A CARNIVAL OF CORPSES! The Shadow Uncovers a Traveling Carnival’s Horrifying Secret!

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Latins, Tell Stations, Present, Escape.

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
I'm gonna thank some miss.

Speaker 4 (00:26):
A man us.

Speaker 1 (00:31):
Seal Present Suspense.

Speaker 5 (00:41):
I am the Whistler.

Speaker 6 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise, sign up for

(01:05):
my free newsletter, connect with me on social media, listen
to free audiobooks I've narrated. Plus you can visit the
Hope in the Darkness page. If you're struggling with depression,
dark thoughts, or addiction, you can find all of that
and more at Weird Darkness dot com. Now bolt your doors,
lock your windows, turn off your lights, and come with

(01:25):
me into tonight's retro Radio Old Time Radio in the Dark.

Speaker 1 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 5 (01:50):
Come in.

Speaker 2 (01:53):
Welcome.

Speaker 7 (01:54):
I'm E. G.

Speaker 2 (01:55):
Marshall. I embroidered the world upon.

Speaker 1 (01:59):
A loom, I decorate with dreams, my tapestry here in
a little lonely room. I am master of earth than sea,
and all the planets come to me, the spinner of fancy,
the weaver of dreams. Man was born to do and dare.

(02:19):
And if he cannot do and dare while awake, then
he will do and dare when asleep. And a million
years from now will it have mattered much?

Speaker 8 (02:30):
And you believe that mumbo jumbo fortune teller nonsense, it's
common true?

Speaker 1 (02:35):
Or what's coming to her?

Speaker 2 (02:37):
Her predictions? She said, we'd be in the ocean.

Speaker 1 (02:39):
This is only New York, Harver.

Speaker 2 (02:41):
It's still part of the ocean. She said, we'd be
in a ship.

Speaker 1 (02:44):
This is only a furry.

Speaker 2 (02:46):
Boat, but it's still a ship, all right.

Speaker 1 (02:48):
She predicted fire. Where's the fire?

Speaker 2 (02:52):
Fire?

Speaker 9 (02:53):
Well him alone, malone, hurt me?

Speaker 10 (02:55):
Help me?

Speaker 1 (02:57):
Burning up our mystery drama Tobin's Palm was adapted from
the o Henry Classic especially for the Mystery Theater by
Sam Dan and stars Robert Dryden and Fred Gwynn. It

(03:19):
is sponsored in part by True Value Hardware stores and
Buick Mortar Division.

Speaker 2 (03:25):
I'll be back shortly with Act.

Speaker 1 (03:27):
One, Shakespeare wrote of star crossed lovers. However, many of
O Henry's lovers only had their wires crossed. This was
probably because neither the telephone nor the telegraph existed during

(03:50):
the lifetime of the Bard of Avon. Well, whatever it
is that crosses young lovers, ancient, medieval, or modern, it
is the stuff of storytelling, meat and drink to a
storyteller like oh Henry.

Speaker 2 (04:03):
And since this is a story that.

Speaker 1 (04:04):
Deals with fate, irreversible, implacable fate, we shall ask the
master himself to tell it.

Speaker 2 (04:16):
It so happens. I'm part of the story.

Speaker 1 (04:19):
I'm a character in it, but I don't enter until
pretty close to the end, and when I do, I
won't know anything that's happened up until the time of
my entrance.

Speaker 8 (04:31):
Furthermore, I won't even use my right name, William Sidney Porter,
or even my legitimate alias O Henry, for reasons of
my very own I shall call myself mister Maximus G.

Speaker 1 (04:44):
Freedenhusman. Now you remember that name, Maximus G. Freedenhusman. However,
too much explanation is like too much yeast in the
bread or too much water in the bourbon. Let's get
on with the yarn. Our hero is a young fellow
named Daniel Aloysius Tobin, as bright and handsome, a lad

(05:07):
as was ever produced by the Land of the Green.
But as we encounter him tonight in a Manhattan.

Speaker 2 (05:14):
Watering place, his true color is blue to my eyes
to see me? Or is it Daniel Alosius Tobin?

Speaker 1 (05:25):
Leave me alone?

Speaker 11 (05:27):
Leave me fits fits?

Speaker 2 (05:29):
It's Daniel Tobin, this teary eyed oak, this sad, lugubrious malone?
Can this be Daniel Tobin of the sweet voice, the
light heart, the dunce and smiled.

Speaker 1 (05:42):
I've lost him alone, lost her?

Speaker 2 (05:45):
Lost?

Speaker 12 (05:46):
Who her?

Speaker 1 (05:47):
Is there more than one her?

Speaker 8 (05:50):
I've lost my own Katie Mahonna, Mahoner, Katie Mahonna, I
got your own Colleen from County Sliego.

Speaker 1 (05:58):
What am I to tell you? I've lost her? She's
lost me.

Speaker 7 (06:02):
What am I to do?

Speaker 13 (06:03):
Why?

Speaker 2 (06:03):
Find another?

Speaker 11 (06:04):
Man?

Speaker 1 (06:04):
Ah No, another like Katie?

Speaker 2 (06:07):
It happens every day? What happens every day? The story?

Speaker 1 (06:12):
What story?

Speaker 2 (06:14):
What story? We've been talking about the story of Katy
my Honor?

Speaker 1 (06:18):
How could it happen every day? There's only one Katy
my Horner.

Speaker 2 (06:22):
Why there's one hundred thousand Katy my Honors? How is
that possible? That's because she isn't always named Katy mahonor
sometimes she's called Bridget O'Sullivan or Mary fitzgerald or Nave
McCoy or Annie O'Connell.

Speaker 1 (06:38):
What are you talking about?

Speaker 12 (06:41):
Ireland?

Speaker 1 (06:43):
Ireland?

Speaker 2 (06:44):
You're intoxicated, Katy, my honor is Ireland.

Speaker 1 (06:49):
I'll take you home.

Speaker 2 (06:51):
Ask me why Katy Mahonner is Ireland?

Speaker 8 (06:55):
Why is Katie Mahonna in Ireland?

Speaker 2 (06:57):
Because, my boy, we've left there.

Speaker 1 (07:01):
Well, of course I've left her there.

Speaker 2 (07:04):
We stay to the Katie Mahorners. I shall go to America,
where the streets are paved with gold, and that's not
an English landlord to be seen, and I shall make
my fortune. Then, Katie Madaren, I shall send for you.
This is what you said to Katie Mahorner.

Speaker 1 (07:19):
This is what I said to Katie Mahnor.

Speaker 2 (07:21):
Are you one hundred thousand others? Brave? Bright lead as
you took to the ships. But but what it is
not to be?

Speaker 1 (07:32):
What is not to be?

Speaker 2 (07:33):
The reuniting of the Daniel Tobins and the Katy Mahners.
Soon she's forgotten.

Speaker 1 (07:39):
I've never forgotten.

Speaker 2 (07:40):
Tobin, my lad. It's human nature, out of sight, out
of mind. Off with your love and on with the news.

Speaker 1 (07:49):
I can never forget my Katie.

Speaker 8 (07:51):
And for your information, Katie left County Sligo three months ago.

Speaker 2 (07:55):
And what may I ask did she use for money?
You hard being in a millionaire class with mister Andrew Cornegie.

Speaker 8 (08:03):
She had two hundred dollars in her own savings and
one hundred dollars from the sale of my own estate
and stick towards a fine little carriage in the Bargshanal.

Speaker 2 (08:13):
And she left for America.

Speaker 8 (08:15):
Well, I have a letter hear from her mother stating
the case.

Speaker 2 (08:17):
And what does the letter say?

Speaker 1 (08:19):
Well, I shall read it.

Speaker 8 (08:22):
Dear Daniel, My Katie has gone to America to become
your bride. I had given her a piece of paper
with your address in New York. But when I came
home from seeing her off on the boat, I saw
the paper still in the kitchen table. You know how
forgetful Katie is. I hope she finds you.

Speaker 2 (08:41):
So Katy has come to this country to find you.
But how where her mother New Year address? She sent
you the letter? So all Katy has to do is
write home to her mother.

Speaker 1 (08:52):
But you see she may not be able to do that,
not be.

Speaker 2 (08:56):
Able to write home to her mother house.

Speaker 1 (08:57):
That possible, Come alone. My kid is a pearl, a jewel,
a treasure. But she has this flow. She can't remember,
she can't remember what anything. A lovely girl, a diamond, Malone,
but so forgetful.

Speaker 8 (09:16):
So it's possible she cannot write home to her mother
because she's forgotten her mother's address.

Speaker 2 (09:21):
To forget the address of one's own mother, it's awful.

Speaker 1 (09:25):
Oh listen, go away, Malone, and let me suffer in
silence and peace.

Speaker 2 (09:29):
Never say die open my lad.

Speaker 1 (09:33):
Diet is Malone, because there is no living without her.
How is she to find me in a city of
four million people, five thousand streets, ten thousand saloons? No, no, no, no,
it's it's fate, of.

Speaker 2 (09:46):
Course, fate. But everything in life is feet. This glass
of beer you're now lifting your lips offered you, Malone.
What was this glass of beer once? The contents of
that golden glass was once golden glass, grain, barley hops
that grew in a lush and beautiful field.

Speaker 1 (10:04):
A green field, a green field in Ireland.

Speaker 2 (10:07):
No, no more like Kansas.

Speaker 1 (10:09):
But my point is, yes, what is your point?

Speaker 2 (10:13):
A single flower, a single blade of grass you follow,
grown up from the earth, the thick, rich, black earth
of Kansas. What is the point reaching toward the sun,
the warm and nourishing sun.

Speaker 1 (10:25):
We have also reached the end of my passion.

Speaker 2 (10:27):
Suddenly it's separated from its roots by a sharp, cold,
cruel steel blade. It is carried away and bundled and
crushed and macerated and boiled and steamed and cooled, and
it becomes a few drops of the flow and liquid
that is now in your glass.

Speaker 1 (10:41):
And there is a marl to this little story.

Speaker 2 (10:44):
A marl no a meaning a yes. It was the
fate of this blade of grass to become a glass
of beer for one Daniel Allocious Tobin. Fate, that is
what is known as fate. Now ask me what this
has to do with Katie Mahoner.

Speaker 1 (11:03):
What has this to do is the fate of Katy.

Speaker 2 (11:06):
Mahoner to become the bride of Daniel Tobin? Or it
is not the fate? Is that true?

Speaker 1 (11:15):
That's true? I suppose.

Speaker 2 (11:17):
Now ask me another question, Ask me if this can
be ascertained.

Speaker 1 (11:26):
Can this be here beyond.

Speaker 2 (11:28):
The very shadow of our doubt? Come with me where
to Coney Island, Why so that you may learn your fate?

Speaker 1 (11:44):
Alan, What are we doing in this place.

Speaker 2 (11:47):
Fate? We shall be the devil in her den? What
does the sign say.

Speaker 8 (11:54):
Madame Zozo, the Egyptian Palmist?

Speaker 1 (11:59):
What's a palm?

Speaker 2 (12:00):
Est when the treat comes?

Speaker 1 (12:03):
Why would anyone want to read a palem?

Speaker 2 (12:05):
Because your fate is written there?

Speaker 1 (12:07):
What is this nonsense?

Speaker 2 (12:09):
If you look at the palm of your hand, you'll
see lines, Dan, These lines determine your fate. Do you
or do you not wish to know? If ever, you
shall gaze on the beautiful pace of Katie my order,
m Madame Souso approach. I should like to introduce my

(12:31):
friend here, Daniel Tobin. He wishes to know his fate.

Speaker 14 (12:36):
Short term, a long time? Well, short terms ten cents?
Long time is a quarter.

Speaker 1 (12:44):
Ask because she has an intermediate rate.

Speaker 2 (12:46):
I'll treat toubin here, madam, those of twenty five cents.
Now you give us the first class to Luke's blue
plated special hand.

Speaker 11 (12:54):
Please.

Speaker 14 (12:56):
This is this is a simple fantatholic. This is a
hand to conjure with.

Speaker 1 (13:02):
Yeah, and it does pretty good swing on a pick too.

Speaker 14 (13:04):
Lines the lines here we have the line of venus.
It shows you're in love. Ah, but it is crossed
for the line of altar for Caalis.

Speaker 1 (13:16):
Hey did the witch tuble?

Speaker 2 (13:17):
Trouble tuble with your sweetheart Katie Mahorner's here first. I
see trouble and sorrow and tribulation over one you cannot forget.

Speaker 14 (13:27):
I see the lines of desic nation point to point
two point of what.

Speaker 1 (13:36):
The letters of the.

Speaker 14 (13:38):
Two of the letters of her name, the name the
letters K.

Speaker 2 (13:45):
And M daniela loxius tube.

Speaker 11 (13:48):
Did you hear that?

Speaker 9 (13:49):
Well?

Speaker 1 (13:51):
Well, what how much more do you want for a quarter?

Speaker 2 (13:55):
She's like the guys media. You have to keep feeding
her silver quarters?

Speaker 15 (13:57):
All right?

Speaker 1 (13:58):
Give me another twenty five cents worth? Will I find her?
Will you find I've invested fifty cents so far.

Speaker 14 (14:04):
When I see your hand, it's a lie, well erupt.
Your hand is seething with sights, with lines and colors
and pictures. I see a ship, an ocean, I see fire.
You will meet a man a blonde woman. But will

(14:25):
I meet that blonde woman?

Speaker 1 (14:26):
Will bring you misfortune?

Speaker 2 (14:27):
You generally do?

Speaker 14 (14:28):
You will meet a man with a silver ornament, and
a man rested all in black with a hammer. Oh
what I see steam, steel stone, white horses, a redhaired woman,
and a bald headed man.

Speaker 1 (14:48):
They are also bad luck.

Speaker 8 (14:51):
But Katie, what if, Katie Mahonna, what use for all
these blonde head, redhead and bald headed people to me?
Do you see my own, Katy mahonner.

Speaker 1 (15:00):
The pictures, faid.

Speaker 14 (15:04):
All I can see is a man, a man, A
man who.

Speaker 1 (15:09):
Brings you good fortune.

Speaker 8 (15:11):
Well, he'll be the first of his kind then in
all the world. How will I know this man?

Speaker 1 (15:15):
I know him by his crooked no it. Does this
man have a name name?

Speaker 14 (15:22):
It seems to be somewhere in that name is the
letter oh?

Speaker 1 (15:28):
The letter oh?

Speaker 8 (15:30):
Fifty million names have the letter oh? Is this the
best you can do?

Speaker 14 (15:33):
Madame Zausser, Madame Zoso, I haven't given you his name.

Speaker 1 (15:37):
At least I have given you his crooked nose. And
he will bring me luck. It will bring you great
good fortune. And you do not see Kathie Muhonna in
the lines of my hand.

Speaker 14 (15:47):
Last, the picture I see is the man with the
crooked no.

Speaker 2 (15:52):
Ain't it remarkable?

Speaker 16 (15:54):
God?

Speaker 2 (15:54):
Ocean fire, a ship, a fat man, a blonde woman,
a man with a silver own, a man dressed in
black with ammon, white horses, a steam steel stone, a
redhead woman, a bald headed man, and the fellow with
a crooked nose, and all the fifty.

Speaker 1 (16:08):
But where's my cave? Herem my horner, you can't have everything.
Come alone.

Speaker 8 (16:14):
It's time we left this unfortunate city of Brooklyn and
returned to civilization.

Speaker 5 (16:23):
Ha ha.

Speaker 1 (16:26):
Tobin, my lad.

Speaker 2 (16:27):
She the prophecy is coming true.

Speaker 1 (16:30):
What's coming from Milan? She said it?

Speaker 2 (16:32):
Madam Suso predicted it. She said, you would see the ocean.

Speaker 1 (16:36):
But this isn't the ocean.

Speaker 9 (16:37):
No, what is it?

Speaker 2 (16:38):
Then?

Speaker 8 (16:39):
It's the body of water that separates Corney Island from Manhattan.

Speaker 2 (16:43):
It's the ocean, the Atlantic Ocean, the self same ocean
that washes the swords of the county Sligo on the
Emerald Isle.

Speaker 8 (16:51):
And this is a ship, just as she said, this
isn't a ship.

Speaker 1 (16:55):
No, what is it?

Speaker 11 (16:56):
Then?

Speaker 1 (16:56):
A ferry boat? Any fool knows that.

Speaker 8 (16:59):
The ferry boat between Coney Island and the west side
of Manhattan.

Speaker 2 (17:02):
Doesn't it have motors? Doesn't it have cabins? Doesn't it
have this deck we're standing on. Doesn't it have a
wheelhouse with a captain? Doesn't it have.

Speaker 1 (17:12):
What doesn't it have? What?

Speaker 17 (17:13):
What?

Speaker 1 (17:13):
What are you staring at? Milan.

Speaker 2 (17:15):
Doesn't it have a fat man and a blonde woman
where standing right there at the rail, and.

Speaker 8 (17:25):
That the world is filled with fat man and then
beautiful blonde woman with Madame. Thus Madam Soso said there
would be fire.

Speaker 1 (17:33):
Where's the fire?

Speaker 18 (17:35):
Yea?

Speaker 9 (17:35):
Whoa torment? Don't what I'm burning up?

Speaker 15 (17:38):
Hurt me?

Speaker 1 (17:39):
I'm burning up. You were there, you heard the predictions,
the ship, the ocean, the blonde woman, the fat man,
the fire, And just like that, here they are. The
future is the future spelled out for all to read
in Daniel Tobin's pond. Well, I can predict what's going

(18:03):
to happen in the next few minutes, then I shall
be back here with that too, poor forgetful Katie Mahorner,
beloved of Daniel Aloisius Tobin. Katie sold Tobin's cottage back

(18:27):
home in County Slago to raise money for a steamship
ticket to join Tobin in New York, but she has
forgotten where he lives. Will fate conspire to keep them
apart or reunite them? Right now Tobin is having troubles
of his own. My ear, it's burning Tobin.

Speaker 2 (18:47):
It was an accident.

Speaker 8 (18:48):
This fat man stuck his lighted cigar into my ear.

Speaker 9 (18:51):
It's a lie.

Speaker 1 (18:52):
A lie? Is it to look at my ear? It's
half burned off.

Speaker 9 (18:56):
Why couldn't you look where you're going?

Speaker 2 (18:58):
You?

Speaker 9 (18:58):
You were rough hills?

Speaker 8 (18:59):
My lord, This fat one is about to swim back
to Manhattan.

Speaker 9 (19:02):
Not Tobin.

Speaker 2 (19:03):
It wasn't his fault. It's fate. It didn't Madame Soso
predict a fat man, a blonde woman a fire. Sir,
I wish to apologize for my friend. He ran into
your cigar.

Speaker 1 (19:16):
I did no such thing. He deliberately stuck it in
my ear.

Speaker 2 (19:19):
Whatever it was meant to be, it was ordained by fate.
You owe him thanks. Go ahead, thank the man for
what don't you understand? For being part of the chain
of misfortune?

Speaker 1 (19:34):
I owe thanks for misfortune. You do for half burning
off my ear.

Speaker 2 (19:39):
Now, this gentleman meant no harm Tobin. He's but an
instrument of fate.

Speaker 1 (19:44):
Apologize all right, sir, I offer you my apology. I
apologize for running he listened to you and destroying your
fine five cent cigar.

Speaker 8 (19:54):
My name is Daniel Lada wishes Tauburn, And anytime you
need anybody's ear to put out a cigar.

Speaker 1 (20:00):
I'm at your service, sir.

Speaker 9 (20:02):
Your handsome apology puts me to shame.

Speaker 19 (20:05):
My name is Porridge, I'm at Easer Porridge, and I
must make a confession.

Speaker 9 (20:11):
You did not run into me.

Speaker 1 (20:13):
I did not.

Speaker 9 (20:14):
What I did was deliberate.

Speaker 1 (20:18):
Do you mean you stuck your cigar in my ear?
On purpose?

Speaker 9 (20:21):
The truth, the truth always at all costs. Yes, I did.

Speaker 1 (20:27):
But why why?

Speaker 9 (20:29):
I was mad with jealousy.

Speaker 19 (20:32):
This young lady here, Miss Marcella Garlic, is my fiance,
and I thought you.

Speaker 1 (20:39):
Were flirting with her, me flirt.

Speaker 9 (20:43):
I realized now I was hasty.

Speaker 1 (20:45):
I'm an engaged man. Katie Mahonner has my entire heart.
Hen she's at my side, I feel as if.

Speaker 8 (20:52):
I am a tiger Katie, Katie, where is she now?

Speaker 19 (20:56):
The very idea that someone is lusting after my own
through Marcella, turns me into a raging killer.

Speaker 9 (21:04):
A kay, who is Katie?

Speaker 1 (21:08):
I intended?

Speaker 8 (21:10):
And then because of Katie I can see the face.

Speaker 19 (21:12):
Of no otherwise who are fortunate like myself to be
in love? And that is why you were not flirting
with my Marcella.

Speaker 1 (21:22):
I believe you have described the situation.

Speaker 9 (21:24):
Mister Teubin. Tell me this.

Speaker 19 (21:27):
If you were not engaged to marry Miss Katie, my honor,
would you then flirt with Miss Garlic?

Speaker 1 (21:36):
The ass is no, No. Did I hear you say?

Speaker 9 (21:40):
No?

Speaker 1 (21:40):
You did?

Speaker 9 (21:41):
May I a shy.

Speaker 8 (21:44):
Because with all due respect, Miss Garlic does not appeal
to me.

Speaker 2 (21:47):
She does not?

Speaker 11 (21:49):
Again?

Speaker 9 (21:50):
May I inquire the reason?

Speaker 1 (21:52):
Well, I do not feel that way inclined Todd, Miss Garlic,
Miss Marcella Garlic is not good enough for you?

Speaker 9 (22:00):
Then, Marcella, did you hear what this oath said of you?

Speaker 20 (22:04):
Now?

Speaker 1 (22:05):
I didn't say she wasn't good.

Speaker 9 (22:06):
Enough, but you wouldn't flirt with her? Why not?

Speaker 19 (22:10):
Are there other women on this boat you would flirt with?
There may be, but not Miss Garlic. Put up your
hands what I said? Put up your hands?

Speaker 8 (22:22):
You'd fight me because I would not flirt with your
intended to the death alone.

Speaker 1 (22:27):
Let us leave this fat maniac.

Speaker 9 (22:29):
I knew you were a coward the moment I laid
Eyris on you.

Speaker 2 (22:32):
Tobin, don't hit.

Speaker 8 (22:33):
Him, give but put the man called me.

Speaker 2 (22:35):
A cow Gentlemen, this hardly calls for blackshed. What would
satisfy your honor, mister Porridge?

Speaker 9 (22:43):
Let him say he'd flirt with miss Garlic.

Speaker 2 (22:46):
Certainly a most delightful way to keep the peace. Tobin say,
you'll be willing to flirt with mister Porridge's fiance. Well,
go ahead, go hit.

Speaker 9 (22:59):
No, no, no, And why not? May I ask?

Speaker 1 (23:03):
Because I don't know what she looks like.

Speaker 2 (23:06):
Man, you can see if she's standing right there and
play view.

Speaker 1 (23:08):
I still don't know what she looks like. What colors
her hair?

Speaker 2 (23:11):
Her hair's blonde. Anyone can see that.

Speaker 8 (23:14):
The blonde comes from a bottle of peroxide. Sure, Jersey,
Now what's her face like underneath all that powder and paint?
So what I say to you, mister Parridge, is if
you want me to flirt with your fiance, first you
get the stripper down and scraper off, and let us
discover who she is.

Speaker 9 (23:30):
Birch, she'll be your lasting soul.

Speaker 2 (23:32):
Look out.

Speaker 21 (23:35):
With you.

Speaker 22 (23:36):
You're right.

Speaker 23 (23:41):
Overboard, meniac, your meniac?

Speaker 2 (23:52):
Where you go?

Speaker 24 (23:52):
I'm going in there after room, you fool. You can't
swim somebody a full tabum? Come on, where no where
do you think? Down in a saloon deck the other
side of the boat. Let's get lost in the crowd.
You can get thirty days for result.

Speaker 2 (24:05):
Man.

Speaker 1 (24:05):
Yeah, but here's halting me.

Speaker 11 (24:06):
You threw him in the water.

Speaker 2 (24:08):
Come on, do that's questions the policeman.

Speaker 1 (24:10):
Come on this way, all right, Come on, I know
where to hide.

Speaker 2 (24:12):
It's it's no use, sob.

Speaker 1 (24:14):
Down these stairs. I know the head stoker on this ferry.
He'll hide me in the engine room.

Speaker 12 (24:18):
You there, stand still in the name of the law.

Speaker 2 (24:21):
Oh you can't escape?

Speaker 1 (24:22):
What have you lost your senses?

Speaker 14 (24:23):
I'm to be arrested.

Speaker 2 (24:24):
Even so, you must stand right here.

Speaker 1 (24:26):
I'll do no such thing you must.

Speaker 2 (24:28):
I won't let you escape.

Speaker 1 (24:29):
John Malone, my best friend. Are you selling me out?

Speaker 8 (24:32):
Hold on, there's no time. Not policeman's almost here.

Speaker 2 (24:35):
Can't let you. Let call me my policeman. Look at
the policeman. Remember what Madame Zuzu said. You will meet
a man with a silver ornament. She meant a policeman
see his silver bench.

Speaker 17 (24:49):
Malone.

Speaker 1 (24:50):
If I go to prison, I'll never forgive you.

Speaker 2 (24:52):
What have I got to do with it? It's written
in your post.

Speaker 25 (24:55):
You're there.

Speaker 2 (24:56):
You're under arrest.

Speaker 12 (24:57):
Now, officer.

Speaker 1 (24:58):
I was standing peaceful the rail with my friend. That's
what I are saying.

Speaker 2 (25:02):
I don't fight it. Told my lad see the badge,
what a beautiful silver ornament. Oh, how wonderful fate is
working for you tonight? How Marcus, is that.

Speaker 1 (25:11):
A fact I get my ear half burned off?

Speaker 2 (25:13):
Or it's not that bad.

Speaker 1 (25:14):
I'm placed under arrest like a common criminal.

Speaker 2 (25:16):
Will be vindicated in the end, You'll see.

Speaker 1 (25:18):
Professer, I'm telling the truth. It was self defense.

Speaker 19 (25:21):
Don't tell it to me, Tell her to the judge.

Speaker 1 (25:29):
I'll sit here and wait till your case is called. Well,
what will happen to me?

Speaker 9 (25:35):
He won't be hanged, at least, I don't think so.

Speaker 2 (25:38):
Whatever happens toward my lad happens because of fate.

Speaker 1 (25:41):
Faith.

Speaker 2 (25:42):
Yes, fate makes all the decisions, and it's faith that
leads you towards Katie my honor?

Speaker 1 (25:47):
Is that the truth now?

Speaker 2 (25:49):
Or away from Katie my hornor Oh, you.

Speaker 1 (25:51):
Have always been a great comfort to me.

Speaker 8 (25:53):
Malone thirty days, next case, Ah, it's him, it's who
gente Murphy?

Speaker 1 (26:00):
Thirty days next case? Well, what about Judge Murphy?

Speaker 8 (26:04):
All I can tell you is you're going to get
thirty days thirty days.

Speaker 1 (26:07):
But that's what he gives. Everybody.

Speaker 2 (26:08):
Doesn't matter what you did.

Speaker 1 (26:10):
You played innocent or guilty. When it's all over, he says.

Speaker 11 (26:13):
Thirty days.

Speaker 1 (26:15):
Next case, thirty days? How can I go to jail
for thirty days?

Speaker 2 (26:19):
Prop sy the prediction, it's all common true, Madam Zoso said,
there would be a man dressed in black. That's the
judge in his rooms with a hammer. See it's his gabble.

Speaker 1 (26:29):
We should never have gone to that crazy Madam Zoso.

Speaker 2 (26:32):
It would have all come out the same way. This
is your fate. How can you fight it? Cheer up, Tobn,
my lad. I'm with you. I'm with you all the way.
Thirty days, next case, that's you.

Speaker 1 (26:45):
What's the charge?

Speaker 2 (26:46):
Officer? Assault?

Speaker 26 (26:48):
Your honor?

Speaker 1 (26:49):
He threw a man off at Coney Island ferryboat. What's
your name? Daniel lallowishus toubin?

Speaker 2 (26:54):
How do you plead well?

Speaker 1 (26:57):
Your runner? Guilty days? Next case, but your honor? I
wasn't exactly guilty.

Speaker 27 (27:04):
Then do you wish to plead innocent? Yes, sir, very well,
thirty days.

Speaker 1 (27:09):
But your honor? I have an explanation. No, what do
you want to bother with that?

Speaker 5 (27:15):
For?

Speaker 8 (27:15):
Isn't every American citizen entitled abeas corpus or rigor mortis?

Speaker 27 (27:19):
I'll take it hundred advisements.

Speaker 1 (27:21):
What I did was for the man's own benefit.

Speaker 27 (27:24):
Is this going to be a long explanation? No, your hona,
it's most unfair of you, mister Tobin. With the line
of people waiting to be sentenced, timing, waiting for justice,
we have to keep moving now, did you or did
you not throw man into the water from the Corney
Island ferry boat?

Speaker 1 (27:43):
Yes, sir, but I had a good reason. What was
it to cool him off? Which is exactly what we
propose to do for you. Place in a nice cool
cell thirty days.

Speaker 2 (27:54):
Next case, Well, Tobin.

Speaker 1 (28:01):
Millett, keep away from me. Keep away.

Speaker 2 (28:03):
That's how you talk to your best part after I
come all the way uptown to visit.

Speaker 1 (28:07):
If it wasn't for you, I wouldn't be in here.

Speaker 2 (28:09):
Don't blame me, it's fade. Besides, you'll be out in two.

Speaker 9 (28:13):
More weeks, two more weeks.

Speaker 1 (28:15):
I won't live that long.

Speaker 2 (28:17):
Out two weeks? What's two weeks?

Speaker 1 (28:18):
Two weeks? And heyd is malone, that's what I face.

Speaker 2 (28:21):
It can't be as bad as that.

Speaker 8 (28:22):
Do you know where? They put me alone? In the laundry,
the steam laundry.

Speaker 2 (28:27):
Oh, the steam laundry way way, that's marvelous.

Speaker 1 (28:32):
Leave me malone leave me. Do you understand it's bad enough?
I got thirty days in the steam laundry for us all,
But if you say another word, I'll get the rope
from murder.

Speaker 2 (28:40):
Don't you know what it means? Madam Zozo's prophecy is
absolutely accurate, and it's unscheduled. Everything. Everything she has predicted
has come true in every detail. The ocean, the boat,
the fat man, the blond woman, figure that, the man
with the silver ornament, the man dressed in black with
the hammer, and now deal stone which is the prison

(29:02):
and steam the laundry.

Speaker 8 (29:04):
It's happened in Tobin. It's happening. What's happening fate? Fate
should have to work in a stamelund And.

Speaker 2 (29:11):
Now what's left the red haired.

Speaker 1 (29:14):
Girl, but Katie Mahorna does not have red hair.

Speaker 2 (29:18):
Red haired girl, the bald headed man, the white horses,
and the man with the trouked nose. I tell you
told I can hardly wait.

Speaker 1 (29:32):
He'll have to wait, and so will we for a
few minutes anyhow, until we return with Act three, which
is where fate becomes final for everyone. Will Tobin be
reunited with the beautiful if somewhat forget for Katie Mahorner
in the end. Don't place me in such a compromising position.

(29:53):
You know I can't give away any secrets. I could
not love the half as much? Did I not love
honor more?

Speaker 26 (30:12):
Yes?

Speaker 1 (30:13):
Some of the most beautiful love poetry in the world
has been written in prison. Daniel Alawishus Tobin, who is
madly in love with Katie Mahorner, is also in prison,
but he's not writing poetry. He's sweating away his sentence
in the steam laundry. Well, as you know, all things
come to an end, even Tobin's thirty day sentence, And

(30:34):
on the day of blessed release, he is met at
the gate by his faithful friend Malone.

Speaker 2 (30:40):
Tobin, my good lad.

Speaker 8 (30:41):
You'll keep a safe distance away from me, Malone, or
I shall not be responsible for my actions.

Speaker 2 (30:46):
Is this the way you talk to your best friend?

Speaker 1 (30:48):
But a sad, pathetic creature. I am to have the
likes of you for a friend.

Speaker 2 (30:52):
Calm Tobin. I'll buy you drink.

Speaker 8 (30:53):
No, I want nothing from you. You shall introduce methan
now further mischief.

Speaker 2 (30:58):
High you hold me responsible, But.

Speaker 1 (31:00):
If that had bean for you, I would never have
had my ear half.

Speaker 2 (31:03):
Burned away an exaggeration.

Speaker 8 (31:05):
I serve thirty days in the workhouse. Is that an exaggeration?

Speaker 2 (31:08):
Tool, oben, it's fate. Your fate is written in the
palm of your hand. And now we must look for
the red haired girl with which redhad girl one Madam
Zoso said we would meet. Remember the white horses, the
red haired girl, the bald headed man.

Speaker 1 (31:23):
No, I I don't want to meet anyone else.

Speaker 2 (31:26):
But these are all the people who will lead you
to Katie, my honor.

Speaker 8 (31:29):
No, the fate decrees, and I'm to meet Katie mahonor.
Then I shall meet her without white horses and redhaired
girls and bald headed men and.

Speaker 2 (31:37):
Men with crooked noses.

Speaker 8 (31:38):
Don't forget No, Now, let me be malone. I shall
go my own way, to my own small room, and
there I shall sit and.

Speaker 2 (31:43):
Wait, which you cannot avoid the rest of those people,
they are already in your palm.

Speaker 1 (31:48):
Well, they will have to do the best they can without.

Speaker 2 (31:50):
Me and Katie Mahorner.

Speaker 1 (31:52):
What will be? But no, I'm going home. My mind's
made up.

Speaker 17 (32:06):
Come in.

Speaker 1 (32:09):
Oh, it's only you.

Speaker 2 (32:11):
Yes, it's only me, only your best friend, Only a
person who stays awake all night and plans all day
for you, Tobin.

Speaker 1 (32:20):
Listen to me, Donald, never again.

Speaker 2 (32:22):
But you must look at your palm, Tobin. It's there.
Every secret of your future is there.

Speaker 1 (32:28):
Then let it stay there.

Speaker 2 (32:29):
The game, Tobin, the game must be played out to
the end.

Speaker 1 (32:34):
Who says of fate? Faith again?

Speaker 2 (32:37):
Not again? But still, Tobin, your standing still, and your
faith is standing still.

Speaker 1 (32:44):
It's a little matter to me.

Speaker 2 (32:46):
But don't you see fate is being delayed like a
train being held in the station because the track is
not clear. You must carry out the design of fate.
You must have this encounter with the white horse, the
redhead girl and the bald headed man.

Speaker 1 (32:59):
All I want is my Katie, my horner.

Speaker 2 (33:01):
But Katy is on the train. What train, the train
of fate that is being held up in the station,
and you're holding it up.

Speaker 1 (33:10):
Every time I listen to you. It isn't me.

Speaker 2 (33:13):
It's all in the palm of your hand. Come. We
can't keep Katy, my horn a waiter on that train.

Speaker 1 (33:18):
But we don't even know if she's on that train, then.

Speaker 9 (33:22):
What have we got to lose?

Speaker 2 (33:23):
We I'm with you, Tobin, I'm with you all the way.

Speaker 8 (33:27):
Oh, yes, the way you were with me for thirty
days in the steam laundry.

Speaker 2 (33:31):
Tobin, she's waiting, killing my horner is waiting.

Speaker 1 (33:41):
I must say.

Speaker 8 (33:41):
The streets are filled with horses, redhaired women, and bald
headed men.

Speaker 2 (33:46):
Yes, Tobin, my lad, but not in combination.

Speaker 1 (33:48):
Malde. Why can't you leave me in peace?

Speaker 2 (33:51):
Because there is no peace for you until you're fine, Katy,
my horner, there's.

Speaker 1 (33:55):
No peace for me till I'm rid of you.

Speaker 2 (33:58):
To look there across the street, well, sitting in a
carriage a girl, a beautiful girl with red hair, Tobin,
can you must state that flame and red hair, and
the horses white horses, two white horses. Ah, now where's
the bald headed man?

Speaker 1 (34:16):
A man, a tall man is headed for the carriage.

Speaker 2 (34:21):
He is he bald?

Speaker 1 (34:21):
I doubt? Now he's wearing a hat.

Speaker 2 (34:23):
If he's bald, these are our people.

Speaker 8 (34:25):
Wait a minute, wait he he he stabbing the chat
with the lady on the sidewalk.

Speaker 2 (34:29):
He takes off his hat. Tobin, Oh, it's bald, not
a hair.

Speaker 1 (34:34):
And I said, what what's supposed to happen?

Speaker 2 (34:36):
Now? Wait, wait, Hobe for sign. It was foretold. The
white horse is the redhead girl. The bald headed man
they will lead you to a man with a crooked nose,
who in turn will take you to Katie my horner.

Speaker 1 (34:48):
I don't believe a word.

Speaker 9 (34:49):
And then wait, wait, wait for what.

Speaker 17 (34:56):
They do?

Speaker 1 (34:56):
A man they're gonna boat get mad?

Speaker 17 (34:59):
Man?

Speaker 9 (35:00):
Are you going eazy erazy?

Speaker 28 (35:02):
There?

Speaker 1 (35:02):
Wait? Whoa, whoa easy there, everything's gonna be just fine? Whoa?

Speaker 27 (35:10):
I said, So, how can I.

Speaker 1 (35:16):
And my daughter ever thank you this brave man?

Speaker 9 (35:21):
My goodness, she's fainted. My name is Colonel Penris. You
must come home with me.

Speaker 20 (35:26):
Well, sir, we must discuss the suitable reward you.

Speaker 9 (35:30):
You've saved a line.

Speaker 8 (35:31):
Well anyone could have done it, yes, but you're the
one who did well.

Speaker 1 (35:35):
I was glad to work, been were out where you're
going to come back?

Speaker 12 (35:38):
Here?

Speaker 1 (35:38):
Sir?

Speaker 9 (35:38):
Stop that mine?

Speaker 23 (35:40):
Somebody your poor.

Speaker 24 (35:45):
Tobyn come back here, wait here, colonel, I'll get them
for you.

Speaker 2 (35:55):
Tauben.

Speaker 1 (35:56):
Well, I must say, what is the meaning of that?

Speaker 29 (36:00):
Fate?

Speaker 2 (36:01):
Of course was fat? Do you know who that was?

Speaker 8 (36:04):
Carnel friendrus the millionaire.

Speaker 2 (36:06):
And you ran away from him? Have you saved his
daughter's life?

Speaker 1 (36:10):
I had to run away from him.

Speaker 11 (36:12):
You had to run away from a millionaire.

Speaker 2 (36:14):
A grateful millionaire.

Speaker 1 (36:16):
Why, because then I would have lost Katie Mahona forever.

Speaker 2 (36:19):
What does Katy Mahonna have to do with it?

Speaker 8 (36:22):
He wished for reward me, didn't he? And what would
the reward have been?

Speaker 1 (36:27):
Letitia?

Speaker 2 (36:28):
Letitia?

Speaker 1 (36:29):
His daughter?

Speaker 2 (36:30):
Letitia?

Speaker 8 (36:31):
You mean she wouldn't have fallen in love with a strong, grave,
handsome lad who saved her life.

Speaker 2 (36:35):
It does happen. And as long as you cannot be
sure you will ever find Katy Mahoner, why, you're a
bird in the head.

Speaker 1 (36:45):
That's why I ran from there. I was beginning to
have the same thoughts myself.

Speaker 2 (36:49):
It might not be so bad. The girl is beautiful,
not another word, do you hear?

Speaker 1 (36:55):
I will not be untrue to Katy Mahona for all
the money in the world.

Speaker 2 (36:58):
All right, Spend the rest of your life looking for
and one day, when you're fent and withered and old,
you'll run into.

