KING KONG – A 1938 Radio Drama! - Weird Darkness: Paranormal & True Crime Stories

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.

Speaker 1 (00:16):
You're gonna thank some miss a man us Seal Present Suspense.

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

Speaker 4 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise, sign up for

(01:05):
my free newsletter, connect with me on social media, listen
to free audiobooks I've narrated. Plus you can visit the
Hope in the Darkness page. If you're struggling with depression,
dark thoughts, or addiction, you can find all of that
and more at Weird Darkness dot com. Now bolt your doors,
lock your windows, turn off your lights, and come with

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

Speaker 5 (01:29):
Dark, the CBS Radio Mystery Theater Presents.

Speaker 3 (01:50):
Come in.

Speaker 6 (01:52):
Welcome.

Speaker 7 (01:53):
I'm E. G.

Speaker 3 (01:54):
Marshall.

Speaker 5 (01:55):
This is the story of the dilemma of Curry Harrow,
a young research scientist who believed in the evolvement of
man only through science and nature. The ideas of religion
or faith in God. He firmly excluded man was his
super being. The Kingdom was here and now, and there

(02:15):
could be no hereafter, For to him, the possibility of
life after death was a primitive superstition. For this reason,
Curry Harrow was determined that he would while he could
serve nothing but science and himself, until hospitalized one day
after a serious car accident.

Speaker 2 (02:37):
Jenkins, Jenkins, what have you and old Doc Blanchard done
to me?

Speaker 3 (02:43):
I can't old fanso me. Why am I on an
operating table?

Speaker 8 (02:51):
He's opening his eyes, Doctor Blanchard, come back, I.

Speaker 3 (02:55):
Think, I of course I'm opening my eyes.

Speaker 2 (02:58):
I'm talking to you. When you act like you don't
hear a word.

Speaker 3 (03:02):
To bring your eyes, nod your head, give me some sign.
Why can't you hear me? For Biddy's sake, do something.

Speaker 9 (03:17):
For curse.

Speaker 5 (03:28):
Our mystery drama Beyond the Barrier was especially written for
the Mystery theater by Stella Moss.

Speaker 1 (03:35):
It stars Russell Horton.

Speaker 5 (03:37):
It is sponsored in part by General Electric, Citizen Band
Radios and Buick Mortar Division. I'll be back shortly with
Act one. After a long late session at work in

(03:59):
his favor place in the world, the science lab, doctor
Curry Harrow, young and brilliant research man, was driving home.
The pelting sheets of rain, the wet, glistening roads, the
penetrating glare of lights from cars speeding noisily in both
directions challenged and irritated him. He turned on his radio.

Speaker 1 (04:19):
He stepped hard.

Speaker 5 (04:20):
On the accelerator and began to hum along with the
tune that came from his loud speaker.

Speaker 3 (04:27):
Suddenly, the sky splat as a jagged streak of lightning
cut sharply across the darkness, and a mighty crash of
thunder shook the air around me.

Speaker 2 (04:37):
Briefly, I saw a white panic seize the face of
a driver who had lost control of his speeding cart.
Like an arrow aimed at a bull's eye target. He
swerved mercilessly across the white line that divided traffic in
two directions. Clasps shattered, headlights, hagled the lettle bodies of
the guard rents, and park over in the shapelessness stand
ground to a hal Inside my car, there was a

(05:02):
spattering of blood, a tearing of muscle and bone, and
agony of pain. As I lost consciousness. My last thought
was that I was not going home for dinner.

Speaker 8 (05:24):
I know it looks next to impossible, doctor Blanchet, but
we mustn't give up on Curry.

Speaker 10 (05:30):
Don't you think I enjoy collecting corpses Jenkins, That is
my least favorite part of being a doctor.

Speaker 3 (05:37):
To hand me that sterle bandish please, yes you are.

Speaker 10 (05:41):
I know Curry's value in the research lab as well
as you respect for his seniors. No, but brilliant, Yes,
tops of the new scientific crop.

Speaker 8 (05:51):
That bloody mutilated young body, promising young brain. It doesn't
make sense.

Speaker 10 (05:58):
We'll get to the end of the line there. All
the nurses, regardless of age.

Speaker 3 (06:02):
Are in love with Curry.

Speaker 11 (06:05):
Hero.

Speaker 10 (06:08):
How that's that We've stitched up his flesh where necessary.
Support of the bone break is the best we know.
How Now, if we knew as much about mirrors as
we do about medicine, perhaps we could get him to
open his eyes and recognize us.

Speaker 8 (06:24):
Thank heavens, he's still breathing. What a head on collision
it must have been.

Speaker 10 (06:30):
Still not much of a pulse or blood pressure, and
they better not set our hearts in this one. Sometimes
even the best doctors and nurses are only human.

Speaker 3 (06:42):
How well I know I have another.

Speaker 10 (06:45):
Patient next door. I won't be long, Jenkins.

Speaker 9 (06:49):
I'll wait till you get back.

Speaker 3 (06:50):
Doctor.

Speaker 9 (06:51):
I won't stir from his bedside.

Speaker 2 (06:55):
Hey, Jenkins, what is all this? What are you and
old Doc Blanche had been doing to me? Why can't
I wove? What am I doing on an operating table?
Stop talking me and like a baby.

Speaker 3 (07:11):
Answer me, Jenkins.

Speaker 9 (07:13):
Curry, you're opening your eyes.

Speaker 8 (07:16):
Doctor Blanche had come back quick.

Speaker 3 (07:18):
Of course, I'm opening my eyes. Why shouldn't I boom?
Why can I ove my arms, my legs?

Speaker 9 (07:30):
Don't stand like that guy.

Speaker 8 (07:32):
Please try to give some indication that you recognize me.

Speaker 9 (07:36):
Don't speak.

Speaker 8 (07:37):
If you can't, just blink your eyes, or maybe you
could gnaw your head a little.

Speaker 12 (07:43):
You're out of.

Speaker 3 (07:44):
Your mind here.

Speaker 2 (07:46):
I am talking to you, and you act like you
don't hear a word I'm saying.

Speaker 3 (07:51):
Cut it out, Jenkins, and without playing days.

Speaker 9 (07:54):
Try Curry, if you hear me at all, give me.

Speaker 3 (07:59):
Some okay, and that's what you want now? I will
blink my eyes. I shan't I can. It's like storm,
I can't o farmer.

Speaker 9 (08:14):
Try to understand me, Curry. Try.

Speaker 8 (08:19):
You've been in a terrible car accident, doctor Blanchard, and
I want to help you.

Speaker 2 (08:26):
I never felt better in my life except for this
strange feeling of stiffness that I don't understand once, even stranger.
I'm having no trouble at all speaking to you, but
you don't seem able to hear me.

Speaker 8 (08:45):
You'll be all right, Curry, but you must try to
help us. Say something, anything, Just do something, oh, for its.

Speaker 3 (08:56):
Sake, Jack, and shut up?

Speaker 1 (08:59):
All right.

Speaker 2 (09:00):
So so I can't blink my eyes, that doesn't mean
I can't nod my head.

Speaker 3 (09:05):
I just need not your fingers.

Speaker 8 (09:07):
Maybe it doesn't have to be your eyes or your head.

Speaker 3 (09:12):
Can't do it, not only my eyes, my own head.
I can't.

Speaker 2 (09:18):
God, my head can't wolve, and my toes and fingers,
my legs hurt.

Speaker 3 (09:28):
My arms, all of me.

Speaker 13 (09:31):
Jenkins, what an't you with?

Speaker 3 (09:33):
Doctor Blanchard?

Speaker 14 (09:35):
Done?

Speaker 13 (09:36):
No heartbeat?

Speaker 1 (09:39):
No puff?

Speaker 9 (09:41):
Oh, Curry, Curry. Doctor Blanchard was right. We can't perform miracle.

Speaker 3 (09:52):
Shut up, Jenkins, do you hear?

Speaker 1 (09:56):
No?

Speaker 3 (09:59):
No, you don't. You don't.

Speaker 2 (10:04):
Strange that sound, it's it's not like any sound I
know it's it's inside me as well.

Speaker 3 (10:16):
As all around me.

Speaker 2 (10:17):
I'm being wrapped in it like kinnesoft cocoon, and this
curious pressure against my inner body, as if something imprisoned
there is trying to get out.

Speaker 6 (10:31):
What is it.

Speaker 3 (10:35):
You're crying, Jenkins? Why it's something wonderful?

Speaker 2 (10:43):
I don't understand it. But look up, Jenkins. Look look,
I'm not all cold and stiff anymore. I've got two cells,
the one you're crying over down there and the thing
that was inside me.

Speaker 3 (10:58):
And broke it through. Look up here, Jenkins.

Speaker 13 (11:02):
Now I'm actually floating in mid air.

Speaker 3 (11:06):
Any new developments with curage, Jenkins. I'm doing fine, Doctor Blanchet.

Speaker 9 (11:12):
It's all over.

Speaker 3 (11:14):
It is not all over. You don't know what you're
talking about. I'm sorry. We did the best we know how.
Look up here, doctor Blanchett. This way I can see
and hear them. Why can't they hear me and see me?
Pull the seat over his face, Jenkins, don't do that.
I know what.

Speaker 2 (11:34):
I'll touch you. I'll touch you both. You can't hear
me or see me, but that doesn't mean you won't
feel me when I touch you.

Speaker 3 (11:43):
Now the whole staff will missus. Fine, work.

Speaker 9 (11:47):
I know I'll miss him for lots of reasons.

Speaker 3 (11:51):
I'm touching you both, but you don't feel it. I
can't seem to make physical contact. Let's go get some coffee, Jenkins.
We both can use it. Wait, wait, don't go. Waitless
they've gone. Why is it? I'm not terrified.

Speaker 2 (12:14):
I know what. I'll touch my own hands and face.
Maybe that will explain something. I can't make contact with
myself either. What's happening? Why do I feel so formless, weightless,
like like a floating cloud, Doctor Blanchard, Jenkins.

Speaker 13 (12:35):
You can't just leave me like this.

Speaker 3 (12:38):
I might be suspended in mid air, unseen and unheard forever.

Speaker 1 (12:47):
Be sight.

Speaker 3 (12:50):
Who are you? Where are you hiding?

Speaker 8 (12:54):
I'm not hiding. I'm quite close to you.

Speaker 3 (12:57):
Your voice it your voice sounds for me, but I
can't quite place it.

Speaker 9 (13:02):
You are in time.

Speaker 2 (13:05):
I was able to see Jenkins and doctor Blanchard when
I heard their voices. Why why can't I see you.

Speaker 8 (13:10):
I'm on the other side of the door.

Speaker 3 (13:12):
I'll open it. The door is locked.

Speaker 8 (13:16):
Locked doors are no problem, Kerry.

Speaker 3 (13:20):
Can I ask you a question?

Speaker 8 (13:21):
Of course, only I can't promise to answer.

Speaker 2 (13:26):
I hear your voice, but not as I heard Jenkins
and doctor Blanchard, not as we understand what hearing a
person's voice might mean ordinarily. Yes, it's as if as
if I were picking up your thoughts in sound patterns
before you actually speak the words.

Speaker 8 (13:44):
Don't you want to come through the door?

Speaker 3 (13:47):
Through the locked door?

Speaker 8 (13:49):
It's no problem. Just come through if it weren't there.

Speaker 3 (13:55):
But that's not possible.

Speaker 8 (13:57):
Try it and see why are you hesitating? There's nothing
to be afraid of.

Speaker 3 (14:03):
I've never been afraid of anything in all my life.

Speaker 8 (14:06):
That's the way I remember it. Curry, just take a
deep breath and come through. Float right through the lock
door as if it weren't there.

Speaker 3 (14:20):
I'm moving toward it. It's almost as if I were flying.

Speaker 2 (14:25):
I feel better if I could understand it, if there
were some kind of reasonable explanation through. Curry comes through
a solid door, and I'm passing right through as if
it wasn't there.

Speaker 8 (14:39):
Didn't you know you could trust me?

Speaker 3 (14:41):
Well, then where are you? You said you were on
the other side of the door. I was, And show yourself,
show yourself.

Speaker 13 (14:49):
What do you think I came through for?

Speaker 3 (14:53):
What's that? Where's that strange sound coming from? What's sweeping?

Speaker 2 (15:01):
Me through time and space, spinning me around and round
like an overwhelmed top.

Speaker 13 (15:05):
Does no one hear me? What's happening to me?

Speaker 6 (15:08):
I hear you?

Speaker 3 (15:09):
Hurry, Harold.

Speaker 2 (15:11):
I'm a research scientist. I pride myself on understanding time
space motion. But what's happening to me now defies description
or understanding.

Speaker 3 (15:21):
Have patience, Curry.

Speaker 2 (15:22):
My mind is clearer, my sense is keener, my memory
more vivid than I'd ever known the to be.

Speaker 13 (15:26):
Yet no matter how I try, I understand nothing.

Speaker 3 (15:30):
Do you hear me? I must know what's happening to me?

Speaker 15 (15:34):
You have only to look closely. All your life is
passing before you. What everything you ever did or said,
every person you've ever known?

Speaker 3 (15:45):
My life? That's why all these people, all these places.
Over there, there's my younger brother Jim. He was killed
in the war. Who was my mother's favorite?

Speaker 16 (16:03):
Was he?

Speaker 17 (16:04):
Jim?

Speaker 13 (16:05):
Jim? Wait a minute, it's Curry.

Speaker 3 (16:10):
He disappeared. Oh, but there in his place, just.

Speaker 13 (16:14):
The way I remember him. There's Jim's dog, Bruce.

Speaker 2 (16:19):
A car ran him down while I was away at school.
Jim loved that dog more than he did me, did he?
And over there this aunt Janie and uncle Bob, they
went down together in a plane crash.

Speaker 3 (16:33):
I can't grasp any of this way.

Speaker 13 (16:36):
Does it come from time?

Speaker 3 (16:38):
As a matter of choice? Here, Curry, you can't. Someone
stop this spinning.

Speaker 2 (16:43):
I've gotta think things through, top things over.

Speaker 3 (16:47):
It's up to you, Curry, just as you wish.

Speaker 13 (16:51):
Sure, Carol, Wait, it's Corey. I want to talk to you.

Speaker 3 (17:00):
It stopped. The whirling spinning has stopped. That's what you wanted,
or wasn't it. I think so.

Speaker 15 (17:10):
I'll be back after you've rested a while.

Speaker 3 (17:13):
But Cora, Cora, where is she?

Speaker 8 (17:18):
Right here beside you? Curry, right here beside you?

Speaker 5 (17:30):
So, Curry Harrow, brilliant young man of books and science,
is facing a situation which thus far has defied his
scientific expertise. How long will it be till he can
uncover an explanation or even a theory that will throw
some satisfying light on the bewildering circumstances that surround him?

(17:51):
Or are there some things beyond the comprehension of even
the most brilliant young scientific minds.

Speaker 18 (17:58):
I will return shortly.

Speaker 5 (17:59):
With her too, Doctor Curry Harrow, A young man who,
under ordinary circumstances, was proud and secure in his own
self sufficiency, now finds himself shaken by doubt and confusion.

(18:23):
He's seized by a deep and intense feeling of loneliness
as he moves through a realm of existence whose patterns
of time, space, and motion are completely devoid of any
comforting elements of familiarity. Cora has appeared beside him. Cora,
you don't look the way I expected you to.

Speaker 8 (18:43):
None of us do. I'm happy to see you.

Speaker 3 (18:48):
It's been ten years. Ten years.

Speaker 8 (18:52):
I don't measure time anymore.

Speaker 5 (18:55):
Your voice is the same, soft, gentle, and an excellent
thing in woman.

Speaker 8 (19:04):
Why did you call out to me, Curry?

Speaker 3 (19:07):
I don't really know. Oh, everything stopped short, and I
I guess I just stop with it.

Speaker 9 (19:14):
I see.

Speaker 2 (19:15):
I want very much to touch you, Cora. If I could,
I think I might understand better some of the things
that are.

Speaker 3 (19:23):
Happening to me.

Speaker 9 (19:25):
You can try, could. I'll come here.

Speaker 3 (19:29):
I'm going to hold you close, only for a second
or two.

Speaker 19 (19:33):
I don't mind.

Speaker 3 (19:36):
Well, I can't make contact with you. You're not tangible, Cora.
There's there's no warm flash or blood.

Speaker 2 (19:45):
There's only only what something I almost recognize, but not quite.

Speaker 3 (19:54):
I can't identify it. Where am i? Cora?

Speaker 8 (19:59):
Everyone has to find that out for himself before you go.
Isn't there anything you might want to say about us?

Speaker 5 (20:11):
Not if it's feelings you want me to talk about.
You know that sort of thing was always pretty impossible
for me.

Speaker 8 (20:19):
Ten years haven't changed you very much, have they? I
was hoping some things wouldn't.

Speaker 7 (20:24):
Be the same.

Speaker 3 (20:25):
Oh, don't try to shame me, Cora.

Speaker 8 (20:30):
Please understand this, Curry. Agony is an emotion that no
one feels here. So you see, there's nothing that you
can do for me, or for any of us for
that matter. There is something, however, that you can do
for yourself. For myself, this is the time and the

(20:52):
place to unlock all unspoken feelings.

Speaker 3 (20:55):
Curry here now, Oh, Cora, you frighten me.

Speaker 8 (21:01):
There are more things than a man's work, Curry. There
are friends and family, neighbors and lovers. It's your feelings
about them that you keep locked up inside yourself. Why, Curry,
why are you so afraid to let them out?

Speaker 3 (21:20):
I don't want to discuss that.

Speaker 8 (21:22):
You never did everything, always your own way. That hasn't
changed either. Well, there's really nothing more for us to
talk about.

Speaker 9 (21:34):
Is there, at least not yet one thing.

Speaker 3 (21:40):
I want some answers from you. Where am I? Where?
Who is this guide?

Speaker 2 (21:47):
Where in the name of sanity does he intend to
take me? I have to God, I won't let you,
not till you've answered my questions.

Speaker 9 (21:54):
Find your own answer.

Speaker 2 (21:56):
Don't try to evade me. If you leave me with
my questions on answer, I'll do something.

Speaker 13 (22:01):
Do you hear me?

Speaker 20 (22:03):
Do you hear me?

Speaker 2 (22:03):
All of you, wherever you are, I'll do something awful, shocking.

Speaker 13 (22:08):
It will be remembered to the end of time.

Speaker 15 (22:11):
That's enough, Curry. No one breaks the peace and quiet here. Besides,
you should be grateful, not frustrated or angry.

Speaker 21 (22:20):
Grateful what for Cora forgave you a very long time ago.

Speaker 3 (22:27):
You had better go, Cora, goodbye?

Speaker 22 (22:30):
Curry.

Speaker 3 (22:32):
Will I when I see you again? Cora doesn't decide
that there are many other factors.

Speaker 2 (22:41):
I don't see her anymore. Why didn't she wait for
me to say goodbye?

Speaker 3 (22:46):
You have other places to go and things to do.
Where are you taking me? There is nothing to be
frightened of this way. Why must everything spin and whirl
this way?

Speaker 21 (23:03):
It is the way things are here.

Speaker 2 (23:06):
That is no explanation. Those endless faces whizzing by, those places,
stirring up the past, the things I haven't thought of
for years.

Speaker 3 (23:15):
They shouldn't frighten you, Curry. No, No, I'm not frightened.

Speaker 13 (23:19):
I'm confused. I'm bewildered. Let me out of this, whatever
it is I want out? Why, Curry?

Speaker 3 (23:28):
Is there something that troubles you in those reminders of
the pasts? They're over and done with.

Speaker 2 (23:34):
They're sad, strange, far off, like shadows or echoes.

Speaker 3 (23:37):
Nobody can undo the past. Now, what use is it
to unreel it?

Speaker 2 (23:42):
Like an old movie at breakneck speed. It can't accomplish anything.

Speaker 3 (23:46):
That remains to be seen.

Speaker 2 (23:48):
Luck, look at the whiz by like block Media's schoolmates, teachers, relatives,
even an old friend.

Speaker 3 (23:58):
Are too all along. God, and watch them all waving
smiling at me.

Speaker 2 (24:03):
That is a single one that I cared very much
about it, that I did anything for. And the truth
is not a single one of them who cared very
much about me?

Speaker 3 (24:16):
Is that what you really think?

Speaker 13 (24:17):
Oh, make them go away. I've had all of it.
I can bear it it. It's phony. If any of
them meant the least little bit of it. They do
something to get me out of this.

Speaker 3 (24:28):
You never asked them. Oh no, not that.

Speaker 2 (24:34):
Look over there, my father, my dead father, is pushing
himself out of his graze.

Speaker 13 (24:39):
He talk to that. Please you, please it down.

Speaker 21 (24:48):
Don't do what Gerry.

Speaker 2 (24:50):
I thought I saw a corpse, not this, so you said.
But my father is formless, weightless, flow like Cora, not
at corp. I was hoping you'd come, Curry.

Speaker 3 (25:05):
I'll be back whenever you're ready. I'm going to leave
you two alone together. You don't seem very happy to
see me, Curry. Perhaps you're not picking up my thoughts.
It takes a while to learn to hear things the
way we do.

Speaker 5 (25:21):
Or I'm picking up your thoughts all right. I learned
all about that from Cora.

Speaker 3 (25:26):
Nice girl, Cora. I'd have welcomed her into the family.
That was between her and me. I'm pleased to see you, son,
I'm pleased you wanted to stop by and see.

Speaker 2 (25:37):
Me, just so we understand each other. It happened, just happened.
I had nothing whatever to do with it. Nobody asked me,
and I didn't tell them.

Speaker 3 (25:48):
You had no desire to see me? Are you sure?

Speaker 2 (25:52):
Why should I? I was never very much between us.
In fact, I wondered sometimes how you and I could
be father and son.

Speaker 10 (26:01):
I am proud of the fine work you've been doing.
You've become an important man in your field.

Speaker 2 (26:07):
Yes and no, thanks to you. If you'd had your way,
there had been one more banker in the family. Where
were you when I really needed you? Doing everything you
could to stand in my way?

Speaker 3 (26:17):
I said, I was sorry. A father only wants to
see his son grow and prosper.

Speaker 2 (26:23):
I thought you thought banking was the top of the ladder,
because that's how you made it, big wig, father hero.

Speaker 13 (26:31):
His way was the only good way, the only right.

Speaker 2 (26:33):
Way, and I'm glad of the chance to tell you
there was a better way for me today. The top
of the ladder is science, and I thrive on it.

Speaker 13 (26:43):
I not only love it. I'm one of the best.

Speaker 3 (26:45):
That's good, son.

Speaker 2 (26:46):
What's better is that I made it without you on
my own, so save you're praise for someone else.

Speaker 13 (26:55):
I don't need it, and I don't want it.

Speaker 3 (26:57):
I can understand the way you feel, so, but must
you open old wounds. I'm pleased you did the thing
you wanted to, but please.

Speaker 5 (27:09):
Don't preach the self righteous father.

Speaker 3 (27:11):
It was one of the things about you I hated most.
I'm sorry for that too.

Speaker 2 (27:16):
You don't know what sorry means. When you died, I
was relieved. It made my whole life possible. I can't
tell you how happy I was never to have to
see you again.

Speaker 10 (27:28):
If that's so, Curry, then why over and over again
you have the same recurring dream. Why do you keep
dreaming that I'm trying to push myself out of my grave?

Speaker 3 (27:43):
You you know about that. I have no need to
leave my grave, son, I'm content with things as they are.

Speaker 15 (27:53):
You have outstayed your welcome. Curry good bye, son, Well,
curry on, you've got to say goodbye. I've said it all.
Death was too good for my father. I have no regrets.

Speaker 2 (28:16):
How quiet everything is, how motionless, as if every door
and window everywhere in the world was tightly closed. No
time in this place, no days, no months, no years.

Speaker 5 (28:37):
There is nothing, no one, only Curry. Harold alone and
his thoughts.

Speaker 3 (28:49):
Curry, his thoughts alone? That worn out word. Why does
it stir a meaning that it never had before? The
world alone and we leave it alone? There's something more, yes, Curry.

Speaker 15 (29:07):
A human being never feels more alone than when he
faces his innermost feelings.

Speaker 3 (29:13):
No, no, you can't make me do that. I think
you want to stop standing in your own way. My father,
where is he?

Speaker 5 (29:24):
You passed him by the irresistible force and the immovable object.

Speaker 21 (29:30):
Curry Harow and his father.

Speaker 23 (29:33):
It was always that way.

Speaker 3 (29:35):
Provocation after provocation. Don't give an inch. Perhaps you can
guess why.

Speaker 2 (29:41):
Oh, I know what you're thinking, but I won't accept it.
Never Why not because it's not true. I am not
like my father was, not in the slightest.

Speaker 3 (29:51):
Maybe you just won't face up to it. That's not
an easy situation for father and son. It's impossible.

Speaker 13 (29:58):
We could never get through to each other.

Speaker 3 (30:00):
You should have told him that, Curry. He wanted very
much to hear it. I couldn't.

Speaker 2 (30:05):
I try time and time again, but I couldn't.

Speaker 3 (30:11):
What's wrong with me? You're not quite ready? I guess.

Speaker 5 (30:21):
It has been said that to himself, everyone is an immortal.
He may know that he's going to die, but he
can never know that he is dead. Can this be
at the root of Curry Harrow's difficulties? Or is it
rather that learning itself received into a mind by nature

(30:42):
weak or viciously inclined serves but to lead philosophers astray, where.

Speaker 1 (30:49):
Children would with ease discern the way.

Speaker 21 (30:53):
I'll tell you more about this.

Speaker 1 (30:55):
When I returned shortly with Act three. How true is
it that fear.

Speaker 5 (31:10):
Of danger is ten thousand times more terrifying than danger itself?
Confused and apprehensive, Curry Harrow moves closer to his guide,
as if seeking protection from what lies ahead in these areas.

Speaker 1 (31:25):
Of the unknown. He is determined if he can not
to be alone again.

Speaker 5 (31:31):
As they move through a world of mists and shadows,
Curry's guide is directing his attention to something.

Speaker 3 (31:38):
Curry sees it. That stream of bright light burning in
the distance. What is it? That's where you're going, Curry?
But everything around it is dark. It doesn't seem to
illuminate anything.

Speaker 8 (31:50):
You don't have to be afraid, Curl Cora.

Speaker 3 (31:54):
Everything is going to be all right, sir.

Speaker 21 (31:56):
My father moved toward the life curriage.

Speaker 2 (32:00):
It's growing brighter every second. It's like a magnet. I
don't want to go toward it, but I can't help myself.
Has nothing to worry about, son, You see.

Speaker 8 (32:10):
Everything is going to be all right.

Speaker 3 (32:12):
How broad the beam is it? Yet it seems directed
only at me? Take your time, Curry. There's no hurry,
no hurry at all. I want to see Cora. You
did see her. Where is she now?

Speaker 13 (32:29):
I just heard her voice, but I can't see her.
And my father? Why can't I see him either?

Speaker 3 (32:33):
You saw him too.

Speaker 13 (32:35):
The light is blinding me.

Speaker 8 (32:37):
Try to understand, Curry.

Speaker 3 (32:39):
Just follow our voices. We'll show you the way.

Speaker 2 (32:44):
How warm it feels, as if I was being absorbed
by a warm, bottomless sea of light and it was
the most natural thing.

Speaker 3 (32:54):
In the world. Cora, Father, where are you leading me?
This light?

Speaker 6 (33:02):
What is it?

Speaker 3 (33:03):
What is it doing to me? We're close by, Curry,
We're never very far away. Son.

Speaker 13 (33:08):
Why do I fear it?

Speaker 2 (33:09):
And at the same time, why does it fill me
with such feelings of awe, such strange anticipation. We've taught it, Curry, Jenkins,
doctor Blanchard, if you really care about me, I need you.

Speaker 21 (33:23):
Time has run out.

Speaker 15 (33:24):
Curry, open your eyes you will be able to see No, no,
look up, Curry, reach ouse.

Speaker 2 (33:36):
The hospital, my research lab. I must talk to Jenkins
and doctor Blanchard.

Speaker 13 (33:43):
It's important.

Speaker 21 (33:44):
Reach out, Curry.

Speaker 13 (33:45):
I can't. You can't make me. Whatever is behind that
light is I think you just don't let it touch me.
I couldn't bear it.

Speaker 21 (33:56):
Why not, Curry, I'm not ready, not yet.

Speaker 15 (34:00):
It's all right, Curry. Nobody minds this is not the first.

Speaker 21 (34:05):
Time that it happens.

Speaker 13 (34:07):
What's to become of me?

Speaker 3 (34:08):
Now?

Speaker 21 (34:08):
I'll take care of it. I've done it before many times.

Speaker 3 (34:20):
How did we get into this narrow black passageway.

Speaker 2 (34:24):
It twists and turns like some crazy kind of corkscrew
like I can hardly push through. Just let it happen, Curry.
Every move is a struggle, as if I was fighting
for something. My sense seems numb. There's almost no air
in here.

Speaker 3 (34:41):
There's enough just breathe deeply.

Speaker 2 (34:46):
All these sharp edged corners we keep twisting and turning past.
The darkness gets more like pitch all the time. I
don't see how anyone could find his way out.

Speaker 3 (34:56):
Of here, you idiot?

Speaker 13 (35:00):
Is there no way out?

Speaker 15 (35:02):
One man does not have to understand everything, Curry. Some
things don't need to be understood.

Speaker 21 (35:08):
They just are what they are.

Speaker 3 (35:12):
I want an answer. Is there no way out of here?

Speaker 13 (35:15):
Is that what this is?

Speaker 24 (35:17):
Do?

Speaker 2 (35:17):
I twist and turn past promising corners that lead nowhere,
struggling through this darkness until the end of time in
perpetual motion through infinite space.

Speaker 3 (35:28):
I'm space motion. Aren't there any other things that matter
to you?

Speaker 13 (35:33):
Cares?

Speaker 2 (35:35):
It's one more thing that I don't understand. But in
the midst of all these extraordinary experiences, I have a
most unusual yearning, one that I've never had before. I'd
I'd love to see something really familiar.

Speaker 15 (35:54):
The passage way is growing wider. You should move more
easily now.

Speaker 3 (36:00):
Yes, yes? And the darkness.

Speaker 2 (36:03):
What's happening to all ethnic blackness? I've been fighting my
way through it. It's turning white. It's all turning white.

Speaker 13 (36:13):
Before my very eyes turned the corner. Currye why not?

Speaker 3 (36:17):
What have I got to lose?

Speaker 13 (36:18):
Suddenly? I'm impatient, as if?

Speaker 6 (36:22):
What is it?

Speaker 13 (36:22):
Curry?

Speaker 2 (36:24):
Why are you staring like that? I have no idea
how we got here, but I do know where we are.
That desk over there, you recognize why. That's the desk
where they checked their patients charts. That's the that's the
closet where they keep some of the bandages and pills.

Speaker 13 (36:41):
And over there, look, it's the operating room. And here
here's the lab.

Speaker 2 (36:47):
You and I have been floating through the doors and
walls and ceilings of the most important building I know
these white corridors are is familiar to me as my
own name old.

Speaker 3 (36:57):
Still a minute, Curry, what what are you pointing at?
Down there? That table covered with a sheet.

Speaker 2 (37:05):
The one that Jenkins and doctor Blanchett are standing next to.
Or someone didn't pull through, I guess I wonder who
it is.

Speaker 3 (37:14):
Lift the sheet. Ah, that's odd.

Speaker 2 (37:21):
It's me under that sheet, cold dead, and I'm floating
in the air with you at the same time.

Speaker 3 (37:32):
Don't you think you ought to do something about it?

Speaker 2 (37:35):
Hey, Jenkins, doctor Blanchet, don't let them take that body away.

Speaker 3 (37:42):
They don't hear me?

Speaker 15 (37:43):
Why not, Curry, But that that's the sound you heard
when you left your body and floated in mid air
for the first time.

Speaker 21 (37:54):
Don't you remember, Oh course, after.

Speaker 2 (37:59):
Doctor Blanchett Jenkins pronounced me dead in the hospital. It's
strange I should have forgotten that sound. I remember heard
Jenkins cry as I heard it.

Speaker 3 (38:10):
She's crying. Now you know what you'll have to do.
I'm not quite sure do it? Curry, while you're still
formless and weightless, help me. No one can help you.
I wish Jenkins wouldn't cry like that.

Speaker 15 (38:26):
Get back into your body, Curry, there's no more time
to waste.

Speaker 3 (38:32):
I'll try. I'll try gently. Does this.

Speaker 15 (38:39):
You're going back into your body exactly the way you
came out.

Speaker 3 (38:44):
It's waking, it's actually working.

