A Teen Discovers The Deadly Power Within Her

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Last Stations, Present, Escape, Oh Fantasy, Gonna Thank.

Speaker 2 (00:17):
Some miss.

Speaker 3 (00:26):
A man us.

Speaker 4 (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.

Speaker 7 (01:29):
Dark, the CBS Radio Mystery Theater Presents. Come in.

Speaker 8 (01:52):
Welcome. I'm E. G. Marshall.

Speaker 7 (01:57):
No one comes into the world by choice. No one
has a voice in this momentous decision no one asks
to be born.

Speaker 8 (02:06):
Pushed by the mother, pulled by the.

Speaker 7 (02:09):
Doctor, a brand new being is introduced to his life.
There is a highly respected theory that all later anxieties
reproduce the trauma of this first bloody battle, the one
called birth, the one from which no one emerges without wounds.

(02:30):
This has a logical sound to it, and for all
I know it's true.

Speaker 2 (02:36):
I am youth, I am beauty. I am a creative person.
I am light and love and everything harmonious. I am
in tune with the universe. I am everything that is good.
I am that truly remarkable human being, myself a precious

(03:00):
thing to be separate and unique, a goddess.

Speaker 7 (03:16):
Our mystery drama, I Pronounce You Dead, was written especially
for the Mystery Theater by Elsbeth Eric and stars Morgan Fairchild.
It is sponsored in part by x Lax and Buick
Motor Division. I'll be back shortly with that one. It's

(03:44):
a Midwestern town, neither very large nor very small.

Speaker 8 (03:49):
Its citizens, for the most part.

Speaker 7 (03:51):
Are neither very rich nor very poor. They would call
themselves comfortable, and so they are, so are their homey.
And it's in one of these homes that we begin
our story.

Speaker 2 (04:06):
My name is Helen Todd, and I live in this big,
old white house with my mother and my father and
my brother Kevin. I'm finishing up my last year in
high school. Right now, I'm dating Billy Masters, who is
tall and good looking, captain of the football team. I
was nominated to be president of my class, even though
I didn't win. It's obvious that I'm popular and well liked.

Speaker 9 (04:28):
But it's all this important.

Speaker 2 (04:30):
Really, I mean, I don't take any of it seriously
because the minute I graduate, I am going to cut
out of here and become an actress, and my whole
life will change. Nobody knows I'm going to do this,
not my father or my mother, or Kevin or even Billy,
no one, but I.

Speaker 9 (04:48):
Know it, and I know it will be wonderful. That's
your father.

Speaker 2 (04:57):
I heard his key of the Locke put the roads
on the Why can't Kevin do something?

Speaker 10 (05:02):
Oh he's out back fixing his motorcycle.

Speaker 9 (05:04):
He never does anything.

Speaker 10 (05:05):
No, that'll be just about enough out of.

Speaker 9 (05:07):
You, young lady.

Speaker 2 (05:09):
Dinner's on the table, daddy, practically, Well that's my girl, okay.

Speaker 10 (05:14):
Kevin, come inside, dinner.

Speaker 11 (05:18):
Roast beef, eh and corn on the cob coming through.

Speaker 10 (05:23):
Hello, dear, have a good day.

Speaker 8 (05:24):
So, so where's Kevin.

Speaker 10 (05:27):
Working on his precious motorcycle?

Speaker 12 (05:29):
Sometimes?

Speaker 11 (05:29):
I'm sorry we bought him that thing.

Speaker 13 (05:33):
Oh there you are, Kevin.

Speaker 8 (05:34):
Huh Didner ready sit down? Oh?

Speaker 10 (05:37):
Before you sit down, get the phone, will you?

Speaker 8 (05:39):
It's not for me?

Speaker 14 (05:40):
Now, how do you know?

Speaker 12 (05:41):
Kevin?

Speaker 11 (05:42):
Get it anyway?

Speaker 9 (05:43):
Okay? You never want to do anything?

Speaker 2 (05:45):
No, no, he gets everything he wants and he never
has to do anything.

Speaker 10 (05:49):
Well, he's a boy, Kevin. Hurry up before everything gets cold.
Start carving, dear, and Helen passed the corn.

Speaker 8 (05:57):
I told you it wasn't for me. Well, who's it
for you, your highness?

Speaker 9 (06:01):
Oh? Excuse me, I better answer it.

Speaker 11 (06:04):
It's old creepy billy masters billy Helen.

Speaker 15 (06:10):
Do you think?

Speaker 12 (06:11):
Hi?

Speaker 4 (06:11):
This is billy?

Speaker 15 (06:12):
I know, Helen.

Speaker 4 (06:14):
I called you because, well, get on the big dand
Saturday night?

Speaker 9 (06:19):
What about it?

Speaker 5 (06:20):
Well?

Speaker 9 (06:20):
I yeah, you see we are going, aren't we.

Speaker 4 (06:24):
That's why I called you.

Speaker 16 (06:27):
Uh?

Speaker 4 (06:27):
Turns out I can't can't? What can't thank you?

Speaker 9 (06:30):
Why not?

Speaker 4 (06:33):
Well I haven't been feeling so good?

Speaker 9 (06:35):
And my mother says, well, what's the matter with you?

Speaker 4 (06:37):
Well, Well, nobody knows yet.

Speaker 9 (06:38):
The doctor isn't sure, Billy, I bought a new dress.
What am I supposed to do?

Speaker 4 (06:42):
We can get somebody else to take care.

Speaker 9 (06:44):
Everybody's got a date by.

Speaker 17 (06:45):
Now, Helen.

Speaker 4 (06:47):
I'm awfully sorry.

Speaker 9 (06:48):
Never mind, just never mind.

Speaker 18 (06:55):
Ellen, you're coming.

Speaker 19 (06:57):
Back to everything's getting gold.

Speaker 10 (07:00):
Billy call him back here.

Speaker 8 (07:03):
Please?

Speaker 2 (07:04):
Yes, oh, mister Smith. Yes, this is Helen Todd.

Speaker 9 (07:10):
I have to see you.

Speaker 2 (07:10):
It's terribly important right now. Well after dinner, if that's
all right with you, in about an hour, Yes, that
would be fine.

Speaker 4 (07:19):
I'll see you then the doll amol.

Speaker 2 (07:24):
Oh, thank you, mister Smith. Ellen, yes, I have to
go out right after dinner. Where to none of your business? Ellen,
don't be rude. Where are you going?

Speaker 9 (07:33):
I have to see a friend.

Speaker 8 (07:35):
Oh, somebody we know?

Speaker 2 (07:36):
Well, no, I don't think so. It's somebody I just
met myself a short while ago.

Speaker 9 (07:41):
Would you pass the coin please? Mister Smith?

Speaker 20 (07:53):
In here, Helen, come on in.

Speaker 8 (07:57):
How are you all right? I guess you're disturbed about something.
I can see that.

Speaker 9 (08:03):
Well, yes, I am, well tell.

Speaker 8 (08:06):
Me about it. That's what I'm here for.

Speaker 9 (08:09):
I know you told me.

Speaker 8 (08:10):
Sit down. My attention is all yours.

Speaker 9 (08:14):
Well, mister Smith. Why don't you.

Speaker 8 (08:17):
Call me Caesar? Caesar, it's my name, You're my friend,
and all my friends called me Caesar.

Speaker 9 (08:25):
I haven't known you for very long.

Speaker 8 (08:27):
Do you really believe that.

Speaker 9 (08:29):
I just met you last week?

Speaker 8 (08:30):
Don't you feel that we have known each other forever,
since the beginning of time or before that?

Speaker 9 (08:39):
In a way, I guess I do you.

Speaker 8 (08:41):
Remember when we met? I physically met?

Speaker 10 (08:44):
I mean, yes, That's why I told you about.

Speaker 8 (08:47):
The group mind feeling. Do you have that feeling?

Speaker 9 (08:53):
I think I'm beginning too, That's why I called you.

Speaker 8 (08:55):
And in the group mind we are all was.

Speaker 9 (08:59):
Yes, Yes, I believe that.

Speaker 8 (09:01):
Wherefore it must follow that you and I have known
each other forever? Must it not? I guess, So you
must not guess, You must know, you must feel, you
must believe otherwise I do.

Speaker 9 (09:17):
I know, I feel, I believe I do.

Speaker 8 (09:20):
I speak of the higher mind, of course, not the
minuscule part of the mind, which deals with multiplication tables
and the dates of treaties and wars and such trivia.

Speaker 9 (09:30):
I know, I know, really I do.

Speaker 8 (09:31):
And this higher mind has a center, a core of
magnetic power, I know, which can be animated into creative actions.

Speaker 9 (09:40):
Yes, I know it.

Speaker 8 (09:41):
And when I'm an actress, the center of dynamic power
can be charged precisely as a battery can be charged
with cosmic magnetism. Oh, yes, the magnetic field which can
attract into your orbit the money you want, the love
you desire, the friendship you seek, the work you aspire to,

(10:02):
and all the mental material and spiritual treasures you yearn for.

Speaker 9 (10:08):
Oh, I believe that, I do. I do believe it.

Speaker 8 (10:12):
Are you sure? Are you sure you truly believe it? Yes?

Speaker 9 (10:18):
Yes, I do believe it to.

Speaker 8 (10:20):
The depths of your soul.

Speaker 18 (10:22):
Yes.

Speaker 8 (10:23):
And why are you here?

Speaker 9 (10:25):
Because because I can't believe it. All the time.

Speaker 2 (10:30):
Things happen, what happens, People do things, They hurt my feelings.
What people, Oh, my mother, my brother, even my father
and now Billy Billy, Billy Masters. We've been going steady,
and tonight he called me and told me he couldn't
take me to the dance Saturday night because he's sick

(10:51):
or something, which I can't believe for one minute, because
I saw him at school today and he looked fine.
And it's too late now for anybody else to ask me.
And I have a new dress that I bought, especially
in well anyway. When he told me, that's what I
called you.

Speaker 8 (11:02):
Because your great faith, your great belief wasn't so strong anymore,
it was wavering. It needed reinforcement.

Speaker 9 (11:12):
Yes, yes, is that possible.

Speaker 8 (11:15):
It can be done.

Speaker 9 (11:19):
Can you will you do it?

Speaker 8 (11:22):
I can? I will?

Speaker 9 (11:26):
Oh please please.

Speaker 2 (11:28):
It was such a beautiful feeling when I believed I
loved everyone. I was in love with everyone. I even
loved myself.

Speaker 9 (11:35):
I love the world.

Speaker 8 (11:36):
Look deep into my eyes.

Speaker 9 (11:40):
Are you going to hypnotize me?

Speaker 8 (11:41):
I'm going to make you believe. Call it telepathic hypnosis
if you like. Now look into my eye and lets
give me all your attention. Listen to what I am saying,
and repeat eat my words.

Speaker 15 (12:02):
Yes, I will.

Speaker 8 (12:04):
I am Heaven Todd.

Speaker 2 (12:08):
I am Helen Todd.

Speaker 8 (12:10):
I am youth, I am beauty. I am a creative person.

Speaker 2 (12:16):
I am youth. I am beauty. I am a creative person.

Speaker 8 (12:22):
I am light and love and everything harmonious. I am
in tune with the universe.

Speaker 2 (12:28):
I am light and love and everything harmonious.

Speaker 9 (12:33):
I am in tune with the universe.

Speaker 8 (12:35):
I am everything that is good.

Speaker 9 (12:36):

Speaker 8 (12:38):
thing to be separate and unique.

Speaker 2 (12:49):
I am that truly remarkable human being, myself a precious.

Speaker 8 (12:54):
Thing to be separate and unique, separate and unique. I
am a goddess.

Speaker 2 (13:05):
I am a goddess.

Speaker 8 (13:11):
How do you feel, Helen?

Speaker 9 (13:13):
It's come back?

Speaker 8 (13:14):
What's come back?

Speaker 9 (13:16):
That feeling?

Speaker 8 (13:17):
Tell me about it?

Speaker 9 (13:18):
I feel as though I could reach out and touch
the air.

Speaker 8 (13:22):
Is it a good feeling? Oh?

Speaker 20 (13:24):
Yes?

Speaker 8 (13:25):
Would you call it?

Speaker 11 (13:27):
What?

Speaker 8 (13:27):
Would you call it?

Speaker 9 (13:28):
Happiness? And no?

Speaker 2 (13:30):
No, No, it's more. It's it's joy, rapture, ecstasy. Will
let's stay with me for always.

Speaker 9 (13:39):
This feeling.

Speaker 8 (13:40):
It may have to be renewed from time to time.
Nothing lasts forever.

Speaker 9 (13:46):
Will you renew it for me?

Speaker 8 (13:47):
Of course?

Speaker 9 (13:49):
What if you're not here? What if I can't come
to see you?

Speaker 8 (13:51):
It's not absolutely necessary. I could produce the same state
of consciousness if I were a thousand miles away. I
could produce sit over the telephone.

Speaker 9 (14:01):
You mean that, really? You could? You could do it
over the telephone.

Speaker 8 (14:03):
Call it traveling clairvoyance, call it astral projection, call it
what you will. So long as it produces the altered
state of consciousness, that's all this is.

Speaker 2 (14:17):
But I feel just an altered state of consciousness, like.

Speaker 8 (14:21):
Crawling asleep another altered state.

Speaker 9 (14:24):
Oh it's much more than that, it's much better. I
feel so strong. Oh, mister Smith, I can't take you enough.

Speaker 8 (14:31):
No thanks id you, and none expected.

Speaker 9 (14:34):
But I've been a nui since I've taken up so
much of your time.

Speaker 8 (14:37):
Wait, you're not leaving? Oh?

Speaker 9 (14:40):
Well I think I should.

Speaker 8 (14:42):
What about young what's his name? Young? Masters?

Speaker 12 (14:46):
Really?

Speaker 8 (14:47):
Yes? What about him?

Speaker 9 (14:50):
I don't know.

Speaker 8 (14:51):
Do you propose to leave him in peace?

Speaker 9 (14:55):
I don't know what to do exactly?

Speaker 2 (14:57):
If there's nothing I can do, nothing, nothing I can
think of.

Speaker 8 (15:03):
But he has disturbed the peace and quiet of your existence?
Has he not?

Speaker 13 (15:07):
Well?

Speaker 2 (15:08):
He did, But I feel all right now, I feel wonderful.

Speaker 8 (15:10):
Until he disturbs your tranquility again. Well do you think
he should be allowed to do this?

Speaker 9 (15:16):
I don't know.

Speaker 8 (15:18):
You do you do?

Speaker 12 (15:20):
Well?

Speaker 9 (15:20):
There's nothing either.

Speaker 8 (15:21):
There's something A curse, a blast.

Speaker 9 (15:25):
You mean, like a hex? I mean I've heard of.

Speaker 8 (15:30):
Call it what you will, but I assure you, Helen,
a hex or a curse or a blast can only
be brought down upon a person who deserves it. It
cannot be used promiscuously. Those who make trouble, for others
deserve what they get.

Speaker 9 (15:48):
I'm trying.

Speaker 8 (15:49):
Have you ever heard of the Fellowship of Ancient Mind?
It is six thousand years old? And the arch Druid Tyron.

Speaker 21 (16:07):
That you helen.

Speaker 8 (16:09):
Yes, daddy, it's kind of laid, isn't it.

Speaker 9 (16:11):
Oh, it's only ten o'clock.

Speaker 20 (16:13):
You have a good time with your friend.

Speaker 9 (16:15):
Yes, daddy, that's good.

Speaker 2 (16:17):
Going to bed now, yes, daddy, Well sleep well you too, Oh,
great arch Druid, Great Tyron, hear me. I want to
invoke a curse against one billy Masters who richly merits punishment,

(16:42):
and who knows in his heart he merits it, and
in the dark recesses of his mind is waiting for
it and longing for it, Oh, Great Tyron. I spoke
to the Great Archdruid Tyrone for nearly an hour. By

(17:05):
then it was very late, and I got undressed and
went to bed.

Speaker 7 (17:17):
I myself believe there are those who invite punishment. Among
them are those who seek suicide in drugs or the rash,
incontinent behavior that drugs induce.

Speaker 8 (17:30):
Then there are.

Speaker 7 (17:30):
Others who do not resort to drugs to bring about
their own destruction, but slowly, quietly, with a plotting sort
of determination, subject themselves to humiliation and defeat. I shall
continue with that too. In a few moments. Our little heroine,

(17:59):
Helen Odd, eighteen year old high school student and aspiring actress,
has been wounded sorely by her boyfriend Billy Masters. Seeking
relief from her hurt, she has gone to see an
older man, Caesar Smith, who has produced in her an
altered state of consciousness, whose chief trait is a feeling

(18:20):
of great power. Close upon this, he has tutored her
in the ways of the fellowship of ancient mind and
the Great arch Druid Tyron, Oh.

Speaker 2 (18:35):
Great Tyron, hear me, Oh holy and revered arch Druid.
I invoke a blast against Billy Masters, who richly deserves punishment,
who knows he deserves it, who in the dark recesses
of his mind is waiting for it and longing for it.

Speaker 9 (18:59):
Spoke to the Great arch Druid Tyran for nearly an hour.

Speaker 2 (19:03):
By then it was very late, and I got undressed
and went to bed. But I couldn't go to sleep.
I stared up into the dark. I was sure now
that I would be a famous actress. I repeated the
word Caesar Smith had taught me. I am youth, I
am beauty. I am a creative person. I am light

(19:29):
and love and everything harmonious. I am that truly remarkable
human being, myself separate and unique.

Speaker 9 (19:39):
I am a goddess.

Speaker 2 (19:46):
I remembered the first time I'd been on a stage.
It was a morality play in the sixth grade. I
played the part of Cheerfulness, who introduces the little girl
to all her feelings, good and bad and explains them
to her. Everybody clapped hard when the was over, and
then somebody shoved me on the stage to take.

Speaker 9 (20:02):
A bow by myself. I was so surprised. I was
so embarrassed.

Speaker 2 (20:06):
I was so exalted all at the same time.

Speaker 9 (20:12):
But afterwards at home.

Speaker 7 (20:14):
Boy, did you look stupid, stupid but dumb grin on
your face?

Speaker 16 (20:18):
How I fit the buck?

Speaker 10 (20:20):
Kevin, leave your sister alone.

Speaker 2 (20:25):
My mother didn't really stick up for me. She never did,
just because Kevin was older and a boy. My mother
didn't like girls, I don't think, I mean anyway. She
never really liked me, not really, like when she made
me that blue taff at address stand still, Helen, what's this?
Or it's some plaid I had left over? I thought

(20:47):
we'd make a sad I hate it. I hate the
whole thing. It doesn't fit and make me look dumpy.

Speaker 10 (20:52):
Helen, I've worked a week on this.

Speaker 9 (20:57):
Well, I hate it is.

Speaker 10 (20:59):
That the thanks I work and slave it and go without,
And that's my thanks. You're selfish, Hellen, and your thoughtless.

Speaker 9 (21:10):
I never liked that dress.

Speaker 2 (21:12):
I never liked any of the dresses she made me,
but I never told her so again. And when I
got to high school she let me.

Speaker 9 (21:18):
Buy my own.

Speaker 11 (21:19):
Well, I don't see why, mother. I think the dresses
you make are pretty.

Speaker 9 (21:24):
It's just not worth it.

Speaker 10 (21:26):
She doesn't like anything, and I have to put up
with her complaining store clothes, and with my heart the
way it is, I just can't do it anymore.

Speaker 11 (21:35):
Oh well, all right, then.

Speaker 2 (21:43):
It wasn't for my sake, it was for hers that
I got to buy my own clothes. I thought about
the pretty beige lace with the black velvet butterflies that
was hanging in the closet. I'd saved and saved out
of my allowance to buy that dress to wear Saturday night.
Masters had spoiled everything.

Speaker 4 (22:02):
I can't take your hell I'm not I see, I
haven't been feeling so good. My mother says, well, my
doctor isn't sure.

Speaker 2 (22:09):
But I felt as though I'd never get to sleep, never,
So I got out of bed and went into the
bathroom and opened the medicine chest.

Speaker 9 (22:18):
There were a whole bunch of pills.

Speaker 2 (22:20):
Kevin's onto histamines, Mother's digitosin for her heart, and yes,
these must be Daddy's, some sleeping pills. I took one,
then I took another, just to be sure, and I
went back to my bedroom and looked out the window.
I could see Kevin's motorcycle in the backyard. The moon

(22:43):
was shining on the handlebars. How he loved that motorcycle,
so proud of it. Sitting on his damn cycle, he
thought he was some kind of king or something. Went
and laid down on the bed and stared at the dark.
I'd never even have a bicycle, I mean, Daddy promised
me one, but Mother talked him out of it. She

(23:06):
can talk him out of anything. He shouldn't give in.

Speaker 9 (23:09):
To her the way he does. I mean, he should have.

Speaker 2 (23:11):
Known how much I wanted a bicycle and not let
her talk him out of it. He gives in to
her about everything because she has a bad heart.

Speaker 9 (23:20):
Her heart.

Speaker 2 (23:20):
Isn't that bad that he has to give in to
her about everything? But he does like the bicycle. I
don't think he loves me at all, not the way
he loves her. I didn't know how I got there,
but there I was in the kitchen, standing there, opening
the drawer where the knives are kept.

Speaker 9 (23:40):
I picked the sharpest.

Speaker 2 (23:41):
Knife I could find and went out of the car.
There was Kevin's motorcycle, gleaming and perfect. It looked like
a throne and I hated it. I hated it, and
I took the knife. The seat of the motorcycle was
blue and white leather, all shiny and new and perfect,
and I slashed at.

Speaker 9 (24:00):
It with the knife.

Speaker 2 (24:01):
I slashed it then from the front and to the back,
and the sideways, and the stuffing came out, and I
was flashing, you're.

Speaker 8 (24:06):
Doing You're are you nuts?

Speaker 17 (24:10):
You are?

Speaker 8 (24:10):
You're now give me the knife.

Speaker 9 (24:12):
No, I won't stay away from me, Helen.

Speaker 2 (24:15):
I was back in the kitchen and I've never felt
so sure of myself.

Speaker 9 (24:19):
The knife was in my hand, and all of a
sudden there was my mother. She just walked in and
was standing there. She looked. She's very calm and cool,
so nothing had.

Speaker 10 (24:28):
Happened, Helen, Mother, What are you doing with that?

Speaker 8 (24:31):
Knight?

Speaker 10 (24:31):
Helen? That's my best carving knife. What are you doing
with it?

Speaker 9 (24:34):
I cut up Kevin's motorcycle?

Speaker 4 (24:36):
You what?

Speaker 22 (24:37):
What did you say about the knife?

Speaker 9 (24:38):
I cut up Kevin with it?

Speaker 10 (24:40):
There's Kevin.

Speaker 8 (24:41):
Now, do you know what this rotten kid has done?

Speaker 14 (24:43):
Mother?

Speaker 9 (24:43):
You deserved it, you asked for it.

Speaker 14 (24:45):
My motorcidle cup.

Speaker 2 (24:46):
Shut up, shut now, Helen, just shut up and leave
me alone. I didn't know I could do it, but
I did. I didn't know I was so strong. I
brought the knife down on Kevin. He put his hands
up to stop me, but I didn't do any good.
I didn't even feel him. I just kept stabbing at him,
and stabbing and stabbing at I heard.

Speaker 9 (25:05):
My mother, and then Kevin fell down. Kill him your brother, Helen,
you killed your brother.

Speaker 2 (25:20):
My mother was walking towards me, and then she stopped
and her face got and she grabbed her chest and
she swaying back and forth, and she reached for the table,
but she couldn't reach it him.

Speaker 4 (25:32):
She fell down.

Speaker 2 (25:34):
I looked at Kevin with all the blood coming out
of him, and I looked at my mother all mail,
and still I didn't feel powerful anymore. All my strength
had gone out of me. After a little while, I
knew what I had to do. I had to call
Caesar Smith and have him fix everything back to.

Speaker 9 (25:54):
What had been before. I am Helen Todd.

Speaker 2 (25:58):
I am youth, I am beauty, I am light and
love and everything that's harmonious.

Speaker 9 (26:01):

Speaker 2 (26:03):
I am that truly remarkable human being, myself the precious thing,
a separate and unique and I.

Speaker 9 (26:09):
Am a goddess, a goddess, mister Smith, it's me. It's
Helen Todd.

Speaker 2 (26:17):
You know you remember what you said before that I
didn't have to come see you, that you could do
it over the telephone. Alter my statue of state of consciousness,
you remember, Well, I need it now because I'm losing it.
I'm going back. I'm getting confused and I don't know
what to do because I've I've killed my brother and
my mothers did too.

Speaker 9 (26:34):
She had a heart attack. Whence you saw what I've done.
You see, she loved my brother, and when I stabbed
and she had a heart attack, and at the book
lying on the floor here, and I have to bring
them back to life.

Speaker 2 (26:43):
I have to stop Kevin's bleeding. I have to get
my mother's heart pills.

Speaker 9 (26:47):
They're upstairs. Only only I can't move. All my strength
has gone out of me. I tried saying those words
you taught me, but it's not enough. It's just not enough.
And I think if you could put me back where
I was before, I could say them, because I do
love them, and you see, I really do.

Speaker 2 (27:02):
Love them, and I want them to be alive. And
I'm sure I could do it if only you Wait, wait.

Speaker 9 (27:09):
A minute, I used something. Wait, mister Smith, that's my
father's key in the look.

Speaker 2 (27:14):
I have got hanging up now because he'll come out
in the kitchen. He always does, and he's going to
see what I've done. I'm hanging up now, Daddy, Daddy,
that you it's me.

Speaker 17 (27:25):
I'm home.

Speaker 4 (27:26):
Where are you in the kitchen?

Speaker 23 (27:27):
Don't come out here?

Speaker 4 (27:28):
Why not?

Speaker 2 (27:29):
Because I'm fixing you something something special.

Speaker 9 (27:32):
Oh that's that something, A special drink.

Speaker 2 (27:36):
Oh, you stay right there and I'll bring it to you.

Speaker 20 (27:39):
Hurry up.

Speaker 2 (27:40):
My mind was working like lightning, my terrible sweet lightning.
I filled the kettle, I got out the tea and
the brandy, and then I took the sleeping pills out
of my pocket.

Speaker 9 (28:01):
Very carefully, I broke them open.

Speaker 2 (28:04):
One by one, all of them.

Speaker 9 (28:08):
And I put the contents into a cup.

Speaker 11 (28:12):
Helen, Yes, daddy, where's your mother?

Speaker 2 (28:15):
I don't know, daddy, where, I don't know nobody home,
nobody except me and you, Me and you, daddy. The
water was boiling by now, and I poured some into
the cup and added the brandy.

Speaker 9 (28:33):
Almost ready good.

Speaker 2 (28:37):
I stirred it and stirred it. I even took a
little taste of it, just to be sure. The tea
was strong. And with the brandy, you'd never know there
were twenty two sleeping filfs in the cup. I put
the cup and its saucer on a little tray and
I took it into the living room.

Speaker 8 (28:52):
Well, well, well what have we here? Tea?

Speaker 18 (28:57):
Oh?

Speaker 9 (28:58):
Te you with brandy?

Speaker 8 (29:01):
Just the thing?

Speaker 11 (29:02):
We're a cold day.

Speaker 9 (29:04):
Aren't you going to drink it?

Speaker 8 (29:06):
Where's yours? Oh?

Speaker 9 (29:08):
I didn't want any?

Speaker 11 (29:09):
Well, I don't want to drink alone.

Speaker 9 (29:10):
Oh you go ahead. I really don't want any have mine? No, no, no, god.

Speaker 2 (29:15):
No, I really don't want it. Sure you do, daddy,
I really I don't.

Speaker 9 (29:18):
It's for you.

Speaker 11 (29:19):
I'll go out in the kitchen and make myself a cup.

Speaker 8 (29:22):
You take this?

Speaker 2 (29:23):
No, No, that's not No, that's not the way it's
supposed to be.

Speaker 11 (29:26):
Why not why not tell them, Yeah, take the d
you deserve it, now, go on take it?

Speaker 8 (29:37):
You want it?

Speaker 9 (29:39):
No, I don't want it to do?

Speaker 8 (29:42):
Sure you?

Speaker 9 (29:42):
No, but I don't have it.

Speaker 11 (29:45):
Tell them no, I want you to have it. No,
I not drink it. That's my good world to drink it.

Speaker 7 (29:58):
I've never tried it. But murder can't be easy, of course.
The thesis of this drama is that there are some
people who invite all sorts of disasters upon themselves, even
death by violence. The unproved thesis is that these people,
the world's masochists, bring these things upon themselves. But do

(30:20):
they really consent to being slaughtered? What happens when they
decide not to be murdered and turn.

Speaker 24 (30:28):
Upon the murderer. I shall come back shortly to you.
With Act three.

Speaker 7 (30:44):
Hurt and humiliated by being rejected by her boyfriend Billy Masters,
our young heroine Helen Todd has invoked a curse upon him.
She then attacked her brother Kevin with a knife, her
mother entering upon the bloody scenes to come to a
heart attack. Close upon this, Helen's father comes home, but

(31:05):
before she can be found out, Helen prepares a cup
of tea for him, into which she puts the contents
of twenty two sleeping pills. This she offers to her
unsuspecting parent, or does he suspect?

Speaker 8 (31:20):
Take the deal? You want to take it?

Speaker 9 (31:25):
No, I don't want to sure you.

Speaker 4 (31:27):
Now, I want you to have it.

Speaker 11 (31:29):
Helen, come now?

Speaker 17 (31:31):
Think it that my good girl?

Speaker 13 (31:34):
God?

Speaker 11 (31:39):
No, Helen, Baby, wake up, Honey, it's daddy. We can't
wake up, honey, Daddy.

Speaker 9 (31:52):
Daddy, I don't want don't give it to me.

Speaker 15 (31:53):
I won't.

Speaker 9 (31:54):
I won't.

Speaker 8 (31:56):
Oh daddy, Oh you had a dream.

Speaker 4 (31:59):
Sweet, No, no it happened.

Speaker 8 (32:01):
Oh no, nothing happened.

Speaker 11 (32:03):
Except you had a very bad dream.

Speaker 13 (32:05):
And it did.

Speaker 9 (32:06):
I did it?

Speaker 8 (32:07):
You did?

Speaker 9 (32:07):
I did it?

Speaker 8 (32:07):
You did?

Speaker 12 (32:08):
What?

Speaker 2 (32:08):
It was Kevin's bicycle, his motorcycle, his motorcycle.

Speaker 9 (32:12):
I took a knife and that's what I started.

Speaker 11 (32:15):
What what started?

Speaker 9 (32:16):
I cut up his motorcycle. I slashed the seat of
Kevin's motorcycle. But he caught me.

Speaker 11 (32:21):
Oh, now, Kevin's motorcycle.

Speaker 8 (32:24):
Is just fun O.

Speaker 2 (32:25):
He caught me and I ran into the house and
he came after me, and then I slashed him.

Speaker 9 (32:30):
I slashed him and he fell down. He was all bloody.

Speaker 2 (32:32):
And then mother came in and she saw him on
the floor and she saw him and she screamed and
she came towards me, and I was going to do
something to her, but.

Speaker 9 (32:40):
She had a heart attack.

Speaker 25 (32:42):
She fell down to and then.

Speaker 8 (32:43):
You came home. I've been here all the time, honey.

Speaker 2 (32:46):
I didn't want you to see them dead on the
floor in the kitchen, so I made you some tea
and I put all the sleeping pills on the tea
and some brandy, and I took it to.

Speaker 9 (32:55):
You, but you wouldn't drink it.

Speaker 2 (32:56):
You tried to make me drink it, and I didn't
want to, but I started to.

Speaker 9 (33:00):
I was gonna drink it, but something happened.

Speaker 11 (33:03):
You screaming, baby. You woke yourself up. You see, you
woke yourself up out of a bad dream.

Speaker 9 (33:09):
Oh it wasn't a dream. It was real. It happened.

Speaker 2 (33:13):
Oh hell, and it did I know it happened?

Speaker 9 (33:18):
Oh, daddy.

Speaker 2 (33:20):
After I killed Kevin and Mother, I telephoned Caesar Smith.

Speaker 9 (33:23):
I felt so awful. I wanted to save them. Oh see,
I thought that if.

Speaker 2 (33:27):
I could stop the bleeding, i'd get mothers, did you
talks and pills and pink ones? That way I could
save them. But I didn't feel strong enough, so I
called Caesar Smith. Only only then you came home.

Speaker 11 (33:39):
You couldn't kill anybody, but I did.

Speaker 9 (33:41):
I did, And you.

Speaker 11 (33:42):
Couldn't bring anybody back to life either. Look, baby, mother's
downstairs right now getting breakfast, and Kevin's there too, and
I'm here. So you see you didn't kill anybody. You
just had a bad dream.

Speaker 9 (34:00):
No, it was real.

Speaker 25 (34:01):
I did it.

Speaker 11 (34:02):
Now, you get out of bed right now, put on
your robe and come downstairs and we'll all have a nice,
big breakfast.

Speaker 2 (34:09):
Okay, you went out of the room, and I got
out of bed, and I put on a robe just
to please him, because I knew Kevin and Mother were
lying dead in the kitchen, but I went downstairs.

Speaker 9 (34:24):
Anyway, Come and sit down, Helen.

Speaker 10 (34:26):
Pancakes, get them while they're hot.

Speaker 8 (34:28):
Somebody passed the maple.

Speaker 10 (34:29):
Syrpleas you're feeling better, dear, here's the syrup.

Speaker 8 (34:31):
Kevin, it must have been some dream.

Speaker 18 (34:34):
Well, I have had dreams like that scared me after death.

Speaker 9 (34:39):
You want to talk about it?

Speaker 13 (34:40):
Dear.

Speaker 9 (34:40):
Sometimes that helps.

Speaker 11 (34:41):
I don't think she wants to talk about it right now.

Speaker 10 (34:45):
Later, eat your pancakes, selling and drink a nice glass
of cold milk, Kevin, Poor, Helen, a nice glass of
cold milk.

Speaker 8 (34:54):
Here, have some milk.

Speaker 11 (34:57):
Drink the milk, honey, do you good?

Speaker 2 (35:01):
It was so silly because I knew they were dead.

Speaker 9 (35:07):
They just sat there talking.

Speaker 2 (35:08):
All this dumb talk when I knew they couldn't talk
because I had killed them.

Speaker 9 (35:11):
And they were dead.

Speaker 2 (35:13):
I hadn't been able to save them because Daddy walked
in at just the wrong moment, and I tried to
kill him to keep him from knowing, and then he
had tried to.

Speaker 9 (35:19):
Kill me, and of course I couldn't have that.

Speaker 2 (35:24):
Here, they were just jabbering away as though nothing had happened.

Speaker 10 (35:27):
Oh, Helen, guess who called up this morning just before
you came downstairs?

Speaker 8 (35:31):
Dear? Who missus Masters Masters?

Speaker 9 (35:34):
Yes, Billy Master's mother.

Speaker 11 (35:35):
Creepy old Billy mass Now none of that, Kevin.

Speaker 9 (35:37):
What did she want?

Speaker 10 (35:39):
Well, she wanted to tell me, and wanted me to
tell you that Billy's quite sick.

Speaker 8 (35:43):
What's that? Billy's sick?

Speaker 10 (35:44):
Yeah, it happened quite suddenly. It seems he had a cold,
And of course they didn't say much attention to that.
Billy's always getting cold. But hung on and hung on,
and then yesterday the doctor said it might be in
for Wendy wasn't sure. Then last night, in the middle
of the night, he got much worse, and they called
the doctor and he said it was pneumonia.

Speaker 8 (36:04):
Pneumonia.

Speaker 11 (36:05):
Well, they have penicillin now, yes, but there's a.

Speaker 10 (36:09):
Certain kind of pneumonia that doesn't respond to penicillin or
any other kind of drug, and they're afraid that's the
kind that Billy's got.

Speaker 11 (36:18):
Well, I sure hope not.

Speaker 10 (36:22):
Where are you going, Helen upstairs? But what about your pancake?

Speaker 11 (36:26):
I'll leave her alone, let her do what she wants.

Speaker 9 (36:29):
Oh dear, she didn't even drink her milk.

Speaker 2 (36:33):
I got dressed in a hurry. I knew I had
to do something and do it quick. It was bad
enough that I killed my mother and my brother and
almost killed my father, but now Billy masters was going
to die too.

Speaker 9 (36:42):
They'd catch me that put me in jail for a
million years.

Speaker 10 (36:45):
Where are you going, Helen out?

Speaker 4 (36:47):
Have you picked up your room?

Speaker 2 (36:49):
Pasimply didn't understand. None of them did. I was a
black murderer and they didn't even know it.

Speaker 9 (36:55):
Nobody knew it but me and just possibly Caesar Smith.

Speaker 8 (37:02):
Come in. I've been waiting for you.

Speaker 9 (37:05):
I thought you'd be waiting.

Speaker 8 (37:07):
Sit down, my dear, Thank you. Now. How did it go?
You mean about the hex, the curse, the blast? Has
it taken effect? Oh? Yes, let's see. The young man's
name was Billy, wasn't it Billy Masters?

Speaker 12 (37:24):
Oh?

Speaker 9 (37:25):
Yes, and he's very sick.

Speaker 8 (37:29):
Oh well, he brought it on himself.

Speaker 2 (37:32):
You know.

Speaker 8 (37:34):
You do know that, don't you? When he upset you,
he brought it on himself.

Speaker 15 (37:39):
He may die.

Speaker 8 (37:40):
Oh I don't think so. Yes, I wouldn't have thought
you had so much power.

Speaker 2 (37:46):
I killed my brother, Oh surely not, and my mother,
and I tried to kill my father. Don't you remember
I told you all of this on the telephone?

Speaker 8 (37:55):
You did when?

Speaker 16 (37:58):
Last night?

Speaker 8 (38:00):
Just when? Last night?

Speaker 9 (38:03):
I don't know.

