BRAIN TRANSPLANT HORROR: The Shadow Stops the Transplanting of a Woman's Brain Into a Gorilla

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

Speaker 2 (00:16):
I'm gonna thank 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,
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(01:05):
my free newsletter, connect with me on social media, listen
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and more at Weird Darkness dot com. Now bolt your doors,
lock your windows, turn off your lights, and come with

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

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

Speaker 3 (01:50):
Come in. Welcome.

Speaker 4 (01:54):
I'm e. G.

Speaker 7 (01:55):
Marshall.

Speaker 1 (01:57):
Life is a game that must be played, or so
what he said. But in every game there must be
winners and there must be losers, which means that in
the game of life we have two types of contestants,
those who will win and those who will lose. The winners,
as a rule, get wealth and fame. The losers will

(02:21):
lain poor and obscure. Naturally, the winners are better players,
But does.

Speaker 4 (02:27):
That mean they are better people? I could never kill anyone.
How do you know, It's just it's not in my nature.

Speaker 3 (02:36):
Ah, that's where you're wrong. Man has always been a hunter,
a killer. It's your nature to kill. Now what would
you say if you found out you had the right
to kill, the right to kill? Oh, not just the right,
but you even could get a license to kill.

Speaker 1 (03:08):
Our mystery drama Licensed to Kill, was written especially for
the Mystery Theater by Sam Dan and stars Tony Roberts
and Fred Gwynn. It is sponsored in part by Buick
Motor Division and Contact the twelve hour Code Capsule. I'll
be back shortly with Act one. When the Great Scorer

(03:40):
comes to write against your name, he marks not that
you won or lost, but how you played the game
how seriously. That sentiment by mister grantland Rice was taken
and not too long ago what innocent times those must
have been when athletic coaches would actually contend that their

(04:02):
basic function was to build character.

Speaker 8 (04:06):
Well, even if they didn't really mean it, at.

Speaker 1 (04:08):
Least they said it. Today we know better today. It
really doesn't matter how you play the game. As long
as you win winning, that's it. There is no substitute
for victory. Victory at all costs. But has anybody ever
added up the total cost of victory?

Speaker 4 (04:28):
Why don't we listen to Francis X Brunner.

Speaker 1 (04:31):
Mister Brunner is walking along a corridor in a dormitory
type building. It is the end of August, and the
premises are being occupied by a professional football team that
has just completed its training camp. Yes, my name is
Francis Xavior Brunner. What everybody calls me bruds roll this

(04:53):
time of the year. I also have another name, the Turk. Yeah,
I'm the guy who, well, we start camp with maybe
sixty eighty guys who want to make the team. By
the time the season starts, we got to cut the
roster down to the forties, and so we'll wait a minute,
from fourth to thirteen. I can't say thirteen is a

(05:14):
lucky number for this one, Chappie, you want to see me, coach? Yeah,
and I'm pretty sure you know why.

Speaker 4 (05:24):
Oh that's a shame.

Speaker 1 (05:26):
You got more raw talent than anybody on the club. Yeah,
but still Coach Bradshaw's cutting me.

Speaker 4 (05:33):
Why why?

Speaker 1 (05:36):
Well, you're you're not Jr's type of ballplayer. Yeah, but
I try, of course you do. Coach Bradshaw says, you
got to give it on.

Speaker 4 (05:44):
Your God, I do that. Well, well, what come on?
Tell me.

Speaker 1 (05:50):
Look, there are twenty three other teams in the league. Chappie,
you'll catch on somewhere.

Speaker 4 (05:54):
Why is he cutting me? You don't want to tell me?

Speaker 1 (05:58):
All right, So I'll ask him? Would he tell me
if I asked him?

Speaker 2 (06:06):
J R?

Speaker 4 (06:07):
Bradshaw?

Speaker 1 (06:08):
His name is JR. And he's the head coach of
the Gateway City Buccaneers. Every year we make the playoffs.
Almost every year we win the Super Bowl.

Speaker 3 (06:18):
Jr.

Speaker 1 (06:18):
Wouldn't have it any other way.

Speaker 3 (06:20):
So you want to know why you're being cut.

Speaker 1 (06:24):
Yes, sir, Coach Brunshaw, that's right, if you wouldn't mind
telling me, Sir, You're.

Speaker 3 (06:28):
Being cut for one reason and one reason only. Yeah,
what's that you don't hit hard enough?

Speaker 1 (06:37):
Well, I bring my man down usually. Yeah, the kid
does make his share of tackles.

Speaker 3 (06:42):
Jr. You keep out of his bruns. Look, we discussed
it thoroughly. You bring your man down, sure, but he
gets up too quick. You know what I mean?

Speaker 4 (06:55):
No, I don't. I don't think I do, Sir.

Speaker 3 (06:57):
You hit a guy, he should know it, he should
feel it. He should want to lay there for a
minute and think about it before getting up. He should
be a little shy, a little nervous. Next time he
comes around your end. Maybe he'll freeze up, try to
protect himself. Worry about a fumble. You don't hit him

(07:20):
that hard.

Speaker 4 (07:22):
I hit him hard enough to stop him.

Speaker 3 (07:24):
Like I said, that's not hard enough.

Speaker 4 (07:29):
I can't hit any harder.

Speaker 3 (07:31):
Why not.

Speaker 2 (07:33):
A coach.

Speaker 1 (07:34):
I'm six feet four, I weigh two hundred and sixty pounds.
If I hit a man really, really hard, I could
kill him.

Speaker 3 (07:44):
That would be his problem, wouldn't it.

Speaker 4 (07:48):
Well, No, sir, I'm afraid not.

Speaker 1 (07:49):
I'm afraid that would be my problem.

Speaker 3 (07:54):
I hate to let you go, Javy, But unless you're
willing to give it.

Speaker 2 (07:58):
Everything, I'm afraid that that.

Speaker 3 (08:00):
Well, then there's not much more we can say, is.

Speaker 1 (08:07):
No, There wasn't and that was the end of Jeffie.
You know how quick the fellas come and go in
this business. The day after a guy has gone, everybody
stops thinking about him. Then about a week later it's
as if the guy never lived at all. Well, the
great JR. Bradshaw, he gives me a hard time too,
along with everyone.

Speaker 3 (08:26):
Run that piece of film again.

Speaker 1 (08:29):
Yeah yeah, yeah, yeah, yeah, yeah, right there, I just
saw what we want see.

Speaker 4 (08:34):
See.

Speaker 1 (08:35):
Look, the tight end takes a block, then he goes
out on a pattern.

Speaker 3 (08:41):
Stay, they stay, they stay there. Don't answer it, but
I hear.

Speaker 1 (08:43):
Nobody, nobody got wise to adorn the game, and the
guy catches seven passes.

Speaker 4 (08:47):
Listen, JR.

Speaker 3 (08:48):
I think what he pulls that on the outside lineback
of what we're gonna.

Speaker 8 (08:51):
Do with JR.

Speaker 4 (08:52):
I think I better answer the phone.

Speaker 1 (08:53):
I'm gonna make him take that phone out of here.

Speaker 4 (08:55):
I got a sick wife at home.

Speaker 1 (08:56):
Jay, I want Jerry, a fellow who's ever in there
to answer.

Speaker 4 (08:59):
I got answer what for Hello?

Speaker 1 (09:02):
But but crying out loud?

Speaker 7 (09:05):
You hang up?

Speaker 4 (09:05):
Yes, yes, Martha, it's me. I don't know. Hang on,
I'll ask JR. Martha. It's Martha. She's not feeling so good, JR.

Speaker 3 (09:14):
Oh, tell her to call a doctor.

Speaker 1 (09:15):
It's two o'clock in the morning. Where am I going
to get a doctor? I have to go home to her?
Come on, what good are you going to do it?

Speaker 4 (09:21):
I can't let her stay alone in the house.

Speaker 1 (09:23):
Haven't you got a mother or somebody who can come
and keep a company?

Speaker 4 (09:26):
JR. You got to understand.

Speaker 1 (09:27):
Look clock, Look, I'll tell you what's wrong with this
ball club.

Speaker 3 (09:31):
Nobody wants to win on the field. My player is dogged.
My coaching staff is always looking for excuses to go home.

Speaker 2 (09:37):
JR.

Speaker 4 (09:37):
She's sick.

Speaker 1 (09:38):
Yeah.

Speaker 3 (09:39):
All I know is we got the tigers coming in
here Sunday afternoon, and we're not prepared. That's all I know.

Speaker 4 (09:44):
JR. We been fifteen straight hours on these films.

Speaker 3 (09:47):
We'll do fifteen more if that's what it takes.

Speaker 4 (09:50):
Look JR. All right, all right, out right, get.

Speaker 1 (09:52):
Out of here. I'll be a practice early. Yeah, Hello, Martha,
I'm on my way. It's just a we we lost
all track of time.

Speaker 4 (10:02):
Yes, sir, right away. I know how important this session is.
But well, if you were married, you'd understand.

Speaker 3 (10:11):
I'll tell you something. If I was married, I wouldn't
lie to my wife.

Speaker 4 (10:16):
When did I ever lie to Martha?

Speaker 3 (10:18):
You didn't lie? Just now you sat on the phone,
you lost all track of time. Now was a lie?

Speaker 1 (10:24):
Well?

Speaker 4 (10:24):
I had to tell her something.

Speaker 3 (10:25):
And what are you going home now?

Speaker 4 (10:27):
For my dog? G are? She's sick?

Speaker 3 (10:29):
She was also sick eight hours ago. Why didn't you
go home? Then?

Speaker 1 (10:33):
Look to you, Ark, I don't have to take that
from you. Take it or leave it. It don't mean
a thing. Well that matters is winning a ball game.
You have to make sacrifice. Oh, I know that lecture
by heart.

Speaker 3 (10:45):
You should you heard it often enough.

Speaker 4 (10:48):
Look.

Speaker 3 (10:48):
Look, technically you're the best defensive coach in the business.
But that's all you'll ever be somebody's assistant. You'll never
have a ball club of your own, and if you do,
you won't last out the season.

Speaker 4 (11:02):
How many seasons will you last out? Jr? I mean,
when it's all over, what'll you have to show for it?

Speaker 3 (11:09):
The winning? This record and professional football?

Speaker 4 (11:13):
Okay Jr?

Speaker 1 (11:15):
And that's what they can carve on your tombstone, Jr.
He's forever complaining. He believes in running scared. I must
say the Chappie had disappeared completely from my mind, and
I've never dreamed that Chappy would come back into my life.
It happened at Mady's. It's a night spot where the

(11:36):
sports crowd hangs out. She told me about what happened
that night. Coach Bradshaw had just walked in.

Speaker 9 (11:43):
Well, here's the popa wolf himself. How all the little
wolf that's doing cash.

Speaker 1 (11:51):
When I'm breaking curfw it'll cost him a hundred.

Speaker 9 (11:54):
Look Sunday against Dallas.

Speaker 3 (11:57):
We're gonna take a bath.

Speaker 9 (12:00):
Oh the way you cry, we can fill a tub
with your tears.

Speaker 3 (12:03):
What I need is a big, tough defensive end.

Speaker 9 (12:07):
Well he did cut the biggest defensive end I ever
saw that kid, Billy Chapman.

Speaker 3 (12:12):
Big, yeah, tough enough. No, who's in a joint tonight?

Speaker 9 (12:19):
Well let's count you, me, the bartender, the piano player.
You should know by now the joint is always dead
on Wednesday night?

Speaker 10 (12:29):
Why is that must be conscience night?

Speaker 3 (12:33):
I never heard of it.

Speaker 9 (12:34):
You don't have one but one night a week. Most
guys will make it a point to stay home with
the wife and the kids.

Speaker 11 (12:40):
What for?

Speaker 4 (12:42):
What is the use of talking to you?

Speaker 3 (12:44):
Why Wednesday night beats me?

Speaker 9 (12:47):
Some places it's Monday or Tuesday Thursday.

Speaker 3 (12:50):
If a guy wants to get someplace in this world.
He has no business being married?

Speaker 4 (12:54):
Is that a fact?

Speaker 3 (12:55):
Being a winner is a full time job. Takes everything
you got twenty four hours. I got kids at my
ball club. They make more money in the president of
the United States.

Speaker 4 (13:04):
Well, they can throw a football further.

Speaker 3 (13:08):
They think they all got it coming to them. So
do they concentrate the game? They own restaurants and Hamburger stands,
chain stores. See, that's the trouble with the kids today.
They're not hungry. What's happened at the good old fashioned values?

Speaker 4 (13:24):
Coach a branchhall?

Speaker 3 (13:26):
What are you doing in here?

Speaker 4 (13:28):
Coach?

Speaker 3 (13:28):
I got two hundred bucks. You're being fined a one
hundred for breaking curfew? Another SCENEO for being in a staalon.

Speaker 10 (13:33):
You can't call this joint a saloon for coach.

Speaker 4 (13:36):
I'm not on a team anymore. You cut me two
weeks ago.

Speaker 3 (13:40):
Oh oh yeah, that's right, I did. Well. You should
be a home and bed young fellow like you. The
coach here, it is two o'clock in the morning. What
are you doing in a gin mill looking to pick
up some dame? I understood you're a married man.

Speaker 1 (13:56):
Yeah I am, coach. I got married in June. We
both graduated from college.

Speaker 3 (14:00):
And you're cheating on her already.

Speaker 1 (14:02):
No, no, no, coach, No, I would never cheat on Louisa.

Speaker 3 (14:05):
Then what are you doing in here?

Speaker 4 (14:07):
And I was, I was looking for you.

Speaker 3 (14:10):
What did you want to see me about?

Speaker 4 (14:12):
Please? Coach? Could you put me back on the team.

Speaker 3 (14:16):
No, you're not my kind of player.

Speaker 4 (14:20):
I know that.

Speaker 3 (14:21):
Then what are you even wasting your time for?

Speaker 1 (14:23):
I'm not your kind of player right now?

Speaker 3 (14:26):
But but what are you trying to say?

Speaker 8 (14:33):
I could learn.

Speaker 3 (14:34):
He had ten weeks of training cap over the summer.
You didn't learn nothing.

Speaker 4 (14:37):
I didn't want to and now you wanted. Yeah. I
didn't have a choice, but now I got to.

Speaker 1 (14:46):
Yeah, that's my wife, Louisa. You see, coach, he's in
the hospital.

Speaker 3 (14:52):
What's wrong with her?

Speaker 4 (14:54):
I put her there?

Speaker 3 (14:56):
Good? What are you talking about?

Speaker 1 (15:00):
I was driving the car and she said slow down.
I didn't listen, and then we skid it and we
hit an inviteen nothing, nothing.

Speaker 4 (15:10):
It all happened to me. Everything happened to her.

Speaker 3 (15:12):
What do you mean everything?

Speaker 1 (15:14):
They don't know, doctor, they don't know if she's gonna
live or die, So she can't move.

Speaker 4 (15:19):
She's still in a coma.

Speaker 1 (15:21):
I only know it's gonna take a lot of doctors.

Speaker 4 (15:23):
And nurses and hospitals and money, and all I know how.

Speaker 1 (15:27):
To do is play football. Please, coach, put me back
on the team.

Speaker 3 (15:32):
You don't play football on my way, chappie, I can
learn to good year.

Speaker 1 (15:43):
A rather gentle giant is now in the hands of
a man who believes in showing no mercy and giving
no quarter.

Speaker 4 (15:51):
Can a man change his essential nature?

Speaker 1 (15:55):
Before he can answer that question, he must first discover
what is essential nature is?

Speaker 4 (16:01):
Do you know yours?

Speaker 1 (16:03):
We'll know more about our story when I return with
that too. Necessity is not only the mother of invention,
but intention as well, ideals, beliefs, morals. Yes, these may

(16:28):
be the things to which we aspire, because aspirations, as
everyone knows, costs nothing. Actions, on the other hand, usually
carry a price tagg. So when all's said and done,
we generally do what we can afford.

Speaker 3 (16:45):
So you want to play football, yes, Coach Brutshaw, my
kind of football.

Speaker 1 (16:53):
Yes, I'm going to need money. I must do everything
for Luisa to get well.

Speaker 3 (16:59):
I understand they call you chappy, yes, sir, See what
kind of a name is chappy?

Speaker 2 (17:08):
Hey?

Speaker 3 (17:09):
What does it remind you of?

Speaker 1 (17:12):
I don't know, sir, boarded milk and lollipops. Chappie from
now on, no more Chappie from now on. Your name
is Chopper.

Speaker 4 (17:30):
Yeah you are. You are looking at the Chopper.

Speaker 3 (17:35):
He is the fearsome fiend that burst through the blockers
then chops down that quarterback. And when the Chopper chops
him down, there stay down. Hear what I said, Chopper?

Speaker 10 (17:48):
Yeah, you were born a couple of thousand years too late.

Speaker 9 (17:52):
You should have been around back in those Roman days
and trained those gladiators.

Speaker 3 (17:56):
What do you think it's all about today? It's the
same thing. I'm just honest about it, that's all. That's
That's why I collect all that flat from the bleeding hearts.
That's why the people go to a game.

Speaker 1 (18:07):
See they go to see blood and Coach Branshaw, I'm
not sure I can. You're you're not sure you can.

Speaker 3 (18:17):
Put yourself in line to make a million bucks to
save your wife's life.

Speaker 4 (18:23):
But it's not in my nature to hurt people.

Speaker 1 (18:26):
Your carelessness put Louise in the hospital begin with.

Speaker 4 (18:31):
That was it was an accident.

Speaker 3 (18:32):
It was your fault.

Speaker 1 (18:35):
I she told you to slow down, but you didn't. Hey, yes,
but you wanted the excitement, or or maybe you wanted
to prove to her you were the boss. Why did
you have to do that?

Speaker 12 (18:46):
He lay, no, no, no, no, no, no, no, we're
getting something.

Speaker 4 (18:49):
What was the argument about? How did you know?

Speaker 8 (18:52):
How did you know there was an argument?

Speaker 4 (18:53):
So you admit the was an argument.

Speaker 1 (18:58):
It wasn't an argument exactly?

Speaker 4 (19:01):
What was it?

Speaker 2 (19:03):
Nothing?

Speaker 1 (19:04):
Why were you mad at her?

Speaker 2 (19:06):
I wasn't mad at her.

Speaker 1 (19:08):
Me and Luisa never argue. She wanted me to give
up football. She wanted me to give up football, which
is why I wound up being cut from the team.

Speaker 13 (19:18):
That's it.

Speaker 4 (19:20):
You didn't want to give up football. She wanted it.

Speaker 2 (19:23):
She was right.

Speaker 4 (19:25):
That's why you crashed the car.

Speaker 1 (19:27):
Will you put me back on the team?

Speaker 4 (19:30):
What's your name?

Speaker 3 (19:33):
My name.

Speaker 4 (19:35):
The Billy Chapman.

Speaker 3 (19:37):
What's your name?

Speaker 14 (19:40):
You know my name?

Speaker 4 (19:42):
It's Chappie, Once and.

Speaker 1 (19:44):
For all and for the last time.

Speaker 3 (19:49):
What's your name?

Speaker 2 (19:53):
The chopper?

Speaker 4 (19:57):
See if I can hear it? Say you to the
whole work?

Speaker 2 (20:00):
Hear it?

Speaker 1 (20:01):
What's your name? The Chopper?

Speaker 15 (20:06):
Louder the Chopper?

Speaker 1 (20:13):
But I didn't find any of that out till later,
so much later.

Speaker 4 (20:17):
First, I knew. I got a call from JR. Runs.

Speaker 3 (20:22):
I want you out in the field early tomorrow morning.

Speaker 1 (20:25):
Yeah, I got you a brand new defensive end.

Speaker 4 (20:29):
You did.

Speaker 3 (20:30):
He's a killer.

Speaker 4 (20:31):
Who would you trade for him?

Speaker 3 (20:33):
Nobody?

Speaker 4 (20:34):
I picked him up. Oh, come on, JR. You just
don't pick up a major league defensive end.

Speaker 3 (20:39):
He wait, let's see him.

Speaker 4 (20:40):
What's his name? His names the Chopper, the Chopper. What
kind of name is that? It'll explain itself. It's all
in the matter of how you distribute your weight.

Speaker 1 (20:57):
Now you have to be ready to read the play
and commit yourself. See I think, so okay, good? Are
you take a stance like this? Chappie?

Speaker 3 (21:06):
Hey, hold it? Hold it? Runs? What did you just
call him?

Speaker 4 (21:10):
What do you mean? What did I just call him?

Speaker 3 (21:12):
Answer the question? What do you call him?

Speaker 1 (21:14):
I call him by his name, Chappie. That's not his name.
It's not it's the Chopper. That name's got to become
part of him.

Speaker 3 (21:24):
He's gotta believe it.

Speaker 1 (21:32):
There was no question about it. He knew how to
play football. He was a one man gang out there
on the practice field, and I felt good.

Speaker 4 (21:41):
Why not?

Speaker 1 (21:42):
I knew I was in for another Super Bowl win
with all that money. Well, we'd flown out to Texas,
where we were meeting our big rivals.

Speaker 4 (21:49):
The next day. Now this game would prove who was
the boss.

Speaker 1 (21:54):
We had a coaches meeting as usual till one am.
I think JR. Calls so many because the aides to
be alone. I just got back to my room when
there was a knock on the door. Coach Brunner, Hey,
what are you doing up so late?

Speaker 4 (22:09):
Can I come in?

Speaker 2 (22:10):
Sir?

Speaker 8 (22:11):
If JR.

Speaker 1 (22:12):
Decides to run a bed check, it'll cost you a
hundred bucks. Then I don't know what to do about.

Speaker 3 (22:18):
What about football?

Speaker 4 (22:22):
Oh?

Speaker 1 (22:22):
Look what brings this on? It's just a football? Ain't
no fun anymore?

Speaker 2 (22:28):
Oh?

Speaker 1 (22:29):
I played all my life. I played sadlot. We had leagues,
the American Legion and all and high school and college. Yeah,
I know, every single minute of it was fun.

Speaker 4 (22:43):
But it's different now.

Speaker 1 (22:45):
Well, it's a serious business. It has to be. You
know how much money's involved.

Speaker 4 (22:52):
Yeah, I guess. So that's why she wanted me to
give it up. Louisa.

Speaker 1 (22:57):
Yeah, yeah, she said, Chappy, you look different. How different?
I said, I don't know. She said, you get a
mean look in your eye now and then sometimes it
can't be helped. The guy you're up against, he's got
a job to do, both of you. You're fighting for
your bread and butter. Yeah, well that's what I told Louisa,

(23:20):
and she said, why do you have to fight? What
do you want with a job where you have to
fight for your bread and butter? It's not in your nature.
It isn't Jebby, No, it always used to be just
a games. Coach Bradshaw figures I should man handle people. Well,
that's true. Well, I hate what I'm doing now. It
kills me when people call me the chopper. It killed

(23:43):
Louise if she ever found out.

Speaker 4 (23:46):
What should I do about what? I don't know about everything?
What can you do? Jebby?

Speaker 1 (23:56):
Thanks for calling me chappy. I need the money for Luisa.
I really don't have a choice.

Speaker 4 (24:06):
Then what can I tell you? Nothing?

Speaker 1 (24:09):
Coach Brunner, thanks for just letting me talk to somebody.
He went back to his room. For a long time.
I couldn't sleep for some reason. I was afraid, and
I simply couldn't understand why. After all things looked great,
it was going to be another winning year, another championship year.

Speaker 4 (24:33):
What was bothering me?

Speaker 16 (24:35):
Well?

Speaker 1 (24:36):
I finally drifted off into an uneasy sleep, and in
my dream I saw Chappie looking terrible and chopping away
at the other team with an ox. I forced myself
to wake up, and I stayed up till dawn, had
some breakfast, and then left for the stadium. We're gonna

(25:01):
take him a day, bron Now we got the better team,
We got the chopper, we got the biggest thing in
pro football.

Speaker 4 (25:08):
Listen, Jr. Listen to what it's not in his nature?

Speaker 3 (25:14):
What's not in his nature?

Speaker 4 (25:16):
The killer instinct that you're trying to give him.

Speaker 1 (25:18):
It isn't his nature. Believe me, you don't see, but
I knew it wasn't not in this gentle, soft spoken kid.
We the other guys won the toss and we kicked
off and the game was on. My defensive squad was
on the field, and there was Chappie at the left end.
As the teams lined up for the first series of downs,

(25:42):
I heard it.

Speaker 12 (25:43):
I heard it for the first time.

Speaker 1 (25:46):
You see, there was a loyal contingent of home fans
who'd flown out to Dallas to root for us, and
a shout was coming from their section of the stand. Yell,
get out, a stopper down, Kill chopper kill.

Speaker 4 (26:06):
You are in this kind of thing at sports stadiums.
Kill him, murder him, tear him apart, beat his brains out.

Speaker 1 (26:12):
I never went for it myself, but there are those
who claim it's harmless, just folks.

Speaker 4 (26:17):
Letting off steam. Well, I wouldn't know.

Speaker 1 (26:21):
All I know is that I saw Chappie stand there
for a moment, and he looked up at the stands
and suddenly there was terror on his face, and he
just ran off the field as fast as he could
and into the locker room. I sent another player in
for Chappie, and then I ran to the dressing room myself,
but j R got there ahead of me.

Speaker 3 (26:43):
What are you trying to pull?

Speaker 8 (26:45):
I can't do it.

Speaker 3 (26:46):
Get back out there.

Speaker 4 (26:47):
No, I'm not going out there.

Speaker 1 (26:49):
You're a quif you're what you're yelling at me, kill kill.

Speaker 2 (26:54):
I'm not a murderer.

Speaker 1 (26:56):
Nobody's telling you to actually kill. And why did I
say that?

Speaker 3 (27:00):
It's just the way you're talking.

Speaker 2 (27:02):
No, they want me to kill.

Speaker 4 (27:04):
That's what they want.

Speaker 2 (27:05):
That's what you want.

Speaker 1 (27:06):
No, No, it's just the way I saying. Hit him,
hit him hard. No, you want me to kill a good, clean,
hard hit legal, keep it legal, but hard. That's what
this game's all about. Get out there. No, I'm not
going out there, Jay, I leave the kid alone.

Speaker 3 (27:24):
You keep out of this bruns Chopper.

Speaker 2 (27:27):
Don't call me chopper.

Speaker 3 (27:29):
Chopper. Look me in the eye, no, I said, look
me in the eye. No, go out there, go out
there and hit.

Speaker 4 (27:48):
Understand, I understand. He ran out of the locker room
and under the field.

Speaker 1 (28:00):
Once again, that cry of killed, Chopper kill was roared
from the stands. Carnahan, the opposing quarterback, took the snap
and he looked for a receiver downfield, but suddenly Chappy
had smashed through Carnahan's protective's green of Bluckers and champion.

Speaker 4 (28:17):
Well, the only way I can say it is, he.

Speaker 1 (28:18):
Just shopped Carnahan down to the ground. It was a hard, vicious,
smothering kind of tackle, but it was legal.

Speaker 4 (28:25):
It was completely legal.

Speaker 1 (28:27):
Carnahan lay there very still for several long seconds, and
then he got up very slowly, and he just stood there.
The trainer and the other coach ran to him and
helped him off the field. But you knew, you just
knew that Jerry Carnahan, the All Pro quarterback, was true

(28:50):
for the day.

Speaker 3 (28:51):
Haha, I told you, I told you he.

Speaker 4 (28:56):
That car JR? What did you do to that boy?

Speaker 8 (29:01):
What did it do?

Speaker 4 (29:01):
W Obviously Jr.

Speaker 1 (29:09):
Has transformed Chappie into Chopper? But what kind of transformation
is this destined to be? You can change somebody's mind
by argument, but how do you change his heart, his
psyche or is it his soul? How deep is this transformation?

(29:30):
You won't have to wait too long to find out.
Act three will be here in a few moments. There
are those who say that people never change. The child,

(29:51):
they say, is the father of the man. And when
you point to dramatic switches in attitudes and personalities, they say,
it's nothing really new. That's how that person actually was
all the time underneath?

Speaker 4 (30:06):
Is it true? Are we always basically the same?

Speaker 1 (30:11):
Well, the case of Chappie or the Chopper may provide
fuel for one side or the other.

Speaker 4 (30:24):
It was, well, what word can describe it?

Speaker 1 (30:27):
A triumph for Chappie and that's how it was week
after week. The reporters wouldn't let him alone, always standing
by taking the bows with him.

Speaker 4 (30:38):
Was of course oh JR.

Speaker 2 (30:41):
Himself.

Speaker 3 (30:42):
You can't say too much about the chap of Fellers.
I mean he has changed the essential nature of the game.
He's taken away the passing attack. That quarterback is listening
for the toppers footsteps. That quarterback is now in too
much of a hurry to get rid of that ball.

Speaker 17 (30:59):
I got a question.

Speaker 2 (31:00):
W Chappie.

Speaker 3 (31:00):
Hey, Hey, hey, hey, his name is the Choppa Daily.
I'm a reporter Jr.

Speaker 4 (31:04):
Not some hired pr hack. The name of the birth
certificate is Billy Chapplin.

Speaker 2 (31:08):
Hey, JVY, how you feel?

Speaker 3 (31:10):
How does he feel about what I'm asking him?

Speaker 7 (31:12):
J R?

Speaker 1 (31:14):
I feel okay, I guess how you feel about Jerry Carnahan?

Speaker 3 (31:17):
What well? What about Jerry Conahan gone into the hospital
for tests?

Speaker 11 (31:22):
Hey?

Speaker 3 (31:23):
What are you trying to pull the kid? Are you
infern he did something illegal?

Speaker 4 (31:26):
I'm not inferring. I'm implying you're inferring.

Speaker 1 (31:29):
The way he hit Carnahan was absolutely illegal?

Speaker 5 (31:33):
Was it?

Speaker 4 (31:33):
Sports?

Speaker 1 (31:34):
We like?

Speaker 3 (31:35):
What you're telling my kid is that Conahan went into
the hospital for tests. What you ain't saying is that
Conahan was sent home from the hospital.

Speaker 4 (31:43):
A okay.

Speaker 3 (31:44):
You know, you media guys, you're always looking to start trouble,
and so it went.

Speaker 1 (31:51):
I didn't see very much at Chappie from that point on. Oh, sure,
practice naturally, but I mean afterwards, he'd never come around
to see me and just talk the way we used to.
He was always surrounded by the writers and the bunch
from the advertising agency that sponsors our games, all kinds
of celebrities.

Speaker 4 (32:10):
There's a whole crowd.

Speaker 1 (32:11):
That takes up a news sports hero, and sometimes they
completely turn his head. But you know, I wasn't worried
about Chappie, or was I anyhow, I wasn't very much
surprised when I got a call at home one night, Brons, Yeah, Chappie,
can you can you come someplace with me?

Speaker 2 (32:33):
When?

Speaker 1 (32:34):
Now?

Speaker 2 (32:35):
Where?

Speaker 4 (32:36):
The hospital? Oh? I just got a call to come
over right away. Well, sure is it? I don't know
what it is, and I'm scared to go by myself, Bronce.

Speaker 1 (32:50):
A minute we arrived at the hospital, that terrible suspense
was over, and we knew it was good news. We
could tell from the smile on her face. She was
a small girl, and she looked almost like a doll
with her long black hair and her shining black eyes.

Speaker 10 (33:07):
Chappy, oh, darling, it's a miracle what happened. I just
opened my eyes and I woke up.

Speaker 4 (33:17):
You mean you don't need any operations.

Speaker 10 (33:19):
No, I don't think so.

Speaker 4 (33:21):
And you're feeling okay.

Speaker 10 (33:22):
Oh, I feel a bit weak. But the doctor says,
in a week or two, everything will be just fine.

Speaker 1 (33:28):
Oh Louisa, why don't you do you folks ser kind
of excuse me?

Speaker 10 (33:33):
Real, Please don't go coach Brunner.

Speaker 18 (33:36):
I'm tired.

Speaker 10 (33:36):
I've got to go back to sleep. But just promise
me that you'll keep an eye on my chappie until
I can come home and do it myself.

Speaker 4 (33:44):
Promise, sure, I promise, not.

Speaker 10 (33:48):
Chappy, honey, Now you can quit playing football. What oh
I know all about you, darling? The nurses asked me,
I was married to the.

Speaker 4 (34:02):
Chopper. Oh, Louisa, honey, that was awful.

Speaker 10 (34:07):
It's just they call you a monster, a scene, a killer.

Speaker 4 (34:11):
That's just the way the writers have it. It sells papers.

Speaker 15 (34:14):
You put this book Kana and Fellow in the hospital.

Speaker 4 (34:17):
Lisa, it's all in the game.

Speaker 13 (34:20):
But what are you doing in the game.

Speaker 10 (34:22):
You promised to quit.

Speaker 4 (34:25):
I know you swear you'd quit, honey.

Speaker 1 (34:27):
When we had the accident, it looked bad for you,
you know that. I mean, the doctors were talking about
treatments that well, I don't have to be a millionaire.

Speaker 10 (34:38):
But as it turns out, I don't need them anymore.

Speaker 13 (34:41):
We had a.

Speaker 1 (34:42):
Miracle, yeah, but I had no way of knowing that.
So I had to make money the only way I really.

Speaker 10 (34:48):
Know how by killing people.

Speaker 4 (34:51):
Honey, I had to go back.

Speaker 10 (34:53):
Well, I understand to make money for me. But but
I'm going to be all right now, so you can quit. Quit,
quit and do what Jeppie, we already discussed what you do.
You'll get a job teaching physic back home at the
high school. Oh but Louisa, you mean you're going to
break your promise. You're going to break your promise to me?

Speaker 4 (35:18):
No, honey, No, you know I couldn't do that.

Speaker 3 (35:26):
So you quitting?

Speaker 19 (35:27):
Eh?

Speaker 4 (35:29):
Yes, sir, Coach Bradshaw.

Speaker 3 (35:30):
Sunday we played Dallas. It's for the title, Yes, sir.
I won't say anything about your responsibility to me, or
your responsibility to your teammates and your coaches, so or
more important, your responsibility to yourself.

Speaker 4 (35:45):
Coach.

Speaker 3 (35:45):
Brads who quits a quitter and that's you, Coach.

Speaker 4 (35:49):
I promised. I want you to understand.

Speaker 3 (35:51):
What's to understand? You're a quitta.

Speaker 4 (35:53):
I promised.

Speaker 1 (35:55):
You can't keep that promise. Hey, hey, look at me.

Speaker 3 (36:02):
No, look at me, Chopper in the eye, Look me
in the eye.

Speaker 1 (36:12):
I could see a shudder passed through his body. If
I were a superstitious man, I could believe it. Well,
never mind what I could believe. Chappie went back to
the hospital alone. So I don't know what happened between him, but.

Speaker 4 (36:26):
He didn't quit.