Speaker 2 (38:48):
I don't even have to try. I've been drawn back inside,
bit by bit, no pain.

Speaker 3 (38:54):
No pressure. I'm actually going back into my body. Will
be leaving you with Jenkins and doctor Blanchard. You'll be
in good hands. Remember me to Cora and to my father.
I'll miss them. I'll tell them this.

Speaker 6 (39:17):
This is it.

Speaker 2 (39:19):
Curage's covering character.

Speaker 1 (39:26):
He's moving.

Speaker 3 (39:27):
Don't just stand that chickens.

Speaker 9 (39:31):
Is right, Doctor Blanchett.

Speaker 1 (39:33):
They're blinking.

Speaker 8 (39:35):
He's trying to nod his head in his fingers. Look
so he's opening and closing them with fantastic, Doctor Blanchard.
Those are the very signs of consciousness that I beg
him to show me just before he does it.

Speaker 10 (39:48):
What kind of foolish talk is antronic? Experienced nurse? You
know more die than we did. We simply diagnosed his
death prematurely.

Speaker 3 (39:56):
Mistake Jenkins, doctor, answer, what is it?

Speaker 9 (40:01):
Curry?

Speaker 3 (40:01):
The black corridors who painted them? Why they will pitch black.

Speaker 9 (40:08):
Black coats white?

Speaker 3 (40:10):
His mind is wandering steady, study my dear boy. He
wants me to stay where I am, just like you. Well,
I'm making up my own mind. It depends.

Speaker 10 (40:27):
On and from this time we do not pronounce him
dead quickly, Jenkins. Let's get him into intensive care. Well, Jenkins,
how does it go?

Speaker 9 (40:43):
He seems to be breathing normally.

Speaker 3 (40:45):
Blood pressure okay, also okay, even.

Speaker 9 (40:49):
His color is good. What bothers me? He he won't
open his eyes.

Speaker 3 (40:56):
Come on now, Curry, not for this nonsense, and lot's better.

Speaker 13 (41:00):
So open your eyes.

Speaker 9 (41:02):
Are you trying to say something?

Speaker 10 (41:05):
Time space motion whatever that means? Slapping a couple of times? Yeah,
a response? Still the closed eyes. It all went so fast.

Speaker 9 (41:23):
He's opening his eyes.

Speaker 3 (41:24):
The devil as he's seen near the ceiling.

Speaker 9 (41:27):
He stares up there as its hypnotized.

Speaker 3 (41:31):
That sound. Cat, I'm going to follow it just the
way I did before. What's up? What on earth is
he talking about?

Speaker 25 (41:45):
Stay where you are, Curry. You're going to do all right.
There is no doubt you're going to do.

Speaker 3 (41:56):
All doctor Blanchard Jenkins. I'm I'm going to be all right.

Speaker 9 (42:07):
Of course you are here. Let me fix your pillow.

Speaker 10 (42:11):
You've given us quite a time, Curry. That car accident
you were in beauty funny. After the first few minutes,
I didn't feel a thing. I seem to have lost
track of time. How many weeks is it since the accident?

Speaker 9 (42:27):
How many weeks?

Speaker 2 (42:29):
I have the strangest feeling that I've been away somewhere,
that I've been gone a long time.

Speaker 10 (42:35):
My dear boy, if you call being unconscious being away somewhere,
and if you call fifteen minutes a long time.

Speaker 3 (42:42):
Then fifteen minutes, that doesn't seem possible.

Speaker 10 (42:47):
Yeah, pour him some water, Jenkins. I want him to
have these two pills. What he needs is sleep, lots
of it.

Speaker 8 (42:55):
Curry, What makes you think you've been away somewhere longer
than fifteen minus?

Speaker 5 (43:00):
Oh, never mind, Jenkins, Let me have those pills. It's
pointless to talk about it.

Speaker 3 (43:09):
Neither you that doctor Blanchard could possibly believe.

Speaker 5 (43:13):
Me, Curry. Harrow recovered with astonishing speed from his car accident,
bones knit into place, muscles and tendons mended so quickly
and thoroughly that the hospital staff has never stopped talking
about it. Credit, of course, is given to doctor Blanchard.

(43:36):
But is that where all the credit is due? I
will return shortly. A small group of research people is
trying to shed new light on the possibility of some

(43:57):
form of life experience beyond the barrier. Their study is
based on the testimony of several hundred subjects who were
revived after being pronounced medically dead. All who were interviewed
agree that a part of them continued to exist after
the medical pronouncement and up to their resuscitation. Though not identical,

(44:21):
their perceptions were much.

Speaker 1 (44:22):
Like doctor Curry Harrows.

Speaker 5 (44:24):
He, by the way, is lending his own talents to
this fascinating research project. Our cast included Russell Horton, Arnold Moss,
William Griffin and E. V.

Speaker 3 (44:34):
Jester.

Speaker 5 (44:35):
The entire production was under the direction of Hyman Brown
and now a preview of our next tale.

Speaker 17 (44:44):
The room had been fitted up as a chemical laboratory
with the glass stopward bottles, Bunsen burners, and of our
scientific paraphernalia. Buff O, a new Shouldo sat in a
wooden chair by a large table in the center of
the room onlo ensure that he was dead, with a
ghastly inscrutable smile on his face.

Speaker 3 (45:05):
Look here, Watson, what do you make of this?

Speaker 13 (45:08):
Well?

Speaker 3 (45:10):
Tirs to be a phone stuck in the skin just
above the ear.

Speaker 15 (45:13):
Escienthally, you may pluck it out, but be careful for
it's poisoned too. And read what's scrolled upon a torn
sheet of paper.

Speaker 13 (45:22):
The sign of the fall.

Speaker 3 (45:25):
The heaven's name wasn't mean homes.

Speaker 15 (45:26):
Murder, Watson murder, vengeance. I have but to supply only
two more links to have an entirely connected case.

Speaker 5 (45:36):
Radio Mystery Theater was sponsored in part by Contact the
twelve hour Cold Capsule Missus E. G. Marshall, inviting you
to return to our Mystery Theater for another adventure in
the macabre until next time.

Speaker 3 (45:52):
Pleasant dream.

Speaker 26 (46:00):
Yeah, yeah, that's the old ship sitting out there. The

(46:34):
sas Samatra a good ship, but I never want to
sail with her again.

Speaker 27 (46:39):
I was her captain for many years.

Speaker 26 (46:42):
Mostly the South Pacific, Surabayah, the Philippines, Java, Ceylon, and
up and down the west coast of India.

Speaker 1 (46:49):
Ah.

Speaker 26 (46:50):
We had adventures, this old steel lady and me, but
the last one was the worst one. It was a
long time ago, but I'll never forget it. I still
wake up at night screaming, and I don't scare easily.
The newspapers carried the story of Kan King Kong was

(47:11):
what Denham called the beast who was Denhim.

Speaker 27 (47:15):
I'll tell you the story about Denham, Driscoll, Anne and
the monster King Kong. I first met Denhim. I think
it was in nineteen thirty two.

Speaker 13 (47:31):
Yeah.

Speaker 26 (47:32):
We were laid up here in New York car no cargo,
no credit, I full crew to pay, and I had
no money. It was winter, heavy snow, Christmas coming. And
if the devil came up that gameplay and asked me
to sail him to Hell, if he had the money,
I would have given him the best cabin and sailed

(47:52):
on the first time.

Speaker 1 (47:55):
This was my cabin.

Speaker 26 (47:58):
I remember sitting here very worried when drisk Is, my
first mate, knocked on the door.

Speaker 1 (48:05):
Come the man came aboard.

Speaker 27 (48:09):
Kevin says, he must see you, mister Driskell. If he's
a bill collector, tell him I've jump ship.

Speaker 1 (48:14):
He drove up to the dark and a show of
a driven car, so.

Speaker 27 (48:16):
Well, don't stand there. Tell him I'll be delighted.

Speaker 1 (48:19):
To see him.

Speaker 27 (48:19):
That's what he said, sir, Captain angel Horn, mister Denim,
sit down, sir.

Speaker 1 (48:29):
Yeah, And what can I do for you? Kaptain? I
want to charter your boats. I'm Venim of Dinnim Motion
Pictures Incorporated. My company makes travel films. I want you
to take me my cameraman an accurate too, to the
southwest Pacific. I've been told you're.

Speaker 27 (48:47):
Familiar with the area, more than familiar.

Speaker 26 (48:50):
The Pacific is where I got my sea legs and
learn my trade. Where exactly is your destination? That's something
I can't tell you until we get there.

Speaker 27 (49:00):
Where her ship must have a destination or point on
the chart to sail to. Mister Denham, I have.

Speaker 1 (49:06):
The exact longitude and latitude I'll given to you after
we reach the East Endies. Now for the services of
your ship through yourself, I'm prepared to pay you more
than generous.

Speaker 26 (49:20):
A more than generous sum. Well, times were bad, and
a sailor might just as well be a farmer if
he's not at sea. I agree to mister Denim's deal,
but if I could have seen ahead, I would have
thrown mister Denham overboard.

Speaker 14 (49:40):
You're number three.

Speaker 1 (49:45):
Oh way.

Speaker 26 (49:47):
Easy now, mister Drisco, Sir, I want to hoistakers and
sail on the eb tide.

Speaker 1 (49:55):
Anxious to get underway.

Speaker 27 (49:57):
I get sick living on shore too long as.

Speaker 1 (50:00):
The room reports, steamers up the boat and.

Speaker 27 (50:02):
I'll be glad to get away from this cold or
heading south, then.

Speaker 1 (50:06):
South and east.

Speaker 15 (50:08):
And that's all I know.

Speaker 26 (50:15):
Mister Venam is punctual. Send two men down to help
him with his gear, mister Priscoll, Sir the woman with him,
I recognize the outlines, mister Prescoll.

Speaker 13 (50:25):
Two men to the lot.

Speaker 27 (50:28):
And make ready to cast off, mister Prescolle I, Sir.

Speaker 26 (50:34):
Denim and his movie people came aboard and was shown
to their cabins below. Decks and Daryl, beautiful young lady
was an out of work actress who asked no questions.

Speaker 27 (50:47):
She had a job and the idea of spending time
in the tropics.

Speaker 1 (50:50):
Appealed to her.

Speaker 14 (51:00):
M H.

Speaker 26 (51:03):
Stand by to cast off all limes, single lap, mister Biscott,
sing on on up, cast off, mister Biscott.

Speaker 3 (51:16):
Let's go for.

Speaker 1 (51:23):
Helmsman.

Speaker 27 (51:25):
All a sterm slow. Let the tide taker hia.

Speaker 28 (51:36):
On a board.

Speaker 1 (51:43):
How may chips chips yourself?

Speaker 26 (51:50):
All the head slow, oh, heads, take over the helm,
mister Biscot, I I'll give you the new course.

Speaker 27 (52:01):
Let me clear the ambrose line.

Speaker 1 (52:02):
I ser I relieve an houser.

Speaker 27 (52:05):
I'll be below to check with our passengers.

Speaker 26 (52:17):
I tried very hard to be friendly with mister Denham,
but that was very difficult. So we arrived at a
working agreement. He was in charge of his group.

Speaker 27 (52:26):
I was in charge of the ship.

Speaker 26 (52:28):
But nothing I would say would get denhim to give
me the slightest hint of our destination. I even had
Driscoll speak with the girl. He was at that time
a handsome young man, and I knew he upheld the
traditions of the sea.

Speaker 27 (52:43):
By having a girl in every four.

Speaker 17 (52:47):
No.

Speaker 29 (52:48):
No, I'm not much of an actress, just a beginner,
and this is quite a.

Speaker 9 (52:52):
Chance for me.

Speaker 1 (52:53):
What are you supposed to do? Has Denham shown you
a script?

Speaker 30 (52:58):
No?

Speaker 29 (52:58):
He said, we play the scenes as they had and
it's a travelogue. So I suppose I'll be sitting around
watching natives, stands, fish.

Speaker 1 (53:06):
Or hot or something like that. That doesn't seem like
too much.

Speaker 29 (53:10):
I'm the only actor in the company, so it'll be pretty.

Speaker 1 (53:16):
What do you think of our starn As pretty as
I've ever seen, mister danim.

Speaker 29 (53:21):
I thought seas only talked that way in books.

Speaker 1 (53:23):
Oh, there's a bit of truth and everything. Miss Darrow.
I might be able to use thatline, mister driscoll, and
I want to run some film tests. The camera is
set up front for it. Yeah, up ahead in the
nose of the boat, the prow. It's called, Oh you
know what I mean. And put on some makeup, eyeshadow, lipstick.

Speaker 31 (53:43):
Will take a he's not much of a sailor, they'll learn,
or Captain Engelhnald toss him to the sharks.

Speaker 26 (53:50):
Well, you better go along up to the nose in
the boat in in the head, set up cameras up forward.
On the fore day he had the girl leaning on
a baller. The weather was getting warmer as we're headed south.
A good ship for com see and people going about

(54:11):
their work.

Speaker 1 (54:12):
Okay, and yeah, look around roller cameras.

Speaker 14 (54:19):
A man.

Speaker 1 (54:22):
But you're right, I look left, I look at me.
That's right. Now you see something you don't know what
it is. Slowly now you're amazed by it.

Speaker 13 (54:39):
Pull that.

Speaker 1 (54:41):
Now you become fright. It's nothing you've ever seen before.
It's coming closer, closer, Holser, you're too frightened to run.
You help us. You can't scream. You're trying to hide
it from your eyes. God, I'll scream, scream, scream for
your light. It was only your simple scream says, just

(55:10):
to see how well Anne can follow direction.

Speaker 27 (55:13):
But mister denimitch would seemed to me you had some
purpose of.

Speaker 1 (55:16):
Poor kid was terrified. She's in her cabin now, anyone
come nearer. That just means she's a good actress. There's
something you're not telling us, Denim. That's perfectly correct, mister,
and I don't intend it until I'm ready. You'll tell
us now. And I look, mister, I chotted this ship.

(55:40):
You'll go where I tell you to go. And when
I tell my actress to scream, she screams. And it's
none of your business, saler, mister related.

Speaker 26 (55:53):
Something, mister you were gone deck and cool your temper.
Mister Denham, you will go below to your Kevin.

Speaker 1 (56:01):
I don't give me any orders. I don't go downstairs
or anybody. The expression is below, mister Denham. I am
asked our life and death about this vessel, and.

Speaker 27 (56:09):
You will go below, or I.

Speaker 1 (56:10):
Will have you locked in the brig.

Speaker 27 (56:12):
Break means a prison, mister Denhim.

Speaker 26 (56:18):
Miss you better behave as a first bay should if
you expect to command your own ship.

Speaker 27 (56:25):
You cannot make clear decisions.

Speaker 26 (56:26):
When your mind is muddled with personal feelings, the safety
of the ship and her crew is your first concern.

Speaker 27 (56:32):
You can break Denhim's neck when we are safe in port.

Speaker 1 (56:35):
Is that clear, hi, a sir?

Speaker 6 (56:39):
Very clear.

Speaker 26 (56:49):
Somewheres? Or fatteris we ran into bad weather? The waves
were running high and the sea broke over the bridge.
This sometimes happens in a storm. We shook lose some
of the tago. I sent Bristol below to make everything secure.
He was a good sailor, so I left it all
in his hands. But below decks in number two hold.

Speaker 1 (57:13):
This is a captain.

Speaker 26 (57:17):
Problem, is, mister brisco. Yes, In the older type ships
you had to cross the deck to get to the
cargo taxes. Safety lines were raped and I held on
for real life. As I crossed the deck to number

(57:38):
two hold, I was annoyed with Bristol, but I knew
he would never call me unless he had a good pleason.
These cracks Chorlow's captain. This one broke open aden Him.
Denham has enough here to a start of war dynamite,

(57:59):
and there's a case of high powered rifles, ammunition, gasponades.

Speaker 27 (58:05):
Why would he need these to make movie?

Speaker 1 (58:07):
Yes, sir, that's what I was wondering.

Speaker 27 (58:11):
Just nail up the crates and say nothing.

Speaker 26 (58:13):
Lenham said, all he was carrying was motion picture and
equipment and supplies for six months.

Speaker 27 (58:19):
As far as I'm concerned, that's all he has carried.
We know of nothing else. None of these guns and
dynamite will be unloaded.

Speaker 1 (58:28):
From the ship.

Speaker 27 (58:29):
Heap that hatch closed and locked, mister Dresco.

Speaker 1 (58:33):
And give me the keys.

Speaker 26 (58:38):
We made good time on our way through the Panama
Canal into the Pacific, through every type of weather. Now
the skies were clear and blue as the days grew
from warm to a heart on a course of south
by west past Pittgarren.

Speaker 27 (58:55):
Island proper, then along the Tropic of Capricorn, or most
of the siege.

Speaker 26 (59:01):
He's then at twenty degrees south latitude and one hundred
and sixty degrees longitude west from Greenwich, with New.

Speaker 27 (59:10):
Caledonia dead ahead. Come ah, mister Venom captain.

Speaker 26 (59:18):
I believe we've been making excellent time. It depends on
where we're heading. You know, Lord Howe Island dead south
of us, mister Denham.

Speaker 1 (59:26):
And change course southeast of Howe Island to forty degrees
south and one hundred and forty degrees twenty minutes east latitude.
That's our destination. My charts show no islands there. That's
the fall of the charts. Cap I assure you that
there is an island there, and that is our destination.
And for what reason, mister Venham, The weirdest, wildest, most

(59:47):
impossible thing you've ever seen. I want am in a movie,
the lights of which has never been made before. Have
you ever heard of the word cong?

Speaker 26 (59:57):
There are many things I haven't heard, and I, Captain,
I first heard about Khan some five years ago.

Speaker 1 (01:00:03):
The man who told me was mad Raving. I would
have dismissed the whole story if I hadn't seen a
few feet of film he brought back. What I saw
was enough to start me on my way. And frankly, Captain,
now that we're almost there, I'm a little scared.

Speaker 26 (01:00:17):
You are the first man to be scared by a rumor.
How you forget the fell I include the film?

Speaker 27 (01:00:23):
You know, lights and shadows make strange images.

Speaker 20 (01:00:26):
That is all your KNG is.

Speaker 3 (01:00:28):
Believe me.

Speaker 1 (01:00:29):
Part of me would like to believe you, but the
other half knows better then.

Speaker 27 (01:00:33):
What is Kong if not imagination?

Speaker 1 (01:00:36):
Not imagination. Captain Kang is some strange kind of giant beast.

Speaker 9 (01:00:44):
Ooo.

Speaker 27 (01:00:49):
Helms run will ahead, slow.

Speaker 26 (01:00:54):
Tolling of around, helms run full stop. Let go the anchors,
mister dress Gard the cahorn catnaglehorn.

Speaker 1 (01:01:18):
Do you hear the drums?

Speaker 27 (01:01:20):
Nothing unusual about drums in.

Speaker 1 (01:01:22):
This part of the world.

Speaker 26 (01:01:26):
All away, Number one boat, mister Blisberg, Bum one boat.
We headed for shore, and the closer we came to
the island, the more I was sorry. We left our
guns aboard the Samatra. The beach was lined with native
warriors armed with spears and shears. I would not call

(01:01:50):
it a hospitable Velcome behind the beach, the forest began,
and rising above the trees, a most incredible sight, perhaps
forty feet high, made all of stone, and running the
length of the island as far as I could see.

Speaker 1 (01:02:08):
I looked at.

Speaker 26 (01:02:08):
Denim and remembered the story he had told of calm.
For the first time, I began to believe that he
was telling the truth. Anything seemed possible.

Speaker 29 (01:02:19):
Now it's just the look that native girl.

Speaker 1 (01:02:26):
Captain there and center, there's a girl tied hand and
foot stand.

Speaker 26 (01:02:32):
Till mister biscol, don't try to be a hero. These
people have their own customs. Listen now, all of you.
If you're frightened, don't show it. This is good acting
practice for all of us.

Speaker 6 (01:02:44):
Mister Denham, you.

Speaker 28 (01:02:47):
Paul this long table bet or not belonged.

Speaker 27 (01:02:55):
Dear jeez, we come from Boway.

Speaker 32 (01:03:00):
Ship sails very long time we here, cong.

Speaker 28 (01:03:05):
Come not foril come bighty chill wa your girl she goes,
stay along with tongue.

Speaker 1 (01:03:16):
One year time.

Speaker 27 (01:03:19):
The sacrifice your woman with gold hair.

Speaker 1 (01:03:24):
You give you great God, I give you.

Speaker 33 (01:03:28):
Many th.

Speaker 27 (01:03:31):
Riscal Get hands out of air. Back to the boat.
O pay chief, woman with golden hair, not for kung
she belonged.

Speaker 34 (01:03:44):
To get him.

Speaker 26 (01:03:46):
Stop back slowly, no panic, fighty chief, very powerful me Chief,
I'm a powerful.

Speaker 27 (01:03:58):
There with golden hair below me.

Speaker 1 (01:04:01):
Get back.

Speaker 26 (01:04:04):
He's thinking it over. Then he makes up his mind.
We'd better be off this island. It was a closed care.

(01:04:26):
We had raised the road beyond the breakers. When the
natives reached the beach safe on board the ship.

Speaker 27 (01:04:32):
I tried to get Denim to leave the island, but.

Speaker 26 (01:04:34):
His desire for making movies got the better of his judgment.
I agree to stay when he promised he'd leave. Anne
aboard ship. The drums sounded throughout the night. We could
see the flickering campfires of the beach. I thought of
that poor native girl tied up as a sacrifice for Kong.
We slept fitfully that night. Then sometime during the middle watch,

(01:04:58):
Drisco informed me that Anne was missing.

Speaker 1 (01:05:01):
Researched the ship, but she had gone.

Speaker 26 (01:05:10):
And had been taken by a war party of natives
who had climbed aboard and captured her, and was to
be a sacrifice to.

Speaker 27 (01:05:17):
Come from the sounds coming from the island.

Speaker 1 (01:05:22):
There was a little time for action.

Speaker 26 (01:05:24):
Mister Driscolle, my sir, if five men open up number two,
old mister Denham, I will overlook your bringing arms aboard
this ship without permission.

Speaker 27 (01:05:33):
You will come along with a party.

Speaker 1 (01:05:35):
I'm the double mister Drescoll.

Speaker 26 (01:05:37):
See that rifles, ammunition, hand grenades, gas grenaes is stroll
the men.

Speaker 13 (01:05:53):
How you go to call see him?

Speaker 28 (01:05:57):
He will make sorry the children story a woman with
old head.

Speaker 13 (01:06:09):
You wait a whole client, make.

Speaker 7 (01:06:14):
You m hmmm, well, m h.

Speaker 27 (01:06:56):
I've never seen anything that you use wish abroad.

Speaker 26 (01:07:00):
Cannon rifles will be a bit loose against a monster
that so we must get on.

Speaker 27 (01:07:04):
We can't leave her.

Speaker 26 (01:07:05):
Now, and as leaving a girl, can we fight that piece?
You can stay here and discuss what you're going to
do on going after Carl kung like and every tank
broke through the rainforest. Trees had fallen before him, and
he left footprints twelve feet long.

Speaker 3 (01:07:28):
From time to.

Speaker 26 (01:07:29):
Time we could see comes great head over the tree tops.
This was a nightmare whorld we had come to. We
were now in what seemed to be a slice of
prehistoric times which somehow found a way to survive until now.

Speaker 27 (01:07:44):
All around us were gigantic.

Speaker 26 (01:07:46):
Furls, strange pleas to animals, great usiness that should have
been long since day.

Speaker 27 (01:07:56):
Had it not been for the part of the girl,
I would have turned many times. I am brave enough
in the world, I know, but deal.

Speaker 26 (01:08:09):
The trail of Kan led us through what looked like
a prehistoric wing of a museum come to life.

Speaker 27 (01:08:16):
In spite of the dangers, took time to identify the
beasts as we.

Speaker 26 (01:08:19):
Saw them, Stagosaurus, Triceratops, Megatherium, Maga, syrups, hynadem nine things,
crawling things.

Speaker 27 (01:08:29):
It would have interested me more if they didn't look
at us like we were a good meal on the move.

Speaker 1 (01:08:36):
He's up ahead, cutter, what.

Speaker 27 (01:08:37):
About hand whive?

Speaker 1 (01:08:38):
So far?

Speaker 27 (01:08:39):
How far ahead?

Speaker 1 (01:08:40):
Krawng is across a deep ravine about a thousand feet
dropped to the bottom, maybe a hundred feet across.

Speaker 27 (01:08:45):
There might be a way to go around if the
girl is alive. We cannot take the chance of going around.

Speaker 26 (01:08:54):
I had the men cut down a large street and
drop it across the chasm to use it as a bridge.
On the other side, I could see Khanan. I was
certain we were near his lair. First I sent four
of my men across. The beast saw them. He gently
placed the hand down on the ground, and then he
started for the log. Those four men held down for

(01:09:21):
dear life as that giant monster shook hand rolled the log,
finally lifted a hundred foot tree and slammed it back
on the road. The log was cracked, but in place

(01:09:44):
across the chasm. The four men were dead, and Khan
guarded the far edge.

Speaker 1 (01:09:50):
Of the chasm.

Speaker 26 (01:09:51):
We had no choice but to go back and was
lost over there. What kind of beast is that that's
going for an tried to scat off.

Speaker 13 (01:10:08):
Can't cold see it?

Speaker 1 (01:10:09):
What is that thing? Can't tell exactly something like, tas
here you seekers an.

Speaker 26 (01:10:30):
Historic masters come to us, while we modern men, modern weapons,
power to be anything. While they took Giant's foot, Bristol
picked up a hand, went fainted from shop and raced
across the cracked tree which lay across the chasm. Long

(01:10:53):
had defeated a fifty folk blizzard that stood.

Speaker 1 (01:10:56):
Eighteen feet tall.

Speaker 27 (01:10:58):
Loom would catch us. There was no escape, no place
of safety except maybe one that was down the side
of the chasm, to the rushing river. We started down.
Kong stood above us, glaring down.

Speaker 14 (01:11:15):
It did you tell, but try not to kill us.

Speaker 26 (01:11:25):
I couldn't understand why he let us live, and then
I realized that monstrosity that relics from a billion years
ago had a.

Speaker 1 (01:11:35):
Hard It didn't want to hurt the girl.

Speaker 27 (01:11:39):
Kong seemed almost human there. I almost knew what he
would do next.

Speaker 26 (01:11:45):
He would meet us downstream, some place where he could
get hand without farming, and kill the rest of us
the middle of the river, while Khan followed us along
the banks, roaring and beating his chest. And then we
saw the rock carol that led the river underneath a

(01:12:06):
huge wall out to safety. Kong left us little choice.
We tried smiling at each other, then took deep breaths
and let the current carry us through to the other
side of the war and safety.

Speaker 1 (01:12:23):
And you are right, that horrible thing.

Speaker 35 (01:12:28):
I thought I was losing my mind.

Speaker 29 (01:12:30):
I'll never be able to forget it, never, never I lived.

Speaker 1 (01:12:35):
That's the end of Klan, Captain. We'd make a fortune
if we could bring Khan alive to the States.

Speaker 27 (01:12:42):
I'd rather be alive, see captain, mister Denner, just think
upout it.

Speaker 1 (01:12:46):
Janem Enterprises presents King Khan.

Speaker 13 (01:12:51):
Bravo.

Speaker 26 (01:12:52):
I don't think that big ape would sign a contract,
DENNI go ahead, ask him.

Speaker 1 (01:13:02):
Run for the shore. Go on, run, I'm gonna try
and get him. He'll rip you to bits him.

Speaker 14 (01:13:11):
Come on, let go.

Speaker 1 (01:13:12):
A couple of cascades are to stop.

Speaker 14 (01:13:14):
And dead.

Speaker 1 (01:13:19):
Over under one in front, honey. Three of those are
to put a regiment asleep.

Speaker 26 (01:13:29):
It's impossible complain to the company who made them get
to the boat.

Speaker 13 (01:13:33):
Come on to him.

Speaker 1 (01:13:38):
Oh wait, the casconades they're working.

Speaker 27 (01:13:46):
Mister Denham. I think you're a very brave but foolish man.
He's all yours, Yeah, he's all oh, and denims all mine.
I'll take him to the boat.

Speaker 29 (01:14:00):
Poor Kong, he looks so harmless now.

Speaker 1 (01:14:15):
It took host of a day to get Kang out
of the ship and placed.

Speaker 6 (01:14:19):
In the hole.

Speaker 26 (01:14:20):
I had anchor chain welded over the hatch. We had
a pretty good prison for the giant ape. Kong was
eaten and innow it he did nothing except now and
then trying to knock out the size of the ship.
Only and could calm him down. She would stand by
the hatchway and speak to.

Speaker 29 (01:14:41):
The beasts, poor thing, poor calm, No one will hurt you,
and it's here.

Speaker 1 (01:14:51):
Couldn't hurt him if we tried.

Speaker 29 (01:14:54):
It a little sad to see anything, and kepture.

Speaker 26 (01:14:56):
No, he's done enough damage in his day, and he
was only protect to himself, and we were only trying
to protect you.

Speaker 13 (01:15:04):
Will you.

Speaker 1 (01:15:07):
Let's get away from your friend.

Speaker 26 (01:15:16):
There is an old sailor's wish calm sea and prosperous
voyage which we had going back. Mister Driscoll and Anne
asked me to be best man, but I was captain
and couldn't marry them if I accepted that honor, mister
Denham was best man. Anne and Briscoll became man and
wife when we sailed into New York Harbor. We were

(01:15:40):
a happy ship carrying the strangest cargo ever to come
into that port. Venham and Leander rented in the middle
of New York City in Times Square. There were plenty
who pay to see this prehistoric killer, and just as

(01:16:01):
many who thought Kong was a fake. But would they
just to ooh went on? Kong was no longer the
beast from that prehistoric jungle. He was frightened and beaten,
and he went wherever Denim took the me. Kong seemed
like some monstrous organ grinders monkeys. It was the first

(01:16:21):
night that Kong was to be shown. The theater was
pasted with signs King Kong, the name Denham had given
the Great Ape. Denim asked me to be in the
audience to introduce me as the captain who shared all
the dangers. Bristol and Anne were also there. Denham said
love interest was very important. In spite of himself, he

(01:16:44):
was a brave man, and that we had to respect
with Britain, winner.

Speaker 1 (01:16:49):
Readyes and gentlemen.

Speaker 36 (01:16:52):
A beast out of history, out of place, out of time,
a sight once seen by cavemen, but never before viewed
by modern.

Speaker 1 (01:17:05):
Man, ladies and gentlemen.

Speaker 14 (01:17:08):
King hang.

Speaker 26 (01:17:14):
Right by the sounds of the strange world, began pulling
at his huge chains. He looked out into the audience,
and he saw her, and we rushed her out of
the theater as the cloud's panic. Kung tribled them as
he went after hand. Kung loose in the city. Police

(01:17:37):
and fire departments useless. As Kung began his sense for
the girl, the city came to a stop. No place
was saved, There was no place to fly. This Kong
raged up and down the streets, crushing everything in his way.

(01:18:01):
Bristol and I have hurried and back to the ship
with the idea of getting underway and out to sea,
but we never would have made come with that logic.

Speaker 27 (01:18:11):
Hu the dreads made his way to the river and
to the ship.

Speaker 1 (01:18:16):
He saw us, He saw and.

Speaker 27 (01:18:20):
Then the great monster reached out.

Speaker 1 (01:18:23):
He took a hand on the Air Force Roosevelt Field
knobs in the baseby yes, sir, there's a fighter squandering
from what I suggest you call the zoo. We don't

(01:18:45):
handle monkeys here.

Speaker 3 (01:18:48):
What you're kidding.

Speaker 1 (01:18:52):
Right away?

Speaker 37 (01:18:56):
All silence span your planes, Condition red, repeat, condition red.
This is not an exercise repeat, this is not an exercise.

(01:19:19):
Undestroyed all in his way. All we could do was
to follow. It was impossible to shoot.

Speaker 26 (01:19:25):
At him for fear of fitting an hung in a panic,
looking for safety, found the only place he thought he
would be safe. Slowly carrying and gently in one pot,
he began to climb the Empire State Building, one hundred
and two stories into the air, over one thousand feet
from the ground. The crowds below were.

Speaker 3 (01:19:45):
Silent for fear. The only sound was a.

Speaker 27 (01:19:53):
Suddenly from a long way.

Speaker 1 (01:19:55):
Away, the for the city and maybe the end for end.

Speaker 26 (01:20:04):
The fighter planes were coming in, fireplanes, each with two
machine guns and a few bombs. Briscal heard them and
started into the building, pushing through the line of police.
John was just raping and there they were nine fighter
planes flying straight forwards. Calm, he held the girl eye

(01:20:26):
up in the air. The planes zoomed away.

