DEATH BY FICTION: He Read His Own Murder Written In a Novel – His Wife and Boss Are His Killers! - Weird Darkness: Paranormal & True Crime Stories

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

Speaker 2 (00:13):
Oh Fantasy, You 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,
dark thoughts, or addiction, you can find all of that
and more at Weird Darkness dot com. Now bolt your doors,
lock your windows, turn off your lights, and come with

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

Speaker 2 (01:30):
The CBS Radio Mystery Theater Presents. Come in.

Speaker 7 (01:53):
Welcome.

Speaker 2 (01:55):
I'm E. G.

Speaker 4 (01:55):
Marshall.

Speaker 2 (01:57):
You cannot fly like an eagle with the wings of
a wren. Ordinarily, this proposition would be only of interest
to wrens, and not to all wrens either, just those tiny,
puny birds who have an eagle's mentality. Well, Fate plays
her ironic little jokes on us all, doesn't she. Sometimes

(02:18):
the smallest people can get the biggest ideas the paruna,
A fish that's half the size of your little finger
is more than a match for the whale, which could
be twice the size of your house. Rudy, that gun, yes, Ramona, what.

Speaker 8 (02:37):
What are you going to do with a gun?

Speaker 2 (02:39):
What does a person usually do with a gun?

Speaker 8 (02:41):
You can't kill me?

Speaker 4 (02:44):
Oh?

Speaker 7 (02:44):
Yes, I can.

Speaker 9 (02:45):
No, Rudy, No, no, it won't work.

Speaker 7 (02:47):
But it has worked.

Speaker 2 (02:49):
I can kill you and get away with it. Didn't
I do it before? Didn't I also kill you?

Speaker 4 (02:58):
Twenty five years ago?

Speaker 2 (03:08):
Our mystery drama How to Kill Rudy was written especially
for the Mystery Theater by Sam Dan and stars Paul Hecht.
It is sponsored in part by Buick Motor Division and
Anheuser Busch Incorporated, brewers of Budweiser. I'll be back shortly
with Act one. The nutritionist will say you are what

(03:40):
you eat. There may be some validity to that, but
isn't it also true that you are what you read?
The idea is the principles that govern your life. Where
did they come from? Did you just create them out
of nothing? Or did you read about them somewhere? Books
do not end on the last page. They go on

(04:04):
and on forever and ever.

Speaker 4 (04:10):
He already, good morning, Lieutenant Foster.

Speaker 2 (04:13):
Well, now, if you're gonna call me Lieutenant Foster, I'll
have to call you mister slay maker.

Speaker 4 (04:19):
Eh.

Speaker 2 (04:20):
I thought we'd become friends by now.

Speaker 7 (04:22):
Joe, Rudy.

Speaker 2 (04:23):
I appreciate your efforts to help me, but come on, Ruddy,
you'll feel better after you tell it. And why can't
we just leave things away?

Speaker 7 (04:31):
They are I.

Speaker 4 (04:32):
Killed them, I admit I killed them. I'm willing to
pay for killing them. Meanwhile, there are plenty of other
crimes you could be concerned.

Speaker 2 (04:40):
With, Okady, one of those warnings, I can see that
I drop by after lunch, hey, and I can.

Speaker 4 (04:50):
Bring you Oh yeah, yeah. There's a new book out
by Mace Hacker. Sure, he writes the best murder mysteries
in the world. Don't you read them? Tell you the truth?

Speaker 2 (05:01):
After a hard day's homicide, My case runs to stand
all and democrason.

Speaker 4 (05:07):
Yeah, well, that's too bad. Mace Hacker is truly a
giant of literature. This is the last book. It's been
published posthumously. I'll pick up the book for you, Roddie.
I could also bring you some of the critical essays
of that A told font.

Speaker 7 (05:21):
No, thank you. I prefer mace Hacker.

Speaker 4 (05:27):
I saw that, Lieutenant, I saw that patronizing smile. You
are a literary snob. Just let me tell you something, Lieutenant.

Speaker 2 (05:37):
If you'd read mace Hacker, you'd see, you'd.

Speaker 4 (05:40):
Know beyond all shadow but doubt why I killed him.
You'd realize what destiny is.

Speaker 7 (05:48):
Destiny. This is the story.

Speaker 4 (05:51):
I'll never tell you or anyone else, My story, my
very own story, as written by Destiny, the form of
mace Hacker.

Speaker 7 (06:04):
To begin with, life was pleasant.

Speaker 4 (06:09):
Some would have found it placid, but not I. I
had Ramona, the loveliest woman in the world, for my wife.

Speaker 8 (06:19):
Oh, dear, I had no idea. It was so late.
Oh it's all right, No, it's not all right. My
wife should make her husband's breakfast before he leaves.

Speaker 2 (06:27):
Well, Oh, all I ever want is coffee. That's easy enough.

Speaker 8 (06:30):
Oh you want more than coffee, And my job.

Speaker 7 (06:33):
Dear star, I'll miss my bus.

Speaker 10 (06:34):
Rudy, Darling, You're so kind, so patient, so understanding.

Speaker 2 (06:38):
I can see you're sleepy. You just go back to bed, Darling.

Speaker 9 (06:41):
You're so good to me.

Speaker 4 (06:43):
I love you, Ramona, and I love you. Where would
I be without you? Must have missed the bus. Jack
Jessep glowers at me if I come in late.

Speaker 9 (06:52):
See Glowers has had mean old things.

Speaker 4 (06:55):
Although recently he's taking a coming in laid himself.

Speaker 11 (06:57):
Is that so?

Speaker 4 (06:58):
Yeah? Some days he doesn't get into ten thirty eleven o'clock.

Speaker 9 (07:02):
Something ought to be done about that.

Speaker 4 (07:04):
What he's the boss, Darling. And besides, the less I
see of him, the more work I can get done.

Speaker 8 (07:10):
Oh, you're just too nice for your own good.

Speaker 2 (07:12):
But I can't finish my coffee, have to run.

Speaker 4 (07:19):
That's how it was at home with my wonderful Ramona.
Of course at the office things were well. I didn't
have an easy time of it because Jack Jessip was
not an easy man to work for.

Speaker 12 (07:32):
Rody.

Speaker 2 (07:33):
Why didn't we bid on this north Side project? How
could you be so? I mean, the biggest job in
tow we did. Eat Jack, I don't want to hear
any excusiveness. Jack, Look, the type of the matter is
you're losing your grit.

Speaker 4 (07:45):
If you read the morning paper.

Speaker 2 (07:46):
Ah, yes, what else are we missing out on?

Speaker 7 (07:49):
Did you look at the paper?

Speaker 13 (07:50):
Off a crime out out?

Speaker 2 (07:51):
I'm sitting here talking business. Show me a newspaper app.

Speaker 4 (07:53):
Mean, what do I care?

Speaker 2 (07:54):
Who met it?

Speaker 4 (07:54):
Home?

Speaker 2 (07:55):
The North Side Project is on the front page. Yeah, sure,
it's making history.

Speaker 4 (07:59):
What do we get out of it?

Speaker 7 (08:00):
We're getting out of it with our lives.

Speaker 4 (08:02):
It's bankrupt because once it folded, all the contractors are stuck.

Speaker 2 (08:07):
And let me see that. Well, sure, what did anybody expect?
You know that gang that's in there, They've been involved
in one shady deal atter another. I'll see if there's
any hall connections. Keep them out of jail this time?
What I turn to the minute I heard who's in it?

(08:29):
Keep away from that North Side project? Isn't that what
I always said?

Speaker 4 (08:32):
Yeah, that's what you always said.

Speaker 2 (08:34):
As I recalled, you suggested preparing a bed, didn't you. Well,
let us be a lesson. Look behind the corporation and
doesn't this prove it?

Speaker 4 (08:43):
Oh? Yeah, yeah sure it does. That's Jack Jesseph, owner
of JESSEP and Company Electrical contractor is the most difficult
man to work for. But these days, a job is
a job.

Speaker 9 (08:58):
Why do you put up with it?

Speaker 14 (09:00):
Darling?

Speaker 4 (09:00):
Oh, I have a rather pacific temperament, as you know, Ramona.
But still, besides, I understand him. You see, he was
an All American football player at college. He was a hero,
a celebrated man of importance. Afterward, Well, there are what
are known as triumphs.

Speaker 7 (09:20):
Of the flesh.

Speaker 10 (09:21):
Triumphs of the flesh. What an odd phrase. Wherever did
you get it?

Speaker 7 (09:26):
I read it somewhere?

Speaker 9 (09:28):
Oh, and I know where mace Hacker.

Speaker 4 (09:31):
Yeah, I know it's fashionable to make fun of mace Hacker,
but his insights. Yes, we were discussing.

Speaker 9 (09:39):
Triumphs of the flesh.

Speaker 4 (09:40):
Yeah, yeah, yeah, Well these were the triumphs Jack Jessup
knew very well. He graduated, grew older, and then the
body no longer ruled supreme. He went into his father
in law's business and enterprise. He simply cannot understand you
do all the work. Well, yeah, he knows that and
resents it.

Speaker 8 (10:00):
You should be told, in no uncertain term.

Speaker 4 (10:02):
It doesn't matter, Darling. Believe me, it doesn't matter, And
it didn't. I was happy. I didn't mind my job.
It was just an interlude. The important part of my
life was the time I spent with Ramona and reading

(10:24):
mace Hacker. Hacker is, without a doubt, the most prolific
writer in the world. A new novel comes out almost
every month, and each one is better than the last. Why,
I asked myself, am I so enthralled by mace Hacker?

Speaker 7 (10:40):
Look?

Speaker 4 (10:41):
I do have taste, and he deals in sex and violence. Wow,
so to Shakespeare for that matter. But mace Hacker, his
language is so explicit, nothing is left to your imagination.
It was a mystery until one evening I found answer.

(11:01):
I was rereading an old mace Hacker and suddenly, Ramona,
what is it, Rudy?

Speaker 7 (11:08):
Do you remember.

Speaker 2 (11:09):
Reading about the man who murdered those three women?

Speaker 9 (11:12):
Darling?

Speaker 8 (11:13):
Why do you bring up such a gruesome subject.

Speaker 7 (11:15):
What was his name?

Speaker 8 (11:16):
I'm sure I don't remember.

Speaker 7 (11:18):
His name was George, wasn't it?

Speaker 15 (11:20):
Yes?

Speaker 8 (11:20):
Yes, it was George.

Speaker 7 (11:21):
Yeah. And the three girls.

Speaker 2 (11:23):
One was Felicia, the other was Prudence, and the third
was Charity.

Speaker 9 (11:28):
Very good, So you remember too.

Speaker 7 (11:31):
No, I don't remember.

Speaker 2 (11:32):
How could I remember?

Speaker 8 (11:35):
It was in the papers only last month?

Speaker 4 (11:38):
Yeah, this crime, this triple murderer came to like last month. Correct? Yes, yeah,
this is an old mace Hacker novel published seven years ago.

Speaker 2 (11:51):
The murders are described here.

Speaker 10 (11:53):
Minutely well, a story of a man who murders three women.
What's so special about that?

Speaker 4 (12:01):
It tells exactly how he murdered the women, why he
murdered them, and their names.

Speaker 9 (12:07):
There must be an explanation.

Speaker 7 (12:09):
Ramona Darling.

Speaker 2 (12:11):
He predicted these murders some seven years ago.

Speaker 7 (12:14):
It's uncannon.

Speaker 10 (12:15):
I'll say it again. There must be an explanation.

Speaker 2 (12:24):
There was, and I found it.

Speaker 4 (12:28):
Everything mace Hacker wrote happened years afterwards, years after a
particular book was published and forgotten. I checked through all
my old mace Hackers. I went back almost twenty years,
and sure enough, all of them had come true, and.

Speaker 7 (12:44):
All the murderers and all the.

Speaker 4 (12:46):
Victims had the exact same first names as they bore
in the mace Hacker story.

Speaker 2 (12:51):
It was.

Speaker 4 (12:52):
It was a fantastic discovery. Somehow, somehow mace Hacker could
foretell the few. You my story, Lieutenant, Yeah, the story
I'll never tell you or anyone else. Began on the
day of the building contractor's annual golf tournament. I'm a

(13:16):
rather indifferent golfer myself poor actually, but Jack insists that
I play in the same forceome because he, being a
scratch golfer, has an opportunity.

Speaker 7 (13:27):
To feel superior.

Speaker 2 (13:29):
Keep your head down, Rudy, you're bending that elbow, don't sway? Ah, Well,
what do you expect in the rough again? Listen, you
were lucky you hit the ball at all. Wow, Fellas,
we may as well help Rudy find his ball?

Speaker 4 (13:53):
Do you see any signs of it? Misiness slaymaker? I
don't believe so, mister Tallow. I think we'll ever find
that ball. A new one in play and just slowing
up the game. Oh I'm in no hurry, no hurry.

Speaker 2 (14:04):
It's such a lovely day. I'd rather sit under tree
like this one here and just ready. Yeah, so would I.
As a matter of fact, I wish I could sneak
back to the locker room and get my favorite book.

Speaker 4 (14:20):
Oh what's that.

Speaker 2 (14:22):
The latest Mace Hacker mystery Triumphs of the Flesh.

Speaker 7 (14:29):
Hey, that's fantastic.

Speaker 2 (14:30):
Why you you a mace.

Speaker 4 (14:32):
Haacker from way back? I've read all one hundred and
forty Mace Hacker Mystery ha ha AE hundred and forty
and one. No, I think you're mistaken, mister Talloh no, no, no,
I'm sure I'm quite right.

Speaker 7 (14:45):
If you read.

Speaker 4 (14:45):
Your jacket on the latest Mace Hacker book, it says
the one hundred and fortieth grade.

Speaker 2 (14:51):
I know it says that, but it happens to be wrong.
You see, this particular publisher has brought out one hundred
and forty. That's his only publish Oh no, no, no,
The very first Mace Hacker was called.

Speaker 4 (15:05):
I know what it was called, Death is a lonely woman.
I'm sorry, but that's not so, mister Tallow. I don't
like to boast, but I can name all one hundred
and forty of Mace Hacker's book.

Speaker 7 (15:15):
Oh, I'm sure you care, my boy.

Speaker 2 (15:17):
But there is one other book, his very first. It
was with another publisher, long since defunct.

Speaker 7 (15:26):
I've never heard of him.

Speaker 2 (15:27):
A few people have a fantastic book creole.

Speaker 4 (15:31):
What was it called?

Speaker 2 (15:32):
By the name of it is Rudy Jack and Ramona.
All right, here we have mister Rudy Slaymaker, a dedicated
fan of mystery writer Mace Hacker. And why because Rudy
is convinced that Hacker's stories are all prophecies of murders

(15:55):
that will occur in the future. Hacker even names his
fictional character is after the real life ones who will
one day make his tale come true. You only have
a few moments intermission until I return with that two.

(16:20):
Rudy's Slaymaker is forty years old, quiet, shy, even retiring.
A man who sincerely believes in turning the other cheek.
He is convinced that a soft answer turneth away wrath.
Rudy slay Maker, who despite his rather threatening last name,
is really a man of peace, has just received an

(16:41):
intimation that he is about to be involved in a murder.

Speaker 7 (16:45):
What did you say?

Speaker 2 (16:46):
The name of that book was mister Tallant, Rudy Jack,
and Ramona.

Speaker 7 (16:52):
That's impossible. Possible. Why is it impossible?

Speaker 2 (16:55):
Because because it was May Tacker's very first published work,
a rather small time publisher who went out of business
shortly afterward, and then Mace Hacker caught on with a
present firm, where.

Speaker 4 (17:07):
He's been ever since. Rudy Jack, what is the book about?

Speaker 2 (17:14):
I don't know, do you know? I've never read it.
I've only heard about it. However, I would assume one
of them kills the other.

Speaker 4 (17:21):
Two and two. Where can I get a copy?

Speaker 9 (17:24):
Oh?

Speaker 2 (17:25):
I don't think you can. The books out of print
and the publisher is out of business. Rudy, Jack and Ramona.
It's probably the only cast of characters that didn't come true.
What do you mean? You call yourself a Mace Hacker
fan and you ask that you know what I mean?
After he writes the book somewhere that story really comes true?

(17:48):
Same names everything, Well, do you remember any murder cases
involving three people named Rudy, Jack and Ramona?

Speaker 4 (18:00):
Jack and Ramona. I'm Rudy, my boss is Jack, my
wife is Ramona.

Speaker 2 (18:11):
I felt a cold chilled on my spine. I didn't
know what to do.

Speaker 4 (18:16):
One of us was a killer book, which one I
must find that book I must. I wanted all the
secondhand book shops. I wrote away to the companies that
specialize in finding rare books. And then, one day, after
considerable trouble and quite a bit of expense.

Speaker 10 (18:34):
Darling, there's a package for you.

Speaker 4 (18:36):
Oh what's in it?

Speaker 8 (18:38):
I didn't open it. I think it's a book.

Speaker 2 (18:41):
A book.

Speaker 10 (18:41):
The return address reads book Finders Incorporated.

Speaker 7 (18:45):
Oh yeah, let me see that.

Speaker 4 (18:49):
I grabbed the package, ran into my dead and closed
the door behind me and tore away the wrapping paper.
And there it was the book, a book that was
almost twenty five years old. Rudy Jack and Romona, a
murder mystery by Mace Hacker, the very first mace Hacker

(19:11):
ever written. I sat down, turned to the first page,
and began to read. Rudy was boiling water for his
coffee when Ramona walked into the kitchen.

Speaker 10 (19:26):
Oh, dear, I had no idea. It was so late.
It's all right, No, it's not all right. A wife
should make her husband's breakfast.

Speaker 7 (19:34):
All I ever want is coffee.

Speaker 9 (19:36):
No, you want more than coffee, and it's my job.

Speaker 2 (19:39):
The dearest, I'll miss my bus.

Speaker 4 (19:43):
My blood froze. I looked at the printed page. That
was the dialogue. Those were the actual words that passed
between Romona and me on any given morning, and here
here mace Hacker had written it all down.

Speaker 7 (19:59):
Twenty five years ago.

Speaker 2 (20:02):
Why that would have been twelve years before Ramona and
I were even married. I closed the book.

Speaker 4 (20:10):
I was afraid to go on what would be on
the next page. I didn't want to find out. I
didn't want to know. But that was a resolve. I
could never keep never, and so I turned the page.
The dialogue was still familiar. Mustn't miss the bus. Jack

(20:31):
flowers at me if I come.

Speaker 9 (20:32):
In late, flowers by that mean old thing.

Speaker 2 (20:36):
Although recently he's taken the coming in late himself.

Speaker 8 (20:39):
You're just too nice for your own good, darling.

Speaker 2 (20:42):
Can't even finish my coffee, have to run.

Speaker 4 (20:48):
There.

Speaker 2 (20:48):
The page came to an end.

Speaker 4 (20:51):
What would I find on the next page.

Speaker 2 (20:54):
I took a deep breath and turned.

Speaker 4 (20:57):
Ramona watched him hurry down the street to the corner
bus stop. He and the bus arrived simultaneously. He stepped
on board and was gone. She smiled. Her hand strayed
to the telephone. She lifted it and began to dial.

Speaker 10 (21:24):
Hello, Hello, Jack, Darling. He's gone. Yes, yes, he just
got on his bus. Oh, yes, you get here as
fast as you can.

Speaker 9 (21:40):
You know I do, Darling.

Speaker 2 (21:47):
I let the book fall to the floor. I couldn't
believe my eyes.

Speaker 4 (21:52):
I could not accept what I had just seen in
black and white.

Speaker 7 (21:56):
Ramona, my Ramona. It couldn't be true.

Speaker 2 (22:01):
It couldn't. I picked up the book again.

Speaker 4 (22:04):
I had to read that scene between the two of them,
the scene I knew would have to begin on the
next day. She knew it would take him no more
than ten minutes to arrive at the apartment. She sat calmly,
quietly controlling her excitement.

Speaker 7 (22:22):
Finally, the doorbell rang.

Speaker 2 (22:26):
She raced across the room through the door opened. And
I wish we could go away, Ramona, Darling.

Speaker 8 (22:33):
I want that more than anything in the whole world.

Speaker 2 (22:36):
Yes, I know, so do I. But how would we live.
Loretta's father would fire.

Speaker 10 (22:43):
Me in a minute, I know, And I'm content with
what we can have, even if it's only a stolen hours.

Speaker 2 (22:55):
You know, I didn't know you turn out to be
like this, Like what soft, sweet understanding Jack?

Speaker 8 (23:05):
What are we going to do?

Speaker 2 (23:07):
I should divorce Loretta and you should divorce Rudy. Rudy
should marry Loretta, and I should marry you. Yes, Loretta
and Rudy are made for each other, the two sticks
in the mud who don't like to do anything go anywhere.

Speaker 10 (23:21):
But that can't happen, Darling. Yes, and you should be
returning to the office.

Speaker 4 (23:27):
I know.

Speaker 8 (23:30):
Rudy talks about it sometimes, he says, he says, he
covers for you.

Speaker 10 (23:34):
When your father in law happens to drop by your
father in.

Speaker 8 (23:38):
Law gets very upset when you're not around.

Speaker 2 (23:40):
Yes, I'm aware of that, and I hate to go
to that office.

Speaker 4 (23:45):
You know something.

Speaker 2 (23:45):
Rudy scares me, he scares you. I give him a
hard time, but it's sony in self defense. It's just
he knows so much about a contacting business, might know
so little. I couldn't care less. Listen, maybe we should

(24:06):
get divorced, and you and I would.

Speaker 10 (24:08):
Never give me a divorce. He doesn't believe in it. Besides, Darling,
you're absolutely unfit for any work at all. In six months,
you'd hate yourself and you'd hate me.

Speaker 2 (24:20):
Yes, I guess you're right, But we have now. It isn't.

Speaker 9 (24:25):
Isn't enough, But it's better than nothing.

Speaker 10 (24:30):
Now, Darling, you better get back to the office.

Speaker 4 (24:38):
Those were the next three pages of dialogue. Is that
the way things have been going? When I was out
of the house. I refused to believe it. I hit
the book in my desk and I went into the
dining room.

Speaker 2 (24:53):
Ramona had just started serving our dinner.

Speaker 8 (24:56):
I made you those Brussels sprouts you like sow much?

Speaker 9 (24:59):
Darling?

Speaker 2 (25:00):
Oh?

Speaker 8 (25:01):
Oh yeah, is something wrong?

Speaker 7 (25:05):
Oh what should be wrong?

Speaker 16 (25:07):
Well?

Speaker 8 (25:08):
I don't know. Dying it just seems to me that
you're sary.

Speaker 2 (25:10):
I'm fine, I'm fine, I'm all right.

Speaker 9 (25:12):
You seem very upset, very nervous.

Speaker 4 (25:14):
I'm not aware of it.

Speaker 8 (25:15):
Did you have a hard day?

Speaker 7 (25:17):
Though harder than usual?

Speaker 9 (25:18):
Was Jack Jess troublesome again?

Speaker 8 (25:23):
Honestly? Good darling, you're not yourself tonight? What's bothering you?

Speaker 7 (25:32):
What was I going to tell her?

Speaker 2 (25:34):
As?

Speaker 4 (25:34):
I was determined to get to the bottom of this thing,
so I decided that tomorrow morning, after I got on
the bus, I would just get off a few blocks
away and come.

Speaker 2 (25:44):
Back and catch them. So that's exactly what I did.

Speaker 4 (25:51):
I boarded the bus, got off after it turned the corner,
waited about half an hour, went back to the apartment.

Speaker 2 (26:03):
I opened the door very cheerfully, quietly. I could hear
music on the radio, and suddenly.

Speaker 8 (26:13):
We're rudy, what are you doing home?

Speaker 7 (26:17):
What am I doing homes?

Speaker 14 (26:19):
You scared me.

Speaker 8 (26:20):
I heard the door and I couldn't imagine her.

Speaker 7 (26:22):
Oh I forgot something.

Speaker 9 (26:24):
Oh I'm sorry, I.

Speaker 4 (26:26):
Better get it. It's in the bedroom. In the bedroom,
she wasn't there. Nobody was in there or anywhere else either.

Speaker 7 (26:41):
So what did that mean?

Speaker 4 (26:43):
It meant Mace Hacker was wrong, that Jack Jessup wasn't
coming here. Mornings after I left, but.

Speaker 7 (26:50):
My relief was short lived.

Speaker 4 (26:53):
That night, I finally got all my courage together and
got out the book.

Speaker 2 (26:59):
This time I was determined to read it through. If
he was seeing her here at the house, I had
to find out, why hadn't I caught them at it?
Hm I soon got the answer.

Speaker 4 (27:13):
According to the book. When Rudy left that morning, Ramona
had a premonition. She couldn't explain it, but she was
a woman who lived by the psyche, and so she
refused to ignore it.

Speaker 7 (27:25):
She dialed Jack's number once again.

Speaker 10 (27:29):
Jack, Darling, Yes, he just left. Don't come here. No, no, no, no,
please don't come here. Yes, my darling, I want to
see you more than anything in the world, but I
have this feeling, this terrible feeling. No no, meet me

(27:49):
for lunch, yes, the usual place, yes, Darling.

Speaker 2 (27:54):
At twelve, she hung up the phone.

Speaker 4 (27:59):
She knew something was wrong, terribly wrong, something that could destroy.

Speaker 2 (28:02):
All of them, but you couldn't put a finger on it.

Speaker 4 (28:06):
At twelve o'clock, she arrived at the Little east Side
restaurant where they had spent so many happy hours dying?

Speaker 2 (28:13):
What's wrong with what he knows?

Speaker 17 (28:16):
Jack?

Speaker 2 (28:16):
He knows? How much does he know?

Speaker 8 (28:19):
He knows about us?

Speaker 9 (28:21):
And he knows everything?

Speaker 2 (28:22):
Are you sure I had this premonition.

Speaker 8 (28:24):
I can't account for it, but I can't disregard it either.

Speaker 10 (28:28):
I told you not to come. Well, a half hour
after he left, he came back. He wanted He came
back to the apartment. Why he said he'd forgotten something.

Speaker 7 (28:42):
Maybe he did?

Speaker 8 (28:43):
No, Jack, No, you know he didn't.

Speaker 10 (28:46):
He came back expecting to find us together.

Speaker 2 (28:50):
Huh, Well, what are we going to do?

Speaker 8 (28:53):
We'll have to stop seeing each other.

Speaker 2 (28:56):
Oh no, we can't for a while, Not now, we can't.
Loretta's going out of the coast to spend a few
weeks with the rat. I plan for us to use
that time.

Speaker 9 (29:05):
Oh, darling, but Rudy suspects, and.

Speaker 2 (29:08):
I can't let Rudy come between us.

Speaker 8 (29:10):
Rudy exists.

Speaker 2 (29:12):
I'll kill him for now. Don't say that.

Speaker 8 (29:17):
It wouldn't solve the problem.

Speaker 10 (29:19):
Theretta would be alive, he wouldn't be able to marry me.

Speaker 2 (29:22):
There's got to be some way to kill Rudy, some safe,
foolproof way.

Speaker 8 (29:27):
It probably is, But the problem is to find it.

Speaker 7 (29:35):
Just like that, just as cold blooded as that.

Speaker 4 (29:39):
There's got to be a way to kill Rudy, his safe,
fool proof way. That's how Mace Hacker has them talking
in his book. And here I am reading all this
in a twenty five year old detective novel as if
it's all happening to some fictional character.

Speaker 7 (29:55):
But it's going to happen to me.

Speaker 4 (29:58):
I'm Rudy, and Ramona is Ramona, my wife, and Jack
is Jack josiph my boss.

Speaker 2 (30:13):
Well, it looks as if our hero, if he is
a hero, could very likely be in the soup. However,
Rudy has an advantage. Rudy knows something that evidently Jack
and Ramona are unaware of.

Speaker 7 (30:27):
Rudy has a copy of.

Speaker 2 (30:28):
The script to this little scheme, assuming of course that
a it's a scheme and there's a script. I'll be
back in just a few moments with Act three. Our

(30:51):
story thus far concerns Rudy slay Maker, who is in
a prison cell where a homicide detective is urging him
to make a confession. Rudy isn't paying very much attention.
Rudy is reviewing the events in his mind and as
Rudy relives him, he is convinced no one would ever
believe him. He may be right.

Speaker 7 (31:16):
It was out in the open.

Speaker 4 (31:18):
They realized I knew about their affair and that they
would have to find an opportunity to kill me. And
since all this had been carefully plotted out some twenty
five years ago by Mace Hacker, all I had to
do was to continue reading about it in Hacker's book, Rudy, Jack,
and Ramona.

Speaker 7 (31:40):
You think that's easy.

Speaker 4 (31:43):
Suppose someone handed you a book and said, here is
the story of the rest of your life.

Speaker 2 (31:47):
Would you be anxious to read it? And I would
have thrown the book away. But I had to read
it because because my life depended on it. So from
the book I continue.

Speaker 4 (32:00):
Ramona sleagh Maker led a double life with brilliance and flair.
She was Jack Jessop's ardent lover, and she was also
Rudy's slave maker's wife. Then one afternoon, the bell rang,
she opened the door. Her eyes grew wide with fright.

Speaker 2 (32:15):
Champ Ramona Dunning.

Speaker 8 (32:18):
I know Rudy suspects you could do something desperate.

Speaker 2 (32:21):
I just had to see you before I left. Where
are you going to the coast? Loretta.

Speaker 8 (32:27):
What about Loretta.

Speaker 2 (32:29):
She's dead? Oh my yes, she was thrown from a
horse in happin this morning.

Speaker 8 (32:35):
Oh oh, I am sorry.

Speaker 2 (32:37):
I had to see you. I'm on my way to
the airport, but I had to stop here first. Ramona, Ramona,
I can't pretend to overcome by grief.

Speaker 18 (32:46):
I know, Darling.

Speaker 2 (32:47):
For years has been nothing between Loretta and Masa. Now
I've got to tell you that we've got to stop.

Speaker 8 (32:53):
Planning, planning, clanning.

Speaker 19 (32:54):
What.

Speaker 2 (32:55):
Oh, come on, you know very well what. We'll have
to find a way to kill him. Yes, you see.
That means you'll be a widow.

Speaker 7 (33:03):
I'm a widower.

Speaker 2 (33:04):
My father in law can have no objection to our marriage.
I think it's logical for us to get together. End
you'll be an excellent mother to his grandchildren.

Speaker 8 (33:13):
What we're doing is wrong, Jack.

Speaker 2 (33:16):
It's murdered, my darling. It's the only way we can
find happiness. I looked up from the book.

Speaker 4 (33:25):
Finally, the plot was arranged to kill Rudy to kill me.
That was the way Mace Hacker had written it. It
had worked out for Hacker because he could kill off Loretta,
Jack's wife, but in real life, Jack's wife Loretta was
still very much alive, and as long as she was alive,
there was no point in there trying to kill me.

(33:48):
And then one day I was at the office the
telephone rang. It was Loretta's father, Rudy. Yes, sir, I
don't want.

Speaker 18 (33:59):
To be the breakfast to jet, but I'm afraid I
have very bad news.

Speaker 2 (34:06):
What is it, sir, it's sir, it's Loretta, Loretta, poor Jack.

Speaker 18 (34:14):
I know how much she met him. It's very bad.
Tell him Theretta is dead. She was not riding in
the horse.

Speaker 2 (34:28):
Theretta was dead.

Speaker 4 (34:32):
Jack's wife dead, And that meant that the way was
clear to kill me, that I would soon be dead.
I read the rest of the book as quickly as
I could.

Speaker 2 (34:44):
How clearly mace Hacker wrote it down. He likes to
go for walks at night near the river where it's deserted.

Speaker 8 (34:51):
I keep telling him how foolish it is.

Speaker 2 (34:53):
Well, right near the old bridge, there's a clump of
birch trees. I'll be waiting there when he comes by.
How should you know, I'll take his wallet, watching his
ring so it looked like Beverly track. Yes, what he said,
it's chereful, Dolly, of course, my dear. Next time he
goes on walking, call me.

Speaker 4 (35:18):
Now I knew what I had to do. I had
to see mace Hacker. I had to talk to mace Hacker.
But I ran into trouble. Nobody seemed to know mace Hacker.
Nobody had an address.

Speaker 2 (35:27):
There had to be something, some line on mace Hacker.

Speaker 4 (35:32):
At the publishers. They maintained a stony silence. But I
knew how to break through. That fifty bucks invested and
the right people can.

Speaker 7 (35:39):
Bring you all sorts of useful information.

Speaker 4 (35:42):
And so in a few days I found myself in
a modest apartment building and a small neat plate on
the door read m Hacker. I rang the bell and
an incredibly old lady answered the door.

Speaker 2 (36:00):
Yes, I am looking for mace Hacker.

Speaker 7 (36:05):
Go away, please.

Speaker 4 (36:07):
It's it's a matter of life and death.

Speaker 9 (36:10):
That means nothing to me.

Speaker 7 (36:13):
Please you must let me see mace Hacker. You can't
turn me down.

Speaker 9 (36:19):
Very well, come in.

Speaker 4 (36:23):
Thank you. I can't tell you how grateful I am.
Tell mister Hacker, I won't take too much of his time.

Speaker 10 (36:31):
Mace Hacker has little enough to spare.

Speaker 7 (36:36):
Oh I'll wait.

Speaker 9 (36:37):
Oh what.

Speaker 7 (36:40):
For mace Hacker?

Speaker 9 (36:42):
I am mace Hacker. You yes, but I'm a woman.
Does that mean anything? I speak quickly? I have no
time to waste.

Speaker 7 (37:02):
All right, all right? Tell me who is mas Haacker?

Speaker 10 (37:05):
I have mayack?

Speaker 20 (37:08):
No?

Speaker 7 (37:08):
But who are you?

Speaker 4 (37:10):
I mean?

Speaker 7 (37:11):
Do you have the gift of prophecy?

Speaker 10 (37:12):
I have a gift.

Speaker 9 (37:16):
I don't know.

Speaker 21 (37:17):
What it is.

Speaker 4 (37:19):
You write stories about murder, and years later they come true. Ah, yes,
even the people's names.

Speaker 7 (37:26):
How do you account for it?

Speaker 9 (37:28):
How do you account for it?

Speaker 2 (37:32):
Look?

Speaker 7 (37:33):
I came here for answers, not questions.

Speaker 9 (37:36):
There are no answers. There are only questions.

Speaker 4 (37:44):
Twenty five years ago you wrote a book, a book
called Rudy Jack and Ramona.

Speaker 7 (37:48):
Did I about me? It's about me, my boss and
my wife. How did you know about us? How?

Speaker 4 (37:55):
I mean? Even the words we speak.

Speaker 7 (37:56):
To each other in private? How did you know?

Speaker 9 (37:58):
I'm very chihead? I usually nap about this sigh?

