Unknown Broadcast | Dark Destinies and Long Nights: Five Horror Stories of Death and Fate - Weekly Spooky: Scary Stories for Halloween

Episode Transcript
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Speaker 1 (00:11):
Ah, my dear, so good of you to join me again.
Oh what's that?

Speaker 2 (00:17):
Oh?

Speaker 1 (00:18):
Well, thank you, I've been feeling myself. I suppose please
please get comfortable, relax in my favorite chair. The teas
oiling up. Soon you'll have something nice to enjoy. I

(00:39):
have to ask you out there, when you look up
at night and you see the twinkling little dots of
burning gas, do you ever wonder? Do you ever consider?
Do you ever worry that there may be death in

(01:05):
the stars?

Speaker 3 (01:07):
BBS Radio Mystery Theater presents come in. Welcome, I'm e. G.

Speaker 2 (01:32):
Marshall.

Speaker 3 (01:34):
Do you believe in predestination? Are you convinced, as many
people are, that the real science of the stars is
not astronomy but astrology? And even if you are not
wholly persuaded, do you find that you turn by habit
to glance at the daily horoscope in your favorite newspaper? Supposing,

(01:57):
just supposing that, like a man Amherst Sole, owner of
a chain of newspapers from coast to coast, left to
her by her famous husband, and that you turned to
Ethel Nixon's astrological column for the day and read the
following score.

Speaker 4 (02:13):
Fild this is a bad day for you. Your sudden death
is imminent. Be sure to put all your affairs in order.
You cannot escape the inevitability of the stars. It is
a hard prediction to face, but it can only be
justified out of what you've done to deserve it. Damn
heady out of their minds. That shaky little mouse at

(02:36):
the writing a bomb like this, she'll scared twenty five
thousand people out of their wits or made it for
a laughing stock. This is Amanda, Amist. Put me through
to the managing editor. Oh, come on, come on, Adam,
it's Amanda. I want the press to stop, hold all
deliveries and do everything you can to get our first
run off the stands. Why just reads so Nixon's column

(03:01):
for today, and you'll see. I'm on my way down
there now. And when I find out what's going on,
heads are going to roll, and brother, none of them
will be mine.

Speaker 3 (03:19):
Our mystery drama Death in the Stars was written especially
for the Mystery theater by Ian Martin and stars Kim Hunter.
It is sponsored in part by Buick Motor Division and
Contact the twelve Hour Cold Capsules. I'll be back shortly
with that one. Amanda Amherst before her marriage to Ralph Amherst.

(03:54):
Amanda Hale, the country's most beautiful model, A reigning beauty there,
a reigning duty now, A woman who defies the encroachment
of age, A woman who controls an empire and.

Speaker 5 (04:08):
Everyone under her sway, who wears.

Speaker 3 (04:11):
A velvet glove so that few are conscious of the
iron hand. Amanda Amherst, the grieving widow who has never remarried. Complex, adorable, kind, generous, difficult,
and evil. A woman perhaps only her daughter, Timid, retiring

(04:32):
Nancy knows completely.

Speaker 4 (04:36):
I've hated my mother ever since I was seven. For
thirteen years, I have wanted her dead. But I've been
scared of her too, So all I could do was santitize.
I'll never forget the morning the famous horoscope turned up,
not that I ever saw it with my own eyes. Actually,

(05:00):
you know what the fuss was all about. I was
just scared because of my own clumsiness, and thanking my
lucky stars, I'd had time enough not to get my
head beat in the way things were between mother and
me by that point, I just couldn't have taken it.
I just slipped back into the apartment in time as
it was, because she was screaming for me. Nancy Nancy, Yes, yes, yes, mother.

(05:24):
Did you see my copy of the Post Journal? Oh
you have it? I just want a big grass at
the headline. Give it to me. Did you also check
Ethel Nixon's predictions?

Speaker 2 (05:34):
Oh?

Speaker 4 (05:34):
You know, I don't believe in that.

Speaker 6 (05:36):
No, I didn't.

Speaker 4 (05:38):
Why that mousey little nobody presented me with a real
shocker under my astrological sign this morning. The gist of
it was that I marked for death at any moment.

Speaker 2 (05:48):
What.

Speaker 4 (05:50):
Oh, you don't believe that, mother, Of course I don't.
I think it's someone's ideas. I'm a cob joke. I
might have thought you were a cope, which such as
much as you just buy and hate me, you haven't
the temperament of the know how. I'm not so sure
of your boyfriend Adam. However, he's not my boyfriend anymore.
You took care of that. I don't intend to quarrel

(06:11):
with you. I have enough to do to pin down
who this practical joker is. Who is going to bring
a sizable portion of our circulation.

Speaker 7 (06:17):
Down about our ears?

Speaker 4 (06:19):
What do you mean, Nancy? Naturally, I was not named specifically.
It just said that anyone born under the sign of
score up here was marked for imminent debt. The laughing
stock of the trade knows what suits, letters, threats will follow.
I've got to get down there right away. I just

(06:39):
can't believe Ethel is responsible for this, And once I
satisfy myself of that, I'll find the real culprit, and
whoever it is had better be warned. I'm going to
crush them like a bug under my heel. That is
my mother as she really is. Aside very few people see,

(07:01):
and when they do, she is a master or should
I say mistress of covering up or she did it
with me about my father, even though I heard what
I heard with my own ears. But a seven year old,
half drugged in the early morning sleep is easily persuaded.
She didn't really hear, Amanda when she sets herself to

(07:25):
it and make purples and green or orange blue. Even
though I remember every word, she twisted them to mean
something else. This is what I thought I heard. Even
after thirteen years. The word just won't go away.

Speaker 3 (07:45):
And how anyone who's beautiful and vibrantly alive as you
are outside can be as cold and heartless inside?

Speaker 4 (07:51):
Eye No, never again, I tried to satisfy you once.
I'm sorry it turned out to be a girl. I'm
sorry I gave you Nancy Heaven. No, I didn't want her, and.

Speaker 7 (08:05):
Neither did you, Ralph.

Speaker 8 (08:07):
That is not true.

Speaker 4 (08:08):
Of course, it is boys or you wanted. The male
succession must be preserved to keep the empire alive. Well,
if you want a son, go find some other wife
to produce him for you.

Speaker 9 (08:22):
You don't mean that, Oh don't.

Speaker 4 (08:24):
I I'm not ruining my figure again for anything.

Speaker 3 (08:27):
How could you even suggest the possibility of divorce between.

Speaker 4 (08:31):
My dear Ralph? Who even mentioned divorce?

Speaker 6 (08:34):
Oh?

Speaker 3 (08:34):
I don't want her an illegitimate son.

Speaker 4 (08:37):
Well, if you handle it right, and if if it
matters in this day and age, who has to know?

Speaker 3 (08:44):
You just sit by quietly and see me have a
un affair with some other woman. You would condone that.

Speaker 4 (08:52):
Why not, doesn't have to be done in front of me.
You'd pay her enough, and I'd never have to know.

Speaker 3 (08:59):
It, wouldn't be jealous, you wouldn't even care.

Speaker 4 (09:01):
Oh, come on, we're not children. If you're screamish.

Speaker 5 (09:06):
About it, you could arrange it with test.

Speaker 4 (09:07):
Tubes or however you do. It doesn't matter to me.
I'm only trying to give you what you want.

Speaker 3 (09:13):
What I want from you, who is love? And understanding
why you have that thought I had. Now I see
how mistaken I was.

Speaker 4 (09:22):
Which I'm not mistaken. I love you very.

Speaker 2 (09:24):
Much, oh Amanda.

Speaker 3 (09:26):
You love me for my money, my position, and your power.

Speaker 4 (09:30):
Is that I love most of all, but not me, Ralph.

Speaker 10 (09:35):
I'm tired.

Speaker 4 (09:37):
I want to get my.

Speaker 9 (09:38):
Sleep from your beauty sleep.

Speaker 6 (09:41):
Of course, you don't want.

Speaker 4 (09:42):
Me to remain beautiful and young.

Speaker 3 (09:45):
For you, Amanda. You will always, forever and as long
as I live, remain the most beautiful woman.

Speaker 2 (09:50):
In the world.

Speaker 4 (09:50):
For me, But don't you believe it. Beauty is natural
only a short while, and then.

Speaker 7 (09:57):
It becomes art.

Speaker 10 (09:59):
No artists.

Speaker 3 (10:03):
I don't suppose you're going to understand what I have
to say. But up until a very short time ago,
I thought I was a man with everything you are, dearest,
I am a man with nothing a Manda, What does
that mean?

Speaker 4 (10:19):
Just because I won't go through another nine months of
being sick and ugly on the chance, I'll provide you
with a male office.

Speaker 3 (10:26):
If you love me, you wouldn't.

Speaker 4 (10:28):
Very children has nothing to do with love.

Speaker 3 (10:30):
If you love me, it could have if you want
the child, our child.

Speaker 4 (10:36):
I don't need your image, Ralph.

Speaker 2 (10:38):
I have you as.

Speaker 3 (10:40):
Long as I live.

Speaker 11 (10:41):
You'll always have me.

Speaker 4 (10:44):
Now what does that peculiar tone of voice and tragic
inflection mean to suggest?

Speaker 3 (10:50):
But you don't love me, and I see now that
you never really did.

Speaker 4 (10:55):
Oh, don't be ridiculous.

Speaker 3 (10:57):
Oh no, no, I don't intend to be anymore.

Speaker 4 (11:07):
My lay there shivering in bed. I loved my father
so much, and I didn't see how mother, whom I
loved just as much, could hurt him like that. And
then suddenly I was crying and crying till I couldn't stop,
just just balling like a baby. And my mother was there,
holding me in her arms and soothing me and washing

(11:30):
away with hurt I thought, except that all she was saying.

Speaker 5 (11:34):
Was lie, Lie, Lie, my baby. He just didn't understand.

Speaker 4 (11:40):
Why should you a little seven year old? Don't you know?
I'd do anything for your father, but I love him
just as much as you, But you seem I love.
It's hard explained, dear. You're my one baby, and you're
all I want. Don't you ever think that I don't?

(12:03):
And you never I tell you, you never heard me
say anything else, I.

Speaker 3 (12:16):
Had found what I wanted to think deeply, and flying
a plane gave me enough alumness to find out whose
perspective was.

Speaker 8 (12:25):
Right or wrong.

Speaker 3 (12:28):
I was being brought up as William and Or's son,
spoiled by for me by giving me everything on a
silver platt. Then when I took over the colossus of newspapers,
radio on TV stations, the apartment in Paris and London,
the townhouse in New York, in the Great Mansion, on
the Honoreey peninsularly endless bank account, I never had to

(12:51):
want for enemy.

Speaker 2 (12:54):
Amanda blake Law.

Speaker 3 (12:58):
Then she met a more than me anything like until
the other thing came up the sun here For once
it seem I am losing sight.

Speaker 12 (13:28):
Yes, oh, is mister there?

Speaker 4 (13:33):
No, no, he's not. How did you get this number?

Speaker 13 (13:36):
Some mister sort of work for him? I mean, is
this missus?

Speaker 4 (13:43):
Yes?

Speaker 13 (13:43):
Yes, I hope I didn't wake you up?

Speaker 4 (13:46):
Oh no, no, of course not. I'm always awake. And
it's my best at six eighteen a m Who is this?

Speaker 13 (13:52):
Oh? And this is Ethel Nixon, the astrologer. You know
what the voice of your tomorrow.

Speaker 14 (14:00):
It's my column syndicated your husband's newspapers, you know, and
I wanted I've sally.

Speaker 13 (14:06):
Got to speak to mister Allers.

Speaker 7 (14:09):
I mean your husband, and I suppose I.

Speaker 4 (14:12):
Can take a message for him.

Speaker 13 (14:13):
Can you get into him quickly?

Speaker 14 (14:15):
Just beg him not to take any AIRFA invites in
the next two days.

Speaker 4 (14:21):
Well, I don't think he's planned to Why.

Speaker 13 (14:26):
He would be so complex to explain. He's a Taurus,
as I'm sure.

Speaker 14 (14:31):
You know, and the frightening stent of coincidences are arising
through his ruling house and the descendancy of his particular star.

Speaker 13 (14:41):
Oh dear, he's much too complicated to explain. But he's
in terrible danger.

Speaker 4 (14:47):
That's what I call it, in danger from what I
don't understand.

Speaker 13 (14:51):
Well, of course it would be difficult for you, but
it is absolutely fight over him, not to move out
of his own gentlement all things, and not to be
in the air or fry.

Speaker 15 (15:05):
Why not, because it is very few to me that
it can be disasked for him.

Speaker 4 (15:35):
I was shaken to the court. I aroused him for
many reasons, not the least of which was his brother
Joseph's reaction.

Speaker 3 (15:44):
I want to try out and ask for a god
with them.

Speaker 4 (15:47):
Just don't stop being melandomatic, Joe, that's not gonna help anything.

Speaker 3 (15:51):
Well, you can sit calmly, buy you you you have
nothing to worry about.

Speaker 5 (15:54):
For God's sake, I just lost my hund.

Speaker 3 (15:57):
Or gained an empire. I can't believe it. My whole brother,
and he left you.

Speaker 4 (16:02):
Everything that isn't true. You still have your editor's job
in the general world and a tax free incown that
should more than keep you in nicor and women. To
name a spade a spade.

Speaker 3 (16:15):
You criticize my lifestyle, what about you?

Speaker 8 (16:18):
You're worse.

Speaker 3 (16:19):
At least they give satisfaction the return for the money.
I swear I died because of you.

Speaker 5 (16:25):
Oh, you're drunk.

Speaker 4 (16:26):
I don't know what you're saying.

Speaker 3 (16:28):
I'm drunk enough to say what I have to say.

Speaker 12 (16:30):
You killed Ralph. You're his murderer.

Speaker 4 (16:32):
That's a contemptible thing to say.

Speaker 3 (16:35):
The man I all you ever loved was what he represented,
and you wanted it all for yourself, and now you've
got it.

Speaker 4 (16:42):
Ralph died in a plane, all right.

Speaker 3 (16:45):
There was nothing wrong with that plane. You betrayed him somehow.

Speaker 13 (16:50):
Some way.

Speaker 3 (16:51):
I don't know how. There's only one way my brother
could have died on his plane, either somebody will be
trapped or he crashed it deliberately.

Speaker 4 (17:02):
Wanted to get out of my house. He destroyed me
for a little welcome and weakening brother Joe to dare
to talk about Ralph and me like that, But he
disappeared to Europe and out of my mind. But it

(17:24):
showed me. Most about Ralph's death was Etho Nixon. How
could she have known about Ralph before he How could
she have known? That's thirteen years later today, reading her
prediction in my own newspaper, I could feel the shadow

(17:44):
of death across my glass. I was conditioned to believe
that my doom had been seen, unless some way, somehow
it was only someone's idea of a joke.

Speaker 3 (18:03):
Is there an escape for Amanda Amherst? Is her fate
sealed already? Do the stars wheeling in the heavens fixed
for that infinitetical moment in time when we as infants
first cry out that we are alive and born control
another freaking moment of conjunction which brings us death. I'll

(18:28):
return shortly with that too. For thirteen years, missus Ralph
Amherst has been one of the great legends of her time.
After her husband's death, Amanda has ruled with an iron hand.

(18:52):
The empire will to her, and miraculously, at least in appearance,
kept her use and.

Speaker 2 (18:59):
Her radiant beauty. She had been supreme, secure.

Speaker 3 (19:03):
In her power until shortly before the stunning public announcement
in her own key paper that her days were numbered?
But who or what was responsible for it? How did
it appear?

Speaker 4 (19:18):
Oh? But you couldn't. You surely couldn't believe for one minute,
missus Emmonston, that I would ever reveal such a terrible
prediction about anyone, particularly about you, even if it were true.
You did once about my husband mistakes, and that was true,
But that was different. In the first place, I had

(19:39):
read it in his horoscope. You haven't read it in mine.
I'll show you. I can show you a copy of
today's paper, just two pages as to be editorial. Yeah, yeah,
I see.

Speaker 7 (19:53):
You can read it for yourself.

Speaker 4 (19:54):
Let me see score uphill today. Maybe a disturbing day.
Or keep your head and be a good heart, keep
family affairs in order, check your impulse to emotion, and
all will turn out well, and man Siley will benefit greatly.
Oh missy, this is a city edition. Have a look

(20:17):
at mine, the early one. Is this the one you
read over the phone? This it just seems impartlius. What
MISSI no wonder you gasp? But tis this is the
same as you just read what I wrote to be published?

Speaker 16 (20:35):
What give me?

Speaker 4 (20:36):
There?

Speaker 17 (20:39):
Damn it?

Speaker 4 (20:40):
You're right, someone's up to jokes and games around here.
And when I find out who or now, maybe you
were you know, half a seat and it was sort
of a dream. And look, ah, wait, min, this isn't
my paper the one I read this morning?

Speaker 7 (20:59):
How do you know?

Speaker 4 (21:00):
And so try not to be any more of a
pin brain than you are. My copye is rushed to
me as publisher, delivered by hand. The moment starts the prey.
Well then I don't know, but I have a couple
of ideas, starting with my not so loving daughter Nancy.
I'd better get home and see her right away. I

(21:27):
don't want to know what you're up to, Nancy, what
you're trying to prove. I'm not trying to prove anything.

Speaker 8 (21:33):
Mother.

Speaker 4 (21:34):
You admit you switch newspapers on me this morning.

Speaker 5 (21:36):
I didn't switch from I pros you what happened?

Speaker 4 (21:39):
And I spill cock and bull story about spilling coffee
and cream over the paper and dumping it into the
garbage and tearing downstairs to the drug store to get
a fresh coffee. Oh really, you can do better than that.

Speaker 3 (21:51):
But that's wrong.

Speaker 4 (21:53):
Why all the fuss about a little coffee spilled on
the morning newspapers? Look, I knew the paper was important
to use somehow, I said, hear, you're screaming in the
study about something wrong, and you were coming right into
straighten it up, And I, well, well, one edition of
a paper is just like another one.

Speaker 5 (22:10):
Isn't it, except when someone.

Speaker 4 (22:12):
Like me is shaking and stupid enough to get it
all gummed up with coffee?

Speaker 13 (22:16):
I said, Oh, I just couldn't spend having.

