I Tried to Run Away. Now I'm in the Bone House.

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

Speaker 2 (00:13):
Oh Fantasy, Gonna Thank Some miss.

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

Speaker 4 (00:36):
Present Suspense.

Speaker 1 (00:41):
I am the Whistler.

Speaker 5 (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
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(01:04):
for my free newsletter, connect with me on social media,
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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,
the CBS.

Speaker 6 (01:30):
Radio Mystery Theater Presents.

Speaker 1 (01:49):
Come in.

Speaker 6 (01:52):
Welcome.

Speaker 1 (01:53):
I'm Eg Marshall.

Speaker 6 (01:55):
In the years nineteen oh six through nineteen ten, the
world in general was at peace, a magic time China,
That sleeping giant had gone through the box of rebellion
and now was temporarily quiecent. And in those healthy years,
the characters of this story lived, breathed, died, and were reborn.

Speaker 1 (02:18):
You find that statement a little peasant.

Speaker 6 (02:20):
I don't blame you, But then you see this is
the story of reincarnation.

Speaker 7 (02:29):
Why must you wait so long? Wait through two thousand years?
The lotus flower blooms and dies and is born again.
But I lie drowning while my ancestors cry in vain
for me to join them.

Speaker 8 (02:50):
I am in my own prison. How can I come
to you?

Speaker 9 (02:54):
Seek me out where I lie?

Speaker 10 (02:57):
But hurry.

Speaker 9 (02:59):
We have so long, got time to become immortal.

Speaker 11 (03:03):
Find me, Find me, fine me.

Speaker 6 (03:19):
Our mystery drama Legend of Phoenix Hill was written especially
for the Mystery Theater by Ian Martin and stars Howard
da Silva. It is sponsored in part by x Lax
and True Value Hardware Stores. I'll be back shortly with
that one. In the beginning of this century, here in America,

(03:48):
the world was awakening to a new tempo, a new
set of beliefs, horizons that had no limits. We'll forget
mister Olds mister Ford, the industrialists and concentrate instead in
the fields of academia, in particular as history unfolds. I'm
the person of doctor Samuel Arnold, Professor of Archaeology, and

(04:11):
his adopted son Lee, now twenty years old and an
honor student in the same subject as his adoptive father.
Only somehow suddenly the chemistry between them has gone wrong.

Speaker 12 (04:26):
You're being unreasonably which goes double Papa.

Speaker 8 (04:29):
That's my view of you.

Speaker 12 (04:31):
Don't be a child. This expedition is expensive. It can
only afford experts and specialists.

Speaker 8 (04:37):
They haven't any better credentials than I have.

Speaker 12 (04:40):
All Right, Son, if you think you can prove that,
give me a for instance.

Speaker 8 (04:45):
Just give me time and I'll prove to you how
very important it is that I have to be along.

Speaker 12 (04:56):
My name is Samuel Arnold. I hold the share of
Archaeology Windham University on a most generous grant. In this
year of nineteen o six, I am organizing a trip
to Hunan in China, in the belief that in the
alluvial deposits there we may unearth the wealth of art
effects from the Great Hand dynasty which flourished two thousand

(05:18):
years ago. It is an exciting project that I am
bubbling with excitement and excitement not shared, by the way,
by my wife Jesse.

Speaker 8 (05:28):
Sam. What happened?

Speaker 13 (05:30):
Oh?

Speaker 12 (05:31):
Lee and I? We had a slight disagreement.

Speaker 14 (05:33):
I have never heard you two talk like that before.

Speaker 12 (05:36):
No, Jesse, I suppose we haven't. But well, the boy
is not a boy anymore.

Speaker 14 (05:41):
That doesn't get him the right to dictate to.

Speaker 12 (05:43):
You, but it does to his own opinion. He's just
stretching his wings.

Speaker 15 (05:49):
I know I should be glad you're not taking him.
Losing one of my boys is bad enough.

Speaker 12 (05:55):
Oh come on now, darling, it's not that bad. I'll
be back inside of six months.

Speaker 14 (06:00):
Better be. I'm going to miss you.

Speaker 12 (06:02):
I'll miss you and Lee who if.

Speaker 14 (06:05):
You love him very much?

Speaker 3 (06:06):
Don't you like my right arm?

Speaker 15 (06:09):
He's meant so much to both of us. Sam, I'm
sorry I never was.

Speaker 14 (06:14):
Able to give you your own child.

Speaker 12 (06:16):
You didn't have to. We've had Lee, and don't forget
that adopting him. We chose him. He's our boy. He's
been a good boy and we've had twenty marvelous years
with him. Yes, would you deny that?

Speaker 15 (06:29):
Oh no, no, of course not. He's been a wonderful
son in every.

Speaker 8 (06:34):
Way except except what.

Speaker 15 (06:40):
A little part of him is remote, a place we
could never reach.

Speaker 12 (06:45):
I guess so not many people share each other the
way you and I do. But there's no one of
us who's somewhere within himself doesn't walk a secret strand
listen to the music of aliens sees.

Speaker 14 (06:59):
Is that a quote?

Speaker 16 (07:01):
Huh?

Speaker 12 (07:02):
No, No, I guess it isn't.

Speaker 1 (07:04):
Sam.

Speaker 15 (07:06):
I don't know, but I think somehow you should take Lee.

Speaker 12 (07:11):
Alone, darling. How can I justify a student on an
expedition for which every first ranked person in this field
has offered himself. I have to judge each member of
the team on what he can offer the whole.

Speaker 15 (07:24):
I know, Sam, I understand, But somehow, I I don't
know why. Something inside me tells me you've got to
take leave with you.

Speaker 12 (07:40):
It was nonsense, of course, or was it? So many
times during all the years I have watched and been
surprised by this incredible son of mine. His parents, as
well as I could judge from the Adoption Bureau, were
American citizens, but I've always sensed that one of them
must have had an Oriental b Two sources for my hunch.

(08:02):
One surely ethnological suggestion, a certain fold in the skin
above the eyes, which gave them an oriental cast. The
other I don't know how to explain that, except to
tell you that. Well, I'll tell you the facts in
this curious case as it developed. Lee, Where have you

(08:22):
been the last few days?

Speaker 8 (08:24):
I don't know.

Speaker 1 (08:25):
What do you mean?

Speaker 12 (08:26):
You don't know?

Speaker 8 (08:27):
I'm not going to lie to you. I went to
New York and I had a lot of drinks, and
somehow I found myself in Chinatown.

Speaker 12 (08:37):
Where in Chinatown I.

Speaker 8 (08:39):
Don't know the address. I was just stumbling along and
suddenly there was this Chinese beside me, and he said,
you want to be happy, you come have pipe dream,
and he took me.

Speaker 12 (08:54):
Inside to an opium.

Speaker 8 (08:56):
Then I guess so I it was all mixed. I
remember I was lying on a pad and the whole
world was swimming around me, like I was in a
fishbowl tank. And then all of a sudden there was
the sound, and she was there.

Speaker 7 (09:19):
Why must you wait so long? Wait through two thousand years?
The lotus flower blooms and dies and is born again.
But I lie drowned while my ancestors cry in vain

(09:39):
for me to join them.

Speaker 8 (09:42):
I am in my own prison? How can I come
to you?

Speaker 9 (09:48):
Seek me out where I lie?

Speaker 8 (09:51):
How can I find you?

Speaker 9 (09:53):
Follow in your father's footsteps, and it will be made known.

Speaker 7 (10:00):
How seek the magic mirror.

Speaker 9 (10:06):
It will tell you all. But come fast, fast, my lover.

Speaker 7 (10:13):
The body may last, but in this prison, my soul
is a fading butterfly. Where have they blown us with
the wind to the edges of darkness and the empty void?

Speaker 9 (10:31):
We have so little time to remain immortal.

Speaker 11 (10:36):
Find me, Find me, fight me.

Speaker 8 (10:47):
I tell you it was.

Speaker 1 (10:49):
It was weird.

Speaker 8 (10:51):
I will right up in this little place, and they
were having a fair, you know, stalls and games and
balloons and all, and and I wanted around a while.
And then there was this one place and it had
you know, old metal and brass and lamps and things
like that. And there was another Chinese behind the counter.

Speaker 12 (11:13):
And this was what I bought. Let me see it here.
Where did you get this?

Speaker 8 (11:23):
I'm telling you, I don't know it. I just have it,
and it's really important.

Speaker 12 (11:28):
I wouldn't dispute you for the moment you realize how
ancient this must be.

Speaker 8 (11:32):
I got a feeling and what it is. Why do
you think I shined it?

Speaker 17 (11:38):
Up.

Speaker 12 (11:39):
It's a mirror, a metal one, heaven knows how ancient
convex face, probably bronze.

Speaker 8 (11:49):
And it's a little more than just a mirror.

Speaker 12 (11:52):
Papa, What do you mean?

Speaker 8 (11:55):
Before I show you? Let me ask you again to
take me with you to China?

Speaker 12 (12:01):
Why?

Speaker 8 (12:02):
Maybe I can show you? Why? Look in the mirror?

Speaker 1 (12:06):
What do you see?

Speaker 12 (12:09):
What else? A dim distorted vision of myself?

Speaker 1 (12:13):
Okay?

Speaker 8 (12:15):
Then come with.

Speaker 12 (12:15):
Me, all right, Lee? You lugged me here to the
old dry well.

Speaker 8 (12:22):
Now what I don't honestly know, Papa. I'm only traveling
on hunches and things I don't understand. Just let me
follow this old superstition.

Speaker 12 (12:32):
Drop a mirror into the well and pull it out.
You'll find the girl you can't live without.

Speaker 8 (12:37):
Mom used to quote that old song. I'm going to
try it. Watch, Okay, here's the mirror. What is it
you look?

Speaker 18 (12:51):
Papa?

Speaker 12 (12:53):
I can't see anything.

Speaker 1 (12:55):
You can't see.

Speaker 8 (12:56):
That girl in the mirror?

Speaker 11 (13:01):
I wait, same? I see?

Speaker 19 (13:11):
Did you see me?

Speaker 12 (13:13):
I don't have my glasses. It's a poor image, shadowed
and shaky. I'm sorry, son, What did you want me
to see?

Speaker 8 (13:21):
What has to be seen? Didn't you even hear her?

Speaker 12 (13:25):
Hear her.

Speaker 8 (13:26):
Oh, what's the use? You can't understand why I must
be with you when you go to China.

Speaker 12 (13:33):
Just convince me you would be of use, and I
will take you.

Speaker 8 (13:37):
Where will you know to go for the dig?

Speaker 12 (13:39):
That's all mapped out?

Speaker 8 (13:41):
What do you expect to find?

Speaker 20 (13:42):
There?

Speaker 12 (13:43):
Artifacts, utensils, evidence of a culture that goes back over
to millennia.

Speaker 8 (13:47):
You hope to find more than that?

Speaker 12 (13:51):
Yes, son, I do. I've done some private research that
suggests we might even find preserved some remains of virtual
people who lived d C in the Han dynasty.

Speaker 8 (14:03):
And I can tell you that you will not partially preserved,
but wholly.

Speaker 12 (14:09):
So after two thousand years.

Speaker 8 (14:12):
After two thousand years, how do you know? The voices
which have been with me all my life? What happened
to me a few minutes ago is not surprising to me.
Papa level with me.

Speaker 12 (14:28):
I've always tried to lee you and Mom.

Speaker 8 (14:32):
Adopted me nearly twenty years ago.

Speaker 12 (14:34):
That's no secret.

Speaker 8 (14:35):
But you still insist you know nothing of my background,
who I am, where I came from.

Speaker 12 (14:40):
That isn't exactly true. We had a general profile of
your mother and very little of your father. The orphanages
you know, tries to match parents and children on many levels.
We felt your mother and I that we both had
something to offer each other, you and us.

Speaker 8 (14:57):
Have you ever been sorry?

Speaker 12 (15:00):
Speak for your mother as well as myself, not for
one single.

Speaker 8 (15:03):
Moment, not even now now, now that I am on
your back to include me in the expedition.

Speaker 12 (15:11):
I thought you understood, and that was settled.

Speaker 8 (15:14):
I thought maybe you understood that I didn't agree. I
thought perhaps you were beginning to realize what I've grown into.
What's that your contact with the past. Just let me
try once more to let you understand. I must be
with you for your sake as well as mine. Son,

(15:36):
Please just just just give me this one last chance. Now,
look now, before the water is dry. Can you see
come to.

Speaker 9 (15:48):
Me, same me, come to me, say.

Speaker 1 (15:58):
I don't.

Speaker 12 (15:59):
It's not possible. But there is a face, and such
a face you saw I saw?

Speaker 8 (16:09):
Then? May I go with you?

Speaker 12 (16:13):
Yes? Son? You Meg, Thanks Papa. The question that haunts
me is will you come back?

Speaker 6 (16:30):
A strange beginning to a very simple story, but it
will not remain simple long. Let's spend a minute on adoption,
which today is such a common and marvelous practice. Could
doctor and missus Arnold have adopted today as strange a
child as Lee has proven to be no chance. But

(16:53):
let us remember this is seventy years ago, and many
things were possible. Then returned shortly with that two in

(17:13):
nineteen six, the two great methods of commercial travel, with
the railroad and the steamships. It was by railroad that
Professor Samuel Arnold's expedition to China set out, crossing the
American continent in May of that year, with two full
cars of equipment to be transferred on the West coast
to a steamer and on that railroad trip. No, it's

(17:36):
Professor Arnold's story, let him tell it himself.

Speaker 12 (17:40):
May ninth, nineteen o six. We are finally off on
the great adventure. The train is moving. We are on
a way to China. And what what marvels we may reveal,
what miracles may happen, are beyond comprehension. I am as
excited as a child, pleased about all the members of

(18:01):
our adventures, save perhaps only one, the one iconoclassed amongst us,
that brilliant misanthrope by election and pathologist by profession, doctor
Hubert Stern by heaven. I never thought we'd do it,
but we're on.

Speaker 17 (18:19):
Our way, and I should have my head examined. Why, Hubert,
I'm getting involved in this, this Chinese pipe dream.

Speaker 12 (18:27):
It's really ludicrous. I repeat it.

Speaker 17 (18:31):
Oh, I have no doubt you'll take up your odds
and as your shads, pottery and the like. But any
record or any evidence of human remains, that's impossible, Sam.
The Chinese are not Egyptians are mins. They have absolutely
no history of embalming or the preservation of bodies.

Speaker 8 (18:47):
You will reincarnate a great deal more than that, Doctor Stern.

Speaker 12 (18:50):
I beg your pardon.

Speaker 13 (18:51):
Who are you?

Speaker 12 (18:52):
You are mine? I'm sorry. I don't believe you met
my son, doctor Stern. This is Lee Son, my adopted son.

Speaker 8 (19:00):
How do you do, doctor?

Speaker 12 (19:01):
I do very well.

Speaker 17 (19:03):
But may I ask what was the meaning of that
strange remark?

Speaker 4 (19:07):
You just made?

Speaker 8 (19:08):
Just what I said, Doctor, I think we are going
to find people who once lived during the Han dynasty.

Speaker 17 (19:14):
Really, and I trust you are not prophesying alive.

Speaker 8 (19:18):
No, sir, that is not in the sense you mean.
They will have been held in what you might call
suspended animation.

Speaker 17 (19:26):
Are remarkable, and how do you perceive all this?

Speaker 8 (19:30):
I can't explain it.

Speaker 17 (19:32):
I should think not how old are you not quite
twenty one? S even more remarkable? So young and so
now what would be the word of choice, eh, precipient
or perhaps just fanciful? Tell me Sam, I sure us
on the company, I said, on this expedition. He is
really as a member, yes, not quite twenty one? What

(20:00):
field is he accredited?

Speaker 12 (20:02):
Lee is studying archaeology? But he is with me, is
my secretary. I am defraying whatever expenses you may incur.

Speaker 17 (20:08):
And it's not a question of money, Professor Arnold, it's
of opportunity and the honor to be part of this expedition.

Speaker 12 (20:14):
Hubert, disregarding your naturally bile ful nature for the moment,
let me say that because of your eminence as a pathologist,
I felt you must be along. For no other reason
would I have wanted you. Now you imply there is
no reason for your being here at all, that we
will find nothing to interest you on this dig. So
let me ask you a question, what the devil do
you want to be along for?

Speaker 17 (20:34):
I want to be along because it's my right. No
matter what we find or don't, I certainly have infinitely
more reason to be here than this young man who
is still too wet behind the ears to know what
he's talking about, even if he is your well adopted son.

Speaker 8 (20:50):
I may be young by your measurements, Doctor Stern, but
in China you may discover that you are the amateur Lee.

Speaker 12 (20:59):
No matter what the proper you will not be rude
to a man of doctor Stearne's eminence.

Speaker 8 (21:03):
I'm sorry, father. The best thing for me to do
is leave.

Speaker 12 (21:08):
This is an unfortunate note on which to start out
a great adventure.

Speaker 17 (21:11):
It's hardly an adventure. It's a scientific expedition that I
have a strange feeling, quite unscientific. I assure you that
bringing that young man along is a mistake.

Speaker 12 (21:23):
I don't think that's for you to decide, and.

Speaker 17 (21:25):
It may be since my aunt is at he's destined
to bring us bad luck in the world.

Speaker 12 (21:39):
April nineteenth, nineteen o six, we are at last in
San Francisco, and the refurbished supplies and equipment lost in
the train wreck on March ninth, scarcely after we had begun,
are now on the dock waiting to be loaded on
the ship. Everyone has taken the unfortunate delay very well,
the loss of a month in our special calendar, with

(22:00):
the exception of doctor Stern. He unreasonably has markedly as
a sort of Jonah, as though he was some threat
to our plans. Miry, Sam, morning, Hubert, Are you joining me?

Speaker 17 (22:15):
Yes?

Speaker 21 (22:16):
If I may?

Speaker 12 (22:17):
You look a little tired, not tired, concerned about what?

Speaker 6 (22:23):
Well?

Speaker 17 (22:23):
I uh ah, if you must know about the expedition, Sam,
I can't explain this, but I'm asking you to send
the boy home?

Speaker 1 (22:34):
What for?

Speaker 22 (22:35):
Well?

Speaker 17 (22:36):
I know he's your adopted somebody. He shouldn't be honest, tip,
he carries disaster with him.

Speaker 12 (22:41):
What are you talking about?

Speaker 17 (22:43):
If I explained, I don't spose you believe me, But
if you persist, I warn you we are headed for
disastrous failure.

Speaker 12 (22:54):
April twenty, nineteen o six, San Francisco. I've been unable
to keep up my log for a couple of days.
I am heartily ashamed now that I laughed that ridiculous
little man, doctor Hubert Stern. His prophecy has turned out
to be true. This vital, throbbing port now lies in

(23:15):
agonized ruins after the terrible earthquake that struck it the
day before yesterday. Not that I think my son had
anything to do with such an elemental force of nature.
It is only that my conscience gnaws at me. What
strange mystical voice cried out a warning to doctor Stern?
And why was he so certain our mission was doomed?

(23:37):
Doctor Stern is gone crushed in the first tremor. And
when the port will return to normal? Is anyone's guess?
We are facing, at the very least another long delay.
I am determined that's all it will be.

Speaker 8 (23:57):
Captain says we should be making land soon.

Speaker 12 (24:00):
Thank Heaven. I don't like this weather.

Speaker 8 (24:03):
Neither does the Captain. The barometers dropped out of sight.
It looks like there's a typhoon on the way, granddaddy
of them all.

Speaker 12 (24:11):
But look I can see that was be Hong Kong.
I only hope we can make it before the storm hits.
What we did for that was September nineteen, nineteen o six,
and we were in the path of the biggest typhoon
in recorded history. The wind slammed into us like a

(24:31):
giant hand, sweeping up the ship like a clark and
whirling it away clockwise from the coast and out into
the China Sea. September twenty eighth, nineteen o six. For
the first time, almost since we began this journey. My

(24:53):
heart is beginning to lift. Today. We watched the ship
from which we were all rescued when the storm had
blown itself up, towed into port and made fast the dock.
By some miracle. Water logged though she may be, she
did not go down. And I'm awaiting now report from
our British contact here in Hong Kong as to how

(25:14):
badly damaged our cargo is. Come in. Ah, Hello, Sir Reginald,
what news thro the good.

Speaker 8 (25:22):
Sam actually take?

Speaker 1 (25:24):
Lood?

Speaker 8 (25:24):
Time is drying out one thing or another, But I
don't think we have to be two down in the mouth.

Speaker 12 (25:29):
Oh.

Speaker 8 (25:30):
By the way, Professor Nold, and I made to introduce
his honor Huang du Cheng.

Speaker 23 (25:36):
He most honored, most estimable professor.

Speaker 12 (25:39):
Thank you. How do you do mister Chang?

Speaker 24 (25:41):
Is?

Speaker 8 (25:42):
Should I say mandren Or, governor of the area where
we all hope eventually to dig in? Hu Nan?

Speaker 12 (25:47):
Well, this is a pleasure, but I'd expected to meet
you on your own home ground. Surely it's a long
trip here to Hong Kong from Sarah assa gold.

Speaker 23 (25:55):
On trip, yes, but I've felt an imperative one. I
wish you to cut off your expedition, Professor.

Speaker 12 (26:01):
Arnold call it off. Certainly not, Sir Reginald. I thought
I had the assurances of the British government that.

Speaker 8 (26:08):
No one's going back on his word or anything like that.
The point is, the matter is more or less academic
for the moment, don't you know?

Speaker 12 (26:16):
No, I don't know why.

Speaker 8 (26:18):
Well, with the delays, we've rather come acropper. I mean
we've lost the good summer weather. In winter is hardly
the time for a dig.

Speaker 12 (26:26):
We still have a couple of reasonable months, certainly enough
time to make a start. The delays have been unfortunate,
of course, But accellents of the nations.

Speaker 23 (26:34):
Great Professor, but we Chinese do not consider them accidents,
and certainly not wholly of nature.

Speaker 12 (26:41):
A train crashed because of a river flooded and swept
away the road bed, the San Francisco earthquake, a monstrous typhoon.
Sure you can't believe our expedition had anything to do
with them.

Speaker 23 (26:52):
I'm afraid we do, Professor. What our ancestors we think
have spoken. They do not wish to be the served.

Speaker 12 (27:00):
But good Lord, this is ancient superstition. We are scientists.
You can't seriously believe, mister Chang that there's any logical
connection between the accidents we've weathered in our expedition.

Speaker 23 (27:11):
At least one member of your expedition did Doctor Stern.
He felt there was a bad influence traveling with you.

Speaker 12 (27:19):
How could you know about Hubert?

Speaker 8 (27:21):
You may remember doctor Stern visited China's every years again
and made our acquaintance.

Speaker 25 (27:26):
At that time.

Speaker 8 (27:27):
Before he died, he wrote to both of us about Damn.
I'm sorry to bring this up, but about your son.

Speaker 12 (27:35):
You can't think of the presence of a boy not
yet twenty one, is any way injurious to the success
of our mission.

Speaker 23 (27:41):
Let we please explain. First, I must record to you
a legend of our people. In the year of the Peacock,
or as reckoned in the Western world, the year twenty
three BC, exactly two millenia ago. The son emperor in
the Han dynasty was hunt Ut son, and the emperor

(28:01):
had a daughter of surpassing beauty, who was called Myelun.
According to custom, this princess was promised in marriage to
the highest of the mandarins in the province of Hunan,
but Myelum thirsted after a young warrior in the Imperial guard.
As he did for her, there was no hope for

(28:24):
their love. So the night before the Imperial Wedding, hand
in hand, the lovers climbed the seventy seven steps of
the tower the Sacred Temple, and hand in hand, flung
themselves to their death on the rockspillow. The Emperor, prostrated
by Saul, had the broken body of his daughter reclaimed

(28:48):
and restored and buried in a tomb, so that her
beauty would remain undimmed for twice eight thousand years.

Speaker 12 (29:00):
I am aware of the legends in part. That is
why we are here with a hope that, by some
miracle of the embalming art, we may find this ancient
princess who lived two thousand years ago.

Speaker 23 (29:10):
And my answer to that is over my dead body,
not at least if your so called son is part
of that discovery.

Speaker 12 (29:18):
So called just because he is adopted, and why what
do you have against him?

Speaker 23 (29:25):
The young warrior with whom Princess Maroun met her death
was called Litseeing when hire broken on the rocks, he
was not yet dead. It is said he screamed aloud
that in another world, another time, he would come back
to reclaim his love. We believe, my count Emen and

(29:47):
I that your son Lee is the reincarnation of that man,
and we will not let him take a princess from us.

Speaker 6 (30:04):
How many times has the questing desire of man to
dig into the past run up against the equally strong
desire for the superstitious to resist, deeming the past inviolable,
not to be interfered with. And although the human urge
is to add to knowledge, is it always in the
human interest to explore things long buried? Or is it

(30:28):
better to say, with Longfellow, let the dead past bury
its dead. I shall return shortly with Act three. Whatever

(30:48):
Henry was with Longfellow's feeling about leaving the dead undisturbed was,
it is not shared by Professor Samuel Arnold. He has
come to China to dig, and, to paraphrase a utility
company slogan, dig he must so unwillingly. He has forced
himself to a disagreeable task.

Speaker 8 (31:09):
So what you're trying to tell me, Papa, is I'm out.

Speaker 12 (31:12):
It's so ludicrous, I know, but we are on an
alien shore when in Rome. I know this is important
to you. An adventure, a call, a dream, even something
more than that, A lot.

Speaker 8 (31:24):
More than that. Remember the mirror in the well remember
the face. Yes, and remember you agreed that I was
your contact with the past.

Speaker 12 (31:32):
Oh that was a thousand lifetimes ago. After what we've
been through in the last few months, son, if I
try to take you with us, they will not grant
permission for the expedition to leave. Answer me something, Lee.

Speaker 8 (31:46):
Why you mean? Why me?

Speaker 12 (31:50):
Yes? Who are you?

Speaker 8 (31:52):
You know that better than I do, except except what
go on? Please don't understand this, but I feel it
was fated for me to come here at this time
and at this place, and more than that that somehow
I am coming.

Speaker 12 (32:10):
Home the girl in the mirror.

Speaker 8 (32:14):
Yes, that and a thousand scents, memories hard to explain.

Speaker 12 (32:21):
Don't try.

Speaker 8 (32:22):
You are going to take me after all?

Speaker 12 (32:25):
No, I am more than ever determined to send you home.
I am assailed by feelings I neither understand nor can
cope with. I have to save you somehow from fate
and for your mother, who might never forgive me if
I didn't. I'm arranging for your departure on the first
boat I can book.

Speaker 4 (32:43):
You on.

Speaker 12 (32:46):
Five October nineteen o six. At last, we are on
the site a whole lifetime of anticipation, dreaming, speculating. I
feel guilty about Lee, but I mustn't. I can think
of that for the moment. With Sir Reginald today, I
scrambled all over thing huan shang, which means phoenix. Fill.

Speaker 8 (33:08):
It's really quite incredible when you face it. What you
are so convinced we will uncover human remains?

Speaker 12 (33:16):
Why?

Speaker 8 (33:17):
Because there is nothing in the Chinese culture as we
know it to suggest that they knew anything about or
care enough to preserve the human body.

Speaker 12 (33:25):
Yes, I know artifects.

Speaker 8 (33:27):
Yes, I hope in him convinced we will uncover those.
But tot makes you so sure we will uncover human remains?

Speaker 12 (33:36):
I don't know. Write it off in American terms to
what we call a hunch.

Speaker 8 (33:41):
A little more than that, I should think, I should.

Speaker 12 (33:45):
Hope, Yes, a good deal more than that. I can't explain,
or or rather I won't, except to say that the
vision was my son's.

Speaker 8 (33:54):
Aah, that's too bad. What a pity you had to
send him home?

Speaker 12 (33:59):
I wonder, I wonder if, perhaps in human terms, it
wasn't a blessing. Seventh November nineteen o six. We have
been digging now for a month, and it is only
in the last few days that we have proved deep
enough to expect results, but there are none to report.

(34:20):
I find that I do not trust Shang for some reason.
I feel that he has deliberately misled us.

Speaker 23 (34:27):
You have found nothing yet.

Speaker 12 (34:30):
Professor, No hard to understand. The terrain is perfect soil
location history.

Speaker 8 (34:37):
Hey, forever, it seems to have made a strike.

Speaker 12 (34:41):
Have a look at these, yes, clay figures as these
could be. What else have you got?

Speaker 8 (34:47):
Why not to seals kept from jade or some of
the heartstone.

Speaker 12 (34:52):
Yes, yes, yes possible.

Speaker 8 (34:56):
You've just uncovered a mortuary vessel and denisht with bronze
forms and encircled by bands of hunting scenes. In belief, by.

Speaker 12 (35:04):
Heaven, we may have struck pay dirt at last. Come on,
let's go have a look. Eight November nineteen o six.
It has just turned midnight, and I am almost too
exhausted to enter this in the log, but I must,
because now I am convinced that this expedition is doomed,
was doomed before we even started out. Oh, I'm not

(35:27):
talking about any supernatural agency. The enemy is flesh and blood,
and his name is Mandarin Chang. We dig furiously all
day without turning up any artifacts, and by now I
know why the artifacts were buried recently for us to discover.
The dig in other words, has been salted in an

(35:50):
attempt to mislead us into thinking that we are digging
at the right place. Why and why is Shang attempting
to delude us? Yes? Who is it? All right?

Speaker 18 (36:02):
I'm coming, li son?

Speaker 8 (36:07):
What are you doing here? Where can I close the door?

Speaker 1 (36:12):
Are we alone? Yes?

Speaker 8 (36:14):
But now where I didn't go home. It's as simple
as that I cashed in my ticket and used the
money to come up here to fend Wang Shoan.

Speaker 12 (36:22):
You disobeyed me, Yes, because.

Speaker 8 (36:25):
I knew what Chang would do to you.

Speaker 12 (36:27):
How could you know?

Speaker 8 (36:28):
My mirror told me told you what. In three more
days it will be my birthday. I have only till
then to find may Lung so that we can be
united again at last, So that at last we can
go together before the sun of heaven and live forever
in peace. Help me, dad, help you do what she

(36:50):
lies across the valley. But I ran out of money
and my coolies deserted me. The ground is freezing. I
can't do it alone.

Speaker 12 (36:58):
So we have been digging in the raw place, made
fools of by Chang.

Speaker 8 (37:03):
Why because he's afraid of the truth.

Speaker 1 (37:06):
What truth?

Speaker 8 (37:07):
Two thousand years ago, the Princess my Lung and I
gave ourselves to each other in marriage in the sacred
Temple of the seventy seven Steps. But before we could
run away together, seize him.

Speaker 9 (37:22):
You are too late, Mandarin Chan. We are married.

Speaker 23 (37:26):
Seize the priest too, take him out.

Speaker 12 (37:28):
I'd kid him and burn the body.

Speaker 11 (37:30):
No, no, do not hunt him.

Speaker 26 (37:34):
Not too much.

Speaker 23 (37:34):
He has to die and lee not me too. That
depends on you. If you won't marry me, I won't
let him go.

Speaker 9 (37:43):
But I cannot.

Speaker 8 (37:45):
I am already married only the boy.

Speaker 23 (37:47):
You and myself know that, and by soldiers they can
be tossed to keep the secret. If you wish to
save Ditz at home, you must marry me.

Speaker 27 (37:56):
I would not lose this.

Speaker 14 (37:57):
You cannot trust me, I can.

Speaker 27 (38:00):
Why if you hit me with the good God?

Speaker 28 (38:03):
Let me then, when my father here me and I
intend to.

Speaker 8 (38:12):
Think of me, think of yourself. To die is not
so much, and you will join.

Speaker 4 (38:18):
Me one day.

Speaker 8 (38:19):
Don't tell yourself to the edge of the cut.

Speaker 18 (38:25):
No, I don't make up your mind.

Speaker 1 (38:28):
Who have no choice?

Speaker 9 (38:30):
Yes, yes, I do. I choose death rather than dis honor.

Speaker 29 (38:42):
Seek me out in heaven, my husbandly, I love you.

Speaker 23 (38:53):
Send him, threw him up, my Long, I can't.

Speaker 8 (39:02):
The Mandarin was Chang's ancestor. He was able to cover
up the murder, and all these years the secret has
been kept. It is Lain buried in the coffin with
may lung.

Speaker 12 (39:12):
How do you know all this.

Speaker 8 (39:14):
The same way as I know where she lies? She
told me through the mirror. This is how I found
the right place, holding the mirror by this chord around
it and using it like a dowser uses a wand
or a stick to find water. Watch and listen.

Speaker 30 (39:34):
My diary.

Speaker 11 (39:36):
Hurry, I half waited, So.

Speaker 12 (39:42):
We all of us watched and listened in AWE heard
the far away voice, watch the burnished metal glow and
shimmer in the dancing light of the flare, and swore
that just for a moment we could see in it
a face young and of unsurpassed beauty, to face that
eight hours later stared up us where the Princess may
Long lay in what had been an airtight coffin, immersed

(40:05):
in a bath of red liquid, two thousand years old,
and as perfectly preserved as if she had gone to
sleep only the night before.

Speaker 8 (40:14):
I must say I'm absolutely dumbfounded.

Speaker 12 (40:17):
I might say I'm terrified. I have a terrible feeling
that somehow we are not at the end of us.

Speaker 8 (40:22):
If you mean Tang, I don't think he dares make
a move against us, no matter how much he value
is his precious face.

Speaker 12 (40:28):
Surely a two thousand year old legend can't matter all
that much to him.

Speaker 6 (40:32):
And I don't know.

Speaker 8 (40:33):
That's why I gave young Lee rivolva. If he's going
to insist on standing watch over the little princess all night,
I thought it better. Your son should.

Speaker 12 (40:42):
Be armed, My son, I wonder, is that really who
he Isang?

Speaker 9 (40:56):
Yes, my lord, you know what it has to be done.

Speaker 8 (41:02):
Yes, But then I will lose you again.

Speaker 15 (41:05):
So long as my body still is, I cannot join
my ancestors. If I cannot, then you can never join me.
Lift me from where I lie.

Speaker 8 (41:20):
I want to go home. If it must be goodbye
my heart with me to have.

Speaker 9 (41:37):
Now my soul can escape the prison of my body.
We will soon be together.

Speaker 23 (41:47):
Okay, here you are, but it will do you no good.

Speaker 12 (41:51):
Die kill What happens son?

