My WIFE DIED – Then She Became a ZOMBIE in Haiti: Truth is Stranger Than Fiction | Unsolved Mysteries - Weird Darkness: Paranormal & True Crime Stories

Episode Transcript
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Speaker 1 (00:07):
Latins, Tony Stations Present Escape.

Speaker 2 (00:13):
Oh Fantasy.

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

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

Speaker 5 (00:36):
Present Suspense.

Speaker 6 (00:41):
I am the Whistler.

Speaker 7 (00:43):
Welcome Weirdos. I'm Darren Marler and this is retro radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise, sign up for

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

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

Speaker 8 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 2 (01:50):
Come in. Welcome. I'm E. G. Marshall.

Speaker 8 (01:57):
Pause while there is strength and breath to play again
with Love and Death love and death, the two supreme
games of life itself, Love which is the only meaning
of life, and death, which is the end. But can

(02:17):
there be another meaning? Or perhaps another ending?

Speaker 2 (02:22):
Pause?

Speaker 8 (02:23):
Pause, as the poet says, and listen, Missus Purdy, two
people have died in this room. How do you account
for it?

Speaker 9 (02:33):
I can't.

Speaker 8 (02:34):
There is something in this room that kills that isn't true,
some spirit, some force, perhaps something impalpable intangible. That's nonsense,
when perhaps it's something tangible and definite, like what not?

Speaker 2 (02:50):
Like what? Like? Who? Like you, Missus Purdy? Like you?

Speaker 8 (03:05):
Our mystery drama Don't Die Without Me was especially adapted
from the O. Henry classic for the Mystery theater by
Sam Dan and stars Robert Dryden and Marion Seldie's. It
is sponsored in part by Contact the Twelve Hour Cold
Capsule and.

Speaker 2 (03:23):
True Value Hardware Stores.

Speaker 8 (03:25):
I'll be back shortly with that one. Restless shifting, as
fugacious as time itself, is a certain vast bulk of
the population of the Red Brick district of the Lower

(03:48):
West Side of Manhattan homeless. They have one hundred homes.
They flit from furnished room to furnished room, transients forever,
transients in abode, and transions in heart and mind. They
sing home, sweet home in ragtime. Thus begins a tale
by O Henry, the great Master of Irony, which illuminates

(04:09):
two of life's greatest.

Speaker 2 (04:10):
Ironies, love and death.

Speaker 8 (04:14):
But the tale is begun, Let the storyteller continue. Hence
the houses of this district, having had a thousand dwellers,
should have a thousand tales to tell. Yes, there must
be a story behind every one of those windows. This
open one on the second story from whence comes music

(04:36):
played on mister Edison's latest invention. The tune is ragtime.
But does the heart beat in ragtime too?

Speaker 2 (04:46):
Or to the lonely listener? Is it a song of love?

Speaker 8 (04:50):
Of hate, of hope or despair?

Speaker 10 (04:56):
Wait?

Speaker 8 (04:57):
Wait, what's that down the street? Crowd and ambulance? And
isn't that my good friend, Sergeant o'donna Hue?

Speaker 2 (05:04):
All right, all right now, move on? Don't you have
nothing better to do? Sergeant o'dona Hill? Oh, it's you?

Speaker 11 (05:11):
Is it?

Speaker 2 (05:12):
What happened here?

Speaker 12 (05:13):
Is here?

Speaker 2 (05:13):
You spelled my name wrong.

Speaker 13 (05:15):
I was printed incorrectly in your newspaper last Friday.

Speaker 2 (05:18):
The liner type setter as an Englishman.

Speaker 14 (05:21):
Well that explains it.

Speaker 2 (05:22):
For what explains this what's taking place here tonight? Well, now, sir,
how would I know that? Just being a police officer.

Speaker 8 (05:29):
Come on, sergeant, police officers know everything, especially if they're
named o'donahue o'donnahu with a G.

Speaker 2 (05:37):
Remember, now, sir, tell me something. Why did they come
to New York Town?

Speaker 13 (05:43):
Why does who come to New York all the sweet
and pretty young things, woods, the bright light so Broadway, Sergeant,
even a police officer knows that.

Speaker 15 (05:53):
Is like moths to the flame.

Speaker 13 (05:56):
And I see where this is leading. And here the
evening we had a little moth. Perhaps she believed she
was a butterfly. But what does it matter? The flame
consumes them all in the end.

Speaker 8 (06:08):
Well, I'm certainly a man who can follow a figure's speech.
But what is this flame to which you reverse ardant?
The flame of despair and the flame of loneliness. They
sit alone in a furnished room, a stranger amongst strangers,
and they look at.

Speaker 2 (06:24):
The flames, the leap and yellow flames, the leaping yellow flame.

Speaker 13 (06:30):
But now it is become the flickering blue light of
the gas range. They look at the light and it's
so cold, and distant, a chill flame without light and warmth,
like like life itself, cold and dark. So they lean forward,
and almost without thinking, they blow out the flame.

Speaker 2 (06:53):
Now they're alone.

Speaker 13 (06:55):
In the blackness of the night, and all is silent
except for the gas, the low, soft hiss of the gas.

Speaker 8 (07:04):
What you're saying is that a girl in this building turned.

Speaker 13 (07:09):
On a low, soft hiss, like the hiss of a sneak,
but a kindly sneak.

Speaker 8 (07:18):
She's dead in Sarn, Yes, sir, lay the good lord,
rest gentle, Are they sure?

Speaker 2 (07:24):
Oh? Yes, the doctor was there. He passed down the words,
you'll have to step out of the waist. They're taking
her down now.

Speaker 8 (07:34):
A very young doctor who rode the ambulance of the
city hospital, and who was still very new on the.

Speaker 2 (07:40):
Job, tried to hide the horror in.

Speaker 8 (07:43):
His heart with a look of cynical boredom on his face.
There wasn't quite experienced enough to carry it off yet.
He was followed by two orderlies who carried a stretcher.
The face of the poor unfortunate was supposed to be covered,
but the blanket had slipped. For a moment I caught

(08:05):
a glimpse of a fair young face with reddish gold hair,
a beauty mark on a chin, just for a moment,
and she was gone into the ambulance in a way
to be lost and gone forever.

Speaker 16 (08:28):
Yes, I've come in to take away the breakfast ishou sir? Well,
I see I can't do that, since you've have neither
a sip nor a bite.

Speaker 8 (08:37):
Missus Poulidge, you have excellent powers of observation.

Speaker 16 (08:41):
And you seem to be a bit snippy this morning,
mister Porter.