Speaker 4 (22:20):
You on me again, mother, not these days on you.

Speaker 18 (22:25):
Oh you know what I mean.

Speaker 5 (22:27):
I'm how I just hope I.

Speaker 4 (22:29):
Could avoid any kind of another running with you. Throw out?
Have you an Adam up to some crazy schemed how
m should I say? To get back at me for
what wasn't my fault?

Speaker 6 (22:43):
You can be.

Speaker 4 (22:44):
Damn well sure that Adam and I are not up
to anything. You successfully squashed that, said you too, somehow
gimmick that slug in the astrology column this morning. I
don't know what you're talking about. Don't lie to me.
I want to know it. You two are cooked up
some scheme to try to drive me crazy. That was

(23:05):
a special paper this morning, and that horoscope was only
for me?

Speaker 10 (23:11):
How did you manage it?

Speaker 4 (23:13):
I think you are crazy?

Speaker 2 (23:16):
Why?

Speaker 4 (23:16):
Why? I know how newspapers are made. Well the man
you're trying to steal from they does you mean the
man you spoiled for me so when I loved Oh No,
Adam may take his women as they kind of may go,
but he wouldn't go in for any cheap scare stuff.
As managing editor. He's the only one who has the
power and the ability and the access to do it.

(23:39):
Or one other person who God, you thought about him?
Don't you think that someday he's going to punish you
for what you did to my father? I was sorry
at the moments were out of my mouth, looking at

(24:02):
a man that's face suddenly grow gray and old. And
then and then I wasn't sorry, And quickly it was
serene and beautiful again, and I remembered what I had.

Speaker 5 (24:16):
Lost and how she had taken.

Speaker 19 (24:17):
Him away from me all and then it was.

Speaker 4 (24:20):
Easy to hate again. The terrible thing to listen to
her daughter's eyes. You know that hidden behind the blank
of the night stare is the daggers choke of hate.

Speaker 3 (24:36):
I deserved it.

Speaker 4 (24:37):
I might be able to accept it somehow, But since
she's been seven years old, I've been mother and father
to this child in my own way, and meant to
have her turn on me and steal it.

Speaker 5 (24:55):
I was never a woman who could live without men.

Speaker 4 (25:00):
I never had to depend on them until the day
I met Adam Brooke. I don't know.

Speaker 20 (25:05):
It was at.

Speaker 4 (25:05):
Someone's place at the beach on a weekend. On a
weekend I was able to go out again. Doctor an
Hundriscu had performed his third miracle on me. Blonde and
sun reached. I know, even to my own critical eye,
that I looked at least fifteen years below my own age.

(25:27):
I was sure of it when Adam dropped down on
the sand beside me, Hello, whoever you are, Likewise, whoever
you are.

Speaker 8 (25:36):
Adam Brock.

Speaker 3 (25:38):
Look if I tell you what I do, will you
sneer or find I am beneath your notice?

Speaker 4 (25:43):
Well you're dealing and I'm lye down. You can't be
beneath my notes, so have to give it a cry?

Speaker 3 (25:49):
Oh, I'm a newspaper man, I right, and you, oh,
just a dead cook for the weekend.

Speaker 4 (26:00):
Our host likes an attractive layout.

Speaker 3 (26:02):
Yeah, look, I really don't like smart talk. I'll level
you are magnificence. Any man would make a pass at you.
I'm not so special, may I what sort of pass?
The simplest and most honest dinner dancing?

Speaker 2 (26:20):
Maybe I have a small boat.

Speaker 3 (26:22):
We could say it by daylight.

Speaker 8 (26:25):
I'm here for two weeks vacation.

Speaker 3 (26:27):
How much of it will you let me spend with you?

Speaker 6 (26:31):
Oh?

Speaker 2 (26:32):
I don't know.

Speaker 4 (26:35):
Let's start with a sale tomorrow morning and see how
far that takes it.

Speaker 5 (26:43):
So it took us pretty far.

Speaker 4 (26:46):
By the time we tied up at the Dark, Adam
was in love with what he thought I was. I
was in love with a man I should have met when, oh,
when I was young enough for him. I didn't want
to lose him yet, so I losed my maiden name,
and I pulled strings behind the scenes to get him

(27:08):
an editorship at the Post Journal. I also made sure
that anyone who knew anything about our relationship kept his
mouth tight. His shots about how, why.

Speaker 10 (27:19):
Or who his sponsor was.

Speaker 4 (27:23):
Their continued in New York until until Nancy took it
into her head to take literal French leave from Paris
and the surabond.

Speaker 9 (27:34):
Hello, this is mister Brock.

Speaker 3 (27:36):
I don't know my secretaries out for the moment.

Speaker 2 (27:38):
I'm picking up.

Speaker 9 (27:39):
Huh what her daughter?

Speaker 2 (27:43):
Well?

Speaker 3 (27:43):
Ill sure I send her in her? Should I come
out and get her? Oh, she's on her way and already? Okay, No, no,
it's fine. I get along with kids. Fine, I guess
I can handle this one.

Speaker 2 (27:55):
What's her name?

Speaker 16 (27:57):
Oh?

Speaker 2 (27:58):
I guess she's here. I come in. Well, man, she.

Speaker 3 (28:09):
I didn't expect a little girl.

Speaker 2 (28:11):
Like you to come and visit me.

Speaker 4 (28:14):
So you're the new.

Speaker 21 (28:16):
Managing editor of the Post journel Oh yeah.

Speaker 2 (28:19):
Yeah, yeah, I guess I am.

Speaker 3 (28:22):
And you your Amanda's daughter.

Speaker 22 (28:25):
That's right, as pretty nice all I'm not that good.

Speaker 4 (28:31):
I mean, I don't buzz these vibrations right off the
bat normally me either.

Speaker 3 (28:38):
And you'd be surprised, how surprised I am?

Speaker 4 (28:42):
You wouldn't know about me?

Speaker 3 (28:45):
I guess you are Amanda's daughter?

Speaker 21 (28:48):
If you mean?

Speaker 4 (28:49):
Did I spring from her room?

Speaker 13 (28:50):
Yes?

Speaker 4 (28:51):
Oh?

Speaker 9 (28:52):
Mother, No, No, she's on business in Chicago.

Speaker 3 (28:54):
Where did you.

Speaker 9 (28:55):
Turn up from?

Speaker 4 (28:56):
I just got in from Paris and fact broken.

Speaker 10 (28:59):
I'm hungry.

Speaker 3 (29:00):
I can take care of the last one. It's lunchtime anyway,
Let's go to Cheerio. I'll feed you feel better.

Speaker 4 (29:10):
Oh, I feel Oh I'd hate to tell you how
good I feel.

Speaker 3 (29:15):
You fed me, all right, I'm glad you enjoyed it.

Speaker 4 (29:18):
Oh the food was great, But that doesn't matter. I
mean the line you fed me. I just hoped a minute.

Speaker 9 (29:27):
I didn't think I was feeding you alive.

Speaker 4 (29:29):
Oh if you could have searched through Bartlet's st the
perfect quotes you had him Adam.

Speaker 9 (29:35):
And then not just knowing you all this wrong?

Speaker 4 (29:37):
Why should I expect less? By the time we got
to this belonging, I was hise forever. It was the
first thing that ever happened to me, some skin child
with memories.

Speaker 5 (29:52):
That gave me a lost for life.

Speaker 10 (29:54):
I was loud and just what I wanted and the
best part of it.

Speaker 4 (30:00):
But I could you know heat at the same.

Speaker 23 (30:03):
Well, it didn't take mother law to proverb me.

Speaker 4 (30:06):
And since I put the bill, I think I at
least if there's some notice when you decide to run
out on your responsibilities. Mother, I had had Europe, but
to hear I wanted home, all right, So I let
you dump Europe and I gave you back your green pastures.
All I ask is you to stay out of mind.

Speaker 5 (30:26):
Maybe I'm dumb, mother, but I'll be ither out.

Speaker 4 (30:30):
Just leave any mail I have staked out alone. What
you heard me may off Adam Adam, but he's young
enough to near on mind his age, it's what I want.
Adam's been mine for months, Nancy, My well, what shall

(30:52):
I say?

Speaker 13 (30:53):
Uh?

Speaker 4 (30:54):
Escort day and night, bought and paid for You want
to buy used merchandise, Nancy, particularly one of my second
hand lovers. I knew Adam wasn't mind anymore. My daughter

(31:16):
had stolen him from me with the one weapon I
didn't possist her youth. But if I couldn't have him,
she couldn't nobody could.

Speaker 3 (31:26):
A strange and tortuous story about a strange and tortuous woman.

Speaker 2 (31:37):
What is her true fate?

Speaker 3 (31:40):
Is she at last caught in her own web, her
past catching up with her to doom her as inexorably
as she had feeled the fate of others. There is
still more of the past to come.

Speaker 9 (31:52):
When I returned shortly with that.

Speaker 3 (31:54):
Three Amanda amherst seemingly ageless, wielder of a kind of
total power over the destiny of others. Amanda Amherst, a

(32:18):
throwback to the feudal queens and kings, Absolute and impregnable.
Is there any force that can topple this woman from
her drone? Was the mysterious prediction that began this story
valid in any way supernatural or natural? Let's go back

(32:39):
to Amanda to find out.

Speaker 4 (32:45):
After Nansi told me the truth, I decided to take
the bull by the horse. I went to Adam's office.
I told him not to announce me. I just walked away.
Good morning, Adam or Amanda.

Speaker 3 (32:59):
Or perhaps I know just exactly who you are, I
should say, missus Amherst, don't be a child. I just
recently discovered where you and I are concerned. That's approximately
what I am.

Speaker 4 (33:11):
And that's a little below the belt. And there isn't
all that difference in years.

Speaker 2 (33:16):
There has to be.

Speaker 3 (33:18):
If Nancy really is your daughter, Oh she is all right?

Speaker 11 (33:21):
What's the matter with her?

Speaker 3 (33:22):
She will answer my phone calls. That butler and those
two hulking footmen or her bodyguard or whatever. They are
barred a door like the Secret Service. And I'm informed
in no uncertain terms that I am not welcome and
she doesn't want to see me ever again.

Speaker 8 (33:37):
I want to know what's happened.

Speaker 4 (33:39):
Well, you might have tried calling me to find.

Speaker 3 (33:41):
Out, but you're still in Chicago.

Speaker 4 (33:44):
What were you afraid of, Adam, that I'd cut you
off at the knees, take away your nice job?

Speaker 7 (33:51):
I'm you?

Speaker 10 (33:52):
Is that what you threatened Nancy with?

Speaker 4 (33:54):
I didn't threaten Nancy with anything. I simply told her
the truth, what that she'd be made, making him a
mistake in marrying you?

Speaker 3 (34:04):
Does this mean I'm fired only.

Speaker 4 (34:07):
From one occupation, Adam, as a managing editor. I still
find you perfectly satisfactory.

Speaker 8 (34:14):
And Nancy, I'll let.

Speaker 4 (34:15):
You answer that question yourself. I'm quite sure she'll.

Speaker 6 (34:20):
Never let you near her again.

Speaker 4 (34:23):
The one good thing perhaps I've ever done for.

Speaker 2 (34:26):
I could kill you for that.

Speaker 4 (34:28):
You haven't the nerve, Adam. Nancy's better off without you.
It was in Nancy's best interests. I told myself he'd
only have heard her in the end. As for me,
there wasn't any way he could hurt me.

Speaker 2 (34:46):
I thought.

Speaker 4 (34:48):
Till that horoscope. Try as I would, I couldn't deny it.
It's shaken me, and I held him responsible till ethelniction
sprang in you surprise on me. It began when ever
receive a visit one morning, Come here, Hello.

Speaker 2 (35:10):
Who you know?

Speaker 3 (35:12):
Oh we can't be Oh but it is Joseph Emers
A little change inside, but in the flet I.

Speaker 5 (35:20):
Can't believe it.

Speaker 4 (35:21):
Oh, it's so good to see you. If I hadn't
cast a horoscope of you, I have almost thought that
I'd died.

Speaker 3 (35:31):
And Oh I tried pretty hard to but didn't quite
make it, and sold the prodigal return.

Speaker 9 (35:37):
And looking well and fIF that to do the great
thing in your fields.

Speaker 11 (35:41):
For many years now I beg your pardon.

Speaker 3 (35:45):
When my brother died and my temporal world collapsed. Because
of that and other things, I went. I went looking
looking for what a revenge I thought of first, a
way to avenge my brother.

Speaker 4 (36:02):
Oh, but your brother died in an airplane grash. That
was no one's fault, except except what accident, his own
fate or.

Speaker 8 (36:13):
A wife that drove him to it.

Speaker 4 (36:16):
Mister Hammers, you're scaring me now. I can't believe what
you're saying. You must know that I believe in fate,
not human intervention. Oh, that's all right.

Speaker 2 (36:28):
It's one.

Speaker 3 (36:28):
In the last few years in the Far East, I
have come to believe in two.

Speaker 4 (36:34):
How long have you been back in this country? Ooh? Week?
As missus know, you're the Lord.

Speaker 3 (36:41):
No, as far as I'm concerned, she doesn't exist.

Speaker 2 (36:45):
And it's a mutual feeling.

Speaker 4 (36:48):
Mister Hammerson islis now please excuse me for asking, But
if you've been around for a week, you couldn't. You
wouldn't be responsible for the awful thing that happened in
my column yesterday morning.

Speaker 3 (37:02):
What awful thing, I'll tell you all about it.

Speaker 4 (37:11):
You didn't do it somehow did you? Mister?

Speaker 3 (37:14):
Oh, my dear, I wouldn't know how. But who else
saw this prediction except Amanda?

Speaker 4 (37:24):
Nobody? But why would she make up a story like that?

Speaker 3 (37:28):
Who knows why Amanda does anything she does? Maybe they
have an excuse to fire whoever is managing the.

Speaker 4 (37:34):
Rule had him rock he's leading anyway?

Speaker 9 (37:38):
Oh?

Speaker 12 (37:39):
Maybe to fire me?

Speaker 9 (37:40):
Oh No, I wouldn't worry.

Speaker 3 (37:43):
I don't think that's the real explanation. I think the
only reason Amanda saw what she saw is because the
black pigeons are coming home to roost. Do you believe
in esp oh?

Speaker 7 (37:58):
Yes.

Speaker 3 (37:59):
How many people do you think hate Amanda as deeply
as I once did, as I still struggle.

Speaker 9 (38:06):
Not to do, because I will have to fight.

Speaker 3 (38:09):
With every resource I have not to when I go
to visit my brother's great in Arlington tomorrow. Maybe that's
why the ghosts of the past are haunting Amanda. That's
perhaps they haunt her every year.

Speaker 2 (38:27):
At this time.

Speaker 4 (38:38):
Yes, it's speaking.

Speaker 13 (38:42):
It's as an axent. I just have I had to
call you. I thought I ought to let you know
it's back.

Speaker 7 (38:48):
Who's back?

Speaker 9 (38:49):
What are you talking about?

Speaker 13 (38:50):
As he turned up at my office this morning.

Speaker 4 (38:54):
Ye, well, my esteemed brother in law that he must have.

Speaker 2 (39:00):
By this time.

Speaker 4 (39:01):
Did he just get there?

Speaker 14 (39:02):
No, he's been here for a week and he's been well.

Speaker 13 (39:07):
He said, he's been hanging around the planet. And even
though he denies it, I was just one.

Speaker 4 (39:14):
And he's responsible for this ridiculous hopes that's going on. Huh.
I wouldn't put it past him, but he really must
have lost his mind. Have you seen today's paper?

Speaker 8 (39:27):
You mean the Post Journal?

Speaker 4 (39:28):
Of course, I mean the Post Journal. You'll call him
again on the scorpio. I suppose you'll deny that you
wrote this impossible gibberish.

Speaker 13 (39:36):
Well, I read it and it seemed to make sense.

Speaker 4 (39:40):
I'm sorry, what is it say in your paper.

Speaker 13 (39:43):
Or just what I saw in the star?

Speaker 4 (39:45):
I read it to me, you fool.

Speaker 13 (39:47):
Of course, this is the day.

Speaker 14 (39:50):
Of traveling for you and meeting up with old acquaintances.
It's a day for gathering up all loose ends and
finally solving your name problem.

Speaker 13 (40:00):
A day of achievements and solution. Oh that means tomorrow, of.

Speaker 5 (40:04):
Course, that's what I thought.

Speaker 4 (40:07):
Now, listen to what mine said. This day will never
have dawned for you today. You will have traveled far,
and your death and destruction will take place in Vienna.

Speaker 2 (40:20):
If you have any.

Speaker 4 (40:21):
Prayers to make for the hell you have made for others,
make them now before you die and go from Vienna
straight to Hell.

Speaker 13 (40:32):
But don't let it worry. Predictions are not like that.

Speaker 4 (40:37):
I'm not worry. The whole thing is ludicrous. I'm not
going to be in Europe at alone Vienna for any reason.
That's after I get a train to Washington, I'm heading
an exactly the opposite direction west into Virginia. I'm taking
Nancy to visit some of my oldest and dearest friends
in Winchester, Virginia.

Speaker 13 (40:55):
Oh, you won't worry with you.

Speaker 4 (40:58):
I'll tell you what I will worry you. Make sure
this is the end of all this idiotsy or I
can promise you if you and everybody else necessary will
be fired until it stops. I don't like being made
a fool of Nancy.

Speaker 5 (41:14):
Are you ready?

Speaker 4 (41:15):
I'm not going with you, mother. Now, don't start anything
but stopies are expecting you, and I can't let them
know at.

Speaker 5 (41:22):
The last minute.

Speaker 4 (41:23):
Besides, we just time to make the plane. Will you
make it? I'm not gone, why because I am getting
married as mothers. That is why Adam quit the papers.
I came to my senses. He didn't know about me
when he knew you, and he didn't know you any
better than most people do. What's that supposed to mean? Oh?

(41:46):
You look beautiful and most of the time you're careful
to appear to be kind and gracious and gentle, but
inside your heart and merciless and evil. All those years
you pretended to be the grieving widow and the careful
hands he dropped about my father and other women, when
all the time he lost only you, and you wouldn't

(42:07):
even give him the son he wanted. Oh, I couldn't
have had another child after you. That's a lie. I
remember back to the night I was seven years old.

