September 7, 2025 • 56 mins
CBS Radio Mystery Theater was a noteworthy attempt to revive in American radio dramas like Inner Sanctum (1941-1952) and Suspense (1942-1962). Radio dramas were widely considered "dead" 12 years prior to this series. CBS Radio Mystery Theater, or simply Mystery Theater, was created by Inner Sanctum creator Himan Brown and ran on CBS from 1974-1982. The show, much like older radio dramas, was introduced by a host (E.G. Marshall in this program), who steers us through the creaking door to start the episode. Many voices from the golden age of radio were featured, including Richard Widmark, Bret Morrison, Agnes Moorehead and many more.
Hope you enjoy this episode of Mystery Theater! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy this episode of Mystery Theater! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:16):
Come in.
Speaker 2 (00:18):
Welcome.
Speaker 3 (00:20):
I'm e. G. Marshall. It is said that opportunity is
like a knife. It can serve or sever our hopes,
depending on whether it is seized by the blade or
the handle. The knife Mankind's first invention and symbol of
our dual nature. The assassin uses it to kill the surgeon,
(00:45):
to kill it, the same edge, the same point, the
same steel. Our mystery drama The Artist was especially adapted
from the Guidemopason classic for the Mystery Theater by Sam
Dan stars Michael Wager. It is sponsored in part by
Buick Motor Division. I'll be back shortly with Act one.
(01:07):
The standard engine is a V eight standard Taze steel
belt of radios. There are front and rear stabilizer bars,
special springs and shock valley, fast ratio posteering and a
rally steering wheel. What makes all this interesting is that
it belongs to a full sized six passenger Buick, the
nineteen seventy seven La Saber Sport Coup. You'll have to
(01:28):
drive it to believe it. When we think of Romance,
we dream of young lovers Romeo and Juliet. Who wants
(01:52):
to know about men and women who grow old together
in contentment and tranquility give us the flaming passion of youth.
M that is what our story is all about. That
thwack you hear is the sound of a large knife
with a meal point and a murderous edge being thrown
(02:13):
against a board by Professor Raoul de Lacroix. Standing against
the board is Mademoiselle Fifi, charming young lady with the
face of an angel and the nerve of a devil.
Because the Professor, from a distance of thirty feet, is
outlining her body with those deadly knives of his. The
(02:34):
slightest mistake, the tiniest error of judgment, can mean serious
injury or sudden death for Mademoiselle Fifi, But Professor de
Laquix never makes mistakes, which is why he has paid
fabulous fees to perform in the most exclusive nightclubs. My
good friends, I am about to throw the final knife,
(02:56):
which will be placed under Mademoiselle Fifee's arm on a
direct line with her adorable heart. I ask you this,
when it is done, please do not applaud for what
we perform. This night is not an act, but a
ceremony that celebrates the ultimate faith that one human being
can have in another Are you ready, my.
Speaker 4 (03:18):
Beloved, already, my darling?
Speaker 3 (03:21):
Oh yes, in the event you may not have known,
Mademoiselle Fife is my wife.
Speaker 5 (03:27):
And so.
Speaker 3 (03:29):
Now I didn't applaud, nor did anyone else in that audience.
We watched that shining, murderous knife spin easily from his fingers,
describe a graceful arc, and come to rest, quivering in
the board, as close to her body as it could
get without piercing skin or drawing blood. We sat in shock, silence,
(03:53):
as we might in a church, in silence and in awe,
not only of his almost supernatural skill, but also because
of a smile on her face, the almost supremely confident
smile I have ever seen. My name is Mark Harrison,
(04:14):
and my entire life has been changed just because I
happened to see a knife throwers act in an expensive
night spot, and now I'm trying to make it all
come together. Morning, mother, are you just getting down to breakfast? Mark?
I must have overslept so.
Speaker 4 (04:33):
You'd be late for work again.
Speaker 3 (04:36):
Really, Mark, you own the plant. You should set an example.
Speaker 5 (04:40):
Mother.
Speaker 3 (04:41):
I don't know the first thing about business. I don't
care to learn. And as long as we have confident
people running the place for us. We'll be fine.
Speaker 4 (04:47):
Oh, how I wish you'd get married.
Speaker 3 (04:48):
I don't know anyone.
Speaker 4 (04:50):
Nonsense. You know plenty of women.
Speaker 3 (04:52):
None of them are what I'm looking for. Oh. Oh,
we've arrived at that stage of the conversation. You say
you haven't found what you're looking for, and I what
are you looking for? Andrew answer, you don't know. I
will go round and round, but that for a while.
All the fact is I do know what I'm looking for. Oh,
(05:13):
when does this happen? Last night? You mean you met
the girl you want to marry. No, no, not exactly,
But I didn't meet the kind of a girl I
want to marry. Well that's progress. Who's the girl? Mademoiselle Fifi,
Mademoiselle Feiffe. Yes, there's a knife throwers act of the
Gilded Cage. He is Professor d'arcoi. Mademoiselle Feffee is the target.
Speaker 4 (05:35):
Oh, I think those things are grouse.
Speaker 3 (05:36):
It's an art, a positive art. The way he places
those knives, I wouldn't be able to look. She stands there,
her life is in his hand, I would imagine. So
the smallest mistake personally, I think the girl is rather
stupid to flirt with death. Why she trusts him?
Speaker 4 (05:52):
That's the understatement of the week.
Speaker 3 (05:54):
Is complete on questioning trust. It's absolute conviction. There's something
so innocent about it, something so pure.
Speaker 5 (06:04):
He is.
Speaker 3 (06:05):
What I saw last night actually touched me to the
very depth of myself. Oh, come, Mark, how else can
I put it? That's what happened, That's how I felt.
Two people so deeply in love, and each evening that
love must hold a confrontation with death.
Speaker 4 (06:23):
Why does she do it?
Speaker 3 (06:25):
It must be glorious to love like that, must be
terrible to love like that. Well, make up your mind.
It's the only way I could ever love. I wish
you'd get married and get rid of all that romantic nonsense.
Those those two indeed a glorified side show performer and
a neurotic girl mother. How can you call her?
Speaker 4 (06:45):
That she flirts with death?
Speaker 1 (06:48):
Why?
Speaker 3 (06:52):
That night and every night I went to the gilded cage,
and I sat there breathless in a mistake?
Speaker 4 (07:00):
How can I say it? Delicious terror?
Speaker 3 (07:04):
As the leaful knives flew through the air and came
to rest against but not in her body, forming a
deadly halo around her. Head, a leafful collar around her neck. Finally,
one evening, scarcely knowing what I was doing, I found
myself backstage at Monsieur de la Croix was dressing room door.
How I got there? I could never tell you. I'm
(07:26):
basically a very shy person, but there I was, and
before I knew it, I had knocked on the door
and it opened. Yes, Oh wish you mister Mark Harrison,
please come in? Do you know my name? Of course?
How I sit down? Sit down, have a drink. Phoebe
(07:46):
Mark is here, how wonderful? Or she's in the other
room changing. How did you know? How did I know
your name? Very simple, my friend, I asked, Why would
you ask? I can't imagine why you should want to
know who I am or care for that matter, Why
have you come to see me? Because I've I've never
(08:09):
been so moved by a performance. M I had to
pay my respect to a great artist and also to
a great artiste. Yes, thank you, but I still don't
understand why should want to find out who I leaves.
Past several weeks, you have become a person of great
importance I haven't to me, But why how a performer
(08:32):
thrills an audience. Oh yes, but it must be a
two way street. You see, the performer is nourished by
the audience. My creative engine runs on electricity, and this
can only come from those who watch and believe. And you,
mister Mark Harrison, of all the believers, you are the
(08:53):
most devout, isn't that so? Yes, night after night I
see you in the audience, watching me as I was
meant to be watched, appreciating my genius for what it is.
And so I made inquiries, And had you not come
to pay your respects to me, I would have come
to pay mine to you. Thank you, Professor de lacla. Ah.
Speaker 4 (09:16):
Oh, darling, we have visitor. I see the charming gentleman
who always sits at the ringside table DV.
Speaker 3 (09:24):
This is mister Mark Harrison. I think your performance is
the most thrilling.
Speaker 4 (09:29):
Ah. In the beginning, it was even more exciting. Raoul
would throw his knives blindfolded, blindfolded, Perhaps you might convince
him to do it again.
Speaker 3 (09:40):
Never, never, No one will ever convince me. But Professor,
how exciting it would be. If would be a false excitement,
it would cheapen my heart. Well, now that we're all friends.
Mister Harrison, you must visit us more often.
Speaker 4 (09:54):
When all day you practice, in the evening you perform,
and at night you must go to bed early.
Speaker 3 (10:00):
His art is a hard mistress as long.
Speaker 4 (10:02):
As art is your only mistress.
Speaker 3 (10:05):
Don't be a stranger, mister Hasn'm Oh no, I won't.
What do you mean, mother? Oh dear, did you have
a hard day at the office. I had a hard
time finding a place to hide. Morton Holmes called you
and and I said you'd call back. Oh why didn't
you say I was in Europe?
Speaker 4 (10:25):
Oh?
Speaker 3 (10:26):
Why, he's not so bad. He probably has another fabulous
blind date land up for me.
Speaker 4 (10:31):
Call him back.
Speaker 3 (10:32):
He may have a nice girl. Morton has nothing to
do with nice girls. Well call him back anyhow, you
have nothing else to do. How do you know the
guilded cage is closed Monday night, so you can't go
see your knife shower?
Speaker 4 (10:46):
Mother, He's not just a knife thrower.
Speaker 3 (10:48):
Whatever. Why don't you call Morton?
Speaker 4 (10:51):
I hope better idea?
Speaker 3 (10:52):
Why don't I just take you.
Speaker 4 (10:53):
To the offlock. I happen to have a date.
Speaker 3 (10:55):
I'm afraid it's Morton or nothing. I can stay home
and read. Oh, oh, come Mark please go out meet people,
all right, But Morton is the biggest waste of time.
Then you should make other friends. Yes, I suppose so,
of course, how long Martin?
Speaker 5 (11:17):
Hey, Mark, get you buddy, listen save my life with you.
Speaker 3 (11:20):
I'd rather not on the level.
Speaker 5 (11:22):
Listen, Sally has a friend.
Speaker 3 (11:24):
Spare me from Sally's friends.
Speaker 4 (11:26):
How do you know, Mark? She may be nice, Morton.
Speaker 5 (11:28):
I'm I don't say you're busy. Your mother already told
me you weren't doing anything.
Speaker 4 (11:32):
Now listen, I listen.
Speaker 5 (11:34):
This is the cute scout you ever saw in your life.
Speaker 3 (11:37):
Yeah, I've heard that build up before. It's French.
Speaker 5 (11:39):
I mean, she speaks perfect English.
Speaker 3 (11:41):
But I look, Morton. The fact that I have a headache.
Speaker 5 (11:45):
She's starting to go up with you?
Speaker 3 (11:47):
Is that a fact? Why she says she knows you?
She knows me? Mark, what have you been keeping from me?
Speaker 4 (11:56):
Stop it?
Speaker 5 (11:57):
And you know her?
Speaker 3 (12:00):
I don't know what you're talking about. Well, now, if
you're an experienced listener, you know what Morton's talking about?
Speaker 1 (12:12):
Or do you?
Speaker 3 (12:13):
Who can this girl be? And when Mark says to Morton,
I don't know what you're talking about, does he really
mean I don't want to know? What you're talking about.
We have a prodigious amount of work to get done
in the second act. How does your laxative work?
Speaker 6 (12:30):
Many brand name laxatives contain ingredients that expand in your stomach.
That's how they work. We know a medicine that works differently.
It's in the x lax pill overnight. The xlax pill
gently stimulates your system's own regular rhythm, stimulates your system
for relief in the morning. No surprises, just relief in
the morning. That's the xlax pill. Try it tonight with
(12:53):
confidence for occasional use only as directed xlax pills.
Speaker 2 (13:04):
What's the big idea?
Speaker 5 (13:08):
A big idea is.