Speaker 1 (37:09):
Two taubid What is it now that man standing on
the corner? What about I'm a tall man, decently.

Speaker 2 (37:17):
Dressed, a nose on I'm Tobin the proposters.

Speaker 8 (37:21):
It's crooked, well, yes, that I admit. It makes two
twists from bridge to end, like the wiggle of a snake.

Speaker 2 (37:28):
He's the one, madam, those who told about well.

Speaker 1 (37:31):
That he may well be, but I'll have no part
of him.

Speaker 2 (37:34):
But Tobin, he's the end of the bad luck.

Speaker 1 (37:37):
There is no end to bad luck. I'll never find
my Katie, Toben.

Speaker 2 (37:41):
It wasn't made out to the end, otherwise you'll never.

Speaker 8 (37:45):
Know, all right, but this is the last of it, right,
Good evening to you, sir, Good evening. Might I inquire
as to your name? My name it's Maximus g freedom Housman.

Speaker 1 (38:04):
Well that's a good size. Do you espo it with
an oh, anywhere down the length and breadth of it? No,
do you seem alone? He's not our man.

Speaker 2 (38:14):
Sir, you are in the presence of myself, John Malone
and my young friend Daniel Tobin. I appreciate the honor.

Speaker 8 (38:24):
And now, since I cannot conceive that you would hold
a spelling be on a street corner at midnight, would
you name some reasonable excuse.

Speaker 1 (38:33):
For being at large?

Speaker 8 (38:34):
Well, she said we would meet you, who the Egyptian promised, And.

Speaker 1 (38:40):
Now you found me.

Speaker 8 (38:43):
Well, my good luck is supposed to begin, and what
is supposed to happen?

Speaker 1 (38:48):
Well, I will find her? Who is she? My fiancee
from New York Country?

Speaker 2 (38:55):
Have you misplaced her somewhere?

Speaker 1 (38:57):
The fact is, sir, she's misplaced hers. Tell me more
about it. There's nothing to tell.

Speaker 8 (39:03):
And I can't waste any more of my time standing
on a street corner with a gentleman is homely as yourself.

Speaker 2 (39:09):
But I must know about it?

Speaker 1 (39:11):
And what a fair is it of yours? My walk
in life is the literary. I wander about in the night,
seeking idiosyncrasies on the earth and the truth in heaven.
And it's my hope to write a book, to reconcile
it all. And you'll put me in a book? No,

(39:31):
not yet, the covers couldn't hold you. Yes, seem alone.

Speaker 8 (39:35):
The fortune teller has betrayed us. He has the crooked nose.
But what else can he offer? Hospitality?

Speaker 2 (39:42):
Gentlemen?

Speaker 1 (39:43):
Hospitality? And the Sulovans are about to close. But why
not come to my place?

Speaker 2 (39:47):
It's just down the street.

Speaker 1 (39:49):
Why not? Thank you?

Speaker 2 (39:50):
Tobin? Can we reject this gentleman's kind? Offer a free meal?
Is this the good fortune that was predicted?

Speaker 1 (39:57):
I tell you the acts will fall?

Speaker 17 (39:59):
What X very well?

Speaker 8 (40:02):
I've been burned, suffocated, and almost trampled to death.

Speaker 1 (40:06):
What could happen to me? Now? I see by the
signs that my wife has retired, but the maid is up.

Speaker 2 (40:17):
What do you, gentlemen say.

Speaker 1 (40:19):
To some fine cold fowl a bottle of two veils
and cheese?

Speaker 2 (40:23):
Or I'll tell the girl to prepare? Excuse me?

Speaker 1 (40:27):
And these fellows who write, all they want to do
is turn the inside out for their purposes.

Speaker 2 (40:31):
He seems pleasant enough.

Speaker 1 (40:33):
Uh, you want a book to come out exposed, and
you're in the moost secrets. Not I.

Speaker 8 (40:38):
He won't get anything from me. And don't you say
a word about Katie mahornity here.

Speaker 1 (40:43):
I won't have her indecently exposed in some cheap book,
but I.

Speaker 2 (40:46):
Mean a bit cheap book. And besides, if she read it,
she'd know you were looking for hold On. Maybe this
is how you find her, he writes the story.

Speaker 1 (40:56):
You hold on if you so much as mentioned the
name Katie.

Speaker 2 (41:00):
Horn, Let's go.

Speaker 1 (41:01):
Let let go my throat.

Speaker 2 (41:03):
We'll promise, I promise.

Speaker 1 (41:10):
You.

Speaker 2 (41:11):
I hope you enjoyed our little repairs.

Speaker 1 (41:14):
Yes, thank you, and now I think we'd better leave
so soon. Well, thank you for your hospitality. Malone.

Speaker 8 (41:21):
You say you're looking for your fiance, Did I say
that when we met on the street. I'm sure it
must be an interesting story. Nah, it's the kind of
story you hear every day.

Speaker 1 (41:34):
Ah, those are the most interesting, Malone. We're leaving.

Speaker 2 (41:38):
We're get at coffee.

Speaker 1 (41:39):
You something else?

Speaker 2 (41:41):
Cup coffee? Maybe you must forgive him, sir. He's been
out of sources ever since that fiance of his has
been misplaced.

Speaker 1 (41:47):
I would like to hear that story. Well you won't,
are you comming, Malone?

Speaker 2 (41:50):
Are you sure you can't be persuaded to have a
cup of coffee? No, we'd better leave him be when
he gets into this kind of mood, there's no doing
anything with him.

Speaker 1 (42:00):
Very well, I'm sorry. Good fortune, she said, you'll meet
a crooked nosed man who'll bring your good fortune. Is
this the good fortune? A cold chicken, a bottle of air,
a chunk of cheese, and a cup of coffee? I
say thank you, sir, and good night, Tobin.

Speaker 2 (42:16):
Smell that coffee. Hmm, his best cup coffee in New York.

Speaker 1 (42:20):
Well enjoy it without me, everyone marvels and as she
makes it. Ah, bro, she's just a green girl, just
landed here three months ago. Oh oh they are Katie Morning,
set it down.

Speaker 13 (42:33):
Kaby Katy, Why it's it's have you been looking on
over for dy?

Speaker 1 (42:39):
It's me. I know, my Fioce and my own true
love Chavy. I live not three blocks from here, so
many people know me. Could you have asked for me?
I did? I asked, I asked everybody.

Speaker 14 (42:50):
But it was no good gage because I because I'd
forgotten your name.

Speaker 2 (43:03):
Now what do you suppose that means? What does it matter?

Speaker 1 (43:07):
Well, Henry was writing psychiatry had not yet been discovered. Well, yes,
it had been, and the psyche, of course has always existed.
It's just that most people didn't pay very much attention
to it. Well, you pay attention when I return with
more of the psyche.

Speaker 2 (43:37):
Where is our fate written? It depends on who you
listen to.

Speaker 1 (43:42):
Some say it's written in the stars, some say it's
written in the books of the gods, and some say,
as we have heard tonight, that it is written in
the palm of our hands. Of course, there are those

(44:09):
who say it isn't written at all by anyone anywhere.
But one thing, you know is definitely written, and that's
the entertainment you may enjoy here. Our cast included Robert Dryden,

(44:32):
Fred Gwynn, Jack Grimes, Marion Seldi's and Gilbert Mack. The
entire production was under the direction of Hyman Brown. And
now a preview of our next tale.

Speaker 10 (44:46):
Good morning, sir, Why sergeient O Donahue with a G Yes, sir,
I come down here because I thought I could bring
you something that might be of interest from a literary
point of view. He has you remember, sir, it was
just a week ago, this poor girl that had done
herself in.

Speaker 2 (45:07):
I wish I could forget. Well, it's happened again. What's
happened again, Sergeant?

Speaker 10 (45:14):
Another one, another one of those unfortunate situations, in the
same house, in the same room.

Speaker 2 (45:22):
What are you telling me, sergeant?

Speaker 10 (45:25):
I suppose what I'm saying is that the room stayed
vacant six days. Then last night the landlady rents it
out to a young gentleman, and early this morning he
took the same way out.

Speaker 1 (45:39):
Radio Mystery Theater was sponsored in part by Xlax Missus E. G. Marshall,
inviting you to return to our Mystery Theater for another
adventure in the macabre until next time, Pleasant Dream.

Speaker 6 (46:10):
October is birthday month for Weird Darkness. This year makes
ten years of doing the show. But while it's our birthday,
we want the gifts to go to those who help
people who suffer from depression, anxiety, or thoughts of suicide
or self harm. That's what our annual Overcoming the Darkness
campaign is all about. It's the only fundraiser I have
all year long. You can bring hope to those who

(46:31):
are lost in the darkness of depression. You can make
a donation right now at weird darkness dot com slash hope.
I'll close out the fundraiser at the end of October
and announce how much we raised. The more we raise,
the more people we can help to donate. Get more
information about the fundraiser and the organizations we're supporting, or
find hope for yourself or someone you know who are

(46:51):
fighting depression. Visit Weirddarkness dot com slash hope. Please donate
now while you're thinking about it Weird Darkness dot com
slash help.

Speaker 2 (47:04):
Welcome once again to the Maxines Mystery Hall of Fame.

Speaker 30 (47:11):
Here we all of the men and women's into the
steeds that etch the names are roles. They used blood
for ink, the partmenters, greed, passion, terror, and sometimes even love.

Speaker 2 (47:27):
Who we have portraits of.

Speaker 31 (47:29):
All John wer the Boston Strangler, Red Rye, the Cusha portrait,
Richard Speck.

Speaker 2 (47:39):
They all have a special niche in our gallery. Tonight'snley
or the Mystery Hall of Fame earned this.

Speaker 31 (47:46):
Place here to an innovative choice for weapons, albu gated
us a gun, a knife, or even poison to perform
as active murder.

Speaker 2 (47:56):
His weapon was too unique his vaccines in North America's
Leaving Crime Reporter to tell.

Speaker 7 (48:02):
You about him.

Speaker 32 (48:08):
Crimes of passion are usually spur of the moment things
a lover's quarrel, jealousy, an angry word, a spur, and suitor.

Speaker 1 (48:16):
They can all lead to a flash of rage that
results in murder.

Speaker 32 (48:20):
Albert Gay's crime can be described as a crime of passion,
but it differs for most, and the Gay's act is
not the result of an angry moment, with a cold,
calculating crime that resulted in a black moment. Indeed, in
the history of Canada, Albert Gay ran a jewelry store
in Quebec City in nineteen forty nine.

Speaker 12 (48:40):
He had a wife and a.

Speaker 33 (48:41):
Girlfriend, a common enough crime.

Speaker 34 (48:44):
He also had a burning desire to be rid of
his wife reading horse. Laws being what they were in
Quebec at the time, Gay decided to end the marriage
in a more spectacular fashion.

Speaker 35 (48:54):
As crime was the first of its type, many have
used the method.

Speaker 36 (48:58):
Syce Gay was the.

Speaker 33 (48:59):
Very first, back in nineteen forty nine. How did he
dispose of his wife?

Speaker 35 (49:04):
We'll find out right after this.

Speaker 37 (49:10):
People use someone to get the more style loud like
to trip too far away?

Speaker 22 (49:20):
Something that you.

Speaker 37 (49:20):
Need today, should like to help you make your dreams
come true.

Speaker 3 (49:29):
Come on here to ChFC.

Speaker 1 (49:34):
Over the years, HFC has helped people get the most
out of life in many different ways.

Speaker 2 (49:39):
We'd like to help you too.

Speaker 35 (49:41):
Household finance.

Speaker 37 (49:44):
People use someone to get the more style lines.

Speaker 3 (49:49):
Come on to ChFC.

Speaker 33 (50:13):
I'm going to stop.

Speaker 3 (50:14):
It's no good.

Speaker 38 (50:17):
It's no good out there.

Speaker 35 (50:20):
I'm not gonna see me.

Speaker 39 (50:23):
Why didn't you tell me from the beginning that you're
a married man?

Speaker 33 (50:26):
Why what difference does it make?

Speaker 39 (50:28):
What difference does it make when your wife found out
of any where?

Speaker 36 (50:31):
Does she do?

Speaker 15 (50:32):
She went straight to my parents. I got kicked out
of the house.

Speaker 33 (50:35):
Well what I found your place to live?

Speaker 18 (50:37):
Some place with that fat ugly one? One life of
my own over there?

Speaker 33 (50:44):
You want to get married someday.

Speaker 39 (50:49):
It'll be crazy. Oh Cathleen, you'll never get a divorce.
Even if you did, I still could marry. The church
wouldn't allow its.

Speaker 40 (50:57):
Oh there that's it through, did you.

Speaker 33 (50:59):
Them talking to damn priest again? I have a good
mind to shoot.

Speaker 18 (51:03):
We had enough with you, and you're shooting.

Speaker 39 (51:05):
You almost got us both into a lot of trouble
with your temper.

Speaker 38 (51:08):
Pulling a gun in a restaurant.

Speaker 33 (51:10):
Is trying to make time with you, and I don't
have to put up with that.

Speaker 3 (51:12):
That's not why you got mad.

Speaker 39 (51:14):
You got mad because he thought you were my father.
I'm not that much away you twenty years.

Speaker 38 (51:21):
It's no good, Albert. I want to see you again,
a bear.

Speaker 33 (51:35):
I'm leaving.

Speaker 41 (51:36):
I'm flying to Seven Islands on Saturday. I'm going to
spend some time with Mama until this whole thing dies down.

Speaker 33 (51:42):
You're flying to Seven Islands.

Speaker 41 (51:43):
Yes, I can't stand the embarrassment. Everyone in Quebec City
is laughing at me since that fiesta in the restaurant.
It's that enough you're carrying on with that little fluted
but when you advertise it all over town, I can't
show my face anywhere.

Speaker 1 (51:59):
Everyone is laughing at me.

Speaker 15 (52:01):
My wife can only take so.

Speaker 1 (52:03):
Much, and I've had it. I told you that.

Speaker 33 (52:07):
A thing that the girl is over finished. I'll never
see her again.

Speaker 41 (52:11):
I said that before, Albert, the last time I even
went to her parents, but you kept right on seeing her. No,
I'm booked on flight one o seven on Saturday, and
I'm going to think things over.

Speaker 33 (52:22):
You know we can't afford airplane. Fair couldn't you at
least take the train. It's only three hours.

Speaker 38 (52:27):
If you can afford a girlfriend, you can afford my airfare.

Speaker 41 (52:30):
Besides, I've already bought a kick.

Speaker 40 (52:38):
Ah there. Look you want the.

Speaker 38 (52:39):
Stop, ask them for it yourself. I haven't even talked
to those people.

Speaker 33 (52:44):
They're just neighbors.

Speaker 42 (52:45):
Damn what you've lived beside him for years. They'll do
you a little favor. After all, they're in the construction business.
They're bound to have a little around.

Speaker 41 (52:51):
A little jeez, you don't found a dynamite, But do
you need that much for anyway?

Speaker 33 (52:57):
I told you, Raven, I want to blast if you
treat themselves.

Speaker 41 (53:00):
Hey, I asked you not to call me that.

Speaker 33 (53:03):
Everybody calls you Raven, and you know it not to
my face.

Speaker 40 (53:06):
You don't like it.

Speaker 33 (53:07):
Why do you wear black all the time?

Speaker 39 (53:09):
You look like a great fat Go ahead say it,
fat fat raven.

Speaker 40 (53:13):
Hah.

Speaker 39 (53:14):
I wear black because because it's supposed.

Speaker 40 (53:18):
To be slimming.

Speaker 38 (53:20):
And I read it in the lady's own companion.

Speaker 33 (53:23):
Well, why don't you just go on a diet?

Speaker 36 (53:25):
Now?

Speaker 33 (53:25):
Look, are you going to ask those people next door
for that dynamite? Or have you forgotten something?

Speaker 43 (53:30):
Forgotten something?

Speaker 39 (53:31):
How could I Every time you want something from me,
you remind me I owe you six hundred dollars.

Speaker 41 (53:38):
Huh, allow a six hundred dollars?

Speaker 33 (53:41):
What about that gimpie brother of yours. It wasn't for me.

Speaker 42 (53:43):
Both of you be collecting welfare. The only jewel in
Quebec said, you give that to creep a job.

Speaker 38 (53:47):
Don't call shaw I creep, and don't forget the things
I've done for you.

Speaker 33 (53:52):
Yeah, like what Mariege?

Speaker 39 (53:56):
Why why Marie?

Speaker 38 (53:58):
When your wife found out about you're there with the
sixteen years old wrap.

Speaker 1 (54:02):
And ran to the kids dance?

Speaker 36 (54:05):
Where did you.

Speaker 38 (54:06):
Hide Mary at the raven slace? That's where the big
fat raven splace.

Speaker 33 (54:12):
Her rent is paid para.

Speaker 1 (54:15):
No thanks to you if it wasn't for the job.

Speaker 38 (54:18):
Slinging hash the book.

Speaker 1 (54:20):
It would be walking in the.

Speaker 44 (54:21):
Streets and you almost got a fire from that, waving
a revolver around the place.

Speaker 33 (54:27):
That none of your business? What about the time?

Speaker 36 (54:30):
Sure?

Speaker 1 (54:30):
So why not?

Speaker 38 (54:31):
It's easier than paying you six hundred dollars?

Speaker 41 (54:35):
What are you really going to do with it?

Speaker 33 (54:37):
Bas say, I told you I'm going to blastom tru space.

Speaker 7 (54:40):
Sure sure stump, look at that. If there is any
money in this, I could.

Speaker 35 (54:44):
Be a lot of help.

Speaker 38 (54:46):
You're going to need blasting caps too.

Speaker 36 (54:48):
And you know and use us.

Speaker 33 (54:50):
Aren't going to get your brother to make me a
timing device?

Speaker 2 (54:52):
In the show?

Speaker 36 (54:53):
Where is that.

Speaker 33 (54:53):
Creeping are bear?

Speaker 1 (54:55):
You want a timing device?

Speaker 18 (54:56):
And on a mic?

Speaker 33 (54:58):
You're going to have to cut both me and my.

Speaker 1 (55:00):
Brother in on this.

Speaker 33 (55:10):
Come on, jimp, I haven't got on with you, mister
k You say you don't call me that?

Speaker 45 (55:14):
No more?

Speaker 12 (55:15):
Right?

Speaker 36 (55:15):
Right?

Speaker 33 (55:15):
John, I'll move it.

Speaker 40 (55:17):
John got to get finished by six o'clock.

Speaker 46 (55:20):
It is delicate work, mister gay. One little slip and
we're both in a lot of table. Huh, le'st be
those wires on the bench.

Speaker 33 (55:29):
Oh yeah, yeah, what's your fat sister? Tell fabors?

Speaker 46 (55:34):
Three stumps just like you say, no questions, no nothing,
No about the money. Mister kay, you agree on ten thousand?

Speaker 33 (55:41):
DEMI man, pay attition to what you're doing. That's that's dangerous,
very dangerous.

Speaker 35 (55:46):
One little slip and then.

Speaker 33 (55:48):
Boom, WA's what you're doing. Gimp it is jump mister hump.

Speaker 35 (55:57):
This part is tricky, mister gay.

Speaker 46 (56:00):
If the fingers should trimble just a bit, there'd be
a big hole in the street with the shop used
to be.

Speaker 35 (56:07):
What about the money? What you're doing?

Speaker 33 (56:10):
Your hands are shaking much to me.

Speaker 35 (56:13):
I'm just crippled with a little future. Eh, So what
if I'm not here?

Speaker 40 (56:18):
No more good money?

Speaker 42 (56:19):
All right, you'll get the ten thousand, you and your
fat sister, you'll get it when it's finished.

Speaker 35 (56:24):
See my hands they are a calmer already.

Speaker 3 (56:28):
I just connect this.

Speaker 35 (56:34):
It's just the clock smiths the gate. It's six o'clock
and you're finished. Your wife's a little going away present
is ready? Do you want to give wrapped?

Speaker 43 (56:54):
Let's see past one and seventy the left yet.

Speaker 35 (56:58):
Fifteen minutes to take off?

Speaker 40 (57:00):
Okay?

Speaker 35 (57:00):
Can I help you why?

Speaker 39 (57:02):
I want to send this tack case to thee astrado
of one under had and eight Street and they somewhere.

Speaker 35 (57:08):
Okay, let's get it on the scare. That's a twenty cloud.

Speaker 36 (57:13):
Let's see.

Speaker 35 (57:15):
They call a fom Quebec city. That will be two
dollars seventy two cents please, and would you like it insure?

Speaker 5 (57:20):
No?

Speaker 38 (57:20):
No, no, no, no, no asurance that won't be necessary.

Speaker 41 (57:30):
I'llbert revolting fat woman over there by the freight counter,
the woman that hideous black dress she's giving her the
string just looks Is she another friend of yours?

Speaker 33 (57:40):
I've never seen it before in my wife. Maybe she
thinks she knows me from someplace. Maybe she bought something
in the show.

Speaker 41 (57:45):
She doesn't look like the type to buy anything from
our shop, or like they stole something from the place.

Speaker 33 (57:49):
Suspicious to me?

Speaker 40 (57:50):
And don't you read it? Well?

Speaker 1 (57:52):
I have to go now.

Speaker 35 (57:54):
My flight is bored.

Speaker 40 (57:56):
You know when I'll be back. Goodbye, DA have a
nice flight.

Speaker 5 (58:07):
Do that?

Speaker 38 (58:08):
Are you sure this tackage will get onto flight one hundred.

Speaker 35 (58:10):
And seven, lady, I'm going to put it on the
plane myself. It'll be in Bacomo in less than two hours.

Speaker 33 (58:17):
Here, let me just who.

Speaker 40 (58:19):
This package dedicate.

Speaker 38 (58:21):
Don't pop it whatever you do.

Speaker 40 (58:23):
Attention passengers will fight one of seven to bacom please
procedure eight seven for morning thankies.

Speaker 47 (59:13):
A gentlemen had work on board when I was seventh
to seven irelandic homo as we are not poising altitudes
by smoke. A few wish at roos new seatowns are
spege is three hundred and twenty dollars and we're buying
an ounce of.

Speaker 32 (59:51):
Quebec air Ways flight one oh seven had an unscheduled
stop on the side of Captor March. For that police
launched an immediate investigation and discovered the Quebec Airways DC
three and lost control dude when exposed a watch front
baggage compartment control equipment had been blasted away, leaving the
pilot helping us. The aircraft crashed nose first and the side.

Speaker 40 (01:00:13):
Of the mountain.

Speaker 35 (01:00:14):
Surprisingly, there was no fire.

Speaker 36 (01:00:16):
To destroy the evidence.

Speaker 46 (01:00:22):
I've been with the Mountains for.

Speaker 36 (01:00:23):
Twenty two years, but this is the worst mess I've
ever seen.

Speaker 33 (01:00:26):
How many board corpal.

Speaker 42 (01:00:27):
Blare of captain According to the passenger this got to
Quebec city, there were nineteen passengers from four fold well,
that makes a total of twenty three.

Speaker 48 (01:00:36):
All the crash investigators from Outawa say, it looks like
there was an explosion on the front left baggage compartment.

Speaker 40 (01:00:43):
We found Ever, it's a cordite on the wreckage back there.

Speaker 33 (01:00:45):
It looks like someone had a.

Speaker 40 (01:00:46):
Bomb in their luggage. I think you might be seen
the side cot.

Speaker 36 (01:00:49):
No, it's murder, probably a murder. For the insurance. They
so huge amounts of flat insurance in the airport, even
by one hundred thousands for.

Speaker 40 (01:00:57):
A couple of bucks. I think we can do about.

Speaker 36 (01:01:00):
Well.

Speaker 33 (01:01:00):
Maybe it makes her job a little easier. Maybe all
will have to do is to go through some insurance feelings.

Speaker 11 (01:01:05):
I've got a feeling it isn't going to be that easy.

Speaker 35 (01:01:06):
Corporal, you'll get them, Captain there we always do.

Speaker 36 (01:01:09):
Huh, that's what they say.

Speaker 40 (01:01:10):
We better get this mook fast. He's already killed twenty
three people.

Speaker 48 (01:01:21):
Doctor Porter, please report, think man, think anything at all
and you can remember may help anything.

Speaker 35 (01:01:27):
God, Captain, don't you think I cried?

Speaker 49 (01:01:29):
If you're right and the passenger didn't carry that bomb
onto the plane, then I did.

Speaker 35 (01:01:32):
I'm the freight clerk.

Speaker 1 (01:01:33):
How do you think I feel.

Speaker 35 (01:01:35):
I haven't had a night sleep since it happened three
days ago.

Speaker 33 (01:01:37):
I loved we know.

Speaker 48 (01:01:38):
The flat front baggage compartment was loaded in Montreal and
unloaded here in Quebec City. A luggage and freight bound
for seven islands in Bakoma was placed into that compartment.
The bomb went onto the aircraft here right, Can I
carry the damn thing on?

Speaker 35 (01:01:50):
I just can't remember, or maybe this will come.

Speaker 33 (01:01:53):
Went over the shipping manifesto.

Speaker 48 (01:01:55):
One parcel you've sent with ship from one Delpyscoo shard
of Quebec's cities went out for for one eighty leval
streaming bake Hoomery.

Speaker 33 (01:02:02):
Those names being.

Speaker 48 (01:02:03):
Indiana, should they, according to our investigation in both false
names and addresses.

Speaker 33 (01:02:09):
And you carry that package the baggage.

Speaker 35 (01:02:10):
Compartment here, This will help.

Speaker 48 (01:02:13):
The parcel weighed twenty eight pounds in The freight charge
was two dollars and seventy two cents.

Speaker 50 (01:02:17):
No, no, no, wait a minute.

Speaker 33 (01:02:19):
That fat woman, Yeah what fat woman?

Speaker 35 (01:02:22):
Oh she was ugly, yes, I'm certain of it. She
was jumping too, and all addressed in black like some
kind of female mortician.

Speaker 21 (01:02:29):
Oh my god, what is it?

Speaker 35 (01:02:31):
She gave me the thing, the parcel right here on
this counter.

Speaker 40 (01:02:34):
I picked it up.

Speaker 33 (01:02:35):
It was wrapped in that brown paper like the butcher's shoes,
slippery stuff. I almost dropped it right here. I could
have killed myself and half the people in the air tournament.

Speaker 36 (01:02:44):
Where didn't you go?

Speaker 40 (01:02:45):
Try to remember?

Speaker 42 (01:02:45):
I watched her bout the door, and she was so
big and fatic ald tear all the way down of
the cab.

Speaker 33 (01:02:50):
Cabstand, are you sure the positive captain?

Speaker 36 (01:02:52):
In fact, she got into a yellow cab, the cab
you had.

Speaker 33 (01:02:55):
To help bring you with so fat.

Speaker 1 (01:03:12):
I got to live with this, and it's terrible. I
kept thinking of all.

Speaker 41 (01:03:16):
Those poor people, twenty three people I can't see, and I.

Speaker 43 (01:03:20):
Can't see that.

Speaker 42 (01:03:22):
Maybe you'll lose a few pounds and you're sixty pounds.
You look like a human being instead of.

Speaker 7 (01:03:26):
A month bear.

Speaker 43 (01:03:28):
How can you be so cruel twenty three people including you?

Speaker 36 (01:03:33):
What?

Speaker 33 (01:03:34):
Well, look, I'm not all that bad. Brought you something
to help you get.

Speaker 40 (01:03:37):
Over your conscience.

Speaker 33 (01:03:40):
Listen till there's two hundred bottles. You can sleep for
as long as you you swine. No, I kept my
part of the deal. You got your money, you and
your gimpy brother.

Speaker 36 (01:03:49):
Ten thousand dollars.

Speaker 38 (01:03:51):
Huh, well, it's nothing A I was asked the insurance.

Speaker 33 (01:03:55):
Or I go to the comp You've got all you're
going to get and there is no insurance. Mo, no
insign What do you mean no insurance? You think I'm
an idiot. The first thing the Moneys will check as
the insurance talk.

Speaker 40 (01:04:06):
Give me the pills. You this is a place, captain,
I think happy. Remember the woman because of her size.

Speaker 48 (01:04:28):
Interesting when the Quick City police say it's the same
address as Marie.

Speaker 40 (01:04:32):
Robert Tel tell the waitress was involved in that gun
incident a couple of weeks back.

Speaker 33 (01:04:38):
That's the one her boyfriend got jealous and pulled a
pistol on a guy.

Speaker 40 (01:04:41):
What's a connection.

Speaker 48 (01:04:42):
Her boyfriend is a man called Albert Gay, and he's
twenty years older than Marie Robert telh married man, not anymore,
he's a widower now, as recent as eleven days ago.
His wife was on flight one oh seven. Let's go
talk to that fat lady in.

Speaker 36 (01:04:57):
Black, doesn't seem to be went in doors open and
got a warrant.

Speaker 33 (01:05:11):
Come on, cough, look at the size of her, passed
out drunk probably what's this sleeping pills?

Speaker 36 (01:05:21):
He quick fall for an ambulance.

Speaker 48 (01:05:23):
And help me get her to her shed.

Speaker 35 (01:05:31):
Let me sleep I'm so tired. Come on, don't get
to your seat.

Speaker 36 (01:05:38):
Can Copper hurry?

Speaker 3 (01:05:39):
What am I supposed to grab her?

Speaker 7 (01:05:41):
Cat?

Speaker 33 (01:05:41):
Just tell me, dead man, you couldn't lift this floor
to the clift?

Speaker 40 (01:05:44):
Damn it lift?

Speaker 51 (01:05:45):
She dies?

Speaker 9 (01:05:45):
Holds our cakes right there.

Speaker 40 (01:05:47):
She's on her feet.

Speaker 1 (01:05:47):
Stop walking.

Speaker 7 (01:05:49):
I can't hold her.

Speaker 1 (01:05:51):
She's a character.

Speaker 43 (01:05:54):
Kill her with me.

Speaker 33 (01:05:58):
I can't breathe.

Speaker 48 (01:06:05):
You might as well come clean, gay. We've got a
full confession from the rape. She said it was all
your idea. All she did was delivered the bomb to
the air She's slowing that pig. I don't deny I
knew about their flighty stupid brother. They cooked the whole
thing up. I had nothing to do with the next
sword you. That's not what the brother says. He claims
you paid the fool them ten thousand dollars. I hope
you destroy your wife and the airplane live live.

Speaker 36 (01:06:25):
All of it.

Speaker 3 (01:06:26):
I mean, listen, ma'am.

Speaker 1 (01:06:27):
They hate me.

Speaker 33 (01:06:28):
She's trede to free me. You know what I speak
with Marie.

Speaker 1 (01:06:31):
You know I love my wife.

Speaker 40 (01:06:32):
She hates me.

Speaker 1 (01:06:32):
To understand, she hates me.

Speaker 33 (01:06:33):
Why don't you blow off the airplane?

Speaker 11 (01:06:34):
Why do not just blow you up?

Speaker 33 (01:06:36):
Because because because she's crazy.

Speaker 40 (01:06:39):
She's crazy. Got the.

Speaker 36 (01:06:43):
What did you.

Speaker 40 (01:06:45):
Remember those black spossibly though the wreckage the ones we.

Speaker 33 (01:06:49):
Sent to theated crime later, be sure they turned out recording.

Speaker 40 (01:06:52):
That's the stuff.

Speaker 33 (01:06:53):
It's Martin Well in the summurb of days jewelry shot.

Speaker 40 (01:06:57):
It's like you made a miniature version of the bomb and.

Speaker 48 (01:06:59):
Tested it down there, thought for all that maybe just
enough to put a noose around his murdering?

Speaker 35 (01:07:10):
Did albertk make.

Speaker 33 (01:07:11):
An appointment with the hangling filed after this?

Speaker 37 (01:07:27):
People use our money to get the most style in life,
like a drip too far.

Speaker 52 (01:07:34):
Away to day.

Speaker 37 (01:07:39):
You would like to help you make your dys go.

Speaker 53 (01:07:45):
Comes.

Speaker 54 (01:07:51):
Over the years, HS has helped people get the most
out of life in many different ways.

Speaker 55 (01:07:56):
We'd like to help you too.

Speaker 40 (01:07:57):
Household finance.

Speaker 37 (01:08:00):
People use some money to get the most stun.

Speaker 3 (01:08:06):
Come money to wait chance, m here, not a minute

(01:08:27):
of it.

Speaker 33 (01:08:30):
I thought for the longest time I might not have
to meet you. Say, Ley, you don't say much to you?
Do you want my hands flying my back?

Speaker 5 (01:08:42):
Oh?

Speaker 33 (01:08:43):
Okay, all right, I won't pay anything and Jack step enough.
Well shall we go? Well, I know I've been saying
I didn't do it. But what the hell I didn't
want you to think you're doing?

Speaker 21 (01:09:00):
Is it?

Speaker 34 (01:09:00):
Man?

Speaker 33 (01:09:01):
And they especially wouldn't want that bat pig and her
rotten brother to get off. Their trials are coming up soon.
I want them to share this delightful.

Speaker 1 (01:09:08):
Experience with you too.

Speaker 33 (01:09:11):
I didn't, and I paid both of them to help me.
They're just as guilty as I.

Speaker 40 (01:09:18):
Look.

Speaker 33 (01:09:19):
Could you do me of a favor? Will you see
a lot of them for me when their time comes?

Speaker 32 (01:09:28):
If many of them and her brother reat the Hangman Curator,
the Mystery Hall of Fame has the answer for you.

Speaker 56 (01:09:34):
Four or Great Peatree under Berlin Show followed Ler to
getting to the gallows over the all three occupy a
specially Trader and all the friends they were the first

(01:09:56):
use in their plan as an instrument of the mass
and wind trime has been a dreadful inspiration of today's
international terrorist.

Speaker 2 (01:10:06):
This includes tonight's ceremonies in the Mystery.

Speaker 12 (01:10:09):
Hall of Fame.

Speaker 31 (01:10:11):
Be sure to be listening for our next induction into
Thea's and fromous collars.

Speaker 2 (01:10:15):
Who know who's it may be someone you know.

Speaker 11 (01:10:19):
This is JF.

Speaker 31 (01:10:20):
Serro Fromfluden's Night's chapter featuring the Vincent Marino players Richard Dalton,
John Bayles, Judy Cameron, Glen Don, Sheeff, James Watsley, Nicole Morando,
Dina Saxon, Colin Shaw, Steve Fernie. Written by Tom Peacock,
directed by Vincent Marino executive producer Brand Frasher, Produced by
Bombitymann at IPS Studios.

Speaker 2 (01:10:51):
The truth is stranger the fiction this.

Speaker 9 (01:10:56):
Ripley Believe it or not?

Speaker 57 (01:11:03):
In Billsdale, England, ye old Son Inn was rented by
the Ainsley family continuously for five hundred years. In nineteen
forty four, the Ainsleys finally decided to buy it.

Speaker 9 (01:11:14):
Believe it or not.

Speaker 57 (01:11:16):
In a moment, I'll tell you about the man who
changed our eating habits. A French king helped revolutionize the
fine art of dining. To avoid staining his snow white
lace collar when he was eating meat with his fingers,
King Henry the Third constructed a crude device of tin
and instructed the manager of a well known Parisian restaurant
to have coffees made. The king introduced this new implement

(01:11:36):
at a banquet in the restaurant in fifteen eighty two.
That restaurant, the birthplace of the fork, is still in
business today under the same name they leave it or not.

Speaker 54 (01:11:51):
The National Broadcasting Company presents the Adventures of Sam Spay Detective.

Speaker 13 (01:12:05):
Sam Say Detective Agency, The Sweet.

Speaker 54 (01:12:09):
Zah and all is forgiven.

Speaker 43 (01:12:12):
Like I told you, how can you forgive me?

Speaker 25 (01:12:14):
Sam?

Speaker 1 (01:12:14):
I almost kill you?

Speaker 55 (01:12:16):
Why kick yourself?

Speaker 54 (01:12:17):
F You would have done the Private Detective Profession a
great favor by removing from its rolls the only operative
in San Francisco stupid enough to shake an apple tree
for an entire evening trying to pick up an apron
full of bananas.

Speaker 43 (01:12:29):
But they all can't come up right in the end.

Speaker 54 (01:12:32):
But you haven't heard the PostScript, Angel post script indeed,
batten down the hatches and worn all within earshot that
they're about to catch stupid Sam. The incomparable in a
new act. We're doing the next twenty nine minutes and
thirty seconds. I shall down the mettle of don Quixote,
shoulder my battery, glance and tilt that windmills and an
object lessened to the gullible entitled the Spanish Prisoner Caper.

Speaker 12 (01:12:58):
Friends Bribe.

Speaker 54 (01:12:59):
Brendi's William Spear, Radio's outstanding producer director of Mystery and
crime Drama.

Speaker 1 (01:13:05):
Brings you the greatest private detective of them all.

Speaker 54 (01:13:08):
In the Adventures of sam Spadem Effie, yeah, ah, now
they're they're arrangel. Don't cry, little girl, don't cry.

Speaker 43 (01:13:29):
I'm so stupid you might have been.

Speaker 7 (01:13:33):
Yet we'll have.

Speaker 12 (01:13:34):
No more of it here, not a word, a word,
book pencil.

Speaker 54 (01:13:42):
They fill it into Miss Marjorie Loveland, Brockhaven Apartments from
Samuel Spade still license number one, three, seven, five, nine
six down fae down subject the Spanish prisoner caper.

Speaker 55 (01:13:54):
Dear, Dear Marjorie.

Speaker 54 (01:13:58):
When they made you, darling, they threw them over the
way in this day of the emancipated, self sufficient, one
hundred percent competent female. It came as a fresh breeze
on a boost of my masculine ego to run across
a lady, white haired and fragile with all who needed protection.
After meeting you, I knew what the fellow had in
mind when he wrote Heaven will protect the working girl.
As a matter of fact, you could have been the

(01:14:19):
very girl, since you and the song were about the
same vintage.

Speaker 44 (01:14:24):
Do please said down missus dab and they I pick
you some tea, no thanks. I planned to come to
your office, but I decided I just couldn't risk going out.

Speaker 1 (01:14:33):
At this time. Oh why is that really might come?
You see?

Speaker 58 (01:14:37):
And I'd never forgive.

Speaker 1 (01:14:38):
Myself if I was out. Who's na Senor Tamra? Who
He's not going?

Speaker 44 (01:14:42):
A week overdue now and I'm on pins and needles.
I gave him, I guess here at the Brockhaven. But
there's the Brocklebank and the Brockhurst and the rock Thoughton
and the brock.

Speaker 1 (01:14:53):
It would be so easy for.

Speaker 44 (01:14:54):
Him to become confused, being a stranger in town.

Speaker 54 (01:14:57):
Well, I'm a native. I'm confused myself.

Speaker 44 (01:15:00):
I thought perhaps you could locate in He should be
back from Mexico by now with Don Louise.

Speaker 1 (01:15:05):
Oh steer me.

Speaker 44 (01:15:07):
So many things could happen to them walking the streets
with all that money. What money, the gold and the
precious gems?

Speaker 55 (01:15:17):
How about starting all over again?

Speaker 44 (01:15:19):
Why haven't I made myself clear, missus Spain?

Speaker 54 (01:15:22):
Well, I have the end fairly straight, yes, but if
you'll give me the beginning, we'll have everything.

Speaker 44 (01:15:26):
Oh oh oh, well, well, I suppose the beginning was
three weeks ago where in the lobby of the Grand
Hotel for Women. See, I was staying there temporarily while
I was waiting for this apartment, you see. So the
day I got word I could move here, I packed
up and had them take my things out to the taxi.
Then I went to the desk and got my money

(01:15:47):
from the board. Oh how much eighty dollars cash? Yes,
and bills My annuity money had just come to me. Well, well,
I just put the bills in my purse and was
starting out the door when it happened.

Speaker 2 (01:16:01):
Mm hmmm.

Speaker 44 (01:16:02):
This voice came over my shoulder, a soft Latin voice saying, Senorita,
I'll come to you on a matter of terrible.

Speaker 2 (01:16:11):
Urgency and loan.