Speaker 5 (42:16):
I always thought I couldn't really have heard the truth.

Speaker 4 (42:18):
So now I know it was the truth, and that
my father killed himself because of you, and because of Adam.
You almost have me doing that myself. Oh, thank the Lord.
I woke up in time, and I'm free of you.
I'll never see you again. I was living the ungrateful

(42:44):
little truth. I always decided to give up my weekend
in Winchester. I was damned if I was going to
have my pleasure interfered with. I'd take care of all
of them when I returned. I couldn't stop Nancy from marrying,
but I'd said so that Adam would have to come
calling to me begging for any job in the newspaper business.

Speaker 5 (43:13):
I was still feeling even after the limousine and Stokels
it set to pick me up at DoLS Airport, which
purring along the road with Tory Winchester. I had a
sudden thought, remembering, for some unearthly reason, how close we
were to Arlington, and that this was the thirteenth anniversary

(43:34):
of Ralph's death shed that would be to the south.
It was raining, and I rubbed away the condensation to
piers hardly, my heart creasing.

Speaker 4 (43:49):
As the headlights swept the shigne by the road, saying
you are now entering the town of Vienna.

Speaker 3 (44:11):
It was the last thing she saw or knew. The
newspaper story the next day began with a paragraph Missus
Ralph Amherst, on her way to Winchester, Virginia, and passing
through the small town of Vienna, was hit by a.

Speaker 9 (44:27):
Car traveling north.

Speaker 3 (44:29):
Both drivers and Missus Amherst were killed. The strangest feature
of the accident was that the driver of the other
car was her brother in law, mister Joseph Ward Amherst,
who was returning to New York after visiting his brother's
grave in.

Speaker 2 (44:48):
Arlington, Virginia. I'll be back shortly.

Speaker 3 (45:03):
Accidental and natural death or foreordained and supernatural, we'll never know.
The paper with a horoscope in it was burned up
with the men that Joe was dead, and dead men
tell no tales. Perhaps we'll just leave it with the
quote Joe started, which we'll finish. Though the mills of

(45:27):
God grind slowly, yet they grind exceeding small though with patience,
he stands waiting with exactness grinds he all. Our cast
included Kim Hunter, Paul heck Ian, Martin Rosemary Rice, and
Mary Jane Higbee. The entire production was under the direction

(45:50):
of Hymon Brown.

Speaker 1 (45:53):
I suppose the night is always curious. It's not just
made of stars and moons and darkness, but of things
much closer to us, things we hope we never encounter.

(46:13):
But of course, who knows what tomorrow may hold. All
I know is I'm ready. I'm always thinking, always scheming.
I hope you have a plan as well, my dear,
because you see, waiting for us is always the long.

Speaker 11 (46:38):
Night suspense, and the producer of radio is outstanding theater
of thrills, the master of mystery and adventure, William and Robeson.

Speaker 24 (46:56):
Take a deep breath and let it out slowly and
once more. No, this is not a caprice. It is
a thoughtful precaution. Figure lung as well now, for you
will be holding your breath for the next thirty minutes
as you live through the long night with Frank Lovejoy.
The tail well calculated to keep you in.

Speaker 11 (47:21):
Suspend.

Speaker 25 (47:27):
These United four four ten thousand over outer range.

Speaker 8 (47:31):
The quest lower.

Speaker 26 (47:32):
Altitude over United four oh four. This is Rockford Tower.
Maintain present attitude until further advised over United four.

Speaker 8 (47:41):
Roger Rockford over or not Rockford Radio.

Speaker 26 (47:44):
This is killed three one eight over now the three
one eighth. This is Rockford Radio.

Speaker 27 (47:48):
Go ahead, yell the three eight requests D and all
the Milford Hills at four thousand.

Speaker 17 (47:54):
Over now the three one eight three hand on the
airport control tower ninety feet up in this guy over
Rockford Field waiting to go on the night watch. And
you'll listen to the babble of voices that fill the
crowded room in an endless series of requests, Requests for altitude, chains,
request for landing permission, request for the weather.

Speaker 26 (48:13):
Here is the nine o'clock weather, low, straightest clouds over
the entire Mississippi Valley, spreading out over the Central States,
visibility two miles, ceiling twenty two hundred feet and lowering steadily, smoke.

Speaker 17 (48:25):
Clouds, smoke, haze, and fog, and a ceiling getting lower
every minute. You'll look out through the tinted glass windows
into the misty night, and you think of the strangers overhead,
in and above the clouds, and you wonder if they
too feel the hush as the long night begins. You'll
wonder if the strangers, with a throb of engines and
a harsh rasp of many voices in their ears can

(48:47):
feel the stillness. You look around the tower room, You look,
and you listen to the voices, and you're glad every
time a ship touches down safely on the long light
lines runways.

Speaker 26 (48:58):
Okay, brother, Ken, you can have it for me.

Speaker 8 (49:00):
It's been a long day.

Speaker 17 (49:02):
Traffic been heavy.

Speaker 26 (49:03):
I started sort of slow, but it's building up. I
got three converging on the outer marker and two inbound
on the range. It's all here on the.

Speaker 8 (49:09):
Board for it.

Speaker 17 (49:10):
Yeah.

Speaker 9 (49:10):
Okay, we'll beginning to stack up over Chicago.

Speaker 8 (49:13):
But that's their worry.

Speaker 17 (49:14):
Yeah, and they can have it.

Speaker 8 (49:15):
Yeah, Well, happy landing.

Speaker 17 (49:17):
Yeah, it's a long child.

Speaker 8 (49:19):
Rockford Tower. This is t WA Flight seventy, requesting whether
you are field over.

Speaker 17 (49:24):
Hello, t WA seventy, This is Rockford. We have straightest
cloud ceiling of two thousand, visibility under two miles, smoke
hazing fog on the ground over.

Speaker 8 (49:33):
What is your traffic there?

Speaker 17 (49:35):
Rockford five inbound inside the twenty mile range one conveyor
and two DC seven's outbound on the red over.

Speaker 26 (49:43):
Okay, this is g WA seventy, requesting change of flight
lands of Land York Field instead of Chicago.

Speaker 17 (49:49):
Roger t w A. I'll notify Chicago and clear you in.
Give us a call when you pass the Melbourne Hills.
Rockford out, Roger, thanks very much. Yet Chicago call Mike,
tell them their flight seventy is terminated here.

Speaker 26 (50:00):
Okick in we're doing Rockford, Rockford Tower.

Speaker 8 (50:07):
This is Beachcraft Menenza N nine four five seven.

Speaker 17 (50:11):
Hello Beachcraft end nine one four five seven. This is
Rockford Tower.

Speaker 8 (50:15):
I've been homing on your range and apparently my automatic
direction finder isn't working right. I think I'm.

Speaker 17 (50:22):
Lost stand by four five seven. Check the flight file.
Will you Mike see if he's on it?

Speaker 8 (50:29):
Hello, Rockford? Are you hearing me? Rockford? If you are,
please give me a call.

Speaker 17 (50:34):
This is Rockford. We're reading you fine, beach hold on
a second. Find anything on a mic.

Speaker 9 (50:40):
There's nothing here, can no flight play?

Speaker 17 (50:42):
Okay? Hello Beachcraft end nine one four five seven. This
is Rockford Tower. What seems to be the trouble with
your idea?

Speaker 8 (50:50):
I don't know exactly, Rockford. I'm not too familiar with
this equipment, but I don't think it's working right because
I've been changing from one range to another, just like
I was told doing. There ought to have been somewhere
over Minneapolis long ago.

Speaker 17 (51:03):
And I'm not all right. Beach Graft will work something
out for you. Where are you flying from Indianapolis headed
on a direct flight to Minneapolis?

Speaker 8 (51:13):
That's right, Rockford. I set my automatic direction finder just
exactly the way I was told to when they installed it.

Speaker 17 (51:20):
Did you make any visual checks against what your ADF showed?

Speaker 8 (51:24):
I'm sorry I didn't get that.

Speaker 17 (51:27):
Did you check your course when you passed over the
airways rain stations by looking at visual ground objects like
signs on the top of oil tanks telling you what
city you were over or anything like that.

Speaker 8 (51:37):
Nah, I'm afraid I didn't. I thought my ADF was working,
so I didn't think about anything else.

Speaker 17 (51:44):
Okay, Now, what was your last known position last?

Speaker 8 (51:49):
No, well, I'm trying to think. I guess the last
time I positively knew where I was was when I
departed indians What time was that about five thirty maybe
five forty five five?

Speaker 17 (52:09):
Verify that time? That would be more than three hours
en route, you should be well out of my range.

Speaker 8 (52:15):
Yeah, I know, but I've been circling for more than
an hour, trying to make the adyf work and looking
for Rockford.

Speaker 17 (52:22):
What is your remaining fuel supply?

Speaker 8 (52:25):
Well, I guess there's no use kidding myself, but I
think I've got about forty five minutes, maybe at the
very best an hour.

Speaker 17 (52:34):
Oh, here is the situation. The weather here is solid,
overcast at six hundred visibility one mile in smoke and haze.
Do you see any towns, rivers, highways that you can identify?

Speaker 8 (52:47):
No, I can't see anything but clouds.

Speaker 23 (52:50):
I'm on top.

Speaker 9 (52:53):
I hear that right?

Speaker 17 (52:54):
Yes you did beachcraft? Did you say you were on top?

Speaker 8 (53:00):
That's right on top of a solid layer? Have been
for a long time?

Speaker 17 (53:04):
Had what altitude?

Speaker 8 (53:06):
I'm at five thousand indicated about a thousand above the clocks.

Speaker 17 (53:12):
Four five seven. Take a good look around you. Are
there any breaks in the overcast? Can you see any holes,
any thin spots in the area at all?

Speaker 8 (53:22):
No? Dog solid, It's a completely solid layer.

Speaker 17 (53:27):
Are you an instrument pilot?

Speaker 8 (53:29):
What do you mean?

Speaker 17 (53:32):
I mean? Are you checked out on instruments? Do you
have instrument training.

Speaker 8 (53:37):
No, No, I've never been on instruments in my life.
I'm just lost.

Speaker 17 (53:48):
You look at the clock, nine oh four. You look
at the clock and mentally give yourself forty five minutes,
forty five minutes to find him, bring him in and
get him on the ground the latest weather chart. And
you don't like what you see. Your mouth feels dry.
You reach for a cigarette as you punch the mic
button and do the next thing that must be done.

(54:10):
Rockford Tower to all planes working this frequency, we have
an emergency. Repeat, we have an emergency. Please maintain radio
silence on this frequency until further notice. How A Rockford
Tower to beachcraft N nine one four five seven come
in four five seven.

Speaker 8 (54:28):
Okay, Rockford?

Speaker 17 (54:30):
Tell me how did you get on top?

Speaker 8 (54:34):
Well, it was almost clear when I left Indianapolis. I
climbed straight out to five thousand and later, while I
was trying to get the ADF working, I found myself
on top. It just happened.

Speaker 17 (54:47):
Yes, are you familiar with range orientation?

Speaker 8 (54:51):
No, I don't know anything about that either. I'm just
a businessman with a new airplane. I know only enough
about the radio to tune in the station. I know
I'm lost though I need help. These gas tanks aren't
getting any FORID.

Speaker 17 (55:06):
Yes, I know, four five seven, I understand, Sure, you understand,
but he doesn't. He knows he's lost and he needs help.
He understands that, but he doesn't know what the odds
are on getting him straightened out and over the field
and then getting him down through that solid layer of clouds.
You fight down a sudden urge to push the microphone

(55:28):
button and scream at it. They're tell him that nobody
forced him into an araplane. He hardly knew how to fly,
nobody forced him to take off on a long night
cross country and whether suitable only for experienced professionals. But
you know, there's no time for hindsight, there's hardly any
time for hopes. So you push the black button and

(55:49):
you try to sound calm. Hello, four five seven, this
is Rockford Tower. Now listen to me carefully. Are you
reading me? Okay?

Speaker 8 (55:57):
Yeah, hello Ackford, I'm hearing you fine, love and clear.

Speaker 17 (56:01):
All right. Now I'm going to try to get a
fix on you, but before I do, I want you
to know what the situation is. I'm sure I can
find you, I'm reasonably sure I can get you over
the airport before you're out of fuel. I am not
sure though, that we can get you on the ground.
Do you understand, No, No, I don't understand.

Speaker 8 (56:23):
I'm lost and I'm about out of gas, and I
don't understand why we're wasting time talking about it. You
get me over an airport and then we're worried about
getting on the ground.

Speaker 17 (56:30):
All right, but you understand this. It's my job to
help find you. It's my job to help you find
the airport, and I'll do everything I can to get
you on the ground. But flying that airplane through those
clouds will be the hardest thing you've ever done in
your life. Do you understand that?

Speaker 8 (56:48):
Okay? I understand. Now what are we going to do? Now?

Speaker 17 (56:53):
We're going to orient you by radio and bring you
in over the Rockford Airport. I will tell you what
must be done, but you have got to do it.
I can't fly your airplane for you. Do you understand, yeah, okay,
I'll at ready.

Speaker 8 (57:07):
I understand.

Speaker 17 (57:10):
You know the standard procedures for range orientation. You run
over every step of them a million times for just
this kind of emergency. That's one of the reasons you're
up here in this modern tower of babbyl on these
long nights. But you've got two strikes against you on
this One time you read the clock at nine oh seven,

(57:30):
and a fool in an aeroplane a Mike, Yeah, I Ken,
get Chicago Control Center on the horn, ask him to
set up an alert of all facilities within one hundred miles.
Are you better get him to clear all altitudes in
the area below six thousand feet? Okay, we'll do. You know,
I don't know whether to try to get him down
through the clouds now and then try to bring him in,

(57:51):
or whether to get him over us on top and
then let him down where we won't lose radio contact
If he gets too low.

Speaker 25 (57:57):
I'm sooped up all across the valley and you might
get him gone through it, But if he's too far out,
he'd have no chance of getting here into the city.

Speaker 17 (58:04):
Yeah. Yeah, And if I don't get him started, it's something.
He'll be out of fuel anyway, and it won't matter.
I'm gonna bring him in on top.

Speaker 9 (58:12):
Okay.

Speaker 25 (58:12):
I'll check whether very closely, Ken if I hear of
any breaks, so I'll giving.

Speaker 17 (58:15):
You good thank you. Hello, four or five seven? This
is Rockford Tower.

Speaker 8 (58:21):
Yeah, Okay, Rockford.

Speaker 17 (58:23):
I'm going to speak very distinctly, and if you don't
understand any part of what I tell you, come in
and break me off. It's vital that you understand me.
Is that clear?

Speaker 8 (58:34):
Yeah? I understand?

Speaker 17 (58:36):
Okay. Now I want you to listen very closely to
my range signal. Put everything else out of your mind.
Listen and describe exactly what you hear.

Speaker 8 (58:48):
Okay, hell aout, Rockford, I hear a coat sound? Is
that the range?

Speaker 17 (58:57):
That's right? What does it sound like?

Speaker 8 (59:00):
It goes?

Speaker 17 (59:05):
Okay? Four or five seven? Now? Is it loud or soft?

Speaker 8 (59:10):
It's pretty loud.

Speaker 17 (59:12):
Okay, that's the end quadrant. Now I want you to
tune to the Madison, Wisconsin range and tell me what
you hear.

Speaker 8 (59:19):
Okay, wait a minute, Yeah, hello, Ockford, I've got the
Madison range.

Speaker 17 (59:26):
What does it say?

Speaker 8 (59:28):
It's just like the other, only backwards. Uh, get a Jetta.

Speaker 17 (59:34):
That's right.

Speaker 8 (59:35):
I can hardly hear it, but it's there, all right?

Speaker 17 (59:38):
Yeah? Okay, four or five seven, that's the A quadrant.
Now I want you to try Peoria and then Chicago
Rockford Madison, Poria, Chicago four corners to check from four

(59:58):
Radio sounds that you hope he's reading correctly. You finish
the check and he comes through without a babble, and
you know you have him fixed. You know at least
his direction from you. You take a deep breath, and
for the first time, you feel a tiny flicker of
hope that you're going to find your stranger and get
him in all right, But you're a long way from home,

(01:00:19):
and you light another cigarette and push the black microphone
button hard. Now listen carefully four five seven. I'm going
to run a check procedure on you. I want you
to take up a northeast heading, turn your volume down
as low as you can, and still receive my range signal.
At the very moment you detect the change in signal

(01:00:41):
strength either higher or lower, Advise me.

Speaker 8 (01:00:45):
All right, lost for I'll do my best. I'm not
sure that that. I'm not at all sure.

Speaker 17 (01:00:53):
Hello four five seven. Can you hear me? Do you
hear me? Beachcraft? Four five seven?

Speaker 8 (01:01:01):
Yes, I read you now, I lost you for a second,
but I hear your range signal.

Speaker 17 (01:01:06):
Now, did you get all of my last transmission?

Speaker 8 (01:01:10):
Yeah? I think so. I think I can do it.
Hell on Oxford. My gauges indicate empty tanks. There's some
gas left, I know, but I have no idea. How
much do you know where I am.

Speaker 17 (01:01:24):
I'm quite sure of your direction from me, and I
believe I know how far out you are, within say
twenty miles. If what you've told me is correct, I
estimate you have thirty minutes fuel remaining. I believe your
gauges are indicating normally. Now try to concentrate on doing
just what I've told you to do.

Speaker 8 (01:01:42):
Yeah, Okayrackward. I don't want you to think I'm ungrateful.
I realize you can't affort mistakes, but I can't last
much longer. I'm not trying to hurry you. But the
gauge is say empty, and my son is getting sick.

Speaker 17 (01:02:00):
You didn't say anything about having any passengers aboard. How
many are there of you?

Speaker 8 (01:02:05):
Just my son and me?

Speaker 17 (01:02:07):
Is the air off? Is there turbulence?

Speaker 8 (01:02:09):
No? No, the air is smooth.

Speaker 17 (01:02:12):
But you said your son is getting sick.

Speaker 8 (01:02:15):
Yes, you see, he's only nine and he's getting scared.
That's what's making him sick.

Speaker 17 (01:02:25):
You don't say anything for a long minute. You just
stare out into the miserable night, and your thoughts are
not nice. You think of your own kid, and you
thank God he's home safely in bed. And you know
now if you didn't know it before, that you've got
to bring these strangers home. You reach for the microphone button,
but before you push it, the voices back.

