
way you want it.

Speaker 4 (27:02):
You'll keep it up long enough, and little by little
off start losing my mind, and after a while I
might even.

Speaker 3 (27:07):
Come to believe what you're saying.

Speaker 4 (27:09):
I didn't think they did that to people in a
free country.

Speaker 2 (27:12):
I've come here this morning to suggest a way out
of the impasse.

Speaker 8 (27:16):
That make a deal.

Speaker 2 (27:17):
You have access to certain information that's vital to us.
But I'm trying to tell you one hand washes the other.
The only way out of the difficulty is for you
to become a double agent.

Speaker 3 (27:30):
But I'm not even a single agent.

Speaker 2 (27:33):
Go back to your people, tell them we couldn't break
your story, and then report to us on a regular basis.
Go back to who the other agents in your group?
But I don't great assets. Your power of strength is
your air of innocence. You know, as one professional to another,
I pay you the highest compliment, and there's one professional

(27:53):
to another. You owe me the courtesy of admitting it's
just front. But I won't be released in one I
remember we have your passport, and in any event you
would be no better off at home.

Speaker 8 (28:06):
You will be watched.

Speaker 2 (28:07):
Make contact with the other agents, Let us know who
they are and keep us informed of their plans. Well
have we made a bargain him? Miss Wilkinson? Please accept reality? Reality,
the real world you live in?

Speaker 3 (28:25):
These bars?

Speaker 2 (28:27):
Sell these are real?

Speaker 3 (28:30):
Who am I? How can I keep fighting?

Speaker 9 (28:34):
What's real?

Speaker 3 (28:34):
To everyone else?

Speaker 2 (28:35):
Miss Wilkinson?

Speaker 8 (28:37):
Do you accept?

Speaker 4 (28:39):
But I don't know anybody? I Oh, what's the use accept?
I accept?

Speaker 2 (28:58):
Always? Everywhere we keep running into the age old question
what is reality? Reality is what the majority says it is.
And if everybody says Gwendolen Wilkinson is a foreign agent,
then who is Gwendolen Wilkinson to deny it. We'll have
to sort it all out when I return in a

(29:19):
few moments with that three inside Joy.

Speaker 7 (29:26):
Inside Yorkey.

Speaker 9 (29:28):
After all you.

Speaker 19 (29:29):
Hear phnom them like a waber inside Joy, inside joffre
Afder all free, free.

Speaker 20 (29:45):
You're driving a car you knew you were going to
buy the minute you saw Skyhawk a few weeks Skyhawk,
you just knew a car this streamline would be easy
on gas, and you were right. In published DPA mileage
test results, Skyhawk got twenty five miles per gallon on
the open road and sixteen in the city. Fewick, Skyhaki

(30:06):
insid Der, Cree, Indio Cream all.

Speaker 21 (30:11):
Lire, live and free.

Speaker 2 (30:19):
Great evenings start at Lais Shaw, New York's most exciting
swingle spot, Layshan twenty five East forty and Street between
Park and Madison Avenues.

Speaker 3 (30:28):
Swing to live music, free.

Speaker 2 (30:29):
Hot ore derv to tempt your palette and of course
free valid parking discovered Lai Champ. Your first visit will
make you a regular and by the way, you must
try our legendary layshawn luncheon. Excellent food and drink and
gracious surroundings ensure a successful business lunch or just plain
good eating. For meetings and parties, It's laishamp our beautiful.
Main dining room is available for evenings and weekend functions,

(30:52):
accommodations up to two hundred people. Private dining rooms also
available accommodating fifteen to two hundred and fifty people. Twenty
five East fortieth Street between Park and Madison Avenues. Reservations
call five three two sixty five sixty six. That's five
three two six, five sixty six. The roses on a bush,

(31:23):
they are part of a living, breathing, functioning organism. Rose, branch, stem, leaf,
route all have a dynamic relationship. Each part is interconnected,
each is dependent on every other. When a rose is
severed from the bush, the color, the freshness, the beauty stays,
but briefly, for the rose is no longer a part

(31:47):
of a living world, It is no longer a member
of its own society, and the separated rose begins to die.
Gwendolene Wilkinson has also been abruptly plucked from the shop
help of her society, and now she struggles against an
alien atmosphere. Very well, miss Wilkinson, will arrange for your release.

Speaker 3 (32:08):
But what am I supposed to do?

Speaker 2 (32:12):
Oh? I see it isn't a pose a pose?

Speaker 3 (32:19):
But what are you talking about?

Speaker 2 (32:20):
It's excellent. You create your individual character and you will
not vary from it one single eyota. That's a tremendous technique.

Speaker 3 (32:28):
Is there any way that I can content you will?

Speaker 2 (32:30):
You never relax anywhere, anytime with anyone, and so your
pose becomes an integral part of you. It's not just
a couple. It's more than skin deep. You've actually made
yourself believe it.

Speaker 3 (32:42):
Please inspect. There must be And.

Speaker 2 (32:45):
I thought I've seen everything in this business, thought I
knew it all. But here actually is an agent who
does her job on wear it. It must be a
subconscious level. What what are you saying? It's actually possible.
You really don't know that you're an agent. Your conscious
mind will not accept your undercover actions. You function on

(33:07):
two levels. I do how else to explain it? But
I at home half of you is the mother's teacher
of mathematics, and you don't know. You really don't know
what the other half is doing. You don't want to
know where. It certainly is good to have you working
on our side, But.

Speaker 3 (33:29):
I don't know. I'm an agent.

Speaker 2 (33:32):
Oh, listen to me.

Speaker 3 (33:34):
I almost believe you.

Speaker 2 (33:36):
Is there another explanation?

Speaker 4 (33:38):
But if I don't know who the other agents are,
how do you expect me to find?

Speaker 7 (33:43):
No?

Speaker 2 (33:43):
Who know who they are? In your subconscious mind? You'll
find them where. Oh you know where to go. Trust
your subconscious it's been working for you all these years.

Speaker 3 (34:03):
Hello Wigan, Yes, can you talk?

Speaker 22 (34:08):
Yes?

Speaker 2 (34:09):
But who meet me downstairs at the coffee shop?

Speaker 13 (34:12):
Oh?

Speaker 3 (34:12):
But who are you?

Speaker 21 (34:14):
Sallow?

Speaker 3 (34:15):
But I don't know you?

Speaker 2 (34:16):
It's all right, I know you the coffee shop in
five minutes. Hello, Hello, Hello, anyone's sitting near miss White? No,
it's a kind of crowded. What there are no empty table?

Speaker 13 (34:38):
So are you?

Speaker 3 (34:39):
It's all right?

Speaker 2 (34:40):
Keep your voice low, Gwinny, smile a lot. That's fine.

Speaker 7 (34:45):
Who are you?

Speaker 2 (34:46):
I told him, Sparrow?

Speaker 3 (34:49):
Well what do you want?

Speaker 13 (34:50):
Well?

Speaker 2 (34:51):
How was it in the cooler?

Speaker 3 (34:53):
And how do you know me?

Speaker 2 (34:54):
We've been watching the house so no sent nobody and
no come on, love, I myself spotted your holding that
big white envelope.

Speaker 3 (35:05):
Now I was only holding ash you.

Speaker 2 (35:07):
Well, in secret service, you had to be one of us.
Now which branch branch group? Any way you want to
call it? Who's your leader? I'm going to show yourself
your voice low, never know who's around.

Speaker 3 (35:25):
Look, I'm not who you think I am. You're not
you think I'm a spy.

Speaker 2 (35:32):
That's an harsh word. Love for use agent operative is up.
There's a ring to it.

Speaker 4 (35:39):
See, I have a friend back in the United States.

Speaker 2 (35:42):
Well, haven't we all?

Speaker 4 (35:44):
He's my fiancee. He teaches linguistics at the university, and
so do I. He gave me a list of words
Indo European root words.

Speaker 3 (35:52):
What well, it's a primitive language from which most of
ours is defended.

Speaker 2 (35:57):
Hey, you know that's well.

Speaker 3 (36:01):
He wanted me to deliver them to mister Haslitt, who
is a celebrator, was a celebrated linguist and.

Speaker 2 (36:07):
Was a fact the old boy Shore had a lot
going for them.

Speaker 4 (36:11):
Now, missus Sparrow, may I'd be perfectly frank, and there's
no other way.

Speaker 3 (36:14):
I have to get out of this intolerable situation. The
police believe I'm one of you.

Speaker 4 (36:19):
You mean you want to be able to please let
me finish. They offered me my freedom.

Speaker 2 (36:23):
Provided always a catchy no, provided I become a double agent.

Speaker 3 (36:29):
Oh well, I had to agree. I mean to get
out of there, but I have no intention of doing it.

Speaker 23 (36:33):
Oh why not?

Speaker 3 (36:34):
But because I mean, because I'm not I'm not an agent.
I can't do it. It's not my uh my thing?

Speaker 2 (36:41):
Oh are you kiddy?

Speaker 3 (36:42):
You have to believe me? I uh somehow seem to
have entered some mysterious private world. I don't belong here. Please,
you people can clear me?

Speaker 5 (36:53):
What clear me?

Speaker 3 (36:55):
I mean, get words of the police. Tell them I'm
not one of you.

Speaker 2 (36:58):
But lord, you are with know what were you doing
delivering the envelope to Toby Hasley day?

Speaker 3 (37:04):
But I explained that.

Speaker 9 (37:05):
Oh love, you went there.

Speaker 2 (37:07):
You were following orders and you'll kill him. But I
didn't kill him. I'm not I know, I understand. Now
memorize my number. Just phone eleven eight nine three. All right,
just remember we'll be in touch. You have to feed
your information. Good luck, love.

Speaker 3 (37:24):
Oh oh lord, lord.

Speaker 6 (37:26):
These people, you're right, I'm the one who's mad.

Speaker 2 (37:30):
Well, if it's any consolation, how much longer did Toby have?

Speaker 13 (37:34):
Anyhow?

Speaker 2 (37:34):
And he was sick, he was old, he.

Speaker 3 (37:36):
Was who who is old and sick?

Speaker 2 (37:39):
Toby? So that's why you've got nothing to talk to
yourself about.

Speaker 3 (37:43):
Yes, yes, maybe you're right.

Speaker 2 (37:47):
Aye, you see you're looking better already. Now, don't forget
the number eleven eight nine three double agent. You'll be
a double agent.

Speaker 13 (37:56):
For US.

Speaker 2 (38:05):
Inspectors dooked here who well you meet you just moss
fuck in broad daylight? It full view the whole world.
Is this girl crazy?

Speaker 3 (38:16):
No, sir, I was crazy because I let all of
you drive me crazy. But I am completely sane.

Speaker 2 (38:21):
Now. Now look here, miss Wilkinson.

Speaker 4 (38:23):
Oh you dare Miss Wilkinson me.

Speaker 2 (38:26):
You can't openly come the headquarters. You'll probably be me
followed or communication between us US be by Tediville.

Speaker 4 (38:33):
There is not going to be any more communication between us.

Speaker 2 (38:37):
You were given your options stand trial for the murder
of Toby Hasart or cooperates with.

Speaker 3 (38:42):
So ho So I murdered Toby Haslt.

Speaker 2 (38:45):
We have enough evidence.

Speaker 4 (38:47):
I saw Toby Haslett, I spoke to Toby Haslett, and
when I left that house, Toby Haslett was alive and well.
Young Toby Hazlitt was alive and well. Now what does
the police force have to say about that.

Speaker 2 (39:04):
Well, I suppose we are you an explanation? You you're
Toby Haslet and you're here. Well, I hear, but I'm
not Toby Haslett. I'm Fred Spelman. Matter of fact, he's
Colonel Sir Frederick Spelman of the Counterintelligence.

Speaker 3 (39:21):
Sir Frederick guess.

Speaker 2 (39:23):
Well, I happen to be the Earl of Kelcher, But
you mustn't hold that against me.

Speaker 3 (39:27):
You're an earl.

Speaker 2 (39:30):
But you mustn't call me earl, for I'll.

Speaker 3 (39:33):
Call you something worse than that. I will call you
an incompetence.

Speaker 2 (39:37):
You'll permit me to explain.

Speaker 3 (39:39):
Oh, you had me believing I was a spy.

Speaker 2 (39:42):
The man known as Toby Haslett was a foreign agent.
He was getting old, tired, scared, so he got in
touch with us.

Speaker 3 (39:48):
And you had me believing my own mother was a spy.

Speaker 2 (39:51):
I arranged a meeting at his house, but he probably
couldn't go through with it. Maybe the thought of betraying
Old Fred's was too much, and so well he had
committed suicide.

Speaker 3 (40:02):
She had me believing my own fiance was a spy.

Speaker 2 (40:05):
Norman, Well, yes, he is a spy. We've been watching
that correspondence for years.

Speaker 3 (40:11):
No, you can't be serious.

Speaker 2 (40:14):
We figured you, and also all the circumstantial evidence was there.

Speaker 3 (40:19):
But you know I didn't kill Toby, of.

Speaker 2 (40:21):
Course not since we were convinced that you are an agent.
You were a fair game.

Speaker 3 (40:28):
And you almost had me believing it. This subconscious mumbo
jumber or.

Speaker 2 (40:32):
The stakes were very high. They still are. We know
nobody else, none of has lits as says it's were
you contacted yet?

Speaker 3 (40:40):
Well? I, well, why should I tell you?

Speaker 9 (40:43):
Were you?

Speaker 3 (40:44):
But all I want to do is go home?

Speaker 2 (40:46):
We could use your help.

Speaker 3 (40:48):
Oh no, I'm not an agent. I don't want to
be an agent. I have no intention of becoming an
aide contacted? Do a man named Sparrow?

Speaker 2 (40:58):
Sparrow? Well, I knows that Fredrick miss Willikinson. Perhaps you
would be good enough to assist us?

Speaker 3 (41:06):
Oh well, now, oh this is something. Listen to that.

Speaker 4 (41:10):
Listen to old Takamada here, Listen to that week polite.

Speaker 2 (41:15):
Time was only doing his job?

Speaker 8 (41:17):
Will you help us? Quinn?

Speaker 3 (41:19):
Well, why, I mean, why should I?

Speaker 7 (41:21):
What?

Speaker 9 (41:22):
Wait?

Speaker 3 (41:23):
Why shouldn't I?

Speaker 2 (41:24):
It is your patriotic duty. The gang is also an
enemy of your own country.

Speaker 4 (41:30):
Norman, That's why I'm gonna help you because of Norman.

Speaker 3 (41:36):
He used me and I don't even care about that
so much.

Speaker 4 (41:40):
But all the time, I mean the whole time, he
was a man of mystery, an adventure and intrigue except when.

Speaker 3 (41:48):
He was with me.

Speaker 4 (41:50):
With me, he was always mister milk toast and I
can never forgive him for that.

