March 7, 2026 • 43 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. Find more classic, old-time radio series at Theater of the Mind - OTR | Spreaker | Apple | YouTube
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Enjoy all six of our commercial-free internet radio stations at theaterofthemind-otr.com - Do you want to discover more of these classic, old-time radio series? Search "Theater of the Mind - OTR" on your favorite platform or visit Theater of the Mind - OTR | Apple | Spreaker | YouTube | Spotify | Amazon | iHeart
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
CBS Radio Mystery Theater Presents.
Speaker 2 (00:19):
Come in Welcome. This is eg Marshall.
Speaker 1 (00:27):
If we begin by being certain, we shall end by
being doubtful. If we start by being doubtful, we shall
end by being certain. This according to the extremely wise
Sir Francis Bacon, doubt and certainty.
Speaker 2 (00:47):
It's like the old shell game, isn't it. You're absolutely
positive you know which shall appee? Is under? Or are
you well? Sooner or later?
Speaker 1 (00:57):
You have to make that decision, because in any respects
that's what life really is, isn't it the old shell game?
Speaker 3 (01:07):
Excuse me? Do you mind being still for a moment?
Someone's talking to me?
Speaker 1 (01:13):
My husband your husband? But isn't your husband dead?
Speaker 3 (01:19):
I suppose you would call it dead?
Speaker 1 (01:22):
Well?
Speaker 2 (01:23):
Is he dead or resume?
Speaker 3 (01:25):
It depends on how you look at it.
Speaker 1 (01:27):
What is only one way to look at it? A
person is either dead or ali. Our mystery drama Brothers
of the Angle was written especially for the Mystery Theater
by Sam Dan and stars Ralph Bell and E. V.
Speaker 3 (01:50):
Justter.
Speaker 1 (01:51):
It is sponsored in part by x Lax and a
Buick Motor Division. I'll be back shortly for that one.
Speaker 2 (02:08):
The day is for honest men. The night is for thieves.
Speaker 1 (02:13):
This was said by no less a person than the
great dramatist Euripides himself. With all due respect, we must
reluctantly disagree. Today a considerable amount, if not most, thievery
takes place in broad daylight, in.
Speaker 2 (02:30):
Full unobstructed view.
Speaker 1 (02:33):
After all, where does some of the most blatant dishonesty
take place?
Speaker 2 (02:38):
And who is performing it?
Speaker 1 (02:41):
Well, this is not going to be one of those serious,
high minded mu raking expose as you know us entertainments
the name of our game.
Speaker 2 (02:50):
Listen, the door bell is ringing.
Speaker 4 (02:57):
Year Missus Bush, missus who quack and Bush.
Speaker 3 (03:04):
I'm sorry, my dear young lady, there is no Missus
Quackenbush here. Oh there isn't. No, there isn't. Well, this
is ninety one percing place, isn't it? Yes? It is? Well?
Are you sure? Because you see the name does sound familiar?
We think quackin Bush. Oh yes, I have it. Oh yeah,
(03:27):
what this house forty years ago from people's name Quackenbush
forty years ago? I remember now that that means.
Speaker 4 (03:35):
That they're not here now?
Speaker 3 (03:36):
No, no, no, have they been in almost half a century. Oh? Oh,
this is terrible. Oh, something wrong. Everything's wrong.
Speaker 4 (03:47):
I just well, I just oh, come, my dear, things
can't be better than they're worse. Oh really, you see
I fell hearing aids. Yeah, and I had a week's
two meming course with this company on various selling techniques
and so forth. And they gave me a list of leads. Yes,
(04:09):
they advertise in the papers and the media and so forth,
and people sending for information. Well, those people become leads.
Speaker 3 (04:17):
Oh, why, that's fascinating.
Speaker 4 (04:18):
And one of my leads was this missus Quackenbush. You
see here, here's the name on the list, Ellen Mary Quackenbush.
Speaker 3 (04:28):
They promised me these were all live currently. Oh, this
one is obviously forty years old.
Speaker 4 (04:34):
Well that's not too bad.
Speaker 3 (04:36):
Most of the others are dead. Oh I am sorry
to hear that. I wish I could this to you
in some way. Well are you hard of hearing? Oh no, no,
I don't think so, not even a little bit. Well,
perhaps a tiny video.
Speaker 4 (04:53):
Well could I say you were hearing it?
Speaker 3 (04:54):
Maybe we really hadn't source of it, or could I
at least test your hearing? Well I well I don't,
I don't see why not? And you hear this?
Speaker 4 (05:12):
Oh yes, oh yes, now do you hear that? Yes, perfectly,
that's what I was afraid of. Oh, I don't mean
it that way.
Speaker 3 (05:25):
It's just that you have perfect hearing. I'm so sorry
that for your sake, my dear, Well.
Speaker 4 (05:32):
That's another job that didn't work out.
Speaker 3 (05:34):
You poor child, who sound as if there had been
a succession of unfortunate experiences. Yes, I guess so. So
why don't you tell me about yourself? Oh?
Speaker 4 (05:45):
I wouldn't want to impose on your time or anything.
Speaker 3 (05:48):
But my name is Missus Bute Henrietta Augusta Briezeer, and
I I'm quite lonely, ah, and you look like a
perfectly respectable young lady. You care to join me in
a cup of tea and perhaps a sandwich or two?
Oh no, I couldn't put you to all that trouble
long since it's lunchtime and I hate to eat alone.
(06:10):
I can tell when someone's hungry. Oh, Wader, you didn't
have breakfast this morning? Very much dinner last night?
Speaker 2 (06:18):
Missus?
Speaker 3 (06:18):
That was no, Oh, my dear, anything, it's going to
be all right, you'll see, it's going to come out
all right. Another cup of tea? Oh, yes, thank you?
And you must have another slice of this cake.
Speaker 4 (06:40):
Oh, I know I'm making a pig out of myself.
Speaker 3 (06:43):
You poor child, You must have been so hungry. Well
I'm all right now, are you. Oh yes, I'll go
back home. And where is home, my dear?
Speaker 4 (06:52):
Oh, way way out west.
Speaker 3 (06:55):
A little farming town, cloth and corners.
Speaker 4 (06:57):
Oh, I know you've never heard of it.
Speaker 3 (06:59):
Well, oh it's a lovely place. No, it's small and
it's dull. Nothing ever happens there, which is why I
left it. I thought i'd become you're gonna laugh. Oh no, no, never, Well.
Speaker 4 (07:13):
I thought i'd become a famous actress.
Speaker 3 (07:16):
Ask me why, all right?
Speaker 4 (07:18):
Why because I was a star of the Pluton County
Regional High School Dramatic society.
Speaker 3 (07:25):
Well, I'm sure you were very good. I was. I
was even great.
Speaker 4 (07:29):
That sounds exciting, but you don't realize what great means
till you go to New York, until you see.
Speaker 3 (07:35):
The real professionals. I'm just an amateur. Well i'm sure
with hard work training.
Speaker 4 (07:41):
No, no, you have to have more than that. What
Oh I don't know, But whatever it is, I don't
have it and I'll never get it.
Speaker 3 (07:52):
Oh I wanted it so bad. Oh, my dear, It
does seem so unfair. It is, But what can you do?
Do you know what mister buttweezer said, he was my husband.
He said that the day you realize life is unfair
and there's nothing you can do about it, that's the
day you grew up.
Speaker 4 (08:13):
He sounds like a wise man.
Speaker 3 (08:15):
Oh, yes, Charles Frederick butt wheezer. He wasn't a original,
one of the kind, a man of deep wisdom. See
that's his picture on the table there. Oh he was, yes, yes, yes,
indeed the girls ended me, all of them. Well there.
(08:36):
I often wondered what he saw in me? Who you
are a beautiful Oh no, no, I was a plain
girl who became a handsome woman. But Charles Frederick said, beauty,
my dear, is in the eye of the beholder. That
was from the philosophy of David Hume. Actually I think
(08:58):
he said it was in the mind of the beholder. Oh, my,
Charles Frederick. Oh he was so educated to he must
have done wonderful. Yes, yes, he was very well there
that he was also a man of action. Oh here,
let me get the album from the drawing. Are you
have pictures of him? Oh? But I'm borring. Oh, no, no,
(09:21):
are you sure? Oh yes, is that him fish? Yes? Oh?
Why he used to say, I bet I'm one of
the very few people in the world who became fishermen
because they read Isaac waltson His epidaph was taken from
a line by Isaac Walton, an excellent angler. Now with god,
(09:43):
he wanted that on his tombstone.
Speaker 4 (09:45):
Oh yes, it's a very expressive thing.
Speaker 3 (09:50):
Oh, and he'd love the poetry of Colevich and Shakespeare.
Speaker 4 (09:55):
And what did mister but weezer do. Oh he was
an engineer, hands exciting.
Speaker 3 (10:01):
Oh, most of them are rather dull. They just sit
around all day at their drawing boards. But Charles Frederick
was a field man, a field now, oh yes, indeed, yes,
he would put on boats and breeches and actually go
out on the job. See here's a picture of them.
And oh yes, India. Oh yes, they're building a railroad
(10:21):
bridge over a river, the Gunga River. It's filled with crocodile. Oh,
my prins, what you see he made friends with the
great crocodile spirits of the river and he had no trouble.
I unbelieve it. Yes, you see, Charles Frederick would go
to these wild primitive places that were filled with all
(10:42):
kinds of well we call them superstitions, but who are
we to say? And Charles would bring them the outer
trackings of civilization, railroads, highways, bridges, dams, refineries. But he
always asked, He always asked and receive permission from the
local gods to change the face and the customs of
(11:05):
the country. Oh, oh, my goodness, Well, I've just been
gadding away, but you you must forgive me on. I'm
no lady, who don't look so old? I feel ever
since Charles went away, went away? I thought you said
(11:26):
he died. He did. Oh, but I'm I'm sure he'll
come back come back.
Speaker 4 (11:34):
Now.