Speaker 38 (01:20:30):
Red Leader, that thing's holding her girl in his paw jack,
come around for another pass. Gon't fire into my signal,
Red Leader, call elements, forget the.

Speaker 14 (01:20:44):
Girl shooting gear. Can't do that.

Speaker 38 (01:20:47):
Eight million people in that city down there only one
girl up here.

Speaker 14 (01:20:52):
Follow me in feel of oh, put you down, my God,
what kind of a thing is?

Speaker 1 (01:21:03):
Then you'll name it.

Speaker 14 (01:21:05):
I'll fait it here, I do.

Speaker 26 (01:21:18):
I could only see Khan put the girl down and
hope that Riscoll had pulled her to safety.

Speaker 1 (01:21:26):
The fighters, with one plane missing.

Speaker 26 (01:21:28):
Now continued making their runs on Kan, and he stood
there pawing at them, trying to swipe them out of
the air modeln bees against a giant.

Speaker 27 (01:21:39):
How much could Kong take? How many bullets? I don't
know how long ago?

Speaker 26 (01:21:44):
All I could see was hung weaving back and forth,
always trying to fight off the planes, a monster fighting
for his life.

Speaker 1 (01:21:53):
And then Kong began to top up to stagger.

Speaker 27 (01:21:58):
The police pushed the clouds back, made one more run.

Speaker 26 (01:22:20):
And that is all the story of Kan King Kong
or yesterday that lived today, A story to frightened children. Unbelievable, impossible, incredible, whatever.

Speaker 1 (01:22:34):
You choose to call it.

Speaker 27 (01:22:36):
But I know it to be the truth.

Speaker 1 (01:22:39):
And now you know it. Believe what you want.

Speaker 3 (01:22:44):
You can't change the truth. Welcome to the Black Mass.

Speaker 14 (01:23:36):
Know me, monomach.

Speaker 17 (01:23:42):
Mononas know me, he Annancy, she stoop down the mind.

Speaker 39 (01:24:04):
Tonight we come to you in a lighter mood. Here
is a story by John Anthony West selected for You
and directed by Bernard Mays. The adaptation was by Richard Rowland.
Pat Franklin is heard as Marjorie and Bernard Mays as George.

(01:24:27):
The story is one that could happen to anyone in
front of their TV.

Speaker 6 (01:24:35):
We call it.

Speaker 39 (01:24:37):
A trophy.

Speaker 15 (01:24:55):
Gun smoke the headache tablet to relieve pain. So relaxed
and calm nerves. This message can save you hours and
hours of pain. Headache, pain, pain, depression pain.

Speaker 40 (01:25:11):
Or what's the matter?

Speaker 20 (01:25:14):
Foot's gone to say?

Speaker 3 (01:25:15):
That's all.

Speaker 40 (01:25:18):
It tells today, George, you're making an.

Speaker 20 (01:25:21):
Image job that must have been sitting in the same
position to.

Speaker 41 (01:25:26):
Leading headache tap George, Dear, you don't have to make
quite so Fassia.

Speaker 27 (01:25:30):
You can't help have to wake it up anxiety.

Speaker 40 (01:25:34):
Buddy's foot falls asleep.

Speaker 13 (01:25:37):
Sleep right now.

Speaker 18 (01:25:37):
In the minutes headache pain is gone, is gone.

Speaker 40 (01:25:41):
The least you can do, if you must hop, dear,
is to hop out in the hole.

Speaker 6 (01:25:46):
To wake up.

Speaker 40 (01:25:48):
Chi childish.

Speaker 20 (01:25:51):
What's child is about waking my foot pain?

Speaker 40 (01:25:53):
It's your treat, that's Charlie.

Speaker 20 (01:25:55):
I'm trying to wake up my foot.

Speaker 40 (01:25:56):
If you'll just sit down, dear and forget it. It
will pass.

Speaker 6 (01:26:02):
Pass m.

Speaker 40 (01:26:07):
George, what do you think you're doing.

Speaker 3 (01:26:12):
My shoes?

Speaker 41 (01:26:13):
Suppose someone comes, Suppose they do your shoes.

Speaker 20 (01:26:17):
I can't off my shoes in.

Speaker 40 (01:26:18):
My own house, but you only took off one shoe.

Speaker 6 (01:26:21):
Read.

Speaker 20 (01:26:22):
I don't see the difference.

Speaker 40 (01:26:23):
Completely sensitive, watch the program.

Speaker 20 (01:26:29):
I know, I know I'm being silly. I can't watch
the program when my foot's asleep.

Speaker 40 (01:26:35):
Other name, you have no intestinal fortitude.

Speaker 20 (01:26:40):
George, do you to say it isn't your foot and
it would work.

Speaker 40 (01:26:44):
I would make a fast about it, then a big
babies kind.

Speaker 3 (01:26:47):
Of wages.

Speaker 1 (01:26:51):
Marjorie.

Speaker 20 (01:26:52):
My foot isn't asleep in all this fast. There's something
wrong with it. I'm serious. Look, I can't move it
in My foots stiff somehow. See if for that it
won't move.

Speaker 40 (01:27:02):
You're holding it that way on purpose. Don't take your socker.

Speaker 20 (01:27:07):
Yeah, will you pay attention to me? Just look at that. No, now,
don't believe me. Look see I can't flex my tozy.
My whole foot's rigid.

Speaker 40 (01:27:13):
You're doing it on purpose. You just want my sympathon.

Speaker 20 (01:27:16):
Andre Darling, Please listen to me. Look, look see there
I can't move it.

Speaker 9 (01:27:20):
I'm not trying.

Speaker 20 (01:27:21):
I know when I'm trying, and when I'm not, I'm
trying trying to move with yourself.

Speaker 40 (01:27:25):
I don't play games with your sweaty foot.

Speaker 20 (01:27:28):
My food isn't sweaty in this weather, all right, and
foot sweaty. You try and move it, though, God.

Speaker 40 (01:27:33):
I believe you. You can't move your foot.

Speaker 20 (01:27:36):
You don't believe me. I can tell by the tone
of your voice your.

Speaker 40 (01:27:38):
Food is asleep and you can't move it.

Speaker 20 (01:27:40):
I believe it is not asleep. There's something wrong with it.
Sleeping foot doesn't just.

Speaker 42 (01:27:44):
Go rigie just like that.

Speaker 41 (01:27:46):
You're such a hypochondriactual every little thing, Just like the
time you thought you had an appendicitis and it was
guess gains And what was.

Speaker 20 (01:27:55):
I supposed to think? I was lying on the bed
in agony it might have been appendicitis.

Speaker 40 (01:28:00):
When it wasn't. And you're not lying in agony right now?

Speaker 41 (01:28:04):
Your foot is asleep. And why you have to make
such a fuss about it, I just don't know.

Speaker 20 (01:28:09):
You're sleeping foot doesn't just ghost.

Speaker 40 (01:28:12):
It does when it's very soundly asleep. Maybe you sprained
it walking around?

Speaker 20 (01:28:17):
Well, how would I do that?

Speaker 40 (01:28:18):
Why when did you walk today?

Speaker 13 (01:28:21):
Walking?

Speaker 20 (01:28:22):
What do you think I'm walking the subway to the office,
and I walked to the water cooler twice, soon three times.

Speaker 40 (01:28:28):
You see, Usually you only go to the water cooler twice.

Speaker 20 (01:28:32):
Yes, but I went to the men room once. That
makes up for it. You're always talking about things you
don't know the first thing about.

Speaker 40 (01:28:37):
How am I supposed to know? Usually you go twice precisely.

Speaker 20 (01:28:41):
What I mean, Let's look at the whole thing.

Speaker 35 (01:28:45):
Still.

Speaker 40 (01:28:47):
You can over exert a tendon and not know it.
Remember you're holding Robberts.

Speaker 41 (01:28:53):
She fell down the subway stairs and broke three ribs
and didn't no thing about it.

Speaker 40 (01:28:56):
For a week.

Speaker 20 (01:28:57):
I didn't fall down the subway stairs. I didn't know
ext at ten and Geraldine Roberts was stue to the angsment.

Speaker 40 (01:29:02):
You know, so what your friend water is a complete lash.

Speaker 20 (01:29:06):
We won't talking about water juice product.

Speaker 40 (01:29:10):
Does it hurt?

Speaker 2 (01:29:11):
No?

Speaker 40 (01:29:13):
You walk like a war hero, George, only when I laugh.

Speaker 20 (01:29:17):
I am not a war hero and I don't want
to walk like one.

Speaker 40 (01:29:21):
Don't be such a milk George could have been a
war hero war here.

Speaker 20 (01:29:26):
I was in Jersey training recruits the time save.

Speaker 41 (01:29:30):
Your training recruits, and a nervous private drops a hand grenade.
In another second, you see that the whole regiment will
be blown to smithereens, and and you leap.

Speaker 43 (01:29:40):
On top of it, and hey god, all of which
results in the stiff and foot I spurs. So I
was training them to use a calculating machine. And if
someone dropped a hand grenade near me, you can bet it. Madri, Madri.
My other foots gone stiff.

Speaker 14 (01:29:57):
I can't do it.

Speaker 40 (01:30:01):
You mustn't get this excited. Now, come and sit down,
and it will pass.

Speaker 2 (01:30:05):
In a moment.

Speaker 41 (01:30:06):
Your other foot's gone to sleep, that's all. Don't make
such a fuss about every little thing.

Speaker 43 (01:30:11):
Such a fuss gate Christ, do you think I would
just anybody me, George, your husband.

Speaker 20 (01:30:15):
Suddenly I'm paralyzed. I can't walk, and you say.

Speaker 40 (01:30:18):
That, of course you can walk. You were just walking.

Speaker 20 (01:30:20):
You call this hubble walking. Look is this walking?

Speaker 40 (01:30:25):
There are millions of people who would give their right
arm to walk.

Speaker 20 (01:30:28):
That well, and what the hell do I care about them?
It's me, George. You can't walk right now. I've got
leprosy or something.

Speaker 3 (01:30:35):
And you just sit there.

Speaker 41 (01:30:36):
You don't have leprosy, George. If you had leprosy, your
feet woulden stiffen, they'd fall off.

Speaker 40 (01:30:43):
O my leprosy. It was all over leprosy. Gry shut up?

Speaker 20 (01:30:49):
Can you see I'm frightened.

Speaker 40 (01:30:51):
I was just trying to cheer you up.

Speaker 13 (01:30:53):
Dear.

Speaker 40 (01:30:54):
Now look at it this way.

Speaker 41 (01:30:55):
It can't be anything serious. If it were something serious,
that have to be symptoms right now. Now, there's no
serious disease without symptoms.

Speaker 40 (01:31:05):
I think you should just go off.

Speaker 41 (01:31:07):
To bed now and put the whole thing out of
your mind. You're feeding back to normal tomorrow morning. Oh
you have no idea, dear, How foolish would I care?

Speaker 20 (01:31:17):
Do I care about appearance at a time like this?

Speaker 41 (01:31:20):
You might at least try to behave like a gentleman
or appearances always appearances with you, all women are the same.

Speaker 20 (01:31:25):
Intrinsic value means nothing to do at all as long
as it looks nice.

Speaker 40 (01:31:29):
That's not true, George, and you know.

Speaker 20 (01:31:30):
Nothing was ever more true. You would eat horse manure
if it came served with parsley. I wouldn't not, You would,
I wouldn't. You would wouldn't, would wouldn't, wouldn't, wouldn't would
would would wouldn't.

Speaker 40 (01:31:47):
Wouldn't, would not.

Speaker 20 (01:31:49):
Talking as though nothing was wrong in my feet are paralyzed.
What are we gonna do? What are we gonna do?

Speaker 41 (01:31:55):
The first thing, George is to you mustn't let yourself
get so excited. If you were a professional tennis star
or something, I could understand.

Speaker 40 (01:32:05):
But all you have to do.

Speaker 20 (01:32:07):
I suppose get to the office. As long as I'm
bringing home the bacon, it doesn't matter how I get there.

Speaker 41 (01:32:11):
President Roosevelt had to go around in a wheelchair, and
that didn't stop him from becoming You don't understand.

Speaker 20 (01:32:18):
You just don't understand.

Speaker 40 (01:32:20):
Stand, George. Believe me I do. In a week, you'll
get the hang of it, really you will. Besides, it'll
be all better in the morning, you.

Speaker 20 (01:32:28):
Know it won't. You just find to cheer me up.
No one's ever had this before. Nobody's feet over stiffen.

Speaker 40 (01:32:35):
You always think you're better than everyone else. It happens
to lots of people.

Speaker 20 (01:32:39):
Dear, no name one I know any persons just did.
That's why I'm worried. If we just knew what it was.

Speaker 17 (01:32:48):
I suppose you're right.

Speaker 20 (01:32:49):
I had no point in getting excited to watch the program.
The first thing wrong with you when you go running
with the doctor.

Speaker 40 (01:32:57):
Do you want me to call the doctorate this un
I didn't say. Then if it's no better than.

Speaker 20 (01:33:06):
Hell, you know, you know, I think it's Marjorie, Marjorie,
my knee. It's my knee. I can't move my knee.
Look look, will you look, please, for God's sake, look here,
my knees completely stiff.

Speaker 40 (01:33:22):
George, Dear, relax, please relax. I'll go and call the doctor.
Please relax, Alex.

Speaker 1 (01:33:31):
Hello, Hello, Marjorie.

Speaker 20 (01:33:41):
What's taking so long?

Speaker 40 (01:33:42):
The doctor wasn't in, Dear, I'm calling another one.

Speaker 20 (01:33:47):
Hello, Marjorie, Marjorie, for the love of God, have a knee?
Why an he's paralyzed?

Speaker 3 (01:33:55):
Tell him to hurry.

Speaker 40 (01:33:56):
I really can't carry on two conversations at once.

Speaker 20 (01:34:00):
Dryman me, well, well, cigarette, well what, well? What do
you think?

Speaker 34 (01:34:08):
What is it?

Speaker 20 (01:34:08):
What did he say?

Speaker 40 (01:34:11):
Just what I told you? Nothing serious?

Speaker 20 (01:34:15):
Well did he know what it was?

Speaker 40 (01:34:16):
Of course? In you did you think you were the
only one I told you?

Speaker 20 (01:34:20):
All right? No sermons? Tell me what he said?

Speaker 22 (01:34:22):
What a trophy?

Speaker 20 (01:34:25):
Atrophy?

Speaker 3 (01:34:27):
A trophy?

Speaker 40 (01:34:29):
Plain calumn atrophy?

Speaker 20 (01:34:32):
John Standrody, So let's it atrophy. Well, at least we
know what it is.

Speaker 9 (01:34:38):
I told you.

Speaker 20 (01:34:39):
I told you it wasn't knowing that scared me. Well,
now what do we do about it?

Speaker 3 (01:34:46):
Nothing?

Speaker 20 (01:34:48):
Nothing, nothing. You may have told me that I have
a fatal disease. I have a fatal disease, and you
sit there calmly and told me there's nothing we can.

Speaker 41 (01:34:56):
Do, George, get who there's nothing fatal about the disease.
The doctor said, not to worry. Nothing can be done
about it. But there are absolutely no dangerous effects.

Speaker 20 (01:35:09):
Well that's a relief. Nothing we can do, but there
are no dangerous effects.

Speaker 40 (01:35:17):
Right, you can do anything you would do normally except move.

Speaker 20 (01:35:22):
Well, that's at least something we should be grateful for that.

Speaker 40 (01:35:29):
You have to have courage, George. You have to have courage.
We have to fashion a whole new life for ourselves.
Won't be easy.

Speaker 20 (01:35:38):
I can't fess it happened too quickly this evening. I
was a man in my prime. I could have done
anything I wanted.

Speaker 41 (01:35:45):
Now we can start from scratch, George, Dear, we'll start
a new life.

Speaker 20 (01:35:49):
I can't walk anymore. I can't go for a simple stole.

Speaker 40 (01:35:52):
Who never went for walks?

Speaker 35 (01:35:54):
Dear?

Speaker 40 (01:35:54):
When did you never take a walk?

Speaker 20 (01:35:55):
That isn't the question, It's that now I can't even
if I wanted to, and I planning on taking a walk. Actually,
other sunday, I was going to walk around the block.

Speaker 40 (01:36:04):
You have to stop thinking this way, George. You can't
give into.

Speaker 20 (01:36:08):
Self pity such a simple thing a stele around the block.

Speaker 40 (01:36:10):
Stopping George, you know you wouldn't have gone.

Speaker 20 (01:36:12):
I was planning to.

Speaker 40 (01:36:14):
There's nothing of the other side of the block anyhow.
I've been there and there's nothing. Nothing.

Speaker 20 (01:36:20):
Well hard, that's what I mean. You say I wanted
to see them assell George.

Speaker 40 (01:36:24):
You must take my word for it. There's nothing interesting
to be seen.

Speaker 20 (01:36:30):
I suppose I've just got to get used to the
whole idea. My thighs, my thighs just went on. I
can't move them.

Speaker 41 (01:36:39):
Yeah, carriage, Darling, please, for your sake for mine, have carriage.

Speaker 20 (01:36:46):
Well suppose things could have been worse. I suppose it
hadn't happened at home ehe yes, I mean this might
have happened in the subway, or tying my supe lace up,
painting the seat.

Speaker 40 (01:36:58):
You are wonderful, darling.

Speaker 20 (01:37:01):
I don't like this any better than you do. I
can't go bowling anymore, or fishing or play ball.

Speaker 41 (01:37:05):
Nothing, George, Darling, you never went bowling. You never did
any of those things?

Speaker 20 (01:37:10):
No true, and I'm still young. I could have done them.
I can't ping pong?

Speaker 40 (01:37:17):
Who never played ping pong?

Speaker 20 (01:37:20):
I always wanted to do well.

Speaker 40 (01:37:22):
We have to make a living. You can't go to work.
What will we live on?

Speaker 9 (01:37:26):
We have to eat.

Speaker 20 (01:37:28):
I haven't thought of that.

Speaker 40 (01:37:30):
I'll work, George. I don't care. We'll get along. Don't
you worry. I'll do anything. Are taking washing our scub floors,
are working a milliony shop, don't you worry.

Speaker 20 (01:37:39):
I keep us going and maybe we can get back
at modelings? Are they George? Now let's see. Now you
know where we need money with our social security, coming
to benefits, disability or our policies. You know I think
we I figure forty a week.

Speaker 40 (01:37:56):
Yes, well, the price we have to do well, it's
not so.

Speaker 20 (01:37:59):
Bad, not to bed at all. We'll have more money.
We can buy the things we've always wanted. My own
need will be less.

Speaker 6 (01:38:08):
Just let me have.

Speaker 40 (01:38:10):
Don't do that. Dear, reach for the peanuts.

Speaker 41 (01:38:13):
Who knows any minute now and you'll be reaching for
peanuts the rest of your life. I'm serious. If you
want something, dear, ask me for it. Is there anything
you want that you can still move from.

Speaker 20 (01:38:25):
The waist, my waist, the atrophy hit my waist.

Speaker 40 (01:38:33):
Won did stop? George? Why did stop? George? Did stop?
Why us? Why not someone else?

Speaker 20 (01:38:43):
That's sofish? Thinking down?

Speaker 40 (01:38:46):
Sitting around? That's so awful. It's awful sitting. What has
happened the different did I? I went out to a
to a cinema and came back and found you atrophied
and this dying.

Speaker 20 (01:38:59):
By you know I'm not dying. And please don't get emotional.

Speaker 40 (01:39:02):
Don't lift your arm, don't do that. Tell me what
you want and I'll do.

Speaker 35 (01:39:07):
It for you.

Speaker 40 (01:39:08):
A small thing, anything, George, no matter how small.

Speaker 20 (01:39:12):
Yeah, would you scratch my nose for me? A little higher?

Speaker 6 (01:39:18):
Thanks?

Speaker 41 (01:39:19):
Full life ahead of you. And you'll never be able
to scratch yourself, George. I'll have to be beside you
always to scratch.

Speaker 20 (01:39:27):
For you know, when sitting there's no sensation at all,
actually just a few moments.

Speaker 40 (01:39:31):
It's the worst part of war. A whole life to live,
and you'll never know.

Speaker 3 (01:39:36):
What it is to be.

Speaker 20 (01:39:37):
Oh, my dear, you know what I'll miss. I'll miss
making myself snacks for the late show.

Speaker 40 (01:39:46):
I'll make you marvelous snackt George, No, I won't quite
the same thing.

Speaker 20 (01:39:49):
Don't quite understand. You See, when you get a bit early,
I stay up for the late show and the late
late show, and in between the two I get a
little hungry. House is completely quiet. Sometimes I have baskets
down the avenue. Once in a while of fire engine
looks like there isn't a bit of food in the place,
and I go to refrigerator and open it in a

(01:40:11):
whole world of midnight snack lights up there before my eyes,
harrying and scream herring in wine, sauce, sods and ends
of cheddar, mental olives, a spread quart of kataloop the
blue chain.

Speaker 44 (01:40:32):
Next time, go to the ring, look around, pick up one.

Speaker 3 (01:40:36):
Put it back.

Speaker 20 (01:40:38):
There are dishes and dishes with covers on them, the
little things that were left over.

Speaker 44 (01:40:42):
We've forgotten. Amount one by one, take off the covers. Bears,
meet Paul. Two slices of roast beef. Don't choose now,
don't choose. Go to the bread box, half a loaf
of rye, three or four kinds of crackers, steunge.

Speaker 3 (01:41:06):
Go to the pantry.

Speaker 20 (01:41:09):
Peanut butter, peanut butter, all kinds of chair, maybe during
the day you bought some new brand. Maybe hmm, have
some tuna, fish salmon. Still, don't shoes. Go to the
cabin with the sugar and the flour and the breakfast cereals.

(01:41:30):
Corn flex. No, there weren't any complex yesterday. M H,
corn flegs, m H. Nicey peaches and refrigerator.

Speaker 44 (01:41:43):
Yes, I don't remember a.

Speaker 20 (01:41:45):
Round the refrigerator. And if there are peaches, I'll have peaches,
corn flakes, small peaches cree.

Speaker 41 (01:41:54):
No, George, there aren't any peaches, dear, but there are strawberries,
not nice big ones.

Speaker 40 (01:42:00):
You would have corn flakes with strawberries instead. I never
knew it meant so much to you.

Speaker 20 (01:42:06):
I never dreamed it was only something small.

Speaker 41 (01:42:09):
Small things are the most important, Really, Darling, it doesn't matter.

Speaker 20 (01:42:15):
The arm just meant.

Speaker 40 (01:42:16):
Oh, you know those roses, George.

Speaker 20 (01:42:21):
Made it peanuts.

Speaker 9 (01:42:23):
You mustn't do that.

Speaker 41 (01:42:25):
You want to give me heart failure, George. You know
what could happen just one more second.

Speaker 20 (01:42:31):
But I didn't make it. You know there's nothing to
worry about.

Speaker 40 (01:42:33):
Promise me you won't do that again.

Speaker 20 (01:42:35):
Promise I had to reach for my last handful of peanuts.

Speaker 41 (01:42:38):
You know you have more courage than most men, George.
No one will ever tell me that my husband was
a coward. I don't be modest, George. You know perfectly
well that most men would have just sat there. Men
with less character would have hesitated the other arm you
see that spit second was all other men would have

(01:42:59):
been less decisive and in that time.

Speaker 40 (01:43:03):
But you, George, you defied fate. Oh oh, I go all.
We can side what I think of.

Speaker 41 (01:43:10):
It, George, I really do, George, our life, darling, our
lives are ruined.

Speaker 20 (01:43:21):
No, please don't start that over again.

Speaker 40 (01:43:23):
You have to stay in that chair the whole rest
of your life.

Speaker 20 (01:43:26):
We'll both know that, match, don't.

Speaker 41 (01:43:28):
I don't think you know what that means. You can't
ever leave ever forever, you will always be sitting there.

Speaker 20 (01:43:35):
Of course, I know that it's perfectly clear.

Speaker 40 (01:43:37):
You don't understand.

Speaker 13 (01:43:38):
You don't see you.

Speaker 20 (01:43:40):
All have to bring me my food, and that'll be
a bother. I suppose you'll have to vacuum around me. Well,
I still don't see why you have to get so
excited about it.

Speaker 40 (01:43:48):
You can't come to bed, George.

Speaker 20 (01:43:49):
That's so I suppose I hadn't thought of that. With
a couple of extra blankets. I'll be warm here and me, George,
I'll have.

Speaker 40 (01:43:58):
To get between the gold cheeks.

Speaker 20 (01:43:59):
Alone, arger a couple of extra blankets warm enough.

Speaker 40 (01:44:05):
We can't love anymore.

Speaker 41 (01:44:07):
We aren't husband and wife. We aren't love us anymore,
Not another chance, never again, Oh George, that's the best part, George.
I love most then, always in your arms and the
little light glowing all we said to sea little things.
I loved you most then, George. It's my fault, George,

(01:44:30):
or my fault. If I'd been a little more understanding before,
if I had listened to my intuition just a while ago,
when it was just your foot, we could have had
one last chance, just one last time.

Speaker 1 (01:44:43):
In your arm.

Speaker 20 (01:44:44):
We just wouldn't think of it. Mart I didn't. You
didn't anywhere Wednesday, And it's no use.

Speaker 40 (01:44:50):
Cryings were made up there, George.

Speaker 41 (01:44:53):
The nights were all soft and tender in your arms.
I was a princess at dawn, George, beside my sleeping prince.

Speaker 40 (01:45:00):
It was marvelous. It was perfect, wasn't it. We were passionate.

Speaker 41 (01:45:06):
Each day was an experience, wasn't it, George? Every night
eight hours out of paradise. We were happy so very happy,
weren't we, George? We did things together? What lies we lied?
Everyone envied us. We made life so exciting. Never four,
never bickered like other couples. We were happy, weren't we?

Speaker 1 (01:45:27):
Man?

Speaker 13 (01:45:27):
Oh?

Speaker 20 (01:45:28):
Yes, I said we were. We were very happy?

Speaker 9 (01:45:30):
Night, George.

Speaker 40 (01:45:31):
How will I get through the long nights alone? We're
so young, George, Our lives were all before us, so young.

Speaker 41 (01:45:40):
I'm thirty two, George, a girl, a young girl, and
you thirty four.

Speaker 40 (01:45:46):
Your life has just begun.

Speaker 20 (01:45:50):
Mum, yes, dear you sure I'm thirty four.

Speaker 40 (01:45:53):
I'm certain?

Speaker 20 (01:45:54):
No, surege honey, always thought of myself as much older
than that.

Speaker 40 (01:45:59):
It's affected your mind, Darling, that too?

Speaker 45 (01:46:01):
No, No, no, really, well you know how that one
day is like the next, Yeah, goes by, you don't
noticed it, and then fine, my neck.

Speaker 40 (01:46:12):
It's all over, George. Our lives are finished. There's nothing
left for us.

Speaker 20 (01:46:16):
No, that's not true much. We can still talk, Yes, yes,
we can still talk.

Speaker 40 (01:46:20):
That's right, George. We can still talk talk to me, Darling.

Speaker 20 (01:46:26):
Well, I can't just talk. I have to have something
to say, of course.

Speaker 40 (01:46:31):
And when you think of something, you'll talk to me,
won't you. George, promise me.

Speaker 20 (01:46:36):
You mustn't worry, Darling. I'll always be beside you whenever
you need me.

Speaker 40 (01:46:44):
I'll stay by your side always.

Speaker 41 (01:46:47):
I'll never leave you for a loving I'll refuse all invitations.
I won't let myself be tempted. George, George, look at me,
but I can't you know?

Speaker 20 (01:47:01):
My eyes are focus straight ahead.

Speaker 1 (01:47:03):
Had the television.

Speaker 20 (01:47:05):
I could read the night.

Speaker 40 (01:47:09):
Well it's almost over. Thank God for that. George. Are
you blind? Can you see?

Speaker 13 (01:47:17):
Yes? I can see it that.

Speaker 40 (01:47:19):
Aren't you afraid, George?

Speaker 20 (01:47:22):
No, No, I'm I'm not George.

Speaker 40 (01:47:27):
It's not your normal voice. Not that too, George. George,
talk to me. I'm frightened. Say something, some last thing.

Speaker 3 (01:47:40):
Don't leave me like this.

Speaker 13 (01:47:43):
Tell me what it's like.

Speaker 35 (01:47:44):
What do you feel.

Speaker 40 (01:47:46):
I've got to know, George.

Speaker 20 (01:47:50):
It's not so bad.

Speaker 38 (01:47:54):
Not fat.

Speaker 42 (01:48:00):
My quiet like.

Speaker 39 (01:48:19):
That was a trophy adopted by Richard Rowland from a
story by John Anthony West. Bernard Mays played George and
Pat Franklin played Marjorie. The technical production was by Fred Sidon.

Speaker 3 (01:48:39):
And Now.

Speaker 13 (01:48:42):
Good Night.

Speaker 20 (01:49:13):
The musical introduction for The Black Mass was designed by
Peter Winkler. The series was conceived by Jack Nessel and
recorded in the studios of kpf A in Berkeley.

Speaker 7 (01:49:23):
I agree quite take that horrible murder of Nton. Nothing
anyone can do about the bigger.

Speaker 22 (01:49:30):
If the police knows Dammage, why on earth can't they
risk because.

Speaker 7 (01:49:35):
Darlin, the evidence is inconclusive, Missus Clinton, and then can
only be tried once for any murder the police are
reasonably shipped. Sooner or later you'll give him away or
the missing Lincoln. The channel desilience more No, No, that's tray.

Speaker 46 (01:49:50):
Take you, that's show, and I'm should look scandalous.

Speaker 22 (01:49:54):
You should get off Scotts. I wish I had the
part of deciding.

Speaker 18 (01:49:57):
The sentence this if women are the gentle six but it.

Speaker 47 (01:50:01):
Was a dasty clime. That poor girl was only sixty.
You know you don't like that mellow creature. They should
be killed in a terrible way. Nothing would be too
bad for them.

Speaker 7 (01:50:18):
M Biotechs the new soap and freewash marga presented Beyond
Midnight by Michael McKay. Yes, soak in biotechs. Soak just

(01:51:03):
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Understand this. Biotechs remove the stains and dirt.

Speaker 17 (01:51:15):
Washing wort.

Speaker 46 (01:51:17):
Just soak, just oaken.

Speaker 48 (01:51:18):
Biotakes stains, grass stains, piles and collar and cuff stains, ingrain, dirt,
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(01:51:39):
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for cottons, soaks, woolens and sets. Use it to make
new again. Soaking in biotechs remove the stains and dirt,
but washing won't soak, just oak in biotakes.

Speaker 3 (01:52:02):
You've done.

Speaker 22 (01:52:03):
I'm satin too good as it happens.

Speaker 18 (01:52:06):
I have known doctor Peters so many years.

Speaker 22 (01:52:09):
It you will fight down.

Speaker 18 (01:52:13):
Naomi Clinton's face was flushed with excitement. It's a strange thing.
Women will often possess disgust or horror with a certain topic,
and yet they cannot bring themselves to allow that topic
to drop. Amazing, however, not very well mind. She was
one of the lovelous little things I ever saw.

Speaker 12 (01:52:35):
I could hardly believe it.

Speaker 18 (01:52:37):
When I opened the papers and learned such a batful
thing that happened to her.

Speaker 22 (01:52:40):
And if you think that shows yeah, I.

Speaker 7 (01:52:42):
Didn't undoubtedly, But it's the proof you can conclusive final
fly nothing.

Speaker 17 (01:52:48):
Anyone can do.

Speaker 18 (01:52:48):
That's why he'll do it again, and next time they'll
get it.

Speaker 46 (01:52:52):
But right then one more human life would have been sacrificed.

Speaker 47 (01:52:55):
Me justly, something should be done, either the girl's father
or the brother, but something definitely.

Speaker 49 (01:53:08):
This fellow Peters her father. He isn't being Peter to me,
he is huh. The fellow has gone on these marvelous
things with that is a thyroid expense.

Speaker 3 (01:53:22):
Sir?

Speaker 7 (01:53:23):
Why does he choose to live in Wimlington When you
get older? A little piece and prat are wonderful things.

Speaker 22 (01:53:30):
If he hadn't lived so close to the common, his
daughter might be alive today.

Speaker 7 (01:53:35):
Well, what will happen to this man Yellow? Now harms
him to get a job the publish start for a
foreign country. About anything left for him. But if he
really did do it, he won't get off in the
long run. He will make a slip Yarrow. Something horrible
about that name, Sanna, the yarrow.

Speaker 17 (01:53:59):
Yellow?