Speaker 3 (13:10):
The story of idea ten idd designed to come through
and many pathy returns for you. Easy chair money another
big idea from Astoria Federal Sit back and relax while
your money's earning you a big five point four to
seven percent a year on your five and a quarter
percent past book savings account, and your money's yours when
(13:32):
you want it with no loss of interest. Astoria has
other big ideas and high yield saving certificates, and every
Astoria account earns the highest rates that law allows. Yes,
big ideas come naturally from the nice people with over
three quarters of a billion dollars behind them. Ten idea designed.
Speaker 1 (13:49):
To come through and many happy returns for you.
Speaker 3 (13:53):
The story, Hi, I got the Christmas pictures back? I
hope you got the star Glossy silk. Glossy silk at
the Photomat store. Glossy costs the same as silk fetish.
That's the thing just side your first argument for the year.
Speaker 4 (14:11):
This photo Maat also made three prints for net once
Sure we do. I would like seven new prints the
middle of this picture.
Speaker 1 (14:16):
Oh you have seven?
Speaker 4 (14:17):
Yes, seven? Your last name right and your first name
snow Huh? Who does your hair?
Speaker 3 (14:21):
Three prints and enlargements are very inexpansive at the photo
Maat store.
Speaker 2 (14:25):
Flag You remember the picture I took of you at Halloween?
Speaker 1 (14:29):
You remember here it is for it.
Speaker 2 (14:33):
That's exactly what the photo make said.
Speaker 3 (14:35):
If you're not happy with any picture we developed.
Speaker 1 (14:36):
We'll buy it back.
Speaker 4 (14:38):
Glossy, Sure we do.
Speaker 3 (14:40):
It's all here at the photo Maat store, the photoat.
Speaker 1 (14:46):
Right now.
Speaker 3 (14:47):
When you bring in a roll of film for developing,
you can buy a replacement roll for half price. That's
good fresh photo Maat color print or slide film half
price at the photo maat store. Truth, as they say,
(15:09):
is stranger than fiction. But why is everybody intrigued by
that concept? What's so surprising about it? Fiction, after all,
is predictable because it must follow strict laws of form.
You who listen to our stories expect us to abide
by certain set rules and conventions. Truth, on the other hand,
has no restrictions. It can meander about as it pleases
(15:33):
without being beholden to anybody, and get itself into the
strangest situations. Well, what we're telling you is a true story.
The girls are waiting for us here in Sally's apartment.
You're in for the surprise of your life.
Speaker 1 (15:49):
Mark Ah, Hello.
Speaker 3 (15:54):
Hello, Pepe.
Speaker 2 (15:56):
You know Mark?
Speaker 4 (15:57):
Of course I know Mark. Sally's inside putting on her makeup.
Speaker 3 (16:00):
Oh why don't I go and check her?
Speaker 4 (16:03):
A splendid idea.
Speaker 3 (16:06):
Well, hello, it can't be you here, touch me?
Speaker 4 (16:12):
I'm real?
Speaker 3 (16:13):
What are you doing here?
Speaker 4 (16:14):
And what are you doing here? I to answer both
our questions. I want to have a little amusement, and
so do you.
Speaker 3 (16:24):
But you're I am married. You're a funny man.
Speaker 4 (16:30):
But I like you.
Speaker 3 (16:31):
I'm afraid I don't understand.
Speaker 4 (16:33):
Oh, come you want me. You wanted me from the
first moment you saw me in the gilded cage. That's
why you kept coming back every night. I said to
my friend Sally, do you know this young man? And
she said, oh, he's a friend of a friend. So
why are we standing here?
Speaker 3 (16:51):
I I don't really think that.
Speaker 4 (16:54):
Why don't you kiss me? You want to kiss me,
don't you look? I I I feel. I mean, I
have definite ideas about what's right and what's and still
you came here.
Speaker 3 (17:13):
I didn't know it would be you.
Speaker 4 (17:15):
Oh, yes, you did. You knew it would be me.
Speaker 3 (17:17):
No, that's not true.
Speaker 1 (17:18):
Oh it's true.
Speaker 4 (17:19):
And something else is also true. There can only be
one moment like this, one moment when I feel this way,
one moment when I want you more than anything or
anyone in the world. If this moment passes, it may
never return. But take me in your arms now, this minute.
Speaker 3 (17:47):
I couldn't help myself. I never felt that way in
my life.
Speaker 5 (17:51):
Is girl?
Speaker 3 (17:53):
Is this woman? She overwhelmed me. It's the only way
I can think of. Suddenly I had no of my
own mind, of my own everything, was overcome by the
desire to hold her, to possess her, she became the
whole world.
Speaker 4 (18:12):
Another cup of coffee.
Speaker 3 (18:14):
Oh no, thanks, mother, I'll be late for work.
Speaker 4 (18:16):
Are late of work? Tell me? How is your affair coming?
Speaker 3 (18:22):
Affair? Now? Don't say the next sentence, what affair?
Speaker 2 (18:26):
Mother?
Speaker 3 (18:26):
What are you talking about?
Speaker 4 (18:28):
You're a love affair?
Speaker 3 (18:29):
Have you been spying on me?
Speaker 4 (18:30):
I would never do a thing like that. I can
tell by your mood, your actions, the little things that
your love. Will you admit that? All right?
Speaker 3 (18:42):
I'll admit it, but grudgingly, mother? What am I supposed
to do? Son?
Speaker 4 (18:48):
Love accelerates.
Speaker 3 (18:50):
Love is not a burden unless, yes, unless, unless it's
an affair with.
Speaker 4 (18:57):
A married woman.
Speaker 3 (19:00):
Have I guessed it? You don't have to answer. Then,
instead of an innocent joy, love becomes a guilty secret.
Speaker 4 (19:10):
What's her name? You see? You keep it even from me.
I'm old enough to manage my own affairs, of course,
and you're also old enough to be happy.
Speaker 3 (19:20):
I'm want to be late for the office. You are
not going to the office.
Speaker 4 (19:23):
I don't want to discuss it.
Speaker 3 (19:24):
I must say when you kick over the traces. You
don't do things by halves, quiet, shy, bashful Mark finally
has an affair whith of all women a knife flowers.
Speaker 4 (19:36):
The system, Mother, this is monstrous.
Speaker 3 (19:38):
Why how could you know who she is? Unless you
hide a detective? Well, you kept talking about that knife throw.
He's more than just a knife flower.
Speaker 4 (19:47):
Yes, he is a man you have betrayed.
Speaker 3 (19:49):
Don't say that. If I don't say it, will that
change anything? How did you find out? I had my
best friend, Judge car wouldn't take me to the Gilded
Cage one night.
Speaker 4 (19:58):
You didn't see us.
Speaker 3 (19:59):
You had eyes from no one but the breathtaking Mademoiselle Fefe.
It was obvious, obvious.
Speaker 4 (20:06):
Perhaps it was only obvious to me. I agree with you.
The man's a genius, an artist. It just happens.
Speaker 3 (20:11):
I don't care for his art, but that's not the issue.
The girl, however, is obvious. She's what I said, She
was a tart. Now, Mother, don't please let me finish.
Speaker 4 (20:24):
Mark is all kinds of flirting.
Speaker 3 (20:26):
There's a sort that's done in all innocence, the lighthearted,
non serious, playful little game that always ends.
Speaker 4 (20:32):
However, before any points to mother, I have had enough
of this.
Speaker 3 (20:37):
Mademoiselle Fife flirts because she must is what brings excitement, and.
Speaker 4 (20:42):
For all I know, even meaning to her life.
Speaker 3 (20:43):
That is ridiculous. Every night she flirts with death each
knife throw. Maybe do you know why she's taken.
Speaker 4 (20:52):
Up with you?
Speaker 3 (20:54):
We're in love, mother, in love. Hazardous as her life
may seem to the public, perhaps it's not dangerous enough
for her.
Speaker 4 (21:04):
I would say, she.
Speaker 3 (21:04):
Needs even more excitement and suspense. Can you imagine what
would happen if Professor de Lacroix.
Speaker 4 (21:11):
Knew of this affair?
Speaker 3 (21:12):
Oh, that has become my nightmare.
Speaker 4 (21:15):
One of those knives could.
Speaker 3 (21:16):
Miss the mark by a fraction of an inch, a
fatal accident, and who could prove it was done on purpose?
Speaker 2 (21:25):
Please?
Speaker 3 (21:26):
Mother, please don't say any more. She touched a nerve.
Is very good at touching exposed nerves, raw, vulnerable, sensitive nerves.
What would he do? What would the professor do if
he found out? Hardly have to guess. He's a proud man,
(21:48):
a man of honor, great dignity. Did I even have
to ask myself? He would kill us both?
Speaker 4 (21:55):
And the terrible thing, the awful situation.
Speaker 3 (21:58):
Was I was in love with her and he had
become my best friend, Mark, my boy. The world is
divided into two camps, the charlatans and the artists. But
not everyone has skilled or talent through but everyone who
lives has life, and life is the greatest art of all.
(22:23):
Without the audience that understands and enjoys, there is no art.
How can there be you you understand the true meaning
of what I do. You appreciate the incredible co ordination.
Doesn't everybody know? Too many it's a trick? Or how
can it be a trick? It's being done in the
open for for all to say, ask and listen to
(22:45):
what so many people say. They think it's done with mirrors,
or it's done with magnet. Oh that's ridiculous, but that's
what they think. Why do you suppose I refuse to
use the blindfold? Do you think it makes a difference
to me? Of course not. But if I did wear
a blindfold, I would only excite the suspicion that it
(23:07):
was a fake, that there were hidden holes or slits,
or that it was made of some transparent material. It's
hard to believe. Well, good morning, Well, it's hardly morning,
Viva darling, it's almost noon.
Speaker 4 (23:19):
Have you, gentlemen, been having another one of your earnest conversations?
Speaker 3 (23:23):
Yes, But I'm afraid, my dear, that you shall have
to entertain young Mark for a bit. I must practice.
You are always practicing. The fact that you live to
say so is eloquent testimony to that fact. You see, Mark,
My genius is due to the fact that I have
been blessed by God and that I practice each day
(23:44):
of the year.
Speaker 4 (23:45):
For hours and hours and hours.
Speaker 3 (23:49):
Well until this evening, Darling, I must talk to you,
you angel, you talk to me every day? Do you
love me? Do you ask? Because I love you? But
I want more?
Speaker 4 (24:06):
Shouldn't love be enough?
Speaker 3 (24:07):
I want you to marry me.
Speaker 4 (24:08):
I'm married to Raoul.
Speaker 3 (24:10):
It's wrong. Why because we love each other? Why should
I love be kept a secret?
Speaker 4 (24:16):
And will our love be stronger, more enduring because everyone
knows about it?
Speaker 3 (24:21):
It's still wrong? We should be married?
Speaker 4 (24:23):
And what about Raoul? Well, I Raoul cannot live without me,
but he spends a little time with you as a man.
But Raoul couldn't survive without me as an artist. Who
else would he get to stand against the board. But no, Darling,
mine is not a job that is filled by an
employment agency or through an ad in the classify. I
(24:45):
understand no, no, you don't. We stand thirty feet apart.
We are eye to ie. He's the thrower, I am
the target. Together we execute a ballet. This is all motion.
Mine is all stillness. No one can throw the knife
(25:06):
the way he can, But no one can stand as
still as I can. Not a muscle twitches, the complete
absence of movement. That is also an art. People like
us are not made, we are born. He could never
find someone like me again. It would be the end
(25:27):
of him as an artist, and therefore the end of
him as a man. A ballet, it's a ballet of death, yes,
of course. And I'm afraid afraid of what? Afraid of? What?
Could Lord tell me? Why are you afraid? And of
what are you afraid?
Speaker 3 (25:43):
Nightmares?
Speaker 5 (25:44):
Mine?
Speaker 4 (25:45):
Nightmare, my darling, Why should you have nightmares?
Speaker 3 (25:49):
I dream that one night, under the hot, bright lights,
perhaps a bead of perspiration might momentarily blind him.
Speaker 4 (25:57):
It doesn't matter. He can throw blindfold watch him carefully,
he closes his eyes before the release.
Speaker 3 (26:03):
Oh, my darling, one day his luck will run out.