Speaker 7 (38:06):
How did you know?

Speaker 9 (38:08):
Never been so tired?

Speaker 12 (38:13):
So sleep?

Speaker 7 (38:16):
Tell me tell me first, tell.

Speaker 11 (38:18):
Me good bye?

Speaker 7 (38:21):
No, rude, no, don't go to sleep. Tell me what
I must do.

Speaker 22 (38:25):
I've already told you. It's in the book, in.

Speaker 11 (38:35):
The book.

Speaker 9 (38:37):
Fall, the book.

Speaker 2 (38:45):
Mace Hacker closed her eyes and never opened him again.

Speaker 4 (38:53):
I went home, read the rest of the book, and
I found the little tenty caliber pistol I kept in
a desk drawer, made.

Speaker 7 (39:04):
Sure the clip was filled.

Speaker 4 (39:07):
I put the gun in my pocket, and I went
into the living room where Ramona was sitting.

Speaker 9 (39:14):
Hello, Darling, a lovely night.

Speaker 23 (39:17):
I think i'll go for a walk at this hour.

Speaker 7 (39:21):
Well, there's a bright moon. Would you like to come?

Speaker 8 (39:26):
No, dear, I have a slight cold.

Speaker 4 (39:29):
Well I won't be long.

Speaker 9 (39:32):
Don't walk too.

Speaker 8 (39:33):
Far, and please, dear, do be careful.

Speaker 4 (39:39):
Yes, yes, I would be very careful. I headed for
the clump of trees near the bridge. I'd get there
before he would.

Speaker 2 (39:50):
She couldn't call before I left the house, and that
was just the head start I needed.

Speaker 4 (39:56):
I arrived at the bridge, I hid behind the tree
and I waited. I waited until I heard the sound
of footsteps. I waited till he came into view, till
he was almost upon me, and then.

Speaker 7 (40:14):
I fired the little pistol. Barked like an angry dog
in the night. He fell on his face.

Speaker 4 (40:19):
In an ungainly sprawl. He was dead before he hit
the ground. So much for Jack jessup, and now I
must finish the story the way Mace Hacker had commanded
me to finish. I walked home, slowly, very slowly. I

(40:44):
opened the door, and when she saw my face, a
look of terror came into her eyes.

Speaker 7 (40:53):
Surprised to see me.

Speaker 2 (40:54):
Ramona, surprise?

Speaker 8 (40:55):
Why should I be surprised?

Speaker 4 (40:57):
It wasn't supposed to work out this way.

Speaker 17 (40:59):
Was it?

Speaker 14 (41:00):
I don't know what you're talking about.

Speaker 7 (41:02):
I'm sure you do.

Speaker 8 (41:03):
What are you doing with that gun?

Speaker 2 (41:04):
What do people usually do with a gun?

Speaker 16 (41:07):
Don Rudy know?

Speaker 14 (41:09):
Have you gone crazy?

Speaker 4 (41:10):
Goodbye? Darling? Why why you had your friend Jack tried
to kill me? You told him I'm gone for a walk,
but I saw him first. I killed him first. And
now you, oh, I don't know your affair with Jack
is over?

Speaker 24 (41:31):
What fair?

Speaker 25 (41:34):
Oh? Rudy killing me?

Speaker 8 (41:40):
But nothing?

Speaker 2 (41:42):
Don't lie nothing? Why would I have affair with.

Speaker 19 (41:54):
You?

Speaker 2 (41:54):
Should not have died with a lie on your lips?

Speaker 7 (42:02):
Yes, Rode?

Speaker 18 (42:04):
Did you take all the figures on the marine project?

Speaker 2 (42:07):
Jack?

Speaker 4 (42:08):
Hello?

Speaker 2 (42:10):
Roadie?

Speaker 18 (42:12):
Is Jack Chack?

Speaker 26 (42:12):
Jessen?

Speaker 18 (42:14):
Rode?

Speaker 27 (42:16):
Are you okay?

Speaker 7 (42:21):
You see? I killed her because I thought that she was.

Speaker 4 (42:29):
But it was wrong. And that man who was there
by the bridge, I guess it wasn't Jack, which means
she didn't tip him off. And I guess I guess
they weren't having an affair of it. According to mace Hacker.

Speaker 2 (42:53):
Already you're ready to make a statement, Lieutenant. You'd never
believe me. H, you'll be surprised some of the stories
I hear.

Speaker 4 (43:08):
You never heard a story like this.

Speaker 2 (43:09):
One, and neither did the jury. So they voted to
put mister Rudy Slaymaker away for the rest of his life.
But pity, he certainly thought it was self defense. For
all we know, maybe it was. You Just stay there

(43:31):
and I shall return in a few moments. Who was
mace Hacker we'll never know, and who was Rudy slay
Maker will never know that either, because Rudy has reached

(43:53):
the point where he doesn't know himself. They could even
be seriously doubted that the book Rudy, Jack and Ramona
ever existed. Don't worry about it. There are times, late
at night, in the dark of the moon, when you
can believe that nothing exists. Well, we do seven times

(44:13):
each week. Our cast included Paul Hect, Patricia Elliot, Ian Martin,
and Ralph Bell. The entire production was under the direction
of Hyman Brown Radio Mystery Theater were sponsored in part
by True Value Hardware stores and contact the twelve hour
Cold Capsule Missus E. G. Marshall inviting you to return

(44:34):
to our Mystery Theater for another adventure in the macabre.
Until next time, Pleasant.

Speaker 16 (44:55):
Get this and get it straight. Crime is a sucker's road,
and those who travel it wind up in the gut
the prison of the grave. The trail started in Montana
with a bum with two names rushing away from his
lady love and led fast into La Pasted, a Southerner
from Canada, a worried wool dealer, and a chorus girl
with a forty five. When it finally stopped at Murder
in the Park, the tramp was still in a hurry.

Speaker 28 (45:18):
From the pen of Raymond Chandler, outstanding all through cry
and fiction, comes his most famous character in the Adventures
of Philip Marlowe. Now with Gerald Moore starred as Philip Marlowe,

(45:39):
we bring you tonight's exciting story, The Bum's Rush.

Speaker 16 (45:56):
You know, there comes a time in everyone's life when
a relative wants a favor, but this was a particularly
nice relative, in fact, the great old gal. She'd written
my name and address in the center, and her name
Jesse Gabvins Eagles Rock Montana in the upper left corner
of the envelope. The stamps Total Away Male Special, and
the letter inside started off like one of those I

(46:18):
was wrong. You've got to find him for me. You've
got two types. But it didn't wind up that way.
Clip to the letter was one hundred dollars check and
under that a not too good snapshot of a bald
man holding a rake who wouldn't have been helped any
by better photography. Ten minutes later, at exactly eight pm,
my long distance call was put through. In the voice
that belonged to Aunt Jesse was snapping at me if

(46:39):
Eagles Rock Montana like the end of a whip, certainly,
I wrote it.

Speaker 29 (46:42):
How many Jesse Gabbons do you think there are an
Eagles Rock Philip. I want you to find Jonathan Miner
and see if he's all right.

Speaker 16 (46:49):
Yeah, you said that in your letter.

Speaker 29 (46:51):
Jonathan Miner is my fiasci and Jesse, I know what
you're speaking, young man, but I'm fifty one and he's
fifty five, and there's nothing wrong with the September Song
of the Harmonies.

Speaker 16 (47:01):
Close enough Yeah, I hope my harmony is that good
when I'm fifty five? Why are you worried? Honey?

Speaker 29 (47:06):
Because he left here last week on some kind of
a big deal.

Speaker 30 (47:10):
That's a secret, that's.

Speaker 3 (47:11):
All he tell me. And I haven't heard a.

Speaker 16 (47:13):
Word from him since I see. Well, tell me what
sort of a deal would it be? I mean, what business?

Speaker 30 (47:18):
He's not in any business?

Speaker 16 (47:20):
Oh? What was his work before he retired? Well, he's
not exactly retired either, he's Look and Jesse, I'm getting
at this. What does he do?

Speaker 31 (47:29):
Well?

Speaker 16 (47:29):
What did he used to do for a living?

Speaker 15 (47:30):
Uh?

Speaker 29 (47:31):
Frankly, well, I might as well tell you.

Speaker 32 (47:33):
Most folks around here, Philip think Jonathan Miner's just to bam.

Speaker 3 (47:37):
Maybe he is.

Speaker 29 (47:38):
He came to town, Philip on a freight train a
month ago, when he's been raking leaves for handouts ever since.

Speaker 32 (47:45):
That's how I met him. But he's a fine, honest,
proud man, and.

Speaker 29 (47:49):
I'm going to marry him.

Speaker 16 (47:51):
Congratulations. Yes, Look, you didn't happen to give that fine honest,
proud man a lot of money to Finance's big deal is?

Speaker 33 (47:57):
Did you know?

Speaker 4 (47:58):
Well?

Speaker 16 (47:59):
And don't because I'll be frank. Sounds to me like
a broken down con man warming up a new routine.

Speaker 29 (48:04):
Then I'm gladly pay to find that out, Philip.

Speaker 32 (48:07):
But I think you're wrong.

Speaker 29 (48:09):
Jonathan told me that he had to prove himself by
making some money of his own before he'd marry me, as.

Speaker 32 (48:15):
If I didn't have enough to take care of two
people already.

Speaker 16 (48:19):
Okay, Jesse, it's a little offset of it up by it, Philip.

Speaker 34 (48:22):
Then you find him.

Speaker 32 (48:23):
Don't tell him that I hired, as I say, he's
very proud and it had hurt him. And now all
I can give you the Gola aside from that snapshot
I send is an address seven six four Hope Street
in Los Angeles, Hopes.

Speaker 16 (48:40):
Well, how'd you get that?

Speaker 32 (48:41):
From checking through every single thing of Hay as I
could lay my hands. It was on the back of
an envelope. Course, it may not mean nothing.

Speaker 16 (48:49):
You're so right, Jesse, Please not.

Speaker 35 (48:51):
Don't joke with me, Philip.

Speaker 32 (48:52):
Jonathan was so serious and in such a hurry, and
there was a funny, brave glint in his eye when he.

Speaker 16 (48:59):
Left, brave glid. Okay, Jesse, no jokes, goodbye, Darlan. I
felt a little sorry for my aunt, Jesse Gevins because
the concept of a night of the road rushing off
on a secret quest to prove himself worthy of marriage

(49:20):
and leaped like a celluloid's shovel, and it got no help.
When I pulled to a stop in front of seven
sixty four Hope Street, it was a cramped combination warehouse
and office of corrugated iron and glass brick, respectively, with
a shy red and black sign reading hirsh Woolen's over
a door that looked like it would looked like a
handled about as much business recently as a repair shop
for spinning wheels. It was half open, however, so I

(49:44):
went in just in time to catch the last round
of what must have been a healthy spat going on
behind a frosted glass door marked private.

Speaker 24 (49:50):
Well, I'll tell you something, mister Elden hers peaker. Write
more on wool and less on nylon and you'll be
all right.

Speaker 16 (49:57):
All right, Heaven's sake, this is no time to quick.

Speaker 26 (50:00):
We've got more important things to do, unless, of course,
you want to keep that chorus job at the Plumes forever.

Speaker 35 (50:09):
Well, okay, do you just watch your step?

Speaker 24 (50:13):
Goodbye, Eldon, stand aside, stupid, This is our hallway.

Speaker 5 (50:17):
Not an art.

Speaker 36 (50:17):
Yallow's a petty girl. I've ever ever seen one.

Speaker 16 (50:21):
Well, what do you want, oh, mister hirsh Yeah, yeah,
Well I'm Ned Johnson.

Speaker 36 (50:25):
I'm looking for a job. What kind hells salesman? Wolve's
my line?

Speaker 37 (50:30):
See?

Speaker 26 (50:30):
And how long have you been waiting out here?

Speaker 16 (50:33):
I just stepped in.

Speaker 5 (50:35):
Come in, sir, thanks, shut down.

Speaker 26 (50:38):
What is your specialty? Woolen's worsts are felt.

Speaker 16 (50:41):
Well, I've handled them all.

Speaker 26 (50:44):
We confine ourselves largely to a very high grade Marina Woolen.

Speaker 16 (50:48):
Mister Johnson, Ned Johnson, I've worked with Marina.

Speaker 37 (50:52):
What about the others?

Speaker 16 (50:54):
Lester?

Speaker 26 (50:54):
Perhaps Lincoln?

Speaker 16 (50:56):
Oh, Leicester? Lincoln is certainly I find it all a business.

Speaker 37 (51:01):
Very romantic background.

Speaker 4 (51:02):
Yeah.

Speaker 37 (51:03):
By the way, what do.

Speaker 26 (51:04):
You think of Lanatawel as against Marino Planel?

Speaker 12 (51:07):
Well?

Speaker 16 (51:08):
Not good, not no. You see, I've watched the Lanotels
from the range right through shearing and on up to weaving.
It just doesn't compel. What's ther manny? What are you
really after I slipped you.

Speaker 38 (51:20):
Fell on your face?

Speaker 26 (51:21):
Lanatowel is synthetic wool made from milk.

Speaker 16 (51:24):
Now, who are you? Okay, okay, I'm from the Sequoia
credit Association. We're investigating you, just a periodic routine thing.
It's strictly confident. You're like, get out of here and
stay out if I ever catch all right, take it easy.
I was clumsy, that's all on. Start a riot about it.
I'm you prior of my It's happy you got there.
I watch it hershe will get you in trouble. So long,

(51:49):
I hadn't exactly been wool gathering with herschel company, but
I hadn't exactly made strides on the connection between abum
and a hurry in seven sixty four Hope Street either. However,
I couldn't help wondering what Hirsheld meant when I'd overheard
him speak to the girl in the office about more
important things to do. So when he slammed the door
on my shoulder blades, I went around to the alley
for a peak in his warehouse, but I skipped that

(52:11):
when a man stepped into view wearing the identical face
I had in my pocket on a snapshot. It was
Jonathan Mider. He swapped the rig for a silver tip
cane and patches for fourteen carrot class from Spats to
a Hamburg, which might well have covered a bald head.
But it was the same man, no doubt about it.
So I decided to play this one strictly three cushions
of the reverse English. Hey, hey, hey you.

Speaker 4 (52:33):
Oh before you addressing me?

Speaker 16 (52:35):
So, yeah, don't I know you? Oh? Sure I do?
Points East.

Speaker 39 (52:39):
You're mistaken, my man.

Speaker 38 (52:40):
I haven't been East thirty years.

Speaker 16 (52:43):
Oh come on, friend, I know you anyway. You're good
old Jonathan Mider. So I am Ross J.

Speaker 39 (52:49):
Crowley of Canada, and I have never had the dubious
pleasure of your acquaintanceship until this very moment.

Speaker 16 (52:56):
Ross J. Crowley of Canada. And okay, Mider, that's the
way you want it. What are you doing around the
world business setting it up for a fleecing or just
pulling it over somebody's eyes?

Speaker 39 (53:05):
My good man, you've obviously confused me with someone else.
Now pack off, recognized fell I'm in a hurry.

Speaker 16 (53:11):
I'll wait a minute, pop, wait a minute. Let's get
this straight first. Your name's not Crowley. Why are you
using it?

Speaker 39 (53:15):
My godfree sir, you're trying my patience.

Speaker 16 (53:18):
Stand us one, come on, let's have it.

Speaker 40 (53:19):
Oh very well of.

Speaker 41 (53:20):
You, insist, Hey.

Speaker 16 (53:23):
I come back here, you'll go don't you look out?

Speaker 17 (53:26):
Why you awkward?

Speaker 38 (53:27):
Roughly, why don't you.

Speaker 16 (53:28):
Look where you're going? I was, but I couldn't get
around all three of you three. What do you mean,
you and your two big feet. If you can't keep
those gunboats out of people's way by yourself, hire a pilot. Hey,
ye oh, by now my boys so far ahead, I
couldn't catch movie, stopped for lunch, thanks to you, goodbye
on as far as the corner anyway. But I've been
right the first time. Jonathan moy Day alias Ross J.

(53:51):
Crowley of Canada was long gone, and I had no
idea where just left me with one slim, lovely lead,
a lady named Musha. If I'd eaves Drup correctly, she
would shortly be making with the legs and the chorus
of the Plumes theater restaurant. It was seven point thirty
when I hedded the platinum plated tourist trap on Hollywood
Boulevard that featured small portions of bad food on the
glass and large helpings of good skin on the lights.

(54:13):
Cost me ten bucks in a fast. I had lived backstage,
but it would have been worse out front. So when
the chorus high kicked its way out in the wings.
I nailed Marsha. She went by, she narrowed a half
upon of mass care at me and let a footlight
smile drop, which left very little else.

Speaker 24 (54:26):
Yeah, my name's Marsha.

Speaker 8 (54:28):
What do you want?

Speaker 24 (54:28):
Make it snappy?

Speaker 16 (54:29):
I gotta change, change, watch your head, doom. This won't
take a minute, baby. All I want to know is
where Jonathan Mighty can be found.

Speaker 24 (54:35):
How should I know?

Speaker 15 (54:36):
I never heard of him.

Speaker 16 (54:37):
You're stirling on your own time, baby, I got all.

Speaker 24 (54:39):
Night nuts to you, Jack Blow.

Speaker 16 (54:41):
I'm back here. This is important.

Speaker 9 (54:42):
Now listen to you.

Speaker 24 (54:43):
I don't know anybody called Jonathan? What's his name? And
put one more fingerprint on my arm and you'll get
bounced out of here on your head.

Speaker 16 (54:51):
You know, there's just a chance you could be on
the level. Look, the guy wants about fifty five and
spats with a hamburg O, But what is no doubt?
A ball dome carries a black can with silver tip,
and for some reason answers the name of Crowley Crowd.
Yeah that's it, Ross j getting warmer, hid kid, and
don't bother telling me I never heard of it.

Speaker 24 (55:08):
So I've heard of him? So what He is a
good peal of mine. Met him a couple of nights ago.

Speaker 42 (55:12):
He's quite a sport.

Speaker 16 (55:13):
I bet he is. Why can I find him?

Speaker 5 (55:15):
What are you wanting for?

Speaker 16 (55:15):
I want to talk to him. That's always He lived
up a tree.

Speaker 24 (55:19):
Like I said, buster blow.

Speaker 16 (55:20):
And like I said, baby, this is important, so important.
I'll have a lopsided line and the next number of
you don't talk because you won't be there. You'll be
on your way to the pokey. Now what does he live?

Speaker 24 (55:28):
I don't know. He's from Canada.

Speaker 16 (55:30):
You can come closer than that, sweetheart, Give all right.

Speaker 24 (55:33):
He tells me he takes a walk in the park
every night. He raves about the gladiolas.

Speaker 16 (55:38):
Like they grow in coal with a canyon park. Maybe
maybe thanks your good kid, keep your pot of dry baby,
I'll see you. That park looked deserted. One a half
hour later, I drove by it to the far end,

(56:00):
turned down a side street and stopped. But as I
started in on foot, I saw him spats Hamburg Cane
and alias sambling slowly away from me along a back path.
I started after him quietly, and when he got near
a corner, I was close enough to hale him and
then grabbed.

Speaker 43 (56:14):
I didn't get the chance stand still and keep your
mouth shut.

Speaker 16 (56:17):
I turned slowly. It was the gentleman with the big feet,
and he wasn't much ugly, just a little flabby than
the automatic wrapped up in his fist.

Speaker 43 (56:25):
You seem to be falling over my feet every time
I turn around.

Speaker 16 (56:29):
I noticed that, but I figured the first time was coincidence.

Speaker 43 (56:33):
What do you figure now?

Speaker 16 (56:34):
And a gay dog, mister Crowley, who just turned that corner,
theirs wagging two tails. But you hold the gavel, chairman, and.

Speaker 43 (56:40):
Don't you forget it either. So he gave you the
name Crowley?

Speaker 16 (56:44):
Did he mm hmmm? Why you think he's got another one?
Stop that?

Speaker 43 (56:47):
We both know he's lying. But I don't know is
why he took that name of why you're interested?

Speaker 16 (56:51):
It's a hobby. I collect old geeze's with more than
one name.

Speaker 43 (56:55):
I'm going to handle hot un you won't tell me.

Speaker 16 (56:58):
I don't know your angle either, Eh we might work
out a trade.

Speaker 43 (57:03):
No, I'm not wasting any more time eitherft he's not
going to get away from me again, and that means
you'd better stay right here.

Speaker 12 (57:10):
Oh.

Speaker 16 (57:16):
He piled me up on the ground with a stomach
full of pain. I saw him run down the path.

Speaker 36 (57:21):
When I got back to my feet, he was taking
the corner and just started after him. When it came
I froze and listened. There was nothing more to hear.
I walked softly as far as the corner. He was
faced down, the toes of his oversized shoes, digging into
the grass, and the gun he hadn't time to use,
spilled a few inches away from his clenched dead hands,

(57:42):
across the park and rushing for coal a canyon road
as fast as his feet could go as a bum
with two names and a Hamburg hat.

Speaker 28 (58:00):
In just a moment the second act of Philip Marlowe,
but first thirty minutes packed full of talent, music and fun.
That's the Horce Height Original Youth Opportunity Show coming your
way every Sunday evening on CBS. Yes, this fall, you'll
hear them all on CBS. A galaxy of stars, and
one of the brightest is genial Horace Height, who keeps

(58:23):
the fun rolling with one hand and with the other
pushes open the door to opportunity. Gives a talented youngster
his big break toward fame and fortune. In show business.
Remember Sunday Night, It's Horace Height and his original youth
Opportunity program. Listen every Sunday starting this Sunday over most
of the same CBS stations to name.

Speaker 16 (58:46):
Tune in this fall all the shows that you.

Speaker 11 (58:49):
Love best of all, Listen carefully, here's the address.

Speaker 40 (58:54):
It's CBS.

Speaker 28 (58:59):
Now with our star aur Gerald Moore, we returned to
the second act of Philip Marlowe and Tonight's story, The
Bombs Rush.

Speaker 16 (59:17):
When I took after the fleeing figure known to my
aunt Jesse as Jonathan Mider or Ross J. Crowley was
still barely visible ahead, with arms and legs flailing the
night air like so many test streamers in a wind tunnel.
I didn't know any more about his double identity than
I had before, but I did know that what might
have started as only a confidence game of sorts and

(59:37):
now mushroom did a murder with the aforesaid gentleman very
much involved. And a moment later, when I saw him,
breathless and afraid, duck into a sagging, deserted wooden check
that showed a single red lighting was labeled to pop
in the park's fire equipment private, I figured the right
time and place had come to talk it all over.
When I finally carefully stepped inside and announced both myself

(59:58):
on thirty eight and hand in definite stentauria in tones,
he agreed wholeheartedly, all.

Speaker 40 (01:00:03):
Right for all, come out, because you say, hell with
my hands.

Speaker 16 (01:00:08):
Up, I have no reason to hide rather than murder,
No murder.

Speaker 39 (01:00:13):
That noise I heard, That's what it was.

Speaker 4 (01:00:15):
Somebody was shot.

Speaker 16 (01:00:16):
Somebody was run over by a bullet rolling downhill at
a terrific rate of speed. Now shut up and turn around,
pop hands still high time, we got cautious?

Speaker 39 (01:00:25):
Are you searching for a gun on yourself? The young
man us be out of your mind. First you insist
that I'm a mister somebody I never heard of her,
and you're convinced that I'm a murderer. I don't understand you.
There no gun, no satisfied.

Speaker 16 (01:00:41):
No intrigued. Where'd you throw it?

Speaker 12 (01:00:44):
I didn't I never had one anything else.

Speaker 16 (01:00:47):
Yeah, the name Crowley Ross Jay, why do you use it?

Speaker 39 (01:00:50):
Because it's mine? And that young man is a very
common custard. Now do you mind if I leave?

Speaker 16 (01:00:56):
I do? Now, look, old timer, I'm only going to
be nice about this for a little while because, first
of all, as a fresh copse outside and where I stand,
you could be responsible for it and checking to Second
of all is my angle, where I fit, who I
work for facts, and I don't want to reveal him
unless I have to. Now from the top, you and
the dead guy, the connection? What is it?

Speaker 39 (01:01:17):
I haven't the slightest idea of what you're talking about?

Speaker 16 (01:01:19):
Ye haven't. Okay, pop, we play it straight all the way.

Speaker 2 (01:01:21):
Now listen.

Speaker 16 (01:01:22):
My name's Philip Marlow. I'm a private detective and I
know what it's time to blow.

Speaker 24 (01:01:25):
Don't move Marlow, you never will again. Oh fine, Marsha,
that's right, Marsham all loaded down with a nasty forty
five automatic that makes her look and feel very unladylike.
Drop it, Mala, come on, that's better now, mister Crowley,
without waiting for Marla to apologize, going to the hotel,

(01:01:47):
it's important to Herry.

Speaker 1 (01:01:49):
I will waste the second key.

Speaker 24 (01:01:51):
You won't need the key. Somebody's waiting for you. Goodbye,
mister Crowley.

Speaker 41 (01:01:54):
Goodbye. I hope I never meet you again. Mister Maitland.

Speaker 1 (01:01:59):
Good night.

Speaker 16 (01:02:01):
As cute as me, Darling.

Speaker 24 (01:02:03):
The moment unimportant. Right now, you're my only concern, Malow.

Speaker 36 (01:02:06):
No, that's nice much. It's cozy, just the three of us,
you and that giant US pistol caliber bo.

Speaker 16 (01:02:13):
Do you say, baby, that's not your gun, is it?

Speaker 3 (01:02:15):
No?

Speaker 14 (01:02:16):
You feel slighted?

Speaker 16 (01:02:17):
Oh no, no, sweet happy.

Speaker 15 (01:02:18):
Stay back, Mala, I'll shoot.

Speaker 16 (01:02:20):
Oh no, you will. You can't. No, you see, baby?
The three safety devices anomy gun that do hit you
down on the side is one. It won't work unless
it's in the forward position. Go on with schools out.
I will not the first question teacher, you and Grandpa
Helias Jonathan might also Elias Ross J. Crowley?

Speaker 9 (01:02:38):
What's the game?

Speaker 16 (01:02:39):
You to a player? I don't know where does Hirsch
fit in? Come on, it's getting late to stop. Pupil
wants an answer. He's anxious to get to the head
of the class. Talk what is it?

Speaker 24 (01:02:45):
I don't remember, and I won't, so don't bother getting
masculine or polishing Apple's Pupil. When I forget, I forget
for a long long time.

Speaker 15 (01:02:52):
Is that clear?

Speaker 4 (01:02:53):
It is?

Speaker 16 (01:02:53):
And since I can't wait, since I want to go
out and play, we'll put you keep it. Hey, honey,
you don't mind if I go through your bag?

Speaker 4 (01:03:03):
Do you?

Speaker 16 (01:03:05):
I didn't think you would. Ah, here's a key that says,
in what room I'll find a team of Crowley and Finer.
Oh my, my, such a temper. After I'd picked up
my thirty eight, which the lady who no longer sounded
like one, had made me drop, and I checked the

(01:03:25):
hotel key that read Villa twelve, Wilture Gardens, Beverly Hills,
I ran outside and back toward my car and what
I figured should be a big hurry. When I was
halfway there, I had a premonition that speed was not
to be a premonition. That was a head dressed in blue,
carrying a club, wearing a badge, and leaning on my
right front fender. And it wasn't until I was next
to him that I quit worrying about a long, involved

(01:03:46):
delay because the officer on hand, one Kurt Lemley, was
an old and I hoped, still, good.

Speaker 44 (01:03:51):
Friend, ollil here for you since I called in about
that body, if the some kid heard the shot, so.

Speaker 16 (01:03:57):
You would once peg this all alone in very suspicious
looking car, Yeah.

Speaker 44 (01:04:00):
Surprise as it was yours, and disappointed. I'd hope the
name of the owner's tag was going to be Rowling.

Speaker 16 (01:04:05):
Nukean. Wait a minute, Wait a minute, do you know
his name?

Speaker 7 (01:04:08):
Don't you?

Speaker 16 (01:04:09):
No? No, we were on different sides when he got shot.

Speaker 44 (01:04:12):
Oh us from Canada?

Speaker 5 (01:04:13):
What?

Speaker 4 (01:04:14):
Yeah, Vancouver.

Speaker 16 (01:04:15):
He had a business up there with a guy named
Ross J. Crawley Crowley. Hey, Kurt, how'd you find all
this out? I found a clipping in his wallet. He's
got a picture on him.

Speaker 4 (01:04:23):
Oh wait, du wait a second though, what a light him? Yeah?

Speaker 16 (01:04:26):
Hurry up.

Speaker 44 (01:04:26):
When you see see two guys in front of a building,
nukehim and Ross J.

Speaker 16 (01:04:30):
Crowley officiated there. Sure it's what I figured. The guy's
a liar. I've already met a guy who assisted. That's
his name and his ball liked the Crowley in the picture. Yeah,
but there's a similarity ends, even though the picture is
anything but clear. Guy you're talking about Phil Jonathan mider
An old deezer I was hired to find Bummo was
pulling something fancy that incidentally ties in real tight with
that murder over there. You know where he is?

Speaker 5 (01:04:51):
Sure?

Speaker 16 (01:04:52):
I know that's where I was heading when I ran it.
Oh ran into what what is it?

Speaker 12 (01:04:57):
The picture?

Speaker 7 (01:04:58):
What?

Speaker 16 (01:04:59):
Kurt? Move your thumb up a little wi the way
you just had it my thumb. Yeah, yeah, move it.
That's it like that?

Speaker 33 (01:05:05):
Oh brother, brother?

Speaker 16 (01:05:06):
If I got a hunch, And even as I crossed
the room, I knew that I was going to read
a suicide note addressed to the police, telling them that
the undersigned Ross J. Crowley had taken his own life
as well as that of the plot and it had
been stealing from Raleigh Newcombe, who had currently been pursuing it.
But I didn't know until I reached for the letter
to make sure that I'd figured right. Was the last line,

(01:05:27):
just before the signature. It read, also, rather than face
the humility of being dragged through the courts for killing Newcomb,
they have taken the life of a man who would
have caught me, a private detective named Philip Marlowe.

Speaker 26 (01:05:40):
You read, well, marlow What especially when it's you're on
the bitcher?

Speaker 16 (01:05:43):
Ain't I I move?

Speaker 4 (01:05:46):
Ah?

Speaker 16 (01:05:47):
Mister hirsch Eh, what do I call you? Crowley?

Speaker 4 (01:05:50):
Now?

Speaker 26 (01:05:51):
Doesn't matter, marlow suit yourself. What does matter is that
you're not quite the boy genius you think you are.

Speaker 16 (01:05:56):
Meaning what meaning?

Speaker 26 (01:05:57):
Marsha? You talk to her the plumes then she he
talked to me. Between the two of us, we maneuvered
you around just like we wanted to, so we could
include you in our plans. In other words, my love,
when Marsha sent Mida here from the park, we knew
you'd follow Marsha's reliable.

Speaker 16 (01:06:16):
Yeah, all year around. I'll bet okay Crowley. So the
one with two heads isn't Jonathan MdeR it's you. You
is Ellen Hirsch here in la is Ross j Crowley
and Newcomb's partner up in Canada, a crooked partner Crowley, who,
when he knew he was going to be caught, decided
to kill himself, but with another guy's body, Jonathan Midas,
so it wouldn't hurt exactly.

Speaker 26 (01:06:35):
Also my own nobody will bother to look past what
will pass us Crowley's body for the murderer of Newcomb,
who I didn't expect on the scene. I think you'll
admit it's all accounted for in that letter there in
Crowley's my handwriting.

Speaker 16 (01:06:49):
Bravo, you've skipped nothing. Now what about me?

Speaker 26 (01:06:51):
Yes, you you must go before Jonathan mider you know,
otherwise a caroler might find something wrong with the sequence
of death.

Speaker 16 (01:07:00):
So at you first, and no doubt is unconscious in
the bedroom, right.

Speaker 39 (01:07:05):
Now DoD is standing right here listening.

Speaker 16 (01:07:08):
Mi, you crazy fools, say where you are.

Speaker 40 (01:07:10):
Mister Crowley. I won't that way I die right at
least I have a chance.

Speaker 3 (01:07:14):
To Holly.

Speaker 16 (01:07:18):
Mighty.

Speaker 41 (01:07:19):
All right, Yeah, I think so, just wing. Oh yeah,
you got him, didn't you, Mige Tomorrow?

Speaker 16 (01:07:27):
Yeah no, No, Jonathan, you got him and Rush did it?

Speaker 33 (01:07:33):
Your big bumbers smaller yeah?

Speaker 18 (01:07:37):
Bomb.

Speaker 16 (01:07:50):
It was two long hours the first aid for Jonathan
arrest on the charge of murder for both Crowley and
the accomplice, before and after the fact, Martha questions and
answers and triplicate for the police. Before Maya and I
were finally alone and back in my office waiting for
a call we put through, so of course Eagles Rock, Montana.

(01:08:12):
But even then the gentleman vagabond couldn't quite get over
the things then.

Speaker 39 (01:08:16):
In other words, mister Molow, this Crowley, who introduced himself
to me as Kirsh, had his fiendish plan already formulated,
and one of his trips down from Canada saw me
when his.

Speaker 12 (01:08:28):
Train stopped at Eagles Rock.

Speaker 39 (01:08:30):
I was raking leaves around the depot and he saw me,
and he hired me on the spot because he needed
someone to fit the part of his corpse.

Speaker 16 (01:08:39):
That's it. And you'll admit you are well qualified for
the job alone in the world except for Jesse, which
you didn't happen to mention, and the fact that you
were bald.

Speaker 2 (01:08:48):
That's two truths.

Speaker 16 (01:08:49):
Don't be sensitive. Is he Crowley or Hirsch was also bald?

Speaker 39 (01:08:53):
Why all that hair of his?

Speaker 16 (01:08:55):
We that's right to pay every bit of it. And incidentally,
you see the reason I caught out of things. John
A policeman found a newspaper picture of Newcomb and Crawley
and Newcomb's wallet.

Speaker 39 (01:09:04):
Which told you that I couldn't be crawling.

Speaker 16 (01:09:06):
That's right. It also told me more when the policeman
accidentally put his thumb over the ballpart of Crawley's head
gave me a different picture. Then I only paid attention
to what I could see, features blurred though they were.

Speaker 39 (01:09:17):
Which than you were her shoes?

Speaker 16 (01:09:19):
Uh huh Yeah, Hello, mister Philip Marlow. Please is Marlow speaking.

Speaker 30 (01:09:27):
On your call to missus?

Speaker 24 (01:09:28):
Jesse, Gavins and Eagles Rock Montana one moment?

Speaker 15 (01:09:31):
Please?

Speaker 16 (01:09:31):
Yeah, you take it? Jonathan, Yeah, yeah, go ahead.

