Learn About THE DEATH’S HEAD MOTH and People Who NEVER GET FAT! #RetroRadio EP0308 #WeirdDarkness

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's heard during the podcasts that are not in my
voice or placed by third party agencies outside of my
control that should not imply an endorsement by Weird Darkness
or myself.

Speaker 2 (00:15):
Latins, Afeliate Stations, Present Escape.

Speaker 3 (00:21):
Oh of Fantasy. I'm gonna thank some miss.

Speaker 4 (00:29):
Oh ah Man uh.

Speaker 5 (00:38):
Me Seal.

Speaker 4 (00:44):
Present Suspense.

Speaker 3 (00:49):
I am a whistler.

Speaker 1 (01:00):
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,
welcome to the show. While you're listening, be sure to

(01:20):
check out Weirddarkness dot com or merchandise. Sign up for
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to free audiobooks that 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, bult your doors,

(01:42):
lock your windows, turn off your lights, and come with
me into Tonight's retro Radio, Old Time Radio in the Dark.

Speaker 6 (02:00):
The CBS Radio Mystery Theater presents.

Speaker 7 (02:20):
Come in.

Speaker 4 (02:23):
Welcome.

Speaker 2 (02:25):
I'm e. G.

Speaker 6 (02:26):
Marshall, Dean of this College of Macabre Knowledge. We are
told that we should forgive our enemies, but nowhere are
we told that we should forgive our friends.

Speaker 2 (02:41):
Ody.

Speaker 6 (02:42):
How easily we recognize those who would destroy us through
evil motive, how difficult to perceive those who will ruin
us for love? But why is this so surprising? Isn't
the road to help paved with good intent?

Speaker 4 (03:00):
So you see, my dear, we're talking about at least
three million dollars.

Speaker 2 (03:06):
And that's why you hired me so I could cheat.
Mister Gillespian.

Speaker 6 (03:11):
Cheat is a harsh word, but it's true. And what
will you do with me afterwards?

Speaker 4 (03:17):
Why we shall give you your share?

Speaker 2 (03:21):
Won't you just kill me the way you killed everybody else?

Speaker 4 (03:25):
We killed the others because they forced our hand. Give
us no motive and we'll let you live.

Speaker 2 (03:32):
Aren't you afraid I'll go to the police.

Speaker 4 (03:35):
No, because we will have evidence to show that you
are the one who poisoned missus Dame Loom.

Speaker 6 (03:41):
But that's a lie. Oh, I don't want any part
of it.

Speaker 4 (03:46):
Oh, my dearness Watson, what are we proposing only to
make you fabulously wealthy? Why are you being so difficult
about it?

Speaker 6 (04:05):
Our mystery drama The Person to Be Notified was written
especially for the Mystery Theater by Sam Dan and stars
Mercedes McCambridge. It is sponsored in part by Anhuser Busch Incorporated,
brewers of Budweiser and Buick Motor Division.

Speaker 4 (04:23):
I'll be back shortly with that one.

Speaker 8 (04:38):
What is love?

Speaker 6 (04:41):
That's the oldest question in the world, and why? Because
no one has ever been able to answer it to
the universal satisfaction. Therefore we keep asking and asking. There
is a young man named James Morton. There is a
young lady named Sarah Watson.

Speaker 4 (05:01):
They have nothing in common.

Speaker 6 (05:04):
They meet by chance, and if they will fall in
love in our story, they will be completely unaware of
it until Well. We're still almost an hour away from
the answer, so let us begin at the beginning. James
Morton is a manager of an employment agency.

Speaker 2 (05:25):
Please sit down. Have you filled out the applications? Miss Watson?

Speaker 8 (05:30):
Oh?

Speaker 2 (05:30):
Yes, yes, I see. Sarah Watson. You were previously a
secretary for Stare at Valentine Inc. Why'd you leave the
company went bankrupt? Oh yeah, well that's oh two years
of college, that's all to the good. Well, unfortunately, there's

(05:51):
very little stirring at this particular time. Are you saying
that you have nothing for me? Well not at the moment.
Perhaps you know things our job wise, we'll hold your
application on file and they thank you goodbye. One moment.
You didn't fill out the application completely, I'm sure I did. Well. No,

(06:11):
you see the last line where it says person to
be notified. Yes, yeah, you left that blank.

Speaker 9 (06:16):
I know.

Speaker 2 (06:19):
We have a rule that this agency all forms must
be fully filled in, fully filled in almost sounds like
a song. There's a state regulation to that effect. So
would you mind putting down the name of someone? I can't.
Why not because I don't have anybody. Oh well that's

(06:40):
what it's Well, everybody has somebody to notify. Well I don't.
Are you saying you have no family, no friends. I'm
saying there's no one I would care to notify in
the event that something happened to me. I find that
difficult to believe. I am all alone in the world. Well,

(07:00):
no one is that alone.

Speaker 10 (07:01):
I am.

Speaker 2 (07:03):
Goodbye, But you must fill out the form. All right,
what is your name? James Morton?

Speaker 6 (07:12):
All right, James Morton, there you are, But you can't
put my name.

Speaker 10 (07:19):
Why not?

Speaker 2 (07:19):
Well, because it has to be someone who knows you
right now. You know more about me than anybody else.
You know my name, my age, my address. It has
to be someone you know.

Speaker 6 (07:28):
I know you as well as I know any of its.

Speaker 2 (07:31):
Miss. It has to be someone who means something to you.
No one means more to me than you do. Well,
I really need a job, mister Morton. I'll take anything.
I'll go anywhere. So if anything at all comes up,
please call me. Huh, goodbye, miss miss Watson. Just a minute,

(07:53):
did you say you'd go anywhere? Anywhere?

Speaker 10 (07:55):
Else?

Speaker 2 (07:56):
There may be a job. Okay, But the reason I
didn't think to mention it before is you appear to
be a very attractive young lady. Oh yes, And so
therefore I had naturally assume that you'd be unwilling to
I guess the word is bury yourself on a small
private island off the coast of northern Maine. And why
did you make that assumption? I Well, looking at you,

(08:20):
I would assume that you would have a very active,
busy social life here in the city. I could leave today.
One of the qualifications for this job is that the
lady must have no ties or connections. I'm qualified as
I understand that an elderly gentleman is writing a book.
He requires a secretariat. It would be rather dull those

(08:42):
jobs are, and he wouldn't want a young lady who
would be bored after a while and quit. Well, I
couldn't afford to quit. Well, aren't you going to ask
how much the job would pay? I would expect it
to pay as much as my last one. The gentleman's
attorney is here in town interviewing applicants. I must say
he's having difficulty finding someone. His name is mister Carberry.

Speaker 4 (09:10):
May I ask if your hair is naturally red, miss Watson, And.

Speaker 2 (09:14):
May I ask what business it is of yours, mister Carberry.

Speaker 4 (09:18):
Well, your prospective employer, mister Gillespie, is a rather conservative
gentleman who becomes upset that changes. Well, and you young
ladies of today, you are constantly altering your appearance, and
mister Gillespie would find that disconcerting.

Speaker 2 (09:35):
Well, I shall do nothing to disconcert mister Gillespie.

Speaker 4 (09:41):
I notice you're wearing a dress, Miss Watson.

Speaker 6 (09:44):
Yes, I believe it's the prescribed female attire.

Speaker 4 (09:48):
And only at dinner in the evening. In the daytime
at Rotherwood, young ladies are expected.

Speaker 2 (09:54):
To wear are the other young ladies?

Speaker 4 (09:56):
Oh no, no, you'll be the young lady. And mister
Gillespie is accustomed to seeing young ladies attired.

Speaker 6 (10:02):
In shirtwaists and skirts. Shirt waist, well, I believe you
would call them blousey.

Speaker 2 (10:09):
Also, I don't think I have anything.

Speaker 4 (10:11):
Well, then you'll be supplied with someone, you see, miss Watson.
Mister Gillespie lives in the past. He chooses to isolate
himself on his estate and create an ambience of a
bygone era.

Speaker 2 (10:24):
When young ladies wore shirtwaist precisely.

Speaker 4 (10:28):
Now, if you're afraid that might prove.

Speaker 2 (10:30):
Dull Oh no, no, no, really, I have no objection.
I'm not looking for excitement.

Speaker 4 (10:35):
One other question. I asked the agency of course to
screen out of applicants, but one should always double check
for one cell. Have you any relatives? No, you're alone
in the world completely Now. The salary you will admit
is rather generous. We will pay you fifteen thousand a year,

(10:55):
plus room board and expenses. I will require you to
sign a two year contract. Object not at all. Well,
then it's settled. Can you leave one of fifteenth?

Speaker 2 (11:05):
I can leave sooner.

Speaker 4 (11:06):
Well, you'll need the time. Now here's a check for
one thousand dollars. You'll have to purchase a suitable wardroom.

Speaker 2 (11:14):
What are all those papers?

Speaker 4 (11:15):
Well, this is a list of the clothes you should
buy to guide you one color and style. And here
are some photographs.

Speaker 2 (11:23):
Oh, I don't think any of this is my taste.

Speaker 4 (11:29):
But then again, none of it is to be bought
with your money.

Speaker 2 (11:33):
I see.

Speaker 4 (11:35):
Well, we shall all get along just splendidly. Now nine
o'clock in the morning of the fifteenth you'll go to
the airport to get one sixteen. Mister Gillaspie's private plane
will be waiting for you.

Speaker 2 (11:47):
How does that square with his old fashioned attitude?

Speaker 4 (11:51):
It's the only concession he makes to reality.

Speaker 6 (12:00):
That you do not like the roadstone for your senor Morton.

Speaker 2 (12:04):
Oh, yes, it's it's fine, But you.

Speaker 11 (12:07):
Have not eaten a bie.

Speaker 12 (12:08):
I have been watching you. You seem to be a
thinker tonight.

Speaker 2 (12:13):
Yes, young lady came into my office looking for a
job today, and she filled out the usual form in
an unusual way until she came to the last line.

Speaker 13 (12:23):
You know what.

Speaker 2 (12:23):
The last line requires her to state no. It asks
her to enlist the person to be notified in case of, well,
you know, in case of I know, Well, she said
she had no one to notify. I couldn't believe it.

Speaker 6 (12:38):
Why she's so difficult to believe?

Speaker 2 (12:40):
Well, because everybody has someone, a relative, a close friend, everyone,
of course everyone. Do you, senor Morton?

Speaker 8 (12:51):
Do you?

Speaker 12 (12:53):
How do you ask such a question? How do you
answer it? You come in here almost every for dinner.
Also on many years Sunday afternoon, you come alone. So
you do not.

Speaker 4 (13:05):
Live with their family.

Speaker 2 (13:07):
You are not married.

Speaker 12 (13:09):
It is obvious you are not keeping company with a
young lady.

Speaker 2 (13:13):
So who is there for you to notify? Well, my partner?
Why do you say?

Speaker 4 (13:20):
Well, say my partner?

Speaker 2 (13:23):
Because outside of the business, we don't know each other.
We don't see each other. He's a much older man.
We have nothing in common except the fact we seem
to be able to run a profitable business.

Speaker 12 (13:32):
If, and I pray it shall never come to pus,
you should meet with a misfortune.

Speaker 14 (13:39):
Who would grief for you?

Speaker 2 (13:40):
Who would miss you? And now that I think of it,
Senor Spindola. If if I had to fill out that
for him, I would put down your name.

Speaker 12 (13:51):
Tell me about the young lady whose name the she
finally put down.

Speaker 2 (13:57):
Well, she insisted she didn't know anyone. I said, we
had to have someone, so she wrote down my name. Ah,
and she fell in love with you. That is ridiculous. Well, yes,
would she write your name down? Because because she had
to write down something and I was sitting there, No, Senor,
more to no, she looked at you and suddenly her

(14:18):
heart was lost.

Speaker 6 (14:20):
Come on, she may not know this yet, but that
is why she wrote your name.

Speaker 2 (14:35):
These are to be your quarters. Oh oh my, it's lovely. Well,
thank you, missus Bingley. I'm sure I'll be very happy here. Ah. Yeah,
of course I expected a room, but this is a
whole sweet And don't let it go to your head.
Well I did. Did they say you were to have

(14:56):
dinner in the main hall tonight? Well, frankly, I don't
be frank of me, because I'm not going to be
frank with you. Who do you I don't understand. I'm
telling you right off. I'm not on your side. Sorry,
I don't know anything about sides. I just got here

(15:16):
when you've got big eyes and they can get very round.
But I don't think it'll help you any more than
it helped all the other girls. What other girl's coming
here now? And here's steps in the corridor. Who's coming?
Conscious pilot?

Speaker 4 (15:32):
Ah, Welcome to Rotherward, miss Watson. I say you've met
our missus Damoner, probably the best housekeeper in the entire state.

Speaker 2 (15:41):
Now, do you excuse us?

Speaker 4 (15:42):
Missus Dealer?

Speaker 2 (15:43):
Is she going to eat in the great hole? And I, oh, no,
I can see why she isn't ready yet.

Speaker 4 (15:50):
I believe that will be all missus Dayler. I give
her a You are excused, Missus Damoner.

Speaker 2 (15:55):
She'll get wise to you. The old man will get
all right. All right, I'm leaving.

Speaker 4 (16:02):
Well, did you have a pleasant flight?

Speaker 6 (16:05):
Yes?

Speaker 4 (16:06):
Find your quarter satisfactory?

Speaker 10 (16:07):
Oh?

Speaker 4 (16:08):
Very We want you to be comfortable.

Speaker 2 (16:12):
Will you answer a question, mister Carberry? Hello, of course,
would you tell me just what is going on around here? Anyhow?

Speaker 15 (16:28):
What?

Speaker 6 (16:29):
Indeed, now you must admit we've given you several basic
facts to chew on. For instance, why would they want
a girl who has no ties at all? Why are
they offering such an attractive salary? Who is Missus Damler,
who's the old man? What sides are there in conflict here? Well,

(16:53):
in the first act you present, In the second you unfold,
and I shall take you into my confidence after your
announcer takes you into his for the next few moments.

(17:20):
Why would a girl, an attractive, desirable girl, cut herself
off from all social opportunities and take a job in
a mansion on an island off the coast of Maine.
Why would her employer insist on a girl whose absence
would in effect cause no concern to anyone. Well, that's

(17:43):
how jobs are filled now, by employers and employees who
fill each other's needs.

Speaker 2 (17:50):
Mister Cabbery, tell me what is going on around here?
Why did missus Damler say, I wasn't ready ready for
a quote?

Speaker 4 (17:59):
Oh, you must listen to what Missus Damer says.

Speaker 2 (18:01):
Missus Deemler implied that there was a whole series of
girls hired before me.

Speaker 4 (18:06):
Ah, yes, unfortunately none of them proved satisfactory. Why the
job will require infinite delicacy and tact.

Speaker 2 (18:17):
Describe the job?

Speaker 4 (18:20):
You're to help mister Glespie with his book.

Speaker 2 (18:23):
When do I meet mister.

Speaker 4 (18:24):
Gillespie, Missus Watson mister Gillespie must be humored at all times.

Speaker 2 (18:30):
Well, I'm not sure I'm willing to.

Speaker 4 (18:32):
It's part of your job.

Speaker 7 (18:35):
Now.

Speaker 12 (18:35):
When you were introduced to him, he will call you Regina.
Why because that's who he will think you are?

Speaker 2 (18:43):
Again? Why because you look like Regina Regina?

Speaker 10 (18:48):
Who?

Speaker 4 (18:48):
Miss Regina Trumble?

Speaker 2 (18:52):
Tell me, mister Carberry, is that why I was hired? Yes?
Well I think I should like to leave it. Once
you signed a contract, I can't be held to that contract.
I wasn't aware of all the facts.

Speaker 4 (19:06):
You signed a contract to be mister Gillespie's secretary. That's
the only fact.

Speaker 2 (19:10):
Then why must I pose as mister Regina Trumble to
make it possible to perform your duties?

Speaker 4 (19:16):
You'll see mister Gillespie could only feel comfortable with Miss
Regina Trumble.

Speaker 2 (19:20):
Then why not hire missus Trumble?

Speaker 4 (19:21):
She died many years ago?

Speaker 2 (19:25):
Then how can you make mister Gillespie k.

Speaker 4 (19:27):
Gillspie has never been able to accept the fact of
her death.

Speaker 2 (19:32):
You're not You're not up to anything illegal here?

Speaker 16 (19:38):
Are you?

Speaker 2 (19:39):
Cool? Oh?

Speaker 4 (19:40):
I sure you?

Speaker 12 (19:42):
Everything is completely above board.

Speaker 2 (19:48):
You got a minute, Frank?

Speaker 6 (19:49):
Yeah?

Speaker 7 (19:50):
Sure?

Speaker 2 (19:50):
You remember that girl we sent up the main humhm oh, Yeah,
that was a good commission. A lot of dough for
just the secretary. Yeah, that's what bothers me. Why should
you bother them? Why should they want to pay so high? Well,
of this is way up at the end of nowhere
even so throw in room board expensive. It's worth another
fivey twenty thousand for a secretary. Why is that our business?

Speaker 13 (20:12):
Then?

Speaker 2 (20:13):
Why did they insist on a girl who's all alone
in the world.

Speaker 4 (20:16):
The man's got a right to set up the requirements
if he's willing to pay the prices.

Speaker 2 (20:20):
Frank, if that girl were to disappear, who would know
about why would she disappee? I'm only speculating.

Speaker 4 (20:28):
Well, White, the girl's gone, isn't she.

Speaker 2 (20:30):
We're through with her.

Speaker 12 (20:31):
That's hardly the way to put it. No, what other
way is there? Look, you and me, we've been pomp
as close to ten years and we went pretty successful.
Why we have nothing to do with each other outside
of the office. But for the first time I'm going
to say something personal for you. Get married.

Speaker 2 (20:51):
Get married.

Speaker 4 (20:51):
You don't have anything against women, do you know? Well,
then get married. It's economical, it's practical, and you won't
have to make up fantasy stories about every good looking
dame who walks in here. Good balling, miss Watson, Good morning.

(21:14):
I'm sure you slept well. The ocean air here is
so invigorating.

Speaker 2 (21:20):
As a matter of fact, I slept poorly.

Speaker 4 (21:22):
Oh no, I'm sorry.

Speaker 2 (21:23):
Why this morning, before breakfast I went for a walk.

Speaker 4 (21:27):
Oh no, that's an excellent practice.

Speaker 2 (21:29):
We're on an island completely out side of the coastal.

Speaker 4 (21:33):
Of course, privacy is essential for mister Gilassie.

Speaker 2 (21:36):
And the only way off is by boat. There are
several boats tied up to a dock, and a man
is there and he has a gun.

Speaker 4 (21:46):
Ah, yes, that sund mister Spencer.

Speaker 2 (21:48):
And I told him that I wanted to take a
boat out for a while. Why did he refuse me?

Speaker 4 (21:55):
Those are his orders? Why stand in time?

Speaker 2 (22:02):
And then when I returned to the house, I picked
up the telephone, did you Yes? I wanted to call
the sheriff and tell him that I'm being held here,
but I couldn't get an outside line.

Speaker 4 (22:17):
I know there's only one outside line and it's locked.

Speaker 2 (22:20):
Am I Am I a prisoner?

Speaker 10 (22:24):
Of course not?

Speaker 2 (22:25):
Then why do you refuse to let me leave?

Speaker 4 (22:28):
You will leave at the proper time and when will
that be when the job is finished?

Speaker 17 (22:37):
Then?

Speaker 2 (22:37):
How can you say I'm not a prisoner?

Speaker 4 (22:40):
The young lady, the job has certain conditions.

Speaker 2 (22:42):
Why weren't they explained to me?

Speaker 4 (22:43):
They were stated in the contract. It's no one's fault
but yours. If you didn't read it, and suppose.

Speaker 2 (22:47):
I refuse to perform any service that would.

Speaker 4 (22:51):
Not be in your best interests, I would advise you
to do as you're told or else Why do you
insist on proposing all these hypothetical conditions? Well, if we're
finished with breakfast, would you care to meet mister Gillespie.

Speaker 2 (23:13):
It says here on your application that you worked for
stare at Valentine mus Colin until they went busted. And
I should have seen the handwriting on the wall. But
you know they offer this profit sharing and pension plan.
What's the difference? Still down the drain?

Speaker 3 (23:29):
Now?

Speaker 2 (23:30):
Would you? Did you know a missus Sarah Watson? Sarah, oh? Sure?
What type of person was she?

Speaker 9 (23:38):
I don't know.

Speaker 2 (23:40):
I mean she worked the next sest to mine for
five years, but I never got to know her. Why
not the rest of the girls and I we figured
it out finally. She was a loaner, a loner. If
there are some people in this world they're just loaners.
They won't or they can't make friends, you know, Yeah,

(24:01):
I know. Well I had to bring her form over
the personnel and you know that place where it says person.

Speaker 18 (24:07):
To be notified.

Speaker 2 (24:08):
Yeah, well she left a blank, so I reminded her
and she said she had no family. Was it true? Yeah,
I guess, And she had no friends that anybody knew
and know. Some people just can't seem to reach out
and connect with other people. Maybe it's the way who
were brought up or weren't brought up, you know what

(24:29):
I mean? Yeah, I know exactly what you mean.

Speaker 4 (24:39):
Now I'm miss Watson gord to agree with everything. Mister
Gillespie said, Do you understand how good mornings are?

Speaker 2 (24:49):
Good morning?

Speaker 4 (24:51):
Look who's here? Regina?

Speaker 2 (24:54):
You always say you found Christina. You're always wrong?

Speaker 4 (24:58):
Oh I know, this time it did Regina, mister Glespie.
Look you see she's come.

Speaker 2 (25:03):
Back, he said, find me Regina at last?

Speaker 4 (25:07):
Can there be any doubt of it? Can you mistake
that brilliant red hair?

Speaker 2 (25:11):
Regina? Regina? Speak to me, Oh, sir, you mustn't call me, sure, sir, Lucia,
I realize you're angry with me, and you head reason
to be, Sir. Something is going on here and I

(25:33):
don't know what it is.

Speaker 4 (25:33):
Regina. You know you mustn't make mister Glesbie angry.

Speaker 2 (25:38):
I'm not, Regina, sir. This man here is trying to
do something to you which I know must be illegal. Yes, yes,
that's my Regina, right, a pretty head with all kinds
of romantic nonsense.

Speaker 10 (25:55):
Di.

Speaker 2 (25:58):
We'll talk for a moment, but don't you want still?
I understand everything. Now, you will not leave me again? Promise,
even if I should be mean to yet, Promise. Now
you must promise.

Speaker 4 (26:18):
We'll go ahead, Regina.

Speaker 2 (26:20):
Promise, Regina, I shall be very much displeased, and perhaps
I shall not let you have the diamonds after all.
Now you must promise well, and you shall sit here
until you promise. I'll stay here until you finish the book.

(26:47):
The book, Oh, the book. Well, I know you know
I'll never write that book. I elude myself. Well I
caught you. If you stay here till I've finished the book,

(27:09):
then you'll stay here forever. Where is everybody this evening?
Missus damer? Do you miss them?

Speaker 6 (27:23):
No?

Speaker 2 (27:24):
Mister Cobber has got some business to tend to, and
the old man's tired, So we aren't going to have
a big formal dinner. Listen, I was wrong about you.
Oh I heard how you spoke to the old man
this afternoon. I didn't notice it all. I get to
hear everything. You're all right, You aren't in on it,

(27:44):
in on what whatever it is Cowber has got in mind.
And the other girls who came here, they must have
been willing to go along? What do you mean by
going along? Look I've been working here thirty years now,
maybe well ten years ago. Mister Carberry gets to be
the old man's lawyer. Suddenly the old man goes crazy.

(28:05):
You see him, he's off the deep end. Well he's senile,
isn't he? He must be well over eighty. He was
a young man the day I came to work here.
He was no older than me. He can't even be
sixty yet. Oh, but that's hard to go. I figured
it out. Carberry's got him on some kind of a drug. Oh,

(28:26):
what are we going to do. We'll have to get
out of here. And how the boats are locked up?
I have a key here, you take it. What are
we going to do? And we'll go to the town
try to talk to the sheriff. Will he believe it?
I got a bottle of the drugs that Carbury's been using.
He'll have to believe us. Why did you wait so long?
I wasn't sure until just now.

Speaker 10 (28:48):
Now.

Speaker 2 (28:48):
Look, we'll wait till all about midnight. Then you'll come
by my room and we'll head for the duck. Yes, yes,
your Regina, I'm sure of it. Do you remember what
I said about the diamonds, the diamonds. You don't remember

(29:12):
the diamonds. How could you forget the diamonds? After all,
they are your diamonds? Oh, the diamonds, Yes, yes, mister Gillespie. Oh,
it isn't right for you to call me mister Gillespie
after what we've been to each other. I should think

(29:33):
Edmund would be proper. Uh, Edmund, I was wrong about
the diamonds. I said a million dollars invested in diamonds
to be dead money. Put it in the market. Well
as it happened, the diamonds have tripled in value, just

(29:55):
the times I suppose, Regina. I will you breakfast with
me tomorrow and I'll explain more about the diamonds. I'm
so tired now. I just want to get to sleep.

(30:23):
Missus Taylor, Missus Taylor, are you ready, Missus Daymler, missus oh,
Missus Daymler. Are you all right?

Speaker 7 (30:39):
My dear?

Speaker 4 (30:39):
He is not all right?

Speaker 2 (30:42):
What are you doing here?

Speaker 6 (30:44):
I think poor Missus Daimler is dead. I think poor
Missus Damler is dead. Notice how mister Carburry phrases these things.

Speaker 2 (31:03):
Well, obviously she's.

Speaker 6 (31:05):
Dead, The question is how and by whose hand? Well,
you can expect the unusual to happen on remote islands.
Other things are also scheduled to happen. When I returned
to you in just a few moments. With Act three,

(31:33):
our miss Sarah Watson finds herself virtually alone on a
small island off the lonely coast of Northern Man and
the truth. She feels like an island, isolated and alone.
But wait, isn't it written that no man is an island,
that there is a tie that binds all of us together? Yes,

(31:58):
it's written. However, how about those people like Sarah Watson
who have no ties at all, no bonds to anyone.
Well that's what she thinks, but you never know.

Speaker 2 (32:13):
So she's dead. Missus Dayler is dead. I was talking
to her earlier this evening.

Speaker 4 (32:21):
How could it must have been the heart attack?

Speaker 2 (32:24):
How could a woman with a cardiac condition perform all
her duties as a housekeeper for them?

Speaker 4 (32:30):
She didn't die of a heart attacker?

Speaker 2 (32:33):
Oh what did she die of?

Speaker 4 (32:36):
Well, perhaps she died of a very dangerous disease, which
I hope is not contagious.

Speaker 2 (32:41):
What disease? Indiscretion? Well, if it was murder, I'm sure
that you killed her, are you? And you're going to
have to call a doctor? Why to sign the death certificate?

Speaker 4 (32:53):
Who died?

Speaker 2 (32:55):
Who died? Missus Daimler?

Speaker 4 (32:59):
Norma, she didn't. She left here last week to live
with relatives in the far West. I can prove it.
Here's a copy of the local paper dated last week.

Speaker 2 (33:09):
You see this social note, right, you read it? Missus
Augusta Daimler, for many years, housekeeper to mister Edmund Gillespie
on Rotherwood Island, has announced her retirement. She is leaving
to live with relatives in Oregon.

Speaker 4 (33:27):
But it had become obvious a little while ago that
Missus Damon might become a problem. So last week we
took the precaution of well, should we say, being prepared.

Speaker 2 (33:38):
Oh, you won't get away with it?

Speaker 4 (33:40):
Get away with what?

Speaker 15 (33:42):
Oh?

Speaker 4 (33:42):
Why don't you get some rest? Miss Watson? You have
a busy day tomorrow. And oh yes, father, by may
I may.

Speaker 2 (33:49):
I have a key? What key to the book chain?
Let me see, I think i'll have What do you
suggest this evening? Nothing? Nothing?

Speaker 12 (34:08):
It is a seem to waste good food for the
past weeks.

Speaker 11 (34:12):
You order, I serve, you, do not touch. You are
in love.

Speaker 2 (34:19):
I have a feeling that she's in danger.

Speaker 6 (34:23):
If you have a feeling, then it is true.

Speaker 2 (34:26):
But I don't even know what to do about it.
You have no choice. You must save her. You have
crowns for suspicion. Yes, and you sit here.

Speaker 6 (34:39):
While your loved one is imperial?

Speaker 2 (34:41):
Who says she's my loved one? Why do you keep
thinking about her?

Speaker 19 (34:45):
No?

Speaker 6 (34:46):
I shall feed you enough to arm you for your journey.

Speaker 2 (34:50):
But she's two thousand miles from here.

Speaker 12 (34:53):
I love love a distance, And see you are smiling
already to her.

Speaker 4 (35:01):
She wrote your name, she calls you, she needs you.
A dazzling morning, isn't it, Miss Watson.

Speaker 2 (35:14):
I watched you and mister Spencer and those other men,
and I saw you Bury, missus Damler.

Speaker 4 (35:21):
At the risk of telling an old joke, at a
serious moment, we had to dead.

Speaker 2 (35:26):
You know, now, what are your plans for me?

Speaker 4 (35:30):
Well, that depends on you. What am I supposed to do?
Just have mister Glespie go on thinking your Regina.

Speaker 2 (35:38):
And what about the diamonds.

Speaker 4 (35:40):
The diamonds, Well, you see, mister Glaspie was Regina Trumbull
to guardian. Her father had entrusted him with a million
dollars worth of diamonds to be held for her until
her twenty fifth birthday. He fell in love with her,
but she died in an accident. He went to pieces
after that himself up on this island, and well.

Speaker 2 (36:02):
As you can see, he lost his mind. Yes, and
I'll tell you what else I see. I see that
after a while he started to get his mind back.
But then you came into the picture, and you are
making sure that he doesn't recover his sanity.

Speaker 4 (36:21):
Why would I do that?

Speaker 2 (36:22):
Because if you could get him to believe that I
am Regina, he'll give me those diamonds and then you
can get your hands on them.

Speaker 4 (36:33):
I'm not say miss Watson, you have an incisive mind.

Speaker 2 (36:36):
The diamonds are hidden here somewhere. He won't tell you
and you can't force it out of him. So that's
why you need me. Oh, yes, you are vitel vital,
meaning alive. How do you know you can trust me?

Speaker 4 (36:52):
We would make it worth you a while. We would
give you a considerable sum of money.

Speaker 2 (36:56):
Why should you do that? Why not just kill me?

Speaker 4 (36:58):
Missus Watson? I am not in the murder business. I
only will commit a crime when I have absolutely no alternative.

Speaker 2 (37:08):
And how do I know that I can trust you?

Speaker 4 (37:12):
You have no other route to travel.

Speaker 12 (37:20):
So you think there's something going on over to Ruckwood Island.
That's exactly what I think, Sheriff, I must say. You
don't give much evidence, not at all, tell truth.

Speaker 2 (37:30):
Sheriff, I traveled almost two thousand miles.

Speaker 11 (37:33):
On a hunch. Well, what do you want me to do?

Speaker 2 (37:36):
Find out if she's all right? We'll search the place.

Speaker 12 (37:39):
So you've been watching too many movies. You don't trespiss
all over man's property and turn his establishment inside out
unless she got a search warrant.

Speaker 2 (37:50):
Get a warrant.

Speaker 12 (37:51):
Tell you what I'll do, Agatha, connect me with Graduate Island?

Speaker 11 (37:57):
Please thank you?

Speaker 2 (37:59):
What will you accomlished by that?

Speaker 11 (38:00):
We'll find out.

Speaker 12 (38:01):
Well we stand. Hello, Yes, sir, this is Sheriff Tay
to him. I'm speaking mister Carberry.

Speaker 2 (38:09):
He's going to interview her in New York.

Speaker 12 (38:12):
Do you have a miss Sarah Watson working for you?

Speaker 6 (38:16):
Uh?

Speaker 20 (38:17):
Huh?

Speaker 14 (38:18):
Yes?

Speaker 2 (38:19):
Does he deny?

Speaker 6 (38:20):
He?

Speaker 2 (38:20):
She?

Speaker 12 (38:22):
No, no, no, just a routine nothing at all?

Speaker 2 (38:26):
How much blige?

Speaker 11 (38:27):
Thank you?

Speaker 2 (38:30):
She ain't there, she has to be there.

Speaker 15 (38:34):
She left?

Speaker 2 (38:35):
How could she leave? She had a two year contract.

Speaker 6 (38:37):
She decided she didn't like the place too lonely.

Speaker 2 (38:41):
When does he say she left.

Speaker 11 (38:43):
Two days after she arrived.

Speaker 2 (38:45):
That's impossible. We would have known about it.

Speaker 4 (38:48):
Why she quit?

Speaker 6 (38:49):
She quit, that's all, and she designed to find another job.

Speaker 11 (38:53):
But do I know this?

Speaker 16 (38:54):
All?

Speaker 11 (38:54):
Ain't a yan on your part?

Speaker 2 (38:56):
Why would I lie?

Speaker 6 (38:57):
It's instire today?

Speaker 11 (39:00):
Do I know you?

Speaker 8 (39:00):
Who?

Speaker 11 (39:01):
You say?

Speaker 2 (39:02):
Here is my card? And here's a copy of the
contract that she signed.

Speaker 12 (39:06):
Well, uh you let me study this head document.

Speaker 2 (39:09):
But meanwhile, she came while it's dark.

Speaker 6 (39:12):
And if I do decide to go to the island,
I can't do it till morning.

Speaker 2 (39:16):
But okay, forget it, thank you very much.

Speaker 16 (39:28):
Who is it?

Speaker 2 (39:30):
Sh No, don't don't turn on the light. Who is
this me James Morton, James Morton, the person you notified
in case of trouble. Well, you're in trouble, aren't you.
Oh James Morton, Now, oh, yes, yes, yes, I am
in trouble here I am.

Speaker 21 (39:48):
Did you know?

Speaker 2 (39:49):
I got a boat. I waited till dark, and I
sneaked ashore, made it to the house. I walked you
through the window, and I figured out which room was yours.
And we are going to get out of here. James Morton,
I don't know what to say. Don't say anything else. Hurry.
It's a miracle. A miracle never happened to me before,
to me neither. Well, it's about time.

Speaker 12 (40:07):
I'm sorry to interruptel and don't move and don't talk.

Speaker 4 (40:12):
Ster Spencer is an excellent shot. And at this range,
how can you miss?

Speaker 2 (40:17):
I think you're finished, mister Carberry, that's the sheriff. Why
would the sheriff come here because I spoke to him earlier?

Speaker 4 (40:25):
H Well, then he won't find you here.

Speaker 2 (40:28):
You'll find my boat.

Speaker 4 (40:30):
No, mister Spencer already has it. Well hid and don't scream,
Miss Watson. Miss Suspencer would shoot you immediately. I'm a Suspencer.
Suppose I see who was at the door. You have
your instructions. I know, Sheriff, I haven't seen the young man.

Speaker 6 (40:52):
Funny, I could have sworn he'd have come out here.

Speaker 4 (40:56):
For what reason?

Speaker 11 (40:56):
I wouldn't know.

Speaker 12 (40:58):
You say this, Miss Watson left right after she got here.

Speaker 4 (41:01):
That's right, we were completely incompatible.

Speaker 6 (41:04):
How's mister Gillespie these days?

Speaker 2 (41:06):
We never see him?

Speaker 4 (41:08):
Poor old man? Still completely see now? Yeah, well, is
there anything else I can do for Yeah?

Speaker 12 (41:17):
You can produce both the girl and mister Morton. Oh
wait a minute, chare of I tool empowers told me the.

Speaker 11 (41:23):
Young fellow entered a boat off on him just.

Speaker 6 (41:25):
A while back and took off headed this a way.

Speaker 4 (41:27):
I assure you he never got here. Oh he got here,
and the girl's here too.

Speaker 6 (41:34):
There ain't no one here.

Speaker 2 (41:39):
Okay, break it up.

Speaker 16 (41:41):
Now, break it up.

Speaker 2 (41:42):
That man he tried to use me.

Speaker 12 (41:47):
Looks like mister Spencer, I won't be able to say
anything for a while.

Speaker 2 (41:51):
I jumped at him, he fired.

Speaker 22 (41:53):
They were going to killing No, but it's all going
to be fine.

Speaker 12 (41:58):
Mister Carberry, where's You're probably figuring he can make a
run for it, But he's got.

Speaker 11 (42:03):
Nowhere to go.

Speaker 6 (42:05):
I left a deputy on the dock.

Speaker 10 (42:07):
Why did you?

Speaker 2 (42:07):
What made you come here?

Speaker 12 (42:08):
Sheriff sounded like a wild yawn. Then I read that
contract you left me, the one your agency signed with
mister Carberry.

Speaker 2 (42:17):
The contract or that defined was what mister Carberry oedis
in the event we filled this job to standard agreement.

Speaker 12 (42:23):
According to the agreement, he had to pay you six
percent of fifteen thousand dollars.

Speaker 6 (42:28):
That's nine hundred.

Speaker 12 (42:29):
If for any reason the applicant lasts less than a week,
you have to refund him two thirds of that amount. Now,
if miss Watson left when he claimed after a couple
of days, you devote him six hundred dollars.