Speaker 2 (38:04):
I got home around ten o'clock and I put the
hecks on Billy, and then after that I ruined Kevin's bicycle,
and then I killed him and my mother.

Speaker 9 (38:13):
I called you because I was sorry i'd done it.
I talked to you.

Speaker 8 (38:17):
What did I say?

Speaker 9 (38:19):
I don't know exactly.

Speaker 2 (38:21):
I don't remember because my father came in and I
tried to kill him, but he wouldn't.

Speaker 9 (38:25):
I I couldn't.

Speaker 8 (38:27):
I rich he wouldn't, or you couldn't.

Speaker 9 (38:32):
I forget how it was.

Speaker 8 (38:35):
You're a cold power as a sufficiently developed, my dear.

Speaker 9 (38:39):
That's why I'm here.

Speaker 2 (38:40):
I want you to you know, like you did before,
produced the altered state of consciousness. I don't want Billy
Masters to die. It's it's too late to do anything
about the others, but I don't want Billy Masters to die.
We went through the ritual again, the power coming back,

(39:02):
and when I left his house the words were still
ringing in my ears.

Speaker 9 (39:06):
I am youth, I am beauty.

Speaker 2 (39:10):
thing to be separate and unique.

Speaker 9 (39:17):
I am a goddess.

Speaker 2 (39:20):
By that time, I was at Billy Master's house and
his mother let me in to see him.

Speaker 8 (39:26):
Helen, I'm really sorry about the dance Saturday.

Speaker 9 (39:30):
Mother, really don't even think about that.

Speaker 8 (39:32):
I'm really sorry.

Speaker 9 (39:33):
You're going to be all right now, I know it.

Speaker 2 (39:36):
I've got to go home now because your mother said
I shouldn't stay more than a minute.

Speaker 9 (39:40):
But I want you to know, Billy, you're going to
get well. I still had my power. I could still
feel it in my veins.

Speaker 2 (39:54):
I was that remarkable human being, myself, a precious thing
to be separate and unique, a goddess. Yes, absolutely, as
soon as I got home, I went up to my room.

Speaker 9 (40:11):
Oh great Tieron, oh great arch druid.

Speaker 2 (40:16):
Take back the curse I placed on Billy Masters. Let
him be well, let.

Speaker 26 (40:23):
Him recover, let him not die, Let him take me
to the debts, Helen, Let him well.

Speaker 10 (40:35):
I have some news for you, Helen. Missus Masters just
owned Billy's much better. His temperature's gone down. It's not
normal yet. Oh my goodness, Why don't you ever pick
up your room?

Speaker 9 (40:47):
It looks as I'll do it later.

Speaker 10 (40:50):
Missus Masters says, she thinks you're coming to see Billy
did him a lot of good old gracious what I'm
miss Oh both your children?

Speaker 9 (40:57):
You're so on tired. Look, I said, I'll do it well.

Speaker 10 (41:00):
At least I'll hang up your dressing down. What's the
good of buying you pretty things if you just throw
them on the floor. I've told you time and again,
hang them up the minute you take them.

Speaker 12 (41:11):
What's this.

Speaker 13 (41:13):
What?

Speaker 9 (41:13):
What's what in the pocket?

Speaker 10 (41:16):
It's a bottle of sleeping bills.

Speaker 14 (41:19):
What are they doing in your pocket?

Speaker 10 (41:21):
You don't take sleeping bills.

Speaker 9 (41:22):
I I took one last night.

Speaker 10 (41:23):
Oh now I don't like your taking sleeping pills, Helen.

Speaker 9 (41:29):
You didn't just take one?

Speaker 13 (41:30):
What what?

Speaker 8 (41:31):
This bottle is empty?

Speaker 2 (41:33):
Is it?

Speaker 10 (41:34):
I'm certainly going to speak to your father about this.
I thought he only took a sleeping pill now and then,
but he's been taking them every night. Well, I'll soon
put a stop to that. Now, please finish picking up
your room and then come downstairs and help me decide
what to have for dinner.

Speaker 9 (41:52):
I get so tired of deciding what to have night
after night.

Speaker 2 (42:02):
It was weird listening to her carry on like that
about all those trivial things. She didn't know. I had
the power of life and death over all of them,
even Billy masters. I thought, maybe, if he's well enough
by Saturday, I'll go to the dance with him and
wear my new baige dressed.

Speaker 9 (42:23):
With the black velvet butterflies.

Speaker 2 (42:26):
Then I'll start making plans for my career. I'll go
to New York and I'll become an actress. After all,
I am that truly remarkable human being, myself.

Speaker 9 (42:45):
Separate and unique. I am a goddess.

Speaker 7 (42:59):
It's a marvelous thing to feel that you are young
and beautiful and a truly remarkable human being, able to
command the world, at least I guess it is. Later on,
it's apt to be painful to discover that your power
is not quite so great as you'd once felt to be.
That you cannot pronounce people dead, that they too have

(43:21):
strengths of their own, that they persist in living even
after you have killed them, and when they do, in
truth die in their own way and time, you do
not have the power.

Speaker 8 (43:33):
To bring them back to life.

Speaker 7 (43:35):
A painful discovery, but still a necessary one if you
live long enough to make it. I'll be back shortly.
There is one small part of Helen's incantation that I

(43:58):
find to be of value, and that is where she says,
I am that truly remarkable human being, myself separate and unique.
For I believe that each of us is a remarkable
human being, a particular set of genes that is duplicated
nowhere else. Each of us is absolutely unique, and each

(44:22):
of us is separate from every other set of genes,
every other remarkable human being. The traveil of life is
learning how to overcome that separateness and at the same
time to respect it, which is why life is hard.
Our cast included Morgan Fairchild, Mary Jane Higbee, Bob Caliban

(44:44):
and Russell Horton. The entire production was under the direction
of Hyman Brown. And now a preview of our next tale.

Speaker 18 (44:56):
Yes, I have a coit here and I want you
to look at it. Yes, well interesting, Yes, I thought so.
This is a Washington twenty five cent piece.

Speaker 16 (45:07):
They were first.

Speaker 18 (45:07):
Struck in nineteen thirty two, the bicentennial Washington's birth. The
obverse is the face of George Washed Yes, I know why.
The reverse is the spread eager Yes, sir. But originally
and until nineteen sixty three, they were made of silly
But what I want to know now? However, they consist
They a copper silver.

Speaker 12 (45:25):
Allog Is it counterfeit?

Speaker 24 (45:26):
Oh?

Speaker 27 (45:27):
No, no, never.

Speaker 18 (45:28):
This is from the Denver mint.

Speaker 8 (45:30):
I can, yes, sir, but the date?

Speaker 20 (45:32):
What about the dad?

Speaker 4 (45:33):
Well read it.

Speaker 21 (45:34):
I read it.

Speaker 8 (45:35):
That's all you can say. What do you want me
to say?

Speaker 18 (45:37):
This coin was minted in nineteen eighty six. How can
you say it was minted in nineteen eighty six. Yes,
interesting point, should I say? It will be minted in
nineteen eighty six.

Speaker 7 (45:48):
Radio Mystery Theater was sponsored in part by Buick Motor
Division and x Lax.

Speaker 8 (45:53):
This is E. G.

Speaker 7 (45:54):
Marshall inviting you to return to our Mystery Theater for
another adventure in the cob. Until next time, pleasant.

Speaker 28 (46:05):
Dreams, the strange doctor weird.

Speaker 24 (46:55):
Good evening, I mean, won't you was the murder? Your
hand and shaking. Surely you're not afraid of me, though
Gracid would steady to hear A little story that was
Death told me the story of a strange ship that
sails the Seventh Seas with no cru save death, and

(47:19):
no passengers, they said the day I call the story
the ghost Ship.

Speaker 12 (47:34):
My story.

Speaker 24 (47:34):
The ghost Ship begins in a badly battled life, both
pitching and passing on the surface of the South Atlantic.
Three men wearily bail out the water which the breaking way.

Speaker 12 (47:45):
Was constantly pouring into the boat.

Speaker 24 (47:48):
A fourth man, burly and broad shouldered, is at the tillie.

Speaker 19 (47:54):
All right, failer man baler order, figures of filing will
never make lands.

Speaker 18 (48:00):
Why don't we admit there?

Speaker 19 (48:01):
SunFall and getting over with all that person we may
side a ship on him. And if you've been playing
that ever a day for a weakness, haven't been captain here?
It is a great take it to shift you store
each year the after court. All right, look, shopman, I
don't see anything, just another horse alarm.

Speaker 17 (48:16):
No, no, what's not captain, Assay you're heard.

Speaker 20 (48:18):
It's a small steamer ahead and the.

Speaker 19 (48:20):
Way yeah, yeah, I can make her out now she's
heading straight for us. It's a kip, all right, But
she looks mighty funny. Look how lacy is in the water.

Speaker 13 (48:29):
See the way she's see it.

Speaker 8 (48:30):
She does kind of stagger back and forth.

Speaker 19 (48:33):
Maybe you're stealing toe broke and there's no smoke from
her funnels on it. If you ask me, she said,
dearly hell, every she is, even a durlic is better
than this lightebolt who is carrying across our courts?

Speaker 27 (48:44):
And where gona border?

Speaker 24 (48:51):
Half an hour later, the lfeboat rubbed against the side
of the strange shift. The four hungry, weary men came
with the border on themselves, greeted only by the uncanny
slum to the deserted sheep.

Speaker 19 (49:07):
See what about telling you this is a deadly blue Yeah,
she's a generic all right, look at her iron work
covered with us I'd say she's been drifting about for
a good many months.

Speaker 27 (49:18):
Suppose the being of groove water boarders don't pot watered.

Speaker 19 (49:21):
Now, that's how we're gonna find out right now, Cooc
and I don't searched the scarbine side of the ship.

Speaker 18 (49:26):
You want a two search a port side.

Speaker 5 (49:28):
I'm not driving now.

Speaker 14 (49:29):
We'll meet the chart woman three minutes. All right, both
want to do fine?

Speaker 19 (49:42):
We didn't find nothing, not a single holly.

Speaker 21 (49:46):
To the thing I saw right, Captain.

Speaker 14 (49:48):
Of course we're saloon on.

Speaker 27 (49:50):
The water and all the holes in the cabins below
deck are half flooded. But we searched everything else and
we didn't.

Speaker 21 (49:55):
Find a face.

Speaker 19 (49:56):
Well, Cook and I had butter luck. We found the
gully dry and funny a can in it. I left
rustle up some chow. He'll be bringing us a hot
meal on any minute now.

Speaker 17 (50:05):
I'm fool, don't gone.

Speaker 13 (50:07):
That's what I was a warmer here.

Speaker 19 (50:08):
But I want to know is why was the great
are abandoned?

Speaker 8 (50:13):
Hey? What it is?

Speaker 29 (50:16):
The mermaider?

Speaker 19 (50:17):
Whee, there's her name. I'm a lord book, she's the ghosted.
Do you hear me, we come up all the ghost it.
We gotta get over her or we'll die. Wolston get
hold of her, so we do. This is a mermaid
girl and every even in the world knows the batting.

Speaker 20 (50:32):
While Tondo's captain, what is this here?

Speaker 13 (50:34):
A mermaid girl?

Speaker 19 (50:35):
This is al a story of the mermaid girl is
a curious one. Two years ago she had her hells
sold him and hurricane. But she's loaded with lumbering court,
which is why.

Speaker 17 (50:45):
She never sunk well.

Speaker 19 (50:47):
The first stayed out after the storm where the crew disappeared.

Speaker 13 (50:50):
Next not two more men wake and two more the
night off.

Speaker 14 (50:53):
I'm tulling it, hooge and turn.

Speaker 19 (50:54):
Every word is this curler men disappeared.

Speaker 13 (50:57):
Rest of the crew.

Speaker 19 (50:58):
You need an abandon ship, only one lifeboat with time
men in an every.

Speaker 13 (51:01):
Made port eyellow one's have spread the story.

Speaker 19 (51:04):
I never since then the Hormadejo's been drifted.

Speaker 27 (51:07):
A ghost ship is sip the old I'll send you.

Speaker 30 (51:10):
We've got to get off it for real, die too.

Speaker 19 (51:14):
The cook flash quick outside comes.

Speaker 31 (51:20):
Captain, look were on the take a play?

Speaker 9 (51:24):
Who's cook singing?

Speaker 2 (51:26):
A close?

Speaker 13 (51:26):
And so he he's Fanny.

Speaker 14 (51:34):
Gosher.

Speaker 32 (51:35):
Do you know you've been on the air for twenty
five weeks now evidently people like your radio show.

Speaker 8 (51:40):
That makes me very.

Speaker 24 (51:41):
Happy, and I thank him from the bottom of my
cold blooded.

Speaker 33 (51:46):
Hat calling from you, doctor.

Speaker 32 (51:48):
That's really warm sentiment, and WI we're about it. The
makers of Adam Hast would like to thank the many
men who have recognized the superiority of Adam Hast this season. Gentlemen,
you've been keeping our thousands of stores and authorized dealers
mighty busy and no wonder wide varieties in one hundred
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(52:13):
make Adam Hat America's outstanding hat value. The well dressed
man particularly.

Speaker 12 (52:19):
Appreciates the wide choice of shapes.

Speaker 34 (52:22):
And shades available after Adam Hat Store Tomorrow, step into
the Atom Hat Store nearest you and ask to see
the new line of Adam Hast, price sensitively from three
forty five to ten dollars.

Speaker 28 (52:37):
Now, Doctor Weird on the show, and.

Speaker 24 (52:45):
Now to continue my story the ghost ships. It is
nice and an easy darkness. Half submerged the Derek steamship
Mermaids go it donward across the waves, tossed surface of
the South Atlantis in the chart room with two flickering
lanterns for life. The three shipbreak survivors discause the strange

(53:07):
disappearance of the cook, the fourth member of their group.

Speaker 19 (53:11):
I'll tell you the spoop got him for the tapu
or whatever it is that for the curse on this ship.

Speaker 12 (53:16):
That takes more in the spot to make a drown
man vanished.

Speaker 19 (53:19):
For our trade, both for seeds different from the land.

Speaker 17 (53:23):
There's civils that are the ot.

Speaker 19 (53:24):
And no land lover Canoa bet Hubert of the Flying Dutchman.

Speaker 14 (53:28):
Every depict reckon our hair?

Speaker 17 (53:30):
What about it?

Speaker 16 (53:31):
For one hundred years or more?

Speaker 19 (53:33):
Men by pentoms he's been playing the seventeen four weeks
can always run with the storm dead discerned, the devil
to the people, the curse on us, and so the
Flying Dutchman will tie on for it. The applying Dutchman
is that the sailor superstition both and you know how
I suppose this ship we're on now.

Speaker 13 (53:49):
It's just a super stick.

Speaker 19 (53:50):
And two and the fact that she's been disting for two.

Speaker 27 (53:53):
Years with no end of the realm I taken.

Speaker 8 (53:55):
We got to get off of it for us will.

Speaker 35 (53:57):
Die care Sh'll offer and.

Speaker 19 (53:59):
I force Trump when we came aboard, So stell that
kind of heart person.

Speaker 17 (54:03):
That's what I say too.

Speaker 14 (54:04):
I don't believe in spooks are devils fans.

Speaker 13 (54:07):
Yes, I got me a noose to go down on
the gallery right now and rustle up some grubs.

Speaker 19 (54:10):
I'm the same thing that happens to the cook who
happened and you know nothing happened to me.

Speaker 27 (54:14):
Keaven, you got a nextra revolver and you're parking.

Speaker 18 (54:17):
Yeah, well now just you let me take it an
off face.

Speaker 17 (54:20):
Santa, than to get me some grubs.

Speaker 19 (54:21):
Watch three days since we had food, and I'm too hovered,
await for morning. All right, here's an extra gun, has
three shows of it and take a clamor but look.

Speaker 36 (54:30):
Sharp, I'll do that kapsn and I'll free back whatever.

Speaker 27 (54:33):
I can, Caroline, and if I meet any I'll bring them.

Speaker 19 (54:37):
Back to shouldn't have let him go, Captain gill me
all right with a light the toun.

Speaker 12 (54:42):
We don't need food.

Speaker 19 (54:43):
You'll tea catting this stiff and Dorset kipping.

Speaker 13 (54:49):
Come on, we gotta go to his o. Captain.

Speaker 17 (54:51):
It's too late.

Speaker 9 (54:52):
He's coffee whatever.

Speaker 19 (54:53):
He disappointed the ship and if we got out there
in the eyes.

Speaker 17 (54:56):
Don't get us too.

Speaker 24 (55:06):
All night the two men huddled in the chart room
the doors boarded the memory of take the screen ring
in their ears. In the morning, with a fog covering
the seas, they cautiously emerged and searched the ship, the
captain beating its revolves are always ready, and they found nothing.

Speaker 10 (55:27):
That's what we found is nothing but the smiles.

Speaker 19 (55:30):
Glance on the empty cup line on the deck where
takes the top of the Frankly, I think tacks. The
cook went out of their heads and jumped overboard. There's
absolutely nothing on this ship that could have harmed on
the leaf.

Speaker 16 (55:41):
Only something you can't see that it once you can
figure star.

Speaker 19 (55:45):
That's ridiculous both, So listen to me.

Speaker 17 (55:48):
I tell you how to wait.

Speaker 13 (55:50):
What is it thicker?

Speaker 5 (55:51):
What is the dob the hardlins?

Speaker 19 (55:54):
The steamshipped someplace with a pose off the starboard of us.

Speaker 17 (55:56):
And in this light, but you'll never see us.

Speaker 5 (55:59):
Look out pass the port is there?

Speaker 12 (56:02):
Yeah, we gotta work fast.

Speaker 19 (56:03):
There's a hen operated fog up and about all these
vessels get up poor and starts founding it all on
for the stress pockets.

Speaker 17 (56:09):
We got to a cock at.

Speaker 19 (56:11):
Thanks him before that ship gets to file away all signal.

Speaker 27 (56:15):
They pross with the old.

Speaker 19 (56:16):
Good fast, She's past mess, turn of its life, face fog.
But haden's taken up so fast, would have been sighted.

Speaker 30 (56:28):
Yeah, what is it.

Speaker 8 (56:33):
Now?

Speaker 29 (56:34):
I'm coming for.

Speaker 30 (56:38):
Water?

Speaker 19 (56:39):
Water?

Speaker 8 (56:39):
Where are you.

Speaker 9 (56:43):
Come here?

Speaker 8 (56:44):
The owl?

Speaker 12 (56:45):
Help me in the hole?

Speaker 17 (56:48):
What I can he an off?

Speaker 5 (56:52):
A tiant octopus?

Speaker 37 (56:53):
He it stops me?

Speaker 8 (56:55):
Come here in the.

Speaker 19 (56:56):
Old don't call me, you know, No, that's honey. I
can see it both in the water. I'm gonna clid
to honey like shallow take back. It's my gun and

(57:22):
see I've gotta.

Speaker 14 (57:27):
Chemacal chnacal around my leg.

Speaker 21 (57:31):
I can't get loose.

Speaker 13 (57:32):
It's pour me down into the whole too.

Speaker 2 (57:36):
If I like, I can't.

Speaker 24 (57:40):
Well, well, no wonder the shipwrecked sailors who bordered the
mermaid to It's fine. I think the devil who haunted

(58:02):
her with an underwater devil whose presence they couldn't get.
And so the mermaid girl still lived on across the
Seven Seas with death in the shape of a giant octopus.
The captain and dead men are only true.

Speaker 18 (58:22):
Perhaps some days.

Speaker 24 (58:25):
Oh you have to go now try do hope you'll
drop in a game.

Speaker 12 (58:29):
Soon.

Speaker 24 (58:30):
Just look for the house from the other side of
the cemetery, the house of doctor Whir And.

Speaker 18 (58:56):
I have from I have saved, I have moved about
this world of ours and ever in search of.

Speaker 12 (59:03):
The finest of its kind.

Speaker 18 (59:05):
We bring you the top tin pine chillers, the creaking door.

(59:27):
The manufacturers that they've expressed three five filter King's Cigarettes
take pleasure in presenting.

Speaker 38 (59:37):
The creaking door. Goodye me, friends of the creaking door,

(59:59):
the creaking.

Speaker 8 (01:00:03):
You do carey now, this is new reason.

Speaker 12 (01:00:08):
To hazy taste. You've new reason to fear, at least
not yet m.

Speaker 16 (01:00:27):
Get three five Yet the taste three fis by stage express.

Speaker 18 (01:00:34):
Get the taste of international possess the taste that's uniquely
three five Only when no expense is sad and it's.

Speaker 16 (01:00:42):
Making can a cigarette taste so right?

Speaker 13 (01:00:45):
So smove those at a right.

Speaker 39 (01:00:50):
Dream.

Speaker 16 (01:00:51):
Five Yet the taste.

Speaker 18 (01:00:55):
The case that sad Express creators to you the taste
that is made dream by the King's Side cigarette Dog
International success.

Speaker 16 (01:01:05):
Get three fives. Get the taste.

Speaker 38 (01:01:21):
The unconscious figure of Rendel's strength live prone as he
still is being towed by the fishing neck.

Speaker 8 (01:01:29):
Towards the shore.

Speaker 12 (01:01:31):
The hot sun beats down.

Speaker 38 (01:01:33):
With interesting as though it's very rays has stuck from the.

Speaker 18 (01:01:37):
Man every vestige of energy. He still be hlarious point
of the saven. Don't know you've gotten the doctor the better. Yes,
he's just been a bad way. Looks as though he's
seen gls. It won't be long before doctor have a
look at him.

Speaker 12 (01:02:06):
Foun him drifting in the open seasay.

Speaker 18 (01:02:08):
Doctor threw a tow line and told him in life
the island is.

Speaker 8 (01:02:15):
Dead, not departed.

Speaker 12 (01:02:18):
He'd been talking of the island, how far to see
what you want?

Speaker 18 (01:02:21):
He was spotted about a couple of miles, but no
one but a madman would make for that island.

Speaker 12 (01:02:26):
And if he was making fool file.

Speaker 17 (01:02:29):
Voices, the voice is a promise.

Speaker 18 (01:02:33):
All right, you were picked up by a fishing's neck.

Speaker 12 (01:02:36):
You're in safe hands.

Speaker 21 (01:02:39):
Say say.

Speaker 18 (01:02:43):
I'll never be safe again. Kay A wax and beauty
made in the admissive death. He's been to the island.
Idea your doctor, there's anything in his pockets? You will
have to notify somebody. Ah, here's something envelope.

Speaker 12 (01:03:04):
Randolph trains he pim and hotel pen.

Speaker 18 (01:03:08):
Then forty be knowledgy.

Speaker 19 (01:03:10):
Thanks if I'm dead.

Speaker 33 (01:03:18):
Let it be it.

Speaker 18 (01:03:20):
Death.

Speaker 12 (01:03:21):
You're not dead.

Speaker 18 (01:03:22):
You've had a terrible, terrible shock. You've had too much fun.
But you're very much alive. You hear me, You're very
much alive.

Speaker 12 (01:03:32):
I'm doctor Pasco. This fisherman brought you in. You're safe
and alive.

Speaker 29 (01:03:39):
Safe, Lie.

Speaker 12 (01:03:43):
Lie, yes still, Oh god man, it won't hurt you.
Pass that got the water, will do? Thank you. No
drinking and no, no I'm not so far.

Speaker 21 (01:04:00):
That's it.

Speaker 12 (01:04:01):
Sip it slowly, now lie back, and I'll notice.

Speaker 40 (01:04:07):
How your friends or relatives where you were friends, relatives,
they seemed such say such matter of fact words.

Speaker 12 (01:04:18):
Your name is Randolph Strang, isn't it. I took the
limity of getting through your pockets.

Speaker 18 (01:04:24):
Yes, yes it is.

Speaker 12 (01:04:27):
Yes, my name is Randolph. Sat about the most effect
it began to drift.

Speaker 24 (01:04:37):
That explained it, my poor gentlemen.

Speaker 18 (01:04:40):
No one but a fool would try to make for
the island.

Speaker 12 (01:04:42):
John talking, mister Strang. You've had a terrible.

Speaker 18 (01:04:45):
Shot, and the only way to release it from your
symptom is by talking about it.

Speaker 12 (01:04:50):
You had your motor boat from try. Yes, I thought
i'd go fishing fish.

Speaker 18 (01:04:57):
No, no, please, don't try to move just relax. You
hired a boat and you went out to see too
far out.

Speaker 33 (01:05:06):
Then suddenly I.

Speaker 18 (01:05:09):
Got caught them across palance.

Speaker 38 (01:05:11):
The boat to get to swell round and round, and
then just to suddenly the boat seemed to be still
for a second, and then if it got to drift forward,
drifted the blackness in the distance.

Speaker 12 (01:05:24):
At first I thought it was just.

Speaker 18 (01:05:26):
Northern the island, to the island of Lost Soul. Quiet,
So you drifted towards the island, and then.

Speaker 12 (01:05:34):
I fell asleep.

Speaker 18 (01:05:36):
I've been drifting for somehow.

Speaker 38 (01:05:38):
When I awoke, everything was black and business, huge black
rocks acting as sentineaus.

Speaker 12 (01:05:46):
Huge rocks, you say.

Speaker 18 (01:05:48):
With the boat, it had become a weight between two
small rocks and what seemed to be able to go.

Speaker 12 (01:05:55):
I was god.

Speaker 40 (01:05:58):
I decided to explore. O. Pay all right, Thank goodness,

(01:06:27):
thanks for the daughter.

Speaker 12 (01:06:29):
I was just in black. Who are you? Where am I?

Speaker 9 (01:06:35):
Why have you come here? I'm busy? What are you
doing here? Go go before the Keeper of enough does
see you?

Speaker 12 (01:06:45):
Okay?

Speaker 8 (01:06:46):
Is that a death?

Speaker 12 (01:06:48):
But your boy, it has the choist of the.

Speaker 9 (01:06:58):
Tell me where the keeper the lost?

Speaker 12 (01:07:01):
Pat?

Speaker 8 (01:07:04):
Who are you?

Speaker 4 (01:07:06):
What are you?

Speaker 9 (01:07:07):
Who am I?

Speaker 12 (01:07:08):
What am I?

Speaker 9 (01:07:09):
There is no I you do not understand coming.

Speaker 38 (01:07:25):
As if I had summoned life by means of the switch.
The moon came from behind the black clouds, and I
was bathed.

Speaker 12 (01:07:31):
In the luminous light. Was this heaven? Was it?

Speaker 18 (01:07:35):
Hop Was this indeed an island with those remains lost?

Speaker 8 (01:07:38):
For her?

Speaker 12 (01:07:40):
I a lot her?

Speaker 8 (01:07:43):
Where was she?

Speaker 24 (01:07:46):
Where?

Speaker 8 (01:07:47):
Look?

Speaker 12 (01:07:48):
Easy?

Speaker 19 (01:07:48):
Please, please please, I want to talk to you.

Speaker 18 (01:07:51):
You cannot communicate with her and.

Speaker 8 (01:07:56):
With you.

Speaker 17 (01:07:58):
It was not me that you to be on this island.

Speaker 18 (01:08:01):
That I'm not see you wherever you are, to where
you are, see, I'm cold.

Speaker 12 (01:08:10):
Hundred the lays, the heart and the money stop.

Speaker 16 (01:08:16):
All is in sharp comfort.

Speaker 18 (01:08:19):
Alpha is life. Yes is non love.

Speaker 12 (01:08:24):
I can't believe it.

Speaker 18 (01:08:26):
I'm wearing a shirt, trouser's shoes.

Speaker 8 (01:08:28):
That's like a matter.

Speaker 18 (01:08:29):
I'm breathing, I can feel a pose, my wris I'm living.

Speaker 16 (01:08:34):
No one is going to deprive me of my life.

Speaker 27 (01:08:36):
Foolish m man.

Speaker 8 (01:08:39):
It is giving you, every human being.

Speaker 41 (01:08:42):
To believe that, unlike others, they have to stop the.

Speaker 18 (01:08:46):
Li mortality within them. To you, You're you're trying to
kill me, That that I'm dead dead dead is al
the bananas.

Speaker 27 (01:09:00):
Degrees of s and nod.

Speaker 18 (01:09:03):
I don't understand you understand?

Speaker 8 (01:09:07):
What energy is this?

Speaker 18 (01:09:09):
Why should you dem the window that ha deluded many
kids of thousands of years?

Speaker 12 (01:09:15):
What are you going to do with me?

Speaker 18 (01:09:17):
The question is not what I'm going to do with you,
but what you will do to yourself, your giver self, yourself?

Speaker 12 (01:09:28):
Tell me this?

Speaker 18 (01:09:30):
Was it just chance that might both drifted with the
tides of the island?

Speaker 8 (01:09:34):
Was it?

Speaker 27 (01:09:35):
See?

Speaker 16 (01:09:37):
Answer me? Answer me?

Speaker 9 (01:09:42):
Answer shout understand?

Speaker 8 (01:09:50):
Oh you stuff for me?

Speaker 18 (01:09:52):
Where did you come from from here?

Speaker 15 (01:09:55):
We do not arrive from anywhere or go anywhere?

Speaker 12 (01:09:59):
Why drift like that?

Speaker 18 (01:10:01):
All in black Polish man?

Speaker 15 (01:10:04):
He's not blackness anonymous with.

Speaker 18 (01:10:10):
This is a dream, isn't it. I'm not on an island.

Speaker 12 (01:10:14):
I don't sleep on that boat. I'm still dressing on
the scene.

Speaker 18 (01:10:18):
You don't exist except in my mind.

Speaker 9 (01:10:21):
No, we do not use words that does exist.

Speaker 15 (01:10:24):
There is no existence or none existing.

Speaker 18 (01:10:27):
What sort of dream is this? Even if I dream,
I'm tired.

Speaker 12 (01:10:31):
Hungry, heart.

Speaker 42 (01:10:35):
Comes links into where usually have food and taking warm because.

Speaker 9 (01:10:40):
Even on the islands of love.

Speaker 8 (01:10:42):
So it is.

Speaker 27 (01:10:47):
I don't know whether this is a dream or not.

Speaker 16 (01:10:49):
I don't know whether I'm alive or dead.

Speaker 19 (01:10:51):
I don't know what sort of place it is, but
I can't stand it.

Speaker 43 (01:10:54):
My clock right, immortal, as long as you're on this
island no longer inhabitable Marcal.

Speaker 9 (01:11:01):
Bodies words like come their liquor there usually have the cheap.

Speaker 18 (01:11:29):
Get three fives. Get the taste three fives by State Express.
Get the taste of international success, the taste that uniquely
three files. Only when no expense is bad and it's making,
can a cigarette taste so right? Both move? Those that
advice three fives, get the taste the taste the Stade

(01:11:58):
Express created for you, the taste that is made three yes,
the King's eyes cigarette of international success.

Speaker 16 (01:12:07):
Get three files, Get the tape.

Speaker 12 (01:12:25):
Will will will poor sill?

Speaker 38 (01:12:31):
Excuse me, I should say, poor lost will? I wonder
where she's taking? Oh well, well assume why not?

Speaker 43 (01:12:52):
Yes, marry go on you harm will come to you.
Your heart is still filled with fear. Go on like
out enjoy what peace and rest made?

Speaker 4 (01:13:08):
Is hard?

Speaker 12 (01:13:09):
What you mean be allowed? What can happen?

Speaker 18 (01:13:16):
Don't I must?

Speaker 9 (01:13:18):
I must?

Speaker 38 (01:13:23):
Dropping with tiredness, as I was confused in mind and spirits,
I tried to cling to reality by touching the bedpost.
It was stolid in my heart. The sheets and blankets
could have come from the Pinan hotel, which I had
left that morning.

Speaker 12 (01:13:40):
And you've seen a million life years away.

Speaker 18 (01:13:45):
My head was filled with a thousand jangling nerves. And
then remember you who.

Speaker 12 (01:13:52):
The raw for the island?

Speaker 27 (01:13:54):
There are all things going to have a man on her.

Speaker 4 (01:13:59):
I didn't.

Speaker 12 (01:14:03):
Listen taking petition.

Speaker 20 (01:14:09):
By so found my smell be a what man?

Speaker 2 (01:14:26):
No?

Speaker 44 (01:14:27):
So remember what she said, there will be no such
being a car island A lot.

Speaker 18 (01:14:43):
I must have.

Speaker 17 (01:14:47):
If it isn't, if it doesn't bolt.

Speaker 12 (01:14:49):
It well gat why wise?

Speaker 9 (01:14:52):
So lot serve your requested. I will open the door
for you.

Speaker 18 (01:15:02):
So I'm no longer afraid I'm insane or Caun't dead
people be insane?

Speaker 9 (01:15:13):
What did it sex give you?

Speaker 13 (01:15:16):
Peaee?

Speaker 18 (01:15:31):
Then I was beyond all carry I drank once again.

Speaker 38 (01:15:37):
She took me by the hand and led me to
the four parts to bed. I don't know what was
the netrink. Strange coness came over me. So I found
myself drifting, drifting.

Speaker 18 (01:15:54):
And then not consciousness, and then what happened?

Speaker 12 (01:15:57):
Nothing?

Speaker 38 (01:15:59):
Until on myself here wondering if you were wondering if
I'm get to care some Findish tackle and whether I'm
gaing to care?

Speaker 12 (01:16:09):
Oh boy, you would like to hear her voice again?

Speaker 8 (01:16:14):
What you two?

Speaker 18 (01:16:17):
I'm not still have quite bless you her. You've been
down the Island of Lost Souls. Now you're in penance.
We brought you to Dr Pasco's surgery. You've been on
Wolf Island.

Speaker 12 (01:16:28):
You've had a terrible and harrowing experience. You're all right now?
Do you feel a little strange because I put you
under the day?

Speaker 16 (01:16:36):
All right?

Speaker 18 (01:16:37):
To say it to my dying day? All yeah, those voices?
Are those nice as? Or shouldn't I you such a phrase?
Or has my dying day already happened? It's all to
please believe me. If you're going to recover fully from
your terrible experience, you've got to cling to the fact
that these things happened to you.

Speaker 12 (01:16:56):
Ys a doctor's sister.

Speaker 18 (01:16:58):
You've been in that open boat, on it rusty, under
that hot sun for some hours. You was delirious, like
the son.

Speaker 12 (01:17:06):
Affected my brain.

Speaker 17 (01:17:07):
I have imagined it all.

Speaker 18 (01:17:09):
No, you haven't imagined it at all, and it wasn't
the result of the delirium. You stay ever since the
Cornish Star went the ground on Wolf Island. They do
say that the island be aunted with the ghosts of
the poor sailors.

Speaker 12 (01:17:23):
What was drowned, lost souls, baby smugglers, they was.

Speaker 18 (01:17:29):
And they do say that when the moon beh you
can hear the cries of the drone in the sailing.

Speaker 12 (01:17:35):
Nonsense, pure superstition.

Speaker 18 (01:17:38):
Have you heard that Wolf Island is known as the
island of lost thous? No hear me d Cornish folklore
has it that when evil doers be their mortal body,
heaven is not their reward, but these losteous remain in.

Speaker 12 (01:17:51):
Torment on Wolf Island. You see very little on the island.

Speaker 18 (01:17:56):
It's practically inaccessible the shipping of any size. About fifty
years ago the National Ornithological Society bought it for the
government to the thank you are what happened every third day?

Speaker 12 (01:18:08):
Did they not dine? The island was too far from
the sure That's.

Speaker 18 (01:18:12):
All very well for you to say, folk lor doctor.

Speaker 17 (01:18:15):
But this genuine strength.

Speaker 18 (01:18:17):
You know how strong the tides are off the Cornish coast.
It's obvious that when you're out board there to fail,
the tide carried you.

Speaker 12 (01:18:24):
Towards Wolf Island. You fell asleep, then you're woke.

Speaker 18 (01:18:28):
A work am I awake yet, mister Strang, If you
want to live a life of nightmare and fears, you
will not do as I suggest. But there's only one
way to remove the effects of the horrible experience. Come
with me to Wolf Island, the doctor. You now that
you're physically recovered, we haven't had much of a chance

(01:18:49):
to exchange information about each other.

Speaker 37 (01:18:52):
You look as though you might just go Marster.

Speaker 18 (01:18:54):
Are ironically enoughimer a lecture in science as brittle universe?

Speaker 12 (01:19:00):
And then come with me. I'll take you in my Boatkay, doctor,
what do you do? Beg you for two reasons, one
for your own peace of mind and the other the
valde latter.

Speaker 18 (01:19:12):
Only instead of arriving at night, we will go now
when the sun is high and the sea is blue,
and the Wolf Island will be bathed in light.

Speaker 12 (01:19:20):
You're asking, it's a great deal of me. It is
for your sake that I an. My great great grandfather
was the.

Speaker 16 (01:19:33):
One that discovered the end estate route of the island.

Speaker 5 (01:19:35):
It has to be around about noon.

Speaker 18 (01:19:37):
Where one can sail between the two currents. Then is
it in a bird of this size, even with the.

Speaker 39 (01:19:42):
Flex of palm on the walls of the sea go
was weaving and diving over here, even with you sitting
at the pillar of the boat. Even now, I find
myself trimming at the thoughts of returning to the islands.
If you haven't told me why we're returning, and but
almost there to do so, it would.

Speaker 18 (01:20:00):
Be as unreal to you as your experience is last night.
I'm a doctor as a psychologist, but I have to
confront you with the demons of the night.

Speaker 12 (01:20:10):
I promise you that.

Speaker 18 (01:20:11):
You'll be perfect to say, and I promise you that
you will understand everything, particularly with your scientific train. Those rocks,
those black rocks, different day.

Speaker 16 (01:20:25):
Of Peter's daylight, as many other things will.

Speaker 18 (01:20:28):
This is the self same creek you arrived there last night.
Let's get ready to beat for those and I'm.

Speaker 12 (01:20:33):
Pretty certain we are being observed already.

Speaker 31 (01:20:36):
Hello, Hello, Come and give that.

