Classic Radio Horror: The Monster That Escaped the Page | Lights Out - Weird Darkness: Paranormal & True Crime Stories

Episode Transcript
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Speaker 1 (00:07):
Latens, Tony Stations Present Escape, Oh Fantasy.

Speaker 2 (00:16):
I'm gonna thank some miss.

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

Speaker 4 (00:36):
Present Suspense.

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

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

(01:05):
my free newsletter, connect with me on social media, listen
to free audiobooks I've narrated. Plus you can visit the
Hope in the Darkness page. If you're struggling with depression,
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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 7 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 8 (01:50):
Come in.

Speaker 5 (01:53):
Welcome. I'm e G. Marshall.

Speaker 7 (01:57):
A Chinese proverb holds that nobody's found can hang out
the sign nothing the matter here? There's wisdom in that,
don't you agree? Think about your own family. Isn't there
at least one skeleton lurking in your closet? At some time,
and for some reason, it will surely reveal itself. The

(02:17):
consequences have raised Cain with ruling powers, business, and even
love between two persons. That is why doctor Tom Lodge,
a young resident in a Boston hospital, has long safeguarded
a dark family secret from his wife, Nancy.

Speaker 9 (02:33):
Tom, what are you hiding?

Speaker 10 (02:36):
Nothing, darling?

Speaker 9 (02:37):
That doesn't ring true. We don't have secrets between us,
or do we?

Speaker 8 (02:43):
All?

Speaker 10 (02:43):
Right now, Look, don't get on your high horses.

Speaker 9 (02:45):
And don't treat me like a child.

Speaker 11 (02:47):
What have you done?

Speaker 9 (02:47):
Are you married to someone else? Is there a girl
you left behind you? Did you kill someone on a
hunting trip? Of Tom? Please tell me? I have a
right to know.

Speaker 7 (03:07):
Our mystery drama, The Recluse was written especially for the
Mystery Theater by Roy Windsor and stars Tony Roberts and
Patricia Elliott. It is sponsored in part by Buick Motor
Division and Contact the twelve hour Cold Capsule. I'll be
back shortly with Act one. When we are young family,

(03:38):
especially our immediate family, is to us the world in microcosm,
and we know that we are part of a self
contained unit in which we are fed, clothed, and protected.

Speaker 8 (03:50):
When we become.

Speaker 7 (03:51):
Adults, however, we can view our parents and relatives more objectively.

Speaker 5 (03:56):
Uncle Bill never was really that amusing quasi?

Speaker 7 (04:00):
And why did father always unthinkingly voked the straight ticket?
Because you read only the sport pages, And so family
unity becomes subject to the strains of objective thinking, as
we are about to find out.

Speaker 12 (04:18):
I'm home, darling, So you are what a treat?

Speaker 9 (04:22):
Give me kiss? What happened? It's only six o'clock. Did
the patient die?

Speaker 10 (04:29):
You know too much? Nasty? Hey, something smells good?

Speaker 9 (04:33):
Stew or call it bfbevignon. It's all the same.

Speaker 13 (04:37):
Oh, that's a sacrilege and you know better. And now
the patient did not die. It was a hot appendix
and she'll be up on our feet tomorrow.

Speaker 10 (04:46):
Now what's the news of the day.

Speaker 9 (04:49):
Well, not good my mother. No, No, arthritis is wicked,
but I don't think it's a killer. No, it's your
grandmother in White River. She died this afternoon. Your mother called.
I see your mother wants us to attend the funeral.
She can't, well, neither can I.

Speaker 13 (05:08):
I just can't up and leave the hospital. My mother
should know that.

Speaker 9 (05:11):
Well, somebody has to represent the family, and your mother
and you are the only living relatives. You can't not go, Tom,
It seems so unfeeling. After all, she is your grandmother.

Speaker 10 (05:22):
I know, I know.

Speaker 9 (05:23):
Didn't you like her? I thought everyone liked his grandmother.
Oh sure, but you really adored her.

Speaker 12 (05:29):
Didn't you come off at Nancy?

Speaker 9 (05:32):
At first? Your mother said that if she didn't care
that her mother had died, And now here you are
not caring either, and feeling that her death is in
a position.

Speaker 13 (05:40):
Hey, what are you so worked up about over this
old lady? I mean you never even met her.

Speaker 9 (05:45):
Maybe I'm lucky. What Rosem is a sky or some
kind of witch?

Speaker 10 (05:51):
No? Uh, oh, well, let it go.

Speaker 9 (05:56):
Why won't you talk about her, Tom, Look.

Speaker 13 (05:58):
I don't remember her very well. I've kind of lost track. Hey, look,
let's have our rupper.

Speaker 9 (06:04):
We'll keep you. Realize, don't you that the more you
evade the subject, the more you arouse my curiosity? Now
tell me about your grandmother.

Speaker 13 (06:14):
Well, the sky of family has been in White River
for hundreds of years, dating from before they built the inn,
a place named river Front.

Speaker 10 (06:23):
My grandmother's lived there all her life.

Speaker 9 (06:25):
An old inn, oh, like the ones you see on
the book covers of Gothic novels.

Speaker 13 (06:30):
Something like that. It's on the edge of the river
and it's more than one hundred years old. Twenty rooms,
most of them were closed off when the inn was
closed to travelers.

Speaker 9 (06:39):
And you explored every one of them, didn't you.

Speaker 10 (06:42):
As a matter of fact, I did.

Speaker 9 (06:44):
But you don't remember her very well? Isn't that what
you said? Okay, doctor, what's the mystery?

Speaker 13 (06:52):
There is none? Really really. Grandma lived in three rooms
and ever went out. She's been a recluse since my
mother and I left.

Speaker 9 (07:00):
Why heartbroken to see you go?

Speaker 13 (07:03):
No, not exactly. O. Hey, how about dropping the subject.

Speaker 9 (07:07):
No surre There's a skeleton in the family closet, and
I want to know what it is, and I'll find
out tomorrow when we reach White River. Now, look, it's
all decided. We're driving up for the funeral. But no,
but about it? What is this dark secret?

Speaker 10 (07:28):
It goes to the grave with her.

Speaker 13 (07:32):
My grandmother's death has laid that skeleton to rest forever.

Speaker 10 (07:46):
You stay here Nancy in the waiting room.

Speaker 9 (07:48):
Huh, I'm not sitting here while mister Martin reads you
the will. As your wife, I'm entitled to know the
provisions of your grandmother's will.

Speaker 10 (07:56):
What am I going to do with you? All right?
All right?

Speaker 13 (07:59):
Come in, come in, doctor Lodge. Ah, missus Lodge.

Speaker 9 (08:05):
See, he expects me in his office.

Speaker 13 (08:08):
It's nice to see you again, Tom, Thank you, sir.
My wife, Nancy, how do you do Hello. We'll sit
down if you please. It's been several years, Tom, yes,
sir six and you're a doctor and a big Boston
hospital hall a resident. How interesting. I telephoned your mother.

(08:28):
She couldn't be here for the funeral. Yes, off writers,
she's pretty much confined to her house. Yes, so she
told me a tasteful service. Simple, but reverend, thank you
for attending this one. Your grandmother was my client and
a friend. You didn't know her, missus Lodge.

Speaker 9 (08:48):
No, only by hearsay?

Speaker 8 (08:51):
Is that so? Hearsay? Indeed?

Speaker 9 (08:52):
Well, Tom's told me that she was a reclus.

Speaker 13 (08:56):
Well I suppose she had become so. Of course she
was an old woman, set in her ways.

Speaker 9 (09:01):
And what were those? If I may ask mister.

Speaker 13 (09:04):
Martin, my grandmother was austere, self righteous, and unforgiving. She
turned her back on my mother and me six years ago,
and we've never heard from her since.

Speaker 10 (09:15):
We learned not to care.

Speaker 9 (09:17):
Oh why Tom.

Speaker 13 (09:20):
She never forgave my mother for marrying my father. Grandma
considered him several cuts below her social level. Now let's
forget what's passed and hear what mister Martin has to say. Yes, well,
the provisions of her will are clear and simple, are you, Tom?

Speaker 8 (09:39):
Inherit her entire estate.

Speaker 13 (09:43):
The old inn and the fifteen acres surrounding him, and
the small house where missus Beggs lives.

Speaker 9 (09:49):
Tom, it's a fortune.

Speaker 10 (09:51):
Well, I don't know about that. But well, the land
is valuable.

Speaker 13 (09:55):
But the inn, well, it's in bad disrepair and useless.
I'm afraid that your grandmother let it go over the
past few years.

Speaker 8 (10:03):
It's weather worn and rodded.

Speaker 13 (10:05):
And mice have replaced the ghosts of all those old travelers. Well,
it'll have to be raised and the land's soul.

Speaker 14 (10:14):
Yes.

Speaker 13 (10:15):
Well, now, your grandmother left the canticle to her will, Tom,
in her handwriting, whatever is realized from the sale of
the inn and the land is to be paid to
the bank.

Speaker 9 (10:30):
But why was she in debt?

Speaker 4 (10:32):
Is that?

Speaker 9 (10:34):
Is that the skeleton in the lodge closet? Tom?

Speaker 10 (10:38):
Why don't we just leave it that way? Nancy?

Speaker 8 (10:41):
Yes, it might be best missus lodge, but it's.

Speaker 9 (10:45):
Not the truth, is it. A woman like your grandmother?
Why would she get herself into debt and over what.

Speaker 8 (10:51):
Her family matter?

Speaker 9 (10:53):
So it wasn't her debt, Tom, was it yours?

Speaker 10 (10:59):
Darling? It's really unimportant.

Speaker 9 (11:01):
I don't think it is. I won't understand what this
is about. Did you know about this indebtedness? Is that
why you and your mother lost touch with your grandmother?

Speaker 13 (11:11):
You will II file the will for probate, Tom? Do
you want me to dispose of the inn and the
land and carry out your grandmother's last wish?

Speaker 10 (11:21):
Yes? I appreciate it, mister Martin.

Speaker 9 (11:22):
Tom, how did you get into debt? And for how much?
I really do have a right to know?

Speaker 13 (11:30):
If you persist, Nancy here, you will regret the day
you said yes, I'll marry you, darling.

Speaker 9 (11:37):
No matter what you did, I'll never regret that decision.

Speaker 13 (11:42):
You better tell her, mister Martin, Yes, perhaps I should well.
Tom's father was assistant cashier at the merchants bank over
there across the street. Six years ago, in February nineteen seventy,
Tom's father stole seventy thousand dollars from his bank and disappeared,

(12:05):
and neither have been seen since him or the money.

Speaker 10 (12:10):
Now are you.

Speaker 8 (12:10):
Satisfied, Tom Darling?

Speaker 10 (12:13):
My mother and I were.

Speaker 13 (12:14):
So ashamed that we slunk out of White River, and
I hoped I'd never have to come back here and
face the old neighbors, the sins of the father.

Speaker 9 (12:23):
How cruel your grandmother renounced your mother and you for
something your father did.

Speaker 13 (12:29):
That was my grandmother's way, And now, in the codssault
of her will, she makes me responsible to see that
her estate is sold and the proceeds paid to the bank.
I still can't be free of what my father did.
I'm still made to feel guilty because he grabbed a bundle.

Speaker 10 (12:47):
And flew the coop.

Speaker 13 (12:50):
Now do you understand why I didn't want to come
here for the funeral? And why I hope my father
has already had his.

Speaker 12 (13:01):
Sit down roof a cool wind, coming on to snow
a cup of hot TEA?

Speaker 8 (13:07):
Will do you good, nicer Tom to invite me to
the huneral?

Speaker 12 (13:11):
He always was nice as a boy.

Speaker 8 (13:13):
Yeah, and nice wife too. What happened now Leli.

Speaker 12 (13:17):
Got the idea he'll sell, is my guess. Except for
Tom and his mother, the old lady was the last
of the line, h.

Speaker 8 (13:25):
Last the sky of family.

Speaker 13 (13:27):
Well, I can't complain, but it makes me feel kind
of peculiar. I won't be working the land no more
forty years. How about you, Lyle you put an up sticks?
Ain't your sister fay some place south?

Speaker 8 (13:41):
Load of day?

Speaker 12 (13:42):
I'm thinking about it.

Speaker 13 (13:44):
After all you did for the old woman over the
years that maybe she leaves something to you.

Speaker 8 (13:49):
It's a nice little house, i'd say.

Speaker 12 (13:51):
Not her ladyship, she was a tight one. Well, I
better get up to the end and light a fire
farm every once in a while.

Speaker 8 (13:59):
And no ad night.

Speaker 13 (14:01):
I wonder what happened to him little so the father, Yeah,
snow bone the cars found stuck in the snow next morning.

Speaker 8 (14:10):
No sign of him or the money. Where'd he get to? Little?

Speaker 12 (14:14):
All I remember is he stormed out of the inn
and disappeared.

Speaker 13 (14:18):
That's what I mean, gone without a trace. Oh my goodness.

Speaker 9 (14:35):
It's just Roof's dog.

Speaker 12 (14:37):
I'll chain him up in the barn.

Speaker 10 (14:38):
Thanks missus, Maggs.

Speaker 12 (14:39):
Anything else I can do. I left bacon and eggs
in the refrigerator, and then thank you.

Speaker 10 (14:44):
That's fine.

Speaker 12 (14:45):
Well, then I'll say good night and get back. Well,
I can see my way. We'll have snow. I wouldn't
wander around, Tom. The old place is falling apart, and
some of the floors ain't too firm. I'll say good night.

Speaker 9 (14:57):
Good night, good night. Oh it's creepy.

Speaker 10 (15:04):
I hate this place. There's been a call over at
ever since. What happened?

Speaker 13 (15:09):
I'll tell you one thing, Nancy, I am not spending
the night in this mausoleum.

Speaker 9 (15:14):
What did happen to your father? How could he have
gotten away?

Speaker 10 (15:19):
Search me?

Speaker 13 (15:20):
The police went all over the ind for days, there
was no trace of him.

Speaker 9 (15:25):
You lived here as a boy, Yeah, sure.

Speaker 13 (15:28):
My friends and I used to play games here, you know,
hide and seek.

Speaker 10 (15:33):
I remember those days.

Speaker 9 (15:35):
And you were the hero. I mean did you ever
hide where no one could find you? Oh?

Speaker 13 (15:42):
Well there were lots of places, cubby holes, one room
with a fourth wall, trap doors, and some ceilings.

Speaker 10 (15:50):
So wonder one of us was never found.

Speaker 9 (15:54):
Maybe that's what happened.

Speaker 5 (15:55):
Tom.

Speaker 9 (15:57):
Huh, but did you have a special hiding place? You
knew the old Inn better than anybody else.

Speaker 10 (16:05):
Good Lord. The sealed room.

Speaker 13 (16:11):
Yeah, the sealed room beneath the long clothes closet off
the entry hall.

Speaker 10 (16:16):
Oh no, it's impossible.

Speaker 9 (16:19):
Is it? If your father couldn't have gotten away because
of the snowstorm, he must still be here.

Speaker 10 (16:28):
Or what's left of him?

Speaker 8 (16:39):
Well?

Speaker 5 (16:40):
What have we here?

Speaker 7 (16:42):
Old deeds have a way of coming to light, and
the skeleton in your closet can be made to rattle
because of an inquiring mind. If a major premise and
a minor premise are true, so is the logical conclusion.
Tom Lodge's father disappears, it was impossible for him to

(17:03):
have left the old Inn.

Speaker 5 (17:05):
Therefore he never left the inn.

Speaker 7 (17:09):
I will return shortly with that two. It is unusual
and unlikely for a person to disappear and never be
heard of again.

Speaker 5 (17:30):
Exceptions are rare.

Speaker 7 (17:33):
Writ then winkled to be sure, But that was fantasy,
doctor Livingstone, and that was fact. Both were presumed to
be lost, but after their disappearance neither was accused of
a crime.

Speaker 5 (17:47):
Tom Lodge's father was.

Speaker 7 (17:49):
He absconded with seventy thousand dollars, And therein lies a difference.
He was a criminal and in danger. What happened to him?
Tom Lodge hopes to find out.

Speaker 13 (18:02):
Striking out of the match. Nancy, and I'll let myself
down the ladder.

Speaker 9 (18:05):
Haven't we got a flashlight.

Speaker 10 (18:07):
In the car. I'll get it later. I want to
see if anything's in there.

Speaker 9 (18:11):
Right now you can slip and break a leg.

Speaker 10 (18:13):
Tom, No, No, the ladder is strong. Strike a match.

Speaker 4 (18:20):
It's really black down here.

Speaker 15 (18:23):
I can't see a thing.

Speaker 9 (18:24):
I'll hand the matches to you. I'm sat on the
floor on my stomach. Reach up, okay, now.

Speaker 10 (18:35):
Let me see.

Speaker 9 (18:36):
Oh, darling, be careful.

Speaker 8 (18:38):
Don't worry.

Speaker 16 (18:40):
There's the pot bellied stove in the wood. Scuggle a chair,
small table caught.

Speaker 9 (18:54):
Oh more, what is it?

Speaker 17 (18:56):
Tom?

Speaker 9 (18:57):
Tom? Answer me, I'm coming up.

Speaker 13 (19:01):
Yeah, okay, let's let's get back to the common room.

Speaker 9 (19:05):
Tell me is there something there?

Speaker 5 (19:10):
My father?

Speaker 10 (19:13):
His bones, a clothed skeleton. Oh, I've got to think.

Speaker 9 (19:22):
You said that the police went all over the in Tom.
How could they have missed the sealed room?

Speaker 13 (19:27):
We do know nobody remembered it? Probably well? What was
it for the caretaker? Back around the turn of the century.
He acted as a registration clerk and a handyman and
he lived.

Speaker 9 (19:42):
Down there in that hole in the ground.

Speaker 13 (19:44):
Yes, it's a real room with flooring and walls of wood,
and it was very snug and warm. After he closed
the inn for the night, he lifted the trap door
in the long closet in the hall and pulled it
closed after him.

Speaker 9 (19:58):
I see then the flooring in the closet was covered over, was.

Speaker 13 (20:02):
Carpeting, and that sealed it off. Unless a person knew
a room was down there, he'd never find it.

Speaker 9 (20:08):
But you did as a boy. Was the floor covered
over then?

Speaker 10 (20:15):
I don't think so.

Speaker 9 (20:17):
No, So the carpeting was laid over the trap door recently,
six years ago, right after your father disappeared. Yeah, your
grandmother must have known about the room, Tom, Yes, of course,
would missus Meggs have known about the sealed room.

Speaker 10 (20:39):
I don't know.

Speaker 18 (20:41):
Why.

Speaker 9 (20:42):
Well, who was here the night your father disappeared?

Speaker 13 (20:46):
No one, Uh, my grandmother and missus Meggs, and of course.

Speaker 9 (20:50):
My father, your father stole money, he came here, and
six years later we find his remains in his sealed room.
Why did he hide and why did he die?

Speaker 13 (21:04):
I can't answer those questions, Nancy, You'll never know the answers.

Speaker 9 (21:08):
I know one of them. He came here and told
your grandmother he'd stolen money from his bank. Why would
he tell her?

Speaker 10 (21:16):
No idea.

Speaker 9 (21:17):
What if he'd been dipping into your grandmother's money and
was caught and stole from the bank in order to
replace it.

Speaker 10 (21:27):
Oh, that's far out.

Speaker 9 (21:28):
Would your grandmother refused the money? That's why she wanted
the proceeds from her estate to go to the bank
to help repay a debt of honor.

Speaker 10 (21:37):
Hey, that's pretty far fetched, charming.

Speaker 9 (21:39):
Maybe I have the answer to another one of my questions.
Your father hid here because he couldn't get away. Was
he a healthy man?

Speaker 19 (21:51):
Tom?

Speaker 10 (21:52):
Yes?

Speaker 9 (21:53):
Why how did he die there? He was safe in
the sealed room. Did he have a stroke a heart attective?
Somebody bring him food?

Speaker 10 (22:01):
Missus Meggs could be.

Speaker 9 (22:04):
Tom. Get the flashlight and let's examine that room carefully. Oh,
I feel like I'm in a tomb.

Speaker 13 (22:21):
It's my father, all right. Look where I'm shining the light.
You see this break in the skull. Oh, now that's
how he died, Nancy. He was struck a hard blow.
He was murdered, and look at this his watch. Huh,
the straps rotted. But it's his watch, all right, but
his initials are on the back.

Speaker 9 (22:42):
Oh, let's get out of here.

Speaker 13 (22:43):
In a minute. Now it's my turn to ask a question.
What became of the money the seventy grand.

Speaker 9 (22:50):
Well, whoever murdered him took it? That was the motive.

Speaker 13 (22:54):
Yeah, but it was hot money, Nancy was hard to
use for a long time, and the sealed room would be.

Speaker 10 (23:00):
An ideal place to hide it.

Speaker 9 (23:02):
Where could it be hidden?

Speaker 13 (23:04):
And I went over the mattress on the cart. It's
not there, and the small closet is empty. Let me see,
in Steve, why not.

Speaker 15 (23:16):
Tom?

Speaker 10 (23:17):
How about that?

Speaker 9 (23:19):
Look at there's water money wrapped in oilskin. I'm afraid, Tom,
need that money and close off the room.

Speaker 13 (23:27):
It's only fifteen thousand, fifty five thousand is gone.

Speaker 10 (23:31):
Someone squirreled it away.

Speaker 20 (23:33):
Tom.

Speaker 9 (23:33):
Let's go back to the hotel and think it through.

Speaker 13 (23:36):
Okay, Okay, I'll telephone my mother and maybe she'll know
the answers to some of our questions.

Speaker 10 (23:43):
She was scared, don't you don't me?

Speaker 9 (23:44):
Of course I am. Someone committed a murder for money.
We found it. If the murderer discovers that, we know,
he may try to kill us.

Speaker 12 (24:02):
Where they're shot down, boy down.

Speaker 8 (24:06):
Have a chance to talk with Tom.

Speaker 12 (24:08):
Nothing to talk about, Rufe. What's on your mind?

Speaker 13 (24:12):
Well, if you don't sell the land, maybe I could
tenant farm it for him.

Speaker 12 (24:16):
Might say he'd want.

Speaker 13 (24:17):
To sell if I had two dimes to rub together
and buy it.

Speaker 12 (24:23):
You can always get work, Rufe. So you said we
change your mind?

Speaker 8 (24:28):
Oh, I've been thinking about it.

Speaker 13 (24:30):
That's all I'm getting on the winner's around here, mighty rugged.

Speaker 8 (24:35):
Huh what if they could use me down south?

Speaker 12 (24:38):
Sure, an experienced field hand like you, I'd say, so,
why what you've got you thinking about moving south?

Speaker 13 (24:46):
I guess you did lyut talking about your sister down
in lord A Dale.

Speaker 8 (24:52):
That's where you're going in it?

Speaker 4 (24:54):
Oh?

Speaker 12 (24:54):
I think so? Of course if the old lady had
left me the house, but she didn't, you got money,
laid a sign Ooh little I could help you out, Rufe,
not with much, but enough to give you a stake.

Speaker 13 (25:07):
It's mighty nice, you little, when you're thinking a heading
on down south.

Speaker 12 (25:12):
Soon as I can sell my furniture and pack, we
could spell each other at the wheel.

Speaker 8 (25:19):
I'd like that.

Speaker 12 (25:20):
Then it's settled.

Speaker 13 (25:22):
I'll be back after I make quick inspection about the inn.
If the snow is piling up, maybe I could drive
Tom's car down here and put it in the barn,
Otherwise it might get stuck in the morning.

Speaker 12 (25:34):
Yes, that's true, it's happened before.

Speaker 13 (25:38):
I remember Tom's father Chains, that's what you need in
heavy snow.

Speaker 8 (25:43):
Mister Martin had.

Speaker 12 (25:45):
Him the lawyer em.

Speaker 13 (25:48):
He left that night around ten o'clock. I saw him
drive away Chains. That's what got him through. You didn't
know he'd been to the inn.

Speaker 10 (26:02):
Thanks mother, and this has been very helpful. Well, my
father did.

Speaker 13 (26:08):
Manage my grandmother's money, and he had begun to dip
into it, so he dipped into the bank to repay her.

Speaker 10 (26:16):
That's why he absconded with all that money.

Speaker 9 (26:18):
How did you think he'd get away with robbing the bank?

Speaker 10 (26:21):
Who knows?

Speaker 9 (26:22):
Your grandmother must have been furious.

Speaker 10 (26:25):
And it was through her that he got his job
at merchants.

Speaker 9 (26:27):
He must have loved your mother very much.

Speaker 13 (26:30):
Yes, and I'm afraid he wasn't much of a banker.

Speaker 9 (26:34):
It's all tragic, and they're both dead because a wilful
old Metrock couldn't form him into her own image.

Speaker 13 (26:44):
Let's pay a visit to mister Martin, I'll turn this
money over to him and he can give it to
the bank.

Speaker 9 (26:50):
Fifteen thousand. What about the rest?

Speaker 10 (26:53):
It's gone can't be traced now.

Speaker 9 (26:57):
I wonder the snow is beautiful.

Speaker 10 (27:07):
He won't think so. It doesn't let up, darlie. Driving
is no fun in the north country.

Speaker 8 (27:12):
Come in.

Speaker 10 (27:13):
Thank you forgive us for calling at your hall.

Speaker 8 (27:17):
Perfectly all right, what a charming room. Thank you. Well,
let me.

Speaker 10 (27:25):
Get right to the point, mister Martin.

Speaker 13 (27:27):
I found the remains of my father in a sealed room.

Speaker 8 (27:32):
What your father.

Speaker 13 (27:34):
He's been murdered, and here is fifteen of the seventy
thousand dollars he stole from the bank. You stagger me,
Tom Well, he didn't disappear. He was murdered and hidden
in the seal room. And the money, most of it,
was taken away. I came to you, of course. Of
course I'll notify the police in the morning, not tonight.

(27:59):
We were in change. You're mister Martin danger. I don't
see how, and if the murderer finds out what we've discovered,
it'll come after us. Who knows about your discovery, no
one except you. Of course, you didn't speak to missus Miggs.

Speaker 8 (28:13):
No, why not?

Speaker 13 (28:15):
Well, we think that she must know something about all this.
She was in the house the night my father vanished.
You know that, mister Martin. I do, well, that's what
my mother says. I talked to her half an hour ago,
and she had had it from Ruth Box. She'd had
what from Rufe that you were at the inn he

(28:38):
saw you drive away. Oh that well, yes, now that
you remind me, i'd driven out to see your grandmother,
but I left quite early.

Speaker 9 (28:48):
May I ask a question. I don't mean to be impertinent,
but were you aware that Tom's father was stealing from
his mother in law? Goodness knew you didn't check her periodically?

Speaker 13 (29:01):
We're very seldom. I thought it was in good hands
your father's.

Speaker 10 (29:05):
My father stole for the purpose of making investments.

Speaker 13 (29:09):
You were his broker. Didn't you ever wonder where he
was getting his money? You're on dangerous, grown young man.
I know it, mister Martin, but we mean two different things.
I'm not worried about slander. I'm worried about my skin,
Nancy's and mine. We're in danger, and I think.

Speaker 10 (29:30):
You know it.

Speaker 7 (29:37):
Two hundred years ago, Samuel Johnson remarked, there is nothing
which has been contrived by man through which so much
happiness is produced as by a.

Speaker 5 (29:47):
Good tavern or inn.

Speaker 7 (29:50):
True enough, all gone now swallowed up in progress, including Riverfront,
an old New England inn, which is now divested itself
of a murder, and its remains.

Speaker 5 (30:05):
There are more surprises.

Speaker 7 (30:06):
When I returned shortly with Act three, other sins can
only speak.

Speaker 5 (30:22):
Murder shrieks out.

Speaker 7 (30:25):
That metaphor by John Webster from his sixteenth century play
The Duchess of Malfy best expresses the repugnance we feel
when we learn that someone has been murdered. Murder cries
to be solved, and doctor Tom Lodge confronts one that
of his long missing father. We still have three suspects,

(30:46):
and one of them is the handyman at Riverfront.

Speaker 5 (30:50):
Rufus bugs, Oh.

Speaker 8 (30:52):
Lord, a mighty heaven, help us go on, open up.

Speaker 9 (30:59):
Come in, Oh what wrong?

Speaker 12 (31:02):
You're white as a snow.

Speaker 8 (31:04):
He was there all the time.

Speaker 12 (31:06):
What are you talking about Home's father? You sound crazy?
Now sit down and go slow. Now, what's this about
Tom's father?

Speaker 13 (31:15):
I phoned him in a room in the cellar about
Tom's father.

Speaker 8 (31:21):
I was going round the inn.

Speaker 13 (31:23):
I was riverside when they drove off, leaving all the
lights on, and I went up to the door and
it wasn't closed tight. I opened it and called hello,
and then me and Shark stepped inside, and he began
to bark and the hair went up.

Speaker 8 (31:37):
On his back. Scared me, stiff, go on.

Speaker 21 (31:40):
He ran into that.

Speaker 13 (31:42):
Old hall closet and barked his head off. There's a
trap door there, did you know that?

Speaker 12 (31:49):
Little no, a trap door to wear with a.

Speaker 8 (31:54):
Room sort under the common room.

Speaker 13 (31:57):
I had my flashlight, so I knee down and plead
the light around it, and I saw it stretched out
on the court. Oh, he'd give me a terrible turn
a scout.

Speaker 8 (32:16):
Tom's father. It has to be. That's where he's been these.

Speaker 12 (32:22):
Six years and they drove away.

Speaker 8 (32:24):
That's right.

Speaker 13 (32:26):
We'll have the police swarming all over the place soon,
and there'll be questions like what do I know about it?
And and I do know nothing nothing, neither do I.

Speaker 12 (32:36):
Now you leave the talking to me. All I know
is Tom's father bolted out of the house and slammed
the door behind him. That's the last anybody's seen of him.

Speaker 8 (32:45):
And I was in the barn.

Speaker 13 (32:46):
All evening except when I left my room to quiet shark,
and that's when I seen mister Martin drive away his car.

Speaker 8 (32:53):
Anyway, Well we better go back.

Speaker 9 (32:55):
Up there, roofe.

Speaker 4 (32:57):
What for?

Speaker 12 (32:59):
Well they found out murder, he was murdered. Well, that's
my guess. The man wouldn't just stay in there and
starve himself to death.

Speaker 8 (33:09):
Oh, I guess you're right.

Speaker 12 (33:11):
Tom, and the wife made the discovery. And you can
bet whoever killed his father is going to do something
about it, like what like get that evidence out of
there and then kill them.

Speaker 9 (33:24):
Now we've got to stop that.

Speaker 13 (33:26):
Roof's the what's the gun for her?

Speaker 9 (33:30):
Why may need it?

Speaker 8 (33:32):
Why don't we be for the police?

Speaker 12 (33:34):
No, no, no, no, there's no time. There's no time
at all.

Speaker 9 (33:44):
There was a message at the hotel.

Speaker 10 (33:45):
Desk, missus.

Speaker 13 (33:46):
Meg's telephoned she has to see me and she's driving
into town. When did she call half an hour ago?
Sure to be here any minute.

Speaker 9 (33:56):
You were pretty rough on mister Martin, Darling.

Speaker 10 (33:58):
Yeah, but his role strikes me as fun I mean funny. Odd. Look,
he was my father's friend and broker.

Speaker 13 (34:04):
He must have wondered where the money was coming from
for those stocks my father bought on the other hand,
people appear pretty much mine their own business.

Speaker 10 (34:13):
Oh, it's all very confusing, not.

Speaker 9 (34:14):
All of it.

Speaker 12 (34:15):
There was a murder, miss missus makes oh Tom, Oh Tom,
the most dreadful things happened.

Speaker 9 (34:25):
Rufe. Rufe's killed himself. Oh no, killed himself.

Speaker 12 (34:30):
You found him out, and that's why he did it.
You found the room and the skeleton.

Speaker 10 (34:37):
Where did you find Rufe?

Speaker 12 (34:38):
At the inn? The door off was unlocked. I went
in with Shark and turned on a light and there
he was Rufe stretched out on the fore, dead shot
in the head.

Speaker 9 (34:50):
I near fainted. I ran back to my house. I
didn't know what to do.

Speaker 10 (34:55):
He didn't call the police.

Speaker 9 (34:56):
Who I phoned you. But then I changed Shark in the.

Speaker 12 (34:59):
Barn and went into Rufe's room and I found the money.

Speaker 9 (35:04):
He had hit hidden it in his room when not
all of it, just about five thousand dollars. I can't
believe it, Tom, I can't believe it. I brought it
to give it to you.

Speaker 13 (35:17):
Ruth Fogs, you're such a gentleman man. Gosh, I don't
believe it either.

Speaker 9 (35:22):
He killed himself because he was found out.

Speaker 13 (35:26):
Yeah, well, I guess that should clear up the mystery.
You'd better stay here in the hotel. Missus magsine, I'll
get your room.

Speaker 12 (35:35):
No, no, no, I'll go back and be there when
the police come and the ambulance.

Speaker 22 (35:42):
Oh.

Speaker 12 (35:42):
I'm half out of my head with grief.

Speaker 14 (35:44):
Tom.

Speaker 13 (35:45):
Yes, this is a terrible shock, and we'll be out
in the morning if we can get through.

Speaker 9 (35:50):
Oh, they'll have the roads cleared.

Speaker 4 (35:52):
Never fear.

Speaker 12 (35:53):
I don't know what to say good night.

