For 30 Years He Hid the Truth—Until His Nightmares Betrayed Him

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

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

Speaker 1 (00:26):
A man us.

Speaker 2 (00:31):
Seal Present Suspense.

Speaker 3 (00:41):
I am the Whistler.

Speaker 4 (00:43):
Welcome Weirdos. I'm Darren Marler and this is retro radio
Old Time Radio in the Dark, brought to you by
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(01:05):
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(01:25):
me into tonight's retro Radio Old Time Radio in the Dark.

Speaker 5 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 3 (01:50):
Come in.

Speaker 6 (01:52):
Welcome.

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

Speaker 5 (01:55):
Marshall with another story of the macabre, a particular kind
of tale at Delves into the strange and bizarre secrets
of those who would prefer to keep them hidden. When
they're brought to light, their revelation may bring insight into
even those closest to us. How much is concealed? Why

(02:16):
does a neighbor pace back and forth in his small
yard evening after evening? And what is the reason that
a retired doctor will leave any gathering and wash his
hands repeatedly? And why specifically has an old man begun
to have delusions? His daughter in law, Maria Smith, wants.

Speaker 7 (02:37):
To know, Henry, can you hear me, Henry, Yes.

Speaker 8 (02:43):
Yes, I could hear you? What a shadow hangs above me?
I can't lift it, Maria. It hangs there and settles
down on me, and it will kill me. A shadow, yes,
a black, smoky shadow, and it's smothering me to death.

Speaker 5 (03:16):
Our mystery story, Last Judgment, was written especially for the
Mystery Theater by Roy Windsor and stars Norman Rose and
Carmen Matthews. It is sponsored in part by True Value
Hardware Stores and Buick Mortar Division. I'll be back shortly
with that one. We're about to begin a strange journey

(03:46):
into a land as remote as an undiscovered star the mind,
and what a mind stores up in its subconscious are dreams, memories,
and experiences that leave impressions which cannot be erased. Our
lives are affected by every experience. The character of an

(04:07):
adult can be deduced from its many stages of growth.
But what stage explains delusion? That's what worries Adel Smith
about her husband.

Speaker 7 (04:18):
Come in, Maria, come in, Let me take your coat
and your bag. Dear, I'm so nervous. I don't know
what I'm doing. Adele, calm down and tell me how
he is. Is there any change, if anything, he's worth?
Please sit down. I don't know what to make of it.
Neither does your brother. Have you thought of calling in
another doctor? Jan wouldn't object, Well, he suggested it. But

(04:40):
Jan's a fine doctor, and Henry refuses to see anyone else. No,
Jan is doing everything any doctor can. It's such a pity.
Henry's only sixty five, with all the future to enjoy.
Why should he be struck down a good man like that?
Jane told me it's paranoia. I don't even know what

(05:00):
that means, or a persecution complex, but I really don't
understand that. Why should he feel persecuted he's retired. We're rich.
We love Providence and our house here on the hill
near the university. I know, what does it mean, Maria.
You were a nurse. That's how I met your son,
and thank goodness you did. You're a wonderful couple. Oh

(05:24):
if only Leo were here. You know how attached Henry
is to him. He'll return next Sunday. He found last
night from Munich. Oh, well, it's very considerate of you
to move in with me. Henry won't consider a regular nurse.
Does he stay in his bedroom? No? No, he comes
down for lunch and he takes a walk. In the afternoon,

(05:47):
he's dinner. But to see him when he's up, you'd
think nothing serious was the matter with him. It's night
that he fears. He tries to fall asleep. I've sat
up with him, but he can't. He half sits up.
His eyes are glazed, and keep babbles. It's frightening, and

(06:10):
it's always the same fear. Yes, night after night, he
knows he's going to be killed. He says over and over,
please please don't kill me. I don't want to die.
Oh he's wasting away, Maria. I I don't want to
lose him. Neither do Leo and I now stop imagining

(06:30):
the worst. He says, it's a judgment, a judgment, a
judgment about what. Who knows, Adele, something rooted deep in
his subconscious A psychiatrist. Don't don't mention the word. Oh,
I agree with you, so does Jan. But Henry won't

(06:51):
see one. Well, it's just after nine o'clock. I'll go
up to him. Do you want me in the back room? Yes,
I'll carry up your bag. He will do nothing of
the sort. You are to relax. I don't want you
for a patient too well. I am worn out. Worry
does that, and we'll try not to leave that to me.
I wish I could, but I have this lost feeling

(07:14):
that Henry will never recover.

Speaker 6 (07:31):
Henry, Ah, Maria, my dear.

Speaker 7 (07:37):
I've come to stay a few days. Leo's in yours.

Speaker 6 (07:41):
Yes, I know, I know, poor Adele.

Speaker 7 (07:45):
And you Henry A yes me, this insomnia.

Speaker 8 (07:50):
It is not insomnia. You know that Jan must have
told you. It's true. I can't sleep. I suppose that
is insomnia, that's what the word means.

Speaker 6 (08:00):
But it's more than that.

Speaker 8 (08:02):
I fall asleep, but then I wake up frightened and trembling.

Speaker 7 (08:07):
Because of anxiety.

Speaker 8 (08:09):
Your dream Yes, dreams can be pleasant. Mine are nightmares.

Speaker 7 (08:14):
And they become delusions. Can you remember them, Henry?

Speaker 8 (08:19):
No, Well, some persons remember their dreams. Adele always has.
She's told them to me, crazy dreams, wild adventures. I've
never been able to do that. Poor Adele, having to
put up with a crazy old man.

Speaker 7 (08:36):
It's hopeless because someone is going to kill you. Because
it's a judgment.

Speaker 8 (08:42):
Adele told you that. I said that in my sleep. Huh,
but it's true.

Speaker 7 (08:50):
Enough, Henry. When you're awake, do you try to explain
why those thoughts come out of your subconscious in your sleep.

Speaker 6 (08:58):
When I'm awake, I don't remember them.

Speaker 7 (09:02):
Are you being honest with yourself and with me?

Speaker 6 (09:07):
Maria? I cannot face the truth awake or asleep.

Speaker 7 (09:11):
Then you do know why you're being persecuted. I know
it's something deeply rooted in your subconscious, Henry. Unless you
bring it to the surface and face it, it will
seriously affect your help.

Speaker 6 (09:24):
I do not know what it is.

Speaker 7 (09:26):
Someone you were afraid of when you were a boy.

Speaker 8 (09:28):
Maybe think that there was a boy named I don't remember.

Speaker 6 (09:33):
He was a bully. Oh yes, yes, I.

Speaker 7 (09:36):
Can remember, and in your nightmares, he chases you, catches
up with you, and then what I escape until the
next night? Yes, is he still alive?

Speaker 6 (09:46):
I don't know, Maria, Please, I don't know.

Speaker 7 (09:49):
But you're still afraid of him. Don't you ever face
the bully and beat him up? That often happens in dreams.
In a dream you sometimes overcome an enemy. Have you
had that kind of dream, Henry?

Speaker 6 (10:06):
Yes? Once, Yes, dream.

Speaker 7 (10:08):
About overcoming an enemy, about conquest and triumph. Is that so?

Speaker 6 (10:13):
Yes? And then and then I wake up terrified?

Speaker 8 (10:21):
Oh, Henry, Maria, I'm exhausted, Go away.

Speaker 7 (10:28):
Please, you have been a good man, Henry.

Speaker 8 (10:32):
No, I am like all other men, only.

Speaker 7 (10:40):
Worse will Maria Johan is with him now? I don't know, Adele,
where do you keep your photograph album? What a strange

(11:03):
question on the bottom shelf of the bookcase?

Speaker 9 (11:06):
Why?

Speaker 7 (11:06):
Uh, just a thought? Has Henry ever told you about
a boyhood bully who threatened him repeatedly?

Speaker 10 (11:13):
No?

Speaker 7 (11:15):
Is that what he dreams about? Perhaps it would be
a Spanish boy, I imagine an Argentinian. Henry was born
in Buenos Aires. When did he come to the United States?
Let me think nineteen forty three, the year we were
married in New York. Leo was born a year later,

(11:35):
so Henry was thirty three. Yes, we moved to Providence
three years later. He started Smith Imports. My father offered
to help, but Henry had enough money of his own,
and as you know, the company's been very successful. I
don't understand your interest in this ancient history, Maria. Has
Henry ever taken you on a trip to Buenos Aires? No,

(11:59):
he no longer has family there. Why is that he's
never talked much about it? When I ask, Henry says
that's a closed chapter. Adele. I respect his silence. That's
more than I would do. There are some things that
are better concealed, Maria. Then you do suspect a secret

(12:22):
in Henry's background. Yes, I don't want to know. Our
lives have been good. Oh, Adele, you're an ostrich, but
you are a dear thank you.

Speaker 6 (12:37):
Oh here's Jan eas asleep. I said, for a minute,
it's beyond my competence.

Speaker 7 (12:46):
Ladies, you're a splendid doctor, Jan, thank you.

Speaker 11 (12:50):
But by competence I mean my specialty. Henry won't see
a psychiatrist, but I'm going to consult with one. You
can't go on like this indefinitely. When did all this begin?
Can you remember his first sleepless night?

Speaker 7 (13:04):
It was a few weeks ago before our son Leo
was to leave for Europe.

Speaker 6 (13:09):
Leo's made such business trips before.

Speaker 11 (13:11):
Is there a connection between this trip and henry Southern paranoia?

Speaker 6 (13:15):
Have Leo and Henry quarreled?

Speaker 11 (13:17):
Has Leo found out something in the past history of
the company.

Speaker 7 (13:20):
No, no, Jan, nothing like that, And.

Speaker 6 (13:22):
I'm just grasping for an explanation.

Speaker 7 (13:24):
I think it's to be found in South America. Jane
Adele knows very little about Henry until he emigrated to
the United States in nineteen forty three, the year they
were married. Henry sixty five.

Speaker 6 (13:39):
Thirty three years about which we know nothing.

Speaker 7 (13:41):
And I'd rather not know. I'm afraid of what you
might find.

Speaker 11 (13:45):
But I'm not Henry, since i've known him, is the
model of a good man. I'd be very surprised if
he had a lurid past.

Speaker 6 (13:54):
Well, I'll come by tomorrow. Good night at Dell.

Speaker 7 (13:58):
Good night, and thank you. I'll see you to the door. Jan,
my regards home.

Speaker 12 (14:03):
Jan, Thank you, well, Maria.

Speaker 11 (14:09):
I think you're wrong, Jan, I have been before, my
dear sister, you might do something probing into Henry Leo.

Speaker 7 (14:20):
No, that's not where the mystery is hidden.

Speaker 6 (14:22):
Then where is it?

Speaker 7 (14:25):
Ask yourself this, Jen, who is Henry Smith really? And
why at the age of thirty two did he leave
Buenos Aires and come to the United States? Is it
possible that he had to leave?

Speaker 6 (14:46):
Jane thinks?

Speaker 7 (14:48):
What the onset of your delusions? Henry began a few
weeks before Leo left for Europe?

Speaker 6 (14:54):
It did I mean, did they?

Speaker 7 (14:56):
But that's what Adele remembers. Does this fear yours have
anything to do with Leo?

Speaker 8 (15:02):
No, no, he's a good son. Leo has nothing to
do with.

Speaker 7 (15:06):
Any Will you Will you tell Leo what possesses you
Henry Leo? You won't tell jan You won't tell me.
Will you tell Leo the truth?

Speaker 6 (15:18):
No?

Speaker 7 (15:18):
No, never, never has your son. No one is closer
to you than Leo. Oh no, I'll bring you a cent.
It will help you fall asleep.

Speaker 6 (15:28):
Marie, I'm afraid to sleep.

Speaker 8 (15:30):
That's when it creeps over me like a black fog,
and in it I see, I see those terrible.

Speaker 7 (15:38):
Things and they're in Buenos Aires.

Speaker 6 (15:42):
What do you know about Buenos Aires?

Speaker 7 (15:44):
I know that your deep anxiety comes from there, from
something that happened there that drove you to the United States.

Speaker 6 (15:49):
You you know.

Speaker 7 (15:52):
Something God knows. God knows, Henry. You have no choice
but to pray to God whatever you do.

Speaker 6 (16:03):
No, I cannot tray. Prayer sticks in my throat.

Speaker 7 (16:08):
Then you know what can happen.

Speaker 8 (16:11):
Something will snap and I've become mad.

Speaker 6 (16:16):
I want to die. Then you will be at peace,
all of you.

Speaker 5 (16:32):
So there is stage one of our journey into a
troubled mind. It is the mind that controls our actions.
You've heard the expression, what's his frame of mind? Depending
on what it may be, You approach a person in
different ways, and the frame of mind is the result
of what has happened to that person. More insight into

(16:56):
the mind of Henry Smith when I return soon with
that too. Everything to live for, and by that we
mean good health and security, given both, who could be unhappy? Well,

(17:19):
it's the former that isn't an absolute. If you have security,
you don't have to worry about paying your bills. But
good health is a different matter. You have it, then
something can happen and you don't. Something has happened to
a man's mind, and Henry Smith otherwise, Well has suddenly
become paranoid and is deeply troubled by his dreams.

Speaker 8 (17:42):
Into the street, everyone, into the street.

Speaker 13 (17:51):
Come down from your houses and into the street. This
one running for the canals. Shoot him, suit them, enemies
of the people. You cannot escape from me.

Speaker 1 (18:03):
Come come out, or we.

Speaker 6 (18:04):
Will tell you if you obey. You have nothing to fear.
You cannot hold out against us. Your country has fallen.
Save your lives.

Speaker 7 (18:14):
Come down, trust me.

Speaker 6 (18:20):
More more.

Speaker 2 (18:22):
Drop your guns.

Speaker 8 (18:24):
Now, in the name of freedom.

Speaker 14 (18:33):
Oh my god, my god, Henry, h.

Speaker 15 (18:45):
You here.

Speaker 7 (18:48):
Wipe your face. You're covered with perspiration.

Speaker 6 (18:52):
Thank you. How terrible the guilt, Maria, the guilt.

Speaker 7 (19:01):
You ordered some resistors out of a house and promised
them they'd live, and then ordered your men to shoot them.

Speaker 8 (19:09):
I don't know that's what you said in a dream.
I don't know what I said.

Speaker 7 (19:13):
You can't remember any part of the dream. The house
near the canal, the resistors and the murders.

Speaker 6 (19:21):
Maria, when was that?

Speaker 7 (19:24):
Were you an officer? Where and who were the resistors?
And where were the canal?

Speaker 2 (19:32):
Oh?

Speaker 6 (19:33):
Please, Maria, my head is throbbing and I cannot think.

Speaker 7 (19:36):
Did this happen in Buenos Aires.

Speaker 6 (19:37):
I don't know is why Buenos Ares.

Speaker 7 (19:42):
You came from there in nineteen forty three. Were you
a gorilla fighter for paronies? Yes, that must be it
must know.

Speaker 6 (19:52):
Yes.

Speaker 7 (19:52):
And the resistors were the anti parentisters, the.

Speaker 8 (19:55):
Enemies of the people, liberals, communists, and the canal Yes.

Speaker 7 (20:00):
The canal in Buenos Aires lined with houses.

Speaker 8 (20:03):
Yes, there's many canals where the Portennos.

Speaker 6 (20:06):
Lived, port dwellers, enemies of Peron.

Speaker 7 (20:10):
And you gave the order to have the resisters killed.

Speaker 6 (20:13):
Yes, yes, it was my duty.

Speaker 7 (20:16):
But your conscience is it another way? Doesn't it? You
still see those innocent people in your mind's eye.

Speaker 8 (20:22):
Yes, night after night they will go away.

Speaker 6 (20:27):
But I only obeyed orders.

Speaker 7 (20:29):
And this persecution complex of yours came on you just
before Leo went abroad.

Speaker 8 (20:33):
Leo, Leo, Leo must never know I what I did,
he would be repelled.

Speaker 7 (20:40):
Leo isn't in Buenos Aires, He's in Europe. Why should
his trip have triggered this recurring nightmare?

Speaker 6 (20:48):
Mury Mury, I can never be forgiven for what I did. Hello, Maria,

(21:10):
has anything happened? Come in jen Has there been a change?

Speaker 7 (21:14):
Take off your coat? I have to talk with you.

Speaker 6 (21:16):
Does Henry as sleep.

Speaker 7 (21:17):
I don't think so.

Speaker 6 (21:19):
You're being very mysterious, Maria.

Speaker 7 (21:21):
Henry talked in his sleep, I questioned him. It seems
that he was a soldier in charge of a massacre
of many innocent resistors.

Speaker 11 (21:33):
Ah, so that explains his paranoia guilt.

Speaker 6 (21:39):
I'm glad you found out.

Speaker 7 (21:41):
But I don't believe what he told me. Jan. Buenos
Aires is not a city of canals. It has canals,
but it's a port city. I looked it up. It's
on the Rio de la Plata. The city is one
hundred and seventy five miles from the Atlantic Ocean. The
river was dredged all that way, so Buenos Aires is
a seaport.

Speaker 3 (22:00):
What's your point?

Speaker 7 (22:00):
The question?

Speaker 9 (22:01):
Named?

Speaker 7 (22:01):
Jan? Ask about the canals?

Speaker 6 (22:04):
What am I to try to find out the truth?
Don't be mysterious.

Speaker 7 (22:08):
Henry Smith was a soldier who led troops and committing
an atrocity. Where was he was it? Boyos Aries? It's
not a city of canals. I don't like it neither
do I?

Speaker 6 (22:30):
Oh, Jan, what brings you here? Canals? Canals?

Speaker 11 (22:37):
Maria has told me about your nightmare and about the
talk you had his. I think it did me good
when you told her about killing those antiperanisters.

Speaker 6 (22:48):
You said that Buenos.

Speaker 16 (22:50):
Aires was a city of canals.

Speaker 6 (22:52):
That's not true, Henry. What city did you have in mind?
In the dream? Jan things get mixed? Well, yes, I
understand that.

Speaker 11 (23:03):
You were a soldier where Henry, Argentina and that city
of canals hardly Buenos Aires.

Speaker 6 (23:11):
What difference does it make?

Speaker 11 (23:13):
Venice is a city of canals, and so is Amsterdam.

Speaker 6 (23:17):
Have you been in Venice, Henry, Oh? Yes, many times.

Speaker 11 (23:22):
So your impressions of Venice, with its many canals, you
superimposed it all on this one dreadful experience you had
as a soldier, as a captain of as.

Speaker 8 (23:32):
An oh, as a lieutenant. Yes, yes, that must be
a GM And your.

Speaker 11 (23:38):
Memory is so vivid that the atrocity committed by you
keeps recurring in your dreams.

Speaker 6 (23:44):
Was it an atrocity? Henry?

Speaker 8 (23:47):
We killed defenseless people in war, guerrilla war?

Speaker 11 (23:54):
Another city of canals, Henry, is Amsterdam?

Speaker 3 (23:58):
Have you ever been there?

Speaker 6 (24:01):
No? No?

Speaker 17 (24:02):
Never?

Speaker 6 (24:04):
Well, I won't keep you any longer. Maybe tonight you'll
be able to have a good sleeper.

Speaker 8 (24:10):
I killed innocent people that, yes, that was beyond my duty.

Speaker 11 (24:18):
Till the world comes to an end. The ultimate decision
will rest with the sword. You know who said that?
Henry ooh KAISERVILLELM.

Speaker 8 (24:28):
The second of Germany.

Speaker 7 (24:36):
Henry never mentioned to you, Adele, that he was in
military service. No, and there are no pictures of him
as a young man and your family album. What about
a wedding picture? I've never seen one in the hospital.
Do you have one? But why would you want to
see it?

Speaker 11 (24:50):
I can think of one reason, identification, Henry.

Speaker 7 (24:55):
What are you suggesting? We don't know who Henry Smith
really he is? Do we? Do you? Adele? I never
heard anything so presumptuous. I'm surprised at both of you.
He's my husband. I've been married to him for over
thirty years, and you wonder to identify.

Speaker 6 (25:15):
Let me tell you why, Adele.

Speaker 11 (25:18):
For reasons known only to him, Henry has cut all
of us off from whatever he was, whatever he did
before nineteen forty three. The psychiatrist I consulted said that
it was of the greatest importance to reconstruct Henry's boyhood
is youth?

Speaker 7 (25:34):
Adele, Do you have a picture? It'll take me a
few minutes to find it. I do have one. Excuse me,
what will you do? With a picture.

Speaker 11 (25:50):
Jan Conductor search for Henry's identity? Oh, how where you
leave that to me? I assure you that it will
be done with discretion.

Speaker 7 (26:00):
Where is Maria? Has she gone to bed?

Speaker 18 (26:01):
No?

Speaker 11 (26:01):
No, no, she's in the library writing a list of some
things she wants me to get.

Speaker 7 (26:07):
All this has been a shock to me Jane, of course,
and to me all those years to think that Henry
may be carrying some horrible secret.

Speaker 11 (26:16):
Well, we'll soon have it out in the open, and
when we do, he will be free of whatever it
is that is causing his condition.

Speaker 3 (26:22):
Ah, here's Maria.

Speaker 7 (26:24):
Is that the picture? Oh my, what a handsome young
man Henry was, and you were tell a beautiful bride.
It makes me feel uneasy giving you the picture of
her for the purpose of identifying Henry to kind of betrayal.
I don't like it. If Henry knew what I'm doing,

(26:45):
he need never know.

Speaker 6 (26:47):
Trust me.

Speaker 11 (26:49):
Yes, he was a handsome man, tall, direct, sure of himself.

Speaker 7 (26:54):
Henry Smith, That too is strange. Why do you say that, Maria?
I wonder if he's always been Henry Smith? Good heavens,
why you wonder about that? And Argentinian? Is Smith a
common South American name Jan This is the list? Can

(27:19):
you get these things for me?

Speaker 6 (27:21):
I suppose so you know what you're doing?

Speaker 8 (27:25):
Yes, and your purpose?

Speaker 7 (27:26):
I must know the truth.

Speaker 12 (27:29):
What if the truth is what you suspect.

Speaker 7 (27:32):
You will have to face it.

Speaker 6 (27:33):
What do you intend to do with these things?

Speaker 11 (27:35):
Remember, Maria, Henry is my patient. I also happen to
be very.

Speaker 6 (27:39):
Fond of it.

Speaker 7 (27:40):
Can he ever be cured if he doesn't face the
truth about himself?

Speaker 6 (27:45):
Cure or kill?

Speaker 7 (27:46):
Which I don't care either one.

Speaker 11 (27:50):
Have you thought about the consequences? Is Leo Adele? You
could destroy them?

Speaker 7 (27:56):
What about me? How can I live with?

Speaker 19 (27:59):
This?

Speaker 7 (28:00):
Is vile suspicion?

Speaker 11 (28:02):
It's so very long ago, Maria, nothing contains what happened.

Speaker 6 (28:07):
Then leave the old.

Speaker 11 (28:10):
Man alone, be slipping rapidly into insanity. What satisfaction can
we get from exposing him to himself?

Speaker 7 (28:18):
You may forgive. I can't.

Speaker 6 (28:21):
I will never forgive. But I've tried to forget.

Speaker 7 (28:26):
Think of Adele, Think of your husband, and you think
of the thousands of innocence that Henry Smith and others
like him destroyed without conscience.

Speaker 5 (28:39):
The past is ever present, and man is the sum
of his experiences. Each of us has committed deeds of
which we may be ashamed. That's part of the struggle
for survival. War is another matter. It's the unleashing of
wild hatred, and it's the innocent who suffer. It is
conscience that gnaws away at the veryous, so Henry Smith.

(29:01):
When I return with Act three, we'll learn why. In
ancient times, the poet Ovid wrote that only the mind
cannot be sent into exile. That storehouse is a sum

(29:24):
of a person's life. A sane mind in a healthy
body is the ideal. But it is the sane mind
that is the more important partner in well being. A
serious mental disturbance can make a healthy body deteriorate. Witness
Henry Smith, so disturbed by conscience that his life is
slipping away.

Speaker 13 (29:43):
Maria, Maria, help help me, help me, please, Aria, Oh.

Speaker 6 (29:53):
Maria, look in Heaven's name. Look I see it.

Speaker 7 (30:00):
Now, sit down, Sit down and calm yourself.

Speaker 6 (30:02):
I can't stand it. The torture is driving me mad.

Speaker 7 (30:06):
The same nightmare, Henry.

Speaker 8 (30:07):
The people coming down from the houses along the canals
my soldiers in order to shoot innocent pe You woke.

Speaker 7 (30:14):
Up and found this on your night table, and you know.

Speaker 8 (30:17):
What it is Yes, it is an iconoff Saint Hedviga. Yes,
but how did it get here?

Speaker 12 (30:26):
You know who?

Speaker 7 (30:27):
Saint head Viga was destroyed, everything destroyed. That Viga is
the saint of Warsaw. Is that what you dreamed of?
Henry Warsaw canals in your nightmares? Are they in Amsterdam?

Speaker 6 (30:38):
Please?

Speaker 7 (30:39):
Please remember nineteen thirty nine Hitler had annexed Austria and
destroyed Czechoslovakia. He decided to annex Dancing, the Poles resisted,
then he attacked Warsaw. I want it up. In that
hideous attack on Warsaw, my parents were destroyed, So what
thousands and thousands of other innocent people. My uncle and
had escape, taking Jan and me with Jan was two

(31:01):
and I was only six. My souls how they escaped
with us and with one of their own children. I
don't know how. They won't talk about those days, but
I will.

Speaker 6 (31:08):
Please, Maria, have pity on me.

Speaker 7 (31:10):
I have no feeling for you except unforgiving hatred. Leo. Oh,
I'm so happy to see you home.

Speaker 16 (31:29):
How how is he Mama?

Speaker 7 (31:31):
Now he'll be all right.

Speaker 16 (31:33):
I know it's earlier. I'm sorry to get you out
of bed.

Speaker 7 (31:35):
No, no, you are the tonic. All of us need.

Speaker 16 (31:39):
Can I go up to him? I've been very worried.

Speaker 7 (31:42):
He's worried all of us. I don't know if he's awake,
if he's sleeping. Don't disturb him. Oh, the poor man
is exhausted. Maria has been wonderful. I can't understand what
could have happened. Neither can we. But Maria spent a
lot of time with him. It's some in his past, Leo,

(32:02):
some obsession.

Speaker 16 (32:04):
Oh is Maria still asleep.

Speaker 7 (32:06):
In the back room? Now let her sleep. I'll make
you some breakfast. Did you have a good flight?

Speaker 3 (32:12):
Oh?

Speaker 6 (32:12):
Very good.

Speaker 16 (32:13):
Landed in Boston ahead of time, made a quick connection
to Pravda.

Speaker 7 (32:16):
Was it a successful trick?

Speaker 3 (32:18):
Very?

Speaker 16 (32:19):
I negotiated a new association in Munich and want a
warsaw Well. I wanted to spend some more time in Amsterdam.

Speaker 7 (32:25):
But this news about Pap. Yes, Well, I'm happy you're home, Leo.
Your father won't tell us what's troubling him, but he'll
tell you. Jan said that only if he brings his
problem out into the open will he clear his mind
and recover whatever it is. He'll tell his son.

Speaker 6 (32:50):
She is a fiend, Leo.

Speaker 16 (32:56):
Now Maria.

Speaker 8 (32:57):
Yes, she is driving me crazy with her questions.

Speaker 6 (33:02):
My mind will.

Speaker 16 (33:03):
Snap, hasn't Has she been taking care of you, sitting
up with you, listening to.

Speaker 3 (33:09):
You, spying on me?

Speaker 6 (33:10):
Oh you don't know, Leo.

Speaker 8 (33:12):
You see, I have this nightmare and I talk in
my sleep. She questions me, and she questions me. How
can I answer questions about what I dream?

Speaker 16 (33:23):
That's the only way to find out what it is
that obsesses.

Speaker 6 (33:27):
You as a no, no, what?

Speaker 16 (33:32):
What are you afraid of? Something you did in?

Speaker 6 (33:35):
Something? Go away? You are as bad as Maria.

Speaker 16 (33:41):
Tell me what it is, Papa, Please, Leo.

Speaker 8 (33:46):
I don't know what it is. It just eats away
at me.

Speaker 7 (33:58):
What Leo, What a wonderful surprise. He arrived an hour ago,
had some breakfast, and went up to see Henry. I
told him to let you sleep. You look very pale, Mariah. Yeah,
I didn't sleep very well. I'm afraid I haven't helped much,
Henry says, you have after all you found out about

(34:19):
him leading those gorillas for Perne. That's getting at the truth.
It was a step in that direction. And wondering about
the name Smith. Has Jan discovered Henry's real identity? Not
that he'll be ever anything more than Henry Smith to me.
But well, I'm curious, adele I'll see about staying a

(34:40):
few more days. I'll speak to Leo and let him decide.
You can ask him right now. How did you find
your father? Leo?

Speaker 16 (34:49):
Not too good? Mamma, Ah Maria, Darling, O.

Speaker 7 (34:52):
Leo, Leo? How I wish I'd gone with you this.

Speaker 6 (34:57):
Time, the other trips.

Speaker 16 (35:00):
I want to hear everything that's happened since you moved
in with Mama.

Speaker 7 (35:03):
Let me heat up the coffee. I'll take a tray
up to Henry. Maria, you sit and talk.

Speaker 16 (35:11):
Papa called you a fiend?

Speaker 20 (35:14):
Are you?

Speaker 16 (35:16):
I think of you as my beautiful, intelligent wife. I
love you more every day. Can't you tell me I'm
as crazy as my father?

Speaker 7 (35:24):
Holy?

Speaker 3 (35:26):
What what is it?

Speaker 6 (35:27):
Darling?

Speaker 3 (35:28):
What?

Speaker 16 (35:29):
What have you found out? I I you've found out
that my father's been concealing a crime for over thirty years?

Speaker 3 (35:43):
Yes?

Speaker 16 (35:45):
Can that stay concealed?

Speaker 7 (35:47):
Not if you want your father to stay sane?

Speaker 6 (35:51):
That bad?

Speaker 7 (35:52):
He's paranoid and there's no help for him.

Speaker 16 (35:56):
Oh God, does my mother know?

Speaker 7 (36:00):
She thinks your reappearance will work a cure. On the contrary,
seeing you again, is the worst thing that could.

Speaker 16 (36:05):
Have happened, Maria, What do you mean by that?

Speaker 7 (36:08):
It makes his sense of persecution more intense. The one
person he wants to hide his guilt from is you.

Speaker 6 (36:25):
No. No, the icon and now these she knows. She's
a witch toy fish. Ah, she's a who's there?

Speaker 21 (36:44):
You?

Speaker 22 (36:46):
You?

Speaker 12 (36:48):
I will kill you, Maria.

Speaker 7 (36:50):
No, you won't. Herschmidt. You're a very sick man.

Speaker 9 (36:53):
Huh.

Speaker 7 (36:55):
We're getting to the truth, aren't we.

Speaker 6 (36:57):
Where did the photographs come from? Where?

Speaker 7 (37:00):
I'm out of your mind?

Speaker 6 (37:02):
You know, I can feel these pictures. I have them
in my hand.

Speaker 7 (37:10):
You were a very handsome officer in Hitler's Secret Police,
weren't you, Captain Schmidt? And they are the armbands with
the swastik on them. You were proud of them, weren't you.

Speaker 6 (37:21):
I obeyed orders, I was assault.

Speaker 7 (37:24):
You were an assassin. You reduced Warsaw to rubble. You
swept through the nether No. Only then you escaped like others,
slipped into South America, leaving your destruction behind you, forcing
people like me, Maria Walinski and my brother Jan to
find refuge in the United States. What drove you here?

(37:44):
Heinrich Schmidt Ler, don't persecute you have lived a hideous line.
You've always had that recurring nightmare, but it never became
acute before. Leo's trip to Munich brought that about, didn't it.

Speaker 8 (37:55):
It was in Munich that I was promoted to be captain.
And why Yeah, I am very sick.

Speaker 6 (38:08):
I think I'm going to die.

Speaker 13 (38:11):
Oh God, have mercy on my soul.

Speaker 6 (38:26):
It's over, Leo. I'm very sorry.

Speaker 16 (38:31):
Maybe maybe it's better this way, Joan, do you know
the truth? I only know that he died from a
cerebral hemorrhage. That's not what I'm asking Why he.

Speaker 6 (38:49):
Had such an overwhelming sense of guilt.

Speaker 11 (38:53):
If he had not died, they would have gone mad,
guilt for what. Something in his past, something hidden from us.
I don't think that it would be wise to speculate.

Speaker 16 (39:07):
I've got to find out.

Speaker 6 (39:08):
I'd advise against it. Let the past be dead.

Speaker 11 (39:12):
There's nothing to be gained by raking up what happened
to your father years ago.

Speaker 16 (39:16):
But you you suspect something, don't you, John. I'm going
to stay here for a while. He was a wonderful
father to me. I I don't know what he did
to cause his collapse.

Speaker 6 (39:31):
In his death.

Speaker 16 (39:33):
But I forgive him. He was a good man.

Speaker 6 (39:43):
We killed him.

Speaker 7 (39:44):
You know that he should have died.

Speaker 3 (39:46):
He was a man.

Speaker 6 (39:47):
We should not have tried to help.

Speaker 11 (39:49):
In trying, we exposed information that will affect our lives deeply.

Speaker 6 (39:54):
Leo and Adele must never know.

Speaker 7 (39:56):
All of Providence is going to know that Henry Smith
was Captain Heinrich Schmitt. No, Marie, they sat warsaw, They
murdered our parents. They sent millions to the gas chambers,
and you would protect him. Missus Desmitt.

Speaker 11 (40:09):
Are Adele and Leo guilty of anything? Would you bring
their lives down? And yours too?

Speaker 7 (40:13):
I have an obligation to the millions of death.

Speaker 11 (40:15):
To what end you cannot bring the innocent dead to life?
The Holocaust will be a scar on civilization forever. I'm
glad that Henry Smith is dead, but I want his
secret to be buried with him. I'm thinking of Adele,
a sweet, helpless woman, of you and your marriage of Leo,
who's a decent man. Keep our secret, Maria.

Speaker 7 (40:40):
I don't know what to do. I can't live a lie.

Speaker 6 (40:45):
It's not your lie, my dear, and it's not Leo's.

Speaker 7 (40:49):
I'll look at Leo, and know he's the son of
a man who helped destroy Warsa and our parents.

Speaker 11 (40:54):
Look at Leo as the man you love. He would
be more horrified than you if he learned the truth.
The burden of guilt could pass from his father to him.