Speaker 18 (01:20:41):
I think I recognize that for you, BEFO, if you
had last night and he under different circumstances, I had
no alternatives. You went too far. Randolph Strang meet Professor Hailbrey.
He is or was in more line of countries. No,
it's not the heir, the prey, serious dynamics, good heaven.

Speaker 12 (01:21:04):
It is an honor won't do when you've heard everything,
you insist on the thika.

Speaker 27 (01:21:09):
Yes, let's go in.

Speaker 18 (01:21:14):
Everything you heard last night, missus Strange, with designs so
that when you told your story on her journey to
the mainland, it would be so outrageous that.

Speaker 12 (01:21:22):
No one will believe. In naps I've erected on this island.

Speaker 18 (01:21:27):
Certain sounds to fighting everyone away. You heard me last
night on the amplification systems, so when you told your story,
it would keep the supersticious Cornish woman in terror of
ever visiting with island.

Speaker 12 (01:21:40):
I can't believe it provents he there were things that
you couldn't do mechanically or scientifically.

Speaker 18 (01:21:47):
That girl, yes, you'll soon see.

Speaker 8 (01:21:56):
You.

Speaker 9 (01:21:56):
Who are the.

Speaker 12 (01:21:57):
Travel healthy to have you come to bath to judgements
not judgment? And I brought some one to speak with you.

Speaker 9 (01:22:05):
Of course last night he had left his mortal party.

Speaker 18 (01:22:10):
Look please, that's my stop. This is a This is
an explanation of what happened up nightly is a stucker.
Come out side peace, missus Strange. Where's raining ourselves upon
your mercy? What my brother in law did was unforgivable

(01:22:32):
brother in law? Yeah, the poor child got seen as
my niece. Unfortunately, my sister Prossor Hailsby's wife was stricken
with a rare disease some five years ago.

Speaker 12 (01:22:42):
She was there within a matter of week. My niece
never recovered from a blow.

Speaker 18 (01:22:45):
She went out of her mind. She was no fashion trade.
She was born and brought up in this part of
the world, and she insisted that her mother's Philip was
on this island, which ever since the ship wrecked two
hundred years ago, has been known as the Island of
Lost shows.

Speaker 12 (01:23:00):
I've had the world leading.

Speaker 18 (01:23:02):
Alienists and mental health spacialists. She is not incurable, but
they wanted to to put her away. I both resided
in secretly three years ago, and I if he means
the world to be done a bore with all this.
About a year ago, a young couple had discovered the
route they landed, and I frightened them away before they
could discover the truth they were a calling couple and

(01:23:22):
leave that they were getting ghosts. I decided to take
no more chances. When we saw you walking.

Speaker 12 (01:23:28):
From the creek, I knew I had to frighten you too.

Speaker 21 (01:23:31):
I'm sorry.

Speaker 18 (01:23:33):
I had hoped that would be so scared that you
wouldn't mention it to anyone. But there's phantoms of strange vision.
Betide the effect. I put something in the drink. My
daughter proffered you.

Speaker 12 (01:23:42):
One of the loose natary drugs.

Speaker 18 (01:23:44):
Then while you were asteep, I carried you, or rather
half dragged.

Speaker 14 (01:23:47):
Girl, put you into your boat, knowing that the morning.

Speaker 12 (01:23:50):
Tide would carry her towards the mainland.

Speaker 38 (01:23:52):
Please, mister Dangs, if you report this, I shall have
to have my daughter certified, and she'll be taken away
for me half.

Speaker 8 (01:24:01):
Of this forever.

Speaker 18 (01:24:02):
But what if that strange larf I had could come.
I'll show you there's a switch at our advantage points.
Now you will see why none of the locals will
bring their boats within getting this.

Speaker 12 (01:24:20):
Of the island.

Speaker 18 (01:24:21):
That everything your thought would sit to me, she believe.
I wish she didn't. I wish that she too, were
part of my defenses to frighten the people. Where Jack
the beers, the fisherman who picked up at the stranger
taking him in the hospital. You don't know what incalculable
harm would have been done, I endured her anter. I
knew that you would be picked up by some class
or other. I'd hoped that you would come to believe

(01:24:41):
with what you was for on the island was part
of bad dreams.

Speaker 24 (01:24:45):
I knew that you would never be able to find
a way back there in more to find out whether
it would be dreaming or not. We owe it to
this gentleman to bring in here to tell him the
truth of his own peace of mind.

Speaker 18 (01:24:55):
Yes, yes, no.

Speaker 8 (01:25:00):
She has.

Speaker 16 (01:25:04):
Do I hear something of him?

Speaker 18 (01:25:07):
Oh no, no no, Although with a friends living on
this island with my daughter, I feel very close to
my wife. In fact, I sometimes imagine that she rarely
does speak to me.

Speaker 8 (01:25:32):
Will will Well.

Speaker 12 (01:25:34):
It just goes to show what a.

Speaker 38 (01:25:37):
Failed outboard motor can do to a man. Before he's
able to take any buildings, he finds himself up the
mental creek, so to speak.

Speaker 16 (01:25:56):
Get three fives, Get the take three fives by State Express.

Speaker 18 (01:26:03):
Get the taste of international success, the taste that uniquely
free fives. Only when no expense is better than it's making.

Speaker 16 (01:26:11):
Can a cigarette taste? So might those moves, those satisfies
dream pies. Yet the taste.

Speaker 18 (01:26:24):
The case that State Express created for you, the taste
that has made green pies the king size cigarette of
international success.

Speaker 16 (01:26:34):
Get three fives. Get the taste.

Speaker 12 (01:26:42):
This is your hoost back again.

Speaker 38 (01:26:45):
Yes, a reminders on the zoo next tee Weirker through
the creakingdle of coat.

Speaker 18 (01:27:03):
The manufacturers of Date Express three five Filterking Cigarettes invite
you to listen next Saturday at nine o'clock, when they
will again present.

Speaker 12 (01:27:18):
The creaking gold.

Speaker 45 (01:27:48):
Time, the silent herald of life and death, success or failure,
the unseen force that measures man's destiny, reaching its most
faithful moment as it slowly strikes the eleven out.

Speaker 46 (01:28:27):
The judge was bored, the jury listless, the courtroom hot
and airless that July afternoon, as the voice of the
prosecutor droned on, wheeling out Edward Brown's confession of murder.
The defense had made no effort to keep that confession
from being admitted as evidence, so the trial was as

(01:28:49):
good as over. Eddie Brown would hang in the press gallery.
I hadn't bothered making shorthand notes. I'd heard it is
confession before. He had, in fact made it first to me.

Speaker 14 (01:29:05):
In the dock.

Speaker 46 (01:29:05):
The prisoner betrayed no sign that he was soon to
drop a bomb and turn his trial into one of
the most sensational I'd ever witnessed. No Eddie's handsome twenty
three year old face showed nothing. He listened impassively as
mister Cecil Pollock, crowned prosecutor read the statements.

Speaker 12 (01:29:24):
So willingly sign this passage.

Speaker 47 (01:29:28):
The prisoner says, the Soho shop was untenanted. I had
been engaged by the owners to repaint the front.

Speaker 12 (01:29:35):
Of the building.

Speaker 47 (01:29:37):
They had given me the keys so I could change
inside and store my painting ladders in the back room.
I stopped work early and was standing in front of
the shop, killing time and looking at the passers by,
when a girl came down the street. She was wearing
a summer frock and carrying a large handbag. She stopped

(01:29:57):
and looked me over carefully. Then she opened her handbag,
took out a packet of American cigarettes, and came over
to me.

Speaker 15 (01:30:08):
Hi, a busser.

Speaker 9 (01:30:09):
Hi, you got a match or do I have to
use my own?

Speaker 12 (01:30:13):
Sorry, a match is in the back room in my
other clothes.

Speaker 22 (01:30:17):
Uh huh, oh, well why do you know I haven't
got a match?

Speaker 25 (01:30:21):
My purse of bath.

Speaker 12 (01:30:22):
Oh, if you wait a second, I'll get you one.

Speaker 48 (01:30:24):
No hurry, that isn't why I stopped. No, No, oh, look,
I know this sounds kind of funny, but it isn't. See,
I'm American. I've just been divorced.

Speaker 25 (01:30:35):
I got quite a nice little settlement out of the chump.

Speaker 15 (01:30:37):
I was married to Ye and me and my girlfriend Mabel,
we decided to.

Speaker 22 (01:30:41):
Take a little trip.

Speaker 48 (01:30:42):
Yeah, well, well we came to London first on account
of you.

Speaker 9 (01:30:45):
People understand American, even if you don't speak it. Well,
we've been sitting up in our hotel room for three days.

Speaker 49 (01:30:52):
I'm not one man has spoken to us, so even
giving us says, I don't know whether.

Speaker 30 (01:30:56):
We've got the plague or there just stuck up.

Speaker 9 (01:30:58):
Well, anyway, I told maybe I was sick of it.

Speaker 50 (01:31:01):
I was going out in the street and speak to
the first dead looking man I saw him.

Speaker 48 (01:31:04):
Make him a proposition, a proposition, Oh, look, fust to
the kind of places we want to see in this
time he can't get into without a man.

Speaker 49 (01:31:12):
Oh, we've got plenty of doll we'll pay for everything
and give you something for your time.

Speaker 15 (01:31:17):
We want to guide, see, well, how about it.

Speaker 12 (01:31:21):
I don't know GUIDs one thing, aigglers another.

Speaker 9 (01:31:25):
You're a right buster, and make no mistake about it.

Speaker 22 (01:31:27):
What we want as a guide.

Speaker 18 (01:31:29):
Yeah, well, tell you what we'll do. Come inside, we'll
have a cigarette and talking over.

Speaker 9 (01:31:35):
Oh ook it, gosh, he's kind of dark in here
with a blind pole.

Speaker 12 (01:31:44):
All right, give me your hand, all lead the way.

Speaker 9 (01:31:49):
Maybe we should leave the door open, or don't.

Speaker 12 (01:31:52):
Give me your hand. In the following passage, the prisoner
clearly states his motive.

Speaker 47 (01:32:02):
He says, while the girl, who subsequently identified herself as
Juanita Bell, was rummaging in her purse for a match,
I had seen a large roll of banknotes in the
back room. I tried to take the purse from her.
She struggled and began to scream. I put my hands
around her throat in an effort to silence her. I

(01:32:24):
lost control and forgot the strength of my hands. The
next thing I remember, she was lying slumped on the
floor dead. I ran out of the shop. I was
so agitated by what I had done that I forgot
to lock the door. Later, I threw the key into

(01:32:46):
the Thames. I wandered around aimlessly, trying to think what
to do. Finally I went back to my rooming house
and hurriedly began to peck, intending to run away.

Speaker 12 (01:32:58):
There was a knock at the door. I was half
out of my mind with fear. Who's there, Inspector Clark,
Scotland Yard.

Speaker 20 (01:33:09):
I'd like to talk to you, mister Brown.

Speaker 14 (01:33:11):
Just a minute.

Speaker 27 (01:33:12):
I'm shaving, getting somewhere, mister Brown.

Speaker 18 (01:33:15):
Why no, I'm unpacking as a matter of factor, not
going anyway.

Speaker 51 (01:33:21):
Oh but you are, mister Brown. We'd like to have
a word with you down at the yard. I understand
you have the keys to a vacant shop in Soho keys.
Why I did have him, I don't have him now.
I came him to a chap late this afternoon.

Speaker 12 (01:33:35):
Who was this tep Well?

Speaker 18 (01:33:37):
He said he was a prospective tenant, said he just
wanted to look round and the owners have told him
to get.

Speaker 12 (01:33:43):
The keys from me. I gat him to him and
left before he did it.

Speaker 51 (01:33:47):
And he described this man, Oh, he just a man, medium,
ordinary sort of face, and nothing very special about him.
As he you can't tell us anything that will help
us to identify him. Uh oh, yes, see he was
wearing a leather coat, you know, a.

Speaker 18 (01:34:05):
Long leather coat like German officers war.

Speaker 51 (01:34:07):
I doubt level help us very much. A lot of
soldiers brought those back from Germany after the Wall. Oh yes,
I suppose it did. Would you recognize as men again? Yes,
I think so, and as those you will come along
with me, mister Brown? What for just to help us
the little information and so forth? Good morning, mister Brown.

(01:34:40):
Sleep well, now I didn't. You had no right to
keep me here all night, sorry, but we thought it
was necessary.

Speaker 18 (01:34:46):
Now they shouldn't take very long, all right, sergeant, you
can start the men through the line up.

Speaker 52 (01:34:51):
Now, walk out on the platform and stand facing the
inspector gent sideway, sharing your profile.

Speaker 14 (01:34:58):
They go off the other side.

Speaker 18 (01:35:01):
Let's go out closely. Now see if you recognize the
man you gave the key to him? All right, Inspector,
you have no.

Speaker 14 (01:35:08):
Right to put me in a mine.

Speaker 8 (01:35:09):
Up.

Speaker 12 (01:35:09):
I haven't done anything.

Speaker 9 (01:35:10):
That's him.

Speaker 12 (01:35:12):
That's the man in the leather coat.

Speaker 8 (01:35:14):
What have I done?

Speaker 2 (01:35:15):
Wi you?

Speaker 12 (01:35:16):
What are you accusing me?

Speaker 8 (01:35:17):
Off?

Speaker 12 (01:35:17):
That's the man I gave the ca to. Hey killed
to inspector hate killed her.

Speaker 47 (01:35:27):
The prisoner's confession continues as follows. When the man I
had falsely identified as the one to whom I had
given the key was able to prove his whereabouts at
the time of the murder, the inspector again turned his
attention to me again and again I was questioned, but
I stopped to my original statement that I had given

(01:35:49):
my key to a man in a leather coat. After
several days, I was released for the police could not
prove enough against me to bring me to trial. Over
the next two years, I brooded about what I had done.
November of nineteen forty eight, I went to the offices
of a large London newspaper and asked to see mister

(01:36:10):
Kent Rogers, the court reporter.

Speaker 18 (01:36:13):
I had often read his accounts of trials and the press.
Mister Rogers, yes, what's on your mind? I want to
confess to a murder.

Speaker 12 (01:36:23):
You would you mind saying that again?

Speaker 18 (01:36:27):
Two years ago I strangled an American girl named Janita Bell.
The police couldn't prove what.

Speaker 46 (01:36:33):
Did it, so they were listen to me, mister Bell,
if you're some kind of a crank, try and get publicity.

Speaker 12 (01:36:37):
I'm not a crank. I can tell you exactly how
I did it everything. It's well, why tell me? Why
didn't you go to the police.

Speaker 18 (01:36:44):
I like the way you write up trials in the newspaper,
got a nice style. Anyway, Why are you complaining to
scoop for isn't it. Yes, yes, if it's true, it's
true or right? Besides, I got another reason for telling you?

Speaker 29 (01:37:01):
What reason?

Speaker 12 (01:37:02):
Never mind, we just take down what I say.

Speaker 18 (01:37:05):
Then you can check the Inspector Clark at Scotland jar
he handled a cake before.

Speaker 12 (01:37:11):
Milard.

Speaker 47 (01:37:12):
Gentlemen of the jury, the prisoner Edward Brown stands convicted
of murder out of his own mouth, by his own
voluntary statement. There for the Crown need present no further evidence,
and on these words his own words, the Crown raists
its case.

Speaker 53 (01:37:33):
Is counsel for the defense now ready to present his case. Yes,
you may proceed, misters en Thank.

Speaker 14 (01:37:39):
You, gentleman of the jury.

Speaker 54 (01:37:42):
In order to save the court's time, I will waive
the customary opening remarks usually made by defense counsel. I
will call my first and only witness, the defendant, Edward Brown.

Speaker 46 (01:37:57):
We were surprised at the defense had decided to call
the prisoner. There was a stir of interest in the court,
but no sympathy crossed the faces of the jurors as
Eddie Brown took the stem.

Speaker 54 (01:38:10):
Now, then, mister Brown, you have heard the statement read
out in this court.

Speaker 21 (01:38:14):
I have Is it the truth?

Speaker 8 (01:38:17):
It's an absolute lie.

Speaker 53 (01:38:23):
And mister Brown, do I understand that you repudiate your confession, No, Madad,
I said those things in Simon and to them, but
they're all lies.

Speaker 12 (01:38:34):
I never saw a nature better in my life.

Speaker 55 (01:38:36):
I gave the key to the shop to the man
in the leather, Curtis, as I told the inspector. First,
you may perceive with your examination, mister Ends, thank you,
your confession is entirely false. It is, yet you voluntarily
made the statement to the police, and you made the
same statement.

Speaker 54 (01:38:53):
To the court reporter Ken Rogers, I did I see?

Speaker 13 (01:38:58):
Then?

Speaker 54 (01:38:58):
Tell me why did you go to Roger's office, that's
the newspaper and tell him this story? If it were
not proof?

Speaker 55 (01:39:05):
For two years, I didn't run a suspicion, no unemployee,
my friends won't associate with me.

Speaker 8 (01:39:13):
Yet no chance to ever been laid against me.

Speaker 18 (01:39:16):
Ifore I know how whoever, clearing my eye, I've decided
to confess so that I'd have to be brought to trial.

Speaker 12 (01:39:24):
That's why I told mister Rogers the story.

Speaker 27 (01:39:27):
That's why I'm here to clear an eye.

Speaker 8 (01:39:31):
Mister Pollock.

Speaker 56 (01:39:33):
Yes, and in your closing remarks to the court, I
understood you to say that you intend to offer no
evidence other than the prisoner's confession.

Speaker 20 (01:39:42):
Is that correct?

Speaker 56 (01:39:43):
Yes, they see, gentlemen of the jury, it is obvious
that the defendant is a liar. But it is of
course equally obvious that he cannot be convicted.

Speaker 8 (01:39:57):
Because of.

Speaker 46 (01:40:26):
Edward Brown, a self confessed murderer, left the court of
free men. The case of the curious Confession would have
ended up another of London's unsolve crimes, except for a
strange course of events in which I was again to
figure in my capacity as court reporter. It was almost
two years later that I dropped into Scotland Yard late

(01:40:49):
one afternoon to call on inspected Clark.

Speaker 12 (01:40:53):
Well, Rogers, haven't seen you for several weeks.

Speaker 8 (01:40:55):
You haven't been in court lately?

Speaker 51 (01:40:56):
No, I haven't where things are going. I may never
get my present case to court. What's on your mind?

Speaker 12 (01:41:02):
Well, I'm doing a spot of crime reporting at the moment. Yeah.
Is the change as good as a holiday?

Speaker 28 (01:41:06):
Well?

Speaker 46 (01:41:06):
I got a bit stale on court reporting. Like to
get out among my raw material. Occasionally see the people
I write about before they appear in court. I'm covering
the case you're working on now, silk Stocking.

Speaker 18 (01:41:18):
Murday You press chests glamorize everything, so that stocking wasn't silk,
it was Lyle. And the murdered woman was not young
and beautiful as she was written up. She was over
forty and she looked it. Yes, we do color the
pects a little sometimes. After all, a Lyle Stocking suggested,
well the housemaid. We couldn't call the case there the

(01:41:39):
Lyle Stocking murder. It's a euphoonius. In more memories, you
know the details as both more or less. Yes, but
I'd like to hear them from you, just for the record.

Speaker 57 (01:41:51):
Hmmm.

Speaker 51 (01:41:51):
There is certain book keeper and married had a basement
paed and victorian. During the night, somebody entered up flat
with the intention of robbingham. She was in bed, she
hadn't been awaken The burglar grabbed the first thing hand here, stocking,
and then strangled over it. He then took what money
he could find and left the flatter. She discovered the
next morning. My neighbors would hurt nothing at all during
the night. Any clues None, Sometimes though, you get a

(01:42:13):
break in the salt, kid, Leez, That's what I've been
telling my Come in.

Speaker 52 (01:42:20):
There's a young woman outside who wants to see you. Inspector.
What about an RAF deserter?

Speaker 12 (01:42:26):
Well, can't you handle it?

Speaker 58 (01:42:27):
Certain?

Speaker 28 (01:42:27):
Oh?

Speaker 52 (01:42:27):
Yes, but she's ready about you in the paper and
she says talking to you will be more like talking
to someone she knows.

Speaker 18 (01:42:33):
For Pete say the penalty of favorite and who's responsible
your reporters?

Speaker 12 (01:42:38):
All right? Certain centering? Yeah? Yes, Oh we want me
to stait outside. No, no, you didn't stay. I'll just
have a word with them and i'll pass one of
the sergeant.

Speaker 20 (01:42:47):
You can go right in, Miss Corfield, thank.

Speaker 12 (01:42:49):
You, come in, miss thank you.

Speaker 15 (01:42:54):
I'm Laura Corfield, Inspector.

Speaker 21 (01:42:56):
How do you do?

Speaker 12 (01:42:57):
This is mister Rogers in? Good afternoon, Good afternoon? Is
it done.

Speaker 18 (01:43:02):
Now?

Speaker 28 (01:43:02):
Then?

Speaker 12 (01:43:02):
Missus? I was troubling you Will.

Speaker 49 (01:43:06):
It's about me young man, or rather he was a
young man up until a few weeks ago. He had
few too many at the pub one evening and he
told me he was a deserter from the RAF.

Speaker 9 (01:43:18):
Will.

Speaker 49 (01:43:19):
Naturally I refused to see him after that, but he
kept coming round and well Will threatening me. Well, I
don't like it about his being a dessert, but I
wouldn't put him eat. I mean, I hate doing a
thing like this.

Speaker 25 (01:43:34):
Only you see, I'm.

Speaker 12 (01:43:35):
Afraid, afraid. I'm afraid of what will.

Speaker 49 (01:43:39):
Every night he comes and stands across the street and
watches me window.

Speaker 9 (01:43:44):
If I go out, he stopped me and we argue.
Last night it was really wild.

Speaker 49 (01:43:50):
He hinted that he'd taken care of other girls who
tried to throw him over and Will.

Speaker 9 (01:43:57):
I'm afraid of him.

Speaker 12 (01:43:58):
I really am, only have perfectly of writing coming along
with it. Beg could be wrong?

Speaker 28 (01:44:03):
Are you?

Speaker 12 (01:44:03):
You hadn't come, could have meant trouble for it?

Speaker 9 (01:44:06):
That's what I thought.

Speaker 12 (01:44:07):
You just go outside.

Speaker 18 (01:44:08):
Told this the sergeant William. Give me a name and
address and he'll arrange to have the young men picked up.

Speaker 49 (01:44:12):
Oh yes, look I brought this along. Say you know
him when you see him. It's a snap we had
taken right after we first meet.

Speaker 25 (01:44:21):
Here is here.

Speaker 12 (01:44:22):
Thank you. It's gonna be quite a big help to us.
That rogers.

Speaker 13 (01:44:26):
Eh.

Speaker 12 (01:44:26):
Oh, yes, it's Victor. Take a look at this. Recognize him?
He does look a bit truly. Yes, well we can't say.

Speaker 8 (01:44:35):
That I do.

Speaker 18 (01:44:36):
When you last saw him he had no mustache, and
he looked much younger, Yeah, very much longer hair and.

Speaker 12 (01:44:41):
Short cropped like this. Yes, of course, inspect you have
run along this and tell us all about it. We'll
take care of everything.

Speaker 49 (01:44:49):
Oh, I will all write inspector. Thanks very much, Oh
I miss.

Speaker 12 (01:44:55):
We asked the sergeant just to step in here for
a moment.

Speaker 4 (01:44:58):
Yes, is it?

Speaker 12 (01:45:00):
It's a photo Eddy Brown. That's all right. I've always
wondered what happened to him.

Speaker 27 (01:45:05):
Hey, young lady says you wanted to see me, then.

Speaker 12 (01:45:07):
Yes, keep it here while I go out and become
my boyfriend. But I thought you weren't going to handle it.

Speaker 51 (01:45:11):
I changed to mind. I have a cart in Brown,
I shall believing at once I'd like to go with
you to pick him up, and I'm sure you would.
Unfortunately regulations when quite admit that you're not Brown. In
the morning, I'll let you tell the story. Then it'll
be interesting to see Eddie Brown again.

Speaker 46 (01:45:43):
My morning in Victory, the sergeant tells me you picked
up Brown last night. He certainly did anything in it
for me.

Speaker 18 (01:45:50):
One of the best stories I've ever struck that you
can't print it well might not. Eddie Brown confessed to
the silk Stocking murder.

Speaker 12 (01:45:59):
He what you heard me?

Speaker 51 (01:46:01):
He convince the murder of Mary Satturn, just like he
did in the Oneita Bell case.

Speaker 12 (01:46:05):
I say this is getting a bit of a habit.

Speaker 18 (01:46:06):
You can say that again. This case beginning to follow
an all too familiar pattern. He got away with it once,
and he might do so again.

Speaker 12 (01:46:13):
You don't mean it, I'm reread I do.

Speaker 51 (01:46:15):
You can't print if he's been tried the murder before,
nor can that fact be introduced as.

Speaker 12 (01:46:19):
Evidence of his trial.

Speaker 29 (01:46:20):
No, no, that's true.

Speaker 51 (01:46:22):
It's a fundamental tenet of British lord. A jury can't
be told of defendant's previous conviction or trial.

Speaker 12 (01:46:27):
Let me see him, inspecting me. I can. You'll see him,
all right, you'll see him in court.

Speaker 46 (01:46:42):
And so incredible as it seems, I again took my
place in the press gallery and looked down at Edward
Brown for the second time a prisoner in the dock.

Speaker 12 (01:46:52):
As the Crown.

Speaker 46 (01:46:53):
Prosecutor read out Brown's confession, only three people in the
courtroom realized that his earlier trial was being re enacted
in an amazing fashion. So changed was Brown's appearance that
few had recognized him, and so common was the name
that had gone well, let's say unnoticed, But fate had
decreed another remarkable coincidence, the Crown prosecutor who rose to

(01:47:16):
read out his confession was the same who had faced
him before, mister Cecil Pollock.

Speaker 12 (01:47:22):
His presence in court must have given the defendant of shock,
didn't his father.

Speaker 46 (01:47:25):
Mister Pollock paused, took a sip of water, and continued
reading Brown's statement.

Speaker 47 (01:47:31):
For several weeks, I had been hiding out during the
day in a basement cupboard across from Mary Sutton's flat.
The door of the building was never locked, and I
was able to go in and out at will. On
the night of October the seventh, I entered Mary Sutton's flat.
She was asleep, but in the light of a street
lamp outside, I could see her purse lying on a

(01:47:53):
table beside her bed. I crept over and was about
to take the purse when she awakened and began to scream.

Speaker 12 (01:48:01):
We struggle.

Speaker 47 (01:48:03):
Somehow I managed to get us stocking round her throat.
I choked her with that. Then I took the money
in her purse and left the flat. Three days later
I was arrested by the police as a deserter from
the RIM, at which time I made this voluntary statement,
signed Edward Brown.

Speaker 46 (01:48:27):
Step by step, the trial progressed with its incredibly familiar pattern.
As his first witness, the prisoner's counselor, mister R. G. Williams,
called Edward Brown to the stand.

Speaker 52 (01:48:39):
You have heard your statements right out by the lenning
prosecutor I have. Is it any collage you wish to make?

Speaker 12 (01:48:47):
Yes, I did not kill mary Son.

Speaker 55 (01:48:52):
Does counsel for the defense intend to claim that the
confession was expected under duress?

Speaker 52 (01:48:59):
No, lad, we claim that, for reasons which the defendant
will explain, he did not tell the truth in his statement.

Speaker 51 (01:49:05):
If the Crown wishes to move from an adjournment, I
will hear such a motion.

Speaker 27 (01:49:10):
The Crown does not require a germanis my lad?

Speaker 12 (01:49:13):
We are prepared this time, milod, I am ja time.
The prosecutor's final remark we did need.

Speaker 21 (01:49:18):
To turn the record.

Speaker 12 (01:49:20):
I will draw the remark, my lad.

Speaker 59 (01:49:21):
The journey of disregard the prosecutor's remark we are prepared
this time can fill.

Speaker 12 (01:49:28):
But the defense may proceed with examination. Mister Brown, do
you deny all of your statement to the police, No, sir,
I am a result from the if.

Speaker 18 (01:49:38):
I didn't arn a as saddle the flat on the
night of the murder, but I did it because I
heard a struggling side. Then a man ran out of
the door and run up the steps. I wanted to
say what was wrong? I found it dead. I was
about to leave when suddenly I decided to confess to
the murder. Why I was responded, I didn't want to

(01:49:59):
go on living. I was a deserter, couldn't find a job.
I was desperately never with me go Laura Corfield and
she had turned me over general or later. I knew
I'd be caught and probably convicted of the Sutton murder. Anyway,
i'd believe I hadn't done it. When my girlfriend turned
me to the police, I confess to a murder.

Speaker 12 (01:50:21):
I did not commit. No more questions.

Speaker 27 (01:50:24):
You may proceed with cross examinations.

Speaker 18 (01:50:27):
To Pollock, mister Brown, you wished to confess to a
murder you did not commit, Yes, sir, you decided that
while you were in the room, Yes, sir. And see
if you wished to confess, why didn't you go direct
to the police and do so? Well?

Speaker 12 (01:50:49):
I guess I decided later that is.

Speaker 20 (01:50:51):
Not what you said a moment ago.

Speaker 12 (01:50:54):
Now that I think it over, I decided later, yes,
see did you touch the body?

Speaker 18 (01:51:02):
Eh? Did you touch the stocking. Eh, but you saw
it in the light thrown by the street lamp outside. Yes, sir,
mister Brown, Will you describe the stocking?

Speaker 8 (01:51:15):
It was.

Speaker 18 (01:51:17):
Just an ordinary lial stocking, nothing special about it, an
ordinary lile stocking.

Speaker 12 (01:51:23):
Yes, mister Brown.

Speaker 47 (01:51:25):
Are you aware that in all newspaper accounts of this
case it has been referred to as the silk stocking murder?
You could not possibly know, but lyle unless you had
committed the murder yourself.

Speaker 12 (01:51:37):
No, I read it somewhere.

Speaker 47 (01:51:40):
I submit that your entire confession is true, that you
murdered Mary's Hutton exactly as you said you did.

Speaker 27 (01:51:47):
That you are guilty, guilty of murder as charged.

Speaker 46 (01:52:03):
The jury was out forty minutes, then they returned a
verdict of guilty. The man who confessed once too often
was convicted and later hanged.

Speaker 12 (01:52:16):
What curious compulsion made Edward Brown confess me?

Speaker 46 (01:52:21):
Evidently some twisted bravado drove him to crave center stage
in the drama of the courtroom. So it took five
years and two trials to accomplish it. Justice was finally done,
and Edward Brown paid for his crimes with his life.
In his case, there was no reprieve eleventh power.

Speaker 8 (01:53:00):
M HM.

Speaker 60 (01:53:03):
Be listening to another mounting drama of action and suspense
when we again bring you the eleventh Hour. The Case
of a Curious Confession was written by Sulla ball Bright
and produced by Jim Bradley for our transor.

Speaker 12 (01:53:52):
M hm.

Speaker 37 (01:53:55):
Hm hm hm.

Speaker 61 (01:54:43):
Fed Up with the everyday grind, tired out by the
dull routine, I want to get away.

Speaker 12 (01:54:51):
From it all.

Speaker 5 (01:54:53):
We offer you.

Speaker 3 (01:54:55):
Escape, escape designed to free you from the four walls
of today, for a half hour of high adventure.

Speaker 61 (01:55:08):
You are speeding through the English countryside, the fast express
train rocking beneath your feet, and you know that somewhere
in the dark ahead of you, a band of men
are plodding the destruction of the train, are planning the
moment of your death.

Speaker 3 (01:55:36):
Today we escape to England at the turn of the
century and the story of a complete train that vanished
from the face of the earth, as Sir Arthur Conan
Doyle told it in his fascinating tale The Lost Special.

Speaker 62 (01:56:01):
Twenty years with Scotland Yard had brought me into contact
with many weird and unusual events in human affairs, but
none more strength than the occurrences which began on the
afternoon of June third, eighteen ninety in the railway station
at Liverpool. On no case before had I ever felt
myself so helpless, groping blindly, as it were, for an

(01:56:22):
unseen adversary, not being certain of the nature of the crime,
not even knowing, in fact, if it were a crime.
Suffice to say that, along a short stretch of railway
line in western England, I learned what is truly meant
by terror of the unknown. At four o'clock of the

(01:56:45):
afternoon in question, having completed a rather minor investigation which
had brought me to Liverpool, I was sitting in the
waiting room of the railway station, reading and waiting for
the six o'clock train for London, entirely unaware at that
moment of a rather ordinary conversation that was taking place.
It's in the office of mister James Bland, the station master,
a few yards away.

Speaker 58 (01:57:04):
I'm very happy to know you, mister Carrotle, and you
mister Gomez, and now if I might learn the nature
of your wishes.

Speaker 63 (01:57:10):
Simply this, mister Blend, my companion and I have arrived
on the steamer from Central America, which docked less than
an hour ago. It is of the utmost importance that
we reach London as quickly as possible in order to
arrange passage across the channel to France.

Speaker 58 (01:57:23):
I see it, well, it's unfortunate you missed the three
o'clock train, mister Carrottle. However, they'll be limited leaving at
six that will put you in London. That is not
soon enough, mister Blend.

Speaker 63 (01:57:33):
I cannot stress too highly the importance of my reaching
Paris at the earliest possible moment.

Speaker 58 (01:57:37):
I can understand that. But there simply isn't any other
training quite so.

Speaker 8 (01:57:41):
Quite so.

Speaker 63 (01:57:42):
I am informed, however, that it is possible to charter
a special train upon occasion especial.

Speaker 58 (01:57:47):
Yes, it's possible, rather expensive, though the.

Speaker 63 (01:57:50):
Cost is not important, mister Bland. How soon can the
arrangements be made?

Speaker 58 (01:57:54):
Well, mister Hood, do we have an engine available, Sir
number two forty seven on the north siding under emergency steam? Good,
very well, mister Carotle.

Speaker 64 (01:58:04):
It's four oh eight.

Speaker 58 (01:58:05):
Now we can roll a special out of here at
four thirty. The charges fifty five pounds.

Speaker 63 (01:58:10):
Gomez, you will pay mister Blend fifty five pounds.

Speaker 58 (01:58:13):
Who is on the stand by krowmister Hood, let's say
John Slater's engineer McPherson god Smith Farman, call them at once,
help them carry two standard coaches behind the engine, and
telegraph the station master at Saint Helens to hold the
local onsiding there until the special goes through. Make sure
the line is clear as far as Manchester, Sir, I'll

(01:58:34):
send for a porter to take care of your briefcase,
mister Carrotle seems to be rather heavy.

Speaker 17 (01:58:38):
Thank you.

Speaker 63 (01:58:38):
No, I prefer to keep it with me if you
don't mind.

Speaker 58 (01:58:42):
Certainly, whatever you wish. Now, if you leave here at
four thirty you should be a Manchester at quarter to six.
The station master there will clear you onto London, and
I trust you'll have a very pleasant journey.

Speaker 62 (01:59:00):
As I say, I was not aware of these events
until a while later, and would have placed no significance
on them. In any case, at four thirty one the
special train with its two passengers and three crew members
pulled out of Liverpool Station and headed to Manchester, and
at ten minutes to six I was summoned to the
office with mister James Bland, the station master.

Speaker 58 (01:59:20):
And so that seems to be it very likely. I
have no real reason at all to be worried, Inspector Collins.
But since I saw you below there in the station,
I thought.

Speaker 13 (01:59:28):
It was call you.

Speaker 30 (01:59:29):
We're not.

Speaker 62 (01:59:29):
I'm happy if you have any help, mister Bland, as
I understand it, your Special train is running behind schedule?

Speaker 58 (01:59:34):
Is that incredibly behind?

Speaker 13 (01:59:36):
The schedule?

Speaker 58 (01:59:36):
C nearly half an hour overdue at Manchester right now.
We've wired them to check and report back.

Speaker 62 (01:59:41):
It isn't exactly unheard of for a train to run slow,
mister Bland.

Speaker 58 (01:59:44):
It is unless theres some reason, and I can't think
of one. In this case, the Special had clear track
all the way. It passed through Saint Helen's at four fifty.

Speaker 5 (01:59:51):
Two right on time.

Speaker 58 (01:59:53):
They wired us and then fifteen minutes later released the
local to follow along behind it into Manchester.

Speaker 62 (01:59:58):
You mentioned something about mister Carratta having a companion.

Speaker 29 (02:00:00):
I believe, yes, a.

Speaker 58 (02:00:01):
Great hulking brute named Gomeres. He didn't that for a
word while they were here. Seemed to be a sort
of bodyguard. Caratil himself was small and stooped, with a
swathe complexion, possibly a Latin America.

Speaker 62 (02:00:14):
And you got the impression that he was carrying something
rather valuable in his briefcase.

Speaker 58 (02:00:17):
Yes, he wouldn't let it out of his hands, and
he seemed to be in great fear of something, though
I haven't any idea.

Speaker 62 (02:00:22):
Of what it may What about this second chapter is
more English.

Speaker 58 (02:00:25):
About forty years old, seemed very anxious to reach his
sick wife in London.

Speaker 65 (02:00:29):
Now, yes, Manchester on the wire. Now, mister Blao, good
what do they watch the moment? Eh, well, here's a message.
Assume change in your original plan. Local from Saint Helens arrived.
Manchester reports no sign special train.

Speaker 29 (02:00:50):
Oh but that's impossible.

Speaker 58 (02:00:51):
Saint Helen's reported the special through ahead of the local.

Speaker 62 (02:00:54):
Is there a branch line between Saint Helens and Manchester,
Mister Bland, No, not.

Speaker 58 (02:00:57):
Even a double track. There's only a single track made
line straight through sidings, of course at the local stations
for loading purposes. But mister Hood, so check every local
operated from Saint Helen's arm. We've got to get to
the bottom of this. I can't understand it, Inspector Collins.
A locomotive and two coaches can't simply well, it's utterly impossible.

(02:01:18):
It can't have just disappeared.