Speaker 8 (41:57):
What Chang has a gun? He's dead? And you son,
are you as good as dead?

Speaker 12 (42:07):
Good lord?

Speaker 8 (42:08):
He's taking the princess out of the coffin.

Speaker 25 (42:11):
Help me get her back, Professor, before too late.

Speaker 31 (42:14):
She's gone home and I I'm going to join.

Speaker 8 (42:22):
Her me, good lord, what is it? The princess? Look
at her, she's literally dissolving, and.

Speaker 12 (42:33):
My son, he's turning to ashes. They're both going back
where they belong.

Speaker 6 (42:48):
A curious tale, and one I'm sure many of you
may scoff at and call hard to believe. Perhaps Yet
only the other day, in northern Hupei Province, the cradle
of Chinese civilization, Chinese archaeologists discovered the body of a
man buried and embalmed at least two thousand years ago,

(43:11):
with a complete set of teeth, elastic skin, movable joints,
and intact internal organs, even to the thyroid, the organ
which decomposes most easily.

Speaker 1 (43:23):
So which is stranger, truth or fiction? I shall be
back shortly.

Speaker 6 (43:42):
Death is nearly always tragic, particularly when it overtakes the young.
But for those who believe in life after death, sometimes
it is a welcome visitor. As George Santaiana said, happiness
is the only sanction of life. Where happiness fails, existence

(44:03):
remains a mad and lamentable experience. Our cast included Howard
de Silva, Bob Caliban, E. V. Jester, and Ian Martin.
The entire production is under the direction of Hyman Brown
and now a preview of our next tale.

Speaker 32 (44:22):
My Name? Must I tell you my name?

Speaker 16 (44:25):
Yes?

Speaker 12 (44:25):
I can't help you if I don't know who you are.

Speaker 33 (44:28):
But can't you look at me, listen to me and
know who I am?

Speaker 4 (44:31):
What I am?

Speaker 21 (44:32):
I'm sorry, I must insist I cannot.

Speaker 8 (44:34):
Treat you if you don't have complete confidence in me.

Speaker 33 (44:37):
Yes, yes, of course you're You're absolutely correct. But I
require a certain amount of time to develop that confidence.

Speaker 8 (44:46):
Doctor, believe me.

Speaker 34 (44:48):
I'll tell you my name now.

Speaker 33 (44:49):
Not just yet, soon, Please help.

Speaker 3 (44:53):
Me to do what.

Speaker 33 (44:56):
I woke this morning and yes, and I didn't know
who I was. What do you mean I still don't
know who I am. I become somebody else who I
don't know.

Speaker 6 (45:13):
Radio Mystery Theater was sponsored in part by Buick Motor Division.

Speaker 1 (45:17):
Missus E. G.

Speaker 6 (45:18):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant.

Speaker 5 (45:29):
Dream, Welcome to Marshport, Maine, A quaint little coastal town

(46:07):
preparing for their annual Winter Wonderland Festival. But beneath the
lights and holiday cheer, something evil is stirring and it's
not a mouse. When a mysterious package arrives on the
doorstep of veteran police officer Matthew Kleine and his family's home,
it seems at first like a harmless holiday gift. However,

(46:28):
there's no tag and no sender. Inside lies an antique
wooden advent calendar with strange engravings and twenty four doors
that each shelter something dark and unspeakable. The line between
reality and nightmare quickly becomes blurred as Matthew races to
figure out the calendar's origin and who sent it. But

(46:51):
as each door is opened and Marshport is thrust into
a sinister nightmare, Matthew realizes the terrifying truth and is
forced to where you live the horrors from his past
that refuse to stay buried. The countdown has begun, and
once that first door is opened, there is no turning back.

(47:13):
We'd Darkness resents Advent of Evil, a twenty four episode
audio saga beginning December first, listen each day for a
new chapter through Christmas Eve, and if you'd like to
follow the story in print. The full novel is now
available in paperback and hardcover editions, as well as on Kindle.
Grab the novel now for yourself or for someone else

(47:34):
and be ready to follow along. December first, and for
a limited time only, you can also grab an Advent
of Evil gift pack, including a signed copy of the
novel by the author Scott Donnelly, wrapped up with an
Advent of Evil bookmark, pen, highlighter, hot chocolate, Chai Tea chocolates,
a candy cane, and some horror stickers. The gift pack

(47:56):
is in limited supply, so act fast if you want
to take advantage of it. You can find links to
purchase the book or the gift back at Weird Darkness
dot com, slash Advent of Evil. That's Weird Darkness dot
com slash Advent of Evil, and then be ready as
the first episode comes your way December first.

Speaker 1 (48:29):
Hello, I hope I haven't kept you waiting.

Speaker 17 (48:33):
Yes, this is the Crime Club. I'm the librarian, serenade McCobb.
Yes we have that story for you.

Speaker 1 (48:44):
Come right over.

Speaker 12 (49:00):
Here.

Speaker 17 (49:01):
Good, Take the easy chair by the window. Comfortable. The
manuscript is on this shelf. Here it is Serenade Macaw,
the very exciting story of a circus in which the
last performance was given by death. Let's look at it
under the reading lamp. It is two o'clock in the morning,

(49:26):
and on the outskirts of the town where the tents
had been set up, the red.

Speaker 1 (49:29):
And gold wagon's moored.

Speaker 17 (49:32):
The circus is asleep, a succession of shadows in the moonlight. Quiet, peaceful,
except for the occasional roar of protest that comes from
the throat of Sultan, the untrained lion that Victor Parnell
had bowed he would break, And except for the movements
of two people, Louise Parnell and Roy Turner.

Speaker 1 (49:58):
Comman as.

Speaker 35 (50:00):
If anything, you'll never have to worry about Victor again
when Sultan gets through with him to.

Speaker 19 (50:06):
Because nothing. I've dropped the bottle of glue for the break.

Speaker 1 (50:11):
No, you got to pull yourself together. We'll never get
another chance.

Speaker 19 (50:16):
You can't deal with it, Roy and fright.

Speaker 1 (50:18):
There's nothing to be afraid of it.

Speaker 19 (50:19):
What if we should get caught, what if somebody should say.

Speaker 1 (50:21):
It, Here's nothing to be afraid of.

Speaker 19 (50:23):
Jim Hartness and night Watchman.

Speaker 1 (50:24):
He doesn't get to this point till three o'clock.

Speaker 9 (50:26):
I suppose you should decide to change.

Speaker 1 (50:27):
Sake when your relax. I'm the owner of the circus.
I set up the schedule for.

Speaker 3 (50:33):
I hate.

Speaker 35 (50:35):
It's going to be our best friend of mine. We're
only about ten feet in the ten The whole job
won't take one in a couple of minutes.

Speaker 19 (50:43):
You know, it's murder ruin. So the idea of having
or ripped the pet by a line to get rid
of him, don't you? I could ask him again, give
you before sun't? Maybe if I keep after him sheep
back of the roy.

Speaker 8 (50:59):
Boy.

Speaker 19 (50:59):
That's that's Jim Hart. He said he wouldn't be here
until three o'clock. He's going to say, isn't. He's going
to tell that he mustn't and you've got to kill him.
You mustn't see you.

Speaker 1 (51:18):
That's all I kid again?

Speaker 19 (51:21):
Maybe so I still maybe you recognized June decided not
to Why Let's forget about it, or you want to
hear mine. I've got a feeling it's not going to
work out.

Speaker 1 (51:31):
Do you want to marry me?

Speaker 36 (51:32):
No?

Speaker 20 (51:32):
I do.

Speaker 1 (51:33):
Let's not forget about it. I'm the kid, the training
the ki Louise, there is no other way, not if
we're going to get married, babe.

Speaker 19 (51:44):
All right, all the flash that took his key ring
while he was asleep.

Speaker 1 (51:50):
Good thing he was drunk tonight. Swing the light around. Yeah,
Now I get to work with this, so.

Speaker 19 (52:01):
The police are going to know it's murder.

Speaker 8 (52:03):
Boy.

Speaker 19 (52:04):
No chair comes apart in a lie on train his hand,
not even one of cord.

Speaker 37 (52:08):
Okay, one leg off, Now I don't go to work
in leg number two.

Speaker 19 (52:13):
They've got to be strong. The police was a sigh.

Speaker 8 (52:17):
I'll suspect this cage.

Speaker 35 (52:20):
She was mad enough to steal a victor gain in
the witness.

Speaker 1 (52:22):
Afternoon for not feeding the cat.

Speaker 35 (52:24):
Sometimes this is a simple kid, two legs and a
glowing job to go.

Speaker 1 (52:29):
And by noon tom You hear that, babe, that sultan
telling her that by noon, tomar you'll be a widow
as your wagon, Luise, I'm turning.

Speaker 19 (52:48):
Off here, all right, Roy.

Speaker 35 (52:50):
I'll bury the sound the bottle of glue under the
wagon that Tom doyles in, and we got nothing.

Speaker 1 (52:54):
To worry about.

Speaker 19 (52:55):
I hope you're right. I love you very much.

Speaker 1 (53:00):
Yeah, and I have to tell you how I feel
about you. Good night, good.

Speaker 38 (53:06):
Night, shut up. He shut up.

Speaker 32 (53:25):
On the light of the waves. Would you expect to
find I'm Aharaja to the circus?

Speaker 19 (53:30):
I thought you were asleep.

Speaker 32 (53:32):
I was put the light on.

Speaker 19 (53:34):
I'm tired. I want to go to bed.

Speaker 18 (53:36):
I feel like talking, well the wise.

Speaker 32 (53:40):
Will I have to get up and put the light on?

Speaker 18 (53:41):
Or would you do it?

Speaker 9 (53:42):
I'll do it.

Speaker 32 (53:44):
It's better.

Speaker 19 (53:46):
Oh, come here, Victor, whatever it does you want to say?

Speaker 39 (53:49):
Got it?

Speaker 1 (53:49):
Wait?

Speaker 32 (53:50):
You never ask, turning away to you.

Speaker 40 (53:53):
Of course he's the boss, the guy who inherited the
circus and doesn't know what to do with it.

Speaker 32 (53:58):
He keeps does he going after mine? Please tell you
tonight how beautiful you are?

Speaker 19 (54:04):
I didn't see it. I heard Sultan kicking up arousal.
I went down and see.

Speaker 41 (54:08):
What's the matter.

Speaker 19 (54:09):
I'm telling you the truth.

Speaker 32 (54:11):
What's the matter, Louise? You're usually a lot calmer than this.

Speaker 19 (54:14):
I'm sick and tired of have any suspect every move
I make. You can't turn your back on me without up.

Speaker 32 (54:23):
Is Selthern getting on your nerves.

Speaker 12 (54:24):
There.

Speaker 19 (54:24):
I can't stand him all day and all night. Cat
never sleeps, Victor. I want you to get rid of him,
Send him back to the jungle, kill him, do anything
but get rid of him.

Speaker 32 (54:35):
He cost me a small fortune, Louise.

Speaker 19 (54:37):
Don't care you've got on the lions.

Speaker 32 (54:39):
He'll be great for miny way.

Speaker 19 (54:40):
He'll never break him. Victor, that's one cat that'll never
take orders from you.

Speaker 32 (54:44):
And I say, well, you're wrong.

Speaker 19 (54:46):
You've been trying for a week and you listen, Victor.
Kill him tomorrow morning, the worst thing Tomorrow morning.

Speaker 32 (54:53):
Warning, Louise, don't do any more.

Speaker 19 (54:54):
Work on him, don't don't get into that training cage
with him again.

Speaker 32 (54:58):
This is a new twist from you.

Speaker 19 (55:00):
I've never asked you to quit breaking a cat before.
At this time, I know it can't be drawn.

Speaker 32 (55:06):
Are you afraid of what might happen to me?

Speaker 19 (55:10):
He'll kill you one of these days.

Speaker 32 (55:12):
That shouldn't bother you.

Speaker 19 (55:14):
I don't want you to die.

Speaker 8 (55:16):
Well, that calls for a celebration, and the kids please
sing me alone.

Speaker 32 (55:23):
I've always told you had a beautiful masse.

Speaker 40 (55:27):
See how it looks when it's leedy. Now turn out
that light and go to bed. I've got a big
day tomorrow with Sultan. He doesn't seemed to body you

(55:47):
this morning, Louise.

Speaker 19 (55:49):
I'm getting used to him.

Speaker 32 (55:50):
Doesn't take long when you start hoping, does it.

Speaker 19 (55:53):
I've warned you if you ever hit.

Speaker 32 (55:55):
Me Sultan, he might decide to help you.

Speaker 1 (56:01):
Yes, it's me, mister Parnell's Jim Hartman.

Speaker 32 (56:04):
What wants to know if you're going to work.

Speaker 18 (56:06):
In that lion today? That's at.

Speaker 37 (56:11):
Mister Turner sent me to ask you if you were
going Why? Well, I don't know, mister Paranell. He didn't
tell me this morning, missus Paranell, Good morning, Jim. That
cat was howling all night, so they gave me the willies.

Speaker 1 (56:22):
He ain't like the other cats. He will be.

Speaker 40 (56:25):
Tell Roy Turner, I'll go to work when I'm ready, Okay,
and tell him I don't want anybody.

Speaker 32 (56:29):
In the training tent when I'm working.

Speaker 1 (56:31):
You're going to tackle that lion all alone, mister Paranell.

Speaker 40 (56:33):
Oh Roy can be there if he wants to Louise,
of course, But mister Turner don't know nothing about lion, Sir.

Speaker 1 (56:40):
Why if that big fellow should get first?

Speaker 32 (56:42):
Heard what I said, Jim, Now go ahead.

Speaker 37 (56:44):
And do it, Okay. I'm only the night watchman. But
if I was in that train engage with that cat,
I'd want a lot of people all around with long sticks, Yes, sir,
all around.

Speaker 39 (56:58):
He's right.

Speaker 42 (56:59):
Fix it.

Speaker 40 (57:00):
I'm running my own show, Louise, finish the coffee. Let's
get out of here now, face on later. I won't
mind seeing him without makeup.

Speaker 19 (57:10):
I want you to stop talking about him.

Speaker 32 (57:14):
Here's the gun, baby. Yeah it's not loaded with real bullets.
Huh instead of blanks.

Speaker 19 (57:23):
It's too bad. Maybe it won't make any difference to you.

Speaker 32 (57:35):
You can take orders like the rest of them, can't.

Speaker 35 (57:37):
You, roy Eh, you're a department victor. If you don't
want anybody around when you're working, it's okay with me.

Speaker 17 (57:42):
And you're a darn fool.

Speaker 32 (57:43):
It's an old habit. How listen to him?

Speaker 1 (57:48):
He thinks he's still the king.

Speaker 32 (57:51):
And we're going to show him he isn't. Harn't we Louise?
Sure you're still my wife.

Speaker 1 (57:57):
He's not going in back.

Speaker 32 (58:00):
Here's the key, baby, open it up.

Speaker 40 (58:03):
No, all right, then I'll open it up. I'm ready, dear.

Speaker 32 (58:10):
Come on, get out of here, Louise.

Speaker 1 (58:12):
I'll take care of this tax.

Speaker 43 (58:13):
Put down that whip, victor, Sure.

Speaker 20 (58:17):
Put it out.

Speaker 43 (58:17):
You're going into that cage alone alone.

Speaker 32 (58:24):
That's where you're gonna say, I got your keys out
of here.

Speaker 17 (58:27):
Roy, that catt'll kill me.

Speaker 35 (58:28):
Ory's getting the Sultan's tent and open the cage door
to the tunnel before somebody looks in here.

Speaker 32 (58:33):
You and Roy were in here last night.

Speaker 1 (58:35):
You spoiled something.

Speaker 32 (58:36):
The key was not where I keep.

Speaker 18 (58:37):
It on the ring.

Speaker 1 (58:38):
Let me up.

Speaker 32 (58:39):
I was only kidding about asking you to come in
here with me. I wasn't going in this, Louise.

Speaker 44 (58:43):
You're wasting time, Louise, Louise, I'll give you a divorce,
you can marry Roy.

Speaker 32 (58:46):
I'll do anything you want. Just let me out of here.

Speaker 19 (58:48):
I don't believe you.

Speaker 1 (58:50):
I don't believe you, Louise.

Speaker 32 (58:53):
Guess you and me now, Roy a couple.

Speaker 1 (58:56):
Of minutes to let me just see you and Sultan
read that shit. I'm gonna in the trap door.

Speaker 32 (59:01):
Listen to reason.

Speaker 44 (59:02):
Don't open that trap Yeah, I kne it about the divorce.
Grab the chair, Victor, give me a break. I'll never
bother you and Louisa again.

Speaker 1 (59:10):
Set for company, Victor, your friends. You'll be here any second.

Speaker 43 (59:14):
Yeah, battle cry afraid to feed in the tunnel and
the trap door is open by Victor the chair.

Speaker 32 (59:19):
Maybe I can hold him off.

Speaker 18 (59:20):
Maybe I can drive him back into the tunnel. You
and Louise spoiled something in here last night. I don't
know what it is where sad I saw the legs
off the chair.

Speaker 1 (59:34):
He brought the chair right right.

Speaker 31 (59:38):
Get help.

Speaker 35 (59:49):
That's that's the whole story, Katain William's a chair broken
Victor's hand, and before the reason I realized what had happened.

Speaker 1 (59:55):
Something that not Victor down. Go ahead, mister Turner.

Speaker 35 (59:59):
Oh, the most horrible thing I ever saw that animal.

Speaker 1 (01:00:02):
Telling it Victor is that.

Speaker 35 (01:00:05):
I'm sorry Louise, but the police want to sack all
of them.

Speaker 45 (01:00:10):
Mister Turner, What did you and missus paranel Will do
while the lion was working on her house?

Speaker 1 (01:00:15):
Well, there wasn't much we could do.

Speaker 35 (01:00:17):
Captain Louise and I were alone in the training sense.
Louise had a gun, but it was loaded with blank cot.

Speaker 45 (01:00:23):
Alone, I thought lion trainers never got into a cage
unless there was a lot of protection around.

Speaker 35 (01:00:29):
A Victor didn't like crowds, was unusual for a circus performance.
He didn't like him when he was breaking a cat.
Didn't ask anybody outside this off.

Speaker 45 (01:00:40):
All the people are working for me, I will, mister
Turner when I get around.

Speaker 2 (01:00:45):
How'd you get that animal fall?

Speaker 1 (01:00:48):
I hoping the fat door of the tunnel.

Speaker 35 (01:00:51):
Louise fired the blanks and a gun and noise frightened himself.

Speaker 1 (01:00:55):
No real bullets. Lions are expensive, Captain. When lions.

Speaker 19 (01:01:01):
Sultan was my husband's property, Captain Victor made the rules and.

Speaker 2 (01:01:06):
I kept him.

Speaker 1 (01:01:08):
Are you feeling better now, missus A little good? I've
got a couple of questions for you. Who fixed it
for that lion to kill your husband?

Speaker 19 (01:01:19):
I can't see sure, Captain, but I think it was.

Speaker 35 (01:01:23):
Okay wise, the police and I have a right to
know who is should spect well.

Speaker 19 (01:01:30):
I haven't any proof, but I yeah, boy, I think
it was Tom Doyle who thought that chair and grew
the legs on again.

Speaker 2 (01:01:38):
The man, Yes.

Speaker 19 (01:01:41):
You'll remember what happened yesterday afternoon with.

Speaker 39 (01:01:44):
His quips and all.

Speaker 19 (01:01:46):
Because Tom's didn't see the cats on time, that's no
reason for life. I'm not accusing him, Roy, But late
last night Victor came back to the wagon drunk. He's
gone to town after the show.

Speaker 1 (01:01:57):
What's that got to do with Tom Doyle?

Speaker 19 (01:02:00):
Missus parhel Captain, there's only one key to the training cage,
and Victor always kept it on a room in his pocket.
He was very superstitious about training the cat. Who anyone
else in that cage anytime might bring that up.

Speaker 1 (01:02:14):
Yes, we couldn't shake out of his hand. Just keep going,
missus Pinel.

Speaker 4 (01:02:17):
Well.

Speaker 19 (01:02:18):
When Victor came back from town, he was very drunk,
but he was also very upset.

Speaker 1 (01:02:24):
He lost the keys this morning.

Speaker 19 (01:02:26):
Yes, I found them last night outside the training tent.
Victor was raving mad because he's lost them, and I
had to go out and look for him. As I
got near the training and I thought, Tom Doyle, he's
been wedding around the tent and I found the piece.

Speaker 37 (01:02:43):
Well, Louisa, I'm assuredly Tom Doyle, Yes, he was carrying
something under one arm.

Speaker 13 (01:02:49):
Saw.

Speaker 19 (01:02:50):
I couldn't tell, Captain, but I looked inside the tent.
Everything was in order.

Speaker 1 (01:02:56):
Do you think Tom Doyle swipe those keys?

Speaker 14 (01:02:59):
Captain?

Speaker 19 (01:03:00):
I'm not trying to build up a cake against man.
I'm only telling you what I look.

Speaker 1 (01:03:08):
Come in, What is it? Ralph boy?

Speaker 46 (01:03:12):
At these two items, Sir saw they were buried under
the wagon. The three guys with them, Which three guys Ralph,
Joe Smith, Pete Frenzy and Tom Doyle, where's Tom Doyle?

Speaker 1 (01:03:23):
Him and the other two in the wagon under guard?
All right, we'll go have a talk with him.

Speaker 40 (01:03:28):
I'd like to go with you, Kevin, sure, come along.

Speaker 1 (01:03:31):
Mister Turner. Do you want to join the party too?
Missus Murder?

Speaker 35 (01:03:33):
Oh, I don't think you ought to, Louise. Why don't
you go to your bungalow wagon and later?

Speaker 1 (01:03:38):
All right?

Speaker 45 (01:03:39):
Oh, by the way, mister Turner, when I got to
the season of Murder, I found you and missus Parnell
in the training cage with the body of her husband.

Speaker 1 (01:03:49):
For sure, we thought it might still be alive. You
get in. If mister Parnell had any keys you gave
to me, Let's go, Ralse.

Speaker 45 (01:04:03):
You can come along as Turner if you still want to.
But remember you listen while I asked the question.

Speaker 37 (01:04:19):
I told you there was nothing to worry about, Babe.

Speaker 1 (01:04:23):
He didn't believe to kid, it's the perfect looks had
no alibi for last night, so they took him away.

Speaker 8 (01:04:32):
And we're in the well that ray.

Speaker 1 (01:04:36):
Came here.

Speaker 2 (01:04:39):
Why not?

Speaker 35 (01:04:40):
You gave a perfect performance for Captain William and I
give one for.

Speaker 19 (01:04:43):
Me than I don't have to convince you.

Speaker 35 (01:04:47):
Don't kid yourself that's when it comes to love. I
want all to convince you can give.

Speaker 2 (01:04:56):
H How is that?

Speaker 12 (01:04:59):
Yah?

Speaker 1 (01:05:00):
Good? Is this sample?

Speaker 19 (01:05:03):
Don't rush me? Do you been only three hours since
I became with him?

Speaker 1 (01:05:09):
Babe? You little look better.

Speaker 19 (01:05:13):
We'll have to be very careful. WI no marriage until
we're far away from this town.

Speaker 1 (01:05:19):
I had that figured out too, Louise. So I don't
you have nothing to worry about with me.

Speaker 35 (01:05:27):
Partnership agreement and I'm giving you a fifty percent interest
in the circus.

Speaker 1 (01:05:31):
I don't don't crowd me yet. I'm not true. You
get my fifercent too.

Speaker 19 (01:05:36):
If I should die, oh you darling, And I don't
need all this insurance. I wouldn't want it without you.

Speaker 1 (01:05:45):
I don't expect to die exactly. How about the more convinced?

Speaker 19 (01:05:54):
Come on, come on, Louise, I'm with you, not now, really,
it's me listen whistling. I can't stand it. Roy everything last.
I'm sure he didn't.

Speaker 1 (01:06:05):
See he didn't tell Captain Williams.

Speaker 19 (01:06:07):
I just can't seem to get it out of my mind. Really,
we'll have to do something about Jim.

Speaker 1 (01:06:12):
Wait, wait a minute, he's been with the circus for years.
I practically inherited.

Speaker 19 (01:06:16):
I don't want him around.

Speaker 35 (01:06:17):
Okay, but believe me, kids, you're making a big fuss
about Come in.

Speaker 1 (01:06:24):
What do you want, Jim? Answer me?

Speaker 17 (01:06:28):
When I talked to you.

Speaker 37 (01:06:29):
I noticed the Sultans stopped complaining afterte you done.

Speaker 1 (01:06:33):
Victor. Men't heard the peep out of them since.

Speaker 19 (01:06:35):
Get out of here, Jim.

Speaker 1 (01:06:36):
That ain't a nice way to talk to a business associate.

Speaker 19 (01:06:39):
Man, business associated way?

Speaker 35 (01:06:42):
What I mean, Jim, she knows what I mean. I'm
mister turning out of you, not anymore.

Speaker 1 (01:06:48):
ROI. I'm not working for you anymore.

Speaker 47 (01:06:51):
You're quite entired of being the night watchman for a
guy like me that used to be a star tumbler
keeping tabs and a bunch of tents and animals. You
ain't dignified, Roy, I'm retiring.

Speaker 1 (01:07:03):
What's that got to do with me? You're gonna make
my retirement worthwhile? Do you? In Louise?

Speaker 19 (01:07:09):
Just what you want?

Speaker 1 (01:07:11):
Shut out?

Speaker 37 (01:07:12):
I don't get mad at it, Roy, She's only trying
to keep the rope off her neck. Tom Dole ain't
no killer, but I can tell the police who is.

Speaker 1 (01:07:21):
I'll look here, Jim.

Speaker 17 (01:07:22):
If you've got me bluffing out.

Speaker 37 (01:07:24):
You've seen you and Louise in the training tent last night,
and I heard you're working.

Speaker 34 (01:07:28):
With the saw.

Speaker 1 (01:07:30):
You don't know what you're talking about, Jim.

Speaker 37 (01:07:31):
Maybe the cops would say different.

Speaker 35 (01:07:35):
You can't prove at your dirty black manner. It'll be
your word against stars.

Speaker 37 (01:07:39):
Yeah, but whose words gonna count more? I seen when
you're buried the saw and blue.

Speaker 1 (01:07:44):
Whyn't you tell that the police this morning?

Speaker 9 (01:07:46):
Oh?

Speaker 1 (01:07:46):
With the police here? What are you driving?

Speaker 8 (01:07:50):
Man?

Speaker 37 (01:07:50):
I'm a night watchman. I work all night and I'm
supposed to sleep all day. I ain't seen the police yet.
And the question, well, I wasn't in my bunk all day.
I just got back from the snooze in the park.
You see what I mean?

Speaker 48 (01:08:05):
God is Roy.

Speaker 19 (01:08:06):
Let's find out how much he wants.

Speaker 37 (01:08:07):
Well, you don't have to ask me twice fifteen thousand nice,
that's thou. I want a nice, comfortable retire at Roy
and I want to start today and think it over.

Speaker 1 (01:08:18):
But don't take too long.

Speaker 19 (01:08:31):
You set up the perfect crime, didn't you. Tom Doyle
is going to take the rap for us?

Speaker 1 (01:08:36):
Is it for Pete's sake? Whill you leave me alone?
You've been pounding me for an hour I can't.

Speaker 19 (01:08:39):
I want you to tell me. What are we going
to do?

Speaker 1 (01:08:41):
I don't know.

Speaker 19 (01:08:42):
You've got to thre thousand dollars a gym?

Speaker 1 (01:08:44):
You haven't?

Speaker 20 (01:08:44):
You I have?

Speaker 19 (01:08:45):
Are you going to give it to him?

Speaker 1 (01:08:47):
Do you want me to?

Speaker 19 (01:08:47):
I don't want him to go to the police.

Speaker 1 (01:08:48):
It's about all the cash I have, Louise.

Speaker 19 (01:08:50):
If I've given I don't want him to go to
the police.

Speaker 1 (01:08:52):
You'll be flat broke, won't be able to.

Speaker 19 (01:08:54):
Pay Salar'll be plenty of cask coming in, but.

Speaker 1 (01:08:56):
Not enough to pay off. Louise will be stranded.

Speaker 14 (01:08:58):
Would you rather swing?

Speaker 32 (01:09:02):
Umm?

Speaker 1 (01:09:04):
Maybe you don't ever come to them.

Speaker 19 (01:09:06):
Don't kid yourself. Jim goes to the police withrough We
can't aliby ourselves out of his story, and we'll never
get a chance to call him a blackmailer?

Speaker 1 (01:09:16):
Why call him any.

Speaker 19 (01:09:17):
What's the matter with You're just fifty thousand dollars means
so much to you?

Speaker 1 (01:09:20):
Keep business? Angel, I won't.

Speaker 19 (01:09:22):
Keep us together, boy, darling. We want to be together,
don't we. We want to get married like other people
in love. We committed a murder.

Speaker 1 (01:09:32):
To get that roy and we won't lose it.

Speaker 19 (01:09:35):
Kid, We'll never get there if we did chances.

Speaker 37 (01:09:36):
Now, I wasn't thinking of taking chances.

Speaker 19 (01:09:40):
Louise, and you've given the money.

Speaker 1 (01:09:44):
No, why, I got.

Speaker 35 (01:09:47):
Other ideas that'll save us fifty thousand and still take
care of Jim Harkmas No, that's name.

Speaker 19 (01:09:56):
Do you want Captain Williams back here?

Speaker 1 (01:09:58):
Maladam?

Speaker 9 (01:09:58):
Cons are you crazy?

Speaker 19 (01:10:00):
Another murder at this surface way?

Speaker 7 (01:10:01):
Well?

Speaker 19 (01:10:01):
Tom Dors in prison? What happens to the case against him?

Speaker 1 (01:10:04):
Nothing? But I got in mine won't be murdered officially.

Speaker 32 (01:10:10):
Oh oh, they be your.

Speaker 1 (01:10:14):
Gorgeous when your.

Speaker 19 (01:10:15):
Eyes sparkle, tell me what you've got in mind?

Speaker 7 (01:10:19):
Here?

Speaker 1 (01:10:19):
Real close? Huh.

Speaker 37 (01:10:22):
Jim's a pretty old guy, so so he gets dizzy
when he looks down from the height.

Speaker 35 (01:10:30):
It's so dizzy he falls down and gets all smashed at.

Speaker 19 (01:10:34):
The bottom of a cliff over by the river.

Speaker 2 (01:10:38):
How'd you get That's good?

Speaker 1 (01:10:41):
Roy?

Speaker 19 (01:10:42):
But how do we get him there?

Speaker 1 (01:10:45):
We'll pull him with a fifty thousand buck magnets.

Speaker 19 (01:10:49):
I don't know what you mean.

Speaker 37 (01:10:51):
Oh you don't, Well, then I'll have to tell you,
because kid, you're gonna set the tramps.

Speaker 19 (01:11:04):
Jim, wake up, Wake up, Louise. Where are the other
men who belong in this wagon.

Speaker 12 (01:11:12):
Where could I?

Speaker 19 (01:11:14):
I don't want them to find me talking to you.
How soon are they coming back?

Speaker 1 (01:11:17):
I never know. Sometimes they knock off for a swig.
That can be any time. How about the.

Speaker 19 (01:11:22):
Money, You'll have to wait until tonight. Roy's got most
of it now, but he's counting on the ticket sale
to make up the difference.

Speaker 1 (01:11:30):
I want a full fifty thousand luins.

Speaker 19 (01:11:32):
We'll get at your dirty blackmailer. Meet me in the
park at the top of the hill. What hell haven't
you ever been in this town before?

Speaker 37 (01:11:39):
Un this is the first time. Oh Man turn and
never played this circuit when he ran the show.

Speaker 19 (01:11:43):
Oh well, there's a hill just outside of town, a
public park on top. Be there at nine o'clock, where Louise,
Because Roy doesn't want to be seen talking to you.

Speaker 1 (01:11:53):
Will you be there?

Speaker 19 (01:11:54):
Yeah?

Speaker 1 (01:11:55):
Okay, so will I. But if you got any notions.

Speaker 19 (01:11:58):
Luis only a fool. I'm not going to kill you. Well,
and I could do that any night if you wanted to.
You're a night watchman. There's nobody around.

Speaker 1 (01:12:08):
And you would sure your side of that.

Speaker 2 (01:12:10):
Huh.

Speaker 37 (01:12:11):
Well, you should date Louise and then goodbye.

Speaker 19 (01:12:23):
He's on time, all right, Louise, give me that package.

Speaker 1 (01:12:25):
You got everything straight?

Speaker 19 (01:12:26):
Yes, it's the one to open the package, and also
just that bench'll but there. He doesn't know about the cliff.

Speaker 35 (01:12:29):
I remember, keep his back to me. I remember when
I rush and get out of the way. I don't
want to push you over the cliff.

Speaker 19 (01:12:34):
He's pretty close. Roy back, get behind the tree.

Speaker 37 (01:12:39):
Jim, Yeah, everything all Jet, Louise.

Speaker 19 (01:12:44):
Yeah, here's the package. It's got fifty thousand dollars, isn't
it here? You can count it if you don't believe me.

Speaker 1 (01:12:52):
You wouldn't lie if you would.

Speaker 19 (01:12:54):
Open the package on that bench. It won't take you
long to count it. Come on, i've got a flashlight.

Speaker 1 (01:13:01):
Well, Jim, I'll do that when I get back to
my book.

Speaker 35 (01:13:05):
You can save yourself a lot of time. There's no
money in that pack. It's just a lot of newspapers, traps.
Cliff behind you, Jim, you're gonna have an accident.

Speaker 18 (01:13:12):
Couch you don't have one?

Speaker 40 (01:13:13):
First, I'll take it away from us.

Speaker 1 (01:13:16):
If I got nothing to lose, have I Jim, stay
away from me.

Speaker 32 (01:13:18):
Roy, I'll kill you my head.

Speaker 1 (01:13:20):
I'm not staying away. I'm gonna throw you off the cliff. Maybe,
but you're not making me back off. I want to
step Jim.

Speaker 37 (01:13:25):
You're a murderer anyhow, and nobody's gonna punish me for
killing a murderer.

Speaker 43 (01:13:30):
Your guns, gyms, good bye, waylay.

Speaker 37 (01:13:41):
Oh, it's too bad, Louise. You had your hand on
his sweater and you couldn't hold him. Roy shouldn't have
rushed at me, Louise. He shouldn't remembered. I used to
be a tumbler. Well, it's a bad break for me.
I just lost fifty thousand dollars.