Speaker 2 (42:42):
Well, that's right.

Speaker 12 (42:43):
You never mentioned he claimed the money, and since she didn't,
you soon she was still here.

Speaker 11 (42:49):
Now, I don't know how it is done.

Speaker 12 (42:51):
You're part of the country, but they ain't one single
solitary living soul up in these parts that let six
hundred dollars sit there whistling unclear things up downstairs and
give you a chance to talk to you. My girl
belongs to you, don't she? Well, of course I do.

(43:13):
Why else would I have named him as the person
to be.

Speaker 6 (43:17):
Notified Department of Loose Ends. An autopsy was performed on
Missus Damer. It was established that she was poisoned. Mister
Carbury and company will stand trial for that one. Mister

(43:39):
Gillespie was placed in a hospital where, with good care
and treatment, he has a chance to recover all his faculties.
At this writing, he still cannot remember where the diamonds
are hidden.

Speaker 7 (43:51):
If I have to tell you what happened.

Speaker 6 (43:53):
To Sarah and James, then you don't have an ounce
of romance in your soul. And I give up, but
only for a few moments.

Speaker 2 (44:13):
Actually, what we.

Speaker 6 (44:14):
Were talking about was not jobs, or intrigue or murder,
even though they were prominently featured. Our theme was loneliness
and it was a tale of so many people who
really have no anchor to love and security in our world.
And if you are one of the fortunates, if you

(44:34):
can fill the space that says person to be notified,
then you have the best of this world. If, on
the other hand, you really can't fill that space, then
go out and change that situation. Our cast included Mercedes McCambridge,
Russell Horton, Bryana Rayburn, Ian Martin and Gilbert Mack. The

(44:58):
entire production was under the direction of Hymond Brown and
now a preview of our next tale.

Speaker 12 (45:08):
It can't be.

Speaker 11 (45:11):
No, Mildred, No, I'm not dead.

Speaker 23 (45:15):
No post, no hot met Milly.

Speaker 10 (45:19):
Can't can you hear me?

Speaker 2 (45:21):
I'm not dead.

Speaker 10 (45:23):
I can see myself.

Speaker 24 (45:25):
I'm out.

Speaker 11 (45:27):
I can't see you feelings.

Speaker 12 (45:30):
I did cry, but.

Speaker 25 (45:34):
I'm not dead.

Speaker 2 (45:35):
I'm just cool.

Speaker 11 (45:37):
Doc Milly, No, don't go nothing.

Speaker 2 (45:43):
I'll be all right again in a second or.

Speaker 23 (45:46):
So, just as soon that my spirit returned to my body.

Speaker 2 (45:54):
Oh Where.

Speaker 10 (46:00):
Your lot?

Speaker 6 (46:02):
Radio Mystery Theater were sponsored in part by Buick Motor
Division and Anheuser Busch Incorporated Brewers of Budweiser.

Speaker 7 (46:10):
This is E. G.

Speaker 6 (46:11):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant.

Speaker 26 (46:21):
Dreams, Hey Weirdos.

Speaker 1 (47:03):
Our next Weirdo watch party is Saturday, February first. The
adorable and funny Granny's Haunted Parlor hosts a Nancy Drew
mystery for us. It's Nancy Drew Reporter from nineteen thirty nine.
In the film, Nancy is a contest reporter and falls
into the mystery of a murder and a woman she
believes is innocent of the crime. Between film segments, Granny

(47:27):
herself will entertain us with jokes, commentaries, skit sent even
a cartoon. It's Nancy Drew Reporter, presented by Granny's Haunted Parlor.
Join us online as we all watch the film together
on Saturday, February first at seven pm Pacific, eight pm Mountain,
nine pm Central, ten pm Eastern on the Monster Channel
page at weird Darkness dot com. The Weirdo Watch Party

(47:49):
is always free to watch. Just tune in at showtime
and watch the movie with me and other Weirdo family
members and even joined the chat during the film. Maybe
we can figure out the mystery to get before Nancy
Drew does. You can see a trailer for the film
now and watch horror hosts and b movies for free
anytime on the Monster Channel page at weird Darkness dot com.

(48:10):
That's weird Darkness dot com, slash TV and we'll see
you Saturday, February first for our Weirdo Watch Party.

Speaker 2 (48:30):
Truth is stranger than fiction, and this is the truth.
This is Ridley, believe it or not.

Speaker 12 (48:42):
The Death's Head Moth was first seen in Blnkeolnwood, England
on January thirtieth, sixteen forty nine, on the very day
King Charles the First of England was beheaded.

Speaker 2 (48:53):
They leave it or not.

Speaker 12 (48:55):
In a moment, I'll tell you the unusual story of
the only people who never get fat. Here's a way
to make sure you stay on your diet. Take a
lesson from the natives of the Nuba tribe in Africa.
They cut small portholes as the only entrance to their huts.
By doing this, they keep their families very figure conscious.
Any member of the family who does not eat sparingly

(49:18):
eventually will not fit through the small opening, and therefore
is automatically barred from the house.

Speaker 2 (49:24):
They lieve it or not.

Speaker 12 (50:01):
The Adventures of the Saint starring Vincent Price, the same
based on characters created by Leslie Chatterers and known to
millions from books, magazines and motion pictures.

Speaker 27 (50:20):
The Lovelihood of modern crime.

Speaker 12 (50:22):
How come sanscribe the radio starring Hollywood Billions and tell
it the doctor Vincent Price as the Saint were.

Speaker 10 (50:48):
I didn't see it's perfectly all right, and it's saying, oh,
please don't go please, I'm now. It's a scene of
the crime. They'll take care of things. I can see
you're in a hurry.

Speaker 28 (50:58):
Yes, I am all right, driver, step on it, Yes, sir,
comfortable Messans, I don't know you do.

Speaker 10 (51:09):
I an oversight on my part that can be easily remedied.
I'm Simon Templer, Simon Templar.

Speaker 29 (51:14):
Oh you're the saint, aren't you?

Speaker 10 (51:17):
Sometimes I feel as though I had a neon sign
on my forehead. I'll confess the fatal appellation.

Speaker 29 (51:22):
Well, I think I better get out, mister Temper.

Speaker 10 (51:24):
You see age is not synonymous with boogeyman Nsames? And
why not call me Simon? After all we were both
present at the unveiling of the course.

Speaker 29 (51:33):
Do you think you're being funny, mister Templar.

Speaker 10 (51:35):
There's nothing funny about murder, particularly when as pretty a
girl as you is involved.

Speaker 29 (51:39):
But I'm not involved.

Speaker 10 (51:40):
A question of semantics, Missames. A man gets killed when
you're within five feet of him and you turntail and run.
If that's not being involved, my dictionary lied to me.

Speaker 29 (51:50):
Why I suppose you're right it was foolish of me
to run when I heard those shops and saw him faller.
How did you know who I was?

Speaker 10 (52:00):
Which modesty is becoming, but hardly intelligent as Aams. You're
a star, your show is opening in a week, and
your pictures have been plastered all over town.

Speaker 9 (52:07):
Of course I should have known.

Speaker 10 (52:09):
Did you know the man who was shot her?

Speaker 30 (52:11):
Yes?

Speaker 29 (52:12):
If I had an appointment with him. His name was
Jim Barry.

Speaker 10 (52:15):
Or the publisher. Yes, I know him rather than you him.
He's been kind enough to publish some scribblings of mine.
But what were you going to see him about? Anything special?

Speaker 2 (52:25):
No, just a business talk, business.

Speaker 10 (52:27):
Talk with a publisher. Don't tell me that Barry Kilgo
a company is going to publish the story of your life.

Speaker 29 (52:32):
No, but Jim Sperm was preparing an anthology to modern
theater and he wanted to include a new play.

Speaker 10 (52:37):
I'm going to be hiding. He'd come to the floor.

Speaker 21 (52:40):
I picked down what happened.

Speaker 2 (52:45):
But he doesn't like us. Beady.

Speaker 10 (52:47):
The driver of that car throw some hot lit our way.
I don't know. I only saw the glint of a
gun out of the corner of my eye. A driver,
Are you up, Simon?

Speaker 16 (52:57):
Is he dead?

Speaker 10 (53:03):
How do you like that? We get shot at? And
he thinks I don't blame him. I don't don't. You
must be due at the theater for rehearsal about now,
and the show must go on. For the life of me,
I've never been able to understand why, Hey, Joe.

Speaker 21 (53:33):
Bring you some more stay?

Speaker 29 (53:34):
Okay, Larry, here's my dressing room time. Huh, you go
in and wait for me. I have you watched the
rehearsal and the wings that Larry Seton's our stage manager
is superstitious about it.

Speaker 10 (53:45):
Okay, Betty, but you're a thank If I had watch
dog will be panting on your thresholder.

Speaker 29 (53:50):
You get that after what's happening time, and I'll be
glad to know your crook by.

Speaker 10 (53:56):
Oh well, you might as well waiting time.

Speaker 4 (54:00):
I don't know what you mean.

Speaker 5 (54:01):
I think you do.

Speaker 2 (54:02):
Helen.

Speaker 31 (54:03):
Just remember what I told you about Jim Barry and
you'll be Simon Templar, what in the world are you doing?

Speaker 7 (54:10):
Well?

Speaker 10 (54:11):
Now, that's what I call a quick switch vera pangburn
Lady novelist gets stage struck? Or are you merely getting
material for a novel about backstage?

Speaker 31 (54:19):
Oh no, no, if better novels for me, Simon, Oh,
let me introduce Helen Trask.

Speaker 32 (54:24):
Helen.

Speaker 33 (54:24):
This is Simon Templar.

Speaker 34 (54:26):
How do you do, mister Templar?

Speaker 10 (54:27):
As well as might be expected under the circumstances, Miss
Traska not too accustomed to entering one lovely Ladies dressing
room and finding two others awaiting me.

Speaker 13 (54:36):
Well.

Speaker 31 (54:36):
As a matter of fact, Helen and I were waiting
for Jim Barry. We thought he was coming here with Betty.

Speaker 10 (54:41):
Jim Barry. Oh, he's your publisher, isn't he there? Yes?

Speaker 31 (54:45):
And Helen's too. Helen's is really latest discovery. She has
a new novel coming out.

Speaker 10 (54:50):
Well, I'm afraid you're going to be disappointed, Ladies. Barry's
been unexpectedly detained.

Speaker 29 (54:56):
Oh, and I was so anxious to see you.

Speaker 10 (54:58):
Why not let me substitute. I'm very good at parlor
tricks and small dog.

Speaker 12 (55:02):
And your name is Templar.

Speaker 10 (55:04):
Yes, it has been for a number of years.

Speaker 15 (55:05):
I can remember, way.

Speaker 12 (55:06):
Back when my parents of the guy there of keeping
the Thames away from rehearsal.

Speaker 10 (55:09):
Did I who are you? Oh? Steven's the stage manager.

Speaker 12 (55:13):
That's right, And I'm also the guy who doesn't like
stage door.

Speaker 15 (55:15):
John.

Speaker 10 (55:15):
If there's something about the way you said that that
hurts me deeply? At gee, what's that thing in the
cuff of your trousers.

Speaker 12 (55:23):
And the cup of my trousers.

Speaker 10 (55:25):
Yeah, right here, now, look here, Temple. I don't know
what this is all about, but you don't, but you
should know a revolver cartridge when you see one revolver cartridge?

Speaker 7 (55:33):
Is that what this is? It is?

Speaker 10 (55:35):
Where's Diddy? Aim?

Speaker 7 (55:36):
Why?

Speaker 10 (55:37):
In rehearsal I had them start and I presume there's
a shooting scene in this.

Speaker 12 (55:41):
Play, yes, for at the end of the first act.

Speaker 10 (55:43):
But I like me even less after this. But I'm
stopping that rehearsal. You can't do that, Temper, I don't.
You'll have a dead star on your hands.

Speaker 12 (55:49):
Many aims?

Speaker 10 (55:49):
Are you crazy? I hope so I hear them waiters
stage out your left.

Speaker 12 (55:54):
I hope you know what you're doing.

Speaker 10 (55:55):
I'm afraid I do shooting scene now, topic don't do.

Speaker 2 (56:02):
It?

Speaker 29 (56:02):
And what's the.

Speaker 10 (56:03):
Apparently nothing that I'm a little amazed at finding you?

Speaker 15 (56:06):
All right?

Speaker 32 (56:06):
Why shouldn't I be sun?

Speaker 15 (56:07):
Now there you have me?

Speaker 12 (56:08):
Why it's quiet, everybody, pepla. I've had enough of this nonsense.
You've held up the rehearsal by keeping Biddy away, and
now you've broken up the end of the first act.

Speaker 10 (56:15):
You know you get out of this the r I'll
have you thought, I know, Stevens, I must be super sensitive.
Why else would I get the idea that you don't
like me. No, don't answer. It's something I want to do. First.
Where's the gun? You're a leading man? Fired? Just now?

Speaker 6 (56:27):
That's over there on the floor.

Speaker 29 (56:28):
Just a pop gun with blank cartridge.

Speaker 10 (56:30):
Blank cartridges. So that's it. I've always wondered how people
shot and plays had so many lies? Do you mind
if I take a look?

Speaker 21 (56:38):
What's all the commotion about?

Speaker 12 (56:39):
Hold on, it's still girl. We've been having a little
trouble with a fellow named Templar, but everything's under control.
Well it'd better be. I've got quite an investment in
the show, and the way it looks now, it'll pop.

Speaker 10 (56:46):
Uflely get to this.

Speaker 12 (56:47):
There's nothing for you to get excited about, mister Kilgo.

Speaker 16 (56:50):
I assure you that that's all in the.

Speaker 10 (56:51):
Way one looks at it. Stephens, and I suggest that
you look at this gun. I see a temper, So
what so this?

Speaker 14 (56:59):
Break it up?

Speaker 29 (57:02):
Those aren't black cottages, they're real real But that's impossible.

Speaker 10 (57:05):
Perhaps you'd better take a second look.

Speaker 12 (57:07):
Why would anyone in this theater substitute real poets for
the blank.

Speaker 10 (57:10):
Now that is a puzzling question, Stephens, because it couldn't
possibly be that someone was interested in killing Betty Ames, now.

Speaker 33 (57:18):
Could it.

Speaker 29 (57:28):
I still don't understand how you nuw Son.

Speaker 10 (57:30):
Well, theatrical people may dress somewhat unconventionally, but I thought
that Steven's with revolver Cottridges in his trouser customs coming
a bit overboard. Fortunately, your leading man is a sensitive
so he jumped at least a foot when I shouted
at him his final Oh. If you hadn't startled, yeah,
then I doubt that we'd be sitting here in your
dressing room.

Speaker 29 (57:50):
Why should anyone want to kill me?

Speaker 10 (57:52):
The usual motives money, jealousy, and fear of discovery.

Speaker 29 (57:57):
I'm not rich, and there's no reason for anyone being
jealous of William. I don't know what's saying about anyone.

Speaker 10 (58:02):
Are you certain of that, Beddy?

Speaker 18 (58:03):
Of course I am.

Speaker 10 (58:04):
You were pretty much in evidence when Jim Barry was killed.
There were a dozen other people, Yeah, but perhaps they
didn't see what you saw.

Speaker 29 (58:10):
I didn't see anything that's.

Speaker 10 (58:12):
The killing, perhaps, But what about well, a familiar face
in the crowds.

Speaker 29 (58:16):
For example, No, oh, wait a minute, yiss, Yes, I
did see someone.

Speaker 10 (58:22):
Y eyes. How did you saw the killer?

Speaker 15 (58:24):
Who is it?

Speaker 9 (58:25):
That's just it?

Speaker 8 (58:26):
I don't know.

Speaker 10 (58:26):
Let me remind you that a familiar face belongs to
someone you know or have seen before.

Speaker 29 (58:31):
I know that's sinning, But I just called a flash
of the face, and I was thinking it looked familiar
and was starting to identify in my mind. And then
the shots were fighting, Jim Barry was killed, and then
it was gone.

Speaker 2 (58:40):
MM.

Speaker 10 (58:41):
I don't suppose you got a similar flash among the
people in the theater tonight.

Speaker 29 (58:45):
No, might have been any one of them or none
of them.

Speaker 10 (58:49):
Hardly what i'd call an elusidating statement.

Speaker 2 (58:52):
Let's put this together.

Speaker 10 (58:54):
Barry was the publisher for Vera Peguin and Helen Trask,
and both of them were in the theater. Kim Gore,
who put up the money for the show, was buried
partner in the publishing business, and he was in the theater. Stephen's,
the stage manager, had that Coppridge and his cop Yes
he did, didn't he?

Speaker 29 (59:10):
So where does that get a son?

Speaker 10 (59:12):
Exactly nowhere. Well, as my old grandmother used to say,
if at first you don't succeed. Try checking up other courpse.
Come on, belly, let's go to the Morgue.

Speaker 29 (59:37):
This place gives me the creek sun.

Speaker 10 (59:39):
Strangely enough, the Morgue never was noted for being the
most cheerful.

Speaker 2 (59:42):
Place in the world.

Speaker 29 (59:43):
Do you think your skin's work?

Speaker 10 (59:45):
How optimistic can one man bes?

Speaker 9 (59:48):
Looking for someone?

Speaker 15 (59:50):
There?

Speaker 10 (59:50):
Duncan? Our thing ings?

Speaker 16 (59:52):
They're pretty dead round here, the.

Speaker 10 (59:57):
Same jolly old soul lunch.

Speaker 21 (59:59):
Oh I get he takes, mister Temple.

Speaker 10 (01:00:01):
I'll peachie for you, see jolly enough to do me
a favor?

Speaker 35 (01:00:04):
Maybe?

Speaker 10 (01:00:05):
Yeah? Did you get an advanced case of rigor mortis
in here sometime this evening? Tell about the name of Barry.
Barry you sure did gun killing?

Speaker 16 (01:00:13):
Neat job too?

Speaker 10 (01:00:14):
You want to see him a long doubted the lady Duncan.
But you know, I have a theory that every murdered
man dies with exactly eleven dollars and sixty three cents
in his pocket.

Speaker 2 (01:00:25):
Yeah, but how can that be, mister Templar, Let's.

Speaker 10 (01:00:28):
Look at his personal effectancy, ay, Duncan personal sake?

Speaker 9 (01:00:31):
Well, it's a sure order.

Speaker 2 (01:00:33):
No, sure, can't you know the rules? Oh of course,
I'm sorry. I mentioned it.

Speaker 10 (01:00:38):
Miss Ames was anxious to see if those opening night
tickets to her new show, the ones in your name,
that is, could possibly have been lost around.

Speaker 22 (01:00:47):
Here, some for her, oh eleven dollars sixty three cents.

Speaker 2 (01:00:51):
You say, well, that's an interesting theory, mister templar, and
we can't block the prophecy of science kin with.

Speaker 10 (01:00:58):
No Indeed, there you are.

Speaker 9 (01:01:06):
Take a look.

Speaker 10 (01:01:09):
Wallet, jewelry, a couple of keyrings.

Speaker 16 (01:01:12):
There's a couple of hundred bucks in the wallet.

Speaker 2 (01:01:14):
Matthew's a theoryal to Dunkin, don'ted?

Speaker 10 (01:01:16):
Is that all it was on him?

Speaker 9 (01:01:18):
I see for yourself.

Speaker 16 (01:01:19):
I told you that.

Speaker 2 (01:01:20):
Hey look out, yeah, ok okay, my gosh.

Speaker 17 (01:01:25):
You thank you.

Speaker 29 (01:01:26):
I don't know what happened suddenly everything turned black?

Speaker 10 (01:01:29):
All right, Betty, don't talk. I'll get you outside. Even
those who like Duncan gets crazy in here sometimes.

Speaker 12 (01:01:34):
No, I don't either.

Speaker 9 (01:01:36):
You're sure you're okay?

Speaker 29 (01:01:37):
Yeah, thank you, I'm all right now, Thanks you very much,
mister Duncan.

Speaker 2 (01:01:41):
You're welcome.

Speaker 6 (01:01:42):
And uh, they're opening night tickets.

Speaker 22 (01:01:46):
In my name you lost? Oh, you'll find them at
the box office in your name, mister Duncan.

Speaker 9 (01:01:52):
Well, I'm glad you folks stopped in.

Speaker 29 (01:02:07):
The first part of your scheme seem to work all right, Simon.

Speaker 10 (01:02:09):
Well, I did get hold of Barry's keys, and thanks
to the fainting Act you stayed then very ridious that
it was to There was little else of interest there.

Speaker 32 (01:02:18):
Then what goes on now?

Speaker 10 (01:02:20):
I might suggest that we hauled right here in front
of the office of Barry Kilgore and Company Publishers. He
got a key and look though it fits the lock,
and walk right in.

Speaker 13 (01:02:34):
There.

Speaker 10 (01:02:35):
You see what skilled presidence and some petty larceny can
accomplish a Western Barry's office.

Speaker 29 (01:02:40):
You know, Oh yes, right over there, kill Gore is
the one next to it. There's a light switch on
the wall.

Speaker 10 (01:02:45):
You'll never make an understudy to a sneak beef by
talking about light study like flashlights.

Speaker 29 (01:02:50):
Enough, but I still don't understand.

Speaker 36 (01:02:52):
What do you expect to find out here, Simon, No,
the do I But I'm looking.

Speaker 10 (01:02:56):
For motives, and what better place to find motives than
in the dead man's private files. Let's start with this
stuff on the desk.

Speaker 29 (01:03:05):
Those are only gally poos of the book.

Speaker 10 (01:03:08):
It would appear, what a fascinating title. My Heart's won
Romance by Helen trap.

Speaker 29 (01:03:14):
Oh, No talk about calls.

Speaker 9 (01:03:17):
No motive for murder there?

Speaker 10 (01:03:19):
I wonder what do you mean into the office memo?

Speaker 2 (01:03:23):
Clip to it.

Speaker 7 (01:03:26):
The pete sake?

Speaker 10 (01:03:26):
Jim stopped publishing this kind of tripe before it ruins
its initial k K for kill Dore? What do you
make of that?

Speaker 30 (01:03:34):
Son?

Speaker 10 (01:03:34):
I think kill Dore didn't like the book.

Speaker 29 (01:03:36):
But thought as all that, why was Jim Dowry publishing?

Speaker 10 (01:03:39):
Maybe you better take another look at Helen fast.

Speaker 29 (01:03:42):
Oh you mean you think that Helen and Jim Barry were.

Speaker 10 (01:03:44):
Trying to keep an open and clean mind about these things. Maybe,
but we do know kill Door didn't like it, and
kill Dore dans to get plenty. Now that Barry's Dan,
he becomes sole owners of the business.

Speaker 29 (01:03:58):
Helen, someone's coming to the auto ate. What if it's
the police Jim's murderer.

Speaker 10 (01:04:04):
The suggestions are very inconsiderate of you.

Speaker 29 (01:04:07):
What's he doing?

Speaker 10 (01:04:08):
No, Al Simon, there are two people in the office.

Speaker 32 (01:04:11):
Are they coming in here?

Speaker 13 (01:04:14):
No?

Speaker 10 (01:04:14):
No, they've gone in too. Killed Boy's office. They didn't
turn on the lights, so they must be familiar with
the place. Remind me to complain to the owners of
this building. They need these walls so sound both. I
can't even recognize the voices, let alone here. Yeah, yeah,
we could hear those, all right, couldn't.

Speaker 2 (01:04:33):
We'll be right back.

Speaker 14 (01:04:41):
Oh whoever it.

Speaker 13 (01:04:43):
Was got away?

Speaker 29 (01:04:44):
Don't somebody you all right?

Speaker 10 (01:04:46):
I'll get a dog, so I better make it a
conventer instead, Daddy content. Yeah, the shots mythed, but I
certainly smashed up that DESKCOT ran into find the lights
and see how much damage was done? Does it now, Simon?
Damage was quite extensive. To mister Kildore, our chief suspect

(01:05:06):
has been crossed off the list by a bullet between
his eyes.

Speaker 29 (01:05:23):
Well, at least you got me home safe and sounding something.

Speaker 10 (01:05:27):
After what's going on today, I'm beginning to wonder how
that happened to There's everything looked to be in place. Yes,
of course, that is a funny thing that ever since
my college prom days, I've had an abiding dislike for
chaperones popping up unexpectedly. I had to better look around

(01:05:47):
to let these modern inventions frighten you. Betty. To celephone
is quite answers.

Speaker 32 (01:05:55):
Who oh yes, bah, I.

Speaker 37 (01:06:00):
Want you to do me a favorite, Betty.

Speaker 38 (01:06:02):
I think I know something about Jim, there's.

Speaker 32 (01:06:04):
Death just a minute.

Speaker 29 (01:06:06):
Barah Hamzah Pangburn. She says, she thinks she knows something
about the Barry killing.

Speaker 10 (01:06:11):
Well, don't they think he's a bad thing? To split
the receiver with me and let me listen to him?

Speaker 29 (01:06:15):
Bah, what do you mean?

Speaker 37 (01:06:18):
I don't know just how to explain it, Betty?

Speaker 19 (01:06:22):
What is this?

Speaker 13 (01:06:27):
Are you still there?

Speaker 16 (01:06:29):
Sonny?

Speaker 29 (01:06:30):
What happened there?

Speaker 10 (01:06:31):
This may come as a tremendous surprise, Betty, but it
sounds like Vera Pangburn just became murder victim number three

(01:06:53):
A lot of time last year is braun instead of
a brain and affected. It's not neat. Come on, let's
go in Simon be she is yeah, from the floor,
she's luckier than Barry or killed. God shut in the
upper part of the aisle. You better get some towns.

Speaker 29 (01:07:18):
What happened, man, I'm the fire escape.

Speaker 10 (01:07:24):
I'd be indignant about it too, Vera, But suppose we
talk about it? Wait up, I'll lift her up.

Speaker 2 (01:07:33):
There now.

Speaker 10 (01:07:34):
If you'll make like Florence night and get Betty. I'd
like to look at the fire escape.

Speaker 29 (01:07:42):
Poor darling. Time for talk, laces.

Speaker 2 (01:07:44):
Let's get you fixed up first.

Speaker 10 (01:07:46):
You just relaxed.

Speaker 29 (01:07:47):
You're We're here and everything's going to be all right.

Speaker 10 (01:07:50):
The view from your fire escape is very disappointing, Vera,
only shattered glass out there. Did this homicidal friend of
your shoot through the window.

Speaker 29 (01:07:58):
I was talking of the floor.

Speaker 25 (01:08:01):
I looked up and saw him.

Speaker 29 (01:08:02):
He had a handkerchief over safely he shot twenty You
are and that'll hold huntil we get a doctor.

Speaker 10 (01:08:08):
By the way, Vera, Not that I'm curious or anything,
but what was it you were going to tell Betty
over the phone about Jim Barry's murder?

Speaker 13 (01:08:15):
I can't tell you.

Speaker 2 (01:08:16):
Simon.

Speaker 10 (01:08:16):
Well, I'll admit I'm not as pretty as Betty or no, no, I.

Speaker 29 (01:08:20):
Won't say anything.

Speaker 32 (01:08:21):
He's already shot at me once.

Speaker 39 (01:08:22):
I won't say anything.

Speaker 34 (01:08:23):
I can't kill this want.

Speaker 29 (01:08:26):
You don't have to tell us anything this time. We
better call a doctor. She's no condition to be bothered now.

Speaker 10 (01:08:31):
Right now, neither am I suppose you take care of
the medical details and then meet me at.

Speaker 29 (01:08:35):
Helen's backs rear Helen, Yeah, is that where you're going now?

Speaker 10 (01:08:38):
Now? I'm going to marry Stephens say, and if that
sounds confusing to you, it's no wonder. I'm a little
confused myself. Yes, hello, Stephen, you mind if I step in?
Time Templer? What in blazer? So you're doing here?

Speaker 6 (01:09:00):
I guess you do?

Speaker 15 (01:09:01):
Mind?

Speaker 10 (01:09:02):
Well, I have an invitation for you Stevens to come
calling on Helen Trask with.

Speaker 12 (01:09:06):
Me, Helen trm why should I go to her place?

Speaker 10 (01:09:09):
I thought it would be sweet if we all chewed
over a few explanations together.

Speaker 12 (01:09:13):
You'll get no explanations for me and I'll get out Templar.

Speaker 10 (01:09:16):
Okay, Stephens, but if you don't mind, I would like
to leave you something first.

Speaker 40 (01:09:20):
Yes, what's that?

Speaker 10 (01:09:23):
You know something? Stephens? I think you're coming with me,
whether you want to or not. All right, now that
Betty is here, we have a quorum.

Speaker 29 (01:09:41):
I don't understand, mister Templar, why are you all here
at my apartment?

Speaker 12 (01:09:44):
There's no sense asking him, Helen. He's completely crazy, Stephens.

Speaker 10 (01:09:47):
I think you're prejudice because your jaw still aches a
little at miss Trask. When I entered Betty's dressing room tonight,
Very was saying something to you about Jim Barry. What
was it?

Speaker 16 (01:09:57):
Why?

Speaker 29 (01:09:58):
She was nearly wanting me again? Said he had a
weakness for young women.

Speaker 10 (01:10:02):
Writers in your case, that's understandable. Would you say his
weakness could account for a rather poor manuscript being accepted if.

Speaker 29 (01:10:10):
You're insinuating anything, mister Temple or Helen, of course not.
You didn't listen to vera digit.

Speaker 32 (01:10:16):
Naturally not.

Speaker 34 (01:10:16):
Mister Barry always acted like a perfect gentleman.

Speaker 10 (01:10:19):
What are you driving at anyway? Temple? I don't say
I'm a perfectionist, Stevens. I don't like ragged details hanging
over and that snatch of conversation intrigued me. Something else
intrigues me too. That cartridge in the Trouser Cough episode.

Speaker 12 (01:10:32):
You really are determined to play Sherlock Holmes, aren't you. Well,
if it'll leave your mind any On my way to
Betty's dressing room, I bumped into a pop table. A
box of what I thought were blank cartridges filled against
me and out of the floor. And do you think
that there might have been some loaded cartridges among the blanks,
and that one of them lodged in your car? That's it,
exactly a very simple explanation.

Speaker 10 (01:10:50):
It's almost too simple. Did you try to check this
theory of yours? Well?

Speaker 12 (01:10:55):
I try to, But when I get back to the table,
a box was.

Speaker 10 (01:10:57):
Gone, which of course makes it even simpler. Do you
mind if I use your phone? Helen?

Speaker 29 (01:11:01):
Oh why no, No, not at all, as you please, Simon.

Speaker 10 (01:11:07):
No, uh, they're a penguin.

Speaker 29 (01:11:09):
They're a panglin.

Speaker 15 (01:11:10):
That's right. Hello.

Speaker 10 (01:11:12):
Oh, yes, doctor a house, miss penguin. Oh that's fine.
Give her a message, will you please tell her? Simon?
Templar called and she needn't worry about that killer any longer.
That's right that he aims has remembered who it was
she saw at the scene of the murder, and that's
all the evidence we need.

Speaker 29 (01:11:41):
Simon, What is this all about?

Speaker 10 (01:11:43):
Beautiful here in the park, isn't it?

Speaker 29 (01:11:45):
You know very well that I haven't remembered the face
I saw when.

Speaker 2 (01:11:48):
Jim was killed.

Speaker 10 (01:11:49):
The brilliant moon soft starlight, A perfect night for romance,
And she talks about killing?

Speaker 29 (01:11:54):
Oh please, Simon, please? What are we doing out here? Anyway?

Speaker 15 (01:11:59):
To take you from you?

Speaker 10 (01:12:00):
Just killing time? And I think we've killed enough.

Speaker 29 (01:12:03):
Let's get going, Simon, for the last time. Would you
give me a direct answer? Where are we going?

Speaker 10 (01:12:08):
Oh? Didn't I tell you, Betty? Why? I'm merely taking
you home.

Speaker 29 (01:12:25):
Here's my daughter, Simon. I can find my way in alone.

Speaker 10 (01:12:28):
Don't you think the least I can do is to
search the apartment for you?

Speaker 9 (01:12:30):
Again?

Speaker 34 (01:12:31):
That won't necessary.

Speaker 5 (01:12:32):
Thank you.

Speaker 2 (01:12:35):
Good night.

Speaker 10 (01:12:36):
We'll at least allow me to turn the light side
for you.

Speaker 29 (01:12:39):
Very satisfying.

Speaker 10 (01:12:40):
I can see for yourself, Yes, I can see quite well.

Speaker 41 (01:12:44):
Hello Vera, quickly.

Speaker 10 (01:12:46):
I never argue with the lady Vera to give me
when she's got a gun in her hand.

Speaker 31 (01:12:50):
That's I thought that phone call of yours might have
been attract Simon.

Speaker 29 (01:12:55):
But I had to make sure.

Speaker 10 (01:12:56):
Now that you apparently have made sure, Vera, you and
Betty are going to join the other. Simon, tell me
why you killed Jim Barry? Was he your husband?

Speaker 39 (01:13:06):
Is smart?

Speaker 2 (01:13:07):
Aunt you?

Speaker 7 (01:13:07):
Simon?

Speaker 2 (01:13:08):
That's right, Jim was my husband.

Speaker 10 (01:13:11):
I thought so. Jealousy was the only motive I could
figure for you.

Speaker 31 (01:13:14):
Every young woman who came along and thought she could
write turned his head.

Speaker 5 (01:13:17):
That Helen's task.

Speaker 31 (01:13:19):
A high school girl could write a better book than
she did.

Speaker 10 (01:13:21):
But Jim Barry was going to divorce you and marry her,
wasn't he?

Speaker 13 (01:13:24):
Yes?

Speaker 31 (01:13:25):
And now Jim's dead, and kill God is dead because
he suspected me.

Speaker 29 (01:13:30):
And you're going to die too, right now?

Speaker 10 (01:13:33):
No, you don't give me that, sir.

Speaker 29 (01:13:44):
Oh, Simon, who's so scared?

Speaker 10 (01:13:46):
You know something?

Speaker 2 (01:13:47):
That he so was?

Speaker 29 (01:13:47):
I fan, Simon, that business of theirs being shot? Now,
how did you know that?

Speaker 21 (01:14:03):
She'd say that?

Speaker 10 (01:14:04):
You know, Betty, that's one thing I always dislike about
solving a murder. I have to explain things. And if
you won't let well enough alone.

Speaker 29 (01:14:12):
No, Simon, I won't.

Speaker 10 (01:14:14):
All right. It was the glass and the fire ski Uh.
Now shall we get back to that moon Simon?

Speaker 29 (01:14:21):
What about the glass?

Speaker 10 (01:14:22):
Oh, it came from the shattered window, and there was
no glass within the room. Therefore the shot was fired
from within, scattering the glass outwards. And who was inside
the apartment at the time, deer? We have achieved a
meeting of the mind, now if we can carry that
a bit further. They while discussing those lovely shimmering stuff.

Speaker 29 (01:14:40):
But I heard two shots fired over the phone. Did
She was the second one to give herself that flesh wound.

Speaker 10 (01:14:45):
If you were afraid someone was closing in, you'd make
a last desperate attempt to throw suspicion elsewhere, wouldn't you.

Speaker 29 (01:14:50):
And she was the one who put the real bullets
in the gun.

Speaker 22 (01:14:52):
On the season and.

Speaker 32 (01:14:54):
Fired at me in the cab.

Speaker 29 (01:14:56):
But Simon, why me?

Speaker 10 (01:14:58):
I hate to get repetitious, but remember those motives from murder, ie.

Speaker 29 (01:15:02):
Money, jealousy, and fear of discovery.

Speaker 10 (01:15:04):
Yeah, let's latch under the last one. She was afraid.
You'd remember that it was her familiar face you saw
in the crowd just before Jim Valley was killed.

Speaker 29 (01:15:11):
Satisfied now, well almost, There's just one more little thing.

Speaker 10 (01:15:18):
Look, Betty, if it doesn't concern the moon, I'm not interested.

Speaker 29 (01:15:23):
All right, Simon, get interested.

Speaker 12 (01:15:40):
You have been listening to another transcribe adventure of the Saints,
a robin hood of modern crime.

Speaker 27 (01:15:44):
I'll here's her farm in some price.

Speaker 10 (01:15:46):
Ladies and gentlemen, as good citizens, we have the entire
sphere of American life in which to use our heritage.
So let's make the affairs of our nation, state, and
community our affairs. Remember that we all have a voice
in them. Use that voice, and use it well and often.

(01:16:06):
Only then can we set an example of freedom, knowing
that our own American heritage is the cure. This is
Vincent krist inviting you to join us again next week
at the same time for another exciting adventure of the Saints.

Speaker 15 (01:16:21):
Good Night.

Speaker 10 (01:16:38):
The nice script of the saying was written by Sidney Marshall.

Speaker 12 (01:16:41):
Our cast and good at Francis Cheney, Barbara Eleanor Audley,
Frank Cursel, Sanley Farana with You Bryan. Music was composed
and conducted by Von Dexer. The same, based on characters
created by Leslie Chatters, is the James L. Fafier production
and is directed by Helen Man Vincent Price as soon
to be Seen coad Starling and r Ko's production of
His Kind of Woman.