Speaker 1 (36:28):
And about ten days later Luisa left the hospital and
she didn't leave Chappie. So I guess she decided to
put up with it. Most women do in the long run,
don't they. And then one day at practice I saw
her in the stands.

Speaker 4 (36:45):
She waved at me. I could tell by her face
she wanted to talk.

Speaker 10 (36:49):
I know what to do, cook running about what? That's
not my Chappie, the killer down there on.

Speaker 4 (36:57):
The field, he knows what he's doing.

Speaker 18 (36:59):
He does has gotten evil with him.

Speaker 4 (37:01):
What do you mean?

Speaker 10 (37:04):
Three hundred years ago? Where I come from, you could
be burned at the stake for what I mean. He's bewitched.

Speaker 1 (37:13):
Bewitched Luisa, You're an educated girl, how could you be true?

Speaker 18 (37:19):
Chappy?

Speaker 10 (37:21):
He has such a beautiful soul, such a gentle spirit,
and something has seized control of him, something evil.

Speaker 7 (37:30):
We stop him. If he goes on like this, he'll
kill someone.

Speaker 4 (37:33):
Oh no, no, he can.

Speaker 10 (37:34):
Look at me when you say no, he'll kill someone
and that.

Speaker 13 (37:38):
Will destroy him.

Speaker 10 (37:41):
Let's find out a way to stop him.

Speaker 4 (37:45):
Sure, you could have said she was hysterical, but I
believed her. I don't know why I believed her. I
don't even know what it was that I believed.

Speaker 1 (37:57):
But I knew something was different about ye, and I
knew that sooner or later he would kill someone. Well,
the team was undefeated, and so we went into the
Super Bowl. The opponent was Dallas, and just before the game,
the reporters were firing away as usual.

Speaker 3 (38:18):
We beat him during the season, will beat him again today.

Speaker 4 (38:22):
If feel a nervous Chappie.

Speaker 1 (38:23):
Chopper, Daily Chopper, why should he feel nervous?

Speaker 4 (38:27):
Well, he almost killed Jerry Carnahan the last time.

Speaker 3 (38:30):
What do you mean almost killed? What kind of talk
is that?

Speaker 1 (38:32):
What have been in hospital as many as ten to
fifteen players a week on the hospital for observation of
tests or treatment. The fact is wise guy Jerry Conahan
came out of the hospital the next day. He went
on to have the greatest season of his career. One
thing about Jr. He knows how to handle the media,

(38:54):
or thinks he does well. The game began and you
could hear the crowd yelling Old Chopper killed and looked.

Speaker 4 (39:03):
For Choppy's pace, And you know, I became frightened.

Speaker 1 (39:07):
Because I saw something I never noticed before. There was
a kind of look in his eye. You could see
that he loved it, that the chant was psyching him up.
He more than loved it. He was glorying in it.
He couldn't wait for the play to begin. And then
came the snap, and though I was watching him closely, I.

Speaker 4 (39:29):
Really couldn't tell you how it happened.

Speaker 1 (39:31):
Suddenly he had smashed through the Dallas line and he
hid quarterback carry Carnahan. You could hear the sound all
over the stadium, and Jerry Carnahan was lying there on
the ground. It was very still, and she knew, You
just knew he was damned Chap. He just stood there

(39:55):
looking at him, just looking at him, and then very
slowly he walked off the field. I know he didn't
even shower, He just changed clothes and went home. I
wasn't there, but muchs later Louisa told me what happened, Louisa,

(40:16):
say something to me, Honey, what.

Speaker 2 (40:19):
Are you doing?

Speaker 1 (40:21):
You gotta stop putting you stuff into the suitcase.

Speaker 10 (40:24):
Please don't touch me.

Speaker 2 (40:25):
Please.

Speaker 13 (40:26):
No, I saw it.

Speaker 20 (40:28):
I saw it on television.

Speaker 4 (40:30):
You killed him, Louisa. I no, Louisa, and I'm not.

Speaker 2 (40:35):
I don't know how it happened.

Speaker 4 (40:36):
I didn't even want to kill him. I never wanted
to kill anyone. Something, something possessed me.

Speaker 1 (40:43):
I put on that uniform, I got out on that
feelings Suddenly I'm not myself anymore.

Speaker 16 (40:47):
How are you?

Speaker 4 (40:48):
I don't know.

Speaker 21 (40:50):
I don't know.

Speaker 4 (40:50):
I got crazy feelings.

Speaker 2 (40:52):
I got a hit.

Speaker 1 (40:53):
I gotta smash. That's not me, but I can't help myself.
And I crowd girls kill Chopper. You and I get
all in flame night. I feel I just want to chop, Chop.
It wasn't your fault. No one could blame you.

Speaker 2 (41:07):
To get away from me, Jr.

Speaker 1 (41:08):
He had no business being on a field. They should
have never played him. He lied about being healthy.

Speaker 13 (41:13):
Go away.

Speaker 3 (41:14):
Nobody's blaming you.

Speaker 4 (41:15):
Kid.

Speaker 1 (41:16):
You play it hard, but you play it clean. Look
I know you feel bad, but it's the game.

Speaker 2 (41:22):
Shop.

Speaker 3 (41:23):
Look at me, Look me in the eye.

Speaker 1 (41:26):
Chopper don't look at him.

Speaker 4 (41:29):
It's you, j R. It's you. You bewitched me, You
possessed me.

Speaker 3 (41:36):
Kid? What you needs a good night sleep?

Speaker 7 (41:39):
You go away from here.

Speaker 2 (41:40):
He'll never go away. He's got to be driven out.

Speaker 4 (41:43):
He got to be driven out of me.

Speaker 3 (41:44):
Hey, hey, hey, hey, wait a minute, wait a minute.

Speaker 4 (41:47):
Drive you crazy up to drive him?

Speaker 3 (41:51):
Help me?

Speaker 1 (41:51):
Hel hell shot.

Speaker 4 (42:01):
And that's how she told it to me.

Speaker 1 (42:03):
A long time later, long after Chappie had killed Jr.

Speaker 4 (42:10):
Chappie was never tried.

Speaker 1 (42:11):
Or anything like that. They just put him away for
a while to study him. I go up to see
him now and again. Louisa stays with him.

Speaker 4 (42:21):
Hi, Chappie, do you know me, sir?

Speaker 1 (42:25):
I'm a coach brunner now with JR gone Jr.

Speaker 4 (42:33):
The Buccaneers are my team. Buccaneers. We're in last place
on merit, but we have a.

Speaker 1 (42:41):
Lot of laughs. I'm sure we should come back back
to what's football, Chappie. It's a fun game again. It's
a kind of game you.

Speaker 4 (42:52):
Liked, Luisa. What is this gentleman talking about him?

Speaker 10 (42:58):
It's nothing, honey. He's just passing the time of day.

Speaker 1 (43:02):
Yeah, just passing the time of day. You may have
it any way you wish, which is more than you
can say about most stories. Was Chappie possessed by the
violence of his coach JR.

Speaker 4 (43:21):
Bradshaw?

Speaker 1 (43:23):
Was the violence an inherent part of his own psyche?
Is man basically violent? If we knew all these things,
there would be very little mystery left in the world.

(43:47):
What have we got to show for two thousand years
of alleged civilization? The ancient Romans would fill the Colosseum
to watch armed men fight to the death, and they
would cheer their faith. It's on with fringied shouts to kill.
You hear these same shouts at football, boxing, and hockey matches.
You hear them kill the umpire at baseball games. We're

(44:10):
even starting to hear it at tennis. Do people really mean.

Speaker 2 (44:14):
What they're shouting?

Speaker 4 (44:15):
Truthfully, I'm afraid to pursue it further.

Speaker 1 (44:20):
Our cast included Tony Roberts, Fred Gwynn, Marionseldy's, and Robert Maxwell.
The entire production was under the direction of Hymon Brown
and now a preview of our next tale.

Speaker 10 (44:34):
You know time sequentials, and that's all you do know.

Speaker 4 (44:37):
This is a useless argument to know.

Speaker 10 (44:40):
Please Carl, listen to me, there's a big mistake of
some kind, and we can find out from these men
what it is.

Speaker 4 (44:46):
There is no mistake, I know there is.

Speaker 10 (44:49):
They spotted At the moment they got here, the town
amused them.

Speaker 15 (44:53):
They laughed.

Speaker 4 (44:54):
It was their last laugh.

Speaker 1 (44:56):
I entel to follow my orders as given in the manual.

Speaker 10 (45:00):
We can't just blunder blindly.

Speaker 4 (45:02):
Ahay, I am going to follow orders to the letter.

Speaker 22 (45:05):
I refuse, you refuse to carry out the mission absolutely.

Speaker 10 (45:10):
Look, Carl, all I'm asking is a short delay to
reassess the situation.

Speaker 1 (45:15):
Well, I suppose you're going to be so pigheaded about it,
But these men are not leaving here alive.

Speaker 23 (45:23):
And that's final.

Speaker 1 (45:25):
Radio Mystery Theater was sponsored in part by Contact, the
Twelve Hour Cold Capsule and Buick Motor Division.

Speaker 4 (45:33):
Missus E. G.

Speaker 1 (45:33):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, pleasant dreams.

Speaker 6 (46:26):
We all know someone who struggles with depression, whether we're
aware of it or not. It's something those who suffer
tend to deal with in silence in the shadows. But
the organizations we are supporting with our annual overcoming the
Darkness Fundraiser this month are working to make it easier
for those in the darkness to come into the light,
to fine help and to learn they're not alone, that
there are ways to overcome the darkness of depression and

(46:48):
live normal lives. I do this fundraiser only one month
out of the year, as October is the anniversary month
for Weird Darkness. We launched in October twenty fifteen. It's
National Depression Awareness Month, and this month is spooky and dark,
kind of like depression. If you'd like to make a
donation or learn more about the fundraiser, or find hope
for yourself or someone you know who struggles with depression,

(47:10):
visit Weird Darkness dot com slash hope. The fundraiser ends
Halloween night at midnight. Please give what you can Weird
Darkness dot com, slash hope.

Speaker 24 (47:27):
The Seal Book.

Speaker 25 (47:47):
Once again the Keeper of the Book has opened the
ponderous door to the Secret Ball, wherein has kept the
Great Sealed Book, and which has recorded all the secrets
and mysteries of mankind.

Speaker 24 (48:01):
Through the ages.

Speaker 25 (48:03):
Here are tales of every kind, tales of murder, of madness,
of dark deeds, strange and terrible beyond all belief, Keeper
of the book, I would know what tale we tell
this time? Open the great book and let us read slowly.

Speaker 24 (48:25):
The great book.

Speaker 17 (48:27):
Opens one by one.

Speaker 25 (48:34):
The keeper of the book turns the pages and stops.
Ah the strange story of a beautiful young actress who
tried the most difficult role of her life when she
impersonated death to win a prize of millions of dollars,

(48:54):
A tale titled Death Wrings down the Curtain. And here

(49:51):
is the tale Death Rings Down the Curtain, as it
is written in the pages of the sealed book. In
the darkened bedroom of Martha Richards, a room where the
blinds are always shut, young doctor Smith is listening intently
through his stethoscope to the laboring heart of his elderly
crotchety patience.

Speaker 20 (50:13):
Well, how much longer are you going to keep thumping
me with that stethoscope, your quack.

Speaker 26 (50:18):
I've finished examining you now.

Speaker 20 (50:21):
Well, don't just stand there without saying a word. How
am I How much time about that left?

Speaker 26 (50:26):
Well that's difficult to say.

Speaker 27 (50:28):
If you will avoid all excitement, I think I can
say a year, possibly two. A year possibly two, yes,
but only if you do as I say, there's no
reason at all why you should insist on remaining in
this darkened bedroom month after month.

Speaker 26 (50:43):
Well it's been a year since you've been out of
this room.

Speaker 20 (50:46):
Oh, you're going to start on that again.

Speaker 27 (50:47):
And what's more, missus Richards is living in utter seclusion
is bad for your health. You should leave this room
and see people.

Speaker 20 (50:54):
Oh, doctor, Oh, I won't have my maid pushing me
around in a wheelchair, the object of everyone's pity. I
prefer to remain in this room and have people think
of me as I was, not as I am.

Speaker 27 (51:06):
Hey, well, only I can see why you refuse to
have visitors.

Speaker 26 (51:09):
It'd give you some interest in life.

Speaker 20 (51:11):
It may surprise you to know, doctor that I'm expecting
two visitors, though it isn't because of anything you've said.

Speaker 26 (51:16):
Well, I'm sure it isn't.

Speaker 20 (51:18):
That the way my heart is, I think it's about
time I was going up a will for I do so.
I want to get acquainted with my only living relatives,
a niece and a nephew from my husband's side of
the family, and they're.

Speaker 26 (51:29):
The two visitors you're expecting.

Speaker 20 (51:30):
Yes, I haven't seen Gerald and Mildred since there were children.
I'm very curious to see what they grew up to
be like I understand Mildred's an actress.

Speaker 26 (51:41):
An actress, you don't mean that Millia Richards is your niece,
do you?

Speaker 20 (51:44):
Yes? Have you heard of her?

Speaker 26 (51:46):
Of course everyone has.

Speaker 27 (51:47):
She's one of Broadways leaving actresses. I saw in a
play recently and thought she was excellent.

Speaker 20 (51:52):
M probably drinks and smokes and has been married three
or four times. And her brother Gerald is probably an
aired wheel who's never work today in his life.

Speaker 27 (52:01):
Aren't you being a bit unfair judging the two of
them before you've even seen them?

Speaker 20 (52:05):
That remains to be seen? Doctor. Before I draw up
my will, I intend to learn everything about them. I'll
give them both every opportunity to prove they're worthy of
part of the Richard's fortune.

Speaker 26 (52:17):
When do you expect them?

Speaker 20 (52:19):
I said they'd be here in time for dinner, which
means they should be on their way here now.

Speaker 4 (52:36):
Oh my head?

Speaker 28 (52:38):
How's the hangover? Brother? Dear painful? I hope?

Speaker 5 (52:42):
What am I joining this car? Where are we going?

Speaker 28 (52:47):
Have you forgotten?

Speaker 29 (52:47):
Darling?

Speaker 30 (52:48):
This is the day we were invited to visit Aunt Martha.
You remember, dear old Aunt Martha. She's the one with
all that lovely money, I save.

Speaker 2 (52:56):
It, will you.

Speaker 5 (52:57):
I'm in no mood for your witticisms.

Speaker 30 (52:59):
Consider that I spent half of last night looking for
you on the night club tables.

Speaker 28 (53:03):
Gerald, you might be a little more grateful.

Speaker 30 (53:05):
Oh what a night, Yes, wasn't it dolling? Every place
I went looking for you, they gave me io usually
left behind.

Speaker 28 (53:13):
Exactly how much do you owe around town?

Speaker 5 (53:15):
Eleven thousand dollars, Millie. You got to help me. If
I don't pay up soon, I'll be in real trouble.

Speaker 28 (53:21):
What exactly am I supposed to do?

Speaker 5 (53:23):
You've got to lend me enough money to hold off
my creditors.

Speaker 30 (53:26):
Lend you money. You may not know it, brother dear,
but I'm far deeper in debt than you are.

Speaker 19 (53:32):
But you were getting a thousand a week as the lead,
and let us be merry. How can you possibly be
in debt?

Speaker 30 (53:37):
It's all very simple, darling. I was getting a thousand
a week and spending two thousand a week.

Speaker 5 (53:42):
And makes everything just perfect. Both of us so deeply
in debt, we probably don't dare go back to town.

Speaker 30 (53:48):
Perhaps after our visit to Aunt Martha, we will be
able to go.

Speaker 28 (53:52):
Back to town.

Speaker 5 (53:53):
What do you mean by that?

Speaker 28 (53:55):
Why do you think Aunt Martha sent us an invitation
to visit her?

Speaker 5 (53:58):
Your guess is as good as Aunt.

Speaker 28 (54:01):
Martha's getting on in years. Unless I'm very much mistaken.
She's decided to draw up a will.

Speaker 30 (54:07):
Naturally, before doing so, she wants to see what her
only living relatives are.

Speaker 5 (54:12):
Like, mill, do you really think you'll leave us some money?

Speaker 30 (54:14):
We play our cards right. All we've got to do
is convince Aunt Martha that we deserve it.

Speaker 5 (54:20):
How are we going to do that by.

Speaker 30 (54:22):
Showing her that we're lovable, simple and unspoiled?

Speaker 28 (54:27):
H Gerald, Do you remember.

Speaker 30 (54:30):
The ancient role I played in I Dream of Love?

Speaker 3 (54:33):
Yes?

Speaker 5 (54:34):
Of course you weren't half bad?

Speaker 28 (54:36):
Half bad? Why was superb? The critics were mad about me?
How dare you say I.

Speaker 20 (54:40):
Was only half apad?

Speaker 5 (54:41):
All right, you were superb? What about it?

Speaker 28 (54:44):
I think I should play that role.

Speaker 30 (54:46):
But Aunt Martha just a simple, unsophisticated girl untouched by
success am.

Speaker 5 (54:53):
I supposed to behave? I'm no actor.

Speaker 30 (54:55):
You just play the strong, silent type child and leave
all the talking to me. And when the curtain brings
down on my special performance for Aunt Martha, the Richard's
fortune will be ours.

Speaker 28 (55:15):
Come in, Hello, Aunt Martha, it's us, Aunt Martha.

Speaker 20 (55:20):
Come in, mildde Gerald. It's been quite a number of
years since we've seen each other, hasn't it.

Speaker 5 (55:26):
Yes, it has been, Aunt Martha.

Speaker 30 (55:29):
I've been meaning to call on you for ever so long,
Aunt Martha, but something always interfered.

Speaker 20 (55:33):
At the last moment.

Speaker 28 (55:36):
Well, it finally brought you here.

Speaker 30 (55:39):
Well, when you mentioned in your letter that you were
ill and would like to see it, I simply couldn't
stay away.

Speaker 20 (55:45):
I dropped everything to come here. I'm extremely great. Of course,
the fact that you might possibly get an inheritance had
nothing to do with.

Speaker 28 (55:53):
It, Aunt Martha.

Speaker 19 (55:54):
What a thing to say, Martha Millie doesn't need money.
She's one of the finest actresses on So I've heard.

Speaker 20 (56:01):
So I've heard. What do you do for a living? Gerald?

Speaker 1 (56:04):
Huh?

Speaker 17 (56:05):
What do I do?

Speaker 20 (56:06):
Yes, Jerald? What do you do? Gerald?

Speaker 28 (56:08):
Who works for a Wall Street firm? At Martha? Yes,
he works so hard and they pay him so little.

Speaker 20 (56:15):
And unless I'm very that's mistaken. Gerald was left quite
a sizable inheritance by his father. Whatever became of.

Speaker 30 (56:21):
That, the inheritance, so that was lost in poor investments,
Aunt Martha.

Speaker 20 (56:26):
I see well, I'm afraid there's a good deal about
you too that I don't know.

Speaker 19 (56:31):
I haven't done very much, I haven't gotten very far,
Aunt Martha. But Milly has really been a credit to
the family name. Everyone's heard of her.

Speaker 20 (56:39):
How see here, I want you and Milly to be
my guest for a week. Frankly, I want to know
what you're like before I draw up my will.

Speaker 30 (56:49):
Of course, Aunt Martha, and I do hope that you'll
take care of yourself so that you'll live for years
and years.

Speaker 20 (56:55):
Thank you, Milly. Now I'm afraid I must ask you
two be leaves.

Speaker 5 (56:59):
I'm I certainly if.

Speaker 28 (57:02):
We can do anything for you, Please don't hesitate to ask.

Speaker 20 (57:04):
Thank you.

Speaker 5 (57:08):
I'm glad we're out in there. The old lady stares
at a person as if she can see through him.

Speaker 30 (57:12):
The room's so dark it was difficult to see her.
You can tell she won't last much longer.

Speaker 19 (57:18):
That's but the main point is did she fall for
our little act? If you ask me, your performance hardly
swept her off her feet.

Speaker 28 (57:24):
Nonsense. I played my role perfectly.

Speaker 30 (57:26):
Just give me a week, darling, and you and I
will be the sole heirs to the Richard's fortune.

Speaker 25 (59:10):
And now to continue the story, death rings down the
Curtain as it is written in the Sealed Book. For
a week, Millie and Gerald have been living with their
aunt Martha, trying to convince her that they are worthy
of inheriting her great fortune, and Millie, sure that they
have succeeded, is waiting for Gerald to return to tell

(59:32):
him the news.

Speaker 28 (59:34):
Hello, Millie, Jerald, where have you been all night? I've
looked everywhere for you.

Speaker 5 (59:38):
I spent the night in town.

Speaker 28 (59:40):
You've been drinking?

Speaker 17 (59:41):
So what, oh, you fool?

Speaker 5 (59:43):
What if Aunt Martha.

Speaker 28 (59:44):
Were to hear about it just when everything's working out perfectly?

Speaker 26 (59:47):
So?

Speaker 5 (59:47):
Everything's working out perfectly, isn't it?

Speaker 28 (59:50):
Yes?

Speaker 30 (59:51):
I told you, if you'd be me, it would. Last night,
Aunt Martha made a phone called in New York.

Speaker 20 (59:56):
Jel.

Speaker 28 (59:56):
It was her attorney. She was calling, and he's coming
here tonight to draw up her will.

Speaker 5 (01:00:01):
You don't say, well, well, well, you.

Speaker 30 (01:00:04):
Don't sound very enthusiastic at being named one about Martha's airs.

Speaker 19 (01:00:07):
My dear Milly, it may interest you to know that
the greatest performance of your career has gone for nothing.
What do you mean you may be able to sweep
a Broadway audience off its feet, but not Aunt Martha's.

Speaker 28 (01:00:19):
Oh why I tell you she believes in me utterly?
Oh duhh, yes she does.

Speaker 19 (01:00:23):
It may come as quite a shock. But while Aunt
Martha was listening so devotedly you or every word, she
had a private investigator in New York at work investigating.

Speaker 28 (01:00:32):
A private investigator. You mean Aunt Martha's been checking on
our task.

Speaker 5 (01:00:36):
That's the general information I received.

Speaker 28 (01:00:39):
That double crossing old hag.

Speaker 19 (01:00:41):
Yes, and no doubt you can guess what she'll do
when she learns that I haven't a job on Wall
Street and that I gambled my inheritance away. And what
do you think she'll say when she hears you were
named as correspondent in three divorce actions and were involved
in the Wainwright scandal.

Speaker 30 (01:00:56):
Oh, I'd like to scratch out those staring eyes of
hers playing with me like a cat with a mouse.

Speaker 5 (01:01:03):
May as well go up to our rooms and pack.

Speaker 30 (01:01:05):
What walk out on a four million dollar inheritance? I
should say, not? There must be something we can do
about it.

Speaker 5 (01:01:11):
Yes, well, what, for example?

Speaker 28 (01:01:13):
I don't know yet.

Speaker 30 (01:01:14):
Let me think I won't go back to the City'd
beaten deeply in debt, and Martha may thinks she's clever,
but she won't beat me before she cuts me out
of her will.

Speaker 28 (01:01:25):
I'll yes, what are you planning, Milly Gerald?

Speaker 30 (01:01:32):
If we play our cards right, you and I will
inherit the entire Richard's fortune in spite of anything at
Martha can do.

Speaker 25 (01:01:38):
Now, as Milly explained her idea, Gerald's face became white,
but in spite of his fears, he finally agreed to
do exactly as Billy asked. Then, in the hours that followed,

(01:01:58):
Milly locked herself in room and practiced her aunt's signature
over and over until she was finally satisfied. And that evening,
as the clock struck eight, Milliam Gerald suddenly stole down
the hall to the door of their aunt's room.

Speaker 31 (01:02:14):
Let's not go through with this.

Speaker 30 (01:02:15):
It's madness, hiye to fool tell you it's the only
way out if we cause you know what that means.
I'll tell you we won't be caught if you do
exactly as I say, and everything worked out perfectly to
the last detail. Get hold of yourself. I'm going to
knock you know exactly what you're to do.

Speaker 28 (01:02:30):
Yes, good evening, Aunt Martha.

Speaker 5 (01:02:36):
I hope you're feeling well at Martha.

Speaker 28 (01:02:40):
Jery, come in, thank you.

Speaker 19 (01:02:42):
It's quite dark in here, Aunt Martha. Would you like
me to turn.

Speaker 5 (01:02:45):
On a light?

Speaker 20 (01:02:46):
No, no, Derld, that is necessary. I'm quite used to
being in the dark, of course.

Speaker 28 (01:02:50):
How are you feeling this evening?

Speaker 30 (01:02:51):
Much better? Thank you, Darld. Perhaps you ought to fix
Aunt Martha's pillows. She doesn't seem very comfortable.

Speaker 20 (01:02:57):
No, no, you needn't bother. I'm quite comfortable, I assure you.

Speaker 28 (01:03:01):
Gerald, fixed that I can fool I should have known
better than to come on you.

Speaker 30 (01:03:07):
That's Gerald talking about nothing important that Martha here.

Speaker 28 (01:03:11):
Let me fix this pillow.

Speaker 20 (01:03:13):
Tell you I don't want don't don't you suffocat him?

Speaker 7 (01:03:20):
Quiet?

Speaker 28 (01:03:20):
Do you hear you haven't got the nerve to go
through with it?

Speaker 8 (01:03:25):
I have.

Speaker 10 (01:03:27):
There.

Speaker 30 (01:03:29):
I think that's enough to bring on a heart attack.
How do you feel, Aunt Martha?

Speaker 20 (01:03:36):
Nothing but the murderous?

Speaker 4 (01:03:38):
Oh my heart is she she did.

Speaker 28 (01:03:45):
Yes, Gerald, and not from suffocation, but from a heart attack.
I told you it would work out.

Speaker 5 (01:03:50):
I had nothing to do with it.

Speaker 30 (01:03:51):
You hear you murdered that I didn't in the eyes
of the lawd Gerald, you're on my accomplice and nothing
you might say and make it otherwise. We haven't time
to discuss that, and Martha's attorney should be here in
an hour.

Speaker 28 (01:04:00):
Now. Will you do as I say? Or won't you?

Speaker 5 (01:04:03):
I have no choice in the matter.

Speaker 30 (01:04:04):
No, you're right insensibly exactly as I say, and we
can't fail.

Speaker 5 (01:04:19):
The car just stopped in front of the house. It
must be mister Jordan, Martha's attorney.

Speaker 28 (01:04:22):
M certainly is punctual.

Speaker 2 (01:04:24):
Are you ready?

Speaker 28 (01:04:25):
I need a little more shading here under my eyes.

Speaker 5 (01:04:29):
He'll be up here in a minute.

Speaker 28 (01:04:30):
Gerald, I've never been late for a curtain yet, and.

Speaker 30 (01:04:33):
I won't be late for this one. There now, helped
me on with Aunt Martha's bedrobe.

Speaker 32 (01:04:41):
Right now?

Speaker 13 (01:04:44):
How do I look?

Speaker 20 (01:04:45):
Gerald?

Speaker 5 (01:04:46):
You look exactly like Aunt Martha. If I didn't know
her body was in that closet, i'd swear you.

Speaker 30 (01:04:52):
Were in the dim light of this room. No one
can help but take me for Aunt Martha.

Speaker 5 (01:04:57):
Just but what about your voice and the things you
may have to know?

Speaker 28 (01:05:00):
Just listen to this.

Speaker 20 (01:05:01):
Don't be ridiculous, Gerald, mistress of this house. I answer
only those questions which I wish to answer, and I
assure you I shall not be tripped up.

Speaker 28 (01:05:11):
Does that convince you?

Speaker 4 (01:05:12):
Yes, I'm convinced.

Speaker 2 (01:05:14):
My quick can hear someone coming?

Speaker 28 (01:05:16):
All right, Gerald, please stop shaking.

Speaker 20 (01:05:19):
I tell you we can't fail. I shall give.

Speaker 33 (01:05:22):
The greatest performance of my career.

Speaker 25 (01:07:07):
And now, to continue the story, death rings down the
curtain as it has written in the Sealed Book. Swiftly, Milly,
made up to look like her dead aunt Martha, slips
indoor aunt's bed, and then, as Gerald lights a cigarette
with trembling fingers, someone knocks at the door.

Speaker 20 (01:07:26):
Come in, good evening, mister Jordon, come in, won't you well?

Speaker 3 (01:07:32):
Well?

Speaker 34 (01:07:32):
Missus Richards, how are you bless me? It's been over
years since I've seen.

Speaker 20 (01:07:36):
You, really, mister Jordon, has it been that long?

Speaker 24 (01:07:38):
Certainly has? How are your eyes still traveling?

Speaker 35 (01:07:41):
You?

Speaker 20 (01:07:41):
My eyes are much better, thank you.

Speaker 34 (01:07:44):
That's fine, missus Richards. Oh, by the way, this is
mister Wilson, my secretary.

Speaker 2 (01:07:48):
How do you do.

Speaker 26 (01:07:48):
I'm happy to meet mister Richards.

Speaker 20 (01:07:50):
I don't think, mister Jordan you've met my nephew, Gerald Richards. Gerald,
this is my attorney, mister Jordon.

Speaker 24 (01:07:56):
Well now you do, mister Richards.

Speaker 20 (01:07:58):
Mister Jordan, I want to have a will drawn up
and signed tonight tonight.

Speaker 24 (01:08:04):
Surely you can't be serious, missus Richards.

Speaker 34 (01:08:06):
After all, your your vast holdings require a will that
will take you days to draw.

Speaker 20 (01:08:11):
Nonsense. I'll have none of your involved, forty page wills.
All I want is a simple will dividing my entire
estate equally between my nephew Gerald and my niece meldridd.

Speaker 34 (01:08:22):
But missus Richards, there are so many other details that
enter into the matter of a will.

Speaker 20 (01:08:26):
For example, you do as I say, must I get
another attorney to draw up my will?

Speaker 24 (01:08:33):
Very well, missus Richards.

Speaker 34 (01:08:35):
Mister Wilson, please draw up a will dividing the entire
estate between Gerald Richards and Mildred Richards.

Speaker 20 (01:08:40):
He's Gerald's sister.

Speaker 36 (01:08:41):
Yes, thank you, I'll take care of it at once.

Speaker 20 (01:08:43):
Miss you mean, mister Jordan. You've never heard of my
niece Mildred Richards, the Broadway actress.

Speaker 34 (01:08:49):
Oh you mean Millie Richards. Yes, of course, I've seen
her in quite a number of plays.

Speaker 20 (01:08:54):
Oh really, what do you think of her?

Speaker 34 (01:08:57):
Well, frankly, missus Richards, I I think your niece has
a tendency to overact.

Speaker 20 (01:09:03):
Oh you do, do you?

Speaker 5 (01:09:04):
Yes?

Speaker 34 (01:09:05):
Take this last place she was in let Us Be Married.
I think she played it far too hard for comedy.
I'd have preferred to see an actress like say John
Walker play that role.

Speaker 20 (01:09:16):
Well, it's only your opinion. She'd like you to hear
what the critics had to say about her performance. Gerald,
will you please hand me Milly's scrapbook? You'll find it
on my desk.

Speaker 5 (01:09:24):
They really, don't you think you pas?

Speaker 4 (01:09:27):
Gerald Farewell.

Speaker 20 (01:09:29):
I can understand criticism and it's justified, mister Jordan, but
it seems to me you're going against my niece.

Speaker 4 (01:09:34):
Is huge public spook.

Speaker 20 (01:09:37):
Thank you, Gerald. Ah, it's a moment, mister Jordan, and
I'll read you what the critics said to say about
Milly's performance and let Us be Merry. Ah, here we are.
This is what Martin Walter, is dramatic critic of the
Evening Set, I had to say, Really, in thirty years
a theater going, has this reviewer seen such a fine

(01:09:58):
player for comedy. This was displayed last night by Millie
Richards and her new hit let Us Be Merry, And that,
mister Jordan, is the opinion of one of the finest
critics in the country.

Speaker 34 (01:10:08):
Well, I may be wrong, missus Richards, naturally. I was
only venturing a personal opinion when I said.

Speaker 26 (01:10:13):
I have Missus Richards will prepared.

Speaker 36 (01:10:15):
Mister Jordan, I use a standard point.

Speaker 2 (01:10:17):
Oh yes, let's have a look at it.

Speaker 37 (01:10:20):
Hmm.

Speaker 24 (01:10:22):
Yes, it seems to be all in order.

Speaker 20 (01:10:23):
You're sure that will mister Jordan will stand up in court.

Speaker 34 (01:10:27):
Oh yes, only you'll be leaving a good many unsettled
problems to your hears.

Speaker 20 (01:10:32):
God, all right, I'm sure they're capable of taking care
of them. The secretary can be one of the witnesses.

Speaker 34 (01:10:38):
Can't he Yes, Missus Richards and your maid can be
the other.

Speaker 20 (01:10:41):
Very well, I'll sign first. There you are.

Speaker 24 (01:10:47):
That's fine. Now I'll have the two witnesses sign it.
Everything will be in order.

Speaker 20 (01:10:51):
Good, I'm quite happy now that it's all settled.

Speaker 5 (01:10:54):
You look tired of Martin.

Speaker 20 (01:10:56):
I am, Gerald, I am. Have you finished, mister Jordan.

Speaker 30 (01:10:59):
Yes?

Speaker 20 (01:11:00):
Good, Mary'll show you in. Mister whitson to your rooms.
I see you in the morning. Good night, they're gone.

Speaker 28 (01:11:10):
Well, Gerald, I told you it would work.

Speaker 5 (01:11:13):
We aren't through this yet.

Speaker 20 (01:11:14):
Be a fool.

Speaker 28 (01:11:14):
The money is as good as o hours.

Speaker 20 (01:11:16):
All we have to do is put Aunt.

Speaker 28 (01:11:18):
Martha back in his bed tomorrow.

Speaker 30 (01:11:20):
Morning, her maid will discover her dead body, and you
and I will inherit everything.

Speaker 25 (01:11:32):
The next morning, things went exactly as Milly had foreseen.
The maid found the old woman's body in her bed,
as if she had died in her sleep, and doctor
Smith was summoned at once. After a brief examination, he
was satisfied that Martha Richard's tired heart had simply given
out during the night.

Speaker 30 (01:11:53):
I can't believe it, somehow, doctor, and Martha was such
a dear it's impossible to.

Speaker 28 (01:11:59):
Believe she really dead.

Speaker 27 (01:12:01):
You mustn't feel too badly, Miss Richards. All over quite quickly.
I'm sure your aunt's heart simply gave up. She seems
so strong and well when we left her last night.
When she and I were arguing, it was just like
old times. You mean you and missus Richards had an
argument last night, or not really.

Speaker 19 (01:12:18):
An argument, doctor, They were just debating over my sister's
ability as an actress.

Speaker 24 (01:12:22):
Yes, that's all it was.

Speaker 34 (01:12:23):
I hope you won't mind, Miss Richards. But when I
told your aunt, I thought that you overplayed your roles.

