HE CLAIMED TO BE SATAN’S SON: My Best Friend Has Taken The Darkest of Paths

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

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
I'm gonna thank some miss.

Speaker 4 (00:26):
A man us Seal.

Speaker 5 (00:36):
Present Suspense.

Speaker 2 (00:41):
I am the Whistler.

Speaker 6 (00:43):
Welcome Weirdos. I'm Darren Marler and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
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(01:05):
my free newsletter, connect with me on social media, listen
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and more at Weird Darkness dot com. Now bolt your doors,
lock your windows, turn off your lights, and come with

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

Speaker 7 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 2 (01:50):
Come in. Welcome.

Speaker 6 (01:54):
I'm E. G.

Speaker 2 (01:54):
Marshall.

Speaker 7 (01:56):
The last I heard there was an alchemy school in
Utah giving a two week course in how to change
lead into gold. A prestigious university was bestowing a bachelor's
degree in magical studies, and someone was offering subscriptions to
a newsletter for witches. I'm old enough to remember when

(02:19):
such things would have been laughed out of existence, But nowadays,
who's laughing?

Speaker 2 (02:26):
Wouldn't you like to control things?

Speaker 1 (02:28):
People?

Speaker 2 (02:29):
Events?

Speaker 8 (02:29):
Well?

Speaker 9 (02:30):
I don't think it's possible, but if it were, then
I guess I'd like it. Of course you would, so
would I? So what everyone? No one wants to admit it.
No one has the courage, but we all think about
it less than.

Speaker 2 (02:43):
For day and night. It's our God and our goal.

Speaker 5 (02:48):
Power our mister.

Speaker 7 (02:58):
Drama Son of Satan was written especially for the Mystery
Theater by Elspeth Eric and stars Gordon Gould and Ralph Bell.
It is sponsored in part by a Diwick Motor division.
I'll be back shortly with Act one. It's a coastal town,

(03:26):
not far from a major metropolis. There are few high
rise buildings and a great many houses, none of them
very new. Many of the streets are bordered on both
sides with trees, and at night the town is very quiet.
On one such tree lined street. On one such quiet night,

(03:47):
two men are walking, one a short distance behind the other.
The one who trails calls out, Sam, is that you, Sam, Sam?

Speaker 9 (04:00):
It's Tony.

Speaker 10 (04:02):
Sam.

Speaker 9 (04:02):
Wait, I'm home.

Speaker 1 (04:12):
You home.

Speaker 11 (04:13):
I'm in the kitchen.

Speaker 9 (04:14):
Well, get yourself in here. Put something in the other person,
I've got something to tell you. In a minute, I'll
make you a couple of drinks. Okay, you're gonna need one,
I am why. We'll get yourself in here and i'll
tell you well.

Speaker 12 (04:29):
Janney will be ready in about half an hour.

Speaker 9 (04:30):
Here's your drink.

Speaker 8 (04:31):
Thank you?

Speaker 9 (04:32):
Sit down?

Speaker 1 (04:34):
Must I you'd better all right?

Speaker 9 (04:37):
I am seated. Guess who I saw tonight? Guess whom
I saw tonight? Don't quibble.

Speaker 12 (04:43):
A professor should mind his grammar, and when he's wrong, his.

Speaker 9 (04:46):
Wife should correct him. All right, Guess whom I saw tonight?
Whom Sam?

Speaker 8 (04:55):
Sam?

Speaker 9 (04:56):
That's right, you don't mean Sam than Camp, the very
same good lord. I thought he was dead.

Speaker 12 (05:06):
I don't know why I thought he was dead. I
just sort of pictured him dead.

Speaker 9 (05:10):
I know what you mean.

Speaker 12 (05:11):
We hadn't heard from him at least five years. Just
seemed logical he'd be dead. Well for Heaven's sake. Where
did you see him?

Speaker 9 (05:20):
On LaCosta Street, on that.

Speaker 12 (05:22):
Nice old street with all the nice old houses.

Speaker 9 (05:24):
How is old Sam? I don't know. I didn't get
to speak to him.

Speaker 13 (05:28):
Why not?

Speaker 9 (05:30):
Well, I was getting dark and at first I wasn't
sure it was him. It was he, he him. Then
he went under a street light and I was sure,
so I called to him, but he kept right on going. No,
maybe he didn't know who you were. And I said, Sam,
it's Tony. He must have heard me.

Speaker 12 (05:49):
He can't still be mad at you, Kenny, after five years.
Sam was never really in love with me anyway, He
just thought he was. Actually, I'm not sure he even
thought he was. He was just upset because we broke
up our little manage at the beach house.

Speaker 14 (06:04):
Mmm.

Speaker 9 (06:04):
He liked that little minage. Well, so did I and
so did you?

Speaker 2 (06:09):
Huh.

Speaker 9 (06:09):
Swimming all day, surfing.

Speaker 12 (06:12):
Playing records all night, dancing.

Speaker 9 (06:14):
An occasional seance. It was fun.

Speaker 12 (06:18):
Then you and I grew up and Sam was left out,
That's all it was.

Speaker 9 (06:22):
I wonder why he didn't stop when I called out
to him. Oh, thinking about something else. Probably you know
how Sam always was, Yeah, slightly kooky slightly all the same.
That year at the beach was a good year, one
of the best. I'd like to see the old dude again,
find out what he's been up to. Do you think
he lives on La Costa And I think I saw

(06:42):
him turn in at one of those old houses. Of course,
it was getting dark.

Speaker 12 (06:46):
He could have been visiting someone. Yeah, why don't you
drift over there sometime and find out?

Speaker 9 (06:53):
I think I will, Yes, I will, Yes, Sam, it's Tony,

(07:18):
Tony Marsh.

Speaker 2 (07:20):
Why Tony.

Speaker 9 (07:22):
I didn't know if you live here or not.

Speaker 2 (07:23):
How are you Tony?

Speaker 14 (07:25):
Great?

Speaker 9 (07:25):
Swell, fine, you marvelous? Okay to come in for a minute?
Oh yes, sure of course I said, to come in. Thanks,
I won't stay come sit down. Hey, you're looking fine, Sam.

Speaker 5 (07:40):
How did you find me?

Speaker 10 (07:41):
Well?

Speaker 9 (07:41):
Actually I saw you on the street a few nights ago,
you did.

Speaker 2 (07:45):
Why didn't you say something?

Speaker 15 (07:47):
Well?

Speaker 1 (07:47):
I did?

Speaker 9 (07:48):
I said, is that you Sam? Because I wasn't one
hundred percent sure. Then I was sure, so I said, Sam,
it's Tony. But you kept right on walking, trying to
hurt my feeling.

Speaker 2 (08:01):
Sam.

Speaker 9 (08:03):
Huh uh, sweet shades of the past, come again?

Speaker 16 (08:08):
Was I ever?

Speaker 2 (08:10):
Sam?

Speaker 9 (08:12):
You certainly were to me and Rowena. How was Rowena fine? Fine?
Rowena's fine? She wanted to be remembered to you if
I could jack you down? Oh, sweet Rowena. We got married,
you know, Rowena and I. Well, I thought you might.
It seemed inevitable. Well we did, Tony. I'm terribly sorry
I hurt your feelings the.

Speaker 2 (08:31):
Other night, though.

Speaker 9 (08:32):
That's all right. Rowena said you probably had your mind
on something else.

Speaker 1 (08:36):
Oh I did.

Speaker 2 (08:37):
I did?

Speaker 9 (08:38):
Well, then I always have my mind on something else,
something important, or must have been if you didn't hear me, Oh,
very important, extremely important. In fact, I can scarcely think
of anything more important. Care to tell me what? Perhaps
in due time? Perhaps not, Tony, it's not the reason

(09:00):
I didn'tancy you when you spoke my name. No, you
mean you're really worth nothing?

Speaker 2 (09:05):
No no, no, no, no, no.

Speaker 9 (09:06):
You see, it's so long since anyone's called me Sam.
I quite forgot it was my name, really quite forgot.
Old Sam has passed into oblivion. Well what do you
call yourself now? Kato Kato Kato van camp.

Speaker 2 (09:25):
Do you like it?

Speaker 5 (09:27):
Well?

Speaker 9 (09:27):
Sure, yeah, but then I like Sam all right too.
It didn't sound right after what after I took the
left hand path. What's that left hand path?

Speaker 13 (09:44):
Oh?

Speaker 9 (09:44):
Well, if you don't know, then you just don't know.
You could explain. It's all so difficult. It covers so
much territory. How can I explain if you don't already know.
If I already knew, you wouldn't have to explain.

Speaker 2 (10:00):
Ah, how right you are? How right well tony.

Speaker 9 (10:04):
After our frivolous year at the beach, we were no
more than a trio of hippies. You know, you Rowena,
and I know. I shuddered to think how calor we were,
how unripe I guess we were. Even if you and
Rowena hadn't fallen in love, I couldn't continue with that
sort of existence.

Speaker 1 (10:23):
So what did you do?

Speaker 9 (10:24):
Remember when we used to talk, the three of us
about the age of Aquarius? Yeah? Well, and do you
know how we bring about this golden age? Do you
know how we prepare ourselves?

Speaker 5 (10:36):
Well?

Speaker 9 (10:36):
No, I don't. My blatant gratification of our egos, that's
how Oh and do you know how we gratify our egos? No,
by surrendering ourselves to ourselves. Sam, I don't think Kato,
excuse me, Kato, I don't think I dig this sort

(10:58):
of thing. Frankly, I don't know what you're talking about.

Speaker 2 (11:00):
Look, my friend, what is it?

Speaker 9 (11:02):
We all want the best of us, the worst of us,
the highest, the lowest, the richest, the poorest.

Speaker 2 (11:07):
What do we all want?

Speaker 9 (11:09):
Money?

Speaker 2 (11:09):
Love? I don't know.

Speaker 9 (11:11):
Power, sheer, unadulterated power.

Speaker 2 (11:15):
Am I right?

Speaker 9 (11:16):
I don't know, sam Kada?

Speaker 16 (11:19):
Oh?

Speaker 2 (11:19):
I come now, of course you know, wouldn't you like
to control things?

Speaker 9 (11:24):
Things like what like?

Speaker 2 (11:25):
Anything?

Speaker 9 (11:26):
Like everything, people, events, everything. I don't think that's possible.
But if it were possible, well then I guess i'd
like it. Of course you would. Of course, so what
I so would everyone. No one wants to admit it.
Only a fewers like myself have the sublime courage to
confess up to it. We crave it, We lust after it,

(11:49):
We think about a day and night, We scheme, we study.
It's our god, our solitary goal. Power sheer, unadulterated power.
Just just what do you want to do with all this?

Speaker 17 (12:01):
Oh?

Speaker 9 (12:01):
What it eference? What we do with it? The thing
is to have it?

Speaker 18 (12:06):
You see.

Speaker 9 (12:06):
It's the attitude of the alcoholic towards liquor. He has
to have it, has to know it's there.

Speaker 19 (12:12):
It's his.

Speaker 9 (12:15):
A for a while, he'll get around and drink it,
I suppose, But for the time being, it's enough to
know it's his. Well, that's how we feel about Palm.

Speaker 5 (12:25):
Who'se We.

Speaker 9 (12:27):
The sons of Satan. I don't think you never heard
of us? I don't think so. Is it a religion
or religion? An art and a science? I see? I
guess I do.

Speaker 2 (12:42):
You don't really?

Speaker 9 (12:44):
Ah, poor Tony, you're one of the timid ones. You've
probably never committed a sin in your whole life. Oh,
I don't know about that. Have your own greed, lust, rage,
overweening pride? I think you have. If you only think
you have, then you haven't. Have you given in to them?

(13:05):
I guess mostly? I try not tie you say?

Speaker 11 (13:08):
You say?

Speaker 9 (13:09):
If you've never given in to them, you've never really
felt them. You've never given into sexual desire. How do
you know you've ever felt it?

Speaker 20 (13:17):
So?

Speaker 1 (13:17):
Well?

Speaker 2 (13:18):
That are well? Enough about me? How is Ruina? Are
you too? Happily married?

Speaker 21 (13:25):
Yes?

Speaker 9 (13:26):
Very happy?

Speaker 14 (13:26):
Yes?

Speaker 10 (13:27):
Ah?

Speaker 5 (13:27):
That sweet?

Speaker 9 (13:29):
You're not married? Oh, I haven't had time. She'd like
to see you sometime, I'm sure she will. Well, we
must get together, and if you'd come to dinner?

Speaker 21 (13:37):
Why not?

Speaker 9 (13:38):
Or you could come here if you can spare the town.

Speaker 2 (13:40):
I think I can.

Speaker 9 (13:41):
My experiment only consumes the daytime hours. Your experiment. I've
been working on it for almost a year, now, would
you well, I don't suppose you'd care to tell me
what it is you're working on, or is it a secret?

Speaker 15 (13:56):
Well?

Speaker 9 (13:56):
I don't see any reason why you shouldn't know. We're
old friends. It's a homunculus. Of what a homunculus? Don't
you know what a homunculus is? No? No, should I
A homunculous, my dear old friend, is a small artificial man,
like a dwarf, a mannequin, but made by man. The

(14:21):
creation of a homunculus is as old as alchemy. It's
an ancient art. And this is what you're working on,
creating a a a hormunculous. Of course, only my homunculus
will be possessed of magic powers. This little little man,
I think he will be no more than two feet tall,

(14:42):
perhaps less, but he will have the power to rule
the world, which is precisely what I intend he should do.

Speaker 7 (14:56):
What is the mystique of power? Everyone likes to think
he has some influence. I know I do that his
opinion is listened to, respected that he can even affect
some decisions.

Speaker 9 (15:11):
But power over other human beings.

Speaker 2 (15:17):
Power to help can turn into power to hurt.

Speaker 7 (15:20):
Power to raise up can become power to strike down.
Power to create transmutes into power to destroy.

Speaker 1 (15:30):
A formidable thing.

Speaker 5 (15:32):
Power.

Speaker 7 (15:34):
I'll come back to you shortly with that too.

Speaker 1 (15:47):
Tony and Rowena.

Speaker 9 (15:48):
Marsh have revived their old time friendship with Sam van Camp,
or as he now calls himself, Cato van camp Their
friend from the past, has become a member of an
exclusive sect called the Sons of Satan, dedicated to the
gratification of the ego cheaply by allowing the ego full

(16:08):
expression of its every desire.

Speaker 7 (16:11):
Kato himself is at work on a project he hopes
will terminate in the creation of a home an killers
a tiny artificial man with magic powers. As our second
act begins, it is one year later.

Speaker 9 (16:25):
Ah, what a marvelous dinner roomy man.

Speaker 12 (16:28):
I'm glad you liked Kato.

Speaker 9 (16:29):
Your cooking's changed since the old dair is the beach house.

Speaker 10 (16:32):
I should hope.

Speaker 9 (16:33):
So who was that dish we used to eat? May
not a seaweed or something kelp.

Speaker 1 (16:38):
I rather liked it.

Speaker 9 (16:40):
Roast beef is better. Well we've come a long way,
haven't we, tony professor. Now I am a mother, and you, Kato,
what would you call yourself?

Speaker 2 (16:50):
Profit of the ego? Perhaps?

Speaker 9 (16:52):
Come on, moraless for the future.

Speaker 1 (16:54):
Oh Cato, Really, I don't laugh.

Speaker 2 (16:58):
I'm one of you. Don't laugh.

Speaker 9 (17:00):
Well, I wasn't exactly laughing.

Speaker 2 (17:03):
It's just that I'm being pretentious. So what you think?

Speaker 9 (17:08):
Maybe a little look.

Speaker 12 (17:10):
I'm going upstairs and see how the baby is. You too,
finish your coffee?

Speaker 1 (17:12):
No care?

Speaker 9 (17:13):
Are There's some brandy someplace if you want.

Speaker 1 (17:14):
To want some?

Speaker 9 (17:16):
I don't think so. Actually I disapprove of alcohol. One
day we'll have a totally controlled society that will protect
us all against drugs, and alcohol will be at the
top of the list where it belongs. Drugs are false helpers, treacherous.
You never use them. Pull a pinch of hemlock, now,

(17:36):
then hemlock. That's what they used to kill Socrates, isn't it.
I don't take that much, needless to say, in small
doses it's a mind bender, but I don't rely on it.
It's too dangerous. Like night shades. I used to raise
it in my garden, but I don't anymore. I'm glad
to hear that. How is your experiment coming along? The

(17:57):
homunculous thing kindly refrained from calling it a thing? Okay,
your little man with the magic powers. I'm waiting for
a shipment of cordite.

Speaker 1 (18:08):
They're late with it.

Speaker 9 (18:09):
Then it's holding me up. But your prospects look good?

Speaker 2 (18:11):
Do they?

Speaker 9 (18:12):
For giving birth? Just what do you mean by that?
I mean, one day soon you'll have your homunculus? You
have your baby? My what your baby? That's what you want,
isn't it? Are you crazy or something? I looked up
a monculus in the dictionary. It means a little man

(18:33):
as mannikin I told you that first time you came
to see me.

Speaker 2 (18:37):
I told you that.

Speaker 9 (18:38):
He has But it also means fetus fetus, that's what
the dictionary says.

Speaker 2 (18:47):
I never knew that.

Speaker 9 (18:48):
That's what I meant when I said you were going.

Speaker 1 (18:50):
To have your baby.

Speaker 9 (18:51):
Rowena's had hers. Now it's your turn. That's not excruciatingly
funny in case you thought it was, I guess not.
By the way, have we ever thanked you for being
so kind and thoughtful all during the pregnancy and ever since.
Rowena appreciated it. But I adore Rowena. And you've been

(19:11):
wonderful with the baby. Not just all the presents, sitting
with him and all that.

Speaker 2 (19:16):
But I worshiped the baby.

Speaker 9 (19:18):
Sometimes you forget to tell people things, you know. I
just wanted to say that I'm glad we all got
together again.

Speaker 2 (19:26):
We should never have been apart.

Speaker 9 (19:28):
Yeah, well, those things happen, unfortunately.

Speaker 2 (19:32):
Oh look, I want to be getting on home.

Speaker 9 (19:35):
It's early, yes, but Owen will be down in a
minute when I want to get back to the house.
See if my court i'ds been delivered. Well, if you must,
you must. I'm sorry to eat and run. Oh that's
all right. I'll see you soon my house next time
you bet.

Speaker 10 (19:48):
Now, Rowena, you leaving.

Speaker 9 (19:50):
I have to lovely evening. Many thanks, You're welcome anytime. Tony,
just a slave to my project, will give my love
to the little houncular.

Speaker 2 (20:01):
Don't joke about it.

Speaker 9 (20:03):
Sorry, one day you'll see that little man is going
to take over the whole world, be in charge of everything.
And when that day comes, yes, but then watch your step.

Speaker 2 (20:17):
That's home. Just watch your step.

Speaker 9 (20:29):
Hey, there, aren't you going to get out of bed?
I don't much feel like it. And that's the truth.
I had to get my own breakfast, big deal. Ah,
you sick.

Speaker 11 (20:40):
I don't know.

Speaker 12 (20:41):
I'm not well.

Speaker 9 (20:42):
I don't think hold everything. I'll take your temperature. Kato
have a good time last night, and I think so.
And here stick this in your mouth. You went home early,
something about a shipment of cordite that was supposed to
arrive and didn't. Cordite and part of his scientific pe
so called the homunculous thing.

Speaker 2 (21:03):
Oh dash, I made a little joke about it.

Speaker 9 (21:07):
He didn't much like that. I can't blame him. It
wasn't much of a joke. But he sure takes that
thing seriously. I told him a monculus also meant fetus
according to the dictionary. Asked him when he was going
to have his baby. He didn't know how monculus also
means fetus, and for some reason it annoyed him, upset him. Okay,

(21:32):
let's have the thermometer. Poor Cato, Why, poor Cato, Holy Moses,
you've got a fever. You know that? And what is it?
One hundred and one and two tenths must be the flu. Look,
I'll call and tell him I won't be in oh no,
don't do I can't leave you alone here with the baby.

(21:54):
You shouldn't get out of bed.

Speaker 21 (21:55):
I'll call it doctor.

Speaker 9 (21:56):
No, no, no, not yet.

Speaker 12 (21:57):
I'll take some aspirin one hundred and Tony, don't please,
it's just the flu or a virus.

Speaker 9 (22:02):
Well, I'm going to call the university and tell them
I won't be in now.

Speaker 13 (22:04):
Don't do that.

Speaker 9 (22:05):
You can't stay alone here. Take care of the baby
and everything, and you can catch whatever it is you got.
Call Kato. He'll come over and sit with me. That's
an idea, and he's wonderful with the baby. Good idea.
I wouldn't do this, but I've got that meeting with
the dean. I can cancel the classes, but the meeting

(22:26):
is important. Yes, hello, O Kato, this is Tony. I
have a favor to ask of you. Rowena has come
down with something flu, she says, and I have to
go to the university meeting with the dean. And I
was wondering, could you possibly but she's running a fever

(22:48):
one hundred and one, a little over, and there's the baby.

Speaker 2 (22:53):
Could you why I'm just cleaning up here? Really a
message just for.

Speaker 9 (22:59):
A couple of hours.

Speaker 2 (23:00):
By that time.

Speaker 3 (23:01):
I'll be back.

Speaker 9 (23:02):
I'll cancel my classes.

Speaker 2 (23:04):
I'll be there.

Speaker 9 (23:07):
Thanks, make it soon, thanks a lot. He's coming, yeah,
right away. He said he was cleaning up the joint,
but he could do it later.

Speaker 12 (23:17):
Good old Kato.

Speaker 9 (23:19):
How do you feel, Kelly rotten? I hate to leave you,
but that meetings at nine?

Speaker 11 (23:25):
Now you run along.

Speaker 9 (23:27):
Cato has his own keys, that's right, he has. You'll
be all right till he gets here. I'll be fine,
sure you will. Kato will take good care of you.

Speaker 2 (23:45):
Rowena, Is that you Kato? Yes?

Speaker 9 (23:49):
Mom, so good of you. How everything's going to be
fine and dandy?

Speaker 2 (23:57):
How do you feel?

Speaker 9 (23:59):
Not so good?

Speaker 2 (24:01):
That's your thermometer.

Speaker 9 (24:02):
I just took my temperature. It's gone up one hundred
and three. Oh, dear, maybe I should call the don No, no,
not yet.

Speaker 2 (24:11):
Well, I'll call the door. You don't.

Speaker 9 (24:14):
He'll be all in a little while.

Speaker 20 (24:16):
Well.

Speaker 9 (24:16):
I brought you a nice pack and uh, a thermos
full of fresh orange juice.

Speaker 2 (24:20):
Could you drink some?

Speaker 3 (24:22):
M maybe?

Speaker 9 (24:23):
And I brought you a little pill to relax. Your
nurse help with you to sleep? Here we go? Oh okay,
Oh dear, my babies crying now? My no, no, you
just lie back and I'll go see what's the matter
with him? If anything, which I doubt you just uh relaxed?

Speaker 2 (24:40):
Now you here?

Speaker 21 (24:41):
Who?

Speaker 9 (24:43):
What's the matter A little man?

Speaker 2 (24:46):
I want to be picked up?

Speaker 1 (24:48):
Well, come on, let's it. God, I'm on f fay.

Speaker 22 (25:03):
Marlocanic turtle, mano pe piato.

Speaker 13 (25:12):
What are you saying?

Speaker 23 (25:14):
Oh?

Speaker 1 (25:14):
Just improvising, man.

Speaker 2 (25:16):
I got to sweep.

Speaker 22 (25:18):
Satos and tormente loney loney loney, coritanocato.

Speaker 13 (25:43):
Kato?

Speaker 23 (25:44):
Are you there?

Speaker 2 (25:45):
You want something growing?

Speaker 23 (25:49):
Hang on?

Speaker 9 (25:49):
Have I been asleep?

Speaker 2 (25:51):
But I have it on.

Speaker 12 (25:53):
It's the most amazing thing. I'm completely well. You mean
that I woke up feeling wonderful.

Speaker 9 (26:05):
I'm delighted. I took my temperature.

Speaker 2 (26:07):
It's normal, fascinating.

Speaker 12 (26:11):
I don't know who was that pill you gave me
or what? Oh I don't think, sir, Oh maybe just
a sleeping possibly.

Speaker 9 (26:17):
I'm going to call Tony. Do you have me the phone?

Speaker 8 (26:19):
Please?

Speaker 2 (26:20):
Here we are? Oh, baby's crying.

Speaker 9 (26:23):
Oh he's hungry.

Speaker 12 (26:24):
As soon as I talk to Tony, I'll feed him.
Strangest thing I never felt better. I'm going to get
up and then hello, Uh, may I have the Dean's office?

Speaker 8 (26:37):
Please?

Speaker 9 (26:38):
Thank you.

Speaker 12 (26:40):
Was the baby any.

Speaker 9 (26:41):
Trouble, Kado, Oh no, no, I picked him up. Yes,
it's mister marsh there. This is his wife calling. Thank you.

Speaker 12 (26:49):
I'm glad the baby didn't act up. He does sometimes,
not with me, Tony, it's me.

Speaker 13 (26:55):
Guess what.

Speaker 12 (26:56):
I'm well, absolutely WELLO came over and brought me a
nice pack and some orange juice and a little pill.
My fever had shot up to one hundred and three
by then. No, no, no sor right now. I went
to sleep for half an hour, and when I woke up,
I was well. Yes, I took my temperature.

Speaker 11 (27:14):
It's normal.

Speaker 12 (27:15):
I feel great. So, honey, you don't have to come home.
As soon as I hang up the phone, I'm going
to get up. Kato can go home and then do
his cleaning or whatever. And well, if you've already canceled
your classes, of course, I want to hear what the
dean said. Okay, I'll see you well whenever you get here.
But I don't want you to worry because I'm fine.

(27:35):
I'm halfway out of bed right now. Okay, see you, Kato.

Speaker 9 (27:41):
I'm getting out of bed.

Speaker 12 (27:44):
Go Me'll be home pretty soon, so you don't have
to worry about me. You can go home, Kato.

Speaker 13 (27:50):
You hear me.

Speaker 9 (27:51):
You are in the baby's room, aren't you?

Speaker 13 (27:56):
Kato?

Speaker 17 (27:58):
Well, I thought you were in here.

Speaker 13 (27:59):
Where did you come?

Speaker 8 (28:01):
Oh?

Speaker 13 (28:01):
Good lord?

Speaker 12 (28:03):
Oh no, oh no no.

Speaker 7 (28:15):
It's not often that a friendship allowed to languish for
so long can be revived. Circumstances, change interests, change the
status of one or another shifts, and the friendship suffers.

Speaker 5 (28:30):
It's a rare thing.

Speaker 7 (28:31):
When brought abruptly together after a long separation, friends discover
that affection and compatibility still live, that they can pick
up where they left off and go on. It's a
happy discovery. But go on to what that is the
question that abides. We'll be back shortly with a final act.

(29:07):
Reunited in friendship after a five year separation, Tony and
Rowena Marsh are enjoying the company of Kato van Kemp.
While Tony teaches at the university and Rowena becomes a mother,
Kato works earnestly at producing chemically a homunctulous, a tiny
man with magic powers. When Rowena falls ill with an

(29:29):
alarmingly high fever, Kato was asked to stay with her
and her young child so that Tony can keep an appointment. Now,
Rowena has awakened from a short sleep to find her
temperature normal and her health restored. But when she searches
for Kato in the baby's room.

Speaker 9 (29:50):
Kato, I thought you were in here. Where did you good?

Speaker 12 (29:56):
Tord Oh no, oh no, no, answered, damn you, Kato.
Answer the phone. Oh you've got to be there. If

(30:17):
you're not, If you're.

Speaker 13 (30:19):
Not, where are you? Where have you gone?

Speaker 12 (30:22):
Answer the phone, Tony, Tony, please come home, Please come home,
be here, operator get me the plea. Oh, never mind,
never mind going. Oh, Tony, Tony, you said you were
coming home. I need you, Tony said you. Oh Tony,

(30:50):
what's this? The baby's gone?

Speaker 13 (30:53):
What are we going to do?

Speaker 9 (30:54):
I wait a second, calm down. The baby's what He's gone?

Speaker 12 (30:58):
Disappeared, vanished, he could Kato took him.

Speaker 9 (31:01):
Oh I don't are you sure not?

Speaker 24 (31:04):
Wait?

Speaker 12 (31:05):
Now baby is gone and Cato is gone. I have
looked all over this house four times. They are both gone.

Speaker 9 (31:10):
I'll wait a minute. Tell me exactly what happened last
time I talked to you. You said you felt wondering. I did.

Speaker 11 (31:16):
I did?

Speaker 12 (31:17):
Kato came over and gave me a pill. And some
aren't juice, and I went to sleep, but by that
time my favorite was way up.

Speaker 13 (31:22):
But I told you all that on the phone.

Speaker 9 (31:24):
Where was Cato when you called me? He was in
the baby's room. The baby had cried.

Speaker 12 (31:28):
I knew he was hungry, and I felt so goodbye then,
and I said I'd get up and see him as
soon as I talked to you. So after I hung
up the phone, I got out of bed and went
in the baby's room and it was empty. The crib
was the crib was empty, and Cato wasn't there.

Speaker 9 (31:43):
It's all crazy. Did you call Kato at home?

Speaker 8 (31:46):
Well, what do you think?

Speaker 12 (31:47):
I called him six times, but nobody answers. I was
half out of my mind and I started to call
the police, but then I thought I'd wait till you
got here.

Speaker 13 (31:54):
What are we going to do?

Speaker 9 (31:57):
I don't like to call the police right away.

Speaker 25 (31:59):
Kato has my child.

Speaker 9 (32:00):
I don't think he'd hurt him.

Speaker 12 (32:03):
How do we know that crazy freak might do anything.

Speaker 9 (32:06):
We've been seeing him for a year. He's never done anything.

Speaker 12 (32:08):
How do we know what he does when he's not
with us working on those insane experiments, practicing that nutty religion.
Satanism is not what you call us. Yes, but that
doesn't mean well, it's not what you're thinking. I mean,
they don't believe in murder. It's nothing like that.

Speaker 9 (32:25):
Really, believe me.

Speaker 13 (32:26):
You don't know.

Speaker 12 (32:28):
You've never met any of those sons of Satan except Kato.

Speaker 9 (32:31):
But he's been so good to us. He's been very sweet,
a good friend.

Speaker 12 (32:35):
He called the police, tell him to go to Cato's
house and arrest him for kidnapping.

Speaker 9 (32:39):
We don't know if I want my baby back.

Speaker 12 (32:41):
Before that crazy monster kills him.

Speaker 9 (32:43):
Look, before we call the police, let me go over
to Kato's house.

Speaker 13 (32:47):
He is not there.

Speaker 19 (32:48):
I told you.

Speaker 12 (32:49):
He doesn't answer the phone.

Speaker 9 (32:50):
Maybe he's down in the basement in his laboratory. Maybe
he didn't hear the phone. Let me go over there.

Speaker 12 (32:55):
I'm going with you.

Speaker 9 (32:56):
If Kato took the baby, then the baby must be
in his house. End of the block, driver, last house.
This is it here, keep the change. Come on, Tony.

Speaker 12 (33:20):
Look what the basement windows are smashed blown out. It
looks like there's been an explosion in the laboratory.

Speaker 13 (33:29):
Do you think the baby.

Speaker 9 (33:30):
I don't know. I don't know if anything has happened
to my child. Hang on we'll find out.

Speaker 13 (33:35):
Tell me break it down, Break the door down.

Speaker 9 (33:39):
Okay, stand to one side. This won't be hard. Come on,
Do you think I don't know any more than you do?
He's probably in the basement. Do you think he said
I don't know? How should I know?

Speaker 13 (33:53):
The baby?

Speaker 1 (33:53):
Tones at the door to the basement.

Speaker 13 (33:55):
Are you going down there?

Speaker 5 (33:56):
Yes?

Speaker 9 (33:58):
Wait a minute, you hear something?

Speaker 5 (34:01):
No?

Speaker 9 (34:03):
Yes, it sounds like like someone's sweeping. Yeah, Kato, it
could be Kato, Kato?

Speaker 24 (34:18):
Are you down there?

Speaker 9 (34:20):
What it's Tony?

Speaker 5 (34:23):
Tony?

Speaker 9 (34:23):
And Rowena?

Speaker 24 (34:25):
Is that you down there?

Speaker 9 (34:27):
I'm cleaning up. Would you mind coming up here for
a minute. We have something we want to ask you.

Speaker 1 (34:37):
Oh, all right, there you are. Hello, Kato?

Speaker 9 (34:45):
Where is the baby upstairs? He's here upstairs my bedroom?
Is he all right?

Speaker 12 (34:52):
Suddenly from I'm going upstairs to get him?

Speaker 2 (34:56):
Rowena upset?

Speaker 9 (34:57):
Look, Lets you and I sit down for a minute. Okay,
for sure, I would have finish sweeping up of the basement.
I guess I can wait. What happened down there? An explosion?
That's what it looked like from outside. Remember last night
I told you I had to get home to check
on a shipment of Cordie. Yeah, I remember you telling
me there.

Speaker 2 (35:14):
That's why I loved so early. Right after dinner.

Speaker 9 (35:16):
Well, the court ide was here when I got home,
and I already had a good supply of forminative merkery.
I thought i'd take the next step, the decisive step
in my experiment. You mean the homunculous. Yes, you always
make fun of it, but I'm very sincere. I know
you are a little a little man who can rule

(35:39):
us all with magic. It's a beautiful concept. Don't you
think what happened when you got home? Well, I still
don't know what I did wrong. Perhaps I was tired,
or perhaps saw my calculations had been in error for
the very start.

Speaker 21 (35:54):
I really don't know.

Speaker 9 (35:56):
But there was an explosion and the laboratory was wrecked.

Speaker 2 (36:00):
Gito.

Speaker 9 (36:02):
When I called you this morning and asked you to
come over and stay with Rowena, you said you had
a lot of cleaning up to do. Was this what
you meant the laboratory?

Speaker 2 (36:13):
Yes? I felt very badly about it.

Speaker 9 (36:15):
So much work, so much planning, so much thought, and
I was so close, so close, and then to lose
it all.

Speaker 2 (36:25):
It broke my heart.

Speaker 9 (36:26):
But you came to my house anyway. Oh, I could
clean up anytime. I couldn't possibly start. Oh, I don't
have the money, I don't have the heart, you know.
So you came to my house and then what Well,
Rowena was very, very sick. You shouldn't have left a
tony or the baby, I know. I took crow in

(36:48):
a nice pack and some orange juice and a little tranquilizer,
and she went to sleep. I sang to the baby,
and he went to sleep. And when Rowena woke up,
she was well. The fever had disappeared. I know. She
called me, told me, well, while she was talking to you,
it dawn about me. The baby had done it. The

(37:09):
baby had made Rowena. Well, of course he couldn't have
done it without my help. That goes without saying. So
you took the baby?

Speaker 2 (37:18):
Well, I had to.

Speaker 9 (37:19):
He was my homunculus, you see, Keto, that was wrong.

Speaker 2 (37:25):
Wrong.

Speaker 9 (37:26):
The baby belongs to us. I can't keep it, no,
not even for a little while.

Speaker 5 (37:35):
No.

Speaker 26 (37:38):
Oh, well, I.