Speaker 10 (01:16:58):
All Youse Saint fans will the glad to know that
the safe comic book. They're on Sam at All News SAMs.

Speaker 11 (01:17:02):
You're not here, don Sammy.

Speaker 12 (01:17:04):
Program, Get your program here. Following now on NBCi Boosseller Programs.
You want to stay tune for lit'sten next to another
exciting adventure mystery on the Adventures of Sam Spathe. Then
here the NBC Symphonies Summer Concerts with guest artists Helen
Travels and Vladimir Ghostland. And congratulations the station WWJ Detroit
on this the thirtieth.

Speaker 10 (01:17:23):
Anniversary of broadcasting.

Speaker 12 (01:17:24):
This is NBC, the National Broadcasting Company.

Speaker 1 (01:17:27):
One way you can support what I do is by
shopping In the Weird Darkness Store, you can find Weird
Darkness t shirts, trucker caps, and dad hats, school supplies,
kids clothes, coffee mugs, and more, with dozens of designs
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maybe as a gift for the weirdo in your life

(01:17:48):
by clicking on store at weird Darkness dot com. That's
Weird Darkness dot com slash store.

Speaker 15 (01:18:07):
MS paid detective brought to you by Wild Road Cream
Oil Heratonic.

Speaker 2 (01:18:12):
Do not.

Speaker 32 (01:18:20):
Say detect agency.

Speaker 20 (01:18:22):
This is Man Scientific Detective number one three seven, five
nine six.

Speaker 34 (01:18:27):
No matter what anyone says, I'll stand by you. You're
nothing of the sort, not scientific.

Speaker 15 (01:18:33):
You're two syst Well, thanks Ivy.

Speaker 22 (01:18:35):
And I.

Speaker 20 (01:18:38):
Was actually mistaken for a convolutional melancholiac.

Speaker 32 (01:18:42):
Oh dame, are you all right now?

Speaker 20 (01:18:43):
Wrong diagnosis angel? It turned out to be melancholia catatonics.
Oh well, it's a thing where you lie motionless and
silent with fixed eyes and indifference to surroundings unquote.

Speaker 32 (01:18:57):
So what's happened to you? What's the lie in?

Speaker 10 (01:19:00):
Can I bring you anything?

Speaker 7 (01:19:01):
Oh?

Speaker 15 (01:19:01):
If he I am now in lives.

Speaker 20 (01:19:03):
Pull down the blind, check the car, and some men
and little white coats and set a bottle in the window.
If the coast is clear, I'll be right down. I
dictate my report on a mad sign escaping.

Speaker 12 (01:19:26):
Heavy?

Speaker 15 (01:19:30):
Where are you? Why is it so dark in here?

Speaker 34 (01:19:32):
I had to put the lights out.

Speaker 32 (01:19:33):
The line stuck. I couldn't get it down.

Speaker 15 (01:19:36):
The heats off that he left there be light.

Speaker 25 (01:19:38):
Oh oh, I'm so glad.

Speaker 32 (01:19:43):
And then you'll catch you.

Speaker 15 (01:19:45):
I'll look at me like that and stop whispering.

Speaker 34 (01:19:47):
Oh, Sam, did you get me all upset like that?

Speaker 16 (01:19:51):
Just for a joke.

Speaker 15 (01:19:52):
There's no joke, straight heavy, sick, just sick of some
of the tips I made in this business.

Speaker 13 (01:19:57):
Oh.

Speaker 15 (01:20:00):
Date July twenty five, nineteen forty eight, too Detective Lieutenant
Dundee homicide details San Francisco Police from Samuel spae Licens.
Summer went to the seven five ninety six subject the
mad scientist caper. I worryful, dear Dundee. He looked like
a mad scientist, and that's exactly what he was. His

(01:20:21):
eyes had a wild gleam in him, his hair was
a wild tangle, and he was wearing a wild assortment
of clothing that looked as if they had been slept
in and shifted. He leaned across the desk at me
and said.

Speaker 12 (01:20:32):
They have stolen nice secret formula they had.

Speaker 15 (01:20:36):
See that's too bad.

Speaker 12 (01:20:37):
Oh you think I'm crazy.

Speaker 15 (01:20:40):
I don't know yet. I just met it.

Speaker 12 (01:20:41):
My name is Raymond Fox. Did that mean anything to you?

Speaker 15 (01:20:44):
Raymond Fox? Yeah, I think it does, but I don't
quite remember what I invented the helioscope. Helioscope, No, that
wasn't it.

Speaker 42 (01:20:53):
I also synthesized high bucks lamm a photocanton. That was it,
but unfortunately reception costs worth prohibited.

Speaker 15 (01:21:01):
Ah but you didn't like that discovery.

Speaker 42 (01:21:03):
No, no, no, no, no, indeed see outer of brief illness.
I was back in my laboratory perfectly. My greatest contribution
to science, what may prove to be the greatest contribution
of science to humanity.

Speaker 12 (01:21:14):
I call it pentoton. That is what they have stolen,
the secret formula for penticon.

Speaker 2 (01:21:19):
Huh.

Speaker 15 (01:21:20):
Ow what exactly is penetroon, mister Fox? And who are they?

Speaker 13 (01:21:24):
Well?

Speaker 42 (01:21:25):
Peneton is a plastic with a molecular structure which repels
a comic radiation more efficiently than lead.

Speaker 12 (01:21:31):
Yet weighs less than aluminium.

Speaker 42 (01:21:32):
All that who you with hype the significance of this
well and imagine a motor no larger than a cigar
box with a powerful potential.

Speaker 12 (01:21:40):
Even I don't believe what they do the greatest and enterprises. Now,
how do I know this?

Speaker 42 (01:21:47):
When I apply to the patent offers to protect my discovery,
I received this letter.

Speaker 15 (01:21:52):
Pity for yourself, Commissioner Fans, wasn't they say, Dear mister Fox,
your applications for patents on formula designated under the trade
name Penatron is thereby rejected. A formula and trade name,
together with the scriptive material identically years have been registered
by mister Albert Grierson. Grierson Enterprise is San Francisco, Very

(01:22:14):
truly yours, George Sherman, I think that the Assistant commission
you see, Yes, you don't need to detective mister Fox,
but you need as a good patent lawyer, lawyer, I.

Speaker 12 (01:22:26):
Have won a legal ball of fire named Ruscoe Manning.
You know this scoundrel.

Speaker 15 (01:22:30):
Yeah, he's got an okay reputation.

Speaker 12 (01:22:32):
And I am paying for it three thousand dollars in retainers.

Speaker 42 (01:22:35):
And now he tells me he can do nothing, insufficient evidence,
He day, what is this outfit? Grayerson enterprises a snare
in the delusion with rinted furniture and scientific ventilation.

Speaker 43 (01:22:47):
And dirty work at the switchboard.

Speaker 15 (01:22:50):
How did they get hold of your formula?

Speaker 12 (01:22:51):
Well it must have been when I was ill. They
came and.

Speaker 15 (01:22:54):
Took it away? Are your laboratory?

Speaker 12 (01:22:57):
What did it matter?

Speaker 13 (01:22:57):
Where?

Speaker 15 (01:22:58):
I got to start someplace?

Speaker 12 (01:22:59):
Stop with the man. I promise you he's a cook.
If he's seals from me, he's stolen from of it.

Speaker 7 (01:23:04):
We can prove that.

Speaker 12 (01:23:05):
Then I have a case.

Speaker 15 (01:23:07):
Well, I can't promise you anything, mister Fox, but I
don't see what I can do.

Speaker 12 (01:23:11):
Would one hundred dollars be enough? We already tat out
so much?

Speaker 15 (01:23:14):
Twenty five now on the balance. If I can do
anything for you, I doubted if I could even earn
the twenty five. Let if he wanted a gamble, it
was okay with me. The officers of Gray's Atlantic Prizes
were pretty much, as he described them, a beautiful front,

(01:23:34):
especially at the switchboard.

Speaker 44 (01:23:38):
Rich enterprises, good afternoons, don't lit the thists out of town.

Speaker 12 (01:23:42):
So I don't know what you expect it.

Speaker 15 (01:23:44):
I'll be right with you.

Speaker 32 (01:23:45):
That's good one rich enterprises. No he's not.

Speaker 44 (01:23:49):
No, I do not and does want to talk to
you in any case, mister Manning, Oh, we're just uh
to shut it off.

Speaker 13 (01:23:56):
Might well?

Speaker 34 (01:23:56):
I don't know what he seems to be waiting him anyway?
You aren't looking for him too, I hope. Just tell
me to sell him magazine with a lecting.

Speaker 12 (01:24:03):
I'll be projecting anything my card.

Speaker 34 (01:24:05):
Oh, mister Grisson hasn't done anything.

Speaker 15 (01:24:07):
Happy, that's what I want to find out. My client
says that he swiped the city of Colonia.

Speaker 34 (01:24:11):
Oh nothing, I mean, if you don't look the time. No,
he's mad, don't you.

Speaker 7 (01:24:15):
Maybe?

Speaker 15 (01:24:15):
Yes, I know, certainly, I'm crazy about money. Mad money,
penny good, pretty money. Your employer didn't have to leave
any lying around it.

Speaker 34 (01:24:24):
No, but they have charge to cause the bar. I'm
scared to godly five o'clock.

Speaker 32 (01:24:27):
Could you cross examine me?

Speaker 7 (01:24:29):
There?

Speaker 15 (01:24:33):
I finked her as gallantly as I could under the circumstances.
She said, wait here, I won't be a nut, And
while she was gone, I made a quick risk of
the office. The plotcab with the empty the rising desk
to contain nothing but to do on shopping Pence tobacco
crumbs and rubber bands and rusty paper clips, a little cassidill,
a glass Hanfields, broken tabled sodium dena drain for intravenous injection,

(01:24:55):
and a business card from one Roscoe Manning Oney at law.
I sa the card in my pocket went back to
the switch part. And the last time that it takes
to tell I was calling her Lois and she was
calling me Sam over cocktails the su.

Speaker 34 (01:25:08):
That's all I know about it. I did speak anything
about he's taking his first Farman's got.

Speaker 13 (01:25:12):
A file with him.

Speaker 15 (01:25:16):
When was the last time he saw him? You haven't
heard from him? And all that time he was mister Fox.

Speaker 44 (01:25:22):
Before they had a terrible crawl, but then Richard Grayson
managed to get him calm down, and then I.

Speaker 34 (01:25:28):
Left the office together and that's the last time he
saw gress bing Does that mean yet?

Speaker 12 (01:25:33):
Tell you that.

Speaker 15 (01:25:34):
Grayson slices invention? Do you believe that I didn't even
believe in the invention? Now I'm beginning to think it
was worth stealing.

Speaker 34 (01:25:41):
Oh, mister Grison, wouldn't He's a brilliant man.

Speaker 15 (01:25:44):
You know what else is the invented?

Speaker 13 (01:25:46):
Well?

Speaker 32 (01:25:46):
I don't know.

Speaker 34 (01:25:47):
He always had a lot of projects, But of course
he never took me into his confidences.

Speaker 15 (01:25:52):
Exactly what is your job?

Speaker 34 (01:25:54):
It's quake, some believe I just tell people using names.

Speaker 15 (01:25:57):
Yeah, look, sweetheart, you really mean to tell me? It
never occurred to you that there might be something slightly
fishy about Grace and enterprise. I know I should it
because it's a smell of red herring out there. It's
in the air.

Speaker 32 (01:26:09):
Do you mean, mister Grayson to cook? Well? What does
that make mean?

Speaker 15 (01:26:14):
Worry that out on his time drink up? He worked
as if she were telling the truth, though with women,
especially blue eyed women, that doesn't always mean anything. Because
she had anything more to tell, she obviously wasn't ready
yet to tell it. I asked her to come up
and listen to my herb Jeffrey's records. She sent in

(01:26:36):
my apartment. Needed a woman's touch. I handed her a broom.
She hit me on the head with it and left,
And so to bed up the times and phoned my client.
He wasn't then, and I phoned a guy I know
who sometimes knows about things and asked him what sodium
dinner dream was. He said it was a sedative and

(01:26:57):
or a truth. Sir A mental type drug. I wondered
what Grierson has been using it for during office office.
I also wanted what else he'd been spending money for.
I phoned another guy who knows about other things, and
he called me back with the name of Grison's Bank,
Golden Gate, Crust and all the way ahead of my surprise,
I actually had something to go on because in the
past six weeks, checks totaling fifty thousand bucks had been

(01:27:20):
deposited the Grierson's account, all drawn on the simpless Exchange
Bank of San Nselmo, and all bearing the signature of
one Carl Birdwell, MD. He wasn't hard to find. It
was a big place in the outskirts and the sign
on the gate said Mary Fkatchkiz Hospital for the mentally Braine.
Doctor Birdwell's cottage was one of five about bars on

(01:27:41):
the window he was spraying his road.

Speaker 12 (01:27:46):
No, that's just suddict to me, as doctor Coobe, how
is convuls would needs all right?

Speaker 15 (01:27:50):
I can't complain.

Speaker 43 (01:27:51):
God, these are your fingers back.

Speaker 15 (01:27:52):
Good pick up their shares.

Speaker 43 (01:27:53):
I want all those egg edges cut off the hedges.

Speaker 15 (01:27:56):
Well, why don't you hire a gardener that those checks
the Grison can use up all you're ready. Tech.

Speaker 35 (01:28:01):
Hey, I thought you were the sister Dictamy. Good lord,
you're that convolutional melancholiac. You're not allowed out on the ground. God,
Wait a minute, doctor.

Speaker 43 (01:28:13):
I'm taken back. Guys after the Pistdictamy.

Speaker 13 (01:28:15):
This is the wrong man.

Speaker 15 (01:28:16):
You're crazy. Come on, go of me. I'm not a
patient here, I'm an a technic, and I'm.

Speaker 12 (01:28:20):
I'm suretrock home. Come on, I'm back to the violent war.

Speaker 15 (01:28:23):
Come on, way off. I got an office in San Francisco.
I can pull it one, three, seven, five nights, okay,
doctor Watton, But come on, come on, and in more
time than it tastes to tell. Due to the God's
ju jitsu, I was this robe slate, jacketed and rolled
into a wet sheet, a full fledged inmate of the

(01:28:46):
many Fposkis Hospital to the mentally Deranged, which is exactly
where I belong, for having taken mister Fox's twenty five
bucks makers of wild group and no back to the
mad scientist keeper. And I said, I here, with Sam's faith,

(01:29:14):
I have been shot, stabbed, slashed, pistol with and safted
into unconsciousness. The Nintenio spent a night rolled up in
a wet sheet. Dundee, you don't know what punishment is.
You feel hot and cold at the same time, too
miserable to sleep, too exhausted to stay awake, and after
four hours of it you just give up and join
the crazies pushing up the days. There's only one thing

(01:29:37):
I can say in favor of the Mary Fkatchkiss Hospital
for the mentally Deranged. They get the patients up early.
By six thirty in the am. I have been rolled
out of the sheet by quarter of seven.

Speaker 7 (01:29:46):
I had thought out.

Speaker 15 (01:29:47):
Enough to be taken out of the straight jacket by
an orderly I was glad to be out of it
because it was very heavy, and that gave me an idea.
I picked it up and swung it last time than
it takes to tell I was in the ordinance uniform,
out of the violent wing and shuffling up the walk
through Doctor Birdwell's rose garden and throw his cottage gored.

(01:30:12):
Good morning, doctor.

Speaker 7 (01:30:13):
Birdwell, Good lord?

Speaker 15 (01:30:14):
Who let you in here? What do you want? I
was trying to tell you yesterday when I was so
rudely interrupted, Hey, oh.

Speaker 45 (01:30:20):
Yes, the detective. Did you say, Grierson sends you, I
didn't say that. I'll bet you'd have to be absolutely
specific or I contact you, all right.

Speaker 15 (01:30:28):
My client is an inventor who claims that mister Gererson
stole a formula from him, got a patent on it,
and stands the profit of the tune of about a
million bucks the last two Adams check. I don't know
whether Gererson's a crook or not. He's in a youth
for fifty thousand bucks, so you might know.

Speaker 43 (01:30:44):
Listen that pale eyes, contracted pupils, big mup of hair.

Speaker 7 (01:30:48):
That's a fair discretion.

Speaker 15 (01:30:50):
Fox, Raymond Fox. He's a patient escape from this hospital.

Speaker 43 (01:30:54):
That man, mister Spade, is a homicidal maniac.

Speaker 45 (01:30:56):
If you jog your memory, you may recall the case
Sacramento Hunteen thirty five.

Speaker 15 (01:31:02):
Wait a minute, chemistry professor lab exploited.

Speaker 45 (01:31:06):
That's the case two of his colleagues whom he irrationally
suspected of stealing the formula for the explosive he used.

Speaker 15 (01:31:12):
To blow them up. He sure they didn't.

Speaker 43 (01:31:14):
The man was adjudged hopelessly insane. He must be returned
to us. He may murder. Grierson me murder you. But
he will commit a murder if he remains at.

Speaker 7 (01:31:22):
Large, perhaps more than one murder.

Speaker 15 (01:31:24):
He must help us spade like you, Doctor, I can't
help unless you're absolutely specific about a couple of things.
Your connection with Grierson.

Speaker 43 (01:31:32):
For instance, I invested in Grisson's firm.

Speaker 15 (01:31:34):
Uh huh out of Fox made Grayson.

Speaker 45 (01:31:37):
He has allowed a certain degree of freedom here during
his rational period. Had guessed that he went through my
papers or overheard one of my conversations with mister Grierson.

Speaker 15 (01:31:48):
Do you know he retained a lawyer? Hmm, Manning smart
patent lawyer must think Fox as a case. Surely not Grierson.
Thanks so too. You've talked to Grierson. No that I'd
examined his bank statements. The bank allowed that. I told
him I was Greyson's attorney. The point is Greyson has
broke why because he's paid out every penny you gave

(01:32:09):
him to the order of Roscoe Manning attorney at law.
And you know what I think, doctor, Yes, I think
Raymond Fox is crazy like a Fox. I had the
same I hadea about doctor birdwell, but I didn't say so.
I didn't fail up to study another Knight in a
what sheet. I also didn't fail up for the interview

(01:32:30):
that was awaiting me outside the gates. A limousine only
a little longer than a hearse was standing at the
curb around pink Head with a gray Hamburger on it.
Bobbed out at me from the driver's seat and said, yeah,
Roscoe Manning, how'd you do about forty nine, nine hundred
and seventy five bucks less than you've done in the

(01:32:50):
cap for so far?

Speaker 43 (01:32:52):
The law is a lucrative proficient.

Speaker 12 (01:32:54):
My boy, get in.

Speaker 43 (01:32:56):
I'll drive you back to town no charge. Yeah, I'll
even give you some advice times retainer.

Speaker 13 (01:33:04):
Where sir, you are an a lusive camp. I've had
the devil's own time catching up with you.

Speaker 7 (01:33:10):
How did you?

Speaker 15 (01:33:11):
I won't ask why, and I am.

Speaker 43 (01:33:13):
Not without resources.

Speaker 46 (01:33:15):
Now as to our mutual client, mister Fox.

Speaker 43 (01:33:19):
Obviously you've learned a good deal about him.

Speaker 15 (01:33:22):
Doctor Bradwell says he's cucoo and it's only a toss
up which one of us is gonna blow up first,
And just about what you'd.

Speaker 43 (01:33:27):
Expect from a medical man.

Speaker 47 (01:33:28):
If you've listened to as much conflicting medical testimony in
court as I have, you take them all with a
grain of salt, or should I say soda.

Speaker 15 (01:33:35):
Mint or a sodium Jena drain.

Speaker 43 (01:33:38):
That's a mysterious remark.

Speaker 15 (01:33:40):
I was just trying and emphasize it and fitful.

Speaker 48 (01:33:43):
Where'sha?

Speaker 15 (01:33:44):
Here is my proposition as to Fox's sanity.

Speaker 13 (01:33:48):
It's of no importance.

Speaker 7 (01:33:49):
He has money, and I think he has a case.

Speaker 43 (01:33:52):
You can always get a doctor to say he's back.

Speaker 13 (01:33:55):
In his right mind.

Speaker 15 (01:33:56):
Where do I f any scheme you just keep looking for?

Speaker 6 (01:34:01):
And what's that secretary of he is?

Speaker 15 (01:34:03):
I don't trust her anything else?

Speaker 7 (01:34:06):
Oh, I almost forgot.

Speaker 12 (01:34:08):
Here's five hundred dollars and here's your ticket to Chicago.

Speaker 15 (01:34:17):
I don't know why, but somehow I got the impression
that mister Manning was trying to get rid of me.
He should have used that ticket to Chicago. And so
we stopped sauclaid over for breakfast, and the condemned man
had a hoty meal. We drove the last miles of
the Marina district and pulled up in front of his house.

Speaker 12 (01:34:35):
Where'sair Have a nice trip or take the car, miss speed?

Speaker 6 (01:34:39):
I pick it up at the depot and goodbye.

Speaker 43 (01:34:41):
It's been charming.

Speaker 15 (01:34:45):
He's backed across the sidewalk waving, and I waved back,
and he went up three steps, but a key in
his door and opened it. I didn't do much damage
to the house, but all the King's horses and all
the king men couldn't put Rascal Manning back together again.

(01:35:05):
I got out of the car and just made it
off the steps when it happened again. I hated the look,
but I did for the limousine has been parked with
me in. It was a smoking heap of scrap metal.
I then had it for the nearest phone booth, and
pausing only to inspect it. The mines and booby traps, dials,
a number of Grand enterprizes Lower sam Space, thank you

(01:35:34):
for the present?

Speaker 7 (01:35:35):
What present?

Speaker 32 (01:35:36):
A chest?

Speaker 13 (01:35:36):
Yes?

Speaker 20 (01:35:37):
I think I can guess what it is?

Speaker 32 (01:35:38):
A traveling clock.

Speaker 15 (01:35:40):
You mean a package arrives and the text listen throw
it out the window. No, don't do that, Pedestris the
some price man. Have you got a metal waste basket there?
I think we'll fill it up with water and throw
the package into it.

Speaker 43 (01:35:56):
It is not a lovely clock, it's a lovely booby trap.

Speaker 7 (01:35:59):
Go on there he is.

Speaker 15 (01:36:00):
Manning just got one of them, and what's left of
him is on the way to the mark. Loos, Loos.

Speaker 49 (01:36:09):
Wake up, plow some water on yourself.

Speaker 15 (01:36:11):
Hello, Hello, let me through here, come on, let me
throw Lois Lois. Oh, you're okay, all right, she's all
right now, you people, come on, get out of here.

Speaker 6 (01:36:32):
She's all right.

Speaker 15 (01:36:35):
Come on, get up, You're not hurt. Explodes in the water.
At least you had sense enough to do what I
told you to.

Speaker 32 (01:36:42):
Oh, this is a new dress.

Speaker 15 (01:36:43):
No, look at it looks fine. Here, what's this coat round?

Speaker 34 (01:36:47):
I don't think that was a very funny joke.

Speaker 10 (01:36:49):
Neither do I.

Speaker 15 (01:36:49):
Now try and forget your clothes from it, and try
and answer a few questions for me. There's much time.
I want you to be very sure of this. Lows.
Try and remember accurately. How many people has grass And
seen since he opened this office.

Speaker 32 (01:37:01):
Not very many. He's trying to be a brand. It's strange,
not that I.

Speaker 13 (01:37:05):
Think of it.

Speaker 34 (01:37:06):
I don't even remember too.

Speaker 32 (01:37:07):
Mister Manning and the mad scientist man.

Speaker 21 (01:37:09):
Mister Fox.

Speaker 15 (01:37:10):
Yeah, did you hear any of the conversation between Gerson
and Fox?

Speaker 13 (01:37:13):
Oh?

Speaker 34 (01:37:13):
He did scream at mister Greyson, the boss, how his
invention has been thrown from him? It is sound as
if they scuffled and all of a sudden.

Speaker 44 (01:37:19):
Mister Fox come Now when he came out, his eyes
look funny, as if he'd been hypnotized.

Speaker 15 (01:37:24):
Yeah, what does Grisson look like?

Speaker 21 (01:37:26):
Oh, you must have been quite handsome at one time.

Speaker 44 (01:37:29):
He's sort of like Gregory Peck with a mustache only
Saturday and Balder's loaded.

Speaker 15 (01:37:34):
I wouldn't have put it exactly like that, but I
can see what you mean.

Speaker 32 (01:37:36):
But you've never seen him.

Speaker 15 (01:37:37):
Don't make book on it, but I think I have.
I made three phone calls. Wonder what crime reporter I
don't like very well? Giving him a false story on
the death of Lois Grierson's secretary and not out of
my client, the mad scientist alias Raymond Fox, and won
to doctor Birdwell. Then I went to my apartment and waited.

(01:38:01):
My client arrived five minutes before the doctor. When Birdwell
came in, my client said.

Speaker 46 (01:38:07):
Ah, that's she's still my secret formula.

Speaker 50 (01:38:10):
Oh no, Raymond, you're getting confused again.

Speaker 15 (01:38:12):
Oh I'm the doctor. Don't you remember that?

Speaker 16 (01:38:14):
That's not true.

Speaker 21 (01:38:16):
Your name is Grierson.

Speaker 45 (01:38:17):
Oh it's much worse his identification. You must try to remember.
Raymond nobody's going to hurt you, but you'll be much
sicker if you don't remember.

Speaker 21 (01:38:26):
But I do remember.

Speaker 43 (01:38:26):
I remember everything. You remember, setting the bombs at Manning's
house and the one you sent to.

Speaker 7 (01:38:30):
Mister Geerson's office.

Speaker 32 (01:38:31):
No, no, no, no, no, prison isn't dead.

Speaker 12 (01:38:34):
You're Grierson.

Speaker 7 (01:38:35):
Oh, Grierson isn't dead.

Speaker 43 (01:38:36):
Only that poor girl. No no, no, she didn't steal
my formula.

Speaker 10 (01:38:40):
It was you.

Speaker 15 (01:38:42):
You're trying to mix me up, trying to help you. Now,
roll up your sleeve.

Speaker 43 (01:38:45):
I'll give you something to cris your nerves and we'll
go back to the hospital.

Speaker 15 (01:38:48):
Put it away. Doctor, you've helped the run up.

Speaker 10 (01:38:50):
Eh.

Speaker 43 (01:38:51):
Now look here, this man is my patient. He needs
medical attention.

Speaker 15 (01:38:54):
I won't argue with you, but I think you'd better
get it for some other doctor. Right now, he's making
more sense than you.

Speaker 32 (01:39:00):
Ha.

Speaker 43 (01:39:00):
Just keep on the way you're going stage and I'll
have you back in that wet sheet. I did it
once and I can.

Speaker 14 (01:39:05):
Do it again.

Speaker 15 (01:39:05):
Sit down, you got delusions of grande. Stop shaking, Raymond.
I said you're making more sense than he is, and
I can prove it. You think your very istew, don't you? No,
I'm stupid, but I'm lucky. I should have tumbled the
whole caper when I found that you'd invested fifty thousand
smackers and Grierson Enterprises, when I found out that Raymond
was an escape patient, I should have tumbled what that

(01:39:27):
dinner dream vow was doing in Greerson's desk. I should
have known then that you and Grierson were one and
the same person. I told you when I discovered that
you'd paid Manning all that shakedown money, I should have
known you were planning to knock him off and everybody
else you could identify you, But it didn't work out
that way. I got out of the car before it
blew up. Luck, and you can identify me as Grierson,

(01:39:50):
I don't have to. Oh God, surely.

Speaker 43 (01:39:53):
You're not cutting on Raymond sanity is that extent?

Speaker 15 (01:39:56):
He can't even remember that I was his doctor, Kenny, Raymond.

Speaker 16 (01:40:00):
Kind of mixed me up.

Speaker 12 (01:40:01):
You stole my formula. I didn't kill them.

Speaker 15 (01:40:05):
Down on the couch and relax, ram and don't worry
about a train. Well, doctor, what now you relax too?

Speaker 2 (01:40:15):
Oh?

Speaker 15 (01:40:15):
Kiss? Come on?

Speaker 16 (01:40:16):
And what joyce?

Speaker 21 (01:40:17):
Why mister Gerson have you been ill?

Speaker 43 (01:40:20):
I'll tell you right on my pantacage.

Speaker 15 (01:40:23):
Okay, come on, get back there, get back, Sorry, sweet,
And I didn't mean to let him get that close
to you.

Speaker 16 (01:40:30):
What are you trying to do?

Speaker 15 (01:40:31):
It was an experiment, just to see what would happen.

Speaker 7 (01:40:34):
It did.

Speaker 45 (01:40:36):
Oh, that's the way you scientific dictators work, well, a
hard boiled chap.

Speaker 15 (01:40:41):
You have the vaguest way of doing things I ever
heard on Well, plans are all right sometimes, doctor, and
sometimes just stirring things up is all right if you're
stuff enough to survive, and keep your eyes open so
you see what you want when it comes to the
top or something. Spade, donny, I'm a home. I've got

(01:41:02):
two homicidal characters here, one sane and one insane. Now
if you can tell the difference, I'll let you give
the story to the papers. And that, Lieutenant d is
the crop you picked the wrong one. Thing, guys, it's

(01:41:24):
as simple as this. Raymond Fox was the looney, but
Birdwell alias Grierson, conceived and executed the whole scheme, including
the explosions. Don't worry about Fox. He's now back at
the hospital working on a new secret formula. I don't
know what it is, but it might be an anti
fruth serum serum, because that's how Birdwell got the penetron
formula by using truth serum. I'm a mad scientist to

(01:41:47):
make him talk anyway. You figured he's crazy like a fox.
His enemies are all dead around their way, and he's
a snug as a rug and a bug hut period
end of loney tone.

Speaker 32 (01:42:00):
Just well, it takes all thoughts to make a world.

Speaker 15 (01:42:04):
Well, I guess you never spoke a through a word
at it, But don't forget us stretching time saves nine.

Speaker 34 (01:42:08):
Don't feel too badly about it.

Speaker 15 (01:42:09):
Sam, that a lad, and never you took the words
right out of the horse's mouth. But it's later than
you think. Angel, Type that up, Angel, and while you're
at it, see if you can think up a way
to teach an old.

Speaker 46 (01:42:17):
Dog now, twicks, don't hear I's thinking over what you said,
which about teaching an old dog new six.

Speaker 34 (01:42:26):
You're only as old as you feel.

Speaker 15 (01:42:28):
Sad and sending the applications for my old age pension
hole and I won't.

Speaker 32 (01:42:32):
Let you talk that way. And you're just tired, nervous
and run down.

Speaker 15 (01:42:35):
Yeah, back aches, stay at nights. It's our records.

Speaker 34 (01:42:38):
You're just jning. Sorry for that, mister Fox.

Speaker 32 (01:42:40):
I would worry about him. Did you pointed out he's
safe for where he is.

Speaker 34 (01:42:43):
We're all concerned natural All necessity is the mother of inventions.

Speaker 15 (01:42:47):
What's that got to do with anything? He all that
you see?

Speaker 12 (01:42:52):
All well?

Speaker 7 (01:42:53):
And good night Sam, good night Pollyanna Collyanne.

Speaker 32 (01:42:57):
Or she's a glad girl? Oh no, San that shakes
you at all?

Speaker 7 (01:43:00):
You'll know best all the show that's going to show
a good nights wait on.

Speaker 1 (01:43:14):
If you like what you're hearing in the podcast, use
the share option on a device you're listening from to
let others know about the show or this episode. Spreading
the word to others who like the paranormal or strange stories,
true crime, monsters, or unsolved mysteries like you do helps
to keep the show growing and it's the best way
that you can support what I do. Thank you for

(01:43:35):
sharing and helping to spread the weird darkness.

Speaker 51 (01:43:59):
To see you old Book once again, the keeper of

(01:44:23):
the Book has opened the ponderous door to the secret vault,
wherein has kept the Great Sealed Book, in which has
recorded all the secrets and mysteries of mankind.

Speaker 40 (01:44:33):
Through the ages.

Speaker 51 (01:44:35):
Here are tales of every kind, tales of murder, of madness,
of dark deeds, strange and terrible, beyond all belief. Keeper
of the book, I would know what tale we tell
this time. Open the great book and let us read

(01:44:55):
slowly the great Book opened hm one by one. The
keeper of the book turns the pages and stops. Ah
the strange story of a cursed and evil spirit, a

(01:45:18):
spirit that threatened the peace and happiness of a young
married couple, a tale called Stranger in the House. Here

(01:46:17):
is the tale Stranger in the House, as it is
written on the pages of the sealed book. The tale
was told by Jane Boton herself.

Speaker 18 (01:46:29):
From the first moment I saw Wickford Manor, I was
filled with a sense of uneasiness, almost fear, a fear
I couldn't explain. To all outward appearances, Wickford Manner was
just another old, staunchly built colonial house, the kind you
see through on New England. Roger, my husband, was delighted
with the house. Its beauty and remoteness won his heart

(01:46:52):
from the beginning.

Speaker 52 (01:46:54):
Say take a look at that beautiful staircase, Look at
this magnificent fireplace in the drawing room.

Speaker 10 (01:46:59):
Yes, it is.

Speaker 18 (01:47:00):
It's beautiful, Roger.

Speaker 40 (01:47:01):
It's just the size house we need, with four rooms upstairs.

Speaker 18 (01:47:04):
Four rooms upstairs. How do you know, Roger, the agent
never mentioned how many rooms the house.

Speaker 40 (01:47:09):
Hit, didn't he.

Speaker 52 (01:47:10):
Well, there's only one way to find out. Let's go
upstairs and look. Come on, Jenny, this house will requires
very little in the way of repairs.

Speaker 18 (01:47:19):
It hasn't any electricity, Roger.

Speaker 52 (01:47:21):
Oh, well, we could use lamps until a line could
be round to the house. Look, Jenny, there are four
rooms up here.

Speaker 2 (01:47:27):
So there are.

Speaker 18 (01:47:28):
It's just though you've been in this house before.

Speaker 52 (01:47:31):
I have a feeling I have no Perhaps that's the
reason I like it. Darling, you've been ever so quiet
since we entered the house. Don't you care for it?

Speaker 18 (01:47:41):
I don't know. It seems unfriendly.

Speaker 52 (01:47:45):
Well, if you don't like it, then we'll keep on
looking until we find a house we both like.

Speaker 18 (01:47:49):
Oh nonsense, I've been married to you too long not
to know you've got your heart set on this place.
We'll never find anything nice there.

Speaker 19 (01:47:59):
Now.

Speaker 18 (01:47:59):
That room with the sudden exposure will be our bed.

Speaker 3 (01:48:01):
Gord Jane are wonderful and we will be happy here.

Speaker 18 (01:48:05):
I know we will, because I loved Roger and wanted
to see him happy. I buried my fears and agreed
to the purchase of the house. The first evening in

(01:48:25):
our new home, as I went about the drawing room,
unpacking our belongings, I suddenly realized how cold and clammy
the room was. In spite of the roaring fire. Beyond
the feeble light of the oil lamp, the room was
thick with fog. Suddenly it seemed to engulf middle like
a shroud. I felt the icy coldness of the grave

(01:48:46):
upon me. My heart pounded in my ears. I felt faint.
After what seemed like eternity, the fog rolled away, the
light of the lamp became brighter. I felt unbearably alone.
I rushed out of the drawing room because I opened
the door of the steady, I saw Roger seated before

(01:49:07):
the fireplace. He was tearing unseeingly at the ashes of
a fire long since gone out. Roger, Roger, Roger, Oh
it's you, Jane's anything wrong?

Speaker 7 (01:49:24):
Wrong?

Speaker 19 (01:49:25):
Yes?

Speaker 18 (01:49:25):
You seem so far away, remotely It frightened me. He's
not perfume in here?

Speaker 7 (01:49:34):
Why?

Speaker 40 (01:49:34):
Yes, the perfume I gave you for your birthday, isn't it?

Speaker 19 (01:49:38):
No?

Speaker 18 (01:49:40):
No, it isn't my perfume smells like Narcissus.

Speaker 3 (01:49:45):
Yes, so it does.

Speaker 18 (01:49:47):
How strange, Roger, What were you thinking of when I
came in here?

Speaker 3 (01:49:54):
I don't know. My mind was reaching out for something,
something pasted, but it was also confused.

Speaker 15 (01:50:03):
It was as if I were.

Speaker 3 (01:50:05):
Wandering in the fog.

Speaker 18 (01:50:07):
Wandering in a fog.

Speaker 40 (01:50:09):
Yes, Jane, you're so pale. Aren't you feeling well?

Speaker 18 (01:50:15):
I'm just tired and rather a tiring day.

Speaker 40 (01:50:19):
You go up to bed, Jane, I'll be a long later,
all right, Dear.

Speaker 18 (01:50:24):
Don't forget to turn out the lamp when you come up.
I left the study hand Roger. After tossing in my
bed for hours, I fell into a fitful sleep. I've

(01:50:47):
suddenly awakened to hear the clock in the hall striking
the hour. It was five o'clock and Roger's bed was empty.
Quickly slipping on my robe, I left my room and
started down the stairs. As I reached the foot of
the stairs, I stopped, but in my astonishment I heard

(01:51:09):
Roger's voice in the study. I slowly approached him until
I was at the door.