Speaker 14 (01:09:34):
Speak.

Speaker 26 (01:09:37):
Hello Jesse, Jesse.

Speaker 40 (01:09:41):
That's just Johnny.

Speaker 18 (01:09:43):
Yeah.

Speaker 4 (01:09:43):
Turtles that's me all right.

Speaker 40 (01:09:45):
I'm in Los Angeles with mister Marlow.

Speaker 16 (01:09:48):
Turtles. You don't have to shout so loud, you know,
you know what she can hear. You just talk, Jessica.

Speaker 39 (01:09:55):
You guess what happened now, I'll tell you.

Speaker 5 (01:09:58):
Yeah.

Speaker 45 (01:09:58):
A man hired me to work.

Speaker 41 (01:10:00):
For him, to pose to pose impersonated mister Ross J.
Crowley because he said he had to be free to
investigate some crooked people who would try and contact me. Yeah,
and since he offered good money. Right on the spot there, Jessica,
I took the job. I thought you'd be proud of

(01:10:20):
me making extra money.

Speaker 39 (01:10:22):
Wait a minute, j mister Marlin, I better cut this
short head night.

Speaker 12 (01:10:26):
It's long distance, it's costs money.

Speaker 16 (01:10:27):
Don't worry about it, Johnny. There's no hurry to take your.

Speaker 41 (01:10:29):
Time, Jessica. Now what this man really wanted you're there, Jessica.

Speaker 26 (01:10:38):
What was to use me as a corpse?

Speaker 12 (01:10:41):
That's right, a buddy, No.

Speaker 9 (01:10:44):
His I feel fine.

Speaker 26 (01:10:46):
You see, he was going to put his rings on me.

Speaker 41 (01:10:49):
Another identification the not the unconscious.

Speaker 16 (01:11:04):
By the time I got Jonathan Mda down a Union
station and a border northbound train with specific instructions to
stay away from strangers and got back to my own
apartment on Franklin. It was better than three o'clock in
the morning. Oh, and I was tired, so I emptied
out my pockets and started to undress. But I forgot
about that when my eye fell on the picture that

(01:11:25):
Jesse Gavins had sent me in her original letter, the
picture of Jonathan. Well, now, Aunt Jesse was going to
be happy, But I wondered for how long. Somehow the
portrait of the man with a hole with a solid
look of the ages didn't fit the spare frame of
Jesse's night of the road. A lonesome train whistle would

(01:11:48):
blow in the night, and Jonathan Mida would be gone.

Speaker 28 (01:12:08):
The Adventures of Philip Marlowe starred Gerald Moore and are
produced and directed by Norman McDonald. Script is by Meldon L. A,
Robert Mitchell, and Gene Levitt. Featured in the cast were
Georgia Ellis, Hans Conrad, Ann Morrison, Herb Butterfield, Wilms Herbert,
and Bill Bouchet. The special music is composed and conducted

(01:12:28):
by Richard Urrant. Be sure and be with us again
next week. When Philip Marlowe says.

Speaker 16 (01:12:39):
The Lady Tourist was a schoolteacher right after Glamour, and
she got it, but only after she learned that in
Hollywood the three hours could be reading done in a
dark room, writing found in a dead man's pocket, and
arithmetic that added up to murder times two.

Speaker 28 (01:13:10):
If you think you've got troubles, you should be married
to Liz Cooper. She can scare up more trouble than
a tropical hurricane. But it's always the kind of trouble
you can laugh at because it's all part of My
Favorite Husband starring Lucille Ball. My Favorite Husband is part
of CBS's great laugh lineup for Friday nights. You won't
want to miss a single minute of My Favorite Husband,

(01:13:32):
and you'll want to be around two to hear the Goldbergs,
leave it to Joan and Breakfast with Burls. They'll all
be broadcast on Friday nights over most of the CBS
stations starting next Friday. This is Roy Rowan speaking. Now
stay tuned for Gangbusters, which follows immediately over most of
these same stations. This is CBS the Columbia Broadcasting System.

Speaker 4 (01:14:12):
Danger Doctor Danfield, the last all that opens. We find
Doctor Danfield cutting a clipping from the morning paper.

Speaker 46 (01:14:24):
What's so important about that story is that at rates
being clipped out?

Speaker 4 (01:14:28):
Oh yes, what caught my attention resting, Let me read
it to you. Missus Fraser's strange phobia has become a
legend in the neighborhood of Wolfshead Bay for refusal to
leave the home that you know has been occupied for
many years, coupled with the fact that neighbors reports seeing
a bobbing light and hearing strange sounds coming from nearby
Murdoch Swamp and learn cretence to the theory that the

(01:14:48):
swamp is pointed where the ghost of the vanished millionaire
and a Frasier?

Speaker 14 (01:14:52):
Who ever dreamed of that old wives tale?

Speaker 4 (01:14:55):
Do you think it's an old waves tale?

Speaker 46 (01:14:56):
List?

Speaker 14 (01:14:56):
Of course I do.

Speaker 46 (01:14:58):
I suppose next will hear that the ghost old man
Frasier was seen walking through the village without a head
on his shoulders.

Speaker 4 (01:15:04):
Would be an interesting spectacle, wouldn't it, Hey and I
listen to this. It was reported today that Jay Barrington
in Company had purchased one of the pearls from the
famous match necklace owned by Missus Alec Fraser's believe that
Missus Fraser is disposing of the gems to private buyers
as well as to jeweler firmsh what do you think
of that?

Speaker 46 (01:15:22):
Why should I think anything of it? If missus Fraser
wants to sell her pearls, it's letter.

Speaker 4 (01:15:27):
I doubt if we could stunt her if he wanted to.
So you don't see any connection between the two.

Speaker 14 (01:15:31):
Stories, Oh, of course I don't.

Speaker 4 (01:15:33):
Firsty, sometimes I worry about your imagination or your lack
of it. Here let me ask you some questions. Why
do you think missus Fraser is selling her pearls.

Speaker 14 (01:15:41):
Maybe she needs the money, but.

Speaker 4 (01:15:43):
The pearls have been in the family for generations. Mister
Fraser was a millionaire. Yet now that he disappeared, his
wife begins selling the pearls because she needs money. No, no, no,
it doesn't add up.

Speaker 14 (01:15:52):
Well, that means the motive for murder wasn't money?

Speaker 2 (01:15:55):
Doesn't it murder?

Speaker 4 (01:15:56):
Come? Come, my dear. A man has never murdered until
his body is found.

Speaker 46 (01:16:00):
How about his ghosts? Don't forget the bobbing life in
Murdoch Swan.

Speaker 4 (01:16:04):
I'm coming to that now. Since her husband's death, Missus
Frazer has had a phobia about leaving the house she's
remained in it for six months.

Speaker 12 (01:16:11):
Why she's afraid of the ghost?

Speaker 4 (01:16:13):
Ghosts, my dear, according to the legend, only appear at night. No, No,
I think we'll find there's much more to this on
an noble wives tale, rusty in a back country legend?

Speaker 14 (01:16:22):
You think it will find? Dan, you don't mean it?

Speaker 4 (01:16:25):
Oh, yes, my dear, that's exactly what I mean.

Speaker 7 (01:16:27):
We're leaving for Cape Cod.

Speaker 14 (01:16:29):
Tonight and you can't be serious. You've let you to deliver.

Speaker 46 (01:16:32):
And besides, what do we care about a crazy old
lady who's decided to dispose of the family heirloose?

Speaker 4 (01:16:37):
We care a great deal, my dear. I haven't seen
a ghost in years, and I've never met a person
with a phobia against going out of doors. Now, I
think if I can find the explanation for those two
uh mysteries, my electricisis will benefit greatly.

Speaker 14 (01:16:49):
Dan.

Speaker 4 (01:16:50):
Really no arguments, my dear. If you prefer to remain here,
you may, oh, all.

Speaker 46 (01:16:54):
Right, but if you want to know, I think you're
just using this as an excuse to steerics and excite.

Speaker 4 (01:17:00):
Really rest, do you do have an imagination? After? I'll
back to Michael Dunn for the second act. All danger,

(01:17:21):
doctor Dan, Well, we were certainly fortunate to be able
to hire this whomobile in the village, won't be right?

Speaker 14 (01:17:33):
I challenge that.

Speaker 46 (01:17:34):
I also challenge whether the thing will hold together long
enough to get us where we're going in back.

Speaker 4 (01:17:39):
Oh, I think it'll get us where we're going, all right.
Think that's the prettier house there.

Speaker 14 (01:17:44):
That architectural monstrosity. White. Damn, it looks like a mausoleum.

Speaker 4 (01:17:48):
It is rather a bleak looking for sure. It places
the old structure in this vicinity. Well, at least they
get a good view of the ocean.

Speaker 46 (01:17:56):
And that's all. I don't blame missus Fraser for not
wanting to leave the house. There's nothing but rocks and
windspeps crub land. That must be Murdoch's swamp over there.

Speaker 4 (01:18:05):
Yes, as imagine it is. Well, let's go out and
present ourselves to missus Frazier.

Speaker 14 (01:18:11):
Who are you going to tell her? We are suppose
you won't even talk.

Speaker 4 (01:18:14):
To us that event, my dear, we'll have to resort
to artifice.

Speaker 14 (01:18:17):
Dan, look over there, the view of the ocean is lovely.

Speaker 4 (01:18:21):
I think if we spend less time admiring the ocean,
rusty and more en contrating on Murdoch's swamp, we'll be
more apt to accomplish our purposes. Okay, well, well, well
our approach must have been observed. Behold a giant, Dan.

Speaker 14 (01:18:34):
Did you ever see such a huge giant of a man?

Speaker 4 (01:18:37):
Who are you? And what do you want?

Speaker 18 (01:18:38):
Well?

Speaker 4 (01:18:39):
Is this the way you greet all prospective pearl buyers?
You want to buy a pearl? Come? I don't know
until I see some samples and learn the price? Is
Missus Fraser at home? Missus Fraser isn't seeing anyone? How
much money you got? I prefer to do business with
missus Fisher. Missus Fraser doesn't see anyone. I said, yes, yes, yes,
we've heard you. Well that's the next move. Let's see

(01:19:00):
your money very well? Here that satisfying, Dan?

Speaker 9 (01:19:06):
Where'd you get that?

Speaker 4 (01:19:07):
I stay word? Did I get it? You surprised me?
You catched the check for that last ARTICLEY? So you're
a writer? What difference does it make came here to
buy one of the Fraser pearls. You've demanded that I
show you my money. I've done so. Now do we
do business or don't we?

Speaker 47 (01:19:19):
Eh?

Speaker 4 (01:19:20):
Got me in? That's better one would think we came
here to steal the pearls. Rather wait here, Well, I
think you like that Cordeal, isn't it?

Speaker 14 (01:19:32):
What a gloomy old place, Dan, I don't like this.

Speaker 4 (01:19:36):
What don't you like about it?

Speaker 14 (01:19:37):
Well, I'm not sure. It's so sort of eerie? And
that giant.

Speaker 4 (01:19:41):
The giant's name is sid. He was retained by Alec
Fraser when an attempt was made to steal Missus Frazer's
pearls several years ago.

Speaker 14 (01:19:48):
Here he comes back.

Speaker 4 (01:19:49):
Yes, the pearl cost you five thousand dollars. Oh just
a minute, not so fast. I don't intend to buy.
I'm picking a poker. Now let me see it. Okay,
take a look, only don't touch it, trusting Sir Lancho,
and let.

Speaker 21 (01:20:04):
Me see, Dan, it's beautiful.

Speaker 4 (01:20:07):
Yes, yes it is rusty, but I'd like to see
the others.

Speaker 7 (01:20:10):
Please.

Speaker 4 (01:20:10):
This is the only one that's for sale. You'll want it?
Or don't you the only one? But I thought the
entire necklace is the only one that's for sale. If
you want to give me your five thousand dollars. But
I can't understand, won't you? Oh no, Missus Frazier, you don't.

Speaker 9 (01:20:25):
Tell him another pearl, said all right, only I'm.

Speaker 14 (01:20:28):
Sorry that said was sou brasque.

Speaker 46 (01:20:30):
He's only that way because I instructed him to be.
Please allow me to introduce myself. I'm Missus Frazier.

Speaker 14 (01:20:36):
This is Frasier.

Speaker 46 (01:20:37):
But you're you can't be why because you're expected to
find a dried up old hag and found me and said,
oh no, no, I'm sorry. We've been told that you
were different.

Speaker 8 (01:20:49):
Don't worry, I understand now.

Speaker 11 (01:20:52):
Who are you?

Speaker 21 (01:20:52):
Please?

Speaker 4 (01:20:53):
I'm doctor dan Danfield, Missus Frazier, and this is my
secondary Rusty Fairfax.

Speaker 46 (01:20:57):
Doctor Danfield. Of course i've heard of you. Did you
come here and buy a pearl, doctor Danfield? Or to
ask the questions about my strange phobia?

Speaker 4 (01:21:05):
Frankly, Missus Fraser. Both, studying phobia's is my business. I've
never encountered one such as yours.

Speaker 46 (01:21:11):
Dawn, Doctor Danfield, you me fairfect.

Speaker 11 (01:21:14):
I'd like to talk about it.

Speaker 46 (01:21:17):
This is the first opportunity I've had to discuss the
matter with someone who might understand.

Speaker 4 (01:21:21):
Thank you?

Speaker 14 (01:21:22):
Do you live here alone? And save Missus Fraser?

Speaker 46 (01:21:25):
Oh no, no, the other servants did I depend upon?

Speaker 11 (01:21:28):
Said the most?

Speaker 19 (01:21:30):
Now?

Speaker 14 (01:21:30):
Then?

Speaker 13 (01:21:30):
No, what was it?

Speaker 46 (01:21:31):
You wanted to ask me, doctor.

Speaker 4 (01:21:33):
Dancers about this fear you have, missus Fraser, What do
you think will happen if you leave the house.

Speaker 46 (01:21:39):
First, I must tell you about the manner in which
my husband disappeared. Oh please do It was six months ago.
We were having a party here at the manor house.
Alec and I stepped out onto the porch for a moment.
Fog was lifting off the ocean crept towards the house
like a great gray blanket.

Speaker 14 (01:22:00):
Did It almost reached.

Speaker 46 (01:22:01):
The edge of the porch when we heard the voice.
The voice, yes, came up over the cliff through the fog,
a sort.

Speaker 14 (01:22:09):
Of low moaning way. What was it saying?

Speaker 46 (01:22:13):
We couldn't make out at first, and then Alec heard
his name the party did? He stepped down off the
porch and walked into the fog. I stood there petrified, waiting.

Speaker 4 (01:22:26):
Alec didn't return, So, well, what did you do?

Speaker 46 (01:22:29):
I then to the house and do them with our friends. Naturally,
I was prayed Alec had fallen over the cliff. We
ran down the stairs that Alec had had broken the
rock face of the cliff, expecting to find him dead.

Speaker 2 (01:22:39):
At the bottom.

Speaker 4 (01:22:40):
Uh huh, But you uh found no, Tracy him.

Speaker 14 (01:22:43):
No.

Speaker 46 (01:22:44):
We got men from the village and searched all the
remainder of that night and most of the next day.

Speaker 2 (01:22:48):
But I think it all was discovered.

Speaker 4 (01:22:52):
That's strange, very strange. Oh tell me, missus Frazier. Do
you honestly believe you heard a voice calling Alec's name?

Speaker 46 (01:23:01):
I don't know, could have been the wind. I suppose
it sounded black voice.

Speaker 4 (01:23:07):
Oh huh. And now you're afraid to leave the house
because you think the voice.

Speaker 2 (01:23:10):
Might call you.

Speaker 11 (01:23:11):
You don't believe me?

Speaker 2 (01:23:13):
Do your doctor, Dancy?

Speaker 46 (01:23:15):
You think I'm neurotic a perhaps little man?

Speaker 4 (01:23:18):
Oh no, no, no, no, not at all. You've you've
had a terrible experience.

Speaker 2 (01:23:21):
Well, I was terrible, pomst me.

Speaker 14 (01:23:25):
I've become afraid of the pog.

Speaker 46 (01:23:27):
I'm afraid to go out, afraid the fog goes around
me as it did Alec.

Speaker 8 (01:23:31):
And I too disappear.

Speaker 4 (01:23:35):
Oh that's quite understandable.

Speaker 46 (01:23:38):
Now I suppose you want to ask why I'm selling
the necklace. Well, yes, I was wearing the necklace on
that night with Alex and my anniversary.

Speaker 4 (01:23:48):
You know, tell me, do you attach some significance with
a necklace in your husband's disappearance.

Speaker 14 (01:23:52):
Yes, I I don't know why.

Speaker 46 (01:23:55):
The pearls have been in burden every since I inherited
them from Alec's mother. It was always fear that they
might be stolen, to believed to.

Speaker 1 (01:24:03):
Have them gone.

Speaker 4 (01:24:04):
I see. And now about the dancing light that people
have seen in the swampy on the house, I'm.

Speaker 46 (01:24:10):
Afraid you will has to take that up for the natives,
Doctor Dancield, I'm sure the dancing light is a product
of their imagination. I knew it was an old wives tale.

Speaker 4 (01:24:18):
Well, we'd better be going rest. Do you thank you
for the time and information you've given us, Missus Frasier.
It's been most enlightening.

Speaker 46 (01:24:23):
I hope you are not too did the point.

Speaker 2 (01:24:25):
No, not at all.

Speaker 4 (01:24:25):
As a matter of fact, I should incorporate the things
you've told me in my next lecture. I'm sure it
will prove to be the most interesting experience I've presented
in months. Good day, Missus Fraser, Come on, Rusty.

Speaker 14 (01:24:42):
Well do you think he got away with it?

Speaker 12 (01:24:44):
Got away with what Wesley were convincing?

Speaker 14 (01:24:46):
Missus Frasier that you believed those stories she told you?

Speaker 4 (01:24:48):
Oh, didn't you believe them?

Speaker 14 (01:24:50):
Of course? Not comitted.

Speaker 46 (01:24:52):
You afraid of the fog? Selling your pearls for sentimental reasons?

Speaker 25 (01:24:56):
Proper nuts Strange, isn't it.

Speaker 4 (01:24:59):
She's afraid of some I wonder what it can be.

Speaker 14 (01:25:01):
But whatever it is, it's outside the house and it
isn't fog.

Speaker 4 (01:25:05):
And if she really wants to get rid of the pearls,
why doesn't she sell the string intact? And dozens of
collectors whould pay fabulous price to possess the famous Fraser necklace.

Speaker 14 (01:25:13):
Maybe she thinks she'd make more money selling them pieces.

Speaker 4 (01:25:15):
No, no, no, no, no, no, that's not the answer. She's
telling those pearls one at a time for a reason.
The more I think about it, the more mystified I become.

Speaker 14 (01:25:23):
I don't like to think about it. There's something pretty
wrong with this whole deal.

Speaker 4 (01:25:27):
Yes, I believe there is resting. What is missus Fraser
afraid of outside the house? Why are you selling the
pearls one by one? Well maybe we'll find the answer
in Murdock Swamp.

Speaker 14 (01:25:37):
In the swamp, don't tell me that now. You believe
that story about the dancing light?

Speaker 4 (01:25:42):
Oh yes, Chirsty, I believe every word of it. As
a matter of fact. Rustee tonight, you and I are
going down to the swamp and try to learn the
connection between the dancing lights and Missus Fraser's strange phobia.

(01:26:02):
Now back to.

Speaker 7 (01:26:03):
Michael Dunn for the third act.

Speaker 4 (01:26:04):
Though, why danger, doctor Dane. We better leave the car
here and walk the rest of the way.

Speaker 14 (01:26:21):
Dan, Do we have to go down into the swamp?

Speaker 4 (01:26:23):
No, you don't. As a matter of fact, don't feel
easier if you stayed here in the car.

Speaker 14 (01:26:27):
I mean, you stay here alone. Not on your life.
I'm not letting you out of my sight.

Speaker 4 (01:26:35):
All right, Rusty here? Wait, don't I check everything? Uh? Flashlight? Revolver?

Speaker 14 (01:26:40):
Revolver? What do you want a revolver for?

Speaker 4 (01:26:43):
Just in case we need a ghost?

Speaker 46 (01:26:46):
Sometimes I think I'm crazy working for you, Dan, Dan
to you?

Speaker 4 (01:26:49):
Really you liked this well?

Speaker 12 (01:26:50):
Did you?

Speaker 45 (01:26:51):
Yes?

Speaker 17 (01:26:52):
What else?

Speaker 14 (01:26:52):
I do?

Speaker 4 (01:26:54):
Thank you? Ethy, and I have black pants be on
the open field as monoc swamped.

Speaker 46 (01:27:00):
I wish it word quite so dark. Everything looks like
a black patch too.

Speaker 4 (01:27:03):
Sure, we'll cut across the field and wait at the
edd of the swamp. But we see that dancing light.
Come on, let's go.

Speaker 14 (01:27:09):
Do you really think we'll see dancing light?

Speaker 22 (01:27:11):
Oh?

Speaker 4 (01:27:11):
Yes, yes, yes, not tonight, then some other.

Speaker 2 (01:27:13):
Night, some other night.

Speaker 14 (01:27:15):
Do you mean, oh nothing, I just stubbed my toe.
If you'd use that flash light.

Speaker 4 (01:27:21):
You brought along, I'm sorry, rusted. We use the light
only in an emergency.

Speaker 14 (01:27:27):
Dang listen, yes, yes.

Speaker 4 (01:27:29):
I heard it's a howling dog. Well we had demon sphere,
doesn't it?

Speaker 14 (01:27:33):
I say it? Does it? Also as goose pimples?

Speaker 4 (01:27:36):
Howling dogs ums to come from over hear that long time?

Speaker 46 (01:27:39):
I thought dogs only howled at the moon and howl
at a lot of things.

Speaker 4 (01:27:45):
That was a shot, certainly wasn't Apparently it was the
right of the dog. Things are beginning to happen, aren't they.

Speaker 14 (01:27:50):
Why would anyone want to shoot a poor dog?

Speaker 4 (01:27:52):
We grasps the dog found something rusty?

Speaker 2 (01:27:54):
Say look there, I see it.

Speaker 11 (01:27:56):
It's the dancing line that says, all right, all right,
it's gone.

Speaker 4 (01:28:00):
I don't know. There it is again, dancing just about
the swamp ass.

Speaker 14 (01:28:02):
Come on, where are we going?

Speaker 4 (01:28:04):
We've got to find out what that light is?

Speaker 19 (01:28:06):
Did do we really care?

Speaker 15 (01:28:07):
Who?

Speaker 14 (01:28:07):
Wouldn't it be better to go back to the hotel?

Speaker 4 (01:28:09):
And where are you down here?

Speaker 10 (01:28:14):
Dan?

Speaker 14 (01:28:14):
Help me?

Speaker 4 (01:28:15):
I fell into a hold of you, fell in the swamp.
Here a minute, there coping way to my hand.

Speaker 14 (01:28:27):
Behind you?

Speaker 12 (01:28:29):
Why you and a man when he's down with.

Speaker 3 (01:28:44):
Dan?

Speaker 14 (01:28:46):
Speak to me, Dan?

Speaker 7 (01:28:49):
Oh what happened?

Speaker 14 (01:28:50):
And thank heaven? You're all right?

Speaker 4 (01:28:52):
All right? It was I've been run over by steamroller.

Speaker 46 (01:28:56):
You will practically who it was kept beating and kicking
you even after you were out.

Speaker 4 (01:29:01):
Oh, it was terrible, man, tell me I want did
you no?

Speaker 14 (01:29:05):
It was pitch dark and I was in that water hole?

Speaker 4 (01:29:08):
Oh how'd you get out? By the way?

Speaker 14 (01:29:10):
Oh, it was the worst experience I've ever had. I
kept sleeping back and finally I caught hold of a shrunk.

Speaker 4 (01:29:15):
Anyway, you're out, that's the important thing. And where's the
fresh Oh? Here is Let's let's have a look around.

Speaker 19 (01:29:21):
What are you looking for?

Speaker 4 (01:29:22):
Friends, Rusty, we can make an impression of looks why
Georgia pearl, half bird in the mouth.

Speaker 14 (01:29:30):
It could be one of missus Frasier's.

Speaker 4 (01:29:32):
Not only could, but it is, Rusty, I'm sure of it.
What do you suppose it's doing here in the swamp.

Speaker 46 (01:29:37):
I know someone stole one of the pros and was
trying to escape through the swamp.

Speaker 14 (01:29:41):
He got on best.

Speaker 46 (01:29:44):
Oh, it's said missus Frasier's handy man, you expose he's
looking for us?

Speaker 4 (01:29:50):
Who else?

Speaker 40 (01:29:51):
Over this way?

Speaker 45 (01:29:55):
Said?

Speaker 14 (01:29:55):
Who waved your life?

Speaker 4 (01:29:56):
Then there comes this way? I said, over here? Uh h,
what are you doing down here in the swamp? We
weren't picking cranberry, as you can be sure of that. Oh,
try to be funny, Doc, What are you palling around
here for?

Speaker 14 (01:30:10):
We were looking for a ghost.

Speaker 4 (01:30:11):
If you want to know, And since there seems to
be a question and answer, period said tell me, how
did you know we were down here in the swamp?
What do you mean? How did I know? While you
were still a way off here in the bushes somewhere
you called my name? Why did you think it was?
Miss Fairfax? And I what else could it be? We
heard the girl scream looking for more Phobia's whar you got? Doc?
And fond one said, come on, I see, let's get

(01:30:33):
back to time. White a minute, White a minute, Missus
Fraser said, to bring you back to the house. She fuck,
you might be hurt our compliments to missus Fraser said,
but tell her we have an important engagement in the
village with a constable.

Speaker 25 (01:30:52):
Well, I don't know, young fella. Charge pretty far fetched
to me.

Speaker 4 (01:30:56):
Oh does it? Constable? I what a time to you?
If I produced the murdered body pine like treasure?

Speaker 25 (01:31:01):
Don't believe you can do it?

Speaker 4 (01:31:02):
An you want to bet? Nope, I ain't a betman.
Tell you what it will do?

Speaker 10 (01:31:06):
Though?

Speaker 4 (01:31:06):
What's that you show me?

Speaker 25 (01:31:08):
Fraser's murdered, Boddy, and I'll rush the man who murdered him.

Speaker 4 (01:31:12):
Well, that's mighty wheer. You're Constable me. How are you
going to tell who murdered him?

Speaker 25 (01:31:18):
I never thought of that, bet y'all?

Speaker 4 (01:31:22):
All right, Constable, I'll make a deal with it. I'll
not only produce Fraser's body, but I'll produce his murderer
and prove his guilt.

Speaker 25 (01:31:29):
Here's your deal.

Speaker 4 (01:31:30):
What do you want me to do? You just meet
me and his fair pats at the south edge of
Murdoch Swamp tomorrow morning at nine o'clock.

Speaker 25 (01:31:35):
No, no, no deal, j'all swamps haunted. I wouldn't go
in there for a hundred dead man.

Speaker 4 (01:31:40):
You don't have to. All you have to do is
sit on the edge of the swamp with the earth
squirrel gun or whatever kind of weapon you carry, and
I'll bring out Frasier's body. It's a deal.

Speaker 25 (01:31:49):
I have a glass of shiger.

Speaker 4 (01:31:50):
Well, I prefer bonded bourbon jack, I said, thanks, thanks
very much. There's nothing like a glass of cider through
steady a man's nerves when I'm about to dig up
a six month old corpse. Well, here's a here's two.
You're Constable.

Speaker 25 (01:32:02):
Never mind that stuff.

Speaker 4 (01:32:03):
Let's drink.

Speaker 14 (01:32:16):
Then?

Speaker 46 (01:32:16):
Are you sure the Constable will be here? From what
you told me, he didn't sound very brave man.

Speaker 4 (01:32:21):
I think the Constable is much braver than we give
him credit for us here, let me get my shovel. Yes,
there's the Constable sitting up front of the tree.

Speaker 14 (01:32:29):
Holy smoke, is he a policeman?

Speaker 46 (01:32:32):
I thought the characters who looked like him when they
lived in the comic strip.

Speaker 4 (01:32:35):
Luxury sometimes deceiving. Oh hello, they're Constable.

Speaker 7 (01:32:39):
Hi there, you wouldn't show up, didn't you?

Speaker 5 (01:32:43):
Hey?

Speaker 25 (01:32:43):
Who got you got wig? Well it's a pretty achy ajay,
I guess start of something.

Speaker 14 (01:32:48):
You've got a gun?

Speaker 4 (01:32:49):
Yes, Constable?

Speaker 25 (01:32:51):
Good? Good to go to make your deputy raised right hand?
But look here I raised your right hand. Shed Well,
all right? Gotch sean? Where he's gonna drink?

Speaker 4 (01:33:00):
Car?

Speaker 25 (01:33:01):
Do you make a deputy there? Now now, your deputy,
if you want to shoot anybody, you can go on.
I'll get out of here. I'm gonna take a nap.

Speaker 4 (01:33:10):
Pretty all right, Ko, we'll be back inside of an hour.

Speaker 14 (01:33:14):
Come on, Rusty, oh Dad, I think he's wonderful.

Speaker 4 (01:33:19):
Why because he said you were pretty.

Speaker 14 (01:33:21):
That had nothing to do with it, had nothing to
do with it.

Speaker 4 (01:33:24):
Okay, Rusty, and I think he's all right too. I
don't careful all this swamped around, his treacherous even in daylight.

Speaker 14 (01:33:30):
Nowhere near its forbidding.

Speaker 46 (01:33:31):
Though.

Speaker 14 (01:33:32):
Every time I think of last night, I get a
fresh crop of goose pipples.

Speaker 4 (01:33:35):
Hey wait a minute, yes there it is. There's what
lone pine tree we spotted last night when we heard
the howling dog.

Speaker 46 (01:33:43):
Yeah, you don't think the dog was howling because he
found Alec Frasier's dead body.

Speaker 4 (01:33:47):
That's why I'm basing my theory on Rusty in my George.

Speaker 14 (01:33:50):
Look, damn it's the dog.

Speaker 4 (01:33:52):
Yes, shut through the head, I see, Alan. I surrounding
brush is so thick a shop must have been finally
cross range.

Speaker 46 (01:34:00):
If we could find the empty cartridge and then find
a gun from which it was fired, I.

Speaker 4 (01:34:03):
Think we'd have to go to that much over, Rusty,
come on, let's look around here.

Speaker 1 (01:34:06):
Bit.

Speaker 4 (01:34:06):
Even after six months, there's still be silent man.

Speaker 12 (01:34:09):
Look over there, Why George, rust you find it?

Speaker 10 (01:34:12):
Can?

Speaker 5 (01:34:13):
Is it?

Speaker 12 (01:34:13):
Is it a great?

Speaker 4 (01:34:14):
This man's going to be very disappointed here. Let me
get my shovel into action.

Speaker 14 (01:34:21):
And it will be awful if there's a man under that.

Speaker 40 (01:34:25):
Mudd's day's work.

Speaker 45 (01:34:30):
Well, what's the matter?

Speaker 2 (01:34:33):
I hit something?

Speaker 18 (01:34:34):
I think?

Speaker 14 (01:34:35):
Oh, Dan, I can't look.

Speaker 4 (01:34:38):
Something here?

Speaker 14 (01:34:38):
All right, Dan, I don't like this.

Speaker 4 (01:34:41):
Or Rusty, look, I can't this. It's a man's hand.
Do you say those questioning his fingers?

Speaker 14 (01:34:47):
There're pearls, three of them.

Speaker 4 (01:34:49):
Yes, and that answers all of the questions.

Speaker 2 (01:34:50):
Yeah, yes, I heard it.

Speaker 4 (01:34:53):
Man. That sounds as though there's a small size of
that going on off day.

Speaker 14 (01:34:56):
Yeah, you don't think that the.

Speaker 2 (01:34:59):
I'm gonna say.

Speaker 14 (01:34:59):
I say, Oh, you don't think that the Constable is
in trouble?

Speaker 4 (01:35:02):
Exactly what I do think, Rusty, we've got to help
and come on us.

Speaker 14 (01:35:05):
Came from the dead way. I thought you said the
Constable was a plan to come into the spot.

Speaker 4 (01:35:09):
Oh no, no, no he said it.

Speaker 14 (01:35:11):
No, I know he was kidding, like, Oh, don't bright
lock me a little roterhold her.

Speaker 4 (01:35:15):
You didn't feel that it was behind that tree?

Speaker 14 (01:35:17):
Then it's sad.

Speaker 4 (01:35:18):
Yes, yes, he's gotta beat on the on the Constable.

Speaker 14 (01:35:20):
We've got to do time.

Speaker 4 (01:35:21):
I intend to stay here. Rusty all right, said from it?

Speaker 48 (01:35:25):
Why are you okay it? That's the way you want
to take that squirt. Guys went right on the butt too,
n I'm all right.

Speaker 4 (01:35:38):
I wouldn't have benefied they hadn't gotten all lucky punch, Rusty.

Speaker 14 (01:35:41):
Look, look Dan, here comes the Constable.

Speaker 4 (01:35:43):
Yes, its constable comfortable. That's why he.

Speaker 40 (01:35:48):
Thought I was to come into the swamp.

Speaker 25 (01:35:50):
Didn't you showed ship Edmunds that he thinks different? Now, Yes,
I imagine he does at him on the ground, unmus
do winged them. Yes, you must have a shooting asia
over now.

Speaker 40 (01:36:02):
Hey, hey, what's happened to that?

Speaker 18 (01:36:04):
Pretty good?

Speaker 1 (01:36:05):
Ahead with you?

Speaker 4 (01:36:05):
Let's stay why she's right, he mustay she's fight it
now for the conclusion of.

Speaker 2 (01:36:30):
Danger, Doctor dam Field.

Speaker 4 (01:36:39):
Well, Constable, at least mister Fairfax and I can say
is they're very grateful to you for saving our lives.

Speaker 14 (01:36:43):
I'll say we are. If it hadn't been for you,
we'd both be dead.

Speaker 25 (01:36:48):
Pretty nice construction job.

Speaker 4 (01:36:52):
Too, constable? Wrong, As as I was saying, constable, why
was it you didn't investigate the dancing before today?

Speaker 25 (01:37:01):
Scared That's why I couldn't figure it out, thust Country
folks don't like them?

Speaker 14 (01:37:06):
Then tell him the explanation of it.

Speaker 25 (01:37:08):
Damn, yeah, yeah, tell me, young fellaw.

Speaker 4 (01:37:13):
Yeah, pretty interest I would they'd rather explained passable if
you'll keep your mind on the subject. You see. Sid
and Missus Fraser murdered Alec Fraser the night of the
party six months ago. Probably there most it was love
is that affair? Yes? Missus Fraser lord her husband into
the swamp, where he was attacked by Sid, and the
struggled and ensued. Alec grasped the pearl necklace and tore
it from.