Speaker 4 (26:06):
Talk. Oh no, no, don't ever let him hear you
say that word, not you, because it will only tell
him that you don't understand him. It isn't luck, it's skill,
God given skill.
Speaker 3 (26:20):
But no one is perfect.
Speaker 4 (26:21):
He is perfect.
Speaker 3 (26:24):
The two knives he throws to enclose your neck. Yes,
do you realize that the merest fraction of an inch
and an order.
Speaker 4 (26:30):
It can't happen?
Speaker 3 (26:33):
Can you sit there so calmly and say it cannot happen?
I am absolutely safe. Raoul can never miss you. Say
that's so calmly, so matter of fact, as if you're
looking at a clock and announcing the time.
Speaker 4 (26:48):
Hm. The analogy doesn't hold. If I told you the time,
the clock could be wrong. But now Raoul, Raoul is
never wrong. Raoul never missus.
Speaker 3 (27:02):
You. You must know something that I don't know.
Speaker 4 (27:07):
I don't know anything. I'm not a deep person. I'm
not an intellectual. I may not even be intelligent. I
only know what I want to do. And right now
I want to kiss you. Now, I said now, didn't
I here? We're here, aren't we? But Raoul roads in
(27:27):
the next room. Raoul is in another world, Darling.
Speaker 3 (27:33):
You say, row could never miss But suppose, just suppose
he found out about you and me?
Speaker 4 (27:40):
Darling, if it bothers you so much, just make sure
Raoul doesn't find out. And now will you kiss me?
Speaker 5 (27:57):
Well?
Speaker 3 (27:58):
Admit it now, we have a rather cool young lady
on her hands. It would be difficult to imagine a
woman young or old with that much well, as the
French would say, sans foi cold blood, which is a
perplexing situation, since she seems to have so much hot
blood when she's in Marx arms. She's so sure of
(28:21):
herself and of her husband.
Speaker 2 (28:24):
But why.
Speaker 3 (28:27):
The entire third act is dedicated to that question. The
nineteen seventy seven Buick Regal. It comes with Buick's terrific
V six engine. It carries six people, lots of Buick comfort,
it's leave, it's maneuverable in city traffic. It's the most
luxurious mid sized car Buick bills.
Speaker 1 (28:45):
Yeah, this new.
Speaker 3 (28:45):
Regal is pretty much everything a car should be, except
for one thing. It isn't yours yet, but it can be.
Just see your Buick dealer for a test drive. So
(29:12):
we have been presenting for your edification or mystification, a
young lady named Mademoiselle Fifi. She is the wife of
Professor Raoul de Lacroix. She is also the mistress of
mister Mark Harrison. This would hardly be an unusual situation
if Professor de Lacroix were some musty, dryest dust or pedagogue.
(29:33):
Not so. Our professor is a handsome, vigorous man of forty.
He is also a professional knife flower. She acts as
his target. Wouldn't you suppose that she should be the
last woman in the world to be unfaithful to her husband?
Speaker 4 (29:49):
Will I see you tomorrow, Mark Darling?
Speaker 3 (29:52):
I cannot keep coming here every day? What would her
husband think? Why are you so worried about Raoul? The
way you ask that question, one would never believe that
Raoul holds your life in his hands every evening. If
I keep coming here every day, won't Graoul become suspicious?
Speaker 4 (30:12):
I don't think so. Will you say that.
Speaker 3 (30:17):
The way you smile when you say that it's too
much for me?
Speaker 4 (30:22):
If I'm too much for you, maybe you'd better not
see me anymore. Yes, maybe i'd better not very well, goodbye.
Speaker 3 (30:36):
That's best. It's best for both of us, for all
three of us, because it it it can only end
in disaster.
Speaker 4 (30:45):
If you want to leave me, you only have to
say goodbye. There's no need for a great farewell speech.
There's the door, goodbye, goodbye.
Speaker 3 (30:59):
Well, why are you still standing there? I? I I
can't leave you. I love you. It's wrong, but I
love you.
Speaker 4 (31:15):
Then take me in your arms.
Speaker 3 (31:21):
Good morning Mark her, Good morning mother, some breakfast, just coffee?
Oh Mark, you look terrible. Thank you?
Speaker 4 (31:31):
But you don't sleep nights. Maybe I have insomnia. Maybe
you have a guilty conscience.
Speaker 3 (31:37):
Why don't we change the subject. You've already made your
position clear. Do we have to go through it again?
Speaker 4 (31:43):
Yes?
Speaker 3 (31:44):
I know, I know what I'm doing is wrong, but
I I I can't help myself. I try to break
off with her. Every time I see you, I say,
this must be the last time. I must end it.
Speaker 4 (31:55):
Well, why don't you.
Speaker 3 (31:57):
I understand now, I'm me Now. Why how a man
could abandon his family, deceive his employer, even betray his
country for a woman? Oh?
Speaker 4 (32:07):
Mark, aren't you romanticizing?
Speaker 3 (32:09):
Don't say that, mother, or we'll never be able to
talk to each other again. It's it's how I feel.
Let me introduce a new complication. Yesterday afternoon, the two
of you were having lunch tet a tete at an
out of the way country restaurant and motel near the Turntive.
(32:31):
Why are you having me followed?
Speaker 4 (32:32):
That is unworthy of you?
Speaker 3 (32:33):
Mark. The fact was reported to me by an old
friend who happened to be lunching there himself. Very well,
I'm sure we can count on his discretion. The trouble is,
it's not the first I've heard of it. Word is
getting around, gossip is being startled. I know, you know,
I suspect it it would be. And the professor, well,
(32:55):
you don't know him. He lives in an ivory tower, perhaps, Mark,
But sooner or later he will have to find out.
There are enough malicious people in this world who will
make Yes, mother, I.
Speaker 4 (33:06):
Know that, and put a stop to like that.
Speaker 3 (33:09):
Then then reconcile yourself, accept the fact that you will
be the cause of her death. You're right, mother, I
will have to give her up. Yes, I'm giving her up.
(33:30):
How easy it was to say it, How difficult to
do it. I didn't go to the club at night,
I didn't visit the De La club by day. I
did the only thing that would work. I stayed away,
and I did it for a whole week that I know,
Come what may, I couldn't do it any longer. So
(33:51):
I wait one morning, despite every honest attempt and sincere
desire to stop myself, Mark, Mark harrisn't come in.
Speaker 4 (34:05):
Hello, Professor, my dearest friend.
Speaker 3 (34:07):
I haven't seen you, I know. Tell me is everything
in order? Oh? Oh, yes, I think so. I missed you.
I missed you at the performance, and I missed our
little talks. Well, you see, you haven't been a law
Oh no, no. And Fife has missed you too.
Speaker 2 (34:24):
He has.
Speaker 3 (34:25):
Yes, you've been good for her, A young fellow like you,
someone to talk to while I'm busy at practice. How
have you been, Professor? Oh, I'm always the same. I
keep my engine, my nervous engine, constantly tuned, the eye,
the hand, the factors of judgment. All of these form
an incredible machine, and I believe it has a life
(34:48):
of his own. There are times when I'm convinced that
it isn't even subject to my control, because if it were,
then I might yes, and you might oh nothing, nothing,
nothing at all. Perhaps some day I can tell you. Well,
Fifi would be so sorry. She missed you. Isn't she home?
Speaker 1 (35:10):
No?
Speaker 3 (35:10):
No, she said something about what was it. Oh, she
was on the phone and she said she was going shopping. Well,
a shame. It's noon and I have to retire to
my practice room. I understand. I know, I know so
few people do. Promise me you won't be a stranger anymore.
Promise I promise. I had come to see her because
(35:40):
I could no longer keep away. But she wasn't home shopping.
That would mean she'd gone downtown. Now it was noon,
lunch time. I knew there were only two or few
places she cared for. I'd find her and because somewhere
and spend the afternoon together. She would be angry with
me for neglecting her so long, but she'd forgive me.
She'd have to, we all said and time. She loves me,
(36:04):
and she cannot live without me, just just as I
cannot live without her. Darling, Mark, I know where i'd
find you.
Speaker 4 (36:15):
Where have you been?
Speaker 3 (36:17):
It doesn't matter. I am here. Now, come on, let's
tart out to that place in the country. Why, because
I want.
Speaker 4 (36:23):
To take you in my arms tomorrow tomorrow, Yes, and now, darling,
will you excuse yourself?
Speaker 3 (36:31):
I have a date, a date, A date with a man.
Speaker 4 (36:37):
Of course, if it were with a woman, it would
be an appointment.
Speaker 3 (36:43):
You're going out with other men, naturally, naturally, But you're
in love with me, you said, so.
Speaker 4 (36:52):
I'll even say it again. I love you.
Speaker 3 (36:56):
How can you go out with other men? Because you're
very difficult, Mark, so nervous apprehension, filled with so many
fears and worries. And I'll only concern for you, I know,
but it doesn't make you a very satisfactory lover. And
there and therefore you betray me. That's a harsh word.
Speaker 4 (37:14):
Oh hello Martin Darling.
Speaker 3 (37:16):
Angel, Hey Mark, old buddy, and three's a crowd. You're
cheating on me with him.
Speaker 4 (37:26):
I think you had better leave Mark, leave leave you
here with him?
Speaker 3 (37:32):
Come on, Mark, a't you I told you to keep
out of it.
Speaker 4 (37:35):
Hello, p you're behaving like a you, I warn you.
Speaker 3 (37:49):
Professor. Hello Mark, May I come in?
Speaker 5 (37:54):
Well?
Speaker 3 (37:55):
Of course? Sure, won't you sit sit down? I've come
here to your home to thank you, thank me. Why
why would you want to thank me? Come now, Mark,
it's in the open at last, it's in the open
between us. Oh, professor, Please please allow me to tell you.
(38:17):
I mean I couldn't help myself. No, no, no, let
me talk your bold, gallant and a true devoted friend, Professor.
If you walked into that restaurant you saw them sitting there,
it was obviously a rendezvous, a tete a tete. You
could see they will love her, Professor, you must allow
me to tell you the truth. And because you are
(38:39):
my loyal friend, you became enraged at her dishonesty, of
her unfaithfulness, and so you attacked him. What is that?
What you think, poor Mark, If only you had known
the truth. She is the face of an angel and
the morals of a slut. Do you think this Morton,
(39:03):
whatever his name is, is her first one, her only one.
She picks up a lover as often and as casually
as you or I might pick up a cigar. You
you know this, I've always known it. How I despise
that woman, that common tramp, Professor, You have no idea
(39:25):
how I yearn to kill her. You want to kill
her day and night. I can think of nothing else.
Not because she has betrayed me, Not because she lusts
after other men. Oh no, that's her nature. She can't
help it. And why it's that smile, that evil smile
(39:46):
that says here I stand, kill me, kill me if
you dare for that. She deserves to die. That is
a crime. But you could kill her any more, use,
my young friend, It would be so simple, so easy,
A mistake of less than a quarter of an inch,
and I could sever the jugular, The blood would spurt
(40:08):
out two three brilliant crimson jets, and all would be over,
and I would have my revenge. True, true, Yes, that
absolutely no risk to myself. An accident, bad luck, a
mistake that could occur in our business. And so now
(40:29):
you may ask why don't I do it? It's because you're
too decent to kind nonsense. I don't do it because
I can't do it. You you can't do it. Don't
you think I try every night with each knife I throw.
(40:52):
Don't you think I longed to wend her life? Don't
you think I want to make that quarter inch mistake? Then?
Why why don't? Because I can't. I cannot because my
hand refuses to obey me. I don't understand. But she understands.
She knows why the knife can never pierce her heart.
(41:14):
That's why she stands there and smiles her evil smile.
She knows me. She knows the secret of my heart.
She knows what a faultless machine I've become. She knows
that I'm a true artist, that my hand, my brain,
my eye will not permit me to make a mistake.
And so she stands there and laughs at me, laughs
(41:36):
at me, laughs at me. That night I went to
the gilded cage. I watched Fifi's smile, and I saw
the agony on Ralph's face. Suddenly I couldn't long a
(42:00):
look at the act. Instead, I let my eyes roam
around the room, and here and there I saw men
sitting at tables, and they they weren't looking either. And
then I knew. I knew that they too were in
on the secret, and that all of us were members
(42:21):
of a club. We had come here not to see
an act, but to see a murder. Yes, Professor de
Laqua is a magnificent machine, but he is also human,
and one day, one day, they will breathe the slightest malfunction.