Speaker 3 (41:56):
What do you want me to do?

Speaker 2 (41:57):
Oh, you'll be in no danger?

Speaker 8 (41:58):
What's am I?

Speaker 3 (41:59):
And what's the good?

Speaker 2 (42:00):
Well, you'll really call Sparrow on the phone, give him
such an information that we would like him to have.

Speaker 3 (42:06):
Is that all I'm going to do?

Speaker 2 (42:08):
Yes, that's all, except when you're having dinner with me.

Speaker 3 (42:18):
Dear Mama.

Speaker 4 (42:20):
I know I'm staying longer than planned, but they have
a job for me here teaching in London. I can't
imagine why Norman should have disappeared so suddenly. Well he
was long about so many things. For instance, he said.

Speaker 3 (42:41):
I would never need an earl.

Speaker 2 (42:49):
You never know, obviously, Gwendolene Wilkinson has become an agent?
Is it for the first time? Has you been an
agent before? Without knowing? Do all of us have another
life that we're unaware of? I don't know about you,
but I have enough to do in this one. There

(43:19):
is someone inside each of us. Fortunate is the person
who knows his inner someone, and sometimes even more fortunate
is the person who doesn't. Our cast included Anne Mirra Bryner, Rayburn,
Ian Martin, and Earl Hammond. The entire production was under
the direction of Hyman Brown. Radio Mystery Theater was sponsored

(43:42):
in part by Anheuser Busch Incorporated, brewers of Budweiser.

Speaker 1 (43:49):
Well, my dear, I hope that brought about some thoughts
that are less frustrating, less sobery. The last thing we
need and time like this is sobriety as it were. No, no, no,
who needs the reality of a situation when you can

(44:13):
have your own, when all you have to do is
find your way in the world, find your niche, find
your track, and realize that what you were doing before
won't work because it was Strange for a Killer.

Speaker 24 (44:38):
And now Tonight's presentation of radio's outstanding theater of thrills suspense.
Tonight we bring you a story of a killer and
the family which he held in a night of fear.
We call it strange for a Killer. So now, sorry,

(45:00):
mister John Dayner, here is tonight suspense play.

Speaker 8 (45:04):
Strange for a killer.

Speaker 9 (45:23):
How's this Henry?

Speaker 25 (45:24):
Oh, swell anywhere along here?

Speaker 8 (45:29):
Ah? Thanks? Buck? Are you sure you don't want to
stop in for a minute. You haven't seen the kid yet,
have you? She I'd like to, but I have to
get home early myself tonight.

Speaker 12 (45:39):
The wife's got some kind of meeting, and I'll have
to take care of my.

Speaker 26 (45:42):
Own Okay, see tomorrow, Yeah, night, Hank?

Speaker 9 (45:59):
All right?

Speaker 8 (46:00):
Uh hold it right there? Oh, I didn't see your officer.
What's wrong? You'll have to wait? Awhile, you can't go
down that street, but that's where I'll live. My wife's
waiting for me.

Speaker 27 (46:13):
You will be a little late.

Speaker 8 (46:14):
Well, I wait a minute.

Speaker 27 (46:16):
Will you keep your voice down and stay back to
get hurt if you don't.

Speaker 13 (46:20):
Oh?

Speaker 8 (46:20):
You after someone?

Speaker 13 (46:22):
Right?

Speaker 8 (46:22):
Jalaska? Jelaska. That's right, And he's been living in this
neighborhood where right across the street down three doors, there's
a cop every ten feet from here to the river.

Speaker 27 (46:34):
You better go back on that drug store and wait.
Call your wife if you want.

Speaker 8 (46:37):
Yeah, I think i'd better. Where'd you say he was
crossing down three doors? Yeah, we're in the apartment house
right next to her. You don't think there'll be be
any shooting.

Speaker 27 (46:49):
Just tell her to stay inside and keep a door locked.
She'll be all right.

Speaker 16 (46:52):
Oh thanks, Henry h Right, Charlie.

Speaker 28 (47:05):
Hey, statue, listen guide the reffort. You know' been living
in the boating house right next to you.

Speaker 8 (47:09):
Yeah, I know how long has been going on?

Speaker 28 (47:10):
They've been here almost half hour?

Speaker 8 (47:12):
Now half hour?

Speaker 28 (47:13):
What are they waiting for? Don't ask me. I got
to here about five thirty when the police were just
coming in. Only took about five minutes to come the
whole block and a party of six or seven and
went in after him.

Speaker 8 (47:23):
And they haven't come out. No, No, I've been watching.
Why I wonder you haven't heard any shooting. No, we
ought to hear something by now.

Speaker 28 (47:32):
Hey, that seemed funny, doesn't it? Unless he got out
of his room. Ah, he couldn't get five.

Speaker 8 (47:40):
Well, I want to get Jesse on the phone. She'll
be wondering why I'm late.

Speaker 13 (47:44):
Sure, m.

Speaker 29 (48:14):
Huh, funny? Hello, what's the matter, honey? I thought you
weren't going to answer.

Speaker 13 (48:26):
I was looking after Johnny.

Speaker 8 (48:29):
Are you okay?

Speaker 13 (48:30):
Just getting hungry?

Speaker 8 (48:31):
Well, go ahead with this up, I'm going to be late,
h Jess. I don't want to scare you, but there's
gonna be a little trouble next door.

Speaker 3 (48:41):
Now.

Speaker 8 (48:42):
I don't want you to leave our apartment. Yes, the
police are after someone who's been hiding out in the
boarding house next to us. Now the whole block is
surrounded and I won't be able to get home till
it's over, and you're not to come out. Yes, there's
nothing to be afraid of, Jesse. All right, just stay inside,
keep the door locked.

Speaker 13 (49:03):
There's no need for that now, goodbye, Dear what.

Speaker 8 (49:08):
Jesse? Hello? Hello, hey, Charlie. Yeah? How high is that
boarding house? Is it three stories? That's right, just like
your place? And that alley between them?

Speaker 25 (49:25):
How wide is?

Speaker 8 (49:26):
It's pretty narrow? I guess it's the cop on both
ends and the roof, Charlie. Could anyone make the jump across?
Is it too wide for that? I don't know why
she didn't sound right, Charlie, like yeah, like there was

(49:46):
someone with her, Charlie. I tell you I spoked her
on the phone about ten minutes ago, and I'm sure
there's something wrong up there, Captain.

Speaker 9 (50:07):
What makes you shoot?

Speaker 8 (50:08):
Well, she was afraid of something. I know she was
something right right there in the room with her.

Speaker 18 (50:13):
Where do you live in the boarding house?

Speaker 8 (50:15):
No, the apartment house next door on the third floor.

Speaker 30 (50:18):
Reader, Yes, sir Farrel's got some men going into the
apartment house next to Jelasca stopping.

Speaker 8 (50:23):
Yeah, he's in there with her, isn't he. He's in
with my wife.

Speaker 18 (50:27):
I don't know if ill he could be anywhere now.
You didn't find him in his room.

Speaker 8 (50:31):
No, he's not in the boarding house. I knew it.
He's with Jesse and my son. Take it easy, head,
and well he got across the roof, didn't me. Our
apartment is on the top floor. He could get in
easy enough. Maybe, Look, let me go up there, captain,
Please let me go up there. No, I want to
be with my wife and kid. I'm sorry, Heyden.

Speaker 30 (50:48):
If it's true he used them as hostages to make
us hold our fire, it's better.

Speaker 8 (50:51):
That they're only two. What difference does it make.

Speaker 18 (50:53):
We're not even sure he's there. You haven't given us
any real proof.

Speaker 8 (50:57):
It's the only way you can make sure. Look, now, look,
if everything's all right. If he isn't there, I'll call
a drug store and have him tell you so. If
he is, i'll well, I'll let you know somehow we
can think of some kind of signal. You can't stop
me anyway. It's my home, my wife that's in danger.

(51:17):
I have a right to be there.

Speaker 30 (51:19):
I could stop you, mister, I should stop you, but
you won't.

Speaker 8 (51:25):
I can go all right, listen to me. Yeah, you
may be wrong about it. No, what do you want
me to do?

Speaker 18 (51:35):
Go straight to your wife. Don't do any investigating on
the way.

Speaker 30 (51:38):
No looking down the alley or around corners, getting your
apartment locked, the door behind you. He's trapp tating and
he's scared now, and he'll kill you if he thinks
you're on to him.

Speaker 8 (51:45):
I know it.

Speaker 30 (51:46):
If he's not in your place when you get there,
call headquarters and ask for grimes. I'll have him standing by.
He'll flash the message to my car. If he is there, Well,
there's nothing I can tell you. You'll be on your own.
But don't try to signal. If I don't get your
call ten minutes after you go in, we'll know, Yes, sir,
I can say this, Hayden. If he's there, don't try

(52:10):
anything brave, you know what I mean? Yeah, that's about all.
Just be careful. We want this man, Hayden. We want
him badly. But we don't want anyone hurt getting him.

Speaker 8 (52:22):
You understand, I do. Thanks.

Speaker 27 (52:26):
Brol's holding up his men, but he wants to know
the call.

Speaker 8 (52:29):
Get over to my car reader.

Speaker 30 (52:31):
Have his men surround the apartment house block every actually
put someone on the fire escaping on the first floor.
But no missed, no noise. Do it quietly, okay, Hayden,
you can get going, yep. If he's not there, get
the call in right away.

Speaker 8 (52:47):
Sure, Jesse, Jesse, it's me, Jess, Honey, Honey, is everything okay?

(53:23):
Is it? You sounded funnier with the phone. I thought
there was something wrong. It's okay, isn't it. Why don't
you answer me?

Speaker 13 (53:32):
Jess?

Speaker 12 (53:33):
Henry where.

Speaker 8 (53:38):
Where?

Speaker 23 (53:43):
Get your hands over your head and get up against
the wall. Won't make any noise or I'll kill you.

Speaker 24 (54:02):
You're listening to Strange for a Killer Tonight's presentation in
radio's outstanding Theater of Thrills. Suspense The money you meant
to save but never actually did, will never see you

(54:24):
through an emergency. Start immediately to put regular sums aside
through your bank's bond a month plan, or through weekly
payroll savings deductions. United States savings bonds are safe to
invest in because they're as sure as Uncle Sam. And
when you need them, you've got them. And now we
bring back to our Hollywood soundstage, mister John Dayner starring

(54:45):
and Tonight's production Strange for a Killer, a tale well
calculated to keep you in suspense.

Speaker 23 (55:09):
I know what you're thinking, but don't you try it. Mister,
there's a forty five.

Speaker 8 (55:13):
I'm not afraid of your gun.

Speaker 23 (55:14):
That's because you've never been hit. You're bigger than me,
and I know what you're thinking, but don't you try it.
I'm wanting you. You don't ever know what it means
to wish you could die till you get a slug
and a stomach.

Speaker 8 (55:26):
That's all right, I know he means it. I didn't
mean it. It won't do any good.

Speaker 4 (55:32):
You know.

Speaker 8 (55:34):
No matter what happens to us, no matter how long
you stay here, they'll get to you. This and that.
Guys just like me.

Speaker 12 (55:40):
Those blue suits don't make them superman. They make mistakes
like everyone else. They've already made a big one. How
they shouldn't have sent you.

Speaker 8 (55:50):
My wife didn't sound right when I spoke to her over
the phone. I came up to find out why.

Speaker 12 (55:54):
Yeah, she gave it away.

Speaker 8 (55:58):
She's sorry, but that Jesse? Please? Did he hurt you, Jess?
Never mind? She just got out of the hospital.

Speaker 12 (56:06):
Would you like to see her go back?

Speaker 8 (56:10):
I hope they'd kill you.

Speaker 13 (56:12):
They might.

Speaker 12 (56:14):
I thought about it.

Speaker 23 (56:16):
I guess maybe you better start thinking about it too,
because it's gonna happen the next time you make a
crack like don't, I'm going to ask you a couple
of questions, and you're going to give me the right answers.

Speaker 12 (56:27):
The right answers, mister, the first time you get hurt, bed.

Speaker 8 (56:31):
What do you want to know? Where were you when
you made.

Speaker 12 (56:34):
That phone call?

Speaker 23 (56:35):
Drug store across the street and your wife don't sound right?
Do you think maybe something is wrong?

Speaker 8 (56:42):
Yes?

Speaker 12 (56:44):
You want to get up here? You want to find
out why?

Speaker 8 (56:47):
Yes?

Speaker 12 (56:49):
What takes you so long?

Speaker 23 (56:52):
What we don't hear you coming up the stairs till
almost fifteen minutes after she hangs up?

Speaker 12 (56:56):
What are you doing all that time?

Speaker 13 (56:57):
Oh?

Speaker 8 (56:58):
No, no, no. At first I wasn't sure. She did
sound like there was something wrong. It was only after
I hung up and got to thinking about it that
I started to worry, and then I made up my
mind to come up. But that was later.

Speaker 23 (57:13):
You don't stop to talk it over with the cops.

Speaker 8 (57:16):
Why should I? How could I know it was you
in here? Craps all over the.

Speaker 23 (57:21):
Block looking for me, searching every building, street probably closed off,
and your wife sounds scared over the phone, but you
won't say why. Sounds like someone's with us. You don't
say who, but you don't think it might be me?

Speaker 8 (57:32):
Well, yes, maybe I began to Yeah.

Speaker 23 (57:37):
But you don't say nothing to the cops though, No,
just come up all by yourself, Yes, you sure.

Speaker 8 (57:46):
Yes, I I'm all right, Jesson, All right? What's the
big plan with you? Want a cops?

Speaker 25 (58:06):
I don't know.

Speaker 8 (58:09):
I don't know about their plan. I don't know what
they're going to do, but they know you're in here.

Speaker 12 (58:15):
I don't stop, mister.

Speaker 8 (58:16):
I did go to the police when I thought it
was you here with my wife. I don't think they
believed me at first. I talked the captain into letting
me come anyway. If you weren't here, I was supposed
to call him right away if I was nothing, just
wait and if they didn't hear in ten minutes and
mit man, I couldn't call. You were in this room,

(58:43):
you old lady. Go get the kid. No, no, what
do you want him? We'll do anything to say. You
don't need to touch our kid. You look okay, you
don't want to hurt the kid. Get them lady, it's
all right, I'm sure of it. H You haven't got
much time, Julesca. You know it. Killing our baby is

(59:06):
something you wouldn't do. You can bringhm in, Jessie if
you see.

Speaker 23 (59:11):
So you're so sure this is the end of the
line for me, and those cops down there they're so sure. Well,
I'm telling you I got lots of time, and you're
gonna help me take it?

Speaker 8 (59:19):
Yeah?

Speaker 23 (59:20):
Yeah, back up to the wall and peel off that jacket.

Speaker 8 (59:24):
What come on?