Speaker 10 (36:00):
That's a blow.

Speaker 13 (36:01):
Rufe parks Gosh, I've known him since I was a
little boy, kind and patient. He was a little slow
when he was a good man. He must have gone
off his trolley.

Speaker 9 (36:13):
Missus Meggs is a liar.

Speaker 10 (36:16):
Nancy your imagination.

Speaker 9 (36:18):
Lucky for you, I've got some Ask yourself a few questions, darling.
From what you remember, did Rufe ever go into that inn?

Speaker 23 (36:29):
Oh?

Speaker 10 (36:29):
Well really?

Speaker 13 (36:30):
But well look he saw us drive off, and maybe
we left the light on us.

Speaker 9 (36:35):
So he goes in, finds the skeleton and shoots himself.

Speaker 10 (36:39):
Well, that's what Missus meg says.

Speaker 9 (36:42):
His dog is always with him. Sure, so the dog
went into the inn with him. Go on, then, how
come missus Meggs heard the dog howling outside? Yeah, missus
Meggs had said good night to us. Why did she
want to return to the inn? Not for the reason

(37:05):
she gave Tom. I think Rufe told her what he found,
and they returned to the inn together and she shot him.

Speaker 10 (37:15):
Oh that's crazy.

Speaker 9 (37:17):
Is it? What about this? Where did she find the
five thousand dollars.

Speaker 10 (37:22):
In his room?

Speaker 24 (37:23):
Just like that?

Speaker 9 (37:24):
She could walk into Rufe's room and just like that
find five thousand dollars. If he'd stolen the money, he'd
have hidden it.

Speaker 13 (37:32):
Yeah, all right, that's the point. Her story does sound
kind of pat doesn't it?

Speaker 9 (37:38):
Sure, because it's a lie, Darling. She murdered Rufe just
as she murdered your father six years ago.

Speaker 10 (37:46):
All right, But just saying it doesn't make it so.
I mean, how do we prove it?

Speaker 9 (37:50):
Two ways? The police can check on the gun used
to kill Rufe, and they can also help us to
find the rest of the money. I kept asking myself
where did it all go?

Speaker 21 (38:02):
For all?

Speaker 14 (38:03):
I know?

Speaker 10 (38:03):
We just flew away?

Speaker 9 (38:04):
That's what I think too.

Speaker 5 (38:07):
Are you are you serious?

Speaker 10 (38:10):
Very the money flew away?

Speaker 13 (38:13):
Yes?

Speaker 9 (38:14):
You give me a day with the police, and I
think I can find that money, and when I do,
we'll put Missus Meggs behind bars for life.

Speaker 10 (38:27):
Nancy, where have you been? I've been worried to death.

Speaker 9 (38:30):
I told you where I'd be daling with the police.
Do you want to hear something interesting?

Speaker 8 (38:35):
I go ahead.

Speaker 9 (38:36):
Every time your father placed a stock order, he placed
a similar one for mister Martin and paid for all
of it. What that's right, I'll make a guess. Your
father and Martin were in collusion. Your father used your
grandmother's money with Martin's tacit approval.

Speaker 10 (38:57):
I mean the two of them were dipping into the
old woman's fun.

Speaker 9 (39:00):
That's what it looks like to me. Your grandmother demanded
an accounting, and to repay her, your father robbed his bank.

Speaker 10 (39:08):
I should gets worse than worse, But it's.

Speaker 9 (39:10):
Going to get better and better, Darling, because the police
have supplied me with two very helpful pieces of information.
The gun, Yes, they traced the gun. Rufus Boggs never
had a handgun as far as the police can tell,
but old man Meg's did, and he had a permit
to carry it. The permit expired when he died, but

(39:31):
the gun was never turned in. It was Megs's gun
which was used to murder Rufus without question. She murdered
Rufe But what about your father?

Speaker 10 (39:45):
Were the police helpful there?

Speaker 25 (39:46):
Oh?

Speaker 9 (39:46):
Very? Did you know that Missus Meggs has a sister
living in Fort Lauderdale? Well she has, and they are
very regular correspondents. Remember what you said, Tom, that maybe
the money just flew? Yeah, well it did, can't You guess.

Speaker 10 (40:05):
You're telling me exactly.

Speaker 9 (40:08):
Now, let's call on her and see if she doesn't
fall apart.

Speaker 12 (40:15):
Well, it's still beyond me killing your father and then
taking his own life.

Speaker 10 (40:20):
Is that what you think he did, Missus Megs.

Speaker 12 (40:22):
Why it's plain as the nose on your face, Tom.
But why would a man shoot himself unless he was
guilty of some terrible crime?

Speaker 10 (40:30):
M I guess you're right.

Speaker 13 (40:33):
I've decided to sell the estate, Missus Megs, because I'm
tied down in Boston and I just couldn't manage the
place from there. I'm sorry about that.

Speaker 12 (40:41):
You've lived here rent free for over thirty years. That
was part of the agreements when Megs and me moved
out here.

Speaker 10 (40:48):
Yes, I know. Well if you would like to stay on.

Speaker 12 (40:52):
No, no thanks, I don't want charity.

Speaker 10 (40:55):
Have you thought about what you're going.

Speaker 9 (40:56):
To do well.

Speaker 12 (40:58):
Meggs left me a little insurance, and I can it
tucked away. I might move to where it's a little
warmer than up here, Arizona, maybe not Florida.

Speaker 9 (41:08):
Pardon me, isn't that where your sister is?

Speaker 12 (41:13):
Why do you ask?

Speaker 13 (41:14):
Your sister confessed that there are five savings accounts in
Fort Lauderdale Banks and your name missus Bangs, and the
police here in White River want you to explain how
it happens that there is a small fortune waiting for
you down there.

Speaker 9 (41:29):
Over fifteen thousand dollars.

Speaker 12 (41:32):
It's no business of theirs.

Speaker 10 (41:33):
Oh, yes it is.

Speaker 13 (41:35):
I found fifteen thousand in the stove in the sealed room.
You placed five more where you said Rufe had hidden
it twenty thousand.

Speaker 12 (41:43):
That plus the fifteen makes thirty.

Speaker 13 (41:45):
Five thousand dollars, half the amount my father stole from
the merchant's bank.

Speaker 9 (41:50):
How do you explain that, Missus Meggs, And how do
you explain that the bullet that killed Rufus Boggs was
fired by your handgun?

Speaker 11 (42:00):
I never in my life all your.

Speaker 13 (42:02):
Husband did and he didn't fire that shot from the.

Speaker 10 (42:05):
Grave, did he?

Speaker 13 (42:08):
You murdered Rufe to save your skin missus Meggs, So
you'd better tell me, and tell me quick, what happened
six years ago to my father.

Speaker 12 (42:15):
I didn't touch him.

Speaker 9 (42:16):
He didn't crush his own skull, Missus Meggs.

Speaker 12 (42:19):
Martin killed him, his friend Martin.

Speaker 10 (42:21):
Uh huh, that's more like us.

Speaker 26 (42:22):
Go on.

Speaker 12 (42:25):
Your father came to give your grandmother money. She turned
him away. He had the money with him. Martin spoke
to me, said he divided half for him and half
for me.

Speaker 9 (42:37):
I was afraid. I'll just bet you were. Well.

Speaker 12 (42:41):
Then he struck your father and killed him.

Speaker 9 (42:44):
We hid the body in the seal room.

Speaker 13 (42:46):
And from time to time you dipped into your half
of the money and sent it to your sister for deposit.

Speaker 9 (42:52):
And you murdered Rufe to cover the old crime. Well,
I didn't know what to do. I was crazy with fear.
I just lost my head.

Speaker 13 (43:01):
I doubt that, Missus Riggs, you deliberately murdered the old man.

Speaker 9 (43:06):
Tom. Please be merciful.

Speaker 13 (43:10):
If you and Martin don't hang for the crime, for
court will be merciful your cold blooded killers.

Speaker 10 (43:18):
You deserve to die.

Speaker 7 (43:25):
The thief who understands his business never steals in his
own neighborhood. An old Arab precept, but greed and opportunity
usually go hand in hand. What a killer does not
understand are the consequences of premeditated murderer, not for the victim,
but for his relatives and friends. There are degrees of crime,

(43:50):
from petty thievery to grand lessone, but murder is the
worst and most repugnant.

Speaker 5 (43:58):
I will draw the curtain on the rectlife when I
returned shortly.

Speaker 7 (44:13):
Tom Lodge and his mother had lived for six years
under a pall of shame. But then two deaths lifted
the curtain and the truth was revealed. What Tom's father
did was wrong, what was done to him was worse.
I can report with pleasure that missus Megs and Martin

(44:33):
were sentenced to prison for life, and for all I know,
they are still there, still a burden to taxpayers like
you and me. Our cast included Tony Roberts, Patricia Elliott,
Francis Sternhagen, and Court Benson. The entire production was under
the direction of Hymon Brown. And now a preview of

(44:57):
our next tale.

Speaker 9 (44:58):
Where should we go?

Speaker 27 (45:00):
The steps behind the trees, there's a little piazza.

Speaker 9 (45:03):
I'm so right about your dying. Maybe you really are sick.
You just don't sound like yourself. Your voice is so strange. Ah,
of course.

Speaker 28 (45:14):
You're not dead.

Speaker 27 (45:16):
We won't need this champagne anymore or this special masquerade.

Speaker 10 (45:20):
No, I am not sure, mister Goodwin.

Speaker 9 (45:22):
Who are you?

Speaker 10 (45:23):
Just a man with a purpose.

Speaker 27 (45:26):
You can see that I have exchanged the champagne glasses
for this, which I would not.

Speaker 10 (45:31):
Hesitate to use.

Speaker 27 (45:33):
Lover as you are, I am a desperate man.

Speaker 10 (45:36):
So keep walking.

Speaker 27 (45:39):
Across the driveway and around behind the Lumbardi populos.

Speaker 5 (45:45):
That's it.

Speaker 27 (45:47):
Don't try to do anything foolish.

Speaker 5 (45:51):
Radio Mystery Theory.

Speaker 7 (45:52):
We're sponsored in part by True Value hardware stores.

Speaker 10 (45:56):
Missus e g.

Speaker 7 (45:57):
Marshall inviting you to return to our Mystery Theory for
another adventure in the macabre. Until next time, pleasant.

Speaker 29 (46:08):
Dream lights out everybody.

Speaker 30 (46:55):
It is.

Speaker 31 (46:59):
Later then, you thing. This is arch Obler bringing you
another in our series of stories of the unusual, And
once again we caution you. These lights out stories are

(47:19):
definitely not for the timid soul. So we tell you
calmly and very sincerely, if you fright me, easily turn
off your radio now. But Goddard answer the phone, please.

Speaker 32 (47:39):
Yes, mister ober.

Speaker 33 (47:41):
Yes, oh, yes, Miss Harrison.

Speaker 31 (47:44):
Here he is, mister ober Miss Harrison, Oh, thank you, hello, John.
How's the fan of Wady?

Speaker 10 (47:54):
Yes?

Speaker 31 (47:55):
Am I in trouble so the whist lights out. I
just don't know what to write about. I got plenty
of lives there is, but oh well, men dying in foxholes?
And what am I doing thinking? I'm fantastic? Well, thanks
very much, but I still insist that I ought to be. Yeah, okay, here,
I'll make this last one and good one, and the
then that'll be last if I live through it. Huh No, No,

(48:19):
I was just talking to myself. I've been doing that
rather consistently these last few days. Yes, I guess all
those zombies and ghouls and look ruds have finally caught
up with me. Yeah, I know.

Speaker 34 (48:29):
I know.

Speaker 31 (48:30):
Two aspirins and a glass of water every half hour,
and I don't care, Miss Harrison, don't worry about me.
I'll get the story written the night off. I have
to talk to the devil himself to do it, all, right, John?

Speaker 8 (48:42):
Yeah?

Speaker 31 (48:42):
Sure, Oh fine, fine, call me back in an hour
and I'll have some kind of a plot figured out.
I hope am. I regards to Norman Talcu later, Miss gotter.
Let's get to work, Yes, sir, What time is it anyway?

Speaker 9 (48:55):
Eleven thirty two?

Speaker 31 (48:57):
Sorry, I have to keep you working so late.

Speaker 33 (49:00):
If it be all right, I know you have to
have that play done by tomorrow morning.

Speaker 12 (49:03):
I'm glad to help.

Speaker 31 (49:03):
You're an angel. Angel. That's a strange word to you
here in this room where I've thought up so many
demons in Monty. Tell me, or maybe you won't want
to tell me what, miss Ober? Working with me and
these lights out plays. Do you ever get frightened? Well,
don't you? Yes? I do get frightened many times, and

(49:24):
there was a time I'd have found that very amusing,
But not tonight.

Speaker 19 (49:28):
Is this something wrong?

Speaker 32 (49:29):
Miss Ober?

Speaker 31 (49:30):
I don't know. Tell me. Did you ever sit alone
in the room at night and have a premonition, I mean,
suddenly get the feeling that's somewhere in the house, perhaps
in the darkness in the next room, something was waiting,
something of malignancy and evil. Oh what's the matter with me?
If I keep on talking like this, they'll be using
me as exhibit action in the psychopathic war. Now, let's

(49:53):
get to work, Yes, sir, Yeah, I say We'll start
out next week's play with the regular lights that opening
lights out. Everybody chime later than you think gone. First
character is named Helman. Call Helen Jack Helman hl, I'm
man two out. He commits some murder and he oh,

(50:14):
what's the youth? I can't write another one of these things,
ghosts and groans and blood. I tell you, I can't
do it. I can't do it, mister Ober.

Speaker 15 (50:22):
I'm sorry.

Speaker 31 (50:24):
Look here, Scott it you better run along?

Speaker 26 (50:26):
But aren't we going on?

Speaker 31 (50:27):
I just can't write anymore tonight? But the curs they'll
be standing by the rehearsal. With the rehearsal. I'm not
going to go insane writing these things for anybody. I'll
run along. Please try to get some rest, and you
come back early in the morning. We'll see who we
can do. Just did you say?

Speaker 32 (50:42):
Are you sure you're all right?

Speaker 31 (50:44):
Please? Go all right?

Speaker 34 (50:47):
Good night?

Speaker 31 (50:48):
Good night? What's come over me? Anyway?

Speaker 5 (50:56):
Why?

Speaker 31 (50:56):
Why did I totally go gotta write this play? Cremonations?
She wants have thought I was getting softly?

Speaker 20 (51:05):
What?

Speaker 5 (51:07):
Who?

Speaker 4 (51:09):
Who there?

Speaker 31 (51:11):
Oh? Oh? I am in bad shape. The wind rattles
the window when I lights out. Author goes nuts. There's
a headline for Variety. I gotta get down to earth
a quarter to twelve, Jones says she'd call back in
an hour. I gotta have some kind of a plot
by then. Let me see. How about a pressed angel

(51:34):
named black killing a man named white and black and
white murder? Ooh is that corny? Maybe I could use
a story about a Hollywood producer. Let's see Johnny Hour.
He meets a girl and I'm afraid because the girl's husband.
Oh is that out of character?

Speaker 8 (51:50):
Ah?

Speaker 31 (51:51):
How about Nero chopping off heads in the Roman circus?
And Hm Serpey is quiet in here yellow Well day
for quiet. Now that I've got it.

Speaker 15 (52:01):
I have got the jitter.

Speaker 31 (52:05):
What the devil have I got to be jittery about
things that are what they are? If anybody knows that
I do two and thing makes four unless you're talking
about curved space, and then that has hold on to
what they've gotten. Anybody who's in the core for propert
aught of his bones broken off and bit? What the
devil am I talking about? Uh? Okay, I'd better stop

(52:27):
kidding myself. I know what's wrong. I want to write it,
and yet I don't. What's the matter with me? I
amfraid I put it down on paper. What have I
got today? I'll write out it goes, get it over with,
and outline of title on the side. It get out
of my fist and my play opens in the cell
of a monastery in the Middle Ages. The mystic is

(52:48):
cowered in the corner of his room, outside a mob
that is clamoring for his life. It appears that a
horrible crime has been committed in the villa below. A
horrible monster had torn a woman. It appears that this creature,
brought into being through the incantations of the Sorcerer, was

(53:09):
the concentration of all the evil and men's hearts and minds.
A tremendous force of fiendishness and int humanity put into
living flesh to roam the world and commit unspeakable hut
of all the drivel. A tremendous force of fiendishness and
inhumanity put into living flesh to roam the world and
commit unspeakable hut boom, well driveling. There it is on paper,

(53:34):
my own monster conceived and my own mind. Congratulations, Papa,
has the guy conceived in my own mind? That's what
that crazy monk said in that book. Matt Wolfe gave me.
I wonder who gave him. I think book conceived him.
Where's that book anyway? It ought to be? Yeah, I
even marked the page. And I say unto thee that

(53:58):
if thou shalt be evil and evil and think evil,
and let thy mind rest upon this evilness in the
light of day and in the darkness of night, for
seven days and seven nights, there may come into being
a thing of evil. And it shall take the form
of the evilness of thy thoughts, written by half Dargnistic,
more than ten centuries ago. And I funny, I should

(54:19):
have thought of those words tonight. I have been thinking
about them for a week. Shall take the evil the
form of the evilness of thy thought? Seven days and
seven who's that?

Speaker 8 (54:42):
God?

Speaker 13 (54:53):
You?

Speaker 31 (54:55):
You in my mind? You're just in my mind? You
you don't exist?

Speaker 10 (55:03):
That nice?

Speaker 31 (55:04):
Don't your dream? I said a dream? When I wake up? Door,
it is a dream. It's gotta be a dream.

Speaker 14 (55:11):
Come in, Come in, Get me out of the stream,
Get me out of the streams.

Speaker 31 (55:14):
Give me art.

Speaker 20 (55:16):
Don't you have roping doors anymore?

Speaker 35 (55:17):
And what's the big guys who're sitting in here? It's hey, art?

Speaker 31 (55:21):
What's cooking here?

Speaker 35 (55:23):
I get out?

Speaker 34 (55:23):
Oh?

Speaker 20 (55:23):
Now look at me, get out.

Speaker 14 (55:25):
Can't you see it?

Speaker 31 (55:26):
Can't you see it?

Speaker 36 (55:26):
Down?

Speaker 14 (55:27):
Get out of here?

Speaker 29 (55:28):
Seeing here?

Speaker 31 (55:29):
What behind you? Look behind you?

Speaker 15 (55:32):
Well there's nothing behind me but the wall.

Speaker 31 (55:34):
Say what is this anyway?

Speaker 20 (55:35):
A preview?

Speaker 31 (55:36):
I get out of here?

Speaker 4 (55:38):
All right, all right, now that's taven. What is it's
a preview of a new play? Lay?

Speaker 33 (55:41):
Am I glad you're.

Speaker 19 (55:42):
Quitting lights out after all?

Speaker 29 (55:44):
Can't you hear?

Speaker 2 (55:45):
Oh?

Speaker 8 (55:45):
Hear?

Speaker 31 (55:46):
Who eli behind you?

Speaker 4 (55:49):
Behind me?

Speaker 37 (55:49):
What's the matter with you anyway?

Speaker 10 (55:51):
Art?

Speaker 31 (55:51):
Don't you feel well? It keeps staring back to.

Speaker 15 (55:55):
What's that?

Speaker 4 (55:57):
What's the matter of.

Speaker 19 (55:58):
The pink elephants?

Speaker 29 (55:58):
Beginning?

Speaker 9 (55:59):
No, my father, you say to my father?

Speaker 15 (56:04):
No, no, no, h yeah.

Speaker 4 (56:15):
You are.

Speaker 31 (56:18):
Oh no.

Speaker 35 (56:23):
Upper police sad, please right away?

Speaker 26 (56:26):
My brother, please the police.

Speaker 31 (56:28):
I please, my brother and my brother, my brother?

Speaker 29 (56:32):
How much time? We'll just go on and shift? Get
you hold it?

Speaker 14 (56:36):
Here comes Frank s n not with me?

Speaker 38 (56:38):
Squat thirty nine and forty eight.

Speaker 39 (56:40):
Got to mature in Redwood Drove making a disturbance, blamed
his brother at by a monster.

Speaker 35 (56:47):
Squat thirty nine.

Speaker 13 (56:50):
Red Drone play by your damnd Chin it up?

Speaker 31 (56:57):
But I tell you it's true. Officer it's true. I
thought my own brother, I thought I saw it my
own all right or.

Speaker 40 (57:03):
Right, I'll take an easy, young fellow, your bed.

Speaker 35 (57:06):
I tell you I'm not from coming sobers.

Speaker 29 (57:07):
You don't get funny, thick headed pool.

Speaker 31 (57:09):
Look it's there behind you, the monster.

Speaker 14 (57:12):
Look at the police.

Speaker 40 (57:14):
I've heard of them seeing snaps from pink elephants, because
the first one I've seen this bad off ageel Oh,
you never can tell in the.

Speaker 35 (57:21):
Bat the two of you can't just see him, can't
just see him laving there.

Speaker 31 (57:24):
And it's cool.

Speaker 40 (57:27):
Maybe we better take him down to the station, let
him cool off in the can for a while.

Speaker 35 (57:30):
Yeah, tell me, the two of you, Why won't you
believe me?

Speaker 14 (57:34):
What would you.

Speaker 10 (57:36):
Lence?

Speaker 18 (57:37):
Maybe the guy's on the level or you're nuts?

Speaker 40 (57:39):
Cool, something happened to his brother. There'd be someone around
woodn't there? And there ain't nothing in this rule you've done.

Speaker 14 (57:46):
What do you mean?

Speaker 31 (57:47):
I thought of the monsters?

Speaker 35 (57:49):
Seven days of the mattresses.

Speaker 29 (57:51):
The guy's nuts, it's fine.

Speaker 14 (57:53):
Who is what's your name, young fellow?

Speaker 41 (57:56):
What's your name?

Speaker 29 (57:57):
Quiet?

Speaker 8 (57:57):
Down?

Speaker 4 (57:57):
Now?

Speaker 8 (57:57):
What's your name?

Speaker 20 (57:59):
Difference to them?

Speaker 35 (57:59):
The thinking sitter and grins me.

Speaker 8 (58:01):
Why don't you see it and help me.

Speaker 14 (58:02):
Why do you come on?

Speaker 29 (58:03):
Come on now?

Speaker 21 (58:04):
What's your name?

Speaker 31 (58:04):
Let's have it, Opler?

Speaker 29 (58:09):
What's your business?

Speaker 8 (58:10):
What do you do for a.

Speaker 31 (58:13):
Wall radio? I write a radio?

Speaker 20 (58:15):
What's the radio?

Speaker 29 (58:16):
Obler say?

Speaker 40 (58:18):
Ain't you the guy that writes them screwy lights out
things too?

Speaker 14 (58:22):
Tonight?

Speaker 4 (58:23):
Yes?

Speaker 31 (58:23):
Help me, please, please help you.

Speaker 40 (58:26):
This is the guy that writes them ghost things I
was telling you about, you know, over the radio, Obler,
the guy who always makes his cops irish.

Speaker 14 (58:33):
You get it.

Speaker 40 (58:35):
It's one of them gags, one of them publicity gags.

Speaker 31 (58:38):
Oh you in.

Speaker 10 (58:40):
Your tongue.

Speaker 31 (58:41):
I tell you it's not a gag.

Speaker 21 (58:42):
It's here here in the room.

Speaker 31 (58:43):
And it took my brother in y. Can't you hear it?
Can't you hear its laughing and in front of laugh
Listen to.

Speaker 35 (58:54):
Easy later then you okay, young?

Speaker 4 (58:58):
And if the data gag, you better take.

Speaker 31 (59:00):
A bromo go back to bed now.

Speaker 40 (59:01):
Listen, you were going to hang around for a while
to take it easy.

Speaker 4 (59:04):
Come on, Joe, let's get out of here this way.

Speaker 35 (59:06):
Wait, don't let me, don't tell you.

Speaker 31 (59:13):
Little I do well, I do. I gotta get out. Yeah,
I've got to get out and find nominal believe, Oh good,
what let me? I'll no, don't come hey, don't please

(59:34):
come back, come.

Speaker 14 (59:35):
In, come in.

Speaker 35 (59:37):
I mean I'm just buy and I a Mercedes.

Speaker 31 (59:39):
Get out of here, get out?

Speaker 35 (59:40):
What's the matter?

Speaker 34 (59:42):
What are you doing?

Speaker 29 (59:43):
Mercedes?

Speaker 14 (59:43):
BlimE?

Speaker 26 (59:43):
You gotta get out, you gotta get out of home there?

Speaker 14 (01:00:01):
What's going on here?

Speaker 29 (01:00:04):
Didn't We'll tell you to go to bed?

Speaker 14 (01:00:06):
Is that the way to act?

Speaker 40 (01:00:06):
We heard your screaming all the way down on the.

Speaker 35 (01:00:10):
Where did she come from?

Speaker 10 (01:00:12):
Her corn?

Speaker 35 (01:00:13):
Give me John that thing in the corner that won't
you look at it? Won't you believe me?

Speaker 31 (01:00:17):
Give me that giant story for me.

Speaker 35 (01:00:18):
I'll shoot it, I'll shoot down.

Speaker 40 (01:00:20):
Then we are then we are like to have a strug. Hun,
you got to come and through that. They'll burn your ford.
The short name's Clarence mc mentor.

Speaker 31 (01:00:26):
And i'd like to be the guy that pulls the switch.

Speaker 26 (01:00:34):
All right, we didn't here.

Speaker 40 (01:00:36):
You've got five minutes.

Speaker 34 (01:00:37):
Yes, I know, I know how you give me.

Speaker 31 (01:00:40):
I'll be waiting for I got here as soon as
I could. Looks bad, very bad. What do you mean
I didn't do anything? I tell you I didn't.

Speaker 10 (01:00:46):
Oh, yes, yes, I know.

Speaker 42 (01:00:47):
I know, but Obler, you can't do anything like that
and just walk away from It's what I've explained the thing.

Speaker 31 (01:00:52):
I've explained it every one, one hundred times, a thousand times.
Wont anyway believe me?

Speaker 43 (01:00:55):
Now?

Speaker 42 (01:00:55):
Look here, Gosh, I'm your returney.

Speaker 10 (01:00:57):
I want to help you.

Speaker 42 (01:00:58):
A great number of people want to help you, and
we certainly can't do a thing and that you cooperate.

Speaker 18 (01:01:02):
Yes, that's what I said, cooperate.

Speaker 31 (01:01:03):
What do you want me to do?

Speaker 35 (01:01:04):
Tell the truth, the whole truth I've told you.

Speaker 42 (01:01:07):
Yes, yes, I know what you've told me. The horrible
thing that you conceived in your mind came to life
and did.

Speaker 18 (01:01:12):
A number of peculiar things.

Speaker 8 (01:01:15):
But we see here.

Speaker 42 (01:01:16):
Sure you don't think that even the most stupid jury
on earth is going to believe that nonsense. You don't
believe me, Well, I've heard many peculiar alibis from my
radio clients in time.

Speaker 31 (01:01:26):
But well listen, if you want to plead temporary, I'm
not insane. I'm not insane.

Speaker 42 (01:01:30):
I'm not in Met's here a sane explanation of what
happened that night.

Speaker 31 (01:01:34):
I told you, I told you everything just the way
it happened. My brother came home and yet yes.

Speaker 42 (01:01:38):
I know, well your brother came into the room and
was eaten up by this monster and then that girl. Oh,
what's the use apparently want to die.

Speaker 31 (01:01:46):
I've tried so hard to make you understand.

Speaker 42 (01:01:49):
I've tried to make you understand that if you don't
stop this infernal nonsense and hurry up and tell me
the truth of what really happened, you'll either find yourself
taking a one way walk to the electric chair or
wake up in a padded cell and on the side
of the criminally insane. What the fact of the matter is,
They've already appointed a lunacy commission to pass on your case.

Speaker 31 (01:02:07):
Lucy. Oh to see here, Arch, No, wait, let me talk,
go right ahead.

Speaker 11 (01:02:13):
That's what I want you to do.

Speaker 31 (01:02:15):
Maybe I am insane. I don't know. First I told myself,
with nothing but a nightmare, that i'd wake up and
find it It's all been nothing but a weird dream
that never really happened.

Speaker 35 (01:02:26):
But it's not a dream, and no one will believe.

Speaker 31 (01:02:27):
My story, not even you know.

Speaker 42 (01:02:28):
It's such an irrational story. How can you expect anyone
to believe it? Now, take that part about your brother
being devoured alive by this this monster.

Speaker 31 (01:02:37):
It happened. It happened just as I said it it.

Speaker 42 (01:02:41):
It's common knowledge that your brother is pre induction vacationing.

Speaker 21 (01:02:44):
Up north with your mother.

Speaker 31 (01:02:46):
He came back.

Speaker 42 (01:02:46):
You mean they are coming back. I sent your brother
a wire to come back and bring your mother home
at once.

Speaker 31 (01:02:51):
They ought to be here today.

Speaker 29 (01:02:53):
My brother dead.

Speaker 42 (01:02:54):
Well, that's your preposterous story. This this thing, this monster,
who's supposed to have committed all these crimes.

Speaker 5 (01:03:00):
Where is he?

Speaker 4 (01:03:00):
Where did he come from?

Speaker 1 (01:03:01):
Where is he going to?

Speaker 5 (01:03:02):
I don't know.

Speaker 42 (01:03:04):
Did the police see him?

Speaker 4 (01:03:05):
No?

Speaker 31 (01:03:06):
Did anyone see him?

Speaker 4 (01:03:07):
No?

Speaker 31 (01:03:08):
Oh, arch arch.

Speaker 42 (01:03:09):
If you're going to think up an alibi, just save yourself,
for Heaven's sake, think up a better one than that one.

Speaker 31 (01:03:14):
I'm not trying to think of alibis. I'm just trying
to explain what happened to you, and maybe to myself.
I haven't believed much during my life, except perhaps that
somewhere there was a power that went beyond life and death.
What happened to me isn't explainable any terms that you
and I. But mister Gang, I tell you what did happen.

(01:03:35):
I thought of a monster for seven days and seven
nights in my own mind, and like that prophit of
the Middle Ages warn, the evil thing came to life,
and yet only I could see it and hear it.

Speaker 42 (01:03:42):
And do you see and hear this?

Speaker 14 (01:03:44):
Now?

Speaker 31 (01:03:45):
No, that's what I can't quite understand. Perhaps the horrible
thing only has life when I think about it intensely. Ah,
intense that did.

Speaker 39 (01:03:56):
Yeah, it only has life.

Speaker 31 (01:03:57):
When my thoughts give it life. Like an idea, you see,
mister gang, Like an idea only exist when you think
of it.

Speaker 26 (01:04:02):
Your thought gives it life.

Speaker 31 (01:04:03):
And that's the way it is with that terrible think.

Speaker 20 (01:04:08):
Lessen, lesten, listen, do you hear him?

Speaker 18 (01:04:12):
There?

Speaker 21 (01:04:13):
He is in the corner?

Speaker 35 (01:04:14):
What did I tell you?

Speaker 4 (01:04:14):
He's there? Don't you hear it?

Speaker 31 (01:04:15):
Flubbering and slobbering?

Speaker 35 (01:04:17):
I said, Now, I said, do you think I'm.

Speaker 29 (01:04:19):
Not afraid of you anymore?

Speaker 37 (01:04:20):
Are you?

Speaker 27 (01:04:21):
Hammy?

Speaker 15 (01:04:21):
I'm not afraid.

Speaker 14 (01:04:22):
I'll tell you what you.

Speaker 9 (01:04:25):
Got?

Speaker 44 (01:04:27):
What he's got?

Speaker 31 (01:04:30):
Insane?

Speaker 4 (01:04:30):
You got in saying, I say, you radio.

Speaker 9 (01:04:42):
New put down that bottle?

Speaker 8 (01:04:52):
Are we a n unic and you do?

Speaker 26 (01:04:58):
I know how strong are you, gentle and feel about
this matter? But after all, we must come to a
decision on his mental status. As chairman of this lunacy Commission,
I feel that this incumbent upon me too, Shall I say,
summarize the facts that they have been placed before us. First,
it is an established fact that a murder, and a

(01:05:20):
very horrible murder, has been committed. The police officer has
testified very conclusively that Archobler was there upon the scene
of the crime, and that it was absolutely impossible for
anyone else to have committed the murder.

Speaker 31 (01:05:34):
In other words, the.

Speaker 26 (01:05:36):
Man whose mental status we are too determined is a murderer.
Consider further facts. Does he wear conventional shirts? Another fact,
does he participate in normal activities such as drinking, dancing,
fraternal orders.

Speaker 35 (01:05:54):
And similar beneficial socio activities.

Speaker 26 (01:05:58):
By prior facts? Upon fact, have you, gentlemen, ever listened
to his place?

Speaker 4 (01:06:05):
What?

Speaker 26 (01:06:05):
What are some of the distinctive features of these works?

Speaker 8 (01:06:09):
Vice?

Speaker 26 (01:06:10):
Strange whispering vice that gentleman always whispering vice. Vice gentlemen,
I am of the firm opinion that we are dealing
with a very definite case of dementia pray cock in its.

Speaker 14 (01:06:28):
Par no.

Speaker 31 (01:06:50):
Lifetime and in Salem. I'm not I don't excite yourself anymore. Please,
what makes you go. If there was only some way
I couldn't make them see the things I said. You

(01:07:13):
believe what I told you? Don't you dear of course
that Eli wouldn't make it deck Eli, But I told
you Eli would. You're like the others. You don't believe me. No,
I know you don't.