Speaker 3 (11:36):
Oh, my dear, you must think I'm crazy. No, it's
just that you never heard of people coming back from
the dead. I never thought it was possible. In most cases,
it isn't, but we prepared for it. He prepared for it. Oh, yes,
while he was alive, or I should say, in this world,
(11:56):
we discussed the eventuality of separation. We knew one of
us would have to go first, and so we decided
to believe that the other would come back from time
to time. You mean come back from the dead, perhaps
not back all the way that that might not be possible.
(12:18):
But now and then for a little while, just to talk.
Speaker 2 (12:23):
Oh.
Speaker 3 (12:23):
It was something he learned from a saddou that's a
kind of holy man India, and that's where Charles Frederick
learned that if a man and wife believe, then they
cannot be separated even by death. Do you believe that? Well,
I I know Charles Frederick is trying to reach me.
(12:46):
Only there were some way. Something must be blocking him,
if only. Oh well, now now that is enough about
me and my silly old lady. I die, no child,
what are you going to do? Go back home? But
(13:07):
my dear, you left it because it was so dupe.
Any place is dull where you're not happy for you
have no real friends. Oh my, that's great wisdom for one.
So y'all, it's funny just talking.
Speaker 4 (13:21):
To you, missus, bunt wheezer. Just give me, I don't know,
maybe a new slant on things.
Speaker 3 (13:27):
Well, now, what do you mean? Oh?
Speaker 4 (13:29):
We'll all this talk about the gods and India. It's
made me believe for the first time. I really believe
in faith.
Speaker 3 (13:39):
Faith, yes, ma'am. Faith.
Speaker 4 (13:42):
I get a feeling just being in this house. I
know now that, for better or worse, our destiny is
decided for us. We have to find what that destiny is.
The mine is not to be an actress or even
to sell hearing aids.
Speaker 3 (14:04):
That's very clear. Oh, my dear, that's wonderful if you
truly see it. I see something else.
Speaker 4 (14:10):
I see that I must go back to my home,
back all the way to Clarsson's Corners, because there is
where my destiny is. Oh, I'm sure I've wasted enough
of your time wasted?
Speaker 3 (14:22):
Oh never, Well you're going back home then? Oh yes,
a win. Well, as soon as I can. Life would
interpret that to me, As soon as you can raise
the money? Well, let me give you some Oh no,
I know, because we're strangers. Are we strangers? Really?
Speaker 2 (14:46):
Oh?
Speaker 3 (14:46):
Come, my dearess. Only a few dollars and what better
use could I find for it? So please please come town.
It's nothing to shed tears over them. I can't help.
I'm so happy. Oh, bless you missus, Bud weezer, bless you.
Speaker 1 (15:12):
Sally here, it's.
Speaker 4 (15:14):
Sally unless you gave some other day McKay to this joint.
Speaker 1 (15:18):
What happened?
Speaker 3 (15:20):
Is there anything less to drink?
Speaker 1 (15:21):
Tell me what happened.
Speaker 4 (15:22):
I can assure you a little pigmia. Oh I tell you,
billy boy, I never put in such a day's work
in all my life.
Speaker 1 (15:29):
Will you tell me what happened?
Speaker 2 (15:31):
But wizard them?
Speaker 1 (15:32):
Did she shut up?
Speaker 3 (15:33):
Is that old dame ever said?
Speaker 1 (15:35):
Oh?
Speaker 4 (15:36):
I tell you, billy boy, she is a rich ripe
piece of fruit, ready willing and anxious to be fucked.
Speaker 2 (15:51):
No, what did you expect?
Speaker 1 (15:54):
Did you really think this was going to be one
of those delicate inspirational stories of love, hope and faith.
My dear friends, we're involved in a hustle. I do
hope we haven't shattered anyone's illusions. Now in this type
of story, you know the plot we'll have to thicken
(16:14):
in the second act, which I shall bring you here
very soon. Virtue is his own reward. We say this
because it was a favorite phrase of Sir Isaac Walton's
(16:38):
and it's appropriate here, not because this is a story
about fishing, but because Sir Isaac was a favorite author
of a key character in our drama. Sir Isaac Walton,
in addition to being an authority on phishing, was also
an eminent poet, essayist, and critic. Well his favorite saying
(16:58):
has perhaps provided the spur for a great many people
who consider that virtue may be a warm principle but
a cold reward, and.
Speaker 2 (17:08):
Therefore seek another.
Speaker 1 (17:11):
Two such people are miss Sally Magruder and mister Billy Fulton.
What'd you say, Sally? One of the fut reason the
name say Charles.
Speaker 4 (17:21):
Frederick would go to these wild primitive places that were
filled with all kinds of well, we would call him superstitious.
Got every word down on tape.
Speaker 1 (17:34):
Hey, that tape recording? If she does a trick to
get the pictures, Oh sure.
Speaker 4 (17:38):
Oh you can't beat that little wristwatch camera.
Speaker 1 (17:40):
Okay, there's lots of work to do.
Speaker 4 (17:43):
I'll developed the pictures and you start listening to the tape.
Speaker 1 (17:46):
Honey, this could be it.
Speaker 3 (17:48):
How much do you think is in it?
Speaker 1 (17:49):
Why is she supposed to be?
Speaker 2 (17:50):
Wait?
Speaker 1 (17:50):
Four or five minute?
Speaker 2 (17:52):
Are we sure she's a believer?
Speaker 1 (17:55):
Oh?
Speaker 3 (17:55):
Yeah, I could tell by the way she talks.
Speaker 1 (17:57):
I checked her out. She goes for the message from
the the world. Stuff, he's alive.
Speaker 4 (18:02):
I could sense that.
Speaker 3 (18:04):
Well, we hooked the fish.
Speaker 1 (18:06):
Let's bring her in.
Speaker 3 (18:18):
Yes, Uh, how.
Speaker 1 (18:20):
Do you do?
Speaker 3 (18:22):
How do you do?
Speaker 1 (18:24):
My name is Billy faulkn Yes, mister.
Speaker 3 (18:27):
Falker, what can I do for you?
Speaker 1 (18:30):
I don't know.
Speaker 3 (18:32):
Well, why did you ring my bell?
Speaker 1 (18:35):
I don't know.
Speaker 3 (18:37):
Well, what do you want?
Speaker 1 (18:39):
I don't know that either.
Speaker 3 (18:41):
Well, I'm sure I don't know what to say.
Speaker 1 (18:43):
Well, something told me to come here. Something, Well, maybe
it was someone. Oh, you see, I was out fishing fishy, Yes, ma'am.
I'm a very enthusiastic fisherman and folks and only say
I'm a fan on a subject. Well, I was fishing
in Crystal Lake just about a week ago. Crystal Lake, yes, ma'am.
(19:07):
It's not throughout the state for bass, it's terrific.
Speaker 3 (19:09):
Yes, yes, my husband used to fish there all the time.
Speaker 1 (19:12):
I heard a voice and it said to me, I
am a brother of the Angle.
Speaker 3 (19:19):
I'm the brother of the angle. Why that's from Sir
Isaac Walton.
Speaker 1 (19:26):
Well, any how, the voice it look for me, look
for me. I didn't know what to do, but something
made me put my fishing gear away and I got
into my car. I didn't know where I was going
or anything, but I found myself at a cemetery. I've
never been there before. I'm not from around here, you see.
(19:49):
And for my features started walking toward a grave. Yes, yes,
in front of this grave they stopped, and on this
grave was written on arm a stone Charles Frederick but
Weezer an excellent angler. Now with God. Oh well, I
got in my can. I came here. I still don't
(20:11):
know why.
Speaker 3 (20:12):
Oh who come in? Please? Oh please mister Billy faulk Oh, Yes,
mister faulk Oh, please do come in. Oh won't you
sit down? Please? May I get you some refreshing.
Speaker 1 (20:27):
No, ma'am. I feels sort of queasy, queasy, or something's
happening inside of me. I don't know how to describe it.
Like I go around saying things like what like what, Oh,
beauty exists in the mind that contemplates it. You go
(20:47):
around saying that, Yeah, I'm not even sure what it means.
And they're like a laverice the spur of industry.
Speaker 3 (20:54):
Right, that's all from Hume, David Hume. I beg your pardon,
man Hume, the eighteenth century philosopher.
Speaker 1 (21:02):
Yeah, I never heard of him.
Speaker 3 (21:04):
Oh, this is remarkable.
Speaker 1 (21:06):
And then I keep seeing rivers and crocodiles.
Speaker 3 (21:10):
Are you sure?
Speaker 1 (21:12):
Well? I'm not sure of anything. I just never experienced
anything like this before. My life.
Speaker 3 (21:16):
Oh, it's remarkable.
Speaker 1 (21:18):
Yeah, well I wish I could understand it. A man
named butt Woezer who I never met. I didn't even
hear Robin. But besides, he's dead.
Speaker 3 (21:26):
Don't don't don't say that.
Speaker 1 (21:28):
Well, the fact visit's true.
Speaker 3 (21:30):
Well, the fact is we do not know what the
fact is in this world. What is a fact?
Speaker 1 (21:36):
Well, there's a but we The fact is I'm not
one of your educated persons. I only know I like
to go fishing.
Speaker 3 (21:44):
Yes, yes, and so did he.
Speaker 1 (21:46):
Well it's the only time I'm ever really happy with things,
Charles Frederick. This man, he keeps interfering with me.
Speaker 3 (21:53):
Well, in what way?
Speaker 1 (21:55):
I see a face? It's kind of long, then the hook, nose,
blue eyes, high cheekbones, small black mustache, long hair, my child,
my child, and all kinds of things keep happening.
Speaker 2 (22:13):
I say things.
Speaker 1 (22:13):
I just can't figure out. Where's it come from?
Speaker 3 (22:15):
Where? Oh can? I'm afraid to believe it.