The machine will make the slightest miscalculation. It only needs
(42:43):
what a quarter a sixteenth of an inch? My good friends,
I am about to throw the final knife, which will
be placed under Mademoiselle Fifi's left arm, in her direct
fine with her adorable heart. The final knife. Will it
(43:13):
be this one? This is what the members of the
club have come to see.
Speaker 1 (43:18):
Well, if you were told that there was.
Speaker 3 (43:20):
Going to be a murder at such and such a time,
at such and such a place, and absolutely nothing could
be done to stop it. Would you go to see it?
Think about it?
Speaker 2 (43:32):
What's for dinner?
Speaker 3 (43:34):
Has an all famili your name?
Speaker 1 (43:37):
Where does a mother boat for the rest of everything?
What's for dinner?
Speaker 3 (43:44):
The family wants to know.
Speaker 2 (43:47):
Who's got the answers, who's got the most to show shop.
Speaker 3 (43:52):
With its shop Right as everything to need raentertaining for
family get togethers or for those many everyday meals. Lean
Savory Fresh Hands Shang half ninety nine cents a bound,
but half a dollar ninety pound Shopwright Mixers, ginger Ale
(44:14):
Club Seltzer twenty eight ounce bottles five for ninety nine cents.
Stop up for lots of sandwich making too, Shop Right
White Bread twenty ounce loaves three for eighty nine cents.
Check your nearby Shopwright for holidays, store hours, and from
everyone at Shopwright to you and your family a very
happy and healthy New Year. Would you buy an imitation
when you can get the original? The genuine well, of course,
(44:36):
not Crackus and Atalanta brands. The originals are genuine imported
Polish Hams. They're available at your favorite Grosser supermarket or
butcher Crackus and Atalanta, the original brands, are the only
brands of imported Polish Hams to carry both a Good
Housekeeping Seal and the Parents' Magazine Seal of Approval. Insist
on the best for your money, fine lean grate eating
(44:58):
Crackus or Atalanta brands of genuine imported Polish ham in two, three,
five or seven pound take home sizes. You can also
buy these fine hams sliced from larger sizes at your
dully counter. Cracus and Adalatta polish Hams have been imported
for more than twenty five years by New York Commodities Corporation,
New York, available at all Shopwright Supermarkets.
Speaker 2 (45:20):
Hi, Ben, do you own this prinship?
Speaker 3 (45:22):
Yes, I've always owned my own business. If you would
have a faithful servant serve yourself.
Speaker 7 (45:27):
I always say, then you may be interested in the
Franklin Savings Bank Kyo Plan. It's a retirement plan for
anyone who's self employed or owns an unincorporated business.
Speaker 3 (45:36):
Well, thanks for the council, Sun, but I've already begun
saving for my retirement.
Speaker 2 (45:41):
For really where my mattress?
Speaker 7 (45:43):
But then at the Franklin Savings Bank you'd be earning
high interest, you could even double your money in ten years.
Speaker 3 (45:49):
Well, at that bank of yours money really bigots money,
doesn't it.
Speaker 1 (45:52):
Uh huh?
Speaker 3 (45:53):
Yes, Well with all that money, i'd be smartly taxed.
Speaker 2 (45:56):
Yes, Ben, indeed you would.
Speaker 7 (45:57):
But at the Franklin Savings Bank, all keyod deposits and
earnings are tax deferred until you retire.
Speaker 2 (46:03):
Now will you take my advice?
Speaker 3 (46:04):
Oh? I see what you mean. He that won't be
counseled can't be helped. Where can I open my.
Speaker 7 (46:09):
Kyo plan at any of our thirteen convenient offices the
Franklin Savings Bank with over a billion dollars on deposit.
Speaker 2 (46:16):
Remember fd I c.
Speaker 4 (46:20):
Y you stay backwards?
Speaker 8 (46:22):
Oh it's you stays backwards.
Speaker 9 (46:29):
Oh ache into meal jo ferina hro quick o h
H hot breakfast on a code is a poof that's
(46:51):
super spelled backwards.
Speaker 8 (46:53):
So Mom makes esteaming mose of h O in stabia
with raisins and spices other flavors. But that's my favorite
tusday hot war and you've got a delicious breakfast in seconds.
Mom loves h O INSTI mere cross. It's nutritious, but
I love it crost its soup Marx. That's gross spelled
(47:14):
that word.
Speaker 3 (47:27):
We have been listening to a story about possession. Possession
seems to be a popular topic for entertainment these days,
but it's somewhat misunderstood. We tend to think of possession
as the intrusion of demons or devils into our body
or soul, but actually each one of us is possessed.
(47:47):
We are possessed by what we are, by how we
have been trained, We respond to a lifetime's experience. We
are what we have become. The Long Way, the Hard Way.
Our cast included Michael Wager, Patricia Elliot, Court Benson, and
Anne Potoniac. The entire production was under the direction of
(48:11):
Hyman Brown and now a preview of our next tale.
Speaker 4 (48:18):
No No, I'll see you out, mister Clark, Hi Lollard.
Speaker 10 (48:21):
Well, thank you, but I'm not John Clock anymore. I'm
just the bookkeeper introducing your people to the great Man.
Fisher insists that we maintain the image. Mister Clark, this
is Pete Pine who wants your vibes on his tape recorder.
Speaker 3 (48:41):
Not applying to He's getting faulks.
Speaker 4 (48:43):
Mister Clark has got to get off the planet this
afternoon and this.
Speaker 3 (48:47):
Is what's your Name's?
Speaker 2 (48:49):
Eric?
Speaker 3 (48:50):
Mister Clark likes to know people's names.
Speaker 5 (48:52):
Yep, what.
Speaker 1 (48:56):
What cougar? Couger her cooker? You murdering.
Speaker 3 (49:03):
I've been waiting for this. I've been hunting you for
ten years. Missus E. G. Marshall inviting you to return
to our Mystery Theater for another adventure in the macabre.
Until next time, pleasant dream. Tonight's WR Mystery Theater was
(50:06):
also brought to you in part by shaw Wright Supermarkets,
where you get a lot more for a little less.
The preceding program is furnished by CBS Radio.
Speaker 11 (50:15):
This is Rosemary Pooler of the State Consumer Protection Board.
If there's a mistake on your credit card bill and
you can't get it straightened out, write the card company
a letter and send it by certified mail. Keep a
copy for your records. Credit card companies must resolve problems
with your bills in ninety days, but only if you
(50:36):
write the company a letter. A call to the numbers
they list on your bill won't do the trick. Only
a letter protects your rights.
Speaker 3 (50:45):
This is WR New York and RKO General Station. It's
eight o'clock.
Speaker 12 (50:48):
Here's John Scott, Mayor Beam is pleased with this meeting
with President elect Carter. Alex Rose of the Liberal Party
and phil Islin of the New York Jets are dead
in New York York City stock market break through one
thousand on the Dow Industrial Average. It's twenty five degrees
in cloudy mid Manhattan. The man says, cloudy and cold tonight,
(51:08):
with occasional light.
Speaker 2 (51:09):
Snow or snow flurries likely.
Speaker 5 (51:11):
This is John Scott with.
Speaker 12 (51:12):
The eight o'clock edition of the News. It was a
rewarding trip to Georgia for New York state and city officials.
When it was over, one commented that New York City
has been welcomed back into the Union by governor by
President elect Carter. WRS Bob Briddy has the story.
Speaker 13 (51:27):
Mayor Beam came back to New York with a promise
from a president like Jimmy Carter, new York City will
not be allowed to go into bankruptcy. Present Elect Carter
deiterated the fact that he's a ship with New York City.
Speaker 14 (51:39):
He's not going to let New York City down the
banks city.
Speaker 5 (51:44):
It was not to him.
Speaker 3 (51:46):
A viable alternative.
Speaker 14 (51:49):
If the city needed the money, there would be a
way which we would be helped by the federal government,
and he's asked the Treasury Secretary.
Speaker 1 (52:01):
Discussed this with us.
Speaker 14 (52:02):
Time come up with some kind of a program within
the next sixty to ninety days.
Speaker 13 (52:08):
Jim says he promised Carter the city would have a
balanced budget next year, then turned over a list of
recommendations for federal administrative changes that would financially aid the city,
including revision of the Mitchellama housing program.
Speaker 3 (52:21):
For wr News Bob Brady reporting, Carter.
Speaker 12 (52:24):
Says he'll meet next week with key members of Congress
on his economic recovery program.
Speaker 2 (52:28):
He said a tax cut is, in his words, a
likely part of that program. Two well known New Yorkers
die today.
Speaker 12 (52:34):
Phil Islnd died of a heart attack at the age
of seventy four in the office of the New York Jets,
which he owned, and Alex Rose, Liberal Party leader, died
in his home at the age of seventy eight of
an undisclosed disease. New York City's only Liberal councilman, Manhattan's
Henry Stern, was asked about Alex Rose by W. R. S.
Speaker 2 (52:51):
Lester Smith.
Speaker 15 (52:52):
Here was this man who is a giant in politics
and towered above the leaders of the major parties, yet
his own party was really quite small.
Speaker 3 (53:03):
What did Alex Rose mean to politics in New York
City and for that matter of New York State.
Speaker 15 (53:07):
Well, he symbolized for forty years a strong moral commitment.
It's a good government pursuing the right thing to progressive causes.
And that's why he survived. There's no other political leader
of the thirties who stayed in power. Most of them
were dead, disgraced, indicted long ago. But Alex Rose and
(53:32):
stayed honest and stayed clean. And there's something very special
about him that was different, because even whether his candidates
won or lost next year, you'd always have to deal
with Alex and his maral luster would always be there
cause even if he went down, he'd go down in
a good cause.
Speaker 12 (53:53):
The skipper of the ill fated tanker, Argo Merchant, told
the investigators today he thought he was in safe water
when the Librarian tanker went aground off the New England coast.
On December fifteenth, Captain Georgio's Papadopolis testified at a New
York Federal court hearing. He said he was getting radio
direction finder bearings had put him in safe water until
shortly before the tanker went aground off Nantucket Island. The
(54:13):
wreck ship later spilled more than seven and a half
million gallons of oil into the Atlantic.
Speaker 2 (54:18):
The captain told the hearing he.
Speaker 12 (54:19):
Couldn't say whether the fault lay with the equipment or
the operator. Attorneys for the Continental Insurance Company, which had
written more than two million dollars in coverage on the
ship's cargo, are seeking to establish that the argo merchant
was not seaworthy. Meanwhile, the Coast Guard says oil from
another ruptured tanker, this one on the Delaware River, is
washing ashore along river beaches in New Jersey, Delaware.
Speaker 2 (54:39):
And Pennsylvania.
Speaker 12 (54:41):
The Civil Aeronautics Board says President Ford has blocked a
major CAAB proposal to provide airline passenger service from twelve
US cities to Europe. The plan would have given eleven
of the twelve cities their first transatlantic routes. In his decision,
mister Ford said not enough consideration had been given to
economic matters or the wishes of foreign countries in proposing
the new roots. A Pentagon spokesman says the Navy has
(55:04):
ordered a halt in payments on an eighty two million
dollar contract to Raytheon Company for production of the Sparrow
air to wear a missile. This in an effort to
avoid breaking the law Congress decreed earlier this year that
procurement of the missile must come only after the Defense
Secretary has certified that is combat ready, but Secretary Donald
Rumsfeld has not yet done so. The Navy last month
(55:25):
authorized Raytheon to start production of the Sparrow despite the
lack of certification. President Ford says the Justice Department has
started the process of looking into amnesty for Vietnam era
draft dodgers. Mister Ford, vacationing at Vail, Colorado, has been
repeatedly quizzed about its promise to the widow of Michigan
Senator for the Part that he would consider blanket amnesty
(55:46):
before leaving office. The Wor News time it's now five
minutes past eight.
Speaker 1 (55:53):
It brings up.
Speaker 5 (56:01):
You want.