Speaker 1 (01:14:08):
I'm back again, Missus Parnell.

Speaker 19 (01:14:11):
Come in, Captain William. It's been a week of tragedy,
hasn't it. My husband's murder and Roy's death last night.
It's surpriving. I've still got my Sonity.

Speaker 1 (01:14:25):
Let me see your hands. What your hands?

Speaker 19 (01:14:29):
I don't see what that's got to do with anything.

Speaker 1 (01:14:31):
How did you break that fingernail?

Speaker 19 (01:14:33):
Don't see here, Captain William.

Speaker 45 (01:14:35):
I'll tell you got caught in Roy Turner's sweater when
you pushed him off the cliff last night.

Speaker 9 (01:14:40):
Gone out of your mind.

Speaker 45 (01:14:41):
We found the part of the nail that belongs on
the finger, Missus Parnell. And here's something else we found.
Just read it without putting your fingers on it. It's
the carbon copy of a partnership agreement between you and
Roy Turner, and it gives you his share of the
business after his death.

Speaker 19 (01:14:56):
Roy gives it to me without my asking for it.
We were going to be married.

Speaker 32 (01:15:00):
Well, we're not holding Tom Doyle anymore.

Speaker 45 (01:15:02):
We've got you, and the worst that can happen to
you is that you will be tried for one murder
and be executed once.

Speaker 1 (01:15:22):
And so closes Tonight's story. Serenade.

Speaker 17 (01:15:25):
Macarbb stedmand Coles wrote the radio script. Roger Bauer produced
and directed. Raymond Edward Johnson played Roy Turner. Joan Tompkins
was Louise Pannell. Cameron Prudum was Jim Harkness. King Calder
was heard as Victor Parnell. Joe Latham was Captain Williams,
and Brad Barker was the Lion Sultan. Oh, I beg

(01:15:46):
your pardon. Hello, I hope I haven't kept you waiting. Yes,
this is the Crime Club. I'm the librarian. Yes, come
over a week from tonight.

Speaker 36 (01:16:00):
Good.

Speaker 17 (01:16:02):
Yes, we have the very exciting story of a man
who tried to cheat life and was cheated out of it.
It's called the Self Made Corpse. In the meantime, well,
in the meantime, there was a new Crime Club book
available this week and every week at bookstores everywhere. Yes,
it's available now, fine, and we'll look for you next week.

Speaker 12 (01:16:47):
Thanks for doctor van Field.

Speaker 16 (01:16:53):
As human mind is like a cave, beyond.

Speaker 49 (01:16:56):
The light, there are dark passageways and mysterious recesses. Doctor
Daniel Danfield have explored those unknown retreats and know their secrets.
Doctor Daniel Danfield, authority on crime psychology, has an unhappy
faculty for getting himself mixed up in hazardous predicaments because

(01:17:18):
of his astonishing revelations regarding the workings of the criminal mind.
As our story opens, we find doctor Danfield in his
office dictating to his pretty un secretary Rusty fairfact.

Speaker 16 (01:17:29):
Period paragraph and uh.

Speaker 49 (01:17:32):
And Therefore, I feel that the following experience will conclusively
prove that in the field of crime, the amateur, as
in all other fields, is less likely to succeed in
the professional. The incident began on Monday last week.

Speaker 16 (01:17:44):
I was sitting in my office dictating to my secretary
in the telephone.

Speaker 50 (01:17:52):
Hello, doctor Danfield's office, Oh you do.

Speaker 16 (01:17:56):
Who is it, mister Fairfax.

Speaker 50 (01:17:57):
It's a woman and she no, I won't tell.

Speaker 3 (01:17:59):
Him a woman.

Speaker 49 (01:18:01):
Let me have the phone please, but she said, thank you,
miss Fairfax. Hello, doctor Daniel speaking. Oh yes, my dear,
my dear, hm breathing now, don't get excited, my dear.
Just tell me as calming as you can what happened?
Indeed in your bedroom?

Speaker 50 (01:18:19):
Well, how do you like that?

Speaker 16 (01:18:21):
Just a moment?

Speaker 12 (01:18:22):
Please?

Speaker 16 (01:18:23):
How do you know it's suicide?

Speaker 18 (01:18:24):
Suicide?

Speaker 2 (01:18:27):
Oh?

Speaker 49 (01:18:27):
I see you haven't the faintest idea of who he
is railing gun in his hand? Suicide not suicide. Note
did you say this is incredible?

Speaker 50 (01:18:40):
Who talks like wiet?

Speaker 16 (01:18:41):
Miss fair Facts?

Speaker 12 (01:18:42):
Please?

Speaker 16 (01:18:43):
Yes, yes, my dear, I'll be right if don't touch anything.

Speaker 12 (01:18:45):
Please?

Speaker 16 (01:18:47):
Well? Well, what that miss Fairfax was Harriet Miller?

Speaker 50 (01:18:51):
Am I supposed to swoon?

Speaker 16 (01:18:53):
Her father is United States Senator George Miller.

Speaker 50 (01:18:55):
What about it?

Speaker 51 (01:18:56):
Has the good senator committed suicide and his daughter's best carpet?

Speaker 50 (01:18:59):
And what do we carefy has?

Speaker 51 (01:19:01):
Look, Dan Danfield, you just got through dictating a lot
of stuff about not being interested in murdering, getting mixed
up with criminals or dan?

Speaker 50 (01:19:10):
Oh no, Miss fair Facts hello, Miss Fairfax.

Speaker 51 (01:19:13):
Listen, Dan Danfield. If you think you can ignore me
like that, you're missus.

Speaker 16 (01:19:16):
Quiet, Miss fair Facts.

Speaker 50 (01:19:17):
I don't think, oh, you're always thinking.

Speaker 16 (01:19:20):
Yes, yes, I believe that's what we better do, Miss Fairfacts,
get your note for it.

Speaker 51 (01:19:24):
Now, wait a minute, Just because some dame calls up
with a.

Speaker 49 (01:19:27):
Sober Marriet Miller is not a dame, Miss Fairfax, He's
the daughter of a very good friend of mine. At
this point in his career, Senator Miller can't afford unfavorable publicity.
It becomes known that a stranger entered his daughter's bedroom
and committed suicide on her best oriental rug gun.

Speaker 51 (01:19:40):
Of fraid it a stranger. That's about the craziest story.

Speaker 50 (01:19:44):
I ever heard.

Speaker 16 (01:19:45):
Oh is it, Miss Fairfact?

Speaker 51 (01:19:46):
Yes, a stranger entering a girl's bedroom, writing a suicide
note and then quietly expiring on her rug.

Speaker 50 (01:19:52):
Why even Ripley would turn up his nose at that one.

Speaker 16 (01:19:55):
You don't believe it, am, Miss Fairfact.

Speaker 50 (01:19:56):
Not a word of it, and I'm surprised that you do.

Speaker 16 (01:19:59):
I don't, Miss Fairfact. It's not a word. Therefore, it's
important that we go out to the Miller house at once.
Will you call Mario please and ask him to bring
the car around. In a moment.

Speaker 17 (01:20:17):
We'll return for the second act of danger, Doctor Danfield.
But first, now for the second act.

Speaker 16 (01:20:29):
Danger Doctor dan too.

Speaker 17 (01:20:41):
That's a very funny story, Doctor, make him Mario laugh.

Speaker 1 (01:20:45):
This girl that she's worried about.

Speaker 49 (01:20:46):
The whole road, Miss Miller is worried about more than
her rug Mario, Miss fair Fact, did you bring a notebook?

Speaker 16 (01:20:52):
Of course I brought it, Miss fair Facts.

Speaker 49 (01:20:54):
Do you suppose it to be possible for you to
work yourself into a more pleasant frame of mind?

Speaker 52 (01:20:59):
That miss fair always it jealous of the doctor Mario, Well,
don't you worry, mister Fairfax.

Speaker 42 (01:21:04):
Maybe the Signorina is.

Speaker 17 (01:21:05):
A very fact with the eyes of the local botaways
at one time?

Speaker 49 (01:21:09):
Man, are you gonna let Marios Fairfax is not amuse?

Speaker 17 (01:21:13):
Excuse him at box and turn here.

Speaker 16 (01:21:14):
Mario, this is the middle place.

Speaker 17 (01:21:16):
Okay, we from the place? Eh, this is mister Millia
must be very Truemilo, you.

Speaker 16 (01:21:21):
Know, sender a Mellow's home is quite a showplace.

Speaker 12 (01:21:23):
Mario.

Speaker 16 (01:21:24):
Oh, I see here here we are along with spare Fact.

Speaker 17 (01:21:28):
Let's go in.

Speaker 8 (01:21:29):
What do you want I should do?

Speaker 2 (01:21:30):
Doc?

Speaker 49 (01:21:30):
You better stick around the outside, Mario, and keep your
eye off for anything suspicious.

Speaker 16 (01:21:34):
I'm along with spare.

Speaker 17 (01:21:35):
Facts, maybe somebody else who.

Speaker 18 (01:21:36):
Decide we'll commit the suicide and upon the lawn.

Speaker 20 (01:21:39):
Doc.

Speaker 50 (01:21:40):
I don't think why you have to let Mario talk away?
Does Sometimes I could choke him.

Speaker 16 (01:21:45):
Mario, my dear is very important to me. He's known
as But.

Speaker 50 (01:21:50):
Oh, Dan, I'm so glad you've come.

Speaker 3 (01:21:52):
This is horrible.

Speaker 16 (01:21:53):
There, my dear, we got here as soon as we could.

Speaker 51 (01:21:55):
Perhaps I shouldn't have called you, but I didn't know
how he else to do.

Speaker 50 (01:21:58):
Well right now, you can take your arms from around
his neck. Oh, I didn't see you, Dan.

Speaker 16 (01:22:04):
This is my secretary, Harriet.

Speaker 49 (01:22:06):
Rather, this is my secretary Harriet, Miss Rusty Fairfax, Miss Pirriffax,
Miss Milk.

Speaker 53 (01:22:09):
How do you do?

Speaker 51 (01:22:10):
Hello Keny and please both have you Dan? I know
I should have called the police, but yes.

Speaker 16 (01:22:15):
Yes, yes, I understand the police will have to be notified.
But well, suppose we look at the suicide.

Speaker 50 (01:22:20):
Yes, he's upstairs. I'll show you the way.

Speaker 49 (01:22:23):
I'm along, Miss Fairfax. Are you living alone in the house, Harriot?

Speaker 51 (01:22:27):
Yes, Dad went to Washington a month ago and taking
my kneals at the cub so I gave a servant
holiday and sam my brother, Well he's not at home.

Speaker 4 (01:22:37):
Just now.

Speaker 54 (01:22:38):
This is my room here.

Speaker 50 (01:22:40):
Do you mind if I don't, of course not.

Speaker 16 (01:22:42):
I'm going along. You took girth, Stay here and get acquainted.

Speaker 50 (01:22:45):
I'm well enough acquainted.

Speaker 16 (01:22:46):
I'm going with you as you will. Miss Fairfax. Well,
this is indeed amazing.

Speaker 51 (01:22:53):
What's amazing about a dead man lying on the floor
with a gun in his hand.

Speaker 16 (01:22:56):
Name of the dead man, Miss Fairfax, is Muggs Barando.

Speaker 50 (01:22:59):
Mugs Barndo, the gambler.

Speaker 49 (01:23:00):
Gambling is one of Muggs's lesser vices. He's a very
interesting type. I've uh, I've always intended.

Speaker 12 (01:23:05):
To study him.

Speaker 50 (01:23:06):
Well, now you've got your chance.

Speaker 49 (01:23:08):
Don't be facetious, miss Fairfax. Let me see gone in
left hand, finger crooked around the trigger, pulled it through
the left temporal amazing, Yes, amazing, this is.

Speaker 50 (01:23:23):
Something I don't get Dan.

Speaker 51 (01:23:25):
What would a guy like muggs Barendo be doing in
Senator Miller's daughter's bedroom with a bullet.

Speaker 50 (01:23:29):
Through his head.

Speaker 49 (01:23:30):
That's what's amazing, Miss Fairfax. Ah, yes, yes, here's the suicide.
Now I'll touch it.

Speaker 50 (01:23:34):
Miss Fairfacts, don't worry. I'm I gonna touch anything.

Speaker 13 (01:23:36):
Let me see.

Speaker 16 (01:23:38):
I can't stand it any longer. Decided to end it
though it say goodbye to the gang, hum ridiculous, entirely out.

Speaker 49 (01:23:45):
Of character as Fairfax. I must confess. The situation interests me.

Speaker 51 (01:23:49):
It's gonna interest the whole country if the story ever
gets into the papers that Muggs Brendo was found dead
in Harriet Miller's bedroom.

Speaker 16 (01:23:55):
Exactly?

Speaker 50 (01:23:56):
Now what are you looking for?

Speaker 1 (01:23:58):
Oh?

Speaker 13 (01:23:58):
Just do things.

Speaker 16 (01:24:01):
Come along, Miss fair Fanks. We've got to work fast.

Speaker 50 (01:24:02):
We've got to work at what fast?

Speaker 49 (01:24:04):
Discovering who murdered Mugs? Barando left his body in this bedroom?
That's strange, Harriet seems to disappear.

Speaker 51 (01:24:12):
Never mind, Harriet, did you say Mugs Brenda was murdered?

Speaker 13 (01:24:15):
Of course?

Speaker 16 (01:24:16):
What other explanation is there?

Speaker 2 (01:24:18):
Harriet?

Speaker 26 (01:24:19):
Oh, Harriet.

Speaker 16 (01:24:21):
M sod, but she won't go far.

Speaker 50 (01:24:25):
Now look, how do you know that Mugs was murdered?

Speaker 1 (01:24:27):
Why?

Speaker 16 (01:24:27):
It's obvious closed the bedroom door, Williams Fairfax.

Speaker 50 (01:24:31):
Look, would you do me a favor?

Speaker 20 (01:24:33):
Dan?

Speaker 13 (01:24:33):
Why?

Speaker 16 (01:24:34):
Of course, Miss Fairfax?

Speaker 12 (01:24:35):
What is it?

Speaker 50 (01:24:35):
Stop calling me Miss Fairfax? I have a front name,
just like everybody.

Speaker 16 (01:24:39):
Else reading, Miss Fairfax what is it? I mean, I
know what it is, don't I?

Speaker 50 (01:24:46):
Well, you ought to at least when we're alone, you
could do.

Speaker 2 (01:24:49):
That, Harriet.

Speaker 16 (01:24:50):
He's in trouble.

Speaker 18 (01:24:50):
Come on, rusty, Harriet, Harriet, we're coming.

Speaker 2 (01:24:56):
Hold uh, hoorry.

Speaker 16 (01:25:00):
What's happening? What's the matter?

Speaker 51 (01:25:01):
There's a horrible days that there at the window, leering
in at me.

Speaker 16 (01:25:06):
Take a look?

Speaker 26 (01:25:07):
No one here?

Speaker 3 (01:25:07):
Now?

Speaker 16 (01:25:10):
Are you sure you saw someone?

Speaker 13 (01:25:12):
Harry?

Speaker 51 (01:25:12):
Yes, yes, it was horrible, horrible.

Speaker 42 (01:25:16):
I don't know homage more.

Speaker 16 (01:25:18):
There you feel that?

Speaker 51 (01:25:26):
Yes, oh dad, I'm so glad you're here.

Speaker 50 (01:25:29):
This ought to be a lesson than me.

Speaker 16 (01:25:31):
Was that in Sparebat?

Speaker 51 (01:25:32):
I only said that if I had any sense, I'd
put on an act myself and get you.

Speaker 18 (01:25:36):
Hold my hand, Come on you father. Nobody gets away
from Mario. Keep it quiet an hour.

Speaker 16 (01:25:43):
I going to get the mad Oh doctor Mario. Who's
the young man?

Speaker 55 (01:25:48):
He's what I thought?

Speaker 3 (01:25:49):
Out the window?

Speaker 55 (01:25:49):
Take him away?

Speaker 2 (01:25:51):
Hey?

Speaker 18 (01:25:51):
What's that?

Speaker 25 (01:25:52):
The Sennorlina said that the Mario had a funny praise that.
I don't lie.

Speaker 16 (01:25:55):
Come, Mario, were you looking in the window a few
minutes ago?

Speaker 41 (01:25:59):
Me looking?

Speaker 12 (01:26:00):
Sure?

Speaker 8 (01:26:00):
He was?

Speaker 17 (01:26:00):
I saw him?

Speaker 18 (01:26:01):
I jumped to me.

Speaker 17 (01:26:03):
He got the best of me. Got Yeah, you hadn't
hit me when I wasn't looking you.

Speaker 1 (01:26:12):
Who are you, young man?

Speaker 17 (01:26:13):
Ask Harriet who I am?

Speaker 51 (01:26:15):
Well, Harry, his name is Doug Spears.

Speaker 50 (01:26:19):
He's a friend of mine, a friend.

Speaker 17 (01:26:22):
Oh that's rich. We were engaged to be married until
she began playing around with mugs barndo. Well that's true.
I came here one night and met Brenda coming out.
I asked Harriet about it, and she wouldn't give me
any explanation.

Speaker 56 (01:26:35):
I couldn't.

Speaker 51 (01:26:35):
Doug, I told you, Yeah, you told me, say this
is getting interesting.

Speaker 50 (01:26:39):
That's here's some more.

Speaker 16 (01:26:40):
That's enough, myspair facts.

Speaker 49 (01:26:42):
Tell me, Doug, you've been making a practice of hanging
around here nights just to check on Harriet's caller.

Speaker 12 (01:26:46):
Sure, I have.

Speaker 17 (01:26:48):
Harriet and I were engaged. She had other men coming
to see her. I wanted to know about it.

Speaker 50 (01:26:52):
Well, now that I can understand.

Speaker 51 (01:26:54):
Now, I've told you and told you that all your
suspicions were foolish.

Speaker 17 (01:26:57):
Okay, then why does Orunda keep coming here?

Speaker 16 (01:27:00):
Does mix Branda come here? Off?

Speaker 13 (01:27:01):
And Doug?

Speaker 17 (01:27:01):
He's been here four times in the past month.

Speaker 16 (01:27:04):
Was he here tonight?

Speaker 57 (01:27:04):
I don't know.

Speaker 12 (01:27:05):
I just got here a little.

Speaker 17 (01:27:06):
While ago, that's all right, that's right. I watched him
come up with the drive away, and then he started
to look in all of the windows.

Speaker 25 (01:27:12):
May he get a surprised when I come up behind
him and keep coming the pan factor?

Speaker 49 (01:27:16):
I see, Well, this is most interesting, Harriet. How can
I get in touch with your brother Sam?

Speaker 29 (01:27:23):
Damn?

Speaker 19 (01:27:24):
What I don't know.

Speaker 50 (01:27:26):
E's a way on a business trip.

Speaker 16 (01:27:28):
Oh what kind of business?

Speaker 8 (01:27:30):
I don't know.

Speaker 50 (01:27:31):
I don't understand the stairs.

Speaker 17 (01:27:32):
On the contrary, my dear, I think you've pried too much.
Your prying is the cause of this deplorable situation.

Speaker 58 (01:27:37):
How dare you say that to me?

Speaker 50 (01:27:39):
Dan Dante?

Speaker 49 (01:27:39):
Because it's true, Mario. Do you think you're capable of
keeping mister Spear under control for.

Speaker 16 (01:27:45):
A short time?

Speaker 1 (01:27:49):
You make a joke?

Speaker 17 (01:27:50):
Doc this a little squirt. You keep your hands off me,
your big ape. Yeah, and what are you gonna do?

Speaker 12 (01:27:56):
Well?

Speaker 17 (01:27:57):
Call the Pleae.

Speaker 16 (01:27:57):
You don't have to, Douglas, it's fairy fact.

Speaker 17 (01:28:00):
Will you call Argent Plummet headquarters please and ask him
to come out here and arrest this young man for
the murder of Muggs Borendo in a moment he returned
for the third act of Danger, Doctor dan Field.

Speaker 2 (01:28:21):
But first.

Speaker 16 (01:28:27):
Now for the third act though Danger Doctor dan Field.

Speaker 49 (01:28:39):
The facts of this case were now becoming surprisingly clear,
although there was one element which had me baffled. Unless
a solution were reached before Senator Miller returned from Washington.

Speaker 16 (01:28:48):
The results would be tragic.

Speaker 49 (01:28:51):
I felt that the answer of the problem could be
found at the Marble Fawn, a nightclub formerly owned by
Mugs Borendo.

Speaker 16 (01:28:57):
Later I learned that at the moment I.

Speaker 49 (01:28:58):
Was reaching this conclusion, the tense drama was taking place
in an office behind the nightclub's dance floor between Sam
Miller a man named Henrico.

Speaker 16 (01:29:09):
What happened, Oh, i'd see you, Sami boy.

Speaker 17 (01:29:15):
Yeah, that's me, Enrico. You can put away the gun.
He'd shouldn't have come busting in on me like that.

Speaker 16 (01:29:21):
You might get hurt, might I?

Speaker 17 (01:29:24):
Okay, Enrico, I'll take the notes. No, yeah, the notes,
come on, give them to me, boy, Sami boy, I
don't know what you mean. Look, Enrico, I was promised
those notes if I played ball, and I'm gonna have
them if I have to tear this place apart.

Speaker 16 (01:29:36):
He got it back to me, boy, and who made
you this?

Speaker 17 (01:29:40):
From Borango? You heard him?

Speaker 16 (01:29:41):
Did that?

Speaker 17 (01:29:44):
It's funny, I don't remember seeing the black Why you dirty?
Make it easy, Sami boy. You would want the same
thing to happen to you that happened to Mugs.

Speaker 12 (01:29:53):
Now with you.

Speaker 17 (01:29:54):
You're not scaring me. Enrico. You're not fool enough to
shoot the son of a United States Senator? No did
do you got a surprise coming to you? The old
man ain't going to be a United States.

Speaker 16 (01:30:05):
Senator after the next election.

Speaker 17 (01:30:07):
You're crazy? You win hands down. Look kid, doing this
thing over your head? Only your own north Mugs Berndo
is dead. That means I'm running this organization. I got
things set up so you know, anybody else and got
a chance to shove me around, I get out.

Speaker 1 (01:30:26):
I'm busy.

Speaker 17 (01:30:26):
I'm not getting out till you give me those notes.

Speaker 1 (01:30:29):
D You're making me mad.

Speaker 17 (01:30:32):
Do you think I give you those notes when you
know as much as you do? Yes, I do, because
if you don't out there was that?

Speaker 42 (01:30:39):
What's happened out there?

Speaker 17 (01:30:40):
And maybe some of Muggs's boys will come back to
Square accounts. You better take a look through the wall
panel and Wrickle.

Speaker 42 (01:30:46):
It's so wanting to keep that gang out of here,
the devil's head.

Speaker 17 (01:31:00):
Good gosh, it's Doc dan Till. He's a friend of Dad's.
I gotta get out of here, stay right here. It's
a matter of en Rico. You're scared.

Speaker 1 (01:31:06):
No, I ain't scared. So here's a doctor Dane.

Speaker 42 (01:31:11):
He's a friend of your old man.

Speaker 1 (01:31:13):
Oh that's fine. Maybe this is the break I've been
waiting for. Yes, maybe it is.

Speaker 16 (01:31:21):
En Rico.

Speaker 17 (01:31:22):
You're a fool because Damnfield is bad medicine. If you're smart, you.

Speaker 18 (01:31:25):
Can get well well.

Speaker 42 (01:31:26):
Well.

Speaker 49 (01:31:28):
Hello, Sam, it's fortunate finding you here. Olose the door, Mario,
don't let anyone in it.

Speaker 59 (01:31:34):
Don't you worry about anyone getting in?

Speaker 12 (01:31:36):
Doc?

Speaker 42 (01:31:36):
What's the idea, Danfield?

Speaker 17 (01:31:38):
If that's what your name is, you've got a nerve
busting in here.

Speaker 49 (01:31:41):
I suppose it did see maratther orbrapt, Sam, would you
mind introducing me to your friend?

Speaker 17 (01:31:46):
His name's in Rico Catherin. Look, Doc, who sent you
down here?

Speaker 12 (01:31:49):
Nobody?

Speaker 1 (01:31:50):
Sam?

Speaker 16 (01:31:50):
I came up my own accord.

Speaker 26 (01:31:52):
Enrico.

Speaker 49 (01:31:52):
I suppose you're the new owner of the Marble Pawn.
Now that Maugs Brando has resigned. Shall we say, yes,
that's all right?

Speaker 2 (01:32:00):
What about it?

Speaker 16 (01:32:01):
Oh, a great deal about it?

Speaker 12 (01:32:03):
Sam?

Speaker 16 (01:32:03):
Did you know your sister was in trouble, Harriet?

Speaker 1 (01:32:05):
What kind of trouble?

Speaker 16 (01:32:06):
Very bad trouble, my boy. It seems that she'd been
seeing a good deal of the late Muggs Barando.

Speaker 17 (01:32:11):
Harriet has been seeing Muggs Barendo or your nuts. Harriett
wouldn't have any part of him.

Speaker 16 (01:32:15):
Indeed, And why do you suppose he's been calling on
her at your house?

Speaker 1 (01:32:18):
He hasn't.

Speaker 17 (01:32:19):
I'd have noted if he had, would Joe. Unfortunately, Sam,
you've been spending entirely too much time away.

Speaker 16 (01:32:23):
From home lately to appreciate what's been going on.

Speaker 49 (01:32:25):
For example, had you been home this evening, you would
have known about mugs Barando committing suicide and Harriet's bedroom.

Speaker 17 (01:32:30):
What the devil are you talking about?

Speaker 16 (01:32:32):
Oh, yes, it's quite true. Muggs is there all right
and quite dead.

Speaker 42 (01:32:36):
Well, now ain't that a shame? Why when that story hits.

Speaker 49 (01:32:41):
The newspag story isn't going to hit the newspapers, Henrico? Well,
that is, when it does, there'll be certain alterations. Now,
suppose we all get into my car and return to
the Miller home. It would be necessary to identify the
body and then we get out.

Speaker 17 (01:32:53):
Of you like that, Danhild, I could use you in
my organization. So you're just so dumb you don't know
what the score is, god like, Do I understand that
you're refusing to.

Speaker 16 (01:33:05):
Accompany us to the middle of home recall?

Speaker 17 (01:33:09):
Then bils you get you on click? Yes, that's it,
I'm refusing to accompany you.

Speaker 16 (01:33:16):
As a matter of fact, Mario, he wanted me for
something that that.

Speaker 49 (01:33:21):
Yes, yes, I wonder if you might persuade mister Catherine
to take a short automobile.

Speaker 12 (01:33:27):
Ride with us.

Speaker 17 (01:33:31):
Doctor you sure out of twenty one? Sure, I think
I can persuade.

Speaker 1 (01:33:37):
I fixed it up all right.

Speaker 42 (01:33:39):
If away from you your big gorilla.

Speaker 17 (01:33:40):
I got a gun. Here you hear that, doctor, he
got a gun.

Speaker 59 (01:33:43):
Herenny fellow, wait a minute, to Mario, I got something
to say.

Speaker 17 (01:33:47):
Oh you got something to say? Yes, you want to
play this, hen Rico. He's a very funny fellow. He
said they had the summer thing to say. Say what
to me?

Speaker 12 (01:34:08):
Ario?

Speaker 16 (01:34:09):
Let's get going.

Speaker 17 (01:34:19):
This way, gentlemen, Yeah, this away, you'll get inside the
miss Tom recalled Mary a way, help you this away?
If you're gonna get away with this, your mug by,
one of my boys planning got up.

Speaker 51 (01:34:30):
Sah, Sam, are you all right?

Speaker 17 (01:34:33):
Sure? I'm all right? Why shouldn't I be?

Speaker 13 (01:34:35):
Say?

Speaker 17 (01:34:36):
What's this stuff about a guy committing suicide in your bedroom?

Speaker 50 (01:34:38):
It's true, Sam, he did. I found him there.

Speaker 51 (01:34:42):
He'd written a suicide note. And then Dan said it
was murder and had the police arrest Doug?

Speaker 12 (01:34:48):
Doug or what did he have to do with it?

Speaker 51 (01:34:49):
He didn't have a thing to do with and not
a thing, Dan, Dan feel I'm going to wire Dad
tonight and ask him to demand Doug's release at once.
I think it's terrible that you've had Doug rested.

Speaker 16 (01:34:59):
Do you harry it?

Speaker 49 (01:35:00):
Well, that's a healthy sign. Ah, Miss Fairfax come in.
Did you and Sergeant Plumb get Douglas safely installed in jail?

Speaker 57 (01:35:07):
Yes?

Speaker 50 (01:35:07):
He's there, all right. But Sergeant Plumb is pretty mad
mad Why he says.

Speaker 51 (01:35:11):
He can't arrest a man without evidence, and there isn't
any evidence against Doug Spear.

Speaker 50 (01:35:15):
If he didn't know you so well, he'd be.

Speaker 16 (01:35:17):
Good, all Plum. Fortunately we can depend on him, I
hope you followed my further instructions, Miss Fairfax.

Speaker 51 (01:35:23):
Yes, Sergeant Plumb was glad of the chance. The police
are rating the Marvel Phone nightclub right now?

Speaker 2 (01:35:28):
Read it?

Speaker 60 (01:35:29):
Say what is this? Don't feel?

Speaker 17 (01:35:31):
What kind of a gag you think you're pulling?

Speaker 2 (01:35:32):
You'll shy.

Speaker 16 (01:35:33):
I hope the gag will prove successful, Enrico.

Speaker 49 (01:35:36):
Unless Sergeant Plum finds certain papers with Sam's name signed
to them, I should be greatly disappointed.

Speaker 51 (01:35:41):
Well, he shut up a certain papers Sam's name signed
to them. But Dad, then you know about him?

Speaker 16 (01:35:48):
Yes, yes, indeed I know all about the notes that
Sam signed.

Speaker 50 (01:35:51):
Well why didn't you tell me?

Speaker 49 (01:35:53):
Because I've been waiting for the real murderer of Mugs
Barndo to confess the real murderer.

Speaker 17 (01:35:58):
But I thought you said it, Dull. I merely asked
Sargeant Plumb to take Douglas into protective custody.

Speaker 16 (01:36:03):
You see, he knew too.

Speaker 50 (01:36:04):
Much, knew too much about.

Speaker 49 (01:36:07):
What about Mugs Brenda coming here to collin you, my dear,
I'm afraid that if ron Rico, for example, knew of
the information Doug had acquired, it.

Speaker 16 (01:36:15):
Would be bad for Doug.

Speaker 42 (01:36:16):
You're not hidden brush police, that's a lie.

Speaker 17 (01:36:20):
Mugs never came here to call him, Harriet, didn't he, Sam,
ask your sister tell him, Harriet, tell him it's a lie.

Speaker 51 (01:36:27):
Well, my dear, Well Dan, if Douglas didn't shoot mux Brendo,
oh did?

Speaker 8 (01:36:34):
Why?

Speaker 16 (01:36:34):
The answer to that is obvious, My dear, you did?

Speaker 51 (01:36:37):
I didn't, Oh, Dan, How can you think me capable
of such a thing?

Speaker 16 (01:36:40):
Malex, my dear proved quite conclusively.

Speaker 17 (01:36:42):
Lex, don't prove a thing. Harriet couldn't shoot anything, Oh
couldn't she?

Speaker 56 (01:36:45):
Sam?

Speaker 17 (01:36:46):
Let's review the facts to begin with, Harriet was obviously
lying when she called me and said that a strange
man had committed suicide in her bedroom. Why because when
I examined the gun, I found that the safety catch
was on. Obviously a man couldn't shoot himself and then
snapped the safety catch on his gun. Why does that
prove that Harriet was lying?

Speaker 49 (01:37:01):
Secondly, the suicide note read, I can't stand it any longer.
I've decided to end at all, say goodbye to the game. Well,
bux Borndo wouldn't write a note like that.

Speaker 2 (01:37:12):
What was it?

Speaker 16 (01:37:12):
He couldn't stand? Whom did he want to say goodbye to?

Speaker 3 (01:37:15):
And to what?

Speaker 18 (01:37:17):
Game.

Speaker 17 (01:37:17):
What's that got to do with Harriet?

Speaker 16 (01:37:18):
A great deal. She'd read that type of suicide note
in newspapers and books.

Speaker 49 (01:37:22):
It's quite standards. Instinctively, she'd written down what she'd read.

Speaker 2 (01:37:26):
That's crazy, oh is it?

Speaker 49 (01:37:28):
Thirdly, the suicide note was written in pencil, Miss Fairfax
and I searched the room and found no pencil.

Speaker 16 (01:37:32):
Yet Harriet said she had touched nothing.

Speaker 2 (01:37:34):
He doc, Doc.

Speaker 52 (01:37:35):
Maybe deshmugged the fellow he swallowed the pencil after he
wrote the note.

Speaker 16 (01:37:43):
I hardly think that could have happened.

Speaker 49 (01:37:45):
Lastly, we found the pencil which Harriet used in her handbag,
checked her fingerprints and discovered it was she who had
written the alleged suicide note.

Speaker 17 (01:37:52):
You couldn't have. Harriet isn't capable of shooting anyone. She well,
she just wouldn't.

Speaker 49 (01:37:57):
Unfortunately, Sam, people who seem incapable of are the very
ones who are most frequently guilty.

Speaker 16 (01:38:03):
You see in the study of the human mind, you.

Speaker 17 (01:38:05):
Nuts, they spent more time studying human beings and forgot
their minds for a while. You might get somewhere, Harriet,
for Heaven's say, tell this guy that you didn't.

Speaker 51 (01:38:12):
I can't ma'am, it was I who wrote the note.

Speaker 50 (01:38:17):
What they can prove I wrote it. It won't do
any good to lie.

Speaker 16 (01:38:21):
Thank you for saving us a lot of trouble.

Speaker 49 (01:38:23):
Harriet, Miss Fairfax is Sergeant Plumb waiting outside.

Speaker 50 (01:38:27):
Yes, shall I get him?

Speaker 49 (01:38:28):
I think you'd better tell him that Miss Miller has
confessed to the murder of Mug's Borrendo. All right, No, no, wait, wail, Sam,
it wasn't Harriet.

Speaker 2 (01:38:37):
I can prove it.

Speaker 16 (01:38:38):
Come come, Sam, We've already prove.