Speaker 35 (01:07:27):
You will believe.

Speaker 31 (01:07:27):
I'll make you believe than than Wherever you are listening
to me, I think of you here, I think of you.

Speaker 4 (01:07:32):
I give you a life.

Speaker 31 (01:07:33):
I give you a life. Do you hear, mother?

Speaker 4 (01:07:37):
You hear?

Speaker 31 (01:07:38):
It does exist?

Speaker 8 (01:07:38):
It does.

Speaker 31 (01:07:39):
No, don't get too excited.

Speaker 14 (01:07:41):
It's right behind your turn.

Speaker 4 (01:07:43):
See you believe.

Speaker 14 (01:07:46):
I'm not saying.

Speaker 35 (01:07:49):
My mother say my mother's not.

Speaker 37 (01:08:03):
All right?

Speaker 10 (01:08:04):
All right?

Speaker 14 (01:08:07):
Hello?

Speaker 31 (01:08:09):
Oh yes, John, midnight already. Yeah. I've been sitting here
very comfortably, and I finally thought up the plotline. And
believe me, it's quite a brainstorm. I die sure, Sure,
it's my final broadcast, so why not now? No, I'm
not gagging. Listen to me. And it's all about a
monster that I conceived of my only bitty mind and

(01:08:31):
it comes to life. Honestly, I haven't had a cocing hours.
It's gonna be one of those you know, crazy stories
inside of a story. Now listen. The way I've got
it figured out is this. Now, I'm supposed to be
sitting here thinking of this horrible monster, and suddenly I
turn around and there is he and my young brother
comes in and this monster eats him up alive. And

(01:08:53):
then Mercy the cambridge comes in and wait a minute,
Wait a minute, John, hold it for a minute. I
think someone came. I imagine it's Bernie. I'll see who.

Speaker 35 (01:09:08):
Josten that thing.

Speaker 4 (01:09:12):
It's true, this time is really happening.

Speaker 29 (01:09:16):
This is now, it.

Speaker 5 (01:09:39):
Is later.

Speaker 37 (01:09:43):
Then you.

Speaker 29 (01:09:47):
Thing.

Speaker 14 (01:09:55):
Let's present Hollywood.

Speaker 37 (01:10:11):
The Lux Radio Theater brings you Jeanette McDonald, Brian Ahearn
and Jean Raymond in Smiling Through, Ladies and gentlemen, Your producer,
mister Cecil B. DeMille, Greetings from Hollywood, ladies and gentlemen,

(01:10:31):
the first greetings from this stage in nineteen forty two.
This is an exciting evening for the Lux Radio Theater
because we welcome back to the golden voice of Jeanette
MacDonald and she's escorted tonight by Brian Ahearn and Jean Raymond.
All three of them starred in Metro Goldwyn Mayer's new
technical of production, Smiling Through. Fortunately we were able to

(01:10:53):
borrow miss McDonald this week from another MGM picture. I
married an angel, so that gives me some to sing about.
But don't be alarmed, Jeanette MacDonald is going to do
the singing. Certain stories and dramas have a timeless quality,
an appeal that reaches across the years, to all people
in all lands. I suppose a great love story is

(01:11:15):
most likely to do this, and Smiling Through is one
of the tenderest love stories to come out of a
out of the American theater, and his title certainly gives
us a fitting cue for this new year. A poet
once said, without a smile from partial beauty one, what
is man? A world without a son? Of course, it

(01:11:37):
was never quite clear to me why the poet was
willing to settle for partial beauty, But then perhaps the
ladies couldn't get lux toiletape in those days. The science
of beauty has been a slow development that probably began
with civilization in Egypt about eight thousand years ago. But
the day it's in full flower complexion secrets that Cleopatra

(01:11:58):
would have sent an army to take the modern woman
can buy for a few cents at the corner store.
So the next time you are feeling sorry for yourself,
just think how much more fortunate you are than that
great Queen of Egypt who had half the world of
her feet and couldn't trade it for a single cake
of lux stilet soap. And remember that a complexion, a

(01:12:20):
lux complexion, puts a good complexion on anything. So he
starts smiling through. Starring Jeanette mac donald as Moon Yeen
Claire and as Kathleen, Brian A. Hearne as Sir John Carteret,
Jean Raymond as Kenneth Wayne and as Jeremy Wayne, with
Denis Howey as Owen. The curtain rises for the first act.

(01:12:52):
In eighteen ninety seven, Fall England joined in a great celebration,
the Diamond Jubilee, commemorating the sixtieth year of Queen Victoria's reign.
Churches throughout the country health services in the good Queen's honor.
In one of these, an ancient church in Kent, The
service is just over the vicar. The Reverend Owen Harding

(01:13:15):
stands in the old churchyard talking quietly with his friend
Sir John Carteret.

Speaker 14 (01:13:23):
Well John every one came. Must have been like this
in every church in the country.

Speaker 41 (01:13:28):
Yes, I suppose so.

Speaker 14 (01:13:30):
When will England see a day like this sixty years
our Queen.

Speaker 41 (01:13:33):
I don't like aniversarizion.

Speaker 14 (01:13:35):
I know I didn't forget John, who most of the
others have. I saw you putting flowers on her grave
just before the service. They're very beautiful, John Years.

Speaker 41 (01:13:43):
They're the kind she liked. Oh no, I miss getting.

Speaker 14 (01:13:46):
Along home that John. Wait, you're not going to sit
in the garden again tonight, are you? Yes?

Speaker 4 (01:13:51):
Why not?

Speaker 14 (01:13:52):
John? Sometimes I wish you'd try to live more in
the present and not just with your memories.

Speaker 45 (01:13:58):
There are times in when I'm sure that she's very
close to me. Well, I believe that whatever anyone else
may think, goodbye and goodbye.

Speaker 36 (01:14:07):
John moon yin Clair born eighteen forty five died eighteen
sixty eight, aged.

Speaker 14 (01:14:21):
Twenty three years. Poor Jah moon Ying.

Speaker 41 (01:14:34):
Moon yin.

Speaker 45 (01:14:37):
Another year gone, John, If I only knew the way
to your moniing, I've.

Speaker 46 (01:14:43):
Always knew you when you need me, John, every night
in this gone I.

Speaker 34 (01:14:48):
Come to you.

Speaker 41 (01:14:50):
I feel Moonin. Are you here?

Speaker 46 (01:14:53):
You know I am here? You don't see me, and
you don't hear me, But I feel in your heart.

Speaker 31 (01:15:01):
That I am here, Mooned.

Speaker 47 (01:15:03):
Be patient, your heart.

Speaker 46 (01:15:06):
These years have been all the same.

Speaker 47 (01:15:08):
Moment, the years we must still wait.

Speaker 46 (01:15:12):
We'll be just as sure.

Speaker 32 (01:15:14):
The job, the John, the John, the Vickers?

Speaker 14 (01:15:19):
Here?

Speaker 41 (01:15:19):
And why must you come out here? Oh well it's
not your fault, Helen.

Speaker 48 (01:15:24):
Now, sir John, I've told you and told you no
good will come of all these broodings and imagining.

Speaker 41 (01:15:29):
Yes, yes, I know. I'm afraid. I'm a hopeless kase Helen.

Speaker 9 (01:15:32):
Does Vickers come?

Speaker 4 (01:15:33):
No?

Speaker 41 (01:15:33):
I see how I'll see him in the library. Well,
there's your chair and the chessboard's all set up. I
suppose you've come for your revenge for last night.

Speaker 14 (01:15:44):
No, John, I won't be able to play tonight. There's
something I want to talk to you about. Yes, there
was a letter from Ireland last week about Moon Yean's sister.
She and her husband were drowned sailing in Dublin Bay.

Speaker 41 (01:15:57):
Drowned.

Speaker 11 (01:15:58):
Oh that's horrible.

Speaker 14 (01:15:59):
Yeah, yes, it leaves the little girl unprovided for. Talking
of putting her into an orphanage is impossible, That's what
I thought. So you see, well, infector I sent for
what John? She's Moon Yean's niece. What would you say
to having her here with you?

Speaker 8 (01:16:19):
Here?

Speaker 41 (01:16:19):
We're a child in this house.

Speaker 14 (01:16:21):
You could do with a child in this house? John,
give you something to think about beside yourself.

Speaker 41 (01:16:24):
How they know? And I'll thank you not to preach
at me. Well that's that, good night, good night. If
the child needs any money, of course you can count
on me for any amount.

Speaker 14 (01:16:33):
She'll I coming now walk Lowen, Yes still, John, this
is moon Yan's little niece. I see mm hmm.

Speaker 41 (01:16:42):
Come here child. What's your name, Kathleen?

Speaker 49 (01:16:46):
What's yours?

Speaker 41 (01:16:47):
John? How do you do?

Speaker 9 (01:16:49):
How do you do?

Speaker 41 (01:16:50):
How old are you? Kathleen?

Speaker 50 (01:16:51):
How are you?

Speaker 49 (01:16:52):
August? Hold you?

Speaker 41 (01:16:54):
I well, I'm a little older than that. I'm afraid
who brought you from Ireland? Kesley?

Speaker 49 (01:17:00):
I came alone, unclean, said for me?

Speaker 41 (01:17:03):
Ah, yes quite so, Uncle Ohens.

Speaker 14 (01:17:06):
If you don't mind, John, I'll step over to the church,
and now you come back here.

Speaker 41 (01:17:12):
Oh well, I want you to sit down, Kathleen.

Speaker 46 (01:17:20):
Thank you?

Speaker 41 (01:17:21):
Can I would you like me to show you some
pretty pictures in a book?

Speaker 4 (01:17:25):
No?

Speaker 49 (01:17:26):
Thank you. I think I'll be going now.

Speaker 41 (01:17:28):
With Uncle Ohen. I suppose.

Speaker 49 (01:17:31):
I'm visiting him all the summer then I'm going home
to mommy and daddy to mommy.

Speaker 45 (01:17:37):
Oh oh yes, he is, Kathleen. Perhaps you'll come and
visit me every now and again.

Speaker 49 (01:17:43):
I don't know. I don't think I like you very much.
Oh but I might like you better if I.

Speaker 51 (01:17:50):
Get to know you.

Speaker 41 (01:17:51):
That's very kind of you. Some people do improve on acquaintance.

Speaker 49 (01:17:55):
Oh you've got a piano.

Speaker 41 (01:17:56):
Would you like to learn to play the piano.

Speaker 49 (01:17:58):
I can play the piano. I could show you if
you'd ask me to.

Speaker 41 (01:18:02):
Nobody's played that piano for twenty nine years.

Speaker 49 (01:18:07):
Very well, then I won't.

Speaker 41 (01:18:08):
Oh no, no, no, I didn't mean it that way. Yeah, yeah,
come sit down and play. Please, thank you?

Speaker 49 (01:18:15):
Now let me see.

Speaker 45 (01:18:16):
Oh oh yes, I know that song. If you know
the words, will you sing them for me too? If
it isn't asking too much.

Speaker 49 (01:18:30):
I know the words.

Speaker 46 (01:18:32):
Oh the day casey dancing.

Speaker 52 (01:18:46):
Was the calling send the dancer n anymore or abroad
they boss long to the floor, lost and lesten for
your pleasant and again all the very horn nothing dreaming, three.

Speaker 53 (01:19:17):
Dream of it.

Speaker 54 (01:19:21):
My dreams, all.

Speaker 52 (01:19:29):
The days of the carrying on the furthering of the pinate.

Speaker 53 (01:19:32):
Fune for one of those longs of the Lord and God.
I long and I tell you.

Speaker 13 (01:19:46):
Too.

Speaker 33 (01:19:51):
There you are, Uncle Johns.

Speaker 14 (01:19:53):
First time I heard you sing that song.

Speaker 41 (01:19:55):
You were five years old. Yester night you came to.

Speaker 14 (01:19:58):
Live here, the night you were going to have nothing
to do with it.

Speaker 41 (01:20:03):
You have confounded, young woman. Isn't today your birthday or something?

Speaker 33 (01:20:06):
It is April the second, nineteen fifteen, which makes me
twenty three years to the day. Now, don't tell me
you've forgotten.

Speaker 41 (01:20:14):
Here's something I have found in mature case.

Speaker 33 (01:20:18):
Uncle John's how beautiful.

Speaker 14 (01:20:20):
Let's see a regne Oh, why John? That's mooney?

Speaker 9 (01:20:25):
Is my aunt mooney?

Speaker 55 (01:20:27):
Oh?

Speaker 33 (01:20:28):
Uncle John? You couldn't have given me anything. I'd rather
have had anything in the world.

Speaker 14 (01:20:32):
It's an old fashioned thing belonged to her great great grandmother.
Does it fit here?

Speaker 33 (01:20:38):
You put it on?

Speaker 41 (01:20:41):
I'm sure it fits, my dear.

Speaker 33 (01:20:43):
Don't you want to put it on me?

Speaker 14 (01:20:44):
Oh no, Listen, windows are rattling again one hundred miles
away at Lisa.

Speaker 41 (01:20:50):
The wind must be from France, as are probably the
guns at heap.

Speaker 33 (01:20:54):
Mis Kathleen, your young man's come for you, Ellen, He's
not my young man. Well, anyway, he's.

Speaker 26 (01:21:01):
Got on his new uniform and I don't like his hat.

Speaker 41 (01:21:03):
Oh, poor Willy better take a mcandosh it's going to rain.

Speaker 44 (01:21:06):
I won't need it.

Speaker 33 (01:21:07):
Oh, Willy, Willie, your hat.

Speaker 14 (01:21:14):
Doesn't sound too hopeful for that young man.

Speaker 41 (01:21:16):
Oh well, there's not Willing. It'll be one of the others.
I'll be losing on one of these days. Come on,
shall get on with the game.

Speaker 14 (01:21:23):
You'll move a gun. It was a nice thing you
just did. Come on, move, move, I say it was
a nice thing to give that girl Moon Jean's ring. Checkmate, h.

Speaker 33 (01:21:47):
Willie, I'm so right down to my skin and under
this tree is hardly a spopper, old man.

Speaker 56 (01:21:52):
But you see, old girl, if a follow happens to feel.

Speaker 33 (01:21:55):
The way I do, the way I feel, Willy is
wet right.

Speaker 41 (01:21:58):
But you see if a follow.

Speaker 56 (01:21:59):
Him cold, all right, if a poople makes up his mind.

Speaker 33 (01:22:02):
To get married, will if we can't stay here, come on,
there's a house.

Speaker 56 (01:22:06):
I'm going to get house there, really, old girl, there's
no use banging that knocker. This is the old wayn house,
you know, of course, I know it's the old rain house.

Speaker 33 (01:22:18):
I'm wanting the exercise.

Speaker 56 (01:22:20):
But do you know there's nothing a chap in it
for fifty years.

Speaker 33 (01:22:22):
There's the window open. Will There'll be two chaps and
it's in fifty seconds, Willy you and not yes, Willy,
you and I come on.

Speaker 56 (01:22:37):
Talking here, isn't it now?

Speaker 33 (01:22:38):
It's like an old bold, It's like a match, Willie.

Speaker 56 (01:22:42):
This is all frightfully illegal, you know, rightfully? There are
some candles, Willy, Oh, good, and ought to make things
a bit more cheerful.

Speaker 32 (01:22:52):
Oh look at this dust.

Speaker 33 (01:22:53):
It's an inch take at least?

Speaker 10 (01:22:55):
I say.

Speaker 9 (01:22:57):
It's all rather, you know, isn't it.

Speaker 33 (01:23:01):
Look Look there's some old loves. Will We built a fire, Willy.
I don't want to get pneumonia?

Speaker 56 (01:23:04):
Right, these must be good and dry.

Speaker 33 (01:23:07):
They should be fifty years since that fire was laid.

Speaker 32 (01:23:12):
Give me the shivers.

Speaker 41 (01:23:14):
This room, oh oh.

Speaker 56 (01:23:15):
Yes, it's a good cleaning.

Speaker 21 (01:23:17):
Doesn't it, you know, Willie.

Speaker 33 (01:23:20):
People just don't go off and leave a house like this.
Why didn't the maid tidy things up a bit, put
the chair on its legs and then clear this stuff
off the table?

Speaker 14 (01:23:29):
I wouldn't know.

Speaker 10 (01:23:30):
So here's a.

Speaker 33 (01:23:31):
Newspaper, The Times, June fourteenth, eighteen sixty eight, and a letter.
It's addressed to Jeremy Wayne.

Speaker 56 (01:23:39):
It's quire you know, old girl, if a fellow makes
up his mind to tell a girl how he feels.

Speaker 33 (01:23:44):
Jeremy Wayne, well, that must be his port on the wall.
Here it is where look Jeremy Wayne, me dark and handsome?

Speaker 57 (01:23:53):
What fire in those times?

Speaker 56 (01:23:55):
Listen, Kathy, I came out this afternoon to tell you something.

Speaker 33 (01:23:59):
The morning Paine, the drink half finished, the riding crop
on the floor.

Speaker 58 (01:24:05):
This letter.

Speaker 33 (01:24:06):
Look, look, Willie, it's an invitation. Mister and missus Richard
Clare request the pleasure of the company of Jeremy Wayne,
a squire at the wedding of their daughter mooning to
Sir John Carter. It at Saint Mary's, Kent, Wednesday, June fourteenth,
eighteen sixty eight. Willie, something happened here in this room,

(01:24:30):
something strange and terrible and romantic.

Speaker 56 (01:24:34):
Oh, bother romance. I want to ask you to marry me.

Speaker 33 (01:24:37):
Oh Willie, please not again today. They shut the doors
and went away forever, as though the real curse on.

Speaker 56 (01:24:44):
The house probably meant to come back.

Speaker 33 (01:24:45):
Oh no, nor the shutters wouldn't be nailed up all right,
haven't your way, old girl?

Speaker 9 (01:24:49):
The place is haunted even without a door.

Speaker 33 (01:24:54):
Sounded like it, Willy somebody's coming.

Speaker 10 (01:24:57):
Very strange.

Speaker 33 (01:24:58):
What whoever it is?

Speaker 59 (01:25:00):
I think we?

Speaker 14 (01:25:02):
Oh, hello, how do you do?

Speaker 11 (01:25:07):
Terrible weather?

Speaker 33 (01:25:08):
Isn't it frightful?

Speaker 10 (01:25:10):
Yes? Frightful?

Speaker 11 (01:25:11):
Yeah, terrible. H Pardon me for being inquisitive. But are
you stopping here?

Speaker 56 (01:25:20):
Oh dear no, no, it was raining very heavily.

Speaker 44 (01:25:24):
We were standing.

Speaker 33 (01:25:25):
Under a tree and lightning struck the next tree.

Speaker 10 (01:25:28):
It was raining very heavily.

Speaker 37 (01:25:30):
Oh so that's why I got so wet.

Speaker 33 (01:25:33):
So we break in to get out of the stone.

Speaker 37 (01:25:36):
Oh well, I'm glad you were able to start a
fire and said, thank you, thank you, But you've caught cold.

Speaker 11 (01:25:45):
I wish I could offer you something warm to drink.
Excuse me a minute, maybe I can find something.

Speaker 22 (01:25:50):
Come or go, let's get off this.

Speaker 33 (01:25:52):
Oh no, not just yet.

Speaker 14 (01:25:53):
Who is that flow?

Speaker 60 (01:25:54):
What's he doing here?

Speaker 33 (01:25:55):
I'd like to find out.

Speaker 41 (01:25:56):
I don't like this. I think we are.

Speaker 33 (01:25:58):
Oh really, look at that oo it's been it, isn't
it marvelous?

Speaker 26 (01:26:01):
Gothy?

Speaker 33 (01:26:02):
Listen for all we wonder if it's still plays all.

Speaker 56 (01:26:05):
We know he might be some kind of a maniac
or something.

Speaker 33 (01:26:07):
Oh don't be silly, Why not?

Speaker 14 (01:26:09):
After all?

Speaker 37 (01:26:11):
I found the very thing for you, Old Port look
at that eighteen forty.

Speaker 56 (01:26:15):
Seven, forty seven. The best I could find is, well,
I suppose we really ought to introduce ourselves. My name's Ainsley.

Speaker 11 (01:26:24):
Please to meet you.

Speaker 14 (01:26:25):
How do you do you were?

Speaker 56 (01:26:27):
You surely aren't going to open that bottle oil?

Speaker 11 (01:26:29):
I'm going to do my best.

Speaker 41 (01:26:30):
Well, it's not your proper, you know, Kathy? Are you
going to sit here and be a party to this?

Speaker 33 (01:26:35):
I thought of doing just that?

Speaker 14 (01:26:37):
Oh, just a very little for me?

Speaker 11 (01:26:40):
Please, hello, criminal, won't you join us?

Speaker 20 (01:26:44):
Certainly not?

Speaker 11 (01:26:45):
I'm sorry. Well, how about a toast?

Speaker 33 (01:26:49):
I know one. Here's to your health, your honor, and
the hell's to all your descendants great and small.

Speaker 11 (01:26:56):
That's a mighty handsome toast.

Speaker 33 (01:26:58):
It's an Irish toast and the best.

Speaker 37 (01:27:01):
May you keep as young and as pretty as you
are until doomsday. I'll never forget the man who wished it.

Speaker 33 (01:27:09):
I wonder now as I look at you. Have we
never met before?

Speaker 11 (01:27:13):
No, I'm afraid we haven't. I shouldn't have forgotten.

Speaker 33 (01:27:15):
Oh could you be Irish too?

Speaker 11 (01:27:18):
I could if I saw enough of you.

Speaker 33 (01:27:20):
Oh well, if you're not Irish, you're an American.

Speaker 11 (01:27:23):
Well how did you know that?

Speaker 33 (01:27:25):
By the way you said? Please to meet you.

Speaker 11 (01:27:26):
Oh well, how should I have said?

Speaker 24 (01:27:29):
Well?

Speaker 33 (01:27:29):
If you mean, how do I say it? How'd you do?

Speaker 11 (01:27:33):
How'd you do?

Speaker 33 (01:27:34):
Oh well, let's not worry about it. Tell me what
are you doing in England?

Speaker 11 (01:27:40):
I came over to join up?

Speaker 33 (01:27:41):
It's not your war.

Speaker 11 (01:27:42):
Well, I'm half English and a scrap's a scrap?

Speaker 12 (01:27:46):
No I like that.

Speaker 33 (01:27:47):
You know this is scandalous of us, but I don't
think he'd mind. Oh the man in the portrait, the owner,
Jeremy Wayne, isn't your romantic figure?

Speaker 37 (01:27:56):
Yeah, glad, I like that devil?

Speaker 33 (01:27:59):
Take you look, don't you? You know you don't look
unlike him?

Speaker 11 (01:28:05):
That's my father, your father?

Speaker 37 (01:28:08):
Yes, yes, I'm Kenneth Wayne. Well this is romance you're
telling me?

Speaker 11 (01:28:19):
How how about another toast?

Speaker 33 (01:28:21):
Oh no, no, you've said quite enough.

Speaker 11 (01:28:24):
Tell me. Yeah, and what was the name of that
song you were playing just as I came in?

Speaker 33 (01:28:28):
Drink to me only with thine eyes and I will
pledge with mine.

Speaker 11 (01:28:33):
Go on finish it?

Speaker 54 (01:28:36):
Hoy moty ah byble.

Speaker 59 (01:29:08):
What my by.

Speaker 9 (01:29:11):
B after?

Speaker 29 (01:29:18):
Oh not?

Speaker 14 (01:29:32):
I was very lovely. Thank you. I don't understand this.

Speaker 41 (01:29:46):
When were you in the Wayne house.

Speaker 33 (01:29:48):
One afternoon about a week ago? What's an Uncle John?

Speaker 27 (01:29:51):
One?

Speaker 14 (01:29:52):
Go on, John, this news getting excited about what happened there?

Speaker 33 (01:29:55):
Well, nothing except the owner happened to arrive from America.

Speaker 18 (01:29:59):
Is here Jeremy Wayne.

Speaker 33 (01:30:01):
No, no, Uncle John, Jeremy Wayne is dead, dead, But
this was his son. He came over to join up
Kenneth Wayne dead.

Speaker 14 (01:30:10):
Why couldn't he be alive?

Speaker 41 (01:30:12):
And come here?

Speaker 9 (01:30:13):
Uncle John?

Speaker 33 (01:30:14):
What is it your faith? Why do you hate him?

Speaker 4 (01:30:16):
So?

Speaker 14 (01:30:17):
John? Listen to let me alone, John, get out of
my way.

Speaker 33 (01:30:20):
Oh and what did this Jeremy Wayne?

Speaker 14 (01:30:21):
Don't but in Heaven's name, that's his wish, Kathy, Then
I must have to here. You don't. You don't know
how it would hurt him. Don't insist, my dear. It's better,
so believe me.

Speaker 33 (01:30:31):
When he's gone out into the garden, he'll take hold.
I'll go bring him back, Uncle John. Won't you please
come inside, dear? There's a heavy jewel. Uncle John. I'm
sorry if I said anything to hurt you.

Speaker 14 (01:30:46):
Clean this young man, This Wayne.

Speaker 41 (01:30:49):
He's in the army.

Speaker 33 (01:30:50):
Hey, Yes, he's in kath near here. He's really awfully nice.
We we we've become rather good friends. Friends, Yes, and I'm.

Speaker 9 (01:30:58):
Sure he's quiet, No second me.

Speaker 14 (01:31:01):
When did you meet this man a week ago?

Speaker 33 (01:31:04):
Almost?

Speaker 41 (01:31:04):
Have you seen him since?

Speaker 8 (01:31:06):
Often?

Speaker 43 (01:31:06):
Why?

Speaker 33 (01:31:07):
Quite often?

Speaker 41 (01:31:08):
You must promise me never to see him again.

Speaker 33 (01:31:10):
But I can't promise. I want to see him.

Speaker 9 (01:31:12):
Why shouldn't I?

Speaker 41 (01:31:14):
God, you in love with him? Are you answer me?

Speaker 33 (01:31:19):
I don't know if I am in love with him.

Speaker 46 (01:31:23):
I don't know.

Speaker 33 (01:31:26):
He's not in love with me anyway, at least he's
never said anything. I only know I can't bear the
thought of not seeing him again. Ah, I'm sorry, Uncle John,
I can't help him.

Speaker 9 (01:31:40):
I just can't listen.

Speaker 14 (01:31:41):
Listen, my child, I'm going to tell you something that
you should have known long ago.

Speaker 41 (01:31:46):
Nor it. It's been my fault, I suppose. But I'd
hoped i'd never have to tell you. I'd hoped I'd
never have to live it all over again. Here, come,
come and sit here beside me.

Speaker 14 (01:31:59):
I want to tell you something about a man named Wayne.

Speaker 37 (01:32:16):
After the freecond mission, mister de Mill and our stars
Jennet MacDonald, Brian Hearn and Jean Raymond will return in
Act two. I've smiling through. Now for a minute, let's
listen to a conversation that took place in the college
dormitory the other day. The girls had just come back
from their Christmas holidays.

Speaker 33 (01:32:32):
Hi, Susy, can I commend came to look at your
Christmas late? Okay, just take a ticket.

Speaker 12 (01:32:37):
The thing's in that dresser drawer.

Speaker 9 (01:32:39):
Oh my, all those lovely things.

Speaker 28 (01:32:42):
Oh that peach colored slips are honey, And just look
at this nighties gorgeous. Even got stashey in them too.
It smells the lish, smells expensive too. Christmas present.

Speaker 49 (01:32:55):
No, that's the present I gave myself.

Speaker 33 (01:32:57):
I'll buy it all year round, milk. Why it's some
cakes of Lux toilet soap, of course, dopey dear.

Speaker 48 (01:33:05):
I buy it half a dozen cakes at a time
and slip a few in My dress is drawn till
I want to use them. Then I put new cakes
in that Lux soap fragrance makes a wonderful Sashet always said,
you're the smartest girl in the class.

Speaker 33 (01:33:15):
Susie, thanks for tipping me off to that idea. I'm
going to get some extra Lux soap right away and
do the same.

Speaker 37 (01:33:21):
Yes, clever women have made a discovery. They find the delicate,
distinctive perfume of Lux toilet soap makes a perfect sachet
slip a few wrapped cakes into bureau drawers. You'll love
the dainty fragrance it leaves on your handkerchiefs and nice
silk things. It's a costly fragrance, a blend of thirty
four rare ingredients. But Lux Toilet soap costs you only
a few cents because millions of cakes of this famous

(01:33:44):
toilet soap is sold each year. Nine out of ten
lovely screen stars use Lux toilet soap, you know, because
it's as fine as soap as money can buy. When
next you on wrap a cake, Notice how satin smooth,
how white it is. Lux soap is hard milled too,
makes it last down to the thinnest sliver, so it's
thrifty as well as luxurious. Why not make Hollywood's famous

(01:34:06):
beauty soap You're beauty soap too. You'll love its creamy
caressing lather, its delicate, clinging fragrance.

Speaker 2 (01:34:14):
Try it.

Speaker 37 (01:34:15):
Put three cakes of Lux Toilet soap on your shopping
list tomorrow. We pause now for station identification. This is
the Columbia Broadcasting System, Act two of Smiling Through, starring

(01:34:47):
Jeanette MacDonald as moon Ye and Claire and as Kathleen
Brianahan as Sir John Carteret and Jean Raymond as Kenneth
Wayne and as Jeremy Wayne. In the Old Garden, the

(01:35:08):
full round moon shines down on the shadowy figures of
Sir John Carteret and Kathleen. Slowly, Sir John begins his story,
his eyes bright again as they were almost fifty years before.

Speaker 61 (01:35:24):
Almost fifty years but I can see it as though
it were yesterday, This garden, the June night, the scent
of roses in the air, excitement, people coming and going
and from the house, the faint strains of music.

Speaker 62 (01:35:41):
It was the night before our wedding. Moon Yinclaire. She
was very much like you, mon dear. She had the
same eyes and the same laugh. She was laughing at
me as we danced together.

Speaker 41 (01:35:53):
Who was something?

Speaker 8 (01:35:54):
I said?

Speaker 41 (01:35:54):
I can't quit from the board.

Speaker 44 (01:35:56):
You are, my darling.

Speaker 51 (01:36:00):
You're quite mad, I know it.

Speaker 14 (01:36:02):
Have you two got a moment to spare for an
old dread?

Speaker 52 (01:36:04):
Oh?

Speaker 53 (01:36:04):
And where on earth have you been?

Speaker 41 (01:36:06):
What kind of a best friend are you?

Speaker 14 (01:36:07):
Let me look at you, moon Yin John. You don't
deserve this. I am sorry, old man, But to die, no, I.

Speaker 41 (01:36:12):
Know, but it's too late now.

Speaker 33 (01:36:14):
Oh and he hasn't said a sensible thing all evening?

Speaker 14 (01:36:16):
Can you blame him?

Speaker 31 (01:36:17):
Well?

Speaker 33 (01:36:18):
To tell you the truth, I haven't been making much
sense myself. I've never been so happy.

Speaker 9 (01:36:23):
Miss Moon, yean is miss my dame?

Speaker 33 (01:36:25):
Oh dear, I forgot excuse me, John, Well, come right
back beyond.

Speaker 14 (01:36:29):
Could I have a word, Yes, of course, Owen.

Speaker 41 (01:36:31):
What is it?

Speaker 45 (01:36:32):
I saw Jeremy Wayne outside the George and Dragon now, yes,
why didn't you bring him along?

Speaker 8 (01:36:35):
Well?

Speaker 14 (01:36:36):
He was in pretty bad shape, John, drinking nor of
thee was good for him.

Speaker 41 (01:36:39):
It takes it pretty hard, doesn't he? Poor devil? Well,
I can't say I blame him either.

Speaker 14 (01:36:43):
You know, when's a while sort of fellow, John. I'm
worried he was making vague sorts of threats against you.

Speaker 43 (01:36:49):
You know what that is?

Speaker 41 (01:36:50):
Owing, That's that George and Dragon Branday.

Speaker 14 (01:36:53):
Just the same.

Speaker 11 (01:36:53):
I don't like it.

Speaker 14 (01:36:55):
Suppose I suppose he could come here to No.

Speaker 41 (01:36:57):
I don't believe he will now stop worrying.

Speaker 9 (01:37:10):
You mean mister Wayne's here now?

Speaker 46 (01:37:11):
Mary?

Speaker 33 (01:37:12):
Yes, miss, but I wouldn't see him this.

Speaker 49 (01:37:13):
Morning, not if I was you.

Speaker 57 (01:37:15):
I don't think he's quite in stopness.

Speaker 9 (01:37:17):
I'll tell for John.

Speaker 33 (01:37:18):
No, No, Mary, you might him. Don't tell for John,
I'll see him in the gardens.

Speaker 11 (01:37:26):
Jerry, is that your morning?

Speaker 33 (01:37:29):
Oh Jerry, I knew you couldn't let me get married
without coming to wish me.

Speaker 11 (01:37:32):
Joy?

Speaker 32 (01:37:33):
Joy, what's the matter, Jerry?

Speaker 9 (01:37:35):
What is this?

Speaker 14 (01:37:36):
You'll know what it is?

Speaker 33 (01:37:37):
Won't you come into the house. We're expecting you.

Speaker 11 (01:37:39):
Oh no, you're not.

Speaker 33 (01:37:40):
Oh please, Jerry, don't act lussy.

Speaker 11 (01:37:43):
You're really going to marry him tomorrow?