Speaker 12 (59:26):
Take off the jackets on the floor.

Speaker 8 (59:28):
Sure, why not? What are you going to do.

Speaker 23 (59:38):
I'm not gonna do anything. You're gonna take it for
a while.

Speaker 8 (59:43):
What do you mean you.

Speaker 12 (59:44):
Don't see it?

Speaker 23 (59:44):
Eh, I'm kind of surprised.

Speaker 8 (59:48):
Well, I don't see any way out for you. That's
what you mean? They know you're here?

Speaker 23 (59:52):
Yeah, yeah, they know I'm here. You made sure that,
didn't you. So they're covering every way out doors, windows, alleys.
What do you suppose happen if I tried one of them.

Speaker 8 (01:00:01):
I think they'd kill you.

Speaker 23 (01:00:03):
Yeah, yeah, I start out that window, and every cop
down there comes to make sure I don't finish the trip.

Speaker 31 (01:00:10):
Maybe a couple come running up here.

Speaker 23 (01:00:12):
That leaves lots of cops down on the bottom of
the fire escaping.

Speaker 27 (01:00:14):
A couple of cops up here in.

Speaker 23 (01:00:15):
The room, but not many anywhere else, huh, In the
alley or in the streets or down in the river.
They'll all be watching a guy and the fire escape,
won't they. And a guy in the fire escape. He
don't need to be me, does he.

Speaker 8 (01:00:30):
He won't work. You're crazy to think that will work.

Speaker 12 (01:00:34):
I gotta take that chance.

Speaker 23 (01:00:35):
Now you're going out on that window, mister, and you're
going to take your time doing it.

Speaker 8 (01:00:41):
They've seen me, They know what I look.

Speaker 12 (01:00:43):
They saw a guy and a leather jacket right close up.

Speaker 23 (01:00:45):
Now you're a guy in a white shirt three stories
over the street, coming down a fire escape. That makes
you a different guy, That makes you Rode Aleska.

Speaker 12 (01:00:56):
Little guy, bring him in need to sleep, you won't.
He's asleep.

Speaker 23 (01:01:04):
What's his name, Johnny, Johnny? It's a nice original name.
Skill little kid too. I don't guess you're gonna put
up any arguments.

Speaker 8 (01:01:18):
I'm missed. No, no arguments.

Speaker 23 (01:01:22):
Yeah, I'll be right here with the wife and the
kid until I see our little scheme is working. So
don't you try no tricks on the way down.

Speaker 32 (01:01:30):
No, what does he mean, Henry, what's gonna happen?

Speaker 31 (01:01:32):
You can't read about it in the papers, lady.

Speaker 23 (01:01:34):
I'll go turn out the light, turn it off.

Speaker 12 (01:01:37):
Don't you try nothing, neither one of you.

Speaker 23 (01:01:39):
You got your kid in here now, and there's no
telling who get hit if I had to shoot a while.

Speaker 8 (01:01:43):
Turn it off, Jesse, are.

Speaker 12 (01:01:49):
You the window? Okay, they're all waiting. Get going.

Speaker 8 (01:02:03):
You can't let him go out there, Jess, it's all right.
Hold on the Johnny, wait for me. It'll be all right.
I stepped out onto the iron platform below in the street.

(01:02:26):
I could feel every eye.

Speaker 11 (01:02:27):
On me all after leap.

Speaker 17 (01:02:31):
We see you don't take.

Speaker 33 (01:02:34):
Another step, And then I knew there was a part
of the plan he had and told me. I jumped
back against the wall, but it was already too late.
From the window behind me, Jelasca fire down into the police.
Their guns flew up automatically, and everyone was aimed at.

Speaker 13 (01:02:50):
It.

Speaker 9 (01:02:50):
Pain pain everywhere.

Speaker 8 (01:02:56):
There are waves of pain voices.

Speaker 23 (01:03:00):
You don't touch him, let him alone.

Speaker 8 (01:03:05):
He's losing. I've got to get a doctor.

Speaker 12 (01:03:07):
You'll get a doctor, lady.

Speaker 8 (01:03:08):
Why don't you go?

Speaker 34 (01:03:09):
What are you waiting for?

Speaker 4 (01:03:10):
Haven't you done a lot?

Speaker 32 (01:03:12):
He's been shot, he's hurt, and you just stand there.

Speaker 7 (01:03:15):
I thought you wanted to get out.

Speaker 32 (01:03:16):
We'll get out, get out.

Speaker 8 (01:03:19):
And it'll be all right.

Speaker 9 (01:03:21):
Don't try to move, darling, you'll be.

Speaker 23 (01:03:24):
No must god, a little skin. Don't look like it's
gonna work. It should have no reason, it shouldn't. But
they're moving up on the stairs right now.

Speaker 12 (01:03:38):
Don't move.

Speaker 32 (01:03:39):
We'll get a doctor. It'll all be over in a minute. Yeah, glad, No, No,
I'm not glad. It's ugly, all of this. I feel
sorry for you.

Speaker 23 (01:03:52):
Don't, lady. I've been running for a long time. I
think it's gonna feel good to stop. It's a funny
thing when the raft you when you're running away. You
look the same, you act the same as you always did,
but it's different on the inside. You're tight twisted. No

(01:04:13):
matter what you're doing. You can't relax, you can't get
a good deep breath. Yeah, I think I'm glad those
guys I'm gonna do a lot of brag.

Speaker 13 (01:04:29):
In the marrow.

Speaker 35 (01:04:32):
I'm out with your hands up.

Speaker 12 (01:04:36):
So they finally get me.

Speaker 32 (01:04:39):
You killed a man?

Speaker 23 (01:04:42):
Yeah, one day you're just a guy and something happens
and you're a killer.

Speaker 8 (01:04:48):
You go now, please, please, sure, I'll go when I.

Speaker 23 (01:04:54):
Don't make much difference. Now, buddy, listen to me. You
know what I mean, don't you?

Speaker 8 (01:05:04):
You're just a guy. Yeah, put your gun down. Maybe
they'll give you a chance.

Speaker 13 (01:05:13):
What chance.

Speaker 12 (01:05:14):
I'm a waiting for a chance all my life.

Speaker 8 (01:05:15):
You give her the gun, it'll be better.

Speaker 23 (01:05:19):
Look forget it when they get out of the way, lady,
I'm going out.

Speaker 3 (01:05:22):
You wouldn't try.

Speaker 32 (01:05:23):
Oh, why don't you let me have your gun?

Speaker 12 (01:05:25):
Get back, get way back.

Speaker 8 (01:05:27):
Jesse's all right, it's all right, that's it. Stay there.

Speaker 12 (01:05:33):
I'm you'll stay just like that.

Speaker 11 (01:05:43):
Oh okay, son, all right there, don't come any farther.
There are six guns on your Alaska.

Speaker 9 (01:05:50):
You haven't got a chance.

Speaker 11 (01:05:53):
Drop that thing and come down with your hands over
your head.

Speaker 8 (01:06:04):
Jesse, Yes, Why didn't it work? He shot at me,
and then there was at least a half minute when
he could have got out that door. Why didn't he
what made him wait dying.

Speaker 2 (01:06:22):
It's all over.

Speaker 8 (01:06:22):
No, no, what what happened?

Speaker 13 (01:06:24):
Tell me?

Speaker 32 (01:06:25):
When the police fired, he started for the door, but
he came back, Henry. He went out into the fire
escape and lifted you in the room. Then he started
for the door again, but it was too late. I
don't know, I think, so, will you get a doctor please?

Speaker 18 (01:06:44):
I take it easy, mister, You're gonna be okay.

Speaker 8 (01:06:46):
He just lazy.

Speaker 36 (01:06:47):
Yeah. Sure, it's funny. Huh no, not funny. Strange Strange
for a Killer.

Speaker 4 (01:07:19):
Mm hmmm mm hmmmmmmmmm.

Speaker 24 (01:07:32):
Suspense in which mister John Dayner starred in Tonight's presentation
of Strange for a Killer. Next week, tune in again
for radio's outstanding theater of thrills Suspense. Suspense is produced

(01:08:01):
and directed by Anthony Ellis. Tonight's script is written by
Robert Essen. The music was composed by Renne Gettagown and
conducted by Wilbur Hatch. Featured in the cast for Tony Barrett,
Eve McVeigh, Jack Krusian, Leonard Winrib, Charles Seal, and Tom mc.

Speaker 10 (01:08:17):
Ckee Tomorrow Night on CBS Radio. Here the Scientific Touch
on the FBI in Peace and War, A New Wrinkle
in criminology and an exciting wrinkle in countermeasures. Remember on
most of these stations. Every Wednesday Night, the FBI in
Peace and War. Stay tuned now for Douglas Edwards with
the news followed by disc Derby. Thursday Night, the Whistler

(01:08:45):
brings mystery on the CBS Radio at Word.

Speaker 1 (01:09:45):
Oh my dear, I hope I'm not concerning you too
much with the theme of the evening. But well, when
the shoe fits, you wear it. I believe that is
the nomenclature. What's that?

Speaker 13 (01:10:04):
Oh?

Speaker 1 (01:10:04):
Of course, of course, more tea. I'm happy to provide.
I'll get the kettle burning now, I'll put another log
on the fire, but don't worry, it won't get too
hot in here the summer months or so. Reminiscent of
another home I once had. It makes me remember, It

(01:10:31):
draws me, It whispers in my ear. Killer Come Home.

Speaker 37 (01:10:51):
They Mutual Broadcasting System presents The Mysterious Traveler, written, produced
and directed by Robert A. Arthur and David Cogan, and
starting tonight, three of radio's most distinguished doctors, Scott Tennyson,
Frank Barrens and I Get Young and Killer Come Home.

Speaker 9 (01:11:16):
This is a mysterious traveler inviting you to join me
on another journey into the realm of the strange and
the terrifying. I hope you will enjoy the bit, and
it will fry you a little and chill you a little.
Settle back, get a good grip on your nerves, and
be comfortable if you can. But tonight we have a

(01:11:38):
different kind of story. We're traveling into a remote section
of the Kentucky Mountains where the ties of kinship are
stronger than the law to join two escaping convicts. It's
the story I call Killer come Home. In the lonely

(01:12:03):
section of the mountains, two men crouch in the brush.
Far in the distance, they can hear the siren of
the state penitentiary from which they've just escaped that evening,
listen to whaling, Willie. I'm sure anxious to get us.

Speaker 8 (01:12:20):
Back, Harry.

Speaker 9 (01:12:21):
They're not getting as misery. We're not going back. I
sure hope you're right, Harry. That showed might know just
where we are going. We're heading for a deep valley,
deep valley, where's at cross four ridges? And you come
to it, it's just about lost back in the hills.
And what's that for us? Oh, my old home, my

(01:12:41):
man and my brother Tom. They'll hide us out. You'll
show that bloodsticker in the law in these parts. Not
that brother Tom and me ever got long good. But
he'll hide us out or else oil squat Harry or Elsemall.

Speaker 8 (01:12:58):
Listen.

Speaker 9 (01:12:59):
Eh, well, you're a car coming up this road, of course. Yeah, yeah,
you're right. I can hear it now too. That's an
old galape stump down, let go by, nothing of the sort.
We're gonna stop it, stop it. You're crazy.

Speaker 38 (01:13:14):
Every one of these old hilly villays have to have
a shotgun.

Speaker 9 (01:13:16):
Bes had him, and you leave this to me. Okay
here you're calling the cards, eh, I'll talk to him.
You slip up from behind. He was a rock. I've
got one right here.

Speaker 8 (01:13:29):
All right?

Speaker 9 (01:13:29):
Then come on, hey there, stop that car.

Speaker 11 (01:13:35):
Huh, Hey, what do you want. I'm a deputy sheriff.
There's a prisoner escape from Stone Mountain. We're searching all cars. Huh.

Speaker 25 (01:13:49):
You have to speak up, Fisher.

Speaker 11 (01:13:51):
I said, we're searching all cars for an escape convict,
escape convict. I don't seen him a step side. My
old woman's been specting me since Shana. No, that's too bad. Pop,
We've got other plans for you. I didn't catch what
you say. See if you can catch.

Speaker 7 (01:14:07):
This all right?

Speaker 11 (01:14:08):
Sorry, no.

Speaker 9 (01:14:12):
Ah, good work. That takes care of him. Oh we're
going to do him now, take any money he's got
and tumble him into the bushes, and then we'll ride
the rest of the way to Deep Valley to pay
a surprise visit to my own mare and their brother Tom.

(01:14:39):
Well dark here a. Yeah, she's seventy, Tom, that's all
sailing her, anything, frepping her, anything on her mind.

Speaker 17 (01:14:49):
She's pining to see Harry ear Ring. Hey, yeah, my
brother five years younger. Kind of pitamles every year about
this time. She gets a notion and he'll be coming
home for a Visit makes her upset.

Speaker 9 (01:15:02):
Well, then that's why she's not eating or sleeping. Would
help her a lot if your brother Harry could pay
her a visit.

Speaker 17 (01:15:10):
Yeah, well, I expect that ain't possible.

Speaker 9 (01:15:13):
No, dead, not exactly, locked up.

Speaker 17 (01:15:19):
Oh Stone Mountain Penitentiary robbery, been in there four years.

Speaker 9 (01:15:24):
M Yama don't know. No, I kept it from her
grade it might kill it. Well, I expect you're right, Tom,
shock like that might finish you up.

Speaker 17 (01:15:38):
Yeah, see, Harry taking went off to the city ten
years ago, got in with a gang or some kind,
got into trouble of the law. Only time he come
back here to see mall is when he had to
hide out for a while.

Speaker 9 (01:15:51):
I see, well, try to keep her from fretting time.
But there is another thing. Yeah, doll, she shouldn't be
staying in this cabin, and neither should you. She should
be down to town where she can get looked after better. Besides,
the way the river is undercutting the banks, this cabin
is gonna topple right into it someday.

Speaker 17 (01:16:12):
Yeah, Big Rocky's eating this way fast, all right, But
Ma won't move, notound, and she sees Harry again.

Speaker 9 (01:16:19):
You try and persuade her, Tom, all right, I'll try, but.

Speaker 39 (01:16:22):
It ain't much use.

Speaker 9 (01:16:24):
She's a fear of dust.

Speaker 39 (01:16:25):
You move, Harry'll come back here for a visit and
not be able.

Speaker 9 (01:16:28):
To find it. Tom, Tom, she is now. I better
go on in all Tom night, But try to persuade
her to move out before this cabin falls in the river. Yeah,
I'll try, Doc, good.

Speaker 22 (01:16:41):
Night, and Tom, Tom boy, were bee.

Speaker 9 (01:16:45):
I'm coming.

Speaker 2 (01:16:48):
Here.

Speaker 7 (01:16:48):
I am mall open the windows, Sun, I've a hanker
and to hear the big rocky river rushing by down
there in the gage.