Speaker 1 (56:04):
Bachmans right now? Bachman and Canada Dry have keemed up
to save you money.
Speaker 12 (56:24):
Bachman Jack's Cheese twists and extra thin pretzels and six.
Speaker 2 (56:27):
Or eight packs have featured.
Speaker 12 (56:28):
Canada Dry beverages will carry coupon's good for twenty five
cents off each other's products. Look for details on both
and say fifty cents, so
Come in.
Speaker 2 (00:18):
Welcome.
Speaker 3 (00:20):
I'm e. G. Marshall. It is said that opportunity is
like a knife. It can serve or sever our hopes,
depending on whether it is seized by the blade or
the handle. The knife Mankind's first invention and symbol of
our dual nature. The assassin uses it to kill the surgeon,
(00:45):
to kill it, the same edge, the same point, the
same steel. Our mystery drama The Artist was especially adapted
from the Guidemopason classic for the Mystery Theater by Sam
Dan stars Michael Wager. It is sponsored in part by
Buick Motor Division. I'll be back shortly with Act one.
(01:07):
The standard engine is a V eight standard Taze steel
belt of radios. There are front and rear stabilizer bars,
special springs and shock valley, fast ratio posteering and a
rally steering wheel. What makes all this interesting is that
it belongs to a full sized six passenger Buick, the
nineteen seventy seven La Saber Sport Coup. You'll have to
(01:28):
drive it to believe it. When we think of Romance,
we dream of young lovers Romeo and Juliet. Who wants
(01:52):
to know about men and women who grow old together
in contentment and tranquility give us the flaming passion of youth.
M that is what our story is all about. That
thwack you hear is the sound of a large knife
with a meal point and a murderous edge being thrown
(02:13):
against a board by Professor Raoul de Lacroix. Standing against
the board is Mademoiselle Fifi, charming young lady with the
face of an angel and the nerve of a devil.
Because the Professor, from a distance of thirty feet, is
outlining her body with those deadly knives of his. The
(02:34):
slightest mistake, the tiniest error of judgment, can mean serious
injury or sudden death for Mademoiselle Fifi, But Professor de
Laquix never makes mistakes, which is why he has paid
fabulous fees to perform in the most exclusive nightclubs. My
good friends, I am about to throw the final knife,
(02:56):
which will be placed under Mademoiselle Fifee's arm on a
direct line with her adorable heart. I ask you this,
when it is done, please do not applaud for what
we perform. This night is not an act, but a
ceremony that celebrates the ultimate faith that one human being
can have in another Are you ready, my.
Speaker 4 (03:18):
Beloved, already, my darling?
Speaker 3 (03:21):
Oh yes, in the event you may not have known,
Mademoiselle Fife is my wife.
Speaker 5 (03:27):
And so.
Speaker 3 (03:29):
Now I didn't applaud, nor did anyone else in that audience.
We watched that shining, murderous knife spin easily from his fingers,
describe a graceful arc, and come to rest, quivering in
the board, as close to her body as it could
get without piercing skin or drawing blood. We sat in shock, silence,
(03:53):
as we might in a church, in silence and in awe,
not only of his almost supernatural skill, but also because
of a smile on her face, the almost supremely confident
smile I have ever seen. My name is Mark Harrison,
(04:14):
and my entire life has been changed just because I
happened to see a knife throwers act in an expensive
night spot, and now I'm trying to make it all
come together. Morning, mother, are you just getting down to breakfast? Mark?
I must have overslept so.
Speaker 4 (04:33):
You'd be late for work again.
Speaker 3 (04:36):
Really, Mark, you own the plant. You should set an example.
Speaker 5 (04:40):
Mother.
Speaker 3 (04:41):
I don't know the first thing about business. I don't
care to learn. And as long as we have confident
people running the place for us. We'll be fine.
Speaker 4 (04:47):
Oh, how I wish you'd get married.
Speaker 3 (04:48):
I don't know anyone.
Speaker 4 (04:50):
Nonsense. You know plenty of women.
Speaker 3 (04:52):
None of them are what I'm looking for. Oh. Oh,
we've arrived at that stage of the conversation. You say
you haven't found what you're looking for, and I what
are you looking for? Andrew answer, you don't know. I
will go round and round, but that for a while.
All the fact is I do know what I'm looking for. Oh,
(05:13):
when does this happen? Last night? You mean you met
the girl you want to marry. No, no, not exactly,
But I didn't meet the kind of a girl I
want to marry. Well that's progress. Who's the girl? Mademoiselle Fifi,
Mademoiselle Feiffe. Yes, there's a knife throwers act of the
Gilded Cage. He is Professor d'arcoi. Mademoiselle Feffee is the target.
Speaker 4 (05:35):
Oh, I think those things are grouse.
Speaker 3 (05:36):
It's an art, a positive art. The way he places
those knives, I wouldn't be able to look. She stands there,
her life is in his hand, I would imagine. So
the smallest mistake personally, I think the girl is rather
stupid to flirt with death. Why she trusts him?
Speaker 4 (05:52):
That's the understatement of the week.
Speaker 3 (05:54):
Is complete on questioning trust. It's absolute conviction. There's something
so innocent about it, something so pure.
Speaker 5 (06:04):
He is.
Speaker 3 (06:05):
What I saw last night actually touched me to the
very depth of myself. Oh, come, Mark, how else can
I put it? That's what happened, That's how I felt.
Two people so deeply in love, and each evening that
love must hold a confrontation with death.
Speaker 4 (06:23):
Why does she do it?
Speaker 3 (06:25):
It must be glorious to love like that, must be
terrible to love like that. Well, make up your mind.
It's the only way I could ever love. I wish
you'd get married and get rid of all that romantic nonsense.
Those those two indeed a glorified side show performer and
a neurotic girl mother. How can you call her?
Speaker 4 (06:45):
That she flirts with death?
Speaker 1 (06:48):
Why?
Speaker 3 (06:52):
That night and every night I went to the gilded cage,
and I sat there breathless in a mistake?
Speaker 4 (07:00):
How can I say it? Delicious terror?
Speaker 3 (07:04):
As the leaful knives flew through the air and came
to rest against but not in her body, forming a
deadly halo around her. Head, a leafful collar around her neck. Finally,
one evening, scarcely knowing what I was doing, I found
myself backstage at Monsieur de la Croix was dressing room door.
How I got there? I could never tell you. I'm
(07:26):
basically a very shy person, but there I was, and
before I knew it, I had knocked on the door
and it opened. Yes, Oh wish you mister Mark Harrison,
please come in? Do you know my name? Of course?
How I sit down? Sit down, have a drink. Phoebe
(07:46):
Mark is here, how wonderful? Or she's in the other
room changing. How did you know? How did I know
your name? Very simple, my friend, I asked, Why would
you ask? I can't imagine why you should want to
know who I am or care for that matter, Why
have you come to see me? Because I've I've never
(08:09):
been so moved by a performance. M I had to
pay my respect to a great artist and also to
a great artiste. Yes, thank you, but I still don't
understand why should want to find out who I leaves.
Past several weeks, you have become a person of great
importance I haven't to me, But why how a performer
(08:32):
thrills an audience. Oh yes, but it must be a
two way street. You see, the performer is nourished by
the audience. My creative engine runs on electricity, and this
can only come from those who watch and believe. And you,
mister Mark Harrison, of all the believers, you are the
(08:53):
most devout, isn't that so? Yes, night after night I
see you in the audience, watching me as I was
meant to be watched, appreciating my genius for what it is.
And so I made inquiries, And had you not come
to pay your respects to me, I would have come
to pay mine to you. Thank you, Professor de lacla. Ah.
Speaker 4 (09:16):
Oh, darling, we have visitor. I see the charming gentleman
who always sits at the ringside table DV.
Speaker 3 (09:24):
This is mister Mark Harrison. I think your performance is
the most thrilling.
Speaker 4 (09:29):
Ah. In the beginning, it was even more exciting. Raoul
would throw his knives blindfolded, blindfolded, Perhaps you might convince
him to do it again.
Speaker 3 (09:40):
Never, never, No one will ever convince me. But Professor,
how exciting it would be. If would be a false excitement,
it would cheapen my heart. Well, now that we're all friends.
Mister Harrison, you must visit us more often.
Speaker 4 (09:54):
When all day you practice, in the evening you perform,
and at night you must go to bed early.
Speaker 3 (10:00):
His art is a hard mistress as long.
Speaker 4 (10:02):
As art is your only mistress.
Speaker 3 (10:05):
Don't be a stranger, mister Hasn'm Oh no, I won't.
What do you mean, mother? Oh dear, did you have
a hard day at the office. I had a hard
time finding a place to hide. Morton Holmes called you
and and I said you'd call back. Oh why didn't
you say I was in Europe?
Speaker 4 (10:25):
Oh?
Speaker 3 (10:26):
Why, he's not so bad. He probably has another fabulous
blind date land up for me.
Speaker 4 (10:31):
Call him back.
Speaker 3 (10:32):
He may have a nice girl. Morton has nothing to
do with nice girls. Well call him back anyhow, you
have nothing else to do. How do you know the
guilded cage is closed Monday night, so you can't go
see your knife shower?
Speaker 4 (10:46):
Mother, He's not just a knife thrower.
Speaker 3 (10:48):
Whatever. Why don't you call Morton?
Speaker 4 (10:51):
I hope better idea?
Speaker 3 (10:52):
Why don't I just take you.
Speaker 4 (10:53):
To the offlock. I happen to have a date.
Speaker 3 (10:55):
I'm afraid it's Morton or nothing. I can stay home
and read. Oh, oh, come Mark please go out meet people,
all right, But Morton is the biggest waste of time.
Then you should make other friends. Yes, I suppose so,
of course, how long Martin?
Speaker 5 (11:17):
Hey, Mark, get you buddy, listen save my life with you.
Speaker 3 (11:20):
I'd rather not on the level.
Speaker 5 (11:22):
Listen, Sally has a friend.
Speaker 3 (11:24):
Spare me from Sally's friends.
Speaker 4 (11:26):
How do you know, Mark? She may be nice, Morton.
Speaker 5 (11:28):
I'm I don't say you're busy. Your mother already told
me you weren't doing anything.
Speaker 4 (11:32):
Now listen, I listen.
Speaker 5 (11:34):
This is the cute scout you ever saw in your life.
Speaker 3 (11:37):
Yeah, I've heard that build up before. It's French.
Speaker 5 (11:39):
I mean, she speaks perfect English.
Speaker 3 (11:41):
But I look, Morton. The fact that I have a headache.
Speaker 5 (11:45):
She's starting to go up with you?
Speaker 3 (11:47):
Is that a fact? Why she says she knows you?
She knows me? Mark, what have you been keeping from me?
Speaker 4 (11:56):
Stop it?
Speaker 5 (11:57):
And you know her?
Speaker 3 (12:00):
I don't know what you're talking about. Well, now, if
you're an experienced listener, you know what Morton's talking about?
Speaker 1 (12:12):
Or do you?
Speaker 3 (12:13):
Who can this girl be? And when Mark says to Morton,
I don't know what you're talking about, does he really
mean I don't want to know? What you're talking about.
We have a prodigious amount of work to get done
in the second act. How does your laxative work?
Speaker 6 (12:30):
Many brand name laxatives contain ingredients that expand in your stomach.
That's how they work. We know a medicine that works differently.
It's in the x lax pill overnight. The xlax pill
gently stimulates your system's own regular rhythm, stimulates your system
for relief in the morning. No surprises, just relief in
the morning. That's the xlax pill. Try it tonight with
(12:53):
confidence for occasional use only as directed xlax pills.
Speaker 2 (13:04):
What's the big idea?
Speaker 5 (13:08):
A big idea is.
Speaker 3 (13:10):
The story of idea ten idd designed to come through
and many pathy returns for you. Easy chair money another
big idea from Astoria Federal Sit back and relax while
your money's earning you a big five point four to
seven percent a year on your five and a quarter
percent past book savings account, and your money's yours when
(13:32):
you want it with no loss of interest. Astoria has
other big ideas and high yield saving certificates, and every
Astoria account earns the highest rates that law allows. Yes,
big ideas come naturally from the nice people with over
three quarters of a billion dollars behind them. Ten idea designed.