Speaker 7 (01:54:00):
What have you thought of doing? Well, well, it's going
to be a bit nasty. I wanted to get worked
off the Peter's I thought the Canada or Australia. You
will still have your job with me, Yarrow?

Speaker 3 (01:54:13):
Do you mean mat sure we'll stay on? Oh?

Speaker 7 (01:54:18):
How did marvels? Oh thank you sess to say we'll
Christian after what's happened. And I think they for what
may accuse me of? Oh thank you sir, sir, it's
a wait off mym I.

Speaker 18 (01:54:29):
Not you taller the trial and the crowd afterwards, George

(01:54:57):
Yarrow sat on the edge of his bed in the
little room he rented at number seventy seven Elderton Road, Wimbledon. Yes,
the court had been hostile from the crowd outside the
court had been worse. You see, the murdered girl was young, beautiful, popular,
strange the way that girl, that one girl in the

(01:55:18):
angry crowd had called out, Bravo George.

Speaker 12 (01:55:23):
But there's a.

Speaker 18 (01:55:24):
Certain kind of woman who is attracted by a man
like Yarrow. Fantistis well Peters has taken me back as
his chauffeur Saint Kestee.

Speaker 12 (01:55:37):
Yes, fantastic.

Speaker 18 (01:55:38):
Indeed Yarrow had murdered Angela Peters. Oh yes, and the
father knew he had, but the evidence inconclusive. George Yarrow
was the sort of man the religious painters of old
consigned happily to their fiery hydas. But people didn't always
get what they deserve. And now, after the trial, after everything,

(01:56:00):
doctor Peters had taken his chauffeur back into his employ
a Christian gentleman. After it had happened, his brain had cleared,
and his one thought had been to get away. He
had killed the Peter's girl, His big red hands had
done it, and his one thought had been to escape fast.

(01:56:25):
He had made for the nearest road where buses ran.
It was ironical, you see that as he reached the
bust of a certain Nelly saw him a young woman
to whom he had promised anything, a young woman who
had showered him with her favors in the belief that
he would marry her. The Arrow did not want to
meet her, because he knew that he might want to

(01:56:47):
pretend he had been far away that night.

Speaker 1 (01:56:50):
Now why not?

Speaker 14 (01:56:53):
Why can I trust you?

Speaker 35 (01:56:55):
What?

Speaker 9 (01:56:56):
Why you have proved to me?

Speaker 14 (01:56:57):
Did not you have a girl?

Speaker 35 (01:56:58):
As God?

Speaker 27 (01:57:00):
I've got the last from you.

Speaker 1 (01:57:02):
I can't stop the bus. I gotta check.

Speaker 3 (01:57:06):
Good stop.

Speaker 18 (01:57:26):
One moment, George on the bus, not looking back, Nellie
the deserted one middle of road, gesticulating the shout screech
of brakes, and Nellie knew no more.

Speaker 12 (01:57:47):
Oh, those were the facts.

Speaker 18 (01:57:56):
Yarrow, Jesus chauffeur, murdered his employer's daughter, murdered her horribliss
Nellie met him soon after the event and was run
down by a car as she tried to run after
George Arrow's south.

Speaker 7 (01:58:08):
George Arrow did not look back. He had no idea
of the accident. Court trial, Guarrow acquitted and the case
discussed over the entire country, just as Sir Henry and
the Clintons disgusted earlier. If things had gone very well
for the.

Speaker 18 (01:58:28):
Chauffeur, was the big red hands very well indeed, and
the Christian gentleman his employer, despite everything, was taking him
back that he Nellie had seen him that night after
it had happened.

Speaker 3 (01:58:43):
But no matter.

Speaker 18 (01:58:45):
Berrow wasn't able to listen to a certain conversation though
that took place in doctor Peter's study the evening of
the same day. That good doctor had offered to keep his.

Speaker 50 (01:58:54):
Chauffeur on bring me a whiskey and sodosmis willou Yes
and smith sister Yarrow is returning to my service tomorrow.

Speaker 7 (01:59:06):
Yes, but the verdict of the trial was not guilty.
That being the case, Yadow is innocent, that is all. Yes,
I need Yarrow my service, Miss Jenny, I need him.

Speaker 12 (01:59:24):
Yes, Angela Yallow is guilty. I know he is guilty.
And if someone could be found who saw him as
a siner.

Speaker 3 (01:59:44):
Reliable.

Speaker 24 (01:59:45):
This is a wary, wary of swearing away the life
of a man like any Wait, sometimes on miss link
the missing piece of evidence will turn up.

Speaker 12 (01:59:57):
Meanwhile, I will have him close by.

Speaker 18 (02:00:15):
Nellie Tore opened her eyes. She had always hated hospital,
but they were very kind of her in this one.

Speaker 22 (02:00:22):
Don't worry, dear. It was enough, not that you're going
to be all right. Don't worry. Don't worry, Nicety. Here,
I brought your paper, asked what do you Nothing?

Speaker 47 (02:00:41):
Very much A Lucia Rania zoom coming on this week, Lis,
some trouble in Bulgaria ruined a horrible murder in Wimbledon.

Speaker 40 (02:00:50):
Wimbledon.

Speaker 22 (02:00:51):
So when I come from some poor little girl horrible
and I don't.

Speaker 51 (02:00:56):
Know anything about who did it, He makes you know
what kind of a.

Speaker 18 (02:01:00):
World, Rediven, doesn't it? Time passed? Nellie Troll grew stronger.
It was in another paper, another set of headlines, another
week that Nelly read.

Speaker 52 (02:01:21):
The Man the Least Questioned George, Yarrow, George, and laboriously

(02:01:43):
she read of.

Speaker 18 (02:01:43):
A man's explanation how he had been in Hyde Park
at the time of the crime is flat denial that
he had been anywhere near the commons. Nelly's mouth tightened
into a thin lined yarrow. The man who had jilted
her Yarrow. That was the day we had met him,
The day of the car had very nearly taken her life.
The day, Oh Yellow, beware of an injured woman.

Speaker 35 (02:02:10):
What must do.

Speaker 22 (02:02:12):
Pa?

Speaker 18 (02:02:14):
Now? Look, lou.

Speaker 9 (02:02:19):
Doctor speakers.

Speaker 18 (02:02:42):
I feel like a new man.

Speaker 46 (02:02:44):
It's a lovely day to day.

Speaker 18 (02:02:46):
I took a Grandpa headache powder and I'm world better.

Speaker 7 (02:02:50):
When cos And flew on about Grandpa headache, powders are
what you need. Grandpa headache powders work fast because they
dissolve all this immediately. Grandpa makes all this it for
flu symtomsifitare quickly, so whenever you're in pain gets fast released.
Get Grandpa headache powders.

Speaker 46 (02:03:07):
Ah, Grandpa, so just soak in biotechs.

Speaker 48 (02:03:13):
Stains, grass, pins, color and custtames, ingrain, dirt, soil and grime.
I'll say, come and you go. Stir a finger. Soak,
just soak in biotechs. Biotechs with natural enzymes is the
pre wash powder with the most enzymes to give you
extra pre washed power. Absolutely no rubbing, no color loss,
no fabric ware. Soaking in biotechs removes the stains and

(02:03:37):
dirt that washing won't.

Speaker 18 (02:03:39):
Don't soak, just soak in biotechs. A week after leaving hospital,
Nellie Tora, who had not yet contacted her former lover

(02:04:02):
George Yarrow, was passing the Time cinema. The Chevalier film
had come and gone, and now in its place was
a fiery, tempestuous love story. Nellie stopped and examined the
posters and watched the crowds coming out, mostly couples, young couples. Oh,
there had been hijinks. In the back few stalls of

(02:04:23):
the three and sixties At night, she noticed a man
and the girl who arms still in twined stood out
from the rest. The girl was blonde and curvacious. She
was impressive, but loud. The man was tall and burly
and dressed to kill, as it were. His soft hat
was tipped rakishly, his purple tie boasted a splendid tin,

(02:04:46):
and her shoes were extravagantly appointed. It was, of course,
George Arrow. Are you quite certain of tall? That it
was yellow you saw that night? It could not have
been mistaken. Now, if anybody ought to know George Yarrow,
I should nice time, and you'll be prepared to find
a spam statement to this effect.

Speaker 22 (02:05:07):
You say so, but I'm not wanting any Please travel.

Speaker 18 (02:05:10):
If you don't mind, you won't have any I can
promise to that.

Speaker 13 (02:05:15):
For the president.

Speaker 18 (02:05:16):
You must tell nobody the matters that if you stay
in my hands, I have your word.

Speaker 22 (02:05:21):
Yes, remember you promised that. George Sharp knows that's hows you.

Speaker 7 (02:05:25):
I've already given you my word. Thank you very much
for what you've told me tonight, Missus Taures, thank you
very much. Indeed, you shut the door of this no,

(02:05:49):
thank you, just shut the door. I want to talk
to you.

Speaker 18 (02:05:56):
How long is it you been with me? Fifty years? Sixteen?
You were fun of Medangela where you're not know if
should be my own world? Listen to me.

Speaker 7 (02:06:15):
My answer, ring mister Carter, and say that I would
be pleased if he were dying with me tomorrow.

Speaker 17 (02:06:23):
Say that it is very important.

Speaker 18 (02:06:26):
That is awesome. Good night, good night Peters. M Yes,
Tony Carter must be on this Tony Carter, heavyweight champion,
Oxford University. He should manage it all right, together with
Smith and myself and I for an eye.

Speaker 17 (02:07:04):
I don't know what's the matter with the light yellow.

Speaker 18 (02:07:06):
The doctor merely said he wanted you to look at them.

Speaker 17 (02:07:08):
That's all I know.

Speaker 7 (02:07:09):
I do everything you need, much in it heading the
pluck a light, sicken flame in light side a day, Yeah,
the peace of light reading a greatness, Sir, you've got
a light trouble, Smith said, put up your hands, Hu

(02:07:31):
and the chaufeur turned and faced the gentleman by the
name of Carter, Oxford Blue, gentleman of leisure and of letters,
a gentleman who held a leveled, lethal looking revolver.

Speaker 18 (02:07:41):
It was pointed at the yarrow's stomach. What's the time
we know you will for a murderer.

Speaker 7 (02:07:47):
Some days ago, the missing piece of evidence came into
my hands.

Speaker 18 (02:07:50):
If I felt so inclined, I could hand.

Speaker 7 (02:07:52):
You over to the police to hang by the neck
until you were dead.

Speaker 18 (02:07:55):
But hanging is too good for a swine like you. Man,
take it easy, handcuffs.

Speaker 17 (02:08:02):
MRIs, what's doing?

Speaker 7 (02:08:08):
And Peter came towards him a pad in his hands. Yeah, no, no,
sweet sickly odor. He was stifling choky. He could hear

(02:08:32):
low grunts curses from the other men, but the sun
seemed very famous far away.

Speaker 53 (02:08:41):
Mm hmmmm.

Speaker 22 (02:08:57):
Mm hmm.

Speaker 18 (02:09:00):
When he came to Yellow found himself lying on a
long white table. He tried to move his arm and
something held him like a rice. His legs were confined
in a similar manner by a thick leather strapped. He
was naked, and above him burned a parcel light. He
realized that he lay upon an operating table. He turned

(02:09:21):
his head and saw on his right his clothes in
a huddled heap on the floor.

Speaker 12 (02:09:26):
Let me, scarce. The bust is just trying to bust me.

Speaker 46 (02:09:30):
Recon you panic me into confession, Margot.

Speaker 12 (02:09:33):
He hasn't got any straight to the door. I'll kick
him for this.

Speaker 17 (02:09:47):
Really, Hey, something Yellow.

Speaker 50 (02:09:53):
Can't to me, cops, something outside.

Speaker 7 (02:09:56):
I don't think you will, my friends, I'm not going
to kill you if you go to the police. They
will assuredly hang you. As certain as the month's much
in the year nineteen hundred and thirty two.

Speaker 18 (02:10:08):
They will hang you. Lug into it, and once more
the great Doctor, a man envied and admired by his colleagues,
the doctor referred to by one James Clinton as the
fellow who's done all these marvelous things with thyroid experiments.
The doctor once more pressed the sickening pad over Yarrow's month.

Speaker 7 (02:10:45):
During the hours that followed, the Arrow suffered the agonies
of a burning afterlife.

Speaker 18 (02:10:49):
At intervals he fainted, only to recover and endure once
more agony. He never really knew what was happening to him.
He lost all sense of time. The world had become
for him a place of unbelievable torture. Peters worked as
one possessed or His vast knowledge of the human body
was called upon the player part. No one was permitted
to come near the Labarba player, save Smith. The servants

(02:11:12):
were told that doctor Peters was engaged in important experiments
and must not be disturbed. Months past, Leaven the butler,
who has forbidden access to the room, only came occasionally
to bring his employer kneels upon a tray. He also

(02:11:32):
brought a tray for one other. It was March when
Yarrow had disappeared, and now December held London in its
frigid grips. Doctor I brought the door into the room,

(02:12:06):
was opened just to changes, and through the aperture Smith
saw an almost unbelievable sight. Doctor Peter stood w in
hand over a creature which crouched on the floor, held
by a chain and staple driven into the wall. The

(02:12:28):
legs of the thing were bent and canost the arms
hung apelike with simeon looseness from the wasted body. The
face was the face of an old old man, wrinkled
with agency, but with a fly coming leaving behind the
roomy eyes, a thing of horror, a thing a.

Speaker 13 (02:12:58):
Bullet.

Speaker 17 (02:13:00):
Most of persons.

Speaker 13 (02:13:03):
That that Yoo.

Speaker 7 (02:13:29):
Jimmy and Naomi Clinton sat impatiently in their motor car,
a long low Invictor. They were late for lunch. A
block of traffic in the totten Court Road was exasperating.
Their splendid motor car was overheating. Nineteen thirty two. Motor
cars did tend to do things right overheat, even in December.

Speaker 54 (02:13:52):
In nineteen thirty two. It was Naomi who saw the
creature first. It was for Heaven's Bake, just in fight.

Speaker 18 (02:14:10):
From the showed Olympia.

Speaker 7 (02:14:11):
Perhaps he looked at the grotesque figure ambling along the pavement,
adjusting Lunshire crowds, giving it as wider berth as.

Speaker 18 (02:14:19):
The pavement of it.

Speaker 9 (02:14:21):
You said, it's the sift like that and to loose.

Speaker 7 (02:14:25):
I don't know, so we're going to be terribly late, darling.
And then the traffic block broke and the invictor slid forward.
Naomi turned to look at the bizarre like figure alone
in the crowd, an outcast.

Speaker 18 (02:14:43):
Forever from its fellow creatures. She thought, how terrible it was,
but it would never know human relationships at best, only
pity and commiseration, or laughter and curiosity. In consequently, she
thought of the murder, still unsolved, that we're.

Speaker 22 (02:15:08):
Silly, you say, the fine the Wimbledon murderer.

Speaker 7 (02:15:11):
And he got off scot free, and no one knows
what happened to him. Probably found it difficult to get
a job there. But apart from that he got off
scott three is look when we get there, were very late.

Speaker 18 (02:15:23):
Don't take so long for your place. Their life went
on and Yellow stumbling down the Tottenham Court Road did

(02:15:45):
not really understand the looks of the parts. By Yellow
stumbling down the Tottenham Court Road, he did not really
understand anything anymore. Beyond Midnight is presented every Friday night

(02:16:26):
at half past nine by Biotechs, the New Soap and
Free Washed Poduct. The program is adapted for broadcasting and
produced by Michael McKay.

Speaker 23 (02:17:15):
Mind Welcome to a half hour of mind Works, short
stories from the worlds of speculative fiction. This is Michael

(02:17:49):
Hanson with a story, this time from the best of Amazing,
selected by Joseph Ross. It's a story that originally appeared
in Amazing magazine in nineteen twenty eighth. It's written by
Jack Williamson and the title is The Metal Man. The

(02:18:09):
Metal Man stands in the dark, dusty corner of the
Tyburn College Museum. Just who is responsible for the figure
being moved there or why it was done?

Speaker 3 (02:18:20):
I do not know.

Speaker 23 (02:18:22):
To the casual eye, it looks to be merely an
ordinary life size statue. The visitor who gives it a
closer view marvels at the minute perfection of the detail
of hair and skin. At the silent tragedy in the
set determined expression and poise, and at the remarkable greenish
cast of the metal of which it is composed, but

(02:18:45):
most of all at the peculiar mark upon the chest.
It's a six sided blot of deep crimson hue, the
surface oddly granular and strange wavering lines radiating from it,
lines of a light shade of red. Of course, it
is generally known that the metal Man was once Professor

(02:19:07):
Thomas Kelvin of the Geology Department. There are current many
garbled and inaccurate accounts of the weird disaster that befell him.
I believe I am the only one to whom he
entrusted his story, and it is to put these fantastic
tales at rest that I have decided to publish the

(02:19:29):
narrative that Professor Kelvin sent me. For some years he
had been spending his summer vacations along the Pacific coast
of Mexico prospecting for radium. It was three months since
he had returned from his last expedition. Evidently he had
been successful beyond his wildest dreams. He did not come

(02:19:53):
to Tyburn, but we heard stories of his selling millions
of dollars worth of salts of radium, and giving as
much more to institutions employing radium treatment. And it was
said that he was sick of a strange disorder that
defied the world's best specialists, and that he was pouring
out his millions in the establishment of scholarships and endowments

(02:20:14):
as if he expected to die soon. One cold stormy day,
when the sea was running high on the unprotected coast
which the cottage overlooks, I saw a sail out to
the north. It rapidly drew nearer until I could tell
that it was a small sailing schooner with auxiliary power.

(02:20:36):
When the boat touched, four men sprang out and rushed
it up higher on the sand. As a fifth tall
man rose in the stern. The four picked up a
great chest and started up in my direction. The fifth
person followed leisurely, silently, and without invitation. The men brought
the chest up the beach into my yard and set

(02:20:58):
it down in front of the door. The fifth man,
a hard faced Yankee skipper, walked up to me and said,
I'm Captain mc andrew's. I was glad to meet the captain,
but wondered if there was some mistake He said no,
not at all. The man in that chest was transferred

(02:21:20):
to my ship from the liner Plutonia three days ago.
He has paid me for my services, and I believe
his instructions have been carried out. Good day, sir. He
turned on his heel and started away a man in
the chest.

Speaker 3 (02:21:38):
Well.

Speaker 23 (02:21:38):
He walked on unheeding, and the seamen followed. I stood
and watched them walk down to the boat and row
back to the schooner. I gazed at its sails until
they were lost against the dull blue of the clouds. Frankly,
I feared to open the chest. At last I nerved
myself to do it. It was unlocked. I threw back

(02:22:00):
the lid, and, with a shock of uncontrollable horror that
left me half sick four hours, I saw in it
stark naked, with a strange crimson mark, standing lividly out
from the pale green of the breast, the metal man,
just as you may see him in the museum. Of course,
I knew at once that it was Calvin. For a

(02:22:22):
long time I bent trembling and staring at him. Then
I saw an old canteen, purple stained, lying by the
head of the figure, and under it a sheaf of manuscript.
I got the ladder out, walked with shaken steps to
the easy chair in the house and read this story.

(02:22:45):
Dear Russell, you are my best, my only intimate friend.
I've arranged to have my body and the story brought
to you. I just drank the last of the wonderful
purple liquid that has kept me alive since I came back,
and I have spent time to finish it. This necessarily
brief account of my adventure, but my affairs are in order,
and I die in peace. I had myself transferred to

(02:23:08):
the schooner to day in order to reach you as
soon as could be and to avoid possible complications. I
trust Captain mc andrew's When I left France, I hope
to see you before the end, but fate ruled otherwise.
You know that the goal of my expedition was the
headwaters of al Rio de la Sandre, the River of Blood.
It's a small stream whose strangely red waters flow into

(02:23:30):
the Pacific. On my trip last year, I had discovered
that its waters were powerfully radioactive. Water has the power
of absorbing radium emanations and emitting them in turn, and
I hope to find radium bearing minerals in the bed
of the upper river. Twenty five miles above the mouth.
The river merges from the cordilleras. There are a few

(02:23:51):
miles of rapids, and back of them the river plunges
down a magnificent waterfall. No exploring party had ever been
back of the falls. I had hired an Indian guide
and made a mule back journey to their foot. At
once I saw the futility of attempting to climb the
precipitous escarpment. But the water there was even more powerfully
radioactive than at the mouth. There was nothing to do

(02:24:14):
but return. This summer I bought a small monoplane. Thought
it was comparatively slow in speed, enable to spend only
six hours aloft. Its light weight and the small area
needed for landing made it the only machine suitable for
use in so rough a country. The steamer left me
again in the dock the little town of Vakamrena with

(02:24:35):
my stack of crates and gasoline tins. I secured the
use of an abandoned shed for a hangar. I set
about assembling the plane, and in a fortnight I had
completed the task. Then one morning I started the engine
and made a trial flight. It flew smoothly, and in
the afternoon I refilled the tanks and set off for
the Rio de Lasungre. The stream looked like a red

(02:24:58):
snake crawling out see there was something serpentine in its aspect.
Flying high, I followed it above the falls and into
a region of towering mountain peaks. The river disappeared beneath
the mountain. For a moment I thought of landing, and
then it occurred to me that it flowed subterraneously for
only a few miles and would reappear farther inland. I

(02:25:20):
soared over the cliffs and came over the crater, a
great pool of green fire. It was fully ten miles
across to the black ramparts on the farther side. The
surface of the green was so smooth that at first
I thought it was a lake, and then I knew
that it must be a pool of heavy gas. In

(02:25:41):
the glory of the evening sun, the snow capped summits
about where brilliant argent crowns dyed with crimson, tinged with
purple and gold, tinted with strange and incredibly beautiful hues.
Amid this wild scenery, Nature had placed her greatest treasure.
I knew that in the crater I would find the

(02:26:01):
radium I sought. I circled about the place, wrapt in wonder.
As the sun sank lower, A light silver mist gathered
on the peaks, half veiling their wonders, and flowed toward
the crater. It seemed drawn with a strange attraction. And
then the center of the green lake rose in a
shining peak. It flowed up into a great hill of

(02:26:24):
emerald fire. Something was rising in the green, carrying it up.
Then the vapor flowed back, revealing a strange object, still
veiled faintly by the green and silver clouds. It was
a gigantic sphere of deep red, marked with four huge
oval spots of dull black. Its surface was smooth, metallic,

(02:26:47):
and thickly studded with great spikes that seemed of yellow fire.
It was a machine inconceivably great in size. It spun
slowly as it rose on a vertical axis, moving with
a deliberate, purposeful motion. It came up to my own level, paused,
and seemed to spin faster, and the silver mist was

(02:27:09):
drawn to the yellow points, condensing curdling, until the whole
globe was a ball of lambent argent. For a moment
it hung unbelievably glorious in the light of the setting sun.
Then it sank ever faster until it dropped like a
plummet into the sea of green. And with its fall,

(02:27:30):
a sinister darkness descended upon the desolate wilderness of the peaks,
and I was seized by a fear that had been
deadened by amazement, and realized that I had scant time
to reach Vakamrena before complete darkness fell. Immediately I put
the plane about in the direction of the town. According
to my recollections, I had at the time no very

(02:27:50):
definite idea of what it was I had seen, or
whether the weird exhibition had been caused by human or
natural agencies. I remember thinking, in such enormous quantities as
undoubtedly the crater contained it, radium might possess qualities unnoticed
in small amounts, or again, that there might be present
radioactive minerals at present unknown. It occurred to me also

(02:28:14):
that perhaps some other scientists had already discovered the deposits,
and that what I had witnessed had been the trial
of an airship in which radium was utilized as a propellant.
And then I noticed that a pale, bluish luminosity was
gathering about the cowl of the cockpit, and at the
moment I saw that the whole machine, and even my
own person was covered with it. It was somewhat like

(02:28:36):
Saint Elmo's fire, except that it covered all surfaces indiscriminately,
instead of being restricted to sharp points. All at once
I connected the phenomenon with the thing I had seen.
I felt no physical discomfort, and the motor continued to run.
But as the blue radiance continued to increase, I observed
that my body felt heavier, and that the machine was

(02:28:57):
being drawn downward. My mind was flooded with wonder and terror.
I thought to retain sufficient self possession to fly the ship.
My arms were soon so heavy that I could hold
them upon the controls only with difficulty, and I felt
a slight dizziness. Do no doubt to the bloods being
drawn from my head. When I recovered, was already almost

(02:29:22):
upon the green. Somehow my gravitation had been increased, and
I was being drawn into the pit. It was possible
to keep the plane under control only by diving and
keeping at a high speed, I plunged into the green pool.
The gas was not suffocating as I had anticipated. In fact,
I noticed no change in the atmosphere, say that my

(02:29:45):
vision was limited to a few yards around the wings
of the plane were still distinctly discernible. Suddenly, a smooth,
sandy plain was murkily revealed below, and I was able
to level the ship oft enough for safe landing. As
I came to a stop, I saw that the sand
was slightly luminous, as the green mist seemed to be

(02:30:06):
in red. For a time, I was confined to the
ship by my own weight, but I noticed that the
blue was slowly dissipating and with it its effect. As
soon as I was able, I clambered over the side
of the cockpit, carrying my canteen and automatic, which were
themselves immensely heavy. I was unable to stand erect, but

(02:30:29):
crawled off over the coarse, shining red sand, stopping at
frequent intervals to lie flat and rest. I was in
deathly fear of the force that had brought me down.
I was sure it had been directed by intelligence. The
floor was so smooth and level that I supposed it
to be the bottom of an ancient lake. Sometimes I
looked fearfully black, and when I was one hundred yards away,

(02:30:52):
I saw a score of lights floating through the green
toward the airplane. In the luminous murk, each bright point
was surrounded by a disk of paler blue. I didn't move,
but lay and watched them float to the plane and
wheel about it with a slow, heavy motion. Closer and
lower they came, until they reached the ground about it.

(02:31:14):
The mists was so thick as to obscure the details
of the scene. When I went to resume my flight,
I found my excess of gravity almost entirely gone. Though
I went on hands and knees for another hundred yards
to escape possible observation. When I got to my feet,
the plane was lost to view. I walked on for

(02:31:35):
perhaps a quarter of a mile and suddenly realized that
my sense of direction was altogether gone. I was completely
lost in the strange world, inhabited by beings whose nature
and disposition I could not even guess. And then I
realized that it was the height of folly to walk
about when any step might precipitate me into a danger

(02:31:57):
of which I could know nothing. Peculiar, unpleasant feeling of
helpless fear. The luminous red sand and the shining green
of the air lay about in all directions, unbroken by
a single solid object. There was no life, no sound,
no motion. The air hung heavy and stagnant. The flat

(02:32:19):
sand was like the surface of a dead and desolate sea.
I felt the panic of utter isolation from humanity. The
mist seemed to come closer, the strange evil in it
seemed to grow more alert. Suddenly, a darting light passed
meteor like through the green above, and in my alarm,
I ran a few blundering steps. My foot struck a

(02:32:42):
light object that rang like metal. It was a metal bird,
an eagle formed of metal, with the wings outspread, the
talons gripping, the first beak set open. The color was white,
tinged with green. It weighed no more than the living bird.
At first I thought it was a cast muddle, and
then I saw that each feather was complete and flexible.

(02:33:06):
Somehow our real eagle had been turned to metal. It
seemed incredible, Yet here was the concrete proof. I wondered
if the radium deposits, which I had already used to
explain so much might account for this too. I was
struck with fright for my own safety. Might I be

(02:33:26):
changed to metal? I looked to see if there were
other metal things about, and I found them in abundance.
I made a fearful examination of myself into my unutterable horror.
I perceived that the tips of my finger nails and
the fine hairs upon my hands were already changed to
light green metal. A shack unnerved me completely. You cannot

(02:33:52):
conceive my horror, I screamed aloud, in agony of soul,
careless of the terrible folds the sound might attract, I
ran off wildly. I was blind, unreasoning. I felt no
fatigue as I ran, only stark terror. Bright swift, moving
lights past above in the green, but I heated them.

(02:34:14):
Not Suddenly I came upon the great sphere that I
had seen above. It rested motionless in a cradle of
black metal. The yellow fire was gone from the spikes,
but the red surface, shone with metallic luster. Lights floated
about it. They made little bright spots in the green,
like lanterns swinging in a fog. I turned and ran again, desperately.

(02:34:40):
I took no note of direction, nor of the passage
of time. Then I came upon a bank of violet vegetation,
wist deep. It was grass like, with thick, narrow leaves,
dotted with clusters of small pink blooms and little purple berries.
In a score of yards beyond, I saw a sluggish
red stream, a real de la Sandre.

Speaker 3 (02:35:03):
Here was cover.

Speaker 23 (02:35:03):
At last, I threw myself down in the violet growth
and lay sobbing with fatigue and terror for a long time.
I was unable to stir or think. When I looked
again at my finger nails, the tips of metal had
doubled in width. I tried to control my agitation and

(02:35:24):
to think. Possibly the lights, whatever they were, would sleep
by day. If I could find the plane or scale
the walls, I might escape the fearful action of the
radioactive minerals. Before it was too late, I realized that
I was hungry. I plucked off a few of the
purple berries and tasted them. They had a salty, metallic taste,

(02:35:45):
and I thought they would be valueless for food. But
in pulling them, I had inadvertently squeezed the juice from
one upon my fingers, and when I wiped it off,
I saw to my amazement in my inexpressible joy that
the rim of the metal was gone from the finger
nails that had touched. I had discovered a means of safety.

(02:36:07):
I supposed the plants were able to exist there only
because they had been so developed and had produced compounds
counteracting the metal forming emanations. Probably their evolution began when
the action was far weaker than now, and only those
able to withstand the more intense radiations had survived. I
lost no time in eating a cluster of the berries,

(02:36:29):
and then I poured the water from my canteen and
filled it with their juice. I have analyzed the fluid
and corresponds in some ways with the standard formulas for
the neutralization of radium burns, and doubtless it saved me
from the terrible burns caused by the action of ordinary radium.
I had walked about two and a half miles along

(02:36:50):
by the violet plants when I came to an abrupt cliff.
I walked off north around the rim. I had no
very definite plan except to try to find a way
out over the cliffs. I went on until it must
have been noon, though my watch had stopped. Occasionally I
passed metal trees that had fallen from above, and once

(02:37:11):
the metallic body of a bear that had slipped off
a path above some time in ages past. And there
were metal birds without number. They must have been accumulating
through geological ages all along. Up to this, the cliff
had risen perpendicularly to the limit of my vision. But
now I saw a wide ledge with a sloping wall

(02:37:32):
beyond it, dimly visible above. In an hour I came
upon it a slender cylinder of black metal that towered
a hundred feet into the greenish mist, and carried at
the top a great mushroom shaped orange flame. It was
a strange thing. The fire was as big as a balloon,

(02:37:52):
bright and steady. It looked much like a great jet
of combustible gas burning as it streamed from the cylinder.
I stood petrified in amazement, wondering vaguely at the what
and why of the thing. And then I saw more
of them, back of a dimly scores of them, a
whole forest of flames. I crouched back against the cliff

(02:38:18):
while I considered. Here, I supposed was the city of
the lights. They were sleeping now, But still I had
not the courage to enter. According to my calculations, I
had gone about fifteen miles. Then I must be, I thought,
almost diametrically opposite the place where the Crimson River flowed
under the wall, with half of the rim unexplored. If

(02:38:41):
I wished to continue my journey, I must go around
the city, if I may call it that. So I
left the wall. Soon it was lost to view. I
tried to keep in view the orange flames, but abruptly
they were gone in the midst. I walked more to
the left, but I came upon nothing but the wastes

(02:39:01):
of red sand, with a green murk above. On and
on I wandered. Then the sand and the air grew
slowly brighter, and I knew that night had fallen. The
lights were soon passing to and fro. I had seen
lights the night before, but they traveled high and fast. These,

(02:39:22):
on the other hand, sailed low, and I felt that
they were searching. I knew that they were hunting for me.
I lay down in a little hollow in the sand,
vague mist veil. Points of light came near and passed,
and then one stopped directly overhead. It descended, and the

(02:39:43):
circle of radiance grew about it. I knew that it
was useless to run, and I could not have done
so for my terror. Down and down it came, and
then I saw its form. The thing was of a glittering,
blazing crystal, a great, sick sided upright prism of red,

(02:40:05):
a dozen feet in length. It was with a six
pointed structure, like a snowflake about the center, deep blue,
with pointed blue flanges running from the points of the
star to angles of the prism. Soft scarlet fire flowed
from the points and on each face of the prism.
Above and below the star was a purple cone that

(02:40:27):
must have been an eye. Strange pulsating lights flickered in
the crystal. It was alive with light. It fell straight
toward me. It was a terribly, utterly alien form of life.
It was not human, not animal, not even life as
we know it at all, And yet it had intelligence,

(02:40:50):
but it was strange and foreign and devoid of feeling.
It dropped until the gleaming lower point of the prism
was not a yard above me. Then the scarlet fire
reached out caressingly flowed over my body. My weight grew less.
I was lifted held against the point. You may see

(02:41:12):
its mark upon my chest the thing floated into the air,
carrying me. Soon others were drifting about. I was overcome
with nausea. The scene grew black, and I knew no more.
I awoke floating free in a brilliant orange light. I
touched no solid object. I writhed, kicked about at nothingness.