Speaker 1 (22:24):
I'm losing my mind, that's what like like must I'm
trying to say something. It's forming my mind. I can
hear the words. My brain does use your frog, place
your hook gently through his mouth. Then with a fine needle,
(22:48):
take only one stitch to the wiry hook to hold
his leg, and so doing use him as though you
loved him. That's crazy.
Speaker 3 (23:01):
Ooh, that's Isaac Walton.
Speaker 2 (23:03):
I never heard it out my life.
Speaker 3 (23:04):
Charles Frederick used to recite that all the time.
Speaker 1 (23:07):
Yo, Or what had I got to do with me?
Speaker 3 (23:09):
I should think it would be a parent by now.
Speaker 1 (23:12):
Well, if you know, I wish you'd tell me please.
Speaker 3 (23:14):
You are being used us. Oh yes, yes, it's perfectly plain.
You see, my husband is trying to reach me.
Speaker 1 (23:27):
Your husband, your dead husband.
Speaker 3 (23:29):
My husband, Charles Frederick.
Speaker 1 (23:31):
But the one who's in his grave with the tombstone.
Speaker 3 (23:34):
Overroom, Well that's where he happens to be now, uh, messrs.
Speaker 1 (23:39):
But you are a very nice lady.
Speaker 3 (23:42):
Thank you, Billy what I feel?
Speaker 1 (23:44):
Excuse me for.
Speaker 3 (23:45):
I will not excuse you. Believe. Oh no, my beloved
Charles Frederick is using you as his is. Cond of it? Conduit.
You must listen so that you can relay his message
to me and mine to him.
Speaker 1 (24:02):
You actually believe this stuff?
Speaker 3 (24:04):
You can ask me that now. I look at the
thoughts that had been racing through your mind.
Speaker 1 (24:09):
No, no, I don't want to, Oh, but you must.
I'm going crazy. No, no, you're not, ma'am. I gotta
get out of there.
Speaker 3 (24:15):
No, no, I shall not let you go. Listen to me.
It's just that he wants to talk to me. Oh,
let him, please, please let him. It has nothing to
do with you that they're old. Surely believe you would
not deprive an old lady, lonely, old lady of her
only chance to talk to her husband.
Speaker 1 (24:35):
But he's dead. You gotta face it, ma'm he's.
Speaker 3 (24:39):
What you called it. Does that mean we can no
longer talk to each other? Does it? Listen? Isn't he
talking to you now through you?
Speaker 1 (24:49):
Or what do you want me to do? Ma'am? Oh,
stay here, stay here.
Speaker 2 (24:56):
I gotta go.
Speaker 1 (24:56):
I have wait to go.
Speaker 3 (24:58):
I pay you.
Speaker 2 (25:00):
I don't cause the responsibilities, ma'am.
Speaker 3 (25:02):
Oh so lonely?
Speaker 1 (25:04):
Well, I'm sorry. What can I do about it?
Speaker 3 (25:06):
Let him talk to me through you, and let me
talk to hidden through you.
Speaker 1 (25:13):
Nah no, nah, I just can't lose my mind. It's
half gone already. It's the only sensible thing I said.
Speaker 3 (25:23):
I paid you.
Speaker 1 (25:24):
Can I take money for this kind of crazy?
Speaker 3 (25:25):
You don't take it? I offer it freezing?
Speaker 1 (25:28):
No, I can't do that. I gotta go well, where
can you go?
Speaker 3 (25:32):
Charles Frederick's voice will follow you everywhere.
Speaker 1 (25:34):
I'm going to a doctor. He'll take care of me. Goodbye,
miss but please please come back. Believe me, ma'am.
Speaker 2 (25:40):
It's for your own God.
Speaker 4 (25:46):
Heard our little fish, Billy O? And when do we
reel her in after a while? Honey? I've been reading
Isaac Rotton.
Speaker 1 (25:55):
Oh come on, I got old Isaac Walton coming out
of my.
Speaker 4 (25:57):
Ears, and he says, don't delay once you face to
hook land your quality.
Speaker 1 (26:02):
Yeah, well we've gone beyond all that. I'll particular fish
has to miss me for a while and just hope
that I'll come back, start to worry that I won't
and get so anxious to when I walk in, she
just jump up and hand me a blank checks side.
Speaker 3 (26:14):
It's going good, isn't it?
Speaker 1 (26:16):
Yeah? Way ahead of schedule?
Speaker 3 (26:17):
Could it be a spune just a little bit too good?
Speaker 1 (26:20):
Come on?
Speaker 2 (26:20):
What are you worried about? Oh?
Speaker 4 (26:22):
Nothing, It's just that everything seems so perfect.
Speaker 1 (26:25):
Are you ready with your Randomly you got to sneak
in through the back and you'll have to project there.
The little microphone just whisper hoarsely.
Speaker 4 (26:33):
Come on, I don't sound like mister botwee oh knows.
Speaker 1 (26:36):
How people are supposed to sound after they die. Sounds
a good whisper is always effected.
Speaker 4 (26:41):
Yeah, what about the payoff? How much is she good for?
Speaker 1 (26:45):
How much honey? That decision will have to be made
by her husband. Then Isaac Walton and babysh a more
sagacious trio will not be encountered every day.
Speaker 2 (27:01):
Well, here we have a little plot for.
Speaker 1 (27:03):
You, a small intrigue, and it seems to be going swimmingly. Certainly,
poor missus Buttweezer has been admirably, if we may use
that word set up for it?
Speaker 2 (27:15):
What can go wrong?
Speaker 1 (27:17):
Can anything possibly go wrong? We do not foretell the
future here, We merely ask you to wait for Act three.
Custom is the great guide of human life. We use
(27:41):
this quotation for mister David Hume, since he is central
to the action of our story.
Speaker 2 (27:47):
Custom, or put it another.
Speaker 1 (27:49):
Way, We're all creatures of habit, and so we do
today generally what we did yesterday.
Speaker 2 (27:57):
If we were.
Speaker 1 (27:57):
Foolish, then the odds are we'll be foolish now, which
gets us into other areas. Like the leopard does not
change its spots, or the more things change, the more
they remain the same. You see where philosophy leads anywhere
and everywhere.
Speaker 3 (28:15):
Who's there?
Speaker 1 (28:17):
It's me, Billy?
Speaker 3 (28:19):
Really? Oh oh really? Would you come in sit down? Please?
Speaker 1 (28:31):
Yes, I had to come back, missus. But reason I
knew you would, I went to a psychiatrist.
Speaker 3 (28:37):
Oh did you.
Speaker 1 (28:39):
Yeah, I said, mister Park and you're not crazy. There's
a reason, a good reason for what you see and
hear and feel. And that made me see the life
it did how well?
Speaker 2 (28:49):
There is a.
Speaker 1 (28:49):
Reason, and that's all I had to know. So why
can't I say that The reason is because it's happening?
Oh we live call now? Your husband is in his grave. Okay,
but if he does want to talk to you, I
who am I to say? It can't be done, especially
since I hear his voice?
Speaker 3 (29:05):
Was that my point?
Speaker 1 (29:07):
Now other people are, including a psychiatrist, they won't believe it,
you understand, Yes, they don't believe it because they never.
Speaker 2 (29:14):
Heard his voice.
Speaker 1 (29:15):
If I never heard his voice, why I never believe
it either. But I did hear his voice, which means yes, why,
which means I'm a different kind of a person, the
type of person that can hear the voices of dead people.
Speaker 2 (29:31):
So sound crazy to Oh.
Speaker 3 (29:33):
How can it be crazy? The things you said concerning
my husband? How would you know that?
Speaker 2 (29:38):
Well, let's just it. I don't know him. I just
say him.
Speaker 1 (29:42):
I came here tonight even though it's late, because well
I thought he was trying to say something.
Speaker 3 (29:47):
Oh about what?
Speaker 2 (29:49):
And once again I don't know about what? I just
got a feeling.
Speaker 3 (29:52):
Well do you hear anything?
Speaker 2 (29:55):
Do I hear any?
Speaker 3 (29:58):
Is something to matter? Uh?
Speaker 1 (30:00):
The lights of my eyes light?
Speaker 3 (30:02):
Oh? Well, why don't I turn out the lights?
Speaker 1 (30:06):
Oh? Yeah, yeah, that's better, it's better. How I think
she's a quiet and peaceful?
Speaker 2 (30:13):
Oh, Hannah, Hannah.
Speaker 3 (30:15):
Look a look at the look out of work. It's
a t t it's terrible looking. Just stop.
Speaker 2 (30:20):
It's a crocodile.
Speaker 3 (30:21):
A crocodile. Oh, the crocodile. Do you see that? During
the wall and the wa Is that a crocodile?
Speaker 2 (30:28):
Is a high fair?
Speaker 5 (30:30):
Fa my darling Darcy?
Speaker 1 (30:34):
A fair?
Speaker 3 (30:37):
Oh? Whose voice is there?
Speaker 1 (30:39):
Well? You know who it is? It's Charles Frederick Buttways.
Look want to see me?
Speaker 2 (30:46):
Say me? Say he's standing there?
Speaker 3 (30:47):
So? Oh child?
Speaker 2 (30:50):
Is that you?
Speaker 4 (30:51):
Yes?
Speaker 3 (30:53):
My god? O? Where are you?
Speaker 5 (30:55):
I am in India? India, Hindy.
Speaker 3 (31:04):
Why why child answery? Oh I don't see him anymore?
For me, I don't see him anymore. Why can't I
hear him? Uh?
Speaker 1 (31:17):
Oh my head hat so pay for trying to hear
his voice, and and just to bring it to you.
I want to wrest. No, you don't talk.
Speaker 3 (31:27):
Let Charles go way up now.
Speaker 2 (31:29):
Please missus Buttles, let me rest on you one moment.
Speaker 3 (31:33):
You let me talk to him for just one moment,
if that's all one.
Speaker 2 (31:37):
Moment, all right, all right, all right, I'll try.
Speaker 1 (31:40):
Charles, Charles Frederick.