Speaker 1 (13:49):
To come through and many happy returns for you.
Speaker 3 (13:53):
The story, Hi, I got the Christmas pictures back? I
hope you got the star Glossy silk. Glossy silk at
the Photomat store. Glossy costs the same as silk fetish.
That's the thing just side your first argument for the year.
Speaker 4 (14:11):
This photo Maat also made three prints for net once
Sure we do. I would like seven new prints the
middle of this picture.
Speaker 1 (14:16):
Oh you have seven?
Speaker 4 (14:17):
Yes, seven? Your last name right and your first name
snow Huh? Who does your hair?
Speaker 3 (14:21):
Three prints and enlargements are very inexpansive at the photo
Maat store.
Speaker 2 (14:25):
Flag You remember the picture I took of you at Halloween?
Speaker 1 (14:29):
You remember here it is for it.
Speaker 2 (14:33):
That's exactly what the photo make said.
Speaker 3 (14:35):
If you're not happy with any picture we developed.
Speaker 1 (14:36):
We'll buy it back.
Speaker 4 (14:38):
Glossy, Sure we do.
Speaker 3 (14:40):
It's all here at the photo Maat store, the photoat.
Speaker 1 (14:46):
Right now.
Speaker 3 (14:47):
When you bring in a roll of film for developing,
you can buy a replacement roll for half price. That's
good fresh photo Maat color print or slide film half
price at the photo maat store. Truth, as they say,
(15:09):
is stranger than fiction. But why is everybody intrigued by
that concept? What's so surprising about it? Fiction, after all,
is predictable because it must follow strict laws of form.
You who listen to our stories expect us to abide
by certain set rules and conventions. Truth, on the other hand,
has no restrictions. It can meander about as it pleases
(15:33):
without being beholden to anybody, and get itself into the
strangest situations. Well, what we're telling you is a true story.
The girls are waiting for us here in Sally's apartment.
You're in for the surprise of your life.
Speaker 1 (15:49):
Mark Ah, Hello.
Speaker 3 (15:54):
Hello, Pepe.
Speaker 2 (15:56):
You know Mark?
Speaker 4 (15:57):
Of course I know Mark. Sally's inside putting on her makeup.
Speaker 3 (16:00):
Oh why don't I go and check her?
Speaker 4 (16:03):
A splendid idea.
Speaker 3 (16:06):
Well, hello, it can't be you here, touch me?
Speaker 4 (16:12):
I'm real?
Speaker 3 (16:13):
What are you doing here?
Speaker 4 (16:14):
And what are you doing here? I to answer both
our questions. I want to have a little amusement, and
so do you.
Speaker 3 (16:24):
But you're I am married. You're a funny man.
Speaker 4 (16:30):
But I like you.
Speaker 3 (16:31):
I'm afraid I don't understand.
Speaker 4 (16:33):
Oh, come you want me. You wanted me from the
first moment you saw me in the gilded cage. That's
why you kept coming back every night. I said to
my friend Sally, do you know this young man? And
she said, oh, he's a friend of a friend. So
why are we standing here?
Speaker 3 (16:51):
I I don't really think that.
Speaker 4 (16:54):
Why don't you kiss me? You want to kiss me,
don't you look? I I I feel. I mean, I
have definite ideas about what's right and what's and still
you came here.
Speaker 3 (17:13):
I didn't know it would be you.
Speaker 4 (17:15):
Oh, yes, you did. You knew it would be me.
Speaker 3 (17:17):
No, that's not true.
Speaker 1 (17:18):
Oh it's true.
Speaker 4 (17:19):
And something else is also true. There can only be
one moment like this, one moment when I feel this way,
one moment when I want you more than anything or
anyone in the world. If this moment passes, it may
never return. But take me in your arms now, this minute.
Speaker 3 (17:47):
I couldn't help myself. I never felt that way in
my life.
Speaker 5 (17:51):
Is girl?
Speaker 3 (17:53):
Is this woman? She overwhelmed me. It's the only way
I can think of. Suddenly I had no of my
own mind, of my own everything, was overcome by the
desire to hold her, to possess her, she became the
whole world.
Speaker 4 (18:12):
Another cup of coffee.
Speaker 3 (18:14):
Oh no, thanks, mother, I'll be late for work.
Speaker 4 (18:16):
Are late of work? Tell me? How is your affair coming?
Speaker 3 (18:22):
Affair? Now? Don't say the next sentence, what affair?
Speaker 2 (18:26):
Mother?
Speaker 3 (18:26):
What are you talking about?
Speaker 4 (18:28):
You're a love affair?
Speaker 3 (18:29):
Have you been spying on me?
Speaker 4 (18:30):
I would never do a thing like that. I can
tell by your mood, your actions, the little things that
your love. Will you admit that? All right?
Speaker 3 (18:42):
I'll admit it, but grudgingly, mother? What am I supposed
to do? Son?
Speaker 4 (18:48):
Love accelerates.
Speaker 3 (18:50):
Love is not a burden unless, yes, unless, unless it's
an affair with.
Speaker 4 (18:57):
A married woman.
Speaker 3 (19:00):
Have I guessed it? You don't have to answer. Then,
instead of an innocent joy, love becomes a guilty secret.
Speaker 4 (19:10):
What's her name? You see? You keep it even from me.
I'm old enough to manage my own affairs, of course,
and you're also old enough to be happy.
Speaker 3 (19:20):
I'm want to be late for the office. You are
not going to the office.
Speaker 4 (19:23):
I don't want to discuss it.
Speaker 3 (19:24):
I must say when you kick over the traces. You
don't do things by halves, quiet, shy, bashful Mark finally
has an affair whith of all women a knife flowers.
Speaker 4 (19:36):
The system, Mother, this is monstrous.
Speaker 3 (19:38):
Why how could you know who she is? Unless you
hide a detective? Well, you kept talking about that knife throw.
He's more than just a knife flower.
Speaker 4 (19:47):
Yes, he is a man you have betrayed.
Speaker 3 (19:49):
Don't say that. If I don't say it, will that
change anything? How did you find out? I had my
best friend, Judge car wouldn't take me to the Gilded
Cage one night.
Speaker 4 (19:58):
You didn't see us.
Speaker 3 (19:59):
You had eyes from no one but the breathtaking Mademoiselle Fefe.
It was obvious, obvious.
Speaker 4 (20:06):
Perhaps it was only obvious to me. I agree with you.
The man's a genius, an artist. It just happens.
Speaker 3 (20:11):
I don't care for his art, but that's not the issue.
The girl, however, is obvious. She's what I said, She
was a tart. Now, Mother, don't please let me finish.
Speaker 4 (20:24):
Mark is all kinds of flirting.
Speaker 3 (20:26):
There's a sort that's done in all innocence, the lighthearted,
non serious, playful little game that always ends.
Speaker 4 (20:32):
However, before any points to mother, I have had enough
of this.
Speaker 3 (20:37):
Mademoiselle Fife flirts because she must is what brings excitement, and.
Speaker 4 (20:42):
For all I know, even meaning to her life.
Speaker 3 (20:43):
That is ridiculous. Every night she flirts with death each
knife throw. Maybe do you know why she's taken.
Speaker 4 (20:52):
Up with you?
Speaker 3 (20:54):
We're in love, mother, in love. Hazardous as her life
may seem to the public, perhaps it's not dangerous enough
for her.
Speaker 4 (21:04):
I would say, she.
Speaker 3 (21:04):
Needs even more excitement and suspense. Can you imagine what
would happen if Professor de Lacroix.
Speaker 4 (21:11):
Knew of this affair?
Speaker 3 (21:12):
Oh, that has become my nightmare.
Speaker 4 (21:15):
One of those knives could.
Speaker 3 (21:16):
Miss the mark by a fraction of an inch, a
fatal accident, and who could prove it was done on purpose?
Speaker 2 (21:25):
Please?
Speaker 3 (21:26):
Mother, please don't say any more. She touched a nerve.
Is very good at touching exposed nerves, raw, vulnerable, sensitive nerves.
What would he do? What would the professor do if
he found out? Hardly have to guess. He's a proud man,
(21:48):
a man of honor, great dignity. Did I even have
to ask myself? He would kill us both?
Speaker 4 (21:55):
And the terrible thing, the awful situation.
Speaker 3 (21:58):
Was I was in love with her and he had
become my best friend, Mark, my boy. The world is
divided into two camps, the charlatans and the artists. But
not everyone has skilled or talent through but everyone who
lives has life, and life is the greatest art of all.
(22:23):
Without the audience that understands and enjoys, there is no art.
How can there be you you understand the true meaning
of what I do. You appreciate the incredible co ordination.
Doesn't everybody know? Too many it's a trick? Or how
can it be a trick? It's being done in the
open for for all to say, ask and listen to
(22:45):
what so many people say. They think it's done with mirrors,
or it's done with magnet. Oh that's ridiculous, but that's
what they think. Why do you suppose I refuse to
use the blindfold? Do you think it makes a difference
to me? Of course not. But if I did wear
a blindfold, I would only excite the suspicion that it
(23:07):
was a fake, that there were hidden holes or slits,
or that it was made of some transparent material. It's
hard to believe. Well, good morning, Well, it's hardly morning,
Viva darling, it's almost noon.
Speaker 4 (23:19):
Have you, gentlemen, been having another one of your earnest conversations?
Speaker 3 (23:23):
Yes, But I'm afraid, my dear, that you shall have
to entertain young Mark for a bit. I must practice.
You are always practicing. The fact that you live to
say so is eloquent testimony to that fact. You see, Mark,
My genius is due to the fact that I have
been blessed by God and that I practice each day
(23:44):
of the year.
Speaker 4 (23:45):
For hours and hours and hours.
Speaker 3 (23:49):
Well until this evening, Darling, I must talk to you,
you angel, you talk to me every day? Do you
love me? Do you ask? Because I love you? But
I want more?
Speaker 4 (24:06):
Shouldn't love be enough?
Speaker 3 (24:07):
I want you to marry me.
Speaker 4 (24:08):
I'm married to Raoul.
Speaker 3 (24:10):
It's wrong. Why because we love each other? Why should
I love be kept a secret?
Speaker 4 (24:16):
And will our love be stronger, more enduring because everyone
knows about it?
Speaker 3 (24:21):
It's still wrong? We should be married?
Speaker 4 (24:23):
And what about Raoul? Well, I Raoul cannot live without me,
but he spends a little time with you as a man.
But Raoul couldn't survive without me as an artist. Who
else would he get to stand against the board. But no, Darling,
mine is not a job that is filled by an
employment agency or through an ad in the classify. I
(24:45):
understand no, no, you don't. We stand thirty feet apart.
We are eye to ie. He's the thrower, I am
the target. Together we execute a ballet. This is all motion.
Mine is all stillness. No one can throw the knife
(25:06):
the way he can, But no one can stand as
still as I can. Not a muscle twitches, the complete
absence of movement. That is also an art. People like
us are not made, we are born. He could never
find someone like me again. It would be the end
(25:27):
of him as an artist, and therefore the end of
him as a man. A ballet, it's a ballet of death, yes,
of course. And I'm afraid afraid of what? Afraid of? What?
Could Lord tell me? Why are you afraid? And of
what are you afraid?
Speaker 3 (25:43):
Nightmares?
Speaker 5 (25:44):
Mine?
Speaker 4 (25:45):
Nightmare, my darling, Why should you have nightmares?
Speaker 3 (25:49):
I dream that one night, under the hot, bright lights,
perhaps a bead of perspiration might momentarily blind him.
Speaker 4 (25:57):
It doesn't matter. He can throw blindfold watch him carefully,
he closes his eyes before the release.
Speaker 3 (26:03):
Oh, my darling, one day his luck will run out.
Speaker 4 (26:06):
Talk. Oh no, no, don't ever let him hear you
say that word, not you, because it will only tell
him that you don't understand him. It isn't luck, it's skill,
God given skill.
Speaker 3 (26:20):
But no one is perfect.
Speaker 4 (26:21):
He is perfect.
Speaker 3 (26:24):
The two knives he throws to enclose your neck. Yes,
do you realize that the merest fraction of an inch
and an order.