Speaker 9 (01:16:57):
Sure, mall.

Speaker 7 (01:17:04):
The river's loud tonight coming closer, closer, ain't it? Tom?

Speaker 39 (01:17:10):
Yeah?

Speaker 9 (01:17:11):
Too close? When I was a pupp there's four ages
of corn Field.

Speaker 11 (01:17:15):
Twix does not their guards. Now it's hardly room for hilitators.

Speaker 7 (01:17:21):
Been trying to get us. Ever since your Paul built
this cabin.

Speaker 9 (01:17:24):
Old river has.

Speaker 7 (01:17:26):
Eaten away toward us year by year. But he's never
got us, and it never will will if we don't move.

Speaker 9 (01:17:37):
Mar. Now, listen, Doc Hawkins is right. He's right. We
got to move from here down to town.

Speaker 7 (01:17:43):
All right, we'll move, Tom, but only after Harry comes.
If we was to move, he might not find us,
He might not know where to look.

Speaker 9 (01:17:52):
But Mar, my mind's made up.

Speaker 7 (01:17:54):
Tom. Harry's coming soon.

Speaker 22 (01:17:57):
I know he is.

Speaker 17 (01:17:59):
Then we'll yeah. But supposed he don't. The last letter
he wrote, he's mighty busy. Suppose he don't come for
quite as.

Speaker 7 (01:18:06):
Fair he'll come. He's on his way now now, Ma,
I won't try to tell me no, son. Something inside
me tells me when Harry is coming to see me.
And I never been wrong yet. Right this minute, my
boy's on his way home to see his mall.

Speaker 9 (01:18:35):
Try to start her again, Missouri. Maybe the motor of
catch now huh, he ain't our use head. His old
tea kettle just doesn't stop percolating. Well, it brought us
fifty miles. The valley is just over the next ridge.
We can hike it. What are we gonna do with
this jilape looks like a deep ravine here beside us.

(01:18:57):
We can push her in and then we head for
your mars cabin. Not by daylight. We don't have any place.
It's most sun up now. No camp here in the
brush till it's good and dark tonight, and then we
sneak up to the cabin. I don't like us here
a country high all these are hills and valleys. This
might have find country to die in. That's good country
for hiding out from the law and too. No worry, Missouri,

(01:19:21):
We're gonna make it. And with the help of brother
Tom and maw to Tom. Oh oh yeah, well, I
guess I dozen all right here.

Speaker 7 (01:19:40):
In my chair, turned down the lamp sun smoking bay.

Speaker 9 (01:19:44):
Oh sure.

Speaker 17 (01:19:46):
There don't have to clean that lamp chimney tomorrow. Well,
it's nine o'clock. Last time for you to be in bed.

Speaker 7 (01:19:55):
Just a minute more.

Speaker 8 (01:19:56):
Top.

Speaker 7 (01:19:58):
Foggy out tonight. I can smell the.

Speaker 9 (01:20:02):
Fog in here, Yeah, fog again, dark. We'll be moon
up for most nine hours.

Speaker 7 (01:20:09):
Huh what does that?

Speaker 12 (01:20:12):
Tom?

Speaker 17 (01:20:13):
Sounded like a rock slide.

Speaker 7 (01:20:23):
I can hear it playing now, Tom Old River's undercutting
the cliffs, Benning.

Speaker 17 (01:20:29):
Yeah, big rocks fall about half mile up the gorge there.

Speaker 9 (01:20:36):
Come now, listen to me. We got to move.

Speaker 17 (01:20:39):
We plumb got to river might undercut us anytime and
dump us one hundred feet down there, not gorgee.

Speaker 7 (01:20:45):
I said we'd move as soon as Harry's come.

Speaker 9 (01:20:48):
Yeah, but he might not come in time.

Speaker 7 (01:20:50):
No, Tom, nor because he's coming here tonight. My boy's
coming here tonight?

Speaker 9 (01:21:00):
Or what are you saying? He can't be coming here?

Speaker 2 (01:21:02):
Is glory?

Speaker 7 (01:21:04):
Be my poor Harry is coming to see his old.

Speaker 3 (01:21:07):
Mar at last.

Speaker 7 (01:21:09):
I can feel his thoughts reaching out to me through
the dark, find me, telling me he's on his way.
But MA, don't argify Tom.

Speaker 8 (01:21:24):
It's so.

Speaker 7 (01:21:26):
And I always told you true other times Harry came.

Speaker 17 (01:21:30):
Yeah, I reckon you did you all has know thefore
he got here. But now this time you're wrong.

Speaker 9 (01:21:36):
You just got to be.

Speaker 7 (01:21:37):
I've never been wrong yet about Harry's coming. Tom. It's
like something crawling out inside of me. It's telling me
he's coming closer every minute.

Speaker 9 (01:21:50):
Well, if he's coming, you'd best get rested for it.

Speaker 13 (01:21:53):
Now.

Speaker 9 (01:21:54):
You can sleep till he gets here in a minute.

Speaker 7 (01:21:57):
Son, Maybe this time I'm harre' stay. Maybe he won't
go off again where he always has before. Maybe restless
Harry was restless like the river, hunger for far places
and bright lights, for the city, the city wears and

(01:22:20):
city clothes, city talk.

Speaker 9 (01:22:24):
Alright, I reckon he was.

Speaker 7 (01:22:27):
But maybe this time he'll stay. Maybe he's had enough
for traveling.

Speaker 8 (01:22:34):
Man.

Speaker 17 (01:22:34):
I we'll see when he gets Here's time now for
you to be getting your rest.

Speaker 9 (01:22:39):
Here, take my r more. I'll help you to your room.
Listen to that hair has a bloodhound, all right, Missouri,

(01:23:00):
it's a blood un But they're closing in on us.
Their gifts would come to this valley. They got patrols
out of bloodhounds looking for us. Yeah, looks that way
we're done for her. They go on trail us here,
and they've got and get us. I tell you they won't.
Tom will hide us. Somehow seemed to me. You're pinning
an awful lot on you, brother Tom. Maybe we won't
even reach the cabin, Missouri. I forgot to tell you something.

(01:23:23):
We have reached ith, I have reached it. Yeah, you
mean that cabin Hodair we've been watching the last fifteen minutes. Yeah,
that's my home, Missouri. We're there. Why didn't you tell me?
I like surprises anyway, We had to watch it to
make sure there wasn't any strangers inside. We ain't seen

(01:23:43):
nobody but the old lady there. And they have a
set fellow sitting in the kitchen morn toime. Yeah, and
there they go. Tom's helping her. Probably she's going to bed. Now,
all right, Missouri, we can slip in. Now, come on along.
Here's a path that's everybody here. That's a big rocky

(01:24:05):
runs through a gorge back of the cabin. She's fast,
but you can float a boat down her. Okay, now
we go in.

Speaker 8 (01:24:16):
Oh, man, it feels good to be inside.

Speaker 12 (01:24:18):
Keep your voice down, keep your voice down.

Speaker 8 (01:24:22):
We take Tom by surprise.

Speaker 13 (01:24:23):
What are you doing there?

Speaker 9 (01:24:26):
I'm just horn and coffee here at this part in
their hot But man, it's your tastes good. But all
pour me so I come on, all right, your Oh

(01:24:46):
why that went down?

Speaker 13 (01:24:47):
Good?

Speaker 8 (01:24:48):
Oh?

Speaker 9 (01:24:49):
Twenty four hours since.

Speaker 8 (01:24:50):
We even listen?

Speaker 9 (01:24:52):
Listen, Have Bloodhounds close up? Quick, wipe that cup. We'll
duck into the storage. We too, right, do we have
to hide from your brother?

Speaker 12 (01:24:58):
We don't.

Speaker 9 (01:24:58):
But I hear somebody coming up the All right, I
think quick, let's get ourselves here.

Speaker 12 (01:25:02):
That's way.

Speaker 13 (01:25:03):
Come on coming.

Speaker 9 (01:25:17):
I'm coming evening, Tom, Harry. But come on here, brunch,
your blind expect you to know why I'm here, Tom,
I can't say I do, Sherriff, what's happened? I mean,
you ain't here?

Speaker 25 (01:25:36):
Hid what?

Speaker 9 (01:25:38):
We got?

Speaker 17 (01:25:38):
No radio box here, no telephone neither. How do I
hear anything?

Speaker 9 (01:25:42):
But maybe somebody stopped by to tell you? Tell me
what got your brother Harry? Harry he escaped yesterday from
Storm Mountain, escape from the penitation, him and another fellow
named Missouri. I figured he might head for home. That's
why I've been here in blood Hound. I got men
both up down the trail in case he tries for here.
I got the cabin watched from down below. Two just

(01:26:05):
wanted to.

Speaker 39 (01:26:06):
Tell you he wouldn't come here, Sheriff, Harry, ain't no fool.

Speaker 9 (01:26:09):
He's not figuring you would help him. Was I an
escape killer? I'd sure head for my kinfolk to get help.
Killer Harry is no killer. He went penitention for rob
He's a killer now him in this Missouri. They stopped
the car, yes to store it, bashed in the driver's head. Murdy,
Harry done murder. I don't know what.

Speaker 8 (01:26:30):
Else should call it.

Speaker 9 (01:26:31):
He found the car over the next valley, though he
figured Harry can't be too far away, And maybe that's
why Mas said, yeah, nothing, that's mighty bad Harry killing
that their driver Now that you know you figure on
helping him he gets.

Speaker 7 (01:26:49):
Here, I.

Speaker 17 (01:26:52):
Guess, not sir, or anything else. I won't say. I
don't know, but killing. Oh sorry, I don't hold with chilling.
If he shows up, I'll keep him for your cherry.

Speaker 8 (01:27:06):
I reckon.

Speaker 9 (01:27:06):
I can get back outside, have a couple of coffee
before you go, or got some here?

Speaker 8 (01:27:11):
Oh?

Speaker 9 (01:27:11):
Thanks? Maybe later, gotta go now I've been stopping in again.

Speaker 17 (01:27:18):
Later bloodhound for Harry. Harry out tear in the dark
Bloodhound on his trail. Maum mustn't know, she mustn't never know. Coffee.

(01:27:39):
I guess I'll have a cup myself.

Speaker 9 (01:27:45):
Empty. It's funny, all right, Harry.

Speaker 39 (01:27:56):
You can come out now, all right. I said you
can come out of the lean too. Now you might
as well come out, Harry. I know you're there.

Speaker 17 (01:28:10):
All right.

Speaker 9 (01:28:11):
Brother Tom will come out all right, Harry. Stand there.
I got my gun here, and she's loaded. I suppose
the empty coffee pot give us away. That's right.

Speaker 17 (01:28:30):
I knowed I hadn't emptied it, and it come to
me somebody must have slipped inside while I was.

Speaker 9 (01:28:34):
In there with maul Well. I was coming out anyway,
and just didn't want the sheriff to see me.

Speaker 39 (01:28:41):
Yeah, your friend can come out too.

Speaker 9 (01:28:44):
Now come on out, Missouri.

Speaker 19 (01:28:46):
Here.

Speaker 9 (01:28:47):
Tom knows you're here all right, Eh, what kind of greeting?

Speaker 2 (01:28:54):
Is this? A loaded gun?

Speaker 9 (01:28:55):
Pointed it our noses? You said you could count on
your brother. Sure I can count arm, can I? Tom?

Speaker 8 (01:29:06):
Expect?

Speaker 9 (01:29:06):
You heard what I told the sheriff at still staying,
he's going to turn us in. Oh no he isn't.

Speaker 17 (01:29:13):
You're staying right away or hardly sheriff gets back, and
you're going along with him without saying.

Speaker 9 (01:29:21):
Hello to my dear old mother. She'll be disappointed. She's sleeping. Sound.
I never know he's here. I have an idea that
she'll wake up. Why should you wake up? We're quiet,
but we're not going to be quiet, brother Tom. When
the sheriff comes back, We're going to make a real

(01:29:41):
loud racket potent.

Speaker 39 (01:29:43):
She'll hear you, she'll know you're here.

Speaker 9 (01:29:44):
That's right. Then she'll know everything.

Speaker 11 (01:29:47):
Harry, that kill her.

Speaker 9 (01:29:48):
I wouldn't know about that, but I'm sure gonna yeah.

Speaker 17 (01:29:52):
Oh no, no, you couldn't. He'd be killing your own
mall man. Nobody could be that life.

Speaker 9 (01:29:56):
I tell you, she'll learn everything unless you'll let me
and Missouri get out that window. Prison has changed you, Harry.
You were a killer now, all right, So it's changed
me and I'm not going back no matter what happens.

Speaker 22 (01:30:17):
Now.

Speaker 9 (01:30:18):
You're gonna let us go out that window or not
out that window. That's what I said. The door is
being watched. We heard the sheriff say somebody they're watching
the back too, Harry, No, not a chance. It's only
about one hundred feet to the cliffs above the river,
but there's a path down to the water and a

(01:30:39):
boat anchor down there. Once we get to that boat,
we can drift right out of this state, Tom, is
that that boat's still there?

Speaker 17 (01:30:48):
Yeah, boat's still there, tied up further down though.

Speaker 9 (01:30:54):
We'll find it. Well, how about it going to let
us get out that window the way I used to
go when Pop was on the rampage after me? Or
do you want me to wake up more so I
can tell her goodbye before the sheriff drags us off
to be hanged. All right, all right, no, no, I

(01:31:18):
can't let you do the law's a law.

Speaker 39 (01:31:20):
Sheriff's coming up a path now, you two just tends
to Tom.

Speaker 9 (01:31:23):
I'm warning you. Why come on in, sheriff, Come in quick?
What is the term your sound? Well, I'll be Trry
and the other guy.

Speaker 39 (01:31:32):
Yeah, sim he was hiding. Now for the way your pistol.

Speaker 9 (01:31:35):
I got my rifle trained on him, and let me
get this handcuffs and luck, I'll cut him together and
shown mym in and take him away. This is the
kind of help your brother's given us. And you talks
a big hair shut off, Missouri. We ain't taken yet, Erry.
Just one thing, Yeah, tell him. My maw's never to
know you're here. She must never know about her. It

(01:31:57):
hit a killer to learn he's a jail and the murder.
I reckon it would all right. I passed my promise
in it. But I haven't made any promise. Oh Ma, Ma,
you can't. You can't. You your own moment. Well, I'm
not leaving without saying good bye to work.

Speaker 12 (01:32:18):
That's all, Just.

Speaker 9 (01:32:19):
Goodbye, Ma, Ma. Where are you?

Speaker 18 (01:32:25):
Hey?

Speaker 7 (01:32:27):
Bee?

Speaker 31 (01:32:27):
That you Harry?

Speaker 9 (01:32:28):
She chared you. It's me all right, Mare, I've come
to see you.