Speaker 17 (01:16:12):
Behold.

Speaker 55 (01:16:13):
It was Signor Palmer.

Speaker 1 (01:16:14):
How did you know?

Speaker 55 (01:16:16):
I have a feeling for those things? Go ahead?

Speaker 1 (01:16:18):
Real?

Speaker 44 (01:16:19):
His uncle do NUIs Alvara was in terrible trouble, he said,
in prison in Mexico City, on some sort of trumped
up political chark ah.

Speaker 12 (01:16:27):
And the family, though noble, was financially impoverished.

Speaker 1 (01:16:31):
Yes, except except.

Speaker 54 (01:16:32):
For a casket containing the family jewels and an assortment
of priceless heirlooms, all hundreds of years old handwroth of
the finest virgin goal.

Speaker 1 (01:16:40):
Mister Steed, how is it?

Speaker 55 (01:16:42):
Said?

Speaker 54 (01:16:42):
Caskets and its precious horde being hidden away in a
secret place known only to Don Luis.

Speaker 12 (01:16:46):
All he needs is a paltry eight hundred and forty dollars.

Speaker 1 (01:16:50):
It was a thousand.

Speaker 58 (01:16:51):
I went to the bay a.

Speaker 54 (01:16:52):
Paltry thousand dollars to bribe a jail official, and presto, Don.

Speaker 12 (01:16:56):
Luis goes free on earth the casket and rewards.

Speaker 55 (01:16:59):
You with an ample share of a family treasure.

Speaker 44 (01:17:01):
Mister Spade, you've talked to Senor Palnerra.

Speaker 55 (01:17:03):
Nope, how badly do you need the dough?

Speaker 21 (01:17:07):
H need it?

Speaker 5 (01:17:10):
Why?

Speaker 44 (01:17:10):
Good heavens, mister Spade, it's all I haven't till next June.

Speaker 1 (01:17:15):
There's a small.

Speaker 44 (01:17:16):
Pension from the school board in Kiaka.

Speaker 1 (01:17:18):
But dear me, I don't know just how.

Speaker 9 (01:17:23):
Mister Spade, do you mean he.

Speaker 12 (01:17:28):
Isn't coming back with my money.

Speaker 54 (01:17:38):
The truth of the matter, Marjorie, was that you'd fallen
for the Spanish prisoner's swindle, a holy old chestnut that
goes back to the day of P. T. Barnum and
before what you look like. If I gave you an
honest answer, you dissolve into tears. As I said, I
was in one of my heaven and Spade will protect
the working girl mood.

Speaker 55 (01:17:54):
So I made up a dishonest.

Speaker 7 (01:17:56):
One, missus Spade.

Speaker 55 (01:17:57):
Will I'll try and look him up.

Speaker 12 (01:18:00):
It's all a terrible misunderstanding.

Speaker 43 (01:18:02):
Good that's knick too and slip too, isn't it? Dorothy?

Speaker 1 (01:18:24):
What you say, miss Speren Stage Exacub Agency, This.

Speaker 55 (01:18:29):
Is mister Spade charming one.

Speaker 43 (01:18:30):
Oh Sam, I'm sorry.

Speaker 44 (01:18:32):
Yes, Dorothy's here and I'm trying to learn an argyle.

Speaker 55 (01:18:34):
So we'll fine drop all stitches and look on the
file for me, will you.

Speaker 54 (01:18:37):
I remember getting a circuit or a while back on
a con man who was running the Spanish prisoner around here?

Speaker 15 (01:18:42):
What would be under Sam?

Speaker 12 (01:18:44):
Spanish prisoner con games? Absolutely, get out the fire, it's.

Speaker 43 (01:18:48):
Sam does look at the file confidence games? Oh here.

Speaker 45 (01:18:56):
And slip to I'm sure Sam I found it.

Speaker 12 (01:18:59):
His name Pedro Rodriguez Rodriguez.

Speaker 43 (01:19:02):
There's no address, but it says.

Speaker 44 (01:19:03):
He habitually associates with somebody named Lolita Montoya.

Speaker 54 (01:19:09):
Sounds Spanish slightly slightly any addressed for him?

Speaker 43 (01:19:13):
Six fifteen Mason Street.

Speaker 55 (01:19:15):
Fine, Fine, that's all there is there.

Speaker 45 (01:19:17):
Oh Dolly, I'm so mixed up with these dunk argyles.

Speaker 55 (01:19:19):
What's so tough about that?

Speaker 18 (01:19:21):
You want to try it sometimes.

Speaker 55 (01:19:22):
What role were you on?

Speaker 18 (01:19:23):
Twenty seven?

Speaker 43 (01:19:24):
Knit three and slip one, she says, I.

Speaker 54 (01:19:26):
She's wrong, wrong, wrong, knit two, slip one, knit one,
pass one and nit one.

Speaker 12 (01:19:30):
You got it?

Speaker 11 (01:19:30):
Bam, how bractle.

Speaker 55 (01:19:33):
Nothing, nothing at all. I've been going out with a
gray lady.

Speaker 54 (01:19:43):
Six fifteen Mason Street was a very large apartment building
with the usual brass plate in the entry listing the inhabitants,
among which I was happy to note was Lolita Montoya,
Apartment four O eight. I pick up the house phone
and press the button. Yeah, telegram for Lolita Montoya.

Speaker 2 (01:19:59):
Isn't here, Loda Malda?

Speaker 56 (01:20:02):
Who is calling?

Speaker 42 (01:20:02):
Just the telegram?

Speaker 2 (01:20:03):
Pub stick it in the box, eh money order.

Speaker 55 (01:20:06):
Somebody has to sign for it.

Speaker 59 (01:20:07):
But it's maybe important.

Speaker 54 (01:20:09):
I will stick care of and understands you.

Speaker 7 (01:20:11):
Yes, yes, are you in the state, Shanny, Yeah, climb
back into that cap.

Speaker 54 (01:20:17):
I saw you get out of hustle over at the
Western Junion and tell the president Lolita's on a vacation.

Speaker 12 (01:20:22):
Get it score it for you now?

Speaker 7 (01:20:24):
Hello?

Speaker 55 (01:20:26):
Hello, Well, nothing datted.

Speaker 54 (01:20:35):
I punched a few bells until one of the less
suspicious tenants gave me the front door bus walked in
and took the automatic elevator to the fourth floor, or
I should say tore the fourth floor, since halfway between
the third and fourth she quit cool.

Speaker 55 (01:20:47):
The elevator, that is, but there were devices for such things.

Speaker 54 (01:20:50):
I pushed the button marked emergency, and it took me
only fifteen minutes. They get out, assisted by the janetor
the manager and twelve tenants.

Speaker 55 (01:20:58):
The doors on the.

Speaker 54 (01:20:59):
Fourth floor im i'd been carelessly pried open and held
that way by a magazine carelessly stuck in the crack.
Continuing my stealthy approach to four oh eight, I found
my man in his palad somehow since I was coming,
and run off without stopping to close the door. The
apartment was filled with cigarette smoke and not much else,
a bad and empty dresser and a table on which
were one tot a half full of foul black coffee,

(01:21:21):
a little pointed gadget that looked like a nuttick, and
a handful.

Speaker 55 (01:21:24):
Of metal shavings.

Speaker 54 (01:21:26):
I was contemplating what connection, if any of this had
with your missing thousand bucks, when.

Speaker 11 (01:21:33):
Yeah, this is divest, babes bro.

Speaker 60 (01:21:37):
I just wanted to inquire how everything is coming alok, if.

Speaker 55 (01:21:40):
It will see grain. How much right, there's a thousand.

Speaker 11 (01:21:46):
It's a good bore. What do you think a paidro
this year is joyousnooz like?

Speaker 5 (01:21:52):
Use that Pabo, our Spanish prisoner is a valuable man.

Speaker 17 (01:21:56):
Huh.

Speaker 11 (01:21:56):
I must hustle over to the lighthouse and inform the leader.

Speaker 25 (01:22:00):
Right house, she has been very conscientious in the rule.

Speaker 1 (01:22:04):
Oh see Grain, it's not every girl who would shall
out her grandfather so readily pate vill.

Speaker 5 (01:22:09):
Nope, we must not take a little leader for granted.

Speaker 11 (01:22:11):
I would give it a new rumble and we'll see
you to night at simple right, see right, I revove Pedro,
I revar well, I.

Speaker 54 (01:22:19):
Revore relay steide. The only lighthouse Higne was a gin
mill perch midway down the Embaccadero, south of Market, surrounded
by shoals strewn with human wrecks of all descriptions. A
place you might find shell game man and khane grifters,

(01:22:41):
but hardly a habitat for a con man smooth enough
to work. The Spanish prisoner, a lighthouse keeper who looked
like he'd retired from the sea after a losing battle
with Mosey. Dick has been over a pinball machine next
to the door as far as I could see about
a one light in the jointin it was empty. Get

(01:23:03):
too bad, lighthousekeeper.

Speaker 1 (01:23:04):
Yeah, what do you have?

Speaker 55 (01:23:06):
Well? Beer when you're ready? Do you know Pedro Rodriguez? Yeah,
worked for me. What a couple of years ago?

Speaker 12 (01:23:12):
I cannd them.

Speaker 55 (01:23:14):
Yeah, he's a swab.

Speaker 12 (01:23:15):
Only honist nickel he ever made was what he was here?

Speaker 5 (01:23:18):
All right?

Speaker 1 (01:23:27):
Thanks? Yeah, crooked swab is Pedro Rodriguez. He's up to
something right now if you ask.

Speaker 55 (01:23:33):
Me Spanish prisoner. Oh you mixed up with it too?
Huh No, fine, I just want to be how does
it go?

Speaker 2 (01:23:38):
Well?

Speaker 12 (01:23:38):
I don't know about your body, only it seems to smell.

Speaker 1 (01:23:41):
See.

Speaker 54 (01:23:42):
Pedro was sitting at the body the other night with
another swab talking about old Spanish jet was going back
up a million dollars, just come over from Spade. Nice
shirt body, it's pure and simple.

Speaker 55 (01:24:01):
So what about the spinishin?

Speaker 12 (01:24:02):
Well, I didn't hear no more about that.

Speaker 55 (01:24:04):
I tell you what you do.

Speaker 54 (01:24:05):
You ask Lolita about it, and he take Pedro's big
stuff and she generally knows about good.

Speaker 55 (01:24:09):
Where do I find Lolita?

Speaker 54 (01:24:11):
Let's see, I show whether it's the third and the fourth,
third or fourth one, the booth from the back there.

Speaker 55 (01:24:17):
She was sitting there all night writing letters.

Speaker 1 (01:24:19):
You better be careful, though she got an awful temper.

Speaker 12 (01:24:21):
A Banks linehouse keeper. How about the beer?

Speaker 1 (01:24:24):
Sure, hey, Larry, draw one?

Speaker 54 (01:24:33):
So Larry drew one, and I took it down to
the bar to a point opposite booth number four, which
indeed contained Lolita Plante, a little thing wearing a turtle
neckt sweater mark Stielman's gym. The table was covered with
writing paper, and her alabaster brow with a mass of
unsightly wrinkled as she chewed the end of her funcling pair.
I'd no sooner settled down when the front door open,
and what appeared to be the reincarnation of dark guns,

(01:24:55):
she with a gorilla only with clothes, steamed.

Speaker 55 (01:24:58):
Down the aisle and slid in next to Lolita. I
was not alarmed at all.

Speaker 11 (01:25:03):
The leader a bear tidy.

Speaker 45 (01:25:05):
Listen to this.

Speaker 61 (01:25:05):
I am making progress. Grandfather, dear, you cannot know how.

Speaker 62 (01:25:10):
Dire is the peril into which I have been thrust.

Speaker 11 (01:25:14):
Okay for Supril at ease for sup at.

Speaker 62 (01:25:17):
Least, or maybe maybe a grandfather belove it. As I
take up my pen in hand, I am overcome with fears.

Speaker 61 (01:25:26):
Things look very black. Indeed, I have fallen into the
clutches of us.

Speaker 13 (01:25:34):
What are you grinnin?

Speaker 11 (01:25:36):
I have just conversed with Padri in the telephone.

Speaker 41 (01:25:39):
We are in really yeah, give me no more letter.

Speaker 11 (01:25:44):
Padri is exulted.

Speaker 1 (01:25:46):
He says that, mmmm, are we interfering with your trainer
through its?

Speaker 13 (01:25:54):
No?

Speaker 55 (01:25:54):
No, no, no, I'll go right ahead. I'll just sit
here and brank my bear.

Speaker 61 (01:25:58):
Wait a minute, now, look, George, there is plenty of
bar down near the front door.

Speaker 11 (01:26:05):
He's just a schmook.

Speaker 61 (01:26:06):
I'm not so sure he's got an honest look about him.

Speaker 1 (01:26:10):
I do not like what is on your mind, George.

Speaker 54 (01:26:16):
Pedro great, eh, yeah, he's getting careless short changed a
friend of mine a thousand.

Speaker 62 (01:26:23):
Bucks disfig This man is so sizy, and you are
anxious to put the bite on Pedro for a grand right.

Speaker 7 (01:26:35):
Huh?

Speaker 12 (01:26:35):
That is unless Pedro wants to take a five year.

Speaker 54 (01:26:38):
Wraps up to him, five year wrap for what stupidity?
They ought to know better than to try to get
by with a Spanish prisoner hunting Spanish.

Speaker 7 (01:26:46):
He knows well.

Speaker 1 (01:26:47):
I tell you to shake down, relax.

Speaker 55 (01:26:50):
Violence will get you nowhere.

Speaker 36 (01:26:56):
Get out of.

Speaker 55 (01:27:00):
Happy Baby.

Speaker 54 (01:27:09):
I got hold of a gun with one hand while
I loll lead to shoot on my other one, meanwhile
touching my head under his arm like a nutcracker, and
taking me in the stomach with his knee.

Speaker 55 (01:27:17):
This went on for some time. Then I became vaguely.

Speaker 54 (01:27:19):
Aware of Styvee's fists big as a ham, coming up
from the floor, everybody putting me on the side of
the head, and I skied down the marble floor. Had
to row a boots like a ball on a bowling alley,
scoring a pen strike on a pinball machine, which leaned
drunkenly over me, stuck out its coin drawer and flashed
a red light in my face.

Speaker 1 (01:27:35):
Reading foul ball.

Speaker 55 (01:27:36):
Try again, stupid me, I did.

Speaker 54 (01:27:45):
You are listening to the weekly adventure of radio's most
famous detective, Sam Spade. Three chimes mean good Times on NBC.

(01:28:11):
There's Music and Mystery Tomorrow on NBC. For Music, your
Hip Parade brings you the top tunes in the land,
as selected by you and presented by Raymond Scott's orchestra,
Eileen Wilson and Snookie Lanson. For Mystery, Herbert Marshall stars
as the man called X, an intrepid adventurer in international

(01:28:31):
intrigue who travels to all corners of the world. Wherever
there is danger, romance and mystery. There you will find
the man called X. And now back to the Spanish
prisoner caper Tonight's adventure with Sam Spade. I came to

(01:28:58):
with my headsham between the brass rail in the bar,
next to what pop would be the lighthouse keepers left
shoe pock is always in front of the pinball machine.
All right, best up, brunt, all right, get up, get up,
Get up, get up, get up?

Speaker 7 (01:29:15):
All right?

Speaker 54 (01:29:16):
They top holes all filled, the three balls to go.

Speaker 55 (01:29:20):
Yours. How about a little lead in the micro.

Speaker 1 (01:29:23):
Oh eb.

Speaker 12 (01:29:25):
Get up, get up up?

Speaker 11 (01:29:31):
Oh deb took off blastom.

Speaker 1 (01:29:33):
I had seven hundred and eighty thousand points run up.

Speaker 55 (01:29:36):
But they had to go and throw you at the.

Speaker 11 (01:29:37):
Machine cause it tilt.

Speaker 1 (01:29:39):
Helle.

Speaker 54 (01:29:46):
I sat until the buzzing in my ears quieted down,
and trying to hawk back to the phone conversation with
Stythy in the apartment. It came eventually, and I pried
mine host the lighthouse keeper, away from the pinball machine,
and sat him down next to me with a yellow
and standard section of the telephone book.

Speaker 12 (01:30:01):
Simplex by supply no.

Speaker 55 (01:30:05):
Easy to do garden furniture not.

Speaker 54 (01:30:07):
How about Simplex Pretty Company five?

Speaker 55 (01:30:09):
I said, sub street.

Speaker 12 (01:30:11):
Simplex Office found Sipplex.

Speaker 55 (01:30:14):
Service Station twelve.

Speaker 1 (01:30:16):
Well, how do you know, bait?

Speaker 12 (01:30:17):
There's forty two Simplexes in his book.

Speaker 54 (01:30:19):
A load find when that sounds like the front for
a cont operation on bias see and Plex cleaner is
no funds?

Speaker 12 (01:30:26):
Simplex Associates, uh no.

Speaker 54 (01:30:30):
Dot dot the suspicious Simplex Associates business opportunities, investments, gold oil, bighting, securities,
box cards, loaded dice and Las Vegas real estate. Doesn't
that just sounds like it might be a possibility, though,

(01:30:57):
shame down. They do me a favor, you plan run
across the whole and check the bunko files. There's an
outfit called Simplex Associates and it's turn it out as
a calm game. Griffin took my client for a thousand
bucks on a Spanish prisoner.

Speaker 1 (01:31:09):
Spanish prisoner, what's that got to do with me?

Speaker 9 (01:31:11):
Call bunker yourself.

Speaker 12 (01:31:13):
They're closed down at this time and I've done they are.

Speaker 55 (01:31:15):
Sweet sweetheart.

Speaker 63 (01:31:17):
I'm a homicide lieutenant and I don't run a service agency.

Speaker 9 (01:31:20):
Were private detectives.

Speaker 1 (01:31:21):
Unless there's a corpse in it, you can take your
business elsewhere.

Speaker 12 (01:31:24):
Done they look hold it, William, I can't hold it.

Speaker 17 (01:31:30):
Where is she?

Speaker 11 (01:31:31):
Where is I got it?

Speaker 55 (01:31:33):
I'm down on the floor, couch in the back. No, no, no,
don't easy there, I.

Speaker 12 (01:31:41):
Know she's here.

Speaker 11 (01:31:41):
They must free her.

Speaker 1 (01:31:43):
H must cold the police.

Speaker 55 (01:31:45):
Free Why Why was Pedro holding her to make me do.

Speaker 22 (01:31:50):
This thing, this terrible thing.

Speaker 11 (01:31:52):
I have done it.

Speaker 1 (01:31:53):
But you must stop him. Now he will look now,
then you must stop him.

Speaker 9 (01:32:01):
Millions of faces in my honor.

Speaker 55 (01:32:04):
You must be clerzy.

Speaker 12 (01:32:07):
It seemed big, he said, a bad way baked.

Speaker 55 (01:32:13):
Not anymore.

Speaker 54 (01:32:18):
He was an aristocrat, thin face, silver hair, in the
look of a bourbon. It stopped me, Marjorie, because here
it was just like you're Signor PALMERA told you a
nobleman in a ragged clothes and dangling from one of
his ankles, the broken chain of a leg iron. In short,
the complete Spanish prisoner. It's legitimate. Now you've got your corpse.

(01:32:44):
There was nothing on him to indicate who he was
or where he came from, but I had a feeling
i'd seen him before. After making the lighthouse keeper promised
me he'd lay off the pinball game until Dundee r
and I took off from my office on a very
practical errand.

Speaker 55 (01:33:00):
Buckling on my forty five.

Speaker 54 (01:33:01):
Sweetheart, if I had a light tank and Azoka, i'd
take them too.

Speaker 1 (01:33:04):
Oh samn your face, I know, I.

Speaker 2 (01:33:06):
Know, sweetheart.

Speaker 12 (01:33:07):
Understam about the sandy fruit. Well, there's a real Spanish
prisoner in this one.

Speaker 54 (01:33:11):
After he's dead now, by the way, and from the
cheap grift of a thousand bucks from a poor retired
school teacher, we're.

Speaker 12 (01:33:17):
Now up in a million dollar bracket.

Speaker 54 (01:33:19):
They got a murderous ex correine playing like she's been
kidnapped and writing extortion notes to her grandpa, and a
muggle looks like a monkey's nightmare, and nut picks and
metal shavings and someplace or somebody named Simplex, not to mention.

Speaker 1 (01:33:31):
Stops sold my falls. I was still missed up with
the argylls.

Speaker 55 (01:33:37):
What of the ur gules got to do it?

Speaker 13 (01:33:38):
When you called about the file the secular on the
confidence man, Yeah, I was looking under calm under the seas.

Speaker 2 (01:33:45):
I got out the one next to it by mistake.

Speaker 64 (01:33:48):
No, yes, the one my counterfitters.

Speaker 54 (01:33:56):
Only then did I remember where I'd seen the old
man before. The paper was still on my dead and
his picture was still on the front page over an
article that ran something like this, search on for ex
Spanish Treasury official police. Today we're still without definite leads
in the search for Raymond Montoya, former chief engraver of
the Spanish Men. Montoya, who arrived in San Francisco three
weeks ago to visit his granddaughter, vanished from his hotel

(01:34:17):
room shortly after checking in, etc et cetera. Yes, call
Lieutenant Dundee at the lighthouse on the Embarcadero.

Speaker 55 (01:34:24):
Also call the Treasury Department.

Speaker 54 (01:34:25):
Tell him both Pedro Rodriguez and his two assistants are
even now busially running off currency from placing great by
Raymond Montoya at the Simplex Penning Company, five O nine
Sansum Street, Mexican pesos.

Speaker 55 (01:34:41):
It was by the Basketball and the Treasury.

Speaker 54 (01:34:43):
Dix agreed it was a happy thing for Mexico that
Raymond had kept his engraver's tool on the right side
of the law.

Speaker 11 (01:34:48):
Often.

Speaker 54 (01:34:49):
Now, as to the matter of your Signor Palmeira and
his Spanish prisoner, I.

Speaker 55 (01:34:53):
Had excusably, I hope, lost.

Speaker 54 (01:34:54):
My enthusiasm and so it was Marjorie that I walked
into the Palace Hotel lobby a couple of hours later
to call you. Yes, sir, I'd like some Nichols. The
phone plates, no, no, no, no, they're phony Mexican bill.

Speaker 1 (01:35:09):
Oh dear dear, Oh good heaven.

Speaker 55 (01:35:12):
You shouldn't show money around like that. Just stuck them
in my pockets forever.

Speaker 54 (01:35:15):
It's forgot to turn them over the treasure and ah,
here we are here, yes.

Speaker 1 (01:35:21):
Sir, And here you are, or if you can drop
some big money.

Speaker 12 (01:35:29):
Ah huh, he's back from my pocket.

Speaker 1 (01:35:43):
Excuse me please, and John, look, I want to hell
my dream.

Speaker 12 (01:35:48):
It's the same spade I got the spade.

Speaker 43 (01:35:51):
Did you found it?

Speaker 55 (01:35:51):
I'm sorry, my dream.

Speaker 12 (01:35:52):
I beg your pardon in just a minute.

Speaker 55 (01:35:54):
My look, buddy, you can have the phone in a
minute now, you relax, You mean my money is gone.
I'm a place.

Speaker 54 (01:36:00):
It's all Marge. It's an expensive lesson, but it's worth it,
if you remember, Honey, from now on, never flash your
money in public places.

Speaker 12 (01:36:05):
And I'm almost through with you.

Speaker 54 (01:36:07):
Wait a minute, and never trust strangers, Marge. The world
is full of sharks looking around for easy at middle
aged ladies with bank rows.

Speaker 12 (01:36:14):
But he seems so honest, mister Space. That's the trouble,
the way he came up.

Speaker 7 (01:36:17):
To me instead, Senorita, I come to you on a
matter of terrible urgency.

Speaker 55 (01:36:22):
I know, I know he saw your bank roll. Eighth Colger.
You want a matter of.

Speaker 54 (01:36:26):
Terrible origins figures you look like an easy mark March.

Speaker 55 (01:36:28):
So so you know that's a minute, Marjorie, What did
you say?

Speaker 58 (01:36:34):
I say, I come to you want a matter of
terrible urgency. My uncle Don Luisa arrival. He's in awful trouble.
Oh oh, this is going to be great rewards, Senor.
You'll help us, you know, we just might be able
to work something out.

Speaker 54 (01:36:54):
Well, Marjorie, he had one thousand, three hundred and fifty
eight dollars from which I diducted Joe a thousand and
closed here with plus fifty eight dollars representing my standard
retainer period.

Speaker 55 (01:37:03):
And the report.

Speaker 64 (01:37:04):
It must be awful to be gullible like that, dear
sweet little soul.

Speaker 41 (01:37:09):
Yeshnagin, falling for a transparent swindle like that.

Speaker 55 (01:37:13):
No, that's one thing I've learned from you, Sam.

Speaker 43 (01:37:15):
I have my savings in that in a.

Speaker 1 (01:37:17):
Real good, solid thing what's that an avocado mine?

Speaker 55 (01:37:22):
An avocado mine?

Speaker 11 (01:37:24):
Where in?

Speaker 7 (01:37:25):
No, that's an alasta you know?

Speaker 12 (01:37:28):
Hmm. Well, nevertheless, and notwithstanding, go type that up.

Speaker 54 (01:37:43):
Three times mean good Times on NBC For something new
about the Army, here the Phil Reagan Show every Sunday
on NBC. Coming from a different service base. Every week,
Phil Reagan brings you songs and fun and brings prizes
to talented gis. It's a nick lighting newcomer in your
Sunday chime lineup on NDC and Sunday also means carry

(01:38:05):
Grant and Betsy Drake as mister and missus blandings.

Speaker 55 (01:38:23):
Knit two, pearl three, slip one and knit one.

Speaker 1 (01:38:26):
You see how many roads did you do?

Speaker 55 (01:38:27):
I'm on fifty seven?

Speaker 1 (01:38:29):
Are you sure you're right?

Speaker 55 (01:38:31):
Well, look at it? Have you ever seen such argue?

Speaker 14 (01:38:34):
Well, that's what I mean, Sam, They instead a billow out,
don't Well, who cares?

Speaker 12 (01:38:39):
That guy you're making import probably won't appreciate him anyway.

Speaker 7 (01:38:42):
The well, look at that.

Speaker 54 (01:38:44):
It'll make a perfect sleeping bag for a fat tat.
I'm telling him your boss last the month?

Speaker 2 (01:38:49):
Oh dear, what's the man?

Speaker 43 (01:38:51):
It's going to be a surprise.

Speaker 5 (01:38:52):
The Forum.

Speaker 55 (01:38:54):
No well, I'll treasure. I'm sweetheart. That's a beautiful just
what I wanted.

Speaker 65 (01:39:01):
That's my boss.

Speaker 55 (01:39:03):
Good night, good night.

Speaker 54 (01:39:05):
Tonight's transcribed Adventure of Sam Spade was produced, edited, and
directed by William Spears. Sam Spade was played by Stephen Dunn,

(01:39:29):
Loreen Tuttle as Effie. Also in the cast were Berna Felton,
Lou Merrill, Shirley Mitchell, Ed, Max Jerry Hausner, Nestor Piva,
and Tony Barrett. Script for Tonight's adventures by Harold Swanton,
Musical scoring by lud Gluskin, conducted by Robert Armbrewster. Join

(01:40:12):
us again next week, same time for another adventure with
Sam's bade.

Speaker 66 (01:40:29):
The see book.

Speaker 5 (01:40:35):
M H.

Speaker 60 (01:40:53):
Once again, the Keeper of the Book has opened the
ponderous door to the secret vote. We're in this the
Great Sealed Book, which regards all the secrets and mysteries
of mankind through the ages. Here are tales of every kind,
tales of murder, of madness, of dark deeds, strange and terrible,

(01:41:18):
beyond all beliefs. Keeper of the Book, I would know
what tale we tell this time. Open the great Book
and let us read.

Speaker 5 (01:41:30):
Slowly.

Speaker 66 (01:41:32):
The Great Book opens one by one. The keeper of
the book turns the pages.

Speaker 60 (01:41:44):
And stops ah the strange story of a woman who
was born with the soul of a cat, a tale titled.

Speaker 66 (01:41:56):
Queen of the Cat.

Speaker 60 (01:42:46):
Here is the tale Queen of the Cats, as it
is written in the pages of the sealed book. This
early evening, and at a large, old fashioned living room
filled with gloomy shadows, young Chris Arnold, his face haggard,
sits glowering at his fiance, Jane Elliott, and the serious
face doctor whom she has brought to see him. Chris's

(01:43:09):
hand trembles as he tries to light a cigarette.

Speaker 5 (01:43:11):
While he speaks, I'm sorry, Jane made you come all
the way out here to see me, doctor Smith. There's
nothing wrong with me, nothing, I tell you, Chris, there
is I doing.

Speaker 63 (01:43:21):
Yes, Chris, Jane's right. I have known you all my
life and I can see it a glance. There's something
wrong now, right, not tell me and let me see
whether I can help you or not.

Speaker 5 (01:43:30):
I all right, I'll tell you. I've got to tell someone.
Jane knows part of the story already, she was in it.
But I'll tell it to you from the very beginning,
which was two years ago at a party to which
Jane and I were invited. Chris is a wonderful party.

(01:43:51):
The only thing wonderful about it is you. The people
are watching a fine thing. When a man can't kiss
his best girl in publics this generation coming down.

Speaker 64 (01:44:00):
At Miss Tyndall's school, we were taught a young lady
never kisses.

Speaker 5 (01:44:04):
A man in public. Miss Tindall is setting romance back
fifty years. Who you're looking for anyway?

Speaker 64 (01:44:10):
Run A Farouk, my roommate at Miss Tindall's.

Speaker 5 (01:44:12):
Oh she's the Egyptian girl you were telling me about.

Speaker 64 (01:44:14):
Yes, I want you to meet her, only you'd better
not fallen up whether there as every.

Speaker 1 (01:44:19):
Other man does.

Speaker 5 (01:44:20):
Mmm. Sounds as though she's a second Cleopatrick.

Speaker 64 (01:44:23):
Men don't seem to be able to resist her.

Speaker 5 (01:44:24):
Really, I'm curious to see this siren of the Nile.

Speaker 58 (01:44:28):
There she is, Chris, Come on, so that.

Speaker 5 (01:44:32):
That's Rana. No wonder men can't resist her.

Speaker 67 (01:44:36):
Hello, Jane, I've missed Runna.

Speaker 1 (01:44:39):
This is Chris Donald, Chris. This is Ruana Faruk.

Speaker 5 (01:44:42):
Hello Chris, Hello Ruana.

Speaker 64 (01:44:45):
Oh look here's miss Tendall waving to me.

Speaker 1 (01:44:47):
Excuse me, won't you?

Speaker 5 (01:44:48):
Of course?

Speaker 64 (01:44:49):
Es I'll be back in a minute, you know, Chris.

Speaker 67 (01:44:55):
At Miss Tindall's the first thing I'd see in the
morning when I got up, in the last thing before
I went to bed.

Speaker 5 (01:45:01):
Was your picture.

Speaker 67 (01:45:03):
And I always knew that someday we would meet.

Speaker 1 (01:45:07):
Now we have.

Speaker 13 (01:45:10):
Why are you staring at me like that? Aren't you
going to say anything?

Speaker 2 (01:45:15):
I preferred just to look.

Speaker 5 (01:45:29):
Even now, Doctor, two years after our first meeting, I
find it difficult to describe how beautiful Runna was. I
was her slave from the moment I saw a month
after we'd met, we were married, and.

Speaker 11 (01:45:42):
I see, please go on, Chris.

Speaker 5 (01:45:44):
After Runna and I were married, we took an apartment
in town. In the months that followed, I began to
see Rhana not as the image I've been infatuated with,
but as she really was, vain, selfish and possessive. It
was a possessive verging on madness. She couldn't bear to
have me out of her sight, and when I was

(01:46:05):
upon my return, had bed questions, countless questions. I began
to dread sing her. And then and there were the cats.
The cats, Yes, the apartment was always full of cats.
She'd sit for hours stroking and whispering to him telephonic
go mad. And that was when I got the strange

(01:46:27):
idea that Ranna wasn't really human at all, but a
great cat herself wearing human form. She and the cats
seemed to talk together as if they understood each other perfectly.
Life became a nightmare for me, the nightmare full of
cats and run asking questions, endless questions. One day I
realized I couldn't go on living with her any longer,

(01:46:49):
that our marriage had been mistake. I decided to tell
her about it that very evening, without waiting any longer.
Now coming, Rana, run o, there's something important I want
to talk to you about.

Speaker 67 (01:47:03):
Please, Chris, there's your little time just now. We can
talk after the party.

Speaker 5 (01:47:07):
But Runna, this is important, I think the darling. Whatever
you have to say can wait? Not please, but please? Well,
all right, we'll discuss what I have to say later.

Speaker 1 (01:47:22):
Chris.

Speaker 67 (01:47:23):
When I called you at the office this afternoon, why
didn't you tell me that you'd had lunch with Mary Walker?

Speaker 5 (01:47:31):
How did you know I had lunch with her?

Speaker 15 (01:47:32):
Oh?

Speaker 68 (01:47:32):
A friend told me?

Speaker 5 (01:47:34):
A friend? Who was it?

Speaker 15 (01:47:35):
What is it?

Speaker 2 (01:47:36):
My beauty?

Speaker 5 (01:47:38):
What are you trying to tell me run not put
that cat down? And answer me? Who is the friend
that told you I had lunch with Mary.

Speaker 67 (01:47:44):
Walker, someone you've never met, darling?

Speaker 5 (01:47:47):
Or is it you always know what I've been doing,
whom I've been seeing? This is though you have people
spying on me, Chris, What a thing to say.

Speaker 1 (01:47:56):
Now please hurry, you will be late.

Speaker 5 (01:47:58):
There's something strange about the way you always know what
I've been doing. Sometimes I suspect, let's look.

Speaker 58 (01:48:04):
Out, step on Sabina Stale.

Speaker 5 (01:48:06):
There want so many cats under foot. I wouldn't have
steped on it. Why must to keep five cats around?

Speaker 67 (01:48:11):
Because I love cats, a beautiful sacred Thousands of years
ago my ancestors worshiped cats and the great cat goddess
second It. On the River Nile, close by the ancient
city of Hamadi, whoen I was born, are the graves
of a hundred thousand sacred cats who have been mummified

(01:48:32):
and buried with reverence.

Speaker 5 (01:48:35):
And I can't go on like this anymore, my darling.
What you mean our marriage was a mistake. I want
a divorce.

Speaker 67 (01:48:45):
You can't be serious.

Speaker 5 (01:48:46):
But I am.

Speaker 2 (01:48:48):
No Chris.

Speaker 67 (01:48:50):
I love you and I won't give you up your
mind Darling, you always will be.

Speaker 4 (01:48:57):
Nothing shall ever separate us?

Speaker 5 (01:49:14):
Cocktails her?

Speaker 11 (01:49:15):
No, thank you?

Speaker 5 (01:49:16):
Well, even if you won't have one, mister Arnold, I
will Jane, Jane, it's good to see you again. Can't
we go someplace and talk? What about the terrors?

Speaker 1 (01:49:26):
Chris?

Speaker 13 (01:49:27):
You here?

Speaker 5 (01:49:27):
This door opens on.

Speaker 2 (01:49:32):
This is much better.

Speaker 5 (01:49:34):
It's been quite some time since we've seen each other,
hasn't it.

Speaker 67 (01:49:37):
Yes, last time we saw each other the night that
I met Rana.

Speaker 13 (01:49:44):
Yes, how is Rhona?

Speaker 5 (01:49:47):
Chris? Oh, she's fine. We Jane has made such a
mess out of everything. I was a fool of marriag.
You mustn't talk like that. I was a pool, Jane,
mistaking infatuation for love. Can you ever forgive me for
the way I behave towards you?

Speaker 64 (01:50:04):
There is nothing to forgive.

Speaker 2 (01:50:05):
Chris is a surprise.

Speaker 13 (01:50:09):
Hello, Rana.

Speaker 67 (01:50:10):
Really, Jane, the way you've avoided calling on us, I
have to suspect you are still in.

Speaker 1 (01:50:15):
Love with Chris.

Speaker 5 (01:50:16):
Brana. You have no right to talk to her like that.

Speaker 64 (01:50:19):
I'm afraid I'll have to be leaving, and it's getting
quite late.

Speaker 5 (01:50:23):
Night. Good night, Jane.

Speaker 67 (01:50:30):
I hope I didn't interrupt anything by coming out here
so unexpectedly.

Speaker 5 (01:50:35):
Yes, Rhana, you did. I was about to tell Jane
that I love her and that I always will. Wanna,
you've got to give me a divorce.

Speaker 67 (01:50:42):
I'll never give you a divorce never you hear your mind,
and you always will be.

Speaker 1 (01:50:48):
If I can't have you, no one else will.

Speaker 60 (01:52:34):
And now my story continues as it is written here
in the pages of the Sealed Book. There is horror
on Chris Arnold's features as he tells the doctor of
his efforts to get his wife Rana.

Speaker 66 (01:52:48):
To divorce him, and of her refusal to let him go.

Speaker 5 (01:52:53):
I can still see her, Doctor. She stood there glaring
at me. She looked like a cat, great angry cat.
Her green eyes were cold and murderous. The long nails
dug into my arm. Body was tense. For a moment,
I thought she was going to scratch my eyes out,
and she turned and stalked away.

Speaker 55 (01:53:16):
Mmm.

Speaker 63 (01:53:17):
What happened after that night?

Speaker 17 (01:53:18):
Chris?

Speaker 5 (01:53:19):
I ceased speaking to Ranna. We lived in the same
apartment that that was a Rana waited for me to
come around with all the patience of a cat playing
with a mouse. But when a month had passed and
I still refused to talk, to her. She made an
attempt to win me back. It happened one night as
we were driving to this house. Why are you slying down, Ranna?

Speaker 67 (01:53:42):
I want to talk to you, Chris, and I can't
talk to you while I'm driving.

Speaker 5 (01:53:45):
There's no point in your stopping. We have nothing to
say to each other.

Speaker 67 (01:53:48):
But we do, darling, Chris. We could be so happy
together if you wanted to know how much I love you.

Speaker 1 (01:53:58):
I do anything to make you happy.

Speaker 5 (01:54:00):
Anything, anything, and you can give me a divorce.

Speaker 21 (01:54:04):
Christ You haven't any right to treat me like this.

Speaker 67 (01:54:06):
I'm your wife.

Speaker 5 (01:54:07):
Only in the eyes of the law, not in my eyes.

Speaker 1 (01:54:10):
I hate I hate you, you cat.

Speaker 5 (01:54:14):
You almost took my eyes out with those cloths.

Speaker 1 (01:54:16):
You.

Speaker 67 (01:54:17):
I will scrap your eyes out before I let any
other woman have you your minding.

Speaker 58 (01:54:20):
Your rors will be slide over.

Speaker 9 (01:54:26):
I'll ride.

Speaker 21 (01:54:29):
Very well, Chris. You think you'll speak to me, Chris,
but you have. In the end, you'll come crawling to me.

Speaker 67 (01:54:45):
It may take a year, two years, five years that.

Speaker 5 (01:54:49):
I can wait. You have everything planned perfectly, Anna, don't you.
But I have one way of escape from you that
you never thought of. Really, and what way is that
I can escape?

Speaker 11 (01:55:00):
Death.

Speaker 5 (01:55:02):
Yes, Rana. If I should fail to take the curve
of one hundred yards ahead, we'd plunge off the side
of this mountain. Chris, you wouldn't try. Not, Rana. You've
showed me there's nothing to live for. This at least
is a clean way.

Speaker 1 (01:55:12):
No, Chris, christ don't.

Speaker 5 (01:55:14):
No. When I drove the car over the side of
the mountain, doctor I thought Rana and I were going
to our deaths, but fate decreed otherwise. When I recovered

(01:55:40):
consciousness forty eight hours later in a hospital, I learned
it was only Rana who had died. I only had
a few bones broken and was out of the hospital
in a month. It was just a week later that
I ran into Jane.