Speaker 4 (26:30):
It can't happen?
Speaker 3 (26:33):
Can you sit there so calmly and say it cannot happen?
I am absolutely safe. Raoul can never miss you. Say
that's so calmly, so matter of fact, as if you're
looking at a clock and announcing the time.
Speaker 4 (26:48):
Hm. The analogy doesn't hold. If I told you the time,
the clock could be wrong. But now Raoul, Raoul is
never wrong. Raoul never missus.
Speaker 3 (27:02):
You. You must know something that I don't know.
Speaker 4 (27:07):
I don't know anything. I'm not a deep person. I'm
not an intellectual. I may not even be intelligent. I
only know what I want to do. And right now
I want to kiss you. Now, I said now, didn't
I here? We're here, aren't we? But Raoul roads in
(27:27):
the next room. Raoul is in another world, Darling.
Speaker 3 (27:33):
You say, row could never miss But suppose, just suppose
he found out about you and me?
Speaker 4 (27:40):
Darling, if it bothers you so much, just make sure
Raoul doesn't find out. And now will you kiss me?
Speaker 5 (27:57):
Well?
Speaker 3 (27:58):
Admit it now, we have a rather cool young lady
on her hands. It would be difficult to imagine a
woman young or old with that much well, as the
French would say, sans foi cold blood, which is a
perplexing situation, since she seems to have so much hot
blood when she's in Marx arms. She's so sure of
(28:21):
herself and of her husband.
Speaker 2 (28:24):
But why.
Speaker 3 (28:27):
The entire third act is dedicated to that question. The
nineteen seventy seven Buick Regal. It comes with Buick's terrific
V six engine. It carries six people, lots of Buick comfort,
it's leave, it's maneuverable in city traffic. It's the most
luxurious mid sized car Buick bills.
Speaker 1 (28:45):
Yeah, this new.
Speaker 3 (28:45):
Regal is pretty much everything a car should be, except
for one thing. It isn't yours yet, but it can be.
Just see your Buick dealer for a test drive. So
(29:12):
we have been presenting for your edification or mystification, a
young lady named Mademoiselle Fifi. She is the wife of
Professor Raoul de Lacroix. She is also the mistress of
mister Mark Harrison. This would hardly be an unusual situation
if Professor de Lacroix were some musty, dryest dust or pedagogue.
(29:33):
Not so. Our professor is a handsome, vigorous man of forty.
He is also a professional knife flower. She acts as
his target. Wouldn't you suppose that she should be the
last woman in the world to be unfaithful to her husband?
Speaker 4 (29:49):
Will I see you tomorrow, Mark Darling?
Speaker 3 (29:52):
I cannot keep coming here every day? What would her
husband think? Why are you so worried about Raoul? The
way you ask that question, one would never believe that
Raoul holds your life in his hands every evening. If
I keep coming here every day, won't Graoul become suspicious?
Speaker 4 (30:12):
I don't think so. Will you say that.
Speaker 3 (30:17):
The way you smile when you say that it's too
much for me?
Speaker 4 (30:22):
If I'm too much for you, maybe you'd better not
see me anymore. Yes, maybe i'd better not very well, goodbye.
Speaker 3 (30:36):
That's best. It's best for both of us, for all
three of us, because it it it can only end
in disaster.
Speaker 4 (30:45):
If you want to leave me, you only have to
say goodbye. There's no need for a great farewell speech.
There's the door, goodbye, goodbye.
Speaker 3 (30:59):
Well, why are you still standing there? I? I I
can't leave you. I love you. It's wrong, but I
love you.
Speaker 4 (31:15):
Then take me in your arms.
Speaker 3 (31:21):
Good morning Mark her, Good morning mother, some breakfast, just coffee?
Oh Mark, you look terrible. Thank you?
Speaker 4 (31:31):
But you don't sleep nights. Maybe I have insomnia. Maybe
you have a guilty conscience.
Speaker 3 (31:37):
Why don't we change the subject. You've already made your
position clear. Do we have to go through it again?
Speaker 4 (31:43):
Yes?
Speaker 3 (31:44):
I know, I know what I'm doing is wrong, but
I I I can't help myself. I try to break
off with her. Every time I see you, I say,
this must be the last time. I must end it.
Speaker 4 (31:55):
Well, why don't you.
Speaker 3 (31:57):
I understand now, I'm me Now. Why how a man
could abandon his family, deceive his employer, even betray his
country for a woman? Oh?
Speaker 4 (32:07):
Mark, aren't you romanticizing?
Speaker 3 (32:09):
Don't say that, mother, or we'll never be able to
talk to each other again. It's it's how I feel.
Let me introduce a new complication. Yesterday afternoon, the two
of you were having lunch tet a tete at an
out of the way country restaurant and motel near the Turntive.
(32:31):
Why are you having me followed?
Speaker 4 (32:32):
That is unworthy of you?
Speaker 3 (32:33):
Mark. The fact was reported to me by an old
friend who happened to be lunching there himself. Very well,
I'm sure we can count on his discretion. The trouble is,
it's not the first I've heard of it. Word is
getting around, gossip is being startled. I know, you know,
I suspect it it would be. And the professor, well,
(32:55):
you don't know him. He lives in an ivory tower, perhaps, Mark,
But sooner or later he will have to find out.
There are enough malicious people in this world who will
make Yes, mother, I.
Speaker 4 (33:06):
Know that, and put a stop to like that.
Speaker 3 (33:09):
Then then reconcile yourself, accept the fact that you will
be the cause of her death. You're right, mother, I
will have to give her up. Yes, I'm giving her up.
(33:30):
How easy it was to say it, How difficult to
do it. I didn't go to the club at night,
I didn't visit the De La club by day. I
did the only thing that would work. I stayed away,
and I did it for a whole week that I know,
Come what may, I couldn't do it any longer. So
(33:51):
I wait one morning, despite every honest attempt and sincere
desire to stop myself, Mark, Mark harrisn't come in.
Speaker 4 (34:05):
Hello, Professor, my dearest friend.
Speaker 3 (34:07):
I haven't seen you, I know. Tell me is everything
in order? Oh? Oh, yes, I think so. I missed you.
I missed you at the performance, and I missed our
little talks. Well, you see, you haven't been a law
Oh no, no. And Fife has missed you too.
Speaker 2 (34:24):
He has.
Speaker 3 (34:25):
Yes, you've been good for her, A young fellow like you,
someone to talk to while I'm busy at practice. How
have you been, Professor? Oh, I'm always the same. I
keep my engine, my nervous engine, constantly tuned, the eye,
the hand, the factors of judgment. All of these form
an incredible machine, and I believe it has a life
(34:48):
of his own. There are times when I'm convinced that
it isn't even subject to my control, because if it were,
then I might yes, and you might oh nothing, nothing,
nothing at all. Perhaps some day I can tell you. Well,
Fifi would be so sorry. She missed you. Isn't she home?
Speaker 1 (35:10):
No?
Speaker 3 (35:10):
No, she said something about what was it. Oh, she
was on the phone and she said she was going shopping. Well,
a shame. It's noon and I have to retire to
my practice room. I understand. I know, I know so
few people do. Promise me you won't be a stranger anymore.
Promise I promise. I had come to see her because
(35:40):
I could no longer keep away. But she wasn't home shopping.
That would mean she'd gone downtown. Now it was noon,
lunch time. I knew there were only two or few
places she cared for. I'd find her and because somewhere
and spend the afternoon together. She would be angry with
me for neglecting her so long, but she'd forgive me.
She'd have to, we all said and time. She loves me,
(36:04):
and she cannot live without me, just just as I
cannot live without her. Darling, Mark, I know where i'd
find you.
Speaker 4 (36:15):
Where have you been?
Speaker 3 (36:17):
It doesn't matter. I am here. Now, come on, let's
tart out to that place in the country. Why, because
I want.
Speaker 4 (36:23):
To take you in my arms tomorrow tomorrow, Yes, and now, darling,
will you excuse yourself?
Speaker 3 (36:31):
I have a date, a date, A date with a man.
Speaker 4 (36:37):
Of course, if it were with a woman, it would
be an appointment.
Speaker 3 (36:43):
You're going out with other men, naturally, naturally, But you're
in love with me, you said, so.
Speaker 4 (36:52):
I'll even say it again. I love you.
Speaker 3 (36:56):
How can you go out with other men? Because you're
very difficult, Mark, so nervous apprehension, filled with so many
fears and worries. And I'll only concern for you, I know,
but it doesn't make you a very satisfactory lover. And
there and therefore you betray me. That's a harsh word.
Speaker 4 (37:14):
Oh hello Martin Darling.
Speaker 3 (37:16):
Angel, Hey Mark, old buddy, and three's a crowd. You're
cheating on me with him.
Speaker 4 (37:26):
I think you had better leave Mark, leave leave you
here with him?
Speaker 3 (37:32):
Come on, Mark, a't you I told you to keep
out of it.
Speaker 4 (37:35):
Hello, p you're behaving like a you, I warn you.
Speaker 3 (37:49):
Professor. Hello Mark, May I come in?
Speaker 5 (37:54):
Well?
Speaker 3 (37:55):
Of course? Sure, won't you sit sit down? I've come
here to your home to thank you, thank me. Why
why would you want to thank me? Come now, Mark,
it's in the open at last, it's in the open
between us. Oh, professor, Please please allow me to tell you.
(38:17):
I mean I couldn't help myself. No, no, no, let
me talk your bold, gallant and a true devoted friend, Professor.
If you walked into that restaurant you saw them sitting there,
it was obviously a rendezvous, a tete a tete. You
could see they will love her, Professor, you must allow
me to tell you the truth. And because you are
(38:39):
my loyal friend, you became enraged at her dishonesty, of
her unfaithfulness, and so you attacked him. What is that?
What you think, poor Mark, If only you had known
the truth. She is the face of an angel and
the morals of a slut. Do you think this Morton,
(39:03):
whatever his name is, is her first one, her only one.
She picks up a lover as often and as casually
as you or I might pick up a cigar. You
you know this, I've always known it. How I despise
that woman, that common tramp, Professor, You have no idea
(39:25):
how I yearn to kill her. You want to kill
her day and night. I can think of nothing else.
Not because she has betrayed me, Not because she lusts
after other men. Oh no, that's her nature. She can't
help it. And why it's that smile, that evil smile
(39:46):
that says here I stand, kill me, kill me if
you dare for that. She deserves to die. That is
a crime. But you could kill her any more, use,
my young friend, It would be so simple, so easy,
A mistake of less than a quarter of an inch,
and I could sever the jugular, The blood would spurt
(40:08):
out two three brilliant crimson jets, and all would be over,
and I would have my revenge. True, true, Yes, that
absolutely no risk to myself. An accident, bad luck, a
mistake that could occur in our business. And so now
(40:29):
you may ask why don't I do it? It's because you're
too decent to kind nonsense. I don't do it because
I can't do it. You you can't do it. Don't
you think I try every night with each knife I throw.
(40:52):
Don't you think I longed to wend her life? Don't
you think I want to make that quarter inch mistake? Then?
Why why don't? Because I can't. I cannot because my
hand refuses to obey me. I don't understand. But she understands.
She knows why the knife can never pierce her heart.
(41:14):
That's why she stands there and smiles her evil smile.
She knows me. She knows the secret of my heart.
She knows what a faultless machine I've become. She knows
that I'm a true artist, that my hand, my brain,
my eye will not permit me to make a mistake.
And so she stands there and laughs at me, laughs
(41:36):
at me, laughs at me. That night I went to
the gilded cage. I watched Fifi's smile, and I saw
the agony on Ralph's face. Suddenly I couldn't long a
(42:00):
look at the act. Instead, I let my eyes roam
around the room, and here and there I saw men
sitting at tables, and they they weren't looking either. And
then I knew. I knew that they too were in
on the secret, and that all of us were members
(42:21):
of a club. We had come here not to see
an act, but to see a murder. Yes, Professor de
Laqua is a magnificent machine, but he is also human,
and one day, one day, they will breathe the slightest malfunction.