Speaker 9 (37:40):
Suppose somewhere, somewhere there's another tiny little man with magic powers.
I just had to find him. Have you given up
your idea about the homunculus?

Speaker 2 (37:53):
Well, not completely.

Speaker 9 (37:56):
Someday, if I can find some money if I have
the heart for it. Perhaps someday. I'm really sorry you
can't let me.

Speaker 2 (38:06):
Have your baby.

Speaker 9 (38:08):
It's just not possible. I'd have taken good care of him,
I'm sure you would, and I'd have taught him magic,
and one day, who knows, he might have ruled the world.

Speaker 2 (38:22):
Kato.

Speaker 1 (38:23):
Are you ready to go home?

Speaker 13 (38:24):
Tony?

Speaker 9 (38:26):
Yes, Rowena, yes, Kato. You look very beautiful holding a
baby like that, and the baby looks very happy.

Speaker 26 (38:40):
Oh.

Speaker 2 (38:40):
Maybe he's better off with you and Tony than with me.

Speaker 9 (38:50):
I wonder what Kato's doing now alone in that house
with the ruins of his experiment.

Speaker 12 (38:56):
No, I couldn't care less. I think he should be
put away someplace.

Speaker 9 (39:00):
Oh, I don't know. He's harmless.

Speaker 1 (39:02):
You think so, do you?

Speaker 9 (39:03):
He didn't do us any harm? Really, well, all the same,
I'm sorry for him. You are why? Oh? He wanted
so badly to be a big man, and he never
was anything.

Speaker 2 (39:16):
Really.

Speaker 9 (39:17):
He wanted to be rich, but he didn't know how
to go about it. He wanted to be loved, but
he never was not really. But most of all, he
wanted to be powerful, to run things. What's the point
of being powerful and running things. I'd rather be happy, Yes,
but it's very important to some people to have power.

(39:41):
But Cato didn't want to get it the ordinary way,
and he didn't want the ordinary kind of power. He
wanted it to be magical.

Speaker 8 (39:49):
You know.

Speaker 9 (39:50):
He took the baby because he thought the baby had
made you well.

Speaker 2 (39:55):
With his help.

Speaker 9 (39:56):
He thought he could make the baby into a homunculus
once he taught him magic. Oh, what nonsense. I got
well because because I, yes, why did you? Why did
you get well? So suddenly the way you did well,
I slept. That wasn't enough at pill, that was just

(40:20):
a simple tranquilizer.

Speaker 12 (40:23):
I got well because because I had to for the
baby's sake. Yes, while I was sleeping, I realized that
the baby was in the next room with Cato, and
that he wasn't safe there, that I must get well

(40:46):
and look after him. And so so.

Speaker 9 (40:49):
I got well. Yes, that's what happened. And you don't
call that magic, No.

Speaker 11 (41:00):
It's.

Speaker 9 (41:02):
It's mother love, that's all. That's all very powerful magic.
You know what Cato said to me about power that
first day when I went to see him, I asked
him what he would do with it if he had it?
What would he do with it. I don't think he
had any idea what he'd do with it. He said,
it didn't make any difference. The thing was to have it,

(41:26):
he said. It was the way an alcoholic feels about liquor.
He has to know it's there, it's his. And that's
how Cato feels about power. It's crazy. He said, if
he could keep our baby for a while, he'd teach
him magic and he might grow up to rule the world. Now,
the only world he's ever going to rule is right

(41:46):
here in this room.

Speaker 1 (41:48):
That's it.

Speaker 13 (41:49):
That's it.

Speaker 9 (41:51):
What a baby's the only one who ruled the world,
his world, his little immediate world. That's what's with Cato.
Of course, what he wants to be a baby again.
He wants the power back that he had when he
was a baby. Anytime he opened his mouth and yelled,

(42:12):
somebody put something in it. He didn't have to work
for it, he didn't have to deserve it. No, it
all came to him by magic, the magical power of
a baby. Of course, it's all very clear. The only
person with power, the only person with magic, is the baby.

(42:34):
A baby's a tyrant, and we dare to call him cute.

Speaker 7 (42:46):
The tyranny of the baby lasts only a little while
all too soon the little king is asked.

Speaker 2 (42:53):
To give up his absolute power.

Speaker 7 (42:55):
With smiles or threats or tears, we coke so frighten
or blackmail him into becoming tame and civilized.

Speaker 2 (43:04):
No wonder he rebels, No wonder.

Speaker 7 (43:07):
He can never desert completely the world where his cry
was law. The degree to which he can relinquish the
memory of it is the degree to which he conforms
to our reality.

Speaker 5 (43:22):
I'll be back shortly.

Speaker 7 (43:35):
Poor baby, when he discovers that the world does not
after all revolve around him, when for months it had
seemed that it did, now begins the laborious process of
finding a place in that world, a place of warmth
and welcome.

Speaker 1 (43:52):
He needs love, He needs money.

Speaker 7 (43:55):
Above all, he needs self respect. Without these things, he
will not find his proper place in the world. In fact,
he will feel himself forever in terrible danger of falling
off it. Podcast included Gordon Gould, Joan Lovejoy, and Ralph Bell.
The entire production was under the direction of Hymon Brown

(44:20):
and now a preview of our next tale.

Speaker 25 (44:24):
Just let me put it.

Speaker 27 (44:25):
This way, if I ever lost you, anyway to anyone
you know something, why you'd never get anything from it
because you can't ever get rid of me, alive or dead.
I'm going to haunt you the rest of my life.

Speaker 9 (44:42):
How's that for the craziest.

Speaker 28 (44:45):
I love you, Adam duncan.

Speaker 27 (44:48):
Keep the home fires burning, the things.

Speaker 29 (44:54):
That people think. It was all clear as glass. Joyce,
the clinging mine who would never leave me, jan the
woman I loved who would never have anything to do
with me as long as Joyce was alive, A simple
enough equation.

Speaker 5 (45:11):
The only escape was for Joyce to die.

Speaker 2 (45:14):
Missus E. G.

Speaker 7 (45:15):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre until next time, Pleasant Dream.

Speaker 6 (46:06):
Weird Darkness is celebrating our birthday this month. We use
this annual celebration to help those who struggle with depression.
Every October, we raise money for organizations that help people
overcome depression, anxiety, and thoughts of suicide and self harm.
It's called Overcoming the Darkness and you can make a
donation right now at Weirddarkness dot com slash hope. That's

(46:27):
Weird Darkness dot com slash hope. A gift of any
amount helps with every dollar bringing hope to someone affected
by depression. To donate, to get more information about overcoming
the darkness, or defined hope to battle back the darkness
of depression in yourself or someone you love. Visit Weirddarkness
dot com slash hope. The fundraiser ends on Halloween night

(46:47):
at midnight, so please give right now while you're thinking
about it. That's Weird Darkness dot com slash hope.

Speaker 5 (46:58):
That's me.

Speaker 30 (47:09):
Good evening, ladies and gentlemen. This is Barton Drake speaking
but Tonight's drama. I've selected case history number seventy two
from my book Mystery is My Hobby. I call it
Engaged to Death. Tonight's story took place three weeks ago
in New York. I've been invited to attend a party

(47:32):
given by Senator Ralph Hobart to announce the engagement of
his niece, Diane Hobart to Mark Russell.

Speaker 1 (47:39):
Youthful millionaires. Oh h y Dane.

Speaker 11 (47:47):
Wandering around looking for you.

Speaker 2 (47:49):
Come on, let's get.

Speaker 11 (47:50):
Out of here.

Speaker 31 (47:50):
It's all the gods, should you all the parties for ash?

Speaker 8 (47:54):
Well?

Speaker 32 (47:54):
Sure it is, which means we could have a few
special brothers won the dan.

Speaker 11 (47:59):
Something important I want to talk.

Speaker 23 (48:00):
It's important.

Speaker 17 (48:01):
I suspect this is a tricky and then the trick
me wo when out there?

Speaker 1 (48:06):
You excuse me? A trick?

Speaker 11 (48:10):
Here we are. Oh, it's it's good to get away
from next jabbering mob.

Speaker 33 (48:15):
For a while.

Speaker 11 (48:16):
Oh, darling, you shouldn't call our friends jabbering mom.

Speaker 17 (48:20):
So what is this important thing you.

Speaker 25 (48:22):
Have to tell me?

Speaker 32 (48:23):
Well, that's all you very goodful, oh Mark, second day
and not just very much.

Speaker 34 (48:34):
Third was going to be very very happy mister and
missus Mark Rustle.

Speaker 1 (48:38):
Mark Russell. Did you get me in here?

Speaker 33 (48:41):
This is the most important reason I want to call.
Oh Mark, love me doll.

Speaker 35 (48:52):
Oh more than I ever thought.

Speaker 25 (48:53):
It possible to love anymore?

Speaker 33 (48:55):
Are you happy?

Speaker 25 (48:56):
It's so happy that it hurts.

Speaker 11 (49:00):
Say those things just the way I like to hear.
That's why I keep back.

Speaker 19 (49:03):
I'm glad I.

Speaker 5 (49:04):
Do things the way you like.

Speaker 11 (49:06):
It's important to the why I should know what I've
been like.

Speaker 1 (49:09):
May just stays your eyes. Well, I asked, and now
for a surprise, is surprised?

Speaker 11 (49:14):
Sure, I engage me party, isn't it? Is it customary
for the groom to be to give the bride to
be present.

Speaker 13 (49:20):
He has given me so much.

Speaker 11 (49:22):
Let me see. Oh, oh good, heavens.

Speaker 17 (49:26):
What's the matter.

Speaker 1 (49:27):
I must have left it up in my room.

Speaker 13 (49:29):
You like fine?

Speaker 11 (49:30):
Sing the groom brings a gift to the bride, and
I forgets you has It's probably my other suit. I
must have forgotten. When I change, I'll get it. Let
me take a minute?

Speaker 1 (49:37):
Is better not take more?

Speaker 11 (49:38):
I'm dying of curiosity.

Speaker 1 (49:39):
I won't you go away back some shape?

Speaker 11 (49:42):
How's the old.

Speaker 1 (49:46):
M oh, Diane?

Speaker 5 (49:52):
Don't you know me?

Speaker 11 (49:53):
Diane?

Speaker 19 (49:54):
Pah, I mean it.

Speaker 35 (49:57):
Capty it capt me, Paul.

Speaker 11 (49:58):
It is Paul.

Speaker 27 (49:59):
Guy.

Speaker 11 (50:00):
It's your kid, brother, Paul. I hope you'd be glad
to see me.

Speaker 36 (50:05):
Hold on, glad, put your arms around me, hold me,
says it.

Speaker 37 (50:13):
It's just like I dreamed you with da Hey, quit crying,
will you? You'll have me doing it in a minute.

Speaker 11 (50:20):
Quit it, says, quit it. I've only got a few minutes.

Speaker 37 (50:26):
I escaped this last night. I couldn't stand it any longer.
I guess I wasn't made to spend the rest of
my days in jail.

Speaker 35 (50:34):
Paul, you shouldn't ocle.

Speaker 11 (50:35):
Ralph was trying, we all were trying to get you through. Yes,
I know, for six years. I couldn't wait any longer.
Day after me not alive, I'd rather be dead. Do
go back, I mean, it, says I would listen. I
have got to get out of him. Now someone might
come in. I just wanted to see you once more
to to ask your yes. You don't believe I murdered

(51:00):
Geen psalmuth? Do you?

Speaker 17 (51:02):
Of course I don't, Darling, I'll never believe it was
an accident.

Speaker 8 (51:05):
I know it was.

Speaker 37 (51:06):
Thanks sirs, That's all I wanted to hear. You were
always well died, the only one who believed I was
anything but rotten.

Speaker 11 (51:14):
You weren't bad, You weren't. Don't give you another chance.
People who are branded killers don't get a second chance.

Speaker 18 (51:20):
Die.

Speaker 1 (51:21):
Don't. Let's forget that.

Speaker 11 (51:24):
Take care of yourself, says Oh. Tell Mark Whissel that
he's lucky. Tell him an old friend said the savor.

Speaker 17 (51:29):
Don't go po stay here, give yourself Rob, never go
Ralph and make.

Speaker 11 (51:33):
Chance on me. Look, Mark Whistle doesn't even know you
have a brother with the jail bird. I think I'm
going to ruin your chance at happiness. It doesn't menopaulse
let us try and help. Mark will understand what hecky Willis.
Guys are funny when it comes to their wife's relatives.
It wouldn't help him go Ralph either to know about me.
This is his first term in a hole. Paul, Paul,
those things are so unimportant. Trying to run away like

(51:56):
this will.

Speaker 35 (51:56):
Hurt you so much.

Speaker 11 (51:57):
Please know you, Sonny. I'm going now.

Speaker 37 (52:01):
Just forget I ever existed. I won't see you again. Guys,
will you give me once more?

Speaker 11 (52:11):
You want you good?

Speaker 17 (52:14):
Why are you in the wrong care varns darling?

Speaker 13 (52:21):
Letty? I want you an old friend, darling.

Speaker 17 (52:26):
Oh this is this the lily white Diane Hobard found
nothing with an old stand of your own engagement party.
Oh what a juices would have got?

Speaker 11 (52:35):
That isn't so d Please this is my dian don.
You can't thanks what have moved to both of us?

Speaker 15 (52:41):
Oh?

Speaker 17 (52:42):
Come, Darling, you might as well introduce me.

Speaker 1 (52:44):
We'll all have to meet him sooner.

Speaker 17 (52:46):
Ladies, you won't I mean, Betty, do you have to
tell everyone?

Speaker 10 (52:50):
Oh?

Speaker 17 (52:51):
So there's a forgotten mother come to life. Drop him
to say his son's farewells and says his tendered lessings
upon your eager young list, and then bingo, He's gone
into limbo, and little Diane, the sweet memory of the party,
still lingring in her innocent thoughts, goes on and sacrifices
herself as the Mark Ruffle millions.

Speaker 8 (53:11):
Not that is?

Speaker 11 (53:13):
How can you be so so?

Speaker 17 (53:14):
Volga so Jasie said, I you being a little preductive,
my dear, If I ever saw more vulgar distract than he.

Speaker 8 (53:21):
Stop it.

Speaker 35 (53:22):
Nothing that you say is true, nothing that I say
is true?

Speaker 17 (53:28):
And you won't mind me repeating it to Mars? Were
you repeating it to and you wouldn't Oh, wouldn't I listen?
You double crossing little cheat.

Speaker 11 (53:37):
Someone's coming. I'm getting out of here so long, Diane?

Speaker 1 (53:40):
Sorry, no way, don't go.

Speaker 10 (53:43):
Oh, I keep witting in here for me.

Speaker 32 (53:48):
Oh?

Speaker 21 (53:50):
He love?

Speaker 17 (53:50):
Then to me, I'm not darling.

Speaker 9 (53:52):
You just missed the feature attraction.

Speaker 1 (53:54):
He's your attraction.

Speaker 33 (53:56):
What are you talking about, Diane?

Speaker 11 (53:58):
Is anything wrong?

Speaker 17 (54:01):
Kelly Darling? I will saddy you?

Speaker 11 (54:05):
Oh?

Speaker 2 (54:05):
Please me?

Speaker 1 (54:06):
Well, there seems to be drama going on here from
which you and I excluded Mark. Diane supposed he let
us in on the conspiracy.

Speaker 31 (54:14):
Oh, I don't know what to do.

Speaker 1 (54:16):
Well, there Heaven's name.

Speaker 5 (54:17):
What's it's all about?

Speaker 11 (54:19):
Dad?

Speaker 17 (54:20):
I didn't what Darling leaning, Diane because he took you
away from me. Oh, no, hardly. I've merely been observing
Diane in a rather angeress pre nuptular sequence.

Speaker 11 (54:33):
You know what, Dianne, what she's saying?

Speaker 25 (54:36):
I don't know, Mark, there was a mistake.

Speaker 11 (54:39):
I mean's very cleaning.

Speaker 25 (54:41):
And what Kelly Darling tell him?

Speaker 17 (54:45):
How I came in and found you kissing another man,
a rather blessing young man, a mother.

Speaker 1 (54:50):
You what, Diane?

Speaker 11 (54:52):
Is this true?

Speaker 13 (54:54):
Yes?

Speaker 31 (54:55):
I mean, Diane, Please, Mark, Please, it isn't what you see.

Speaker 11 (54:59):
Isn't what I think?

Speaker 17 (55:00):
See Diane, Mark, isn't.

Speaker 11 (55:01):
It easy to know?

Speaker 17 (55:02):
But you were kissing another and that is totally natural
for him.

Speaker 19 (55:05):
To be curious.

Speaker 11 (55:06):
Oh, I don't believe it. I can't believe this.

Speaker 9 (55:11):
I an't tell me.

Speaker 1 (55:12):
It isn't true.

Speaker 33 (55:13):
It isn't true much.

Speaker 11 (55:14):
Not the way Betty means.

Speaker 1 (55:15):
It's well, it's just if there was another man here?

Speaker 11 (55:20):
Who was he?

Speaker 16 (55:21):
Yes?

Speaker 11 (55:22):
Tell us Darling where he was doesn't matter. I want
to know. Is he's Betty telling the truth?

Speaker 8 (55:29):
She is? Mark, Jolly.

Speaker 17 (55:30):
If you don't believe me, you better look for yourself.
He got me far away. He went out through the
fence doors.

Speaker 11 (55:35):
Why didn't you go look?

Speaker 1 (55:36):
I an't tell me if what Betty says cool, ask
for him, Diane, he has a right to know.

Speaker 17 (55:41):
No one Darling tell them, yes, yes, yes, it's true.

Speaker 19 (55:45):
It's true.

Speaker 11 (55:45):
Betty did find me kissing end of them?

Speaker 36 (55:47):
Is that what you want to know?

Speaker 19 (55:49):
I don't wait to be alone alone?

Speaker 11 (55:52):
Mark?

Speaker 1 (55:52):
What are you going to do? What do you think? Mark?
Put down that letter open?

Speaker 27 (55:57):
Now?

Speaker 1 (55:57):
Where are you going?

Speaker 11 (55:58):
Mark?

Speaker 38 (55:58):
Coin h going out after they saw a man whom
I so called future wife thinks it's all like a kiss.

Speaker 1 (56:34):
I'd like to speak to Inspector d and please it
is st and Drake calling.

Speaker 14 (56:39):
A minute, colleagues, Okay, how about but I thought you
went through engagement.

Speaker 30 (56:46):
I did inspect her and the sense of the whole
about house. Now, I was wondering if you could come
out nothing doing.

Speaker 14 (56:52):
I don't go for a second an invitation if they
didn't want me to.

Speaker 24 (56:56):
This would be.

Speaker 30 (56:56):
An official call Infector. I had the mystery to south them.
I need your help.

Speaker 14 (57:01):
As a mystery. You would get mixed up in something
like that.

Speaker 30 (57:05):
Okay, who's no one's been able to identify the body yet.
Inspector apparently he's a stranger to everyone here a.

Speaker 14 (57:12):
Sneak say somebody tried to asmisch the engagement.

Speaker 30 (57:16):
And if that's all they were to it, I wouldn't
be calling you the motive. It's far more important than robbery,
and the victim is someone whom no one wants to
admit recognizing. Does that interest youre efficiently? Or are you
going to sit there and ask a lot more questions?

Speaker 14 (57:32):
Okay, okay, you don't have to get sold. Keep your
shirt on.

Speaker 1 (57:35):
I'll be out there very well.

Speaker 30 (57:36):
I'll be waiting for you and Inspector. I'd rather you
came alone the reasons that I'll explained later. It's important
that no one's from the department sees the victim until
we have this mystery cleared up. Thanks you, Inspector. See
you in about an hour. Goodbye, Hello, Senator. Just talk

(57:56):
to inspect to that and you'll be over here shortly.

Speaker 1 (57:58):
Oh fine, I was wondering be possible to have the
body removed.

Speaker 30 (58:03):
I have no authority to allow the body to be removed. However,
there's one thing I can suggest. Yes, you can tell
all the two of your guests they can go home,
all the two. But who are those two to dr
Mark Russell and Betty Berkeley.

Speaker 1 (58:16):
Mark and Betty, does that mean that you suspect one
of them of committing the.

Speaker 30 (58:19):
Climing that they are two of four people I believe
had motives, motives, won't.

Speaker 1 (58:23):
Harp let anyone has a motive for beginning a seat chief.

Speaker 30 (58:25):
I mean other than the fact that he was attempting
to rob the house, that the attempted robbery were the
only reason for the murder, and alarm would have been
raised immediately, Senator. The person who fights out a thief
doesn't keep quiet about it for an hour.

Speaker 1 (58:36):
Oh, I think you're trying to make a big project
out of this, Drake. It's a simple case of attempted
robbery with the thief being course and accidentally killed. Is
that why your niece suddenly disappeared from her own engagement party?
Sent of thing hey?

Speaker 30 (58:48):
When I found out, she was in tears and refused
to give any explanation. Young Mark Russell refused to talk
to his bride to be, and Thatty Berkeley is going
about looking like the Cattus squad of the Sinaric.

Speaker 1 (58:59):
Oh, daunting, Your imagination is running away with you. Drink
is it?

Speaker 11 (59:03):
Tell me?

Speaker 5 (59:03):
Senator?

Speaker 1 (59:04):
Are you quite sure that you didn't recognize them as
a victims?

Speaker 5 (59:07):
Ah?

Speaker 1 (59:08):
Good, heavens No, I've already told you I didn't. Why
did you ask?

Speaker 30 (59:13):
Because I think you're lying. I have reason to suspect
that you know him better than anyone here. He learnspector.

Speaker 1 (59:34):
Come in. You know, I've been thinking about that Scooball
conversation we had on the telephone. There's something talk out
about this deal, and I want to know what it
is before I start pulling your testnuts out of the fire.
I really inspected, that's what I mean.

Speaker 9 (59:48):
That tone of voice.

Speaker 1 (59:49):
There's something some funny business going on around here, and
I'm telling you right now I'm not.

Speaker 2 (59:54):
Going to be the goat.

Speaker 30 (59:57):
Inspector. Sometimes I think you don't trust me. Says nothing
funny about murder, you know there.

Speaker 1 (01:00:03):
Come on, I've got to show you my suspects. Oh, son,
I got a bunch of suspects when you tell me
that over the telephone anyway.

Speaker 30 (01:00:11):
That's a gentleman wearing the double breath of white linen suit,
the Senator Ralph Hobut. The young lady holding the handkerchief
to her eyes is a Senator's niece, Diane Ober uh huh,
young man, Okay, okay.

Speaker 11 (01:00:21):
What is a tour of inspection?

Speaker 1 (01:00:23):
Why don't you deduce me?

Speaker 11 (01:00:25):
Long range stuff isn't getting us.

Speaker 1 (01:00:27):
Anywhere in good time? Inspector.

Speaker 30 (01:00:29):
At first, I have a more important introduction to make.
As I was saying, the young man is Mark Russell,
Miss Hobart's betrothed, and the other young lady is Betty Berkeley,
a friend.

Speaker 1 (01:00:40):
Now come this way.

Speaker 9 (01:00:41):
Wait a minute five?

Speaker 30 (01:00:42):
Hi want yes, Senator? Oh, I'm sorry, this is Inspector.

Speaker 11 (01:00:46):
No dent and it's about time.

Speaker 1 (01:00:47):
Hi, good evening, Inspector, and it's Drake. I know you
asked us all to stay in this room, but I'd
like permission to grow up to my room and change
my clothes frankly or white and in suit at a
time like this, you understand.

Speaker 30 (01:01:00):
Of course, Inspector. Has the Senator your permission to go
up and changes to a you're.

Speaker 1 (01:01:05):
Asking me, Oh, okay, okay, go on change your clothes, Senator.
Only what I want to know?

Speaker 16 (01:01:13):
What?

Speaker 11 (01:01:13):
Why'd I give a dollar? I don't know what kind
of deal you're pulling. If I didn't know you still, well,
what are you looking after?

Speaker 39 (01:01:19):
The Senator for m I just subject so cover man,
come and hitris. I want you to meet doll Court inspector.

Speaker 1 (01:01:31):
What's he doing here? I thought the murders to place outside,
it did, Inspector. I called doctor Ainsworth, had him come
over and makes examination aine Worth that all funny, donny,
since he's about to retire. I didn't think he'd bother
to come out of night.

Speaker 30 (01:01:42):
I know, but you see, I had no authority to
move the body, and inge Worth won't talk, won't talk?

Speaker 1 (01:01:47):
What's all this secrecy about? Aren't we gonna tell anyone
about this murder? Do you recognize the dead man?

Speaker 11 (01:01:54):
Inspector say, wait a minute, hey, does look familiar?

Speaker 1 (01:01:57):
I thought he would, Yes, Sir.

Speaker 11 (01:01:59):
I can't place him.

Speaker 1 (01:02:00):
So still that and I'm inspector.

Speaker 30 (01:02:02):
Don't think too hard. I don't want you to play
them yet. Now, then let's get down the fact fact.

Speaker 1 (01:02:08):
You haven't told me a fact for so long that
I probably wouldn't believe it anyway.

Speaker 30 (01:02:12):
The victim was stabbed twice, inspector, once in the back,
once in the chest, So I know that that eliminates
the possibility of suicide. You know, also eliminates the chance
that the light knife was thrown. As a matter of fact,
that establishes in my mind that the blows were delivered
while in close content.

Speaker 1 (01:02:27):
Wonderful, mister Jake, you certainly are shot tonight, Thank you. Indent.

Speaker 30 (01:02:33):
The little weapon was a letter opener, which I found
several people where the victim lay. The handle was grass stained,
which indicated to me that the fingerprints had been wiped out.

Speaker 1 (01:02:41):
Well, well, now I suppose you're going to tell me
that you know who murdered the guy, not just chet inspector,
although of course I know it's.

Speaker 11 (01:02:48):
Not just checking what you know who the Gilly party.

Speaker 30 (01:02:51):
Yes, because I'm surprised you should ask inspector, and you
know that I've been.

Speaker 1 (01:02:55):
On the scene for more than two hours.

Speaker 30 (01:02:56):
Yeah, holy me, altho, in just a minute, I'll be
able to Oh hello, miss Berkeley, come in. We're just
about to go and have a talk with you.

Speaker 17 (01:03:07):
I thought you were thought And you want to ask
me what happened in again just before before it's happened,
don't you.

Speaker 1 (01:03:13):
Well, as a matter of.

Speaker 17 (01:03:14):
Fact, I know the wholebot to Mark Rattle of my friends.
You just like asking me to rather implicate him.

Speaker 19 (01:03:21):
And yet it's my dauty.

Speaker 17 (01:03:23):
I'm not Frey Boston.

Speaker 9 (01:03:24):
What she means his boss that she's just dying to
tell everything she knows.

Speaker 17 (01:03:28):
I beg your pardon, is it person Barton?

Speaker 30 (01:03:30):
This person, Miss Berkeley, is Inspector Noah Denton. That's for
telling us what happened in the den. It won't be
at all necessary.

Speaker 11 (01:03:36):
Not necessary, but it's important.

Speaker 30 (01:03:38):
It's just I know, but I'm already aware of what
happened in the den and what happened afterwards.

Speaker 40 (01:03:43):
You.

Speaker 1 (01:03:44):
Oh well, let's stop me if I'm wrong, Miss Berkeley.

Speaker 5 (01:03:45):
Please.

Speaker 30 (01:03:46):
You saw Diane and Mark Rustle going to the den,
and he was consumed with curiosity and jealousy, unable to
stand it any longer. You went into the den yourself
on some free text and found Diane in the arms
of another man.

Speaker 17 (01:03:57):
Yes, Diane was cheating and at her own engagement party.
Don't try to make me out as jealous, decent woman Boston,
but I did with natural and right.

Speaker 1 (01:04:06):
What else happened in the vine during.

Speaker 30 (01:04:08):
The conversation that followed, the other man left, and shortly
afterwards Mark Russell and Senister Hobart.

Speaker 1 (01:04:14):
I mean, okay, I can guess arrest is save here
did a duty by telling what she knew, and young
Russell's pretton to kill the other man happens every day. Yes,
that's approximately it.

Speaker 30 (01:04:22):
Infector Mark Russell grabbed up the letter opener and ran
out of the house. The others followed him.

Speaker 1 (01:04:28):
So that but all four of the suspect outside the
house at the.

Speaker 30 (01:04:31):
Time the letter was committed, right, Inspector in me, one
of the four had an opportunity to kill the unknown strangers,
and he's one of the fours.

Speaker 17 (01:04:39):
You mean that I am considered one of the suspects.

Speaker 30 (01:04:42):
Oh, yes, very definitely, Miss Berkeley. If you'll join the infector.

Speaker 1 (01:04:46):
And me in the library in fifteen minutesty, I'll be
glad to tell you why, mister j I thought it
would be uncle profoundly disappointed. Miss Hobart.

Speaker 30 (01:05:04):
Is it because you're embarrassed being left alone here with
your fiance and hope that your uncle would appear sort of.

Speaker 32 (01:05:09):
Going too far taking your nose and the thanks you
don't concern your well, I'm going to make them concern
the Russell whether you like it or not. As a
matter of fact, before I get through, you're going to
like it, you know.

Speaker 1 (01:05:21):
Miss Hobart. I want you to know that I'm aware
of the identity of the man who was murdered. Oh yes,
I was suspicient from the first, but now Inspector Danton
has confirmed my suspicion.

Speaker 11 (01:05:33):
Oh no, mister Drake, you won't.

Speaker 1 (01:05:35):
Tell mister Russell who the unknown man was.

Speaker 30 (01:05:38):
Why I'm telling Miss Sobart That's exactly what I intend doing. No,
what difference does it make? Who cares who he wants?

Speaker 16 (01:05:45):
You do?

Speaker 1 (01:05:45):
Russell?

Speaker 5 (01:05:46):
No?

Speaker 1 (01:05:46):
You should?

Speaker 11 (01:05:47):
Are you kidding? Will I come in and find a
girl I love?

Speaker 1 (01:05:50):
Do you love her?

Speaker 16 (01:05:51):
Russell?

Speaker 11 (01:05:52):
Wh How would you feel, drag if you're in my shoes?

Speaker 1 (01:05:58):
Bestly, if I really love the girl, I had give
her a chance to explain. Oh you did, mister Jake.

Speaker 13 (01:06:03):
Don't blame Marcus.

Speaker 33 (01:06:05):
It's just an impossible situation.

Speaker 30 (01:06:06):
And I think if you were weekly in love with Marcus,
you pretend you'd have enough faith and trust to tell
him your.

Speaker 17 (01:06:12):
Secret deeply in love without to tell?

Speaker 1 (01:06:15):
How can you say if you who created this impossible situation?
You stick off. I think you owe Mark Russell a
trust of Tossida.

Speaker 11 (01:06:22):
And I know what he's talking about.

Speaker 35 (01:06:25):
He's telling you that I I've been a food on
and think he's right. I couldn't tell you said he
was saying.

Speaker 19 (01:06:31):
Uncle Ralph had just been elected to.

Speaker 1 (01:06:32):
The Senate, and Paul was woll tell him, Miss Albo.

Speaker 11 (01:06:38):
Paul was my brother.

Speaker 13 (01:06:41):
A long time ago.

Speaker 19 (01:06:42):
He was sent to jail. I didn't believe him guilty.

Speaker 13 (01:06:45):
I don't know that's to day he escaped and came
here to say good bye.

Speaker 11 (01:06:50):
Oh Diane, why didn't you tell.

Speaker 8 (01:06:53):
Me I love you?

Speaker 11 (01:06:54):
Mark? If you want to marry a girl his brother
was a condest, said he.

Speaker 1 (01:06:58):
Berkeley would have told the world.

Speaker 11 (01:07:00):
For what do I care who your brother was telling
if you aren't in love with your.

Speaker 1 (01:07:05):
Very text things literally. But she says that fifteen minutes
are up, and now she wants to know why your
suspector of being the murderers.

Speaker 11 (01:07:11):
Well, it looks as though.

Speaker 17 (01:07:13):
A reconciliation is in attected. The true love birs back
together again. Oh really, Mark, your scruples are a lot
less exacting.

Speaker 30 (01:07:20):
Than I see aspectly, why don't you give up your
attempts to create trouble at this point about a person party?

Speaker 11 (01:07:26):
Well, I Mark one scenarios.

Speaker 1 (01:07:28):
Quiet? Will you I look bad? My purpose in being
here is to catch a murderer, not referee a lover's claws.
You know who our boy is.

Speaker 30 (01:07:35):
I think you'd better tell very well, Inspector. Now that
the less important aspect of it a fair settled, I
think we can go ahead. Rushel, you had the letter
opener when you ran from the den.

Speaker 1 (01:07:47):
What became of it?

Speaker 11 (01:07:48):
I don't know.

Speaker 33 (01:07:50):
I found I Am and friend causing the ants and
shrubby near the highway.

Speaker 11 (01:07:55):
He was waiting for breaking the traffic.

Speaker 1 (01:07:57):
So you get across the street were having seen m
Can you attacked him?

Speaker 5 (01:08:00):
Yes?

Speaker 32 (01:08:00):
Yes, knocked me out. When I came too, he was
gone and there was a letter open it Dan doing.

Speaker 1 (01:08:07):
Only well, that's a simple tailwell told. The trouble is,
it doesn't prove anything. What's your story, miss Robot.

Speaker 19 (01:08:14):
When I came to the.

Speaker 11 (01:08:14):
House, I saw Mark and the other man fight.

Speaker 1 (01:08:19):
I reached him just as Mark silf I tried to
bring into uh huh. We are certainly getting places rounding. Okay,
Miss Sectley. I suppose you also me to be lying
for the fallen hero without pausing to stab anyone.

Speaker 17 (01:08:30):
Yes, I did, Mark, You did someone who could touss So.

Speaker 1 (01:08:33):
That leaves the Senator. He'll probably tell us he went
back to the house to get the smelling saws. Oh where?
But suppose you tell us which one of these innocent
people is lying and why none of them is lying?
Inspect him? Come in, Senator, were standing outside the door listening,
won't you? Yes, yes, missus Drake, yes, I heard it all.

Speaker 30 (01:08:55):
Can you decided that there was little use in attempting
to destroy the evidence. That's right, Drake, it was I
who kills It won't be necessary to mention his name.

Speaker 1 (01:09:03):
I don't intend to. I'm not a fool breake. I'm sorry.
I didn't need to speak sharply. I understand what you
are trying to do, and I appreciate because you, please
don't judge me too harshly, My dear, I didn't know
at first that he had the letter oker. I had
to defend my your mistake.

Speaker 30 (01:09:21):
King Senator, when you didn't explain at once that you
killed him in self defense. Even now, we're going to
have a difficult time convincing Inspector Damn that you did
not murder the man who attacked him.

Speaker 1 (01:09:45):
So the guy was Diane Hobart's fathery but well well,
best certain sector.

Speaker 30 (01:09:50):
It was a long time ago before was sent to jail,
and no one ever connected his name with Diane or
the Senator, and you'll figure they want now why said
band sector. There are a lot of people named Toba
the world. Yeah, by Jnator. Hobart didn't murder Paul, Inspector.
In the first place, I don't think he was a
type of man who.

Speaker 1 (01:10:06):
Could murder anyone, especially his own neviews. Yeah. But in
the second place, he didn't have the letter opener. Paul
had it.