Speaker 6 (41:04):
Don't do it, Maria, for your sake and for his.

Speaker 16 (41:15):
Maria, I want to know the truth. You're You're ashamed
of something for my sake, aren't.

Speaker 7 (41:25):
You, Leo? It's all pasted?

Speaker 16 (41:29):
What what about this?

Speaker 7 (41:33):
Oh good Lord? Where did you find that?

Speaker 16 (41:37):
In the drawer on the table next to my father's bed,
arm bands with the swastika.

Speaker 23 (41:46):
I see?

Speaker 6 (41:48):
Is it true? Maria?

Speaker 7 (41:52):
I can't answer that it is true?

Speaker 16 (42:00):
Happens to us?

Speaker 9 (42:01):
Leo?

Speaker 7 (42:02):
I love you, That's all I know.

Speaker 24 (42:05):
I love you.

Speaker 7 (42:07):
The shame isn't yours. My father dead, and let what
he once was die with him. You have nothing to
be guilty about. Don't let this destroy us, Leo. Oh Marie,
if you still can love me as I love you,
I do, I do, then we.

Speaker 16 (42:29):
We can let this awful memory go with him to
the grave.

Speaker 5 (42:42):
And so our journey through a man's mind has come
to an end for us and for Henry Smith. That
little inner voice that some of us claim to hear
is a troublesome thing and should be heeded. If it
isn't believe me, it is not still who come back
sometime to.

Speaker 3 (43:01):
Haunt you in your dreams. But what about.

Speaker 5 (43:03):
Maria, Leo and the others or when I returned shortly?
Maria did not make public her discovery that her father
in law had been a member of Hitler's secret police.

(43:25):
Leo knew, but Maria's love for him overcame his sense
of guilt. Adele never learned the truth, and the doctor
Jan dismissed the scandal from his mind. I don't know
if they went on to live happily ever after. I
doubt it. Murder Lee's an indelible stain. Our cast included
Carmen Matthews, Terry Keane, Norman Rose, Nat Poland, and Michael Wager.

(43:49):
The entire production was under the direction of Hyman Brown
and now a preview of our next tale.

Speaker 25 (43:58):
I must be with you for your sake as well
as mine. Son, Please just give me this one last chance.
Now look now, before the water is dry, can you
see come to me.

Speaker 26 (44:15):
Save me, Come to me, say.

Speaker 27 (44:23):
I don't it's not possible, but there is a face,
and such a face you saw.

Speaker 6 (44:33):
I saw? Then may I go with you? Yes? Son,
you may go, Thanks Papa. The question that haunts me
is will you come back?

Speaker 5 (44:49):
Radio Mystery Theater was sponsored in part by Contact the
twelve hour Cold Capsule Missus e g. Marshall, inviting you
to return to our Mystery Theater for another adventure in
the macabre. Until next time, Pleasant Dreams.

Speaker 4 (45:48):
Welcome to Marshport, Maine, a quaint little coastal town preparing
for their annual Winter Wonderland Festival. But beneath the lights
and holiday cheer, something evil is stirring and it's not
a mouse. When a mysterious package arrives on the doorstep
of veteran police officer Matthew Kleine and his family's home,

(46:10):
it seems at first like a harmless holiday gift. However,
there's no tag and no sender. Inside lies an antique
wooden advent calendar with strange engravings and twenty four doors
that each shelter something dark and unspeakable. The line between
reality and nightmare quickly becomes blurred as Matthew races to

(46:33):
figure out the calendar's origin and who scent it. But
as each door is opened and Marshport is thrust into
a sinister nightmare, Matthew realizes the terrifying truth and is
forced to relive the horrors from his past that refuse
to stay buried. The countdown has begun, and once that

(46:54):
first door is opened, there is no turning back. We're
Darkness presents Advent of Evil, a twenty four episode audio
saga beginning December first. Listen each day for a new
chapter through Christmas Eve, and if you'd like to follow
the story in print. The full novel is now available
in paperback and hardcover editions, as well as on kindle.

(47:18):
Grab the novel now for yourself or for someone else
and be ready to follow along. December first, and for
a limited time only, you can also grab an Advent
of Evil gift pack, including a signed copy of the
novel by the author Scott Donnelly, wrapped up with an
Advent of Evil bookmark, pen, highlighter, hot chocolate, chi te chocolates,

(47:38):
a candy cane, and some horror stickers. The gift pack
is in limited supply, so act fast if you want
to take advantage of it. You can find links to
purchase the book or the gift back at Weird Darkness
dot com slash Advent of Evil. That's Weird Darkness dot
com slash Advent of Evil, and then be ready as

(47:58):
the first episode comes you away December.

Speaker 28 (48:01):
First, It's Mystery Time.

Speaker 1 (48:19):
Time now for the best in mystery. Tonight, Sherlock Holme.

Speaker 19 (48:26):
Let me tell you, my dear Watson, no man lives
or has ever lived, who has bought the same amount
of study for the detection of crime that I have done.

Speaker 29 (48:42):
Good evening, This is Don dud your host for Mystery Time.
This week is the premiere of ABC Radio's news series
of nighttime mystery programs. Produced by Clark Andrews. Mystery Time
features a new and different story each night Monday's Mike Malloy,
Tuesday Sherlock Holmes, Wednesday's Masters of Mystery, Thursday's Mystery Classics,

(49:04):
Friday's Police Blotter. Tonight being Tuesday, mystery Time brings you
the adventures of Sherlock Holmes, starring John Gielgood as Sherlock
Holmes and Ralph Richardson.

Speaker 30 (49:16):
As Doctor Watson.

Speaker 29 (49:19):
Tonight's Transcribe story, the Case of the Speckled Band, commences
in the apartment shared by Holmes and Watson had two
twenty one b Baker Street. Doctor Watson, who will narrate
part of the story, has just admitted a very nervous
young lady.

Speaker 31 (49:34):
If not the colde makes the shippens to Holmes, it's
fhear gaff. I've no one to turn to. Even my
fancy believes it's on in my imagination.

Speaker 9 (49:42):
Must fear we'll soon set matters to right side them.
Do My name is Helen Stoner.

Speaker 31 (49:47):
When I living with my stepfather, who is the last
survivor one of the oldest timilies in England, the royal
up of Stoke, Moran on the western border of sun.

Speaker 9 (49:55):
The name is familiar to me, Madam, and the family
used to be very rich, but.

Speaker 31 (49:59):
Now there's no nothing, let say the two acres in
an old house crushed under a heavy mortgage. My stepfather
went out to practice in Calcutta. There he married my mother.

Speaker 32 (50:08):
The widow of England Army officer.

Speaker 31 (50:10):
My sister Julia and I were twining and only two
years old at the time of this second marriage. Eight
years ago we returned to England and shortly after which
my mother died.

Speaker 9 (50:22):
Was your mother a wealthy woman.

Speaker 31 (50:24):
She had a fortune of some thousand pounds a year,
which she bequeathed to doctor Roylett entirely, so long as
we resided the King with the provision that a certain
annual son should be allowed to both.

Speaker 32 (50:35):
Julia and myself if either of us should marry.

Speaker 19 (50:37):
But tell me, did doctor roy Love continue to practice
after your return to England.

Speaker 32 (50:43):
No.

Speaker 31 (50:44):
He took my sister and me to live with him
at soft Mooring, and for a time we were quite
happy together. But a terrible change began to come over
our said father. He shut himself up and only came
out to indulging violent quarrels with his neighbors. He has
no and are tall, But the wandering bands of Gypsies,
if he allows to camp in his grounds, is a

(51:04):
collective strange animals. We had an Indian cheetah and a
baboon which wonder freely over the estatus. No servant would
failed if we had to do all the work of
the house. He could imagine what he liked for my
sister and me. And when she died, though she was
only thirty, Julia's hair had begun to turn white.

Speaker 9 (51:24):
Nor sister huh just two years.

Speaker 32 (51:27):
Ago, soon after she had become engaged to be married.

Speaker 31 (51:32):
Only a fortnight before the wedding, he died in terrible
second day.

Speaker 19 (51:37):
Did your stepfather after any objections to her married? No,
he didn't appear to the circumstances of your sister's death.
The things be precise as the details.

Speaker 32 (51:49):
As I said.

Speaker 31 (51:49):
The manor house is very old, and only one wing
is ye loose. The bedrooms in this wing are on
the ground floor. Thus my stepfathers than my sisters and
men mine. There's no communication between them. But they opened
on the same carda door and look out out of
the same lawn, the.

Speaker 9 (52:06):
One of mittels Clay perfectly, sir, please, continued.

Speaker 32 (52:09):
That night, doctor Roylott's.

Speaker 31 (52:11):
My stepfather had gone to his room earlier, but would
not get asleep till my sister was troubled by the
strong smell of his Indian cigar. She left her room
and came into Minds, where she sat chatting about her
tunning with.

Speaker 33 (52:25):
Well.

Speaker 32 (52:25):
Helen asked, I'll be getting back to bed. He must
be asleep by now.

Speaker 34 (52:30):
By the way, have you ever heard a strange whistle
in the dead of night?

Speaker 3 (52:35):
A whistle? No?

Speaker 34 (52:37):
Why have the lasting nights about three in the morning,
I've been wakened by a low, clear whistle. I don't
know whether it came from the next room or from
the lawn outside.

Speaker 32 (52:47):
It must those gifts in the plantations.

Speaker 31 (52:50):
I haven't heard it, but that I sleep more heavily immediately,
and it's.

Speaker 32 (52:53):
Of no consequence for that.

Speaker 31 (52:55):
I remember it with a wild knight. Then he was
harding out side, and the raining. I didn't get at
the window. I had a terrible premonition of evil and
suddenly threw a storm, and my sister wo had screamed.
I sprang from my bed, rapped a shorel rung and

(53:16):
rashed into the carner door.

Speaker 32 (53:17):
As I opened my door, I heard.

Speaker 7 (53:19):
A distant whistle.

Speaker 31 (53:27):
And whistled, and a clanging sound, as if a massive
metal had fallen somewhere. As I lent towards if my
sister's door was, I'm not too slowly swung open the.

Speaker 7 (53:37):
Light of a lamp.

Speaker 31 (53:37):
I saw her standing there, her face bounced with terror,
her hands grouping to help her, whole figure swaying to
and fro. A niece gave way and she fell to
the ground. She only screamed the one thing before she
died in my arms.

Speaker 23 (53:56):
It was a bad.

Speaker 34 (54:00):
Take, God, band.

Speaker 32 (54:02):
This my belief that she died of sheer terror and
nervous shock.

Speaker 9 (54:06):
And what did you gather from her illusion with speckles?

Speaker 6 (54:09):
Damn?

Speaker 31 (54:10):
Sometimes I've thought it was murder delirium. Sometimes I've wondered
if it might have referred to some band as people.
Perhaps those very gypsies in the plantation. Is there's pot
of handkerchiefs on their heads.

Speaker 9 (54:23):
He's a very deep waters miss stern upleas go on.

Speaker 31 (54:26):
Two years have passed through then, and until lately, my
life has been lonelier than effort. A month ago, however,
I became engaged to be married to a mister armatage.

Speaker 32 (54:37):
I feared my stepfather might.

Speaker 31 (54:39):
Offer objections, but he has made no difficulties, and he
had to be added later this spring. Yeah, two days ago,
some repair just started in the west room, so that
I've had to move out of my own room into
the room next door, the room.

Speaker 32 (54:55):
With my sister died.

Speaker 31 (54:57):
Last night by lay awakes into her terrible statement, I
suddenly heard, in the assilence of the night that same
low whist.

Speaker 9 (55:09):
Are you sure you've told me everything?

Speaker 32 (55:12):
Yes? Everything?

Speaker 19 (55:13):
I think you are still shielding your stepfather, miss Stoner.

Speaker 9 (55:16):
Isn't that the mark of his grip there on your wrist?

Speaker 32 (55:19):
He's a hard man actually, hardly knows his own strength.

Speaker 19 (55:24):
This is a very deep business and from what you've
told me, there may not be a moment to lose.
If we were to come down to Stoke Moran today,
would it be possible to see over the bedrooms without
the knowledge of your stepfather?

Speaker 32 (55:35):
I think so.

Speaker 31 (55:36):
He told me last night he was coming to London
for the day. There should be no one to this.
Turning excellent and we shall both come. And what are
you going to do yourself? I have one or two
things to attend to in town that I should be
home shortly afternoon, and.

Speaker 9 (55:47):
You may expect us earlier this afternoon, Miss Stoner. Goodbye
for the person.

Speaker 3 (56:06):
Which of you is Holmes?

Speaker 9 (56:08):
My name is you have the advantage of.

Speaker 3 (56:10):
I am doctor Grimes, the Royal lift stone worn.

Speaker 9 (56:14):
My stepdaughter has been here.

Speaker 12 (56:17):
What has she been saying to you?

Speaker 9 (56:19):
It is a little cold at the time of the year.
What has she been saying to you? I've heard that
the crocuses promised very well, Nah, you'll put me off
to you?

Speaker 2 (56:27):
I know you You scoundrel.

Speaker 35 (56:29):
Your home with a meddler, home with the Scotland god.

Speaker 9 (56:33):
Jack in office or conversation is merch entertaining. When you go,
I'll close the door.

Speaker 3 (56:37):
Go and I've had my say.

Speaker 9 (56:40):
I know miss Stoner has been to see you, but.

Speaker 35 (56:43):
Don't you care a medal in my affairs.

Speaker 1 (56:46):
I'm a dangerous man to fall for love.

Speaker 9 (56:49):
See that you keep yourself out of my grip.

Speaker 36 (56:51):
Oh like this poker, I'll amiable person sending our poker
almost w observe I am not quite so bucky.

Speaker 19 (57:08):
But if he remained, I might have shown him that
my grip was not much more feeble than his own. There,
I think that's just about straight again.

Speaker 27 (57:22):
As the news is connecting you with Scotland yard, Yes,
the incident you know idea, what's in this little incident
gives a news as to our investigations.

Speaker 19 (57:31):
We shall certainly see what we can find. That's Stoke
Moran this afternoon.

Speaker 27 (57:43):
That afternoon we caught a train from Netherhead, where we
had a trap at the station in and drove some
four or five miles.

Speaker 9 (57:50):
Through the loveless Saturn days.

Speaker 27 (57:52):
At lastly pulled up within sight of the rooftops of
an old mansion. It was stoked modern and seeing miss
Stoner walking within the grounds, Holmes paid off the driver
and we had it across to join her.

Speaker 9 (58:05):
Good afternoon, miss Turner.

Speaker 19 (58:07):
You see that we've been as good as our work.

Speaker 31 (58:08):
Been waiting so easily for me all it turned out
to tendedly. Doctor Rydert has gone to town, and it's
gonel likely he'll.

Speaker 19 (58:14):
Be back before you'd have the pleasure of making the
doctor's acquaintance. He followed you to our rooms in Baker.

Speaker 9 (58:19):
Streets this morning.

Speaker 32 (58:20):
He called on your off i'd gone.

Speaker 19 (58:21):
We had a very amusing little chat, but we formed
no very good opinion of him, and he advised us
not to meddle in his affairs. You must lock yourself
up on him tonight as soon as he returns. Now,
we must make the best use of our time, so
kindly take us at once.

Speaker 6 (58:34):
To the rooms. We have to again.

Speaker 9 (58:44):
As I take you, belong to the room in which
you used to sleep. The center one is your sister's room,
and the one next to the main building is doctor Roylott's.

Speaker 32 (58:51):
Yes, but I am sleeping in the middle one, of course.

Speaker 19 (58:53):
Sending the alterations as I understand by the way. That
doesn't seem to be any pressing need for the affairs to.

Speaker 9 (58:59):
That end war there were none.

Speaker 32 (59:02):
I believe that it was an excuse to move me
from my own room into my sister's ah.

Speaker 19 (59:06):
That is suggestive. Well, these windows and shutters are quite firm.
No one could possibly get in this way if they
were firmly bolted on the inside. We shall have to
see if the rooms themselves throw any light.

Speaker 9 (59:16):
On this matter.

Speaker 27 (59:18):
A small side door lead into the whitewashed corrig, door
from which the three bedrooms opened. Holmes passed at once
into the room in which Helen's tneer was now sleeping
in the middle one of the three, the bedroom on
which her sister had met that death. It was a
homely little room, laid in their furnished Home's eyes traveled

(59:40):
round and round, up and down tea in every detail.
What does that bell communicate with it?

Speaker 32 (59:46):
The house steper room.

Speaker 9 (59:47):
It looks newer than the other things.

Speaker 32 (59:49):
Yes, it was put in a couple of years ago,
just before my sister's death. I can't think why she
certainly never used it.

Speaker 9 (59:54):
Indeed, and such a nice long bell pull that inconvenient.
I should have thought the tassel hangs down to the
very pill. Let me see.

Speaker 19 (01:00:03):
Why it's a dummy, won't you bring No, it's I've
even attached to a wire. It's fastened to a hook
up there just above the little opening of the ventilator.

Speaker 32 (01:00:12):
I'm very absurd. I never noticed it before.

Speaker 6 (01:00:15):
They shade.

Speaker 9 (01:00:17):
What pool of a builder would.

Speaker 19 (01:00:18):
Open the ventilator into the next room and you might
have made it through the outer wall into the fresh air.

Speaker 31 (01:00:23):
That's also quite modern. It was done about the same
time as the bell rope. There were several little changes
cut it out about that time.

Speaker 9 (01:00:30):
Shortly before your sister's death.

Speaker 27 (01:00:32):
Why yes, the bedroom next door the room of doctor Wader.
It was larger than his step daughters, but just as
plainly furnished. A camp bed, an armchair, a plain wooden
chair against the wall, a round the table, and a
large iron safe.

Speaker 37 (01:00:51):
Once again, Holmes examined them all with the keys interest.
In one corner of the bed he found a small
dog lay not so as to make a loop of
the whipcord.

Speaker 9 (01:01:03):
Oh, really is interesting.

Speaker 6 (01:01:06):
What do you make of that?

Speaker 9 (01:01:07):
Watson? Common enough flesh? I don't see why it should
they tied into a loop. That's not quite so.

Speaker 19 (01:01:14):
Common, Inchsterna, What does your stepfather keep in the safe here?

Speaker 32 (01:01:19):
His business papers?

Speaker 3 (01:01:20):
Are?

Speaker 9 (01:01:20):
You've seen inside it?

Speaker 6 (01:01:21):
Then?

Speaker 32 (01:01:22):
Only once, some years ago it was full of papers.

Speaker 9 (01:01:24):
Then there wasn't a cat in it by any chance? No,
just changed, I do. Well, then, why the saucer of
milk standing on the top of it?

Speaker 32 (01:01:32):
No, we don't keep a cat. But as I told you,
there's a cheetah under the loom ah.

Speaker 19 (01:01:37):
Yes of all, well, the cheetah is just a big cat,
and yet a saucer of milk doesn't go very far.

Speaker 9 (01:01:42):
As satisfied, I dare say. Yeah, Now, just one more point,
let me examine this wooden chair.

Speaker 19 (01:01:51):
Very interesting, and now, miss Sterna, I want you to
listen carefully and follow my advice and able respect.

Speaker 32 (01:01:57):
Can I assure you that I'm in your hands as
to your life.

Speaker 9 (01:02:00):
Life may depend on.

Speaker 19 (01:02:00):
If the matter is too seriously any hesitation in the
first place, then doctor Watson and I must spend the
night here in your room. You must stand a a
retard to your room on pretense for the headache. When
your stepfather comes back. When you hear him retire for
the night, you must open the shutters of your window.
Undo the hasp put your lamp there as a.

Speaker 9 (01:02:22):
Signal to us.

Speaker 19 (01:02:24):
You shall see it from over there in the village.
Then go back into your old room. Despite prepares to
decide you perfectly well for one night. Oh yes, of course,
we shall spend the night in the middle room, and
then we shall be able to investigate the cause of
this noise, which is said a statue.

Speaker 27 (01:02:45):
Shear Off Holmes and I had no difficulty in engaging
rooms of the village in from which we could command
a view of the inhabited wing of Stoke Modern man
Our House. At dusk we saw doctor Grime's bay. Why
the dry passed the tap turned into the Manner drive.
In a few moments we saw a sudden light spring

(01:03:07):
up among the trees as the lamp was lit in
one of the sitting room.

Speaker 19 (01:03:13):
You know, what's my firstcruples about taking you tonight? Because
it is speak element of danger? Can idea of the
system your presence might be invaluable? Then I'll certainly come.
But you speak of danger.

Speaker 9 (01:03:23):
You obviously seen more in these rooms than was visible
to me. No, but I fancy I may have deduced
to the flow. I imagine that you saw all I did.

Speaker 16 (01:03:32):
I saw nothing remarkable, say the bell rope.

Speaker 27 (01:03:35):
But what third you saw the ventilator too, Yeah, there's
nothing very unusual about there.

Speaker 9 (01:03:40):
Those are the se curious coincidence in dates.

Speaker 19 (01:03:43):
A ventilator is made, a cord is hung, and a
lady who sleeps in the bed below died.

Speaker 27 (01:03:49):
Does that not strike You can't yet see any connection.
Did you deserve anything very peculiar about the bed?

Speaker 3 (01:03:55):
No?

Speaker 19 (01:03:55):
If it clamped to the floor so that it must
always be in the same position relative the ventilator and
the build homes.

Speaker 27 (01:04:02):
I seemed to see dimly what you're driving it. We
are only just in time to prevent some subtle and
horrible crime. Yes, what's and I think we shill have
hard as enough before the night is over. About nine
o'clock the light among the trees was extinguished, and all was.

Speaker 38 (01:04:19):
Dark in the manor house.

Speaker 9 (01:04:21):
Two hours passed.

Speaker 27 (01:04:22):
Slowly away, and then suddenly a single bright light shone
out from the darkness of the west wind.

Speaker 9 (01:04:30):
Let's our signal. It comes from the middle window.

Speaker 1 (01:04:32):
Come on.

Speaker 27 (01:04:35):
A little difficulty in entering the grounds through a hole
in the park wall. The silently climbed inside, closing the
shutters and moving the lamp onto the table. Holmes cast
his eyes round the room. All was as we had
seen it that afternoon.

Speaker 12 (01:04:52):
About a light.

Speaker 9 (01:04:53):
You can see it through the ventilator.

Speaker 6 (01:04:55):
Yes, don't fall asleep, not any light way depend upon it.
Att In case you should see it.

Speaker 27 (01:05:02):
I took out my revolver, and I laid it on
the corner of the table. Holmes I bought a long,
thin cane with him, which he laid on the bed
beside him. Next to it, he placed a box of
matches and a candle. Then he turned out the lamp,
and we were left in utter darkness.

Speaker 39 (01:05:19):
How shall I ever forget that dreadful jew From outside
came the occasional cry of a bird of the night,
and once at our very window a long drawn catlike wine.

Speaker 9 (01:05:32):
Which told us that the cheetah was indeed at liberty.

Speaker 40 (01:05:35):
Twelve o'clock struck one o'clock, two o'clock three, and still
he sat there, waiting silently for whatever might befall.

Speaker 27 (01:05:45):
Suddenly there was a moon to a gleam of light
from the ventilator, which vanished immediately.

Speaker 40 (01:05:50):
Then it's never burning oil and heated little. Someone in
the next room lit a dark lamtern. I heard it,
gentle sound of movement. Then for half an hour there
was silence again one once I heard another sound, a
very gentle, soothing sound, like that of a small jet

(01:06:14):
of steam escaping from a kettle.

Speaker 9 (01:06:20):
You see it, what you see it?

Speaker 27 (01:06:24):
Streaking a match home leapt from the bed with lashing
furist with his kate at the tailpot. As an hatch flared,
I heard a low, clear.

Speaker 9 (01:06:32):
Second whistle within the gloom. I could still not.

Speaker 27 (01:06:35):
See what Holmes was attacking so fantatic or I could
see what a horror loathing on his pale, gaunt face.

Speaker 9 (01:06:45):
That scream it was horrible.

Speaker 23 (01:06:48):
What can it mean?

Speaker 30 (01:06:49):
It means? What's in?

Speaker 1 (01:06:49):
It is all over?

Speaker 9 (01:06:50):
Take your pisclun Come with me into doctor Roylott's room.

Speaker 27 (01:06:54):
In doctor Rollet's room, it was a strange and terrible
sight that met A eye on the tables with the
dark lantern with the shutter half open, throwing a brilliant
beam of light upon the iron safe, the door of
which was a jar. Beside this table, fat doctor grinds
bell roilet, heading along, dressing down. His chin was cocked
upwards and his eyes were fixed in a dreadful rigid

(01:07:15):
stare about his brow.

Speaker 9 (01:07:17):
He had a peculiar yellow.

Speaker 27 (01:07:19):
Band with brownish speckles, which seemed to be bound tightly
round his head.

Speaker 19 (01:07:25):
Then Wat's need the speckled band, the speckled dang around
the head of the dead man was a snake.

Speaker 9 (01:07:37):
But it is making Indian an.

Speaker 27 (01:07:39):
Adder a swamp adder, and Dr Grimes bell Roilet had
died ten seconds after that snake had bitty.

Speaker 19 (01:07:48):
Yes, violence does, in truth to recoil upon the violin,
and the schemer falls into the pit which she digs
for another. There has thrust this creature back into its
dead As he spoke, Holmes drew the dog whip squift
Cliff from the dead man's lap, and, throwing the knotted
loop round the reptile's neck, drew it from its horrid
perch and threw it into the iron seat. Now, my

(01:08:13):
dear fellow, we can remove miss Stoner to some place
of shelter and let the county police know what has.

Speaker 27 (01:08:18):
Happened back in our rooms Bacon Street, that evening homes
little pipe and filled in a view of the gap.

Speaker 19 (01:08:29):
I had come to an entirely erroneous conclusion which shows,
my dear Watson, how dangerous. It always is the reason
an insufficient data, the presence of the gypsies, and the
use of the word banned that poor girl Julia obviously
had glimpsed the snake as she struck a match. Well,
they were sufficient to put me on an entirely wrong scent.
I only corrected my mistake when I saw how impossible

(01:08:51):
it was to enter the room, either by.

Speaker 9 (01:08:53):
The door or the window.

Speaker 19 (01:08:55):
The bell rope, the ventilator, and the clamped bed then
gave rise to the suspicion.

Speaker 6 (01:09:00):
But the rope was there as a bridge for.

Speaker 19 (01:09:02):
Something passing through the hole and coming down to the
bad The idea of the snake instantly occurred to me,
for as we knew already, the doctor had his own
supply of strange pets from.

Speaker 9 (01:09:12):
India, and the whistle and the clang the whistle of the.

Speaker 19 (01:09:16):
Doctor's signal to recall the snake before the morning light
could reveal it to the victim. After all, want it
had come down the bell rope, it might or might
not have bitten the victim, but sooner or later the
doctor knew it would. I had come to these conclusions
before I entered this room. You seemed to deduce something
from the wooden chair. Of course you had to stand

(01:09:37):
on that to reach the ventinator, the.

Speaker 9 (01:09:39):
Saucer of milk, the loop of foot.

Speaker 19 (01:09:41):
Cord, the iron safe, but enough to dispel any doubts
that might have remained.

Speaker 27 (01:09:45):
Uh the metallic clang. I suppose that the doctor shut
it in the snake in the safe again exactly, and not.

Speaker 19 (01:09:52):
The window shutter being replaced as at first I had supposed.
The blows of my cane, of course, drove the brute
back through the ventilator and roused its temper to by
the first doesn't soul. So in a way I am
as responsible for Doctor Roylott's death, but.

Speaker 9 (01:10:05):
I cannot say that it's likely.

Speaker 6 (01:10:06):
To wait for the heavily on my conscience.

Speaker 29 (01:10:19):
I'med out again, Your host on Mystery Time, you have
just heard the Case of the Speckled Band Tonight's transcribed
Adventures of Sherlock Holmes on Mystery Time. It was produced
in cooperation with Harry Alan Towers. Next Tuesday and every

(01:10:50):
Tuesday night you'll hear another of the Adventures of Sherlock
Holmes Tomorrow night, and every Wednesday night, Mystery Time will
bring you Masters of Mystery Tomorrow's Masters of Mystery features
Edward Bloodworst really mellow drama.

Speaker 12 (01:11:09):
Lady with a Key, See you tomorrow night.

Speaker 28 (01:11:27):
Mystery Time with Don Dowd comes to you every night
at this time.

Speaker 12 (01:11:34):
This program came to you.

Speaker 6 (01:11:35):
From New York. Strange adventure.

Speaker 41 (01:11:42):
You hear strange tales about the Mahave.

Speaker 42 (01:11:45):
Any old timer of the region can tell you wonderful
stories of lost minds.

Speaker 30 (01:11:49):
Perhaps he'll tell you of.

Speaker 42 (01:11:50):
The skeleton of Antelope Canyon, who sits alone, popped against
the boulder. He holds a rusty gun in his fleshless hands,
for he is guarding a rich gold mine. This ghosts
guarded his mine has not hurt the tread of man
since one faithful morning in eighteen ninety. Old man Lee
adjusted the leather pouches on the back of his pack
mule and secured them with a diamond hitch. The pouches

(01:12:11):
contained rich gold, a whole month's take from the mine.
It was not far to Sam Bernardino, and the grizzled
old prospector looked forward to his visit to the city.
Jim Dally, his partner, called him as he started on
the trail that wound its way out of the canyon.

Speaker 43 (01:12:25):
Ay time, don't forget what charn tobacky. Okay, Jim, you
keep the mine going till I come back. I'll see
you on Tuesday.

Speaker 4 (01:12:35):
Ay time.

Speaker 43 (01:12:36):
Don't you go telling him guys in town about this mine.
Someday somebody will faddy out here and you know what'll
happen then, Oh, don't you worry about me. Shon, Ain't
nobody gonna find this mine?

Speaker 42 (01:12:49):
So long, Jim, watch Lee disappear round the bend, then
turned toward the mine. He walked back into the shaft
a few feet till he came to a pile of
gold ore. He was surprised as he picked up a
bit of gold from the bottom of the pile. This
was even higher test medal than he had ever found before.
He knew his partner would be happy to know that
they had last struck a rich vein. He thought of

(01:13:12):
Lee now, and of his fault in talking to too
many strangers on his periodic crips into town.

Speaker 35 (01:13:18):
If word of the mine got out, he wondered if he.

Speaker 42 (01:13:20):
And Lee would be able to hold off the lawless
gold seekers with the ancient shotgun they kept handy at
the entrance of the mine.

Speaker 38 (01:13:27):
Shaft.

Speaker 42 (01:13:28):
Then there came to Jim Dally's mine, a plan by
which he hoped to make all this fortune his. For
three days Jim worked the mine dam was beginning to break,
when at last he heard the braying of Lee's packed
mule and knew the old miner would soon be in sight.
He hurried to the mine and picked up the loaded shotgun.
He took up his post on the small rocky ledge

(01:13:49):
above the entrance. He smiled to himself as he thought
of shooting the miner and blaming it on an outlaw.
He saw his partner trudging slowly along the trail facing
the loaded mule. He took careful aim, then fired. Old
Manly crumpled to the ground dead. The frightened mule jerked
free and bounded down the canyon, carrying with him the

(01:14:11):
precious load of supplies. Back at the mine. The recoil
of the heavy gun threw Jim Daily back against the
canyon wall. The small edge gave way, and Daily dropped
into space, bringing up with a painful fall at the
mine entrance. He tried to rise, then came the seconding
realization that his legs were broken. Helpless and alone, he

(01:14:34):
would sit there in front of the mine to die. Yes,
there are strange tales about the Mahabi. This is Pat
McGee in Hollywood, California, saying goodbye from my writer Charles Crowder,
and inviting you to listen again to another tale of
strange adventure, All Hallows.

Speaker 24 (01:15:14):
It was about half past three on an August afternoon
when I found myself looking down upon All Hallows, and
at first glimpse of it, every vestige of fatigue passed away,
Having at last reached the end of my journey dust
heat wind, having come limping out upon the green sea
bluff beneath which lay its walls, I confess the actuality

(01:15:36):
excelled my dreams of it. What most astonished me, perhaps
was the sense not of its age, but its air
of abandonment. It lay couched there as if in hiding
in its narrow sea bay. No other roof, not even
a chimney, was in sight, only the dark blue arch
of the sky, and that gaunt coast, fading away into

(01:15:57):
the haze of a west over, which were already gathering
theales of sunset. I should have come earlier. The distance
was of little account, but nine flinty hills in seven
miles is certainly hard commons. No, I shall not forget
that walk or the conclusion of it. When all but
dead beat, I stretched my aching limbs on the turf

(01:16:18):
which crowned that last hill, and feasted my eyes on
the cathedral. I continued for a while to watch all
hallows despy upon it, and no less intently than a
sentry who, not quite trusting his eyes, has seen a
shape approaching in the dusk. Those gigantic statues, for example,
which flanked the base at the tower images of angels

(01:16:40):
and saints I had learnt from my guide book, only
six of them could be visible from where I sat,
And yet I found myself counting them again and again,
For my first impression had been that seven were in view.
But what folly to have been frittering time away at
an hour when no doubt the cathedral would soon be closed.
There was but one faint chance left of making an entry,

(01:17:03):
And so at last I found my way into all hallows,
entering by a dwarfish side door with zigzag moldings. There
hung for corbul to its dripped stone, a curious leering face,
its forked tongue out to give me welcome, and an
appropriate one too, for the figure I made. But once

(01:17:25):
beneath that prodigious roof tree, the hush, the coolness, the
unfathomable twilight drifted in on my small human consciousness. Except
for the windows over my head, filtering with their stained
glass the last radiance of the sun, there was but
little visible color and an economy of decoration. To the east,

(01:17:46):
a dark wooden, multitudinously figured, rude screen shut off the
choir and the high altar from the nave. I seemed
to have exchanged one universal actuality for another, the burning
world of nature, for this oasis of quiet. Twenty or
thirty paces away, an old man was standing to judge

(01:18:06):
from the black and purple gown he wore. He was
a verdure. He had not realized it seemed that a
visitor shared his solitude. He was listening. His head was
craned forward, and as I watched, he raised his eyes
and scanned the complete upper regions of the northern transept.
He continued so long in the same position that I

(01:18:26):
at last determined to break in on his reverie. At
the sound of my footsteps, he turned. He resembled one
of those old men whom Rembrandt delighted in drawing, the
knotted hands, the black, drooping eyebrows, the thin lipped ecclesiastical mouth,
white as a miller with dust, hot and draggled. I
was hardly the kind of visitor that any self respecting

(01:18:48):
custodian would welcome. But he greeted me with every courtesy.
I apologized for the lateness of my arrival until I
caught sight of you. I hadn't ventured far, otherwise I
might have found myself a prisoner for the night, the
old man smiled. As a matter of facts, her, the

(01:19:10):
cathedral is closed to visitors at four Services are not
as frequent as they were. Visitors are rare, too. We
are too far out of the hurly burley to be
much intruded on. Not that them who come to worship
are intruders, far from it, but most that come are
mere sightseers. Well, I cannot claim to be a regular

(01:19:34):
church goer, I said, I am myself a mere sightseer.
And yet even to sit here for a few minutes
is to be reconciled. Ah reconciled, sir, the old man repeated,
I can well imagine it after journey on such a
day as this, But to live here is another matter.