Speaker 28 (01:12:30):
That's quite all right, mister Jordan. What did she say
to that?

Speaker 34 (01:12:35):
She almost hit the ceiling when I criticized you. She
claimed that you were the finest actress in the country.

Speaker 27 (01:12:41):
Not there was always a dear Streams that she should
have said there considering that she never saw Miss Richards perform.

Speaker 34 (01:12:49):
Well, maybe she hadn't, but she pulled out a book
of clippings about Miss Richards and read me what one
of the critics had said about her niece.

Speaker 24 (01:12:57):
She did what she read me one of.

Speaker 27 (01:13:00):
The critics it's said about Miss Richard's ability is an actress.
See Jordan, I think your criticism of Miss Richards that
she overplays is justified.

Speaker 28 (01:13:10):
I beg your pardon. I never overplayed a role in
my life.

Speaker 27 (01:13:14):
I'm afraid Miss Richards that you overplayed one last.

Speaker 28 (01:13:17):
Night last night? What do you mean?

Speaker 27 (01:13:18):
Your aunt Martha was an extremely proud woman. She couldn't
stand to be pitted. Exactly a year ago she became blind,
and when she did, she refused to leave her room
and allow people to know she lost her sight. Only
two people knew her blindness, her maiden myself.

Speaker 34 (01:13:32):
But if missus Richards was blind, how could she have
read me that notice last night?

Speaker 27 (01:13:36):
She didn't, mister Jordan, an ego maniac actress disguised as
missus Richards read her own notice to you. Isn't that so,
Miss Richards?

Speaker 19 (01:13:44):
Go ahead tell him, Milly Hersel clever, You're the greatest
actress in the world.

Speaker 5 (01:13:48):
You had everything worked out to the smallest attaic cuiet
to pool.

Speaker 28 (01:13:52):
They can't prove a thing. No joy in the world
would believe them. I'm too great an actress to be
convicted of murder, do you hear? I'll give a performance
little wee ma Jory off his feet.

Speaker 38 (01:14:01):
They'll never forgive me.

Speaker 25 (01:14:10):
And that is the story as it is written in
the sealed Book of how an actress tried to impersonate
death and failed.

Speaker 24 (01:14:21):
Millie Richards had.

Speaker 25 (01:14:22):
One more opportunity to act upon the witness stand in
her trial, but again she failed. The jury found her
and her brother Gerald guilty and sentenced them to life imprisonment.
Strange are the secrets of the human heart and the
ways of fate in trapping men and women in their

(01:14:44):
own evil schemes. And now, keeper of the book, before

(01:15:52):
you close the great volume, show us the tale we
tell next time. This one, yes a weird did an
amazing story of a wife who loved her husband too fondly,
and of another wife who came from the grave, a
tale titled Tale Death Do.

Speaker 17 (01:16:12):
Us Pard.

Speaker 25 (01:16:26):
Be sure to be with us again next time when
the sound of the Great Gong harolds another strange and
exciting tale from.

Speaker 24 (01:16:37):
The Seal Book.

Speaker 25 (01:16:44):
The Sealed Book, written by Bob Arthur and David Cogan,
is produced and directed by Doc mcgregoro.

Speaker 11 (01:17:01):
This is the Gorilla House tears.

Speaker 21 (01:17:03):
Yeah, what about the watchman?

Speaker 11 (01:17:05):
There's only two of them in the whole zoo this
time of night. They won't be around here for an hour.
And this is the screwist job. Will you ever done
putting a snatch on a gorilla? And if he wants
a gorilla, is he gonna terrorize the city or one?
I never asked no questions on a job, and this
is a job, so let's get at it.

Speaker 21 (01:17:23):
There's the cage over there, and that's him. That's the gorilla.

Speaker 11 (01:17:28):
That's that color form.

Speaker 39 (01:17:30):
Yeah right here, give me here, and I want post
him on this rag.

Speaker 11 (01:17:35):
Put the rag on a pole and slam it a
gorilla smooth, keep the weight of this stuff his dynamite. Okay,
now take a way for this big boy's right.

Speaker 17 (01:17:45):
That'll do the job.

Speaker 21 (01:17:48):
How's I he's passing out.

Speaker 11 (01:17:50):
All right, open the cage. I'm going in. Hey, wait,
I camping it up. This will take about one minute. Hey, hey,
take it easy, boy.

Speaker 21 (01:18:00):
Matty, right, shut up your fool, all right, I'll come
in here. In the case, it's all right, he's passed out.

Speaker 11 (01:18:08):
Now, come on, come on.

Speaker 21 (01:18:09):
Help me move okay if you say so?

Speaker 4 (01:18:11):
All right?

Speaker 21 (01:18:13):
Hey, yeahn't exactly, no, baby, no, all right, yeah, let's
try and hold him on. All right, let's go.

Speaker 11 (01:18:27):
Anybody in here, someone's coming, he went to, yelling dinner.
Stay where you are, Bud. Get that flash light out
of my eyes.

Speaker 7 (01:18:34):
Hey, what are you doing the grilla?

Speaker 21 (01:18:37):
Taking the gorilla out of here?

Speaker 11 (01:18:38):
You'll figure that one out in the hurry. You can't
do that out, You'll call for nobody. Come on, let's
get this gorilla in the vand quick.

Speaker 4 (01:18:54):
Then, Margo.

Speaker 11 (01:18:55):
According to the version I read, the men were seen holding.

Speaker 21 (01:18:58):
The grilla to a truck that now made the getaway.

Speaker 39 (01:19:01):
What about the keeper in the zoo that discovers him?

Speaker 11 (01:19:03):
Lamark dead when they found him? Two bullet horse through
the head. No excuse me, but could I pro soothe
myself into the conversation, cry, Hey, why I said me?
Save this is you're a cab? What's on your mind?

Speaker 7 (01:19:15):
Whoa about this?

Speaker 11 (01:19:16):
The nap case that I'm missing gorilla? Yeah, well just
this morning I'm throwing it over with my spending acquaintance
of who you have to wait me talk, Big Jolly.

Speaker 39 (01:19:23):
Hey, what did you sam acquaintance?

Speaker 21 (01:19:25):
Big Charlie, Hey have to tell well, he is no
more the most of us up.

Speaker 11 (01:19:29):
What's gonna have happened on the conner? He knows a
fellow who wants the monkey. Oh that's very interesting.

Speaker 39 (01:19:34):
We're getting warm lamar.

Speaker 11 (01:19:36):
Yeah that's what I was thinking them petrians.

Speaker 21 (01:19:41):
But where am i?

Speaker 39 (01:19:42):
Big Charlie is knowing a fellow who owned.

Speaker 11 (01:19:44):
The most correct Now according to Big Charlie, he says,
it's according to the fellow who wants the monkey. This
here a gorilla who's just the overdrawn monkey you have
to roll maybe just boke out of the door by himself. Oh,
this is Big Charlie's hearing.

Speaker 21 (01:19:58):
Yeah, he says.

Speaker 11 (01:19:59):
The people says that, oh it makes this born wanderers.
So Big Jolly figure statistic cavilla a thick of his though,
I hope the cage is spent. Hate you mean the
gorilla drove the truck away Wally.

Speaker 39 (01:20:12):
Oh, how does Big Charlie explain the keeper being shot
and killed?

Speaker 11 (01:20:16):
Well, to tell you that claims that stumps them. He
never light of a govella carrying no gun. No, not
without a permit. Oh, not without a pu shebe, I'm
afraid of your friend. Big Charlie is balking up the
wrong tree this time. Yeah, he's just a dreamer, I guess.

Speaker 40 (01:20:34):
Oh seeby will you stop here please?

Speaker 11 (01:20:37):
Hey, that's the idea of mars, all right. I thought
I was taking into the country for lunch.

Speaker 39 (01:20:41):
Well you're taking me to lunch, to mort but not
for the country.

Speaker 11 (01:20:44):
Oh no, wait a minute, not this place.

Speaker 20 (01:20:47):
Why not?

Speaker 11 (01:20:48):
I hate tea rooms, Mongo, especially one that's called you
Oldie and queeny gypsy tea room.

Speaker 39 (01:20:53):
Oh but la monte tell wonderful fortune him.

Speaker 11 (01:20:55):
I don't care, Mogo. This is one time I'm going
to be firm. I definitely and absolutely I'm not going into.

Speaker 39 (01:21:01):
That Moti lama attention to what I'm saying.

Speaker 11 (01:21:12):
I've been doing. I'm unconscious he is dropping.

Speaker 21 (01:21:14):
You mean there's a very interesting fortune being told the
next book by.

Speaker 41 (01:21:18):
The cars that you have lost something is just not
told me. Yes, yes, I have a you do love cars.
It was in the fair of it was the next
the fair. Young lady has lost the necklace the cars.
Tell me where the necklace can be?

Speaker 7 (01:21:39):
Fine?

Speaker 39 (01:21:40):
Really where?

Speaker 21 (01:21:41):
Wait?

Speaker 39 (01:21:42):
I must consolet the crystals other sabivas.

Speaker 42 (01:21:48):
No, shup, it's tiny shoe in the w though of
the shop.

Speaker 39 (01:22:01):
Or many animals. They are dead animals. Stop to look
alive the shop. Inside that shop there are many more animals.
One of these is.

Speaker 43 (01:22:13):
A giant stop gorilla. In the mouth of that gorilla.
In the mouth, your necklace will be found.

Speaker 39 (01:22:22):
Where is this place? I will write down the address you.
Thank you. You'll never know how great clans you're kind
of vice. All right, Oh, thank you so much.

Speaker 21 (01:22:32):
I'll go there. I'll go there at once.

Speaker 7 (01:22:34):
Thank you.

Speaker 41 (01:22:34):
Oh you'll see this very young lady is very generous.
Don't forget in the mouth of the gorilla you find your.

Speaker 39 (01:22:45):
Lest I forget your worst answer.

Speaker 11 (01:22:49):
That shop very interesting?

Speaker 44 (01:22:52):
You mean you like stop girl.

Speaker 11 (01:22:54):
No, but considering the events of last night at the zoo,
the phys a coincidence to learn have someone who has
such an interest in the beat.

Speaker 39 (01:23:11):
The animal in the window, Yes, it must be. Is
it is there anyone here.

Speaker 44 (01:23:24):
An area, please as well, I'll try again.

Speaker 4 (01:23:31):
Is there is there anyone in the show.

Speaker 39 (01:23:36):
I don't have a gorilla?

Speaker 44 (01:23:38):
Oh wait, huck lately, well.

Speaker 39 (01:23:48):
Might as well give this same cry in the mouth
of the gorilla up on the necklace. So I ups, gorilla.

Speaker 21 (01:24:07):
No need to worry, nothing to bear. The time await.

Speaker 17 (01:24:11):
It is almost, dear.

Speaker 21 (01:24:14):
Now now you must be quiet, you must be sect.
The time is coming, but not quite.

Speaker 7 (01:24:19):
Yes, that's.

Speaker 21 (01:24:23):
Yes, yes, my dear.

Speaker 39 (01:24:24):
What is it like You're a girl and I a
sleeping drug.

Speaker 21 (01:24:28):
Let's see? Yes, I believe it better.

Speaker 39 (01:24:31):
She looks so whiet and still lying there strap to
that table.

Speaker 21 (01:24:37):
She did, madame? Can you live it case to me?
I don't think the gorilla is very fond of you, Madam.
Did you tell him a bad spot? Perhaps?

Speaker 39 (01:24:50):
I hate to be I'm afraid of him. That would
be good. Experiment is over, Yes.

Speaker 8 (01:24:56):
Go away.

Speaker 21 (01:24:57):
You can't have long to wake Madame Dando. Within twenty
four hours, I shall be.

Speaker 11 (01:25:01):
Madame Danzo.

Speaker 21 (01:25:04):
Yes, professor, you know you still haven't finished. Doorful fills
your entire bargain with me.

Speaker 44 (01:25:11):
You mean the other girls?

Speaker 3 (01:25:13):
Yes, yes, I.

Speaker 21 (01:25:16):
Need two young women for this experiments.

Speaker 39 (01:25:18):
You know, beleave, Professor, when you are ready, the other
one will be.

Speaker 7 (01:25:23):
Here to.

Speaker 21 (01:25:26):
Two women I need.

Speaker 11 (01:25:27):
If I should succeed, then.

Speaker 21 (01:25:30):
My experiment with an ape will make all it a gay.

Speaker 39 (01:25:37):
When your PC experiment will it kill the girls?

Speaker 21 (01:25:41):
You're prying into secrets, my dear, prying into things. You
should not hear enough of my silly jingles. You see
this machine, Madame Tanto. Yes, this delicate mechanism will assure
my experiment success. Of course, the young woman will live.
I have on the term of switch soul, and the
work will be done.

Speaker 39 (01:26:01):
But when the young women enormal again?

Speaker 21 (01:26:04):
Who all appearances? Yes, but appearances are deceiving, my dear,
these women will be put. That's a superhuman strength and
tuning at my bidding. They will wrong and even murder
on the gown of sweet innocent womanhood.

Speaker 39 (01:26:23):
We can't work.

Speaker 21 (01:26:25):
Who falls?

Speaker 39 (01:26:26):
Women have a fact, not.

Speaker 21 (01:26:27):
Only a fortune, Madame Sonzo. The experiment turns out as
I believe it will, we perform many hundreds of human transformations.
Who holds that happens? Perhaps, I say, we might even
hold the world.

Speaker 39 (01:26:49):
That's the that's the society.

Speaker 45 (01:26:51):
All listen, yes, the hey, honest, well, who is this
missing socialite all probably some publicity speaking it.

Speaker 11 (01:27:04):
Look at this picture. Tell it's the girl with all
a t Yes, listen to this. Don't move now, I'm listening.
Since Monday afternoon, no cruise to her appeared.

Speaker 7 (01:27:17):
Did the pressure of that?

Speaker 39 (01:27:19):
On Monday? There was the day we saw her. Yes,
that fortune teller, you're the boot. She would know anything
about this thing.

Speaker 11 (01:27:26):
I have an idea she might.

Speaker 21 (01:27:29):
Yes, yes, I think it would be very worthwhile paying
a call on her. As the shadow.

Speaker 39 (01:27:42):
You don't want the PROCs, you don't want the said
fu my little girls, But we will set want the.

Speaker 7 (01:27:56):
Say.

Speaker 39 (01:27:57):
We will no longer have to work in that year,
live in these ginger rooms above it.

Speaker 11 (01:28:09):
I'm sorry to interrupt your fortune telling, Madame Santo. I
am called the shadow.

Speaker 7 (01:28:18):
Shut up?

Speaker 39 (01:28:21):
Where are you? Where are your shadow?

Speaker 11 (01:28:23):
I'm standing right here beside you. I don't see you,
am ipotic power. I have made myself invisible to your eyes.

Speaker 39 (01:28:30):
Why are you here?

Speaker 7 (01:28:32):
What you are to me?

Speaker 11 (01:28:33):
I have come to seek information? What about a young
lady named Doris More? She disappeared three days ago. She
was not seen with you in your tea room.

Speaker 39 (01:28:44):
I don't know that. I have never heard of j.

Speaker 11 (01:28:48):
You do know her, Madame Santo. In fact, you sent
her to a text dorms shop. Where is the shop located?

Speaker 41 (01:28:55):
Hey, don't know what you're.

Speaker 11 (01:28:58):
Is this because feeling your mentions? Does he have anything
to do with the text the shop.

Speaker 15 (01:29:13):
Anymore?

Speaker 2 (01:29:18):
No?

Speaker 21 (01:29:20):
Yes, see what you made me do?

Speaker 11 (01:29:23):
I steal this?

Speaker 21 (01:29:25):
Excuse my sister before she reveals a very interesting clue.

Speaker 11 (01:29:31):
You'll be hearing from me again.

Speaker 8 (01:29:34):
Very soon.

Speaker 21 (01:29:42):
The mob.

Speaker 3 (01:29:44):
You know what you're to do.

Speaker 21 (01:29:45):
Yes, I tell a fortune dollar that I'd love to.

Speaker 39 (01:29:48):
Ring, and then we'll see. She directs me to the
taxi down the shop, just.

Speaker 21 (01:29:51):
As you did. That's it, and be sure to get
the aggressive So.

Speaker 4 (01:29:55):
Here she coming.

Speaker 11 (01:29:56):
Now I better finish my team, get ready to go.

Speaker 21 (01:29:59):
Bye.

Speaker 39 (01:30:00):
I have got and told me. But yes, yes, I
would like to have my fortune told.

Speaker 7 (01:30:06):
Good.

Speaker 39 (01:30:08):
But the gentlemen you wanted to listen.

Speaker 11 (01:30:11):
Well, I was just I was just leaving.

Speaker 21 (01:30:13):
I see you tomorrow though, He'll call me, won't you?

Speaker 8 (01:30:16):
Yes?

Speaker 11 (01:30:16):
I will.

Speaker 39 (01:30:18):
Well here we are, yes, here we are that man,
yes fiance that I oh no, no, he's justin m Clinton.

Speaker 21 (01:30:29):
Got the gods see and make.

Speaker 39 (01:30:31):
Your wish, all right, they are and do try to
make the wish come true a young lady. And now, no, no,
it's not that at Allay, Well, it's something out flaw
he he. Then we should not need the gods. The
crystal is for teens. That I lost, No, was the

(01:30:56):
jewelry that is meeting? Yes, yes, that's right. It's a
ring a consulted crystals. H savivas nanahai, a stree.

Speaker 44 (01:31:15):
Done by the river front.

Speaker 39 (01:31:18):
And that tree is a tiny shout in the window
of the shop. For many animals. They are dead animals.
Stop to look an eye, Yeah you can't. And inside
that shop there are many more animals.

Speaker 43 (01:31:36):
One of these is a giant Stop gorilla in the
mouth of that gorilla.

Speaker 39 (01:31:42):
In the mouth, your ring will be found or your
shoot the crystal level lies. You will go to the shop.

Speaker 21 (01:31:53):
Yeah, get a course the crystal shirt time. It's very precious.
If you want your ring, you.

Speaker 44 (01:32:01):
Must go for you right away. This sady night, bog
the thanks you take two.

Speaker 11 (01:32:18):
Feet ahead of Well, we're right on the river front.

Speaker 8 (01:32:21):
Is there to night?

Speaker 21 (01:32:23):
We're living so often we left the car. It's not
exactly a pleasant neighborhood. A bog one doesn't help them.
I hope we don't want the bother shop.

Speaker 7 (01:32:34):
I can't.

Speaker 21 (01:32:37):
Everything considered on a smart kids.

Speaker 39 (01:32:42):
A fine night to go.

Speaker 21 (01:32:43):
Out and put my hand and a gorilla's mouth. That
is something any dress. Don't you get a look?

Speaker 44 (01:32:52):
Oh sweating?

Speaker 21 (01:32:55):
Totally a cat, a black cat. It's good thing.

Speaker 11 (01:33:02):
I'm not superstious, superstitiously.

Speaker 21 (01:33:07):
Well, just careful.

Speaker 3 (01:33:11):
This is the place.

Speaker 11 (01:33:12):
Yes, the animals in the window.

Speaker 39 (01:33:15):
Yes, you spose the shop is open the place.

Speaker 21 (01:33:18):
I'm quite sure it is expressly for your benefit.

Speaker 31 (01:33:22):
Lookout the door.

Speaker 3 (01:33:24):
Yeah, the motto.

Speaker 11 (01:33:27):
If we hear anyone coming, I'll tuck behind one of
the animals.

Speaker 7 (01:33:33):
Light.

Speaker 21 (01:33:38):
Get that noise, just the clock ticking off the minute.
You don't think it's a bomb?

Speaker 4 (01:33:46):
No, no, I'm sure I didn't.

Speaker 11 (01:33:49):
I don't think that we should attempt to find the
lights better than we remain in the dog.

Speaker 21 (01:33:54):
Buggle.

Speaker 11 (01:33:55):
You look on that side of the room, and I'll
take this side.

Speaker 39 (01:34:00):
I found it.

Speaker 44 (01:34:00):
I'll shout but loud.

Speaker 39 (01:34:05):
The month.

Speaker 11 (01:34:06):
Yes I found it.

Speaker 21 (01:34:08):
Stop go Will you settle for that?

Speaker 11 (01:34:11):
I won't be the butt of that joke.

Speaker 39 (01:34:13):
Well, no harm in trying.

Speaker 11 (01:34:17):
Sounded like a live gorilla, but the monk, Yes, I
found it, the stop gorilla. Wait a minute, let me
help you.

Speaker 46 (01:34:38):
You must be quiet, young lady. The time is now
at hand when we shall all travel to the promised Land.

Speaker 21 (01:34:48):
So you're becoming impatient too, A big boy. Soon ah,
so soon?

Speaker 46 (01:34:53):
You know, the supreme joy machine is almost dreadning that
we must be steady.

Speaker 21 (01:35:02):
Yes, my dear, the other young lady has a right.

Speaker 46 (01:35:06):
Good Bring her in, Madame Santo.

Speaker 21 (01:35:09):
Now now we are all set the finest we are
about together. Yes, yes, I know, big fellow, I know
your waiting has ended. Both the young women are ready
in here. My hour of trying is very near. You're
in there, you know.

Speaker 39 (01:35:29):
Grammar still bays from the fox with a chap door.
I see.

Speaker 46 (01:35:34):
Hmmm, it's an excellent seton.

Speaker 21 (01:35:39):
Put it on the table next to the other young woman,
Mademi Santo.

Speaker 44 (01:35:41):
Wait, set your hands off.

Speaker 21 (01:35:43):
She has a temper.

Speaker 11 (01:35:45):
That's very good, very good.

Speaker 39 (01:35:46):
Let's girl on the table.

Speaker 7 (01:35:48):
But it's Mona the girl.

Speaker 21 (01:35:52):
You know her, I know who she is.

Speaker 44 (01:35:54):
Yeah, what are all these trains looking machines?

Speaker 39 (01:35:59):
Who are you tend to do?

Speaker 21 (01:36:00):
What around the table? You are? It is very polish
of you to try to escape. Let me out, Let
me out, that dries, young lady. A gorilla seems to
like you. That's very good, considering that you and he
should to be one. You mean, I intend to combine
your brain with possions of the brain of the gorilla. No, no,

(01:36:22):
when it is finished, you and the other young lady
shall retain your brain at the strength of this being. No,
you can't. You can't, but I can't now what the
machine is placed here. Let me on this table that
electro there we are try out the machine. In a

(01:36:45):
moment will be passing through your body, young lady.

Speaker 39 (01:36:48):
Don't let me hear.

Speaker 21 (01:36:53):
M what happened my machine? The current has failed?

Speaker 11 (01:36:59):
Was Have I spoiled your plans? Professor feeling shadow? Yes,
Madame Santo, I warned you that you'd hear from me again.

Speaker 21 (01:37:07):
Who is this to see?

Speaker 4 (01:37:09):
No one?

Speaker 7 (01:37:09):
It is a shadow.

Speaker 39 (01:37:11):
He's in You cannot see him.

Speaker 11 (01:37:13):
Why I have come to learn of your experiment, and
it appears that I arrived just in time.

Speaker 21 (01:37:19):
Did did you tell this boy where we were, Madame Santro,
how do.

Speaker 17 (01:37:23):
You know him?

Speaker 39 (01:37:23):
He turn my cursus last night.

Speaker 22 (01:37:25):
I trusted you.

Speaker 21 (01:37:26):
Now you quit me trying to do.

Speaker 39 (01:37:28):
In my experiment is not true.

Speaker 11 (01:37:29):
I swell now, Madame Santo, you know you told me
to come here. Don't you remember that you promised that
we would learn the secret and pop it by it ourselves.

Speaker 39 (01:37:38):
That don't you believe it?

Speaker 11 (01:37:40):
No, you are going to reap the harvest of my
years of labor.

Speaker 39 (01:37:44):
Still my secret men be thought of me?

Speaker 35 (01:37:46):
Is not so?

Speaker 44 (01:37:46):
He lies?

Speaker 21 (01:37:47):
You have no way of dealing with those who be
playing my side.

Speaker 39 (01:37:52):
Put on that night.

Speaker 11 (01:37:53):
This is to be the survival of the cities.

Speaker 21 (01:37:56):
I'm going to be the one who survived. Keep him
away from me. I do not fear him.

Speaker 45 (01:38:02):
He's only a void.

Speaker 21 (01:38:04):
You are flex and blood.

Speaker 11 (01:38:05):
I can deal with you alone.

Speaker 39 (01:38:09):
I rep the cake. If you don't keep away, I
would opened the cake of a pea.

Speaker 21 (01:38:13):
I wouldn't there. You are more inflate of him than
you want to want.

Speaker 39 (01:38:16):
You get away that we open it.

Speaker 7 (01:38:20):
You have coming out, no.

Speaker 21 (01:38:36):
Cemonial turn on off.

Speaker 17 (01:38:39):
He's coming toward me.

Speaker 21 (01:38:42):
No, you don't.

Speaker 7 (01:38:54):
Come on.

Speaker 21 (01:38:54):
I just focus Jonath Mona on the phone. She's feeling
much better.

Speaker 39 (01:38:58):
Fortunately she doesn't remember any of the goy detailed the
gorilla killing Madame Santon Professor. Feelings that good that they've
given me say to that I'm present memory.

Speaker 11 (01:39:07):
Goodness well, I went to the shop with the police
this morning to be happy to learn the Commissioner West
in order that infernal machine of feeling is destroyed.

Speaker 21 (01:39:16):
I hope they destroy the whole shop.

Speaker 39 (01:39:18):
I don't want to see any more animals for the
next few weeks.

Speaker 21 (01:39:22):
That right now, I'd even hesitate to look at us.
Stop chicken.

Speaker 47 (01:39:33):
This is Nelson Olmsted, Sleep no More, Sleep no More.

(01:39:58):
Turned down the lights, sink back in your chair, and
don't look into the shadows. In the shadows, there may
be moving things to night.

Speaker 2 (01:40:09):
It may be you will sleep no more. Good evening.

Speaker 1 (01:40:26):
This is Ben Grauer introducing to Night's tale of terror,
told by Nelson Olmsted on the National Broadcasting Company's presentation.

Speaker 2 (01:40:33):
Of Sleep No More.

Speaker 1 (01:40:36):
The story of terror can be as simple as a
sheeted ghost rattling chains. It can be a complex and
hidden world of horror, lurking in such unholy dimensions as
only the dead in the moon struck and glimpse. Or
it can be those terrible, fathomless shadows which lie buried

(01:40:57):
deep in the primitive mind of civilized man. And for
this evening, well Nelson Omsted tell us about this evening story.

Speaker 2 (01:41:07):
Thank you Ben.

Speaker 47 (01:41:09):
I think one of the most fascinating of all types
of stories is the tale of suspense. And not to
keep you in suspense about this any longer than necessary,
We're going to do just one story tonight, but it
happens to be one of the finest examples of this
type of story ever written. It's about a man and
his struggle with a pair of handcuffs. It's called the
Escape of Mister Trim, and it was written by Irvin S.

Speaker 7 (01:41:33):
Cobb.

Speaker 47 (01:41:51):
Mister Trim was president of the Late thirteenth National Bank,
but what he was is not so important as what
he is now. Trim, as his lawyer described him, was
all chilled steel and brains. He had been called the
iron Man of Wall Street, and all during his trials
the newspapers had filled columns describing him. He was a

(01:42:13):
haughty man, and even during the time he was in
the tombs, he maintained his sense of aloofness to everything
and everybody. He began to change first, when Deputy Marshal
Myers came to take him to the Federal prison. It
was the handcuffs. Somehow he hadn't anticipated the handcuffs. He
kept thinking of the phrase the grips of the law.

(01:42:35):
The grips of the law were upon mister Trim, and
he felt them now for the first time. Sudden sweat
beat it out on his face, turning its slick and wet.
The trip to the train was a horror for mister
Trim because of the staring, jabbering people. Cameras had been
shoved in his face like gun muzzles. Reporters had scuttled
alongside him, dodging under Meyer's fending arm to shout questions

(01:42:57):
in his ears.

Speaker 5 (01:42:58):
He had neither.

Speaker 2 (01:42:59):
Spoken nor looked at them.

Speaker 47 (01:43:01):
The sweat still ran down his face, so that when
finally he raised his head in the comparative quiet of
the train shed, his skin was a curious gray under
the jail paleness, like the color of wet wood ashes.
And the Deputy said, I reckon, we better get to
the smoker. There's room there. The club car was full
of shirt sleeved men who stood up, craning their necks

(01:43:23):
and stumbling over each other in their desire to see him.
These men came out into the aisle so that myers
had to shove them, and the Deputy said, well, this
here'll do as well as any I guess, and the
deputy drew a newspaper from his pocket, opened it out flat,
and spread it over mister Trim's lap so that it
covered the chained wrist. Almost instantly the train was in motion.
In three hours they would be at the prison. It

(01:43:45):
was late afternoon. They were sliding through woodlands with occasional openings,
which showed meadows melting into wide flat lands, and Deputy
Myers said, you want to drink no, well, I guess
you'll have a drop myself, traveling filled a fellow's throat
full of dust. He got up, lurching to the motion
of the flying train, and started forward to the water

(01:44:06):
cooler behind the car door. He had gone perhaps two
thirds of the way when mister Trim, grinding sensation beneath
his feet. The train, the earth, the sky all fused
together in a great spatter of white and black. Mister
Trim shot through the air over the seatbacks, his chained
hands aloft clutching wildly.

Speaker 2 (01:44:24):
He rolled out of a ragged.

Speaker 47 (01:44:25):
Opening, clopped gently on the sloping side of the right away,
and slid easily to the bottom, where he lay quiet
and still on his back in a bed of weeds
and wild grass tearing straight up. How many minutes he
laid that mister Trim didn't know. It may have been
the shrieks of the victims or the glare of the
fire that brought.

Speaker 2 (01:44:42):
Him out of the days.

Speaker 47 (01:44:43):
He wriggled his body to a sitting position, got on
his feet, holding his head between his cupled hands, and
gazed full face into the crowning railroad horror of the year.
Nobody paid any attention to mister Trim as he stood
swaying upon his feet. There wasn't a scratch on him,
were hardly rumpled, and his hat was still on his head.
He stood a minute, and then, ruled by a sudden impulse,

(01:45:06):
he turned round and went running straight from the railroad
at the best speed his pudgy legs could accomplish, with
his arms pumping up and down in front of him,
and his fingers interlaced instantly, Almost the friendly woods growing
down to the edge of the fill swallowed him up.
He dodged and doubled back and forth among the tree trunks,
his small, patent leathered feet, skipping nimbly over the irregular

(01:45:27):
turf until he stopped for lack.

Speaker 2 (01:45:29):
Of wind and his lungs to carry him into the rod.

Speaker 47 (01:45:33):
When he got his breath back, mister Trim sat down,
leaned against a tree, and bent his head this way
and that, listening.

Speaker 2 (01:45:42):
No sound came to his ears except the sleepy call
of birds and the crickets.

Speaker 47 (01:45:46):
As well as mister Trim might judge, he had come
far into the depths of a considerable woodland. The place
was clean and soft and sweet scented. For some little
time he sat there motionless in a sort of mental daze.
Then his round body slowly sitting down flat upon the moss.
His head louled to one side, and the reaction having come,

(01:46:09):
mister Trim's limbs all relaxed, and he went to sleep.
After a while, when the woods were black and still,
the half grown moon came up, and, sifting through a

(01:46:29):
chink in the canopy of leaves above, shone down full
on mister Trim. As he lay, snoring gently with his
mouth open in his hands rising and falling in his breast.
The moonlight struck upon the little giant handcuffs, making them.

Speaker 4 (01:46:44):
Look like quicksilver.

Speaker 2 (01:46:46):
Towards daylight it turned off sharp and cool. The dogwoods, which.

Speaker 47 (01:46:51):
Had been a solid color at nightfall, now showed pink
in one light and green in another light, changeable silk.
As the first level rays of the sun came up
over the rim of the earth and made long golden
lanes between the tree trunks, mister Trim opened his eyes
slowly of escape. He had no thought the hue and
cry must be out for him before. Now doubtless men

(01:47:13):
were already searching for him. But perhaps he could get
the handcuffs off and saw go to meet his captors
in some manner of dignity.

Speaker 2 (01:47:21):
Strange that the idea hadn't occurred to him before.

Speaker 47 (01:47:24):
It seemed to mister Trim that he desired to get
his two hands apart, more than he ever desired anything
in his whole life before.

Speaker 2 (01:47:31):
But it didn't take mister Trim long to find out
that they were not to be cut off.

Speaker 47 (01:47:35):
He tugged and pulled, trying with his fingers for a purchase,
and all he did was to chafe his skin and
make his wrists throb with pain. The cuffs would go
forward just so far, then the little lumps of bone
above the hands would catch and hold them. Mister Trim
was not a man to waste time in the pursuit
of the obviously hopeless. Presently, he stood up, shook himself,

(01:47:57):
and started off at a fairgate through the woods. In
a little while he came out upon the railroad as
nearly as he could judge. He had come out of
cover at least two miles above the scene.

Speaker 3 (01:48:06):
Of the wreck.

Speaker 2 (01:48:07):
On the tracks was a newspaper.

Speaker 47 (01:48:09):
The front page was uppermost, and he knew it must
be that of that morning's issue, for across the column
tops ran the flaring headline twenty dead and frightful collision.

Speaker 2 (01:48:18):
Squatting on the cindered track.

Speaker 47 (01:48:20):
Mister Trim patted the crippled sheet flat of his hands,
and then his heart gave a great bound inside of him.
There in staring blackface type was his own name, leading
the list of known dead. And then he read the short,
choppy paragraphs. The body of the United States Deputy Marshall Myers,
frightfully crushed, had been taken from the wreckage of the Smoker,
and near to Myers, another body with features burned beyond recognition,

(01:48:43):
had been found and identified as that of Hobart W. Trimm,
the convicted banker. Mister Trim read the account through to
the end, and as he read the sense of dominant,
masterful self control came back to him in waves.

Speaker 2 (01:48:55):
He was as good as free.

Speaker 47 (01:48:58):
There would be no hunt for him now, no alarm out,
no posses combing every scrap of cover for a famous
criminal turned fugitive. He had only to lie quiet a
few days somewhere, then get in secret touch with Walling,
his attorney. Walling would do anything for money, and Trim
had the money, four millions and more, cannily saved from
the crash that had ruined so many others. He would

(01:49:20):
alter his personal appearance, change his name, and with Walling's aid,
he would get out of the country and into some
other country where a man might live like a prince
on four millions, or the fractional part of it. Between
this prospect and mister Trim, there stood nothing in the way,
nothing but handcuffs. Mister Trim's eyes fell upon his bound hands.