Speaker 3 (01:32:33):
I know jis it's coming.

Speaker 7 (01:32:36):
Give me here, set me out to the night where
you're making Look at you.

Speaker 9 (01:32:41):
I'll be right in as soon as I've said hello
to time. Well, Tom, now she knows I'm here. I
can't go without a little visit. Okay, you can. You
will come on now, put at your hands? How about
a Tom? Want me to tell Ma I can't stay
because I've got a date with a share hand son.

Speaker 5 (01:33:02):
What's keeping you? You're not hungry to see it?

Speaker 9 (01:33:06):
Don't bring me out to the light, I said, put
out your hands, Harry. I'm not taking any nonsense. Now
share Wait. Tom. I know you don't want to upset
your mom, but these two are killers. Sorry, you're not
getting hold his hands quiet?

Speaker 8 (01:33:26):
So Tom, shoot you pick him up?

Speaker 3 (01:33:28):
Better?

Speaker 9 (01:33:29):
Better have my pistol in a minute. My head better
not Tom, better not. No matter who you hit, it'll
shore upset more shoot shoot the breaking.

Speaker 3 (01:33:37):
Mouth, turm, Tom, what's keeping hair?

Speaker 9 (01:33:41):
I think fast? Time think past another second. Somebody will
get shot. But pass me your promise to let us
both go safe out that window and nobody will be hurt.

Speaker 39 (01:33:49):
All right, Harry, you got my problem. Tom Cherry, put
up your hand.

Speaker 9 (01:33:53):
I got your covered. Now, Tom here, you can't do this,
it's already done. Put your hand. You regret this, Tom,
you'll regret. It's sad and heavy. Take his gun. Harry,
I got it. Now both are you step aside? That's it,
sre if I got to do this, I got saddening

(01:34:15):
against the lawn. Now the law. Don't forget that, Tom, Tom.

Speaker 13 (01:34:20):
Where's Harry?

Speaker 11 (01:34:21):
Where's my boy?

Speaker 4 (01:34:22):
Harry?

Speaker 39 (01:34:23):
He's coming directly.

Speaker 17 (01:34:24):
Mall sore if I got to tie you up and
the lean to Harry. You can't go from here till
you've talked more something. You got to leave her with
an easy mind. Now go go and bring her out here.

Speaker 7 (01:34:51):
So that's where you've been, Harry. Out in California, raising
of orange.

Speaker 9 (01:34:57):
Yeah, oranges. I hold bosnacres of orange trees, with the
hills on one side and the sea on the other,
and the orange blossoms filling the air with perfume, like
when the gates of Heaven are open.

Speaker 7 (01:35:12):
Must be pretty. I should like to see it, Harry, You.

Speaker 9 (01:35:18):
Are going to more. I'm gonna send for you to
come live with me there more soon, Harry, Send for
me soon, just a week or two more, and then
you'll be able to sit out on your own porch.
And well, big orange is right off the tree. How
much longer we got to wait? And half an hour

(01:35:39):
already hersh maw is almost asleep. You go soon, she
dozes off.

Speaker 7 (01:35:45):
Tell me more about it, Harry, More about California.

Speaker 9 (01:35:50):
Ah, it's a grand place.

Speaker 13 (01:35:52):
More.

Speaker 9 (01:35:53):
It's got mountains standing tall like the glory of God.
And then there's the.

Speaker 7 (01:35:58):
Ocean, the Pacific I've never seen in.

Speaker 9 (01:36:04):
This is the biggest ocean there is mare and the bluest,
and the sand on the beach the whitest, and the
waves come in, big blue waves that have traveled all
the way from China, and they bring a breeze with
them that smells of tea and spice and ginger and cinnamon,
and all you have to do more is sit there

(01:36:25):
in the sunshine and soak up strength and watch the
ocean on one side and the mountains on the other,
with the birds singing and the flowers blossom. All right, Tom,

(01:36:47):
I've done what you said. I've talked her to sleep.
All right, you can go on there. It's about time too.
I've been hearing them bloodhounds all the last half hour.
Don't you worry about them. Gonna float right past them
down the river fifty miles before morning. You better be
getting It's almost Lula. Here's a sherriff's fly slap. You

(01:37:07):
got to keep the sheriff here until we're safe past
South Fork, understand you. I'll keep them earlier beyond catch.

Speaker 40 (01:37:13):
And let's get the window open. A yeah, she's up
all right, Missouri. You first just to ease through and drop.
It's on you about six feet anything you'll say, hey,
don't do it. Stay both he of you and take
your trial. I'll get you the best lawyer in the stable.

Speaker 11 (01:37:27):
What a preacher you know? I mean, go on the
way to put yourself off shore.

Speaker 9 (01:37:32):
Pabo, Doc can't see a pain.

Speaker 11 (01:37:34):
Hell, that's what we want.

Speaker 9 (01:37:35):
I go on to drop.

Speaker 12 (01:37:37):
All right, I'm a gray.

Speaker 9 (01:37:40):
That's my turn.

Speaker 11 (01:37:42):
Along by the time I'll see here.

Speaker 17 (01:37:45):
In California, Here gone, here gone. All right, chair, right,
I can set you loose. Now, let me get it
till not.

Speaker 9 (01:37:58):
You let him escape. Tom, that's gonna go bad for
you don't know what I had to do. All right,
you're free. I reckon, They're beyond catching.

Speaker 8 (01:38:07):
But if I file there, John, you're not de.

Speaker 9 (01:38:10):
Land me anymore.

Speaker 17 (01:38:11):
I don't aim to it. But look at that window
and shine your light down at the ground. Shine my
light down. They did they cracked, Tom. I had to
do it here there or no other way. I couldn't
let him escape, but I couldn't let him kill the mall.

Speaker 8 (01:38:29):
So let's see.

Speaker 9 (01:38:31):
The river's undercut right up to the foundations of the house.
No ground at all outside the window, just a straight
drop one hundred feet to the rocks.

Speaker 37 (01:39:01):
You have just heard the Mysterious Traveler for the title role,
played by Maurice Chotler. Others in the cast were shot Kennerson,
Mike barn Agnes Young, and Bill Smith. All characters in
the story were fictitious, and any resemblance to actual characters
were surely Coentidema original music played by Alphonetic Gray fan
Endlow speaking, this is the mutual broadcasting system.

Speaker 1 (01:39:44):
My dear Idea, are you all right? What are you
imagining right now? Well? I suppose that's not really prudent
at the moment, but we may have to come back
to that at some point. No, I feel even a

(01:40:04):
little off kilter after that. I guess you could say
I'm feeling a little extrast as the kids say. But well,
what are friends for if not to share exactly who
you are with them, exactly what you are, exactly.

Speaker 13 (01:40:30):
How you are.

Speaker 1 (01:40:33):
The Killer Mine.

Speaker 41 (01:40:37):
You finding life rather dull, dreaming again of exotic places,
wishing you were somewhere else.

Speaker 8 (01:40:47):
We offer you escape.

Speaker 42 (01:41:02):
Escape with us now to England and the story of
a hard rock miner trapped in a deserted mine beneath
the icy waters off the Corna's coast. As Hammond Inners
tells it in his Gripping Tale, the Killer Mine.

Speaker 38 (01:41:24):
Rain had stopped when I reached Penzance just before dark.
At the waterfront, there were men dressed much the same
as myself in Siemens Jersey's jacket. Nobody took any notice
of me, and I suddenly felt at ease for the
first time since I landed in England. I lit a

(01:41:44):
cigarette fished out of my pocket, worn and dirty bit
of notepaper which bore Dave Tanner's address to Harbor Terrace, Penzance, Cornwall.
I read the note again. Dear Jim, I hear things
aren't what they were in Italy. If you're getting tired
of it and want to change of air, I can
fix you up with a job in England. No questions asked.

(01:42:08):
It's a mining job and right up your street, your
old charm bed. After now, I've been lucky. No questions
had been asked. So I went to meet my old
chum at number two Harbor Terrace. Yes, mister Tanner in Tanner,

(01:42:38):
mister Dave Tanner.

Speaker 43 (01:42:41):
Nobody of that name lives here.

Speaker 38 (01:42:42):
Oh he's no friend of mine. I've come a long
way to see him. He Look, here's the letter.

Speaker 8 (01:42:48):
He sent me.

Speaker 43 (01:42:49):
I'm sorry.

Speaker 38 (01:42:50):
Look, you don't have to be afraid. I'm not a coup.
He's a Welshman, dark hair and eyes, a bit of
a limp.

Speaker 43 (01:42:57):
Oh it's maybe he's mister Jones.

Speaker 23 (01:42:59):
You want.

Speaker 43 (01:43:00):
He's not here now either.

Speaker 8 (01:43:02):
Do you know when he'll be back.

Speaker 7 (01:43:04):
No, are you.

Speaker 13 (01:43:07):
You're hurt?

Speaker 38 (01:43:08):
No, that's blood on your hands.

Speaker 43 (01:43:10):
Oh, one of the lodgers. You cut yourself on glass.

Speaker 38 (01:43:12):
Davey's here, isn't he? He's here and he's hurt.

Speaker 3 (01:43:15):
No, you can't come in.

Speaker 13 (01:43:17):
Move over?

Speaker 8 (01:43:19):
Where is he?

Speaker 43 (01:43:20):
I tell you what, come and.

Speaker 25 (01:43:24):
Fix his arm before I lose any more blood. Who
is it anyway? It's all right, Dave, it's me Jim Price.

Speaker 4 (01:43:31):
Jim Price.

Speaker 11 (01:43:32):
Fine, time for visiting.

Speaker 25 (01:43:33):
You've chosen. Come on up, man, I'm bleeding to death.

Speaker 38 (01:43:41):
We went upstairs, and inside his room, Dave was sitting
white faced on the edge of a bed. He wins
since the girl dog died, dying into what was obviously
a bullet wound, and then the bandit went on.

Speaker 31 (01:43:53):
Hey, not to tight girl.

Speaker 8 (01:43:56):
What happened?

Speaker 9 (01:43:57):
Dave?

Speaker 25 (01:43:58):
Nothing? Tell her?

Speaker 9 (01:43:59):
I tell you later.

Speaker 31 (01:44:01):
I'm glad to see you back. Still, Yes, Davie, wrap
up some food, find another raincoat.

Speaker 3 (01:44:06):
But you can't go out.

Speaker 38 (01:44:07):
Not argue girl.

Speaker 44 (01:44:08):
It's time to go now, all right, it's better now
we can talk. You've come over for that job. Yes,
got a show with no questions asked. I managed it
cost me my last father. Oh, I've got no papers.

Speaker 8 (01:44:27):
You got a shore.

Speaker 12 (01:44:29):
That's what matters.

Speaker 31 (01:44:31):
Well, Jimmet's and mining jobs.

Speaker 38 (01:44:32):
I told you, hear it. Help me on with my coat. Well, easy,
easy there.

Speaker 31 (01:44:42):
I want to be shut of this place. You're always
the same as mine. I'll tell you about the job
as we go.

Speaker 8 (01:44:47):
Where where we go.

Speaker 31 (01:44:48):
Cripple is tin mine.

Speaker 9 (01:44:50):
There's more to it than that. Oh, come on, we'll meet.

Speaker 31 (01:44:54):
The girl downstairs. I've got to get out.

Speaker 43 (01:44:56):
Come along, d Your sandwich isn't an old raincoat of fathers?

Speaker 8 (01:45:05):
Give it to him.

Speaker 44 (01:45:06):
Now listen, sir, those close upstairs, burn them, clean up everything.
Anybody comes around asking questions. Tell me you haven't seen me,
not for three days.

Speaker 7 (01:45:15):
Wait?

Speaker 43 (01:45:15):
Can I get in touch with you?

Speaker 38 (01:45:16):
You can't.

Speaker 3 (01:45:18):
You'll come back.

Speaker 31 (01:45:18):
Indeed, I will remember you haven't seen me, and you
don't know where I've gone.

Speaker 13 (01:45:24):
I don't know.

Speaker 8 (01:45:25):
It's true. You'll hear from me.

Speaker 31 (01:45:29):
Open the door, see if anyone's about.

Speaker 9 (01:45:31):
Yes.

Speaker 38 (01:45:41):
The street was deserted and the rain had started again.

Speaker 13 (01:45:44):
As we slipped down.

Speaker 38 (01:45:46):
We kept to mean badly lit streets as we made
our way out of the town. Then at the top
of the hill we left the lights of Pan's answer
behind us. We hadn't said a word until then.

Speaker 31 (01:46:00):
We'll separate a lonion.

Speaker 9 (01:46:02):
How far is that?

Speaker 13 (01:46:03):
Oh?

Speaker 31 (01:46:03):
Eight nine miles?

Speaker 13 (01:46:05):
Oh?

Speaker 9 (01:46:06):
Where are you going?

Speaker 38 (01:46:07):
The farm would be hiding up for a bit, the police, baby.

Speaker 31 (01:46:12):
No matter of speaking.

Speaker 44 (01:46:15):
I had a fishing boat Isle of Moor. We were
carrying goods liquor, of course, pick it up from an
Italian boat. The revenue cutter boats. I insisted on taking
the atches of I warned them not to.

Speaker 31 (01:46:30):
There was their own fall. I jumped for the other boat.

Speaker 38 (01:46:33):
That's when I got this bullet through the hat How
did you get away with?

Speaker 31 (01:46:37):
Booby trapped the hatches? When they opened them, she went
up sank.

Speaker 9 (01:46:41):
Just like that?

Speaker 38 (01:46:44):
How many were killed?

Speaker 31 (01:46:46):
What does it matter?

Speaker 38 (01:46:48):
They're after me though? What about me?

Speaker 23 (01:46:52):
Oh?

Speaker 38 (01:46:53):
The job I told you?

Speaker 31 (01:46:55):
If you wanted, it's yours?

Speaker 8 (01:46:56):
Or do I go?

Speaker 7 (01:46:57):
Do?

Speaker 8 (01:46:57):
I see?

Speaker 44 (01:46:58):
Cripples's just on the road from Butler asked for Captain Mannick.

Speaker 31 (01:47:03):
Tell him I sent you. Show him my letter.

Speaker 38 (01:47:07):
That's all that's a.

Speaker 31 (01:47:09):
Can tell you what it's about?

Speaker 38 (01:47:12):
Come on, asked it?

Speaker 8 (01:47:13):
Hope?

Speaker 31 (01:47:13):
I need to rest soon enough with his Cursadan.

Speaker 38 (01:47:22):
Must have been nearly midnight when the little Welshman and
I parted. He pointed the way to Cripple's Ease a
mile further along, and then turned away and disappeared in
the driving rain. Half an hour later I found the
huddle of abandoned mine buildings, and then, against a crackle
of lightning, I saw a house. I had reached Cripple's

(01:47:46):
Ease and the job.