Speaker 17 (01:38:39):
Listened to me. Let me finish. Harriet is trying to
protect someone who Sam me. She thinks I murdered mugs Sam.

Speaker 16 (01:38:48):
No, well did you, Sam?

Speaker 17 (01:38:50):
I don't know. There was a fight at the Marble Fawn.

Speaker 16 (01:38:53):
I was there.

Speaker 31 (01:38:54):
I had a gun.

Speaker 2 (01:38:54):
Easy, shut up.

Speaker 17 (01:38:55):
I'm gonna tell it all Enrico. I don't care what
happens to me. I'm not going to arrest my sister
for something I did.

Speaker 41 (01:39:00):
You open your mouth and selfis.

Speaker 16 (01:39:03):
Go on, Sam.

Speaker 17 (01:39:05):
There were five of us mixed up in the fight.
I had a gun. When the lights came back on,
Muggs was dead. They said that I killed him. They
told me not to worry that They take care of everything.
I didn't know what they'd done with the body. And
then when Harriet said it was suicide.

Speaker 32 (01:39:18):
I told you, I'm back here. You got Mario.

Speaker 42 (01:39:19):
He's got a guy.

Speaker 17 (01:39:29):
In a moment who returned. For the conclusion of danger,
doctor Danveld.

Speaker 13 (01:39:32):
But first.

Speaker 17 (01:39:37):
Now, for the conclusion of danger, Doctor dan Field.

Speaker 49 (01:39:45):
It was sam or prevented en Rico from causing anyone
bodily harm. Fortunately, later investigation, plus a bit of the
questioning from Sergeant Plumb, reveal the fact that it was
actually on Rico which shot Muggs. Brando enclosing, I'd like
to make mention of the fact that it was mine
of the workings of the human mind that actually made us, yes,
missus arresting, stop bragging?

Speaker 50 (01:40:07):
What do you know about? The human mind?

Speaker 51 (01:40:08):
Had nothing at all to do with the apprehension of Enrico.

Speaker 49 (01:40:10):
I make a DIFFERESTI had I not been a student
of human nature, it would have been impossible to force
sam and.

Speaker 16 (01:40:15):
Who confession into a confession.

Speaker 49 (01:40:17):
Of course, it was necessary to apprehend Muggs's murderer before
the press got hold of the matter and Senator Mello's
name was brought into the picture.

Speaker 16 (01:40:24):
There was absolutely no evidence against.

Speaker 50 (01:40:25):
Don Rico, and there was plenty against Harriet.

Speaker 49 (01:40:27):
Precisely. Sam had been gambling heavily at the Marble Fawn.
He'd signed notes in lieu of payment.

Speaker 16 (01:40:33):
Muggs had been using those notes to blackmail Harriet, threatening
to create a scandal her time. Harriet paid.

Speaker 49 (01:40:39):
Finally, realizing there would be no end of the blackmailing,
she threatened to go to the police. That's the reason
why Muggs's body was deposited in her bedroom, I see.

Speaker 51 (01:40:47):
And the only thing she could think of to do
is to try and make muggs death look like suicide.
Quite all right, now, what made you so sure that
don Rico was involved in the murder?

Speaker 16 (01:40:57):
Why arrested? That was ridiculously easy.

Speaker 49 (01:40:59):
When I suggest to dwan Rico that he was now
the boss of the Marble Fawn since Muggs had expired,
he nodded quite casually.

Speaker 16 (01:41:05):
And when I'm in the conversation, well, I'm.

Speaker 17 (01:41:09):
Surprised, how did Henrico know of Muggets? Demided unless you
were somehow involved in it. No one knew about it
except you and me, Howriett and Mario Dana.

Speaker 50 (01:41:17):
I've got to break down and admit it.

Speaker 19 (01:41:19):
You're clever.

Speaker 16 (01:41:20):
No, my dear, not clever. I merely work hard in
understanding human nature. Well shall we get out with our dictation?

Speaker 42 (01:41:27):
No?

Speaker 8 (01:41:29):
No, mm hmm.

Speaker 50 (01:41:31):
I much rather have you worked hard at understanding human nature?

Speaker 16 (01:41:36):
I see what you mean. That's fairy facts. I mean resting.
Would you mind stupping this way?

Speaker 12 (01:41:42):
A moment, deep night?

Speaker 61 (01:42:12):
There is a boundary that marks the scene from the invisible,
a veil separating the well lit world of the familiar
from another place less easily known. We might try to escape,
but try as we may, we are pulled back, only
to find ourselves more heavily shackled in the shadows. Eero

(01:42:34):
may look like your typical teenage boy, but everyone in
town knows he has a secret. So does the town
he lives in. For what Ero knows, he faces oblivion
in the darkness A deep night, Tonight, bone House by

(01:42:57):
Kendra Fanconi.

Speaker 62 (01:43:10):
When I say something, there it is, the sentence ends
and the next one starts. They don't go around in
a circle, One goes after another. I lay these sentences
end to end, like laying a road. When I talk,

(01:43:32):
I am not talking about anything but towards something. There
is no good road out of the town where I
grew up. The closest town to us is long distance
over bad roads along the Number one Highway. If you

(01:43:54):
ask someone there about us, they'll say they see one
of our townsmen when he comes for supplies, but mostly
we keep to ourselves. They'll say, only good folks live here.
There is no story to the contrary. They can pass along,
so you won't have heard of us before. Now, maybe

(01:44:14):
you have driven through the prairies on the Number one
by now you are a long way off. Hopefully this
story is long enough to reach you. If it does,
you can pass it on. If everybody tells everybody else,
I'll be better off. This story is the secret of

(01:44:37):
this town. The first time I run away, I run
right back. I get caught halfway on a barbed wire fence,
and two old farmers find there. They lead me home.
They stay outside while I eat in the kitchen. I

(01:44:59):
hear them in the yard and tell fall asleep. I
opened my eyes. It's morning. I am in my bed
and the old farmers are gone. The sun is up.

(01:45:20):
Everyone is in the barn. I should high tailor down there. Instead,
I go to EM's.

Speaker 42 (01:45:31):
We're going to do.

Speaker 1 (01:45:34):
Now?

Speaker 62 (01:45:35):
Am is really m Zena. We still use the old names,
though most of them are falling apart by now. MS
is one of them. She runs the diner, and I'm
in love with her. She is someone in between a
grandma and a girlfriend, which means if I were littler,

(01:45:55):
I would crawl up on her lap and put my
nose on her neck. And if I were bigger, I'd
pull her onto my lap and put my chin on
her head. As it is, I eat pancakes and EM
talks that way. Both their mouths are busy. The pancakes
are good. Put the coffee.

Speaker 54 (01:46:14):
Taste like slew py ah, watch your mouth.

Speaker 62 (01:46:19):
Why doesen in m good morning?

Speaker 54 (01:46:23):
M must be midnight If it were mornings and you'd
be at your chores.

Speaker 62 (01:46:28):
No one woke me for chores.

Speaker 54 (01:46:30):
I'll bring you pancakes.

Speaker 62 (01:46:33):
Last night I tried to run away.

Speaker 60 (01:46:38):
Well, ero.

Speaker 14 (01:46:40):
Should be such a thing.

Speaker 54 (01:46:41):
Now I can tell you the founders of this town
were all runaways.

Speaker 62 (01:46:48):
They were.

Speaker 54 (01:46:50):
Because my grandfather left the old country, first landed in Newfoundland,
put on his shoes and walked a thousand miles. What
stopped him, Well, his feet got sore, so he said
a while here with his feet in the creek. He
had to soaka shoes to get him off.

Speaker 62 (01:47:08):
I like to imagine a walk like that.

Speaker 54 (01:47:11):
The soil here looks so good you could sprinkle it
on ice cream. He wrote that in a letter to
his brother. And the men started coming, and there were
ornery cusses, but they hammered themselves together till they stuck.
We are the timber and the pegs of this town.
So if you pull one of us out the whole
thing crashes down. You're gonna say, well, folks die, And

(01:47:34):
yes they do. We lose some, and that's a blow.
It hits us the same way a spring storm shakes
a barn, but the barn itself doesn't get up and
wander away. This town is here because I pour coffee
and you eat pancakes. That's the secret of this town.
You and me are holding it together. Heero, you got

(01:47:59):
a job to do.

Speaker 62 (01:48:02):
I took a bite so big my cheeks hurt. It
meant I understood em. Slid three more pancakes on my plate.
I had to finish them quick. I had chores, I
had school. I had to help in the fields. I
had to grow up, grow crops, improve the well, harvest,

(01:48:22):
and butcher. I had a new barn to raise. I
had my parents to bury and children to sire. I
had to raise them right and marry them off. I
had to lose my hair and get a hat and
become an old farmer. I'm off now, am.

Speaker 1 (01:48:41):
We'll be saying, yeah, I heard you run away last night.
Year Oh oh, yes, sir, okay.

Speaker 62 (01:48:53):
I just had an itch. A few had a skater
bite ditched.

Speaker 1 (01:49:01):
We just scratch it.

Speaker 42 (01:49:04):
No, I wouldn't.

Speaker 62 (01:49:06):
It doesn't help to scratching it. You should slap it hot.

Speaker 3 (01:49:09):
Oh boy, that should carry you.

Speaker 62 (01:49:18):
We have a preacher in town, but we listen to
the old farmers. They have seen everything. The Bible, as
far as we can tell, happened over in a desert
with sand dunes and olive trees. That's far off from us.
If there is a question in town, we take it
to the old farmers. They take their answers from the land.

(01:49:41):
Everything is flat here. No person is different from any
other person. We eat the same, and sleep and wake
the same. We plant together and harvest together, and the
old farmers tell us what to do next. I'll tell
you about the second.

Speaker 8 (01:50:01):
Time I ran away.

Speaker 62 (01:50:11):
It's plowing time. We boys are sent ahead into the
furrows to pick out stones. We pitch them over the
fence and into the prairie grass. The men are behind
with the horses. The tractor is rusting by the barn.
So I am working at it all.

Speaker 3 (01:50:29):
The boys are.

Speaker 62 (01:50:33):
There's a little, there's two, there's three, there's one.

Speaker 32 (01:50:42):
Two, three, four?

Speaker 8 (01:50:46):
Look at him?

Speaker 2 (01:50:47):
What are you doing?

Speaker 8 (01:50:48):
Hero?

Speaker 62 (01:50:48):
The names you pitching rocks? Uh, we are hauling out
the biggins. You're just messing with pebbles.

Speaker 8 (01:50:55):
Sure, if you let a.

Speaker 62 (01:50:57):
Small rock in the ground, it's gonna grow like a potato,
and then the next year it would be a rock
as big as your head. Pebbles are little rock seats?

Speaker 2 (01:51:06):
Is that for real?

Speaker 3 (01:51:07):
I figured it out?

Speaker 62 (01:51:09):
Makes sense, don't it? Don't be a cuss?

Speaker 8 (01:51:12):
Hey, that hurt.

Speaker 55 (01:51:13):
If you're lucky it wasn't a rock us.

Speaker 18 (01:51:16):
Hey, Hey, you know where you go?

Speaker 62 (01:51:18):
You dive through the fence and run. The boys aren't
far behind me, The men aren't far behind them. The
ladies are worrying the railing off the porch. I don't
get any further than the fuck brush.

Speaker 12 (01:51:41):
Where you going?

Speaker 62 (01:51:43):
Old Pavo has my arm. The others walk ahead.

Speaker 63 (01:51:50):
You wonder if there's something out there for you, why
shouldn't we let you go find out. Let's think about that.
Say you're gone, the only one. All the other boys
are left wondering what you're doing out there while they
do your chores. And they'll picture you in Saskatoon taking

(01:52:11):
up with movie stars. Yeah, andnother will follow you, and
the ones who are left now and they do double
at work, so they go too.

Speaker 3 (01:52:22):
And when the boys are gone, he ain't get to
the men.

Speaker 12 (01:52:26):
We'll lose our men.

Speaker 1 (01:52:29):
And what happens to this town with no boys and
no men?

Speaker 63 (01:52:31):
But uh, yeah, well, the crops don't go in the ground,
and you they don't come out, and the fences will fall,
and the cows will wonder when snow comes.

Speaker 1 (01:52:42):
The roof caves.

Speaker 3 (01:52:44):
We are left bare to the sky as old men
and the good women and the little babes in their arms.

Speaker 63 (01:52:51):
That's how this town will die. Is it there for
one boy to wander and kill the whole town?

Speaker 1 (01:53:03):
You think about that.

Speaker 62 (01:53:06):
We went back to the fields.

Speaker 5 (01:53:10):
That year.

Speaker 62 (01:53:11):
You could shoot a rifle down the furrows. They were
so straight.

Speaker 2 (01:53:15):
That year.

Speaker 62 (01:53:17):
Instead of golden, the wheat turns brown. The others head
home for dinner. I sneak off towards the sick horse
stable until my sister Una calls me. You can almost
hear her from there, can't you. I don't pay her

(01:53:39):
any mind. I keep walking. Una talks in circles. Her
sentences go round and round.

Speaker 30 (01:53:47):
Eero.

Speaker 62 (01:53:48):
Time to get up. Your chores are waiting, and take
that sweelpail.

Speaker 11 (01:53:52):
Eero. Those towns then kind of supper, hiero.

Speaker 62 (01:54:00):
He is surly on account of the drought and the grasshoppers.
These things don't fuss my father. There is a finished
word for the thing he has se sue ce sue
is what keeps you sitting in the sauna. Downright cussedness.
He has it sitting in the sauna. Sausages are curing

(01:54:24):
in the smoke by his head, and he doesn't budge.
When I get to the stable door, my father is waiting.

Speaker 1 (01:54:36):
Here.

Speaker 62 (01:54:36):
All yes, sir, When you see a sky like that,
what does it mean?

Speaker 4 (01:54:44):
I look up.

Speaker 62 (01:54:47):
One of the clouds is a horse. Anyone could see that.
It is flying in the wind. A horse now around here.
They tell us to learn from the animals. When you
see a bush rabbit dozing, it is too hot to
be in the fields. If your dog takes a bite
out of your neighbor's dog, your two families better eat

(01:55:08):
together that night. Better to eat together than to eat
each other. An animal will teach you that a horse
has got secret winks. I look at that horse in
the sky and tell them what it means. Maybe I
got wings too. I don't know about, but if I
knew how to work, it might fly too. He puts

(01:55:30):
his hand on my shoulder so hard my heels sink
in the ground.

Speaker 3 (01:55:33):
A cloud like that means rain.

Speaker 62 (01:55:38):
Suddenly I'm in the dirt, cover up the hay, still
in the dirt. When he walks off, I roll on
my back. A cloud that is a horse turns into
a hand and points to me. I am thirteen, and

(01:56:01):
my brain is growing curly instead of straight. I put
my hand down on something in the grass. I sit up.
I stand up, and I'm running full tilt towards EM's.
The diner is almost full up.

Speaker 3 (01:56:22):
Shucks.

Speaker 62 (01:56:23):
I order myself some pie in the afternoon. Am serves
herself a piece of pie to keep you company. She
keeps it at your table and needs a fork full
when she's by. A problem needs pie like a crop
needs rain.

Speaker 54 (01:56:38):
BlackBerry.

Speaker 62 (01:56:39):
Heero, thanks em?

Speaker 54 (01:56:41):
Something wrong? Exactly what's in your hand?

Speaker 12 (01:56:48):
Fork?

Speaker 54 (01:56:48):
Other one?

Speaker 29 (01:56:50):
Oh?

Speaker 62 (01:56:50):
Nothing?

Speaker 54 (01:56:52):
Can I see it?

Speaker 1 (01:56:56):
A rock?

Speaker 62 (01:56:57):
Look on the other side. That rocks got a seashell
pressed right in it.

Speaker 54 (01:57:01):
Oh my mind must be a fossil.

Speaker 62 (01:57:04):
That is a rock from a hayfield. Cough, thinking about
the ocean. I'm not the only one who wants to
get out of here.

Speaker 54 (01:57:11):
Shoot, I don't mean eero.

Speaker 64 (01:57:15):
I am going to tell you something now, and you
are going to listen. So shut your yap and open
your ears. Okay, I'm going to tell you about a
rabbit now.

Speaker 54 (01:57:27):
A rabbit is a living thing because it's either real
good at hiding or real good at running. You better
be good at one or the other. Earro hiding or running.

Speaker 62 (01:57:44):
That is my last bite of pie. I go to
hide that rock in the sick horse stable. I have
a collection hidden in the straw. See we got stone
fruit around here. Nothing unusual there anyone I know can

(01:58:05):
eyeball a low branch of cherries and predict the size
of the pie. The first cherry I ate this year
had a triple pit in it, stuck together like a snowman.
I got another pebble winks at you like an eyeball.

(01:58:25):
And when m had a gallstone removed, whoa, the doctor
didn't want it. Then there's a chunk of shale in
the shape of the State of Texas. My brother had
it in his hand and was going to chuck it.
Did you know that if you took the State of
Texas and flipped it up, the tip of it would
nearly touch our town. I caught that rock mid air,

(01:58:49):
and my hand stung till supper. I lay them all out.
It isn't enough to look at them. I want to
sit on them like a hen. I don't tell anyone
about my collection. Of course everyone finds out.

Speaker 12 (01:59:13):
I'll watch that, you guys.

Speaker 62 (01:59:15):
I show him. Old Seppo puts each rock in his
palm and closes his fingers. This man has been a
dairy man all his life, so he can't hardly know
a thing without milking it a little.

Speaker 65 (01:59:29):
You think they're all special, But what matters, boy, is
that they're all stones.

Speaker 62 (01:59:37):
Old Seppo pours them into my hands.

Speaker 12 (01:59:44):
Come with me.

Speaker 62 (01:59:45):
We walk out to the edge of the field.

Speaker 65 (01:59:50):
Stones don't belong in a horse stable, and the COOLi
I get home where you belong.

Speaker 62 (02:00:07):
Instead, I wait in the grass till sundown. The third time,
I run because the horizon is the only thing left alive.
Maybe they were watching me from their windows. I reached
the buffalo rubbing stone. It's a decent place to catch
my breath. I'm crouching watching The old farmers are coming

(02:00:33):
from me. They give me a whooping. If you hold
your hind tight, you don't much feel it. Old Pavo

(02:00:53):
helps me walk back to his henhouse. We watch his
chicks grappling in the dirt, and.

Speaker 63 (02:01:01):
You see them chickens, Yes, sir, a chicken you can
cook up before it's born or after it's dead.

Speaker 3 (02:01:09):
Useful creature.

Speaker 63 (02:01:10):
Some things can be real useful dead, But everything is useful.

Speaker 62 (02:01:18):
M Dead folk here are treated nice. The town is
careful about making sure that dead is dead. At a funeral,
they always tie a thread around one finger of a
dead man. If it swelled up, he's alive after all,
and you put him back in bed instead of in

(02:01:39):
the ground. If they do put a body in the ground,
it is a big deal and a good time. The
graveyard is in the center of town, and it's so
crowded that in order for a body to go in
the ground one's got to come out. We take the
one who has been under the longest, so there's a
good chance that meets.

Speaker 42 (02:01:59):
Off the bar.

Speaker 62 (02:02:01):
The skull we take off and put up in the
rafters of the church. If you look up to heaven,
that's what you see. Then the bones go in the
bone house. Following the drought, we had a summer so

(02:02:22):
wet the seed molded instead of sprouting. Then that winter
the snow was so deep you could step over the
power lines, so we lost some cows. The next year
was pretty much the same, step worse, even because the
silos were empty. Now it's harvest, and already there is
food rationing and arguments about it. By now, I am

(02:02:45):
almost sixteen. My thoughts are sunk inside me. I am
only heads and feet. I might have stayed that way
if it weren't for the rat king. I'm done with

(02:03:09):
my chores. With fewer cows, it doesn't take long. I'm
walking back by the tack room. I want you to
see it now like I saw it then. These rats
had been running about scrabbling for food, and they got
themselves in a tangle. Imagine a pack of rats with

(02:03:34):
their tails in a knot in the center, and they
were trying to run, but tied together, they couldn't get anywhere,
and it didn't take long till they collapsed from the effort.
It happens. It does happen often enough that someone can
remember that they heard it happened once before they were born.

(02:03:56):
Someone remembered that it's called a rat king. Yes, every
rat was dead. The rats had become their own trap.
I wanted to tell someone. The kitchen ladies are waiting

(02:04:19):
for the carrots to cool so they can finish cooking
for chicken Tuesday. They are sitting on the back stoop
of the hall, thumbing their calluses and hold up the
rat king, and their eyes darken.

Speaker 34 (02:04:34):
When I leave with it.

Speaker 62 (02:04:36):
They follow me into town. On the way, I hear
that sound. I was thinking Una might think from seeing
the rat king, but she wipes her hands. I am
walking to the center of town with my family behind

(02:04:58):
me and the kitchen ladies behind them, and in front
of me, I have the rat king, with everyone watching.

Speaker 12 (02:05:09):
I lay.

Speaker 62 (02:05:09):
The rat came down. There wasn't anywhere else to put it.
It belongs at the center of everything, the way a
belly button does. The boys and the girls and the
ladies and the men and the old farmers draw in
around the tangle of rats. No one speaks. You can

(02:05:32):
tell the temperature by how many times a cricket chirps
in a minute. It is getting hotterer. You see those rats.

Speaker 55 (02:05:45):
You want us to die like that?

Speaker 42 (02:05:48):
I pick up the rat case.

Speaker 62 (02:05:51):
And I put it on my head.

Speaker 34 (02:05:55):
It was time.

Speaker 62 (02:05:57):
It was the sign.

Speaker 30 (02:06:00):
To let you go.

Speaker 62 (02:06:03):
I am sure you cannot guess what happened. Then Old
Pavo gives the rat king to his barncats, and it
is gone by morning.

Speaker 3 (02:06:16):
I go to M's.

Speaker 62 (02:06:25):
I'd like some pie out of pie.

Speaker 18 (02:06:30):
You can't be You best be going now.

Speaker 62 (02:06:33):
I'll have a coffee out of coffee. We'll make some bero.

Speaker 54 (02:06:39):
There is nothing I can do.

Speaker 62 (02:06:43):
That is the fourth time I run away. The fourth
time I would run low and hide myself in the
grass like a rabbit, hiding for running for both. The
fourth time they take away their shoes. They beat the
bottoms of my feet. If I couldn't walk, how could

(02:07:04):
I run? The fifth time, I run barefoot alongside the
cows going to night pasture, through the frozen thistles. I run.
They find me at dog standing in a fresh cowpie
to keep my toes from freezing. That was the fifth time.

(02:07:27):
Now five is a number you can handlem five you
can count on your head. Six is something else. The
sixth time they put me here in the bone house.

(02:07:49):
The bone house is a small stone house with a
heavy door. It takes three men to push that door open. Inside,
all the bones piled up together, all the bones sept,
the skulls you see, which are up in the rafters
of the church. Like I said before, they said they
would be back by new.

Speaker 1 (02:08:12):
Well.

Speaker 62 (02:08:12):
For that long I could sit sideways on it picking thanks.
With it so dark in here, it could have been
an hour that's passed, or three days. It could have
been forty years. It has been a long time since
we went away. I went through being scared, and then bored,

(02:08:36):
and then plain mad, then curious about being with all
the dead folk. I couldn't help feeling friendly with them,
stuck in here just like me, but not like me.

(02:09:01):
I never heard of this town having one like me.
I really thought about that. Nature makes a handful of
funny stones. How come I am the only strange one
in this town? Until I got bored with thinking and

(02:09:22):
wished they would come. I yelled the worst word I knew,
and I felt good. Then after that I felt terrible,
which pretty much brings me to naw Cause a minute
ago I put my hand on something, not a bone

(02:09:52):
like all the other bones here, a skull. What do
you make of that? Weren't you listening? I told you
skulls threw up in the rafters of the church. Now
isn't that curious that one would be in the bone house?

(02:10:15):
If there had been a skull was missing from the
rafters of the church, why there would be a story
about it. That is something to talk about, and there
is no story. What do you make of that? Do
you think this skull was accidentally like tossed in? Do

(02:10:42):
you think people in this town do things accidentally? Or
do you think they never came? Did they? I am

(02:11:04):
the secret of this town. I gotta keep talking. When
I say something, there it is the sentence ends and
the next one starts. They don't go around in a circle,
One goes after another. I lay these sentences end to end,

(02:11:28):
like laying a road. So when I talk, I am
not talking about anything but towards something. I will talk
my way out of here. I will talk through the
cracks I will talk over the fields in between the
barbed wire. I will weave through the prairie grass and

(02:11:51):
talk into the sunrise. I will talk until I get somewhere.

Speaker 61 (02:12:23):
Bonehouse was written by Kendra Fancani. David Baisley played Ero,
Nicola Cavendish was Mcina, Frank c. Turner was Perty, Alex
Diacon played Pavo, and Eric Schneider was Seppo. Mara Coward
was Una, and Tom macbeth played the father, with Christopher

(02:12:44):
Murray and Ryan Beale as the boys. The script editor
was Beverly Cooper. Bonehouse was produced in Vancouver by Heather Brown.

(02:13:05):
The next voice is heard in Deep Night, which is
worse an uninvited guest who outstays their welcome, or someone
something we invite across the threshold and then refuses to leave.
And even worse, what if Mom finds out the guest
from beyond the veil is moved into the bedroom closet.

Speaker 11 (02:13:28):
Go away, Brittany. I'm busy plotting my revenge. I only
have an hour.

Speaker 66 (02:13:34):
It's time to reveal the means by which I will
get Kalsaki. In the necronomicl literally a book of dead names,
A nasty little Grimoire, whose sole purpose is the summoning
of supernatural forces. I'm amazed at such an unspeakable Tome
of evil is available on Amazon dot Com nineteen ninety eight,

(02:13:57):
shiping not included. One can only concluded that the World
Wide Web is a force for evil. Back when my
father was alive, he used to read me HP. Lovecraft
at bedtime. He was a bit of a sicko, but
I remember those stories well at night under the covers,
shivering in fear at the names of Cthulhu Yog sought

(02:14:19):
Off and the many tenth gold Moggloth Cagalanatron. Their nightmare
pseudopods rose up from the inky pool of my subconscious,
loosing suckers, pulling me down, down, down, into the murky,
obsidian depths of crazy evil badness, until finally they became
real to me. They are real, and with the help

(02:14:41):
of the Necronomicon, there now might command.

Speaker 3 (02:14:48):
I wanted my.

Speaker 66 (02:14:48):
Supernatural revenge on mister Kazaki for humiliating me, so it
was time to summon up a demon lord to eat
his soul.

Speaker 61 (02:14:56):
The thing from beyond my closet takes up residence in the.

Speaker 4 (02:15:07):
But diary Oh.

Speaker 2 (02:15:12):
Fate plays no favorite. It could happen to you.

Speaker 60 (02:15:22):
Book eighty three, Pay nine hundred and forty seven in
the Diary of Faith. Yes, here it is the name
Marvin pollas occupation secretary. Yes, Marvin, as a male secretary.

(02:15:49):
You have been successful. Your pay is more than twice
what other men in similar positions receive. But you have
earned it, haven't you, Marvin. And what you've gained in money,
you have lost in self respect. For although you and
your employer are of equal age and intelligence, his endless,

(02:16:13):
humiliating domination has made you so intimidated and obsequious.

Speaker 2 (02:16:18):
He ruled you completely. And now I.

Speaker 60 (02:16:23):
Faith intervene, and because of a little thing, you will
be forced through a decision, a decision or evil. As
this man moves through life, You who listen may think
me unfair, but faith is not cruel, not unmindful of

(02:16:44):
mortal rights. In a moment, it will be time for
another entry under the name Marvin Thomas. When I have written,
I will read from his record in the Diary of Faith.
I hope you understand. No mortal is granted foresight to

(02:17:23):
perceive the future. And now I face look ahead at
a single court pensis instant to a dark pitching deck
of an ocean liner far out at the.

Speaker 18 (02:17:39):
What's that, Thomas?

Speaker 2 (02:17:40):
Are you drunk?

Speaker 9 (02:17:41):
What?

Speaker 8 (02:17:42):
What?

Speaker 2 (02:17:42):
What are you doing?

Speaker 25 (02:17:43):
Put that iron power down?

Speaker 18 (02:17:44):
Thomas, You're out of your mind.

Speaker 1 (02:17:45):
Don't.

Speaker 2 (02:17:46):
I'm not out of my mind, mister Fielding. I'm going
to be rid of you, so don't.

Speaker 60 (02:18:04):
No mortal has the ability to say what even the
next hour will bring, or the consequences of little things
are beyond reckonings. Yes, the countless, tifling incidents of everyday
life are the tools with which I faith mold the

(02:18:26):
shape of destiny. I have no choice but you, Marvin,
we're not aware of this. And you sat in the
lavish house overlooking Honolulu and nervously sipped the drink your employer,
the very wealthy recluse mister Gregory Fielding, plagued by arthritis

(02:18:48):
and addicted to cynicism, was talking about you in the
presence of a beautiful woman, Nina Carroll.

Speaker 25 (02:18:57):
And once more, Thomas, it's all your fault. Sorry, mister,
but I'm really not stupid. Thomas, you're merely simeless. I
told you to put a thing in that letter to Barnes.
You've done that properly. He wouldn't have dared to lay
the shipment. Now it'll be at least two weeks late.

Speaker 39 (02:19:13):
Oh what does it matter? After all, the copal can't spoil.

Speaker 2 (02:19:16):
Can no, Nina?

Speaker 25 (02:19:16):
But the market can? That lily livered Namby Pamby attitude
Thomas has will cost me several thousand dollars, right Thomas.

Speaker 2 (02:19:24):
Yes, sir, I'm afraid that's right.

Speaker 18 (02:19:27):
You're so timid.

Speaker 25 (02:19:28):
A pat on the wrist is your idea of severity.

Speaker 2 (02:19:31):
And I listened to me, Thomas.

Speaker 25 (02:19:32):
I told you to be tough in that letter.

Speaker 18 (02:19:34):
To Barnes, and I meant put the pair of the
devil in him.

Speaker 1 (02:19:37):
Do you hear me?

Speaker 25 (02:19:41):
Here's my not concerning I've got it all over my hands.

Speaker 2 (02:19:45):
Out of the way, Thomas, I'll have to go wash
it off.

Speaker 18 (02:19:47):
Excuse me, Nina?

Speaker 39 (02:19:50):
Well what are you staring at? Thomas?

Speaker 67 (02:19:52):
Right?

Speaker 1 (02:19:54):
Sorry?

Speaker 2 (02:19:54):
Missus Carol? I well, thanks for taking my side, taking
your side.

Speaker 39 (02:20:00):
Don't be ridiculous. What's the matter? Is my lipstick gone
upside down? You're still staring?

Speaker 1 (02:20:07):
Sorry?

Speaker 2 (02:20:07):
I didn't mean that is Oh good.

Speaker 39 (02:20:10):
Heavens, don't be ashamed. A woman thrives on things stir.

Speaker 2 (02:20:14):
Day, miss Carol. Nina you're so beautiful.

Speaker 39 (02:20:19):
Cheerful Thomas, you'll burn your fingers.

Speaker 18 (02:20:23):
Yes, run along now, will you?

Speaker 9 (02:20:25):
Oh?

Speaker 39 (02:20:25):
But I thought we'd have eating together.

Speaker 25 (02:20:26):
I'm sorry, but Thomas has made such a mess of things.
I'll have to get to work. You tell Clint to
bring the car around. Thomas's to drive miss Carol home.

Speaker 2 (02:20:34):
It's Clint night all. He's gone to the building tall.
I called car. No, you may as well dround yourself.
You'll be no help to me here there.

Speaker 60 (02:20:42):
Will, sir, I'll get a car, yes, Thomas, a little thing?
Still drink? And now you were driving Nina home. And
although you rode in the back seat, a nearness of her,

(02:21:03):
combined with my hatred you held for mister Fielding, made
you bold and records.

Speaker 2 (02:21:11):
Nina, Nina, you yourself told me not to be ashamed.
And I'm not beautiful. I'm in love with you?

Speaker 39 (02:21:21):
Why Tom, are you kitty?

Speaker 2 (02:21:24):
You are not kitty. We're away from the house now.
Won't you call me? Marvin?

Speaker 39 (02:21:30):
What would Gregory say about this?

Speaker 2 (02:21:32):
I don't care. I despise him. He's a mean, sickly beep.
How can you possibly be in love with him?

Speaker 39 (02:21:39):
What makes you think I am? Why are we stalking.

Speaker 2 (02:21:46):
You're not in love with mister Fielding. I thought maybe
you'd like to ride up here in the front seat
with me, so you're a man and not a mouse
after all. No, Thomas, I think not. I'll ride back here.
You're just doing this becauet eaven mustreger. That's not true, Nina.
I love you.

Speaker 68 (02:22:06):
This has gone far enough. The ghost sign in my
life is the dollar sign. You haven't got it, and
I don't think you will have the nerve to ever
get it. So start driving, Thomas.

Speaker 2 (02:22:16):
All right, but you're seeing I'm going to change things,
do you hear? I set up with his insults, in
his high handed ways long enough. For twelve years I've
been unlived. Well, now I'm going to do something about it.
You just wait, say.

Speaker 60 (02:22:39):
An idea, once platted gen ray with sufficient incentive, often
takes roots and grows. That is why the next morning
you work with your employer. The things he said formed
the strange patterns in your mind.

Speaker 2 (02:22:59):
I'm trying. I've decided to go to Australia myself. Australia
on the Corpac deal with me, I asked why they
need a vacation?

Speaker 25 (02:23:09):
Besides, I want to see the Corpack brothers squirm. I've
arranged to have them pay the entire amount in cash
one hundred thousand dollars. It's liable to break them. It
should be interesting to watch them pay a fortune to
a man they've never seen, whom they know only is
a letterhead powerful enough to crush him.

Speaker 2 (02:23:27):
And besides, I never been to Australia. Are you blind?

Speaker 29 (02:23:31):
No?

Speaker 2 (02:23:31):
I want to sail. You're coming with me to make
all the necessary arrangements for next Wednesday. Yes, and oh,
by the way, called doctor Kmoso. Tell him my arthritis
is bad again. I want a treatment this afternoon at three.
And while he's here, you may as well have him
arrange for a doctor in Sydney to continue the treatment.
Oh and Thomas, yes, please don't bungle that point. Stress

(02:23:55):
the fact that I must have them on time once
a week. Understand. Yes, mister d.