(01:49:44):
Snug fitting shining steel bands irked his wrists. The grips
of the law were still upon him. Mister Trim didn't

(01:50:10):
know much about picking a lock. He'd got his money
by a higher form of burglary that didn't require a
knowledge of lock picking. He worked with deliberate slowness steadily. Nevertheless,
it was hot work. The sun rose over the bank
and shone on him through the limbs of the uprooted tree.
His hat was on the ground alongside of him. The
sweat ran down his face, streaking it and wilding his

(01:50:32):
collar flat. A scrap of metal he was using kept
slipping out of his wet fingers. Down would go the
chained hands to scrabble in the grass for it, and
then the picking would go on again.

Speaker 2 (01:50:42):
This happened a good many times. The handcuffs remained.

Speaker 47 (01:50:46):
Locked, and the devilish, stupid, malignity of the blasted things.
Mister Trim raised his hands and brought them down on
the log violently. There was a double click in the
cuffs tightened, painfully, pressing the chafed red skin white. One
of the little notches on the underside of each cuff
had disappeared. It was as if they were living things
that had turned and bitten him for the blow he

(01:51:08):
gave them. From the time the sun went down there
was a tinkle of frost in the air. Mister Trim
didn't sleep much under the squeeze of the titan feathers.

(01:51:31):
His wrists throbbed steadily, and racking cramps ran through his arms.
His stomach felt as though it were tied into knots.
The water that he drank from the creek only made
his hunger sickness worse. His undergarments, that had been wet
with perspiration, clung to him clammily. His middle age tenderly
cared for body, called through every pore for clean linen

(01:51:52):
and soap and water and rest, as his empty insides
called for food. Soon after sunrise, mister Trim was off again,
wondering without purpose, until he came to a clearing neither
the center of it knows, the sagging roof of what
had been a shack or a shed of some sort.
Stooping cautiously to keep his bare head below the tops

(01:52:14):
of the shoemacks, mister Trim made for the ruin shatty
and gained it safely in the midst of the rotted
punky logs that had once formed the walls. He began
scraping in the seat. Presently he uncovered something. It was
a broken off harrow tooth scale, like a long red
fish with the crusted rust of years. Mister Trim rested
the lower rims of his handcuffs on the edge of

(01:52:34):
an old broken watering trough, worked the pointed end of
the harrow tooth into the flat middle link of the
chain as far as it would go, and then, with
one hand on top of the other, he pressed downward
with all his might. The pain and his wrists made
him stop at once. The link had not sprung or
given in the least, but the twisting pressure had almost
broken his wrist bones. He let the harrow tooth fall,

(01:52:57):
knowing that it would never serve as a lever to
free him, which indeed he had known all along, and
he sat on the side of the trough, rubbing his
wrists and thinking he had another idea.

Speaker 2 (01:53:08):
It came into his mind.

Speaker 47 (01:53:10):
As a vague suggestion that fire had certain effects upon
certain metals. He kindled the fire of bits of the
rotted wood, and when the flames ran together and rose
slender and straight in a single red thread, he thrust
the chain into it, holding his hand as far apart
as possible, in the attitude of a player about to
catch a bounced ball. But immediately the pain of that
grew unendurable too, and he leaped back, jerking.

Speaker 2 (01:53:32):
His hands away.

Speaker 47 (01:53:33):
He had succeeded only in blackening the steel and putting
a big water blister on one of his wrists, right
where the shackle bolt would.

Speaker 2 (01:53:40):
Press upon it.

Speaker 47 (01:53:42):
Staggering a little and putting his feet down unsteadily, mister
Trim left the clearing, heading as well as.

Speaker 2 (01:53:48):
He could eastward away from the railroad.

Speaker 47 (01:54:08):
After a mile or two, he came to a dusty
wood road winding downhill on a smooth patch of turf
behind a blacksmith shop. Three yokels were languidly pitching horseshoes
at a stake driven in the earth at the extreme
end of the woods. Close by, mister Trim was squatted
behind a big bowlder, squinting warily through a thick, fringed
curtain of ripened golden rod tops and shoemachs. He had

(01:54:31):
been there more than an hour, cautiously waiting his chance
to hail the blacksmith. After a bit, the blacksmith took
a hand in the game himself. He wore no cold
or westcoat, and as he poised a horseshoe for his
first cast at the stake, mister Trim saw a pin
flat against the broad strap of his suspenders. A shiny
silver looking disc. Mister Trim, stooping low, stole back into

(01:54:56):
the deep woods again. In his extremity, he was ready
to risk making a bid for the hire of a
blacksmith's help to rid himself of his bonds, but not
a blacksmith who wore a deputy sheriff's badge tinned to
his suspenders. Mister Trim wandered through the woods without purpose

(01:55:28):
for two days. Once he caught himself scraping his wrists
up and down against the rough, scruffulous trunk of a
shell bark hickory. The irritation was comforting to the swollen skin.
The cuffs, which kept catching in the bark and snagging
small fragments of it loose, seemed to mister Trim to
have been apart and parcel of him for a long time,
almost as long a time as he could remember. But

(01:55:50):
the hands which they clasped so close seemed like the
hands of somebody else.

Speaker 2 (01:55:55):
There was a numbness about them.

Speaker 47 (01:55:57):
That made them feel as though they were a stranger's
hand which never had belonged to him. And a voice
that mister Trim dimly recognized as his own, was saying
something about four million dollars over and over again. Mister
Trim roused up, shook his head angrily to clear it.
He rubbed his eyes free of the clouding delusion. It

(01:56:19):
wouldn't do for him to be getting lightheaded. On a
flat shelving bluff forty feet above a cut through which
a railroad ran, at a point about five miles north
of where the collision had occurred, a tramp was busy
just before sundown, cooking something in an old washboiler that
perched precariously on a fire of wood coals. At the
sound of the halting footsteps, the tramp stopped stirring and

(01:56:42):
glanced up apprehensively.

Speaker 2 (01:56:44):
As he took in the figure of the newcomer.

Speaker 47 (01:56:46):
His eyes narrowed and his pasty, nasty face spread in
a grin of comprehension, and he said, well, well, well,
welcome to us, steady, a little stranger. Mister Trim came nearer,
dragging his feet, for they were almost out of the wrecks.

Speaker 2 (01:57:03):
Of his pat and leather shoes. His gaze shifted.

Speaker 47 (01:57:06):
From the tramp's face to the stuff in the fire,
his nostrils wrinkling, and then slowly he said, I'm in trouble,
and he held out his hand. Would I'd call him
my way, wouldn't it that particular kind of jewelry generally
wore for pleasure? Are you sure the ain't nobody looking
for you? I'm all alone. I want your help in

(01:57:31):
getting these things, these things off and sending a message
to a friend.

Speaker 2 (01:57:35):
Now you'll be well paid, very well. I can pay
you more money than you ever had in your life,
I can promise.

Speaker 47 (01:57:44):
He broke off for the tramp, as if reassured by
his words, had stooped again to his cooking, and was
stirring the bubbling contents of the washboarder with a peel stick.
The smell of the stew rising strongly, filled mister Trim
with such a sharp and an aching hunger that he
could speak.

Speaker 2 (01:58:00):
For a moment.

Speaker 47 (01:58:01):
He mastered himself, but the effort left him shaking and gulping.
The tramp said, go on, then, tell us something about yourself.
What brings your roman around?

Speaker 37 (01:58:13):
This?

Speaker 3 (01:58:13):
Here?

Speaker 26 (01:58:13):
Railroad?

Speaker 2 (01:58:14):
Covered them bracelets on. I was in a wreck.

Speaker 47 (01:58:18):
The man with me, the officer, was killed. I wasn't hurting.
I got away into these woods, but they think I'm
dead too. My name is Trim.

Speaker 2 (01:58:28):
Huh, Trim the New York banker.

Speaker 4 (01:58:31):
Yeah, well.

Speaker 47 (01:58:35):
What a streak a lock? Let me look at you,
Trim the Swell financier. Well, if this ain't rich, I've
been wondering about here a great many hours, several days.
I think it must be. And I need rest and
food very much. Indeed I don't. I don't feel very well.

(01:58:56):
You don't look so well, and that's a fact, Trim,
But said down. Bet yourself at home. After a while,
we'll have a bite of food together, you and me.
You'll be well paid. My friend will see to that.
What I want you to do is to take the
money in my pocket and buy a cool chisel or
a file, any twol.

Speaker 2 (01:59:16):
That will take these things of me.

Speaker 47 (01:59:20):
And then he will send a telegram to a gentleman
in New York and let me stay with you until
we get an answer.

Speaker 2 (01:59:26):
Until he comes here. He will pay you well, I
promise it.

Speaker 17 (01:59:32):
Ray, Look who's given orders now?

Speaker 2 (01:59:34):
Don't have me that stuff, Trim.

Speaker 4 (01:59:35):
I don't trust you for nothing.

Speaker 2 (01:59:37):
I got a better plan. What do you mean I
mean this?

Speaker 47 (01:59:41):
I got a little rapper two hanging over my own head.
If I take you into town, turn you into the sheriff.

Speaker 17 (01:59:46):
I'll be a hero.

Speaker 2 (01:59:47):
They'll forget them matters. This ain't bad, Trim, I ain't
bad at all. Hold on, oh, you don't get away, Trim.
Come on, now, you're going along with me.

Speaker 5 (01:59:56):
We'll see what.

Speaker 2 (01:59:56):
Kind of a bargain I can strike up with the marshall.

Speaker 1 (01:59:58):
Come on, now, come on.

Speaker 17 (01:59:59):
Peace, if you don't want to get hurt.

Speaker 47 (02:00:02):
Of a sudden, mister Trim became a primitive man. He
was filled with those elemental emotions that make a man
see in spatters of crimson. Gathering strength from passion out
of an exhausted frame, he sprang.

Speaker 2 (02:00:13):
Forward the tramp.

Speaker 47 (02:00:14):
He struck him with his head, his shoulders, to his knees,
his medical wrists, all at once. Caught by surprise, the
freckleman staggered back, clawing the air, tripped on the washing fire,
and fell, striking his head in.

Speaker 5 (02:00:26):
A large stone.

Speaker 47 (02:00:27):
He was out out cold, and he probably would be
long enough to give mister Trim a chance to get away.
In spite of his muddled condition, Trim reasoned that the
tramp would not now go to the police, because without
Trim as a hostage, he would be thrown in jail himself.
And mister Trim reasoned right, because later, when the tramp
staggered up, his head throbbing with great gloves of pain,

(02:00:49):
he had no more stomach for this affair.

Speaker 2 (02:00:52):
His only thought was to catch a fast freight and
to get away.

Speaker 47 (02:01:13):
Later that night it rained a cold, steady autumnal downpour.
A huddled figure slowly climbed upon a low fence running
about the.

Speaker 2 (02:01:22):
House yard of a little farm on a wet top rail.

Speaker 47 (02:01:25):
Precariously perching, the figure slipped and sprang forward in the
marray yard. He got up, painfully, swaying on its feet.
It was mister Trim, looking for food. He moved slowly
toward the house, tottering with weakness, and because of the
slick mud underfoot, peering nearsightedly this way and that threw
the murk, staring at every sound and stopping often to listen.

(02:01:48):
The outlines of a lean to kitchen at the back
of the house were looming dead Ahead of him. Went
from the corner of the cottage sprang a small terrier.
It made for mister Trim, barking shrilly. He backed away,
kicking it a little dog, and then put one foot
into a hotbed with a great clatter of breaking glass.
He felt the sharp ends of the shattering glass, chairing.

Speaker 2 (02:02:06):
And cutting his skin as he jerked free. Recovering himself, he.

Speaker 47 (02:02:09):
Dealt the terrier a lucky cheek under the throat that
sent it back yawling to where it had come from.
And then as the door jerked open and a half
dressed man jumped out into the darkness, mister Trim, half hobbled,
half fell out of sight behind the woodpile, back and
forth along the lower edge of his yard. The farmer
hunted with a whimpering, cowed terrier to guide him, poking

(02:02:29):
in dark corners of the yard with a muzzle of
a shotgun for the unseen intruder whose coming had aroused
the household in the brush pile just over the fence
to the east.

Speaker 2 (02:02:38):
Mister Trim lay in his face upon the.

Speaker 47 (02:02:41):
Wet earth, with the rain beating down on him, sobbing
with the choking gulps that wrenched him coruelly, biting at
the bonds of his wrists until the sound of breaking
teeth glittered in the air, and finally, in the hopeless,
helpless frenzy of his agony, he beat his arms up
down until the bracelet struck squarely in a flat stone,

(02:03:04):
and the force of the blow sent the cuffs home to.

Speaker 4 (02:03:06):
The last notch, so that they pressed harder and passed.

Speaker 2 (02:03:09):
To than ever upon the tortured wristbones.

Speaker 47 (02:03:13):
When he had wasted ten or fifteen minutes in a
vain search, the farmer went shivering back indoors to dry
out his wet shirt. But the groveling figure in the
brush pile lay for a long time where it was
only stirring a little, while the rain dripped steadily down
on everything.

Speaker 2 (02:03:44):
The train wreck was on a Tuesday evening.

Speaker 47 (02:03:46):
Early on the Saturday morning following, the chief of police
in the town of Westfield, nine miles from the place
where the collision occurred, heard a peculiar, strangely weak knocking
at the front door of his cottage, where he also
has office. The door was a Dutch door, sawed through
the middle so that the top half might be opened independently,
leaving the lower panel fast. He swung the top half

(02:04:08):
pant A face was framed in the opening, an indescribably dirty,
unutterably weary face with matted white hair and a rim
of whitish beard stubble on the jaws. The eyes blinked
weakly at the chief from under lids as colorless as
the eyelids.

Speaker 4 (02:04:26):
Of a corpse.

Speaker 47 (02:04:27):
The bare of white head was filthy with plastered mud
and twigs and dripping wet. The Chief of police startled
at this apparition, said, well what do you want? With
a movement that told of a straining effort, The lolled
head came up off the chest, The thin corded neck
stiffened back, raising from a dirty collarless neckband. The Adam's

(02:04:49):
apple bowled out prominently, as big as a pigeon's egg.

Speaker 15 (02:04:52):
I I've come.

Speaker 2 (02:04:54):
I've come to surrender myself. I am Obert W. Trim.

Speaker 47 (02:05:00):
Well, I guess you got another thing coming. When last scene,
Hobert W. Trim was only fifty two years old, besides what,
he's dead and buried. Yeah, I guess maybe you got
another thing coming, Grandpap, and see if he ate Methuselah
or somebody.

Speaker 2 (02:05:17):
I am Hbert W. Trim, the banker.

Speaker 3 (02:05:22):
Go on and prove it.

Speaker 2 (02:05:24):
You got any way to prove it?

Speaker 20 (02:05:26):
Yes, I have.

Speaker 47 (02:05:30):
Slowly, with struggling attempts, he raised his hands into the
chief site. They were horribly swollen hands, and at the wrists,
almost buried in the bloated folds of flesh, blackened, rusted, battered,
yet still strong and whole, was a tightly locked pair
of Bean's latest model little giant handcuffs.

Speaker 2 (02:05:53):
Great Lord, come in and let me get them irons
off of you. Why they must hurt something to trouble.

Speaker 47 (02:06:01):
Oh they can wait, said mister Trim, very feebly, very slowly,
very humbly. I've won them a long, long while. I'm
used to them. First, wouldn't you give me some food?

Speaker 2 (02:06:20):
Please? You can turn up the lights now, you can

(02:06:49):
look around you. Nobody's there.

Speaker 4 (02:06:53):
Really, everything is all right, isn't it?

Speaker 8 (02:07:06):
Well?

Speaker 20 (02:07:06):
Nelson?

Speaker 1 (02:07:06):
And now that we've taken care of Ervanes Cobbs, poor
mister Trim, what do we have scheduled.

Speaker 4 (02:07:12):
For next week?

Speaker 47 (02:07:14):
Two stories ben The first a real spine shiller by
Algernon Blackwood entitled A Suspicious Gift. The second a disturbing
ghost story by Walker Everett entitled.

Speaker 2 (02:07:25):
The Woman in Gray. If you can take it, I
hope you'll be with us.

Speaker 1 (02:07:44):
You've been listening to Sleep No More, an NBC Radio
Network production directed by Daniel Sutton. Mister Armstead's albums are
recorded exclusively for Vanguard Records until next week, when Nelson
Armstead will again be here in person.

Speaker 2 (02:08:01):
This is Ben Grauer bidding you all.

Speaker 48 (02:08:22):
The number eleven is following me if I'll never allowed
sugar again.

Speaker 7 (02:08:24):
I don't just escalators.

Speaker 48 (02:08:25):
They just seemed super sketchy to me.

Speaker 7 (02:08:27):
No one wanted me.

Speaker 48 (02:08:28):
I fell asleep with my phone beside me. What if
I tected my entire contact list, photos of me naked,
my hair in the front, and I just seems super sketchy.

Speaker 8 (02:08:40):
I don't want.

Speaker 20 (02:08:46):
It.

Speaker 7 (02:08:51):
Listens la Lucius.

Speaker 48 (02:08:56):
Locis. If I'm poison microplastic particles in the placentas of
unborn babies cybalk babies no longer composed only of human cells,
but a mixture of biological and inorganic entities, poisoning her
three billion nappies sent to landfill in this country alone

(02:09:19):
every year.

Speaker 7 (02:09:20):
I can't be right.

Speaker 48 (02:09:21):
Five to seven nappies a day?

Speaker 7 (02:09:22):
What's that?

Speaker 48 (02:09:23):
Roughly two thousands nappies a year for just Arabella alone,
and now now we're trying for another baby. Is this organic?

Speaker 7 (02:09:31):
She can't have it.

Speaker 48 (02:09:32):
If it's not organical, that the plastic and disposable coffee
cups is released when in contact with hot drinks. So
basically I'm drinking plastic and then I'm feeding Arabella. What
with my breast mauks poison on satimy to do list
by reusable cup and actually we use it. Fabrics a
congealed mass of fat and discarded household items like baby wipes.

(02:09:53):
They're increasingly blocking our sewers are the consequence of the
plastic crisis. I just guess so tired, and she was
crying and throwing a tantrum, and its irresponsible to bring
another baby into this world. It's organic. Well, if I'm
poisoning out.

Speaker 49 (02:10:11):
Hi, Welcome to the Loosest Podcast. It's time to take
a deep breath and let go of the worries of
the day. This podcast may contain content that some listeners
find distressing, but don't worry. You're in safe hands. Release

(02:10:37):
that tension in your shoulders, relax the muscles in your
face and neck, and maybe you'll find your inner smile.
It's easy to get bogged down. There is so much

(02:10:57):
to stress over in our modern lives, and oftentimes we
feel overwhelmed by our guilt, that feeling that we're not
doing enough. You're just one tiny cog in the grand
scheme of things.

Speaker 8 (02:11:17):
So breathing.

Speaker 49 (02:11:22):
And let it all out.

Speaker 11 (02:11:25):
For five.

Speaker 20 (02:11:28):
Four three.

Speaker 21 (02:11:32):
Two one.

Speaker 49 (02:11:37):
Everything you give to the world is bound to come
back to you as either food or poison.

Speaker 21 (02:11:49):
You didn't do it.

Speaker 48 (02:11:50):
Because the fat berg is so compactive. The team are
having to break it up with pigs, crowbars and hammers,
as well as removing large lumps in buckets to be
taken to land for well.

Speaker 7 (02:12:00):
You shouldn't be allowed anywhere near the internet.

Speaker 48 (02:12:03):
That's what they're doing. At the end of our street.
They've dug this giant hole into the sewers. We can
see it from the bedroom.

Speaker 7 (02:12:10):
You shouldn't never hang on.

Speaker 48 (02:12:13):
I lost you for a second. The connection is still
a little fuzzy. Do you see us with her on
the past few days. She's not been interested in feeding
before bedtime.

Speaker 7 (02:12:28):
It's your milk supply, Okay, yes it is.

Speaker 48 (02:12:32):
Why would you say that?

Speaker 49 (02:12:34):
It's probably the plastic.

Speaker 7 (02:12:36):
In my milk.

Speaker 40 (02:12:39):
In pet Hey, let me say good night to her
before she falls asleep. Trying the computer so she can
be my face.

Speaker 48 (02:12:46):
Look, baby, it's fummy Katie on the computer.

Speaker 7 (02:12:50):
I love you. Fall you diired mommy, misses you get home.

Speaker 48 (02:13:01):
She's almost asleep.

Speaker 7 (02:13:02):
Sorry, I just should have called earlier, but I got
stuck in a meeting.

Speaker 48 (02:13:12):
So how do you explain it? What the block in
the sewers right outside our house? You think it's a coincidence?

Speaker 7 (02:13:20):
You really think this is on you? You're going crazy, babe.

Speaker 40 (02:13:24):
Fat burgs happen over a long period of time, and
no one person is dead. The sewers were built a
hundred years ago, and there's they're not cut out to
deal with the amount of people that now live in
the city and all their waste.

Speaker 7 (02:13:41):
What's this about?

Speaker 48 (02:13:43):
Arabella was hungry and I was rushing to wash her
apple and the sticker went down the drain.

Speaker 7 (02:13:49):
And you think a fat burg was instantly created?

Speaker 48 (02:13:52):
Obviously not. While I had my back turned trying to
find the apple sticker, Arabella flushed a whole pack of
baby wives down the ton't she didn't?

Speaker 40 (02:14:01):
Okay, well that's not great, but it's happened. Now, just
put it to the back of your mind. You're no
more to blame for that fatburg than anyone else. I
can I can only imagine what other people are flushing.
You're so careful and considerate.

Speaker 48 (02:14:18):
She's dozing.

Speaker 7 (02:14:25):
Mm yeah, she looks saddled.

Speaker 48 (02:14:32):
Shh, she won't be for long. If you like that again,
let me put her in her crib.

Speaker 50 (02:14:48):
A young woman is accused of killing her own mother
in a bloody rampage on Friday night. The investigators seemed
to think if they pushed me, I'll admit to murder.

Speaker 7 (02:14:57):
But I didn't do it. Going on in the city,
I love my mom. Hi.

Speaker 50 (02:15:08):
Noah Murphy is now being held in police custody and
denies any wrongdoing, bizarrely claiming that she is being framed
by an impostor.

Speaker 48 (02:15:16):
I just feel like I'm a horrible mother. I'm useless
when you're not home and everything. A feeder is just
fast food in plastic carsons. I had all these plans
about making it homemade meals while you're away, but I
just ended up ordering junk. I feel like I'm poisoning her.

Speaker 7 (02:15:32):
That's rubbish.

Speaker 48 (02:15:33):
I don't deserve more kids.

Speaker 7 (02:15:35):
Why would you say that? Stop it? Okay?

Speaker 40 (02:15:39):
You know I heard something in that podcast you sent
me on fertility. There's a water spirit that lives in
the rivers of Japan. It's mean spirit, but it likes cucumbers,
so people give the cucumbers whenever they go to the river,
so it doesn't attack them. It's called a kappa. That's
why kappa role in sushi is a cumber.

Speaker 13 (02:16:00):
What are you talking about?

Speaker 48 (02:16:02):
What hals they got to do with anything.

Speaker 40 (02:16:03):
In the past, when people were struggling with fertility, they
would offer gifts to the water gods, like the kava,
because waste becomes fertilizer, so good waste equals good crop.

Speaker 48 (02:16:16):
Oh is this supposed to be calming me down?

Speaker 40 (02:16:18):
Just saying maybe Arabella was offering the toilet gods a
gift for us. Maybe that pack of baby wipes that
you're freaking out over, it's actually good luck for our
verbility journey.

Speaker 48 (02:16:34):
You're afraid that we're not gonna get pregnant, then, aren't you.

Speaker 7 (02:16:37):
No, this won't be like last time because we have
the Arabella.

Speaker 48 (02:16:43):
Now, because I've blocked it. It's a sign, you're saying,
it's a sign of a blockage. I'm blocked, not a sign.

Speaker 7 (02:16:50):
It's just a blocked toilet.

Speaker 48 (02:16:51):
Maybe you're right, I shouldn't be stressed, I should be
more optimistic.

Speaker 7 (02:16:55):
You're poisoning. Do you hear that? What are you talking about?

Speaker 48 (02:17:00):
It sounded like the water pipes what. Oh, I know
it's not the toilet, but you said the toilet was fine.
I put sink on blocker down there, that really strong
one that the plumber left. It said on the bottle
that it harms fish and aquatic life.

Speaker 7 (02:17:15):
They always say that, you think it was all right?
Do you need me to come home?

Speaker 40 (02:17:19):
I can really try to change my flight and come
home and be and we can hold off on the
fertility treatment until I'm back. I mean, your ovaries aren't
gonna change.

Speaker 48 (02:17:31):
I can't talk about that right now. You're stressing Arabella out.

Speaker 40 (02:17:35):
Well, Arabella is sleeping, and I can see that you're
in the living room nowhere near Arabella. Did you forget
this with a video call?

Speaker 48 (02:17:42):
Well, I don't wanna talk about it.

Speaker 7 (02:17:46):
I don't know.

Speaker 40 (02:17:46):
Stay on the phone. I'll even let you watch that
next episode of that show without me. It'll be like
we're home together.

Speaker 4 (02:17:55):
Mm.

Speaker 7 (02:17:56):
Just working on my commuter anyway, chill and I'm just
would you like that maybe comfy? What? What are you doing?

Speaker 48 (02:18:22):
How did I get here?

Speaker 40 (02:18:23):
You were a sleep walking said that I'm here, babe,
on your computer on the coffee table in the living room.

Speaker 7 (02:18:29):
I didn't hang up your video call Are you awake now? Yeah,
Oh my god, you scared the life out of me.
I thought you were gonna beave the baby on her own.

Speaker 40 (02:18:39):
I thought you were going to get locked out or something.

Speaker 48 (02:18:42):
Opened the front door.

Speaker 25 (02:18:43):
Yes, you almost let the flat.

Speaker 40 (02:18:46):
I was just sat here working and I look over
at our video chat just to check on you and Arabella,
and I see you walking across the living room to
the front door.

Speaker 48 (02:18:55):
When did I just want to sleep?

Speaker 7 (02:18:56):
You crashed on the couch. I didn't want to wake you.
It's just nice just seeing you, like being home.

Speaker 48 (02:19:03):
What time is it?

Speaker 7 (02:19:05):
Almost four am? Your time? Wow, you're scared of me.

Speaker 48 (02:19:10):
I had the strangest nightmare. I was at this dentist's office.

Speaker 7 (02:19:14):
Yeah, you look like you were in a trance. I
thought you were awake at first. Your eyes were like
half opened, but you weren't there. I didn't like that.

Speaker 48 (02:19:25):
There was this really frightening woman who didn't want me
to go inside the dentist's office. But I could hear voices.

Speaker 15 (02:19:30):
Calling to me.

Speaker 7 (02:19:33):
That's probably why you tried to open the door to
the flat.

Speaker 48 (02:19:36):
I did open the door in my dream. I mean,
it felt significant. Maybe I shouldn't have. It's left me
with a funny feeling.

Speaker 40 (02:19:43):
You're okay, okay, it's just a dream. You're lucky you
put the laptop on the coffee table, because if you
put it on the kitchen and then like you usually do,
I wouldn't have been able to see the front door.

Speaker 48 (02:19:53):
Nothing like that has ever happened to me before. Oh,
I need to go check an Arabella.

Speaker 7 (02:19:58):
She's fine. I have her baby mom hooked up to
my computer. Second. See she's talking.

Speaker 15 (02:20:04):
Oh no, what what is it?

Speaker 40 (02:20:07):
I can't hear you.

Speaker 48 (02:20:09):
Therees water everywhere in the hallway. The toilet's overflowing. That's
the last thing I need. It's clogged from those baby wipes.

Speaker 51 (02:20:18):
It just keeps running over.

Speaker 28 (02:20:19):
Everything is all wet.

Speaker 7 (02:20:21):
Okay, calm down, nothing happened. Just get those old sheets
from the air and cupboard and soak it up. We
don't use them in anyway.

Speaker 48 (02:20:30):
It's everywhere.

Speaker 28 (02:20:32):
Can you see this?

Speaker 50 (02:20:33):
There's like an inch of water in here.

Speaker 48 (02:20:36):
It's gone all the way to the living room.

Speaker 18 (02:20:37):
The rug is going to be ruined.

Speaker 48 (02:20:40):
That's odd. What did I sleep walk down this hall?

Speaker 7 (02:20:45):
You walked from the couch to the front door.

Speaker 51 (02:20:47):
Why are you sure?

Speaker 48 (02:20:49):
Because there are footprints in the work carpet leading to
Arabella's room.

Speaker 7 (02:20:53):
I mean maybe even did walk down there and wasn't
watching the whole time.

Speaker 48 (02:20:57):
I'll Arabella.

Speaker 7 (02:20:59):
They ah, well, okay, got her. Now what do you
mean there's something there? I'm looking at her Bobby monitor.
It's leaning her.

Speaker 48 (02:21:14):
What do you mean something? Are you messing with me?

Speaker 28 (02:21:17):
Arabella?

Speaker 48 (02:21:21):
She's not here, Arabella, Arabella? What did she do?

Speaker 7 (02:21:29):
I didn't see anyone.

Speaker 48 (02:21:30):
If there wasn't, Arabella, are you sure that you saw something?
Maybe she's just hiding, the.

Speaker 7 (02:21:42):
Life's worked out, so I've put some night vision.

Speaker 40 (02:21:44):
I I don't know if just crawled into her room
beside her crypt watching her.

Speaker 18 (02:21:51):
Arabella.

Speaker 2 (02:21:53):
What do you mean broad?

Speaker 52 (02:21:54):
Arabella?

Speaker 50 (02:21:55):
I don't know what it was she was and then
she would She's not in our bedroom.

Speaker 28 (02:22:00):
Did you see something or not?

Speaker 7 (02:22:02):
Check under my desk in the living room. She always
likes to go under my risk. I don't call the
police anyway. She's not there.

Speaker 50 (02:22:13):
What did you see?

Speaker 7 (02:22:17):
Anything happened?

Speaker 34 (02:22:26):
What was that?

Speaker 4 (02:22:28):
Wait?

Speaker 48 (02:22:28):
Here's something, Arabella?

Speaker 7 (02:22:33):
Did you find her?

Speaker 20 (02:22:35):
Arabella?

Speaker 48 (02:22:36):
Baby, it's mama, Come out, don't hide, Come to mama, please, baby,
that's not right. Were sounds like it's coming from the drains.

Speaker 7 (02:22:58):
What are you talking?

Speaker 48 (02:23:00):
I searched every room.

Speaker 51 (02:23:02):
She's not here in the apartment.

Speaker 7 (02:23:04):
Where are you going? No one has left the fuck
She's got to be in there, Tania, and where you're going?
Turn up? You can't leave her on her own, Tonia,
come back here, you do me all right?

Speaker 30 (02:23:23):
Bella, Ala, it's everything, all right?

Speaker 49 (02:23:30):
My baby is missing.

Speaker 48 (02:23:32):
Call the police.

Speaker 18 (02:23:34):
Alla, Where are you? Where did you go?

Speaker 49 (02:23:45):
Mm hmm, don't be afraid.

Speaker 51 (02:23:51):
Mama is coming.

Speaker 48 (02:23:53):
Mama will find you.

Speaker 7 (02:23:59):
It can't be. How could she.

Speaker 37 (02:24:04):
Mama's coming?

Speaker 48 (02:24:05):
Don't worry.

Speaker 7 (02:24:16):
What are you doing?

Speaker 48 (02:24:17):
I didn't know where she is.

Speaker 4 (02:24:18):
Get back to the fo I hear.

Speaker 51 (02:24:21):
Half the road is up.

Speaker 48 (02:24:24):
You can see right down into the show.

Speaker 7 (02:24:26):
Where are you?

Speaker 48 (02:24:27):
The city works out?

Speaker 7 (02:24:29):
Was hot out building for the block train. You're gonna
go into the sewers? Okay, why would she be there? Dan?
You I don't know what's going on with you, but
please just please just go back home.

Speaker 48 (02:24:48):
What smells souper?

Speaker 11 (02:24:53):
Oh?

Speaker 7 (02:24:54):
Just go home? Why she's here? You're going in.

Speaker 48 (02:25:01):
I'm almost at the bottom of this ladder if because okay, there.

Speaker 7 (02:25:07):
It's the last room.

Speaker 48 (02:25:10):
I can't see a thing. I'm gonna talk so don't
understand here.

Speaker 50 (02:25:14):
Okay, Arabella couldn't get down there on her own.

Speaker 13 (02:25:16):
If you can, maybe, Yeah, I just.

Speaker 48 (02:25:29):
Need to turn on my phones flashlights. It's like amazing.

Speaker 52 (02:25:37):
It's a fast I don't know which wait to go, Arabella, Arabella,
I heard that.

Speaker 7 (02:25:56):
The talk you go.

Speaker 10 (02:26:00):
I cannot.

Speaker 48 (02:26:02):
I'm leading with sewage up to my leads and it's
getting deeper.

Speaker 7 (02:26:08):
Okay, you all the come on. It could just come
like awake.

Speaker 48 (02:26:16):
Stubnant of the blook. What did it look like the
story in our renders room.

Speaker 7 (02:26:27):
Don't think about that.

Speaker 28 (02:26:31):
There's something in the water that you just passed by.

Speaker 7 (02:26:33):
My life.

Speaker 50 (02:26:33):
I feel like a water all right, baby, get out,
get up, get up, I come up.

Speaker 51 (02:26:39):
I need to get to Arabella.

Speaker 48 (02:26:41):
Probably just a rot.

Speaker 40 (02:26:45):
I thought it again.

Speaker 1 (02:26:46):
It feel bigger than a rose.

Speaker 7 (02:26:47):
Get out.

Speaker 40 (02:26:48):
You're gonna get up.

Speaker 7 (02:26:49):
Get up now.

Speaker 48 (02:26:52):
I hear it's.

Speaker 52 (02:26:54):
Closer, Abella, you hear are Abella?

Speaker 37 (02:27:00):
Baby?

Speaker 18 (02:27:05):
Yeah, Baby?

Speaker 16 (02:27:09):
Where are you?

Speaker 7 (02:27:11):
Make a sound again?

Speaker 50 (02:27:12):
Baby, so Mama can find you.

Speaker 52 (02:27:15):
Please Arabella, Please, baby, Mama's worried about you.

Speaker 28 (02:27:20):
Mama loves you.

Speaker 17 (02:27:23):
Just make a sound, any sound, m.

Speaker 48 (02:27:33):
Mamma is coming. Oh yeah, it's a dead end. There's
no way through.

Speaker 28 (02:27:43):
It totally clogged it.

Speaker 48 (02:27:48):
It's like a wall of rotten sludge. This must be
the blockage. I think she's inside this thing.

Speaker 20 (02:27:58):
What I know.

Speaker 48 (02:28:00):
It sounds crazy, but it sounds like she's trapped.

Speaker 7 (02:28:05):
Inside the phone.

Speaker 48 (02:28:06):
Okay, Arabella, the signals really bad. I'm gonna dig her out, Arabella.