Speaker 7 (01:37:33):
His wife's throat.

Speaker 25 (01:37:34):
Where do tell?

Speaker 4 (01:37:35):
Do tell? Lost of the pearls fell to the ground,
although three of them remained in the grasp of Velic
unnoticed in the excitement of the moment, I said, missus Fraser,
you're see then.

Speaker 46 (01:37:43):
It probably wasn't until she got back host that miss
Fraser realized her necklace had been ruined.

Speaker 4 (01:37:48):
That's right, Rusty. Immediately she knew that she'd have to
find the pearls that had been lost, because if anyone
else found them, they'd realized that she'd been in the
swamp and become suspicious.

Speaker 46 (01:37:56):
So that accounts for the dancing light. It was a
flash held by either sid or Missus Fraser while.

Speaker 4 (01:38:02):
They hunted for the pearl That's right, The light served
a double kriss frightened the natives away, and Missus Fraser
was able to recover most of her pearls.

Speaker 46 (01:38:08):
But why did she dream of that story about being
afraid to leave the house, and why was she selling
the pearls one by one?

Speaker 4 (01:38:16):
Missus Fraser, my dear was a very clever woman. If
she could convince people that she was afraid to leave
the house, no one would suspect it was she in
the swamp. Also, no one would have the opportunity to
wonder why she never wore the necklace.

Speaker 14 (01:38:27):
Selling the pearls one as a time Sooner or.

Speaker 4 (01:38:29):
Later Missus Fraser would be forced to produce the necklace
when it came time to renew the insurance on it,
for example. So she had to get rid of those
pearls in a manner that seemed normal.

Speaker 46 (01:38:37):
And since she couldn't offer the entire necklace. She sold
the gems one at a time.

Speaker 4 (01:38:41):
Yes, that's right, am I selling them to different people?
No one could possibly know that the necklace wasn't complete.

Speaker 14 (01:38:46):
That explains everything. But we still owe the Constable a
great debt.

Speaker 4 (01:38:51):
Was Oh miss Fairy PAxx was just saying, we'd like
to have you spend a few days with us in
New York. Constable say how about coming down next today?

Speaker 25 (01:38:58):
Nope, nope, years or Tuesday.

Speaker 4 (01:39:01):
I had to go to the voting, voting voting?

Speaker 25 (01:39:03):
Why sure, don't you know that Tuesday's voting day?

Speaker 4 (01:39:08):
Dog gone it?

Speaker 25 (01:39:08):
You forgot an American? You forget you got the right
to go and vote for the things you want.

Speaker 2 (01:39:13):
You forgot that your duty to do that.

Speaker 4 (01:39:15):
He's right, rust team. You should have remembered that they're
done touting them. Right.

Speaker 25 (01:39:20):
Well, if you ain't satisfied with the way things is,
go hope to change them. You won't get him changed
no other way.

Speaker 14 (01:39:27):
Gosh, Dan, that's true.

Speaker 25 (01:39:29):
Yes, that's the trouble you folks. You don't think you
got the right to think and to shay what you please,
and to vote for.

Speaker 4 (01:39:35):
The things you want. And then you forget about it.

Speaker 25 (01:39:37):
Why, golly, I wonder how you feel if you didn't
have the rights.

Speaker 4 (01:39:41):
Well, if you don't.

Speaker 25 (01:39:42):
Get out and vote, maybe you find out.

Speaker 4 (01:39:44):
Well, constable, you're one hundred percent right. Tuesday is voting
day unless an army the first of the polls day, rest.

Speaker 14 (01:39:49):
You bet we will.

Speaker 25 (01:39:50):
Well that's better, pretty ancy, well, so long.

Speaker 4 (01:39:58):
See you at the voting.

Speaker 9 (01:40:10):
Ladies and gentlemen. Welcome to the Black Mass. Our little
establishment is currently being renovated, and I would like this
evening to dispense with the usual voice of your host
and as creaking door and chain of empathy and get
right down to business. As you know, this series has

(01:40:34):
been bringing you adaptations of stories about the macabre, the bizarre,
the supernatural, and the generally discomforting.

Speaker 11 (01:40:44):
Strangely, we have neglected.

Speaker 9 (01:40:45):
Thus far one of the supreme masters of this art,
Edgar Allan Poe. Tonight we make amends by bringing you
two of his works. Our first selection may be unfamiliar
to most of you, surely it is one of the
strangest stories you will ever have heard. Here is Pat

(01:41:07):
Franklin as Senora Psyche's Anobia in Edgar Allan Poe's Tale
A predicament.

Speaker 15 (01:41:31):
It was a.

Speaker 49 (01:41:32):
Quiet and still afternoon when I strove forth in the
goodly city of Edna.

Speaker 50 (01:41:40):
I had two humble but faithful companions, Diana, my poodle,
sweetest of creatures, and Pompey.

Speaker 49 (01:41:49):
My negro, sweet Pompey.

Speaker 9 (01:41:52):
How shall I ever forget ye?

Speaker 49 (01:41:55):
I had taken Pompey's arm.

Speaker 50 (01:41:58):
He was three feet in and about seventy or perhaps
eighty years of age. He had bow legs and was corpulent.
Nature had endowed him with no neck. I am Senora
psyche Zenobia. I formed the third of the party. On
a sudden there presented itself to view a church, a

(01:42:24):
Gothic cathedral, vast venerable, with a.

Speaker 9 (01:42:30):
Tall steeple, which towered into the sky.

Speaker 49 (01:42:33):
What madness now possessed me?

Speaker 9 (01:42:36):
Why did I rush upon my feet?

Speaker 49 (01:42:39):
I was seized with an.

Speaker 50 (01:42:41):
Uncontrollable desire to ascend the giddy pinnacle. The door of
the cathedral stood in writingly open. My destiny prevailed. I
entered the ominous archway. I thought the staircase would never

(01:43:06):
have an end.

Speaker 8 (01:43:07):
Round.

Speaker 9 (01:43:09):
Yes, they went.

Speaker 50 (01:43:11):
Round and up and round and up and rounded up,
until I could not help surmising that the upper end
of the spiral ladder had been removed, reclined, until only

(01:43:34):
one step remained, one step, one little step upon one
such little step, in the great staircase of human life,
how vast a sum of human happiness on misery depends.

(01:43:56):
I abandoned the arm of Pompey and surmounted the one
remaining step, followed immediately by Diana. Pompey alone remained behind,
stretching forth his hand to me. Then, in helping him up,
he stumbled and fell forward.

Speaker 30 (01:44:13):
He's a curted head.

Speaker 50 (01:44:14):
Striking me fully in the breast, precipitating me headlong together
with himself, upon the hard fifth, the detestable floor of
the belfry.

Speaker 49 (01:44:26):
My revenge was sure, sudden and complete.

Speaker 9 (01:44:29):
Seizing him furiously by the.

Speaker 50 (01:44:31):
Wall with both hands, I tore our fast quantities of black, crisp,
curly material.

Speaker 49 (01:44:40):
Oh well, oh, oh, that sigh.

Speaker 50 (01:44:47):
It sunk into my heart, and our quarrel was quickly
lade out. We looked about the room for an aperture
through which we could survey the city windows.

Speaker 9 (01:45:02):
There were none, so light admitted into the gloomy chamber.

Speaker 50 (01:45:07):
Proceeded from a square opening about a foot in diameter
and about seven feet from the floor. I called Pompey
to my side, Pompey, Pompy, I wish to look through
that aperture.

Speaker 30 (01:45:24):
Yeah, stand here, just beneath it.

Speaker 3 (01:45:28):
Good, hold out one of your hands. Good. I step up.

Speaker 51 (01:45:38):
Now, No, now the other hand, so I can get
on your soulder.

Speaker 3 (01:45:42):
Good.

Speaker 51 (01:45:44):
Good, Now I can easily pass my head through the.

Speaker 14 (01:45:53):
Oh what you.

Speaker 49 (01:46:00):
Didn't borrow the classic diner?

Speaker 4 (01:46:05):
Oh?

Speaker 3 (01:46:07):
Just look.

Speaker 50 (01:46:14):
The aperture through which I thrust my head was an
opening in the dial plate of a gigantic clock. The
hands of the clock were immense, the longest could not
have been less than ten feet in length. They were
of solid steel, apparent clear, and their arches appeared to

(01:46:35):
be sharp.

Speaker 3 (01:46:38):
But what a view?

Speaker 51 (01:46:41):
Lovely, lovely.

Speaker 50 (01:46:52):
It might have been half an hour that I was
absorbed in the heavenly scenery beneath me, when suddenly I
was startled by something very cool, which pressed with a
gentle pressure upon the back of my neck.

Speaker 49 (01:47:08):
I felt alarmed.

Speaker 14 (01:47:11):
What could it be?

Speaker 9 (01:47:13):
Not Pomping.

Speaker 14 (01:47:15):
He was beneath my feet, Not Diana.

Speaker 50 (01:47:18):
She was sitting, according to my explicit directions, in the
farthest corner of the room.

Speaker 49 (01:47:24):
What could it be.

Speaker 50 (01:47:26):
Alas I, but too soon discovered the huge, glittering scimitar,
like minute hand of the clock hand, in the course
of its hourly revolution, descended.

Speaker 5 (01:47:41):
Upon my neck.

Speaker 9 (01:47:43):
I pulled that at once. It was too late.

Speaker 50 (01:47:46):
I couldn't get my head back through the mouth of
that terrible trap, which grew narrower and narrower. I threw
up my hands and endeavored with all my strength was
up with the ponderous iron bar. I might as well
have tried to lift the cathedral itself.

Speaker 3 (01:48:07):
Doll, Doll, Doll, it came.

Speaker 50 (01:48:13):
Closer and closer, pompy, pompy, pompey.

Speaker 45 (01:48:17):
And by.

Speaker 50 (01:48:21):
The ponderous sights of time, for I now discovered the
literally import of that classical phrase. Continued down doll it
had already buried itsch up edge of fool inch in
my flesh.

Speaker 49 (01:48:37):
My sensations were growing indistinct and confused. The ticking of
the machinery began to amuse me, amused to me.

Speaker 50 (01:48:51):
My sensations soon bordered on perfect happiness. When the bard
uried itself two inches in my neck, I was a roused.

Speaker 49 (01:49:04):
To a sense exquisite pain. But a new horror presented itself.

Speaker 50 (01:49:20):
My eyes from the cruel pressure of the machine were
absolutely starting from their sockets. One actually tumbled out of
my head, and, rolling down the steep side of the steeple,
lodged in the rain gutter which ran along the eaves
of the building.

Speaker 49 (01:49:37):
There it lay just under my nose and the airs.

Speaker 50 (01:49:41):
It gave itself disgusting and inconvenient on account of the
sympathy which always exists between two.

Speaker 9 (01:49:51):
Eyes of the same head.

Speaker 49 (01:49:52):
However far apart, my other eye was.

Speaker 50 (01:49:56):
Forced to act in concert with the scoundrel one below.
Oh oh, what relief when the other eye dropped out boom,
rolled out of the gutter together.

Speaker 3 (01:50:12):
Doll, Doll, joe, the bar now.

Speaker 49 (01:50:25):
Four inches and a half deep, only a little skin
depth to cut through a sensation of the entire happiness.

Speaker 14 (01:50:36):
Relief in a matter of minutes, Oh.

Speaker 3 (01:50:44):
Oh ah.

Speaker 49 (01:50:51):
At twenty five minutes past five in the afternoon.

Speaker 50 (01:50:54):
Precisely the huge minute hand had proceeded sufficiently far on
its tail revolution to sever the small remainder of my neck.
I was not sorry to see the head, which had
occasioned me so much embarrassment, at length make a final
separation from my body. It first rolled down the side

(01:51:15):
of the steeple, then the lodge for a few seconds
in the gutter, and then made its way with a
plunge into the middle of the street. There was nothing
now to prevent by getting down from my elevation, and.

Speaker 52 (01:51:31):
I did so.

Speaker 51 (01:51:34):
Well, Hello there, Pumpy, Oh Pompey, Dear Pompey.

Speaker 49 (01:51:51):
What it was that Pompey saw so very peculiar in
my appearance?

Speaker 9 (01:51:58):
I have never yet been able to my note.

Speaker 50 (01:52:02):
Then I turned to Diana, the darling of my heart. Alas,
what a hornrible vision affronted me? Was that a rat
sel king in his home? Are these the picked bones
of the little angel cruelly devoured by the monster.

Speaker 53 (01:52:20):
Girks?

Speaker 49 (01:52:21):
Sweet creature, She too has sacrificed herself in my.

Speaker 15 (01:52:27):
Behalf h.

Speaker 49 (01:52:31):
Darkless, nicholess, headless.

Speaker 50 (01:52:38):
What now remains for the unhappy Signora psychis abia?

Speaker 49 (01:52:47):
Alas, nothing, nothing.

Speaker 3 (01:52:56):
I have done?

Speaker 9 (01:53:37):
That was pat Franklin in a predicament by Edgar Allan Poe.
We hope it will send you searching among the lesser
known works of Poe for many comparable little gems. And
now our second selection from the author of the Evening
will be as familiar to everyone as Hamlet's soliloquy or

(01:54:02):
the Apostles Creed. And it has been performed by nearly everyone,
and in every possible medium. We doubt, however, that you've
ever heard it quite like the following. True nervous, very

(01:54:31):
very dreadfully nervous.

Speaker 19 (01:54:33):
I had been.

Speaker 9 (01:54:35):
And am, But why will you say that I am mad?
The disease had sharpened my senses, not destroyed, not dull.

Speaker 2 (01:54:44):
Then above always the sense.

Speaker 9 (01:54:46):
Of yearing acute. I heard all things in the heaven
and in the earth. I've heard many things in hell.
Then am I mad? Hearken and observe how healthily, how
calmly I can tell you the whole story. It is
impossible to say how first the idea entered my brain,

(01:55:09):
But once conceived, it haunted me day and night. Object
there was none passion, that there was none. I loved
the old man. He had never wronged me, he had
never given me insulf for as gold. I had no desire.
I think it was his eye, Yes it was this.

(01:55:29):
One of his eyes resembled that of a vulture, a
pale blue eye with a film over it. Whenever it
fell upon me, my blood ran cold, and so by
degrees very gradually I made up my mind to take
the life of the old man, and thus rid myself

(01:55:52):
with the eye forever.

Speaker 5 (01:55:58):
Er.

Speaker 9 (01:55:59):
Madmen know nothing, But you should have seen me. You
should have seen how wisely I proceeded. With what caution,
with what foresight, with what dissimulation I went to work.
I was never kinder to the old man than during
the whole week before I killed him. Every night, about
midnight I turned the latch of his door and opened

(01:56:19):
it oh so gently. And then when I had made
an opening sufficient for my head, I put in a
dark lantern, all closed, closed so that no light shone out.
And then I thrust in my head. Oh you would
have laughed to see how cunningly I thrust you. I
moved it slowly, very very slow, so that I might

(01:56:41):
not disturb the old man's sleep. It took me an
hour to place my whole head within the opening, so
far that I could see him as he lay upon
his bed. What would a madman have been so wise
as this? And then when my head was well in
the room, I undid the lantern cautiously, oh so cautiously, cautiously,

(01:57:05):
for the hinges creaked, I and did it just so
much that a single thin ray fell upon the vulture.
And this I did for seven long nights, every night,
just at midnight, where I found the eye always closed,
And so it was impossible to do the work, for

(01:57:25):
it was not the old man who vexed me, but
his evil eye. And every morning, when the day broke,
I went boldly into the chamber and spoke courageously to him,
calling him by name in a hearty tone, and inquiring
how he had passed the night. So to see he
would have had to be a very profound old man,
indeed to suspect that every night, just at twelve I
looked in upon him while he slept. Upon the eighth night,

(01:57:50):
I was more than usually cautious, and opening the door
a watch his minute and moves more quickly than never
before that night had I felt the extent of my
own I could scarcely contain my feelings of triumph to
think that there I was, opening the door a little vilently,
not even a dream of my secret deeds or thoughts.
I fairly chuckled at the idea, and perhaps he heard me,

(01:58:12):
for he moved on the bed suddenly as it startled.
I knew anything that I grew back. His room was
as black as pitch with the thick darkness. So the
shutters were close fastened for fear of rubbers, and so
I knew that he could not see the opening of
the door, and I kept pushing it on steadily, steadily.

(01:58:39):
I heard my head in and was about to open
the lantern, when my thumb slipped upon the tin fastening,
and the old man sprang up in the bed, crying
out the hoose.

Speaker 3 (01:58:48):
There I kept quite still.

Speaker 9 (01:58:54):
And said nothing. For a whole hour I did not move,
and in the meantime I did not hear him lie down.
He was still sitting up in the bed, listening, just
as I have done night after night, hearkening to the
death watchers in the wall. Presently I heard a slight groan.

Speaker 38 (01:59:22):
And I knew it was the groan of mortal terror.

Speaker 9 (01:59:26):
It was not a groan of pain nor of grief.
Oh No, it was the slow, stifled sound that rises
from the bottom of the soul when overcharged with awe.
I knew the sound well night, just at midnight, when
all the world slept, It as welled up in my
own bosom, deepening with its dreadful echo. The terrors that
distracted me. I say, I knew it well. I knew

(01:59:47):
what the old man felt and him, though I chuckled
a heart, I knew he had been lying awake ever
since the first slight noise when he had turned in
the bed. His fears had been innocence growing upon him.
He had been trying to fancy them causeless, but he
could not. It is nothing but the wind and the chimney.

(02:00:09):
It is only a mouse crossing the floor. It is
merely a cliquet which has made a single chirk. Unless
he has been trying to comfort himself with these suppositions.
But he had found all in vain, all in vain,
because death, in approaching him, had stalked with his black
shadow before him, had enveloped the victim. And it was
the mournful influence of the unperceived shadow that caused him

(02:00:31):
to feel, though he neither sword nor her, to feel
the presence of my head within the room. When I
had waited a long time, very patiently, without hearing him
lie down, I resolved to open a little, very very
little crevice in the land. So I opened it. You

(02:00:55):
cannot imagine how stealthy, stealthy, until at length, A single
dim ray, like the thread of the spider, shot out
from the crevice and fall upon the vulture. It was open, wild,
wide open, and I grew furious as I gazed upon it.
I saw it with perfect discuss, all a doe blue,

(02:01:18):
the hideous veil over it that chill the very marrow
on my bone. I could see nothing else, nothing else
of the old man's face or person, for I had
directed the ray, as if by instinct, precisely upon the
damned spot. And now have I not told you that
what you mistake for madness is but over acuteness of
the senses. Now I say, there came to my ears

(02:01:40):
a low, dull, quick sound, such as a watch mix
when enveloped in cotton. I knew that sound well too.
It was the beating of the old man's heart. It
increased my fury as the beating of a drum stimulates
the soldier into courage. But even yet I refrained and
kept skin scarcely breathed. I held the lantern motionless. I

(02:02:10):
tried to see how steadily I could maintain the ray
upon the eye. Meanwhile, the hellish tattoo of the heart increased,
It grew quicker, and quicker, and louder and louder every instant.
The old man's terror must have been extreme. It grew louder,
I say, louder every moment.

Speaker 16 (02:02:27):
Do you mock me?

Speaker 9 (02:02:28):
Well, I have told you that I'm a nervous man.
So I am now the dead hour of the night,
amid the dreadful silence of the old house of strange noise.
As this excited me into uncontrollable terror, was.

Speaker 4 (02:02:38):
Some moments longer.

Speaker 2 (02:02:39):
I regreed and stood still.

Speaker 9 (02:02:41):
But the beating grew louder louder. I thought the heart
must burst. Now a new anxiety seized me. The sound
would be heard by a neighbor.

Speaker 11 (02:02:50):
Ah.

Speaker 9 (02:02:52):
The old man's hour had come. With a loud yell.
I threw him in the lantern and leaped into the room.
He's reet once once, only in an instant. I dragged
to the floor and pulled the heavy bed over him,
then smiled gaily to find the deeds.

Speaker 2 (02:03:06):
Are are done.

Speaker 9 (02:03:07):
But the many minutes the heart beat on with a
muffled sound, And this, however, did not vex me. It
would not be heard to the walls. At length it ceased.
The old man was dead. I removed the bed and

(02:03:34):
examined the corpse. Yes, he was stone, stone dead. I
placed my hand upon the heart and folded there many minutes.
There was no pulsation. He was stone dead. His eyes

(02:03:59):
would trouble me no more. If still you think me mad,
you will think so no longer. When I described the
wise precautions I took for the concealment to the body.
First of all, I dismembered the corpse. I cut off
the head, and the arms and the legs. I then
took up three planks from the flooring of the chamber
and deposit it all between the scantlings. I then replaced

(02:04:20):
the boards Ohlen so cunningly that no human eye, not
even his, could have detected anything wrong. There was nothing
to wash out, no stain of any kind, no blood
spot whatever. I had been too wary for that a
tub had caught all. When five had made an end

(02:04:42):
of these labors, it was four o'clock, still dark as midnight.
As the bell sounded the hour, there came a knocking
at the street door. Went down to open it with
a light heart, for what had I now to fear?

(02:05:04):
There entered three men who introduced themselves with perfect suavity
as officers of the police. A shriek I had been
heard by a neighbor during the night. Suspicion of foul
play had been aroused, Information had been launched at the
police office, and they the officers had been deputed to
search the premises. I smiled, for what had I to fear.
I bade the gentlemen welcome. The shriek, I said, was

(02:05:26):
my own in a dream. The old man I mentioned
was absent in the country. I took my visitors all
over the house. I bade them search, search well, search well.
I led them at length to his chamber. I showed
them his treasure, secure and disturbed. In the enthusiasm of
my confidence, I brought chairs into the room and desired
them here to rest from their fatigues, while I myself,

(02:05:49):
in the wild audacity of my perfect triumph, placed my
own seat upon the very spot beneath which reposed the
corpse of the victim. The officers were satisfied my manner
had conleased them. I was singularly at ease. They sat,
and while I answered cheerily, they chatted familiar things.

Speaker 4 (02:06:11):
But ere long.

Speaker 9 (02:06:13):
I felt myself getting pale, and wished them gone. My
head ached and I fancied a ringing in my ears,
But still they sat and still chatted. The ringing became
more distinct. It continued and became more distinct. I talked
more freely to get rid of the feeling, but it
continued and gained definitiveness, until at length I found that

(02:06:37):
the noise was not within my leave.

Speaker 8 (02:06:41):
Doubt.

Speaker 9 (02:06:42):
I now grew very pale, but I talked more fluently
and with a heightened voice. Yet the sound increased.

Speaker 11 (02:06:50):
And what could I do?

Speaker 9 (02:06:51):
It was a low, dull, quick sound, much such a
sound as a watch makes when enveloped in cotton er.
I guessped for breath, and yet the officers.

Speaker 38 (02:07:01):
Heard it not.

Speaker 9 (02:07:03):
I talked more quickly, more vehemently, but the noise steadily increased.
I arose and argued about trifles in a high key,
with violent gesticulations, But the noise steadily increased.

Speaker 12 (02:07:14):
Why would they not be gone?

Speaker 9 (02:07:17):
Takes the floor to and brow with heavy strides, as
if excited to fury by the observation of the men,
But the noise steadily increased. Oh God, what could I do?
I phoned, I raved, I swore, I swung the chair
upon which I had been sitting and grated it.

Speaker 31 (02:07:31):
Upon the vouds.

Speaker 54 (02:07:32):
But the noise rose over all, and gradually increased, the louder,
louder louder. Still, the men chadded pleasantly and smiled, while
it possible they heard, not, Almighty God, No, no, they heard.

Speaker 9 (02:07:46):
They suspected, they knew, they were making a mockery of
my horror. I thought, and this I think. But anything
was better than this agony, anything was more tolerable than
this delusion. I could well those hypocritical smiles. No longer
I felt that I must scream or die.

Speaker 54 (02:08:06):
And now again hark loud and louder louders, villains December,
I admit the deed tell the plants here.

Speaker 3 (02:08:21):
Feeling of.

Speaker 9 (02:08:38):
That was, of course, The Tell Tale Heart by Edgar
Allan Poe. This evening we brought you two tales by Poe.
The first was a Predicament with Pat Franklin as Senora Zenobia.
Technical production was by John Whiteing. The technical production for

(02:08:59):
The Tell Tale Heart was by Fred Sidon and performed
for you by your host of the Black Mass, Eric Bowersfeld.

Speaker 2 (02:09:09):
Good Night.

Speaker 9 (02:09:19):
Lillian Hemerton sat at the writing table in her bedroom.
She turned her head and looked out of the window
at the garden in which she spent a lot of
her time. The roses were blazing in the two long bends.
Lillian Hemerton sat at the writing table and slowly in

(02:09:42):
a style that was not good but colorful and evocative,
and the story of her married life in a thick
schooled exercise book. The last chapter was not going to
be written, of course, for the final chapter of any
autobiography must remain unwritten.

Speaker 2 (02:10:03):
Poor Lilian, Poor Lillian.

Speaker 19 (02:10:11):
Dear he must know the lawn.

Speaker 8 (02:10:15):
So much work to do.

Speaker 10 (02:10:17):
Elcinian's Companila, three gale lilies, Canterbury bells who dead no
must move their little dried up heads.

Speaker 31 (02:10:27):
Roses like beyond lights never seen, roses of bright like
neon lights.

Speaker 52 (02:10:33):
Jason, Jason, He was her husband. His favorite color was blue,
and on their honeymoon she had worn blue to please him.
But blue had never suited her, and so she had
stopped wearing blue. Greens and burnt oranges suited her best.
Yellow tool She looked good and yellow. She looked especially

(02:10:57):
good in her yellow fishing gun. Biotechs The new Soak
and pre Washpowder presents Beyond Midnight by Michael McCain.

Speaker 55 (02:11:18):
Just soak, just soak in biotechs. Just soak, just soak
in biotechs. Just soak, just soak in biotechs.

Speaker 56 (02:11:26):
If you have wondered how to get your washing really
stain free, understand this. Biotechs removes the stains and dirt
washing weren't just soak, just soak in biotechs. Stains, grass, stains, tiresome,
collar and cuff stains, ingrain, dirt, soil and grime out.

Speaker 7 (02:11:45):
They all come.

Speaker 2 (02:11:46):
And you don't stir a finger.

Speaker 57 (02:11:48):
Just soak, just soak in biotechs.

Speaker 56 (02:11:50):
Biotechs with natural enzymes is the pre washpowder with the
most enzymes to give you extra pre wash powder. Absolutely
no rubbing, no color, the last no fabric ware. Use
it for cottons, silks, woolen, synthetics, use it to make
new again. Soaking in biotechs removes the stains and dirt
that washing won't.

Speaker 57 (02:12:11):
Just soak, just soak in biotechs.

Speaker 52 (02:12:21):
When a story is unfolded through the pages of the book,
we can treat if you wish. We can look at
the last page, the last line. We can prepare ourselves
for the shock if there is one.

Speaker 7 (02:12:34):
When a story is heard, though.

Speaker 52 (02:12:36):
This is impossible not even Lillian Hamerton could look ahead
to the last chapter. We too, shall have to wait
a while before we learn the last chapter's secret, but
it is permitted to glance at the pages which tell
of the present and the immediate past.

Speaker 8 (02:12:56):
Blue is always his favorite color. Blue.

Speaker 10 (02:12:59):
Of course, it's for Corola haig Daniflut, his mistress who
sets off her beauty to perfection. I never thought i'd
have a husband with a mistress. Strange husband with a
mistress called Corolla, a husband who buys a cottage in
the country for me.

Speaker 31 (02:13:19):
Thank you for a roses galore. You know how you
like roses.

Speaker 58 (02:13:23):
It's not far from Panborn and with an easy reach
of London. I'll tell you what we'll do. Listen, we
leave Henrietta behind in Chadey Gardens. At weekends, Nurse Wonie
can have her.

Speaker 8 (02:13:33):
Why why is right do we have to leave Hiette behind, Darling, You.

Speaker 58 (02:13:38):
Need time off from the child. You need a change
of scene as well. Nurse Rooney can take her own
two half days off during the week she can have
so charge of Henriette.

Speaker 31 (02:13:47):
At weekends.

Speaker 9 (02:13:48):
You will have a rest and Henriette will appreciate you.

Speaker 31 (02:13:50):
All the more for not seeing you so often. Don't
think you're Victorian.

Speaker 9 (02:13:54):
But I'm all for children not seeing too much of
the parness.

Speaker 10 (02:13:57):
And it's a lovely idea having the cottage in that,
and I'm sure it is lovely if you say so.

Speaker 9 (02:14:03):
And when kends you'll be able to do your writing, you'll.

Speaker 31 (02:14:05):
A complete piece of quiet, My darling. You should always
wear green.

Speaker 17 (02:14:11):
Remember how you used to.

Speaker 31 (02:14:11):
Try to wear bloom? Isn't the suit you have?

Speaker 9 (02:14:15):
We upon a time, Carola was a friend of mine.

Speaker 10 (02:14:17):
I even introduced her to Jason so long ago it
might have been part of another incarnation.

Speaker 8 (02:14:22):
In fact, it was only four years ago.

Speaker 9 (02:14:25):
And now she is his mistress.

Speaker 10 (02:14:27):
He doesn't even think that I know she knows though
she knows how aware I am of the situation. But
there never be any scenes. I shouldn't allow Jason ever
to think that it gives me pain. That would only
make him choose between us and give her great satisfaction
her really, nah, Oh, how I hate the way she

(02:14:53):
puts everything into its immediate Henny, I'm lucky to have
that a beautify the cured childhood, I mean, despite her illness.

Speaker 8 (02:15:01):
I mean, it must be so nice to have such
secure parents.

Speaker 10 (02:15:05):
My child was positively penniless, absolutely no medical and Rue
is so good to her. But you know you mean
loves Rooney, don't you, Corolla? I thought, fun, Yes, that's
what I said. Rue is so good to her, she's.

Speaker 15 (02:15:20):
Like a mother.

Speaker 10 (02:15:22):
I was going to say, I meet Gin the other day. Oh,
and please don't call me Corolla, my dear, I do
hate it. Lie so much friendlier. Anyway, I meet Gin
down the other day, and Aginia over me. You're determined
to take the long way around there, aren't you?

Speaker 8 (02:15:39):
Anyway?

Speaker 10 (02:15:40):
Jin has become a complete bohemian. There's no sense of
responsibility at all.

Speaker 8 (02:15:45):
Hello, j Darling, I was just telling Lily about Jim.

Speaker 10 (02:15:49):
Oh isn't Lily Sunny Jay so sterious?

Speaker 8 (02:15:54):
Anyway? Would you believe it? Jin's working in that same
dreadful little loutdare and I was in nice Bridge or
you must have been that There are many women. I
suppose you would never understand why.

Speaker 10 (02:16:05):
I don't confront Jason, why I don't tell him that
I know Corolla is more than just a family friend.
But I shan't tell him that I knew, And you
frightened of what would happen, and at least this way,
he is mine, even if I have to share him occasionally.

Speaker 8 (02:16:21):
He was always faithful to me before Corolla. I think, yes,
I know he was.

Speaker 10 (02:16:27):
It's hard to think she took him away while Henrietta
was ill. I suppose she has no real feelings at all.
To take a woman's husband away during the sickness of
their only child would only have added spiced to the affair,
as far as she was concerned.

Speaker 8 (02:16:42):
The poor, poor Henrietta.

Speaker 52 (02:16:44):
And Lilian looked out again at the roses and the
dried heads of the canterburry bells and tears of sadness
came into her eyes as she thought of Henrietta.

Speaker 11 (02:16:54):
The child had been.

Speaker 52 (02:16:55):
Ten when polio had struck, and it had left her
paralyzed her arms and her right leg. It had happened
when they had gone as a quartete on holidays of
the West of Ireland. Lilian had thought that the little
girl had been suffering from flu, and a lot of
precious time had been wasted before a doctor had been
summoned from Limerick.

Speaker 8 (02:17:15):
It was my fault, always my fault.

Speaker 9 (02:17:18):
I was stupid.

Speaker 10 (02:17:21):
I shall never have another breakdown, though I shall remain
strong from now on. I shall put up with this piracy,
no matter how many times Jason mysteriously finds that he's
got to be away on working weekends. I shall never
admit that I knew I won't give her that satisfaction,
and I've got him.

Speaker 12 (02:17:40):
Letter.

Speaker 8 (02:17:42):
There was a time when I felt that it would
be easy for me to kill lah.

Speaker 11 (02:17:49):
Oh.

Speaker 10 (02:17:49):
Yes, I believe I could have killed her quite easily,
especially the day when she first let me know about
her and Jason. And she did it so cleverly without
saying a word, just by her silences when I talked
about him.

Speaker 8 (02:18:07):
Of course, I'm fortunate.

Speaker 10 (02:18:08):
I don't think. I don't realize that I'm a clever husband.
And it's awker to say this to me. When his
mother dies, he'll be even richer, little hen.

Speaker 8 (02:18:16):
Yes, I would be an heiress.

Speaker 10 (02:18:17):
You're so loyal to Jay, Darling. He appreciates it so much,
does he?

Speaker 7 (02:18:23):
Yes?

Speaker 8 (02:18:26):
You know he does, don't you? Yes, he appreciates me.

Speaker 10 (02:18:32):
I love him very much. And if he ever left me,
I don't think I could go on living.

Speaker 8 (02:18:43):
Cats Oh my chest, darling, Oh.

Speaker 15 (02:18:47):
No, there, I'm say.

Speaker 10 (02:18:49):
Cats has become perfectly attached to me since your holiday
and Yugoslavia.

Speaker 8 (02:18:52):
He lets me do anything with him. Don't you bullfoos?

Speaker 14 (02:18:55):
Don't you love?

Speaker 19 (02:18:57):
Oh chats?

Speaker 8 (02:18:58):
Say hello to Lillian.

Speaker 9 (02:19:00):
I'm not your own up. Are a bad boy, oh Lidi?

Speaker 8 (02:19:04):
And stay walking.

Speaker 59 (02:19:07):
All the.

Speaker 40 (02:19:09):
Girl wanders him?

Speaker 8 (02:19:12):
Aren't does in stouting?

Speaker 14 (02:19:13):
He didn't mean to look for you, darling.

Speaker 10 (02:19:15):
I'm sorry.

Speaker 15 (02:19:16):
I didn't mean to steal little.

Speaker 14 (02:19:18):
Doggy from you.

Speaker 8 (02:19:22):
They're a fickle animals, yes they are, aren't they poor casts?

Speaker 10 (02:19:33):
He doesn't know he's only a dog. Perhaps missus Haigh
Dunfield's mission in life is to steal things, husbands, dogs,
and Jason treats me well. Really, even when he invites
her to Cheney Gardens, he still goes through the ridden
role of inviting another man.