Speaker 35 (01:55:56):
Oh Jane, Oh did you Jane?

Speaker 5 (01:55:59):
You always seem to pop up just when I need
you most.

Speaker 64 (01:56:01):
This past weeks must have been so difficult for you.

Speaker 5 (01:56:04):
No, I don't want to look back at the past, Jane,
but only to the future. The future I once hoped
we'd share and still do. Two months ago, doctor Jane

(01:56:26):
and I became engaged. It was just about that time
that I first began to notice that everywhere I went,
there always seemed to be a cat following me?

Speaker 63 (01:56:35):
Are you sure you weren't imagining it?

Speaker 2 (01:56:37):
Chris?

Speaker 5 (01:56:38):
At first I thought it was my imagination, But a
week after Jane and I became engaged, I was certain
I was being followed it.

Speaker 63 (01:56:44):
Tell me, Chris, was it always the same cat that
followed you?

Speaker 22 (01:56:48):
No?

Speaker 5 (01:56:48):
No, one day it'd be one cat, and another day
a different one. Then one night I.

Speaker 13 (01:56:53):
Saw her.

Speaker 5 (01:56:55):
Happened in this very room six weeks ago. I had
great difficulty in falling asleep that night. Suddenly the silence
was broken by the faint crying of cat. Crying grew
louder and louder. I lay in the darkness listening, realizing
that the cat crying was real, living and in my room.

(01:57:20):
I feel my heart palming as I sat up in
bed looked about my darkened girl, and suddenly I saw
her two burning green eyes in the darkness. There was
no mistaking those eyes. They were Runs. I stared into
those eyes for what seemed like hours, and as though
listening to a stranger's voice, I.

Speaker 1 (01:57:41):
Heard myself speak, Wanna it is you run.

Speaker 11 (01:57:46):
Isn't it.

Speaker 5 (01:57:47):
Yes, I'd recognize those green eyes anywhere. So you've come
back in the form I've always thought of you as
a cat. I know why you've come back because of Jane.
You always say that if you couldn't have me, no
one else would, but that was yours and always would be.

Speaker 11 (01:58:04):
Well, you're wrong you here.

Speaker 5 (01:58:05):
Jane and I are going to be married. You came
between us once, but you aren't going to this time.
I will marry her and there's nothing you can do
to stop me. Try to scratch my eyes out with you,
Well we'll see about that.

Speaker 7 (01:58:20):
That's not so ya.

Speaker 5 (01:58:21):
Nothing you can do and stop me from marrying her.
I know that the cats were following me and spying
on me, were doing so under your orders.

Speaker 9 (01:58:29):
You you are the queen of the cats.

Speaker 5 (01:58:32):
Yes, I should have known. I wonder you always knew
where I'd been, who had seen? You had cats spying
on me? Even then, well, even if you are the
Queen of the cats, you can't stop me from marrying Jane.
That's a bullet between those green eyes of yours is
what's need.

Speaker 60 (02:00:34):
And now to continue the story as it is written
in the Sealed Book, his voice shaking, Chris Arnold is
telling how he shot at the great black cat which
came to him in the night and missed.

Speaker 5 (02:00:50):
I empty the gun at attacked Rana in her true
form of a great cat, and I turned on the light.
There was no sign of her. She vanished. All that
I found were six bullet holes in the wall opposite
my bed.

Speaker 63 (02:01:06):
Chris, isn't it possible that you only dreamed, or that
that actually you fired the gun in your sleep and
the shots themselves waiting?

Speaker 5 (02:01:13):
I'd tried to tell myself, But during the nights that followed,
I knew it hadn't been a dream. For night after night,
the great black cat appeared in my house. I'd lie awake,
waiting to hear a voice. When she'd appear, I'd plead
with her to leave me alone, but she'd only stare
at me with those burning green eyes, waiting, waiting. I
knew she'd never leave me alone as long as I

(02:01:34):
intended to marry Jane. Why may I want to see Jane? Chris,
this is a surprise. Come in, Jane. There's something I want.

Speaker 7 (02:01:47):
To ask you.

Speaker 68 (02:01:48):
Yes, Chris, of course, what is it?

Speaker 5 (02:01:50):
I know we set our wedding for next week, but
couldn't we put it off for a while, just a
little while?

Speaker 7 (02:01:55):
Telling what is it?

Speaker 13 (02:01:56):
There's something wrong?

Speaker 5 (02:01:57):
I know there is Please tell me I could, but
I can't. Please, Jane, just have faith in me. You
know I wouldn't postpone our marriage if I could possibly
help it.

Speaker 67 (02:02:08):
All right, Chris, I do have faith in We'll consider
our marriage to postpone for the time.

Speaker 5 (02:02:28):
Good night I put off my marriage to Jane. Doctor
was the first night that Rona didn't appear, in the
first night in a week that I was able to sleep.

Speaker 63 (02:02:36):
You think, Chris, that she didn't appear again because you
postpone your marriage to Jane.

Speaker 46 (02:02:41):
I know it.

Speaker 5 (02:02:42):
Weeks went by, weeks in which I was able to
sleep soundly without being awakened by her. I came to
think that perhaps it had all been part of a
horrible nightmare, and that I was over it at last.
A week ago, I asked Jane to set the date
for our wedding. She did so. That same day we
took out a marriage license. But that night Runner appeared again,
her eyes shining in the dark, cold and murderous, and

(02:03:05):
I've seen her every night since. I tell myself that
I mustn't be afraid, but keep hearing her voice over
and over. If I can't have you, no one else will.
You're mine. And you always will be Darling House.

Speaker 1 (02:03:18):
I've known all this before.

Speaker 63 (02:03:19):
You feel, Chris, that somehow should prevent you from marrying Jane.

Speaker 5 (02:03:23):
You know I sound mad, but I do. I have
a feeling something horrible will happen if I attempt to
marry her.

Speaker 63 (02:03:28):
You still have the marriage lescense.

Speaker 5 (02:03:31):
Yes, why do you ask you?

Speaker 11 (02:03:33):
Chris?

Speaker 63 (02:03:33):
You've reached a crisis in your life. You're faced with
fears that are threatening to overwhelm your sanity. The best
way of you to challenge your fears is to go
through with your marriage to Jane. Now tonight, tonights. It's
quite late, but I'm sure a friend of mine who's
a judge, you will marry you?

Speaker 5 (02:03:50):
All right, doctor Jane? Will you marry me tonight? Oh yes, Chris.

Speaker 63 (02:03:56):
Yes, Sorry to get you up in the middle of
the night, judge, but for reasons I can't explain, it's
important that these two be married tonight.

Speaker 29 (02:04:17):
It's quite all right, Doug. We've played to oblige your friend.
And here you get the license, ring young.

Speaker 5 (02:04:23):
Men, Yes, sir, here's the license.

Speaker 29 (02:04:25):
Here's the right, good young man, if you'll take your
right hand, now, shall I give the long chareman?

Speaker 5 (02:04:35):
The short one, the short one.

Speaker 68 (02:04:37):
Please, did you.

Speaker 29 (02:04:38):
Say, young lady, this is the shortest one I've got.
And do you, Jane Elliot, take this man to be
a love of what it has been, the love Honor
in the bay, as long as both shall live?

Speaker 5 (02:04:49):
I do?

Speaker 29 (02:04:50):
Do you, Christopher Nald take this woman to be your love,
but it love, Honor and Chaise, as long as you
both shall live.

Speaker 64 (02:04:58):
See Chris, please, it's only a black cat.

Speaker 5 (02:05:02):
You mustn't pay any attention to it, of course, not
not not you look at her eyes. I told you
she'd try to prevent my marrying Jane.

Speaker 11 (02:05:10):
Well, we'll get rid of her.

Speaker 5 (02:05:11):
Once and for all.

Speaker 13 (02:05:12):
What are you doing with that gun?

Speaker 9 (02:05:16):
She cut away?

Speaker 5 (02:05:17):
Wherever she's gonna find her.

Speaker 28 (02:05:20):
Come back?

Speaker 66 (02:05:30):
Janey can't be far off we find it.

Speaker 58 (02:05:34):
Listen, that must be Chris firing that gun.

Speaker 66 (02:05:36):
Or shots came from course back?

Speaker 2 (02:05:41):
Jake easy, know it's pretty girl.

Speaker 63 (02:05:43):
Cout here a moment and lighted my lighter.

Speaker 67 (02:05:46):
Look he did care.

Speaker 5 (02:05:48):
Yes, we shot through the head.

Speaker 11 (02:05:51):
Look there's another one that's been shot to this.

Speaker 13 (02:05:54):
Neither one of them is the black cat.

Speaker 17 (02:05:57):
Sure do.

Speaker 1 (02:05:59):
They do?

Speaker 29 (02:06:00):
Body over there?

Speaker 16 (02:06:01):
Said Jane.

Speaker 5 (02:06:02):
You stay with the judge.

Speaker 11 (02:06:03):
When I look right.

Speaker 64 (02:06:09):
Emotion, cry, But this would never have happened if I
hadn't agreed to million.

Speaker 43 (02:06:13):
He was afraid, so.

Speaker 5 (02:06:15):
Doug, Yes it is.

Speaker 29 (02:06:21):
I see your face, Yes, Jane, Doug, how couldn't judge
thing happened to him in such a short time.

Speaker 63 (02:06:30):
He's been clawed to bits, as if by the claws
of hundreds of cats, and most horrible of all, his
eyes have been scratched out.

Speaker 60 (02:06:49):
Two days later, Chris Arnold's funeral, a great black cat appeared,
as if from nowhere, sitting close by the edge of
the grave and licking its paws as it watched. The
coffin lowed into the earth, and they tried to catch it.
It leaped away and seemed to vanish, and was never

(02:07:10):
seen again. Was it truly Runna, Chris's wife reborn in
the shape of the cat she had been at heart?
The answer is not written here. The tale has been
told just as it is recorded in the sealed Book,

(02:08:36):
and now, keeper of the book, before you close the
great volume, show us the tale we tell next time.
This one, yes, an amazing tale. It's the story of
a brother and sister who found themselves left out of
their aunt's will, and who remedied that unfortunate situation by

(02:08:59):
a club scheme, a scheme which proved to be just
a little too clever. It's a tale titled Death Rings
down the Curtain. Be sure to be with us again

(02:09:28):
next time when the sound of the Great Gung heralds
another strange and exciting.

Speaker 66 (02:09:34):
Tale from The Seal Book.

Speaker 60 (02:09:44):
The Sealed Book, written by Bob Arthur and David Cogan,
is produced and directed by Jock McGregor.

Speaker 6 (02:09:50):
We all know someone who struggles with depression, whether we're
aware of it or not. It's something those who suffer
tend to deal with in silence, in the shadows. But
the organizations we are supporting with our annual Overcoming the
Darkness Fundraiser this month are working to make it easier
for those in the darkness to come into the light,
to find help, and to learn they're not alone, that
there are ways to overcome the darkness of depression and

(02:10:12):
live normal lives. I do this fundraiser only one month
out of the year, as October is the anniversary month
for Weird Darkness we launched in October twenty fifteen. It's
National Depression Awareness Month, and this month is spooky and
dark kind of like depression. If you'd like to make
a donation or learn more about the fundraiser, or find
hope for yourself or someone you know who struggles with depression,

(02:10:34):
visit Weird Darkness dot com slash hope. The fundraiser ends
Halloween night at midnight. Please give what you can Weird
Darkness dot com slash hope.

Speaker 13 (02:10:45):
Oh no.

Speaker 7 (02:10:47):
Evil, That.

Speaker 69 (02:11:04):
Her shadow who has supports the law and order. Then
we have a the la Monk Cranston, wealthy young man
about town. Years ago in the audience, Crimpton learned a
strange and mysterious secrets, the hypnotic power to cloud men's
minds so they cannot see him. Crimston's friend and companion, the.

Speaker 7 (02:11:21):
Lovely Margot Lane. He's the only person who knows.

Speaker 69 (02:11:23):
Too fools, the joy of the invisible shadow.

Speaker 7 (02:11:26):
We lost Today's story.

Speaker 70 (02:11:29):
Carnival Up Death, Davey Davy, don't step on the Government's feet.

Speaker 7 (02:11:41):
Have a palm Dowling by train. Last time I was
down there for the week's pay TI to win a
fifty cent Cubigar's jured me both, Mike. Let's get up
to the front of the car.

Speaker 52 (02:11:50):
All these people going to Joey Island.

Speaker 7 (02:11:52):
There's their way, Margot the room, there's always room. Joy
Island is every man's paradise. Hers, we'll roll it those
to shoot the shoots.

Speaker 15 (02:12:01):
Well, you know we stop, we get off.

Speaker 7 (02:12:04):
We can ask the guard and make sure come on. No,
to be a place we could have solo them on.
Look at that brush for them? Oh god, uh does
this thing go to the amusement park? Not direct? No,
when you get to the island you take a bus.
Oh and somehow I thought there was a direct connection

(02:12:24):
they used to see. But I guess you know what
happens to that. But no, no, I don't you never
learn about that branch plan of old John Norcross. Not
build out of his own pocket. No, we never even
heard John Norcross. Don't say whoa he owns the amusement park.
About ten years ago he asked the Board of Transportation
to build a branch line right out to the doors

(02:12:44):
of the place, but they turned them down. They did
tell them though, if he wanted to build it themselves,
they furnished the guards and keep up the line. So
he went ahead and build it. Yeah, So why is
this killing operations? Well, I guess I can tell you
that as well as anybody, lady, because I was on
the first runner that line. It was just about ten
years ago this month. Oh, there was speeches and everything,

(02:13:05):
and finally the first train pulled out along the runs
into the pot mike about five minutes. Jesus play really
makes come. Oh see, let's rock. Hey, I hope to
help content. I won't tell you.

Speaker 1 (02:13:21):
Hey what all the.

Speaker 7 (02:13:23):
Time that was the only run we ever made. Must
have been forty people killed in that way. They use
the Franks line at all. No, they surrended it up.
No one even goes in there anymore.

Speaker 2 (02:13:43):
Why not?

Speaker 7 (02:13:43):
Oh there's been talk about seeing a ghost train running
through there. Yeah, well next time where you changed the
put don't your boats have fun?

Speaker 12 (02:13:53):
Yes?

Speaker 7 (02:13:53):
Yes, thank you? Put as hide in the mood.

Speaker 5 (02:14:04):
God?

Speaker 7 (02:14:06):
Okay for me if I read a little piece under
the sall right where in.

Speaker 71 (02:14:09):
The bottom the mill girl takes like Hilly on your
grandmother's take.

Speaker 7 (02:14:12):
You don't get away son? Well, my god, I suppose
this this is rather tame after that roller coach, I
love it the moon. Where else could you go from
a roller coaster to drink to venice and come minute?
Flash By said, Oh, I don't know it probably an

(02:14:35):
attempt at atmosphere. You're right in the dark like this.
Those things are expected. Mama, you're bumping in that boone
of harvest.

Speaker 1 (02:14:42):
Jillia me, wasn't it?

Speaker 7 (02:14:43):
I'm sorry? That's okay, see he says, it's okay. Look
that boy girl on the phone marble. Okay, listen you
female peeping tom and you don't behave to tip you right.

Speaker 52 (02:14:55):
Out of this phone, right, folk, step right up and tie.

Speaker 7 (02:15:03):
Your shoes, don't he Shut the corner, shut down the
clay pipes, and win that cuby dog you let folk? Yeah,
let me have one of those guns. Dad, that'll be
twenty five cats, but a quarter of this. Now, how
do I win a prize? Honestly, win a prize? The
man asked, why? As easy? But hits the clay pipe
five times in a row and you get a cuby
doll I see, well here goes whoo whoo.

Speaker 52 (02:15:26):
Hey the monte f.

Speaker 7 (02:15:27):
How many dollars is that so far? That's too budget?
Take it easy when your budget. I've got ten cuts
left them and I yeah, but do me a favorite
get careless shop.

Speaker 52 (02:15:39):
Whoo.

Speaker 7 (02:15:40):
Well, I'm a lot of bullets. Well, I'm a lot
of dogs. Where do no, Ma, I don't know. Let's see,
I left them one over there the watons.

Speaker 45 (02:15:49):
Him hombos of horn Hack for me.

Speaker 7 (02:15:52):
Hey, yeah, yeah, I can catch your place by ladies.
Why it's pretty cory shut into murders and famous crimes.
And let me sorry that old guys shot in the
front of the places enough to keep you all from
who is it the watch? An old pop?

Speaker 19 (02:16:07):
Right?

Speaker 7 (02:16:07):
This should be one of the wet exibicum toubs.

Speaker 11 (02:16:09):
And what's wrong with it?

Speaker 7 (02:16:10):
Well?

Speaker 5 (02:16:11):
They do?

Speaker 7 (02:16:12):
I get I shaid anything of you if you want
to go in there later on, Come on, morg what
am I gonna do with all these dogs? You can
start a collection? Who knows you might use me?

Speaker 52 (02:16:24):
Wouldn't you like to take the lady inside and show
her the beautiful life like statue? It's very dream it. No,
I'm sorry, come on, I'm away. You're bashing up the
dead show on the island.

Speaker 7 (02:16:35):
You're very fully not to go in my buttons taking
in there a lot of other things to Steve Morgels.

Speaker 52 (02:16:41):
I know, but I would have been joying the muse here.

Speaker 7 (02:16:42):
I'm very imperfezing. The lady is right, she s very
it is you're the most persistent barker I've ever seen. Oh,
I'm the one, and I'm just the watch. You'll come
with me, and I myself will personally conduct you. Oh

(02:17:04):
you take it yet? There right away? Forty are you
just follow me? I throw this star.

Speaker 52 (02:17:15):
Here we are and we start at this end of
the room. First, these wax tableau represents famous death scenes
in history. This one, this one is myrap bathtub murder scene. Excellent,
isn't it?

Speaker 11 (02:17:31):
No?

Speaker 45 (02:17:32):
Yes, yes, it's excellence.

Speaker 52 (02:17:34):
Now now this scene, wait, I'll pull back the curtains.
This scene is the kidnapping of the twin Crown Princess
of France, not the lifelike appearance of the figure Marklistic, Yes,
yes it is. Where are these figures made?

Speaker 29 (02:17:50):
Lamon?

Speaker 1 (02:17:51):
I don't know.

Speaker 7 (02:17:52):
Can you tell us, mister Marco he's gone, well, yes,
where did it go?

Speaker 5 (02:17:59):
I don't know.

Speaker 7 (02:18:00):
And let's have a quick look at this one exhibit
and leave. Huh, Say what is this tabot supposed to be?
I believe it's the death of Marie Antoinnette on the guillotine.

Speaker 45 (02:18:13):
These figures look even more life light than the others,
didn't you say?

Speaker 1 (02:18:16):
Yes?

Speaker 45 (02:18:17):
Look see how naturally. The execution is o breaped around me?

Speaker 7 (02:18:21):
The mom What happens the blady? The guillotines tell.

Speaker 45 (02:18:24):
Comonth look blood, blood tripping down.

Speaker 7 (02:18:28):
Let's have a closer look at this figure.

Speaker 45 (02:18:30):
Oh the month. It's that girl we saw on the boat.

Speaker 52 (02:18:33):
And the sea the vet it is.

Speaker 7 (02:18:36):
Wait, I'll take the mask off this figure of the executioner. There,
what's the boy?

Speaker 1 (02:18:42):
The boy who was with her?

Speaker 7 (02:18:44):
He's dead too. Come on, mother, we'll find over pop right,
see what he knows about this?

Speaker 1 (02:18:49):
There's the one they origin all.

Speaker 7 (02:18:53):
There are two people who have just been killed in
one of your exhibits. Wait a minute, go in and
see you tell what they all say when they say
old brother, they're right up for us. Listen, where's that
old man the one they call pop right? I don't
know who you mean?

Speaker 12 (02:19:05):
Brother?

Speaker 7 (02:19:06):
Come on, mother, I'll see what I can find out
from the shooting gallery.

Speaker 52 (02:19:09):
Man stay that night.

Speaker 7 (02:19:13):
Listen, Oh you back again, bud. Look who is that
old man you pointed out to us? And why did
you want us against him? What old man? The one
you call pop right? Who's pop right? You're not going
to get any satisfaction here, got any cusses? Dad, there
you no crust the owner of this part, he landed
you only enough. Car listen, car, I just comes from

(02:19:37):
the West Museum. Two people have just been murdered in there.
That's the truth. Come quickly, I'll show you you're not
a fire. The man on the dog yes, and he said,
no attention to me. Where one of the toploads.

Speaker 20 (02:19:51):
Right?

Speaker 7 (02:19:52):
The wonders to the way. All right too? Here come
on mother? Now which tableau was it? This one over here?
The death of Mary Antoinette? Dead people will have the
students for the wax figures. There you see what's it gone?

Speaker 15 (02:20:10):
What happened?

Speaker 2 (02:20:11):
You know what is this?

Speaker 7 (02:20:12):
Believe me, mister No course, we saw the dead bodies
of a young man and a woman in this tableau
just a minute ago. Well where are they now?

Speaker 19 (02:20:19):
I don't know.

Speaker 7 (02:20:21):
I'm afraid you two have been wasting my time.

Speaker 2 (02:20:23):
I have other things.

Speaker 7 (02:20:25):
Wait. I tell you, mister Norcross, that we saw those two.

Speaker 45 (02:20:28):
We wouldn't even listen to them.

Speaker 7 (02:20:30):
We didn't see those bodies.

Speaker 2 (02:20:31):
Eh.

Speaker 7 (02:20:32):
Well, mister Norcross, you're going to hear more of this,
and you're going to explain your indifference to our discovery
when you receive a visit from the shadow.

Speaker 2 (02:20:50):
Hello, Yes, this is not us.

Speaker 7 (02:20:53):
Yes, yes, but there's only one thing I want you
to remember, and Lena there Jo, regardless of what happened, Yes,
a right, goodbye? What about that hula? It was I John?
Now Cross?

Speaker 1 (02:21:09):
Oh?

Speaker 48 (02:21:09):
Who who are you?

Speaker 7 (02:21:11):
I don't see anyone. I am called the shadow. Where
are you? I hear you, but I can't see you.
That's because I've counted your mind and made myself invisible
to your eyes?

Speaker 55 (02:21:20):
What are you doing here?

Speaker 7 (02:21:22):
I have come to ask you some questions, mister Norcross.
What about in your phone conversation? What did you mean
by the men must hold bad jobs? Regardless of what happened?

Speaker 9 (02:21:33):
Why?

Speaker 1 (02:21:33):
I hi?

Speaker 7 (02:21:35):
But on the obviousness, did it have anything to do
with the death of that young man and woman in
the wax Museum today? What are you talking about? You
do know of those deaths, don't you?

Speaker 17 (02:21:43):
No?

Speaker 7 (02:21:43):
No, nothing like that has happened here in the park.
We have a clean record here. Really, aren't you? Forgetting
the branch line of the subway that you built that
caused so many deaths, that's different. But for an accident,
an accident that happened many years ago. I'm doing my
best to make amends for that? How hi, I'd rather
not say that's your plan for making amends you no

(02:22:04):
course include vengeance? No, no course, don't hear from me
again very soon. Meantime I must want you. Every move
you'll make will be closely watched by the shadow.

Speaker 45 (02:22:28):
But I'm mighty glad to meet the Western Central along
with us. Detective.

Speaker 7 (02:22:32):
Well, thanks, nothing of it now. Now, this here is
the place where you last saw them young folks alive?
Is that right? Yes, sir Devin, I see that vote
was bloilding in front of this replica of the nation talents.
Let's tie up here, all right? What to ju just
about where we heard the moment too? What move we
heard a strange crying or just before we bumped into
the young couple's vot? You mean there's there's ghosts mixed

(02:22:52):
up in this proof. I hardly think that, boy, Am
I the one forgetting screwey assignments?

Speaker 5 (02:22:57):
Move?

Speaker 7 (02:22:58):
Kids disappear, They turn up as corpses in the White Museum,
they disappear again.

Speaker 52 (02:23:03):
Well, that's part of a detective life, isn't it.

Speaker 7 (02:23:05):
That's the steam beside miss me. I like details like
special duty at the bar park particularly if there's a
double header on and he's got a little double header
of our own right here. Now, see if there's an
opening in any of these pony palaces. Help me feel
along these walls. But you haven't sure, Wait till I
go home tonight and the missus says what have you

(02:23:26):
been doing? Or they even and I say, honey, I
was riding through the Venetian tunnels of love boy for
this I joined the fort.

Speaker 2 (02:23:37):
Oh no, what's this?

Speaker 1 (02:23:38):
Found some of them?

Speaker 7 (02:23:39):
I believe these windows shutters open? Yes, there seems to
be a passageway here, say maybe a pound something. Come on,
let me help you out of the boat.

Speaker 45 (02:23:48):
Muggle, Are you going to saw the passageway?

Speaker 7 (02:23:50):
Yes, I hear your fast side have been Yes, sir, right,
you take this one, Muggle? All right, let's go now.

Speaker 45 (02:24:00):
Dark in here, wonder way this leads to turn ahead.

Speaker 7 (02:24:04):
We'll soon find out, but we'll probably come to the
end of it and find a guy who will collect
a quarter for us. Leaving the boat and look look
ahead there, what's the large tunnel? Yes, if I'm not mistaken,
we stumble on the old desert a subwaysper yes, yet
look they're truck subway track. Let's see, Hey, this is
the old subway tunel like that. It's a darning here,

(02:24:27):
water dripping from the walls.

Speaker 52 (02:24:29):
There's a scary place a.

Speaker 7 (02:24:30):
Month that's only because it's been closed up so long.

Speaker 45 (02:24:32):
Do you suppose will see that?

Speaker 7 (02:24:35):
Go train?

Speaker 52 (02:24:35):
The God told us about it?

Speaker 7 (02:24:36):
Now, look, ladies, please, I'm a superstitious man in a
place like this. I would rather you didn't mention goals.
And let's all about finding where this thing leads. You
go in that direction, Evan, we'll set down this way, okay,
But if you're finding anything, yes and no, right, come along, monger.

Speaker 1 (02:24:55):
The man.

Speaker 45 (02:24:56):
You suppose the young couple found this passageway gonna kill here?

Speaker 7 (02:25:01):
I don't imagine they came in here voluntarily, but they
could have been brought in.

Speaker 2 (02:25:06):
Here by home.

Speaker 7 (02:25:08):
I don't know.

Speaker 1 (02:25:13):
The month?

Speaker 45 (02:25:14):
Did you hear?

Speaker 1 (02:25:14):
That?

Speaker 15 (02:25:15):
Was that?

Speaker 1 (02:25:16):
Evan?

Speaker 7 (02:25:16):
I don't think so. I'll find out, even Evan, Oh,
come down here?

Speaker 45 (02:25:29):
Where good boys coming from the month?

Speaker 7 (02:25:31):
I can't be good out Heaven, hid.

Speaker 2 (02:25:39):
Heaven?

Speaker 7 (02:25:40):
What happened? Come on, mother, Heaven, Heaven? Why doesn't matter?

Speaker 1 (02:25:46):
Come?

Speaker 7 (02:25:47):
What's the quiet? Quickly?

Speaker 1 (02:25:57):
I say?

Speaker 72 (02:25:58):
The month?

Speaker 7 (02:26:00):
Come on? We're called the lights see where it's went.

Speaker 15 (02:26:03):
Simon.

Speaker 45 (02:26:04):
Did you notice the light's go on in that train
and there were patterns it all the winterday?

Speaker 7 (02:26:08):
Yes, I told him Marble the trainer it's disappears.

Speaker 46 (02:26:13):
There's no trace of it.

Speaker 7 (02:26:15):
How do we do There's no point of looking for Evans.
He may have gone back to the passicway. Come on,
we'll go up about to the pod. That's something I
must learn at once. I look here, budd It's bad
business for me to answer questions around this place, but

(02:26:36):
you can tell me this much. You do know the
old man who was the watchman at the White Museum.
Don't joke? Yeah, yeah, I know, Pop?

Speaker 27 (02:26:42):
Right?

Speaker 7 (02:26:42):
What connection has he with John Nockory? Please? But this
joint has he everywhere? If you want to ask questions,
pick up one of the guns and start firing at
the cart. I'll tell you what I know. But you
keep the gun cord and keep laughing like a joke.
I'm telling you see yeah, sure, let me have see. Well, now,
let's see what kind of a marksman you are, buddy, Okay,

(02:27:06):
nor curse you don't like talking, Oh, I gotta do it.
This place. You want about the connection between him and
little Pop right, well, North, course, it's given up life
jobs certain surviving members of the family who were killed
in the subway wreck ten years ago. Oh yeah, tight
again that way North Bruce got out of making big

(02:27:26):
cash several months and let me put no claims. See well,
nice work, But now let's see you pick off them
fixed buying teeth in one volley. Sure try those buying geese.
There's a lot of funny things happening around here, like
these things I don't like. I'm kind of get out
of the job. But no, course, says I gotta stick

(02:27:47):
it out and take a cark at them. Play pipe. Okay,
i'd better wait. You you can get away from here,
you can finish telling me your story. Then, well, I
guess I have about they've gotta do. I said, you've
brought a bit of Chaawever, Brin, Hello.

Speaker 52 (02:28:06):
What's happened?

Speaker 7 (02:28:07):
I don't know? Hey, let me see why did you.

Speaker 43 (02:28:09):
Pulled to the ground.

Speaker 7 (02:28:10):
This man is dead, buggle in his back. That means
a shot came from the direction of the Wex Museum,
the Mission of West and then the men made a
throw in search of the Wex Museum, Muggle and they
found nothing. That's why I decided to come back here
to the tunnel. This is where the murderer will be found.

Speaker 11 (02:28:32):
I know it.

Speaker 45 (02:28:33):
Did they find any trace of Detective Ovans?

Speaker 7 (02:28:35):
No, you must still be down here someplace. You'll get
that muggle. Yes, that's follow the thunder that fla.

Speaker 45 (02:28:45):
This is my idea of good funnel.

Speaker 7 (02:28:48):
That mass is coming from this end of the tunnel
by Detective Ovan. We'll soon find out. Hello, over there
by the wall, something's happened to him. Obviously, I'll get
the hurt.

Speaker 45 (02:29:04):
Follow what is it?

Speaker 70 (02:29:05):
I'm thinking?

Speaker 52 (02:29:08):
Wait, helped people.

Speaker 46 (02:29:12):
Here?

Speaker 43 (02:29:12):
Lamont can't call me out of that.

Speaker 52 (02:29:16):
Follow it all.

Speaker 7 (02:29:27):
Right?

Speaker 52 (02:29:27):
This way, young lady, I shall entertain you in my
private subway car.

Speaker 7 (02:29:31):
No, no, I won't go in.

Speaker 52 (02:29:33):
Go up now now, you mustn't behave that way. The
other passengers won't like to hould the month the month, won't.

Speaker 7 (02:29:41):
Hear you, my dear?

Speaker 52 (02:29:43):
By this time, he's been swallowed up by the quicksands.

Speaker 7 (02:29:46):
Yes, this is your friend.

Speaker 52 (02:29:47):
That detective was earlier this evening.

Speaker 45 (02:29:49):
No, no, that isn't true. Nothing's happened to him.

Speaker 52 (02:29:53):
Count me that nothing's happened to Lamont.

Speaker 7 (02:29:54):
Or you'll be in good company.

Speaker 52 (02:29:57):
There are many others in there too, you know. Now
step into the car.

Speaker 1 (02:30:02):
No, I won't, No, take your hands off.

Speaker 52 (02:30:04):
Oh you don't enjoy prop right hospitality, dudes. Now then
I shall have to.

Speaker 7 (02:30:10):
Force through and don't. There we are now you must.

Speaker 52 (02:30:16):
Meet your fellow passengers.

Speaker 45 (02:30:19):
Oh but it's dead.

Speaker 26 (02:30:24):
Oh some of them are.

Speaker 52 (02:30:25):
Yeah, the rest of them really wax figures from the museum.

Speaker 45 (02:30:31):
The missing boy and girl. They're dead too.

Speaker 52 (02:30:34):
They're my newest stages. They seem to like it here too,
sitting side by side. I must make room for you,
my dear, I think that I.

Speaker 7 (02:30:47):
Shall give you. She's six.

Speaker 52 (02:30:50):
Yeah, that old woman is sitting there now. I'm a
little tired of her. I'm afraid she must join your
friend in the quick sell. No, you're mad, you're mad.
Oh I wish, I wish you wouldn't say those things
in front of my friends. You see, Lewis this wax
figure here. He doesn't like it at all, Julia, Lewis,

(02:31:14):
dear me, your tie is crooked again, Lewis.

Speaker 11 (02:31:16):
I have to fix it.

Speaker 45 (02:31:17):
I'm getting out of here.

Speaker 52 (02:31:18):
No, no, no, please, no, let's come now, tay here
for a long time, a very long time.

Speaker 45 (02:31:26):
What are you gonna do.

Speaker 7 (02:31:27):
What are you gonna do to me?

Speaker 45 (02:31:29):
That nice Put down the nice loud?

Speaker 52 (02:31:31):
Now it's a love be old in the shot.

Speaker 7 (02:31:34):
Just stand you're doing? Put down that knife up right?

Speaker 52 (02:31:43):
Shadow?

Speaker 2 (02:31:45):
How is that?

Speaker 7 (02:31:45):
Don't touch that girl?

Speaker 52 (02:31:47):
Oh, one of the spirits. One of the spirits is
who turned to speak to me?

Speaker 7 (02:31:52):
Yes, yes, that's cool. I am one of the spirits.
You just killed them shooting carriage.

Speaker 52 (02:32:00):
Oh it's you, Fred. I'm sorry I had to do
that to you, but you'd learn too much about me
and this rendezvous.

Speaker 7 (02:32:07):
Why have you killed these people? Why have you brought
them to this tunnel?

Speaker 52 (02:32:11):
I belonged down here? You know that, Fred, I've been
the motiment on this line since the first run.

Speaker 7 (02:32:17):
You remember that run, don't?

Speaker 19 (02:32:18):
Yes?

Speaker 52 (02:32:19):
Yes, you know too that My wife and child were
killed on that first ride, killed on the train that
I was driving. Of course, John Knockross put me on
a pension. He thought that would make up for the
loss of my wife and child.

Speaker 7 (02:32:33):
He made me a watchman.

Speaker 52 (02:32:36):
Yeah, thought he'd pay me off that way.

Speaker 7 (02:32:39):
But I fooled him.

Speaker 52 (02:32:40):
I fooled him.

Speaker 7 (02:32:41):
Why have you killed these people?

Speaker 52 (02:32:43):
I need his passengers. You can't run a train without pattners.

Speaker 7 (02:32:47):
Can you that's my job here, you know.

Speaker 52 (02:32:50):
John Knawcross doesn't know it, but his subway line dill operate.

Speaker 7 (02:32:55):
How did you get these people here?

Speaker 9 (02:32:57):
Oh?

Speaker 52 (02:32:57):
Different ways, different ways. Some of them from the boat ride,
some from the Wex Museum. They all take the nightly
ride with me in the midnight Express.

Speaker 7 (02:33:06):
Right, they're all finished now, pop right? No, no, that
isn't true. I'll tell the police about them. They'll come
and get you. Oh you wouldn't do that. No, no, no,
who would run the line?

Speaker 52 (02:33:17):
You don't mean that.

Speaker 7 (02:33:18):
I'm sure I'm taking into the police right now. Oh no,
oh no, he's got the come back here, come and
get back.

Speaker 43 (02:33:25):
Lookh's something you're doing the wall, that's what the.

Speaker 1 (02:33:41):
Mom.

Speaker 45 (02:33:41):
Thanks, Heaven's safe from that quicksand But how in the world.

Speaker 18 (02:33:44):
Did you doing?

Speaker 7 (02:33:45):
That's plank? You so he did the job, maggo.

Speaker 45 (02:33:47):
Well, believe me, that's plank.

Speaker 7 (02:33:49):
It was in my political platform. What about miss norcla
Oh he was preid of all charges in the case,
muggle pop right was working alone.

Speaker 45 (02:33:57):
He must have been changed since the day of the train.

Speaker 7 (02:33:59):
Yes, I suppose he was harmless at first. Then as
he brooded over his loss, he turned to murther.

Speaker 45 (02:34:06):
Well, we certainly ran into something.

Speaker 7 (02:34:08):
I should say.

Speaker 45 (02:34:09):
No, there's just one more thing I like to know.

Speaker 7 (02:34:11):
What's that?

Speaker 52 (02:34:12):
Why do they call that place an amusement car?

Speaker 7 (02:34:20):
The weight of crime, there's bitter fruit crime. Nothing that.

Speaker 12 (02:34:36):
This is Nelsome Olmstead, Sleep no more, Sleep no more.

(02:35:00):
All turn down the lights, sink back in your chair,
and don't look into the shadows. In the shadows, there
may be moving things tonight.

Speaker 5 (02:35:12):
It may be you will sleep no more.

Speaker 11 (02:35:26):
Good evening.

Speaker 16 (02:35:27):
This is Van Guer introducing tonight's tale of terror, told
by Nelson Olmsted on the National Broadcasting Company's presentation of
Sleep No More. The story of terror can be as
simple as a sheeted ghost rattling chains.

Speaker 55 (02:35:44):
It can be a.

Speaker 16 (02:35:45):
Complex and hidden world of horror, lurking in such unholy
dimensions as only the dead and the moonstruck and glimpse.
Or it can be those terrible, fathomless shadows which lie
buried deep in the primitive.

Speaker 2 (02:36:00):
Mind of civilized man.

Speaker 16 (02:36:03):
And for this evening, well Nelson Omsted tell us about
this evening story.

Speaker 12 (02:36:09):
Thank you, Ben. Our first story tonight is by a
writer who is a master at what well. For want
of a more descriptive phrase we might call the clever story.
Even if you have never read any of John Collier,
which I don't believe for a moment, I'm sure you'll
agree that he is a master of this sort of thing.
After you've heard thus, I refute Bealsy. There goes to

(02:36:48):
t bell, said missus Carter. I hope Simon hears it.
They looked out from the window of the drawing room.
The long garden, agreeably neglected, ended in a waste plot.
Here a little summer house was passing close by Beauty
on its way to complete decay. This was Simon's retreat.
It was almost completely screened by the tangled branches of

(02:37:11):
the apple tree and the pear tree, planted too close together,
as they always are in suburban gardens. They caught a
glimpse of him now and then, as he strutted up
and down, mouthing and gesticulating, performing all the solemn mumbo
jumbo of small boys who spend long afternoons at the
forgotten ends of long gardens.

Speaker 2 (02:37:31):
And Betty said, there.

Speaker 12 (02:37:34):
He is, bless him, Yes, playing his game, said Missus Carter.
He won't play with any of the other children anymore.
And if I go down there, Oh the temper, and
he comes in tired out. He doesn't have his sleep
in the afternoons.

Speaker 11 (02:37:50):
But you know what Big.

Speaker 73 (02:37:52):
Simon's ideas are. Let him choose for himself. He says,
that's what he chooses, and he comes in as fight
as the sheet. Oh look he's heard the bell, said Betty.
The expression was justified, though the bell had ceased stringing
a fole minute ago. Small Simon stopped in his parade.
They watched him perform certain ritual sweeps and scratchings with

(02:38:12):
his little stick, and come lagging over the hot and
flaggy grass towards the house. Missus Carter led the way

(02:38:34):
down to the playroom or garden room, which was also
the tea room for hot days. It had been the
huge scullery of this tall Georgian house, and now the
walls were cream washed, and there were coarse blue nets
in the windows, canvas covered armchairs and the stone floor,
and a reproduction of Ango's sunflowers over the mantelpiece. Small
Simon came drifting in and accorded Betty a perfunctory greeting.

(02:38:56):
His face was an almost perfect triangle pointed at the chin,
and he was paler than he should have been, And
Betty said the little elf child Simon looked at her
and said, I am not.