Speaker 3 (31:44):
Huh there he is. I see him again?
Speaker 1 (31:47):
Please Charles, tell her? Why you're here?
Speaker 2 (31:52):
Oh?
Speaker 1 (31:53):
Tired dead?
Speaker 5 (31:55):
Why I shall written at another time with kind Dela
fall God, with kind really fall gode to tell you
what to do?
Speaker 1 (32:15):
What to do? Oh? Oh what a relief? I less
have said, But you are right?
Speaker 3 (32:25):
Yes, yes, oh I see you? So. Oh believe what happened?
Speaker 1 (32:35):
You mean you don't know what just happened?
Speaker 3 (32:37):
Oh? I know that something wonderful happened. I hee's a
glow over if I had.
Speaker 1 (32:43):
Just been talking to Charles, But you have been talking
to Charles.
Speaker 2 (32:48):
Oh he was here, you saw him?
Speaker 3 (32:50):
Oh? Did it not be you? It was O. Yes,
I remember talking to Charleston. Do you remember what he said?
Speaker 1 (33:01):
You said he wanted to tell yourself, how about what
and how to do with the sacred crocodile of the
river Gunghay in India.
Speaker 3 (33:10):
Oh my, I wonder who that can be?
Speaker 4 (33:15):
Milicent, Yes, Augusta, it's Milicent.
Speaker 1 (33:18):
Now who is this scoundrel?
Speaker 3 (33:20):
You'll see who your sister in love. I have an
interest in your welfare. You're just anxious to see how
you can get your hands on some of your dead
brother's money.
Speaker 4 (33:29):
I'll disregard that you're a foolish woman, any fortune hunter.
Speaker 3 (33:33):
I will not tolebrate this discussion in my house.
Speaker 4 (33:35):
Your house, it was supposed to be mine.
Speaker 3 (33:39):
You pulled the wool over Charles Frederick's eyes. Oh, Milicent,
you're a mean, ungracious, grasping woman. But weren't for the
sake of your dear brother, my beloved husband, I have
a sense of duty.
Speaker 4 (33:53):
I cannot allow you to be swindled by any flim
flam artist who walks.
Speaker 1 (33:57):
In off the street.
Speaker 3 (33:58):
The gentleman is a d it. O what Oh, I
don't expect you to understand, but he is a channel
through whom I can communicate with Charles Frederick a Field
spiritualism racket. You have no right to insult the beliefs
of others. You keep living in that world of your own.
And as for you, young man, you listen to me.
Speaker 2 (34:20):
I think I'd better be good one moment, please, innocent.
Speaker 3 (34:25):
I spoke to Charles Frederick about matters only he and
I could know about. There was absolutely no way for
this gentleman to have learned certain intimate things that were
known only to Charles Frederick and me. Now, don't bet
on it. I hope no money has changed hands.
Speaker 4 (34:41):
If you even took as much as fifteen cents, I'll
have you up before a judge.
Speaker 3 (34:45):
Lintent, I cannot have you constantly invited my friends and
my gifts. You will ask you to leave this house.
Speaker 4 (34:55):
I'm leaving, but remember, friend, I'm keeping an eye on you.
Speaker 3 (35:04):
Oh oh, please, Billy long me to apologize, though.
Speaker 1 (35:09):
That's all right. There's so many evil, minded, suspicious people
in the world.
Speaker 3 (35:13):
I don't know just yet. Billy well, ma'am, I suddenly
feel so close to Charles Freddy. Don't you feel something.
Speaker 1 (35:22):
Too, I hear, well, go, yeah, I see him.
Speaker 3 (35:32):
Oh no, I know he wants to tell me about
an investment. He said he'd come back to tell me
about an investment when he would make ammission. I think
I know which one it is. I think I know.
Speaker 1 (35:51):
Is it's all till you remember, my darling, that deal,
the deal, the deal I told you about it.
Speaker 3 (36:00):
Oh, yes, my beloved, I remember. Buy the land, the
thousand acres in Arizona from Milica. That is the deal.
H oh my head, Yes, Charles, those thousand acres of desert.
There's oil there. You're an engineer. You discovered that oil.
Speaker 2 (36:22):
Oil.
Speaker 3 (36:23):
You didn't want to tell me. Listen because you are
angry with her. Charles. If I buy the land cheaply
from her, I'd be cheating her. Oh I don't think
I should cheat her. Is that? Is that what you
came back to tell me to do? Is it? I?
Speaker 1 (36:44):
I had them way oil there.
Speaker 3 (36:46):
Oh, my darling, millions of barrels, you said, ah, yes,
And you must get that land.
Speaker 5 (36:56):
No one has told Milicine have that.
Speaker 3 (36:58):
No, No, she's who thinks it's worthless. But Charles, I
can't hear you. Your voice is getting fained, and I
can't see him not anymore, Lily, Lily.
Speaker 1 (37:15):
But we say missus. But wheezy h h huh.
Speaker 3 (37:21):
Oh oh, he was here, he was here. I spoke
to him. I know I spoke to him.
Speaker 2 (37:27):
Oh you did.
Speaker 3 (37:28):
What did we talk about?
Speaker 2 (37:29):
Why?
Speaker 1 (37:30):
I don't want to repeat it. It was just uh
ind of it, things between a man and his wife.
Speaker 3 (37:34):
Oh really, you're so techful? Will I see you again?
Of course? When?
Speaker 1 (37:40):
Why the very next time, Charles Frederick wants to speak
with you. Okay, honey, this is the payoff.
Speaker 3 (37:50):
We buy that land, that thousand acres in Arizona.
Speaker 1 (37:54):
You heard it's got a while. Look here's what must
have happened. He found out about the oil right he
told his wife to buy the land from a sister.
She was well ashamed, ashamed you heard her, you seeing her.
She believes she'd be swindling the sister. But she also
has a guilty conscience about not obeying her dear husband's instructions.
(38:14):
So meanwhile, we pick up a thousand acres. I don't
know how, come on, it beats taking her money.
Speaker 2 (38:21):
That can be dangerous.
Speaker 1 (38:23):
And how much could we hit rough for a couple
of hundreds maybe a thousand?
Speaker 3 (38:26):
Yeah maybe yeah?
Speaker 1 (38:27):
But this is oil, it's worth millions and nobody could
prove we ever got.
Speaker 3 (38:31):
A shady How high should he go for it? Wow?
Speaker 1 (38:35):
How much can she ask for a thousand acres in
the desert? What do you want? Well, I'm fond of
your sister in law.
Speaker 2 (38:49):
And what does that mean?
Speaker 1 (38:50):
Well, you see, I like to settle down and live
in this town. Oh, they run.
Speaker 3 (38:54):
You are kind of out of here on her rail.
Speaker 1 (38:57):
I'm going in a business business, you're rist. As a matter,
I like to buy some from you, real estate? Where
could I get real estate? Well?
Speaker 2 (39:06):
Do you want some land in Arizona?
Speaker 1 (39:08):
Don't you? Thousand acres?
Speaker 3 (39:10):
A thousand acres of sand? What would you do with it? Oh?
Speaker 1 (39:14):
I could probably sell it to somebody, But I'd like
to buy it from you, because, well, there'll be a
way to help you.
Speaker 3 (39:22):
I am not asking help from you or anybody.
Speaker 1 (39:24):
And why not? Aren't you supposed to love and help
one another? Why are you such a mean and ornerary woman.
I'll tell you why, because you're poor and too proud
to take assistance, even from your sister in law. Well,
how much you want for that land?
Speaker 2 (39:39):
Huh?
Speaker 3 (39:40):
How much do I work?
Speaker 1 (39:42):
Come on, come on, I please don't break into tears.
I couldn't stand it.
Speaker 3 (39:46):
I can't help it. Nobody's ever been good to me before.
Speaker 1 (39:50):
All right, how much you want for that desert land?
Speaker 2 (39:53):
Well?
Speaker 3 (39:54):
Can you can you get me what I paid for it?
Five thousand dollars five fashion doll It is only five
dollars a acre?
Speaker 1 (40:04):
Oh yeah, oh yeah, that's cheap at hat the price? Okay,
I raise the money.
Speaker 3 (40:10):
Lord, bless you, billy fucking lord, bless you. Yes.
Speaker 1 (40:24):
Oh, I'm looking for Missus bud Wheesy.
Speaker 3 (40:27):
I'm Missus Budwhezer.
Speaker 1 (40:28):
You're yeah, you can't be Missus bow Wheezy.
Speaker 3 (40:32):
Like, why not?
Speaker 1 (40:34):
Because she's a gray haired lady with gold room glasses.
Speaker 3 (40:37):
It.
Speaker 2 (40:37):
Oh, that was Missus Coolidge, Missus Collidge.
Speaker 3 (40:41):
Yes, she minds the house from me while I'm gone.
She and her sister Milicent. No, yes, the wonderful house
it is. I don't know what to tell you if
you're looking for Missus Coolidge. She said that she and
Millicent had come into a windfall. I think it was
five thousand dollars. They're taking a trip. Oh, sir, was
(41:07):
there any message for Missus Coolidge?
Speaker 1 (41:09):
Message? Yeah, message just uh just tell her that I
am a brother of the angle. Oh.
Speaker 3 (41:21):
What does that mean.
Speaker 2 (41:23):
She'll know man, She'll know the angle. What is the angle?
How much more it has come to mean?
Speaker 1 (41:40):
Since honest, Sir Isaac Walden's day, we have truly become
a most geometric world, where everything is seemingly filled with
angles and curves, and all serve as bait to snare
the unwary. Don't take any Wooden Nichols till I get back.
Speaker 2 (42:08):
In essence, we.
Speaker 1 (42:10):
Could call this a fish story because it has concerned
itself with suckers. And if the true suckers were not
revealed until the very end, well it happens that way sometimes.
Our cast included Ralph Bell, Joan Shay and E. D. Justter.
Speaker 2 (42:27):
The entire production was under the direction of Hymon Brown.