Speaker 50 (02:28:21):
I'm coming, baby, I'm coming.

Speaker 48 (02:28:28):
It's like rock I can hardly break it.

Speaker 51 (02:28:33):
I dropped my phone.

Speaker 52 (02:28:39):
There's no light now, Arabella.

Speaker 48 (02:28:47):
Lissa says, something in the water.

Speaker 49 (02:28:54):
Someone there, who is now?

Speaker 48 (02:29:02):
There's something touching my leg.

Speaker 28 (02:29:06):
It was warm, like his finger to the beak.

Speaker 7 (02:29:14):
We are.

Speaker 20 (02:29:22):
There's a little girl face down in the water.

Speaker 48 (02:29:37):
Yeah, that's the water. You're in the bathtub. Get all
nice and clean bed. Did you manage to arrange your flight?

Speaker 7 (02:29:47):
Yeah?

Speaker 40 (02:29:47):
I'm taking a red eye.

Speaker 48 (02:29:48):
Can't I good? I don't like being here alone. I
just want to go home.

Speaker 7 (02:29:54):
Should wear a b.

Speaker 48 (02:30:00):
You call me, Katie in the phone? A REBELLA.

Speaker 7 (02:30:06):
No, no, no.

Speaker 48 (02:30:07):
I just keep watching her. And the doctor said, if
she doesn't go to by tomorrow, we've got to take
it back to the hospital.

Speaker 7 (02:30:13):
Do you really think it's serious? I thought this again.

Speaker 48 (02:30:15):
Came back clear the next way only shows a block off.
It's metal, so if it's anything else, we wouldn't see it.

Speaker 7 (02:30:21):
What else could it be plastic? But she doesn't have
any other symptoms like a fever or vomiting. Can't you
just be happy? And she's fine? She got the all clear.
We were lucky.

Speaker 48 (02:30:34):
I know, I know, yeah, I guess you're right. Well,
I just have this lingering feeling that I can't shake.
When I was down there and I saw the fat work,
I could see things in it, all the things that
we throw away, but it never really goes away. It
just stays there like it's haunting us.

Speaker 7 (02:30:56):
I still can't figure out how the hell she got
down there into the sword without even a scratch. Well,
she sounds happy, now, does that let her laughing?

Speaker 48 (02:31:11):
It's not laughing, she's joking. What she's gonna be sick?
It's okay, baby, It's okay, it's okay.

Speaker 7 (02:31:20):
Maybe it's okay. There she threw up.

Speaker 48 (02:31:23):
That is a plastic sticker off.

Speaker 7 (02:31:29):
Okay, just getting.

Speaker 48 (02:31:34):
You don't good girl, It's.

Speaker 7 (02:31:37):
All okay, Contriver. The bath still be easier to clean.

Speaker 48 (02:31:43):
What there are things in her?

Speaker 7 (02:31:45):
Sick? What do you mean?

Speaker 20 (02:31:47):
What she ate?

Speaker 22 (02:31:48):
No?

Speaker 48 (02:31:49):
I recognize them. I threw them away. There's a bit
of plastic off the takeaway cart from the other night.

Speaker 51 (02:31:57):
Okay, this is my trash. It's everything that I've put
on the drain.

Speaker 7 (02:32:02):
We need to take her back to the hospital.

Speaker 51 (02:32:04):
That's the it's inside of her now. Everything I threw
away is blocking her. Well, how do you explain of
bobbiting up this? It's a wet wipe and she's choking
on another.

Speaker 11 (02:32:19):
It's okay.

Speaker 48 (02:32:25):
There is a door in the city. It looks just
like any other door. Crowds passed by it every day,
but none know what is behind it. Nobody remembers the
day the door appeared, seemingly out of a dream. It
has always been there, and yet perhaps it never was.

(02:32:48):
The real question to ask is is it locking something out?
Or is it keeping us locked in?

Speaker 17 (02:32:59):
No Strange Wills.

Speaker 53 (02:33:14):
Starring the distinguished Hollywood actor Warren william And featuring Peggy
Webber and William Conrad with Howard Culvern an all star
Hollywood cat original music by Del Castilio.

Speaker 54 (02:33:30):
Dead men's wills are often strange. We cannot attempt to
understand them or try to find the answers. We can
but tell the story.

Speaker 32 (02:33:44):
This is Warren William bringing you the story Crosswind.

Speaker 17 (02:33:48):
But first.

Speaker 53 (02:34:50):
And now back to Warren William as John Francis O'Connell.

Speaker 32 (02:34:54):
In Crosswind, this story opens in a state prison where
Patrick Malone is awaiting execution by hanging. His crime studied
career was finally terminated by the police, and after a
fair and impartial trial, he was sentenced to death for murder.

(02:35:15):
After all of his appeals had been denied, Malone was
transferred to the state prison to await his execution. Shortly
after midnight, the guards and the main cell block are
making their round.

Speaker 17 (02:35:27):
Oh God, God, who's calling?

Speaker 11 (02:35:32):
The guard?

Speaker 3 (02:35:33):
Who's calling?

Speaker 8 (02:35:34):
Oh so it's you? Kill him alone. I thought you
was a tough guy.

Speaker 17 (02:35:43):
I'm dying.

Speaker 8 (02:35:44):
You're ahead of schedule killer that comes later calls.

Speaker 17 (02:35:49):
I'm dying.

Speaker 8 (02:35:51):
I'll come in and take a look and see first killer.
But if you got any funny ideas, remember there's three
doors you got to open before you reach a wall.
You won't mind if I lock myself in. Will you
kill her? That'll make four doors?

Speaker 17 (02:36:06):
Saw Bones, Get the saw bones.

Speaker 8 (02:36:09):
I'm not gonna wake the saw bones until I know
you need him. I want your beef. Who would to
get me a drink. H fourhead's cold enough. Maybe it's
your conscience, killer. Maybe you're seeing ghosts in the night,
ghosts of those guys you bump. Okay, okay, I'll get
you a drink. You're still sick after this drink? Tell

(02:36:32):
the guard on the next relief you'll be on in
seven minutes. Yeah, sit up and drinkers. Yeah, okay, sucker,
do you fell for it? You feel this shroad pressed
against your belly? Yeah, I feel a killer? What you're
gonna do, I'm gonna bump you off if you so
much as pee, don't be a fool as four locked doors,

(02:36:54):
steal doors, you'll never make it. I'm going out ahead tonight,
feet first to walking. But I'm going out. And I
turn around. They're quiet, like, all right, all right, take
off your clothes, that monkey suit. Okay, it's your funeral.
Just shut up and give me the clothes. Here's my cap,
my coat, Want my pants too, I want everything?

Speaker 2 (02:37:15):
Yeah?

Speaker 8 (02:37:18):
Here they are. I just stand still and keep your
midst up while I get into him. How soon before
the relief God comes? Four minutes? You haven't got a chance, killer, Yeah,
Well that's my worry. Now here's a little kiss to
knock you, commission, I'll tuck you into my little trundle bed. Okay, boys,

(02:37:48):
give me cover.

Speaker 17 (02:37:55):
The fire hole.

Speaker 4 (02:38:01):
Yeah.

Speaker 32 (02:38:18):
Kill him alone. Must be captured, so said the governor.
So said the mayor, so said the district attorney, and
the chief of police. A dragnet was thrown over the
entire state. Every policeman was ordered back to report to
his precinct. Kill him Malone must be captured. His escape
is the general topic of conversation, even the young and
beautiful Margaret Levering. My client and I were talking about

(02:38:40):
it in my office.

Speaker 35 (02:38:42):
Really, I've never been so frightened, John, I imagine I
see that killer Malone behind every tree, even under my bed.

Speaker 32 (02:38:51):
With ten thousand policemen looking for him, it won't be
long before they get him. But you won't be here
to see the excitement.

Speaker 35 (02:38:58):
That's right, I'm sailing tonight.

Speaker 32 (02:39:01):
A ha ha, you don't look very happy about leaving, Margaret.

Speaker 35 (02:39:04):
Frankly, the thought of a trip to South America on
a tramp steamer bores me silly, And I did so
want to attend opening night at the opera. Why did
father have to make such a silly provision in his will.

Speaker 32 (02:39:17):
I can see his reasoning if you are to inherit
his steamship interest, I think it only right that you
get some first hand information about traveling on a freighter.

Speaker 35 (02:39:26):
Would have been much more fun on a luxury line.

Speaker 55 (02:39:29):
Yes, I realized that.

Speaker 32 (02:39:30):
But this way you sort of get the feel of
the business. You'll see how cargo is shipped, how it's unloaded.

Speaker 35 (02:39:36):
How dull and that crew. I can see them now,
the captain squirting tobacco juice in the sea.

Speaker 32 (02:39:42):
Ah, that's why you're wrong, margaret. Captain Leslie de Haven
is handsome enough to be in the movies.

Speaker 35 (02:39:48):
Yeah, well that's something. Maybe I won't be so bored
after you.

Speaker 32 (02:39:53):
I'm sure you'll enjoy every minute of your trip. Now,
then i'll see you off at what time is the
Olympic sales?

Speaker 35 (02:40:00):
They told me at midnight?

Speaker 32 (02:40:01):
All right, then I'll be there to see you off.
It must be nice to know that, after one cruise
to South America you'll inherit a steamship line with a
face value of a million dollars.

Speaker 35 (02:40:12):
But a girl doesn't have to go through to When
I heard a measly million US.

Speaker 32 (02:40:16):
Day, I wouldn't consider a million dollars.

Speaker 35 (02:40:20):
That's because you never had to buy gowns and shoes
for a lady right there.

Speaker 32 (02:40:25):
What's more, I uh, I guess I'll never have.

Speaker 35 (02:40:28):
To spoken like a true bachelor. Well, I suppose I
am to catch the Olympic at midnight. I'd better go
home and get ready for the ordeal. And John, yes, Margaret,
wish me excitement, lots of excitement.

Speaker 4 (02:40:44):
I wish.

Speaker 8 (02:41:00):
Fog is thick as pea soup. Nothing only stole away
on one of these tabs a copse. Okay, coppers, come
and get me. They were Sis piano crates ss Olympic destination,
Rio de Janeira.

Speaker 17 (02:41:22):
I'll move over a piano you can company.

Speaker 32 (02:41:36):
At about eleven o'clock I arrived at the docks to
see my client off. The night was heavy, full of fog.
As I parked my car, I heard a great commotion
coming from the direction of the pier. I walked slowly
down the long wooden ramp. What was going on? And
they found kill him alone here on the docks. Each

(02:41:56):
step I advanced, the excitement became all pronounced.

Speaker 8 (02:42:03):
Oh, I'm sorry, it's all right.

Speaker 36 (02:42:05):
Heavy fog hurt you.

Speaker 53 (02:42:08):
For Heaven's sake, if I haven't run smack into the
Honorable John Francis o'condall, Commissioner Holbrook, will.

Speaker 5 (02:42:15):
This beats allful?

Speaker 32 (02:42:17):
What are you up to running around here bumping into
honest citizens?

Speaker 53 (02:42:22):
Now, we got a tip that killer Malone might be
down here on.

Speaker 32 (02:42:24):
The docks, held on alone down here.

Speaker 53 (02:42:26):
It's one of the ten thousand tips we've had since
he escaped.

Speaker 5 (02:42:30):
Personally, I don't put much stock in it. No, why not?

Speaker 20 (02:42:33):
Now?

Speaker 53 (02:42:33):
There's no place to hide out down here? And if
you ever got on one of these boats, they'd nab
him quick.

Speaker 32 (02:42:38):
Do you think, Commissioner, that it'll be safe for me
to go aboard and say goodbye to a client of mine?

Speaker 3 (02:42:44):
Safe enough?

Speaker 8 (02:42:45):
That is, if you don't get in the way of
killer Malone?

Speaker 32 (02:42:47):
And if I do, then what don't stop to ask questions?

Speaker 24 (02:42:51):
Just run like the very devil.

Speaker 8 (02:42:53):
Excuse me, mister, we got to load these beyond a
great Oh, I'm sorry, I'm all right.

Speaker 17 (02:42:57):
I don't know me to want any accidents. Okay, take
her away.

Speaker 24 (02:43:03):
Well, I'll be moving along.

Speaker 32 (02:43:04):
I hope you get your man, Commissioner. And if I
should run into him on board the Olympic, what will
you do, John, What'll I do? Nothing? Absolutely nothing.

Speaker 56 (02:43:27):
Well, I promise that my new boss will be extended
every courtesy of the ship. In fact, it'll be a
pleasure to attend to it personally.

Speaker 35 (02:43:34):
I hope I'm forgiven for thinking you some decrepit old
sea dog who spits tobacco juice all over his chin.

Speaker 32 (02:43:41):
I tried to tell Margaret that you were quite a
handsome fellow cattle.

Speaker 35 (02:43:44):
Oh well, now, captain will be so modest. I'm sure
that my trip's going to be quite delightful, perhaps even exciting.

Speaker 56 (02:43:53):
I can't promise you much in the way of excitement,
mislea ring. In fact, these South American cruises are mostly routine.

Speaker 32 (02:43:59):
But there's a isn't there.

Speaker 35 (02:44:00):
Hey, Now, you let me handle my own romancing, and
don't be giving the captain any suggestions.

Speaker 56 (02:44:05):
There is a moon, all right, it's a beauty if
you like seeing her. We have a lot of that too,
strange places, foreign ports, tropics.

Speaker 32 (02:44:13):
Well, I see it's one minute to midnight. Time to
shove off, isn't.

Speaker 2 (02:44:16):
It, captain.

Speaker 8 (02:44:17):
Yes, we're all loaded and ready to go.

Speaker 32 (02:44:18):
Well, then, goodbye Margaret and happy sailing.

Speaker 7 (02:44:21):
Goodbye.

Speaker 32 (02:44:24):
Oh by the way, captain, Yes, mister O'Connor, there's a
possibility of a very remote one, of course, that you
might have a notorious passenger aboard.

Speaker 56 (02:44:33):
Yes, i'd heard about it. You mean this kill him
a lot one, and only if it'd have a pretty
hard time. You have very many places to hire a
board ship. You find it rather rough to walk through
customs of the ports we touched. No, i'd have better sense,
That's what I think too.

Speaker 32 (02:44:48):
I only mentioned it because just before I came aboard,
I met my old friend, Commissioner Holberg on the dock.
The place is literally coupled with polition. Well, I guess
i'll have I'll run for it now.

Speaker 8 (02:45:01):
Goodbye, sir.

Speaker 56 (02:45:01):
Don't worry about miss leab Ring. I'll bring her back
brown as a berry.

Speaker 35 (02:45:05):
Goodbye again, John, And don't worry. I know I'm going
to have a wonderful time, a simply wonderful time.

Speaker 32 (02:45:22):
Two days on the Frisco, Margaret sent me her first cable.
It contained only one word, but that was enough. It
simply said, super Well, my clad was apparently enjoying herself.

Speaker 8 (02:45:36):
Now you know, Margaret, why men will always go down
to sea and ships?

Speaker 35 (02:45:39):
And I think I almost miss seeing it. Oh, Leslie,
it's so wonderful. Moon makes things almost as bright as day.

Speaker 8 (02:45:49):
And look at the stairs, they look almost as big
as lanterns close meant to pick.

Speaker 35 (02:45:55):
Perhaps that's what father had in mind when he insisted
that I take a sea voyage before inheriting his teamship line.

Speaker 56 (02:46:00):
I wouldn't be surprised. He was a great man, Margaret.
Your father sailed with me many times. He loved to
say this was his favorite trick.

Speaker 35 (02:46:08):
But Leslie, honestly, wouldn't you prefer being in command of
a luxury liner having beautiful girls coming up on the
bridge to idolize you?

Speaker 1 (02:46:16):
Oh?

Speaker 8 (02:46:16):
Not for me, now, Margaret. Give me the sweep of
the tropical breeze, Give me a good stout ship filled
with cargo for foreign ports and places the cruel men
that are rough and ready.

Speaker 35 (02:46:27):
You are romantic, gon't you? But I haven't heard you mention?
Just one thing that makes the picture complete.

Speaker 8 (02:46:35):
I left something out. Maybe it couldn't be you couldn't It.

Speaker 35 (02:46:43):
Could be, Leslie, could be.

Speaker 53 (02:47:01):
Act two of Crosswinds, written by Ken Cropeene and directed
by Robert Webster. Light in just a moment, But first,
a brief message from your Announcwer and now back to Crosswind,

(02:48:32):
starring Warren william as John Francis O'Connell.

Speaker 32 (02:48:40):
Six days out of San Francisco, I received another cablegram
from Margaret Laboring. This one was even more cryptic. It said,
playing for keeps.

Speaker 56 (02:48:49):
I began to think that I started them Margaret would
get better early to night and get some rest.

Speaker 8 (02:48:55):
It is, of course of you who still want to
see the island in the morning.

Speaker 35 (02:48:58):
What time the pairs?

Speaker 7 (02:49:00):
Oh?

Speaker 35 (02:49:00):
Goodness, that is early.

Speaker 8 (02:49:02):
Well, don't get up unless you want.

Speaker 20 (02:49:03):
Oh I do want to.

Speaker 35 (02:49:04):
It's our first sight of land since we left.

Speaker 56 (02:49:06):
It's a beautiful tropical island. We go close enough to
get a good look. There's only one thing wrong with it.

Speaker 35 (02:49:12):
We're going to land.

Speaker 8 (02:49:13):
No, it's forbidden. Forbidden.

Speaker 56 (02:49:16):
Why well, I'll tell you all about it tomorrow morning
at five o'clock. That is, if you are not too sleepy.

Speaker 35 (02:49:23):
I won't be a promise. I may never see this
mysterious island again as long as I live.

Speaker 8 (02:49:27):
No, I wouldn't say that I make this trip regularly.

Speaker 35 (02:49:31):
Why, captain, how you interest me?

Speaker 4 (02:50:01):
Who cares?

Speaker 8 (02:50:03):
I'm here?

Speaker 4 (02:50:03):
Isn't that enough?

Speaker 26 (02:50:05):
Get up?

Speaker 35 (02:50:06):
Get out this in struggled, captain.

Speaker 2 (02:50:09):
Tough.

Speaker 20 (02:50:11):
What do you want?

Speaker 8 (02:50:13):
First? Something to eat?

Speaker 7 (02:50:16):
What is it?

Speaker 15 (02:50:19):
Got?

Speaker 35 (02:50:19):
Some crackers and cheese?

Speaker 13 (02:50:22):
They're on the dresser.

Speaker 35 (02:50:24):
Wait, slip on my robe.

Speaker 8 (02:50:26):
Just stay away, sister, there's a lot.

Speaker 35 (02:50:31):
There's a little lamp on the dresser.

Speaker 8 (02:50:33):
Okay, they recognize me. Kill him, yeah, kill him alone,
at your service. So you did make the ship, came
aboard in the Piano creek. You can't can't get off?

Speaker 1 (02:50:49):
Huh?

Speaker 8 (02:50:51):
What makes you think so?

Speaker 35 (02:50:53):
Customs?

Speaker 8 (02:50:54):
Please don't worry about that, sister. I've done all right
so far, broke out a prison and got aboard this
tob didn't I I'm not caught yet.

Speaker 13 (02:51:04):
What do you want?

Speaker 8 (02:51:06):
Well, I'm gonna eat these crackers and ask a few questions.
If you don't mind, what do you want to know?
Her stuff? What's your next sport?

Speaker 20 (02:51:21):
Real?

Speaker 35 (02:51:23):
We arrive there tomorrow night?

Speaker 3 (02:51:24):
Real?

Speaker 35 (02:51:25):
Then we go south, all down along the coast. I
see what have you in mind, mister.

Speaker 8 (02:51:30):
Milon keeping away from the law.

Speaker 4 (02:51:33):
Mostly say.

Speaker 8 (02:51:37):
You ain't bad looking?

Speaker 35 (02:51:40):
You think so.

Speaker 8 (02:51:42):
Too bad? We can't be seeing more of each other.

Speaker 35 (02:51:45):
I'm afraid that would be rather difficult, mister Block. You see,
we're we're like crosswinds, each blowing a different way, aren't.

Speaker 8 (02:51:54):
We Yeah, that's right, lady crossway. Say what time is it?

Speaker 35 (02:52:04):
It's five minutes to five.

Speaker 8 (02:52:06):
What are you so nervous about, sister, expecting the company?
I'd hate to think of some guy coming in and
disturbing it.

Speaker 35 (02:52:13):
But if someone did, what would you do?

Speaker 8 (02:52:17):
What did you expect me to do? Kiss him? Listen, sister,
you're safe as long as I'm safe. It's going to
be up to you to keep everything peaceful until I
can get off this tub, Until you get off, that's
the ticket.

Speaker 35 (02:52:33):
Supposing supposing I helped you to get off, Supposing I
can help you get to an.

Speaker 8 (02:52:38):
Island, an islander you want to maroon me so that
I can be picked up later. Is that your game, sister?

Speaker 7 (02:52:46):
No good?

Speaker 18 (02:52:46):
Heavens, why don't.

Speaker 8 (02:52:48):
You tell me about it?

Speaker 7 (02:52:49):
Then?

Speaker 35 (02:52:51):
This island we're do you there in just a few minutes.
It's a beautiful island. Our ship comes with an easy
swimming distance.

Speaker 8 (02:52:58):
What's on the island, Well, that's.

Speaker 35 (02:53:00):
That's the best part of it. Just jungles, few latives.
I suppose fishing boat hu, well, lots of fishing boats
and no policeman, not even one.

Speaker 8 (02:53:12):
And what am I supposed to do?

Speaker 35 (02:53:14):
You could swim to the island. After you're there, you
could hire one of those fishermen and they could take
you to some place on the main land where no
one could ever catch you.

Speaker 8 (02:53:23):
I'd be free, uh, free, the rest of my life.
Say you catch quick?

Speaker 2 (02:53:29):
All right?

Speaker 8 (02:53:30):
When did you say we'd reached this island?

Speaker 35 (02:53:32):
Any minute?

Speaker 4 (02:53:34):
Wait?

Speaker 8 (02:53:34):
Let me open this porthole. Have a better luck. Hey,
you're right, I see it.

Speaker 35 (02:53:40):
That's what I've been telling you. You'll go, won't you,
miss Malone?

Speaker 8 (02:53:48):
Uh? Uh, nope, it's no deal. Think I'll stick around
here for a few more days. I'll wait for something
else to turn up.

Speaker 35 (02:53:58):
You mean you aren't going?

Speaker 8 (02:54:00):
Why should I? You cann be sick for a couple
of days. Listen, baby, I've hide in this closet. But
remember I got the barrel of this gun pointed right
at you, Margot, Margaret, are you awake? Well? Answer him
telling me you're sick.

Speaker 35 (02:54:17):
I'm awake, captain, but I'm not feeling well.

Speaker 2 (02:54:21):
Not feeling well?

Speaker 17 (02:54:22):
What what's the matter?

Speaker 8 (02:54:24):
Yeah, I come in?

Speaker 35 (02:54:24):
No, No, don't come in, Captain. I'm sure I'll feel
better tomorrow.

Speaker 56 (02:54:29):
We're passing the island. Now, I thought you wanted to
see it and the story. Don't you want to hear it?

Speaker 35 (02:54:33):
Bother, tell it to me later, after we get to real, to.

Speaker 8 (02:54:39):
Real, real, Say, what is this?

Speaker 17 (02:54:42):
You must be sick.

Speaker 8 (02:54:43):
I'm coming in the matter.

Speaker 35 (02:54:44):
What no, no, Please don't.

Speaker 8 (02:54:45):
Open the door for him. But remember, remember, don't open the.

Speaker 35 (02:54:49):
Door just a minute, Captain, I'll let you in.

Speaker 8 (02:54:57):
Margaret, What in Heaven's name is wrong? What are you're trembling?

Speaker 35 (02:55:01):
Trembling? It was just cold in here?

Speaker 56 (02:55:04):
Here, you are down in the tropics, and you say
you're cool. Here, Come on over again, saddam. I want
to see if you're getting malaria.

Speaker 8 (02:55:09):
You certainly have the.

Speaker 35 (02:55:10):
Symptoms having any malaria. Lestlie, there's nothing wrong with me.

Speaker 7 (02:55:13):
Not cool.

Speaker 35 (02:55:14):
I'll see you later.

Speaker 8 (02:55:15):
I won't leave this cabin until you tell me the truth.

Speaker 17 (02:55:19):
I'll take over from here. Captain.

Speaker 35 (02:55:20):
Let's don't move it.

Speaker 8 (02:55:22):
Let's kill her malone killer him alone. Yeah, the one
and only. Now back into the corner, both of you
and captain. The lady knows I ain't fooling. You may
have her frightened, but not me.

Speaker 3 (02:55:35):
Malone.

Speaker 8 (02:55:35):
Oh no, no, what makes you so sure? I won't
feed you some hot lead because guns make noise. Maybe
you're a right wise guy. I'm gonna bop you over
the head, nice and easy like, and I'm heading for
that island. It sounds swell alone, But first you've got
to get me, as.

Speaker 17 (02:55:54):
We know, he'll kill you one, okay, mister, I will
It's a lucky punch. See how this feels.

Speaker 15 (02:56:05):
Well?

Speaker 17 (02:56:06):
So long, Crosswind. Thanks for the tip about that island.
I'm going for a swim and over lord, man, over Lord.

Speaker 53 (02:56:34):
In just a moment you will hear the startling climax
of this amazing story. But first, here is a brief
message from your announcer. And now back to Warren william

(02:57:14):
As John Francis O'Connell in Crosswind.

Speaker 32 (02:57:23):
For the second time in less than a week, Kill
him alone made good his escape. As he swam to
the island, he looked back over his shoulder and saw
the tramp, steam or Olympic fading into the distance. No
effort was being made to stop his bold attempt to freedom.
Finally his feet touched bottom, he stood up and began
waiting to shore.

Speaker 8 (02:57:47):
I made it. I made it, not to get a
boat hit for the mainland. It's funny I don't see
none under if that cross when David, Yeah, yeah, I
see people. Lots of people say everything's gonna be okay. Hey,

(02:58:12):
hey you, what's the matter with that? Money keeps motioning
me to keep away?

Speaker 31 (02:58:19):
Hey you, what's the matter?

Speaker 17 (02:58:21):
What you're running for?

Speaker 2 (02:58:23):
Come back here?

Speaker 20 (02:58:26):
Come back up?

Speaker 17 (02:58:27):
What's your teeth?

Speaker 32 (02:58:37):
Back on board the Olympic, Margaret was desperately trying to
revive Captain de Haven after kill him alone had knocked
him unconscious in her cabin.

Speaker 48 (02:58:45):
Oh, darling, wake.

Speaker 35 (02:58:52):
Darling, can you hear me? Killing Malone's escape is swimming
to the island.

Speaker 7 (02:58:59):
Oh, Leslie could have killed you, Margaret.

Speaker 8 (02:59:05):
But where's where?

Speaker 18 (02:59:07):
That's what I'm trying to.

Speaker 20 (02:59:07):
Tell you, darling.

Speaker 35 (02:59:08):
He jumped off the boat. He swimming to the island, Lesley.
Isn't this something we can do? Kill him and all
get away as we stop him.

Speaker 8 (02:59:14):
You see, he swam too to that island.

Speaker 35 (02:59:17):
He's thereby. Now you'll get a boat and escape to
the mainland. We've got to do something quick.

Speaker 56 (02:59:21):
Take it easy, Margaret, there's no hurry. That's exactly what
I want him to do. Swim for that island. What
do you mean you remember my telling you there was
only one thing wrong with that island. Yes, yes, sorry,
Remember I told you ships were forbidden to dock there,
all ships as you did, Leslie wire what that island

(02:59:47):
Margaret has been a leper colony for over fifty years.

Speaker 32 (03:00:06):
Well kill roam alone made it safely to the island,
all right, But instead of finding the fishing boats and
the freedom he'd expected, he found himself right in the
middle of a leper colony, totally cut off from the
rest of the world. I am sure that many times
before he finally died that he wished he had never
escaped from the death cell at State's Prison. And as
for Margaret, well, she came to a very sensible conclusion

(03:00:31):
that she couldn't run an a steamship line all by herself.
So what do you think she did? She signed on
her first mate for life. She and Captain Leslie were
married the day after their ship docked at Rio. Next week,
I'm going to tell you a story of the theater
and Broadway. A young and beautiful girl was left an

(03:00:54):
enormous fortune with a provision that she work and earn
her own living for a whole year before she inherited
her state. Now this young lady had always had a
yen for the theater, and she became a chorus girl.
But that was just the beginning for the delightfully entertaining
story of Backstage Broadway. Listen to dance director, This is

(03:01:16):
Warren William inviting you to be with us again next week.

Speaker 53 (03:01:39):
Strange Wills is a Tellaway's feature produced in Hollywood. Names, places,
and events have all been changed so that no reflection
can fall on any person or person's living or dead.

Speaker 6 (03:02:41):
Weird Darkness is celebrating our birthday this month. We use
this annual celebration to help those who struggle with depression.
Every October, we raise money for organizations that help people
overcome depression, anxiety, and thoughts of suicide and self harm.
It's called overcoming the Darkness, and you can make a
donation right now at Weird Darkness dot com slash hope.

(03:03:01):
That's Weird Darkness dot com slash hope. A gift of
any amount helps, with every dollar bringing hope to someone
affected my depression. To donate, to get more information about
overcoming the darkness, or to find hope to battle back
the darkness of depression in yourself or someone you love,
visit Weirddarkness dot com slash hope. The fundraiser ends on
Halloween night at midnight, so please give right now while

(03:03:24):
you're thinking about it. That's weird darkness dot com slash hope.

Speaker 14 (03:03:28):
The story you were about to hear is true.

Speaker 8 (03:03:31):
But st.

Speaker 20 (03:03:47):
I'm Christmas Eve, Tom.

Speaker 18 (03:03:49):
You picked up a girl on the road and didn't.

Speaker 16 (03:03:52):
Even tell me about it.

Speaker 57 (03:03:54):
Oh wait a minute, Lucille, how does she was a
beautiful girl.

Speaker 20 (03:03:57):
With eyes like nothing a man who's ever seen.

Speaker 16 (03:04:01):
You've been talking to Bill and you end up at
my house, walking around as though you weren't quite connected
with this world.

Speaker 4 (03:04:09):
Answer me, have you been talking to Bill?

Speaker 7 (03:04:11):
Did he tell you about this?

Speaker 16 (03:04:12):
I've talked with Bill, but he didn't tell me any
part of this, and neither did anyone else.

Speaker 18 (03:04:20):
But I know, and I can tell you every detail.

Speaker 29 (03:04:23):
Of that ride.

Speaker 16 (03:04:25):
How That's why you're out for this ride, Darling. I'm
going to show you how.

Speaker 14 (03:04:40):
Strange true stories of the supernatural with your narrator, famous author,
lecture and expert on weird and unusual events, Walter Gibson.

Speaker 3 (03:04:50):
Thank you, Charles Woods.

Speaker 1 (03:04:52):
At the turn of the century, a train ran through Connecticut,
which local residents dubbed the ghost train. It was real
enough at the time, but its white cars gave it
a weird effect when seen through the night.

Speaker 4 (03:05:06):
In years to come, the term.

Speaker 1 (03:05:07):
Became even more appropriate. A few years ago, Tom Lacy
was driving over back roads in the Connecticut to spend
Christmas with his fiance. In the rear seat, his friend
Bill Bowen was dozing comfortably along with his dogs Spangles.

(03:05:30):
Tom didn't like the road very much.

Speaker 57 (03:05:37):
Ah, we should have put on Shane's. It's pretty hard
to hold his car down in these old, high crowned roads.

Speaker 4 (03:05:45):
And that sounds like a sleigh.

Speaker 15 (03:05:48):
Where is it?

Speaker 1 (03:05:50):
I wonder if there could be a side.

Speaker 57 (03:05:52):
Road running along here. I can hear those bells is
plain to day, but there's not a sign of the
sleigh either in front of us, behind us. I sure
hate having to stop for it in a hurry while
I'm going down this long hill. The train coming.

Speaker 23 (03:06:11):
It's an old steam train.

Speaker 15 (03:06:12):
Anybody beating up here?

Speaker 2 (03:06:13):
Steel, there's no more bells.

Speaker 57 (03:06:16):
It's the slave us to stop for the train.

Speaker 35 (03:06:18):
And I bet it whoa whoa.

Speaker 57 (03:06:24):
White hard It's like a ghost train.

Speaker 29 (03:06:30):
It's funny.

Speaker 10 (03:06:32):
The Steel didn't mention.

Speaker 57 (03:06:33):
Anything about railroad crossing in their directions.

Speaker 15 (03:06:38):
There's somebody in the road.

Speaker 2 (03:06:39):
I think, yeah, it's a girl.

Speaker 36 (03:06:41):
If we're looking for a rideway out here.

Speaker 57 (03:06:44):
Well, there's somebody to talk to us.

Speaker 3 (03:06:46):
And Bill won't wake up.

Speaker 15 (03:06:49):
Get in.

Speaker 42 (03:06:49):
You must be frozen standing out there here here.

Speaker 56 (03:06:54):
I'll close the door for you.

Speaker 1 (03:06:57):
Well, where to miss.

Speaker 15 (03:07:01):
In the valley at the foot of the long Hill road,
my father's hill.

Speaker 7 (03:07:07):
I must get to him.

Speaker 57 (03:07:08):
Right away, right away, Long Hill Road. I'm afraid I
I don't know where that is.

Speaker 7 (03:07:15):
Take the first right down the hill at the bottom.

Speaker 18 (03:07:19):
Take your left fork across the covered bridge.

Speaker 7 (03:07:23):
It's the first house on.

Speaker 15 (03:07:25):
The other side of the river.

Speaker 13 (03:07:27):
Okay, take it easy, I'll get you there.

Speaker 29 (03:07:46):
Well, I guess this is the place.

Speaker 57 (03:07:48):
Miss, yes, uh, there somebody waiting for you in the porch.
I think for the lantern, my brother Leonard.

Speaker 21 (03:07:55):
Oh oh, wait a.

Speaker 12 (03:07:57):
Minute, let me get the door.

Speaker 1 (03:07:58):
It sticks. Thank you.

Speaker 57 (03:08:02):
Well, wait a minute, you don't have to be in
sitty hurry do yet.

Speaker 7 (03:08:07):
I kind of like to see you again after Christmas.
I'm sure my father will be well.

Speaker 10 (03:08:14):
Good night.

Speaker 12 (03:08:24):
It was a gay Christmas at the home of Lucille Rutledge.

Speaker 1 (03:08:28):
Tom's fiancee, but Tom, oddly enough, was more quiet than usual.
Although Lucille worried a little, asking if he felt all right,
Tom would not admit to anything being wrong. Finally, she
got Phil Bowling as side to ask a few pertinent questions.