Speaker 62 (02:01:24):
Then a few moments the answers began coming in over
the wire. The first was from Saint Helen's.

Speaker 65 (02:01:29):
Repeating our previous message. A special train past here four
fifty two Local departed fifteen minutes later than from Collins
Green Special past here five o'clock, followed by a local
train seventeen minutes later, and then Earl's Time special Pastyre
five oh six, followed by a local eighteen minutes later,
Newton Special past here five twelve, Local train seventeen minutes later.

(02:01:52):
At Kenyan Junction, special through here at five twenty local
pass nineteen minutes later, and then Button Muss Local through
five fifty three now special train fast here today.

Speaker 58 (02:02:09):
I tell you it's absolutely unprecedented, Inspector Collins, an entire
train and five human beings vanishing from an open track
between two local stations only eight miles apart. It's impossible.

Speaker 62 (02:02:20):
It's the only thing to the contrary being the fact
that it has apparently happened. But I can't understand, mister Bland.
I think you'd better make arrangements to get us out
to Kenyon Junction as quickly as possible. Within ten minutes
we were in a coach behind a Goods engine moving

(02:02:41):
at full throttle on the main line east out of
Miller of Liverpool. Since the missing Special had been reported
safely through Kenyon Junction, there was no need for concern
with the country this side.

Speaker 12 (02:02:50):
At that station.

Speaker 62 (02:02:51):
While the coach rattled and banged along the miles, we
spent the time pouring over a large scale map about
eight miles stretch between the junction and Barton must.

Speaker 58 (02:02:59):
As you can see the surf on the map, Inspector Collins,
it's rather open country through there, low rolling hills, mostly
with quite a lot of coal mining and one steel mill.
No towns or villages near the railway line.

Speaker 62 (02:03:10):
Yes, so I see, mister Blander. What about these spur
tracks that join the main line. There must be a
dozen or more of them, fourteen to be exact. Isn't
it possible the Special could have been switched onto one
of those spurs?

Speaker 58 (02:03:20):
Well, yes, and no. Eight of them can be eliminated immediately.
Besides being narrow gauge tracks, they are also much too
flimsy to bear the weight of a standard locomotive. Furthermore,
they end at loading bins adjacent to the main line.
They're not actually connected to it.

Speaker 62 (02:03:36):
I see well, Let's still leave six are the all
standard gauge.

Speaker 58 (02:03:40):
Yes, but three of those six can be eliminated too,
since they've been abandoned for years. The mines they were
built for are no longer operated, the Red Gauntlet, Despond
and hart S Eas collieries.

Speaker 62 (02:03:51):
Yes, but abandoned or not. If the tracks are still there,
couldn't they be used?

Speaker 2 (02:03:54):
No?

Speaker 30 (02:03:55):
No, they could not.

Speaker 58 (02:03:56):
When service to the three mines was discontinued years ago,
The which is along the several hundred yards of track
adjacent to the main line were removed to prevent accidents.

Speaker 62 (02:04:05):
That settles that. But we still have three lines left.

Speaker 58 (02:04:08):
Yes, and all in operation. They serve the big ben
and perseverance callieries and the calm stock iron work.

Speaker 62 (02:04:13):
Good that there's the probable area of our investigation.

Speaker 58 (02:04:16):
Probable, Inspector, I failed to see anything probable about a
train scheduled from Manchester turning up in a dead end siding.

Speaker 62 (02:04:25):
Well for many years now, mister planned, I've been approaching
problems of this sort with a certain theory of logic.
Once both the obvious and the impossible are eliminated, and
we seemprogreon those, then the solution must lie in the
realm of the improbable. No matter how fantastic it may
at first see.

Speaker 58 (02:04:40):
I can't believe it. Why wouldn't the train crew report?
What about mister Cartle's anxiety to get to London?

Speaker 13 (02:04:46):
Why would wait?

Speaker 62 (02:04:47):
Wait, we're slowing down, aren't we that's write chay.

Speaker 17 (02:04:49):
We're pulling it to Kenyon Junction.

Speaker 62 (02:04:51):
This is the last station to report, seeing the last special.
Very well, gentlemen, this is where we start to work.
We stopped in the junction only long enough to rig
asceatelene spot lanterns at either side of the coach, directed
in such fashion as to light up the roadbed and

(02:05:13):
embankment along both sides of the track, and then we
pumped slowly out onto the main line and headed towards
Barton Moss, eight miles away. The first mile of those
eight dropped behind us and brought no significant discovery, and
we moved on through the second mile. Save for the
flood of light from our lanterns and the dull red

(02:05:33):
glow from the fire box of the engine, the night
was as black as pitch. Now and again the ugly
shape of a loading bin for one of the narrow
gage feeder lines would loom out of the darkness ahead
of us and float past ghostly for a moment in
our lights, and then desirave a way behind us into
the blackness. But on the roadbed, the rails themselves remained unmarred, undisturbed,

(02:06:02):
and offered not the slightest clue to explain a disappearance
that grew more mysterious by the minute. We completed the
second mile and moved on. And then suddenly, what is it, inspector,
what do you see? I stop the engine at once,
mister hood es, sir, what is it, inspector? I think
I've seen something.

Speaker 58 (02:06:24):
I don't see a thing.

Speaker 62 (02:06:26):
Let's just stop them thanks there near to the bushes.
We'll need a hand light here, sir, good, all right,
come on now, let's.

Speaker 13 (02:06:32):
Have a look.

Speaker 58 (02:06:35):
By heaven there there is something, right enough, I say, no, well,
it looks like a man lying there.

Speaker 62 (02:06:42):
It's more likely the body of a man. From the
position he's in. Well, now, lad, let's turn you over
and have a glimpse of your face.

Speaker 58 (02:06:51):
What, inspector, why this is John Slater? H?

Speaker 29 (02:06:55):
And who is John Slater?

Speaker 58 (02:06:57):
He was the engineer on the special Well, he's dead.

Speaker 62 (02:07:01):
The next broken indeed, I'll venture a quick guess it
was caused by a fall from the cab of his
engine traveling rather fast at the time. I'd say, you
can see where he rolled through the bushes for some
little distance there. But then what happened to the locomotive
inspector afterward on me That still remains to be seen,
mister Hood. It can be fairly certain of one thing, though,
a special must have come at least this far out
of the junction. Otherwise it's pretty difficult to account for

(02:07:23):
the engineer's body being here.

Speaker 58 (02:07:24):
No more difficult, surely than it is to account for
any of this. This whole thing is incredible impossible.

Speaker 62 (02:07:31):
Well, we still have our improbabilities, mister Bland. Those three
connected spur lines are ahead of us yet, and the
chances are one of them is going to supply some
kind of an answer. By midnight I'd completed a thorough
check of the three lines. The first one to the
Big ben Collier ran a mile and a half back

(02:07:52):
into the hills and ended against the face of a
huge pile of coal, not large enough, however, to cover
a locomotive and two coaches.

Speaker 12 (02:08:00):
Certain of that the.

Speaker 62 (02:08:01):
Line of the Perseverance coulliery was hardly more than a
half mile long. It'd been blocked all day, and it
was still blocked by a string of loaded orchys and
ended beyond them against the.

Speaker 12 (02:08:10):
Open rock face of a quarry.

Speaker 62 (02:08:13):
The last line, running to the Carnstock Iron works was
a double track and had been left open all day. However,
a sleepy superintendent informed me that over two hundred repair
men had been busy on the road bed until well
after dusk, and it was impossible to imagine a non
scheduled train passing through such a horror of witnesses unnoticed.
Oh shortly after midnight, dog tired, we walked into Barton

(02:08:34):
must station, still without the slightest explanation of the mystery.
I want to send a wire through Scotland yard. Yes,
sir h I am prepared to postpone further investigation in
mistigation until daylight, Yes, sir signed Collins. Can you get

(02:08:56):
that up right away?

Speaker 27 (02:08:57):
Right away?

Speaker 62 (02:08:57):
So peaceful English countryside in a dead.

Speaker 33 (02:09:03):
Engine driving you're speaking of me?

Speaker 13 (02:09:05):
Si?

Speaker 62 (02:09:06):
Yeah, no, No, it is strange, though strange. In broad daylight,
a forty ton locomotive with two carriages and four passengers
has vanished from the face of the earth.

Speaker 3 (02:09:24):
In just a moment, we will return to Escape. But first,
ten great shows come to you every Sunday Night on CBS,
and right and bright in the middle is America's number
one comedy, The Jack Benny Show. Tomorrow night, Jack will
take his place on CBS All Star Night with the
cast that's made the Jack Benny Show a welcome visitor
in millions of American homes. Yes, Jack, Benny, Amos and Andy,

(02:09:46):
Helen Hayes, Eve Arden and all the other great stars
come to you over most of these same stations in
CBS's ten Great Shows on Sunday Nights.

Speaker 66 (02:09:56):
And now with our star.

Speaker 3 (02:09:57):
Ben Wright, we returned to the second act of Escape
and the last special.

Speaker 62 (02:10:11):
By the next morning, of course, the story was out
and the daily papers went to work on it. But
fortunately for Scotland Yard, the main attention of the press
was directed at the moment toward the international scandal which
had been brewing for a week or two among high
financial circles in France. As it was, however, letters to
the editor in the morning postscape has quite a rough
god Oh, with all manner of crack scenes.

Speaker 67 (02:10:32):
To believe that the worthy operators of Scotland Yard have
overlooked the one obvious explanations to the whereabout the missing train?
May I advise them that some two miles from Barton
Moss the railroad line crosses the West Branch Canal. Unquestionably
the special left from the bridge and lies now in
the muddy.

Speaker 68 (02:10:52):
This whole affair is obviously the work of some subversive organization,
and until the culprits are brought in to face their
just desserts, no man, woman or child in England can
be considered safe.

Speaker 63 (02:11:05):
Now, why atter sing the fulfillment of ancient prophecies. The
forces of evil grow bolder and begin now to invade
the earth openly. There is no doubt but what that
strange man carat all was rarely the devil in disguise.

Speaker 67 (02:11:21):
And it is my action this morning is to gaze
quickly across the city toward Westminster Abbey. Considering the recently
demonstrated inefficiency of Scotland Yard and the Manchester Liverpool railway affair,
it's quite possible the abbey may be spirited away some night.

Speaker 62 (02:11:38):
Soon a week passed, and then two weeks we scoured
the whole western countryside, following up a relief, tracking down
each rumor, and we got nowhere three weeks four and
then the press began to ignore the matter. Two months
went by, nothing new, three months and the activity of
Scotland Yard in the matter had come to a stand.

(02:12:00):
The reason was simple enough. We had no idea what
else to do, So the records were finally taken from
the active file and barked. Case still open and unsolved.

(02:12:21):
Even though I worked on other assignments, my mind kept
turning continually back to the case of the lost special
I tried to think of some avenue left untried, some
path overlooked, and I could think of nothing. I reviewed
all of the improbabilities I tested and disproved, and I
tried to improbabilities. Suddenly a fallacy in my own logic

(02:12:44):
began to dawn on me. Arbitrarily, I had called certain
explanations impossible, and touched them only lightly in my investigation.
And yet what could really be classed as impossible in
a case which itself was utterly impossible? Back down to
Barton Muss again, and then ten days of painstaking work.

(02:13:08):
At the end of those ten days, I was certain
that I'd found at least the essentials of the answer,
and I was equally certain that I could never prove it.
I could see only one bare chance, a desperate chance
against long odds. I laid my plan before the Chief Inspector,
and then Scotland Yard went into action.

Speaker 67 (02:13:31):
In London Times twenty one November eighteen ninety, rumors are
circulating that a man named Dalton, arriving in Liverpool and
the steam of Vistulo tomorrow, may hold the key to
the long standing Manchester railway mystery. According to reliable sources,
mister Dalton possesses recently discovered copies of the documents which
were carried in the briefcase of the ill fated mister Caraitol.

(02:13:52):
It is further stated that Scotland Yard is arranging to
meet mister Dalton at the Liverpool Pier and rush him
forthwith to London.

Speaker 62 (02:14:01):
The next afternoon. Accompanied by mister Dalton, I walked into
the office of mister James Bland, station Master at Liverpool
and charted a special train for London.

Speaker 58 (02:14:10):
We shall have the train ready for leaven ten minutes.
Inspector Collins, yah good.

Speaker 62 (02:14:14):
I'm as anxious to get mister Dalton and his briefcase
to London as quickly as possible.

Speaker 58 (02:14:17):
Yes, I saw the squib in yesterday's paper and I
was afraid then you'd be wanting a special train arranged.
I'm still worried about it as a matter of fact.

Speaker 62 (02:14:25):
Oh, I hardly think there's any need to be. You've
run a good many specials up to Manchester since that
a fair six months ago, and you've never lost another one, now,
have you?

Speaker 30 (02:14:32):
No?

Speaker 58 (02:14:33):
But I'll confess I've shaken in my boots every time
i've watched one of them. Full out of here, I.

Speaker 61 (02:14:37):
Say, now you're going to have me jumping in my
own shadow.

Speaker 62 (02:14:41):
Oh don't worry, mister Dalton. I'll have you in London
before you know it and done the worst for the trip.

Speaker 58 (02:14:45):
Nevertheless, Inspector, you'll have to admit the situation today is
very much like the one six months ago.

Speaker 8 (02:14:50):
Oh yes, in some ways.

Speaker 58 (02:14:51):
The mysterious stranger arriving by steamer from South America and
in urgent haste to reach London. The carefully watched briefcase, which,
according to rumor, can the very same sort of material
mister Caratal was carrying.

Speaker 62 (02:15:02):
But there is one difference. Mister Dalton is being accompanied
by an agent from Scotland Yard.

Speaker 58 (02:15:07):
Yes, but mister Carroll also had a guard that Chap Gomez,
and both of them disappeared.

Speaker 61 (02:15:13):
Oh come now, surely you don't think that anything so
fantastic could possible.

Speaker 62 (02:15:18):
No, he's right, mister Dalton. It did happen once, and
a number of the elements are similar. Well, mister bland
our Yu, as soon as we reached Manchester.

Speaker 58 (02:15:26):
Howly necessary, Inspector, I think I shall go along with you.

Speaker 62 (02:15:31):
Work good, But if you're looking forward to excitement, I
can't promise you no.

Speaker 58 (02:15:35):
It will probably be a very ordnate fit. But if
I stayed here I'd be a nervous wreck for the
time you reached Manchester.

Speaker 62 (02:15:40):
Well, then come along by all means, mister Dalton, and
I will enjoy your company. You are trained to just
pull up the platform, gentlemen. Good well, gentlemen. We uh,
we can't keep the fates waiting. Huh, let's get aboard.

Speaker 58 (02:16:02):
Well, it's certainly been an uneventful journey so far.

Speaker 62 (02:16:05):
Why, I hardly expected anything to happen the side of
Kenyon Junction and it's right ahead of us there.

Speaker 58 (02:16:10):
Inspector Collins, do you mean you are expecting something to
happen on the other side of it.

Speaker 62 (02:16:14):
Oh, yes, yes, that's the whole purpose of the trip.
I don't believe I followed you. Yes, I imagine it
is about time that you were brought in on this,
mister Bland. I didn't want to take any chances by
discussing it before we were well along towards the danger area.

Speaker 58 (02:16:28):
We're passing through Kenyon Junction, Inspector.

Speaker 62 (02:16:32):
Mister Dalton. There as a Scotland yard agent by the way,
mister Bland. Oh, and all he's carrying, and that mysterious
briefcase is half a dozen ham sandwiches.

Speaker 58 (02:16:42):
I think I should welcome some sort of explanation, Inspector Collins.

Speaker 62 (02:16:47):
Yes, do you ever hear of the old trick and
archer uses when he loses an arrow, he shoots another
in the same general direction, follows it, and sometimes he
finds both of them. Well, this train and all of
us aboard it come to the second arrow, mister Bland.

Speaker 58 (02:17:01):
Do you mean you're expecting this train to vanish like
the other? Why you're deliberately risking our life?

Speaker 62 (02:17:06):
Or the risk is not quite so great as you
may imagine.

Speaker 58 (02:17:09):
But what makes you believe the attempt will be repeated.

Speaker 62 (02:17:11):
I've created as nearly as possible the same set of
conditions that led to the first disappearance. If I'm right
about the motivation, the party's concerned can hardly afford not.

Speaker 58 (02:17:19):
To repeat what motivation I failed to see one?

Speaker 62 (02:17:23):
Well, it requires a bit of assuming, mister Bland, But
the assumption seemed to fit the facts as well as
the method used. Let's take some of those facts. Mister
Carrator was in a frantic hurry to reach Paris. His
briefcase apparently contained something of great value. He was afraid
an attempt to be made to prevent his reaching Paris.

Speaker 64 (02:17:41):
Yes.

Speaker 62 (02:17:42):
In Paris at that time, a huge financial scandal was brewing,
which later came to nothing because of lack of evidence.
The scandal involved illegal land operations in Central America. If
mister Carrator had just arrived from Central America with his briefcase,
even and finally, it must require a good deal of
money to bring about the disappearance of a local motive
and coaches, whereas ordinary criminals rarely have a good deal

(02:18:04):
of money. Now do you follow me?

Speaker 32 (02:18:06):
Yes?

Speaker 64 (02:18:07):
Yes, of course.

Speaker 58 (02:18:08):
If all that's true, then the idea was to eliminate
Caratal completely along with his evidence, and that's exactly what
was done.

Speaker 21 (02:18:15):
Inspector.

Speaker 61 (02:18:16):
We just passed the spot where John Slater's body was found.

Speaker 62 (02:18:19):
Then heads up, mister Daughton. It's only a few hundred
yards now tell me this, inspector.

Speaker 58 (02:18:23):
Have you also discovered how the thing was done?

Speaker 13 (02:18:26):
Oh?

Speaker 62 (02:18:27):
Yes, but I'm in the unfortunate position of not being
able to prove it.

Speaker 58 (02:18:31):
And what do you think is going to prove if
the same thing happens to us?

Speaker 11 (02:18:34):
Ah?

Speaker 62 (02:18:35):
That well, I forgot to mention that there are twenty
agents of Scotland Yard concealed in the coach behind us.
They're specially selected, armed with rifles, and are there for
the express purpose of making sure the same thing does
not happen to us.

Speaker 61 (02:18:48):
We're slowing down, Inspector Collins, Well, I think this is.

Speaker 62 (02:18:51):
It slowing down why we're leaving the main line.

Speaker 58 (02:18:54):
But we can't leave the main line. There's no siding here.

Speaker 62 (02:18:57):
Oh yes, there is, as the spur track to the
high Colored, but it's abandoned.

Speaker 58 (02:19:02):
There's no connection to the main line. The rails were
taken away years ago.

Speaker 62 (02:19:06):
Ordinarily you would be right, mister Bland, But at the
moment there's an excellent switch in store at the main line,
and also a very serviceable set of rails connecting it
with the old track traveling over them. Now, as a
matter of fact, you see anything, mister Dalton, not, Yes, sir,
the train is being manned incidentally by Scotland yard agents.
I took the liberty of holding the regular crew and

(02:19:26):
the coach behind us until we could find out which
of them has been bought off, which scheduled to end
up like John Slater.

Speaker 58 (02:19:33):
But I'm confessed.

Speaker 61 (02:19:34):
Look, men are coming out of the bushes behind it.
You're already starting to pull.

Speaker 28 (02:19:38):
Up the rail.

Speaker 62 (02:19:38):
You'll see, mister Bland. In fifteen minutes you'll be right again.
There'll be no connection between the hot seas siding and
the main line. Yes, yes, I see now, By heaven,
I never missed the plan. It won't do any good
to try to signal with that pocket handkerchief.

Speaker 58 (02:19:53):
I'm I'm afraid I don't quite understand you inspected.

Speaker 62 (02:19:58):
Then perhaps you'll understand the fact that you're under arrest
for the murder of Caratol Gomes and John Slater.

Speaker 58 (02:20:03):
Why that's utterly ridiculous. Why have we stopped.

Speaker 62 (02:20:07):
In order to permit it. Ah, here's your answer. I
think the twenty agents of Scotland Yard should prove more
than a match for your assistance.

Speaker 58 (02:20:16):
Your guesses are nothing less than preposterous. Inspector, what could
I or anyone else gained by merely switching a train
onto an abandoned siding the other special if you recall disappear.

Speaker 62 (02:20:27):
Ah, yes, yes so it did, and straight ahead of
us a mile and a half. If you recall, mister Bland,
this spur ends at the heart SI's mind shaft, one
of the largest inclined shots in this part of the country.
According to the records, it used to be nine hundred
feet deep, but upon investigating it last week I found
it closed off by a tremendous cave in at four

(02:20:47):
hundred feet. Now tell me, mister Bland, was the cave
in caused by the explosion of the locomotives boiler when
it struck the bottom, or did you dynamite the shaft
after the train when you do it?

Speaker 58 (02:20:58):
You've no proof of any of this and no evidence
whatsoever against.

Speaker 62 (02:21:02):
Me your train crew in the coach behind us of
all science statements, and I think we'll get a good
deal more evidence from the men who being rounded.

Speaker 13 (02:21:08):
Up out there.

Speaker 69 (02:21:09):
Now, I.

Speaker 58 (02:21:11):
Have nothing further to say.

Speaker 62 (02:21:13):
There's nothing you can say, mister Bland. We've seen your
bank account with those mysterious and heavy entries which had
dated about the time the Special disappeared, which I am
sure we shall be able to trace to certain French sources.
We've succeeded in tracing down Macpherson and Smith, a farman
and conductor you bribed to Vanish. Too bad you couldn't
bribe Slater the engineer, because his death was most unfortunate.

(02:21:38):
You see, his body furnished us with our first clue. Yes,
mister Bland. Without Slater's body, we might really have thought
that the Lost Special had disappeared into thin air.

Speaker 3 (02:21:54):
Escape is produced and directed by Norman McDonald. We have
presented The Lost Special by Conan Doyle, adapted for radio
by Less Crutchfield, with editorial supervision by John Buncle starred
as Inspector Collins was Ben Wright, and the featured players
were Parley Bear, John Dayner, Edgar Barrier, Larry Dapkin and

(02:22:16):
Paul Freeze. The special music was arranged and played by
Ivan det Bars.

Speaker 61 (02:22:23):
Next week, you were aboard the Orient Express rushing through
the European night, bound for Constantinople, and in your compartment
with you a gun pointed at your head. A small
mysterious foreigner is about to take your life.

Speaker 3 (02:22:52):
Next week, we escaped with Graham Greene's exciting novel of intrigue,
Orient Express. Good by that until this same time next week,
when CBS again offers you escape for more adventures, seek

(02:23:18):
it out with two top CBS shows tonight, The Adventures
of Philip Marlowe and Gangbusters, both regular Saturday features on
most of the same CBS network stations. Be sure to
hear them tonight. Now stay tuned for five minutes of
the latest news, to be followed by the Let's Pretend
program over most of these same CBS stations. This is

(02:23:49):
Roy Rowan speaking for CBS the Columbia Broadcasting System.

Speaker 70 (02:24:15):
Every Man's Theater, written and created by Arch Obler, Oxidol
invites you to hear Catwife, a mystery drama that will
give you a thrill a minute. Featuring Betty Winkler and

(02:24:36):
Raymond Edward Johnson. Catwife is especially written for radio, part
of a series of nineteen forty one style entertainment brought
to you each Friday, at this time and over this
station by Procterine Gamble, the makers of high test Oxidoll.

Speaker 71 (02:24:50):
Oh wait though, are you putting.

Speaker 35 (02:24:52):
Up with some old style laundry soap, an old fashioned
slow polk soap because you feel it's economical and saving
your money.

Speaker 12 (02:24:58):
Well look, here's the way.

Speaker 35 (02:24:59):
Many these soaps can and do actually lose money for you,
enough money so you'll be ahead using a laundry soap
like oxidol. First, those slow poke soaps don't make as
much SuDS. Well, every bit of oxidol goes to making SuDS.
The result is that oxidol gives more SuDS cup for
cup than twenty three popular laundry soaps soaps we test
it against. Second, oxidol SuDS last straight through your wah.

(02:25:23):
Old fashioned, less economical soaps don't last this long. As
you know from experience, compared to them, Oxidol can cut
your laundry soap bills as much as one fourth. You'll
save that in the amount of soap you use alone.
And third, you don't scrub and boil clothes with oxidol.
You save that wear and tear and tatterin fray of
constant washboard scrubby because oxidol soaks dirt out in ten minutes.

(02:25:45):
Throw your boiler and washboard away. Why ten minutes soaking
in thick oxidol SuDS, A good daus and a few
quick rubs per ext for dirty spots like Collison cups
are rinse, and you're through clothes sparkling clean with so
much less washing wear that they'll last longer and look
that are too. Hundreds of thousands of women have found
this out by actual trial. Thousands more are changing to
oxid all every week because it's so economical to use

(02:26:09):
compared to old style ineffishient soaps. You get more SuDS
and use less soap, and you get clothes clean and
friced with far less wear and tear than if you'd
scrubbed and boil them. Remember that when you buy a
laun resoap tomorrow. Now here's our writer, creator Arts Obler,
to introduce tonight's nineteen forty one style radio program.

Speaker 72 (02:26:27):
Since the time when mankind sat around fires and caves,
stories of the mysterious and unusual have been the most
welcome you and I like to be thrilled. So tonight,
just for fun, let's listen to the story of a
man and his wife, a very unusual wife.

Speaker 16 (02:26:49):
I got that online.

Speaker 22 (02:26:50):
I don't know the.

Speaker 36 (02:26:54):
Ct it cut it out, hut it out standing in
a minute.

Speaker 22 (02:27:01):
Yeah, so what give me my drink? Cleanie? Oh baby,
do I feel swell?

Speaker 36 (02:27:08):
Come on, queenie, we better blow out of here.

Speaker 22 (02:27:10):
No not, don't go, don't go. I don't want to
be alone.

Speaker 8 (02:27:14):
What do you mean alone?

Speaker 14 (02:27:17):
That guy?

Speaker 22 (02:27:18):
What does he know about having fun?

Speaker 18 (02:27:20):
Work?

Speaker 21 (02:27:20):
Work?

Speaker 22 (02:27:21):
Work makes me sicker? I've never been sick before.

Speaker 5 (02:27:24):
That's pretty good.

Speaker 22 (02:27:25):
Come on, stick around his have some more fun.

Speaker 14 (02:27:27):
Say no way, woman with all the time.

Speaker 22 (02:27:32):
Well, speak of the devil. Hi you Johnny boy? Come
on in the water is fine?

Speaker 27 (02:27:38):
Water work?

Speaker 22 (02:27:41):
I go way, go away your sport on my party?
He still him out of here, Kenny, He's only my husband.

Speaker 14 (02:27:48):
Whatever your name is, listen to him.

Speaker 9 (02:27:53):
It's my house, my house. What you you kick them out?

Speaker 24 (02:28:00):
My friend?

Speaker 14 (02:28:01):
I beg you people with you to keep these people
out of this house while I'm trying to get some
work done. Haven't you any consideration at all?

Speaker 22 (02:28:08):
You kick them out, my friend?

Speaker 14 (02:28:10):
Yes, and I'll do it again every time I find
them here. They're no good, not of one of them
You've promised me time and time again to give them up.

Speaker 9 (02:28:17):
I'll call them back.

Speaker 12 (02:28:18):
I'll call them all back.

Speaker 22 (02:28:19):
You can't tell me what to do, not me. They're
my friend's morning. I'll give a doutn you for one
of them, all.

Speaker 14 (02:28:27):
Right, Linda. If that's the way you feel, you haven't
got a grain of.

Speaker 27 (02:28:32):
Loyalty in you.

Speaker 14 (02:28:33):
Oh, I ask is a little piece and quiet in
my own home, and I can't even have that night
after night, you and these people yowling and screaming like
a pack of alley cats, and you the worst of all.
I'm through, lind I'm through.

Speaker 21 (02:28:44):
With you for good.

Speaker 4 (02:28:46):
Oh no, you're not.

Speaker 42 (02:28:49):
Oh no, you're not.

Speaker 8 (02:28:51):
Keep away.

Speaker 14 (02:28:54):
Cheap, oh Linda.

Speaker 73 (02:29:00):
See you're not through with me at all. You'll never
be through with me, never. I don't want you, you fool.

Speaker 22 (02:29:14):
You're not through with me. I'm through with you.

Speaker 74 (02:29:17):
I'm tired of you.

Speaker 36 (02:29:18):
Do hear me?

Speaker 9 (02:29:18):
Tired of you?

Speaker 75 (02:29:20):
I'm gonna get so far away from that smug face
of yours I couldn't see it with a telescope.

Speaker 22 (02:29:26):
Your wife, Why do you think I married you?

Speaker 8 (02:29:29):
You love me?

Speaker 22 (02:29:31):
I married you because I was sick.

Speaker 75 (02:29:33):
Of working in a two bit barbershop because I was
sick of living in a hall bedroom wearing bargains heale dresses.
I want a dope, plenty of it all I could get,
and you were the best chance to get it.

Speaker 8 (02:29:43):
That camel.

Speaker 14 (02:29:43):
No, you did love me. You must have loved me well.

Speaker 22 (02:29:47):
I loved you about as much as that canary up
there loved this cage. I told myself, I stay with
you a year, divorce you stick you for plenty of alimony,
and then get out.

Speaker 14 (02:29:55):
You've been married five years, Yeah, five.

Speaker 15 (02:29:57):
Years because you fooled me.

Speaker 22 (02:29:59):
That's why I fooled you. You started to make a
lot of money, more money than I ever thought you
could make.

Speaker 13 (02:30:09):
So you're giving me the no.

Speaker 14 (02:30:12):
No, Linda, I love you. I didn't mean when I
said I didn't, but I did. Linda, don't believe me.

Speaker 13 (02:30:17):
You're no good.

Speaker 14 (02:30:17):
I know you're not good, but Heaven help me. I
love you. I don't never love anybody else. Get no, No,
I won't let you go. You've got to say good.
You cust me my self respect, but you stay with me.
You stay with me, or I'll cut you off without
a scent. You'll never get a dime for me, not
a dime.

Speaker 42 (02:30:34):
Stop laughing you.

Speaker 21 (02:30:41):
Stop that.

Speaker 9 (02:30:44):
Mmmm.

Speaker 22 (02:30:46):
So you're gonna cut me off without a scent?

Speaker 9 (02:30:50):
Why, you fool.

Speaker 22 (02:30:52):
I've got everything that belongs to you now you hear
me everything?

Speaker 14 (02:30:56):
What are you talking about?

Speaker 22 (02:30:58):
This house it's in my name, isn't it? The car
it's in my name, isn't.

Speaker 2 (02:31:03):
No?

Speaker 8 (02:31:04):
No, you wouldn't, Oh wouldn't.

Speaker 22 (02:31:05):
I Well listen to this, my darling husband. I cleaned
out the bank account, yes, in every set of it.

Speaker 9 (02:31:14):
I won't be in the street.

Speaker 8 (02:31:15):
Oh no you will.

Speaker 22 (02:31:17):
Now this is my i'se Get your things and get
out of here.

Speaker 12 (02:31:20):
I'll kill you.

Speaker 8 (02:31:22):
I'll kill you.

Speaker 9 (02:31:24):
You don't.

Speaker 22 (02:31:31):
Catch me again, I'll terrialize you. You can't get out
of my way.

Speaker 21 (02:31:37):
That's what you want?

Speaker 14 (02:31:38):
A cat, A big, quite heartless cat, you think like
when your streets like on your claw like one.

Speaker 21 (02:31:45):
You even look like one.

Speaker 14 (02:31:46):
Your eyes their cat's eyes, that's what they are. Cats,
can't I didn't know a woman.

Speaker 21 (02:31:53):
I married a cat. Go ahead, laugh here.

Speaker 22 (02:31:59):
Sneaking, yell me, no, that's another that I don't like it,
cap saying it a cat?

Speaker 13 (02:32:11):
John?

Speaker 22 (02:32:13):
Stop staring at me like that.

Speaker 9 (02:32:16):
Stop staring at me, John, what's.

Speaker 76 (02:32:21):
Happening to me, John, my head, I can hardly see.
Don't help me, John, What are you staring?

Speaker 9 (02:32:35):
What are you sing?

Speaker 12 (02:32:38):
William?

Speaker 8 (02:32:59):
Oh?

Speaker 28 (02:33:00):
How John?

Speaker 8 (02:33:00):
You've got to control yourself. Everything will be all right, Doctor.

Speaker 12 (02:33:06):
John.

Speaker 8 (02:33:06):
Please please pull yourself together.

Speaker 9 (02:33:09):
I can't.

Speaker 8 (02:33:09):
You're not entirely to blame for what happened.

Speaker 21 (02:33:12):
I did it.

Speaker 20 (02:33:12):
And to blame? What do I do?

Speaker 18 (02:33:15):
Will I do?

Speaker 69 (02:33:15):
Stop talking like that. It's preposterous to say you are
to blame. She was in a hysterical condition. The suggestion
that she was a cat caught her in an unguarded
moment and resulted in intemporary neurosis.

Speaker 14 (02:33:30):
Doctor Can I go in and see?

Speaker 8 (02:33:34):
But I tell you she's sleeping?

Speaker 21 (02:33:35):
I know, But doctor, I've got to see her.

Speaker 14 (02:33:38):
I've got to look at her. I've got to make
sure she's all right, don't you see. I've got to
make sure.

Speaker 21 (02:33:43):
How John?

Speaker 14 (02:33:44):
Please, you had a hard time of it. You better
get to bed and get some rest. No, no, doctor
listened to me. I got to see her again. I've
got to make sure she's all right. I can't rest
until I know that.

Speaker 8 (02:33:54):
I tell you, Oh, very well, just for the moment, yes,
be very quiet. Yes, there you see, she's resting very nicely.

Speaker 21 (02:34:10):
Doctor.

Speaker 14 (02:34:10):
Look what her hands? Look at her hands and her teeth.

Speaker 8 (02:34:16):
Linda, No, no, John, you you make a John.

Speaker 2 (02:34:19):
Linda m hm.

Speaker 28 (02:34:37):
Doctor.

Speaker 14 (02:34:37):
Listened to her, Listen to her, steady, John, I can't
stand at her. Tell you, doctor, what is it? What's
happening to her?

Speaker 12 (02:34:43):
I don't know, John, I don't know.

Speaker 14 (02:34:46):
Oh, listen to her?

Speaker 5 (02:34:48):
What'll I do?

Speaker 8 (02:34:48):
What'll I do?

Speaker 69 (02:34:50):
Fingers into claws, teeth into thangs. It can't be happy
what it is, and yet I've seed it with my own.

Speaker 9 (02:34:58):
Ey.

Speaker 14 (02:34:58):
You've got to do something, doctor, your You've got to
you're my friends. You've got to help me.

Speaker 8 (02:35:02):
But what in the name of all that's rational?

Speaker 5 (02:35:04):
What you think?

Speaker 14 (02:35:06):
There must be something you can do, a drug, something, something.

Speaker 69 (02:35:09):
Aren't John? I I don't know what to say. I
can't think. I'll call in someone else. Yes, that's it island.
Inform the authorities. They'll take care of everything. No, no, no, wait, doctor, Wait,
what's the matter?

Speaker 57 (02:35:21):
What is it you.

Speaker 14 (02:35:25):
You're going to inform me A sorry?

Speaker 69 (02:35:27):
Yes, yes, of course, don't you see, my boy. It's
the simplest way out of this, of course, of course,
for you and for me. What do you mean this
horrible thing that's happened to Linda. He goes beyond just
you and me, It goes beyond the normal into the supernatural.
The world should know about it.

Speaker 14 (02:35:46):
You mean you're going to let everyone know what's happened
to Linda.

Speaker 8 (02:35:49):
Of course, but you can't do that.

Speaker 14 (02:35:52):
She's my wife, do you hear me?

Speaker 71 (02:35:54):
My wife?

Speaker 2 (02:35:55):
No?

Speaker 69 (02:35:55):
No, And I don't get excited again, John, list Insensibly
we a to sia science.

Speaker 14 (02:36:01):
Who cares about science? She's Linda, she's my wife, and
I cursed her the garden. I turned you into a
yawning beast. It's my shame, mine, And you're not going
to tell anyone else about it, No one.

Speaker 8 (02:36:13):
It's my dauty. John, I must inform the authorogy.

Speaker 14 (02:36:16):
No, keep away from that phone, Keep away, I say.

Speaker 8 (02:36:21):
I'm sorry, John, I must call John my friend.

Speaker 35 (02:36:47):
And now while we get our breath back, and we
li for one need of breathing spell, Well, let me
remind you of those dazzling snowy whitewash as oxidol gets
every week as much as nine to eleven timtometer shades
whiter than so help after yourself. We test it against,
yet washable colored things come out bright and lovely looking
wash after wash. It's easy on hands too. It doesn't

(02:37:08):
harm your manicure or ruin your price. Nail polies, all
these things, oxid, all promises, and we'll.

Speaker 14 (02:37:13):
Give you if you use it.

Speaker 8 (02:37:14):
Monday.

Speaker 14 (02:37:33):
No, No, try to sleep, darling. Try to sleep. Yes, yes,
I know, I know, darling, but it's almost morning.

Speaker 12 (02:37:43):
You must dress.

Speaker 14 (02:37:45):
Sleep to sleep, man, Darling. All right, all right, darling,
I won't cry. I've got to be strong. I've got
to help you, and I did help you. He was
going to tell him about you, everyone that have taken

(02:38:07):
you away from me, locked you up, pointed at you,
laughed at you. But I stopped him, Linda, I stopped
him for you. He called me friend. But you're my wife, beloved,
and I love you. I pleased you, haven't I, my darling.

(02:38:29):
I never could please you before, could I? But now
I've pleased you. I tell him he never came here
and no one will ever know, Darling, no one but
you and I.

Speaker 12 (02:38:48):
What is it, darling?

Speaker 14 (02:38:50):
What's the matter? Why are you getting up?

Speaker 9 (02:38:54):
What is it?