Speaker 2 (08:45):
That's true.

Speaker 8 (08:46):
You can't expect a man to be in a good
temper all the time, especially when he's having trouble writing
a story.

Speaker 16 (08:52):
You're having trouble writing a story?

Speaker 2 (08:55):
Oh yes, how is that possible?

Speaker 8 (08:59):
Why would a beautiful young lady want to end her life?

Speaker 9 (09:05):
There's a man in it somewhere.

Speaker 2 (09:07):
Could there be another reason? Nah, not for a woman. Now,
this young lady ended her life.

Speaker 8 (09:12):
In a ah it could be considered a theatrical rooming house.
Perhaps she was despondent because her career had failed.

Speaker 16 (09:21):
Now I wouldn't believe it. You said she was young
and beautiful. Well, the world doesn't have to come to
an end for that time. No, no, no, I could only
believe she'd end it all for love.

Speaker 2 (09:33):
That's the only way you'd have it.

Speaker 16 (09:35):
Praid so, and you'd better stop fighting it.

Speaker 2 (09:41):
The reddish gold hair.

Speaker 8 (09:44):
For a moment, it seemed like a halo around that
angelic young face, a face I knew I would never forget.

Speaker 2 (09:54):
Why? Why did she do it? Who was she?

Speaker 8 (10:00):
I look through the papers, Nothing, not a word. So
much happens in the city. There isn't room for everything,
especially the passing of an unknown, obscure young girl, even
if she is beautiful.

Speaker 2 (10:13):
So many of them are beautiful, so beautiful it breaks
your heart. Well, I would have to ask questions. Yes,
are you the landlady?

Speaker 17 (10:27):
Yes?

Speaker 7 (10:27):
I am.

Speaker 2 (10:28):
Who name is missus? Party?

Speaker 16 (10:30):
You want her in a room?

Speaker 8 (10:31):
About the young lady who died here last night?

Speaker 2 (10:35):
What young lady? Well, that's what I want to talk
to you about. Are you a cop?

Speaker 18 (10:41):
No?

Speaker 2 (10:41):
Then what are you snooping around for? Asking questions?

Speaker 8 (10:44):
I'd like to know why you got the wrong address?
Now before you slam the door in my face. I'm
a newspaper man.

Speaker 19 (10:50):
What do you want? She was nothing, She was nobody.
Who's going to be interested reading about her?

Speaker 8 (10:57):
I want to ask you a few questions. Come man,
Give me break, sir.

Speaker 19 (11:01):
If it gets known somebody'd done the Dutch Act in
that room, nobody's gonna want to.

Speaker 2 (11:04):
Rent it, would you. It doesn't have to get into
the newspaper.

Speaker 19 (11:09):
Oh well, now you're a gentleman.

Speaker 2 (11:14):
Are you sure you're a reporter? Can we talk inside?
This is the room? This is the room? I see? Well,
what's the matter? It eat nice? Well?

Speaker 16 (11:31):
I mean, what do you want for four dollars a week?

Speaker 2 (11:33):
There is? What was her name? I don't know her name? Well,
how can that be possible?

Speaker 19 (11:40):
Well, the name she gave me was Helen Smith? Do
I know that was her real name?

Speaker 2 (11:47):
What did she do?

Speaker 14 (11:48):
Well?

Speaker 2 (11:48):
I don't know where did she work?

Speaker 9 (11:51):
I don't know.

Speaker 2 (11:52):
Didn't you asked?

Speaker 16 (11:53):
Why should I ask? What they want to tell me?

Speaker 19 (11:56):
They tell me otherwise all they got to do is
behave themselves and tay the rent.

Speaker 8 (12:00):
Where did she come from? I don't know how long
had she been here?

Speaker 2 (12:05):
How long?

Speaker 8 (12:07):
Well?

Speaker 2 (12:08):
Three weeks?

Speaker 19 (12:09):
Yes, I remember, I was supposed to collect the fourth
week's rent from her this morning.

Speaker 8 (12:14):
So you don't know who she was, where she came from,
what she did, or why she killed herself?

Speaker 2 (12:22):
Who knows what happened to her belongings.

Speaker 19 (12:26):
Belongings, Oh she she didn't have none, Oh what I mean?

Speaker 2 (12:32):
She?

Speaker 19 (12:32):
She had the dress she was wearing, and another one,
a skirt, two blouses, some underthings, and the shoe she
was wearing.

Speaker 2 (12:39):
Just a few stitches of clothing was all she had
to show for the world, poor child.

Speaker 8 (12:44):
And among the things she owned, there was nothing to
identify her, No, sir, No jewelry, jewelry, oh bless us.
No a watch, a ring, a bracelet.

Speaker 2 (12:57):
Nothing. Who discovered her? Oh that was my misfortune.

Speaker 19 (13:05):
I was sitting in the kitchen drinking beer with missus
mccull next door neighbor, and I said, is there a smell,
missus mccol and she answers, there's a smell, missus Purdy.
And with that we put down our glasses and come
rushing up here to the third floor.

Speaker 2 (13:18):
Back.

Speaker 20 (13:18):
We opened the door. There she is, poor child, laying
on the bed.

Speaker 19 (13:24):
And yes, we opened the window, but it's too late,
so we both ran screaming downstairs.

Speaker 2 (13:31):
Into the street. Or what else can you tell me?

Speaker 21 (13:34):
Oh?

Speaker 19 (13:34):
Nothing, nothing at all her. We saw the policeman on
the beat and he sent for the ambulance, or not
that it had done her any good at all?

Speaker 8 (13:41):
And there's nothing you can tell me about the girl.

Speaker 20 (13:45):
Well, I've already told you everything I know.

Speaker 2 (13:56):
No lunchtime, I don't want any lunch.

Speaker 16 (14:05):
You won't write any better if you're hungry.

Speaker 2 (14:07):
CO found it, Missus Polidge. I want to be let alone.

Speaker 16 (14:09):
Major Manhattan clam chowder.

Speaker 8 (14:11):
All right, set it down, ah, Missus Powlidge, I'm licked.

Speaker 2 (14:18):
The story won't come out. Enjoy the chowder. Why does
this story defeat me?

Speaker 8 (14:22):
It has everything, it has youth, beauty, tragedy, death, and
yet I can't.

Speaker 2 (14:29):
I can't put anything together.

Speaker 8 (14:32):
The room CD sinister, Yes, sinister, I don't know why
a dungeon cell of despair.