Speaker 8 (02:19:49):
Said the numbers of even She.

Speaker 10 (02:19:52):
May not mind me him, I know that, but she
believes she's got all the.

Speaker 9 (02:19:56):
Time in the world.

Speaker 10 (02:19:59):
She reckons that if Jason can persuade me that his
happiness lies in his freedom, I will give him a divorce.
And I know Lah far better than Jason is her
in the drama of her life. She has reached the
end of act one. Now she wants a man of
her own. She wants permanent security now or she's got

(02:20:22):
to be attracted to him as well, of course, and
after all she ought to know by now what kind
of man attracts her. Her experience must be ass.

Speaker 19 (02:20:33):
Only.

Speaker 8 (02:20:33):
I can't write down any of this, Who do you think?

Speaker 4 (02:20:37):
So?

Speaker 8 (02:20:37):
I'm writing short stories.

Speaker 17 (02:20:40):
Five o'clock.

Speaker 10 (02:20:42):
Jason should be here by half past seven of the
latest cold supper be she swear samon and strawberries and cream.
Please an't feren Jason, say you can't come till to morrow.
Please don't have got everything readier couldn't bear it. I know,
are going tidy up the border. It's lovely in the
garden at this time of day, and.

Speaker 52 (02:21:02):
She began the usual hunt for her secateurs. They went
in the garden shed, and so she came back into
the house and began pulling out drawers and opening cupboards.
She discovered several bills that needed her attention, but no
secuturs electricity, water rates, garage.

Speaker 2 (02:21:21):
And then.

Speaker 52 (02:21:23):
She fund the crystal ball. I say fund. She knew
it was there. Of course, she used to believe she
could tell fortunes by it. Smiling nostalgically, she brought it
up to her face, almost caressing its cold spherical surface.

Speaker 11 (02:21:47):
Crystal ball.

Speaker 52 (02:21:50):
And if Corolla Haig Dunfield, what an unattractive name, had
come to the end of Act one of her life,
then so had Lilian Hamilton, as she sat quietly by
the writing desk and gazed deep into the crystal.

Speaker 7 (02:22:26):
I feel like a new man.

Speaker 52 (02:22:28):
It's a lovely day to day. I took a Grandpa
headache powder and I'm world's better when cos and flu
are about. Grandpa, headache powders are what you need. Grandpa
headache powders work fast because they dissolved almost immediately. Grandpa
makes all those fitful flu symptoms disappear quickly. So whenever
you're in pain, get fast relief, get Grandpa headache powders.

Speaker 8 (02:22:51):
Ah, Grandpa, I'm darling. Can't you look at her? You're
enjoying yourself. The party is green.

Speaker 4 (02:23:00):
Yes it wasn't. Jil.

Speaker 34 (02:23:01):
I ate.

Speaker 8 (02:23:01):
We'll take ade jel.

Speaker 9 (02:23:02):
I always keep some in my bag.

Speaker 2 (02:23:04):
But I already took an ant acid.

Speaker 60 (02:23:06):
Yes, darling, but die jel is much more than an
ant acid. Dye jel has double action. There's an air
of ant acid plus an air of Samesican. It's the
samefican that relieves that dreadful, bloated feeling.

Speaker 52 (02:23:17):
Here, try a dye jel, Like they say when you
eat too well, demand dye jel. It lay amidst a

(02:23:40):
cluster of bulge catalogs from the Yaga and the Bills.
It lay hard and cold and forgotten, and smiling nostalgically.
She took up the crystal ball with which she had
once tole fortunes.

Speaker 10 (02:23:55):
I'd forgotten all about you. She can't be so angry,
Jason would seeing me hear this again, Hm, My sacred.

Speaker 9 (02:24:05):
Paths were always very modest her. Oh, Jason, you were
born with a.

Speaker 10 (02:24:10):
Dislike for all soothsayers and sears. Nothing looks deared empty.
I used to see things I did, really, no matter
what Jason may think, he used to see things, good things,

(02:24:31):
bad things too. The minutes went by, and while she concentrated,
the interior of the globe clouded and then gradually cleared,
like morning mistssolving under the onset of the sun. She

(02:24:54):
was peering into a room papered in stripes of lime
and lemon.

Speaker 2 (02:25:00):
A bed was pushed up against a wall.

Speaker 10 (02:25:03):
It's the grown floor room in Janney Guards and Henrietta
lying on the bed, I can see her, see her
in the crystal.

Speaker 8 (02:25:11):
Oh, if only I could show you, Jason, you'd have
to believe you'd. Oh, some one's come into the room.

Speaker 52 (02:25:18):
And clearly in the crystal, Lilian saw a door open
and a.

Speaker 9 (02:25:23):
Figure entered the room.

Speaker 2 (02:25:25):
The figure was a woman, and the woman was wearing
a yellow dressing gown.

Speaker 10 (02:25:30):
When when was this? I only bought that dressing gown yesterday,
I've I've bought it at Herod's. This is the future
hasn't happened yet. It isn't you any more, Itt, It's
faded with washing it. It's old now, the dressing gown.
She is asleep, henriettaed asleep less.

Speaker 8 (02:25:54):
What am I doing?

Speaker 21 (02:25:57):
What am I doing?

Speaker 52 (02:25:59):
And Lillian Hamilton watched herself in the future in the crystal,
take a pillow from beside the sleeping child's head and
press it over its head, and press and press.

Speaker 11 (02:26:11):
And what was I doing?

Speaker 8 (02:26:19):
I was smothering her. I was doing my baby. It
can't be true, Jason's right.

Speaker 10 (02:26:26):
It's rubbish nonsense, because if it was true, how could
I go mad insane, be.

Speaker 8 (02:26:32):
The murderer of my baby? Life couldn't be so terrible,
It couldn't.

Speaker 15 (02:26:45):
Jess, Jesus.

Speaker 58 (02:26:50):
Jesson, Lillian, you took so long to answer, I thought
you must be out. Look, I can't get down tonight.
In fact, I got very much for that. I can
manage tomorrow either. I'll be with you for lunch on
Sunday and we can drive back together after tea.

Speaker 31 (02:27:03):
I'll come by train.

Speaker 58 (02:27:05):
I've a date with the fellow from Balgers in New
York if you'd been here today, but he couldn't make it,
got tied up in Paris.

Speaker 52 (02:27:11):
You know what these tycoons are like. Only time I'll
be able to give me is tomorrow evening.

Speaker 17 (02:27:16):
Sorry to change plans at the last moment.

Speaker 4 (02:27:18):
There it is.

Speaker 17 (02:27:19):
It might lead to a big deal, you see.

Speaker 61 (02:27:22):
Uh, look after yourself, I quite understand.

Speaker 12 (02:27:27):
Is anything wrong?

Speaker 8 (02:27:29):
No, no, Jason, nothing, I'm I'm just disappointed.

Speaker 31 (02:27:33):
Well, goodbye, o girl.

Speaker 10 (02:27:51):
I'd like to be imprisoned in this story forever and
a time listened beautiful July, I say.

Speaker 35 (02:27:59):
I'd never have to see another human being.

Speaker 10 (02:28:03):
Maybe there's Rooney, not Jason, especially not lah Oh for
the first time, but then the first time. Now I
think I hate. It's only nineteen minutes away. You could
come here in even though he's got a business dinner.

(02:28:23):
You got to still come here. He's he's reading items
most of tomorrow, so I'm sure he's law.

Speaker 15 (02:28:34):
Jason, Jason, I need you.

Speaker 9 (02:28:38):
I need to tell you what I see.

Speaker 8 (02:28:41):
You've got to help me doctor, help me not to
kill my little girl.

Speaker 9 (02:28:46):
Will come back to Journey Gardens before Sunday.

Speaker 8 (02:28:49):
He might stop off to say.

Speaker 2 (02:28:50):
Good night.

Speaker 8 (02:28:52):
And might even read to her for a little while.
Maybe he was at the flat on the telephoned. Maybe
she was Oh, oh jeez, Jason.

Speaker 14 (02:29:04):
I'm going to be a murders A can't pay it
does Oh Dad, I'm can't.

Speaker 60 (02:29:15):
Go on the head.

Speaker 62 (02:29:16):
I'm going to kill up one that tiny thing out
most in the world.

Speaker 9 (02:29:21):
Oh what was asked to die?

Speaker 8 (02:29:24):
It must be me?

Speaker 9 (02:29:27):
It must be me, must.

Speaker 19 (02:29:42):
Be me.

Speaker 9 (02:29:43):
Jason the daughter, he look after her. He'll take care
of her.

Speaker 8 (02:29:47):
If if I do, it won't matter. I'm staying at her.
I open the way for Jason and blah.

Speaker 10 (02:29:54):
Like it doesn't matter. Jason won't sutter sat. I would
make him see that it isn't his. She's so persuasive,
So rush poor Lilian.

Speaker 8 (02:30:05):
Oh, Jay Darling, I'm not to blame you know. She
was always undading. He mustn't fare you, I understand in
a way she acted, heating courageously.

Speaker 12 (02:30:17):
It's all over.

Speaker 9 (02:30:18):
Now you can think about yourself and ye.

Speaker 8 (02:30:23):
Me no, not to fair, no explanations I looks at all.

Speaker 10 (02:30:36):
When Miss Robbits comes in in the morning, she she
won't be shot. She'll know something's wrong and won't.

Speaker 9 (02:30:41):
Be too too upset.

Speaker 8 (02:30:43):
She'll give her help and it won't be hard to die.

Speaker 2 (02:30:49):
And she went and got a bottle of whiskey from
the cupboard, the little.

Speaker 52 (02:30:52):
Box of white pills, and climbing the stairs to her bedroom,
passing on her way the theatrical Prince the Victoriana.

Speaker 2 (02:30:59):
She and Jason I.

Speaker 52 (02:31:00):
Discovered on a barrow in the Portobello Road when they
were putting the finishing touches to the cottage together.

Speaker 10 (02:31:12):
Dear Crystal Ball, it's you. I have to think you've
saved my little girl's life. You've showed me what I
must doing.

Speaker 11 (02:31:22):
Thank you.

Speaker 52 (02:31:23):
In the recess of the bureau, above the line of drawers,
there was a photograph of herself and Dreyson, taken on
their wedding day.

Speaker 15 (02:31:36):
How young I was.

Speaker 8 (02:31:39):
Jason, Jason so handsome?

Speaker 10 (02:31:45):
Funny little pages, funny little bridesmaids had once gotten a
friende Mark, Mark Thornton and Jenny Finley. I can't remember
the names of the others. Can't dream Bush, Thank you

(02:32:11):
my darling.

Speaker 8 (02:32:15):
Hm mm just.

Speaker 9 (02:32:20):
H happy of course mm. And I have another. One
of the pjs says nay.

Speaker 31 (02:32:28):
They are quite free, and they coming all.

Speaker 9 (02:32:35):
Like that m rumish.

Speaker 52 (02:32:40):
And in the cottage in the country, in a bedroom
above the garden, where the Canterbury bells had faded and
turned brown and brittle, stood a half empty whiskey.

Speaker 2 (02:32:53):
Bottle on a table beside a bed.

Speaker 52 (02:32:57):
Near it a box that had once contained in the pills.
On the floor lay a strange crystal ball. On the
bed lay a woman, a once beautiful woman, even now
very attractive.

Speaker 11 (02:33:14):
Her hair was orban and her eyes were brown.

Speaker 8 (02:33:18):
Where's the crystal?

Speaker 46 (02:33:21):
Is it?

Speaker 8 (02:33:22):
Oh?

Speaker 16 (02:33:23):
There, it is.

Speaker 8 (02:33:27):
The cue down there.

Speaker 52 (02:33:29):
And cupping her hands around the smooth glass sides of
the crystal, she gazed into its depths.

Speaker 9 (02:33:36):
It was difficult to concentrate. She wanted so much to sleep.

Speaker 52 (02:33:42):
Sleep A fast, hard, ninety minutes drive away, Jason Hamerton
sat with.

Speaker 16 (02:33:50):
Jay l.

Speaker 35 (02:33:53):
What did you do then?

Speaker 12 (02:33:56):
Yay?

Speaker 11 (02:33:56):
Where are you going?

Speaker 40 (02:33:57):
I was going to see him.

Speaker 8 (02:33:58):
Yet, don't sweet her.

Speaker 31 (02:34:00):
Story, darling?

Speaker 11 (02:34:01):
And then what was another matter?

Speaker 8 (02:34:05):
Lacross must you'll read her a story tonight. Sometimes I
believe you care more for her than you.

Speaker 4 (02:34:11):
Do for me.

Speaker 31 (02:34:12):
She's my daughter, Why, poor little crippled child?

Speaker 8 (02:34:17):
Ah, yes, well we all know who's to blame for that.

Speaker 31 (02:34:20):
That's not that's dead and gone.

Speaker 19 (02:34:24):
I love you.

Speaker 8 (02:34:25):
I couldn't give you more than anyone else in the world.

Speaker 4 (02:34:29):
I know.

Speaker 61 (02:34:31):
Never forget that I would just five minutes a short story, law,
just a little one, cherry, little cripple, How.

Speaker 8 (02:34:43):
I love and test her?

Speaker 15 (02:34:45):
Child?

Speaker 8 (02:34:53):
Dear, I can see you, by sweetheart, my poor poor.

Speaker 52 (02:35:00):
But this time she forced herself to watch for longer,
and the scene in the Crystal Ball continued. Lilian sat
horror stricken as she watched herself rise from smothering her
child and fro the pillow aside.

Speaker 11 (02:35:15):
She forced herself to accept.

Speaker 9 (02:35:17):
The role of spectator, to be present at the culmination
of a murder which now would never occur.

Speaker 52 (02:35:24):
She saw the yellow dressing gun old frayed. She saw
the mane of hair cascading down across the shoulders of
the gun.

Speaker 2 (02:35:32):
She saw the hair tossed aside but the hair was black.

Speaker 50 (02:35:43):
You are many, Lilian A well, you always get things
wrong in the lastly pathetic, I'd almost feel.

Speaker 12 (02:35:51):
Sorry for you.

Speaker 52 (02:35:52):
Through waves of infinite fatigue, Lilian saw the woman in
the picture in the crystal rise from the bed. The
scene in the crystal had a floor clarity, and she
was helpless to withdraw her gaze. As she got to
her feet, the woman in the crystal turned her hands
on its lovely neck and looked straight in her direction,
and the beautiful azure blue eyes were bright with malice

(02:36:13):
and mockery. Lilian was incapable of rousing herself. She was
sinking fast into the quick sands of inertia. The woman
in the yellow dressing gun was lah.

Speaker 57 (02:36:46):
Just soak, just.

Speaker 55 (02:36:47):
Soak in biotechs. Just soak, just soak in biotechs. Just soak,
just soak in biotechs.

Speaker 52 (02:36:55):
If you have wondered how to get your washing really
stained free, understand this. Biotechs removes the stains and dirt.
Washing weren't just soak, just soak in biotechs.

Speaker 56 (02:37:07):
Stains, grass stains, tiresome color and cufstains, ingrain, dirt, soil
and grime out They all come and you don't stir
a finger.

Speaker 57 (02:37:16):
Just soak, just soak in Biotechs.

Speaker 56 (02:37:19):
Biotechs with natural enzymes is the pre washpowder with the
most enzymes to give you extra pre wash powder absolutely
no rubbing, no color loss, no fabric ware. Use it
for cottons, silks, woolen, synthetics, use it to make new again.
Soaking in Biotechs removes the stains and dirt that washing won't.

Speaker 57 (02:37:40):
Just soak, Just soak in Biotechs.

Speaker 52 (02:37:45):
Beyond Midnight is presented every Friday night at half past
nine by Biotechs, the new soak and pre washpowder. The
program is adapted for broadcasting and produced by Michael McCay.

Speaker 20 (02:38:36):
Mind Wait, Welcome to a half hour of mind works,
short stories from the worlds of speculative fiction. All this

(02:39:11):
is Michael Anson with a mindweb story, this time that
originally appeared in analog in nineteen sixty six. Its were
printed from World's Best Science Fiction of nineteen sixty seven.

Speaker 33 (02:39:23):
It's Bob Shaw's Light of Other Days. Leaving the village behind,
we followed the heavy sweeps of the road up into
a land of slow glass. I had never seen one
of the farms before, and at first found them slightly eerie,
an effect heightened by imagination and circumstance. The car's turbine

(02:39:45):
was pulling smoothly and quietly in the damp air, so
that we seemed to be carried over the convolutions of
the road in a kind of supernatural silence. On our right,
the mountains sifted down into an incredibly perfect valley of
timeless pine, and everywhere stood the great frames of slow glass,
drinking light. An occasional flash of afternoon sunlight on their

(02:40:08):
wind bracing created an illusion of movement, but in fact
the frames were deserted. The rows of windows had been
standing on the hillside for years, staring into the valley,
and men only cleaned them in the middle of the night,
when their human presence would not matter to the thirsty glass.
They were fascinating, but Selena and I didn't mention the windows.

(02:40:32):
I think we hated each other so much we both
were reluctant to sully anything new by drawing it into
the nexus of our emotions. The holiday, I had begun
to realize was a stupid idea. In the first place.
I had thought it would cure everything, but of course
it didn't stop Selena being pregnant, and worse still, it

(02:40:52):
didn't stop her being angry about being pregnant. Rationalizing our
dismay over her condition, We had circulated the usual statements
to the effect that we would have liked having children,
but later on, at the proper time, Selina's pregnancy had
cost us her well paid job and with it the
new house we had been negotiating, which was far beyond

(02:41:14):
the reach of my income from poetry. But the real
source of our annoyance was that we were face to
face with the realization that people who say they want
children later always mean they want children never. Our nerves
were thrumming with the knowledge that we, who had thought
ourselves so unique, had fallen into the same biological trap

(02:41:38):
as every mindless running creature which ever existed. The road
took us along the southern slopes of ben Kruken until
we began to catch glimpses of the gray Atlantic far ahead.
I had just cut our speed to absorb the view
better when I noticed the signs spike to a gate
post that said slow glass quality, high prices low jr.

Speaker 22 (02:41:59):
Haha.

Speaker 33 (02:42:01):
On an impulse, I stopped the car on the verge,
wincing slightly as tough grasses whipped noisily at the bodywork.
Why have we stopped? Selena's neat smoke. Silverhead turned in surprise.
Look at the sign. Let's go up and see what's there.
The stuff might be reasonably priced out here. Selena's voice

(02:42:22):
was pitched high with scorn as she refused. But I
was too taken with my idea to listen. I had
an illogical conviction that doing something extravagant and crazy would
set us right again. Joey said, come on, the exercise
might do us some good. We've been driving too long anyway.
She shrugged in a way that hurt me and got
out of the car.

Speaker 2 (02:42:43):
We walked up the.

Speaker 33 (02:42:44):
Path of irregular packed clay steps nosed with short lengths
of sapling.

Speaker 2 (02:42:49):
The path curved through.

Speaker 33 (02:42:50):
Trees which clothed the edge of the hill, and at
its end we found a low farmhouse. Beyond the little
stone building, tall frames of low glass gazed out towards
the voice, still in sight of Crooken's ponderous descent towards
the waters of wach Linney. Most of the panes were
perfectly transparent, but a few were dark, like panels of

(02:43:12):
polished ebony. As we approached the house through a neat
coppled yard, A tall, middle aged man in ash colored
tweeds arose and waved to us. He had been sitting
on the low rubble wall that bounded the yard, smoking
a pipe and staring towards the house. At the front
window of the cottage, a young woman in a tangerine
dress stood with a small boy in her arms, but

(02:43:33):
she turned uninterestedly and moved out of sight. As we
drew near mister Hagen, I guessed, correct, come to see
some glass?

Speaker 4 (02:43:42):
Have you well?

Speaker 33 (02:43:43):
You've come to the right place. Hagen spoke crisply, with
traces of a pure Highland accent that sounds so much
like Irish to the unaccustomed deer. He had one of
those calmly dismayed faces that one finds on elderly rolled
menders and philosophers. I told him, yes, we're on holiday
and we saw your sign. Selena, who usually has a

(02:44:05):
natural fluency with strangers, said nothing. She was looking towards
the now empty window with what I thought was a
slightly puzzled expression. Up from London. Are you well, As
I said, You've come to the right place and at
the right time too. My wife, and I don't see
many people this early in the season, I laughed, Well,

(02:44:26):
does that mean we might be able to buy a
little glass without mortgaging our home? Look at that now,
Hagen said, smiling helplessly. I've thrown away any advantage I
might have in the transaction. Rose, that's my wife, says,
I never learn. Yeah, still, let's sit down and talk
it over. He pointed at the rubble walled and glanced
doubtfully at Selena's immaculate blue skirt. Wait till I fetch

(02:44:51):
your rug from the house. Hagen winked quickly into the cottage,
closing the door behind him.

Speaker 58 (02:44:58):
Ah.

Speaker 33 (02:44:58):
Perhaps it wasn't such a marveless idea to come up here,
I said to Selena. But you might at least be
pleasant to the man. I think I can smell a bargain,
some hope, she said, with deliberate coarseness. Surely even you
must have noticed that ancient dress his wife was wearing.
He won't give much away to strangers.

Speaker 4 (02:45:21):
Was that his wife?

Speaker 33 (02:45:23):
Of course?

Speaker 4 (02:45:23):
That was his wife? Very well.

Speaker 33 (02:45:26):
Anyway, Selena tried to be civil with him. I don't
I don't want to be embarrassed, Selena snorted, but she
smiled whitely when Hagen reappeared, and I relaxed a little
strange how a man can love a woman and yet
at the same time pray for her to fall under
a train. Hagen spread a tartan blanket on the wall,

(02:45:47):
and we sat down, feeling slightly self conscious at having
been translated from our city oriented lives into a world tableau.
On the distant slight of the lock, beyond the watchful
frames of slow glass, a slow moving steamer drew a
white line towards the south. The boisterous mountain air seemed
almost to invade our lungs, giving us more oxygen than

(02:46:09):
we required. Hagen said, some of the glass farmers around
here they give strangers such as yourselves a sales talk
about how beautiful the autumn is in this part of Vargill,
or it might be the spring or the winter. I
don't do that. Any fool knows of a place which

(02:46:29):
doesn't look right in summer, never looks right. And what
do you say, I nodded compliantly. Aye, I want you
to take a good look out towards morrow, mister Garland,
and mister Garland, that's what you're buying. If you buy
my glass, and it never looks better than it does
at this minute. The glass is in perfect phase. None

(02:46:53):
of it is less than ten years thick, and a
four foot window will cost you two hundred pounds ones
two hundred. Selena was shocked. Two hundred that's as much
as they charged at the Sindo shop in Bond Street.
Hagen smiled patiently, and then looked closely at me to

(02:47:13):
see if I knew enough about slow class to appreciate
what he had been saying. His price had been much
higher than I had hoped, but ten years thick. The
cheap class one found in places like the Vista Plex
and painal Ramas stories usually consisted of a quarter of
an inch of ordinary class faced with a veneer of
slow glass, was perhaps only ten or twelve months thick.

(02:47:40):
You don't understand, Darling, I said, already determined to buy.
This class will last ten years and it's in phase.
Doesn't that only mean it keeps time? Hagen smiled at her, again,
realizing he had no further necessity to bother with me.
Only you say, pardon me, missus Garland, But you don't

(02:48:00):
seem to appreciate the miracle the genuine, honest to goodness
miracle of engineering precision needed to produce a piece of
glass and face. When I say the glass is ten
years thick, it means it takes light ten years to
pass through it. In effect, each one of those panes
is ten light years thick, more than twice the distance

(02:48:23):
to the nearest star, so variation and actual thickness of
only a millionth of an inch wood. He stopped talking
for a moment and sat quietly, looking towards the house.
I turned my head from the view of the lock
and saw the young woman standing at the window again.
Hagen's eyes were filled with a kind of greedy reverence,

(02:48:45):
which made me feel uncomfortable and at the same time
convinced me Selina had been wrong. In my experienced husbands
never looked at wives that way, at least not their own.
The girl remained in view for a few seconds' dress
glowing warmly, and then moved back into the room. Suddenly

(02:49:07):
I received a distinct, though inexplicable impression she was blind.
My feeling was that Selena and I were perhaps blundering
through an emotional interplace as violent as our own. I'm sorry,
continued Hagen, I thought Rose was going to call me
for something.

Speaker 4 (02:49:26):
Now, where was I?

Speaker 33 (02:49:27):
Missus? Garland ten light years compressed into a quarter of
an inch means I ceased to listen, partly because I
was already sold, partly because I had heard the story
of slow glass many times before and had never yet
understood the principles involved. An acquaintance with scientific training at

(02:49:50):
once tried to be helpful by telling me to visualize
a pane of slow glass as a hologram which did
not need a coherent light from a laser for the
reconst stitution of its visual information, and in which every
photon of ordinary light passed through a spiral tunnel coiled
outside the radius of capture of each atom in the glass.

(02:50:10):
This gem to me incomprehensibility, but only told me nothing.
It convinced me once again that a mind as non
technical as mine should concern itself less with causes than effects.
The most important effect, in the eyes of the average
individual was that light took a long time to pass

(02:50:30):
through a sheet of slow glass. A new piece was
always jet black because well nothing had yet come through.
But one could stand the glass beside, say a woodland lake,
until the scene emerged maybe a year later. If the
glass was then removed and installed in a dismal city flat,

(02:50:50):
the flat would for that year appear to overlook the
woodland lake. During the year, it wouldn't be merely a
very realistic but picture. The water would ripple in sunlight,
Silent animals would come to drink, birds would cross the sky.
Night would follow day, season would follow season, until one
day a year later, the beauty held in the subatomic

(02:51:14):
pipelines would be exhausted in the familiar gray city scape
would reappear. Apart from its stupendous novelty value, the commercial
success of slow glass was founded on the fact that
having a sindough was the exact emotional equivalent of owning land.
The meanest cave dweller could look out on misty parks,

(02:51:36):
and who was to say they want his. A man
who really owns tailored gardens and estates doesn't spend his
time proving his ownership by crawling on his ground, feeling, smelling,
tasting it. All he receives from the land are light patterns,
and would seeing those those patterns could be taken into
coal mines, submarines, prison cells. On several occasions, I've I've

(02:51:59):
tried to write short pieces about the enchanted crystal, But
to me the theme is so ineffably poetic as to
be paradoxically beyond the reach of poetry mine at any rate. Besides,
the best songs and verse had already been written with
questioning inspiration. But men who had died long before slow

(02:52:19):
glass was discovered. I had no hope of equaling. For example,
Moore with his oft in the stilly night ere Slumber's
chain has bound me. Fond memory brings the light of
other days around me. It took only a few years
for slow glass to develop from a scientific curiosity to

(02:52:43):
a sizable industry, and much to the astonishment of we poets,
those of us who remain convinced that beauty lives though
the least die. The trappings of that industry were no
different from those of any other. There were good sing
those that cost a lot of money, and there were
inferior seeing those which cost rather less. The thickness measured

(02:53:06):
in years was an important factor in the cost, but
there was also the question of actual thickness or phase.
Even with the most sophisticated engineering techniques available, thickness control
or something of a hidden misaffair. A coarse discrepancy could
mean that a pain intended to be five years thick

(02:53:27):
might be five and a half, so that light which
entered in summer emerged in winter. A fine discrepancy could
mean that noon sunshine emerged at midnight. These incompatibilities had
their peculiar charm. Many night workers, for example, liked having
their own private time zones, but in general it cost

(02:53:47):
more to buy seeing those which kept closely in step
with real time. Selena still looked unconvinced. When Hagen had
finished speaking, she shook her head, almost imperceptible, and I
knew he had been using the wrong approach. Quite suddenly,
the pewter helmet of her hair was disturbed by a
cool gust of wind, and huge, clean, tumbling drops of

(02:54:09):
rain began to spang around us from an almost cloudless sky.
I'll give you a check now, I said abruptly, and
saw Selena's green eyes triangulate angrily on my face. You
can arrange delivery. Ah, delivery is no problem, said Hagen,

(02:54:29):
getting to his feet. But wouldn't you rather take the
glass with you? Well, yeah, if you don't mind. I
was shamed by his readiness to trust my script. I'll
and clip the pane for you.

Speaker 4 (02:54:43):
Wait here.

Speaker 33 (02:54:43):
It won't take long to slip it into a carrying frame.
Hagen limped down the slope toward the syriet windows, through
which some of the view towards Lenny was sunny, while
others were clotty, and a few pure black. Selena that
drew the the collar of her blouse clothed at her throat.

(02:55:04):
The least he could have done was invite us inside.
There can't be so many fools passing through that he
can afford to neglect them. I tried to ignore the
insult and concentrated on writing the check. One of the
outside drops broke across my knuckles, splattering the bank paper.
All right, now, let's move in under the eaves till

(02:55:25):
he gets back, you worm, I thought, as I felt
the whole thing go completely wrong. I just had to
be a fool to marry you, a prize fool, a
fool's fool, And now that you've trapped part of me
inside you, I'll never ever, never, ever, never ever get away.

(02:55:49):
Feeling my stomach clench itself painfully, I ran behind Selena
to the side of the cottage beyond the window. The
neat living room with its coal fire, was empty, but
the child's toys were scattered on the floor, alphabet blocks
and the wheelbarrow the exact color of freshly paired carrots.
As I stared in, the boy came running from the

(02:56:10):
other room and began kicking the blocks. He didn't notice me.
A few moments later, the young woman entered the room
and lifted him, laughing easily and wholeheartedly. As she swung
the boy under her arm. She came to the window
as she had done earlier. I smiled self consciously, but
neither she nor the child responded. My farhad prickled icily.

(02:56:32):
Could they both be blind? I saddled away. Selena gave
a little scream, and I spun towards her the rug.
It's getting soaked. She ran across the yard, and the
rein snatched the reddish square from the dappling wall and
ran back towards the cottage door. Something heaved convulsively in
my subconscious and I shouted, Selena, don't open it. But

(02:56:56):
I was too late. She had pushed open the latched
wooden door and was standing hand over mouth looking into
the cottage. I moved close to her and took the
rug from her unresisting fingers. As I was closing the door,
I let my eyes traverse the cottage's interior. The neat
living room in which I had just seen the woman

(02:57:17):
and child was in reality a sickening clutter of shabby furniture,
old newspapers, cast off clothing, smearred dishes. It was damp, stinking,
utterly deserted. The only object I recognized from my view
through the window was the little wheelbarrow, paintless and broken.

(02:57:39):
I latched the door firmly and ordered myself to forget
what I had seen. Some men who live alone are
good housekeepers. Others just don't know how Selina's face was white.
I don't understand. I don't understand it. Slow glass works

(02:58:01):
both ways, I said gently. Light passes out of a
house as well as in. You mean, I don't know.
It's not our business. Now, steady up, Hagen's coming back
with our glass. The churning in my stomach was beginning

(02:58:22):
to subside. Hagen came into the yard carrying an oblong
plastic covered frame. I held the check out to him,
but he was staring at Selena's face. He seemed to
know immediately that our uncomprehending fingers had rummaged through his soul.
Selena avoided his gaze. She was old and ill, looking

(02:58:44):
in her eyes, stared determinedly towards the nearing horizon. I'll
take the rug from you, mister Garland. Hagen finally said,
you shouldn't have troubled yourself over it. Oh, no trouble.
Here's a check. Thank you. He was still looking at

(02:59:06):
Selena with a strange kind of supplication. It's been a
pleasure to do business with you. The pleasure was mine.
I picked up the heavy frame and guided Selena towards
the path which led to the road. Just as we
reached the head of the now slippery steps, Hagen spoke again,

(02:59:30):
mister Garland. I turned unwillingly. Mister Garland, it wasn't my fault.
A hit and run driver got them both down on
the aubaonn road six years ago. My boy was only
seven when it happened. I am entitled to keep something.

(02:59:57):
I nodded wordlessly and moved on path, holding my wife
close to me, treasuring the feel of her arms locked
around me. At the bend, I looked back through the rain,
and saw Hagen sitting with squared shoulders on the wall
where we had first seen him. He was looking at

(03:00:18):
the house, but I was unable to tell if there
was anyone at the window. The title of our story,

(03:01:01):
This Time There's Light of Other Days, written by Bob Shaw.
It first appeared in Analog in nineteen sixty six, and
as we printed in World's Best Science Fiction nineteen sixty seven.
This is Michael Hanson speaking technical production for Mindwebs by
Leslie Hilsenhoff. Mind Webbs comes to you from WHA Radio

(03:01:26):
in Madison, a service of University of Wisconsin Extension.

Speaker 4 (03:01:44):
Tonight we follow the eminent retired actor and amateur criminologist
Wreck Day Star, as he and his niece, the Broadway
colonist Joan Adams, go to an artist colony in Maine
to spend the peaceful vacation and find that death is
no respector of peaceful ambition. It is late morning of
a clear July day, and we find Rex and Joan

(03:02:04):
hurrying along the quaintu and colorful main street of the
tiny town.

Speaker 11 (03:02:08):
Jo and I cannot persuade you to give up this
fantastic idea. You don't know the first thing about sketching.

Speaker 38 (03:02:13):
I don't have to.

Speaker 19 (03:02:14):
I'm full of inspiration. Oh, here's Jonathan Vixby's art supply store.
Let's get that sketching pad and pencils wreck before we
go in one table too.

Speaker 11 (03:02:24):
If you'll forget your female divint listen.

Speaker 19 (03:02:28):
If Jonathan gets off on a favorite subject, you know
he thinks all artists are bad, don't argue with him.
I don't want to lose a minute before getting to work.
I feel genius pounding at my temples.

Speaker 11 (03:02:39):
Over doesn't give you.

Speaker 19 (03:02:40):
A headache, Hello Jonathan, Oh, good.

Speaker 14 (03:02:46):
Dear.

Speaker 11 (03:02:47):
Perhaps you won't be when you learn what's just happened
to my knees.

Speaker 19 (03:02:50):
Don't pay any attention, Jonathan. Uncle Wrexh just doesn't understand
the impulse.

Speaker 11 (03:02:54):
To create beauty?

Speaker 63 (03:02:55):
Have you got it, miss Adams?

Speaker 19 (03:02:56):
Powerfully? All I need is a sketching and pencils.

Speaker 11 (03:03:01):
Oh, I'm sorry to hear that, Miss Adams. I got
thinking that you were different from the strangers that have
sullied disrespectable town.

Speaker 15 (03:03:08):
Oh.

Speaker 11 (03:03:09):
I don't hate him, Miss I feel sorry for him
heading for perdition. I have to make a living.

Speaker 19 (03:03:15):
Thank goodness, you've come around to that. Now about the
catching pad and pencil.

Speaker 11 (03:03:20):
Yes, all right, miss Adams. Oh, by the way, did
you print that piece I give you for your column?