(01:19:57):
It must be desolate. In winter we have our storm, sir,
he agreed, you'd be astonished at the power of the winds.
I mustn't detain you, I said, But you were saying
that services are infrequent. Now why is that? Pray, don't
think of keeping me, sir. But I was supposing you

(01:20:18):
may have seen something that appeared in the newspapers. We
lost our dean, Dean Pomfrey, last November. I held my peace,
and the old man, as if to make amends, asked
me if I would care to see the building. The
light is smiling, he explained. But if we keep to
the ground level, there be a few minutes to spare,

(01:20:40):
and we shall not be interrupted if we go quietly
on our way. For the moment, the reference eluded me.
I could only thank him for the suggestion. I explained too,
that I had read of doctor Pomfrey's illness. Aye, sir,
a saint if ever there was. But it's worse than illness, sir,

(01:21:00):
it's oblivion. He dropped his voice. But sharing one's troubles
is sometimes a relief, you see, sir. I am myself
and have been for twelve years now the dean's verdure,
and our dean was a man who was all things
to all men, none of your apron and gaiter high

(01:21:22):
and mightiness whatsoever, sir. And then that, and to come
on us without warning, or at least without warning as
could be taken as such. I followed his eyes into
the darkening spaces above us. A light like tarnished silver
lay over the sundest vaultings. You must understand, sir, the

(01:21:45):
old man continued. The procession for divine service proceeds from
the vestry, out under the rude screen and into the chancel.

Speaker 6 (01:21:54):
There.

Speaker 24 (01:21:55):
If you stand to the right, you will see the
altar screen fourteenth century work Bishop Robert Beaufort, a unique example.
But what I was saying is that when we proceed
for the services, it has always been our custom to
keep close together. Well. On that afternoon, I had turned,
as usual to bow Doctor Palmfrey into his stall when

(01:22:18):
I found my consternation he wasn't there. The old gentleman
had left the vestry with us, that I knew, and
then not a vestige. I hurried back, thinking he must
have been taken suddenly ill. And yet sir, I was
not surprised to find the vestry vacant. No, our beloved

(01:22:39):
Dean was gone for ever he had been. The old
man whispered the words abducted, sir, abducted. He was found,
sir late that night, sitting in a corner weeping a child.
He didn't know, Sir, didn't me, Just simple harmless memory,

(01:23:04):
all gone. If you will just follow me, he whispered,
there's a little place where I make my ablutions that
might be of service, sir. We could converse there better.
The old man turned and led the way with surprising celerity,
and came to a nail studded door. He opened it

(01:23:26):
and admitted me into a recess under the central tower,
whose only illumination was that of the ebbing dusk from
within the cathedral. With trembling rheumatic fingers, he lit a
candle and pushed open another door. You will find a
basin and a towel in there, sir, I entered. A
print depicting the Crucifixion was tacked to the wall, and

(01:23:48):
beneath it stood a tin basin and jug on a stand.
Never was water sweeter. I laved my face and hands
and dragged deep my throat like a parched river course
after a When I returned, the old man was standing
before the window all hallows, I might say, sir, is
my second home. I have been here, boy and man

(01:24:11):
for fifty five years. Doctor Pomphrey might be with us
now in his own self if only common caution had
been observed. But now that the poor gentleman is gone
beyond all that, there is no hope of action left.
They meet and they have one expert, then another down
from London. And I don't say they are not knowledgeable gentlemen,

(01:24:33):
But why not tell all? Why keep back what we know?
It's we, sir, and not the rest of the heedless
world outside who are responsible. And what I say is
no power here or here under can take possession of
a place while those inside have faith enough to keep
them out. But once let that falter, the seas are in.

(01:25:00):
And when I say no power, sir, I mean with
all deference, even certain himself. What is wrong here? I asked, wrong, sir?

Speaker 5 (01:25:14):
Why?

Speaker 24 (01:25:15):
I am not doubting that the gentlemen I have mentioned
have the salvation of the cathedral at heart, But they
refuse to see how close to the edge of things
we are, and how we are drifting. So far as
my knowledge tells me, there is no sacred edifice in
the Kingdom of a Peace, that is with all hallows,
that is so open open, I mean, sir, to an

(01:25:36):
attack of this terrifying nature, terrifying, terrifying, Sir? Where else,
may I ask? Would you expect the powers of darkness
to congregate in open besiegement than in this narrow valley? First,
the sea out there? Are you aware, sir, that ever

(01:25:56):
since living remembrance, flood tide has been drawing its way
into this bay to the extent of three or four
feet per adam. And think of the floods and gales
that fall upon us autumn and winter through They make
the roads well nigh impossible? Are you aware, sir? I
continue that as we stand now, we are above a

(01:26:18):
mile from the nearest human habitation. I warrant that if
and which God forbid, you had been shut up here
during the night, and it was a near thing, but
what you weren't, I warrant you might have shouted yourself dumb,
with not a human soul to help you. Well, I smiled.

(01:26:40):
As a small boy, one of my particular fancies was
to spend a night in a pulpit. But I take it, sir,
if you had ventured to give out a text up
there in the dark hours, your innocent young mind would
not have been prepared for any kind of congregation. You
mean this place is haunted. I mean, sir, that there

(01:27:02):
are devilish agencies at work here. He raised his hand.
Don't I entreat you dismiss what I am saying as
the wandering of a foolish old man. I have heard
them with these ears. I have seen them with these eyes.
Though whether they have any positive substance her is beyond

(01:27:22):
my small knowledge. But of what they can do, I
can give you definite evidences. But surely every old building
is bound to show symptoms of decay. I must apologize.
The old man interrupted me. I'm a poor mouth. That explanation, sir, decay, settling, dissolution.

(01:27:43):
I have heard these words binded from lip to lip,
and they fill me with nausea. Why I am speaking
not of dissolution, sir, but of repairs, restorations, not decay, strengthening,
not a corroding loss, an awful progress. OI could show you, places, sir,

(01:28:05):
where stones as rotten as pomis have been replaced by others,
fresh quarried, and nothing of their kind. Within miles there
are spots where massive blocks have been pushed into place
by sheer force. All Hallows is safer at this moment
than it has been for three hundred years. They meant

(01:28:27):
well them who came to see full of fine talk
and went dumb away. But at hearts, sir, they were
cowed horrified. He stood gazing through that narrow inward window.
I have not spent sixty years in this place without
paying heed to my own thoughts. Look at your newspaper, sir.

(01:28:51):
What they called the Great War is over, And he'd
be a brave man who had take an oath before
Heaven that that was only of human designing. And yet
yet what do we say around us? Nothing but strife
and juggleries and hatred wherever you look. And the church, sir,
if you had told me that you were a regular churchman,

(01:29:11):
I shouldn't be pouring out all this to you now.
But being not so gives me confidence. By merely listening,
you can help me, sir. Though you can't help us,
you see, sir, he went on dejectedly. I can bear
what may be to come. Tell me the worst, and

(01:29:32):
you will have done an old man a service he
can never repay. Tell me, on the other hand, that
I am merely groping along in a network of devilish delusions, sir. Well,
in that case, I hope to be with my master,
with doctor Palmfrey, as soon as possible. We were all
children once. I sometimes find myself looking at a young

(01:29:54):
child with little short of awe, sir, knowing that within
its mind is a scene of peace and paradise of
which we older folk have no notion, and which will
fade away out of it as life wears in. I
was at a loss to answer him. The fact is

(01:30:16):
he looked cautiously about him. What I am now being
so bold as to suggest may put you in physical danger.
On the other hand, we can leave the building at once,
if you are so minded. In any case, we must
be gone before dark sets. In even mere human beings

(01:30:36):
are best not disturbed at any night work. Besides, I
once delayed too long myself. Perhaps if I'd been a
little less credulous or less exhausted, I should have begun
to doubt this old creature's sanity. But then there was
all hallows itself to take into account. Even now, in
this remote candlelit room, the vast edifice seemed to be

(01:31:00):
gently and furtively fretting its impression on my mind. I
only wish I could be of any real help, I said.
The old man's expression changed, as if at the coming
of a light. Why then, sir, let's be gone at once.
You are with me, sir, that was all I hoped
and asked. Now there's no time to waste. He lowered

(01:31:23):
his voice. What I would suggest, sir, if you've no objection,
is your kindly grasping my gown, There would be a
good deal of up and downing. But I know the
building blindfold. He opened the door and blew out the light.
We were instantly marooned in an impenetrable darkness, and we

(01:31:43):
set out on our expedition. I clung, I confess, desperately,
tight to my lifeline. As we groped onward. I found
myself steadily ascending, and then in a while brushing along
a gallery or cork, screwing up a new staircase. Once
to recover our breath, we paused opposite a slit in
the masonry at which to breathe. The tepid sweetness of

(01:32:04):
the outer air, and I caught a glimpse of the
night's first stars. We then turned inward, once more, ascending dead.
Still here, sir, if you please, there's a drop of
some sixty feet A few pieces on. As we approached
the edge of this stony precipice, the gloom paled a little,
and I guessed that we must be standing in some

(01:32:26):
coin of the Southern transept. It seemed the northern windows
opposite us were boarded up. Gazing out, I could detect
scaffolding poles like knitting needles thrust out from the walls,
and a balloon like spread of canvas above them. For
the moment, my ear was haunted by what appeared to
be the droning of an immense insect. But this presently ceased.

(01:32:50):
You will understand, sir, breathed the old man. The scaffolding
over there was put up when the last gentleman came
down from London to inspect the fabric. Now, Sir, I
strained every sense, and yet I could detect not the
faintest murmur under that wide spreading roof. How long we

(01:33:11):
stayed in this position, I cannot say.

Speaker 6 (01:33:13):
Minutes.

Speaker 24 (01:33:14):
Sometimes seemed like ours. Then suddenly, without the slightest warning,
I became aware of a peculiar vibration. It suggested the
remote whirring of an enormous millstone. My companion pressed closer.

Speaker 44 (01:33:29):
Do you see that, sir?

Speaker 24 (01:33:31):
I gazed and gazed, but saw nothing. And then, though
I cannot be certain, it seemed that the voluminous spread
of canvas perceptibly trembled, as if a huge hand had
been thrust out to draw it aside. No time was
given me to make sure. The old man had hastily
withdrawn me into the opening of the wall, and we

(01:33:53):
made no pause in our retreat until we had come
again to the narrow slit of window. Well, sir, it's
so different. Got to be sure of one's self. Have
you ever actually encountered anything near at hand? I mean, well, yes, sir,
in this very gallery, they nearly had me, sir, But

(01:34:13):
by good fortune, there's a recess further on, stored up
with some old fragments of carving. I had had my
warning and managed to leap in there and conceal myself,
but only just in time. Indeed, Sir, I confess I
was in such a condition of terror and horror I
turned my back. You mean you didn't look, But something came. Yes, sir,

(01:34:40):
there was a sound like clanging metal, but I don't
think it was metal. It drew near at a furious speed,
then passed me, making a filthy gust of wind, and
no other sound, no other, sir, except in the distance,
a noise like a stupendous kind of gibberish, no human sound.

(01:35:03):
The air shook with it, you see, sir, I myself
wasn't of any consequence. I take it, unless a mere obstruction.
But I have heard it said that the rarity of
these happenings is only because it's not any sort of
pleasure for such beings. Such apparition, sir, good or bad
to visit our world? Did ye hear anything? Then, sir,

(01:35:27):
His gentle mumbling ceased, and we listened together. But every
ancient edifice has voices and soundings of its own. There
was nothing audible I could put a name to. Only
a faint, perpetual whir of grinding, such as to over
stimulate it senses. The stablest stones set one on top
of the other might make. And now, sir, he continued

(01:35:50):
with a sigh of weariness, which perhaps follow me out
the roof. It is the last visit I make. We
had not far to go. The old man drew open
a heavily iron door at the head of a flight
of stairs and admitted us at once to the leaden roof.
The last faint hues of sunset were fading in the west.

(01:36:11):
We edged softly along to find ourselves now all but
tete a tete with the gigantic figures that stood sentinel
at the base of the tower. The old man peered
cautiously about him as we advanced. Once, with a hasty gesture,
he drew me back and fixed his eyes on a
figure which was silhouetted against the starry emptiness. A forbidding

(01:36:33):
thing enough viewed in this vague luminosity, which seemed to
be perceptibly stirring on its wind worn pedestal. But no,
all's well, the old man's signaled to me, and we
pushed on. At last we completed our circuit of the
tower and stood eyeing one another like conspirators. Maybe there

(01:36:53):
was a tinge of incredulity on my face, No, sir,
mammured the old man. I expected no other. The night
is uncommonly quiet. They seemed to leave us at peace
or knights of quiet. But we must be getting home.
The notion of fumbling down again into the blackness was

(01:37:14):
singularly uninviting. To gain a moment's respite, I inquired about
getting a bed for the night in the village, and
as I had hoped, the old man himself offered me hospitality.
I thanked him, but still hesitated to follow, for I
was trying to discover what peculiar effect of darkness a
moment before had deceived me into the belief that some

(01:37:35):
small animal, a dog, I guessed, had taken cover behind
the stone buttress near by. But that apparently had been
a mere illusion. Nothing stirred, now, you were saying. I
pressed him that when repairs of the building were in contemplation,
even the experts were perplexed by what they discovered. What
did they say, say, sir, examine that balustrade which your

(01:37:59):
lead against. Look at that gnawing and fretting above the lead.
All that is arnest wear and tear, constant weathering of
rain and wind. But now compare it, if you please,
with this, Since mark here I stooped close under the
huge gray creature of stone, and I confess I could

(01:38:20):
find not the slightest trace of fret or friction. Far
from it. The stone had been grotesquely decorated in low
relief with the two headed crocodile, and the undulations of
the creature were cut as sharp as with a knife
in cheese. Now cast your glance upwards, sir? Is that
what you would call a saintly sheep? What I took

(01:38:43):
to represent an eagle was perched on the image's lifted wrist,
but lowering and vulture like. The head of the figure
was poised at an angle of defiance. Its whole aspect
was undeniably sinister and intimidating, Ay, sir, And so with
some of the rest of them. The old man commented,
there are other wills than the almighties. But one doesn't

(01:39:08):
repair in order to destroy, no, sir, And why not
to give strength for evil purposes? Would that be time wasted?
If such was your aim. An institution may be beyond dying, sir.
It may be being restored for a worse destruction. And

(01:39:30):
a hundred trumpeting voices would make no difference when the
faith and life within is tottering to its fall. Somehow,
this muddle of metaphors, reassured me. Obviously the old man's
wits had worn a little thin, and yet you are
taking it for granted. I expostulated that if what you

(01:39:54):
say is true, a stranger could be of the slightest help.
The old man laid a trembling hand upon my sleeve.
Have patience with.

Speaker 6 (01:40:04):
Me, sir.

Speaker 24 (01:40:05):
I could never express the gratitude I feel you have
given me the occasion to unbosom myself, to make a
clean breast. As they say, you couldn't help me except
only by your presence here. God alone knows who can.
At that instant, a dull, enormous rumble reverberated from within

(01:40:27):
the building, as if a huge block of stone had
been dislodged. The flags on which we stood seemed to tremble.
The fingers tightened on my arm. Come, sir, we must
be gone at once. We have stayed too long. But
we emerged into the night at last without mishap. The
little western door above which the grinning head had welcomed

(01:40:49):
me on my arrival, admitted us to Tarra Firmer again,
and we made our way up the steep sandy track.
We turned at the summit and looked back, all hallow
lay beneath us, resembling some natural prehistoric outcrop of that
sea worn rock bound coast, but strangely human and saturnine.
But far out to sea, summer lightnings were now in

(01:41:12):
idle play, flickering into the sky, like the unfolding of
a signal planet to planet then gone. That alone may
have accounted for the faint, vitreous glare that seemed to
glitter across the windows of the northern transept. And yet
how easily deceived is the imagination I could have vowed?
This was no reflection, but the glow of some light

(01:41:33):
shining fitfully from within outwards. The old man paused, beside
the gate leading into his garden. You will forgive me, sir,
for mentioning it. But I make it a rule to
leave all my troubles outside when I come home my
daughter's widow, and not long in that sad condition. So

(01:41:53):
I keep as happy a face as I can on things.
And yet well, sir, I wonder at times if if
a personal sacrifice isn't incumbent on them that have their
object most at heart, I'd go out myself very willingly, sir,

(01:42:14):
if there was any certainty in my mind that it
would serve the cause. It would be little to me
if he made no attempt to complete the sentence. On
my way to bed that night, the old man led
me in on tiptoe to show me his grandson. I
stooped over the child court. The boy was of that

(01:42:38):
fairness which almost suggests the unreal. He had flung back
his bedclothes, as if innocence in this world needed no
covering or defense, and lay at ease the dews of
sleep on lip, cheek and forehead. The lovely thing. I muttered,
Where is he now?

Speaker 6 (01:42:58):
I wonder?

Speaker 24 (01:43:01):
And from out of the distance there came the first
prolonged whisper of a wind from over the sea. It
was eleven by my watch. The storm, after the heat
of the day, seemed to be drifting inland, but All
Hallows apparently had forgotten to wind its clock.

Speaker 6 (01:43:24):
Richard E.

Speaker 21 (01:43:24):
Grant was reading All Hallows by Walter de la Maire.

Speaker 24 (01:43:28):
The producer was Lawrence Jackson.

Speaker 45 (01:43:30):
Welcome, ladies and gentlemen. This is beasl Rathon inviting you
to join me beyond the green door. Seldom does one
encounter two more interesting people than John Lawson and his
sister Maude, who beckoned to you from just over the
threshold beyond the green door, my dearest Maud, and began

(01:43:51):
the letter. The police have picked me up again, the
seventh time in two months. Of course, they had had
to let me go within twenty four hours, but still
it's becoming very annoying. They found another chat with both
eyes missing, in a bit of pain, I dare say,
but otherwise unharmed.

Speaker 1 (01:44:07):
Quite naturally, they arrested me immediately.

Speaker 45 (01:44:09):
The price I pay for researching the workings of the
human eye and my previous record of petty theft.

Speaker 1 (01:44:15):
Oh well, such is life, dear brother John.

Speaker 45 (01:44:20):
They came last night and searched the house again from
top to bottom, turned your laboratory upside down and found nothing.
The sergeant gets angry and angrier each time. Hurry home, dear,
and bring some gunpowder, tea and sweets.

Speaker 3 (01:44:36):
More.

Speaker 45 (01:44:36):
Dearest, My apologies for leaving so suddenly, But the police
discovered an old woman in hons ditch, lying in an
alleyway with both eyes missing. And here I am back again,
awaiting my release for lack of evidence. I very much
fear you'll be having callers again. Dear John, really dear boy,
this sort of thing has got to stop. I realize

(01:44:58):
you are making great sacrifices and undergoing all sorts of
personal humiliation in the interests of science. But this time
they descended upon me even before your letter came in
the post. They searched for eight hours, tramping about like
elephants and leaving the place in the shambles. Of course,
they found nothing, my dear Maude, an even dozen unsolved

(01:45:20):
cases of people missing both eyes. An extraordinary I wonder
who could have done such a thing in the interests
of science. According to your last letter, the police are
about ready to burn the house down, but my preparations
are completed. Now twelve people, twenty four eyes. Dear John,
hurry home, dear maud In the name of Heaven. What happened,

(01:45:47):
Dear John, An unbelievable stroke of bad luck. The refrigerator
broke down and I had to take out both ice trays.
The milkman happened by and saw the trays through the window.
Mister Compton, the solicitor says, you don't have a lake
to stand on, John, Dear whatever does he mean by that?

Speaker 3 (01:46:29):
And now the man in black takes from hiss files.
Another case history of an attempt to commit the perfect crime.

Speaker 21 (01:46:42):
Good evening. This is the Man in Black. A year
ago tonight, an innocent man was murdered in a small
New England village. He was murdered by Clyde Ross. Listen
to what happened in Clyde's own war. He was executed.
It as I walked across the village square taught the church.

(01:47:07):
I knew I was going to murder old man Hanson,
the good sexton, the church bell ringer. Oh, it was
going to be so simple and easy. A couple of
things left to do first, and I was all one
was to see Father Vincent tell him how worried I
was about Hanson. He was too old to be climbing
the tower to ring the bell, that he'd slip some

(01:47:27):
day and have a bad fall down the stairs, that
he might even fall out of the belfry. I knew
how Father Vincent would react, and he did just as
I expected. I even remember how he said it, why
we cannot retire the old man as sexton, my son,
Why next to you?

Speaker 6 (01:47:44):
This is his whole life? And I remember how I
told him.

Speaker 21 (01:47:47):
That, sure he was so right, but that I loved
Hanson like a father and worried about him. Well, I
left it at that and went to walk the old
sexton home. I lived with him, you see. But he
wasn't my father, Oh no, he was just an old
Goofh's wife had died five years ago, and he'd taken
me in off the streets. Frankly, I hated the sight

(01:48:07):
of him. But the old man was loaded. He'd saved
all kinds of money and no one to leave it to.
So I butted him up for a year or so
and got it all fixed legally. I inherit his money.
When the old man croaked, yeah, I was going to
fix that too. All I needed was a good, simple
plan and a witness to say I was somewhere else.

(01:48:28):
When it happened, all was easy. First, old Hansen was
going to fall out of the church belfry and kill himself.
He was going to fall out, yeah, because I was
going to push him. Second, Henry Freckleton was going to
be the witness to say I was somewhere else. Henry
has a Hamburger stand at the edge of town, and
for months in advance, at the same time every Thursday evening,

(01:48:51):
I drive past Henry's and honk and wave at him.
He knew I was on my way to Bedford. That's
a town about ten miles away, to see a movie.
Every Thursday. Henry'd waved me out of town, and a
couple hours later he'd waved me back. So it was
established where I went every Thursday night.

Speaker 6 (01:49:08):
Clever.

Speaker 21 (01:49:10):
But one night, the big night, I didn't go to Bedford.
I drove past Henry's all right, But then I circled
back on a little wagon road that led to the
woods right behind the church. I hid my car there,
and in a few minutes I was silently climbing the
narrow steps to the belfry. Old Hanson just begun to
pull the bell when he saw me. He smiled at me.

(01:49:33):
I smiled back, happily, waited till he pulled the bell
for the last time, and then I jumped him quick
and pushed him over, just a little push. He fell
with out a cry, and it seemed right somehow that
he landed in the cemetery at the side of the church. Afterwards,
I never heard it so quiet. All the way back

(01:49:53):
through the woods to the car, it was as quiet
as death. And then I was right on time for
Henry's wave. When I drove back in a town I
knew then the circle was complete. The crime was perfect.
Clyde Ross finished his story and said no more. The
end is well known. Two short days later, Clyde was

(01:50:16):
arrested for the murder of the old sexton. Where had
he made his mistake by telling Father Vincent of his
concern for the sexton's safety. Because he'd been so convincing,
the Good Father took the problem to the sexton himself,
and Old Hanson, touched by Clyde's obvious love for him,
devised a signal to assure Father Vincent that all was well.

(01:50:41):
He simply rang the church bell four extra times to
signify that he was not in danger, that Clyde was there.

Speaker 3 (01:50:59):
The man in Black has brought you from his piles.
Another case history of an attempt to commit the perfect crime.
This is the CBS ready on network, and now the
man in Black takes from his piles. Another case history
of an attempt to commit the perfect crime.

Speaker 21 (01:51:27):
As he walked across the village square toward the church,
Clyde Ross knew he was going to kill Old Man Hanson,
the good Sexton. The church bell ringer. Oh, it was
going to be so simple and easy.

Speaker 6 (01:51:40):
He thought.

Speaker 21 (01:51:41):
There were only a couple of things left to do.
The first was to see Father Vincent to tell him
how worried he was about old man Hansen, to tell
him that Hanson was too old to be climbing the
tower to ring the bell, that he'd slip someday and
have a bad fall down the stairs, that he might
even fall out of the belfry. Clyde knew how Father
Vincent would react to this, and sure enough he did.

(01:52:04):
We cannot retire the old man is sext and my
son where next to you? This is his whole life.
Clyde knew that would be the answer, and told Father
Vincent that he was right, and he carefully added that
he loved the old Sexton like a father, although in fact,
of course Clyde hated him, and Hanson was not his father,

(01:52:24):
but just a lonely old man whose wife had died
five years ago and who had given Clyde a home.
Long since. However, Clyde had discovered that old Hanson had
saved his money for years and now had an impressive
sum to will to someone without much difficulty. Clyde wormed
his way into the old man's heart. And now it

(01:52:46):
was all legally arranged that he was going to hear
it the money when Old Hanson died. But Clyde was impatient,
and one day he decided upon a faster way to
get the money. All he needed was a good, good,
simple plan and a witness to say that he was
somewhere else when the old man died. He found both easily.

(01:53:08):
First he decided that Old Hanson would fall out of
the church belfry and kill himself, and then to prove
that he could not possibly have been present, Clyde settled
upon Henry Freckleton as his witness that he was elsewhere
when it happened. Henry had a hamburger stand at the
edge of town, and for months in advance, at the
same time every Thursday night, Clyde would drive past Henry's

(01:53:31):
and honk and wave at him. He let Henry know
that he went every Thursday to Bedford, about ten miles away,
to a movie, and on Clyde's return, Henry would wave
him back into town, and so it was established where
he went each Thursday. But one night, the big night,
Clyde didn't go to Bedford. He drove past Henry's all right,

(01:53:55):
but then he circled back on a little wagon road
that led to the woods right behind the church. He
hid his car there, and a few minutes later he
was silently climbing the narrow steps to the belfry. Old
Hanson had just begun to pull the bell when he
saw Clyde, and he smiled at him. Clyde smiled back
and waited until the sexton had pulled the bell for

(01:54:16):
the last time. Then Clyde picked him up gently and
threw him over. The old man fell without a cry,
landed in the cemetery at the side of the church,
and died instantly. Nobody had heard or seen the accident.
Clyde took one brief look below, and then hurried back

(01:54:38):
through the woods to his car. Shortly afterwards, Henry freckled
and waved him back into town. The circle was complete,
the crime was perfect, and yet two days later Clyde
was arrested for murder. Where had he made his mistake

(01:55:01):
by telling Father Vincent of his concern for the sexton's safety.
Because he'd been so convincing, the good Father took the
problem to the sexton himself. And old Hansen, touched by
Clyde's obvious love for him, devised a signal to assure
Father Vincent that all was well. He simply rang the

(01:55:23):
church bell four extra times to signify that he was
not in danger, that Clyde was there.

Speaker 3 (01:55:38):
The Man in Black has brought you from his files
another case history of an attempt to commit the perfect crime.
This is the CBS Radio Network. Within the next few minutes,
a major crime will be committed somewhere in the United States.

(01:55:58):
Before this program is off the air, a criminal will
have struck and vanished, having accomplished a perfect crime.

Speaker 6 (01:56:06):
But is it from his files?

Speaker 3 (01:56:09):
The Man in Black brings you another story of a
crime that was almost perfect, of a criminal who made
only one mistake.

Speaker 21 (01:56:22):
Good evening, This is the Man in Black. A year
ago tonight, an innocent man was murdered in a small
New England village. He was murdered by Clyde Ross. Listen
to what happened in Clyde's own words as he told
it to me just before he was executed. I was

(01:56:48):
going to murder a man, and the whole idea of
it felt good right then, as I walked across the
village square to the church. I knew I was going
to murder him. It was going to be so easy,
simple and easy. A couple of little things left to do,
and that was all. Then the church bell started ringing.
I looked up at the steeple. Even at night, you

(01:57:09):
could see the belfry clear enough. I'd even see the
bell banging, first one way, then the other. The only
thing I couldn't see was him, Edgar Branson. He was
the sexton, big deal, dig a few graves, keep the
old church cemetery looking homey, and ring the bell. That
was old man Branson. That was his whole life. That

(01:57:33):
was the guy I was going to kill. Not to night,
later a week or so, maybe I went inside the
church through the vestibule, down the long dark hall that
led to Father Vincent's quarters. Father Vinton answered my knock.
I looked worried. That was part of my plan. Right away.
He wanted to know what was wrong, so I told

(01:57:54):
him I was worried about old Branson. He was too
old to be climbing the tower. That made he'd slips
some day and have a bad fall down the stairs,
that he might even fall out of the belfry oh,
I played it big, like a son being worried about
his father. And Father Vincent went right along with it,
as I know he would. I remember just how he

(01:58:17):
said it. We cannot retire old Edgar as sext and
my son next to you. This is his whole life.
To take it from him now, to say to him
his usefulness is gone, would be a grievous wrong, my son,
perhaps a fatal wrong. Yeah, sure, sure, I told father Vincent.

Speaker 6 (01:58:35):
Sure he was so right.

Speaker 21 (01:58:38):
Why both of us were pretty choked up By the
time I left, I walked old man Bronson home. You see,
I live with him.

Speaker 6 (01:58:46):
Why not?

Speaker 21 (01:58:47):
I wasn't blessed with a family. Besides, Olman Bronson was loaded,
saved all kinds of money, no one to leave it to.
His wife had died five years ago. After year or
sold me buttering the old boy up. It was all
fixed legally. I didn't hear it, the whole load when
the sexton croaked. Let me tell you I earned it, brother,

(01:59:07):
How I earned it playing nurse maid to an old goof.
You can't stand the sight of all the time, acting
like he's doing you a big favor, taking you off
the streets. You think that's easy. And what's worse, I'd
given him something to live for, everyone said, so, something
to live for? Great, And all I ever wanted was

(01:59:27):
to give him something to die for.

Speaker 6 (01:59:30):
Oh goof.

Speaker 21 (01:59:32):
Well, once I knew I was going to kill him,
the pressure was off. All I needed was a good plan,
a simple one, you know, and a class eight bona
fide witness that said I was somewhere else when it happened.

Speaker 9 (01:59:45):
A simple plan.

Speaker 21 (01:59:47):
Old Branson was going to fall out of the church, Belfrey.
He was going to fall out, Yeah, because I was
going to push him.

Speaker 1 (01:59:56):
You see.

Speaker 21 (01:59:58):
I started the pattern a few months aga ahead of
a time. Every Thursday night I drive to Bedford, about
ten miles away to go to a movie. God, so
I was driving past Henry Freckleton's Hamburger stand at the
edge of town at the same time every Thursday night.
Henry'd waved me out of town, and a couple of
hours later I'd honk and he'd waved me back into town.

(02:00:19):
Henry Father, Vincent Noman, Brandson, they all knew where I
went every Thursday night, except that once or twice I
didn't go to Bedford at all. Oh, I drove past
Henry's all right. A few miles out on the Bedford Road.
Then I'd circled back on a thinky little wagon road
that led to the woods behind the church. I found
out I could hide my car there and enter the

(02:00:41):
church Belfrey unnoticed. After a while, it would be simple
to complete the circle and pass Henry's again as I
came back into town. Yeah, and I worked too, like
a charm, not a hitch anywhere. Henry waives me out
of town on schedule. I didn't even pass a car
on the old wag and rodin. The woods were as

(02:01:02):
quiet as a tomb when I went through them. I
was silently climbing the narrow, twisting steps to the Belfry.
Old Branson had just begun to pull the bell when
he saw me, and he smiled at me like I
was his son. I smiled back. When he pulled the
bell for the last time, I moved on him quick

(02:01:22):
and threw him over the side fell to his death
without a word. It seemed right somehow that he pitched
right into the cemetery at the side of the church. Afterwards,
I never heard it so quiet. All the way back
through the woods to the car. It was as quiet
as death, and I was right on time for Henry's wave.

(02:01:45):
When I drove back into town too, I knew then
the circle was complete. The crime was perfect. Clyde ross
finished his story and said no more. The end is

(02:02:06):
well known. Two short days later, Clyde was arrested for
the murder of the old sexton. Wheed he made his mistake.
What thin web of circumstance became the cord about his neck.
As in the case of most perfect crimes, Clyde turned
out to be his own hangman. If he had not
told Father Vincent of his concern for the sexton's safety,

(02:02:28):
he might well have lived to inherit the old man's wealth.
But because he told his story so convincingly, the Good
Father took the problem to the sexton himself, and Old Brandon,
touched by Clyde's obvious love for him, devised a signal
to assure Father Vincent that all was well. He rang

(02:02:49):
the church bell four extra times to signify that he
was not in danger, that Clyde was there.

Speaker 3 (02:03:05):
The Man in Black has brought you from his files
another case history of a criminal who attempted to commit
the perfect crime. This is the CBS Radio network. Within
the next few minutes, a major crime will be committed
somewhere in the United States. Before this program is off
the air, a criminal will have struck and vanished, having

(02:03:27):
accomplished a perfect crime. But is it from his files?
The Man in Black brings you another story of a
crime that was almost perfect, of a criminal who made
only one mistake.

Speaker 21 (02:03:41):
And now the man in black. The young man's footsteps
echoed hollowly across the cobblestones of the deserted village square.
His face was regular, brisk until he reached the steps
of the church, and there he paused, and for a

(02:04:03):
long moment, the half light of a nearby street lamp
caught the sensitive features of his young face as he
narrowed his eyes and peered intently up toward the bell tower. Slowly,
then the church bell began to peal, and the young
man smiled. He could see the bell, but nothing else.
Apparently satisfied, he hurried up the church steps, in through

(02:04:27):
the vestibule, and back to Father Vincent's quarters. Somewhere along
the way, the smile left his face and was replaced
by an expression of grave concern. It was this expression
that greeted Father Vincent as he admitted the young man
to his rooms. Clyde, my son, what is wrong? You're troubled?

Speaker 6 (02:04:47):
Are you will?