Speaker 2 (14:46):
She came there, she chose the place. Why? Why is
the story? Have I lost it?

Speaker 22 (14:57):
Lost?

Speaker 23 (14:57):
What it?

Speaker 8 (14:59):
The divine is the gift, the god given gift to write?

Speaker 16 (15:03):
I don't think so.

Speaker 8 (15:04):
Who is this girl? Why did she kill herself?

Speaker 16 (15:07):
You should be given answers instead of asking questions.

Speaker 8 (15:10):
I'm even asking the wrong questions. Doesn't matter what her
real name was or where she comes from. Isn't up
to me to create all that? I've always been able
to do it before.

Speaker 24 (15:20):
Come in, good morning, sir, Why, Sergeant o'donahue with a g.

Speaker 13 (15:29):
Yes, sir, I come down here because I thought I
could bring you something that might be of interest from
a literary point of view. Yes, you remember, sir, it
was just a week ago, this poor girl that had
done herself in I wish I could forget. Well, it's
happened again. What's happened again, sergeant? Another one, another one

(15:52):
of those unfortunate situations. In the same house, in the
same room. What are you telling me, sergeant? I suppose
what I'm saying is that the room stayed vacant six days.
Then last night the landlady rents it out to a
young gentleman, and earlier this morning he took the same

(16:13):
way out.

Speaker 8 (16:20):
Well, what are the odds we're discussing the final desperate
actions of two defeated young people.

Speaker 2 (16:26):
What are the odds that they could.

Speaker 8 (16:28):
Have chosen the same room out of so many thousands
in the city.

Speaker 2 (16:33):
Consider the room?

Speaker 8 (16:34):
Is there something in the room or about the room?
We try to answer questions like these in Act two,
which I should bring you shortly, the four million, the

(16:56):
four million human souls who filled the New York of
O Henry's day, with four million triumphs, four million defeats,
four million comedies, four million tragedies, the shifting, seething mass
of four million lives, loving, hating, living, dying, And we're

(17:17):
concerned with two of them.

Speaker 2 (17:19):
A golden haired girl, and he was a dark haired
young man. What else can you tell me about him?

Speaker 25 (17:26):
Well?

Speaker 2 (17:26):
He was, he was maybe twenty seven, twenty eight. Tell
me everything.

Speaker 19 (17:31):
Please, if this ever gets out, I'll never be able
to rent that room.

Speaker 2 (17:37):
Never. I want to know everything.

Speaker 19 (17:40):
Well, last night there was a ring in augh midoor
bell and oh please, sir, go.

Speaker 2 (17:48):
On last night? What time with nine o'clock? I believe
nine o'clock? Go ahead, I don't like to think about it.
Your doorbell rang?

Speaker 20 (17:59):
Yes, yes, and he asks.

Speaker 19 (18:01):
If do you have a room to lead? Well, I
have the third floor back, May I see it? It's
five dollars a week in advance.

Speaker 2 (18:11):
I don't object.

Speaker 19 (18:13):
All right, come along now. I keep a very nice
clean house. What business are you in? How long do
you plan to stay there? I must say you ain't
very talkative?

Speaker 2 (18:25):
Would she, oh lord, would she have come to this
fall into this?

Speaker 10 (18:32):
No?

Speaker 2 (18:32):
Oh no, please? What's that you're saying? Well?

Speaker 16 (18:36):
Just down the hallway, and.

Speaker 2 (18:42):
This is the room.

Speaker 19 (18:44):
Oh, I see, it's a nice room. It ain't often vacant.
I get the most elegant people here. There's lots of
closet room. Oh, it's a place everybody likes it.

Speaker 2 (18:54):
Never stays that long. Do you have many theatrical people
rooming here? They come and they go.

Speaker 19 (19:01):
That's a good proportion of the lodgers are connected with
the theater. Doctor folk never stay long anywheres.

Speaker 2 (19:08):
Let me get my share.

Speaker 26 (19:10):
Do you want the room? I suppose so, Like I said,
it's five a week in advance. All right, the room
has been made nice and fresh. Her towels and the
water pictures full. Missus Barty, I didn't get your name.

Speaker 27 (19:28):
Jones Jones, all right, we'll leave it, b Jones. Missus
pretty a young girl about twenty two. Would she have
been one of your lodgers?

Speaker 2 (19:40):
Her name?

Speaker 28 (19:41):
Her?

Speaker 2 (19:41):
Her name was miss fashioner Eloise Fashner? No, No, I
can't say I remember that name.

Speaker 27 (19:47):
A fair complexion girl, medium height, slender, with golden hair
and a beauty mark on her chin.

Speaker 2 (19:53):
Have you seen her?

Speaker 8 (19:54):
No?

Speaker 2 (19:56):
I ain't seen her, Jones, Sir Jones, are you all right?
Huh uh? Oh, yes, yes, sir, good night. But you
had seen her, You had seen her.

Speaker 18 (20:14):
She was the girl.

Speaker 2 (20:15):
That girl's name was Helen Smith.

Speaker 8 (20:17):
The description, the golden hair, the fair complexion, the beauty
mark on the chin.

Speaker 2 (20:22):
There could be a thousand girls. It was the same girl,
and you know it, he is, sir, don't say that
it was the same girl?

Speaker 17 (20:30):
All right?

Speaker 19 (20:32):
And what if it was? Was it my place to
tell him? What would you have me saying? Oh, yes, sir,
A young lady answering that very description turned the gas
on in this row six nights ago?

Speaker 2 (20:43):
Is that what I should have said? Is it he
was looking for? He don't say anymore.

Speaker 9 (20:49):
I'm scared telling me.

Speaker 8 (20:50):
Wit says it is thousands of rooming houses throughout the city.
There are tens of thousands of furnished rooms. What made
him pick your place? Why did he use your house?
Why did he come to your house?

Speaker 20 (21:03):
That's what he asked.

Speaker 2 (21:04):
Me, That's what he asked. What are you saying, sir?

Speaker 19 (21:09):
But he hadn't been in the room an hour when
he came downstairs and knocked on my door?

Speaker 2 (21:17):
Who is it?

Speaker 12 (21:17):
Opened the door?

Speaker 25 (21:21):
What is it?

Speaker 29 (21:21):
Well?

Speaker 2 (21:21):
What's wrong?

Speaker 28 (21:22):
This?

Speaker 2 (21:22):
Perty?

Speaker 28 (21:23):
Yes?

Speaker 2 (21:23):
Miss Bashner? Miss Bashner, the young lady I asked you about.