Speaker 14 (02:38:57):
I go to the window.

Speaker 12 (02:38:58):
What do you want up there?

Speaker 14 (02:39:01):
If I could only understand you, if I could only
know what you're trying to say to.

Speaker 21 (02:39:05):
Me, Oh, no, Linda, then to stop and the lease,
I'm begging.

Speaker 13 (02:39:21):
You to stop, stop stop stop.

Speaker 14 (02:39:45):
Yes, yes, I'm coming. I'm culling.

Speaker 17 (02:39:49):
My miss dinner.

Speaker 8 (02:39:50):
Oh to you.

Speaker 77 (02:39:51):
I found there's notes saying you wanted to talk to
me and yeah, I hope you're not going to quit
taking milk from No, no.

Speaker 14 (02:39:55):
No, I'm not going to stop taking milk. That's what
I wanted to see you. But I want milk, more milk,
cream everything. Well, sure, sure, how much do you want?
Four bottles of milk?

Speaker 18 (02:40:05):
No?

Speaker 9 (02:40:06):
No?

Speaker 2 (02:40:06):
No?

Speaker 12 (02:40:06):
Six?

Speaker 4 (02:40:07):
Six?

Speaker 14 (02:40:07):
Yes, some cream, six bottles of cream? Is is something
wrong with Taylor wrong? Why do you think something's wrong?

Speaker 17 (02:40:15):
Well, I only.

Speaker 77 (02:40:18):
Speak up your met what we don't get service to Taylor.
I just meant, well, you know it looks so well
and well you know how it is. Sometimes a fella
has a couple too many and starts uating all the
milk in the world.

Speaker 14 (02:40:29):
Fool, I'm not drunk. Do you want to sum of
that milk? Or do I have to get another milk mill?

Speaker 41 (02:40:33):
No, no, I'll get it for you.

Speaker 14 (02:40:34):
I'll get it for you, hurry, six course six cream.

Speaker 8 (02:40:38):
Only him and his old lady the guy's nuts.

Speaker 78 (02:41:03):
Well, good morning, mister Taylor. Early again this morning at
my first customer. Every morning for the last three days,
I was saying to my wife.

Speaker 14 (02:41:14):
Yes, yes, mister Heinrich, some other time. I'm in a
hurry my order please.

Speaker 78 (02:41:18):
Sure, but you didn't give me an order yet. How
about a nice broiling stuff?

Speaker 12 (02:41:22):
No, no, nothing like that.

Speaker 14 (02:41:24):
But I'm in a hurry.

Speaker 78 (02:41:25):
I tell you all right, all right, you don't have
to get so excited, mister Taylor. Now, if you'll tell
me what you want, I'll get it for you.

Speaker 14 (02:41:34):
Oh well, I uh, I don't know exactly. A couple
of pounds of fresh liver. Yes, that's a fresh liver.

Speaker 8 (02:41:44):
Again, don't hurt me, Sure I hurt you.

Speaker 78 (02:41:47):
But but you okare for three days now ever since
your wife went away, you you eat nothing but live.

Speaker 14 (02:41:53):
You want to feel my order?

Speaker 8 (02:41:54):
Sure, sure, I'll fill you.

Speaker 27 (02:41:58):
Nice and fresh.

Speaker 2 (02:41:59):
Uh for two pounds?

Speaker 8 (02:42:04):
Here we are.

Speaker 27 (02:42:05):
Hey, hey, you think there was raising cats or something?

Speaker 5 (02:42:11):
Why do you say that?

Speaker 78 (02:42:13):
Well, you buy liver every day. Oh, this morning I
caught a couple of mice in the tramp. Maybe you'd
like to take them along for the cat to.

Speaker 14 (02:42:22):
Don't say that.

Speaker 9 (02:42:23):
Don't say, mister Taylor.

Speaker 8 (02:42:25):
The liver deliver forgot.

Speaker 27 (02:42:29):
Hey, man's crazy.

Speaker 4 (02:42:33):
What did I say?

Speaker 16 (02:42:34):
That was wrong?

Speaker 8 (02:42:36):
Cats like to eat mice.

Speaker 57 (02:42:58):
Uh my, Vinda, my dear, Linda, close to me, so
close to me. Oh my darling, my darling.

Speaker 4 (02:43:16):
It's better this way.

Speaker 14 (02:43:18):
You can't leave me now. I'll have you with me
all this. I'll keep your head, yes, just you and I.
I won't answer it. You go away, all right, I'll

(02:43:41):
answer it. It can't be anyone that knows he's dead.
I buried him, Linda, you know that. Ah No, no, no,
stay here. They mustn't see you.

Speaker 8 (02:43:59):
Be very goot.

Speaker 14 (02:44:09):
Yes, yes, I'm coming, I'm coming.

Speaker 8 (02:44:14):
Well what is it?

Speaker 79 (02:44:15):
What is it?

Speaker 8 (02:44:15):
Are you the owner of this building?

Speaker 14 (02:44:17):
Yes, that's what he want.

Speaker 8 (02:44:19):
Kerrigan's the name.

Speaker 41 (02:44:20):
I am your name, but I've got the place across
the alley, brom Oh my my name, Kerrigan's the name.

Speaker 14 (02:44:25):
I'm with the Department Department.

Speaker 41 (02:44:28):
I'm that's sergeant at the third District Station.

Speaker 12 (02:44:32):
Police.

Speaker 41 (02:44:33):
Yeah, I'm all duty today, so I thought i'd drop
over and speak to you.

Speaker 8 (02:44:37):
Do you mind if I step in for a moment,
step in? Oh no, no, not at all, not at all.
Thank you, thank you.

Speaker 41 (02:44:47):
Hey, you got a nice place here, Yes, yes, nice,
very nice. You know, the same contractors made this place
has made mine. You didn't know that a bit, but no,
no I didn't. And an irishman with the name of
Gilhooley jumped out of the tense story window. They tell
me the day after the stock market grace. Lucky for
him too, he was alive. Now some of the people

(02:45:08):
along here that bought places with him.

Speaker 20 (02:45:10):
And murder him.

Speaker 41 (02:45:11):
But with the trouble of heaven, Oh trouble. Yeah, cheap
material plastic crack and floor sag and stuff like that.

Speaker 14 (02:45:18):
Oh oh, I see what you mean.

Speaker 8 (02:45:20):
Now you take my place.

Speaker 41 (02:45:21):
I've had to have a new roof put on and
new gutters put in, and I never know what'll go
wrong next.

Speaker 8 (02:45:26):
Anything wrong around here?

Speaker 14 (02:45:28):
If oh no, no, no, nothing at all.

Speaker 8 (02:45:31):
And you're lucky, you say, what's the matter? I just
remember when I come over. If you don't mind, I'll
tell you.

Speaker 21 (02:45:39):
Yes.

Speaker 41 (02:45:40):
Now, it ain't me that's complaining, mister Taylor. I'm the
kind of a man that can sleep in a boiler factory.
But it's my ela. There's a light sleeper for you.
I always say that if a star in heaven twinkles
too much.

Speaker 8 (02:45:52):
The noise wakes up me. Ela.

Speaker 21 (02:45:54):
What what's the trouble.

Speaker 8 (02:45:56):
Oh, no, trouble at all, mister Taylor.

Speaker 41 (02:45:58):
Like I'm telling now, I'm the last man in the
world to go around having trouble with me neighbors. But
you know how the women are who are always finding
something to make a use about.

Speaker 8 (02:46:09):
See, I'm not disturbing a disturbing Yeah, you know you're missus.
She's not sleeping in the bedroom.

Speaker 14 (02:46:14):
There is no no, no, of course not. There's no
one in there.

Speaker 8 (02:46:18):
I thought maybe he's seeing the daughter's grown.

Speaker 14 (02:46:20):
No, no, I tell her there's no one in there.
My my wife is out of town.

Speaker 8 (02:46:24):
Ah, well, that's fine.

Speaker 41 (02:46:25):
I always like to talk things over manned a man
without the women are on.

Speaker 8 (02:46:30):
That's where I made my ella stay home. Let me
handle this, I says, there's anything wrong, I says.

Speaker 14 (02:46:36):
Let me do the talking and we'll stay God, what
is it? What's wrong? What do you want to tell me?

Speaker 8 (02:46:40):
Where you put it? Plain? It's the cat.

Speaker 4 (02:46:45):
Cat?

Speaker 12 (02:46:46):
Yeah, the cat.

Speaker 21 (02:46:47):
You just got it, didn't you.

Speaker 28 (02:46:49):
You you had a cat.

Speaker 8 (02:46:52):
Yeah, it started a few nights ago. No, it ain't
disturbed me, not like I says.

Speaker 70 (02:46:56):
But my ella, well you see our bedroom window faces
on the alley and by gully, she hears every meal
that animal. Mate, you you're wrong, huh. I have no cat,
but my ella had I heard it too. For that matter,
I have no cat, but I'm telling you it came
from this house.

Speaker 14 (02:47:14):
I tell you I have no cat. Isn't that sufficient? World?

Speaker 9 (02:47:17):
Now?

Speaker 41 (02:47:17):
Seeing as you put it to a plan, I'll be
speaking of playing myself. I am telling you I heard
a cat yall and last night, and the night before
and the night before that, and it shuts me. Name's
Thomas Kerrigan. It came right from this house.

Speaker 8 (02:47:29):
Now what do you say to that?

Speaker 14 (02:47:32):
Get out?

Speaker 8 (02:47:33):
Oh wait a second, may Boko get on your.

Speaker 14 (02:47:36):
High horse, get out, get out of my house.

Speaker 41 (02:47:40):
You sure are making a lot of noise about nothing,
young color. But it's your house, and if that's the
kind of a neighbor you.

Speaker 8 (02:47:46):
Want to be, I guess I could.

Speaker 14 (02:47:49):
What are you telling there for?

Speaker 21 (02:47:52):
Get out?

Speaker 8 (02:47:52):
Get out just a minute, Take it easy.

Speaker 20 (02:47:56):
No cat?

Speaker 32 (02:47:56):
Eh?

Speaker 8 (02:47:58):
Well, what was that?

Speaker 14 (02:47:59):
I just heard nothing at all? You've got no right
to Begelly.

Speaker 41 (02:48:02):
You may not be a liar, but you're sure of
something close to it. If I hit the cat in
that bedroom there, then I ain't never heard the cat.

Speaker 14 (02:48:07):
Get out, get out of here.

Speaker 12 (02:48:09):
Oh no, I won't.

Speaker 8 (02:48:11):
Listen to that cat.

Speaker 41 (02:48:12):
If that ain't creating a public nuisance, I'd.

Speaker 21 (02:48:14):
Like to know what it is.

Speaker 20 (02:48:15):
It's one of your business.

Speaker 14 (02:48:16):
Get out of here.

Speaker 21 (02:48:17):
This is my house.

Speaker 69 (02:48:17):
Get up.

Speaker 21 (02:48:18):
Stop pulling at me.

Speaker 18 (02:48:19):
Bucco.

Speaker 8 (02:48:20):
I may be off duty, but I'm still an officer
of the.

Speaker 41 (02:48:23):
Law, and I'm telling you that cat in there is
violating the city ordinance. I said, don't make it, shut
up and disturbing, Miella.

Speaker 14 (02:48:30):
I will stay away from that door. Stay away from
that door.

Speaker 8 (02:48:34):
Say listen to it. I ain't no cat you've got
in there.

Speaker 21 (02:48:39):
Yes, yes, a lie, it is a cat. It's just
a cat.

Speaker 14 (02:48:42):
But I'll make it be quiet.

Speaker 21 (02:48:43):
But go away, go away.

Speaker 41 (02:48:44):
Wait a minute, take it easy. It's just a cat.
What are you getting so excited about? Just looking at
look at your your eyes blazing? What's going on here?
I think I'll have a lull.

Speaker 14 (02:48:55):
No, stay away, no, get away, take it away.

Speaker 8 (02:49:02):
I told you, I told you my gun.

Speaker 20 (02:49:05):
I'll get my gun, my gun.

Speaker 8 (02:49:09):
Wow, Linda, did you hear him his gun?

Speaker 69 (02:49:20):
Yes?

Speaker 12 (02:49:21):
Close to me?

Speaker 14 (02:49:22):
Yes, darling, stay close to me. If he comes back
you now, they won't hurt you. I won't let them.

Speaker 21 (02:49:33):
I did this to you. I did.

Speaker 20 (02:49:35):
I cursed you the God.

Speaker 14 (02:49:38):
No, they won't hurt you.

Speaker 21 (02:49:40):
They won't.

Speaker 14 (02:49:41):
Wait there, wait there, I got to wh they won't hurt.

Speaker 8 (02:49:47):
You, Linda. No, I got it.

Speaker 9 (02:49:54):
Now.

Speaker 14 (02:49:54):
They won't hurt you.

Speaker 32 (02:49:55):
In there.

Speaker 14 (02:49:57):
I swear they won't ever hurt you. No, no, don't
look at my hand. No, why shouldn't you look at it. Yes,
there's a gun in my hand, but not to hurt you, darling.
It's just to help you.

Speaker 12 (02:50:15):
I swear to help you.

Speaker 8 (02:50:21):
Yes, so close to me.

Speaker 14 (02:50:23):
I must do it quickly.

Speaker 21 (02:50:26):
No no, don't, don't try to pull away. No no, Linda,
stay here. I must hold you.

Speaker 18 (02:50:31):
I must.

Speaker 4 (02:50:33):
He'll be back in a moment.

Speaker 16 (02:50:35):
I mustn't miss.

Speaker 21 (02:50:38):
Linda, my darling.

Speaker 14 (02:50:55):
I heard, my beloved.

Speaker 33 (02:50:58):
I heard you.

Speaker 14 (02:51:04):
Wait for me, my good life.

Speaker 12 (02:51:35):
This is arch Ovaler.

Speaker 72 (02:51:37):
Tonight's play Catwife, featured Betty Winkler and Raymond Edward Johnson.
Music by Gordon Jenkins. About next Week Well, the actor's
two of our favorites, mister and Missus Houston Walter Houston
and Mann Sunderland.

Speaker 8 (02:51:53):
The play a.

Speaker 72 (02:51:55):
Story of two people who perhaps lived in your own town,
who lived a strange, night and filled life that you
perhaps knew nothing about. The title of the play, Mister
and missus Chump.

Speaker 35 (02:52:07):
Before we leave you, just one more word about next
Monday's wash. But you've heard me tell of box, the
doll's economy, the white clean washes, you get, it's safety
to every washable color. Well, it's all up to you
now if you want those results in Monday's wash, and
even if some other lawn resolp is your favorite. Now
the last for oxidol o x y DL tomorrow You'll

(02:52:29):
always be glad you changed.

Speaker 70 (02:52:31):
And be back with us next Friday at the same
time for every Man's Theater. Every Man's Theater brings you
something new, something different.

Speaker 8 (02:52:40):
Every single week.

Speaker 70 (02:52:42):
And next Friday it's mister and Missus Walter Houston in
a great new radio play, Mister and Missus Chump, Thank you,
and good night. Every Man's Theater is written and created
by Arch Obler.

Speaker 12 (02:53:22):
Murder By Experts.

Speaker 80 (02:53:34):
The Mutual Broadcasting System presents murder By Experts with your
host and narrator, mister John Dixon Carr, world famous mystery
novelist and author of the recently published bestseller The Life
of Sir Arthur Conan Doyle.

Speaker 81 (02:53:50):
This is John Dixon Carr. Each evening at this time,
Murder by Experts brings you a story of crime and
mystery which has been chosen for your approval by one
of the world's leading detective writers, those experts who are
themselves masters the art of murder and can hold tensity

(02:54:10):
at its highest. Tonight's guest expert is mister Hugh Pentecost,
author of many memorable thrillers, who has selected a story
by a young newcomer. You'll do, world of Watch, Andrew Evans,
be very careful as you listen, for, as mister Pentecost
says of this thriller, the story has not only a twist,

(02:54:33):
but an unforeseen double twist which takes one completely by surprise.
And now we present summer heat. Look now, but the

(02:54:53):
old elms, the ivy covered buildings on the campus of
a i'm all Midwestern university. It's a fine June afternoon
when you hear laughter and the greetings the reunion of
the class of thirty six, twelve years of fast None

(02:55:14):
of the members of the Cluss seems much older to
each other. There's the dark haired Paul Baxter, wondering rather strangely,
they're two of his old friends, prosperous now judged by
their clothes, and boisterous in greeting.

Speaker 17 (02:55:32):
Paul, Poor Baxter, you old rascal.

Speaker 82 (02:55:36):
It's sure good to see you again, losty Bert.

Speaker 13 (02:55:41):
This is a surprise.

Speaker 17 (02:55:42):
Why didn't you have a right to us, Paul? You
had our addresses?

Speaker 18 (02:55:45):
Why?

Speaker 82 (02:55:45):
Sure, that's no way to treat old classmates. Just think
twelve years so they sure have gone fast?

Speaker 17 (02:55:53):
Who fast?

Speaker 12 (02:55:54):
Ha?

Speaker 17 (02:55:54):
Sered me say, Paul, you've turned off a gray for
only thirty three.

Speaker 82 (02:55:59):
Well, he always did take things too seriously, I suppose
by now, Paul, you're one of the biggest lawyers in
the state.

Speaker 13 (02:56:07):
How's Marsha?

Speaker 17 (02:56:08):
Yeah, you were all set to marry her after graduation,
remember yes, and you were going to become her father's
junior law partner.

Speaker 8 (02:56:15):
You sure had a sweet set up there.

Speaker 13 (02:56:20):
Things worked out a little differently. You see that party
we had graduation night? Do you remember it? Remember it?

Speaker 5 (02:56:30):
How can we forget it?

Speaker 21 (02:56:34):
How were you tied?

Speaker 13 (02:56:37):
You know that party?

Speaker 17 (02:56:39):
This sort of changed my whole life, change your life?

Speaker 8 (02:56:45):
Well?

Speaker 13 (02:56:45):
How well? I don't remember much about the party itself.
I guess I had too many drinks. In fact, I
don't remember anything until I woke up the next morning.
I could hear Old Trinity ringing. I awoke to find

(02:57:06):
myself on the couch in my living room. It was
noon and the room was hot, stiflingly hot. I remembered
I had a date with Marcia and her father at
one o'clock.

Speaker 27 (02:57:19):
I got to my.

Speaker 13 (02:57:20):
Feet, my head ache, no heat waves before my eyes.
Feeling sick, I staggered toward my bedroom. Then I saw him,
the man asleep on my bed, his back to me.
For a moment, I stood there, trying to remember if

(02:57:40):
someone had come home from the party with me, but
the night before was a total blank. I crossed the bed,
bent over.

Speaker 29 (02:57:50):
It shook his shoulder.

Speaker 13 (02:57:53):
Hey fella, hey, it's noon, wake up, come on, wake up.

Speaker 12 (02:58:00):
Shook him.

Speaker 13 (02:58:00):
He had flopped over and looked up at me with
staring eyes. He was dead, and there was a knife
in his chest, my hunting knife. I stood stunned, staring
down at the body on my bed. The dead man

(02:58:22):
was an utter stranger to me. He was neatly dressed
in old clothes and my knife. My knife was in
his heart. I killed him. I couldn't remember when, or
how or why, but I killed him. Frantically I tried
to remember what had happened. Was he a panhandler, someone

(02:58:43):
I had met on the street and drunkenly brought home
with me.

Speaker 8 (02:58:47):
I didn't know. I couldn't remember.

Speaker 13 (02:58:50):
As I stood there, tried to get a grip on myself,
I suddenly realized there was someone at the door. Instinctively,
I walked into the living room and towards the door.
Just as I was to open it, I realized the
danger of letting anyone into the apartment. I put my
ear against the door and listened. I heard voices, yours
Steve and yours Bert.

Speaker 5 (02:59:13):
Hey, Paul, probably want to take a bar.

Speaker 17 (02:59:15):
I'm ond poor? Wake up? Were leaving for California at
fifteen minutes.

Speaker 5 (02:59:21):
I guess, so, Paul, isn't it Yeah?

Speaker 17 (02:59:23):
I wonder how he felt when he woke up.

Speaker 5 (02:59:25):
Boh, I went ahead. He must have had still.

Speaker 17 (02:59:28):
I sure hate to leave without saying goodbye.

Speaker 5 (02:59:31):
Well, he has our California address, he can write to us.
Come on and we'll miss that train.

Speaker 13 (02:59:36):
And they were both gone, and I dared to breathe again.
I tried to think, calmly, figure out what to do.
I knew I should call the police, but they they
might charge me with murder. What defense could I offer?
I thought of Marcia, the slightest scandal, and everything would
be off, our marriage, my job, my future. I couldn't

(02:59:59):
call police. I couldn't call them and sacrifice everything I'd
worked for. Somehow I had to get the body out
of my apartment, get rid of it before it was found.

Speaker 8 (03:00:10):
Then he came to me.

Speaker 13 (03:00:12):
My car was in the basement garage. The dumb waiter
in the kitchen led down to the basement. I could
put the dead man in the dumb waiter, lure him
to the basement, get him in my car.

Speaker 20 (03:00:22):
And then mister Paul, Oh, mister Paul.

Speaker 13 (03:00:25):
It was Jenny, the cleaning woman. She let herself in
with a key. I hurried into the living room, closing
the bedroom door behind me.

Speaker 5 (03:00:34):
There you are a.

Speaker 30 (03:00:35):
Fine time for a rising young lawyer to be getting up.

Speaker 13 (03:00:38):
Oh, hello, Jenny, I I guess I overslept. I was
at a party last night.

Speaker 17 (03:00:43):
How far she was it?

Speaker 74 (03:00:45):
Everyone on the campus is talking about and the complaints.

Speaker 30 (03:00:48):
He'll now step aside and let me into that bedroom.

Speaker 17 (03:00:50):
I gotta start cleaning, Jenny.

Speaker 13 (03:00:52):
Can't you come back later into the place.

Speaker 69 (03:00:53):
No, I can't.

Speaker 30 (03:00:54):
Now get out of me.

Speaker 13 (03:00:55):
Wait, Jenny, Wait, I don't want you to clean up yet.

Speaker 25 (03:01:00):
Why are you blocking the door like that?

Speaker 18 (03:01:02):
Bro?

Speaker 13 (03:01:03):
The truth of the matter is one of the boys
had a bit too much last night and he's in
my bedroom sleeping in off.

Speaker 30 (03:01:08):
Oh, well, get him out of there, take him to
a Turkish bath.

Speaker 13 (03:01:12):
Oh yes, that's that's a good idea. Look, Jenny, just
give me half an hour to get him dressed out
of here, then you can come back and clean up.

Speaker 23 (03:01:20):
A half hour off, and I'll give you exactly five minutes.

Speaker 13 (03:01:23):
All right, Jenny, I'll have him out of here by then.

Speaker 17 (03:01:25):
You'd better.

Speaker 13 (03:01:28):
She was gone, and I had five minutes, just five minutes.
I went into the bedroom and quickly went through the
dead man's pockets.

Speaker 33 (03:01:36):
They were empty.

Speaker 13 (03:01:37):
There was no identification in them. The thin, pinched face
told me he was a nobody, a derelict, someone who
might never be missed. As I was about to lift
him off the bed, the phone rang. The shrew ring
filled the room.

Speaker 4 (03:01:56):
Hello, Hello, darling, Marsha, how is your stag party.

Speaker 23 (03:01:59):
Lad, Now, did you miss me?

Speaker 13 (03:02:01):
Miss you?

Speaker 5 (03:02:02):
You sound as though you have.

Speaker 13 (03:02:03):
A dreadful hangover hangover? Yes, or excuse me minute, Masha.
There's someone at the door.

Speaker 50 (03:02:10):
Yes, I'll be coming in to clean your room in
another minute, Paul, Jenny, So.

Speaker 83 (03:02:15):
Get your friend out of there.

Speaker 13 (03:02:16):
Well, yes, Jenny, Yes, just give me another minute and
now we'll be out of here. My shad, I can't
talk to you any longer. I'm in a hurry.

Speaker 23 (03:02:24):
Then you haven't forgotten your appointment with Father and myself
at one o'clock.

Speaker 13 (03:02:27):
No, no, no, I may be a little late, but
I'll be there, Paul.

Speaker 23 (03:02:29):
You mustn't be late. I've told you over and over
what a stickler Father is for punctuality. He can't stand
people who are late for appointments. Well, you recall how
furious he was when you did.

Speaker 13 (03:02:39):
I know, Mysha, But you have forty.

Speaker 23 (03:02:41):
Five minutes to shave, shower, and dress. That's plenty of time.
And Paul, wear your brave flannel suit with a blue
needed tie.

Speaker 12 (03:02:48):
And be sure you're there.

Speaker 13 (03:02:49):
Yes, yes, but I've got to hang up. Jenny will
be coming back any minute that I know.

Speaker 23 (03:02:53):
What if she is now, Darling, you haven't forgotten what
we discussed yesterday afternoon.

Speaker 13 (03:02:59):
Yesterday afternoon.

Speaker 23 (03:03:00):
Yes, no, I know, Father's brusk can incline the bully people,
But don't let it upset you. After all, it's our future.

Speaker 13 (03:03:06):
He's watch.

Speaker 17 (03:03:07):
I can't talk any longer.

Speaker 13 (03:03:08):
I've got to hang up. Jenny will be back. I've
only seconds left.

Speaker 23 (03:03:11):
What are you talking about now? When Father?

Speaker 13 (03:03:14):
I got to hang up, I got to good bye.
I hung up the phone and wiped the sweat running
down my face. It took only a moment to lift
him off the bed, carry him into the kitchen, pull
the dumb waiter up, and put his body into it.
I closed the door to the dumb waiter, ran out
of the apartment and started down the stairs to the basement.

(03:03:41):
I got down to the basement to find Ben, the janitor,
leisurely pulling on the dumbwaiter rope.

Speaker 74 (03:03:46):
Ben o, Ben, Oh, well have it your cai or after?
It's there by the door?

Speaker 11 (03:03:52):
All?

Speaker 4 (03:03:52):
Why?

Speaker 18 (03:03:53):
Like?

Speaker 17 (03:03:53):
Yeah?

Speaker 13 (03:03:53):
Thanks? But Ben, stop a minute? Well you I want
you to do something for me?

Speaker 74 (03:03:56):
God, well, just so as I've emptied this thumbware.

Speaker 17 (03:03:59):
Will you stop blowing that dumb stuck in here?

Speaker 7 (03:04:03):
Hi?

Speaker 74 (03:04:04):
What's wrong with you? You're acting mighty strange.

Speaker 13 (03:04:08):
Hi, I'm sorry I shuddered like that. Then it's just
a there's a package up in my apartment that i'd
like you to may right away. There there is a
dollar in.

Speaker 74 (03:04:18):
It for you, all right, But there ain't no need
to rush today Sunday the post office is closed.

Speaker 8 (03:04:25):
Close.

Speaker 74 (03:04:26):
Sure, say what's the matter with you anyway?

Speaker 8 (03:04:30):
What's been a heat?

Speaker 5 (03:04:32):
Something?

Speaker 36 (03:04:33):
Wuffle?

Speaker 58 (03:04:33):
Have you on it some way?

Speaker 13 (03:04:35):
Wait a minute, there's something else? Stop him in? Will
How can I talk to you while you're lowing that
dumb with it?

Speaker 66 (03:04:41):
Go ahead, I can hear everything that's saying, Hi, you're
going crazy or something up? Half of mind to call
a soper and tell him why, no, no.

Speaker 27 (03:04:51):
No, don't do that?

Speaker 13 (03:04:55):
Been up in my apartment. There's a bottle bottle, yes,
I brought it home last night. It's half full. I
wanted you to have it for cleaning the car.

Speaker 74 (03:05:06):
Oh thanks, I sure appreciate that.

Speaker 66 (03:05:10):
I'll go up and get it as soon as I've
emptied this thumbwaiter call him out stand there.

Speaker 13 (03:05:14):
Ben, Jenny just went in to clean. You know how
she feels about.

Speaker 74 (03:05:16):
Drinking hot Jenny jumping grasshoppers.

Speaker 66 (03:05:19):
Why didn't you say so that, mom, old port all
down and drain if I don't get their part.

Speaker 13 (03:05:25):
Soon the s bend disappeared up the stairs. I pulled
the dumb winter the rest of the way down, opened
the door, and he fell into my arms. Slinging the
body over my shoulder. I staggered with it to my
car and swiftly dropped him on the floor in the back.
It was an old touring car. The top was long
since gone. To hide the body from view, I covered

(03:05:45):
it with an old blanket. A moment later, I started
the owner and rolled smoothly out of the basement and
into the driveway. As I did, I heard Ben shouting
to me from my window. Oh, I poor away man.

Speaker 4 (03:05:57):
I got something.

Speaker 13 (03:05:58):
I pretended not to hear Ben jed.

Speaker 83 (03:06:00):
I stepped on the gas.

Speaker 13 (03:06:09):
I was almost proud of myself as I drove past
the campus. I was in trouble, but I was thinking fast,
as a good lawyer should. I'd already decided I'd have
to get rid of him by dumping him into the river.
As I came to main Street, driving neither too fast
nor too slow, I turned left toward the river. There
was very little traffic and I was just about to
speed up.

Speaker 12 (03:06:29):
One behind me, I heard a whistle blowing.

Speaker 13 (03:06:31):
It was Dugan, the town's only traffic up, and he
was blowing for me to stop. There was nothing to
do but pull over to the curb. His Dugan hurried
up to me. I realized I'd driven through a red light.
Hello Dugan, Never mind that?

Speaker 30 (03:06:44):
Hello Dugan, stuff?

Speaker 13 (03:06:47):
What's the matter? You color blind? I'm sorry, Dugan, I
just didn't notice the light.

Speaker 30 (03:06:51):
You just didn't notice the light.

Speaker 13 (03:06:54):
That's fine.

Speaker 30 (03:06:56):
Think you and me had better take a ride over
to justice Miller.

Speaker 13 (03:06:58):
Oh, don't run me and Doug won't happen again.

Speaker 30 (03:07:00):
That's what all you college cut ups say. Next thing,
you know, you'll be telling me what do you got
there in the back underneath that blanket?

Speaker 13 (03:07:10):
Under the blanket?

Speaker 20 (03:07:12):
Hurt me?

Speaker 13 (03:07:12):
What's under it? Why? That's Roy Hamilton, one of my classmates.

Speaker 30 (03:07:19):
Yeah, well what's he lying on the floor under a
blanket on a hot day like this?

Speaker 13 (03:07:23):
For last night at our farewell shindig, Roy had a
few too money. He's still out of time taking him home?
Where does he live at missus Randolph's morning house?

Speaker 30 (03:07:34):
What are you handing me?

Speaker 5 (03:07:35):
That's in the other direction.

Speaker 13 (03:07:37):
Yes, yes, I know, but the first time taking him
to the Turkish bath on Elm Street.

Speaker 30 (03:07:41):
Yeah, well, by the time you get him there, the
poor guy will be dead. Ain't you got no sense?

Speaker 13 (03:07:46):
What do you mean?

Speaker 84 (03:07:47):
Look at the way you got the blanket over his
head and then his heat too. I better pull a
blanket off his face so he can breathe. Oh no,
I mean I covered his face on purpose. Suppose Dean
Richards somebody saw.

Speaker 13 (03:07:59):
Roy like this.

Speaker 30 (03:08:01):
Yeah, that's right, just the same.

Speaker 21 (03:08:04):
I bet I gotta.

Speaker 22 (03:08:07):
I'll be right with you, Jensen.

Speaker 30 (03:08:09):
Where will we, Backster?

Speaker 14 (03:08:11):
Oh?

Speaker 30 (03:08:11):
Yeah, the guy in the back you smother.

Speaker 17 (03:08:14):
To death if we don't, I'm coming.

Speaker 13 (03:08:19):
I'm coming.

Speaker 30 (03:08:21):
I won't run you in this time, Backster, but from
now on, stay awake when you're driving, I will Dugan, and,
for Pete's sake, pull the blanket off that guy's head.

Speaker 17 (03:08:31):
Take it easy, Jensen, I'm coming.

Speaker 13 (03:08:39):
Because I stepped on the gas. I muttered a prayer
of thanks for Old Johnson, the janitor of the medical
school building, who had called Dugan just as he was
reaching for the blanket that covered my passenger. It was
a few minutes after one As I drove out of town,
I could picture Marsha's father fuming in my lateness. The
sun was squatching in my open cars along river Road,

(03:09:01):
looking for a place to hide the body. I needed
one where there were trees to hide me. The hours
that followed were like a nightmare. The heat was stifling,
and I could feel my hand shaking on the wheel
from nervous tension. I drove and drove and drove, looking

(03:09:23):
for a place to get rid of the body. But
the whole countryside seemed to be swarming with people, families, picnicking,
boy scouts, camping kids, in swimming couples, and parked cars.
No matter where I turned, there was always someone in sight.
A little spots danced before my eyes. Waves of faintness
swept over me. My hand began to ache in my

(03:09:46):
head too unbearably. It was already long after three. I
was late for my date with Marsha and her father.
That didn't matter, Nothing mattered, but to get rid of
the body in the back of the car. Had to
get rid of it my head to I drove a

(03:10:11):
mile after a mile, turning from one road to another,
searching endlessly for a safe place to stop. Then I
realized I was running out of gas. I saw a
gas station ahead, and I decided to stop there. It
was a risk, but I had to take it.

Speaker 5 (03:10:35):
Okay, mystery, it's five gallons. Want me to check your
l No, no, thanks?

Speaker 13 (03:10:42):
How much?

Speaker 5 (03:10:42):
It's a dollar fifteen?

Speaker 13 (03:10:45):
Boy, it's hot it yes, it's hot.

Speaker 57 (03:10:48):
All right, here you are.

Speaker 5 (03:10:50):
That's one fifteen or five? Now get you change. Hey, yeah,
this rear tire looks a little flat.

Speaker 13 (03:10:57):
That's all right.

Speaker 5 (03:10:58):
You want me to check it won't take a minute.

Speaker 13 (03:11:00):
It's all right, I tell you.

Speaker 5 (03:11:02):
Okay, mister, Just you say, uh, your rear doors open.
I better shut that for you.

Speaker 12 (03:11:07):
Leave that door.

Speaker 28 (03:11:08):
Ah, but.

Speaker 5 (03:11:10):
You don't want to drive along with your rear door open.
That's funny. There's something in the car jamming it.

Speaker 17 (03:11:17):
I better have leave loely get my train.

Speaker 9 (03:11:19):
But you.

Speaker 5 (03:11:23):
Yeah, all right, mister, he said, you say, get your change.

Speaker 29 (03:11:34):
He hurried into the station.

Speaker 13 (03:11:36):
I looked in the back of the car and saw
what had kept the.

Speaker 12 (03:11:38):
Door from closing.

Speaker 13 (03:11:40):
It was a hand, his hand sticking out from under
the blanket. The attendant had seen it. He would be
phoning the police. I drove faster and faster. The police
would be on the lookout for me. Now my whole

(03:12:01):
future depended on what I did in the next few minutes.
And then it came to me, in one brief moment,
it came to me the perfect way to get rid
of the body. It was so simple, so perfect, that
I laughed aloud with really A half hour later, I

(03:12:23):
was parked in an alley behind one of the university buildings.
It was Sunday and the place was deserted. Despite my
fatigue and aching head, it took me but a moment
to carry the body into the basement of the medical
building and down the corridor to the basement room where
the bodies for the dissecting classes were kept. Where does
a wise man hide a leaf in a forest? Where

(03:12:48):
does a wise man hide a body in the dissecting.

Speaker 29 (03:12:53):
The room was big and cool and dimly lit.

Speaker 13 (03:12:57):
The far end was a long metal tank. I reached
the tank and lowered him to the stone floor beside it.
I had only to open the tank, slip him inside,
and leave. I reached for the lid of the preserving
tank and was about to open it when I heard
a voice, Hey, Hey.

Speaker 17 (03:13:17):
Old dinner.

Speaker 13 (03:13:18):
It was Johnson, the janitor, and hotly dropped behind the
tank and waited, holding my breath.

Speaker 20 (03:13:26):
I heard you.

Speaker 17 (03:13:28):
Stop rightening, come out.

Speaker 21 (03:13:30):
I know you're here.

Speaker 17 (03:13:31):
I just saw you come through the window. You better
come out if you know what's good for you.

Speaker 29 (03:13:38):
He'd seen my car.

Speaker 12 (03:13:39):
He knew I was in the room.

Speaker 13 (03:13:41):
But if I kept my head, there was a chance,
just a chance. All right, Johnson, Here, I am.

Speaker 16 (03:13:49):
Foxter.

Speaker 2 (03:13:50):
Eh.

Speaker 17 (03:13:51):
So it's you, is it? You're the one that wait
a minute, let me explain, explain after last night, I'm
not listening to any fancy stories. I'm the one who
gets blamed when watch that on the floor behind you
there on the floor, But.

Speaker 13 (03:14:09):
Nothing, Johnson?

Speaker 5 (03:14:10):
Do you think I'm blamed or something? Step aside and
let me see what.

Speaker 14 (03:14:16):
Why.

Speaker 17 (03:14:16):
It's your body?

Speaker 13 (03:14:18):
Yes, it's a body.

Speaker 17 (03:14:20):
Oh that's it. I thought you were trying to steal one.
Instead you were bringing it.

Speaker 13 (03:14:25):
Yes, I was bringing.

Speaker 17 (03:14:27):
And just what were you going to do with that
gentleman on the floor? Put him back in the tank
with the rest.

Speaker 29 (03:14:32):
Yes, that's right.

Speaker 13 (03:14:33):
I I thought he might not be noticed. As if
I wouldn't have known, Well, gone call the cops.

Speaker 12 (03:14:42):
Let's get it over with.

Speaker 17 (03:14:44):
H all right, back, of course, I don't have to
call the cops. Nobody knows about this but you and me.

Speaker 8 (03:14:57):
But what do you mean?