(02:41:39):
I could not move or turn over because I could
get a hold on nothing. My memory of the last
two days seemed a nightmare. I had the sensation that
a great space of time had passed. There was a
curious stiffness in my side. I examined it and found
a red scar. I believe those crystal things had cut

(02:42:02):
into me, and I found with a horror. You cannot
understand the mark upon my chest. Presently it dawned upon
me that I was floating, devoid of gravity, and free
as an object in space, in the orange flame at
the top of one of the black cylinders. The crystals

(02:42:26):
knew the secret of gravity. It was vital toothan. And
peering about, I discerned with infinite repulsion a great flashing
body a few yards away, But its inner lights were dead.
So I knew that it was day and that the
strange beings were sleeping if I was ever to escape,

(02:42:48):
this was the opportunity. I kicked, clawed desperately at the
air all in vain. I did not move an inch.
If they had chained me, I could not have been
more secure. I drew my automatic, resolved on a desperate measure.
They would not find me again alive, and as I

(02:43:08):
had it in my hand, an idea came into my mind.
I pointed the gun to the side and fired six
rapid shots, and the recoil of each explosion sent me
drifting faster, rocket wise toward the edge. I shot out
into the green. Had my gravity been suddenly restored, I

(02:43:28):
might have been killed by the fall. But I descended
slowly and felt a curious lightness for several minutes, and
to my surprise, when I struck the ground, the airplane
was right before me. They had drawn it up by
the base of the tower. It seemed to be intact.
I started the engine with nervous haste and sprang into

(02:43:49):
the cockpit. As I started, another black tower loomed up
abruptly before me, but I veered around it and took
off in safety. Soon I had landed again Vacamarina. I
had had enough of radium mining on the beach where
I landed. I sold the plain to a rancher at
his own price, and told him to reserve a place

(02:44:12):
for me on the next steamer, due in three days.
Then I went to the town single inn eighth and
went to bed at noon the next day. When I
got up, I found my shoes and the pockets of
my clothes contained a good bit of the red sand
from the crater that had been collected as I crawled
about in flight from the crystal lights. I saved some

(02:44:35):
of it for curiosity alone, but when I analyzed it,
I found it a radium compound so rich that the
little handful was worth millions of dollars. But the fortune
was of little value, for despite frequent doses of the
fluid from my canteen and the best medical aid, I

(02:44:58):
have suffered continually, and now that my canteen is empty,
I am doomed. Your friend, Thomas Kelvin, if that's the
manuscript ends. If you doubt the truth of this letter,

(02:45:21):
you may see The Metal Man in the Tyburn Museum.
That story is titled The Metal Man, written by Jack Williamson.
It first appeared in Amazing magazine during nineteen twenty eight.
It reappears in the collection edited by Joseph Ross called

(02:45:44):
The Best of Amazing. This is Michael Hanson speaking technical
production for Mindwebbs by Leslie Hilsenhoff. Mindwebbs originates at w
h A Radio in Madison, a service of University of
Wisconsin Extension.

Speaker 55 (02:46:11):
Ladies and gentlemen, a five thousand dollar reward will be
offered each week on the program immediately following this announcement.

Speaker 56 (02:46:25):
You out there, you who think you've committed the perfect crime,
the perfect murder, that there are no clues, no witnesses,
that your identity is unknown.

Speaker 3 (02:46:36):
Listen, somebody knows.

Speaker 56 (02:46:39):
Yes, you, wherever you may be, no matter where you're
hiding somewhere, Sometimes someone listening to this program is going
to bring you to justice.

Speaker 3 (02:46:48):
Yes, somebody knows.

Speaker 55 (02:47:05):
The Columbia Broadcasting System presents Somebody Knows, a program conceived
in the public interest, dedicated to aiding the forces of
law and order in the solution of this nation's unsolved crimes.

Speaker 56 (02:47:27):
Ladies and gentlemen, We're going to recreate for you tonight
all the known facts in an actual unsolved murder. Somewhere
someone among who's had contact with the killer or killers,
someone whose identity need never be known, has seen evidence
or possesses information that can lead to the solution of
this crime.

Speaker 55 (02:47:45):
In the public interest. The Columbia Broadcasting System offers five
thousand dollars reward or evidence or information leading to the
arrest and conviction of the killer in this unsolved murder.

Speaker 56 (02:47:56):
We ask you, then, please listen carefully, for you may
be the one to win this reward.

Speaker 18 (02:48:01):
Somebody knows it may be you.

Speaker 56 (02:48:09):
And now we open the files on one of this
nation's unsolved murders. Its homicide file number A one Dash
nineteen forty seven of the Kansas City, Missouri Police Department,
the unsolved murder of Paula Kohler u Banks. It is

(02:48:35):
approximately ten fifteen in the morning, Thursday, June twenty sixth
nineteen forty seven. Several men are walking along a Carda
and Menora Hospital in Kansas City, Missouri.

Speaker 6 (02:48:48):
At what time has he admitted to the hospital?

Speaker 57 (02:48:49):
Doctor I would say it was at approximately seven thirty
mister Kimbrell. He was in need of immediate medical attention,
which we gave him. Then, because of the nature of
his injuries, we felt the police should be notified.

Speaker 1 (02:49:02):
What about those injuries.

Speaker 57 (02:49:05):
Well, there are two deep lacerations on the right side
of the head, and while we're not sure you had
a depressed skull, fracture, seems indicated. I see here's his
room now. Just about five minutes mister kimbroke this condition.
I understand that, mister Mendoza. Mister, there are some men

(02:49:32):
here who'd like to ask you a few questions.

Speaker 58 (02:49:35):
Men questions, Yes, mister Mendoza, I'm James Kimberrill, prosecutor of
Jackson County. These men and mister Randall, my assistant, and
detectives gives their lives.

Speaker 35 (02:49:47):
What is it.

Speaker 42 (02:49:49):
Is it about?

Speaker 6 (02:49:51):
Follow you banks? It is, mister Mendoza.

Speaker 56 (02:49:53):
Have you any statement for us?

Speaker 18 (02:49:57):
I will tell you everything I know, mister Kimberle.

Speaker 56 (02:50:05):
The statement of the injured man, given on the morning
of June twenty sixth, nineteen forty seven, at Monora Hospital,
later in more detail to Lieutenant Charles Welch at the
Homicide Bureau in Kansas City, Missouri, contains in part the
following information.

Speaker 59 (02:50:20):
My name is Hector Mendoza. I am twenty two years
of age, single and live at the YMCA. I came
to Kansas City about one month ago from Mexico City
to obtain employment and learned the American way of tool designing.
While staying at the YMCA, I had my meals at
the Mayflower Grille four or three and a half East

(02:50:41):
tenth Street. While eating at this cafe, I became acquainted
with a waitress named Paula Eubanks. I talked and joked
with her on many occasions. On Wednesday, June twenty fifth,
I asked her for a date. We made arrangements to
meet each other about eight thirty in m.

Speaker 56 (02:51:02):
On Wednesday evening, June twenty fifth, nineteen forty seven, Hector
Mendoza has his first date with Paula U.

Speaker 18 (02:51:07):
Banks.

Speaker 56 (02:51:09):
They visit several cafes and taverns, having a gay, pleasant evening, laughing,
dancing and joking. It's about three thirty am on the
morning of Thursday, June twenty sixth, nineteen forty seven, that
they returned to the Fairfield Hotel at nine twenty three
Home Street, where Missus Eubanks has her apartment.

Speaker 35 (02:51:28):
Would you like to sit out here on the porch talk.

Speaker 18 (02:51:31):
For a while, you know I would, Polly, it is
not too late for you.

Speaker 9 (02:51:35):
Oh no, now everything's been so nice here.

Speaker 35 (02:51:41):
We can sit down here.

Speaker 46 (02:51:42):
Yes, this will be very nice.

Speaker 40 (02:51:45):
Oh, it's been such a wonderful night, a very good dancing.

Speaker 18 (02:51:49):
You know, how could I be anything else when it
was you with whom I was that?

Speaker 22 (02:51:55):
There you go again, Santa's nice things. You know I'm
going to miss you when you go to New York.

Speaker 6 (02:52:00):
Well, you know I mean them.

Speaker 56 (02:52:01):
As Paulu Banks and Hector Mendoza sit on the front
porch of the hotel talking, the heavy set man is
walking south on Home Street. As he reaches a point
opposite the hotel, he turns in, moves up the steps
and onto the porch.

Speaker 59 (02:52:17):
That is why you meant so much to me when
you you made me feel so much at home here
in Kansas City.

Speaker 12 (02:52:23):
You're so warm and gay and laughing.

Speaker 6 (02:52:26):
Mute.

Speaker 3 (02:52:27):
All right too too.

Speaker 42 (02:52:29):
Get up.

Speaker 56 (02:52:30):
The man is standing beside them. The blue steel automatic
in his hand is plainly visible.

Speaker 60 (02:52:36):
I said, get up, Do as he says, get up,
put your hands up, all right.

Speaker 42 (02:52:48):
I know you you're new in town.

Speaker 9 (02:52:51):
Yes, I I've been here about six months.

Speaker 6 (02:52:54):
Yeah, look, my friend, why don't stand.

Speaker 60 (02:52:57):
Still if you're gonna rob us take what you want?

Speaker 42 (02:53:07):
I know you fella what's your name?

Speaker 6 (02:53:10):
Hector Mendoza.

Speaker 42 (02:53:12):
Yeah, I know your fella. What's your name, Hector?

Speaker 1 (02:53:24):
Hector mend.

Speaker 56 (02:53:34):
Mendoza remains unconscious for several minutes. When he finally recovers,
he staggers weakly to his feet. All of you, banks
and the man are gone. Mendoza walks down the steps
and down to the sidewalk. There some I'm distant south
on Holme Street. He sees them enter an old coupe,
then the car drives off. It is now four fifteen

(02:54:07):
a m. The morning of Thursday June twenty sixth, nineteen
forty seven. An old coupe is heading east on Independence
Avenue near the six thousand block. It approaches an old,
abandoned city dump. Then it slows and turns abruptly into
the driveway leading into the dump. It is now approximately

(02:54:38):
four thirty a m. The morning of Thursday June twenty sixth,
nineteen forty seven. In a one room tin shack about
ten feet square, located in the city dump, Clarence Bayliss,
former caretaker for the city, is sleeping.

Speaker 3 (02:54:53):
Then what is it?

Speaker 6 (02:55:02):
What? Oh?

Speaker 42 (02:55:10):
Who's there? What are you doing at that door?

Speaker 56 (02:55:18):
Clarence Baylis raises himself up in bed. There's one window
in the tin shack. It's about two feet square and
located in the upper half of the door. Chest and
shoulders of a heavy set man can be seen dimly
against the darkness through that window.

Speaker 42 (02:55:31):
I said, what are you doing there?

Speaker 34 (02:55:33):
Keep quiet if you know what's good for you. I
got a gun.

Speaker 42 (02:55:36):
Huh gun?

Speaker 34 (02:55:38):
You heard me, a gun. Take a look at it
through the glass, So keep quiet.

Speaker 42 (02:55:45):
What what are you doing with the door?

Speaker 34 (02:55:48):
I'm locking your end? Okay, I remember what I said.
Keep quiet or I'll be back for you.

Speaker 56 (02:55:59):
Clarence Bai This remains in bed, quietly listening. Then after
a while he hears the dim murmur of voices from
somewhere outside the north side of the shack. The low,
apparently friendly conversation continues for a short while.

Speaker 48 (02:56:16):
Then honey, honey, honey, don't kill me.

Speaker 18 (02:56:27):
Honey, don't kill me.

Speaker 34 (02:56:29):
I'm I was fantasyep.

Speaker 3 (02:56:35):
Parents.

Speaker 56 (02:56:35):
Bayliss continues to listen from inside the tin shack. He
hears a faint sound as though a scuffle is taking
place somewhere. It seems to be coming from an old
shed some five.

Speaker 61 (02:56:45):
Feet away from Baylis's shack. Lasts a short while and
then stops, Well.

Speaker 35 (02:57:02):
What is it?

Speaker 42 (02:57:03):
What do you want now?

Speaker 34 (02:57:04):
I just wanted to see if you're still there minding
your own business.

Speaker 42 (02:57:07):
Yeah, I'm here.

Speaker 34 (02:57:10):
Then just stay there. I still got that gun, see it,
So stay there and keep on minding your business.

Speaker 56 (02:57:41):
It is now four forty five am the morning of Thursday,
June twenty sixth, nineteen forty seven. The truck is driving
eastward along Independence Avenue in Kansas City, Missouri. As the
truck crosses the tracks of the Kansas City Terminal Railway,
it approaches the old abandoned city dump, two men suddenly
run out from an all night fruit stand across the street.

(02:58:02):
They begin waving frantically at the truck, trying to flag
it down.

Speaker 11 (02:58:06):
Hey, hey, what's a big idea out there? You want
to get killed us something?

Speaker 1 (02:58:13):
That's the idea? Just belie something happened.

Speaker 11 (02:58:15):
Go to the police station down the street and tell
him the police station, what's wrong? What happened?

Speaker 1 (02:58:20):
I don't know for sure, but there was a man
and a woman.

Speaker 62 (02:58:22):
He's not or something. He's got a gun. I seen
him lean leave, but not her. She's disappeared. And then
the noise.

Speaker 11 (02:58:29):
They were like maybe okay, okay, I'll get the cops
for you.

Speaker 55 (02:58:44):
In just a moment. We'll continue with homicide file number
A one DASH nineteen forty seven of the Kansas City,
Missouri Police Department, the unsolved murder of Paula coler U Banks.
Here's a message for young women who are looking for
an interesting and worthwhile career in order to meet the
constantly rising demand for nurses. The nursing profession offers untold

(02:59:08):
opportunities for ambitious, healthy girls who are at least high
school graduates. From the time you become a student nurse,
you have a chance to work with fine doctors and
scientists and to help your fellow men. Inquire at your
nearest hospital about how you can become a student nurse.

(02:59:29):
Now back to somebody knows and a true case history
of an actual murder.

Speaker 56 (02:59:35):
Now, ladies and gentlemen, will continue with the rest of
the factual information concerning file number A one DASH nineteen
forty seven in the records of the Kansas City, Missouri
Police Department, the unsolved murder of missus Paula Kohler Eubanks.

Speaker 55 (02:59:49):
Remember, five thousand dollars will be paid for information leading
to the arrest and conviction of her killer.

Speaker 56 (03:00:06):
It's approximately four fifty am the morning of Thursday, June
twenty sixth, nineteen forty seven. In response to the truck
driver's message, Officers Anderson and the quarry have arrived at
the city dump from the Sheffield station in Police card
three h two. Clarence Baylis is leading them back to
the shed where the events of the past half hour
had taken place.

Speaker 42 (03:00:26):
And by the time I got out, this guy was
gone driving away.

Speaker 1 (03:00:29):
Didn't get the license number. No, like I say, he
was already driving away. But I hear these funny noises
in the shed next to mine.

Speaker 42 (03:00:35):
Here here, this one. They were inside. The noises came
from here too.

Speaker 17 (03:00:40):
Okay, we'll look around, come.

Speaker 1 (03:00:42):
On, let's see week nothing here but a lot of joke.

Speaker 63 (03:00:50):
Baylis.

Speaker 1 (03:00:52):
Sure they were inside here?

Speaker 42 (03:00:53):
Yeah, yeah, I'm sure that's where the noises came from.

Speaker 1 (03:00:55):
Well, there's nobody in here.

Speaker 18 (03:00:57):
Now.

Speaker 1 (03:00:57):
You're sure that lady didn't leave with it?

Speaker 42 (03:00:59):
Oh, I tell you she did.

Speaker 6 (03:01:00):
I seen through my window.

Speaker 42 (03:01:02):
She must be around here, somewhere. She must be.

Speaker 56 (03:01:08):
For over ten minutes, Officers Anderson and mccrary's searched that
junken debris filled shed their flashlights, affording the only illumination.

Speaker 6 (03:01:17):
And then here, give me a hand with this.

Speaker 56 (03:01:24):
They start pulling apart a pile of junk at one
side of the shed. They removed several tin buckets, a
large sheet of plywood some eight feet square. Finally, an
old automobile seat cushion.

Speaker 2 (03:01:39):
HM.

Speaker 34 (03:01:40):
That's like Baylis was right.

Speaker 6 (03:01:42):
The lady didn't leave this shed.

Speaker 56 (03:01:50):
At that same moment, at police headquarters, two detectives are
working the midnight to eight am Homicide Bureau shift. Their detectives,
Wayne Gibson and Island Milliner.

Speaker 64 (03:02:01):
Talk about your quiet nights.

Speaker 65 (03:02:03):
This was really dragged by nothing much happening, for a fact,
but you never know it.

Speaker 6 (03:02:10):
Kgpe Anderson Car three o two Hello, Kgpe.

Speaker 30 (03:02:16):
Car three oh two Kgpe.

Speaker 6 (03:02:20):
Dead woman font a dump at Independence Avenue in White
dead Well.

Speaker 57 (03:02:28):
A guy can't be right all the time.

Speaker 6 (03:02:30):
Let's go.

Speaker 56 (03:02:37):
Detectives Gibson and Miller leave immediately and in cruiser number
twenty two and go to the scene of the crime.
Their initial homicide report has given the Chief of Detectives,
Frank B. Collins, contains the following information.

Speaker 57 (03:02:50):
On arrival at Independence Avenue and White officers Anderson mcquarie
Car three or two directed this to an old shed
which is located on what used to be a city dump.
Lying on the floor, we found a victim. She was
lying face down. The face was bloody and spots of
blood were around the body and on the walls of
this shed. Lieutenant Welch was notified immediately, also the Prosecutor's office.

Speaker 56 (03:03:14):
Within a few minutes after his notification, Lieutenant Charles Welch,
head of Homicide, arrived at the scene and was fully
informed of the situation.

Speaker 64 (03:03:23):
What about the identification Gibson and none made as yet?
Lieutenant who's representing the Coroner's office?

Speaker 57 (03:03:29):
W Carner Jack Gibbs Yesten.

Speaker 30 (03:03:31):
As soon as you throw, lieutenant, I'll send the body
to the JP Shield funeral hawk.

Speaker 64 (03:03:35):
What about you kill Van?

Speaker 42 (03:03:37):
We're throwing the picture. The labman finished up.

Speaker 64 (03:03:39):
Two all right, then she can be removed.

Speaker 42 (03:03:42):
The despatcher was trying to get through to your lieutenant.
He thinks they are something for you about this.

Speaker 64 (03:03:46):
Thanks Miller, I'll take it to your cruiser. Hey GPE.
Lieutenant Welch KGPE.

Speaker 30 (03:04:00):
A Welsh PGP received a call from the Fairfield Hotel
at nine two three homes The managers report some large
spots of blood on the front porch, also a woman's
raincoat and black pocketbook on one.

Speaker 1 (03:04:13):
Of the chairs.

Speaker 30 (03:04:14):
They belonged to a Missus Paula U Banks, one of
their tenants. They've checked and say a room's empty, hasn't
been slept in all right.

Speaker 64 (03:04:22):
Dispatcher will check on it.

Speaker 56 (03:04:30):
At the Fairfield Hotel, the police talked to mister and
Missus Charles Loagsman, the managers. Then Missus Loachman is taken
to the funeral home. She identifies the victim of the
killing as Missus Paula Cohler U Banks. Meanwhile, doctor James Walker,

(03:04:51):
the coroner, has made a preliminary medical examination the findings.

Speaker 65 (03:04:58):
It would appear, without thorough autopsy, that Missus U Banks
died from strangulation. The bruises on the victims hands, face
and neck include those apparently inflicted by the killer while
strangling her to stop her screams. It is also apparent
that she was struck a number of times by blows
from some blunt instrument, probably a pistol. There is no
evidence of criminal assault.

Speaker 56 (03:05:18):
In Paulu Bank's black leather purse left behind on the
porch is a small book contains a number of names
and addresses. Among those names is that of Hector Mendoza,
with the call from the Menor hospital that he was
admitted in an injured condition. Mendoza's questioned and his statement taken.
In it, he gives the police a description of the

(03:05:39):
man who struck him and walked away with.

Speaker 6 (03:05:41):
Paul U Banks.

Speaker 56 (03:05:42):
The general pick up is immediately broadcast k.

Speaker 30 (03:05:46):
G P E all stations pick up for investigation of murder.
One white man aged twenty eight to thirty hike five
foot ten weight one hundred seventy to one hundred eighty,
dirty blonde, small mustache, heavy thick shoulders when last scene,
was wearing dark double breasted suit, dark felt hat a

(03:06:08):
g P.

Speaker 56 (03:06:16):
In an effort to find some possible motive for the
crime and a possible clue to the killer's identity, the
police make a thorough check of all Missus Eubanks's friends,
a thorough investigation into her past life. Missus Margaret Dallas
of nine two O Holme Street tells the police I.

Speaker 66 (03:06:32):
Used to work at the Mayflower Grill with Polly. Her
close friends always called her Polly. She was friendly, a
nice girl, and she had lots of admirers. I can't
think of any reason why anyone would want to to
kill her.

Speaker 56 (03:06:46):
Missus Anne Creamer of Overland Park, a sister of paul
U Banks, had this to report.

Speaker 67 (03:06:51):
Prolly was a wonderful girl. She she had some trouble
in her life. She had been divorced from her husband,
remarried to him, and separate. Begin She had a wonderful spirit.
She was just crazy about Nancy. That's Nancy Kay, her
little twenty month old adopted girl, kept her in a nursery,
and I just don't know what's going to happen to

(03:07:14):
Nancy Kay now.

Speaker 56 (03:07:23):
Then a strange and unusual development takes place in the case.
Missus Dora Anne Morrell of nine o eight Jefferson Street,
who'd worked as a waitress with Missus Eubanks at the
Mayflower Grill some two months before, pays a visit to
William H. Randall, Assistant Prosecutor of Jackson County.

Speaker 68 (03:07:41):
Polly called to me one day at the restaurant. She
had a pad of restaurant order blanks in her hand.
She wrote something on the back of one of those
sheets and gave it to me. She told me to
read them if anything ever.

Speaker 56 (03:07:52):
Happened to her here it is missus. Morrell hands over
the order blank. On the back of it, Paula U.
Banks had written a number of Bible reps diferences. The
references were Proverbs eight twelve, Revelations three twelve, Matthew eleven fourteen,
Matthew seventeen ten through fourteen, Mark nine thirteen. The prosecutor's

(03:08:24):
office makes a careful study of the verses designated on
the back of that order pad, then this statement is issued.

Speaker 69 (03:08:32):
The verses apparently were selected to be read in chronological
order by listing, since the fourteenth verse of the seventeenth
chapter of Matthew ends, there came to him a certain man,
kneeling down to him and saying, And the reference continues
with Mark nine thirteen, which reads, but I say unto

(03:08:54):
you that Elias is indeed come, and they have done
unto him whatsoever they listed as it is written of him.
The name Alias is frequent in the verses beginning with
Matthew eleven fourteen. In the seventeenth chapter of Matthew, the
name Alias occurs three times, including the twelfth verse, but

(03:09:17):
I say unto you that Elias has come already, and
they knew him not, but have done unto him whatsoever
they listed. Likewise shall the son of Man suffer of them?
In the next verse Matthew seventeen thirteen continues, the disciples
understood that he's spaken to them of John the Baptist.

(03:09:40):
Whatever Missus Pollio Banks may have had in mind when
she wrote those biblical references is not apparent to us.

Speaker 6 (03:09:46):
Not yet.

Speaker 56 (03:09:57):
Now listen, carefully, Please listen, all of wherever you may be.
We're going to give you a recapitulation of all the
pertinent facts in the unsolved murder of Paula Cohler U Banks.
Better make a note of them.

Speaker 55 (03:10:10):
And remember, by following the instructions we shall give you
in a moment, you may be the one to earn
a five thousand dollars reward.

Speaker 56 (03:10:18):
Now Here are the actual facts in the case. Missus
Paula Coher U Banks, twenty seven years of age, was
strangled and beaten to death in an abandoned city dump
an approximately six one hundred Independence Avenue in Kansas City, Missouri, the.

Speaker 55 (03:10:33):
Time approximately four forty a m. Thursday June twenty sixth,
nineteen forty seven.

Speaker 56 (03:10:41):
Now Here is a description of the man wanted for
investigation in the murder, as broadcast by the Kansas City,
Missouri Police Department.

Speaker 30 (03:10:48):
Please listen carefully, age twenty eight to thirty hike five
foot ten, wait, one hundred seventy to one hundred eighty,
dirty blonde, small mustache, heavy thick shoulders when last scene
was wearing dark double breasted suit, dark felt hat.

Speaker 56 (03:11:15):
Ladies and gentlemen, if any of you possesses information that
may have a bearing on the unsolved murder of Paula Coler,
you banks, and please don't send in guesses or hunches,
but only actual authentic information. Follow these instructions so that
your name and identity need never be made known unless
you wish. Now, please listen carefully.

Speaker 55 (03:11:36):
Write your information on a plain sheet of paper. Do
not sign your name. Instead sign it with six numbers,
any arrangement of any six numbers. Then tear off a
blank corner of that paper with a ragged edge. Write
the same six numbers on that corner, and keep it.
Mail the rest of the paper with the information to
somebody knows Hollywood, California. You need tell Noah and what

(03:12:00):
you have done.

Speaker 56 (03:12:01):
Mail your letter to somebody knows Hollywood, California. And if
the information you've supplied leads to the arrest and conviction
the killer of Paula Color, EU Banks will announce your
signature number on this program. Then, if you don't want
your name to be known, go to your lawyer or
your doctor, your priest, minister or rabbi and have him

(03:12:23):
present the torn corner of the paper to any CBS station.
In this way, you do not need to appear in person.

Speaker 55 (03:12:29):
If the torn corner matches the original paper containing the information,
the five thousand dollar reward will be yours.

Speaker 56 (03:12:36):
Remember you, wherever you are. You whose name need never
be known, may win a reward of five thousand dollars.

Speaker 55 (03:12:58):
Next week, at the same time, we'll present an true
case history of unsolved murder. It's homicide file number h
F one two three four to two from the records
of the Boston, Massachusetts Police Department, The unsolved murder of
Samuel I.

Speaker 17 (03:13:15):
Paris.

Speaker 56 (03:13:20):
You out there, you who have murdered in cold blood,
think you've gotten away with it. Listen, you cannot escape.
There is no perfect crime. Remember you are not unknown
somebody else.

Speaker 55 (03:13:57):
Tonight's case was written by Sidney Marsh from information in
the files of the Kansas City, Missouri Police Department. Research
was by Maurice zimm Music was composed and played by
Milton Charles. Somebody Knows is a James L. Safire production
in association with CBS by arrangement with the Chicago Sun Times,
and is based on a copyright owned by W. Wel finstad.

(03:14:20):
It was narrated and directed by Jack Johnstone. In order
to be eligible for the reward, letters containing actual, authentic
information leading to the arrest and conviction of the killer
or killers of Paula Cohler U Banks must be addressed
to Somebody Knows, Hollywood, California, and must be postmarked not
later than midnight August twenty third, nineteen fifty. Arrest of

(03:14:44):
the guilty person or persons must occur within ninety days
of that date, and conviction must be within one year
of tonight's broadcast. If more than one person gives the
information leading to conviction, our judges will divide the five
thousand dollars reward among them in proportion to the importance
the judges attached to the fact supplied, and in this
the decision of our judges will be final until next

(03:15:06):
Thursday at the same time. This is Frank Goss saying
good night and remember.

Speaker 1 (03:15:10):
Somebody knows Now.

Speaker 55 (03:15:13):
Stay tuned for Casey Crime Photographer, which follows immediately on
most of these same CBS stations. This is CBS where
you find Arthur Godfrey's daytime program every Monday through Friday
on the Columbia Broadcasting System.

Speaker 63 (03:15:42):
Mystery in the Air starring Peter Laurie, presented by Camels Cigarettes,
And is.

Speaker 70 (03:16:00):
Now my great pleasure to confer our academic degree with
honor on the most distinguished student of this class, Rodrik Raskolnikov.

Speaker 1 (03:16:08):
Step forward.

Speaker 71 (03:16:11):
In the history of our university.

Speaker 70 (03:16:13):
There have been few young men who've compared with him
in mental brilliance, and few for whom the future held
greater promise. Rodrick, Rodrick, I've spoken for the university. Now
I want to speak for myself. As a token of
the esteem in which I hold you and your abilities,
I want to present you with this watch.

Speaker 71 (03:16:35):
Thank you, sir, Well read the inscription script to Rodrik Raskolnikov.
May's great gifts bring him the reward of honor and
good fortune. Thank you, sir, Thank you very much.

Speaker 70 (03:16:51):
Roderick, my boy, I'm proud to have had you as
one of us, and sad that you are leaving. Good
luck to you and God bless you.

Speaker 63 (03:17:09):
Again. Tonight, Camel Cigarettes bring you, Peter Laurie in the
excitement of the great stories, of the strange and unusual,
of dark and compelling masterpieces. Culled from the four corners
of world literature. Tonight, Crime and Punishment, adapted from the
motion picture starring Peter Laurie and based on the novel

(03:17:30):
by Fyodor Dostowsky.

Speaker 20 (03:17:34):
Mystery in the Air starring Peter Laurie.

Speaker 72 (03:17:38):
Brought to you by Camel Cigarette.

Speaker 71 (03:18:00):
So I rodrik Roskolnikov, went to the city to achieve
honor and good fortune. But one year later I had
achieved neither.

Speaker 6 (03:18:10):
Oh.

Speaker 71 (03:18:10):
I had written one book, a book on crime, which
I had to sell to a publisher for barely enough
money to pay my first six month rent. All the
reviews were very nice. Yes, one of them said, the
subject is handled with such brilliance that one wonders whether
it's the work of a genius or a great detective,
or both genius a great detective candy reviews. All the

(03:18:35):
time I was starving in a garret room. Come in,
Oh it's you, missus barr.

Speaker 51 (03:18:42):
Yes, it's me. I haven't had a penny on you
in six months. How much longer do you expect me
to wait for my rent?

Speaker 71 (03:18:47):
Well? Can you stand the strain? Another half hour?

Speaker 35 (03:18:50):
Oh?

Speaker 51 (03:18:50):
So you're going to pay me in half an hour?
Just how you're going to raise the money.

Speaker 71 (03:18:54):
That's very simple. I'm going to rub a bank.

Speaker 51 (03:18:56):
Thinks you are funny? Huh, Well, I don't tear it.
This quest to my eyes.

Speaker 71 (03:19:00):
Maybe, but someday, someday they'll put a sign on his
house that I Raskolnikov had the privilege of starving here.

(03:19:21):
I beg your pardoner. Is there a palm brokerd I
think it's an old woman. But the name of Leona?
Does she live here?

Speaker 1 (03:19:29):
Yes?

Speaker 35 (03:19:30):
One more flight up, I'll show you. I'm going there myself.

Speaker 71 (03:19:34):
Thank you very much. May carry your package?

Speaker 3 (03:19:39):
No, No, I can manage.

Speaker 35 (03:19:44):
It's this story here. Just ring the bell?

Speaker 73 (03:19:52):
Body, I wan't 's you?

Speaker 71 (03:19:55):
Sonya?

Speaker 50 (03:19:55):
Come in?

Speaker 73 (03:19:57):
Who is this one of your gentle friends?

Speaker 1 (03:20:01):
No?

Speaker 35 (03:20:01):
I met him on the stairs.

Speaker 71 (03:20:02):
Well what have you got this time?

Speaker 35 (03:20:05):
This this piper?

Speaker 9 (03:20:10):
And where did you steal this?

Speaker 35 (03:20:12):
I didn't steal it. It's been in our family a
long time.

Speaker 71 (03:20:15):
What do you want for it?

Speaker 35 (03:20:17):
The cover's inlaid with mother of pearl stones or garnets.
It's worth at least one hundred rubles.

Speaker 73 (03:20:24):
I'll give you six rubles for it if you don't
want to leave it.

Speaker 9 (03:20:28):
What have you got, mister?

Speaker 71 (03:20:30):
I have a watch.

Speaker 35 (03:20:32):
I'll take the sixth.