Speaker 27 (21:28):
Oh, yes, she has been in the rooms she was,
she has been in that.

Speaker 2 (21:32):
Room right now. How could she do to whoever she is?
I knew it. I knew it.

Speaker 27 (21:37):
Something drew me to this house. I spent days walking
the streets of Broadway. I spoke to the manager's theatrical agents, everyone, anyone,
from the highest to the lowest.

Speaker 2 (21:46):
Mister Jones, his leg just seen her? Have you seen her?
And everywhere? From everyone The answer was no.

Speaker 27 (21:52):
Something said to me to walk westward toward the river,
and I did, and then the same boy said here,
turn in here, stop here, rest here, stay here. Here
is where you will find her. And now tell me,
missus Birdie, I've already told you.

Speaker 19 (22:09):
Mister Jones, I ain't seen her.

Speaker 27 (22:11):
No, No, I can't accept that. The voice was too strong,
too too clear. It guided me here to this house.
I wouldn't know about this and to that room. She
was in that room? No, who was in that room?
Who was the last one to occupy it?

Speaker 2 (22:28):
Uh, gentlemen.

Speaker 27 (22:29):
No, it was a woman, a young woman, a pale,
slender woman with golden hair and blue eyes and a
beauty mark on her chin.

Speaker 2 (22:37):
Eloise fashioner, my Aloise.

Speaker 27 (22:39):
It had to be because I had to.

Speaker 2 (22:42):
Keep my promise. What promise? Tell me she was here
and tell me where she went.

Speaker 20 (22:49):
She the one you're thinking of.

Speaker 2 (22:51):
She was never here.

Speaker 19 (22:53):
But you just have a very grace imagination.

Speaker 2 (22:57):
You insist that Eloise has never occupied that room. I
don't know your young lady.

Speaker 27 (23:02):
All right, all right, it doesn't matter, It really doesn't
matter now.

Speaker 19 (23:10):
And then he went up to the room, turned out
the gaslight. He turned the handle of the jet again
without striking a flame, and he lay down on the bed.

Speaker 2 (23:20):
And you didn't tell him about miss Vashner. How could
I know her name was Vashner? Where did he say
he was from? He didn't You didn't ask. I never asked.

Speaker 8 (23:38):
But did he have any papers, any identifications?

Speaker 2 (23:41):
No, none at all. How do you know, missus Purdy?
How do I know?

Speaker 17 (23:45):
Well?

Speaker 2 (23:46):
I looked, there was nothing.

Speaker 8 (23:49):
Just as we know nothing about the girl, we also
know nothing about the man. Most important, we know nothing
at all of how he had and to come to
this very place.

Speaker 2 (24:02):
Oh.

Speaker 19 (24:02):
I fear sorry for them, too, young folk, But I
don't know what can be done about it. And life
goes on, sir, And I've got to get the room
cleaned up and hope I.

Speaker 2 (24:16):
Can rent it out again. You've just rented it.

Speaker 19 (24:20):
I have to who to me you? Well, now, why
would you want to live in a dump like this?

Speaker 8 (24:29):
I want to spend the night in the third floor back.
Two people had died in that room. Were they connected
to each other? My romantic writer's instinct said yes. I

(24:49):
wanted them to know each other, to be in love
with each other, and to have died because of a misunderstanding.
That was the story. I wanted to write a story
of star crossed lovers in the shadow of the ninth
Avenue elevated. Then, Yet, there could have been another interpretation

(25:12):
the room itself. There may have been something in the
room itself, something strange and terrifying and deadly.

Speaker 2 (25:24):
In the room itself.

Speaker 8 (25:27):
The only way to find out was to sleep in
the room, spend the night there, and if necessary, fight
against the room itself.

Speaker 19 (25:40):
Yes, sir, I wanted to know. Is there is there
anything you need?

Speaker 2 (25:46):
Oh?

Speaker 8 (25:46):
No, no, no, I'll be quite comfortable, thank you. Why nothing,
I'm not sure it's nothing, missus Purdy.

Speaker 2 (25:57):
It is it is nothing at all. But why would
you hesitate before you said nothing?

Speaker 8 (26:03):
Because well, yes, Missus Purdy, because because whatever.

Speaker 19 (26:09):
Else was true about them, the fact is the last
two people who slept in this.

Speaker 2 (26:15):
Room were troubled people. Troubled you know what.

Speaker 19 (26:19):
I mean, troubled. It's something that shows in their eyes. Oh,
you can hear it in their voice. And sir, you
look like a troubled person to me.

Speaker 2 (26:29):
I I do, yes, sir, you do.

Speaker 20 (26:34):
And well, maybe the room gets to be too much.

Speaker 8 (26:41):
Do you know what you're talking about, Missus Purdy, Yes.

Speaker 2 (26:44):
Sir, and so do you.

Speaker 19 (26:47):
So I'm asking you, if you're really and truly troubled,
don't spend the night here.

Speaker 2 (26:54):
Thank you for your concern, Missus Purdy.

Speaker 19 (26:56):
Well, I just couldn't afford to have a third one,
I mean three, and in just about the space of
a week.

Speaker 2 (27:03):
Orf it'd been ruined forever. Oh, I hadn't thought of that.

Speaker 19 (27:07):
Well, it might be best if I was never to
rent it out again.

Speaker 2 (27:11):
I could use it for storage. Yes, that's exactly what
I'll do. I've just decided starting tonight is starting tomorrow,
Missus Birdie. But I won't let you stay here.

Speaker 8 (27:25):
I'm afraid you have no choice. I've paid my rent
in advance.

Speaker 19 (27:30):
All right, sir, But after it's too late, don't say
I didn't warn you.

Speaker 8 (27:46):
Do these things travel in threes? Hopefully not? Because first
it was the young girl, and second it was the
young girl. Will the third be our storyteller? All we
know for certain is it we have a room, and
the room seems to have a secret, a deadly secret.
Certain also is the fact that we're on the threshold

(28:07):
of Act three, where all secrets must come out into
the open. First we had a golden haired girl, Miss
Helen Smith or Miss Ellowise Vashoner. Then there was a

(28:30):
gentleman whose name may or not have been mister Jones.
Both seem to have succumbed to a faithful a faithful
what we don't know, But neither could survive the third
floor back a seedy, little furnished room in a tawdry
little rooming house on the west side of Manhattan, Oh
Henry's Manhattan. And now the master storyteller is determined to

(28:52):
discover if he can survive it himself. A first things
to turn the gas up high, high, bright light. Nothing
like bright light to dispel dark secrets. So what have

(29:15):
we here, dingy, grimy little cell. But what's the story?
Could it have been murder?