Speaker 18 (03:08:46):
Bill, will you talk to me for a minute?

Speaker 57 (03:08:49):
Sure, pick a subject.

Speaker 10 (03:08:51):
I can't help wondering what's happened to Tom?

Speaker 21 (03:08:54):
Do you have any idea?

Speaker 1 (03:08:56):
Well?

Speaker 8 (03:08:57):
I didn't know anything had.

Speaker 3 (03:08:58):
Happened to him.

Speaker 16 (03:08:58):
Oh well, now he's not being himself at all.

Speaker 18 (03:09:02):
He's quiet, and you know that's.

Speaker 13 (03:09:04):
Not at all like Tom.

Speaker 57 (03:09:06):
Come to think of it, I guess that's right.

Speaker 18 (03:09:08):
We haven't seen each other since Thanksgiving.

Speaker 13 (03:09:12):
Are you sure that.

Speaker 16 (03:09:15):
He hasn't met another girl?

Speaker 20 (03:09:16):
No?

Speaker 57 (03:09:17):
No, no, Look he dragged me through every high priced
store on Fifth Avenue before we came up here, and
he was like an anxious adolescent.

Speaker 8 (03:09:25):
Did I think you'd like this?

Speaker 16 (03:09:27):
That?

Speaker 4 (03:09:28):
Was it the right color?

Speaker 57 (03:09:30):
Does that sound like a guy who's got his mind
on another girl?

Speaker 1 (03:09:34):
No?

Speaker 16 (03:09:35):
And one of you certainly had good taste in presence,
I must say. But just the same, he's been quiet
and strained ever since he got here, So something must
have happened Tom.

Speaker 10 (03:09:49):
Bill, nothing happened.

Speaker 18 (03:09:51):
Along the road, did it?

Speaker 5 (03:09:54):
Well?

Speaker 57 (03:09:54):
You can't prove it by me. I was asleep most
of the way out here.

Speaker 2 (03:09:57):
No, I think hard, honest.

Speaker 8 (03:10:00):
Nothing.

Speaker 57 (03:10:01):
Well, I vaguely remember hearing Tom muttering to himself.

Speaker 3 (03:10:03):
While he drove along.

Speaker 4 (03:10:05):
And well, now that I think of it, I do seem.

Speaker 57 (03:10:11):
To remember a woman's voice in there a couple of times, because.

Speaker 1 (03:10:14):
I thought I was dreaming.

Speaker 18 (03:10:15):
Do you remember where you heard it?

Speaker 8 (03:10:18):
Oh?

Speaker 57 (03:10:18):
It didn't even open my eyes. All I know is
we were going down a hill. We seemed to have
been going down a hill the whole way up there.

Speaker 16 (03:10:25):
Ah, it was a long hil In other words, now
I know what's been the matter with Tom.

Speaker 57 (03:10:31):
Oh, wait a minute, Lucillie. If there's anything I've said, the.

Speaker 13 (03:10:33):
Rest easy bill. But tomorrow I'm gonna.

Speaker 16 (03:10:36):
Take Tom out for a drive, and you're not invited.

Speaker 1 (03:10:47):
Although the roads hadn't improved a bit, Lucille insisted on
going out for a drive with Tom on the following day.
She took the wheel, and as the car pulled out
of a village, she said.

Speaker 16 (03:11:01):
I should be jealous, you know, huh, Yes, you pick
up a girl along the road.

Speaker 13 (03:11:07):
Don't even tell me about it.

Speaker 57 (03:11:08):
Wait a minute, now, it.

Speaker 16 (03:11:09):
Was a beautiful girl with eyes like nothing the man
has ever seen before.

Speaker 57 (03:11:15):
You been talking to Bill and you end up at my.

Speaker 16 (03:11:18):
House, walking around as though you weren't well quite connected
with this world.

Speaker 4 (03:11:24):
Answer me, have you been talking with Bill?

Speaker 28 (03:11:26):
I've talked with Bill, Yes, but he didn't.

Speaker 35 (03:11:29):
Tell me any of this.

Speaker 50 (03:11:31):
Well then how'd you know?

Speaker 16 (03:11:32):
Uh huh ah, that's an admission that it's all true?

Speaker 3 (03:11:37):
Well, all right, I picked up the girl.

Speaker 57 (03:11:39):
Yeah, well, she was standing beside the road trying.

Speaker 2 (03:11:42):
To flag a ride to her home.

Speaker 10 (03:11:43):
M M.

Speaker 4 (03:11:44):
Yeah, it looked pretty cold out there, so I took
her home.

Speaker 16 (03:11:47):
Yeah, but you wanted to see her again?

Speaker 3 (03:11:50):
Well?

Speaker 5 (03:11:50):
I why?

Speaker 11 (03:11:51):
Well?

Speaker 8 (03:11:52):
Well, I M.

Speaker 57 (03:11:54):
Like, here was this kid a friend of yours?

Speaker 8 (03:11:57):
It was? No?

Speaker 57 (03:11:58):
Well, the how did you know all of it?

Speaker 16 (03:12:00):
I'm a psychic?

Speaker 20 (03:12:01):
Oh?

Speaker 21 (03:12:02):
None?

Speaker 1 (03:12:02):
Sense?

Speaker 24 (03:12:02):
No?

Speaker 7 (03:12:03):
Really?

Speaker 16 (03:12:03):
Tom?

Speaker 18 (03:12:04):
Why the stair?

Speaker 7 (03:12:05):
Ever since you got here?

Speaker 18 (03:12:07):
Do you realize that you haven't looked me in the eyes?

Speaker 21 (03:12:10):
One?

Speaker 1 (03:12:11):
Well?

Speaker 57 (03:12:11):
I why I didn't realize.

Speaker 2 (03:12:13):
I'm I'm sorry.

Speaker 57 (03:12:15):
It won't happen again.

Speaker 40 (03:12:16):
Yes, but what your.

Speaker 16 (03:12:17):
Promise were is, how do I know it won't happen again?

Speaker 57 (03:12:20):
Because I love you and I wanna marry you.

Speaker 4 (03:12:24):
You're the only girl in the world for me.

Speaker 10 (03:12:26):
Ah, well, that goes a long way toward getting you
out of the doghouse.

Speaker 3 (03:12:31):
That's good.

Speaker 16 (03:12:32):
No, if you can explain walking around with a dreamy countenance, well.

Speaker 57 (03:12:38):
You put your finger on it, alright. See, had girl's
eyes there won't have me walking around in a trance.

Speaker 23 (03:12:46):
I I just couldn't get.

Speaker 57 (03:12:48):
Them out of my mind.

Speaker 8 (03:12:49):
Hm.

Speaker 10 (03:12:50):
Alright, darling.

Speaker 18 (03:12:52):
Now I'll show you how I happen to know all
about it, Although this isn't advantage that I really should keep.

Speaker 3 (03:13:08):
By a roundabout way.

Speaker 1 (03:13:10):
Lucille drove Tom to the long hill where unexplained things
had started happening, pilling different as it appeared in daylight.
Tom could still recognize it, and he said, so.

Speaker 16 (03:13:26):
That's right, darling.

Speaker 18 (03:13:27):
You see now we're headed back toward my house on
exactly the same road due to a Christmas eve.

Speaker 24 (03:13:32):
Hm.

Speaker 18 (03:13:33):
Hm do you remember hearing something around this point?

Speaker 4 (03:13:37):
Yeah, sleigh bells?

Speaker 10 (03:13:38):
Did you see the sleigh?

Speaker 11 (03:13:40):
No, that's what stuck me.

Speaker 16 (03:13:42):
You didn't see the sleigh because it was traveling in
old road that doesn't exist anymore. It used to run
parallel to this one, at least part way down the
hill and then just about here.

Speaker 18 (03:13:55):
I should think you started hearing a train.

Speaker 57 (03:13:59):
Yeah, I'm dying if I did.

Speaker 21 (03:14:00):
How did you know?

Speaker 9 (03:14:01):
And when you came around this curve.

Speaker 4 (03:14:03):
You saw I saw a train, yes, But now.

Speaker 18 (03:14:11):
Look in the light of day, do you see any
railroad crossing there?

Speaker 4 (03:14:17):
No, it's not a sign of one.

Speaker 13 (03:14:22):
Was I out of my head?

Speaker 4 (03:14:23):
No, darling, you were all right.

Speaker 16 (03:14:25):
Look on either side of the road you'll see the
old railroad bed where the line used to run through here. Yeah,
and right here's.

Speaker 7 (03:14:34):
Where you picked up the girl.

Speaker 57 (03:14:37):
Yeah, she was standing right over there by that rock.

Speaker 45 (03:14:40):
Not.

Speaker 16 (03:14:41):
The reason I know exactly what happened is that it's
happened before to other people down through the years. You see,
back around nineteen hundred, a girl named Ethel Wyman was
hurrying down this hill in a sleigh, trying to reach
her father's sick bed before he died, and she was
struck in killed here by the train that used to.

Speaker 7 (03:15:02):
Run on this line.

Speaker 4 (03:15:04):
And it was painted all white, wasn't it.

Speaker 16 (03:15:06):
And every year at Christmas time the scene is re
enacted with the girls standing by the side of the
road trying to get a ride to.

Speaker 7 (03:15:14):
Her father's house.

Speaker 16 (03:15:16):
And everyone who has experienced it has made a point
of reporting the girl's eyes.

Speaker 18 (03:15:23):
They were haunting.

Speaker 4 (03:15:26):
Yeah, they certainly were. Well, so I picked up a
ghost and took her home.

Speaker 57 (03:15:32):
Huh see that'll be something to remember. Look now, will
you tell me why all this business about you being jealous?

Speaker 13 (03:15:41):
Well, it was just too good an opportunities, we thought.

Speaker 16 (03:15:45):
I just wanted to be sure that you never look
at another girl again, no matter what.

Speaker 9 (03:15:50):
Kind of eye she had.

Speaker 1 (03:16:02):
Thinking it over later, there was something that neither Tom
nor Lucille could puzzle out. Before reaching ethel Wyman's home,
Tom had taken a left fork at the bottom of
Long Hill, then crossed a covered bridge. Retracing that route
in daylight, he found that neither the fork in the
road nor the bridge existed. The road ended at an abutment,

(03:16:24):
and beyond it lay Great Hollow.

Speaker 12 (03:16:26):
Reservoir, built forty years before.

Speaker 14 (03:16:30):
Tune in at the same time for Walter Gibson. You're
expert on the supernatural stories of ghosts, of spirits, werewolves,
and voodoos, and each story you hear is true but
stre strange. With Walter Gibson as your expert. Was directed

(03:16:53):
by Bill Marshall in The cast were Mary Patten and
Hal Holbrook, Missus Charles w speaking.

Speaker 29 (03:17:11):
Suspense.

Speaker 22 (03:17:23):
This is the Man in Black, here to introduce Columbia's
program Suspense in Hollywood this evening. Our Star is the
young American actor who, within a single year, has become
one of the most provocative of Hollywood's leading men, Mister
Gene Kelly. Mister Kelly appears tonight as a gentleman named
Ark Kramer, a gentleman of most uncertain scruples, engaged with

(03:17:47):
other gentlemen of similar disrespectability and distinctly unlawful practices. Our
suspense play by Robert L. Richards is called Thieves Fallout,
and in it, in support of Our Star, you will
hear Hans Conried as a racetrack devote by name Knell,
and William Johnstone as Sam Grops. And so with Thieves

(03:18:10):
fall Out and with the performance of Gene Kelly as
Art Kramer again hope to keep you in suspense.

Speaker 18 (03:18:33):
ABC Enterprises.

Speaker 58 (03:18:35):
No, he's not him. No, I don't know where you
can locate him. Yes, I'll tell him. He calls ABC Enterprises,
ABC Enterprises. Why does he give all these guys his
phone number if he wants to keep this business so quiet.

Speaker 59 (03:18:47):
Yeah, you know, wants to.

Speaker 60 (03:18:48):
Do favors of people he meets and fives gregs how
it can get things for him?

Speaker 26 (03:18:52):
You know?

Speaker 2 (03:18:53):
Sure?

Speaker 18 (03:18:53):
I know the next day I have to get him
the brush off.

Speaker 60 (03:18:56):
He's going to brag to the room guys someday. Hiyati, Hello,
Hello Arthur, Hi a babe?

Speaker 18 (03:19:07):
Will you been the last couple of days?

Speaker 2 (03:19:09):
Uh?

Speaker 29 (03:19:09):
Duck and all the guys I owe money too? What
time is Sam getting the boys together?

Speaker 7 (03:19:13):
In?

Speaker 58 (03:19:13):
About half an hour down the warehouse? You better start
down there pretty soon.

Speaker 29 (03:19:17):
What's the difference. I won't get enough out of it
to buy around trip to Coney Island and he calls.

Speaker 18 (03:19:22):
Yeah, Connelly called a little while ago.

Speaker 29 (03:19:24):
That punk another guy in one s though I haven't
got just stole him.

Speaker 18 (03:19:28):
I tried, but he said he was coming up anyway.

Speaker 29 (03:19:30):
What'd you let him do that for?

Speaker 7 (03:19:31):
You know?

Speaker 29 (03:19:32):
I don't want to see that guy.

Speaker 18 (03:19:33):
I couldn't help, but he knows the way he is.

Speaker 29 (03:19:35):
Okay, Okay, anything else?

Speaker 58 (03:19:37):
No, Arthur, if you're not going down right away, can
I talk to you from it?

Speaker 29 (03:19:42):
What about?

Speaker 18 (03:19:43):
Oh something?

Speaker 58 (03:19:44):
Joe watched the switchboard for me? Will you while I
talked to Arthur in the next room.

Speaker 2 (03:19:47):
What she got that?

Speaker 18 (03:19:48):
I haven't got no cracks out of you? Please, Arthur?

Speaker 29 (03:19:52):
All right, but make it snappy.

Speaker 61 (03:19:57):
Now?

Speaker 7 (03:19:57):
What?

Speaker 18 (03:19:57):
Oh, Arthur, what's the matter lately?

Speaker 29 (03:20:00):
You know what's been the matter? Everything?

Speaker 20 (03:20:02):
Me too?

Speaker 29 (03:20:03):
Don't start that again. Read, it's no use. Look, you're
a good kid, but it's no use.

Speaker 18 (03:20:08):
You didn't used to say that, all right?

Speaker 29 (03:20:11):
So now I on nearly ten grand around this town,
and there's some plenty of tough monkeys. But I don't
get it up. Pretty soon, it's going to be too bad.
Top of that, I had a loaded truck and a
trailer highjacked last week, and beggars might take for the
month and more. And you want to know what's the
matter the honey?

Speaker 18 (03:20:25):
Why didn't you quit? Why didn't you get out while
you still can't?

Speaker 29 (03:20:28):
Why don't I quit? What are you talking about?

Speaker 18 (03:20:30):
Do you used to have a decent business?

Speaker 7 (03:20:32):
Arm?

Speaker 39 (03:20:32):
Sure?

Speaker 18 (03:20:32):
Sure, and I didn't need what about now? It's making
a wreck of you.

Speaker 58 (03:20:35):
It's it's dangerous. You know what's gonna happen. This whole
black market thing's gonna crack pretty soon.

Speaker 60 (03:20:40):
And when it does, yeah, yeah, Canell, he's outside to
see howie that punk?

Speaker 29 (03:20:47):
All right, let him come in. What's one more? Okay,
better let me talk to him alone.

Speaker 18 (03:20:52):
Baby, all right, think about what I said?

Speaker 59 (03:20:55):
Well you sure?

Speaker 26 (03:21:05):
H yeah?

Speaker 29 (03:21:06):
Here I thought I might catch you. Yeah, I bet
close the door. Sure hey, listen, I need that dough.
Well I haven't got it. I told you that. No, no, no,
Look I don't want there should.

Speaker 2 (03:21:16):
Be no trouble.

Speaker 29 (03:21:17):
There's not going to be any trouble. Take it easier,
I do you mean that? But I took them bet
from you on my own. Now my boat is after me.
I don't get that dough by monday, I'm going to
be in trouble. Well I haven't got it, and I
won't have it for another month. Can't you get it
from Sam?

Speaker 28 (03:21:32):
No?

Speaker 29 (03:21:32):
I'm in to him as far as I can be. Now,
what do you mean? Some must have plenty sold down
in some safe deposit vote by now. It isn't in
a vault. Somebody's placed in Connecticut anyway, won't give me
anymore Connecticut. I didn't know he had a place in
Connecticut and near Riverside. It's a hideout way away from everything.
Fail has one two about five miles away. When's he

(03:21:53):
go there. He's hardly ever there. Nobody's there. What do
you care? You're thinking of the days when you used
to climb through second story. Oh you should know how
to say that. I don't even know what a joint is. No,
I was kidding anyway, Listen, I'm sorry about the dough
which you'll have to wait. You don't know the spot.
I mean, you'll get it from me when I've got it.
I believe aunt list you're coming where you're going down

(03:22:16):
of the warehouse to watch my share of last month's
take down the drain.

Speaker 4 (03:22:28):
Where's it, Artie?

Speaker 3 (03:22:30):
Okay, you're late.

Speaker 29 (03:22:34):
Yeah, I stopped in at the office, I McPhail. I'm oh.
You weren't waiting just for me to hand out the chips,
were you? You're right, we weren't, all right. I just
wanted you to know how it worked out.

Speaker 4 (03:22:47):
It was a good month except for you.

Speaker 1 (03:22:49):
I know.

Speaker 2 (03:22:50):
I know came on.

Speaker 62 (03:22:51):
Sam came on passing around his sugar.

Speaker 59 (03:22:53):
Let's get it over with and here it is cash.
Total take was fifty three grand. Thing goes to you
Macfair and you got to figures all here if you
want to see.

Speaker 62 (03:23:03):
I know you wouldn't double christ me, Sam.

Speaker 59 (03:23:06):
I wouldn't double cross anybody. Don't forget it.

Speaker 1 (03:23:10):
Here's you do?

Speaker 59 (03:23:12):
Oh, yours is six. You understand you didn't bring as
much business as mcfair. I ain't complaining. I get twenty
one part if that is paying expenses. Rest is my percentage.

Speaker 29 (03:23:22):
Don't I get anything?

Speaker 1 (03:23:24):
All right?

Speaker 59 (03:23:25):
Your cut would have been nine grand, but there was
that truck and trailer. Those things cost though, you know,
say nothing of a whole load of prime meat.

Speaker 8 (03:23:33):
You have to take it all out now I already have.
I'll give you five hundred to keep going.

Speaker 29 (03:23:38):
Oh that's fine, five hundred. Listen, Sam, I need toe.

Speaker 62 (03:23:42):
You always need doe and never have none.

Speaker 29 (03:23:44):
Listen, Y's right, DD.

Speaker 59 (03:23:46):
You got to get yourself straightened out. If I give
you any mortal, just go to the bookies and gambling.

Speaker 29 (03:23:52):
Joints like the rest of Listen, Sam, I tell you
I gotta have it. Ext Guys after me.

Speaker 59 (03:23:56):
I think he's yellows and you'll keep your big mouth
out of this.

Speaker 29 (03:23:59):
I wasn't respectable business man when you were running a
lousy clip joint on sands.

Speaker 62 (03:24:02):
Yeah yeah, and you're.

Speaker 8 (03:24:03):
Starving, and you're still starving cause you have the guts
to keep a couple of months from hijacking your stuff.

Speaker 55 (03:24:08):
Why you cut it out, No, cut it out.

Speaker 59 (03:24:12):
There's not going to be any trouble in this organization.
It's plenty for everybody.

Speaker 4 (03:24:17):
Now listen.

Speaker 59 (03:24:18):
Yeah, why don't you go up to my place in
Connecticut for a few days. Take it easy and let
me talk to these guys who are looking for you.

Speaker 4 (03:24:26):
I know who they are.

Speaker 29 (03:24:27):
They don't want any more talk anyway. I go nuts
up there in the country.

Speaker 4 (03:24:31):
Go on, pick up my car at the station.

Speaker 8 (03:24:33):
Oh, thanks the hell I am going. I'm going out
of the country and tend them a victory garden.

Speaker 4 (03:24:38):
Your victory garden. Yeah, I see about tuesday.

Speaker 29 (03:24:42):
Okay, Hey Mac?

Speaker 4 (03:24:45):
Yeah, wait a minute, so long, so long?

Speaker 29 (03:24:50):
Say Mac, I'm sorry I made any cracks.

Speaker 62 (03:24:54):
Yeah, forget it.

Speaker 29 (03:24:56):
Uh, Mick, you going up to the country.

Speaker 8 (03:24:58):
Yeah, bet your life going down and get on the
fight twenty right now?

Speaker 29 (03:25:03):
Say you know, Uh, I think I'll take Mac up. Mac. I, Uh,
I kind of need a rest.

Speaker 62 (03:25:09):
Yeah, you'll need something.

Speaker 21 (03:25:11):
Uh.

Speaker 29 (03:25:11):
Do you mind if I ride up on the train
with you?

Speaker 3 (03:25:13):
Why not?

Speaker 1 (03:25:14):
Why not?

Speaker 62 (03:25:14):
It's a public train.

Speaker 29 (03:25:16):
Oh you know, Mac, I was sorry about YACHTI yachtie.

Speaker 62 (03:25:20):
Don't mind me. I talk a lot and I don't
mean it.

Speaker 8 (03:25:25):
Forget it, Mac, I know, Hey, you want to see
him victory garden?

Speaker 29 (03:25:29):
Are you kidding?

Speaker 15 (03:25:30):
No?

Speaker 2 (03:25:30):
No, I got a garden.

Speaker 4 (03:25:32):
It's be cool.

Speaker 62 (03:25:33):
I want to see it.

Speaker 29 (03:25:34):
Sure, sure I would. I always like gardens.

Speaker 8 (03:25:37):
Well, well, in that case, you'll have to stop over
my place on here on your way to sam.

Speaker 29 (03:25:43):
It'll be a pleasure.

Speaker 2 (03:25:56):
Come on in Nadi.

Speaker 8 (03:25:58):
Hey, I want to put this do on a safe
and then I'll then I'll show you around. Sure ah,
when the war's over and I'm legitimate and I'm gonna
build onto it. Have a lot of lun gardener, real
country gentlemen.

Speaker 29 (03:26:16):
What's this your office?

Speaker 4 (03:26:17):
I do a little business here.

Speaker 29 (03:26:18):
Wants you in a while?

Speaker 8 (03:26:20):
Keep my door in the safe there until I bank it?
Know anything about safe? No, it's good, it's good.

Speaker 11 (03:26:30):
Not today.

Speaker 62 (03:26:31):
Don't trust you Arney, Yeah.

Speaker 16 (03:26:35):
Yeah she is?

Speaker 29 (03:26:36):
What about Mac? You'll hid me?

Speaker 8 (03:26:38):
Not a movie a stick up? Huh woh, you'll yell
a little rat. You don't think you can pull us on.

Speaker 20 (03:26:43):
Me and live?

Speaker 29 (03:26:43):
You know it's not a stick up.

Speaker 2 (03:26:45):
Mac.

Speaker 29 (03:26:45):
I just want you to do me a little favor
and I want to be sure you do it.

Speaker 36 (03:26:48):
Yeah, yeah, get on that phone.

Speaker 4 (03:26:50):
This should better be a gay.

Speaker 29 (03:26:51):
It won't be unless you do exactly what I tell you.
What call read in town? Ask her what SAMs lined
up for Tuesday? Say you called me over at Sam's
house just now and talk to me, but I didn't know.
Come on, hit going.

Speaker 8 (03:27:08):
Edward are three five five six two? Listen that I
no guy to get around with, and I don't like
this talk.

Speaker 2 (03:27:17):
Be there. This is Mac.

Speaker 8 (03:27:20):
What Sam's Atlanta for Tuesday? I just talked aarady over
at Sam's place. Yeah yeah, up here in the country.
He said he didn't know to call you.

Speaker 62 (03:27:32):
I say, no, no, no, never mind, Okay, all right,
I's the gay.

Speaker 29 (03:27:42):
You never were very smart? Way you Mac? That's my alibi.
He just told Ridy you talked to me at Sam's place.

Speaker 15 (03:27:49):
You get it?

Speaker 29 (03:27:50):
Why neatly done?

Speaker 59 (03:28:02):
Art Kramer virtually a perfect alibi.

Speaker 22 (03:28:06):
And seventeen thousand dollars in cold cash. But there was
someone else who thought he had a perfect setup too, Connelly,
the little bookie, whose former occupations were even less savory.
It wasn't hard for Cannelle to find where Sam's place

(03:28:27):
was in Connecticut, in New York's underground of petty crime
and find out anything.

Speaker 23 (03:28:33):
And it wasn't hard to jimmy a window, and that
often enough.

Speaker 22 (03:28:40):
Then to find the money. There was a want of
money here at Sam's place, somewhere Urk Kramer had said. So,
probably in a safe that wouldn't be any trouble either.
Not in the living room, of course, Yes, maybe this room,
an office, a desk and phone, and a safe there
in the wall. And just as he'd fought, old fashioned

(03:29:00):
easy to crack first, to drill a little hole. Then
the soup should be a quick meat of explosion. The
safe would fall apart in his hands.

Speaker 15 (03:29:11):
Right.

Speaker 23 (03:29:11):
But wait, what's that car driving up? Stopping?

Speaker 4 (03:29:16):
Who heart?

Speaker 29 (03:29:17):
Cramer had said. Nobody ever came up here, but it
was leaving now, driving away.

Speaker 23 (03:29:21):
Probably just a mistake. No, no steps outside, somebody coming in?

Speaker 2 (03:29:28):
What to do?

Speaker 18 (03:29:29):
Escape?

Speaker 1 (03:29:29):
Cut off?

Speaker 23 (03:29:30):
Hide here in the office behind.

Speaker 22 (03:29:31):
The door, Hide the bag of tools quick, he's coming
in here.

Speaker 59 (03:29:41):
Co operating And what New York City at water three
five five six two. Yeah, that's right, Hello reader Sam, listen,
read to get a hold of everybody, alreadie mcmore, everybody
you can I've got a tip off. There's gonna be
a rain. Yeah, cops, tell a boy to duck and alone.

Speaker 29 (03:30:00):
Till they hear from me. Find out where they're going
to be.

Speaker 59 (03:30:02):
And call me right back as soon as you contact everybody,
got it?

Speaker 2 (03:30:06):
Yeah?

Speaker 59 (03:30:07):
Oh okay, I'll get hold of Mac myself as long
as he's up here?

Speaker 2 (03:30:12):
Are they too?

Speaker 59 (03:30:13):
What I'm calling from my place?

Speaker 21 (03:30:15):
Now?

Speaker 59 (03:30:15):
I don't see him anywhere and he must have changed
his mind. I didn't look in the garage she came
back cab. He's probably around someplace. Yeah, but I'll wait
for your calling, okay, reader and make us happy. Now, Hey, finally,
what are you doing in Simon?

Speaker 29 (03:30:34):
That's safe?

Speaker 4 (03:30:35):
Why are you?

Speaker 29 (03:30:42):
Yes?

Speaker 2 (03:30:45):
Sir?

Speaker 20 (03:30:47):
Sam?

Speaker 2 (03:30:49):
Hit him too?

Speaker 29 (03:30:50):
Had set it?

Speaker 17 (03:30:57):
Then?

Speaker 29 (03:30:58):
Yes, hit him too? Murder.

Speaker 22 (03:31:03):
That's a lot different from housebreaking murder the phone somebody
calling Sam, fear blind, unreasoning, fear, smash it.

Speaker 11 (03:31:12):
Drip it out of the wall.

Speaker 22 (03:31:14):
Though whoever was on the other end could actually hear,
actually see what was in this room?

Speaker 29 (03:31:18):
Murder and a murderer?

Speaker 23 (03:31:21):
Why why had he done that?

Speaker 4 (03:31:23):
Foolish? Just nerves?

Speaker 23 (03:31:25):
Get hold of yourself, think, think, think what now?

Speaker 4 (03:31:29):
The money?

Speaker 22 (03:31:29):
Yes, have to have the money now make a getaway Mexico,
South America. Maybe Sam, Yes, the body, he'd even touch him,
but turn him over. Hey the wallet empty, that's funny.
Out the pockets, Oh nothing.

Speaker 4 (03:31:45):
The safe.

Speaker 59 (03:31:46):
Then finish the job quick then get out, find the
drill again.

Speaker 29 (03:31:49):
Hurry again.

Speaker 22 (03:31:52):
Somebody coming who never mind? Not going to be caught
this time. Can't be a murderer closing it off?

Speaker 29 (03:31:59):
Block it fuck key hide. Maybe whoever it is will
go away.

Speaker 23 (03:32:03):
Then come back and get the money later. Here is Hi,
quickly the kitchen. Get out the back window again. If
you have to wait, wait, wait, he's not following.

Speaker 46 (03:32:13):
I wonder who it is.

Speaker 29 (03:32:15):
Just have a look through the crack of the door.

Speaker 20 (03:32:18):
Carefl Yeah, Art.

Speaker 4 (03:32:22):
Art Cramer.

Speaker 23 (03:32:23):
The suitcase must be going to stay.

Speaker 29 (03:32:26):
But wait, why not?

Speaker 23 (03:32:28):
Art wouldn't know anything, couldn't do the office door locked.

Speaker 22 (03:32:31):
Give him a plausible story, stay overnight and get the
money when he's asleep.

Speaker 29 (03:32:35):
A chance, but have to take it, have to have
the money now?

Speaker 22 (03:32:40):
Why not tell Art he'd come looking for Sam to borrow,
then looking through the house for him. Call him, yes,
make a book natural he can't answer, Now call.

Speaker 29 (03:32:50):
Him, sir famb held On Abody Hare Hello, who is it?

Speaker 31 (03:32:57):
Who is it yourself?

Speaker 29 (03:32:59):
I'm looking for mister row Sam Gross. Well what are
you doing here? Hello?

Speaker 18 (03:33:06):
Arthur?

Speaker 29 (03:33:07):
I was looking for Sam. I thought you didn't know
what this place was I found? Yeah, what made you
think Sam was going to be up here?

Speaker 5 (03:33:15):
Why?

Speaker 29 (03:33:16):
I heard a tip in town there might be some trouble.
I figured you might come up here to duck out.
What kind of trouble cops? Yeah, I didn't hear anything.
I don't know, but I'd do something. You know, I
need those the worst way. I figured Sam might let
me have a little paid off today, didn't he That's right?
H Did you get any if you did? I don't

(03:33:39):
like to keep asking you, but I needed I why?

Speaker 2 (03:33:42):
Why?

Speaker 29 (03:33:43):
Look, Kennelly, you know I meant to get in touch
with you about that. I wanted to talk to you
this afternoon. You mean you got someone? Come on inside.
I'll tell you. Oh sure, sure, I got an idea,
an idea.

Speaker 23 (03:33:58):
It came like a flash to Art Kramer.

Speaker 22 (03:34:01):
Frame Connelly for the murder of McPhail, plan some of
mcphil's money on him as evidence, and who would ever
believe Connelly's word? A man with a criminal record against
Arts My Reata would swear that McPhail himself had said
Art was at Sam's place, simply denied that he'd ever
seen Connelly, and Connelly would be McPhail's murderer.

Speaker 23 (03:34:23):
And Art Kramer would be safe for him.

Speaker 29 (03:34:26):
Now about that money, Yeah, as a matter of fact,
I did get some, not much, understand even a little
of help. How much do I owe you all together?
Nearly four? Well, I suppose I gave you too. I
shouldn't give you that much the way I'm fixed, It
ain't what I need, but it would help. Okay, here's
two grand on account.

Speaker 3 (03:34:48):
You know.

Speaker 29 (03:34:48):
It doesn't leave me with much. I appreciate it. Art,
really say, you're really on a spot? Huh yeah? How
much more do you need? Not a four five?

Speaker 3 (03:35:00):
Anyway?

Speaker 29 (03:35:00):
Oh no, I just thought I know where you can
get it if you work it right?

Speaker 2 (03:35:06):
You do?

Speaker 29 (03:35:07):
Yeah? You and Nomak Pail I know not? Well, well
I do. He took in plenty this month. How good
does that do me? I tell you, I know the guy.
He's the softest touch in the world. He give the
shirt off his back to anybody if they told him
the right story. Yeah, how come you don't put the
bite on it? He doesn't like me, but anyone else.

(03:35:27):
I mean, I just ask you. Sure you get anything
you want. I'm not kidding. If he has for ten
even twenty, you get it. If he had it, no,
for sure, he's up here in the country now too,
right up the same back road four and a half miles.
How do I recognize the place. It's a big place
in the right the only house for a mile. You
can't miss it. Say I'd run up there if I

(03:35:49):
were you. Maybe I will, huh, maybe I will.

Speaker 22 (03:35:56):
A break the kind of break Connelly had prayed for
the money from mcphaild.

Speaker 23 (03:36:01):
Yes, quicker and safer than trying to get back in
that room with a dead body on the floor.

Speaker 22 (03:36:06):
Get it from McPhail and have a good head start.
Art won't find Sam's body in there for at least
a day or two. The door's locked and Cannelly has
the key. He can be on a plane with mcfail's
money and be out of the country by tomorrow.

Speaker 29 (03:36:18):
A break, the perfect break. Well, thanks for the tip
you show. Mcfail's up there. Sure he's always there every weekend.
He's got a garden, A victory guy that's alive. Well, okay,
I better get gone. Huh look around the grounds from
face that she is nowtside, Just walk right in. The

(03:36:39):
door is always open. He's a simple guy. Trusts anyone. Okay, thanks,
Uh step it. Maybe someday you can do the same
for me. Yeah, yeah, maybe someday I can. Well. So long,
so long, And now Art has a job to finish.

(03:37:00):
Phone the cops from here, no.

Speaker 2 (03:37:02):
Oh bet or not.

Speaker 23 (03:37:03):
They might trace it. The gas station at the crossroad.

Speaker 22 (03:37:06):
Plenty of time, and Nelly will be there five or
ten minutes before he finds what he'll find as the
cops find him.

Speaker 29 (03:37:14):
How easy he fell for it.

Speaker 2 (03:37:15):
But never mind that.

Speaker 23 (03:37:16):
Now the gas station, the phone.

Speaker 29 (03:37:28):
Hello, I want the police, hurry it please hello, uh
Riverside police, listen. I was just driving down nine mile Road.
I was going by the old mcfeil place. You know
the place I mean, yeah, yeah, that's the one. I
was going slow and I heard something. It sounded like
someone was being killed. Yeah, yes, a murder. There were

(03:37:52):
shots and somebody screaming and more shots. A man's voice
or it was terrible. You better get up there right away.
Oh mind who I am? I don't want to get
in any trouble. No, but get up there. Yes, murder,
get your call all right, sir?

Speaker 58 (03:38:10):
Yeah, thanks, ABC Enterprises. Yes, did you locate him yet?
We'll keep trying and call me back.

Speaker 18 (03:38:29):
Joe, I'm worried.