Speaker 4 (03:20:33):
Here you are.

Speaker 35 (03:20:34):
You said six rubles. You gave me one.

Speaker 30 (03:20:36):
That's right.

Speaker 73 (03:20:37):
Six rubles last three months interest for your shawl and
two months on the necklace and silver buckles. That makes
five rubles. Five from six is one ruble. Well what
are you waiting for? Want your bible back? No, we'll
come on get her. I'm a little gutter snipe all right, mister.

Speaker 71 (03:20:59):
Let me see your one here.

Speaker 73 (03:21:03):
To Roderick Kreskolnikov. That's me's great gifts.

Speaker 71 (03:21:08):
Bring him the reward of honor and good fortune.

Speaker 73 (03:21:12):
It's inscribed. I can't give you as much.

Speaker 71 (03:21:14):
I want fifty roubles on it. I'll give you ten,
all right, give me the ten.

Speaker 13 (03:21:22):
There you are?

Speaker 51 (03:21:29):
What are you staring at?

Speaker 35 (03:21:31):
Don't look at me like that.

Speaker 71 (03:21:32):
I'm not looking. I'm not staring. I was watching you
put a young lady's bible. When I'm watching too. That trunk,
that's all.

Speaker 73 (03:21:38):
I've got nothing in here, nothing.

Speaker 1 (03:21:40):
Got a lot of trush, A lot of trush that's
out of here.

Speaker 71 (03:21:43):
As you say, you forgive me, Oh, it's you mis
sonya What are you looking for?

Speaker 35 (03:21:55):
My ruber dropped out of my hand when she pushed
me out to do.

Speaker 71 (03:21:59):
Somebody ought to push her straight into the next world.
What use is all that money to her? Is is
her miserly life worth a hundred others? Like you're a monard.
I'd like to take her by the throat.

Speaker 35 (03:22:12):
She didn't say things now that black beet life.

Speaker 71 (03:22:16):
Here's your ruble.

Speaker 6 (03:22:17):
I found it.

Speaker 35 (03:22:18):
You didn't find that. You took a rouble out of
your pocket.

Speaker 71 (03:22:21):
I didn't know. I swear I didn't.

Speaker 1 (03:22:26):
Thank you.

Speaker 35 (03:22:28):
I forgot there was still some kindness in the world.

Speaker 71 (03:22:32):
I forgot there there was still some beauty in it.

Speaker 40 (03:22:50):
What do you wanted this out?

Speaker 71 (03:22:51):
It's after midnight, it Smearskolnikov. Don't you remember we've got
a valuable vanity.

Speaker 6 (03:22:57):
Case this time?

Speaker 73 (03:22:58):
Fine, now this is to come up under the rubbish.
But come in, let's see this valuable vanity case here.
It's heavy enough.

Speaker 40 (03:23:12):
What's it led of?

Speaker 13 (03:23:13):
Lead gold.

Speaker 71 (03:23:15):
I believe that when I see it.

Speaker 73 (03:23:18):
What's the idea of making so many knots? I can't
untie this thing.

Speaker 71 (03:23:22):
Now I'll show you the idea, but that perfect?

Speaker 1 (03:23:26):
But I'm that far on your head.

Speaker 18 (03:23:29):
You you.

Speaker 71 (03:23:32):
Don't come in. Oh, good morning, miss Parson. Fine day,

(03:23:52):
don't you think? Very fine day?

Speaker 15 (03:23:54):
Huh?

Speaker 51 (03:23:54):
I didn't come up here about the weather?

Speaker 71 (03:23:56):
Oh no, oh it's about the money. Yes, well i'll
have it today. I promise I'll have it.

Speaker 35 (03:24:01):
To know about the money.

Speaker 51 (03:24:03):
Then there's a policeman downstairs.

Speaker 27 (03:24:08):
Pol what is he here?

Speaker 13 (03:24:12):
Is? Now?

Speaker 51 (03:24:12):
Ask him yourself?

Speaker 1 (03:24:14):
Are you the writer of s call and cal or?

Speaker 11 (03:24:17):
Come along with me?

Speaker 71 (03:24:18):
You're wanted a headquarters. There must be some mistake, Yes,
there must be some mistake. I haven't done anything.

Speaker 1 (03:24:25):
What have I go find out? When you get there?

Speaker 13 (03:24:28):
Come along.

Speaker 3 (03:24:57):
Mh.

Speaker 13 (03:25:01):
Rhetoric.

Speaker 63 (03:25:01):
Raskolnikov, trembling with fear, now stands before the clerk in
the police station.

Speaker 42 (03:25:09):
Ru'st calnikov.

Speaker 3 (03:25:11):
Let's see.

Speaker 74 (03:25:13):
Oh yeah, you know your landlady thirty rubles and you
refuse to vacate the premises?

Speaker 13 (03:25:19):
Is that one? Is that why I've been proddy?

Speaker 42 (03:25:24):
Are you going to pay?

Speaker 13 (03:25:24):
Or must we throw you out?

Speaker 1 (03:25:29):
I'll pay, I'll pay tomorrow.

Speaker 8 (03:25:33):
No, oh, rent, it's.

Speaker 3 (03:25:37):
Why.

Speaker 71 (03:25:38):
It's the rent you see, send your rules.

Speaker 62 (03:25:45):
That's why I've been proddy.

Speaker 1 (03:25:47):
It's one. I'm not shouting.

Speaker 20 (03:25:49):
Stop what's going on here?

Speaker 42 (03:25:51):
What's that meaning?

Speaker 1 (03:25:53):
He's a writer named Raskolnikov.

Speaker 6 (03:25:56):
Oskolnikov, just the man.

Speaker 1 (03:25:59):
I want to see.

Speaker 74 (03:26:02):
Why, sir, I'm Inspector port Hearing. Oh, Commissioner, I read
your excellent book about the crime criminals.

Speaker 1 (03:26:10):
No, I really mean it, you know.

Speaker 74 (03:26:12):
I thought I knew something about the subject, but your
book put me and my.

Speaker 6 (03:26:15):
Staff in the kindergarten class.

Speaker 1 (03:26:17):
I must talk to you. Come into my office.

Speaker 71 (03:26:20):
Thank you, sir.

Speaker 74 (03:26:22):
And by the way, perhaps you'd like to help us
on a new murder case. It'll give you a chance
to see how the.

Speaker 71 (03:26:27):
Blundering police work a murder case.

Speaker 74 (03:26:30):
An old pawnbroker was killed last night, a well known
character named Leona.

Speaker 71 (03:26:36):
Yes, I I've heard of her.

Speaker 1 (03:26:38):
I oh, what do you know about?

Speaker 71 (03:26:42):
Nothing? Nothing at all. I think you'll get him easily, guilty.

Speaker 1 (03:26:48):
Man who knows we may have him?

Speaker 13 (03:26:50):
Now?

Speaker 71 (03:26:50):
What do you mean?

Speaker 74 (03:26:51):
We brought a man in this morning, a house painter,
he had been working in a flat under Leona's.

Speaker 71 (03:26:56):
Do you think he did it?

Speaker 74 (03:26:59):
It doesn't really matter. He was found with a pair
of earrings, he had blood on his hands. Oh of
course he has an explanation for these things. But he'll
do as a suspect just to keep our records clear.

Speaker 71 (03:27:11):
You mean, of course, of course.

Speaker 74 (03:27:13):
But come, come, let's discuss your book. Let's see if
your theory can be applied to this case.

Speaker 13 (03:27:18):
My theory.

Speaker 74 (03:27:19):
Yes, you wrote that ordinary men must obey the law
because they are ordinary. But extraordinary men have the right
to transgress the law.

Speaker 42 (03:27:27):
Isn't that right?

Speaker 16 (03:27:28):
No?

Speaker 71 (03:27:28):
No, no, not Exactly what I said was that extraordinary
man shouldn't be just ordinary standards. For example, take Napoleon.

Speaker 1 (03:27:37):
If I doubt if Napoleon murdered the old pawnbroker.

Speaker 71 (03:27:41):
Oh hm, I'm glad My theories give you a chance
to be winking.

Speaker 74 (03:27:46):
If your theory is right, it would take make it
a lot simpler for US policemen if your extraordinary men
had some distinguishing mark, say a.

Speaker 3 (03:27:53):
Medal or a ribbon, or a resemblance to Napoleon.

Speaker 71 (03:27:57):
Ha ha, what do you mean?

Speaker 13 (03:27:59):
Like yourself?

Speaker 35 (03:28:00):
For instance?

Speaker 74 (03:28:00):
But to get back to our murderer. In this case,
he was ordinary enough, all right, nothing but a stupid coward.
What do you mean he hadn't been in a panic.
He too found the old woman's money, fifteen hundred roubles
tucked away in the mattress stead. He took a lot
of junk that's no use to him, and he can't
unload it. I've got my men watching every outfit.

Speaker 71 (03:28:22):
Yes, inspector, you've promised to show me your blundering police methods,
and you certainly have. You're hauling a man who is
probably entirely innocent, just to keep your records clear. H.

Speaker 74 (03:28:33):
Well, the painter will do until the real murderer comes in,
and he will come in. He'll give himself up through fear.

Speaker 3 (03:28:41):
Fear of the law of God.

Speaker 71 (03:28:43):
Oh yes.

Speaker 1 (03:28:44):
In the meantime, I'll just wait.

Speaker 21 (03:28:58):
Oh why.

Speaker 71 (03:28:59):
I was furious, stupid coward indeed, But then I realized
that I wasn't a cowd at all. On the country
and in facing the inspectors so calmly, I'd learned not
to be afraid. Still, I needed money, and now I
didn't get to sell any of the old woman's stuff.
I determined to try my newfound courage on a publisher

(03:29:20):
of my book.

Speaker 1 (03:29:21):
It said, din, mister Rescolona gov, I'm glad to see you.

Speaker 6 (03:29:24):
You had very nice response on your book.

Speaker 71 (03:29:27):
Oh that's good. I've almost finished another one.

Speaker 42 (03:29:30):
Oh is that so? No, you might let us see
it when it's done.

Speaker 71 (03:29:33):
Well, you see, as a matter of fact, another publisher,
while he has offered me an advance of seven hundred
and fifty roubles on.

Speaker 27 (03:29:40):
It, he has, Yes, by the pirate, you're my discovery.

Speaker 6 (03:29:43):
Well, look I'll give you a thousand grouples advance.

Speaker 71 (03:29:47):
Is that Oh that's fine, that's wonderful. Yes, it's wonderful.
I took the money. I hate my land laid in full. Wye,
I bought myself a whole new outfit of clothes.

Speaker 13 (03:30:04):
Oh.

Speaker 71 (03:30:04):
I was riding on top of the world. But then
a disturbing thought occurred to me. And of course the
inspector hadn't suspected me for a moment, but undoubtedly he
would find my name in the old palm broker's book, saying,
you might think you're curious. I hadn't mentioned it myself.
I decided to go and see him again. Voluntarily, Yes,
out of my own free will. That's what an innocent

(03:30:26):
man would do. Or what are you while? Anyway? I'm going.

Speaker 1 (03:30:42):
The inspector will see you injustabomen.

Speaker 13 (03:30:45):
Thank you.

Speaker 71 (03:30:45):
I'm in no hurry. Oh, mister Rauskonko sonya, what are
you doing here?

Speaker 35 (03:30:53):
The inspector sent for me. He returned my bible. He
asked me a few.

Speaker 71 (03:30:59):
Questions since we what kind of questions.

Speaker 35 (03:31:02):
About the day I went to the pond broker?

Speaker 71 (03:31:04):
Did you want to know anything about me?

Speaker 3 (03:31:07):
Yes?

Speaker 35 (03:31:08):
What did you tell him about the money you gave me?
And then he wanted to know why?

Speaker 71 (03:31:15):
What did he want to know?

Speaker 35 (03:31:17):
Before I knew what had happened? He made me tell
him what you said? Did she deserved to die?

Speaker 18 (03:31:24):
But she did?

Speaker 3 (03:31:24):
You?

Speaker 1 (03:31:25):
Inspector will see you now, mister Raskolnikov.

Speaker 71 (03:31:28):
Sonya, I must see you later.

Speaker 1 (03:31:29):
Where do you live?

Speaker 35 (03:31:30):
Catherine Street, first house from the bridge, second floor.

Speaker 71 (03:31:33):
I'll be over as soon as I can.

Speaker 13 (03:31:35):
Wait for me his way, sir.

Speaker 6 (03:31:37):
Thank you, Ah, mister Raskolikov, I am delighted.

Speaker 21 (03:31:42):
To see you again.

Speaker 71 (03:31:43):
Come to claim my watch?

Speaker 1 (03:31:44):
Yep, your watch?

Speaker 71 (03:31:46):
Come on, let's not beat around the bush. I hated
to part with it, but I need the money, so
I took it to the old woman. And the old woman,
oh you know the palm broke, the one that the
one we were talking about.

Speaker 1 (03:31:58):
Oh did you have dealings with her?

Speaker 8 (03:32:01):
You know?

Speaker 1 (03:32:01):
I had?

Speaker 71 (03:32:02):
You know, I always say, I'm I mean, isn't my
name in her book?

Speaker 1 (03:32:06):
Wait a minute?

Speaker 3 (03:32:08):
Why?

Speaker 6 (03:32:08):
So? It is funny?

Speaker 1 (03:32:09):
I didn't notice it.

Speaker 71 (03:32:10):
What are you trying to do?

Speaker 17 (03:32:11):
Upset me?

Speaker 6 (03:32:12):
Upset me?

Speaker 42 (03:32:13):
No, not at all.

Speaker 74 (03:32:15):
And I'm sorry, but there's no watch listed among her effects.
I'm afraid it's still in the murder's possession.

Speaker 71 (03:32:20):
Wow, thank you very much. I must be going out.

Speaker 1 (03:32:22):
Oh, by the way, that's a new suit, isn't it? Yes?

Speaker 8 (03:32:26):
It is?

Speaker 3 (03:32:26):
What of it?

Speaker 71 (03:32:27):
Why shouldn't I be wearing a new suit? Things have
taken a turn for the better. A, yes, things have
taken a turn for the better. I sold another book.

Speaker 74 (03:32:35):
Congratulations. I hope you'll have some theories in this one
that will help me solve this murder. We're still holding
that poor wretch of a painter.

Speaker 71 (03:32:43):
Oh, oh her, your real murder hasn't come in huh.

Speaker 1 (03:32:46):
No, not yet, but I haven't given up hope.

Speaker 71 (03:32:49):
Oh, you're very optimistic. That's good suspect anyone in particular.

Speaker 1 (03:32:52):
Why I suspect anyone in everyone.

Speaker 71 (03:32:55):
That's good.

Speaker 74 (03:32:57):
I'll admit now that for a time I evenked you
with the murder me. Yes, you know how a policeman's
mind functions. I began piecing things in the pattern your
desperate poverty, the fact you almost fainted when I mentioned
the murder the first time. Your talk of Superman being
above the law. Oh no, you're going around town flashing

(03:33:18):
all that money, which I didn't know until just now
came from your publisher.

Speaker 1 (03:33:21):
You had me followed poor a matter of routine.

Speaker 71 (03:33:24):
Yeah, well, let me tell you something. If I were
the guilty man, I'd be too smart to try to
sell that junk. I have gone into the country and
buried it on a stone. You leave me, yes, under
a big every stone. So come on, Accuse me of
murder if you like, but don't insult me by believing
that I'd overlook fifteen hundred roubles in a mattress. Try

(03:33:46):
your clumsy methods and half wits like that poor food.
You're going to sacrifice just to keep your records clear.

Speaker 1 (03:33:53):
But I'm not accusing you.

Speaker 74 (03:33:55):
I don't accuse a man I think is guilty.

Speaker 13 (03:33:57):
If I have no proof.

Speaker 3 (03:33:59):
I just sit and wait.

Speaker 71 (03:34:00):
Yeah, he said, wait, stop playing this cat of mouse
came with me. If you think you have a case
against me, come on, arrest me or or bring me
to trial.

Speaker 13 (03:34:09):
I'll show you.

Speaker 26 (03:34:11):
This man just confessed.

Speaker 13 (03:34:13):
Confess.

Speaker 11 (03:34:14):
I'm good, I'm a murderer.

Speaker 13 (03:34:16):
But there lying you for you.

Speaker 1 (03:34:18):
Didn't kill her head with up.

Speaker 42 (03:34:20):
I heard idiots.

Speaker 1 (03:34:22):
You didn't even know about un went to you.

Speaker 74 (03:34:24):
You didn't know anything about it until we pet it
into your take him away officer.

Speaker 17 (03:34:29):
If you want to go to Siberia that badly.

Speaker 1 (03:34:33):
Get him out of here.

Speaker 71 (03:34:36):
Oh what a triumph for your methods, inspector. First you
tried to make him confess, and I tried to make
him believe he's innocent. Doesn't your conscience ever bought?

Speaker 74 (03:34:46):
You know that the real murder suffered from his conscience.
Little trouble him, He's no Napoleon.

Speaker 1 (03:34:55):
No, it's not hard enough.

Speaker 74 (03:34:58):
He'll come in and I'll be waiting for him.

Speaker 1 (03:35:02):
I'll be waiting.

Speaker 71 (03:35:03):
Good time.

Speaker 75 (03:35:18):
Who is it to me?

Speaker 35 (03:35:23):
Oh? Where have you been?

Speaker 71 (03:35:26):
I'm walking the street. I don't know how long I
know it's later. I had to talk to you, sonya.
I may never see you again.

Speaker 35 (03:35:38):
You're going away? Yes, where are you going?

Speaker 71 (03:35:42):
I don't know?

Speaker 35 (03:35:44):
And why?

Speaker 71 (03:35:45):
Because I'm free now, Because I'm free, free to go
where I please.

Speaker 13 (03:35:50):
And do what I please, and free.

Speaker 1 (03:35:54):
From what please.

Speaker 71 (03:35:56):
They suspected me of the murder. Oh it's all over now,
son you come away with me.

Speaker 35 (03:36:04):
Did they find the guilty man?

Speaker 71 (03:36:06):
And they had him all along? He confessed this morning?
Who was over paying to work in the house? Why
all these questions? Leave me alone? I've been questioning enough,
and he's put that Bible away. I don't want to
be a reminder of that old head.

Speaker 35 (03:36:24):
And Jesus said, take away the stone.

Speaker 1 (03:36:28):
What stone are you talking about?

Speaker 17 (03:36:32):
How mean?

Speaker 18 (03:36:32):
You know?

Speaker 1 (03:36:33):
I hit it under the stone?

Speaker 35 (03:36:35):
It's the stone under which Lazarus was bare. Then they
took away the stone from the place where the dead
man was, and Jesus lifted up his eyes and said, Father,
thou hast heard me. And when he had thus spoken,
he cried in a loud voice, Lazarus come forth and

(03:36:58):
see that was dead?

Speaker 71 (03:37:00):
Came fast, Sonya, sonya me have birth me, Sonya, I
killed that old woman? I yes, uh, I killed him?

Speaker 35 (03:37:16):
Why did you do it?

Speaker 3 (03:37:17):
Ah?

Speaker 71 (03:37:19):
I was mad? What shall I do now?

Speaker 35 (03:37:23):
I don't know what to tell you, because you have
no faith.

Speaker 71 (03:37:28):
What did I do?

Speaker 6 (03:37:29):
Have faith?

Speaker 35 (03:37:30):
Then I would tell you to confess atone for what
you've done.

Speaker 71 (03:37:34):
Confessed to the police.

Speaker 35 (03:37:36):
How else can you save the one who's being punished
in your place?

Speaker 71 (03:37:38):
Confess and go to Siberian and rock in prison.

Speaker 1 (03:37:42):
Sonya?

Speaker 13 (03:37:42):
How can you ask me to do that?

Speaker 35 (03:37:45):
Because I love you.

Speaker 71 (03:37:51):
Hm, Sonya, I know I know it now, h You
know I have faith. You have given it to me.
You have made me see myself, yes, as I really
wasn't just a coward who thought himself brave. All right, Sonya,

(03:38:16):
I'll go and do as you say.

Speaker 35 (03:38:18):
Oh my god, I'll wait for you. I'll always wait
for you forever.

Speaker 13 (03:38:46):
Come in.

Speaker 74 (03:38:51):
Good evening, Inspector, good evening, Raskolnikov. I've been expecting you.
I've been expecting you for quite a long time.

Speaker 72 (03:39:24):
And now here is theeter Laurie for a final word.

Speaker 71 (03:39:28):
Yes, ladies and gentlemen. In a way, this is my
final word, because tonight our summer series of classic mysteries
comes to close. I feel deeply grateful for your response
to our efforts. Also, at this time, i'd like to
thank our sponsor makers of Camel's Cigarettes for giving me
the opportunity, and I certainly feel compelled to express my
deep appreciation for all those men who have worked with me,

(03:39:52):
especially our director, mister cal Coole. Next Thursday night, Camel's
Bob Hawks Show, one of America's favorite quiz shows, will
be heard over these same NBC stations. Did tell me
mister Hawk doesn't murder anybody, Oh, he just quizzesed him.
Well to each his own, good night.

Speaker 72 (03:40:27):
Crime and Punishment has been adapted from the screenplay Crime
and Punishment by arrangement with Columbia Pictures producers of the
Technicolor musical Down to Earth. Listen next Thursday at ten
pm Eastern Standard Time, nine pm Central Standard Time, eight
pm Mountain Time, and seven pm Pacific Time for the
Bob Hawk Show over the same NBC stations. Music for
Mystery in the Air was composed and conducted by Paul Barron.

(03:40:48):
The artists supporting mister Laurie tonight were Henry Morgan, Peggy Webber,
Joe Kearns, then Wright, Louis van Rutten, lawya Ann Simpson.

Speaker 42 (03:40:55):
And Herbert Butterfield.

Speaker 1 (03:40:56):
This is Michael Roy in.

Speaker 72 (03:40:57):
Hollywood, wishing you all a pleasant good night for cal.

Speaker 35 (03:41:01):
This is the.

Speaker 13 (03:41:14):
Murder and min.

Speaker 76 (03:41:21):
It's not just an ordinary cane, my dear Alex. It's
a sword cane. See Calhoun used it when he killed
his wife. Right where you're standing, Alix. You you kill
Fanders exactly, and now you're going to kill me.

Speaker 6 (03:41:38):
Keep away, sorry.

Speaker 77 (03:41:48):
Midnight, the witching hour, when the night is darkest. Our
fear is the strongest, and our strength at its lowest end. Midnight,
when the graves gave open and death strikes. How you
learned the answer in just a minute? In the House

(03:42:10):
Where Death Lived a now murder at Midnight Tales of

(03:42:32):
mystery and Terror by radio's Masters of the Macabre. Our
story is a ghostly nightmare by one of radio's best
known mystery writers, Robert Newman. It's titled The House where
Death Lived. A large rambling house on top of a hill,

(03:43:00):
a house whose windows are either shuttered or broken. A
rusty iron fence surrounds it, and its grounds are waste
and uncared for. A car grinds slowly up the hill,
stops before the main gate, and two men get out.
One of them is gray haired but vigorous. The other

(03:43:23):
wears the Shofer's uniform. They push open the heavy gate,
start up the gravel path.

Speaker 6 (03:43:31):
I did joined.

Speaker 78 (03:43:32):
You can hardly expect it to be a showplace after
being empty for more than ten years. It's opened. Yes,
I'm glad we didn't have to force it. All right, Sanders,
you can go back to the car and wait for me.
I should be out in.

Speaker 6 (03:43:46):
About a half an hour or so. You mean you're
going in alone?

Speaker 78 (03:43:50):
Yes, somehow I don't think you're exactly suited by temperament
or psychic research.

Speaker 6 (03:43:55):
Okay, don hardly latent. Pay you back in the car.
All right, Now, let's see I suppose the best place
to start for really?

Speaker 76 (03:44:08):
Oh, I'm offly sorry. I hope I've made a mistake.
This is the Calhoun House, isn't it?

Speaker 17 (03:44:14):
Who is?

Speaker 78 (03:44:15):
This is very embarrassing. I was down to see the
trustees just this morning. They gave me permission to go
through the place and told me that there's no one
living here, that no one had lived here for many years.

Speaker 17 (03:44:28):
As you can see, that's not quite true.

Speaker 19 (03:44:30):
Not that it matters. I lead a rather lonely life,
and I'm very glad you came. I'd be more than
happy to show you around.

Speaker 6 (03:44:37):
You're very kind.

Speaker 78 (03:44:39):
My name is Gough, doctor Alexander Garf figure. For the
past few years, I've been specializing in psychic research.

Speaker 6 (03:44:46):
Yes, you've heard of me.

Speaker 19 (03:44:48):
I'm sorry no, but I do know that scientists, especialists
in psychical research have been interested in the house for
many years. There have been several books written about it.

Speaker 6 (03:44:58):
I read about it in the series of studies the did.

Speaker 76 (03:45:01):
He said it was one of the most fertile fields
for manifestations he'd ever come across.

Speaker 6 (03:45:05):
He has a long history of apparitions and hauntings.

Speaker 19 (03:45:08):
It's very true. And now would you like to look around?
I'd like it very much, very well. I imagine the
best place to begin.

Speaker 6 (03:45:16):
Is with the cellar. This way, the cellar that's where
Missus Calhoun was killed, wasn't it.

Speaker 19 (03:45:24):
Yes, I keep the door locked now for that and
for several other reasons. May I say no, no, wait, wait,
don't try to go down, have you matched?

Speaker 76 (03:45:42):
Yes, the right any stairs exactly.

Speaker 19 (03:45:49):
That's how Missus Calhoun was killed. The stairs had become rotten,
and Calhoun took them out and put in that ladder.
Missus Calhoun didn't know it, and she tried to go
down fell and broke her neck.

Speaker 6 (03:46:02):
But she wasn't just killed. She was murdered, wasn't she.

Speaker 19 (03:46:06):
Well, that's hard to say. I don't think even Calhoun
could tell you whether it was delivered or not. For
a long time, people didn't even suspect what had happened.
They thought that she'd run away and disappeared. However, after
she was killed, Calhoun buried her down there in the
cellar you see over there, near that big flagstone.

Speaker 6 (03:46:28):
I see. Well, after that, there was something about a gardener.

Speaker 19 (03:46:33):
Wasn't the Yes, yes, Burrows he had helped Calhoun take
out the stairs considerably later he was working in the
cellar and found some bones and he put two and
two together.

Speaker 6 (03:46:44):
And the police. Oh no, he did a lot better
than that.

Speaker 17 (03:46:47):
From his own point of view.

Speaker 19 (03:46:49):
Shall we go back into the parlor, Yes, of course,
I'll just shut this door again.

Speaker 62 (03:46:55):
Yeah.

Speaker 19 (03:46:57):
Burrows began blackmailing Calhoun. Calhoun paid for a while, and
then one day he called Burrows in here into the parlor.
He was sitting over there at that desk. He had
his cane with him. The cane that's on the desk
there now you can look.

Speaker 6 (03:47:13):
At it if you like. Well, thank you, I would
like to look at it, twist.

Speaker 17 (03:47:18):
The handle and pull on it.

Speaker 6 (03:47:22):
A sword can.

Speaker 19 (03:47:23):
Yes, he killed Burrows right here in his room, that
staying on the carpet. There's his blood.

Speaker 17 (03:47:29):
This time.

Speaker 19 (03:47:29):
He didn't even try to get away with it. He
called in the police and he was tried and sent
to an institution.

Speaker 76 (03:47:35):
Yes, but that's what I don't understand. If Calhoun had
committed two murders, why wasn't he sent to jail.

Speaker 19 (03:47:41):
Or hanged because no one knew whether he was sane
or not. As a matter of fact, I don't think
Calhoun knew himself. You see, when they asked him why
he had killed his wife and Burrows, he said he had.

Speaker 6 (03:47:53):
To, that he'd been told to, told to by whom,
but he.

Speaker 19 (03:47:58):
Wasn't sure by voices. He said, they told him that
they lived here in this house before him, that they
had killed, and that he would have to kill two.

Speaker 76 (03:48:09):
Excellent, excellent, Just what I've been looking for, what I've
hoped for, a house with a tradition of hauntings, where
each generation is affected by that tradition and adds to him.

Speaker 62 (03:48:21):
They've come for me. They're weighing me down, dragging me back.

Speaker 6 (03:48:29):
You're ill.

Speaker 62 (03:48:31):
It's no use. You can't pick me up too much
on my hands, on my head.

Speaker 6 (03:48:53):
Where is he? He? He was there, right there on
the floor. I tried to pick him up and put
him on the couch, but I couldn't lift him. He's gone.

Speaker 79 (03:49:04):
And I looked dark if he fell down, if he
was as weak as you said it. Hey, you wait
a minute, Hey, what he looked like.

Speaker 78 (03:49:12):
Well, he was quite old, about seventy, and very tall,
and then he had white hair and white goatee.

Speaker 79 (03:49:18):
Holy small matter. Well, I was waiting outside for you.
The guy that lives just down the hill came by
and we kind of talked a little. Yes, I told
him you were inside here, and he described Calhoun to me,
the guy that used to live here, and the old
gent you say you spoke to sounds.

Speaker 6 (03:49:34):
Just like him. But it couldn't have been.

Speaker 76 (03:49:38):
Calhoun is still in an institute show he's not, at
least not exactly.

Speaker 6 (03:49:41):
That's how this guy happened to talk about it.

Speaker 1 (03:49:44):
You see.

Speaker 6 (03:49:44):
He just read in the paper that Calhoun had died yesterday.

Speaker 17 (03:49:49):
Standards. Yeah, that was Calhoun's ghost, and I look it was,
I tell you.

Speaker 6 (03:49:53):
It has to be.

Speaker 76 (03:49:54):
This is what I've been looking for for years, an
apparition that manifests itself without a medium or any app
It's exactly what I need for the last chapter of
my book.

Speaker 6 (03:50:04):
I'm going to stay here until he appears again.

Speaker 33 (03:50:15):
How home, come home?

Speaker 1 (03:50:19):
Where are you? Why don't you come back? I'm waiting
for you.

Speaker 6 (03:50:29):
That's no use. Two days now and not a synum.
Maybe Sanders was right. Maybe I did imagine the whole
thing either there.

Speaker 76 (03:50:38):
Wait a minute, he didn't die here. He died at
the asylum. He'd lived here all his life, committed to
murders here. Perhaps the aura of the forces here was
strong enough to evoke him once, but not to bring
him back again. His wife and the gardener, they did
die here. I could stop it. Contact I might be

(03:51:01):
able to devote them or else or else. If someone
else died here, someone I knew, and someone that knew me?

Speaker 13 (03:51:10):
Calhoun?

Speaker 6 (03:51:11):
Is that right?

Speaker 1 (03:51:13):
Is that what I have to do?

Speaker 6 (03:51:16):
Who's there?

Speaker 1 (03:51:17):
May God?

Speaker 6 (03:51:19):
Oh?

Speaker 1 (03:51:20):
Just a second?

Speaker 6 (03:51:25):
Oh what at? I well? Like, I'll get a what
do you want? Sanders?

Speaker 79 (03:51:29):
Well, and missus not. You should get a little worried
about you. But you might be running long food.

Speaker 6 (03:51:34):
Oh no, I still have plenty. I haven't been eating
much any luck.

Speaker 76 (03:51:38):
No, he hasn't materialized again, but I'm sure he will.

Speaker 6 (03:51:43):
I know he will.

Speaker 9 (03:51:46):
If someone else died here, someone you knew, someone that
knew you.

Speaker 6 (03:51:53):
Yes, I was about to die. Hey, why are you
staring at me that way? Die?

Speaker 3 (03:51:59):
Hmm?

Speaker 76 (03:52:02):
I'm sorry, Sanders, Sanders, I was just thinking that if
you stayed here with me, it might help.

Speaker 79 (03:52:11):
But I hope you said I was all wrong for
this kind of stuff. You know, I don't believe in
ghosts anything like that. I did say that, Sanders. But oh,
this place is different.

Speaker 76 (03:52:20):
It's this is such a powerful fertile field for psychic
manifestations that I think if you did stay, we could
cure your skepticism permanently.

Speaker 6 (03:52:29):
Yeah.

Speaker 17 (03:52:30):
Oh well, this is such a perfect night for a navigation.

Speaker 6 (03:52:35):
I don't hear anything, just the storms.

Speaker 3 (03:52:37):
Some hard.

Speaker 6 (03:52:39):
There it is again, it's still in the cellar. It's
back there.

Speaker 1 (03:52:44):
Go ahead, run.

Speaker 6 (03:52:44):
You're quicker than I am, Sanders.

Speaker 1 (03:52:45):
Run hurry, Okay, but I fell here anything.