Speaker 2 (29:31):
Murder? Rule nothing out.

Speaker 8 (29:37):
Suppose I were to talk with my friend Sergeant Seamus
o'donahue with the g Supposing I would say, you are
satisfied with suicide.

Speaker 2 (29:46):
Satisfied, hope bless your soul, sir? Who could be satisfied?
And I can understand that, But there are other possibilities,
such as murder, murder by who who? We're in the
realm of supposition.

Speaker 8 (30:04):
I appreciate that missus Purdy speculate with me. Suppose miss
Smith or miss Vashner had something of value such as
ooh ring, a jewel of some sort, a gift from
a loved one, and missus Purdy saw it, and missus

(30:26):
Purdy was tempted, and missus Purdy stole into the room,
she had a key, and she turned up the gas and.

Speaker 2 (30:38):
Your evidence I have none. Well, then, of what value
was this theory to the police? Sense of no value
at all to the police? Was it white you presented
to me?

Speaker 8 (30:48):
Because I'm a writer and everything goes through my mind.

Speaker 13 (30:52):
Well, sir, going along with that theory for the sake
of argument, as it were, see, she killed the poor,
unfortunate young lady.

Speaker 2 (31:02):
How do you account for the death of the young man.

Speaker 8 (31:05):
The young man knew or what did he know? He
knew the young girl had been in that room. How
I don't know yet. But he knew that missus Purdy
had killed the young lady.

Speaker 2 (31:19):
But how did he know that?

Speaker 22 (31:21):
Now?

Speaker 2 (31:21):
I don't know that either yet.

Speaker 8 (31:24):
But he insisted to missus Purdy if the young lady
had been in that room. Missus Purdy was afraid of him.
So later that night, when he was asleep, you're saying
she did the same thing to him.

Speaker 2 (31:39):
Yes, I believe that's what I'm saying.

Speaker 13 (31:41):
Well, I must go back to the original question. Where
is your evidence?

Speaker 2 (31:47):
Unfortunately it doesn't exist.

Speaker 13 (31:51):
Within served Where are we?

Speaker 8 (31:54):
We're still at the beginning of my story. What did
happen to these unfortunate and what is there about that room?
And so I sit.

Speaker 2 (32:09):
Here and wonder. Let me down in the room again.

Speaker 8 (32:16):
The room, the threadbare rug, smudged finger marks on the
faded wallpaper, the bed distorted by bursting springs. The room
itself has been carelessly set in order. On the dresser,
a half dozen hairpins, discreet anonymous.

Speaker 2 (32:39):
In the drawers, a fragment of a handkerchief, a.

Speaker 8 (32:44):
Broken bone button, a pawn broker's card, two forgotten marshmallows,
a book on the divination of dreams, and deep dust
on the window sills. Then old dried out, half smoked
cigar in the corner, an old cork, broken pencil, all

(33:11):
the debris of those who were homeless in this their
temporary home.

Speaker 2 (33:18):
And then.

Speaker 8 (33:21):
Then I could smell something sweet, delightful. It was the
smell of mignonette. It came as a single buffet of winds,
with such sureness and fragrance and emphasis that it almost
seemed a living visited.

Speaker 2 (33:46):
And then the room grew dark.

Speaker 8 (33:50):
I heard voices, voices clear and here in the room.

Speaker 18 (34:00):
Love you.

Speaker 2 (34:02):
I love you, Elouise, and I love you George. I
don't want to live without.

Speaker 20 (34:06):
You, Oh George.

Speaker 9 (34:08):
I'm supposed to be the romantic one.

Speaker 2 (34:10):
I can't conceive of life without you.

Speaker 28 (34:13):
Well you'll have to live without me for a little while, George, Darling.

Speaker 2 (34:18):
I don't want you to break your heart nothing.

Speaker 28 (34:21):
No one can ever break my heart except you, and
you'd never do it.

Speaker 2 (34:27):
The world can break your heart, especially the world of
the stage.

Speaker 9 (34:31):
Oh George, I must have my chance.

Speaker 2 (34:33):
I'll go to New York with you.

Speaker 28 (34:34):
No, No, you can't give up your job at the bank.

Speaker 2 (34:37):
I can get a job at a bank in New York.

Speaker 9 (34:39):
No, George, this is your bank. Here, they know you
and appreciate you. In ten years you'll be the president.

Speaker 27 (34:47):
I'm in a terrible position because well you'll think I'm
only saying this.

Speaker 2 (34:51):
To keep you here.

Speaker 9 (34:52):
No, I believe you're saying what you feel is the truth.

Speaker 27 (34:54):
Don't go because because you're not good enough. Oh you're angry. No,
I'm not at it, Darling. You're so good at our
little community drama group. But I've been to New York.
I've seen great actresses Ada, Riian Bernhard.

Speaker 2 (35:14):
And Miss Barreys.

Speaker 9 (35:15):
I know I'm not as good as they are.

Speaker 2 (35:16):
You a thousands and thousands of hopeful girls like you.

Speaker 28 (35:20):
George, dear, we've talked about all this before. Yes, I
suppose we have, and we agreed that I am to
have my chance.

Speaker 30 (35:30):
And at the end of a year, if Darling, I
want you to take this ring. Oh, George, it must
have been so expense.

Speaker 2 (35:42):
Would you read what's inscribed inside?

Speaker 28 (35:46):
Yes, don't die without me?

Speaker 9 (35:53):
What George?

Speaker 2 (35:54):
Remember it?

Speaker 9 (35:55):
What a thing to say.

Speaker 2 (35:57):
I know how much you want to succeed is an.

Speaker 9 (35:59):
Act, do you, George, really?

Speaker 2 (36:02):
Yes?

Speaker 27 (36:03):
And well that's why I'm afraid for you. Don't be
if New York says no, I don't want you to
feel it's the end of the world.

Speaker 2 (36:12):
You must never.

Speaker 9 (36:15):
Never what, George.

Speaker 27 (36:18):
Die, George, I mean, let your hopes die, your your
spirit die, let the brightness inside you die. Do you understand, yes, George.
And if you ever feel that things are too much,
you must send for me. That's what it means.

Speaker 28 (36:39):
Yes, George, Yes, my darling.

Speaker 14 (36:42):
I know.