Speaker 60 (03:38:30):
Yeah, don't worry about him. If you can't find Monedick
in the cup.

Speaker 58 (03:38:34):
I'm not thinking about him. I'm worried about Sam and
maybe they went out. Sam said he'd wait for my call.
It isn't that the phone, stead I've got to get
in touch with him somehow.

Speaker 2 (03:38:43):
Can't it wait?

Speaker 58 (03:38:44):
You know it can't not with the cops raiding the
warehouse and arresting everyone in sight.

Speaker 2 (03:38:47):
Well, how about a telegram.

Speaker 58 (03:38:49):
I'm too slow. I hate to send anyone around to
the house. But Sam will understand this time.

Speaker 36 (03:38:54):
What are you gonna do?

Speaker 58 (03:38:55):
Get the telephone company to help? Hello out the Riverside
Connecticut traffic operator. Please, yes, you know it's funny about
that phone. It rang two or three times and then
suddenly it went dead. Oh hello, traffic operator. Have you
a phone listed under the name of Gross Samuel Gross. Well,
there's something wrong with it, and it's very important that

(03:39:17):
I get in touch with mister Gross right away. I'm
a secretary. Will you send a man up right away. Thanks,
And would you tell mister Gross that I've been trying
to reach him.

Speaker 18 (03:39:26):
Thank you.

Speaker 58 (03:39:28):
See, when Sam finds out there's something wrong with his phone,
you can phone me from outside.

Speaker 60 (03:39:33):
Yeah, pretty might girl sometimes reta. Yeah, don't you believe me.

Speaker 58 (03:39:36):
I just wish I was smart enough to get some
sense across to that guy Art Kramer once.

Speaker 18 (03:39:40):
In a while.

Speaker 60 (03:39:41):
You kind of like him, don't you cut it out?
Don't worry about Addie. He'll be all right.

Speaker 18 (03:39:46):
Sure I suppose, I suppose he'll be all right.

Speaker 36 (03:40:01):
Mister Grosse.

Speaker 55 (03:40:01):
I'm from the telephone company.

Speaker 29 (03:40:03):
Mister Grosse isn't here.

Speaker 63 (03:40:04):
Oh well, we just got word from New York that
a secretary's been trying to reach him, but his phone
is out of order.

Speaker 55 (03:40:09):
I was sent up to look at it.

Speaker 29 (03:40:11):
Sure, go right ahead. I'm a friend of mister Gross.
I know he'd want you to fix it. Okay, where
is it? Very story? You're right, Well, looks like we've
got more visitors.

Speaker 55 (03:40:22):
Yeah, cops, Well, I better get after this phone here.

Speaker 36 (03:40:25):
I'm sorry to trouble. Yeah, I wonder if we could
use your phone.

Speaker 29 (03:40:27):
It's out of order. I'm afraid there's a man here
fixing it. Now, what's the matter, officer trouble?

Speaker 2 (03:40:33):
Yeah, a little killing up the road.

Speaker 29 (03:40:35):
Wait, he didn't want to handle the phone. There mighty
fingerprints on it.

Speaker 8 (03:40:39):
Murder, that's right, the old McPhail place got the guy
right handed.

Speaker 36 (03:40:43):
Murder and robbery. Even found the door.

Speaker 29 (03:40:46):
Yeah, who did it?

Speaker 2 (03:40:48):
Says?

Speaker 36 (03:40:48):
His name is Connelly from New York.

Speaker 8 (03:40:50):
I wouldn't tell you all this except it's an open shutcase.
Couldn't explain what he was doing there, or how he
got the money or anything. Well, you'll read about it
the papers tomorrow. You'll have him outside now yep, Well
we better be going.

Speaker 29 (03:41:02):
Hey, mister, do you got you got? It's locked?

Speaker 2 (03:41:05):
You got a key? Why?

Speaker 20 (03:41:07):
No?

Speaker 2 (03:41:08):
No, what's the matter?

Speaker 36 (03:41:08):
You lost a key someplace?

Speaker 29 (03:41:10):
Hold? I must have the room with the phone in it.

Speaker 8 (03:41:13):
Oh maybe I can help you out. I got a
little gimmick here that might open he thanks. Uh, we
got to have things like that in this Lanta business,
you know.

Speaker 36 (03:41:21):
And this the door.

Speaker 29 (03:41:22):
Yeah, that's it.

Speaker 14 (03:41:27):
There you are.

Speaker 1 (03:41:28):
Thanks.

Speaker 29 (03:41:29):
You don't need me in there for anything, do you, no, sir?

Speaker 8 (03:41:32):
Well?

Speaker 29 (03:41:33):
Good night, good night?

Speaker 63 (03:41:34):
Hey say your officer, Yeah, you better come in here
a minute, Wait a second well you, Jim, Sure, what's
the matter, Hey, mister, you've been here all day?

Speaker 29 (03:41:47):
That's right.

Speaker 36 (03:41:47):
Why nobody else been here all after?

Speaker 20 (03:41:50):
No?

Speaker 29 (03:41:50):
No, sir, oh what's this? You find something wrong in there?

Speaker 2 (03:41:55):
Said?

Speaker 36 (03:41:55):
Put up your hands.

Speaker 29 (03:41:56):
Hey, what's the idea now?

Speaker 36 (03:41:57):
Huh Jim, take a look at what we got here?

Speaker 2 (03:42:00):
Yeah?

Speaker 36 (03:42:01):
Well cover Jim?

Speaker 3 (03:42:03):
Okay, what is he?

Speaker 29 (03:42:05):
Let me see that, Sam?

Speaker 36 (03:42:09):
No robbery too.

Speaker 8 (03:42:10):
Been through his wallet and started on the safe just
like the other guy.

Speaker 36 (03:42:13):
That's risk him.

Speaker 8 (03:42:14):
No, No, I didn't do this.

Speaker 29 (03:42:16):
I tell you, I didn't do what I tell you.

Speaker 8 (03:42:17):
Yeah, here's the dough, all right, a roll big enough
to choke a horse. Fuck you, guys, I tell you
I didn't do this kind of interrupted you didn't we
come on, look, I didn't do this.

Speaker 13 (03:42:27):
I tell you I didn't.

Speaker 39 (03:42:28):
I didn't dollar.

Speaker 22 (03:42:46):
And the story ends with a newspaper clipping I read
it to you. Bridgeport, Connecticut. Arthur Kramer and George Connelly
were executed here today within ten minutes of each other,
to bring to a fitting conclusion one of the strangest
series of coincidences in the criminal records of this state.

(03:43:07):
Both men committed the same crime, murder and robbery within
a few miles of each other on the same day
and at almost the same time. Both victims were operators
in the New York black market. Kramer was convicted of
the murder of Samuel Gross. Cannelle killed Edward MacPhail. Both
killers were caught on the scene of the crime were

(03:43:27):
arrested by the same officers, taken together in the same
police car to the same jail. Both proclaimed their innocence,
yet pleaded guilty in the face of the overwhelming evidence
against them. A curious factor in the case was that,
though both men denied knowing the other, they tried repeatedly
to attack each other in the prison yard until guards
were forced to keep them out of sight of each

(03:43:49):
other at all times. Police have always believed there was
some connection between the two crimes, but have never been
able to find out what it was, and so closes

(03:44:14):
Thieves fall Out starring Gene Kelly Tonight's Tale of Suspense
appearing with gene Kelly, who is to be seen currently
in Metro Golden Mayer's technical or musical Thousands Cheer, where
Hans Conried as Knelly and William Johnstone.

Speaker 29 (03:44:30):
As Sam Gross.

Speaker 22 (03:44:32):
This is the Man in Black who conveys to you
Columbia's invitation to spend this half hour in suspense with
us again next week's same time, when our star will
be mister Vincent Price. Mister Price will be heard in
a suspense play by E. Jack Newman, dealing with the
Gestapo and called The Strange Death of Charles Humberstein. The
producer and director of suspense is William Spear, who with

(03:44:54):
lud Gluskin and Lucian Morowick conductor and composer, and Robert L. Richards,
the author, collaborated on Night's Suspense.

Speaker 61 (03:45:05):
Don't Miss Suspense when necessary moves to a new day
and time. The day Thursday is beginning December the second.
The time eight pm Eastern wartime and seven pm Central
wartime in the Mountain and Pacific time zones. Listeners will
hear suspense on Mondays, beginning December the sixth, at nine
pm Pacific wartime. This is CBS Equlumbia Broadcasting System.

Speaker 8 (03:45:40):
Do you see that black cat just ahead of you?

Speaker 4 (03:45:44):
Look out?

Speaker 38 (03:45:45):
You may cross your path with a sudden dart of
this black furry body. Now you know that old superstition
about not letting a black cat walk across your path.

Speaker 24 (03:45:57):
Do you believe it?

Speaker 38 (03:46:00):
If you do, or even if you don't, perhaps you'll
be interested in hearing the strange tale of Phoenix Darnel
and the cat that screamed in the night high above
the streets of the city. It was a cold, dreary,
rain swept day when Felix Darnell first met the cat.

(03:46:21):
Felix Darnell was a construction foreman and the well Spencer
puddect in the lower east Side. The well Spencer building
was already thirteen stories high, and with but seven floors
more to go, the building would be one of the
mightiest and most ultra modern structures on the east Side. Now,

(03:46:41):
Felix was a tall, thin, scarecrowler man, but the muscles
of his body were taught and finely strunk through his
deceiving looking frame. He was a foreman of an older day. Indeed,
he might have worked on the Pyramids or the Colossus
of Roads. But Felix Tharnel was a lonely man with

(03:47:04):
no one to share his pride. He ate alone, lived alone,
and walked alone. And on this cold, dreary, rain swept day,
he walked to his job, staring down of the pavement Suddenly,
there before him, a long, thin, black cat stalked from

(03:47:26):
an alley and halted on its hatches. Felix Darnell didn't
see the cat till he nearly stumbled across it. He
snapped out of his reverie and cursed cats. He hated
cats viciously. He aimed a kick at it wish. The
cat howled in pain and slunk off, miserable and wet
in the rain. When Felix reached the project, he changed

(03:47:50):
into his overalls and cap and took the lift of
the thirteenth floor. By now the rain had abated somebod
As he looked at the scaffolds of the catwalks, Felix
Darnell was not happy the rain and the wetness would
slow up The jar cursed again. Suddenly, Felix Darnell heard

(03:48:12):
a crying, moaning noise, a low, fierce sound like someone
in agony. Could someone be stuck out on the framework,
trapped on one of the catwalks. Taking a flashlight because
the daylight was dark and unnatural still, he stepped out
onto the catwalk that ran on a straight line to
what would be a southwest corner of the building. He

(03:48:36):
walked slowly and carefully along the thin iron ledge that
held his weight. The street yawned beneath him, thirteen construction
floors down, and then a dark figure, bald and indescribable,
spang from a dim niche and shot towards Felix Darnell.

(03:48:57):
He had one awful second to see the two eyes
his burning in the cat's head, the same cat that
he had kicked only an hour before. The feline body
raced between his legs on the catwalk and with a
horrible screen, he tried to balance himself, fought for survival.
His hands clawed at the air, but put his weight

(03:49:19):
thrown to one side by the cat's movement, hung into
space for a brief instant before he fell all the
way to the street thirteen floors below. He landed on
a steel beam waiting to be hauled up, and what
it did to him was something that would make even

(03:49:40):
a cat turn away in disgust. Interesting tale of revenge,
isn't it? Phoenix Darnel and his black cat. Who of course,
it might have been just a coincidence, but there, look,
we can find out for ourselves. A black cat just

(03:50:01):
crossed your path. See him go do you mind if
I stay with you, my friend? I'd like to see
for myself just what happens to you.

Speaker 56 (03:50:34):
The Adventures of the Saint starring Vincent Price. The Saint,
based on characters created by Leslie Charteris and known to
millions from books, magazines, and motion pictures, The robin Hood

(03:50:56):
of Modern Crime now comes transcribe to radio, starring Hollywood's
brilliant and talented actor Vincent Price as.

Speaker 31 (03:51:05):
The Saint.

Speaker 2 (03:51:08):
Mm hmmm h m m m m m m hm hm.

Speaker 37 (03:51:28):
Who oh it's you. For a minute, I thought I
just stopped in for a book. Yeah, that's it, you know.

Speaker 7 (03:51:43):
No, h.

Speaker 2 (03:51:59):
Uh, all right, all right, Rome wasn't built in a day?
How long did it take?

Speaker 7 (03:52:05):
What?

Speaker 2 (03:52:06):
Never mind?

Speaker 18 (03:52:07):
You're a Simon templar. Yeah, then please let me in quickly.

Speaker 2 (03:52:11):
Of course.

Speaker 18 (03:52:13):
I'm going crazy?

Speaker 2 (03:52:14):
Well could you wait until we got into the living
room chairs?

Speaker 7 (03:52:17):
There?

Speaker 2 (03:52:19):
You see?

Speaker 18 (03:52:20):
Maybe you won't believe me, but I am going crazy?

Speaker 2 (03:52:22):
Well all right, but sit down. No, why, you're very pretty,
and I'm glad you came to visit that I won't
have you going crazy in my apartment.

Speaker 18 (03:52:29):
Where should I go crazy?

Speaker 2 (03:52:30):
M I have a suggestion, don't go at all.

Speaker 18 (03:52:32):
But you don't understand. My name is May Owen.

Speaker 2 (03:52:36):
How do you do?

Speaker 18 (03:52:37):
I'm going crazy?

Speaker 2 (03:52:38):
We're explaining why.

Speaker 18 (03:52:39):
I'm sorry. You see, I own a little bookstore and.

Speaker 2 (03:52:43):
You've been reading all the best sellers.

Speaker 18 (03:52:44):
Of course not. I just want books. I don't have
to read them.

Speaker 2 (03:52:47):
Oh, my apologies. A circulating library, that's right? And are
you starting to cry? You have beautiful eyes and lovely
last year? Do they belong to you? Of course they do,
amazing man, I beg your pardon.

Speaker 18 (03:53:06):
Abel on my leashes. Oh I'm not gonna cry anymore.

Speaker 2 (03:53:12):
Good now, then you own a circulating library, and to
tell me what's bothering you?

Speaker 18 (03:53:18):
What is mister Templar? Have you ever heard of a
book called Birds and Bees of East Orange?

Speaker 2 (03:53:25):
It's been a luckier man than I'd realized. The answer
is no. What about it?

Speaker 64 (03:53:29):
Well, mister Templar, In the last month, that book has
been constantly in demand.

Speaker 18 (03:53:34):
It's crazy. Who cares about the birds and Bees of
East Orange?

Speaker 4 (03:53:38):
I don't know.

Speaker 64 (03:53:38):
He goes out of the library, a reservation comes in.
As soon as it comes back to the library, goes
out again, and then another reservation, and then it comes
in and goes out and comes in. Well, why should
that happen all the time?

Speaker 2 (03:53:49):
Well, perhaps the author has a lot of relatives.

Speaker 18 (03:53:51):
You still don't understand.

Speaker 2 (03:53:53):
Is there anything to understand? For some reason or other,
the book happens to be popular, and well, there's no
real problem.

Speaker 35 (03:54:00):
But there is.

Speaker 64 (03:54:01):
You see the people who've been taking that book out
all the time, Well they're the same people.

Speaker 18 (03:54:17):
There it is, mister Templar.

Speaker 2 (03:54:19):
Uh, stop right here, Louis.

Speaker 31 (03:54:20):
Okay, mister Temple, Well I should wait, mister Temple.

Speaker 2 (03:54:27):
I want you should wait, Louis.

Speaker 18 (03:54:29):
I'll wait, mister Templar. Yes, me, you're not speaking to me.

Speaker 2 (03:54:36):
I'm trying to invent a good reason why I'm going
to your bookstore with you. Oh may? Could I seriously
tell anyone I'm going to a bookstore at this hour
of the night in order to look at a book
called The Birds and Bees of East Orange. Sure you could,
but they wouldn't believe me, just as I don't believes
my place.

Speaker 4 (03:54:53):
Huh.

Speaker 2 (03:54:55):
It's nice, it's small, but.

Speaker 18 (03:54:58):
The books get in all right, that's convenient. Just a
minute till I put the lights one.

Speaker 2 (03:55:04):
I'd better shut the door before any uh midnight browsers
come around now.

Speaker 64 (03:55:11):
The Birds and Bees are best orange. Yes, well, it
came in just before I shut up shop. It's on
reserve though, of course, of course, so I left it
behind the counter.

Speaker 2 (03:55:20):
Well, who reserved it?

Speaker 18 (03:55:22):
One of the people who've been taking it out regularly? Yah,
it should be down here.

Speaker 2 (03:55:28):
May, Oh, don't faint. I've got a right, No, no, no,
what is it?

Speaker 20 (03:55:36):
Oh?

Speaker 18 (03:55:36):
Man down here behind the counter?

Speaker 2 (03:55:40):
Get out of there and let me take a look
at him.

Speaker 7 (03:55:43):
All right, h.

Speaker 2 (03:55:45):
Ordinary kitchen knife buried in his chest hasn't been dead
very long. The body's still warm.

Speaker 7 (03:55:52):
Me.

Speaker 2 (03:55:53):
Who is he?

Speaker 18 (03:55:54):
I never saw him before?

Speaker 4 (03:55:55):
You sure I saw him.

Speaker 18 (03:55:58):
He doesn't even look like the kind of man who
ever read a book.

Speaker 2 (03:56:01):
I'm not so sure of that. Where is the Birds
in the Bees book?

Speaker 18 (03:56:06):
I left it on the shelf right here. I don't
understand I left it here. It's on reserve.

Speaker 2 (03:56:14):
The reservation has been canceled.

Speaker 18 (03:56:15):
Mister Bieber will be terribly angry.

Speaker 2 (03:56:18):
Mister Bieber being the man who had the reservation. That's right,
you have a file card for him. I'd like to
see it.

Speaker 18 (03:56:25):
It's back in this drawer. Keep all the rental library
customers cards in the box.

Speaker 2 (03:56:32):
What is it?

Speaker 18 (03:56:34):
The file cards they're are gone?

Speaker 2 (03:56:38):
That helps may? Would you happen to remember mister Bieber's address?

Speaker 18 (03:56:43):
Yes, I do, because it's a hotel, which is easy.

Speaker 2 (03:56:47):
I thank Heaven something is easy? Which hotel?

Speaker 3 (03:56:50):
Good?

Speaker 2 (03:56:51):
Now, you said the same people kept on taking the
East Orange book out all the time.

Speaker 18 (03:56:57):
The same three people.

Speaker 2 (03:56:58):
Who were they?

Speaker 18 (03:56:59):
Well, mister Bieber, of course yes. And then there's a
there's a girl named Wendy Wilkins. You know that name
sounds funny, it does. The other one's funny too. It's
Peter Piper.

Speaker 2 (03:57:13):
Peter Piper.

Speaker 26 (03:57:14):
Uh huh.

Speaker 18 (03:57:15):
It shouldn't be hard finding someone named Peter Piper.

Speaker 2 (03:57:18):
No, not if it happens to be his real name. However,
we do have mister Bieber and an address. Yeah, that's
of course.

Speaker 18 (03:57:27):
I don't know his name. He never took a book out?
What are you doing?

Speaker 7 (03:57:33):
Er?

Speaker 2 (03:57:34):
Maybe this gentleman never took a book out, But luckily
he did take out a driver's license. Oh his wallet, Yeah, yeah,
his name is Dugan, James Dugan, and his occupations that
on his license too.

Speaker 1 (03:57:46):
No.

Speaker 2 (03:57:46):
No, these however, were in his vest pocket.

Speaker 18 (03:57:50):
Those Yeah, their dice, aren't they?

Speaker 3 (03:57:53):
Yes?

Speaker 2 (03:57:53):
Professional style dice in a handsome leather case. Therefore occupation Gambler.

Speaker 18 (03:58:00):
Hm, gosh, you figured that out pretty quickly.

Speaker 2 (03:58:02):
I think we better phone the police and tell them
mister Duke and Gambler has cast his last die.

Speaker 8 (03:58:17):
Joe.

Speaker 36 (03:58:18):
Surely get a picture of the counter.

Speaker 31 (03:58:21):
At some of the back door. Huh, alright, cover that?

Speaker 2 (03:58:26):
Oh uh, Templar, Yes, Lieutenant Ellie give I just did
Huh on March fifteenth?

Speaker 4 (03:58:33):
Uh, say a Templar, you and the girl found a
stiff by accident.

Speaker 11 (03:58:38):
Huh.

Speaker 2 (03:58:39):
Yes, of course he's a total stranger to both of us.

Speaker 1 (03:58:41):
Yes, so the girl said, Jimmy marks the outside door
stiff was carrying a Jimmy.

Speaker 2 (03:58:46):
Are you deducing, lieutenant?

Speaker 4 (03:58:48):
For he he broke into the place?

Speaker 29 (03:58:51):
Why mm?

Speaker 2 (03:58:52):
He had a fire, but no good book to curl
up with. The buy mister Templar, you want me and
me to leave? I want you to live over.

Speaker 18 (03:59:00):
H I'll be all right, mister Templar. The lieutenant's very nice,
so be silly.

Speaker 2 (03:59:04):
Actually it's known as Manelli, the monster, the horror of headquarters.
H Uh excuse me, Yeah, don't let his polished mannage
deceive you me. You're not telling him about the words
and the bees. No, I'm not sure, afair. I'm leaving now.
By request, Where are you going to see a man
about a book? Good evening. I'd like to see mister Bieber.

Speaker 18 (03:59:44):
Well what you know?

Speaker 2 (03:59:45):
And I know you're not mister Bieber Hm, mister Biber
wouldn't use perfume? And may I come in? I hate
to look in Hotel Cardors.

Speaker 18 (03:59:54):
You make him in?

Speaker 20 (03:59:55):
Thank you?

Speaker 2 (03:59:57):
Is your husband here?

Speaker 18 (03:59:59):
I'm not married?

Speaker 2 (04:00:00):
Sorry, and I haven't had time to think about it.

Speaker 18 (04:00:03):
All right, think about it.

Speaker 2 (04:00:06):
If you're under the impression that you're helping my mental process,
I'm not. Well. My name is Simon Templar.

Speaker 18 (04:00:13):
Hello, Simon, I'm.

Speaker 2 (04:00:15):
Wendy, Wendy Willikins.

Speaker 18 (04:00:17):
Well clever view to guess, I wasn't guessing.

Speaker 2 (04:00:20):
Oh, have you read any good books lately?

Speaker 18 (04:00:26):
Darling? You're the first man in ten years to ask
me that.

Speaker 65 (04:00:29):
Maybe, but I meant it well, the answer is no,
And most of the men I meet haven't read any
good books lately either.

Speaker 2 (04:00:36):
You see, the book I had in mind was The
Birds and Bees of East Orange.

Speaker 65 (04:00:41):
Well, are they any different from the birds and bees
anyplace else? I wouldn't think so, then, Simon tell me
about yourself.

Speaker 2 (04:00:48):
My biography is long and dull.

Speaker 18 (04:00:50):
I don't want a biography. I just want to know
what you're doing.

Speaker 2 (04:00:53):
Here, trying to find out if you've read a book.

Speaker 18 (04:00:56):
No, you were expecting Bieber to be here.

Speaker 2 (04:00:58):
There you are eh point guns at anybody who expects
Biab to be here. Wendy, you should have stuck to
your other weapons. That revolver doesn't frighten me. It should
it would if someone else weren't already pointing a revolver
at you.

Speaker 18 (04:01:14):
I don't believe, Peter.

Speaker 55 (04:01:16):
I don't like to see girls play with guns, even
big girls. Drop it, Wendy.

Speaker 2 (04:01:21):
Shit, you.

Speaker 55 (04:01:23):
Needn't bother eying that gun, mister Templar, I'll take it.

Speaker 2 (04:01:27):
Seems unfair you already have one.

Speaker 31 (04:01:29):
I am unfair.

Speaker 55 (04:01:30):
I'll tell your secret, mister Templar, I'm a nasty character.

Speaker 2 (04:01:33):
I believe you.

Speaker 55 (04:01:34):
Thanks, Wendy. Where's Bieber?

Speaker 18 (04:01:36):
I don't know I was waiting for him.

Speaker 55 (04:01:38):
You know you shouldn't have come to his hotel, neither
should you?

Speaker 31 (04:01:41):
True enough.

Speaker 2 (04:01:42):
Nevertheless, mister Piper, have you read The Birds and Bees
of East Orange recently?

Speaker 31 (04:01:47):
Don't try to startle me again, Templar.

Speaker 55 (04:01:49):
My finger might accidentally pull the trigger.

Speaker 2 (04:01:51):
And I wasn't testing your nerves. It was your reading mass.

Speaker 55 (04:01:55):
Wendy, where does he come in?

Speaker 18 (04:01:56):
I don't know.

Speaker 55 (04:01:58):
Would you like to try that again?

Speaker 13 (04:02:00):
Really don't know.

Speaker 2 (04:02:03):
You'd better not slap her again, Piper.

Speaker 3 (04:02:05):
Why not?

Speaker 2 (04:02:06):
Because then I'd have to take your revolver away.

Speaker 5 (04:02:08):
You wouldn't make it.

Speaker 2 (04:02:09):
Perhaps not, she'd make so much noise shooting me. I'd
bleed and bleed.

Speaker 31 (04:02:14):
And stay where you are and mind your own business.

Speaker 2 (04:02:16):
I'd prefer to, But I can't stand seeing women slapped.
Probably a childhood fixation or something.

Speaker 55 (04:02:21):
You'll have to stand it, Wendy.

Speaker 31 (04:02:24):
I warned you, Piper, another step temper and you get it.

Speaker 2 (04:02:27):
Believe me. I don't want you.

Speaker 31 (04:02:30):
Who's that?

Speaker 2 (04:02:32):
I suffer from defective vision. I can't see through wooden doors,
mister temple answer, yes, what is it? Pops are on
the way coming up the stairs right now. Oh thank you?

Speaker 55 (04:02:45):
All right, this one Jewish templar. But there'll be another time.

Speaker 2 (04:02:51):
Mister Piper. Must have a fixation about policemen or something.

Speaker 65 (04:02:55):
I think I'll go out the back door to Simon
the same fixation. No that I never warned me against
men in uniforms.

Speaker 18 (04:03:02):
Goodbye, simon.

Speaker 2 (04:03:05):
Mmmm, mister Temple, and you can come in allway? What
there are blend your raucous little boys, Lewis at worked.
There are any policemen really on the way, are they?

Speaker 7 (04:03:17):
No? No?

Speaker 4 (04:03:18):
Only after what I've seen through the keyholes.

Speaker 2 (04:03:20):
It isn't polite to look through keyholes. Your complaining. No,
But don't worry. I knew you wasn't alone with the plant.
I've seen the little guy sneak in, mister Temple. Who
is this, mister beebe you're looking for?

Speaker 31 (04:03:32):
Anyways?

Speaker 2 (04:03:33):
A constant reader of the birds and bees of East Orange?
Ah hah, and the bland the same and h and
the little guy with the gun also a constant reader.
That book must have something, undoubtedly, But what come on, Louis.

Speaker 31 (04:03:47):
Yeah, okay book, mister Temple.

Speaker 2 (04:03:51):
Did you read that book? No? No, May's copy was out,
mister Temple.

Speaker 25 (04:03:55):
I'll tell you something in Brooklyn, yes, Livin, we didn't
learn about the w's in the beast.

Speaker 31 (04:04:00):
From the book.

Speaker 2 (04:04:02):
The East Orange apparently is in Brooklyn, Louise.

Speaker 31 (04:04:05):
East Orange must be awful dull?

Speaker 2 (04:04:08):
Well, what old mister Temple, home, Louise, I'm expecting company
a command in Louis and hello, Hey, oh, good evening.
This is the company was expecting, mister. It was a possibility.

(04:04:30):
I'd considered, who is it he would be, mister Bieber,
I should imagine he is. He's also got a gun,
he has nothing. The answer is, now you're quite trung,
quite sure. I've already searched your apartment, of course, h
I'm sure you have. However, you may be a better
hider than I am. A finger, I'm a terrible hider.

(04:04:52):
That might possibly be modesty, Not really, mister Bieber. If
you'd stayed in your hotel room, you would have been
spared the trip here. Indeed, yes, I've just returned from
the hotel.

Speaker 4 (04:05:03):
What a pity.

Speaker 2 (04:05:04):
Of course your friends were their friend, yes, Wendy and
Peter Piper London. I don't know one by either of
those names. Oh my, however, I think i'll run along
now if you don't mind. You're holding the gun.

Speaker 31 (04:05:18):
That's so, I am to be sure.

Speaker 2 (04:05:21):
Good evening, Good evening, h very polite type. Only a
few points with the gun yet, Larry, I've got to
stay here in case of further visits. But will you
have mister Templar, I'm tired. I'm sleepy. My my arch
has just fell. I need a copy of the book

(04:05:42):
The Birds and Bees of East Orings. Nobody needs a
copy of a book like that. It's late. You may
have trouble locating a copy, but if you can get
hold of may Owen and may Owen, I'm on my way.
But Louis, you're tired. Who says sleepy?

Speaker 31 (04:05:55):
Did Edison sleep?

Speaker 2 (04:05:56):
Your arches fell?

Speaker 31 (04:05:57):
I'll pick them up on my way out.

Speaker 2 (04:05:59):
So long, Oh one thing, Louis, Yeah, one man's already
been killed because of that book. Be careful, don't add
another chapter to it. Come in, Hello, Louis, Hello, well

(04:06:29):
did you Yeah? We got the book?

Speaker 31 (04:06:31):
Yeah, may Own went home to sleep.

Speaker 2 (04:06:33):
Hey, mister Temple, you should hear the kind of language
a bookseller uses when you wake him in the middle
of the night to ask him about.

Speaker 31 (04:06:40):
The bullets and the bees.

Speaker 2 (04:06:42):
Very educated language too, I'm sorry, full of synonyms of
did you have any visitors?

Speaker 1 (04:06:48):
No?

Speaker 2 (04:06:48):
No, then you were going a couple of hours. I'm worried.

Speaker 31 (04:06:51):
Well, anyway, we got to copy that book here.

Speaker 2 (04:06:54):
Thank you, Louis. I could continue waiting, but but you
ain't the patient type. No lowin, Yeah, well, no one's
been shot for at least a couple hours. I don't
like murderers, Louis, they kill people. Yeah, I never thought
of it like that before. Well, Hotel Oliver, good evening,
mister Bieber. Please one minute, thirst, thank you. I'll hold

(04:07:17):
on Bieber. But that's the guy was here, he said.

Speaker 7 (04:07:20):
No.

Speaker 31 (04:07:20):
Oh, he also will use very educated language on being
waked up.

Speaker 2 (04:07:24):
Yeah, mister Bieber, this is Simon Temple. Yes, I know
it's late, but mister Bieber, I have a book lying
on my table.

Speaker 4 (04:07:33):
Oh.

Speaker 2 (04:07:33):
The title of it is The Birds and Bees of
East Orange.

Speaker 8 (04:07:37):
How did you get it?

Speaker 2 (04:07:38):
That isn't important. I just thought you'd be interested. I'll
be right over wait for me, of course. Goodbye. You
bought him another copy, Louis. He's on his way over here, therefore, yeah, therefore,
what therefore suppose we get started on our way?

Speaker 31 (04:07:53):
Oh?

Speaker 2 (04:07:53):
Sure, sure, on our way to wear his hotel. Well,
it's a nice lobby, but mister Temple, Bieber ain't gonna
be in No, perhaps not? Uh, yes, sir, we'd like

(04:08:17):
to see mister Bieber. Please, mister Bieber, mister Bieber is
out you sure, yes, sir, I saw him go oh,
thank you. Come on, Louis, fine, you tell Bieber you
got a book for him. He rushes to your apartment.
But before he gets to you take the book. You
go to his hotel to find out what.

Speaker 31 (04:08:35):
You already knew.

Speaker 2 (04:08:38):
Yes, said, that's true, Louis, But I'm not supposed to understand. Larry,
get in your cab. I'm gonna take a walk.

Speaker 31 (04:08:44):
What's the matter. Something suddenly went wrong with the cab?

Speaker 2 (04:08:46):
No, but I want to see how many steps I
can take before someone picks me up, Me and the book. Oh,
come on, Louis, okay, but.

Speaker 31 (04:08:52):
My inferiority complex is growing like anything.

Speaker 2 (04:08:57):
One two read O.

Speaker 18 (04:09:02):
Six seven, Simon Darling eight steps.

Speaker 2 (04:09:07):
What but Wendy, you're not the one?

Speaker 18 (04:09:10):
Hi, not what one?

Speaker 8 (04:09:12):
The one?

Speaker 2 (04:09:13):
I expected it?

Speaker 13 (04:09:14):
Huh?

Speaker 2 (04:09:15):
Never mind, Louie, Louie, let's have a.

Speaker 66 (04:09:18):
Cab, Simon Tevler, What do you mean by grabbing me,
throwing me into a cab and then refusing to talk
to me?

Speaker 2 (04:09:32):
Why are you watching outside the hotel?

Speaker 18 (04:09:34):
But I wasn't and you still haven't explained.

Speaker 2 (04:09:37):
Wendy, I can't. Why not because because your perfume is
so strong? So oh, you're lying very well and because
I'm afraid that we're rushing towards death.

Speaker 31 (04:09:58):
Your door was opened, mister Temple.

Speaker 18 (04:10:01):
Your apartment's very nice, Simon, thank you.

Speaker 2 (04:10:04):
But he isn't whoa, whoa, whoa.

Speaker 18 (04:10:08):
It's mister Bieber. He's branding at us, Renny.

Speaker 2 (04:10:13):
Not exactly, Wendy, mister Temple. He is shot and.

Speaker 18 (04:10:16):
Dead, very dead, Simon. We didn't do anything about mister Bieber.

Speaker 2 (04:10:28):
But what would you suggest artificial respiration?

Speaker 18 (04:10:31):
I mean, you didn't notify the police.

Speaker 2 (04:10:33):
Mister Bieber can wait. He has all eternity to wait in.

Speaker 31 (04:10:36):
Yeah, this I understand. But why are we going to
the bookstore.

Speaker 8 (04:10:39):
I don't know.

Speaker 2 (04:10:40):
Let's say, to see if it's opener shot. Huh.

Speaker 18 (04:10:42):
I want to go here. I don't want to go
any place except home.

Speaker 2 (04:10:45):
Not quite yet, Wendy. I think it's time we cleared
up a few things. I don't understand your part in
this entire business. The business itself is about as subtle
as the way you use perfume. But Wendyber and Piper
were involved in something illegal, something that was regular and
had continuity. The fact that the dead man in the bookstore,

(04:11:08):
Dugan was a gambler indication I refuse to listen to
you that the three of you were engaged in gambling
a bedding rings. No answer. That's answer enough. Since your
activities were illegal, and since the police have been actively
engaged in breaking up such rings, you had to take
steps to avoid being seen together, suspected together, convicted together.