Speaker 17 (03:15:00):
Well, I was going to make a report, but this
way there's no harm done, so I might be able
to overlook the whole thing. If I was persuaded properly, you.

Speaker 12 (03:15:13):
Might overlook it.

Speaker 17 (03:15:15):
Eh, that's right. You just leave this fellow to me,
and there's no fuss because nobody's the wiser.

Speaker 8 (03:15:22):
You do that.

Speaker 13 (03:15:25):
You keep your mouth shut.

Speaker 17 (03:15:27):
I guess I could be persuaded too.

Speaker 29 (03:15:30):
How much?

Speaker 13 (03:15:31):
Ey?

Speaker 17 (03:15:33):
Well, suppose we say fifty dollars.

Speaker 18 (03:15:36):
Fifty dollars.

Speaker 17 (03:15:37):
That isn't much considering what would happen if I reported you.

Speaker 13 (03:15:42):
No, no, it isn't fifty dollars. That's just very cheap
to help me cover up a murder. Murder, more of
your jokes. I'm not talking about murder. I'm talking about
putting number thirty seven here back in his proper place.
Number thirty seven, Yes, thirty seven.

Speaker 17 (03:16:00):
He just came in yesterday from the County poor farm,
and last night he disappeared, stolen by you and your
drunken friends and dressed up.

Speaker 5 (03:16:08):
For a joke.

Speaker 17 (03:16:09):
While I don't like jokes like that, I drove downtown
a while back to tell dug In the Constable about him,
and well, I didn't tell him, Anathon, it would mean
trouble for me for being asleep in a job.

Speaker 8 (03:16:24):
Number thirty seven.

Speaker 12 (03:16:27):
He was stolen from here last night.

Speaker 17 (03:16:30):
That's what I said. As long as you've brought him back,
there's no harm. And that's why I'm willing to keep
it quiet.

Speaker 13 (03:16:37):
Then then I didn't kill him.

Speaker 30 (03:16:40):
It was just a joke.

Speaker 13 (03:16:41):
Somebody played. Honey, it's a practical joke.

Speaker 17 (03:16:45):
Here's here here, you know what's wrong with you.

Speaker 29 (03:16:49):
It's a joke.

Speaker 17 (03:16:52):
It's a very good joke on me.

Speaker 19 (03:16:55):
It's all after new driving, driving in the heat, trying
to get rid of him.

Speaker 13 (03:17:00):
It was just a joke, a joke.

Speaker 17 (03:17:04):
Kill for goodness sake. She's fainted.

Speaker 13 (03:17:22):
So that's the story of what happened the day after
our graduation party twelve years ago. When I came to
I was in the college hospital. I'd been unconscious a week.
They they said it was just a slight breakdown brought
on by sunstroke. I was all right after a while,

(03:17:47):
but somehow I wasn't interested in law anymore. Marcia and
I didn't get married, and I didn't become her father's
junior law partner.

Speaker 85 (03:18:01):
Good lord, Paul, we never knew any of us, Gosh, Paul,
I can't tell you how sorry I am. We never
dreamed our gag would turn out like that.

Speaker 13 (03:18:15):
You're gay?

Speaker 20 (03:18:18):
Why sure?

Speaker 17 (03:18:20):
See, after the party broke up that night, we were
feeling pretty high and well, it was a crazy idea
that we thought it would be funny to steal a
cadaver from the medical college and leave it in your
room with with your knife in it.

Speaker 13 (03:18:38):
It was you, the two of you.

Speaker 5 (03:18:42):
Well, yes, Paul, Gosh, I feel terrible about this.

Speaker 85 (03:18:46):
Well, that day we left, we came up to your
apartment to tell you about a little joker, only you
went in.

Speaker 17 (03:18:51):
We had a rush for our train, but we phoned
from the station. Then the janitor answered and we told
him to explain about the cadaver.

Speaker 13 (03:18:59):
Heard him calling, but I didn't stop.

Speaker 5 (03:19:02):
Paul, Will you ever be able to forgive us for
what happened?

Speaker 13 (03:19:05):
Forgive you? Forgive you? No, No, I'm going to kill you.

Speaker 30 (03:19:13):
I'm going to kill you.

Speaker 13 (03:19:14):
Do you hear kill you?

Speaker 5 (03:19:16):
Wait a minute, I'm joking me.

Speaker 13 (03:19:28):
Grabbed me, We get him acted last killer, take him killer?
H you heard mister.

Speaker 85 (03:19:44):
No, no, I'm all right, but you came just in time.

Speaker 12 (03:19:51):
He was trying to kill me.

Speaker 30 (03:19:54):
He sure was.

Speaker 13 (03:19:54):
He he just went crazy.

Speaker 86 (03:19:56):
I'm sure sorry this happened. See, he slipped away from
the hospital this afternoon. We figured he'd head this way
the hospital. Yes, poor fellow had a bad breakdown just
after he graduated twelve years ago.

Speaker 30 (03:20:11):
He's been locked up ever since, locked top.

Speaker 13 (03:20:14):
Yeah.

Speaker 86 (03:20:15):
He's always been perfectly harmless though. He just went around
all the time looking for a place to hide something.
This is the first time he ever got violent. I
can't figure out what came over him.

Speaker 81 (03:20:45):
And so the curtain falls on Summer Heat, which was
chosen by guest expert Jue Pentecost, whose latest thriller, Where
the Snow Was Red, will be published next month. Welcome
your comments on tonight's story. All letters should be addressed
to Murder by Experts, care of Mutual Broadcasting System, New

(03:21:08):
York eighteen, New York. Next week at this time, Murder
by Experts brings you the story or a woman who
pitted her wits against death, a story selected for your
approval by Brett Halliday, creator of the rough tough detective
known as Mike Shane. Until then, this is your host,

(03:21:32):
John Dixon Carr saying good night.

Speaker 80 (03:21:49):
In our cast were Laws and Survey, Briana Rayburn, Ian
Martin Cameron, Andrews, Bill Zuckert, and Frank Barns. Summer Heat
by Andrew Evans was adapted for radio by Robert A.
Arthur and David Cogan. Original music was composed by Richard Lapage.
The orchestra was conducted by Emerson Buckley. Murder By Experts
is produced and directed by Robert A.

Speaker 8 (03:22:10):
Arthur and David Cogan.

Speaker 80 (03:22:12):
All characters in this story were fictitious, and any resemblance
to the names of actual persons was purely coincidental. Ptil
Talkin' speaking. This is the world's largest network, serving more
than five hundred radio stations, the Mutual Broadcasting System.

Speaker 59 (03:22:46):
Now step into the incredible, amazing future as we go
explore to Laura.

Speaker 27 (03:23:07):
And now here is your guide to these adventures of
the mind. John Campbell Jr.

Speaker 18 (03:23:13):
Is the old saying, you'll do it and like it,
And of course a man can by physical force, make
you do it. How would you like to have it
so that you would like it too? There are two
basic ways that you can be happy in this world. One,
of course, is to have everything you want in just

(03:23:34):
the way you want it, and never have any difficulties
or troubles. This method is ideal, perhaps, but not very probable.
Only one person in the world could have that.

Speaker 27 (03:23:46):
I guess.

Speaker 18 (03:23:48):
The other method for absolute complete happiness would be to
like anything that you've got, no matter what it was.
The first approach is the one that makes sense. Of course,
that's the one we work for, we earn it. The
other seems so much easier.

Speaker 4 (03:24:09):
Stop market, stop.

Speaker 5 (03:24:11):
The market, stop bought.

Speaker 27 (03:24:15):
Marking, all all that. That's all right, dog, Do you work.

Speaker 18 (03:24:20):
As much as you want? Oh how I wish I
could get mad. The old days, I had have gone
up that dog and told him to shut up, and
that had been that.

Speaker 4 (03:24:29):
But no more.

Speaker 18 (03:24:31):
Just as soon as I start to get good and
sorry about something, my mind kind of all creams up
in the happiness effect and I'm not sorry anymore. And
everybody here in Bedden, I guess most everybody in the
country is just like me. We've all had our brains
written on and we're all happy here. I am Chief
of Police of Bedding, and never a crime is big
of unless it's overtime air parking, and what kind of

(03:24:53):
crime you call that?

Speaker 8 (03:24:55):
Oh?

Speaker 27 (03:24:55):
Here he comes.

Speaker 18 (03:24:56):
I don't Doc Roight, the man responsible for all our happiness.
He's supposed to be just about the best brain riding
this side of the Mississippi. Slavo, that's what I call him,
Old West lips, always do good and always grinning. But
behind that grin leave me ice. If you need an enemy,
just have Doc Royd.

Speaker 27 (03:25:14):
And for a friend, Henry, Henry, didn't you hear me
calling to it?

Speaker 28 (03:25:18):
Sorry?

Speaker 18 (03:25:18):
Doc, I guess I just kind of stand here thinking
happy thoughts. I oh, sure, happy thoughts? Sure sure?

Speaker 8 (03:25:25):
What can I do for you?

Speaker 18 (03:25:26):
A fellow just came into town, suspicious the painting pictures
out at Willahalla. There's law against painting pictures, wille.

Speaker 27 (03:25:32):
Hollow, I, Henry, you know I got to keep my
eyes on things.

Speaker 18 (03:25:36):
Wasn't for us brain meers, that'll be all kinds of
irresponsibles wrote me around, And these artists they're the worst kind.

Speaker 2 (03:25:42):
You know that.

Speaker 18 (03:25:43):
You remember there was a day when you were headed
for that kind of trimve. Yeah, I remember I was
a pretty good bad told too. You sure brain wrote
me out of that note and aren't you better for it.
You're a responsible citizen, happily married, well justed, doing a
job that's socially useful.

Speaker 27 (03:26:00):
Yeah, what about this fellow. I'm supposed to investigate the name.

Speaker 18 (03:26:03):
Of Arnold Vivian and he's been painting up at will
o'hallow and that's right. Doesn't do anything all day long,
butt paint single No, I few children know nothing.

Speaker 8 (03:26:12):
He just paints.

Speaker 27 (03:26:13):
Well, remember, as long as he just paints, that's a
legal no, Henry.

Speaker 18 (03:26:16):
Now, don't henry me doc. I'll look into it. That's
all I can problem. That's all I ask. Goodbye, Henry.

Speaker 27 (03:26:46):
Yeah, that's mighty pretty landscape you're painting.

Speaker 5 (03:26:49):
Why, thank you.

Speaker 18 (03:26:52):
Will o'hallow makes a mighty pretty landscape paint.

Speaker 27 (03:26:55):
I'm sorry to interrupt you. Oh no, that's all right,
never mind little talk when I'm painting. What can I
do for you?

Speaker 18 (03:27:02):
Your name, Arnold Vivin's right. I'm Henry Horner, chief of police.
Nice to meet you, chief of what seems to be
the trouble.

Speaker 27 (03:27:12):
No, no trouble.

Speaker 18 (03:27:13):
I just out here to give you a kind of
friendly warning about what in this town of Benton you're
in needs new young men.

Speaker 27 (03:27:21):
Arnold, if you should happen to get in any trouble.

Speaker 18 (03:27:24):
Here we got a real fast brain rider who likes
to straighten people out.

Speaker 27 (03:27:29):
I don't get into trouble.

Speaker 18 (03:27:30):
Well, just keep in mind we need workers these days.
Like our brain rider would say, who needs pictures on canvas?
Who needs pictures on canvas? Why, mister policeman me? Maybe
someday a few others will agree with me. Maybe I
used to be a sort of artistic fellow myself baritone

(03:27:52):
concert style. Yeah, I bet you're good on a police
whistle tool. Don't worry about me, mister Horner. Go back
and tell your brain writer here's one traveling man. He
won't ever get to use his Scalpelon. Every Saturday night

(03:28:23):
Betton has a dance. I usually don't want to hear
it myself, because since the brain writing, everybody's pretty well
adjusted and ain't any police.

Speaker 27 (03:28:30):
Type trouble this Saturday night, though I dropped in.

Speaker 18 (03:28:33):
Toward the middle of evening, I mister Horner, Ahi.

Speaker 27 (03:28:36):
Hello, I don't having a good time.

Speaker 18 (03:28:38):
Heck, yes, I've been asking with all the girls.

Speaker 27 (03:28:40):
They love me and I love them.

Speaker 18 (03:28:42):
Staying out of trouble the only trouble I ever have
is with pictures on canvas.

Speaker 27 (03:28:46):
Well, don't go getting.

Speaker 18 (03:28:47):
Drunk and sign a job contract with Big Fellow at
the brickyard or with Tom Hart, or you.

Speaker 27 (03:28:52):
Will forget picture.

Speaker 20 (03:28:53):
I'm a mule a job contract.

Speaker 18 (03:28:55):
Also, I may interest you to know that both mister
Heart and mister Fellow each point of painting for me.

Speaker 27 (03:29:00):
Did I pay cash on the fire land? Well that's
a surprise. Well what they're up to? Why should they
be up to anything?

Speaker 4 (03:29:07):
They just like my pictures.

Speaker 13 (03:29:09):
I guess they like me too.

Speaker 18 (03:29:11):
They invited me to play poker with them after the
dance tonight. You turn them down to go heck no,
I like taking money for people at poker. Well they're
more likely to do the taken. And once you're broke,
you'll just have to go to work. Mister Horner, when
are you gonna stop worrying about me? I told you
I can take care of myself, and he could too.

Speaker 27 (03:29:37):
When the poker game broke up about three am, he
was the winner.

Speaker 18 (03:29:41):
Everybody was gripe, and all except Doc Royd and who
sat there, his close set eyes glittering behind thick spectacles.
Imagine him taking me for thirty bucks. Imagine he knows
people in those cars. He knows. Women, You're not gonna
brain right that boy. You want to bet, Henry, You

(03:30:01):
just want to make a little bet.

Speaker 87 (03:30:12):
Whether it's a crowded highway or a narrow street, a smooth,
even flow of traffic is one of the essentials of
safe driving. Speeding is an obvious hazard, but it can
also be suicide. Slow polk driving is dangerous too, because
it causes rare end collisions and tempts other motorists into
taking deadly chances in passing. The eccentric behavior of the

(03:30:35):
lane switcher, the driver who weaves in and out often
is the cause behind frightful smashups.

Speaker 8 (03:30:42):
So don't be a cause and don't be a victim.

Speaker 27 (03:30:45):
Arrive alive. There are two difficulties with the happiness idea.

Speaker 18 (03:30:54):
One of them is that actually we need to earn
happiness to enjoy it, that want to work for it.

Speaker 27 (03:31:02):
The drug addict has happiness that he doesn't have to
work for.

Speaker 8 (03:31:06):
Really.

Speaker 18 (03:31:07):
The other difficulty is that happiness in whose terms many
times are the other fellow figures that you ought to
be happy with what he's giving you.

Speaker 12 (03:31:19):
Eh, it was a good sire, Henry, wake up and scoot.

Speaker 27 (03:31:24):
Over to Tony holland chack on the ind of the hollow.
I smarter at Doc, there's been a crime. Get over
here as fast as you can. Somebody's got to keep
an eye on our citizens at the police force. I'll
wait a minut.

Speaker 18 (03:31:38):
It's a good thing I was out this way whereas
Tony and I give him a sleep injection. Poor fellow,
he was bashed on the head and all his savings
was stolen three hundred and two dollars. Can't you wake
him up so he can tell himself, no need. I
got all the information you'll want. Who does he think
did it? He doesn't know, but I've got a good idea.

Speaker 21 (03:31:54):
Yeah, I like who.

Speaker 27 (03:31:55):
Well, let's eliminate it.

Speaker 18 (03:31:56):
Couldn't have been a passing tramp since brain writing the
heart any and if he can't say it was anyone
in town.

Speaker 27 (03:32:02):
They're all adjusted and wouldn't commit no crimes.

Speaker 18 (03:32:05):
So it might be somebody around who wonders in the
holler in the daytime, poking around and pretending.

Speaker 5 (03:32:10):
To be what he eats.

Speaker 18 (03:32:11):
Well, it wasn't Arnold Vivian, you know, because he's not
that stupid. He knows he'd be the most likely suspect.

Speaker 27 (03:32:18):
You'd just better check up on him and me. Doc,
you're the brain writer. They called you in after the
maladjusted guy's been caught. But I'm the cop.

Speaker 18 (03:32:26):
I run my investigations the way I want, and I'm
not gonna be able the case against Arnold Vivian.

Speaker 17 (03:32:30):
What are you going to do?

Speaker 27 (03:32:31):
You write on brains? Try read one saw your figure?
Doc Ryden's trying to frame me. He looks that way.

Speaker 18 (03:32:46):
That's ridiculous. I just took you people at poker for
enough money to live for three weeks. Why should I
take a chance on getting my head written on? Have
you missed any of your stuff? Oh? Just my pennant
pencil center I lost jumping around at the dance last night.

Speaker 27 (03:32:59):
Hey, wait a minute, Wait a minute, I'll make a
fine clue. Wouldn't it at the scene of the crime?
It sure would?

Speaker 13 (03:33:04):
Well?

Speaker 27 (03:33:05):
Was it found over there? Not yet, but it will be.
That's not important though.

Speaker 18 (03:33:09):
What is important as this Tony Holland has one peculiarity
marks twenty dollar bills.

Speaker 27 (03:33:15):
Figures he can follow how the money goes around town.

Speaker 12 (03:33:17):
That way.

Speaker 18 (03:33:18):
Now, you don't draw any money from the local bank
or in salary, so you just better not have any
local twenty dollar bills.

Speaker 27 (03:33:25):
Marked by Tony. Hey, whose side are you on?

Speaker 18 (03:33:28):
I used to sing baritone, remember police, I like you, artist,
I kind of like you too, Hitary, Look what we
found at Tony look here?

Speaker 27 (03:33:39):
Yeah, I know you found a clue a pen or
a pencil or both. We know all about it. Doc,
I'd not better run you in, at least until we
can investigate further. It'll look better.

Speaker 18 (03:33:49):
Well, certainly, no trouble at August Horner glad to come along.
I pressed for hearing right away, figuring that Idol could
be cleared, and then town he figured the same, that
it wasn't healthy to hang around a place that needed
new talent so bad.

Speaker 27 (03:34:06):
The hearing went refined from the start.

Speaker 18 (03:34:08):
I testified the Dinald had been fast asleep at the
time the crime was committed, and I swore that the
pen and pencil had been planted in Tony's house. Then
suddenly they were talking about marked twenty dollar bills.

Speaker 27 (03:34:20):
Well I couldn't.

Speaker 18 (03:34:21):
I couldn't possibly have any twenties, Judge. I just told
you there's absolutely no way that I could not.

Speaker 31 (03:34:30):
No, no, let me out of here, Let me out
of here. In the frame of it, the frame of
my tell you, there is no tool.

Speaker 18 (03:34:46):
It's either good or evil. There's nothing that in itself
is good or bad. It's the way it's used. Logic
is a wonderful thing. It's great value to man and
his pro gris. But in this trial here you've seen
what can be done with logic when someone is out

(03:35:08):
to prove what he wants.

Speaker 27 (03:35:09):
To prove, and he's not the slightest interested in getting
the truth. Just one thing I want to say.

Speaker 18 (03:35:18):
I've seen a lot of raw deals, but the way
you have it here with the singing cock to set
it up, is the slickest I ever saw you win.

Speaker 27 (03:35:33):
As chief of police, I had to be present at
the brain riding. Doc's nurse gave.

Speaker 18 (03:35:37):
Ronold the needle jab in the back of the neck,
and after that he sat there like a stone man,
able to hear but paralyzed.

Speaker 8 (03:35:45):
Ah.

Speaker 27 (03:35:45):
Now I mean there we are.

Speaker 18 (03:35:48):
Yes, Yes, the clay model is ready to take the
impressions from Arnold's brain, so we'll have an exact duplicate.

Speaker 27 (03:35:54):
Now we put this cap on Arnold's head so he
electronic thinker is in it can do the measuring.

Speaker 8 (03:36:01):
That's what for I won't take long.

Speaker 18 (03:36:03):
Now that's these wires to the automatic computer that we
put above the Clay model.

Speaker 27 (03:36:10):
And here we are an exact model of Arnold's brain.

Speaker 8 (03:36:17):
And I just take a look.

Speaker 27 (03:36:20):
Oh me, oh my, there's a brain that needs writing.

Speaker 18 (03:36:25):
All right, all right, all right, look here you see
that decayed memory response, artistic imagination, decayed sensory impression.

Speaker 27 (03:36:35):
It's quite useless in an adjusted society.

Speaker 18 (03:36:38):
Now we just take the scalpel and start doing away
with these six synopses in the brain model, substituting good ones.
Isn't that what we do, Henry, Yeah, that's what we do,
all right. You raise the bad ones and carve some
good ones. And then when his own brain gets the impression,
the guy's adjusted. From then on, everybody does what they
should and they don't need no religion, no moral was,

(03:37:00):
no psychology, nothing, just brain ripe in the world's work
gets Henry, you always miss the most important part. After
I get rid of the illogical synopsis, I do one
special cup with my stylust the there I'm doing it now,
and that's the happiness of it. Then you're adjusted. Man

(03:37:21):
not only does what he ought to, he's happy about it.

Speaker 27 (03:37:24):
He that looks beautiful. All that looks almost like the
master brain.

Speaker 12 (03:37:34):
Let me get it and show it to you.

Speaker 8 (03:37:36):
Henry.

Speaker 27 (03:37:36):
It's real interesting.

Speaker 8 (03:37:37):
I'll be back in a second.

Speaker 27 (03:37:43):
I sure wish I could help you.

Speaker 8 (03:37:46):
Wait a minute, maybe I came.

Speaker 88 (03:37:49):
I will try to put back some of those synopses
he cut out. Here's a scounbal. You know, there's one
he did, and there's another. I can help you keep
some of your artistic talentild Yeah, you're the final one.

Speaker 18 (03:38:06):
One day, Henry will be able to duplicate this master
brain in everyone.

Speaker 27 (03:38:11):
It's brilliant.

Speaker 18 (03:38:12):
Take a look at it while I prepare for the
transference from the clay model.

Speaker 27 (03:38:16):
To Nold's brain. Sure, there's fine look in this master brain.

Speaker 8 (03:38:19):
Yes, yes, yes, Now we're ready to go.

Speaker 12 (03:38:22):
Now, Henry, Henry.

Speaker 18 (03:38:23):
When I closed this switch, the new brain shape will
flash the signal to the cap on Idol's head. The
electronic fingers will dig in, and he'll have a new brain. Oh,
I tell you, Henry, this is the real moment of birth.
Most people are.

Speaker 27 (03:38:37):
Born wrong for this world.

Speaker 12 (03:38:40):
This is where they get right.

Speaker 8 (03:38:43):
And here we go. It's gonna hurt a little.

Speaker 27 (03:38:50):
Well, Henry, we did it. We created a useful citizen.

Speaker 18 (03:39:01):
Those six months went by and it looked as if
Doc was right. Arnold took a job, settled down and
got himself married. And then, Henry, Henry, have you seen
that picture exhibition up at the town hall? Picture exhibition? No, Doc,
what's it about id Ovivia? The sneak pictures of me
holding me up to ridicule. I'll be the laughing stock
of this town. You've got to stop it. There's nothing

(03:39:23):
illegal my pictures, Doc, But come on, let's take a look.
We went to the town hall and there was the
neatest collection of pictures you ever saw. Iron looked data

(03:39:43):
Doc Ryden more than fifty times, and in each picture
he cut the basic evil of the man. Doc was
shown at the council meeting at church at the dance,
his face revealing every grimace of deceat powerless Connivan. Picture
was titled the Happiness Effect, and everyone was.

Speaker 27 (03:40:04):
My sould already. I knew that or there that Doc
Ruyden was finished in metal.

Speaker 8 (03:40:09):
Henery.

Speaker 27 (03:40:10):
Please, I'm too old to start over at another time.
I've got to stay Benton. Please, Henry, get rid of
those pictures.

Speaker 4 (03:40:18):
My Doc.

Speaker 27 (03:40:19):
It sounds to me like your maladjusted, your environment. You
ought to be brain written in the Happiness Henry Henry Man,
I've been looking all over for you.

Speaker 18 (03:40:33):
I wanted to tell you thanks for using Doc Scalfolks
to save a piece of my challenge.

Speaker 27 (03:40:38):
Why it was a pleasure, Idol. Thanks to you for
giving us back a little woman.

Speaker 8 (03:40:43):
Making it.

Speaker 18 (03:41:08):
A lot of people tend to think that happiness is
something you have, but I think it is that. I
think it's more on the nature of something you do.
You know, the founders of our country were no fools,
and in the Declaration of Independence they said that men
had certainly inalienable rights, among which were the pursuit of happiness.

(03:41:34):
No man has ever declared that happiness itself is the
right of man. The pursuit of happiness is it's worth
working for.

Speaker 59 (03:41:56):
Join us for a fascinating adventure in Explorer Tomorrow. Heard
in Our Cast Tonight from Mason Adams, Charlie Holmes, and
Lawson Zerby. The script was taken from a story by
Raymond Banks, produced and directed by Sandford Marshall.

Speaker 89 (03:42:12):
Here in New York, Bill Maher speaking, we pause now
for station identification.

Speaker 12 (03:42:38):
Darth Fantasy Resolution eighteen forty one.

Speaker 15 (03:43:11):
My name is Laura Cabot. It is January two, nineteen
forty two, the second day of a new year. As
I speak these words, even I myself can't believe that
what has happened is true. It began only a few

(03:43:31):
short hours ago, less than forty eight to be exact,
and yet it has changed everything for me, even life itself.
I must tell someone, and so I'm telling you. It

(03:43:53):
all began night before last New Year's Eve. A number
of us had braved the deep snow and cold north
wind to go out of the old Cabot Place north
of Quincy to see the new year in. There were
four of us, Ed and Helen Richards, who had just
been married a year, and a business friend of Ed's

(03:44:14):
named Duke Tobeck.

Speaker 9 (03:44:17):
We had to leave Ed's.

Speaker 15 (03:44:18):
Car down at the road and walk up the narrow,
unused lane leading to the big talk about nineteen forty
one leaving with a vengeance.

Speaker 12 (03:44:34):
It's cool, isn't it.

Speaker 49 (03:44:36):
Nose drifting deeper, Oh, Helen, to the right, dear, The
house is over there, all right, Laura and.

Speaker 15 (03:44:43):
I didn't know it'd have to work.

Speaker 12 (03:44:46):
It'll be good for us.

Speaker 15 (03:44:47):
I wonder what your friend must think of us like
this on New Year's even a.

Speaker 12 (03:44:52):
Duke, Oh, duke's a good sport. Besides, dear, haven't we
made a practice of spending New Year's even the old
Cabot place the last three years? Yes, said we have. Besides,
wouldn't want to spoil the fun anyway. I think that
he makes a fine partner for Laura, don't you. Yes,
he's very handsome and wealthy. Heaven do you think she

(03:45:14):
likes him?

Speaker 15 (03:45:15):
Well, the way she's hanging on to him and laughing,
I wouldn't exactly say she's Oh, mister Doba, you certainly
must think that we're idiots.

Speaker 12 (03:45:30):
I wish you'd call me duke. I've been calling you
Laura all evening.

Speaker 15 (03:45:33):
Well, I guess it's because I'm so fascinated by your
last name that I use it. But tell me, how
do you spell it?

Speaker 12 (03:45:39):
And just like it sounds to obac duke?

Speaker 15 (03:45:44):
Yes, Laura, spell your last name backwards m toe back
spelled backwards. It's Kevin my name, I say you, all right, Well,
that's the most unusual thing I've ever heard of.

Speaker 12 (03:46:01):
Well, I'm an unusual person, are you. Don't you think so, Laura?

Speaker 15 (03:46:06):
I really haven't had time to decide yet, but I'm
awfully glad you came along with Helen and Ed tonight.
We do this every year, you know, Yes, Sir Richard's
told me who This old house has been in my
family for more than a century. It was just three
years ago that I discovered it belonged to me, that's all.

Speaker 13 (03:46:22):
M Oh.

Speaker 15 (03:46:23):
They were back Texas galore on the place, but I
paid them up, and every New Year since then, the
Richards and I have spent New Year's Eve.

Speaker 12 (03:46:31):
For charming custom. You know, I rather think I'm going
to enjoy being laid in on.

Speaker 15 (03:46:35):
It, I hope, so, Duke, really, I do. I want
this to be the best New Year's Eve we've ever enjoyed. Helen, Helen,
you and Ed wade up for you have to stand
at the door till we catch up with you, SORRAI, Duke,
what's wrong?

Speaker 12 (03:46:52):
No?

Speaker 13 (03:46:53):
Wait?

Speaker 12 (03:46:54):
What is it?

Speaker 2 (03:46:55):
Is?

Speaker 12 (03:46:56):
Is that the house?

Speaker 8 (03:46:58):
Why?

Speaker 13 (03:46:59):
Why?

Speaker 8 (03:46:59):
Yes?

Speaker 9 (03:47:02):
I don't know.

Speaker 12 (03:47:03):
It seems so familiar looking. I've seen it before someplace.

Speaker 15 (03:47:09):
Well, if you've seen it, it's been right here. Come on, Laura,
I locked the door. All right, here's the key.

Speaker 12 (03:47:19):
Here, I'll open Yeah, I mean, you go, Laura, Oh.

Speaker 15 (03:47:26):
For heaven's sake, then come in and close that door. Hurry, dear,
nose blowing into the place.

Speaker 12 (03:47:31):
Here, old man, let me give you handle that door. Huh, thanks,
quite a wintry blast.

Speaker 15 (03:47:39):
Yeah, stop off the rug on this rag, the snow
on this rag rug, that's what it's for. Oh, it's
nice and warm in here, he is.

Speaker 12 (03:47:46):
I'm surprised you been out here earlier today.

Speaker 2 (03:47:48):
No.

Speaker 15 (03:47:49):
Oh, mister Johnson owns the farm across the way. He
always comes over on the last day of December and
built a fire far can you see he expects us.
The place seems so strange tonight.

Speaker 12 (03:48:01):
Strange. What do you mean, Laura, I don't know.

Speaker 15 (03:48:07):
Does it really feel warm to you folks?

Speaker 12 (03:48:09):
It certainly does, of course it does, Dear, it's fine.

Speaker 14 (03:48:12):
Well.

Speaker 12 (03:48:12):
It sure makes it handy to come here and have
the place all heated for it.

Speaker 15 (03:48:16):
Yes, but it doesn't seem the same in here as
it's always has before.

Speaker 12 (03:48:22):
Well, personally, I think it's very homely.

Speaker 2 (03:48:24):
So do I.

Speaker 15 (03:48:25):
It's a pity now and live's here. It's such a
nice place. I've tried to convince Laura she should stay
here instead of renting in town. I've had this feeling before.
It's so strange, almost weird.

Speaker 12 (03:48:40):
Weird? Why this place is far from being weird?

Speaker 15 (03:48:44):
Of course, Oh, I'm just being silly. Come on, Helen,
let's take our coats into the other room and see
what condition the kitchen's is. All right, ed, you'd better
throw a log on the fire.

Speaker 12 (03:48:54):
How about some refreshments all around?

Speaker 15 (03:48:56):
Huh oh, you just leave that to us, gentlemen. There
are plenty of refreshments in the kitchen. Yes, Indeed, Laura
and I hadn't set out yesterday.

Speaker 12 (03:49:11):
Smoked you things. Well, how do you like her, Laura, Charley,
Hold not do? Is? Is that all you've got to say?

Speaker 8 (03:49:27):
For Well?

Speaker 12 (03:49:27):
I haven't known her but a few hours, and yet
yes do Yet it.

Speaker 90 (03:49:34):
Seems that I have known her before somewhere sometime. What
makes you think that I can't say something about her?
The way she acts and when she talks. Possibly, I
don't know. Well, have you asked Laura if she'd met
you before?

Speaker 12 (03:49:53):
I thought that rather a silly thing to say. Besides that,
that's what men always say to women when they're trying
to make conversation. And Laura is very easy to talk to.
She talked so so comfortably with me, and though she'd
known me someplace before. Two hmm, Well, I know how
you feel, Duke. I felt the same way about folks

(03:50:14):
I'd just been introduced to. Sensations like that are hard
to explain. They generally not explain. Look here, Dukee, this
is your first trip to Quincy, isn't it not only
my first trip to Quincy, it's my first trip to Massachusetts. Well, now,
Laura's lived here all her life, she's been away a
summer or two on vacation. Though possibly you met her then, Yes,
that could be the answer. But it does seem we've

(03:50:36):
been acquainted before. And the strangest part of it all
is it seems that we were once very close to
each other, very close.

Speaker 15 (03:51:01):
Oh, Helen, will you use these lenses for me?

Speaker 22 (03:51:04):
Please?

Speaker 12 (03:51:04):
How many?

Speaker 8 (03:51:05):
Oh? Half?

Speaker 15 (03:51:06):
It doesn't to begin with, I guess. Oh, come on
over here on the small table.

Speaker 9 (03:51:10):
Oh all right, Lara.

Speaker 15 (03:51:13):
Yes, what do you think of Duke?

Speaker 8 (03:51:16):
Oh?

Speaker 15 (03:51:16):
I don't know. He gives me a little more time.
He seems to be attracted to you, does he does?

Speaker 2 (03:51:22):
He?

Speaker 15 (03:51:22):
Indeed I caught him three times staring at you like that,
with a sort of fascination, like he couldn't get used
to you. Well, perhaps you're right, maybe he can't get
used to me. Oh no, I didn't mean that way.
I I mean, well, he stared at you like he
was trying to remember something. Yes, I noticed that, and

(03:51:45):
I caught you staring the same way at him. Yes,
what is it, Laura? I don't know? You like him
all right, don't you?

Speaker 12 (03:51:56):
That's just it.

Speaker 15 (03:51:58):
I feel that suddenly I like him too much. Oh now,
you needn't fall in love with him right off the handle.

Speaker 12 (03:52:06):
Oh no, it isn't there.

Speaker 15 (03:52:07):
It's a different kind of a feeling, an affection, but
not the kind of woman has for a man. It's
different from that. I don't understand what you mean, Laura.
I wonder if I understand what I mean myself. It's
it's something that seems to draw me very close to him. Oh,

(03:52:30):
love at first sight. I've always believed in it. No,
not that, something else, something different, something greater. He hasn't
made love to you already, Hey, Helen, will you please
stop talking about love? Love has nothing to do with it.

Speaker 18 (03:52:47):
Laura.

Speaker 15 (03:52:47):
You need a lift, Come on and me fix you one. No,
not now, you know, Helen. I'm positive I've never met
Yuke Tobec before, and and yet it seems that I
did know him once, a long, long time ago. Well,
it couldn't be very long ago. You're only twenty three. No,
I mean further back than that.

Speaker 12 (03:53:08):
Even.

Speaker 15 (03:53:09):
Hey, wait a minute, his name. It's so strange, Toback,
It's so very strange. Eleven thirty No, just thirty more minutes.

(03:53:34):
Then it's goodbye. Nineteen forty one. I can't wait. I've
had enough of the past three hundred and sixty five days.
I want a brand new year, to start out everything
with a clean seave.

Speaker 12 (03:53:45):
Now you're talking, Laura, here's the nineteen forty two. Yes,
here's to the new year.

Speaker 15 (03:53:49):
Okay, I'm in on that. May all our troubles disappear
like bubbles with champagne, especially as quickly as the bubbles
in any champagne that might be left around our place.
Would you pardon me?

Speaker 12 (03:54:02):
Now?

Speaker 15 (03:54:02):
I want to go upstairs for a moment.

Speaker 9 (03:54:04):
I'll go with you.

Speaker 15 (03:54:04):
Oh no, Dad, it's cold up there. And besides, I
won't be but a moment.

Speaker 12 (03:54:07):
Elen, you got work to do in the kitchen. We'll
I'll be right back.

Speaker 15 (03:54:09):
Yes, I'll only be a moment. Make yourself at home.
She seems strange tonight, doesn't she add?

Speaker 12 (03:54:17):
Yeah? You know she was right enough when we left Tom.
Do you know the minute she stepped into this house
tonight something came over or I think she's quite attractive.

Speaker 15 (03:54:28):
You had you ever met her before tonight?

Speaker 12 (03:54:32):
Well? No, at least I don't think I have.

Speaker 15 (03:54:34):
That's what she said about you.

Speaker 9 (03:54:36):
She did.

Speaker 15 (03:54:37):
Yes, she acted so strangely too. She said she whoa
that you attracted her in a strange sort of way.

Speaker 12 (03:54:46):
Oh that's a pretty compliment.

Speaker 15 (03:54:48):
Oh what I mean, d you kid? Laura told me
she seems to have known you before somewhere.

Speaker 12 (03:54:57):
You know that's odd. Duke just said the same about Laura,
not more than thirty minutes ago.

Speaker 9 (03:55:02):
Do you mean it?

Speaker 8 (03:55:04):
Yes?

Speaker 12 (03:55:05):
It it's so stranger. I'm trying hard to remember. No,
I wouldn't worry about it. I've had the same thing
happened to me, just some trick in nature. You meet
a person for a moment you'd swear you had met
him before.

Speaker 15 (03:55:18):
But isn't it strange that Laura should have the same
feeling about Duke?

Speaker 12 (03:55:22):
Yes, I was about to forget the whole affair, but now, well,
I wonder well, now, my advice is that you two
get together a little more. Talk over the places you've visited,
places you've been. Now, I'll wager one of my Christmas
tires you met at the seashore or at Satura Nita,
maybe on some dude ranch. Possibly, But it doesn't seem

(03:55:43):
that way.

Speaker 8 (03:55:44):
You know.

Speaker 12 (03:55:45):
I haven't said this before, but even this old house
seems familiar to me.

Speaker 9 (03:55:50):
It does.

Speaker 12 (03:55:51):
Yes, when I first saw it outside, I stopped deading
my tracks. Something seemed to stop me. And well, I'd
have sworn I'd walked up that same lane out there
dozens and dozens of times. Well, that's incredible. This room,
with its high ceiling and huge fireplace, these pine walls,
the heavy oak floors, decorations, they all seem so vaguely familiar.