Speaker 2 (02:39:10):
Well.

Speaker 12 (02:39:10):
At that moment, the door opened and mister Carter came in,
rubbing his hands. He was a dentist and washed them
before and after everything he did. Missus Carter was surprised. Oh,
home already, mister Carter said, and not unwelcome. I hope
the two people cancel their appointments and I decided to
come home, I said, I hope I'm not unwelcome. Silly,

(02:39:34):
of course, not, Small Simon seems doubtful, Small Simon, are
you sorry to see me at tea with you?

Speaker 27 (02:39:43):
No?

Speaker 11 (02:39:43):
Daddy? No?

Speaker 15 (02:39:45):
What?

Speaker 12 (02:39:46):
No, Big Simon? That's right, Big Simon and small Simon.
That sounds more like friends.

Speaker 55 (02:39:55):
Doesn't it.

Speaker 74 (02:39:56):
At one time little boys had to call their fathers
sir if they forgot a good spanking on the bottom,
Small Simon on the bottom.

Speaker 12 (02:40:06):
The little boy turned Crimson with shame or rage, and Betty,
trying to help the situation, said, but now you see,
you can call your father whatever you like. And what
has small Simon been doing this afternoon while Big Simon
has been at work?

Speaker 2 (02:40:23):
Nothing?

Speaker 11 (02:40:24):
Then, you've been bored.

Speaker 12 (02:40:26):
Now learn from experience, small simon. Tomorrow, do something amusing
and you'll not be bored. I want him to learn
from experience, Betty. This is my way, the new way.

Speaker 11 (02:40:39):
I have learned.

Speaker 12 (02:40:42):
The boy spoke like an old tired man, as little
boy so often do. It would hardly seem so if
you sit in your behind all the afternoon doing nothing.

Speaker 74 (02:40:53):
Had my father caught me doing nothing, I should not
have said very comfortably.

Speaker 12 (02:41:01):
Missus Carter said, But he played too hard as usual.
He comes in all nervy and dazed. He ought to
have his rest. He is six, He is a reasonable being.
He must choose for himself.

Speaker 1 (02:41:14):
But what game is this small.

Speaker 12 (02:41:16):
Simon that is worth getting nervy and dazed of? There
are very few games as good.

Speaker 9 (02:41:21):
As all that.

Speaker 11 (02:41:22):
It's nothing.

Speaker 12 (02:41:24):
Oh, come, we're friends now, aren't we. You can tell
me I was a small simon once, just like you,
and play the same games you play. Of course, there
were no aeroplanes in those days. With whom do you
play this fine game? Come on, we must all answer
civil questions of the world would never go round with

(02:41:45):
whom do you play? Mister bealsy, mister Bealsy.

Speaker 22 (02:41:50):
No, I don't believe.

Speaker 11 (02:41:51):
I know, mister Bealsy.

Speaker 12 (02:41:53):
It's a game that he makes up, Simon, I don't
make it up. Well, this is telling stories, said his mother,
and rude as well. Oh we'd better talk of something different. Well,
no wonder he's rude, said mister Carter. If you say
he tells lies and then insists on changing the subject,
he tells you his fantasy, you implant a guilt feeling.

(02:42:17):
What can you expect a defense mechanism, then you get
a real lie. Small Simon is in the fantasy stage.
Are you not, Small Simon? You just make things up? No,
I don't, said the boy. You do, and because you do,
it's not too late to reason with you.

Speaker 75 (02:42:37):
There's no harm in a fantasy, old Chap, there's no
harm in a bit of make believe. Only you have
to know the difference between day dreams and real things,
or your brain will never grow. It will never be
the brain of big Simon. So come on, let us
hear about this, mister Belsy of yours.

Speaker 12 (02:42:58):
Come on, what's it? He isn't like anything like nothing
on earth. Oh that's a terrible fellow. I'm not frightened
of him not a bit. Well, I should hope not.
If you were, you'd be frightening yourself. I'm always telling
people older people than you are, that they are just
frightening themselves. Is he a funny man? Is he a giant?

Speaker 11 (02:43:22):
Sometimes he is?

Speaker 75 (02:43:24):
Sometimes one thinks sometimes another sounds pretty vague?

Speaker 12 (02:43:28):
Why can't you tell us just what he's like?

Speaker 11 (02:43:31):
I love him and he loves me.

Speaker 12 (02:43:34):
Love is a big word that might be better kept
for real things, like Big Simon and Small Simon.

Speaker 11 (02:43:43):
He is real.

Speaker 12 (02:43:44):
He's not a fool, he's really Listen. When you go
downder the garden, there's nothing. There is there no, And
then you think of him inside your head and he comes. No,
I have to do something with my stick. But that
doesn't matter. Yes it does, Small Simon. You are being obstinate.

(02:44:08):
I'm trying to explain something to you.

Speaker 16 (02:44:11):
Now.

Speaker 12 (02:44:11):
I've been longer in the world than you have, so
naturally I'm older and wiser. Now I'm explaining that, mister
Bealsy is a fantasy of yours.

Speaker 11 (02:44:19):
Do you hear?

Speaker 5 (02:44:21):
Do you understand?

Speaker 12 (02:44:23):
Yes, Ddy, he's a game.

Speaker 5 (02:44:26):
He is.

Speaker 12 (02:44:27):
Let's pretend. The little boy looked down at his plate,
smiling resignedly. I hope you're listening to me. All you
have to do is say I have been playing a
game of let's pretend with someone I make up called
mister Bealsy. Then no one will say you tell lies,
and you will know the difference between dreams and reality.

(02:44:49):
Mister Bealsy is a day dream. The little boy still
stared at his plate. He is sometimes there and sometimes
not there. Sometimes he's like one thing, sometimes another. You
can't really see him, not as you see me.

Speaker 11 (02:45:07):
I am real.

Speaker 12 (02:45:09):
You can't touch him. You can touch me. I can
touch you.

Speaker 11 (02:45:14):
Now you know the.

Speaker 12 (02:45:16):
Difference between pretend and the real thing. You and I
are one thing, he is another. Now which is the pretend?
Come on, answer me? Which is the pretend?

Speaker 11 (02:45:32):
Big Simon and Small Simon, Well, my.

Speaker 12 (02:45:35):
Boy, I have said you must be allowed to learn
from experience. While I go upstairs, right.

Speaker 17 (02:45:40):
Up to your room.

Speaker 12 (02:45:41):
You shall learn whether it is better the reason or
be perverse and obstinate not going up, I shall follow you, missus.
Carter said, well, you aren't going to beat the child,
are you.

Speaker 11 (02:45:52):
Dear? No, said the little boy.

Speaker 12 (02:45:55):
Mister Beelzy won't let him go on up with you.
Small Simon stopped at the door. He said he wouldn't
let anybody hurt me. He said, he'd come like a
lion with wings on and eat them up.

Speaker 1 (02:46:19):
You learn how real he is.

Speaker 12 (02:46:21):
If you can't learn it at one end, you shall
learn it at the other. Be ready for a good
solid whipping. But I shall finish my cup of tea first,
he said to the two women. Neither of the women spoke.
Mister Carter finished his tea and unhurriedly left the room,
washing his hands with his invisible soap and water. Missus

(02:46:41):
Carter said nothing. Betty could think of nothing to say.
She wanted to be talking, she was afraid.

Speaker 11 (02:46:47):
Of what they might hear.

Speaker 12 (02:46:52):
Suddenly it came. It seemed to tear the air apart.
Betty jumped out of her chair and said, what was that.
He's hurt Small Simon. I'm going up there. Yes, yes,
let's go up, said Missus Carter. Let's go up. That
wasn't Spaul Simon. It was on the second floor landing
that they found the shoe with mister Carter's foot still

(02:47:13):
in it, Like that last morsel of a mouse which
sometimes falls from the jaws of a hasty cat.

Speaker 16 (02:47:34):
A clever story. Indeed, Nelson the slightly chilling one too.

Speaker 12 (02:47:40):
Yes, Ben, that's another characteristic of Collier's work. And now
for our second story. It's by another favorite author of mine,
Nelson S.

Speaker 11 (02:47:49):
Bond.

Speaker 12 (02:47:50):
This is a story about a place where better books
than have ever been published are probably being read. If
that sounds a bit confusing, it was meant to. The
story is called the Bookshop. In the dead, sultriness of

(02:48:12):
the Manhattan midsummer, there was no incentive to write. Marston's
apartment was like the inside of a kiln. Two hours ago,
he had stripped off his damp shirt and sat down
before his typewriter. Now, for all his labors, he had
nothing to show but a dozen crumpled balls of bond
paper flung haphazardly in and at the waste paper basket.

(02:48:32):
He read again the three chapters he had completed. It
was good work, some of the best he'd ever done,
smoothly written. The Underlings a psychological story of defeat and
of ones who let themselves be defeated. The fault, dear Brutus,
is not with our stars. A good theme, and so

(02:48:53):
far a good job. But this heat, this overwhelming, enervating, heat.
He was, Marston realized with a sudden petulant anger, ill
actually and physically ill. He gave up with a final
despairing glance at the white sheet shining in the typewriter.

Speaker 76 (02:49:13):
He rose.

Speaker 12 (02:49:14):
He was shocked to find his exhaustion so deep that
as he stood he was dizzy, and spots danced before
his eyes. But it was brief, and it soon passed.
There could only be suffocation and discomfort as long as
he remained here out of doors. It would be hot too,
but there might be a ghost of a breeze stirring

(02:49:34):
in the shaded streets down by the river. Marston put
on his shirt and coat and went out. He hadn't
remembered the little bookshop was along this way, had indeed
quite forgotten the little shop, until suddenly there it was,
just a few paces before him. Then he recalled a

(02:49:57):
several occasions on which before he had seen it, and
plan to drop in for a browse. Each time circumstances
had prevented as doing so. But now the bookshop was
far from prepossessing an appearance ancient and musty. How long
it had been a fixture in this neighborhood, Marston had no.

Speaker 11 (02:50:13):
Way of knowing.

Speaker 12 (02:50:14):
It did, apparently, but a slight business, for of the
many who passed it, no one but himself so much
as turned ahead to appear into its dusty window. He
had seen it first a year ago or so, that afternoon,
when with poor Thatcher he had been writing by here
on a bus. Thatcher was a minor poet, not a
very good one, but an ardent one. He'd been regaling
Marston with an enthusiastic preview of his latest masterpiece, soon

(02:50:37):
to be released. He had said, oh, very soon, Marston,
just a few more stanzas and it goes to the publisher. Ho,
it's it's good work, Marston. This isn't like anything I've
done before. It's poetry this time, real poetry. Who I'm
calling it Songs of a new century. Oh, it'll make me, Marston.
This book will give me a reputation. You see if
I'm not right, Oh, oh, I see stopped suddenly, and Marston,

(02:51:01):
glancing up, swiftly, remembered that Thatcher's health was reportedly on
the thin edge. The man didn't look at all well.
His cheeks were too pale, his eyes too dark and sunken.
And Thatcher said, I just remembered, a little Aaron Chap.
I have to see in that old book shop. That
Chap's an old friend of mine. I'll see you later,
Buston Dowd, I watch for the songs.

Speaker 11 (02:51:22):
He had thought.

Speaker 12 (02:51:23):
Marston regretfully been mistaken on both counts. They never met again,
nor did the new book ever appear. The next day,
Marston read his name in the obituary column. All of

(02:51:51):
a year ago that had been. Since then, Marston had
thought often of the Little Bookshop. It held a sort
of a macabre fascination for him, and association of ideas
Marsden could not explain even to himself. Last winter, when
he lay ill of the flu, it had become almost
an obsession with him. He experienced an insensate desire to
climb from a sick bed and visit it, a curious urge,

(02:52:14):
but one so powerful that when finally he recovered, he
did make a special trip to the little Shop. But
he had chosen the poor time. It was closed. The
door was latched and bolted, and the shades drawn tight. Now, however,
it was not closed. The shade was up the door
an inch or so, invitingly ajar, And though the shop
was small there would be coons in its musty depths.

(02:52:36):
The sun poured on Marston's head and cress on his
shoulders with a ponderable weight. His head ached, and a
dull nausea was upon him. He opened the door and
went in. The transition from glaring sunlight.

Speaker 2 (02:52:51):
To shaded dark was abrupt. At first, he could.

Speaker 12 (02:52:53):
See nothing, Marsten, stumbling forward, bucked against the tap out
of the shadows. Before him came a quiet, sympathetic voice, Oh,
did you hurt yourself, my friend? No, but it's dark
in here, dark dark. Oh, yes, yes it is, I suppose,

(02:53:14):
but peaceful. Marston could see more plainly now. He stood
in the center of a small, low ceiling room, wall
on either side with shelves of books. Beyond the table
was a tiny desk, and at the desk a quiet
figure sat imperturbably scratching with an old goose quill in
a ledger open before him. In the bad light, Marston
could not clearly see the proprietor's face, but he saw

(02:53:37):
snow white hair shining like a halo in the gloom,
and bent shoulders. There was He felt something vaguely familiar
about the old man's features, something tantalizingly near the fringes
of his memory. It slipped away even as he tried
to grasp it, and the proprietor looked up. Is there
anything in particular, my friend, I'm just looking.

Speaker 11 (02:53:58):
Well, there is no need for haste.

Speaker 12 (02:54:03):
Marston turned to the shelves. It didn't occur to him
at once that there was anything unusual about the books
in which he looked. That realization came upon him gradually.
Hence it came as a slow growing wonder, and not
with any deep, sharp sense of shock. He glanced among
the row of books. Poetry, plays, novels, essays, texts stood

(02:54:23):
side by side in scrambled heterogeneity. Titles heretofore unknown to Marston,
new names and old old thoughts anew Then he saw
a thin volume, brown with age, the title Agamemnon, and
the author William Shakespeare.

Speaker 2 (02:54:39):
How could this be?

Speaker 12 (02:54:40):
What did it mean? Agamemnon? And by Shakespeare? He knew
of no such title. This was one of two things,
either the greatest hoax ever perpetrated, or he had stumbled
across an amazing discovery.

Speaker 5 (02:54:52):
He reached.

Speaker 12 (02:54:53):
Then his hand in reaching paused, for now he saw
other titles, books, equally unknown and equally amazing. King Arthur
of Britton by John Milton, The Leprechaun by Don Vyrne,
Robert Lewis Stevenson's Gannon Mills and Darkling Moor's by Jane Austen,
The Gargoyle's Eye by Edgar Allan Poe. He had heard

(02:55:14):
no footsteps, but he was aware that at his side
now stood the proprietor of the little shop.

Speaker 2 (02:55:19):
There was quiet.

Speaker 12 (02:55:20):
Pleasure in the old man's voice. You admire my books,
young friend. I well, I I don't understand you are
Robert Marston, aren't you? Fantasy is in your line? You
should appreciate these others. Marston's gaze helplessly followed the proprietor's gesture.

(02:55:40):
He looked upon names as well known to him as
his own. But it titles Never Before Dreamed of The
Troglodytes by Jules Verne, Charles Fort's What Unseen Presence, and
Lovecraft's Bulky Complete History of Demonology. And under these a
smaller volume, a thin, bright volume with uncarnished book, its

(02:56:00):
title Songs of a New Century, its author David's stature.
It was then suddenly that Marston understood a great dull
precience filled him, and to his host he said, in
a voice that was strangely tired, I suppose my book
it's here? Then, who the underlings? Yes, my son, it's

(02:56:21):
here too. There was but one copy, fresh and shining new,
as if it had this very moment come from the
publisher's office. May I, well, it's your book. And Marston
took it down. Oh, some few changes had been made,
he found in the opening chapters, but they were minor editings.
Swiftly though he read, he knew that he had not

(02:56:44):
been wrong in claiming this is his finest work. There
was no mediocrity in this book, no faltering, no stumbling
confusion of ideas. Each sentence was perfect, no word or
thought or phrase that didn't shine with lustrous purity. This
was the book Marston had always meant to write. It
was the book he had always known lay somewhere deep
within him. Here was the triumphant accomplishment of his writing powers.

(02:57:08):
And Marston, who knew books, knew that this book was great,
and that in it, at the end his skill had
attained its full fruition. At the end, it closed the book,
and its closing was a small and startling sound in
the silence, and he stared at his host, realizing now

(02:57:30):
why he looked familiar. A coldness was upon him, and
a sudden fear, and he said loudly, well, but no,
not now, man, not before it finished. Surely you can
see it cannot be finished over there, Marston, nothing is ever.

Speaker 2 (02:57:45):
Perfect, and that side.

Speaker 12 (02:57:47):
Only in this bookshop are stories and songs high and
sweet and true as their authors dreamed them. There, the
Underlings would be just another book, a cloth bound, crippled
symbol of a dream that died at birth, thoughts as
lofty as the stars, faltering on words too weak to

(02:58:08):
bear them. Only in the library of the left undone
may a starry reach the heights intended by its creator. Here,
beside an epic Homer ever meant to write, and a
play that Marlowe planned but did not put.

Speaker 11 (02:58:22):
Into words, God's worth, these.

Speaker 12 (02:58:24):
Last and greatest romance, ten thousand tales unwritten by a
thousand dreamers. Here the Underlings can take its rightful place
in the imperishable library of might have been. It is
the final price for perfection, and a small one. His

(02:58:46):
voice sighed into silence, like the last faint whisper of
the ebbing tide, and it seemed to Marston that a
new sound reached his ears. It was as though voices
spoke to him from some not distant place, voices greeting
him in good fellowship, bidding him come in and join
their camaraderie. He heard, or thought he did, the laughing

(02:59:07):
voice of thatcher. Well, now, what's the fuzzle? Boy, my soul,
But you're making an issue of a simple matter. Now.
The old man held out his hand to Marston. Are
you ready now, my friend? But there was a book
in his hand, and suddenly there swept into Marston's brain
a daring thought. It wasn't yet too late, nor would

(02:59:28):
it be until that ancient hand met his. Could he
but reach the street outside, and with this book the
underlings might yet be given to the world in all
its dreamed perfection. He rushed for the door. The worn
knob slipped beneath his palm. Behind him, the soft voices
rose in a wailing crescendo of dismay. A sigh whispered

(02:59:50):
in his ear. There is no escape, my son, You
but delayed. Then the door was opened, With the precious
volume clenched.

Speaker 55 (02:59:57):
In his hands.

Speaker 12 (02:59:58):
He cried aloud as try, I have staggered into the street,
running running. He didn't hear the voices raised in swift warning,
nor the title rasp for the horn, nor the screaming
grind of the brigs. He heard only the numbening thumb
out of the world claiming.

Speaker 1 (03:00:14):
In war brilliant.

Speaker 12 (03:00:19):
Then the silence again, and the soft voices calling him
to join them, and the chiding voice of the ancient one,
you but delay, my son, Are you ready now? And
a cool hand meeting his own.

Speaker 1 (03:00:44):
Yeah.

Speaker 12 (03:00:44):
I couldn't help hitting him, said the truckman. Okay, said
the big man in blue. Okay, it wasn't your fault.
Where did it come from anyhow? A witness pointed, with
a shaking finger. Why over there, officer, That vacant lots
across the street. Yeah, I saw him wandering around and there,

(03:01:04):
mumbling to himself. I think he must have had a
sunstroke the way he acted. That property's been vacant for years.
I'll take your name. Anybody recognize him. Oh, let's see
that book.

Speaker 11 (03:01:17):
He was carrying.

Speaker 12 (03:01:17):
Maybe it's got a name in it. Someone headed the
book to him. He leafed through the volume, briefly.

Speaker 1 (03:01:23):
Tilted back his cap and scratched his forehead.

Speaker 12 (03:01:26):
Hey, this is a queers looking book I ever saw.

Speaker 11 (03:01:30):
Look three chapters printed and the rest of it nothing
but blank pages.

Speaker 16 (03:01:55):
You can turn up the lights now, you can look
around you.

Speaker 9 (03:02:00):
Nobody's there.

Speaker 16 (03:02:02):
Really, everything is all right, isn't it.

Speaker 11 (03:02:16):
You have just heard two stories told.

Speaker 16 (03:02:18):
By Nelson Olmstead. The first was Thus I Refute Dealsy
by John Collier, the second The Bookshop by Nelson as Bond.
What do you have on the board for next week?

Speaker 2 (03:02:31):
Nelson, Ben?

Speaker 12 (03:02:33):
One of my great favorites among great suspent stories, The
Escape of Mister Trim by Irvin S.

Speaker 9 (03:02:40):
Cobb.

Speaker 12 (03:02:41):
I hope you can be with us.

Speaker 16 (03:02:49):
You have been listening to Sleep No More, an NBC
Radio Network production directed.

Speaker 2 (03:02:55):
By Daniel Sutter.

Speaker 16 (03:02:57):
Mister Armstead's albums are recorded exclusively for Ben God Records
until next week when Nelson Omsteed will again be here
in person.

Speaker 55 (03:03:06):
This is Ben Grauer saying good night.

Speaker 6 (03:03:13):
Weird Darkness is celebrating our birthday this month. We use
this annual celebration to help those who struggle with depression.
Every October, we raise money for organizations that help people
overcome depression, anxiety, and thoughts of suicide and self harm.
It's called overcoming the Darkness, and you can make a
donation right now at Weirddarkness dot com slash hope. That's

(03:03:34):
Weird Darkness dot com slash hope. A gift of any
amount helps, with every dollar bringing hope to someone affected
by depression. To donate, to get more information about overcoming
the darkness, or to find hope to battle back the
darkness of depression in yourself or someone you love, visit
Weirddarkness dot com slash hope. The fundraiser ends on Halloween
night at midnight, so please give right now while you're

(03:03:57):
thinking about it. That's weird Darkness dot com slash hope.

Speaker 4 (03:04:07):
I shouldn't have bought those shoes. I can't ford them.

Speaker 50 (03:04:10):
I don't want to.

Speaker 77 (03:04:11):
I have no symptoms, but I'm certain I've got cancer.

Speaker 50 (03:04:14):
If I don't do my rituals, they're all going to die.

Speaker 4 (03:04:17):
Why did I drink that eggstra coffee.

Speaker 65 (03:04:18):
I'm not going to be able to sleep.

Speaker 50 (03:04:20):
You never get that promotion I don't do.

Speaker 65 (03:04:23):
I'm getting that promotionals that will go to.

Speaker 52 (03:04:38):
Users.

Speaker 4 (03:04:39):
Closers, losers, loosers.

Speaker 77 (03:04:46):
Hi, Welcome to the Loosest Podcast. It's time to take
a deep breath and let go of the worries of
the day. This podcast make into in content that some
listeners find distressing or triggering, But don't worry. You're in

(03:05:07):
safe hands.

Speaker 78 (03:05:10):
Release that tension in your shoulders, relax the muscles in
your face and neck, and perhaps allow yourself to find
that in a smile. There is nothing better happening anywhere
else right now. Breathe in, hold it, and say your

(03:05:38):
affirmations with me. I'm not missing out on anything, isn't
that right?

Speaker 4 (03:05:46):
Noah?

Speaker 5 (03:05:49):
No?

Speaker 68 (03:05:52):
Who's there? Gingy, I was sleeping. Get down from there.

Speaker 65 (03:06:01):
I told you that's a bookshelf, not a cat bed.

Speaker 68 (03:06:05):
It's not even morning.

Speaker 65 (03:06:06):
It's only three forty four am. Why do I keep
waking up at three forty four am? Exactly? That's the
third time this week. It must mean something that has
to be significant.

Speaker 4 (03:06:20):
Google it.

Speaker 65 (03:06:21):
No, don't open your phone. You won't be able to
get back to sleep. I'm practically awake now. Anyway, we
won't hurt if I quickly just check my messages. No, no, no, no, no,
I shouldn't. I'm trying to be good. And I read
somewhere that blue light was really bad for you. There's

(03:06:44):
probably nothing going on right now, nothing interesting that I
need to be updated on. Everyone is sleeping like I
should be. I do not need to check my phone
right now. You're right, gingy, I'm not missing out on anything.

Speaker 4 (03:07:05):
Breathe it in.

Speaker 65 (03:07:09):
Maybe I'll just check my messages just in case works
at that email.

Speaker 68 (03:07:14):
How does Cloris.

Speaker 65 (03:07:15):
Stay in such good shape? She can't be eating all
the dessert she posts? Did Darren get another promotion? How
did Darren get a promotion? Kat and her fellow just
got engaged all that ring though, completed her tenth marathon.
Where does she find the time to train like that
with a full time job? And it's so pretty for
she's doing well for her at the airport lounge again,

(03:07:37):
Ash's traveling in business class, of course she is. Oh,
Ash is online right now and typing to you.

Speaker 4 (03:07:44):
That's right.

Speaker 65 (03:07:45):
The girl's trip was this week? How is Ash online?
Different time zones?

Speaker 68 (03:07:52):
Look at that place?

Speaker 65 (03:07:53):
It's beautiful, dm Ash major Fomo. Your photo of the
resort are killing me? Did you get upgraded? Yes, it's amazing.

Speaker 79 (03:08:05):
It was just messaging you.

Speaker 68 (03:08:07):
You should have come, Noah, you would have loved it.

Speaker 65 (03:08:09):
Here cocktails by the pool with the girls lose weight
in that view of the marina typical. I always miss
the best trips.

Speaker 14 (03:08:19):
Oh you should have come.

Speaker 68 (03:08:21):
Noah, it was such a vibe.

Speaker 65 (03:08:23):
Oh well, next time, Sure, next time. Next time, I
should just bail on the investor's dinner. Lose my job,
be an assistant, my whole life hashtag love, hashtag travel,
hashtag nature, hashtag.

Speaker 77 (03:08:36):
Friends, hashtag time of our lives, hashtag.

Speaker 65 (03:08:39):
No regrets, hashtag missing out, hashtag fomo, hashtag I'm not
doing enough hashtag I'm not enough. Reply to ash next time, babes,
breathe it in.

Speaker 18 (03:08:56):
Hold it?

Speaker 65 (03:08:57):
What are you doing nothing? Check Yelp reviews on my
current life choices one star, unsubscribe. I feel old. I'm
twenty five next month. That's a quarter of a century.
Don't come for me. In Internet terms, that is old
and I've done nothing. There are teenagers with more followers
and better careers than me. I'm just so tired and

(03:09:20):
if I carry on like this, I'm gonna snap. Chap
isn't working again. Sorry, this feed cannot be refreshed. Just
enjoy the moment, Be in the moment, Stop scrolling and
be in the moment. Tom At the weekend. We should
catch up. I've got so much to fill.

Speaker 7 (03:09:40):
You in on.

Speaker 68 (03:09:41):
Sounds amazing.

Speaker 65 (03:09:43):
He'll look tanned and healthy, and I'll look like I
haven't left my bedroom for a year.

Speaker 13 (03:09:48):
Amazing.

Speaker 65 (03:09:49):
See you Friday. This Friday. My friend Renee is going
to join us, if that's cool with you. We're meeting
at the private member's place in town, the one we've
been trying for years to get invited to. I'll leave
your name on the door.

Speaker 15 (03:10:02):
He's a member.

Speaker 65 (03:10:04):
I'm not missing out on anything, not missing out on anything.

Speaker 68 (03:10:09):
Breathe it in.

Speaker 4 (03:10:12):
Google Search?

Speaker 65 (03:10:13):
Is there a nice way to cancel plans with family?
How to make it up to your mum if you
miss her birthday? Am I a bad daughter?

Speaker 7 (03:10:22):
Does Friday work for you?

Speaker 65 (03:10:24):
Just rearrange for another night and stop being stupid. I
can't postpone mum's birthday dinner again. That's just selfish.

Speaker 77 (03:10:35):
I always do this.

Speaker 65 (03:10:37):
I can never decide which is better Google Search? Is
it possible to be in two places at the same time?

Speaker 5 (03:10:48):
What was that?

Speaker 22 (03:10:52):
So?

Speaker 65 (03:10:52):
Probably just the catflap.

Speaker 13 (03:10:55):
Isn't it late there? Why are you up?

Speaker 68 (03:10:58):
Bad dreams? Okay, gingy, I get it.

Speaker 65 (03:11:05):
You're hungry. Their Tuna special enjoy. Oh it's freezing in here.
Has the heating gone off? No, it's still working. It's
so drafty.

Speaker 68 (03:11:26):
What's the matter, Ginger? You don't want it? I thought
you were hungry. Did your water fountain switch off?

Speaker 12 (03:11:36):
Is that better?

Speaker 43 (03:11:37):
Now?

Speaker 5 (03:11:39):
What?

Speaker 68 (03:11:39):
What's bothering you?

Speaker 59 (03:11:41):
I don't know.

Speaker 68 (03:11:42):
I don't know what you want? Gingy? You want to play?

Speaker 7 (03:11:47):
What is it?

Speaker 68 (03:11:48):
You're scaring me? It's just the front door.

Speaker 4 (03:12:00):
It's open.

Speaker 65 (03:12:03):
Why is the front door open?

Speaker 18 (03:12:08):
You in a cab?

Speaker 4 (03:12:09):
Of course I am.

Speaker 80 (03:12:10):
I know you find it easy to open up to
me because I'm an EmPATH and a licensed therapist. So
I'm going to be honest with you.

Speaker 65 (03:12:19):
You did not just say that in a serious way.

Speaker 80 (03:12:22):
We've had a version of this conversation twice already, and
both times were unbearable.

Speaker 65 (03:12:30):
Probably best not to tell her again about the door
to the dentist. She'll just google the meaning and say
that dreaming about teeth means I'm insecure and vain.

Speaker 15 (03:12:39):
There is nothing worse than someone telling you their dreams.
It's my numbing.

Speaker 65 (03:12:44):
You literally just said you were an EmPATH. Don't you
think it's weird that I wake up every night at
three forty four am. I have the same dream about
leaving my apartment, and then last night I wake up
and my front door is open.

Speaker 15 (03:12:58):
What doesn't mean you left your place.

Speaker 65 (03:13:00):
I did leave my place. I watched it on my
doorbell at what.

Speaker 15 (03:13:04):
No, Why didn't you lead with that?

Speaker 65 (03:13:05):
I was trying to tell you, miss empathy.

Speaker 4 (03:13:09):
I don't know why.

Speaker 68 (03:13:10):
I just have this urge to tell you everything.

Speaker 15 (03:13:12):
Well, where did you go? It's really dangerous. Why did
you do that?

Speaker 18 (03:13:16):
That is so bad?

Speaker 15 (03:13:17):
You need to be more careful.

Speaker 68 (03:13:19):
I didn't plan it.

Speaker 65 (03:13:21):
Why did I tell her? I knew I shouldn't tell her.
Now she'll tell Mum, and Mum will worry.

Speaker 15 (03:13:26):
Did you tell mom? You have to tell mom.

Speaker 65 (03:13:27):
Don't tell her anymore. Don't tell her about that funny
feeling you can't shake since it happened. I thought you
didn't want to hear about it anyway.

Speaker 80 (03:13:34):
I don't, but I want to know if my little
sister is sleep walking around the streets in the middle
of the night, half naked.

Speaker 65 (03:13:40):
That feeling like you're watching your life from the outside
I was wearing pjs. That you're not present, like you're
forgetting to be somewhere, or something like you're backstage to
your own life and someone else is living it for you.

Speaker 80 (03:13:52):
It's still dangerous. Anything could have happened to you and
you wouldn't even know it. If Ginger could have gone out,
how long were you out on your sleepwalk?

Speaker 48 (03:14:01):
I don't know.

Speaker 4 (03:14:02):
It was just a dream.

Speaker 15 (03:14:04):
I thought you said your doorbell app picked it up.

Speaker 65 (03:14:06):
It only showed me leaving, but for some reason it
didn't pick up me getting back home.

Speaker 4 (03:14:11):
It was just a dream.

Speaker 68 (03:14:15):
I mean, it's strange, that, isn't it.

Speaker 5 (03:14:16):
What is that?

Speaker 65 (03:14:17):
Doorbell usually picks up everything. It notifies me when a
wasp flies past. Why wouldn't it show me arriving back home?

Speaker 15 (03:14:25):
Wow, you obviously came back. Unless it was new left,
Why would you say that? Forget it?

Speaker 80 (03:14:35):
The sense is probably just broken. But did you check
that nothing was missing, that nothing's been stolen?

Speaker 65 (03:14:39):
It looked like me. You can drop me anywhere here,
I can cut through if the traffic is bad.

Speaker 35 (03:14:45):
It's up to you.

Speaker 15 (03:14:45):
Love you nearly hear then about that?

Speaker 80 (03:14:50):
No, you cannot bail on us. Is Mom's birthday. I've
ordered a delivery from that restaurant she likes. It's already
on his way.

Speaker 65 (03:14:58):
I'm not bailing.

Speaker 15 (03:15:00):
I'll be there.

Speaker 65 (03:15:01):
I just said i'd go catch up with Ash first.

Speaker 15 (03:15:03):
What it's seven already.

Speaker 65 (03:15:04):
No, I'm just nipping in for one drink.

Speaker 18 (03:15:06):
I thought.

Speaker 65 (03:15:07):
I told her I couldn't make it, but I was
half asleep when I texted her, and she planned this
whole night.

Speaker 15 (03:15:12):
Very active in your sleep lately. Why do you always
do this? What you always try to cram us in?
How do you think that makes us feel?

Speaker 65 (03:15:20):
I don't know what's important to you? That's how Oh,
come on, I can't relax now.

Speaker 15 (03:15:25):
We're just gonna be waiting and you getting here. Why
just start without me?

Speaker 65 (03:15:29):
I said i'd be there at eight. I'll be there
by eight, maybe eight thirty.

Speaker 15 (03:15:35):
You know what mom's like.

Speaker 80 (03:15:36):
She'll be asleep by ten, and you said you'd be
here by six. You arranged tonight. We're doing it a
month after her actual birthday, because every time we pick
a day, you get fomo for some other event and
ditch us.

Speaker 65 (03:15:47):
It's one drink.

Speaker 15 (03:15:50):
Calm down, dogs, don't you Mams? I told you to
call me. You know the doorbell sends the nuts.

Speaker 65 (03:15:59):
So hi, Ash, Look, I can't be in two places
at the same time. I wish I could, but Jen, Jen,
I'm not missing out on anything. Breathe it in?

Speaker 28 (03:16:14):
Is it all right?

Speaker 65 (03:16:18):
Actually a slight change of plan. I didn't realize the time,
and it's my mum's birthday? Ash, Hey, where did you go?

Speaker 7 (03:16:28):
I know?

Speaker 65 (03:16:29):
I know I'm running late and I hate to do this,
but would it be cool if maybe we don't hate
me reschedule for another night? So my mum and Jenna
waiting on me, and Jenna's really guilting me out about it.

Speaker 28 (03:16:47):
I had the book back in here, I really like you?

Speaker 65 (03:16:53):
Can you sorry? Can you hear me?

Speaker 45 (03:16:54):
Now?

Speaker 65 (03:16:55):
It's it's Noah. Who does Rene really like?

Speaker 4 (03:16:58):
Not that I mind?

Speaker 65 (03:17:00):
I mean it was only a setup. It's not like
I have any claim on him. But it doesn't matter.

Speaker 68 (03:17:05):
Half back in here, I'm not there yet.

Speaker 65 (03:17:10):
Have you been day drinking? It's me, Noah?

Speaker 50 (03:17:15):
What's it going to be?

Speaker 35 (03:17:16):
Are we staying or going?

Speaker 18 (03:17:20):
Are you a member?

Speaker 13 (03:17:21):
Hi?

Speaker 65 (03:17:22):
No, but my name is on the list. It's Noah.
I'm joining Ash. I mean Ash should be the name
on the booking or Renee.

Speaker 15 (03:17:31):
Okay, let me check that.

Speaker 65 (03:17:35):
What am I doing here? This place takes itself so seriously,
it's probably not even that good. Probably not good enough
to ditch your mum on her birthday. I don't want
to be here. I hate ces. What's the point in
being a member if you still have to queue? Sounded

(03:17:56):
like Rene was hitting off as someone else as well.
So why am I here? I wonder what Jen and
Mom are doing. I bet mama's already got the karaoke out.
I bet Jen told her about me. They're probably bonding
over it now. But it's warm and Gen's flower. It's
always lovely and warm. There at least i'd be warm. Oh,

(03:18:24):
I love this song. Why do all the best songs
come on when you're in the queue outside?

Speaker 4 (03:18:31):
I'm not missing out on anything. Breathe it in.

Speaker 13 (03:18:36):
Sorry, our members of that probably have arrived.

Speaker 65 (03:18:39):
Really because she said i'd be on the list.

Speaker 15 (03:18:42):
What's your name again?

Speaker 4 (03:18:43):
Noah?

Speaker 65 (03:18:44):
It's Noah with ash, I'm al Rene. Yeah, Noah already
checked in, But I'm Noah.

Speaker 77 (03:18:51):
If you could just step to one side so I
can see to these other guests, you.

Speaker 79 (03:19:01):
Want another one? Excuse me cigarette?

Speaker 4 (03:19:06):
I don't smoke.

Speaker 79 (03:19:07):
I thought you're a social smoker.

Speaker 65 (03:19:09):
I think you've got me confused with someone else.

Speaker 79 (03:19:12):
Funny, I always remember her face.

Speaker 15 (03:19:19):
Is this the part where you tell me you're not
going to make it.

Speaker 5 (03:19:22):
What.

Speaker 65 (03:19:22):
No, I'm heading to you now.

Speaker 15 (03:19:24):
Good because Mom is on the red Wine and I
can't promise she's going to be an Eddy fits day
by the time you're arrivee.

Speaker 65 (03:19:29):
Well, you'll be happy to know I've been stood in
a queue in the rain this whole time.

Speaker 80 (03:19:33):
No, you don't need to lie to me to make
me feel better. I'm also friends with the ashle on Instagram.

Speaker 65 (03:19:39):
Okay, or sounds like I've got some catching up to do.
I'll get a cab and what the train will be quicker?
I'm not near a station.

Speaker 15 (03:19:46):
I guess we'll see you when we see you. Then, No,
Mom and man, stop, I'll help.

Speaker 7 (03:19:51):
I've got to go.

Speaker 15 (03:19:52):
MAM's about to kill herself getting a Carryoki machine out
of the CBO.

Speaker 65 (03:19:54):
Mom thirty minutes for a taxi. Hi, I will take that.

Speaker 79 (03:20:05):
Smoke if one's going sure, rough night.

Speaker 65 (03:20:11):
Just trying to be everywhere all at once. I'm trying
to please everyone.

Speaker 11 (03:20:15):
How's that going for you?

Speaker 65 (03:20:16):
I'm not great. You end up pleasing no one.

Speaker 79 (03:20:20):
You should please yourself. You need me to roll this
for you? Yes, Please, don't want it to look like
one of those cocktail umbrellas.

Speaker 68 (03:20:27):
Oh my god, that's so fun.

Speaker 65 (03:20:29):
I always say that because I cannot roll cigarettes to
save my life. I know you told me, But what
earlier you still think we did this already?

Speaker 79 (03:20:39):
I always remember a face.

Speaker 65 (03:20:42):
Okay, mister, I always remember a face.

Speaker 15 (03:20:45):
If we did smoke together earlier?

Speaker 79 (03:20:47):
What else did I say, m that you ditched your
mum and sister to be here, that you feel guilty
about it?

Speaker 4 (03:20:54):
How does he know that.

Speaker 65 (03:20:56):
You heard me on the phone just now?

Speaker 79 (03:20:59):
Could be or maybe it was your Duffel gang. You
really don't remember, ash.

Speaker 65 (03:21:11):
Hey, listen, I think I'm just gonna head out.

Speaker 18 (03:21:14):
What you stop wondering?

Speaker 65 (03:21:15):
A I didn't. I'm still outside the private member's place.

Speaker 18 (03:21:21):
Why would you go back there? We're in the bar
down the street. What bar this one?

Speaker 5 (03:21:28):
Well?

Speaker 65 (03:21:28):
Why didn't just come and meet me here? Everyone's acting
a bit strange tonight.

Speaker 18 (03:21:33):
That would be the tequila, obviously.