Speaker 18 (04:11:33):
You're making all this up.

Speaker 2 (04:11:34):
Yeah, you distrusted even the telephone, since phone wires have
been tapped rather frequently of late. Therefore, one of you
struck on the circulating library idea. Yeah, messages could be
conveyed by means of a book agreed upon in advance,
a book and a code. That book was The Birds
and Bees of East Orange. You could be sure no

(04:11:55):
one else would be especially interested in a book of
that kind.

Speaker 18 (04:11:58):
Simon your yes, quite rise.

Speaker 2 (04:12:04):
The messages dealt mainly with payoffs. MM Bieber had reserved
the book. Therefore he was innocent of Dugan's murder. Dugan,
who had tumbled to the set up and thought of
cutting himself in.

Speaker 15 (04:12:17):
Is that right?

Speaker 18 (04:12:18):
I guess so?

Speaker 2 (04:12:19):
Sad templar book starts closed small. No one would be
hiding there. Wendy who brought in the book for Biaber
to pick up. You are a Piper, I don't want
to tease you. Oh, don't be an idiot. I know
the answer. It confirms your innocence. So far as Dugan's
murder goes, Well, I brought the book in in that case.

(04:12:43):
You know where the money for the payoffice?

Speaker 7 (04:12:45):
Huh?

Speaker 2 (04:12:45):
Where?

Speaker 18 (04:12:46):
Well, we had several places, but this one's a rented room.

Speaker 2 (04:12:51):
Give Luis the addresser. Maybe we won't be late again,
Maybe we won't find another corpse grinning at us.

Speaker 65 (04:13:09):
Simon, you don't think I killed anyone, do you, no, Wendy, Well,
is it because of chivalry or something?

Speaker 2 (04:13:16):
No, I'll tell you about it some rainy night.

Speaker 65 (04:13:20):
Well, I'll keep in close touch with the weathermen. But Simon,
Bieber's dead and soul's Dugan. That leans only Piper. So
why are you afraid of another murderer? There isn't anyone
left to kill if you're getting may or aren't you?
Well there the girl who owns a bookstore, Oh, she
had nothing to do.

Speaker 2 (04:13:38):
Only an idiot could have failed to notice the fact
that an obscure book was being regularly taken out by
the same three people they noticed. She must have put
in a lot of study on that book.

Speaker 18 (04:13:49):
You mean she figured out what it was all about.

Speaker 2 (04:13:53):
Templar, How good and come along with us. Snowy h
it's upstairs, Oh, noisy steps. There's no use trying to
keep pride. Perhaps it won't be necess.

Speaker 18 (04:14:14):
Say, Simon may came to you. Why would you have
done that?

Speaker 2 (04:14:19):
Dugan's corpse in your store was too hard to explain?
Force to haim?

Speaker 18 (04:14:23):
Oh, I see, Oh it's a second door down somewhere.

Speaker 7 (04:14:30):
Girl.

Speaker 18 (04:14:31):
I have a gun and I know how to.

Speaker 7 (04:14:33):
Use it too.

Speaker 31 (04:14:33):
Of course you do, But why bother? After all, surely
we can come to an agreement.

Speaker 66 (04:14:36):
Enough with you.

Speaker 18 (04:14:37):
I don't trust you, so you don't.

Speaker 2 (04:14:42):
Get I hope we're not intruding, Well not at all,
thank you, mister Templar.

Speaker 31 (04:14:48):
Girl was about to shoot me. I hate being shot messy.

Speaker 2 (04:14:50):
No doubt.

Speaker 18 (04:14:51):
She looks so innocent too.

Speaker 35 (04:14:53):
You know.

Speaker 65 (04:14:54):
I don't like girls who go around murdering people. It
gives us such a bad name, murdering.

Speaker 31 (04:15:02):
Hey, Look she fainted, Keep away from her. She's faking.
I'll take a look at her.

Speaker 8 (04:15:06):
And why do you do this?

Speaker 2 (04:15:07):
Chance? Mister Temple's not He didn't like him, Piper. I
prefer him unconscious. I don't like men who go around
murdering people gives the human race such a bad name.

Speaker 18 (04:15:25):
Simon. Yes, Wendy, I know Piper killed Dugan and mister Bieber,
but I don't know.

Speaker 2 (04:15:31):
Why Piper decided to play monopoly, Wendy. He wanted all
the money for himself. Playing Monopoly is fun, but Piper
added murder to it. You see, he arrived at the
bookstore out of turn in order to find out where
the payoff money was and then he to grab it
and disappear.

Speaker 65 (04:15:48):
But Dugan was already there, so Piper killed him. But
it might have been mister Bieber or me who killed Dougan.

Speaker 2 (04:15:55):
No, No, Dugan was unarmed, and why did he have
to be killed? Obviously I need to shut his mouth
about what the fact that he's killered arrived at the
bookstore out of turn.

Speaker 18 (04:16:05):
Yeah, I understand that, except at that time you didn't
know that it couldn't have been me.

Speaker 2 (04:16:10):
Ah, But I did know, as I've mentioned on several occasions,
you use perfume liberally. Dugan's body was warm when I
found him, but there were no traces of perfume in
the air. There would have been had you been in
the store that recently.

Speaker 6 (04:16:24):
Mm hm.

Speaker 18 (04:16:26):
Simon, you know it's very cold.

Speaker 48 (04:16:31):
In this room.

Speaker 2 (04:16:32):
Oh, I'm sorry. We must wait for the police.

Speaker 4 (04:16:35):
Hm.

Speaker 2 (04:16:35):
Louis must have found a.

Speaker 18 (04:16:36):
Phone by now, but uh, until they get here.

Speaker 2 (04:16:40):
Wendy, the uh perfume you use? It's taboo, isn't it?

Speaker 15 (04:16:45):
Ooh?

Speaker 10 (04:16:46):
You like it?

Speaker 2 (04:16:47):
It's very much. But do you know what taboo means?

Speaker 18 (04:16:52):
What Simon?

Speaker 2 (04:16:53):
Among savages? It means out of bounds. Do not touch
ah Simon, who's savage?

Speaker 56 (04:17:13):
You have been listening to another transcribed adventure of the
Saint the robin Hood of modern crime.

Speaker 2 (04:17:18):
Now Here is our starve and some price ladies and gentlemen.
Portrait of an American picture of the research scientists dedicated
to the destruction of disease. Today, a handful of such
specialists have launched a campaign in their laboratory battlefields against
the vicious crippler's arthritis and rheumatism. The organization known as

(04:17:39):
Arthritis is moving against these diseases which have caused such
pain in the lives of seven and a half million people.
Uppermost in the minds of the men behind this organization
are these facts. No one is free from the threat
of arthritis and rheumatism and as yet scientists have found
no specific cure for them. Now the non profit or

(04:18:00):
organization Arthritis has taken the field. The fight against arthritis
and rheumatism is on. The fight for the health and
well being of us. All missus. Vincent Price inviting you
to join us again next week at this same time
for another exciting adventure of the Saint. Good Night.

Speaker 56 (04:18:41):
This Adventure of the Saint was written by Lewis Vitties.
In our cast, you heard G. G. Pearson as Wendy
and Betty Moran as May Ted Osborne was mister Bieber.
Harry Brown, the hotel clerk Bonnie Phillips was Peter and
Edmund MacDonald. Lieutenant Manelle Louis is played by Larry Dobkin.
The Saint, based on characters created by Leslie Chatteris, is

(04:19:02):
a James L. Safier production. Vincent Price is soon to
be seen co starring in RKO's production of His Kind
of Woman. All you Saint fans will be glad to
know that the Saint comic books are on sale at
all newsstands. Three Chimes mean Good Times on NBC. There's
fun and adventure for you in your big n b
C Sunday evening line up. For fun, it's the Phil

(04:19:25):
Harris Alice Fay Show with friend Frankie, Brother Willie, and
Charming Julius. For adventure, Joel mc crae stars in another
story of the modern day wild West when he portrays
Ranger J. S. Pearson in Tales of the Texas Rangers.
I'll stay tuned for Phil Reagan's Camp Show next on NBC.

Speaker 6 (04:19:45):
October is birthday month for Weird Darkness. This year makes
ten years of doing the show. But while it's our birthday,
we want the gifts to go to those who help
people who suffer from depression, anxiety, or thoughts of suicide
or self harm. That's what our annual over Coming the
Darkness campaign is all about. It's the only fundraiser I
have all year long. You can bring hope to those

(04:20:06):
who are lost in the darkness of depression. You can
make a donation right now at Weird Darkness dot com
slash Hope. I'll close out the fundraiser at the end
of October and announce how much we raised. The more
we raise, the more people we can help to donate.
Get more information about the fundraiser and the organizations we're supporting.
Or find hope for yourself or someone you know who

(04:20:26):
are fighting depression. Visit Weirddarkness dot com slash hope. Please
donate now while you're thinking about it. Weird Darkness dot
com slash hope.

Speaker 4 (04:21:01):
Dorothy, what in heaven's.

Speaker 1 (04:21:02):
They are you doing?

Speaker 10 (04:21:02):
For?

Speaker 13 (04:21:03):
Pity sink?

Speaker 12 (04:21:03):
Let's get out of.

Speaker 13 (04:21:04):
Here, please, Herbert, give me another moment.

Speaker 12 (04:21:07):
What are you crawling around for it down underneath the seats?

Speaker 4 (04:21:10):
Well, I'm not crawling.

Speaker 13 (04:21:11):
I'm just looking at my shoe.

Speaker 8 (04:21:14):
Your shoe.

Speaker 12 (04:21:15):
Every time we go to the movies, it's a glove
or an earring, now a shoe.

Speaker 13 (04:21:19):
Well, they hurt my seat and I took them off.

Speaker 10 (04:21:22):
I mean I just flipped my seat out of them.

Speaker 18 (04:21:25):
Women do it all the time of the movies, Herbert.

Speaker 13 (04:21:27):
Well they do?

Speaker 12 (04:21:28):
Do they the next time we go to the movies?
If we ever do, give me your shoes and I'll
hold them in my lou Herbert, Please, women would buy
their shoes big enough to begin with. Excuse me, folks,
the shows are there.

Speaker 5 (04:21:39):
We're closing out.

Speaker 2 (04:21:41):
Uh anything wrong?

Speaker 1 (04:21:42):
Oh no, no, no, nothing's wrong.

Speaker 12 (04:21:44):
Just go ahead and close off.

Speaker 15 (04:21:45):
We'll have to be here all right, it's my shoe.

Speaker 10 (04:21:48):
Somebody kicked it going out and I can't find it.

Speaker 12 (04:21:51):
Oh, well, I have a flashlight here, let me happy
look let's see it. Uh no, no, not under these
seats over here.

Speaker 13 (04:22:02):
It is only down the next roll. That's why I
couldn't find it.

Speaker 12 (04:22:06):
Could have been on your foot where it belong.

Speaker 15 (04:22:08):
I have it, yeah, man, Oh, thank you had I'll
mention it.

Speaker 13 (04:22:13):
Glad to be of help. I've already heard it.

Speaker 12 (04:22:17):
You're positive you haven't left your hand bag behind or
maybe your head or.

Speaker 13 (04:22:22):
That's not very kind.

Speaker 12 (04:22:24):
Lots of women, no, lots of women take off their shoes,
but they don't lose them.

Speaker 4 (04:22:28):
Only you.

Speaker 12 (04:22:30):
Everything you touch either blows up or blows up or
stops working when you lose it.

Speaker 13 (04:22:34):
I'm sorry.

Speaker 15 (04:22:35):
It won't happen again.

Speaker 12 (04:22:36):
No, no, of course, not not until next time.

Speaker 13 (04:22:39):
Well can I, folks?

Speaker 2 (04:22:41):
Hope you enjoy the picture?

Speaker 4 (04:22:43):
Come again?

Speaker 12 (04:22:44):
I will friends some night when I'm in the mood
to be hotterly bored, say all signs. Oh, someone's got
a bunch of hot riders or drag racing down the
main street and the police are after them.

Speaker 2 (04:22:58):
Times as if they're getting us.

Speaker 15 (04:22:59):
But tell kai is quite a terry some man.

Speaker 3 (04:23:01):
When he asked me listen, he is going to hades.

Speaker 12 (04:23:03):
And the hand baskets, hot waters all over towel muggins
hold ups.

Speaker 15 (04:23:07):
Well good night, folks have to lock up now.

Speaker 12 (04:23:11):
Well, come on, Dorothy, how do you like that for
being given the bum's rush? Took more than a broken
television set to get me to this movie again.

Speaker 15 (04:23:22):
And I don't think he may a thing not being
any honey. He might have to play over time and time.
Do he getting clos up in time?

Speaker 8 (04:23:28):
Oh?

Speaker 12 (04:23:29):
Sure, sure, sure, always making excuses for the other fella.
That's you, stray dogs and cats and hoboes love you?

Speaker 15 (04:23:37):
Yes, such a soft time. Well do you think it
makes night easier if we can all the nice to
you eachina?

Speaker 13 (04:23:44):
I didn't see anything.

Speaker 12 (04:23:46):
Being nice to someone just gives them the chance to
kick you with the teeth. Well, here we are, street
empty and my little taxi in sights. Now you stay here,
I'll walk around the corner and see if I can
find a cab there.

Speaker 13 (04:23:58):
M yes, he then from pretty safe state?

Speaker 1 (04:24:00):
Or don't wander around.

Speaker 2 (04:24:01):
And get lost?

Speaker 10 (04:24:06):
So he did?

Speaker 4 (04:24:08):
Oh this ha it?

Speaker 15 (04:24:11):
How are you and a fine idea mine? You do
think so.

Speaker 13 (04:24:17):
Oh, yes, that's suit and no shoes.

Speaker 15 (04:24:20):
They're perfect together.

Speaker 4 (04:24:21):
Thank you.

Speaker 15 (04:24:21):
I'm glad you noticed. Oh you are gold worst down.
Oh not really, it's just a hat that's took me
to all the difference. It does look with me knowing
how everybody just a door was at my told them
all about you.

Speaker 2 (04:24:36):
Do you really like it?

Speaker 13 (04:24:37):
Come long is.

Speaker 15 (04:24:39):
I'm going to see some more people to know to
the party and you can be sure.

Speaker 13 (04:24:42):
ILL tell them made it for me. But really you
shouldn't you have my name.

Speaker 30 (04:24:47):
All over town?

Speaker 20 (04:24:48):
I do.

Speaker 13 (04:24:49):
That's exactly what I intend to do.

Speaker 15 (04:24:51):
Oh, I do wish you could come with me. I
was like, the have me meet these people, and I
know they'd love to meet you all. No, no, I
couldn't hear.

Speaker 13 (04:24:59):
It's just getting your ca I.

Speaker 21 (04:25:00):
Have to take his time.

Speaker 15 (04:25:01):
You would bring him along too, It would be fun
for both. Oh no, do you know I couldn't possibly
gain him.

Speaker 13 (04:25:06):
But he didn't even want to go out to the movie.

Speaker 15 (04:25:09):
Oh that wasn't a wonderful picture, the kind of picture
that makes you feel just full of.

Speaker 13 (04:25:13):
Life and the love of living.

Speaker 15 (04:25:14):
I thought it was wonderful, but Herbert didn't like it. Oh,
wasn't too bad, Dorothy, Have you asked him yet as
herb Yeah, it's when I saw you in the theater.
I waited out here hoping to get a chance to
speak to you. Who had you asked him if you're
help her?

Speaker 21 (04:25:33):
Why?

Speaker 2 (04:25:33):
No?

Speaker 25 (04:25:34):
Not yet?

Speaker 15 (04:25:35):
Yeah? I thought that if I saw both of you,
I might even.

Speaker 13 (04:25:38):
Bring up the subject myself or no notion.

Speaker 15 (04:25:41):
Listen, please now, please promise me, promise me that you
would say a word. Of course, my dear, of course
I promise, But him start to frighten me? What you're trembling?
You gave me it's like a tear and saying that
you might speak to her. But you see, you see,
I'm waiting for the right movement. Whits course, I understand

(04:26:02):
I won't say anything, but.

Speaker 13 (04:26:03):
It wasn't a way too long.

Speaker 15 (04:26:05):
But you do realize that.

Speaker 13 (04:26:07):
The kind of chance that comes in once in.

Speaker 15 (04:26:09):
My time, if you don't do it now, you may
never have the chance again. I understand, really I do.

Speaker 13 (04:26:16):
I'm asking both in to.

Speaker 15 (04:26:18):
Her old good.

Speaker 13 (04:26:20):
It would be a dreadful shame to lose this opportunity.
Or believe me, I'm not thinking judge of.

Speaker 15 (04:26:24):
Myself, although of course it's important to me too.

Speaker 13 (04:26:26):
I know that, Harriet.

Speaker 15 (04:26:28):
Sometimes a certain thing comes along, it's a turning point life,
and I just feel that this is one of those
times for you. I feel it myself, but I just
don't know how to bring.

Speaker 13 (04:26:41):
It up to hurt.

Speaker 15 (04:26:42):
This is one time when you just have to face
up the things otherwise look at you. You'll be cooped
up their apartment the rest of your life, dusting and
cleaning things over, moving over and over again. Or you
just have something to do just to justify your existence.

Speaker 13 (04:26:58):
But they've never the right time. And I can stand
up to him.

Speaker 15 (04:27:02):
Here there'n't live with the right woman. Oh oh we
want to do We've only had the no, no, no,
don't do it? Just have all worked up having it
is such a simple normal thing. It's not as if
you were asking for the moon.

Speaker 21 (04:27:17):
Might know me.

Speaker 15 (04:27:18):
I'm sure there there's to be a simple normal way
to manage it. Going to think of it, I have
an idea when in Harriet, who is only two blocks
from here, Yes, the usgest walking home, Then take your
husband past it.

Speaker 18 (04:27:35):
I'm showing.

Speaker 15 (04:27:37):
Then't explain what we want to do with myself and
listen Seedburn, Oh tonight, yeah, yes, immediately.

Speaker 12 (04:27:43):
He's such a good business man.

Speaker 15 (04:27:45):
I know you'll see the possibilities.

Speaker 13 (04:27:47):
All right, I'll do it. I'll ask him tonight. Oh
that's wonderful.

Speaker 15 (04:27:54):
Let me know it soon your time.

Speaker 7 (04:27:55):
What he said?

Speaker 13 (04:27:56):
Good night night, good night.

Speaker 1 (04:28:00):
Why don't you know it's not a cabin sight.

Speaker 13 (04:28:03):
Oh well, I don't mind walking.

Speaker 15 (04:28:06):
Such a lovely night, such a pleasant breeze we have it.

Speaker 11 (04:28:11):
Look at the moon.

Speaker 12 (04:28:14):
M You know those sirens, those hot rodders, wild animals
loose on our street line.

Speaker 15 (04:28:20):
Sh They're just high steel and not vicious. And I
do think it'll be fun to walk home.

Speaker 12 (04:28:27):
Uh, alright, if you think your feet will stand the Why.

Speaker 20 (04:28:30):
Do I like to walk?

Speaker 13 (04:28:31):
Remember back in Delville, I walked all the time.

Speaker 12 (04:28:33):
I dass Yes, it's good, all those walking shoes.

Speaker 56 (04:28:37):
Uh.

Speaker 12 (04:28:37):
Sometimes I wish we'd stayed in Delville instead of coming
to the city.

Speaker 15 (04:28:41):
Oh, but it was a promotion from the factory.

Speaker 13 (04:28:43):
Herbert.

Speaker 15 (04:28:44):
I'm proud that you're a branch manager.

Speaker 12 (04:28:47):
But out of good it does and get so fancy
and fashionable. Would you buy a show? Is so tight
you can't keep 'em all?

Speaker 15 (04:28:53):
I guess I did get carried away when I brought
the shoes. They were so beautiful, but I don't know
better next time.

Speaker 12 (04:29:01):
Beautiful shoes are shoes that mean to be walked in,
not looked at. Coming to live in the city has
changed you, door see, and I don't like it any
more than I like the city.

Speaker 2 (04:29:11):
Or the people here.

Speaker 15 (04:29:13):
Incidentally, who is that I saw.

Speaker 4 (04:29:14):
Speaking to you outside the theat Oh?

Speaker 15 (04:29:16):
Yeahs mgure.

Speaker 13 (04:29:18):
You know she lives in the apartment by Earth.

Speaker 12 (04:29:20):
Oh, yes, see the actress. I certainly hate to think
that our friends back in Delville would say if they knew,
we have to live in a building full of actresses.

Speaker 1 (04:29:29):
And do the people like that?

Speaker 13 (04:29:30):
This is mcgure.

Speaker 15 (04:29:31):
It is a very nice person, warm and friendly.

Speaker 4 (04:29:34):
Too friendly.

Speaker 12 (04:29:35):
Next you'll be borrowing money from you or trying to
just see that you don't fall for anything. Well, well,
come out across the street.

Speaker 21 (04:29:43):
What are you standing there on the corner?

Speaker 15 (04:29:44):
For I thought perhaps we could go home die this way,
now that way?

Speaker 12 (04:29:50):
Oh before It will take us two blocks for her
to get home.

Speaker 13 (04:29:53):
But it's such a nice night for walking.

Speaker 15 (04:29:55):
And I wanna show you something.

Speaker 4 (04:29:58):
Show me something.

Speaker 12 (04:29:59):
When I want on Earth, you show me on the
street like this. It's a surprise surprise. There's something odd
about your manner. Now what could use her up to now?

Speaker 13 (04:30:07):
But it's just something that I wanted to give those cars.

Speaker 4 (04:30:26):
We'll return through sirens in the night.

Speaker 21 (04:30:29):
In a moment.

Speaker 67 (04:31:02):
Help your school officials open recreation areas nights, weekends and
during the summer. If you don't help, nobody else will

(04:31:22):
for information Right Fitness, Washington, DC.

Speaker 1 (04:31:40):
You are right.

Speaker 4 (04:31:43):
Thanks to those wild fellows the almost ry me.

Speaker 12 (04:31:46):
God up it firs, give me rubbing the sidewalk I
need to. I'm just sent here from that could have
killed me. Now there's another carlt of our local police.

Speaker 13 (04:32:07):
Officer.

Speaker 4 (04:32:10):
You're aren't sure sure? Just a skinned hands and the
bruise knee.

Speaker 12 (04:32:14):
I managed to duck your buddies bullets.

Speaker 1 (04:32:16):
Sorry, mister, you just happened to be crossing the street
at the wrong time. We're after two men who throw
a brick through a jewelry store window and.

Speaker 47 (04:32:23):
Got away with some valuable diamonds.

Speaker 15 (04:32:25):
Oh then that car they they weren't hot rodding, No.

Speaker 2 (04:32:28):
Man way rounded them up a while ago.

Speaker 1 (04:32:31):
The men we were after a dangerous criminals probably An't
you sure you don't want to go to the municipal
hospital and get checked over. I'm positive all I want
is a little piece and quiet if that's not too
much to ask.

Speaker 4 (04:32:43):
For, right, Sorry, you hurt your hands.

Speaker 36 (04:32:46):
Come on, Joe, we gotta get going.

Speaker 12 (04:32:50):
Well, the fine fable man can't even cross the street
when I'm being almost killed by a car full of
crooks or by a bunch of cops. I'm telling you, Dorothy,
this city is the fit place to live in.

Speaker 15 (04:33:01):
Oh.

Speaker 13 (04:33:01):
But there are lots of awfully nice people here, Herbert.

Speaker 12 (04:33:04):
It's funny I never meet any of 'em. Well, that's
get going, uh down this other block?

Speaker 21 (04:33:09):
Like you want?

Speaker 20 (04:33:10):
No? No?

Speaker 13 (04:33:11):
Why s rather go straight home?

Speaker 12 (04:33:13):
But you had something for me to see, as I
wanna see it, said, I wanna get.

Speaker 18 (04:33:16):
You home so I can bang you handfully.

Speaker 1 (04:33:18):
My hand can wait?

Speaker 11 (04:33:19):
Now?

Speaker 12 (04:33:19):
You said you had us for me.

Speaker 15 (04:33:21):
I wanna see it, but I don't think this is
a good time for it.

Speaker 12 (04:33:24):
Five minutes ago it was a good time for what's
so different now?

Speaker 15 (04:33:28):
Right? It's just down the street, down in the middle
of the block.

Speaker 12 (04:33:33):
In the middle of the block. What's so special about
a block full of crummy looking stores? For the life
of me, I cannot imagine what you wanna drag me
are for well, you insisted on coming well, you insisted
on bringing.

Speaker 15 (04:33:45):
Me well after everything else, it may not be such
a wonderful surprise, but.

Speaker 13 (04:33:51):
Yeah, here we are.

Speaker 3 (04:33:55):
We are.

Speaker 15 (04:33:56):
Yes you see?

Speaker 12 (04:33:57):
Oh no, no, don't don't tell me.

Speaker 4 (04:34:00):
Let me guess.

Speaker 3 (04:34:01):
There's a store.

Speaker 12 (04:34:02):
Mannie is Delicatessen. You wanted me to see the smoked.

Speaker 4 (04:34:06):
Salmon in the window.

Speaker 12 (04:34:07):
Very pretty, very pretty.

Speaker 13 (04:34:10):
Please don't make fun of me.

Speaker 4 (04:34:12):
Her three guesses.

Speaker 3 (04:34:13):
I'm allowed three guesses.

Speaker 12 (04:34:15):
I can't be this empty store, so it must be
Georgia's work clothes over there. Say that's a fine pair
of overalls.

Speaker 4 (04:34:22):
I always want a pair like that.

Speaker 13 (04:34:24):
Please don't make fun of me.

Speaker 15 (04:34:26):
It is the empty store.

Speaker 12 (04:34:28):
You brought me here at half past eleventh night to
show me an empty store. Now, what earthly interest could
I have in an empty store?

Speaker 18 (04:34:36):
It's not you, it's me.

Speaker 13 (04:34:38):
I have an interest in it.

Speaker 12 (04:34:40):
I haven't the foggiest idea of what you're getting at.

Speaker 15 (04:34:42):
Will you see her?

Speaker 2 (04:34:45):
Yes, Namer.

Speaker 15 (04:34:45):
When we lived in Delville, how I always made my
own hats and the other women raved about them. And
when the church had a bazaar, I made some hats
for it, and the women always fought to buy them.

Speaker 12 (04:34:55):
I remember a nice hobby for women to have making
your own hats.

Speaker 15 (04:34:58):
So since the fact heard you here to the city,
well go on, come on. I've made several more hats,
and missus McGuire noticed them, and she relieved about them.

Speaker 12 (04:35:11):
Well, what's that got to do with an empty store?

Speaker 15 (04:35:12):
She actually took three of the hats and sold them
to her friends, and she got twenty five dollars a
piece to of them.

Speaker 12 (04:35:19):
Dy Well, it was nice to have spending money. But
I I still don't see what you're driving at.

Speaker 15 (04:35:24):
What I want to open a little hat store, opening
little hat store, custom made hats only I'll make them
and miss McGuire will sell them. And Missus Friedman, her husband,
owns the delicatessen, and this empty store she will handle
a bookkeeping.

Speaker 4 (04:35:44):
She says.

Speaker 15 (04:35:44):
The store can be ridded very reasonably.

Speaker 13 (04:35:47):
And I even have a name for it, old picked
House hats by Dorothy.

Speaker 15 (04:35:52):
Don't you think it sounds like from.

Speaker 12 (04:35:54):
Herbert hats by Dorothy? Hats by Dorothy?

Speaker 4 (04:36:00):
Very pretty?

Speaker 12 (04:36:02):
Won't it sound wonderful? When the news gets back to
Dellville and all of our friends here that my missus
Herbert Harrison is running a hat store next to a delicatessen.
I can just see their faces.

Speaker 15 (04:36:16):
Oh, but this is just a start. If everything goes well,
in a year or so, we can move to the avenue.

Speaker 13 (04:36:23):
Oh please say yes, Herbert. I can do it.

Speaker 15 (04:36:27):
Really, I know I can, and and you won't be
bothered a bit by any of the details. Or I
need a thousand dollars to get it started, just a
thousand dollars. And of course it's alone.

Speaker 4 (04:36:37):
Just a thousand dollars.

Speaker 2 (04:36:38):
That's all you need.

Speaker 15 (04:36:40):
Just a thousand dollars, Missus Reedman said.

Speaker 13 (04:36:42):
We might even be able to get started for seven
hundred and fifty.

Speaker 12 (04:36:46):
Do you have the slightest idea of what you're saying?

Speaker 13 (04:36:50):
No, No, of course you don't.

Speaker 12 (04:36:52):
You believe anything that anybody tells you.

Speaker 13 (04:36:55):
Please, Herbert, can't you understand.

Speaker 12 (04:36:57):
Can understand all too well, believe me. So somehow this
missus Friedman has cooked up a scheme to rant her
husband's empty store.

Speaker 13 (04:37:03):
Hasn't any scheme.

Speaker 15 (04:37:05):
It came about all by accident. A lucky kind of accident,
seems to me.

Speaker 12 (04:37:10):
Is if Missus Friedman and Missus McGuire have rigged up
some kind of a plan to rent a shabby, run
down excuse of a store and get some money from you.
At the same time, they're using you to play me
for a sucker in their little game.

Speaker 15 (04:37:23):
But it's not like that at all, not as if
we have family to take care of. I wouldn't really
be neglecting anything.

Speaker 12 (04:37:31):
Nothing except your home and your husband, if that makes
any difference. How do you think I feel having people
say that my wife had to work?

Speaker 13 (04:37:39):
There has nothing to do with it.

Speaker 15 (04:37:41):
Really people understand things like that.

Speaker 12 (04:37:43):
Well, maybe some people do, but I can't.

Speaker 4 (04:37:46):
I just don't see what in the world you.

Speaker 38 (04:37:48):
Have to complain about it?

Speaker 13 (04:37:49):
Oh her would? I'm not complaining.

Speaker 10 (04:37:51):
It's just that that I have a talent and then
what do.

Speaker 15 (04:37:54):
You use it? Douse, you mean making so he has
for some of your women. It doesn't make any difference
what the talent is.

Speaker 13 (04:38:01):
I want to do things. I don't want to go
on this way.

Speaker 10 (04:38:05):
I I need some kind of change.

Speaker 12 (04:38:09):
Very well, it diicciplants that I have some information for you.
Now that you'll give me your surprise, I'll give you mine.
I've applied for a transfer back to the factory. Next month,
we're going.

Speaker 4 (04:38:20):
Back to Dellville back to Deale.

Speaker 12 (04:38:26):
Oh no, just what have you got against Delville?

Speaker 2 (04:38:29):
He used to like it there.

Speaker 15 (04:38:31):
It's just that I like the city.

Speaker 13 (04:38:34):
It's a live and exciting.

Speaker 10 (04:38:37):
Evil is so dead.

Speaker 12 (04:38:39):
It's quiet and peacel and that's what I want. Now
I'm not come along. We're going home, and I don't
wanna hear another word about this crazy idea about a hatch.

Speaker 13 (04:38:50):
I guess it much crazy.

Speaker 15 (04:38:55):
But then why I thought it's there? What's what it's
it's in the shadows, I have it. It's a gun,
a thirty twelve nine, and it was a nine.

Speaker 13 (04:39:14):
Man on the pavement. Well, I did I know how
it got there?

Speaker 1 (04:39:18):
That car?

Speaker 15 (04:39:19):
There's men in it. They threw it away, so if
the police caught them, they wouldn't find it.

Speaker 12 (04:39:23):
Probably so crimes are punished much more severely when the
criminal is carrying a gun.

Speaker 15 (04:39:27):
Real cruse a gun if they have chilled somewhere.

Speaker 12 (04:39:30):
All right, all right now, I'm I put it down.
It's probably loaded, and let the believer on the side.
That's the safety catch and it is none. Now that
gun can go off that way.

Speaker 15 (04:39:38):
Oh, it's like a move, isn't it. The criminals flee
from the police.

Speaker 13 (04:39:42):
They thrown their gun we find I can tell.

Speaker 4 (04:39:45):
You put it down. That's it all about it, and
don't swing it.

Speaker 2 (04:39:47):
Around that way.

Speaker 11 (04:39:48):
Put it down.

Speaker 4 (04:39:49):
You can kill one of us.

Speaker 13 (04:39:51):
Why could go off?

Speaker 10 (04:39:53):
Couldn't it?

Speaker 15 (04:39:54):
You're always saying that anything I touch burns out or
explode or go the That's what I'm trying to tell you.
So if I happened to touch the trigger, it would
just be an awful accident.

Speaker 13 (04:40:07):
Well, what's wrong with you?

Speaker 15 (04:40:08):
You're talking very strange accident. Nobody could ever blame me
for They just you're sorry, Corney.

Speaker 12 (04:40:15):
Didn't you hear me tell you to put that gun down?

Speaker 13 (04:40:18):
And it isn't as if you were nice to me.
He really speak to me very badly. So I've just
made up my mind.

Speaker 15 (04:40:28):
You can put back to Dolbot and have all the
pieces and quiet there. How should we say?

Speaker 13 (04:40:34):
Suppose the trigger you're touching? But I ain't gonna stay here.

Speaker 15 (04:40:39):
And opened my hat up.

Speaker 4 (04:40:53):
The man with no name, I don't smokes insurance cigar.

Speaker 40 (04:40:58):
The man with no name?

Speaker 4 (04:41:00):
Where's a poncho over the fastest long gun you'll ever see?

Speaker 12 (04:41:08):
He's going to creature a whole new style and adventure.

Speaker 4 (04:41:13):
This nameless man is played like lids Wood. The name
of the film is A listen full of Dollars. It's
from the United Artists. If the first motion picture of
this guy, it won't be the last.

Speaker 12 (04:41:36):
A fistful of dollars technicolor The Other Time has presented

(04:42:05):
Tyns in the Night, written by Robert Arthur and directed
by Ted ben In.

Speaker 1 (04:42:11):
The cast Race Matthews, Louis Van.

Speaker 12 (04:42:13):
Lucy, Kate Wilkinson and Robert Dryden, Audio engineer Montyfolio and
the sound technician Terry Ross, Script editor Jackson Wilson. Original
music by Alexander VLAs Stuff Senko Orchestra under.

Speaker 3 (04:42:27):
The direction of Glenn Austhur.

Speaker 6 (04:42:31):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weird Darkness dot Com is

(04:42:52):
also where you can listen to free audiobooks I've narrated,
get the email newsletter, visit the store for creepy and
cool Weird Darkness merchandise. Plus it's where you can find
the Hope in the Darkness page. If you are someone
you know is struggling with depression, addiction, or thoughts of
harming yourself or others, you can find all of that
and more at Weird Darkness dot com. I'm Darren Marler.

(04:43:13):
Thanks for joining me for tonight's Retro Radio, Old Time
Radio and the Dark

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