Speaker 9 (03:56:17):
But why should they.

Speaker 15 (03:56:18):
You've never been here before.

Speaker 12 (03:56:20):
No, I haven't. Don't you too? Think it's getting chilly
in here? Yes, little No, there're no more logs. I
guess i'd better go fetch you. Come know it, I'll
do it.

Speaker 15 (03:56:28):
No, there's no reason for both thought you to go
out in the coach.

Speaker 12 (03:56:31):
Ed you go just like a wife. No, Ed, you
stayed here. I know, exactly where the logs are. I
saw them when I came in. I'll be right back
with a couple. Better put a coat on the man. No,
it won't be out long enough. It wo's just around
the corner of the house.

Speaker 15 (03:56:54):
Oh, Laura, I didn't see you come back.

Speaker 12 (03:56:56):
Oh, he's gone to get some logs for the fire.
Insisted on going along.

Speaker 9 (03:57:00):
Laura, what a beautiful dress.

Speaker 12 (03:57:03):
He wasn't the clothes you wore out here?

Speaker 15 (03:57:07):
Wherever did you find such a quaint outfit?

Speaker 83 (03:57:09):
Darling?

Speaker 15 (03:57:10):
It's a dress my mother used to treasure. It's been
in my family for almost a century.

Speaker 9 (03:57:15):
Oh, it's beautiful.

Speaker 15 (03:57:17):
I thought it would be fun to put it on tonight.
I found it upstairs in an old Try and just
wait until Duke sees you in that dress. Maybe that'll
help him remember where he knew you before. He he
thinks he's known me before.

Speaker 12 (03:57:32):
And Helen says, you feel that you've met him before too, Well.

Speaker 15 (03:57:36):
Yes, I do feel that way. But oh, I don't
know what to think. I'm so upset tonight, Laura. What
is wrong to night? Edie and I've both noticed it.

Speaker 12 (03:57:49):
You know what's wrong, Laura.

Speaker 15 (03:57:50):
Oh, I didn't want to mention it. But there something
is wrong.

Speaker 8 (03:57:54):
Can we help you?

Speaker 15 (03:57:55):
No, I I couldn't ask you to. Well, you two
know how very fond I've grown of this old house
and the property.

Speaker 12 (03:58:04):
Yeah, you certainly spent a lot of money putting it
into shape. I still don't see why you don't live here.

Speaker 15 (03:58:10):
Oh, it's some memories and more than anything, and the
fact that my grandmother and her grandmother and hers lived
here for so many years. Oh, Laura, you don't mean
you're going to lose the place. I'm afraid so.

Speaker 9 (03:58:25):
Oh.

Speaker 15 (03:58:26):
You see, it's heavily mortgaged. I'm in debt more than
three thousand dollars. I can't meet that dead.

Speaker 12 (03:58:34):
Hm. Well it's a little more money than we've got
right now.

Speaker 15 (03:58:38):
Yes, quite a dead more, duke. Oh, oh, and see
what's wrong? For heaven's sake, don't just stand there?

Speaker 10 (03:58:48):
Hurry?

Speaker 12 (03:58:58):
What man?

Speaker 27 (03:58:59):
Your head?

Speaker 12 (03:59:00):
What happened?

Speaker 13 (03:59:00):
Speak to me?

Speaker 29 (03:59:01):
Duke?

Speaker 14 (03:59:01):
Are you all right here?

Speaker 2 (03:59:03):
Not?

Speaker 12 (03:59:04):
I'll take it easy. I'll carry you into the house
arm on my neck.

Speaker 4 (03:59:10):
That's it? Is he all right?

Speaker 9 (03:59:21):
Do you think?

Speaker 12 (03:59:22):
Yeah? That's quite a pile of wood out there. Picked
up a piece near the bottom and the lot slid
down on him, just knocked him out, that's all.

Speaker 15 (03:59:29):
He looked so pale? Here here, looseny's color there? You
better take your.

Speaker 9 (03:59:35):
Time, duke, Duke, are you all right?

Speaker 12 (03:59:41):
Feeling better now?

Speaker 4 (03:59:42):
Old man?

Speaker 12 (03:59:44):
What is something wrong?

Speaker 15 (03:59:47):
You had an accident?

Speaker 27 (03:59:48):
Duke?

Speaker 15 (03:59:49):
Do you feel all right now?

Speaker 8 (03:59:53):
Yes? Duke all right? Why'd you call me that?

Speaker 17 (03:59:58):
Lauren?

Speaker 8 (04:00:00):
Who?

Speaker 12 (04:00:01):
Who are these people?

Speaker 11 (04:00:04):
Duke?

Speaker 9 (04:00:05):
What?

Speaker 15 (04:00:05):
You you'll be all right?

Speaker 12 (04:00:06):
Who are these people? Why am I lying here? Where's
your mother?

Speaker 8 (04:00:12):
Laurenan?

Speaker 15 (04:00:14):
You'll be all right now, just liestill?

Speaker 12 (04:00:16):
What do you speak like that? Why do you look
at me like that? Daughter?

Speaker 20 (04:00:22):
Daughter?

Speaker 12 (04:00:22):
What's the double here?

Speaker 4 (04:00:26):
Suddenly?

Speaker 12 (04:00:26):
You're so strange.

Speaker 15 (04:00:29):
It's you who are strange.

Speaker 12 (04:00:31):
What you call your father's strange? You call me Jeremiah
Cabots strange?

Speaker 15 (04:00:36):
Jeremiah Cabot, of.

Speaker 12 (04:00:38):
Course, Jeremiah Cabot. Don't tell me. I have to remind
you who I am.

Speaker 15 (04:00:42):
But Jeremiah Cabot was my mother's great great grandfather.

Speaker 9 (04:00:48):
Duke, for heaven's sake, what's the matter with you?

Speaker 29 (04:00:54):
This is so strange.

Speaker 12 (04:00:55):
I I'm afraid I don't know your friends.

Speaker 4 (04:00:58):
Laurenan.

Speaker 12 (04:00:59):
You young lady, oh you sir, oh? Now do cut
the kidding just a moment.

Speaker 15 (04:01:06):
I think I'm beginning to understand.

Speaker 12 (04:01:08):
Oh oh, for a moment, child, I thought you were
my daughter.

Speaker 18 (04:01:18):
Now I.

Speaker 12 (04:01:19):
Now I know the truth you.

Speaker 15 (04:01:23):
Yes, that must be it for Laura. What on earth
a moment?

Speaker 43 (04:01:28):
Helen?

Speaker 15 (04:01:31):
Jeremiah Cabot he built this house. His daughter was named
Laura Len. The name has been in a family for
a century.

Speaker 12 (04:01:41):
Lauren, she looked so much like you. I still don't get.

Speaker 15 (04:01:46):
This, yit Wait, I think I can explain, at least partially.
There's an old legend in our family that one New
Year's Eve, Jeremiah Cabot was asked by his family to
join them in making years resolutions. In the spirit of jest,
Jeremiah resolved one thing to return to this earth one

(04:02:08):
hundred years from the night he made the resolution.

Speaker 12 (04:02:11):
That's it, Yes, of course, the resolution. The brick in
the fireplace. The brick, What does he mean?

Speaker 29 (04:02:20):
I remember?

Speaker 90 (04:02:20):
Now here, I'll show you this brick, this one behind
the others. See it's loose, you can remove it.

Speaker 15 (04:02:32):
But what are you trying to tell?

Speaker 8 (04:02:35):
Here?

Speaker 90 (04:02:36):
You see a hiding place behind the brick. This is
where the papers are hidden and the money. Will somebody
please tell me. What's going on around it?

Speaker 11 (04:02:46):
Eh?

Speaker 12 (04:02:48):
That's real money, ten thousand dollars. You see. I it
has been hidden here for years.

Speaker 90 (04:02:57):
And here pictures and the original deed to the Cabot property.
This is most amazing, and this, this is what I
was looking for here, Lauren, read this? Go ahead, child,
read it?

Speaker 9 (04:03:18):
What is it day, Laura?

Speaker 12 (04:03:19):
Do you want me to read it?

Speaker 2 (04:03:20):
No?

Speaker 15 (04:03:23):
Just a moment. It's quite fated. The ink is almost gone,
it says I, Jeremiah Cabot, being in my right and
the same mind, do solemnly resolve this night to return

(04:03:50):
to Earth again exactly one hundred years from now, if
it be within the realm.

Speaker 8 (04:04:05):
Of power.

Speaker 15 (04:04:07):
Sign Jeremiah Cabbot, December thirty first, eighteen forty one.

Speaker 8 (04:04:30):
What happened?

Speaker 12 (04:04:33):
Is something wrong? What am I doing here?

Speaker 2 (04:04:35):
Oh?

Speaker 12 (04:04:36):
My head?

Speaker 29 (04:04:37):
Duke?

Speaker 12 (04:04:38):
Why are you looking at me like that?

Speaker 18 (04:04:40):
Oh?

Speaker 12 (04:04:41):
I remember now the logs colding here? Duke? Where are
you going?

Speaker 2 (04:04:45):
No?

Speaker 14 (04:04:45):
No, you stay here.

Speaker 12 (04:04:46):
I know exactly where the logs are, so the when
we came in, I'll be right back.

Speaker 29 (04:05:14):
A fantasy.

Speaker 91 (04:05:32):
Resolution eighteen forty one. Tonight's Tale of Dark Fantasy, written
by Scott Bishop Charles Carshon, played Duke Toback Many, Joe
Curtis was Laura Cabot, Eleanor Naylor Corn was Helen Richards,
and Ben Morris played Ed Richards. Next Friday Night, at

(04:05:54):
the same time, the National Broadcasting Company will bring you
the eighth in the series of stories of the sou
Upernatural and the Unusual, created for you by Scott Bishop.
Listen for the weird and Hodding. The Curse of the Neanderthal,
the story of a grave forty thousand years old and

(04:06:14):
the awesome secret that it contained. Dark Pantasy, originates each
Friday night in the studios of wk Y, Oklahoma, sateday
Tom Paxton speaking, this is the National Broadcasting Company, with
the approach.

Speaker 92 (04:06:28):
Of Valentine's Day, I want to tell you with special
story showing the lengths that lovers will go to keep
in touch. In the words of Ambrose Bierst, the telephone
is an invention of the devil which abrogates some of
the advantages of making a disagreeable person keep his distance.
But occasionally the telephone can offer, quite literally a lifeline

(04:06:53):
two seven, one one eight.

Speaker 93 (04:07:03):
You are about to be connected to Lifeline. Lifeline is
a premium rate shared line conversation and information exchange. All
calls and conversations are closely monitored. Names are not allowed.
Home addresses are not allowed. The exchange of personal telephone
numbers is not allowed.

Speaker 9 (04:07:23):
Any infringement of these simple rules will.

Speaker 93 (04:07:25):
Result in immediate disconnection. Lifeline is for telephone discussion only,
and direct contact between subscribers is not allowed.

Speaker 9 (04:07:33):
You may accept these conditions.

Speaker 93 (04:07:34):
By touching the numbers five and nine on your telephone keypad.
You are now connected to Lifeline.

Speaker 29 (04:07:49):
Anybody want to be the worst thing I ever saw?

Speaker 94 (04:07:53):
Only it's two o'clock in the morning, and I don't
know if it's the kind of thing we ought to
be talking about.

Speaker 29 (04:07:57):
Why don't you just tell us and then we can
hear from somebody else.

Speaker 69 (04:08:00):
Yeah?

Speaker 21 (04:08:00):
Right.

Speaker 94 (04:08:01):
I was fourteen. I was at school and we were
having a biology lesson. The teacher brought out this frog.
I'm sure it was alive.

Speaker 8 (04:08:08):
He did something to it.

Speaker 94 (04:08:09):
I couldn't quite see what it was, but then he
just pulled and the whole thing turned inside out like
a glove.

Speaker 29 (04:08:15):
Oh it was horrible. I still get nightmares about it.
Anywhere else.

Speaker 12 (04:08:23):
I'll keep having this dream. Abias, Rude, keep it to yourself.

Speaker 29 (04:08:28):
Then, Oh, God, listen to them.

Speaker 4 (04:08:30):
Where is she?

Speaker 83 (04:08:32):
I had a dream once I was walking towards this car.
I knew there was a bomb inside, but I couldn't
stop myself. When I was about ten feet away, the
bomb went off. The whole world went white, and I
could feel this hot wind or she know for me,

(04:08:52):
and I knew it was taking my skin away and
that I was going to die.

Speaker 29 (04:08:55):
It must have been terrible.

Speaker 9 (04:08:57):
Sorry, I said, that must have been terrible.

Speaker 8 (04:09:01):
What you know?

Speaker 83 (04:09:03):
I think it was probably the most beautiful thing I
ever saw in my life.

Speaker 50 (04:09:11):
One cappuccino Acino who asked for Froppie coffee.

Speaker 5 (04:09:16):
Call it.

Speaker 37 (04:09:16):
I need for all day breakfast.

Speaker 9 (04:09:18):
I need them now.

Speaker 12 (04:09:19):
Callin to Ryan.

Speaker 29 (04:09:20):
Oh, well, that takes presidents, doesn't he.

Speaker 21 (04:09:23):
I'm for coffee.

Speaker 83 (04:09:24):
Love, it's coming.

Speaker 29 (04:09:25):
I'm getting you in trouble again.

Speaker 37 (04:09:26):
I'm always in trouble. Ryan is Tempe. Just make that
phone call.

Speaker 95 (04:09:31):
Yeah, I don't suppose there's any chance of getting something
on the sligher.

Speaker 29 (04:09:35):
I've got no food. A tour on the well.

Speaker 37 (04:09:37):
Susan goes on a break in half an hour.

Speaker 29 (04:09:38):
I'll get you something.

Speaker 37 (04:09:39):
Myces out of the way.

Speaker 12 (04:09:41):
I'll pay you on fixed.

Speaker 37 (04:09:41):
Yeah, that's what the fins to Melo told me.

Speaker 13 (04:09:43):
My most breakfast ready, yeah, just coming up.

Speaker 37 (04:09:46):
Give us a chance, could have he advertising department police.
I want a place now to sell a car. What's
he doing now trying to sell his car?

Speaker 9 (04:10:00):
I didn't know he had a car.

Speaker 37 (04:10:01):
One hasn't moved in three years. It's probably said to
appear on the next ordinance survey map.

Speaker 50 (04:10:04):
You've given him the money for that call, don't you
lose change? So this is a man who walked two
hours from home just so that he can scround a
tenpenny piece.

Speaker 12 (04:10:11):
No one's that hard out.

Speaker 29 (04:10:12):
I'd rather think he is.

Speaker 37 (04:10:13):
He's a loser calling and nobody's my oldest friend of
mem answer.

Speaker 29 (04:10:17):
Doesn't like much an artist and I do these days.

Speaker 37 (04:10:19):
I suppose it's only a greasy calf field of an
artistic statement.

Speaker 9 (04:10:22):
Well, at least you can hold.

Speaker 13 (04:10:23):
Your head up.

Speaker 12 (04:10:23):
Yeah, you're such a muggle.

Speaker 50 (04:10:27):
There's not a straight dug in town hasn't memorized your
addressing case of emergency. And if you're gonna feed him,
at least make him wait until it's quieter. All right, Yeah, yeah,
all right, Yeah, there'd like to be a couple in
a minute, just working on the chips.

Speaker 29 (04:10:41):
What was she saying if I've got to lead? No, No,
you're right, Colin. What there's business going?

Speaker 57 (04:10:48):
All right?

Speaker 29 (04:10:48):
Why you've got there two hundred quid? You could lend
us owner? Like Colin, you can get sick of having
corn floats for three meals a day.

Speaker 37 (04:10:56):
I'll tell you something, Ryan, if you need to undred
quid for a phone, believe we better off in the
don't taken away. The bill hasn't actually arrived yet. It
probably more war. Who have you been calling everyone in Brisbane? No, No,
it's a bit more complicated than that. Did you ever
hear tell of an outfit called Lifeline?

Speaker 29 (04:11:13):
Isn't that the one where you're in veiled if you
get pregnant? No, it's not like that. It's like all
different people ring in and talk to each other. I mean,
oh a chat line? Are they stillegal?

Speaker 8 (04:11:24):
I don't know.

Speaker 37 (04:11:24):
It's something deeper than there. They never advertised, but the
right calls just seem to find their way on.

Speaker 8 (04:11:30):
You wouldn't believe it, but they do.

Speaker 7 (04:11:31):
Ryan.

Speaker 37 (04:11:31):
Those things run on premium rates. They cast a bomb.

Speaker 29 (04:11:34):
Yeah, when they're wonder is.

Speaker 37 (04:11:36):
So scared of getting the bill The only thing I'm
scared of that they'll cut off the phone when I
can't pay. They'll be doing you a favor. I know
you may get lonely sometimes, but that's no answer.

Speaker 29 (04:11:46):
So what if they cut me off on Belinda tries
to call?

Speaker 8 (04:11:49):
What do you mean?

Speaker 29 (04:11:50):
She calls the old number? Sorry, no reply?

Speaker 8 (04:11:51):
What you going to think?

Speaker 30 (04:11:52):
No?

Speaker 29 (04:11:53):
I know what you're thinking. But I've heard her Colin
on lifeline.

Speaker 37 (04:11:58):
You heard somebody like her?

Speaker 29 (04:11:59):
There is nobody like her. They never try to tell
me that. I don't know her voice. She's out there
and she's lonely too, and I know she's trying to
get back in.

Speaker 12 (04:12:07):
Tryan.

Speaker 29 (04:12:07):
Belinda's dead.

Speaker 12 (04:12:09):
She's dead.

Speaker 29 (04:12:12):
I didn't expect you to understand.

Speaker 37 (04:12:14):
Well, what's to understand? She's dead, she died. She's not
going to be giving you a call. Come to the
flat and I'll prove it to you. Prove what's the proof?

Speaker 8 (04:12:23):
So that's it?

Speaker 12 (04:12:23):
Is it?

Speaker 29 (04:12:24):
You're right and I'm wrong, And never mind the evidence.
Come to the flat.

Speaker 37 (04:12:30):
Right, where's all the furniture sold it?

Speaker 8 (04:12:35):
This is a furnished flat.

Speaker 20 (04:12:37):
None of it was yours the self.

Speaker 29 (04:12:38):
You want to replace it when I can? Landlord won't
know when you.

Speaker 37 (04:12:41):
Can, Ryan, I found you three jobs to the people
who come in the cab, all regulars. They will give
me a personal favor. And even told one of those
jobs down more than six weeks. I mean you and
night watch her on a pile of topsail.

Speaker 29 (04:12:51):
How simple can a job be?

Speaker 37 (04:12:52):
But they're still looking for it.

Speaker 8 (04:12:53):
Colin, shut up.

Speaker 29 (04:12:54):
There's not a thing wrong with me.

Speaker 9 (04:12:56):
Nothing wrong.

Speaker 37 (04:12:57):
You have an empty flat, you have no car, but
you have no furnit chat I do you have one
table for the telephone and one chair to sit. Is
an answering machine in case blinder calls.

Speaker 29 (04:13:07):
It does more than just take messages.

Speaker 96 (04:13:09):
It can record anything on the line.

Speaker 29 (04:13:10):
That's why I chose it.

Speaker 37 (04:13:11):
How much the sofa, oh, and one of the wardrobe,
one of the.

Speaker 29 (04:13:15):
Water there's junk shop pro deustraight exchange. It looks ancient,
but it does work.

Speaker 13 (04:13:19):
I don't know what to do with you.

Speaker 29 (04:13:23):
I heard her last night.

Speaker 37 (04:13:25):
You're making it worse.

Speaker 29 (04:13:26):
Sit down, Colin, listen and then you can judge me.

Speaker 37 (04:13:33):
How long have you been spending on this chat line or.

Speaker 4 (04:13:35):
Three four hours a night?

Speaker 29 (04:13:37):
I've typed over my entire led Zeppelin connection. That's the
first scene action you've told me about.

Speaker 37 (04:13:41):
Since I've been here four hours a night, I know
sometimes I call the no one answers You've gone wait
until about two in the morning before it starts to
mean anything.

Speaker 29 (04:13:51):
Why, Well, that's the time when people start to open up.
You don't get so many time wasters.

Speaker 18 (04:13:56):
Then.

Speaker 37 (04:13:59):
I was sure that i'd her a few times before,
but she never said much, and I was scared to
join in.

Speaker 29 (04:14:03):
But yeah, listen to this.

Speaker 83 (04:14:07):
And I could feel this hot wind, what you know,
for me, and I knew it was taking my skin
away and that I was going to die.

Speaker 9 (04:14:15):
That must have been terrible, I said, that must have
been terrible.

Speaker 83 (04:14:21):
What you know, I think it was probably the most
beautiful thing I ever saw in my life.

Speaker 42 (04:14:28):
Do you want to hear mine?

Speaker 18 (04:14:30):
Yes?

Speaker 83 (04:14:33):
My three mappins on a cliff. I'm standing on the
edge and I'm looking out to see and it's night
and all I can see these distant lights somewhere across
the water. I keep thinking they're the lights of home.

Speaker 8 (04:14:50):
And all I had to do is take one step
out and I'll be there.

Speaker 57 (04:14:56):
One step.

Speaker 29 (04:14:59):
All it takes the nerve to do it.

Speaker 8 (04:15:03):
And do you know.

Speaker 29 (04:15:06):
In the dream, do you take the steps.

Speaker 9 (04:15:11):
I can never remember.

Speaker 29 (04:15:15):
They have these rules.

Speaker 12 (04:15:16):
No full names, no trying to set anything up, but
it is what they do if you try.

Speaker 96 (04:15:22):
I can see the sun coming up. Is anyone else
still there?

Speaker 9 (04:15:27):
Only me? I think the others have gone.

Speaker 96 (04:15:31):
I've got a confession to make. I was waiting for this,
so was I.

Speaker 4 (04:15:39):
Belinda.

Speaker 93 (04:15:40):
Why don't they Addresses are not allowed.

Speaker 29 (04:15:44):
They just cut you off.

Speaker 8 (04:15:47):
But it was, wasn't it.

Speaker 93 (04:15:51):
Lifeline is for telephone discussion only, and direct contact between
subscribers is not allowed.

Speaker 97 (04:15:58):
The other person has cleared, the other person has cleared.
The other person has cleared. The other person has cleared,
the other person.

Speaker 15 (04:16:09):
Has how's the window just keeping you awake?

Speaker 29 (04:16:19):
He's not the noise.

Speaker 12 (04:16:21):
It's Ryan.

Speaker 15 (04:16:23):
Don't keep secrets from me, Colin, you'll know good it is.

Speaker 37 (04:16:27):
He thinks Belinda's trying to get in touch with him.

Speaker 15 (04:16:29):
Who's Belinda?

Speaker 29 (04:16:30):
Before your time? She died?

Speaker 15 (04:16:34):
Oh, I don't know about her.

Speaker 29 (04:16:36):
Now he's heard someone on this chat line thing.

Speaker 8 (04:16:39):
I don't know it.

Speaker 37 (04:16:41):
You can't blame him. She did sound like Belinda. I
keep thinking about some of the things this woman said, haven't.
I know it's only a coincidence, but if I can't
get it out of my mind, what must it be
like for him?

Speaker 8 (04:16:54):
Who is she like?

Speaker 37 (04:16:56):
She was just this plain girl. I don't know that
when it's so deep. Suppose they were touchy and they
were insecure. They were like a couple of fifteen year olds.
What happened to her? Well, they had a big row
and she took a train to the coast. They found
her all smashed up.

Speaker 12 (04:17:14):
At the foot of a cliff.

Speaker 9 (04:17:16):
Oh god.

Speaker 37 (04:17:17):
Post Morton said she was pregnant. Her family wouldn't let
Ryan anywhere near the funeral.

Speaker 12 (04:17:22):
Well, you can't really blame them.

Speaker 9 (04:17:24):
I know.

Speaker 37 (04:17:26):
I think it's because of that. He's never been able
to accept that she's really dead. He said that the
row was about nothing. Everyone, as seems, was about the baby,
but he says he didn't even know. Do you want
to know what you started me thinking about? I always
do whenever I think about the two of them stray dogs,

(04:17:46):
I reckon there's no dog more devoted than astray from
the dog's home because they know just how lucky they are. Well,
that's how Ryan and Belinda were with each other. I
don't think you'll ever get over it. I think that's
why You'll.

Speaker 12 (04:17:59):
Always be.

Speaker 29 (04:18:01):
The way he is.

Speaker 37 (04:18:07):
If you ever died and there was a way, would
you try to come back to me?

Speaker 9 (04:18:15):
How much would you want me to?

Speaker 93 (04:18:18):
Lifeline is for telephone discussion only, and direct contact between
subscribers is not allowed. You may accept these conditions by
touching the numbers five and nine on.

Speaker 9 (04:18:28):
Your telephone key head. You are now connected to Lifeline.

Speaker 29 (04:18:34):
Is there anybody there? I know it's late, huh. I
know some of you just listen sometimes. I know because
I've done it myself.

Speaker 98 (04:18:46):
So I'll just carry on for a while, and if
there is anyone there who wants to join in, or
if you're out there and you don't work, that's fine
as well.

Speaker 37 (04:18:57):
It's not easy to talk spiss talk about things that matter.
I don't know why they make it so afraid, but
perhaps we just don't like to make fools of ourselves.

Speaker 29 (04:19:08):
But you think that when it was important, when somehow.

Speaker 98 (04:19:14):
Yeah, there never works out that way, does it. He
always realized too late. I learned something too late. I
learned that everything you love you lose it in the end,
and the end always comes lots sooner than you'd think.
But now I'm starting to wonder, are they second chances

(04:19:35):
after all?

Speaker 8 (04:19:37):
Or is that just a dream?

Speaker 57 (04:19:40):
Does anyone know.

Speaker 8 (04:19:44):
Anyone?

Speaker 20 (04:19:51):
Oh?

Speaker 2 (04:19:51):
Yeah?

Speaker 83 (04:19:53):
Question seven?

Speaker 20 (04:19:58):
Don't you know, darling?

Speaker 7 (04:20:05):
You met you're early.

Speaker 29 (04:20:07):
I haven't slept, haven't been at the place.

Speaker 37 (04:20:09):
God, you're a terrible thanks. I wonder why anybody come in?

Speaker 29 (04:20:15):
You know it was her, don't you?

Speaker 37 (04:20:16):
It couldn't be right, and you could They could have
found a body, anybody on the beach and stuck and
name might I never really know?

Speaker 29 (04:20:22):
Even you don't believe that your brother did the identification.
The manta told him that a plank given a plank
wouldn't mistake his own sister. It was her on the line, though,
wasn't it. What are you doing in some early anyway?
This the phone built the first post? Read it?

Speaker 37 (04:20:42):
What they itemize everything these days?

Speaker 29 (04:20:44):
What do you say? What did the rental test units?
The eighty?

Speaker 12 (04:20:49):
Yeah, look at it?

Speaker 29 (04:20:50):
Cols twelve units?

Speaker 37 (04:20:51):
Only twelve? You said you'd made hundreds of premium rate calls.

Speaker 29 (04:20:55):
That's got to be wrong, guess is? Don't you see?

Speaker 37 (04:20:57):
I only used the phone for calling Lifeline. I haven't
called anyone else in ages. I even placed the newspaper
on from here.

Speaker 29 (04:21:05):
It's a mistake.

Speaker 37 (04:21:05):
Ryan, that's all it is.

Speaker 29 (04:21:06):
I don't know. I think it's got some kind of significance, like.

Speaker 8 (04:21:10):
What, I don't know.

Speaker 37 (04:21:11):
They'll catch up with you on the next one.

Speaker 29 (04:21:13):
It's it's not something you're gonna get away with. You're
missing the point, Callie.

Speaker 37 (04:21:16):
There is no point.

Speaker 12 (04:21:17):
Ryan.

Speaker 37 (04:21:19):
Something got stuck in the works and you've got a
breathing space. Don't try reading anything into that.

Speaker 29 (04:21:23):
You're scared. End of conversations, and I'm going to be
scared about Colin.

Speaker 26 (04:21:28):
I'm not locked up.

Speaker 37 (04:21:30):
Yeah, I have a notice in the window for the
pie man. You know, when I was a kid, one
of my friends used to live over a fish and
chip shop, Chippy Thompson. So everybody called him his house
or was smelled of it, and so did he. When
I can't bear I can't smell a.

Speaker 29 (04:21:48):
Thing, it's probably there, you just don't notice it.

Speaker 37 (04:21:51):
Chippy Thompson didn't either.

Speaker 12 (04:21:53):
What's the point you're trying to make there?

Speaker 29 (04:21:56):
I sit down.

Speaker 15 (04:21:58):
Now, Either speaker or shut up.

Speaker 50 (04:22:00):
I've had a hard day and I'm not going to
waste time trying to fish for what you want me
to find.

Speaker 37 (04:22:04):
Well, look at me, miss out of the dream I had?

Speaker 50 (04:22:07):
Is it ah, do you think this is mine?

Speaker 29 (04:22:09):
I'm not trying to start a competition.

Speaker 15 (04:22:11):
So well, I'm sorry, but we've been here before.

Speaker 50 (04:22:13):
You get the mopes and you start in on all
the things you could have done and should have done.
Get that magazine out, Colin, the one the art school
sends you every year with all that stuff about where
are they now? Most of them are just like you,
and a lot of them can't hold their heads up
as high. But all you can see are the four millionaires.

Speaker 15 (04:22:30):
Four out of how many? One of them's already dying.

Speaker 37 (04:22:34):
How am I supposed to answer that?

Speaker 8 (04:22:35):
Oh?

Speaker 50 (04:22:35):
It's that bloody Ryan, isn't it. I don't know how
or why, but I'm sure it's down to him.

Speaker 29 (04:22:40):
It's not Ryan, it's just me.

Speaker 50 (04:22:43):
Look, I know he's your friend, and I'm very sorry
and all that. I don't want to see him around
here again. If you want to meet him, go off
somewhere and I won't even ask. But I don't want
any more of his misery in my life.

Speaker 9 (04:22:58):
I've got enough to coat with it.

Speaker 21 (04:22:59):
It is, do you know?

Speaker 7 (04:23:02):
Right now?

Speaker 37 (04:23:02):
I think is the happiest man. I know I could
get through before. Why can't I get through now?

Speaker 94 (04:23:07):
I've been checking with the engineer caller, and he says the.

Speaker 29 (04:23:09):
Same, meaning, what exactly the number.

Speaker 94 (04:23:11):
That you've given me isn't one that will connect you
to any of our exchanges.

Speaker 95 (04:23:14):
I've dialed it, I've dialed it loads of times, but
suddenly nothing's happening, and I don't know why.

Speaker 94 (04:23:18):
All I can say is that perhaps you've made a
mistake in noting it down. If I've valid for any line.

Speaker 12 (04:23:23):
On the system, that lifeline is called lifeline.

Speaker 94 (04:23:27):
Could you perhaps be thinking of a Samaritan?

Speaker 30 (04:23:29):
No.

Speaker 29 (04:23:29):
Look, look, I've called it every night. I've spent hours
on it. I know the number off by heart, and
you're trying to tell me it doesn't exist.

Speaker 94 (04:23:35):
I can only suggest you try directory inquiry.

Speaker 29 (04:23:37):
I tried them first.

Speaker 12 (04:23:38):
They send me to you.

Speaker 95 (04:23:39):
Look, I've been phoning this number. I've been getting through.
It's a premium rate line. You must have some way
of keeping track of them.

Speaker 94 (04:23:46):
I could put you onto telephone accounts for it depends
on your local exchange, but they should be able to
provide you with an itemized breakdown of your bill. That way,
you may be able to see what number it was
that you were actually dialing. Whenever you were getting connected.

Speaker 8 (04:24:00):
Corner my bill.

Speaker 4 (04:24:03):
Oh it doesn't like it used to be these days.
If it's on your bill, I can track it down my.

Speaker 8 (04:24:09):
Yeah, thanks, Shall I put you through?

Speaker 2 (04:24:11):
No?

Speaker 29 (04:24:12):
Not right now?

Speaker 8 (04:24:13):
No things.

Speaker 29 (04:24:14):
I must be mad off my rocker. I've always had
my doubts about it.

Speaker 37 (04:24:17):
I should be home in there with Susan instead of
tramping the streets, in the poor and rain, peering in
the phone box.

Speaker 29 (04:24:21):
And I didn't ask it to come, Colin.

Speaker 12 (04:24:22):
All I asked you for was a lender your church.
Just shine it around your life.

Speaker 37 (04:24:27):
The stickers, more human lives here last the blonde bombshell,
French minstress, vigers.

Speaker 29 (04:24:34):
And chains shaven haven.

Speaker 37 (04:24:37):
I can remember a time when the boldest thing you
could ever hope to see was the corse of free
section in Ranta's fashion Cataline. You're getting all collings starting
to feel it. Have you found anything shot it down here?
Why should Lifeline onto advertise in a place like this.

Speaker 96 (04:24:51):
Because because of the law, I've seen a herd of
manywhere else.

Speaker 37 (04:24:54):
What were you doing studying all the cool girls?

Speaker 29 (04:24:57):
Please don't ask me that, Colin.

Speaker 37 (04:25:00):
Sorry, it's here where it looks dead. Is this orange
label stuck to the glass there lost low. Now call lifeline.

Speaker 29 (04:25:12):
It is the same number. He's the one I've been dying.
I knew I hadn't made a mistake.

Speaker 37 (04:25:17):
So this is the number where you used to be
able to get through, But now you can't exactly when
did you stop being able to get connected. It was
just after, just after you broke the so called rules
and spoke to her by name.

Speaker 29 (04:25:31):
Perhaps it's not the number that's the problem.

Speaker 37 (04:25:33):
Whether the telephone people say perhaps it's me I broke
the rules and so they're frozen me out. How can
they do that?

Speaker 8 (04:25:42):
How would they know?

Speaker 12 (04:25:42):
No idea?

Speaker 37 (04:25:44):
I really think you should give it up, Brian.

Speaker 29 (04:25:46):
Could you, I mean, if you were me, could you
come so far and then give up?

Speaker 37 (04:25:51):
She's still dead, Ryan, whether you've been talking to Belinda's
still dead.

Speaker 29 (04:25:58):
I don't care you wring them for me? For me?

Speaker 37 (04:26:01):
Now help this, Ryan, please before it goes too far.

Speaker 29 (04:26:08):
I'm gonna find her. I know she wants me to.
I'm gonna have something that most people want and almost
no one ever gets. I'm gonna have a second chance.

Speaker 93 (04:26:20):
You are about to be connected to Lifeline.

Speaker 9 (04:26:22):
It's Lifeline Life.

Speaker 29 (04:26:27):
Public and I'm not even going to say anything, so
I'll never have a way of hang it's me.

Speaker 37 (04:26:38):
I'm sorry, Ryan.

Speaker 29 (04:26:41):
There's got to be something I can do to get
back in. There's gotta be something. This is brilliant. What
is I've heard this record many things, Brilliant's never been.

Speaker 13 (04:26:52):
One of them.

Speaker 29 (04:26:53):
Next left, there's two phone boos, don't.

Speaker 37 (04:26:57):
I can't see anyone turning out in this.

Speaker 94 (04:26:59):
Someone's going to be out there tonight putting the stickers
in the boxes.

Speaker 29 (04:27:03):
We just have to find out who.

Speaker 2 (04:27:04):
Why is it?

Speaker 37 (04:27:05):
We've been driving around for two hours. We've covered just
about every public phone in the middle of town. Would
have seen them by now, who's that? It's just someone
making a call. I suppose you find this life that outfit.
It's probably a few thousand quidsworth of gear and a
chromic back room somewhere, a few machines, and somebody reading
a newspaper. All these voices telling their hard luck stories

(04:27:26):
to each other way off into the night. How does
that get you any closer to Belinda.

Speaker 29 (04:27:31):
They've got to help me find her. I'll make them
help me for.

Speaker 8 (04:27:35):
All you know.

Speaker 37 (04:27:36):
They could be anywhere, some other town or right down
the other end of the country.

Speaker 29 (04:27:40):
That guy there with the shoulder back.

Speaker 99 (04:27:42):
He's going into that phone box. He's probably gonna ring
for a text on the van. I can't stop here, Ryan,
What the hell do you think you're doing. I'll be
back as quick as I can.

Speaker 12 (04:27:52):
Right, I can't wait here. All right, all right, I'm
moving out of the way.

Speaker 5 (04:28:02):
I want to get your head examine.

Speaker 37 (04:28:05):
No one ever said a truer word, mate, Ryan, Come on, Colin, Colin,
come on, Ryan, get in.

Speaker 13 (04:28:16):
Let's go.

Speaker 99 (04:28:16):
No, not yet, I said Gelin.

Speaker 29 (04:28:20):
He knows where they are. He said to give me
an address for twenty quid. So I haven't got it.
If you sold your car, how would you please, Colin.

Speaker 100 (04:28:30):
I'll never ask you for anything else after this, I promise.
I'm not even going to pretend I can pay you back.
I'll just stay out of your life for good. Colin, Please,
he won't wait.

Speaker 37 (04:28:48):
Some offers are just too good to be refused.

Speaker 29 (04:28:54):
This can't be right. If it is, I can feel it.

Speaker 37 (04:28:58):
We're only half a mile from home, isn't it amazing?

Speaker 12 (04:29:02):
Man?

Speaker 37 (04:29:03):
That's a row of derelict buildings over there. I'd I said,
you've been taking for a four That wasn't for the
fact you did it.

Speaker 8 (04:29:08):
With my money.

Speaker 29 (04:29:09):
I have a little faith, Colin.

Speaker 37 (04:29:11):
You're not going over there.

Speaker 29 (04:29:13):
You don't have to wait for me.

Speaker 37 (04:29:14):
There's nothing to see. No one's lived in the street
for years. I'm going to find Blina on the demolition side.
The world is full of wonder's Colin, or will you
expect them least.

Speaker 29 (04:29:29):
Two minutes?