Speaker 77 (03:52:56):
A man with an obsession in a haunted house with
the corpse in his hand says the clock strikes twelve
for murder.

Speaker 3 (03:53:06):
As midnight.

Speaker 6 (03:53:27):
And now to continue with our story. It's just a
moment later.

Speaker 77 (03:53:33):
Doctor Gough is still standing by the open cellar door.
Lighting a candle. He peers down to where Sanders's body
lies huddled on the flightstone below.

Speaker 6 (03:53:43):
Standard standard letter.

Speaker 3 (03:53:51):
Make sure.

Speaker 80 (03:53:57):
Sure I've had our homes. Okay, huh, now, let's see.

(03:54:19):
I'm dead, all right, very dead. I've broken in two places.
I'm sorry, Samuel's very sorry. But science is a hard mistress.
I've been working on my book for seven years.

Speaker 76 (03:54:34):
This is the first chance I've had to make detailed
and objective observations on the specific set of phenomena when
Calhoun didn't materialize. Again, I'm sure you understand. The only
problem now is the police. There have to be very
uncompromising about something like this. There are only some way

(03:54:58):
I could I know the car. It's quite late and
it's storm blowing. There's not likely to be anyone around.

Speaker 6 (03:55:08):
Yeah, come on, Sanders, you and I am going to
take a little trip. We're almost players.

Speaker 3 (03:55:27):
Just a little farther.

Speaker 1 (03:55:30):
And here we are.

Speaker 62 (03:55:32):
Mm hmm.

Speaker 76 (03:55:33):
Okay, let's see when you turned the car around before
you came in, so it's headed downhill.

Speaker 6 (03:55:40):
That's splendid, very considerate. Yeah, opened the door.

Speaker 3 (03:55:48):
And put you in.

Speaker 78 (03:55:51):
H h oh up, all right, just make sure you
don't fall sideways. She'll stay behind the wheel.

Speaker 54 (03:56:02):
Ye.

Speaker 6 (03:56:05):
Is there anything else? Anything I've forgotten? I don't think so. Yeah,
let's take the break off and shut the door and wait.

Speaker 76 (03:56:22):
There's no telling how far she'll go, especially with the
streets are bumpy. I only hope that she'll go far
enough to pick up a plenty of speed so that
when she does. Ah, and she's she's.

Speaker 6 (03:56:41):
She's swinging, swinging to the right.

Speaker 33 (03:56:44):
Yeah, and now I wait, Sanders, where are you?

Speaker 81 (03:57:08):
It's been four or five days now. Why haven't you
come back? Haven't you wanted to? Haven't you been able
to find a way? This is where you died, remember,
down here in the cellar. Are you down there, Sanders?

(03:57:29):
Are you down there?

Speaker 8 (03:57:32):
No?

Speaker 6 (03:57:34):
Not down there, not anywhere?

Speaker 17 (03:57:41):
Yes?

Speaker 6 (03:57:43):
Well, who's there? Who's there?

Speaker 17 (03:57:46):
What do you want?

Speaker 42 (03:57:47):
Jean?

Speaker 29 (03:57:51):
Just a second, alec Oh, I'm so glad to see you.

Speaker 1 (03:57:59):
Do.

Speaker 6 (03:58:00):
I asked you, what do you want? Why did you
come here?

Speaker 29 (03:58:04):
Why it's been almost a week now since you've been home.

Speaker 82 (03:58:08):
Have you any idea how worried I've been?

Speaker 41 (03:58:10):
You didn't even phone me after Sanders was killed.

Speaker 6 (03:58:13):
I'm sorry. I just never thought of phoning. I had
other things on my mind. How did it happen, Alex,
you read the verdict of the inquest.

Speaker 76 (03:58:20):
He probably fell asleep at the queer waiting for me.
The brake slipped, the car rolled down the hill and crash.

Speaker 35 (03:58:29):
Poorse Sanders.

Speaker 75 (03:58:31):
Somehow I can't help feeling feeling what I I don't know.

Speaker 17 (03:58:38):
Perhaps it's this horrible old house.

Speaker 82 (03:58:40):
It everything about it is just plain evil. Oh, Alec,
why don't you give it all up?

Speaker 40 (03:58:47):
His obsession of yours?

Speaker 82 (03:58:49):
You started writing a book doing psychical research to prove
that there were no such things as apparitions or ghosts.

Speaker 6 (03:58:55):
Suppose I found out that I was wrong?

Speaker 13 (03:58:58):
What?

Speaker 1 (03:58:58):
Yes?

Speaker 76 (03:58:59):
What would you say if I told you that I'd
already seen one apparition here and that I was expecting
to see another one?

Speaker 6 (03:59:04):
Ale Oh no, oh yes gee.

Speaker 76 (03:59:08):
The first evening I came here, I saw Calhoun. I
talked to him, He showed me around a house, and
later on I discovered that he had died the day before.
I waited for him to come back again, but he
never did, and I finally realized why he couldn't come
back because he hadn't died here.

Speaker 6 (03:59:23):
He died at the sanitarium. But now I'm waiting for
Sanders to come back.

Speaker 9 (03:59:28):
Sanders, but he didn't die here either.

Speaker 22 (03:59:32):
He died, yes, Jeane, I.

Speaker 62 (03:59:38):
I don't like it here, Alick, I'm afraid I'm going.

Speaker 6 (03:59:43):
No, Jean, don't go. You can help me. Come on
in here into the parlor. But but Ali, come on, Jean.

Speaker 76 (03:59:55):
Later, I'll tell you a very interesting story about this room,
about something that happened here a long time ago.

Speaker 6 (04:00:02):
But I all right, Alec, that's a good girl.

Speaker 76 (04:00:11):
You know, Gene, I've just realized I've been very stupid.
Calhoun couldn't come back again because he didn't die here.
Sanders did die here, but he wasn't buried here. And
now I'm beginning to think that.

Speaker 6 (04:00:22):
His spirit can only materialize in the place where its
body is.

Speaker 1 (04:00:26):
But but what's that got to do with me?

Speaker 6 (04:00:30):
Dear? Does anyone know that you came here tonight?

Speaker 24 (04:00:34):
Why?

Speaker 1 (04:00:35):
Why? No?

Speaker 62 (04:00:36):
But what do you mean? And what are you doing
with that cane?

Speaker 6 (04:00:42):
You remember? I said I was going to tell you
a story about something that had happened here in this room.
With this cane played an important part in it. You see.

Speaker 76 (04:00:49):
It's not just an ordinary cane. This is a sword cane.
It's what Calhoun used when he killed his wife. Right
where you're standing, Alec, you.

Speaker 40 (04:01:00):
You killed and exactly, and now you're going to kill me.

Speaker 76 (04:01:03):
Yes, I am going to kill you, and I'm going
to bury you right here, down in the cellar where
Calhoun buried his wife.

Speaker 6 (04:01:08):
Then at least you will be able to come back.
Try it right, you see, I locked the door.

Speaker 71 (04:01:19):
Keep away, I'm sorry, Keep away.

Speaker 14 (04:01:31):
Now.

Speaker 6 (04:01:33):
Smooth up, gravel a little well.

Speaker 3 (04:01:42):
I how to do it.

Speaker 19 (04:01:44):
Very nice, Stuffed, very nice. Indeed, you didn't do quite
as neat a job as I did, But you do.

Speaker 6 (04:01:54):
Yeah, Stuffed, you're dead, but you did come back.

Speaker 19 (04:01:58):
Yes, I came back to tell you how grateful I
am to you, grateful for having shall we say, relieve me.
You see, there's a curse on this house. When I
was alive and lived here, even before I killed my
wife and burrows, I saw the ghosts of those who
had died before I was born. It was they who

(04:02:20):
made me kill, because once I did kill.

Speaker 1 (04:02:23):
They were free.

Speaker 6 (04:02:25):
I don't understand, don't you.

Speaker 19 (04:02:27):
As long as this house stands, someone must haunt it
until I died. It was haunted by those whom I
had killed. When I died, it became my job. I
thought it'd be years before I could find someone to
take my place, And then you came along. You mean yes, doctor, Yes,
the curse, the evil that was spawned here has been

(04:02:47):
passed on to you.

Speaker 30 (04:02:49):
Now.

Speaker 19 (04:02:49):
It's haunted by those whom you killed. And I am
free and can rest in peace. But you you must
stay here and live with the evil? Will you created.

Speaker 62 (04:03:01):
Until you die?

Speaker 35 (04:03:04):
No?

Speaker 6 (04:03:05):
No, no, no, I won't stay.

Speaker 62 (04:03:07):
Yes you will, doctor.

Speaker 6 (04:03:09):
Oh.

Speaker 19 (04:03:10):
I didn't believe it either. I thought I could leave
whenever I wanted to, but I found that I couldn't.
I had to stay until they took me away. When
you try to leave, you will find out why.

Speaker 76 (04:03:23):
I won't stay. I tell you I won't either. You
know they can make me stay. Nothing can make me stay.

Speaker 54 (04:03:29):
No.

Speaker 81 (04:03:29):
What's more, You're right about this place. It is evil,
but I'm not going to let that evil continue. It
must be destroyed, along with every stick and stone in
this house. And just how do you propose to do that?

Speaker 6 (04:03:39):
I'll sell you with fire.

Speaker 1 (04:03:42):
It's counterparasen ill there.

Speaker 62 (04:03:45):
It won't do any good. Take my word for it.

Speaker 26 (04:03:48):
Ha ha ha.

Speaker 1 (04:03:49):
No you watch there, the whole sell of the whole
house will.

Speaker 62 (04:03:54):
Go now, yes, yes, doctor, but you won't go.

Speaker 13 (04:03:57):
I won't you watch me.

Speaker 6 (04:04:00):
That you can't go without me? Doc, I'm going to
remember he carried me out to the car. You've got
to take me with you.

Speaker 62 (04:04:06):
S yes, doctor, your chauffeur go.

Speaker 1 (04:04:10):
Me Sanders, let go.

Speaker 13 (04:04:11):
I can't take you with me.

Speaker 18 (04:04:14):
You got to take me to ali Nose.

Speaker 13 (04:04:19):
You see.

Speaker 62 (04:04:20):
Now you know why I couldn't go either. God drag
me back and weighed me dies. Now you know why
you're going to have to stay here.

Speaker 6 (04:04:29):
I won't stay.

Speaker 76 (04:04:30):
I tell you I won't, not even if I have
to take both Sanders and Geene with me.

Speaker 62 (04:04:37):
I'm afraid that won't do any good. Doctor.

Speaker 19 (04:04:40):
You see the latter isn't very strong, bro.

Speaker 1 (04:04:49):
Broke, I'm trapped here.

Speaker 62 (04:04:52):
Why doctor, if you don't mind, I leave you now
for good?

Speaker 3 (04:04:56):
No?

Speaker 6 (04:05:00):
Oh stop. The flames draw higher and higher. As doctor
God screams and staggers backward. Far away, a bell starts
tolling for.

Speaker 13 (04:05:21):
Murder at me.

Speaker 6 (04:05:24):
Now remember to be with us again.

Speaker 77 (04:05:55):
When death stretches out his bony had and the clock
Strike twelve or Murder. The part of Doctor gob was
played by Barry Crooker with music by Charles Paul. Murder

(04:06:16):
at Midnight was directed by Anton m Leader.

Speaker 18 (04:06:56):
This is Alison Wells speaking from London. A Black Museum.

Speaker 83 (04:07:09):
Here in the grim Stone structure on the Thames, which
houses Scotland Yard, is a warehouse of homicide, a warehouse
where everyday objects or phonograph record, a desk pad, a
flashlight or a touch by murder. There's a leather bag

(04:07:35):
that's a familiar object. A doctor carries a bag like this,
or a bank messenger, a payroll clerk, neat compact light.

Speaker 18 (04:07:42):
Not the kind of thing to carry the weight of death.

Speaker 17 (04:07:45):
You know, target. I like to think of all our
case it has wrapped up meeting a bag like this
one package.

Speaker 34 (04:07:52):
I know what you mean.

Speaker 17 (04:07:54):
This case now it should have been open and shut
like that today that leather bag.

Speaker 18 (04:08:05):
Can be seen in the Black Museum.

Speaker 84 (04:08:15):
From the annals of the Criminal Investigation Department of the
London Police. We bring you the dramatic stories of the
crimes recorded by the objects in Scotland Yard's Gallery of Death.

Speaker 6 (04:08:26):
The Black Museum.

Speaker 84 (04:08:28):
In just a moment, you will hear the Black Museum
starring awesome. Well, now the Black Museum starring awesome.

Speaker 18 (04:09:41):
Well, here we are.

Speaker 83 (04:09:59):
Here, we are in the Black Museum, Scotland Yard's Mausoleum
of murder. It's by now how familiar plays, at least
to me. The vaulted ceiling with its sinister shadows, the
stone floor, the endless shelves, the wooden cabinets, all familiar,
all dedicated.

Speaker 18 (04:10:17):
To the memory of murder.

Speaker 83 (04:10:23):
Here lies death, dormant now silence, but still death, mysterious,
though carefully identified by the plain white labels, repelling the fascinating.
The means to murder arranged on exhibition. It's a symbol

(04:10:45):
created with skill for the rhythm of dancing, sound of revelry.
One fingerprint on this spun brass, and from it the
web was spun.

Speaker 3 (04:10:54):
Which brought a killer to his just and proper end.

Speaker 17 (04:10:58):
A revolver designed and for death. You ever heard of
Russian roulette or death by chance? And there was no
chance in the game where this revolver was used. The
victim was picked, the murder was deliberate. Hah.

Speaker 83 (04:11:16):
A leather bag part of a puzzle and jigsaw puzzle
involving life and death and greed, which is never quite completed,
a puzzle which began in the railroad yard at almost
the coal district around Newcastle.

Speaker 17 (04:11:37):
You get used to this way. You're doing things up
for a bit, Jimmy. I like the work the yard
mineral only I keep wondering where the trains come from
and where they're going. You get over that, my boy.
When you coupled it uncoupled as Benny cars as I have,
it will be just routine.

Speaker 1 (04:11:52):
Train comes into the guard, that's like this one.

Speaker 17 (04:11:55):
Climb aboard, check the carriages, each compartment not be doing.
Now break it up, we assemble.

Speaker 6 (04:12:02):
Have we gone its way again?

Speaker 35 (04:12:05):
Here?

Speaker 54 (04:12:05):
You know.

Speaker 13 (04:12:07):
What fool is?

Speaker 17 (04:12:08):
Looks like pete to me. If somebody spilled something on
the carpet, lift for it. If it is under the
seat here, yeah.

Speaker 3 (04:12:19):
They're pretty ever looked, Jimmy, it's a man dead.

Speaker 18 (04:12:25):
I seen enough.

Speaker 17 (04:12:26):
Didens in the woods who know about that?

Speaker 1 (04:12:28):
This is for the police, much saw enough?

Speaker 7 (04:12:32):
His hat's here, cop touching it in This is for
the police, Like I said, the elder yards and.

Speaker 83 (04:12:39):
Left hisself around guard and found his way to the
nearest car box. Shortly after, uniform constables took over and
within minutes Inspector Hunt and Sergeant Lewis, who were on
the spot.

Speaker 17 (04:12:50):
Wolcom Spectacle's inspector and the man's hat name one King
on the band any other identification passed to the premises
of the Banister Collier Hey my company and directn chicck
it to Newcastle. Yes, you won't be eating that with
five bully hose in his head. Well, nothing else here,
but we'd better broadcast the information we have on him.
Someone on the train may have seen him with someone

(04:13:11):
Else's usual routine.

Speaker 83 (04:13:13):
Steady inexorable routine of the police, Notify the employer of
the next of kin, advise the newspapers and the BBC
request information on the.

Speaker 17 (04:13:22):
Nine o'clock news broadcast. Inspector and I have a bit
of information which may be value. Oh what is it,
miss Rowley? I saw King with a well man in
the station at Newcastle yesterday morning. You're certain it was
Warren King him for a year, not well, but well
enough to I've seen him socially occasionally. I saw him
went his little leather bag just as we went through
the gate for the ALM with prey leather bag. By Yes,

(04:13:45):
Friday's paid here for banister mine king with pale old
clark you all do the cash to pay off the men,
and took it down to autum with himself and the
man with him. Did you get a good look? No
one I knew, but I did have a good look
at him on the toll side bound hoot blondish hair,
quite well built. I should judge you with about thirty
five years old. Way about bond on lighty pal. You've

(04:14:07):
got that description taking down targient. Yes good, we'll have
an old station alarm on him in broadcast a description.
They can't heard it the stage of the game, mister,
only would.

Speaker 83 (04:14:17):
You another step in a routine? Another broadcast description wanted
for questioning concerning the shooting on the Newcastle Armuth Local. Now,
of course the rumors came in.

Speaker 6 (04:14:32):
I saw him on a bus.

Speaker 1 (04:14:34):
It was the exact description, even the brown suit. And
he looked guilty if you asked me.

Speaker 17 (04:14:44):
In a public was on high Street talking to the bartender,
flashing her all the size of your fist.

Speaker 1 (04:14:50):
I know him again.

Speaker 17 (04:14:51):
In a minute.

Speaker 85 (04:14:57):
He was sitting across from me on the train, right
in the same compart me in the same compartment, that
close to a murderer.

Speaker 83 (04:15:11):
Of course, none of them had the right man. One
person had a really though a woman friend of one
on Kings.

Speaker 86 (04:15:17):
I'd seen one occasionally, nothing important, just the tonic. But
he did take me out, and I came to know
some of his.

Speaker 17 (04:15:24):
Friends maybe have Their name is Christmas as far as
I know them.

Speaker 86 (04:15:28):
Oh there was one, yes, says Then there was Larry
Jones and Joe Evans.

Speaker 40 (04:15:35):
He's the important one.

Speaker 86 (04:15:37):
Why especially because he fits the description perfectly, snappy dresser.

Speaker 17 (04:15:41):
Played the ponies two I think, Oh did he?

Speaker 35 (04:15:44):
Yes?

Speaker 40 (04:15:44):
He offered to put down a pound or two from me.

Speaker 17 (04:15:46):
Occasionally they knew heavy address.

Speaker 9 (04:15:48):
Yes, I had it over.

Speaker 17 (04:15:50):
Sergeant Lewis drove over the address mention for one Joseph Evans.

Speaker 18 (04:15:55):
There was a polite inquiry.

Speaker 17 (04:15:57):
Is there a George if Evans lives here?

Speaker 35 (04:15:59):
Oh?

Speaker 17 (04:15:59):
Yes, it's a second floor from go up. He's at home.

Speaker 83 (04:16:05):
The sergeant climbed the stairs. All the usual questions came
to mind. Was this another wild goose chase? How will
this heavens behave? He didn't expect trouble. The sergeant knocked
on the door of the second floor front.

Speaker 17 (04:16:24):
Yes, mister Evans, that's right, I'm Sargant Lewis, C I
D macrind and Jews. Oh come in, sergeant, I must
say I've been expecting someone from your division. Or sit down,
thank you? Now, what can I do for you? It's
about Warren King, isn't it?

Speaker 6 (04:16:44):
Matter of fact?

Speaker 17 (04:16:45):
Which was rather a shocked reading about him in the
paper than all the wireless broadcasts. You see, I was
on that same train, spoke with him on the platform
as a matter of fact. Run into him ust be
both rather.

Speaker 83 (04:16:56):
A disarming fellow the heavens eager to discuss the whole case,
and none too helpful.

Speaker 18 (04:17:02):
However, as Sergeant Lewis reposed.

Speaker 17 (04:17:05):
The man fetched the description we broadcast Inspector he staged here,
he put it down in writing. We talked briefly Warren
and I. Then he went onto the fast car while
I stayed at the rear of the train. I was
on my way to see Campbell the Blue Collier, but
I was into my paper for so deeply. I'm a

(04:17:25):
racing fan and it was Grand National Day that I
rode past Stunnington, my station, and didn't quite realize it
until the train latched at the curb outside of Mopeth.
I got off at Moppeth and paid the extra fare.
There's that check, Yes, sir, the ticket inspector that Moppeth
remembers him. What about Campbell? This is none the Collery.
I haven't been able to get him yet. He was

(04:17:45):
in the shaft all morning. Well might be just as
well as sergeant if you took the train down there
and saw mister Campbell personally. One never knows what there is.

Speaker 83 (04:17:52):
The Blue Colliery was no different than any other local
coal mine in the area, same black tiple, the same cage, same.

Speaker 18 (04:18:01):
Mister Campbell was the engineer in charge.

Speaker 17 (04:18:04):
What's that place you, eh? The CID newcastles are. We're
making inquiries containing a jury of Evans and I know
the man. What about him?

Speaker 6 (04:18:12):
Did he have business with you this past Friday?

Speaker 17 (04:18:14):
Not for the No, he said it was on his
way down here to see you, and he never got
here the way you were expecting him. Where such a
visitor part of his regular schedule And I was not
expecting the man. He's a free agent, comes and goes
without hindrance, and I have no control over his doing.
Thank you, mister Campbell. Was this a discrepancy in Evans story?

Speaker 18 (04:18:33):
After all? We haven't said that Campbell was expecting him.

Speaker 17 (04:18:37):
If you don't mind, mister Evans, Inspector Hunt would like
to ask you a few more questions at headquarters. Evans
was quite eager to cooperate. He went along with Sue
while he was his headquarters. Mister Evans is quite probably
curious by now, held at the station waiting how you

(04:18:58):
inspected he had heard out? He doesn't yield very much,
does it? Just the pine tickets so far? Not unusual
for our racing pan to have such change in its
black Rather run of the milk.

Speaker 13 (04:19:08):
We'll check them.

Speaker 17 (04:19:09):
Not one of the confluences you want me? You run
this building, run it and own it. I see. Would
you mind telling us whether mister Evans was regular with
his rint? He is now?

Speaker 83 (04:19:23):
He paid the three months? Ye me last Saturday? And
a man carrying a missing pio was killed on Friday?
Or did Joseph Evans make his killing on the Grand National?
Does would come out eventually? The expect to believe for
the present the question of legal identifications, Paramau, there.

Speaker 17 (04:19:46):
Will be nine many in the room has thrown it
all of the same description. Approximately, is the man you
told us you saw with mister King on Friday? We'll
ask you to pick out that man. If he's present,
I'll do my best and specu mister Ni.

Speaker 13 (04:20:01):
So we got it from the left.

Speaker 17 (04:20:03):
That's the man I saw with Warren King. That's the
man we are holding. One questions up. Did you see
him enter the same car as mister King North I
looked away for a moment. When I glanced that way again,
they both disappear. I assumed that we try it together.
Thank you, mister Ron.

Speaker 83 (04:20:23):
The identification parade had yielded some results. Yet all the
time the answers to the riddle lay in the plain
leather traveling bag. It's that same bag which you can
see today in the Black Museum.

Speaker 84 (04:20:41):
In just a moment, we will continue with the Black
Museum starring awesome well. And now we continue with the

(04:21:53):
Black Museum starring awesome well.

Speaker 17 (04:22:06):
It wasn't too much to go on as yet, motive opportunity,
knowledge of the contents of the leather bag, and an identification. Nevertheless,
the police felt that they had to take action. We
are holding you, Evan, Georgey formed me. Arigned in the
morning and charge with wilful murder.

Speaker 18 (04:22:20):
Evan seems shocked, but made the best of a bad.

Speaker 17 (04:22:23):
Job, I understand, Inspector, but I didn't kill him. That's
the truth of it. I didn't kill him.

Speaker 83 (04:22:29):
In the meanwhile, some miles from Newcastle, a routine inspection
was taking place at the bottom of the shaft of
the banister line.

Speaker 17 (04:22:36):
Why owe this sudden interest in? Number three? Hasn't been
working years?

Speaker 6 (04:22:41):
He's timber.

Speaker 17 (04:22:42):
Seem sound enough? Companies expecting to open up here again? Oh,
that's defense and so on? The shore run does seem
all right? That's got along? Please give me the creeps?

Speaker 34 (04:22:55):
Hello?

Speaker 17 (04:22:56):
What's this showing the limp over this way?

Speaker 3 (04:22:58):
A moment?

Speaker 17 (04:22:59):
Muddy? Uh? What's this done? Done?

Speaker 20 (04:23:03):
Here?

Speaker 17 (04:23:04):
Looks like he must as big do it? That's how
I look, and say, nothing in it but a few coppers.
I'm thinking we do best to report this to the
front office. With old Chiang getting himself.

Speaker 83 (04:23:18):
Yes, you would do best to report this to the
front office. Gentlemen, you have no business opening that bag
in the first place. The front office will turn the
bag over to the police Inspector Hunt and Sergeant Lewis
will take it from there.

Speaker 17 (04:23:33):
Chances are it is King's bag. It won't be too
difficult to get it identified. It's a long way from
Mark the number three shaft band and stuff. Yes, I
was thinking exactly that. What train did Evans say he
took back to Newcastle? The eleven fifty Well it's mathematics
and conjecture now, is Ergeant, did Evans have time to
get to that shaft and back to mob before eleven

(04:23:56):
fifty two? I have the timetable and the hold map,
so i'll figure. Good, Sergeant, how do you feel about
the trial? Ninety jack Ushah, Frankly, I'd feel a lot
better if we had the gun and could tie to Evans.
Too many loose ends in this one, Sergeant uncomfortable.

Speaker 83 (04:24:26):
Joseph Evans was none too comfortable himself, nor was his
defending counsel. They had the usual conferences in the lawyer's
room with a prison where Evans was held pending the trial.

Speaker 85 (04:24:36):
All right, man, you've admitted you spake with King on
the station platform.

Speaker 17 (04:24:40):
Then well, he went on about his business, said something
about the forward part of the train being closer to
his exit gate at Omarth. I went to the rear
for the same reason. The exit is at the rear
at Stannington. But you didn't get off at Stannington, I
told the police. I missed the station. I was studying
the racing form for the Grand National. I had a
bet to make, did you? I did, and I won

(04:25:02):
worse luck. Then that's how you paid your back rent
exactly and not even a book is stubbed to prove it.
One scambling is paid off in reverse. You win and
you're in trouble. Can you find your book it? No,
he's disappeared, no trace.

Speaker 18 (04:25:16):
It's climsy, but.

Speaker 85 (04:25:18):
It would clean up part of what the Crownell claim
was the motive. Look here, can't you possibly remember anyone
who was in your compartment with you?

Speaker 17 (04:25:25):
I wish I could. I was in first, sat at
the window facing forward, lost myself in the paper. I
noticed no one. Too bad, no one noticed you. You
haven't even the description nothing. Every one was noticing me,
not the other way round.

Speaker 85 (04:25:40):
King must have ridden alone with his murderer. No one
seemed to know anything about him or his trip, except
that he was killed between Newcastle Law. Now you went
for Clery too, didn't June.

Speaker 17 (04:25:50):
That's right. Then you knew that the wages are paid
every second Friday.

Speaker 18 (04:25:54):
Of course that's going to be hard to beat.

Speaker 17 (04:25:57):
M It's not good. You're mister Campbell because he had
no idea you were coming down.

Speaker 18 (04:26:02):
I was.

Speaker 17 (04:26:03):
That's the truth. You've been there to see him before
several times, always on Fridays. If that was a good help,
I would like to say that I can't. Campbell wouldn't
bear me out.

Speaker 56 (04:26:15):
Oh well, we will keep at it.

Speaker 85 (04:26:18):
Looks like our only hope is someone who remembers seeing
you in that last car.

Speaker 17 (04:26:23):
As I say, we'll keep at it. There was a
strange case.

Speaker 83 (04:26:29):
Everyone, prosecution as well as defense, seemed to be groping
in the dark, making use of intangibles. People were observant,
people were blind, people volunteered information of a stayed away
or didn't realize they were part of the evidence. The
Crown built a fairly strong circumstantial case.

Speaker 17 (04:26:50):
I was present, revinde vide. There is no question he
was on that train that Friday morning. He could have
made it to the number three. Sharp tossed the bag
and made eleven fifty two at Macbeth. I tried it
my show one morning. I managed it walking. The next
day I tried it from Stannington. It was impossible.

Speaker 1 (04:27:08):
From there, Yes, sir, they knew each other.

Speaker 40 (04:27:13):
Mister Kings to Evans.

Speaker 86 (04:27:14):
Long went on dates together three or four times. I
can't imagine the meeting and not riding together.

Speaker 17 (04:27:19):
On the same train. I'm certainly having money trouble. I
did no rent from him for three months and all
at once. He paid his due in a month in advance.
The Saturday after this here murdered.

Speaker 83 (04:27:36):
It added up. Evans was there. The timing seemed to
fit the evidence. The two men were friendly. Evans had
plenty of motive for a payroll robber. He took the
stand in his own defense.

Speaker 85 (04:27:49):
Then the truth, as you know it, and remember your
undroas with Evans, is that you did not ride with
the deceased and you did not either rob.

Speaker 6 (04:27:58):
Or killed him.

Speaker 17 (04:27:59):
That the exact truth, sir. Thank you your witness the reverence.
You stated under direct examination that you worked for Blue Coloring, Yes, sir.
Then you know the custom to take the payroll moneys
from the business opposites of the mind at Newcastle to
the mines themselves. That has been the custom for many years.
I did it myself for a time some years back,

(04:28:22):
but I always drew the cush from the bank at
morpet to avoid carrying the cush all that distance. But
it still was the custom in most cases to bring
the money from Newcastle, and you knew about it.

Speaker 3 (04:28:32):
It was not my castle.

Speaker 13 (04:28:33):
You knew it was that of others.

Speaker 17 (04:28:35):
I never thought about it. I submit sir that when
you saw the leather bag that de seat was carrying,
who realized its contents at once? I never thought about
that either. I had my mind on other things, on
your financial problem, among other things, which you hoped to
recook by the Grand National horse Race. One always hoops.
Isn't it possible your reason for going to see mister

(04:28:55):
Campbell was to borrow money from him?

Speaker 11 (04:28:57):
No?

Speaker 17 (04:28:57):
What then? You must have had some good reason for
this trip on it it was in the line of business.
Would you state what line of business?

Speaker 6 (04:29:07):
It was?

Speaker 17 (04:29:08):
About? Some wages he was being on that Friday? I
did not know if he paid on that Friday or
the next one. We were at the mine the week before.
I was where the men paid that day.

Speaker 1 (04:29:20):
I don't know.

Speaker 17 (04:29:21):
I don't remember the revens.

Speaker 1 (04:29:23):
Are you familiar with firearms?

Speaker 17 (04:29:27):
One time I was a god I carried a revolver
in those days. Where is that revolver now? I don't know?
Did you lose it or sell it or throw it away?
I gave it back to the company with my uniform
when I became an inside worker. Does the company own
those firearms? Yes? You know where they're stored. Yes, I do.

(04:29:48):
I ask mister Evans, did you take one of those
revolvers with you on that Friday morning with intent to kill,
use it against mister King, clean it and return it
to its place before anyone noticed it was missing? No,
of course not. Why should I can't you think of
any good reason, mister Evans, No, of course not. I
can think of several your financial problems, your intent to kill,

(04:30:11):
even perhaps jealousy of a mister King's attention to your
your two lady friends.

Speaker 13 (04:30:14):
That is not so.

Speaker 17 (04:30:15):
There was not bullets were pumped into mister King's head.
One would have been sufficient. This suggests the additional motive
of revenge. Well, mister Evans, I didn't kill him.

Speaker 3 (04:30:27):
I didn't.

Speaker 17 (04:30:29):
You can make me say I did.

Speaker 6 (04:30:31):
I didn't do it.

Speaker 17 (04:30:32):
I didn't kill him, I didn't.

Speaker 83 (04:30:38):
Joseph Evans was not a good witness, and a cross
examination he admitted nothing, but the impression that he knew
many things which were left unsaid was vivid. Even in
the stenographic record of the trial. The jury retired after
three days of listening to the evidence. Two and a
half hours later they returned. Jose Evans rose in the

(04:31:01):
prisoner's box and faced them. The clerk asked, had they
reached a verdict?

Speaker 1 (04:31:08):
We have?

Speaker 18 (04:31:09):
What was their verdict?

Speaker 17 (04:31:11):
Find the prisoner guilted?

Speaker 6 (04:31:13):
No, I am, I noticed.

Speaker 22 (04:31:16):
I spoke the truth.

Speaker 13 (04:31:18):
I never touched him. I didn't do it.

Speaker 1 (04:31:21):
I didn't know it.

Speaker 18 (04:31:25):
Who spoke the truth?

Speaker 83 (04:31:27):
The foreman of the jury or Evans, the only witness
could never speak, and that witness, the leather bag, can
be found today.

Speaker 18 (04:31:39):
As I've told you in the Black Museum.

Speaker 17 (04:31:47):
Orson Wells will be back with you in just a moment.