The machine will make the slightest miscalculation. It only needs
(42:43):
what a quarter a sixteenth of an inch? My good friends,
I am about to throw the final knife, which will
be placed under Mademoiselle Fifi's left arm, in her direct
fine with her adorable heart. The final knife. Will it
(43:13):
be this one? This is what the members of the
club have come to see.
Speaker 1 (43:18):
Well, if you were told that there was.
Speaker 3 (43:20):
Going to be a murder at such and such a time,
at such and such a place, and absolutely nothing could
be done to stop it. Would you go to see it?
Think about it?
Speaker 2 (43:32):
What's for dinner?
Speaker 3 (43:34):
Has an all famili your name?
Speaker 1 (43:37):
Where does a mother boat for the rest of everything?
What's for dinner?
Speaker 3 (43:44):
The family wants to know.
Speaker 2 (43:47):
Who's got the answers, who's got the most to show shop.
Speaker 3 (43:52):
With its shop Right as everything to need raentertaining for
family get togethers or for those many everyday meals. Lean
Savory Fresh Hands Shang half ninety nine cents a bound,
but half a dollar ninety pound Shopwright Mixers, ginger Ale
(44:14):
Club Seltzer twenty eight ounce bottles five for ninety nine cents.
Stop up for lots of sandwich making too, Shop Right
White Bread twenty ounce loaves three for eighty nine cents.
Check your nearby Shopwright for holidays, store hours, and from
everyone at Shopwright to you and your family a very
happy and healthy New Year. Would you buy an imitation
when you can get the original? The genuine well, of course,
(44:36):
not Crackus and Atalanta brands. The originals are genuine imported
Polish Hams. They're available at your favorite Grosser supermarket or
butcher Crackus and Atalanta, the original brands, are the only
brands of imported Polish Hams to carry both a Good
Housekeeping Seal and the Parents' Magazine Seal of Approval. Insist
on the best for your money, fine lean grate eating
(44:58):
Crackus or Atalanta brands of genuine imported Polish ham in two, three,
five or seven pound take home sizes. You can also
buy these fine hams sliced from larger sizes at your
dully counter. Cracus and Adalatta polish Hams have been imported
for more than twenty five years by New York Commodities Corporation,
New York, available at all Shopwright Supermarkets.
Speaker 2 (45:20):
Hi, Ben, do you own this prinship?
Speaker 3 (45:22):
Yes, I've always owned my own business. If you would
have a faithful servant serve yourself.
Speaker 7 (45:27):
I always say, then you may be interested in the
Franklin Savings Bank Kyo Plan. It's a retirement plan for
anyone who's self employed or owns an unincorporated business.
Speaker 3 (45:36):
Well, thanks for the council, Sun, but I've already begun
saving for my retirement.
Speaker 2 (45:41):
For really where my mattress?
Speaker 7 (45:43):
But then at the Franklin Savings Bank you'd be earning
high interest, you could even double your money in ten years.
Speaker 3 (45:49):
Well, at that bank of yours money really bigots money,
doesn't it.
Speaker 1 (45:52):
Uh huh?
Speaker 3 (45:53):
Yes, Well with all that money, i'd be smartly taxed.
Speaker 2 (45:56):
Yes, Ben, indeed you would.
Speaker 7 (45:57):
But at the Franklin Savings Bank, all keyod deposits and
earnings are tax deferred until you retire.
Speaker 2 (46:03):
Now will you take my advice?
Speaker 3 (46:04):
Oh? I see what you mean. He that won't be
counseled can't be helped. Where can I open my.
Speaker 7 (46:09):
Kyo plan at any of our thirteen convenient offices the
Franklin Savings Bank with over a billion dollars on deposit.
Speaker 2 (46:16):
Remember fd I c.
Speaker 4 (46:20):
Y you stay backwards?
Speaker 8 (46:22):
Oh it's you stays backwards.
Speaker 9 (46:29):
Oh ache into meal jo ferina hro quick o h
H hot breakfast on a code is a poof that's
(46:51):
super spelled backwards.
Speaker 8 (46:53):
So Mom makes esteaming mose of h O in stabia
with raisins and spices other flavors. But that's my favorite
tusday hot war and you've got a delicious breakfast in seconds.
Mom loves h O INSTI mere cross. It's nutritious, but
I love it crost its soup Marx. That's gross spelled
(47:14):
that word.
Speaker 3 (47:27):
We have been listening to a story about possession. Possession
seems to be a popular topic for entertainment these days,
but it's somewhat misunderstood. We tend to think of possession
as the intrusion of demons or devils into our body
or soul, but actually each one of us is possessed.
(47:47):
We are possessed by what we are, by how we
have been trained, We respond to a lifetime's experience. We
are what we have become. The Long Way, the Hard Way.
Our cast included Michael Wager, Patricia Elliot, Court Benson, and
Anne Potoniac. The entire production was under the direction of
(48:11):
Hyman Brown and now a preview of our next tale.
Speaker 4 (48:18):
No No, I'll see you out, mister Clark, Hi Lollard.
Speaker 10 (48:21):
Well, thank you, but I'm not John Clock anymore. I'm
just the bookkeeper introducing your people to the great Man.
Fisher insists that we maintain the image. Mister Clark, this
is Pete Pine who wants your vibes on his tape recorder.
Speaker 3 (48:41):
Not applying to He's getting faulks.
Speaker 4 (48:43):
Mister Clark has got to get off the planet this
afternoon and this.
Speaker 3 (48:47):
Is what's your Name's?
Speaker 2 (48:49):
Eric?
Speaker 3 (48:50):
Mister Clark likes to know people's names.
Speaker 5 (48:52):
Yep, what.
Speaker 1 (48:56):
What cougar? Couger her cooker? You murdering.
Speaker 3 (49:03):
I've been waiting for this. I've been hunting you for
ten years. Missus E. G. Marshall inviting you to return
to our Mystery Theater for another adventure in the macabre.
Until next time, pleasant dream. Tonight's WR Mystery Theater was
(50:06):
also brought to you in part by shaw Wright Supermarkets,
where you get a lot more for a little less.
The preceding program is furnished by CBS Radio.
Speaker 11 (50:15):
This is Rosemary Pooler of the State Consumer Protection Board.
If there's a mistake on your credit card bill and
you can't get it straightened out, write the card company
a letter and send it by certified mail. Keep a
copy for your records. Credit card companies must resolve problems
with your bills in ninety days, but only if you
(50:36):
write the company a letter. A call to the numbers
they list on your bill won't do the trick. Only
a letter protects your rights.
Speaker 3 (50:45):
This is WR New York and RKO General Station. It's
eight o'clock.
Speaker 12 (50:48):
Here's John Scott, Mayor Beam is pleased with this meeting
with President elect Carter. Alex Rose of the Liberal Party
and phil Islin of the New York Jets are dead
in New York York City stock market break through one
thousand on the Dow Industrial Average. It's twenty five degrees
in cloudy mid Manhattan. The man says, cloudy and cold tonight,
(51:08):
with occasional light.
Speaker 2 (51:09):
Snow or snow flurries likely.
Speaker 5 (51:11):
This is John Scott with.
Speaker 12 (51:12):
The eight o'clock edition of the News. It was a
rewarding trip to Georgia for New York state and city officials.
When it was over, one commented that New York City
has been welcomed back into the Union by governor by
President elect Carter. WRS Bob Briddy has the story.
Speaker 13 (51:27):
Mayor Beam came back to New York with a promise
from a president like Jimmy Carter, new York City will
not be allowed to go into bankruptcy. Present Elect Carter
deiterated the fact that he's a ship with New York City.
Speaker 14 (51:39):
He's not going to let New York City down the
banks city.
Speaker 5 (51:44):
It was not to him.
Speaker 3 (51:46):
A viable alternative.
Speaker 14 (51:49):
If the city needed the money, there would be a
way which we would be helped by the federal government,
and he's asked the Treasury Secretary.
Speaker 1 (52:01):
Discussed this with us.
Speaker 14 (52:02):
Time come up with some kind of a program within
the next sixty to ninety days.
Speaker 13 (52:08):
Jim says he promised Carter the city would have a
balanced budget next year, then turned over a list of
recommendations for federal administrative changes that would financially aid the city,
including revision of the Mitchellama housing program.
Speaker 3 (52:21):
For wr News Bob Brady reporting, Carter.
Speaker 12 (52:24):
Says he'll meet next week with key members of Congress
on his economic recovery program.
Speaker 2 (52:28):
He said a tax cut is, in his words, a
likely part of that program. Two well known New Yorkers
die today.
Speaker 12 (52:34):
Phil Islnd died of a heart attack at the age
of seventy four in the office of the New York Jets,
which he owned, and Alex Rose, Liberal Party leader, died
in his home at the age of seventy eight of
an undisclosed disease. New York City's only Liberal councilman, Manhattan's
Henry Stern, was asked about Alex Rose by W. R. S.
Speaker 2 (52:51):
Lester Smith.
Speaker 15 (52:52):
Here was this man who is a giant in politics
and towered above the leaders of the major parties, yet
his own party was really quite small.
Speaker 3 (53:03):
What did Alex Rose mean to politics in New York
City and for that matter of New York State.
Speaker 15 (53:07):
Well, he symbolized for forty years a strong moral commitment.
It's a good government pursuing the right thing to progressive causes.
And that's why he survived. There's no other political leader
of the thirties who stayed in power. Most of them
were dead, disgraced, indicted long ago. But Alex Rose and
(53:32):
stayed honest and stayed clean. And there's something very special
about him that was different, because even whether his candidates
won or lost next year, you'd always have to deal
with Alex and his maral luster would always be there
cause even if he went down, he'd go down in
a good cause.
Speaker 12 (53:53):
The skipper of the ill fated tanker, Argo Merchant, told
the investigators today he thought he was in safe water
when the Librarian tanker went aground off the New England coast.
On December fifteenth, Captain Georgio's Papadopolis testified at a New
York Federal court hearing. He said he was getting radio
direction finder bearings had put him in safe water until
shortly before the tanker went aground off Nantucket Island. The
(54:13):
wreck ship later spilled more than seven and a half
million gallons of oil into the Atlantic.
Speaker 2 (54:18):
The captain told the hearing he.
Speaker 12 (54:19):
Couldn't say whether the fault lay with the equipment or
the operator. Attorneys for the Continental Insurance Company, which had
written more than two million dollars in coverage on the
ship's cargo, are seeking to establish that the argo merchant
was not seaworthy. Meanwhile, the Coast Guard says oil from
another ruptured tanker, this one on the Delaware River, is
washing ashore along river beaches in New Jersey, Delaware.
Speaker 2 (54:39):
And Pennsylvania.
Speaker 12 (54:41):
The Civil Aeronautics Board says President Ford has blocked a
major CAAB proposal to provide airline passenger service from twelve
US cities to Europe. The plan would have given eleven
of the twelve cities their first transatlantic routes. In his decision,
mister Ford said not enough consideration had been given to
economic matters or the wishes of foreign countries in proposing
the new roots. A Pentagon spokesman says the Navy has
(55:04):
ordered a halt in payments on an eighty two million
dollar contract to Raytheon Company for production of the Sparrow
air to wear a missile. This in an effort to
avoid breaking the law Congress decreed earlier this year that
procurement of the missile must come only after the Defense
Secretary has certified that is combat ready, but Secretary Donald
Rumsfeld has not yet done so. The Navy last month
(55:25):
authorized Raytheon to start production of the Sparrow despite the
lack of certification. President Ford says the Justice Department has
started the process of looking into amnesty for Vietnam era
draft dodgers. Mister Ford, vacationing at Vail, Colorado, has been
repeatedly quizzed about its promise to the widow of Michigan
Senator for the Part that he would consider blanket amnesty
(55:46):
before leaving office. The Wor News time it's now five
minutes past eight.
Speaker 1 (55:53):
It brings up.
Speaker 5 (56:01):
You want.
Speaker 1 (56:04):
Bachmans right now? Bachman and Canada Dry have keemed up
to save you money.
Speaker 12 (56:24):
Bachman Jack's Cheese twists and extra thin pretzels and six.
Speaker 2 (56:27):
Or eight packs have featured.
Speaker 12 (56:28):
Canada Dry beverages will carry coupon's good for twenty five
cents off each other's products. Look for details on both
and say fifty cents, so
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