This is E. G.
Speaker 1 (42:32):
Marshall inviting you to return to our Mystery theater for another.
Speaker 2 (42:37):
Adventure in the macabre. Until next time, Pleasant
Speaker 3 (43:10):
F
CBS Radio Mystery Theater Presents.
Speaker 2 (00:19):
Come in Welcome. This is eg Marshall.
Speaker 1 (00:27):
If we begin by being certain, we shall end by
being doubtful. If we start by being doubtful, we shall
end by being certain. This according to the extremely wise
Sir Francis Bacon, doubt and certainty.
Speaker 2 (00:47):
It's like the old shell game, isn't it. You're absolutely
positive you know which shall appee? Is under? Or are
you well? Sooner or later?
Speaker 1 (00:57):
You have to make that decision, because in any respects
that's what life really is, isn't it the old shell game?
Speaker 3 (01:07):
Excuse me? Do you mind being still for a moment?
Someone's talking to me?
Speaker 1 (01:13):
My husband your husband? But isn't your husband dead?
Speaker 3 (01:19):
I suppose you would call it dead?
Speaker 1 (01:22):
Well?
Speaker 2 (01:23):
Is he dead or resume?
Speaker 3 (01:25):
It depends on how you look at it.
Speaker 1 (01:27):
What is only one way to look at it? A
person is either dead or ali. Our mystery drama Brothers
of the Angle was written especially for the Mystery Theater
by Sam Dan and stars Ralph Bell and E. V.
Speaker 3 (01:50):
Justter.
Speaker 1 (01:51):
It is sponsored in part by x Lax and a
Buick Motor Division. I'll be back shortly for that one.
Speaker 2 (02:08):
The day is for honest men. The night is for thieves.
Speaker 1 (02:13):
This was said by no less a person than the
great dramatist Euripides himself. With all due respect, we must
reluctantly disagree. Today a considerable amount, if not most, thievery
takes place in broad daylight, in.
Speaker 2 (02:30):
Full unobstructed view.
Speaker 1 (02:33):
After all, where does some of the most blatant dishonesty
take place?
Speaker 2 (02:38):
And who is performing it?
Speaker 1 (02:41):
Well, this is not going to be one of those serious,
high minded mu raking expose as you know us entertainments
the name of our game.
Speaker 2 (02:50):
Listen, the door bell is ringing.
Speaker 4 (02:57):
Year Missus Bush, missus who quack and Bush.
Speaker 3 (03:04):
I'm sorry, my dear young lady, there is no Missus
Quackenbush here. Oh there isn't. No, there isn't. Well, this
is ninety one percing place, isn't it? Yes? It is? Well?
Are you sure? Because you see the name does sound familiar?
We think quackin Bush. Oh yes, I have it. Oh yeah,
(03:27):
what this house forty years ago from people's name Quackenbush
forty years ago? I remember now that that means.
Speaker 4 (03:35):
That they're not here now?
Speaker 3 (03:36):
No, no, no, have they been in almost half a century. Oh? Oh,
this is terrible. Oh, something wrong. Everything's wrong.
Speaker 4 (03:47):
I just well, I just oh, come, my dear, things
can't be better than they're worse. Oh really, you see
I fell hearing aids. Yeah, and I had a week's
two meming course with this company on various selling techniques
and so forth. And they gave me a list of leads. Yes,
(04:09):
they advertise in the papers and the media and so forth,
and people sending for information. Well, those people become leads.
Speaker 3 (04:17):
Oh, why, that's fascinating.
Speaker 4 (04:18):
And one of my leads was this missus Quackenbush. You
see here, here's the name on the list, Ellen Mary Quackenbush.
Speaker 3 (04:28):
They promised me these were all live currently. Oh, this
one is obviously forty years old.
Speaker 4 (04:34):
Well that's not too bad.
Speaker 3 (04:36):
Most of the others are dead. Oh I am sorry
to hear that. I wish I could this to you
in some way. Well are you hard of hearing? Oh no, no,
I don't think so, not even a little bit. Well,
perhaps a tiny video.
Speaker 4 (04:53):
Well could I say you were hearing it?
Speaker 3 (04:54):
Maybe we really hadn't source of it, or could I
at least test your hearing? Well I well I don't,
I don't see why not? And you hear this?
Speaker 4 (05:12):
Oh yes, oh yes, now do you hear that? Yes, perfectly,
that's what I was afraid of. Oh, I don't mean
it that way.
Speaker 3 (05:25):
It's just that you have perfect hearing. I'm so sorry
that for your sake, my dear, Well.
Speaker 4 (05:32):
That's another job that didn't work out.
Speaker 3 (05:34):
You poor child, who sound as if there had been
a succession of unfortunate experiences. Yes, I guess so. So
why don't you tell me about yourself? Oh?
Speaker 4 (05:45):
I wouldn't want to impose on your time or anything.
Speaker 3 (05:48):
But my name is Missus Bute Henrietta Augusta Briezeer, and
I I'm quite lonely, ah, and you look like a
perfectly respectable young lady. You care to join me in
a cup of tea and perhaps a sandwich or two?
Oh no, I couldn't put you to all that trouble
long since it's lunchtime and I hate to eat alone.
(06:10):
I can tell when someone's hungry. Oh, Wader, you didn't
have breakfast this morning? Very much dinner last night?
Speaker 2 (06:18):
Missus?
Speaker 3 (06:18):
That was no, Oh, my dear, anything, it's going to
be all right, you'll see, it's going to come out
all right. Another cup of tea? Oh, yes, thank you?
And you must have another slice of this cake.
Speaker 4 (06:40):
Oh, I know I'm making a pig out of myself.
Speaker 3 (06:43):
You poor child, You must have been so hungry. Well
I'm all right now, are you. Oh yes, I'll go
back home. And where is home, my dear?
Speaker 4 (06:52):
Oh, way way out west.
Speaker 3 (06:55):
A little farming town, cloth and corners.
Speaker 4 (06:57):
Oh, I know you've never heard of it.
Speaker 3 (06:59):
Well, oh it's a lovely place. No, it's small and
it's dull. Nothing ever happens there, which is why I
left it. I thought i'd become you're gonna laugh. Oh no, no, never, Well.
Speaker 4 (07:13):
I thought i'd become a famous actress.
Speaker 3 (07:16):
Ask me why, all right?
Speaker 4 (07:18):
Why because I was a star of the Pluton County
Regional High School Dramatic society.
Speaker 3 (07:25):
Well, I'm sure you were very good. I was. I
was even great.
Speaker 4 (07:29):
That sounds exciting, but you don't realize what great means
till you go to New York, until you see.
Speaker 3 (07:35):
The real professionals. I'm just an amateur. Well i'm sure
with hard work training.
Speaker 4 (07:41):
No, no, you have to have more than that. What
Oh I don't know, But whatever it is, I don't
have it and I'll never get it.
Speaker 3 (07:52):
Oh I wanted it so bad. Oh, my dear, It
does seem so unfair. It is, But what can you do?
Do you know what mister buttweezer said, he was my husband.
He said that the day you realize life is unfair
and there's nothing you can do about it, that's the
day you grew up.
Speaker 4 (08:13):
He sounds like a wise man.
Speaker 3 (08:15):
Oh, yes, Charles Frederick butt wheezer. He wasn't a original,
one of the kind, a man of deep wisdom. See
that's his picture on the table there. Oh he was, yes, yes, yes,
indeed the girls ended me, all of them. Well there.
(08:36):
I often wondered what he saw in me? Who you
are a beautiful Oh no, no, I was a plain
girl who became a handsome woman. But Charles Frederick said, beauty,
my dear, is in the eye of the beholder. That
was from the philosophy of David Hume. Actually I think
(08:58):
he said it was in the mind of the beholder. Oh, my,
Charles Frederick. Oh he was so educated to he must
have done wonderful. Yes, yes, he was very well there
that he was also a man of action. Oh here,
let me get the album from the drawing. Are you
have pictures of him? Oh? But I'm borring. Oh, no, no,
(09:21):
are you sure? Oh yes, is that him fish? Yes? Oh?
Why he used to say, I bet I'm one of
the very few people in the world who became fishermen
because they read Isaac waltson His epidaph was taken from
a line by Isaac Walton, an excellent angler. Now with god,
(09:43):
he wanted that on his tombstone.
Speaker 4 (09:45):
Oh yes, it's a very expressive thing.
Speaker 3 (09:50):
Oh, and he'd love the poetry of Colevich and Shakespeare.
Speaker 4 (09:55):
And what did mister but weezer do. Oh he was
an engineer, hands exciting.
Speaker 3 (10:01):
Oh, most of them are rather dull. They just sit
around all day at their drawing boards. But Charles Frederick
was a field man, a field now, oh yes, indeed, yes,
he would put on boats and breeches and actually go
out on the job. See here's a picture of them.
And oh yes, India. Oh yes, they're building a railroad
(10:21):
bridge over a river, the Gunga River. It's filled with crocodile. Oh,
my prins, what you see he made friends with the
great crocodile spirits of the river and he had no trouble.
I unbelieve it. Yes, you see, Charles Frederick would go
to these wild primitive places that were filled with all
(10:42):
kinds of well we call them superstitions, but who are
we to say? And Charles would bring them the outer
trackings of civilization, railroads, highways, bridges, dams, refineries. But he
always asked, He always asked and receive permission from the
local gods to change the face and the customs of
(11:05):
the country. Oh, oh, my goodness, Well, I've just been
gadding away, but you you must forgive me on. I'm
no lady, who don't look so old? I feel ever
since Charles went away, went away? I thought you said
(11:26):
he died. He did. Oh, but I'm I'm sure he'll
come back come back.
Speaker 4 (11:34):
Now.