Speaker 7 (01:51:16):
WHOA, it's missed.

Speaker 2 (01:51:19):
If I could only make your.

Speaker 7 (01:51:20):
Heart clear, so difficult.

Speaker 8 (01:51:23):
Missed e scws your face?

Speaker 3 (01:51:26):
Why why don't you say something.

Speaker 23 (01:51:29):
Roger, Rogert the door.

Speaker 18 (01:51:33):
It's Janie.

Speaker 3 (01:51:35):
I missed it coming between us. I can hardly see you.
I don't go come back, please, please come back.

Speaker 18 (01:51:41):
Dolly Darling, Please I lock this door, please, Roger.

Speaker 51 (01:53:29):
And now back to the story as it is written
in the Sealed Book. It was five o'clock in the
morning when Jane suddenly woke and found Roger locked in
his study. He was apparently talking to someone, although there
could be no one there. Hysterically, Jane pounded on the
study door, Tell.

Speaker 19 (01:53:47):
You lock the door please, Oh Roger, what is it?

Speaker 7 (01:53:54):
Jane?

Speaker 18 (01:53:55):
I was so frightened. Who are you talking to?

Speaker 7 (01:53:59):
Talking to?

Speaker 15 (01:54:01):
I don't know?

Speaker 40 (01:54:02):
Must have been dreaming, yes, as.

Speaker 18 (01:54:05):
You must have been. There isn't anyone in here, Roger.
The sind of narcissus so strong in here, Yes, much
stronger than it was at midnight. Roger, what were you
dreaming about?

Speaker 15 (01:54:19):
It was night?

Speaker 53 (01:54:21):
All around me was a mist. There was a woman, yes,
I could barely make out a face and swirling mists.
But it was a beautiful face, the most beautiful face
I've ever seen.

Speaker 18 (01:54:31):
Did you feel you'd seen her before.

Speaker 40 (01:54:33):
Yes, I couldn't remember.

Speaker 9 (01:54:35):
Why.

Speaker 18 (01:54:36):
What do you make of it, Roger?

Speaker 53 (01:54:38):
Of it?

Speaker 7 (01:54:40):
It was just a dream?

Speaker 40 (01:54:41):
I suppose what else could.

Speaker 7 (01:54:43):
Have have been?

Speaker 18 (01:54:52):
Roger said it was dream, But in his heart I
knew he believed it was more than a dream. During
the days that followed, he'd patient incessantly in the study,
paying no attention to me, living only for the coming
of twilight. Now, when night did fall, he blocked himself
in the study, forbidding me to disturb him. Hours would pass,
and then suddenly I'd hear him talking to her, begging

(01:55:14):
her to come close, to pleading with her to speak
to him at last. One night, I couldn't stand it
any longer. When he began talking to her, I knocked
on the door of the study until he opened it.

Speaker 13 (01:55:23):
What do you want?

Speaker 10 (01:55:24):
I thought?

Speaker 3 (01:55:24):
I told you I wasn't to be discerned.

Speaker 9 (01:55:27):
Fool.

Speaker 52 (01:55:27):
She was about to speak to me for the first time,
and you're knocked on the door and caused her advantage.

Speaker 23 (01:55:31):
Roger, you're not in love with her.

Speaker 25 (01:55:33):
You couldn't be.

Speaker 3 (01:55:33):
I am never a moment I don't think of her,
whist I might see her.

Speaker 18 (01:55:37):
Oh, what you're saying is madness. You can't be in
love with her. She's from another world of phantom and evil.

Speaker 3 (01:55:42):
Goes, Oh, she isn't evil. She's beautiful, so beautiful. I'd
give my life for her.

Speaker 13 (01:55:47):
To me.

Speaker 18 (01:55:48):
You must come away from this house and from her.
She's cast the spell over you, and he can only
lead a disaster. Roger, we must leave this house at once.

Speaker 3 (01:55:55):
No never, I insist, get up your hair and don't
come back. I'll never leave.

Speaker 18 (01:55:59):
I never, Doctor Smith. In view of what I've told you,
do you think you can.

Speaker 8 (01:56:11):
Help me now? You say, Missus Barton, that when you
drove out to Wickford Manor for the first time, your
husband seemed to recognize.

Speaker 18 (01:56:18):
The house certain things about it.

Speaker 8 (01:56:20):
Yes, there's a history to Wickford Manor, though few people
are familiar with it.

Speaker 18 (01:56:25):
A history to Wickford Manor.

Speaker 8 (01:56:27):
Yes, the house was built in eighteen hundred and eleven
by Martin Wickford for his bride Harriet. A year later,
Harriet's sister Isabel came to live with the Wickfrids. She
was a remarkably beautiful woman, so beautiful that Martin Wickford fell.

Speaker 15 (01:56:42):
In love with her and she with him.

Speaker 8 (01:56:45):
Then what happened one day while Martin was hunting in
the mountains. He was killed in a fall. When his
companions brought his body back to Wickford Manor, they found Harriet,
his wife, dead. She'd been poisoned. Yes. At the sight
of Martin's body, Isabel went to pieces and confessed that
she had poisoned her system. Before she could be arrested,

(01:57:08):
she committed suicide in the study.

Speaker 18 (01:57:11):
In the study.

Speaker 10 (01:57:13):
Yes.

Speaker 8 (01:57:14):
In the years that followed the tragedy, Wickford Manor had
a succession of tenants, all of whom left after a
brief residence. You mean they are too will The tenants
made no claim of seeing anyone, but their fear of
an unknown element in the house led them to leave.

Speaker 18 (01:57:30):
And for the other tenants never saw her. Why should
Roger see her?

Speaker 8 (01:57:33):
Missus Barton, you said that your husband seemed to know
many things beforehand about the house.

Speaker 18 (01:57:39):
Yes, sir, I recalled joking within the body. I said
it was as though he'd been there before.

Speaker 8 (01:57:45):
Perhaps he had long ago as another person the person.

Speaker 18 (01:57:50):
Yes, you mean Roger had once known Wickford Manner in
some previous life.

Speaker 8 (01:57:55):
How else, say you'll count for his remembrance of things
that he'd never seen.

Speaker 15 (01:57:58):
In this life.

Speaker 18 (01:57:59):
Oh, you're trying to tell me something, doctor, What is it?

Speaker 8 (01:58:01):
Perhaps your husband and the spirit of the woman Isabelle
are able to bridge the gap of time and space
because I had once known each other in another life.

Speaker 18 (01:58:11):
Doctor, You you don't believe that Roger was it was
Martin Wickford.

Speaker 8 (01:58:16):
I don't know what is happening at Wickford Manor is
beyond the knowledge of the living.

Speaker 27 (01:58:21):
But this I do know.

Speaker 8 (01:58:23):
We must return to the Manor at once, for the
spirit that's abroad in the house is one to be
feared more than death itself.

Speaker 3 (01:58:41):
Please come closer so I can see you better.

Speaker 15 (01:58:45):
Oh you're beautiful, beautiful.

Speaker 2 (01:58:49):
Can't you?

Speaker 40 (01:58:51):
Won't you tell me who you are?

Speaker 2 (01:58:53):
We have met before, haven't we?

Speaker 25 (01:58:56):
Yes, we've met before.

Speaker 54 (01:59:00):
What you spoke?

Speaker 25 (01:59:02):
I've waited so long for you, Martin?

Speaker 55 (01:59:06):
Why do you call me Martin?

Speaker 40 (01:59:08):
My name's Roger.

Speaker 25 (01:59:09):
It was Martin.

Speaker 4 (01:59:12):
Then, then.

Speaker 40 (01:59:15):
What do you mean?

Speaker 25 (01:59:16):
Look at me, Martin? Look into my eyes. Don't you
remember me?

Speaker 10 (01:59:24):
Yes?

Speaker 15 (01:59:24):
But where.

Speaker 25 (01:59:28):
Think? Martin? Think? Time is the barrier between us, but
we shall surmount it. Think back into the dim past
when you lived in this house and we loved each other.

Speaker 17 (01:59:46):
Isabelle, Isabelle, Yes, Martin, Isabelle, do you remember now.

Speaker 52 (01:59:55):
Yes, Isabelle, Yes, I remember everything up to the day
I went hunting in the mountains fell.

Speaker 40 (02:00:01):
What happened to me, isabel What happened to us?

Speaker 7 (02:00:04):
Oh, I love.

Speaker 25 (02:00:05):
Don't think of that a cursed day, darling. But think
of the future. Our happiness together.

Speaker 40 (02:00:13):
Yes, isabel Our happiness.

Speaker 32 (02:00:16):
Together, Martin.

Speaker 3 (02:00:21):
She's come back, yes, darling, don't go.

Speaker 7 (02:00:24):
Don't leave me.

Speaker 18 (02:00:25):
I must not, I must.

Speaker 25 (02:00:28):
We could be so happy to.

Speaker 7 (02:00:34):
Come back.

Speaker 6 (02:00:35):
Please come back, please, what do you want?

Speaker 40 (02:00:41):
What did you come for?

Speaker 18 (02:00:42):
Roger? This is doctor Smith, doctor, this is my husband.

Speaker 21 (02:00:47):
Please.

Speaker 18 (02:00:48):
I thought perhaps you could.

Speaker 3 (02:00:49):
Help us, help us.

Speaker 40 (02:00:50):
I don't need anybody's help.

Speaker 8 (02:00:51):
I must warn you, mister Barton, the spirit of the
woman you see in the study is an evil one,
one that will lead you to disaster.

Speaker 3 (02:00:57):
I don't need help from you or anybody else. Get
out of house, don't mother.

Speaker 32 (02:01:02):
Doctor.

Speaker 8 (02:01:03):
We must do something, we must, we shall, but not tonight.
I must have time to think about it. You better
return to the village with me.

Speaker 18 (02:01:10):
No, no, I don't want to leave him in the
house alone.

Speaker 8 (02:01:13):
Something might happen to him very well, and I'll return
late tomorrow afternoon. And when I do, we shall take action.

Speaker 40 (02:01:30):
Isabelle, Isabelle, where I am?

Speaker 3 (02:01:34):
I'm alone now, Darling, please come back.

Speaker 25 (02:01:38):
I'm here, Martin, I'm here.

Speaker 8 (02:01:41):
H Yes, I see you.

Speaker 3 (02:01:42):
Now, Promise you'll never leave me again, isabel I.

Speaker 17 (02:01:47):
Don't want to leave you, darling. But that woman is
trying to come between us, Jane. Yes, she hates me, Martin.
She will come between us if you don't get rid
of her.

Speaker 40 (02:02:05):
I tried to make her leave, but she wouldn't go.

Speaker 17 (02:02:07):
Then that leaves only one thing to do, one thing
to do. Yes, come, we must hurry. It's almost dawn
and I'll have to leave you soon.

Speaker 25 (02:02:32):
Look at her lying there asleep, so defenseless. Yes, go ahead,
put your hands around her throat and squeeze. Hurry Martin
before she awakens. Ugh, who's there? Answer her?

Speaker 40 (02:02:57):
Roger?

Speaker 18 (02:02:58):
Oh, over the moment.

Speaker 25 (02:03:00):
I'm so fune.

Speaker 7 (02:03:02):
It's just done.

Speaker 25 (02:03:04):
Hurry Martin. I must leave.

Speaker 18 (02:03:06):
Yes, but why are you looking at me like that?

Speaker 13 (02:03:13):
Oh?

Speaker 25 (02:03:14):
No, Roger, kind of mud tider. Until she stops struggling,
and it's still forever.

Speaker 3 (02:03:23):
It's about It's about are you, It's about please don't
leave me.

Speaker 19 (02:03:28):
It's about what does she made you Roger, but it

(02:04:38):
came wanting to.

Speaker 51 (02:05:20):
And now to continue the story as it is written
in the Sealed Book. As Jane finished describing to the
doctor how Roger, urged on by the sinister spirit he
called Isabel, had nearly strangled her, the doctor spoke.

Speaker 8 (02:05:35):
And then, missus Barton, you say your husband stopped choking
you and ran out of your room and down to
the study.

Speaker 19 (02:05:41):
Smith.

Speaker 8 (02:05:41):
Oh, I should have known better than to let you
remain in this house last night. Don't you see this
isabel knows that if he murders you, he will then
join her Christ's spirit forever in this house.

Speaker 18 (02:05:51):
Look, it's going dark out. Soon she'll appear to be
witching again.

Speaker 8 (02:05:56):
We must do something very well. This woman, Isabelle, has
been denied the peace of the grave because her sister's
blood is on her hands. She belongs neither to the
living or the dead, only to this house. If we
could get your husband to leave, perhaps it would break
the spells she's cast over.

Speaker 18 (02:06:14):
Yes, but he absolutely refuses to leave.

Speaker 8 (02:06:16):
Then we must force him to. I could very quickly
give him a hypodermic and render him unconscious.

Speaker 18 (02:06:22):
Yes, then we could carry him away and to make.

Speaker 8 (02:06:24):
Sure he never returns to this house. We must burn
it to the ground before we leave.

Speaker 18 (02:06:28):
Yes, we will burn it and the evil that's in it.
And if you will lead me to the study, have
you the hypodemic ready?

Speaker 7 (02:06:36):
Yes?

Speaker 8 (02:06:37):
Now, when your husband opens the door, just gain his
attention for a moment long enough for me to give
him the injection.

Speaker 18 (02:06:43):
Very well, Roger, how to open the door. I want
to talk to you.

Speaker 40 (02:06:51):
Three want why has he come back to this house?

Speaker 18 (02:06:53):
He's come to take me away?

Speaker 40 (02:06:55):
Roger, to take you away? Good, I'm glad to say
you to What if.

Speaker 8 (02:07:00):
You stuck me with?

Speaker 3 (02:07:01):
Put that in your hand, just the hypodermic, mister Barton, hypodermic.

Speaker 2 (02:07:05):
What are you gonna do?

Speaker 3 (02:07:07):
You're trying to take me away from this house from her?

Speaker 8 (02:07:11):
Why I'll go, I will go. You're here, you're start,
I've got I've got a mister. Now, I suggest you
take that lamp and smash it on the floor.

Speaker 18 (02:07:23):
Yes, let's burned the place down to the ground.

Speaker 8 (02:07:26):
Ye, that's it. Now you'd better help me carry your
husband out of the house. In a little while, this
house will be a raising in front of he's regaining consciousness.
Missus Barton, will.

Speaker 18 (02:07:48):
You remember what's happened?

Speaker 10 (02:07:49):
I don't know.

Speaker 18 (02:07:52):
How are you darning?

Speaker 2 (02:07:53):
Hello, Jenny?

Speaker 8 (02:07:56):
But I had a terrible dream. It's also confused.

Speaker 18 (02:08:00):
You've been very ill, But now you're going to be
all right?

Speaker 40 (02:08:04):
Of course, where am i?

Speaker 8 (02:08:07):
You're in my home, mister Barton.

Speaker 18 (02:08:10):
Our house burned down last night?

Speaker 7 (02:08:13):
Burn down.

Speaker 40 (02:08:14):
Oh that's too bad. We only had one night in
our new.

Speaker 18 (02:08:18):
Home, one night, yes, of course, Roger.

Speaker 8 (02:08:26):
Well, missus Barton. In spite of the loss of your home,
I think you were very fortunate, for there are things
far worse than fire.

Speaker 18 (02:08:34):
Yes, doctor, and I can never thank you enough for
breaking the bridge between the past and the present.

Speaker 40 (02:08:42):
What are you two talking about?

Speaker 19 (02:08:44):
Oh?

Speaker 18 (02:08:45):
Nothing, donning, nothing at all. Say you've been humming that
all day? You carry a dune?

Speaker 55 (02:09:04):
Oh nonsense.

Speaker 52 (02:09:05):
I've carried this tune for three hundred miles and I'll
carry it the rest of the way to California.

Speaker 18 (02:09:13):
Roger, what do you smell something?

Speaker 7 (02:09:18):
Yes?

Speaker 40 (02:09:20):
Good night here.

Speaker 25 (02:09:21):
I don't mean that.

Speaker 40 (02:09:22):
Oh, what's wrong with you?

Speaker 7 (02:09:23):
Danny?

Speaker 18 (02:09:25):
Don't you smell it?

Speaker 7 (02:09:26):
What do you mean that? Perfume?

Speaker 40 (02:09:31):
Yes, seems familiar.

Speaker 49 (02:09:34):
What is it?

Speaker 18 (02:09:36):
Narcissus?

Speaker 40 (02:09:37):
Narcissus?

Speaker 18 (02:09:38):
Yes, well, Roger, we haven't escaped from him. She's here
in this car, right.

Speaker 9 (02:09:46):
It is about.

Speaker 25 (02:09:49):
Think, darling, Think, Roger.

Speaker 18 (02:09:54):
He look as though you're listening to her.

Speaker 17 (02:09:57):
Do you remember everything now, m don't you much? Yes, darling,
we must get rid of her. She's trying to come
between us.

Speaker 18 (02:10:12):
Yes, oh, Roger, you mustn't listen to her.

Speaker 25 (02:10:15):
Once she's gone, we'll be together forever.

Speaker 11 (02:10:20):
Darling, Yes, forever, Roger.

Speaker 18 (02:10:26):
What do I have to stopped the car?

Speaker 6 (02:10:30):
No, you don't look at me.

Speaker 10 (02:10:33):
Like that, you know, stay away fully.

Speaker 51 (02:10:49):
A few hours after Jane was pound strangled in the
abandoned car, state police arrested Roger Barton and charged him
with murder. Strangely enough, as Roger was being hanged for
his crime, witnesses of the execution noticed a strange scent
of perfume about the gallons. Some people said afterwards that

(02:11:09):
it was narcissus, and they remarked on the expression of
joy on Roger's face as he died. And now, keeper

(02:12:24):
of the book, before you close the great volume, show
us the tale we tell next time? This one, ah, Yes,
a weird and incredible tale of a wife who was
being blackmailed because of her past, but because she did
not know the identity of her backmailer. She suffered a

(02:12:46):
thousand times over. The tale is called Out of the Past.
Be sure to be with us again next time. The
Sound of the Great Herold's another strange and exciting.

Speaker 7 (02:13:02):
Tale from.

Speaker 51 (02:13:07):
The Seal Book. The Sealed Book, written by Bob Arthur
and David Cogan, is produced and directed by Jack McGregor.

Speaker 1 (02:13:21):
You can stay up to date on everything Weird Darkness,
get notified on upcoming Weirdo watch parties and live scream events.
We automatically registered for a monthly T shirt giveaway and
more by signing up for my email newsletter. You can
sign up for free at Weird Darkness dot com slash newsletter.
That's Weird Darkness dot com slash newsletter.

Speaker 7 (02:14:08):
Who Knows what People works?

Speaker 13 (02:14:12):
The Hearts of Men?

Speaker 12 (02:14:14):
The Shadow Knows Your local blue coal dealer presents the Shadow.
These half hour dramatizations are designed to forcibly demonstrate to
old and young alike that crime.

Speaker 14 (02:14:35):
Does not pay to day.

Speaker 12 (02:14:38):
At the close of our Shadow adventure, we have a
distinguished guest whom we are very anxious to present to
our audience. Our guest is a very charming young lady
who spends her time preventing crimes.

Speaker 2 (02:14:48):
I know you will all be interested to hear what
she has to say.

Speaker 10 (02:14:51):
He'll be sure to listen.

Speaker 56 (02:14:57):
Before today's exciting adventure with the Shadows, a word with you, homeowner.
Wouldn't you welcome steadier, more helpful heat throughout your home
this winter? Wouldn't you like to put a stop to
coals in your family brought on by on and off
variations of heat? And be sure to order blue coal
next time you need to supply of fuel. It's America's
finest anthra sise your family will enjoy blue.

Speaker 15 (02:15:20):
Coals, dependable even one.

Speaker 54 (02:15:22):
You will welcome.

Speaker 13 (02:15:23):
It's greater health protection.

Speaker 14 (02:15:25):
And all around economy.

Speaker 56 (02:15:27):
As for blue coal by name, it's a solid fuel
for solid comfort. The Shadow and my serious character who
aids those in distress and helps the forces of law
and order, is.

Speaker 10 (02:15:43):
In reality Lamont Cranston, wealthy young man about town.

Speaker 56 (02:15:47):
Cranston's friend and companion, the lovely Margot Lane, is the
only person who knows to whom the unseen voice belongs
the only one who knows the true identity of that
master of other people's minds, the Shadow.

Speaker 7 (02:16:00):
Today's story guests of death.

Speaker 5 (02:16:11):
God, this is certainly a tremendous prisoner, and I had
no idea.

Speaker 15 (02:16:16):
It was so big.

Speaker 2 (02:16:16):
And this is your first visit here.

Speaker 5 (02:16:18):
Yes, mister Keyesy, I'm in town on a convention.

Speaker 12 (02:16:21):
He one of the boys gave me the past to
the prisoner, or was afraid he might be playing a
joke on it.

Speaker 10 (02:16:26):
It might be a fake.

Speaker 12 (02:16:27):
Oh, the past is quite good, quite good? Ty do
did you do a complete tour of the prisoner?

Speaker 5 (02:16:31):
Will this be something to tell the folks back home?

Speaker 9 (02:16:35):
Oh?

Speaker 5 (02:16:35):
Excuse me, god, do you mind if I ask you
a question?

Speaker 7 (02:16:39):
Not at what is it?

Speaker 10 (02:16:40):
Them?

Speaker 5 (02:16:40):
A little gray building down there across the courtyard?

Speaker 2 (02:16:43):
What is that? That's the death house?

Speaker 9 (02:16:46):
Oh?

Speaker 5 (02:16:49):
I don't suppose you take visitors in there too, do you?

Speaker 2 (02:16:51):
Oh?

Speaker 12 (02:16:52):
Yes, yes, you want to see the course? Well, mister Keser,
well I guess it would be a real true Yes,
yes said the be the greatest trailer you ever experienced.

(02:17:14):
Now here's the last sight on your tour.

Speaker 2 (02:17:16):
Step right in, please, thank you.

Speaker 5 (02:17:18):
What place is this, mister Keyesy?

Speaker 2 (02:17:20):
The building you saw across the courtyard, the Deathouse?

Speaker 22 (02:17:23):
Oh?

Speaker 2 (02:17:25):
Oh, I say, don't be afraid. Step right in.

Speaker 5 (02:17:28):
We think.

Speaker 2 (02:17:32):
There you see It's not an unpleasant room at all.

Speaker 9 (02:17:34):
Is it not?

Speaker 11 (02:17:36):
In the parents?

Speaker 5 (02:17:37):
No, but mister keyesy, and you start to think of
the men that have died here?

Speaker 2 (02:17:42):
What all nonsense?

Speaker 55 (02:17:43):
Death?

Speaker 2 (02:17:43):
There is nothing to fear.

Speaker 12 (02:17:44):
There's a majesty and nobility about it that makes people
do about you stupid. Those ventures there are the observicy.
The pre execution sells are just beyond that door. And this,
as you see, is the electric chair. Yeah, let's say
it's quite warming here, isn't it.

Speaker 2 (02:18:01):
I suppose it.

Speaker 12 (02:18:03):
This panel here is where the execution stands. He holds
his hand on the switching at the signal from the wall,
and he throws it in like this. I don't be alarmed?

Speaker 5 (02:18:13):
Shouldn't shouldn't we leave now?

Speaker 2 (02:18:15):
First? Of course you will want to sit in the chair.

Speaker 5 (02:18:17):
But no, no, I hadn't gone anything like that at all.

Speaker 4 (02:18:21):
I don't mind.

Speaker 7 (02:18:22):
You're a timid soul.

Speaker 2 (02:18:24):
Why this is an experience you never have again?

Speaker 10 (02:18:27):
Yeah?

Speaker 2 (02:18:28):
Have you just sit right down?

Speaker 5 (02:18:32):
It's a customary thing.

Speaker 32 (02:18:34):
Of course.

Speaker 2 (02:18:35):
There you are. You see nothing to it at all?

Speaker 22 (02:18:38):
Is there?

Speaker 12 (02:18:40):
Imagine men have died just like this, Yes, men have
died just like that. Ye, And I'll show you how
it feels to be stepped in?

Speaker 5 (02:18:49):
Well, I can imagine how I bear.

Speaker 2 (02:18:53):
They just stamp across him.

Speaker 5 (02:18:56):
You're thrown out a bit tight, mister, keasy to win.

Speaker 2 (02:19:00):
And that's the way it goes. Now the right arm
strutted like that, and the left.

Speaker 5 (02:19:07):
So I seek hunts the man close, doesn't it?

Speaker 2 (02:19:10):
Yes, it's powerful. Embrace. Now we scrupt the left late
and the right late like this. Now there you.

Speaker 12 (02:19:22):
Are ready for the most noble and majestic experience of
all God.

Speaker 8 (02:19:29):
What do you mean?

Speaker 4 (02:19:30):
Yes?

Speaker 18 (02:19:31):
No, no, give away from that.

Speaker 57 (02:19:43):
Act gray act gray, visitor dies and that I'll read
all about it.

Speaker 54 (02:19:48):
Visitories of that act ray act right and that. Now
you to tax yourself?

Speaker 2 (02:20:00):
Yes, please, Well Margo, how did you like the opera? Oh?

Speaker 34 (02:20:05):
The simply grand lamon?

Speaker 21 (02:20:06):
But I'm tired.

Speaker 39 (02:20:07):
I'm glad to get home.

Speaker 2 (02:20:12):
Which sent visit that doesn't death?

Speaker 34 (02:20:14):
Und now the monk. Please, let's not sweil a lovely night.

Speaker 22 (02:20:17):
With scare headlines.

Speaker 2 (02:20:18):
People are lively diamonds.

Speaker 5 (02:20:19):
Any play your cab, sir?

Speaker 6 (02:20:26):
Waiting just a moment, Margo, I have reason for wanting
to know the story back of that headline.

Speaker 14 (02:20:30):
Yes, son, there you are.

Speaker 2 (02:20:32):
I thank you.

Speaker 54 (02:20:33):
Sir, read all right, Margol, sorry to keep you waiting.

Speaker 32 (02:20:45):
I know you're just dying to get to your story.
So go right ahead, Lamon, go ahead read.

Speaker 13 (02:20:50):
This here, I'll switch.

Speaker 8 (02:20:51):
I'm alike than you.

Speaker 15 (02:20:54):
Well, there's much to it.

Speaker 6 (02:20:58):
Use papers strangely brief need the headlines in a seven land.

Speaker 7 (02:21:03):
Box on the first page.

Speaker 58 (02:21:04):
What did it say, simply that a visitor died in
the death house on a cure of inspection.

Speaker 38 (02:21:09):
It doesn't seem much in that to excite the imagination
of the shadow.

Speaker 6 (02:21:12):
I'm not so sure about that, Margo.

Speaker 25 (02:21:14):
Well, you don't see anything sinister in such a bare
announcement of That's just.

Speaker 4 (02:21:18):
The point, Margo, The account is too bare.

Speaker 58 (02:21:21):
What do you mean, Well, the newspapers don't seem to
know anything, and it says here that the prison officials
are saying nothing.

Speaker 6 (02:21:28):
Oh, perhaps there's nothing more to say.

Speaker 58 (02:21:30):
There's an old puppet, Margo, to the effect that virtue
rarely lies behind a tight lip.

Speaker 18 (02:21:35):
Well, I noticed that Ferrit gleam in your eyes. Or
I might as well accustomed myself to the idea that
you're off on another adventure.

Speaker 58 (02:21:40):
In crime, yes, Margo, Or from an adventure that promises
to be one of the most exciting I've ever had.

Speaker 6 (02:21:53):
I don't like it. Quiet wise, how there's no Western speaking?

Speaker 54 (02:22:00):
What you can't get the warden on the phone?

Speaker 15 (02:22:02):
Hey, I can't.

Speaker 12 (02:22:03):
This is a police department. He can't ignore us. Well,
you try him again and keep trying until you get him.

Speaker 7 (02:22:09):
Hold Brophie. Yeah, what happened when you went out?

Speaker 10 (02:22:13):
Oh?

Speaker 7 (02:22:13):
The same thing that happened to your phone?

Speaker 27 (02:22:15):
Called chief?

Speaker 10 (02:22:16):
Nothing.

Speaker 2 (02:22:16):
Couldn't you get any information?

Speaker 14 (02:22:18):
All I could find out was that the time was in.

Speaker 2 (02:22:19):
Town on the prenature convention.

Speaker 7 (02:22:21):
You got a path to see the prison, and some
guid by the name.

Speaker 2 (02:22:24):
Of Kesey took him through.

Speaker 15 (02:22:25):
Did you question this, keezy?

Speaker 27 (02:22:27):
He couldn't get a hold of it.

Speaker 14 (02:22:28):
Why not, I'll chief. He found out that he lived
way up on the cape.

Speaker 7 (02:22:31):
So jim here and me.

Speaker 2 (02:22:32):
He went out there and.

Speaker 6 (02:22:33):
Then what happened?

Speaker 12 (02:22:34):
Nothing?

Speaker 40 (02:22:35):
If somebody says nothing.

Speaker 15 (02:22:37):
To me again, yes, hello, there's no Western speaking.

Speaker 2 (02:22:45):
Good evening, Commissioner Western Oh you again, yes, commissioner the shadow,
Yes a minute.

Speaker 15 (02:22:51):
All the line, few men went outside. I'll call if
I need Okay, all right, Shadow, go ahead.

Speaker 2 (02:23:00):
What's on your mind?

Speaker 7 (02:23:01):
I called to find out what you know about the
death of that visitor the prison.

Speaker 12 (02:23:06):
I don't know a thing, and I can't find out anything.
The prison officials don't send incline to cooperate at all.

Speaker 37 (02:23:11):
Did you know, Commissioner, that a short time ago, another
visitor died in the death house?

Speaker 2 (02:23:16):
What another visitor?

Speaker 4 (02:23:18):
Yes, first visitor's death passed almost unnoticed.

Speaker 15 (02:23:21):
But now Commissioner another say, this puts a new light
on the whole matter, calls for immediate action.

Speaker 6 (02:23:27):
No, Commissioner, hold everything until you hear from me.

Speaker 7 (02:23:36):
Oh I know, Margo.

Speaker 6 (02:23:37):
I mean, and don't take your head off leaving right away.

Speaker 25 (02:23:40):
I just get to your house and then.

Speaker 2 (02:23:44):
We're driving up to the prison.

Speaker 25 (02:23:45):
Oh Im, don't tell me you're still thinking of that
visitor's death.

Speaker 4 (02:23:48):
Thinking of it, Margo.

Speaker 58 (02:23:50):
I've discovered some things that make me feel I've got
a big job on my hands. But one thing I've
discovered that another visitor died in that same death house.
I've come to the lusion that there's only one way
I can find out. What's the back of it, Paul,
and how dead? Heah, you see this, it's a visitor's pass.
I'm going up there and go through that prison, just

(02:24:10):
as those other men went through as a visitor. Oh no, no,
I've got to, muggo. It's the only way.

Speaker 22 (02:24:18):
I'm not usually giving this a decision, but there's something supernatural,
something unearthly about those death I don't.

Speaker 32 (02:24:24):
Want you to expose yourself to the same state that
overtook those poor men.

Speaker 2 (02:24:27):
I won't let you do it.

Speaker 4 (02:24:29):
Come now, Margo, don't let this get the best of you.

Speaker 9 (02:24:31):
Oh I'm afraid.

Speaker 21 (02:24:35):
I'm afraid.

Speaker 4 (02:24:45):
This is all right, Mugo.

Speaker 54 (02:24:46):
Palk the car right here.

Speaker 2 (02:24:48):
That's the entrance to the prison down there at the
bottom of the hill.

Speaker 9 (02:24:51):
The mon I wish you wouldn't go through with it.

Speaker 32 (02:24:53):
You may be walking to your death.

Speaker 6 (02:24:55):
Don't worry, Mago. You stay here in the car and
remember this. Don't lose your courage no matter what you
may hear or what you may see.

Speaker 59 (02:25:12):
Hello, Keezy, you here again, Yes, mister Harper, I'm taking
this gentleman, mister paston a tour of our institution research
he please you are Are.

Speaker 27 (02:25:23):
They going to stop handing out these visitors passes?

Speaker 10 (02:25:25):
Keezy stop?

Speaker 2 (02:25:25):
Why should they do that?

Speaker 54 (02:25:27):
Well, I think they'd be a little more careful because
of what's already happened around here.

Speaker 2 (02:25:30):
Oh nonsense, mister Harper. Accidents will happen.

Speaker 50 (02:25:33):
You know no reason why there's new team should.

Speaker 15 (02:25:35):
Be able to say.

Speaker 6 (02:25:35):
Unnecessarily alight, You're okay, thank them?

Speaker 7 (02:25:40):
Open up? All right, okay, Kezy, the place is yours.

Speaker 2 (02:25:45):
Thank you. Come right along, sir.

Speaker 6 (02:25:47):
Don't forget Keezy.

Speaker 43 (02:25:49):
Hang him back alive.

Speaker 56 (02:26:03):
We return you to the second half of the Shadows
Exciting Adventure instamone. In the meantime, homeowners, let me remind
you that there is one sure way to save yourselves time, trouble,
and money in heating your homes this winter, and that's
by insisting on blue coal. When you order your next
supply of anthracite. With blue coal, you'll get steadier, more
dependable heat at far less heating cost.

Speaker 7 (02:26:27):
Or a blue coal is mined from the heart of
the Northern Pennsylvania.

Speaker 15 (02:26:30):
Field, the richest hard coal.

Speaker 12 (02:26:32):
Deposits in the United States. Each car load, as it
comes from the mines, is washed with twelve and one
half tons of water for every ton of coal to
remove any existing impurity. Then the coal is carefully styled,
and finally is submitted to a thorough laboratory test by inspector.
Only the coal which meets the high standard of quality

(02:26:54):
is accepted for shipment to blue coal dealer. Blue Coal's
harmless blue coloring and guarantees you that you're getting a
coal that.

Speaker 15 (02:27:02):
Has been quality tested, a coal you can.

Speaker 56 (02:27:05):
Be sure a superior in every way. You'll find that
blue coal banks more easily and gives you longer firing periods.

Speaker 12 (02:27:13):
It saves you money by burning itself down to a
fine act. Blue coal will heat your home with a
minimum of attention and a maximum of heating comfort and efficiency.
So call your nearest blue coal dealer.

Speaker 15 (02:27:27):
For a better heat at less cost.

Speaker 12 (02:27:29):
This one you'll find his name listed in the radi
biot section of your classified telephone directory under the.

Speaker 27 (02:27:36):
Words blue coal.

Speaker 32 (02:27:49):
Show.

Speaker 4 (02:27:51):
This is the death house. Thanks.

Speaker 60 (02:27:52):
Here is sort of places and that depends on that
you find.

Speaker 54 (02:28:01):
You've worked in.

Speaker 4 (02:28:02):
This prison a long time, haven't you, kissy?

Speaker 50 (02:28:04):
I've been here thirty five years, thirty.

Speaker 15 (02:28:07):
Five years with a service.

Speaker 6 (02:28:10):
Is this your regular job taking visitors through the prison?

Speaker 60 (02:28:13):
Yes, I've been doing this for several years, of course,
substitute for the place that rightly belongs to me, the
place that.

Speaker 4 (02:28:20):
Rightfully belongs to you.

Speaker 40 (02:28:21):
What do you mean by that?

Speaker 49 (02:28:22):
Nothing?

Speaker 15 (02:28:23):
Nothing?

Speaker 5 (02:28:24):
At all.

Speaker 50 (02:28:24):
I shouldn't even have mentioned it. Come now, that has
I think to do with your tour the prison.

Speaker 2 (02:28:29):
I'm sorry.

Speaker 4 (02:28:29):
I didn't mean to pry into your affair.

Speaker 50 (02:28:31):
And I pay no attention to what I said. I'm
been ha a saft day in there that I guess.

Speaker 2 (02:28:35):
Yes, I understand.

Speaker 6 (02:28:36):
I suppose i'd be nervous too if I did the
things you've done.

Speaker 50 (02:28:41):
The things I've done, mister brand What do you mean
by nothing?

Speaker 6 (02:28:45):
I'm just thinking of how i'd be affected by thirty
five years spent.

Speaker 50 (02:28:49):
On a place like this, that's all. There's a player
everybody's nerves. A single visit can it take the nerves
even more than thirty five years?

Speaker 2 (02:28:58):
I'm afraid I don't understand.

Speaker 7 (02:29:01):
Would you will?

Speaker 15 (02:29:02):
All right?

Speaker 16 (02:29:04):
You will?

Speaker 6 (02:29:05):
Well, it's a very interesting tour, and I'm much obliged
to you. I must be running along now, But.

Speaker 43 (02:29:10):
I haven't explained this rule the step out to you.

Speaker 2 (02:29:12):
Well, that's hardly necessary.

Speaker 6 (02:29:14):
Sually, you wouldn't leave without sitting in the electric chair,
mister Cratton, My curiosity doesn't go to such extremes.

Speaker 2 (02:29:21):
Every visitor sits in the chair.

Speaker 6 (02:29:23):
Well, Kiezy, you've been very thorough and showing me through
the prison. So if you feel I'm spoiling your final touch,
of course, I'll.