Speaker 8 (01:02:48):
I can't hear you anymore.

Speaker 12 (01:02:50):
Did you hear me?

Speaker 8 (01:02:51):
I was talking to you. You didn't answer. Ho rough
for coming.

Speaker 17 (01:02:55):
Please, I'm reading you four or five seven. I heard
everything you said. Now listen to me carefully. You should
be approaching my west course, close into the station. I
want you to listen closely and describe any change in
your signal. I won't call you. You call me when
you hear anything change.

Speaker 8 (01:03:14):
Okay, Rockford, Hello Rockford. The signal is much louder now,
and I'm getting more of a continuous tone in my earphones,
although I can still hear that other signal.

Speaker 17 (01:03:28):
All right, four five seven, that's fine, that's good. Now
listen carefully, turn your volume down a little more. And
when you no longer hear that other signal, and when
the continuous tone is loud and clear, and when you
hear nothing but the continuous tone at that time, I
want you to turn right to a heading of nine

(01:03:49):
three degrees magnetic. Is that clear? I?

Speaker 8 (01:03:52):
Uh yeah, I think so.

Speaker 17 (01:03:55):
You think so. You've got to know so when you
hear nothing but a cold when there's nothing but a
loud buzz in your ears, I want you to turn
right to nine three degrees on your compass. Do you
understand me?

Speaker 8 (01:04:10):
Yes, I understand, turn right, tone to ninety three degrees
on the compass. When I hear a loud.

Speaker 17 (01:04:17):
Tone, that's correct.

Speaker 8 (01:04:20):
The tone is strong. Now I don't hear the other signal,
nothing but the tone.

Speaker 3 (01:04:25):
Shall I?

Speaker 17 (01:04:26):
Yes, turn right, turn to nine three degrees and advise advice,
went on course? When on nine three degrees, advise.

Speaker 8 (01:04:35):
Roger, advise, went on. I'm on course now on ninety three.

Speaker 25 (01:04:41):
All right, good fire control. The center has everything included
on the six thousand. They're monitoring the calls too.

Speaker 17 (01:04:47):
Okay, Mike, thanks a lod what's the time?

Speaker 9 (01:04:49):
N straight up?

Speaker 17 (01:04:52):
It's twelve minutes to make it in Hello four or
five seven. You're approaching the range. Now you're almost over
the station. The range is about two miles from where
I'm sitting. The signal you hear will continue to increase
in volume until you cross the range. At that time,
it will fade out quickly for a moment you may

(01:05:13):
hear nothing. Then it will increase again rapidly. Now, at
the very instant your signal fades, I want you to
make an immediate left turn to a heading of four
or five degrees magnetic. Take that heading and advise. Understand.

Speaker 8 (01:05:29):
I understand.

Speaker 17 (01:05:31):
Mike, Get on the phone and alert the local police
and fire departments. Tell him what we've gotten to be
on the lookout for a fast move. Get all the
lights on on the field. The runway mark is when
we get him down through this, he won't have any
time to spend looking.

Speaker 9 (01:05:42):
For the field.

Speaker 17 (01:05:43):
Okay, we'll do that is if we get him down
through it. You'll let another cigarette. You watch the clock
on the desk. You try to keep your mind clear,
to think ahead, to think of everything that can possibly happen,
and the waiting worse than anything. Yet you keep reaching
for that microphone, wanting to call him, to ask him

(01:06:05):
why he doesn't tell you he's over the range. And
you know he hasn't called you because he isn't over
the range yet. And you wait and you wait, and
then it comes loud and clear, rock.

Speaker 8 (01:06:19):
Heerd, I'm hold a range and starting a turn. It's
just like you said.

Speaker 17 (01:06:24):
It's exactly the way you said it would be, Roger,
four or five seven. You're doing fine. Now come left
to four or five straight and level. Hold it until
I tell you different. I'll call you back.

Speaker 9 (01:06:35):
I think you got him, Ken Well.

Speaker 17 (01:06:37):
If he's where he ought to be, we should hear
him in about twenty seconds. I'm going out of the
platform and listen. Call me if he calls in.

Speaker 9 (01:06:42):
Okay.

Speaker 17 (01:06:46):
You stand on the steel grading of that tower platform
and you try to hear over the sounds from the
field below. You strain your ears for a sound that
should come to you out of the southwest, and you've
never wanted to hear anything so much in your life.
And then you hold your breath, you stop breathing to
hear better, and it's there, a single engine, singing a quiet,

(01:07:12):
sweet sound and approaching directly on course. You'll flick your
burning cigarette out into the black space and stumble back
into the tower room. You grab the mic and you
almost shout into it. Four five seven four five seven,
this is Rockford. You're over the field. I hear you clearly.
Start a three sixty turn immediately and orbit in your

(01:07:32):
present area.

Speaker 8 (01:07:34):
Beginning of three sixty. God, say tell me what the
Douiss engine is ready to quit it.

Speaker 17 (01:07:43):
You snap a look at the clock. Nine forty six five,
maybe six minutes more if you're lucky. Six minutes at
the outside to get him lined up properly for a
straight in approach, to talk him down through four thousand
feet of solid clouds. Six minutes to bring off America.
You waste fifteen precious seconds debating the best way to

(01:08:03):
do it. All along up to now, you've planned it
this way. A good steady, full scale power approach knows
up a little flaps down, just enough power on exactly right.
Your mind has told you that this was the ticket,
the only answer. With a good steady airplane, no turbulence
to speak off, well trimmed and hands off, he might
just make it. He might, But suddenly you're not sure.

(01:08:27):
Maybe if he could pull his power slower down, trimmer,
slow and steady, a touch of flaps, that might be
the answer that might do it. It would save precious gas.
If he missed his approach or he goofed up in
the clouds, he could get back on top for another try.
Maybe you push the microphone button hard and try to
sound calm. Four five seven. I hear you plainly. You

(01:08:47):
are circling the airport. There isn't time to talk this out.
You'll have to do exactly what I tell you the
first time, and do it right there. Simply isn't time enough.
Oh wait a minute, do you have shoots? Do you
have parachutes aboard?

Speaker 8 (01:09:00):
No parachutes?

Speaker 17 (01:09:02):
All right, four or five seven. We'll have to do
it this way. Now, listen to what I have to say.
You don't have to talk. Just listen. Come around to
a due west, heading due west. As you do, start
slowing her down, slow her down and trim her up
for a power approach, A normal power approach. Do you understand?

(01:09:23):
I don't talk till me bring her around head west
with the power on. Slow her down, flaps down to
approach position, trim her up, make her steady. Advise when
you're headed west and slow down.

Speaker 6 (01:09:41):
Ten fifteen twenty?

Speaker 2 (01:09:46):
Where is he? Where is empty?

Speaker 17 (01:09:48):
Five? Four five seven? Are you there? Four five seven.

Speaker 8 (01:09:53):
I'm trying to get her steady. I'm trying to do what.

Speaker 17 (01:09:57):
You told me, all right, four or five seven? Don't talk?
Advice went on course.

Speaker 8 (01:10:04):
Rod Frida I'm on two seventy now slowing down. I
don't know. I just don't know.

Speaker 17 (01:10:15):
I know you don't know. All we can do is try.

Speaker 8 (01:10:19):
I understand. I'm down to eighty. Now, claps down and
power of.

Speaker 17 (01:10:27):
Roger continue trimming her. Trimmer down good, Adjust your power
and trimmer until she's descending at a steady five hundred
feet per minute. That's five hundred per minute, trimmer good.
Do you understand trimmer is so good that she will
let down at five hundred feet per minute with your
hands off. You get that with your hands off, I understand.

(01:10:52):
Now four or five seven, You're going to bring her
around very slowly and precisely to and east heading. You're
going to handle her very gently so she won't fall
off on you flying so slow.

Speaker 8 (01:11:08):
You hear me, yes, I hear you.

Speaker 17 (01:11:12):
Let her continue to settle at five hundred feet a minute.
Just bring her around slowly to the east, recover, and
then take your hands off the controls. My hands off,
she will fly. She'll fly better than you can now.
Listen to me. When you are eastbound, hands off, she

(01:11:33):
will descend slowly into the clouds. After you're in the clouds,
do not touch the controls.

Speaker 8 (01:11:41):
I don't think.

Speaker 17 (01:11:42):
I then don't think. Do as I tell you.

Speaker 16 (01:11:47):
Now.

Speaker 17 (01:11:47):
When you get in the clouds, everything will change for you.
You will think the airplane is all wrong, that it's
doing everything that it shouldn't do. If you leave it alone,
it will start a slow spiral to the left. But
I don't think it'll be enough to do any harm
until you've broken out under the ceiling. Now, whatever it does,
you will think it's going to the right or up

(01:12:08):
or down, or even spinning, But it won't be doing
any of those things unless you make it do them. Now,
don't touch it now, are you eastbound?

Speaker 8 (01:12:20):
I'm east bound.

Speaker 17 (01:12:21):
Yes, take your hands off the controls. Take your hands off.

Speaker 2 (01:12:26):
Now, Okay, hands are off.

Speaker 6 (01:12:30):
Now.

Speaker 17 (01:12:31):
Let her have it, Let her fly herself in the.

Speaker 25 (01:12:33):
Ceilings on the six hundred feet. That doesn't give him
much time to recover and get his bearings when he
breaks out.

Speaker 17 (01:12:38):
Buddy, But it's all we can do. It's all anybody
can do. You sit there, waiting, only too aware of
what can be happening in the cabin of Beachcraft four
or five seven, sweating out each second of time with
a terrified pilot and his deathly scared kid. You wonder
if this man, this stranger and yet no longer is strange,

(01:13:00):
can keep his fantasies under control for that long litdown,
the lonely, long let down through total darkness, with nothing
but a great fear for her companion. A minute goes by,
and another, and then.

Speaker 8 (01:13:16):
What it's turning, Rockford, turning.

Speaker 17 (01:13:20):
History's high on her. Get off those controls. Cut the throttle.

Speaker 8 (01:13:25):
I've got a throttle close. She's showing down fast.

Speaker 17 (01:13:30):
Well, she's going to stall. Give her the throttle slowly,
keep your hands off except the throttle. She'll climb back
out on top if you keep your hands off her.
Two minutes wasted more than two minutes because he couldn't

(01:13:52):
believe what you told him. You had him, and then
you lost him. And now if the tea cup of
gas still in his tanks holds out, if he gets
back on top, you still have it to do all
over again. You'll begin to feel the long night closing
in on you. He's almost calm when he calls you
back this time. You could almost hear his sigh of release.

Speaker 8 (01:14:12):
Allong, rock Fred, I'm back.

Speaker 17 (01:14:15):
On top now, good, Maybe we have time for one
more try now let's try it with the power off.
This time. You may lose your engine before you can
get No.

Speaker 8 (01:14:24):
Use, rock Fred, It's just no use. I can't do it.
I was fine until I got into those clouds. I
just couldn't sit there and do nothing. I just couldn't.
I know, I can't do it again.

Speaker 17 (01:14:41):
Listen, there's time. There's time for another try.

Speaker 8 (01:14:45):
Forget it.

Speaker 17 (01:14:47):
The engine just quit, I said, rock Fred, Well you
can still do it.

Speaker 2 (01:14:52):
Get it.

Speaker 8 (01:14:54):
You're wasting your time. I just want to say thanks
for trying.

Speaker 17 (01:15:02):
Hello four five seven, Hello, Hello beach, Hello four or
five seven?

Speaker 9 (01:15:09):
You can't hear his hands prows to the mic.

Speaker 6 (01:15:12):
Yeah, you better hit the crash button. Roger a Rockford
tower to all planes awaiting landing instructions. The emergency is over.

(01:15:38):
Normal radio procedure is now an effect. Rockford over in.

Speaker 11 (01:15:44):
Rockford Radio dells the two Wild Days and rest ever
any way seven.

Speaker 8 (01:15:48):
Or questions.

Speaker 11 (01:15:59):
Sus Fence, in which Frank Lovejoy starred in The Long Night,
adapted by Sam Pierce from the Atlantic Monthly story by
Lowell D. Blanton.

Speaker 1 (01:16:15):
I feel like we've been given a lot of food
for thought. Well, I suppose that isn't always a bad thing.
Well per se. Yes, I know, the night gets darker,
the air gets cooler, all is right, well, depending on

(01:16:42):
what side you're on. I have a bit of a
confidence that not every darkness you cross is against you,
because sometimes, although rare h you may just find yourself

(01:17:02):
heavy A lucky night.

Speaker 9 (01:17:27):
I am the whistler, and I know many things. Or
I walk by night. I know many strange tales hidden
in the hearts of men and women who have stepped
into the shadows. Yes, I know the nameless terrors of
which they dare not speak. Yes, it's time for another

(01:17:50):
strange tale by the Whistler tonight, Lucky night. Cities are noisy,
sprawling things, tentacled with streets and avenues, scarred by towers

(01:18:12):
and ditches, built of shacks and mansions. They combine the
beautiful and the ugly, and the people of the cities
are as diverse and varied as the buildings, rich and poor,
educated and ignorant, The hurrying, scuffling, pushing mob that makes

(01:18:34):
a city live. They are the principles and a million
stories enacted every day in the city's streets and its buildings.

Speaker 2 (01:18:41):
Here, for example, is the.

Speaker 6 (01:18:43):
Beginning of one a man running down a street in
the cheap section of the city just after nightfall.

Speaker 2 (01:18:49):
He dots across a narrow street without looking.

Speaker 9 (01:18:51):
Comes to the intersection of a street and alley just
as a car turns the corner.

Speaker 17 (01:19:03):
You hit him, How bad?

Speaker 23 (01:19:04):
Dead?

Speaker 9 (01:19:05):
What are we going to do?

Speaker 2 (01:19:07):
Get out of here.

Speaker 17 (01:19:08):
Drag him in that alley. But he's dead.

Speaker 6 (01:19:10):
That's hit.

Speaker 12 (01:19:10):
You're hurt me.

Speaker 9 (01:19:11):
Drag him in that alley and let's get.

Speaker 8 (01:19:12):
Out of here.

Speaker 6 (01:19:34):
Yes, the man lying dead in the alley marked the
beginning of a story, A very important story to mister
and missus Craig Albert and Carolyn, two lovely people who
run a boarding house a.

Speaker 2 (01:19:46):
Few blocks away.

Speaker 9 (01:19:48):
It's a vital story to them because it involves money,
and anything that involves money is more important than life
itself to mister and missus Craig.

Speaker 28 (01:19:56):
Up and see, mister said write this minute, because he
ain't paid his re for next week.

Speaker 7 (01:20:01):
He's a new.

Speaker 28 (01:20:01):
Border and it's best we show him right off that
we ain't going to put.

Speaker 23 (01:20:04):
Up with that rent.

Speaker 18 (01:20:05):
It'll be a lot better if we could get that
mister Sedgwick got here. I don't like the looks on him. Besides,
he burns the electric a lot at night.

Speaker 28 (01:20:13):
It's getting so two honest people and able to run
a decent, respectable place no more anyhow, You go right
up and see that mister Sedgwick, and if he ain't
got the money out, he.

Speaker 10 (01:20:22):
Goes, I don't light the way he looks at me, Karen.

Speaker 28 (01:20:27):
He has got a funny way of looking at people.
But that ain't got nothing to do with the VNT.
And you tell him that he ain't to put no
more big bogs in the fixtures.

Speaker 23 (01:20:34):
Why it ain't right?

Speaker 9 (01:20:37):
Who's there, your star border and favorite thespian, mister Campian,
Good evening, Alberts, Carolyn.

Speaker 10 (01:20:49):
You ain't you call us by our first name?

Speaker 9 (01:20:51):
I told you that a friendly gesture on my apartment, Craig,
but I didn't descend into these charming quarters of yours
to discuss the immunities of nomenclature.

Speaker 28 (01:21:00):
To stop that fancy theater at the talk, And don't
bring that cigarettine here smoking in bed.

Speaker 9 (01:21:05):
No, but it's an idea. At least the feeble glow
would provide more light than the ceiling fixture.

Speaker 17 (01:21:11):
You complaining again?

Speaker 18 (01:21:12):
Now you looky here, mister upperdy champion you're getting a
good room in a reasonable end.

Speaker 10 (01:21:18):
There ain't many boarding houses in the city room.

Speaker 6 (01:21:20):
No, you're right.

Speaker 9 (01:21:21):
There are many boarding houses in the city where the
boarders have to race home at night to make sure
they can get their evening paper, or where the owners
get up at four in the morning to steal the
cream off the milk.

Speaker 8 (01:21:30):
I you call us thieves.

Speaker 9 (01:21:32):
No, I don't think so, missus Craig. Now i'd have
to qualify that sneak thieves. I should say, all stop it.
Let's not argue about it. What about the hot plate
in my room?

Speaker 10 (01:21:44):
What's the matter with it?

Speaker 9 (01:21:46):
It belies its name, mister Craig. It's no longer a
hot plate. It has become a refrigerator. In the passage
of time, Sweet Carolyn, mechanical and electrical appliances get out
of order.

Speaker 10 (01:21:57):
Well we can't get porch, mister All right.

Speaker 9 (01:22:02):
Let's go to something else. But the bedspread, for example,
it has become one of the most exciting games I've
ever played, the finest spot on the spread free from
a hole. It embarrasses me when I have guests.

Speaker 23 (01:22:14):
We can't afford a new one, mister Campion.

Speaker 9 (01:22:16):
Oh, we shall forget about the bedspread, and take up
the subject of the ceiling fixture that ain't broke, well,
not exactly, but it certainly is eccentric. It goes on
and off, mister Craig, but like a lighthouse, no human
hands touch it. Yet it flashes ambitiously and energetically.

Speaker 17 (01:22:32):
You keep filing forward with everything.

Speaker 9 (01:22:34):
Oh, I'm not alone, friend Craig, I'm not alone. I
heard miss Waverley complaining earlier tonight about her sink.

Speaker 28 (01:22:40):
It's her fault. She combs a hair of it, and
the hair falls in and blocks the drain.

Speaker 9 (01:22:44):
I I give up such slippery and a droid excuse
making is beyond my power of reputation. Won't do nothing,
nothing at all. Now that I have registered my complaint,
I shall retire to the damp chill of the I occupy,
and for which I pay sixty eight dollars a month.