Speaker 33 (01:37:44):
Oh, Jerry, dear, we're not going to go over all
that again, are we?

Speaker 11 (01:37:48):
You look so beautiful of my dress?

Speaker 33 (01:37:51):
Thank you, Jerry, Jerry, Please, Jerry dear, stop.

Speaker 11 (01:37:58):
Please, you're not going to marry him.

Speaker 41 (01:38:00):
Go on my life.

Speaker 33 (01:38:01):
I have loved you, Jerry. It isn't easy for me either,
to have you say things like this.

Speaker 32 (01:38:06):
I'm so fond of you.

Speaker 37 (01:38:07):
Was understood between our families that we were to marry.
It was understood by everyone.

Speaker 33 (01:38:11):
Yes, But Jerry, it doesn't mean the end of our friendship.

Speaker 32 (01:38:14):
Nothing could end there.

Speaker 14 (01:38:15):
Tomorrow you'll be in his arms, this man you'll marry.
What right has he to take you from me?

Speaker 11 (01:38:22):
Why is he better than I?

Speaker 41 (01:38:24):
What is there in me that that's wrong?

Speaker 37 (01:38:26):
Because I drink no I drink because I'm unhappy, and
I'm unhappy because of you.

Speaker 58 (01:38:32):
Hm hm.

Speaker 37 (01:38:32):
This other man, he has no faults, he's perfect.

Speaker 14 (01:38:38):
I tell you, he'll not have you.

Speaker 11 (01:38:41):
The man doesn't live.

Speaker 37 (01:38:42):
Who can take you from me?

Speaker 11 (01:38:44):
The man will not live who takes you from me?

Speaker 33 (01:38:46):
Jerry, I'm marrying John tomorrow. I'm marrying him because I
love him. I should always love him, because he stands
for everything that's beautiful and file and true. And even
if he didn't, I should still love him.

Speaker 32 (01:39:03):
It's John.

Speaker 37 (01:39:04):
Please go now, Jerry, I'll go, just me moaning, No, Jered,
please your mine, Jerry, let me go, goodbye, Moning.

Speaker 43 (01:39:18):
Where are you.

Speaker 31 (01:39:22):
Here?

Speaker 32 (01:39:22):
John?

Speaker 41 (01:39:23):
Ah good Eave me madam? If you're not too busy
tomorrow afternoon?

Speaker 11 (01:39:27):
How would you like to marry me? Why?

Speaker 41 (01:39:30):
What's the matter, Dear? Is something wrong?

Speaker 4 (01:39:32):
No?

Speaker 45 (01:39:33):
Nothing, Something I've done, something I've said, because if it is,
I didn't mean it.

Speaker 32 (01:39:38):
John, Dear, hold me close.

Speaker 41 (01:39:40):
Anything about the wedding? No, listen, listen to your song?
Would you sing it for me?

Speaker 32 (01:39:46):
Please?

Speaker 14 (01:39:46):
John?

Speaker 33 (01:39:47):
If you don't.

Speaker 14 (01:39:48):
Mind, You're not unhappy?

Speaker 58 (01:39:51):
Are you?

Speaker 33 (01:39:51):
How could I possibly be unhappy tonight?

Speaker 41 (01:39:54):
You know? Sometimes I get a little scared. How on
earth did we two ever happen to get together?

Speaker 33 (01:40:00):
I know to think that out of all the millions
of people in the world, I'm it's going to be
in this house, just you and I. Oh, darling, Everything's fun.

Speaker 32 (01:40:08):
Oh do you like my rings?

Speaker 41 (01:40:10):
Beauty, isn't it?

Speaker 33 (01:40:12):
It belonged to my great great grandmother?

Speaker 41 (01:40:14):
I say, let's practice, shall we with this ring? I
the wave? Now it was pretty good, wasn't It's? I
better practice dropping it once or twice.

Speaker 53 (01:40:25):
There's a little world wine in all twenty little white CALLI?

Speaker 59 (01:40:38):
Why is.

Speaker 53 (01:40:55):
Calm wool? There's a gray love for go in the
b that's until the very line.

Speaker 37 (01:41:16):
I s.

Speaker 59 (01:41:19):
By, I not love.

Speaker 53 (01:41:30):
The oh love bu.

Speaker 14 (01:42:05):
Will now in care have this man to thy wedded husband,
to live together after God's ordinance in the holy state
of matrimony. Who will, though obey him and serve him, love, honor,
and keep him in sickness and in health, and for
seeking all others, keep the only auntie him so long
as you both shall live.

Speaker 63 (01:42:26):
I will.

Speaker 11 (01:42:28):
It's Jorry Wayne, Jerry, She'll never have you.

Speaker 14 (01:42:31):
I told you I want you?

Speaker 41 (01:42:33):
What does this mean?

Speaker 12 (01:42:34):
Jerry?

Speaker 33 (01:42:34):
Surely you can't mean to make a scene at my way.

Speaker 11 (01:42:37):
There'll be no wedding.

Speaker 14 (01:42:38):
Monkies Man, get out here, Kerry.

Speaker 33 (01:42:40):
I will never have her, never, no Jerry, no doubt.

Speaker 31 (01:42:46):
John, Oh my god, I love it.

Speaker 11 (01:42:54):
And get a doctor.

Speaker 14 (01:42:55):
Let's wait.

Speaker 41 (01:43:05):
Is she all right?

Speaker 8 (01:43:06):
Tell me?

Speaker 41 (01:43:07):
Is she all right?

Speaker 8 (01:43:08):
I'm sorry John that you.

Speaker 32 (01:43:09):
Must do something, John, get hurt, John, make it starm, Yes.

Speaker 11 (01:43:20):
We'll make it stump am I.

Speaker 9 (01:43:25):
It's nothing, darling, John, where is the ring?

Speaker 12 (01:43:33):
Put it.

Speaker 54 (01:43:35):
On my finger.

Speaker 32 (01:43:39):
Don't be sad. I'll be waiting for you. Oh. Love
could never die John, John, where are you?

Speaker 41 (01:43:53):
Oh darling, don't leave me.

Speaker 14 (01:43:55):
Don't leave me, John, isn't it?

Speaker 32 (01:44:03):
Isn't it.

Speaker 41 (01:44:16):
For me too?

Speaker 11 (01:44:18):
It was the end.

Speaker 41 (01:44:20):
She lay white and still in my arms.

Speaker 8 (01:44:23):
She was dead.

Speaker 64 (01:44:25):
All that I lived for was gone. I came back
alone to this house, all gay with flowers for her.
I sat alone where I sit now the whole night through.
Poor darg said here many times since, whenever I'm in
trouble or sorrow, I come here.

Speaker 41 (01:44:43):
It was here that she returned to me.

Speaker 8 (01:44:46):
Year after year.

Speaker 41 (01:44:47):
She had come always when I needed her.

Speaker 11 (01:44:50):
She was here beside me, here in this garden.

Speaker 32 (01:44:55):
I no, dear, I understand Kathleen to night.

Speaker 41 (01:44:59):
You told me the Jeremy Wayne was dead. God, sorry,
I didn't.

Speaker 32 (01:45:03):
Kill it, Uncle John.

Speaker 25 (01:45:05):
Look at the police had given up the search. I
checked him for years, through half the boughts.

Speaker 41 (01:45:08):
In South America, for years. I hunted him in my dreams.
I killed him in my dreams.

Speaker 25 (01:45:16):
Oh, he's dead, and his son, his son. He was
promising me to have nothing more to do with that man.

Speaker 14 (01:45:26):
You mean, it's.

Speaker 32 (01:45:29):
Never never.

Speaker 12 (01:45:39):
Good night, good night.

Speaker 14 (01:45:41):
Thanks for coming to the camp.

Speaker 41 (01:45:43):
It was a grand concert, thanks to you.

Speaker 33 (01:45:45):
I was glad to come.

Speaker 41 (01:45:46):
Can I see you?

Speaker 33 (01:45:46):
No, thanks, I'll be all right, good night.

Speaker 11 (01:45:48):
Good night, Kathleen.

Speaker 37 (01:45:53):
Kathleen White, Canada.

Speaker 33 (01:45:55):
I can't talk to a minute.

Speaker 11 (01:45:57):
We've got to talk. I've got no more than you
told me in your letter, A lot more.

Speaker 33 (01:46:01):
Walk home with me than I. So you see, there's
really nothing else we can do, is there?

Speaker 20 (01:46:12):
No?

Speaker 11 (01:46:12):
I Oh, I guess the whole thing was crack eyed anyway,
w me going to the front so soon?

Speaker 33 (01:46:18):
Besides, we hardly know each other, do we.

Speaker 13 (01:46:21):
No?

Speaker 37 (01:46:22):
These poor boy rich girl things usually are busted anyway.

Speaker 33 (01:46:25):
M Yes, I I guess we were just as lucky
to have started now when.

Speaker 11 (01:46:29):
Yeah, pretty colche though we really might've got to him. Yes, yeah,
well it's a it's a nice one. Known your Cathleene.

Speaker 33 (01:46:43):
Good bye, Kenneth, goodbye, Oh, Kathleen.

Speaker 49 (01:46:48):
We can't do this.

Speaker 33 (01:46:49):
Week, Kenneth, I promise, I know, but we mustn't see
each other.

Speaker 11 (01:46:52):
I'm going to France soon.

Speaker 57 (01:46:53):
Anyway, it wouldn't be easier than if we didn't.

Speaker 11 (01:46:55):
I don't know that it would.

Speaker 33 (01:46:56):
Oh, we can't just we We aren't children.

Speaker 11 (01:46:59):
All, No, we're not children. And I love you, Kathleen,
I love you.

Speaker 33 (01:47:08):
Cannis, give your sandwich, Darling, likenother Kenned Wayne special.

Speaker 11 (01:47:23):
No thanks, I couldn't.

Speaker 33 (01:47:25):
Oh why when I last picnic? You ate six?

Speaker 44 (01:47:29):
What's the matter with you?

Speaker 33 (01:47:30):
Are you in love with something?

Speaker 11 (01:47:32):
In love? How would you know how a person in
love feels?

Speaker 33 (01:47:36):
Because I'm in love myself?

Speaker 11 (01:47:38):
How are you, darling, Kathleen?

Speaker 37 (01:47:42):
Yes, dear, we're pushing.

Speaker 11 (01:47:45):
Off when tonight?

Speaker 44 (01:47:47):
Tonight?

Speaker 34 (01:47:48):
Oh no?

Speaker 12 (01:47:49):
Oh Ken?

Speaker 33 (01:47:50):
How can they you're not half trained?

Speaker 11 (01:47:52):
I guess they need more memory. Yes, but so soon
get leave.

Speaker 33 (01:47:55):
You're not dog course you will. You'll be home off
and then you'll.

Speaker 32 (01:48:01):
Give I'm sorry?

Speaker 11 (01:48:05):
How long have you? Battalion goes to Southampton to night.
We'll be crossing.

Speaker 32 (01:48:10):
Tomorrow, Kenneth, take me with you tonight.

Speaker 11 (01:48:14):
God, Oh no, I know I couldn't. It's only a
few hours, and I'll leave you and I I may
not come back, but.

Speaker 33 (01:48:21):
We shall have had those hours. It will help me
to wait, and if it's.

Speaker 44 (01:48:24):
All we ever have, it will help me to live.

Speaker 33 (01:48:27):
I should have been your wife, Chathleen.

Speaker 11 (01:48:31):
What about your uncle? What do you tell him?

Speaker 33 (01:48:33):
The only thing I can. I'll tell him the truth.

Speaker 11 (01:48:44):
And we decided I'd better come along too. We want
to be married.

Speaker 41 (01:48:49):
I hope you understand, said, I.

Speaker 14 (01:48:50):
Understand only one thing about a Wayne, uncle John. The
quality of your breed is not to take his medicine.

Speaker 45 (01:48:57):
That's why your father took the life of one person
and ruined that another.

Speaker 14 (01:49:00):
He couldn't take his medicine.

Speaker 11 (01:49:02):
I don't think you have any right to put it
like that, sir Ken.

Speaker 33 (01:49:05):
I'm going with you, just as I Prowler.

Speaker 62 (01:49:06):
If she married you, if she becomes your wife and
you'll never come back, you'll have smashed into her life
for a.

Speaker 14 (01:49:12):
Few cowardly hours.

Speaker 41 (01:49:13):
Because our eyes shall never forgive an him part of it.

Speaker 14 (01:49:17):
Kathleen. If he takes you from me, then he can
take care of you. That's my last word.

Speaker 33 (01:49:22):
Come, darling, let's get out of here.

Speaker 41 (01:49:32):
Oh what time is it?

Speaker 14 (01:49:34):
Twelve thirty? I'm afraid he's not coming back, John.

Speaker 32 (01:49:38):
She couldn't do this to me.

Speaker 31 (01:49:39):
She couldn't.

Speaker 37 (01:49:40):
Who is that the door?

Speaker 14 (01:49:42):
He's Kathleen, Kathleen.

Speaker 47 (01:49:44):
Yes, I'm here.

Speaker 33 (01:49:47):
You knew i'd come back, didn't you. He wouldn't marry
me because of your press, And now he may not
come back at all.

Speaker 41 (01:49:54):
If God is just, he never will.

Speaker 33 (01:49:58):
Uncle John, Hu, I never thought you could be so cruel?

Speaker 14 (01:50:02):
John, What the devil has got into you? Go after her?
Beg her to forgive you if she ever can.

Speaker 41 (01:50:06):
I'm asked your advice. I'm giving it.

Speaker 14 (01:50:08):
That boy you wish dead is a fine chap one
of the best. So you're on his side too. I'm
on Kathleen's side, and I say you're wrong, wicked little
Maybe all you say o in, but at least I'm
loyal to her. To moonin and who pays the price
of your loyalty? You must think of the living as
well as the dead. That how you feel ow In
You and I can't go on as we am. You

(01:50:30):
mean that, John, and have meant anything so much you're
willing to sacrifice every decent human sentiment to a bitter
memory that to be forgotten. Said enough of him. It's
been a great many years, John, I've.

Speaker 41 (01:50:40):
Said my last word.

Speaker 14 (01:50:43):
Very well. Good bye, John.

Speaker 41 (01:50:50):
Ogain moon Yin. Where are you?

Speaker 35 (01:50:58):
I can't dear?

Speaker 46 (01:51:01):
Your hate has come between us.

Speaker 8 (01:51:03):
I need your bullion.

Speaker 41 (01:51:05):
You must come.

Speaker 33 (01:51:07):
If I could only read you, dear, if I could
only make you understand that I love it.

Speaker 47 (01:51:13):
Jundreth read it long ago. He may never come back
to her again. Did you build a barrier between those
who love?

Speaker 4 (01:51:24):
It?

Speaker 47 (01:51:24):
Will stand between your soul and mine for all eternity.
Oh John, can't you hear me?

Speaker 46 (01:51:35):
Unless you drive this hate with out of your heart,
unless you write this wrong, you can never come to me.

Speaker 9 (01:51:46):
Never, never, Yes, m.

Speaker 41 (01:51:53):
Why have you deserted me?

Speaker 37 (01:52:09):
In just a few moments, mister DeMille presents Jeanette McDonald,
Brian Ahern and Gen Raymond in Act three of Smiling Through.
And now here's Sally with that gay. I've got something
to tell you.

Speaker 57 (01:52:20):
Look in her eyes, you just bet I have, mister Ruick,
Oh it was so sweet.

Speaker 37 (01:52:25):
Now wait a minute, Sallie, let's begin at the beginning.

Speaker 24 (01:52:27):
Well, it was like this.

Speaker 33 (01:52:29):
I was in the bus on my way to the studio,
and I noticed a very attractive young couple sitting just
ahead of me. They were looking at a movie magazine,
and all of a sudden, the girl said, oh, Johnny,
just look at that picture of Virginia Bruce.

Speaker 9 (01:52:45):
She's honey, all right, that lovely hair and look, Johnny,
did you ever see such a gorgeous complexion?

Speaker 41 (01:52:51):
Yes, dear, I'm looking at one right now.

Speaker 33 (01:52:54):
Oh why, Johnny, dear, why send you.

Speaker 37 (01:52:59):
That just goes to show you a lovely complexion always wins.

Speaker 57 (01:53:03):
Will I'd be willing to bet you three cakes of
Luck soap. That young lady was a lux girl. She
had really lovely skins, so smooth and fresh looking.

Speaker 37 (01:53:11):
Well, then she and Virginia Bruce have something in common,
because Virginia Bruce is one of our very loveliest lux girls. Sally,
why don't you tell the ladies in our audience just
how Virginia Bruce takes care of that smooth complexion of hers.

Speaker 58 (01:53:24):
I like to because active lather facials are a beauty
care every woman should know about you. Just Pat Luck Soap,
screamy active lather gently in rinse with warm water and
then a dash of cool Pat your face dry with
the towels.

Speaker 57 (01:53:39):
Now touch your skins. See if you don't agree with
Virginia Bruce.

Speaker 9 (01:53:43):
She says, active lather facials.

Speaker 57 (01:53:45):
Leave skin feeling smoother and sautest, looking so fresh.

Speaker 37 (01:53:49):
Thank you, Sallie. Now all you ladies who heard that,
won't you try active lather facials with lux toilet soap regularly.

Speaker 7 (01:53:57):
For thirty days.

Speaker 37 (01:53:59):
Let this care help you in the flower frace appealing
loveliness that men adore. Remember nine out of ten famous
Hollywood screen stars use Luck's toilet soap. It's the beauty
soap for you. Now I'll produce him to the mill.
Curtain rises on the third act of Smiling through. Spring

(01:54:28):
has come again, the spring of nineteen nineteen, and once
more there is peace in the world. Unknown to Kathleen,
Kenneth has returned to the old Wayne house. But he's
not the same man who marched away to war. He's
white and drawn, and he walks now with the aid
of crutches. Ohen on hand to meet him, pretends not

(01:54:51):
to notice.

Speaker 14 (01:54:53):
It's good to see you, Beck, my boy. The captain
too splendid.

Speaker 37 (01:54:58):
Will you do me a favor, Padre, Look at my
legs and stop pretending you don't see the crutching.

Speaker 14 (01:55:03):
And I see them, and I see the DSO and
your tunic too. Did they send you down to our hospital?

Speaker 11 (01:55:08):
No, I'm just charged.

Speaker 14 (01:55:10):
Kathleen hasn't heard from you, been worrying, But I suppose
you didn't want to tell her you were wounded.

Speaker 37 (01:55:14):
I came here to clear up the title on the house,
put it up for sale, and I'm I'm leaving for
America tomorrow.

Speaker 14 (01:55:21):
But surely you'll be seeing Kathleen.

Speaker 11 (01:55:25):
Do I look like a man who wants to see
a girl?

Speaker 14 (01:55:27):
She's been waiting three years for you, So I'm.

Speaker 11 (01:55:29):
A dirty swine.

Speaker 37 (01:55:30):
Tell her I've gone back to America to marry a
million dollars. Tell her I fell for the girl from Armon.
Tell her anything.

Speaker 14 (01:55:37):
Why won't you see her?

Speaker 37 (01:55:38):
Because I haven't got there, because I'm shot to pieces,
because I'm still in love with us.

Speaker 11 (01:55:45):
You must know now when you let me alone running alone?

Speaker 8 (01:55:52):
Canness?

Speaker 14 (01:55:54):
Oh my boy, let me help you up?

Speaker 11 (01:56:01):
You see you prod me?

Speaker 41 (01:56:03):
I see?

Speaker 14 (01:56:05):
I am sorry, my.

Speaker 44 (01:56:06):
Boy, Kenneth, Kenneth, Oh it is you.

Speaker 33 (01:56:17):
I can't believe it, but it is.

Speaker 4 (01:56:19):
It is.

Speaker 11 (01:56:21):
Oh, Kenneth, my darling, Yeah, dear mind, if I don't
get up, I'm I'm kinda tired. Trip on long Oh, my.

Speaker 33 (01:56:27):
Darling, of course you're tired. Don't move, just just let
me put my arms around you. Oh, Kenneth, I've waited
so long.

Speaker 32 (01:56:35):
I wish I weren't.

Speaker 59 (01:56:36):
Crying like this.

Speaker 33 (01:56:36):
I can't see you properly, darling? Are you glad to
see me? And said?

Speaker 37 (01:56:41):
So?

Speaker 5 (01:56:41):
You know?

Speaker 11 (01:56:41):
Of course I'm glad to say you're Oh.

Speaker 33 (01:56:43):
I have so much to ask you. Why didn't you write?
I thought you were wounded or sick of you?

Speaker 9 (01:56:48):
All?

Speaker 33 (01:56:48):
Aw right, aren't you?

Speaker 43 (01:56:49):
Oh?

Speaker 11 (01:56:49):
Yes, I am, I right?

Speaker 33 (01:56:50):
But then why did you stop writing?

Speaker 11 (01:56:52):
Well, I'm sorry.

Speaker 37 (01:56:54):
I I should have written, of course, but I had
been pretty busy here making all my plans and everything.

Speaker 11 (01:56:59):
And what plans Kenneth, Well, I uh, I'm selling this house.
But why I'm leaving? I'm sailing for America in tomorrow.

Speaker 33 (01:57:08):
Well, Kenneth, I don't understand you. You're you're really leaving.

Speaker 11 (01:57:11):
Ten o'clock boat train tonight, lucky to get a passage.

Speaker 33 (01:57:15):
Oh, well, then there's no reason why you were dying.

Speaker 32 (01:57:17):
I'll go along with you.

Speaker 11 (01:57:19):
You might not like it over there, Oh.

Speaker 33 (01:57:20):
Ken, What are you saying? I live anywhere in the
world with you.

Speaker 11 (01:57:23):
This is your home. You you you like it here?

Speaker 33 (01:57:25):
Of course I do.

Speaker 11 (01:57:26):
Yeah, that's fine. You see, Yeah, I was right the
night I made you go back to your uncle? By
the way, How how is he?

Speaker 33 (01:57:33):
He hasn't changed about you?

Speaker 11 (01:57:35):
But neither of eye hasn't changed. Huh still nursing that
old sorrow of this? Huh ha. Must be great to
be like that. I love one woman all your life, Yes,
it must be. Well. How's the an ale's been?

Speaker 20 (01:57:54):
Huh?

Speaker 11 (01:57:55):
Yeah? How's Willie Ainsley? Will he beIN all right?

Speaker 37 (01:57:58):
Yes, that's good, say Willy might be just the type
of that Willie would love somebody all.

Speaker 11 (01:58:07):
Of his life.

Speaker 33 (01:58:08):
Kenneth, what are you talking like this?

Speaker 58 (01:58:10):
Thought?

Speaker 12 (01:58:10):
Oh?

Speaker 11 (01:58:10):
Just rambling along, just reminiscing.

Speaker 37 (01:58:13):
We had a lot of fun together, didn't we remember
the day we met right here in this room. Yeah,
it's too bad we had to grow up, isn't it.

Speaker 33 (01:58:22):
What are you saying? What are you trying to do?
What's happened to you? I know you've been to Warren,
I've been waiting for you because.

Speaker 18 (01:58:29):
I have loved you.

Speaker 11 (01:58:30):
Oh, Kathleen, let's not let's not the winter things over it,
it's it's it's over.

Speaker 33 (01:58:37):
I see it's over. Then why did you come back here?
Did you wanna make sure you didn't love me?

Speaker 19 (01:58:45):
Well?

Speaker 33 (01:58:45):
I hope you're sure. Now, Just forget that I love you,
that I've waited for you, that I've waited for you.

Speaker 11 (01:58:51):
Over with, Kathleen. I I've I've changed. Yes, you certainly
have three years and here you you change. That's all,
of course.

Speaker 33 (01:59:00):
I'm sorry, Kenneth. I I didn't mean to throw myself
at your head. I didn't mean to embarrass you like this.
I've I've really been quite stupid, haven't I taking it
for granted that you'd still be the perha Well, there's
not much more to say, hesteraid, good bye, good bye, Kenneth.

Speaker 8 (01:59:30):
Kathleen.

Speaker 41 (01:59:31):
Have you seen him, Kenneth, Wayne?

Speaker 37 (01:59:35):
Have you?

Speaker 33 (01:59:36):
I'm not quite sure. I went to his house. I
I'd give anything if I hadn't. He's going back to America.

Speaker 41 (01:59:43):
So he ended a day. Well, perhaps it's for the best.
You will get over it, my dear.

Speaker 33 (01:59:50):
You didn't not quite the same, though, is it you
knew somebody loved you.

Speaker 32 (01:59:56):
He was sure of it. At least you had that memory.

Speaker 9 (02:00:00):
I had nothing.

Speaker 33 (02:00:02):
You don't understand that, do you.

Speaker 41 (02:00:04):
I understand.

Speaker 33 (02:00:06):
It's the little things that hurt most, the way he
used to laugh, the fool things he said and did.

Speaker 32 (02:00:13):
Oh it's no use, I'll always love him.

Speaker 33 (02:00:17):
I'm just that sort of a fool. I have no pride.
I've loved him whatever he'd done, however badly he treated me,
And if he had died, I'd have loved him always
all my life.

Speaker 14 (02:00:30):
But she loved her, Kathleen, Kathleen, my child.

Speaker 41 (02:00:33):
Listen, he's wounded.

Speaker 11 (02:00:35):
What are you meaning?

Speaker 41 (02:00:36):
He's wounded badly? Owen was here, he saw him.

Speaker 46 (02:00:39):
Oh why didn't he tell me?

Speaker 41 (02:00:41):
He didn't think it was fair. He was afraid you
would marry him out of pity.

Speaker 32 (02:00:46):
Oh, then he does love me.

Speaker 9 (02:00:48):
Of course.

Speaker 41 (02:00:48):
His train leaves a ten, you know?

Speaker 33 (02:00:51):
Is that clock right? I must stop him, Uncle John,
how badly is he wounded?

Speaker 45 (02:00:57):
Nothing that love and kindness won't make right again? And Kathleen,
I hope I should like it if you could possibly
come back here again and bring him with you.

Speaker 33 (02:01:09):
Oh, uncle John, darling, we'll both take care of him,
won't we.

Speaker 14 (02:01:20):
Uh good evening, John?

Speaker 41 (02:01:29):
Oh? Coming on you?

Speaker 14 (02:01:31):
Who have you sent for me?

Speaker 41 (02:01:34):
John? Oh?

Speaker 14 (02:01:36):
I didn't send for your Oh well, Kathleen told me
she did.

Speaker 37 (02:01:40):
Did she?

Speaker 14 (02:01:41):
Where did she go? Doughty said, she told you. She
told me to come to you. Where he is Kathleen
on her way to the station. You should be coming home.

Speaker 41 (02:01:53):
They'll be coming home.

Speaker 14 (02:01:55):
They Yes, Yes, that's what I said. I say, Well, hm,
I uh, I'll be pushing along. Care if the game
uh the boy good now that you are? Yeah?

Speaker 12 (02:02:06):
Uh?

Speaker 14 (02:02:07):
Well, uh, don't mind if I do forgotten your chest
wo's gotten more than you O than you I had
White lost time. Your first move, h John, I know
of someone who would be very glad of what you've
done tonight. Yes, she is glad.

Speaker 8 (02:02:26):
I know, I feel it in my heart. My first move,
Uh I mis sair.

Speaker 14 (02:02:36):
I I'll start the same old way you'll move, John, John. Yeah,
you asleep. I'll leave you at moon the good old John.

Speaker 11 (02:03:04):
John.

Speaker 4 (02:03:06):
John, dear Hunga, Oh, at last you've.

Speaker 41 (02:03:10):
Come to give me.

Speaker 46 (02:03:11):
No, you've come to me.

Speaker 47 (02:03:14):
It's been so lonely with all you.

Speaker 41 (02:03:16):
I almost made an almost mess of thing.

Speaker 11 (02:03:18):
But I'm afraid of getting.

Speaker 9 (02:03:19):
Dy old and you old?

Speaker 47 (02:03:22):
Why you're still young?

Speaker 11 (02:03:23):
Jus as you were over John?

Speaker 47 (02:03:25):
You Ah, No, I had as white.

Speaker 32 (02:03:29):
It's as droll as it ever was right that to
the feeble, you're as.

Speaker 47 (02:03:33):
Straight as tall.

Speaker 46 (02:03:34):
As the popular.

Speaker 37 (02:03:35):
You see me like that?

Speaker 9 (02:03:39):
I see you like that?

Speaker 47 (02:03:41):
Look John, that old man sitting in a chair there.

Speaker 9 (02:03:46):
Do you know me?

Speaker 55 (02:03:46):
You've what?

Speaker 24 (02:03:49):
Why if you?

Speaker 64 (02:03:51):
John?

Speaker 14 (02:03:52):
M is this one they call him dying?

Speaker 63 (02:03:56):
Yeah?

Speaker 47 (02:03:57):
Isn't it foolish to be afraid?

Speaker 46 (02:04:01):
Come to meet John.

Speaker 47 (02:04:03):
We're together now forever.

Speaker 11 (02:04:07):
Come with me.

Speaker 37 (02:04:33):
The banner of love triumphs over the banner of hate
in a performance we'll long remember for three very good reasons.
And here they are Jeanette McDonald, Riyana Hearn and Jean Raymond.

Speaker 57 (02:04:45):
Thank you, mister Demill.

Speaker 33 (02:04:47):
It was a very happy day for me when you
asked us to play smiling through.

Speaker 37 (02:04:50):
Un happier for us, Janette when you were cpted confidentially TV.

Speaker 41 (02:04:53):
All you have to tell me is that Jeannette's going
to sing, and I'll be right on hand.

Speaker 37 (02:04:57):
You know, I uh, I never can get her to
sing at home. I have to go some of the
movies of the Lux Radio Theater. Here my wife sings, Jean's.

Speaker 33 (02:05:04):
Kidding me, mister Demill. The dog howls when I sing
it home.

Speaker 41 (02:05:09):
Probably wants you to make it a do it.

Speaker 33 (02:05:11):
Well, before we say good night, mister Demill, I'd like
to tell you how very much I enjoy listening to
the Lux Radio Theater every week. And I know that
it stands for a fine product because out here in
Hollywood they discovered Lux soap a long time ago, and
I'm sure it deserves its great success.

Speaker 37 (02:05:27):
Lux soap never loses a friend, Jannette, No, it makes
an enemy.

Speaker 11 (02:05:31):
And what do we hear in Lux Radio Theater next week?

Speaker 37 (02:05:33):
Phoebe a drama Jean that one can truthfully call epic,
Charles Dickens Immortal Story, a Tale of two Cities, and
starring in it will be Ronald Coleman's and Edna Best.
Ronald Coleman's magnificent screen acting and a Tale of two
Cities will never be forgotten. And we consider it Danna

(02:05:57):
to present his first radio performance of display. So with
this microphone next Monday night, you'll hear a story that
combines action, adventure, romance and breathtaking suspense.

Speaker 45 (02:06:09):
Well, that's a great favorite of mine and I should
think of everyone seeb good night, good night, good night.

Speaker 11 (02:06:15):
Good night.

Speaker 39 (02:06:22):
You'll threem over direct hope.

Speaker 37 (02:06:23):
Tonight, our sponsors for makers of Lux Toilet Soap, join
me in inviting you to be with us again next
Monday Night, when the Lux Radio Theater presents Ronald Coleman
and Edna Best in A Tale of Two Cities at

(02:06:46):
the Cecil be the Mill, saying good night to you
from Holly Wood. Jeanette MacDonald appeared through the courtesy of
Metro Golden Mayer Studios and is now making the picture
I Married an Angel, in which he co stars with Nelson.

Speaker 11 (02:07:08):
Nettie.

Speaker 37 (02:07:08):
Geene Raven appeared through the courtesy of RKO and Todd
appeared through the courtesy of twentieth Century Fox Studios and
is currently being seen in their production.

Speaker 11 (02:07:17):
Of Remember the Day.

Speaker 37 (02:07:20):
Heard in Tonight's play were Fred Mackay, Erna Felton, Anthony marsh,
Betty Hill, Eric Snowden and Howard McNair. Tunion Next Monday
Night to hear Ronald Coleman and Edna Best in A
Tale of Two Cities. Our Lux Radio Theater production of
Smile and True has come to you with the good

(02:07:40):
wishes of the makers of lux toilet Soak, the beauty
care that nine out of ten Hollywood stars used to
help keep their complexions beautifully clear and smooth, flawless as
every woman wants her skin to be. Join us again
next week in the Lutch Radio Theater to enjoy an
hour of dramatic entertainment. This is your announcer, melvil Royk,
bidding you good night on behalf of our guests, our

(02:08:02):
task and the Luxe Radio There.

Speaker 4 (02:08:05):
Yes, he is the Columbia god hast.

Speaker 11 (02:08:09):
Being stem.

Speaker 65 (02:08:24):
H Man lives in a world of time and man speed.
He lives in a spectrum of the universe where.

Speaker 10 (02:08:39):
Many ventures beyond this.

Speaker 4 (02:08:43):
He is in the known, a real where strange forces
are brought into play.

Speaker 41 (02:08:50):
When a man.

Speaker 65 (02:08:51):
Attempts to misunion these forts. He is son of Hi destroyed.

Speaker 11 (02:08:58):
This is my.

Speaker 1 (02:09:16):
The Far East Network presents in special performance My Cabro
The Night Story The Crystalline Man. A.

Speaker 8 (02:09:50):
Hello, Hello, Is this nota vega?