Speaker 19 (03:03:25):
Oh, for pity's sake, Jonathan, I forgot all about it. Oh,
just a bit of candle.

Speaker 11 (03:03:30):
But Jonathan picked up about what here's the pad and pencils?

Speaker 28 (03:03:36):
Well, what's the matter at a.

Speaker 17 (03:03:39):
Well?

Speaker 45 (03:03:39):
Stop crying and tell me.

Speaker 64 (03:03:41):
I was walking along the beach and I came to
the pot that's deserted, a needle standing there. So I
walked over and they're on the beaches, face there and
the sand was the illustrator.

Speaker 8 (03:03:52):
Yes, he was murdered.

Speaker 11 (03:04:04):
Well there's the evil and there's Mark Turner's body too.
I'm glad at the upside ground again.

Speaker 19 (03:04:10):
Now Annabel knew that Mark has been murdered.

Speaker 11 (03:04:12):
Reg must have been some evidence, and there it is.
What this wire around his neck?

Speaker 9 (03:04:19):
How awful? And why should anybody want to kill Mark?
He minded his own business.

Speaker 19 (03:04:25):
I don't know, Oh, but I do.

Speaker 11 (03:04:28):
What do you mean you don't?

Speaker 15 (03:04:29):
But you do?

Speaker 19 (03:04:30):
You remember Jonathan asking me about a piece that he
gave me.

Speaker 37 (03:04:32):
My column with.

Speaker 11 (03:04:33):
What's that to do with a murder? Everything?

Speaker 19 (03:04:35):
Perhaps I'll tell you about it and you can draw
your own conclusions. First, you know that Mark married for
Lice Morgan about five years ago.

Speaker 11 (03:04:42):
Of course, Please used to be a secretary, and she
and Mark were incurably.

Speaker 19 (03:04:45):
Have to They weren't, according to Jonathan Police, and Mark
has been on the outs for more than a year.

Speaker 11 (03:04:50):
I don't believe it. There were two of the most
loving lovebirds I've ever seen, and.

Speaker 19 (03:04:54):
My dear uncle to protect Mark's parents. Actually, Pelice is
madly in love with Paul Bradford the play right now.

Speaker 11 (03:05:00):
Look here, Joe and I know Paul brad patuon and
if anything like that had been going on, I'd.

Speaker 19 (03:05:04):
Have seen it. Maybe maybe not at any rate. Johnathan's
story goes like this, Belief wanted a divorce from Mark
so she could marry Paul.

Speaker 17 (03:05:13):
I can't believe.

Speaker 19 (03:05:14):
Well, Mark would have none of it, naturally, and then
False and Paul were furious not to mention it. Frustrated.
Where did Jonathan pick up that fabulous you are? Paul
told him the other night he came into Jonathan's store
drunk and said he had to talk to somebody he could.

Speaker 11 (03:05:28):
Truck and somebody could trust.

Speaker 19 (03:05:30):
Say that's beside the point wreck marked and murdered. What
do we do about finding the murderer?

Speaker 11 (03:05:36):
Well, I suppose I'd have to give that fable some credence.
Come on, we'll find back in the town and have
a talk with the writer. No sign of him, Joan No.

Speaker 19 (03:05:53):
I searched the whole cottage. Paul has found the coop.

Speaker 11 (03:05:57):
I was hoping it wouldn't be true about the garage gone.
Everything points to a quick getaway.

Speaker 19 (03:06:02):
This time he must be miles away.

Speaker 11 (03:06:04):
I don't think so. Why did Paul kill Mark Turner.

Speaker 19 (03:06:09):
To get police Mark's wife? But I told you that story?

Speaker 11 (03:06:14):
Would he run away without calling on the fair felice
whose hand he blooded his own?

Speaker 19 (03:06:21):
Hey, you've got something there, uncle, and I think I have.
What are we waiting for? The cottage is just down
the street. Now, after rect let's open the door and
rush the nurse. Still one of them, dear, look over

(03:06:49):
there by the window. Good heaven, Philip.

Speaker 4 (03:06:53):
Dead?

Speaker 19 (03:06:55):
Is that pict your wire around her neck? I should
all killed police too. I don't know, John, see who
it may concerns?

Speaker 15 (03:07:12):
What?

Speaker 19 (03:07:12):
This is really a bad typing job?

Speaker 11 (03:07:14):
Boys, I've ever seen obviously done bin amateur ricks.

Speaker 19 (03:07:19):
This is a suicide note, and it tells the whole story.
Felice strangled her husband Mark Turner with a picture while
while he was doing an oil on the beach. She
had to get rid of them so she could marry
Paul Bradford. But when she told Paul what she'd done
for him, the ingrate refused to have anything to do
with her. Police couldn't go on living, and so she

(03:07:40):
killed herself in the same way she killed Mark. Well,
this solves our case. Wreck not quite.

Speaker 11 (03:07:48):
There's some paintings on these walls that might fascinat your
What kind a woman with her face cut off for
her fake?

Speaker 19 (03:07:54):
Are you kidding? Look at those paintings. How many's cut
off all faces?

Speaker 11 (03:08:00):
That's what I said, Remember, but why would anybody want
to do that?

Speaker 38 (03:08:04):
I don't know.

Speaker 11 (03:08:06):
I'm going to have a look around the studio. I'd
like to know who the woman in those paintings is.

Speaker 19 (03:08:10):
How do you know it's the same woman?

Speaker 11 (03:08:12):
John, you've got a birthmark or sip of a brush.

Speaker 19 (03:08:16):
It's a brutemark. Greg, It's on each picture in the
same place.

Speaker 37 (03:08:21):
Ah, do you find to.

Speaker 11 (03:08:22):
Me only the answer? My dear, Yes, this canvas is
standing against the wall, evingly overlooked.

Speaker 19 (03:08:27):
Has he got a Penny on it.

Speaker 11 (03:08:29):
Uh, it's a picture.

Speaker 19 (03:08:30):
Annabelle, Annabel Annabel Bikesy, Jonathan's daughter.

Speaker 11 (03:08:35):
Correct, Joan, and that tell tale birthmark hasn't moved an inch.

Speaker 19 (03:08:40):
But I don't understand.

Speaker 11 (03:08:41):
When we don't understand, Joan, we must look for an explanation.

Speaker 19 (03:08:54):
Where's Jonathan. I guess he must be in the back
room of the store.

Speaker 3 (03:08:57):
I'll tell him.

Speaker 11 (03:08:59):
Why was like in the back closer?

Speaker 3 (03:09:02):
Yeah?

Speaker 40 (03:09:03):
And I don't take it to heart.

Speaker 45 (03:09:05):
He wasn't your kind anyway.

Speaker 15 (03:09:07):
I love he loved me.

Speaker 38 (03:09:09):
I don't know it.

Speaker 40 (03:09:10):
Did it would have come to no good daughter?

Speaker 19 (03:09:12):
How can you say that?

Speaker 15 (03:09:14):
What promise to marry me?

Speaker 30 (03:09:16):
He was going to divorce his wife. He wasn't going
to marry me.

Speaker 11 (03:09:22):
All things.

Speaker 51 (03:09:25):
He wasn't lying to me.

Speaker 30 (03:09:26):
Only yesterday made he promised to wait for him.

Speaker 15 (03:09:31):
Any day we get married.

Speaker 30 (03:09:33):
We're going to live in New York.

Speaker 40 (03:09:34):
He was not aiming to get a divorce from his wife.

Speaker 1 (03:09:36):
And I can prove it.

Speaker 11 (03:09:37):
Paul Bradford told me all about it. This is Turner
wanted the divorce so she.

Speaker 57 (03:09:41):
Could marry mister Bradford.

Speaker 11 (03:09:43):
But mister Turner wouldn't give it to her our spite,
so missus Turner.

Speaker 12 (03:09:47):
Had to kill her husband to get rid of him.

Speaker 11 (03:09:49):
That's what happened, Annabel, Oh.

Speaker 15 (03:09:51):
Do not help me.

Speaker 19 (03:09:52):
It isn't putting on a beautiful accround.

Speaker 11 (03:09:55):
I'm going We're going to the back rover the captain.

Speaker 19 (03:09:57):
It will be a pleasure, imagine that, Annabel, given that
the running around.

Speaker 11 (03:10:01):
Hello Jonathan, Oh, mister, I didn't hear you come in, Annabelle,
And I was just having a little contuching enough to
be a second act curtain. But the third act, I'm
afraid will have to be played in the Sheriff's office.
The Sheriff's office. Yes, Jonathan, before you take a bow,
let me tell you your exit will be permanent.

Speaker 19 (03:10:33):
Rex, will you sit still? Please? And how can I
sketch you if you keep fidgeting like a Mexican jumping.

Speaker 11 (03:10:39):
When I'm restless what he's arrested about? Aren't you interested
in knowing how I follow the mystery?

Speaker 19 (03:10:44):
But you told me, uncle reg it's still You told
me that Jonathan was afraid that Mark was churning Annabel's head.
Now when he found out that Mark was using her
as a model, Jonathan dead is to save his daughter
from that state worse than debt.

Speaker 11 (03:11:00):
Your memory amazes me.

Speaker 19 (03:11:02):
Oh, Jonathan paulo Mark at the beach and kind of him.
Then he went to police's cottage. And Rick, how did
you know that police didn't commit to.

Speaker 11 (03:11:16):
You because she didn't type that note? Remember how badly
typed it was?

Speaker 4 (03:11:21):
Yes?

Speaker 11 (03:11:21):
Well, police was mark secretary before he Nina.

Speaker 19 (03:11:25):
And Paul Bradford is a writer and also an expert
in herd, so it couldn't have been him or Pully.

Speaker 11 (03:11:31):
You reason well, my dear, But how did you.

Speaker 19 (03:11:34):
Know Annabel wasn't the murderer?

Speaker 11 (03:11:36):
She had the motive. Yes, but Jonathan gave himself away
when he told Annabel that police had to kill Mark
in order to get rid of him. We thought that too, now,
didn't we? Yeah, but we were the only living people
who read that fake suicide note. We only picture why
a murderer who wrote it? Oh tricky, aren't you.

Speaker 23 (03:11:56):
All right?

Speaker 18 (03:11:56):
Rick?

Speaker 19 (03:11:57):
Let's get on with the sketch.

Speaker 11 (03:11:59):
What do you expect to do with that masterpiece if
you ever finished? Hang it up on the wall with
picture wire? Why, unclerect your horn. You've just murdered the
genius in me.

Speaker 4 (03:12:19):
And our ladies and gentlemen. Here are the details of
this week's Safety Limerick. Contest. Prizes consist of a fifty
dollars war bond and ten to five dollars cash prizes.
All you do is submit your idea of the most
original last line of our limerick and now are you ready?
Here we go, line by line. The first line is
Bill decided to take one more nip hill. He signed good,

(03:12:41):
take one or nip before driving his car on a.

Speaker 65 (03:12:47):
Trip before driving, but that one extra snort, But that
one extra snort cut his trip extra short, cut his
trip extra short.

Speaker 4 (03:13:08):
Da da da da da to dip. Remember the last
line rhymes with nip and trip. Repeat the limerick again.
Bill decided to take one more nip before driving his
car on the trip, but that one extra snort cut
his trip extra short. Dadad dada the dip. Now, I'll
send your most original concluding line or lines to the
National Safety Council, Chicago six, Illinois before midnight Monday, August fourteenth.

(03:13:32):
Admit as many last lines as you like. The decision
of the judges is final. All entries become the property
of the National Safety Council. Dufficate prizes will be awarded
in case of a tie and winners will be announced
on August twenty four, and I'll hear are the winners
of the National Farm Safety Week Limerick Contest. Winners of
five dollar cash prizes are Thomas H. Larkin of Milwaukee.

(03:13:56):
Missus Jean Winegarden Van Nest, New York. Robert Trafollett Toledo,
Missus Mary Pearson Chicago, Missus Virginia, Jay Holiday, Madison, Wisconsin,
Missus less H. Leckner Robinsdale, Minnesota, Missus Sally Bennetfield de Cater, Illinois,
Miss Mary Sale Oklahoma City, Oklahoma, Charles Shapiro, Los Angeles,

(03:14:17):
and W. B Ackenbeck Munsey, Indiana. And the grand prize
winner of a fifty dollars war bond is Lawrence wolt Starton, Wisconsin.
Congratulations to you all. I invite you to join us

(03:14:45):
again next week at this same time for another of
our series, It's Murder.

Speaker 12 (03:14:50):
Tonight's story was written by steadmand Coles and.

Speaker 4 (03:14:53):
Directed by Stuart Buchanan. This is George Gunn speaking. This
is Blue Network.

Speaker 66 (03:15:09):
Mystery in the Air, starring Peter Laurie, presented by Camel Cigarettes.

Speaker 67 (03:15:30):
Ladies and Gentlemen. There are two kinds of stories. Those
you can take your bed with you, and relax you
and put your mind with these. And then then there's
the other kind. Our story tonight, it's the other kind.
I still do not know whether it was the shadow
of the madness to which the author himself so tragically succumbed,

(03:15:52):
or whether there really was an evil something that could
not be seen or described, or why don't you decide
for yourself simply going to tell you the facts in
the case is set forth, I agreed de Mopa.

Speaker 21 (03:16:04):
Song in his immortal story Horror.

Speaker 66 (03:16:23):
Each week at this hour, Peter Laurie brings us the
excitement of the great stories, of the strange and unusual,
of dark and compelling masterpieces culled from the four corners
of world literature. To night, the Horror by Demopa Song.

Speaker 68 (03:16:45):
Mystery and the Air, starring Peter Laurie, brought to you
by Camel. Cigarette experience is the best teacher. Try a camel.

(03:17:08):
Let your own experience tell you why more people are
smoking camels than ever before. Yes, let your tea zone
experience what it means to enjoy Camel's choice superbly blended tobaccos.
You know your tea zone, that's tea for taste, and
tee for throat is your true proving ground for any cigarette.

(03:17:29):
So try a camel. Discover whether that rich, full camel
flavor doesn't just hit the spot with your taste, whether
that cool camel mildness doesn't get along beautifully with your throat.
See if you too, don't say camels suit my tea
zone to a tea.

Speaker 21 (03:18:16):
May eighth, eighteen eighty nine. Oh, what a lovely day
it was.

Speaker 67 (03:18:25):
I spend all the morning lying in the grass in
front of my house, the house in which I was
born and grew up.

Speaker 21 (03:18:33):
Oh it's a wonderful house and I love it.

Speaker 67 (03:18:37):
From my windows I can see our great river, the Seine,
which flows along the.

Speaker 21 (03:18:42):
Side of my garden. Yes, the great white Seine.

Speaker 67 (03:18:48):
Which goes to Ruin and Lhaven and is covered by
boats passing to and fro he is. Down to the
left lies Ruane, and the whole city, dominated by the
spy off the cathedral, and full of bells which sound
through the air on fine days, even as far as
my home. Oh what a wonderful morning. I was almost

(03:19:14):
sorry when Marie, she's my housemaid, you know, when she
interrupted me.

Speaker 15 (03:19:19):
Your luncheon is ready, missy.

Speaker 67 (03:19:21):
Oh thank you, Marie, But you know it seems a
pity to go in a house. Say do you like
it here, Marie?

Speaker 15 (03:19:28):
Oh, yes, sir, I like it very much. I love
to watch the boats go by on the scene.

Speaker 1 (03:19:36):
You do, huh?

Speaker 45 (03:19:37):
So do I see that one, that big schooner, and
it's being pulled by Look what a little tug.

Speaker 1 (03:19:44):
Oh look, it's no bigger than a fly.

Speaker 47 (03:19:47):
I am it beautiful? So clean and white, shine, all white. Yes,
and she's a three master. You know Brazilian? I think, yes, uh, yes,
I can see the flag. It is Brazilian.

Speaker 67 (03:20:00):
Oh, she's had a long journey from South America to
pass my house.

Speaker 15 (03:20:04):
You love this place very much, don't you miss you?

Speaker 1 (03:20:07):
It's Maria, I love it.

Speaker 67 (03:20:10):
I can feel those deep roots which attach a man
to the soil on which his ancestors were born and died,
and to the villagers, yes, to the atmosphere itself.

Speaker 45 (03:20:23):
You don't know what I'm talking about, Marie, but I do.

Speaker 15 (03:20:27):
Know that if you don't come into the house soon,
your luncheon will be cold.

Speaker 1 (03:20:31):
All right, all right, Maria, come in.

Speaker 21 (03:20:55):
May twelve.

Speaker 67 (03:20:58):
For some reason, I've had a slight feverish attack the
last few days. And I feel low spirited in neonine,
I have continually a horrible feeling of impending danger, an
apprehension of some coming misfortune, or of approaching death. I've
never experienced anything like this before. If it continues, I

(03:21:21):
think I'll have to see my doctor.

Speaker 13 (03:21:28):
Look, I've told you your pulse is rather than your
eyes are slightly dilated.

Speaker 12 (03:21:32):
Otherwise you're in splendid conditions.

Speaker 67 (03:21:34):
But doctor, then, why is it when evening comes on,
a feeling of oppression sees in me, just just as
if night conceived something horrible?

Speaker 1 (03:21:42):
Why is that probably just a slight attack of indigestion?

Speaker 45 (03:21:45):
Yes, yes, indigestion.

Speaker 67 (03:21:47):
Yesterday, when I was walking in a forest of room ah,
why did it suddenly seem to me that I was
being followed and that someone was walking at my heels, close,
quite close to me.

Speaker 12 (03:21:57):
He was near enough to touch me.

Speaker 45 (03:21:58):
And yet yet when I turn and around, I saw nothing,
nothing behind me but the path between the tall.

Speaker 67 (03:22:04):
Trees horribly empty. Clus Can you explain that by indigestion?

Speaker 45 (03:22:08):
Can you hunt?

Speaker 16 (03:22:09):
Well, here's a bromide, if you'll take it in several
coal showers daily.

Speaker 4 (03:22:13):
I'm sure your fears are bad.

Speaker 1 (03:22:15):
Yes, and you'll be able to sleep without any further trouble.

Speaker 45 (03:22:17):
All right, doctor, thank you very much.

Speaker 21 (03:22:33):
Who is there, Marie?

Speaker 45 (03:22:36):
Just a moment, just a moment, Yes.

Speaker 15 (03:22:41):
Are you all right? Screaming and calling off?

Speaker 45 (03:22:44):
I'm sorry, I having a night, ma'am. Look if you
dreamed that someone was looking at you and touching you
and taking your neck in his hands and squeezing it,
squeezing with all his might in order to strang you,
don't you think you would cry out.

Speaker 15 (03:22:59):
To Yes, sir, I'm sure I should.

Speaker 16 (03:23:01):
She all right.

Speaker 45 (03:23:02):
Just tell the other servants.

Speaker 21 (03:23:03):
I shall try to be more quiet.

Speaker 15 (03:23:05):
Yes, thank you, so good night.

Speaker 45 (03:23:07):
Hey look look, Mariema my water, cray, it was full.
I know it was full when I went to bed.

Speaker 15 (03:23:18):
Yes, sir, I feeled it last night.

Speaker 45 (03:23:20):
You know it's empty. I haven't touched it and it's empty.

Speaker 15 (03:23:24):
Yes, sir.

Speaker 45 (03:23:25):
Somebody has drunk the water. Somebody has has been in
his room. Somebody something drank that water.

Speaker 15 (03:23:37):
I don't know who could have said less? Perhaps you
yourself and your sleep.

Speaker 45 (03:23:40):
Yes, yes, I myself in my sleep.

Speaker 67 (03:23:43):
Of course, that's it. I must have done it myself,
Marie Murray. Tell them to pack my things.

Speaker 12 (03:23:48):
I'm going to Paris.

Speaker 45 (03:23:50):
I'm leaving the first thing.

Speaker 67 (03:23:51):
In the morning, July twelve, Paris, Paris. I must have

(03:24:15):
lost my head during the last few weeks, and oh,
my mental state board and a madness for I had believed, Yes,
I had believed that an invisible being lived beneath my room.
How stupid, how perfectly ridiculous it all seems. Now, yes,
twenty four hours in Paris have completely restored my equilibrium.

(03:24:38):
And tonight I am going to dine at the house
of my cousin, Madame Sablayan.

Speaker 45 (03:24:44):
Oh, doctor parent is going to be there.

Speaker 67 (03:24:46):
He's the famous specialist for nervous disorders, and I shall
ask him, and I'm sure he can finally put my
mind to thrust about this silly hallucination.

Speaker 45 (03:25:02):
But doctor Piantine, I've been wanting to ask you.

Speaker 67 (03:25:05):
Have you ever known of a case where a person
feels that he is how shall I put it, and
not entirely in command of his soul?

Speaker 1 (03:25:14):
It is curious that you should ask me that, as
it curious because now only.

Speaker 69 (03:25:19):
Now, in eighteen eighty nine, after all these years, we're
on the verge of discovering one of the most important
secrets of nature ever since man has thought he has
felt himself close to a mystery which has been impenetrable
to his gross and imperfect senses.

Speaker 35 (03:25:34):
Whatever are you talking about, doctor, apparitions.

Speaker 1 (03:25:37):
My dear Madame sablais invisible spirits?

Speaker 35 (03:25:41):
You doctor, You're always being mysterious, not at all.

Speaker 69 (03:25:45):
For more than a century now men seem to have
had a presentiment of something new. Mesmer and some others
have put us on an unexpected track, and we have
arrived at really surprising results.

Speaker 35 (03:25:56):
Oh, you're just trying to frighten not at all.

Speaker 1 (03:26:00):
If you think so, would you like me to try
to send you to sleep, madam?

Speaker 35 (03:26:03):
It would be a novel experience if you can do it,
and if.

Speaker 1 (03:26:08):
I can, it will answer your cousin's questions.

Speaker 69 (03:26:12):
Now, madam, if you were just sitting in this easy chair,
now you must let your mind go completely blank and
look fixedly into my eyes.

Speaker 1 (03:26:21):
Now you are going to sleep, to sleep. You're going
to sleep, sleep. Sleep. You see her eyes are becoming heavy,
her mud is pitching.

Speaker 4 (03:26:36):
Sleep.

Speaker 21 (03:26:37):
You have nothing but that don't plantice.

Speaker 45 (03:26:39):
It frightens me.

Speaker 21 (03:26:40):
Sleep.

Speaker 1 (03:26:45):
Yeah, now she is asleep. An easy subject. I must say.

Speaker 69 (03:26:49):
Now, if you will stand directly behind her chair. I
will proceed with the experiment. Now I hunt her an
ordinary passport visiting card. So now, Madame Sable, you holding
your hand a looking glass?

Speaker 35 (03:27:03):
Yes, I'm holding a looking glass.

Speaker 1 (03:27:08):
What do you see in it?

Speaker 35 (03:27:11):
I see my cousin standing behind my chair.

Speaker 21 (03:27:16):
What is he doing?

Speaker 45 (03:27:18):
He is twisting his ears, the doctor. She cannot see
me behind her by looking at a piece of cardboard.

Speaker 17 (03:27:25):
No, of course you can't.

Speaker 1 (03:27:27):
She sees her through her mind or someone's mind. This
troubles you, doesn't it. Yes, it troubles me. But it
answers your question.

Speaker 45 (03:27:39):
No, no it does not. That's common knowledge.

Speaker 21 (03:27:44):
Doctor.

Speaker 67 (03:27:44):
It's an axiom that human beings can be dominated by
human beings. But what if a human being is dominated
by something that, something else, I mean, something not human?

Speaker 21 (03:27:58):
What then, doctor.

Speaker 67 (03:28:00):
August six, I'm back at home. Yes, now, I know
it's useless to struggle.

Speaker 4 (03:28:20):
Useless.

Speaker 67 (03:28:21):
Somebody possesses my soul and dominates it. Somebody orders all
my acts, all my thoughts. I'm nothing except his slave
and a terrified spectator of all I do.

Speaker 12 (03:28:35):
Yes, But but who is he? This this invisible being
that that rules me?

Speaker 70 (03:28:42):
This, this unknoble spirit, this this grove for supernatural razy.

Speaker 45 (03:28:48):
He must have a name.

Speaker 19 (03:28:50):
I know he has.

Speaker 45 (03:28:52):
I feel it, I can feel it.

Speaker 21 (03:28:55):
Oh, someday, some day it will come to me.

Speaker 45 (03:29:00):
What if I only could leave my house and go
away in his cape and never never return.

Speaker 21 (03:29:07):
That is impostable. This, this being I cannot call by name.
He he will not let me. I am how pleasant?

Speaker 1 (03:29:20):
What can I do? What can I do?

Speaker 66 (03:29:41):
A few moments, mister Peter Laurie will bring us the
climax of Tonight's mystery in the air when Camels present
Act two of the Horror.

Speaker 68 (03:29:54):
Experience is the best teacher. Even thousands of years ago,
that was an old saying. Today, sports champions like polo
star Cecil Smith are living examples of its truth. Yes,
as you see Cecil Smith streak down the field, see
him hit a sixty yard backhand shot for the winning
goal of the game, you know it takes experience to

(03:30:14):
play polo like that.

Speaker 7 (03:30:16):
As Cecil Smith himself said.

Speaker 71 (03:30:18):
Experience is the best teacher in polo and in cigarettes too.
During the wartime cigarette shortage, I smoked any brand I
could get. Experience taught me how much I really appreciate camels.

Speaker 1 (03:30:31):
They suit me to.

Speaker 68 (03:30:32):
A t During the wartime cigarette shortage, people smoked whatever
brands they could get. Remember, yes, smokers compared the different brands,
whether they wanted to or not. People became experts in
judging the differences in cigarette quality, and on the basis
of that experience, more and more people discovered they preferred
the rich, full flavor of camels the cool, mildness of camels.

Speaker 72 (03:30:57):
As a result, more people are smoking camels than ever before.
Experience is the best teacher. Probably a camel yourself.

Speaker 66 (03:31:22):
Now back to de Monpoison's terrifying story of a man
obsessed by the idea that he is dominated by an
invisible being. Fear is ruining his life, the suspicion that
he is no longer master of his own actions, even
of his own soul, is rapidly becoming a certainty.

Speaker 45 (03:31:43):
So only two o'clock and the whole night is before me.
Oh huh, how still it is? And the stars, how
bright they are? Who inhabits those far away regions?

Speaker 12 (03:32:01):
And and what do they know that we do not know?

Speaker 67 (03:32:06):
Will not one of them some day appear on our
earth to conquer it? We are so weak, so so defenseless.

Speaker 16 (03:32:14):
And what was that.

Speaker 4 (03:32:18):
I heard?

Speaker 21 (03:32:19):
The rustle of paper. Yet there is no wind, absolutely
no wind.

Speaker 11 (03:32:27):
There.

Speaker 45 (03:32:29):
It's that book, yes, the one on a table under
the lamp. It's incredible. The page has turned. The page
lifted itself up and fell down upon the others, as
if a finger had turned it over. My armchair appears empty.

Speaker 21 (03:32:49):
But no, it is no, No, his is there. I
know he is setting in my place.

Speaker 17 (03:33:01):
He's reading.

Speaker 45 (03:33:04):
I can't stand it any longer.

Speaker 12 (03:33:06):
I'll grasp men.

Speaker 9 (03:33:10):
You ran away.

Speaker 70 (03:33:12):
He ran away before I for to reach me. He
ran away, and the window closed after him. He's afraid
of me. He's afraid of me.

Speaker 12 (03:33:25):
What do you call yourself?

Speaker 35 (03:33:26):
You'll you eaven save whatever it is, whatever it is.

Speaker 45 (03:33:30):
Someday, someday I'll catch you and and.

Speaker 35 (03:33:34):
Flash you in what what?

Speaker 19 (03:33:39):
We heard the noise, and we wondered not a night maybe.

Speaker 45 (03:33:43):
No, it's not a nightmare.

Speaker 59 (03:33:44):
I was awake, Tommy, Marie.

Speaker 45 (03:33:49):
Do you believe in in invisible things?

Speaker 12 (03:33:52):
Yes, invisible beings.

Speaker 45 (03:33:54):
To dominate you?

Speaker 46 (03:33:55):
Well?

Speaker 15 (03:33:56):
I read an article about that.

Speaker 63 (03:33:57):
Okay, what what did it say?

Speaker 15 (03:34:00):
Somewhere in Brazil, I think people are writing leaving their
houses saying they pursued by invisible beings which feed on
their life while they're asleep like vampires.

Speaker 45 (03:34:11):
You know, Maria, that is where he came from home, monsieur.
Don't you remember the day we saw that little tug
pulling that that big Brazilian school up the river. Yes,
remember she looked so white, all white, and and he
he was unborn. Yes, he came from there where his

(03:34:34):
ways originated. And and he saw me, and he saw
my white house and he sprang from the ship. Or no, no,
I understand, don't you don't you know, monsieur, don't no, no,
you couldn't it. It's all right, Marie. Go to bedda,

(03:34:56):
it's nothing wrong. Don't worry anymore, Go back to sleep. Yes,
now I know, how can I help?

Speaker 67 (03:35:16):
But knowing it's obvious, Yes, the rule of man is
open and he has come, he has arrived.

Speaker 21 (03:35:27):
But what is his name?

Speaker 45 (03:35:30):
What do you call yourself?

Speaker 21 (03:35:32):
What's that?

Speaker 9 (03:35:33):
Now?

Speaker 45 (03:35:34):
I know he's showing it out? Yes, yes, listening, huh la,
that's it is the horror. There's the hole. He haunts me.

Speaker 27 (03:35:50):
He is within me, He's becoming my soul like I
shall kill him, monsieur. Why the iron shutters on the
windows and.

Speaker 2 (03:36:08):
Door completely all right?

Speaker 66 (03:36:10):
No, why anybody wants half inch iron shutters in their
bedroom is more than I can see.

Speaker 7 (03:36:16):
Well, at least it'll keep everything.

Speaker 67 (03:36:18):
I don't want to keep things out. I want to
keep something in. Never mind, never mind. If you have finished,
you take your toes and go. My housekeeper will pay you.

Speaker 4 (03:36:27):
Yes, monsieur, goody, good day.

Speaker 21 (03:36:37):
Now I'm ready, Yes, tonight, he'll come tonight. I'm ready
for him. I am ready for him.

Speaker 4 (03:36:53):
Hm hmm.

Speaker 21 (03:36:55):
He's here. Yes, I feel.

Speaker 2 (03:36:59):
Classed.

Speaker 21 (03:37:00):
He's here.

Speaker 45 (03:37:00):
But well, I don't want toolarm am I how casually
closed the iron shutter, so so casually, as as if
I'm preparing for bed.

Speaker 67 (03:37:11):
And now I'll smart to close the iron doors as
if I'm shutting myself in for the night. But instead
of shutting myself in, I'll shut Yes, yes, it's downey,
he's inside. He turned on escape tunster as fast as

(03:37:36):
it's wrong.

Speaker 45 (03:37:39):
Good. The lamp is still burning. Good, yes, fire fire,
that'll dispose of him.

Speaker 1 (03:37:47):
Fire.

Speaker 45 (03:37:48):
Oh see the house is dry as tendered. I won't
take long. See the flames are reaching the ceiling already,
and i'd better get off before I burn myself up too.
Here is here, I can I can watch from here

(03:38:12):
how slow, how slow? The house is burning, don't you
suppose you?

Speaker 5 (03:38:18):
No?

Speaker 21 (03:38:19):
Oh gay, yes, okay, A.

Speaker 45 (03:38:23):
Tongue of flame lacking out on the top of the window,
and another and another, see it burn my house and
my beautiful house.

Speaker 70 (03:38:38):
And oh but it's more beautiful. It's not flames because
because he's in silence. And you'll burn two years and
I'll be free, free, free.

Speaker 12 (03:38:54):
Off the hall.

Speaker 57 (03:38:58):
The water for last turn.

Speaker 4 (03:39:01):
Turn.

Speaker 45 (03:39:04):
Now, the whole place is kind.

Speaker 9 (03:39:07):
Nothing, nothing can stop him.

Speaker 40 (03:39:10):
Let's bury, determine to the garage of the hell.

Speaker 12 (03:39:14):
Stand back on you. I came in, devil.

Speaker 40 (03:39:19):
We're gonna get some help.

Speaker 73 (03:39:22):
It's coliding up the whole country side from Monthster's beautiful
hue pie.

Speaker 12 (03:39:30):
And he's burning to.

Speaker 1 (03:39:33):
My grace, that new being, that new master, the whole.

Speaker 3 (03:39:43):
The u that's fall me.

Speaker 6 (03:39:45):
Don't ros fall.

Speaker 4 (03:40:00):
He is over.

Speaker 21 (03:40:02):
That is the end for him. He's dead.

Speaker 2 (03:40:10):
Is he dead?

Speaker 20 (03:40:12):
No?

Speaker 2 (03:40:14):
No?

Speaker 21 (03:40:16):
The spirit would never fear premature destruction.

Speaker 45 (03:40:21):
Only we fear it.

Speaker 21 (03:40:24):
All our human terror springs from that. And well, then
after man, what.

Speaker 16 (03:40:33):
The whole hairs.

Speaker 67 (03:40:35):
After us, who can die any day by any accident,
comes he who can die only at his own proper hour.
Because he has touched the limits of his existence.

Speaker 17 (03:40:51):
No, he is not dead.

Speaker 21 (03:40:54):
What can I do?

Speaker 2 (03:40:56):
What can I do?

Speaker 21 (03:41:00):
There's one thing I can do. I can destroy myself.

Speaker 70 (03:41:05):
Yes, yes, yes, I must destroy myself. I'm going to
destroy destrive.

Speaker 4 (03:41:16):
This.

Speaker 12 (03:41:19):
I love me, don't YadA?

Speaker 73 (03:41:22):
I know, I mean Lord, I know. I know it's
a story. I know it's by the mob person. Yes,
I know, it's thirsty night and we are on the air.

Speaker 48 (03:41:33):
But it's the horror.

Speaker 67 (03:41:40):
Oh, I beg your pardner. I'm sorry I got too excited,
but I warned you at the beginning. It it's a
very uncomfortable story.

Speaker 74 (03:42:12):
Each week, the makers of Camel cigarettes and Pree camels
to servicemen's hospitals from coast to coast. This week, the
camels go to Veterans Hospital, Northampton, Massachusetts, USAAF Station Hospital,
Boca Ratonefield, Florida, US Naval Hospital Bremerton, Washington, US Marine Hospital, Galveston, Texas,
and Veterans Hospital, Augusta, Georgia.

Speaker 72 (03:42:32):
According to a nationwide survey, more doctors smoke Camel's than
any other cigarette.

Speaker 75 (03:42:39):
One hundred thirteen thousand, five hundred and ninety seven doctors
living in every state in America were questioned by three
leading independent research organizations. What cigarette to U smoke doctor
was asked. The brand name most was Camel.