Speaker 11 (01:10:15):
That's right, isn't it.

Speaker 30 (01:10:16):
So it must have been Paul who did the attack, exactly,
A simple case of self defense.

Speaker 1 (01:10:21):
Is the infector. It's all up to you, up to
me tack. Thanks pal, Well, we'll see what we can do.

Speaker 18 (01:10:30):
However, I'm not promising anything.

Speaker 1 (01:10:31):
Thank you, Inspector. You're welcome. Tell me how you knew
Hobart was the one.

Speaker 30 (01:10:37):
He's a lot of blood and his double breasted white
linen suits infector he did.

Speaker 1 (01:10:41):
I didn't see it, neither did die, but you it
was there. How it was simple, Inspector. A man wearing
a double breathless suit always buttoned it.

Speaker 30 (01:10:49):
From left to right. Hobart had his button from right
to left in order to hide the flock.

Speaker 1 (01:10:54):
Oh you're very observing, missed it says to be mister
Dan when mystery is.

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Believe me, here is a wine that's clear, fragrant, and delicious,

(01:12:12):
a wine that you can serve to your friends proudly.

Speaker 42 (01:12:15):
Petrie Burgundy.

Speaker 41 (01:12:16):
Remember the name Petrie is the proudest name in the
history of America's wines. And now let's join our good friend,
doctor Watson. I'm well, I see you're making the most

(01:12:39):
of a wonderful leaving doctor.

Speaker 42 (01:12:41):
Yes, my boy, it's pleasure to sit out here on
summer's night with a good friend and a pipe bottle
of wine pro cl through glasses.

Speaker 21 (01:12:48):
Sit down, thank you, sir.

Speaker 41 (01:12:51):
Already with the night's new Sherlock Holmes adventure, Doctor.

Speaker 42 (01:12:53):
Yes, and a strange story it is. There was an
autumn of eighteen hundred and ninety nine, mister Bartell that
I decided, both his doctor and friend, that Sherlock Holmes
was in desperate need of a holiday.

Speaker 21 (01:13:05):
He had really been overdoing it.

Speaker 42 (01:13:06):
Now, Oh, it's my boy. It had been an unusually
busy year, and at the time my story begins, Holmes
were suffering from complete exhaustion. So, my boy, toward to
the end of October that year, we found ourselves in
the charming city of Kazanlak, capital of the small Balkan
kingdom of Grosnia. A few nights after our arrival, I

(01:13:26):
remember Pavlu Krasnodar, Grossian Minister of Police took us to
share the singing of a certain young Hungarian opera star,
Miss Lily Raina, was then touring Europe. At our table
was her fiancee, that charming young aristocrat, Prince Stefano. And
it was very easy to see as he sat there
listening to the song that the boy was head over
heels in love. It is a haunting melody that she sang.

(01:13:50):
Mister Bartel, I can almost cheer it down.

Speaker 18 (01:13:57):
Long.

Speaker 42 (01:14:08):
You're a very lucky man, Prince Evano. Your fiance's voice
matches her beauty.

Speaker 43 (01:14:12):
Oh yes, doctor Vutson, I consider myself the most fortunate man.

Speaker 44 (01:14:16):
In godsneys a magnificent voice, the finest singing I can
recall since square.

Speaker 21 (01:14:20):
And I was thinking of a Pima.

Speaker 44 (01:14:21):
Donna of the Warsaw opera who attained considerable success in London,
Miss Irene.

Speaker 42 (01:14:26):
Oh my god, yes, she was a criminal, one of
the few that out willed you.

Speaker 23 (01:14:29):
Holmes.

Speaker 42 (01:14:30):
Oh, that was a case that we've interested you.

Speaker 45 (01:14:32):
Mister Grosnada, I am familiar with it, my dear dog,
you aren't usually solemn.

Speaker 43 (01:14:36):
Tonight, Krasnada, have a glass of wine and I will
bring Lily to our April and we will toast our happiness.

Speaker 45 (01:14:41):
I'm afraid I cannot drink to that toast. Prince Stefano,
why not? I know why you the notorious lady cultor
gods near a jealous you're in love with Lily, said
Prince Stefano. I have sad news for you. I have
come here tonight but for one purpose to arrest your fiancee.
Oh joke, It is far from a joke. At my ministry,

(01:15:02):
we have evidence, conclusive evidence that miss Lily Raina is
a spy.

Speaker 21 (01:15:06):
Spy good law and the penalty for spying in Grossnia.

Speaker 45 (01:15:09):
Ah, That, my friend, is why I would drink no
toust in Krosnia. The penalty for espionage is death.

Speaker 42 (01:15:29):
Yes, I know, but Holmes, you must do something to
say that girl. You can't just turn in for the
night without trying to help her in some way. It
might shoot her in the morning.

Speaker 44 (01:15:36):
Kasnd's no fool, since he's made the arrest obviously as
a water dight case against the girl.

Speaker 21 (01:15:45):
One last pipe.

Speaker 42 (01:15:46):
You know, I couldn't understand her fiance's behavior. He didn't
do a thing, just stood there in the Krosnodara rest
the girl.

Speaker 44 (01:15:52):
What could he have done? Kraasnodar's commissioner of police. There's
no point in arguing with him until the evidence had
been examined.

Speaker 42 (01:16:00):
And I imagine the princi will try and pull some
political strings after all.

Speaker 21 (01:16:04):
Goldney, come in, Oh you wish to speak to me.

Speaker 42 (01:16:09):
Mister Sherlock Holmes.

Speaker 21 (01:16:11):
I have come to talk to you about my baby.

Speaker 9 (01:16:14):
My name is Martha.

Speaker 42 (01:16:15):
Greget your baby, mister Holmes.

Speaker 18 (01:16:17):
Down my baby.

Speaker 36 (01:16:18):
She is twenty years old and she is flaxen haired
and beautiful.

Speaker 42 (01:16:23):
Oh that's entirely different manner. Who will be delighted to
help you? Delighted? Sit down, won't you?

Speaker 46 (01:16:27):
On?

Speaker 21 (01:16:27):
Whose behalf? If you come to me?

Speaker 9 (01:16:29):
Poor Lily Rena.

Speaker 42 (01:16:30):
Lilyrena, that's the girl who's arrested tonight.

Speaker 47 (01:16:33):
I am only her.

Speaker 28 (01:16:34):
Dresser, and yet I'm Martha Gregory.

Speaker 9 (01:16:37):
I'm her mother and father.

Speaker 25 (01:16:39):
I have toured Europe with her ever since she left Vienna.

Speaker 21 (01:16:42):
She sent you to me tonight. I suppose yes, mister Holmes.

Speaker 28 (01:16:46):
She said you would understand what you mean.

Speaker 1 (01:16:49):
Then I wonder she said that mister.

Speaker 45 (01:16:51):
Holmes would take care that a talent like her should
not perish just because she had broken a few lords in.

Speaker 44 (01:16:57):
Other words, she wishes me to establish her in since
in the same breath as she confesses her guilt, and
I'm afraid I don't take that sort of plant.

Speaker 45 (01:17:04):
Good night you, mister Holmes, Doctor Watson, I am glad
that you came to my office this morning. I can
show you the proof of Miss Lily Raina's guilt. As

(01:17:25):
distinguished foreigners, I should like you to know that though
the penalty for political crimes is swift and severe, we
are most careful that the incriminating evidence is beyond question.

Speaker 3 (01:17:35):
You see these letters. We found them so than to
the bodies of her gown.

Speaker 45 (01:17:41):
There were a series of highly dangerous letters from Yosep,
the leader of the revolutionary party, with whom she is
obviously handing love.

Speaker 3 (01:17:49):
Here you may examine them if you wish.

Speaker 44 (01:17:53):
It looks like Greek men, our knowledge of the Grossnian
language is far from perfect, that this letters certainly seem
to incrimin beyond doug.

Speaker 45 (01:18:02):
You will observe that the letters have followed her to
each of the cities in which he has been singing.
All of them ask questions as to the military garrisons
and the chances of a successful revolution.

Speaker 3 (01:18:14):
She has been a dangerous spy.

Speaker 42 (01:18:16):
Yes, I can see that, sir, But even so, isn't
the death penalty excessively severe? Particularly for a.

Speaker 45 (01:18:21):
Woman, doctor Watson? The Balkan States are a hotbed of
European intrigue. Our penalties must be severe, and we cannot
make concessions to the sex.

Speaker 5 (01:18:31):
Of a cultrit Maanjoseph writer these letters.

Speaker 21 (01:18:33):
Have you been able to find and trace him?

Speaker 3 (01:18:35):
None? If only we could, but we have never even
seen the man.

Speaker 45 (01:18:40):
However, we are fortunate to trap his assistant and apparently.

Speaker 16 (01:18:45):
The lady of his choice.

Speaker 45 (01:18:46):
Lady of his choice, but she was engaged to Prince Deparu,
undoubtedly a blind. In her home we found an unsigned
love letter in English. It wasn't the same handwriting as
these letters from Yosep.

Speaker 21 (01:18:58):
Are you satisfied, Watson?

Speaker 44 (01:19:00):
Ye, there's no place for me in this affair, particularly
when you consider that she made a virtual concession and
sending her dress with me last night.

Speaker 42 (01:19:09):
I suppose you're right just the same. If you want
to trap this man yourself, I should think you'd be
wiser to hold the girls a hostage. It might bring
him on the scene if he's afraid she'll talk if
you hang her you you will find him.

Speaker 3 (01:19:21):
Doctor Watson.

Speaker 45 (01:19:22):
In my country, we found that front justice gets the
best results. And for your edification, we do not hang.
In Grossnia, the death penalty is executed at the hands
of a firing squad.

Speaker 21 (01:19:34):
Now when is the execution to take place?

Speaker 3 (01:19:36):
You have time your visit?

Speaker 45 (01:19:37):
Well, my friends, please to step onto the balcony. I
think that answers your question, mister Holmes, Gride.

Speaker 42 (01:19:48):
Scott against the wall, blindfold of the firing squad before her.

Speaker 44 (01:19:52):
It's Lili Reina Grassnian. Justice indeed moves swiftly.

Speaker 21 (01:19:57):
Mister Krasnada, it has to friends, I.

Speaker 48 (01:20:00):
Know that's pretty.

Speaker 2 (01:20:03):
I can't watch this.

Speaker 42 (01:20:04):
I don't care what she's done. I don't want to
see it. Oh huh, she's crumbled to the ground thing.

Speaker 21 (01:20:17):
What an artist to see a woman executed, even if
she is a spy.

Speaker 45 (01:20:22):
May all traitors to Grossna die swiftly, but what a
lost her beautiful voice, Yes, her beautiful voice.

Speaker 3 (01:20:31):
Shall we go in, gentlemen, you know homes.

Speaker 42 (01:20:51):
I can still see that poor girl. She crumbled before
the firing squad, so can I?

Speaker 5 (01:20:56):
Ol chair.

Speaker 42 (01:21:01):
That's her song you're playing, isn't it?

Speaker 21 (01:21:04):
Yes, the melody still haunts me. You blame me? Don't
you blame you for what? They're not preventing her death?

Speaker 49 (01:21:17):
Oh?

Speaker 42 (01:21:17):
Of course I don't blame your homes. Girls guilty, rosne
in law prescribes the death penalty for her crime. If bro,
you've done about it?

Speaker 50 (01:21:26):
Nothing?

Speaker 21 (01:21:28):
Absolutely nothing? And yep, and yet what I wonder if
she was right?

Speaker 44 (01:21:36):
I wonder if artistry is such as hers, isn't a
greater value to humanity than spying?

Speaker 21 (01:21:42):
In any cause?

Speaker 42 (01:21:43):
It's not much good worrying about that, now, is it?
The girl's dead and married?

Speaker 51 (01:21:59):
What's what?

Speaker 5 (01:22:02):
Did you care that?

Speaker 21 (01:22:03):
I hear what I could swear?

Speaker 2 (01:22:05):
Did?

Speaker 21 (01:22:05):
I said the dead girl's voice? She was singing a
song to my accompaniment.

Speaker 42 (01:22:10):
Oh really, your nurse must be in a very bad
stage holes hearing voices. Indeed, you better turn in for
the knife.

Speaker 21 (01:22:17):
Perhaps it's well, maybe more my conscience than my nerves.

Speaker 42 (01:22:21):
I'll give you a sleeping draft if you like.

Speaker 21 (01:22:23):
No, No, my dear shepher, I'm alright. It's funny though.
It's one that.

Speaker 42 (01:22:29):
Oh well, praise all that tune when you holds.

Speaker 23 (01:22:49):
What heavens?

Speaker 21 (01:22:53):
Huh you had it this time, aye, Watson?

Speaker 24 (01:22:56):
Of course I did.

Speaker 23 (01:22:57):
It was her voice.

Speaker 42 (01:22:58):
There's no mistaking it. I don't believe in ghosts, and
yet I could swear.

Speaker 2 (01:23:03):
Listen, good lord, it is a sh.

Speaker 19 (01:23:10):
Do not let him go.

Speaker 21 (01:23:11):
Unpunis, Who are you?

Speaker 5 (01:23:15):
Where are you about?

Speaker 8 (01:23:17):
You?

Speaker 21 (01:23:20):
Strike a match, Watson, strack a match like the gas book.

Speaker 42 (01:23:24):
There in the moonlight, moving past the window, it's the
figure that.

Speaker 21 (01:23:27):
Girl was shot at them, Matt Watson.

Speaker 5 (01:23:29):
I got the door.

Speaker 42 (01:23:31):
There, guesses light him.

Speaker 5 (01:23:34):
She's vanished holes.

Speaker 44 (01:23:35):
Not by means of this door, standing in front of it,
and there's no exit from the room.

Speaker 2 (01:23:41):
I don't like this.

Speaker 42 (01:23:42):
We're gabbling in the supernatural.

Speaker 44 (01:23:44):
Stop trembling, Watson. Whatever the explanation for this may be
one thing at least I find quite fascinating. And what's
that It's the first time in my career that I've
never had a ghost for a client.

Speaker 41 (01:24:05):
Doctor Watson will tell us the rest of his story
in just a second. So I'm just going to tell
you about a wine that adds the perfect finishing touch
to a good meal, Petrie California Muscatel, with its sunshiny.

Speaker 21 (01:24:17):
Golden color and it's full of aroma.

Speaker 41 (01:24:19):
You just know Petrie Muscatel is going to taste good
and it really does. Ah, the flavor of big plump
muscat grapes picked when they're full of bursting with luscious juice.
For the wine that everybody likes, Sir Petrie Muscatel, you
know it's good if it's Petree. Well, doctor Watson, So

(01:24:40):
you had a ghostly visitor calling on you at the
hotel that night, huh, here's my boy.

Speaker 42 (01:24:44):
And I confess I was so badly shaken by the
experience that my heart slipped the wink all night.

Speaker 5 (01:24:50):
Well.

Speaker 42 (01:24:51):
The next morning, after an early breakfast, Holmes and I
located the propriet of our hotel and began to question
him as to the history of the building, the.

Speaker 44 (01:25:00):
Architecture of this building, ever since you, ever since we
came here, and haus of this period? Would them nubtly
have been built with secret passages and statsis?

Speaker 48 (01:25:08):
I confess that I know of one secret staircase?

Speaker 5 (01:25:11):
They may well.

Speaker 21 (01:25:12):
Be others, indeed, And then here's the one you know
of you.

Speaker 1 (01:25:15):
Wish to explore it?

Speaker 42 (01:25:16):
Gentlemen, oh very much, My friend and I are most
interested in such things.

Speaker 5 (01:25:20):
Follow me, please.

Speaker 48 (01:25:22):
These stairs lead to our wine cellars. Thousands of feet
have clamped up and down these steps only a select
few know that behind this tapestry, here, behind this tapestry, gentlemen,
is apparently a solid wall.

Speaker 5 (01:25:39):
But the wall is not solid. You have a match perhaps, Oh?

Speaker 42 (01:25:43):
Yes, of course you know.

Speaker 48 (01:25:44):
We keep a candle here in this niche for just
such an occasion as this, So please hold back tapestries.

Speaker 52 (01:25:53):
Oh, I've got it, thank you.

Speaker 48 (01:25:56):
Now let me see one, two three for the fourth
break up from the stair.

Speaker 5 (01:26:02):
I press it so and.

Speaker 44 (01:26:06):
Great scott section of the wall swinging up a step
away behind it. Genius there, gentlemen, allow me to give
you the candle.

Speaker 42 (01:26:15):
But aren't you going to lead the well?

Speaker 5 (01:26:18):
No, sir, I'm not going to lead the way. Thank you.

Speaker 48 (01:26:21):
I have owned this hotel for thirty two years, and
yet I have never explored this stairway. Why, sir, is
it refuted to be hanted? Yes, it is supposed to
be haunted.

Speaker 5 (01:26:32):
The candle.

Speaker 21 (01:26:33):
Yes, I'm not obliged to come on, Watson, I.

Speaker 1 (01:26:36):
Should wait here.

Speaker 42 (01:26:38):
I don't think I carve this all. Finally, dark in here, damp, moody,
too well, landing, landing, nothing but does doesn't come well.

Speaker 5 (01:26:52):
A person or chap.

Speaker 21 (01:26:54):
There's the faint imprint of a woman's heel here, Oh.

Speaker 42 (01:26:57):
My George, shoes that have gone both up and down
these stairs in the last one before are.

Speaker 44 (01:27:02):
Exactly And there's a first print over here. This, my
dear Chap, I think, accounts for the appearance and disappearance
of our visitor last night.

Speaker 42 (01:27:11):
It was the singer Lily Rainer. Yet we saw her
shot yesterday morning.

Speaker 21 (01:27:15):
Rubbish? What's rubbish? What have we to do with walking copses?
Come on, old fellow. Let's see where this stairway leads
us to know?

Speaker 42 (01:27:23):
Then, what did we see? We didn't see a ghost
last night, my dear chap, And that's what we have
to find out.

Speaker 21 (01:27:29):
Mm hmm, wait a minute, staircase ends. Yeah, it's strange.

Speaker 42 (01:27:35):
It's against the blank wall. That doesn't make sense.

Speaker 44 (01:27:38):
Yet the entrance to this stairway was an apparent blank
wall tool. Remember, let's see if the same formula will
do the same trick.

Speaker 42 (01:27:45):
Here was it won two three, four, four bricks.

Speaker 21 (01:27:51):
Up from the stair by press so and.

Speaker 42 (01:27:54):
Open stool swinging back again?

Speaker 21 (01:27:57):
What do we see? Another tapestry, A tapestry that she's
very familiar, I.

Speaker 42 (01:28:01):
Should say, so, did hidden all legions your very.

Speaker 21 (01:28:04):
Own better exactly?

Speaker 44 (01:28:05):
My dear chat Now we know beyond doubt how the
apparent ghost made her appearance last night.

Speaker 42 (01:28:09):
Don't you suppose it must have been someone impersonating the day?

Speaker 44 (01:28:12):
My dear fellow, is a question that can only be
answered by calling on her fiancee, Prince Stefano. Let's go
over and see him at once, Shelby, Prince Stevano. I
just like to intrude upon your personal tragedy, but I

(01:28:33):
must ask you a few questions.

Speaker 21 (01:28:34):
Ask your question. Did your fiance have a sister, a
sister who may have resembled her?

Speaker 43 (01:28:39):
No, she had no living relatives at all, mister Holmes,
tell me this who inherits her estates addresser, a faithful
old woman by the name of mister Gregor, who looked
after her for something.

Speaker 21 (01:28:48):
I say, did miss Rainer have an understudy as a singer?
She could have no understudy she was, if you pleased,
you say, as a singer? Was she also an actress?

Speaker 42 (01:28:56):
She's, mister Holmes, how very young us you will not
presume her?

Speaker 5 (01:28:59):
Please?

Speaker 43 (01:29:00):
First time I saw her was in Toscar. She was
not another baron now, but her performance was very promising
one considering her age in my country, of course, she
was not able to appear in anything but over because
because she could not speak Rosthnan, she.

Speaker 21 (01:29:13):
Didn't speak Crossian. Now why have the answer? Do you answer?

Speaker 44 (01:29:16):
Yes too hot to this entire story from the rest
of your fiancee to certain strange visitations at my hotel
last night.

Speaker 21 (01:29:23):
What do you mean, mister home If you'll come to
my hotel room.

Speaker 44 (01:29:25):
Tonight, my dear Prince, I can safely promise to make
the whole macta you and I.

Speaker 21 (01:29:29):
Dare go a little further.

Speaker 44 (01:29:30):
I think that I can even help you find consolation
in your bereavement. Ladies and gentlemen, I can see that
you wonder why Dr Watson and I have asked you
to come here to our hotel tonight.

Speaker 45 (01:29:52):
As Minister of Police, I should be stupid if I
did not realize that, since your order to guess the
Prince de mont Marta gregor the the girl's dresser, that
this meeting has some bearing on the execution of miss
Lee Rainer, I should prefer.

Speaker 21 (01:30:05):
To say her murder.

Speaker 44 (01:30:06):
Gentlemen, if you please, I should like to make my
own position in this matter quite there. Two nights ago
you matter came to me on behalf of miss Rainer
to solicit my aid. I convinced that she was goted,
refused that aid. Yesterday morning she died before a firing squad.

Speaker 1 (01:30:20):
Last night her ghost.

Speaker 21 (01:30:21):
Appear to me here in this room and asked me
to avenge her death.

Speaker 42 (01:30:25):
Ghost, what nonsense are you talking?

Speaker 44 (01:30:28):
It would be no surprise to me if her poor
murdered soul came back from the grave to ask for justice.

Speaker 42 (01:30:33):
Sir, I saw my good woman almost as clearly as
I see you all now.

Speaker 43 (01:30:37):
Highly with Krasna Da to talk of ghosts as beyond
the Please.

Speaker 21 (01:30:40):
Let me finish.

Speaker 44 (01:30:41):
When I was this visitation last night, I decided to
investigate the case Thoroughray, I did so today, and I
can assure you that miss Rainer paid for a crime
she did not commit.

Speaker 3 (01:30:50):
What grounds do you have for.

Speaker 1 (01:30:51):
Saying that, mister?

Speaker 44 (01:30:52):
The letters that were supposedly written to her were in
the Grosnian language, and yet today Prince Stefano informed me
that she could not appear in the theater here because
she did not speak the language.

Speaker 42 (01:31:02):
Those letters were showed into her body.

Speaker 44 (01:31:04):
That's true, my dear fellow. And who is the only
person who had the opportunity to do that? The same
person who came to me two nights ago and succeeded
in convincing me that Miss Rainer was guilty.

Speaker 21 (01:31:13):
I don't dress her and supposed Trent.

Speaker 44 (01:31:14):
Are you suggesting that I'm suggesting that you incredited her
estate on her death, and that you would have lost
that inheritance if she had married and had a family
of her own.

Speaker 3 (01:31:23):
Well you have to say in answer to that, Martham,
that I am among madmen.

Speaker 42 (01:31:27):
This talk of ghost proves it.

Speaker 44 (01:31:29):
Then let the ghosts support my theories. Hand me the
varlin will you wats not alone?

Speaker 12 (01:31:34):
Of course?

Speaker 21 (01:31:35):
Thank you? Now turned on the gas light. But sure
that's it, and listen, that's.

Speaker 43 (01:31:53):
Her voice, and that's her figure standing there in the moonlight,
even though she's dead.

Speaker 21 (01:31:58):
I want to say, mother, aren't you responsible for our death?

Speaker 44 (01:32:01):
If I Gus can sing, I'm sure I can also talk.

Speaker 17 (01:32:04):
I did do it.

Speaker 19 (01:32:05):
The letters belong to me.

Speaker 10 (01:32:07):
I sacrifice my own baby for Golds.

Speaker 42 (01:32:10):
May have enough mercy on my soul.

Speaker 44 (01:32:14):
Confession in front of four witnesses. Why not take it
away across the door.

Speaker 21 (01:32:17):
We will testify later.

Speaker 45 (01:32:18):
I will come with me, Martha, I killed my own baby.

Speaker 15 (01:32:22):
I just love to die.

Speaker 44 (01:32:24):
I shall I can I turn up the guest homes,
ask Prince Stefano, No, do not turn it up.

Speaker 43 (01:32:32):
I've seen heard the gooes to my beloved when the
lights were down, and I'm not afraid. Please play her
melody against the homes.

Speaker 42 (01:32:51):
Aren't you afraid? Prince Dafaro?

Speaker 21 (01:32:54):
Where should I be afraid?

Speaker 53 (01:32:58):
Your spirit, I know, can be even run.

Speaker 5 (01:33:01):
I love it.

Speaker 43 (01:33:01):
I loved you living the pleasure of loveless, but an
instant loves regrets last for lifetime.

Speaker 9 (01:33:09):
This is now my lifetime, brightened by your gracious cost.

Speaker 44 (01:33:14):
I'm sure this is a very touching scene, but it's
getting a dreadful mardlin. All right, this Rainer, you may
come from behind the tap is to now, what's no chap?

Speaker 21 (01:33:22):
Sell up a guest light?

Speaker 44 (01:33:22):
That's good, fellow, you are Princete Fano for admit me
to reintroduce you to your far from ghosts, Lily Rainer,
my beloved you.

Speaker 28 (01:33:32):
You're not no, I am not dead.

Speaker 25 (01:33:35):
I cannot see how Sheila coms fad into my secret.

Speaker 42 (01:33:39):
And there, my dear young lady, you're in exactly the
same boat as I shull.

Speaker 21 (01:33:42):
The answer is obvious.

Speaker 44 (01:33:43):
You gave me the key yourself, Prince Stefanily, But will
you inform me that Miss Rainer had once played the
title role in Tosca Cosco.

Speaker 42 (01:33:50):
Has I've gotta do with anything the plot?

Speaker 44 (01:33:52):
Watson, a minister of police who is very sceptable to
your latest charms, arranges the false execution, knowing Miss Krasnodor's weakness.
Miss Rayner, you prevailed upon him to do likewise, huh.

Speaker 42 (01:34:04):
Well, then the whole execution was a piece of pandomime.
Rifles must have contained blame.

Speaker 44 (01:34:08):
I tried allf helm and what should have heightened my suspicion,
Miss Rayner, was the fact that, at the moment, if
you're a talent death mister Krasnodow quoted.

Speaker 21 (01:34:14):
A line from Tascar He said, what an artist.

Speaker 44 (01:34:17):
I was not perceptive enough at the time to evaluate
the remark correctly.

Speaker 21 (01:34:21):
I'm afraid when.

Speaker 44 (01:34:22):
The simulated execution took place, you were.

Speaker 21 (01:34:25):
Free, but assume dead.

Speaker 17 (01:34:27):
But why should I indulge in such a trick?

Speaker 19 (01:34:30):
Mister hole You.

Speaker 44 (01:34:30):
Reason that had you come to me directly, I might
easily have turned you over as a fugitive from justice.
And when you decided to dramatize the situation and appear
last night is and a parent ghost. You knew it
would ell, at the very least stimulate my curiosity. It
caused me to investigate the matter and possibly to learn the.

Speaker 21 (01:34:46):
Truth and clear you from suspicion.

Speaker 42 (01:34:48):
Yes, perhaps, if she's innocent. How about the love let
in English which was in the handwriting of yourship the Revolutionarily.

Speaker 44 (01:34:54):
Well, I can see only one explanation for that, you,
Prince Hanno, are that mysterious revolutionary Yosip ste Oh no.

Speaker 13 (01:35:02):
No, that is not puss.

Speaker 43 (01:35:03):
Mister Holmes, you're a visitor in my country. I do
not suppose you will be staying here much longer.

Speaker 42 (01:35:09):
Fun all these months you've deceived me.

Speaker 21 (01:35:12):
Silence lily, imple men.

Speaker 43 (01:35:14):
I hope for your own sake, you will not be
staying here much longer.

Speaker 44 (01:35:18):
I've been threatened by far more imposing adversaries than you, Princet.

Speaker 21 (01:35:21):
Fano, I suggest that you leave my room.

Speaker 44 (01:35:25):
It's none of my business dabbling in Grossnian political affairs.

Speaker 21 (01:35:28):
Your secret is safe in.

Speaker 44 (01:35:29):
Any case, I came to Grossnia for holiday. Goodbye, good bye.

Speaker 42 (01:35:35):
For my soul. If we were in London, you were
behaving as off Henway.

Speaker 21 (01:35:38):
But we're in grossnier old chap, aren't we hell me
the valin?

Speaker 15 (01:35:42):
Will you you.

Speaker 17 (01:35:46):
Know what?

Speaker 27 (01:35:46):
And not?

Speaker 44 (01:35:48):
I've only had professional dealings with two singers in my life.
The first was I really Adler and she fooled me,
oh so cleverly.

Speaker 42 (01:35:57):
And this singer trying to fool you and faith dismally.
It seems to me the scores money.

Speaker 21 (01:36:04):
This one was not Irene Adler will always be the woman.

Speaker 44 (01:36:14):
Oh well, I think that's enough excitement for one.

Speaker 21 (01:36:16):
Day, don't you. I thought I am supposed to be
taking a holiday.

Speaker 5 (01:36:49):
Doctor.

Speaker 41 (01:36:50):
That was a swell story, And I bet that you
were a lot more interested in the beautiful lily than
your story to night would have us believe.

Speaker 42 (01:36:57):
Of course, I'm interested in a beautiful woman, but then
what man is checked. But don't worry about me, mister Bartel.
You know, being a family man, I just naturally associate
a beautiful woman and who And that makes me think
of hospitality.

Speaker 21 (01:37:13):
What do you mean by that?

Speaker 42 (01:37:14):
Well, according to you, I'm interested in home life. You
you're primarily interested in wine. Put us together, and we're
interested in.

Speaker 21 (01:37:22):
Wine in the home.

Speaker 42 (01:37:24):
Isn't it an important part of hospitality.

Speaker 24 (01:37:26):
That I admit?

Speaker 41 (01:37:27):
But remember My interest in wine is entirely an interest
in good wine, in Petrie wine, to be exact, because
I know all about Petrie wine. I know that the
Petrie family has been making wine for generations. With the
Petrie family, the growing of perfect sun ripened grapes and
the art of turning those grapes into fragrant, delicious wine

(01:37:48):
is a heritage. It's a heritage handed down from father.

Speaker 42 (01:37:52):
To son, from father to son.

Speaker 41 (01:37:54):
The skills of those generations of wine making are evident
in every drop of Petrie wine. The name Petriotle of
wine is more than a trademark. It's the personal assurance
of Petrie family that Petrie wine is always a good wine.

Speaker 5 (01:38:09):
But you'll discover that for yourself.

Speaker 41 (01:38:12):
You'll learn that no matter what type wine you prefer,
you'll like it better when it's a Petrie wine because
Petrie took time to bring you good wine. Well, doctor Watson,
what new Sherlock Holmes adventure do you have lined up
for us next week?

Speaker 42 (01:38:25):
Our next week, mister Bartell, I'm going to tell you
a most unusual story with Sherlock Holmes crossed swords with
a famous Frenchman and proved that although the English have
been called a nation of shopkeepers, that a murder did
not always.

Speaker 1 (01:38:38):
Prove to be a good bug.

Speaker 41 (01:38:51):
Tonight Sherlock Holmes adventure was written by Dennis Green and
Anthony Boucher and was suggested by an incident in the
Sir Arthur Conan Doyle story The Sussex Vampire. Music is
by Dean Fossmor. Mister Rathbone appears through the courtesy of
Metro Goldwyn Mayer, and tonight Doctor Watson was played by
mister Joe Kerns, who substituted for mister Nigel Bruce. Mister

(01:39:12):
Bruce is scheduled to return to the program next week.
The Petri Wine Company of San Francisco, California invites you
to tune in again next week, same time, same station.
Sherlock Holmes comes to you from our Hollywood studio. This

(01:39:36):
is Harry Bartel saying good night for the Petrie family.
For a solid hour of exciting mythtery dramas, listen every
Monday on most of these same stations at eight o'clock
to Michael Shane, followed immediately by Sherlock Holmes. This is
the Mutual Broadcasting System.

Speaker 6 (01:39:52):
October is birthday month for Weird Darkness. This year makes
ten years of doing the show, but while it's our birthday,
we want the gift to go to those who help
people who suffer from depression, anxiety, or thoughts of suicide
or self harm. That's what our annual Overcoming the Darkness
campaign is all about. It's the only fundraiser I have
all year long. You can bring hope to those who

(01:40:13):
are lost in the darkness of depression. You can make
a donation right now at weird Darkness dot com slash hope.
I'll close out the fundraiser at the end of October
and announce how much we raised. The more we raise,
the more people we can help to donate. Get more
information about the fundraiser and the organizations we're supporting, or
find hope for yourself or someone you know who are

(01:40:33):
fighting depression. Visit Weirddarkness dot com slash hope. Please donate
now while you're thinking about it Weird Darkness dot com
slash hope.

Speaker 46 (01:40:42):
The floor of the ocean has always been associated with
strange legends and fantastic creatures. Most of these are, of course,
mythical figures, but there is on record in a serious
and scientific publication of the Danish Meteorological Society.

Speaker 2 (01:40:56):
A description of a form so incredible that it staggers.

Speaker 46 (01:40:59):
The imagine of man, a form which actually exists and
was actually observed.

Speaker 20 (01:41:09):
The steamship Bintang was a merchant vettel belonging to the
Danish East Asiatic Company. At three o'clock in the morning
of June tenth, nineteen oh nine, it was plowing its
way through the calm waters of the Straits of Malacca.
At three point fifteen, Captain Gabe, who had retired several
hours before, was awakened from a sound cleef and one
of the crew was pounding violently at his door.

Speaker 46 (01:41:32):
What is it?

Speaker 40 (01:41:33):
Copper Cotton opened the door, Sir Hoory, what is it?

Speaker 24 (01:41:39):
Man, good lord?

Speaker 2 (01:41:42):
What's happened to you?

Speaker 20 (01:41:44):
By the dim rays of the lantern, the captain could
see the expression on the sailor's face.

Speaker 5 (01:41:49):
He could see the pallor of his cheeks and the
stark terror in his eyes.

Speaker 40 (01:41:54):
Well, answer me, man, what happened? You'd better come up
and see for yourself. It's it's a wheel, sir, on
the water, or i should say, in it, and it
is coming towards us. And if one spoke of it
even somewhat just touches us. We were respashed in it,
ass and pierces.

Speaker 20 (01:42:14):
On deck, Captain Gabe found the entire crew huddled at
the rail on the starboard side.

Speaker 5 (01:42:19):
There was silence and motionless, frozen with fear.

Speaker 20 (01:42:23):
Then he clutched the arm of the sailor beside him
and gasped, what.

Speaker 52 (01:42:27):
Did the name of heaven is?

Speaker 20 (01:42:30):
As far as the eye could reach, the sea was illuminated,
illuminated by a great wheel of light that revolves slowly
just beneath the surface of the water. The fiery center
of the wheel, so far out was clearly visible. From
it extended the spokes to which the sailor had referred,
arms so long that they stretched beyond the horizon on

(01:42:52):
one side and came within thirty yards of the boat
on the other. And as they turned on their axis,
they moved.

Speaker 5 (01:43:00):
Sir and closer to the ship's Keey.