Speaker 3 (11:36):
Oh, my dear, you must think I'm crazy. No, it's
just that you never heard of people coming back from
the dead. I never thought it was possible. In most cases,
it isn't, but we prepared for it. He prepared for it. Oh, yes,
while he was alive, or I should say, in this world,
(11:56):
we discussed the eventuality of separation. We knew one of
us would have to go first, and so we decided
to believe that the other would come back from time
to time. You mean come back from the dead, perhaps
not back all the way that that might not be possible.
(12:18):
But now and then for a little while, just to talk.
Speaker 2 (12:23):
Oh.
Speaker 3 (12:23):
It was something he learned from a saddou that's a
kind of holy man India, and that's where Charles Frederick
learned that if a man and wife believe, then they
cannot be separated even by death. Do you believe that? Well,
I I know Charles Frederick is trying to reach me.
(12:46):
Only there were some way. Something must be blocking him,
if only. Oh well, now now that is enough about
me and my silly old lady. I die, no child,
what are you going to do? Go back home? But
(13:07):
my dear, you left it because it was so dupe.
Any place is dull where you're not happy for you
have no real friends. Oh my, that's great wisdom for one.
So y'all, it's funny just talking.
Speaker 4 (13:21):
To you, missus, bunt wheezer. Just give me, I don't know,
maybe a new slant on things.
Speaker 3 (13:27):
Well, now, what do you mean? Oh?
Speaker 4 (13:29):
We'll all this talk about the gods and India. It's
made me believe for the first time. I really believe
in faith.
Speaker 3 (13:39):
Faith, yes, ma'am. Faith.
Speaker 4 (13:42):
I get a feeling just being in this house. I
know now that, for better or worse, our destiny is
decided for us. We have to find what that destiny is.
The mine is not to be an actress or even
to sell hearing aids.
Speaker 3 (14:04):
That's very clear. Oh, my dear, that's wonderful if you
truly see it. I see something else.
Speaker 4 (14:10):
I see that I must go back to my home,
back all the way to Clarsson's Corners, because there is
where my destiny is. Oh, I'm sure I've wasted enough
of your time wasted?
Speaker 3 (14:22):
Oh never, Well you're going back home then? Oh yes,
a win. Well, as soon as I can. Life would
interpret that to me, As soon as you can raise
the money? Well, let me give you some Oh no,
I know, because we're strangers. Are we strangers? Really?
Speaker 2 (14:46):
Oh?
Speaker 3 (14:46):
Come, my dearess. Only a few dollars and what better
use could I find for it? So please please come town.
It's nothing to shed tears over them. I can't help.
I'm so happy. Oh, bless you missus, Bud weezer, bless you.
Speaker 1 (15:12):
Sally here, it's.
Speaker 4 (15:14):
Sally unless you gave some other day McKay to this joint.
Speaker 1 (15:18):
What happened?
Speaker 3 (15:20):
Is there anything less to drink?
Speaker 1 (15:21):
Tell me what happened.
Speaker 4 (15:22):
I can assure you a little pigmia. Oh I tell you,
billy boy, I never put in such a day's work
in all my life.
Speaker 1 (15:29):
Will you tell me what happened?
Speaker 2 (15:31):
But wizard them?
Speaker 1 (15:32):
Did she shut up?
Speaker 3 (15:33):
Is that old dame ever said?
Speaker 1 (15:35):
Oh?
Speaker 4 (15:36):
I tell you, billy boy, she is a rich ripe
piece of fruit, ready willing and anxious to be fucked.
Speaker 2 (15:51):
No, what did you expect?
Speaker 1 (15:54):
Did you really think this was going to be one
of those delicate inspirational stories of love, hope and faith.
My dear friends, we're involved in a hustle. I do
hope we haven't shattered anyone's illusions. Now in this type
of story, you know the plot we'll have to thicken
(16:14):
in the second act, which I shall bring you here
very soon. Virtue is his own reward. We say this
because it was a favorite phrase of Sir Isaac Walton's
(16:38):
and it's appropriate here, not because this is a story
about fishing, but because Sir Isaac was a favorite author
of a key character in our drama. Sir Isaac Walton,
in addition to being an authority on phishing, was also
an eminent poet, essayist, and critic. Well his favorite saying
(16:58):
has perhaps provided the spur for a great many people
who consider that virtue may be a warm principle but
a cold reward, and.
Speaker 2 (17:08):
Therefore seek another.
Speaker 1 (17:11):
Two such people are miss Sally Magruder and mister Billy Fulton.
What'd you say, Sally? One of the fut reason the
name say Charles.
Speaker 4 (17:21):
Frederick would go to these wild primitive places that were
filled with all kinds of well, we would call him superstitious.
Got every word down on tape.
Speaker 1 (17:34):
Hey, that tape recording? If she does a trick to
get the pictures, Oh sure.
Speaker 4 (17:38):
Oh you can't beat that little wristwatch camera.
Speaker 1 (17:40):
Okay, there's lots of work to do.
Speaker 4 (17:43):
I'll developed the pictures and you start listening to the tape.
Speaker 1 (17:46):
Honey, this could be it.
Speaker 3 (17:48):
How much do you think is in it?
Speaker 1 (17:49):
Why is she supposed to be?
Speaker 2 (17:50):
Wait?
Speaker 1 (17:50):
Four or five minute?
Speaker 2 (17:52):
Are we sure she's a believer?
Speaker 1 (17:55):
Oh?
Speaker 3 (17:55):
Yeah, I could tell by the way she talks.
Speaker 1 (17:57):
I checked her out. She goes for the message from
the the world. Stuff, he's alive.
Speaker 4 (18:02):
I could sense that.
Speaker 3 (18:04):
Well, we hooked the fish.
Speaker 1 (18:06):
Let's bring her in.
Speaker 3 (18:18):
Yes, Uh, how.
Speaker 1 (18:20):
Do you do?
Speaker 3 (18:22):
How do you do?
Speaker 1 (18:24):
My name is Billy faulkn Yes, mister.
Speaker 3 (18:27):
Falker, what can I do for you?
Speaker 1 (18:30):
I don't know.
Speaker 3 (18:32):
Well, why did you ring my bell?
Speaker 1 (18:35):
I don't know.
Speaker 3 (18:37):
Well, what do you want?
Speaker 1 (18:39):
I don't know that either.
Speaker 3 (18:41):
Well, I'm sure I don't know what to say.
Speaker 1 (18:43):
Well, something told me to come here. Something, Well, maybe
it was someone. Oh, you see, I was out fishing fishy, Yes, ma'am.
I'm a very enthusiastic fisherman and folks and only say
I'm a fan on a subject. Well, I was fishing
in Crystal Lake just about a week ago. Crystal Lake, yes, ma'am.
(19:07):
It's not throughout the state for bass, it's terrific.
Speaker 3 (19:09):
Yes, yes, my husband used to fish there all the time.
Speaker 1 (19:12):
I heard a voice and it said to me, I
am a brother of the Angle.
Speaker 3 (19:19):
I'm the brother of the angle. Why that's from Sir
Isaac Walton.
Speaker 1 (19:26):
Well, any how, the voice it look for me, look
for me. I didn't know what to do, but something
made me put my fishing gear away and I got
into my car. I didn't know where I was going
or anything, but I found myself at a cemetery. I've
never been there before. I'm not from around here, you see.
(19:49):
And for my features started walking toward a grave. Yes, yes,
in front of this grave they stopped, and on this
grave was written on arm a stone Charles Frederick but
Weezer an excellent angler. Now with God. Oh well, I
got in my can. I came here. I still don't
(20:11):
know why.
Speaker 3 (20:12):
Oh who come in? Please? Oh please mister Billy faulk Oh, Yes,
mister faulk Oh, please do come in. Oh won't you
sit down? Please? May I get you some refreshing.
Speaker 1 (20:27):
No, ma'am. I feels sort of queasy, queasy, or something's
happening inside of me. I don't know how to describe it.
Like I go around saying things like what like what, Oh,
beauty exists in the mind that contemplates it. You go
(20:47):
around saying that, Yeah, I'm not even sure what it means.
And they're like a laverice the spur of industry.
Speaker 3 (20:54):
Right, that's all from Hume, David Hume. I beg your pardon,
man Hume, the eighteenth century philosopher.
Speaker 1 (21:02):
Yeah, I never heard of him.
Speaker 3 (21:04):
Oh, this is remarkable.
Speaker 1 (21:06):
And then I keep seeing rivers and crocodiles.
Speaker 3 (21:10):
Are you sure?
Speaker 1 (21:12):
Well? I'm not sure of anything. I just never experienced
anything like this before. My life.
Speaker 3 (21:16):
Oh, it's remarkable.
Speaker 1 (21:18):
Yeah, well I wish I could understand it. A man
named butt Woezer who I never met. I didn't even
hear Robin. But besides, he's dead.
Speaker 3 (21:26):
Don't don't don't say that.
Speaker 1 (21:28):
Well, the fact visit's true.
Speaker 3 (21:30):
Well, the fact is we do not know what the
fact is in this world. What is a fact?
Speaker 1 (21:36):
Well, there's a but we The fact is I'm not
one of your educated persons. I only know I like
to go fishing.
Speaker 3 (21:44):
Yes, yes, and so did he.
Speaker 1 (21:46):
Well it's the only time I'm ever really happy with things,
Charles Frederick. This man, he keeps interfering with me.
Speaker 3 (21:53):
Well, in what way?
Speaker 1 (21:55):
I see a face? It's kind of long, then the hook, nose,
blue eyes, high cheekbones, small black mustache, long hair, my child,
my child, and all kinds of things keep happening.
Speaker 2 (22:13):
I say things.
Speaker 1 (22:13):
I just can't figure out. Where's it come from?
Speaker 3 (22:15):
Where? Oh can? I'm afraid to believe it.
Speaker 1 (22:24):
I'm losing my mind, that's what like like must I'm
trying to say something. It's forming my mind. I can
hear the words. My brain does use your frog, place
your hook gently through his mouth. Then with a fine needle,
(22:48):
take only one stitch to the wiry hook to hold
his leg, and so doing use him as though you
loved him. That's crazy.