Speaker 21 (02:04:49):
Clyde managed a weak smile. I'm not the old father troubled. Yes,
his eyes indicated the bell tower. It's it's he old
brand who troubles me, Father Vincent, evidence concern the sexton.
But why Clyde, why? Branson and I had a long

(02:05:09):
talk this evening. His health is good, exceptionally good, and
his faith, his spirits are in excellent order. And here
the priest smiled. Thanks to you, my son, you bring
him such happiness. There was protest in Clyde's reply, Please, father,
listen to me. He'll be down soon. I have to

(02:05:30):
meet him to walk him home. There's not much time
to talk now. Perhaps I'm wrong, but I worry about
him climbing to the tower. When I don't worry about him,
I fear that he may fall from the tower itself.
His health is good, yes, but he's an old man. Father,
his STEP's not as sure as it was. I you understand.

(02:05:54):
I felt I had to tell you a great warmth
and admiration reflected, and Father Vincent eyes you would have
him retire as sexton of our church, son, why next
to you?

Speaker 24 (02:06:08):
This is his whole life.

Speaker 21 (02:06:09):
It gave him a usefulness his nature demanded when he
felt there was nothing else to live for. Why to
take it away from him now? To say to him
his usefulness is gone would do a grievous wrong, Clyde,
perhaps perhaps a fatal wrong. Later that night, long after
Old Branson was asleep, Clyde smiled to himself in the

(02:06:30):
darkness of his own room. Father Vincent had reacted just
as Clyde knew he would. To relieve Branson of his
duties as sexton might indeed prove fatal. Father Vincent and
Clyde both realized that what the good priest did not
realize was that keeping that self same job would also
prove fatal for Old Branson. The sexton would fall from

(02:06:53):
the bell tower to his death and Clyde. Clyde would
be miles from the scene of the accident at the time,
or so it would appear. Clyde let a week pass,
then two, and finally he settled on the night itself.
He planned it just as carefully planned every step of
his way into the old Sexton's heart. Five years before

(02:07:17):
Branson's wife and only son had died tragically in an accident,
and Clyde had appeared out of orphan povertry to take
their place, and with very good reason. Old Branson was
a man of means in the village. It was widely
known now that when the old man died it was
Clyde who would inherit his wealth. But five years was

(02:07:38):
a long time, and Clyde waited impatiently for the old
man to die. Finally, convinced that it was he and
the job is Sexton that actually kept Bronson alive, Clyde
settled on a course of murder. In recent months, he
had formed the habit of visiting a neighboring community on
a certain night each week. On his way out of town,

(02:07:59):
he would wave it hair Henry at the Hamburger stand. Later,
as he returned, he would wave it Henry again. Henry
would make a fine witness when the time came further Clyde.
Clyde had a carefully contrived short cut. He could drive
past Henry. Oh nuts, can you take that? Can we

(02:08:20):
take it over again?

Speaker 46 (02:08:21):
Just take it up, go back?

Speaker 21 (02:08:26):
Can you cut it out? Later as he returned, he
would wave it Henry again. Henry would make a fine
witness when the time came further. Clyde had carefully contrived
a shortcut. He could drive past Henry a few miles
circle bath.

Speaker 46 (02:08:44):
Can we cut it and go again?

Speaker 5 (02:08:45):
Oh?

Speaker 3 (02:08:46):
This is murder.

Speaker 21 (02:08:50):
Later, as he returned, he would wave it Henry again.
Henry would make a fine witness when the time came further.
Clyde had carefully contrived a shortcut. He could drive past
Henry a few miles, circled back on a less traveled path,
seclude his car in the woods behind the church. It
was always possible to enter the bell tower unnoticed, and
Clyde had proved to himself that no one was visible

(02:09:13):
to the street from the tower. Once he had pushed
Old Branson from the tower to would become a simple
matter to complete his circle tour and again pass Henry's.
He entered the village. The night was at hand, with
apparent ease, Clyde repeated his well rehearsed plan. Henry was
at his post to waive a greeting. No one else
traveled the back road that night, and all was serene

(02:09:36):
as Clyde made his way through the woods, then silently
up the narrow, twisting steps to the bell tower. Old
Branson had just begun to pull the bell when he
saw Clyde and smiled, For Clyde was like his son.
Clyde smiled too, and when the old sexton pulled the
bell for the last time, Clyde moved quite quickly, and

(02:09:58):
surely old man felt a certain death.

Speaker 6 (02:10:01):
Without a word.

Speaker 21 (02:10:02):
Fittingly enough, he fell noiselessly into the cemetery to the
side of the church. Clyde took one brief look below,
and then made his way as silently as the old
man had fallen, back through the woods to his car.
Half an hour later he was entering the village again.
Sure enough, Henry looked up from his duties to wave
again at Clyde. The circle was complete, the crime was perfect.

(02:10:28):
And yet two short days later Clyde Ross was arrested
for the murder of the old sexton. Wheret he made
his mistake, what thin web of circumstance became the cord
about his neck. As in the case of most perfect crimes,
Clyde turned out to be his own hangman. If he
had not told Father Vincent of his concern for the

(02:10:50):
sexton safety, he might well have lived to inherit the
old man's wealth. But because he told his story so convincingly,
the good Father took the problem to the sexton himself,
and Old Branson, touched by Clyde's obvious love for him,
devised a signal for Father Vincent to assure him that
all was well. He rang the church bell for extra

(02:11:14):
times to signify that he was not in danger, that
Clyde was there.

Speaker 3 (02:11:27):
The Man in Black has brought you from his files.
Another case history of a criminal who attempted to commit
the perfect crime. This is the CBS Radio Network.

Speaker 47 (02:11:43):
Standard of California on half of independent Chevron Gas stations
and Standard stations throughout the West.

Speaker 6 (02:11:49):
Invites you to let.

Speaker 12 (02:11:51):
George do it.

Speaker 3 (02:11:55):
The Ghost Don bliss Terrace, another adventure of George Valentine.

Speaker 46 (02:11:59):
Person well, notice is my stocking trade. If you're crowded
into a corner and you can't fight your way out
a loan, you've got a job for me, George Valentine,
Right hold of tails.

Speaker 48 (02:12:13):
Dear mister Valentine, There's no such thing as a haarted house.

Speaker 49 (02:12:17):
You know that, and I know it.

Speaker 48 (02:12:19):
Still a great many people in our neighborhood are convinced
that a certain empty.

Speaker 50 (02:12:23):
House on bliss Terrace is occupied by a ghost.

Speaker 48 (02:12:27):
I've persuaded a group of my saner neighbors to join
me in raising a fee so we can prove once.

Speaker 50 (02:12:37):
Prove once and for all that it's all so much poppycock.
You can find me at home any morning. Its signed
missus Angela.

Speaker 46 (02:12:44):
McCauley, a hearted house.

Speaker 50 (02:12:46):
No, oh, I know how we can earn that fee
in a hurry, all.

Speaker 46 (02:12:48):
Right, angel, I'll play straight man.

Speaker 50 (02:12:50):
How just put out a for rent sign or whatever
ghost happened to be around and be trampled.

Speaker 46 (02:12:54):
To this brooks Sire, you take this too lightly. And
this isn't just one person's fancy for a WHIMS is
a community project headed by a solid citizen named Angela McCauley.
We can't turn our backs on a city enterprise.

Speaker 50 (02:13:06):
Like this, all right, But what standard equipment for a
job like this? Handtailored bed sheets, old props from an
abatt Costello picture.

Speaker 46 (02:13:14):
No, angel just pride in our work and a normal
amount of curiosity.

Speaker 48 (02:13:27):
And as I've said, mister Valentine, although we're ordinary middle
class families, we take great pride in our neighborhood.

Speaker 46 (02:13:33):
Yes, you've told us that, missus McCauley.

Speaker 48 (02:13:35):
You can't imagine the effect all this talk about the
Mitchell House's head. What do you mean, boy just stands
there empty. Nobody will rend it, nobody.

Speaker 51 (02:13:42):
Will buy it.

Speaker 7 (02:13:43):
An I sore for the whole neighborhood.

Speaker 46 (02:13:45):
Well, outside of saying boo to the ghosts, what do
you expect me to do?

Speaker 48 (02:13:49):
It's entirely up to you, mister Valentine. We just wanted
to prove that all those stories about the Mitchell House
are faults.

Speaker 50 (02:13:55):
Well, just what are these stories, missus McCauley.

Speaker 48 (02:13:57):
Well, there was the milkman Fred Horton. He swears that
when he was delivering milk one morning, he saw a
curtain swing back and a face suddenly appear in the window.

Speaker 50 (02:14:06):
I see, Well, is that all that happened?

Speaker 48 (02:14:08):
Tommy Kanig, that's Kaka Kenny Phildar he said he saw
face in the window too.

Speaker 46 (02:14:12):
Well, anyway, that's two people.

Speaker 6 (02:14:13):
It's so hum.

Speaker 48 (02:14:15):
I certainly wouldn't take Fred Horton's word for anything. And Tommy,
that boy can dream up anything with his imagination.

Speaker 46 (02:14:22):
You know, I thought very much if a group of
substantial people like yourself would have asked me in at all,
just because a milkman made a few way with remarks
on the little boy second of the motion. Are you
sure you're not leaving anything out, missus McCauley, Not a thing.

Speaker 48 (02:14:36):
As I told all the others, this never would have
happened if sam Mitchell hadn't been murdered.

Speaker 46 (02:14:41):
Murder Oh, this might be the thing you left out.
And did you say sam Mitchell was murdered.

Speaker 48 (02:14:46):
Yes, that's right about a month ago. It was never solved.

Speaker 46 (02:14:49):
Why didn't you say that at the beginning?

Speaker 50 (02:14:51):
What a way to tell a story an unsolved murderers,
an afterthought.

Speaker 48 (02:14:55):
Just because sam Mitchell was hit over the head by
some passing tramp, it doesn't mean the whole neighborhood should
be get a bad name. Yeah, I know, And I said,
young man, do you are don't you want to accept
this assignment?

Speaker 46 (02:15:05):
Oh yes, missus mccally, yes, I'd like to take it
on good. I don't know why. Maybe, as miss Brooks said,
it's just the fascinating way you tell a story with
murderers and afterthoughts.

Speaker 18 (02:15:28):
Okay, Valentine, Okay, I don't see why this Mitchell case
has to be a private nightmare at or nightmare. Well,
what would you call it, miss Brooks sam Mitchell railroad engineers,
devoted husband coming up for pension after forty years of
faithful servants.

Speaker 46 (02:15:42):
Han't got an enemy in the world. Suddenly we find
him beaten to death in the home he worked and
paid for. Yeah, we found out that much, Lieutenant.

Speaker 18 (02:15:49):
There wasn't anything stolen. Everybody loved the guy. We can't
find a murder weapon.

Speaker 46 (02:15:54):
How about missus Mitchell, Lieutenant, eh, oh, well, she was
visiting her sister when her.

Speaker 18 (02:15:59):
Husband was He was hit over the head repeatedly with
a blunt instrument by someone who apparently couldn't do the
job right.

Speaker 46 (02:16:05):
The first simon went around, huh, yeah, I told you.
My only job is to prove that the house on
bliss Terrace isn't hard.

Speaker 6 (02:16:12):
I know, I know.

Speaker 18 (02:16:14):
Ghosts, Yeah, that day, Missus McCauley's been in my hair too.

Speaker 50 (02:16:19):
Well, what about it, lieutenant.

Speaker 18 (02:16:20):
We've been through that house with a fine tooth comb.
We've watched it from the outside. Nobody could have got
in or out without.

Speaker 2 (02:16:28):
Us seeing them.

Speaker 46 (02:16:29):
Or you know how people are when.

Speaker 2 (02:16:30):
They start talking ghosts.

Speaker 35 (02:16:33):
Of all the cock guye jobs.

Speaker 46 (02:16:35):
You've ever taken on Valentine, this is lieutenant.

Speaker 6 (02:16:37):
Think it easy.

Speaker 46 (02:16:38):
God, suppose I look for ghosts and you try to
find the murderer. I understand you deliver milk in the

(02:16:58):
neighborhood of Bliss terror Christ, mister Wharton. That's right, mister.
Well now, just exactly what did you see? Well, like
I've been saying, a face in the window around dawn
one morning, a man or a woman.

Speaker 52 (02:17:10):
Oh goodn't hell? It was a thin face like it
was almost all bone long, stringy hair. You seen it
for a minute. Look you believe me, don't you?

Speaker 9 (02:17:24):
Oh? Sure?

Speaker 6 (02:17:25):
Sure?

Speaker 46 (02:17:25):
Sure? Going on? Well, not only that, one morning I
heard music coming out of the Mitchell House. What's that? Yeah,
a guitar, banjo or something. It went something like this.
You believe me, don't you?

Speaker 12 (02:17:42):
Oh?

Speaker 46 (02:17:43):
Yeah, every word. I was just marveling at the way
you carry a tune. Thanks for the information, friend.

Speaker 53 (02:18:02):
Sure, I've seen somebody in the Mitchell House, and I'm
gonna prove it too.

Speaker 54 (02:18:06):
Okay, tell me take it easy, Well, tell us about it, dear.

Speaker 50 (02:18:09):
What kind of person was?

Speaker 33 (02:18:10):
Well, lady, it was getting dark.

Speaker 53 (02:18:12):
I put my face up to the wind on the
porch and gosh, all of a sudden there was another face,
look a.

Speaker 3 (02:18:19):
Light at me.

Speaker 50 (02:18:20):
I bet that must have done as scare. Do you
tell me me scared?

Speaker 30 (02:18:25):
Not me, lady.

Speaker 33 (02:18:26):
I just kept looking right back at him. I'd say
it was menu scared. The daylight's out of him.

Speaker 6 (02:18:31):
So it was a man.

Speaker 33 (02:18:32):
Huh, Golly, I don't know for sure.

Speaker 48 (02:18:36):
He had long hair like a lady.

Speaker 33 (02:18:37):
But well, anyway, it was real, Like mister Wharton said,
just wait, I.

Speaker 30 (02:18:42):
Prove it too.

Speaker 46 (02:18:43):
Well, that's a job we both got. Son. Only it
looks as though you've got a head start on me.
I know it can't be easy for you to talk

(02:19:04):
about this, Missus Mitchell.

Speaker 23 (02:19:06):
I don't mind at all. Really, I don't.

Speaker 50 (02:19:09):
Oh that's very nice.

Speaker 23 (02:19:11):
Tell me do you like this perfume? It's lilac.

Speaker 7 (02:19:15):
Oh, it's lovely.

Speaker 23 (02:19:16):
You think I have too much, John, I've always used
lilac since I was a girl. As Sam used to say,
made me seem even smaller and more fragile than I am.

Speaker 6 (02:19:27):
Oh.

Speaker 46 (02:19:27):
Yes, Now about the house, Missus Mitchell, you were saying.

Speaker 23 (02:19:32):
Well, after he passed away, I tried to go back,
but I couldn't stay there. You see, there's someone there.

Speaker 55 (02:19:41):
I felt it.

Speaker 50 (02:19:43):
Footsteps in the night, and once I heard music.

Speaker 23 (02:19:49):
Yes, how did you ever guess, mister Valentine.

Speaker 46 (02:19:53):
Oh, I'm psyching on my mother's side.

Speaker 23 (02:19:55):
That's nice. It was an old, old song. It reminded
me of the days before Sam and I were married
and moved into that house on Bliss Terrace. You know
I was quite a bear, mister Valentine.

Speaker 46 (02:20:12):
Yes, well, that's easy to imagine.

Speaker 23 (02:20:14):
What it's the man the Lyne cloved every Sunday canoe rides. Oh,
those were happy days. I could have married some one
more romantic than Sam, like Paul has.

Speaker 46 (02:20:28):
Oh look, missus Mitchell, I understand you were away at
the time of your husband's death.

Speaker 23 (02:20:32):
Yes, I was staying here at my sister's. I'm afraid
that Sam and I had.

Speaker 7 (02:20:39):
A little tea.

Speaker 46 (02:20:40):
Oh about what if you care to tell me?

Speaker 23 (02:20:42):
Sam was getting his pension in a few days. He
wanted to live quietly on this terrace. But I wanted
to use the money to see all the wonderful places
I've only read about.

Speaker 50 (02:20:57):
Poor Sam.

Speaker 23 (02:21:00):
I suppose I have to.

Speaker 3 (02:21:02):
Do that alone.

Speaker 46 (02:21:04):
Yeah, missus Mitchell, I wonder if you'd let me have
the key to your haunted house. I'd like to take
a look around.

Speaker 50 (02:21:23):
You know, George, we could sit here in the car
and watch that house all night and still not see
anything happen.

Speaker 46 (02:21:27):
Yeah, you're so right, Angel, And I don't even know
what I expect to see you, Darnie.

Speaker 50 (02:21:34):
Well, when we went through the house before, I didn't
get sort of a funny feet that's.

Speaker 46 (02:21:40):
You too, Brooksy, that's missus Mitchell's private routine.

Speaker 50 (02:21:43):
Well, I kept getting the feeling that I was in
a honeymoon cottage that hadn't been changed in forty years.

Speaker 46 (02:21:48):
Honey, I liked a honeymoon cottage. Bliss, terrorist and a murder.
What a combination?

Speaker 50 (02:21:54):
Oh, George, maybe I'm imagining things. But isn't the curtain
in that window on the moving?

Speaker 46 (02:22:01):
Yeah, come on, Brooksy, that's a cue, Brooksy. Somebody was
moving a curtain in this room. There are no windows open.
It couldn't have moved itself.

Speaker 50 (02:22:20):
Oh, nobody seems to be here.

Speaker 46 (02:22:21):
Now we're gonna keep right on looking. Come on, we
start with the dining room.

Speaker 50 (02:22:25):
Okay, the light should be here on the wall somewhere.

Speaker 33 (02:22:30):
Nor don't stay where you're want, George, Okay, you at
for it.

Speaker 46 (02:22:37):
Oh all right, Tommy, you can put away your machine gun.

Speaker 33 (02:22:41):
Now, huh, oh, it's only you guys.

Speaker 50 (02:22:44):
Say, how did you get in here? Anyway in the
back you would.

Speaker 46 (02:22:48):
Find the one I have an overlook?

Speaker 30 (02:22:50):
Well, I had to.

Speaker 33 (02:22:50):
Prove I wasn't lying when I said I saw somebody
in here.

Speaker 46 (02:22:53):
Now, look, fella, I told you, we're both trying to
prove the same thing. How about giving me a break. Oh,
I know you're better at this sort of thing than
I am, but it happens to be my living, my job.
So how about going home?

Speaker 50 (02:23:05):
Yes, your mother's probably wondering where in the world you are.

Speaker 52 (02:23:08):
Come on, hey, I'll be in the kitchen, Brooks and
I don't know what a deed missus McCauley.

Speaker 46 (02:23:16):
Why didn't you stay out of my life? You and
your Citizens Committee for the Prevention a ghosts?

Speaker 56 (02:23:25):
George?

Speaker 50 (02:23:26):
Oh, George told that Tommy characters. Well he's a character.
Well don't you believe in light?

Speaker 7 (02:23:34):
George?

Speaker 2 (02:23:35):
Oh, don't be It's just.

Speaker 46 (02:23:38):
A childhood habit. Sprawling out in the kitchen floor.

Speaker 32 (02:23:40):
What happened?

Speaker 46 (02:23:42):
You frightened off a remarkably agile ghost. I got tapped
before it could even turn on the light. But it
can't be Well, this bumper.

Speaker 50 (02:23:49):
Is no believe where did this this thing go? You
couldn't get out, there's no place to hide. Tommy was
playing around in here, and we were watching the house
from the outside.

Speaker 46 (02:23:58):
Somebody trying to give me the say on a scalp,
sis Mitchell got oh what goes on here? See, we're
not leaving this Victorian love bower until we find out.

Speaker 3 (02:24:20):
We'll return to tonight's adventure of George Valentine in just
a moment. Meanwhile, a word about waste. No motorist would
deliberately drive with a choke out. It would be like
throwing gasoline away. But some folks let the air cleaner
under the hood get so dirt clog that it can
waste just as much gas as a pulled out choke
even worse, a dirty air cleaner means that some road

(02:24:41):
grit and dust is mixing with a gasoline, and that
can raise kane with finally polished engine parts. So take
a summer driving tip. Have the air cleaner on your
own car serviced. It's an inexpensive job that you can
have done quickly at an independent Chevron gas station or
a standard station. While you're there, let them help keep
your engine by cleaning out the radiator. That's another simple,

(02:25:03):
speedy service which repays its cost many times over by
maintaining proper engine temperature, better all around operation. Ask for
radiator and air cleaner service tomorrow at any standard station
or independent Chevron gas station where they say and mean
we'll take better care of your car. Now back to

(02:25:26):
tonight's adventure of George Valentine. Well, a committee of interested
neighbors has you to prove that a certain house isn't haunted.
Oh yes, you discover almost accidentally that there's been a
murder committed, and said house a brutal, unsolved burder. At
that Finally, you have to be not une conscious before
you're convinced you're dealing with anything but a ghost. So,

(02:25:46):
just like George Valentine, you change your tactics.

Speaker 46 (02:25:49):
Well, let's face that somebody was right here in the
kitchen with me and he didn't have a chance to
leave the house.

Speaker 50 (02:25:54):
Oh, we keep going over the same thing, all.

Speaker 46 (02:25:56):
Right, Angel, All right, let's be very simple. Why did
anybody want to jump me like that?

Speaker 50 (02:26:00):
Well, I'd say, whoever it was didn't want you to
find him in the kitchen.

Speaker 46 (02:26:03):
Ah, you're being very nice and simple thanks. Since I
took him by surprise, he wouldn't be carrying a Shelley
Ley around in his hand. He probably reached out for
something that he knew would be there, something nice and handy,
something like, hey, what could be handy?

Speaker 50 (02:26:19):
What are you doing, George?

Speaker 46 (02:26:20):
This poker hanging on this old fashioned coal stove? Yeah,
could be Yeah, and Brooksy, it's got blood on it.

Speaker 2 (02:26:42):
Yeah, Rley, this is Samuel's down the lab.

Speaker 46 (02:26:44):
Lieutenant, how about that store walker, Well, let's have it.
We checked and talked to the medical examiner. That was
the weapon used on Mitchell alive.

Speaker 1 (02:26:52):
We're working on the fingerprints. Now we're good.

Speaker 46 (02:26:55):
Well, that doesn't lieutenant, whoever killed Mitchell was there in
the house with us to night. Now, way, don't go
jumping at conclusions.

Speaker 50 (02:27:01):
Well you don't think it's just a coincidence that, of
all the things in the house, he used that stove pokron.

Speaker 46 (02:27:05):
Joy, he knew just where it was, he used it before. Well, okay, okay,
I'm gonna buy that. And what's more, I'm going back
to that house with you. I don't know what else
we can find there. That's that's what has me stopped. Well,
if I have to I'm gonna tear that face apart
with my bare hands.

Speaker 50 (02:27:34):
George, I'm sure we turned all the lights off.

Speaker 7 (02:27:36):
When we left, that's all.

Speaker 46 (02:27:38):
There's a light a parlor.

Speaker 2 (02:27:41):
Come on, come on?

Speaker 10 (02:27:47):
What the name?

Speaker 46 (02:27:48):
My heavens is a sure port? And the milk man
he hung it to me. He swears he heard somebody
playing on a banjo or something when he passed the
house one morning.

Speaker 6 (02:27:58):
Well, let's go in.

Speaker 46 (02:28:00):
I can find out that this is all about.

Speaker 23 (02:28:05):
Oh goodness, what most you think house? Were sitting here
singing to myself like this?

Speaker 5 (02:28:12):
I thought you were staying at your sister's place, Missus Mitchell.

Speaker 46 (02:28:16):
Why did you come back here tonight?

Speaker 56 (02:28:18):
Let me see?

Speaker 23 (02:28:20):
Oh yes, these two nice young people and I were
talking about the old times, just suff new. Yeah, yeah,
the songs we used to sing, and that naturally reminded
me of the mandolin.

Speaker 7 (02:28:35):
You can understand that.

Speaker 46 (02:28:37):
Oh yeah, sure, Oh what mandolin, Missus Mitchell?

Speaker 23 (02:28:42):
Thee mandolin?

Speaker 7 (02:28:44):
Of course.

Speaker 46 (02:28:46):
Oh look, Valentine and I don't give up easily, but
this is getting our hand here.

Speaker 6 (02:28:51):
I don't know what tennis.

Speaker 46 (02:28:53):
I'm very interested in that mandoline, Missus Michel, Are you
young man?

Speaker 50 (02:28:57):
Paul haff gave it to me when I'm married Sam.
Paul hat he was one of your bows, wasn't it.
He was so handsome and he adored me.

Speaker 23 (02:29:09):
No one could play the mandolin like Paul.

Speaker 50 (02:29:12):
I'm sure that he was the leader of our club.

Speaker 23 (02:29:16):
I've always felt that Paul gave me that mandolin, so
I'd never forget him or the dreams we had together.

Speaker 46 (02:29:25):
I don't know why, but let's get back to that mandolin.

Speaker 23 (02:29:28):
Now, that's just it, Lieutenant, it's gone. It's the only
thing in the whole house that's Missy. If it was
a tramp who killed Sam, why would he just steal
a mandolin?

Speaker 46 (02:29:41):
Oh, you'd be surprised. How many questions I can't answer,
Missus Mitchell. Give in a mixtus Valentine, I want to
talk to you.

Speaker 6 (02:29:47):
Come home.

Speaker 50 (02:29:48):
You can understand, Miss.

Speaker 6 (02:29:57):
Valentine.

Speaker 46 (02:29:57):
A weird thought just occurred to me that Missus Mitchell
might be our ghost and murderer. Well, she had a
choir with her husband. The milkman says he heard something
that sounded like commands living The old.

Speaker 57 (02:30:06):
Girl plays one.

Speaker 18 (02:30:08):
Ordinarily, if you wanted to kill somebody with a stove, porker,
just a couple of smacks on the head would have done.

Speaker 46 (02:30:13):
It, Lieutenant. Missus Mitchell is small and fragile.

Speaker 18 (02:30:16):
Yeah, yeah, And it took a lot of blows on
Mitchell's head to make her a widow.

Speaker 46 (02:30:20):
Now I've kicked in around too, Lieutenant. But if I
don't come up with anything better than that, I'm gonna
buy me a mandolin and play on street corners.

Speaker 18 (02:30:28):
Well, I'm gonna get Doc Power down here, police contest.
Yeah yeah, maybe he can get her to make some sense.

Speaker 46 (02:30:33):
I know I can't.

Speaker 23 (02:30:47):
I joy talking to you, doctor Fair.

Speaker 58 (02:30:50):
You don't mind the others being here? Oh no, no,
not at all all right, then we would go on.
Years ago, when this house was built, you meant it
to be a sort of well dreamcastle.

Speaker 23 (02:31:01):
That's exactly right after. It's strange how you should.

Speaker 46 (02:31:05):
Know, But in back of your mind you didn't mean
it to be for you and mister Trull.

Speaker 23 (02:31:10):
Oh, but you're wrong. After Sam and I lived here
for forty years.

Speaker 58 (02:31:15):
Uh, what I mean is that you were thinking of
someone else all the time, whether you were willing to
admit it to yourself or not.

Speaker 46 (02:31:21):
What about that, Missus Mitchell?

Speaker 33 (02:31:22):
You leave me one you get away from wait a minute.

Speaker 46 (02:31:25):
Don't you guessed, Misty, take your easiness.

Speaker 50 (02:31:29):
There's nothing to be afraid of.

Speaker 7 (02:31:30):
I never let him.

Speaker 3 (02:31:32):
I can't make you.

Speaker 23 (02:31:35):
Believe me.

Speaker 50 (02:31:36):
Oh yes, we do believe you.

Speaker 46 (02:31:39):
Just the minute I didn't hear Riley, what do you
make of it? Firm? Well, Valentine, I wouldn't say she's crazy? Well, okay, doc,
what'd you say?

Speaker 58 (02:31:47):
You've heard of people who stop growing physically, others mentally,
or some stop growing emotionally.

Speaker 46 (02:31:54):
She's one of them. Ah, don't go technical, life.

Speaker 58 (02:31:56):
I mean, for some forty years, that woman is trying
to remain or romantic, young woman, holding on fiercely to
a love she had to turn her back on.

Speaker 46 (02:32:04):
It's a simple and complicated dessert.

Speaker 18 (02:32:07):
And one day she couldn't stand it any longer and
bumped her husband off.

Speaker 20 (02:32:10):
Euh.

Speaker 46 (02:32:11):
The answer to that, Lieutenant, is your job. I don't
think you need me anymore.

Speaker 2 (02:32:15):
Good night, good night.

Speaker 46 (02:32:18):
Well it's all wrong, Riley? What's all wrong? It finally
came to me a matter of arithmetic, playing around with
it all you want? Five never equals sick o? Listen,
haven't I had to unraveling up double talk here tonight?

Speaker 6 (02:32:29):
Missus.

Speaker 46 (02:32:30):
Mitchell was not even five feet tall, and I'm over six.
She couldn't hit me over the head with that stove poker.
But it couldn't be anybody else unless he's hiding behind
a molding somewhere, And if he is, we'll find him.
What do you say we really take your advice and
start tearing this house apart.

Speaker 23 (02:32:59):
But George, we did through this closet before, all right,
so we look at it again. What are you looking for?

Speaker 33 (02:33:04):
Gentlemen?

Speaker 6 (02:33:05):
I might be a please missus Mitchell.

Speaker 46 (02:33:10):
The patch up there in the ceiling.

Speaker 23 (02:33:11):
H I never noticed that before?

Speaker 46 (02:33:16):
What a little square? Well, even if it wasn't opening,
it wouldn't lead anywhere. Huh.

Speaker 50 (02:33:21):
It couldn't be more than a few feet between the
ceiling and the roof.

Speaker 46 (02:33:24):
Wait, no, no, let me have that umbrella does well?
If somebody could squeeze in and out of that hole, how.

Speaker 30 (02:33:34):
Could he stay up there?

Speaker 3 (02:33:35):
Oh?

Speaker 50 (02:33:35):
Why don't you give me a boost? Maybe I can
take a look.

Speaker 46 (02:33:37):
How about that? Lieutenant? Will we borrow your flashlight?

Speaker 6 (02:33:40):
Ah?

Speaker 46 (02:33:41):
Right here? Okay, Hope you.

Speaker 35 (02:33:47):
What do you see?

Speaker 50 (02:33:47):
Why you get the flashlight on you?

Speaker 6 (02:33:50):
Yeah?

Speaker 12 (02:33:51):
Chie?

Speaker 21 (02:33:54):
What is it?

Speaker 6 (02:33:55):
What is it?

Speaker 50 (02:33:55):
There's a man crouched up there? Oh it's horrible.

Speaker 54 (02:34:02):
Oh how could it be, poor, say Valentine.

Speaker 46 (02:34:21):
I remember, lieutenant, you're in a hospital, not down at headquarters.
Oh oh yes, sure, and the nurse.

Speaker 7 (02:34:28):
Is likely to just throw you out.

Speaker 46 (02:34:30):
Well I'm sorry, but look, Valentine, look good. You and
I are on this case together, aren't we. Well, well,
I just got a confession from this paul A character.
He admits to kill Mitchell. Well that's that.

Speaker 18 (02:34:40):
Then just a minute, miss Brooks. He must talk some more,
but he keeps freezing up on me. Valentine, see what
you can get out of the will you?

Speaker 46 (02:34:49):
Huh? Well okay, Lieutenant.

Speaker 59 (02:35:00):
Yes, Valentine, it's so important that someone know I didn't
plan it.

Speaker 46 (02:35:15):
I didn't mean it to happen. Are you sure you
want to go on?

Speaker 57 (02:35:19):
Oh yes, yes, yes, I'm nice to see. I never
made anything out of my life.

Speaker 59 (02:35:24):
I never knew just what I wanted, except a few
times that had come back here to town and passed
that house on bliss Terrace, and then I knew what
I always wanted.

Speaker 50 (02:35:39):
I never can have Do you mean you've been coming
back here all these leads?

Speaker 6 (02:35:43):
Oh, they never saw me.

Speaker 59 (02:35:44):
But this one time I knew I was getting old,
old and sick, and I went into the house when
they were out. I wanted to see what life was
like for them living it's to come so peacefully. And
suddenly I heard someone come in.

Speaker 6 (02:36:03):
I didn't know what to do.

Speaker 57 (02:36:05):
I ran into the closet and there was that opening.

Speaker 6 (02:36:08):
In the ceiling.

Speaker 7 (02:36:10):
Somehow I climbed.

Speaker 57 (02:36:11):
Up there, and that's where I've been staying.

Speaker 9 (02:36:15):
But how long, oh weeks, I don't know what.

Speaker 59 (02:36:19):
It's hard to say. I don't think I could have
stood it if I didn't hear her moving about.

Speaker 46 (02:36:28):
But sam Mitchell was your friend once. You could have
talked to him, and I thought of that too. But
one night, when she was away, he walked in and
he saw me in the kitchens. I was scavenging for food,
just like a tramp. He didn't even know who I was.

Speaker 7 (02:36:44):
Don't try to sit up, mister.

Speaker 59 (02:36:45):
Suddenly I felt nothing, but he couldn't envy, and I
grabbed the stool poker, and I.

Speaker 6 (02:36:55):
Had no place to go.

Speaker 57 (02:36:58):
I went on a little up there.

Speaker 46 (02:37:01):
When you found me in the kitchen last night, she
felt I was the intruder and you belonged in that house.

Speaker 57 (02:37:07):
I want to think that she kept my Amendlin for
forty years. That's a long time, isn't it, younger.

Speaker 7 (02:37:16):
There, Yes, yes, a very long time.

Speaker 23 (02:37:20):
Yeah.

Speaker 57 (02:37:20):
I guess that's how I wanted to tell you side.
But again, I feel very tired.

Speaker 46 (02:37:28):
I'll see that the lieutenant gets your story straight. Thank you. Yeah,
and I'll tell missus McCauley there'll be no more ghosts
on bliss Terrace. I'm finally polished and precision built engine

(02:38:02):
that gives your car all its goal can't be neglected.
In fact, it needs more attention when you're asleep than
when you're driving.

Speaker 3 (02:38:10):
And the reason for that is internal engine rust, which
goes to work when condensed moisture begins to settle over parts.
Nearly any ordinary oil can fight off rest when your
car is running and there's full circulation of the lubricant.
But RPM motor oil is compounded to protect the engine
when it's running hot and when it's standing cold. Unlike

(02:38:32):
ordinary oils, RPM doesn't run away from its job when
you cut the motor. A special adhering compound in RPM
keeps a tough oil film on all engine parks protects
the interior of your engine from rust, and that's another
reason why Western motorists choose RPM motor oil two to
one over any other motor oil. Get rpm at any

(02:38:55):
Standard station or independent Chevron gas station, where they say
and mean, we'll take better care of your car next week.
When you tune our way for another adventure of George Valentine,
you'll hear Lieutenant Riley saying, Barentine.