Speaker 9 (01:47:47):
That was waiting for me.

Speaker 25 (01:47:56):
What do you want?

Speaker 38 (01:47:58):
I want to say, Captain Mannick, I have you, Captain Mannick?

Speaker 25 (01:48:02):
What do you want? Dave Tanner sent me.

Speaker 38 (01:48:05):
Oh, Dave Tanner. He told me to show you this letter.

Speaker 12 (01:48:10):
Ah m hmm.

Speaker 9 (01:48:14):
Come in.

Speaker 38 (01:48:18):
My name is Jim Price. Davey said you had a
mining job for me. I'm a miner. I was working
in Italy. Come in here if I can get warm.
How long have you known, Dave? You're in the army
together where Italy mostly casino.

Speaker 9 (01:48:40):
Sit down?

Speaker 25 (01:48:43):
You're the deserter chap, aren't you?

Speaker 9 (01:48:45):
Who's all right?

Speaker 25 (01:48:46):
David told me about it. We don't ask questions here.
Does anyone know you're in England?

Speaker 8 (01:48:54):
No? Only Dave.

Speaker 38 (01:48:57):
His job You've got.

Speaker 25 (01:49:00):
Take not being a miner, I wouldn't know. Might take
a week. I'll give you a flat rate of fifty
pounds and another hundred if you can do it in
two days.

Speaker 38 (01:49:10):
A big tin strike. No, I don't see where are
just a minute?

Speaker 25 (01:49:17):
Yeah, now have a look at this chart. These mines
are finished. There's nothing worth working in them anymore. I've
got another use for it. You see that long gallery
running down under the sea. Eh, it's called the Mermaid,
nearly half a mile long. Now, then what I want

(01:49:42):
you to do is to blow a hole in the
sea bed. At the end of it, flow a hole
in the seabed. Yes, you see the slope of the gallery,
just talk about one hundred feet below the sea level.
Then at the end rises to buy My figures are
twenty feet under the bed of the sea.

Speaker 38 (01:49:59):
My job is to drill through that twenty feet and
let the see you in.

Speaker 25 (01:50:03):
Yes, I can tell you it's getting whiskey running liquor
into England through the usual channels. I see, this will
be safer. Our boat spots a boy which marks the
entrance of the underwater mine, lowers the cargo and we
haul it through the mine up to the shore. How

(01:50:24):
a carriage drawn by a horse to work even underwater?
It'll work. I've had two men working on the shop
for a year. Now straighten it dead out. All we
need is a miner to finish the job.

Speaker 8 (01:50:37):
That's you.

Speaker 13 (01:50:40):
It's nasty.

Speaker 38 (01:50:42):
Suppose the entrance gets jammed with rock after she blows you.

Speaker 25 (01:50:45):
No, I'll go down in a day diving suit and
clear it's nasty. I haven't done under sea stuff, but
you know explosives and rock. Yeah, and I've been not
into it.

Speaker 8 (01:50:58):
I don't know.

Speaker 38 (01:51:00):
What about Davy. Was he doing a job for you?
Suppose the police get him and tie you up with him?

Speaker 13 (01:51:05):
When that was to me?

Speaker 25 (01:51:06):
Or don't worry?

Speaker 13 (01:51:09):
I don't like him.

Speaker 25 (01:51:11):
A man is sensible. You're a deserter from the British Army.
You returned to England without papers. If not here, where
would you work. I'd be offering you one hundred and
fifty pounds.

Speaker 38 (01:51:24):
And I should have stayed in Italy.

Speaker 8 (01:51:25):
But you didn't know.

Speaker 38 (01:51:26):
I wanted to see Cornwall again. It was a mistake,
not at all.

Speaker 25 (01:51:35):
Do what I ask and I'll see that you get
a passage back to Italy.

Speaker 38 (01:51:41):
No, now that's too dangerous. I'm sorry. I'll take my
chances somewhere else in another job.

Speaker 25 (01:51:49):
Can you leave me no alternative.

Speaker 8 (01:51:53):
What do you mean?

Speaker 25 (01:51:54):
I shall have to telephone the police in Penzance and
inform the deserter has shown up looking a.

Speaker 38 (01:52:00):
Job after what you told me.

Speaker 8 (01:52:02):
That'll make me laugh.

Speaker 25 (01:52:04):
I'm quite a respectable man in these parts. I doubt
that the authorities would take your word against.

Speaker 38 (01:52:10):
Mine, pluffing. Nobody can force me to do anything you.

Speaker 25 (01:52:14):
Think not now, stay where you are, mister Price. I
wouldn't hesitate to shoot you. You see, I'm in rather
a desperate position. It's taken me a long time to
find a miner to do this job. I couldn't bear
to see you refuse. You still have a moment to

(01:52:37):
change your mind. Hello, would during the police station for me? Please?

Speaker 38 (01:52:46):
He wasn't bluffing. I knew that I have only a
few seconds to decide. There's a choice of arrest conviction
as a deserter doing a job, which might mean my life.
I had run away from death once before. Have me
realize that I've been running ever since. I had to stop.
I look back at Mannick, smiling and sure, with his

(01:53:08):
pistol pointed at me.

Speaker 25 (01:53:10):
Well, all right, hang up, hang up, I'll do it.

Speaker 38 (01:53:15):
I'll blow up your bloody mind.

Speaker 42 (01:53:28):
Escape under the direction of Norman McDonald returns in just
a moment. Boy Scott Week is now being celebrated across
the nation. The Scouting program is well known to almost
every American. It includes character building, physical fitness, and citizenship
training that enriches the lives of boys and young men
in all walks of life. Get your son or your

(01:53:49):
neighbor's boy to join this worthy organization.

Speaker 38 (01:53:54):
And now back to escape. Manik put down the phone,
opened the desk door, and took out some pound nuts,
handed me ten and suggested that I get some sleep.
You would start work at five in the morning. I

(01:54:15):
was bucketing the money when the door behind us open.
He looked around and saw an elderly man.

Speaker 9 (01:54:24):
I didn't know you, did anybody here? Henry?

Speaker 25 (01:54:26):
It's all right, father, This is Jim Price. He's going
to work here a bit. He's a miner, a miner,
is he?

Speaker 45 (01:54:32):
Well, my boy, it's good to know there be a
miner working near it. Last I knew you'd see it
my way sooner or later, Henry. At least we can
make a start now.

Speaker 25 (01:54:42):
Price is working for me, father.

Speaker 9 (01:54:44):
Working for you?

Speaker 12 (01:54:45):
Nonsense?

Speaker 9 (01:54:46):
He must work for me.

Speaker 45 (01:54:48):
I'll prove to the world that the Cornish mining industry
isn't dead.

Speaker 25 (01:54:52):
You may as well understand I'm letting the sea into
the mermaid gallery.

Speaker 46 (01:54:56):
Here, Ma, you can't do it.

Speaker 38 (01:54:58):
I won't allow it.

Speaker 25 (01:54:59):
That's what I'm going to do.

Speaker 38 (01:55:00):
I would allow it.

Speaker 25 (01:55:01):
I tell you I would have no alternative. That's the price.
Perhaps you better leave us now, go to the kitchen
across the hall. One of the men will show you
your quarters.

Speaker 38 (01:55:11):
All right, I went to the kitchen. Could hear the
argument raging through the hall. There were two men sitting
by a fire with mugs in their hands, one like
a diminutive monk with a potbelly and rosy cheeks, and

(01:55:32):
the other a long, cadaverous faced man who looked at
me solemnly as I entered.

Speaker 25 (01:55:39):
Blay me another one?

Speaker 9 (01:55:41):
Sit down, charm, sit down?

Speaker 38 (01:55:43):
Oh say you staying or passing through? I'm gonna work here.
A minor lor lover of duck is the slim.

Speaker 47 (01:55:50):
Now we don't have to worry about the ruddigh roof
holling in on this one named Fryer Friar, Old Grady,
you call me Friar, and this year is slim.

Speaker 38 (01:55:59):
Methys Jim Price.

Speaker 41 (01:56:00):
An excited here to blow through the seat bed.

Speaker 8 (01:56:03):
Yes, as the old.

Speaker 9 (01:56:05):
Man know, Yes, I just left them.

Speaker 25 (01:56:07):
Thought I heard argy bargain.

Speaker 38 (01:56:10):
It's gonna be trouble. I don't understand.

Speaker 41 (01:56:13):
The old man's been working these miles all his life. Now,
he says, has found the richest tin striking call.

Speaker 47 (01:56:20):
Captain right though, kept him right running liquors text free.
If you follow me, to expect you to operate to
my lee days.

Speaker 41 (01:56:28):
I shouldn't want your job, mister Price. We've been sweating
for a year down here, funny feeling with all that
sea over the head.

Speaker 38 (01:56:36):
Oh well, every man to his trade.

Speaker 47 (01:56:38):
I say, come on mate, I'll say you here, Diggs,
I measure you'll want to be upright and thanks.

Speaker 38 (01:56:44):
Say you in the morning, mister Price. The little Kuckney
showed me to my room, and it was about a
half hour later that I heard a tap on my door. Yes,

(01:57:07):
mister Mannick, who's afraid you might be asleep?

Speaker 46 (01:57:12):
Look I want to I got something to show you.
My son tells me you an experienced tinner. I have
a look at this rock. Maybe you'll believe me.

Speaker 38 (01:57:21):
Hey, that's tin all right.

Speaker 12 (01:57:24):
Dis fabulous.

Speaker 45 (01:57:25):
The richest seem into history of Cornish mining. Look at it,
and my son curse him, doesn't see it. He's going
to let the see into the mine, and he's brought
you here to do it. You're the man who's going
to write my life.

Speaker 38 (01:57:40):
I'm sorry. It is a job, that's all.

Speaker 31 (01:57:44):
You can't you mustn't.

Speaker 46 (01:57:47):
I'd give you fifty pounds more than he's offered if
you don't do it.

Speaker 38 (01:57:52):
What difference would it make if you tell me get
another miner?

Speaker 46 (01:57:55):
But that would take time, don't you see?

Speaker 3 (01:57:57):
We would be rich.

Speaker 38 (01:58:00):
I'm afraid it is all right?

Speaker 46 (01:58:01):
Is all right? Think about it. I know he'ld something
over your head. It does with everyone. Think about it.
Give me your answer tomorrow.

Speaker 38 (01:58:12):
All right, I will good night.

Speaker 25 (01:58:24):
That's it, mister Price.

Speaker 38 (01:58:25):
What's the pit for, captain? Yeah, underneath the scaffolding now to.

Speaker 25 (01:58:30):
Catch the rock when you make the final blast.

Speaker 38 (01:58:32):
Oh well, it might work, as.

Speaker 25 (01:58:35):
I told you. If it doesn't, I'll come down in
a div s. You can tear it away.

Speaker 38 (01:58:39):
You say there's twenty feet to get through. Yes, there's
quite a bit of water seeping in. Now it'll be
touching you, all right, Granite bassof from the feeling that's
what I thought. If it cracks, anything might happen.

Speaker 25 (01:58:55):
Yes, by the way, my father spoke to you last
night to knee, Yes, showed you the tin probably offered
you more not to blow the mine. I hope you're
it's used, because if you didn't, I can still notify
the police.

Speaker 38 (01:59:12):
I didn't tell him anything good.

Speaker 25 (01:59:15):
And you can start to work immediately. I'll send Fryer
and Slim down to help you. And by the way,
don't go wandering around too much. Some of these old
tunnels run for miles that you can get lost, and
stay out of the shaft that parallels this one. She's
the oh, come lucky mine. There's been a lot of
falls recently. If she caves in, she'll take in the

(01:59:36):
sea and break through here.

Speaker 38 (01:59:38):
I'll be careful. I've worked mines most of my life.
It gives you a funny feeling to be standing under
the sea, a half mile from shore and protected by
twenty feet of rock rock that you're going to be

(01:59:59):
drilling blasting until there's only maybe ten feet. Then you
pray that it doesn't cave in until you're out of
the way. Friar and Slim came down and I started
to drill holes from the explosives. As the rock fell away,

(02:00:20):
little streams of water fell, soaking us. It was nasty work.

Speaker 13 (02:00:27):
All right, did you jump?

Speaker 38 (02:00:34):
That's enough for the first blow.

Speaker 48 (02:00:37):
Three maybe four defence, give me the charges, rish boy
home water there, there's nothing to worry about.

Speaker 38 (02:00:47):
Yeah, you and Slim better get up a tunnel when
she goes. I was hoping you side that I'm off,
not jump. The two men disappeared up the gallery and
I was left alone to explode the charge. I connected
the wires, moved the exploder as far as it would

(02:01:08):
stretch into the tunnel, and then I pressed the handle. Wow,
the roof still held. A bit more water trickled in.
With she still held. I went back to the entrance

(02:01:32):
from a cup of coffee before starting again. So I
approached the cage, which served as an elevator to the surface.
I saw Captain Mannick talking with another man. It was
Dave Tanner.

Speaker 35 (02:01:45):
Bloody fool wireful did you come here? I thought they
got talked. I heard it on the wireless. You know,
they wouldn't be thinking of looking for me. Here would
be safer, savor broad daylight.

Speaker 25 (02:01:56):
Somebody must have seen you. The police will be all
over us.

Speaker 38 (02:02:00):
Saw me.

Speaker 25 (02:02:00):
How do you know price You've got to be through
that sea bed bye tonight.

Speaker 38 (02:02:05):
It's impossible. I can't do it.

Speaker 25 (02:02:06):
Nothing's impossible. I can get you out of the country
as soon as you've finished the job. You don't finish tonight,
and the priest come, well, what do you know?

Speaker 1 (02:02:15):
What does that mean?

Speaker 38 (02:02:16):
Well, it can't be done. It's too much work for
one man.

Speaker 25 (02:02:18):
I'll put fire on the drill with you. He knows
something about it. Tanner and myself will be clear of
the rock out each blow.

Speaker 8 (02:02:24):
Ye, I'll try good.

Speaker 25 (02:02:27):
You dave, stay out of sight down here and keep
my father out of here. Shoot him if you have to.
You understand right?

Speaker 21 (02:02:34):
All right?

Speaker 38 (02:02:39):
We worked like madmen all day, drilling, blasting. We blew
the rock three four, five times, and still it wasn't enough.
The water was coming in fast, filling the pit. Mannequin
Slim went back for new drills and charges fire, and
I stayed on the scaffolding. And I don't like the
looks of that.

Speaker 11 (02:02:58):
What's off my rock?

Speaker 25 (02:03:01):
We've grew up here dangerous. Maybe fetch me a pick or.

Speaker 22 (02:03:10):
I up to welcome the end?

Speaker 9 (02:03:12):
A laugh.

Speaker 11 (02:03:13):
Child must have done it.

Speaker 13 (02:03:14):
I'll often get another.