Speaker 21 (01:43:03):
It's an optic illusion, men, there's no wheel out there
at all.

Speaker 5 (01:43:06):
It must be the reflection of our own lights.

Speaker 40 (01:43:09):
But they never heard of a reflection stretching clear to
the horizon. And I never saw one moving at a
different speet and in a different.

Speaker 10 (01:43:17):
Direction from the thing that's being reflected.

Speaker 5 (01:43:20):
Well, that's true.

Speaker 40 (01:43:22):
Perhaps another sheet somewhere what the lookouts reported five minutes
ago that the rent another ship for answer.

Speaker 20 (01:43:30):
The captain and the crew stood staring at the monster's mechanism,
waiting for it to strike.

Speaker 5 (01:43:38):
Then slowly the light of the wheel grew dimmer, and the.

Speaker 20 (01:43:44):
Whole apparatus seemed gradually distink deeper into the water. The
ship glided smoothly and safely over the spot where it
had been, and nothing remained as evidence that it had
ever been seen.

Speaker 5 (01:43:56):
The submarine Voyager.

Speaker 20 (01:43:58):
Some have suggested visit from space has been the opinion
of others, while most have simply accepted it as one
of the many insoluble mysteries.

Speaker 5 (01:44:08):
Of the sea, A mystery incredible but true.

Speaker 54 (01:44:32):
Good evening, friends, this is your host to welcome you
once again into the MS Sanctuary.

Speaker 23 (01:44:40):
Come on in.

Speaker 53 (01:44:40):
I never mind looking back over your shoulder. Whatever it
is that behind you can't be half as bad as
in the front.

Speaker 54 (01:44:50):
As the man whose throat had just been made the
scene of an experiment with a razor while he slept, said, I'm.

Speaker 55 (01:44:57):
Going from bed to hers, all right, settle down now
it's coming and there's nothing you can do about it.

(01:45:19):
Just keep a good hold on yourself, as your wife
if your life insurance paid out. Joe Harriet, twenty one,
wearing a cheap blue search suit.

Speaker 53 (01:45:32):
And a thin top coat.

Speaker 33 (01:45:34):
Cold and wet and a cold and rainy night.

Speaker 1 (01:45:39):
This cold change.

Speaker 10 (01:45:44):
Kansas City is okay, but there's nothing there for me.

Speaker 9 (01:45:48):
I got to get out my wardrobe bank built for
a hot winter, so I figured it could be more comfortable.

Speaker 10 (01:45:55):
On the coast California.

Speaker 9 (01:45:58):
But I ain't planned for rail frans patation this year,
so I head for the KC Freight Guards and I
picked me out a nice long flight job that happened
to have an empty car and pulled a slide into
a rover, leaving just a crop for air and fingerhole

(01:46:19):
for When we reached the land of oranges, the old
boiler upfronts got the steamer him.

Speaker 2 (01:46:26):
And where off. I relax.

Speaker 10 (01:46:36):
All I gotta do is let a couple of days
slide by sunshine.

Speaker 13 (01:46:44):
Hey, but I.

Speaker 10 (01:46:47):
Didn't notice nobody else was in the car.

Speaker 2 (01:46:50):
Valley now, and.

Speaker 9 (01:46:54):
He leaned back into the darkness of his corner, so
I couldn't see him very good. He was a young guy,
and maybe my age, maybe a couple of years older,
my size too, same color hair and eyes, almost closing
up to be brothers.

Speaker 24 (01:47:07):
But there was something in.

Speaker 10 (01:47:09):
His eyes that had never been in mind. I was scared.

Speaker 2 (01:47:17):
You know something funny? You look like me?

Speaker 9 (01:47:21):
Yeah, I kind of noticed that myself, and that why
WHOA lots of guys look a little like each other.

Speaker 2 (01:47:29):
I mean, huh, nobody looks like me?

Speaker 9 (01:47:33):
Well, okay, so I don't trying to That means you
must be one of one or what have ways of
changing their appearance?

Speaker 1 (01:47:44):
You're one of them.

Speaker 10 (01:47:45):
Look you're talking, you're talking about no use.

Speaker 5 (01:47:48):
You can't fool me.

Speaker 11 (01:47:49):
You know, I have to punish you out.

Speaker 10 (01:47:51):
What that night when I cut the resemblance away.

Speaker 49 (01:47:53):
And find me what you really look like? Come on
my hand, I'm gonna cut you away. No, your mom
twisted the night is pointing at You're hot.

Speaker 9 (01:48:06):
Now dropping nobody just flundering me out and stopping you
stop it all that.

Speaker 23 (01:48:13):
I gotta do this. So I told you, I told you, Hi,
I told you.

Speaker 10 (01:48:29):
Dead.

Speaker 9 (01:48:31):
Hey, No, she's dead. I gotta get out the door.
Slide it open, y odd boost.

Speaker 56 (01:48:42):
They slide into us. Why don't they slap a rabbit
give me ahead, chatting.

Speaker 9 (01:48:47):
Okay, you locked it.

Speaker 10 (01:48:53):
No, I can't get out.

Speaker 8 (01:48:55):
I can't get out.

Speaker 9 (01:49:10):
So there I was locked in with him in the dark.
He was dead, so I wasn't afraid of him at first.
I I even get him a going over. His eyes
were open, but I I flopped him over. I went
to his pockets, just a couple of bucks and some

(01:49:33):
small change and.

Speaker 10 (01:49:35):
His draft card.

Speaker 9 (01:49:37):
Funny, he was four f just like me. His name
was Martin. Tell that's a laugh too, finding out who
a guy is if to kill.

Speaker 21 (01:49:47):
Him, kill him.

Speaker 9 (01:49:51):
Yeah, I was a murderer. I just realized that they'll
hang me for that. No, No, it was self defense.
But but what chance have I got to proven that?
Me with a record too?

Speaker 10 (01:50:06):
But maybe I can lose that record.

Speaker 2 (01:50:10):
Maybe.

Speaker 27 (01:50:12):
Yeah.

Speaker 9 (01:50:14):
So I've switched draft cards with him, and now he's
Joe Hallis and I'm Martin pell.

Speaker 10 (01:50:22):
Martin pell out that says on his card of Wisey Oklahoma.

Speaker 9 (01:50:38):
And the hours go by and I'm there with him,
locked in a box car, and the wheels keep pounding underneath,
and he's dead.

Speaker 10 (01:50:48):
I gotta get out. There's gotta be a way for talk.

Speaker 8 (01:50:55):
Shut.

Speaker 10 (01:50:57):
I gotta think, think, you.

Speaker 23 (01:51:02):
Wait, we'll stop.

Speaker 10 (01:51:05):
Now what we'll stop? Yeah, he's coming up.

Speaker 9 (01:51:09):
Maybe they won't spint him anyways, I gotta get out.

Speaker 10 (01:51:12):
I yellow, I yell, and I'll punge on the door.
Yeah that's the way.

Speaker 2 (01:51:17):
Oh oh well me a well?

Speaker 57 (01:51:20):
Me are.

Speaker 14 (01:51:22):
Nobody?

Speaker 9 (01:51:23):
Yeah?

Speaker 8 (01:51:23):
Me?

Speaker 5 (01:51:24):
Nobody?

Speaker 1 (01:51:29):
Hit me?

Speaker 2 (01:51:31):
What's gone up? Catching a ride bomb?

Speaker 10 (01:51:37):
Get at it here for sure?

Speaker 56 (01:51:39):
Sure you know it's against the law riding it right?

Speaker 11 (01:51:43):
Yeah?

Speaker 9 (01:51:44):
Yeah, I know.

Speaker 56 (01:51:44):
Maybe it's a hunk, you remember, So I get out
of it here and get fast.

Speaker 10 (01:51:52):
That's as I could. I got away from him. The
yard boat took a.

Speaker 9 (01:51:55):
Quick look into the car, but he didn't stop. The
buddy out of the second and the train started up,
and it began moving away with Martin Tell land under
a pile of dirty second with a knife in his
hot and a funny look in his eyes. Oh yeah,

(01:52:17):
I'm Martin Tell. There was only a water and stop
where the train stopped. So I walked across the prairie,
not knowing where I was going and not caring much.

Speaker 10 (01:52:35):
Well.

Speaker 9 (01:52:36):
I keep walking across the dark face of the land
until I spot a light light.

Speaker 53 (01:52:42):
A couple of lights.

Speaker 9 (01:52:43):
A small town looked like a small town somewherees where,
right on the edge of town. There's a lunch wagon
and it's open, and there's a light shining, and I'm hungry,
so I go into the lunch wagon.

Speaker 10 (01:53:02):
Hi, how about some need?

Speaker 21 (01:53:05):
Sure thing, Martin?

Speaker 2 (01:53:07):
Sure thing?

Speaker 10 (01:53:08):
What What did you say?

Speaker 1 (01:53:11):
I said, sure, you're.

Speaker 10 (01:53:12):
Gonna have something to eat?

Speaker 1 (01:53:13):
Mardin?

Speaker 8 (01:53:14):
What to be?

Speaker 10 (01:53:16):
What?

Speaker 21 (01:53:18):
What town?

Speaker 13 (01:53:19):
Is this?

Speaker 2 (01:53:19):
Why you ort to know? Martin?

Speaker 8 (01:53:21):
This is?

Speaker 1 (01:53:22):
Why is he?

Speaker 9 (01:53:23):
Why is the Oklahoma?

Speaker 10 (01:53:25):
Why is he?

Speaker 9 (01:53:26):
But but that's the same place.

Speaker 19 (01:53:28):
It can't be.

Speaker 9 (01:53:29):
That's no way to talk about your own hometown. Of course,
you've been away.

Speaker 1 (01:53:33):
Quite a few years.

Speaker 10 (01:53:35):
You look good now, wouldn't you say I've changed?

Speaker 9 (01:53:40):
Oh no, Mordan's not true. Of course you're only around
sixteen when you left. Kind of an advanced sixteen though. Yeah,
ain't many kids that age. You would have stuck up
the bank, knocked off the night watchman, watchman, I kill him? Oh,
don't get modest? Felt sure old man? Henshaw? Hey, Hey,

(01:54:04):
I was near forgetting You said you're hungry?

Speaker 1 (01:54:07):
Not anymore?

Speaker 2 (01:54:07):
Oh, come on, have some need?

Speaker 9 (01:54:10):
Don't you believe in putting anything in your stomach before
doing a jump?

Speaker 10 (01:54:13):
Doing a job?

Speaker 40 (01:54:14):
Me?

Speaker 2 (01:54:15):
Why do you think I said, why should I promise
you a grand.

Speaker 10 (01:54:20):
I don't remember it?

Speaker 2 (01:54:21):
Oh, for Pete's sake, Martin, how many many of you
kill that you don't remember a job like this?

Speaker 10 (01:54:26):
Never mind the act. Play it straight. Huh.

Speaker 9 (01:54:29):
Okay, okay, don't get nasty. It's too late to talk
business anyway. Come on, I got a room fixed up, boy,
and back, get a good night's sleep. We'll talk in
the morning about an old man it's lived way past.

Speaker 2 (01:54:44):
His time, about how you are going to take care
of that.

Speaker 9 (01:54:50):
I'm not sent for you because I need money I
ain't got me. My uncle has old man crew. I'll
get it from him. When he dies, I will, so
I want him to die. Oh, I got a grand
in cash, that's yours for what come? Uncle don a

(01:55:13):
little earlier than expecting. No, guys, no diet Martin, You
take care old man carew so help me. I'll turn
you in on that bank. John ahead, turn me in.

Speaker 10 (01:55:25):
I can prove that I.

Speaker 11 (01:55:28):
And then I shut up quick.

Speaker 10 (01:55:30):
Chliz was watching me with those little pig eyes in
his fat face.

Speaker 9 (01:55:34):
Sure I could prove I wasn't, Martin, tell that I'd
never been in Wisioga Homa bf. Sure, But to do that,
I'd have to admit I was Joe Harris, and when
they found that corpse in the box car with my.

Speaker 10 (01:55:47):
Draft card on him, that I'd be fine.

Speaker 9 (01:55:51):
A lot of attention that jury had paid to my
plea of self defense, no witnesses and me on the lamb,
and me switching draft cards and panic, or even the
hangman that burst out laughing when he slipped a noose
around my neck. I shut up quick, Bliss watching me close,
and then I said, okay, Bliss, that's the deal.

Speaker 10 (01:56:13):
What's the layout play out?

Speaker 9 (01:56:22):
I'll pull in here, trees will cover the car in
case anybody happens to be out late on the highway.

Speaker 2 (01:56:28):
Can't be too, can't old that?

Speaker 9 (01:56:30):
So mum, that's so yeah, it's only a short let's
get going. Oh yeah, you better take this?

Speaker 26 (01:56:43):
What?

Speaker 9 (01:56:45):
Oh the tire iron?

Speaker 2 (01:56:48):
I picked it up in a junk yard. They never
trace it to me.

Speaker 10 (01:56:52):
It's for a old man cruel.

Speaker 16 (01:56:57):
They bothered me.

Speaker 9 (01:57:00):
I ain't used to him anymore. The house old man
crew never believe in buying curtains through the windows.

Speaker 2 (01:57:12):
There he is rocking in his chair. I wants the porch.
It's busted.

Speaker 9 (01:57:20):
I guess we knock it's blid.

Speaker 1 (01:57:27):
Mm hmm.

Speaker 2 (01:57:28):
What's now?

Speaker 18 (01:57:30):
Uncle?

Speaker 9 (01:57:30):
Carew it's me.

Speaker 10 (01:57:35):
Used to come in, brought a visitor, old friend of yards.

Speaker 5 (01:57:41):
Yeah, and sept what you like?

Speaker 9 (01:57:45):
Set my rocket?

Speaker 2 (01:57:47):
Nobody sets in it to me?

Speaker 10 (01:57:51):
Who's the man with you?

Speaker 9 (01:57:52):
Don't you recognize him?

Speaker 10 (01:57:55):
Looks like a cowboy, That's who it is, Martin Pett.

Speaker 16 (01:58:00):
And it wasn't a good thank you bliss?

Speaker 10 (01:58:04):
Alright, I can visited? Got home now, kind of cold out.
There was a chance to walk off.

Speaker 26 (01:58:11):
Huh and I care what you do?

Speaker 2 (01:58:15):
Okay, what dosen off?

Speaker 1 (01:58:17):
Al bid?

Speaker 26 (01:58:18):
Go on?

Speaker 23 (01:58:19):
Martin?

Speaker 2 (01:58:20):
Right, he ain't looking this way. Now is the time.

Speaker 10 (01:58:24):
I ain't gonna He's an old man.

Speaker 16 (01:58:27):
What do you give it to me?

Speaker 10 (01:58:29):
All right? Here?

Speaker 2 (01:58:31):
Yeah? Uncle uncle? Yeah yeah yeah? Adding mean that man hockeys? Yeah,

(01:58:55):
my uncle was carrying quite a.

Speaker 9 (01:58:57):
Bit of dough on him.

Speaker 5 (01:58:59):
Martin.

Speaker 9 (01:59:00):
Yeah, well yeah, take the money.

Speaker 24 (01:59:05):
It's very empowered.

Speaker 2 (01:59:06):
I'll put it in your pocket myself.

Speaker 9 (01:59:08):
It's very important when they find you here and knock
down clipping over that busted.

Speaker 10 (01:59:14):
Porch step, Well, no, why you killed old man?

Speaker 5 (01:59:17):
Carew?

Speaker 9 (01:59:18):
What are you talking about?

Speaker 10 (01:59:19):
Talking about?

Speaker 9 (01:59:20):
And knowing you're ragged Martin, They'll never look for anybody else.
And when they find you on the premises with the
old man's dope and your fingerprints on the tie.

Speaker 8 (01:59:28):
No right.

Speaker 10 (01:59:37):
I was walking up a long flight of stairs with nothing,
nothing at the top, but more stairs and more stairs,
and my head was hurting. And then I woke up.

Speaker 9 (01:59:57):
Walker, lying outside of old man Carew's house with a
bloodstained tire iron in my hand.

Speaker 10 (02:00:05):
I pulled myself to my feet and then I heard cars.
They were coming, and there.

Speaker 5 (02:00:11):
I still was.

Speaker 10 (02:00:12):
I had to get away fast. I didn't know the country,
but I was hunted, and a.

Speaker 9 (02:00:19):
Hundred animals got an instinct to hide, to run, to run,
and to hide.

Speaker 10 (02:00:23):
From the killers. They didn't find me that day because
I pulled them. I didn't try getting out of the
county town. Oh no, that's what they were watching for me.
So I stayed put close to town, which pulled them.

Speaker 19 (02:00:42):
And also.

Speaker 10 (02:00:44):
I had a job to do.

Speaker 1 (02:00:46):
Who is it.

Speaker 5 (02:00:48):
Five me?

Speaker 10 (02:00:51):
What what are you doing here?

Speaker 9 (02:00:55):
I got paid for a killing I didn't do, so
I figured maybe I m better due a killing now
for no play a toss where you want?

Speaker 10 (02:01:05):
Now we're alone here. I've got this knife. No listen,
you've got a passle.

Speaker 9 (02:01:13):
Yeah, and sit down and write a little note about
how you killed old man. Care No, I got the
knife against your heart. Sit down and write all right, just.

Speaker 10 (02:01:27):
Right, I killed my uncle because I wanted his money.

Speaker 1 (02:01:39):
I got it, good, got it?

Speaker 10 (02:01:45):
Now sign your name pretty.

Speaker 2 (02:01:48):
Yeah, take a knife away.

Speaker 10 (02:01:54):
Sure that the right?

Speaker 11 (02:01:59):
Yeah?

Speaker 10 (02:02:00):
Yeah, goodbline, mister Bliss. I better put the knife in
your hand like this.

Speaker 9 (02:02:08):
Two badge and nurse went back on your You committed suicide,
mister Bliss. That's what you did, and now they'll stop
looking for me. I holed in and waited until they
found Bliss, so the law was called off.

Speaker 10 (02:02:30):
There was nobody to look for, so I headed for
the water and.

Speaker 9 (02:02:34):
Stopped in the freights because it was cold and I
was heading for Sunshine, Sunshine.

Speaker 2 (02:02:42):
There was a train getting.

Speaker 9 (02:02:43):
Ready to head for the coast, so I sneaked close
to it on the fire side. There was a couple
of pulls around chewing the rag, but they didn't. I
spotted an open box car and I climbed in and
I got away. The bulls were coming along checking. One
of them sounded like the guy that had thrown off
the night before.

Speaker 10 (02:03:02):
This time. I didn't care.

Speaker 9 (02:03:03):
I was hoping he locked the door on me. So
I curled up in a corner and waiting.

Speaker 58 (02:03:08):
Yeah.

Speaker 9 (02:03:08):
Man, that was quite a wreck to head up ahead.
Quite a wreck held up the line for twenty four hours.

Speaker 56 (02:03:15):
It sprayed here and already pulled out and where it
came into the wreck up ahead. So they backed her
right back here and let her stand rights on the way.

Speaker 11 (02:03:23):
Now.

Speaker 10 (02:03:24):
Uh uh, one of them sliding doors is of him.

Speaker 19 (02:03:27):
Let me have it.

Speaker 9 (02:03:31):
Wait wait, wait, this is the same princes we drink.

Speaker 23 (02:03:37):
It can't be.

Speaker 13 (02:03:39):
It's cold.

Speaker 21 (02:03:41):
People train.

Speaker 10 (02:03:43):
This second would be over there. Let me see the second.

Speaker 21 (02:03:50):
Yeah, it's the second and under it.

Speaker 10 (02:03:55):
I gotta see. Yeah, a Jim Martin, and i'd him
with him, and because we're going to the sunshine together,

(02:04:21):
and that's how the control finders.

Speaker 23 (02:04:23):
Together, him dead and me.

Speaker 8 (02:04:29):
And me.

Speaker 48 (02:04:41):
Well.

Speaker 54 (02:04:42):
Well, alas for poor Joe who couldn't keep out of
box card, he was a nice boy, but he couldn't
stay put.

Speaker 53 (02:04:50):
I guess they'll give him the.

Speaker 59 (02:04:51):
Order of the rolling Stone Tombs, doll, and believe you
with that, you're afraid plain whist whistling in the night,
think of Joe and wonder if he's still in it.

Speaker 11 (02:05:07):
With Martin rattling.

Speaker 54 (02:05:11):
Our friends, it's time once again to close that creaking
door until next week at the same time when we'll
be back with a little Hong Kong rra.

Speaker 21 (02:05:22):
You'll be sure to listen, don't you until next week?
Then good night, Leaden Green.

Speaker 10 (02:05:33):
M h.

Speaker 2 (02:06:51):
Inner.

Speaker 45 (02:06:51):
Sanctum has come to you through the worldwide facilities of
the United States Armed Forces Radio and Television Service.

Speaker 47 (02:07:34):
Every door has a key. There's a key to every situation.
Behind every unopened door, there is a mist and the
opening of this door introduces us to another in the series,
the key.

Speaker 18 (02:07:54):
That destruction key. Okay, so we never have to use
it'll be okay, yes, sir, Rocket to base, I'll set
all said commander.

Speaker 60 (02:08:03):
Commander reports rocodiles hits.

Speaker 18 (02:08:06):
Close circuits, all clear, low circuit burns closer, Ah for
the moon a bust. Huh, talk about an old joke,
Sirga closed, right, good luck, Commander.

Speaker 60 (02:08:24):
Run control, Ready for firing, right, Hello, Commander firing thirty
chickens from.

Speaker 33 (02:08:36):
No ill.

Speaker 18 (02:08:39):
Okay, boy, just settled down, honest, Okay, okay, sir, there's
okay going up first floor, clouds running forward the second
floor stettersphere, I hones spear edge of unknown third floor.
Your guess is as good as mine. But the top
floor man on the moor, another childlike fantasies. Hand over
the stake control barns here's sir, hope you'll never have

(02:09:00):
to use it. Thought so one of the those es bikes.

Speaker 58 (02:09:04):
Oh and raise by now.

Speaker 18 (02:10:04):
Ah, that's a relief.

Speaker 61 (02:10:06):
SD is not a thing that appealed to me, No,
sir do It's not be silly in the twenty million
dollars rocket. Instead, there's any self destruction to be made.
I'm good in bed with an overdose of sleeping tablets.

Speaker 18 (02:10:20):
Okay, Graves go to sea level commander right, you're right.
Any difference between this and see here? The sea ain't
a rock right below?

Speaker 1 (02:10:32):
Have a look?

Speaker 18 (02:10:34):
Gee, have you word host from Canada to Mexico.

Speaker 62 (02:10:39):
Put me there.

Speaker 18 (02:10:41):
Well's round all right? Oh yes, it's round, all right
down there that I'll cut out now and well it's
faster going down all contact base, helladace, hello'll command of
Taylor here, Everything under control, going up, three, turky, come
on up. The weather's fine.

Speaker 23 (02:11:03):
They used.

Speaker 60 (02:11:05):
Frequently, sweet, need to come, They used to shoot.

Speaker 18 (02:11:10):
I get you officially everything under control and proceeding to plan,
camera functioning, instrumental recording working. Are you receiving signals?

Speaker 16 (02:11:20):
Receiving good?

Speaker 18 (02:11:24):
They'll give you five minute calls. They're seeing it at
least hearing you hold it up officially, even follows out here.
Maybe there's not much idea they can do about it.
In return trip garns.

Speaker 38 (02:11:39):
What goes up?

Speaker 18 (02:11:39):
You know on returning to base. The crew of rocket
Project one oh one base to moon and return, we're
officially reprimanded for indulging in unseemly jocularity over the air
if they don't look out or go on and on
and never come back. And life suit that sure I
have as a gradually receding whisper from out of space. Now,
can a wife get at the US because her husband

(02:12:00):
has left her? Technical point there, sir, you would have
left her, but she'd no where to work at least
directly ilegal legos around here. There's nothing but power cut
off a linte thirteen seconds thirteen thirteen, love, she would
have been fourteen. Maybe the launching jot not the phenometer

(02:12:22):
out of it. Yeah, it could be one second of
rocket approach. You're not there and second. I could one second,
the base.

Speaker 1 (02:12:33):
Will get their ideas.

Speaker 18 (02:12:35):
Hello Base commander here, Hello commander Space.

Speaker 60 (02:12:40):
I'm recording show a power cut off at one minute thirteen.

Speaker 18 (02:12:43):
Chickens you're reading agree with that, Yes they do. Barnes
just checked one thirteen. You thought it might be the
launching joke.

Speaker 60 (02:12:51):
One thirty complete.

Speaker 18 (02:12:55):
How does that affect us? We'll let us know. Of course,
we'll check back with you about how long.

Speaker 5 (02:13:06):
On a second?

Speaker 1 (02:13:08):
One second can't make all that difference.

Speaker 18 (02:13:11):
You gotta make all that difference. Grades take me too
long to work out, So brain will have the answer
long before I could. Oh, roughly, I guess. I guess, well,
then should going around the moon? We might fall short
by a two thousand miles. Mind you let the guess
wasted effort just the sort of tricks they would play
on us. The worst have never made the top floor.

(02:13:33):
The led ring that follows out of the nest is
a better chance of learning to fly.

Speaker 21 (02:13:36):
It is happening.

Speaker 38 (02:13:37):
I guess.

Speaker 18 (02:13:38):
So I thought that brain was supposed to work fast.
It's got to be switched from our flight to calculation,
and it's working to us thirty second of a dozen points.
And I suppose I have to because I guess two
or three hundred thousand separate tested figures. Well, nothing's any goodness.
We get instantaneous results. Another sort of flight anyway, leave

(02:13:58):
it to the mathematicians, and it's take who here, sir? Yeah,
I guess you're right. Reading soles sort of flight will
always be dangerous unless we know it once learn by mistakes.

Speaker 16 (02:14:09):
Sir.

Speaker 18 (02:14:09):
Yeah, we make a mistake and there's one result at
no if we can yeah, see that. They got to
say hello bass one on one.

Speaker 60 (02:14:20):
Here, Hello commander Fax years.

Speaker 18 (02:14:24):
Well what's the result.

Speaker 14 (02:14:26):
You'll be back before you know you're gone back?

Speaker 18 (02:14:29):
Sorry, commander, what are you doing to us in Nursia?

Speaker 60 (02:14:34):
Will take you to six thousand miles? Then you will
not back one ordinary landing routine. Then on sorry the radio,
your exact landing location in a few.

Speaker 17 (02:14:46):
Minutes, over and out.

Speaker 18 (02:14:50):
Ordinary landing routine. Well we've practiced it long enough. Then,
by boys, when we get the go ahead, it's ordinary
landing routine, very landing routine. Sorry, sir, my calculations will
bit up. That's all right, grieves. You couldn't know the

(02:15:11):
plus that's what it is. Earthbound, that's us. You've got
to learn. Yeah, sure, and while we're learning, somebody else
will get to the moon. By the time we land,
you won't be able to see it for flags. I
don't know what they're trying to do. Seems to me
they want somebody to get there first. Yeah. Now you
can feel us losing speed, dragged back. You will cut

(02:15:35):
out one second before it should anyway, millions of ways, sebustioning,
haulty loading. But I checked it myself. There couldn't be
a mistake, no matter how much they kid themselves. I
tell you they're doing everything they can to make sure
we don't reach.

Speaker 1 (02:15:48):
The moon, that we don't get there first.

Speaker 18 (02:15:50):
In the landing position Arizona.

Speaker 12 (02:15:53):
I bet.

Speaker 18 (02:15:54):
Yes, Banks Commander one on one here, hold on taking
the earphones's graves at your department. Yeah all right, commander, careful,
there's enough gravity to pull us back, but not enough
to stop your bashing your brains out here.

Speaker 63 (02:16:09):
I've got a commander, yeah, yeah, unless you're almost used up, sir,
I think one second to make all that happens. The
final kick and you listen to the great unknown.

Speaker 18 (02:16:24):
All right, yeah, I've got that.

Speaker 2 (02:16:29):
All right.

Speaker 21 (02:16:30):
I want to speak a base.

Speaker 18 (02:16:31):
Sir, No, thank you, Graves, The less the better, Okay, thanks, base,
over and out? Yeah, quiet, quietness, I need like gliding
cut up and you don't care peace? You know, I
wouldn't care the world dropped away into nothing if I

(02:16:54):
never saw it again, the three of us cooped up
in here, sir, it'll be a life sentence without even
seeing the water, It's true. Oh well, going back to it,
whether we want to or not. Oh well, where do
we hit graves? Working it out? Commander? There's no a
second back on face. Probably maybe right on the launching platform.

(02:17:18):
Yeah that cut us down the size. Yeah no, I
don't think it will be their commander. What are we
doing now at Barnes offering, sir? Or as I can
make out?

Speaker 62 (02:17:31):
A total movement is a slight swing if it wasn't
that the earth is following us something we've been here forever,
unless a meteor goddess.

Speaker 18 (02:17:43):
Well, this is it landing positions, sir? A Oh good,
Nothing like knowing exactly where you gotta bounce. Hey, this
isn't a joke, is it? Graves?

Speaker 5 (02:17:56):
Not there? Great?

Speaker 16 (02:17:58):
Not?

Speaker 24 (02:17:59):
What is it?

Speaker 11 (02:18:00):
Yeah?

Speaker 18 (02:18:02):
Wall Street would certainly get a shot.

Speaker 2 (02:18:04):
New York.

Speaker 18 (02:18:08):
Hello, hello, bass, I don't think New York would be
very pleased to have a rocket come down in their midst.
I'll use up some of the landing jet and make
for somewhere else. Oh how much? And when to get
us away? Greaves? Base is ahead of your commander given
a tooth already? All right?

Speaker 5 (02:18:30):
What is it?

Speaker 18 (02:18:31):
Anytime we like one? Ain't jostler knock us to me?
All right, face, we'll take the hint. We'll fire one
eight straight away, idiots out of season. Yes, you do that,
over and up, okay, Barnes, one night, one eight for

(02:18:53):
seven nights to break and land. That should be plenty,
okay for you, Greaves. Anytime you like, Commander good, I'll
set the fire. Barns set all right, I have it, fire, sir,
timor on bars. Don't waste time, sorry, sir, No reaction, No,

(02:19:16):
what reaction? Looks like New York is in for a surprise.

(02:19:49):
Don't be silly, Barns. We can't hit New York the
full breaking load in one second of launching fuel. We
blow the place to Maine. Let alone not get there ourselves,
all right, sir, that's it, No reaction. We'll check your
firing contact one set firing set reading okay, ten plus

(02:20:10):
close firing. We'll check it again. Indicator showing ten plus
or a second must be okay. But for some reason
she doesn't fire. I'd be the same polt this cut
out main propulsion, sir, I did cut cut for no reason.
You can see you know, a rowboat without always makes
you feel pretty helpless. But this is something bigger, yes,
or bigger? Any movement indicated and yes, So we started

(02:20:34):
out fall one on one debase hearing me base commander here,
hearing you one, come here. Something's gone wrong with our
firing mechanism. We'll work on it. I want you to
check landing position, impact, explosion area of a full breaking
load and one second propulsion, and give me the time
exact we can expect impact. You got it.

Speaker 60 (02:20:59):
Her fast as we cancer.

Speaker 18 (02:21:02):
We'll call over, not at Paul, all right, speeds in
the hundreds already and we've got to outspeed it. Put
that firing and check wires and contacts. Leaves leave there,
give us a hand. Check that firing plan. I'll check
the main fuel. Find what cut it out a second
too soon? That might give us a clue. Now, fast boys,
fast as you can. How long do you reckon graves

(02:21:24):
roughly not long. Acceleration will mountenormously. Yeah, we'll break us
a little bit. By that time, we'll be going like
a rocket. Rocket's mind. Let's say we've got far less
time than we need coming toward this gravitational pool. Twenty minutes.
No faults here, strong reading, wiring's okay, no reason, I

(02:21:45):
can see whether the fuel should have cut out. Everything's working.
Readings are okay.

Speaker 53 (02:21:50):
It's me.

Speaker 18 (02:21:52):
Yeah, neat little trap of eleven kisses from the back
room boys.

Speaker 21 (02:21:55):
He asked me.

Speaker 18 (02:21:57):
A base one on one.

Speaker 60 (02:22:00):
Thanks commander, change, checked and rechecked.

Speaker 18 (02:22:05):
Time from now, Thanks out New York boys, and that
we can't hit fault anywhere. Kilroy was here. Oh hello, yeah, plan,
I mean wives from control to God, show no reaction.
Let's see dead. Let's be a wife fo. It looks

(02:22:29):
like here barns. Folder breaking could be either secondary circuits
not our most Can we mend them, relay, sir, from here,
and there's no airs, no precious sets, no airlock anyhow.
That's something to tell those bright boys back home. So
now so now nothing we can't mend. I can't make contact,

(02:22:51):
that's it, Yes, sir, you think of anything. Graves No sir,
black and white, so far as rockets are concern right,
no wrong, no way up, no taken, chances dead or alive.
It's as simple as that.

Speaker 33 (02:23:07):
Yeah.

Speaker 18 (02:23:07):
And if we hit New York this yeah, base again,
come in base.

Speaker 60 (02:23:13):
Impact fifteen minutes, commander, last area for fuel would be
too much, too.

Speaker 18 (02:23:20):
Much, that is, if you hit, I got it. We
mustn't hit, no, sir, on no account. Thanks, We'll call back,
mustn't it? Boys, And that's it, SD, sir, self destruction
unless you can think of any way out. Yea, behold
it in my mind, over and over it. I got

(02:23:42):
it so well, so I expect it, you guest, even
a murder, I get you so so. The chair is inevitable.
You can't avoid it.

Speaker 14 (02:23:50):
Take it.

Speaker 47 (02:23:52):
I'm right.

Speaker 18 (02:23:52):
There must be some way out of it.

Speaker 8 (02:23:54):
It must be.

Speaker 18 (02:23:56):
You should get to help. At a position like this,
and the mind stops. Think of all that earth rushing up.
That's so big. Everything else seems small well false, big bang, Commander,
you're forgetting routine face command base notes either space suits

(02:24:18):
or carried or lairer lock fixed to some other way
must be devised to check wiring or false outside his
nose cockpit an additional or maybe a mechanical control might
be a good idea recorded, sir.

Speaker 60 (02:24:31):
Have you thought of any way of overcoming your difficulty?

Speaker 18 (02:24:34):
Commander No, no base. Oh thanks for describing them as difficulties.
It seems to cut down the little effict to the
level of seeing your bank about an overdraft, which reminds
me yet, yes, sir, nothing. We'll let you know if
we think of anything. What about your end? You got
all the eggheads? Can't they hatch up anything? And I

(02:24:56):
know all conversation between us is being recorded, replayed and
listen to I'm living in and out, over and out
official cold, I'm official nobody to help us our own
heea's way up to the maximum answer? Yeah, whether is
it's swifter than it's tarder from an arrow's bowl or

(02:25:16):
something like that. Sir, Well, can't you guys think of anything?
Haven't you got one idea between Yes, sir, at least
I haven't. This is when they no answer to it?

Speaker 9 (02:25:27):
Yeah.

Speaker 18 (02:25:30):
Yeah, it looks like the st key things began to
haunt me a million eventualities. We've not an answer to
all of.

Speaker 1 (02:25:39):
Them, except.