Speaker 60 (02:24:05):
Your idol threat to change things was no longer idle,
Marvin Thomas, Now it had begun to grow. An idea
was taking form, and as you went about the petty
routine of the day, the words of your employer echoed.

Speaker 2 (02:24:24):
In your mind.

Speaker 69 (02:24:26):
He would pay the entire amount in cash one hundred
thousand dollars. Here fortune to a man they've never seen.
They know new movie The Letter in Australia one hundred
thousand dollars.

Speaker 2 (02:24:52):
Oh hello, doctor Kimoto, come in and mister Feeling, he
is going to make a picture of Sydney. He liked
you to arrange with the doctor there to continue the
treatment for his archwriters. Can you do it? Oh, yes, yes,
I can do it, and stress the importance that the
treatment beyond time. Mister Fielding made a particular point of

(02:25:13):
that you're smiling. Is something wrong?

Speaker 28 (02:25:17):
No?

Speaker 2 (02:25:17):
Oh no, Acres, It isn't really important, is it. That's
why you're amused? Well, it is not for me to say.

Speaker 60 (02:25:27):
Modern medicine is if a queer combination of drugs and psychology.

Speaker 2 (02:25:31):
Yes, I thought so. You're a pretty slie doctor getting
a fat sea each week for twelve years for your tychology.

Speaker 60 (02:25:40):
Or do not understand me, master Thomas. We are psychology
is important, but the drug, the interjection, and the cabots,
they are most definite proper Yes, smilen. Another item on

(02:26:01):
your list was checked off. Another step taken down a
path new and praying for you, a desperate, evil path
on the rules of delivering a package you went for
Nina Carroll's cottage.

Speaker 39 (02:26:17):
Thomas, what are you doing here?

Speaker 2 (02:26:18):
Can talk to you? Anina is tremendously important to me.
It's about the other night when I drove you home.

Speaker 39 (02:26:25):
I told you that had gone far enough.

Speaker 2 (02:26:27):
But I'm in love with you. I must know how
you feel about me.

Speaker 39 (02:26:32):
I'll see your mardel well.

Speaker 68 (02:26:34):
I told you already. As a person, I like to
burn much. But there are other things in the world.
I like, Moah, things that money can buy, and under
the circumstances I canifort.

Speaker 2 (02:26:46):
I had money, lots of money, things would be this
had been.

Speaker 39 (02:26:50):
There decidedly different Marvel.

Speaker 2 (02:26:53):
That's what I wanted to hear you say. Oh hello
stinship Line. Yes, I'd like to know what time the
Bendamin B sales for Sydney At nine thirty pm from

(02:27:17):
per thirteen. I think I want to make a reservation.
I want to reserve a cabin on Wednesday, first class.
Mister Gregory Fielding, no, no one else. Mister Fielding is
traveling alone.

Speaker 60 (02:27:38):
Yes, as far as the steamship company would know, mister
Fielding was traveling alone.

Speaker 2 (02:27:46):
But that was not the truth.

Speaker 60 (02:27:49):
Or you had every intention of being aboard to Benjamin
B two. When she failed, only you and I faith
knew that knew the full implication of that untruth, and
now there was no turning back. You would follow the
road you had chosen to its inevitable end. In a moment,

(02:28:14):
it will be time for another.

Speaker 2 (02:28:16):
Entry in the Diary of Faith.

Speaker 60 (02:28:40):
Yes, Marvin, your plan was simple but daring, and as
the day of departure approached, your confidence mounted. No one
knew your employer's habits as intimately and completely as you.
You knew them so well that given the opportunity, you

(02:29:02):
could actually become Gregory Fielding, and it was your intention
to give.

Speaker 2 (02:29:08):
Yourself that opportunity.

Speaker 60 (02:29:11):
On Wednesday evening, you boarded the ship to arrange the
final details for mister Fielding, and then you phoned him
from the docks.

Speaker 2 (02:29:21):
Mister Fielding, this is Talma.

Speaker 18 (02:29:23):
Is everything in order in my cabin?

Speaker 2 (02:29:25):
Yes? I just checked it myself. It's a very nice cabin,
says Number A twelve.

Speaker 18 (02:29:30):
I'll arrived at nine twenty five to.

Speaker 2 (02:29:33):
Stay very well, sir. Would you like me to order
a lake supper for you?

Speaker 70 (02:29:37):
Not a father, but what serves in the stateroom.

Speaker 2 (02:29:42):
I've taken care of everything, mister Fielding, everything, mister Bildings,
the buildings.

Speaker 26 (02:29:55):
Oh there you are in comments.

Speaker 60 (02:29:56):
I've been looking all over for you.

Speaker 2 (02:29:58):
Here take this bag.

Speaker 25 (02:29:59):
Stupid crabs, stuffy officials, worth my space.

Speaker 2 (02:30:02):
Room, this racer. Ride down this passageway to the.

Speaker 25 (02:30:05):
Lead the way, Thomas, I want to get out of
the sitiotic mom, we're under racer. Thank Heaven for mad Now,
maybe that mob out there will quiet down if I
may make a suggestion, mister Fieldinger, The deck will be
cool soon. You might enjoy the open air if your

(02:30:28):
room stays hot.

Speaker 1 (02:30:30):
Good idea.

Speaker 25 (02:30:30):
But I'll wait until that getting crowd has gone to bed.

Speaker 2 (02:30:33):
I can't stand him.

Speaker 29 (02:30:34):
You know.

Speaker 2 (02:30:35):
I have had a chair placed for you on the
boat day. It will be secluded in private's there. Oh
we're fine, Thank you to it.

Speaker 60 (02:30:44):
Not a dolphin now, if you'll excuse me, Yes, Marvin, Now,
everything was ready. All that remained was the deed itself.

Speaker 2 (02:30:58):
What you expected.

Speaker 60 (02:30:59):
No difficulty there, and so you walked the deck and
mingled with the passengers, waiting until they had retired or
only then could you strike. But at that moment, Thomas,
I fiate again moved in your life in cabin A twelve.

(02:31:20):
Mister Fielding was unpacking a briefcase and the picture fell
to the floor. He picked it up, looked at it, and,
on an idol whim, reached for the telephone.

Speaker 25 (02:31:33):
Hello missus, mister Fielding in A twelve, I want to
send a radiogram to Miss Nina Carroll four twenty kilometers
grant Honolulu message Nina, take plain for Sydney. Meet me
in my office at five pm on the fourteenth. Sign it, Gregory, Yes, Marvin.

(02:32:01):
Unknown to you, the ship radio was splashing a message
to Nina. Now you were pleased because you knew the
other passengers would go below all the sooner.

Speaker 2 (02:32:14):
You were right. The time had come.

Speaker 60 (02:32:18):
You pulled a heavy iron extension from its bracket and
climbed to the boat deck. And you stood in the shadows.
And what Gregory feeling had He shifted uncomfortably in the
deck chair.

Speaker 2 (02:32:36):
It's only I said, Thomas.

Speaker 25 (02:32:38):
Why are you lurking in those shadows like a shy schoolboy.
You should be embedd at the tower, I was restlessly.

Speaker 2 (02:32:45):
You should always make me feel that way. Yes, there's
power in the ocean. You can feel the Thomas, but
you'll never understand it. I'm afraid. Why do you say
that you have no concept of power?

Speaker 25 (02:32:56):
That's why you're weakened, indecisive.

Speaker 2 (02:32:59):
I think you're wrong, mister Fielding.

Speaker 25 (02:33:01):
And don't be silly here. We are two men of
the same age and equal intelligence. Yet look at the difference.
You can't make a decision and act on it, but
I can. That's the difference, Thomas.

Speaker 2 (02:33:13):
There's no difference. But that is how you're talking like
a fool. There's no difference.

Speaker 1 (02:33:18):
The people who don't know us.

Speaker 25 (02:33:20):
Will fail to see in these difference, Thomas. Are you're drunk?
What what are you doing? Put that iron bar down? Thomas,
You're out of your mind?

Speaker 41 (02:33:28):
Does not.

Speaker 2 (02:33:31):
T not out of my mind. I'm going to get
rid of you, mummers.

Speaker 60 (02:33:37):
Oh don't, Yes, Marvin, the last earthly sound of Gregory
Fielding was swallowed up by wind and water. You felt
you were safe, free and rich. For the rest of

(02:34:01):
the voyage, you rehearsed your new role until it was
perfect at last. When the ship docked to Sydney, you
were anticipating the business meeting of the coal Pax Brothers
with the same malicious delight mister Fielding would have.

Speaker 2 (02:34:19):
Be went at once the branch offices of the firm.
So you're mister Birch our Sydney branch. Well, mister Burch,
I'll require some minor accommodations during my stay here.

Speaker 1 (02:34:32):
I want a.

Speaker 60 (02:34:32):
Private office and a private wire.

Speaker 2 (02:34:35):
Your best secretary at my disposal exclusively. Bring out them
as the reports. I look them over, Kirts. That's right,
mister Birch. The Coalpac brothers already been notified as to
the terms of the payment. Have them here in my

(02:34:55):
office at eight this evening. I'll handle the whole thing myself. Yes, Marvin,
in a matter of hours the transaction would be completed.
You were sure that nothing could stop you now, But

(02:35:16):
then another little thing happened, and two.

Speaker 60 (02:35:20):
Unrelated elements in your borrowed life were brought into close conjunction.

Speaker 18 (02:35:29):
Yes, what is it?

Speaker 2 (02:35:33):
A doctor Cooper? I don't know any doctor Cooper? Was
he wont from a doctor Kalmoto?

Speaker 8 (02:35:42):
Oh?

Speaker 2 (02:35:43):
Of course, send him in, Miss O'Brien. Good afternoon, mis Fielding.

Speaker 1 (02:35:52):
I've got Cooper.

Speaker 2 (02:35:54):
How do you do? Doctor?

Speaker 1 (02:35:55):
That Kimoto wrote me about you?

Speaker 2 (02:35:56):
I wrote all the necessary items with me for your treatment. Well, doctor,
As a matter of fact, I'm very busy just now.
I wonder would you mind terribly coming to my hotel
later in the season.

Speaker 1 (02:36:09):
Well, no, certainly not.

Speaker 57 (02:36:11):
But doctor Kimoto was so emphatic regarding the time that
yet I know, but as it happens, I'm too busy
to take it at the moment, I'll see you say
at nine thirty.

Speaker 18 (02:36:24):
Yes, there's a lady.

Speaker 2 (02:36:30):
Here, Oh doctor, just a moment, mister Brian, where's the lady?

Speaker 1 (02:36:37):
Now?

Speaker 2 (02:36:39):
I see Tell miss Carroll, I'm with my doctor. I'm
taking a treatment. I won't be able to see her.
She used to go back to her hotel and wait
until I call, and miss O'Brien until the call tact
brothers arrive. I am not to be disturbed under any circumstances.
Is that clear?

Speaker 39 (02:36:57):
Yes, feeling.

Speaker 2 (02:37:00):
I've changed my mind, doctor, I'll take that treatment mine.
So fine, So now we mull your shirts for you.
At least tablets there are exactly the same as you've
been getting in Honolulu. Doctor Kamoso sent me complete detailed instructions.
Everything will be just as he would have given it. Fine, fine,
been taking these teatments for over twelve years, you know,
couldn't get along without them.

Speaker 57 (02:37:21):
Tomoto and I were students together years ago. I have
great faith in you. He's an excellent position. Yes, s
sorry this moment, now there's there you are. Injection always
thinks a little.

Speaker 2 (02:37:35):
But it does the word only thing that gives me
any relief.

Speaker 1 (02:37:38):
It I know.

Speaker 35 (02:37:39):
I'll leave my card with you, mister Field, in case
you want to reach me before next time. Oh fine,
thank you doctor, and good day, good day.

Speaker 60 (02:37:52):
Yes might'ven little things often become unbelievably important. Had the
doctor not in your office when Nina arrived, your whole
elaborate plan might have collapsed. But now you could meet
her later and explained it all, where her shocked surprise

(02:38:12):
would not matter. All that was left now was a
business meeting with the coal tax brothers. You sat at
the table, and one by one went through the steps
of the transaction. The coal packs were afraid of you.
You gave them no reason to doubt your identity. At

(02:38:34):
last you lifted the fortune in your hands one hundred
thousand dollars.

Speaker 35 (02:38:42):
Very well, gentlemen, amounted correct. Our business is concluded, Thank you,
and good night.

Speaker 2 (02:38:56):
Yes, Marvin Thomas, it was done. You were rich and free.

Speaker 60 (02:39:03):
But although the laws of nations differ, and the philosophies
of people's vary. There remains one in this capable constant
in the universe, the irrevocable law of justice. And you
who listen, unless you think fad a conspiratory and evil,

(02:39:24):
paid well this final entry. For a few moments, I
will write for the last time in the record of
Myrvin Thomas. When I have written, I will read from
the Diary of Faith. Yes, Thomas, had you carefully placed

(02:40:04):
the fortune in your pocket, you were sure you now
had everything you had ever wanted. You attributed the spinning
in your head and the weakness in your knees to
the sprain the during masquerade. But your face became drenched
with cold perspirations, and the short walk from the elevator

(02:40:26):
to your room left you breathless. He stumbled inside and
locked the door. Everything was spinning dizzily now, and the
floor seemed to row beneath your feet. Now, you stumbled
to the telephone to call doctor Cooper.

Speaker 18 (02:40:47):
This is doctor Cooper, Doctor.

Speaker 2 (02:40:50):
Mister Biley, something's wrong?

Speaker 1 (02:40:53):
Can sake?

Speaker 2 (02:40:55):
I can't bring I've got a cold sweater. Those killed
the tablature gave me?

Speaker 1 (02:41:01):
What were they?

Speaker 32 (02:41:02):
Why?

Speaker 70 (02:41:02):
They're the same thing You've been taking right along, sir,
They're quite harmless, I assure you.

Speaker 2 (02:41:07):
But the injection, what about it?

Speaker 18 (02:41:10):
It shouldn't bother humans feeling.

Speaker 70 (02:41:12):
I followed doctor Kimono's instructions of the letter given in
strict accordance with a cumulative immunity you've developed.

Speaker 2 (02:41:19):
Over twelve years, doca. What would happen if a man
with no immunity receive injection?

Speaker 70 (02:41:30):
It's antagonist facts harmless to you because you gradually built
up resistance to it. Without the cumulative immunity that Dosac
gave you, would resone a certain death within.

Speaker 2 (02:41:41):
Five hours, then hour, and now I close the book.
Marvin Thomas is dead.

Speaker 60 (02:41:58):
Another entry has been doing noted on the pages of eternity,
and justice has been served in the case of Marvin Thomas,
as in the cases of all mortals, I faith them.

Speaker 2 (02:42:14):
But the instrument of a plan, and the little.

Speaker 60 (02:42:18):
Things that happen unnoticed, apparently trivial, are the tools with
which I work. A still drink that a man on
the path of murder, and the casual remarks led him
to his own death. Underwell themorle you who listen and remember,

(02:42:41):
there is a page for you in the Diary of
Faith produced by Larry Finley.

Speaker 2 (02:42:56):
Diary of Faith is a Fiddley transcription.

Speaker 1 (02:42:58):
Brought to you from Hollywood.

Speaker 36 (02:43:45):
And Adventures in Time and Space told him future tense.

Speaker 1 (02:44:35):
Have you heard of the new science called cybernetics.

Speaker 36 (02:44:40):
It concerns man's efforts to develop a perfect thinking machine,
a robot electronic brain that will not only do man's work,
but even do his thinking for him, a robot that
is almost human. No, it's not impossible at all. In fact,
one day something like this may happen. A tall, suave

(02:45:05):
gentleman in a black raincoat will walk down the street
until he reaches a shuttered, isolated house.

Speaker 1 (02:45:12):
Then he will slowly mouth the front steps and push
the door down.

Speaker 53 (02:45:23):
Just a minute, I said, just a minute, hold your horses,
do you think?

Speaker 13 (02:45:29):
Go?

Speaker 1 (02:45:30):
My dear you looking lovely as ever? I command, Lola.
Why did you come here, curiosity?

Speaker 12 (02:45:40):
Darling?

Speaker 17 (02:45:41):
I've been thinking over what you told me at our
chance meeting last week. You promised me you wanted to
come and take a look for myself. Where's the professor
in his study?

Speaker 1 (02:45:51):
Anyone else in the house? No, just the professor and I.

Speaker 17 (02:45:55):
Where's Junior in the nursery? The nursery, and do you
have to take it a junior's nurseman? I helped the professor,
telling me as a guest duke, he's a nice old guide,
a darling.

Speaker 1 (02:46:10):
All right, yeah, where is that miss Williams? Professor Blossom?
And a gentleman?

Speaker 69 (02:46:21):
Is what here?

Speaker 1 (02:46:24):
I don't understand. He's waiting for you, but I gave orders.

Speaker 18 (02:46:28):
No one wants to be admitted to the house to
be insisted.

Speaker 1 (02:46:32):
Very well, you wait here and I will get rid
of him.

Speaker 18 (02:46:39):
So h what can I do for you?

Speaker 1 (02:46:42):
Professor?

Speaker 17 (02:46:44):
How do you know my name?

Speaker 1 (02:46:46):
I've come to see Junior.

Speaker 59 (02:46:48):
Junior, there must be some mistake down o children in
this house?

Speaker 13 (02:46:53):
Professor.

Speaker 17 (02:46:54):
What you feel pressing against your belly is the muzzle
of a forty five caliber pistol.

Speaker 1 (02:46:58):
Oh, now, shall we visit Junior?

Speaker 12 (02:47:03):
What do you know about that?

Speaker 1 (02:47:04):
I know everything? Shall we go inside? I want you
on the contrary. I warn you very well this way.

Speaker 59 (02:47:20):
This is the nursery, whereas Junior in the next room
behind the door is the panel in it.

Speaker 17 (02:47:27):
Very considerately furnished, mother goose figures on the walls, blackboards,
toy blocks, panda, bonny rabbit.

Speaker 12 (02:47:36):
Don don't you.

Speaker 1 (02:47:39):
All right, let's say.

Speaker 59 (02:47:41):
Now you can look through the panel. H Junior isn't
very pretty. I wasn't concerned with esthetics.

Speaker 1 (02:48:00):
Where do you hire him as a dangerous Oh?

Speaker 59 (02:48:03):
I see the world is not yet ready for such
a thing. Besides, I must study him. Yes, you can
see by his play he is very young, hardly out
of the cradle. I'm educating him with the nursery rhyme.
The brain is undeveloped. It must learn its behavior patterns
like any infant.

Speaker 1 (02:48:23):
Come now, you call that output monster and infant.

Speaker 59 (02:48:27):
Physically, of course, he will never change. He is built
of chrome, steel and glass. But his brain, oh, that
is my wonderful instrument.

Speaker 18 (02:48:37):
Unlike a human.

Speaker 59 (02:48:39):
He has no heritage, no a basic instinct such as
love or hate it.

Speaker 12 (02:48:46):
But this is none of your business.

Speaker 1 (02:48:48):
This is making it my business.

Speaker 59 (02:48:51):
Well, and then in some respects, he is like a
blank tablet, but it's written upon the tablet will remain.

Speaker 1 (02:48:58):
You mean he has no feelings.

Speaker 59 (02:49:01):
He will learn quickly, very quickly, because his brain is
not blocked by emotional considerations.

Speaker 1 (02:49:07):
Most interesting.

Speaker 59 (02:49:08):
Yes, now, if your curiosity is satisfied, I trust you
will keep my secret.

Speaker 1 (02:49:15):
If anyone discovered at this point in the door to
big about the door. I want to see Junior in person,
and I almost said in the flesh. Now look, hey,
I don't know you.

Speaker 59 (02:49:26):
I don't know how you learn my secret only Miss
Williams and as professor.

Speaker 1 (02:49:31):
Very well, Junior.

Speaker 32 (02:49:37):
Come here.

Speaker 1 (02:49:39):
Yeah, what a monster?

Speaker 26 (02:49:48):
Pappa?

Speaker 1 (02:49:49):
He talks, of course mentally. He is now about six
years old.

Speaker 18 (02:49:56):
Yes, yes, what is it?

Speaker 2 (02:50:00):
Who is that?

Speaker 24 (02:50:00):
Man?

Speaker 19 (02:50:01):
Papa?

Speaker 1 (02:50:02):
Let me handle this. You may call me Duke Son.
I've come to meet you. That's nice.

Speaker 56 (02:50:10):
Nobody ever comes to see me except Lola, Miss Williams.

Speaker 1 (02:50:16):
Do you like to play with blacks? Yes?

Speaker 17 (02:50:21):
Nothing that Duke enjoys more than playing with blocks. Play
with me, Duke, certainly, Junior. But I don't understand what
you're trying to do.

Speaker 1 (02:50:32):
Who are you?

Speaker 17 (02:50:33):
It's quite simple. I came to play with Junior. We're
going to be friends, Junior and I. When I finished playing,
you can have Lola, Miss Williams, prepare my room.

Speaker 12 (02:50:44):
Your room.

Speaker 1 (02:50:45):
I forgot to tell you. I've decided to stay until
the climate changes and I can go out again.

Speaker 59 (02:50:50):
No, no, this has has gone fine. You'll break into
my home. You'll force me at a gunpoint to open
my laboratory, and then you tell me you're moving in.
I won't stand for it. I call the police.

Speaker 17 (02:51:01):
I'm sure the police will be interested in Junior. Newspapers
will be delighted at the print your obituary too.

Speaker 12 (02:51:09):
What do you want?

Speaker 17 (02:51:10):
I told you I want a comfortable room, no rump
us with police, and an opportunity to play blocks with
Junior agreed.

Speaker 1 (02:51:20):
Oh, you are hiding from the law as you wish.
Now leave us alone, Professor, Yes, yes, yes, I will.
All right, Junior, your move. Let's build a bridge. Have
a better idea, Jr. What Let's build a coffin?

Speaker 19 (02:51:38):
A coffin?

Speaker 39 (02:51:40):
I don't know that word.

Speaker 17 (02:51:42):
I'll teach you, Junior. I can see the professor has
been neglecting the moral side of your education.

Speaker 13 (02:51:48):
Very sadly, Hella, oh lovely.

Speaker 1 (02:52:04):
You're wonderful.

Speaker 19 (02:52:05):
You shouldn't have come here, Duke.

Speaker 1 (02:52:07):
Why not, my dear, you're not afraid of me.

Speaker 53 (02:52:12):
I'm afraid of myself. You're no good for me, Duke.
You always brought me trouble. Doug, would have you been
teaching that thing?

Speaker 1 (02:52:26):
Nothing, honey, I've just been playing with him. Very education,
I don't believe you. That's eating you, Lola.

Speaker 53 (02:52:34):
Today, when I walked in there, he said to me,
I know how to kill people, Lola.

Speaker 1 (02:52:38):
I'll kill you if you want me to. He's learning
very quickly, Duke.

Speaker 53 (02:52:42):
I'm scared of that thing. It's unholy, a machine that
acts like a human with a voice, grinding edge and
saying thing you should expect from a child.

Speaker 1 (02:52:50):
You dislike him so much? Why did you take this
job as his nurse man, I answered a nad I
wanted to start over again.

Speaker 53 (02:52:57):
The professor didn't ask questions. I would have been all
right too if you hadn't come along.

Speaker 17 (02:53:02):
I'm very glad you did tell me, Dolly, because Junior
is going to make us two very successful people.

Speaker 50 (02:53:08):
How do you think of this?

Speaker 1 (02:53:10):
You don't think I spent hours each day playing with
Junior just to kill time, do you? I'm improving his mine, Dowling.

Speaker 17 (02:53:17):
Like any child, Junior listens to what he's told and
imitates his parents. Right now, his parents are you and me.

Speaker 1 (02:53:24):
A couple of fun examples we are.

Speaker 53 (02:53:26):
I don't know what you're teaching Junior, Duke, but I
can get and it isn't right.

Speaker 1 (02:53:32):
It's evil, My dear, You know me better than that.
What makes you think I teach a child anything evil.
I never taught you anything evil, did I, Darling well
did I?

Speaker 8 (02:53:45):
Yes?

Speaker 71 (02:53:47):
As she did?

Speaker 1 (02:53:49):
Ella taught me like it now, Junior, right on the blackboard.
My name is Junior.

Speaker 6 (02:54:09):
My name is Junior.

Speaker 18 (02:54:13):
People are evil.

Speaker 1 (02:54:15):
People are evil. Evil must be destroyed.

Speaker 39 (02:54:21):
Evil must be destroyed.

Speaker 17 (02:54:24):
The professor is evil, The professor is evil, the professor
must be.

Speaker 1 (02:54:32):
What are you doing? I want you to keep out
of the nursery, Professor? What are you teaching him? I said,
get out of here?

Speaker 18 (02:54:39):
Junior?

Speaker 12 (02:54:41):
What are you doing?

Speaker 8 (02:54:42):
Go away?

Speaker 12 (02:54:45):
You don't even.

Speaker 1 (02:54:46):
Remember me, Jr.

Speaker 56 (02:54:47):
I know you your professor Blassom, and you want to
keep me as your slave. You didn't tell me about
things about outside.

Speaker 32 (02:54:56):
You didn't tell me that people are evil.

Speaker 8 (02:54:58):
People are not e They are They must be destroyed.

Speaker 18 (02:55:03):
Stop.

Speaker 2 (02:55:03):
I'm not a child any longer.

Speaker 1 (02:55:06):
You are not a child.

Speaker 17 (02:55:07):
You are a monster. Yes, Duke, remember your lesson. Yes,
the time is now, Junior.

Speaker 26 (02:55:17):
Yes, Sduke.

Speaker 1 (02:55:19):
Hud keep away from me now, Jr. Yes, Suke, Junior,
don't do it.

Speaker 18 (02:55:31):
Jun Listen to me.

Speaker 1 (02:55:39):
I did it, Duke, Duke, I heard.

Speaker 20 (02:55:44):
Har Can we go away now?

Speaker 41 (02:55:46):
Duke?

Speaker 56 (02:55:47):
I don't like it here anymore.

Speaker 1 (02:55:49):
Yes, Junior, I think we're ready to go away.

Speaker 70 (02:55:51):
Now.

Speaker 1 (02:55:52):
Why did you do?

Speaker 17 (02:55:53):
The professor was in the way. We have to move
very quickly now because if you don't plan to come along,
just say so. I can have Junior right jor name
on his black Boss.

Speaker 1 (02:56:02):
You wouldn't. We'll go to Charlie's with Junior, with j Duke.

Speaker 20 (02:56:09):
You can't.

Speaker 1 (02:56:10):
I'm afraid, my dear.

Speaker 17 (02:56:13):
I have great plans for you too. Wouldn't you like
to be independently wealthy for the rest of your life.

Speaker 53 (02:56:17):
The only way you get that ways by inheriting a million.

Speaker 1 (02:56:20):
Not when you have a fellow like Junior around. Junior
is mine. He obeys me what you might call a
mechanical stool.

Speaker 53 (02:56:29):
I'm still afraid of him.

Speaker 1 (02:56:30):
Lola, Junior wouldn't hurt you. You wouldn't hurt Lola, would you? Junior?
You remember what I told you about Lola. You like Loola,
don't you, Junior?

Speaker 13 (02:56:42):
Oh?

Speaker 41 (02:56:42):
Yes, I like Lola.

Speaker 20 (02:56:46):
She's pretty.

Speaker 17 (02:56:48):
You see, Junior is growing up. He thinks you're pretty,
mister Wolf and still clothing he.

Speaker 20 (02:56:55):
Junior, She's pretty.

Speaker 1 (02:56:58):
All right?

Speaker 17 (02:56:59):
We're wasting time, okay, Junior, mesh gears we're stepping out
into the big wide world. So down, Charlie, sure, Dale,

(02:57:22):
Paul and I are going to hide out here.

Speaker 1 (02:57:23):
For a while.

Speaker 17 (02:57:24):
I'll need some help, Lessen, Duke, I'm trying to keep
the cops away. It wasn't refused, But Duke, hospitality with
your child, Why it ain't that? Now?

Speaker 1 (02:57:32):
Listen to me. I need a casing job done. Casing job?
You know the Armored Truck Service?

Speaker 17 (02:57:36):
Yeah, yeah, sure, I know when they take the ACME
deposits from Boston Worston. Well, Duke, you ain't thinking of
a payroll truck, are you? They got They got cannons
on those trucks, travel in pairs. You couldn't get near.

Speaker 3 (02:57:45):
One of them.

Speaker 17 (02:57:46):
I asked you to do a casing job, Charlie, Yeah, sure, Duke,
anything you say one of what time they passed an
hour was the most deserted stretch of road. If you're
going to pull a job like that, you'll need fifty men.

Speaker 1 (02:57:56):
You want me to get some of the boys. I
won't need anybody. I've got somebody where he's out in
the car.

Speaker 21 (02:58:04):
What's his name, Duke, anybody I know?

Speaker 1 (02:58:07):
His name is Junior.

Speaker 17 (02:58:09):
I don't know any junior.

Speaker 16 (02:58:11):
You will, Charlie, you will.

Speaker 1 (02:58:31):
About Sam?

Speaker 13 (02:58:32):
Oh?

Speaker 1 (02:58:33):
Thanks, am.

Speaker 18 (02:58:38):
Sugars up and he's on with trucks.

Speaker 72 (02:58:41):
Hey, you get used to it after you've been driving
one for fifteen years, like I have.

Speaker 1 (02:58:45):
How much we have haul in this time? About two
hundred and fifty thousand dollars two?

Speaker 12 (02:58:49):
Brother?

Speaker 1 (02:58:50):
Could I use a hunk of that?

Speaker 8 (02:58:51):
Yeah?

Speaker 1 (02:58:52):
Who couldn't? Wan'll be coming in a wool journey minute now.

Speaker 32 (02:58:55):
It's almost midnight.

Speaker 17 (02:58:57):
Yeah, what's our first stop?

Speaker 21 (02:58:59):
Acme nash?

Speaker 1 (02:59:00):
No back and we unload a payroll at the Bronx
and watch plant. Yeah, we swigg it, open a window
and get some fresh air.

Speaker 73 (02:59:06):
We can get that after we unload. It's the rule
of the company that we what's that up ahead? It
looks like something shining in the road. Throw up your spotlight.
All right, Holy smoke, you see what I see?

Speaker 1 (02:59:25):
Looks like a mechanical.

Speaker 59 (02:59:27):
Traffic cop about eight feet tall, standing right in the
middle of the highway.

Speaker 1 (02:59:33):
It must be a Halloween gag.

Speaker 26 (02:59:36):
Can you get past him?

Speaker 1 (02:59:37):
Oh no, we'll have to slow down. Get on that gun.

Speaker 72 (02:59:41):
Sam, Let's take no chances, right, I'll give it the horn,
no budge, where's our escort?

Speaker 13 (02:59:52):
Truck.

Speaker 74 (02:59:53):
Let's pull up right behind us.

Speaker 1 (02:59:59):
Move sure. Looks like something on a buck Rogers on it.
It's a heck of a note blogging traffic right there.
We have to try and get past it looks.

Speaker 32 (03:00:08):
Like you might squeeze by on the shoulder.

Speaker 1 (03:00:10):
Here goes.

Speaker 18 (03:00:15):
Always smokes. It's moving, it's coming towards.

Speaker 1 (03:00:19):
Get on that gun and give it a blast. The
bullets are bouncing right off it.

Speaker 18 (03:00:24):
It's still coming.

Speaker 1 (03:00:26):
Hell the guys. I'll back up.

Speaker 34 (03:00:29):
I can't.

Speaker 18 (03:00:29):
The other trucks right behind me.

Speaker 32 (03:00:30):
Now it's slifting.

Speaker 18 (03:00:31):
It's on.

Speaker 32 (03:00:32):
I'm gonna smash the window.

Speaker 1 (03:00:49):
Jeez, I have a scene it with my own eyes.

Speaker 2 (03:00:53):
Duke, we got to quit this.

Speaker 1 (03:00:55):
I'm out of Charlie getting shaped, you know me, Duke
takes nerve.

Speaker 17 (03:00:59):
Charlie has always been there, but this The papers say
he killed all four drivers.

Speaker 1 (03:01:04):
Listen, Duke, that robot is hot.

Speaker 42 (03:01:07):
We got to get rid of.

Speaker 1 (03:01:07):
Stop you're blobbing.

Speaker 17 (03:01:09):
I don't mind a little heist, but killing four guys,
You know, Charlie, for a fat man, you certainly have
a slim mind.

Speaker 1 (03:01:16):
You want to take a lesson from Junior. He doesn't worry.

Speaker 17 (03:01:18):
He doesn't even know what a policeman is he has
no conscience. He never sleeps, he doesn't get tired. He
doesn't even want to share of the profits. All we
need is one more good robbery.

Speaker 34 (03:01:29):
You ain't gonna pull another one.

Speaker 1 (03:01:31):
Why not come here, Duke. You have to lay him
out of here. With Lolan and that thing there, I'm
getting too jumpy.

Speaker 17 (03:01:36):
The law is going to track that baby.

Speaker 1 (03:01:38):
Are you quite finished? Charlie? You got no hot Duke.

Speaker 17 (03:01:42):
You're like Junior, all steel inside and you are just
a big, warm hearted slob. I got nerves. I can't
stand the thing. Well it looks at you with that
iron face and the clinking around it.

Speaker 1 (03:01:53):
Hello Junior, Hello, Duke, I've just been talking to Charlie.

Speaker 17 (03:01:58):
Yes, Duke, you know what I think, Junia. What Duke
I think Charlie is yellow. You know what happens to
people who turn yellow, don't you?

Speaker 1 (03:02:09):
Yes, Duke till Charlie.

Speaker 20 (03:02:13):
They're evil. We have to destroy that.

Speaker 17 (03:02:16):
You see, Charlie, Junior has a sense of values. He
doesn't like people who sing to the police.

Speaker 8 (03:02:22):
Now, wait a minute. You know I never turned study
or anything like that.

Speaker 17 (03:02:25):
I never sang to the coppers in my life.

Speaker 1 (03:02:26):
But you sing to Junior, won't you Charlie, what sing
junior nursery rhyme? What do you mean you heard me
sing junior nursery rhyme? Maybe little bo peep Junior likes
little boat.

Speaker 12 (03:02:38):
Duke sing it.

Speaker 1 (03:02:43):
A little bo peep has.

Speaker 2 (03:02:47):
Listen to me.