Speaker 60 (02:39:17):
When you tell me there was a girl sitting in
this chair when you came in, and that she had
committed suicide, natural curiosity makes me ask where is the box?
I don't know, Lieutenant, but she was there.

Speaker 18 (02:39:33):
If you ask me, my friend, somebody's taking you for
a ride.

Speaker 46 (02:39:37):
And if you ask me my friend, I'll keep saying
it's Marcia Palmer who's been taking for a ride, and Lieutenant,
I intend to find out where and why.

Speaker 47 (02:40:12):
To Night's Adventure of George Benzign has been brought to
you by Standard of California on behalf of independent Chebron
gas stations and Standard stations throughout the West. Let George
Do It stars Robert Dailey as George, with Francis Robinson
as Player.

Speaker 46 (02:40:26):
Wally Mayer appears as Lieutenant Riley.

Speaker 47 (02:40:29):
The night story was written by David Victor and Herbert
Little Junior and directed by Don Clark.

Speaker 3 (02:40:34):
Also heard in the cast where Sarah Selby.

Speaker 47 (02:40:36):
Is Smith McCauley, Virginia Greg is Missus, Mitchell Stanley ferrars,
Doctor Farrell, Howard mcneer as Paul Huff and Allan Reed
Junior as Tommy Kenney. The music is composed and conducted
by Eddie Dunsteader. You're announcer John Hoaston. Listen again next week,
the same time, the same station to let George do it.

Speaker 61 (02:41:04):
This is the mutual Donley Broadcasting Systemay.

Speaker 62 (02:41:24):
Box thirteen with the star of Paramount Pictures, Alan Labbed
as Dan Holiday.

Speaker 63 (02:41:37):
Box thirteen, Box thirteen, Box thirteen, Box thirteen.

Speaker 3 (02:41:53):
Holiday.

Speaker 15 (02:41:53):
Why did you ever leave a soft job as a
reporter to become a freelance writer? Or why did you
ever advertised for adventure?

Speaker 6 (02:42:03):
Oh?

Speaker 15 (02:42:03):
I know what makes you feel like a kid with
a box of crackerjack. Now you can't stop. You might
run across a juicy peanut, or that grand prize is
supposed to come in each in every package. But you
know by now that storylines like money don't grow on trees. Susie,

(02:42:24):
where have you been?

Speaker 63 (02:42:26):
You know where I've been, mister Holliday, down to star
times after the mail.

Speaker 3 (02:42:30):
Oh yes, the mail, Watching Box thirteen, Box thirteen.

Speaker 62 (02:42:41):
Starring Ellen ladd as Damn Holiday and now Box thirteen
starring Ellen ladd as Dan Holiday.

Speaker 15 (02:43:06):
Box thirteen. I wish I'd never rented the thing. Wish
I'd never even.

Speaker 63 (02:43:12):
Thought of it, mister Holiday. You're early this morning?

Speaker 3 (02:43:18):
Well, I had to see if my new secretary is
on the ball.

Speaker 63 (02:43:21):
You know, since you rescued me from that nut factory.
Down to start times, I'd work my fingers off the
elbows for you.

Speaker 15 (02:43:27):
Oh no, I'll take it easy, Susie. You'll need those
elbows to lean on when things get dull around here.

Speaker 12 (02:43:32):
Dull.

Speaker 63 (02:43:33):
Oh, things don't get dull around you, mister Holiday.

Speaker 3 (02:43:37):
Hey, what's that your writing out? Love letter?

Speaker 63 (02:43:39):
Yeah, it's a love letter to your publisher. He wants
to know where are the chapters you promised for the
new book?

Speaker 3 (02:43:46):
And what are you telling him, Susie, A lie, A.

Speaker 63 (02:43:50):
Big fat one banks. By the way, where are those chapters?
Mister Holiday?

Speaker 15 (02:43:56):
If I had the my secretary to have lots of
extra work. You don't like extra work, do you, Susie.

Speaker 63 (02:44:02):
I don't like your worried. Look, when you don't have chapters,
you have that Look.

Speaker 3 (02:44:07):
Oh does it show so much.

Speaker 63 (02:44:09):
Like a chinchilla coat in a dime store?

Speaker 15 (02:44:10):
Uh huh, it's the hallmark of my profession. Susie, say
what was in box? Thirteenth day?

Speaker 7 (02:44:16):
Mm?

Speaker 63 (02:44:16):
Some goof once. You should fly to Mars with him
and his homemade rocket. Oh brother, Oh yeah, there was
a ticket to a radio broadcast.

Speaker 3 (02:44:24):
Radio broadcast Silky.

Speaker 63 (02:44:26):
Soap presents Time for Drama starring Jean Blake, eight pm
Federal Broadcasting Studios.

Speaker 3 (02:44:33):
Now, who would want me to go to a radio show?

Speaker 63 (02:44:36):
The advertising agency maybe, huh.

Speaker 15 (02:44:40):
Those guys don't read adventure wanted ads too, busy dreaming
up singing commercials.

Speaker 63 (02:44:45):
Someone wants you should go to that broadcast? Awful bad? Yeah,
she wrote please in the back of the envelope. She yeah,
she and I don't like her taste and lipstick once
she wrote this with is the color of blood.

Speaker 7 (02:45:04):
And now you have returned, my darling. I am alive again.
The wind is.

Speaker 63 (02:45:12):
Down, but still the seas run high.

Speaker 64 (02:45:24):
Time for Drama has presented A Wind is Down starring
Jean White in the Task, where Robert Taylor as John
Agna Sloane as grandmother and Marvin Maskson as the butler.
This is a pc IF a federal broadcast to cover.

Speaker 3 (02:45:47):
Sorry, sir, we're closing the studio. Huh Oh sure, sure
I was meeting someone. They must have stood me up
as someone in the cast, Sir, Yes, it could be.
I think they've all gone, but you might try the
stage entrance. Oh thanks, How do I get there? Around
the back of the building, stir just opposite the parking lot.

(02:46:12):
You were blithering idiot?

Speaker 1 (02:46:14):
What's withearth you're going?

Speaker 6 (02:46:16):
Sorry?

Speaker 3 (02:46:16):
I didn't see you coming around the corner.

Speaker 1 (02:46:18):
You auto draft hounds always clutter up the entrance for that.

Speaker 3 (02:46:24):
A lot? Give you mine? Step aside there, Yeah, Oh,
don't mind him.

Speaker 1 (02:46:34):
He's just an old hem has been.

Speaker 3 (02:46:37):
Oh that's a heavy hunker ham. Who is he? Pop?
Names Marvin Masterson, not the Marvin Masterson.

Speaker 65 (02:46:44):
Yep, he's washed up in pictures through on the stage too.
There's bits on the air.

Speaker 15 (02:46:50):
Now, Say didn't I see him play a butler on
time for Dramaaly?

Speaker 3 (02:46:54):
Yeap?

Speaker 1 (02:46:56):
How the mighty have fallen?

Speaker 6 (02:46:59):
Say?

Speaker 3 (02:46:59):
Pop? Read that like an actor?

Speaker 1 (02:47:01):
Was one once?

Speaker 12 (02:47:02):
Oh?

Speaker 65 (02:47:03):
Nothing like Masterson of course, And I can appreciate how
we must feel.

Speaker 15 (02:47:09):
Well, someone else did too when he said fame. It
is the flower of a day that dies when the
next sunrises.

Speaker 65 (02:47:17):
You an actor too, son? No writer name wouldn't be
Dan Holiday, would it.

Speaker 3 (02:47:23):
That's fine? Got a message for you from home.

Speaker 1 (02:47:27):
I don't know.

Speaker 3 (02:47:28):
Found this note on my desk.

Speaker 65 (02:47:31):
If mister Dan Holiday comes around, ask him to go
to the Mayfair restaurant.

Speaker 6 (02:47:37):
Hey, what is this?

Speaker 15 (02:47:38):
I'm getting passed around like a collection plate.

Speaker 65 (02:47:41):
When you catch up to a give her a pencil.
That lipstick smeared up my course sheet.

Speaker 66 (02:47:58):
Oh, monsieur, this is an honor to have you once
more at may Fair.

Speaker 3 (02:48:02):
You have easier to just too long, working hard on
old ways.

Speaker 1 (02:48:06):
But tonight you relax.

Speaker 3 (02:48:08):
You have my name?

Speaker 6 (02:48:09):
Is your Holiday?

Speaker 3 (02:48:10):
What do you mean?

Speaker 1 (02:48:11):
A charming young lady waiting for you at your table?

Speaker 63 (02:48:18):
Oh, I'd hoped you'd come, mister Holiday.

Speaker 3 (02:48:21):
Why you're you're Jeane Blake. Yes, I must talk with
you a lady later on me. Now what is this
all about?

Speaker 10 (02:48:31):
Oh?

Speaker 7 (02:48:32):
I suppose I am being rather mysterious.

Speaker 15 (02:48:35):
I'm used to mystery. Besides, not only a pencil? What's
your problem?

Speaker 7 (02:48:40):
Pencil?

Speaker 3 (02:48:41):
Yes, that let's stick you write notes with comes off
on things.

Speaker 7 (02:48:44):
Oh I'm in danger, mister Holiday, grave danger.

Speaker 3 (02:48:50):
Why come to me?

Speaker 7 (02:48:52):
I know about you in box thirteen you advertise adventure wanted,
will go any place? Do anything?

Speaker 3 (02:49:00):
I need help?

Speaker 7 (02:49:01):
So so, mister Holiday, I'm going to be killed. I'll
do anything you ask, but you must help me.

Speaker 30 (02:49:17):
You must.

Speaker 3 (02:49:18):
Oh no, look, miss Blake, I'm a writer or nothing
to take your life?

Speaker 12 (02:49:22):
There has he called for you?

Speaker 1 (02:49:23):
May I plug you in your phone?

Speaker 3 (02:49:24):
I call? Oh sure, excuse me? Please? Hello?

Speaker 16 (02:49:30):
You're engaged in an interesting adventure tonight, aren't you?

Speaker 6 (02:49:34):
Mister Holiday?

Speaker 3 (02:49:36):
You must be psychic. Who is this you see to
your future?

Speaker 6 (02:49:41):
Is being psyched? I suppose I am?

Speaker 67 (02:49:45):
You see when I ring off, I know you will
tell let beautiful young woman sitting next to you that
you can't help her.

Speaker 3 (02:49:55):
Oh surprised, yeah a little? What makes you so sure?

Speaker 1 (02:50:01):
If you don't send her away, you won't be able
to help her.

Speaker 3 (02:50:07):
Or anyone else that I don't see.

Speaker 1 (02:50:10):
Something else you don't see is a gun.

Speaker 6 (02:50:15):
It's aim precisely between your eyes. No, don't look around.

Speaker 5 (02:50:22):
You can't see it from there, but an expert mortsman
can see you.

Speaker 3 (02:50:29):
However, every move you're you're in this restaurant.

Speaker 68 (02:50:36):
Interesting situation, isn't it. Hundreds of people around you, and
you don't know which one you're speaking with or which
will shoot you if you don't do what you're told.
Get rid of that girl Holiday? No an.

Speaker 3 (02:51:01):
Now, miss Blake. You will help me, Miss Blake. You must,
you simply must.

Speaker 7 (02:51:06):
Look, I'll pay you anything.

Speaker 3 (02:51:08):
I don't want your money, Miss Blake. I want you
to see the police.

Speaker 7 (02:51:13):
You won't help me.

Speaker 3 (02:51:16):
No, that's final, that's final.

Speaker 7 (02:51:22):
Very well, goodbye, mister Holliday.

Speaker 15 (02:51:27):
A nice going holiday. A young woman in distress pleads
for help, and what do you do? Send her out
into the night alone? But you had to do it
so that that madman on the phone wouldn't hurt somebody.
Now you've got to find her in fast.

Speaker 3 (02:51:49):
Henri, Henri, wait me for holiday. That girl who just left,
Jean Blake. Did you see where she went?

Speaker 6 (02:51:54):
Leave me?

Speaker 12 (02:51:55):
She walked out to your park.

Speaker 3 (02:52:06):
Well it's the park, but no, Jean Blake. Oh there
she is. It's Blake.

Speaker 30 (02:52:14):
Let's Blake Quake.

Speaker 3 (02:52:17):
That's all right, miss Blake, Dan Holiday, But I thought,
no time for thinking. Get in my car quickly.

Speaker 31 (02:52:30):
Oh what can I do?

Speaker 3 (02:52:34):
What can I do easy?

Speaker 15 (02:52:36):
Miss Blake? All right, now, come on, try to become
Can you tell me who's donating? There's only one thing
we can do, what go to the police. You're gonna

(02:53:02):
relax now, Holiday, you're off that hook. The Blake Gal's
probably back home, and you can bet they put a
copp the stand guard at the door. Sure, Holiday, this
would have made a great springboard for a yan, but
you're out of it now, so I just forget the
whole thing.

Speaker 3 (02:53:21):
Anyway. What would you have done for the last chapter?
Last chapter? Of course, sir, if you should go back.

Speaker 15 (02:53:32):
To the Mayfair for lunch tomorrow, you just might run
across something interesting.

Speaker 69 (02:53:49):
Ah, iron shoe, Dan Holidays, Yeah, food, Who I thought
this much. I've seen your pictures on dust jackets of
your very exciting books.

Speaker 3 (02:54:05):
I'm a fan of yours. I'll have a seat, mister masters.

Speaker 6 (02:54:09):
Ah, you recognize me.

Speaker 15 (02:54:13):
Have we bumped into one another before, Well, i'd call
it a near miss, but along with a few million others,
i'd recognize you anyway.

Speaker 69 (02:54:21):
Personally, I detest dining alone. Since no one was with you,
I took the liberty my pleasure, sir. Thank you all
re serve my dinner here.

Speaker 15 (02:54:38):
Your voice is very distinctive, mister masters, and seems I've
heard it just recently.

Speaker 67 (02:54:43):
Of course it was on the radio. I have been
doing a bit of that, you know, simply for amusement,
of course.

Speaker 3 (02:54:55):
Oh yes, oh yes, I saw you on Jeans Lake
Show last evening. You played the butler.

Speaker 12 (02:55:00):
Yes, I asked them not to credit me. He's just
dabbling with radio.

Speaker 57 (02:55:09):
A new medium, you see.

Speaker 15 (02:55:11):
I'm sure the name Masterson means a great deal even
to the radio audience.

Speaker 16 (02:55:16):
The public soon for debts again.

Speaker 3 (02:55:20):
The phony is connected. Oh thank you. Hello, Hello, it's
gonna happen.

Speaker 38 (02:55:28):
I told you about I know what it is.

Speaker 30 (02:55:32):
You can come now.

Speaker 3 (02:55:41):
Hello, Hello, good lord Holiday. What's wrong Jean Blake, She's
just and murdered.

Speaker 62 (02:55:51):
You are listening to Box thirteen starring Alan Ladd as
Damn Holiday and now back to Box thirteen starring Alan

(02:56:16):
Ladd as Dan Holliday.

Speaker 3 (02:56:22):
Well, what a sleuth you turned out to be? A Holiday.

Speaker 15 (02:56:25):
He's sitting on a mutual admiration session with a tired
old Ham actor and the guy.

Speaker 3 (02:56:30):
You're trying to protect gets knocked off.

Speaker 66 (02:56:37):
Hold at mac, where do you think you're going? Miss
Blake's miss Blake ain't seeing nobody. Yeah, that's for sure.
She's dead dead?

Speaker 3 (02:56:45):
Are you crazy? Mister? I've been here all the time.
Which part of the duplexus hers upstairs?

Speaker 12 (02:56:50):
But you can't?

Speaker 3 (02:56:57):
He says, yes, But I come on, bust it in.
See what I mean?

Speaker 6 (02:57:16):
Suicide?

Speaker 70 (02:57:17):
Huh?

Speaker 3 (02:57:17):
What'd you take? Suicide? You better look again? She was shot?

Speaker 66 (02:57:23):
That's impossible. I'd have heard something. I've been here six
hours and I ain't hurt, no shot.

Speaker 3 (02:57:28):
But there were three shots. I heard them just fifteen
minutes ago.

Speaker 6 (02:57:32):
You heard them?

Speaker 3 (02:57:33):
You wasn't here fifteen minutes ago?

Speaker 6 (02:57:36):
Or was you? Were you?

Speaker 66 (02:57:38):
I told you I've been here six hours?

Speaker 3 (02:57:41):
Didn't you leave for cigarettes or something? I told you
i'd been here? Yeah, I know you've been here six hours.
But who was around before I got here?

Speaker 6 (02:57:50):
No one?

Speaker 3 (02:57:51):
That is? Nobody but them? Nobody?

Speaker 6 (02:57:55):
But who?

Speaker 66 (02:57:55):
The tenants of the other apartment? An old guy and
his daughter, name of masters Masterson.

Speaker 3 (02:58:07):
Look, Mac, you know too much about this.

Speaker 66 (02:58:09):
I'm holding you till I get the inspector down here.

Speaker 3 (02:58:12):
When you'd phone in tell headquarters to send along a
magician's manual, Huh, you didn't hear any shots.

Speaker 15 (02:58:19):
This thing must have been done with mirrors. Did you
talk to Miss Blake after you left her last night?

Speaker 3 (02:58:29):
No, not until she phoned me this new inspector at
the restaurant. She phoned you at the restaurant, this new Yeah,
that's right.

Speaker 15 (02:58:36):
I was having lunch with the guy from downstairs, Marvin Masterson.

Speaker 3 (02:58:40):
I got news for your holiday. If you talk to anybody,
it wasn't Miss Blake. What do you mean she couldn't
have telephoned you. She's been dead over twelve hours? How
about the.

Speaker 6 (02:58:58):
Holiday?

Speaker 3 (02:59:00):
Holiday? Where's that good ear you're supposed to have? Sure
you would swear was Miss Blake's voice, But she was
dead twelve hours before. Look holiday. We're trying to find
the last chapter, but even you couldn't write this one.

(02:59:21):
What it was her voice? Come on now, think holiday?
What did she say over the phone?

Speaker 1 (02:59:27):
What's going to happen?

Speaker 30 (02:59:28):
What I told you about?

Speaker 71 (02:59:29):
I know it is?

Speaker 3 (02:59:31):
If only you could come now?

Speaker 15 (02:59:37):
There was something else that came over that wire, something
a good ear would have picked up.

Speaker 72 (02:59:46):
If only you could come now, If only you.

Speaker 3 (02:59:49):
Could come now, think holiday? Think what else did you
hear of that phone? A clock?

Speaker 15 (03:00:07):
A clock sounding the Westminster Abbey chimes yes, honey, Yes,
miss Masterson, I'm Dn Holliday.

Speaker 3 (03:00:29):
Oh, yes, good evening.

Speaker 7 (03:00:30):
Why don't you come in?

Speaker 3 (03:00:31):
I'm sorry to the truth.

Speaker 7 (03:00:32):
Oh not at all. Father told me he lunch with
you this noon.

Speaker 3 (03:00:36):
Oh yes, is your father at home? No?

Speaker 6 (03:00:40):
Oh?

Speaker 7 (03:00:41):
Is this something I can do?

Speaker 6 (03:00:43):
Oh?

Speaker 3 (03:00:43):
Yes, answer a few questions if you will.

Speaker 10 (03:00:46):
Well, if it's about that poor girl upstairs. The police
have already questioned father and me extensively. Poor father, he
was so upset he went out to our beach cottage
for a few days.

Speaker 3 (03:00:57):
I'd like very much.

Speaker 10 (03:00:58):
Did you get your information from headquarters?

Speaker 5 (03:01:01):
No?

Speaker 3 (03:01:01):
Why you see, I know more than the police do.

Speaker 10 (03:01:06):
Isn't worthholding evidence of crime, mister Holliday.

Speaker 3 (03:01:09):
Yes, so is aiding and a betting a murder.

Speaker 63 (03:01:13):
I'm afraid that's not very clear.

Speaker 3 (03:01:16):
Some details are not clit and he that's why I'm.

Speaker 10 (03:01:18):
Are you insinuating that?

Speaker 15 (03:01:20):
No, I'm accusing, accusing whom of what A father and
his daughter of murder and of betting a murder, respectively.
It's ridiculous, I don't think so.

Speaker 7 (03:01:34):
I get it. This is just a gag cooked up
between you and my father.

Speaker 3 (03:01:38):
Well, it really isn't very funny. It's no gag.

Speaker 15 (03:01:42):
Your father murdered Jean Blake, and I believe you helped me,
missus Masterson.

Speaker 7 (03:02:01):
And now I'm sure is my silence that expressive?

Speaker 3 (03:02:06):
No? But your clock strikes the Westminster chimes chimes.

Speaker 7 (03:02:11):
I don't see what they've got to do with it.

Speaker 3 (03:02:13):
I see several things.

Speaker 15 (03:02:15):
Your fancy record player, for one, it does have an
attachment for making recordings, doesn't it.

Speaker 10 (03:02:24):
Mister Hollida, you have no right to ask questions. The
police got all the information they wanted, but.

Speaker 15 (03:02:30):
Not the evidence to convict Marvin Masterson. I know he's
a murderer.

Speaker 7 (03:02:33):
You'll have to prove that.

Speaker 15 (03:02:35):
This noon, over the phone, I heard Jean Blake calling
for help. Then I heard the shots had killed her.

Speaker 10 (03:02:39):
Well, if my father was dining with you at the time,
how could he.

Speaker 3 (03:02:42):
Be the killer.

Speaker 15 (03:02:43):
I heard the murder, but not at the time it
was committed. It was you, miss Masterson, who telephoned me
at the restaurant.

Speaker 10 (03:02:50):
Are you trying to say I'm clever enough to go
through that shooting routine and then fake Jean Blake's voice
over the phone.

Speaker 15 (03:02:56):
It was miss Blake's voice, all right. However, I heard
it twelve hours after your father killed her in this apartment.

Speaker 3 (03:03:04):
Later he carried her body upstairs.

Speaker 30 (03:03:06):
Fantastic?

Speaker 3 (03:03:06):
Is it? Mind?

Speaker 15 (03:03:08):
If I go through this collection of records, I should
find the one Jean Blake was forced to cut on
this machine before she was shot today.

Speaker 7 (03:03:13):
No, don't please.

Speaker 3 (03:03:14):
I Oh you did play that record I heard on
the phone?

Speaker 10 (03:03:19):
Yes, but I thought it was a joke. Father was
playing on someone. He phoned me a few minutes before
and told.

Speaker 3 (03:03:27):
Me what to do. What did you think when you
discovered Miss Blake was dead?

Speaker 6 (03:03:31):
I was frantic.

Speaker 7 (03:03:33):
You see.

Speaker 10 (03:03:33):
Father wanted me to forget all about the record. He
refused to answer any of my questions. Mister Halliday, my
father can't be responsible for this tragedy. He's just a
broken old man. He was the idol of millions for
so long, and now they don't want him anymore.

Speaker 7 (03:03:50):
That's breaking his heart.

Speaker 10 (03:03:53):
Please please, I'm begging you to forget all about this,
Miss Holliday.

Speaker 15 (03:03:59):
I might be innocently involved, but I'm afraid you can't protect.

Speaker 3 (03:04:03):
Your father from a murder charge.

Speaker 2 (03:04:07):
What will we do with him?

Speaker 15 (03:04:09):
I'm sorry, Miss Masterson, but I'll have to take that record.
Don't touch that cabinet holiday. Oh you didn't like the beach, Masterson,
I didn't go. You're too clever to be out of
my sight.

Speaker 3 (03:04:25):
Being at this end of your gun might indicate otherwise,
but I don't like guns.

Speaker 6 (03:04:29):
Pliny at me.

Speaker 30 (03:04:32):
Get out of the way.

Speaker 7 (03:04:38):
He was going to shoot you.

Speaker 15 (03:04:39):
Oh you're so right. Fortunately you got in the way.
Are you convinced now that he killed miss Blake?

Speaker 10 (03:04:47):
Yes, I'm afraid i am. How did you know it
was done here? Not up in Jean's apartment?

Speaker 15 (03:04:54):
Jean didn't have a clock, which strikes the Westminster Abbey chimes.
This is Box thirteen, starring Alan Ladd as Dan Holliday.

(03:05:27):
What is stationed High? He's a proud peddicant. It boasts
and begs, It begs arms of homage from the throng,
and off the throng denies.

Speaker 3 (03:05:40):
Its charity holiday. What's that?

Speaker 6 (03:05:44):
Inspector?

Speaker 3 (03:05:45):
I said that Masterson was a fool. Imagine his insane
jealousy of a young performer leading him into a murder plot. Oh,
I know, but after all, look at it from Masterson's viewpoint.
He had been a great star and I was reduced
to playing a bit and support of a girly considered
a nupstart. Yeah, well it's too bad. I just thinking
went a rye on him. You figured if he got

(03:06:07):
rid of her, they might rebuild a shore around him.
The old boy was nutty as a peck of peanut brittle.

Speaker 63 (03:06:13):
Well, mister Holiday, should I go over the Star Times
and see what's in Box thirteen?

Speaker 3 (03:06:17):
Oh not this morning, Susy. Today we work chapters for
our publishers, chapters for our dear publisher good.

Speaker 63 (03:06:25):
Oh say, before we start, there's a letter here for.

Speaker 3 (03:06:27):
You, a letter. What's its safe?

Speaker 63 (03:06:29):
It's from the man who owns the apartment building where
you live. Yes, it says your rent is passed due.
Get it up or get out?

Speaker 62 (03:06:39):
Oh fine, next week, same time. Alan Ladd stars as
Damn Holiday in Box thirteen. Alan Land appears through the

(03:07:12):
courtesy of Paramount Pictures and may currently be seen in
Wild Harvests. Box thirteen is directed by Ted Hedeker with
an original story by Frank hart Tossing. The part of
Susie is played by Sylvia Picker. Original music was composed
and conducted by Rudy Schrager.

Speaker 1 (03:07:32):
This is a Mafair production Mystery Theater.

Speaker 73 (03:07:49):
CDC for sent Mystery Theater, a series of Strange Tales
of a supernatural and the Unforeseen of Chills and Thrills
and Adventures, select from the classics. Here, then the story
The Signal Man by Charles Dickens and That Before Radio
by George Selverson. The Natural and the Unforeseen of Chills

(03:08:14):
and Thrills and Adventures selected from the classics. Here, then
the story The Signal Man by Charles Dickens and That
Before Radio by George Selverson.

Speaker 1 (03:08:37):
Good strained by eleven two? Oh clear gold, Oh well,
don't bother me now making.

Speaker 3 (03:08:55):
Tea?

Speaker 1 (03:08:58):
All right? See what's that? Who's there? Who's there?

Speaker 2 (03:09:16):
You're there?

Speaker 1 (03:09:17):
What's the matter? Oh? You by the danger lion? What
you been doing there?

Speaker 3 (03:09:24):
Was it?

Speaker 1 (03:09:25):
You a call?

Speaker 23 (03:09:28):
What do you want?

Speaker 30 (03:09:30):
Speak out there? What's wrong?

Speaker 1 (03:09:46):
When first I saw the Signal Man, when I first
called down to him, I was so steeped in the
glow of an angry sunset that I had to shade
my eyes before I saw him at all. No below,
his figure was in a shadow. He was standing at
the door of his signal box with a flag in

(03:10:07):
his hand, But instead of looking up to where I
stood on the top of the steep cutting over his head,
he turned round and looked the other way down the
rail line toward the tunnel. There was something remarkable in
his manner of doing so, but I could not, for
my life have said what hello? He turned round again,

(03:10:30):
looked up, saw me, but made no reply. Just then
there came a vague by briefing in the earth and air,
changing to a violent pulsation with an an oncoming rush
that caused me to stop back to her that had
horse to draw me down. When such paper as rose

(03:10:51):
to my height had passed me. I looked down again.
He was refurling his flag which he had shown while
the train by, and he was regarding me with fixed attention.

Speaker 74 (03:11:05):
I say, is it a good way down? I see
a kind of path there? Is it safe to come
down by it? I want to have a look round?

Speaker 1 (03:11:19):
Is it all right? Is the man a mute? I
believe I can make it? Look out below blue stones?
Strange fellow?

Speaker 12 (03:11:37):
Is he frightened of me?

Speaker 1 (03:11:49):
I made my way down with deep railway cutting down
oozy clammy stone, And he was waiting for me between
the rails with an attitude of such expectation and watchfulnes
that I stopped wondering at it. His post was solitary, dismal,
jagged rock walls, excluding all but a strip of sky,

(03:12:11):
terminating in a red danger light and a black tunnel.
Cold wind rushed through it, hissing over the telegraph wires,
striking chill to me, as if I had left the
natural world and the signal man had not stirred. I
grew near. I made some little greeting.

Speaker 30 (03:12:29):
At this.

Speaker 1 (03:12:30):
He directed a most curious look toward the red danger light,
as if there were something missing from it. Then he
looked back at me. Is the light in your charge?
Don't you know it is?

Speaker 3 (03:12:44):
What is it?

Speaker 1 (03:12:45):
You want to explore? It's my craft?

Speaker 6 (03:12:48):
You might say?

Speaker 3 (03:12:50):
Why?

Speaker 2 (03:12:50):
What's the matter?

Speaker 13 (03:12:51):
Man?

Speaker 1 (03:12:51):
You look at me as if I were a danger
to you. I thought i'd seen you before. Oh where
we were there? At that red light? My good fellow,
Now what should I do at the mouth of a tunnel?

Speaker 6 (03:13:04):
I never was there?

Speaker 1 (03:13:06):
May swell your craft?

Speaker 7 (03:13:08):
Did you say?

Speaker 67 (03:13:08):
So?

Speaker 3 (03:13:09):
What?

Speaker 2 (03:13:09):
Craft's?

Speaker 30 (03:13:10):
Why?

Speaker 1 (03:13:11):
To observe, to notice, to remember, to record, to recreate
in awful reconstructions our contemporary life. In short, to write.
You'll be the writing gentleman, as is staying in the village.
You see, it's most unalarming I said, indeed, may I

(03:13:33):
have a look around him? Of course? Indeed, sir, would
you like to see the signal ups?

Speaker 75 (03:13:39):
Thank you?

Speaker 1 (03:13:40):
Everything is grist for the mill.

Speaker 6 (03:13:42):
You know.

Speaker 1 (03:13:43):
I may find you and your little trackside domicile in
the midst of great happenings one day in story or novel.
That would be fine. So you will work all alone
in this space, I said, all alone until the next
shift night.

Speaker 6 (03:14:01):
Aye.

Speaker 1 (03:14:02):
Twelve hours, long hours for a solitary man's responsibility. There
are many wrongs in this world, you know, and I
take it as my beauty to strike out at them.
True words. When do you step inside? Thank you? Ah,

(03:14:22):
you're quite cozy in here.

Speaker 30 (03:14:27):
M hmm, yeah.

Speaker 1 (03:14:29):
I see you keep a close watch on the danger
light and there's anything wrong with it? What what I
was wondering? Is there something wrong with that danger light
or no?

Speaker 6 (03:14:42):
No sense?

Speaker 1 (03:14:43):
But you keep looking at it a.

Speaker 76 (03:14:47):
Similar light when needed to change a signal and the
line is clear. No opposing traffic, you know, will shut
out that cold witch. I was, oh right, ugh, fire,
I must say, is welcome.

Speaker 1 (03:15:07):
Remarkable? How much colder it is down here, the damp
and the wind through the tunes. H that explains it certainly, though,
when one senses our tune to all impressions, it seems
more than natural. Over or would you have some tea?
Very kind of you if you find me by all means,

(03:15:28):
I'll help myself, may I? He seemed quite a different
man now, replied to my questions with readiness. I observed
him to be remarkably exact and vigilant, which might have

(03:15:50):
explained his several penetrating glances at that danger lut. Several
times he was interrupted by the electric bell and had
to read off messages. We drank the welcome tea, We
chatted about the railroad life, and then a strange thing happened.

Speaker 77 (03:16:08):
Right when you put it that way, sir.

Speaker 1 (03:16:11):
But it's such a part of my life, like eating.
I hadn't thought on it is. Yes, you know, it's
less than twenty years since mister Morsemeat is invention, is it, sir?

Speaker 6 (03:16:21):
It is?

Speaker 1 (03:16:22):
And now in many countries of Europe and in America,
one hundreds of may thousands of lives of travelers depend
on this telegraph of yours and the responsibility and meticulous
care of lonely men like yourself. When you put it
that way, sir, yes, it is quite What is it about? Well,

(03:16:42):
t sir? What are you listening to? Excuse me, sir?

Speaker 30 (03:16:50):
What is it?

Speaker 1 (03:16:50):
Is it the light? The light is functioning properly? What
or or you must keep unceasing vigilance in a manner
of speaking? Will you have more tease? Yeah, that's why
I think it's a rare it is and most welcomer

(03:17:13):
visitor here. I can imagine you would have many hours
for thought and reflection here.

Speaker 76 (03:17:24):
The mind wonders must be a grand thing. So to
be a man like yourself, the thoughts you must have
to fill the talent.

Speaker 1 (03:17:33):
Yes, it is a busy head this There are times,
you know when I long for a little silence up there?
Is it working all the time? And even as I
strolled in the field from the village, even as I
discovered you below me in the cut. But what thoughts
might I ask? Why not words for a book? The

(03:17:54):
actual words inside your head, inside my head, ready for
the paper. You can recall themselves. Memory a part of
the craft I train myself. You see, I walk down
the street in London. I glanced once into each shop window,
then I write down each item in each window. What
words did you have as you came along side your village.

(03:18:19):
Did you know a battle was fought there?

Speaker 30 (03:18:22):
The battle when?

Speaker 1 (03:18:24):
Why you're in the time of Cromwell. Didn't you ever hear?
Never were you thinking on the battle?

Speaker 18 (03:18:31):
Yes?