Speaker 8 (36:47):
I opened my eyes. I saw nothing, but the room
was no longer dark. It was bright. The gaslight was
burning cheerily. Where were they? Those two people? Who were they?
I'd heard them so clearly. They could have been in

(37:10):
the room with me, George. He must have been mister
Jones and Eloise. Of course she had been Eloise Vashna,
and this had been their parting scene. Then once again,

(37:31):
the stale, dank odor of the room had disappeared, only
to be replaced by the sweet aroma of the mignonette, and.

Speaker 9 (37:42):
Once again voices, it's a beautiful ring.

Speaker 8 (37:47):
I didn't say it wasn't, but it's small, yes, but
it should be worth worth what it has an inscription
which lowers the value.

Speaker 2 (37:57):
Of the ring.

Speaker 9 (37:58):
Oh, please much for the ring?

Speaker 31 (38:01):
Huh huh?

Speaker 8 (38:04):
Where do you live?

Speaker 9 (38:06):
Does it matter? On the west hide?

Speaker 32 (38:09):
No?

Speaker 33 (38:09):
No?

Speaker 2 (38:10):
Where is your home?

Speaker 34 (38:11):
My home?

Speaker 2 (38:13):
Well?

Speaker 28 (38:15):
I I don't have a home any boy, Yes you do.

Speaker 9 (38:20):
I can't go back.

Speaker 2 (38:21):
You can now tell me.

Speaker 16 (38:24):
Where is your home?

Speaker 2 (38:26):
Why?

Speaker 16 (38:27):
Because wherever it is, I will give you the price
of a railroad ticket home.

Speaker 2 (38:36):
Why don't you go back to him?

Speaker 9 (38:39):
Who him?

Speaker 2 (38:41):
Whoever he is?

Speaker 16 (38:42):
Do you mean to stand there and tell me there
isn't a boy back home?

Speaker 9 (38:48):
He wouldn't want me?

Speaker 2 (38:49):
Now is the ring?

Speaker 9 (38:51):
Do you see what it says on the ring?

Speaker 16 (38:55):
You mean a boy who would have that engraved on
a ring wouldn't want you?

Speaker 9 (39:01):
Give me anything you want for the ring, anything you think.

Speaker 16 (39:04):
It's worth, call him, send him a telegram.

Speaker 9 (39:09):
Don't understand.

Speaker 16 (39:11):
I can't.

Speaker 8 (39:16):
And once again the voices were gone. The room was
still dark, and the sweet smell of Mignonette persisted. I
heard a whisper at first, then it grew louder. It
was her voice, the voice of the girl called Eloise.

Speaker 9 (39:39):
George, George, are you there? Oh George, how did you
find me?

Speaker 2 (39:51):
Where are you, Eloise? Where are you? Oh George?

Speaker 9 (39:56):
How did you find me?

Speaker 2 (39:57):
I hear you, Eloise, but I can't see you.

Speaker 9 (40:00):
I wanted you to come to me. How I longed
for you, how I needed you?

Speaker 17 (40:07):
Did you?

Speaker 18 (40:08):
Hellois?

Speaker 9 (40:09):
I couldn't not.

Speaker 28 (40:11):
After what I what I did?

Speaker 2 (40:16):
Eloise?

Speaker 28 (40:17):
You were right, George. It was the end of the world.
My hopes died and my spirit Luise?

Speaker 35 (40:30):
Where are you?

Speaker 9 (40:30):
And I died? Louise?

Speaker 14 (40:37):
How?

Speaker 12 (40:37):
Hello?

Speaker 9 (40:37):
Did you?

Speaker 2 (40:38):
You forgot what I said?

Speaker 28 (40:40):
No, George, I I never forgot.

Speaker 2 (40:45):
Why did you do with Elouise? Why did you.

Speaker 22 (40:48):
Die without me?

Speaker 9 (40:48):
You have to forget me.

Speaker 28 (40:51):
You are still young and strong and filled with hope
and spirit and brightness.

Speaker 2 (40:58):
Why did you die without me? Seize George.

Speaker 27 (41:01):
No, you can't die without me the germ no, George, don't.

Speaker 2 (41:11):
It won't take long, darling. I'll be with you in
just a few minutes.

Speaker 8 (41:23):
Suddenly the aroma of Mignonette was gone. In its place
was another smell, a sickly Swedish smell. And I heard
it in the dark. I heard it, Sergeant Seamus o'dannie.
Who's deadly snake? The gentle snake that neither bites nor crushes,

(41:49):
but who breathes the sweet and pungent air of death. Yes,
the jet was turned off, but the flame was out
quickly because by now I was starting to cough and gasp.
I turned off the jet, threw open the window and breathe,

(42:11):
breathe the open, life giving air.

Speaker 16 (42:19):
I must say, it's a beautiful story.

Speaker 2 (42:22):
You like it.

Speaker 16 (42:23):
Then they both die, But since they die for love,
it's all right, thank you?

Speaker 9 (42:30):
Is it true?

Speaker 2 (42:32):
True?

Speaker 16 (42:34):
A writer finds his own truth, But in this case,
you could find the actual truth.

Speaker 2 (42:40):
Should you care to? Is that a fact? Missus parleach?

Speaker 16 (42:44):
How we don't know if these two people actually knew
each other or anything about the ring other than your
own fancy. I did hear the voices, yeah, but a
writer always hears voices.

Speaker 8 (42:56):
You could ask the poem broker, the pawnbroker, Yes.

Speaker 28 (43:01):
He said, when you were looking around the room, you
found a pawnbroker's card.

Speaker 2 (43:04):
Ah, yes, yes I did.

Speaker 9 (43:07):
Wouldn't it just stand a reason?

Speaker 2 (43:08):
Yes?

Speaker 9 (43:09):
All you have to do is go down.

Speaker 28 (43:10):
And see the pawnbroker ask if there was actually such
a girl and such a ring.

Speaker 8 (43:17):
I could have done that, but I didn't.

Speaker 9 (43:22):
You didn't.

Speaker 2 (43:23):
Why not? Because ms Polledge.

Speaker 8 (43:28):
That would have been cheating, which is something Oh Henry
would never do to a reader. And so the master
of irony and suspense was so good at it, because
in suspense is.

Speaker 2 (43:45):
How he loved to live himself.

Speaker 8 (43:48):
He must have been his own best reader, just as
surprised by his surprise endings as you and I are.

Speaker 2 (43:54):
I'll be back shortly.