Speaker 23 (01:23:04):
If you don't like it, you can get out that.

Speaker 9 (01:23:06):
Missus Craik is a lion which becomes you.

Speaker 22 (01:23:08):
Well, good night, young puppy, for two shinshiny, such extravagance,
and from you, of all people, olds.

Speaker 23 (01:23:20):
Good night, well Albert. As soon as we can, we'll
put him out, girl, And it.

Speaker 19 (01:23:26):
Might be hard to rent that room, and he does
pay regular.

Speaker 28 (01:23:30):
Well, oh yes, mister Sedgwick. Yes, you go right up
there and get the money from mister Sedgwick.

Speaker 19 (01:23:36):
Now, Carolyn, maybe you'll bring it down at night.

Speaker 17 (01:23:39):
Ain't over year.

Speaker 23 (01:23:40):
You're scared of him.

Speaker 10 (01:23:42):
I don't like the way he looks at me.

Speaker 28 (01:23:44):
We'll bums go all right, there it goes back, miss
Popple turning on the water again to wash her hair.
Missus Barton, you close off that water good and don't.

Speaker 12 (01:24:06):
Use too much.

Speaker 19 (01:24:09):
She knows all right, her being a day behind with
her runt.

Speaker 23 (01:24:21):
Mister Sedgwick.

Speaker 9 (01:24:24):
Mister Sedgwick, your lovely knuckles, Carolyne, you'll skin them. You'll
keep quiet, wouldn't you rather?

Speaker 8 (01:24:34):
I told you that mister Sedgwick went out.

Speaker 23 (01:24:35):
How do you know?

Speaker 9 (01:24:37):
He went out the front door some time ago. I'll
go away and stop pounding.

Speaker 8 (01:24:41):
I have work to do.

Speaker 28 (01:24:43):
I'd like to slap that smart alec in mister Campion's
face room just because he's an actor.

Speaker 19 (01:24:48):
He never mind, case, never mind, let's go for our walk.

Speaker 9 (01:25:01):
Yes, mister and missus Craik you are a remarkable couple.
You do take the cream from the milk and you
do read.

Speaker 6 (01:25:08):
The newspapers before the borders, get home to save a
couple of pennies.

Speaker 2 (01:25:13):
And now you go for your walk, not for.

Speaker 6 (01:25:15):
Exercise, though, it's to save electric light bills. Every night,
it's the same down the same street, past the warehouse,
over to.

Speaker 9 (01:25:26):
The brewery, and along the street running through the wholesale
district until you finally get sleepy and turn homeward.

Speaker 17 (01:25:35):
Albert.

Speaker 28 (01:25:35):
If that smart mister Campion tells you that he ain't
using an electric light in that lamp he bought, he's lying.

Speaker 18 (01:25:40):
Eh, well you just catch him at it. You've got
enough right in his room. You don't need no more lamps.
Of course, enough money to put up with them, that's.

Speaker 23 (01:25:48):
Right, Albis. Money money, we always got trouble.

Speaker 19 (01:25:53):
Wait, wait a minute, that's the money in drunk most likely.

Speaker 18 (01:25:59):
True earnest people have to slave for their money, and
something no good like this brings it up.

Speaker 23 (01:26:04):
Then I don't smell no liquor.

Speaker 9 (01:26:07):
Maybe I'm a little closer take.

Speaker 23 (01:26:10):
Away from the malbout maybe the trap he might behold.

Speaker 10 (01:26:13):
Up, Karl, mister Sedgwick, it is.

Speaker 23 (01:26:15):
Look what's the matter with him?

Speaker 10 (01:26:19):
He stead albet here looks like maybe he got hit
by an auto. He what's that his pocket?

Speaker 28 (01:26:27):
It's stuffed with money and him own us rent.

Speaker 29 (01:26:31):
Look, Carl, look, it's so so much Albert who used
the shosh? Ain't you ain't nobody inside?

Speaker 23 (01:26:42):
What are you thinking? Huh me?

Speaker 10 (01:26:44):
What are you thinking?

Speaker 23 (01:26:46):
Nothing? I ain't thinking nothing.

Speaker 10 (01:26:49):
Ain't nobody in sight?

Speaker 23 (01:26:52):
But it bestealing.

Speaker 10 (01:26:54):
Ain't nobody in sight?

Speaker 23 (01:26:56):
It's it's so much money, like it, but.

Speaker 10 (01:27:00):
He can't buy it bad.

Speaker 28 (01:27:02):
I never did like the way he looked like like
one of them gangsters.

Speaker 10 (01:27:06):
He wouldn't do no good? Was it?

Speaker 23 (01:27:07):
He owes this rent? It's his kind of spend it
on some chorus?

Speaker 10 (01:27:10):
Because you and me we slave Albert?

Speaker 17 (01:27:15):
Are you going to do it?

Speaker 10 (01:27:15):
Or ain't you? Ain't nobody watching? Ain't nobody so long
before us easy, there wouldn't be any money left?

Speaker 17 (01:27:27):
Well, come on, come on, I got it.

Speaker 9 (01:27:46):
And now we returned to the whistler.

Speaker 6 (01:28:12):
So you've taken the money from mister Sedgwick, Albert and Carolyn.

Speaker 9 (01:28:16):
But look, isn't someone behind you?

Speaker 6 (01:28:19):
Faster?

Speaker 9 (01:28:20):
Walk faster?

Speaker 2 (01:28:22):
Oh? Just a shadow, wasn't it?

Speaker 9 (01:28:24):
But you didn't know that? Mister and missus Craik. That
money is heavy in your pocket isn't it, Albert. Faster now,
both of you hurry home to hide the money in
the mattress. Yes, in the mattress with the rest of
your miser's horde. But just faster again. The memory of
mister Sedgwick lying back, there is.

Speaker 10 (01:28:43):
Pursuing you when you've got to get away faster now, faster.

Speaker 23 (01:28:53):
I locked the door. I didn't lose it, did you
have it?

Speaker 10 (01:28:57):
I got to run here. Come on to put the
mattress for.

Speaker 9 (01:29:00):
The welcome home back early, aren't you, mister Campion? Yes?
Were you expecting someone else?

Speaker 7 (01:29:09):
We wasn't.

Speaker 9 (01:29:11):
What have you been doing running?

Speaker 6 (01:29:12):
No?

Speaker 23 (01:29:13):
Why should we be running?

Speaker 9 (01:29:14):
You might have heard that Nichola had dropped upstairs.

Speaker 17 (01:29:16):
You ain't funny, mister Campion.

Speaker 2 (01:29:18):
I wasn't trying to be funny.

Speaker 17 (01:29:19):
You shut up.

Speaker 2 (01:29:20):
What's the matter with you too?

Speaker 23 (01:29:22):
Mister mister Craig, that.

Speaker 9 (01:29:26):
Was like a little pale around the girls. Someone chasing him?

Speaker 17 (01:29:29):
No, nobody chase.

Speaker 23 (01:29:30):
Why do you ask that?

Speaker 9 (01:29:31):
Well, the way you dashed in here, I thought perhaps
you'd robbed a bank or something like that. Were honest?
People will do a certain next time?

Speaker 2 (01:29:39):
Yes?

Speaker 28 (01:29:39):
Are you calling us thieves again?

Speaker 9 (01:29:41):
I explained that once before tonight. Did you certainly look excited?
And the only thing that could bring a flush to
your cab on cheess would be money perhaps left by
rich uncle.

Speaker 19 (01:29:52):
We ain't got any uncle, and I ain't no way
to talk, mister Campion.

Speaker 9 (01:29:56):
Okay, we'll forget it. I'm going for a walk, a walk, sure?

Speaker 13 (01:30:01):
Why not?

Speaker 9 (01:30:02):
The ceiling fixture gave up the ghost altogether a few
minutes ago. Can't work anymore?

Speaker 23 (01:30:06):
Which way are you're walking?

Speaker 9 (01:30:07):
Does that make any difference? Of course not?

Speaker 18 (01:30:09):
But it's it's damp out, yes, you might catch it
in your solissitude?

Speaker 9 (01:30:15):
Is amazing? Can this be the Crakes, the same people
who all winter goal out heat by fractions of degree?
That ceiling fixture?

Speaker 17 (01:30:25):
Mister Campaign, I got some wire. Maybe we could fix it.

Speaker 9 (01:30:28):
Is your name, by any chance? Scrooge? What Marlay's ghost
that costed you along the way and forced you into
a recognition of the errors of your ways? In other words,
what the devil happened outside?

Speaker 23 (01:30:38):
Well?

Speaker 4 (01:30:38):
Nothing?

Speaker 28 (01:30:38):
Nothing?

Speaker 10 (01:30:39):
You want that light fixed, don't you?

Speaker 9 (01:30:41):
Unless I am to become a mole life would be welcome.

Speaker 28 (01:30:43):
Well, then you go right along with mister Craig, mister Champion, Aha.

Speaker 9 (01:30:47):
Whatever I see, mister crais what if I got wire
wire to fix the ceiling fixture? If I help him
it save the electricians fee for you.

Speaker 23 (01:30:58):
You're always poking fun.

Speaker 9 (01:31:00):
Oh no, missus Craig, But come along, Albert, you and
I shall play stein mets to the ceiling texture. And
Missus Craig, huh, I should still like to know what
encounter brought you to home before sleep deadens or elfin
steps and dull those brilliant minds. You come on, mister Campion.

Speaker 28 (01:31:18):
Certainly, mister Craig, certainly, Albert, and you gotta leave that
package with me?

Speaker 9 (01:31:23):
O package?

Speaker 23 (01:31:26):
What in his code pocket? Albert?

Speaker 17 (01:31:30):
Give it to me?

Speaker 18 (01:31:31):
A gonna leave you alone with it, mister Campion. Yes, Albert,
there's words stuff in the shular. You get it yourself.
But here, here, here's your key to the.

Speaker 9 (01:31:41):
Basement, wonder wonders, the key to the Craik cellar. And
shall I find vintage nineteen oh two or perhaps the
skeleton of former borders.

Speaker 28 (01:31:50):
You you fix the night, mister Campion. This is anything
you need, you can buy it tomorrow.

Speaker 23 (01:31:54):
We'll stay you for us.

Speaker 9 (01:31:56):
Numb, absolutely numb, I am. This is the epitome of surprise,
the cheat of a seller, an offer of payment with
the crags all in one evening. Why I shall write
this to mister Ripley. Nay, I shall insist upon another
time capsule sunk into the ground to record this event
for posterlity. You're gonna fixt it or not? Certainly tomorrow
may see the crags back in usual form. Therefore, tonight

(01:32:19):
I shall gather the golden fruits of whatever occasioned this
munificent bid.

Speaker 10 (01:32:23):
Talks like you're a fool. You're a fool, Klain. You
mentioned package.

Speaker 23 (01:32:29):
I want to see how much is there?

Speaker 10 (01:32:31):
We could have counted it later.

Speaker 23 (01:32:32):
How do I know you wouldn't have took something a seller?

Speaker 17 (01:32:34):
You shut up and come on.

Speaker 10 (01:32:35):
We'll count it in our room.

Speaker 9 (01:32:50):
So you count the money, mister and missus craik, And
how much is there? One hundred? Keep counting, three hundred,
oh much more, five hundred seven, one thousand, keep counting.
Perspiration is beating your forehead. Your hands are damp, sticky,

(01:33:11):
The bills stick to your fingers. Now you reach two thousand,
they're all hundreds, one zero zero on each one two thousand,
three thirty five hundred.

Speaker 6 (01:33:24):
Then you're not through yet keep counting, counting, your breath hot,
your eyes glazed with greed.

Speaker 2 (01:33:31):
Ah, now you're finished counting?

Speaker 9 (01:33:35):
How much?

Speaker 10 (01:33:36):
Five five thousand dosh?

Speaker 23 (01:33:41):
And we've found it? We just founded this went from
walking the founda loud loud week have a bting with it?

Speaker 9 (01:33:54):
Whoseer, cabriom, is anything wrong?

Speaker 6 (01:33:57):
No?

Speaker 17 (01:33:58):
You know nothing nothing?

Speaker 9 (01:34:00):
But I thought I heard missus Craig.

Speaker 23 (01:34:03):
Did you fix the life?

Speaker 16 (01:34:05):
Yes?

Speaker 9 (01:34:05):
Yes, here's the key to the cellar.

Speaker 19 (01:34:07):
Put it under the door.

Speaker 23 (01:34:09):
Put it under the door, just do.

Speaker 17 (01:34:12):
Shove it under it.

Speaker 9 (01:34:13):
Okay, But are you sure there's nothing wrong?

Speaker 2 (01:34:16):
No?

Speaker 17 (01:34:16):
No, just do go to bed.

Speaker 9 (01:34:18):
I'm going out for a walk. If anyone calls, I'll
be back in half an hour.

Speaker 4 (01:34:22):
He can't go.

Speaker 23 (01:34:23):
Maybe he go the way we did and see him.

Speaker 9 (01:34:25):
Damn sure, sure, I am mister champion.

Speaker 10 (01:34:29):
H it's awful chilli out.

Speaker 9 (01:34:33):
Well, if you'll observe closely, Albert, I'm the possessor of
an overcoat, a very serviceable bennet.

Speaker 23 (01:34:38):
Which I feel wouldn't you like a nice cup of tea?

Speaker 2 (01:34:41):
I beg your pardon.

Speaker 10 (01:34:42):
Well, you like you, don't you, mister Campion?

Speaker 9 (01:34:45):
But I don't understand.

Speaker 28 (01:34:46):
And tomorrow we'll have a new hot sake for you.
Maybe we can pick up one check in hand.

Speaker 9 (01:34:51):
Mister and missus Craig, take a close look at me.
My name is Campion. I've been living here for six months,
during which time you must have seen that I'm not
affluent in any way. I have no influence with the governor.
I know no politicians or statesmen. What little money I
have I spend for bare necessities. In short, Albert, Carolyn,

(01:35:11):
why are you spreading this soft soap with such a
lavish hand.

Speaker 19 (01:35:15):
We're willing to let by gones be by gones.

Speaker 9 (01:35:20):
No, well, thanks very much for the offer of tea,
but I shall take a walk just to say.

Speaker 23 (01:35:33):
He'll go the way we did.

Speaker 19 (01:35:34):
I know we will forget it, close the door.

Speaker 9 (01:35:38):
What if he does see is at suchway.

Speaker 6 (01:35:40):
Glene and alley.

Speaker 17 (01:35:41):
We didn't kill him, nobody.

Speaker 9 (01:35:42):
Could see it was an auto have done it.

Speaker 10 (01:35:44):
And Campian don't know about the money.

Speaker 4 (01:35:46):
Cedric is only here today, but we got to hide
it in case in the mattress with the rest of
our money.

Speaker 28 (01:35:52):
He ain't got time. What if mister Campian does know
about the money. What if he sees mister Sedgwick and.

Speaker 23 (01:35:57):
Comes back here. We ain't got time to open the
mattress and close it again.

Speaker 17 (01:36:00):
Then what do we do?

Speaker 23 (01:36:01):
I did the fireplace, Yes, until tomorrow morning.

Speaker 17 (01:36:05):
Then what then?

Speaker 4 (01:36:06):
What I said?

Speaker 23 (01:36:08):
But when the bank's open, you go clear over the
other side of town. If it's a nice day, you.

Speaker 17 (01:36:12):
Can walk it.

Speaker 23 (01:36:13):
Changed one of the big bills into little one.

Speaker 17 (01:36:15):
You're crazy?

Speaker 10 (01:36:16):
What good you're going to do?

Speaker 2 (01:36:17):
Well?

Speaker 23 (01:36:17):
Now let me think you see you know?

Speaker 7 (01:36:20):
Now?

Speaker 2 (01:36:20):
Oh?

Speaker 23 (01:36:20):
Yes, now listen. Then go to another bank and put
the little bills in the bank account. You can open one.

Speaker 28 (01:36:27):
Maybe do the same thing for a week until all
the money is out here. Nobody knows what's on the
other side of town.

Speaker 23 (01:36:33):
Don't you see.

Speaker 10 (01:36:34):
Yeah, that's a good idea.

Speaker 28 (01:36:40):
And then when we're we're good and sure nobody else
knows about the money, we can take it out of
the bank and bring it back here.

Speaker 10 (01:36:48):
That's smart, that's pre smart.

Speaker 18 (01:36:52):
I'll bet even mister Schmarty bad Champion, he wouldn't think
of nothing like that.

Speaker 9 (01:37:07):
That's the splendid idea, Albert and Caroline. Splendid you hear
mister Campion come back, go to his room upstairs.

Speaker 10 (01:37:14):
He doesn't knock on your door. He says nothing so.

Speaker 9 (01:37:17):
You sigh with relief, but you spend a sleepless night
just the same. What if he does know and guesses?
Then it's the morning. You leave the house, Albert, and
in your pocket is one hundred dollar bill. You start
for a bank across town, a bank where no one
knows you. You reach the bank and give the bill
to one of the tellers. He looks at you hard.

(01:37:39):
Is there some suspicion in his glance?

Speaker 4 (01:37:41):
Is there?

Speaker 23 (01:37:41):
Albit?

Speaker 2 (01:37:42):
But he changes the bill and you hurry out.

Speaker 9 (01:37:44):
You start for another bank blocks away, but before you
get there, a newspaper headline on a newsstand.

Speaker 10 (01:37:50):
Catches your eye.

Speaker 9 (01:37:51):
You can't read it all, but two words make you
start and turn pale.

Speaker 17 (01:37:56):
Bank robbery.

Speaker 6 (01:37:58):
You read as much as you can, but your lifelong
misiliness doesn't let you spend a nickel just five cents
for that paper. Then one phrase strikes your.

Speaker 9 (01:38:07):
Eye, marked money, marked money. Now you hurry home.

Speaker 2 (01:38:13):
The other bank is forgotten.

Speaker 9 (01:38:14):
You should take a taxi, but you don't think of it,
even though fives and tens are clutched in your pocket,
the dampness from your hand making them a pulping mess.

Speaker 17 (01:38:22):
And now you're home safe.

Speaker 8 (01:38:26):
Oh, there.

Speaker 10 (01:38:27):
Great well, I can't stop now, Miss Kenvin.