Speaker 10 (02:29:30):
Sit in your chair.

Speaker 30 (02:29:31):
Ah good, sit right down? All right, yeah we are
now I'll stop you in will take a minute.

Speaker 6 (02:29:39):
There it just steps on all Let you see where
you certainly did that with amazing speed, cheesy like an expert.

Speaker 2 (02:29:47):
I am an expert, mister Crachton.

Speaker 12 (02:29:49):
Years ago, I was a member of the execution squad.

Speaker 6 (02:29:52):
Then you participated in the actual executions.

Speaker 2 (02:29:55):
I was one of the men whose job it was
to step in them in the chair when I reached fifty.

Speaker 50 (02:30:01):
Speak is important, bigot.

Speaker 7 (02:30:04):
I was only just that it happens to be the
most important one.

Speaker 2 (02:30:08):
I can testify to your efficiency.

Speaker 6 (02:30:11):
Can hardly move a muscle.

Speaker 50 (02:30:13):
I don't suppose you can.

Speaker 2 (02:30:16):
There we are, but not so comfortable, by the way,
with the Granton.

Speaker 50 (02:30:22):
You remember the famous Cousdon case, don't.

Speaker 12 (02:30:24):
You, Oh very well.

Speaker 6 (02:30:26):
Causden was brought to justice as a result of the
efforts of a character known.

Speaker 2 (02:30:29):
As the Shadow. And then surely you must remember me.

Speaker 6 (02:30:33):
My picture was in all the newspapers at the time. Yeah,
I suppose you helped to strap Cousin in the chair.

Speaker 33 (02:30:38):
No, no, I executed his what or.

Speaker 13 (02:30:43):
A usual case?

Speaker 2 (02:30:45):
You see?

Speaker 30 (02:30:46):
We had a new execution. The last moment before that
his nerve gave away. Oh there was quite a cardin
was already stepped in the chair. The one was beside himself.
Somebody had to bring me to a conclusion.

Speaker 15 (02:30:58):
So hi, he.

Speaker 6 (02:31:00):
Volunteered my services as executioner.

Speaker 30 (02:31:03):
Yes, oh, this body experience first and only time I
ever attracted the least bit of attention.

Speaker 6 (02:31:11):
But it was the cause of the most bitter disappointment
in my whole life.

Speaker 4 (02:31:14):
Disappointment.

Speaker 12 (02:31:15):
You see, I'd hope that my service would be rewarded
with a permanent appointment as executioner.

Speaker 2 (02:31:20):
You had an ambition to make a career of it.

Speaker 10 (02:31:22):
But why not?

Speaker 2 (02:31:23):
And was the other's applied for the job?

Speaker 12 (02:31:25):
Oh?

Speaker 6 (02:31:25):
Supposition of distinction. You say you were promised the job? Yes,
that the authorities didn't live up to the promise. They
treated me, robbed me of what was my I wouldn't
ever disturbed mesme.

Speaker 2 (02:31:37):
I were you disturbed me?

Speaker 6 (02:31:39):
It's record in my heart throughout the years and left
me with one consuming.

Speaker 2 (02:31:43):
Desire to hate. Hatred like that can know one but yourself.

Speaker 50 (02:31:47):
You think of an idol and make them pay for
what they've done to me.

Speaker 13 (02:31:51):
I'll make them pay.

Speaker 2 (02:31:53):
I think you have an entirely wrong attitude, gus him.

Speaker 58 (02:31:55):
Well, this has all been very exciting, and now if
you'll unstrap me and let me out of this elect chair, Well.

Speaker 37 (02:32:01):
Let you out of the chairs for constant never, I'm
going to give you what I gave the others.

Speaker 6 (02:32:06):
What do you mean using the moment, I'm going to
pull the switch and fling you into each hand.

Speaker 54 (02:32:11):
Let me out of the chair.

Speaker 39 (02:32:12):
Yes, I'll let you.

Speaker 2 (02:32:13):
You can't do anything like that.

Speaker 10 (02:32:14):
You can't get away with it.

Speaker 50 (02:32:15):
I told you, I'll make them pay for what they've
done to me.

Speaker 6 (02:32:17):
Get yourself together, man, why do you want to wreck
your vengeance on people like me? Because you are people
and the people that cheated me, and they'll pay for
it easy.

Speaker 14 (02:32:27):
You're a fiend, I'm a chica.

Speaker 6 (02:32:29):
That's only your excuse, an excuse you offer your conscience
to justify the things you do. There's only one reason
for you're doing a thing like this, Cussy, the desire
to satisfy a vicious urge and your diabolic makesure Shamas.
You can't go through with this thing without your excuse. Well,
I'm going to take that away from you. I'm going
to turn you inside out and show you.

Speaker 14 (02:32:46):
The thing you really are.

Speaker 2 (02:32:47):
Like you, I'll shut you up your piece of death,
don't you Daryl?

Speaker 59 (02:32:54):
You can say what you want now.

Speaker 15 (02:32:55):
I don't have to hear.

Speaker 2 (02:33:09):
You cheer very well.

Speaker 10 (02:33:13):
I'll take you out now.

Speaker 50 (02:33:15):
Mister Kanston, I've killed him.

Speaker 15 (02:33:20):
He's already.

Speaker 7 (02:33:29):
Can't buck here all day.

Speaker 3 (02:33:30):
You'll have to move along.

Speaker 32 (02:33:31):
I'm waiting for a friend off.

Speaker 6 (02:33:33):
Don't you know you're not allowed to park within five
hundred feet of a prison.

Speaker 32 (02:33:36):
But my friend should be along any minute.

Speaker 52 (02:33:37):
Now.

Speaker 7 (02:33:38):
Where is he?

Speaker 9 (02:33:39):
He's in the prison.

Speaker 10 (02:33:40):
He's a visitor, visitor?

Speaker 15 (02:33:44):
Did you say he's a visitor?

Speaker 25 (02:33:45):
Yes, that's another officer.

Speaker 29 (02:33:48):
What are you stand there like that? Tell me was another.

Speaker 19 (02:33:54):
All along?

Speaker 48 (02:34:07):
Figure out why people have their water pumps outside of
the house.

Speaker 6 (02:34:11):
So here freezer.

Speaker 7 (02:34:16):
Or very armist cheezy.

Speaker 6 (02:34:19):
I don't expect this water pump will give you any
more trouble.

Speaker 2 (02:34:22):
It's twice not tonight. He's done a good job.

Speaker 50 (02:34:25):
More Sorry, I had to get you.

Speaker 54 (02:34:26):
Up on a night like this.

Speaker 6 (02:34:27):
Ain't no pleasure plodding up that.

Speaker 2 (02:34:29):
They're saying, road any night.

Speaker 15 (02:34:33):
See what's the.

Speaker 16 (02:34:34):
Matter, that hound dog. You are a powerful lot of howl.

Speaker 50 (02:34:38):
On tonight anything years, quite a lot.

Speaker 12 (02:34:40):
You see hounds howl like that when somebody dies dies.

Speaker 50 (02:34:44):
Yes, yes, I've had that, said Jimmy Crickets.

Speaker 2 (02:34:47):
It's not to make a body skin creep.

Speaker 7 (02:34:50):
You don't suppose he sees something? Do you the spirit?

Speaker 2 (02:34:53):
I mean it's nothing forgetted, don't reckon even spirits had
come up here?

Speaker 13 (02:34:59):
Does he is the up? And how like that?

Speaker 6 (02:35:01):
I've only had him do that twice before, to night
makes the third time?

Speaker 2 (02:35:05):
Well, there's a water pump fit and find mister Kesey.
I'll be getting on down the home now.

Speaker 12 (02:35:11):
Good night to your good night more.

Speaker 6 (02:35:15):
Right?

Speaker 3 (02:35:15):
Yeah, yeah, I lie down.

Speaker 2 (02:35:27):
Like a human.

Speaker 6 (02:35:27):
You clear death too, o, mister ternity today he was
afraid of death.

Speaker 10 (02:35:32):
But I didn't save him.

Speaker 2 (02:35:34):
He's no more.

Speaker 6 (02:35:35):
He's dead and I'll send many of its up to him.

Speaker 15 (02:35:40):
Who's there?

Speaker 9 (02:35:42):
Who's that?

Speaker 13 (02:35:43):
There?

Speaker 2 (02:35:44):
Is that?

Speaker 32 (02:35:44):
You?

Speaker 10 (02:35:44):
More? No keezy more as well?

Speaker 12 (02:35:47):
Down the hill?

Speaker 37 (02:35:48):
Now there's nobody out there. I am right here in
your house, right here in the room with you.

Speaker 14 (02:35:58):
I know where you are. You're in this album.

Speaker 7 (02:36:02):
Mhm.

Speaker 37 (02:36:04):
You see I'm not in the closet. I'm right here
behind you.

Speaker 10 (02:36:08):
Who are you?

Speaker 7 (02:36:09):
What do you want?

Speaker 10 (02:36:10):
You?

Speaker 13 (02:36:10):
Keasy?

Speaker 37 (02:36:12):
I've come for you.

Speaker 54 (02:36:13):
Don't you touch me?

Speaker 10 (02:36:14):
Don't you tell me?

Speaker 37 (02:36:16):
Surely you're not afraid of death. Remember only pools bear
deaf Keysy, I'll kill you. You have a poor aim, Keezy.

Speaker 2 (02:36:31):
You see it's useless.

Speaker 61 (02:36:33):
Keysy.

Speaker 37 (02:36:34):
You can't destroy what you can't see. You come here
to end your criminal career. I'm going to make you
confess to the murder of those innocent.

Speaker 13 (02:36:41):
Visitors at the prison.

Speaker 10 (02:36:42):
I don't know what you're talking.

Speaker 37 (02:36:43):
You cannot lie to me. I know you kill those
men in cold bra That's a lie, Island. You did
your job with English genius, but you're at the end
of your rope.

Speaker 24 (02:36:53):
Kesey.

Speaker 37 (02:36:54):
The only hope left for you is to confess and
clear your soul.

Speaker 6 (02:36:57):
Leap alone.

Speaker 7 (02:36:58):
I won't come, Yes you will.

Speaker 37 (02:37:00):
I'm not true with you yet. In this corner of
the room, right here and now, watch carefully, and you'll
see someone you met not many hours ago.

Speaker 3 (02:37:14):
Look easy, look.

Speaker 6 (02:37:17):
Crunch fair.

Speaker 2 (02:37:19):
Now you see standing before you the man you stopped
in the chair a.

Speaker 3 (02:37:21):
Few hours ago.

Speaker 10 (02:37:22):
Away.

Speaker 3 (02:37:25):
Confess, I walk away and fast.

Speaker 12 (02:37:28):
Confess I've never taking alive.

Speaker 6 (02:37:31):
Never.

Speaker 32 (02:37:42):
Stop.

Speaker 21 (02:37:46):
No, I can't understand how keys.

Speaker 25 (02:37:47):
You could have been your cards alone.

Speaker 60 (02:37:50):
It's quite understandable. Each of Kesey's victims seemed to have
died from natural causes. And let me explain, Margo. You
see Keyesy with somewhat of the student of the psychology
of fear. This knowledge and the victim's natural fear of
a factual instrument of death, the electric chair, enabled Keasy
to produce a fear paralysis that stopped the hearts of

(02:38:11):
his victims.

Speaker 4 (02:38:12):
They died of heart failure.

Speaker 7 (02:38:14):
Then he didn't actually electricism.

Speaker 2 (02:38:16):
He couldn't, Margo.

Speaker 6 (02:38:17):
The electric chair is never hooked to the powerhouse except
during a legal execution.

Speaker 32 (02:38:21):
But you, Lamade, I thought you were dead.

Speaker 6 (02:38:24):
Well, Margo, I produced a death conditioned by a little
trick in self hypnosis that I learned from an old Hindu.
I let Keesy think he had.

Speaker 54 (02:38:32):
Actually killed me.

Speaker 21 (02:38:34):
An amazing case.

Speaker 2 (02:38:35):
Lamand yes, Margo, he's over.

Speaker 6 (02:38:40):
Keasy was a fiend consumed by the heat of his
own hatred. He is now the many destroyed. Who knows
perhaps theirs is the final and most complete vengeance.

Speaker 12 (02:39:00):
In a moment, we shall present to you our charming
guest of the afternoon. But first, dear John Barclay, a
blue cold heating expert with an important method.

Speaker 2 (02:39:08):
Thanks Ken Roberts.

Speaker 62 (02:39:10):
Friends, I'm not going to do the usual thing and
remind you just how many days are left before Christmas,
but I do want you to know that a blue
coal heat regulator is one present a man can give
that he and everyone in his family will certainly appreciate.

Speaker 15 (02:39:26):
This year and in the years to come.

Speaker 62 (02:39:29):
A blue coal heat regulator is a thermostat which automatically
controls your furnace stampers. It enables your family to keep
the entire house at just the temperature they wish day
and night by simply raising or lowering the thermostat controls.
And a blue coal heat regulator is one present which
will pay for itself in the long run. It will

(02:39:50):
save coal, eliminate constant trips to the cellar, and cut
down much of the time and trouble of constant furnace
Attention show homeowners, be sure to get in touch with
your nearest blue coal dealer. Ask him about a blue
coal heat regulator one Christmas gift that will be long
appreciated by every member of your family.

Speaker 15 (02:40:11):
I thank you.

Speaker 10 (02:40:18):
Ladies and gentlemen.

Speaker 12 (02:40:19):
The sponsors of the Shadow are extremely happy to introduce
to you the young lady who devotes her time to
the problems of New York City's malojested families, from which
so often spring undesirable citizens.

Speaker 2 (02:40:30):
In law breakers.

Speaker 12 (02:40:31):
It is with great pleasure to I introduce to you,
Miss and Helpering Probation Officer of the Family Division of
the Domestic Relations Court of the City of New York.

Speaker 15 (02:40:40):
Well, that sounds like.

Speaker 2 (02:40:41):
A big job for such a little lady.

Speaker 38 (02:40:43):
Trying to help other people adjust their difficulties is always
a big job, mister Roberts, but knowing that we are
helping parents and children make the most of their lives
makes it intensely satisfying work and a.

Speaker 7 (02:40:57):
Mighty fine piece of work. You're doing, too, Miss Helpering.

Speaker 38 (02:41:00):
Thank you, mister Roberts. I certainly hope so I feel
that I cannot stress too strongly the part that an
unhappy or broken home can play in the formation of
criminal habits. The Domestic Relations Court attempts to check the
problem at one of its roots, just as you attempt
to meet it in another way by showing your listeners

(02:41:21):
programmatically and convincingly the folly and complete futility of crime.

Speaker 2 (02:41:27):
Thank you, miss Helper.

Speaker 12 (02:41:28):
It makes all of us feel we're doing something really worthwhile,
especially so knowing that you and your associates in the
business of crime prevention believe our efforts are not in vain.
It's been a real privilege to have you as our
guest this afternoon. We thank you very much, Miss Helper.
Today's program is based on a story copyrighted by The

(02:41:50):
Shadow Magazine.

Speaker 10 (02:41:52):
All the characters and all the places named areicticians.

Speaker 15 (02:41:55):
Any similarity to persons.

Speaker 12 (02:41:56):
Living or dead is purely coincidental. Shadow Magazine is now
on sale.

Speaker 10 (02:42:01):
That you're a local news then.

Speaker 2 (02:42:08):
Loud of crime.

Speaker 14 (02:42:11):
As fit a fruit.

Speaker 7 (02:42:13):
Crime does not.

Speaker 13 (02:42:14):
Pay the Shadow Load.

Speaker 12 (02:42:21):
Next week, same time, same station, Blue Coal America's finance
Anthra site would again present another thrilling adventure of the Shadow.

Speaker 6 (02:42:28):
Be sure to listen and be sure to burn Blue Coal.

Speaker 1 (02:42:31):
If you were someone you know is struggling with depression,
dark thoughts, or addiction, please visit the Hope in the
Darkness page at Weird Darkness dot Com. There, I've gathered
numerous resources to find hope and solutions for those suffering
from thoughts of suicide or self harm. There's the Suicide
and Crisis Lifeline as well as the Crisis text Line.
Both have trained counselors at all hours to help those

(02:42:54):
in need, and the page even includes text numbers for
those in the US, Canada, United Kingdom and Ireland. Struggling
with depression can get help through the Seven Cups website
and app, and there's information for anyone to read more
about what depression truly is and how to identify it
through our friends at ifread dot org. There are resources
for those who battle addictions, be it drugs, alcohol, or

(02:43:14):
self destructive behavior, along with help for those related to addicts.
The page has links to help you find a therapist
or counselor to find help for those who have a
family member with Alzheimer's or deventia, help for those in
a crisis, pregnancy, and more. These resources are always there
when you or someone you love needs them. On the
Hope in the Darkness page at Weird Darkness dot com.

Speaker 63 (02:43:51):
Meat Bulls a murder by Rhys Lloyd.

Speaker 23 (02:44:00):
Wake Up, Wake up, all right?

Speaker 6 (02:44:06):
Hello you?

Speaker 23 (02:44:11):
How long have I been here?

Speaker 12 (02:44:12):
Quite a while?

Speaker 6 (02:44:14):
Yeah?

Speaker 2 (02:44:15):
I drink this.

Speaker 23 (02:44:19):
Hot chocolate. I haven't had this since I was a neighbor.

Speaker 33 (02:44:22):
Has the hangover bad?

Speaker 8 (02:44:25):
Had worse?

Speaker 23 (02:44:25):
Thought?

Speaker 55 (02:44:28):
Mm hmm, this is wicked.

Speaker 6 (02:44:29):
Thanks, So.

Speaker 33 (02:44:33):
How much do you remember?

Speaker 23 (02:44:36):
Not a lot, but that's nothing new.

Speaker 20 (02:44:40):
Listen.

Speaker 64 (02:44:40):
I don't want you to take this the wrong way,
like but I'm crap with names are the best of Ti, Louise,
Louise right, I'm so.

Speaker 33 (02:44:47):
I know we've got a taxi together.

Speaker 23 (02:44:49):
Remember if you say so? Do you make a habit
of waking up in strange places?

Speaker 15 (02:44:54):
Put it this way?

Speaker 23 (02:44:55):
More often than not. I've had to look at the
post to find out who you boys. M hm hmmm.
Do you enjoy the sofa?

Speaker 2 (02:45:04):
Very nice?

Speaker 20 (02:45:04):
Yeah?

Speaker 33 (02:45:05):
It has a chrome plated steel frame.

Speaker 2 (02:45:08):
You know.

Speaker 23 (02:45:08):
I was just about to ask you about that.

Speaker 18 (02:45:10):
And the covers and slips are machine washable.

Speaker 55 (02:45:12):
Of course, I don't worry.

Speaker 8 (02:45:12):
I'm house trained.

Speaker 12 (02:45:17):
So just me and you is eh, just me and you?

Speaker 23 (02:45:23):
Sweet? Sorry the chocolate, I mean, of course you do.

Speaker 18 (02:45:29):
Oh oh, I really really love this song.

Speaker 23 (02:45:33):
I'm not a drum and bass man.

Speaker 18 (02:45:34):
My phone really gets me in the mood.

Speaker 23 (02:45:37):
You know what, me too, It's brilliant.

Speaker 65 (02:45:41):
Come to the bedroom with me, lead the way, babes.

Speaker 23 (02:45:49):
So what do you think I think it's time for
a lie down. Oh I'm looking. That's no ordinary bedframe.

Speaker 66 (02:45:56):
That's a powdered birch. The near bedframe with slatted bed
base just automatically to your posture.

Speaker 2 (02:46:01):
Try it?

Speaker 29 (02:46:02):
You know you want to?

Speaker 23 (02:46:05):
So you're gonna join me?

Speaker 66 (02:46:06):
Or what on the Rose Patterns book cover with matching
lead one hundred percent cotton catns.

Speaker 23 (02:46:10):
Not until I've shown you the kitchen.

Speaker 18 (02:46:15):
Oh, I just love the Hyde glass berg and you
finish of the units, don't you?

Speaker 23 (02:46:20):
I swear this breeding music stalking me. You are speakers
in every room and the layout you see.

Speaker 18 (02:46:25):
They work with you to design a space in tune
with the way you live your life.

Speaker 23 (02:46:29):
You swallow the catalog or something?

Speaker 2 (02:46:31):
Who does?

Speaker 18 (02:46:31):
The designers, it's shit a genius.

Speaker 23 (02:46:35):
They have less daylight than we do, don't they? But
they get more time in.

Speaker 64 (02:46:38):
The bedroom talking a wish. Yes, sir, well you just
opened a kitchen drawer then shut it together.

Speaker 65 (02:46:48):
Yes, but what did you hear?

Speaker 23 (02:46:49):
Nothing? Exactly.

Speaker 66 (02:46:51):
That's the careless whisper mechanism, especially designed to eliminate unnecessary drawage.

Speaker 65 (02:46:55):
Drawridge.

Speaker 25 (02:46:56):
You just made that.

Speaker 66 (02:46:57):
I know it's the noise, excess friction, caused by poly
engineered kitchen drawers.

Speaker 23 (02:47:02):
And that's a problem, is it?

Speaker 66 (02:47:03):
It was a problem, but now it's been eliminated.

Speaker 23 (02:47:08):
Louise listen. Don't get me wrong, but a guided tours
not exactly what I had in mind, if.

Speaker 8 (02:47:13):
You know what I mean.

Speaker 18 (02:47:14):
But I haven't shown you the bathroom.

Speaker 23 (02:47:15):
Well that's what I was afraid of. But I'm not
being funny, like it.

Speaker 18 (02:47:18):
Doesn't matching that blue dishwasher proveucs as it is.

Speaker 64 (02:47:20):
You mean strength, I don't care if Charlotte Church designed
the bog paper.

Speaker 23 (02:47:25):
I'm going home at least finished chocolate.

Speaker 65 (02:47:28):
You're all right, please, it didn't mean a lot to me.

Speaker 3 (02:47:35):
It's not want not you so like me, ma'am?

Speaker 7 (02:47:39):
All right?

Speaker 23 (02:47:44):
All gone, see every last drop, every last drup. Now
which ways out? Are you sure you won't stay?

Speaker 64 (02:47:50):
We could go back to the bedroom, except I don't
think you really want to go back to the bedroom,
do you?

Speaker 6 (02:47:55):
Well?

Speaker 55 (02:47:55):
Not?

Speaker 7 (02:47:55):
For you know what?

Speaker 8 (02:47:56):
Anyway?

Speaker 23 (02:47:57):
I think you'd rather be selling furniture.

Speaker 66 (02:47:59):
You're sure you can't be tmp it?

Speaker 10 (02:48:01):
Oh?

Speaker 66 (02:48:01):
Well, it's been nice spending time with you.

Speaker 23 (02:48:06):
Yeah, it's been monumental. With the emphasis on mental. I
like the stairs very over keep going down?

Speaker 7 (02:48:21):
Do you know?

Speaker 66 (02:48:21):
However?

Speaker 23 (02:48:26):
Never mind? How I get out? How would I get
in at them?

Speaker 10 (02:48:29):
Stairs?

Speaker 23 (02:48:31):
Must have been cabbaged. Oh well, at least you won't
ringing nuts maybe, but not a mouse. Oh God, better ring, ma'am.
How long as this bleeding corridor go on?

Speaker 2 (02:48:43):
For?

Speaker 23 (02:48:44):
This is no ordinary corridor. This is a high glass, dishwasherproof,
minimalist corridor. No signal on?

Speaker 15 (02:48:52):
No way?

Speaker 16 (02:48:54):
What is this place?

Speaker 23 (02:48:58):
Sofas, beds, wardrobes, flat pack furniture. I'd have remembered this. Hello,
fake TVs. This is too much man? Right, cool head? Now, sir,
think where are you? How'd you get your okay?

Speaker 55 (02:49:20):
All nighter at Marquis.

Speaker 64 (02:49:22):
Bas invites us over to his shortcut to his gaff
through the retail pack hop in the furniture store to
get man that rock she wanted non stick five ninety nine.

Speaker 23 (02:49:31):
Oh no, no way, I never got no taxi with Louise.

Speaker 8 (02:49:36):
I must have come in.

Speaker 23 (02:49:36):
Yeah I got lost. It was just a quick lie down.
I'm never still in the bleeding store, am I.

Speaker 6 (02:49:43):
Attention or Disposal and Security co World, please report immediately
to your workstations stand a bid for customer region.

Speaker 65 (02:49:51):
To activation and freiency.

Speaker 67 (02:49:53):
Hello, I've been locked in. Can somebody let us out?
Stinks like a butcher's e'sl in you. Oh oh god, no, look,
oh god.

Speaker 23 (02:50:12):
This is gonna be a bleeding knights sped.

Speaker 19 (02:50:16):
I don't want to die.

Speaker 23 (02:50:19):
Well there, my god, listen, you gonna help me? Are
looking here for a walk from me?

Speaker 22 (02:50:22):
Mam?

Speaker 23 (02:50:22):
There's a mat by sweet She was going on about
stupid draw some and better. I left like a loss again.
There's like a big slaughter. I was back there with
metal hooks trying bats are blad lords of blod.

Speaker 8 (02:50:29):
Anywhere like that?

Speaker 23 (02:50:30):
I don't know where it was horrible.

Speaker 65 (02:50:31):
We gotta get out. That's steady on now, so there's
bits of body shirt. Now, calm down that you're not
making any sense?

Speaker 29 (02:50:39):
Is it?

Speaker 68 (02:50:39):
Deserts?

Speaker 65 (02:50:40):
Is a young man Rolls of state by the look
of him. Now, what's the matter? Have they kind of
fixed the telling wool?

Speaker 8 (02:50:48):
Have you have the what come of?

Speaker 65 (02:50:49):
It's the old Telly? What rolls is a bit concerns
your programs on in fifteen minutes of.

Speaker 23 (02:50:54):
Program, We've gotta get out again. The murdering people back there?

Speaker 65 (02:50:57):
Who's murdering people?

Speaker 7 (02:50:58):
Trying to get me?

Speaker 23 (02:50:59):
Head rounded? Like, but it's just mad. Maybe somebody to
do with the store. Maybe it's the people who makes
the furniture.

Speaker 65 (02:51:04):
People likes her furniture. I know that they want to
do that now because furniture people make.

Speaker 69 (02:51:10):
Furniture murderous murdered people. All is the same with any
professional training.

Speaker 8 (02:51:14):
We generally stick to what we know.

Speaker 23 (02:51:16):
But I saw.

Speaker 69 (02:51:17):
One thing Ie taught me is that there's usually a
perfectly rational explanation for everything in that right.

Speaker 22 (02:51:21):
Rules this teley wone fix itself?

Speaker 65 (02:51:24):
Yeah, it do us a favorite, lad, give it the
one sofa.

Speaker 8 (02:51:26):
I'd be very grateful.

Speaker 23 (02:51:27):
Fix the telsh.

Speaker 8 (02:51:29):
I do it myself.

Speaker 69 (02:51:30):
See, but the old hands and fingers and what they
used to be old age doesn't come along as they say.

Speaker 65 (02:51:35):
No, you said some of the bood Louise, is she
girlfriend little.

Speaker 23 (02:51:38):
Whether sprinting draws? You're joking at you? No, she was
there when I walk up on the sofa. It was
like she was tripping on weird salestalk or something.

Speaker 19 (02:51:46):
I had to leave.

Speaker 23 (02:51:47):
She was creeping me out, and then I find that place.

Speaker 13 (02:51:50):
Ah, did you.

Speaker 65 (02:51:51):
Follow the arrows? Arrows on the floor.

Speaker 69 (02:51:54):
We tried following them, didn't We gone? Last had a
bit of a sit down, settled in.

Speaker 2 (02:51:58):
It was never very good at following things.

Speaker 46 (02:52:00):
My eyes see terrible they are.

Speaker 65 (02:52:02):
I'm not one for wearing glasses.

Speaker 31 (02:52:04):
Worried dear, if the Good Lord wants me to see
out my days in air?

Speaker 12 (02:52:08):
Roo am I to argue?

Speaker 23 (02:52:09):
But you don't have to stay in here. We can
leave now.

Speaker 69 (02:52:13):
Come on, go wear exactly home that we're freezing flat,
Graffiti everywhere, drug dealers and prostitutes on every corner, kids
running a lay wild animals.

Speaker 65 (02:52:23):
What's the points on?

Speaker 69 (02:52:25):
No, Holly, look at what we've got here, plush SETI
with reversible back cushions, antique effect TV cabinet, any storage spaces?

Speaker 7 (02:52:34):
What more can we want?

Speaker 23 (02:52:35):
Stop talking like a catalog. You sound just like a
what's wrong with you? You want me to fix a telly?

Speaker 65 (02:52:42):
Right, I'll fix your tay well, gracious me? Oh he's
a big strong.

Speaker 68 (02:52:48):
Lad, isn't he yours?

Speaker 23 (02:52:49):
Just because there's nothing in it, no circuits wiring, it's fake?
Does that mean I won't be able to see my program?

Speaker 65 (02:52:59):
Not love?

Speaker 13 (02:53:00):
Now?

Speaker 8 (02:53:01):
Is it coming with me?

Speaker 23 (02:53:02):
Or are you going to sit here in front of
your empty telly waiting for whoever it is to come
and kill you. I take that as a nor then
shall I? Where did this lot come from?

Speaker 68 (02:53:15):
You say something?

Speaker 23 (02:53:17):
Where you're going?

Speaker 68 (02:53:19):
They're going to have that a place?

Speaker 23 (02:53:20):
So luise, how do you know?

Speaker 6 (02:53:24):
Oh?

Speaker 23 (02:53:25):
Tell you's much you're doing this?

Speaker 22 (02:53:26):
Of course it's a team effort.

Speaker 23 (02:53:29):
What are you going to do? The hypnotized the musn't it?

Speaker 66 (02:53:31):
That's still in development probably a year eighteen months away
till then it's happy pills and a drink makes them
more compliant when it comes to processing.

Speaker 23 (02:53:39):
Processing You mean you not come out so you can
murder them?

Speaker 18 (02:53:43):
You know, I wouldn't put it quite so crudely.

Speaker 66 (02:53:45):
It's more about relieving certain individuals, or an obligation to
purchase our products where that individual doesn't fit with our
retail profile.

Speaker 23 (02:53:52):
And what's that in English?

Speaker 2 (02:53:53):
Take a look at them?

Speaker 70 (02:53:54):
What do you see?

Speaker 23 (02:53:56):
Ordinary people? People who just came here to do some
shopping walk?

Speaker 16 (02:54:00):
Maybe?

Speaker 22 (02:54:00):
Can I tell you what I see?

Speaker 18 (02:54:02):
I see lazy people, ugly people, overweight people.

Speaker 66 (02:54:06):
You can spot them a mile off, hugging the sofas
with their fat asses. Of course they never buy anything,
they're just window shopping, but they do love a freebee,
which makes our job so much easier. Go on, put
your feet up, have a.

Speaker 23 (02:54:19):
Nice warm drink.

Speaker 12 (02:54:20):
It's on the house.

Speaker 23 (02:54:21):
You're sick.

Speaker 66 (02:54:22):
This is a young company song, full of fresh faces
and exciting new ideas.

Speaker 18 (02:54:26):
We intend to keep it that way.

Speaker 23 (02:54:28):
But what about them doing? They're not drugged?

Speaker 66 (02:54:30):
Oh, George and Rows are part of a trial voluntary
program we're hoping to roll out in the new year.

Speaker 18 (02:54:34):
It's very exciting.

Speaker 23 (02:54:35):
They know they're going to die. It's an option for.

Speaker 66 (02:54:39):
Those who realize their usefulness for society is at an end.
They come here, get a bit lost, make themselves at home.
We make the initial approach, do the paperwork.

Speaker 19 (02:54:47):
Oh here they come.

Speaker 23 (02:54:49):
Now you're nothing like yourself.

Speaker 18 (02:54:55):
Do what has he been saying? Listen, listen, thank you.

Speaker 23 (02:55:00):
So much for taking part?

Speaker 8 (02:55:01):
Oh always who should be thanking you?

Speaker 69 (02:55:03):
You don't understand this young lady has given us a
chance to end our days in luxury.

Speaker 23 (02:55:08):
We could never have afforded what we had in there,
but the fake telling.

Speaker 2 (02:55:13):
That so what?

Speaker 69 (02:55:14):
It was wide screen pasma, a marvel of technology.

Speaker 65 (02:55:18):
We'd always wanted one, and.

Speaker 23 (02:55:20):
It was hours, even if it only was protecting.

Speaker 2 (02:55:22):
Just a pity I missed my program.

Speaker 65 (02:55:25):
You're mad, all of you nuts well, take care of
some colonn rolls.

Speaker 8 (02:55:30):
That's not really that.

Speaker 64 (02:55:32):
Oh so you murder people because you've decided they don't
look good in your catalog, just because.

Speaker 66 (02:55:40):
They're fat and lazy and uselessly, so they still have
their uses even in death. We don't waste anything here.
All our furniture is made from recycled materials, so it
makes sense to extend that ethos to our catering facilities.

Speaker 23 (02:55:53):
What you're turning them into food meat.

Speaker 66 (02:55:57):
Balls, to be precise, seems our customers to can't get
enough of them.

Speaker 18 (02:56:01):
A number one best seller.

Speaker 23 (02:56:02):
I knew he was a nutter.

Speaker 71 (02:56:03):
Oh, poor soul?

Speaker 18 (02:56:05):
Have I disappointed you? Sorry?

Speaker 66 (02:56:09):
You are quite sweet, though, who knows if things have
been different. I don't really mean that, But it's what
people say these situations, isn't it.

Speaker 9 (02:56:16):
Let me go.

Speaker 23 (02:56:17):
I'll go straight home. I promise I will say nothing
to nobody.

Speaker 13 (02:56:21):
I swear.

Speaker 18 (02:56:21):
I wish I could believe you, really I do.

Speaker 66 (02:56:24):
But you've already seen too much and that's a problem.

Speaker 18 (02:56:28):
And if there's a problem, we have to eliminate it.

Speaker 12 (02:56:31):
Like that, is it.

Speaker 23 (02:56:32):
Well, you're gonna have a problem eliminating me.

Speaker 66 (02:56:34):
Well, not really problems already been solved.

Speaker 23 (02:56:37):
What do you mean the hot chocolate?

Speaker 18 (02:56:39):
Remember every last drop? No, such a shame you never
got to see the bathroom.

Speaker 23 (02:56:44):
No, I only came you to buy a walk I'm
begging you.

Speaker 18 (02:56:48):
I don't worry.

Speaker 23 (02:56:49):
I'm sure you'll make a very tasty meat ball. Listen,
I really really love this song.

Speaker 19 (02:57:00):
No No.

Speaker 63 (02:57:12):
In Meeple's a murder by Rhys Lloyd. Soul was played
by Stewart McLaughlin, Louise by Tracy Wiles, George by Kim Wall,
and Rose by Elizabeth Bell. The director was Colin Guthrie.

Speaker 1 (02:57:31):
Are you a member of the Darkness Syndicate? The Darkness
Syndicate as a private membership where you receive commercial free
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the scenes video updates about future projects and events I'm
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(02:57:51):
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(02:58:13):
Darkness dot com slash syndicate.

Speaker 7 (02:58:32):
The story you're about to hear is true, but straight.

Speaker 12 (02:58:55):
Let's him know, isn't it, Laura? That isn't any bird?
Let's say, langless, Uncle Cash.

Speaker 46 (02:59:01):
There's nothing out there except no magnolia trees and birds. Well,
I'm doing out here on the verandas snail in the
night air Nail.

Speaker 12 (02:59:13):
A renegade flattened for the north. And you're fiction to
elope with him.

Speaker 46 (02:59:18):
You're just being plain.

Speaker 13 (02:59:20):
Sell that goes.

Speaker 12 (02:59:23):
Again under that willow tree. Come out, come over there,
put away their pistols all retained, But tryna stopish.

Speaker 41 (02:59:48):
ABC Radio Network presents strange, true stories of the supernatural
with your narrator, famous author, lecture and expert on strange
and weird events, Walter Gibson.

Speaker 12 (03:00:01):
Thank you, Charles Woods. The rivers of the Old South
are rich with Spanish moss and memories of great days.
The plantation houses stand like old ghosts on the river banks.
This is the story of a plantation house we shall
call Greenwood Acres. In nineteen fifty two, an army lieutenant

(03:00:29):
named Seth Proctor, while on leave, found himself in a
small backwater town in Georgia. He had gone fishing along
a wandering stream loaded with water lilies, and when he
got back he told his landlady about it. That's right,
missus Daniels. It was big, biggest place I ever saw
on the.

Speaker 46 (03:00:47):
Bank of the river, Lieutenant.

Speaker 12 (03:00:49):
A house, Yeah, one of those plantation houses.

Speaker 46 (03:00:52):
You're sure they did one of your fish stories, your
young men, all of these.

Speaker 5 (03:00:56):
No.

Speaker 10 (03:00:56):
No, I didn't even catch any fish.

Speaker 12 (03:00:58):
I just smelled my land in those waters.

Speaker 46 (03:01:00):
Now there's no house up that back.

Speaker 12 (03:01:02):
Oh but there is. I saw it had four columns
out in front, big willow tree right on the bank.