Speaker 18 (02:25:42):
We're down to the last answer. No reply, job, how
long July. I have to pull the switch. Graves have
to be thousands of feet up, thousand, hundreds of thousands.
Explosion will be enough to change their weather for months.
Reckon that, that's three a minute. We'll get the main

(02:26:04):
after all bits of us bits. It will be so
small that they have would we'd be Adams. I wish
I'd thought of this months and months, thinking out the answers,
and this happens basic the simplest of all. What goes
up must come down. Even so, you'd never have thought
of the New York yet. Oh yeah, cunning that one,
very cunning. It's being beaten makes me wild.

Speaker 33 (02:26:28):
You could attached one here, all right.

Speaker 18 (02:26:31):
Yeah, they're so clever. They should have the answers, and
they wanted to wipe us. I reckon, sir, Jalousy makes
beasts of us all they're a baby, our credit, we
get our photos in the paper. They can't forgive that.
I don't think they go that far. That's the point
if you forgive me saying, says sir, I think we're
losing our perspective. Pain and over work makes people imagine

(02:26:53):
slights that aren't there. Aren't there. Well, it's pretty obvious.
I mean responsible for every single thing that's gone wrong. Well, well,
oh all right, it doesn't matter to me anyhow, it
doesn't matter to any of us. Switch. Never thought we'd
have to pull that st switch?

Speaker 2 (02:27:16):
How long?

Speaker 18 (02:27:17):
So sooner the better. Really, it's got to be pulled.
I can't help feeling this something some gimmick we've overlooked.
Very likely that's what they want you to feel. Wait
till it's too late. Could be evil. No, we don't
catch us being pulled and right now? Okay, I said,

(02:27:39):
you don't seem any way over else, sir, too bad
if you pull it and then think of something, Yeah,
too bad. I'll call base hell base commander here, one
on one. Thanks to us, there's no possible way out
of this. I'm pulling a self destruction switch in ten seconds.

(02:28:00):
That way all New York will get will be an
aerial explosion. I'll remember that it won't harm them, I plan. Yeah, well,
you put your umbrella up. Thanks, you'll hear from us.
Won't be by ready, Oh, it will be direct. Always
didn't want to be a big noise. Bye bye.

Speaker 60 (02:28:18):
I'll tell the anker. I'll informed ground control and turn it.

Speaker 18 (02:28:22):
Yeah, you do that. How about up. Yeah, okay, boys, okay,
one on one destroying itself before contact routine. And as
the mustard said to the bath, this is where you

(02:28:43):
put your footoes over.

Speaker 2 (02:28:48):
And exhaust three one.

Speaker 47 (02:29:07):
Three Well exhausted, sir, Right okay, commander, you and your
men can come out.

Speaker 18 (02:29:20):
Oh fine work, commanders. Congratulations, congratulations sir, pulling near sea lever.

Speaker 47 (02:29:26):
I know if you had been in a rocket or
real one, you've been blown sky high. But that you
did it under these.

Speaker 53 (02:29:31):
Experimental conditions has convinced us that the next.

Speaker 47 (02:29:33):
Time, the next time, there'll be nothing simulated about.

Speaker 18 (02:29:36):
It, about blowing ourselves up. Know about the next trip.

Speaker 47 (02:29:41):
It's the moon for you. Thank you, sir, your last
and final test. If you hadn't pulled it, we'd have
found another crew. You did, and that means you're going
to be sent up rather higher than a chandelier next time.

Speaker 18 (02:29:55):
You know, next time, boys, next time it was the
real thing.

Speaker 47 (02:29:59):
What I know, I know these months of experiments under
artificial conditions and stayed off handsomely, every conceivable eventuality met
and overcome. Oh good luck, commander, Thank you sir, and
you bonds greed. I know it's been tough, but it's
better to meet any possible disaster here and the simulated
space conditions than it is up there, where one mistake

(02:30:21):
is the only one you'll make, and the training rocket
costs a lot less than.

Speaker 18 (02:30:25):
A real one. But a real one next time, sir,
a real one.

Speaker 47 (02:30:31):
And commander it will have a real sc key, I hope,
one that will never be disturbed, one that will stay in.

Speaker 18 (02:30:39):
Its box for always. Sir, You've got a seconder for that.
Stay shut up, you.

Speaker 47 (02:31:06):
Opposing door finishes a story. Next week another key, we'll
open another door to another story.

Speaker 9 (02:31:13):
This romance.

Speaker 47 (02:31:17):
Or adventure all start when a door is unlocked by.

Speaker 9 (02:31:23):
The key.

Speaker 6 (02:31:35):
We all know someone who struggles with depression, whether we're
aware of it or not. It's something those who suffer
tend to deal with in silence, in the shadows. But
the organizations we are supporting with our annual Overcoming the
Darkness Fundraiser this month are working to make it easier
for those in the darkness to come into the light,
to find help, and to learn they're not alone, that
there are ways to overcome the darkness of depression and

(02:31:57):
live normal lives. This fundraiser only one month out of
the year, as October is the anniversary month for Weird Darkness,
we launched in October twenty fifteen. It's National Depression Awareness Month,
and this month is spooky and dark, kind of like depression.
If you'd like to make a donation or learn more
about the fundraiser, or find hope for yourself or someone
you know who struggles with depression, visit Weird Darkness dot

(02:32:20):
com slash hope. The fundraiser ends Halloween night at midnight.
Please give what you can Weird Darkness dot com slash hope.

Speaker 18 (02:32:39):
Man lives in.

Speaker 2 (02:32:40):
A world of tire.

Speaker 23 (02:32:43):
He lives.

Speaker 33 (02:32:46):
Off the universe when when adventures will be young, he
is in the.

Speaker 5 (02:32:54):
Ah well where.

Speaker 53 (02:32:55):
Strange processes are brought on completely.

Speaker 33 (02:32:58):
When when I attempts to miss us these porcels, he
is sometimes this.

Speaker 2 (02:33:06):
Visit is my Maca.

Speaker 33 (02:33:23):
The Fari's Network presents in special performance Macabra, The Night's
Story The avenger A.

Speaker 5 (02:33:49):
The night is warm and dark, except for the moon.

Speaker 33 (02:33:52):
Vainly trying to pierce a thickening sky. There is a
lonely light in the library window and hail mannor house side.

Speaker 1 (02:34:00):
In the mindstrewn garden, a dark.

Speaker 33 (02:34:03):
Figure steals quietly to the flagstone terrace, pauses as if
sniffing as scent, and then moves in an animal crouch
toward the light in the window. Doctor Burton Hale sits
in the library reading, unaware that had he glanced at
the window, he might have seen something past, something with

(02:34:24):
a frightful look, something that now was trying the knob
of the French doors leading from the terrace to the library.

Speaker 18 (02:34:31):
Wow, who's there?

Speaker 5 (02:34:36):
Who's there? I say, strange?

Speaker 53 (02:34:39):
It sounded like stone on terrace. Perhaps I'd better see.

Speaker 18 (02:34:44):
Is anyone out there?

Speaker 5 (02:34:47):
Who is on this terrace?

Speaker 33 (02:34:48):
Dan Horace?

Speaker 1 (02:34:49):
Dan walked up, quick up the end.

Speaker 9 (02:34:51):
What's wrong with your day?

Speaker 33 (02:34:51):
Had to talk? Lock the door, turn the light hair
Now just a minute thereways, I see a dog? Good?
See anything I'm doing?

Speaker 53 (02:35:03):
What am I supposed to look for?

Speaker 11 (02:35:04):
Something tried to kill me?

Speaker 33 (02:35:06):
I apparently need it over here.

Speaker 53 (02:35:07):
You're over roughed, Sit down, then I'll get you a seaded.

Speaker 33 (02:35:10):
I'm a friend in trouble, not a patient.

Speaker 5 (02:35:12):
Duck.

Speaker 53 (02:35:13):
Have you been drinking?

Speaker 33 (02:35:14):
That's a great idea scotch.

Speaker 2 (02:35:16):
Take a big all right, you could use one, haven't see.

Speaker 9 (02:35:19):
I'll be William.

Speaker 44 (02:35:21):
Thanks.

Speaker 53 (02:35:22):
I'm not trying to find Dan I really think you
will play.

Speaker 5 (02:35:28):
Yeah, I do.

Speaker 52 (02:35:30):
I've known you twenty years.

Speaker 33 (02:35:32):
You're a sound of a dollar, which makes you think
that someone is trying to kill you. Judge for yourself.
Started yesterday morning. I was crossing Third Avenue. I just
stepped off the curb and a park cab tried to
run it down.

Speaker 1 (02:35:46):
COO is a way?

Speaker 33 (02:35:47):
This is more. Today had a construction project. A beam
slipped from a crane almost crushed me.

Speaker 5 (02:35:53):
Damn, accidents will happen.

Speaker 33 (02:35:55):
Doesn't stop there. Tonight I left my hotel room about aid.
I walked past the dark alley, shot rang out, bullets
missed my inches. I hopped into my car, and they
got that dish for your place. But whatever is after
they followed, it's up there in your garden. Or this
shot may have been a backfire with a ricochet.

Speaker 1 (02:36:13):
Have you any idea who it might be?

Speaker 53 (02:36:16):
No, then people need reasons to kill You've.

Speaker 64 (02:36:20):
Never heard anyone in your whole life.

Speaker 33 (02:36:21):
You're alarmed over a set of coincidences. I tell you
something funed me here.

Speaker 53 (02:36:25):
Could have been a policeman. You know you didn't look
like a burgular.

Speaker 33 (02:36:28):
I was afraid I'll be a target in the front
so I came through the garden.

Speaker 2 (02:36:32):
Where are you going?

Speaker 33 (02:36:33):
Stay back?

Speaker 9 (02:36:33):
I look?

Speaker 33 (02:36:36):
What do you see?

Speaker 1 (02:36:37):
Be quiet?

Speaker 2 (02:36:37):
Damn?

Speaker 5 (02:36:39):
Was it anything?

Speaker 53 (02:36:41):
Couldn't tell Flower pap overturned.

Speaker 5 (02:36:43):
Probably just a dog.

Speaker 33 (02:36:45):
Sure dog's gonna climb at eight foot wall?

Speaker 2 (02:36:47):
Aren't there?

Speaker 9 (02:36:48):
You won't be satisfied until I call the police.

Speaker 5 (02:36:50):
No, we can't do that.

Speaker 53 (02:36:52):
Then there's something you haven't told me.

Speaker 33 (02:36:55):
That's right, Doc.

Speaker 53 (02:36:56):
If attempts at being made in your life, they must
be stopped.

Speaker 33 (02:37:00):
I didn't want to believe this myself. Now it's clear.
You remember the trip on the Africa last year.

Speaker 53 (02:37:06):
Yes, you were doing research for a book.

Speaker 33 (02:37:08):
We'd stopped the night the edge of a village deep
in the jungle. After supper, I decided to go for
a walk of a hot, stifling night. Another member of
our party, Jack Clayton, from London, joined me. For some reason,
our conversation drifted.

Speaker 53 (02:37:25):
About the natives in this section.

Speaker 33 (02:37:26):
They don't seem unfriendly, but one never can tell. That's
why I pack an old mat on field trips such
as this, Jeff, in case we've walked far up jet
and they want to get too far from camp. It's
all right, we've got to stop back you know, skid
he stopping in. You know, speaking of natives, we haven't
seen a single London night. They don't see any pipe
men in this area. They're very likely avoiding us. Wait,

(02:37:48):
a couple of trees pleasure night over there, right, hair, Yeah,
let's stock a temple. Come on, let's see what it
is tick days, Dan, Yeah, sometimes sticky about their temples.

Speaker 2 (02:37:59):
They just have a look.

Speaker 1 (02:38:00):
It's no harm in that, No, I guess not.

Speaker 33 (02:38:04):
I do you suppose they're going all the white stone's
dalling quite well built too for a primitive native tribe,
you might say, so they can be deucedly clever in
certain ways. Look here, I don't mean to cry wolf, Dan,
but the missing natives I'm not so missing.

Speaker 2 (02:38:20):
Now.

Speaker 53 (02:38:21):
Two are staring from those bushes.

Speaker 33 (02:38:23):
All of them were adjust admiring their crassingship. It's w's
I obten. One of the natives is mentioning.

Speaker 11 (02:38:28):
Cuss.

Speaker 18 (02:38:28):
Don't going.

Speaker 53 (02:38:29):
Danny's waving you off.

Speaker 18 (02:38:30):
I tell you they'd be stick about this.

Speaker 33 (02:38:32):
Abertain him, jokey's more your tight and take any more.
I'll just blands inside.

Speaker 2 (02:38:37):
Don damn come back.

Speaker 18 (02:38:39):
There'll be trouble. You're violating the sacred temple.

Speaker 16 (02:38:42):
Now now you've done it.

Speaker 33 (02:38:44):
I don't know what they're chanting, but it's nonmber Mike,
we come out there, come on death out then tamble,
then mark who's rupture for the middle of a Jumblet's
make a break for him.

Speaker 18 (02:38:56):
They stop to chat.

Speaker 33 (02:38:58):
An old man in a row, he's walking toward us.

Speaker 17 (02:39:01):
My FM go sacred temple?

Speaker 33 (02:39:06):
Why man he speaks good englishes it?

Speaker 57 (02:39:09):
Or the missionary.

Speaker 18 (02:39:11):
Only is going temple?

Speaker 33 (02:39:14):
Why man side here comes that ol'.

Speaker 5 (02:39:18):
Holkm d.

Speaker 32 (02:39:21):
Say why from well fool?

Speaker 33 (02:39:27):
I say, oh, man, let's get back to the camp before.

Speaker 18 (02:39:29):
They get fire.

Speaker 1 (02:39:31):
As the return return to the camp.

Speaker 33 (02:39:33):
I didn't give it any further thought. I'm not superstitious.
I'm believe in all that stuff. Anyway, Doc, I don't
think it has any connection.

Speaker 27 (02:39:40):
Is that all?

Speaker 5 (02:39:41):
Not quite?

Speaker 33 (02:39:42):
In researching the table, I'll learn something else about this
particular tribe that might have a bearing. But anyone harms them,
either kill him on the spot or send a sort
of adventure to perform a ceremonial execution. Rite they tracked
one man to South America. I forgot the whole thing
until yesterday. It looks as if they didn't do tomorrow
is the twelve full moon since I went into that temple.

(02:40:03):
From all appearances, something he is after me. Have you
told anyone else about these attacks on your life? No,
there were no witnesses. The police would say coincidence, and
so would I. You're a fine mystery writer. Why don't
you leave the plots on the bookshelves where they belong?
And I know that's why I've kept it to myself.
I don't want to be a laughing stock. Just think

(02:40:24):
mystery writer Daniel Farrs takes plots seriously that runs from
the Avenger instead of critics.

Speaker 53 (02:40:31):
Good boy, Dan, say where's Joanne waiting?

Speaker 33 (02:40:34):
I guess I was on my way to see her
when I panicked over the shot. Why don't you keep
the date like I will? And thanks for listening to
our troubles.

Speaker 53 (02:40:42):
Forget the other it's sheer nonsense.

Speaker 33 (02:40:45):
What if it happens again, then we might assume might
mind you that your life is in danger?

Speaker 35 (02:41:03):
You dance design me, darling.

Speaker 33 (02:41:05):
Yeah, I guess I do.

Speaker 13 (02:41:07):
Dan. Are you all right?

Speaker 33 (02:41:08):
Huh?

Speaker 35 (02:41:09):
You seem a thousand miles away tonight.

Speaker 33 (02:41:11):
Look, young lady, I'm relaxing. Close your eyes.

Speaker 1 (02:41:14):
I enjoyed a music.

Speaker 35 (02:41:15):
You never did say why you were so late, Joanne.

Speaker 33 (02:41:18):
I have other things to do besides court you.

Speaker 1 (02:41:21):
I was busy.

Speaker 35 (02:41:23):
Speaking of courting, we've known each other four months. We
had planned to set a date.

Speaker 33 (02:41:28):
I hadn't forgotten I'd have to wait a few days
until I settled something.

Speaker 35 (02:41:34):
My good darling, you are worried.

Speaker 19 (02:41:36):
Tell me what it is.

Speaker 35 (02:41:38):
It's nothing, really, and hold me close. You can't dance
and worry too, Joanne.

Speaker 2 (02:41:44):
I do love you.

Speaker 35 (02:41:46):
I might allow you to kiss me if you've tried, Dan,
was anyone supposed to meet you here tonight?

Speaker 33 (02:41:56):
Of course? Not a ridiculous question. I felt watched or
I told you not to wear that dress.

Speaker 35 (02:42:01):
I'm serious. Isn't that someone sitting in our table?

Speaker 26 (02:42:06):
Yeah?

Speaker 33 (02:42:07):
It would be in the shadows. Can't tell whether it's
a man or woman. Come on, a crowd on the dance.

Speaker 35 (02:42:14):
Maybe get through?

Speaker 33 (02:42:14):
Hang on, helpfish, we're here in a hurry.

Speaker 5 (02:42:17):
Let us mind.

Speaker 35 (02:42:17):
Please, here's our table, Dan, it's empty.

Speaker 33 (02:42:21):
They've gone that strange. We both saw someone sitting there,
didn't we?

Speaker 8 (02:42:24):
I thought so.

Speaker 25 (02:42:26):
I could just have seen who a burning cigarette?

Speaker 35 (02:42:29):
There was someone here?

Speaker 33 (02:42:32):
American brand doesn't tell us a thing.

Speaker 35 (02:42:35):
Please is there anything wrong.

Speaker 33 (02:42:37):
I have to admit, Joanne, I'm afraid there is.

Speaker 19 (02:42:40):
What is it doing?

Speaker 33 (02:42:41):
Take a cab and go straight home without you?

Speaker 1 (02:42:43):
Go ahead.

Speaker 33 (02:42:43):
I'll call in the morning and explain.

Speaker 35 (02:42:45):
But then I don't understand.

Speaker 33 (02:42:46):
You want to get home, don't you, Joanne?

Speaker 21 (02:42:48):
While you can before they decide to get you too.

Speaker 33 (02:43:08):
Never fails.

Speaker 2 (02:43:09):
Dead of night?

Speaker 33 (02:43:11):
Hello Hello.

Speaker 15 (02:43:15):
Phone?

Speaker 1 (02:43:16):
Did ringdom?

Speaker 18 (02:43:17):
Hello?

Speaker 33 (02:43:19):
What I've a It was someone? Hello?

Speaker 10 (02:43:24):
Who are you?

Speaker 11 (02:43:25):
Hello?

Speaker 5 (02:43:26):
May I help you?

Speaker 8 (02:43:27):
Who is this?

Speaker 16 (02:43:28):
The night clerk?

Speaker 1 (02:43:29):
Sir?

Speaker 33 (02:43:29):
Have you finished your call? What call? What the devil
are you talking about? Someone phoned you, sir, crang your
room and left the mind.

Speaker 2 (02:43:35):
When you answered, who was it?

Speaker 24 (02:43:37):
I'm sorry?

Speaker 14 (02:43:37):
Said?

Speaker 2 (02:43:37):
They didn't say who?

Speaker 33 (02:43:38):
Didn't say a man or woman?

Speaker 14 (02:43:40):
Pretty, sir?

Speaker 9 (02:43:41):
It was a horse lights, I couldn't say.

Speaker 33 (02:43:43):
Always get their names first, you understand, yes, sir?

Speaker 1 (02:43:46):
Anything else?

Speaker 8 (02:43:47):
Sir?

Speaker 5 (02:43:48):
Yeah?

Speaker 33 (02:43:49):
Get Memba five zero zero six seven called imagination for
like no mistake now there after me. I have the
slightest idea Hell, Hi dog Dan?

Speaker 5 (02:44:12):
Are you all right? Yeah?

Speaker 33 (02:44:13):
But they're closing it any further developments.

Speaker 18 (02:44:15):
Watched us all evening.

Speaker 33 (02:44:16):
Someone just called me about hotel room. Who hung up
without speaking I have no idea.

Speaker 1 (02:44:21):
Still doesn't approve anything. Dan might be a prankster.

Speaker 33 (02:44:24):
No one else knows anything about the temple episode except
you and Clayton.

Speaker 1 (02:44:29):
That's true.

Speaker 5 (02:44:30):
Tell you what.

Speaker 65 (02:44:32):
There's a little museum on these sides specializes in African
tribal relics, run by Professor Bringo. We'll go there in
the morning.

Speaker 53 (02:44:39):
This professor is an authority on native superstitions.

Speaker 18 (02:44:42):
He may be able to help.

Speaker 65 (02:44:43):
Yeah, thanks to and then, assuming what you said is true,
we won't take any chances. Lock the windows and door
when I pick you up tomorrow. I want to find
you alive.

Speaker 33 (02:45:22):
Yes, Professor Ringo, Oh, doctor here and mister Forest come in,
Come in.

Speaker 53 (02:45:29):
We don't try not to take too much of your time.

Speaker 33 (02:45:32):
Won't you sit down?

Speaker 53 (02:45:33):
Thank you? I told you the basic problem on the phone.
Mister Forest here can follow you in further.

Speaker 1 (02:45:39):
I've read your books, mister Forest. Very good.

Speaker 66 (02:45:42):
Yes, indeed, what is happening to you is like a
book come true, improbable but true.

Speaker 33 (02:45:48):
Are you familiar with the tribe I offended?

Speaker 9 (02:45:51):
Let me say I know something of them.

Speaker 33 (02:45:54):
The fact they are primitive in no way dues the
intensity for their way of life. They are quiet, and
assuming people seven believers in their own geology.

Speaker 1 (02:46:03):
Mister Forest, do you know what spells and dead.

Speaker 66 (02:46:06):
Prayers are I have an idea they are very real,
indulged in by these primitive people.

Speaker 5 (02:46:12):
By these methods, they have been known.

Speaker 33 (02:46:13):
To kill half way around the world. I'm not saying
you are under at tech.

Speaker 5 (02:46:18):
However, if you violated the temper, you will not go free.

Speaker 33 (02:46:22):
A curse of twelve moons means you will die on
the night of the twelfth full moon or pardon the
direct reference, tonight.

Speaker 53 (02:46:31):
Now, I'm not telling you this will happen.

Speaker 33 (02:46:32):
I am only saying it is possible. If you think
they meant what they said, I am afraid they do.
I can tell you in a few moments if you
are under a prayer of death. Princess Hulanga lives with me.
I rescued her from the same tribe. She became an
outcast for some reason and was about.

Speaker 5 (02:46:48):
To be killed pre there.

Speaker 2 (02:46:52):
Come here, my dear.

Speaker 1 (02:46:56):
Princess.

Speaker 33 (02:46:57):
This is Daniel Forest.

Speaker 2 (02:46:59):
How do you do?

Speaker 57 (02:47:02):
Excuse me?

Speaker 33 (02:47:04):
Before I could rescue her, they had cut out her tongue. God,
you lord, mister Forest, violated your tribe's sacred temple. They
have cursed him with death? Do you feel a spell
on him? He says, she will test you. Why is

(02:47:35):
she staring?

Speaker 2 (02:47:37):
What didn't she tell us?

Speaker 16 (02:47:39):
What are they doing to me?

Speaker 1 (02:47:41):
Princess La, do you feel the death prayer?

Speaker 33 (02:47:46):
God, I can't go to hurry, he says. If they
chant the prayer of death she cannot feel it, that
means I'm free. Doc, hear that. Let's look up Joanne.
I promise, I tellery soon as we found out that
to rejoice so hastily, mister Chorest. This test is not conclusive.

(02:48:06):
But if the princess is right, it does not mean
you are safe. It means they have used an alternate
plan and dispatched an avenger. Well all right back when

(02:48:31):
we started. But there's still no evidence they planned to
harm you. Maybe this is all wasted motion. We're taking
it too seriously. What if they do, then you're in
a peculiar position, Danne. The avenger may be a perfect stranger,
or anyone you've met in the past year. You will
have to be on guard against everyone, even Joanne, even Joeanne.

(02:48:54):
My god, it's frightening, doctor, Where are you meeting joe
Ane at a low state? The thing, yes, a great Cardona,
a metalist is playing there. An old classmate of Joass.
I thought he might be able to help me. I
asked her to arrange an interview. Oh, what's the matter?

Speaker 18 (02:49:09):
Count me in what?

Speaker 53 (02:49:10):
I had to be sure?

Speaker 5 (02:49:11):
Dan?

Speaker 33 (02:49:11):
Now I am don't make no sense for being followed?

Speaker 2 (02:49:14):
Where blacks?

Speaker 5 (02:49:15):
The edan second car back?

Speaker 33 (02:49:18):
Tell who's in it?

Speaker 18 (02:49:19):
Keep your appointed with Cardona?

Speaker 53 (02:49:21):
Then go to your hotel and stay there. I'll check
with you later.

Speaker 33 (02:49:24):
If they move in, it'll be tonight.

Speaker 2 (02:49:27):
Glide.

Speaker 1 (02:49:27):
You're with me.

Speaker 2 (02:49:28):
I'm a doctor.

Speaker 33 (02:49:29):
I'm with anyone Dan who's fighting for his life.

Speaker 53 (02:49:44):
Ah, you must be listened for it.

Speaker 38 (02:49:47):
I have leased.

Speaker 5 (02:49:48):
How do you do?

Speaker 53 (02:49:50):
Joe mentioned your problem?

Speaker 8 (02:49:52):
Would you step into my dressing room?

Speaker 18 (02:49:54):
Please?

Speaker 1 (02:49:56):
And how have you been your lab?

Speaker 19 (02:49:59):
Fine?

Speaker 13 (02:49:59):
Thank you?

Speaker 1 (02:50:00):
Be seated? What can I do for you? Mister Forrest
stands in real trouble. He needs help, Dick, I'll do
what I can.

Speaker 53 (02:50:09):
Ask me a question.

Speaker 33 (02:50:11):
I am a mentalist, all right. I think I'm being followed.

Speaker 16 (02:50:17):
Yes you are?

Speaker 2 (02:50:19):
Who is it?

Speaker 1 (02:50:21):
That is not clear?

Speaker 18 (02:50:23):
I can't tell?

Speaker 8 (02:50:25):
Go on?

Speaker 33 (02:50:26):
Are they connected with an African native tribe? Ah?

Speaker 1 (02:50:30):
I see natives?

Speaker 33 (02:50:32):
I would say, yes, What are the natives doing.

Speaker 67 (02:50:36):
They are busy, busy, and what coming from a great distance.

Speaker 8 (02:50:45):
Hard to make it out.

Speaker 12 (02:50:47):
Please try, Dick, we have to know what are they doing.

Speaker 67 (02:50:50):
Be perfectly still for a few moments. I'm quite tired,
you know, too tired really to perform.

Speaker 11 (02:50:55):
Feats of this kind.

Speaker 67 (02:50:57):
Ah, I'll concentrate once again. This time we may learn something.
There is the village again, and the group of natives.
They are chanting and dancing before.

Speaker 33 (02:51:14):
A white temple, Yes, a white temple.

Speaker 16 (02:51:18):
The right is called there it fades again.

Speaker 1 (02:51:21):
What is it called?

Speaker 11 (02:51:22):
Do not interrupt?

Speaker 8 (02:51:24):
It is called m strange name, the curse of the
twelve moons.

Speaker 67 (02:51:36):
Oh, this couldn't possibly concern you, mister Forrest. I shouldn't
invade the privacy of the right.

Speaker 5 (02:51:41):
What else can you say?

Speaker 67 (02:51:43):
It's merely a deathwatch common to the natives of the jungle.
They're avenging themselves against an evildoer. Just the moment I
may be able to see more. Let me slip into
a deeper trance.

Speaker 33 (02:51:59):
You really went into it, sleep one.

Speaker 1 (02:52:01):
Look how pale he is.

Speaker 13 (02:52:03):
That's dangerous. Please be careful.

Speaker 33 (02:52:07):
What's he staring at him?

Speaker 19 (02:52:09):
Stop it?

Speaker 13 (02:52:09):
Come out of it.

Speaker 11 (02:52:13):
I'm all right.

Speaker 33 (02:52:14):
What did you see Joe?

Speaker 8 (02:52:17):
Do you love this man?

Speaker 9 (02:52:20):
Yes?

Speaker 13 (02:52:20):
I do.

Speaker 33 (02:52:21):
I ask you a question, my friend. I am sorry
for you, for both of you. What did you see the.

Speaker 8 (02:52:31):
Angel of death?

Speaker 11 (02:52:34):
You will die till night?

Speaker 5 (02:52:50):
Hello Dan, any sign yet?

Speaker 13 (02:52:52):
No?

Speaker 10 (02:52:52):
Doc?

Speaker 33 (02:52:53):
Very quiet here, good.

Speaker 65 (02:52:55):
I'll stay in that hotel room and don't let anyway
and understand go.

Speaker 5 (02:53:00):
We'll depend on it, Doc.

Speaker 33 (02:53:01):
The windows and doors are locked, Parakeeta. I'm sitting in
the dark other phone. If someone should get in, forty
five automatic will end his troubles.

Speaker 65 (02:53:09):
I'm across the street from your hotel and all night lunch, Connor.

Speaker 16 (02:53:12):
Your room is on the third floor.

Speaker 5 (02:53:13):
I can see the windows.

Speaker 65 (02:53:15):
I'll watch from here and call you back in case
something does make a try for you.

Speaker 5 (02:53:19):
It's eleven three. Be careful and stay awake.

Speaker 33 (02:53:22):
I'm not likely to do anything else. Thanks, Doc.

Speaker 10 (02:53:24):
Don't let anyone in.

Speaker 53 (02:53:26):
That's very important.

Speaker 65 (02:53:28):
You've got to be realistic, Dan.

Speaker 9 (02:53:29):
We don't know who it is.

Speaker 20 (02:53:31):
I know.

Speaker 5 (02:53:32):
Good luck, my boy.

Speaker 33 (02:53:33):
Thanks by doctor.

Speaker 5 (02:53:37):
That's right.

Speaker 33 (02:53:39):
I'm in worse shapes on the prisoner in the gas chamber.
At least he knows who's going to kill him, how
and when. All I can do so the dark and wait,
maybe my best friend, anybody I've met since the trip
last year. So since you don't try to get me
through someone it's someone I don't know. He'll come through

(02:53:59):
the window the door. It's someone I do hel phones
from the lobby, try to come up. I just have
to wait and see. Which it is a full moon
shining through the window. Shap curse twelve thoughts. Damn those superstitions.

(02:54:22):
I didn't mean the first time. Why can't they forget
and forget? It's primitive gangsterism.

Speaker 2 (02:54:31):
Someone wanted to come up.

Speaker 1 (02:54:35):
I was afraid to fight.

Speaker 18 (02:54:37):
Hella hella, mister Forest.

Speaker 24 (02:54:42):
This is Richard Cardona.

Speaker 60 (02:54:43):
I'm in the lobby of your hotel.

Speaker 24 (02:54:45):
I must see you at once.

Speaker 33 (02:54:46):
I'll bet he'd like to. I'm sorry, I can't be disturbed.

Speaker 9 (02:54:50):
Tonight We're going to be executed in a bathroom moments.

Speaker 2 (02:54:55):
I may be able to help.

Speaker 33 (02:54:56):
Good night, mister Cardona, and don't try to come up.

Speaker 8 (02:55:01):
First.

Speaker 11 (02:55:01):
Try.

Speaker 33 (02:55:02):
He may be the one, can't be sure, but we
will know. If he knocks on that door, I'll blast
him the kingdom.

Speaker 10 (02:55:09):
Come.

Speaker 33 (02:55:11):
I'm waiting, mister Cardon. We'll see who's to be executed tonight.

Speaker 2 (02:55:17):
Cardono again.

Speaker 66 (02:55:18):
I'll look you time to professions.

Speaker 27 (02:55:22):
I want you.

Speaker 33 (02:55:23):
I won't listen to a thing.

Speaker 4 (02:55:24):
Guy has changed her mind because you are marked for that.

Speaker 56 (02:55:27):
We are coming up.

Speaker 33 (02:55:28):
If you do, I'll kill you. That doesn't make sense.
Three of them couldn't be mixed up in this What
could the lord so quiet of here? I know it's
my imagination. I can almost make out headgear, ladies, which

(02:55:49):
doctors watching?

Speaker 1 (02:55:52):
I'm across the room.

Speaker 2 (02:55:55):
Sounds like leaves, flowers, charlng.

Speaker 33 (02:56:00):
Oh god, it's not real. I could want to turn
on the light to be sure.

Speaker 5 (02:56:06):
Who's that?

Speaker 9 (02:56:08):
Dan?

Speaker 19 (02:56:10):
That is Joanne.

Speaker 24 (02:56:11):
You've got to talk to me, not Joanne too, can't
be darling.

Speaker 9 (02:56:15):
Doctor Hall is with me in the lobby.

Speaker 33 (02:56:17):
Oh god, both of them, and and.

Speaker 19 (02:56:20):
I know you're there.

Speaker 35 (02:56:20):
Talk to me, please, we're all down here together.

Speaker 11 (02:56:23):
Dan.

Speaker 12 (02:56:24):
Don't be afraid they're going to get you.

Speaker 33 (02:56:26):
I'm not through not through them, of course.

Speaker 16 (02:56:31):
Not.

Speaker 1 (02:56:32):
What a fool I've been.

Speaker 2 (02:56:34):
I've seen you to myself and a tool, Darling.

Speaker 19 (02:56:37):
Can't you hear me? There isn't any time left. We're
coming up. The killer is already in your room.

Speaker 33 (02:56:42):
Oh already here.

Speaker 40 (02:56:46):
Of course, for God's sake, you have, y Joan, I
see played right into their heads.

Speaker 2 (02:56:56):
Strap myself to the death chair.

Speaker 5 (02:56:58):
Quick the light.

Speaker 33 (02:57:03):
What's that, lady Shaton death in this room?

Speaker 5 (02:57:07):
No it's not.

Speaker 33 (02:57:09):
I've got a gun, godhead, Jesus boy, where are you right?

Speaker 13 (02:57:15):
D It's.

Speaker 10 (02:57:20):
Who are you?

Speaker 23 (02:57:21):
Man?

Speaker 9 (02:57:22):
Is pretty too?

Speaker 16 (02:57:24):
Pods that saving?

Speaker 10 (02:57:28):
Yeah, you are, commission.

Speaker 33 (02:57:32):
I don't believe you.

Speaker 8 (02:57:35):
That you're right.

Speaker 68 (02:57:37):
Drop a gun, Get preachers, all of a butcher's time.

Speaker 8 (02:57:43):
You used to go.

Speaker 5 (02:57:46):
No, get blood.

Speaker 33 (02:57:47):
I'm stronger than you against the prayer.

Speaker 45 (02:57:55):
You're a week.

Speaker 16 (02:57:57):
I should have spent four times. This isn't real.

Speaker 5 (02:58:03):
I can't be struggling with myself.

Speaker 33 (02:58:04):
I'm not Avenger.

Speaker 5 (02:58:06):
I han the knife.

Speaker 23 (02:58:08):
Jorn.

Speaker 33 (02:58:13):
The Prayer of Devin hasn't edited.

Speaker 11 (02:58:19):
Week.

Speaker 14 (02:58:44):
You have just heard the Cobra.