Speaker 1 (03:18:34):
What's there? Only the wind in the telegraph wise? Oh, yes,
of course your battle words, battle words is well, it
begins once upon a time, they all do, that is,
once upon a time. It matters little when, and it

(03:18:55):
matters little where fierce battle was fought. Not a hundred
soldiers in the battle you for what they thought? Or
why not a hundred of the rejoices in the victory?
Why they rejoiced? Not half a hundred people were the
better for the gain or loss? Not half a dozen
agree to this hour on the cause or be it? Nobody,

(03:19:18):
in short, ever knew anything distinct about it, except the
mourners of the slave, For it was a great fight
in which thousands upon thousands had been killed. Sir, that's
well said, Heaven keep us from a knowledge of the
sights that would be held upon the field. When coming
up above the black line of distinct rising ground, she

(03:19:38):
rose into the sky and looked upon the plane strewn
with upturned faces that had once at mother's breasts, sought
mother's eyes. Heaven, keep us from a knowledge of the secret,
whispered afterwards. Upon the teated went. Before the traces of
the fight were worn away, many a lonely moon was
to rise and be bright upon them battleground, And many

(03:20:01):
a wind from every quarter of the earth was to
blow over in high wind. Who can tell where the
wind has been. Those traces of the fight lingered for
a long time, but surviving only in little things, little things.
Drops were sown and grew up and gathered. The stream
that had been crimson turned a water mill. Men whistled

(03:20:23):
at the plow, Sir, the death it was still there.
Sabbath bells rang peacefully. Young people lived, and old people died.
The simple flowers of the garden grew and withered in
their destined terms. Upon the fierce and bloody battleground, where
thousands of one thousands had been killed in the great fight.

(03:20:44):
There little things, she said, sir, you said, little things,
the little things in which the battle survived. Yes, where,
for a long time in the growing corn there were
deep green patches that people looked at. H Year after
year they reappeared, and it was known that under those

(03:21:05):
fertile spots, heaps of men and horses lay indiscriminately buried,
enriching the grounds. Sir, The husbandman who plowed those places
shrank from the great worms are pounding thelves. One dinted
helmet had been hanging in the church so long that
the same old man who tried in vain to make
it out above the art, had marveled at it as

(03:21:26):
a baby. Old wives tales so fanciful that they make
it easy to forget the truth, Oh, wives tales, all
that remained of the truth.

Speaker 26 (03:21:39):
No, sir, No, no, it's still there, sir, You are
the truth, yes, sir, oh ah, The truth being that
if the host slain upon the field could have been
for one momentary animated in the forms in which they fell,
each upon the swat. When he fell, gashed and gaspless,
soldiers would have stared in that household door and window

(03:22:02):
glass it's deep, and would have risen on the hearths
of quiet home, and would have been in the garnered
store of bards and granaries, and would have started up between.

Speaker 1 (03:22:12):
The cradled infant and it's now It would have floated
in the stream and whirl around the crowded the orchard,
and third in the meadow, and piled a rickyard high
with dying man so alter it was the battleground where
thousands of thousands had been killed in that Oh now

(03:22:37):
now these are only world No, no, please, please town,
more than words. More calm yourself, pee truth?

Speaker 30 (03:22:44):
Did you not say yourself?

Speaker 1 (03:22:46):
Truth?

Speaker 2 (03:22:48):
Yes?

Speaker 1 (03:22:48):
Of course, myself merely a concept of the mind all
the same. Yeah, let me give you some more tea.

Speaker 2 (03:22:56):
Do I die?

Speaker 1 (03:22:56):
I am extremely sorry I've died. But well, did you
hear the bell the message?

Speaker 2 (03:23:08):
Can you not hear the telegraph?

Speaker 1 (03:23:09):
No, not a sound, only the wind in the wires?

Speaker 46 (03:23:18):
Wi, sir?

Speaker 1 (03:23:25):
You know know these things? You understand? What things like
my trouble having to speak of? I'm listening when when

(03:23:46):
you stood at the top of the head about the guy,
what made you say? Why did you call out in
just that way?

Speaker 78 (03:23:57):
Well?

Speaker 1 (03:23:57):
What way do you mean?

Speaker 57 (03:23:59):
Hello?

Speaker 6 (03:24:00):
Below there? You said?

Speaker 30 (03:24:01):
Why was that?

Speaker 1 (03:24:02):
Given? Knows that I did judge something to that effect. Well,
because I saw you below that all is. But what
other reason can I possibly have? I true, toru? What
is it that troubles you?

Speaker 6 (03:24:17):
May h.

Speaker 1 (03:24:21):
A man like you, sir, I can tell you, Yes,
you tell me an hour ago. An hour ago, I
took you for for what? Someone else I don't know who.
I never saw the face.

Speaker 38 (03:24:43):
How's that to?

Speaker 1 (03:24:44):
The left arm is across the face, the right arms waved.
What do you mean? Well, like this and then the
face is covered and the arm is waving, waving, waving.

Speaker 6 (03:24:55):
Where was this.

Speaker 1 (03:24:57):
Last year?

Speaker 6 (03:24:58):
It started? Moonlight night?

Speaker 2 (03:25:00):
What started?

Speaker 1 (03:25:02):
I was sitting here when I heard a voice, Oh,
bellow there last year. Oh then you don't mean me. Yeah,
you know there are mental states in which we may
confuse time.

Speaker 35 (03:25:21):
Last year.

Speaker 76 (03:25:24):
I jumped up open that door and saw this, this,
this someone standing by the red danger light near the tunnel.
They standing there waving, just as I showed you will.

Speaker 1 (03:25:36):
I just got hold of the lamp and turned it
on red, and I ran towards when told this person
it was standing just in front of the black mouth
at the top. I ran right up and came so
close that I wondered at the sleeve still across the eyes.
I had my hand up to pull the sleeve away,
And didn't you why not?

Speaker 2 (03:25:56):
It was gone?

Speaker 6 (03:25:56):
Gone?

Speaker 1 (03:25:58):
How could it be gone?

Speaker 7 (03:26:00):
How was it?

Speaker 20 (03:26:01):
Rain?

Speaker 1 (03:26:01):
The fog?

Speaker 2 (03:26:02):
Will know?

Speaker 6 (03:26:02):
You said? Right? Moonlight?

Speaker 1 (03:26:04):
Did you look But what.

Speaker 76 (03:26:05):
About the tunnel ran into the tunnel, held up my lamb,
saw all them wet stains creeping down the walls.

Speaker 1 (03:26:17):
Something in those words in your head? Mm, wasn't the
person there? No run out again? Come in here and
telegraph both ways? You telegraph? But what did you say?
An alarm has been given? Is anything wrong? Did you
get an answer? Both or?

Speaker 6 (03:26:39):
Well? Mm hmmm.

Speaker 1 (03:26:45):
I wish i'd known this before I made my little reciption,
and I'd never have told you, sir, I'd never tell anyone.

Speaker 75 (03:26:53):
Then.

Speaker 1 (03:26:53):
Perhaps it just as well you know these things, sir.
What is it you will now to begin with?

Speaker 3 (03:27:03):
Sir?

Speaker 1 (03:27:05):
Well, it's not what you think.

Speaker 7 (03:27:09):
When you see.

Speaker 1 (03:27:10):
Strange shapes are often known to trouble the with the
delicate nerves of the eye. Yes, have you thought of that?
The dust, the so the smoke with every passing train. Yes,
as to the imaginary crib, I listened to the wind
in this unnatural valley. But there's more. Oh whatever. Within

(03:27:37):
six hours of what I've described to you, the accident happened.
Accident and threw the tunnel over the spot where I
had seen. What I had seen, They brought the dead,
Oh like your battlefields.

Speaker 76 (03:27:52):
I haven't finished. That was last year, one morning, five
months ago, as the day was breaking, a loom towards.

Speaker 1 (03:28:01):
The top that you heard the crowd. It was silent
and did not weigh an arm. It was leaning against
a shaft of light, shaft of light, so it seemed
with both hands covering its face in morning like this. Yes, incredible,
I've seen such an attitude in Stowe figures on tombs.

(03:28:25):
Perhaps not so incredible if you had seen them come in,
sat down feeling faint. But nothing happened this time. That
very day a train stopped right here. It no train
stops here. Then, while you're brought in a woman she'd
been too killed on the train.

Speaker 46 (03:28:47):
She died.

Speaker 79 (03:28:50):
Right here.

Speaker 1 (03:28:51):
Look, my dear man, people are dying all the time somewhere.
List judge how my mind is troubled. Your uses, of course,
if you've seen a week ago, it came back ever since,
off and on. It's been there at the danger light,
at the danger light, I have no peace and rest.

(03:29:11):
It goes on calling for minutes at a time. Oh
hello there, look out, look out, look out, look out.
Oh my dear fellow, it stunds waving, It rings that
bell yes, yes, yes, Now when you went out then

(03:29:32):
to look at the light and had your bell run,
then I said it. Now, then you listen to me. Now,
just see how your imagination mislead you. Eh, As a
living man with years in my head, I assure you
that bell did not ring.

Speaker 5 (03:29:49):
Then I heard it.

Speaker 3 (03:29:51):
I went to the door.

Speaker 1 (03:29:52):
I looked and it was there, this figure, it was there.
Do you think it's there? Now you come with me
and look? Yes, well, come along man, Well there's the
danger light? Where's the figure? Oh it's not that, of

(03:30:19):
course it's not. What does it mean?

Speaker 6 (03:30:26):
What is the danger? This time?

Speaker 1 (03:30:28):
There is danger up the line, hanging over some train.
That's you hear some worse accident.

Speaker 6 (03:30:33):
You don't believe?

Speaker 1 (03:30:34):
Yes, yes, yes, I believe everything you've told me. I mean,
do you think I'm mud? Well if you were. If
you were, you wouldn't ask such a question, would But
you see, I do attribute it to a nervous condition.
In such a place as this, it could happen to anybody.
Well to me, what can I do? I want to

(03:30:57):
help you.

Speaker 3 (03:30:59):
Now.

Speaker 1 (03:30:59):
Will you come with me tomorrow and we will see
what may be done? Where sir to a wise medical practitioner.
A friend of mine will take his opinion, and I
am certain that he can believe you of this sud
where as purely nervous, imagine you think so as certain
as one may be of anything. Will you come in
the morning after your shift? And I said, very good. Now,

(03:31:22):
put your mind at ease. What you've told me is
quite natural. There is nothing whatsoever to be concerned about.
But do come and see me. I believe you know
what I'm staying. I said, well, I'll be sure you come.
It's for your own peace of mind, and of course
the public safety. Don't you agree? So and thank you sir,

(03:31:47):
not at all. I'll expect you.

Speaker 80 (03:31:51):
A good night and keep your mind off that a
profitable wind. When I said, oh, you've not told me
a nasen, Oh, just ask for child dickets. Good night,
Good night, mister Dickens.

Speaker 6 (03:32:14):
Poor devil.

Speaker 1 (03:32:16):
And it is a matter to the public safety, I
must say, what about my own safety? That still have
to make my way back up there somehow in the dark.
At least there's no one back there at the light
splendid a train. Now I'll be covered with soot before

(03:32:39):
I can reach the top.

Speaker 57 (03:32:40):
Don did it?

Speaker 30 (03:33:04):
Yes?

Speaker 1 (03:33:04):
It rang.

Speaker 72 (03:33:06):
Did it ring?

Speaker 30 (03:33:09):
Oh?

Speaker 1 (03:33:11):
He said it doesn't ring?

Speaker 10 (03:33:14):
It does?

Speaker 1 (03:33:16):
Oh, how I'm about to tell.

Speaker 9 (03:33:19):
It?

Speaker 1 (03:33:19):
I can see it's ringing. No, I haven't said that,
and they haven't called.

Speaker 6 (03:33:31):
Who is it out there?

Speaker 1 (03:33:33):
Did it ring the bell? You got it there? Oh heaven,
they got the trains in the tunnel. What's gonna happen
to it now?

Speaker 2 (03:34:16):
Ah?

Speaker 6 (03:34:17):
Look at him?

Speaker 77 (03:34:18):
Bring the bloody tar tom hop into the signal and
warn them. We don't want the bloody express running into us.
Off at you covered him up? Oh God's sake, here
you what is it? What's happened when he got bloody
well run over?

Speaker 6 (03:34:31):
That's what.

Speaker 1 (03:34:36):
The signal man, the signal man? What's left of him?
Damni see with you, sir? What's it to do with you?
Never mind? How did it happen? Coming around the curve
of the tune line was? And there he was in
the middle of the track.

Speaker 6 (03:34:50):
Fate.

Speaker 1 (03:34:51):
No, he to the bloody whistle, stood there and didn't move.

Speaker 6 (03:34:54):
And we we run him down?

Speaker 1 (03:34:56):
Doesn't make saf bloody world, don't What did you? What
about the bloody hell? Else could I do? What happened
to me? This man lose all power of movement to
simply stand between the rails and be run down. Look,
I want to know what you did, what I did? Well,
I'll tell you.

Speaker 77 (03:35:15):
I whistled, I shut off, I breaked and there was
nothing to do then but covered me bloody eyes, A
wave at him, and I shouted me bloody lungs out
shout him, Yes, shouted.

Speaker 1 (03:35:32):
Him, Do not tell me something?

Speaker 9 (03:35:34):
What?

Speaker 1 (03:35:35):
Just what did you shout? What did I shout?

Speaker 3 (03:35:38):
What's it?

Speaker 1 (03:35:38):
Bloody?

Speaker 75 (03:35:39):
Well?

Speaker 2 (03:35:39):
Matter?

Speaker 35 (03:35:39):
I shouted?

Speaker 30 (03:35:40):
What did you shout at the man? But what else
would I shout? Hello? Below there, look out, look.

Speaker 44 (03:35:46):
Out, look out?

Speaker 6 (03:35:58):
Stop?

Speaker 1 (03:35:59):
Drive whom his eyes from my face. He looked down
at the crumpled figure under the top fall of it.
Then as I watched him, unbelievingly, he hid his face
in both heads.

Speaker 6 (03:36:11):
It was an actually of mourning.

Speaker 8 (03:36:14):
I have seen such an attitude and stone figure on Coons.

Speaker 73 (03:36:29):
Mystery Theater has presented The Signal Man by Charles Dickens,
in radio version by George Selverson, Production and direction Gene Bartel's.
In the cast Henry Comer the Signalman William Osler Dickens,
Glenn Morris the engineer. Sound effects were by Bill Roach,

(03:36:50):
Technical Operation Brian Wood. This is Bill Laurren.

Speaker 79 (03:36:53):
Speaking and Jay Audio Theater presents check Cheddars Tales from
the Morgue.

Speaker 7 (03:37:26):
Come in, Stranger of the Night, have a seat, won't
you there?

Speaker 81 (03:37:35):
Yes, that I am check Checker, the Morgue attendant and
resident storyteller.

Speaker 3 (03:37:46):
Yes.

Speaker 17 (03:37:47):
Today I have a story about a sixties radical named
Gail Head Rush Taylor.

Speaker 9 (03:37:57):
You see, back in the day, isn't the Vietnam War?

Speaker 32 (03:38:02):
Mister Taylor was a follower.

Speaker 17 (03:38:05):
Of an underground theologian called Professor Troubadour, and he spoke
at many anti war protests.

Speaker 70 (03:38:17):
Hey, hey, you digging me in. I just want to
say that this door is bringing insane man, and aren't
vomit it being an option in right?

Speaker 30 (03:38:27):
A brilliant now?

Speaker 70 (03:38:29):
Yeah yeah, man, control, peace and training quility are the
answer to our problems.

Speaker 82 (03:38:35):
Man, not born dead.

Speaker 1 (03:38:38):
I swear head say.

Speaker 70 (03:38:39):
That it's the impenitent prade of.

Speaker 1 (03:38:41):
The communism as why we're dying out there. Yeah, krubo
men pro while man.

Speaker 70 (03:38:46):
I say that the commiss just take some magic mushrooms man. Yeah,
that's the doorway to control, beace and tranquilage.

Speaker 2 (03:38:55):
Yeah.

Speaker 44 (03:38:56):
And the ultimate goal is spiritual unity.

Speaker 1 (03:38:58):
Men for ugle want your.

Speaker 70 (03:39:00):
High ground man, a mere man, trap got to stay for.

Speaker 55 (03:39:07):
Yourself, crown.

Speaker 17 (03:39:21):
Because of mister Taylor's gaining popularity, the government considered him
a legitimate threat to.

Speaker 83 (03:39:30):
Their interests and with no regards to his civil rights,
they captured mister Taylor and shipped him off to the
escalating war in Vietnam.

Speaker 75 (03:39:45):
What a drag man. They don't understand what I'm trying
to say.

Speaker 3 (03:40:01):
This is the uh yeah, this is the uh.

Speaker 84 (03:40:17):
The uh.

Speaker 35 (03:40:28):
Stuff.

Speaker 85 (03:40:32):
So I do not want any delays, understand, warble five
want fifty.

Speaker 30 (03:40:41):
Packs of cigarette quity.

Speaker 2 (03:40:43):
Case of barn and fifty packs of pretzels.

Speaker 85 (03:40:46):
Didn't ever see the greeny coming corners to say, oh
eight hundred hour before you'll find your heads floating into.

Speaker 30 (03:40:52):
The crane calling ball.

Speaker 82 (03:40:54):
Do you understand warko your so first thing in the morning, sir, Hey,
who's big blue holes?

Speaker 86 (03:41:01):
Man?

Speaker 87 (03:41:01):
Oh man, that's the sarge.

Speaker 83 (03:41:03):
Dude.

Speaker 87 (03:41:03):
Hey, you want to give him some distance?

Speaker 1 (03:41:05):
Man?

Speaker 87 (03:41:06):
He eats cherries like you for breakfast too, you.

Speaker 75 (03:41:08):
Know, thinks for the advice.

Speaker 3 (03:41:10):
Man.

Speaker 75 (03:41:10):
Am I going to sleep in this big building, you.

Speaker 22 (03:41:13):
Know, just for the night man? And to morrow it's
off of the jungle at oh six hundred, kiss your
but goodbye to night.

Speaker 3 (03:41:22):
Hey.

Speaker 30 (03:41:23):
Hey, but brain ain't got.

Speaker 32 (03:41:25):
A new cherry for you many? Hey like your head right,
and really not this nice to cherries?

Speaker 9 (03:41:38):
Hey?

Speaker 22 (03:41:38):
Hey, hey, Gail, come here, man, someone I want you
to meet. Hey, hey, head Rush, this is private college.

Speaker 21 (03:41:45):
High head Rush.

Speaker 41 (03:41:47):
Goodness, I don't know what you're doing here, because I've
read all about you and you're a passivist.

Speaker 30 (03:41:53):
You're you don't.

Speaker 24 (03:41:54):
Belong in the nine.

Speaker 75 (03:41:55):
Yeah, yeah, well I bet a naughty boy.

Speaker 9 (03:41:57):
Man.

Speaker 78 (03:41:58):
I started a few riots and I burned that nice
invitation that gave me to the war. I guess they're
sending me here to set an example to anyone else
that might dispute the square headed foreign policy like I
am in one hundred.

Speaker 41 (03:42:11):
Percent agreement with you, head Russian. You see, I'm a
pacifist too, and well I'm a WinCE and I don't
belong in the nom Could we be friends?

Speaker 3 (03:42:20):
Oh?

Speaker 78 (03:42:20):
Man, there's always root for another pacifist dude. Hey, and
don't call yourself a whimp just because of everybody else does.
I don't call myself a dope head. I had experiment
and wild herbs.

Speaker 41 (03:42:32):
Oh goodness, I just can't hold this back any longer.

Speaker 30 (03:42:35):
What that rush.

Speaker 41 (03:42:37):
I'm afraid to die.

Speaker 30 (03:42:38):
I don't want to die.

Speaker 44 (03:42:39):
Hey help me, Hey, mellow wild man.

Speaker 75 (03:42:43):
Hey, I've got that face covered, dude.

Speaker 78 (03:42:46):
Hey, when we get some free time, I'll tell you
about Professor Troubadour's teachings.

Speaker 75 (03:42:51):
And I've patterned my life from that.

Speaker 41 (03:42:54):
Guy, Professor Tubadar.

Speaker 88 (03:42:56):
I can't believe people follow him so blindly.

Speaker 89 (03:42:59):
He's just an I hear that long haired code one
being squat on the mountaintop. Gurus and the self healing
and all that mumbo jumping.

Speaker 75 (03:43:10):
Man, what a drag. So uneducated man, Now you just
stopped right there.

Speaker 78 (03:43:16):
Professor Troubadour is a respective theologian.

Speaker 2 (03:43:19):
Men.

Speaker 78 (03:43:20):
This guy's personally credited for advancing the way our society
looks at mind control men and spirituality.

Speaker 86 (03:43:27):
Men.

Speaker 75 (03:43:27):
He shed light on the unexplainable. Yeah, when pigs fly.
Oh well, I send skepticism.

Speaker 41 (03:43:34):
I believe you had rush, and I'll take any advice
you'd have to give.

Speaker 78 (03:43:38):
All right, men, so listen up, and everybody else who's
got a brain control, peace and tranquility, men, those three
things you got.

Speaker 75 (03:43:48):
Those three things, ain't nothing could hurt you.

Speaker 9 (03:43:51):
Yeah, I believe you.

Speaker 41 (03:43:52):
I believe you had Rush, I believe in it so much.

Speaker 46 (03:43:55):
Oh, all right.

Speaker 30 (03:43:57):
You fly flacker, Good God, he's gonna lay down the law.
Believe time. There's an old six hundred, and that's when
you boys become man or you wind up go far
now lotside of that, those plots, pet you.

Speaker 46 (03:44:13):
Oh gotta go to bed.

Speaker 75 (03:44:15):
That dude could use a big fat joint.

Speaker 41 (03:44:18):
Gosh, I hope he doesn't hurt it.

Speaker 17 (03:44:22):
Only the next morning that platoon was en route to
an unrelenting jungle near the boy.

Speaker 79 (03:44:40):
Oh, go ahead, Rush, Please tell me what Professor Trubadar
says about death.

Speaker 75 (03:44:45):
Oh man, there is no death, dude. There's only a
transition to a higher plane of existence.

Speaker 43 (03:44:52):
Man.

Speaker 75 (03:44:53):
But only if you believe, dude, only then can you
make it.

Speaker 41 (03:44:57):
I'm afraid to ask this, But what if you don't
believe part enough?

Speaker 75 (03:45:01):
Oh man, it's really uncool, dude. You're soul stays in
your body.

Speaker 41 (03:45:07):
And your gods with Oh, I've gotta believe harder and
tell me is there a god?

Speaker 75 (03:45:12):
Oh yeah, we'll all become god man.

Speaker 78 (03:45:16):
Total harmonious unity, man, like all parts of a great
big machine.

Speaker 88 (03:45:24):
That's what you don't believe a word?

Speaker 87 (03:45:26):
This long haired free says he's an outcast.

Speaker 90 (03:45:29):
He doesn't belong in the numb and personally, I think
Charlie's gonna get you.

Speaker 87 (03:45:40):
Copy Red five. You got to go ahead, great.

Speaker 30 (03:45:53):
Fun, Red five.

Speaker 85 (03:45:54):
No one goes down at flight.

Speaker 30 (03:45:55):
For that my profession. What are your coordinates for fawn?

Speaker 35 (03:45:58):
Dammit?

Speaker 9 (03:46:10):
Two?

Speaker 23 (03:46:10):
Five?

Speaker 30 (03:46:11):
Seven?

Speaker 68 (03:46:11):
Oh?

Speaker 30 (03:46:11):
I copy that Red five? Are you able to respond?

Speaker 89 (03:46:23):
I think they went down, Serge, holy black and blue,
burning buns of blazing cursts.

Speaker 85 (03:46:30):
Uncondly water red hot hell and a handbag he swords,
not support for haf he's sword.

Speaker 75 (03:46:37):
I'm gonna give you some of a cracked stone hitting
your head on that dash.

Speaker 44 (03:46:40):
Man, Serge, that wasn't the shipment we had coming in?

Speaker 85 (03:46:44):
Was it a fiber tidingle berg? Fifty packs of butts,
all that imported beer, all those pretzels shot to.

Speaker 30 (03:46:51):
Hades fie and boot coater mules.

Speaker 41 (03:46:53):
By their situation, the serge here does have low priorities.

Speaker 38 (03:46:57):
Doesn't he have brush?

Speaker 22 (03:46:58):
Yeah?

Speaker 75 (03:46:59):
And I kind of went drift.

Speaker 78 (03:47:00):
The American taxpayers pay for all that stuff, man, oh
rad I wouldn't ask the sorry.

Speaker 35 (03:47:05):
Let's look alive, ladies.

Speaker 30 (03:47:07):
We're about the land. This bird and it's calling.

Speaker 2 (03:47:09):
But Charlie's down there.

Speaker 30 (03:47:11):
This is the ass and test girls hair we throw
on you.

Speaker 2 (03:47:15):
Beatty to never die a TV sims of men.

Speaker 30 (03:47:31):
I gan to handle this wet stuff.

Speaker 46 (03:47:36):
I'm gonna catch me.

Speaker 21 (03:47:37):
Are you so blast?

Speaker 75 (03:47:39):
You shall wear hold and bad funkys. But man, so cooky.
All right, you.

Speaker 30 (03:47:45):
Scny little daisy picking book readers, Listen up.

Speaker 35 (03:47:49):
I want to be dunk in my son down.

Speaker 30 (03:47:51):
We're expecting Charlie's first wave within twenty four hours. Don't
get to work. I want to see mud and sweat,
fly girls.

Speaker 90 (03:48:02):
Don't hurt you sehead rush, take a shovel, start digging.

Speaker 75 (03:48:10):
Yeah, that's about all I to around here.

Speaker 87 (03:48:12):
Men, Hey, hey, Collins, what are you looking at with
those pinox men?

Speaker 41 (03:48:17):
I think I see a betting a these gentlemen on
top of that hell over there?

Speaker 78 (03:48:22):
Oh oh yeah yeah yeah, he could just be an
innocent bage you there, man, Yeah, at least in the
state you could tell the end of these men.

Speaker 75 (03:48:31):
They always wore suits.

Speaker 30 (03:48:33):
All right, Mama's boys, give those shovels of rest.

Speaker 85 (03:48:37):
Okay, which one of you PFC wanna bees want to
earn some browny points of beer hero volunteer to go
into that hot spot and retrieved those supplies that went down.

Speaker 5 (03:48:48):
Now, no, I can't.

Speaker 30 (03:48:52):
Lay by ear. What a sorry excuse for human being. You,
my uncles art low life, every last one of you.

Speaker 85 (03:49:01):
I'd be ashamed to pay in the same trench with
a ponchilvis. Somebody's gonna have to go in there and
make like a dogs on.

Speaker 30 (03:49:08):
Fire retrieve our supply. I'm sure we all want what
we got coming to us. Now, don't wait, sorry, ain't
got goodness?

Speaker 3 (03:49:16):
Head rush.

Speaker 41 (03:49:17):
That innocent villager has an M sixteen pointed at us.

Speaker 35 (03:49:21):
Oh yeah, hey, hey, hey dudes, yim hey, Charlie.

Speaker 30 (03:49:26):
Charlie's the light man. Charlie's in a lion he sat right, Hey,
holy face, fine, what I give it over? I want
you to stop on to die? Do you understand?

Speaker 68 (03:49:43):
Yeah?

Speaker 44 (03:49:44):
No, need fire and a dead sniper hassage.

Speaker 30 (03:49:48):
Do not streak without permission? You beat dick. I'll hate
your god. Okay you huh me?

Speaker 78 (03:49:56):
Man?

Speaker 30 (03:49:56):
Yeah you man? You didn't fire? Are you shipping hit me? Break?

Speaker 85 (03:50:02):
You mean to tell me you don't want to defend
your own man.

Speaker 78 (03:50:05):
I'm a conscientious objector. Man, I won't fire a shot
at another human being.

Speaker 30 (03:50:11):
Oh well, it's not fright. Well, mister anti.

Speaker 85 (03:50:14):
War protests, no, don't pick your paints, runs out your
nose saying that you won't fight for Uncle Sam. Baby,
that's another way you can serve your country.

Speaker 89 (03:50:23):
Oh and what would that be you co gradulation stobilized,
You've just polteed yourself retrieve our supply.

Speaker 75 (03:50:32):
Oh yeah, well, I guess you think I'm afraid to die. Man, Well,
death is gonna be like a cool outumn.

Speaker 9 (03:50:37):
Breeze to mean me.

Speaker 75 (03:50:39):
But I'm not risking it for a few lousy butts
and some flat beer.

Speaker 6 (03:50:43):
Me.

Speaker 30 (03:50:43):
You left out those pretzels for us ball.

Speaker 85 (03:50:46):
I've been saving my taste funds for those New York
Soft preencils that I do not and teh to me
that's a part it.

Speaker 75 (03:50:53):
Well, that's just two bad men. But cooks have probably
ate those pretzels by now anywhere.

Speaker 6 (03:50:59):
Now, I want you to.

Speaker 89 (03:51:01):
Reconsider this matter for a moment, so Ji you might
stand a chance for Charlie.

Speaker 30 (03:51:06):
You stay here and will sure as hell here you
are new goods, And I don't think.

Speaker 89 (03:51:12):
That death by machine good fire's gonna be anything like
a cool lot of breeze.

Speaker 30 (03:51:16):
You long haired comed sympathsor head Russian.

Speaker 41 (03:51:19):
Please do as they say. They shot private brigs for
urinating in the foxholes.

Speaker 44 (03:51:24):
They'll shoot you.

Speaker 3 (03:51:25):
Well, what do you say?

Speaker 18 (03:51:26):
Thank you?

Speaker 2 (03:51:27):
Boy?

Speaker 30 (03:51:27):
Do I have myself a volunteer?

Speaker 75 (03:51:30):
Well, I guess I can't argue. Let hey, sergeant, I'd
like to volunteer for this mission.

Speaker 17 (03:51:40):
After given the location of the downed helicopter, mister Taylor
began his check deep into enemies too. Using a compass
for directions, he continued his journey to the marshy terrain.

Speaker 44 (03:51:59):
Man, what the hell am I doing on here?

Speaker 5 (03:52:02):
Man?

Speaker 87 (03:52:03):
What is this cramp?

Speaker 75 (03:52:05):
I should be a monastery? Bean ties men?

Speaker 17 (03:52:11):
Suddenly gunshots were heard.

Speaker 87 (03:52:14):
O man, he was under attacked.

Speaker 17 (03:52:17):
With all his strength, Eiston Taylor dashed forward amazing comb
He successfully dodged the bullets, but not for law an.
A two napper, one of the biggest and most sleepful
bullets used in war time, poured through his right arm,

(03:52:41):
severing the limbs from his body.

Speaker 55 (03:52:49):
Oh, man, my orcs ripped off dead. Okay, I can
handle it, man, I can heal myself. Man the starting
gas for Professor Troubadour taught me.

Speaker 82 (03:53:01):
Man, control peace, tranquility, control peace, trequility control.

Speaker 17 (03:53:13):
The immense pain in his bloody nerve quickly subside. He
continued to rise.

Speaker 7 (03:53:21):
Soon the chopper was in sight, but before he could.

Speaker 17 (03:53:25):
Reach his destination, he snagged a booby trap, causing a
large wooden stake to plunge through his right lane.

Speaker 44 (03:53:38):
Man, good man, I could take it in.

Speaker 75 (03:53:46):
I could freaking take it in.

Speaker 6 (03:53:49):
Control.

Speaker 84 (03:53:50):
Peace, tranquility, control, peace.

Speaker 17 (03:53:55):
With his pain once again under control, he pulled the
jagged wooden stake out of his leg and arrived at
the chop.

Speaker 82 (03:54:08):
Okay, wudious cigarettes, go to your friends, were coming in
your teeth for this crap kid.

Speaker 17 (03:54:19):
Mister Taylor began to repeat the three words of self
feeling as he dashed back in the direction from which
he came, running faster than he had ever ran in
his life. The sack of goods was held firmly in
his good hand as he dodged a massive array of hools,

(03:54:41):
many of which struck his body. By the time mister
Taylor arrived at the perimeter, he looked like a bloody
rag dog, but he had the goods.

Speaker 82 (03:54:55):
God, here's your freaking dest it's men, here's your liver,
rotten fear man, here's your freaking much to get dip
pretzels me.

Speaker 87 (03:55:07):
And don't get choke on me.

Speaker 44 (03:55:09):
Hey, serge, man, he Rusham is like a walking road
kill man.

Speaker 6 (03:55:15):
His arm is cut off.

Speaker 87 (03:55:16):
We look at the gash in that leg.

Speaker 44 (03:55:18):
I know, I know it's Professor tuberdoor, isn't it.

Speaker 78 (03:55:22):
Yeah, that's right, man, Professor Truebado's consciousness control technique.

Speaker 75 (03:55:26):
Men, it works to perfection. I feel no paint at all?

Speaker 44 (03:55:30):
What the heart burning hell did you, fay, Soldier?

Speaker 30 (03:55:33):
You don't feel no paint of all in the condition
you're in.

Speaker 41 (03:55:36):
I know, I know it's controls and tanquility.

Speaker 44 (03:55:40):
Yeah, Colin has got the idea.

Speaker 78 (03:55:42):
Yes, Sergeant, I believe I have the powers of undestractable concentration.

Speaker 75 (03:55:47):
Therefore I don't feel a twig. Oh yes, so are
we starting to believe a little bit?

Speaker 2 (03:55:52):
Now?

Speaker 41 (03:55:52):
I'll tell you one thing. I'm a believer for sure,
no doubt.

Speaker 89 (03:55:56):
Why sure, starving legging well, believe Soldier buys about God spot.

Speaker 30 (03:56:00):
I believe they're gonna pop out of my skull.

Speaker 89 (03:56:02):
Anything that can stand straight up there like you're doing
a night twitch of tall after Charlie's blown you plumbing
the bitch.

Speaker 55 (03:56:09):
Well, he's got to have something going for Oh hallelujah, men,
I made some progress.

Speaker 75 (03:56:14):
Oh, I didn't lose my arm for nothing.

Speaker 41 (03:56:16):
Private College center, yes, sir, yes, anything, just don't hurt me.

Speaker 30 (03:56:21):
He calling, you've been believing in.

Speaker 89 (03:56:22):
This professor Troubadour stuff the whole time. Yeah, I gotta
look stirm, and I want to try.

Speaker 30 (03:56:27):
If this works, it could be quite a weapon of defense.

Speaker 89 (03:56:30):
All right, calling, you recite those street words and I'm
gonna shoot you in the faith.

Speaker 31 (03:56:35):
Oh no, such.

Speaker 44 (03:56:36):
Herds not doing men. He's shuged such and it takes
more than just reciting those words.

Speaker 86 (03:56:43):
Men.

Speaker 75 (03:56:43):
He really needs to study the foot first.