Speaker 46 (03:01:08):
You just must be mistaken, Lieutenant.

Speaker 16 (03:01:10):
There ain't been.

Speaker 46 (03:01:11):
Any folks there and way back. Oh wait a minute,
you must mean Greenwood Acres.

Speaker 12 (03:01:19):
What's Greenwood Acres?

Speaker 46 (03:01:20):
All old plantation went seed on fifty years.

Speaker 12 (03:01:23):
Ago, went to seed.

Speaker 46 (03:01:24):
Yeah, there was a tragedy sometime around the Civil Wall,
and that time on it just went downhill. House is
nothing but an old ruin.

Speaker 12 (03:01:34):
Now, Oh, no, it must be a different place then
the one I saw was new. The next day, Lieutenant
Proctor went out fishing again, and again he found himself

(03:01:55):
pulling through maps of water lilies, toward a willow tree
that hung over the bank, and oak trees festooned with
Spanish moss. Through the heavy trees came the perfume of magnolias,
and he saw the gleaming white portico of the huge house. Well,
that's it, and it isn't new. My landlady was long,

(03:02:18):
and these.

Speaker 2 (03:02:19):
Water lilies thicker than molasses, can't move through.

Speaker 12 (03:02:26):
Hmm, sounds like a mocking bird or a catbird.

Speaker 10 (03:02:29):
Wait a minute.

Speaker 12 (03:02:30):
I used to imitate birds, and see that's not bad.
Oh who's that? Y?

Speaker 2 (03:02:47):
That?

Speaker 12 (03:02:48):
Who's talking? I don't see you. Oh swimming in the water.
What are you of a mermaid? That yellow hair of
your eyes? I'm mistoking for a water lily. I wish
I could get through to where you are. These water
lilies are too thick. Where we met was it at
an army post?

Speaker 10 (03:03:07):
Dancer? It is you.

Speaker 18 (03:03:10):
Easy?

Speaker 12 (03:03:12):
Sure, it is, at least it always has been. What
I want to know is who you are. Look out,
get back to shore. There's an alligator.

Speaker 9 (03:03:19):
Get back for sure.

Speaker 46 (03:03:33):
No coffee.

Speaker 12 (03:03:34):
No thanks, But there must be another way into that plantation,
a road or something.

Speaker 46 (03:03:39):
Oh, road long stands overgrown.

Speaker 12 (03:03:42):
I tried after she got back on shore, and I
couldn't get through the water lilies. I took the rowboat
back and tried by land.

Speaker 13 (03:03:48):
Nothing.

Speaker 46 (03:03:50):
You just have to dreamed at all.

Speaker 12 (03:03:52):
Don't tell me what I dreamed, missus Daniels. I saw her,
she spoke to me. I didn't get a very good
look at her. She got out of the water all
that on hair.

Speaker 46 (03:04:01):
First time I ever heard of a soldier not looking
at a pretty girl.

Speaker 12 (03:04:04):
Well, she didn't seem to be wearing much.

Speaker 46 (03:04:08):
That's the bathing suits they wear these days. It is scandalous.

Speaker 10 (03:04:11):
It was like a dream.

Speaker 46 (03:04:13):
That's just exactly what it was.

Speaker 12 (03:04:16):
The house, through the trees, white and shining, the birds singing,
and then her. I never saw her before. But how
does she know me?

Speaker 2 (03:04:25):
She knows you?

Speaker 10 (03:04:26):
Or she called me by.

Speaker 12 (03:04:27):
Name, my first name, Seth several times during the afternoon,
Lieutenant Suffcocker tried to get the Greenwood acres, but all
the roads were obliterated. That evening he spent an hour

(03:04:47):
at the local library.

Speaker 6 (03:04:54):
It was back in eighteen sixty five I read the
whole story, so that's where you be in it.

Speaker 11 (03:05:00):
Yep.

Speaker 12 (03:05:01):
Now, look, there was a girl named Laura who was
in love with a Northern soldier named Seth Langley. Her
uncle Cassius.

Speaker 46 (03:05:07):
Killed Langley, and Laura pined away and died of a
broken haw.

Speaker 12 (03:05:12):
She I wish there'd been a picture of her.

Speaker 46 (03:05:14):
Did the story in the library say what she looked like?

Speaker 2 (03:05:17):
No?

Speaker 12 (03:05:18):
It said she was beautiful, and she had blonde hair.

Speaker 13 (03:05:22):
Like the girl you saw.

Speaker 12 (03:05:24):
It can't be the same girl.

Speaker 46 (03:05:26):
Of course it can unless you dreamed it like you said.

Speaker 12 (03:05:30):
I didn't dream it.

Speaker 10 (03:05:31):
She was there.

Speaker 12 (03:05:32):
I saw her, She called me by name, and the
house was new, shining, white and new.

Speaker 46 (03:05:38):
Now where you going?

Speaker 12 (03:05:39):
There's a moon tonight. I'm going back.

Speaker 46 (03:05:41):
You can't giddy.

Speaker 10 (03:05:42):
I've got away.

Speaker 12 (03:05:43):
I'll take a canoe instead of a rowboat.

Speaker 10 (03:05:45):
A canoe.

Speaker 12 (03:05:46):
A canoe won't get tangled up in those water lilies.
They will blind right over them.

Speaker 46 (03:05:49):
Lieutenant. If I was you, I'd forget it, just plan
forget it.

Speaker 10 (03:05:55):
Story said the bird call was the same. I can
do that bird call.

Speaker 46 (03:05:57):
Now, Lieutenant. Please, don't you go being foolish.

Speaker 12 (03:06:01):
What's foolish about it?

Speaker 46 (03:06:03):
If everything else is the same. That means her uncle
Kassius might be around too, with that same gun.

Speaker 12 (03:06:09):
What do you use on me?

Speaker 46 (03:06:11):
Well, your name says, ain't it. You're a soldier like
he was.

Speaker 12 (03:06:16):
It's not the same.

Speaker 6 (03:06:18):
This is nineteen fifty two, a girl had blonde hair
and the house is new.

Speaker 12 (03:06:24):
No, I'm going.

Speaker 9 (03:06:36):
You have to say on the veranda again.

Speaker 46 (03:06:38):
Laden will come again.

Speaker 10 (03:06:41):
He's dead.

Speaker 46 (03:06:43):
I'll see him again.

Speaker 12 (03:06:44):
They've been dead for years, and I'll do it again.
I'll tell you I'll shoot him again.

Speaker 10 (03:06:50):
I will tell you.

Speaker 12 (03:07:05):
There it is a willow tree nose for the Spanish moss.
God can just get the shore now, sure, lady, the

(03:07:27):
bird called, I better answer, h.

Speaker 15 (03:07:37):
Y that hello?

Speaker 21 (03:07:42):
Not so loud?

Speaker 32 (03:07:44):
You know how Uncle Cash is see you?

Speaker 15 (03:07:46):
Oh?

Speaker 10 (03:07:48):
What's your name?

Speaker 12 (03:07:49):
I don't know your name?

Speaker 21 (03:07:51):
Now you're joking, is it?

Speaker 10 (03:07:54):
Laura?

Speaker 25 (03:07:55):
You have come back, haven't you.

Speaker 16 (03:07:58):
I knew you would, do you know?

Speaker 10 (03:08:01):
You're beautiful?

Speaker 46 (03:08:02):
Uncle Cash said you were dead.

Speaker 18 (03:08:05):
He said, he kidded you.

Speaker 2 (03:08:06):
The most beautiful girl I ever saw.

Speaker 46 (03:08:09):
Last time, I never hardly got past the veranda before
Uncle Case showed at you.

Speaker 16 (03:08:14):
This time, we boodhi, didn't we?

Speaker 22 (03:08:18):
Oh?

Speaker 2 (03:08:18):
See Laura?

Speaker 15 (03:08:23):
Laura, who is that.

Speaker 10 (03:08:26):
There standing over near the house?

Speaker 46 (03:08:31):
Cash, Now you just stay right in that bed, Lieutenant

(03:08:52):
Doctor said you should raise my shoulder.

Speaker 16 (03:08:55):
Lucky you wasn't killed.

Speaker 46 (03:08:57):
I'll never get over the turn you gave me in
here the middle of the night. Old Bleam, I'm all
mixed up, you all mixed up. After the shot, Laura
seemed to disappear. I found myself in the canoe.

Speaker 2 (03:09:12):
I looked back.

Speaker 12 (03:09:13):
I saw the house, but it was old. It didn't
look new anymore.

Speaker 10 (03:09:18):
It was old. What happened to it? What happened to Laura?

Speaker 46 (03:09:23):
Er, Uncle Cash has shot you?

Speaker 12 (03:09:24):
I know I was shot. The doctor took the bullet out.
But the house must be new. And Laura, she must
be alive. I held her in my arms. She must
be alive.

Speaker 46 (03:09:34):
Lieutenant would you like to see the bullet? What the
doctor left it here?

Speaker 34 (03:09:43):
Here?

Speaker 22 (03:09:43):
It is right on this plate.

Speaker 10 (03:09:46):
Let's see it.

Speaker 12 (03:09:49):
That's not from any modern gun. That's an old fashioned
bullet from a pistol around the time of the Civil War.

(03:10:15):
Lieutenant Proctor went back when he recovered, but he never
again found the house old or new. But the wound
in his shoulder was real, and so was the lead bullet,
a bullet that had been fired out of.

Speaker 2 (03:10:27):
The distant past. A story true but strange.

Speaker 41 (03:10:37):
Walter Gibson, You're expert on the supernatural stories of ghosts,
of spirits, werewolves, and voodoo, and each story you hear
is true but stress.

Speaker 2 (03:10:57):
Strange.

Speaker 54 (03:10:57):
With Walter Gibson as your expert.

Speaker 41 (03:10:59):
Was directed by Bluck Andrews in the cast where Alice
Frost and Court Benson.

Speaker 1 (03:11:05):
If you'd like to follow me on social media such
as Facebook and x you can find links for both
Weird Darkness and my personal socials on the contactsocial page
at weird Darkness dot com. That's also where you can
drop me a personal email, find my mailing address, as
well as information about my voiceover business. That's the contact
social page at weird Darkness dot com. Weird Darkness dot

(03:11:28):
com slash contact.

Speaker 9 (03:12:03):
Uh friends.

Speaker 72 (03:12:53):
Were you Men and women in the Armed Forces of
the United Nations percent one of America's top spine singers.

Speaker 7 (03:13:03):
A radio rebroadcast, A program dedicated.

Speaker 72 (03:13:07):
To the mysterious, the unusual, and sometimes the supernatural.

Speaker 7 (03:13:14):
A program of.

Speaker 49 (03:13:19):
Spence Come Now.

Speaker 57 (03:13:36):
In happier peacetime days to a great Ocean liner on
the night of her Department for up here she is
at the west twenty second Street pier, the twenty.

Speaker 7 (03:13:45):
Five thousand Camorra Vania.

Speaker 57 (03:13:46):
The white planet line smoke from her three funnels coiled
up lazily in mild October air. You can see the
decks spike and shiny like shoe box, and the spring
of light along.

Speaker 32 (03:13:57):
Them, and the band standing by on.

Speaker 47 (03:13:59):
A deck play hello. We hear the murmur of an
excited crowd, and the rackle of the steam wins it
just cargo and lower it into the hole. We see
the postil of activity. The second officer, standing at the
head of the gang plane as too rapidly passive hurry
through the custom cares fort that gang.

Speaker 16 (03:14:16):
It's a right, picky, We're not too late.

Speaker 6 (03:14:18):
No, and I thought we'd be a honeymoon in Europe
three whole months with nothing.

Speaker 39 (03:14:24):
To worry about.

Speaker 7 (03:14:25):
That right, and Goup and my wife will let's see,
practically five hours now.

Speaker 39 (03:14:30):
I believe the correct phase is it?

Speaker 54 (03:14:33):
It's so sudden, so saying that we have to travel
on our own passports instead our husband and wife.

Speaker 7 (03:14:39):
Once, I hope they don't think you're not an honest woman.

Speaker 39 (03:14:42):
I'm going to act like a complete water, just the devil.
Oh what about our tickets, Tricky?

Speaker 9 (03:14:48):
Do we give them to that officer standing at the
top of the gang plank?

Speaker 7 (03:14:51):
No, honey, you keep your ticket. The cabin story will
come around and collected after we're underway.

Speaker 12 (03:14:55):
And the money, Ricky, A lot of money anyway, ten
thousand dollars in cash.

Speaker 7 (03:15:04):
Maybe I've got a ton oft inn off the course's
office for safe keeping.

Speaker 9 (03:15:07):
Yes, maybe you had Wait a minute, Ricky, Wait, do
you mind if we stand here for a second before
we go up the gang time?

Speaker 10 (03:15:18):
No, but.

Speaker 39 (03:15:20):
Getting over brain fevers, many, Joe, You.

Speaker 44 (03:15:24):
See, Ricky, I ought to be eager and excited like
all those people out there, But suddenly.

Speaker 39 (03:15:30):
You get fancy, the queerest fit fancy Suddenly.

Speaker 9 (03:15:35):
Right now all I can think of is the night
and the wind and all the black water in the.

Speaker 7 (03:15:40):
Dark, and that's exactly the kind of move. But fancy,
I'm trying to kill you off.

Speaker 9 (03:15:45):
I know, Ricky, I'll be good, But I was just thinking.

Speaker 39 (03:15:49):
Of a story.

Speaker 49 (03:15:50):
What story?

Speaker 39 (03:15:51):
Oh, never mind it. It doesn't matter which way.

Speaker 7 (03:15:53):
Do we go top the gang Nike, we go through
that door then and down on the elevator to be there,
And no more hart As. Do you understand here we
are an b deck and have a number court long.

Speaker 12 (03:16:13):
Be thirteen, be thirteen.

Speaker 7 (03:16:19):
You're not superstitious, are you?

Speaker 39 (03:16:21):
I know, Ada not about fairs like that.

Speaker 15 (03:16:24):
Open the door, Yeah.

Speaker 7 (03:16:28):
Right, Sarmon, Richie down.

Speaker 39 (03:16:31):
It's a beautiful can that's.

Speaker 54 (03:16:32):
That could get And then I look at you anyway
and over them, Adam, you'll find a basket of fruit
in some books from your obedience here.

Speaker 39 (03:16:40):
You are nice to me, and I'm feeling so much
better it.

Speaker 7 (03:16:45):
I will be all right, Doby, of course you will.

Speaker 54 (03:16:48):
But you won't find any detective novels among those books.
Detective novels maybe all right for president college professor, but
straightforwarding to you, you'll read love stories.

Speaker 7 (03:17:00):
Do you like it?

Speaker 9 (03:17:01):
You already?

Speaker 39 (03:17:03):
I keep thinking and thinking about that story I mentioned.

Speaker 9 (03:17:08):
The knows them.

Speaker 39 (03:17:09):
You probably know it that it is new to me.

Speaker 33 (03:17:12):
A woman and her daughter arrive in Paris and.

Speaker 7 (03:17:14):
Go to a hotel. You mean the past exposition story.

Speaker 2 (03:17:17):
Yes, that's it.

Speaker 39 (03:17:19):
Her daughter goes out and she returned. Her mother has disappeared,
and even the hotel room is a obtained.

Speaker 7 (03:17:27):
The proprietor of the hotel says, the girl came there.

Speaker 39 (03:17:29):
Alone, and but there never was another.

Speaker 9 (03:17:31):
The whole room is different.

Speaker 39 (03:17:33):
When she goes back to her cat.

Speaker 9 (03:17:35):
The girl goes to the police and they won't believe it.

Speaker 16 (03:17:37):
She's really crazy.

Speaker 39 (03:17:39):
Of course, it turns out that the mother has caught
ewbanic lag and died, and.

Speaker 36 (03:17:43):
They're hushing it up so that the visitors won't keep
away from the city and ruin the whole exposition. But
of thought, I know, I imagine they are in a
situation like that.

Speaker 73 (03:17:56):
With all those queer eyes staring at you, wondering if
you've lost your reason, wondering if your.

Speaker 39 (03:18:03):
Brain had cracked, and the whole world might resolve it.

Speaker 2 (03:18:07):
This is.

Speaker 7 (03:18:10):
That's the last call, and will be under way any minute.

Speaker 39 (03:18:12):
Now, you know, Ricky, I would like to see the
skyline go past to the Statue of Liberty and the.

Speaker 9 (03:18:19):
Rest of it.

Speaker 7 (03:18:21):
Why not go up and see it. I've got to
depart this money in the first office.

Speaker 15 (03:18:24):
I've seen it.

Speaker 9 (03:18:26):
I don't like it, and leave me.

Speaker 2 (03:18:29):
Look here there.

Speaker 7 (03:18:31):
You don't think I'm going to disappear, do here?

Speaker 39 (03:18:33):
I suppose I.

Speaker 73 (03:18:34):
Don't really when I get these ideas and I can't
help it, Ricky, I wish you'd wallop me.

Speaker 50 (03:18:41):
I'm not going to wallop them, but you've got to
stop being afraid.

Speaker 7 (03:18:46):
You certainly won't disappear in a crowded ship with any
number of people around you.

Speaker 2 (03:18:50):
That's for me.

Speaker 54 (03:18:51):
I devide Houdini himself to make me vanished.

Speaker 9 (03:18:54):
Don't like that.

Speaker 54 (03:18:55):
I'm not going to vanish this cavenger along. I'll join
you on back as soon as I can.

Speaker 14 (03:19:02):
All right, he'll be good.

Speaker 36 (03:19:22):
Eager people, excited people, happy people, all crowding up to
the rail away goodbye.

Speaker 9 (03:19:29):
Nothing to worry about, nothing on their.

Speaker 7 (03:19:31):
Mind except what Oh?

Speaker 54 (03:19:35):
Accept sea sickness, madam? Oh, I beg your pardon. I
haven't meant to start for you, believe me.

Speaker 16 (03:19:42):
Please don't mention the heart silly.

Speaker 7 (03:19:44):
It was my father. I haven't been very well, I noticed, madam,
If you'll forgive me, that was why I spoke to you.
As you see by my uniform, I'm the ship's doctor.

Speaker 39 (03:19:55):
This is a bit of ship business. But you don't
sound British.

Speaker 7 (03:19:58):
No, I'm not very met. Stop the poor family at
your service.

Speaker 54 (03:20:02):
I'm not very popular in my own country today, days
of colored shirts and bacon's mine.

Speaker 39 (03:20:08):
I'm missus brewster doctor and Brewster.

Speaker 9 (03:20:11):
When does the ship go in?

Speaker 54 (03:20:12):
About a second, missus brust you will hear the whistles,
then the bend will striker all langs in and then.

Speaker 9 (03:20:21):
You're moving arthy.

Speaker 54 (03:20:22):
Yes, don't you see the vibration of the engine.

Speaker 9 (03:20:54):
The water.

Speaker 54 (03:21:08):
I imagine this is not your first crossing, Madam.

Speaker 73 (03:21:10):
Oh, I'm afraid it is, doctor Heimiy's my husband's crossed
many times, he tells me.

Speaker 7 (03:21:15):
But not on this ship. Then, I hope you're a
good tailor.

Speaker 20 (03:21:19):
Why doctor her well, because.

Speaker 54 (03:21:20):
You're running into some very dirty weather once you're out
of sea. October the very dead months for traveling.

Speaker 73 (03:21:27):
Well, if I do get seat, exact why, I'll rush
street for you, and I'll expect.

Speaker 8 (03:21:30):
To be cured.

Speaker 54 (03:21:32):
Let me tell you a secret, madam. There are two
common ailments for which medical science has looked pure. One
as ordinary seasickness, and the other is hangover. Tomorrow morning,
I shall be doing both and.

Speaker 7 (03:21:44):
Oh no, no, no, no, no sympathizing that's all I
can do. How do you like the Moraviania?

Speaker 39 (03:21:50):
What's the magnificent ship from what I've seen of it?

Speaker 7 (03:21:53):
And you know they've given us a very.

Speaker 39 (03:21:54):
Nice cabin down on the deck beater tea.

Speaker 9 (03:21:58):
What's the matter? Why are you looking at me like that?

Speaker 7 (03:22:02):
I beg your pardon? Did you say the thirteen?

Speaker 13 (03:22:05):
Yes?

Speaker 54 (03:22:06):
H enough, you're quite sure of that manner?

Speaker 39 (03:22:09):
Oh, yes, of course I'm sure of it, as I
saw the number on the door.

Speaker 7 (03:22:13):
Why not, well, because.

Speaker 54 (03:22:17):
Come on, doctor Hermy, because there's no such Kevin about
the ship. I'm not joking, Missus Rooster. You think some
people are superstitious. Many ships like this one, I make
number thirteen on each deck. You must have been mistaken.

Speaker 39 (03:22:33):
Why are you trying to tell me? Do you think
I saw something that wasn't there?

Speaker 7 (03:22:38):
No, no, Missus Brewster, not at all.

Speaker 9 (03:22:40):
Then come along, I'll show you.

Speaker 39 (03:22:42):
I prove to you that there is a number thirteen.

Speaker 9 (03:22:44):
Will you come along?

Speaker 7 (03:22:45):
Yes, Missus Brewster, I think perhaps I have caught you.

Speaker 39 (03:22:58):
Yes, man, I tell you it is B deck.

Speaker 21 (03:23:02):
Isn't the sea deck?

Speaker 29 (03:23:03):
Oh yes, ma'am, no doubt about that.

Speaker 73 (03:23:05):
Doctor Henry and I have been all over this part
of the ship looking for Kevin number thirteen.

Speaker 54 (03:23:10):
That were I've been trying to content ladies that there's
no such Kevin as seven number thirteen on the ship.
Why there isn't ma'am, I never acted.

Speaker 32 (03:23:20):
I start to board the motivin here, and that's what
right here is.

Speaker 51 (03:23:23):
And I often know, but I'll tell you I saw it.

Speaker 16 (03:23:25):
I was in there.

Speaker 9 (03:23:27):
It was a big cabin with a private bathroom attached.

Speaker 73 (03:23:30):
The walls were paneled in light oak, and the furniture
was rosewood and yellow satin, and the portholes were like
real window.

Speaker 54 (03:23:35):
That's not much, good man, No, I'm afraid not. Most
of the Kevin's here about stuff like that. Yeah, ask
you what name of the Kevin book did brewster?

Speaker 39 (03:23:45):
Naturally, mister, and to be blustered, let's have a look
on my list.

Speaker 21 (03:23:50):
Yeah, there's no grocer here, ma'am.

Speaker 9 (03:23:54):
I tell you I was in there that even delivered
the munket.

Speaker 68 (03:23:56):
I saw it.

Speaker 34 (03:23:57):
Excuse me, ma'am, but I had a look see all
the Kevin I'm in charge of.

Speaker 29 (03:24:01):
That's to see if the passenger wasn't anything.

Speaker 32 (03:24:04):
And I just again, any exactly with a booster label
on it.

Speaker 9 (03:24:08):
Wait a minute, there may be a partial explanation of this.

Speaker 54 (03:24:13):
See that's seven. I was hoping you might find one.

Speaker 9 (03:24:16):
Ricky just my husband.

Speaker 36 (03:24:18):
Ricky and I have only been married a very short
time and when my maid's end at the baggage label.

Speaker 39 (03:24:22):
She she must have made been maud in my lady name.
I never noticed at the time.

Speaker 7 (03:24:28):
Oh but why might that be mad I? Oh godness,
but why couldn't have said that before?

Speaker 39 (03:24:36):
I remember?

Speaker 13 (03:24:37):
It?

Speaker 34 (03:24:37):
Will just plank with that little sack set.

Speaker 9 (03:24:41):
In deep sixteen now Frisby sixteen.

Speaker 7 (03:24:44):
Noner it just standing pros the flame sands to.

Speaker 39 (03:24:47):
The door, Thank goodness. Oh yes, what about my husband's muggage.

Speaker 62 (03:24:54):
No gentleman's luggage, that cabininess, your husbands or any other gentleman.

Speaker 39 (03:25:00):
Yeah, what's I mean?

Speaker 9 (03:25:01):
I won't stand?

Speaker 32 (03:25:02):
Who is Ricky?

Speaker 68 (03:25:03):
Why have you done with Ricky?

Speaker 7 (03:25:04):
Missus r I even wait to settle this?

Speaker 2 (03:25:09):
Huh?

Speaker 7 (03:25:10):
Just who's down the corry door?

Speaker 15 (03:25:12):
You know?

Speaker 7 (03:25:12):
The man's coming top up, the man with the two
girls drive around the sleet.

Speaker 54 (03:25:16):
Well, just lets the mark second officer. If you ever
seen him before?

Speaker 9 (03:25:22):
Yes, yes, of course I have. He was standing at
the top of the guys like when Rick and I.

Speaker 54 (03:25:28):
Got a board, exactly so he might be able to
tell her something as a manco as a mascom, what
a man's coming here for a moment?

Speaker 12 (03:25:38):
Always glad to oblige the chap who may have to
cut me off at any moment.

Speaker 7 (03:25:42):
The hold.

Speaker 54 (03:25:43):
Now, the royal take a good look at this young lady,
and tell me have you seen her before?

Speaker 7 (03:25:49):
Seen her before? For my dear chef, if I had
overlooked a young lady, who will pardon me, I know,
a passenger as charming as this.

Speaker 54 (03:25:58):
Lady is, I would be let the gentleman that I
think you saw her coming coming on board tonight, And
of course you saw the gentleman who.

Speaker 7 (03:26:08):
Press her, the gentleman who was with her. Yes, oh
there was nobody with her. Old boy, you're a white
step that from the idea doctor, she was allowed time
to come aboard. I think my bible there was no
other passenger with hers, or ahead of all behind her.

Speaker 16 (03:26:28):
It comes your lying your life to me.

Speaker 7 (03:26:31):
Sorry, your boys, I.

Speaker 6 (03:26:33):
Know what it is.

Speaker 16 (03:26:36):
It's your character that can disturb, but you won't get
away with it.

Speaker 9 (03:26:40):
You're here the captain, your part of it. Haven't hold anybody.

Speaker 57 (03:27:02):
Later that night, in the captain room, just about the bridge,
there is a conference of ship's officers outside.

Speaker 7 (03:27:11):
Stung by spray clinging to the bulkhead rail in the dark,
the whitened girl waits from the door of the cabin's
room open, ring the immediate attack to the door.

Speaker 6 (03:27:24):
Yes, well here we are.

Speaker 54 (03:27:27):
This is Captain Wayne By. I'll just tell your story
straightforwardly and sleep, don't excite yourself.

Speaker 74 (03:27:35):
Maybe we can get some decision into this matter. We
just sit down here for seven edition, Miss Thompson.

Speaker 2 (03:27:39):
My name is Brewster, Captain, missus Ann Brewster.

Speaker 7 (03:27:43):
What heybe you see missus Brusca. Thank you very much, Captain.
Now might tell you, ma'am, I've got a lot of
my mind already. The first officer comes about with an
attack of flu. I'm facing an equinoctial game short handed,
and now this has to happen on top of it.

Speaker 39 (03:27:57):
I'm terribly sorry. I can't help that, Captain. I want
to know what they've done.

Speaker 74 (03:28:01):
With Richard just one moment, please, when I get this today,
for this time, I understand. Do yourself as personally interviewed
practically every single passenger about this ship.

Speaker 9 (03:28:11):
Is that true?

Speaker 39 (03:28:12):
Yes it's true.

Speaker 7 (03:28:14):
But your amaged husband is not here?

Speaker 2 (03:28:17):
Is that true?

Speaker 9 (03:28:19):
Yes, that's true.

Speaker 74 (03:28:20):
In the meantime, the person has sent a squad of
men to search this ship.

Speaker 7 (03:28:25):
They've searched every inch of it.

Speaker 15 (03:28:27):
You can take my.

Speaker 7 (03:28:27):
Work for that. There's nobody hidden. Your husband's not here,
according to mister Marshall, was standing over there.

Speaker 15 (03:28:34):
I see him.

Speaker 7 (03:28:34):
According to mister Marshall, he never was here.

Speaker 49 (03:28:39):
Okay it on this.

Speaker 7 (03:28:40):
You needn't glow at me like that. We couldn't see
the chap. He wasn't our cover required, mister Marshall. Yes,
I'm sul so, I'm I'm not unreasonable, Missus Brewster. I
think you can admit that.

Speaker 15 (03:28:52):
So what can I do?

Speaker 9 (03:28:53):
What can I say?

Speaker 7 (03:28:55):
Can you offer any proof even that this husband of
you have ever existed?

Speaker 16 (03:28:59):
Truth?

Speaker 9 (03:29:00):
Yes, of course I cannot excuse.

Speaker 7 (03:29:02):
Me for interrupting. But what's your mind, captain? If we
asked the question or thought? Nor do you do? Ahead
and tell you? I'm doing that myself.

Speaker 54 (03:29:10):
If you were married, Missus Brewster, you must be carrying
a joint husband and life passport?

Speaker 73 (03:29:15):
Will as that well, there wasn't time to get one.
We each carried our own passport.

Speaker 54 (03:29:22):
Oh, I see, But still there must be someone back
in America who can concern what you say.

Speaker 7 (03:29:27):
If you've got in touch by a radio telephone your
parents friends.

Speaker 21 (03:29:30):
I haven't got any parents said?

Speaker 7 (03:29:32):
What about the relatives?

Speaker 49 (03:29:33):
Then?

Speaker 7 (03:29:33):
Not a guardian. My guardian is a trust company.

Speaker 9 (03:29:36):
The administrators don't even know I'm married, but.

Speaker 54 (03:29:38):
Somebody must have performed the ceremony of marriage.

Speaker 7 (03:29:41):
The pass and the test was a fee.

Speaker 9 (03:29:42):
Yes, of course, of course.

Speaker 21 (03:29:43):
But oh, I.

Speaker 2 (03:29:47):
Can't remember the.

Speaker 9 (03:29:47):
Name of the town.

Speaker 7 (03:29:49):
You don't remember the name of that tone that.

Speaker 54 (03:29:51):
Your chair, missus Rowster, the ship is going to pet
your game.

Speaker 7 (03:29:58):
There's a dash looking mister Marshall. Oh brama. Those writings
that went on, how long we will be in the
pub with hold morning. We haven't enough problem now if
you ask me this lead decision.

Speaker 9 (03:30:08):
I'm terribly sorry, but I'm trying to think of it.

Speaker 39 (03:30:12):
It was a little town in upstate New York. But
they can marry you at a moment's notice.

Speaker 9 (03:30:16):
Ricky kept a certificate. I was confused. I haven't been well.
You see, Ricky had been away and he.

Speaker 39 (03:30:26):
Came back and I was in love with him, and
he he could have shipped me off my feet.

Speaker 9 (03:30:33):
What they use not much.

Speaker 7 (03:30:36):
If he'll take my advice, ma'am, he'll go be out
here kept and get some speech similar adopted down to
Mitchy has said.

Speaker 39 (03:30:44):
You think I'm crazy, don't too.

Speaker 7 (03:30:47):
I think they're a little over raw maw.

Speaker 9 (03:30:50):
I can't understand this.

Speaker 73 (03:30:52):
Why why should you want to do this?

Speaker 9 (03:30:55):
Can't you want to play this time?

Speaker 74 (03:30:57):
Who said anything about the bubonic play?

Speaker 15 (03:31:02):
Never mind?

Speaker 39 (03:31:04):
But I'll show you. You're all against mister maybe the doctor,
but I'll show you. I'll prove it to you.

Speaker 68 (03:31:13):
I'm I'm going down there, and I don't want anybody to.

Speaker 12 (03:31:15):
Probably good night.

Speaker 74 (03:31:16):
Good Look here, mister Marshall. You think it's quite cheafe
to trust her there alone?

Speaker 7 (03:31:27):
And she's mad as I have her. If you ask me,
you think she might do something foolish. I think she
might check herself over a bad We're not careful with
your opinion. Doctor.

Speaker 54 (03:31:39):
I can give you my opinion, gentlemen, in a very
few words. That girl at that saying, as you are,
wait and hear what I have to say. I shared
your own believe at first. But I've been talking to
her all evening. I've heard the whole story, and there
was not a psychopathic trait in her nature. She firmly
believes in this happened a lot of.

Speaker 7 (03:32:00):
People permanently their napoleon, but they get tossed in the
looney bane as to say.

Speaker 54 (03:32:04):
As matter, it's not a job metal marshals, I tell
you this man exis or did exist? What do you mean,
doctor of the pose? Murder must he has been murdered
and thrown off a board, very good aboard. If you
remember Richard Bruce, that was carrying a very large sum
of money in cash, his wife's spelling kids practically all

(03:32:25):
are inherited. He meant to go to the person's office,
but he never got there that money.

Speaker 7 (03:32:31):
In fact, it might have been a great emptation to
boom first your desk perhaps, or even to a ship's officer.

Speaker 54 (03:32:38):
Just exactly what are you getting at a numbazon. Doors
can be changed easily enough. Just prime the small path
and put it on a metal plot on the door.

Speaker 7 (03:32:45):
I still want to know you were.

Speaker 54 (03:32:48):
If you use your intelligence, gentlemen, I think you'll understand
how a man can be made to vanish into thin
airs and why, mister Marshall or never another passenger.

Speaker 7 (03:33:00):
You still don't see it?

Speaker 10 (03:33:01):
No, I do not.

Speaker 7 (03:33:04):
Did I explain exactly.

Speaker 57 (03:33:14):
Four o'clock in the morning, four o'clock the hour of
suicides and bad dream The gale was subsided, the sea
is calm. Yes, this Smaulvenia creeps blindly at bairly eight
knots through a thick and strangling fog.

Speaker 7 (03:33:30):
The whole ship is dark and held up in sleep.
No sound in all that mournful dimness, except when the
foghorn cries.

Speaker 50 (03:33:38):
Out a warning overhead.

Speaker 57 (03:33:40):
Even Cavin D sixteen is dark and Brewster pillfully dressed,
fies restlessly Acock, one of the birds head, almost touching
into Cavin's teleclock.

Speaker 21 (03:33:51):
Hugh, I thought I.

Speaker 16 (03:33:56):
Heard tells, Hey, hello, precky pretty are you?

Speaker 3 (03:34:09):
Where are you?

Speaker 9 (03:34:10):
What happened to you? You heard?

Speaker 29 (03:34:14):
Who?

Speaker 6 (03:34:22):
Yes?

Speaker 9 (03:34:22):
Of course? Where boat deck? Which one is that?

Speaker 15 (03:34:29):
Oh?

Speaker 9 (03:34:30):
Yes, I know it?

Speaker 21 (03:34:32):
Yes, Ticky, that is good, Freaky.

Speaker 9 (03:34:45):
It's gone, he's gone. Excuse me?

Speaker 39 (03:34:50):
I thought, I asked somebody talking in Yes, So that's
what are you doing at the this time of the life?
If I might ask, what are you doing up undress?

Speaker 13 (03:34:59):
How you want toge?

Speaker 39 (03:35:00):
I'm sweetness, you're really own.

Speaker 50 (03:35:02):
It's might interest you.

Speaker 73 (03:35:03):
The note to it is, but I've just been talking
to my husband now, Lucky, I don't start that all
over again. Please don't start that all over again, You offered,
tended to think I was mad, didn't you?

Speaker 39 (03:35:14):
As you nearly drove me mad?

Speaker 50 (03:35:16):
Ritty cheating the.

Speaker 10 (03:35:17):
Whole power of you.

Speaker 9 (03:35:18):
And I'm going out on deck to meet him.

Speaker 39 (03:35:19):
Now I'm deatness, That's what I've said. Where's Michael?

Speaker 9 (03:35:23):
Don't go.

Speaker 21 (03:35:25):
In the stay your mind yawning and the fox are sick.
You can't al see around in front of your face.

Speaker 39 (03:35:30):
Send away from the door. Please suppose miss, I didn't
want to.

Speaker 21 (03:35:35):
Let your guard day.

Speaker 39 (03:35:36):
I don't think that would matter much. You've probably heard
that mad people have ten pounds ordinary strength, and I'm
stronger than you anyway.

Speaker 54 (03:35:42):
Miss, I'm not begging you.

Speaker 21 (03:35:44):
Send away from that door.

Speaker 9 (03:36:03):
Why two.

Speaker 10 (03:36:08):
That you?

Speaker 9 (03:36:09):
Yes, ricky, freaky day?

Speaker 16 (03:36:11):
Where are you here?

Speaker 7 (03:36:12):
Buck your head on the light boat?

Speaker 2 (03:36:13):
Just take my hand.

Speaker 9 (03:36:15):
It is horribly dangerous out there on the edge. There's
no no really along the side of the ship.

Speaker 7 (03:36:20):
Don't worry, and I won't let your fall. Oh god, here, well,
I ha hear the propellers. Is such a mercury into
the propeller place.

Speaker 15 (03:36:29):
Listen.

Speaker 9 (03:36:31):
I can't hear anything except the car.

Speaker 7 (03:36:34):
But I can't somebody walking on the dead and I
can see a flashlight moving in the frog.

Speaker 54 (03:36:42):
You can see a flash light moving in the fall.
How are you doing here at the moment, young lady,
I'm covering both of you with a revolver. Please don't move.