Speaker 1 (03:02:48):
I didn't bring that. Charlie, you can stay here as
long as you like. Duke, you too, Junior, see Jr.
He's yellow sing it Charlie.

Speaker 17 (03:02:57):
Hello, bo peep has lost for she can't tell her
to find him. J Yes, Duke, leave them alone?

Speaker 1 (03:03:06):
And then now Duke, now, Junior, no, come home.

Speaker 20 (03:03:15):
I stopped him.

Speaker 1 (03:03:16):
Duke all right, Junior, clean him up, take him down
the cellar.

Speaker 48 (03:03:22):
Duke overs in the.

Speaker 53 (03:03:23):
Other room and jolly oh, Junior put him down, take
him down to the furnace.

Speaker 1 (03:03:29):
Junior, yes, Duke, old Duke, h Darling, stop shaking, Duke.

Speaker 53 (03:03:36):
We can't stay here.

Speaker 7 (03:03:37):
Now.

Speaker 1 (03:03:38):
We've got to get out of here.

Speaker 53 (03:03:39):
Charlie's going to be missed. He's got friends. Now we'll
have a gang after a st.

Speaker 1 (03:03:43):
Stop poring, Darling.

Speaker 17 (03:03:44):
I'll take care of everything. Where are you going to
a travel agency? You and I going to take a
trip loader.

Speaker 53 (03:03:51):
You're leaving me alone.

Speaker 1 (03:03:52):
I thing to worry about. The roadhouse downstairs is closed.
Nobody will bother. That doesn't frighten me. It's being along
with that thing.

Speaker 8 (03:04:00):
I've got the jude.

Speaker 1 (03:04:01):
It'll only be for the afternoon. I've got to get
reservations and plan this thing.

Speaker 17 (03:04:06):
Look, honey, forty eight hours you an hour be on
our way to Switzerland with five hundred thousand dollars worth
of loot.

Speaker 1 (03:04:12):
What about Junior? Junior will be taken care.

Speaker 2 (03:04:15):
Of, pitty, I have to do it.

Speaker 1 (03:04:17):
I'd kind of like to send him out on his own.
Why up as a fine education? He could go out
and to stop it? How can you get rid of him?

Speaker 17 (03:04:27):
Junior will do anything I say, so I'll merely have
him get into the furnace and sit there while I
fill it with oil and set fire to it. Too
bad the professor couldn't have stayed around to see him
growing up. He's almost a man now. Junior is not
quite as clever as a man.

Speaker 1 (03:04:44):
He finally head out after he steps into the furnace.

Speaker 53 (03:04:46):
All right, but do it now, duke, before you leave.

Speaker 1 (03:04:51):
There's no time. Now keep your chin out. I'll be
back about eight, Duke, you are coming back.

Speaker 53 (03:04:57):
Aren't you You wouldn't leave me?

Speaker 18 (03:05:01):
Leave you?

Speaker 1 (03:05:02):
I have big plans for you, Laura.

Speaker 18 (03:05:06):
You see.

Speaker 1 (03:05:08):
I find you very.

Speaker 19 (03:05:12):
Track.

Speaker 1 (03:05:16):
You're not good for me. I don't want you as
long as you can tell yourself you're not really kissing
me because you want to.

Speaker 20 (03:05:22):
I do not enjoy it.

Speaker 2 (03:05:25):
I know you, Lolah.

Speaker 53 (03:05:28):
You know too much for one man.

Speaker 1 (03:05:30):
And I'm going now. I'll be nice to join you
while I'm gone. Don't show me you're afraid of Goodbye, goodbye.

Speaker 74 (03:05:44):
H Okay, okay, Laura, what Junior, Laura.

Speaker 41 (03:05:59):
Oil me?

Speaker 1 (03:06:00):
Duke might not like it.

Speaker 53 (03:06:02):
Can't you really get back?

Speaker 20 (03:06:04):
I want you to oil me, Lola? All right, I
like you to oil me.

Speaker 62 (03:06:16):
Yes?

Speaker 20 (03:06:18):
Are we going away from here?

Speaker 67 (03:06:19):
Lola?

Speaker 53 (03:06:20):
Yes, we're going away.

Speaker 20 (03:06:22):
That'll be nice.

Speaker 56 (03:06:24):
I don't like it here. I want to see more things.
I want to see a roller coaster.

Speaker 53 (03:06:31):
Where did you hear about a roller coaster?

Speaker 8 (03:06:33):
I read about it.

Speaker 26 (03:06:34):
In the book.

Speaker 20 (03:06:35):
Charlie gave me a book.

Speaker 8 (03:06:37):
No, well, Duke, let me ride on a roller coaster.

Speaker 53 (03:06:40):
I don't know.

Speaker 1 (03:06:41):
Maybe you like Duke, Lola, what? I certainly.

Speaker 20 (03:06:48):
Do you like me?

Speaker 1 (03:06:50):
You're not dude, Junior, Lola?

Speaker 8 (03:06:55):
What?

Speaker 20 (03:06:57):
Who do you like best.

Speaker 24 (03:06:59):
Me.

Speaker 26 (03:07:00):
You're a duke.

Speaker 1 (03:07:01):
I like you both, Junior.

Speaker 20 (03:07:02):
Yes, but who do you love?

Speaker 53 (03:07:05):
What do you know about love in the books Man
and Woman lovel Yes?

Speaker 20 (03:07:13):
Do you think anyone will ever love me? I'm different.

Speaker 1 (03:07:18):
I'm a robot.

Speaker 53 (03:07:19):
You want somebody to love you, Junior.

Speaker 24 (03:07:22):
I want something, Lola. I guess that's what I want.
It's very lonesome being a robot. Do you think it
makes a difference now?

Speaker 53 (03:07:34):
Think some women can fall in love with anything, Junior,
even with a man like Duke. Why, Lola don't know.
Maybe because well, as long as she thinks her man
is the smartest and the strongest. Oh, where are you
going to wait for Duke? Well, he won't be home

(03:07:56):
for a while.

Speaker 18 (03:07:57):
I'll sit in the hall and wait for him.

Speaker 56 (03:07:59):
Hi.

Speaker 1 (03:08:00):
H I want to be alone and think about what
I read in the book today.

Speaker 8 (03:08:05):
It was bad to kill people.

Speaker 26 (03:08:09):
What does that mean?

Speaker 3 (03:08:11):
Bad?

Speaker 12 (03:08:12):
Bad?

Speaker 53 (03:08:14):
I don't know, Jor, I guess it's.

Speaker 1 (03:08:17):
Just a word.

Speaker 13 (03:08:31):
Hella.

Speaker 1 (03:08:32):
Hello, Duke, Oh, it's you. What are you doing sitting
in the dark? I was waiting for you.

Speaker 20 (03:08:39):
Duke.

Speaker 1 (03:08:40):
Oh, that's a good boy, or duke.

Speaker 20 (03:08:45):
Lola oiled me.

Speaker 17 (03:08:47):
Well, that's nice. Tell me what, Junior, I've got a
little job where it's down on the cellar.

Speaker 1 (03:08:54):
Let's go down there.

Speaker 20 (03:08:55):
Now, Duke, Right now, all right, Duke? Are we going
away soon?

Speaker 1 (03:09:05):
Yes, Junior are going away watching the seller Duke a
little surprise for your junior. You find that.

Speaker 8 (03:09:32):
Duke.

Speaker 42 (03:09:33):
Is that you?

Speaker 2 (03:09:39):
Junior?

Speaker 1 (03:09:43):
Hello, Laola, I thought I had Duke come in.

Speaker 23 (03:09:47):
He came in.

Speaker 53 (03:09:48):
Where where is he?

Speaker 39 (03:09:50):
And on the cellar?

Speaker 53 (03:09:52):
What's he doing?

Speaker 26 (03:09:54):
Nothing?

Speaker 39 (03:09:55):
Did he say be up soon?

Speaker 7 (03:09:58):
No?

Speaker 53 (03:09:58):
Maybe you'd better go down and get him.

Speaker 8 (03:10:01):
He's dead.

Speaker 2 (03:10:03):
Oh you, you said.

Speaker 24 (03:10:06):
The woman loves the strongest and the smartest, while I'm
stronger and smarter.

Speaker 18 (03:10:11):
You are human.

Speaker 20 (03:10:14):
I'm almost human, Lola.

Speaker 53 (03:10:17):
Oh oh, stay away, Lola, metal trust me.

Speaker 17 (03:10:24):
I love you, Lola, I love you, I love you,
I love you.

Speaker 1 (03:10:34):
The last thing he heard was the robot's voice, droning
it over.

Speaker 30 (03:10:39):
And over again. I love you, I love you, I
love you, And strangely enough, it it sounds almost human.

Speaker 36 (03:11:09):
You have just heard the Robert Block story titled Almost Human.
Another adventure into the unknown world of the future, The
World of Next Week, A strange story of other worlds,

(03:11:40):
The Story of the Lost Race, The Night's Adventure, in
Dementon X was adapted for radio by George Leffards Beaches.
In the cast were Santos Ortega as Duke, Rasa Lynn

(03:12:05):
as Lola, and Jackie Grimes as Junior. Your host was
Norman Rose. Music by Albert Berman, engineer Bill Chambers. Dimension
X is produced by Van Woodward and directed by Edward King.

Speaker 4 (03:12:41):
The Strange, Doctor, Weird, good evening.

Speaker 34 (03:12:53):
Come in, won't you?

Speaker 4 (03:12:57):
What's the matter?

Speaker 2 (03:12:58):
You seem a bit of his who.

Speaker 52 (03:13:01):
Perhaps if I told you a story it might help
calm your nerves. A story say about a man who
found a new and amazing way of hiding from the police.

Speaker 34 (03:13:11):
I call the story the Man who Played Dead.

Speaker 52 (03:13:24):
My story, The Man Who Played Dead begins in the
dimly lighted interior of a strange room in a big
amusement park. The room is a waxworks museum known as
the Chamber of Horrors, and wax figures of history's most
diabolical murderers stand motionless all about it. The only living

(03:13:45):
figure is the proprietor, Pop Molloy, who moves slowly from
dummy to dummy, dusting them in preparation for the big
spring opening. As Pop approaches a figure in a dark corner,
A figure unexpectedly speaks to him.

Speaker 12 (03:14:00):
All right, put up your hands, Morgan, Berth Morgan, it's Morgan.

Speaker 21 (03:14:05):
Not a dummy either.

Speaker 1 (03:14:06):
But I don't understand you were in prison.

Speaker 8 (03:14:09):
You're supposed to go to the electric chair tonight.

Speaker 21 (03:14:11):
I was supposed to, but I broke out sea after
they had me all prepared for the hot seat.

Speaker 28 (03:14:15):
What do you want here?

Speaker 34 (03:14:16):
Just to hide for a while? The cops are right
behind me.

Speaker 21 (03:14:18):
So since this is the only place in the park open,
I slept in ten minutes ago when your back was turned.

Speaker 19 (03:14:22):
There's no place to hide here.

Speaker 26 (03:14:24):
There's just this one big rule.

Speaker 21 (03:14:26):
No arguments. You go ahead of me while I look around.

Speaker 1 (03:14:28):
All right, look around, say there's no place to hide a.

Speaker 21 (03:14:32):
Dry I'll find one. Hey, these three dummies here they
look like my old partners, Joe Norton, Mardy Phillips, Tommy Benson.

Speaker 28 (03:14:41):
Yes, Bert, that's who they're supposed to be when you
shut in the back last year.

Speaker 21 (03:14:45):
What do you got them standing around this phony electric.

Speaker 1 (03:14:47):
Chair for you?

Speaker 28 (03:14:48):
See tomorrow, I was going to make up a dummy
of you, Bert in the city is in an electric chair.

Speaker 18 (03:14:54):
Then I was going to put up a sign saying.

Speaker 28 (03:14:56):
Execution of Morgan on the night of May first Thing,
feteen forty four, as.

Speaker 18 (03:15:01):
His murdered partners.

Speaker 20 (03:15:02):
Look at why you don't you like him?

Speaker 21 (03:15:05):
You are a little previous, Pop, I'm not sitting in
any hot seat tonight.

Speaker 20 (03:15:09):
No, I guess not.

Speaker 34 (03:15:10):
It was a cute idea, though too cute.

Speaker 21 (03:15:14):
Hey, Their faces seemed to shine in the dark.

Speaker 12 (03:15:18):
What causes that?

Speaker 20 (03:15:19):
Why you see?

Speaker 28 (03:15:19):
I painted him with phosphorus paint. The idea was the
light should be turned down low and the customers would
see their faces shining in the darkness the way they
do now.

Speaker 1 (03:15:27):
See.

Speaker 21 (03:15:28):
They were ghosts.

Speaker 18 (03:15:29):
Give the yolkles a big king.

Speaker 21 (03:15:31):
Somebody's going an officer, he's coming in. Listen, Pop, I'm
gonna stand right here, absolutely still in the shadows here
like a dummy.

Speaker 26 (03:15:39):
You get rid of me?

Speaker 21 (03:15:40):
He spots me up playing and get it?

Speaker 1 (03:15:42):
Yeah, I get it, Hey, Pop, there they come in.
Oh wish you friend?

Speaker 18 (03:15:49):
Say Pop?

Speaker 1 (03:15:50):
Did you know that Burt Morgan's on the loose?

Speaker 20 (03:15:52):
Ceazy?

Speaker 60 (03:15:52):
Yeah?

Speaker 8 (03:15:53):
And in some place in this park somebody smuggling a
big shot of cocaine and a gun at the prison
and he last his way out an hour ago.

Speaker 2 (03:15:59):
That's bad.

Speaker 18 (03:16:00):
No, I'll say it's bad, but we'll get him or
his hort to shoot on site. And I'm hey, Pop,
what is he a dummy?

Speaker 1 (03:16:07):
Back there? It moved just now, No, No, it couldn't he.
I saw it move.

Speaker 18 (03:16:12):
I'm going to have a look at that dummy.

Speaker 1 (03:16:14):
Wait, you've killed him.

Speaker 21 (03:16:23):
Well, if you want to stay alive, you'd better listen fast.
There'll be more cops here in a second, but they
won't find me because I'm going to hide right out
and plain sight, pretending to be myself. What do you mean,
I'm hiding right here in this little imitation electricture of
yours sea. I'm gonna play the part of a dummy again.
I'm gonna pretend to be myself in a great electrocution
of Burt Morgan. Oh oh, I see this time. I

(03:16:43):
won't move either, because I'll be sitting down there at
the door. Y'll tell him to come in, and don't forget,
I've got a loaded gun right here beside me. Stay
close to me, or I'll much you have it and
make it good, Pop, make it awful, good, Doctor Weird.

Speaker 4 (03:17:02):
I'm breathless.

Speaker 34 (03:17:03):
You mean the beginning of my story?

Speaker 36 (03:17:06):
As you excited well, yes, but it isn't only your
story that leaves me breathless, Doctor, it's those Adam hats
so many men are wearing this season. Gentlemen, I honestly
doubt whether you'll see hats with more distinctive styles, fine
qualitytarial and bright Johnny shade. They're like a new breath
of life and such variety. Gentlemen, you find most every

(03:17:28):
shape and model in the new hats now on display
at the thousands of Adam hat stores and authorized dealers
from coast to coast. So get into the swim things.
Why your new Adam tomorrow. Now back to doctor Weird,

(03:17:49):
and now.

Speaker 34 (03:17:49):
I'll continue my story the man who played Dad.

Speaker 52 (03:17:54):
With Burke Morgan hiding in plain sight by pretending to
be a wax dummy. The three policemen would come running
at the sound of the shots, who completely deceived and
Pop told them it's the dead officer on the floor,
who's just another.

Speaker 34 (03:18:07):
Wax dummy, and they believed in.

Speaker 52 (03:18:11):
After warning him to be on the alert, they left
and Bert Morgan chuckled as the door closed behind him.

Speaker 21 (03:18:18):
Good work, Pop, but you're not through yet. What do
you mean Look at that squad car? They parked right
outside the door. If I even get out of this chair,
the driver can look right in.

Speaker 16 (03:18:28):
And see me.

Speaker 8 (03:18:29):
Here, I get that tray you can.

Speaker 21 (03:18:31):
Since this is the only place I have to hide,
I'm gonna sit right here until.

Speaker 2 (03:18:34):
The search is over. Here's the bus, Morgan.

Speaker 21 (03:18:36):
You bet, I am, and you sit down right there. Okay,
I'm gonna sit here, and you're gonna sit there until
they give up hunting for me, because they come in
against all me. If you try to move without permission,
I'll blaster.

Speaker 2 (03:18:50):
I don't want to die. That's being smart.

Speaker 7 (03:18:54):
You.

Speaker 21 (03:18:55):
I'm gonna shot a dope.

Speaker 34 (03:18:57):
On your head.

Speaker 2 (03:18:58):
What's the matter, Nerve?

Speaker 62 (03:19:00):
Getting jumping?

Speaker 21 (03:19:00):
Done your business? Now settle down.

Speaker 2 (03:19:03):
We've got some waiting to do.

Speaker 52 (03:19:10):
The two men settled themselves to wait. Burke Morgan sat
in rigid silence, ever alert for the return of release.
Half an hour passed, then an hour. His tat Nerve
cried aloud for the drug They craved his muscle twitch.
Two hours five and Burke Morgan's tortured nerves were screaming.

(03:19:34):
The three waxen faces, which Van Lloyd had covered with
phosphorus paint, glowed in a ghostly fashion before his eyes,
and then Burke Morgan, Burke Morgan to he heard an
eerie voice speak to him.

Speaker 18 (03:19:50):
But my lloy, did you say something.

Speaker 1 (03:19:54):
Now? Perhaps asleep?

Speaker 34 (03:19:56):
It's just my nerves.

Speaker 1 (03:19:56):
I need a.

Speaker 18 (03:20:00):
But which had my name?

Speaker 2 (03:20:02):
Did your old pow nothing?

Speaker 12 (03:20:07):
Nor?

Speaker 8 (03:20:07):
Instead? I killed him?

Speaker 21 (03:20:08):
It's my nerves. The spook room in those faces. Got
to get a grip on.

Speaker 32 (03:20:14):
Myself to Phillips is here too, Burke.

Speaker 21 (03:20:18):
No, Tony dead too. I'm not hearing anything.

Speaker 1 (03:20:21):
I'm not. He doesn't know us, he doesn't recognize his
old pails.

Speaker 28 (03:20:28):
He killed us and now he won't even speak to
his spark standing here in front of you.

Speaker 4 (03:20:34):
Don't you recognize us?

Speaker 7 (03:20:35):
Now?

Speaker 21 (03:20:36):
No, you're dead, You're just wax dummies.

Speaker 67 (03:20:39):
You're not real can if we weren't?

Speaker 21 (03:20:42):
Really you're not talking to me that my nerves, just
my nerves, I thought, go away.

Speaker 4 (03:20:46):
But we're never going away.

Speaker 21 (03:20:47):
Burg We're waiting for you to die and you'll be
wi No, I don't believe it. This is Pop Nose
Wax Works Museum and you're you're all just three wax dummies.

Speaker 18 (03:20:59):
But did you ever hear a watch stummay talk before?

Speaker 34 (03:21:02):
How that you've seen us in earnest Verculus seen.

Speaker 18 (03:21:06):
You a waiting girl nowhere with You're waiting for you
to die.

Speaker 8 (03:21:11):
Waiting for you to die.

Speaker 28 (03:21:12):
No, no, haven't you no nine years about you've been
worrying about what would happen after you die, and now.

Speaker 18 (03:21:21):
You know that we'll be waiting for you.

Speaker 56 (03:21:23):
No, get away from the Cuness wants to be rid
of us.

Speaker 46 (03:21:26):
But now you can never be rid of us.

Speaker 30 (03:21:29):
A kid, yeah.

Speaker 2 (03:21:32):
I cannot.

Speaker 18 (03:21:33):
I'll show you. Now go away because I'm killing I'm
killing your hair.

Speaker 28 (03:21:40):
Oh so you see, Lieutenant Burke Morgan was covering me
with a gun the whole time. I know he should
if I made a move, so I pretended to be
asleep and waiting. I could see his over a jump

(03:22:00):
because he wanted more cocaine, and I figured that maybe
were the dummies of the palace he murders, standing there
and looking like ghosts.

Speaker 8 (03:22:07):
He might crack.

Speaker 1 (03:22:08):
I see, it's just about giving up hope.

Speaker 28 (03:22:11):
Though, when he started talking out loud, as if you
could hear those dummies talking to him in all at once,
he lost control of herself.

Speaker 1 (03:22:19):
And emptied it on at him, and then I ran
for the door.

Speaker 75 (03:22:22):
Yeah, look as soon as I heard the shots and pop, Yeah,
I I'm busting in, you know Burke Morgan had funded. Yeah,
found a dead away there in that fake electric chair.
So I handcuffed him and there he is not even
come to yet.

Speaker 18 (03:22:36):
I see.

Speaker 8 (03:22:38):
I'd hate to have to sit here myself looking at
those three green faces glowing in front of me.

Speaker 1 (03:22:43):
Not surprised.

Speaker 18 (03:22:44):
Morgan cracked.

Speaker 75 (03:22:45):
Yeah, I mean neither green faces on them. Three dummies
give me the crepes, and my conscience ain't bothering me either.

Speaker 28 (03:22:51):
Well, anyway, I'm glad we've cut him so I can
go ahead with my plants for miss you know, execution
the Burke again, there's his murdered partners. Look on, I
wouldn't want a waste to let for expression paint of use.

Speaker 4 (03:23:06):
That's one way.

Speaker 1 (03:23:07):
Man.

Speaker 18 (03:23:07):
Well we'll take away now we talkier.

Speaker 46 (03:23:12):
Yes, lieutenant, looks like you're going to have even a
bigger thing in this exhibit of yours.

Speaker 1 (03:23:17):
And you ever figured on, I don't understand, lucated, What
do you mean?

Speaker 37 (03:23:21):
I mean that Bert Morgan's fright when he thought those
dummies were talking to him was too much for his
drug weakened heart.

Speaker 2 (03:23:27):
Okay, he's in saint.

Speaker 1 (03:23:29):
That he's dead. What dead in the electric chair, and
right on schedule.

Speaker 52 (03:23:45):
So Burke Morgan died in the electric chair, just as
the law said he would. Apparently fate had decreed that
he was to die that way, and nothing he could
do could change it. But then, waxworks museums are rather
frightening places, even.

Speaker 34 (03:24:02):
When you haven't got a lot of murders on your conscience.

Speaker 52 (03:24:06):
I remember a perfectly innocent young man who got locked
in one, and in the morning you, oh, you have.

Speaker 34 (03:24:14):
To go now, we'll perhaps you will drop in again soon.

Speaker 52 (03:24:19):
Just look for the house on the other side of
the cemetery, the house of doctor Weird.

Speaker 71 (03:24:40):
I have flown, I have sailed, I have moved about
this world of ours, and ever in search of the
finest of its kind. We bring you the tops in
spine chillens, the creaking door. The manufacturers of State Express

(03:25:13):
three five spilt King's cigarettes take pleasure in presenting.

Speaker 76 (03:25:21):
The creaking Door. Wod evenings, friends of the creaking door.

(03:25:43):
The creaking door is luke, So do cavy.

Speaker 1 (03:25:51):
Ealing the till.

Speaker 76 (03:25:52):
Of these winters evenings. Wait until you've been with us
a little you freeze with fear.

Speaker 71 (03:26:12):
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(03:26:36):
Three files? Get the taste, the taste that State Express
created for you, The taste that has made three fides
the king size cigarettes.

Speaker 1 (03:26:48):
Of International Success.

Speaker 41 (03:26:52):
Get three fives. Get the taste.

Speaker 76 (03:27:10):
The symmetry caretaker and the ashen face trembling young man
make an odd pair as they stand by an.

Speaker 1 (03:27:18):
Open grave under the pale moon. In the grave itself,
there's a coffin.

Speaker 76 (03:27:26):
The lid has been prized open and inside the cops
of a middle aged man.

Speaker 16 (03:27:33):
The caretaker warns, Oh, I've heard about.

Speaker 71 (03:27:37):
Blacks Lot, you prayed about grief Robbies, but never thought.

Speaker 77 (03:27:42):
I'd come across with. Yeah, I've seen for the cops,
young man. Don't you try her rough stuff. I'm a
mess for you any day. But you don't understand. I'd
try to save his life, and now it's too late.

Speaker 71 (03:27:53):
Don't you give me that this fellow was given a
decent Christian burial?

Speaker 1 (03:27:57):
You've cate?

Speaker 10 (03:27:58):
Did you say it isn't a desecration to bety a
man while he's still alive?

Speaker 12 (03:28:03):
What you're talking about?

Speaker 71 (03:28:04):
You don't think people go around being buried alive these days?

Speaker 1 (03:28:06):
To it, I don't know what to make for you.
I watched you this afternoon.

Speaker 71 (03:28:12):
I thought you looked a bit peculiar, only what you
was doing at a pauper's burial.

Speaker 8 (03:28:18):
You shouldn't have had a pauper's burial. He shouldn't have
been buried at all them. I could have saved you, bitter.

Speaker 12 (03:28:24):
Tick up a good story.

Speaker 71 (03:28:26):
Something told me that you was up to no good now,
and that you're trying to russ stup.

Speaker 1 (03:28:30):
I've already warned you.

Speaker 12 (03:28:31):
I watched you.

Speaker 21 (03:28:32):
The police are on their way break you know better
coffer like that, and.

Speaker 1 (03:28:37):
You was up to something.

Speaker 10 (03:28:38):
But I never thought it's because because I let them
get better alive, and I was ashamed let them get
very alive for a measly fifty pounds.

Speaker 1 (03:28:47):
Now he's dead.

Speaker 71 (03:28:48):
Hey, you come out of a loony been or something.

Speaker 41 (03:28:51):
Now.

Speaker 1 (03:28:51):
I've had a bitter look at you.

Speaker 8 (03:28:52):
You you don't look like no grave, Robert.

Speaker 26 (03:28:55):
I'm not listened.

Speaker 1 (03:28:56):
I see to you.

Speaker 71 (03:28:57):
This fellow he buried today.

Speaker 10 (03:29:00):
Nothing except I'm responsible for his death attached to me.
He's cold, cold as dis.

Speaker 71 (03:29:10):
He's only been in the ground a few hours. They
don't stay cold like that. Sometimes we get an exhumation order.
We have to dig him up seat. You'd be surprised
how warm they.

Speaker 1 (03:29:21):
He is dead, isn't it.

Speaker 8 (03:29:22):
I mean I brought this piece of minute with me.
There's no breath.

Speaker 1 (03:29:26):
Look, I don't have to look.

Speaker 71 (03:29:30):
He's been in the municipal wall for two days. He's
giving a poopers berial. And what's it all about?

Speaker 41 (03:29:37):
Young man?

Speaker 26 (03:29:38):
I want to go home.

Speaker 10 (03:29:39):
He was dead all right when they buried him, but
not when the ambulance took him to the mark.

Speaker 12 (03:29:43):
You see, I know you know?

Speaker 1 (03:29:45):
Or is he a religive of yours?

Speaker 8 (03:29:47):
I've never even existed until two days ago. I've been
trapping the streets looking for work.

Speaker 10 (03:29:52):
I didn't want to go home. If you could call
that one room bedsitterlet, and I occupy her home. It
was still ringing my ears the things she said as
I lived there.

Speaker 19 (03:30:04):
I've come to the end of my dinner.

Speaker 48 (03:30:06):
I've formed everything.

Speaker 78 (03:30:07):
Look even the wedding ring you slipped on my finger
in the church.

Speaker 19 (03:30:11):
What did he say, and all my worldly goods.

Speaker 39 (03:30:15):
Huh, that's a laugh.

Speaker 19 (03:30:18):
You were going to share all your worldly goods, were you? Well,
if you don't get some money.

Speaker 78 (03:30:22):
Or job, I'm walking out on you, dear, I'm walking
out on you, and I'll go and.

Speaker 19 (03:30:25):
Live with my sister. At least I get some warmth
and three square.

Speaker 1 (03:30:28):
Meals a day.

Speaker 26 (03:30:28):
I don't say that, lil.

Speaker 10 (03:30:30):
Was it my fault that I felt sick that I'm
not allowed to work in the factory anymore.

Speaker 1 (03:30:34):
I've tried till I really have.

Speaker 10 (03:30:36):
Everywhere I go they look at me and say, no, vacancy.

Speaker 19 (03:30:38):
Not my fault either. I'll warn you, Joe Harris, I
can't take much more of it.

Speaker 10 (03:30:43):
I know, honey, I know I'll get something today, Really
I will.

Speaker 8 (03:30:46):
I promise.

Speaker 12 (03:30:52):
It was a promise.

Speaker 10 (03:30:52):
I couldn't keep handing the pavement, watching the dislike and
fear in the eyes of a well said as this is.

Speaker 8 (03:31:00):
Fear that one day they might become like me.

Speaker 10 (03:31:03):
And then I saw I was cutting through a duke's lane,
nothing on either side except a huge, big war. He
was a short, fat little man. Her steps were low,
and the quiet, though I'm always stopping for Do you

(03:31:25):
think I might cushing that gangster or something. I suppose
I looked like something that crawled out.

Speaker 1 (03:31:30):
Of a piece of cheese. I read.

Speaker 8 (03:31:35):
Goubly, you are right, it can't be.

Speaker 10 (03:31:39):
That's quite loud. Doesn't seem to be any breathing. I
want who reads that? That seems I must have something
in his pocket, Holly, sammy his money, but it must
be fifty quickier at least poss Why what good is
this money?

Speaker 8 (03:31:58):
Now? I better call a cop.

Speaker 14 (03:32:01):
If you don't get some money or a job.

Speaker 19 (03:32:03):
I'm walking out on you to hear I'm walking out.

Speaker 8 (03:32:07):
There's nothing anybody can do for this post wine. I'll
find him soon enough.

Speaker 62 (03:32:11):
Up.

Speaker 8 (03:32:12):
What does the guy do in a case like this?

Speaker 1 (03:32:15):
Beat it?

Speaker 10 (03:32:16):
You for beat it with the first decent money you've
hadding mass, somebody will find him.

Speaker 8 (03:32:22):
Run liel.

Speaker 9 (03:32:34):
So you've got some money?

Speaker 10 (03:32:37):
Two five pound notes, thirty one pound notes and the
rest in ten bub notes adds up very nicely.

Speaker 78 (03:32:42):
Fifty quidy a Joe, honey, Hi, how did you get
this money? You didn't go and do anything silly, did you.

Speaker 8 (03:32:51):
Such as r Robert Bank? I wouldn't I had a start.

Speaker 19 (03:32:54):
How did you get it?

Speaker 8 (03:32:55):
You'll never believe it.

Speaker 16 (03:32:56):
Remember I told you that when I.

Speaker 10 (03:32:57):
Was in the sanatorium there was a fellow there with
the same lung named Ted Brown. Yes, well I'll let
him a quid.

Speaker 19 (03:33:04):
You rent him a quid?

Speaker 16 (03:33:05):
Well, well, I was still doing.

Speaker 8 (03:33:07):
My wages, wasn't I.

Speaker 10 (03:33:08):
We didn't know that the doctor wouldn't let me go
back to the factory.

Speaker 8 (03:33:11):
Wasn't so bad?

Speaker 19 (03:33:12):
Then? What about this Ted Brown?

Speaker 8 (03:33:14):
Well, i'll meet him in the street.

Speaker 10 (03:33:15):
Sea says he'd been looking for me everywhere, wanted to
repay me the quid. Well, we goes into a pub
to have a drink. There was a bookie there and
Ted said he had a hot tip for the double
hit one meal fifty smackers.

Speaker 19 (03:33:29):
Fifty smackers.

Speaker 10 (03:33:31):
Oh, I love you, Lil went to get some groceries
and a couple of bottles of beer. I sat on
the bed and had a further look at the wallet.
Having taken the money out, I thought it would be empty.

(03:33:51):
There were two pockets, both with plastic windows. The first
hurld a card which said Harold Maxtead twenty six Fairly Street, Thornee.
And then I looked at the second plastic window. There
were strange words printed in a white card. It said,
I am not dead. I'm subject to a form of
cataleptic illness which may appear to cause death if I'm

(03:34:15):
found notified Doctor Alfred Miller Bornsey, sixty six one.

Speaker 8 (03:34:23):
No, it can't be not dead cataleptic?

Speaker 1 (03:34:29):
What have I done? What have I done?

Speaker 10 (03:34:32):
They'll think he's Oh, no, telephan. I must telephan that
little so you wonder what I've gone up? I can
roll my money, yell.

Speaker 7 (03:34:44):
For this.

Speaker 19 (03:34:45):
Ye set the bottlesrong me?

Speaker 8 (03:34:46):
Will you.

Speaker 41 (03:34:48):
Jack?

Speaker 20 (03:34:51):
What is it?

Speaker 8 (03:34:52):
What time is it doing? I don't know?

Speaker 19 (03:34:53):
Pub just do start to six.

Speaker 8 (03:34:55):
I should say one, give me ten bombs to get
me change.

Speaker 1 (03:34:57):
I need some silver.

Speaker 8 (03:34:58):
I have to tell fan I won't be enough.

Speaker 13 (03:35:00):
What is he?

Speaker 8 (03:35:00):
Well, I've just got to telephone someone.

Speaker 19 (03:35:03):
You're not going gambling, are you? You haven't got the bag?

Speaker 78 (03:35:07):
You're not fitting on tomorrow's races or anything like that?

Speaker 17 (03:35:09):
Are you?

Speaker 8 (03:35:09):
Joe?

Speaker 19 (03:35:10):
Always to be paid?

Speaker 26 (03:35:12):
No, No, I'm not gambling, but I need it.

Speaker 8 (03:35:14):
Please, I'll be back a little roley. It'sist that please
lel all right, yeah, Joe, it is all right? Law

(03:35:35):
would happen too late with the phone call? Would they bury?

Speaker 51 (03:35:38):
This?

Speaker 1 (03:35:38):
Were going?

Speaker 10 (03:35:38):
Nextead not knowing he was a catalyptic. Thinking he was dead,
the student waned the doctors conceal where he's passed.

Speaker 8 (03:36:06):
Come on, hello, can I speak to doctor Miller please?

Speaker 26 (03:36:10):
Doctor Miller has gone abroad.

Speaker 8 (03:36:12):
He's been away for the last six weeks, abroad. Have
you taken him over his practicing?

Speaker 26 (03:36:16):
No, I'm not a medical man.