Speaker 4 (02:09:52):
Yes, this is Thomas Paine of the National Museum. I'm
calling for Professor Abnaty. We've been trying to reach you
over a week.

Speaker 29 (02:10:00):
I've been out of town gone.

Speaker 4 (02:10:02):
It's about the expedition of the glacis. Oh what they returned?

Speaker 12 (02:10:06):
Yes?

Speaker 4 (02:10:07):
Unexpected?

Speaker 10 (02:10:07):
Did they find anything?

Speaker 14 (02:10:09):
Not exactly?

Speaker 4 (02:10:11):
You see a Professor Norton? Come come? What about Professor Nordon?

Speaker 37 (02:10:16):
He he did not come back.

Speaker 66 (02:10:19):
What the members of the expedition are meeting tonight at
the museum.

Speaker 37 (02:10:23):
Can you attend?

Speaker 4 (02:10:24):
Certainly, mister Payne?

Speaker 35 (02:10:25):
What time eight o'clock?

Speaker 67 (02:10:26):
And may I ask you, sir, not to pay this?

Speaker 10 (02:10:29):
Of course I won't.

Speaker 4 (02:10:30):
But what's happened to Norton At the moment.

Speaker 47 (02:10:32):
Sir, I cannot say.

Speaker 31 (02:10:34):
We'll expect you then at eight o'clock.

Speaker 4 (02:10:36):
What we have to report is of the utmost urgency.

Speaker 65 (02:10:49):
Now, gentlemen, a simple expedition to the Arctic, and you
come back whimpering like children.

Speaker 22 (02:10:55):
Now, really, what do you expect me to think? Professor Rabinath,
please be seated. Dr Viga, thank god you come. You
know Thomas Payne at the museum? Yes, yes, he telephoned
me and my associate Craig Taylor.

Speaker 29 (02:11:06):
How do you do miss Taylor?

Speaker 10 (02:11:07):
Good evening, doctor.

Speaker 4 (02:11:08):
Now what happened to Norton? It's hard to explain if
hasor eather he came back or he didn't, Which was it?
He did not? That thing in the other room, yet
paining thing?

Speaker 14 (02:11:20):
What thing?

Speaker 4 (02:11:21):
Before you see it? Doctor? It will take explanation.

Speaker 22 (02:11:24):
What do you think I am a child? You believe
I'm too naive to know the facts. Let me refresh you.
I backed your expedition. My father disappeared in those wilds
five years ago and was never found. Professor Norton thought
he knew the route, that he could find some trace.
But you return without him, cowering like a pack of
whip puppies. Now speak up, gentlemen, what happened?

Speaker 4 (02:11:47):
Have patience with u, doctor Viga.

Speaker 22 (02:11:49):
We we've stumbled upon something we do not understand, something
that's cost the life of Professor Norton and may not
stop there.

Speaker 4 (02:11:56):
Oh, don't go ahead, tell me the full story.

Speaker 22 (02:12:00):
He had camped for the night on the glacier. The
next morning, we noticed a fisher in the ice. A
passageway is large enough for a man to crawl through.
In the ice, we could see the frozen body of
a dog.

Speaker 4 (02:12:11):
It was one of ours.

Speaker 22 (02:12:13):
I thought it might have been one of your fathers.
Nordon decided to crawl into the fissure to investigate. Taylor
remained with me. A storm came up suddenly and We
called out to Norton in the passageways, and Norton.

Speaker 4 (02:12:29):
Have you found any trace? Professor? What do you make
with Craig. He's been in there fifteen minutes. Do you
think he's all right?

Speaker 43 (02:12:38):
I don't know.

Speaker 17 (02:12:39):
We haven't heard from since he left us. With a
storm blowing a fissure, isn't exactly a safe place to.

Speaker 22 (02:12:44):
Be, danger of an avalanche? Better warn him, Professor Norton,
there's a storm. Let's get out of here.

Speaker 29 (02:12:54):
No answer.

Speaker 4 (02:12:55):
It's got a flashlight. It's dark in there. Yes, come on,
we've got to look for him.

Speaker 17 (02:13:00):
Fisher doesn't appear too old, you know, perhaps only a
few days, or otherwise it'd be a heavy layer of
snow on the bottom.

Speaker 4 (02:13:06):
I hope that ice overhead is solid, any kind of slide.

Speaker 17 (02:13:10):
With various rich black dot. I didn't realize the passages
this even.

Speaker 4 (02:13:14):
Watch that ahead.

Speaker 10 (02:13:15):
Uh, it's like a rock.

Speaker 22 (02:13:16):
When the glacier meets the mountain side, two more feet
that will be there. Why it looks like the entrance
of a cave. Nor it must be inside.

Speaker 10 (02:13:25):
So I took a chance for it this far by himself.
Shall we go in? You have no choice?

Speaker 4 (02:13:30):
Look, it's not a natural cave.

Speaker 10 (02:13:31):
You're right. The influence is a carved arch side of courts.
You recognize the sums.

Speaker 4 (02:13:40):
I have never seen anything like this before. Right to
find Craig. And by coincidence too. If that fissure in
the ice hadn't opened here, it might have been lost forever.

Speaker 10 (02:13:48):
How old would you guess?

Speaker 4 (02:13:49):
It is impossible to tell. You've got to find Norton.

Speaker 10 (02:13:52):
Hand me a light.

Speaker 4 (02:13:53):
I'll go first, pro fast and Norton up.

Speaker 10 (02:14:01):
Looks like an ancient.

Speaker 22 (02:14:02):
Cricket tarnis or the carving, unhealthy atmosphere, or I don't
know who's tumbled on past.

Speaker 4 (02:14:10):
I know nothing about Where could Norton have gone?

Speaker 17 (02:14:13):
Seems to be the only room. It's got to be here.
I'll move the leg around once again, slowly. Oh man,
just doesn't disappear in thin air?

Speaker 10 (02:14:23):
What's that where I rubble?

Speaker 4 (02:14:25):
Something caved in?

Speaker 10 (02:14:26):
Yes, in the corner. Come on, it's Norton. He's a
lot of the rocks.

Speaker 4 (02:14:31):
He's caught in the slag. But that's a Norton.

Speaker 41 (02:14:33):
Can you hear it?

Speaker 4 (02:14:35):
Yes, I'm done for him. You and Crane get out
of here as fast as you've can. Nonsense, we're having
free in a moment.

Speaker 10 (02:14:44):
There's another room behind those rocks going there.

Speaker 4 (02:14:48):
I moved some rocks to cover the doorway sliding bury me.
Did you find a trace of doctor Vegas's father?

Speaker 11 (02:14:58):
Just cover that door, man.

Speaker 10 (02:15:04):
Norton, poor devil, he's gone strange. What's that?

Speaker 22 (02:15:11):
I am not a medical doctor, but he doesn't seem
to have been fatally injured by the cave in?

Speaker 4 (02:15:15):
What do you mean the answer may lie in there?

Speaker 10 (02:15:20):
He was probably delirious.

Speaker 22 (02:15:21):
We'd better get out of here. But before we do,
shouldn't we have a look? Norton wanders?

Speaker 4 (02:15:27):
Would a scientist refuse?

Speaker 10 (02:15:29):
After you? Professor?

Speaker 4 (02:15:35):
Take great upset that bowler? You could stop all our plans.

Speaker 10 (02:15:39):
He's under that arch. We don't know how old this is.
It may crumble.

Speaker 4 (02:15:44):
Why it's just a room like the other book?

Speaker 22 (02:15:47):
Straight ahead? The foot of that author, Yes, sparkles like
a jewel. That's what Norton want us is nonsense.

Speaker 4 (02:15:56):
We are scientists, great Norton us, no fool, neither am I.
Let's have a close a look. Ten for ju a
prize to the Arabian.

Speaker 10 (02:16:06):
Nights or of courts sarcophagus?

Speaker 20 (02:16:10):
Of course?

Speaker 4 (02:16:12):
Why was not afraid of it?

Speaker 8 (02:16:15):
Stop locked? They can be raised.

Speaker 4 (02:16:17):
Professor, my boy, this is what every scientist dreams of.
How can you refuse? All right?

Speaker 10 (02:16:24):
I can't tell why.

Speaker 17 (02:16:25):
Something seems to be wanting me to leave this alone.
If you have to take a look, let's get out
of here.

Speaker 8 (02:16:32):
Hey, give me your hand.

Speaker 10 (02:16:33):
Okare what was it?

Speaker 4 (02:16:46):
What did you find in the sarcophagist?

Speaker 10 (02:16:48):
Professor Aramanet?

Speaker 4 (02:16:49):
Will you follow us please? Doctor Vega?

Speaker 17 (02:16:51):
Wait, it might be better to destroy it, mister Taylor,
you can't do that. Yes, I know the museum.

Speaker 66 (02:16:58):
You might remember we have fine ansd your exploits for
many years. There is some sort of obligation to us,
don't you think.

Speaker 10 (02:17:05):
Pardon me, I'd forgotten the commercial aspects.

Speaker 66 (02:17:07):
The public has a right to see these remnants of
mankind's past.

Speaker 22 (02:17:11):
Gentlemen, will you follow me please? Frankly, we are a
loss to make it out. It is entirely beyond the
range of my experience. In the center of the room,
if you will.

Speaker 4 (02:17:25):
The courts are coopagus. Well what are we waiting for?
Open it?

Speaker 10 (02:17:29):
I hope we don't regret this.

Speaker 4 (02:17:31):
Help me, Craig, there it is, doctor Vega. This is incredible.
Is it some kind of joke?

Speaker 65 (02:17:49):
We wish it were a doctor man, a crystalline man,
perfect in detail, even to his thumbprints.

Speaker 10 (02:17:56):
Fantastic.

Speaker 4 (02:17:58):
What do you think, mister peg?

Speaker 66 (02:17:59):
I have had a great deal of time to research it. However,
I can't link him to any period of recorded history.
He is not prehistoric, as he resembles modern man. His
clothing is well tailored, though of a design I've never seen.
He looks forty five, intelligent and scholarly. He doesn't have
the appearance of death. The strange part is, instead of

(02:18:22):
flesh and blood, he seems to be pure crystal. Is
it possible the man could once have lived? And if
he could, what forgotten tongue lost in the antiquity of time?
Would he speak? We may know tomorrow.

Speaker 22 (02:18:37):
How do you mean I believe that, by some process
unknown to us today, this man is still alive.

Speaker 4 (02:18:52):
It's no use. We've tried everything. He is solid crystal.
I was mistaken. He is perfect to the last blood vessel.

Speaker 22 (02:19:00):
Why should a man who is not flesh and blood
need blood vessels? Shall we admit he is merely a
sculptured statue. We don't seem able to prove otherwise, But
I feel some obvious factors escaping us. Wait, there is
one further chance he may be a silicon follel of life.
In that case, he should respond to electric shock, be recharged,
so to speak.

Speaker 4 (02:19:20):
Let me connect these electrodes.

Speaker 66 (02:19:22):
Any sign of life will show in the form of
a brain wave on the electro encephalogram.

Speaker 4 (02:19:26):
Good thinking, professor. There, Now, we'll give him a joke.

Speaker 22 (02:19:36):
Nothing, Try it again, not a thing. Look an eyelid moved? No, pen,
your mistaken nothing moved, professor, did you see?

Speaker 4 (02:19:49):
No. If he's alive, it's in a form unknown to us.

Speaker 43 (02:19:53):
What will you do with him?

Speaker 4 (02:19:55):
You finance the expedition, doctor Vega, you call it. But gentlemen,
uziuvis to paint. Can't you forget that place?

Speaker 22 (02:20:03):
Does every scientific discovery have to go on display like
a bargain in Gimbal's basement? Well, I only assume the
body would have to be disposed of somewhere.

Speaker 4 (02:20:15):
Are you sure you wanted mister Paine after Nordon's warning?

Speaker 66 (02:20:19):
What happened to Professor Nordon had nothing to do with
the crystaline man. He was probably delirious when you found him,
all right enough, The truth of this still escapes us. However,
it can serve no purpose by remaining here.

Speaker 13 (02:20:31):
We may have it.

Speaker 41 (02:20:33):
You may regret it pain, but go.

Speaker 4 (02:20:36):
Ahead take it. Put it on display in the slumber room.

Speaker 10 (02:20:40):
That may well be what he's doing.

Speaker 14 (02:20:42):
Very well.

Speaker 66 (02:20:43):
We'll exhibit it in the public interest, with the provision
that you retain the right to examine it when you choose.

Speaker 41 (02:20:52):
I just not the.

Speaker 10 (02:20:53):
Coroner's office, too bad.

Speaker 17 (02:20:55):
The coroner's office a god, we thought unconscious here this morning,
the one guarding the crystal and landland.

Speaker 10 (02:21:00):
Yes, he just died. That two of the crystaline man

(02:21:21):
will be heard in a moment.

Speaker 68 (02:21:23):
But first, what causes traffic accidents? Weather conditions, road conditions,
vehicle conditions. These all have some part in the total
traffic picture, but it's the driver's own conditions, both mental
and physical, that cause a great many of the accidents
that you read and hear about day by day. You
may find somewhere in the accident report that the driver

(02:21:45):
in an accident was tired, angry, in attentive, or had
been drinking. Harder to find than the report would be
the driver's mental state at the time of the accident.
In many cases, the driver didn't know, didn't think, or
didn't care about the possibility of having an accident. Then
how can he be made more aware of the danger
he is causing to himself and everyone else? The National

(02:22:06):
Safety Council suggests one good way is by an active
community campaign.

Speaker 10 (02:22:10):
Against such thinking. And that's where you come in.

Speaker 68 (02:22:14):
Our community and our local safety organizations need your active support.
Let's all accept our responsibility to join the fight for
life and help save lives.

Speaker 1 (02:22:24):
And now Act two of the Crystalline man. Man, you

(02:22:47):
kids eat life horses.

Speaker 4 (02:22:48):
It's a good thing.

Speaker 10 (02:22:49):
Your father makes a little money, takes it all just to.

Speaker 4 (02:22:51):
Feeds you, and now stop it.

Speaker 24 (02:22:53):
When you were their age, you had some life in
you too.

Speaker 4 (02:22:56):
There's plenty of life left in this old boy very again?

Speaker 24 (02:23:00):
Can you quit laughing? Can I ask you a question?

Speaker 8 (02:23:02):
Go ahead from me?

Speaker 24 (02:23:03):
After supper? Can I go over to Ralph's a while?
And can I go to daddy?

Speaker 10 (02:23:07):
Oh wait a minute, both of you.

Speaker 4 (02:23:09):
What's going on?

Speaker 24 (02:23:10):
Ralph's getting a new turtle? You children run along, but
don't be out late.

Speaker 69 (02:23:14):
Oh god, let's go, Jimmy, you and Christine be careful
and come home before dark. Kiddy email, Wow, A couple
of wild engines reminds me how old I'm.

Speaker 70 (02:23:25):
Going for Darling, they're just little children.

Speaker 10 (02:23:28):
I wish I could be carefully like that, Cray.

Speaker 70 (02:23:30):
Things are different times say oh, oh, something's bothering you.

Speaker 10 (02:23:35):
You're imagining it.

Speaker 70 (02:23:36):
No, no, Ever since that last trip, you all seem worried.
How long has it been in the museum?

Speaker 4 (02:23:43):
Two weeks?

Speaker 9 (02:23:44):
Two weeks and two?

Speaker 10 (02:23:45):
Don't go on, Mary.

Speaker 17 (02:23:46):
The police said Missus Locks died from natural courses. She
was found the next morning by her Peel and Mop in.

Speaker 4 (02:23:52):
The Egyptian room. And what about Gus.

Speaker 10 (02:23:54):
Faithful Ottle, Gus best night watchman we ever had.

Speaker 70 (02:23:57):
I know he was old and ready to retire, but
don't you think something got him too? He was found
like Missus Locke did the next morning.

Speaker 4 (02:24:06):
Mary, Just talk now, Craig.

Speaker 70 (02:24:08):
Before long people will be afraid to go to the
museum to please find any connection between those destinies, this
crystal and man, you'll all be in trouble.

Speaker 10 (02:24:16):
It's against any kind of logic to think that, Darling.

Speaker 70 (02:24:19):
You've said so yourself. There are many things in this
world we don't understand. That doesn't mean they don't exist,
means at the moment we haven't the capacity for understanding.

Speaker 17 (02:24:29):
We've uncovered the genius of some civilization long past. If
the man is not a statue, he certainly isn't the
corpse that he was preserved for a reason. Professor Norton
suspected right away he was trying to wall up the
crypts so he wouldn't find him when he was fatally injured.
Now the crystalline man lies in the museum like some
trojan horse, harboring God knows what met us from the

(02:24:49):
dawn of time. I'm sorry, Mary, it had to come out.

Speaker 70 (02:24:55):
I'm glad you said it.

Speaker 17 (02:24:56):
We should have destroyed him. We couldn't bring ourselves to
do it, so lifelike would have seemed like murder.

Speaker 24 (02:25:03):
Can't let things like this continue. The police have nothing
to go on.

Speaker 4 (02:25:07):
But you know what's wrong.

Speaker 9 (02:25:09):
You can stop him.

Speaker 10 (02:25:10):
All I have is a feeling, a suspicion.

Speaker 17 (02:25:13):
I promise you, Mary, what if there's another depth, I'll
take it on myself to find out what's wrong with
a crystalline man.

Speaker 24 (02:25:30):
There's the night watchman. You want to ask him, Christine? No,
you asked, all right, mister.

Speaker 4 (02:25:39):
Eh museums closed. You kids, go away, I gotta ask
you something. Run along now be dark soon. You ought
to be home.

Speaker 24 (02:25:47):
Please, mister, we have to go inside. Oh do you
now you're telling Christine? Okay, Jimmy, we were here after
school today. I left my homework in there.

Speaker 1 (02:25:57):
Museums locked up. Come back tomorrow, should be turned into
the main office. You can pick them up then.

Speaker 24 (02:26:03):
But you don't understand. She has to study your homework tonight,
don't you see, or I'll get a spanking.

Speaker 4 (02:26:09):
Your parents know where you are?

Speaker 24 (02:26:10):
Gosh, no living, we're rolling a turtle. We said that
so I could get my homework.

Speaker 4 (02:26:16):
Please, mister, well you should be more careful.

Speaker 24 (02:26:19):
You don't want us to get spake, do you.

Speaker 4 (02:26:21):
I'm not supposed to let anybody in. I might lose
my job regulations. You know.

Speaker 24 (02:26:26):
It will be a secret, just between us. You won't
tell anyone. Yeah, the secret.

Speaker 1 (02:26:31):
Okay, just between us then, but remember no tricks whisky
in pick up homework, wiscount.

Speaker 9 (02:26:38):
Just like that.

Speaker 4 (02:26:39):
Check check know where you left it, Christine?

Speaker 24 (02:26:43):
Yes, on a table by the dinosaur.

Speaker 4 (02:26:45):
It's pretty dark. Can you see your way?

Speaker 24 (02:26:48):
I think?

Speaker 4 (02:26:48):
So?

Speaker 31 (02:26:48):
Be right there.

Speaker 4 (02:26:54):
What's your last name? Son Taylor? What your father's Craig Taylor? Sure, professor,
but not his associated I knew it now I will.

Speaker 43 (02:27:02):
Be in trouble.

Speaker 48 (02:27:03):
Don't worrying.

Speaker 10 (02:27:04):
Some days you can't win.

Speaker 4 (02:27:06):
Christine, hurry up, let me go in. I'll find you
a yes, good idea quick get your sister.

Speaker 8 (02:27:17):
Hurry up, son.

Speaker 1 (02:27:17):
I don't want any trouble now I've done it. When
the professor finds out broken regulations, I'll be out of
me job.

Speaker 10 (02:27:25):
That's funny.

Speaker 4 (02:27:26):
Those kids are taking a long time. Christine. Jimmy, beg,
it's nothing. Hope nobody comes along the street and sees
me here with this door open. Goodbye job.

Speaker 10 (02:27:39):
Hey, those two ought to be back.

Speaker 4 (02:27:41):
I don't hear his peep out of them. Getting too
dark in there to make much out. Hey, Christine, Jimmy, Oh,
I don't like this. Hey, there you kids all right?

Speaker 20 (02:28:08):
Who was she?

Speaker 10 (02:28:10):
Praig Thorp? A cleaning woman?

Speaker 4 (02:28:12):
Please, mister Taylor.

Speaker 1 (02:28:13):
I hope there won't be no trouble about me letting
the kids in. How did I know they find all?
Missus thark dead?

Speaker 24 (02:28:19):
Natural causes again?

Speaker 17 (02:28:20):
Pray police car and I said, heart attack. Christine, you're
sure the dead woman was the only thing you saw?

Speaker 24 (02:28:26):
Yes, Paddy, I just found my homework when I saw her. Then,
Jimmy came in. We were too scared to move dead.

Speaker 32 (02:28:32):
Huh, what are you going to do?

Speaker 10 (02:28:34):
Erry?

Speaker 17 (02:28:34):
You can see what we're facing here. Take the children home.
I'll be along later, Craig.

Speaker 24 (02:28:38):
Aren't you coming with her?

Speaker 10 (02:28:39):
No, I'm spending the night in the museum. It's time
we learn the truth.

Speaker 24 (02:28:43):
Not alone, Darling, that's too dangerous.

Speaker 17 (02:28:45):
That's the car only when there are no witnesses. The
only way to find out is to bake the book.
I'll stay in there alone tonight. The killer maybe tempted
to strike again, and then we'll know.

Speaker 10 (02:29:10):
Ten has two excuse me, big place. Those two dnosaurs
aren't kittens.

Speaker 17 (02:29:19):
Egyptian mummies back in the east wing, cave man relics,
and the crystalline man in the slumber room.

Speaker 10 (02:29:27):
He's a standout, all right. Tracks the crowds of the
jewel sarcophagus.

Speaker 17 (02:29:33):
There he is almost in a standing position, sarcophagus tilted
back so he can't fall out, six feet of complete mystery.

Speaker 10 (02:29:44):
A man of the world, but not of this world.
The question is is his statue ra is he really?
I think Norton knew too bad. It couldn't have told
us more.

Speaker 23 (02:29:57):
The strange thing is that in this collection of relics.
The last he alone doesn't reflect some state of decomposition.
The key lies there, I'm short of but logic tells
me our killer is a fleshy plant where the turn
on all light at night.

Speaker 18 (02:30:14):
I'm sorry, I said everyone away.

Speaker 10 (02:30:17):
Place has an eerie, unconnor feeling. Was that the schutar
saw around here?

Speaker 5 (02:30:23):
Or there is.

Speaker 10 (02:30:29):
A feels goodness, says down.

Speaker 17 (02:30:32):
I don't think it'll hurt to close my eyes for
a moment and then over the every edge of this
place safe enough.

Speaker 4 (02:30:37):
I guess.

Speaker 17 (02:30:41):
It could be coincidence. These people who died all old,
including Norton. Oh boy, I can actually maybe a little
katnap wouldn't hurt.

Speaker 4 (02:30:52):
It, Just a little wonder.

Speaker 41 (02:30:57):
Old eyes.

Speaker 30 (02:31:23):
Oh wizards, Shoot, start can't see what time something it's

(02:32:03):
going to hear?

Speaker 10 (02:32:04):
People?

Speaker 14 (02:32:06):
Who are you?

Speaker 71 (02:32:08):
Is beyond capacity to understand?

Speaker 10 (02:32:15):
Crystal?

Speaker 71 (02:32:17):
When I touch breathe deep breath, savage, thou will.

Speaker 10 (02:32:26):
Be Wait then you are alive.

Speaker 71 (02:32:31):
Sang off time.

Speaker 43 (02:32:36):
How old are you?

Speaker 69 (02:32:38):
Perhaps million.

Speaker 15 (02:32:42):
Years doesn't look like.

Speaker 71 (02:32:46):
If I be gold? Oh I am old enough to be.

Speaker 30 (02:32:57):
Rang the future?

Speaker 4 (02:33:00):
Who are oh?

Speaker 9 (02:33:05):
A man of.

Speaker 71 (02:33:06):
Science flesh blood as now.

Speaker 10 (02:33:12):
I'm a telling sheep Shang.

Speaker 71 (02:33:16):
I made a transition of selicon and crystal, the fall
of life, free from the.

Speaker 15 (02:33:24):
Sees, free from radiation.

Speaker 71 (02:33:28):
Things mandaly befell my people. I was engaged in glass
and the peris of the mountainside, where I lay fleeing
for me and some of.

Speaker 10 (02:33:46):
Time, Lily, we are also a science. Perhaps we can
get together.

Speaker 47 (02:33:56):
Millions.

Speaker 71 (02:33:58):
We are a journey apart.

Speaker 10 (02:34:00):
Haven't you risen before?

Speaker 71 (02:34:02):
This small life is thanking? The better thing must sweet.

Speaker 17 (02:34:07):
Josh, I see, but the life corse of others speakers
to Savage.

Speaker 10 (02:34:13):
That's on you remind him, and there's no stopping.

Speaker 11 (02:34:16):
No, no, it was too much Savage.

Speaker 71 (02:34:19):
What does they say, to the limit and go to
the spoils. I will touch thee and thou wilt be gone.

Speaker 72 (02:34:28):
No, it repays just to Tash, and I reveals faith
to beginning my work, feeling not a savage.

Speaker 4 (02:34:40):
I'm warning you wo escape.

Speaker 18 (02:34:43):
The wall is behind and I before thee.

Speaker 71 (02:34:49):
Sav, I swiping to death.

Speaker 10 (02:34:56):
Marri that supreme high enough the shattered crystal. You saved
my life. O quickly the man of a million years
at our feet. We had a million pieces.

Speaker 1 (02:35:40):
You have just heard macabre a special far East Network presentation.
The night's story was the Crystal and Man. In our
cast were John Viuey, Milton rad Melovich, Walt Sheldon, Army, Pfc.
Alan Frank, William Verdier, Mitzy Hennessy, Christine Burn, James Sheldon,

(02:36:02):
Air Force Sergeant.

Speaker 10 (02:36:03):
Al La Page. Associated director was Carolyn Johnston.

Speaker 1 (02:36:08):
Technical supervision by Hiroshiono, with special sound patterns by Airman
First Class James Conley and Air Force Eergeant Bob Eddie.
This is Air Force Sergeant al La Page speaking Macabre
was written and directed by William Burdier.

Speaker 43 (02:36:41):
Get This and Get It Straight. Crime is a sucker's road,
and those who travel had wind up in the gut
of the prison of the grave. This started with a
wreck and went from there to double murder over seventy
five thousand bucks worth of glitare that nobody got the
end because I found out just in time what was
fishy about the Tail of the Mermaid.

Speaker 73 (02:37:01):
From the pen of Raymond Chandler, outstanding author of crime fiction,
comes his most famous character in the Adventures of Philip Marlowe.
Now with Gerald Moore starred as Philip Marlowe, We bring

(02:37:22):
you tonight's exciting story The Tale of the Mermaid.

Speaker 43 (02:37:39):
Nine thirty. I was still in my office, tucking in
the loose ends on a report while I listened with
half an ear to the fabric of city sounds rising
from the street below. Fabric ripped suddenly by tires clawing concrete.
A shattering crash that followed brought me to my feet.
It was a traffic accident, and a bad one. I
ran to the window, but it had happened around the corner,
out of sight for my office, so I watched others

(02:38:01):
run for it, and remember grimly that every thirty seconds
somewhere in the country a thing like that happened, and
one out of every sixteen minutes was fatal. I wondered
it would have been chewed up in a chromium meat
grinder this time, as I listened to, first the police
and the emergency ambulance, and finally the scavenger truck cleaned
the wreck off the street. After that, I went back

(02:38:23):
to my report again and tried to forget about it.
But an hour later that same accident came back into
my office.

Speaker 34 (02:38:29):
Mister Marlow, Yeah, this is Corey Riggs.

Speaker 43 (02:38:32):
Uh, yes, miss Riggs.

Speaker 34 (02:38:33):
I'm a nurse at the Warwick Emergency Hospital.

Speaker 4 (02:38:36):
Huh.

Speaker 34 (02:38:36):
About an hour ago a man named Stanley Ott was
brought in and he's been calling for you for me.
He was badly injured in an automobile accident on Kowing
on his way to your office.

Speaker 43 (02:38:45):
Wait a minute, who did you say this one.

Speaker 34 (02:38:47):
I'm the nurse assigned to mister ottopha hospital. I just
got off Durie and I had to wait until I
was relieved before I could call you.

Speaker 43 (02:38:53):
I see. Well, look, miss Riggs, I'd like to help
in any way I can, but it's nine too.

Speaker 34 (02:38:58):
Mister Ott gave me two hundred and fifty and told
me to call you. Yeah, and he said that I
should give you two hundred and keep the fifty for myself.

Speaker 43 (02:39:05):
Oh fine, Now I'll get clients by proxy. I beg
your pardon nothing, I'll be right over, miss Riggs. I
didn't know anyone named Stanley out, and I felt a
little like an ambulance chaser. But I was only fifteen
minutes in getting the emergency hospital. As I walked up
the ambulance ramp, a smart looking brunette came toward me.

Speaker 34 (02:39:27):
Mister Morrow, I'm Corey Riggs, the nurse who called hello.

Speaker 43 (02:39:31):
Can I see him now?

Speaker 34 (02:39:32):
It wouldn't do any good. You see, he went into
a comb a few minutes after I caught you.

Speaker 43 (02:39:36):
Oh it's too late, is ed it?

Speaker 34 (02:39:39):
Let's move away from the door, shall we? Sure you
see mister Morlow before he went into the coma art
wasn't rational.

Speaker 43 (02:39:46):
He was raving about what sort of things.

Speaker 51 (02:39:48):
About you and a girl?

Speaker 34 (02:39:49):
Oh, as near as I could make out, she's supposed
to meet someone tonight at two o'clock and collect seventy
five thousand dollars.

Speaker 43 (02:39:56):
It's quite an assignment. Who's the girl?

Speaker 24 (02:39:58):
I don't know?

Speaker 34 (02:39:59):
All I'd said it was something about a plaid code
is identification lad code?

Speaker 43 (02:40:04):
Any idea? What he wanted me to do? Chaperone?

Speaker 31 (02:40:06):
Making no?

Speaker 34 (02:40:07):
He kept pleading, stopper, stopper, she can't do it. So
I am sure that he wanted you to prevent this
girl from keeping that appointment for some reason. It seems
absolutely imperative to him.

Speaker 43 (02:40:17):
Where was this two o'clock meeting is supposed to take place?

Speaker 46 (02:40:19):
I have no idea.

Speaker 43 (02:40:20):
Oh fine, so it boils down to this girl we
don't know in a plaid code is meeting someone we
don't know?

Speaker 4 (02:40:26):
What?

Speaker 43 (02:40:26):
A place we don't know. At two am, a man
who wants me to prevent it is in a coma
and can't talk. Did need say anything else?

Speaker 10 (02:40:33):
Miss Rings?

Speaker 34 (02:40:34):
He just kept saying, You've got to help me, marlow
It's life and death.

Speaker 43 (02:40:38):
You know we can stir up an awful hornets nest,
poking our noses into seventy five thousand bucks worth of
business we know nothing about. I doubt that we can
do any good anyway, because we don't have enough to
go on. If he said anything else to even point
right Marlowe.

Speaker 18 (02:40:51):
Well wait a minute.

Speaker 34 (02:40:52):
He mumbles something once about a constantine.

Speaker 43 (02:40:57):
Constantine.

Speaker 34 (02:40:58):
Yes, it's up, peer.

Speaker 43 (02:41:00):
What is it a boat?

Speaker 34 (02:41:01):
I don't know, but at least it's.

Speaker 60 (02:41:02):
A lead, isn't it?

Speaker 43 (02:41:03):
M anything else?

Speaker 4 (02:41:06):
No?

Speaker 43 (02:41:07):
Okay, where can I reach you?

Speaker 34 (02:41:08):
I'll be at my quarters Cressview five seven eight one,
five seven eight one, and keep track of stan Leyout's
condition with you.

Speaker 43 (02:41:14):
If he comes out of it, talk to him. We've
only got three short hours. I'll call you, Corey. I
felt a little weird as I left the hospital because
I was traveling on strictly secondhand information as to what

(02:41:34):
had gone on in a delirious mind but in spite
of that, there was still enough coherence in what Corey
Riggs told me to make a case. My first stop
was a phone booth and a call to the police,
but I found out from the accident report that stan
Leyout was thirty, unmarried, small time lawyer in an LA,
resident with a clean police record. My next call was
the harbourmaster's officer, San Pedro.

Speaker 2 (02:41:57):
Constant.

Speaker 55 (02:42:00):
Don't remember no vessel for that Name's just a minute,
I'll go up in the registry at she Constanta Constant. Constantine.
Only one listed is a foremasted schooner sunk off Pirates
Point near Monterey in eighteen.

Speaker 43 (02:42:18):
Seven days a little before my time.

Speaker 10 (02:42:20):
Not the one, eh, not the one.

Speaker 43 (02:42:24):
So I tried the coast guard.

Speaker 4 (02:42:27):
No fishing boat called Constantine in this coast master.

Speaker 43 (02:42:31):
That was followed by a check of yacht Harbard Long
Beach negative and a call of the pleasure boat anchorage
at Santa Monica.

Speaker 10 (02:42:38):
No Constantine registered here, sir.

Speaker 43 (02:42:41):
After that a long future reconnaissance of the waterfront from
one end to the other. It left me one solid
hour later out at the end of a tottering almost
abandoned concessions peer in Venice swearing in blind frustration at
the black seating ocean below.