Speaker 9 (01:38:29):
Oh you can't stop. But don't you want to know
why this policeman is here? Policeman using the phone down
the hall. It seems our good friend mister Sedgwick has
some slings. Yes, you see, there was a well. I
gotta go to Carolyn.

Speaker 19 (01:38:43):
I went out to get your medicinal.

Speaker 9 (01:38:45):
Oh, the law will wait, mister Craig, The law will wait.

Speaker 28 (01:38:49):
Caroland Carlin's police going out of no I saw him
coming down the street while I was looking out to.

Speaker 6 (01:38:56):
Wait for you.

Speaker 23 (01:38:57):
Why was you going?

Speaker 17 (01:38:58):
Neder what?

Speaker 28 (01:39:00):
He came up the stairs and rang the bell. I
couldn't answer the door. I couldn't Albert, so I pretended
I wasn't here. Then mister Campion came down and knocked
down our door.

Speaker 17 (01:39:10):
Here.

Speaker 9 (01:39:10):
Did you know he was here?

Speaker 23 (01:39:11):
I must have made some kind of noise because he.

Speaker 10 (01:39:14):
Talked to me.

Speaker 28 (01:39:14):
I didn't say nothing. Now and then I heard the policeman,
and it's the Champion talking.

Speaker 6 (01:39:19):
Tell me what it was.

Speaker 4 (01:39:19):
I was here.

Speaker 12 (01:39:20):
I couldn't hear it.

Speaker 10 (01:39:21):
Good.

Speaker 23 (01:39:22):
I put my ear against the door, but I couldn't
hear nothing but no talk.

Speaker 10 (01:39:27):
That's what it was for that's what it's for. What
are you saying, where's the rest of the money.

Speaker 28 (01:39:33):
Well, he's still in the fireplace. Are they going to
arrest this Albert? Are they going to rest money for
mister Sage?

Speaker 18 (01:39:40):
The bandits took mark money from the bank Geral numbers
was all ll dun. Now we got to mark money.
Mister Sedgwick was a crook.

Speaker 23 (01:39:48):
We got to give it back, you know, crazy.

Speaker 9 (01:39:50):
Then we gotta tell the police we stole off.

Speaker 10 (01:39:52):
No, no, we gotta get rid of the money.

Speaker 23 (01:39:55):
Albert, what are you doing?

Speaker 10 (01:39:58):
Go tell her command you look funnier. You might tournaments
to get back here, he.

Speaker 25 (01:40:04):
Told the police for you bet you bet.

Speaker 12 (01:40:13):
You didn't.

Speaker 10 (01:40:17):
Please, No, you'll keep him money. Money's near to going.

Speaker 23 (01:40:22):
And then God, go ahead, go ahead, standing like a fish.

Speaker 29 (01:40:28):
Who who is it?

Speaker 9 (01:40:30):
Campion with the south minion of the law, name of uh,
he says, his name is Mconfey.

Speaker 12 (01:40:36):
Just swell, I I hainte this.

Speaker 9 (01:40:41):
Oh, come, come missus Craig. After ten you were up
early this morning. I heard you told burn you can
let him in. In just a moment, the whistler will
return with the range ending of tonight's story. And now

(01:41:09):
we returned to the whistler, and well, Albert and Carolyn.
It was just too good to be true, wasn't it.

(01:41:31):
You thought it was your lucky night. But your good
friend mister Sedgwick lying dead in the alley would turn
out to be a profitable investment after all. But there
were too many things you didn't know, too many strings
attached to that five thousand dollars.

Speaker 6 (01:41:47):
That's why you relieve now as you watch the last
of it smolder in the grate. After admitting Officer McCarthy
and mister Campy.

Speaker 10 (01:41:55):
What's that, officer, what about mister Sedgwick.

Speaker 9 (01:41:58):
Well, when we found his body lying there in the alley,
we had to find out where he was staying. That's
why I'm here. You say he's been living here.

Speaker 10 (01:42:05):
Only for two days. The region know nothing about him.

Speaker 9 (01:42:08):
Sure, and know on his folks would him with the
wreck of the yard long and more aliases than you.

Speaker 18 (01:42:13):
Could shake a stick ast As soon as I read
about the bank robbery, I said to Karen that Sedgewick
is the kind of man who looks like a.

Speaker 9 (01:42:22):
Robber, said Wick Rubber, That right, McCarthy, Lord, No, mister Campion,
small stuff with Sedgewick's line sneak thieven the bank robbery
has been cleared up and all the money's recovered. No,
that's not right, that's all in the morning papers. And
the Craigs never buy a newspapers Ms McCarthy. The papers
cost hi nickels.

Speaker 7 (01:42:40):
But I read I saw you read the paper.

Speaker 19 (01:42:42):
I couldn't read it all, only what I could see.

Speaker 9 (01:42:46):
A typical Craik action, peek over and read as much
as possible on the newsstand or over his shoulder.

Speaker 17 (01:42:52):
But Sedgwick he had five thousand dollars.

Speaker 2 (01:42:57):
Five thouts.

Speaker 23 (01:42:59):
How do you know he had it?

Speaker 9 (01:43:00):
We know not, depending on when we found him. Oh
oh that night you came in excited, out of breath.
Oh no, this is too much McCarthey. Cedric was a
sneakying he was Albert Karen. Did you keep your money
in your room?

Speaker 2 (01:43:21):
Here?

Speaker 8 (01:43:22):
Did you?

Speaker 21 (01:43:24):
The night?

Speaker 6 (01:43:24):
You said.

Speaker 17 (01:43:27):
It's been shable?

Speaker 12 (01:43:29):
You you read our money? You fall you read that money?

Speaker 9 (01:43:36):
What's he talking about it? Briefly, Miss McCarthy, poetic justice.

Speaker 1 (01:44:13):
I suppose it is a bit a bit ironic to
talk so much, to go in so deeply about the
dark of night, considering I'm not sure I even recall
the last time I saw the other side of things.

(01:44:39):
I suppose a man in my circumstance just it comes
to be expected, if you know what I mean. Sometimes
I worry I may have just the tiniest bit of
denial about a very direct fact. I Walk in the night.

Speaker 2 (01:45:06):
This is cfc X. They playhouse tonight. We're living in
a sing story about your host ring hople the door
and talk about it this.

Speaker 9 (01:45:20):
Mh D Evening, gentle friends, Leona Dantan, welcome through the
creaking door for another soothing half our weakness in the line. Oh,

(01:45:49):
I've learned a new trick. But what did you like
to step up here.

Speaker 8 (01:45:52):
And be start in half?

Speaker 2 (01:45:55):
Why no volunteer?

Speaker 9 (01:45:58):
Well, maybe you're right the first part, the stawing and
half that he is. But the second party putting together again,
I'm still not very good at that. What does a
man think of when there's murder in the air, the

(01:46:22):
close presence of death? Does it have the matter and substance?
Does it generate unseen light waves that touch a man's
subconscious or unheard sound waves that speak to him when
you sleep? Well, let's listen to I Walk in the Night,
written by Amiel Tepperman with Larry Haynes the role of

(01:46:46):
Peter Lang attending the story himself.

Speaker 2 (01:46:59):
I don't know.

Speaker 16 (01:47:00):
It was the ringing of the dog doll that awoke me,
dragged me back to consciousness out of a deep, heavy sleep.
I felt groggy, as if I had been drugged. My
eyes were so heavy, so hard to keep open that
infernal ringing. I stumbled out into the hall when my

(01:47:27):
wife there opposite.

Speaker 6 (01:47:30):
My her.

Speaker 2 (01:47:32):
And knew the door would be locked.

Speaker 16 (01:47:34):
We quabbled last night while the Judson were visiting from
the house next door.

Speaker 2 (01:47:39):
Man I had made a scene. She went to a
room and locked herself in. HM, wake up there, and
I stumbled down the hall at the front door.

Speaker 16 (01:47:49):
I recognized felt Judson's voice selling Henriette lived in the
house next door. I just across the lawn.

Speaker 4 (01:47:55):
HM.

Speaker 9 (01:47:56):
Hm, fide fine, I'm coming.

Speaker 6 (01:48:00):
I thread.

Speaker 2 (01:48:01):
It can't get this open.

Speaker 16 (01:48:08):
Thank Heaven.

Speaker 2 (01:48:08):
You woke up, Pete. I thought you'd never hear me.
What's the poker?

Speaker 9 (01:48:13):
Henryetta saw a prowler come out of his house.

Speaker 2 (01:48:16):
Father, it's the matter with your Pete. You look groggy.
Wake up. I don't know. I feel as if i'd
been doped. What's this troller?

Speaker 16 (01:48:26):
Henrietta saw him climbing out of Money's window. She yelled
at me, and I grabbed the poker and came running.

Speaker 2 (01:48:31):
Out the poker. But well, what's the matter when you
didn't you hear me?

Speaker 8 (01:48:35):
A man with the Money's room just all's.

Speaker 2 (01:48:38):
Got when there's a loan in there?

Speaker 16 (01:48:40):
Come on, Benna, Benna, all right, open the door.

Speaker 2 (01:48:51):
She doesn't answer. So he is sure that parlor came
out of this room.

Speaker 16 (01:48:55):
Yes, he ran around the house and got away. Look, Pete,
have you got a keep bolted on the inside and
we gotta break it down?

Speaker 9 (01:49:02):
Come on, what you're showing it to?

Speaker 2 (01:49:03):
It's going out? Where the light switch? I've got it?
Better not come in?

Speaker 6 (01:49:17):
Let me in.

Speaker 2 (01:49:18):
I've got to see learn it.

Speaker 16 (01:49:23):
Take it easy, piece, Oh burn it, tangle, stangle to death.
Let the black and blue threw the chain on her neck.

Speaker 2 (01:49:39):
Broken, listen to lock it When I gave it last.

Speaker 16 (01:49:45):
Christmas Hill must have taken it with him. And see
here her fingernails, the grips of skin under them. She
must have struggled and scratched the killer's face her hands.

Speaker 2 (01:49:57):
Why fell? Why should I You don't want to kill it?

Speaker 16 (01:50:08):
And began the long touch of the investigation detective, falling
over the house man and derby hats, examining the body
of my wife, measuring the wrong, taking the thing the prince.
Finally more men who came and carried her away forever.
So it all Shi and Henriette sat with me, trying

(01:50:31):
to give what comfort.

Speaker 21 (01:50:33):
Oh, Peter, b please talk to it. I can't stand
seeing you sit there with your head in your hands.

Speaker 9 (01:50:40):
It won't bring man a back to life.

Speaker 2 (01:50:43):
Henry out of the right, Peter, You've got to get
ahold of yourself. I know enormity. I can't stop thinking
about it. Those locks in my throat so unchained, the locket.

Speaker 16 (01:50:58):
Go on, look here, Pete, there's something we have to
talk about. Now, get that dazed look off your face
and listen to me for a minute.

Speaker 2 (01:51:06):
Yes, ye's so.

Speaker 16 (01:51:07):
There's a policeman. I'm Don's room right now. O'Brien is
his name. He'll be coming in film to question you.

Speaker 2 (01:51:16):
Now. You'd better not tell him about the quarrel you
had with money last night. I don't get you.

Speaker 16 (01:51:21):
It would look bad for you. Mean, Oh, what what
do you mean, Cilia? You don't think that I suddenly
I caught my breath, my right hand in my bathrobe
pocket to touch something cold.

Speaker 2 (01:51:40):
Hill and Henriette both stared at me, Peter, what's wrong?

Speaker 9 (01:51:44):
So?

Speaker 2 (01:51:46):
So look what I found in my pocket? What is it?
Look a locket? It's len It's locket, the one that
was going from my troller. So so how could get
in my pocket? Yeah? Give me that quick, give up
to me pleasure on his lock it? All right? Recognize it, Arietta.

Speaker 9 (01:52:10):
What are you going to do with it?

Speaker 2 (01:52:11):
Get rid of it quick? Out this open window. Oh,
please find it out there.

Speaker 16 (01:52:17):
They'll think the killer dropped sell it was in my pocket.
What are you looking at their hand, Peter, but your
left hand? I looked down on my left hand there
on my list. Let me be along the ashes with
skin it and scraped just by the singer nails of

(01:52:41):
a woman fighting for a life.

Speaker 2 (01:52:44):
So do you do you think I could have killed it?

Speaker 25 (01:52:49):
I don't believe it.

Speaker 2 (01:52:51):
You could never do anything like that, Peet, good night.
I can be sure. How can I be sure? Peter?

Speaker 6 (01:52:59):
Please don't talk like that.

Speaker 21 (01:53:03):
Yep, you're making yourself out some terrible monster.

Speaker 9 (01:53:06):
But you aren't, Phil and I know you.

Speaker 16 (01:53:10):
You can't be like that I don't know, and he
ended up in my sleep and until Lena without annoying
it consciously.

Speaker 2 (01:53:18):
After all, I I did have that quarrel with the
last nice cut of Peter becomes a Brian the detective.

Speaker 8 (01:53:23):
I hope I'm not intruding.

Speaker 2 (01:53:25):
Oh oh no, if it's all right, expected Gaulen O'Brien.
The lying is very upset. The shot there. I understand,
believing mister Lyon had my deeper sympathy. I wouldn't bother
at all the time.

Speaker 16 (01:53:39):
Like this, I said to O'Brien was a pink cheek,
chub faced, chubby little man. But his eyes were cold
and blue and restless. It kept jumping from chilled Henriette
to me. She fired his questions at us, mickter Lyang
one more thing. I understand you had a small party
here last night. Oh no, no, it wasn't a party.

(01:54:00):
Phil and Henleyetta and Ted Hale. Ted Hale, yes, man
his cousin. Oh I see uh this Ted Hale cousin
of your wife. Pardon me, yes, there's too easy going
and good nature to tell you about Ted Hale. But
Peter's attorney, it's mind youty to give you certain information.

(01:54:21):
Go ahead, miner. Missus Lang owned considerable property in her
own right. Recently I drew a will at her request.
In it she leaves a sizeable sum. Who ted Hale? Ah, oh,
I just thought of something. Well, Peter was so groggy
when he woke up.

Speaker 2 (01:54:41):
That's right, he looked as if he'd been drunk.

Speaker 21 (01:54:44):
Well, don't you remember last night ted Hale went in
the kitchen to make the last round the trick?

Speaker 2 (01:54:50):
Oh? Hell OUTA that's ridiculus.

Speaker 16 (01:54:51):
On the contrary, it is quite important. Now tell me
this ted Hale. What does he do for a living?

Speaker 2 (01:54:58):
Way? He was for me and my broker job. Please, manna,
I give my job as my confidential secretary.

Speaker 16 (01:55:07):
Boyd you tell me where mister ted Hale lives. I
think I'll have a talk with him. Well, all you
have to do, Pete is sit tight. Let O'Brien follow
up his lead. So I can't let himss ted Hale,

(01:55:28):
he didn't kill mena I did.

Speaker 6 (01:55:29):
I must have slocked me.

Speaker 2 (01:55:31):
He's scratched it.

Speaker 16 (01:55:32):
It's not fair to Ted as your attorney. I won't
let you strap yourself from the electric chair. You go
back to your room and get some sleep. Henrietta, do
you mind going back to our house by yourself?

Speaker 2 (01:55:44):
Good.

Speaker 16 (01:55:45):
I'm going to sleep right here in the living room
on this couch in case Peter needs me tonight.

Speaker 2 (01:56:01):
On my bed in the dark, I kept seeing a
thousand pictures.

Speaker 16 (01:56:05):
Warner, the face modeled with strangulation, so always, so sure
and so, and they had a worried and frightened and
O'Brien his face grim and his blue eyes cold, going
off the question had hal I must have been close

(01:56:33):
to dozing off when I heard the door about faintly
just in the dream, talked about in bed for a
moment or two, and then I heard the voice in
the living room, filled cold and harsh, and someone else
had loud and angry and frightened me. I got out

(01:56:55):
of the head and opened the door. I went down
the hall on the living room. I had to know
who was in there arguing.

Speaker 2 (01:57:01):
So tit here said, what are you doing here? Sell
phone me? He told me about Murney.

Speaker 16 (01:57:12):
I called him up, called him o'f brian will be
coming for him. Just did he come over here and
talk it over with me? Pete, don't let them arrest me.

Speaker 2 (01:57:19):
You got to help me, help you.

Speaker 30 (01:57:20):
You know I didn't kill my well, I'm not sure.
See what I was here last night? You know, and
you had that fight with Murner. What do you mean
If I'm arrested, I'll tell a police about that call.

Speaker 2 (01:57:35):
Still say that I had a motive. But what about you, Pete?
You always call him with me. I look threatening.

Speaker 6 (01:57:40):
I only want you to help me, Pete.

Speaker 9 (01:57:41):
Don't let them arrest me, hid hide me out till
this blows over, until.

Speaker 16 (01:57:45):
They get the real killers. I think Ted is right, Pete.
We should help him, but where I'll handle it. You
have a stock room fixed up.

Speaker 2 (01:57:54):
In the cellar, haven't you.

Speaker 16 (01:57:55):
Yes, we'll stick a cot in there and let head
the hole up here too. Nobody will think of looking
for him and this house. I listen to me carefully, Peter.

(01:58:18):
If Ted Hale is arrested and talks, O'Brien will learn
about the quarrel you had with money last night, you'll
start digging into things that won't look so good.

Speaker 2 (01:58:27):
Snefill awake, And I know you're trying to help me,
But if I.

Speaker 16 (01:58:32):
Did it, if I did kill minute, and then he's
trying to protect me, it's night. I'm a dangerous man,
but you can't brush it off like that to do
you know what it means to lie awake in the
night wondering whether you kill your whole Why one dream

(01:58:54):
whom I'll kill?

Speaker 2 (01:58:54):
Nate?

Speaker 8 (01:58:55):
Cut that out.

Speaker 2 (01:58:56):
We've got business to attend to. And here's my plan.

Speaker 16 (01:59:00):
We'll let Ted stay here tomorrow, and then tomorrow night
I'll smuggle him out of the country, get him passage
on a freighter to South America. You think I'll go, Sure,
he'll go. He's scared stiff. But we'll need money, lots
of money. How much have you got in the safe
of the.

Speaker 2 (01:59:19):
Office, So about ten thousand cash a batch of negotiable bond.
They'll do. I'll go down to the office the first
thing in the morning and get them out of the safe.
You had the combination, Yes.