Speaker 65 (03:21:36):
What are you talking about. I'm here and it's impossible
for me to be in two places at the same time.
Just come meet me. I'm waiting for a chat.

Speaker 18 (03:21:45):
It's too loud to hear you properly. Come back inside?

Speaker 65 (03:21:49):
How can I come back if I haven't been inside?

Speaker 28 (03:21:54):
Ash Ash?

Speaker 65 (03:21:59):
Did she have up on me? She just properly hung
up on me. I shouldn't have shouted great now, I'm
not only bailing on her last minute. I upset her too.
She planned this whole night.

Speaker 17 (03:22:10):
Hey, you're right.

Speaker 65 (03:22:12):
I don't feel like that smoke anymore?

Speaker 5 (03:22:14):
Do you do?

Speaker 68 (03:22:15):
You know a bar called the Swan?

Speaker 52 (03:22:18):
It's just not there?

Speaker 79 (03:22:20):
Double ganger?

Speaker 65 (03:22:22):
Thanks Ash?

Speaker 4 (03:22:52):
Ash?

Speaker 65 (03:22:53):
Hello?

Speaker 15 (03:22:54):
Hello?

Speaker 7 (03:22:56):
Who is this?

Speaker 2 (03:22:57):
Who is.

Speaker 65 (03:22:59):
That's not hersh that's my number? How am I calling myself?

Speaker 4 (03:23:04):
That's not Ash? That's my number? How am I calling myself?

Speaker 65 (03:23:09):
You can hear my thoughts?

Speaker 4 (03:23:11):
Silly billy?

Speaker 15 (03:23:12):
Did you open the door?

Speaker 1 (03:23:14):
What door?

Speaker 4 (03:23:14):
The one to the dentist's office?

Speaker 1 (03:23:17):
Who is this?

Speaker 4 (03:23:18):
I just arrived outside the Swan. I'm shivering. There's a
sign above my head of a large bird. It's supposed
to be a Swan, but has painted badly as a
drunk man to my side on an outdoor table. He
should really get himself home. Looks like he's had a

(03:23:41):
few too many.

Speaker 50 (03:23:43):
I can't send.

Speaker 65 (03:23:45):
Are you following me or something?

Speaker 76 (03:23:47):
You see?

Speaker 4 (03:23:48):
I'm the one who goes there when you're here or
here when you're There isn't that what you wanted?

Speaker 15 (03:23:57):
What isn't that? Do you want it?

Speaker 4 (03:24:01):
Noah? To never miss out?

Speaker 15 (03:24:04):
To be both there and here?

Speaker 65 (03:24:07):
What are you talking about?

Speaker 4 (03:24:09):
Look inside the bar through the large window. There, don't
shiver a warm inside. Look you're standing at the bar.
Look at the bar, Noah, you're buying a drink. It's
you're round what.

Speaker 40 (03:24:29):
It can't be like you?

Speaker 4 (03:24:30):
Right, It's like looking into a mirror.

Speaker 65 (03:24:33):
There must be someone else who just looks like me.
I'm out here, How can that be me?

Speaker 4 (03:24:38):
Don't be afraid. You're having a great time, and look
at you. You just told a funny joke, well, at
least as funny.

Speaker 65 (03:24:49):
What's going on? Who is that with Ash and my friends?
I'm here, I'm still outside, I'm Noah.

Speaker 4 (03:24:58):
See how she puts her hand on your should. She's
a good friend Ash. It's a shame.

Speaker 65 (03:25:06):
Really, what's a shame? What are you talking about?

Speaker 4 (03:25:10):
That you're never going to see her again?

Speaker 65 (03:25:12):
Of course I will, of course I will.

Speaker 36 (03:25:15):
Who is this?

Speaker 18 (03:25:17):
You're not me?

Speaker 4 (03:25:18):
I'm the one without a shadow?

Speaker 5 (03:25:21):
What this is?

Speaker 4 (03:25:22):
How it feels to really miss out?

Speaker 28 (03:25:25):
What do you mean?

Speaker 21 (03:25:27):
Now?

Speaker 4 (03:25:28):
Watch as you slid her throat?

Speaker 43 (03:25:32):
No let me.

Speaker 65 (03:25:35):
We've got with my way. I need to get inside.

Speaker 5 (03:25:40):
What is this?

Speaker 68 (03:25:42):
Where did everyone go?

Speaker 1 (03:25:44):
Ash?

Speaker 68 (03:25:46):
How did everyone vanish?

Speaker 15 (03:25:48):
You missed them?

Speaker 4 (03:25:50):
All the people are inside and you are not. You're
stuck now, destined to watch them from the window.

Speaker 65 (03:26:00):
Where is Ash?

Speaker 21 (03:26:02):
Please?

Speaker 65 (03:26:04):
Please, please please tell me you didn't hurt her?

Speaker 7 (03:26:08):
You hurt her?

Speaker 4 (03:26:10):
Look down at your hands. Noah, it's you that's covered
in her blood?

Speaker 28 (03:26:16):
What did you do?

Speaker 68 (03:26:18):
How are you doing this? How long was I in there?

Speaker 26 (03:26:24):
It was minutes?

Speaker 68 (03:26:26):
Where did everyone go?

Speaker 5 (03:26:28):
Je?

Speaker 28 (03:26:30):
Just called Gen?

Speaker 65 (03:26:32):
You must be hallucinating or something. Maybe someone spiked your drink.

Speaker 68 (03:26:35):
Just just call Gen.

Speaker 15 (03:26:37):
Call Gen.

Speaker 28 (03:26:38):
Call Jen.

Speaker 80 (03:26:42):
Wasn't as fun as you thought it would be, right,
Bet you wished to stay home with us, but you're okay?

Speaker 15 (03:26:49):
What's wrong? I'm so glad it's you, Narah? Now what's happened?

Speaker 65 (03:26:54):
Something really weird is going on? Could you come get me?
I don't feel right.

Speaker 14 (03:26:59):
Where are you?

Speaker 15 (03:27:00):
You're making me nervous?

Speaker 65 (03:27:01):
Show my location now?

Speaker 15 (03:27:02):
Wait, Okay, I'm on my way and I'll stay on
the phone.

Speaker 18 (03:27:04):
Okay, thank you?

Speaker 15 (03:27:09):
Oh you are an idiot? Nice try.

Speaker 65 (03:27:16):
Well what are you talking about?

Speaker 1 (03:27:18):
Please?

Speaker 79 (03:27:18):
Please come?

Speaker 15 (03:27:19):
Got the street out front and waving at you from
the kitchen. You see me. I don't think you're going
to show up.

Speaker 65 (03:27:27):
No, I can't, can't. I'm still in the city, nowhere.

Speaker 15 (03:27:30):
Near your Say all right, I'm opening the door for
you one second. Don't ring buzz, you know how it
sets the dogs off. I SI, don't ring.

Speaker 65 (03:27:40):
But I'm still in the city.

Speaker 15 (03:27:43):
I see you on the video interco.

Speaker 18 (03:27:46):
I see you.

Speaker 5 (03:27:47):
Know.

Speaker 15 (03:27:49):
It's such a weird over line to Okay, I'm not there. J.

Speaker 65 (03:27:56):
That's not me, jen, J, that's not me.

Speaker 28 (03:28:00):
Now, there is a door in the city.

Speaker 65 (03:28:16):
It looks like any other door. Crowds pass by it
every day, but no one knows what's behind it. Nobody
remembers the day the door appeared, seemingly out of a dream.
It has always been there, and yet perhaps it never was.
The real question to ask is is it locking something out?

Speaker 4 (03:28:40):
Or is it keeping us locked in.

Speaker 28 (03:28:44):
An open house?

Speaker 25 (03:28:56):
Dreams Strange wills.

Speaker 81 (03:29:13):
Starring the distinguished Hollywood actor Warren william and featuring Mary McCarty,
Gene Colby, and Howard Culver, with an all star Hollywood
cast original music by Del Castillio.

Speaker 26 (03:29:29):
Dead men's wills are often strange.

Speaker 76 (03:29:32):
We cannot attempt to understand them or try to find
the answers. We can but tell the story.

Speaker 26 (03:29:41):
This is Warren William bringing you the story Singapore, Liz.

Speaker 17 (03:29:45):
But first.

Speaker 81 (03:30:48):
And now back to Warren William as John Francis O'Connell.

Speaker 5 (03:30:52):
In Singapore, Liz.

Speaker 26 (03:31:00):
I'll never forget the first time I saw Singapore, Liz.
I suited the rail of the ship as it eased
into its berth at Singapore. Below on the docks was bedlam. Coolies,
turbaned orientals, white people were all milling around the dock
waiting for the passengers to disembark. Here East was meeting West.

(03:31:20):
And then quite suddenly I saw her. She was standing alone,
leaning up against a round life boy that hung suspended
from the piling. Her hair was blonde and tommy and
hung down round her shoulders. She had on a bright
red sweater. And then I saw her eyes, green eyes
that searched and probed our ship from stem to stern.

(03:31:43):
As I watched her, the deck steward came up alongside
of me.

Speaker 81 (03:31:47):
He saw her too, as she is Singapore Liz, as
mister belt in five years Singapore, Liz, Eh, I've heard
of her before, But tell me Stuard.

Speaker 26 (03:32:01):
How'd she acquire that name?

Speaker 5 (03:32:03):
No, I don't know, mister O'Connell.

Speaker 76 (03:32:04):
She's a character.

Speaker 26 (03:32:05):
There are enough. But here's a picture too.

Speaker 81 (03:32:08):
I often wonder what brings it down to the waterfront
every time a ship docks. I've heard plenty of stories.
Now what seems to be the real story? Why do
girls what ship come in for?

Speaker 17 (03:32:17):
Anyway?

Speaker 81 (03:32:19):
Not to see the smoke and hear the bells ring? Now,
when the girl meets a ship every ship day or night,
it's because.

Speaker 17 (03:32:25):
Of her guy.

Speaker 26 (03:32:26):
And you think that Singapore live.

Speaker 81 (03:32:29):
You lot of funny yarns, especially here at Singapore where
East meets west. But that girl's real story hasn't been told.
She won't talk.

Speaker 26 (03:32:38):
Won't talk.

Speaker 2 (03:32:38):
Eh.

Speaker 26 (03:32:39):
Generally girls like to tell what's on their minds, but
not this one.

Speaker 81 (03:32:43):
She just comes down and looks, and when everyone's off
the ship, she goes back to a job.

Speaker 26 (03:32:48):
Oh what kind of a job.

Speaker 81 (03:32:50):
She's a singer down at one of the dives along
the waterfront, Terry's place.

Speaker 5 (03:32:53):
They call it huh what a spot too? From what
are here? Well, it means the old gang.

Speaker 81 (03:33:00):
Thank he's down. Good luck, mister O'Connell. If I don't
see you again, and take a tip from an old sailor.

Speaker 11 (03:33:05):
What is that?

Speaker 76 (03:33:06):
Every sailor from Frisco to the Ebrodes.

Speaker 81 (03:33:08):
Is trying to find out what it's all about. So
if you're thinking of trying to get Singapore is to
talk forget it.

Speaker 5 (03:33:15):
It can't be done.

Speaker 26 (03:33:23):
The Stewart should have known better than to tell a
lawyer not to try and learn the secret of Singapore, Liz.
The lawyers are a curious lot, especially when it comes
to an unsolved mystery. The very first night I had
free I visited Terry's place on the waterfront, and what
a place it turned out to be.

Speaker 9 (03:33:43):
Here's a scene.

Speaker 5 (03:33:45):
I'll be here, mister, thank you? Will it be?

Speaker 11 (03:33:49):
Tell you what?

Speaker 26 (03:33:50):
Bring me a pot of tea, green tea, and buy
yourself the best drink in the house.

Speaker 17 (03:33:56):
How's that?

Speaker 11 (03:33:57):
Okay?

Speaker 82 (03:33:58):
Okay, I'll take a Singapore Special and bring you to
tea green tea.

Speaker 26 (03:34:04):
I'll say, before you go, tell me something. Sure, who's
Terry the man who owns this place.

Speaker 76 (03:34:14):
I'm Terry.

Speaker 26 (03:34:14):
Mister huh oh you, oh well, Terry. My name's O'Connell,
John Francis O'Connell. I'm a lawyer from the.

Speaker 76 (03:34:21):
States, what you're we here for.

Speaker 26 (03:34:24):
Well, it's no secret. I'm over here to locate a
missing person, an air A woman who inherited a million
dollars a yetually doesn't know about it.

Speaker 76 (03:34:34):
The dame gets a million bucks and don't know about it.

Speaker 5 (03:34:37):
Say that's a man.

Speaker 76 (03:34:40):
What's your name, bub, I mean mister O'Connell.

Speaker 26 (03:34:42):
Her name is Marilyn Webster. Ever heard of her?

Speaker 82 (03:34:46):
Listen, mister, I know nearly every dame in Singapore, but
I ain't never heard of Marylyn Webster.

Speaker 76 (03:34:52):
Well I'll run along and bring your tea. You listen
to Liz. She's going on now with her number.

Speaker 26 (03:34:58):
Oh you mean Singapore?

Speaker 76 (03:35:00):
Yeah, that's her?

Speaker 2 (03:35:03):
Boy?

Speaker 5 (03:35:03):
Is she ay?

Speaker 1 (03:35:05):
He's my guy.

Speaker 72 (03:35:09):
I don't care what he does.

Speaker 5 (03:35:14):
Because he is my guy.

Speaker 25 (03:35:20):
I guess he always wants.

Speaker 53 (03:35:24):
He's careless about me.

Speaker 5 (03:35:29):
I don't think he tried.

Speaker 53 (03:35:33):
But once in a wal he loved me and smiled.

Speaker 1 (03:35:38):
But I can see me in his eyes.

Speaker 28 (03:35:44):
Oh he's my guy.

Speaker 26 (03:35:50):
I know he was a day all right?

Speaker 2 (03:35:53):
And was she beautiful?

Speaker 26 (03:35:55):
The same tawny hair now hung low over the back
of a green silk Chinese. Her voice was throaty, inviting.
She could have been a sensation on BroadWare. But what
was she doing in this dive way out here in Singapore?

Speaker 28 (03:36:11):
Jeez?

Speaker 5 (03:36:12):
Until no.

Speaker 1 (03:36:20):
Better than all?

Speaker 72 (03:36:24):
But mid God, here's.

Speaker 76 (03:36:35):
Your team as dead. What'd you think of this?

Speaker 26 (03:36:39):
I think she's terrific. Tellry what keeps her in a
well in a place like this.

Speaker 11 (03:36:44):
I don't know.

Speaker 82 (03:36:45):
Some dames like to hang around the waterfront, like the
smell of the sea and like to get the fog.

Speaker 5 (03:36:50):
Coins in the night.

Speaker 82 (03:36:52):
You never know what's in a theme's mind, mistery, and
I know I've been running joints here in Singapore for
fifteen years.

Speaker 76 (03:37:00):
They meet them all and tell him, Eh.

Speaker 26 (03:37:03):
Would you please give Singapore Liz my card and tell
her that I share her curiosity about docking ships.

Speaker 76 (03:37:09):
Oh that's a new one.

Speaker 82 (03:37:12):
Every guy east his sunset wants to buy Liz a drink,
but it's no soap.

Speaker 76 (03:37:17):
She don't see nobody.

Speaker 26 (03:37:18):
But I'm a lawyer, Terry. You see, lawyers have a
way with women.

Speaker 9 (03:37:22):
Okay, okay, so deal with me.

Speaker 76 (03:37:26):
But if he get turned down, don't feel bad. No
one's made the great.

Speaker 26 (03:37:30):
Yet an hour went past and no Singapore Liz. Then,
just as I was ready to call it quits, I
saw her come through the smoke filled room towards my table.

Speaker 76 (03:37:47):
Well, maybe we lawyers did have a way after all.

Speaker 13 (03:37:51):
You want to see me, mister, Yes, yes I did,
Miss sir. Miss sir, the name is Liz Singapore.

Speaker 26 (03:37:59):
Liz, Well, Miss Singapore. Won't you sit down and join
me in a cup of teeth?

Speaker 13 (03:38:05):
Okay?

Speaker 26 (03:38:06):
Well, in Singapore, I asked you to come to my
table tonight because.

Speaker 2 (03:38:12):
You interest me.

Speaker 13 (03:38:13):
Oh that's a good one, mister, only it doesn't register.
Get this straight. I may interest you, but you don't
interest me.

Speaker 26 (03:38:21):
Now just a minute, let's get the record straight. I'm
not after your phone number or your address.

Speaker 13 (03:38:27):
Well, you wouldn't get them if you were.

Speaker 26 (03:38:30):
I saw you the morning my ship dugged. I saw
you leaning against the pier, looking up at the people aboard.

Speaker 11 (03:38:36):
Your look was.

Speaker 5 (03:38:37):
Hungry, hungry for someone you miss. If you'll let me,
I'll help you.

Speaker 13 (03:38:44):
And you don't want anything. Ha ha, Holy cow, this
is one for the books. Here's a guy who wants
to help and doesn't want anything for it. What is
this a gag?

Speaker 26 (03:38:55):
I can assure you that it's not a gag. Singapore.

Speaker 13 (03:38:58):
Oh so you're a lawyer, Yes I am.

Speaker 26 (03:39:01):
You have my card.

Speaker 13 (03:39:02):
Oh maybe I can trust you.

Speaker 26 (03:39:05):
Of course you can.

Speaker 13 (03:39:07):
Oh. Well, mister, you're right about me looking for someone.
I've never missed a ship in five years. I keep
on looking. But he never comes back the way he said.

Speaker 26 (03:39:17):
He would he Singapore.

Speaker 11 (03:39:19):
Who is he?

Speaker 13 (03:39:21):
He's a guy.

Speaker 26 (03:39:22):
Well maybe I can help you find him.

Speaker 13 (03:39:24):
Na, how you're going to find one little guy and
a billion people that's been done. But this guy, this
guy said he'd come back, he promised.

Speaker 26 (03:39:34):
Why don't you tell me about it?

Speaker 11 (03:39:35):
Singapore?

Speaker 13 (03:39:36):
Well, listen, mister, there's afraid to do with the docks
at midnight, I'll tell you the story down there, you see,
that's where it began and ended down there, in the
swirl of the fog in the night. Yep, down on
the dirty docks in Singapore.

Speaker 26 (03:39:59):
A little after midnight, I made my way through the
fog and the gloom of the long ducks that lined
the harbor near the water's edge. I have found Singapore
live is waiting impatiently with afraider to come in.

Speaker 13 (03:40:12):
Hello Singapore, Hi am mister O'Connell. When she going the duck,
oh not for an hour or two. She's anchored out in.

Speaker 1 (03:40:20):
The bay, just like the other one was what other one?

Speaker 26 (03:40:23):
Singapore?

Speaker 13 (03:40:24):
The one he was on.

Speaker 26 (03:40:27):
Want to tell me about him?

Speaker 16 (03:40:28):
Why not?

Speaker 13 (03:40:30):
Maybe you can tell me what to do.

Speaker 26 (03:40:32):
I can try.

Speaker 1 (03:40:34):
Well.

Speaker 13 (03:40:35):
It all began late one night in September. I came
down here for a last look at the sea before
I went to sleep. I was leaning out over the railings,
sort of looking up at the stars, letting the wind
blow in my face. All of a sudden I heard
a splash in the water. Someone out there was swimming
for the docks. Hey, you you need any help, I'll

(03:40:58):
make it here here, here's the ladder that is you
got it?

Speaker 5 (03:41:05):
Yeah, yeah, I'm okay, all right, now beat it.

Speaker 13 (03:41:12):
No one tells me to beat it? Mister? Where you
swim from?

Speaker 59 (03:41:15):
Listen to you? Just forget you saw me, see, just forget.
I climbed up this ladder.

Speaker 13 (03:41:20):
What's the trouble, cops?

Speaker 59 (03:41:22):
How'd you guess?

Speaker 13 (03:41:23):
Well, guys don't usually come in the way you did
unless someone's after them.

Speaker 59 (03:41:26):
Well they're after me, all right. I just stitch that
freighter out in the bay. You need help, I need luck. Listen, beautiful,
where can I hide out for a few days?

Speaker 13 (03:41:36):
Why don't you afraid? I'll call the cops.

Speaker 59 (03:41:38):
I gotta take a chance, beautiful, and I don't think
you're the kind.

Speaker 1 (03:41:42):
Where are you from the States?

Speaker 59 (03:41:44):
Every John long the country's trying to find me?

Speaker 1 (03:41:47):
What'd you do?

Speaker 59 (03:41:48):
There was a fight and the smoke clear. They found
a dead man, stiff with a big name, so they
needed a fall guy.

Speaker 2 (03:41:55):
But listen, beautiful, I'm.

Speaker 76 (03:41:56):
Cold and wet.

Speaker 13 (03:41:57):
Well stay right here. If you hear anyone coming, climb
down the ladder so they won't see you. I'll run
back and get your coat and you can't walk down
the street that way.

Speaker 59 (03:42:05):
Okay, beautiful, you win.

Speaker 13 (03:42:07):
I'll be back, Believe me, I'll be back.

Speaker 26 (03:42:19):
That was the beginning Singapore. Well what happened? You must
have come back, of course?

Speaker 13 (03:42:24):
Oh yeah, I went back. Oh there was something about
in it that made me want to help him. He
looked so so lonesome. I guess maybe he reminded me
of the time I hit Singapore. I don't know anyhow.
I went and got the coat and ran back, and
there he was still waiting for him.

Speaker 59 (03:42:44):
Well, you really did come back.

Speaker 12 (03:42:46):
Didn't you?

Speaker 13 (03:42:47):
Didn't I say? I would here? Get into this coat there,
Now here's my comb. How about straightening those pretty black curls.

Speaker 59 (03:42:54):
Thanks beautiful, and we'll walk.

Speaker 13 (03:42:56):
Right down the street, just like we're going out on
a date.

Speaker 76 (03:42:58):
Come on where we go?

Speaker 13 (03:43:00):
Leave that to me. You can trust me. I will
do you no dirt, mister honest.

Speaker 81 (03:43:16):
Act two of Singapore Liz, written by Ken Crapene and
directed by Robert Webster. Light will follow in just a moment,
But first, here is a word from your announcwer. Now

(03:44:50):
back to the strange Will's story Singapore Liz, with Warren
william as John Francis O'Connell.

Speaker 26 (03:45:01):
Well sing a boss. So far, I see nothing in
your story that I can't understand. The fact is you
helped him.

Speaker 13 (03:45:07):
Yeah, I helped him after I fed him and saw
that he got a room and went over to see
Portuguese Jake at the Moondream Cafe. Jake liked me, so
I knew he'd help me if I asked him to.
He was in his private office.

Speaker 71 (03:45:21):
Singapore, Singapore Sweetheart, coming in, Come in, thanks Jake? Now
what brings over to see me at two in the morning.
Come on, tell Papa Jake, I need help.

Speaker 25 (03:45:34):
Jake, You'll need help.

Speaker 76 (03:45:37):
I don't believe it. You got someone for Jake to
cut your throat there.

Speaker 13 (03:45:42):
Jake, I'm hiding someone over at a rooming house in
my place.

Speaker 76 (03:45:45):
I think someone Eh? Now, what is my Singapore leads
up to?

Speaker 17 (03:45:51):
Who is he?

Speaker 13 (03:45:52):
Look, Jake, be a good guy and don't ask any questions.

Speaker 76 (03:45:55):
But you want me to do Singapore, Jake, I want
you to.

Speaker 13 (03:45:58):
Help me hide him and all until it's safe for
him to go back to the States.

Speaker 76 (03:46:03):
You want me to hide him out?

Speaker 16 (03:46:04):
Eh?

Speaker 76 (03:46:05):
And what you do for Jake, get the hell out?
This bomb made Singapore?

Speaker 13 (03:46:11):
Nothing, Jake, Same as always?

Speaker 59 (03:46:14):
Then?

Speaker 76 (03:46:14):
Why should I risk my neck to help him?

Speaker 13 (03:46:15):
Because I want you to Jake?

Speaker 71 (03:46:18):
You strange one Singapore two years. I want you to
marry me and always I get the bombs rush.

Speaker 1 (03:46:24):
What's the matter with me?

Speaker 2 (03:46:25):
Eh?

Speaker 13 (03:46:26):
Nothing, Jake. I think you're the swallst guy I know, honest.

Speaker 71 (03:46:31):
Okay, Singapore, I take care of this guy. Keep him
under cover for tonight and tomorrow I'm move him the
safe place.

Speaker 13 (03:46:39):
Thanks, thanks, Jake.

Speaker 71 (03:46:41):
In a few weeks, I ship move to Tibet, China,
somewhere safe, Okay, Jake.

Speaker 13 (03:46:49):
As soon as he gets out of the country, I'm
gonna try very, oh very hard to see things your way.

Speaker 1 (03:46:57):
That's all.

Speaker 12 (03:46:58):
Right, Singapore.

Speaker 76 (03:47:00):
Don't do nothing that you're sure?

Speaker 13 (03:47:11):
Well, Jake kept his word. Next day he moved Jeffrey
that was his name, to the Chinese part of town.
I went over to where he was staying almost every day.

Speaker 26 (03:47:23):
Did he tell you who he was Singapore?

Speaker 13 (03:47:25):
He told me nothing. Only his first name was Jeffrey. Well,
the days went by, I was so happy. I hated
to see the day come when he would ship out.

Speaker 26 (03:47:37):
You you fell in love with him, man hard?

Speaker 13 (03:47:41):
Only I didn't tell him what's the use any day
he was scheduled to go, he couldn't stay, especially after
that American Dick arrived.

Speaker 26 (03:47:50):
Did trace Jeffrey to Singapore?

Speaker 15 (03:47:52):
Then?

Speaker 13 (03:47:53):
Yeah, he came over to find him. We heard about
it down at the Moon Dream.

Speaker 11 (03:47:57):
What did you do?

Speaker 13 (03:47:58):
Jake made arrangements the ship him. That same night there
was a ship sailing for Rangoon, and went over to
say goodbye. It was hard to do, mister, but neither
one of us said what we really wanted to.

Speaker 59 (03:48:10):
Both in eleven afraid just say so sure, but I
was so hopeless.

Speaker 13 (03:48:16):
Well, I, after saying goodbye, went back to work at
the Moon Dream. The joint was packed.

Speaker 53 (03:48:27):
A little street in singap.

Speaker 5 (03:48:40):
Weed me.

Speaker 53 (03:48:42):
Beside the lotus cupboard door, hobby, love, moon light on
his long lit face, Hope the hands that held me
in him, Brady, My sales to night are filled with

(03:49:10):
perfume of shell, the mound with temple bells.

Speaker 1 (03:49:17):
To guide me to the shore.

Speaker 53 (03:49:22):
And then I'll hold him in my owns and love
the way I loved before on a little stream in Sae.

Speaker 25 (03:49:47):
Everybody would remain seated.

Speaker 59 (03:49:48):
We all the police, and a search will be made
of your identification.

Speaker 13 (03:49:57):
Oh, Jake, Jake, they're here. They're head to get him.

Speaker 1 (03:49:59):
Get who the police?

Speaker 13 (03:50:00):
The American detective. They're out there now.

Speaker 76 (03:50:02):
Police in here, yes, Jake, Well there's Jeffery.

Speaker 1 (03:50:04):
He isn't in here now, Yes, Jake.

Speaker 13 (03:50:05):
He's here too. I saw him come in while I
was doing my number. He's sitting at that table in
the corner at four.

Speaker 76 (03:50:11):
I told him not to leave the house until we
came and got him.

Speaker 12 (03:50:14):
Well, let him get caught it.

Speaker 13 (03:50:16):
Oh no, no, no, Jake, he must get away. He must.

Speaker 76 (03:50:19):
Can I do Singapore?

Speaker 13 (03:50:20):
I don't know, Jake.

Speaker 76 (03:50:22):
I've got one chance. When the pool switch, it puts
out all the lights.

Speaker 71 (03:50:25):
Maybe this deaf guy gets out, maybe not, But you
give him a chance, stay hit like come bay.

Speaker 13 (03:50:44):
Well, mister, I had some anxious moments. The lights went
out and Jeffrey got away in the scramble. He ran
to my house and waited till I got home.

Speaker 12 (03:50:54):
Shouldn't have done it, Singapore.

Speaker 59 (03:50:56):
I shouldn't have done it, Jeff.

Speaker 13 (03:50:59):
You might have been caught, even killed.

Speaker 4 (03:51:01):
Oh, Jeff, there they're beautiful.

Speaker 59 (03:51:04):
Don't waste your tears.

Speaker 13 (03:51:05):
On me, Jeff.

Speaker 1 (03:51:07):
I love you.

Speaker 13 (03:51:08):
Can't just see it, don't you know?

Speaker 59 (03:51:11):
And I love you too, Singapore. That's what made me
come down to the cafe tonight. I had to see
you just once more.

Speaker 13 (03:51:18):
Don't you see what you've done? You made it tough
on Jake to get you away Tonight. The cops will
be watching the docs.

Speaker 17 (03:51:24):
I know it.

Speaker 50 (03:51:25):
Beautiful.

Speaker 13 (03:51:25):
Look, Jake will find a way to ship yard.

Speaker 59 (03:51:28):
I don't want to go, Singapore.

Speaker 13 (03:51:30):
I don't want you to go either, but you have to.

Speaker 1 (03:51:33):
You have to.

Speaker 59 (03:51:35):
Oh, poor poor little Singapore Liz. I guess I brought
you nothing but trouble kid. That's what comes from loving
the wrong guy.

Speaker 1 (03:51:44):
Jeff.

Speaker 13 (03:51:45):
Listen to me. You get on that boat and go away,
get into China to bet you can hide me.

Speaker 59 (03:51:51):
Maybe I can, but I'm not going to, Liz. I
told you that they wanted to pick on me for
a fall.

Speaker 17 (03:51:55):
Guy.

Speaker 2 (03:51:56):
That's the truth.

Speaker 59 (03:51:57):
I didn't kill anybody. I was there, yeah, but I
didn't care.

Speaker 13 (03:52:00):
But they'll railroad here.

Speaker 59 (03:52:01):
You said, maybe they will, and maybe they won't. But
I've got to go back and face the music, Liz.
That's the only way we can.

Speaker 4 (03:52:07):
Ever be together.

Speaker 76 (03:52:08):
I've got to go back.

Speaker 13 (03:52:11):
We together, of.

Speaker 50 (03:52:15):
Course, Liz.

Speaker 59 (03:52:17):
I can't run away forever. And I want you, Liz.
I want to marry you the minute I'm.

Speaker 11 (03:52:22):
In the clear.

Speaker 13 (03:52:23):
Oh, jem, what are you gonna do?

Speaker 59 (03:52:28):
I'm going down and give myself up.

Speaker 13 (03:52:30):
Oh no, no, Jeff.

Speaker 59 (03:52:32):
It's my only chance, my only chance to come back clean, Liz.
It's my only chance of getting back to Singapore.

Speaker 1 (03:52:40):
And you.

Speaker 13 (03:52:51):
Well, there you have it, mister Jeff gave himself up
to the lawn. They took him back to the States.
I don't know what happened.

Speaker 26 (03:53:01):
He never wrote Singapore, get ready for a shock?

Speaker 13 (03:53:05):
Why? Why?

Speaker 5 (03:53:07):
What?

Speaker 26 (03:53:08):
Jeff will never come back? Won't come back, No, Singapore.

Speaker 13 (03:53:13):
He's dead, dead, Jeff dead. I don't believe it.

Speaker 26 (03:53:19):
Jeffrey Lane. His last name was Layinne you never knew that,
did Joe.

Speaker 13 (03:53:25):
I never asked him.

Speaker 26 (03:53:26):
Jeffrey died in prison last year. He was serving a
five year sentence for being an accessory to the crime
of murder.

Speaker 13 (03:53:32):
Then he was sent to prison.

Speaker 26 (03:53:35):
Yes, he never wrote to you, Liz, because he didn't
even know your name. Then too, he wanted to avoid
the chance that you and Jake might get into trouble
for hiding him from the police.

Speaker 13 (03:53:47):
I understand.

Speaker 26 (03:53:48):
While Jeffrey was in prison, his father died and left
him a fortune. In fact, he left him almost.

Speaker 13 (03:53:55):
A million dollars a million dollars.

Speaker 26 (03:53:57):
Then one day jeff took sick was performed. It was
an emergency. Jeffrey died, But on his deathbed he made
his last will. He never forgot to Singapore, not for
a moment.

Speaker 13 (03:54:10):
I didn't either.

Speaker 26 (03:54:12):
In his will he named you as sole heir to
his estate. What but he only knew you by the
name of Singapore, Liz. I spent months investigating him. Finally,
through the co operation of the police and other agencies,
I learned that your real name is Marilyn Webster, that
your parents were missionaries in the interior, and after they

(03:54:34):
died penniless, you drifted into Singapore and then made your
living singing in nightclubs and.

Speaker 13 (03:54:40):
Cafes tonight to night. When you asked me to come
to your table, you knew all this, didn't you.

Speaker 7 (03:54:47):
Yes.

Speaker 26 (03:54:49):
When I first saw you standing at the dock, I
knew who you were, but I wanted to know the
whole story. I wanted to be sure. That's why I
wanted you to tell me.

Speaker 13 (03:54:59):
She it's You're gonna seem funny not to come down
to the docks anymore.

Speaker 26 (03:55:05):
It was a labor of love Singapore. People all over
the world knew about you, and you're a tireless devotion
to an ideal.

Speaker 13 (03:55:13):
Five years, five long years. Now, instead of coming back,
he sends me a million dollars. I can't believe it,
but it's true.

Speaker 11 (03:55:24):
Every word.

Speaker 26 (03:55:26):
Tell me Singapore, What are you going to do now
that you're a rich girl?

Speaker 5 (03:55:31):
Oh?

Speaker 13 (03:55:32):
I don't know, mister. Maybe we'll build a nightclub after
I ketchup on some of the sleep i've missed.

Speaker 26 (03:55:38):
Oi, did you say we Singapore?

Speaker 1 (03:55:41):
Yeah?

Speaker 13 (03:55:42):
For five years, I've never missed a boat. So that
I could be the first to see Jeff and warn him,
warn him what well. A day after the cops took
Jeff back to the States. Jake was set up for
harboring a fugitive. He served a whole year, mister, and
when he got out, he swore that he'd killed Jeff
if he ever came back to Singapore. I knew he'd
do it too. That's why I met every ship to

(03:56:04):
warn you have to stay on the boat and to
go back home. Killen means trouble. I wanted Jake to
stay in the clear. Ah, he's been such a swell husband.

Speaker 81 (03:56:33):
Warren William will be back in just a moment to
tell you the rest of the story of Singapore, Liz.
But first, here are a few words from your announcer.

(03:57:15):
And here again is Warren William as John Francis O'Connell.

Speaker 26 (03:57:21):
Next time you see a pretty girl standing on the
corner with that hungry, lonesome look in her eye, don't
you believe it more than likely she has a perfectly
good husband waiting for her just around the corner. There's
a new Moondream club in Singapore today, And of course
Singapore lives wearing her exotic oriental gowns is still the

(03:57:41):
big attraction. And portoghe geek. He's doing all right too.
Who wouldn't with a million dollar bank roll to play with.
Next week, I have a story to tell you about
a songwriter, at least he thought he was. After weeks

(03:58:01):
of hard work, he finally finished his opus, which he
thought would reach the hit parade. He sent his song
lyrics to a music publisher, and from then on things
began to happen for a story filled with heartbreak, pathos,
and love. Listen to swan song. This is Warren William

(03:58:23):
inviting you to join us again next week.

Speaker 81 (03:58:29):
Strange Wills is a Tellaways feature produced in Hollywood. Any
similarity between names used on this broadcast and those of
living persons is purely coincidental.

Speaker 6 (03:58:48):
October is birthday month for Weird Darkness. This year makes
ten years of doing the show. But while it's our birthday,
we want the gifts to go to those who help
people who suffer from depression, anxiety, thoughts of suicide, or
self harm. That's what our annual Overcoming the Darkness campaign
is all about. It's the only fundraiser I have all
year long. You can bring hope to those who are

(03:59:09):
lost in the darkness of depression. You can make a
donation right now, at weird Darkness dot com slash hope.
I'll close out the fundraiser at the end of October
and announce how much we raised. The more we raise,
the more people we can help to donate, Get more
information about the fundraiser and the organizations we're supporting, or
find hope for yourself or someone you know who are

(03:59:29):
fighting depression. Visit weirddarkness dot com slash hope. Please donate
now while you're thinking about it weird darkness dot com
slash hope.

Speaker 17 (03:59:41):
The story you're about to hear is true. But stran.

Speaker 58 (03:59:54):
There, Albert, did you read that there were four aboard
the Tourmaline who saw the ship, and not just for
aboard the Tourmaline. Albert five saw to the Cleopatra, And
there were four of us on this ship that got
a good look.

Speaker 1 (04:00:06):
Thirteen all told a mister Pyle.

Speaker 49 (04:00:08):
I was hoping I could blame it on the brand
they were drank in the wardroom last night.

Speaker 1 (04:00:13):
The evidence seems old.

Speaker 49 (04:00:14):
Of the contrary, every man questioned seems all too positive
he saw the brig and every description of the ship tellers.
I'm afraid we've witnessed the impossible. Gentlemen, what we saw
was the flying Dutchman a ghost ship.

Speaker 58 (04:00:31):
Isn't there some kind of superstition about the appearance of
a ghost ship, mister Pile, there.

Speaker 49 (04:00:35):
Is, lad Its appearance is supposed to be followed my
sudden death.

Speaker 83 (04:00:48):
ABC Radio Network presents strange, true stories of the supernatural
with your narrator, famous author, lecture and expert on strange
and weird events, Walter Gibson.

Speaker 2 (04:01:00):
Thank you, Charles Woods.

Speaker 16 (04:01:15):
Do you remember how Rudyard Kipling wrote The Indian Ocean
sets and smiles so soft, so bright, so bloom and blue.

Speaker 1 (04:01:24):
There aren't a wave for miles and.

Speaker 16 (04:01:26):
Miles except the jiggle from the screw. It was exactly
such a sea that a squadron of British warships sailed
into the dusk, then into the night. They were the Bacanti,
the Turmoline, and the Cleopacker. It was July eleventh, eighteen
eighty one.

Speaker 2 (04:01:45):
Four.

Speaker 16 (04:01:45):
A m A Steward has just brought Tea, the Junior
Lieutenant Pyle, officer of the Watch, and the cadetmanshipman standing
with him. Suddenly there is a cry from the lookout
on the masthead. Mister Pyle and George the midshipman didn't
need a pair of mc glasses to spop the shipard

(04:02:07):
you see a fire.

Speaker 1 (04:02:08):
Sir, She suddenly close red. She's hitting mighty close.

Speaker 58 (04:02:12):
At second glance, she appears just a brig sailing through
a strange red light. It's a mirthless sight at best.
Could it be an illusion? I see it, the lookout
saw it, and if you see it too.

Speaker 49 (04:02:25):
Apparently that Toromaline and the Cleopatra caught sight as well.

Speaker 1 (04:02:30):
There go the signal lights.

Speaker 5 (04:02:32):
Hi.

Speaker 2 (04:02:33):
They apparently feel the brig is going to run us down.

Speaker 1 (04:02:36):
I think as much myself. If she will make any headway?
Have you noticed? Have you noticed she keeps the same
position even though we're moving along at eight knots? Well,
then what do you make of it?

Speaker 49 (04:02:47):
I'm afraid there's only one explanation, George the flying Dutchman.
Although I'd never believe it if I wasn't staring at
it with my own two eyes and had witnesses to boot.

Speaker 58 (04:02:59):
It's a side I'd never hope to see. If you'll
excuse me, sir, I want to die below and spread
the word. I'd like to wake my brother Albert, if
you don't mind, at least share the experience with him.

Speaker 49 (04:03:08):
If you're along with you, then, but don't probably to
awake the skipper. You don't think it ought to be reported.
Wake him to report the flying Dutchman. He'd rip off
my stripes with his own teeth.