Speaker 10 (02:42:55):
I was select.

Speaker 8 (02:43:00):
And thinking of jumping in.

Speaker 41 (02:43:01):
How are you?

Speaker 8 (02:43:04):
You look like you lost your best friend?

Speaker 43 (02:43:07):
I did bust in me. I was sunk with a
Constantine in eighteen seven eight Coyzantine.

Speaker 21 (02:43:13):
You know him too?

Speaker 43 (02:43:14):
Him? You mean Constantine's a guy?

Speaker 41 (02:43:17):
Sure, appeal, there's a shock there. Wait till the beacon
light comes around again.

Speaker 20 (02:43:22):
Yeah you see say that.

Speaker 43 (02:43:24):
Well, I'll be Prince Konstantine chevnov accle tist, promised and
medium personal consultant by appointment only. Yeah, but that's a
fake all him.

Speaker 41 (02:43:34):
Guys, he knows everybody around.

Speaker 10 (02:43:36):
He even if the.

Speaker 31 (02:43:36):
Ziggy me for one bucket and does something.

Speaker 3 (02:43:39):
But he's a genuine Russian princess.

Speaker 20 (02:43:43):
Hey, hey, what were you going?

Speaker 43 (02:43:45):
I have a look. Prince Constantine chevnov could be my boy.

Speaker 5 (02:43:48):
He wouldn't want you losing around here.

Speaker 43 (02:43:51):
That's too bad. Does he live here?

Speaker 11 (02:43:53):
Yeah, in the back.

Speaker 41 (02:43:54):
He runs his pitch in the front where all in the.

Speaker 5 (02:43:57):
Green curtains are.

Speaker 43 (02:44:00):
I suppose he always leaves his door unlocked.

Speaker 20 (02:44:02):
Wood would woopy?

Speaker 10 (02:44:05):
That's kind of funny.

Speaker 43 (02:44:06):
Yeah, yeah, but it'll be a light switch here sometimes.
Oh yeah, now let's see what.

Speaker 20 (02:44:14):
Oh ho he catch good? Why?

Speaker 8 (02:44:18):
Mister good.

Speaker 43 (02:44:26):
As a little wharf right darted through the door and
scampered away into the darkness. I went over to the body,
face up on the cheap, gaudy carpet of the sounds room.
He was about thirty five in a substantial gray business suit,
stained red in front where the bullets had gone in.
His wallet was missing. There was no other identification on him.
His gray snap brim hat was spilled a few feet away,

(02:44:47):
so I picked it up to look for initials, and
found instead a small file card stuck into the sweatband type.
To the top was the heading the mermaid owner Otis
van Owen, only relative Evelyn niece mermaids Stole November twelfth,
nineteen forty eight. Insurance paid in full in ink. Van

(02:45:07):
one died August nineteen forty nine, and under that in pencil.
Constantine Chevna Venice, Pierre and Louis, Paradise, nine thirteen Seacrest Road,
Pacific Palisades. It's a twenty minutes to find nine thirteen Seacrest,
And when I stopped and got close enough of what
I saw through an open window made the Constantine trap
I just left because reliable as a post office. By comparison,

(02:45:30):
it was a miniature Egyptian temple, exotic and deities seconding
lushness of red velvet and yellow silk. And in the
center of the room was a bloated little man balancing
a long cigarette holder in one hand. Well, he's simpered
into a honeycolored French.

Speaker 10 (02:45:42):
Phone in the other arrangement.

Speaker 43 (02:45:44):
I moved up quietly until I could hear.

Speaker 74 (02:45:46):
Him sentimental agreement. That is right, Evy, and your uncle
Otis and I were the best of friends for years.

Speaker 18 (02:45:55):
Well, thank you, child.

Speaker 71 (02:45:57):
Where are you now?

Speaker 3 (02:45:59):
All this overtime?

Speaker 11 (02:46:00):
Good good?

Speaker 18 (02:46:01):
I advise you to stay there until.

Speaker 4 (02:46:03):
A few minutes before two.

Speaker 74 (02:46:04):
And aha, you will not forget to wear a plaid coat,
just to be sure I won't make a mistake.

Speaker 75 (02:46:10):
But careful now, Suddenly I just like this gun going off.
Upset mister Paradise. They find so interesting inside.

Speaker 43 (02:46:19):
Conversation about the mermaid.

Speaker 75 (02:46:21):
Probably oh oh, I too glad to drop that one.
But because i'd bump you for a nickel, say nothing
to seventy five gs.

Speaker 43 (02:46:29):
I don't talk things over with punks. I reserve it
for the head man. Go do something about it.

Speaker 75 (02:46:33):
Okay, but I will go on move under the dawn inside.
Mister Paradise gets some kind of kick out of stepping
on big guys like you.

Speaker 43 (02:46:43):
The gopher face shoved this automatic into the smaller my
back and marched me inside, where the air was thicked
with cheap incense. I bloated little king with a long
cigarette holder and stepped out. He came back fast. When
the gopher calling with the Paradise, he stared at me
from across the room in his nostrils flag for instance,
and he simp it again, and Sidle told me i'd
gopher dug in.

Speaker 10 (02:47:02):
My spine with his gun.

Speaker 3 (02:47:03):
Well, now what is this Rudy Snopp?

Speaker 75 (02:47:07):
And mister Paradise caught him outside picking in the window.

Speaker 3 (02:47:09):
Oh, it is a bad night for snoopers.

Speaker 43 (02:47:13):
Who are you name? Smallow? And the business snooping?

Speaker 75 (02:47:17):
He knows about the man made miss Paradise, He.

Speaker 10 (02:47:19):
Does, does he?

Speaker 3 (02:47:21):
How much?

Speaker 4 (02:47:22):
Do you know.

Speaker 43 (02:47:24):
He's got a fishtail instead of legs?

Speaker 4 (02:47:26):
You dare to joke?

Speaker 75 (02:47:28):
Just stand here and take a big man you asked for.
Make a move and I'll drop you.

Speaker 3 (02:47:33):
I know what you are, Marlowe, but not how much
you have found out.

Speaker 74 (02:47:38):
Now tell me, because the next time I slap you,
it will carry more weight than my bare hand.

Speaker 43 (02:47:43):
I promise you you have company, Paradise.

Speaker 65 (02:47:46):
Could I get it?

Speaker 3 (02:47:47):
No, you keep this s babboon under control, Rudy, I
will land.

Speaker 20 (02:47:50):
On the door.

Speaker 10 (02:47:52):
Oh how far do you think you can go with
my reputation?

Speaker 20 (02:47:59):
Do you want to get me hanged?

Speaker 4 (02:48:01):
What is the matter?

Speaker 74 (02:48:02):
Constantine?

Speaker 3 (02:48:03):
You are upset?

Speaker 4 (02:48:03):
Upset, I'm out of my mind.

Speaker 60 (02:48:05):
Oh what a shock and such a stupid thing for
you to do.

Speaker 3 (02:48:09):
What are you raving about?

Speaker 43 (02:48:11):
He found that body on his front room floor, right, Constantine.

Speaker 76 (02:48:13):
Exactly precisely. And what is more, I did not put
it there. Of all the places in the world, Why
did you pick this one?

Speaker 29 (02:48:22):
Paradise?

Speaker 43 (02:48:22):
Who is this?

Speaker 4 (02:48:23):
This stranger here?

Speaker 74 (02:48:25):
If you would close your mouth and open your eyes
more often, Prince Constantine, you would not be the nervous
wreck you are. This is mister Marlowe, another snooper.

Speaker 41 (02:48:35):
Another one, Paradise.

Speaker 76 (02:48:37):
But ales, listen to me. It's better if we quit.
It's better if we don't try it tonight. It's out
of hand. I don't like it now.

Speaker 3 (02:48:43):
We should get away and come back next year and
do it ah, you jellyfish.

Speaker 10 (02:48:47):
There's nothing to worry about now.

Speaker 74 (02:48:49):
Insurance investigators often working pairs.

Speaker 22 (02:48:53):
Is that not soul?

Speaker 43 (02:48:54):
Marlow, you're a pitch round man. You don't need any
help from me.

Speaker 3 (02:48:57):
You are so right, Rudy, and I caught the first
to your place, Constant. Now we have the second one here.

Speaker 4 (02:49:03):
That is all there are.

Speaker 67 (02:49:04):
The danger is over.

Speaker 43 (02:49:05):
It's clear ceiling for you.

Speaker 10 (02:49:07):
But what about that cadaver?

Speaker 76 (02:49:09):
You have your audacity to leave lying in myself?

Speaker 4 (02:49:12):
Give me Constantine.

Speaker 43 (02:49:13):
That was a necessity. I am sorry now just going
all the time?

Speaker 10 (02:49:20):
Yeah, it's awful.

Speaker 67 (02:49:22):
And all the Champagne caviard with strongle off you can
buy with the mermaids.

Speaker 3 (02:49:28):
I don't care, just to bracelet.

Speaker 74 (02:49:30):
But at the same time, it is seventy five thousand
dollars worth of diamonds in platinum.

Speaker 76 (02:49:34):
Okay, Paradise, I trust you.

Speaker 43 (02:49:37):
Now we go on my yes, And mister.

Speaker 77 (02:49:44):
Paradise, what should I do with the big boy here?

Speaker 29 (02:49:47):
Yeah?

Speaker 43 (02:49:48):
You're kind of leaving a loose end around, aren't you. Feeding.

Speaker 74 (02:49:50):
If I had the time, Marlow, I would beat the
arrogance out of you a little chunk at the time.

Speaker 43 (02:49:56):
Ronde.

Speaker 74 (02:49:57):
Yeah, you've got no initiative, but you do have a
ma so use it.

Speaker 18 (02:50:03):
Goodbye and Milo.

Speaker 73 (02:50:16):
In just a moment, the second act of Philip Marlowe.
But first, it's a big break in entertainment for you,
and a big break in a career for some talented
youngsters when Horace Height's original youth Opportunity program opens the
door to fame and fortune. Every Sunday evening on CBS Popular,
Horace Height is host to young folks who want to
break into show business, And every Sunday evening, one lucky

(02:50:38):
winner does break in to his delight and your listening pleasure.
Yes for music, comedy, thrills and all around fun. Listen
to Horace Heights Sunday Evenings, another great CBS show heard
over most of these same stations to name.

Speaker 13 (02:50:53):
Tune in this fall all this shows that you love
best of all, listen careful.

Speaker 43 (02:51:00):
Here's the address.

Speaker 47 (02:51:01):
It's see.

Speaker 73 (02:51:06):
Now with our star Gerald Moore, we returned to the
second act of Philip Marlowe and tonight's story The Tale
of the Mermaid.

Speaker 43 (02:51:23):
When Louis Paradise, hesitated at the door, snarled the suggestion
that this henchman used his imagination and disposing of me
and left in a lockstep with the white Russian screwball.
I got the point. But even if I'd missed it entirely,
one look into brother Rudy's eyes would have done the trick.
There were no pupils, just slits of lethal viciousness windows
to his warped little mind, where I could practically see

(02:51:44):
the montage going on that ran from ancient thumbscrews by
candle light up to a generous beating by street lamp
with brass nuts. I felt a cold not grow in
the pit of my stomach as Rudy, with a cannon
in his hand, pointed at my head, started toward me,
and from someplace outside I got a break. Two romantic cats.
Rudy spun toward the sound. One chance to a customer, Rudy,

(02:52:07):
and you'll miss.

Speaker 4 (02:52:09):
You.

Speaker 69 (02:52:10):
I'll plow your head off.

Speaker 43 (02:52:10):
Not tonight, gentle soul, give it me. I don't want
you to hurt yourself until we've had a chance to talk.
That's it, now, light on. I know there was some
reason why I like cats their voices. Okay, Rudy, you've
had enough rest. Now let's get back to business. Come on,
get up, we're gonna talk. Wait, holdly, please, no reason
for him more rough stuff? I'll cop that's better we

(02:52:31):
did Paradise in his hindness head for the Ganas though,
where is it?

Speaker 11 (02:52:34):
I don't know?

Speaker 43 (02:52:35):
Am I?

Speaker 14 (02:52:35):
Yes?

Speaker 4 (02:52:35):
Said there was no reason for rough that.

Speaker 43 (02:52:37):
Remember, yeah, yeah, I remember that. That's something I never
heard of. Unhappy coincidence, Rudy, it's one thing I'm interested in. Wait,
there must be something else you want to know.

Speaker 14 (02:52:50):
I could tell you the day.

Speaker 43 (02:52:51):
Hey, Hey, what are you gonna do? You mean you
can't tell? Rudy's funny? All it takes is a little imagination.
With Rudy out of the way, I started through the
place looking for all important answer to what was the
Ganas do? The twenty minutes of turning drawers and closets

(02:53:12):
inside out revealed nothing more exciting than Louis Paradise's address book,
first names only, and a picture of a girl named Toodles,
who belonged to the Roaring twenties and by this time
should have caught a death of coal his sister. No,
Doug put no lead on the Gannas dough So on
the slim chance of my client Stanleyott might already be
back in this world, and able to help. I got

(02:53:33):
outside into my car and drove to the first drug
store we're after checking the phone books under everything from
bazz to bath houses for a ganazdo and getting no place.
I called Corey Riggs at the nurses home.

Speaker 34 (02:53:43):
No, Marlo Stanleyott's still unconscious. I just talked to the
night nurse on his floor. They expect him to come out.

Speaker 4 (02:53:49):
Of it soon.

Speaker 34 (02:53:51):
Why what happened?

Speaker 43 (02:53:52):
Eh, it's too much to explain now, Corey. But that girl,
the one in the plaid code. I found out that
her name's Evelyn Van Oh. And then she's staying at
the Surf Hotel. Now see if that much checks with
Art when he comes to will you.

Speaker 11 (02:54:03):
Oh?

Speaker 43 (02:54:03):
Also, there's a diamond studded item called the Mermaid, which
accounts for that seventy five thousand. He mentioned a Constantine
and the pier. Now equal a phony Russian prince who
runs a spook palace out on the old Venice Pier.
Now you got all that? Uh huh good now, look, honey,
listen real hat. Before Rod passed out, did he by
any chance say the word gnasdoso? Yeah?

Speaker 34 (02:54:25):
No, what does it mean?

Speaker 43 (02:54:26):
I don't know. I think it's the name of a place.

Speaker 34 (02:54:28):
Oh, have you checked her phone books?

Speaker 43 (02:54:31):
Yeah? Yeah, it's no dice, Cory. Also I check one, mister,
louis Paradise. So you might mention, Marl, Wait.

Speaker 34 (02:54:36):
A minute, there's a girl here, one of the nurses,
who's trying to tell me something. It's the gnasdo Marlo.
Wait a minute, she knows something about it here, it's
it's Rosemary. You talk to her.

Speaker 43 (02:54:49):
Hello, Hello.

Speaker 34 (02:54:51):
You want to know what mean? Yeah, when it's Russian,
not posh lea maya nodo.

Speaker 43 (02:54:57):
So well, what does it mean in English? Rosemary?

Speaker 8 (02:54:59):
Fat?

Speaker 43 (02:55:00):
Please? Is important?

Speaker 4 (02:55:01):
Well, that means let's go.

Speaker 9 (02:55:02):
To my place now.

Speaker 34 (02:55:04):
Tho's the word for nest, sort of like cozy apartment, a.

Speaker 43 (02:55:08):
Cottage, my place, nest?

Speaker 34 (02:55:10):
You sure that I'm positive? I was an army nursing
the war, and I spent two years in Germany after
the shooting. Part was over two years a half a
block away from the Russian zone.

Speaker 43 (02:55:22):
That's close enough. Thanks a million, Rosemary.

Speaker 34 (02:55:23):
I don't mention it is Corey, Oh.

Speaker 35 (02:55:28):
Do it?

Speaker 31 (02:55:28):
Marlow?

Speaker 11 (02:55:28):
Yeah?

Speaker 43 (02:55:28):
I think so at any rate, unless I'm way off
basis where both the mermaid and all parties concerned are
going to rendez over at two am. That's less than
a half off. Now the Prince's place on the pier.
I want to be early, so goodbye, Corey. I'll call
again when I know more. Yeah, and give my everlasting
love to girlfriend Rosemary. She all is show a peach.

(02:55:56):
There was still a few parts missing, the way they're
always are as. I drove fast for the old Venice Pier,
and added as I went along. It came out something
like a team of Paradise and Prince what you might
call it, ready willing and able to pay seventy five
grand for a piece of jewelry that one Evelyn van
Owen now own a Mermaid, which, according to the date
i'd found on the insurance man's body, had once been

(02:56:16):
stolen from Evelyn's late uncle. But I left it there
when my rear view mirrors had a long gray said Dan,
that had been tagging me discreetly for the last three blocks.
He's now being indelicate about it and closing fast. The
driver was old pal Rudy, and as he came abreast
he headed from me.

Speaker 78 (02:56:43):
All right, all right, you're okay, you're rokay, Mac. Don't
you worry about it thing. We'll have you out in
there in a minute, And hey, can't you.

Speaker 9 (02:56:50):
Knock out that horse?

Speaker 43 (02:56:51):
Knock out the horn and says, what do you think
we're trying?

Speaker 76 (02:56:54):
Don't so we should get my hand past freaking.

Speaker 8 (02:56:57):
Hot you know?

Speaker 43 (02:57:00):
Oh that's better. Hey, hey, Cabby, what I hit?

Speaker 21 (02:57:04):
Well in the order of our.

Speaker 78 (02:57:05):
Appearance, Mike your car into a telephone pole and then.

Speaker 43 (02:57:09):
You went to your dashboard.

Speaker 4 (02:57:10):
You're sure lucky you bounced off the car.

Speaker 43 (02:57:12):
Personal load you down plenty. Oh hey, here comes the
happy man.

Speaker 14 (02:57:16):
Good not for me.

Speaker 43 (02:57:18):
I'm all right, Hey, come on, Kebby, help me out
of this.

Speaker 8 (02:57:21):
We're there.

Speaker 78 (02:57:21):
Sure, that's what we're trying to do. But don't you worry.
The ambulance same for you. But a guy that sideswiped
you and then tried to get away. I seen what happened,
and I went after him and meet cav. He turned
into a dead end, no less trying to shake me.

Speaker 43 (02:57:34):
Is he a mess? But I guess he'll live all right? Hey,
what's he got against you?

Speaker 21 (02:57:39):
Anyhow?

Speaker 27 (02:57:39):
Mike?

Speaker 43 (02:57:40):
Just my life. Listen, your CAB's still all right. Sure
to someplace you gotta go. There is the old Venice
Concessions pier. My friend and the sooner the better come on.
Maybe my head against the dashboard was exactly what I needed,
because right then and there the method of Rudy's handywork
made me think of an angle that I neglected him
most completely. My unconscious client had not wanted me to

(02:58:03):
get the Mermaid or the seventy five thousand bucks, but
to stop Evelyn from keeping herondezvoom, which at this point
I figured could mean but one thing. It was exactly
two o'clock when the cap slammed to a stop near
the pier, and I piled out and ran out of
the empty fog, damp and planking that led the Prince
Constantine check nothing but mist moved over the pier. No

(02:58:23):
unusual sound broke the pattern of water front noises, but
I thought momentarily that I was still in time to
prevent what Stanley out somehow knew was going to happen.
But Lowis Paradise and his eccentric sidekick intended to get
the Mermaid from Evelyn, but pay off and only one
one way. I ran to the rear of the chakron Stillson,

(02:58:46):
got close to the half open door where I could
see in hear and found out just what I'd expected.
And the storeroom spread out and very still on the
oil soak planks that were a makeshift floor, with the
lifeless form a girl who, according to the plaid Koachy
wall was the lake devil, and van On kneeling close
to a gun in one hand, the sparkling mermaid and
the others her execution on Louis Paradise. Next to him

(02:59:09):
is number one boy, Prince Konstantine Chevnov, very happy, fool
two shooter.

Speaker 74 (02:59:13):
He was stupid, yes, seventy five grand stupid. How would
you have preferred the ipim is vene in cash.

Speaker 3 (02:59:22):
I had to kill her, yes, yes, yes, paradise. But
the gun so much noise.

Speaker 76 (02:59:27):
We can't afford to attract a tender.

Speaker 43 (02:59:28):
Two cops is on hand, I should say not, don't try.

Speaker 20 (02:59:31):
And the mermaid his face between the boards.

Speaker 43 (02:59:40):
Oh it's in the water at chev Nov. Shame.

Speaker 29 (02:59:44):
Yeah, yes see it's a shame.

Speaker 43 (02:59:48):
We did so much, worked so hardly, Yeah, killed so often,
and I run for it, you hiannas run.

Speaker 5 (02:59:58):
The paradise is dead.

Speaker 29 (03:00:00):
Yeah, without parade.

Speaker 10 (03:00:03):
I am not so brave.

Speaker 43 (03:00:04):
Oh you keep quiet, don't make a sound, you have
no we got company.

Speaker 79 (03:00:10):
H pardon me, Can you please tell me where Louis
Paradise can.

Speaker 43 (03:00:15):
Be for and slowly paradise there? Who are you?

Speaker 2 (03:00:20):
Then?

Speaker 43 (03:00:22):
Then on the woman who was supposed to sell the
Mermaid to Paradise.

Speaker 79 (03:00:26):
That's right. But on my way over here, just after
I left my hotel, somebody struck me, knocked me out,
took my my coke there, and my person ran.

Speaker 43 (03:00:37):
Your purse with a mermaid, no doubt. Yes, and that
miss fan Oen makes this angle shooter here? Yeah, very dead,
Nurse Cory Riggs, mhmm, let's get out of here.

Speaker 31 (03:01:04):
There's nothing to worry about, miss Manner. Stanley's going to
be all right.

Speaker 51 (03:01:09):
I'm so happy.

Speaker 43 (03:01:10):
Why is it women always cry when they're so happy?

Speaker 8 (03:01:12):
I don't know, but it's effective.

Speaker 41 (03:01:14):
Well, I'll run along now, goodbye, bye Docy.

Speaker 79 (03:01:19):
You know, mister Marlowe, when I was in the Stanley's
room with the doctor, stan said he didn't lose control
of his car at all when he had that accident
in front of your place.

Speaker 43 (03:01:28):
He was run off the road Gray Sedan. I know
because I had the same treatment. It's one of Louis
Paradise's henchman. Rudy, where's your car, honey.

Speaker 79 (03:01:37):
I'll walk yet, just outside the front door.

Speaker 43 (03:01:41):
Tell me, did I tell you why Rudy roughed him up?

Speaker 24 (03:01:43):
Yes?

Speaker 9 (03:01:44):
In a way.

Speaker 79 (03:01:45):
You see, I told Stanley about the deal with the mermaid,
and he thought it all sounded a little phony.

Speaker 43 (03:01:51):
I can't understand why. He's a lawyer, you know, legal
type mind.

Speaker 79 (03:01:55):
He said, meeting anyone at two in the morning was ridiculous.
So he investigated it as much as he could because
he was worried about me. We're engaged now.

Speaker 43 (03:02:05):
I never would have guessed.

Speaker 79 (03:02:06):
And he found out that mister Paradise was a fence.
And stan said that probably he never intended to give
me the seventy five thousand dollars for the mermaid at all,
that they intended to kill me.

Speaker 43 (03:02:17):
Here we are. Tell me why did you get in
touch with Paradise in the first place.

Speaker 79 (03:02:21):
I was just following Uncle Otis's instructions. He gave me
the mermaid when he was dying, and he told me,
if I wanted money, to sell it only to a
mister Paradise, but not to mention it to anyone.

Speaker 43 (03:02:31):
Your uncle fake the robbery, collected the insurance money and
then let you sell the mermaid to a fence.

Speaker 10 (03:02:35):
Huh.

Speaker 43 (03:02:36):
Just lucky for you that nurse Corey Riggs was clever.
She put together just enough of otis as gibberish to
know that there was something good to be had, and
then got me to unravel it for her. And she
got killed taking my place when she tried to collect
your seventy five thousand bucks. Yeah, oh, here's my car,
my Elevelyn. A little while you were a rich woman.

(03:02:59):
Now it's all gone.

Speaker 10 (03:03:00):
How do you feel.

Speaker 79 (03:03:02):
I'm alive and love.

Speaker 43 (03:03:05):
Yes, well that answers my question. Good night, baby, and
good luck. When I left the hospital, I wandered back
to the old Venicepeer and Prince Constantine's Gnasdo. Was five

(03:03:27):
in the morning, and the police had finished cleaning the
place up, but the word had gotten out. Crowd had
gathered they always do, curious, restless, sordid crowd equipped with
everything from grappling hooks to homemade diving helmets, all climbing
over each other for a chance to fish for the mermaid,
she who had brought death to three people injury to

(03:03:49):
two others in the course of one night. I suppose
they found there what then? A lot of glittering pieces
of white coal set in a metal frame we call precious.
Look at this secus grant. That's all Marlon Home into Dad.

Speaker 73 (03:04:23):
The Adventures of Philip Marlowe, Bringing you Raymond Chandler's most
famous character, star Gerald Moore and are produced and directed
by Norman MacDonald. Script is by meldonell A, Robert Mitchell
and Gene Levitt. Featured in the cast were Ritelyn, John Dayner,
Michael Ann, Barrett Wilms, Herbert Junius, Matthews, Herb Bigron, and
Mark Lawrence. The special music is composed and conducted by

(03:04:44):
Richard Ran.

Speaker 43 (03:04:50):
Be sure and be with us next week. When Philip
Marlowe says, it started with a terrified woman, lost in
a maze of memories she couldn't explain, and waiting for
hour outside an open window, was death.

Speaker 73 (03:05:14):
Another show is joined the CBS Sunday Night Parade. It's
the Contented Hour, starring Buddy Clark and featuring the finest
and popular and semi classical music. It comes to you
on most of these CBS stations for the first time
Tomorrow Night, making its debut on CBS the same night
as Red Skelton and Edgar Bergan and Charles McCarthy.

Speaker 21 (03:05:33):
Yes, this fall.

Speaker 73 (03:05:34):
You hear them all on CBS. This is Paul Masterson speaking. Now,
stay tuned for Gangbusters, which follows immediately over most of
these same CBS stations. This is CBS, the Columbia Broadcasting System.

Speaker 37 (03:06:13):
There's something loose on that mountaintop that's bigger than any
man I've ever seen, and stronger.

Speaker 10 (03:06:21):
Before I leave, I intend to find out what it is.

Speaker 37 (03:06:35):
Have gone, We'll travel, starring mister John Dayner as Paladin,
San Francisco, eighteen seventy five, the Carlton Hotel, headquarters of

(03:06:56):
a man called Paladin.

Speaker 20 (03:07:08):
You will not change your mind, mister Paladine, You still go.

Speaker 37 (03:07:12):
I'm afraid so hey boy, Oh by the way, send
a dozen long stemm roses to missus Julie Parker and regrets.

Speaker 20 (03:07:20):
Oh, do not go there, mister Paladine, Please?

Speaker 10 (03:07:23):
Why not? Why does this trip bother you so much?

Speaker 20 (03:07:26):
Oh?

Speaker 39 (03:07:27):
I read the newspaper Monster at moon Ridge, lady bewitched
by apparition.

Speaker 20 (03:07:34):
Please you don't go there, mister Paladine.

Speaker 10 (03:07:35):
I've already been hired and accepted. I'm leaving right away.

Speaker 20 (03:07:38):
Oh then.

Speaker 8 (03:07:42):
Let me.

Speaker 20 (03:07:44):
Please?

Speaker 10 (03:07:46):
What have you gotten that journ please.

Speaker 20 (03:07:49):
Ah yeah, dragon tooth powder, dragon tooth he while here.

Speaker 8 (03:07:56):
And while here.

Speaker 20 (03:07:59):
Keep you from how drive ins to part a very
powerful protection.

Speaker 37 (03:08:04):
Your new country has a better formula for destroying superstition.
Hey boy, equal parts of reason and daylight. But I
thank you for the friendship behind the thought. O.

Speaker 20 (03:08:14):
Then you go. You see, mister Vito Bella.

Speaker 10 (03:08:18):
That's right, Vito Bella, Bowtown, California.

Speaker 37 (03:08:31):
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Speaker 10 (03:08:48):
What's more, using Fitch.

Speaker 37 (03:08:50):
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in one minute. This way, Fitch sampoo penetrates right down
to the scalp. Next, add water lather one minute to
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rinse one minute. All that loosen dandruff goes down the

(03:09:11):
drain in three minutes with Fitch one rubbing one, lathering
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Speaker 10 (03:09:41):
The Indians have a name for the high mountain lands
back of Placerville. They call it shadow ground. Indians have
a way of seeing things in the shape of the
piece of land that no white man can see. So
they always bypassing like the thunder that boil up against
the peaks and roll downs.

Speaker 37 (03:09:59):
But then the Indian had little use for gold and silver,
and the white men did, and the white men built
their town. Were a teepeevil. It might have been close
to the top of Moon Ridge. It was after dark
and the sky was heavily overcast when I pulled up
in front of the Sheriff's office.

Speaker 10 (03:10:15):
In Boat towns.

Speaker 4 (03:10:22):
All it right there?

Speaker 10 (03:10:25):
I am looking for the sheriff. That's me.

Speaker 8 (03:10:27):
Who are you?

Speaker 77 (03:10:28):
My name is Paladin, Yes, riding in at night, black
horse and black trail clothes. I'm surprised you didn't get
your head shot off.

Speaker 10 (03:10:41):
Well you you have to hold that gun on me.
Come on in.

Speaker 20 (03:10:56):
Who's he Dan?

Speaker 77 (03:10:58):
He's a hobgoblin. This is Jake Kelly, mister Pelladin. He
carries silver bullets and he his gun really clean. Something
grabbed him on the top of moon Ridge one night. Oh,
sit down, I'll for you some coffee.

Speaker 10 (03:11:12):
Thanks.

Speaker 20 (03:11:15):
Where are you from, mister Pelladin?

Speaker 10 (03:11:17):
San Francisco?

Speaker 4 (03:11:18):
Who?

Speaker 20 (03:11:18):
It's a long way are you?

Speaker 2 (03:11:20):
The fellow Peter said he was sitting for about Emily.

Speaker 10 (03:11:23):
He wants to know it's bothering her. I'm gonna try
to find out.

Speaker 39 (03:11:26):
Who with I I'll tell you what's wrong with Emily.
She's heck, that's what. And you know I'm talking true, Darren.
If you, if you'd have a ride up there and
see yourself.

Speaker 10 (03:11:36):
Sheriff's got us stay around town.

Speaker 13 (03:11:37):
Now.

Speaker 39 (03:11:37):
You know that you ain't said put out since the
time you possibly got scattered.

Speaker 10 (03:11:42):
That was a little accident.

Speaker 77 (03:11:45):
Shoe horses run away and folks building into something big.
There ain't nothing noth fare.

Speaker 39 (03:11:49):
He oh, miss Paladin. I was as far from it
as I am from you, and I seen it. The
half man, half bear, and footprints, this long human at
one end.

Speaker 4 (03:12:03):
Cause of the other.

Speaker 10 (03:12:06):
I guess I'll have to see them too.

Speaker 39 (03:12:07):
Why don't believe me? When you get to that Bella place,
you ask Emily Bella what carried off?

Speaker 35 (03:12:15):
M yeah, what you don't as Dan here?

Speaker 4 (03:12:18):
Oh?

Speaker 39 (03:12:18):
Yeah, he sheriff, And if he admitted there was something
up there, he'd have to go on out after it.

Speaker 21 (03:12:23):
Get out of here, Jake, go on, you know, crazy
old coat sheriff.

Speaker 37 (03:12:32):
Is there anything valuable up there? Minerals, grazing lands, any
reason for someone to scare people away?

Speaker 10 (03:12:38):
Oh?

Speaker 77 (03:12:39):
Formation ain't right for gold or silver? And Indians didn't
want it, said it was full of spirits.

Speaker 4 (03:12:45):
You know.

Speaker 37 (03:12:45):
A short time ago, I was feeling superior to a
Chinese friend of mine when he sprinkled dust on my coat.
I forgot that he came by his superstitions honestly, that
he learned them from the cradle. I uh, I can't
find the same excuse for you, sheriff.

Speaker 10 (03:13:00):
I ain't superstitious. Why at the missiletoe above your door?

Speaker 29 (03:13:04):
Oh we.

Speaker 77 (03:13:06):
Forgot it from Christmas agains. There's an old belief that awards.

Speaker 10 (03:13:09):
Off evil spirits. All right, Paladin. Bella Place is north
out of town. The last house on the way to
moon Ridge Country.

Speaker 37 (03:13:29):
What makes the difference sound and sound difference that you
hear on this station, It's the teamwork between the CBS
Radio Network and its affiliated stations. This teamwork combines the
far flung resources of CBS News with local programming that
helps you know your neighbors and neighborhood, your listening post
on your town, your nation, and the world.

Speaker 21 (03:13:50):
Is this station backed by CBS Radio. Don't settle for less.

Speaker 37 (03:14:01):
The Bella place was run down and listless, with a
small light gleaming in the window and the figure of
a woman seated on the porch steps a young woman,
dark plane, no shoes or stockings, long hair, and the
most vacantly staring eyes I have ever seen.

Speaker 10 (03:14:24):
Good evening, miss Emily Bella.

Speaker 30 (03:14:30):
It's dark.

Speaker 10 (03:14:33):
Yes, oh, mister Bella. Yes, my name is Paladin.