Speaker 89 (03:56:46):
Oh oh, well, I see, Frank, your private head brush.
You've saved me from an embarrassing moment.

Speaker 38 (03:56:53):
That is Private college gooks goots.

Speaker 17 (03:57:03):
Good to exchanging fire with the enemy. The platoon ran
into the jungle to engage in back, not wanting to
stay alone, Mister Taylor followed him like a lost.

Speaker 3 (03:57:23):
Me.

Speaker 75 (03:57:24):
The guys and way up, Oh god, Billy walking more.

Speaker 1 (03:57:54):
Man.

Speaker 75 (03:57:55):
Oh, I'm glad that's shooting is a little bit.

Speaker 5 (03:57:57):
Men.

Speaker 75 (03:57:58):
I don't think I could take it more with that craft.

Speaker 44 (03:58:01):
Hey, hey, guys, man, they slowed down. Man, they got
a shattered leg. Man, Hey, slowed down?

Speaker 2 (03:58:11):
Man, Come on, man, you.

Speaker 30 (03:58:15):
Hop on that good leg?

Speaker 35 (03:58:18):
Why don't you say some named professor Chuapidor's words?

Speaker 78 (03:58:21):
And oh man, they've got no appreciation. Man, they get
shot up like some sort of dummy men and then they.

Speaker 44 (03:58:35):
Oh, oh man, I stepped into a poopy trap.

Speaker 19 (03:58:41):
Man.

Speaker 44 (03:58:42):
I'm on, I'm stuck on a wall of wooden spikes.

Speaker 75 (03:58:46):
Man, I can handle it. Man, control piece and trequility.

Speaker 84 (03:58:52):
Man, control piece of treequality. Hey, hey, guys, help me. Man,
Hey me, Man, stuck on a trap.

Speaker 5 (03:59:04):
Man.

Speaker 30 (03:59:04):
Hell, hey, look, man, trapped.

Speaker 75 (03:59:13):
They're coming in. Oh god, Man, I'm pleasure you guys.

Speaker 6 (03:59:18):
You're hearing me.

Speaker 75 (03:59:20):
You see if you can pull me off this trap?

Speaker 22 (03:59:21):
Man, god head brush stepped into a king vipery and
pill but trap man, Man.

Speaker 88 (03:59:28):
There's no doubt that is the worst trap those kooks make.

Speaker 75 (03:59:32):
Can I need a strange part us some hum voodoo
stuff here?

Speaker 87 (03:59:37):
How in the world could he still be alive?

Speaker 6 (03:59:42):
I think I know what it is.

Speaker 30 (03:59:43):
Though.

Speaker 90 (03:59:44):
We are witnessing an extension a Professor Troubadour's mind control techniques.
You see, I think that head rush has taking it
to such a degree that well that he's kept himself alive.

Speaker 55 (03:59:59):
K Man schools over me and you got it right, man,
they'll pull me off these spikes me in. I don't
think I can hang on much longer. I think I'm
gonna die in. I don't want to die like this.

Speaker 7 (04:00:12):
Man.

Speaker 30 (04:00:13):
Oh no, sir, flag on that play.

Speaker 87 (04:00:15):
You ain't talking to me.

Speaker 17 (04:00:16):
I ain't touching you.

Speaker 89 (04:00:18):
You got a spike going right for the eyball there here's.

Speaker 30 (04:00:21):
Some sort of zombie. Yeah, man, ain't rushing.

Speaker 22 (04:00:25):
I mean you're a decent dude and all that, man,
but I ain't touching you with a ten foot pool man.

Speaker 44 (04:00:31):
Oh, come on, man, some fuddy men control. I deserve
a decent burial man, peace.

Speaker 55 (04:00:40):
I mean, at least pull me off the spikes, man,
tranquility after all of you. I risk my life to
get that crap for you men, that party stuff of
cigarettes and all that.

Speaker 30 (04:00:51):
Men.

Speaker 44 (04:00:52):
I mean you can't leave me up here. Men, I
can't hang on for long.

Speaker 91 (04:00:57):
Men.

Speaker 44 (04:00:58):
The stupreneur stuff will work.

Speaker 41 (04:00:59):
That it didn't work that well, but head rush, Come.

Speaker 44 (04:01:03):
On collins mans. Oh no, you're about the only friend
I've got.

Speaker 1 (04:01:08):
Man.

Speaker 44 (04:01:08):
Oh, I don't know, Come on, you can do it.

Speaker 1 (04:01:10):
I don't know.

Speaker 75 (04:01:11):
Helt me off this thing.

Speaker 1 (04:01:12):
I just don't know.

Speaker 44 (04:01:13):
Don't let me die this way me.

Speaker 84 (04:01:14):
Put me in a body bag, send me back to
the States so we can get a decent burial me.

Speaker 44 (04:01:20):
I'm sorry, head Rush, but I just can't. I can't
stand the sight of blood.

Speaker 41 (04:01:24):
And if any of your flood never touched me, I
would I think I would faint.

Speaker 44 (04:01:28):
I'm sorry, he had Rush.

Speaker 87 (04:01:30):
Yeah, we we gotta go, head Rush.

Speaker 68 (04:01:33):
Man.

Speaker 87 (04:01:34):
I'm sorry, man, but we we really gotta go.

Speaker 75 (04:01:36):
Man, eat our breakfast.

Speaker 3 (04:01:38):
Man.

Speaker 75 (04:01:38):
If we don't catch you up, man, Man.

Speaker 1 (04:01:39):
Don't leave line man.

Speaker 55 (04:01:41):
Sorry man, Ye, no, come back, you know Collins, God, Man,
come back?

Speaker 44 (04:01:51):
Control please, oh God, oh no.

Speaker 17 (04:02:01):
Over a day cast and the plight of mister Taylor
was the last thing on the soldier's life. You see,
the perimeter was being overrun by the viet car. They
were out number three to one. There was no escape,

(04:02:22):
for they came from all directions.

Speaker 30 (04:02:25):
The platoon was totally surrounded.

Speaker 6 (04:02:29):
Oh God, we're all dead.

Speaker 38 (04:02:31):
I mean it, man, we're dead at this time.

Speaker 41 (04:02:34):
To do it, Hight, I'm gonna play dead in the
fox hold again.

Speaker 22 (04:02:37):
It's not a bad idea, man.

Speaker 30 (04:02:39):
They played pass some paints.

Speaker 41 (04:02:40):
They fellers failer's look over there, over there, into the
forest to.

Speaker 30 (04:02:46):
The right, there's some kind of bright light.

Speaker 87 (04:02:48):
Right like, and there's angels singing walking to the light.

Speaker 44 (04:02:52):
Man, God, it's the only way out.

Speaker 17 (04:02:55):
Come on, move your worthless butts.

Speaker 21 (04:02:57):
Ny it's head rush man.

Speaker 44 (04:03:00):
Yeah, man, don't push it, don't question anything.

Speaker 30 (04:03:02):
Just run, run into the light.

Speaker 44 (04:03:03):
And there's no bullets in the light.

Speaker 78 (04:03:06):
I'm here to save your worthless lives.

Speaker 87 (04:03:08):
Man, Now, walk into the light or die.

Speaker 17 (04:03:10):
Then the soldiers exit the battlefield in perfect safety. They
mysteriously found them the sails in a vacant field. Mister
Taylor hovered about them in a ghostly APPARITIONE.

Speaker 92 (04:03:28):
I want you all to consider the fact that I
just saved you from certain death men, and I got
ripped nearly half the shrips, getting you cigarettes and.

Speaker 87 (04:03:37):
Beer men, and those good princes too.

Speaker 91 (04:03:41):
Shut up, man, I'm the apparition here. I'm trying to
make a point. You put all those things I've done
for you, men, and you put them together, and you
get bitter revenge.

Speaker 57 (04:03:52):
You see.

Speaker 91 (04:03:52):
Another one of Professor Troubadour's philosophies is revenge through.

Speaker 78 (04:03:56):
Guilt and man, am I gonna lay it on your
thick You see, I'm in this higher plane of existence
now and I'm able to know that every one.

Speaker 92 (04:04:04):
Of you guys has got a conscience. Now, all you
have to do is think about the fact that I
saved your lives right now, and think of the way
you treated me before, and the fact that you left
our body to die out there without a decent burial
like I requested.

Speaker 91 (04:04:20):
Those things will give you the burden of guilt to
carry for the rest of your life. Man, And that's
a heavy, brigging burden.

Speaker 6 (04:04:28):
Yet.

Speaker 91 (04:04:28):
You see, I've preached the spiritual unity, man, and that
can never happen to you dudes until you realize that
everybody is important.

Speaker 75 (04:04:37):
We're all like parts of a great machine.

Speaker 6 (04:04:39):
Year.

Speaker 92 (04:04:40):
You might think about that next time someone needs your help,
but I doubt that you will.

Speaker 75 (04:04:45):
That's gonna be bad for you.

Speaker 3 (04:04:47):
Man.

Speaker 78 (04:04:48):
Well goodbye, I'm gonna go converge with the universe now, man.

Speaker 87 (04:04:54):
WHOA, Yeah, I kind of feel like a jerk now.

Speaker 6 (04:04:59):
Yeah, definitely.

Speaker 17 (04:05:04):
Indeed, it was the burden of guilt that stayed with
the soldiers for the remainder of their lives. They never
forgot the way they treated mister Taylor, and they were
forever hauted by the words he spoke to them that day.
It was most assuredly and bitter gales. That's all I

(04:05:33):
have for you today, But please return for another spongelly
fil won't you?

Speaker 27 (04:05:43):
Yes?

Speaker 17 (04:05:44):
Until next time, pleasens dream.

Speaker 88 (04:06:03):
You have just heard Chad Cheddar's tales from the Morgue
today's installment The Bitter Pill, a production by M and
Jay Audio Theater.

Speaker 3 (04:06:31):
In just a moment, you will hear the Clock presenting
transcribe the premiere of a new thrill Brammer by Lucille Fletcher,
the author of Sorry, Wrong Number and other noted studies
in suspense.

Speaker 38 (04:06:42):
Listen now to.

Speaker 6 (04:06:45):
The Clock.

Speaker 3 (04:06:50):
The American Broadcasting Company presents another in a series of
dramatic programs, The Clock from Hollywood. The Clock Tonight stars
to distinguish players Elliot Lewis and Jeanette Noland, and is
produced and directed by radio's master of the Art of Suspense,
William Spear. Sunrise and Sunset, Promise and Fulfillment, Birth and Death,

(04:07:30):
The whole drama of life.

Speaker 2 (04:07:32):
Is written in the sands of time.

Speaker 3 (04:07:38):
Clocks all over the city, clocks, little clocks, and big ones, new.

Speaker 12 (04:07:43):
Ones just learning to count.

Speaker 2 (04:07:45):
Old ones hold hands of the.

Speaker 3 (04:07:46):
Game, clocks standing aloof in their owners, taking no part
in their choice and sorrows. Their face is immutable, impervious
all over the city, the clocking needles sowing the fabric.

Speaker 16 (04:07:58):
Of life and the death which must make room for new.

Speaker 3 (04:08:01):
Life, stitching time, the clock whose face shows no anger
or delight or surprise, because time sees all things.

Speaker 6 (04:08:12):
From the two room.

Speaker 3 (04:08:13):
Walk up flat on the lower third Avenue, New York,
where mister and missus bay La Bosniak live over the
secondhand clothing store, you can hear if the third Avenue
elevator isn't going by the chimes of the huge clock
atop the Metropolitan Life Insurance Company building.

Speaker 56 (04:08:37):
Good morning, Charlotte. I'm so sorry to be so late,
but I overslept myself.

Speaker 12 (04:08:42):
I was dreaming.

Speaker 72 (04:08:43):
Breakfast is over two hours ago.

Speaker 31 (04:08:46):
Everything is put the.

Speaker 12 (04:08:47):
Words, of course, But perhaps there's some coffee.

Speaker 72 (04:08:50):
I don't keep stale coffee standing around all day.

Speaker 48 (04:08:54):
If you want, you can make some for yourself.

Speaker 56 (04:08:57):
Thank you, Charlotte, Such a dream I had. There's my headache,
though I feel depressed. Is there by any chance a
piece of coffee taking the house.

Speaker 71 (04:09:09):
No, Uncle Nick flash come by this morning, will we want?
He wants you to come down and make.

Speaker 72 (04:09:16):
Fresh potato seal it. The boys from the high school
didn't come, but.

Speaker 12 (04:09:20):
I thought it was my day off. Why, I thoughhy, Charlotte,
I will go just as soon as I have my coffee.
Oh what a dream.

Speaker 56 (04:09:29):
That's a terrible dream. Cannot seem to get it out
of my head. Do you know what I was dreaming, Charlotte?

Speaker 37 (04:09:36):
Who cares?

Speaker 56 (04:09:38):
I dreamed? I was being electrocuted. Electrocuted, chaw. Isn't that terrible?
The water is boiling and it was so real too.
I was in a cell, a real cell, in a prison,
why glaring?

Speaker 12 (04:09:52):
Why like a bathroom. I was lying on a cart
with my hands behind my.

Speaker 56 (04:09:57):
Head, when suddenly I heard this footstep outside the door.
Then I jumped up like a madman, and it came
over me that the footsteps for my jails. They were
coming for me to kill me. I was condemned to die.

Speaker 72 (04:10:13):
Will you hurry drink your coffee?

Speaker 12 (04:10:15):
I told him you did right, Yeah, but the coffee
is so hot.

Speaker 6 (04:10:17):
There's a cup for you, Joe.

Speaker 46 (04:10:19):
No.

Speaker 56 (04:10:20):
And then these guards came into my cell, and dragged
me from the bars. There were four guards in gray uniforms.
There was also a tin priest. Now everything was very quiet.
Although the prisoners shut up, they watched me from behind
their cell doors. I could feel their eyes burning at me.

(04:10:40):
I could hear my feet shuffle, shuffle along the floor.
I felt so weak.

Speaker 35 (04:10:46):
No, you don't have another cup.

Speaker 23 (04:10:48):
Give me that hot but it would.

Speaker 12 (04:10:50):
Help clear my head a little after a dream like that.

Speaker 7 (04:10:53):
Get your clothes on.

Speaker 72 (04:10:54):
That will clear your head in a minute.

Speaker 56 (04:10:56):
In a minute, I'm just trying to rem remember what
why they were electrocuting me?

Speaker 12 (04:11:05):
What are you doing?

Speaker 7 (04:11:06):
What an idiot?

Speaker 23 (04:11:08):
He worries about his dream.

Speaker 9 (04:11:10):
Oh yeah, I suppose it's silly.

Speaker 12 (04:11:14):
But that is the trouble with dreams.

Speaker 56 (04:11:16):
They tell you one little thing and it is so real,
but the rest of the story they keep it to themselves.

Speaker 72 (04:11:24):
Are you going to stand around here talking all day?

Speaker 70 (04:11:26):
No?

Speaker 9 (04:11:26):
No, I was just gone.

Speaker 12 (04:11:28):
I'll be right down.

Speaker 6 (04:11:47):
Charlotte, Charlotte.

Speaker 12 (04:11:51):
I don't want to destroy you, Charlotte.

Speaker 29 (04:11:53):
You can't come in.

Speaker 72 (04:11:54):
I'm starving this chicken, and I don't want you making
tracks across night.

Speaker 56 (04:11:58):
No, Charlotte, I wouldn't want them make you a nice
clean flow.

Speaker 12 (04:12:01):
It's only my coffee.

Speaker 93 (04:12:03):
Go down to the drug store for your coffee.

Speaker 12 (04:12:05):
It's closed on Sundays.

Speaker 72 (04:12:07):
So I told you when they were having breakfast.

Speaker 56 (04:12:11):
I know, But eight o'clock it's such an early hour
for Sunday. And Uncle Nikolash kept the stalten last night
till eleven.

Speaker 72 (04:12:19):
You didn't come home last night at eleven.

Speaker 12 (04:12:21):
A little glass of beer at climb?

Speaker 56 (04:12:24):
Would you forgrudge me that after I was on my
feet till eleven o'clock at night, please, Charling.

Speaker 6 (04:12:30):
And don't feel so good this morning.

Speaker 72 (04:12:32):
Either, naturally after climbing, not.

Speaker 12 (04:12:36):
Sleeping so good, not all week and having the same.

Speaker 56 (04:12:40):
Bedroom now the sun excud it's true. Do you remember
I told you I dreamed I was electrocuted.

Speaker 12 (04:12:47):
I was in that cell.

Speaker 56 (04:12:49):
Well every night now for a week, I have been
dreaming about that shirt. And in one corner there's a
bed oo magazines, the Look magazine and the Hungarian Weekly.

Speaker 12 (04:13:00):
I can see them just as clear as if they
were in this kitchen.

Speaker 17 (04:13:04):
Now, who's those shad out of the way?

Speaker 56 (04:13:06):
I want to scrub under the table, don't don't you
think that's very clear?

Speaker 12 (04:13:09):
Charlotte?

Speaker 30 (04:13:10):
What's clear?

Speaker 12 (04:13:12):
You dream all that every night.

Speaker 72 (04:13:14):
Ah, who cares about dreams? They're on the junk in
your head.

Speaker 56 (04:13:18):
But it is very clear, just the same, to be
there night after night. Oh, yes, last night, Uncle Mick
Flash was there too. Huh, what I mean in the
dream he came to see me in my soul?

Speaker 12 (04:13:38):
Wasn't that clear?

Speaker 71 (04:13:39):
I don't see anything so clear about that.

Speaker 56 (04:13:42):
Can you imagine Uncle Mick Clush giving me anything?

Speaker 72 (04:13:46):
That's a fine thing to say.

Speaker 31 (04:13:48):
Who brought you to America?

Speaker 72 (04:13:50):
Who gave you the job in the dark?

Speaker 12 (04:13:52):
I mean that way, Charlotte, I meant what did you mean?

Speaker 56 (04:13:55):
I meant, well, Uncle Mick Lush is always so careful
with food in the delicatessen. But in the dream it
was a very nice roast chicken in the dream, with
plenty of breast and stuffing. And Uncle Meek Blush even
had the bottle opener in his basket, open up the schnaps.
He kept telling me to eat, eat, eat, Bella. He

(04:14:17):
kept saying, stuff yourself.

Speaker 12 (04:14:20):
I can hear how he said it.

Speaker 56 (04:14:22):
You only got another month to live. Maybe maybe I
should go to see a doctor. Huh, you should give
me a thorough checker.

Speaker 72 (04:14:37):
Maybe you should go to a fortune teller too. There's
lots of places you'll be glad to take your money.
If you only got.

Speaker 12 (04:14:44):
The money, might be a good idea.

Speaker 72 (04:14:45):
Only you don't got the money.

Speaker 6 (04:14:48):
Charlotte, my nice.

Speaker 12 (04:14:53):
I'm sorry, Charlotte, it.

Speaker 31 (04:14:55):
All get out.

Speaker 72 (04:14:57):
Will you go down with the drug store and get
your somebody?

Speaker 63 (04:15:25):
Bella, bella, what's going on?

Speaker 12 (04:15:29):
Bella?

Speaker 48 (04:15:32):
Bake up?

Speaker 72 (04:15:33):
What are you sleeping here for?

Speaker 75 (04:15:34):
By the day?

Speaker 72 (04:15:34):
Here in the middle of the afternoon? Yet, what time
is there four o'clock? Why aren't you in the store?

Speaker 12 (04:15:41):
I just came up here for now.

Speaker 7 (04:15:44):
In the middle of the day. There is Uncle nick Lash.

Speaker 56 (04:15:47):
Uncle nick Lash went out, there was no customers. That's
very tired. But if it is for o'clock, Uncle nick
Lash was coming back at three.

Speaker 72 (04:15:56):
Uncle Niklas was coming back at three. Now you're in
a fine messa, fine niceness.

Speaker 12 (04:16:01):
Maybe he's not back yet.

Speaker 72 (04:16:03):
He And what did bottle of beer doing under this sofa?

Speaker 5 (04:16:08):
What buddle beer?

Speaker 3 (04:16:09):
So?

Speaker 7 (04:16:11):
Why you were so tired?

Speaker 72 (04:16:12):
Why you didn't hear me? Why the radio was playing
so loud? I could hear it halfway down the street.

Speaker 56 (04:16:17):
Run please, Charlotte, it was so hot and I wasn't
really drunk.

Speaker 12 (04:16:22):
I was only asleep.

Speaker 56 (04:16:25):
I was having a terrible nightmare.

Speaker 31 (04:16:28):
Where did you get this battle?

Speaker 72 (04:16:30):
From Klimans or from Uncle Nicholas's store?

Speaker 12 (04:16:33):
From the store, I will pay him back, Charlotte. I
listen to my heart. I's still pounding.

Speaker 56 (04:16:39):
How can a man wake up quickly when he's dreaming
he's on trial for his life? Think of it, A
thousand people looking at you, and the judge with his
black cap on, and the jury is standing there, and
then one of them getting up and pointing, and you
hear the words, clear, clear, guilty.

Speaker 12 (04:16:58):
De la Boshniek is guilty and just condemned to that.

Speaker 72 (04:17:02):
How many times do I have to tell you never
to touch anything in that star that belongs to Uncle Nicklas?

Speaker 12 (04:17:09):
Why should they say I am guilty.

Speaker 30 (04:17:11):
Because you are.

Speaker 72 (04:17:12):
You are guilty of stealing Uncle mickoss bottle of beer
and cheating on your time in that.

Speaker 14 (04:17:17):
Star not yet lets like a millionaire.

Speaker 50 (04:17:23):
And how do I know?

Speaker 72 (04:17:24):
But other things you are guilty of. Maybe you steal
from the cash register, who knows, Maybe you stuff yourself
full of blootboss and pickles when Uncle Nicklaus is not looking.

Speaker 7 (04:17:35):
Maybe you in some the conpiment, what a What.

Speaker 12 (04:17:39):
A terrible thing to say.

Speaker 72 (04:17:40):
I know what I hear from Uncle Nicklas.

Speaker 6 (04:17:43):
What do you have one from Mick?

Speaker 71 (04:17:46):
Huh, lots of things.

Speaker 7 (04:17:50):
That's all I got to say to you, belabos Nakis.

Speaker 72 (04:17:54):
You'd better watch your step from now on.

Speaker 31 (04:17:57):
You better behavior.

Speaker 7 (04:18:00):
So boy.

Speaker 56 (04:18:20):
Uh uh, it's yours, Charlotte nor I got to see
a doctor or something.

Speaker 94 (04:18:27):
I'll get out that that, lady God for I'm really sick.

Speaker 56 (04:18:32):
I must have a growth in my brain.

Speaker 72 (04:18:34):
Yeah, there's always something that matter with you when it.

Speaker 56 (04:18:36):
Comes time to keeps on dreaming the same dream night
after night. Nobody with a normal mind in his head.

Speaker 72 (04:18:43):
Cloud, I don't want to hear about your dream always always.

Speaker 12 (04:18:47):
I got this terrible guilt in me, like.

Speaker 56 (04:18:50):
A pain all night long.

Speaker 12 (04:18:52):
I'm running away.

Speaker 56 (04:18:53):
I'm hiding from people who are trying to catch me.

Speaker 34 (04:18:57):
So how wide is a runny?

Speaker 72 (04:19:02):
Why don shall get caught?

Speaker 12 (04:19:04):
I am on the street car, riding under the aile
down to an avenue. There are lots of people.

Speaker 56 (04:19:08):
I'm squeezing myself tied up against the window, clanning my face.

Speaker 12 (04:19:12):
Oh so no one will recognize me.

Speaker 56 (04:19:14):
I am pulling my cook power up around my face
and my cap down over my eyes. I am wearing
dark glasses. I am running along.

Speaker 12 (04:19:21):
To my stone bridge.

Speaker 56 (04:19:22):
It's summers, a bright, flaring day. I am like a
little black speck on the big steel bridge. And over
my head they are looking at me from airplanes, and
under the bridge they are watching me from boats.

Speaker 12 (04:19:37):
The automobiles are racing.

Speaker 56 (04:19:38):
After me, honking their runs far far ahead.

Speaker 12 (04:19:42):
At the end of the bridge, I see the man
at the toll gate waiting to stuck me.

Speaker 56 (04:19:47):
He's a whole man with glasses, a brown overcoat boat.

Speaker 12 (04:19:51):
His name is mister China. He got a waislas.

Speaker 72 (04:19:56):
Don't do the ha Maybe if the kind of DIACI
you touch them out and get out of that bed.

Speaker 17 (04:20:03):
I can.

Speaker 35 (04:20:06):
I'm too weak, nazy, good for nothing.

Speaker 66 (04:20:10):
Get up.

Speaker 21 (04:20:25):
Well, I was over to the doctor.

Speaker 7 (04:20:30):
So you were over to the doctor. I wish you
joy to the doctors.

Speaker 32 (04:20:34):
And what did the doctor do for you?

Speaker 71 (04:20:37):
Millionaires?

Speaker 6 (04:20:38):
Nothing?

Speaker 36 (04:20:39):
Nothing?

Speaker 32 (04:20:41):
Three dollars.

Speaker 72 (04:20:41):
He pays to the doctor for a visits and the
doctor does nothing for him.

Speaker 3 (04:20:45):
One thought was not a mind.

Speaker 56 (04:20:47):
Doctors for the stomach in the heart knows nothing about
the brain.

Speaker 72 (04:20:51):
So now he figured that our doctors pobble is not
a mind doctor. Now after he rose away the three
dollars he gave me these pills, yeah, medicine already.

Speaker 7 (04:21:01):
How much did they cost?

Speaker 12 (04:21:03):
They are sleeping pills. I don't need sleeping pills.

Speaker 1 (04:21:05):
I don't want to go to sleep.

Speaker 7 (04:21:07):
So in this case, then why did you buy a
great to sleep?

Speaker 56 (04:21:11):
Every time I sleep?

Speaker 12 (04:21:12):
There is that mister Twyna waiting for me again.

Speaker 56 (04:21:14):
He is everywhere, beside the ashkins and the airshaft, on
the fire escape, in the hallway, behind the baby carriages.

Speaker 12 (04:21:21):
I even dream is in the delicatess and he's looking
over the counter at me like a customer.

Speaker 56 (04:21:25):
He's hiding behind the heading barrels.

Speaker 72 (04:21:28):
Give me those pills.

Speaker 12 (04:21:30):
He didn't take any aven in climents. He's sitting there
in the.

Speaker 56 (04:21:33):
Back room, drinking a glass of beer and looking out
the plate class for me to go by. His face
is green and red in the neon sign going on
and not outside.

Speaker 12 (04:21:41):
Now green now red. Sometimes I hear him whispering.

Speaker 72 (04:21:45):
That's good, it isn't a special prescription. I can take
them back to the dark store.

Speaker 56 (04:21:49):
He didn't even know them to Buck whispers to somebody
about me. He tells people what I have done and
I know it's true.

Speaker 6 (04:21:56):
I am guilty.

Speaker 12 (04:21:57):
Oh oh, I am builty.

Speaker 56 (04:21:59):
Take them back and that's but why am I guilty?

Speaker 86 (04:22:02):
What have I done?

Speaker 7 (04:22:03):
Charlotte?

Speaker 12 (04:22:05):
Think? Think?

Speaker 30 (04:22:06):
How could I be guilty?

Speaker 56 (04:22:08):
It's because of Mama that I left her there hungry
and never brought.

Speaker 12 (04:22:13):
Her over like I promised.

Speaker 56 (04:22:15):
You yourself, Charlotte said, there was no room and the
money Uncle Miklosh paid me.

Speaker 30 (04:22:21):
How could I have brought.

Speaker 12 (04:22:22):
Mammy here to starve?

Speaker 56 (04:22:24):
How could I have paid a boat trip when there
was nothing for us half the time.

Speaker 1 (04:22:28):
To pay the rent?

Speaker 6 (04:22:30):
But maybe it is Mama.

Speaker 56 (04:22:32):
Cursing me from the grave, Charlotte, Charlotte.

Speaker 30 (04:22:38):
Don't leave me alone, please.

Speaker 14 (04:22:40):
Charlotte, Oh, Charla, I got good news for your child.

(04:23:09):
At last, I just slept and the dreams, the bad dreams,
had gone away. Two hours, three hours, I was sleeping
and there was nothing, just sleep.

Speaker 6 (04:23:22):
Isn't that wonderful?

Speaker 20 (04:23:24):
Child?

Speaker 56 (04:23:26):
I guess I'm cured that you went out and left
me alone. I was so tired, but I was afraid
of sleep. I went to the park and I lay
down on a bench. But the minute I closed my eyes,
there was that mister Turner again, with his face green
and red, and then I went over to claim my

(04:23:47):
I had only two little beefs. The piano of us
playing it was nice and cool, and.

Speaker 30 (04:23:58):
La charlat what is it?

Speaker 12 (04:24:01):
Please?

Speaker 35 (04:24:02):
Dola?

Speaker 12 (04:24:03):
You're mad at me?

Speaker 6 (04:24:04):
Are you?

Speaker 72 (04:24:07):
You're good for nothing?

Speaker 3 (04:24:09):
Silly?

Speaker 20 (04:24:10):
Please?

Speaker 30 (04:24:11):
What has happened?

Speaker 12 (04:24:13):
You are fired?

Speaker 72 (04:24:14):
That is what has happened until Nikolaus refuses to put
up with you anymore?

Speaker 3 (04:24:19):
What pas through?

Speaker 48 (04:24:21):
If you're doing here through?

Speaker 72 (04:24:24):
There is a boy, a high school boy, working in
your place full time.

Speaker 56 (04:24:29):
No, I mean making the potato saladoe, yes, nagging the
potato saladoe and.

Speaker 72 (04:24:35):
Waiting on the customers now floating on the sidewalk and
taking naps and talking like a lonotic and getting drunk
every other night.

Speaker 87 (04:24:47):
And now what are you going to do?

Speaker 7 (04:24:49):
What are you going to know?

Speaker 12 (04:24:51):
Little bar and speak for Uncle nikola.

Speaker 72 (04:24:54):
You won't go speak Uncle niklash at two o'clock in
the morning.

Speaker 7 (04:24:57):
You keep her speaking to Uncle nick clutch and get
through own.

Speaker 72 (04:25:00):
Out on his ear and go to the hospital and
cause Marris ben.

Speaker 12 (04:25:06):
You will get over it.

Speaker 38 (04:25:08):
That's what you think.

Speaker 35 (04:25:09):
You haven't talked to Uncle Nikolas?

Speaker 82 (04:25:12):
Yes, for Charlotte two days, two days.

Speaker 72 (04:25:16):
Yet Uncle Nikoloch couldn't go to Homebogen to see about
the cheesecake. You were lying home sick in bed with
what with the fever, with the stomach.

Speaker 48 (04:25:25):
It's bad like no get dings, bad dreams, you like
a baby.

Speaker 71 (04:25:32):
And where are you with the customers are telephoning for
the orders.

Speaker 72 (04:25:35):
They should be sent up right away, upstairs sleeping, taking
a nap. And where are you Friday night, the busiest
night in the star, seeing that the stup hogs growing out.

Speaker 32 (04:25:50):
For good money to a crack.

Speaker 72 (04:25:53):
And where are you today when Uncle Nikolas is going
to play in the inter Rops Hungary and of.

Speaker 56 (04:26:00):
Tournament checkers tournament today. I'm sorry I forgot.

Speaker 23 (04:26:07):
Spklinman's back room.

Speaker 12 (04:26:10):
Never to stay away, I'm purpose.

Speaker 72 (04:26:13):
Yeah, that's all the times, Uncle Niklaus.

Speaker 27 (04:26:16):
After all he's done for you.

Speaker 1 (04:26:19):
I don't blame him.

Speaker 31 (04:26:21):
He gave you plenty of brook.

Speaker 7 (04:26:22):
You should hang yourself.

Speaker 63 (04:26:24):
He close his eyes to plenty.

Speaker 56 (04:26:26):
I apologize, I explained to everything in the running. He
is not unleasable. Ell he's your uncle, sure do bad
for him.

Speaker 12 (04:26:37):
He wouldn't let us start, Charlotte. Uncle nick couldn't.

Speaker 72 (04:26:49):
M So it's nine o'clock.

Speaker 7 (04:26:55):
How much longer.

Speaker 72 (04:26:55):
Are you going to wait to go down.

Speaker 56 (04:26:57):
And speak to uncle in a minute, I'm going right away.
I just got to pull myself together live, I thought.

Speaker 71 (04:27:04):
So you don't talk so brave this morning.

Speaker 12 (04:27:07):
It's not bad.

Speaker 6 (04:27:08):
It's just let me see.

Speaker 56 (04:27:11):
I got the same bed dreams back all over again.

Speaker 72 (04:27:14):
Sure you got them, but maybe you got something to
do you don't want to do back they.

Speaker 12 (04:27:20):
Come random, Charlotte.

Speaker 56 (04:27:22):
I'm not afraid of uncle nicklash Now. I am afraid
of myself.

Speaker 71 (04:27:29):
But don't think.

Speaker 7 (04:27:30):
I'm such a sucker.

Speaker 72 (04:27:33):
I've listened to your complaining long enough.

Speaker 56 (04:27:36):
I don't fall for that thing to Charlotte, listened to
me just for once. Job can wait a few minutes.

Speaker 48 (04:27:41):
Oh, the job can wait.

Speaker 39 (04:27:43):
Can that?

Speaker 12 (04:27:44):
That's a new one.

Speaker 48 (04:27:45):
The job can wait.

Speaker 12 (04:27:47):
I have done something.

Speaker 56 (04:27:50):
Maybe maybe I did it in my sleep. Maybe I'm
a sleepwalker. Maybe I climbed down the fire escape sometime
and went into somebody's kitchen somewhere and come to the murder.
I couldn't dream such things all by myself. Last night
I dreamed I've just killed somebody. It had just made

(04:28:15):
two o'clock. I was coming out of a window, climbing
out over the sill.

Speaker 12 (04:28:20):
It was night.

Speaker 56 (04:28:21):
There was a fire escape with flower pots going down
into an air shaft.

Speaker 12 (04:28:26):
I started to climb down. It was a long way
to the ground.

Speaker 56 (04:28:30):
I crept down like a monkey, and as I went
I could see into all the dark windows of the flats.
A man was eating his supper, and his radio was playing,
and a baby was crying. And all the time I
kept holding my breath, afraid they would see me, because
upstairs there was somebody lying in a room, white.

Speaker 12 (04:28:55):
Like a kitchen.

Speaker 7 (04:28:58):
Dead.