Speaker 3 (23:01):
Ooh, that's Isaac Walton.
Speaker 2 (23:03):
I never heard it out my life.
Speaker 3 (23:04):
Charles Frederick used to recite that all the time.
Speaker 1 (23:07):
Yo, Or what had I got to do with me?
Speaker 3 (23:09):
I should think it would be a parent by now.
Speaker 1 (23:12):
Well, if you know, I wish you'd tell me please.
Speaker 3 (23:14):
You are being used us. Oh yes, yes, it's perfectly plain.
You see, my husband is trying to reach me.
Speaker 1 (23:27):
Your husband, your dead husband.
Speaker 3 (23:29):
My husband, Charles Frederick.
Speaker 1 (23:31):
But the one who's in his grave with the tombstone.
Speaker 3 (23:34):
Overroom, Well that's where he happens to be now, uh, messrs.
Speaker 1 (23:39):
But you are a very nice lady.
Speaker 3 (23:42):
Thank you, Billy what I feel?
Speaker 1 (23:44):
Excuse me for.
Speaker 3 (23:45):
I will not excuse you. Believe. Oh no, my beloved
Charles Frederick is using you as his is. Cond of it? Conduit.
You must listen so that you can relay his message
to me and mine to him.
Speaker 1 (24:02):
You actually believe this stuff?
Speaker 3 (24:04):
You can ask me that now. I look at the
thoughts that had been racing through your mind.
Speaker 1 (24:09):
No, no, I don't want to, Oh, but you must.
I'm going crazy. No, no, you're not, ma'am. I gotta
get out of there.
Speaker 3 (24:15):
No, no, I shall not let you go. Listen to me.
It's just that he wants to talk to me. Oh,
let him, please, please let him. It has nothing to
do with you that they're old. Surely believe you would
not deprive an old lady, lonely, old lady of her
only chance to talk to her husband.
Speaker 1 (24:35):
But he's dead. You gotta face it, ma'm he's.
Speaker 3 (24:39):
What you called it. Does that mean we can no
longer talk to each other? Does it? Listen? Isn't he
talking to you now through you?
Speaker 1 (24:49):
Or what do you want me to do? Ma'am? Oh,
stay here, stay here.
Speaker 2 (24:56):
I gotta go.
Speaker 1 (24:56):
I have wait to go.
Speaker 3 (24:58):
I pay you.
Speaker 2 (25:00):
I don't cause the responsibilities, ma'am.
Speaker 3 (25:02):
Oh so lonely?
Speaker 1 (25:04):
Well, I'm sorry. What can I do about it?
Speaker 3 (25:06):
Let him talk to me through you, and let me
talk to hidden through you.
Speaker 1 (25:13):
Nah no, nah, I just can't lose my mind. It's
half gone already. It's the only sensible thing I said.
Speaker 3 (25:23):
I paid you.
Speaker 1 (25:24):
Can I take money for this kind of crazy?
Speaker 3 (25:25):
You don't take it? I offer it freezing?
Speaker 1 (25:28):
No, I can't do that. I gotta go well, where
can you go?
Speaker 3 (25:32):
Charles Frederick's voice will follow you everywhere.
Speaker 1 (25:34):
I'm going to a doctor. He'll take care of me. Goodbye,
miss but please please come back. Believe me, ma'am.
Speaker 2 (25:40):
It's for your own God.
Speaker 4 (25:46):
Heard our little fish, Billy O? And when do we
reel her in after a while? Honey? I've been reading
Isaac Rotton.
Speaker 1 (25:55):
Oh come on, I got old Isaac Walton coming out
of my.
Speaker 4 (25:57):
Ears, and he says, don't delay once you face to
hook land your quality.
Speaker 1 (26:02):
Yeah, well we've gone beyond all that. I'll particular fish
has to miss me for a while and just hope
that I'll come back, start to worry that I won't
and get so anxious to when I walk in, she
just jump up and hand me a blank checks side.
Speaker 3 (26:14):
It's going good, isn't it?
Speaker 1 (26:16):
Yeah? Way ahead of schedule?
Speaker 3 (26:17):
Could it be a spune just a little bit too good?
Speaker 1 (26:20):
Come on?
Speaker 2 (26:20):
What are you worried about? Oh?
Speaker 4 (26:22):
Nothing, It's just that everything seems so perfect.
Speaker 1 (26:25):
Are you ready with your Randomly you got to sneak
in through the back and you'll have to project there.
The little microphone just whisper hoarsely.
Speaker 4 (26:33):
Come on, I don't sound like mister botwee oh knows.
Speaker 1 (26:36):
How people are supposed to sound after they die. Sounds
a good whisper is always effected.
Speaker 4 (26:41):
Yeah, what about the payoff? How much is she good for?
Speaker 1 (26:45):
How much honey? That decision will have to be made
by her husband. Then Isaac Walton and babysh a more
sagacious trio will not be encountered every day.
Speaker 2 (27:01):
Well, here we have a little plot for.
Speaker 1 (27:03):
You, a small intrigue, and it seems to be going swimmingly. Certainly,
poor missus Buttweezer has been admirably, if we may use
that word set up for it?
Speaker 2 (27:15):
What can go wrong?
Speaker 1 (27:17):
Can anything possibly go wrong? We do not foretell the
future here, We merely ask you to wait for Act three.
Custom is the great guide of human life. We use
(27:41):
this quotation for mister David Hume, since he is central
to the action of our story.
Speaker 2 (27:47):
Custom, or put it another.
Speaker 1 (27:49):
Way, We're all creatures of habit, and so we do
today generally what we did yesterday.
Speaker 2 (27:57):
If we were.
Speaker 1 (27:57):
Foolish, then the odds are we'll be foolish now, which
gets us into other areas. Like the leopard does not
change its spots, or the more things change, the more
they remain the same. You see where philosophy leads anywhere
and everywhere.
Speaker 3 (28:15):
Who's there?
Speaker 1 (28:17):
It's me, Billy?
Speaker 3 (28:19):
Really? Oh oh really? Would you come in sit down? Please?
Speaker 1 (28:31):
Yes, I had to come back, missus. But reason I
knew you would, I went to a psychiatrist.
Speaker 3 (28:37):
Oh did you.
Speaker 1 (28:39):
Yeah, I said, mister Park and you're not crazy. There's
a reason, a good reason for what you see and
hear and feel. And that made me see the life
it did how well?
Speaker 2 (28:49):
There is a.
Speaker 1 (28:49):
Reason, and that's all I had to know. So why
can't I say that The reason is because it's happening?
Oh we live call now? Your husband is in his grave. Okay,
but if he does want to talk to you, I
who am I to say? It can't be done, especially
since I hear his voice?
Speaker 3 (29:05):
Was that my point?
Speaker 1 (29:07):
Now other people are, including a psychiatrist, they won't believe it,
you understand, Yes, they don't believe it because they never.
Speaker 2 (29:14):
Heard his voice.
Speaker 1 (29:15):
If I never heard his voice, why I never believe
it either. But I did hear his voice, which means yes, why,
which means I'm a different kind of a person, the
type of person that can hear the voices of dead people.
Speaker 2 (29:31):
So sound crazy to Oh.
Speaker 3 (29:33):
How can it be crazy? The things you said concerning
my husband? How would you know that?
Speaker 2 (29:38):
Well, let's just it. I don't know him. I just
say him.
Speaker 1 (29:42):
I came here tonight even though it's late, because well
I thought he was trying to say something.
Speaker 3 (29:47):
Oh about what?
Speaker 2 (29:49):
And once again I don't know about what? I just
got a feeling.
Speaker 3 (29:52):
Well do you hear anything?
Speaker 2 (29:55):
Do I hear any?
Speaker 3 (29:58):
Is something to matter? Uh?
Speaker 1 (30:00):
The lights of my eyes light?
Speaker 3 (30:02):
Oh? Well, why don't I turn out the lights?
Speaker 1 (30:06):
Oh? Yeah, yeah, that's better, it's better. How I think
she's a quiet and peaceful?
Speaker 2 (30:13):
Oh, Hannah, Hannah.
Speaker 3 (30:15):
Look a look at the look out of work. It's
a t t it's terrible looking. Just stop.
Speaker 2 (30:20):
It's a crocodile.
Speaker 3 (30:21):
A crocodile. Oh, the crocodile. Do you see that? During
the wall and the wa Is that a crocodile?
Speaker 2 (30:28):
Is a high fair?
Speaker 5 (30:30):
Fa my darling Darcy?
Speaker 1 (30:34):
A fair?
Speaker 3 (30:37):
Oh? Whose voice is there?
Speaker 1 (30:39):
Well? You know who it is? It's Charles Frederick Buttways.
Look want to see me?
Speaker 2 (30:46):
Say me? Say he's standing there?
Speaker 3 (30:47):
So? Oh child?
Speaker 2 (30:50):
Is that you?
Speaker 4 (30:51):
Yes?
Speaker 3 (30:53):
My god? O? Where are you?
Speaker 5 (30:55):
I am in India? India, Hindy.
Speaker 3 (31:04):
Why why child answery? Oh I don't see him anymore?
For me, I don't see him anymore. Why can't I
hear him? Uh?
Speaker 1 (31:17):
Oh my head hat so pay for trying to hear
his voice, and and just to bring it to you.
I want to wrest. No, you don't talk.
Speaker 3 (31:27):
Let Charles go way up now.
Speaker 2 (31:29):
Please missus Buttles, let me rest on you one moment.
Speaker 3 (31:33):
You let me talk to him for just one moment,
if that's all one.
Speaker 2 (31:37):
Moment, all right, all right, all right, I'll try.
Speaker 1 (31:40):
Charles, Charles Frederick.
Speaker 3 (31:44):
Huh there he is. I see him again?
Speaker 1 (31:47):
Please Charles, tell her? Why you're here?
Speaker 2 (31:52):
Oh?
Speaker 1 (31:53):
Tired dead?