Speaker 18 (03:14:38):
Oh, mister Paladin, call me. Oh moment the police. Emily. Now,
you promised you tell Papa when you stepped outside. Remember
it's cold here. And when a visitor come, a big girl.

Speaker 10 (03:14:59):
Says, what.

Speaker 29 (03:15:01):
How do you do?

Speaker 10 (03:15:03):
How do you do?

Speaker 4 (03:15:04):
Emily?

Speaker 10 (03:15:05):
Very good?

Speaker 18 (03:15:06):
Now you come in the house with us, Emily, you
can go to your room a dozen years ago, there
was in this valley epidemic took my wife, almost my daughter.

Speaker 10 (03:15:31):
I'm sorry.

Speaker 18 (03:15:33):
Afterwards Emily's body grew, but her mind she remains a child.

Speaker 10 (03:15:41):
Whine please, now, well this epidemic, what was it?

Speaker 18 (03:15:47):
Oh, we don't know.

Speaker 20 (03:15:51):
No doctors here.

Speaker 18 (03:15:54):
There was a young boy was affected the same way.
People treat them like an animal that him names. They
kick him until he's a Modelma. She took him away.
I saw I have to leave too, Bring Emily here
far from the town. The land here is, it's not good,
but we manage.

Speaker 10 (03:16:15):
Those dolls are hers.

Speaker 18 (03:16:18):
See, she is of an age where toys are pleasant.

Speaker 10 (03:16:21):
She's fortunate to have you as a father.

Speaker 18 (03:16:24):
I think she's fortunate in other ways. Maybe you don't
know what I mean.

Speaker 10 (03:16:30):
Perhaps I do.

Speaker 37 (03:16:32):
There's nothing shocking ugly about remaining a child the best
age of all. Their world is wonderful, mysterious, half real half.
Make believe the world you and I live in, mister Pella,
is not always as pleasant.

Speaker 18 (03:16:47):
For I think you're a wiser man, mister Pella.

Speaker 43 (03:16:50):
We drink.

Speaker 37 (03:16:58):
The newspaper said. Emily was way because of shock, some
unusual experience.

Speaker 18 (03:17:04):
A spell cast by the monster of a moon Ridge.

Speaker 37 (03:17:07):
Since that story is untrue, why do you want to
pay me two hundred dollars, mister Bella, you telegram said
five hundred. You haven't answered my question, mister Paladine.

Speaker 18 (03:17:20):
There is something on Moonridge. It took Emily away from
me for a week, and she wishes to go back
to it. I don't want to lose my daughter.

Speaker 9 (03:17:33):
Go on.

Speaker 10 (03:17:36):
But that week I search for her.

Speaker 18 (03:17:37):
I find her prince and other prints which I will
not describe.

Speaker 10 (03:17:43):
Because half bear, half man.

Speaker 18 (03:17:46):
When you have heard that, she will not tell me
even her father what kept her there.

Speaker 10 (03:17:53):
But she was not harmed, and she wishes to return
to this.

Speaker 18 (03:17:56):
Yes, yes, she has tried twice to run.

Speaker 37 (03:18:00):
Then I think it's time you let your daughter go
back to Moonridge, mister bell Three of us will leave
first thing in the morning. The morning was dark and foreboding,
with the threat of rain in the air. Low clouds
hung over the peaks and in the valleys, twisting the

(03:18:20):
trees into nil shapes and making the rocks grotesque and
sudden to come upon.

Speaker 10 (03:18:25):
All very unreal. But the track we came across on
the top of moon Ridge late that afternoon was real enough.
Half a man a for a bear, maybe.

Speaker 18 (03:18:37):
Emily, mister Fellow, to be honest with me, please, what
make this spring?

Speaker 10 (03:18:42):
I don't know, mister Bell.

Speaker 4 (03:18:44):
It's going to be dark later than What is that?

Speaker 10 (03:18:49):
I'd say it was a bear, Emi.

Speaker 4 (03:18:52):
Heaven, come on back.

Speaker 11 (03:18:55):
Going down the canyon.

Speaker 10 (03:18:56):
You follow with the horses. I'll try to catch her.

Speaker 37 (03:19:06):
The canyon walls were steep and rocky, and it made
the climb down them treacherous.

Speaker 10 (03:19:11):
By the time I was standing on the floor of
the canyon, darkness was coming overhead.

Speaker 37 (03:19:16):
I walked toward what I thought might be the head
of the canyon, only to find the wall of granite
blocking my way.

Speaker 10 (03:19:22):
But no Emily, no.

Speaker 37 (03:19:24):
Sign of Bella, no way out, but something something watching me,
something old and bent and tattered, clothing witch like in
the quick look I had then gone suddenly, you come.

Speaker 14 (03:19:43):
Back here, all right?

Speaker 22 (03:19:48):
I know whoever you are.

Speaker 20 (03:19:50):
Listen to this carefully.

Speaker 8 (03:19:53):
I have a gun.

Speaker 20 (03:19:56):
I'm not going to be frightened away.

Speaker 2 (03:20:00):
Are you there? Can you hear me?

Speaker 8 (03:20:07):
I warn you that I'm lighting up.

Speaker 37 (03:20:19):
When I regained consciousness, I was inside an old mind shaft,
a chain on my leg, minus guns.

Speaker 10 (03:20:26):
Very real looking bear was chained across from me.

Speaker 37 (03:20:30):
There, in the dim light, filtering back from the opening
of the mind shaft, I saw something moving slowly towards me,
something which seemed only half human, something old and horrible.

Speaker 10 (03:20:44):
I waited there quiet as the thing came closer.

Speaker 3 (03:20:54):
What do you want with me, babe?

Speaker 51 (03:20:57):
While you can?

Speaker 37 (03:21:04):
She had dropped a small sledgehammer before she turned and left.
It took me the rest of the night to found
out the connecting pin so that I could remove the
shackles from my leg.

Speaker 10 (03:21:15):
Outside it was morning, bright and clear.

Speaker 2 (03:21:25):
Bella over here, Oh, I've been riding all night.

Speaker 4 (03:21:37):
You seen Emily?

Speaker 18 (03:21:38):
No if I found your.

Speaker 10 (03:21:40):
Gun on a belt out, Oh, thank you arning much.

Speaker 18 (03:21:43):
I didn't know what to do.

Speaker 20 (03:21:44):
I have expected to find a new body.

Speaker 10 (03:21:46):
Let me ask you something, Bella. Has anyone has it?

Speaker 37 (03:21:50):
One ever been hurt in moon Ridge Country here, actually
physically injured, the law law only frightened.

Speaker 10 (03:21:57):
Yes, I've been frightened too, But I'm not hurt, Bella.
I think I know where Emily is.

Speaker 37 (03:22:04):
Where, I would say, up there, beyond that cliff that
backs the Ken, the cliff, possibly a meadow behind there.

Speaker 18 (03:22:14):
Oh, the trailer would be worse than in Sicily that
it with fright that a bad rider, and with a
little clever discouragement even a good rider.

Speaker 37 (03:22:24):
Come on, Now, there's a luxury car that fits regular
parking spaces and ordinary garages that's easy to handle in traffic.
It's America's compact luxury car, the Ambassador by a Rambler.
Now medium priced car buyers can have the room comfort,

(03:22:44):
luxury and performance they expect in a fine car, but
without excessive length.

Speaker 21 (03:22:48):
With and book.

Speaker 37 (03:22:49):
If other medium priced cars have sized and priced you
out of the market, then you owe it to yourself
to test our best American Motor's finest, the luxuriously compact
ambassad Note the quality construction and careful attention to detail.
Enjoy the most favorable power to wait ratio on the
medium priced field with Ambassador's two hundred seven the horsepower.

Speaker 18 (03:23:09):
V eight engine.

Speaker 10 (03:23:10):
Try luxury features like.

Speaker 37 (03:23:12):
Individually adjustable front seats.

Speaker 10 (03:23:14):
That glide back and forth separately.

Speaker 37 (03:23:16):
Five minutes at the wheel of an Ambassador will change
your ideas about luxury cars. Test our best the Ambassador
V eight by Rambler, finest car ever price so close
to the lowest. See drive the luxurious Ambassador now at
Rambler Dealers. It was a steep trail, but a worthwhile

(03:23:39):
one to follow, because at the end of it there
was a meadow brilliant in the high sunlight. And there
was a house with a fireplace and smoke coming from
a chimney. Not very mysterious at all. Some more living
up pe, very comfortably.

Speaker 18 (03:23:57):
I'm saying, look the metal Emily, Emily, wait, no, wait
for watch.

Speaker 10 (03:24:04):
She may be heard, so she sounds like she's in trouble. Bella.

Speaker 80 (03:24:08):
Look, there's a boy with her. Do you recognize him?
Maybe it could be Marie. Yes, the boy, the one
I told you who was afflicted like Emily.

Speaker 10 (03:24:19):
Yes, the mother and son, the ones they ran out
of town.

Speaker 18 (03:24:24):
I think it's time that we visit her. Huh, there's
no need, Marie.

Speaker 51 (03:24:31):
Yes, I watched you to climb the trail up there.
You have no respect for witches.

Speaker 10 (03:24:37):
But I have a great deal of respect for a
clever woman.

Speaker 51 (03:24:52):
So where else could I take my son? I had
no money. I had to find a place where people
would can ridicule him.

Speaker 10 (03:25:01):
Mister Bella suffered from the same things.

Speaker 18 (03:25:03):
See, and once we were old friends. Murray, you should
have had faith in the meat well.

Speaker 51 (03:25:08):
I should have sent her away the first time she
wandered up here. But it's just so good to see
children happy together.

Speaker 36 (03:25:16):
Uh.

Speaker 10 (03:25:17):
The soil is good up here, and I'm better.

Speaker 51 (03:25:19):
Than below, more sun and more water. Why talk of it?

Speaker 10 (03:25:25):
Why not?

Speaker 81 (03:25:27):
Because there's always a man somewhere who won't scare off
like this one.

Speaker 10 (03:25:32):
I'm sorry.

Speaker 81 (03:25:34):
Materialize and apparition on a broomstick in front of him,
and he'll ask it to sweep the floor. The monster
footprints I made half mine, half of bears. They meant nothing.
I've run out of tricks. I've moved before. We can
do it again.

Speaker 10 (03:25:51):
Why move?

Speaker 31 (03:25:52):
See?

Speaker 21 (03:25:53):
Why move?

Speaker 10 (03:25:54):
Huh?

Speaker 18 (03:25:55):
If I lived here, there would be no man bear track,
no cave to put foolish men in and then release
him to run frightened shouting foolish things. I think since
I am a man, there would be a gun in
my hand, and friends would be welcome. Others would not.

Speaker 51 (03:26:15):
If a man has something to say, he comes right
out and says it.

Speaker 18 (03:26:23):
Yes, Maria, I think perhaps I like your land, and
I think I will be going.

Speaker 37 (03:26:35):
I'll expect two hundred dollars to be placed in my
San Francisco account, mister Bella.

Speaker 10 (03:26:38):
And I suspect that you got more than you bargain for.

Speaker 18 (03:26:43):
But you will get what you bargain for, mister, than
five hundred.

Speaker 51 (03:26:48):
You have to ride through town, I suppose and talk.

Speaker 37 (03:26:52):
To the share no ignorant and prejudice. People like to
be deceived. They deserve it when they are Why confuse
them with the true?

Speaker 20 (03:27:10):
Oh, mister Paladin, you're back, safe, all in one piece
and glad to be back.

Speaker 10 (03:27:14):
Hey boy?

Speaker 20 (03:27:15):
Is it bad?

Speaker 11 (03:27:16):
Oh?

Speaker 10 (03:27:17):
Bad for people who believe in witchcraft? Any messages for me?

Speaker 20 (03:27:21):
Oh? You saw many message? Let me see. Oh, ladies,
send note and say you call on her when you
come back.

Speaker 10 (03:27:29):
Huh.

Speaker 20 (03:27:29):
Another lady send summoned overa and tell you not to
call on her when you get back.

Speaker 10 (03:27:35):
What else?

Speaker 37 (03:27:36):
He's all well in that case, tell me the name
of the lady over there, Hey boy, Oh he saw.

Speaker 20 (03:27:43):
He's miss Romero from Spain. Very new in this country.

Speaker 10 (03:27:47):
Thank you, miss Romero. Yes, my name is Paladin. May
I be of service to you?

Speaker 15 (03:28:00):
Service, senor?

Speaker 10 (03:28:02):
It is the custom for a gentleman to offer his
services to a lady in this land.

Speaker 9 (03:28:07):
What kind of services any kind.

Speaker 10 (03:28:09):
The lady wishes?

Speaker 37 (03:28:11):
Dining in fine restaurants, the theater in the opera, perhaps
a carriage ride of historical points of the city your
heart names it.

Speaker 9 (03:28:19):
I like these customs, Senor.

Speaker 51 (03:28:22):
But isn't such a relationship brought with possibilities?

Speaker 37 (03:28:26):
It is all kinds of possibilities. Shall we begin with
the possibility of dinner?

Speaker 21 (03:28:32):
This evening, Have Gone, Will Travel?

Speaker 37 (03:29:07):
Created by Herb Medow and Sam Roth, is produced stand
directed by Norman McDonnell and stars John Dayner as Paladin,
with Ben Wright.

Speaker 21 (03:29:16):
As hey Boy.

Speaker 37 (03:29:18):
Tonight's story was written by Gene Roddenberry and adapted for.

Speaker 21 (03:29:21):
Radio by John Dawson.

Speaker 37 (03:29:23):
Featured in the cast were Laurence Dobkin, Virginia Christine, Jess
Kirkpatrick and Gene Bates Hugh Douglas speaking join us again
next week or Have Gun, Will Travel?

Speaker 10 (03:29:42):
And now.

Speaker 67 (03:29:44):
Do not expect quite to understand the story you are
about to hear any more than you or your analysts
quite understand your own nightmares. In answer to numerous requests
for something by Franz Kafka, is our adaptation of his
story A country Doctor, What a perplexity? Wh What a perplexity?

(03:30:35):
I should be starting on an urgent journey. Seriously, ill
patient is waiting for me in a village ten miles away,
but between him and me, a thick blizzard fills all
the wide spaces. I have a gig, a light gig

(03:30:56):
with big wheels, exactly right for our country road. Muffledly
infers my bag of instruments in my hand. I'm in
the courtyard, already for the journey. But there's no horse
to be had.

Speaker 82 (03:31:14):
No horse.

Speaker 67 (03:31:16):
My own horse died in the night, worn out by
the fatigues of this icy winter. My servant girl rose,
he is running around the village trying to borrow a horse.

Speaker 3 (03:31:31):
But it's opless. I know it, I know it, and
I stand here, snow gathering more.

Speaker 83 (03:31:40):
And more thickly upon me, more and more unable to move.

Speaker 67 (03:31:49):
There's the girl now waving her lantern. Of course, would
lend a horse at this hour for such a journey.

Speaker 17 (03:32:01):
I can see no way out.

Speaker 67 (03:32:04):
What good is walking about here? There's the pig Stye,
pig Stye empty for over a year, A damned old
door almost off its hinges, but inside.

Speaker 83 (03:32:31):
Steam man, smell of horses, the dim stable, lanterns swinging
from a rope, A man, a man crouching an open,
blue eyed face, crawling out on all fours.

Speaker 3 (03:32:54):
What else is in the stye?

Speaker 30 (03:32:55):
I wonder?

Speaker 3 (03:32:56):
Now, you never know what you're going to find in
your own house.

Speaker 10 (03:33:01):
Yes, that's a good one.

Speaker 43 (03:33:02):
You never know what are going to find in your
own house.

Speaker 67 (03:33:07):
Oh look, look, enormous creatures. How can they get out
their beauties?

Speaker 9 (03:33:15):
Oh?

Speaker 3 (03:33:16):
I think they'll make it. See they're squeezing out of
the door. Sheer strengthen for what bodies say?

Speaker 37 (03:33:23):
Ah?

Speaker 26 (03:33:24):
That did it?

Speaker 3 (03:33:25):
Sere and clear?

Speaker 4 (03:33:26):
Sere and clear?

Speaker 3 (03:33:29):
Rose, Rose, give.

Speaker 14 (03:33:31):
Them a hand?

Speaker 3 (03:33:31):
Hurry all right?

Speaker 9 (03:33:36):
What should I do?

Speaker 37 (03:33:36):
Then?

Speaker 9 (03:33:40):
Hey?

Speaker 8 (03:33:41):
Here?

Speaker 13 (03:33:41):
What's this?

Speaker 4 (03:33:42):
This?

Speaker 13 (03:33:44):
Me?

Speaker 3 (03:33:45):
Look at what are you? Brute?

Speaker 67 (03:33:47):
Let me see, Rose, Let me see? Oh years the
two rows of teeth. God Prince clearly defined you brute?

Speaker 3 (03:33:57):
Do you want a whipping?

Speaker 4 (03:33:57):
Do you?

Speaker 11 (03:34:02):
One?

Speaker 10 (03:34:02):
Other hand?

Speaker 3 (03:34:03):
The man is a stranger. I cannot imagine where he's
come from. Idiot of his own free will. He's helping
me out when everyone else has failed me. There he
is tying the horses up with the gig. No, he
isn't no offense. There a magnificent pair of horses. Fine, fine, here,

(03:34:26):
help help me up.

Speaker 9 (03:34:29):
But I'm dry.

Speaker 3 (03:34:30):
You don't know the way.

Speaker 4 (03:34:32):
I'm not coming with you?

Speaker 3 (03:34:35):
Oh how Rose? A rose.

Speaker 67 (03:34:38):
Wait wait, wait, listen, you're coming with me or I
won't go urgent. As my journey is, I'm certainly not
going to pay for it by handing.

Speaker 14 (03:34:46):
The girl over to you.

Speaker 67 (03:34:49):
Wait wait, you are here alone, you hear hey, stop
stop stop it. I can see him through the storm.

Speaker 3 (03:35:00):
The snow. You're almost flying. The snow is blinding all
on my senses.

Speaker 67 (03:35:10):
The moment, it seemed as if my patient's bombhouse had
opened out just before my my courtyard gate.

Speaker 3 (03:35:19):
I'm already there. The blizzard has stopped.

Speaker 67 (03:35:28):
The moonlight, moonlight all around. The patient's parents are I
can't understand a word. They say, Uh, the sick room. Oh,
the air, it's the air is almost unbreathable.

Speaker 3 (03:35:51):
It's stifling. The stove is smoking. Oh why doesn't someone
open a window? Stopid people?

Speaker 34 (03:36:00):
Ah ho.

Speaker 11 (03:36:02):
But there.

Speaker 67 (03:36:04):
There's my patient, a boy, a young fellow, no clothes on, gaunt,
vacant eyes, hm, but without any fever, not cold, not warm.

Speaker 10 (03:36:33):
Doctor.

Speaker 67 (03:36:37):
He heaves himself up from the feather bedding and throws
his arms around my neck.

Speaker 3 (03:36:42):
Let me die, Oh, please, let me die. No one heard.

Speaker 67 (03:36:51):
I think that the parents are all leaning forward, silently,
waiting for my verdict.

Speaker 3 (03:37:00):
Boy, don't clutch at me, so.

Speaker 17 (03:37:02):
Please let me die?

Speaker 63 (03:37:05):
Please?

Speaker 67 (03:37:07):
Ah? Yes, in cases like this the gods are helpful.
Is send the missing horse at with a second because
of the urgency, and to crown at all provide also
a groom.

Speaker 3 (03:37:18):
Oh rose with that brute? Oh oh, what could I do?
How can I rescue her?

Speaker 67 (03:37:24):
How can I possibly pull her away from under that
brute ten miles away with a team of horses I
can control.

Speaker 11 (03:37:32):
Ah.

Speaker 67 (03:37:34):
Someone must have must have loosened them from the gig.
How could they have opened the windows? You suppose there
they are, each one at a window, their heads stuck
through hm, watching the patient. Or maybe they're summoning me.
Maybe they're summoning me. I'd better go back at once.

Speaker 3 (03:37:55):
You're DAAs by the heat. Let me take at lash. Why, hey,
let my paw You a class are wrong?

Speaker 4 (03:38:03):
No?

Speaker 41 (03:38:03):
Thank you?

Speaker 70 (03:38:04):
Not now?

Speaker 3 (03:38:05):
Oh, stupid old man. How does he get the nerve
to be so familiar?

Speaker 67 (03:38:09):
Well, I suppose he thinks that just because he's he's
offered his treasured rum. Now now he thinks I'm sick
the narrow confines of his silly thoughts. That's the only
possible reason for refusing.

Speaker 14 (03:38:22):
Ah, and that that.

Speaker 3 (03:38:24):
Woman, I suppose that's the mother. Why she beckoning? She
wants me to look at her son?

Speaker 10 (03:38:34):
Well, listen.

Speaker 3 (03:38:42):
His breast he shivers under my wet beard.

Speaker 35 (03:38:49):
Hm.

Speaker 67 (03:38:51):
Well, just as I thought, young man, you're quite sound.
Something a little wrong with your circulation. Your mother's been
filling you with coffee. Well, you're quite sound, and you
want to be shoved out a bit. But I'm no
world reformer.

Speaker 10 (03:39:07):
A so I can only let you die.

Speaker 67 (03:39:13):
I'm only the district doctor, and do my duties as
well as I can, to the point where it becomes
almost too much. I'm badly paid, and yet generous and
helpful to the poor.

Speaker 28 (03:39:28):
Ah.

Speaker 3 (03:39:31):
I must still see that Rose is all right, and
then the boy can have his way.

Speaker 10 (03:39:38):
Ah.

Speaker 32 (03:39:39):
And I.

Speaker 3 (03:39:41):
I want to die too.

Speaker 67 (03:39:45):
What am I doing here in this endless winter? My
my horse is dead, and not a single person in
the village will lend me another. I have to get
my team out of a pig sty. They hadn't chance
to be horses. I would have had to travel with swine.

Speaker 3 (03:40:00):
That's how it is. That's how it is. And this
silly family, Oh, they know nothing about it. And if
they didn't know they wouldn't believe it.

Speaker 67 (03:40:06):
To write prescriptions is easy, but to come to an
understanding with people, that's hart.

Speaker 21 (03:40:13):
Ah.

Speaker 3 (03:40:15):
Well, this should be the end of my visit. I've
once more been called out needlessly.

Speaker 4 (03:40:21):
But I'm used to that.

Speaker 67 (03:40:23):
I'm used to that with my night bell. The whole
district has made my life a torment with that bell.
But then I should have to sacrifice Rose this time
as well, lovely lovely Rose.

Speaker 36 (03:40:36):
Ah.

Speaker 67 (03:40:37):
She's lived in my house for years, almost without my
noticing her.

Speaker 3 (03:40:41):
That sacrifice is too much to ask. This stupid family.

Speaker 67 (03:40:45):
The stupid family, Well, we're the best intentions in the world.
They couldn't restore Rose to me, So what's the use
of blaming them?

Speaker 10 (03:40:53):
Look at them?

Speaker 3 (03:40:55):
Oh what a sight. What's the matter with that mother?
And I suppose she's disappointed in me? Why what do
people expect? And the sister with her blood soaked.

Speaker 10 (03:41:11):
Towel, Well, what am I to do?

Speaker 3 (03:41:17):
Maybe maybe I should admit that the boy is ill
after all, m poor lad. Look at him.

Speaker 67 (03:41:30):
Smiling a welcome is if I were bringing him the
most nourishing, invalid broth?

Speaker 3 (03:41:37):
Oh, those stupid horses.

Speaker 67 (03:41:39):
I suppose that noise was ordained by Heaven to assist
my examination of the patient. Let's see, lad, let's have
another look at you.

Speaker 3 (03:41:47):
Oh, wait a minute, wait a minute, I was wrong.

Speaker 83 (03:41:55):
You are indeed deal.

Speaker 3 (03:42:00):
Open wound in your right side, near the hip.

Speaker 67 (03:42:05):
An open wound is as big as the palm of
my hand. Hum rose red, and many many variations of
shade in the dark in the hollows, and the lighter
at the edges, softly granulated, irregular clots of blood, open

(03:42:29):
as a mine to the daylight.

Speaker 8 (03:42:33):
Ah.

Speaker 3 (03:42:34):
But but but now that that I look closer, Ah,
a further complication.

Speaker 10 (03:42:42):
Oh, poor boy, poor boy.

Speaker 50 (03:42:46):
Oh worms, worms as thick and as long as my
little finger, rose red and blood spotted, wriggling from there,
fastness in the interior of the wound, towards.

Speaker 3 (03:43:03):
The light, worms with little white heads and many little legs. Oh,
poor boy, poor boy, you are past helping. You are
past helping.

Speaker 67 (03:43:21):
I have discovered your great wound. This blossom in your
side has been destroying you.

Speaker 10 (03:43:31):
Poor boy, poor boy.

Speaker 67 (03:43:38):
Your family at least is pleased they see me busy here.
Your sister tells your mother, and your mother tells your father.
Your father is telling several guests who are coming in.
Look at them, Look at them walking on tiptoe, trying
to keep their balance by by.

Speaker 3 (03:43:56):
Stretching out their arms. Fools, fools, What a family, what
a family?

Speaker 10 (03:44:02):
And doctor?

Speaker 3 (03:44:04):
Yes, boy, doctor, will you save me? Oh, poor boy,
you are blinded by the life within your wound.

Speaker 28 (03:44:13):
Doctor will you say?

Speaker 10 (03:44:17):
Oh?

Speaker 67 (03:44:18):
That is what people are like in my district, always
expecting the impossible from the doctor.

Speaker 3 (03:44:23):
They have lost their ancient beliefs.

Speaker 67 (03:44:25):
The parson sits up home and unraffles his vestments one
after another.

Speaker 3 (03:44:29):
But the doctor, ah, the doctor is.

Speaker 67 (03:44:31):
Supposed to be omnipotent with his merciful surgeon's hands, well
as it pleases them. I have not thrust my services
upon them. If they misuse me for sacred ends, I
let that happen to me too. What better do I want,
old country doctor, that.

Speaker 34 (03:44:53):
I am.

Speaker 3 (03:44:56):
Breatht even of my servant girl.

Speaker 67 (03:45:06):
And the family and the village elders surround me. They
stripped my clothes off me. M what's that outside? A
school choir has gathered with the teacher at the head
of it.

Speaker 10 (03:45:27):
What are they singing?

Speaker 19 (03:45:29):
Listen to them?

Speaker 3 (03:45:31):
Stripped his clothes off?

Speaker 67 (03:45:34):
Then he'll heal us if he doesn't kill him dead,
only a doctor.

Speaker 3 (03:45:45):
Only aductor.

Speaker 67 (03:45:52):
The family stairs at me standing here naked before them.
But I am composed. I look back at them, my
fingers in my beard, my head slatted to one side.
I am altogether composed.

Speaker 3 (03:46:06):
And equal to the situation.

Speaker 67 (03:46:11):
But it seems to have done me no gooody. They
take me by the hands and feet and carry me
to the bed, and they lay me down in it,
next to the wall, on the side of the wound,

(03:46:39):
and leave the room. Oh, the bedding is warm around me.
The horses heads in the open window waver like shadows.

Speaker 84 (03:46:56):
You know, I have very little confidence in you. While
you're only blown in here. You didn't come on your
own feet.

Speaker 3 (03:47:08):
Instead of helping me, you're cramping me on my deathbed.
I really like to scratch your eyes out. You're right,
it is a shame. And yet I am a doctor.
I'm a doctor.

Speaker 70 (03:47:21):
What am I to do?

Speaker 3 (03:47:21):
Believe me? It is not easy for me either.

Speaker 84 (03:47:24):
Oh come now, Am I supposed to be satisfied with
this apology?

Speaker 43 (03:47:31):
I suppose I must be.

Speaker 10 (03:47:34):
There's nothing I could do about it.

Speaker 43 (03:47:39):
I always have to put up with things.

Speaker 15 (03:47:46):
A beautiful.

Speaker 10 (03:47:49):
Is all I have brought into the world. That was
my soul endowment.

Speaker 3 (03:47:55):
My young fellow, your mistake is that you have not
a wide enough you.

Speaker 67 (03:48:00):
I have been in all the sick rooms, far and wide,
and let me tell you your wound is not so bad.
Done in a tight corner with two strokes of an axe,
many a one prophesy's side, and can hardly hear the
axe in the forest far less that it is coming
nearer to him.

Speaker 10 (03:48:15):
Is that really the truth?

Speaker 43 (03:48:18):
Are you deluding me in my fever?

Speaker 67 (03:48:20):
Oh, it's the truth, it's really the truth. You can
take my word of honor as an official doctor, all.

Speaker 10 (03:48:26):
Right, I'll take your word for it.

Speaker 15 (03:48:31):
I'll take your word.

Speaker 67 (03:48:34):
Oh, poor boy, poor boy. But now it's time for
me to think of escaping. Ah, the horses, the horses.
My clothes, ham, I'm a my fuck oat, my bag.
Oh I've better not waste time dressing now. Now I'm

(03:48:55):
only going from this bed to my own, so to speak.
If the horses get me home as fast as they got.

Speaker 11 (03:49:00):
Me here.

Speaker 67 (03:49:03):
Into the gig with my stuff. Oh, oh my, my
foot coat is only hooked on by the sleeve. Oh, well,
good enough, good enough. I'll get under the.

Speaker 71 (03:49:12):
Horse there now, now, gee, up.

Speaker 3 (03:49:16):
Come on, Gee up, Gee up, Come on, Come on,
gee up, Come on, gee up, Come on.

Speaker 67 (03:49:27):
You're crawling along slowly, slowly, like old old men.

Speaker 3 (03:49:38):
Through all this snowy waste. Oh what are they singing?

Speaker 8 (03:49:46):
What are they singing?

Speaker 2 (03:49:48):
Oh?

Speaker 3 (03:49:49):
Be joyful, all you patients.

Speaker 85 (03:49:55):
The doctor's laid in bed, be beside you, the doctor's
late in bed beside you.

Speaker 67 (03:50:14):
Never shall I reach home at this rate, My flourishing
practice is done. For my success is rubbing me, but
in vain, in vain, for he cannot take my place.

Speaker 8 (03:50:26):
In my house.

Speaker 3 (03:50:27):
That disgusting groom is carrying on with rose his victim. Oh,
I don't want to think about it anymore. I don't
want to think about it anymore.

Speaker 67 (03:50:39):
Naked, exposed to the frost of this most unhappy of hate,
with an earthly vehicle, unearthly horses, old man that I am,
I wonder astray. My fock coat is hanging from the

(03:51:04):
back of the king, but I cannot reach it, And
none of my limber pack of patience lifts a finger betrayed, betrayed.

Speaker 4 (03:51:22):
A.

Speaker 67 (03:51:25):
False alarm on the night bell once answered, it cannot
be made good, not evil.

Speaker 3 (03:51:42):
It cannot be made good.

Speaker 67 (03:51:47):
Not ever, that was a country Doctor by Franz Cofker.

(03:52:15):
The part of the patient was played by Larry Maiden.
Bernard Mays played the groom, and Pat Franklin was Rose
the part of the country doctor. And the several characters
in Oil of Dog were played by your host of
the Black Mass, Eric Bowersfeld. The technical production for both

(03:52:39):
stories was by John Whiting, and our Black Mass theme
music was specially designed by Peter Winkler. And now it
is time to break up our little gathering for to night.
We'll meet again real soon around this hour. Join us

(03:53:06):
at that time, and now.

Speaker 23 (03:53:11):
Good night.

Speaker 15 (03:53:52):
Past nine, the last stragglers were leaving Mariner's waxworks, the

(03:54:16):
uniformed attendants glad that another day's work was over. We're
locking up on the second floor the old Gray building.
The manager, a stout blonde man of smart appearance, was
talking to one Raymond Houston, who looked anything but smart.
His clothes, although good at once, were showing distinct signs

(03:54:38):
of their owner's losing battle.

Speaker 10 (03:54:39):
With the world.

Speaker 63 (03:54:41):
There's nothing new in your request. In fact, we diffuse
it to many people. Young bloods are up from made debts,
but we don't play ball. We're not in the game
and something to lose by letting people spend.

Speaker 19 (03:54:52):
The night in a murderer's den, the.

Speaker 15 (03:55:03):
Night in the murderer's dead. That's what Raymond Howson, the
man in the Sheeby clothes was after right, you'll find
out the waxworks. I must earnestly beseech you not to
listen to this Beyond Midnight Alone Biotechs the new Soak

(03:55:37):
and pre Washed Powder presents Beyond Midnight by Michael McCain.

Speaker 86 (03:55:45):
I had another recent day from Missus VP, head of
Seventh Street Park Motor House Burgers. She said, I cannot
fully describe my utter.

Speaker 38 (03:55:51):
Delight on returning to the Washington to find the stubborn
stains of two months standing completely removed.

Speaker 86 (03:55:57):
I am so glad I discovered your product, Biotechs, and
Missus Jay A long Win of Cambridge West, East London
wrote to say just a word of thanks for your
new soa can watch powder of biotechts. I find it
almost too good to be true. I've just finished my
first packet and I've watched all my babies wounds with it,
and they really do stay white, and what is more,
they keep their shape so well too. Once again, thanks

(03:56:19):
for a wonderful product. I'm just hoping you won't wait
too long before putting a large economy.

Speaker 4 (03:56:25):
Size packet on the market.