Speaker 39 (03:36:52):
So you were in the conservacy that behind yeah you?

Speaker 7 (03:36:57):
What's the galaxy?

Speaker 16 (03:36:58):
Whole ship's conspiracy?

Speaker 54 (03:36:59):
To say Richard most didn't exist, My dear young lady,
you can set your mind a rather j Never was
any ships conspiracy against you.

Speaker 7 (03:37:07):
The people you spoke to were perfectly.

Speaker 39 (03:37:09):
Honest, including mister Marshall.

Speaker 7 (03:37:11):
I suppose, yes, including mister mars and there I suppose he.

Speaker 39 (03:37:15):
Was telling the truth when he said nobody came up
the gang life before lady.

Speaker 7 (03:37:19):
I beg your pardon. That was not what he said.
He said, no passenger, give up the gang plank and
his fire.

Speaker 39 (03:37:24):
Well, what's the difference?

Speaker 7 (03:37:26):
A great crime is arranged for the night, young lady,
No less a crime than murder.

Speaker 50 (03:37:32):
Who's good you are?

Speaker 75 (03:37:35):
That?

Speaker 7 (03:37:36):
I repeated the scheme. But there is no conspiracy and
only one criminal.

Speaker 39 (03:37:42):
And who is the criminals?

Speaker 54 (03:37:46):
The criminals of the man standing beside you.

Speaker 7 (03:37:49):
You're so called husband.

Speaker 9 (03:37:54):
Pretty.

Speaker 39 (03:37:56):
You don't know what you're saying.

Speaker 7 (03:37:58):
I think I do.

Speaker 54 (03:37:59):
Marshal of five, see someone walk up the game plainer
Loyd ringing behind you, But he never done of associating
the person anyway with you. He saw a ship's officer
returning from Shore Lee in civilian clothes.

Speaker 9 (03:38:12):
Ships off.

Speaker 54 (03:38:13):
Yes, the man you call your husband, his name isn't
Richard Brewster. His real name is Blainey and he's the
first officer of the Mora danius, Are you trying to
tell me that you can identify him? He's actually British
so he can take an American actionent very well. He
has already got a wife in England and he's planning
to join her with that ten thousand dollars to cut
from you.

Speaker 16 (03:38:33):
I don't believe it.

Speaker 39 (03:38:34):
I don't Why don't you say something?

Speaker 7 (03:38:37):
Oh he planned it very cleverly, I must admit. He
never let you know he was shipped officer City. He's
been away for some time, naturally, though he persaided you
to marry him and aheric here's true, here's the money
you see oli.

Speaker 54 (03:38:50):
This was saying a Jemmy number on the cabin door
or remove it later, put on his uniform and walk
away with his own lucker.

Speaker 9 (03:38:56):
But Captain Wayne I told us that the first officer
has come aboard.

Speaker 7 (03:38:59):
Tonight just with a bet attack of blue.

Speaker 54 (03:39:01):
Yes, our friends couldn't be seen in public until he
asked for He did post of use, but that thing
was to convince everybody were insane as he did.

Speaker 7 (03:39:10):
Then when you went over both tonight with all the leaves,
it was suicide exactly.

Speaker 54 (03:39:20):
But I began to suspect a bruister because you both
of him are coelling such an odious lie. He said
he had never traveled in a Morvania, yet he could
direct you all over the ship and even knew where
the person's office was. So he went to a seven
pounded empty s and found your ten thousand dollars.

Speaker 7 (03:39:42):
You shore good to media.

Speaker 54 (03:39:46):
Never put him this stretched, No, the weight of the
irons carried him over backwards when he lifted it, and.

Speaker 7 (03:39:56):
That was the way he was going to use to
think your body. Oh yes, so just so, I said,
one easier no, but believe you just this wave plesser.

Speaker 12 (03:40:35):
And so close as seven be thirteen, starring Margot and
Philip Dawn The Nice Tale of.

Speaker 7 (03:40:41):
Suspense m H.

Speaker 1 (03:41:03):
Quite often I come across stories that I can't fit
into weird darkness or just don't feel quite right for
the show, but I still find them interesting. Or I
write an article based on a recent Weird Darkness story.
When that happens, I put it in the Weird Darkness blog.
Sometimes it's a news story, other times it's a video.
I sometimes get inspired to write a movie review. Just

(03:41:25):
about everything I want to share that doesn't end up
in the podcast ends up in my blog. I also
post new editions of Murder Noir and Grin Reaper's Horrorrible
Humor there as I write them. I posted the blog
several times a week too, so there's always something to
come back for. Just click on blog at Weird Darkness
dot com.

Speaker 76 (03:42:04):
Do you see that black cat just ahead of you?

Speaker 4 (03:42:07):
Look out?

Speaker 76 (03:42:08):
You may cross your path with a sudden dart of
its black furry body. Now you know that old superstition
about not letting a black cat walk across your path?

Speaker 63 (03:42:21):
Do you believe it?

Speaker 7 (03:42:23):
Well?

Speaker 76 (03:42:23):
If you do, or even if you don't, perhaps you'll
be interested in hearing the strange tale of Phoenix Darnel
and the cat that screamed in the night high above
the streets of the city. It was a cold, dreary,
rain swept day when Felix Starnell first met the cat.

(03:42:44):
Felix Starnell was a construction foreman of the well Spencer
project in the lower east Side. The well Spencer building
was already thirteen stories high, and with but seven floors
more to go, the building would be one of the
mightiest and most ultra modern structures on the east Side. Now,

(03:43:05):
Felix was a tall, thin, scarecrow over man by the
muscles of his body were taught and finally strunk through
his deceiving looking frame. He was a foreman of an
older day. Indeed, he might have worked on the Pyramids
or the Colossus of Roads. But Felix Darnell was a

(03:43:26):
lonely man, with no one to share his pride. He
ate alone, lived alone, and walked alone. And on this cold, dreary,
rain swept day, he walked to his job, staring down
of the pavement. Suddenly, there before him a long, thin

(03:43:48):
black cat stalked from an alley and halted on its watches.
Felix Darnell didn't see the cat. Tillian nearly stumbled across him.
He snapped out of his reverie at cats. He hated
cats viciously. He aimed a kick it the wish. The
cat howled in pain and slunk off, miserable and wet

(03:44:09):
in the rain. When Felix reached the project, he changed
into his overalls and cap and took the lift of
the thirteenth floor. By now the rain had abated someone
As he looked at the scaffolds of the catwalks, Felix
Darnell was not happy the rain and the wetness would
slow up. The jar cursed again. Suddenly, Felix Darnell heard

(03:44:36):
a crying, moaning noise, a low, fierce sound like someone
in agony. Could someone be stuck out on the framework,
trapped on one of the catwalks. Taking a flashlight because
the daylight was dark and unnatural still, he stepped out
onto the catwalk that ran on a straight line to

(03:44:56):
what would be a southwest corner of the building. He
walked slowly and carefully along the thin iron ledge that
held his weight. The street yawned beneath him, thirteen construction
floors down, and then a dark figure, bald and indescribable,
sprang from a dim niche and shot towards Felix Darnell.

(03:45:21):
He had one awful second to see the two eyes
burning in the cat's head, the same cat that he
had kicked only an hour before. The feline body raced
between his legs on the catwalk, and with a horrible scream,
he tried to balance himself, fought for survival. His hands
clawed at the air, but put his weight thrown to

(03:45:43):
one side by the cat's movement, hung into space for
a brief instant before he fell all the way to
the street thirteen floors below. He landed on a steel beam,
waiting to behold up. And what I did to him
was something that would make even a cat turn away

(03:46:05):
in disgust. Interesting tale of revenge, isn't it? Phoenix Darnel
and his black cat who of course, it might have
been just a coincidence, but there look, we can find
out for ourselves. A black cat just crossed your path.

Speaker 8 (03:46:26):
See him go?

Speaker 76 (03:46:27):
Do you mind if I stayed with you, my friend?
I'd like to see for myself just what happens to you.

Speaker 1 (03:46:37):
Anywardos. Our next Weirdo watch party is Saturday, February first.
The adorable and funny Granny's Haunted Parlor hosts a Nancy
Drew mystery for us. It's Nancy Drew Reporter from nineteen
thirty nine. In the film, Nancy is a contest reporter
and falls into the mystery of a murder and a
woman she believes is innocent of the crime. Between film segments,

(03:47:01):
Granny herself will entertain us with jokes, commentari, skit sent
even a cartoon. It's Nancy Drew Reporter, presented by Granny's
Haunted Parlor. Join us online as we all watch the
film together on Saturday, February first at seven pm Pacific,
eight pm Mountain, nine pm Central, ten pm Eastern on
the Monster Channel page at weird Darkness dot com. The

(03:47:23):
Weirdo Watch Party is always free to watch. Just tune
in at showtime and watch the movie with me and
other Weirdo family members and even join the chat during
the film. Maybe we can figure out the mystery together
before Nancy Drew does. You can see a trailer for
the film now and watch horror hosts and b movies
for free anytime on the Monster Channel page at weird

(03:47:44):
Darkness dot com. That's Weirddarkness dot com, slash TV, and
we'll see you Saturday, February first for our Weirdo watch Party.

Speaker 61 (03:48:11):
Jim Wilson had just wrapped up a grueling business meeting.
It did not go well. He had been on the
road for over three weeks. Now trying to earn his
Salesman of the Year award and a much needed cash bonus,
Jim needed a drink, a few drinks as a matter
of fact. He rushed downstairs to the hotel lobby and

(03:48:32):
finally exhaled as he entered the lounge. Jin and Tonic,
my man, and please don't spare the alcohol, he exclaimed
to the bartender. Just as Jim took his first sip,
he felt a tap on his shoulder. Do you mind
if I join you? A sultry voice whispered in his
right ear. Jim turned around to find in front of

(03:48:55):
him an angel, dark, shapely, gorgeous, and a pair of
poudy lips that.

Speaker 55 (03:49:03):
Could not be denied. Maybe this day is not so
bad after all. Jim slowly slipped his wedding.

Speaker 63 (03:49:10):
Ring into the pocket of his pants and.

Speaker 55 (03:49:12):
Offered the woman a seat next to him.

Speaker 15 (03:49:14):
I'm Jim.

Speaker 55 (03:49:15):
What's your name?

Speaker 76 (03:49:16):
Gorgeous Angel?

Speaker 15 (03:49:18):
She replied?

Speaker 55 (03:49:20):
How perfect is this?

Speaker 61 (03:49:21):
Jim thuffed to himself. Angel looked sad. Jim kept chugging
down his Gin and Tonics as if they were water.
Angel began to tell him of her brother who lives
in her native country of Colombia. He is in the
hospital and has been waiting for a kidney transplant for
six months now, but to no avail. As a tear

(03:49:42):
rolled down the side of her face, she turned to
Jim and said he only has a week to live.
Just as Jim sipped his twelfth drink, Angel asked, would
you like to take a bath together? Jim shocked, paused
for a quick second. N He said, with the silly
grin on his face, well, I'd be delighted to excited,

(03:50:06):
Jim slammed down the rest of his drink and the
two rushed up to his room, getting in the bathtubs.
The last thing Jim remembered before waking up early the
next morning. He was still in the bathtub, his body
completely submerged in ice from the neck down, felt completely numb.
A phone was placed next to him on.

Speaker 7 (03:50:27):
Top of the ice.

Speaker 61 (03:50:28):
As he looked up, he saw a big note with
the following instructions written lipstick, do not move, Call nine
one for an ambulance now. Jim, who could not move
anything but his hands, knocked over the phone handset, pressed
a speakerphone button and immediately dialed nine to one one

(03:50:49):
an ambulance arrived within minutes. The medics carefully pulled Jim
out of the bathtub and gasped in horror. Have you
recently had a surgery, mister Wilson. The medic ass no,
replied Jim, why do you ask? The medic reached behind
Jim and pulled a tube which was protruding from his

(03:51:10):
lower back. As they turned Jim around, the medics' faces
were as white as the wall behind them. The scene
was bloody. One of the medics, and shocking disbelief, fell
to the floor and passed out. Jim's back had been
cut wide open. The other medic, barely holding onto consciousness,

(03:51:30):
said in a faint voice, mister Wilson, your kidneys are gone.

Speaker 1 (03:51:45):
One way you can support what I do is by
shopping in the Weird Darkness Store. You can find Weird
Darkness t shirts, trucker caps and dad hats, school supplies,
kids' clothes, coffee mugs, and more, with dozens of designs
to choose from and a variety of colors to match
your style. Grab some weirdo merchandise for yourself, or maybe
as a gift for the weirdo in your life. By

(03:52:06):
clicking on store at Weird Darkness dot com. That's Weird
Darkness dot com. Slash store.

Speaker 70 (03:52:43):
No, no, lady alone the nice.

Speaker 49 (03:52:49):
Don't how this?

Speaker 70 (03:52:52):
No no, it's doing me live au boy, no one,
no one.

Speaker 27 (03:53:05):
You sear five presents, Cry in the night.

Speaker 13 (03:53:30):
Maco.

Speaker 22 (03:53:31):
You have got to speak to the landlord. I think
we should get a new refrigerator. Yes, Bessie, nineteen years,
the first thing Monday morning.

Speaker 2 (03:53:42):
Yet it still runs good?

Speaker 10 (03:53:44):
Yeah?

Speaker 51 (03:53:45):
For how long?

Speaker 22 (03:53:46):
And it's old fashioned?

Speaker 32 (03:53:48):
Nineteen years?

Speaker 2 (03:53:50):
We are entitled to a new one. You speak to.

Speaker 12 (03:53:53):
Morrison speak Why should I?

Speaker 4 (03:53:56):
Morrison has enough troubles.

Speaker 12 (03:53:58):
We have no trouble.

Speaker 9 (03:54:00):
They're good tenants, too good.

Speaker 22 (03:54:03):
You tell Morrison either he gives us a new refrigerator
or we move out.

Speaker 12 (03:54:07):
He won't give, and we won't move With rent control,
he can't give, and I can't from my store store.

Speaker 22 (03:54:17):
You support it, it don't support you.

Speaker 12 (03:54:20):
Twenty seven years. We've never starved. It's made a living.

Speaker 22 (03:54:26):
Not starving. Isn't living ato Two things First, the refrigerator,
and I've want a new one like my brother Kyle
got with his kitchen. Second, we got to move out
of this neighborhood.

Speaker 21 (03:54:41):
Please hand me.

Speaker 2 (03:54:42):
My hair brush here.

Speaker 48 (03:54:45):
Yeah, Bessie, you're talking nonsense. If you get the refrigerator,
why do you want to get out of the neighborhood.
And if you're moving out of the neighborhood, which you ain't,
why bother Morrison because your brother Karl as a new refrigerator.

Speaker 22 (03:55:01):
Don't be smart Alec about my brother Atoll. Let me
tell you this neighborhood it's not fit anymore. Twenty five
years ago it was different. Now I'm telling you deterioration
has set in. New people are moving in every day.

Speaker 14 (03:55:20):
New people.

Speaker 6 (03:55:21):
People love people.

Speaker 22 (03:55:23):
I don't recognize a face no more new people.

Speaker 48 (03:55:27):
Thus I meet them in the store, Bessie, And I
tell you the only difference between the new people and
the old people if their names sound different. All they
want is to live nice, bring up their children the
best they can chifn Yeah.

Speaker 22 (03:55:45):
Let them bring up their children here. But I ain't
going to let Ka stay. A girl who is going
on twenty don't belong in this crumby neighborhood just because
her papa ain't got gamption to pick himself up on. Bessie,
patn't let me tell you this isn't the only weekend
that Eric is going to spend at my brother Carls
in Forest Hills every weekend.

Speaker 2 (03:56:07):
From now on, she will be away.

Speaker 14 (03:56:10):
I'll never see her my daughter.

Speaker 22 (03:56:12):
Yeah, when she brings home a nice fellow from Forest.

Speaker 12 (03:56:15):
Hills, you will see her.

Speaker 22 (03:56:17):
But ain't around it that Gloria Paluchi. Everything that Pollucchi
girl does. Erica thinks he is so smart. Last week
she bought a dress like Glorious, so tight around here
and here that she could hardly breathe with the coat,
the hat, the shoes. Now she wants to blonde her

(03:56:39):
hair like Gloria Atto. My daughter is not going to
look like Alessie.

Speaker 13 (03:56:45):
Don't say what you don't know.

Speaker 22 (03:56:46):
All the women all tell me that Glorious women.

Speaker 48 (03:56:49):
Are jealous because they all look like beer barrels with hair.

Speaker 22 (03:56:54):
She talks to free that one, this grace to the neighborhood,
coming home every night with a different.

Speaker 14 (03:57:00):
And how do you know who she comes home with?

Speaker 22 (03:57:04):
Don't worry, I know, and don't think I don't know
how she hangs around your store.

Speaker 12 (03:57:09):
At though I got a few friends too.

Speaker 14 (03:57:13):
A lonely girl, Gloria lonely.

Speaker 22 (03:57:18):
As far as I am concerned, she can stay lonely.
If Erica copycats or anymore, I am going to send
it to my sister in Buffalo.

Speaker 14 (03:57:26):
Listen, did you hear here here?

Speaker 2 (03:57:30):
What Bessie? You heard that? Neighborhood?

Speaker 10 (03:57:36):
How did I tell you?

Speaker 2 (03:57:37):
Every day it gets worse? Now?

Speaker 22 (03:57:39):
Maybe you will believe me and get us out of here.

Speaker 6 (03:57:43):
You think it's nice for me to sit here and
listen to such terrible goings on, Bessie?

Speaker 12 (03:57:48):
Shouldn't we do something about it?

Speaker 22 (03:57:51):
Why they bring these things on themselves?

Speaker 16 (03:57:54):
The new people?

Speaker 2 (03:57:56):
Let them deal with it.

Speaker 14 (03:57:57):
I don't understand.

Speaker 12 (03:57:58):
How do you know that this howering and shrieking colors
from the new people and not from the old people?

Speaker 22 (03:58:04):
Atto use your head.

Speaker 2 (03:58:06):
That's what I'm using.

Speaker 14 (03:58:08):
And it makes no sense, of course.

Speaker 10 (03:58:10):
It does explain.

Speaker 14 (03:58:12):
How do you know it is new people?

Speaker 22 (03:58:16):
There was never any trouble like this in the old days.

Speaker 6 (03:58:21):
Poor girl busy, she needs help and you are going
to give.

Speaker 75 (03:58:25):
It to her.

Speaker 22 (03:58:27):
Auto shrader galloping on his horse down Dellwood Avenue to
rescue the maiden.

Speaker 7 (03:58:33):
How can you joke?

Speaker 22 (03:58:34):
And how can you be so ridiculous?

Speaker 10 (03:58:36):
But I must do something.

Speaker 23 (03:58:37):
Sure, I tell you what to do.

Speaker 22 (03:58:39):
Mind your own business and go to bed, Bessie, don't
get involved. Oh, go on, go have a bite in
the kitchen.

Speaker 2 (03:58:48):
I don't know if I feel like it tonight.

Speaker 22 (03:58:49):
I left the chicken legs for you, all right, I'll eat, eat,
and don't leave me a mess. Yes, Bessie, I forgot
to wind up the clock.

Speaker 14 (03:59:02):
I'll wind up the clock.

Speaker 68 (03:59:03):
Double boat the door.

Speaker 14 (03:59:05):
I'll double both the door.

Speaker 22 (03:59:08):
Put the garbage first.

Speaker 2 (03:59:11):
I put out the garbage. You wound the kitchen, wanner.

Speaker 14 (03:59:25):
Yeah, have you heard that, girl?

Speaker 2 (03:59:29):
I haven't been listening. I've been reading.

Speaker 4 (03:59:32):
The police came an ambulance. Maybe I couldn't hear in
the back.

Speaker 12 (03:59:36):
I told you I was reading.

Speaker 4 (03:59:40):
MM and I put out the light.

Speaker 16 (03:59:43):
Yeah, okay, I am beat.

Speaker 14 (03:59:47):
Good night.

Speaker 10 (03:59:49):
Yeah.

Speaker 2 (03:59:50):
If you snow, I will give you a shot when
you shut up.

Speaker 14 (03:59:54):
If I sleep, why shouldn't you sleep?

Speaker 2 (04:00:00):
I'm worried about that streaming.

Speaker 22 (04:00:03):
Better, worry about your own family.

Speaker 2 (04:00:07):
And her speak tomorrows Monday morning.

Speaker 15 (04:00:13):
Maybe I can make it to you.

Speaker 2 (04:00:15):
I'll get you a repreach bright Now, Bessie, how can
you sleep?

Speaker 22 (04:00:24):
I can't sleep another human being of all is full
of human beings.

Speaker 48 (04:00:29):
Well, I can't sleep when I know someone is suffering
and is being.

Speaker 5 (04:00:32):
Hurt, So never sleep.

Speaker 22 (04:00:34):
All over the world, every minute, every day, people are suffering.

Speaker 14 (04:00:39):
I know it hurts me.

Speaker 48 (04:00:41):
And this is in Brooklyn, this is here, this is
right outside my bedroom window. I listen to the screaming
that I listened to you what you say, and I
and I close my ears, I close my eyes, I
close my heart.

Speaker 14 (04:00:58):
It's not right.

Speaker 6 (04:01:00):
So you are getting yourself overped up.

Speaker 21 (04:01:03):
It isn't good for you.

Speaker 6 (04:01:05):
I tell you, Bessie, it's not in me to lie
here and not look.

Speaker 22 (04:01:09):
You are keeping me awake with your noble park You
want to look, get one good look, and then come
back to bed.

Speaker 7 (04:01:16):
Yeah, well I think I will now look with your
eyes open.

Speaker 22 (04:01:20):
See what kind of a neighborhood you make your family
live in.

Speaker 68 (04:01:23):
And thank Heaven, you've got a brother in.

Speaker 22 (04:01:25):
Law rich enough to live in Forest Hills, So Erica
don't have to be here tonight to listen.

Speaker 21 (04:01:30):
To such frightfulness.

Speaker 22 (04:01:32):
To go ahead, pull on the blind.

Speaker 48 (04:01:36):
Yes, I can't see very good, Bessie, not out in
the street. But the whole neighborhood is up across the street.
The Ryans are looking out the window.

Speaker 22 (04:01:46):
Where are they're looking?

Speaker 19 (04:01:47):
Like?

Speaker 7 (04:01:48):
I'm felt?

Speaker 48 (04:01:48):
But Paddy and Margaret are both watching something and the
corner of the curtain the miller's is pulled back.

Speaker 2 (04:01:55):
I think it's the old lady.

Speaker 48 (04:01:56):
There's all the blinds pulled into tailors and those new people.

Speaker 14 (04:02:00):
But I think the name is Ritchie.

Speaker 32 (04:02:01):
But you can't see nothing.

Speaker 8 (04:02:02):
No, no ah, yes, yes, I can now, I can't what.

Speaker 48 (04:02:07):
Just over in the shadows near their private house, right
down the corner, there's a girl fighting a man.

Speaker 32 (04:02:13):
How do you know that?

Speaker 48 (04:02:14):
I can't see that good. Just the two figures struggling.
Looks like there's something in the man's hands. I can
see by the streetlight when he turns and night by bed.

Speaker 22 (04:02:23):
They don't stop at anything in this neighborhood.

Speaker 48 (04:02:25):
The girl, the girl is kicking and scratching and biting
beasie she goes. She's getting away, coming towards here again.
That's catching up with her now right under the street.

Speaker 16 (04:02:35):
And I think I know who it is.

Speaker 14 (04:02:38):
No, no, no, the girl the blonde hair.

Speaker 48 (04:02:40):
Sometimes it's caught in the street light.

Speaker 14 (04:02:42):
Yeah, yeah, it must be.

Speaker 22 (04:02:44):
It is.

Speaker 48 (04:02:45):
It's Gloria Panacci. I can't see her no more, but

(04:03:06):
that blonde here, it could only be Gloria Paluci, Bessie Ato,
what are you doing?

Speaker 15 (04:03:12):
I look like I'm doing.

Speaker 2 (04:03:13):
I'm getting dressed.

Speaker 22 (04:03:14):
You are going up there?

Speaker 6 (04:03:16):
No, I'm getting dressed to get a drink of water.

Speaker 5 (04:03:18):
In the bathroom.

Speaker 10 (04:03:20):
What do you see?

Speaker 2 (04:03:21):
Don't be ridiculous, Auto.

Speaker 21 (04:03:23):
You are looking for trouble.

Speaker 22 (04:03:24):
That man out there, who knows who he is? You
say he has a knife. You are going to challenge him.

Speaker 14 (04:03:30):
The girl's being hurt, perhaps killed.

Speaker 22 (04:03:32):
I read in the paper about another but in ski,
like you, he stopped the fight. Atto, and you know what,
he landed in jail because he hurt the man on
the best cohost? But be smart, don't get involved?

Speaker 14 (04:03:44):
Can I not get involved?

Speaker 22 (04:03:46):
But why involve your family?

Speaker 6 (04:03:48):
Did I say anything about my family?

Speaker 10 (04:03:51):
Ato?

Speaker 22 (04:03:52):
How can you not involve your family?

Speaker 2 (04:03:54):
You get hurt? Who takes care of you?

Speaker 36 (04:03:56):
The Red Cross?

Speaker 7 (04:03:57):
No?

Speaker 6 (04:03:58):
I do?

Speaker 16 (04:03:58):
Who else?

Speaker 12 (04:03:59):
It's Rya Paluchi.

Speaker 22 (04:04:01):
It's your wife, not your daughter, and she's not your business.
Nobody asked Glaia Koluci to move into this neighborhood. We
are better off before she came and will be better
off when she goes. She's no relative of ours.

Speaker 12 (04:04:13):
You go to church on Sunday, Bessie you hear the
minister say all God's children, Well, we are God's children
on Saturday night as well as on Sunday morning at least,
I'm going to.

Speaker 22 (04:04:25):
Call the police over my then, buddy, you know what
happens when you call the police questions.

Speaker 13 (04:04:30):
What's of questioning us?

Speaker 2 (04:04:31):
Nothing to hide?

Speaker 14 (04:04:32):
I just want to help that world.

Speaker 22 (04:04:34):
Oh sure, miss the hero. They will ask your name
and you will tell them.

Speaker 6 (04:04:39):
They'll ask you the girl's name, and you tell them
what's wrong with that?

Speaker 12 (04:04:43):
How do you know the girl's name a stranger?

Speaker 13 (04:04:45):
I say, she's my daughter's friend.

Speaker 10 (04:04:47):
Bessie, Please now out of my way.

Speaker 22 (04:04:49):
I thought some father you let your daughter's name get
into the papers with a girl like that. Bessie, you
will do no such thing. And don't think you can
say sees your friend either. The women have already told
me how she makes up to you in the store
like you weren't twice her age and a respectable married man.

Speaker 55 (04:05:08):
Laurior is a good girl.

Speaker 12 (04:05:09):
Maybe she talks wild, but what is talk? Should she
be killed for talk?

Speaker 2 (04:05:13):
How do you know she's good?

Speaker 10 (04:05:16):
A talk?

Speaker 16 (04:05:16):
Or stop?

Speaker 7 (04:05:16):
If I can get out of my mind talk.

Speaker 22 (04:05:19):
You told me the whole block is up, let them
call the police. Maybe somebody did already, old lady Miller,
let her be the busy body.

Speaker 14 (04:05:27):
But maybe they haven't.

Speaker 48 (04:05:28):
Maybe anybody is saying like you, don't get involved, And
all the while the girl is fighting off a wild
man with maybe a knife. Percy, don't you have any
feeling for humanity?

Speaker 3 (04:05:38):
Sure?

Speaker 22 (04:05:38):
I have for my humanity. You with your ideas and
your feelings and your high faluting sentiments. Where hasn't got
a mild pat a shabby little store in a crammy
old neighborhood that you can die in?

Speaker 9 (04:05:53):
At all?

Speaker 22 (04:05:54):
Do you know what it means if you call the police,
hours of questioning who, what.

Speaker 77 (04:06:01):
Where where?

Speaker 22 (04:06:02):
Not only now, not only now, but later in court
and sometimes there's a second and a third trial. And
sometimes it might be a gangster involved. And they don't
like you so good that you testify against them, but
they could do to your store.

Speaker 48 (04:06:18):
Can you weigh these petty things against a human life?

Speaker 22 (04:06:22):
These petty things ain't so petty to me? Who takes
care of the store while you are in court at
the police station.

Speaker 12 (04:06:30):
Court thrown in the East River?

Speaker 7 (04:06:32):
Me?

Speaker 22 (04:06:33):
Yes, yes, yes, me, mister ideal. Least you are not
volunteering yourself. You are volunteering me. You you think you
have a great concern for humanity, Well what you have
is no concern for your own family.

Speaker 14 (04:06:53):
I'm going to call the police.

Speaker 10 (04:06:54):
I warn you, help me.

Speaker 22 (04:07:03):
If you dial again, I would pull the wire from
the wall.

Speaker 6 (04:07:09):
You are hurting me, hurting me for that girl off Busy.

Speaker 16 (04:07:15):
Don't think I don't know if it was me.

Speaker 22 (04:07:19):
You wouldn't raise a finger just because he's a flosy
with our shots cuts go side her and her blouse.

Speaker 16 (04:07:29):
Cut all of it down there.

Speaker 12 (04:07:32):
You are just like all the other men.

Speaker 16 (04:07:36):
That's all you care about.

Speaker 22 (04:07:39):
Coming home every night with a different man and with hell.
She's not getting anything she didn't.

Speaker 4 (04:07:46):
Ask for the last time, Busy, the end of the whone.

Speaker 70 (04:07:51):
No, no, I'm well.

Speaker 13 (04:07:55):
Fighting with her own wife.

Speaker 2 (04:07:58):
How can you be selfish with me and mine and mine?

Speaker 12 (04:08:01):
The world will come to nobody in fine boards.

Speaker 22 (04:08:04):
Don't make a living, take care of your own and
let everybody else take care of your own.

Speaker 16 (04:08:12):
Otto the telephone.

Speaker 14 (04:08:16):
There, you've done it me, But what are you blaming
me for?

Speaker 21 (04:08:22):
Now?

Speaker 48 (04:08:23):
Pull the telephone while you must have made a short circuit.

Speaker 22 (04:08:26):
Nobody asked you to grab the telephone, but maybe it's
for us. Take your hands off and I will answering.

Speaker 14 (04:08:33):
Nobody calls us in the middle of a Saturday night.

Speaker 12 (04:08:37):
Ah, yeah, yeah, okay, mister Smarty.

Speaker 22 (04:08:43):
Now we'll never know who it was.

Speaker 2 (04:08:45):
It was nobody, You just made a short circuit.

Speaker 25 (04:08:48):
Ah, although I know who it was with Erica.

Speaker 22 (04:08:52):
Maybe she made a nice rich fellow at her uncle Carl's.
So she called to tell her Mama and Papa.

Speaker 10 (04:09:00):
Fatto.

Speaker 6 (04:09:01):
This time answer sure, answer a short sir.

Speaker 48 (04:09:06):
Oh hello, Hello, Bessie is still but hello, Hello, it's Carl.

Speaker 13 (04:09:13):
What's the matter with you people? You don't answer your telephone?

Speaker 14 (04:09:16):
We were a Carl and then stop ringing.

Speaker 2 (04:09:20):
Let me talk to her car.

Speaker 14 (04:09:21):
Your sister wants to talk to you.

Speaker 22 (04:09:24):
Hello, Hello, Carl.

Speaker 9 (04:09:26):
How come you were calling so late?

Speaker 13 (04:09:29):
I was expecting a call from your Bessie.

Speaker 2 (04:09:31):
From me call.

Speaker 22 (04:09:33):
I didn't promise, of course, you didn't promise, Erica, did Erica?

Speaker 13 (04:09:38):
Yeah?

Speaker 10 (04:09:38):
Sure, Erica.

Speaker 22 (04:09:39):
You know I gave her a little present when she
came here at President not very much, ten or fifteen bucks.

Speaker 11 (04:09:46):
I'll call.

Speaker 2 (04:09:47):
You're very nice to your niece.

Speaker 10 (04:09:49):
Atto.

Speaker 9 (04:09:50):
My brother gave Erica fifteen.

Speaker 13 (04:09:51):
But the next thing I know. She tells her among
me that she changed her mind. She don't want to
stay with us this weekend.

Speaker 22 (04:09:57):
I apologize for Erica called, she should be nicer to you.

Speaker 13 (04:10:01):
And no, that's not what I mean.

Speaker 6 (04:10:03):
I mean.

Speaker 22 (04:10:04):
She said she was going home, home, home, then Eric's
coming home.

Speaker 13 (04:10:14):
She left about nine. I said, call here when you
get home, so right away she forgets.

Speaker 2 (04:10:19):
No, call, No, she's not here.

Speaker 22 (04:10:22):
She didn't come in.

Speaker 9 (04:10:24):
Are you sure?

Speaker 22 (04:10:25):
She said she was coming home.

Speaker 13 (04:10:30):
Straight home, not street home. She said she was going
to uh An all night, the beauty father.

Speaker 16 (04:10:36):
First beauty Paula.

Speaker 4 (04:10:39):
How not fair.

Speaker 13 (04:10:41):
She was going to use my present to surprise you, Betsy.

Speaker 9 (04:10:45):
Surprise.

Speaker 2 (04:10:46):
What kind of a surprise, you don't know?

Speaker 12 (04:10:48):
Call.

Speaker 22 (04:10:49):
I don't know anything except.

Speaker 29 (04:10:51):
Erica ain't here here, edik, I ain't here.

Speaker 13 (04:10:54):
Funny. She said she'd be home around midnight.

Speaker 22 (04:10:56):
She was going to this beauty Paula in Manhattan that
keeps off all night, a beauty.

Speaker 2 (04:11:02):
Paula on a Saturday night.

Speaker 25 (04:11:04):
Bye call bye.

Speaker 13 (04:11:06):
Was going to have the color of her hair changed
to blonde.

Speaker 9 (04:11:09):
Oh my god, no, call no, not bonde, not boy.

Speaker 13 (04:11:18):
She's a smart girl. She knows that the really Yemen
guys go for blonde.

Speaker 16 (04:11:25):
There's the door.

Speaker 24 (04:11:27):
Go let Edica coming coming, messy Bessie, it says Gloria Baluchi.

Speaker 12 (04:11:38):
She's all right, she's all right.

Speaker 22 (04:11:41):
Oh, mister Schroder, Missus Schroeder.

Speaker 2 (04:11:44):
Something terrible.

Speaker 22 (04:11:45):
It's happened to your Erica, something terrible.

Speaker 2 (04:11:49):
Yes, I know, Oh, dear, No, I know.

Speaker 7 (04:11:57):
I loved here.

Speaker 49 (04:12:02):
Hi, No, I know, I know.

Speaker 78 (04:12:16):
Visit Theater five has presented Cry in the Night, written
by Raphael David Blau and directed by Ted Bell. In
the cast Vicky Vola, Louis van Rupe, Marilyn Moore, and

(04:12:37):
Ben Yeffie, Audio engineer Neil Poets, sound technician and Blainey
script editor Jacksie Wilson. Original music by Alexander VLAs Dotsenko
Orchestra under the direction of Glennas. This is Deputy will
As FM ninety four point seven Megacycles in Chicago.

Speaker 1 (04:12:57):
If you like what you're hearing in the podcast, use
the share option. I'm a device you're listening from to
let others know about the show or this episode. Spreading
the word to others who liked the paranormal or strange stories,
true crime, monsters, or unsolved mysteries like you do helps
to keep the show growing, and it's the best way
that you can support what I do. Thank you for

(04:13:18):
sharing and helping to spread the weird darkness.

Speaker 4 (04:13:33):
I was alone in a room one hundred thousand miles
from My body lay dead before me, and yet I
spoke and felt and lived.

Speaker 2 (04:13:48):
Behind me, lay a tortured world before me, the moon
and destiny.

Speaker 10 (04:13:56):
Again.

Speaker 6 (04:13:56):
I felt a surge of power, and had I been
able to, I would have smiled. My mission was accomplished.
No one knew, no one understood. If they had, they
would not believe. This was a project three thousand years old.

(04:14:18):
Yet no one had guessed.

Speaker 13 (04:14:21):
No one.

Speaker 2 (04:14:23):
Listen now to two thousand plus.

Speaker 4 (04:14:36):
Oh Love plus.

Speaker 12 (04:14:46):
Adventures into the World of Tomorrow science fiction stories from
the years beyond two thousand a d. Today a story
entitled Flying Saucers. It is the year of twenty plus twelve.

(04:15:16):
A blazing New Mexico sun shines down upon a great
military installation, upon a vast noisy field, and upon a
silvery shape which seems to strain forward, ready to leap
up into space. In an executive office, a man sits
in his chair, his eyes on the great broncket behind him,
the girl waits for him to speak.

Speaker 7 (04:15:38):
Let it close.

Speaker 6 (04:15:38):
That window ilean eyes won't let a man think yes, ah.

Speaker 2 (04:15:48):
That's better.

Speaker 9 (04:15:50):
I'm ready, Doctor Bronson.

Speaker 6 (04:15:52):
Get this on tape as well as in shorthand. It's
for the permanent POWs in Washington. It's got to go
out in the next jet.