Speaker 66 (03:43:00):
Next Week Mystery in the Air starring mister Peter Laurie,
brings you beyond Good and Evil by Ben Hecht with
a special musical score composed and conducted by Paul Baron.

Speaker 72 (03:43:22):
Mister pipe smoker, do you know why more pipe smoked
Prince Albert than any other tobacco?

Speaker 7 (03:43:27):
Well, just try a pipe full then you'll know.

Speaker 72 (03:43:30):
Just taste the extra rich, full flavor of PA's choice tobacco.
See if you don't prefer Prince Albert's cool mildness, Prince
Albert is specially treated to ensure against tongue bite, prim
cut the burn, slow smoke cool. Yes, Prince Albert is
specially made for smoking pleasure. See if you don't enjoy
your pipe more with Prince Albert, be sure to listen

(03:43:52):
to Prince Albert's Grand ol Opry Saturday Night for a
half hour of folk songs in humor with Red fully
Minie Pearl, Rod Brassfield and the rest of the Opry
Gang and his Red Special guests. Those musical dining sisters.
Remember Prince Albert's Grand Ole Opry Saturday Night over NBC.

(03:44:21):
Listen again next week at this same time when the
makers of Camel's Cigarettes present mister Peter Laurie in Mystery
in the Air.

Speaker 1 (03:44:28):
Next week's play will be.

Speaker 68 (03:44:29):
Beyond Good and Evil by Ben Hett the Artist supporting
Mister Lorry Tonight, where Henry Morgan as the Voice of Mystery,
Peggy Webber as Marie Loreene Cuddle as Madame sablay Ken
Christy as the Doctor, Ben Wright as Doctor Parent, Howard
Calper and Jack Edwards Junior. This is Michael Roy and
Hollywood wishing you a pleasant good night for Camels.

Speaker 1 (03:44:49):
This is NBC the National Broadcast in company.

Speaker 76 (03:44:53):
Next Mystery Peter or another thrilling grammatization Listen every Friday
night at eleven thirty two World's Great Novels. Tonight, it's
part two of the radio adaptation of Dickens, A Tale
of Two Cities.

Speaker 34 (03:45:07):
Your nihil is set at six sixty for radio listening.

Speaker 7 (03:45:09):
That is always a treat.

Speaker 77 (03:45:14):
And now the Molay Mystery Thea presented by M. L. L. E.

Speaker 17 (03:45:21):
Molay.

Speaker 77 (03:45:22):
The heavier brushlesh shaving crane for tough whiskers or a tender.

Speaker 4 (03:45:26):
Skin good evening.

Speaker 78 (03:45:46):
This is Jeffrey Barnes welcoming you to the Molay Mystery Theater,
the program that presents the best in mystery and detective fiction.
Tonight's play by William Irish is entitled Two Men in
a Furnished Room. John Payne, well known movie personality currently
starring in the hit movie Miracle on thirty Fourth Street.

(03:46:06):
We'll play the leading role of Red Carr. What would
you do a friend of yours were accused of committing
murder and circumstantial evidence makes him appear to be guilty.
He swears to you that he did not commit the crime,
but says that unless you protect him by lying about
his whereabouts.

Speaker 4 (03:46:24):
He will be unable to prove his innocence. Would you do?

Speaker 15 (03:46:28):
That?

Speaker 78 (03:46:29):
Is the problem posed by William Irish in Two Men
in a Furnished Rule.

Speaker 77 (03:46:33):
Or say, mister Barnes, mind if I pose another little
problem here. It's entitled how to get a comfortable shave
when you have tough whiskers or a tender skin? And
the answer is simple, Just shave with Molay, Yes, sir, man.

Speaker 12 (03:46:46):
With Molay. It's smooth.

Speaker 77 (03:46:49):
It's so smooth, it's slack soul, slay It's a smooth, smooth,
slick slake shave you get with M or L L
E Molay the heavier Brushley shaving cream for tough whiskers
or a tender skin.

Speaker 1 (03:47:04):
Try it Molley and mouthful.

Speaker 77 (03:47:08):
Tonight's Molley Mystery William Iirisha's Two Men in a Furnished
Room starring John Payne.

Speaker 79 (03:47:29):
Well, you see, Sergeant, I never felt right about Dixon
since the first time I met him. I only met
him because the housing shortage. Dixon and I came for
the Ferny's room just about the same time. First we
argued about who should get it, and we ended up
sharing it.

Speaker 37 (03:47:44):
We got along.

Speaker 79 (03:47:45):
I guess we even became kind of friends in those
three months. But just the same I got a little
sore when he started talking about his girl again.

Speaker 5 (03:47:53):
I don't get you, Rid. You never even met Austell
and gets you down on.

Speaker 37 (03:47:56):
I don't need to meet her. I know, women, that's.

Speaker 4 (03:47:58):
All all right.

Speaker 5 (03:47:58):
Some Gale gave you the bit that doesn't mean.

Speaker 37 (03:48:00):
Yeah, I know, I know, it doesn't mean anything. Have
it your own way.

Speaker 5 (03:48:03):
It Stell's different. It weren't for a mother.

Speaker 38 (03:48:06):
Yeah, No, my girl had a mother too.

Speaker 37 (03:48:09):
I never met her.

Speaker 42 (03:48:10):
But do you think every gal's out for what she
can get? Yeah, but I'm telling you, Stelle, let's give
it up. I want to read, well, Red, Uh, that's uh,
that's what I want to talk to you about reading.

Speaker 5 (03:48:23):
No, not exactly.

Speaker 42 (03:48:24):
You see, Estelle called me at the office today and yeah,
well she's got something in her mind and she wants
to come over and talk to me about it.

Speaker 38 (03:48:32):
Why don't you go to her place and talk?

Speaker 4 (03:48:34):
Oh?

Speaker 37 (03:48:34):
You know her mother a jigs. Yeah that sounds familiar.
So you want me to take a walk, Yeah, don't mind.
It's raining out.

Speaker 4 (03:48:42):
I know.

Speaker 38 (03:48:42):
I hate to ask that now.

Speaker 37 (03:48:43):
I don't feel like seeing a movie.

Speaker 5 (03:48:45):
It won't happen again, right, No, sure, sure, honestly.

Speaker 37 (03:48:48):
Oh what time is curfew?

Speaker 5 (03:48:51):
Well it's almost half past eight now. She ought to
be here soon.

Speaker 79 (03:48:55):
Okay, Well Clark, now on now, look, you don't have
to dodge meeting her. I don't take this personal, Dix,
but I don't particularly want a meeter. Okay, I'll just
get my coat.

Speaker 5 (03:49:05):
You sure you don't mind?

Speaker 37 (03:49:07):
That's a difference.

Speaker 5 (03:49:07):
Oh, I feel like a hue wod I forget it?

Speaker 79 (03:49:10):
Maybe some day you can do me a favor. I'll
be back around midnight. That's the way it is when
you share a room with another guy. He gotta live
and let live. That's a funny thing to say, live

(03:49:30):
and let live, especially the way things turned out. The
rain was cold and masty. I crossed the street, heading
toward the bar on the corner when I saw the girl.
She was on the opposite side of the street, head

(03:49:52):
down on the rain. When she got into a street lamp,
I could see she was wearing a green raincoat, and
I could make out what she looked like.

Speaker 38 (03:49:59):
She turned him to the house.

Speaker 79 (03:50:01):
I stood there, looking at the empty doorway for a
while and getting real sore on account of her On
encounter her, I had to slop around in the rain.

Speaker 37 (03:50:09):
I had a good mind to go back, and well,
what's the use I went to the bar.

Speaker 26 (03:50:23):
Sort of wet night out, good weather for ducks.

Speaker 38 (03:50:25):
Yeah, ducks.

Speaker 6 (03:50:27):
You look mad?

Speaker 38 (03:50:27):
Fight with you girl? No, No, not like that. You
look like you'd like to kill someone.

Speaker 79 (03:50:32):
Yeah, I'll give me a shot, awry. All I've got
to kill is three hours time. It was a long
three hours sitting there and making small talk, but finally
I decided I might as well go back.

Speaker 38 (03:50:48):
Of the room.

Speaker 79 (03:50:49):
When I got up there, I knocked on the door.
The door opened just a few inches. Dixon was looking
out defensively that you read?

Speaker 38 (03:51:00):
Who else?

Speaker 37 (03:51:00):
Did you think it would be? Lana Turner?

Speaker 38 (03:51:01):
Come on, Hope, not what you're knock for?

Speaker 5 (03:51:05):
You've got a key?

Speaker 37 (03:51:06):
What's eating you? Why shouldn't I not? Your friend?

Speaker 12 (03:51:09):
Gone?

Speaker 79 (03:51:10):
I see, yeah, just just a few minutes before you
got here, here's some guy you let her go out
and loan on a night like this.

Speaker 5 (03:51:16):
I'd put her in a taxi.

Speaker 38 (03:51:18):
You didn't get wet. It was right at the door.
Didn't even get your shoes wet.

Speaker 5 (03:51:22):
Okay, okay, I didn't get my shoes wet. What's it
to you?

Speaker 37 (03:51:25):
Nothing?

Speaker 5 (03:51:25):
Nothing?

Speaker 37 (03:51:26):
What are you so nervous about? And you sit still?

Speaker 4 (03:51:28):
Oh?

Speaker 5 (03:51:29):
You leave me alone?

Speaker 2 (03:51:30):
Red?

Speaker 37 (03:51:30):
Sure what happened? Have a blow up?

Speaker 38 (03:51:32):
Why should we have a blow up?

Speaker 5 (03:51:34):
I don't know.

Speaker 37 (03:51:36):
Hey, what's just on the floor? What this looks like
a fastener from a raincoat? A green raincoat? Give me okay, okay, No, Graham,
why you really all hopped up to night?

Speaker 1 (03:51:50):
Say?

Speaker 38 (03:51:50):
Where are you going down the corner?

Speaker 5 (03:51:52):
A minute?

Speaker 38 (03:51:52):
I want to drink Since when do you drink at
this hour since.

Speaker 37 (03:51:55):
Now, I'll take your key, I'm going to bed.

Speaker 5 (03:51:58):
I'm coming right back.

Speaker 38 (03:51:59):
It's a long I didn't get it.

Speaker 79 (03:52:07):
I was usually the excitable guy, and here was Dixon
acting as if there were a high tension of wire
running through him. I am dressed, wash took a grand
look at myself in the mirror, and then got into bed.
Just as I was getting set to drop off the home, rang.

Speaker 38 (03:52:25):
Hello, I want to speak to my daughter. Huh.

Speaker 30 (03:52:28):
She promised to have a definite understanding with once and
for all.

Speaker 37 (03:52:31):
But listen, lady, I think.

Speaker 30 (03:52:32):
You'll get anywhere by keeping her the until hours of
the night.

Speaker 37 (03:52:34):
I'm telling you, lady.

Speaker 30 (03:52:36):
Oh, this is mister Dixon.

Speaker 37 (03:52:38):
Isn't this No, no, this is his roommate. Dixon's out.

Speaker 30 (03:52:41):
Well, then I suppose my daughter's left too.

Speaker 38 (03:52:44):
She left half hour ago, half hour ago.

Speaker 30 (03:52:47):
Then why isn't she back here by now?

Speaker 19 (03:52:49):
Oh?

Speaker 37 (03:52:49):
She'll probably get back any minute.

Speaker 30 (03:52:51):
But it's only six o'clock. What could have happened to him?

Speaker 79 (03:53:01):
It took me a little while to get back to sleep,
and half a bit of tossing around I made it
only didn't last very long.

Speaker 17 (03:53:13):
Hello is that mister Dixon?

Speaker 4 (03:53:15):
No?

Speaker 37 (03:53:15):
No, this is Stilly's roommate.

Speaker 30 (03:53:17):
I want to speak to mister Dixon right away.

Speaker 38 (03:53:20):
In just a second.

Speaker 79 (03:53:20):
I want to turn on the light. He isn't here,
but three o'clock. Well, isn't she back yet?

Speaker 30 (03:53:28):
I donna know she isn't. What's he done with her?

Speaker 10 (03:53:30):
Where is she?

Speaker 5 (03:53:31):
Oh?

Speaker 38 (03:53:31):
I don't know.

Speaker 37 (03:53:32):
Maybe they I.

Speaker 15 (03:53:33):
Want her about him.

Speaker 30 (03:53:35):
I'm going to call the police.

Speaker 38 (03:53:36):
Well, wait a second, So I'm going to.

Speaker 3 (03:53:38):
Call the police.

Speaker 38 (03:53:39):
Wait a second. Wait, I hear him coming. Hello, Hello, Hello, god.

Speaker 5 (03:53:46):
Rett, you're still up.

Speaker 38 (03:53:47):
What does it look like? Shut the door?

Speaker 37 (03:53:52):
Phony se No, someone was calling you. He who your
girl's mother is?

Speaker 12 (03:53:58):
Michael's?

Speaker 5 (03:53:59):
What does she want?

Speaker 38 (03:54:00):
The girl never got home, Dix?

Speaker 33 (03:54:02):
She what you heard me?

Speaker 38 (03:54:04):
She never got home.

Speaker 5 (03:54:06):
But that's impossible.

Speaker 37 (03:54:07):
She lives only six blocks from here, but her mother
says she never made those six blocks.

Speaker 5 (03:54:11):
I listened red.

Speaker 37 (03:54:12):
She phoned twice. She said she's gonna call a cops,
the cops. Why do you need a diagram? Doesn't take
three hours to make six blocks in a taxi. If
she left in a taxi, are you sure you put
in a cab? Well, to tell you the truth, d
I didn't take her down to the door myself.

Speaker 38 (03:54:32):
You told me you took her down and put in
a cab.

Speaker 42 (03:54:34):
Yeah, yeah, I know, but well we we had an
argument and she walked out of me. I was ashamed
to tell you.

Speaker 46 (03:54:41):
Go on.

Speaker 42 (03:54:42):
I heard a whistling from the doorway downstairs. I heard
it playing, and I heard a cab driver.

Speaker 37 (03:54:47):
Did you see her get into it?

Speaker 4 (03:54:48):
Well?

Speaker 42 (03:54:48):
I got over to the window just a second too late.
I saw her on pulling the doorketch. That's not much
of a story.

Speaker 5 (03:54:55):
Who could that be?

Speaker 38 (03:54:56):
I wouldn't be surprised if that's the cops.

Speaker 7 (03:54:58):
Cops.

Speaker 42 (03:54:59):
I look Red to stick by me. Why Red, don't
you see outside of me? No one saw her leave here.
She ends here if anything happened to him just a minute? Red,
you gotta tell me so I getting into that cab,
But I didn't. But you would have if you'd come
along just ten minutes before.

Speaker 38 (03:55:15):
I swear, I swear it on my money.

Speaker 12 (03:55:18):
Read read What are you gonna do?

Speaker 37 (03:55:23):
What do you expect me to do? I'm gonna open
the door.

Speaker 38 (03:55:42):
How's the curtain falls?

Speaker 78 (03:55:43):
On X one of Tonight's Molet Mystery, it looks as
though Dixon is in a tough spot unless his friend
Red helps him out.

Speaker 77 (03:55:49):
Well, mister Barnes, you know there are lots of different
ways to help. For instance, when the man's in shaving trouble,
we do.

Speaker 2 (03:55:56):
It with music like this.

Speaker 25 (03:55:59):
That's right.

Speaker 23 (03:56:00):
M O L L E.

Speaker 77 (03:56:02):
Molay, the heavier brushy shaving cream for tough whiskers or
a tender skin.

Speaker 16 (03:56:07):
And that's a name to remember, man.

Speaker 77 (03:56:09):
Yes, Molay is the heavier cream, the cream that not
only softens your whiskers but stands them up straight while
your razor cuts them off close and clean. With Molay,
you shave faster, closer, easier, and you shave painlessly.

Speaker 12 (03:56:25):
Try it.

Speaker 77 (03:56:26):
See if you don't say it's smooth, it's slay sol slay.
It's a smooth, smooth, slack slake shave you get with
M or L E. Molay, the heavier brushy shaving cream
for tough whiskers or a tender skin.

Speaker 78 (03:56:43):
And now this is Jeffrey Barnes returning you to the
second act of Two Men in a Furnished Room starring
John Payne.

Speaker 79 (03:57:04):
Well sergeant the first cop that night, the girl list
a Bit was only a curtain raiser. Dixon told his
story about singer getting the cab cop only asked me
if I was there.

Speaker 38 (03:57:13):
I said no and let it go at that for
the time being.

Speaker 37 (03:57:16):
That was a curtain raiser.

Speaker 38 (03:57:18):
The show really got started the.

Speaker 79 (03:57:19):
Next afternoon when I came back from my job in
the bank and found a big guy with his hat
on sitting in our easy chair pretending to read a newspaper.

Speaker 80 (03:57:27):
It was you, of course, Hey, Well shut the dorm.
Who are you, Sergeant Hill a homicide? Surprised?

Speaker 37 (03:57:38):
No, oh, not surprised, and shut the dorm. How'd you
get in?

Speaker 38 (03:57:43):
Super? Let me in, you car Fellah lives here with Dixon.

Speaker 37 (03:57:49):
That's me.

Speaker 38 (03:57:49):
A girl named the Stelle Michaels came here last night,
didn't you? Okay, if I sit down, I'm tired.

Speaker 4 (03:57:55):
Go ahead.

Speaker 37 (03:57:58):
Well, I was a girl here last night. I think
her name was Michaels.

Speaker 38 (03:58:03):
Did you see it come in?

Speaker 37 (03:58:04):
I think so. I'm across the street about eight thirty.

Speaker 38 (03:58:08):
What time did you get back here?

Speaker 4 (03:58:10):
Close to twelve?

Speaker 38 (03:58:11):
Was the girl still here?

Speaker 19 (03:58:12):
Then?

Speaker 3 (03:58:12):
Oh?

Speaker 37 (03:58:13):
No, she just left.

Speaker 38 (03:58:14):
I don't know. Did you see her or did your
friend tell you him?

Speaker 37 (03:58:18):
Well, I as good as sore leave.

Speaker 38 (03:58:20):
What do you mean by then?

Speaker 37 (03:58:22):
Well, as I.

Speaker 79 (03:58:23):
Came back here I saw someone getting into a taxi,
and I saw Dixon at the window looking down. When
I got upstairs, he told me she just left. Draw
your own closions.

Speaker 38 (03:58:32):
Had you ever seen this girl before him?

Speaker 37 (03:58:34):
No, just earlier last night.

Speaker 80 (03:58:36):
M that's off, and I'm stick close by and make
sure your friend does too. I want to see you
guys again.

Speaker 79 (03:58:52):
After you left, I felt sort of weak, Serge. And
I was getting involved in this mess to protect Dixon?
And why should I? How did I know he was
telling the truth? How did I know they wouldn't pull
me as as an accessory if his story blew up?
I was building up a good deal of resentment against
Dixon when he came home, and and I couldn't help
feeling a little sorry for the guy.

Speaker 5 (03:59:14):
I read any one, didn't you?

Speaker 37 (03:59:17):
Yeah, cop name Hiller? What happened to you?

Speaker 22 (03:59:20):
Oh?

Speaker 5 (03:59:21):
They had me down at headquarters all afternoon. I thought
they were never going to let me go.

Speaker 38 (03:59:25):
Why shouldn't I let you go?

Speaker 42 (03:59:26):
In their minds, I'm already guilty of what whatever it is,
I'm guilly. I'd to admit I quarreled with him and read,
don't you see I was the last person on earth
to see her leave this place.

Speaker 79 (03:59:37):
Listen, you got to call up who her mother? It's
only natural you should call her up and say you're
worried about the girl. No, no, Red, I can't what's
the number? I can't read?

Speaker 37 (03:59:46):
What's the number?

Speaker 42 (03:59:49):
It's it's Chelsea three five oh ninety nine.

Speaker 5 (03:59:53):
This is Red.

Speaker 79 (03:59:54):
I can't so I got to. Don't you understand? You
want me to believe your story, don't you?

Speaker 5 (03:59:58):
Yeah?

Speaker 37 (03:59:58):
But well I'm talking? Who are stop acting guilty? Hello,
Missus Michaels.

Speaker 4 (04:00:09):
Please, who just watching?

Speaker 37 (04:00:12):
Tell her Dixon wants to speak to her.

Speaker 42 (04:00:14):
Here, take it, loo ol, Missus Michaels. This is John Dixon.
I just wanted to find out. But Missus Michael, I
swear I I can't do here.

Speaker 38 (04:00:30):
Give me the phone. Missus Michaels. This is mister Dixon's roommate.

Speaker 5 (04:00:44):
I'm getting out of here. I gotta get out. They're
gonna get me for this.

Speaker 38 (04:00:47):
But sure you run away and you're cooked, then they'll
know you did it.

Speaker 5 (04:00:50):
I didn't do it. Red, don't you believe me?

Speaker 38 (04:00:52):
I don't know you know me?

Speaker 4 (04:00:53):
Red?

Speaker 5 (04:00:54):
Do you think I'm the kind of a guy who
killed someone? What do I know?

Speaker 17 (04:00:57):
Sure?

Speaker 37 (04:00:57):
I have lived in this room with you for three months.
But what do I know about I didn't do it. Rat.

Speaker 79 (04:01:01):
Remember that raincoat fastener I found last night came from
her raincoat? How come I told you we had an argument.
She wanted to leave and I was trying to hold
it back. I was holding onto a raincoat and Red,
don't you see how this thing looks for me?

Speaker 38 (04:01:14):
Yeah?

Speaker 2 (04:01:15):
I see?

Speaker 37 (04:01:16):
Maybe you better, Claire. Look, you can lend me some
dome dead broke. I can lend you twenty here.

Speaker 42 (04:01:22):
I'll pay you back. Yeah, how thanks, Reddening. I'll get
in touch with you somehow.

Speaker 37 (04:01:28):
Where are you gonna be?

Speaker 5 (04:01:29):
I don't know yet. I'll let you know.

Speaker 37 (04:01:30):
Thanks again, twenty bucks I get thanks?

Speaker 38 (04:01:37):
Boy?

Speaker 7 (04:01:37):
What a sucker?

Speaker 79 (04:01:48):
Dixon hadn't gotten out much too soon. I'd hardly had
time to put on some coffee and a lot of
cigarette when Sergeant Hugh came to the room.

Speaker 38 (04:01:56):
Where's Dixon?

Speaker 37 (04:01:57):
I don't beat it?

Speaker 38 (04:01:58):
I guess where do you go?

Speaker 37 (04:01:59):
How should I know? He doesn't tell me everything?

Speaker 38 (04:02:02):
You're covering for him? Well I should. I I'll be
a sucker.

Speaker 37 (04:02:05):
Red, it's funny?

Speaker 38 (04:02:07):
What's funny?

Speaker 37 (04:02:09):
Nothing?

Speaker 38 (04:02:10):
Okay? Then? Can that's it going?

Speaker 37 (04:02:11):
Boy to headquarters.

Speaker 38 (04:02:13):
No, no, not yet. First I'm going to.

Speaker 80 (04:02:14):
Take you to the Michael's house. Maybe when you see
the girl's mother, that'll make a difference.

Speaker 79 (04:02:29):
They rode the six blocks and I hit on his cargas.
It was if it maybe three four minutes, then I
could do plenty of thinking. So at last I was
going to meet the girl's mother. And then what how
far could I go on this whole thing? How far
could I protect Dixon? The house was one of those

(04:02:53):
apartment houses that was fashionable, say twenty five years ago.
Michael's apartment was dark, almost dingy, with old furniture.

Speaker 37 (04:03:01):
And my mother, she looked old and dried up. She
was lying in a bed in a room that smell
as if it had been a sick room for years.

Speaker 4 (04:03:12):
She's an invalid.

Speaker 37 (04:03:14):
Yeah, it's too bad.

Speaker 38 (04:03:16):
Miss Michael's Missus Dixon's roommate.

Speaker 37 (04:03:20):
I'm sorry about everything, Missus Michaels.

Speaker 30 (04:03:23):
Your voice it sounds familiar.

Speaker 38 (04:03:27):
Yeah, I've spoken to you on the phone.

Speaker 30 (04:03:29):
Oh that's right.

Speaker 5 (04:03:30):
I keep forgetting tell your.

Speaker 33 (04:03:32):
Story, calm, do I have to?

Speaker 38 (04:03:34):
I think you'd bet him.

Speaker 2 (04:03:36):
Okay.

Speaker 79 (04:03:38):
I was coming back home that night when I saw
a girl getting into a cab.

Speaker 38 (04:03:42):
You say you saw a girl.

Speaker 37 (04:03:44):
That's right, just a flash, Like I said, I saw
Dixon at the window looking down to the street.

Speaker 30 (04:03:50):
That saw you saw Estelle getting into the taxi.

Speaker 38 (04:03:54):
I saw a girl.

Speaker 80 (04:03:55):
I guess it was your daughter, man, Alison, calm thank
carefully close enough to see the girl getting into the cab.

Speaker 38 (04:04:02):
Now she must have hailed it, Ryan, right, all right?
Did you hear a shout or whistle? Well, and now
that you mention it, well I did hear her whistle?

Speaker 43 (04:04:15):
You liar?

Speaker 15 (04:04:16):
What you liar?

Speaker 30 (04:04:18):
You didn't hear her whistle?

Speaker 38 (04:04:20):
But I'm sure she couldn't whistle.

Speaker 30 (04:04:22):
She never whistled in her life. You didn't see my
daughter leave that house.

Speaker 38 (04:04:34):
I got in the streets, Sergent, you turned on me.
You knew you had me?

Speaker 5 (04:04:38):
Then?

Speaker 18 (04:04:39):
Oh?

Speaker 38 (04:04:39):
Can what do you say?

Speaker 4 (04:04:41):
Now?

Speaker 37 (04:04:42):
All right? He was lying to me.

Speaker 38 (04:04:44):
I still want to cover for him. Listen, leave me alone?
Can't You didn't leave her alone?

Speaker 4 (04:04:48):
Card?

Speaker 38 (04:04:49):
We found the body.

Speaker 80 (04:04:51):
It's pretty I want to come down of the morgue
have a look at it. No, No, he strangled her
car and then he dragged her up to the roof.
He wanted the trouble carry the body across a couple
of roofs. You know he's very strong.

Speaker 38 (04:05:03):
You make two of them.

Speaker 80 (04:05:04):
But he carried the girl's buddy across a couple of
roofs and then throw it down an air shaft.

Speaker 38 (04:05:09):
I want to take a trip to the Morgue car.

Speaker 79 (04:05:19):
You let me go then, and I went back to
the room, feeling sort of sick all the way. When
I got back to the room, the phone was ringing.

Speaker 38 (04:05:30):
Hello, Who if this?

Speaker 30 (04:05:31):
Please?

Speaker 37 (04:05:32):
What do you want?

Speaker 12 (04:05:33):
Who is talking?

Speaker 1 (04:05:34):
Please?

Speaker 37 (04:05:35):
What number do you want?

Speaker 4 (04:05:37):
Right?

Speaker 37 (04:05:38):
Dixon?

Speaker 12 (04:05:39):
Don't use my name?

Speaker 5 (04:05:40):
Is anyone there?

Speaker 46 (04:05:42):
No?

Speaker 38 (04:05:42):
Where are you? How it think's going?

Speaker 37 (04:05:45):
I got news for you?

Speaker 38 (04:05:46):
Where can I reach you?

Speaker 12 (04:05:47):
Tell me on the phone?

Speaker 38 (04:05:48):
No, I've got to see you. Where are you?

Speaker 37 (04:05:50):
I can't tell you over the phone.

Speaker 42 (04:05:52):
All right, I'm at six nineteen. He's tenth Street, third floor,
rear and red. Make sure no one follows.

Speaker 79 (04:05:58):
You don't worry. I'll come along. Well, sergeant. What I
planned to do wasn't very pleasant. That was the only
way I could save my skin. Just because he had
roomed with me for three months, that didn't mean I
had to have any sense of loyalty to the guy

(04:06:19):
or something like that.

Speaker 37 (04:06:20):
I was in this deep now I had to get out.
Read do you want followed? I made sure good.

Speaker 5 (04:06:31):
It's a second. Well, it's good to see you, Red.

Speaker 2 (04:06:34):
Now what's been happening?

Speaker 38 (04:06:36):
They found the girl They found at the bottom of
an air shaft, dead.

Speaker 12 (04:06:42):
Dead.

Speaker 37 (04:06:43):
Oh what did you think?

Speaker 5 (04:06:45):
Read? I?

Speaker 2 (04:06:47):
I was in love with her.

Speaker 38 (04:06:49):
What did she say to you? What did she do
that made you go off your nut?

Speaker 12 (04:06:53):
I didn't kill her, Red, I couldn't kill anyone.

Speaker 5 (04:06:55):
I couldn't kill her. They didn't even have me in
the army.

Speaker 37 (04:06:59):
And why were you so careful opening the door last night?

Speaker 5 (04:07:01):
I don't know.

Speaker 37 (04:07:01):
I just had so much on my mind. You told
me you'd put her in a taxi, but I admitted
that was a lie. You know, I said that you
told me you heard her whistling for a cab. You
let me lie to the cops about it. She did
whistle for a cab. Her mother says she couldn't whistle.

Speaker 38 (04:07:15):
What you heard me she couldn't whistle.

Speaker 16 (04:07:19):
I didn't know that.

Speaker 5 (04:07:21):
I swear I didn't know that. It is not too bad,
But I tell you I heard someone whistle. I think
it was a bird, and I saw someone get in
the cab.

Speaker 38 (04:07:29):
Sure, sure, I know.

Speaker 37 (04:07:31):
Okay, Dix, let's drop the act. I'm gonna call the cops.

Speaker 5 (04:07:34):
No, right, you can't. I won't let you put down
that phone.

Speaker 38 (04:07:38):
Red, Hey, where'd you get the gun?

Speaker 5 (04:07:44):
Pawn shot my dough?

Speaker 42 (04:07:47):
Why you You're not gonna call the cops, Red, not
even if I have to kill you. I'm not gonna
let them get me for something I didn't do. Stand still, Red,
don't move.

Speaker 37 (04:07:56):
Give me that gun. No, no, give me that gun.
Give me, oh operator, give me the police. Police. My

(04:08:23):
name is Wesley Carr. I'm at six one nineties tenth Street,
third floor. I just had to shoot someone, the guy
who killed that girl's night.

Speaker 78 (04:08:49):
This is Jeffrey Barnes again. In just a moment, we'll
bring you at three of two men in a furnished
room starrying John Payne. Now a word from George Putnam.

Speaker 4 (04:09:00):
Day.

Speaker 81 (04:09:00):
More and more people are discovering that we get real
relief from the most common kind of dandriff. They must
destroy the germ called pity rosporomo valley, which many outstanding
authorities say is its cause. You see, merely washing or
brushing away loose dandriff has no effect whatsoever on this germ.
But one thing that does work is double danderine. For
double danderene actually kills this germ on contact, even in

(04:09:22):
severe cases. Results with double dandrene have been amazing. And
the reason for double danderene's astonishing effectiveness is a special ingredient,
an active antiseptic so remarkably efficient many hospitals use it
in double danderine.

Speaker 5 (04:09:36):
We call it al zan.

Speaker 81 (04:09:37):
So stop trying to combat this dandriff with ineffective methods
that actually are no better than plain water. They can't
compare with double danderine. For double danderine destroys the cause.
If you're not completely satisfied, you'll get your money back.
Get double danderine tomorrow.

Speaker 37 (04:10:05):
Oh that's the whole story, Sergeant with him or me
and I.

Speaker 38 (04:10:08):
I didn't want to shoot him, I know, carm We
just got a report from the hospital. Nixon died in
evidence on.

Speaker 4 (04:10:16):
The way over.

Speaker 79 (04:10:16):
Oh oh maybe it's better that way, think so. I
don't know, maybe it is. I'm sorry for him, you know,
I try to cover for him. I I thought maybe
he was innocent until that business about the whistling.

Speaker 2 (04:10:30):
Yeah, I shot him.

Speaker 37 (04:10:31):
I won't get into any trouble about that.

Speaker 38 (04:10:33):
About that now we're willing to forget then, thanks?

Speaker 37 (04:10:38):
Thanks?

Speaker 38 (04:10:39):
Can I can I go now just a moment, Stevens Yes,
bringing the girl a girl, but she's dead.

Speaker 12 (04:10:50):
I know where she is, Sir.

Speaker 38 (04:10:55):
Psynonomous.

Speaker 37 (04:10:57):
I don't get this.

Speaker 38 (04:10:58):
That's not a Stell. Josh, this girl before, Carl, I know,
I don't know her. Did you ever see him?

Speaker 1 (04:11:04):
Mess?

Speaker 82 (04:11:05):
No?

Speaker 12 (04:11:05):
Never?

Speaker 38 (04:11:06):
Well wait, you ad mid that last night, but I
told you tell me again.

Speaker 7 (04:11:11):
I want him to hear.

Speaker 15 (04:11:12):
I was in front of the house where that girl
was killed.

Speaker 38 (04:11:15):
Yea, And what did you do?

Speaker 12 (04:11:16):
I whistled for a cat and it came and you
got into it.

Speaker 38 (04:11:19):
That's right, all right, that's all Steven's taker outside.

Speaker 79 (04:11:25):
You mean Dixon was telling the truth, That's right, Carr.
Then the girl a Stelle.

Speaker 80 (04:11:32):
Dixon thought he saw a Stell get into that cab,
but it wasn't her. Someone was waiting for on the stairs,
the guy she'd met while she was a canteen hostess,
the guy she got tired of when he was overseas
a guy who waited hever.

Speaker 38 (04:11:47):
Throwing him over him. Oh h how did you find
out all that?

Speaker 22 (04:11:53):
Oh?

Speaker 38 (04:11:53):
Just leg work, ragg just let work well, who was
the guy? There was a guy I recognized earlier that
night he was killed. Who was it?

Speaker 80 (04:12:05):
He was big, strong, strong enough strangler and carry across
a couple of roofs.

Speaker 4 (04:12:11):
Who was it?

Speaker 38 (04:12:12):
And throw it down an air shaft? Who was it?
Drop it red? You know as well as I do.

Speaker 16 (04:12:21):
It was you.

Speaker 78 (04:12:38):
This is Jeffrey Barnes bringing down the final curtain on
Tonight's Mystery Theater performance of two Men in a furnished room.
Be with us next week to hear a story by
Baith Blah entitled The World.

Speaker 38 (04:12:49):
Of Edmund Craig.

Speaker 77 (04:12:50):
The original music for the Mystery Theater is composed and
conducted by Alexander Sandler. Tonight's play was adapted for radio
by Paul Mornash. John Payne was starred, Bill Cuddles Quinn
and Ralph Bell Features. Any resemblance between the names and
characters used on this show and any actual person's living
or dead is purely coincidental.