Speaker 86 (03:56:26):
Well, thank you missus head of park Boy, and missus
Longman for your endorsements. I too, can endorse biotechs by
making certain claims to you ladies, the most important which
is that with biotechts, the stubbornest, the very stubbornest stains
just punish.

Speaker 38 (03:56:40):
Merely by soaking.

Speaker 63 (03:56:52):
Well, we certainly have nothing to gain if I had
added and let's send your ideot lose your senses over
my position.

Speaker 38 (03:56:59):
But of course you'll be the journalists. Somehow we're had
altered the case.

Speaker 15 (03:57:02):
I suppose you mean that journalists have no senses to look.

Speaker 63 (03:57:06):
No, no, no, but one imagines them to be sensible,
responsible people. Besides, here we have something in the games.

Speaker 15 (03:57:13):
Are the end of noticement? Exactly?

Speaker 10 (03:57:15):
Yeah?

Speaker 15 (03:57:15):
And there I thought we might come to turn.

Speaker 63 (03:57:17):
Oh, I know what's coming. You want to be paid
twice to you. It used to be saved years ago.
The meds were given man one hundred pounds of sleeping
alone in the chamber of horrors. And I hope you
don't think we've made any such offer. We'll watch your paper.

Speaker 87 (03:57:32):
I'm free glancing at the moment, working on space between
three papers. Well, I don't think i'll have any couple
in getting this story published.

Speaker 4 (03:57:41):
Do you Morning Echoed?

Speaker 15 (03:57:43):
Use it like a shot at night with Mariner's Murderers?
No live paper could turn it done?

Speaker 10 (03:57:48):
How do you proposed to treat it?

Speaker 15 (03:57:49):
I'll make it gruesome, of course, but with just a
saving touch of humor, I assume, all right, But.

Speaker 38 (03:57:55):
It doesn't get your story published in the Echo? And
there are five pounds where they before?

Speaker 29 (03:58:00):
You're here?

Speaker 10 (03:58:00):
Where you care to come and corporate?

Speaker 38 (03:58:02):
I'd like to be sure about you, though, and.

Speaker 63 (03:58:05):
I'd like you to be sure about yourself. I must
confess that I wouldn't spend the night in murderers. Then
I've seen those vigures dressed and undressed. I know all
about their process of manufacture. I can walk about in
company downstairs, about walking amongst so many skipples, But I'd
hate to sleep alone down there amongst them.

Speaker 10 (03:58:24):
Why I don't know.

Speaker 38 (03:58:27):
There isn't any reason. I mean, I don't believe in ghosts.
Even if I did, i'd.

Speaker 63 (03:58:31):
Expect them to haunt the scenes of their crimes, or
or the place where their bodies were laid, not a
seller which just happened to contain their works with effigies.
It's just that I couldn't sit the learn among them
all night. They they see this stare so afterward. They
do represent the lowest and most appalling forms of humlody.
Now I wouldn't admit this publicly, of course, but the

(03:58:54):
people who come to see are murderers aren't generally charged
with the highest motives for themselves. No, the whole atmosphere
the place is unpleasant, and if you're susceptible to the atmosphere,
I warn you.

Speaker 4 (03:59:06):
You're in for a very uncomfortable not.

Speaker 87 (03:59:10):
I, sir, I'm imaginative if I think I am probably
susceptible to atmosphere as you put in.

Speaker 38 (03:59:16):
But it's a good idea, and I have a wife
and family to support.

Speaker 87 (03:59:20):
But I unlucky lately in the job states, you know,
and well, but living on my savings, which aren't great
after all, they are any wax works, aren't they.

Speaker 63 (03:59:31):
You're not superficious, But you just said that you have
an imagination as a journalist. You'd need a reasonably strong one,
after all, need it as I've worked for, or often complained,
I haven't any right.

Speaker 38 (03:59:44):
I think the last of the people have gone in
a mint. I'll give orders, but these figures happened to
be draped.

Speaker 4 (03:59:50):
I let the night people know you're going to be
there too.

Speaker 38 (03:59:52):
One condition, I'm afraid I.

Speaker 15 (03:59:53):
Must impairs on you. I must ask you not to snoke.

Speaker 38 (03:59:56):
We had a fire scare down in the murders Den
this evening.

Speaker 63 (03:59:59):
I don't know who's saved the alarm, but however it was,
it was a false one. Fortunately there weren't very many
people down there at the time, or they might have
been a panic. All right, I might with Mariner's murderers
you want. I might with Mariner's murderers you shall have.

Speaker 15 (04:00:19):
In the passage at the bottom of the stairs were
a few preliminary horrors, a wreck taken from a medieval castle,
relics of the imposition, branding irons, thumbscrews. Beyond was the
passage into the murderer's den, the wexworks Fertel, the murderer

(04:00:43):
of where stood as if frozen in his diabolical act.
Within five yards of him, said Missus Thompson. There was Lefroy,
who killed for gain so that he might hate the gentleman.
And Charles Peace sneering across a gangway at Norman Thorne,
Brown and Kennedy the two most recent editions. But between

(04:01:05):
missus Dyer and Patrick Maharmon, Oh, I expect you recognized him.

Speaker 63 (04:01:19):
Insignificant little least looked as if he couldn't chill.

Speaker 10 (04:01:22):
On a worm.

Speaker 87 (04:01:24):
Oh, this Armstrong looks like a decent, harmless country gentleman.

Speaker 4 (04:01:29):
Doesn't he?

Speaker 10 (04:01:30):
And of course who's this?

Speaker 4 (04:01:32):
Oh?

Speaker 10 (04:01:32):
Yes, I was coming to him.

Speaker 4 (04:01:34):
He's our start.

Speaker 38 (04:01:36):
He's the only one of the bunch who hasn't been mamed.

Speaker 15 (04:01:40):
The thicker Houston had indicated was that of a small,
slight man, not more than five feet in night. It
wore little waxed and starches, large spectacles in the caped coat.
There was something so exaggeratedly French in his appearance that
it reminded Houston of a stage caricature.

Speaker 31 (04:01:58):
Who who busy?

Speaker 10 (04:02:00):
For that is?

Speaker 87 (04:02:01):
Doctor woodardt oh well, I don't think i've uh or
some other names for meniar that I forget. We would
remember better.

Speaker 15 (04:02:10):
If you were a Frenchman. For some long while that
man was the terror of Paris. He carried on his
work of healing by day, and the throat cut him
by night. When the flip was on him, he killed
for the sheer, devilish pleasure it.

Speaker 19 (04:02:24):
Gave him to kill.

Speaker 15 (04:02:26):
And it was the same way with the razor. After
his last crime, he led the clue behind him, which
sets the police on his track. Now one clue led to.

Speaker 63 (04:02:35):
Another, and before long they knew they were on the
track of the Parthian equivalent of Jack the Birth.

Speaker 15 (04:02:40):
They had enough.

Speaker 63 (04:02:41):
Evidence to send into the madhouse or the guillotine on
a dozen capital charges.

Speaker 31 (04:02:46):
And they caught him there.

Speaker 63 (04:02:50):
After him was too filoup for them. Even then, when
he realized the net was closing, he just vanished, disappeared
off the face of the earth and listens to the
police of a civilized country and said, where can you
possibly gone to her?

Speaker 88 (04:03:07):
I mean, with such a hunt on for him? Oh,
there's no doubt about that. Did insult in obvious, but
in such a way who prevented his body coming to light?

Speaker 63 (04:03:18):
Now? One or two crimes of a smaller, though similar
nature have taken place since he disappeared, but he's believed
to be dead. The experts think the crimes and sitting
side you know the actions of imitators.

Speaker 38 (04:03:31):
Look at his eyes.

Speaker 63 (04:03:32):
Yes, that little figure is a masterpiece. Do you find
the eyes bite into your lens sort of? Yes, Well
that's excellent realism. Then what do you mean, Mesbuddhism? Pardon
what a bit practice, Mesbddhism? He was supposed to mesbodize
his victims before the.

Speaker 15 (04:03:51):
Dispatching them.

Speaker 38 (04:03:53):
Oh indeed, had you not done so?

Speaker 19 (04:03:54):
Did to believe?

Speaker 22 (04:03:55):
How so?

Speaker 19 (04:03:56):
Smaller man?

Speaker 15 (04:03:56):
That is ghastly work.

Speaker 63 (04:03:59):
He's very small ant he doesn't ris strong or any well,
there were never any signs of the struggle. There's an
armchair here for you, mister Houston. Is the best we
can do for on the trail.

Speaker 89 (04:04:10):
I hope you'll be able to get some sleep, mister Houston.
Mister you know, I thought, yeah, well, I thought just
in well, I thought I saw the doctor were data silly,

(04:04:33):
But well, I thought, I swim move.

Speaker 15 (04:04:50):
Keep your home sweet with country fresh atmosphere in every room.
Keep airwic candy. Aerwick is the air freshmer that actually
not so. It does right out of the air. It
doesn't just master them with heavy scent.

Speaker 82 (04:05:04):
Airwic is the modern air freshener in economical bottle or
a smart aerosol.

Speaker 15 (04:05:11):
Get airwork. It makes breathing a little nicer.

Speaker 33 (04:05:16):
That's all you have to do, dope job an hour?

Speaker 49 (04:05:20):
Do you fine as your way.

Speaker 15 (04:05:23):
Till you new biotechs.

Speaker 82 (04:05:26):
With amazing new biotechs, the stubblist stains will vanish, Yes, vanish,
clean away, just by soaking your laundry overnight in cold
water or an hour, or doing warm water, or by
pre washing.

Speaker 15 (04:05:38):
It quickly in your washing machine. Get amazing new biotechs.

Speaker 38 (04:05:41):
Today is imagination silly. Look the swoon just in.

Speaker 63 (04:06:01):
Just for a second, you have more than one opticularly
losing before the night.

Speaker 38 (04:06:05):
I read you might be noted in unstairs.

Speaker 8 (04:06:09):
We've had enough of it.

Speaker 38 (04:06:10):
There are watching more apprensis. So you'll find company, but
don't be.

Speaker 19 (04:06:13):
Alarmed if you hear them moving about.

Speaker 38 (04:06:16):
And so I can't give any more light.

Speaker 63 (04:06:17):
But all the lights are on for obvious reasons. We
keep the place as gloomy as possible. Yes, and now
I think you better return with me to the office
for a tot of whiskey before your night's visional.

Speaker 31 (04:06:39):
Yes, well, for a.

Speaker 87 (04:06:40):
Start, I don't think believer my arm chair fishing frame
board dead. Yeah, I think I like you, I'm not
less than the others.

Speaker 15 (04:06:57):
With then I'm waving light on the rows of figures
which were so uncannonly like human beings, that the stillness
of the silence seemed unnatural. Ghastly even Heston missed the
sound of breathing, the rusting of clothes, the one hundred
and one minute noises one hears when even the deepest
silence has fallen upon a crowd. The air was as

(04:07:29):
stagnant as water the bottom of a standing pool. Not
a breath in the chamber. To stir a curtain, or
rustle a hanging drapery or start shadow must be like
mister the bottom of the sea. I have to work
back into the story like the bottom of the sea.

Speaker 87 (04:07:50):
Hm sinister Lotto must say, even though I'm strong, isn't
a Chris acharm as country gentleman? Still there only wax works,
or would be well thought Houston.

Speaker 15 (04:08:07):
Yet, somehow what prevented him most of all from feeling
absolutely comfortable was the knowledge that doctor bilt Debt was
directly behind him, anew in fact, that the little Frenchman's
waxen stair was directed at the back of his neck.
He itched with a desire to turn round. Come on,

(04:08:27):
the nerves have started already. If I turn and look
at that dressed up dummy, it will be an admission
of funk. It's because you're afraid that you won't turn
and look at him. Rubbish, I'm not afraid at all.

Speaker 10 (04:08:38):
Is you are rot?

Speaker 15 (04:08:40):
Complete? Not a rot afraid a lot of waxworks.

Speaker 87 (04:08:43):
Not of a lot of waxworks, just one doctor Boydette,
Sir French fool.

Speaker 15 (04:08:51):
Not so healthy now is he? Look at his eyes?
Don't want to see his eyes? All the same? He
had to eventually have a quick look bound doctor Burdette.
Only a waxwork, like a crystal all only wax works,
all the same. He took another quick look behind him.

(04:09:11):
Now it did not worry Uston too much, because it was,
after all, only his imagination. But there seemed to be
a subtle change in the grouping of the figures around
doctor Burdette, Or wasn't doctor Burdette himself. Looking to the
front of him, he looked at Crippin again, a slight

(04:09:33):
feeling that something somewhere was a bit different. Crippin seemed,
for instance, to have turned one degree to the land,
must have moved mature of it not Crippin but me.
You moved, and just then the waxwork of Gray moved

(04:09:57):
a hand. At least he some thought the hand moved.
Mm hmmm mm hmm. Just for his own peace of mind,
Raymond Gilson gave the waxen figure a little polke wax,

(04:10:20):
no more, no less, lifeless life like wax. H m hm.
They told me the editors have no imagination, but like

(04:10:46):
mm hmmm.

Speaker 4 (04:10:48):
Mm hm.

Speaker 15 (04:10:51):
H m hmm, deathly silence. Yeah, I act he still missus.
And then he turned suddenly and looked over his right shoulder.
He had neither seen nor heard a movement, but it
was as if some sixth sense had made him aware

(04:11:12):
of one. He looked straight into the beaty at the
confidence of le Froy, which smiled vacantly back, as if
to say.

Speaker 5 (04:11:23):
Of course, it wasn't you.

Speaker 15 (04:11:26):
Wasn't any of you. And then he looked back, and
Quippin seemed to have shifted his position slightly.

Speaker 87 (04:11:33):
M can't trust that little bigger, can't trust an the
one who you take your eyes off and remove.

Speaker 15 (04:11:41):
Good enough, This isn't.

Speaker 31 (04:11:46):
I think I'm going.

Speaker 87 (04:11:49):
I'm going to spend enough a lot of wax works
and move when you aren't looking at him, No wish
use and please can't move where you thinking are?

Speaker 15 (04:12:05):
You can come from the mild available stare of board.

Speaker 87 (04:12:09):
Death almost got you that time, crippin all the rest
of you.

Speaker 13 (04:12:14):
Do.

Speaker 87 (04:12:15):
I do see when they move on, I'll measure the pieces,
measure h spirits, and have already to write the story
ten stories for that matter. Yeah, morning echo. I wouldn't
know how long I'd stayed if I cleared out now,
so the story is good. Yes, watchman up there, he

(04:12:42):
pulled my legal right in perhaps of the manager wouldn't
give me the fire or two find out all right?
Long hours here from the watchman.

Speaker 15 (04:12:53):
Would always laugh about this, I tell her, m h,
you sleep bras girl or thinking of me? They've rose
laughing at me. H. Kids would pum a leg to Yeah,

(04:13:14):
I think worse. H listen having someone's breathing. Someone was breathing.

Speaker 10 (04:13:33):
It wasn't me.

Speaker 15 (04:13:34):
Yeah, they knew I was listening then there and then
they stopped. Yeah, yes, the dead that.

Speaker 5 (04:13:41):
This is too much?

Speaker 87 (04:13:43):
Fair enough when they move when I'm not looking. But
I don't think that they goes breathing too.

Speaker 31 (04:13:48):
Who knows if I do? I am Raymond.

Speaker 87 (04:13:51):
Houston, unsuccessful journalists, but a living and breathing man, and
these biggest.

Speaker 15 (04:13:55):
Group around me are only dummies. Dummy, Yeah, what was
it better at than light?

Speaker 5 (04:14:02):
Night?

Speaker 15 (04:14:03):
Wax and saw dash for the entertainment of.

Speaker 87 (04:14:06):
Morbid sightseer as an orange sacking turret.

Speaker 15 (04:14:10):
Then the gaze of doctor Burdette urged, challenged, and finally
compelled him to turn.

Speaker 10 (04:14:18):
Hum hm.

Speaker 15 (04:14:32):
Hewson stared into those dreadful hypnotic eyes. His own eyes
what ilated, and his mouth that first set into a
grin of terror lifted at the corners into a snow.
You move, golashy, Yes you did.

Speaker 18 (04:14:47):
I saw you, I saw.

Speaker 30 (04:15:01):
What do you mean?

Speaker 15 (04:15:10):
Doctor Bodet's movements were quite leisurely. He stepped of this
pedestal with the mincing movements of a lady alighting from
a bus. I need acted to you with it. Not
until I overhead the composition between yourself and the worthy
manager of this establishment. Did I suspect that I should

(04:15:32):
have the pleasure of a companion here for the night.
You cannot know or speak without my belin, but you
can hear a perfectly way. Somebody tells me that you
are shall I say, nervous and my desert have no uses.
I am not one of these contemptibleititude images suddenly come

(04:15:54):
to life. I am doctor Bodet himself and me better.
Let me explain circumstances with which I need not fatigue.
You have made it desirable that I should live an event.
I resposed to the building this evening. When I saw
a policement regarding me, I thought too curiously. I guess

(04:16:17):
that he intended to follow me, and perhaps as a
parish in questions. So I'm intled with how they came
in here. Inspiration showed me a certain means of escape.
I raised a cry of fire, and when all the
foods had rushed to the stairs, I stooped my emputy
of the caped coat, which would be all be willing.
Don't get into my EMPGP, I'd replied for at the

(04:16:38):
back there, and it took its place on the editor.

Speaker 8 (04:16:42):
I own.

Speaker 15 (04:16:42):
I expect the most fatiguing evening. The world is divided
into collectors and non collectors. The collectors collect anything according
to their own individual tastes. I collect thrants. And the
doctor regarded Houston's throat with interest mingled with despavor. My

(04:17:04):
activities have later been cirted.

Speaker 87 (04:17:07):
I've read all the present opportunity of gratifying my somewhat
unusual whom.

Speaker 15 (04:17:12):
I should never have slipt you from twice of cossoner.
I like mainly picnics, thick red necks. This is a
little French raiser. The blade you will have serve is
very narrow. It does not cut very deep, but deep enough.

(04:17:35):
In just one little moment you should see for your
ill ask you the little civil question of all polite
barbers can laser schoeser. You will have the goodness to
raise your gene. Thank you, and a little more you

(04:17:55):
spe Thank you.

Speaker 10 (04:18:01):
Ah.

Speaker 15 (04:18:22):
Over one end of the chamber was a thick skylight
of frosted glass, which by day let in a fuel
sickly and filtered rays from the floor above. After sunrise,
these began to mingle with the subdued light from the
electric bones, and this mingled illumination added a certain ghastliness
or scene which needed no additional touch of horror. The

(04:18:45):
waxwork figures stood apathetically in their places, waiting to be
admired by the crowds who were presently wander fearfully among them.
In their midst in the center Gangway. Hewston sat still,
leaning far back in his armchair. His chin was up tilted,
as if he were expecting to receive attention from a barber.

(04:19:08):
And although there was not a scratch upon his throat,
nor indeed anywhere upon his whole body, he was cold
and quite dead. His previous employers were wrong in having
him credited with no imagination. Doctor Burdette, on his pedestal,
watched the dead man unemotionally. He did not move, nor

(04:19:34):
was he capable of motion, but then, after all, he
was only a wax work. All mind.

Speaker 60 (04:20:40):
Welcome to a half hour of mind works short stories
from the worlds of speculative fiction. This is Michael Hansen spaking,

(04:21:01):
this time with two minor work stories. The first time around,
it's the story from the New Worlds of Fantasy number two,
edited by Terry Carr. It's Britt schweitzeries on poissant. My

(04:23:09):
head struck the ground with a dull thud, and then
rolled eight or nine feet into a small cluster of weeds.
It's difficult to describe the dizzy blur of colors and
shapes I witnessed as this event took place, but the
discomfort I experienced can be readily imagined. The impact upon
striking the ground was so severe that I remained in
a dazed, semi conscious state for a considerable time thereafter.

(04:23:34):
I do not know, in fact how long it was
before my senses were again fully operative. My first clear
impression was of some insect roaming aimlessly over the side
of my face, a tormentor against whom I seemed quite
helpless until it made the error of crawling too close
to my mouth, whereupon, with a shutter, I spat him away.
This encounter was sufficient to revive me to full consciousness.

(04:23:57):
I became aware of a throbbing pain on the left
side of my head, little above into the right of
the ear, a pain which brought the memory of my
unfortunate topple into grim focus. It led me to an
awareness of the difficult situation in which, as a result
I found myself. I gazed around and saw only earth
and sky. I listened intently for several moments, but heard nothing.

(04:24:18):
Looking again at my surroundings, I noticed in the extreme
corner of my limited view the presence of a shadow.
Inasmuch as my visual angle to the ground was extremely awkward,
I was unable to make out the details, but it
seemed to be a figure of some kind, perhaps human.
I tried to shift my position in such a way
that the figure would come into view. After some experimentation,

(04:24:41):
I found that I was able to pivot my head
around by careful movement of the jaws. As soon there
emerged into sight the figure of a man standing in
frozen stride. With relief, I called out, but he made
no sound or motion in response. I examined the still
figure more closely and noticed with a sudden start that

(04:25:01):
it was headless. I was watching my own body. After
recovering from the initial surprise, I became fascinated with the
idea of viewing my figure from such an unusual aspect.
I examined it with interest for several minutes, before my
thoughts returned again to the gravity of my predicament. It
was good, certainly, that my entire being was now accounted for,

(04:25:24):
but there was still the problem of reuniting the parts.
I called out again to the motionless figure, but there
was no response. I shouted several times, hoping to stir
it to action on its own behalf, but soon realized
that any attempt at communication would prove futile. I paused
to study the body again, and it occurred to me

(04:25:44):
that I had never before been able to view myself
from such a convenient angle and with complete objectivity, as
if examining the figure of another person. My mind returned abruptly, however,
to the serious problem with which I was confronted. Being
myself altogether immobile, any hope of restoration seemed to lie
in gaining assistance from a second party. I began to

(04:26:07):
shout very loudly for help, but my efforts were useless.
A sense of panic swept over me as I began
to contemplate my helplessness. As there was no other living
thing in view, it appeared that I might be destined
to remain thus in repose for some considerable time. I
assured myself, however, that someone would eventually happen to pass by, and,

(04:26:28):
seeing the situation offer assistance, I decided to wait. I
waited for several days. During that time, I spent many
hours absorbed in the study of my torso as the
sun moved through its daily course, varying patterns of light
would fall on the figure, thus presenting a marvelous panorama
of shadow and flesh. I came to know the contour

(04:26:51):
of every muscle, every misshape, every blemish. I was disappointed
to realize that, in honest appraisal, my form was rather unexceptional,
no worse than average, to be sure, but hardly satuesque.
It presented nevertheless remarkable image from which could be studied
the rhythmic action of each muscle poised in the arrested
motion of a single instant. I eventually began to lose

(04:27:15):
hope that any one would ever pass that particular place,
and it seemed for a moment that I might be
fated a splenditernity and visual contemplation of my headless body.
It seemed curious that not one person should have passed
after so long a time. The thought occurred to me
that the same fate which had struck me through immobility

(04:27:35):
might have befallen every living thing.

Speaker 8 (04:27:38):
Perhaps the world was now.

Speaker 60 (04:27:39):
Populated by countless heads scattered at isolated intervals, each in
contemplation of its own detached body, each vainly hoping for
the chance passing of another. Perhaps this was the way
the universe was to end, with its living things so
tirelessly and meticulously developed, now cast into a pattern of
helpless absurdity. While having finally abandoned all hope of rescue,

(04:28:03):
I began to consider a plan whereby I might improve
my own situation. I had discovered during the days of
waiting that I was not altogether incapable of movement, but
with proper action of my jaws, I could propel myself
somewhat in the manner of a snake. The motion was slow,
almost imperceptible, but it seemed to offer the only faint
hope of altering my situation. In this manner, I set

(04:28:28):
out to bring head and body closer together. I soon
discovered that the task was extraordinarily difficult. Movement was slow
and by no means easy to control. Indeed, it was
quite difficult to avoid an aimless zigzag path, and it
was several days before I became certain that definite progress
was being made. Moreover, the effort was quite exhausting, and

(04:28:50):
my muscle soon began to ache unbearably. Although I made
no attempt to keep track of time, it was many
days before I had covered even half the distance, and
I was by then near a state of collapse. The
sight of my figure began to infuriate me. Fresh and
vigorous looking as it was, yet not contributing what iowder

(04:29:11):
in the struggle for its own preservation. At one point,
in fact, in an almost delirious rage, I found myself
cursing at it violently, You foolish ass, Why don't you
do something to help? When I had at last reached
a position directly under my body, I began to wonder
whether my artist labors would prove to be of any
practical use. It was reassuring to finally touch its flesh

(04:29:35):
after such a lengthy separation, but I found that I
was not able to stir it in the least remained
quite unmoved, even when bitten vigorously. Moreover, I was unable
to topple it with even the most strenuous exertion. I
rested for several days in order to recover my strength,
and at the same time attempted to work out a
solution to my awkward problem. Gradually, I can see the

(04:30:00):
details of a fantastic plan whereby, if successful, I might
be eventually on my way again. In one piece, my
scheme was simply to gain a firm grip on one
of my legs and slowly work my way upwards by
means of lateral movements of the jaw. When this thought
first occurred to me, I dismissed it as absurdly impractical,

(04:30:22):
but ultimately decided that it must be tried, as no
other possibility remained. My experiences in ground propulsion already forewarned
me that such an endeavor would require every ounce of
stamina and strength I could muster, and would necessarily have
to be planned with great care if there was to
be any hope of success. Having carefully surveyed the terrain

(04:30:48):
of flesh and determined a feasible route, I began with
considerable trepidation my upward journey. I started at the heel
of my left foot and soon developed a workable technique
by means of which I was able to gain My
method consisted in clamping my jaws firmly around the flesh
to obtain support and slighting the lower jaw upwards a

(04:31:08):
slight distance, and then moving the upper jaw to position
adjoining it. Since it was necessary to maintain a secure
grip at every instant in order to continuously support the
weight of my head, I could not avoid inflicting injury
to my body along the plane of travel. As I
felt the skin being sheared beneath my clamp jaws and

(04:31:29):
occasionally tasted a warm trickle of blood, I was rather
thankful that nervous communication to that portion of my anatomy was,
for the time being severed. It was imperative to proceed
relentlessly and without pause once the endeavor had begun, since
the mere act of support consumed precious energy even when
my head was not in motion. My initial progress was

(04:31:51):
greater than I had originally anticipated, and I managed to
reach a position just below the rear knee joint in
about five hours. At this point, I became overly confident, however,
and failed to judge properly the narrowing path of flesh
in this area. My grip loosened for a split second,
and my head toppled once again to earth. My first

(04:32:14):
attempt had failed. My initial trial gave me a degree
of confidence, however, and after a day of rest, I
began a second journey, determined this time to succeed at
all costs. I debated for some while the choice of

(04:32:36):
root for my second try. The previous path had been
a good one, but I hesitated to inflict further damage
in those areas of flesh which had already been severely lacerated.
So I decided finally to begin at the right leg.
I was able in my second effort to reach the
buttocks after one day of travel. My jaws were by
that time tired and numb, and I feared I might

(04:32:57):
lose control over their movements. Yet I had no choice
but to continue as long as any vestige of strength remained.
I had planned as an intermediate objective to reach a
point just above my slightly extended left forearm. Working my
way up behind the ribs, I endeavored to arrive at

(04:33:19):
a position in which the weight of my head would
be supported in a fork formed by the arm and
lower chest. I was in a state of near collapse
when I finally managed to work my way securely into
this refuge. The relief I felt as I relaxed my
jaws for the first time in two days is impossible
to describe. As I dozed off and the sound sleep

(04:33:42):
with my head tucked firmly under my arm, I couldn't
help chuckling slightly at the thought of the absurd spectacle
I must have then presented. Taking full advantage of the opportunity,
I rested in that spot for several days. When my
aching jaws finally began to regain their strength, I contemplated
the final lap of my journey. I elected to continue

(04:34:05):
by way of a path up the right front of
my body, keeping close to the side until I neared
the shoulder. It was considerably more difficult than before to
maintain a firm grip, owing to the lack of ample
flesh around my upper rib cage. Several times the thought
struck me that I might again topple with my objective
so close at hand, and I doubted whether I could

(04:34:27):
muster the courage to begin a third time should this happen. Ultimately,
I reached shoulder level, and with some relief, began traveling
across towards the neck. My collarbone provided a convenient ledge
in which to gain a grip, and I reached the
throat with little difficulty. I was then confronted by what
proved to be the most difficult task of the entire project,

(04:34:49):
that of rejoining my head at the proper position without
losing my support in the process, maintaining a tenacious grip
on my own throat. I began to determine the effect
of various movements of my jaw and facial muscles. I
was extremely discouraged at first to realize that, even with

(04:35:10):
the most strenuous exertion, I was unable to orient my
head at more than half the angle required for proper reinstatement.
Though I twisted and turned at every conceivable direction, all
efforts seemed futile. A sense of despair swept over me
as it began to appear that, after all, my labor's
final success was to be denied. I found that matters

(04:35:33):
could be improved considerably, however, by moving around to the
side of the neck and forcing its upper service to
tilt slightly by a severe compression of its flesh between
my teeth. It was with some regret that I performed
this maneuver, as I was apprehensive of the possibility that
the wounds I was inflicting might prove mortal. Yet this procedure,

(04:35:54):
despite its grave risk, seemed to offer the only hope
of eventual success. Straining reavailable muscle to the utmost, I
was able to force the severed services gradually nearer and
nearer to one another. When contact was finally achieved, the
pain of all the horrible lacerations which I had been

(04:36:15):
forced to inflict on myself shot through me in an
excruciating rage.

Speaker 21 (04:36:20):
The thrill of.

Speaker 60 (04:36:21):
Feeling myself again whole, however, made the suffering scene inconsequential.
As I caused my limbs to move for the first
time in many weeks, I discovered with sudden shock that
my head was on backwards. This fact proved to be

(04:36:41):
less serious than amusing. However, with arms now at my control,
it was a simple matter to reach up and twist
it to the right position. Having done this, I paused
for an instant to breathe a sigh of relief, now
that this extraordinary incident in my life had come to
a close. Then, with renewed vigor, I continued my interrupted journey,

(04:37:05):
determined henceforth to remain indoors on windy days. The title

(04:38:06):
of that short piece was on Poissant by Britt Schweitzer.
It's from New Worlds of Fantasy, number two, edited by
Terry Carr. This edition of Mindwebs keeps rolling now with

(04:41:55):
our second story of the session. It's Isaac Asimov's dream World,
and it's from Ida Pernell Stones Never in This Worlds

(04:42:15):
Never at thirteen Edward Keller had been a science fiction

(04:42:47):
devotee for four years. He bubbled with galactic enthusiasm. His
aunt Clara, who had brought him up by rule and
rod and pious memory of her deceased sister, wavered between
toleration and exasperation. It appalled her to watch him grow
so immersed in fantasy face reality, Eddie, she would say angrily.

(04:43:13):
He would not but go on, and I dreamed martians
were chasing me. See I had a special death ray,
but the atomic power unit was pretty low, and every
other breakfast consisted of eggs, toast, milk and some such dream.
Aunt Clara said severely, Now, Eddie, one of these nights

(04:43:36):
you won't be able to wake up out of your dream.

Speaker 4 (04:43:38):
You'll be trapped then what.

Speaker 60 (04:43:42):
She lowered her angular face close to his and glared.
Eddie was strangely impressed by his aunt's warning. He lay
in bed, staring into the darkness. He wouldn't like to
be trapped in a dream. It was always nice to
wake up before it was too late the time the
dinosaurs were after him. Suddenly he was out of bed,

(04:44:05):
out of the house, out on the lawn, and he
knew it was another dream. The thought was broken by
a vague thunder and a shadow that blotted the sun.
He looked upward in astonishment, and he could make out
the human face that touched the clouds. It was his

(04:44:26):
Aunt Clara, monstrously tall. She bent toward him in admonition,
masked like forefinger upraised, voice too guttural to be made out,
and he turned and ran in panic. Another Aunt Clara
monster loomed up before him, voice rumbling. He turned again, stumbling, panting,

(04:44:51):
heading outward. Outward, he reached the top of the hill
and stopped in horror. Off in the distance, a hundred
towering Aunt Clara's were marching by. As the column passed,
each line of Aunt Clara's turned their heads sharply toward him,

(04:45:12):
and the thunderous base rumbling coalesced into.

Speaker 13 (04:45:15):
Words face reality, Addy, face reality, Addy, face reality, faith reality,
and he faith reality and he face reality and face
reality and face reality face.

Speaker 60 (04:45:24):
Eddie threw himself sobbing to the ground. Please wake up,
he begged himself, Please wake up, don't be caught in
this dream, for unless he woke up, the worst science
fictional doom of all would have overtaken him. He would
be trapped trapped in a world of giant ants.

Speaker 29 (04:46:42):
That story.

Speaker 60 (04:46:43):
The second one of the session was titled dream World,
written by Isaac Asimov. It shows up in Never in
This World, edited by Idella pernell Stone. This is Michael
Hanson speaking technical production from Mindwebs by Leslie Hilsenhoff. Mind
Webs comes to you from WHA Radio and Madison, the

(04:47:05):
service of University of Wisconsin Extension.

Speaker 6 (04:47:15):
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
strained 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. Weirddarkness dot com as also

(04:47:36):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus it's where you can find the
Hope in the Darkness page. If you or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weirddarkness dot com. I'm Darren Marler. Thanks for

(04:47:58):
joining me for tonight's Retro Radio, Old time Radio and
the Dark

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