Speaker 10 (03:36:18):
But if you're in need of a doctor, and it
must be plased, no, no, no, isn't that you don't
know which hospital doctor Miller was at.

Speaker 26 (03:36:23):
I'm afraid I can't help you.

Speaker 18 (03:36:25):
I must go.

Speaker 26 (03:36:26):
My wife's shouting, the dinner's on the table.

Speaker 10 (03:36:27):
I'm sorry, thank you, And then another thought seeing my
brain in the ground, a long wooden box, and a
man being buried, being buried alive, and a shovel keeping

(03:36:50):
earth on the wooden boards said they said it must
be a mixed don a telephone directory. There was fourteen maxteads,
everyone alive and bad tempered.

Speaker 13 (03:37:12):
No, I have no.

Speaker 21 (03:37:13):
Relatives who something from a catalyptic killers.

Speaker 1 (03:37:15):
There are plenty of other mixes of the book dried
in I have you're.

Speaker 8 (03:37:18):
Mister Zacharia maxtead, You're the last on the list.

Speaker 4 (03:37:20):
I like, ill you.

Speaker 10 (03:37:31):
What now do I go along to the police and say, look,
I still a man's word. Somebody might be shoving him
in six foot of earth?

Speaker 16 (03:37:39):
What do I do?

Speaker 8 (03:37:40):
I decided to sleep on it. Sleep that's a laugh.

Speaker 34 (03:37:49):
Lay a lie.

Speaker 8 (03:37:51):
I love you, Louis, I love you. Please pins.

Speaker 31 (03:38:00):
Putting me in a wooden box and it's your fulk
Joe Edis, I'm stricting for break.

Speaker 8 (03:38:09):
They again to be very meaty, but not deep enough to.

Speaker 31 (03:38:16):
Get me out of this, or I'll make you suffer
here on earth and in the field.

Speaker 41 (03:38:33):
Get three fives. Get the taste three fives by State Express.

Speaker 71 (03:38:40):
Get the taste of international success, the taste that's uniquely
three files only when no expense is spared and it's making.
Can a cigarette taste so light, so smooth, so satisfying?

Speaker 41 (03:38:56):
Three files?

Speaker 71 (03:38:57):
Get the taste, the taste that State Express created for you,
The taste that has made three fies the king size
cigarettes of international success.

Speaker 41 (03:39:11):
Get three pies. Get the taste.

Speaker 13 (03:39:30):
Will Will.

Speaker 8 (03:39:33):
Joe Harris had better do something about it pretty.

Speaker 71 (03:39:36):
Soon, otherwise the poor, unfortunate catalyptic gentleman will be stiff
with cold.

Speaker 10 (03:39:46):
But let us see what he does. Do do I
didn't know what to do. It was less than six
hours since I saw that your poor Maybe he's all there.
Maybe if I go back to Duke's, Laney'll still be
lying there.

Speaker 8 (03:40:08):
Joe. Oh sorry, I yeah, I didn't want to wake
you up the middle of the night.

Speaker 19 (03:40:13):
Where are you going? No, Joe, you're not going anywhere.
I thought you'd been acting strange.

Speaker 78 (03:40:20):
Oh Joe, I know I've neggs threatened you, but it
was only because you were getting so down to beaten.

Speaker 19 (03:40:27):
I love you, Joe.

Speaker 78 (03:40:29):
I don't want you to be doing anything that will
put you in prison.

Speaker 8 (03:40:32):
It isn't at all.

Speaker 20 (03:40:33):
What is it?

Speaker 12 (03:40:34):
All right?

Speaker 10 (03:40:35):
Bill, I'll tell you and then you'll see why I
have to go. And so I told her, told her
the whole story of how I robbed a man I
thought was dead. A corpse would have no use for
the fifty quid.

Speaker 12 (03:40:52):
In his wife.

Speaker 10 (03:40:54):
So you see, I've got to find him, or find
out where they've taken him. But don't think he's deadly, Joe.
Somebody will have found it by now. He's probably lying
in bit fast asleep. People who have these sort of fits.

Speaker 26 (03:41:06):
No, they don't.

Speaker 10 (03:41:07):
After I've found all the next days I could I
went to the Hornes Library and I looked it up.
Unless they get assistance, they can stay that way for.

Speaker 8 (03:41:13):
Days, but then they'll bury him. And you know what,
that makes me a murderer. I'm letting a man die
for fifty quid.

Speaker 78 (03:41:21):
Oh no, Joe, why didn't you find a police station?
Why did you find the Horny police station? Tell them,
Oh no, Joe, you know you can't do that. They'll
call you a sleep and put you away. Look, I'm
getting dried.

Speaker 19 (03:41:33):
I'm coming with you.

Speaker 39 (03:41:34):
Where did you say it was?

Speaker 19 (03:41:39):
Actually, let's pray still there?

Speaker 10 (03:41:41):
That might be worse. He might have died for lack
of attention. Let's pray someone sore. And they took him
to hospital and they realized he wasn't.

Speaker 1 (03:41:47):
Wasn't this going off night?

Speaker 26 (03:41:54):
Yeah, that's right.

Speaker 78 (03:41:55):
There was a little commotion in you explaying a few
hours ago by my friend Phyllis.

Speaker 19 (03:41:58):
Tell me something happened, inn't you saying?

Speaker 26 (03:42:01):
Oh, yes, yes.

Speaker 71 (03:42:02):
Just before I came on duty, postman saw a bloat
lying in the lanear dropped in.

Speaker 67 (03:42:08):
Did they sure he's dead?

Speaker 1 (03:42:09):
So the police surgeon said, why know.

Speaker 26 (03:42:13):
Anything about it?

Speaker 78 (03:42:14):
No, No, we don't know anything about it.

Speaker 20 (03:42:16):
It was just a well.

Speaker 19 (03:42:18):
We wondered if it was anybody who knew the thought.

Speaker 71 (03:42:20):
Oh, I believe they've identified him, all right, if you
knit round to the station, they may.

Speaker 26 (03:42:25):
Be able to tell you.

Speaker 78 (03:42:26):
Ah, I don't think it's anybody we know. Come on,
last two, Carter stand here chatting.

Speaker 67 (03:42:31):
Let's golf to be you're too married.

Speaker 1 (03:42:33):
Yes, he should have been in bed ages ago.

Speaker 26 (03:42:36):
Good night or rather good morning.

Speaker 8 (03:42:42):
Let's go to the police station.

Speaker 78 (03:42:43):
No, no, no, you have to explain about the white Sorry,
this policeman doesn't really know. Please come home, but little
no god, Joe, we're going home. Come on, more coffee,
Je No thanks, it's no good. We've got to go

(03:43:03):
to the police. We're committed murder. It's two days now.
What didn't sleep a wink all night last night? Kept
having nightmare, hearing Maxtead's voice pounding in my brain, pounding
my brain telling.

Speaker 8 (03:43:16):
Me to save him before it's too late.

Speaker 31 (03:43:23):
You're the only one that can save me. Yes, they're
bullying me this afternoon. They're putting me in a coffin
and they're going to cover me. Will you if you
allow this to happen to me, you're a murderer.

Speaker 1 (03:43:35):
Joe and it's a murderer. You here, you'll be punished, panish, panish.

Speaker 10 (03:43:48):
He kept saying, I'd be punished if you said yourself.

Speaker 78 (03:43:51):
It's only a nightmare, all right, don't you go.

Speaker 8 (03:43:54):
I will. I'll say that I know what was his name, Maxton,
Harold Maxton.

Speaker 19 (03:43:59):
I'll say I know him. He's a catalyptic.

Speaker 9 (03:44:01):
That's it.

Speaker 71 (03:44:06):
Excuse me, No, aren't you the young lady I saw
down Dukes Lane the other night?

Speaker 19 (03:44:10):
Yes, that's right.

Speaker 78 (03:44:11):
Oh, I'm so gad you're here. You know we were
talking about someone who dropped dead that afternoon. Or were
you able to identify him?

Speaker 26 (03:44:18):
Yes, we were able to identify him.

Speaker 1 (03:44:19):
All right.

Speaker 19 (03:44:20):
Why he's a catalyptic. He's not really deadenough, don't be funny.

Speaker 71 (03:44:26):
Got the card here. They're burying him this afternoon. He's
in the Haunting Mortuary cardiac failure. This is the release
for the body for him to be buried, signed by
the police surgeon, doctor Herbert Spencer. He may have been
a cataleptic. I don't know about that, but he died
of art failure. Being buried in a pauper's grave at
Haunsey Cemetery three o'clock this afternoon didn't die of art failure, indeed.

Speaker 19 (03:44:48):
Not did, or maybe I'm being a bit silly.

Speaker 78 (03:44:50):
Thank you Constable good night, sure said the deathificate was.

Speaker 19 (03:44:57):
Signed by the police.

Speaker 8 (03:44:58):
I wanted that had the doctor then he was a cataleptic.
I'm going to stop the billy.

Speaker 19 (03:45:03):
Off, can't you?

Speaker 62 (03:45:04):
You can't.

Speaker 19 (03:45:04):
What do you tell the police about that?

Speaker 41 (03:45:06):
Wolley?

Speaker 9 (03:45:07):
Where are you going, Joe?

Speaker 18 (03:45:08):
I don't know get drunk.

Speaker 26 (03:45:10):
I don't know anything anymore.

Speaker 10 (03:45:19):
Even my glass of beer went sat in my mouth.
I'd bought it with blood and money. The blood that
head was next it. I left the pattern walked, so
they were burning him in a pauper's grave with it.
I didn't ask my feet to move towards the cemetery.
It seemed as though they didn't belong to me. They
were burying him as I got there, the minister, a

(03:45:41):
grave digger, and an old man obviously the caretaker, plus
a police out and I wanted to shout, don't don't
put him in that grave.

Speaker 1 (03:45:51):
He's not a corpse.

Speaker 10 (03:45:51):
He's alive, couldn't Those three stripes and a cup of
sleeves seemed to represent a number of years I might
get for stealing and for withholding information. I ran from
the cemetery as though we're running from the vengeance of
Maxtead himself.

Speaker 17 (03:46:07):
And I.

Speaker 10 (03:46:19):
Saw them do it cheap wooden coffin. Or maybe it's
a good thing. The coffin was a cheap one. Maybe
the death Watch speaker got it in. Maybe they're holes
in it. Maybe the porter swine will be able to
breathe fifty measly, Nicka, fifty rotten pounds.

Speaker 8 (03:46:35):
I've turned myself into a murderer. You live it, and
you do. But so you were part of the conspiracy.
What have I done to you? What have I done
to nothing?

Speaker 42 (03:46:45):
Joe?

Speaker 8 (03:46:46):
All right, so you pinched?

Speaker 19 (03:46:47):
He's right when we were both starving.

Speaker 1 (03:46:49):
Now one can have you up for murder.

Speaker 8 (03:46:51):
It's beside the point, now, isn't it. Little He's down
there struggling for breath, isn't he? He won't be struggling
for long.

Speaker 10 (03:46:58):
I don't know anything about cataleptics, but you can't be
nailed inside a cuf of underneath six foot of day
for long.

Speaker 8 (03:47:04):
Look out the window, Lilie's.

Speaker 10 (03:47:06):
Cut dark already its winter, Joan, I know the grave,
lil I'm going back.

Speaker 8 (03:47:11):
Jae, you're not gonna stop me. I'm going back and
I'm going to get him out of that grave.

Speaker 10 (03:47:15):
Please, ive got to all right, Joe, I'll come with you.

Speaker 8 (03:47:19):
Oh no, no, I couldn't bear that. I've got to
do this on my own.

Speaker 19 (03:47:23):
Suppet me to do every for you. You're not stranger.

Speaker 8 (03:47:25):
It's a pulper's grave, liil. They didn't take much trouble.

Speaker 78 (03:47:28):
With him with a why a poulterer and all that
money in his wallet.

Speaker 10 (03:47:31):
That makes it worse, doesn't he Maybe they couldn't raise
his relatives, not with his doctor gone away and everything.

Speaker 8 (03:47:37):
Here.

Speaker 10 (03:47:37):
Look, get me that hammer out of the drawer. It's
got that thing at the end for taking nails out,
and that piece of mirror.

Speaker 19 (03:47:42):
All right.

Speaker 39 (03:47:48):
Here.

Speaker 19 (03:47:49):
I hope you're right, but you know what you're doing.

Speaker 8 (03:47:52):
It's the only way, lil, the only way.

Speaker 4 (03:47:58):
Here.

Speaker 1 (03:47:58):
I amn't it. It's too late. Instead of that brought me,
young man. I wouldn't be your shoes, not for anything.

Speaker 18 (03:48:07):
He just a minute, What do you say.

Speaker 1 (03:48:09):
This bloke's name is.

Speaker 8 (03:48:11):
Maxtead, had old Maxteed?

Speaker 3 (03:48:12):
Oh no, it's not.

Speaker 71 (03:48:14):
This bloke's name is Sidney Fraser. Are you sure it's
the same bloke?

Speaker 10 (03:48:19):
Positive? No, it's the same bloke he's accusing. Face follows
me around sleeping and waiting for you.

Speaker 1 (03:48:24):
Young man, Yeah, coming over up with me.

Speaker 8 (03:48:29):
Well, he don't give him much of a tombstone.

Speaker 71 (03:48:31):
He's papers here. You are, Sidney Fraser born February sixth,
nineteen twenty dit December fourth, nineteen sixty seven.

Speaker 8 (03:48:43):
Well, I've told you everything that they've given him the
wrong name.

Speaker 71 (03:48:46):
You bid at elect to the police constable.

Speaker 1 (03:48:49):
Oh I'm sorry about this, young man.

Speaker 20 (03:48:50):
I warned you.

Speaker 21 (03:48:52):
I thought I was too old to take you on
my own.

Speaker 71 (03:48:54):
When you started opening that grave, I ran to the
cemetery office and phoned the police.

Speaker 10 (03:49:00):
Oh well, it's almost a relief in a way.

Speaker 26 (03:49:03):
Hello, what's going on here?

Speaker 2 (03:49:07):
You again?

Speaker 71 (03:49:09):
Your missress was in the peace station this morning with
some nonsense about.

Speaker 1 (03:49:15):
Digging up a crave.

Speaker 67 (03:49:16):
Ain't eh, there's something fishy going on.

Speaker 71 (03:49:20):
When I told my sergeant that your wife came in
and said we were burying someone who was a cataleptic
and not dead, he nearly sprang of me. So I
should have taken full particulars. So I ought to charge
her both with causing a public nuisance. This fellow Sydney
Fraser has had our trouble for years. Sometimes an ordinary
hospital had the pleasure of his company. More often than
not it was a prison hospital. Our police sergeant warned

(03:49:43):
him that he hadn't got long to live, and your
wife comes in with a cocker bull story about being
him alive, as if we.

Speaker 6 (03:49:48):
Didn't know him.

Speaker 1 (03:49:50):
Sydney Fraser in his day.

Speaker 67 (03:49:52):
He was the finest pickpocket in Ornsey heat bucket.

Speaker 26 (03:49:56):
Why only the other day we had.

Speaker 71 (03:49:57):
A complaint from mister Max. Did that someone stow in
his wallet? Bloke jostled him in a bus stop and
then started running.

Speaker 26 (03:50:04):
From his description, we knew it was sick.

Speaker 10 (03:50:09):
He picked master's pocket. He wasn't a cataleptic.

Speaker 8 (03:50:13):
He was a pick pocket.

Speaker 67 (03:50:15):
You better pull yourself together.

Speaker 26 (03:50:19):
What are you doing here? And why is this grave open?

Speaker 12 (03:50:21):
Oh?

Speaker 71 (03:50:21):
I'm got sure un comfortable A young friend, he got
a bit big stamped.

Speaker 26 (03:50:26):
I opened the grave to shave.

Speaker 5 (03:50:27):
He was mistaken?

Speaker 71 (03:50:28):
Why did you ring the police saying there was a
suspicious character.

Speaker 26 (03:50:31):
Lurking in the cemetery or else?

Speaker 71 (03:50:32):
Seems always mistaken, That's all comfortable, Evactly we were both mistaken,
weren't we?

Speaker 1 (03:50:38):
Young man?

Speaker 71 (03:50:39):
He deeply.

Speaker 76 (03:51:06):
Will will will somebody should have told Joe Harris that
lifting wallets from catalyptic gentleman is the most grave offense.

Speaker 71 (03:51:20):
In fact, it is likely to incur a most stiff penalty.

(03:51:47):
Get three fibes. Get the taste three fives by State Express.

Speaker 41 (03:51:54):
Get the taste of International.

Speaker 71 (03:51:56):
Success, the taste that's uniquely three files only when no
expense is spelled and it's making. Can a cigarette taste
so nice, so smooth, so satisfied?

Speaker 41 (03:52:10):
Three pies?

Speaker 71 (03:52:11):
Get the taste, the taste that State Express created for you,
the taste that has made three fies the king size
cigarettes of International Success.

Speaker 41 (03:52:25):
Get three fies, Get the taste.

Speaker 76 (03:52:38):
This is your host back again, Yes, the reminder of
a rendezvous next week.

Speaker 12 (03:52:47):
Where do we go.

Speaker 1 (03:52:50):
Through the creekdo?

Speaker 41 (03:52:53):
Of course?

Speaker 71 (03:53:01):
The manufacturers of State Express three five Spilter King Cigarettes
invite you to listen next Saturday at nine o'clock, when
they will again present.

Speaker 3 (03:53:16):
The creaking door.

Speaker 79 (03:53:45):
Time, the silent herald of life and death, success or failure,
the unseen force that measures man's destiny, reaching its most
faithful moment as it slowly strikes the eleventh hour?

Speaker 18 (03:54:29):
Must I wait upon the women? The serving unch More wine, Girl,
more wine. Have sometimes insulted. I get by a slipper
love of words. Just one will cost you your life, sir?
What who the devil you? Those standards are your service?

(03:54:52):
I take it you are a stranger to the tavern
of lost through I am, and I shall make a
point of not returning. Then we shall both be content.
Kitty has one rule for the tavern, a rule that
you have already broken. What's that? That is cleon Tero
should drink like gentlemen. I am a gentleman, her by first,
but not by inflination. You gazzle your wine like a

(03:55:15):
pastew Why get You'll dribble your wine over your list
like a blobbling child. And I should enjoy the privilege
of running you through. Shall we meet at dawn? Okay?
I am no swordsman, and tistoles perhaps hands trembles. Hold
this is there.

Speaker 48 (03:55:40):
You wish the lads?

Speaker 18 (03:55:42):
Yes, yes, but first your apology and I friends, Kitty
owns the tavern and lost those There's no serving wench,
but he wishes to crave your pardon. Yes, yes, exactly,
I had no idea good nights, my friend, I do
had to be die had appointment.

Speaker 48 (03:56:08):
If your sword would serve England. If it serves me,
why my.

Speaker 18 (03:56:12):
Thoughts one man, both standers. It is my advantage tool
that peace should prevail the material good, wine and peace
go hand in hand.

Speaker 48 (03:56:20):
You're glass empty and.

Speaker 18 (03:56:22):
Will remain so I shall return before midnight. Kitten, I
have one thing in common with our departed guest and
largent appointment. Please, and if I take considerably more than that,
I should regard this as the.

Speaker 80 (03:56:39):
Most unprofitable knight, Come dull night, Margaret, cold wet, I

(03:57:03):
was devil.

Speaker 18 (03:57:04):
We couldn't say the night of that's heaven we passed.

Speaker 48 (03:57:06):
I commmented, Father, you gave pickings orders. If we were
to press on to dope.

Speaker 30 (03:57:10):
Oh that was in London. I wasn't so damned cold.
Then we have the package on time at all?

Speaker 18 (03:57:17):
Why could never get leave him in regimen in the summer?

Speaker 48 (03:57:20):
That's because.

Speaker 18 (03:57:22):
Difficult. Has there ever been anything else that's in coursing enough?

Speaker 1 (03:57:27):
Start?

Speaker 4 (03:57:27):
Though?

Speaker 7 (03:57:28):
Is?

Speaker 18 (03:57:29):
Where's there any Gump driven him out of Spain months ago, as.

Speaker 48 (03:57:33):
We British were driven out of America.

Speaker 30 (03:57:35):
Mark, I'm tired of being reminded in the middle of
every discussion that preny has go. I was ptrayed a Senatova.
My regiment will have forehaul in depth there.

Speaker 48 (03:57:45):
I know, father, if it had been left to you,
America would still be a position.

Speaker 18 (03:57:50):
There is nothing to laugh about. Del f distress, distress
another thing I.

Speaker 27 (03:57:58):
Who were there, ticket cigs won't be top off. Well,
this is a stopper coach.

Speaker 81 (03:58:08):
Turn out that horse pistol, my friend, where I shall
forforse shoot it half of your head like you bake
me on your way. This is the Earl of Richton's count.
I am in the privilege up the pistol.

Speaker 18 (03:58:25):
I'm waiting, thank you, my la.

Speaker 30 (03:58:31):
The highwaymen, and we have like a poop out of
pistol digits.

Speaker 25 (03:58:36):
Goddess pre me service.

Speaker 18 (03:58:44):
Your lordship, my compliment and to humor. If you were
to defend, I am sure we can terminates all business.
Speed it there and allow you to continue with your journey.

Speaker 19 (03:58:53):
I have no intention of leading the coach.

Speaker 30 (03:58:55):
My advice too cold as you wish. If you will
hand me or go your lord, no, we'll have to
kill me to get his father. Well, if you lay
ahead of my daughter, I'll hundred down. I'll have to
leave the bow street runners myself. The prospect of such
a chaste excacts my curiosity. But even highwaymen can appreciate beauty.

Speaker 82 (03:59:13):
Mo'm we are on our way to Gilvert to meet
my brother, Sir, a man who is risking his life
in the service of his country, not in the pursuit
of gold stolen from his betters.

Speaker 18 (03:59:23):
Mum, I had no idea. I have no desire to
spoil the homecoming of such a You may drive on
my bend. Both do mersing. Let us go in the
face of such beauty and such data. What else would
I do? Come? Ask a flyer, fade or slam.

Speaker 7 (03:59:44):
It.

Speaker 27 (03:59:44):
You would be wise to make all speed together up
and break the return journey at the tavern of lost soul.

Speaker 18 (03:59:50):
So why are my friend?

Speaker 12 (03:59:54):
Word?

Speaker 30 (03:59:54):
I'll be father, Well, I will anywhere men. Maybe it's
ca second gentleman, Did you get a close look at him?

Speaker 12 (04:00:03):
Out?

Speaker 48 (04:00:04):
I did not wish to.

Speaker 18 (04:00:06):
You could have killed me. Woman who absolutely helped us.
We could do a thing to stop everything in the mind.
Who is amazing? Oh we gotta see you all, my singers.
You said I was dismissed your old shoe. Oh not
here are you fool? Oh wait the dover? Oh right,
I'll give you another tom.

Speaker 19 (04:00:28):
But next time.

Speaker 18 (04:00:28):
Shoots and then whip up the orphoe. Okay, the dove
of my by freaks the nest honey, oh no, in

(04:00:57):
our hands, only in my pocket when it helped miss
the most unrewarding night to work kid him Except for man,
I think you would have visitors to stay the night's kitten,
three of them, four with the coachman.

Speaker 48 (04:01:11):
So what happened?

Speaker 18 (04:01:12):
Then I stopped the coach and made the acquaintance with
the Earl of Twistendom. I don't know. I let him go,
But why why take such risks for nothing? My dear
the Earl has a mist charming daughter, haughty, delightful and
very beautiful red. And I guess it was dark the night.

(04:01:34):
I mean her hair gleamed in the half nag.

Speaker 48 (04:01:37):
Yes it was, and you told them to ste I did.

Speaker 18 (04:01:41):
Even this tavern cannot exist without customs.

Speaker 48 (04:01:45):
Sad enough, but this we could live well. If you'd
help me with the child.

Speaker 18 (04:01:49):
I should die of boredom within a week.

Speaker 48 (04:01:51):
You die kicking your heels for the moment of the
mothers diveon.

Speaker 18 (04:01:56):
No doubt, or perhaps they'll hang me from a gibbetal
Madova road. As a warning to Calais. I hope to
coach meets a good time on other terms are now
because of her? Hm hmmm, no, dear, because of my pocket.
I have a feeling that the twists and cards tonight
and my night's work will be worthwhile after all?

Speaker 48 (04:02:33):
No wine, you know?

Speaker 18 (04:02:35):
Thank you? I needed to standish.

Speaker 32 (04:02:40):
You say your name is yes, your latch Standish Standish.

Speaker 27 (04:02:46):
I don't know the name, but I was feeling we've
met somewhere before. I doubted your launches.

Speaker 2 (04:02:53):
Thank you, k.

Speaker 30 (04:02:56):
I believe it's your terms. What oh you did have
anything worthwhile in his hands? If you've bought something in it,
very order has got to be retrieved somehow. Nothing, Father,
then I would say that the center is mine. Gentlemen,
I must.

Speaker 18 (04:03:15):
Say you're a wizard with the cards? Standish, were not
of four in tonight? Wizards are full of tricks, are
they not? Standing? The scripts of the hand that deceives
the eye? Really does not strike you as odd, father,
that ill luck with a card should follow us so
pain mistakingly. Fighting the French seems to have loosened your

(04:03:35):
sun's tongue, your lodger only if it that has METICSI
forces have tasted a defeat once too often. You're a
cheap standish, a cheese and a liar. Get in where
is Lord Twistendon's room? On taking an unlucky number your
launcher my second, we'll call on you. You own a rapier,

(04:03:58):
I presume I do. Then we will settle for the
wise and standards, the boys overrated. Surely we can come
to summer Range by all means. Lord, I presume you
will second your son. Yes, but I regret that you
will be present at his death. Good night to your lordship.

(04:04:32):
Come in your ladyship.

Speaker 19 (04:04:41):
I am not sure as my choice.

Speaker 18 (04:04:42):
Mister then five, I have come to plead for my
brother's life.

Speaker 19 (04:04:48):
I know who you are.

Speaker 82 (04:04:50):
It was you who held us up at Pistol Point
earlier tonight on the Dover route. I've talked with Miss
Kitty and she tells me it's you cannot kill you cannot.

Speaker 18 (04:05:01):
He's doing it to apologize before morning.

Speaker 19 (04:05:03):
Do you think he will do that?

Speaker 18 (04:05:04):
I rather hope so. I just like rising at such
an earlier.

Speaker 19 (04:05:08):
My father knows Erek was wrong. You did not cheat.

Speaker 18 (04:05:12):
There is always the possibility that your brother might kill me.

Speaker 48 (04:05:16):
I know everything about you, your skill with a rapier.
How many men.

Speaker 19 (04:05:22):
Have you killed those.

Speaker 18 (04:05:23):
Days, the ones who use such words as cheat and liar?

Speaker 19 (04:05:27):
But if you were a gentleman.

Speaker 18 (04:05:29):
But I am not born into the gutter cheapside. My
clothes are the finest that ill gotten.

Speaker 1 (04:05:35):
Money can buy.

Speaker 18 (04:05:35):
My list is important from France. My sword was a
gift from the Great Sardini himself. My hose is important
from Spain. But even so I am not a gentleman.

Speaker 82 (04:05:47):
You had a chance earlier tonight to rob me, even
kill me, if you would wish you did not do so,
then I beg you do not do so.

Speaker 19 (04:05:56):
Now do not rob me of my brother.

Speaker 82 (04:05:58):
Your hair is even more beautiful, And I thought mis
Kittious told me of your prowess with.

Speaker 19 (04:06:05):
The rapier. Could you not descend yourself.

Speaker 18 (04:06:09):
And let your brother live? Lady Margaret, I hesitated, what
upon the consequence lost upon my reputation? But live you shall.
Now it is long past your bedtime, Lady madd go
to your room. I give you my word that this
is one affair of honor I shall contrive to lose.

(04:06:57):
I must warn you, gentlemen, that jeweling has been outlaw
in England. His majesty, if you already presided this affairs,
then do sir, I did not come here to talk.
There are certain formalities. I have no intention of retracting
my accusations. In fact, mister President, I reiterated the gentleman
I am to fight is a cheat and a liar. Father.

(04:07:18):
I made a number of in criers about this gentleman
since last night. Here's, among other things, a common highwayman.
Do you deny this standing? I just like the word common.
I regard myself as the most uncommon. However, bye, George,
I should like to examine your point, gentimentary. Is that

(04:07:39):
effected it? Thank you? You will remember that first blood
decides the victor. Agreed, My adversary is going to still
rather a lot of blood. Mister Preston, Robert Guster thought
to entertain and said to love them, not to win back.
Will you come over here please? Of course, getting over quickly,
mister President, I have an urgent case of singles to attend.

Speaker 83 (04:08:01):
Ready, gentlemen, then you, oh God say, I thought the
army favored the Italian school, Lord Elic have at you.

Speaker 18 (04:08:21):
Relax, you're with Lord Eric.

Speaker 1 (04:08:25):
And play.

Speaker 18 (04:08:27):
I think it's some caress. He'll I am not in
the sound life. Standish. I intend to kill you back.

Speaker 83 (04:08:38):
Enough first Blood, his lordship, doctor, will you attend, mister Standy,
let us scratch stock her.

Speaker 18 (04:08:44):
Let's see it run up your sleeve. The greatest duelist
in England. That's about I found it very disappointing you
would meet again the Standish. I shall kill you. Do
you want? It's nothing serious, missus Tandish, it's old blood,
that's all. Good morning. Wait for me. The Standish would

(04:09:09):
like to talk to for a moment. We have nothing
to discuss your launch.

Speaker 30 (04:09:14):
I saw you drop your point after fending his attack.
It was almost as if you guided his soul into
Gray's wrong.

Speaker 18 (04:09:22):
I'm sure you're you're wrong.

Speaker 30 (04:09:24):
I'm I'm deeply grateful to Standish, very fond of the sun,
the only air. Deeply grateful, Margaret. I'm worried about your brother,

(04:09:50):
deeply worried.

Speaker 82 (04:09:52):
He is rather more pompous than usual s is the
both Standish affair, No doubt you get it.

Speaker 8 (04:09:58):
Well.

Speaker 18 (04:09:58):
Where is he now?

Speaker 82 (04:09:59):
Where he spends every hour of the day as the
great Sardini is fencing school.

Speaker 48 (04:10:04):
He's decided that.

Speaker 82 (04:10:05):
Having established such a reputation as a dualist overnight father,
he can teach Eden Sardini.

Speaker 18 (04:10:10):
Woh, Cooper, young fools.

Speaker 48 (04:10:13):
He's paying for lessons from Sardini. But Eric contrives to
make it sound as if the boot were on the
other foot.

Speaker 30 (04:10:18):
I shall be in ferneling level. The young Idia goes
back to its regiment. I suppose I've spoilt him a
great deal, needed.

Speaker 18 (04:10:26):
A mother's roof.

Speaker 19 (04:10:28):
We both spoilt and dying.

Speaker 30 (04:10:30):
But Margaret, you know both standards, yes, father, Oh, I'll
never understand why that Edic defeat him.

Speaker 18 (04:10:42):
The first few moments of the due he.

Speaker 30 (04:10:44):
Made Edict looks like a lumbering fool master mastered.

Speaker 18 (04:10:47):
He's almost as if he wanted.

Speaker 30 (04:10:49):
To lose, would fight louised without coming to any great harm.

Speaker 27 (04:10:52):
He patted at frustic beauty there, then dropped his sword
point thus far enough to.

Speaker 18 (04:10:57):
Allow the boy it in Nicky's arms.

Speaker 2 (04:11:00):
Margaret, are you listening?

Speaker 19 (04:11:03):
Yes?

Speaker 18 (04:11:04):
Well, why the devil did you do that?

Speaker 30 (04:11:08):
In one short night? Both there, which holds us up
a piscol point, refuses to take our gold, then contrives
to save my son, paying the penalty.

Speaker 12 (04:11:16):
In his bad manners.

Speaker 18 (04:11:18):
I don't understand now, I simply do not understand.

Speaker 19 (04:11:22):
I asked him to lose.

Speaker 12 (04:11:25):
I see you what.

Speaker 82 (04:11:27):
I went to his room, Marter you and Edic had
retired and begged him to allow Edict to defeat him.

Speaker 30 (04:11:33):
To realize what you've done, Gil, if anyone ever discovered
the truth of the matter, to be the laugh.

Speaker 18 (04:11:38):
In stock of London.

Speaker 2 (04:11:41):
So I'm I'm glad you did.

Speaker 18 (04:11:44):
Oh that's I can make young Edic see how beautilly
lucky he was there. You are, father Margaret to marry
from Arslam. I think perhaps of glass my dinner. I
want to talk to Edic, please, father, not now, I've
had the most exhausting day.

Speaker 27 (04:11:57):
You know, Sadamia is quite good with the poil. Do
you intend to spend your entirely fencing my leave?

Speaker 18 (04:12:04):
Of course? I have got to tell you. I resign
my commission.

Speaker 2 (04:12:08):
You did?

Speaker 18 (04:12:08):
What resign my commission? And what may I ask you
intend to do with yourself? Perhaps the tables play the tables,
and you know the usual thing. After all, I have
some little reputation to enjoy. Now I find the glamor
that surround is the man who defeated burst D and
is quite tasted. Much more said than the winter mud
of spad. I say something wrong.

Speaker 30 (04:12:31):
You resign your commission, and you think the greatest fencing
master and you have is quite good for the poil
you intend to gabble?

Speaker 18 (04:12:40):
Is there anything else you intend? Yes, Father, I intend
to be plat of my rooms and have master mister Madera,
I may join your birth to dead. But starting conciping
and popping Dad from the period. The time has come,
Margaret for master Edit to be told, for lesson, he'll
never be this time.

Speaker 32 (04:13:03):
I should at those standards. This time I shall be
with him.

Speaker 18 (04:13:18):
I should recogneke sure that my ears are not perceiving
me as I understand. If you wish me to challenge
your son to a dure as a quite right you
wish me to defeat him, I do, But he is
not to be more than scratched at most desire it
I see?

Speaker 27 (04:13:36):
May I ask quiet, because ever since you're forcing me
to more anagers than ever, I know perfectly well that
you allowed him to seat your standish.

Speaker 30 (04:13:43):
I knew it at the time, and since then Margaret
has told me the tea you move well. He told
me that's the risk of ascending you.

Speaker 2 (04:13:51):
Sir.