Speaker 33 (02:58:47):
A special Far East Network presentation tonight's story was The Avenger.
In our cast were John Bwey as Doctor Hale, June
Elliott as Joanne, William Verdie as Dan, and Walsh Sheldon
as Professor Maringo. The Great Cardona was Milton rad Mullovich

(02:59:07):
and erman first Class James Connolly was the hotel clerk.
Technical supervision by Ermann first Class Larry Dooley, with sound
patterns by Ermann first Class James Connolly. This is Air
Force Sergeant Ala Page speaking Macawbrough was written and directed
by William Berdier.

Speaker 9 (02:59:51):
Mccober comes to you each week at this time through
the worldwide facilities of the United States Armed Forces Radio
and Television Service.

Speaker 57 (03:01:18):
Get This and Get It Straight. Crime is a sucker's road.
Knows who travel and wind up in the gut of
the prison of the grave. This time rains slashing a
glass roof, an old man's curiosity, and an imaginary ip
out of place. They all became important when two people
died violently so a third could make a killing.

Speaker 69 (03:01:37):
From the pen of Raymond Chandler, outstanding author of crime
fiction comes his most famous character in the Adventures of
Philip Marlowe, all with Gerald Moore starred as Philip Marlowe.

(03:01:57):
We bring you tonight's exciting story. The Fatted Cap, the

(03:02:19):
first film of.

Speaker 57 (03:02:19):
The season, came as a surprise. It always does in
la where somehow other people are never ready for it.
It's funny in a town where people are ready for anything.

Speaker 5 (03:02:29):
For every year.

Speaker 57 (03:02:30):
The opening slash of lightning stands nerves on edge and
cracks composure like it was so much dreaded in China,
and by five o'clock in an afternoon of driving rain
and thick gray sky, I was no exception. There wasn't
helped anybody. The arrival of a specially delivery letter, a
hundred dollars billion clothes, which dragged me out of my
suddenly cozy office, hit in my car and over to
Studio City in the San Fernando Valley, where, according to

(03:02:52):
the letter, Junior's Poppy, the veteran cartoonist and creator of
the impish Peter Pageant comic strip, wanted to see me
at once. But as I wound up the spiral of
McAdam called sun Swept Drive to at number thirty eight forty,
I forgot about the storm around me and wonders instead
about the man I was going to meet. Wonder just
how many pots Pixie, the originator of a half leprechaun,

(03:03:12):
half very funny human being who tickled the nation's spateric
funny boom daily from coast to coast, was going to be.
And when I was parked in front of the place,
which was a few million rain drops bouncing off a roof,
that was all glass out of my car and going
to the front door.

Speaker 5 (03:03:27):
I had made up my mind.

Speaker 57 (03:03:28):
Junior's Poppy had to be small, slight, delicate, and maybe
self effacing, but certainly pleasant. Mister my alarm, How wrong
can I be? Oh uh, mister Poppy, Yes of hers,
come in, Come in.

Speaker 5 (03:03:40):
You're getting rip, hollim in. Don't touch anything your shirt.

Speaker 57 (03:03:47):
Junior's Poppy was tall, heavy set, gruff and a crab.
I dripped little puddles of water behind him through a
long hall into a studio which was a half a
dozen ease. It was under twice as many fluorescent lights
and a litter of Peter Pageant drawings everywhere. And while
mister Poppy did not often me drink cigarette or even chair,
I became resource fools. I took off my own code,

(03:04:07):
drop in my corner where it's sloshed into it a
squndled heap, and I defiantly lit a cigarette and started.

Speaker 70 (03:04:12):
To please I despise tobacco.

Speaker 5 (03:04:15):
Excuse me now, first, mister Mala, A few facts.

Speaker 70 (03:04:19):
I've been drawing Peter Paggan for twenty seven years, but
unlike most of the syndicated cartoonist, I am playing those
staff reuse no material, allow nothing to be published that
I haven't created personally, down to the last strugg of
the pen. However, I do have an assistant who serves
two purposes. One he inks in the balloon what circles
where the words go? And two and more important, he

(03:04:39):
watches me work daily. So that's when I am gone.
Even cartoonists Peter Paget will continue uninterrupted. My assistant is
named Sid Kagan, and he uh not.

Speaker 2 (03:04:52):
To me more exact.

Speaker 9 (03:04:52):
He's wife, Louise, is the reason I'm hiring you.

Speaker 57 (03:04:55):
Twice I my mouse to ask a question, but twice
he waved a question aside. Liking him less by the
minute I listened to him tell me what. For the
past week, Kagan had been first preoccupied, and then upset
and finally rebellious. Poppy of Bachelo didn't want to lose
a good man because of anything as trivial as.

Speaker 5 (03:05:10):
A marital problem.

Speaker 57 (03:05:11):
I had investigated and learned that Louise Kagan had spent
a week in San Francisco recently, but he hadn't learned
anymore because an appointment he had made with her to
talk it all over.

Speaker 5 (03:05:20):
Since the slooping was not subtle, it happened quite too.

Speaker 70 (03:05:23):
Off today, Malaw. We were to meet at the cocktail Loans.
I was early until I saw her come in in Toadam.
She's the type of tor brunette you don't miss. I
was about to start toward her when she said me
leaped from.

Speaker 5 (03:05:34):
The table and hurried out of the place for no reason.

Speaker 3 (03:05:36):
Please don't interrupt me, Mala.

Speaker 5 (03:05:37):
Of course she had a reason.

Speaker 70 (03:05:39):
She was frightened at the sight of a man approaching her.
He was very ugly, hat another hair fellow, complexion eyes
that belonged on a hawk. He followed her off, but
she got away from him, and then he disappeared too.

Speaker 5 (03:05:50):
Louise hasn't called your sense to explain until.

Speaker 70 (03:05:52):
Late last night now, and then she apologized and lied
about why she didn't show up forgot, she said, casual
like her overly cause your likings the man, Please don't
touch those running.

Speaker 5 (03:06:01):
Sorry.

Speaker 70 (03:06:04):
We made another appoint but for six thirty the nights
at a different place an artists hang out Coldy Talisman
on Lancashim.

Speaker 3 (03:06:10):
This time, Arrow, I want you to go in my place.
Perhaps my approach is to mechanical.

Speaker 57 (03:06:16):
There's just a chance, now, mister Poppy A few questions.
First to Kagan's homadred seven one seven Magnolia below seven.
And Kagan himself is still working for you regularly.

Speaker 5 (03:06:25):
Sallow.

Speaker 70 (03:06:25):
We called this morning, said he was sick. Now please
ask your questions quickly. I must return to my work.
Peter Pageant's schedule four frames today hasn't been interrupted in
twenty seven years.

Speaker 11 (03:06:35):
Ah, here this is my interest year.

Speaker 5 (03:06:37):
Here take a look at the last frame.

Speaker 11 (03:06:39):
Has a lot of d shair.

Speaker 57 (03:06:41):
Yeah it has Peter are addressing the US Senate.

Speaker 5 (03:06:43):
Then it's cute. He always working pencil and ink in later.

Speaker 44 (03:06:47):
Yes, yes, now anything else, Eh, there is mister poppy
the whole business Kagan's problem. I mean, if it's only
a case of a gal not being true to a guy,
I quit and you get your dough back graduated from
me over the transom class.

Speaker 70 (03:06:59):
They reach Keds not the kind of girl who plays around.

Speaker 5 (03:07:02):
I know what makes you so sure?

Speaker 2 (03:07:04):
That's the one thing.

Speaker 70 (03:07:04):
An example, Meniard Rope, who Miniard Drope. He's an agent
for Empire features that seem to get the hamms my
worst and though extremely handsome and what the ladies would
call smooth, he got no place being Should I say
attempting to Louise I could tell, I observed now satisfying for.

Speaker 57 (03:07:23):
The moment, I can still play that rope just wasn't
her type. I'll call you later, mister Poppy. Goodbye, and
that don't bother showing me out. I can find the
way myself. Impulse number one said, nuts to the funny
on paper only, mister Poppy. But Impulse number two said, quiet, model,

(03:07:43):
it's the some that's making you jump in there's one
hundred dollar bill in your pocket.

Speaker 5 (03:07:47):
So I got into my car and.

Speaker 57 (03:07:48):
Drove the mile and a half to seven seventeen Magnotia Boulevard,
where I figured i'd look over the cake and home
ground before it was time for me to show the talisman.
As I drove past the place, I saw there was
a light in the living room and a woman throunette
and attractive who was no doubt the lady of the house,
paging through a magazine. And things stayed like that each

(03:08:10):
time I came around the block. But twenty minutes later,
when I parked in front of a nearby corner drug
store to get cigarettes, I forgot the lady of the
house because getting out of a park car in front
of me was a man with sallow complexion and eyes
borrowed from a hawk, easily seen by the rain splash
light from the display windows. And when he hurried inside
into a phone booth, I saw the patent leather hair
mister Poppy had already described. When he got his call

(03:08:33):
through and turned his back to the street, I moved
quickly to his car, opened the front door, struck a match,
and read the name and address on the owner's card
strapped around the steering wheel. It was Bert's Slack, two
hundred Central Avenue, San Francisco, California, the city in which
Louise Kagan recently chosen to spend a week. A clock
on the dashboard reminded me of with six fifteen in

(03:08:53):
time tohead my rendezvous with a teleisan. But the little
voice deep inside, so mister Burt Slack shouldn't so for
what it was worth, I reached under the dashboard and
yanked the ignition wire, and I got back into my car,
hoping to gain ten minutes, and headed to out the club.

Speaker 5 (03:09:07):
I'm Mike Shan.

Speaker 24 (03:09:08):
Woulivard the Scotch from soda, sir.

Speaker 11 (03:09:21):
Keep the rain from choking.

Speaker 57 (03:09:22):
All the way through, you know, Hey, yeah, all right,
another Scotch and soda. Hey wait a minute, wait minute,
lady there, the one in the blue caper just came in.
I asked her to come over to mister Poppy's table.
Will you all lot of there, Drew? Keep the rain
and soaking all the way?

Speaker 5 (03:09:36):
Food?

Speaker 57 (03:09:37):
That awful?

Speaker 19 (03:09:37):
I'm awfully sorry, I'm late Junior's. Oh excuse me, waiter.

Speaker 5 (03:09:42):
You made a minute.

Speaker 57 (03:09:42):
No, no, missus keg and the mistake was mine on purpose.
You wouldn't have known me by name, which is what
Philip Marlowe. I'm a friend of Junius's. He was tied
up with his work tonight and asked me to keep
his date.

Speaker 5 (03:09:52):
For him like a drink.

Speaker 31 (03:09:54):
No thanks, I haven't got the time. But why didn't
Junius call me or leave a message here?

Speaker 5 (03:09:58):
I don't know. That's a forgotto.

Speaker 19 (03:10:00):
Perhaps you're a liar.

Speaker 31 (03:10:02):
Perhaps he called my place after I left, then called here, waiter,
will you please check with the captain.

Speaker 19 (03:10:07):
And see if anyone left a message for missus Kagan
and on your.

Speaker 5 (03:10:10):
Way back to Scotch and SODA's.

Speaker 31 (03:10:11):
Huh Now, just a minute, mister marlow I've already said no,
as long as.

Speaker 57 (03:10:15):
We're playing things back. You already said I was a liar?

Speaker 31 (03:10:18):
Why because Juniors told me that my meeting with him
would be personal, and since he's gone far enough out
of his way.

Speaker 19 (03:10:23):
To even call me on the telephone about it, it
must also be important to him.

Speaker 57 (03:10:27):
It is as important to him as say, San Francisco
is to you.

Speaker 19 (03:10:34):
So you're not really a friend of Junior's popers, not.

Speaker 57 (03:10:37):
Buddy, buddy, No, but I am a friend of Bird Slacks.

Speaker 19 (03:10:40):
You know Slacks?

Speaker 5 (03:10:41):
Yeah?

Speaker 57 (03:10:43):
I whyted you sit down, Louise. Our drinks are coming too, scotches.

Speaker 24 (03:10:46):
And just the thing to keep the ring already said
that one tonight, Yes you did. Yeah, well do scotch
and SODA's just like you.

Speaker 19 (03:10:55):
Ordered, and no message, thank you, mister Morlow.

Speaker 31 (03:11:00):
You know about San Francisco, You know about Bert Slack
and somehow or over you know I was supposed to.

Speaker 19 (03:11:04):
Meet Junius Poppy here and he couldn't make it. So
why don't you just sit here and think it out
all by yourself?

Speaker 27 (03:11:09):
Huh.

Speaker 57 (03:11:10):
I'm going come back here when I'm ready, gentle lady, which.

Speaker 19 (03:11:13):
Might be right now, don't you think, Maynord, Thank heaven
you're here.

Speaker 5 (03:11:17):
I usually am.

Speaker 57 (03:11:17):
Louise, Well, my good man, have you reached the decision?

Speaker 5 (03:11:20):
Gout the young lady's arm?

Speaker 19 (03:11:21):
I mean, let go Maynard, please see that he doesn't
follow me.

Speaker 16 (03:11:25):
It will be a pleasure, Louise, What are we drinking?

Speaker 57 (03:11:29):
Mister mallow, mallow, scotch and soda? I wonder what keeps
that from soaking through? Manard rope At, A handsome syndicate
agent Junius poppy At, tagged very smooth, was also very
snide when he slid into the booth next to me
and we each had a fresh drink. While Louise kegan
put distance between us. I knew that the urge I

(03:11:51):
had to punch him in his finely chiseled Grecian nose
could not be blamed on a stammy. Whether it would
be just as much fun on a sunny day. A
couple of minutes later, when he got up, flashed glistening
up as and lowers at me, and started to leave
with the worst than snide Bye bye boy.

Speaker 5 (03:12:07):
I had to hold on tight.

Speaker 57 (03:12:09):
Somewhere along the line I slipped a roper if I
got something, Oh.

Speaker 5 (03:12:15):
What is it?

Speaker 10 (03:12:16):
This?

Speaker 5 (03:12:20):
Also? You didn't thank me for your drink? Was the
road of you? Bye?

Speaker 3 (03:12:23):
Bye boy.

Speaker 5 (03:12:30):
That I felt better.

Speaker 57 (03:12:32):
As I walked around to the alley behind the club
where I talked my car, I noticed the rain that
tightened up to a drizzle.

Speaker 5 (03:12:37):
It was about ready to call it quits.

Speaker 57 (03:12:39):
At a corner of the sky already showed dark blue
with a single star front and center. But I didn't
notice until I was in line with my front fenders.

Speaker 5 (03:12:47):
Was company on hand. I have been waiting for you.

Speaker 57 (03:12:50):
It was so wide open eyes that flashed something close
to a sterior the length of a long, thin on
that was pointed at me and trembled while I hand
awkwardly held a gun for what had to be his
first time, I.

Speaker 50 (03:12:59):
Insid I want to know why you're following my wife,
what you have to do with her. I do know
that you are a private detective, and that your name
is Philip Marlow.

Speaker 3 (03:13:06):
That Juniors Poppy hired you that much.

Speaker 57 (03:13:09):
I found out you got to be able to put
the rest together yourself. You're a big boy now. Junius
is worried about you, Kegan, because you won't turn a
word about your wife.

Speaker 5 (03:13:16):
Look, he once, I help you all the way around.
You don't believe.

Speaker 50 (03:13:19):
I only believe that people are bothering me. He's more
lesting her, driving her out of her mind, and I
I want to stop them. I want to protect her.

Speaker 57 (03:13:28):
All right, take a look at this picture and see
if you can tell me whether or not this is
one of those you say I'm a lesting her picture.

Speaker 16 (03:13:34):
Let me see.

Speaker 9 (03:13:35):
I can't.

Speaker 57 (03:13:35):
It's only a calling. Don't give me that, sure, put
a clip out here. I'll also, I'll give you some advice.
Go on home, Kagan and Soakia hot head and a
bucket ice colis the most you can do to help
me beat it before I get mad.

Speaker 50 (03:13:49):
Go on, all right, I'll go, but remember Marlow, I'm
still going to protect my wife.

Speaker 5 (03:13:55):
Yeah, remember Kagan, jerk. I think it's stupid as an
amateur with a gun, I'm no amateur. Oh fine, I.

Speaker 16 (03:14:06):
Wouldn't bother looking under the hood either.

Speaker 11 (03:14:08):
We're now even one torn ignition wire deserves another.

Speaker 57 (03:14:13):
Well, mister slack, isn't that thirty eighth been waiting long?

Speaker 1 (03:14:18):
Long enough?

Speaker 33 (03:14:19):
So you're a private detective?

Speaker 1 (03:14:21):
Uh, that's interesting.

Speaker 24 (03:14:23):
I'm a private eye too.

Speaker 57 (03:14:25):
Really, you find crumbs in every profession. Where don't we
go from here?

Speaker 5 (03:14:29):
No place?

Speaker 24 (03:14:30):
It's a team and I'm finished I've done my little job.

Speaker 5 (03:14:33):
I'm leaving town.

Speaker 57 (03:14:35):
The personal business had brought me here is over and
done with All's well, you'd be smart to look at
it that way yourself.

Speaker 5 (03:14:42):
Yeah, brilliant, brilliant. We'll go over big with my client weather.

Speaker 33 (03:14:46):
What's the difference how it goes over with your client?

Speaker 10 (03:14:48):
Now?

Speaker 5 (03:14:49):
Why don't you read the papers? Meaning what the latest
edition here? Catch and read it out loud.

Speaker 57 (03:14:57):
Marlow please found dead in the studio City Home, creator
of Peter Pageants shot the death.

Speaker 16 (03:15:04):
Right.

Speaker 5 (03:15:05):
Yeah, funny.

Speaker 2 (03:15:07):
Well that's too bad.

Speaker 42 (03:15:09):
But I guess you'll get over it while you walk
all the way.

Speaker 9 (03:15:12):
Down this alley without turning around. Go on, move, mister
Marlowe as directed goodbye.

Speaker 69 (03:15:36):
In a moment the second act of Philip Marlowe. But
first you'll say, where is the time gone? When you
listen to Club fifteen, the great quarter hour show of
Melody's Song and Patter starring Dick Haymes with the Andrews Sisters,
Evelon Knight and the Modern Airs, You'll like singing host
Dick Hames. You'll like song stars Evelon Knight and the
Andrews Sisters. In fact, you'll like everything about Club fifteen

(03:15:59):
listen every weekday evening over most of these same CBS stations.

Speaker 17 (03:16:07):
So the show that you loved to listen meeting me
at this.

Speaker 5 (03:16:17):
Now with our star Gerald Moore.

Speaker 69 (03:16:20):
We returned to the second act of Philip Marlowe and
Tonight's story The Fatted Calf, When.

Speaker 57 (03:16:34):
The man named Slack with the Code of Ethics to
Matt said walk, I walked. By the time I taken
ten steps, I knew that he was already gone. So
I went back to my car, cursed my way through
a fast repair job on the wiring, and headed to
my late client studio again. When I got there, the
usual messy routine of cameras, tape measures, and notebooks.

Speaker 5 (03:16:50):
Were still in progress. I was about to go inside.

Speaker 57 (03:16:53):
It changed my mind when I saw Louise Cake and
stepped blithely out the door and walk almost jauntly over
the flagstones that led the the parking area.

Speaker 5 (03:17:04):
Hey Louise, wait you again?

Speaker 19 (03:17:07):
Well, what do you want?

Speaker 57 (03:17:08):
Just one good, morbid reason why you're not making with
tears of a what's inside?

Speaker 19 (03:17:11):
I never lost any love in there. If I pretended
I had, it wouldn't pull anybody. For five minutes. Nobody
liked Junior's poppy and I was no exception.

Speaker 5 (03:17:18):
I'd go real easy. But I kind of talk now
on if I were.

Speaker 19 (03:17:21):
You, what's that crack supposed to mean?

Speaker 57 (03:17:23):
But not later than tomorrow morning? Your husband said, will
take over Peter Pageant completely. So so you struck gold
Jerry and you got it made.

Speaker 19 (03:17:29):
Are you implying that I had something to do with
Junior's death?

Speaker 27 (03:17:32):
Oh?

Speaker 57 (03:17:33):
I doubt that you pulled the trigger baby personally, but
there's a good, solid connection, and I'm going to find
it's your husband inside with the police.

Speaker 19 (03:17:40):
No, I came here looking for him. He must be
at home.

Speaker 5 (03:17:44):
How much does the cops know so far?

Speaker 31 (03:17:45):
Nothing except that Juniors died between two and three hours ago. Look,
why don't you trot in and ask him yourself?

Speaker 19 (03:17:51):
Quiz Mack.

Speaker 5 (03:17:52):
I don't think they can help me.

Speaker 57 (03:17:54):
You see, I'm still interested in a big, ugly question
mark all wrapped up with San Francisco, and before I
turn loose of it, I'll understand it.

Speaker 5 (03:18:02):
Believe me. I'm going over to your place now to
talk to Sid. Can I give you a listen? No?

Speaker 2 (03:18:06):
Thank you, suit yourself.

Speaker 57 (03:18:08):
I'll get there ahead at you and I might find
something you wouldn't want me to know about.

Speaker 1 (03:18:12):
All.

Speaker 19 (03:18:14):
I'll ride with you.

Speaker 5 (03:18:15):
Let's go, let's do that. Get in.

Speaker 19 (03:18:30):
Thanks so much for the ride, you know I wouldn't
have enjoyed it a bit more than the hurt.

Speaker 5 (03:18:33):
You can drop the acid routine, Louise, I got a
thick skin. Let's go inside.

Speaker 19 (03:18:36):
Now, Look, Marlo, cit isn't home.

Speaker 57 (03:18:38):
I can see from here the lights rout only prove
somebody turned to switch. Come on, open up a right,
come on, that's better ten cents.

Speaker 19 (03:18:47):
You're making yourself so at home, you might as well
make yourself a drink.

Speaker 57 (03:18:50):
Hey, it's a good idea. Nice little bye you got here, honey.
Always easy to talk with a drink in your Hey, Louise,
these papers are on the table. Ever seen him before contracts?
I'd say, yeah, all filled out, just waiting for Kagan's signature.
So your husband is now a full fledged big time cotsuoners.

Speaker 5 (03:19:13):
What do you know? Pretty fast work? Huh?

Speaker 57 (03:19:16):
Creator of Peter Pageant's been dead not more than three
hours and already a success. As contract they're drawn up.
I wonder Junius was bitter.

Speaker 19 (03:19:23):
Maynard Rupert had those drawn up beforehand, just in case, just.

Speaker 57 (03:19:26):
In case somebody's patience ran out, could be your husband's.
I want to talk to her. He's been here, baby,
and not long ago either. There's his trench coat on
the chair. What maybe left again, and maybe he didn't.
You take a look for the rest of the house,
and if you find him, telling him to come on out,
there's still time to talk.

Speaker 5 (03:19:41):
We'll go on.

Speaker 57 (03:19:45):
She gave me a glare that said she'd like to
run my head for a garbage disposal unit, and walked
past me to the hole.

Speaker 5 (03:19:51):
Because I held a.

Speaker 57 (03:19:52):
Trench coat, I saw an interesting smudge on the elbow
the right sleeve. It was an imprint of the little
cartoon character Peter Pageant in the exact I've seen earlier,
Peter Pagan addressing the United States Senate.

Speaker 5 (03:20:03):
It only mean one thing.

Speaker 57 (03:20:05):
The right sleeve of the coat I was holding had
been jammed down into wed ink on Junior's Poppy's drawing
board shortly after I left his studio the knife. I
was still looking at the coat when Louise came back.
She started to say something, put the doorbell interrupted and
kept on interrupting him. Finally she walked over and answered it.
It was bird slighted the man from San Francisco. His
face screen and waxy would have won the same look

(03:20:26):
if he'd been falling out of a tense story window
and knew he couldn't hold on.

Speaker 5 (03:20:29):
He gripped the door casing.

Speaker 57 (03:20:30):
With both hands, like a slow motion fireman sliding down
a pole. Suddenly, he jerked up one hand.

Speaker 5 (03:20:38):
And pointed at Louise. He turned his eyes at me
and tried to speak.

Speaker 57 (03:20:43):
Then he took five sliding, stumbling steps into the room
and fitched headlong to the floor. The handle of a
knife ring by a patch of drying blood stuck out
of his back between his shoulder blades.

Speaker 5 (03:20:52):
He thinks head did it while away, It's what's the reason.

Speaker 19 (03:20:57):
Oh no, I didn't mean that get away.

Speaker 57 (03:21:00):
Jet Flack was a chief private eye from San Francisco
and you just got back from there. What happened at
the Luise? Why do you think your husband had to
kill this guy?

Speaker 19 (03:21:06):
Oh no, I won't tell you. I don't know anything.

Speaker 57 (03:21:09):
I'll leave me alone, all right, All right, get hold
of yourself, he asterical.

Speaker 5 (03:21:12):
Now listen to me.

Speaker 57 (03:21:13):
Where does Rope live? Come on main and Roper is
addressed ninety four? Why because your husband might be there,
and I want to talk to him now more than ever.
You're on your own, baby, Get goodnessterical. If you want too,
I'll see you. Ninety four Addison Avenue was a shehall
like pine under ivy bungalow, hiding behind ten feet of

(03:21:34):
manicured hedge and flanked by a small swimming pool.

Speaker 5 (03:21:37):
That involved more chromium than water.

Speaker 57 (03:21:39):
And the door opened in response to a deep toned gown.
I saw several thousand dollars worth of Chinese modern dud
dads behind the cooled silk smoking jacket wrapped around Maine
and roper. The first glad of helping him hated me
and then changed his mind and his smile.

Speaker 5 (03:21:54):
Hello, mono, you've seen how hot tempered Louise made me? Yeah?

Speaker 57 (03:21:58):
I just left him. He had the temper scared out
of it. When a guy died on a living room floor,
how horrible.

Speaker 5 (03:22:05):
Yeah.

Speaker 57 (03:22:06):
This one had a knife in his back. He'd been
carrying it for some time, maybe it as far as Kagan's,
because he had something important to say, but he couldn't
get it out. The name was Slack from San Francisco.

Speaker 5 (03:22:16):
Have you hear of him? Slack?

Speaker 38 (03:22:17):
No?

Speaker 57 (03:22:19):
They tell me if you've seen Sid Kagan recently? I
mean within the last hour, Yes, twice, once when I
took his new contracts to his place, and again when
he came here to talk to them over he left
a few minutes ago. Say where he was going? No, wait,
he did say he intended to stop at a drug store.
He had a horsh drug store or the one down
the street about a block. Oh but look, Marlow, surely
you don't really believe that Sid killed this man.

Speaker 5 (03:22:39):
He had a motive. You realize what you're saying. What
have you got to go on?

Speaker 57 (03:22:43):
Actually, as Slipper's wife made and the Peter Pagans had
turned up out of place, whis there's no doubt hysterical
under those circumstances, I'd be too. And that's what Peter pageants.
Don't forget that Sid's been practicing him for six years.
He probably combs Peter Pageens out.

Speaker 5 (03:22:58):
Of his hair at night. At this one was on
a trench coat sleeve.

Speaker 57 (03:23:03):
I found it in Sid Kagan's living room, was picked
up from wed ink On Junior's Poppy's drawing board tonight.
In fact, there was the last Peter Pagan Junius drew
before he was killed. That's what I've got to go on,
mister Ropers, though, thanks and good night. I got my
car and drove fast till I found the drug store,
and then pulled up across the street from the place

(03:23:24):
and watched A cab was waiting out in front and
the door.

Speaker 5 (03:23:27):
Opened in the store.

Speaker 57 (03:23:28):
I started to get out, but stopped again as Sid
Kigan the collar of his trench coat turned up high
and both hands thrust deep in his pocket, shouldered his
way out, gotten a cab and drove away. I sat
there for a few minutes until the crazy logic of
the crazy pattern finally sank in, and I turned and
drove back to at ninety four Addison, a few houses

(03:23:50):
down the street at Park. Got out, and after dropping
my gun in my pocket, I left my hand curl
around it and walked in past the chromium swimming pool,
up to the Pine and Ivy house and looked in
him with his so I kind of started for the
gate again, but that was as far as I got.
I'm not inside, Mollow, I'm here behind you don't move
automatic at all?

Speaker 13 (03:24:09):
Huh.

Speaker 57 (03:24:10):
They get nerve enough to stick here and wait for
may Roper. I had no choice. Raise them up slowly
and don't turn around. I'll take your gun first, Okay,
I'll get inside. It was your trenchcoat, I founded Kagan's. Huh,
I'd forgotten left it there when you took the contracts over. Yes,
and when you told me about it, I followed you.
I saw you spot Kagan still wearing his coat at

(03:24:32):
drug store, and I knew then that you'd come back
here after me.

Speaker 5 (03:24:35):
I'm still sure.

Speaker 57 (03:24:37):
Sure you know you might have gotten away with old
Junius Poppy's murder because you were the only one with
no motive. Apparently the cluttered it up by killing your
partner Slack too.

Speaker 5 (03:24:48):
Slack was stupid and loud mouthed. Had a double cross
meal at the cat out of the bag the first
time I got drunk.

Speaker 57 (03:24:53):
Blackmailers have to keep their secret, so they go out
of business fast. With you, it's obvious that I have
no choice.

Speaker 5 (03:25:02):
It's you or me.

Speaker 57 (03:25:03):
Yeah, ye're a smart boy, roper. How'd you manage to
cut in on what's like new? He tried to find
out for me whether Sid loved his wife enough to
pay to keep her out of jail, and how much
you could demand and expect to get and told Jim's stupid.
Believe me, tell the idea of getting ready Junior so
Sid could get enough money to make blackmailing him worthwhile
with quite a switch. But what a good agent might
think of Shan Still, don't try for anything on that table?

Speaker 5 (03:25:27):
Why not?

Speaker 57 (03:25:28):
What are you saving me for a more conversation? No,
I just wanted to get my breath. I had quite
a day. Remember, all right, let's go now where out
back to the garage? Go on?

Speaker 13 (03:25:49):
Well?

Speaker 19 (03:25:50):
Is he dead?

Speaker 5 (03:25:51):
I don't know.

Speaker 57 (03:25:52):
I don't think so. You sure have picked a sweet
time to show up, baby, How do you manage it?

Speaker 19 (03:25:57):
I was out there a long time listening. When I
realized what was happening. I came in.

Speaker 5 (03:26:02):
Save my stick skin or kill a blackmailer.

Speaker 19 (03:26:05):
Once I killed a man unintentionally, I didn't want to
do it again, even him.

Speaker 31 (03:26:09):
But tonight, when I thought Sid had stab brit Flack
because of it, I couldn't stand it any longer.

Speaker 19 (03:26:14):
I came over to find you and turned myself.

Speaker 5 (03:26:16):
In a big question mark on San Francisco.

Speaker 31 (03:26:19):
There was a brawl I got mixed up in it.
A man had a gun and then the struggle it
went off and killed him.

Speaker 19 (03:26:25):
I was scared silly.

Speaker 31 (03:26:26):
I ran away, but Flax had seen the whole thing.
He even got the gun with my fingerprints all over it,
and well that's that.

Speaker 57 (03:26:36):
Let's go model, Yeah, okay, baby, let's go. Two refills,

(03:26:57):
Please have some more, it said, it's going to be
a yes.

Speaker 3 (03:27:01):
I still can't get it through my head that this
has happened, Marlow.

Speaker 21 (03:27:05):
I can't realize it.

Speaker 50 (03:27:06):
Slack saw that Titan San Francisco, got the gun with
Louise's fingerprints on it, and came here to blackmail.

Speaker 57 (03:27:12):
That's right. He went the rope of information on you,
and Roper was smart enough to take it and cut
in killed Junior so you'd get more money by taking
over the strip.

Speaker 71 (03:27:19):
And then and then he and Slack began to fight
between themselves and may not killed him too.

Speaker 52 (03:27:24):
How can there be people like that?

Speaker 57 (03:27:26):
Same way they can be rattlesnakes, black widow, spiders and cancer?

Speaker 21 (03:27:30):
Marlow?

Speaker 2 (03:27:31):
What is going to happen to Louise?

Speaker 57 (03:27:33):
I don't know, sid Oh, but she's got something now
she didn't have before.

Speaker 5 (03:27:38):
What is that?

Speaker 11 (03:27:39):
You?

Speaker 57 (03:27:41):
He loved her all the time, but she didn't know
what that meant. She does now looks she might be
finished with the police. Maybe better go over Huh, yes,
I guess i'd better.

Speaker 2 (03:27:52):
Good night, Phil, and thank you so long, said.

Speaker 57 (03:28:12):
As he crossed the street and went into police headquarters.
I turned back to my coffee and thought about Peter Pageant,
the impish, whimsical little character with a sly, gnoying smile,
half sad, half a mused at the foibles of the world.

Speaker 5 (03:28:31):
Yeah, the world seems more.

Speaker 57 (03:28:32):
And more to be made of hands.

Speaker 5 (03:28:35):
Like that old song How's it go?

Speaker 57 (03:28:39):
Sometimes I'm happy, sometimes I'm blue, Sudden stars and sudden calms.
Maybe most of us are only half alive. H Take
me for instance. Half of me wants to go home
and sit in front of a roaring fire, a drink

(03:29:00):
and a good book.

Speaker 5 (03:29:03):
In the other half, yeah, there's always another half.

Speaker 69 (03:29:27):
The Adventures of Philip Marlowe Bringing You Raymond, Chandler's most
famous character and crime's most deadly enemy, star Gerald Moore
and are produced and directed by Norman McDonald. Script is
by Meldon la Robert Mitchell and Gene Levitt. Featured in
the cast were viv Janis, Howard mcneer, Parley Bear, Bill Johnstone,
and David Ellis. The special music is composed and conducted

(03:29:48):
by Richard Rand. Be sure and be with us next
week when Philip Marlowe.

Speaker 57 (03:29:57):
Says, it's started with a wreck and went from there
to double murder over seventy five thousand bucks worth of
glitter that nobody got me in because I found out
just in time what was fishy about the Tale of
the Mermaid.

Speaker 69 (03:30:22):
If you want to keep ahead of the headlines, listen
every weekday evening Monday through Friday over most of these
same CBS stations to Edward R.

Speaker 5 (03:30:30):
Murrow with the news.

Speaker 69 (03:30:31):
Mister Murrow is radio's most distinguished reporter. Is informal but
informed manner of presenting the news has earned him more
awards than any other newscaster on the air. This is
Paul Masterson speaking.

Speaker 5 (03:30:43):
Now.

Speaker 69 (03:30:43):
Stay tuned for Gangbusters, which follows immediately over most of
these same CBS stations. This is CBS, the Columbia Broadcasting System.

Speaker 6 (03:30:51):
Weird Darkness is celebrating our birthday this month. We use
this annual celebration to help those who struggle with depression.
Every October, we raise money for organization that help people
overcome depression, anxiety, and thoughts of suicide and self harm.
It's called overcoming the darkness, and you can make a
donation right now at Weirddarkness dot com slash hope. That's

(03:31:11):
weird Darkness dot com slash hope. A gift of any
amount helps, with every dollar bringing hope to someone affected
my depression. To donate, to get more information about overcoming
the darkness, or to find hope to battle back the
darkness of depression in yourself or someone you love, visit
weird Darkness dot com slash hope. The fundraiser ends on
Halloween night at midnight, so please give right now while

(03:31:35):
you're thinking about it. That's weird Darkness dot com slash hope.