Speaker 83 (04:13:21):
Sometimes when you're over tired, you can talk yourself out
of it for just so long, and then it gets
you down. You wonder whether you're losing your grip on
things now If you're that tired and pale. Besides, your
doctor may find you have a borderline anemia resulting from
a ferro nutritional blood deficiency. Then take ironized east tablets.
They help increase your strength regain your color by building

(04:13:41):
up your red blood cells. So take ironized yeast tablets
to get more energy, more vigor, more enthusiasm. Ironized yeast tablets.

Speaker 77 (04:13:49):
And now this is dan Seymour saying good night for
the Mystery Theater and inviting you to be with us
next week. At this same time, when we present the
Word Old of Edmund Craig, the.

Speaker 17 (04:15:31):
World Adventurers Club greet you once again.

Speaker 1 (04:15:34):
As you may know, this unique organization.

Speaker 53 (04:15:36):
Is composed solely of brave, intrepid adventurers and explorers. Only
those who have passed through some thrilling or blood curdling
experience may qualify for membership. Ladies and gentlemen, the World
Adventurers Club. Gentlemen, gentlemen, the meeting will come to order.

Speaker 40 (04:15:58):
What's on the cup, mister chairman? Something you young?

Speaker 53 (04:16:02):
I can promise you allow me to present the guest
of the evening, mister Arnold Manning.

Speaker 84 (04:16:12):
Mister Manning, have you that little story prepared for us?
I believe so very well, then proceed It so happened
that a few years ago I was in Arabia in
search of the tomb of an Egyptian king, ptolemy Ray
by name.

Speaker 4 (04:16:29):
After many weary.

Speaker 59 (04:16:30):
Weeks of searching in the terrific heat of the desert,
my native boy and eyes stumbled upon the hidden tomb
near a grove of fantastic and gnarled fig trees. But
imagine our surprise to find the band of fierce Arabs
with the campfires gathered near the grove. I heard the
beat of that drums and knew what they meant. They

(04:16:51):
were driving away the evil spirits.

Speaker 19 (04:17:00):
It is.

Speaker 17 (04:17:02):
It is better we go away and return. Why must off?
He's very bad man, he Robin Steeve. Nonsense, I'll go
speak to him, won't here?

Speaker 40 (04:17:14):
You are Mustapha bab? May I ask what you are
doing here?

Speaker 4 (04:17:19):
You question me?

Speaker 40 (04:17:21):
Mess your manning? It is I who should question you?

Speaker 5 (04:17:27):
You know me?

Speaker 9 (04:17:27):
Then't?

Speaker 40 (04:17:28):
I have been watching you? So you have found the
hidden too?

Speaker 2 (04:17:34):
Yes, after much hard work?

Speaker 1 (04:17:36):
Accu man, why do you laugh?

Speaker 40 (04:17:40):
It is that the joke seems to be on you.

Speaker 38 (04:17:43):
Mons year.

Speaker 2 (04:17:44):
If you will proceed to the tomb, you will observe
that someone has been ahead of you.

Speaker 40 (04:17:51):
What come, I will show you why stone doors moved back.

Speaker 17 (04:18:00):
The tomb is open.

Speaker 40 (04:18:01):
You did this, I know, Monsieur Many. I would not
enter that tomb, Harald the money in the world, But
I am interested in what you will find within that tomb.
I and my man will wait outside.

Speaker 59 (04:18:24):
Come we could quick, no, but I am wondering what's
inside that interests Mustava that flashlight I'm going in.

Speaker 17 (04:18:31):
Oh please the evil spirit.

Speaker 59 (04:18:34):
You will go with me Morrow, This Mustafa can do
us no harm.

Speaker 1 (04:18:38):
Wh're far from the village.

Speaker 17 (04:18:39):
Man, I'm afraid, sir, don't be silly.

Speaker 1 (04:18:43):
Come on.

Speaker 17 (04:18:46):
It certainly is dark in here. Big the feet Morrow,
I'll flash this light about.

Speaker 5 (04:18:54):
What was that?

Speaker 62 (04:18:56):
Oh the strong god? Oh must fathers closed? See we
are shotting? Oh yeah, happy love, Open up, I say, Mustafa,
I'll hear you for this.

Speaker 40 (04:19:16):
Uh, it's no use.

Speaker 59 (04:19:19):
A stone door is in place. It looks as if
you were right moral. We are very alive.

Speaker 57 (04:19:26):
You have found Harley too, and joy.

Speaker 11 (04:19:36):
Oh my.

Speaker 17 (04:19:39):
We Oh we're as good as them.

Speaker 1 (04:19:43):
S I han you.

Speaker 59 (04:19:45):
Yes, it looks not curtains for us Morrow. Strange how
that stone was moved back and Mustafa being here. I'll
he opened it with the intention of locking us in
to die.

Speaker 14 (04:19:58):
O are most of our afraid of evil spirit?

Speaker 17 (04:20:03):
He did not do it. Well, I may as well
look round.

Speaker 59 (04:20:09):
Mm hmmm, where's the sarcophagus of Ptolemy ray, isn't it beautiful?

Speaker 17 (04:20:16):
Smell the musk and spice it and the dust.

Speaker 59 (04:20:22):
Oh, it is getting warm. We will soon stop breathing. Yes,
the oxygen will soon be exhausted.

Speaker 40 (04:20:38):
Looks see covered it moving?

Speaker 15 (04:20:43):
Good?

Speaker 17 (04:20:44):
Heavens it came from that sarcophagus.

Speaker 59 (04:20:48):
By jove, that cover is moving. Well, I'm going to
see what's inside. There are no evil spirits. When the
top of a mummy case moves, there is something physically
alive in there.

Speaker 17 (04:21:07):
It may be a rat. I am going to see you,
brave man her, I keep close even till death.

Speaker 1 (04:21:17):
That's the idea.

Speaker 17 (04:21:17):
More, well, here goes, I'll pull it off.

Speaker 14 (04:21:24):
Oh it's alive.

Speaker 12 (04:21:26):
Your mommy is so.

Speaker 59 (04:21:31):
It is a living mummy. But this mummy is a
beautiful girl. She's rosing, she's sitting up, her eyes are open.

Speaker 15 (04:21:43):
Please do not hurt me.

Speaker 8 (04:21:45):
Miss you aunt?

Speaker 17 (04:21:48):
Who are you? What are you doing in the sarcophagus
and where is the mummy?

Speaker 9 (04:21:53):
Mummy?

Speaker 85 (04:21:54):
Or I found my mummy when I escape from Mustapha Bay.
While he was kimping here, I saw the door of
these toon open. Now, I mean I was afraid he
might enter the search for me, so I can't in
here and pull.

Speaker 2 (04:22:07):
The cover over me.

Speaker 17 (04:22:08):
You say you escape from Mustafa Bay?

Speaker 8 (04:22:12):
Why he captured me from my uncle's caravan?

Speaker 15 (04:22:16):
Why dread the faith I knew was ahead of me
and I would rather die and hear them?

Speaker 59 (04:22:22):
I must say, yes, I see, but I still can't
fathom how that stone door came to be open.

Speaker 14 (04:22:33):
He's getting hot, Ami, Can we not leave here?

Speaker 17 (04:22:39):
What's your name? I'm sorry, sonya.

Speaker 59 (04:22:44):
Mustafa Bay has closed the door and we are buried alive.

Speaker 17 (04:22:51):
Oh we must be brave.

Speaker 14 (04:22:53):
We are to die, and these too, But do not
want to die.

Speaker 44 (04:23:00):
No one to die there there?

Speaker 17 (04:23:03):
We must be breathed.

Speaker 35 (04:23:07):
Oh Master, if I may hold your han, it will
help me to wait.

Speaker 17 (04:23:15):
For I'll prop this flush light so the light won't
leave us.

Speaker 8 (04:23:24):
Ooster w shot on the wall.

Speaker 14 (04:23:27):
It is moving.

Speaker 17 (04:23:28):
Wait when I turn this light by job, it is moving,
looks like a huge human form.

Speaker 54 (04:23:37):
It's an even spirit.

Speaker 59 (04:23:39):
You shoot stuff, give me. That gun, whatever it is,
is moving toward the stone door. Yes, it's climbing down.

Speaker 15 (04:23:49):
If it is alive, it must breathe.

Speaker 14 (04:23:52):
He must know how to get out.

Speaker 17 (04:23:53):
You're right, Sonya.

Speaker 4 (04:23:55):
There it is.

Speaker 17 (04:23:56):
It's pushing against the door. It's a nape, a huge ape.

Speaker 8 (04:24:03):
Yeah, it is, is this sacred ape squet.

Speaker 17 (04:24:09):
He's searching for a certain stone. He seems to be weak. Yes,
it's hard for him to breathe in here. Hurry hurry,
old man, or we won't least to enjoy our freedom.

Speaker 9 (04:24:22):
Hurry hurry.

Speaker 17 (04:24:25):
Oh he's found it.

Speaker 19 (04:24:29):
He's moving it.

Speaker 8 (04:24:30):
The stone poor is moving.

Speaker 59 (04:24:33):
The door is open, and he's gone. Oh breathe that
wonderful air. Morow, can you get out, Sonia has painted.

Speaker 17 (04:24:45):
Yes, I am all right.

Speaker 59 (04:24:48):
Come then, let's get out of here as fast as
he can. Oh the sun again, the beautiful son Sonya, Sonya,
we are free.

Speaker 15 (04:25:05):
Oh, we are saved. Master does not come back.

Speaker 17 (04:25:09):
He's gone for good, I hope. Look the ape is
swinging joyously from tree to tree in the grove.

Speaker 15 (04:25:17):
Monsieur, you have saved my life.

Speaker 19 (04:25:21):
I am great.

Speaker 17 (04:25:22):
Thanks the ape, much obliged, old fellow.

Speaker 40 (04:25:26):
Now you lived to a ripe old age. Ah, well, that's.

Speaker 53 (04:25:37):
Right, Yarn, I was almost suffocating while you were telling
the story, mister Manning the whereest Yarn, I haven't heard.

Speaker 17 (04:25:43):
But what became of Sonya the little money?

Speaker 4 (04:25:46):
Oh?

Speaker 17 (04:25:46):
Would you have him, mister James?

Speaker 40 (04:25:47):
And why have you married a girl that you always do?

Speaker 4 (04:25:52):
And just try?

Speaker 1 (04:25:57):
And now we believe that I'm making him the life.

Speaker 53 (04:26:00):
Well listen again and be thrilled by another strange adventure
in strange land.

Speaker 9 (04:27:33):
Murder amid.

Speaker 13 (04:27:41):
I was worn out dead tide, but I kept on
walking through the mist, and suddenly I started hearing footsteps
behind me. He turned around and then I saw him.
He was walking along slow, dragging his feet, walking as
if he couldn't see. His face was all covered with blood.

Speaker 38 (04:27:55):
But I know who it was.

Speaker 12 (04:27:57):
It was Miller, the guy I'd killed.

Speaker 23 (04:28:03):
Midnight, the witching hour, when the night is darkest, our
fears the strongest, and our strength at its lowest end.

Speaker 34 (04:28:14):
Midnight, when the graves gape open.

Speaker 31 (04:28:17):
And death strikes.

Speaker 23 (04:28:20):
Oh you'll learn the answer in just a minute. Then
the dead come back, and now murder at Midnight. Tales

(04:28:50):
of Mystery and Terror by Radio's Masters of the Macabre.

Speaker 34 (04:28:54):
Our Story by William Morewood will threaten your sanity.

Speaker 45 (04:28:58):
It's titled The Come Back.

Speaker 86 (04:29:07):
About one o'clock in the morning, on a dark, deserted street,
standing in the doorway of a gloomy brown stone house,
a man with a wild expression on his face rings
the bell desperately. There's no answer, and he rings again.
Then you do paging the brain doc.

Speaker 12 (04:29:28):
He knows what goes on inside a guy's head.

Speaker 16 (04:29:29):
Well, yes, he's got to.

Speaker 17 (04:29:31):
Talk to you.

Speaker 7 (04:29:32):
It's very late.

Speaker 11 (04:29:32):
If you come back tomorrow during office hours.

Speaker 12 (04:29:35):
Something's been happening to me, something that's driving me. Not sorry,
but get inside. Be careful with that.

Speaker 13 (04:29:42):
You won't go off until I pull a Trigget got
to sit down, dock very well, just to make sure
we understand each other. I put this gun here on
the desk and my watch. It got just half an hour.
He got everything cleared up, and then and then I

(04:30:04):
got a guy to kill.

Speaker 87 (04:30:06):
Suppose we start at the beginning. Your name left to
Yocanna O'Connor. So you heard of me, huh, I'm not sure,
but the Pilsen murder case, that's right. But as I remember,
that's right. He decided I was nuts. Put me away.
But get this straight.

Speaker 2 (04:30:24):
Doctor.

Speaker 13 (04:30:24):
I was never out of my head and I ain't now.
I see in Saturday. It was something that I cooked
up to keep from burning. I plighted it up all right,
good enough to make monkeys out of the doctors and
a jury. When I got to the nuthouse, it was different.
I didn't have to pretend no more. You know, docs,
some of them wax act just as same as you
and me.

Speaker 12 (04:30:46):
Yeah.

Speaker 13 (04:30:47):
I was getting along fine until two nights ago and
I was calling to see the souperintendent. He was a
white haired old guy, name him Miller uh Shaddan. Left
here cigarette, thanks, mister, my wife here you are?

Speaker 12 (04:31:05):
What's that?

Speaker 63 (04:31:06):
This just a music box plays when you open the lid.

Speaker 12 (04:31:10):
That ain't just a What are you trying to do
to me?

Speaker 7 (04:31:13):
What do you mean, lefty?

Speaker 13 (04:31:14):
I just offered you, I said box I kept talking
about at the trial one of oh missus Tilson kept
the jewels in.

Speaker 63 (04:31:19):
I'm afraid you're mistaken lifting and a pigs Hi.

Speaker 12 (04:31:22):
I know what you're trying to do, but I don't
remember nothing nothing.

Speaker 63 (04:31:25):
You're here, and why does this tune seem to disturb yourself?

Speaker 12 (04:31:28):
Never mind? Why turn it off?

Speaker 63 (04:31:31):
Take it easy, Lefty. I called you in here because
I want to help you.

Speaker 13 (04:31:34):
You're trying to trick me into admitting. I know what
I was doing when I had a.

Speaker 63 (04:31:37):
Old lady, nothing of the kind.

Speaker 12 (04:31:39):
Next year, you asked me where I hid the jewels.
You think I know that routine.

Speaker 63 (04:31:42):
There's no routine here, Lefty.

Speaker 12 (04:31:44):
You're a lie. I mister Melay.

Speaker 13 (04:31:45):
You got me in here to give me the third degree,
to try to break me down all over again.

Speaker 12 (04:31:49):
But you won't do it, not again.

Speaker 4 (04:31:51):
Put on that pick away so what.

Speaker 12 (04:32:00):
I didn't have no idea of escape him when I
hit him, duck. I was just scared.

Speaker 13 (04:32:04):
I'm scared of what would happen if he kept after me.
When I found a gun in his desk door, I
began making plants fast. I brought him around. He told
him exactly what he had to do. He went out,
got into his car, started for the gate. Okay, mellow,
it's up to you now, I understand.

Speaker 12 (04:32:24):
I remember. I'll be lying back here with his gun
against your spine. Evening, mister Miller, Hello, George.

Speaker 57 (04:32:31):
Going out kind of late, aren't you, sir?

Speaker 63 (04:32:34):
Yes, something unexpected came up.

Speaker 34 (04:32:37):
You wouldn't be smuggling out anyone under that rugged fact.

Speaker 66 (04:32:40):
Sir, huh, I might.

Speaker 63 (04:32:44):
Yeah, look suspicious, just the right shape for a man.

Speaker 12 (04:32:49):
But I'll take a chance on you, sir.

Speaker 40 (04:32:52):
Okay, Charlie, open up for the super.

Speaker 12 (04:33:00):
Yeah, turn the left flock.

Speaker 66 (04:33:11):
Yeah, the gang road. I was afraid of this lefty,
the Chilson. The states up this way, isn't it?

Speaker 13 (04:33:19):
It is smart for your own good, mister Miller. You
can turn off here. There's no road in under the trees.
All right, What happens now? Do we walk the rest

(04:33:40):
of the way.

Speaker 12 (04:33:41):
One of us says, get out. You're now used to
me anymore.

Speaker 39 (04:33:47):
Let you know what that gonna way?

Speaker 4 (04:33:48):
You can't.

Speaker 12 (04:33:51):
You won't get rid of me this way.

Speaker 13 (04:34:00):
I left him there beside his car and started walking.
I don't know how long I was at it, maybe
an hour. When I hit the outskirts of town, the
light was kind of funny. It was different from anything
I'd ever seen. It was kind of yellow, and a
yellow mixed with a mist was curling up. Maybe I

(04:34:21):
was tired, I don't know. But suddenly I began to
hear footsteps behind me. I looked around, and then I
saw him. He was walking on the other side of
the road, flying so if he couldn't.

Speaker 12 (04:34:32):
See where he was gone, His feet were kind.

Speaker 13 (04:34:35):
Of dragging alarm. His face was covered with blood. Through
the blood, I could see that.

Speaker 12 (04:34:41):
It was him relling.

Speaker 13 (04:34:50):
I don't know what happened. Then I must have passed out,
because the next thing I knew somebody the people faces
bending over me. M yeah, how are you feeling?

Speaker 12 (04:35:07):
Chump?

Speaker 21 (04:35:08):
Hey?

Speaker 15 (04:35:09):
He says, as what as if he'd seen a ghost.

Speaker 33 (04:35:13):
Who are you?

Speaker 15 (04:35:14):
I'm Ruth Mason. This is my brother Tom.

Speaker 34 (04:35:16):
We live right by. We heard you yell and came
running out.

Speaker 52 (04:35:21):
Did you see anyone else road? You were lying right
in the middle of the road till we pulled you off.

Speaker 11 (04:35:29):
What happened the car hit you?

Speaker 12 (04:35:33):
I don't remember.

Speaker 9 (04:35:34):
Take his arm?

Speaker 11 (04:35:35):
Help him up, Tom, Okay, sure, here we go.

Speaker 10 (04:35:38):
MO.

Speaker 12 (04:35:40):
The name is Simms, Johnny Simms. I'm all right.

Speaker 13 (04:35:47):
You look kind of bushed and I've been walking all
night out of a japsy and broken.

Speaker 37 (04:35:53):
Well.

Speaker 15 (04:35:53):
Our house is right over there.

Speaker 12 (04:35:55):
You come on in and we'll be thanks. I gotta
keep moving.

Speaker 34 (04:35:57):
What's the rush if you're just looking for John? Hey,
cops coming this way.

Speaker 15 (04:36:04):
Probably looking for that man that escaped from the State Hospital.

Speaker 12 (04:36:07):
That's right, they said that.

Speaker 19 (04:36:08):
What Johnny, what's the matter. You look as if you're
going to faint again.

Speaker 12 (04:36:12):
I guess I must be worse than I thought. Does
that invite still?

Speaker 4 (04:36:14):
Hold?

Speaker 15 (04:36:15):
Of course?

Speaker 19 (04:36:16):
Right this way?

Speaker 15 (04:36:26):
Something more, Johnny? Oh?

Speaker 12 (04:36:28):
Thanks, Ruth, couldn't manage another thing?

Speaker 4 (04:36:31):
Full up?

Speaker 88 (04:36:32):
Oh, then you lie right down on that sofa. That is,
if Tom will get off with his paper.

Speaker 82 (04:36:37):
Oh sure, sure, I was just reading some more about
that guy left the O'Connor that broke out of the asylum.
Seems he forced a superintendent to drive him out in
the car.

Speaker 88 (04:36:48):
Please, Tom, let's not talk about it. Gives me the
creeps to think of anyone like that being loose.

Speaker 12 (04:36:53):
Maybe he ain't so bad.

Speaker 88 (04:36:54):
He's a murderer, Johnny, a homicideal maniac.

Speaker 52 (04:36:57):
Do you know maybe the SOAPA deserves killing the super. Yeah,
but the paper doesn't say anything about the super being killed.

Speaker 15 (04:37:05):
Ruth said, I meant the old lady, missus Tilson.

Speaker 12 (04:37:09):
Oh, I guess I must have heard this. Maybe I
just thought I'll try the radio.

Speaker 57 (04:37:17):
Maybe there's some light news on it.

Speaker 34 (04:37:20):
Well, you're probably right, Johnny, the super wouldn't stand a chance.

Speaker 12 (04:37:23):
Sure way, I figured Johnny, turn it off. I said,
turn it off?

Speaker 17 (04:37:30):
Why, Johnny?

Speaker 31 (04:37:32):
Hey, what gives?

Speaker 12 (04:37:35):
I'm sorry, I don't like radios.

Speaker 15 (04:37:39):
It's all right, Johnny, we understand. Now. I suppose we
show you to your room and you take a good
long sleep.

Speaker 13 (04:37:54):
I must have slept like a dead man. Duck was
duk when I woke up? There's nobody in the house.
I switched on a lamp and looked at my watch
a few minutes before midnight, and that much time if
I wanted to get the jewels and blow down before morning.
I started for the door, but before I reached it,
it opened, and standing there smiling kind of sad.

Speaker 12 (04:38:15):
Like, what's Miller?

Speaker 18 (04:38:18):
Hello?

Speaker 12 (04:38:19):
Did you get the jewels?

Speaker 24 (04:38:20):
You?

Speaker 12 (04:38:22):
It can't be you. You're a dead I told you
you wouldn't get rid of me so easily. What do
you want with me?

Speaker 17 (04:38:29):
Nothing lefting?

Speaker 63 (04:38:30):
Just what I wanted before to help you.

Speaker 12 (04:38:32):
They're a lion. You still think you can break me?
Get me to confess for us.

Speaker 13 (04:38:36):
It must have hit the lights buck, or maybe they
were never on, because suddenly the room was all dark.

Speaker 12 (04:38:44):
I struck a match.

Speaker 13 (04:38:45):
I went down to look at Miller, make sure that
he was really dead this time, and I ain't crazy, Doc,
you gotta believe me.

Speaker 12 (04:38:53):
But the man lying face up on the floor it
was Tom Mason.

Speaker 23 (04:39:00):
A dead man who came back. And now a second victim.
Is the hands of the clock move inexorably to the
witching hour and yet another murder as midnight and now

(04:39:38):
back to murder at midnight left the O'Connor sitting in
the psychiatris office with a gun in front of him,
trying to convince.

Speaker 13 (04:39:46):
The doctor and himself that he is saint. My hand
was shaken so much that the match went out. It
was Tom all right, Tom Mason dead. It was better
that way than what I thought, because meant that Miller
hadn't come back from the grave.

Speaker 12 (04:40:02):
I'd probably just imagined. I heard him talking to me,
my first Mason. I got the keys to his car.
He went out.

Speaker 13 (04:40:09):
It was a little coupe parking the driveway. I opened
the door. I was just getting in one.

Speaker 15 (04:40:14):
Hello, Johnny, Ruth. You look a little better than you
did before.

Speaker 14 (04:40:19):
How do you feel?

Speaker 12 (04:40:21):
Oh? I fine, fine, that's good.

Speaker 15 (04:40:24):
You were sleeping so soundly when I left it. Are
you going somewhere?

Speaker 4 (04:40:28):
Well?

Speaker 12 (04:40:29):
Yeah, yeah, there was something I had to do and
Tom told me I could borrow his car.

Speaker 15 (04:40:33):
All right, I'll go inside.

Speaker 12 (04:40:35):
Oh you can't go in? Eh, what do you mean?

Speaker 9 (04:40:37):
Why not?

Speaker 13 (04:40:38):
I mean such a swell night. Have a little drive, Ruth,
what your errand oh, just take a minute. I'll be
swell having you Alarne.

Speaker 15 (04:40:46):
Well, I don't know. I don't suppose Tom on mine.

Speaker 12 (04:40:49):
I'm sure he won't.

Speaker 15 (04:40:51):
Well that all right.

Speaker 88 (04:40:54):
I guess that's one of the wonderful things about life.
You just never know when something completely unexpected will happen.

Speaker 12 (04:41:00):
That's right, baby, I just never know. Why?

Speaker 15 (04:41:21):
So quiet, Johnny, Huh? You asked me to come driving
with you, and I do.

Speaker 14 (04:41:26):
You don't say a thing to me?

Speaker 12 (04:41:27):
What should I be saying?

Speaker 15 (04:41:29):
Well, you might start by telling me something about yourself.

Speaker 12 (04:41:33):
Like I said, I'm just a guy looking for work.

Speaker 15 (04:41:35):
What kind of a job did you have before?

Speaker 12 (04:41:37):
Show her?

Speaker 15 (04:41:38):
That sounds interesting? Did you work around here?

Speaker 53 (04:41:42):
Why?

Speaker 15 (04:41:42):
I just wondered. You seem to know the roads so well.

Speaker 12 (04:41:46):
Listen, baby, let's not talk about me. I'd rather hear
about you.

Speaker 88 (04:41:50):
There's not much to tell. I'm twenty one, fancy free,
and I work for a living. I'm a nurse in
a psychiatrist's office. What psychiatrist a doctor who well helps
people who are disturbed.

Speaker 12 (04:42:02):
Mentally, like people who see things that ain't there.

Speaker 10 (04:42:06):
Oh.

Speaker 15 (04:42:06):
Yes, he gets a lot of those kind of cases.

Speaker 12 (04:42:09):
What does he do?

Speaker 88 (04:42:10):
He talks to the patients, explains away the hallucination. His
name is doctor Paget and he's really wonderful.

Speaker 15 (04:42:17):
Johnny. H Where are we going?

Speaker 4 (04:42:21):
Why? Baby?

Speaker 88 (04:42:22):
We've turned off the main road. This leads past the
old Tilson mansion. What's that the house where that terrible
murder took place about a year ago. It's all boarded
up now, of course.

Speaker 3 (04:42:33):
Yeah.

Speaker 12 (04:42:34):
Yeah, that's the job left to O'Connor.

Speaker 15 (04:42:36):
Yeah, yeah, he was on Missus Tilson's show.

Speaker 12 (04:42:40):
What sure? Quite a coincidence saying it?

Speaker 15 (04:42:45):
Johnny, you're turning in the driveway.

Speaker 13 (04:42:48):
Yeah, say, a couple of nights ago. I broke into
this place to sleep. It just an empty house to me.
I didn't know anything about no murder. I left it
possibly behind. I want to take it up. Oh, I see,
you think I had.

Speaker 12 (04:43:04):
Any other reason for coming here?

Speaker 15 (04:43:07):
Johnny?

Speaker 12 (04:43:09):
It's a tight baby. I'll be back in a minute.

Speaker 15 (04:43:11):
All right, All right, Johnny, why are you taking the keys?

Speaker 12 (04:43:15):
Have to make sure the car stays here and you'll
with it.

Speaker 15 (04:43:18):
But of course i'll stay.

Speaker 12 (04:43:19):
You better, baby, but it'll be just too bad.

Speaker 13 (04:43:28):
I pulled the boards from one of the windows, climbed
into the old house, his black as pitch inside that
musty shut in smell. Felt my way along the wall
to the stairs, climbed to the second floor. The old
lady's room was at the head of the stairs. It
wasn't so dark in there, windows hadn't been boarded, and

(04:43:51):
the moonlight was coming in. I saw that marble fireplace
with a gargoyle in the middle grinning at me. So
I picked up the poke and smashed into and there
behind where I pushed it past the loose brick was
the paper back contending the jewels. I looked inside to
make sure that everything was safe. Moonlight sparkle in them,

(04:44:13):
shiness and then and doc, suddenly, suddenly, I don't know
where it started, that music started.

Speaker 12 (04:44:21):
Good, what Ruth? Getting to stop? Getting to stop? Missus?

Speaker 45 (04:44:31):
Tellton that tone?

Speaker 89 (04:44:34):
You mean you don't hear nothing, journey, but you must.
It's gone now, Johnny, you're shaking all over here, Johnny,
that's what.

Speaker 15 (04:44:46):
They're all over the floor. They look like diamonds. Juice.

Speaker 12 (04:44:49):
Didn't I tell you to stand in the car? What
are you doing up here?

Speaker 15 (04:44:52):
I heard noisesn't you on me?

Speaker 4 (04:44:54):
No?

Speaker 15 (04:44:54):
I wasn't left the eye?

Speaker 12 (04:44:56):
Why didn't you call me?

Speaker 19 (04:44:58):
Nothing?

Speaker 12 (04:44:59):
So I guessed it.

Speaker 13 (04:45:02):
Okay, I am left to you, o kinnor, and I
came back for the jewels. But that information ain't traveling fire,
not with you anyway.

Speaker 12 (04:45:34):
I was rattled back the music did it?

Speaker 1 (04:45:37):
And everything else?

Speaker 12 (04:45:40):
I left the lion man, I picked up the jewels
and beat it started the car fan.

Speaker 13 (04:45:46):
Just about hit the lane highway when the wheels started
acting funny, stopped and got out the look it was
a flat.

Speaker 12 (04:45:53):
My luck had played out. I at the time to
change it.

Speaker 13 (04:45:56):
Someone might come along, And just then I did airic
cock common the throws, waiting for it to pass.

Speaker 12 (04:46:03):
Instead it stopped.

Speaker 40 (04:46:05):
Hi, Johnny, tell me I got as as I could,
which is a fly?

Speaker 5 (04:46:13):
What?

Speaker 1 (04:46:15):
How did you know?

Speaker 11 (04:46:16):
How did I know?

Speaker 17 (04:46:17):
Why you just called me?

Speaker 12 (04:46:18):
You told me you couldn't find the tools.

Speaker 38 (04:46:20):
I call you, well, yeah, don't you remember?

Speaker 12 (04:46:24):
Oh no, I don't.

Speaker 1 (04:46:26):
I couldn't have.

Speaker 34 (04:46:28):
Of course, it's none of my business, Johnny. But but
keep been acting awful funny.

Speaker 52 (04:46:34):
I'm beginning to think maybe you ought to go see
a doctor, someone like Doc Patrick that Ruth works for.

Speaker 12 (04:46:40):
And there's nothing wrong with me nothing.

Speaker 34 (04:46:42):
Okay, okay, get started with this, Jack.

Speaker 38 (04:46:47):
The rest of the tools are under the front seat.

Speaker 1 (04:46:49):
I'll get them.

Speaker 18 (04:46:49):
No, no, wait, what's this.

Speaker 20 (04:46:52):
Type of factory?

Speaker 1 (04:46:52):
I mean.

Speaker 45 (04:46:54):
You're calling for pubble collecting.

Speaker 17 (04:46:56):
Hyah, look at him?

Speaker 12 (04:47:00):
They have cap Yeah, but what's happened to me?

Speaker 25 (04:47:09):
Oh?

Speaker 45 (04:47:10):
I don't know, but I told you you don't look well. O.

Speaker 38 (04:47:14):
Hey, where are you going?

Speaker 40 (04:47:15):
Okay, wait a minute, I told you that was a borrow.

Speaker 4 (04:47:39):
Well there it is.

Speaker 13 (04:47:40):
D Yeah, huh, that's his story. I kept hearing what
he said tom over and over again. I'm not so crazy.
I couldn't stand it anymore. So I looked you up
in the phone book and I come over, what do
you expect me to do?

Speaker 4 (04:47:56):
Lift?

Speaker 12 (04:47:58):
You're a brain duck. I'm not nuts, I know, I'm not.
Why am I seeing these things? What's happening to me?

Speaker 87 (04:48:06):
It's rather difficult to make a diagnosis this quickly, but
I'd say that you were suffering from hallucinations because of
a sense of.

Speaker 12 (04:48:12):
Guilt, guilt about why.

Speaker 87 (04:48:15):
Well, it probably started with that first murder missus Tilson,
and it's been weighing, preying on your mind ever since. Now,
if you could extrovert that, get it out of your system.
But I did, that's true, but not as a confession
with all the details. That's the only way you can
achieve a complete cathositis. That's crazy, all right. You wanted

(04:48:39):
my advice, but you don't have to take it. And
you think, okay, okay, I did kill her.

Speaker 13 (04:48:52):
I know all the time what I was doing. I
waited for a night when there was only the two
of us in the house, and then I fetter pranks
I with a tire iron there there.

Speaker 12 (04:49:02):
I said it.

Speaker 87 (04:49:02):
I told you, yes, lifted, And I think that now
I can promise you you will never be troubled by
hallucinations the game.

Speaker 13 (04:49:10):
He's sure, Dak, quite sure. That's good because remember I
said that in half an hour I was going to
kill someone. Yes, well, half hour is up and you're
the man.

Speaker 1 (04:49:26):
Am I lifted?

Speaker 12 (04:49:29):
I'm sorry, Dak, but you know too much now. You're
the only one who.

Speaker 2 (04:49:33):
Does so I wouldn't left it.

Speaker 12 (04:49:41):
Why Why are you sitting there like that?

Speaker 87 (04:49:44):
I shot you, Yes, lifted with blanks in your gun
all right, boy, we got your cover and Mason, did
you get it?

Speaker 37 (04:49:54):
Every word the cops.

Speaker 12 (04:49:57):
And the whole thing, letting me escape and everything that
happened afterwards.

Speaker 4 (04:50:03):
Was this a trick?

Speaker 12 (04:50:03):
That's right, you wanted to show I wasn't nuts. Get
me to confess.

Speaker 66 (04:50:07):
R boy, you made just one mistake, Lefty, or rather
Ruth did following you into the Tilson mansion.

Speaker 63 (04:50:14):
She paid for that with her life. But now now
you're going to.

Speaker 38 (04:50:18):
Preak no, no, shut up.

Speaker 66 (04:50:20):
Yes, left me for that and for the Tilson murder.
And my only regret is that rat's life you can
only burn once.

Speaker 23 (04:50:39):
Moving forward, the two grim faced men take hold of
Lefty O'Connor and left He knows that he has come
to the end of the road. The road began when
he first heard the clock from the old Tiltson mansions,
Strike twelve four, murder.

Speaker 2 (04:50:57):
At midnight.

Speaker 6 (04:51:26):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
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 is also

(04:51:47):
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.

Speaker 1 (04:51:57):
If you or.

Speaker 6 (04:51:58):
Someone you know is struggling with depression, addiction, or thoughts
of harming yourself or others, you can find all of
that and more at Weird Darkness dot com. I'm Darrenmarler.
Thanks for joining me for tonight's retro radio Old Time
Radio in the Dark.

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DEATH BY FICTION: He Read His Own Murder Written In a Novel – His Wife and Boss Are His Killers!

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}DEATH BY FICTION: He Read His Own Murder Written In a Novel – His Wife and Boss Are His Killers!