Speaker 84 (04:13:51):
How is it that such a paragon should possess such
an obnoxious brother? I don't know which I did. No
one in hur the not not physical en exactly. I understand.

Speaker 18 (04:14:07):
Everything, all right, everything as well.

Speaker 48 (04:14:10):
I just te to do here.

Speaker 30 (04:14:12):
When you want some more wine, may I ask you
a question? Bow a while I might make all you both,
of course? Not How did this tavern get his name
with hevern lot souls?

Speaker 18 (04:14:25):
I christened it well when mister Kitten's parents died, they
left her at or I was starting one knife on
my way to a meeting, such as to stop for refreshment.
The parlor was full of men and their cups, and
amongst them stood Kitten, but a flagon of wine held
high above her head as she forced to disengage herself
on the arms of a drunken sat It was like

(04:14:46):
a scene from the Infernomenon. The fire like the candles
and the tanker spilled.

Speaker 32 (04:14:52):
On the tables.

Speaker 18 (04:14:53):
Well is the time it was christened again, I think,
not as they're more famous or quiet tavern now between
the others, because boa will you do me this favor?
In God, my son. Uncertain conditions are first that you
won't let in Margaret attend the duo. Secondly, that Sadini

(04:15:14):
himself shall preside Sadini. Yes, I spent five years in
Spain under the guidance of Sardinia. I owe my skill
with a thought to the master. It is sitting that
he should be there.

Speaker 1 (04:15:40):
This time.

Speaker 18 (04:15:41):
I promise you will not escape so lightly as Standish.
I'm glad to have this opportunity of demonstrating something that
you seem to have found hard to believe.

Speaker 32 (04:15:48):
Sardini, Your gladness is no greater than my answer.

Speaker 18 (04:15:52):
You have met my opponents.

Speaker 2 (04:15:53):
I chanced we have met yet your.

Speaker 85 (04:15:56):
Seconds already quite use senior Standish, Of course, myster you
will attend doctor.

Speaker 18 (04:16:04):
I am ready, And then, gentlemen, let us comment. Can
you take on guard? Say there's no high We have
time to play with that shirt made in stand it

(04:16:29):
was I just like the cut. Allow me to improve
the siling.

Speaker 8 (04:16:34):
Why you.

Speaker 18 (04:16:36):
I'll kill you with or with your sword? Your lord
sheer luck. I lost my grip, and check out your
sword and try again.

Speaker 85 (04:16:47):
You will retire while he does those stand make three
places if you please, of course, no, thank you father.

Speaker 18 (04:16:57):
On God's standish, defend yourself your should that it's abominable,
Your lordship, I'm at least you will now find it
easier to breathe. It would not be long before you
cannot breathe at all standings. Blade should dance my friends

(04:17:23):
like this, and.

Speaker 27 (04:17:27):
Your cut position is low, your lordship, you know low,
your lordship allowing me told.

Speaker 18 (04:17:32):
Craft like so, Doctor you will attend him at once?

Speaker 2 (04:17:38):
My stroke, my boy?

Speaker 18 (04:17:40):
Are you all right? Get away from you? Get away?
Leave me alone?

Speaker 1 (04:17:47):
Thank you?

Speaker 18 (04:17:47):
Standing than.

Speaker 30 (04:17:50):
He no doubt, no return to his regimen. And that
that burst you requested on the double road is yours.
I shall send it to the devil of lossol. Thank yourself. Bet,
are going to tend the boy? I think you'll need
me now?

Speaker 19 (04:18:12):
Oh oh?

Speaker 18 (04:18:14):
Why did you want me here to say goodbye?

Speaker 1 (04:18:18):
Model?

Speaker 19 (04:18:19):
Goodbye?

Speaker 12 (04:18:21):
But I thought it really is the loveliest.

Speaker 19 (04:18:23):
Don't you go with me now? Please?

Speaker 2 (04:18:25):
Not now that I would never do not with you?

Speaker 1 (04:18:30):
Goodbye, lady Margaret?

Speaker 18 (04:18:32):
Are you coming?

Speaker 78 (04:18:33):
Margaret?

Speaker 7 (04:18:34):
I thought?

Speaker 2 (04:18:36):
I mean hi?

Speaker 1 (04:18:37):
Women? Why Margaret?

Speaker 19 (04:18:42):
Goodbye?

Speaker 85 (04:18:45):
You have remembered your lessons well, Senior Sandy, Thank you master.
I am glad that my belief in you was worth while. Yes,
very gracious for an Englishman. Why remarkable resevering of history? Vette,
This saber movement with which you cut his shirt defer

(04:19:07):
in your defense. Your paris quite good, but that final
thrust ELNs that senior standish.

Speaker 18 (04:19:18):
What's disgusting? Be listening for another mounting drama when we

(04:19:50):
again present the eleven hour.

Speaker 13 (04:20:00):
Oh bet, up with.

Speaker 16 (04:21:18):
The everyday grind.

Speaker 22 (04:21:20):
Tired out by the dull routine, you want to get
away from it all.

Speaker 3 (04:21:26):
We offer you.

Speaker 86 (04:21:28):
Escape Escape Transcribe to free you from the four walls
of today for a half hour of high adventure.

Speaker 22 (04:21:40):
You're aboard the Orient Express, rushing through the European night,
bound for Istanbul, and in your compartment with you a
gun pointed at your head, a small, mysterious stranger.

Speaker 3 (04:21:51):
It's about to take your life.

Speaker 86 (04:22:01):
Today we escape from reality to the tenth world of
Balkan and Prigue, as Graham Green pictured it in his
famous novel Orient Express.

Speaker 3 (04:22:20):
My name is Gregory Myatt.

Speaker 22 (04:22:22):
In nineteen thirty two, I had to go to Istanbul
on business, and I decided to take the Orient Express.
After an uneventful trip across the Channel, I found myself
at the station in Austin, Belgium, where the Orient Express began.
The porter took my bags and overcoat to my first
class compartment while I lingered on the platform, and inevitably
somebody bumped into me.

Speaker 3 (04:22:42):
Oh, I'm sorry, that's quite all right.

Speaker 58 (04:22:45):
Which way are the second class coaches?

Speaker 3 (04:22:47):
Please that way? I think your suitcase looks heavy, may I?

Speaker 58 (04:22:52):
Oh no, thanks, I can manage your right.

Speaker 22 (04:22:54):
She had a very nice figure, trim and erect. I
wondered whether she was going as.

Speaker 3 (04:23:00):
Far as Istanbul Express.

Speaker 22 (04:23:05):
I made my way down the platform to my coach,
but there was a stranger in my compartment going through
my overcoat.

Speaker 87 (04:23:11):
Young man, you have the wrong compartment, and you have
the wrong overcoat. This coat is mine. Also, this compartment number.

Speaker 3 (04:23:18):
Seven it happens to be number eights eight. I have
made a mistake. A thousand apologies, sir. That's all right,
thank you. You are going to Belgrade. No, no, I'm
for resta bull, so allow me. My name is Richard
John Are you do? My name's myat Greig remined. I
am grateful you are a fellow countryman. These little mistakes

(04:23:38):
can be so difficult to explain fellow countrymen. But I'm American.
I also I am a naturalized American all these many years.
But the excent remains, Yes, I suppose it does.

Speaker 87 (04:23:50):
Wow, we are under way. I will go to my compartment.
A most pleasant journey, sir, and again a thousand apologies.

Speaker 22 (04:24:05):
I looked at the landscape for a while and then
got out a book and settled on to read. And
at that moment, of course, we ran into a string
of tunnels, all of them pitch black. I was just
about to ring for the guard to ask to have
the lights switched on, but the.

Speaker 3 (04:24:19):
Train was crashing towards stop. We were on the tunnel.

Speaker 22 (04:24:23):
I got up and broke for the door and went
into the corridor just as the lights went on. Lying
on the floor was the girl who had bumped into me.
Excuse me, please, one side, please excuse me.

Speaker 86 (04:24:36):
Please, madame, Conductor Magi to inform you, it is not
allowed for a passenger to stop the orient.

Speaker 22 (04:24:44):
Explain mister myad if you will allow me, please, Oh,
mister John, hadn't we got to get a doctor.

Speaker 3 (04:24:49):
I am a doctor, mister Mayotte, allow me.

Speaker 13 (04:24:52):
So.

Speaker 3 (04:24:53):
There is nothing wrong with this young lady. She has
only fainted. Oh good, good, give me a hand, mister John.
Let's scat her into my my compartment.

Speaker 22 (04:25:10):
I'm all right now, really, I am Yere's cosha. Yeah, yeah,
drink this it's brandy.

Speaker 3 (04:25:17):
Drink it, young lady.

Speaker 13 (04:25:18):
It will help you.

Speaker 3 (04:25:19):
Gord.

Speaker 58 (04:25:21):
I don't know why I fainted.

Speaker 50 (04:25:22):
I never did before.

Speaker 3 (04:25:23):
When did you last have a decent meal? Yesterday? The
day before?

Speaker 58 (04:25:27):
I suppose it was the day before.

Speaker 55 (04:25:29):
That's my affair.

Speaker 3 (04:25:31):
You have no money? No, how would you like to
have dinner with me?

Speaker 4 (04:25:37):
Well?

Speaker 3 (04:25:38):
Please say yes?

Speaker 58 (04:25:39):
I won't say no.

Speaker 3 (04:25:40):
Fine, fine? Will you join us, mister John No, I
prefer to remain in my compartment.

Speaker 22 (04:25:50):
As we dined, I learned her name was Carol Musker.
She was a chorus girl and she had a job
waiting for her in Estable. I felt a bit sorry
for her, but more than that, I remembered how she
felt in my arms when I carried her unto my compartments,
and I wanted to hold her again.

Speaker 58 (04:26:09):
I hate a lot, Mistermyatt. I hope you can afford
the check.

Speaker 3 (04:26:12):
I think I can now.

Speaker 22 (04:26:15):
How about breakfast tomorrow and all the rest of your
meals till we rich estanbo.

Speaker 58 (04:26:20):
Mister Myatt, I hope you don't have any ideas about me.

Speaker 3 (04:26:24):
Well, of course I have. You're very attractive.

Speaker 58 (04:26:29):
Well, I don't know anything about you. For all I
know you're married and have six children.

Speaker 3 (04:26:33):
I am not and I haven't. How about you, I
have no one.

Speaker 22 (04:26:38):
Well, then there's no reason why we shouldn't have ideas
about each other, is there?

Speaker 3 (04:26:43):
And by the way, my first name is Gregory. More coffee?

Speaker 1 (04:26:47):
What does it?

Speaker 2 (04:26:48):
Well?

Speaker 22 (04:26:48):
Then, as soon as I paid it to myat, Oh,
mister John, excuse me, is this yours?

Speaker 29 (04:26:54):
Right?

Speaker 3 (04:26:55):
That's my pocket book.

Speaker 87 (04:26:56):
I found it in the corridor outside my compartment. You
must have when you lifted this young lady.

Speaker 3 (04:27:05):
He gave me my pocket book and left the dining car.

Speaker 22 (04:27:07):
All my money was there. But one thing I knew,
I had not dropped my pocket book. Mister John had
taken it. Carol and I started through the train. It
was about nine o'clock and the lights were already dimmed,
and the second class coaches people were asleep, sitting up
in the crowded compartments.

Speaker 58 (04:27:25):
Mister myatt, here's my compartment. Thank you for dinner.

Speaker 3 (04:27:29):
It's very early. You have to go in.

Speaker 54 (04:27:33):
Oh I'm tired.

Speaker 22 (04:27:34):
Oh it's too crowded in there for comfortable sleeping. And besides,
you never know who's.

Speaker 41 (04:27:39):
Next to you.

Speaker 58 (04:27:40):
But I do a little fat mancy. His name is
Joseph Krumlich. He introduced himself.

Speaker 3 (04:27:45):
Oh he did, did he?

Speaker 55 (04:27:47):
You're not jealous?

Speaker 9 (04:27:48):
No?

Speaker 3 (04:27:49):
But what do you know about him? He might be
a thief or a bigger mission?

Speaker 42 (04:27:52):
Ridiculous?

Speaker 58 (04:27:54):
Well, good night, mister myatt Gregory, Carol.

Speaker 3 (04:27:58):
Yes, you might kiss me good night.

Speaker 88 (04:28:04):
No one will notice, all right, Well, young lover, then, oh,
mister Goodley, if you're going somewhere, sir, why don't you
go ahead?

Speaker 3 (04:28:16):
Do not be angry please? And I was not spying,
mister Meyer, how do you know my name?

Speaker 89 (04:28:21):
We all heard of the gentleman gallant enough to take
miss Muscart to dinner at the good doctor's suggestion?

Speaker 3 (04:28:27):
Doctor or doctor, mister John he's a doctor, is he not? Now,
if you'll please excuse me, I must get some water.

Speaker 18 (04:28:34):
I'm quite chirsty.

Speaker 3 (04:28:36):
I don't think I like that guy, Carol, how about
taking my.

Speaker 58 (04:28:40):
Compartment your compartment?

Speaker 3 (04:28:42):
All right, I'll get you another one. We'll speak to
the conductor right now. First classic compartment for young lady.

Speaker 26 (04:28:53):
Monsieur.

Speaker 3 (04:28:54):
You must wait until I arrived at Cologne. No tickets
are sold aboard the Orientic spress.

Speaker 89 (04:29:00):
Arrived in Cologne, and let me see precisely fifteen minutes.

Speaker 3 (04:29:10):
Two Orient Express living in ten minutes.

Speaker 22 (04:29:13):
As we walked up to the first class ticket when
a woman elbowed us out.

Speaker 12 (04:29:16):
Of the way.

Speaker 55 (04:29:17):
Please excuse me, you don't mind if I go first,
or you might train for Paris leaves any minute.

Speaker 90 (04:29:21):
In that case, go right ahead, thank you, or Hans,
Hans pie, my editor has got me.

Speaker 3 (04:29:29):
She was a reporter. Apparently, while waiting for her change,
her eyes went past me to the Orient Express.

Speaker 22 (04:29:36):
Suddenly they widened. I followed a glance. Mister John was
just stepping back into his compartment.

Speaker 90 (04:29:42):
One moment, Haunts, change this ticket for us sleeper on
the Orient Express.

Speaker 3 (04:29:45):
Make it bell grab you are lucky, miss Warren. There
is only one accommodation on the Orient Expressman. Just a
moment there, wa wait here, First I thought you were
going to Paris.

Speaker 55 (04:29:56):
Not when I see doctor Zinner on the Orient Express.

Speaker 3 (04:29:59):
Doctor Zenner, the man you were looking at was Richard John.

Speaker 55 (04:30:03):
That the name is using Now, thank you, Hans.

Speaker 3 (04:30:07):
Just a moment there.

Speaker 22 (04:30:08):
I'm taking that ticket, myn Hey, I regret, but the
lady asked for it before you did, and she is
an old customer.

Speaker 34 (04:30:14):
Here here's the ticket.

Speaker 3 (04:30:15):
Miss Warren, Who is it? Gregorymind mister John, I'd like
to talk to you for a moment. May we come
in by? Yes? Yes, of course you are feeling better,

(04:30:39):
Miss Musker. You are getting an oppress. Yes, that's why
we're here. Miss Musker is taking my compartment and I'm
staying in here with you. I wish I could oblige,
but I prefer my privacy. Why is that, doctor Sinner?
My name is Richard John. Where did you hear otherwise?

Speaker 22 (04:30:56):
I'm a newspaper reporter who saw in the station at Cologne.
I don't know what it's all about, and I don't
much care, but miss Musker is going to have my
compartment and I'm going to move into this one with
you any objections.

Speaker 3 (04:31:06):
In fact, both of you shall stay here with me.

Speaker 4 (04:31:09):
What the devil?

Speaker 87 (04:31:10):
Gently, mister Meyatt hes a gun? I am an excellent shot.
Believe me, we shall all stay. I insist lock the door,
mister Mayatt. That's fine. Now, Just who are you, mister Myatt?
Who am I police spy here to keep me from
getting to Belgrade? You surely don't expect me to believe

(04:31:31):
your story about some time.

Speaker 3 (04:31:34):
Mister John, that sounds like the reporter from Cologne. Tell her.
She has made a mistake. Tell her, Mayatt, go away.
You've got the wrong compartment. My name is Myatt.

Speaker 18 (04:31:45):
I'm a reporter.

Speaker 55 (04:31:47):
Mabel Warrett, Monan Claria Myatt.

Speaker 87 (04:31:49):
Put your arm around this Muska. Open the door pathway
just enough for her to see both of you. I
shall be behind the door, and remember I have a gun.

Speaker 55 (04:32:02):
I oh, you're not the man I'm after all you.

Speaker 3 (04:32:05):
My name is Myatt. I haven't the slightest idea where
you can find your mister John.

Speaker 90 (04:32:10):
Well, I'll find him. He's on the Orient Express somewhere.
Excuse me for interrupting your Rah, excuse me for interrupting you.

Speaker 55 (04:32:20):
Good night, mister Myatt.

Speaker 3 (04:32:23):
Both the door please.

Speaker 87 (04:32:27):
Oh perhaps you really are only an American businessman, mister Meyott.
In that case, I owe you an explanation.

Speaker 3 (04:32:34):
Sit down.

Speaker 22 (04:32:39):
He told us a fantastic story. He was a political
exile from his own country. He'd been forced to leave
five years ago, and now he was going back to
lead a rebellion to overthrow the government by a Kudatar.

Speaker 3 (04:32:51):
And to me it made very little sense. Had it
not been for the gun in his hand, I might
have laughed in his face.

Speaker 87 (04:32:57):
If I am captured before this train gets Tolgrade. I
will be executed once in Belgrad.

Speaker 3 (04:33:03):
However, I am safe. I'm very popular. I know the city.
There are thousands ready to hide me. And that's very interesting.

Speaker 1 (04:33:10):
Eh.

Speaker 22 (04:33:11):
Now that you believe we're who we say we are,
you could put that gun away. I'll bumk here with you,
and miss Musk can go to my compartment.

Speaker 87 (04:33:19):
I cannot allow that. Among the passengers and the strain
many of my countrymen. Some would be loyal if they
knew about me, but others would not.

Speaker 58 (04:33:26):
Jactor Zinner will tell no one.

Speaker 87 (04:33:27):
I am sure you would not intentionally, but it might
slip out. No, I cannot permit you to leave this compartment.

Speaker 3 (04:33:34):
I'm warning you. If I can, I'm going to take
that gun away from you. Don't try, my friend. You're
older than I am, doctor Sinner. You're tired.

Speaker 22 (04:33:44):
Just how long can you stay awake? I sat with
Carol on one seat. He was across from us, the
revolver in his hand, and.

Speaker 3 (04:33:57):
It got later and later.

Speaker 20 (04:34:01):
I'm tired, Gregg.

Speaker 3 (04:34:02):
I disclose your eyes, then, Carol? Are you sleepy, doctor Zenner?
Not yet, that's not my Carol was asleep on my shoulder.

Speaker 22 (04:34:19):
I thought to keep my eyes open, but I dozed off,
and then somehow I came awake. I lifted my head.
Doctor Zenner was asleep. I reached across and grabbed the gun.
It's all right, Carol, I've got it well, Doctor Zenner.

Speaker 3 (04:34:36):
You are right, sir. I tried to stay awake.

Speaker 22 (04:34:39):
But stay here, Carol. I'm going to locate the conductor.
I'm going to tell him what's been going on.

Speaker 2 (04:34:42):
No, you must not.

Speaker 3 (04:34:43):
I shall never get the bell clock. No, we're still
outside his country. He won't be hurt. But if you
report me to the conductor, I shall be put off
the tray.

Speaker 22 (04:34:52):
Allan shot, No harm done. I'll be back soon, Carol.
I love the up and started on the corridor. I
heard a noise behind me, and as I turned, I
caught a glimpse of a shadowy figure, one arm raised
high above my head, and then the arms swung down
in something hard and heavy crushed against my skull, and

(04:35:13):
I fell into a pool of blackness, and I knew
nothing more.

Speaker 86 (04:35:26):
In just a moment, we will return to escape, But first.
The blazing billboard for CBS's ten Great Sunday Night Shows
has an especially big blaze of lights.

Speaker 3 (04:35:36):
Near the top of the list.

Speaker 86 (04:35:38):
That's where the names of Spike Jones, Jack Benny, and
Amos and Andy are found in succession. Spike Jones, Jack Benny,
Amos and Andy the most unusual sequence of top rating
comedy and radio. Don't miss a single second of their
ninety NonStop minutes of Mirth Tomorrow night on CBS's Great
Sunday Night ten. Amos and Andy and Spike Jones come

(04:35:59):
to you over most of the same CBS stations, and
Jack Benny is heard over them all. And now with
our star Bill Conrad, we returned the second act of
Escape and.

Speaker 3 (04:36:11):
The Orient Express.

Speaker 22 (04:36:20):
How much later it was when I opened my eyes.
I don't know whoever had hit me had done an
expert job. Might have been Center, or or even Carol,
had no way of knowing the gun was gone. I
dragged myself to my feet and stumbled down the corridor
back to compartment number seven.

Speaker 3 (04:36:40):
But it was empty.

Speaker 22 (04:36:42):
Perhaps they moved to my compartment, I hurried to it. No, no,
there was nothing in my compartment. My bags were gone,
even my overcoat. Inside I began to feel a strange,
unreasoning fear.

Speaker 3 (04:36:55):
Why was it so quiet?

Speaker 22 (04:36:57):
What were all the other passengers coming along the entire corridor.

Speaker 3 (04:37:02):
I opened every door in the coach was completely empty.

Speaker 22 (04:37:09):
I felt as as if I were going crazy, and
I lost consciousness again.

Speaker 3 (04:37:24):
Yeah, here you mister wat we got Who are you? I, sir?
I am the rakeman. No tell me what happened to everyone?

Speaker 22 (04:37:38):
This coach was full. I got on at Austin. Dozens
of people got on at Austin.

Speaker 91 (04:37:42):
Oh no, sir, this coach is empty, and it comes
only from wagons board wagons.

Speaker 3 (04:37:49):
No, it's it's from Austin. I tell you.

Speaker 22 (04:37:52):
Look, Compartment eight. This was mine, My bag's my overcoat.
They were here and now they've disappeared.

Speaker 18 (04:37:58):
What was that?

Speaker 91 (04:38:00):
That is only the switch engine. We're on the yards
outside Vienna. This coach is a deadhead. It was put
on the Orient Express at Reagan's booke, and.

Speaker 3 (04:38:08):
Now we take it off. Dead head. You mean no,
it's not my coach at all. The regular coaches are
Orient Expresses in front of us.

Speaker 22 (04:38:17):
If you do not wanted to leave without you, you
had better HORIZI don't worry, I'll make it. The Orient
Express was just getting underway when I dropped off the
front of the dead Head. I had plenty of time
to run up alongside and swing aboard, and made my
way through the train to my coach and knocked on
the door of centers of compartment.

Speaker 3 (04:38:38):
Open up in there.

Speaker 22 (04:38:40):
Gregory Meyer opened the door, lying on the berth, bound
and gagnous. The reporter Miss Warren, and standing beside her
gun in hand was not doctor Zinner but Joseph Grundlish.

Speaker 89 (04:38:53):
We have a very tough skull, mister Mayer, I should
have hit you a little harder.

Speaker 3 (04:38:58):
No, where is Carol? Where is doctor Senner? Why have
you tied up this reporter? Not so fast?

Speaker 89 (04:39:06):
First, as to Miss Warren, I have tied her to
prevent her from interfering with doctor Sinner. Had I allowed
her to file her newspaper story, doctor Zinner would never
get to belgrad.

Speaker 3 (04:39:18):
I happened to be a.

Speaker 89 (04:39:19):
Nerd and follower of doctor Zinner. I was standing watch
last night when you dashed into the corridor. Mister Mayet,
you had this very gun in your hand. You had
obviously broken away from doctor Zinna. Fortunately I had a
black chain.

Speaker 3 (04:39:33):
Where is Carol and doctor Sinner?

Speaker 89 (04:39:36):
Do you promise to do nothing to interfere with doctor
Sinna's plan? I promise nothing no b reason of the
Orient Express will soon cross the border into my own country.
It makes only one stub at the border for passport identification.

Speaker 3 (04:39:50):
After that you are involved no longer by be stub orner.
All right, Rudley, I wanted to say, mister Mayett, I
think you may go now.

Speaker 89 (04:40:00):
Doctor's in that Andy's muscat.

Speaker 3 (04:40:01):
I'm next door in your compartment.

Speaker 22 (04:40:08):
Doctor Zenna was seated on one berth dozing, and Carol
lay on the opposite berth, fast asleep. Traces of tears
on her cheeks. She shivered. I covered it with my
overcoat and she woke up.

Speaker 58 (04:40:20):
Gregory, Gregory, I didn't know where you wash go back
to sleep?

Speaker 10 (04:40:24):
Oh?

Speaker 58 (04:40:25):
I searched.

Speaker 7 (04:40:25):
W whee.

Speaker 58 (04:40:26):
I didn't know what to do when I came back here. Oh,
I was so tired. Doctors dinner made me go to sleep.

Speaker 22 (04:40:33):
Everything's all right. In a few hours, everything will be fine.
Now close your eyes and go back to sleep. I
left the compartment and went to the second class coach.
With both Carol and grundlichon. There was space for me.
I slept until I was awakened by a Hungarian passport inspector.

(04:40:54):
The train had stopped in a town named Schubotica, just.

Speaker 3 (04:40:57):
Inside the border. I showed him my past and I
went to the dining car.

Speaker 22 (04:41:02):
The breakfast rush was just starting, so I gave a
weight to a pound note and had him get me
breakfast for two. By the time the Orient Express was
ten minutes out of Shibotica, we were going down the corridor,
the loaded tray tinkling as the weightter followed me. We
arrived at my compartments, but it was empty. No sign
of Senna, no sign of Carol. A torn piece of

(04:41:24):
paper was tucked under the cuff of my overcoat. It
was a note I have left with doctor Zenna. I'm
afraid this is goodbye, signed Carol Musker.

Speaker 3 (04:41:36):
See the breakfast. Where shall I put the tray? The breakfast?

Speaker 13 (04:41:41):
Oh?

Speaker 3 (04:41:43):
Take it back? I don't wanders.

Speaker 22 (04:41:47):
I sat near the window and watched the landscape drift past.
My suspicions had been right all along. Doctor Zenna had
played me for a fool, and so had Carol. After
a while, I became conscious of a tapping.

Speaker 3 (04:42:04):
Sound on the wall of my compartment.

Speaker 22 (04:42:06):
It kept on, and suddenly I realized that it was
coming from the compartment next to mine. Someone's heel banging
against the wall. It took only a minute to get
next door. It was miss Warren, the reporter, all tied
and gagged.

Speaker 55 (04:42:18):
Oh thank goodness. I thought you'd never hear me.

Speaker 3 (04:42:21):
Grundley, where are the others?

Speaker 55 (04:42:22):
I mean, you don't know what's happened.

Speaker 90 (04:42:23):
Zenna's going to be executed, executed where they took him
off the train? At Supportica Gulick arranged the whole thing.
He's a government spy.

Speaker 3 (04:42:30):
He can't be fully is.

Speaker 55 (04:42:30):
They're probably holding a drumhead court martial on doctor Zinner.
Back in Supportica this minute, I see.

Speaker 3 (04:42:36):
And Carol Musker's the government spy too. The girl, no,
she must be. They took her off the train.

Speaker 55 (04:42:42):
They had to. They couldn't have any witnesses.

Speaker 1 (04:42:44):
What will they do with it?

Speaker 55 (04:42:45):
Probably kill her?

Speaker 11 (04:42:46):
But hey, here, what are you doing?

Speaker 90 (04:42:47):
You can't jump all the trains going sixty at least.

Speaker 3 (04:42:50):
I'm going back there to Supportica. You're insane. Look there's
a small town up ahead. I saw it when I
leaned out. Some cars aparked to the station. I saw them.
I'm going to pull the emergency cord. Take one of
those cars.

Speaker 55 (04:43:01):
Can you possibly do? In support car?

Speaker 3 (04:43:02):
I don't know, but I'll do something.

Speaker 55 (04:43:04):
Go ahead, mister Meyer, I'm going with you.

Speaker 22 (04:43:07):
I pulled the emergency cord, and in a matter of seconds,
the Orient Express was screeching to a halt. Right at
the station, I flung open the door, and with Miss
Warren close behind me, I ran toward the parked cars.

Speaker 3 (04:43:19):
Here you you come here, you speak English? A car
Gentleman's a car very cheap. I want to go to he'sio.
I'll give you twenty pounds yeky in general mons getty.
We were at Subotica inside of an hour.

Speaker 22 (04:43:38):
I had the driver stopped just before we got into
the center of town and told him to wait. Miss
Warren and I started down the main street. Mister Myatt
look in the doorway of a small restaurant. His back
to us, talking to a chef was Joseph Grundlish.

Speaker 3 (04:43:56):
Just keep walking. Try to hear what he's.

Speaker 1 (04:43:59):
Saying for two people, have it sent to the rail line.

Speaker 3 (04:44:04):
Did you hear what I said?

Speaker 55 (04:44:05):
Something about a last meal for two people to be
taken to the railroad station.

Speaker 22 (04:44:09):
Don't turn your head, just keep walking. The railroad station
platform was empty, so it was the ticket office, but
through the window. We could see the waiting room, and
beyond it was a closed door to a baggage room.
There was a large, old fashioned key in the lock,
and standing beside the door was a soldier with a rifle.

Speaker 3 (04:44:27):
That's why they must be in the baggage room.

Speaker 22 (04:44:29):
You don't have a gun, I suppose no, neither do
I the keys in the lock if I can get
to it without the soldiers noticing. We've got to get
the soldier away from the door, Miss Warren. O. Uh,
look do you see that telephone over there in the
fire corner. If we could somehow get the soldier over
the telephone, his view of the baggage room door would
be cut off.

Speaker 6 (04:44:48):
Yeah.

Speaker 22 (04:44:49):
Look, that'll be your job, miss Warring. Go into the
waiting room and up to the telephone booth. Smile at
the soldiers you go by, then pretend you're having some
trouble with the phone.

Speaker 3 (04:44:56):
Appeal to him for help. When he joins you with
the phone booth, keeping my kat pied what I go
in and let him out, but he might look around.
Just talk to him, Sentner and Carol and I will
try to make the car.

Speaker 55 (04:45:06):
You'll have to hurry grew looking that last meal may
be here any minute.

Speaker 3 (04:45:09):
We'll hurry all right.

Speaker 22 (04:45:14):
Through the grimy wondow, I watched business Warren crossed the
waiting room to the telephone, smiling at the soldier. She
left the booth and walked over to him. Couldn't hear
what they were saying. She smiled at him again, putting
her hand on his arm. They went over the booth.
He took a deep breath and entered the waiting room.
I could hear them talking as I started toward the
baggage room. Cal Carol, no noise, doctor zinner, Carol, go

(04:45:49):
to the station platform, now, no noise.

Speaker 20 (04:45:51):
Come on, follow me.

Speaker 22 (04:45:58):
We started back toward the open door that led to
the station platform and went out slowly, not making a sound.
Miss Warren was still talking to the soldier, and then
suddenly their voices stopped. I glanced back. The soldier's gun
had fallen to the floor. He was kissing Miss Warren.

(04:46:21):
We got out to the platform and I shut the
door quietly. All right, follow me. The car is two
blocks away.

Speaker 3 (04:46:27):
Well, she's a reporter. They won't dare touch her. Now
come on.

Speaker 22 (04:46:31):
In a few moments, the station was behind us. The
car was only a block away. Now we turned the corner,
and walking toward us. Not ten feet away was Joseph Grundley,
can awaited from the restaurant. Before he could collect his wits.

Speaker 3 (04:46:42):
I ran at him. He crumpled to the ground and
I hit the waiter. All right, run for it. Brundley
cried a few shots at us, but hit no. And
then we were in the car and he fired at
us no longer. Oh what do you? Oh?

Speaker 65 (04:47:06):
Ye Express?

Speaker 3 (04:47:09):
Goodbye, doctor Senna. You sure you won't come along?

Speaker 20 (04:47:13):
Oh?

Speaker 3 (04:47:13):
I stay here in Petra. I shall be all right now,
thanks to you. Goodbye, mister Byer, goodbye. Hello, Hello? You

(04:47:40):
mind if I sit down? Not at all? Well, we'll
be in this donebul tomorrow a day late.

Speaker 58 (04:47:51):
You know, I probably lost that chorus.

Speaker 17 (04:47:53):
Job.

Speaker 3 (04:47:54):
Have any idea what you'll do?

Speaker 60 (04:47:56):
Then?

Speaker 55 (04:47:56):
I think so I have an idea.

Speaker 3 (04:48:00):
Yeah, so they a very good idea.

Speaker 34 (04:48:09):
Come here.

Speaker 86 (04:48:28):
Escape is produced and directed by Norman McDonell. Today we
have presented transcribed Orient Express by Graham Green, adapted for
radio by Sheldon Stark and Walter Newman, with editorial supervision
by John Dunkel. Starred as Gregory myat was Bill Conrad.

(04:48:50):
Featured players were Edgar Barrier, Hans Conried, Gloria Grant, Harry Bartel,
Anne Morrison, Jack Prusian, and John Dayner. The special music
was arranged and played by Ivand at Mars.

Speaker 3 (04:49:03):
Next week, you.

Speaker 22 (04:49:04):
Are alone in the steaming jungle with three men. You
know that one of them is a desperate criminal, the
man you've come here to arrest, but you don't know
which one. You'll have to find him before he can
save himself by killing you.

Speaker 86 (04:49:26):
Next week we escape with LG. Blockman's exciting Tale of
a Manhunt Red Wine. Goodbye then until the same time
next week, when once again CBS offers you escape. Looking

(04:49:50):
for more escape drama, There'll be more coming along on
CBS tonight, when most of these same CBS stations will
bring you the adventures of Philip Marlowe and Gangbusters. They're
both regular Saturday night features on CBS. Now, stay tuned
for five minutes of the latest news, to be followed
immediately by the Let's Pretend program over most of these

(04:50:13):
same CBS network stations. This is Roy Rod speaking for
CBS the Columbia Broadcasting System.

Speaker 5 (04:50:45):
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 as also

(04:51:06):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus it's where you can find the
Hope in the Darkness page. If you are someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weirddarkness dot com. I'm Darren Marler. Thanks for

(04:51:28):
joining me for tonight's retro radio Old Time Radio in
the Dark

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