Speaker 16 (01:59:28):
You gave it to me when you gave me your
power of attorney. You remember, Now, don't you worry about
a thing?

Speaker 2 (01:59:34):
Oh?

Speaker 16 (01:59:35):
Here, take this powder. It's just one of the brow
minds that Henriette uses. Will help you get to sleep.
By tomorrow morning, everything will be fixed up.

Speaker 2 (01:59:47):
Fine.

Speaker 16 (01:59:57):
It was almost dawn when still the and I want
to been hours later, close to noontime when I felt
myself being roughly shaken out of the heavy trouble.

Speaker 2 (02:00:06):
Body see see wake up, wake up, Come on, snap
out of the hunt. Oh, I feel groggy? What's in
that party? Never mind the powder? Get your eyes open.
Got something to tell you. So what's wrong? What happens?
Let's be carefully peet.

Speaker 16 (02:00:27):
I went down to the office before business hours this
morning and opened the safe to get the money out. Okay,
the safe is empty, empty, the securities are gone. But
I can't see who else had the combination besides you
and me?

Speaker 2 (02:00:40):
Only Ted Hall. Oh do you think that I'll bet
you a dollar to a doughnut?

Speaker 8 (02:00:45):
He's gone.

Speaker 2 (02:00:46):
Come on, let's check. Look pat the light in the
doc romam. The got up early and beat me to
it for the safe.

Speaker 9 (02:00:58):
Ted, tell you in there?

Speaker 2 (02:01:00):
Uh Al was the optimist. Un Come, I open it up,
got it.

Speaker 16 (02:01:06):
Go, said Heyl hadn't gone anywhere. He was lying there
on the cut. His head was a bloody pump. It
did the bashed in while he slipped with a long
hand of the cold shovel which laid there outside to

(02:01:27):
cut it. Brag Scotter been murdered. We stood there in
the narrow dark room filled nine.

Speaker 2 (02:01:36):
We looked at each other.

Speaker 16 (02:01:39):
There was a strange gleam in Fill's eyes. I tried
to read the meaning of that gleam, but he rid
of his eyes too quickly.

Speaker 2 (02:01:46):
He got this gaze to my hands. I saw what
he was looking at.

Speaker 16 (02:01:53):
My hands were black and grindy, was cold and on
a briny, cold black and handle of a shovel. There's
a fresh set of finger. So did I kill him?
Did I kill him in my sleep? The same as Murna?

Speaker 9 (02:02:14):
So I can't stand it.

Speaker 2 (02:02:15):
In the murder. I'm gonna get myself up.

Speaker 16 (02:02:17):
You'll do nothing of the time. If you did it, Pete,
you're not responsible.

Speaker 2 (02:02:23):
But you do think I did it? And Murna too.
I hurd on't the whole. I don't know what to
say to think too.

Speaker 16 (02:02:36):
Maybe maybe I might kill you, will hand me in it.
There's no telling what I might to No, no, so
hard to believe. But there's a proof I'm a murderer.
That's dangerous.

Speaker 2 (02:02:47):
There's only one thing to do. I won't let you
do it left. Come on, I'm going to help your
hide tad body.

Speaker 16 (02:03:06):
How much Frevor though, now that is as the blade
jump ahead? Okay, he help me with it. He had
the body to heal on a second with a pair
of hundred pounds dumbbolls to weigh a doll.

Speaker 2 (02:03:45):
Then it sooner.

Speaker 16 (02:03:46):
It took place the next morning, and I had to
endoors and doors of friends and business associations. But soon
Henrietta stood.

Speaker 2 (02:03:55):
Behind the off It'll be open to Peter.

Speaker 16 (02:04:00):
Then you can y keep your chin up. I'll get
with her a strake list hooker book.

Speaker 2 (02:04:07):
Who just came in? Where? Oh O'Brian, what did you watch?
Make it easy to do? Let me do the talking.
I uh, I came, prepare my respects, miss Lang. Oh, well,
thank you?

Speaker 16 (02:04:19):
Say no trace of Ted here, Eliza. I'm praid not
mister Junson or call me.

Speaker 9 (02:04:25):
The city for him.

Speaker 2 (02:04:26):
But I'm afraid he's got clean away, you see.

Speaker 16 (02:04:29):
Uh love less to see how calmly So could talk
to O'Brian about Ted Hall, knowing all the time just
where the body was.

Speaker 2 (02:04:38):
Under that bridge. I glanced at him. She was watching
so too.

Speaker 16 (02:04:45):
Yeah you know, uh now what I think, mister Johnson.
I think Ted Hey will never be caught. I have
a very funny feeling that he did m Later that afternoon,

(02:05:08):
I took a taxi cab and went down the police
headquarters and I had to see Inspector buh Ah.

Speaker 2 (02:05:14):
I glad to see Miss the Lion. You looking a
little better this afternoon. I feel better, Inspected. I I
feel better because I'd come to an important decision. Oh yeah, ipecter.

Speaker 16 (02:05:27):
I decided to tell you something that will start on you.
That's pretty hard to start on over hand in my business.
Go ahead, I'm with him, all right. Expect cat Hell
didn't kill her? Now I kill him, that is, I
think I kill him. You would think you killed her,

(02:05:49):
but you know it sounds crazy, doesn't it. But I
assure you won't perfectly stay now you either killed her
or you didn't kill her.

Speaker 2 (02:05:54):
If you killed somebody, you know, no, not in this case,
aspected you see, I I think I did it. Might
sleep both times when and ted Hal to him, h.

Speaker 16 (02:06:06):
Old on now, I got someone to take notes. I
suppose you started at the beginning. Show him the whole story.
I still had awakened me when we found him, any
the strain, the broad the drug feeling i'd had. I said,
Hale had tried to blackmail me, and I still had
awakened me once more, and we'd gone down on the cellar.

Speaker 2 (02:06:30):
I found ted with his head bashed, and I'd talked
for some.

Speaker 16 (02:06:36):
Well you came to see me, mister la right, you've
told me all that not a matter hard time riating
of the Segon.

Speaker 2 (02:06:42):
To come here. Yet if it was hard, Biginning still
wanted me to go away. It would have been so
easy to go away and let him take anything. But
I I'd never be able to sleep if you took
someone else.

Speaker 16 (02:06:59):
I need worry, miss Lyan, I won't be any more killing.
It's not if I say in jail, they're not going
to jail. We're got home r And that was not
just snogopray taking mister Lyon. I've almost enough material to
convict the real murder.

Speaker 2 (02:07:16):
I need just one more thing. Now I do go home. Wait,
don't worry, it's you mean I I did. I didn't
kill men. You did. Now you just go along home
and take it easy. I'm back at home now.

Speaker 16 (02:07:41):
It's too hours since I left O'Brien's office, and I've
taken the time to write down this full account, just
as I gave it.

Speaker 2 (02:07:47):
To the stenography.

Speaker 16 (02:07:51):
As I right now I can look across the law
and to go judge in the house five minutes ago.
That's all I expect to Robrian. Two detectives going there.
The front door is opening now I can see them
coming out O'Brien first, and the two detectives would fill

(02:08:15):
between them. He got to handcuff himself and here comes Henrietta.
She's running across the lawn.

Speaker 2 (02:08:25):
I mean here, Peter, see they take him away. Yes,
I got off from the window.

Speaker 21 (02:08:34):
Oh darling, everything went right exactly.

Speaker 2 (02:08:43):
We can be together now forever.

Speaker 16 (02:08:45):
Else let a killed that doesn't learn a field baby,
and you are paper pater soap. And the hardest part
was getting Sill to cooperate. But I know he'd do
anything for a friend. Water fool.

Speaker 2 (02:08:59):
He kept right in and took You should have seen
O'Brien when I told him. I can tell exactly what
he was thinking.

Speaker 16 (02:09:06):
Here's a poor innocent fact who's friend is training him,
giving him drugs and then making him think it's miss murder.

Speaker 2 (02:09:13):
We know as soon as he's can pick it, I'll
be free and we can go away together. All right.
You'll have to cancel that trip, both of you. O'Brien, you.

Speaker 4 (02:09:27):
You heard what was said?

Speaker 2 (02:09:30):
Sure?

Speaker 3 (02:09:30):
Did every word?

Speaker 2 (02:09:33):
Remember it? My office, mister Lang, when I told you
I only needed one more fang that cinched the case
against the murderer. Well, this was it.

Speaker 16 (02:09:43):
I freaked the arrest of mister Judson, and then I
sneaked back to see what you would do about it.

Speaker 2 (02:09:51):
Mm hmm you did plenty. M hm h m hm hm.

Speaker 6 (02:10:25):
H m.

Speaker 16 (02:10:36):
And that's some of your sound. We ring down the kitten.
I was gonna thank them. I walked in the knife,
the knife and as replayhouse.

Speaker 2 (02:10:43):
But the day the pap book began with the cfc
X saying good night three times. This is the Enforces
video clips.

Speaker 1 (02:11:35):
Well, a nice stroll certainly sounds nice. Maybe someday soon.
While things often seem to be all going one direction,

(02:11:56):
the truth is we can never truly know. The idea
that we can is something we often tell ourselves for comfort,
or perhaps tell others for money.

Speaker 2 (02:12:13):
Money.

Speaker 1 (02:12:14):
Oh what's that? Oh of course, of course, I don't
mean to make you nervous. I'm referring, of course, simply
to my own dark, dark destinies.

Speaker 31 (02:12:35):
Mutual presents the mysterious Traveler.

Speaker 6 (02:12:45):
This is the mysterious traveler inviting you to join me
on another journey into the realm of the strange and
the terrifying. I hope you will enjoy the trip, that
it will thrill you a little and chill you a little.
So settle back, get a good rip on your nerves,
and be comfortable if you can. What is our story tonight?

(02:13:10):
Why tonight We're going to see what happens when an
honest man yields to temptation and descends into the murky
depths of murder and despair. It's the story I call dark,
dark destiny. In the office of doctor William Norris, Joseph Harrison,

(02:13:35):
a man in his thirties, is waiting anxiously as in
the next room, Doctor Norris is finishing his examination of
pretty young Mary Harrison.

Speaker 7 (02:13:44):
It isn't anything serious, is it, Dr Norris? Please tell
me it isn't.

Speaker 20 (02:13:50):
I'm afraid it's too soon to say, missus Harrison. Until
the X ray plates are developed, I can't say yes
or no. Now your husband is waiting outside, and it's
probably beginning to worry.

Speaker 7 (02:14:00):
So poor Joe he does worry about me.

Speaker 20 (02:14:05):
Well, here's your wife, mister Harrison. You must have thought
i'd kidnapped her.

Speaker 6 (02:14:08):
No, but I was getting a little worried, doctor, I
hope you didn't find anything very raw.

Speaker 20 (02:14:12):
Well, I took a complete X ray series. I won't
be able to tell much until I developed. I'd like
missus Harrison to come back the day after tomorrow if
she can. Of course, doctor, any time in the day
that's convenient to you will be quite all right. And meanwhile,
I'll write out a prescription your husband can have filled.
Will you step in a minute, mister Harrison, Sure thing?

(02:14:36):
Won't you sit down?

Speaker 2 (02:14:36):
Mister Harrison? Hi, what is it? Doctor?

Speaker 20 (02:14:40):
Bad news? I'm afraid so. Does that mean Mary's trying
to die? No, mister Harrison, not that serious. But within
a few months she will be confined to her bed.
I'm afraid she faces a life of invalidism. Oh no, no,
I can't be I'm mister Harrison. There must be something

(02:15:01):
you can do for well. Well, I don't want to
raise your hopes, but there's one doctor in this country who,
through a very remarkable type of operation, has been able
to help people.

Speaker 6 (02:15:12):
Like your wife. Why didn't you say so, let's get him? Well?

Speaker 20 (02:15:15):
I must warn you, mister Harrison, this operation doesn't always
meet with success. In many cases, the patient shows no
improvement at all. After all, it's still in the experimental study.

Speaker 6 (02:15:25):
There's one chance in one hundred. I want Mary to
have that chance. I'll please get this doctor to operate
on my wife.

Speaker 2 (02:15:30):
All right, I'll try it.

Speaker 20 (02:15:32):
But his services are in great demand, and his average
fever an operation is about fifteen hundred dollars fifteen hundred
because if you can't afford that, he might consider the circumsance.

Speaker 6 (02:15:43):
No, I can afford it. I can afford anything that
Mary needs very well. Then I'll get in touch with
him at well. I'm sure you make the arrangements right away.
I'll get hold of the money. I'll have it by tomorrow.

Speaker 7 (02:15:52):
Sure, darling, help me off of my coat when.

Speaker 6 (02:16:07):
You'll Oh sure, sure?

Speaker 2 (02:16:10):
How are you feeling?

Speaker 6 (02:16:11):
Oh?

Speaker 7 (02:16:11):
My back ache is much medicine, So I took the
medicine doctor Norris gave me. I'm sure I'm going to
be all right.

Speaker 6 (02:16:16):
Joe, crush you. He's one of the best doctors in
the city. He'll have you well in no time.

Speaker 7 (02:16:22):
Did he tell you anything more, Joe, I know not.

Speaker 6 (02:16:27):
A thing except that the treatment may take a little time.

Speaker 7 (02:16:31):
That's all a little time. Yeah, Oh, dear, I hope
it won't be too expensive. Your business has fallen off
and we've used up our saving.

Speaker 6 (02:16:39):
Now, don't you worry about the money. Don't you worry
about anything?

Speaker 7 (02:16:42):
All right, darling, I won't. But aren't you going to
take your coat off?

Speaker 2 (02:16:47):
No?

Speaker 6 (02:16:47):
I I got to get that prescription the doctor gave me, Phil.
Now you just take it easy to get back. I
might stop in at the shop too. There's something something
I have to tend to the Denvers. I'm Joe Harrison.

(02:17:15):
Oh yes, mister Harrison, please sit down, thank you, eh.
I see that you want to borrow fifteen hundred dollars
from us. That's right, I've got to have it right away. Unfortunately,
the security you wish to offer your home is what's
wrong with it? To swallow little house in a good section.

(02:17:35):
It's all in good repair. Houses are worth money these days,
quite true. But you already have a first and second
mortgage on it, and I, uh, well, prices are falling,
so I'm afraid we can't make any further loans on it.
I've got to have the money. I've just gotta. I'm
sorry to hear that, because there's nothing we can do
to help you. And forget about the loan. I'll sell

(02:17:56):
the house many if people want houses. That's true too.
I don't think you can possibly clear much over the
mortgages on a sale two hundred dollars perhaps. You see
those mortgages we issued when prices were at their peak,
and now well things have changed, I see they have.

(02:18:24):
You say you're not employed, mister Harrison. No, I own
a shop. You see, I'm a locksmith. That means you're
never certain of your income. Now if you had a job,
a regular income, that could be depended the party you're
getting at. You mean you're not gonna let me have
the money. I'm afraid I can't. Mister Harrison. Your head
say that you learned up to two thousand dollars on

(02:18:44):
a personal note. I only want fifteen hundred dollars. But
you got to let me have it. I certainly wish
I could, but under the circumstances, I'm sorry, very sorry,
but there's not.

Speaker 7 (02:18:59):
I'm afraid the all you suggest isn't satisfactory. Mister Harrison.
Read lend you the money if we could, but we
just can't.

Speaker 6 (02:19:06):
Sorry, but I've just got to have it. I've got
to sorry you, hear me. I've got to have it.

Speaker 13 (02:19:13):
Sorry?

Speaker 12 (02:19:14):
Sorry, sorry, sorry, sorry, Joe.

Speaker 7 (02:19:27):
You're not eating and you're so quiet. If anything wrong? What?

Speaker 6 (02:19:33):
Oh no, no, of course not.

Speaker 7 (02:19:36):
You're worrying about me, aren't you.

Speaker 6 (02:19:39):
No, Mary, of course not. I I uh, I was
just thinking about some changes at the shop, Darling.

Speaker 7 (02:19:45):
You don't have to lie to me. I know you're worrying,
but I'm going to get that, really I am.

Speaker 6 (02:19:51):
I promise sure, you are sure, doctor Nora said, So
you're going to be well in no time.

Speaker 2 (02:19:57):
I have to go out now.

Speaker 6 (02:19:59):
I have an appointment with Mars Latimer. Can't remember I
told you about him. We grew up together. I may
be pretty late, so don't wait up for me. Joe
had no appointment with Horace Latimer, but he went to
see Horrace anyway, for they had been boyhood friends until

(02:20:20):
their paths had separated. Horrors had grown rich, and Joe
hoped desperately that Horace would lend him the money he'd
been trying to raise all day. There some that would
mean nothing at all to Horras.

Speaker 25 (02:20:32):
Fifteen hundred dollars that's rather a lot of money, Joe.

Speaker 6 (02:20:36):
No, it is Horace, but it's for Mary. It's for
an operation I've got to have it.

Speaker 25 (02:20:40):
I see, well, now, why don't you try the bank?
You have a house.

Speaker 6 (02:20:45):
I had tried the bank and a half a dozen
loan companies. They all turned me down. They said my
security wasn't good enough.

Speaker 25 (02:20:50):
Oh I see, Oh that's too bad. You know, I
don't quite understand why you came to me, Joe.

Speaker 6 (02:20:58):
Because we're friends, that's why, right, Because when we were boys,
we agreed that each of us would always lend the
other helping hand if we could.

Speaker 25 (02:21:06):
Boys don't understand business very well, I'm afraid, Joe.

Speaker 2 (02:21:10):
I guess not.

Speaker 6 (02:21:11):
They don't understand business. They just understand friendship. You know,
if I had the money, i'd lend it to you
if you need it.

Speaker 25 (02:21:18):
I don't doubt that at all, Joe. And you can
bet i'd lend it to you if I had it.
But that's the trouble. I haven't any ready cash, the
income tax, you know, and well a couple of shaking
investments that I'm trying to at Harres.

Speaker 6 (02:21:31):
Never mind explaining I got the idea, you're not going
to lend me any money. No, really, Joe, I would
if I could, but I can't. I'm said, yes, sorrow
for somebody who wants it. I don't need your money,
you hear, I'll get it someplace else. I'll get it
someplace some whow. After he had slammed out of Horace

(02:21:54):
sladams expensive home, Joe stood for a moment on the
dark street corner, staring back with bitterness in his face.
Yeah you're sorry, I'll bet you are. And that's sap
I was to think you were a palam run.