Speaker 41 (03:31:39):
The Equitable Life Assurance Society presents This is Your FBI.
This is Your FBI, the official broadcast from the files
of the Federal Bureau of Investigation, presented transcribed as a

(03:31:59):
pub service by the Equitable Life Asurance Society of the
United States, and the Equitable Society is representative in your community.

Speaker 21 (03:32:17):
First two brief questions for fathers and mothers.

Speaker 15 (03:32:20):
Do you believe that your boy or girl is the type.

Speaker 41 (03:32:23):
Who would benefit greatly by a college education? Are you
determined to do everything in your power to see that
he gets that education. If your answer is yes, then
you want to know more about an equitable education fund.
It's the painless way to pay for college expenses, the
way to make sure your youngster gets his chance.

Speaker 15 (03:32:41):
Regardless of what happens to you.

Speaker 41 (03:32:44):
Interested, then please listen carefully in about thirteen minutes when
I give full details on the Equitable Education Fund created
for opportunity minded parents by the Equitable Life Asurance Society
of the United States. Tonight the subject of our FBI

(03:33:06):
file Armed Robbery, its title ghost Town.

Speaker 72 (03:33:26):
The cold Blooded Killer is a special variety of criminals. Naturally,
no two of these men are ever exactly alike, but
they do seem to have many metal traits and characteristics
in common. In general, they are outlandishly conceited, emotionally childish,
utterly selfish and ruthless, and completely lacking in a sense

(03:33:49):
of values. They have been known to whack sentimental over
a cat caught in a tree top, and then go
out and coolly murder a human being who stands in
the way of their own selfish ends. As you will
see in tonight's FBI file, routing out these menaces to
society is a job that requires determination, resourcefulness, and courage.

(03:34:18):
The Night's FBI file opens on a desert in one
of our western states. A man and woman in a
dark convertible wind along a lonely, dusty road.

Speaker 16 (03:34:29):
Oh hot, uh huh and dirty nash Parley.

Speaker 13 (03:34:35):
I'll stop for drink.

Speaker 16 (03:34:37):
Okay, a liverer saloon.

Speaker 13 (03:34:39):
There must be someplace open. You said the ghost town
was a tourist track.

Speaker 51 (03:34:43):
It was, but the new Highway bypassed this road, and
even the ghosts took it on the lamp.

Speaker 16 (03:34:50):
Shure. That's it up ahead.

Speaker 13 (03:34:56):
Uh huh, brother, this is really no place. How'd you
know it was here?

Speaker 16 (03:35:02):
Sherman told me.

Speaker 68 (03:35:03):
Sherman, you know he ain't satisfied just being the director
on a picture.

Speaker 51 (03:35:08):
He's also going to be the makeup man, handled wardrobe,
rewrite the script, and on the side, be a location scout.

Speaker 13 (03:35:14):
Ah, Simmon's not a bad guy.

Speaker 51 (03:35:16):
Not if you collect vultures. I'm supposed to find locations,
not him. Well, well, I wouldn't come this far just
for a ghost town.

Speaker 13 (03:35:27):
Are there any closer to Hollywood?

Speaker 68 (03:35:29):
Haven't been in Beverly Hills after eleven at Night?

Speaker 16 (03:35:35):
You worked for Sherman before real comical character. He'd used
the a bomb for a hot putter.

Speaker 13 (03:35:43):
I don't mind practical jokers.

Speaker 51 (03:35:45):
Well I don't either if they're human. You remember a
picture last year called Alligator Man. Well, I went to
Farwarda three weeks ahead of the company to find an
alligator farm. Sherman called a friend of his down there,
and my picture posted on every telegraph pole. Under the
picture it said wanted. I got picked up four times

(03:36:09):
than Gables option.

Speaker 64 (03:36:14):
Well this is it.

Speaker 13 (03:36:16):
Yeah, when does Sherman start shooting here?

Speaker 16 (03:36:20):
As soon as he's throw in Santa Fe.

Speaker 13 (03:36:24):
Yeah, he really came up with a ghost town.

Speaker 16 (03:36:28):
Oh you're not kidding.

Speaker 13 (03:36:31):
Wait a minute, I better take a shot out the street.

Speaker 26 (03:36:35):
What's that camera polaroid.

Speaker 16 (03:36:37):
That kind of develops the pictures right away?

Speaker 13 (03:36:39):
Yeah?

Speaker 51 (03:36:41):
So you get the post office in if you can,
got it all right, let's look around. Get a shot
at at Wells Fargo office and the hitching post in front.

Speaker 13 (03:36:59):
Holder time for four Did you hear anything?

Speaker 5 (03:37:04):
Sure?

Speaker 16 (03:37:05):
The boards and the sidewalk they squeaked like three dollars shoes.

Speaker 2 (03:37:08):
No, something else.

Speaker 13 (03:37:10):
It sounded like maybe a voice.

Speaker 51 (03:37:13):
Oh grace, nobody's been here since nineteen forty six. Come on,
come on, let's do our work and get back to
some whiskey.

Speaker 72 (03:37:30):
Meanwhile, at the office of the Coffee Sheriff, some miles away,
FBI Special Agent Taylor has just entered and introduced himself
to Sheriff Lubernett.

Speaker 1 (03:37:39):
Sheriff the office cut me driving back from another case
and said that there had been a bank robbery.

Speaker 73 (03:37:43):
Yeah, four men held up the bank at Powderville this morning. Powderville,
it's a small town up the highway. Piece, No, I
see the cashier wounded one of the bandits, but not
enough to stop him, the report said.

Speaker 15 (03:37:52):
The wounded man and the driver the getaway.

Speaker 1 (03:37:54):
Car took off west. Or how about the other two?

Speaker 73 (03:37:57):
When the shooting started, they ran down the street and
a car any descriptions on it, not on the men,
But we got descriptions on both cars. I sent out
alarms a while ago. One of my deputies is on
his way to interview the people at the bank.

Speaker 1 (03:38:10):
Oh, maybe i'll run over there and give him a hand.

Speaker 73 (03:38:11):
You'll probably be able to use it as a new man.
I'll get him on the radio and tell him you're coming.

Speaker 1 (03:38:16):
All right, fine, Oh what's his name?

Speaker 5 (03:38:18):
Sure? Hartley?

Speaker 15 (03:38:19):
Frank Hartley?

Speaker 1 (03:38:20):
All right, and can I have those license numbers. I
might just run into them all the way over there.

Speaker 21 (03:38:25):
Yeah.

Speaker 73 (03:38:26):
Here, this first one's the original getaway car, and that's
the one stolen at powder Bill.

Speaker 1 (03:38:33):
Have you checked the license on their car?

Speaker 15 (03:38:36):
Motor vehicles working on it now?

Speaker 38 (03:38:38):
Oh?

Speaker 15 (03:38:38):
Excuse me to you sure sheriff in it?

Speaker 1 (03:38:41):
Hello, sheriff? Do you have a deputy named Hardly?

Speaker 2 (03:38:44):
Yes?

Speaker 1 (03:38:45):
Oh, this is the county hospital.

Speaker 15 (03:38:47):
He's just been brought in here.

Speaker 57 (03:38:48):
What for he was found unconscious on the highway.

Speaker 13 (03:39:07):
Well, I guess we're almost finished.

Speaker 68 (03:39:09):
Hunh let's uh, let's cross over and get that blacksmith shop.

Speaker 13 (03:39:12):
Okay, Hey, look down there where in that alley there's
a car with the windshield. Those look like bullet holes.

Speaker 16 (03:39:26):
Yeah, I guess they are.

Speaker 13 (03:39:28):
Well, what are you supposed to call?

Speaker 16 (03:39:29):
Honey?

Speaker 26 (03:39:29):
Who are you?

Speaker 16 (03:39:30):
Missus? Cornball? That's a prop.

Speaker 68 (03:39:34):
It wouldn't be a legit ghost town without a bullet
riddled car.

Speaker 51 (03:39:38):
Now, look, as long as we're here, shoot another picture
of the saloon from the sing Can you can you
get in that hotel fire escape?

Speaker 13 (03:39:47):
I'll try.

Speaker 68 (03:39:49):
I'll take a look at the blacksmith.

Speaker 13 (03:39:51):
Okay, Tommy, Tommy, I got a man in that picture.
He was the fire's kp. There he is. Look, hey,
he's running towards our car.

Speaker 26 (03:40:05):
I left occasion it.

Speaker 19 (03:40:07):
Come on, hey, Tommy, hey are you hey?

Speaker 16 (03:40:13):
Hey?

Speaker 13 (03:40:17):
Oh?

Speaker 51 (03:40:21):
Why the dirty little No, not the guy in the car.
But who do you think put him up to it?
I don't know, our practical joker, mister Sherman. But why
would he because it's very funny. We got no telephone,
no water, no food, and it's twenty miles to the
nearest town.

Speaker 1 (03:40:52):
Chef and then coming on those alarms.

Speaker 15 (03:40:53):
Yes, Taylor, we got one of the cars. But no man.

Speaker 73 (03:40:56):
Oh come, I saw Harley in the hospital, he told me.
On the way to Potterville to help another debut, he
set up a roadblock.

Speaker 15 (03:41:03):
Now before they finished, a car shot past. Turned out
it was the original getaway.

Speaker 1 (03:41:07):
Car, one with a wounded manager.

Speaker 73 (03:41:09):
That's right, And a few seconds later they stolen car
with the other two bandits ran the block hardly fired
after him, hit their gas tank and the car ran
into a.

Speaker 1 (03:41:16):
Didn't two down to the gods.

Speaker 15 (03:41:18):
Not quite fine. Hartly arrested both men and started back
here with him.

Speaker 73 (03:41:23):
After a couple of miles, they overpowered him, got the
keys to the handcuffs and they dumped him and stole
his car.

Speaker 1 (03:41:28):
So we're still minus two cars and four bandits.

Speaker 73 (03:41:31):
Yeah, but at least you've got descriptions on two of them.
And Hartley's getting out of the hospital in a little while.
When he does, he'll come in and go over our
file of pictures. That's good, good fist a minute, sharper Nett.

Speaker 68 (03:41:44):
This is Parker in the wire room. Deputy.

Speaker 12 (03:41:46):
Hartley's car has just unreported found where the parking lot
at the Collie robo Glouse.

Speaker 15 (03:41:52):
Thanks Parker, I'll get right out there.

Speaker 13 (03:42:10):
Tommy got another cigarette in the car.

Speaker 16 (03:42:13):
Oh fine, Oh that knucklehead Sherman.

Speaker 13 (03:42:19):
Most clouds are moving this way.

Speaker 16 (03:42:21):
Yeah, rains all we need.

Speaker 13 (03:42:23):
Now, how long you think we'll be here?

Speaker 16 (03:42:27):
Un till Sherman stops laughing.

Speaker 13 (03:42:29):
I don't think this joke's very funny.

Speaker 26 (03:42:32):
Come on, Grace where well.

Speaker 16 (03:42:34):
That storm will be here pretty quick. Let's find shelter.

Speaker 13 (03:42:37):
We haven't seen a roof yet without holes.

Speaker 16 (03:42:39):
The hotel's two stories. Maybe the Laura Win'll be safe.

Speaker 58 (03:42:44):
That's where sherman stooge came from. I know, Tommy, Sherman
can't just leave us here.

Speaker 51 (03:42:51):
You got a contract says you can't let's take again
at this place. Go ahead, thanks, Well, we can always
sit on the cobwebs.

Speaker 21 (03:43:13):
Hey, what's the matter?

Speaker 58 (03:43:14):
Looked in the corners. The man on the floor, his
blood on his shirt looks like he's been shot.

Speaker 26 (03:43:22):
Honey, only the price that is in blood. It's catch him.

Speaker 29 (03:43:26):
Huh.

Speaker 26 (03:43:27):
Sherman's keeping the joke alive, and we're supposed to fall
for it.

Speaker 13 (03:43:31):
You think so, of course?

Speaker 2 (03:43:32):
Of course.

Speaker 51 (03:43:33):
Sure that's a central casting body. Come on, let's get
out of here.

Speaker 15 (03:43:55):
The rodeo has got an hour ago.

Speaker 10 (03:43:57):
Yeah.

Speaker 1 (03:43:57):
How much of the crowds in the stadium ten thousand
don't supposes anyway getting them out?

Speaker 15 (03:44:02):
Most do wan wait for the cab rope even if
the storm does hit.

Speaker 1 (03:44:06):
Looks like we're stiming.

Speaker 15 (03:44:07):
Didn't you find anything in Hartley's car?

Speaker 1 (03:44:09):
No, they abandoned it because they'd left front tile and flat.
It's not telling what kind of a car they stole
from here.

Speaker 15 (03:44:15):
We wait another hour and they'll really have a start on.

Speaker 5 (03:44:17):
Wit a minute.

Speaker 1 (03:44:17):
If you've got a man, you can leave here.

Speaker 15 (03:44:18):
Those are my deputies handling Caratineal.

Speaker 1 (03:44:20):
Fine, let's have one of them stay here and get
the details on the stolen car. Where are we going west?
That's the way they've been traveling since they left Patadal.
They wouldn't come out this far and then double backwardly
be no point, isn't it. Then they're rondevous. Must be
farther up the highway. Let's try a cruising sheriff and
see if we spotting anything.

Speaker 19 (03:44:50):
Tell me, I'm.

Speaker 68 (03:44:51):
Cold, shake hands with a Millionaire's go inside, warm here
on the porch.

Speaker 13 (03:44:56):
Gotta do something. IM gonna try walking back to the highway.

Speaker 16 (03:45:02):
Eighteen miles in this we drowned.

Speaker 13 (03:45:05):
Now what else can we do?

Speaker 16 (03:45:08):
Sit here?

Speaker 58 (03:45:11):
Sherman's conscience has to bother him. Sometimes he's got a
cast iron hot Tommy.

Speaker 13 (03:45:20):
It's a car. Huh, Well that is a car, isn't it.

Speaker 5 (03:45:24):
Yeah?

Speaker 13 (03:45:25):
If it was on the main highway, we couldn't see
it could.

Speaker 26 (03:45:28):
No, No, it's heather for hero all right. Hey, that's
not my car, honey.

Speaker 13 (03:45:38):
Let's not be particular. They're heading right forest. That's all
we have to care about.

Speaker 27 (03:45:45):
Where.

Speaker 68 (03:45:46):
Well you finally felt sorry for us?

Speaker 15 (03:45:48):
Huh?

Speaker 16 (03:45:50):
Great joke, boys, great joke.

Speaker 26 (03:45:54):
I don't know Sherman's stooges.

Speaker 15 (03:45:56):
I guess what are you doing here?

Speaker 16 (03:45:58):
Waiting for you?

Speaker 1 (03:46:00):
I don't know.

Speaker 68 (03:46:01):
Okay, fellas, okay, come on, let's get out of here.

Speaker 13 (03:46:04):
Go of ma oh look boys, joke over, let's go. Huh.

Speaker 64 (03:46:07):
You ain't got any close.

Speaker 19 (03:46:09):
Oh yes we are.

Speaker 13 (03:46:10):
Come on, Tommy, turn around and get back in here.

Speaker 41 (03:46:27):
We will return in just a moment due to a
night's exciting case from the official files of your FBI. Now,
let's pay a quick visit to the living room of
Andrew McDonald. Fred Barton, Equitable Society representative has dropped in
to discuss life insurance problems.

Speaker 64 (03:46:42):
Fred, what's this Equitable Society college education insurance?

Speaker 5 (03:46:45):
I've heard about? All right?

Speaker 64 (03:46:47):
Sure, like my kid to go to a good college.

Speaker 74 (03:46:49):
You must mean the Equitable Education Fund, mister McDonald. It's
very simple. You take out an endominentant life insurance policy
that will be all paid up about the time your
boys ready to enter college, say in the nineteen seventy.
The money's all there ready and waiting for him. It's
the painless way to pay for a college education.

Speaker 33 (03:47:06):
Well, just what do you mean painless?

Speaker 74 (03:47:08):
Well, it's pretty much the same principle as buying an
automobile or TV set on an easy payment plan. You
spread the cost of your boy's college education over fifteen, sixteen,
or seventeen years, instead of taking a beating during the
four years he's actually in college.

Speaker 5 (03:47:21):
I get it.

Speaker 64 (03:47:22):
It's buying a college education in fifteen installments.

Speaker 1 (03:47:24):
That's it.

Speaker 74 (03:47:25):
And if you should die before the plan's completed, it
immediately becomes paid up in full. The Equitable Society holds
the money, pays interest on the full amount, and turns
it over to your son when he's ready for college.
Regardless of what happens to you, he's sure to get the.

Speaker 21 (03:47:39):
Education you want him to have.

Speaker 64 (03:47:40):
Oh, that sounds right up, my alley. Tell me, is
it too early to start when your kid's two years old? No,
the earlier your stunt, the lowerer yearly cost will be.
In any case, the amount you decide to pay us
strictly after you, maybe you'll decide to start an equitable
education fund for about half what you expect to pay
for your son's college expenses. For instance, suppose you beside
on twenty five hundred dollars at your age that would cost.

Speaker 41 (03:48:03):
You if you have children of your own, why not
get the cost of an equitable education fund from your
equitable representative. These equitable men don't go in for high
pressure methods. They give you the information you need and
let you make up your own mind. Get in touch
with your equitable representative soon, or write care of the
station to the Equitable Society at.

Speaker 5 (03:48:24):
C q U I T A B l E.

Speaker 41 (03:48:26):
The Equitable Life Asurance Society of the United States. And
now back to the FBI file Ghost Towns.

Speaker 72 (03:48:53):
Detective story fans who are good citizens and criminals often
have one interest in common, the perfect crime. But whereas
the good citizen likes to mull over its fictional possibility,
the criminal is always confident that he is about to
commit it. But as the detective story reader proves, and

(03:49:16):
as the criminal always learns, there is no such thing
as the perfect crime. Our jails and penitentiaries are filled
with men and women who have refused to recognize the
truth of this statement. Tonight's case is an example. It
is one more proof that the perfect crime is a
mirage that lures men to disaster. It is proof once

(03:49:38):
again that crime does not pay and never will. Tonight's
FBI file continues a few minutes later, as Sheriff Burnett
and Special Agent Taylor ride along the highway.

Speaker 1 (03:49:55):
Looks like Ralah storm yet Sheriff's earning dam. That's where
that's out on the map here, but in the nearest
town is about fifty miles.

Speaker 15 (03:50:05):
Uh, they've been alerted. Parker car, come in, Parker just got.

Speaker 14 (03:50:12):
A word on the royal.

Speaker 9 (03:50:13):
Grounds of stolen cars A bar Snell likes number seven
seven three four six.

Speaker 15 (03:50:21):
Seven part next to Harley's get out in alarm?

Speaker 1 (03:50:24):
All right, anything in on that first cart?

Speaker 16 (03:50:29):
Sure?

Speaker 1 (03:50:30):
How about those pictures?

Speaker 16 (03:50:31):
Parker?

Speaker 15 (03:50:32):
You heard from Hartley's in the fire? Now good? If
he gets anything, call us immediately.

Speaker 13 (03:50:52):
That's true. Yeah, is there any food in your car?

Speaker 26 (03:50:55):
No, Grace, don't knock yourself out. He wouldn't help us
if he could.

Speaker 13 (03:51:02):
There's the other one, but you find the money.

Speaker 21 (03:51:06):
No, Chuck just died too bad.

Speaker 1 (03:51:10):
Tell me a couple of things before we went.

Speaker 21 (03:51:12):
Pete's got the loose.

Speaker 13 (03:51:16):
Tell me what do we do?

Speaker 26 (03:51:19):
Wait for what? I don't know, Maybe the Marines.

Speaker 5 (03:51:24):
I know where it'll be.

Speaker 1 (03:51:26):
You all the dope up back of the mind's visit him.

Speaker 68 (03:51:30):
Hey, hey, wait a minute, what's bothering you? But you
just can't leave us here. We'll never get out alive.

Speaker 19 (03:51:35):
At least take us.

Speaker 13 (03:51:36):
Back to the highway.

Speaker 5 (03:51:37):
Got things to do.

Speaker 11 (03:51:38):
We ain't running no taxi about where you're going?

Speaker 15 (03:51:42):
Ladies giving me a notion?

Speaker 5 (03:51:44):
Get up? Who me both of you?

Speaker 13 (03:51:48):
Tommy, he's got a gun.

Speaker 33 (03:51:50):
There's no one looking for you too.

Speaker 1 (03:51:52):
You drive our car where any place?

Speaker 64 (03:51:55):
We got a mind to go?

Speaker 9 (03:51:57):
Come on, Parker, coins.

Speaker 15 (03:52:11):
Here, Burnette, come in, Parker.

Speaker 68 (03:52:14):
I he just identify those two men he saw.

Speaker 16 (03:52:18):
Who are they?

Speaker 2 (03:52:19):
The Stings?

Speaker 15 (03:52:21):
But god they got any record.

Speaker 10 (03:52:24):
Yeah.

Speaker 9 (03:52:25):
They were arrested first in nineteen twenty five.

Speaker 23 (03:52:28):
At the ghost town. They had chops, the hairs guides sheriff.

Speaker 1 (03:52:32):
Where is that ghost town?

Speaker 15 (03:52:33):
Down that cutoff we passed a while back.

Speaker 1 (03:52:35):
I'm about to be a perfect heightout.

Speaker 73 (03:52:37):
We can turn around and head back, I think we
answered Parker, We're going to ghost town?

Speaker 9 (03:52:43):
All right, cant why are you there?

Speaker 24 (03:52:45):
You can kick something else that just came in?

Speaker 5 (03:52:48):
What's that?

Speaker 14 (03:52:50):
Only come here?

Speaker 9 (03:52:51):
And Santa Fe reported to MS keep her missing and
that's where they were ahead.

Speaker 15 (03:52:57):
All right, we'll call in as soon as we get there.

Speaker 68 (03:53:12):
Slow up when you get by the shack driver on
the side to stop.

Speaker 16 (03:53:17):
Okay, this is it.

Speaker 1 (03:53:24):
Like you're going the front way. I'll go to the back,
all right, turn out that motor.

Speaker 16 (03:53:30):
Okay, give me the keys. Here, it's a way there.

Speaker 21 (03:53:37):
We'll be back, Telly.

Speaker 33 (03:53:44):
This is our chance for what to get away to where.

Speaker 16 (03:53:47):
I've got no idea where we are?

Speaker 8 (03:53:51):
What did we do?

Speaker 18 (03:53:52):
I don't know?

Speaker 8 (03:53:55):
How about a fire?

Speaker 15 (03:53:56):
Huh?

Speaker 8 (03:53:57):
We can set fire to the brush.

Speaker 13 (03:53:58):
That'll bring help.

Speaker 16 (03:53:59):
Not quick pick enough, Tommy.

Speaker 26 (03:54:02):
Maybe our two friends got it, that's hope.

Speaker 21 (03:54:05):
So someone's coming.

Speaker 13 (03:54:11):
It's then, come on, you two.

Speaker 75 (03:54:15):
Get out, Hey, Taylor, I found a body over in

(03:54:35):
that hotel building, one of the brothers.

Speaker 15 (03:54:37):
No, his name was Chuck Gates. I called in and
Parker says he was arrested twice with the Fultons.

Speaker 1 (03:54:42):
Well that identifies three out of four other bats. You
come across anything, Yeah, the original getaway cars down there
and the alley, there's nothing NFL.

Speaker 15 (03:54:49):
What are those papers you've got?

Speaker 1 (03:54:51):
Oh, the polaroid negatives? I found them scattered all on
What are they for?

Speaker 2 (03:54:55):
All?

Speaker 1 (03:54:55):
They're from a camera that develops your picture a minute
after your.

Speaker 15 (03:54:57):
Ticket share those movie folks must have had.

Speaker 1 (03:55:00):
Yeah, sure, let's add up what we've got so far.
Now we know the original getaway car got here with
Chuck Yates and banded number four, Yates must have been
the one that was wounded coming out of the bank.

Speaker 21 (03:55:11):
That's right, all right.

Speaker 1 (03:55:12):
The movie people were here and their car's gone, right,
and nobody's looking for that car. So if the Fulton
brothers got here while Banded number four was around, they
have all left in it with the movie couple driving.

Speaker 15 (03:55:22):
Yeah, but then the car stolen from the rodeo grounds
would be here.

Speaker 1 (03:55:25):
Well, that's just my point. Both cars are gone, so
Banded number four must have taken the movie couple's car.

Speaker 15 (03:55:30):
What do you think happened to the couple?

Speaker 1 (03:55:32):
No, they either went off with number four or with
the photons and sheriff. Swing your flashlight over here, yeah
that way?

Speaker 5 (03:55:39):
Yeah?

Speaker 1 (03:55:41):
Hey, what is that pollaroid camera?

Speaker 15 (03:55:44):
That movie couple must have left in a real hurry
to forget their camera.

Speaker 1 (03:55:49):
The last picture's still in here. It's the saloon, you see.
I looked as a man on the hotel fire escape.

Speaker 15 (03:55:59):
Hey, Taylor, let me get a closer look at that.
I know that man.

Speaker 1 (03:56:22):
I find anything, lud, I just keep digging.

Speaker 8 (03:56:25):
I wish I had a cigarette.

Speaker 16 (03:56:27):
I'll take one more.

Speaker 3 (03:56:28):
Look what are you telling?

Speaker 16 (03:56:30):
Looking for a cigarette? But I wanted to just say.

Speaker 26 (03:56:36):
You know something, Grace. I wish these two bums knew
something about the picture business. Why, I'd like to sell him.

Speaker 1 (03:56:44):
A new writer.

Speaker 13 (03:56:46):
Oh, if you do, pick one who write me out
of this script.

Speaker 1 (03:56:50):
Here's a bag of it.

Speaker 26 (03:56:52):
Well, it looks like they found the loot. That mean
they'll leave us, I hope.

Speaker 1 (03:56:56):
So, yeah, it looks like.

Speaker 16 (03:56:57):
It's all here too.

Speaker 5 (03:56:59):
What are we doing?

Speaker 58 (03:56:59):
Now?

Speaker 2 (03:57:00):
Get moving?

Speaker 5 (03:57:01):
What about them?

Speaker 18 (03:57:03):
I got that all figured.

Speaker 16 (03:57:06):
Com on, you two, get it whereto.

Speaker 21 (03:57:09):
Now get back in the car.

Speaker 1 (03:57:10):
You're letting them go just as far as the cliff.

Speaker 16 (03:57:13):
Oh, now, look the car off the cliff. That's one
too many.

Speaker 21 (03:57:17):
Shut up, like, get Pete's body, throw it in with them.

Speaker 16 (03:57:21):
Now that's real hokey.

Speaker 13 (03:57:22):
Tell me they're not kidding.

Speaker 16 (03:57:23):
You're so right, lady, Now get join.

Speaker 62 (03:57:29):
You there, up your hands.

Speaker 1 (03:57:31):
Okay, they were going to kill us, ma'am. I know
we heard them all right, Sure, let's take them in.

Speaker 72 (03:57:49):
Lloyd and Bud Pulton were turned over to local authorities
and prosecuted on a charge of murder. Each received a
sentence of life imprisonment. The sheriff Burnet's recognition of the
man in the picture as Pete.

Speaker 5 (03:58:03):
Lake the fourth bandit.

Speaker 72 (03:58:04):
He and Special Agent Tailor sped to the Adobe Hut
where Lake had been arrested during the previous year. And
so your FBI, in cooperation with a local law enforcement agency,
was able to close this file and to apprehend two
vicious killers. Even more important, of course, it also saved
the lives of two innocent people. No one has ever

(03:58:26):
fully explained why certain men become criminals of the type
into Knight's case, but they have always been an ugly
part of the American scene, and so long as they remain,
your FBI will continue to hunt them and to make
them stand trial for their acts.

Speaker 41 (03:58:57):
Now, a quick review of the advantage is of an
equitable education fund. First, it's the painless way to pay
for a college education. You spread the cost over many
years instead of taking a beating in four second.

Speaker 15 (03:59:11):
It's sure from the moment you start.

Speaker 41 (03:59:14):
You're certain your children will get the kind of education
you want them to have, regardless of what happens to you.

Speaker 5 (03:59:20):
So why delay?

Speaker 41 (03:59:21):
Ask your equitable representative for full information on an equitable
education fund, or write care of the station to the
Equitable Life Assuran Society.

Speaker 72 (03:59:39):
Next week we will dramatize another case from the files
of the Federal Bureau of Investigation. It's subject armed robbery,
its title The Curious Fishermen.

Speaker 41 (03:59:56):
The incidents used in Tonight's Equitable Life Asuran Society's broadcast
are adapted from the files of the Federal Bureau of Investigation. However,
all names used are fictitious, and any similarity thereof to
the names of places or persons living or dead is accidental.
Tonight the music was composed and conducted by Frederic Steiner.

(04:00:16):
The author was Jerry D. Lewis, Your narrator was William Woodson,
and Special Agent Taylor was played by Stacy Harris.

Speaker 5 (04:00:23):
Others in the.

Speaker 41 (04:00:24):
Cast were Newton Arnold Parleyverir b Benederat, Edmund MacDonald, Wally Mayer,
and John Shehan. This is Your FBI is a Jerry
Divine production. This is Larry Keating speaking for the equitd
of the Live Ashuran Society of the United States and
the Equitable Society's representative in your community, and inviting you

(04:00:44):
to tune in again next week at the same time,
when the Equord of the Live Ashurance Society will bring
you another thrilling transcribed story from the files of the
Federal Bureau of Investigations, The Curious Fisherman On.

Speaker 21 (04:00:57):
This is your FBI.

Speaker 41 (04:01:03):
Stay tuned for a Life in Your Hands starring Lee Woman,
which follows immediately. This program came to you from Hollywood.

Speaker 2 (04:01:11):
Welcome to the Black Mass.

Speaker 4 (04:02:26):
We continue our series of works by Edgar Allan Poe
with two more of his lesser known tales. You may
wish to make yourselves sea worthy for our production this
evening of manuscript found in a bottle. But while you're

(04:02:46):
digesting your dramamine tablets, our first tale offers a discomfort
for which, alas there is as yet no known prescription.
Here is Edgar Allan Poe's story, The imp of the Perverse.

(04:03:23):
To day, I wear these chains and am here. May
I explain to you why I am here? May I
assign to you something that shall have at least the
faint aspect of a cause. For my wearing these fetters,

(04:03:47):
and for my tenanting this cell of the condemned. I
am one of the many uncounted victims of the imp
of the perverse.

Speaker 1 (04:04:13):
The perverse.

Speaker 4 (04:04:16):
In the consideration of the faculties and impulses of the
human soul, we have all overlooked it. In the pure
arrogance of the reason we have all overlooked it. We
could not have understood in what manner it might be
made to further the objects of humanity, either temporal or eternal.

(04:04:38):
If we cannot comprehend God in his visible works, are
then in the inconceivable thoughts that cause the works.

Speaker 11 (04:04:45):
It to be.

Speaker 4 (04:04:51):
Induction upon the basis of what man is always occasionally doing,
would have brought us to admit as an innate and
primitive principle of human action, a doxical something which we
may call perverseness. Through its promptings, we act without comprehensible object.
We act for the reason that we should not. In theory,

(04:05:16):
no reason can be more unreasonable. But in fact there
is none more strong. With certain minds, under certain conditions,
it becomes absolutely irresistible. The assurance of the wrong or
error in the action is often the one unconquerable force
which impels us no will, This overwhelming tendency to do
wrong for the wrong sake admitt of analysis. It is

(04:05:37):
a radical, a primitive impulse.

Speaker 2 (04:05:42):
It is elementary.

Speaker 4 (04:05:52):
For example, we have a task before us which must
be speedily performed. We know that it will be ruined
us to make delay. The most important crisis of our
our life calls trumpet tongued for immediate energy and action.

Speaker 19 (04:06:03):
We grow.

Speaker 4 (04:06:04):
We are consumed with eagerness to commence the work. It must,
it shall be undertaken today, And yet we put it
off until tomorrow. And why there is no answer except
that we feel perverse. Tomorrow arrives and with it a
more impatient anxiety to do our duty. But with this
very increase of anxiety arrives also a nameless are positively

(04:06:24):
fearful because unfathomable craving for delay. This craving gathers strength
as the moments fly. The last hour for action is
at hand. We tremble with the violence of the conflict
before us, of the definite, with the indefinite of the substance.

Speaker 23 (04:06:40):
With the shadow.

Speaker 34 (04:06:42):
But it is the shadow which prevails.

Speaker 4 (04:06:48):
We struggle in vain. The clock strikes and is the
knell of our welfare, and the ghost that so long
overawed us flies.

Speaker 1 (04:06:59):
Ah, it disappears.

Speaker 13 (04:07:00):
We are free.

Speaker 4 (04:07:01):
The old energy returns.

Speaker 46 (04:07:03):
Ah.

Speaker 68 (04:07:03):
We will labor now.

Speaker 1 (04:07:07):
Alas alas.

Speaker 2 (04:07:13):
It is too late.

Speaker 4 (04:07:27):
We stand upon the brink of a precipice. We peer
into the abyss. We grow sick and dizzy, Our first
impulse is to shrink from the danger. Unaccountably, we remain.
By slow degrees, our sickness and dizziness and horror become

(04:07:47):
merged in a cloud of unnameable feeling, by gradation still
more imperceptible. This cloud assumes shape, as did the vapor
from the bottle out of which arose the genie in
the Arabian night. But our cloud grows, grows into a
shape far more terrible.

Speaker 34 (04:08:04):
And yet it is but a thought.

Speaker 4 (04:08:06):
It is merely the idea of what would be our
sensations of a fall from such a height. And this fall,
this rushing annihilation, for the one reason that it involves
that one most ghastly and loathsome of all the images
of death and suffering, for this very cause, doing now
most vividly desire it. Because our reason violently deters us
from the prink. Therefore do him most impetuously approach it.

(04:08:29):
There is no passion in nature so demonically impatient as
that of him who, shuddering on the edge of a precipice,
thus meditates a plunge. To indulge for a moment in
any attempted thought is to be inevitably lost. The reflection
urges us to forbear. And therefore therefore it is I
say that we cannot if there be no friendly harm

(04:08:50):
to check us, or if we fail in a sudden
effort to prostrate ourselves backwards from the abyss, we plunge.

Speaker 42 (04:08:58):
And ah destroyed.

Speaker 4 (04:09:08):
Examine these and similar actions. They result solely from the
spirit of the perverse. We perpetrate them merely because we
feel that we should not beyond or behind this. There
is no intelligible principle, and indeed we might deem this
perverse as a direct instigation of the arch fiend, were

(04:09:29):
it not occasionally known to operate in furtherance of good.
I have said thus much that in some measure I
may explain to you why I am here. You may

(04:09:51):
have fancied me mad as it is, you will easily
perceive that I am one of the many uncounted victims
of the imp of the perverse. It is impossible that

(04:10:12):
any deed could have been wrought with a more thorough deliberation.
For weeks, for months, I pondered over the means of
the murder. I rejected a thousand schemes because their accomplishment
involved a chance of detection. At length, in reading some
French memoirs, I found an account of a nearly fatal
illness through the agency of a candle accidentally a poisoned.
The idea struck my fancy at once. I knew my

(04:10:34):
victim's habit of reading in bed, and I knew too
that his apartment was narrow and ill ventilated. But I
need not vex you with impertinent details. I need not
describe the easy artifices by which I substituted in his
bedroom candlestick a wax light of my own making for
the one which I found there. The next morning he

(04:10:56):
was discovered dead in his bed, and the coroner's verdict
was death by the visitation of God, having inherited his estate.
All went well with me for years. The idea of
detection never once entered my brain. Of the remains of

(04:11:19):
the fatal taper, I had myself carefully disposed. I had
left no shadow of a clue by which it would
be possible to convict, or even to suspect me, of
the crime. It is inconceivable how rich a sentiment of
satisfaction arose in my bosom, as I reflected upon my
absolute security for a long period of time I was
accustomed to revel in this sentiment. It afforded me more

(04:11:41):
real delight than all the mere worldly advantages accruing from
my sin. But there arrived at length an epoch from
which the pleasurable feeling grew, by scarcely perceptible gradations, into
a haunting and harassing thought. It harassed because it aren't it.