Speaker 12 (04:28:59):
But I had well shut up.

Speaker 71 (04:29:04):
Log, shut up with that nonsense.

Speaker 72 (04:29:08):
I clap you in the crazy house right now. Now,
get down sairs, uncle mc clush, and get that job back.

Speaker 52 (04:29:22):
You hear.

Speaker 7 (04:29:26):
Do you hear me?

Speaker 86 (04:29:27):
Bella?

Speaker 72 (04:29:29):
Did you hear what I said?

Speaker 48 (04:29:32):
Look at you, shaking like a leaf?

Speaker 71 (04:29:35):
You an old man already.

Speaker 11 (04:29:37):
You're not afraid of Uncle mc.

Speaker 7 (04:29:39):
Clush, not much.

Speaker 72 (04:29:41):
You're afraid of everything, afraid of your own shadow, your
own crazy dreams. A fine man, I throw myself away
on a fine hero. Yes, what are you looking at
me that way for?

Speaker 56 (04:30:00):
You don't think I.

Speaker 7 (04:30:02):
Can hit you her?

Speaker 72 (04:30:04):
You think I'm going to stand around here for ever,
wasting my time and I'm good for nothing.

Speaker 7 (04:30:09):
You think I'm good on it?

Speaker 72 (04:30:11):
Or wash your clothes and keep your house clean. You
think I got no strinked in my hands. I can
hurt you waste and that sometime much voice, you get
your life?

Speaker 71 (04:30:33):
Where are you standing there for them? Are you going
down now.

Speaker 5 (04:30:40):
Or not?

Speaker 12 (04:30:44):
I am going to Charlot and I.

Speaker 86 (04:31:00):
M hm, Umbrella, hmmm, where are you fellawka?

Speaker 72 (04:31:26):
Hm?

Speaker 71 (04:31:33):
What are you doing in the kitchen at this time
of night making sandwiches? There's no bread for sandwiches. What
are you doing with that knife?

Speaker 6 (04:31:46):
I was just dreaming.

Speaker 12 (04:31:50):
He had another strange dream.

Speaker 71 (04:31:53):
Charlie, get into bed, put that knife back into the draw.

Speaker 12 (04:32:00):
I was streaming. I was washing my hands taller over
there in that scene, so what?

Speaker 6 (04:32:17):
And they were covered with blood.

Speaker 12 (04:32:22):
I was washing this knife too.

Speaker 6 (04:32:27):
It was covered with blood.

Speaker 71 (04:32:30):
Two yeah, Han, And what's.

Speaker 86 (04:32:40):
Strange about that?

Speaker 6 (04:32:42):
It was your blood, Charlotte, my blood.

Speaker 2 (04:32:52):
Yeah.

Speaker 3 (04:33:08):
Transcribed from Hollywood. The Clock is produced and directed by
William Spear, The Master of Suspense, and Tonight starred Jeanette
Nolan and Elliott Lewis. This evening's play was written by
Lucille Fletcher. The Clock theme was composed by Bernnie Green.
Our musical director is Basil Adam. Next week same time
you will hear Kathy and Elliott.

Speaker 12 (04:33:28):
Lewis as stars of.

Speaker 2 (04:33:32):
The Clark.

Speaker 3 (04:34:13):
Now a listening reminder, who knows you might be telephoned
to name the new mystery melody for fabulous Jackpot Prizes.
Be sure to hear it on Stop the Music tonight
over this ABC's Day, Good Evening.

Speaker 38 (04:34:41):
This is Peter Laurie.

Speaker 51 (04:34:43):
Man kills passionately out of hung or anger, how fear
for I love, But man also destroys lafe coldly and impersonally,
without anchor, unemotionally, and with but one purpose to give.
It is of greed and murder that you hear to
night in a mystery playhouse. Oh yes, guilt has been

(04:35:29):
known to lie heavily on the soul of the causes
and unregenerate of human beings, and conscience is an unseen
but terrible demon to those whose hearts are set in evil,
exerting a grim and unrelenting power over their minds.

Speaker 6 (04:35:49):
To night.

Speaker 51 (04:35:49):
Our story concerns itself with the price of greed and
revolves about a strange and almost faithful phenomenon that forced
a man to stand ghastly trial before her jewelry often dead.
Listen as we tell you of Captain Bill Harrison and

(04:36:10):
the six who did not die.

Speaker 95 (04:36:29):
Far below the equator, where the blinding sun beats with
fierce hatred on the endless surface of the sea lie
the lonely islands of the Gandia Archipelago. There is no
movement in the white Hart expanse of sand and ocean,
no movement save the brief fluttering excursions of flying fish
and the few palm frowns that wave languidly above precarious

(04:36:52):
footholds in the scanty soil. Barren and lonely are the Gandias,
and lonelier than most is the atoll of Mangareva, a
strip of sand and gray coral, rising from the sea
like something foul and festering. For at high water, the
tide sweeps over it and retreating leaves and its sloping beach,

(04:37:15):
all manner of snails and shell fish that helpless broil
and putrefy under the blazing sun. No trader has ever
visited Mangareva, for there is no one with whom to trade,
and the gunboats of the Australian Territorial patrol.

Speaker 38 (04:37:30):
Give it wide birth, for there is no one to watch.

Speaker 95 (04:37:34):
Only an occasional pearling vessel with its crew of native
divers ventures within sight of Mangareva. Such a vessel is
the sloop Nancy hail Or, days out of Sydney, a
weather beaten hulk with calking oozing from her open seams.
She lies at anchor in the lee of the island.
It is sundown and her small boat is returning from

(04:37:54):
a day of pearl diving. The oars stroked by six
dark skinned natives. The cockney meat standing in the bow.
As the boat swings broadside to the sloop, the meat
lambers aboard.

Speaker 35 (04:38:10):
All right, come only may go fast to the stone tree.

Speaker 93 (04:38:14):
And mind you don't those one of those old oversized
me not ten noy ten.

Speaker 2 (04:38:18):
May do a stem work a time.

Speaker 85 (04:38:21):
Oh, primy stup, you eat them traveling.

Speaker 35 (04:38:22):
I don't care who's what it is.

Speaker 30 (04:38:24):
Make up fast the ship.

Speaker 93 (04:38:25):
The more it ain't done by the time I get
back from seeing the captain, I'll take the eyes after
hang your mine my eye. Five bankers always getting their
ends up about something one.

Speaker 35 (04:38:40):
Thing, it's another. I give ten pounds right there, and.

Speaker 94 (04:38:44):
That we're lifting a pint down in a red dragon
crawled plummy, I would instead of is seating me blood
out in him A million miles from civilization, Hi.

Speaker 35 (04:38:55):
Captain, and I'm gonna be appreciating ofhing.

Speaker 38 (04:39:00):
Take a look.

Speaker 2 (04:39:02):
Who's there?

Speaker 35 (04:39:03):
I keep your shirt on?

Speaker 9 (04:39:04):
Bullets?

Speaker 35 (04:39:04):
Nobody but me oggy?

Speaker 2 (04:39:06):
Oh back already we'll been.

Speaker 35 (04:39:09):
Ten hours under that blasted sun. Ain't dead enough?

Speaker 2 (04:39:12):
Are How do you make out?

Speaker 6 (04:39:16):
No?

Speaker 90 (04:39:16):
Bad?

Speaker 35 (04:39:18):
You might invite a chap to have a nipper that
the gin sitting.

Speaker 38 (04:39:21):
On the table.

Speaker 2 (04:39:21):
Aha, it's the last of it.

Speaker 9 (04:39:24):
Well, blim me the.

Speaker 94 (04:39:24):
Last of sixty bottles we took on at Sydney. You
ain't been bashful about drinking it?

Speaker 9 (04:39:29):
Have you?

Speaker 2 (04:39:30):
You've got any objections?

Speaker 35 (04:39:31):
Oh no, don't begetting your end up bull nowur fence.

Speaker 20 (04:39:34):
Why are you drinkulous? See what you've got for your
ten hours?

Speaker 93 (04:39:39):
Well no, I think we've done pretty fair, don't they.
Here's man your eye?

Speaker 57 (04:39:45):
Ah eh, milling.

Speaker 12 (04:39:47):
Like a spotted Dutch gin, said the chat right?

Speaker 41 (04:39:50):
Good at that?

Speaker 35 (04:39:51):
Too bad to eat more of it? For the old
Back to Sydney.

Speaker 2 (04:39:54):
What makes you think we're hauling back?

Speaker 93 (04:39:56):
I think we are, mister Eison, faster of the old
tuble takers.

Speaker 2 (04:39:59):
I think we are, come on out with it. What'd
you get? And full of stinking seed pearls sea.

Speaker 93 (04:40:05):
Purlse isn't on your life give a night to these
if you please?

Speaker 27 (04:40:09):
Good not bad? Ames Addison?

Speaker 2 (04:40:11):
Where'd you get these?

Speaker 94 (04:40:12):
Foggy fifty yards southeast of Manga Riva in two pathns
of water?

Speaker 20 (04:40:16):
You know what they're worth?

Speaker 2 (04:40:18):
They must weigh fifty grains of peace? How many are there?

Speaker 3 (04:40:21):
One?

Speaker 2 (04:40:22):
Two four, eight?

Speaker 35 (04:40:23):
By my accounts, that's right, eight times.

Speaker 20 (04:40:26):
Fifty four, one hundred grains, all perfect too, hardly need feeling.
There's a thousand pounds here, foggy, maybe more the way
the market is today. By heaven, you're right, we are
hauling back. I can do a lot with a thousand pounds.

Speaker 94 (04:40:43):
Ain't you forgetting something Captain has about me and the natives?

Speaker 21 (04:40:47):
What do you mean?

Speaker 19 (04:40:48):
Well?

Speaker 94 (04:40:48):
The natives get off the catch according to the agreement
with their chief, and I get ten percent. We're figuring
rapid and not intending to be accurate. I should say
that leaves you four hundred pounds, not a thousand.

Speaker 20 (04:41:01):
Trouble with you, Foggy is you don't have to figure
now Listen when we took on a batch of divers.
We'd never dreamed we'd run into a hall like this,
did we?

Speaker 2 (04:41:11):
All right?

Speaker 20 (04:41:12):
We figured maybe we'd come back with fifty one hundred grains,
not four hundred.

Speaker 2 (04:41:17):
What are you leading up to? How far can I
trust you? Foggy?

Speaker 94 (04:41:22):
Well now, I'd say that all depends on how much
it's worth to be trusted.

Speaker 20 (04:41:29):
If we get what I think we should for those
eight unies, your cut will be three hundred pounds fifteen
hundred dollars.

Speaker 93 (04:41:35):
Go plumb enough to take me back to England in style?

Speaker 2 (04:41:38):
Ain't it more than enough?

Speaker 38 (04:41:39):
Well?

Speaker 35 (04:41:39):
It turns most attractive. How do you planning to work it?

Speaker 78 (04:41:43):
Right?

Speaker 3 (04:41:43):
Now?

Speaker 20 (04:41:44):
Eight people know about this catch, you and me and
the six divers. Chances are there of plenty more pearls
where these came from.

Speaker 38 (04:41:51):
Must be a natural bed. We got to fix it.

Speaker 35 (04:41:54):
So it's only you and me know the location of
that bed. Savvy, I ain't interested in the bed. All
on seeing about it is getting an.

Speaker 2 (04:42:00):
Have to ship back to them. Okay, this is how
they get it.

Speaker 35 (04:42:03):
You still ain't giving me.

Speaker 38 (04:42:04):
No details, like understand what's there's nothing to it?

Speaker 2 (04:42:09):
We lay over here tonight tomorrow morning.

Speaker 20 (04:42:11):
We tell the boys we're making one last dive and
hauling back, and I'll go along with you in the
small boat so I can mark the spot.

Speaker 2 (04:42:18):
I'll take a bullet and pin with me.

Speaker 20 (04:42:20):
He'll all dive in front of because they've been there
before when they come up one at a time like
they always do what we get me, fuy, I get.

Speaker 21 (04:42:30):
Your boot.

Speaker 30 (04:42:56):
Eve to it to it.

Speaker 35 (04:42:57):
We ain't going to out tea boffee. Good, No more
dive do we go back? Minds your babbling times?

Speaker 93 (04:43:05):
You even we got the catching with us today.

Speaker 35 (04:43:08):
He wants to see how you die.

Speaker 27 (04:43:09):
Ain't that right?

Speaker 35 (04:43:10):
Misstatist? That's right, boys, this is the last dive and
then we hurled back.

Speaker 2 (04:43:15):
Good catch, this trip plenty jin.

Speaker 38 (04:43:17):
The likes of them left to drinking.

Speaker 20 (04:43:20):
We make only one dive, then we're going back.

Speaker 31 (04:43:23):
How about that?

Speaker 35 (04:43:24):
Misstatis yeah, one dive and your throat they like that.

Speaker 2 (04:43:30):
You live buggy tender business.

Speaker 20 (04:43:32):
Who a southeast Manga river about fifty yards off.

Speaker 2 (04:43:36):
This is the spot, tous.

Speaker 35 (04:43:37):
Enough, I say, shiver us.

Speaker 93 (04:43:43):
Ain't that angle tato over with it?

Speaker 2 (04:43:49):
Well, this is the spot bugging you know it's right you.

Speaker 30 (04:43:51):
Come to it.

Speaker 48 (04:43:52):
See holding taro.

Speaker 30 (04:43:55):
All right.

Speaker 35 (04:43:55):
Let us swing with the tide, waters of it, waters
like Okay, get him over boggy here we got boys.
You first the movie, No dive, he's gotta dive. Let's
have a look at your ea.

Speaker 46 (04:44:08):
No can see hurt deep inside.

Speaker 93 (04:44:10):
Why do you say something about him before we left
the slop.

Speaker 35 (04:44:13):
I'll handle this, come Ali, Yeah, hurt the bad, very
bad one.

Speaker 2 (04:44:18):
Dive won't do it?

Speaker 20 (04:44:19):
No harm. I come out here special to see you
when your boys go down, tell you what I'll do
anything you bring up.

Speaker 2 (04:44:26):
This dive belongs to you. No split or pearls yours house?

Speaker 6 (04:44:29):
That well, what about it?

Speaker 30 (04:44:32):
Come Ali, no dive?

Speaker 2 (04:44:34):
Stand up on the boat, man up my head.

Speaker 35 (04:44:37):
Well the last time, come Ali, you're gonna dive or not?

Speaker 30 (04:44:40):
No, no dive?

Speaker 1 (04:44:42):
You hurt the bad.

Speaker 35 (04:44:43):
Maybe that'll cure it. You get over and make it
a pass.

Speaker 2 (04:44:56):
Just hur over, all about steady, foggy and finished. They
come up?

Speaker 35 (04:45:01):
What about this one?

Speaker 20 (04:45:02):
Yes, beatle, we get rid of the rest, all steady
now they won't be staying down there along.

Speaker 35 (04:45:07):
I can promise you I got a funny feeling. No
goods trying to come of it.

Speaker 2 (04:45:10):
Oh your feelings and.

Speaker 20 (04:45:11):
Keep the boat steady. That's all you've got to do.
I'll take care of the rest. One little tap of
this bullet and.

Speaker 2 (04:45:16):
Finished, they come up, will be enough.

Speaker 27 (04:45:18):
He comes fun, study.

Speaker 20 (04:45:20):
Steady, that does for him, went down like a rock.

Speaker 35 (04:45:27):
Two more coming up.

Speaker 2 (04:45:28):
Nice seeing him.

Speaker 20 (04:45:33):
That's make strange.

Speaker 12 (04:45:35):
See the others not.

Speaker 93 (04:45:36):
Yet would have got roughed up in mine. Hold on,
it'll come two together.

Speaker 2 (04:45:40):
It'll make it easy. Steady now.

Speaker 35 (04:45:49):
Clawing me to just see the way them two's eyes
rolled up as soon as she was through me.

Speaker 2 (04:45:54):
Man with us want to sew the gap?

Speaker 75 (04:45:56):
What's it gonna do with it?

Speaker 3 (04:45:57):
Gave them over?

Speaker 2 (04:45:58):
We like tap his skull.

Speaker 3 (04:45:59):
I mean sure it don't.

Speaker 35 (04:46:00):
Come too There ain't nothing cynerchy about you, is there?

Speaker 12 (04:46:04):
Book famish feast?

Speaker 2 (04:46:07):
Let them know what?

Speaker 18 (04:46:08):
All right?

Speaker 35 (04:46:09):
Yes, oh, get that acre up.

Speaker 2 (04:46:17):
The job's done, all leat and clean.

Speaker 35 (04:46:20):
He ain't done for me. I'll be seeing them four
bigger guys rolling up for a long time. Account. You'll
forget about it.

Speaker 2 (04:46:26):
Once we hit Sydney. There'll be plenty of gin and
rooms in the best hotel in town.

Speaker 93 (04:46:31):
All I want is to put passage on the first
boat back to England.

Speaker 35 (04:46:35):
Don't worry about that buggy, you'll go back.

Speaker 2 (04:46:37):
To England a rich man.

Speaker 20 (04:46:39):
I get another idea. The money we get for those
girls's gonna be nothing compared to what we end up with.

Speaker 35 (04:46:46):
Now what's on your mind?

Speaker 20 (04:46:47):
You'll find out?

Speaker 2 (04:46:49):
Get that anchor up right, went two on the oars.
We're gonna be rich men, Puggy, you and me for
many rich.

Speaker 35 (04:47:34):
Twelve hundred pounds you got.

Speaker 94 (04:47:35):
For them pulls, and he's about to get my share,
and I ain't seen a shilling, and I'm not going to.

Speaker 2 (04:47:40):
Now shut up and open the door.

Speaker 38 (04:47:42):
You got the key, and I ain't got nothing nothing.

Speaker 2 (04:47:45):
For killing six men down your stupid boot. I could
get his hand.

Speaker 1 (04:47:49):
Here's the key, over the door.

Speaker 35 (04:47:51):
We're going to be rich men, Puggy, you and me.

Speaker 94 (04:47:55):
I was about that, mister Hollis, And open the door,
I said, twelve hundred pounds, and now we ain't got nothing.

Speaker 2 (04:48:02):
Close the door.

Speaker 46 (04:48:03):
Twelve hundred pounds.

Speaker 2 (04:48:05):
Lord, stop talking about it.

Speaker 56 (04:48:06):
I've heard all I want to hear.

Speaker 35 (04:48:08):
Oh you add you don't bother you that I ain't
got no passage money?

Speaker 79 (04:48:11):
Does it?

Speaker 2 (04:48:12):
You think I figured on loosen it?

Speaker 20 (04:48:13):
I had assistant to beat that rulett wheel something happened,
didn't work.

Speaker 87 (04:48:17):
I told you to stop.

Speaker 2 (04:48:19):
You told me, what do you know about it? All
I was trying to do is to build that stake up.

Speaker 35 (04:48:23):
Make us some real money. Yeah, now, we ain't got
nothing gamble it the way you did.

Speaker 12 (04:48:28):
There's more where that came from.

Speaker 20 (04:48:30):
I've got twenty pounds left love to pay for this
hotel room dot charges on the slooping provisions.

Speaker 2 (04:48:36):
We'll go back to Manga ven and get ourself some
more of them.

Speaker 21 (04:48:39):
I ain't going nowhere near Manga even not.

Speaker 41 (04:48:41):
On your life.

Speaker 2 (04:48:42):
I ain't.

Speaker 35 (04:48:42):
Why not because you ain't got prisant memories. That's why
I'm quitting.

Speaker 3 (04:48:47):
I know.

Speaker 94 (04:48:47):
I rum to you when I sees twelve hundred pounds
left in a gambling out.

Speaker 20 (04:48:51):
So you're quitting?

Speaker 2 (04:48:54):
What makes you think I'll.

Speaker 46 (04:48:55):
Let you quit?

Speaker 35 (04:48:56):
You ain't got no right to stop me now. I
got a right to see that you don't open that
big blabbing mouth yours. I got that right now. I
knows when I'm well off I'm doing now talking.

Speaker 2 (04:49:03):
Maybe I'd better make sure of that.

Speaker 35 (04:49:06):
Yeah, always want for making jokes as.

Speaker 20 (04:49:09):
This don't happen to be no joker. We murdered six men.
Back at Manga River, you and me where the only
ones knows about it. I think you better ship with
me when the Nancy ale pulls out in the morning.

Speaker 1 (04:49:24):
Yeah, I think you better.

Speaker 94 (04:49:27):
I ain't shipping on no more pole boats than I
ain't going nowhere near Manga even now.

Speaker 38 (04:49:30):
That final.

Speaker 20 (04:49:33):
All right, Foggy, that's how you feel about it.

Speaker 2 (04:49:38):
Open the window with you.

Speaker 35 (04:49:40):
It's hot here, ain't a bit hot You've been drinking
too much?

Speaker 2 (04:49:44):
Open it anyway?

Speaker 59 (04:49:48):
Ye?

Speaker 56 (04:49:50):
Yeah?

Speaker 2 (04:49:51):
Nice? Fure the harbor from there, Foggy.

Speaker 94 (04:49:54):
Pretty with all them lights blinking boll as about giving
after twenty pounds you've got left?

Speaker 1 (04:50:02):
Sure?

Speaker 2 (04:50:04):
Why not?

Speaker 12 (04:50:06):
Yeah?

Speaker 2 (04:50:07):
Two five pound.

Speaker 94 (04:50:09):
Notes much obligable if I wasn't so sick on going on.
I'm holding my wrist.

Speaker 35 (04:50:16):
For you're going out the window fall. No, my god, nothink.
I want to make sure you want to me pull
lock out, Hold on, Fuggy, pull pull.

Speaker 20 (04:50:28):
Twelve stories to the streets. You will talk now, Fuggy,
not at all.

Speaker 35 (04:50:54):
He's off on that jip out of your dave more more. Okay, reader,
up stand by the heat baker. Alright, you're man No
and the hand of that winch all right, let it
go anchor down and holding her, make her first, make

(04:51:18):
her fast.

Speaker 3 (04:51:18):
Man, No.

Speaker 35 (04:51:22):
Fat, sir ah, this is it.

Speaker 20 (04:51:24):
Stole the II and the serviceness, Dave.

Speaker 2 (04:51:27):
We ain't formal on the nancy hair. That suits me.

Speaker 35 (04:51:29):
All right, that's mangarem ain't much to look at.

Speaker 2 (04:51:34):
Best.

Speaker 20 (04:51:35):
Pearl business south seas right under us. Won't even bother
with the small boat today. Work right from the sloop.

Speaker 35 (04:51:41):
Get the divers over, okay, Hello, hello, yes, boy, get
your boys over.

Speaker 2 (04:51:47):
Oh no goodness, the headman.

Speaker 20 (04:51:50):
You learn, Dave, first dives taken by the headman. These
boys are new to this spot. Won't go under till
he comes.

Speaker 2 (04:51:57):
Up and says it looks clear.

Speaker 20 (04:51:58):
All right, all right, man, got eight punies out of here,
last trip, Dave, you're gonna be real glad you shipped
with me.

Speaker 30 (04:52:11):
Don't come man here, you're.

Speaker 35 (04:52:17):
Take pot of here.

Speaker 2 (04:52:18):
Pick bad.

Speaker 90 (04:52:21):
I won't shut up.

Speaker 35 (04:52:23):
Watch come out of you me.

Speaker 78 (04:52:25):
Guys go to bottom.

Speaker 2 (04:52:27):
Pick men down there, did they gracious? No crazy pick
dead men.

Speaker 30 (04:52:34):
They done up like they live.

Speaker 2 (04:52:37):
My boys moved. That's here. But hey, wait a minute,
what do you mean there's.

Speaker 35 (04:52:41):
Six dead men down there, standing up like live. They're
cunning up.

Speaker 2 (04:52:45):
But they did shut off from you. Shut up, I'll
the rest of you listen to me.

Speaker 35 (04:52:51):
You'll die or I don't know the reason why I
came here to get pearls, and you're gonna get them.

Speaker 20 (04:52:56):
There'll be no working up on my coat. Hey, hey,
there's a time a helmet and lead shoes. One of
the cyber luckers. Get them out, catch their holding the pump.
The only thing about diving equipment play.

Speaker 35 (04:53:09):
I never went down my tel.

Speaker 2 (04:53:10):
You won't have to.

Speaker 35 (04:53:11):
I'm going down. I'll prove of these figures. There's nothing
wrong down there?

Speaker 9 (04:53:35):
Everything okay, captain, Yeah.

Speaker 2 (04:53:37):
Just about tucking bottom.

Speaker 35 (04:53:39):
He's up on the roof a little at the rough
barming room.

Speaker 38 (04:53:43):
Easy, easy, ain't got by in.

Speaker 12 (04:53:48):
That better bot, yeah, much better keep that as pumping hands,
generator doing worried?

Speaker 9 (04:53:54):
Yeah, how's your look down there?

Speaker 20 (04:53:56):
I can't see my cat.

Speaker 35 (04:53:58):
Gotta get used to it, lean for when you walk
any more? Rope Okay, I ain't doing any walking.

Speaker 72 (04:54:06):
Well.

Speaker 20 (04:54:06):
I want to do is stay down here a couple
of minutes and prove to those.

Speaker 94 (04:54:10):
Native bigger happened?

Speaker 10 (04:54:12):
What is it?

Speaker 27 (04:54:12):
Hold me up on the rope?

Speaker 10 (04:54:14):
What is it?

Speaker 30 (04:54:15):
What happened?

Speaker 1 (04:54:15):
Get me up?

Speaker 21 (04:54:16):
Dam get me up.

Speaker 31 (04:54:17):
Don't come mab me.

Speaker 35 (04:54:20):
No can pool can't be got way out.

Speaker 70 (04:54:23):
All the same.

Speaker 49 (04:54:24):
Hold me up.

Speaker 35 (04:54:25):
We're doing our best ball.

Speaker 18 (04:54:26):
What's down there?

Speaker 30 (04:54:27):
Six points on those like you're standing in the water
cunning at me.

Speaker 27 (04:54:33):
Get me.

Speaker 35 (04:54:33):
I'm trying the boy.

Speaker 2 (04:54:35):
God here, what is it?

Speaker 85 (04:54:36):
I don't know the meet they're sinking down.

Speaker 2 (04:54:39):
Maybe it's death.

Speaker 17 (04:54:40):
I shad rope for the windows.

Speaker 10 (04:54:42):
Cut me.

Speaker 35 (04:54:43):
I can't get away, lashing the rope for the windows.
Who We've got you up?

Speaker 6 (04:54:46):
Now?

Speaker 30 (04:54:46):
Hold on.

Speaker 20 (04:54:48):
My tom My tomb.

Speaker 35 (04:54:52):
No, come to the roof. Get back to that airport
comes then, bade Dave bad? What hi you? Whoa?

Speaker 85 (04:55:04):
They won't man the pump.

Speaker 35 (04:55:05):
We can't bug him.

Speaker 89 (04:55:06):
Oh gosh, that's just the same.

Speaker 20 (04:55:08):
As I am right in the Yes, that's why you're
standing there.

Speaker 3 (04:55:13):
Couldn't that be?

Speaker 30 (04:55:13):
You can't.

Speaker 27 (04:55:16):
Listen to me?

Speaker 66 (04:55:17):
Right?

Speaker 3 (04:55:17):
You?

Speaker 56 (04:55:18):
And I killed fucking too. I wanted it awful, my
sup and I'm gonna get it.

Speaker 20 (04:55:23):
Pearl something against.

Speaker 84 (04:55:24):
Pearls hem A saw that down here all about me.

Speaker 20 (04:55:29):
I am not afraid of you, God.

Speaker 89 (04:55:32):
Damn me, but I haven't learned to me earls.

Speaker 56 (04:55:38):
Oh, thank god, Devil's friends.

Speaker 30 (04:55:42):
You can't be.

Speaker 12 (04:55:44):
You can't.

Speaker 51 (04:55:57):
H captain who were harvesting what record room, facing his jewelry,
the jewelry with good reason to pronounce him guilty of
murder and greed.

Speaker 6 (04:56:08):
Mm hmmm, poor.

Speaker 51 (04:56:11):
Down there with the curls she wanted so much in
the many murdered to get them. Funny, isn't that?

Speaker 6 (04:56:21):
What is it? Please?

Speaker 51 (04:56:24):
Don't go Come with me to the green room where
the players are reversing our next performance. Come, m come, come.

Speaker 38 (04:56:45):
Hello.

Speaker 49 (04:56:46):
No, I'm not Pamela nor I m you hung up?
Maybe I had to fly the supper my fall.

Speaker 38 (04:56:53):
Saddle and the hordes time. Hello, I am not h yes,
oh o the door. Maybe he didn't believe me.

Speaker 1 (04:57:05):
No, I'm not Pamela Off.

Speaker 46 (04:57:08):
I am.

Speaker 35 (04:57:10):
Hell.

Speaker 17 (04:57:14):
Oh, I'm glad to be home.

Speaker 50 (04:57:15):
Darling.

Speaker 38 (04:57:15):
Wasn't three Union Front.

Speaker 7 (04:57:16):
This is awful.

Speaker 63 (04:57:18):
Everybody sat around noticing how much older everybody else looks
post mortem?

Speaker 38 (04:57:23):
Darling, is there a man in your life?

Speaker 8 (04:57:25):
Of course.

Speaker 49 (04:57:27):
There must be somebody else, because I'm pretty sure I
haven't been calling myself up and asking me if.

Speaker 38 (04:57:32):
I weren't Pamela Off.

Speaker 34 (04:57:33):
Darling, You're not well.

Speaker 49 (04:57:34):
I'm in perfect health. Listen, some goon has been phoning
every hour and asking for you. As soon as I
convintion that I'm not you, he hangs up.

Speaker 38 (04:57:42):
Reasonable enough, But then what's the little man?

Speaker 23 (04:57:48):
The one who followed him home?

Speaker 38 (04:57:50):
Maybe I should have asked you about the men in
your life?

Speaker 23 (04:57:53):
Certainly, Darling, the street was so dark and he was
so gray, sort of and indistinct.

Speaker 18 (04:58:00):
I ran.

Speaker 38 (04:58:01):
Did he run after you?

Speaker 23 (04:58:02):
I don't know.

Speaker 49 (04:58:04):
You did, but you slowed up for me, you answered,
I wouldn't want to disappoint him again.

Speaker 50 (04:58:10):
All right, Darling, Hello, Yes, this is heaven or not?

Speaker 3 (04:58:17):
What you hello?

Speaker 67 (04:58:21):
I know?

Speaker 1 (04:58:22):
He hung up, Probably thinks it could queen.

Speaker 72 (04:58:24):
From you know, Darling, I am getting scared something to
get scared about your beautiful.

Speaker 7 (04:58:31):
All right, Darling?

Speaker 9 (04:58:33):
Is that your little man coming down the street?

Speaker 50 (04:58:36):
Yes, Jerry, he's looking up at the house numbers. I
thought he was only a macular old man. Oh, I
may just be imagine. My imagination can't be active. You
know those were shot.

Speaker 35 (04:58:52):
I'll take a look, Jerry.

Speaker 48 (04:58:53):
Don't you go near that window here?

Speaker 50 (04:59:01):
The little man he's gone to do.

Speaker 38 (04:59:03):
Maybe that was a car backfiring. At any rate, most
people would think so, Darling.

Speaker 50 (04:59:07):
We've heard Gune it's being fired too often.

Speaker 38 (04:59:10):
Well, we have a fire those shots. Isn't there anymore?
Neither is your little man. I sort of suspect he's
disappears from my lives.

Speaker 51 (04:59:17):
I hope that's our door.

Speaker 50 (04:59:19):
Bill.

Speaker 32 (04:59:21):
Let's take believe we're not home.

Speaker 50 (04:59:22):
Jerry might be important, That's what I mean.

Speaker 69 (04:59:24):
I've got to see who that is.

Speaker 38 (04:59:26):
It's silly being terrified by but nothing there.

Speaker 50 (04:59:28):
You can answer the door if you wish, darling. But
I'm going to keep right on being terrified.

Speaker 23 (04:59:33):
Oh no, no, I'm going with you to be terrified
in company.

Speaker 38 (04:59:36):
Get over the one side and went open the door?

Speaker 50 (04:59:38):
All right down?

Speaker 9 (04:59:44):
Won't you come in?

Speaker 2 (04:59:45):
Please?

Speaker 46 (04:59:47):
Thank you?

Speaker 38 (04:59:47):
Shut the door, darling?

Speaker 75 (04:59:51):
Are you.

Speaker 19 (04:59:53):
Yes?

Speaker 23 (04:59:54):
I am Jerry.

Speaker 34 (04:59:56):
He's ill.

Speaker 9 (04:59:58):
Please speak, They will kill you.

Speaker 38 (05:00:03):
You need a doctor. You better bring yourself.

Speaker 35 (05:00:05):
Speak must mean doctors must speak?

Speaker 46 (05:00:11):
Hasn't red lines?

Speaker 57 (05:00:13):
But kill them?

Speaker 3 (05:00:18):
What h.

Speaker 6 (05:00:22):
Hot?

Speaker 49 (05:00:23):
I'll lay him down here on the sofa, get his
coat open?

Speaker 33 (05:00:26):
Shall I phone for a doctor, darling?

Speaker 38 (05:00:29):
No, there's nothing a doctor can do for him. Chest
full of bullets. Yeah, she's dead.

Speaker 33 (05:00:38):
Oh a little man.

Speaker 38 (05:00:41):
He came here to warn you against the murderer, darling.
But the murderer got the hymn first?

Speaker 3 (05:00:57):
Wow?

Speaker 68 (05:00:58):
Wow?

Speaker 7 (05:00:58):
What is then?

Speaker 6 (05:00:59):
Do you said?

Speaker 51 (05:01:01):
Why do you think anyone would want to kill Missus
pambling Nord? She seems to be the perfectly harmless young woman.
Don't you think there must be a reason. Well, I'm
afraid we might wait for our next performance. Then our
guests will be the famous amateur detective mister and Missus

(05:01:21):
north or Er. Incidentally, they're interested in your reaction to
our shows, So why don't you drave to the mystery playoffs,
Armed Forces Radio, those Angles USA telling us what you
like or don't like, or anything you care to say.
If you do that, you'd appreciate hearing from you very much.

(05:01:45):
This is Peter Laury closing the doors of the Mystery Playhouse.
Good Night, flee type.

Speaker 4 (05:02:04):
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

(05:02:25):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page. If you or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weirddarkness dot com. I'm Darren Marler. Thanks for

(05:02:47):
joining me for tonight's Retro Radio, Old Time Radio and
the Dark

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