Speaker 25 (02:03:15):
Shop your roll.

Speaker 38 (02:03:26):
I sat on that scaffolding, smoked a cigarette. Water streamed
down the slimy walls, and I waited for Friar.

Speaker 8 (02:03:38):
Five minutes passed, and then.

Speaker 11 (02:03:42):
Her price.

Speaker 38 (02:03:44):
Mister Mannick, you've got to stop.

Speaker 25 (02:03:47):
You've got to mate.

Speaker 11 (02:03:49):
If you've got the gallery, I'll never get it.

Speaker 38 (02:03:51):
I'm sorry.

Speaker 25 (02:03:52):
I won't let you to hear me.

Speaker 38 (02:03:55):
There's nothing I can.

Speaker 46 (02:03:55):
Do is make you.

Speaker 16 (02:03:57):
Don't just pray it, I'll kill you.

Speaker 38 (02:04:01):
You you better go to the surface. Mister Mannick is
not safe here.

Speaker 25 (02:04:04):
Ah, you'll find out.

Speaker 9 (02:04:06):
You'll find out.

Speaker 11 (02:04:07):
I say.

Speaker 38 (02:04:13):
He was gone, and I knew he was up to something.
I wanted to follow, but I remembered Captain Mannick's warning
about the tunnels. The old man knew them every twist turn.
If he wanted to get rid of me, he could
lead me to Amaze, from which I would never find
my way out. So I stayed there until the Captain
and the slim came back.

Speaker 25 (02:04:34):
Ready to go.

Speaker 38 (02:04:35):
Chris, your father was here, and what he's up to something?

Speaker 13 (02:04:38):
How did he get my day?

Speaker 38 (02:04:39):
I don't know.

Speaker 2 (02:04:40):
You let him go.

Speaker 25 (02:04:41):
Come on, hurry, You've got to stop him.

Speaker 1 (02:04:43):
When we do.

Speaker 25 (02:04:44):
He's going to make sure that we can't let the
sea in here.

Speaker 9 (02:04:47):
He's mad they come lucky.

Speaker 25 (02:04:48):
Ah, that's what I'm afraid of. He knows that mine
like a book.

Speaker 38 (02:04:52):
Come on, old man was somewhere in the mine which
paralleled ours. If he knew of a fought in the wall,
he could allowed tons of seawater to rush in, breaking
down the walls and flooding our tunnel. We had to
stop him. Friar joined us as we made our way
into the adjoining galleries.

Speaker 25 (02:05:16):
If he's got dynamite outside, Captain, I should have locked
him up long ago.

Speaker 12 (02:05:20):
What's it down there?

Speaker 38 (02:05:21):
The say it looks like a light.

Speaker 2 (02:05:24):
It is.

Speaker 12 (02:05:26):
Get him.

Speaker 46 (02:05:31):
He's working on something the wall.

Speaker 38 (02:05:33):
Father, father, stop it.

Speaker 11 (02:05:36):
Stay where you are, Stay.

Speaker 38 (02:05:38):
There, as he said, don't come a knit closer.

Speaker 11 (02:05:42):
Listen to me.

Speaker 38 (02:05:43):
Don't do it.

Speaker 5 (02:05:44):
You'll be killed.

Speaker 38 (02:05:45):
You drown us all. Let's get out. Hey, you let
me have me ten, Let him have it. Let him look,
he's not in a match.

Speaker 12 (02:05:53):
Say it.

Speaker 11 (02:05:54):
Gave myself. No, your devil, tell yourself why you're not
getting meet you no?

Speaker 38 (02:06:00):
Come on, Captain Mannick lay on the wet tunnel floor,
blood streaming from a wound, where Friar had struck into
the pick. We ran, the three of us, and behind
was the mad old man to discharge of dynamite death.
We reached the Mermaid Gallery. When it went off, we

(02:06:23):
could hear the water pouring down as though from a
great height, and then the more terrifying sound as the
tones of sea swept through the maze of tunnels. We ran,
ran for the elevator, which would take us safely and
the surface one hundred feet above, and the water followed you,
and you could hear the roar until it deafened.

Speaker 3 (02:06:40):
You.

Speaker 11 (02:06:42):
Wait, wait, in your hands.

Speaker 25 (02:06:44):
I twisted my hand. Sorry, Tom, puns up Now.

Speaker 38 (02:06:47):
I could see that pleasant elevator so close. Slim and
fire were almost there. And the gate climbed and it
started up. No, no, no, wait, wait, we don't leave
me the ladder.

Speaker 13 (02:06:58):
Use the ladder.

Speaker 38 (02:07:00):
Somehow I reached the ladder painfully started up the runs.
It was a nightmare, and the water was the monster
that you couldn't escape. Half way up, I heard them
in the keys, they don't go any further.

Speaker 49 (02:07:15):
Try fast, lasting here righting of the ladder. Why the
aisle turn it down, I said, drive.

Speaker 50 (02:07:30):
I kept climbing and the voices faded, faded, until I
heard a gurgling scream and in silence, and the water
stopped its terrible sound.

Speaker 38 (02:07:42):
It had found sea level. When I got to the surface,
I saw Dave Tanner. He was standing looking down at
me with frightened eyes, and with him were three men

(02:08:03):
in uniform. They were the police. I fell into their arms, crying.

Speaker 8 (02:08:11):
I tell you, I cried.

Speaker 38 (02:08:13):
I was so happy I got away from that killer,
that killer mine.

Speaker 42 (02:08:37):
Under the direction of Norman MacDonald, Escape has Brought You
The Killer Mine by Hammond Innes, especially adapted for Escape
by Anthony Ellis. John Daynier was starred as Jim. Featured
in the cast where Eileen Urskin, Tony Barrett Ray, Lawrence Wilms,
Herbert Jayeavello, and Lou Krugman. The special music for Escape
was composed and conducted by Del Castillio.

Speaker 1 (02:09:05):
I know you can feel it. You can feel it
just like I can. Something different, something palpable, something dangerous,
not dangerous like a like a car accident or a thunderstorm. No,

(02:09:27):
something dangerous because it's focused. It's hungry, not just for
you and your flesh, but something more primal, more original
to the experience of being alive, that feeling, that sense

(02:09:47):
inside of you, well, that simply put the feeling of
a killer at large.

Speaker 51 (02:10:03):
Good evening treasures of the creaking door.

Speaker 21 (02:10:07):
This is your host to welcome you into the innose sanctus, Him, money,
him in. Whoever you are, whatever you are, whether you're
alive or dead. It's like the dead you are, the
more we like you. Some of us have gotten the
arts and crafts rage. You know, the age to make

(02:10:29):
and unmake things with our bare hands. Gadgets and copper,
silver and bone, so striking they make your head roll.
One character drove himself into such a creative frenzy. He
worked himself right back into the grave. I won't tell

(02:10:50):
you who or what he is, because sooner or later
you will surely be seeing him around. And now for
the night's torment, kill her at large. The Night's Stammers
the story of the short and unhappy life of a

(02:11:11):
fugitive who sullen face stares at us from hundreds of
police posters, read won Mark's stribling wanted for murder warning,
this man is armed and dangerous.

Speaker 2 (02:11:27):
Is he guilty?

Speaker 13 (02:11:28):
Let's get our answer from Mark Stribling. Not guilty?

Speaker 21 (02:11:35):
I was framed, But good could happen to anybody? Come
home unexpectedly to the wrong kind of wife. Your teeth
hardly in the door when there's a street shut, tell
us try, But it's.

Speaker 13 (02:11:55):
All over forellen and for you too. The killer's gone
down the fire escape, and so you're the petty. It's
a perfect crime for the guy who pulled it. Your
gun was used.

Speaker 21 (02:12:11):
The world knew there'd been bad blood between you and
the missus, and there's an insurance angle. Missus Stribbling is
worth ten thousand dollars to you. Did the cops won't
forget that. There's enough circumstantial evidence to bring you.

Speaker 9 (02:12:31):
So you run.

Speaker 21 (02:12:32):
You don't save the music, You don't dare. You hide
and drift all the time looking for with the other man.
I found him six months and ten thousand miles later,
in a tourist town over the border. I found him
in the club called.

Speaker 13 (02:12:48):
The Cotta Rayal.

Speaker 21 (02:12:51):
I got behind him and ran the gun into it.
There who gets who's is? Don't turn around and don't
stop smile. I mean stribbling impressions. I got a message
for you from Missus Stripling.

Speaker 13 (02:13:07):
She wants her to join her as fast as.

Speaker 51 (02:13:08):
You can go someone, No, don't uh.

Speaker 13 (02:13:15):
The long chase was over. I'd gotten my man, I
ditched the gun and got away without being I had
won and I'd lost. I was really wanted for murder. Now.

Speaker 21 (02:13:33):
I got off the streets into another club, one with
a jukebox that talked to the United States. This time,
I wanted to forget murder. I wanted to find a
girl and find something to laugh about. And then one
came in the door.

Speaker 13 (02:13:48):
A real looker.

Speaker 21 (02:13:51):
I watched her come right at me like she'd picked
her just as I picked her. Rit go striblings the
name I use and you vaccine.

Speaker 13 (02:14:06):
Slip. Buy you something coffee.

Speaker 9 (02:14:08):
Black black coffee for the lady.

Speaker 13 (02:14:10):
Let me go facts?

Speaker 21 (02:14:13):
Now?

Speaker 22 (02:14:13):
Can I sell you something that depends?

Speaker 13 (02:14:17):
What are you selling?

Speaker 22 (02:14:18):
Wind packages?

Speaker 23 (02:14:20):
By?

Speaker 22 (02:14:20):
This one for you special and don't be fool enough
to open it here?

Speaker 13 (02:14:26):
Fool enough?

Speaker 8 (02:14:28):
What's in it?

Speaker 22 (02:14:29):
Your hammers in that package?

Speaker 34 (02:14:32):
The one you use nailing up croff another words, scribblings.

Speaker 13 (02:14:37):
You're gune it's some kind of gag. No, but you
get the gun from out of.

Speaker 22 (02:14:43):
The ash can I saw you throw it in? Why
that's a long starry Why I want somebody you can
find any somebody I can try. Trust with what I'll
tell you some other time.

Speaker 34 (02:14:57):
Come see me tomorrow morning, Room one ten, a Hotel Tito.

Speaker 3 (02:15:03):
Fine.

Speaker 13 (02:15:03):
Now I didn't wait for tomorrow morning.

Speaker 21 (02:15:09):
Your don't when you're suddenly sitting on a kid a
dynamite labeled in Maxine. I followed her out instead and
tailor through the streets. I didn't have to tail a fire.
Just about ten blocks to a club, I recognized the
care I'd gone out of it only an hour ago
with a smoking gun in my head. I didn't wait

(02:15:34):
until morning to go to Maxine's room in the Hotel Chico.
I went right to it to wait for her to
surprise me. I didn't bother going up the usual way.
I went up a way the fire escapes in the back.
I'd found Room one ten, but the window was sealed tight.

Speaker 13 (02:15:52):
I had to kick it in.

Speaker 21 (02:15:55):
Inside I found an easy chair in the deck of cards.
I played solitaire with my gun in my lap, waiting
for the vaccine.

Speaker 9 (02:16:09):
Morning was an hour old.

Speaker 13 (02:16:10):
The vaccine came home.

Speaker 21 (02:16:14):
She had a camera slung over her shoulder, a big
one that she made picture taking a business.

Speaker 13 (02:16:21):
She saw me and didn't bat an eyelash.

Speaker 3 (02:16:23):
How's your solitaire game on my heead?

Speaker 13 (02:16:28):
Don't you come home nights?

Speaker 9 (02:16:29):
I work night?

Speaker 34 (02:16:30):
What else with this camera? And I've got the picture
taking concession and the capana out you.

Speaker 13 (02:16:39):
You saw me shoot somebody in there?

Speaker 46 (02:16:41):
I did?

Speaker 13 (02:16:42):
Then you followed me out. I thought you came to
fish my gun out of that ash can? That's right?
Why'd you really trail after me? Do we turn the
gun to get.

Speaker 22 (02:16:52):
An idea across to you?

Speaker 8 (02:16:53):
What idea.

Speaker 22 (02:16:56):
That I own you from now on? Body and so
and done?

Speaker 13 (02:17:03):
Here's my life insurance policies. The picture pop.

Speaker 34 (02:17:08):
Your eyes over at killer, it's my life insurance and
you're a death warrant. You were fast on the trigger
in cassidy last night, but I worked with a fast camera.

Speaker 52 (02:17:20):
Len How many princess have you? Just the one you're
holding doesn't flat?

Speaker 13 (02:17:28):
Any Where's the negative.

Speaker 34 (02:17:32):
In an envelope addressed to the police to be delivered
If if?

Speaker 22 (02:17:38):
What if a friend holding it.

Speaker 34 (02:17:41):
Doesn't see me around for a while and gets to
think I've been murdered for taking pictures?

Speaker 22 (02:17:48):
What do you have to have money?

Speaker 7 (02:17:51):
Ever?

Speaker 22 (02:17:51):
Dream of having all the money in the world.

Speaker 13 (02:17:53):
I don't have to lose any sleep. Where do we
get all this money deep.

Speaker 34 (02:17:56):
Into the interior and from there a week's climb on
foot with a mule pack, climbing Monto once.

Speaker 21 (02:18:03):
In Weto, it's a lot of climbing. The mountain goes
up fourteen thousand feet.

Speaker 22 (02:18:08):
They'll climb it.

Speaker 13 (02:18:10):
Who's got all that money up there?

Speaker 34 (02:18:12):
An old Herman, an American originally the hero us Teacher
Jonas never neither had I until I went to a library.
Teacher Jonas was a multimillionaire Oklahoma oil man. Once in
nineteen fourteen, before we were born, oil poured for him
like rain from heaven, and then a plague chilled his family,

(02:18:33):
his wife, his mother, and daughter.

Speaker 22 (02:18:35):
Right after that, his only son committed suicide.

Speaker 13 (02:18:38):
God blows his top on hard luck, poles on might s.

Speaker 22 (02:18:40):
It's just what happened to Teacher Jonas. His mind cracked.

Speaker 13 (02:18:46):
Oh, so he took himself out of the world. He
packed up and climbed out as high as he could get.

Speaker 34 (02:18:52):
Teacher Gentoess came to mont in westo with everything he
owned converted into cash into gold. There's somewhere to bring
an old lunatic of eighty with more money than he
can count.

Speaker 13 (02:19:05):
How you tumble the Teacher Jonas with.

Speaker 34 (02:19:08):
Me and on table talk at the COT, a pat
pilot named Wiley Scott was boasting to a companion and
ship's cook from medicals named Genesee.

Speaker 22 (02:19:17):
Wiley was trying to get Genesee to.