(04:12:03):
I could scarcely get rid of it for an instant.
I would perpetually catch myself pondering upon my security and repeating,
I am safe, I am safe, I am safe, I
am safe, I am safe. Yes, yes, say say if

(04:12:26):
I be not fool enough to make open confession? And
I see it till crept to my heart. I had
had some experience in these bits of perversity, and in
no instance had I successfully resisted their attacks. And now
might I possibly be fool enough to confess the murder?

(04:12:49):
My own casual self suggestion now confronted me as if
the very ghost of him whom I had murdered and
beckoned me on to death. At first I made an
effort to shake off this nightmare of the soul. Yeah,
I walked vigorously, faster, still, faster. At length I ran.

(04:13:11):
I felt a maddening desire to shriek aloud. Every succeeding
waver thought overwhelm me with a new terror for a lass,
I well too well understood that to think, to think
in my situation, was to be lost. I still quickened
my pace. I pounded like a madman through the crowded thoroughfairs.

(04:13:32):
At length, the populace took the alarm and pursued me.
I felt then the consummation of my faith. Could I
have torn out my tongue, I would have done it.
But a rough voice resounded in my ears. A rougher
grasp seized me by the shoulders. I turned, I gasped
for breath. For a moment, I experienced all the pangs

(04:13:54):
of suffocation. I became blind, deef geary, and then some
invisible fiend the impulse struck me with his broad power
upon the back, and the long imprisoned secret purse far
from my soul. They say that I spoke with a

(04:14:32):
distinct enunciation, but with marked emphasis and passionate hurry, as
if in dread of interruption, before concluding the brief but
pregnant sentences that consigned me to the Hangman.

Speaker 1 (04:14:50):
And to hell.

Speaker 4 (04:14:59):
But why shall I say more? Today I wear these
chains and am here. Tomorrow I shall be fetterless.

Speaker 6 (04:15:19):
But where.

Speaker 4 (04:15:28):
That was the imp of the perverse by Edgar Allan Poe,
Now our second tale, to which Poe added a brief
note at the end, which reads as follows. The Manuscript
Found in a Bottle was originally published in eighteen thirty one,

(04:15:53):
and it was not until many years afterwards that I
became acquainted with the maps of Mercator, in which the
ocean is represented as rushing by four mouths into the
Polar Gulf, to be absorbed into the bowels of the Earth,
the pole itself being represented by a black rock towering

(04:16:15):
to a prodigious height. Here now is Edgar Allan Poe's
story Manuscript Found in a Bottle. Of my country and

(04:16:50):
of my family, I have little to say. Ill usage
and length of years have driven me from the one
and estranged me from the other. Hereditary wealth afforded me
a life spent mainly in foreign travel, terminated finally by

(04:17:11):
the incredible events here related. I had set out from
the port of Batavia on a voyage to the archipelago islands,
and I went as passenger, having no other inducement than
a kind of nervous restlessness which haunted me as a fiend.

(04:17:34):
We got underway with a mere breath of wind, and
for many days stood along the eastern coast of Java.
One evening, leaning against the taprail, I observed a very singular,
isolated cloud to the northwest. At sunset, it spread girding

(04:17:56):
the horizon like a long line of low be e
sh My notice was soon after attracted by the dusky
red appearance of the moon and the very peculiar character
of the sea. The water seemed more than usually transparent,

(04:18:17):
The air became intolerably hot, and as night came on,
every breath of wind died away a more entire calm.
It is impossible to conceive the flame of a candle

(04:18:37):
burned upon the poop without the least perceptible motion. The crew,
consisting principally of melees, stretched themselves deliberately upon the deck.
I went below, not without a full presentment of evil.

(04:19:03):
My uneasiness, however, prevented me from sleeping, and about midnight
I decided to go up upon deck. As I placed
my foot upon the upper step of the companion, ladder.
I found the ship quivering, quivering to its very center,

(04:19:26):
and in the next instant a wilderness of foam hurled
us upon our beam ends, and brushing over us fore
and aft, swept the entire decks front stand to starn.
The extreme fury of the plast proved the salvation of
the ship. She rose after a minute, heavily from the sea,
and staggering a while beneath the immense pressure of the tempest,

(04:19:48):
finally riding by what miracle I escaped destruction. It is
impossible to say. Stunned by the shock of the water,
I found myself, upon recovering, jamped in between the stern
post and the rudder. Ah, I regained my feet. It

(04:20:11):
seemed we were among breakers. So terrible beyond the wildest
imagination was the whirlpool of mountainous and foaming ocean within
which we were engulfed.

Speaker 24 (04:20:22):
All it was.

Speaker 4 (04:20:28):
The old swede.

Speaker 1 (04:20:30):
He came reeling aft.

Speaker 4 (04:20:34):
Or go free or all on deck, with the exception
of ourselves had been swept overboard, and those below must
have perished while they slept. The cabins what deluged with water.

(04:21:08):
The main fury of the blast had already blown over,
and we apprehended little danger from the violence of the
wind for five entire days and nights, during which our
only subsistence was a small quantity of jaggerree, procured with
great difficulty from the foelcast. For five entire days and nights,

(04:21:32):
the hulk flew at a rate defying computation, before rapidly
succeeding flaws of the wind. Our course for the first
four days was southeast by south. On the fifth day,

(04:21:53):
the cold became extreme. The sun arose with her sickly
yellow luster, climbered a very few degrees above the horizon,
emitting no decisive light. There were no clouds apparent, yet

(04:22:14):
the wind was upon the increase and blew with a
fitful and unsteady fury. About about noon, our attention was
again arrested by the appearance of the sun verbal.

Speaker 15 (04:22:29):
Sword light over gold too.

Speaker 4 (04:22:34):
It gave out no light properly so called, but a
dull and sullen glow without reflection, as if its rays
were polarized. Just before sinking, its central powers suddenly went out,
as if hurriedly extinguished by some unaccountable power. It was

(04:22:58):
a dim silver like rim alone as it rushed down
the unfathomable.

Speaker 1 (04:23:04):
Sea, worn worn down the sea.

Speaker 4 (04:23:30):
We waited in vain for the arrival of the sixth day.
That day, to me has not yet arrived. To the Swede.

Speaker 33 (04:23:40):
It never did arrive.

Speaker 4 (04:23:43):
Thenceforward, we were enshrouded in pitchy darkness, so that we
could not have seen an object twenty paces from the ship.
Eternal night continue to envelop us. All around us were horror,
horror and thick gloom, black sweltering desert of ebony, superstitious

(04:24:09):
terror crept by degrees into the spirit of the old Swede.
We had no means of calculating time. We were aware of,
having made far to the south. Every mountainous billow hurried
to overwhelm us. The swell surpassed anything I had imagined possible.

(04:24:29):
The swelling of the black stupendacies became more dismally appalling.
At times we gasped for breath at an elevation beyond
the albatross. At times became dizzy with the velocity of
our descent into some watery hell.

Speaker 24 (04:24:48):
Ah.

Speaker 4 (04:24:50):
We were at the bottom of one of these abysses
when oh, see see all lidy cord, see a dull,
sullen clare of red light streamed on the sides of
the vast chasm where we lay, had a terrific height
above us, and on the very verge of the precipitous descent,

(04:25:10):
holmet a gigantic ship, a huge holes of a deep
dingy blacket. She bore up under a press of sail,
in the very teeth of that supernatural sea. For a
moment of intense terror, she paused upon the diddy pinnacle,
as if in contemplation of our own sublimity.

Speaker 24 (04:25:26):
Then then tremble and tarnet, and came down.

Speaker 4 (04:25:40):
The shock of the descending mass had struck us.

Speaker 9 (04:25:43):
A ah, I had been hurled here here.

Speaker 4 (04:25:47):
Upon the rigging of the stranger. Oh, and finally the
dizzy in the dream I was on the deck. I
staggered to the main hatchway, then secreted myself in the hold.

(04:26:11):
Why I can hardly tell an indefinite sense of awe
I'd taken hold of my mind, A feeling for which

(04:26:32):
I have no name, has taken possession of myself, A
sensation which will admit of no analysis, to which the
lessons of by Gaunt I are inadequate, and for which
I fear futurity. Will often be no key to a

(04:26:53):
mind constituted like my own. Latter consideration is an evil
I shall never I shall never be satisfied with regard
to the nature of my conceptions. Yet is it not
wonderful that these conceptions are indefinite? Since they have their

(04:27:15):
origin in sources so utterly novel, A new sense, a
new entity, is added to my soul. It is long
since I first trod the depths of this terrible ship.

(04:27:38):
Incomprehensible men wrapped up in meditations of a kind which
I cannot divine. They pass me by unnoticed. Concealment is
utter folly on my part, for the people will not see.
Just now I pass directly before the eyes of the mate.

(04:28:01):
I ventured into the captain's own private cabin and took
thence the materials with which I write. I shall, from
time to time continue this journal. It is true that
I may not find an opportunity of transmitting it to
the world. I will not fail to make the endeavor.

(04:28:26):
At the last moment, I will enclose the manuscript in
a bottle and cast it within the sea. An incident occurred.

(04:28:49):
I had thrown myself down upon the deck, and while
musing upon the singularity of my fate. I unwittingly daubed
with a tar brush, the edges of a neatly fold
that studying sail which lay near me. Now sail is rigged.
I look up and see the thoughtless touches of the

(04:29:12):
brush spread out in the wind, spelling the word.

Speaker 2 (04:29:19):
Discovery.

Speaker 4 (04:29:25):
I have made observations upon the structure of the ship.

Speaker 13 (04:29:30):
What she is?

Speaker 33 (04:29:31):
I fear it is impossible to say.

Speaker 4 (04:29:34):
A huge size and overgrown suits of canvas, simple bowl,
antiquated stern. There flashes across my mind a sensation of
familiar things, indistinct shadows of recollection. There is a peculiar

(04:29:54):
character about the wood, which strikes me as rendering it
unfit for the purpose to which it has been a pla.
I mean its extreme porousness. It would have every characteristic
of Spanish oak. If Spanish oak were distended by any
unnatural means, A curious apathem comes full upon my recollection.

(04:30:21):
It is as sure as as sure as there is
a sea where the ship itself will grow in bulk,
like the living body of the seamen. I stood among
a group of the crew. They paid me no manner
of attention. They all bore about them the marks of

(04:30:44):
a hoary old age. Their knees trembled, their shoulders bent, shriveled,
skins rattled in the wind, their eyes glistened with the
room of years.

Speaker 6 (04:30:56):
Around them.

Speaker 4 (04:30:57):
On every part of the deck lay mathematical instruments of
the most quaint and obsolete construction. I see the captain
face to face in his own cabin, and I regard
him with a feeling of irrepressible reverence and awe and

(04:31:17):
wonder the singularity of the expression which reigns upon the face,
the intense, the thrilling evidence of old age, so utter.

Speaker 11 (04:31:30):
So extreme.

Speaker 4 (04:31:32):
His gray hairs are records of the past, his grayer
eyes are sibils of the future. His head was bowed
down upon his hands, and it poured with a fiery,
unquiet eye over a paper which I took to be
a commission. He murmured to himself, and his voice seemed

(04:31:56):
to reach my ears from a great distance. The ship

(04:32:18):
continues her course due south, and the colossal waters rear
their heads above us, like demons of the deep, but
like demons forbidden to destroy. All in the immediate vicinity
of the ship is the blackness of eternal night and
the chaos of foamless water. But now about a league

(04:32:46):
on either side of us may be seen indistinctly, and
at intervals stoutendous ramp arts of ice ice, towering away
into the desolate sky, looking like the walls of the universe.

(04:33:06):
The ship proves to be within the influence of some
strong current or impetuous undertow, which, now howling and shrieking
by the white ice, thunders on to the southward with
a velocity like the headlong dashing of a cataract. To
conceive the horror of my sensations is utterly impossible. Yet

(04:33:26):
a curiosity to penetrate the mysteries of these awful regions
predominates even over my despair, and will reconcile me to
the most hideous aspect of death. It is evident that
we are hurrying onward to some exciting knowledge, some never
to be imparted secret whose attainment is destruction.

Speaker 15 (04:33:49):
H Er.

Speaker 4 (04:33:51):
The ship is at times lifted finally from out of
the sea.

Speaker 21 (04:33:56):
Wahah.

Speaker 4 (04:33:59):
The ice open suddenly to the right and to the left,
and we are whirling dizzily in immense concentric.

Speaker 24 (04:34:07):
Circles, round and round the borders.

Speaker 4 (04:34:11):
Of a gigantic amphatheater, the summit of whose walls is
lost in the top and the distance. But little time
will be left to me to ponder upon my destiny.

Speaker 24 (04:34:24):
The circles rapidly grow.

Speaker 4 (04:34:26):
Small, smaller and smaller. We are plunging madly within the
grasp of the world board. The ship is quivering, O God,
and going down, Going down, Going. That was manuscript Found

(04:35:10):
in a Bottle by Edgar Allan Poe. The technical production
for this evening's broadcast was by John Whiting. The imp
of the Perverse and Manuscript Found in a Bottle were
adapted and performed for you by your host of the

(04:35:32):
Black Mass, Eric Bauersfeld. And now it's time to break
up our little chain of empathy for this evening. We
will meet again real soon around this hour. Join us
at that time.

Speaker 52 (04:35:54):
Good night.

Speaker 76 (04:36:30):
The Black Mass series was conceived by Jack Nessel and
recorded in the studios of KPFA in Berkeley.

Speaker 6 (04:36:37):
October is birthday month for Weird Darkness. This year makes
it ten years of doing the show. But while it's
our birthday, we want the gifts to go to those
who help people who suffer from depression. Anxiety or thoughts
of suicide or self harm. That's what our annual Overcoming
the Darkness campaign is all about. It's the only fundraiser
I have all year long. You can bring hope to

(04:36:58):
those who are lost in the darkness of You can
make a donation right now at weird Darkness dot com
slash hope. I'll close out the fundraiser at the end
of October and announce how much we raised. The more
we raise, the more people we can help to donate.
Get more information about the fundraiser and the organizations we're supporting,
or find hope for yourself or someone you know who

(04:37:18):
are fighting depression. Visit Weirddarkness dot com slash hope. Please
donate now while you're thinking about it Weird Darkness dot
com slash hope.

Speaker 77 (04:37:29):
Although every word of this story is as true as despair,
I do not expect people to believe it nowadays. A
rational explanation is required before believe is possible. Let me
at once then offer the rational explanation. It is held

(04:37:51):
that Harry and Laura Innes were under a delusion on
that thirty first of October, and that this supposition places
the whole matter on a satisfactory and believable basis. But
there were three who took part in the events of
the thirty first. The other man still lives and can

(04:38:16):
speak to the truth of the least credible part of
Harry's story. October thirty first. It began like any other
last day of the month, and progressed into terror as
it moved beyond midnight.

Speaker 2 (04:38:38):
I never in my life knew what it was like
to have enough money to satisfy the most ordinary needs.
I used to paint in those days, and Laura used
to write, and we felt sure we could keep the
part at least simmering. Living in town was out of
the question, so we went to look for a cottage

(04:38:58):
in the country, something that was both sanitary and picturesque.
So rarely do these two qualities meet in one cottage
that for a long time our search was fruitless. We
were lucky in the end, though. Two days before our
honeymoon started, we discovered the ideal thing on the outskirts
of the village of Brenzitt, near the Marshes. We got

(04:39:22):
a tall old village woman called Missus Dorman to do
for us, and as the cottage slowly became habitable, we
began to devote more of our time to earning a living.
Laura began to sell her stories, and I really felt
the atmosphere was helping my painting. We had three months
of married happiness. One October evening, I'd been down to

(04:39:47):
smoke a pipe with a village doctor. Laura had stayed
at home to finish a comic sketch for a woman's magazine.
I'd left her laughing over her own jokes. I came
back to find her crying on the window seat in
the light of the dying day.

Speaker 52 (04:40:09):
Yeah, what's the matter, Loving?

Speaker 2 (04:40:23):
What did it please? Darling?

Speaker 25 (04:40:27):
It's missus dormant?

Speaker 5 (04:40:28):
What she done?

Speaker 19 (04:40:31):
She says she's got to go before the end of
the month.

Speaker 36 (04:40:34):
She says her niece is ill. She's gone down to
see her in mobbin. I don't believe that's the reason
her niece is always ill. I think someone's been saying
something against us.

Speaker 28 (04:40:46):
She was acting so clearly, all right, don't cry, don't
you see?

Speaker 36 (04:40:53):
It says we'll have to work all day, will only
be able to rest while we're waiting for the kettle
to borrow.

Speaker 25 (04:41:00):
You won't have time to earn any money.

Speaker 2 (04:41:02):
Listen plenty of time, even if we do have to. Laura,
listen to me. I'll speak to missus Dorman when she
comes back and see if I can't make a change
of mind. She probably wants more money or something. It'll
be all right, you see. Come on, love, it's a

(04:41:22):
beautiful evening.

Speaker 5 (04:41:23):
Not dark it.

Speaker 2 (04:41:24):
Let's take a walk up to the church. Come on, Darling,
fit your cry.

Speaker 25 (04:41:28):
I don't need a coat. It's not cold at.

Speaker 19 (04:41:32):
Harry.

Speaker 25 (04:41:33):
I will learn to cook sooner.

Speaker 2 (04:41:40):
We walked under the yew trees up to the little
old church. The path was called the beer walk because
years before it had been the way by which the
corpses had been carried to burial. I didn't tell Laura this,
though she was impressionable.

Speaker 5 (04:41:58):
The church was.

Speaker 2 (04:41:59):
Mormon and was only used on Sundays. On either side
of the altar lay a gray marble figure of a
knight in full plate armor, lying upon a low slab

(04:42:21):
with hands held up in everlasting prayer. Their names were lost,
but the villagers said they'd been murderers, marauders by land
and sea. They'd been guilty of deeds so foul that
the house they had lived in, the big house by
the way that had stood on the side of our
cottage had been stricken by lightning and the vengeance of heaven.

(04:42:46):
I didn't tell Laura this either. She wasn't so engrossed
in folklore as I was. We walked to the chancel,
looked for a while at the sleeping wriars, and then
slowly made our way home. Missus Dorman had come back

(04:43:10):
from the village, and so as soon as LRDA had
gone to our bedroom, I went into the kitchen to
square things up with our servants. Well can't you can't
you stay for another month?

Speaker 28 (04:43:24):
No, sir, I'm bound to go by Thursday, but.

Speaker 2 (04:43:27):
It's Monday today.

Speaker 15 (04:43:28):
I mean.

Speaker 2 (04:43:30):
I think might have let us know before. There's no
time now to get anybody else. My wife's not up
to too much heavy work. Can't you stay till next week?

Speaker 28 (04:43:41):
I might be able to come back next week.

Speaker 1 (04:43:44):
Good?

Speaker 5 (04:43:44):
But why do you have to go this week?

Speaker 2 (04:43:50):
Come on?

Speaker 26 (04:43:51):
How wi it?

Speaker 28 (04:43:55):
It's cold, sir? They say, sir that this was a
big house in Catholic times and there was many deeds
done here.

Speaker 2 (04:44:07):
Tell me about it, Missus Dorman, you needn't mind about
telling me. I won't make fun of anything. Would you
like to sit down, no, sir, thank you.

Speaker 28 (04:44:23):
Well well, sir, you may have seen in the church
beside the altar two.

Speaker 2 (04:44:32):
Shapes the knights in honor effigies.

Speaker 28 (04:44:36):
I mean them two bodies drawed out man's size in marble, man's.

Speaker 2 (04:44:44):
Size in marble. I thought then that her description was
a thousand times more graphic than mine.

Speaker 28 (04:44:53):
You do, says on all Saints eve them two bodies
sit up on their slabs and gets off, and then
walks down the aisle in their marble. And as the
church clock strikes eleven, they walks out of the church
door and over the graves along the beer walk. And
if it's a wet night, there's.

Speaker 2 (04:45:14):
The marks of their feet in the morning. And where
do they go?

Speaker 28 (04:45:21):
They come back here to their home, sir.

Speaker 2 (04:45:24):
And if anyone meets him, well what then.

Speaker 28 (04:45:33):
I'm sorry, I've got to go, sir, But my niece
she's sick.

Speaker 2 (04:45:37):
I've got to go. It's all right, missus. Dorman, Hey,
if you promise to come back afterwards again, we don't
want to lose you. What the knight's the legend? I mean,
after they've arrived here, what are they supposed to do then?

Speaker 28 (04:45:55):
I mean, whatever you do sir, lock the door early
on All's Eve and make the cross sign over the
door step.

Speaker 2 (04:46:04):
And on the windows. But has anyone ever seen these things?

Speaker 28 (04:46:08):
That's not for me to say.

Speaker 2 (04:46:10):
I know what I know, sir, well, who was here
last year at the cottage?

Speaker 28 (04:46:17):
No one, Sir. The lady has owned the house, only
stayed here in summer, and she always went to London
a full month before the night. All saints. I'm sorry
to inconvenience you, and I'm you're a lady, but my
niece is ill and I must go on Thursday.

Speaker 2 (04:46:36):
I didn't tell Laura of the shapes that walked in
their marble, partly because a legend concerning our house might
trouble her, and partly, I think from some more a
cult reason. I soon forgot about it myself. Anyway, I
was painting a portrait of Laura against the lattice window,
and I couldn't think of much else there.

Speaker 25 (04:46:59):
Steak potatoes, tell me, I'm learning fast. See it's as
good as missus Dorman.

Speaker 2 (04:47:06):
It looks beautiful.

Speaker 25 (04:47:09):
Ah, the painting is coming along marvelously, Darling. There's only
one thing.

Speaker 2 (04:47:17):
Oh, this is better than missus Dorman.

Speaker 5 (04:47:19):
No, what's that.

Speaker 25 (04:47:22):
Harry, it's a lovely painting. But you've made me really beautiful.

Speaker 2 (04:47:28):
Well, you are beautiful.

Speaker 8 (04:47:32):
I love you.

Speaker 2 (04:47:33):
Well, if you love me, get your elbow out of
my dinner. Thursday passed off pretty well. Actually, the steak
was like boots and the potatoes were hardly cooked at all.
But I loved her. I love my darling. Friday came

(04:47:58):
and it's about what happened that Friday that I am
telling you.

Speaker 24 (04:48:01):
Now.

Speaker 2 (04:48:03):
I'll tell my story of it as quickly as I can.
Everything that happened that day is burnt into my brain.
I shall not forget anything, not leave anything out. You
look sad, my darling.

Speaker 25 (04:48:18):
Hm, yes, I think I am. Oh uneasy, I didn't think.
I'm very well.

Speaker 23 (04:48:29):
It's not cold, is it?

Speaker 2 (04:48:31):
What's the matter?

Speaker 27 (04:48:32):
No?

Speaker 5 (04:48:33):
Not cold.

Speaker 25 (04:48:34):
I've shivered lots of times this morning. Do you ever
have presentiments of evil?

Speaker 10 (04:48:46):
No?

Speaker 2 (04:48:47):
I shouldn't believe in them. Have I had I do?

Speaker 25 (04:48:51):
The night my father died, I knew it. He was
right away in the north of Scotland, but I knew.

Speaker 8 (04:49:01):
Harry.

Speaker 25 (04:49:02):
We haven't played the gramophone since we've been here. Oh,
let's play it now.

Speaker 7 (04:49:06):
What should we have?

Speaker 2 (04:49:10):
She's sorted through our record collection, and she looked like
a small child. I loved her then that morning, more
dearly than I've ever loved any one in the whole
of my life. It was the happiest time I've ever known,
or hoped to know. The birds sang in the garden

(04:49:34):
of our own home. The autumn was proving to be
a mild one, and my Laura seemed gayer than ever
she had been, despite her admittance to me that she
thought she was not well. The music was beautiful. Laura

(04:49:56):
was chatting away, and as I looked out through the windows,
but the mass of autumn coloring, the deep scarlet clouds
slowly paled into leaden gray against a pale green sky.
It was Friday, and Missus Dorman had gone off to
look after a niece she swore was sick the day
before Thursday. I listened to the music and watched the

(04:50:21):
graceful curve of my Laura's cheek. And it saddens me
now in retrospect to remember that that day was the
last time our now dusty gramophone records ever saw the
light of day.

Speaker 25 (04:50:46):
Must be millions of them in those marshes, frogs. Mum, hurry,
so Machi is a little dog if you like. Maybe
not such a little one either. Let's have a great day,

(04:51:06):
great day so that everyone will be frightened and keep away.

Speaker 2 (04:51:10):
Do you want to keep away a bitter second?

Speaker 25 (04:51:13):
People who shouldn't be here?

Speaker 2 (04:51:16):
Mm oh, I don't know.

Speaker 25 (04:51:19):
Burglars and things.

Speaker 16 (04:51:22):
Ah.

Speaker 2 (04:51:23):
I think any self respecting burglar looking around this place
would go around his gust and we might have something
worth stealing one day, but not at the moment, my lovely. Anyway,
great danes are awful cards.

Speaker 9 (04:51:39):
So they're not.

Speaker 25 (04:51:40):
They're huge shoe.

Speaker 2 (04:51:42):
Sure, they are all feet, great lolloping head, all bluff,
though Bikadnees have been more likely to create a din
and scare away unmonted visitors.

Speaker 25 (04:51:54):
Anyway, shall we get a dog, not a dane? Then
a little mon or something with one eye black and
one eyebrown. Call it wag or Patch.

Speaker 2 (04:52:06):
A dog called wag or Patch should be delivered here
by the end.

Speaker 21 (04:52:10):
Of the week.

Speaker 25 (04:52:13):
Wonderful. I'd love a canary too.

Speaker 2 (04:52:15):
Than a canary you have, my darling, I'll give you
anything in the world within my power.

Speaker 1 (04:52:20):
You know that.

Speaker 25 (04:52:23):
I used to have a tortoise when I was ago.

Speaker 8 (04:52:26):
M hm.

Speaker 2 (04:52:28):
You trying to turn the place into a zoo. My
pipe bothering you?

Speaker 25 (04:52:42):
What's the time?

Speaker 2 (04:52:45):
Use all same?

Speaker 5 (04:52:47):
I am.

Speaker 2 (04:52:48):
I think I'll take the last of it outside for
a bit last, my pipe brutal to sit in here,
filling the place with strong cabin earth.

Speaker 28 (04:52:56):
I don't mind.

Speaker 25 (04:52:58):
I'll come with you.

Speaker 2 (04:53:00):
Be not tonight. You're much too tired. Shall belong You
were shivering this morning.

Speaker 25 (04:53:04):
I'm all right now, honestly, I.

Speaker 53 (04:53:06):
Get to bed.

Speaker 2 (04:53:08):
I'll have an invalid to nurse tomorrow as well as
the bootster came kiss me? Then, come on, pussy, you're tired.
How's work has been too much for you?

Speaker 25 (04:53:21):
Harry, Oh, Harry, Oh, my sweet love.

Speaker 2 (04:53:31):
I'll not belong out there.

Speaker 25 (04:53:32):
Just taste of strong cavendish. I'm a bit tired. We've
been very happy today, haven't we done. Don't stay out
too long.

Speaker 33 (04:54:02):
What a night it was.

Speaker 2 (04:54:04):
The jagged masses of heavy dark cloud were rolling at
intervals from horizon to horizon, and thin white wreaths covered
the stars through all the rush of the cloud river.
The moon swam, breasting the waves and disappearing again in darkness.
I could see the church tower standing out black and

(04:54:26):
gray against the sky. Eleven o'clock. Already my pipe was out.
I looked in at the bedroom window and saw Laura
half lying on her chair in front of her dressing table.
My heart went out to her. I decided to take
a walk up to the church. So, with the last

(04:54:47):
look at my dearest wife, I left our cottage and
began my walk. There must be a god, I thought
to myself, and a God who was good. How otherwise
could anything as sweet as Laura ever have been imagined.

(04:55:17):
When I reached the church, I noticed the door was open.
I blamed myself for leaving it unlatched the other night.
We were the only people who ever cared to come
to the church except on Sundays. I went inside. It
seems strange, perhaps that I should have gone half way

(04:55:38):
up the aisle before I remembered, with a sudden chill,
followed by as sudden a rush of self contempt, that
this was the very day and hour when, according to tradition,
the shapes draw out Man's eize in marble began to walk.
Having remembered the legend, I decided to go and have

(04:56:02):
a look at the marble. Nights. I thought how pleasant
it would be to tell missus Dorman, how ridiculous her
fences were, and how peacefully the marble figures slept on
through the ghastly hour. With my hands in my pockets,

(04:56:23):
I passed up the aisle. In the gray dim light.
The eastern end of the church looked larger than usual,
and the arches above the two tombs looked larger too.
And then the moon came out and showed me the reason.
I stopped short, and my heart gave a leap that
nearly choked me. The bodies were gone. The marble slabs

(04:56:55):
lay wide and bare in the moonlight that slanted through
the east window.

Speaker 1 (04:56:59):
Was I mad?

Speaker 2 (04:57:00):
I passed my hand over the smooth slabs, some joke.
The figures were gone, and I was alone in the church?

Speaker 8 (04:57:07):
Or was I?

Speaker 2 (04:57:10):
And then a horror sees me, a horror indefinable and indescribable,
an overwhelming certainty of supreme and accomplished calamity.

Speaker 23 (04:57:21):
Lawyer, get out of my way, Hey, hey, hey, what
are you hurry?

Speaker 19 (04:57:42):
Let go?

Speaker 23 (04:57:43):
The marble figures have gone from the church.

Speaker 52 (04:57:46):
That they've gone, I'll have to give you a dram tomorrow.

Speaker 71 (04:57:50):
I see you've been listening to old wives tales I've
seen the bear slabs.

Speaker 42 (04:57:54):
Man, go Harry, Harry man, listen to me.

Speaker 52 (04:57:58):
When you now listen, you.

Speaker 5 (04:58:03):
Can be scared.

Speaker 2 (04:58:04):
Doctor, I'm going to old Harmer's place.

Speaker 34 (04:58:08):
His daughter's sick.

Speaker 1 (04:58:09):
We'll go by way of the church.

Speaker 33 (04:58:11):
Show me the bear slabs.

Speaker 5 (04:58:13):
Will you go if you like?

Speaker 2 (04:58:16):
I'm going home to my wife.

Speaker 21 (04:58:18):
Look, will you let go my arm?

Speaker 23 (04:58:20):
Rubbish man?

Speaker 16 (04:58:21):
Do you think i'll permit that?

Speaker 71 (04:58:22):
Are you to go saying all your life that you've
seen marble endowed with vitality, and me to go me
life saying you're a coward, then I'll say you shan't
do it? Now, come on, come on now, how proud
you you were dreaming? We went back to that terrible
church and walked up the aisle, walked to the marble slabs.

(04:58:46):
The doctor produced matches. I admit, I closed my eyes.
I knew the figures would not be there.

Speaker 1 (04:59:02):
Yeah they are?

Speaker 34 (04:59:03):
Eh, you see right? You have hey, you've been dreaming
or drinking asking your partner with the imputation.

Speaker 23 (04:59:11):
Heh.

Speaker 2 (04:59:16):
I opened my eyes and looked, and by the dying matchlight,
I saw the two shapes in marble hands.

Speaker 34 (04:59:23):
In prayer blast my fingers. Oh, blasphemy in the church.

Speaker 2 (04:59:31):
Still it wasn't meant.

Speaker 34 (04:59:34):
So satisfied, Harry.

Speaker 2 (04:59:39):
Must have been some trick of the light or something.

Speaker 33 (04:59:42):
Do you know.

Speaker 2 (04:59:43):
I was quite convinced they were gone.

Speaker 34 (04:59:46):
I am aware of that. You'll have to be careful
of that brain of yours, my friend.

Speaker 1 (04:59:51):
Now I'm one, and you have.

Speaker 34 (04:59:53):
Hello, something that has been a foot here. His hand
is broken. What you might and see it spoken? Maybe
somebody tried to remove.

Speaker 2 (05:00:05):
Them they they were both all right last time Laura
and I came here.

Speaker 34 (05:00:11):
Or someone might have tried to prize them up.

Speaker 2 (05:00:14):
That wouldn't be can't for my impression.

Speaker 34 (05:00:17):
Too much painting and tobacco, and maybe indulgence in some
of the hard stuff too. Perhaps never, Oh, look, come on, man,
my wife will be getting anxious. Oh will you come
in and never drop a whiskey with me and drink
confusion the ghosts and better sense to me, won't you?
I ought to go to Paramers, but ah, well it's late.
I'll leave it till tomorrow. She's not all that sick.

Speaker 2 (05:00:39):
Let's go back and.

Speaker 34 (05:00:41):
Getting along fine in the cottage then, Harry, Oh, we're
making do had a bit of a servant problem who
doesn't have servant troubles if you're not alone there, Harry.
Ever since the day I came to the place, servants
are good.

Speaker 2 (05:00:57):
We walked to our cottage. We saw as we walked
up the path the bright light streaming out of the
front door. Presently I noticed the parlor door was open too.
Had she gone out, I wondered. We passed into the parlor.
It was all ablaze with candles. Her chair was empty,

(05:01:18):
and her handkerchief and book lay on the floor. I
turned to the window, and there in the recess of
the window I saw her. Laura, good grief man or Laura, Laura,
my baby, Laura, It's all right, my darling. I'm here.
I'm here. Up away, Laura, It's all right, pussy, please, baby,

(05:01:48):
I'm here. She fell into my arms in a heap.
I kissed her and held her. But I think I
knew all the time that she was dead. Is what happened.
Her hands were tightly clenched in one of them she

(05:02:10):
held something fast. When I was quite sure that she
was dead and that nothing mattered her all any more,
I let the doctor open her hand to see what
it was she held.

Speaker 5 (05:02:28):
It was a gray.

Speaker 2 (05:02:31):
Marble finger.

Speaker 76 (05:03:03):
Beyond Midnight is presented every Friday night at half past
nine by Biotechs, The New Soap and pre Wash Bada.
The program is adapted for broadcasting and produced by Michael McKay.

Speaker 6 (05:03:20):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(05:03:42):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page.

Speaker 1 (05:03:52):
If you or.

Speaker 6 (05:03:52):
Someone you know is struggling with depression, addiction, or thoughts
of harming yourself or others, you can find all of
that and more at Weird Darkness dot Com. I'm Darren Marler.
Thanks for joining me for tonight's retro radio Old Time
Radio in the Dark

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