Speaker 84 (04:31:50):
Now Here in person is Arson Wells.

Speaker 83 (04:32:56):
As the inspector said at the beginning of this tale.

Speaker 18 (04:32:58):
This case should have been open and shot.

Speaker 3 (04:33:02):
It was not.

Speaker 83 (04:33:04):
Still, Evans was found guilty by twelve men in the
jury box, and he paid for the murder of Warren
King at eight o'clock one morning in Newcastle Prison. Despite
the missing witnesses on both sides, the people who shared
the compartment of that last car the fatal train, the
people Evans claimed could have cleared him, the people who

(04:33:29):
may have seen him and the death compartment, several cars
forward the people who might have placed him at the
actual scene of the crime. And despite that missing silent
witness the death weapon itself. And now jol we meet
next time in this same place, and I tell you

(04:33:49):
another story about the Black Museum, and remains always obediently yours.

Speaker 84 (04:34:07):
The Black Museum, starring Orson Wells, is presented by arrangement
with Metro Goldwyn Mayor Radio Attractions. The program is written
by Ara Mariam, with original music composed and conducted by
Sydney Torch, produced by Harry Allen Towers.

Speaker 87 (04:35:37):
A mutual broadcasting system presents The Mysterious Traveler, written produced
and directed by Robert A. Arthur and David Cope, and
starring tonight's two are radio's foremost actors, Ralph Bell and
Charlotte Holland in Killer at Large.

Speaker 88 (04:35:59):
This is mister, and I think you to join me
on another journey, to go on with the strange and
the terrifying. I hope you will enjoy the trip, that
it will thrill you a little and chew you a little.
So settle back, get a good grip on your nerves,
and be comfortable if you can.

Speaker 3 (04:36:18):
As we drop in a very clever gentleman, A gentleman.

Speaker 88 (04:36:21):
Who perfected an ingenious plan to be rid of people
he disliked without ever having to suffer for it.

Speaker 3 (04:36:29):
I call his story Killer at Large.

Speaker 88 (04:36:41):
My friend, mister Geoffrey Andrews is temporarily confined to a hospital,
so we're going there to meet him.

Speaker 3 (04:36:49):
He's just been given a.

Speaker 1 (04:36:50):
Routine check up by a new staff physician, Doctor French. Well,
doctor French. How am I?

Speaker 27 (04:36:58):
You seemed to be in fine physical.

Speaker 34 (04:36:59):
Shavements, Andrews.

Speaker 17 (04:37:01):
Yes, you'll have to be letting me go soon.

Speaker 21 (04:37:04):
I certainly hope so.

Speaker 89 (04:37:05):
And I've had a good rest, but I look forward
to getting back into harness again.

Speaker 1 (04:37:10):
I'm Andrews first.

Speaker 3 (04:37:12):
You know Andrews First.

Speaker 1 (04:37:14):
That's the name of my business.

Speaker 89 (04:37:16):
You see, my name is Andrews, so I named my
firm Andrews First and all. My advertising carried the line
when you think of building materials, think of Andrews first.

Speaker 21 (04:37:27):
Yes, very clever.

Speaker 1 (04:37:29):
He used to drive my competitors crazy with my advertising. Yes,
I've pulled off many a smart deal, and I always
let the world in on it. After all, what's the
use of doing something smart if no one knows about it.

Speaker 3 (04:37:39):
Well, your to boast is certainly human.

Speaker 89 (04:37:42):
For instance, you probably don't know why I'm here. Have
had a chance to study my case here, I suppose
not in detail. Oh, then sit down.

Speaker 1 (04:37:49):
I'll tell you.

Speaker 89 (04:37:51):
It's really one of the cleverest deals I've ever swung.
Now tell me, have you ever wanted to get rid
of someone?

Speaker 17 (04:37:58):
Get rid of someone?

Speaker 3 (04:37:59):
You mean to kill them?

Speaker 1 (04:38:01):
Exactly kill them?

Speaker 71 (04:38:02):
No, No, I don't believe I have why because.

Speaker 89 (04:38:05):
Most people have at one time or another, but they
don't do it. They're afraid, afraid of the law of
being punished.

Speaker 31 (04:38:13):
That's what the law is for, to restrain people's violent impult.

Speaker 1 (04:38:16):
Exactly, unless you happen to be smarter than the law,
as I was, Because you see, I figured out how
to get rid of not just one person, but of two,
two people I disposed of and can't ever be punished
for me.

Speaker 3 (04:38:32):
It's an unusual achievement, you disprove.

Speaker 1 (04:38:37):
But I'm going to tell you how I did it.
As I said, what's the use of being clever if
people don't know about it and says the law can't
touch me?

Speaker 13 (04:38:45):
Why not?

Speaker 1 (04:38:46):
To make it clear, doctor, I'll go back to the
very beginning so that evening when I arrived home from
work to find my wife, Judith and my best friend
and personal physician at that time, Alex Hearn, deep in conversation.
They jumped the pot guiltily as I entered the.

Speaker 6 (04:39:03):
Room and closed the doorg.

Speaker 9 (04:39:05):
Oh, Jeff, it's you.

Speaker 1 (04:39:08):
Yes, I left the office early. Hello Alanks, how a
fine Jeff? Can you poor little time? I've been working
laid quite a bit recently.

Speaker 32 (04:39:18):
Yeah, so Judith is saying, what's this about? You are
buying a share in a new invention that's going to
make you richer than Rocket Feller.

Speaker 1 (04:39:25):
I've picked up for hilf interest in the new system
of television Alex. Three dimensional television in color sounds big, big,
it's colossal.

Speaker 54 (04:39:35):
Man.

Speaker 89 (04:39:36):
It's still in the blueprint stage, but we'll iron the
bugs out soon.

Speaker 1 (04:39:41):
But what were you two plotting so busily when I
came in planting?

Speaker 9 (04:39:46):
Well, dear, we were just talking nothing jerious.

Speaker 1 (04:39:49):
I was giving you to the little professional advice that's oh,
don't you feel well, darling?

Speaker 9 (04:39:54):
It's nothing, Jeff, nothing at all.

Speaker 1 (04:39:56):
Whatever it is I want to know about.

Speaker 9 (04:39:57):
It, Willie. It's just that i've been hea headaches lately.

Speaker 1 (04:40:01):
But Why didn't you tell me, Judith?

Speaker 9 (04:40:03):
I didn't want to worry you over nothing.

Speaker 32 (04:40:05):
It's really nothing serious that I've given you to the
prescription that will help her.

Speaker 13 (04:40:10):
Well.

Speaker 1 (04:40:11):
I think I better run along now another call to me.

Speaker 32 (04:40:14):
You take care of yourself now, both of you.

Speaker 1 (04:40:16):
As Alex left, I knew from his manner he and
Judith had not told me the truth. They were keeping
some secret from me. Could Judith be seriously ill and
they didn't want me to know? Or was it possible
Judith and Alex were were No.

Speaker 89 (04:40:37):
No, that could be a thing like that might happen
to other couples, but not to Judith and me. And
yet they were concealing something, and I had to know what,
so I took steps to find out.

Speaker 1 (04:40:52):
Mister Andrews, I'm from the Apex Detective Agency. I have
heard the report on your wife, he asked for Yes,
please are down, Thank you? What of you will learn?
Your wife left the house at eleven thirty this morning.
She caught the noon train into town. From the station,
she went directly the Union Department store. Whom did you

(04:41:14):
meet the Oh, she didn't meet anyone, Miss Dandrews. She
just looked around and then had lunch in the restaurant,
but afterwards, yes, Swan, she made a telephone call. A
few minutes later, she's picked up at the entrance by
a man in a dark green car. You've got the
license number?

Speaker 3 (04:41:31):
I hope yes.

Speaker 1 (04:41:33):
The car belongs to Alexander Hern who lives number.

Speaker 23 (04:41:37):
He knows the bress.

Speaker 1 (04:41:38):
We need to handle hundreds of such case, Miss Dandrews.
I suppose you want me to keep following it till
I get all the necessary evident No, I know what
you're thinking. It's not so. Yeah, And naturally I sympathize
Miss Dandrews, because it's a shock to learn your wife
is deceiving you.

Speaker 13 (04:41:53):
And you stop.

Speaker 1 (04:41:56):
You're joking me. It isn't so, you'll hear. My wife
loves me. There's nothing between them nothing, And I didn't
mean anything such.

Speaker 13 (04:42:05):
You'd want me to get out of here?

Speaker 1 (04:42:11):
There's nothing between them? How easily I'd said that? And yet,
why should Judith meet alex secretly in town? Where had
they gone after they had eluded the detective? I wanted
a cluster? But what was their secret? I had to
find out that night when I returned home.

Speaker 89 (04:42:32):
I casually questioned Judith Uh, what did you do with
yourself today?

Speaker 1 (04:42:37):
Dotty?

Speaker 16 (04:42:38):
Oh?

Speaker 9 (04:42:38):
I got so bored.

Speaker 75 (04:42:40):
I went into town for some inexpensive window shopping.

Speaker 1 (04:42:43):
Oh why didn't you phone me? I'd have taken you
to lunch?

Speaker 9 (04:42:46):
Well, I knew how busy you were there, so I
ate by myself.

Speaker 1 (04:42:49):
What did you do after lunch? Taking a show?

Speaker 6 (04:42:52):
No?

Speaker 9 (04:42:53):
Just window shop? Then came home on four a clock chain.

Speaker 1 (04:42:57):
Sounds like a lonely day. You should have taken someone,
will you Well?

Speaker 9 (04:43:02):
I didn't decide to go into the last moment anyway.
I liked the window shop alone, did jee? If you
look so strange? Aren't you feeling well?

Speaker 1 (04:43:11):
And I'm all right just a little time.

Speaker 75 (04:43:16):
Oh, poor darling, you're working much too hard these days.
You must stop the Jeff, really you must.

Speaker 1 (04:43:26):
I settled down, pretending to read, but my mind was
spinning tormentedly. I didn't decide to go until the last moment. Anyway.
I liked the window shop alone. How easily her answers
had come, as though she'd rehearsed them. But they were lies,
all of them. Could the detective have been right and

(04:43:49):
I wrong?

Speaker 6 (04:43:51):
No?

Speaker 1 (04:43:52):
I couldn't believe that. I had no proof.

Speaker 89 (04:43:56):
I had to have faith in Judith. I made my
I so believe I was doing her an injustice. But
the very next evening I found Alex at the house again.
He and Judith were walking in the garden, speaking together
in low tones so secretly they didn't even notice me.

Speaker 1 (04:44:13):
And Judith, you must listen to no. I tell you.
We can't go on like this.

Speaker 75 (04:44:18):
If we're careful, Jeff may never find out who he's
found to.

Speaker 32 (04:44:22):
People will begin to notice and talk. Sooner or later
Jeff will know that something's wrong, and the longer we wait,
the worst it'll be.

Speaker 35 (04:44:28):
In the end.

Speaker 9 (04:44:29):
I know, oh Alex, I can't bear to hurt him.

Speaker 32 (04:44:33):
Judith, I understand how you feel, but it can't be helped.
Now I have a plan worked out that can't fail.

Speaker 35 (04:44:41):
A planer.

Speaker 32 (04:44:42):
Two psychiatrists who are friends of mine will sign the papers,
and Jeff will be quietly committed to a private sanitarium.

Speaker 71 (04:44:48):
But we'll make him.

Speaker 1 (04:44:49):
Think it's just for a short rest.

Speaker 3 (04:44:51):
He never suspect a thing, Oh Alex, I couldn't.

Speaker 35 (04:44:54):
But we can't go on.

Speaker 1 (04:44:55):
Hiding the truth from him like this. Believe me, Judith
is the only way out.

Speaker 75 (04:45:00):
All right, I'll do whatever you say but we mustn't
let Jeff suspect what's happening.

Speaker 1 (04:45:11):
And I had faith in her.

Speaker 89 (04:45:14):
I thought I was misjudging her, when all along she
and Alex had been scheming the railroad me into a sanitarium.

Speaker 1 (04:45:22):
Oh, it was a clever plan.

Speaker 89 (04:45:24):
Alex could manage it through his professional connections, and Judith
would become administrator of my fortune. I almost let them
know I'd overheard them, and then I got control of myself.
There was a better way to handle the situation. I
had to think about it and decide what to do.
So I slipped quietly away, and a little later I

(04:45:46):
took Judith out for a drive, as though I suspected nothing.

Speaker 1 (04:45:49):
But as I drove, I pondered how best to punish.

Speaker 9 (04:45:55):
What are you thinking about, Jeff?

Speaker 75 (04:45:57):
You hardly said a word all evening?

Speaker 35 (04:46:01):
Jeff, I'm speaking to you.

Speaker 1 (04:46:02):
Oh ah, I'm sorry, dear. I'm afraid my mind was
on business.

Speaker 75 (04:46:07):
You really are working too hard these days.

Speaker 1 (04:46:09):
Oh, I'm not working that hard.

Speaker 13 (04:46:11):
Too bad.

Speaker 1 (04:46:12):
We couldn't persuade.

Speaker 71 (04:46:12):
Alex to come with us tonight.

Speaker 1 (04:46:14):
He's always such fun when he forgets. He's a doctor.

Speaker 75 (04:46:17):
That's because he puts his work completely out of his
mind when he gets a chance to relax.

Speaker 1 (04:46:21):
I suppose it would be better if I would like Alex,
of course.

Speaker 25 (04:46:25):
Not dear.

Speaker 9 (04:46:26):
I like you just as you are, there, silent moods
and all. I wouldn't want to change.

Speaker 1 (04:46:36):
She lied. I knew she was lying by now. I
found it impossible to believe a word she said. I
had too much evidence of the contrary.

Speaker 13 (04:46:47):
Aristmas Travis shocked the quay.

Speaker 16 (04:46:52):
But if you're Jeff, we never find out. I have
a plan worked out and can't fail this. Chiacters sword
fens of mine. I'll sign the papers and guess will
be quiet. They committed to a private sanitarium.

Speaker 17 (04:47:08):
I like you just as you are.

Speaker 1 (04:47:09):
Jeff.

Speaker 13 (04:47:10):
Silence moved to her.

Speaker 35 (04:47:12):
I wouldn't want to change.

Speaker 89 (04:47:15):
How easily she said, bad, How smoothly she continued.

Speaker 1 (04:47:20):
Her deception met her rage burned inside me, and deliberately
I stepped hard on the throttle. We went faster and faster,
until Judith became fight Jeff, why.

Speaker 9 (04:47:33):
Are you going so fast? We're doing more than sixty
in it. There are a lot of curves in the road.

Speaker 13 (04:47:37):
Oh worry, Judith.

Speaker 1 (04:47:38):
I'm a good driver.

Speaker 51 (04:47:39):
Yes, for Dunny, We're all look.

Speaker 75 (04:47:40):
At the tempt me now, jeff plea, plee, so down,
we'll be killed too bad?

Speaker 1 (04:47:43):
Alex with us, he'd enjoyed it now, jeffree.

Speaker 75 (04:47:45):
Darning, slow down, there's a cross, no dayd then a curve.

Speaker 13 (04:47:48):
Yes, you'll kill a room bro.

Speaker 1 (04:47:53):
I kept my foot hard on the throttle. I knew
there was a curve ahead and behind it a three
hundred foot drop into a canyon. I made up my
mind I drive over the cliff and end everything a book.
This if only I'd had Alex and the car, everything
of the perfect He deserved to die too.

Speaker 89 (04:48:08):
I had the thought my mind clear and abruptly, how
stupid it would be to kill myself and be ive
Alex unpunished. But I knew perfectly just how to make
him pay. I slowed the car as I planned all
my moods.

Speaker 1 (04:48:25):
They're going to try to commit me to a home,
were they all right? I'd fall in with their plot.
I'd actually help them by pretending to be unbalanced. I'd
make it easy for them, and in a few days
a week, perhaps we'd see who was the cleverer. We'd see, well, Alex,

(04:48:52):
I'd tell you, there's millions in this now system. Of television.

Speaker 9 (04:48:55):
Maybe brilliant Dan's just speaking so loudly. Everyone in the
restaurant is w at what does the matter?

Speaker 1 (04:49:02):
Nothing can stop me now, man, in five years, I'll
be one of the wealthiest men of the world with
my genius for organizations.

Speaker 32 (04:49:08):
But Judah tells me that last week you didn't go
to your office at all. You just sent around the
house and wouldn't say a word to anyone.

Speaker 1 (04:49:15):
Ah, Well, do you know how it is, Alex? Sometimes
a man feels a little blue or geniuses like that. Now,
when I set up my new television network, I'll revolutionize
world communication. I'll have a monopoly. No one will be
able to butt hand. Furthermore, and when I'm talking, seeing

(04:49:35):
Alex's eyes and narrow as he watched me, he saw
me all the symptoms of the manic progressive, the.

Speaker 89 (04:49:42):
Exaggerated ideas of importance, the extravagant.

Speaker 1 (04:49:45):
Dreams of wealth. Soon others would notice my business associates,
my friends, the servants. And when that time came, I
could count on a visit from Alex, bringing his psychiatrist
friends to look me over. And visitor would be coming
very soon.

Speaker 75 (04:50:02):
Now, very soon, Jeff Dolly, Alex has come to see you.
He has two friends with him.

Speaker 32 (04:50:15):
Hello, Geff Omen, how are you?

Speaker 3 (04:50:18):
Oh?

Speaker 1 (04:50:18):
Just fine, Alex. The last month I've been working on
the Plants, my television network. It's going to be the
biggest thing of the century. Jeff, I want to talk
to you, and I want you to meet some men
I bought with me. Oh, I have no time to
talk with strangers.

Speaker 32 (04:50:31):
There are two doctors, close friends of mine. What do
they want with my plans?

Speaker 1 (04:50:34):
Taking up all my time out?

Speaker 32 (04:50:35):
They're here because of your new project, Jip. You see,
Judith has been a faid.

Speaker 1 (04:50:41):
You're working too hard these days.

Speaker 75 (04:50:42):
I'm probably just being silly, Dolly, but I would like
you to have a thorough examination before really starting on
your new enterprise.

Speaker 1 (04:50:50):
You don't mind, Oh, I haven't time to bother with
such things. There, I have too much to do, Jeff. Oh, well,
all right, it mustn't take too long now. So they're
waiting in the hall. I'll bring them right in. At last,
my patience is being rewarded, Alex and Judiph's scheme was
working perfectly, and so was mine. Alex brought in his

(04:51:14):
friends and introduced them as doctors Carlton and Marshall. Without
waiting for them to question me, I plunged into an
excited description of my plans.

Speaker 89 (04:51:22):
As I went on and on, I saw them look
at each other and nod slightly. Then, as though they
were satisfied, Doctor Marshall brought the conversation to a close.

Speaker 31 (04:51:31):
There will be enough for the time being, mister Andrews.
I should like to continue this discussion another time.

Speaker 1 (04:51:37):
But doctor, I haven't finished telling you of my plans.

Speaker 9 (04:51:39):
Jether, you need some risks, Yes, there, you look so tired.
Let me take you to your room.

Speaker 1 (04:51:45):
All right, Judi, but I can't rest long. I have
too much work to do.

Speaker 31 (04:51:51):
Alex watch them carefully. There should soon be a definite change.
The elated mood should give way to despondency.

Speaker 1 (04:51:58):
After that, I couldn't help over hearing doctor Marshall's words.
Judith led me.

Speaker 55 (04:52:08):
Out of the room.

Speaker 1 (04:52:09):
Alex watched him carefully. They should soon be a definite change,
and he was correct. I knew the right symptoms just
as well as he did. So the next day I
became depressed, refused to speak, claimed that I was being persecuted,
and even pretended to cry and self pity, And the
following morning, Alex and his two friends were back again

(04:52:31):
mourning mister Andrews. You remember doctor Marshall, Jeff and doctor
Carlton Jes yellow to you, Jeff, Now let me alone.

Speaker 12 (04:52:43):
I didn't want to talk to anyone.

Speaker 3 (04:52:45):
Uh h.

Speaker 31 (04:52:46):
The other day you were highly enthuriosed about your new
business venture.

Speaker 3 (04:52:50):
Don't you want to tell me more about it?

Speaker 6 (04:52:52):
Now?

Speaker 1 (04:52:53):
No one cares about my plans. I'm alone, all alone.
Everyone's against me.

Speaker 18 (04:52:59):
Yeah.

Speaker 3 (04:52:59):
Er do you feel this way often?

Speaker 31 (04:53:02):
I mean that everyone's against you and life isn't worth living.

Speaker 17 (04:53:06):
Yes?

Speaker 34 (04:53:07):
How did you know?

Speaker 18 (04:53:08):
Well, that's because I am your friend.

Speaker 3 (04:53:11):
You can tell me all about it.

Speaker 1 (04:53:12):
You don't know what it's like to be all alone,
to have no friends, to know that everyone hates you,
wants to hurt you.

Speaker 31 (04:53:18):
Yes, I understand. Well I'll see that no one hurts you.
Wouldn't you like to go someplace where you'd be safe,
or you'd be surrounded by people who were your friends
wanted to help you.

Speaker 1 (04:53:28):
Yes, yes, I'd like that. There isn't any such place.

Speaker 18 (04:53:31):
I think I know one.

Speaker 3 (04:53:33):
But we've talked long enough for now.

Speaker 1 (04:53:36):
Shall I have Judith take him in the garden?

Speaker 3 (04:53:37):
Yes, yes, I I think if we're doing good, I.

Speaker 32 (04:53:40):
Judah, Perhaps a little pressure I would make Jeff feel better.

Speaker 1 (04:53:43):
Why don't you take him for a walk in the garden.

Speaker 9 (04:53:45):
Yes, of course.

Speaker 75 (04:53:46):
Haven't give me your handguaring. We'll go out in the
sunshine for a while.

Speaker 1 (04:53:50):
You I'll call you when we're ready.

Speaker 9 (04:53:51):
Yes, all right, Alex.

Speaker 1 (04:53:57):
I'll let Judith lead me into the gardens.

Speaker 89 (04:54:00):
Through the library windows I could see Alex of two psychiatrists.
Alex wasted no time getting them to sign the papers
that would commit me to a home from which he
and Judith would see I never emerged, but he didn't
know the signing of those papers meant my scheme had succeeded,
not his. After a few minutes, Alex came to the

(04:54:21):
door and called Judy, will you bring jaff.

Speaker 1 (04:54:24):
In or yes? All right? Come along, dear, all right,
I'll come.

Speaker 42 (04:54:30):
Oh Jeff.

Speaker 32 (04:54:32):
We've been talking things over and doctor Marshall knows a
place where you.

Speaker 3 (04:54:37):
Would be very happy.

Speaker 31 (04:54:38):
Yes, it's mister Andrews small rest home upstate.

Speaker 3 (04:54:42):
You'll be able to get a good rest.

Speaker 6 (04:54:43):
There among friends.

Speaker 1 (04:54:46):
Anything.

Speaker 31 (04:54:46):
I don't care, no reason you shouldn't go up today.

Speaker 3 (04:54:49):
Alex can drive you up this afternoon.

Speaker 1 (04:54:51):
I don't care.

Speaker 42 (04:54:51):
When we go.

Speaker 1 (04:54:52):
Nothing makes any difference to me and Darling.

Speaker 9 (04:54:55):
In a little while, you'll be home again, feelings so
much better.

Speaker 1 (04:55:00):
Come to Judith and I will help you pack.

Speaker 75 (04:55:03):
Jess, give me your hand, No, Jess and hooker with
Alex to your room and pack your things.

Speaker 1 (04:55:12):
And we'll go with Alex to your room to pack
your things. My best friend and my loving wife, and
they couldn't wait to get rid of me. But I
was smiling to myself in triumph as Judith.

Speaker 3 (04:55:27):
Opened the door to my room.

Speaker 9 (04:55:29):
Come in, dear, now you just sit down and you'll
take care of everything.

Speaker 6 (04:55:38):
It must have courage.

Speaker 17 (04:55:39):
It's almost good.

Speaker 32 (04:55:41):
I think two bags will be enough. And now if
Jeff needs anything later, you can take it to him.

Speaker 9 (04:55:46):
Here Alex, Jeffy, what suits would you like?

Speaker 8 (04:55:51):
Jeff?

Speaker 9 (04:55:51):
What are you looking in that golf bag for?

Speaker 1 (04:55:54):
There's something I've been keeping here. I've got it now, Jeff,
a revolver. Yes, I'm fully loaded.

Speaker 32 (04:56:05):
Well, what do you want the gun?

Speaker 71 (04:56:06):
Boy?

Speaker 13 (04:56:06):
Jeff here, give it to me.

Speaker 1 (04:56:07):
I'll take care of it.

Speaker 6 (04:56:08):
Boy.

Speaker 1 (04:56:08):
Here you are, that's bedding. I want to talk to you.
I've been waiting quite a while for this moment. What
are you saying, oh, come, come, Judith. You don't have
to pretend anymore.

Speaker 3 (04:56:22):
Jeff, let me have that.

Speaker 1 (04:56:23):
I understand still our shoes, Alex? You mean, yes, I
do mean it. Your little plot's been an extremely clever one.

Speaker 3 (04:56:32):
A little plot.

Speaker 89 (04:56:33):
What do you mean, the idea of having me committed
so you too could be rid of me? But you
must admit I did help it long by my cooperation.

Speaker 9 (04:56:42):
Jeff, what are you talking about.

Speaker 1 (04:56:43):
It's no use pretending any more, my dear.

Speaker 89 (04:56:46):
I've done everything for weeks, ever since I overheard the
two of you talking in the garden one evening.

Speaker 9 (04:56:52):
You heard us talking in the garden.

Speaker 75 (04:56:54):
Then that was why you almost killed yourself and me
that night when you were driving so fast.

Speaker 89 (04:56:58):
Yes, I changed my mind because that would have left
dear Alex still alive. Jeff, you don't understand the conversation
you overheard my best friend and my loving wife.

Speaker 1 (04:57:11):
Well, you'll be together without me or right, but it
will be in different worlds.

Speaker 35 (04:57:15):
You're mad, really mad.

Speaker 1 (04:57:16):
Of course I am, my dear. Of course, haven't two
reputable doctors signed papers testifying to the fact. Aventually asked
the law relieves me responsibility for my actions. You aren't
going to, but I am. Jeff, Yes, my dear, Yes,
I'm going to give you both what you deserve death.

Speaker 9 (04:57:36):
No, no, Jeff, No, you're wrong.

Speaker 1 (04:57:38):
You must do nothing to listen. But I shall be
as considered as possible, my dear, I shall punish Alex first.

Speaker 32 (04:57:48):
No, Jeff, we have been keeping a secret from you,
but it's not the secret you think. If you're wrong
about the whole affair, I.

Speaker 1 (04:57:54):
Don't think so, Alex.

Speaker 9 (04:57:55):
Yes, for the don don't jaim, Jeff.

Speaker 3 (04:58:01):
You should have listen.

Speaker 1 (04:58:03):
You you've children, Yes, Judy, and now it's your turn.
I should be lonely without you. I loved you so much.

Speaker 8 (04:58:20):
You mustn't kill me because you're wrong.

Speaker 66 (04:58:21):
I still love you.

Speaker 7 (04:58:23):
I do.

Speaker 1 (04:58:23):
I wish I could believe that, but I can't.

Speaker 75 (04:58:26):
If you've misinterpreted what you heard, Really you have, I think?

Speaker 9 (04:58:30):
Please please give me time enough to explain.

Speaker 1 (04:58:32):
Every ever would not fit time enough, my dear, And
I would rather not think of you dying with lies
upon your lips.

Speaker 13 (04:58:37):
But they're not.

Speaker 9 (04:58:39):
No, Jeff, no, no, put down that.

Speaker 75 (04:58:40):
Don't your muscle.

Speaker 1 (04:58:42):
Hell, No one can help you. You see, the door
is locked. Lord be over long before anyone can get here.
Now look into my eyes. You have to get into
this throne in time, my dear, now look into my eye.

(04:59:04):
It's because I loved you so much that I had
to do this. Now it's provide Judy.

Speaker 89 (04:59:18):
So doctor, that's how I did it. I pulled the
trigger just as doctor Marshall and back of Carton broke
the door down too late to save Judy.

Speaker 1 (04:59:30):
And you see the beauty of my plan. Of course,
it was perfectly safe. I was certified as being of
unsound mine, so I couldn't be punished.

Speaker 18 (04:59:40):
Oh.

Speaker 89 (04:59:41):
Actually, for the last two years I've been confined here
in this institution, but I haven't minded it. Really, I've
been gradually responding to treatment. I've been careful not to
respond to first, you see. And soon you'll be letting
me go as cured. I'll be free as air. Now

(05:00:01):
I asked you, doctor, Wasn't that rather clever?

Speaker 1 (05:00:05):
It might be considered so, mister Andrews, it might have
you told me all this. Aren't you afraid I'll report it?

Speaker 89 (05:00:13):
The police will never believe it. Besides, they could do
nothing if they did. No, Doctor, I'm in the clear.
I'll start a new life and take up my plans
where I left off that uh, television invention is still waiting.

Speaker 13 (05:00:25):
To be developed.

Speaker 75 (05:00:27):
Hello, may we come in?

Speaker 32 (05:00:29):
Doctor Marshall said it'd be all right for us to
speak to you today.

Speaker 1 (05:00:33):
Well, hello, old man, how are you truly.

Speaker 3 (05:00:38):
A linx?

Speaker 75 (05:00:41):
Oh no, darling, I'm so glad to be able to
see you again at last.

Speaker 1 (05:00:45):
No, No, you're not real, you're jes Randrews. Send them away,
never right to come back. I chose them, but that Strandrews.

Speaker 17 (05:00:56):
Calm yourself.

Speaker 13 (05:00:57):
Please, I'll take care of them. I'll send them back
where they belong.

Speaker 1 (05:00:59):
Please, both of them comes the grass.

Speaker 3 (05:01:04):
The dead must Yes, yes, of course, Jeff.

Speaker 1 (05:01:06):
We won't bother you again. I can't be a.

Speaker 25 (05:01:10):
Standing with the dead.

Speaker 56 (05:01:11):
I will stay for it.

Speaker 12 (05:01:13):
I tell you I want to stand for it.

Speaker 32 (05:01:19):
We'd never come doctor French. But we thought he was
almost well, Yes, so did we.

Speaker 31 (05:01:24):
But we were wrong, just temporary improvement. He still believed
that you were plotting against him and that he killed
you for it.

Speaker 9 (05:01:31):
But you understand the truth, don't you.

Speaker 3 (05:01:33):
I think I do.

Speaker 9 (05:01:34):
Yes.

Speaker 75 (05:01:34):
Well, he overheard us talking about his mental condition and
trying to decide what to do about it, and he
completely misinterpreted what he heard, and then he tried to
shoot us and had to be.

Speaker 9 (05:01:46):
Broad here.

Speaker 3 (05:01:48):
Of course, missus Andrews.

Speaker 1 (05:01:51):
But I'm afraid we'll never be able to make him
believe the truth.

Speaker 31 (05:01:58):
You see in his mind, he's killed you. As far
as he's concerned, you're dead. I'm afraid you must never
see him again. Didn't live out his life here believing
he has committed a murder for which he cannot be punished.

Speaker 88 (05:02:39):
There's a mysterious sadder again. Well, Jeff's idea look like
a good win for a while. Isn't it that I
don't advise you to try. You might wind up the
way Jeff can. In fact, my advice is to forget.
The whole thing will be much happier. There's no such
thing as a perfect crime, which sure to my story

(05:03:01):
for next week. Death has two faces. It's about a
gentleman who discovers a new way to die in which
he lets someone else do all the work and heat.
You have to get off here.

Speaker 6 (05:03:15):
I'm sorry, and.

Speaker 88 (05:03:17):
I'm sure we'll meet again. I take this same train
every week at the same time.

Speaker 87 (05:03:44):
You have just heard The Mysterious Traveler with a title
role played by Maurice Tartlin.

Speaker 71 (05:03:49):
Others in our cast were Ralph.

Speaker 1 (05:03:50):
Bell, Charlotte Holland, at Poland, and Chester Stratton.

Speaker 87 (05:03:55):
All characters in our story were fictitious, and any resemblance
to the actual person's living on dead is truly coincidental.
Original music composed and played by Alfon.

Speaker 1 (05:04:04):
Atleast they'll talking speaking.

Speaker 87 (05:04:07):
This is the world's largest network a mutual broadcasting system.

Speaker 4 (05:04:34):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weird Darkness dot Com is

(05:04:55):
also where you can listen to free audio books 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

(05:05:16):
for joining me for tonight's Retro Radio, Old time Radio
and the Dark

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KING KONG – A 1938 Radio Drama!

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}KING KONG – A 1938 Radio Drama!