Speaker 5 (31:55):
Why I shall written at another time with kind Dela
fall God, with kind really fall gode to tell you
what to do?
Speaker 1 (32:15):
What to do? Oh? Oh what a relief? I less
have said, But you are right?
Speaker 3 (32:25):
Yes, yes, oh I see you? So. Oh believe what happened?
Speaker 1 (32:35):
You mean you don't know what just happened?
Speaker 3 (32:37):
Oh? I know that something wonderful happened. I hee's a
glow over if I had.
Speaker 1 (32:43):
Just been talking to Charles, But you have been talking
to Charles.
Speaker 2 (32:48):
Oh he was here, you saw him?
Speaker 3 (32:50):
Oh? Did it not be you? It was O. Yes,
I remember talking to Charleston. Do you remember what he said?
Speaker 1 (33:01):
You said he wanted to tell yourself, how about what
and how to do with the sacred crocodile of the
river Gunghay in India.
Speaker 3 (33:10):
Oh my, I wonder who that can be?
Speaker 4 (33:15):
Milicent, Yes, Augusta, it's Milicent.
Speaker 1 (33:18):
Now who is this scoundrel?
Speaker 3 (33:20):
You'll see who your sister in love. I have an
interest in your welfare. You're just anxious to see how
you can get your hands on some of your dead
brother's money.
Speaker 4 (33:29):
I'll disregard that you're a foolish woman, any fortune hunter.
Speaker 3 (33:33):
I will not tolebrate this discussion in my house.
Speaker 4 (33:35):
Your house, it was supposed to be mine.
Speaker 3 (33:39):
You pulled the wool over Charles Frederick's eyes. Oh, Milicent,
you're a mean, ungracious, grasping woman. But weren't for the
sake of your dear brother, my beloved husband, I have
a sense of duty.
Speaker 4 (33:53):
I cannot allow you to be swindled by any flim
flam artist who walks.
Speaker 1 (33:57):
In off the street.
Speaker 3 (33:58):
The gentleman is a d it. O what Oh, I
don't expect you to understand, but he is a channel
through whom I can communicate with Charles Frederick a Field
spiritualism racket. You have no right to insult the beliefs
of others. You keep living in that world of your own.
And as for you, young man, you listen to me.
Speaker 2 (34:20):
I think I'd better be good one moment, please, innocent.
Speaker 3 (34:25):
I spoke to Charles Frederick about matters only he and
I could know about. There was absolutely no way for
this gentleman to have learned certain intimate things that were
known only to Charles Frederick and me. Now, don't bet
on it. I hope no money has changed hands.
Speaker 4 (34:41):
If you even took as much as fifteen cents, I'll
have you up before a judge.
Speaker 3 (34:45):
Lintent, I cannot have you constantly invited my friends and
my gifts. You will ask you to leave this house.
Speaker 4 (34:55):
I'm leaving, but remember, friend, I'm keeping an eye on you.
Speaker 3 (35:04):
Oh oh, please, Billy long me to apologize, though.
Speaker 1 (35:09):
That's all right. There's so many evil, minded, suspicious people
in the world.
Speaker 3 (35:13):
I don't know just yet. Billy well, ma'am, I suddenly
feel so close to Charles Freddy. Don't you feel something.
Speaker 1 (35:22):
Too, I hear, well, go, yeah, I see him.
Speaker 3 (35:32):
Oh no, I know he wants to tell me about
an investment. He said he'd come back to tell me
about an investment when he would make ammission. I think
I know which one it is. I think I know.
Speaker 1 (35:51):
Is it's all till you remember, my darling, that deal,
the deal, the deal I told you about it.
Speaker 3 (36:00):
Oh, yes, my beloved, I remember. Buy the land, the
thousand acres in Arizona from Milica. That is the deal.
H oh my head, Yes, Charles, those thousand acres of desert.
There's oil there. You're an engineer. You discovered that oil.
Speaker 2 (36:22):
Oil.
Speaker 3 (36:23):
You didn't want to tell me. Listen because you are
angry with her. Charles. If I buy the land cheaply
from her, I'd be cheating her. Oh I don't think
I should cheat her. Is that? Is that what you
came back to tell me to do? Is it? I?
Speaker 1 (36:44):
I had them way oil there.
Speaker 3 (36:46):
Oh, my darling, millions of barrels, you said, ah, yes,
And you must get that land.
Speaker 5 (36:56):
No one has told Milicine have that.
Speaker 3 (36:58):
No, No, she's who thinks it's worthless. But Charles, I
can't hear you. Your voice is getting fained, and I
can't see him not anymore, Lily, Lily.
Speaker 1 (37:15):
But we say missus. But wheezy h h huh.
Speaker 3 (37:21):
Oh oh, he was here, he was here. I spoke
to him. I know I spoke to him.
Speaker 2 (37:27):
Oh you did.
Speaker 3 (37:28):
What did we talk about?
Speaker 2 (37:29):
Why?
Speaker 1 (37:30):
I don't want to repeat it. It was just uh
ind of it, things between a man and his wife.
Speaker 3 (37:34):
Oh really, you're so techful? Will I see you again?
Of course? When?
Speaker 1 (37:40):
Why the very next time, Charles Frederick wants to speak
with you. Okay, honey, this is the payoff.
Speaker 3 (37:50):
We buy that land, that thousand acres in Arizona.
Speaker 1 (37:54):
You heard it's got a while. Look here's what must
have happened. He found out about the oil right he
told his wife to buy the land from a sister.
She was well ashamed, ashamed you heard her, you seeing her.
She believes she'd be swindling the sister. But she also
has a guilty conscience about not obeying her dear husband's instructions.
(38:14):
So meanwhile, we pick up a thousand acres. I don't
know how, come on, it beats taking her money.
Speaker 2 (38:21):
That can be dangerous.
Speaker 1 (38:23):
And how much could we hit rough for a couple
of hundreds maybe a thousand?
Speaker 3 (38:26):
Yeah maybe yeah?
Speaker 1 (38:27):
But this is oil, it's worth millions and nobody could
prove we ever got.
Speaker 3 (38:31):
A shady How high should he go for it? Wow?
Speaker 1 (38:35):
How much can she ask for a thousand acres in
the desert? What do you want? Well, I'm fond of
your sister in law.
Speaker 2 (38:49):
And what does that mean?
Speaker 1 (38:50):
Well, you see, I like to settle down and live
in this town. Oh, they run.
Speaker 3 (38:54):
You are kind of out of here on her rail.
Speaker 1 (38:57):
I'm going in a business business, you're rist. As a matter,
I like to buy some from you, real estate? Where
could I get real estate? Well?
Speaker 2 (39:06):
Do you want some land in Arizona?
Speaker 1 (39:08):
Don't you? Thousand acres?
Speaker 3 (39:10):
A thousand acres of sand? What would you do with it? Oh?
Speaker 1 (39:14):
I could probably sell it to somebody, But I'd like
to buy it from you, because, well, there'll be a
way to help you.
Speaker 3 (39:22):
I am not asking help from you or anybody.
Speaker 1 (39:24):
And why not? Aren't you supposed to love and help
one another? Why are you such a mean and ornerary woman.
I'll tell you why, because you're poor and too proud
to take assistance, even from your sister in law. Well,
how much you want for that land?
Speaker 2 (39:39):
Huh?
Speaker 3 (39:40):
How much do I work?
Speaker 1 (39:42):
Come on, come on, I please don't break into tears.
I couldn't stand it.
Speaker 3 (39:46):
I can't help it. Nobody's ever been good to me before.
Speaker 1 (39:50):
All right, how much you want for that desert land?
Speaker 2 (39:53):
Well?
Speaker 3 (39:54):
Can you can you get me what I paid for it?
Five thousand dollars five fashion doll It is only five
dollars a acre?
Speaker 1 (40:04):
Oh yeah, oh yeah, that's cheap at hat the price? Okay,
I raise the money.
Speaker 3 (40:10):
Lord, bless you, billy fucking lord, bless you. Yes.
Speaker 1 (40:24):
Oh, I'm looking for Missus bud Wheesy.
Speaker 3 (40:27):
I'm Missus Budwhezer.
Speaker 1 (40:28):
You're yeah, you can't be Missus bow Wheezy.
Speaker 3 (40:32):
Like, why not?
Speaker 1 (40:34):
Because she's a gray haired lady with gold room glasses.
Speaker 3 (40:37):
It.
Speaker 2 (40:37):
Oh, that was Missus Coolidge, Missus Collidge.
Speaker 3 (40:41):
Yes, she minds the house from me while I'm gone.
She and her sister Milicent. No, yes, the wonderful house
it is. I don't know what to tell you if
you're looking for Missus Coolidge. She said that she and
Millicent had come into a windfall. I think it was
five thousand dollars. They're taking a trip. Oh, sir, was
(41:07):
there any message for Missus Coolidge?
Speaker 1 (41:09):
Message? Yeah, message just uh just tell her that I
am a brother of the angle. Oh.
Speaker 3 (41:21):
What does that mean.
Speaker 2 (41:23):
She'll know man, She'll know the angle. What is the angle?
How much more it has come to mean?
Speaker 1 (41:40):
Since honest, Sir Isaac Walden's day, we have truly become
a most geometric world, where everything is seemingly filled with
angles and curves, and all serve as bait to snare
the unwary. Don't take any Wooden Nichols till I get back.
Speaker 2 (42:08):
In essence, we.
Speaker 1 (42:10):
Could call this a fish story because it has concerned
itself with suckers. And if the true suckers were not
revealed until the very end, well it happens that way sometimes.
Our cast included Ralph Bell, Joan Shay and E. D. Justter.
Speaker 2 (42:27):
The entire production was under the direction of Hymon Brown.
This is E. G.
Speaker 1 (42:32):
Marshall inviting you to return to our Mystery theater for another.
Speaker 2 (42:37):
Adventure in the macabre. Until next time, Pleasant
Speaker 3 (43:10):
F
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