Speaker 21 (02:19:19):
Stake into provisions, a pair of mules and the guide.
How'd Wiley find out about Teacher Jonas?

Speaker 34 (02:19:25):
Piloted a monoplane on a run from some Pico to
San Jose and Guatemala. Plane developed engine trouble and you
have to make a forced landing.

Speaker 3 (02:19:34):
You can guess the rest.

Speaker 13 (02:19:36):
How do we find teacher Jonas?

Speaker 34 (02:19:38):
And while he got his plane repair and he flew
over one in whim again, made a detailed map it
smap making his business. He carries the map and a
pouch around his middle.

Speaker 13 (02:19:51):
Job number one schedules for me. Huh, I'm to get
the map from Wally.

Speaker 21 (02:19:59):
Maxie and laid out the strategy for surprising while he's Scott.
She was going to invite herself up a decroy with
me behind her.

Speaker 13 (02:20:07):
It worked just like that. While he opened the door,
nice to get a visit, mag sine a real nicer, close.

Speaker 21 (02:20:15):
Your mouth while din't get back inside inside. What do
you want to tell a magazine the map for your shirt?
Out and unbutton that money pop, sure, drop it on
the table. See if the map's in their magazine.

Speaker 3 (02:20:34):
It's in there.

Speaker 13 (02:20:35):
What your people will?

Speaker 21 (02:20:36):
I'll be glad to cut you in this morning for everybody.
It's too much there for one man to keep cattle.

Speaker 51 (02:20:43):
The lady says, no deal. Now, well, paketure that with him.

Speaker 21 (02:21:01):
Since the magazine became a camera, scened siblings become a
horridly negative guy.

Speaker 51 (02:21:10):
She caught him Againe the Killer. Like the show so
much she ordered to.

Speaker 21 (02:21:14):
Repeat performance on Wiley Scrive the treasure of Monty Western.
Now she's got him priming the highest mountain.

Speaker 51 (02:21:24):
But let's siblings, tell us what you besides his mind?

Speaker 21 (02:21:29):
As he bush waxed his way to the peak of
Monte West, they were about a day off, with the
wind in our faces.

Speaker 13 (02:21:37):
Making four thousand feet up nuting West over.

Speaker 21 (02:21:40):
Ten thousand more to go. We had two meals along
attacking provisions. We also had a guide before ourselves in
a village, a local captain named Steffannel, who faced out trouble.
We needed him from that, but he'd need watching singing.

Speaker 9 (02:21:57):
Yes, the funnel.

Speaker 13 (02:21:58):
We ain't blown like the honey gave theater. We comp
you and those time. What's wrong with a little wind.

Speaker 9 (02:22:04):
We try cycling that ledge, the wind blows off the mountain,
mules and all.

Speaker 34 (02:22:07):
We'll make camp here in this march better than the ledge.

Speaker 39 (02:22:11):
He's here.

Speaker 9 (02:22:11):
We're not a c Try telling that to the snake.

Speaker 11 (02:22:14):
Build a fire, make camp, the battle.

Speaker 13 (02:22:18):
The order of the day.

Speaker 34 (02:22:19):
It used to taking orders, and don't ever point your
gun my way by a mistake. Killing me is like
committing suicide.

Speaker 21 (02:22:33):
We made camp and got a fire going, and within
an hour the wind let up as suddenly as it began.

Speaker 13 (02:22:40):
Monte Morto is like that.

Speaker 21 (02:22:43):
And then riding out with the wind that that blew
up trail towards the peak, came a shot.

Speaker 13 (02:22:50):
He did next see somebody calling to us and down trails.

Speaker 22 (02:22:53):
Let me listen.

Speaker 13 (02:22:56):
One thing. We haven't got the mountain to ourself. Heard
it somewhere make u wearing who.

Speaker 34 (02:23:05):
If that ship's cook from that group tennessee the one
while he Scott was trying to get a stake from
that night company.

Speaker 21 (02:23:12):
What you see the smoke rising from on fire? Well,
he spoke Genesee on the mountain floor one death. He
spoke while he Scott like you did, and he's out.

Speaker 34 (02:23:22):
To make it in his own like we are.

Speaker 21 (02:23:25):
But he doesn't make anything I've seen. When he appears,
you ordered me to give him what.

Speaker 7 (02:23:31):
While he got Now not when he appears.

Speaker 22 (02:23:35):
Not what's the fun out here working?

Speaker 34 (02:23:37):
You go down to Genesee instead.

Speaker 21 (02:23:45):
I hurried through the brush, and then after away anytime,
slowed down, stalking like a hunter of stalks. There's no
sound now, I'll except bird screeching sound of Genesee. And
then all of a sudden I heard all the sound

(02:24:05):
Genesee had in him. He was screaming somewhere, screaming like
a guy going crazy with fright. I cut in the
direction of the screamscause I could go. I reached to
that Genessee cigre to be, but there was no Genesee,
only a packed me all at the edge of what
looked like a shimmering bed of hot sand Quicksand it

(02:24:30):
looked like Genesee had fallen in follow his left of him,
with a hat sitting on the edge.

Speaker 13 (02:24:37):
But as it turned out, that was what Gennesseee wanted
me to sing. It came to.

Speaker 21 (02:24:52):
My left hand, smash were bulleted brand into it and
Genesee looking down on me. It had been floating in
the brush with his rifle angels ready. I'm not very bright,
my friend, You're fool easy and had on the edge
of the quick sand was only a state sitting.

Speaker 13 (02:25:10):
How could you know I was coming down after you?

Speaker 21 (02:25:13):
Oh? He s field Glass, I tell you make camp
up there off the legend. I come down trail after
whispering was Maxine. I guess you were coming down to
kill me?

Speaker 8 (02:25:22):
Hab not.

Speaker 9 (02:25:23):
I was light of me, my friend, I ain't no Maxine.

Speaker 21 (02:25:28):
Roll roll ended the quicksand I ain't got any bullished
away roll. Okay, okay, if you want it like that,
I rode s I was dumb, sure, but Geneze wasn't
very right either, rowing my good hand under.

Speaker 13 (02:25:46):
They clothes on the thirty eight thirty eight, the shoulder house.

Speaker 51 (02:25:52):
Coming up on the row, I shot from the hip.

Speaker 13 (02:25:58):
Jenousy never even know it. Yeah.

Speaker 21 (02:26:06):
I got back to camp Maxine with all smile. She
washed my hand and tied it up. When we all
turned in for the night. The last thing in my
years was Stefanels sloring and then a fever slobbing.

Speaker 7 (02:26:25):
In my hand.

Speaker 21 (02:26:26):
Rose to my head and our past u. I came
to wondering why stefanel was it slowing anymore?

Speaker 13 (02:26:37):
It wasn't because he was away up in the.

Speaker 21 (02:26:39):
Bus packing the mules, like a guy making a sneak
getaway in the knife.

Speaker 13 (02:26:44):
I reached for my gun, o gun.

Speaker 21 (02:26:48):
My gun was gone, and I see you what I
wake sing on a streebling and a good face quiet
when I wake to sing Ona, you do not do
nothing fully? Single Stefano does not want to harm you
in the chavene. What does thee fane want to do
to take the muse and himself to the single teacher Jonas?
For you know about teacher Jonas as.

Speaker 13 (02:27:08):
Much as you do.

Speaker 21 (02:27:09):
Say you see the thing or why the scot also
tells the fanew everything when he asked the fan out
to work for him. Is the guy to the top
of Multemerto and hes nothing or streaming?

Speaker 11 (02:27:20):
I have a long way to go.

Speaker 21 (02:27:23):
The Fano a leftist to what things should do in
the starvation one of our sudden quicksand beds an animal
or snakes.

Speaker 9 (02:27:32):
But we kept putting on that scene in the.

Speaker 21 (02:27:36):
Three nice today the vaccine breaking into laughing Jack after
last Now it's not funny.

Speaker 3 (02:27:46):
To turn the way.

Speaker 5 (02:27:47):
You're keeping me alive, and.

Speaker 13 (02:27:49):
It's gotta keep you alive.

Speaker 3 (02:27:51):
Even if it's still.

Speaker 52 (02:27:56):
I'll give you one guess.

Speaker 34 (02:28:00):
You only knew where I left that negative?

Speaker 21 (02:28:03):
Oh no, I'm keeping you alive. Sure, just a box
with that mud water you've been drinking in a rotten food.

Speaker 9 (02:28:11):
You'll catch yourself with fever on it sooner or later,
and then you'll talk.

Speaker 20 (02:28:14):
You'll rave with fever, and before you know it, you'll
let on where you left that negative.

Speaker 13 (02:28:19):
When that happens, I'll kill you. But I had an
exclusive on the sea. My head was.

Speaker 21 (02:28:28):
Swimming in it, my hands and genesesee god, I wanted
to cut it off. And then what seen the half
day from the teas rand into Stefano again?

Speaker 13 (02:28:42):
I seen so on French.

Speaker 34 (02:28:46):
Where up there hanging from the tree cork the front of.

Speaker 21 (02:28:51):
It Stefanoff, shung up by the neck and grinning like
a knew the chop was on him.

Speaker 13 (02:28:56):
I cut him down.

Speaker 9 (02:28:59):
Fifty four Not a question of who sunk the funnel.

Speaker 13 (02:29:02):
Up was answered in a note ing to his close,
what does to not say? I wait it to you.

Speaker 21 (02:29:08):
Your next dribbling, and after you mutual vaccine and signed
while he Scott.

Speaker 13 (02:29:18):
When I shut him to the heart, notting in the
hotel club, m his ghost to tuph while he left off,
let me that you've seen while he turned righting before.

Speaker 34 (02:29:31):
Yes, while he wrote this note a dead man hum Stefano.

Speaker 13 (02:29:42):
It gets to a point where you don't think of
things out anymore. You don't think.

Speaker 21 (02:29:45):
You just push on like we did the top or
die and they're not much further to go. Smoke, smoke cons.

Speaker 3 (02:29:55):
To me, your teacher don't have to hide away.

Speaker 13 (02:30:00):
We made mostly a good quarter mile in.

Speaker 3 (02:30:05):
Wiley's up there.

Speaker 22 (02:30:08):
Look through these steel glasses.

Speaker 3 (02:30:09):
Get it from Jenny.

Speaker 33 (02:30:11):
See what I saw.

Speaker 13 (02:30:13):
Shure Wiley out front with a rifle standing side.

Speaker 21 (02:30:19):
We made it, but were licked anyway we show and
Wiley or Chris closed shoots the starm.

Speaker 22 (02:30:28):
They don't do it like that.

Speaker 3 (02:30:30):
I shall while he goes a bead on me. His
eyes are on me.

Speaker 22 (02:30:37):
Behind me with my bare hands.

Speaker 9 (02:30:38):
I only got one rock.

Speaker 34 (02:30:40):
You kill whiley with the biggest rock to confine him.

Speaker 21 (02:30:45):
We tried it like that, vaccine, stumbling into Wiley's duels
and pulling a dead faint one hundred yards away k
me crawling on my knees and stomach from the rear
with a rock. I waited until while he went off
a vaccine, and then I, oh, well, while he came
around the consciousness, I.

Speaker 8 (02:31:05):
Had his rifle.

Speaker 13 (02:31:06):
Huh he es again, I guess, how'd you come back
to life? Not stay in my room?

Speaker 17 (02:31:15):
He shot?

Speaker 21 (02:31:16):
Okay, but you only knocked me out a concussion. To that,
I always wear a bullet. Profess how to bid us
appear short cut? I didn't indicate on the map.

Speaker 13 (02:31:26):
And the old man teacher jonous, what you do with him?
I don't see him.

Speaker 2 (02:31:29):
The old man said he died this morning in his room.

Speaker 13 (02:31:34):
He killed him. I found him dying, not a special
only old age. Your money? What about his money? And
said choke? Oh thank you.

Speaker 21 (02:31:44):
Gus told me I could have it if I wanted
it bad enough, seeing as he was dying without airs.
He was a real old gentleman.

Speaker 13 (02:31:54):
He was crazy. He couldn't tell.

Speaker 22 (02:31:55):
Where did you say he kept the money?

Speaker 3 (02:31:57):
Well?

Speaker 13 (02:31:57):
And I hadn't trunk in the kitchen nine times?

Speaker 3 (02:32:00):
Conn you take care of Wiley and wait.

Speaker 13 (02:32:05):
A minute, dribbling, she just saves.

Speaker 2 (02:32:09):
She's done again.

Speaker 13 (02:32:11):
That is good again?

Speaker 8 (02:32:13):
What you mean?

Speaker 13 (02:32:14):
What She's gonna against the house came down on the
next scene.

Speaker 21 (02:32:27):
When the smoke cleared, Wiley told me what old teacher
joined Us had told him. A booby trap tooled into
the iron truck, opened the trunk to feel the money.

Speaker 13 (02:32:38):
And blow yourself up. I'm here, I stopped a mounting moto.
Wiley Scott.

Speaker 21 (02:32:47):
That negative is no doubt. It's in the hands of
the police. But now we're probably waiting.

Speaker 13 (02:32:54):
Their way up here. Funny thing.

Speaker 21 (02:33:00):
I don't care anymore, and I'm worrying about being hunt
There's pain shooting from my hand into every part of me.

Speaker 13 (02:33:13):
Can you tell me how many times can a man die?

Speaker 51 (02:33:30):
Nothing like blowing your top in high places.

Speaker 13 (02:33:34):
Vaccine and sibling reached the peak, all.

Speaker 51 (02:33:36):
Right, the peak of insanity. Four siblings absolutely disinterested in
that picture.

Speaker 13 (02:33:44):
Vaccine look at him.

Speaker 9 (02:33:45):
Now if it is you can't hang a man for dying.

Speaker 3 (02:33:53):
Morrow, Oh shure.

Speaker 21 (02:33:55):
I have copied this day out of an old edition
of Callahan's catalog for primer quote.

Speaker 51 (02:34:02):
Sometimes the road up me underground.

Speaker 13 (02:34:12):
Pleasure thing.

Speaker 1 (02:34:25):
Well, my dear, it seems you've survived another night so far. Anyway,
the sun will be coming out soon, so I suppose
I need to prepare to return to wherever it is
I come from, and you must return to your normal life. However,

(02:34:47):
it's anything but normal, isn't it. As you make your
way home to the safety and sanctity of your own bed,
as you make that long dark walk, please come back
and see me sooth I do so cherish when you visit,

(02:35:08):
I'll be here, just like always, waiting, quietly, calmly, still here.
But as you lay your head down on your soft,
cool pillow and blink away the day and enter the

(02:35:28):
land of gnawd, take one moment, just as you begin
to breathe slower, and be thankful for what you have

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Unknown Broadcast | Inside the Mind of Killers: Five Horror Stories of Murder and Madness

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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 | Inside the Mind of Killers: Five Horror Stories of Murder and Madness