Speaker 10 (04:15:59):
I give you were.

Speaker 2 (04:16:00):
Signed chet stationary, send it off to make the five
o'clock connection. You got that, Yes, recorder ran the letter
to be transcribed over your signature and sent off on
the five o'clock connecting plane. Right heading top secret.

Speaker 6 (04:16:17):
Two National Scientific Council copies to Joint Chies as Staff
Secretary Defense, the President Frum Andrew Bronson. Forget the usual
string of title selling Chief Department of Extraterrestrial Research White Sands,
New Mexico, regarding defense measures against aial visitors listed in

(04:16:44):
file AA two eighty six as Flying Saucers.

Speaker 13 (04:16:50):
One.

Speaker 6 (04:16:51):
In the past three months, this secret experimental installation has
been visited by Flying Sauces. First appair coincided with the
launching of our secret flying missile Zeus the.

Speaker 2 (04:17:05):
Tales in reports CB two eight six, A, B and
C two.

Speaker 6 (04:17:12):
Although the Flying Sources have never landed the frequency of
their visits has tripled since the launching, has reported in
the files cited. ZEUS is not yet returned.

Speaker 2 (04:17:27):
Three.

Speaker 6 (04:17:28):
In view of the importance to national security of this
secret installation and its experiments, the reports already mentioned were
reviewed by JCS and the National Scientific Council. It was
decided that the Flying Sources were a potential menace and
that countermeasures be undertaken.

Speaker 2 (04:17:52):
Form ZEUS two.

Speaker 6 (04:17:56):
An improved model of our secret flying missile has been
completed and armed. It is equipped with mass attraction and
proximity fuse devices. Warhead contains five thousand pounds hexinite firing
control automatic see file CB three four four.

Speaker 2 (04:18:19):
Five.

Speaker 6 (04:18:20):
The station has been placed in condition alert. Next visit
from the Flying Sources is expected momentarily.

Speaker 4 (04:18:29):
View of the foregoing we are in complete readiness.

Speaker 2 (04:18:34):
We will attack, repeat, we will attack.

Speaker 19 (04:18:42):
Now.

Speaker 7 (04:18:42):
Where's my pen?

Speaker 32 (04:18:43):
Andrew?

Speaker 2 (04:18:44):
This one doesn't work.

Speaker 16 (04:18:46):
I'll get it.

Speaker 2 (04:18:46):
I saw your pen in your vest. Don't touch that vest.
I get it myself.

Speaker 9 (04:18:52):
Did I do something wrong?

Speaker 7 (04:18:54):
No?

Speaker 2 (04:18:54):
No, no, there, Well you might have been heard heard
you have mine here? You are my signature.

Speaker 16 (04:19:06):
No on your way, Andrew?

Speaker 2 (04:19:08):
Why can't I stay? You know the orders?

Speaker 4 (04:19:11):
Aileen we're going to test zeus too. You know, anything
can happen. Maybe the flying sauces will come back.

Speaker 2 (04:19:18):
If they do, we'll be ready for them.

Speaker 6 (04:19:21):
Besides, if the rudders should go wrong with the hex
and I detonate, no no, no, on your way now.
The jet cars waiting downstairs.

Speaker 2 (04:19:31):
Very well.

Speaker 9 (04:19:32):
But you will be careful, won't you?

Speaker 7 (04:19:35):
Of course?

Speaker 12 (04:19:37):
Eileen, Yes, I've never told you. Never mind. O, my dear, O,
my darling.

Speaker 6 (04:20:11):
Doctor Bronson's a security come in security.

Speaker 7 (04:20:14):
Security.

Speaker 6 (04:20:15):
Has Miss Harkness phoned in? Sir, Well, that's funny. I
expected to too, after sending off the latest reports. She
should be home now, are you sure?

Speaker 13 (04:20:23):
Yes, sir?

Speaker 6 (04:20:24):
Something must have happened to us Sunday security officer to
check what about to set up for the new test already, sir? Oh,
that's good. I hope nothing happens any report of flying sauces, No, sir.

Speaker 13 (04:20:33):
Not yet.

Speaker 6 (04:20:34):
But sir, there's something funny about that.

Speaker 51 (04:20:36):
Every time we get ready for a test, even.

Speaker 4 (04:20:38):
One of the minor missiles, one of the saucers appears.

Speaker 2 (04:20:42):
That's too much of a coincidence for.

Speaker 7 (04:20:43):
Comfort, sir, Yes, I thought of that too.

Speaker 4 (04:20:45):
You think there's a leak somewhere.

Speaker 12 (04:20:47):
Yes, we've checked and rechecked nothing, but there's no doubt
that someone's passing on.

Speaker 2 (04:20:51):
Information I see.

Speaker 6 (04:20:53):
Of course, we'll keep on checking whoever is responsible.

Speaker 77 (04:20:55):
Maga Bronson rad out control to doctor Bronson.

Speaker 2 (04:20:58):
Bronson here, what is it?

Speaker 6 (04:20:59):
Flanks?

Speaker 77 (04:21:00):
He also detected and registered computation center fed data data
follows distance for eighty six miles hight fifty point two miles,
speed five miles per second. Estimated time of arrival at
contact point one minute fifty eight seconds.

Speaker 2 (04:21:17):
From now one fifty eight right? Uh let fire control fire.

Speaker 77 (04:21:21):
Control alerted term.

Speaker 6 (04:21:23):
When may we expect you in thirty seconds?

Speaker 2 (04:21:25):
Over and off? Are you still on security?

Speaker 7 (04:21:27):
I cer crail the field field already.

Speaker 77 (04:21:29):
Clear of just an emergency rent signal.

Speaker 2 (04:21:31):
We're waiting in control, Sir, very well. I'm coming down
right now, over and off. Let me have my headset

(04:21:58):
in hand.

Speaker 12 (04:21:58):
Mark's cutting, Yes, thank you, Bronson the park control fire
controlled Bronson.

Speaker 2 (04:22:05):
Everything ready here, Chief Dolly's.

Speaker 6 (04:22:07):
Cleared from Zeus to warhead armed, Well done, runs in
the computation a mutation. Your figures checked through cybernetics, Yes, sir, as.

Speaker 77 (04:22:14):
Reported, Zeus too should destroy flying saucers six seconds after
blast off. Firing time twenty two hundred thirty three.

Speaker 15 (04:22:22):
Hours, thirty six seconds.

Speaker 6 (04:22:23):
Time check everyone. Time is now thirty two seconds to
blast off. Condition red. I shall operate fire control remote
strap in for firing security security.

Speaker 12 (04:22:36):
I report field clear guards a larder than shielded anti
radiation of warhead armed zoo's two ready any further hands seconds.

Speaker 6 (04:22:45):
Nine eight seven six. I've forn three two one fire.

(04:23:09):
Get a bearing on that trajectory competition.

Speaker 49 (04:23:11):
Trajectory established and being pennymag.

Speaker 77 (04:23:15):
Trajectory corrector paramatic saumary factors. Receiving contact twenty two thirty
three point two.

Speaker 6 (04:23:31):
Good work everyone, Security condition rained.

Speaker 7 (04:23:37):
Oh boys, I'll.

Speaker 6 (04:23:38):
Wait till someone phones in where the pieces fell. Then
maybe we'll be finally knowing what the flying sauces are. Yes,

(04:24:04):
Scotty a security located Alan Harkness, No, sir.

Speaker 7 (04:24:07):
Not yet. Cat McDonald's here, sir. Here's a man with him.

Speaker 2 (04:24:10):
Say you should see him immediately, my lord, I bring
him in.

Speaker 7 (04:24:19):
Yes, McDonald thought you'd like to hear this, sir. This
is Al Waters, the rancher from upstate. He flew down
from his ranch this morning, reported to the state police.

Speaker 2 (04:24:28):
They sent him to us the saucer. Yes, where is it,
mister Waters? The wreck? Right? I didn't see no wrecked?
What did you see?

Speaker 12 (04:24:35):
I've seen a flying saucer come down about half a
mile from my ranch house. Sorry this morning when I
was going after lost care He swears, the sausage on damaged.

Speaker 2 (04:24:43):
Doctor Bronson, huh, well it may not be the one
we you flew down, mister Water. Yeah, got my own jetplane.
Well can you take me up with you to your ranch?
I mean sure, care glad, all right, we'll leave immediately.

Speaker 6 (04:24:56):
A scotty you round up the crew everyone, have them
load everything we need on the transport.

Speaker 4 (04:24:59):
The big job one? Can I expect you give us
two hours here? All right now, mister Waters, let's get
your ranch.

Speaker 12 (04:25:19):
There's the fly exhausted dog where you see them two
peaks and that platform between them?

Speaker 10 (04:25:25):
You see it?

Speaker 22 (04:25:25):
That?

Speaker 2 (04:25:26):
Now the sun's hit it.

Speaker 79 (04:25:27):
It is on damaged.

Speaker 2 (04:25:30):
I'm putting her down. Did you see any signs of life?

Speaker 14 (04:25:32):
Anything moving?

Speaker 78 (04:25:33):
No?

Speaker 2 (04:25:34):
Of course I didn't get too close. Ized might Larry
is the thing? I understand. It's just as well you didn't.
He Hey wait does he stop? Rolling?

Speaker 7 (04:25:42):
Doggy?

Speaker 12 (04:25:43):
Sure?

Speaker 2 (04:25:43):
Are excited?

Speaker 6 (04:25:44):
Time afraid so even scientists get excited sometimes.

Speaker 4 (04:25:51):
Yeah, sure is big anci, Yes, must be about three
hundred feet in diameter as an ally.

Speaker 2 (04:26:00):
Hey, you're going in?

Speaker 54 (04:26:02):
Was that round door open when you don't know?

Speaker 2 (04:26:05):
Don't remember if you're going in, doc, I'm going with you. Wow,
Thank you'll be safe if there's two of us.

Speaker 6 (04:26:11):
You got a gun?

Speaker 2 (04:26:13):
No, I'm glad I got mine.

Speaker 12 (04:26:14):
Then never can tell what you'll bump into. Don't you
think you ought to wait for the rest of your game?

Speaker 2 (04:26:20):
I can't. I've got to see what's in there. Okay,
want your head right.

Speaker 7 (04:26:28):
In.

Speaker 2 (04:26:29):
The door is still closed. Let's hope alone it.

Speaker 13 (04:26:33):
Not well?

Speaker 2 (04:26:38):
Look at that Sure looks complicated, don't it. This must
be the control room.

Speaker 6 (04:26:43):
I can't wait to when hint that another door over there?

Speaker 2 (04:26:47):
Yes, you better stay here. Don't touch anything. I'll see
if there's anyone's still a boy?

Speaker 54 (04:26:51):
Okay, do keep your eyes open.

Speaker 4 (04:26:57):
A larger room. This must be the cruise quarters. There's
no one here, that's.

Speaker 2 (04:27:06):
What's that. I'll get it for a second and I'll
take a.

Speaker 7 (04:27:11):
Look through it. I mean, I mean, wake up, wake up.

Speaker 2 (04:27:18):
I'm conscious. Aileen still unconscious? How did she get here?
I've got to get doctor.

Speaker 4 (04:27:28):
What what are you doing in that control board?

Speaker 12 (04:27:33):
If you look through the porthole, Doctor Bronson, you'll notice
that we're miles up. It's still accelerating. We would have
been higher if I hadn't to take such care with.

Speaker 2 (04:27:43):
My take off? What is you crazy? Who are you?
Are you taking me us? You were right when you
guess that this is not the saucer you destroyed. It isn't.
You were wrong when you said there was no crew
on board.

Speaker 15 (04:28:01):
There is.

Speaker 2 (04:28:03):
You see I am the crew.

Speaker 12 (04:28:19):
You should consider yourself very fortunate, doctor Bronson. It's not
everyone who can view the Earth from a distance of
one hundred thousand miles.

Speaker 2 (04:28:28):
You can put that gun away. Let me take care
of his Harkness.

Speaker 12 (04:28:31):
I've already assured you there's nothing wrong with her, nearly
an advanced soporific.

Speaker 2 (04:28:36):
She'll recover quickly. Fact here she is now.

Speaker 7 (04:28:41):
A lean Say where you are?

Speaker 2 (04:28:42):
It has a gun?

Speaker 9 (04:28:44):
Where are we?

Speaker 7 (04:28:46):
How did I get here?

Speaker 2 (04:28:47):
I think you'd better sit down, miss Harkness.

Speaker 9 (04:28:50):
Who's he?

Speaker 2 (04:28:52):
I don't know? He calls himself waters?

Speaker 3 (04:28:55):
Where are we?

Speaker 9 (04:28:56):
I looked out of a porthole.

Speaker 6 (04:28:57):
Don't be frightened, Aileen. Where we're on a flying saucer,
A flying saucer. Yes, how did you get here?

Speaker 13 (04:29:05):
I don't know.

Speaker 9 (04:29:07):
I sent off the report, got into the car and.

Speaker 2 (04:29:11):
Woke up here one of my operatives.

Speaker 12 (04:29:15):
I shall now engage the automatic controls and the ship
will fly itself until we get to the Moon.

Speaker 3 (04:29:20):
The Moon.

Speaker 2 (04:29:21):
Yes, that is our first stop.

Speaker 12 (04:29:23):
You see, fast as this saucer is, it would take
us centuries to get to our ultimate destination.

Speaker 4 (04:29:28):
So we must transfer to a matter converter at our
base on the Moon, and we shall be in Core
almost instantly.

Speaker 2 (04:29:35):
Cor what are you talking about? Perhaps a little explanation
is juiu.

Speaker 4 (04:29:40):
We Core are the inhabitants of the Solar system, you
know as Rigel. But that's five hundred light years away exactly.

Speaker 12 (04:29:49):
Although the speed of what you Earthmen have been pleased
to call our flying saucers is approximately that of light,
even that speed would entail around for over the thousand years.

Speaker 2 (04:30:00):
Is true, the Core are almost immortal.

Speaker 4 (04:30:03):
But for efficiency's sake, we set up a matter converter
to flash us or rather, I should say, our operatives
through space instantaneously our bases on the dark side of
the Moon.

Speaker 2 (04:30:16):
From there we fans ship to the saucers. But why.

Speaker 6 (04:30:21):
Why are you so interested in Earth? Why haven't you
let us know, sent representatives to the World Council.

Speaker 12 (04:30:27):
One thing at a time, Doctor Brodson, I see you
partake of your pulp writer's suspicions that we intend to
take over the Earth.

Speaker 4 (04:30:36):
The truth is just the opposite. We want Earth left
strictly alone for our research. How can we believe that
the truth is self explanatory. We've been visiting the Earth
for over three thousand years.

Speaker 2 (04:30:50):
Three thousand years, yes, miss Hardness. But why for what reason?

Speaker 12 (04:30:55):
A very simple reason. Our interests differ from yours. Without research,
we become bored the spenditurnity and bored them. Well, we
are primarily psychologists, social psychologists, while you were engrossed in
a mechanical civilization.

Speaker 2 (04:31:12):
Of course, we fostered that development. I still don't understand it.
I didn't expect you to them.

Speaker 4 (04:31:17):
However, in every society there are certain problems, shall I say,
which can only be solved experimentally. We have used you
humans in our experiments. It's been extremely interesting. You mean
you've been using us as guinea pigs, as experimental animals.
You had put it that way if you wish. I

(04:31:38):
still don't see how through our operatives. That's the third
time you've mentioned operatives.

Speaker 2 (04:31:42):
What do you mean?

Speaker 6 (04:31:43):
We Core possess no body as you know it. We
are constructed of energy.

Speaker 4 (04:31:49):
In order for us to visit Earth, it was necessary
for us to construct human bodies and to inhabit them.
We thereupon had an operative who could go.

Speaker 2 (04:31:57):
To work on Earth.

Speaker 4 (04:31:58):
You couldn't have gone away with it. Someone must have
spectacle exactly. There were a few suspicions. So we took
the memory of life on Core away from our operatives
and landed them on Earth, complete with an Earth history.
You may remember Alexander, Alexander the Great. He was one
of our operatives, and Frossvoivillon. His task was to satirize

(04:32:19):
his time and to read the unrest which brought on
the French Revolution.

Speaker 2 (04:32:24):
There we had another Mara. Beyond Mara. It's incredible enough
at all.

Speaker 4 (04:32:30):
As one of your earth men, Emerson said, an institution
is the LinkedIn shadow of one man.

Speaker 2 (04:32:37):
We saw to it that the key men in each
age were ours, our operatives.

Speaker 4 (04:32:43):
The problems, they said, Earth gave our scientists much material
to work with, enough for another few thousand years.

Speaker 6 (04:32:51):
Then our inventions, our scientific advances, were or pushed on
by you.

Speaker 2 (04:32:56):
Yes, like giving a stick to see what he will
do it.

Speaker 9 (04:33:02):
Our wars are revolution.

Speaker 4 (04:33:04):
Naturally, wars and revolutions are part of the research. They're
all part of the master plan. But don't forget we
foster genius too. Why are you telling us all this?

Speaker 2 (04:33:16):
Surely that must be clear even to you.

Speaker 4 (04:33:20):
You are perhaps the leading scientist in America, certainly the
leading figure in the use of atomic power for extraterrestrial
research A key mans. Doesn't that suggest something to you?

Speaker 2 (04:33:34):
No, I can't believe it is.

Speaker 12 (04:33:38):
Certainly, my dear Bronson, you are one of our operatives.
You've done your work, but your experiments have endangered our
base on the Moon.

Speaker 2 (04:33:48):
So it's time to transport you back to Corn. Sing.
We are approaching our base.

Speaker 12 (04:33:57):
It will be a comfort to leave this unpleasant body
into resume.

Speaker 2 (04:34:01):
My right buns and put on that head.

Speaker 6 (04:34:09):
Here here, put the hands over your long The gas
will clear away a moment.

Speaker 2 (04:34:20):
I think it's all right now. The whole course was
directed with this this corn.

Speaker 9 (04:34:26):
What what was it?

Speaker 6 (04:34:28):
I had a gas pen in my vest to an
idea which was originated after some of us Sidis were
kidnapped by the Eastern the Lines, and never thought I'd
have to use it on something like this.

Speaker 2 (04:34:40):
No, no, merely unconscious for a few minutes. The gas
is harmless.

Speaker 6 (04:34:43):
See if you can find something to put around his
hands and feet? Well, I see if I can operate
the controls. We've got to get back to Earth, all right,
and they.

Speaker 2 (04:34:49):
Won't believe us, storry, but they'll have to believe this ship.

Speaker 32 (04:34:53):
I can't find anything to you better hurry, true?

Speaker 2 (04:34:59):
What is we haven't thought you said the guest was harmless?

Speaker 15 (04:35:03):
Of course it is.

Speaker 2 (04:35:04):
If this man isn't unconscious, he's dead dead.

Speaker 18 (04:35:07):
There's no pulse, no breathing, no heartbeat.

Speaker 2 (04:35:10):
Andrew, I can hold yourself. I don't know how there
was his life for ours.

Speaker 12 (04:35:17):
I mean I neglected to inform you that a core
of the upper grades can leave his body as he pleases.
I see that I underestimated you, Doctor Bronson. You saw
immediately that my weakest point was the human body, of
which I complained, very clever.

Speaker 2 (04:35:40):
I can't move. I need no future alarms and hands.
In this form, a core carries power. For a core
is power.

Speaker 12 (04:35:50):
I take it you will rid us of our bodies too. Precisely,
isn't there anything if he pumps to the dead you
you can make us forget. Unfortunately, the matter is out
of my hands. My orders were to recall too operatives.

Speaker 6 (04:36:06):
Two.

Speaker 12 (04:36:07):
Yes, Miss Hartness was a psychomatrist in her previous shall
I call it incarnation? An excellent one too, Draga before Eileen,
as you're not called.

Speaker 2 (04:36:20):
But but this is inhuman Decisely, I am not human
that I mean go. I'll go with you gladly, but
I mean and take me instead. The answer is the
same for both of you. Know what kind of fiends
are you do? Isn't there one of you with pity?

Speaker 6 (04:36:40):
Just one who knows what we feel, who's helped the
agony of the millions you've made your guinea pigs.

Speaker 12 (04:36:44):
You're speaking of sympathy? No Ah, Yes, yes, I stand directed.
There was one of cour who felt that strange emotion
card an art being.

Speaker 4 (04:36:56):
As I recall, And I suppose you killed him? No being,
energy cannot be destroyed. We captured Carter and exiled him
to your planet, an enormous task. He was one of
our greatest scientists. That makes it all the more strange.
You say, he wished to stop our experiment. We lost
track of him. But no matter, the unfit must go.

(04:37:17):
That is the paramount law of nature. Enough of these digressions.
It is time, and please let me say goodbye.

Speaker 12 (04:37:23):
A little time must elapse before I can build up
the energy to free you of your body.

Speaker 2 (04:37:27):
You may have the time. Besides, it is a new
experience to me, the most interesting. I mean, darling, it's
too late now, but I want you to know.

Speaker 7 (04:37:37):
I love you.

Speaker 2 (04:37:38):
I've loved you ever since you walked into my office
three years ago.

Speaker 33 (04:37:40):
And I love you, Andrew.

Speaker 2 (04:37:42):
I always have, I always will.

Speaker 4 (04:37:44):
A very touching don't be afraid, my darling, this touching
of lip to lip, very interesting energy is undoubtedly transmitted.

Speaker 2 (04:37:56):
Very well, doctor Bronson. It is time.

Speaker 29 (04:37:58):
Take me first.

Speaker 12 (04:37:59):
Let him gone, Andrew, Your emotion is senseless. I'm merely
returning the two of you to your true being. And
my darling, my darling, So this is your odd emotion

(04:38:20):
called love. This should make an interesting report, a minor report,
it is true.

Speaker 79 (04:38:25):
But you have done your work, oh local, you have
done your work too well.

Speaker 2 (04:38:36):
You You are not the operative I was sent for.

Speaker 6 (04:38:39):
No, I am Karda at last. But now with two
centuries of power are I learned?

Speaker 2 (04:38:51):
On Earth?

Speaker 7 (04:38:53):
There is no care.

Speaker 2 (04:38:54):
Who can withstand me?

Speaker 6 (04:38:55):
Now?

Speaker 10 (04:38:57):
Oh?

Speaker 2 (04:39:00):
Sympathy is the ability to feel what others feel.

Speaker 7 (04:39:07):
How do you feel now?

Speaker 6 (04:39:08):
Local don't understand unscientific, UNSCIENTI no say mercy, say it unscience, mercy, mercy.

Speaker 2 (04:39:28):
There shall be changes on coren.

Speaker 6 (04:39:32):
We must leave Earth alone to work out its destiny
in its own way. Now, go to the converter and
await me there, Dragon, myleen, and don't be afraid. The
transition is painless. There is so much for us to

(04:39:55):
do on Core, so much to teach.

Speaker 33 (04:39:58):
And I ca I'm so frightened.

Speaker 7 (04:40:01):
Don't be Your power will soon be with me, for
you too are called. What those fools didn't.

Speaker 2 (04:40:11):
Know was that emotion too is power. With your love
and mine, we can right.

Speaker 6 (04:40:19):
The wrongs Core has done to Earth. There is eternity
for both of us to spend together.

Speaker 33 (04:40:28):
I mean, Dragon, come, I'm ready, my darling, now.

Speaker 7 (04:40:43):
And forever.

Speaker 12 (04:41:15):
Next week on two thousand plus, another dramatic story of
unbelievable adventure, the story of a world of the past
locked in the world of tomorrow.

Speaker 2 (04:41:23):
Time out of hand. Be sure to listen.

Speaker 12 (04:41:28):
Two thousand plus is produced and directed by a Dryer
when Olson Productions incorporated. In today's production, Ralph Bell Portay
doctor Bronson Looie van Ruten was Waters, Brina Rayburn was
Eileen Ken Williams was Scottie. A script was written by
beerre Gerson. The orchestra was conducted by Emerson Buckley. Music
opposed by Elliott Jakobe sound, Walt Shaver and Adrian Pender.

(04:41:52):
Engineer Martin Enghauser, Lace is Ken Marvin Speaking.

Speaker 1 (04:42:40):
You can stay up to date on everything Weird Darkness,
get notified on upcoming Weird Old Watch parties and live
scream events, be automatically registered for a monthly T shirt giveaway,
and more by signing up for my email newsletter. You
can sign up for free at Weird Darkness dot com
slash newsletter That's Weird Darkness dot com slash newsletter.

Speaker 7 (04:43:15):
From Hollywood.

Speaker 40 (04:43:17):
Lyle Talbot.

Speaker 80 (04:43:18):
In the unexpected, the unexpected, the unexpected.

Speaker 75 (04:43:34):
Life is filled with the unexpected, romantic, tragic, and mysterious
endings to our most ordinary actions.

Speaker 4 (04:43:41):
Dreams come true, or dreams.

Speaker 75 (04:43:43):
Are shattered by sudden twists of fate.

Speaker 40 (04:43:46):
In the unexpected. First a word from your announcer.

Speaker 22 (04:44:00):
M H.

Speaker 75 (04:44:55):
Now Lyle Talbot, famous motion picture and stage star in
The Two Garden, a drama of the unexpected.

Speaker 55 (04:45:07):
That day in mister Marshall's office, I thought it was
going to be just a simple business deal, a legitimate investment,
a chance for a good profit on the little money
I had been able to save in the past fifteen years.
I simply had no idea it was going to involve murder.
Are you absolutely certain, mister Marshall. I mean, couldn't your

(04:45:28):
investigation be wrong? There hasn't been any oil in this area.
I've never heard of it before. Oil in my own backyard.

Speaker 71 (04:45:35):
And we found it in stranger places than that.

Speaker 55 (04:45:37):
But suppose, mister Marshall, I just wanted to sell you
my home, my land outright.

Speaker 71 (04:45:42):
We're not in this business to cheat the little man.

Speaker 81 (04:45:44):
The Marshall Petroleum Development Company has a reputation to maintain.
That's why we're letting you in on the ground floor.

Speaker 55 (04:45:50):
Oh yes, yes, I understand that. But about some of
the details, I'm not completely clear.

Speaker 2 (04:45:56):
And I'll let's see.

Speaker 55 (04:45:57):
I give you ten thousand dollars and you guaranteed make
preparations for drilling and to pay me a royalty on
each barrel of oil pumped out of these wells. Now,
do I have your proposition straight? Perfectly? Very well? Then
here's my check. I had it certified and that's what
you wanted.

Speaker 71 (04:46:13):
Yes, facilitates our accounting procedure. Now hear the contract. Just
sign all three copies. You're a very lucky man, mister James.

Speaker 81 (04:46:23):
I'm sure that this is the beginning of a relationship
that will be extremely.

Speaker 71 (04:46:27):
Profitable for both of us.

Speaker 55 (04:46:33):
You could understand why I believed him. He was most convincing.
You must admit that he looked like a successful business man.
He had very imposing offices too. But I didn't hear
from him again for the next week or ten days.
I know that high finance takes time. I wasn't a
bit concerned until that evening when I was digging in
my garden and Oscar he's my brother in law. He

(04:46:56):
walked over to see me.

Speaker 8 (04:47:00):
Gordon doing some early spring planting.

Speaker 55 (04:47:02):
Yes, Oscar's and tulips. I wanted them set out in
time for Easter.

Speaker 40 (04:47:05):
Well you still own this place, don't you?

Speaker 7 (04:47:07):
Why?

Speaker 55 (04:47:07):
Well, of course I own it. I mean it's in
June's name, but I own it. Why do you ask?

Speaker 40 (04:47:12):
June told me what you've been up to.

Speaker 75 (04:47:14):
I'm afraid I don't understand the Marshall Petroleum Development Company.
Remember what about it? Well, I've had some reports on
the Marshall Company for one of my clients. They report
that they've never dug a well, never even surveyed a
piece of land. All they've got is a nice suite
of offices, a good looking secretary. And you're ten thousand dollars.

Speaker 55 (04:47:33):
You mean I've been swindling lots of wonder to me.
You didn't give away the house.

Speaker 40 (04:47:37):
You probably would have if it hadn't been in Siss's name.

Speaker 55 (04:47:39):
Well, they won't get away with that. I won't let them.

Speaker 75 (04:47:42):
I'll go to the police. Iis'll, Well, you're a lawyer, Oscar,
you've got to help me. I have looked over that
contract and there's not a thing you can do, Gordon,
not a thing.

Speaker 55 (04:47:55):
Sometimes lawyers don't know at all. So I sent mister
marsh Letter, told him I was planning to mortgage the
house so I could put some additional money into the
oil deal. I didn't really expect him to come, but
I said i'd be at home that night and we
could talk it over there, Come in the den, mister Marshall.
We won't be disturbed here, thank you, mister James. As

(04:48:18):
a matter of fact, my wife's at the movies anyway,
but she might come back and interrupt us while we're
still talking.

Speaker 71 (04:48:24):
I'm sorry to have missed her.

Speaker 55 (04:48:25):
Yes, yes, of course. Well shall we get down to business?

Speaker 81 (04:48:29):
Certainly you wrote that you were considering further investment in
the development company.

Speaker 55 (04:48:33):
Well, to be perfectly honest, mister Marshall, I lied. I
don't do it very often, but I felt the situation
demanded it.

Speaker 10 (04:48:41):
Oh.

Speaker 55 (04:48:41):
Yes, you see, I've discovered that your business dealings with
me haven't been entirely honorable.

Speaker 71 (04:48:47):
They've been entirely legal, mister James.

Speaker 55 (04:48:48):
Oh, I don't doubt that, not for a minute. But
I really think that under the circumstances, mister Marshall, you
ought to give me back my ten thousand dollars.

Speaker 71 (04:48:58):
Very interesting. Well I'll be leaving.

Speaker 55 (04:49:00):
No, no, no, please, don't go, not yet. Oh what
are you doing with that gun?

Speaker 6 (04:49:05):
Oh?

Speaker 13 (04:49:05):
Oh?

Speaker 55 (04:49:06):
How foolly shut me? I I forgot that it was
on the table. I I just picked it up accidentally.
I I didn't mean to frighten you. Mister Marshall.

Speaker 71 (04:49:13):
I I really didn't await Jim. I didn't think you
would it tight shoot.

Speaker 55 (04:49:25):
I hadn't intended to kill him, and at least I
don't think so, not that way. I had the gun
there just to threaten him, to force him to give
me back my money. I don't really think I ever
planned to murder him.

Speaker 7 (04:49:39):
But he was dead.

Speaker 55 (04:49:41):
Then I I realized my situation. I killed Marshall. It
was right in my own house with my gun. For
a moment, I I didn't what to do. Then I
I remember the new two of bed in the garden.
So I pulled poor mister Marshall out into the back yard,
being very careful, of course, to keep him turned face

(04:50:03):
up so the blood wouldn't make a mess of things.
And then I started digging.

Speaker 29 (04:50:11):
Garden.

Speaker 25 (04:50:13):
Is that you up there?

Speaker 7 (04:50:15):
Yeah?

Speaker 55 (04:50:16):
Yeah, yes, dear, it's me.

Speaker 68 (04:50:18):
What are you doing in the garden at this time
of night?

Speaker 55 (04:50:21):
Why just a little spading around the tulips, dear? I
was restless, all right, Oh.

Speaker 68 (04:50:27):
If you want to, I'll turn out the after a light.

Speaker 55 (04:50:30):
Oh no, no, no, don't do that.

Speaker 8 (04:50:32):
You can't do that.

Speaker 19 (04:50:33):
Why not?

Speaker 55 (04:50:35):
There's a short in the wiring. I noticed it today.
If you turn on the lights, it might cause a fire.
I'll have the electrician fix it tomorrow.

Speaker 68 (04:50:42):
Oh well, don't be too long, dear. I'm going to bed.

Speaker 55 (04:50:47):
I'll be up soon. Good night, June, good night.

Speaker 68 (04:50:51):
Oh by the way, did that mister Marshall come to
see you?

Speaker 19 (04:50:54):
No?

Speaker 55 (04:50:55):
Oh, no, I didn't come. I wasn't really expecting him.
I got up very early the next morning to see
if the tulip bed looked natural, and I decided I
had done a very satisfactory job. But I still didn't
feel safe. Mister Marshall might have told his secretary he

(04:51:16):
was coming to see me. Perhaps my letter to him
had been found. The next few days, I was terribly
afraid that someone would come to me and start asking questions.

Speaker 40 (04:51:23):
Say, Gordon, did you hear about your friend Marshall?

Speaker 55 (04:51:26):
Oh, what happened to him?

Speaker 7 (04:51:27):
As good?

Speaker 75 (04:51:28):
I mean he stipped down. Oh I see just in
time too. I understand the DA was swearing out a
warrant for his arrest.

Speaker 55 (04:51:35):
Oh, I guess he was lucky then, Yeah, and they
found a lot of.

Speaker 75 (04:51:38):
Money in a safe well. Gordon, it looks like some
of you who invested in this setup might get it back. Really,
and if you do recover that ten grand, you'd better
put it in June's name too.

Speaker 55 (04:51:48):
I might take your advice, Oscar.

Speaker 11 (04:51:50):
Well it's a bad time.

Speaker 75 (04:51:51):
Now, come on, let's go out into the garden. I
want to look around. Well, what for Oscar, Oh, it's
supposed to be a secret from you. What is June's
planning to have a sprintling system in the backyard for
your birthday? I want to see where they'll have to
dad to install a pipeline. Now, don't tell Sis I
told you.

Speaker 55 (04:52:13):
Of course, I couldn't let them go digging in my garden.
I had to stop Oscar somehow. I thought of all
sorts of excuses, told him that it would be too expensive,
that June couldn't afford it, it was too late in
the season anyway, but Oscar insisted. Then I had an idea. Listen, Oscar,
I'm going to have to give up gardening. Doctor's orders

(04:52:36):
something about my heart, you know, not dangerous. But no
exertion anymore, No, no unnecessary strain. Oh really, I haven't
even told June. I didn't want to alarm her. I've
decided to turn the backyard into a barbecue cemented over. Completely,
cover up the flowers, the law and everything. I think
that's the thing to do, don't you.

Speaker 3 (04:52:56):
Well, I guess in that case, there's no point in
talking about the sprinkling.

Speaker 15 (04:53:00):
No, no point at all.

Speaker 55 (04:53:09):
It was a wonderful idea. No one would ever think
of hunting for a body under a three inch layer
of concrete. And after the concrete had been poured over
my toolip bed, I felt completely safe. Why now I
could even think about leaving the house. We could sell it,
move away, go to another town.

Speaker 18 (04:53:27):
But I like this house, and I don't see why
we should sell it now.

Speaker 55 (04:53:32):
But June, we can get such a good price, don't
you want to stand? Oscar says, real estate's at a peak,
and anyway, I'd like to get away from here. It'll
do us both good. I haven't been feeling so well lately,
you know.

Speaker 16 (04:53:43):
Yes, I've noticed that the.

Speaker 55 (04:53:44):
Doctor thinks a lower altitude might make a difference, maybe
somewhere in California, near Los Angeles. Well, if you've made
up your mind, Oh, I'm so glad you agreed, June,
so very glad. I'll talk to Oscar tomorrow. He can
handle our affairs. Sell the house, take care of all
the details. Why we won't even have to bother. Oscar
will get rid of everything.

Speaker 4 (04:54:18):
You think the story is over, don't you.

Speaker 2 (04:54:21):
But wait, fate takes a hand.

Speaker 75 (04:54:23):
Wait for the unexpected, and now for the surprising conclusion

(04:55:30):
of The Tulip Garden starring Lyle Talbot, Hamilton Whitney production
written by Robert Libbert and Frank Burt and directed by
Frank K.

Speaker 4 (04:55:38):
Danzig.

Speaker 55 (04:55:43):
Well, Oscar sold our house, all right, and we moved
out to California. I took a little place near Riverside.
We have our own orange trees right in the backyard.
June and I have been very happy here, that is
until this morning when the letter came.

Speaker 68 (04:56:01):
Here, the most wonderful news.

Speaker 55 (04:56:03):
All right, dear, what is it?

Speaker 16 (04:56:05):
Oscar?

Speaker 12 (04:56:06):
Here? You read it?

Speaker 55 (04:56:07):
Oh what's happened to him?

Speaker 18 (04:56:08):
Start at the top of the last page. That's the
important part.

Speaker 55 (04:56:11):
Oh, yeah, yes, here it is. I didn't tell you, June.
When I sold the house, I reserved fifty percent of
all the oil and mineral rights for you. It looks
as though that martiall fellow knew what he was talking about.
They tested and found lots of oil, so you stand
to make a pretty penny. Guess where they're going to
put their first Well, they've already started to break through

(04:56:32):
the concrete and it's going to be right where Gordon
used to have his tulip garden.

Speaker 75 (04:56:37):
Remember the Tulip Garden starred Lyle Talbot. Listen soon for
another exciting story when one of your favorite motion picture

(04:57:00):
stars meets the unexpected. This program was transcribed in Hollywood.

Speaker 1 (04:58:08):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:58:31):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page. If you or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others You can find all of that and
more at Weird Darkness dot com. I'm Darren Marler. Thanks

(04:58:55):
for joining me for tonight's retro Radio, Old Time Radio
in the Arc

Speaker 76 (04:59:08):
Sh

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