Speaker 37 (04:29:30):
You'll be back here within two minutes.

Speaker 29 (04:29:34):
You've been a good friend to me, Colin.

Speaker 12 (04:29:36):
Thanks two minutes.

Speaker 37 (04:29:50):
Col Sorry, I came in as quietly as I call it.
The min wake you up.

Speaker 15 (04:29:56):
I couldn't get to sleep anyway.

Speaker 50 (04:29:58):
There were police cars and all sorts getting past at
about one o'clock.

Speaker 15 (04:30:01):
It's been like Piccadilly's circus out there.

Speaker 37 (04:30:04):
Somebody got hurt on the railway line. Oh it was Ryan.

Speaker 29 (04:30:09):
Ryan.

Speaker 15 (04:30:11):
Is he badly hurts?

Speaker 37 (04:30:13):
There was somebody he wanted to go, so I took
him there. It was all tied him with Belinda. Is
it too complicated to explain?

Speaker 12 (04:30:20):
The dress?

Speaker 13 (04:30:20):
Was that row?

Speaker 37 (04:30:21):
Volt cottage is down by the railways. It's just a
row of shells with a roof on top. There'sn't even
any back to them. But he insisted on going in
when I waited, But he didn't come back, so I
went to look. One of the doors was open, and
that was when I realized there was nothing on the
other side of the front wall. I was just looking
down this embankment full of rubble to the railway lines.

(04:30:41):
Ryan was down there on the tracks on What was
he doing waiting? I shouted to him and didn't hear me.
Couldn't hear me because there was a train coming. I
couldn't see it because of the darkness under the bridge,
but I could hear it. Ryan knew it was coming.
He was facing on the track and into the dark.

(04:31:02):
It was the train he was waiting for. He was
standing there and he kind of set himself ready, made
his hands into fists, and he kind of leaned forward,
like a box or or a runner waiting for the
starting gun. I tried to move, it was a waste
of time. Train lights were already coming around the bend.
He was standing there between the tracks, and I could

(04:31:23):
see the train under the bridge, and then the driver
saw him and put on the brakes, but it was
too late to make any difference. I could see the
wind blowing his hair back as the train came on.
He closed his eyes. It was as if he was
feeling I don't know, bliss.

Speaker 9 (04:31:42):
What happened?

Speaker 37 (04:31:44):
He was there, he was gone, like a burst in balloon.
The train was going at full speed. I called the police.
They brought search lights and stuff. I couldn't stay to watch.
I think I'd just like to stay here for a while.

Speaker 12 (04:32:02):
Is that all right?

Speaker 37 (04:32:03):
No, come up stairs. Honestly, it's what I want.

Speaker 29 (04:32:06):
You mustn't.

Speaker 50 (04:32:07):
You've had a terrible shot Colin sitting here with the
lights house isn't right?

Speaker 29 (04:32:12):
Then I'll come up.

Speaker 37 (04:32:13):
I promise there's someone.

Speaker 29 (04:32:15):
I want to call.

Speaker 93 (04:32:17):
These simple rules will result in immediate disconnection. Lifeline is
for telephone discussion only, and direct contact between subscribers is
not allowed. You may accept these conditions by touching the
numbers five and nine on your telephone keypad.

Speaker 8 (04:32:33):
Five.

Speaker 9 (04:32:35):
You are now connected to Lifeline.

Speaker 13 (04:32:42):
Hello.

Speaker 9 (04:32:44):
Yes, someone has just joined us.

Speaker 4 (04:32:46):
No names.

Speaker 9 (04:32:46):
Remember we're talking about dreams again. Do you have some
particular dream that you'd like to tell us about?

Speaker 37 (04:32:54):
I don't know, not right now. I think i'd rather
hear from someone else.

Speaker 83 (04:33:00):
Near one man.

Speaker 37 (04:33:04):
Does anybody ever have a dream about dying?

Speaker 8 (04:33:09):
Everybody hear dreams about dying?

Speaker 29 (04:33:13):
Hire one of those dreams once.

Speaker 8 (04:33:16):
When was this? I don't know.

Speaker 96 (04:33:19):
It's not to be sure, it's not to be certain
of anything.

Speaker 37 (04:33:23):
I think I'd like to hear it.

Speaker 96 (04:33:25):
I was standing on a railway line and a train
was coming towards me.

Speaker 95 (04:33:30):
I just had to stand there. As his lights got
bigger and bigger. I could hear the breaks, but they
made no difference. He came up so fast that it
filled the world from one side.

Speaker 8 (04:33:43):
To the other.

Speaker 37 (04:33:44):
That must have been terrible.

Speaker 96 (04:33:46):
Was the most beautiful thing I ever saw in my life.

Speaker 21 (04:33:49):
Where are you?

Speaker 14 (04:33:50):
Ryan?

Speaker 93 (04:33:51):
Names are not allowed, Home addresses are not allowed. The
exchange of personal numbers is not allowed. Any infringement of
these Immediate Disconnection Lifeline is for telephone discussion only, and
direct contact between subscribers is not allowed.

Speaker 97 (04:34:08):
The other person has cleared, The other person has cleared.
The other person has cleared, the other person has cleared, And.

Speaker 92 (04:34:18):
In that moment, have you ever failed to believe with
a passionate certainty that there would be an answer. Perhaps
you're looking at the phone right now, Perhaps you're considering that.
Let me give you a warning. To make the call
is to break the spell. We can't quite believe in death.
That's our eternal problem. But oh, how we long to

(04:34:39):
believe the dead can communicate. Nicholas Merchip played Ryan Jonathan Taffler,
Colin Maya, Leslie, Susan Federrat Holmes, Belinda and Windsor the
Lifeline operator, Matthew Morgan, the telephone engineer, Melinda Walker, Kate Binschey,
and Julian Ryan tut The voices. Lifeline was written by

(04:35:04):
Stephen Gallagher and directed by Martin Jenkins. This is Edward
de Sousa, the Man in Black, signing off until the
next time we meet for another series of Fear on four.

Speaker 36 (04:35:26):
Another five minutes mystery.

Speaker 33 (04:36:04):
Mmddy daddy got a hold my arm still.

Speaker 36 (04:36:10):
Bullseye, Sergeant.

Speaker 33 (04:36:12):
Yeah, it's the mighty fine revolver you have here, Captain.

Speaker 36 (04:36:15):
I picked it up for a song and a pawn
shop yesterday.

Speaker 33 (04:36:17):
Here, load her up and let's see your aim.

Speaker 36 (04:36:20):
It's really a sweet jab.

Speaker 101 (04:36:22):
It is a nice gun, Captain. Only trouble is I'm lazy.
I don't like a revolver. You have to go to
all the trouble of picking the U shells out and
reloading personally. Give me an automatic slip a clip in
and Captain Jenkins.

Speaker 4 (04:36:36):
You're wanted upstairs immediately.

Speaker 5 (04:36:38):
A report just come in over the radio.

Speaker 4 (04:36:40):
Of a shooting on the west side.

Speaker 33 (04:36:42):
There goes our target practice.

Speaker 36 (04:36:43):
I've come along, Sergeant. We'll drive out and see what
gives you say your husband was sitting here by the
open window when you heard the shot, Missus.

Speaker 9 (04:36:54):
Williams, that's right, I was in the kitchen.

Speaker 25 (04:36:56):
I came running in just in time to see Ben
slumping down in the chair and some man running down
towards the river.

Speaker 102 (04:37:02):
There shot, and take a look outside the window for
footprints right at it? Did you get a good look
at the man, Missus Williams, No, no.

Speaker 25 (04:37:08):
I didn't, Captain, he was too far away and running.

Speaker 36 (04:37:12):
Why should anyone want to kill your husband?

Speaker 25 (04:37:14):
Quite wealthy, captain, and well perhaps he's been a bit
ruthless in his business dealings, made enemies, especially among the
people in the tenements he owns.

Speaker 33 (04:37:23):
No, Captain, not a sign of a footprint.

Speaker 36 (04:37:26):
Well I didn't expect to find any.

Speaker 102 (04:37:27):
You see, mister Williams has powder burns on the right
cheek where the bullet entered.

Speaker 33 (04:37:31):
Well, I'll be he was a suicide, then.

Speaker 36 (04:37:34):
Missus Williams, there's no use in your lying where's the gun?

Speaker 9 (04:37:37):
Gun?

Speaker 74 (04:37:38):
Why?

Speaker 9 (04:37:38):
There's all right.

Speaker 25 (04:37:40):
It's in the closet of the basement stairs.

Speaker 33 (04:37:43):
But I only thought, get it.

Speaker 9 (04:37:44):
I didn't mean to do anything.

Speaker 36 (04:37:45):
Wrong, Captain, It's only I think I understand.

Speaker 9 (04:37:47):
I didn't want any publicity to get out that Ben
had committed suicide. It wouldn't be good.

Speaker 36 (04:37:53):
Well, just what did happen?

Speaker 8 (04:37:54):
Now?

Speaker 25 (04:37:55):
When I heard the shot and came in from the kitchen,
I saw what Ben had done. The gun was still
in his right hand. I gently removed the gun and
put it in the closet. Then I made up the
story of seeing.

Speaker 9 (04:38:07):
The man running.

Speaker 102 (04:38:08):
You didn't do anything else, didn't touch the gun in
any other way, or it didn't change anything about your husband.

Speaker 101 (04:38:12):
No, here's the gun, Captain, ma all calibery barber one
cartridge missing from the chamber.

Speaker 36 (04:38:18):
Where's the missing cartridge, Missus Williams.

Speaker 25 (04:38:20):
I threw it into the scenes. It was lying on
the floor. Then hands, Oh, I've.

Speaker 22 (04:38:26):
Made such a blunderous thing.

Speaker 102 (04:38:29):
I'll say you have, Missus Williams. You've blunted yourself right
into a murder charge. In just a moment, we shall
return for the solution to our mystery. In the meantime, and.

Speaker 33 (04:39:25):
Now back to our stories.

Speaker 102 (04:39:27):
Yes, missus Williams, you blooded on every move, but especially
when you stated you would pick the cartridges off the
floor from under Ben's hand. You couldn't have picked the
cartridges off the floor, as a revolver doesn't eject its cartridges.
If your husband had committed suicide, he couldn't have removed it,
but you did and threw it in the firstest part
of the plan.

Speaker 36 (04:39:46):
I wonder what story you'll cook up for the jury.

Speaker 64 (04:40:20):
Audrey and Jill were college students. The summer before their
junior year, the girls had decided to rent a cottage
together on a secluded island. A number of their friends
from college were doing the same. They found an adorable
little cottage nestled in a wooden area. Each cottage had
a sign over the door. Their sign read Comfort Cottage.

(04:40:43):
They got themselves waitress jobs at a local inn and
spent the rest of their time partying and relaxing on
the beach. Audrey's motive for escape was not as simple
as Jill's. Audrey and her boyfriend aj had decided to
call it quits. Audrey did everything she could her mind
of a Jane, but it was hopeless. She was still

(04:41:03):
in love. Apparently aj felt the same way. He called
Audrey and asked her if he could come onto the
island for the weekend. He had gone home for the summer,
but would fly into the city if she would come
meet him and escort him back to the island. Audrey agreed.
As Audrey was packing, Jill returned to the house with
a dreadful sunburn. Audrey yelled in shock as she saw

(04:41:26):
Jill's red blistered body walking painfully up the wooden stairs
at the cottage. She rushed to help Jill lie in
the bed. Jill seemed to relieve just to be off
her feet. As Audrey applied the ointment over Jill's burnt body,
she told her about her phone call from a Jane.
Audrey was hesitant to leave Jill in such a state,
but Jill insisted she would be fine. She was simply

(04:41:48):
going to go to sleep. Audrey reluctantly left, assuring Jill
she would be back for a thing in the morning.

Speaker 12 (04:41:55):
The check on her.

Speaker 64 (04:41:57):
Audrey got in her car and drove off down at road.
The fairy was about three miles from their cottage, and
she was already running late to catch the last one.
Half way to the Fairy, Audrey realized she had left
her as no medicine back at the house. She thought
for a moment, then decided she must go back for it.
She drove as quickly as she could through the dense

(04:42:18):
fog on those rocky cliff roads. When she got to
the house, all the lights were turned off. Not wanting
to disturb Jill, she quietly tiptoed into the house, leaving
the lights off. She made her way to the bathroom
and grabbed her in hail her in medicine. As she
was leaving the house, she stopped. She said something. She

(04:42:39):
reached over to turn on the light, but could not
find the chain to pull. A small thud sounded as
she knocked over a book from the table. Cursing to
herself and whiskers. She then paused for a moment and
listened nothing. Deciding all was well and not wanting to
wake up Jill, she quietly hurried out the door. Audrey

(04:43:01):
and a j had an incredible light together and decided
they had been foolish to break up. The next morning,
Audrey insisted they catch the six am ferry so they
could get back to check on Jill. Audrey was worried
about jill sunburn. She bought a bag full of ointments,
a couple of fashion magazines, Jill's favorite gent food, and

(04:43:22):
headed back to the cottage. As they got out of
the car, Audrey noticed something strange. The Comfort Cottage sign
had fallen off the door and was lying face down
at the foot of the stairs. Audrey quickly walked up
the stairs toward the door. AJ flipped over the sign.
There were bloody handprints all over it. AJ examined it,

(04:43:44):
not knowing what it was. Then realizing, he yelled to Audrey,
who had already entered the house. A blaring screech sounded
from the house. AJ ran up the stairs and threw
open the screen door. He rushed through the house to
the bedroom to find Jill slain, bloody body strewn across
the bed. Her sunburned arms were tied to the bedpost.

(04:44:07):
AJ frantically ill for Audrey. He ran into the bedroom
to where Audrey was slumped over the sink. She had
just thrown up him on the bathroom mirror written in
blood for the words just be glad you didn't turn
on the light.

Speaker 103 (04:44:35):
Stay tuned now for adventure and excitement in the world
of the future, entertainment for the entire family, produced right
here in Kalamazoo.

Speaker 29 (04:44:55):
June now went up page into another to mature.

Speaker 27 (04:45:02):
The journey into our realmless.

Speaker 104 (04:45:05):
Infinite and limical, says time itself our destination, the farthest
bleaches of the imagination.

Speaker 20 (04:45:22):
Wm UK Special Projects presents.

Speaker 8 (04:45:27):
Future Takes.

Speaker 20 (04:45:41):
Author of Loneman by Beardore Thurdeon. My name is Jason Vaniety.
I'm a newspaper reporter thirty five years old. I write poetry,

(04:46:05):
but I don't show it to anybody because they might laugh.
And the things I write about are very important to me.
I was an only child. I never went with girls
much because I'm too ugly and too sensitive, and they
used to hurt me. I live along. It isn't much fun.
I'm not painting this picture of myself to get sympathy.

Speaker 12 (04:46:27):
I don't need it.

Speaker 20 (04:46:28):
But it's important that you should know the kind of
person I am, Otherwise you won't understand what I'm going
to tell you. It happened tonight. The thing I'm going
to tell you about tonight, the twenty fifth of June
nineteen eighty two, I was down on the beach.

Speaker 76 (04:46:50):
Hey yeser, hey, yesther.

Speaker 8 (04:46:53):
Oh what is it, kid?

Speaker 31 (04:46:54):
You've need a cop around any play.

Speaker 20 (04:46:57):
I'm just beach.

Speaker 13 (04:46:58):
I found it.

Speaker 20 (04:46:59):
Quild close down near the rack the lady's dressing shoes.
Oh did you did you see anybody?

Speaker 16 (04:47:05):
A girl?

Speaker 25 (04:47:06):
Well, I think though, but she was running along the
sand in the moonlight.

Speaker 9 (04:47:11):
I yelled to her, but she just kept running.

Speaker 27 (04:47:14):
And then I found these Oh look.

Speaker 20 (04:47:15):
Look, kid, you go try to find a cop someplace
and I'll see if I can find a girl. Okay,
I thought to myself, she's dead. I'll never find her now.
In this white flood of moonlight, with a surf seeding

(04:47:38):
in over the pale sand, I ran and ran until
my knees buckled. It went down in the swirl of it,
the sea on my lips, with the taste of tears,
and the whole white night shouted and went.

Speaker 105 (04:47:53):
And then I saw her waist deep, walking into the surf.
To stop, stop it, come back, come on, come out,
let go, let me go.

Speaker 14 (04:48:05):
Don't do it.

Speaker 20 (04:48:06):
Please, please don't leave me alone. I'm going to have
to hit you, forgive me. I hit her in the

(04:48:26):
neck with the edge of my hand and she slumped over.
I brought her ashore and carried her to where the
dunes between us and the water, and then I rubbed
her wrists. She had a pale, beautiful face with ancient,
bottomless blue eyes. She opened them and looked at me.

(04:48:49):
After a moment, it's it's all right here. Put my
coat on you. Why couldn't you leave me alone?

Speaker 12 (04:49:00):
I couldn't.

Speaker 20 (04:49:01):
Why because it's important to you.

Speaker 42 (04:49:06):
I suppose you want to know why I did.

Speaker 20 (04:49:09):
If I told you I understand, would you believe me?

Speaker 42 (04:49:13):
How could you understand?

Speaker 20 (04:49:15):
Maybe I know what it means to be lonely? That's it,
isn't it.

Speaker 8 (04:49:24):
I don't know.

Speaker 9 (04:49:26):
I'm not terribly tired.

Speaker 20 (04:49:29):
Put your head against my arm and just stand. Don't
be afraid. I've been looking for you for a long time, looking.

Speaker 12 (04:49:40):
For me all my life.

Speaker 42 (04:49:45):
How did you know?

Speaker 106 (04:49:47):
I don't believe you.

Speaker 20 (04:49:49):
Oh it's true. I found your message. So you see,
there's there's nothing to be afraid of, not anymore.

Speaker 8 (04:50:01):
Just missed.

Speaker 20 (04:50:05):
The moonlight is terribly white.

Speaker 9 (04:50:09):
Yes, I like to rest for a while.

Speaker 20 (04:50:25):
She didn't remember it, of course, but I was one
of the reporters who had covered the story when it
first happened five years ago. I'll never forget that day.
I was working the police blodder. It was a quiet
summer afternoon when they brought her in, two big cops,
blue uniforms.

Speaker 42 (04:50:44):
Come on now, girl, come on go, I haven't done anything.

Speaker 71 (04:50:48):
Take it easy, now, what's the trouble, connelly disturbing the peace?

Speaker 20 (04:50:52):
Sergeant at that central park?

Speaker 21 (04:50:53):
Call, ay, this is it?

Speaker 20 (04:50:55):
I thought you radio that there was a near.

Speaker 21 (04:50:56):
Riot up there.

Speaker 20 (04:50:57):
Ah, you should have seen the place, all right, d
me of the report.

Speaker 107 (04:51:01):
Well, the fennett got up there and there was a
mob of people all surrounding this girl. See, so we
bust through and there in the middle of maybe six
hundred people, she's lying there sort of in a faint.
I asked a couple of people what the difficulty was.
They told me it's the flying saucer. The what the

(04:51:22):
flying saucer? What flying saucer? Let me finish, sergeant, what
flying saucer?

Speaker 2 (04:51:29):
I am?

Speaker 71 (04:51:30):
And then they says that this girl was standing on
the green and suddenly this saucer comes down and starts
whirling over her head like a hangelo. What is this, messa,
gag it happened?

Speaker 21 (04:51:43):
It did?

Speaker 18 (04:51:43):
Huh?

Speaker 14 (04:51:44):
Well, I suppose you tell me your.

Speaker 106 (04:51:45):
I'm standing in the park, and I looked up.

Speaker 8 (04:51:48):
And there it was.

Speaker 20 (04:51:49):
Describe it.

Speaker 12 (04:51:51):
It was beautiful.

Speaker 106 (04:51:53):
It was golden with a dusty finish, like an unripe
conquered grape. It made a faint sound, a cord of
two tones, and it circled over my head like some
great round hummingbird.

Speaker 9 (04:52:09):
Go on.

Speaker 42 (04:52:10):
Other people must have seen it, because they were all
looking at me and pointing. I saw one man.

Speaker 15 (04:52:16):
Cross himself, and then it came down and touched me
and spoke to me.

Speaker 20 (04:52:25):
This flying saucer spoke to you. Yes, And just what
did it say to you? I said, what did it say?

Speaker 107 (04:52:34):
I can't tell you, secret man, Yes, I see, Connley,
this girl is for Bellevue. Well, sergeant, the plain fact
is that it happened just like that, And and ten
witnesses all greened.

Speaker 79 (04:52:49):
Did are you trying to tell me that there was
such a thing as this word humming bird.

Speaker 21 (04:52:53):
Of a saucer? Either?

Speaker 2 (04:52:55):
Was that?

Speaker 21 (04:52:55):
Sergeant? And just how do you know?

Speaker 20 (04:52:57):
Connelly?

Speaker 18 (04:52:58):
Whoa?

Speaker 20 (04:52:58):
We've got the.

Speaker 71 (04:52:59):
Thing out on this squad car. You want Bennett's bringing
it in now. See about thirty six inches across it
is and covered with strange marking.

Speaker 20 (04:53:09):
Great mother, what did.

Speaker 12 (04:53:10):
You call the bomb squad?

Speaker 21 (04:53:12):
I didn't think.

Speaker 5 (04:53:13):
We'll think of it.

Speaker 79 (04:53:13):
Man, there's maybe some kind of atomic weapon. I'll turn
it over the bulist. Never mind about ballistics. Called the FBI,
tell them we've got this thing. Yeah, what about the girl.
We'll book her on disturbing the piece. I got a
feeling the government man may want to work with her.

Speaker 21 (04:53:27):
What is it the nineties?

Speaker 20 (04:53:28):
I'd like to do a story on this for my paper.
Could I have a look at the saucer? We'd better
clear it first, or could I talk to the girl
after she's been booked? Connolly? Is the crowd still up
at the park?

Speaker 71 (04:53:38):
H very likely.

Speaker 20 (04:53:40):
I'll run up there and get some eye witnesses, and
I'd like to come back and talk to the girl.
Up at the park. They were still buzzing about it.
Some said she was a communist agitator. Some said it
was a flying saucer from Mars and she'd stepped out

(04:54:01):
of it. Others said she was a saint and it
was her halo. I took some notes for the paper
and went back downtown to talk to her, but there
were a couple of agents with her and they wouldn't
let me in. Now, then, miss, you told the sergeant
this saucer spoke to you. Is that correct? I did
it speak to you in English?

Speaker 42 (04:54:22):
I don't know you did.

Speaker 20 (04:54:24):
Understand it, though, Yes, do you speak any other languages?

Speaker 2 (04:54:28):
No?

Speaker 20 (04:54:30):
Tell me what message did you receive from this instrument?

Speaker 106 (04:54:35):
It wasn't anything, really, I suppose you tell me.

Speaker 20 (04:54:39):
I'd rather not, miss, and let me be very frank.
I'm not a policeman. I'm a security agent.

Speaker 108 (04:54:47):
That means I deal with problems that affect the security
of our country. You understand now, we've examined this flying
saucer enough to know that it is not of American manufacturer,
also possesses an extremely.

Speaker 20 (04:55:01):
High radioactive count.

Speaker 108 (04:55:03):
And now that means it was made in an area
where radioactive materials are in great abundance, such as an.

Speaker 20 (04:55:09):
Area where at them bombs are made. And that's why
we want to know the message you received from the saucer.

Speaker 42 (04:55:17):
There was no message.

Speaker 20 (04:55:19):
You just made it up. Yes, I'm afraid you're lying.

Speaker 108 (04:55:25):
Suppose we have some soldiers bring the saucer in here
and hold it over your head.

Speaker 20 (04:55:28):
Would you object?

Speaker 13 (04:55:29):
I don't care what you do.

Speaker 20 (04:55:31):
All right, boys, Brendan, All right, now, when I tell
the man to hold it over your head. You try
to recall what it's says.

Speaker 42 (04:55:45):
I don't know what it's says.

Speaker 108 (04:55:47):
Lift it up, boy, so hold it right over your head.
It's talking to you now, Yes, what does it say?

Speaker 20 (04:56:01):
What did it say?

Speaker 8 (04:56:05):
All?

Speaker 108 (04:56:05):
Right, boys, create it up and send it down to
the National Research laboratories.

Speaker 14 (04:56:10):
Right.

Speaker 20 (04:56:11):
What about the girls, sir.

Speaker 108 (04:56:12):
We won't get nothing out of her. I don't believe
she really knows what that humming noise is. Better have
a psychiatrist, examiner. They took her to the City hospital
and she had a room to herself. Whenever the door opened,

(04:56:33):
she could see the policeman outside, and the door opened
quite often. There were a lot of important people, some
in army uniforms, who came up from Washington just to
see her talk to her. Apparently they had analyzed the
flying saucer and discovered something that made this girl about
the most important person in the country.

Speaker 20 (04:56:53):
I used to stand outside. I could identify the heads
of certain security agencies, but nobody would answer the questions
that the reporter shot at. Sir, excuse me, Yes, I'm
Jason Vanietes from the trib I've been assigned to this
flying saucers story. As chief of the security sectary, I
have no Well, can you tell me how long the
girl will be held? That's no matter for the civil authorities.

Speaker 108 (04:57:14):
We'll have the psychiatrist determined the exact mister Vaniades, my.

Speaker 20 (04:57:18):
Car is waiting. A few days later, she was released
from the hospital and returned to the court to be
tried on a disorderly conduct charge. They found her guilty
and find her fifteen dollars and turn her loose. When
she walked out of the courtroom, she was handed to
subpoena to will appear before a Congressional committee in private session.

(04:57:40):
She answered all their questions except one. My paper sent
me over to cover the hearing. Now, young lady, I
want to remind you that I'm a Senator of the
United States and empowered by the people.

Speaker 8 (04:57:55):
Of this country to ask questions relating.

Speaker 20 (04:57:58):
To matters of security. You understand. Yes, your name is
Janet Voice, is it not. I told you that now
at an earlier session, you testified that, as a young girl,
you were a member of a certain organization in your neighborhood.
Would you name it?

Speaker 42 (04:58:17):
We didn't have a name that it was just a
bunch of girls who got together to go bike riding
and listen.

Speaker 20 (04:58:22):
To recording any particular recordings.

Speaker 42 (04:58:25):
Mostly Dannie Osma.

Speaker 20 (04:58:27):
I see now this flying saucer. You said it talk
to you. You did say that, didn't you. Yes, then
you're denied it?

Speaker 13 (04:58:37):
Yes?

Speaker 42 (04:58:38):
Why because I was tired of answering questions, young woman.

Speaker 20 (04:58:42):
Let me put something to you squarely, by the way,
I think if there are members of the press there,
I can devulge your other spectacular piece of information to you.
This flying saucer has been thoroughly examined an analyzed, and
I wish to inform the people of this great nation

(04:59:02):
that it definitely, I repeat it definitely did not originate
on this planet other than this voice. Consider that it
is possible that our Earth might be attacked from outer
space by beings much more clever and stronger than we are,

(04:59:24):
and considered that perhaps you have the key to our
defense against these beings. Don't you owe it to the world.

Speaker 42 (04:59:32):
I don't think I owe anything to anybody, even.

Speaker 20 (04:59:35):
If the Earth was not attacked. Just think what an
advantage you would give this country over its enemy. Young woman,
I ask you, what did that flying saucer say to you?
You know that what you're doing is not amount to
working for the enemies of your country. I will give

(04:59:59):
you one more chance. What was the message?

Speaker 42 (05:00:04):
It was personal, gentlemen.

Speaker 20 (05:00:10):
I'm moved that miss gannet voice be cited for contempt.
The furre was fantastic. The Chief of Security blasted the

(05:00:30):
Senator for divulging secret information about the origins of the
Flying Saucer, and the Senator said the people had a
right to know, and besides, he was just guessing anyway,
and happened to guess right. And meanwhile, the press printed
the girl's picture all over the front page and ran
banner headlines like girl refuses to betray Martian secret Flying

(05:00:52):
Saucer girl won't talk. Cited for contempt. The contempt trial
was equally spectacular. She didn't plead any amendments or she
just said the saucer was talking to her and there
was nobody else's business. She was convicted and sentenced to
five years in prison. Yes, Chief for the Sunday supplement.

(05:01:22):
Yeah good, will you think there's anything in it? Okay,
whatever you say, Mike, give me everything you can on
that plying saucer girl, will you. Yeah, you know the
one that was sent to jail about four years ago,
and see if you can find out what she's doing now.

(05:01:43):
And she was released about six months ago. I think,
mm hmm, yeah, yeah, the boss wants a feature for
the Sunday supplement. Okay. I found out she'd gotten a

(05:02:09):
job cleaning at night and offices and stores down near
the beach front. There weren't many to clean, but that
meant there weren't many people that remember her face from
the newspapers. I tracked her down and caught up with
her in a one armed coffee joint about four in
the morning. Excuse me, miss, do you mind if I

(05:02:31):
sit here?

Speaker 2 (05:02:32):
No?

Speaker 20 (05:02:34):
Nice night?

Speaker 8 (05:02:35):
Isn't it all right? And everything?

Speaker 9 (05:02:37):
Which are you security?

Speaker 42 (05:02:39):
Newspapers? It's just somebody out for a good time.

Speaker 20 (05:02:43):
You're pretty bitter, aren't you?

Speaker 42 (05:02:44):
Shouldn't I be?

Speaker 12 (05:02:46):
Yeah?

Speaker 20 (05:02:46):
I guess you should. My name is Jason Benyats. I'm
with the newspaper.

Speaker 42 (05:02:52):
It's been nice meeting you.

Speaker 8 (05:02:54):
I have to go now just a minute.

Speaker 20 (05:02:56):
Please, I can't blame you, but did you find me
one of the legmen? I located your mother. I talked
to her earlier tonight. How is she still hitting the
bottle the way she knew where you were, you would
sent her some flowers on her birthday.

Speaker 42 (05:03:14):
Remember, yes, she wouldn't talk.

Speaker 106 (05:03:17):
To me that You didn't want a daughter who was
a jail bird.

Speaker 20 (05:03:21):
Tell me how it's been, but you can write about it.

Speaker 8 (05:03:24):
I promise you.

Speaker 20 (05:03:25):
I won't write anything you don't want me to write.

Speaker 42 (05:03:28):
Okay, you want to know how it's been. Right after
I got out of jail, I met a man at
a restaurant night.

Speaker 9 (05:03:35):
Man asked me for a date.

Speaker 42 (05:03:37):
I spent everything I had on a red handbag.

Speaker 15 (05:03:40):
To go with my red shoes.

Speaker 42 (05:03:42):
They weren't the same shade, but anyway, they were both red.

Speaker 9 (05:03:46):
I was very excited about the day.

Speaker 8 (05:03:48):
You want to move.

Speaker 42 (05:03:50):
Afterward, he didn't even try to kiss me or anything.
He just wanted to know what the Flying Saucer had
told me. I didn't say anything. I just went home
cried all night.

Speaker 13 (05:04:04):
That was it.

Speaker 42 (05:04:05):
No I had another date, gets pretty lonely. This time
they arrested the man I was with. He was a
Russian agent. And Christmas Eve, four men called me up
and sang me a home. Would you like to hear
the words they go? The Flying Saucer came down one
day and taught her a brand new way to play,

(05:04:25):
and what it was she will not say, but she
takes me out of this world.

Speaker 20 (05:04:30):
I'm sorry.

Speaker 42 (05:04:31):
Now you go away and leave you alone. Yes, you
can ask me the big question. No, everybody does.

Speaker 20 (05:04:41):
Yeah, well not me.

Speaker 42 (05:04:42):
He will sooner or later.

Speaker 8 (05:04:45):
Maybe.

Speaker 20 (05:04:47):
Look, can I take you home?

Speaker 2 (05:04:50):
No?

Speaker 8 (05:04:52):
Can I see you?

Speaker 12 (05:04:53):
Yeh?

Speaker 20 (05:04:54):
Please?

Speaker 42 (05:04:54):
No, I don't know. I'm afraid to let myself like
anyone me.

Speaker 20 (05:05:00):
Will you.

Speaker 42 (05:05:02):
I'm not sure?

Speaker 20 (05:05:04):
Maybe maybe I'll wait here for you tomorrow night.

Speaker 8 (05:05:10):
All right?

Speaker 20 (05:05:19):
The next night I went back to the coffee. You
want to wait for her? I knew she got through
about four in the morning. I got there about fifteen
minutes early. Mister Ivy, Yes, I would say. You're the
chief of the security section, aren't you. You used to
work with the memory my device it down. Well, I'm

(05:05:42):
expecting someone. Yes, I know how I see. I'd like
to talk with you. Go ahead. You You probably know
that we've been trying to gain the confidence of this
girl for some years now. Yes, and apparently you succeeded
where we fail. Well, not really. In any event, you

(05:06:04):
seem to be making some progress. She may not even
show up.

Speaker 21 (05:06:08):
I think she will.

Speaker 8 (05:06:10):
Now I'm going to ask you to help us help
and what way can I help?

Speaker 20 (05:06:16):
We have reason to believe that this girl is a
courier for some alien power on What do you base that? Oh, well,
that was the incident of the saucer. Of course, we've
definitely established that it came from some other planet, and
recently she's been throwing messages inside bottles into the ocean.
But sort of method it. They're always the same. And

(05:06:39):
now I have one right here. You're welcome to read
it and see if it makes any sense. We've had
every decoding expert in the service trying to break it out,
but we can't seem to find the key. I see.

Speaker 108 (05:06:51):
She's thrown literally hundreds of these messages and bottles into
the sea. We've got many of them, but not all naturally.

Speaker 20 (05:06:57):
Now, what we're most interested in is locating the car
attach and that's where you it is. We'd like you
to gain this girl's confidence even further. Try to find
out just what these messages mean, and beyond that, what
the saucer said to him will be doing us a
favor in your country, a great service. You're certain this

(05:07:19):
is some subversive activity on her part. How else can
you explain the fact that she won't tell us your secret?
Maybe because it's hers and everybody has a right to
have something of his own. Are you trying to tell
me that you won't cooperate? I didn't say that.

Speaker 108 (05:07:37):
I'd like to remind you of mister Beniade, is that
you have a duty to us. I know that I
also have a duty to myself to God.

Speaker 20 (05:07:47):
Now you'll excuse me. I pulled the bottle message and

(05:08:09):
put it in my pocket. I waited for her to
show up, and minutes went by, in the hours, and
I knew she wasn't coming, or she had come and
seen me with the chief and changed her mind. And
that's when I left the cafe and walked down to
the beach. That's when I dragged her out of the
surf before she could follow one of her bottles under

(05:08:30):
the water. How do you feel now? Are you cool?

Speaker 42 (05:08:35):
Why should you care?

Speaker 8 (05:08:37):
I do?

Speaker 42 (05:08:38):
Is that why you were sitting with a security chief
in a cafe.

Speaker 20 (05:08:42):
I didn't arrange that meeting. He asked me to spy
on you.

Speaker 42 (05:08:49):
I suppose he told you about the bottle.

Speaker 20 (05:08:51):
Yes, I wonder how.

Speaker 42 (05:08:54):
Much of the text payers money they spent gathering the mother.
I think they'd get tired of all the writing, and
the bottles are the same.

Speaker 20 (05:09:04):
Maybe you could have saved a lot of trouble thanks.

Speaker 42 (05:09:07):
To all of them, Judge Jailer's juke boxes. People, do
you really think it would have saved me a minute's
trouble if I told them the whole truth at the
very beginning? They wouldn't have believed me. What they wanted
was a weapon, some super scientific super science from some

(05:09:33):
alien super race.

Speaker 8 (05:09:37):
Science.

Speaker 42 (05:09:39):
That's all they think about.

Speaker 20 (05:09:41):
Well, it is pretty important.

Speaker 42 (05:09:43):
Would it ever.

Speaker 109 (05:09:44):
Occurred to them that this super race from another planet
might have super fiends or super longing, so a super longing.

Speaker 42 (05:09:57):
No, all they think.

Speaker 8 (05:09:59):
About is weapons.

Speaker 42 (05:10:03):
In the time you ask me what the source is in.

Speaker 106 (05:10:07):
No, they all ask me.

Speaker 20 (05:10:11):
I don't have to ask you.

Speaker 2 (05:10:14):
I know.

Speaker 13 (05:10:17):
You know.

Speaker 20 (05:10:20):
Let me read it to you. There is in certain
living souls a quality of loneliness unspeakable, so great it
must be shared as company is shared by lesser beings.

(05:10:40):
Such a loneliness is mine. So know by this that
in immensity there is one lonelier than you. Did you
know it's the message you put in the bottles, The
same message that some lonely, strange being in some other world,

(05:11:05):
put into a bottle, only his bottle was a flying saucers,
and sent across space to you. I'm lonely too, Okay,
I've never had the love of a woman. You think
I'm pretty ugly, knew not ugly. No, I don't feel

(05:11:29):
ugly right now. Darn and my feats from the saucery.

Speaker 8 (05:11:36):
Know by this.

Speaker 20 (05:11:38):
That in immensity there is one lonelier than you.

Speaker 106 (05:11:47):
I wonder if whoever first voted it found somewhere.

Speaker 20 (05:11:53):
I think perhaps he has. She looked at me and
said nothing, But it was as if a light came

(05:12:17):
from her, more light than even the practiced moond could cast.
Among the many things it meant was the fact that
even to loneliness, there is an end for those who
are lonely enough long enough.

Speaker 103 (05:13:00):
WMUK Special Projects has presented sauthor of Loneliness, written by A.
Theodore Sturgeon and adapted for radio by George Leffards. Mark
spinc was featured as Vaniates and Peg Small played Janet Voyce.

Speaker 20 (05:13:16):
Our cast included Tom Small.

Speaker 103 (05:13:18):
As a security chief, Richard Necink as a senator, Martin
Gingrich as the cops, John Scott as the Sergeant, Rock
Bartley as the Boy, and Ico Generator as the saucer.
Future Tense is produced and directed by Ellie Siegel.

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