Speaker 16 (04:03:28):
No general alarm was given. Only the officers and seamen
of the watch continued to observe the unearthly vision of
Horbard just ahead of him. But George, the condemtmanshipman, could
not resist sharing the experience with his brother Albert, who
was sleeping below.

Speaker 2 (04:03:43):
George hadn't anticipated in argument.

Speaker 1 (04:03:46):
However, Albert, wake up? Are you stirring? I'm afraid, sir,
Oh George, this is my watch already. It doesn't see
more than three minutes that I dropped.

Speaker 11 (04:04:02):
Off to sleep.

Speaker 58 (04:04:03):
It's not a change of watch, old boy, just something
on deck I thought you'd want to see.

Speaker 1 (04:04:06):
Oh, come now, Absolutely nothing could be worth the loss
of sleep.

Speaker 58 (04:04:09):
This is it's the Flying Dutchman. Albert, you really don't
want to miss it.

Speaker 1 (04:04:13):
Have you gone absolutely stark? Grating real things to help me?

Speaker 59 (04:04:16):
Now?

Speaker 1 (04:04:16):
Come on and see George, your boy.

Speaker 58 (04:04:18):
You've been a lovely brother and all that, but this
is your notion of a practical joke. Now come and see,
Come and see. If it's not what I say it is,
I'll i'll a win of the mind. You can't afford
to miss it, that's all. And it thing's too awesome
for description. Very well, I'll come along, but i'd better
hear the rattle of the skeletons a border. I'll speak
to the skipper about having you tossed in the hole.

Speaker 16 (04:04:52):
But Albert's lack of enthusiasm cost him a look at
the spectacle. George let him up to the port bow
just as well.

Speaker 1 (04:05:01):
Where is the ruddy thing? She's shaded from view?

Speaker 58 (04:05:04):
So this was not a practical joke out But believe me,
it wasn't. I saw her standing out there myself in
a blaze of red light. She was a brig for
sails and muster, as clear as anything. Yet somehow you
could see right through her life.

Speaker 1 (04:05:19):
To think of some ghostly punishment to plague you with, old.

Speaker 58 (04:05:21):
Boy, No matter how ghostly, you couldn't possibly compensate with
my loss of sleep.

Speaker 1 (04:05:25):
You still don't believe, No, would you believe?

Speaker 58 (04:05:29):
The officer of the watch, Mister Pyle is hardly noted
for his practical jokes or the.

Speaker 1 (04:05:34):
Lookout, Stokes.

Speaker 58 (04:05:35):
That was because you accuse him of playing a practical.

Speaker 7 (04:05:38):
Joke on you.

Speaker 1 (04:05:39):
I'm too in frontly sleepy to care. We'll just come
awake if you don't mind. I'll have this prove to you.
That's the last thing I do. I'll follow along the
quarter day and.

Speaker 58 (04:05:48):
Stand quietly listening while I put a question to mister Pyle.

Speaker 49 (04:06:05):
Hello, gentlemen, sir, we have a doubter in our midst
You can't, says I blame him.

Speaker 1 (04:06:11):
Hold on it with him. I'm getting a tally on
the blinker from the ow of the Tourmaline.

Speaker 58 (04:06:20):
There, Albert, did you read that there were four aboard
the Tourmaline that saw the.

Speaker 49 (04:06:25):
Ships aboard the Tourmaline live sod on the clear pedro.

Speaker 1 (04:06:30):
There were four of us on this ship. We've got
a good look, thirteen all told.

Speaker 49 (04:06:34):
I was hoping I could blame it on the brand day.
We drank in the wardroom last night. But the evidence
seems all of the contrad every man questioned us all
too positive, and he saw the brig.

Speaker 58 (04:06:44):
Every description of the ship tellys I'm afraid we've witnessed
the impossible.

Speaker 1 (04:06:50):
Gentlemen, What we saw was the flying Dutchman the ghost ship?

Speaker 58 (04:06:56):
And isn't there some kind of superstition about the appearance
of a ghost ship?

Speaker 49 (04:06:59):
Mister Pile, there is lad Its appearance is supposed to
be followed ray sudden death.

Speaker 1 (04:07:07):
Not to see seamen of these times still believe that.
I'm afraid they do.

Speaker 49 (04:07:12):
They'll believe it even more when word gets about the
ship has seen bout thirteen men. And don't ask me
if it isn't possible to keep the thing quiet. Seeing
a ghost ship is too good a story not to
be shared. You yourself can attest that, George, Yes, sir, sir,
they have it. I can only hope that the poor

(04:07:33):
bladder who.

Speaker 1 (04:07:33):
Is marked to die, they go quick and easy.

Speaker 16 (04:07:49):
After the third watch had reported in that morning, the
shipboard routine appeared to carry on in normal fashion. The
deck was being swabbed down by a line of lusty
seamen while another crew polished brass.

Speaker 2 (04:08:02):
On the quarter deck.

Speaker 16 (04:08:03):
But underneath the routine was running an undercurrent of excitement,
even apprehension. Albert, who had stood the second watch, stopped
by the foremast for a word with the lookout who
was preparing to go along.

Speaker 1 (04:08:16):
Oh, I say you're the lad who first discovered the Dutchman.
I say, right, sir, what's your name?

Speaker 7 (04:08:22):
Stokes?

Speaker 12 (04:08:22):
Sir?

Speaker 2 (04:08:23):
Only seeing the Stokes.

Speaker 1 (04:08:24):
Now, you're quite certain in your own mind that the
thing was a ghost.

Speaker 58 (04:08:28):
Ship, sir, a living ship, aglower that red a light
would have to be showing flames.

Speaker 1 (04:08:33):
But was there nothing else about her?

Speaker 58 (04:08:35):
I seemed to be silent along before a spanking breeze,
and of course there was never a breath stirring in
the air I see.

Speaker 1 (04:08:43):
And you also had the feeling that you could see
through her. Is that what I'm saying?

Speaker 58 (04:08:48):
No, I sir, she was a ghost ship well enough,
and there's not a doubt of it amongst the lads
in the folkshole, as even Summers claimed they've never seen
one before, and they claim it never fails. The Dutchman
shows up, somebody aboard is about the cash and his
chips fill.

Speaker 1 (04:09:04):
All right, get aloft with you, but try not to
cite another one today, will you? If I do, Sarah,
I'll rock the other way.

Speaker 11 (04:09:19):
How book's good, And.

Speaker 16 (04:09:20):
Watched the young seaman as he scrambled up the blind,
noting that he seemed handy about it a little too much. So,
if anything, A moment later, his brother George joined him.

Speaker 1 (04:09:31):
Well, the word's gotten around quick enough. Yes, so I've
just heard the lad going aloft his apparently passed the
word about. Still don't believe it, old boys. I mean,
thirteen men aboard three ships all report the same site
and the same description. I got to bare my head,
but I'm dashed. If i'll swallow that senseless superstition that
goes with him, I'll lay you five quid.

Speaker 58 (04:09:52):
We get through the day without occasually that's a rum bet.
If I took you, i'd be asking.

Speaker 2 (04:09:57):
For some kind of accident to turn out.

Speaker 1 (04:09:58):
Well, there's a way I hate about it. Anyway, I
say up there, I don't care to put work.

Speaker 22 (04:10:05):
It's all right.

Speaker 1 (04:10:07):
For the last time if you don't hang on man
bread the night.

Speaker 43 (04:10:12):
Up of your hand.

Speaker 5 (04:10:15):
That your.

Speaker 16 (04:10:27):
There was no use for the surgeony ordinary seamen Stokes
had been killed instantly by his fall from the fore
last yard arm. The old superstition had been proven even
to the doubting Albert. The ghost ship appearing meant that
a man aboard would die, and the man was now dead.
When such incidents occur, superstition is hard to quell. Many

(04:10:51):
years later, the younger of the two brothers, George, met
once again with a man who had been officer of
the watch on that memorable night.

Speaker 2 (04:10:59):
It was the first thing mentioned between the two.

Speaker 58 (04:11:02):
I wonder if you recall Captain Pyle a night in
the Indian Ocean when the two of us watched a
phantom ship sail across our bow.

Speaker 2 (04:11:12):
Recall it.

Speaker 49 (04:11:14):
I've seen that ship again on many a sleepless night,
your majesty, I never see another one like it.

Speaker 11 (04:11:44):
Yes.

Speaker 16 (04:11:44):
The young midshipman who was one of the thirteen to
observe the ghost ship, and who recorded a detailed description
of the incident in his diary, later became George fifth,
England's well loved sailor.

Speaker 83 (04:11:56):
King Walter Gibson, You're expert on the supernatural stories of ghosts,
of spirits, werewolves.

Speaker 1 (04:12:14):
And hoodoos, and each story you hear is true.

Speaker 17 (04:12:18):
But strive.

Speaker 83 (04:12:28):
Strange with Walter Gibson as your expert. Was directed by
Direx Hines in the cast where lay on Jenny and
Laws in Zerbe.

Speaker 17 (04:12:34):
This is Charles Wood speaking, uh were you?

Speaker 11 (04:13:47):
Men and women in the Armed Forces of the United.

Speaker 1 (04:13:50):
Nations represent one of America's top spine Tinglers a radio
rebroadcast of a program I'm dedicated to the mysterious, the unusual.

Speaker 2 (04:14:04):
And sometimes it's supernatural.

Speaker 11 (04:14:08):
A program of upence.

Speaker 49 (04:14:29):
Come now in happier peacetime days to a great ocean
liner on the night of her departure for Europe. There
she is at the West twenty second Street pier, the
twenty five thousand Moravania of the White Planet Line.

Speaker 1 (04:14:42):
Smoke from her three funnels coils.

Speaker 11 (04:14:44):
Up lazily in mild October air.

Speaker 49 (04:14:46):
You can see the decks, white and shiny like shoe boxes,
and the spring of lights along.

Speaker 12 (04:14:51):
Them, and the band standing by on a deck to
play her out.

Speaker 49 (04:14:54):
You can hear the murmur of an excited crowd and
the rattle of the steam. Wins says cargo was lowered
into the hole.

Speaker 1 (04:15:00):
We see the bustle of activity.

Speaker 49 (04:15:02):
The second officer standing at the head of the gang
plane as too rapidly tastier hurry who the customs cad
called that gang sap.

Speaker 72 (04:15:09):
It's all right, pretty, we are not too late, no,
and I thought we'd be in time a honeymoon in Europe,
three whole months.

Speaker 12 (04:15:17):
With nothing to worry about.

Speaker 11 (04:15:19):
That's right, And you've been my wife.

Speaker 1 (04:15:21):
Well, let's see, practically five hours now.

Speaker 11 (04:15:24):
I believe the correct phrase is is it was so sudden.

Speaker 1 (04:15:29):
So sad that we have to travel on our own
passports instead of our husband and wife once. I hope
they don't think you're not an honest woman.

Speaker 72 (04:15:36):
I'm going to act like a complete lot of disindeavaent.
Oh what about our tickets, Tricky? Do we give them
to that officer standing at the top of.

Speaker 1 (04:15:44):
The gang plank? No, honey, you keep your ticket. The
cabin story will come around and collect it.

Speaker 2 (04:15:48):
After we're underway.

Speaker 1 (04:15:49):
And the money, Ricky, it's a lot of money, ten
thousand dollars in cash. Maybe i'd better turn it in
if course's office for safekeeping.

Speaker 72 (04:16:00):
Yes, maybe you had Wait a minute, Ricky, Wait, do
you mind if we stand here.

Speaker 11 (04:16:08):
For a second before we go up the gang time?

Speaker 55 (04:16:10):
You're not ill on you?

Speaker 22 (04:16:12):
No, But.

Speaker 72 (04:16:14):
Getting over brain fever isn't any joke, dear you.

Speaker 11 (04:16:18):
See, Ricky, I ought to be eager and.

Speaker 72 (04:16:20):
Excited like all those people up there, But suddenly you
get fancy, the queer sick fancy.

Speaker 1 (04:16:28):
Suddenly.

Speaker 72 (04:16:29):
Right now, all I can think of is the night
and the wind and all the black water in the dark.

Speaker 1 (04:16:35):
And that's exactly the kind of morbid fancy I'm trying
to kill you off.

Speaker 72 (04:16:38):
I know, Ricky, I'll be good, but I was just
thinking of a story story.

Speaker 11 (04:16:45):
Oh never mind it.

Speaker 1 (04:16:46):
It doesn't matter which way.

Speaker 2 (04:16:47):
Do we go up the gang night. You go through
that door, then and down on the elevator to B
deck and no more horrors? Do you understand?

Speaker 1 (04:17:02):
Here? We are am B deck and cabin numbers. Good Lord,
be thirteen, be thirteen. You're not superstitious, are you?

Speaker 11 (04:17:15):
I no, dear, not about things like that.

Speaker 1 (04:17:17):
Open the door.

Speaker 2 (04:17:18):
Here we are, right, Sam and.

Speaker 1 (04:17:22):
Rickie, Darling.

Speaker 72 (04:17:24):
It's a beautiful cabin.

Speaker 2 (04:17:26):
The best I could get. I've got a luggage in anyway.

Speaker 1 (04:17:29):
And over there, Adam, you'll find a basket of fruits
in some books from your obedience.

Speaker 2 (04:17:34):
You are nice Smith, and I'm.

Speaker 72 (04:17:36):
Feeling so much better, Ricky.

Speaker 11 (04:17:38):
I will be all right, Darling.

Speaker 2 (04:17:40):
Of course you will.

Speaker 1 (04:17:41):
But you won't find any detective novels among.

Speaker 2 (04:17:44):
Those books, please please, Ricky.

Speaker 1 (04:17:46):
Detective novels may be all right for presidents and college professors,
but Straightforwarson to you, you'll read love stories.

Speaker 72 (04:17:53):
I like it, you know, Ricky, I keep thinking and
thinking about that story, I mention, No.

Speaker 11 (04:18:00):
What's story there?

Speaker 72 (04:18:01):
The old one. You'll probably know it, but it is
new to me. A woman and her daughter arrive in
Paris and go to a hotel.

Speaker 2 (04:18:09):
Oh you mean the old past exposition.

Speaker 1 (04:18:10):
Storry, Yes, that's it. The daughter goes out.

Speaker 72 (04:18:14):
When she returned, her mother has disappeared, and even the
hotel room isn't detained.

Speaker 12 (04:18:20):
The proprietor of.

Speaker 72 (04:18:21):
The hotel swears the girl came there alone and that
there never was a mother.

Speaker 1 (04:18:25):
The whole room is different.

Speaker 72 (04:18:26):
When she goes back to look at it. The girl
goes to the police and they won't believe when she's
nearly crazy. Of course, it turns out that the mother
has caught pubonic plague and died, and they're hushing it
up so that the visitors won't keep away from the
city and ruin the whole exposition.

Speaker 2 (04:18:41):
But you've got the selfest kind.

Speaker 5 (04:18:43):
Of talk, I know.

Speaker 72 (04:18:46):
But imagine being in a situation like that, with all
those queer eyes staring at you, wondering if you'd lost
your reason, wondering if your brain had cracked, and the
whole world might dissolve.

Speaker 2 (04:18:59):
And that's the last call an will be under way
any minute, now, you know.

Speaker 72 (04:19:08):
Ricky, I would like to see the skyline go past
to the Statue of Liberty and the rest of it.

Speaker 1 (04:19:14):
Oh, then why not go up and see it. I've
got to deposit this money in the First's office.

Speaker 2 (04:19:18):
I'll see that.

Speaker 12 (04:19:19):
I don't like you to leave me.

Speaker 2 (04:19:22):
Oh now, look here there. You don't think I'm going
to disappear, do you?

Speaker 72 (04:19:27):
I suppose I don't really when I get these ideas
and I can't help it, Ricky.

Speaker 1 (04:19:32):
I wish you'd wallop me.

Speaker 11 (04:19:35):
I'm not going to wallop you, man, but you've.

Speaker 55 (04:19:37):
Got to stop being afraid.

Speaker 2 (04:19:39):
You certainly won't disappear in a crowded ship with any
number of people around you. And that's for me. I
defye Houdini himself to make me vanished.

Speaker 26 (04:19:47):
Don't chop like that.

Speaker 2 (04:19:49):
I'm not going to vanish an the RUSS cabin, dear.

Speaker 5 (04:19:52):
I'll run along.

Speaker 2 (04:19:53):
I'll join you on deck as soon as I can.

Speaker 1 (04:19:55):
All right, Ricky, I'll be good.

Speaker 72 (04:20:16):
Eager people, excited people, happy people, all crowding up to
the rail away goodbye, nothing to worry about, nothing on
their mind.

Speaker 84 (04:20:25):
The script except what oh accept pa sick madam? Oh well,
I beg your pardon. I haven't meant to startle you,
believe me.

Speaker 72 (04:20:35):
Please don't learn sen it how silly of yet with
my father, I haven't done very well, I.

Speaker 1 (04:20:40):
Noticed, is madam, if you'll forgive me, that was why
I spoke to you. As you see by my uniform,
I'm the ship's doctor. This is a bit of ship,
isn't it. But you don't sound bitish. No, I'm an Australian, madam,
Doctor Paul Henry, at your service.

Speaker 11 (04:20:56):
I'm not very popular in my own country today, days
of of shirts and bacon.

Speaker 12 (04:21:01):
Mine.

Speaker 1 (04:21:02):
I'm missus Brewster, doctor and brewster. When does the ship
go in?

Speaker 84 (04:21:06):
About a second, Missus Brooster. You will hear the whistles,
then the dan will strike up all langs in.

Speaker 5 (04:21:12):
And then.

Speaker 1 (04:21:14):
We're moving, aren't we.

Speaker 17 (04:21:16):
Yes?

Speaker 11 (04:21:17):
Don't you feel the vibration of.

Speaker 5 (04:21:18):
The engine.

Speaker 22 (04:21:32):
Who were at the bottom of the bottle?

Speaker 11 (04:22:01):
I imagine this is not your first crossing, madam. Oh,
I'm afraid it is, doctor Heinrich. My husband's crossed many times,
he tells me, but not on this ship. Well, then
I hope you're a good sailor.

Speaker 1 (04:22:12):
Why doctor Heinrich, Well, because you're run into some very
jerky weather once we're out at sea.

Speaker 11 (04:22:17):
October some very bad months for traveling.

Speaker 72 (04:22:20):
Well, if I do get seasick, doctor, I'll rush straight
to you, and I'll.

Speaker 1 (04:22:23):
Expect to be cured.

Speaker 11 (04:22:25):
Sa Let me tell you a secret, madam.

Speaker 84 (04:22:27):
There are two common ailments for which medical science has
no cure. One is ordinary seasickness and the other is hangover.

Speaker 11 (04:22:35):
Tomorrow morning, I shall be dealing with both and enjoying it.
Oh no, no, no, no, no sympathizing with That's all
I can do. How do you like tomorrow? Aniet?

Speaker 72 (04:22:43):
It's a magnificent ship from what I've seen of it,
and you know they've given us.

Speaker 1 (04:22:47):
A very nice cabin down on the deck. Be thirteen,
what's the matter? Why are you looking at me like that?

Speaker 11 (04:22:56):
I beg your pardon? Did you say be thirteen?

Speaker 1 (04:22:59):
Yes?

Speaker 11 (04:23:00):
I now you're quite sure of that, madam.

Speaker 72 (04:23:03):
Oh, yes, of course I'm sure of it.

Speaker 22 (04:23:04):
I saw the number on the door.

Speaker 11 (04:23:07):
Why not, Well, because.

Speaker 84 (04:23:11):
Gome on, doctor Hailey, because there's no such kevin about
this ship. I'm not joking, missus Brewster. You see, some
people are superstitious. Many ships like this one or mid
number thirteen on each deck. You must have been mistaken.

Speaker 12 (04:23:27):
Why are you trying to tell me?

Speaker 72 (04:23:29):
Do you think I saw something that wasn't there?

Speaker 11 (04:23:31):
No, no, Missus Brewster, not at all.

Speaker 72 (04:23:33):
Then come along, I'll show you. I approved to you
that there is a number thirteen.

Speaker 11 (04:23:38):
Will you come along, Yes, Missus Brewster, I think perhaps
i'd better escort you.

Speaker 5 (04:23:49):
Do.

Speaker 33 (04:23:51):
Yes, yes, ma'am, Come inside of us.

Speaker 85 (04:23:53):
Tell me the B deck isn't the sea?

Speaker 2 (04:23:57):
Oh yes, ma'am, no doubt about that.

Speaker 72 (04:23:59):
Doctor and I have been all over this part of
the ship looking for Cavin number thirteen.

Speaker 84 (04:24:03):
That we've been trying to convince this lady that there's
no such Kevin as Kevin number thirteen on this ship.

Speaker 55 (04:24:10):
Why there's sure evan isn't, ma'am?

Speaker 13 (04:24:12):
Never aden.

Speaker 72 (04:24:13):
I start aboard the Matavinir a matter of eight.

Speaker 85 (04:24:16):
Years, and I often know, but I tell you I
saw it.

Speaker 1 (04:24:19):
I was in there. It was a big cabin with
a private bathroom attached.

Speaker 72 (04:24:23):
The walls were paneled in light oak, and the furniture
was rosewood and yellow satin, and the portholes were like
real window.

Speaker 11 (04:24:29):
That's not much, good man, No, I'm afraid not.

Speaker 84 (04:24:32):
Most of the Kevin's hereabout to look like that. Yeah,
ask you what name was the Kevin booked in Brewster?

Speaker 1 (04:24:38):
Naturally, mister and missus Richard Brewster.

Speaker 72 (04:24:41):
Yeah, let's have her look on my list.

Speaker 5 (04:24:44):
Yeah, there's no Brews here, ma'am.

Speaker 1 (04:24:47):
I tell you I was in there.

Speaker 72 (04:24:49):
They even delivered the luggage.

Speaker 11 (04:24:50):
I saw it.

Speaker 85 (04:24:51):
Excuse me, ma'am, but I had a look, seeing all
the cabins I'm in charge.

Speaker 1 (04:24:55):
Of, just to see if the passengers.

Speaker 44 (04:24:56):
Wanted anything, And I don't remember any exactly a Bruister.

Speaker 12 (04:25:00):
Label on it.

Speaker 72 (04:25:02):
Wait a minute, there may be a partial explanation of this.

Speaker 84 (04:25:06):
Ah, you see, that's better, missus Brewster. I was hoping
you might find one.

Speaker 11 (04:25:09):
Ricky.

Speaker 1 (04:25:10):
That's my husband.

Speaker 72 (04:25:11):
Ricky and I have only denied a very short time.
And when my maid grind as the baggage label, she
she must have made them out in my lady's name.

Speaker 11 (04:25:20):
I never noticed at the time.

Speaker 35 (04:25:21):
Hell, what why might that bee?

Speaker 2 (04:25:23):
La'm Thornton.

Speaker 1 (04:25:25):
I'm Marie Thornton.

Speaker 11 (04:25:26):
O godness, the wife couldn't have said that before?

Speaker 72 (04:25:30):
I remember it will just self conscious and that little
chance her in peace?

Speaker 12 (04:25:35):
Sixteen?

Speaker 72 (04:25:35):
Now where's the sixteen?

Speaker 1 (04:25:37):
Right now?

Speaker 72 (04:25:38):
Demis?

Speaker 85 (04:25:38):
You're standing pros the flame stuns to the door. O.

Speaker 12 (04:25:41):
Thanks goodness.

Speaker 1 (04:25:44):
Oh yes, what about my husband's luggage. There's no gentleman's luggage.

Speaker 7 (04:25:49):
You're not cabbiness, your husbands or any other gentleman.

Speaker 1 (04:25:53):
If you know what I mean.

Speaker 22 (04:25:54):
I won't stand for this.

Speaker 1 (04:25:56):
Where's Ricky? What have you done with Ricky?

Speaker 84 (04:25:58):
Missus Brews, you can wait to settle this. I guess
who's down the corridor. You know, the man's coming top ups,
the man with the two girls striped around the fleet. Well,
let's met a marshal or second officer. Did you ever
see him before?

Speaker 72 (04:26:17):
Yes, of course I have.

Speaker 1 (04:26:18):
He was standing at the top of the gang's like
when Rick and I got a.

Speaker 84 (04:26:21):
Board, exactly so he might be able to tell us
something as a marco, as a marshall.

Speaker 11 (04:26:29):
Would you mind's coming here for a moment?

Speaker 9 (04:26:31):
Not at all.

Speaker 11 (04:26:32):
Always glad to oblige a chap who may to cut
me up in a moment, then only I do. Take
a good look at this young lady and tell me
have you seen her before?

Speaker 9 (04:26:43):
Seen her before?

Speaker 12 (04:26:44):
To my dear chef, if I had overlooked the young lady,
who will pardon me?

Speaker 11 (04:26:49):
I know a passenger as charming as this lady is
I would be less of a gentleman than I.

Speaker 84 (04:26:54):
Thank my You saw her coming coming aboard tonight, Oh certainly,
and of course you saw the gentleman.

Speaker 1 (04:27:02):
Who was with her, the gentleman who was with her, Yes, yes,
Yet oh there was nobody with her.

Speaker 11 (04:27:10):
Old boy, you are quite certain of define from arcos
and my dear doctor, she was the last sting to
come aboard.

Speaker 12 (04:27:17):
I think my bible is there was no other passenger
with her, or ahead of all behind out. If it
comes to that, you lie, you lie to me.

Speaker 11 (04:27:25):
Lower your boys, I know what it is.

Speaker 72 (04:27:29):
It's the old paraly like in the story. But you
won't get away with it.

Speaker 64 (04:27:33):
You're here, I go to the pressure.

Speaker 11 (04:27:35):
I'll go to the captain.

Speaker 74 (04:27:38):
Your father in heaven. Want anybody believe me?

Speaker 49 (04:27:54):
Lade her that night in the Captain's room and got
a bat the bridge. There is a con fronts of
ship's office outside stung by spray clinging to the bulkhead
rail in the dark.

Speaker 12 (04:28:05):
A frighting girl waits till the door of the cabin's
row over the.

Speaker 11 (04:28:12):
Will you bring the imdian that close the door?

Speaker 9 (04:28:16):
Yes, here we are.

Speaker 84 (04:28:18):
This is Captain Wainby. Now just tell your story straightforwardly,
and please don't excite yourself.

Speaker 20 (04:28:25):
Well, maybe we can get some decision into this matter.
Will you sit down here beside my dis Miss Thornton.

Speaker 1 (04:28:31):
My name is Brewster, Captain, Missus.

Speaker 2 (04:28:33):
Ann Brewster, hebe you see Missus Bruster.

Speaker 20 (04:28:37):
Thank you very much, Captain lem I tell you, ma'am,
I've got a lot of my mind already. My first
officer comes about with an attack of flu. I'm facing
an equinoxial game shorthanded, and now this has to happen
on top of it.

Speaker 11 (04:28:48):
I'm terribly sorry.

Speaker 72 (04:28:49):
I can't help that, captain, but I want to know
what they've.

Speaker 11 (04:28:52):
Done with Ricky. Just one moment, please while I get
this to dad.

Speaker 20 (04:28:56):
For this time, I understand, give yourself a personally interviewed
every single passenger aboard this ship.

Speaker 11 (04:29:02):
Is that true? Yes it's true. But your amaged husband
is not here? Is that true?

Speaker 1 (04:29:10):
Yes, that's true.

Speaker 20 (04:29:12):
In the meantime, the person has sent a squad of
men to search this ship.

Speaker 11 (04:29:17):
They've searched every inch of it.

Speaker 20 (04:29:18):
You can take my word for that. There's nobody hitting.
Your husband's not here. According to mister Marshall, who's standing
over there, I see him. According to mister Marshall, he
never was here.

Speaker 11 (04:29:30):
Oh, hanging on, mist you needn't g at me like that.
We couldn't see the chap. He wasn't enough Codway required
mister Marshall. Yes, I'm sorry. No, I'm I'm not unreasonable,
Missus Brewster. I think you'll admit that. So what can
I do? What can I say?

Speaker 20 (04:29:46):
Can you offer any proof even that this husband of
yours ever existed?

Speaker 1 (04:29:51):
Truth? Yes, of course, I cannot excuse me.

Speaker 11 (04:29:54):
For interrupting book. What do you mind? Captain ever asked
the question?

Speaker 22 (04:29:57):
Or two?

Speaker 17 (04:29:57):
No?

Speaker 11 (04:29:58):
Not to go ahead? I tell you I'm going myself.

Speaker 84 (04:30:01):
If you were married, Missus Brewster, you must be carrying
a joint husband and wife passport.

Speaker 11 (04:30:07):
Where is that?

Speaker 1 (04:30:08):
Well, there wasn't time to get one. We each carried
our own passport.

Speaker 11 (04:30:14):
Oh I see.

Speaker 84 (04:30:15):
But still there must be someone back in America who
can confirm what you say. If we got in touch
by a radio telephone, your parents.

Speaker 72 (04:30:21):
For instance, I haven't got any parents that did.

Speaker 11 (04:30:24):
What about relatives then? Or a guardian?

Speaker 1 (04:30:26):
My guardian is a trust company.

Speaker 72 (04:30:28):
The administrators don't even know I'm married.

Speaker 84 (04:30:30):
But somebody must have performed the ceremony of marriage, the
past and the justice of peace.

Speaker 1 (04:30:34):
Yes, of course, of course. But oh, I can't remember
the name of the town.

Speaker 11 (04:30:40):
You don't remember the name of that towne? Well, that
you can share, missus Brewster. The ship is going to
pitch again. There's the dash looking mister manshall. Oh baramater's rising,
Sir is well, I one hole long. We shall be
in the fog before morning. We are in a fog now.
If you ask me this, lady, I'm.

Speaker 72 (04:31:00):
Terribly sorry, but I'm trying to think of it. It
was a little town in upstate New York where they
can marry you at a moment's notice.

Speaker 55 (04:31:08):
Ricky kept the certificate.

Speaker 1 (04:31:09):
I was confused. I haven't been.

Speaker 11 (04:31:13):
Well, No you haven't.

Speaker 72 (04:31:15):
You see Ricky had been away and he came back
and I was in love with him, and he he
stead of set me off my feet.

Speaker 11 (04:31:25):
God, not much truth.

Speaker 20 (04:31:28):
If he'll take my advice, ma'am, he'll go below to
your cabin and get some sleeps. And I send adopted
down to mix you a sattive.

Speaker 1 (04:31:35):
Do you think I'm crazy?

Speaker 11 (04:31:36):
Don't you? I think they're a little over rock, ma'am.

Speaker 1 (04:31:42):
I can't understand, is why why why should you want
to do this? He kept it a dubonic played this
time plead ma'am who.

Speaker 11 (04:31:51):
Said anything about the bubonic plague? Never mind, but.

Speaker 1 (04:31:55):
I'll show you.

Speaker 11 (04:31:57):
You're all against me, maybe the doctor, but I'll show you.
I'll prove it to you.

Speaker 1 (04:32:04):
I'm going downstairs and I don't want anybody to follow me.

Speaker 43 (04:32:07):
Good night, Good.

Speaker 11 (04:32:11):
Well. I'm glad that's look here, mister Marshall.

Speaker 2 (04:32:14):
Huh.

Speaker 11 (04:32:15):
You think it's quite seat to trust her there alone?
And she's mad as I have her. If you ask me,
you think she might do something foolish. I think she
might check herself over the bad if we're.

Speaker 84 (04:32:27):
Not careful with your opinion, doctor, I can give you
my opinion, gentlemen, in a very few words.

Speaker 1 (04:32:34):
That girl at that staying as you are what I mean,
wait and hear what I have to say. I shared
your own believe at first. But I've been talking to
her all evening. I've heard the whole story, and there's
not a psychopathic trait.

Speaker 11 (04:32:47):
In her nature. She firmly believes in this husband. A
lot of people permanly believe in Napoleon, but they get
tossed in the lone evans.

Speaker 84 (04:32:55):
As I say this matter's not a joke at the Marshal,
I tell you this man exists or did exist. What
do you mean, doctor, I suppose he has been murdered.
Perhaps he has been murdered and thrown overboard, maur Good overboard.
If you remember Richard Bruce, that was carrying a very
large sum of money in cash his wife's wedding gifts.

(04:33:16):
Practically all are inherited. He meant to go to the
person's office, but he never got there that money back.

Speaker 11 (04:33:23):
It might have been a great temptation to whom to
astuere desk, perhaps or even to a ship's officer. Just
exactly what are you getting at?

Speaker 84 (04:33:32):
Numbers on doors can be changed easily enough. Just print
a small cart and put it on a metal slot
on the door.

Speaker 11 (04:33:37):
I still want to know you what you're driving. If
you use your.

Speaker 84 (04:33:40):
Intelligence, gentlemen, I think you will understand how a man
can be made to vanish into thin air, and why
mister Marshall saw never another passenger. You still don't see it, No,
I do not hold then listen and I'll explain.

Speaker 49 (04:33:56):
Exactly four o'clock in the morning, four o'clock the hour
of suicides and bad dreams.

Speaker 1 (04:34:13):
The gale is subsided, the sea is calm.

Speaker 49 (04:34:16):
Yes, this Mulvenia creeps blindly at barely eight knots through
a thick and strangling fog.

Speaker 12 (04:34:22):
The whole ship is dark and heeled up in sleep.

Speaker 33 (04:34:25):
There's no sound in all that mournful.

Speaker 49 (04:34:27):
Dimness, except when the fog horn cries on a warning overhead.
Even Cavin D sixteen is dark, and Brewster, skillfully dressed,
flies restlessly across.

Speaker 12 (04:34:37):
One of the birds, the head, almost touching it into Cavin.

Speaker 1 (04:34:40):
Telephoge hmm, what I thought I had heard?

Speaker 72 (04:34:50):
Telephox here Hello spears, precky preaty. Why are you wish?

Speaker 1 (04:35:01):
Why are you?

Speaker 72 (04:35:02):
What happened to you?

Speaker 12 (04:35:03):
You heard.

Speaker 5 (04:35:05):
What?

Speaker 11 (04:35:05):
He nearly got me?

Speaker 1 (04:35:06):
Who who nearly got to I can't explain over.

Speaker 2 (04:35:10):
The phone, and I don't dare go down there? Can
you meet me up on deck? Yes?

Speaker 5 (04:35:14):
Of course?

Speaker 1 (04:35:14):
Where do you know?

Speaker 66 (04:35:16):
The boat deck?

Speaker 12 (04:35:17):
Boat deck?

Speaker 1 (04:35:18):
Which one is that?

Speaker 5 (04:35:21):
Oh?

Speaker 1 (04:35:21):
Yes, I know it?

Speaker 11 (04:35:22):
Go to the starbard sight, Yes, that's the right hand side.

Speaker 3 (04:35:25):
Going forward, find the fourth line boat.

Speaker 5 (04:35:28):
From the half companions, and nobody else see it?

Speaker 72 (04:35:33):
Ricky, how did it?

Speaker 12 (04:35:34):
Fricky?

Speaker 2 (04:35:36):
He's gone, he's gone.

Speaker 72 (04:35:41):
Excuse me, But I thought I asked somebody talking in
the year, So that's what are you doing up at
this time of the night?

Speaker 11 (04:35:47):
If I might ask, miss, what are you doing up
and dress? How you ought to get some sleepness?

Speaker 72 (04:35:52):
You're really own.

Speaker 1 (04:35:54):
It might interest you the love to it is, but
I've just been talking to my husband.

Speaker 7 (04:35:58):
Now, looky, I min.

Speaker 1 (04:35:59):
Don't not that all over again.

Speaker 72 (04:36:01):
Please don't stop that all over again. You off pretended
to think I was mad, didn't do I You nearly
drove me mad.

Speaker 1 (04:36:08):
Ricky beating the whole crowd of you, and I'm.

Speaker 72 (04:36:10):
Going out on deck to meet him now on Deckness,
that's what I said.

Speaker 11 (04:36:13):
Where's my corner? Don't go not in the state of
mind yawning and the pox are sick.

Speaker 44 (04:36:20):
You can't hardly see your end in front of your face.

Speaker 72 (04:36:22):
Send away from the door, please.

Speaker 55 (04:36:24):
Spos Miss.

Speaker 11 (04:36:26):
I didn't want to let your jarday.

Speaker 1 (04:36:28):
I don't think that would matter much.

Speaker 72 (04:36:29):
You've probably heard that mad people have ten pounds ordinary exclaims,
and I'm stronger than you anyway, Miss, I'm a begging you.

Speaker 1 (04:36:35):
Stand away from that door. Two heard got you, pricky

(04:37:02):
freaky darling? Where are you here?

Speaker 2 (04:37:04):
Got your head on the lifeboat.

Speaker 11 (04:37:05):
To take my hand.

Speaker 72 (04:37:06):
Isn't it horribly dangerous out there on the edge.

Speaker 1 (04:37:09):
There's no no really along the side of the ship.

Speaker 2 (04:37:11):
Don't worry, and I won't let your fall.

Speaker 1 (04:37:15):
Went over body here, we're well asked here the propellers
such you would carry into the propeller places.

Speaker 11 (04:37:21):
Listen.

Speaker 72 (04:37:23):
I can't hear anything except the fog.

Speaker 1 (04:37:25):
Horn, but I can somebody walking along the deck, and
I can see a fresh light moving in a fog.

Speaker 11 (04:37:34):
You can see a flash light moving in the fog.

Speaker 12 (04:37:38):
What are you doing here at the.

Speaker 11 (04:37:39):
Moment, young lady, I'm peppering both of you with a revolver.
Please don't move. So you were in the conspiracy that's
behind me, He asked you. What's the pilasa the.

Speaker 72 (04:37:49):
Whole ship's conspiracy to say Richard Brewster didn't exist.

Speaker 84 (04:37:53):
My dear young lady, you can step your mind and
grab there never was any ships cont philacy again. You
the people you spoke to were perfectly honest.

Speaker 1 (04:38:01):
Including mister Marshal.

Speaker 11 (04:38:02):
I suppose yes, including with the master and what does
the stem back there?

Speaker 32 (04:38:06):
I suppose he was telling the truth when he said
nobody came up the.

Speaker 1 (04:38:09):
Gang client before rasterday.

Speaker 11 (04:38:10):
I beg your pardon. That does not what he said.
He said, no peasannger, he must a gang plank and
his time.

Speaker 1 (04:38:16):
Well, what's the disen?

Speaker 84 (04:38:18):
A great crime has arranged for the night, young lady.
No less a crime than murder.

Speaker 72 (04:38:24):
Who's would be?

Speaker 37 (04:38:25):
You?

Speaker 11 (04:38:25):
Are that? I repeated the scheme? But there is no
conspiracy and only one criminal.

Speaker 72 (04:38:34):
And who is the criminals?

Speaker 11 (04:38:37):
The criminal is the man standing beside you. You're so called.

Speaker 9 (04:38:41):
Husband, Wicky.

Speaker 1 (04:38:48):
You don't know what you're saying.

Speaker 11 (04:38:49):
I think I do.

Speaker 84 (04:38:51):
Marshall, of course did see someone walk up the gang
plank loitering behind you, but he never DRAMs of associating
the person anyway with you. He saw a ship's officer
returning from Shirley in civilian clothes. Yes, that man you
call your husband. His name isn't Richard Brewster. His real
name is Blainey and he's the first officer of the

(04:39:13):
Mora Venias. Are you trying to tell me that he
can identify him? He's actually British, so he can take
an American action very well. He has already got a
wife in England and he's planning to join her with
that ten thousand dollars he got from you.

Speaker 54 (04:39:25):
I don't believe it.

Speaker 72 (04:39:26):
I don't, Ricky, why don't you say something?

Speaker 1 (04:39:28):
Oh he planned it very cleverly, I must admit. He
never let you know he was ship's officer.

Speaker 11 (04:39:33):
City.

Speaker 84 (04:39:34):
He's been away for some time, naturally, so he persuaded
you to marry him, and a hurry here's the money,
you see, Ali, This was saying a dummy number on
the cabin door.