Speaker 8 (44:06):
Yes, he loved to write, Oh Henry did, And his
favorite theme was the one of two lovers kept the
part in the maze of the great unfeeling city. Sometimes
they were united in this world, and sometimes they had
to wait for the next, but he always joined them
together at the end. To O Henry, the end was

(44:29):
eternity for you, our listener. However, there is no end.
We go on here seven times each week. Our cast
included Robert Dryden, Marion Seldie's, Joan Shay and Russell Horton.
The entire production was under the direction of Hymon Brown.
And now a preview of our next tale. A short

(44:52):
barrel comes all A hold fast, wrong, a draw.

Speaker 16 (44:55):
Draw, But what are you talking about?

Speaker 2 (45:00):
And don't you say that to me?

Speaker 36 (45:01):
Luke?

Speaker 2 (45:02):
Now what you want me to come out here for? Huh?
To watch me, to watch you what you.

Speaker 18 (45:08):
Can see that that bottle sitting.

Speaker 2 (45:11):
On that rock.

Speaker 12 (45:12):
Uh huh, Well.

Speaker 2 (45:13):
I want you to watch me draw and shoot like this? Luke,
what was that for?

Speaker 12 (45:22):
Jim?

Speaker 2 (45:24):
Am I as fast as ever? Watch the post? Answer me, Jim,
never mind anything else?

Speaker 12 (45:29):
Am I as fast as ever?

Speaker 2 (45:30):
You look as fast?

Speaker 18 (45:31):
Are you sure?

Speaker 2 (45:31):
Jim?

Speaker 8 (45:32):
Are you sure?

Speaker 2 (45:33):
Thinks so?

Speaker 12 (45:34):
Well?

Speaker 22 (45:35):
Well, I guess I'll have to try the real way
to find out what.

Speaker 2 (45:39):
Do you mean?

Speaker 8 (45:40):
The real way to find out, Luke, The real way.

Speaker 2 (45:43):
To find out what? Radio Mystery Theater was sponsored in
part by Duick Motor Division. This is E. G.

Speaker 8 (45:50):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, pleasant dreams.

Speaker 37 (46:42):
It's an age old story, the story of the Father's
trial and temptations, a story that goes back to Biblical times.
This is the way it could happen in the world
of today. Listen to the sacrifice on theater.

Speaker 2 (46:57):
Five.

Speaker 8 (47:13):
Yes, Miss Randall is here now, mister Hay two minutes late.

Speaker 12 (47:32):
Send him in.

Speaker 8 (47:33):
Hold all calls, no interruptions, morning with Hey, come in,
abbe shut the door carefully. Sorry, I'm late witching trouble
on the Detroit, Pittsburgh, Boston telephone conference. Wow, I suppose
these things happened. Sit down, Terryson, thank you. Now. First,
your division reports have been audited, good profit ratio. We

(47:54):
run a tight operation. I believe it's the best in
the entire OA corporation. Let me say that. Second, we're
in trouble in the construction division. This is strictly confidential.
I've heard no rumors, mister Hay, I've seen to that
strict security. Now here's a problem the Red Rapids atomic installation.
We're experiencing radiation and releasing. We have thirty two million

(48:17):
tied up there, and if we don't make it good,
we'll be in trouble. I sent three men, supposed experts
down there, Catt Blande, to do anything. No results except
that all three received radiation burns, which would probably be fatal.
When that happens, everything is going to fall on our head,
the newspapers, AEC and Congress Parrison. This problem has to
be cracked. The YELLOA corporation is going to take such

(48:40):
a beating we may never recover anything I can do. Well, Oh,
I'll be glad to I'll go down and make a report.
No reports. I'm fed up on reports. I need action.
Someone has to dig in there and find the source
of the trouble, even if it kills him. I'm volunteering
this to Hey, I can't do more. This needs an expert,
not an executive, and I want for this job. Is

(49:00):
your son, Iral Yes, I've asked around discreetly. He blue no.
Tell me that Irah Terryson is the coming man in
the field of atomic entity. But to be twenty four
years of age and have such a reputation is fantastic.
I'm counting on him to pull us out of this
mess quickly and quietly. But Ira is involved in this
research project at the Universe. I can wait, we can amy.

(49:23):
You get hold of Iron. Tell him to report to
my office at eight o'clock tomorrow morning. Considering the high risks,
We'll pay whatever. But he's got to be here. Mister Hey,
I offered my life, but I have no right to
sacrifice my sons for the Yellow Hay Corporation. IRA's not
an employee, he's my son. I'm surprised that you asked me.

(49:44):
I'm not asking you. I mean I'm telling you all
your life. You've been supported by the yellow Hey Corporation.
You were a green college kid when you came here.
You've enjoyed security, advancement and power. And your son You've
got to raise the da he was born. How manny
scholarship just took him through school? Am I exaggerating? No, sir?
But now for the first time, the y lo Hey

(50:05):
Corporation is asking you for something and you turn me down.
Your attitude disappoints me.

Speaker 18 (50:12):
Abby.

Speaker 8 (50:13):
I went Iran to go to Red Rapids, and I
don't want any argument that eight o'clock tomorrow morning in
my office, Abby for.

Speaker 38 (50:27):
Pete Hey, drinking Martini and stop worrying.

Speaker 8 (50:30):
The first time I've crossed up the old man since
I joined the ylo Hey Corporation twenty six years.

Speaker 38 (50:35):
Sally, better late than ever.

Speaker 8 (50:38):
Oh, Sally, be serious.

Speaker 39 (50:39):
I'm serious about my son's life. Who does Lawrence oswald
Hey think he is demanding Iris services?

Speaker 38 (50:46):
Ira is perfectly happy at the university. Why should he
work for l Hey?

Speaker 8 (50:50):
Wait a minute, He'd be paid and paid more in
a month than he makes in a year.

Speaker 38 (50:55):
IRA's life isn't for sale, even if yours is.

Speaker 8 (50:58):
Oh, now, Sally, let's not.

Speaker 38 (51:00):
Why not?

Speaker 39 (51:01):
For twenty six years you have lived, breathed, work, slept
eaten as a company man. You've been afraid to have
a thought that wasn't approved by l O Hay. All right,
you have no friends who aren't useful to the corporation.
You expect me to associate only with the wives of
the other vice presidents, to belong to the same country
club and the same political party.

Speaker 38 (51:20):
Now I have tried to go along with.

Speaker 14 (51:21):
All of them.

Speaker 8 (51:22):
You've been very helpful to me, Sally.

Speaker 39 (51:24):
I appreciate it, but I won't let you put Ira
in the same track if he should get out of
Red Rapids alive.

Speaker 38 (51:30):
Ira hates the corporation and I don't blame me.

Speaker 8 (51:33):
He has no reason to.