Speaker 2 (02:22:10):
I should have known that.

Speaker 6 (02:22:12):
I should have known. Huh you're speaking to me? Oh no, sorry,
I guess I was just thinking out loud. That's okay, Hey,
gonna match? Not sure? Yeah? Yeah, thanks, okay, hold it
just like that, make a moment. I'll plug you done.

(02:22:33):
But you're yeah, this is a stick up. Hand over
your dough and make a fast sea, right dough. Ha,
that's a hot one. I'm not trying to raise money,
and so are you. But I only got a dollar
on me. Take that if you wanted. I mean, how
it's more than I could raise. Try to kid me
and still well, I see what you got in your pocket,
so I had wal I live it chases some chime.

(02:22:59):
You'll find exactly one buck in that wallet. You made
a mistake. I tell you I don't live in this
ritzy neighborhood. I just came here to try to borrow
a little money one Maasley book. But I don't bet
you got a roll hidden in this letter case. It's
heavy enough. It's nothing in there but my emergency care.
Well I'll see for myself. This kid is full of
skeleton keys and picklocks and stuff. But now, are you

(02:23:22):
anyway a second story worker? I'm a locksmith and the
safer repairman. I anything to you?

Speaker 4 (02:23:27):
Oh yeah, yeah?

Speaker 6 (02:23:29):
How about taking that dollar and letting me go on
my way. I'm gonna hurt so fast, pal, were you
leveling just now when you said you were trying to
raise doll.

Speaker 2 (02:23:37):
Sure, I was.

Speaker 6 (02:23:38):
I gotta have fifteen hundred dollars by tomorrow. What's it
to you? You'd be surprised, Pals. Okay, I'm putting the
gun away, but you ain't leaving yet. Why not? Because
me and you are gonna talk business. I got a
plan that will get us both all the dough. We
need two more bears where well, Joe is the deal

(02:24:16):
on my proposition? Hey you Mike, Sure you do. There's
nothing to it. You can open locks and safes. Yeah,
I know a house where there's a safe with plenty
of dough in it. You wouldn't need to get it.
We'll go get it. You'll make a team. But Burglary,
I've never stolen anything in my life. Listen, you need dope,
bed dungeons, said a why plenty bed, I'll put out

(02:24:37):
your set. You'd do anything to get it, didn't you?

Speaker 2 (02:24:39):
Yeah? Yeah I did.

Speaker 6 (02:24:40):
Then what are you hanging back for? All you gotta
do is get the back door open. Then they're safe.
You can do that, can't you? Yeah?

Speaker 2 (02:24:47):
I suppose.

Speaker 6 (02:24:48):
So, then forget the butts. In a half an hour
you'll have your fifteen hundred more. How else are you
ever gonna get it? Answer me that I don't know. Hey,
look you saw all those big has has lived in
by guys with go how'd they get it? They took
it from somebody else, every one of them. Yeah, I suppose,
so be sure the money's there. I'm positive a guy

(02:25:10):
was casing that joint and I looked in a window
just in time to see the old geezer put a
roll of builds in a safe you can open with
your teeth. All right, I'll do it. I gotta have
that money. And so half an hour later, Joe and
his new founder quaint And stood in the shadows of

(02:25:33):
the rear entrance of an imposing brick house, listening intently.
Now that sound in any place A good thing. There's
no dogs around. On a climb, everybody's hit the hanglo
and go. This'll be a cinch. That rock looks easy enough.
I shouldn't be doing this, must be some other way

(02:25:55):
to get the money. Be a sucker all your life.
You gotta take what you want in this world. Get
the door open, gotta get inside before we're spotted.

Speaker 2 (02:26:02):
Whatever.

Speaker 6 (02:26:04):
Alright me pick a second, I think, Oh yeah, tell me,
yeah it's something. Let's get inside. Come on, yeah, good,

(02:26:25):
we're in. Nobody spotted. It's the safest in the library
this way. Don't make any noise. Sure there's only the
two of them in the house. Yeah, the old guy
and his butler probably both deafirst posts they y'all. Here's
a library door.

Speaker 2 (02:26:42):
Come on in.

Speaker 6 (02:26:44):
The safest behind a picture on this wall. That picture there, Yeah,
that's the one I would picked out. Yeah, yeah, there's
the safe. If the kid's toy, kid's doying nothing, That
baby's tough man. You can open I can't see. Yeah,
but it'll take at least half an hour and get going.
We can't stay here all night. I'll way it up.

(02:27:20):
You have been forty minutes on that thing.

Speaker 2 (02:27:21):
I told you it was tough.

Speaker 6 (02:27:23):
It's coming now, yeah, got time too. Let's see what's
in it. Here's the cash box. But I open it
and we don't know what we got.

Speaker 2 (02:27:39):
There?

Speaker 6 (02:27:39):
Lord, oh cash mazuma. What did I tell you? There
must be thousands there? Ezy, come on, let's kind it
and give it up. No, no, never mind. Just give
me the fifteen hundred. That's all I want. You can
keep the rest of your kidding. That's all I want,
Just the fifteen hundred that I need. Okay, that's the
way you want it. Here you are ten eleven, twelve, thirteen, fourteen,

(02:28:01):
fifteen hundred dollars. Fifteen hundred dollars just for an hour's work, easy, bunny.
Huh Do you say we crack a couple of more cribs? No? No, no,
I just want to get out of here. Now that's
almost coming. Someone's coming there. Get behind this door. I'll
take care of this. What do you want to do?
Never mind? I shut up?

Speaker 8 (02:28:21):
Who who's there?

Speaker 9 (02:28:24):
Jenkins Jaggens?

Speaker 3 (02:28:26):
Is that you?

Speaker 6 (02:28:28):
H Well? The thieves so burglars.

Speaker 17 (02:28:32):
But Jenkins Dakins called the police quick.

Speaker 6 (02:28:35):
Nobody's calling any cop tonight.

Speaker 26 (02:28:37):
Mister, But you you're a thief, Jenkins Dakins.

Speaker 6 (02:28:46):
Maybe that'll convince you. Why did you hit him? What
do you expect me to do? Hold his hand? Wait
a minute, looks like he's dead. He wouldn't be surprised.
He don't seem to be breathing. I need to speaker.
It's murdered, so it's murder. You're in it just as
much as me. Don't forget that. Yeah, I'm an accessory

(02:29:06):
to murder. Cut that guff and let's get out of here.
Or do you want to get caught?

Speaker 4 (02:29:10):
No?

Speaker 6 (02:29:10):
No, of course not. Come on, let's get going. Okay,
here we are? Come on in? Why did you make
me come here? Why can't I go home?

Speaker 2 (02:29:29):
You heard me?

Speaker 6 (02:29:30):
Come on in? That's better? Nor take off your hat
and stay a wide Well, I can't stay. My wife
shall be worrying. I got to go home to her.
You've got worse things than your wife to worry about.
How what do you mean? I mean the cops or

(02:29:51):
have you forgotten you want it for murder? No, I
haven't forgotten. I'll never be able to forget. Why did
you kill him so we wouldn't have to go to jail?
Would you rather have gone to jail? Joe? Of course,
yes I would. I I'm all mixed up. How do

(02:30:12):
I get into this anyway? You need a dough That's
how you got into this, and you got it so
kind out the sob stuff. We're in the clear. Body
got a peep at?

Speaker 8 (02:30:21):
Well?

Speaker 6 (02:30:21):
Why won't you let me go home? Why do you
make me come to your room?

Speaker 2 (02:30:23):
Here?

Speaker 6 (02:30:24):
Two reasons. The first is I want to make sure
you know what it'll mean if you let anything slip.

Speaker 25 (02:30:31):
I know you don't have to tell me.

Speaker 6 (02:30:33):
I won't let anything slip. If I thought you might
not slit your throat right now, I won't I tell you.
I have to live my wife's sake, okay. And the
second reason you're here is so you and me can
have a little talk talk. What kind of a talk, Joe?
I like the way you got that door and that's

(02:30:55):
safe open, and I you and me got a future
to get it. I don't know what you mean. Oh, yes,
you do, as soon as the heat's off, we're gonna
do another little job to get it. Oh no, no,
I won't.

Speaker 2 (02:31:06):
I won't.

Speaker 6 (02:31:07):
I'll tell you I won't. You can't make me. Oh
yes I can, because if you don't, I can always
send a little note to the cops telling them that
you they want for that killing tonight. You wouldn't do that.
That gets you too. I'd be a long ways away
by then. But you can't get away. You got a
business here and a sick wife. You couldn't leave them. Well,

(02:31:30):
now you see, while you're gonna do what I say,
you dirty you. No, no, don't say it. You don't
think you can pull a job and then go on
as if nothing had happened to you. You're mixed up
in murder, and somebody's always got to pay for murder,
one way or another. I only dot it for Mary's sake,
No matter why you did it, you're in it now
and you can't get out, not without paying in some way.

(02:31:53):
I got a good mind to go to the police
to confess. Get this off my chest on how you dog?
You see this gun? I plug you in a second.
If I get away and go my hand.

Speaker 17 (02:32:02):
You got me into this you're not going to make
me go any him into it.

Speaker 6 (02:32:09):
Yeah, Mike, Mike, mhm dead dead, try to shoot me
and shot himself. Gotta get away from here. I gotta
get back to marry. In Days of Horror, Joe Harrison

(02:32:38):
found his hat and made his way to the street.
His mind was a dizzy whirl of thoughts which he
could not control that went around and around in his hand.
I'm a murderer, Catch me, though, Hang me.

Speaker 2 (02:32:54):
I didn't mean to do it.

Speaker 9 (02:32:56):
I just wanted the money. The money was all I wanted,
the money to make marry.

Speaker 6 (02:32:59):
Well, that's all. He'll catch me, hang me, he must.
I gotta escape, got to Mike said, the murder has.

Speaker 2 (02:33:12):
To be paid for somehow. That isn't true.

Speaker 6 (02:33:15):
Sometimes you can escape if you're lucky. I just gotta
be lucky.

Speaker 2 (02:33:20):
I mean a drink.

Speaker 6 (02:33:22):
Gotta have a drink.

Speaker 2 (02:33:22):
Before I go crazy.

Speaker 6 (02:33:28):
So Joe Harrison stumbled into a tiny bar on a
dark street, Struggling to control his shaking hands and to
keep his voice normal. He ordered a double rye and
gouted it down. Then, as his senses cleared a little,
he heard the radio at the end of the bar
broadcasting a warning to the city Police.

Speaker 27 (02:33:47):
Department is asking you to be on the lookout for
the following man wanted for the brutal murder committed in
Gramercy Park section two hours ago.

Speaker 8 (02:33:55):
Please make a note of.

Speaker 27 (02:33:56):
The following description given by the victim before he died.

Speaker 9 (02:33:59):
The description follows, all.

Speaker 8 (02:34:02):
Right, luck party, what's the idea?

Speaker 25 (02:34:04):
But you shut the radio off for answer to me?

Speaker 6 (02:34:07):
What'd you do it? Because I was sick of listening
to it? That's why.

Speaker 2 (02:34:11):
Oh is that so? Well?

Speaker 25 (02:34:12):
I'm not see and I got an idea. Maybe there
was some other reason you didn't want to hear it.
So I'm going to turn it on again.

Speaker 6 (02:34:18):
No, no, you mustn't.

Speaker 25 (02:34:19):
Well, I'm going to and if you want to make
a try for a break. I got a gun right
here under the bi you see. Now, let's hear what
the killer looked like.

Speaker 27 (02:34:28):
I repeat, be on the lookout for a man of
medium height, lean and wiry, with reddish brown hair. If
you see such a man, report it once to headquarters.
We now turn you back to a regular night program
of popular dance tunes.

Speaker 25 (02:34:43):
Lean and wiry with reddish brown hair. Uh, well, that
ain't shew any kind of heavy set in black head
for a minute day you had me go and I
was positive view with the killer the way you didn't
want me to hear the description, just jumping. Well here,
haven't to drink on the house.

Speaker 9 (02:35:00):
Huh.

Speaker 6 (02:35:01):
Thanks, I gotta go home. I need some sleep. Yeah,
that's what I need, some sleep. I guessed at how
close he had come to giving himself away. Joe Harrison
hurried home. It was Mike the police were looking for,
not Joe Harrison. It was Mike whose description they had.

(02:35:23):
Joe Harrison was safe, safe, hardly able to believe in
his own good luck. Joe reached his home and let
himself in. Mary was already asleep. Quietly, he got into
bed and at last fell asleep, himself asleep, troubled by
nightmares that gave him no peace. When he awoke, it

(02:35:44):
was morning and Mary was preparing breakfast.

Speaker 7 (02:35:47):
Good morning, darling. What time did you get home? Anyway?
I waited up for you almost till too.

Speaker 6 (02:35:53):
I was pretty late. I stopped at the shop and
did a little work forgot to watch the time, and.

Speaker 7 (02:36:00):
This morning you look terrible. I know you're worrying about me.
That you mustn't, darling.

Speaker 12 (02:36:07):
I'm going to be all right.

Speaker 6 (02:36:08):
Really, I am for sure. I'm going to see to that.

Speaker 7 (02:36:11):
What do you think Doctor Norris called up last night
wanted to talk to you. He said he had good
news for you, good news, but he wouldn't tell me
what it was. I don't know why he asked for
you to stop in at his office this morning.

Speaker 6 (02:36:24):
I think I know what it is. Yeah, sure, I'll
go right over and see him. Oh but darling, you're
going to eat breakfast first time, slie when I get back,
I won't see the doctor first anyway.

Speaker 7 (02:36:33):
I'm not very hungry, all right, Joe, But please hurry back.
I want to know what the doctor said.

Speaker 6 (02:36:37):
Yeah, sure, Mary, how are you right back? Everything's okay, now,
everything's okay. After he left the house, Joe bought a
morning paper. Big headlines told of the murder the night before,
but he scarcely saw them. His eyes hurried through the
story until he found what he was looking for, the

(02:36:58):
news that Mike's body had had been found. The man
Mike had struck had given his buttler Mike's description before
he died, but he hadn't seen Joe at all. So
the police had listed Mike's death as a suicide or
an accident.

Speaker 11 (02:37:13):
And closed the case.

Speaker 6 (02:37:15):
Joe Harrison was safe, perfectly safe, safe, I'm safe. Sometimes
you can't get away with murder not have to pay
anything if you're lucky. And I've been lucky. When he
entered the doctor's office, Joe's expression was that of a

(02:37:37):
man who had just faced disaster and been rescued. At
the last moment. He seated himself and tossed the folded
newspaper into the waste basket. You're exactly, Mary said, you
phoned that you had good news.

Speaker 20 (02:37:50):
Oh yes, mister Hawrison, as I called you last night
after I got in touch with the surgeon I spoke
of yesterday, doctor Nelson Richards.

Speaker 2 (02:37:58):
I wanted to tell you that he had agreed to
operate on your wife.

Speaker 6 (02:38:01):
That's well. That it's well. I got the money right
here in my packing the money. Yes, as I was
going to tell you that doctor Richard had said not
to worry about that. You can take as long as
you wanted to pay it, as long as I wanted.
And I wasn't necessary.

Speaker 25 (02:38:20):
I didn't have to do it.

Speaker 6 (02:38:21):
I I didn't have to do it.

Speaker 20 (02:38:25):
I'm afraid I don't understand, mister Harrison.

Speaker 6 (02:38:27):
Oh, never mind, doctor. I mean, here's the money.

Speaker 2 (02:38:29):
I got it.

Speaker 6 (02:38:30):
I got it right here. I want to pay for it.
He's got to take it right away. What's the matter?
Why are you looking at me like that? For the
operation is going to cure Mary, isn't it? You said
it would. You can't go back on your word now,
you can't, do you?

Speaker 8 (02:38:44):
Hear?

Speaker 20 (02:38:45):
It's not that, mister Harrison. Yes, the chances are the
operation would have cured your wife. But well, unfortunately doctor
Richards was the only man in this country able to
perform it.

Speaker 6 (02:38:55):
Well, so what he said he'd do it, didn't he?
So what's the hitch, Harrison?

Speaker 20 (02:39:01):
Doctor Richards won't perform the operation?

Speaker 8 (02:39:03):
Now?

Speaker 6 (02:39:04):
Why not?

Speaker 20 (02:39:05):
Doctor Richards was tragically killed last night by a burglar
who broke into his home on Gramercy Park.

Speaker 2 (02:39:28):
This is a mysterious traveler.

Speaker 6 (02:39:30):
Again. Faith plays strange jokes sometimes, doesn't she. Poor Joe Harrison,
he forgot that good can never come out of evil,
and that crime must always be paid for by someone.
If only he hadn't let himself be tempted. But he did,
and what became of him? While he devoted himself to
taking care of his invalid wife Mary? But his deed

(02:39:52):
continued to weigh on his mind, and when she died
several years later, he confessed everything to the police. I
do hope his experience has proved that crime really doesn't pay.
I always sit. Oh, you have to get off here.
I'm sorry, but I'm sure we'll meet again. I take
this same training every week.

Speaker 31 (02:40:14):
At this time, you've just heard The Mysterious Traveler, a
series of dramas of the Strange and Terrifying, and Tonight's
cast were Maurice Toplin, Joseph Julian Elaine, Kent bomb Award,
Kenny Lynch and Bill Smith. Original music was played by

(02:40:36):
Charles Paul. The Mysterious Traveler is written, produced, and directed
by Rob Other and David Cogan.

Speaker 1 (02:40:44):
Well, my dear, it looks like time has run out
yet again, but I am so grateful for your spending
so much of your limited time with me. Please do
come back soon. You know where to find me. I
won't be going anywhere. I do so look forward to it,

(02:41:07):
especially as the weather turns cold and the barriers begin
to dissipate. But that's a tale for another time. I
suppose now it's time for you yourself to head out
into the dark night that awaits you. Take care on

(02:41:29):
your journey, mind your peas and q's. And as you
enter your beautiful home, as you get on your comfortable
cozy bed, and as you begin to drift away to
the land of nod, well take one moment for me

(02:41:51):
and be thankful for what you have. And I'll be
seeing very soon.

Speaker 16 (02:42:00):
The mumbling private things of bags

Speaker 6 (02:42:07):
Volu

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