Speaker 5 (04:39:43):
Remove it.

Speaker 11 (04:39:44):
Later, put on his uniform and walk away with his
own lucket.

Speaker 72 (04:39:48):
But Captain Wayne I told us that the French officer
had come aboard tonight with with a beat.

Speaker 11 (04:39:52):
Attack of flu. Yes, our friend couldn't be seen in
public until after.

Speaker 84 (04:39:56):
He disposed of you. The best thing was to convince
everybody you were insane, as he did. Then when you
went over both tonight.

Speaker 11 (04:40:04):
They would all believe it was suicide exactly.

Speaker 84 (04:40:11):
But I began to suspect his brewister, because you thought
of him as telling such.

Speaker 11 (04:40:15):
You're not just lie.

Speaker 1 (04:40:16):
He said he had never traveled in a Morvania, yet
he could direct you all over the ship and even
knew where the person's office was. So he went to
his Kevin found it empty steps and found your ten
thousand dollars.

Speaker 11 (04:40:29):
Put to shop. Maybe you never touched him. Touched him, No,
the weight of the iron carried him over back towards
when he lifted it. It was the way he was
going to use to sink your body. Yes, so right,

(04:41:06):
it won't be easier, No, but I believe you just
way better.

Speaker 1 (04:41:27):
And so close as Kevin b thirteen, starring Margo and
Philip Dawn to Night, Tale of.

Speaker 50 (04:41:33):
A sent.

Speaker 5 (04:41:41):
A.

Speaker 86 (04:41:45):
Did you ever break a mirror and spend the rest
of the day in bread wondering what awful sate would
befall you? It is bad luck to break a mirror,
you know, because the gods in the mirror are protecting
you from harm. Or when you bring make your particular mirror,
you'r darkening the vision of your protectors, and anything is

(04:42:05):
liable to happen. Take the strange tale of Celeste Collins.
She was a pretty Irish girl of twenty one on
this day of her birthday, and the girls in the
office were giving her a luncheon party. She was dressing
in her lady arranging her hair in a stunning coiffure,
and admiring us off in her hand mirror, her hair

(04:42:27):
was her crowning glory, the envy of the girls in
the office. And so she preamed herself in the mirror,
turning first this way and that, completely satisfied with the effect.
But she set the mirror down carelessly and it slipped
off the dresser, falling to the floor with a shattering

(04:42:47):
sound of broken glass. Celeste wrinkled her pretty nose and
shrugged her shoulders. Just another miller at any rate, it
was time to go to work. She hurried from the
house to catch the subway.

Speaker 50 (04:43:01):
While she was fumbling in her purse for.

Speaker 86 (04:43:03):
A token, it spilled over all the contents.

Speaker 50 (04:43:07):
Set out to her homestyle.

Speaker 86 (04:43:09):
Reaching under the style to put her bag together only
caused a long run in each of her silk stockings.

Speaker 50 (04:43:17):
Then she was an hour and eight for work.

Speaker 86 (04:43:19):
Because the train stalled in the tunnel and tried up transportation.
And at the office she overturned a bottle of ink
on the whole pile of contract she had typed so
carefully the day before. Well by noon, Sir Lester decided
it was just one of those days when you should
have stayed in bed. All posted as Collins was Irish,

(04:43:41):
and the Irish affairs steeped with the conditions of leprechauns
and strange happenings. She was practical and sensible as well,
as the broken mirror was just a coincidence and just
a silly superstition anyway, and the birthday party that followed
erased any doubt she may have had in her mind.
The girls winder and dined Durn the little restaurant around

(04:44:04):
the corner. They'd even gotten her a birthday cake, and
even though the morning had been awful, the rest of
the day flew by with Celeste as happy as a bird,
and so at five o'clock she went home. Her birthday
had been a great success. It was only an hour later,
while she was sowing a dress in the living room

(04:44:24):
that the door bell rang expectantly. Celeste sprang to answer.
It was a delivery man with an arge up right
package that towered as high as the door. Celeste signed
for it. As the man moved the package to the
center of the room and pumped it up against the table.

(04:44:47):
After he'd left, she eyed the heavy cords that bound
the package and suddenly realized that the girls had taken
this method of surprising her with the birthday present delight.
She took her sewing shears and cut the cords. After
wrapping paper fell away with a hissing noise, and miraculously,

(04:45:08):
there were two Celeste Collins in the room, the one
standing away from the table, the other smiling back from
the reflected depths of the full length mirror propped against
the table. But Celeste Collins started to scream. The face
in the mirror was a twisted satanic thing, an outrageous

(04:45:29):
caricature of the lovely face before it. Celice stepped back,
overwhelmed with fright. She kept backing up, but the awful
thing in the mirror receded with her, and then her
legs were halted, but the sill of the window behind
her whirling, Celeste saw her face again in the crystal
clear panes of glass in the window, the same hideous,

(04:45:52):
ghastly smile. With a terrible shriek, she hurled herself at
the window and fell through six stories to the cement
courtyard below. So you see, my friend, the birthday present
was a gift from hell, of course, Celeste, SOI only

(04:46:13):
herself in the mirror, But.

Speaker 50 (04:46:16):
Look for yourself. Look into the mirror.

Speaker 86 (04:46:20):
There you've dropped it broken it into a million fragments.
How dreadful. I'm afraid you're in for some bad luck.

Speaker 54 (04:46:56):
The Adventures of the Saint starring Vincent Price. The Saint,
based on.

Speaker 51 (04:47:11):
Characters created by Leslie Choppers.

Speaker 54 (04:47:13):
And known to millions from books, magazines, and motion pictures.
The Robinhood of modern crime now comes transcribed to radio,
starring Hollywood's brilliant and talented actor Vincent Price.

Speaker 11 (04:47:23):
As the Saint.

Speaker 12 (04:47:28):
Just a moment, please.

Speaker 87 (04:47:32):
Yes, mister Tempora, mister Simon Tempora. And if I say yes,
oh I am a George. Congratulations. What are you or
you dressed for?

Speaker 7 (04:47:41):
Oh?

Speaker 12 (04:47:41):
Not army uniform, my way or chauffeur? You will come? Huh?
You come?

Speaker 35 (04:47:47):
Now?

Speaker 12 (04:47:48):
You want me to go somewhere with you? You are
sure you are, mister Simon Temper, the Saint. If I'm
not my old grandmother shouldn't have lied to me all
these years? Then you come? Where did you not receive
the quarter?

Speaker 87 (04:47:59):
Even the most casual eavesdropper would have to admit it
doesn't appear.

Speaker 12 (04:48:02):
So what call employer, say, George, go to this number?
And did miss the temporal? Employer say?

Speaker 1 (04:48:09):
He called?

Speaker 12 (04:48:10):
So when I arrived? You know you come, no.

Speaker 1 (04:48:13):
Cause up, no car?

Speaker 87 (04:48:15):
Who is your employer, mister Orando Button him old man,
he very afraid Orlando Button art collector Button Gary employer.
Say what's your trouble coming? You come help?

Speaker 12 (04:48:28):
Oh what sort of trouble?

Speaker 11 (04:48:30):
Will you go now? Yes?

Speaker 2 (04:48:31):
You go now?

Speaker 87 (04:48:31):
Yes, my neck and I recently came to an understanding
your necks my neck, I promise not to stick it
out again until I at least knew why it was
going to be chopped at, and it in turn agreed
to be a little more tolerant or starched. Collis, I
am going to bed.

Speaker 1 (04:48:46):
Oh no, you are coming.

Speaker 87 (04:48:49):
You know, with one swift gesture, you have given me
six good reasons why I should go with you? Or
does that revolver hold eight bullets?

Speaker 2 (04:49:12):
Sure?

Speaker 12 (04:49:12):
This is a home? Oh?

Speaker 87 (04:49:14):
Yes, home on My employer, mister Arundel Button had a
couple of ticket windows scattered around a few timetables and
could easily pass with the home of the super.

Speaker 1 (04:49:23):
Chief employer awaits you in the study, mister temporar, you
call us this is.

Speaker 2 (04:49:27):
A white Prieston.

Speaker 87 (04:49:27):
Yes, now, look, would it'd be too much to ask
you to stop waving that gun under my nose?

Speaker 9 (04:49:32):
You will come.

Speaker 12 (04:49:32):
I come, well you wait, I wait.

Speaker 59 (04:49:41):
Ha ha.

Speaker 12 (04:49:44):
Ha, mister Button, I have brought mister Temples. Oh yes,
thank you George. I I must have dozed up. Mister Templary,
it will It was good of you two come, but
I am half as good as it was of George
to bring me. He is very persuasive, eh, mister Temple

(04:50:06):
saying no, Colm, I invite him at the point of
a pistol, you call himself. No, no, I fell asleep.

Speaker 13 (04:50:14):
That will be all.

Speaker 88 (04:50:18):
I'm sorry George had to resort to melodrama, mister Templar.

Speaker 12 (04:50:21):
I I mean, look, you will forgive me. I'm sure
it's all a mistake. What's all a mistake? This, this incident.
I never should have sent for you. I my nerves.
I'm a victim of my own imagination.

Speaker 87 (04:50:35):
Remarkable, Eh, here you are trembling, yet scarcely two minutes ago,
according to you, you were in your study. Then nothing
but what is fear in that trembling, mister Button? And
on your face too? You scared witless? Scared people? Don't
those jeez.

Speaker 12 (04:50:50):
I beg of You'll go at once. Forget that you've
been here.

Speaker 87 (04:50:53):
That was a long ride across town with your chauffeur's
gun in my ribs long and unpleasant.

Speaker 88 (04:50:59):
But I didn't judge to use a gun. We can
talk in your study, and now you mustn't go in there.
You uh, you shouldn't have done that. I tried to
keep him out of here. I knew you didn't want
him to see that. Why are you pointing that gun
at me? What are you point the door?

Speaker 87 (04:51:28):
Mister temper? Mister temper, mister temper here I am giving you, brandy.
Oh that's good, Brandy, Wake me up some more.

Speaker 12 (04:51:41):
You ought to be more writer.

Speaker 87 (04:51:43):
As soon as the canary stop holding choir practice in
my head. Oh so sorry, I give too much, Brandy.
Where's mister Button? He gone gone where? Oh no, seagull
I go to room. Time passes.

Speaker 51 (04:51:56):
I think maybe now, employee want me to drive you
home again? I come here to study, finding you on floor.
Employer going picture pictures? What pictures ones that arrive today?
Sailor bring crate? What sort of pictures were they? Where
the Western pictures?

Speaker 17 (04:52:13):
Saying?

Speaker 87 (04:52:13):
Western man look all right to me, but they make
mister Button very angry.

Speaker 12 (04:52:19):
And then he told you to fetch me.

Speaker 87 (04:52:21):
Oh no, not right away, short a time later after
phone call, phone call, employer call number. Speak you get
the information, write something on a paper pad, then send me, get.

Speaker 12 (04:52:33):
You the pad.

Speaker 2 (04:52:35):
Where is it on the desk?

Speaker 55 (04:52:37):
Here?

Speaker 12 (04:52:38):
I give it to you, thank you? Yes, nothing on it?
Maybe he tear a writing page off, George, take your
finger and dip it in the fireplace for me?

Speaker 2 (04:52:47):
Will you keep it?

Speaker 16 (04:52:49):
Oh?

Speaker 12 (04:52:49):
Too much, Brandy, too much? Go, I'm going now.

Speaker 87 (04:52:52):
Please do as I say. Get some ashes on your
hand hushes. Yes, in the fireplace.

Speaker 12 (04:52:56):
Oh oh yes, sir, fingers are all properly doughty we aushes.
Now rub it on this page of the pad.

Speaker 11 (04:53:05):
Hm.

Speaker 1 (04:53:06):
Likely likely gently you got on us magic.

Speaker 12 (04:53:10):
Western magic, known only to those few hardy adventurers who
have dared to visit the forbidden city of Brooklyn. What
will the coming forth?

Speaker 1 (04:53:17):
On a pod?

Speaker 12 (04:53:18):
A picture of anime wall hoodie Marto. Look now rub
the ashes in a little hider.

Speaker 2 (04:53:22):
Huh that's it.

Speaker 12 (04:53:25):
But he's the woods, No pat woods that were on
former page torn off.

Speaker 87 (04:53:30):
If mister Mutter should ever need an assistant's give it
to me, s I stienno, you know, mister Stiano George
not knowing so uh stieno s s. Do you know
Tuscany the s s Tuscany or sounding like the steamboat?
Second thought, maybe mister motto to be your assistant. Goodbye, George,

(04:53:53):
or you go like a.

Speaker 12 (04:53:54):
I can't you stay? You go find him boyer?

Speaker 5 (04:53:56):
Yeah?

Speaker 12 (04:53:57):
Why a guy like you, George. That's why I don't
want you to lose your jobs?

Speaker 11 (04:54:02):
Right.

Speaker 12 (04:54:02):
Oh, that's a funny place to put a chair. A
chair'll belong over here. Oh, mister templar, you say I
am the losing job. Why we have a quaint.

Speaker 87 (04:54:13):
Saying in this country, George, chauffeur lose job, if employer
lose life.

Speaker 33 (04:54:34):
Who's that on?

Speaker 11 (04:54:35):
Tech?

Speaker 12 (04:54:36):
Boy?

Speaker 17 (04:54:37):
Let's speak up.

Speaker 12 (04:54:38):
It's me if that means anything.

Speaker 17 (04:54:41):
Hey, you're late.

Speaker 11 (04:54:41):
I expect you yet.

Speaker 5 (04:54:43):
What is this?

Speaker 7 (04:54:44):
You ain't mala.

Speaker 12 (04:54:45):
Name's templar?

Speaker 11 (04:54:46):
All right, So the name's templar. What are you doing
aboard my ship? Looking? You're customs man?

Speaker 12 (04:54:51):
You're the captain, third officer.

Speaker 11 (04:54:53):
Captain, want to shore? I'm in George.

Speaker 89 (04:54:55):
Look, fella, you boys from customs already went over this
vessel three times since we doc this morning.

Speaker 12 (04:55:00):
Three times.

Speaker 17 (04:55:01):
Eh.

Speaker 12 (04:55:02):
It's the usual procedure, isn't it?

Speaker 11 (04:55:04):
Three times? As usual? And each time, so through the
ship is practically dismantled. What goes pal here?

Speaker 7 (04:55:09):
You tell me.

Speaker 11 (04:55:10):
I don't know what you boys are looking for, mister,
but I'll tell.

Speaker 9 (04:55:13):
You here now.

Speaker 11 (04:55:13):
It ain't on board the Tuscany. This is an honest ship.

Speaker 87 (04:55:15):
Yeah, and I'm the captain of the pinna For. You
got a man named Stiano on board.

Speaker 89 (04:55:20):
Look, mister Stieno's a good guy, one of the best
men on this ship. He works hard, no complaints, He's loyal, efficient,
a good all around man.

Speaker 11 (04:55:27):
That's Stieno.

Speaker 12 (04:55:28):
You know him pretty well, know him.

Speaker 9 (04:55:30):
I'm him.

Speaker 12 (04:55:31):
Well, I'm glad to meet a good, loyal, efficient, uncomplaining,
all around man. You know a man named Button?

Speaker 87 (04:55:38):
No, you say button, button liking what one is sometimes
told to do with one's lip, button liking button galleries button, Yeah,
I know, but his art gallery, that's all?

Speaker 2 (04:55:49):
What about it?

Speaker 87 (04:55:50):
We hold cargo from this voyage, a creek we picked
up in Genoa that's in Italy. Yeah, great, filled with paintings,
valuable and rare.

Speaker 11 (04:55:59):
I seen them paintings.

Speaker 89 (04:56:01):
If they're valuable, then we're both the captain of the Pinafore.

Speaker 12 (04:56:04):
Oh bad.

Speaker 89 (04:56:05):
All I can say is fully, what smug fails to
do to the human eye looking at.

Speaker 11 (04:56:10):
These pictures, does how many seven?

Speaker 12 (04:56:13):
Huh? They were sent ashore?

Speaker 17 (04:56:15):
Yeah?

Speaker 89 (04:56:16):
Look, all I know is we're loading cargo and general
a guy comes on with this here, Craig.

Speaker 11 (04:56:21):
He gives me a song and dance about taking extra
special care this valuable life. So don't get banged around
like cargo sometimes does.

Speaker 12 (04:56:28):
That's all he asked of you.

Speaker 11 (04:56:30):
And also to deliver it after it cleared tough customs.

Speaker 89 (04:56:33):
Delivered where so the guy's consigned to doctor Webbert, the
button Ut galleries to nobody else. He says, just just here,
doctor Webber, and I shall be handsomely rewarded.

Speaker 55 (04:56:41):
What were you?

Speaker 11 (04:56:42):
I'll let you know when Miller gets back. I hope
you found the art.

Speaker 87 (04:56:45):
Gallery still open, and I'll tell you right now he
didn't know then what did he do with it? I'm
inclined to think he brought it to the one man
he shouldn't have brought it to Orlando Button.

Speaker 11 (04:56:55):
Oh, and this guy in Italy says, make sure nobody
gets it but.

Speaker 9 (04:56:59):
The doctor Webber. How about that?

Speaker 2 (04:57:01):
For luck?

Speaker 11 (04:57:02):
A lousing mistake is going to cost me my handsome war.

Speaker 12 (04:57:04):
And you're getting it right. That same mistake may cost
mister Button his life.

Speaker 2 (04:57:20):
I lost, say.

Speaker 1 (04:57:23):
Yeah, I want to make sure it was you'll just
come off the ship.

Speaker 12 (04:57:28):
I'm kind of glad it's your sucker, you know. I'm
kind of glad to see you too. Let's see how
good you are without the gutting your sucker. Don't worry
about it.

Speaker 87 (04:57:43):
When I finished tearing it off, I promise you I'll
give it back to you.

Speaker 12 (04:57:48):
Come on, what will wind brought you out of retirement?

Speaker 2 (04:57:50):
Case?

Speaker 1 (04:57:52):
No temper might kind of.

Speaker 2 (04:57:53):
Work with it.

Speaker 20 (04:57:54):
When the guy says he's retired is either trying to
kid the cops or kid himself.

Speaker 12 (04:58:00):
You mean there's always another hudler move who'd force you
back into it? Eh, And let's have some talking to clip.
Let's go down first. Net loose to talk first. I'll
loosen your tongue with a little history.

Speaker 87 (04:58:14):
When I first knew you, you worked for Scorelli as
his trigger till he was deported a couple of years back.

Speaker 12 (04:58:20):
My, you're full of news.

Speaker 1 (04:58:24):
What do you want from me?

Speaker 2 (04:58:25):
Said? Who hired you to.

Speaker 12 (04:58:26):
Squeeze the trigger on me? Nobody has to hire me
the gun?

Speaker 1 (04:58:29):
You don't said with me?

Speaker 12 (04:58:31):
That's slaver of love.

Speaker 1 (04:58:33):
I just want my arm. You're breaking up, turning loose.

Speaker 87 (04:58:38):
Heyk said guy that there's someone behind you. You've developed
a decided talent for ventriloquism.

Speaker 1 (04:58:44):
He's no ventriloquist, and I'm no dummy.

Speaker 17 (04:58:47):
Uh who are you?

Speaker 1 (04:58:49):
I'm just a man with a gun and the gun
is in your back? Turning loose?

Speaker 2 (04:58:56):
He's loose?

Speaker 12 (04:58:57):
Oh, sure, came along when I'm huh.

Speaker 1 (04:59:01):
The boss wants you? Get right over there.

Speaker 12 (04:59:03):
Oh, I'm gonna handle the sucker.

Speaker 11 (04:59:05):
I'll handle him.

Speaker 1 (04:59:06):
You beat it, okay, pa, okay, alright, turn around, templar carefully,
very carefully.

Speaker 58 (04:59:17):
Good.

Speaker 1 (04:59:18):
He did that very nicely.

Speaker 12 (04:59:19):
Yeah, I've been taking dancing. I see.

Speaker 1 (04:59:21):
It's too bad someone doesn't sell lessons in how to
mind one's own business.

Speaker 9 (04:59:25):
From now on.

Speaker 54 (04:59:26):
You're keeping your nose out of this affair. It doesn't
concern you. Clear like Tapioka. Yeah, I get shanghaied by
a fast drawing Oriental with a gun. I get my
skull bashed so hard my brains are threatening to move
out of the neighborhood.

Speaker 87 (04:59:40):
I I get very sincerely menaced by a beady eyed
bandit with intent to kill. And now you come along
and tell me this affair doesn't concern me.

Speaker 1 (04:59:47):
Oh, this really happened.

Speaker 87 (04:59:49):
If I were dreaming, it wouldn't be about those kind
of things.

Speaker 1 (04:59:52):
Okay, So what's the angle all this mishmash.

Speaker 87 (04:59:55):
I can only make wild guesses. None of my ideas
have had their final fitting yet. So suppose you tell me, uh,
what angle are you wearing today?

Speaker 1 (05:00:05):
Like I told you, saint me, I'm just a man
with a gun, so he said. And the paintings paintings.

Speaker 87 (05:00:14):
Heah, the creative paintings seven in number that arrived today
from Italy for the Button galleries.

Speaker 1 (05:00:18):
Now I'm dreaming. You mean you're chasing paintings.

Speaker 12 (05:00:21):
You mean you're not chasing gamings?

Speaker 54 (05:00:24):
Friend, Either you're deliberately throwing me a curve or we're
not even playing in the same ball game.

Speaker 1 (05:00:29):
Now, I'm not chasing paintings. What I'm chasing is just
a little more dangerous.

Speaker 12 (05:00:33):
And he wouldn't say that if you were wearing my
aching head.

Speaker 1 (05:00:36):
I'll be seeing you art lover.

Speaker 12 (05:00:39):
Yeah, it's inevitable.

Speaker 87 (05:00:40):
And if you should run across an old party named
Orlando Button before I do, will you please do something
to help him stay alive?

Speaker 1 (05:00:48):
And this is the last pipe dream I'll listen to.
Why can't this old party manage to stay alive on
his own efforts?

Speaker 12 (05:00:54):
And this is one of the wild guesses I was
telling you about.

Speaker 87 (05:00:57):
The last time I saw Button, he was a very
frighten man, the kind of fright that only comes to
a man who expects he's going to be killed.

Speaker 1 (05:01:05):
If I see him, I'll do what I can to
stop him from being afraid.

Speaker 12 (05:01:09):
And that statement can be taken two ways.

Speaker 87 (05:01:13):
And in the light of the fact that it was
pronounced by a fellow who hop knobs with killer Casak.

Speaker 1 (05:01:17):
Goodbye, change, And if I were you, I'd worry about
trying to keep myself alive.

Speaker 12 (05:01:36):
H good morning.

Speaker 85 (05:01:38):
I believe the door is plainly marked private, isn't it.

Speaker 12 (05:01:42):
One finds it difficult to believe all one reads these days.
You know, it's nice. What's nice that they don't hang
all the works of art in this gallery on the wall.
Some of it sits in a low cut dress behind
a sign that says, assistant.

Speaker 85 (05:01:56):
To the director, you wish to see someone.

Speaker 87 (05:01:58):
Actually, my wish is to remain here with you, But
I'd never get to see doctor Webber that way.

Speaker 85 (05:02:02):
You have an appointment with doctor Weber. No, well, I'm
afraid he can't see you. Then he's very busy.

Speaker 87 (05:02:07):
And then I see mister Button. Mister Button, this is
the Button, not Galleries, isn't it.

Speaker 85 (05:02:11):
You will have to make an appointment with mister Button
at his home. He rarely comes down to the galleries anymore.

Speaker 12 (05:02:17):
Then I see doctor Weber.

Speaker 1 (05:02:18):
After all, you not only.

Speaker 85 (05:02:19):
Find it difficult to believe all you read, but all
you hear as well. Doctor Webber never sees anyone without
an Oh, it is.

Speaker 12 (05:02:26):
You, mister Temporar, Hello, George, you find employer?

Speaker 85 (05:02:30):
No, George, gentlemen is a friend of yours?

Speaker 5 (05:02:32):
George?

Speaker 12 (05:02:32):
Oh, very good friend. Mister Simon Templar is saying greater.

Speaker 87 (05:02:36):
A detective makes words appear on paper with ashes, very
crabb Oh, it's nothing really to it.

Speaker 85 (05:02:42):
A detective is something wrong?

Speaker 12 (05:02:44):
Employer missing? What?

Speaker 51 (05:02:46):
Oh he's mysterious. Creat come last night by sailor, employer and.

Speaker 2 (05:02:51):
I we open.

Speaker 12 (05:02:52):
Employer get angry. I could praise this, Send me quick
to drug store. Then I come back. S't a drug store?

Speaker 1 (05:02:59):
Ook? Here?

Speaker 13 (05:02:59):
What's this all about?

Speaker 12 (05:03:01):
About?

Speaker 2 (05:03:02):
A creative paintings from Genoa for Doctor Webber.

Speaker 85 (05:03:05):
Paintings we weren't expecting anything from Italy.

Speaker 12 (05:03:08):
Perhaps doctor Webber was.

Speaker 85 (05:03:09):
I most certainly would have known if the director was
expecting a shipment.

Speaker 13 (05:03:13):
What's all this.

Speaker 1 (05:03:14):
About, mister Button?

Speaker 85 (05:03:15):
I wish you'd explained.

Speaker 87 (05:03:16):
Go see doctor Webber. Maybe he likes mystery stories too,
mister Templer.

Speaker 12 (05:03:22):
Oh, miss Harper, I go party car?

Speaker 22 (05:03:24):
Or is this my car?

Speaker 12 (05:03:26):
Oh no, George, you don't have to what he's a
wallnessy party show car.

Speaker 11 (05:03:29):
You two Wednesday?

Speaker 85 (05:03:31):
This why I'll come here, but you can pass it
by this week. George, I haven't used my car much
since the last time you gave it a bath in
a Polish We'll.

Speaker 1 (05:03:37):
Carry her bitter heart skip this week through this door,
mister Templer.

Speaker 12 (05:03:41):
Oh no, I'd like you to catalog, isn't it? Oh
we have a visitor.

Speaker 85 (05:03:45):
This is Simon Templar, Doctor Webber. Seems we have a
mystery on our hands, Doctor, A mystery splendid.

Speaker 54 (05:03:52):
It was beginning to get a trifle dollar out of here,
thank you. There's nothing like a little mystery to brighten
things up a bit, is.

Speaker 87 (05:03:59):
It, especially if you're one of those people who enjoys
going to funerals. Doctor m And let's just say that
someone when last scene was terrified. And let's also say
that that someone hasn't been seen since.

Speaker 1 (05:04:12):
But who mister Button?

Speaker 85 (05:04:14):
According to George, he's been missing.

Speaker 1 (05:04:16):
Since last night.

Speaker 54 (05:04:17):
I see, mister Templer, Am I to understand that just
because mister Button wasn't home last night, you are assuming
that he's been murdered. Well, that is more or less
a condensed version. Yeah, I believe the little verse goes
like this. Don't make tragedies out of trifles.

Speaker 12 (05:04:31):
Don't do butterflies with rifles.

Speaker 87 (05:04:34):
It's just as foolish to make a trifle out of
what might well be a tragedy. Perhaps I should give
you the full length version, now, perhaps you should.

Speaker 2 (05:04:43):
Mister Templer.

Speaker 87 (05:04:44):
Afraid to arrive from Italy yesterday, the Tuscany from Genoa.
It carried a small crate consigned to you, doctor Webert
the gowery here, But I received no create what washing paintings, doctor,
and from what Siana tells me, extremely bad paintings.

Speaker 12 (05:05:01):
But where are they? Doctor? Let's let these pictures speak
for themselves.

Speaker 2 (05:05:05):
Where are they?

Speaker 11 (05:05:07):
I never heard of them until this moment.

Speaker 12 (05:05:09):
I wasn't even in town yesterday you were.

Speaker 11 (05:05:12):
I was in Tropogo. Attending a fraternity convention.

Speaker 85 (05:05:16):
There was no create of painting delivered here to the
gallery yesterday, mister Temple, I.

Speaker 12 (05:05:20):
Sure they won't delivered to the gallery, Miss Arthur. The
seamen who carried the crate in Stiano's place found the
gallery closed when he arrived. So he did the next
best thing he thought.

Speaker 87 (05:05:31):
He had no way of knowing, of course, that old
mister Button had more or less retired from business, leaving
doctor Webber in charge of his gallery. And so rather
than lud the crate all the way back to the ship,
he brought it over to the Button residence. Well, mister
Button opened the thing up, curious to see what sort
of stuff his gallery was buying these days. I suppose
probably wished he was dead. I'm afraid his wish was

(05:05:52):
granted all too soon.

Speaker 85 (05:05:54):
Why would anyone take the trouble to ship us bad paintings?

Speaker 87 (05:05:57):
That's what I wondered for a while too, That's what
Button must have wanted, But not for long. He tumbled
on to it practically at once, unto what mister Templar,
you're aware, of course, of the National Treasures Act or
whatever they call it in Italy, which prevents the export
of great Italian works of ours.

Speaker 1 (05:06:14):
Of course we're aware of it.

Speaker 54 (05:06:15):
The Italian government has had it in force for years.
They're perfectly right in not wanting our great works of
arts scattered about the world when it rightly belongs in Italy.

Speaker 87 (05:06:24):
Seven paintings were over paintings over painting. Surely you've heard
of the technique of painting over and oil painting with
guash with a water soluble paint on the surface.

Speaker 2 (05:06:35):
These pictures look.

Speaker 87 (05:06:36):
Like something not even a lumber company calendar would be
caught dead with underneath, as mister Button found when George
came back from the drug store with materials to remove
the paint, they found masterpieces by master artists of the Renaissance.
What should Yes, I'm sure several dozen of Italy's treasures
have been missing.

Speaker 12 (05:06:56):
Ever since the war.

Speaker 87 (05:06:57):
The customs men tell me the Italian government had a
tip that some had recently been shipped to New York
Power on what ship?

Speaker 11 (05:07:04):
No one knew, but mister Button, what did he do
when he well.

Speaker 87 (05:07:07):
Being an honest man with a reputation of many years,
is a reputable art dealer.

Speaker 12 (05:07:11):
He was shocked.

Speaker 87 (05:07:12):
He said his chauffeur to fetch me when I got there,
he told me he changed his mind. I can assume
that Button had his mind changed for him at the
point of a gun.

Speaker 12 (05:07:24):
Speaking of points of guns, what is the point.

Speaker 1 (05:07:27):
Of this one?

Speaker 12 (05:07:28):
Hell? Okay, sick as you arm, it's.

Speaker 90 (05:07:32):
Sore, safe, very sore. But another source your head is
going to be when I cross some leady.

Speaker 11 (05:07:37):
What is this?

Speaker 12 (05:07:38):
That's exactly what the boss wants to know?

Speaker 5 (05:07:40):
What?

Speaker 35 (05:07:42):
Okay, Boss, you're coming on.

Speaker 91 (05:07:45):
Hello, sent You've got a good memory for faces, scent.
It's been a lot of years. Who could ever forget
a face like yours? SCRELLI if could win an ugly
contest anywhere where this guy talks, kizzick, a guy would
think you're old.

Speaker 1 (05:07:58):
An invisible gun doesn't make any difference that he can't
see it.

Speaker 12 (05:08:01):
Boss, you'll see that as good as anybody I.

Speaker 11 (05:08:03):
Remembered the meaning of this intrusion.

Speaker 9 (05:08:04):
You and judge of this gente.

Speaker 54 (05:08:05):
I am doctor Webber, the director, and the then Miss
Arthur is my assistant.

Speaker 2 (05:08:11):
You'll do all right by yourself.

Speaker 91 (05:08:12):
Fats, maybe have to we knock off the saint and
Fats so here we'll keep it around a little.

Speaker 87 (05:08:19):
It brings you back to this country. Carell, the crime
wave became just a ripper when you were the port.

Speaker 11 (05:08:24):
And moving back in, said bigger than ever. First, I
got to clear something up.

Speaker 12 (05:08:28):
H what sort of something?

Speaker 2 (05:08:29):
Except for you people, and a few.

Speaker 91 (05:08:31):
Are my boys, nobody knows Carely smuggled himself back in
on the Tuscany.

Speaker 2 (05:08:35):
You people ain't going.

Speaker 12 (05:08:35):
To be around long enough to tell a fly about it.

Speaker 9 (05:08:38):
So I want to know something.

Speaker 12 (05:08:39):
Why don't you try asking?

Speaker 11 (05:08:40):
I am asking.

Speaker 9 (05:08:42):
I have Kazach.

Speaker 91 (05:08:43):
You're watching that ship day and night to see if
anyone is wise to anything, see if the federal guys
are maybe here that I come in on her and
I retrace him and they are. That's what you're gonna
tell me, saying, Kazak tells me sees you snooping about
the Tuscany.

Speaker 2 (05:08:57):
He says.

Speaker 91 (05:08:58):
Lots of other guys too, Guys with with coup look
about them.

Speaker 12 (05:09:01):
They are a kind of cop at that's grey.

Speaker 91 (05:09:03):
They know Scurrelli was smuggled in on that boat.

Speaker 87 (05:09:06):
They're looking for me, saying, these particular cops are customs
inspector Screlly. They're looking for pictures, uh, pictures, yeah, painting.

Speaker 2 (05:09:15):
Oh that's good news.

Speaker 12 (05:09:18):
You're not kissack.

Speaker 9 (05:09:19):
They're not looking for Scarrelli.

Speaker 12 (05:09:21):
They don't know him back yet.

Speaker 90 (05:09:22):
Let's get rid of these suckers, then, boys, they got mouth, Yeah,
start up at it. You're the doctor save the Saints
for last, all right, Propert Kazak, I got it.

Speaker 1 (05:09:34):
Right, proper, all right, all right, everybody, all right?

Speaker 11 (05:09:39):
Who who are you?

Speaker 12 (05:09:41):
Dick Tracy?

Speaker 1 (05:09:42):
I've already told you, Templar, I'm just a man with
a gun.

Speaker 12 (05:09:45):
That gun wouldn't happen to be federal property with it?

Speaker 2 (05:09:48):
It would.

Speaker 1 (05:09:49):
And now you're gonna ask, how come a federal agent
lets a mugl like Kazak loose after he's been shooting
his gun off of the private citizen?

Speaker 5 (05:09:55):
I know?

Speaker 12 (05:09:55):
How come?

Speaker 87 (05:09:56):
If I've gone through with my intention of breaking off
mister Kazak, time have led you to a hospital instead
of where you wanted him.

Speaker 2 (05:10:02):
To lead you.

Speaker 1 (05:10:03):
Huh, it's right, mister Templar. Come on, boy, don't push.

Speaker 54 (05:10:08):
Let's get away from this smart guy and be careful
with those hands.

Speaker 7 (05:10:14):
Now.

Speaker 87 (05:10:14):
What was it you were saying before about things getting
a trifle doll around here? Dr Webber, Uh, this is
a rather unusual morning, mister Templar and the crime Wave
in your office.

Speaker 12 (05:10:24):
Isn't over yet? We're back to playing Button Button, Mister.

Speaker 85 (05:10:27):
Templer, I'd prefer it, and so would doctor Webber if
you put your cards on the table all at once
instead of one at a time. Is that enough suspense
for one morning? Are you choosing doctor Webb?

Speaker 55 (05:10:38):
Tall?

Speaker 5 (05:10:38):
Are you?

Speaker 12 (05:10:39):
Doctor?

Speaker 17 (05:10:39):
Eh?

Speaker 11 (05:10:40):
Well?

Speaker 12 (05:10:41):
I'm almost six feet and you, miss er really mister Templer?
How tall?

Speaker 85 (05:10:46):
About five feet?

Speaker 2 (05:10:47):
Doctor? You wouldn't ever wear high heels? Would you? High heels?

Speaker 87 (05:10:52):
That left an impression on the leather upholstery of a
chair that had been moved alongside of a doorway.

Speaker 12 (05:10:58):
I don't follow you, Miss Arthur.

Speaker 87 (05:11:00):
Does she anticipated my wish to go into Button's library
last night? Naturally that wouldn't do at all. The paintings
were there, and a couple of them already had the
overpaint removed.

Speaker 12 (05:11:12):
Correct, Miss Hoad, you're insane.

Speaker 87 (05:11:14):
That rap across the skull you gave me is probably
what made me insane, Being a rather little girl for
a head banger, you needed height, huh, So just before
I entered the library where you'd had Button under a
gun before my arrival, you've moved a chair so you
had height, and so when I walked in, I went out.

Speaker 85 (05:11:34):
Well, I suppose one should really humor him, doctor Webber.
And then what did I do? Mister Templer?

Speaker 87 (05:11:39):
You removed both the paintings and mister Button. You've probably
killed mister Button somewhere along the line.

Speaker 85 (05:11:44):
Of course, you can prove all this. You can tell
me or the police. Shall we say exactly where mister
Button's body lies where the paintings are?

Speaker 12 (05:11:53):
Unfortunately?

Speaker 85 (05:11:54):
No, then, just as unfortunately, mister Templar, you have no
case without the paintings found in my possession, without mister
Button's body.

Speaker 12 (05:12:02):
Interruption, pre we're visits of George. Please, we'll not take
a moment, miss author. You are to make any mistake.

Speaker 85 (05:12:08):
Oh please, George, you're having a conference. Would you mind
come all the way.

Speaker 12 (05:12:12):
Downtown to wash and polish car?

Speaker 1 (05:12:14):
You say, Carl, no dirty, not to need both, not
need polish.

Speaker 85 (05:12:17):
George, Will you please go now?

Speaker 12 (05:12:19):
But this is mistaken. Just see car in parking rod.

Speaker 85 (05:12:22):
Some other time.

Speaker 12 (05:12:23):
George, car very dirty, can need to wash polish spine?
I go do so, yes, No, of course you go
do so, George. And while you're at it, take a
look in the trunk compartment. No trunk compartment. What finding
trunk compartment with a temper employer? George employing trunk?

Speaker 85 (05:12:38):
No, No, I didn't plan to kill him.

Speaker 1 (05:12:40):
I didn't.

Speaker 12 (05:12:42):
I go look in the trunk compartment. Never mind, George,
go call the police. Oh yes, mister Temper, are you called?
And George, Sir.

Speaker 87 (05:12:49):
If mister Moto should ever need an assistant, I'll be
very happy to give you a reference.

Speaker 54 (05:13:06):
You have been listening to another transcribed adventure of the Saint,
the robin Hood of Modern Crime.

Speaker 87 (05:13:12):
I'll hear us our starve and some Price ladies and gentlemen.
In tonight's cast, you heard Mary Ship as Lola, and
Charlie Lung as George. Ted Decurcia was Scarelli. Larry Dobkin
Kazak red Shields played Nash and Ted Asben Doctor Webber.

Speaker 12 (05:13:27):
Barney Phillips was Tiano.

Speaker 87 (05:13:29):
This is bencent Price, inviting you to join us again
next week at the same time for another exciting adventure
of the Saint.

Speaker 2 (05:13:36):
Good Night.

Speaker 54 (05:13:58):
This adventure of the Saint written by Michael Cramlin The Saints,
based on characters created by Leslie Chatteris, is produced by
James elsa Here and directed by Helen Night. Vincent Price
assumed to be seen co starying with Errol Flynn and
Michelin Prell in William Marshall's production of Bloodline. All you
Saint fans will be glad to know that the Saint
comic books are on sale at All Youse.

Speaker 2 (05:14:20):
Sam.

Speaker 6 (05:14:26):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weird Darkness dot Com is

(05:14:47):
also where you can listen to free audiobooks I've narrated,
get the email newsletter, visit the store for creepy and
cool Weird Darkness merchandise. Plus, it's where you can find
the Hope in the Darkness page. If you or someone
you know a struggle with depression, addiction, or thoughts of
harming yourself or others, you can find all of that
and more at Weird Darkness dot com. I'm Darrenmarler. Thanks

(05:15:09):
for joining me for tonight's Retro Radio, Old time Radio
in the dark,

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