Speaker 38 (51:34):
Of course he has.

Speaker 39 (51:35):
It took his father from him and gave him a
company vice president instead.

Speaker 38 (51:41):
Why should Ira risk his life to make profits for.

Speaker 8 (51:43):
L O Hay, Not for Hay, for me, for us.
O Man isn't used to anyone saying.

Speaker 9 (51:50):
No, Well, what can he do to you?

Speaker 38 (51:52):
Fire you be the best thing that ever happened to you.

Speaker 8 (51:55):
Oh, you're being childish? What about my pension rights, my
stock options? If I get fired, I lose everything?

Speaker 38 (52:01):
You lost everything years ago.

Speaker 8 (52:03):
Oh, I don't know. You've had a pretty good life
with the corporation all these years, Sally, Where would we
have been without l O Hay? If he ask for something,
perhaps we owe it to him. We can't refuse, we
can and will. Sally promise me you won't give Ira
to him. I can't promise you must.

Speaker 38 (52:23):
It's too dangerous.

Speaker 8 (52:25):
Ira will know how to take care of himself.

Speaker 38 (52:27):
You don't believe that, do you.

Speaker 8 (52:29):
I don't know what to believe. All I know is
that the old man wants him.

Speaker 39 (52:32):
You're his father, Abby, you can't sacrifice him. Promise me
that you won't take him to the office in the morning. Well,
don't tell Ira anything about it. Stand up to Hay
like the man that you.

Speaker 38 (52:43):
Are or were.

Speaker 8 (52:46):
I'll try, Sally, promise me.

Speaker 38 (52:48):
Abbe, he's our son, Abby, promise.

Speaker 2 (52:55):
I promise, Dollie, I promise.

Speaker 8 (53:08):
Good morning, Jenkins? How are you on this beautiful morning? Jenkins?
Good morning? What's the matter?

Speaker 2 (53:16):
Jackins?

Speaker 8 (53:16):
You gotta groutch on? Where's that irish smile of yours?

Speaker 18 (53:20):
Hey?

Speaker 8 (53:20):
Look, Jenkins, don't let old man Hey catch you like this.
You know how he likes all the guards to be cheerful.
I'll see you later. I hope you're gonna better move.
Good morning, Atsy, let's do at the reception desk, Nancy? Nancy? Uh,

(53:42):
what time do you have? My watch says ten o'clock, Nancy.
Let's got into everyone this morning. Hey, for the lover,
where's my.

Speaker 29 (53:58):
Danny?

Speaker 8 (53:59):
Took my name off the door? Annie? I said, who
took my name off the door? It was there last
night when I left. Oh not you too, Annie, I said,
good morning to Jenkins at the gate and to Nancy.
Neither would answer me. But I didn't think that you,
Annie would. What the Devil's going on here? I come
in my private office. Sat down. Annie, You and I

(54:26):
are going to have a little talk. Hey, who took
down my Picasso print? Where's my silver ink? Well? My
electric humor door. I've had just about enough of this.
I'm going to raise a stink.

Speaker 10 (54:39):
Annie.

Speaker 8 (54:40):
You take a memo all right to George Matulis's office
services from Abbie Terrysen, vice President Automotive Division. On my
arrival here this morning, Well you getting it at the devil?
Is this note? If you have anything to dictate, mister Terryson,
get a stem from the typing pool. All right? Annie?

(55:04):
Why am I being given the silent treatment? Have you
all been told that the skids are under me? Is
this your idea of a practical joke? Is it April
Fool's Day or something like that? Annie, Please, for God's sake,
answer me.

Speaker 18 (55:18):
I've got to know.

Speaker 8 (55:22):
Mister Hey ordered it, didn't he That's the only way
it could happen, right Annie, Annie? Can't you even nod
your head? Don't just sit there as if I didn't
even exist. You worked for me for fifteen years. I
thought you were my friend. I thought you had some
loyalty to me. Was I wrong?

Speaker 40 (55:42):
All right?

Speaker 8 (55:42):
Listen and listen well, and then you judge for yourself.
Here is what l O Hey wants me to do.
He wants me to get Ira to go to the
Red Rapids atomic Installation, where he'd most likely be killed
by radiation exposure. That's irah Arah. He's always been like

(56:02):
a nephew to you, and you gave him presents for
all his birthdays, you visited him when he was sick.
So I turned mister hay down. I hate it too,
but I had to you understand.

Speaker 2 (56:17):
Don't you tell me that I was right?

Speaker 8 (56:20):
Annie? Please, we're here by ourselves. Yellow Harrison, I've heard
everything you said. You said too much, Report to my
office immediately. How disloyal can you get? Harrison? Talk to

(56:50):
a secretary about me behind my back with Annie's more
than a secretary, She's like a member of our family. No, really,
Dally and I never had a celebration without inviting Annie.
But to have her not talked to me rose that
she's still a secretary. You see, Terras And this girl
knows that she's my employee, not yours. She knows that
there is no power in you, but that given you
by the corporation. He's always been my friend. At your level,

(57:12):
you cannot afford such illusions. The corporation made you, and
the corporation could break you. That's as easily as it
can make and break your Annie. That you disobey my orders,
there's just one difference. She realizes it. You do not. Hey,
just yesterday you told me that my division was doing well.
It is this morning I receive treatment that is violent

(57:33):
and demeaning, beyond reason. I determined what is beyond reason?

Speaker 34 (57:36):
Not you.

Speaker 8 (57:37):
You think it's reasonable to have my supportments disregard me.
You don't care for it ain't definitely well neither I
I told you I wanted your son. I are in
my office at eight o'clock this morning, ready to go
to Red Rapids Atomic Installation. It's demeaning to me to
have my orders ignored by my subordinates. To strip my
eye took nothing that was yours, nothing that the corporation
hadn't given you in the first place. The castle rent,

(58:00):
the silver ink, well engraved name plate, all company property,
all symbols of the power Ylo Hay has given you
to run your division. Now you know that without the
corporation you have no power. It seems to me that
the Llo Hey gives Llo Hay takes away. You are
nothing without us. Am I right? Automotive is my divisions

(58:22):
to Hey, I built it up. I made it profitable.
Without us, you have no power to build it to
do any I can run any large organization. Do you
wish to try? Mister Hey, I didn't say that, then.

Speaker 18 (58:33):
What did you say?

Speaker 8 (58:34):
Or what I meant was that you have ability. Ability
without power is like an engine without fuel, useless and feudial.
We give you the power, mister Terryson, I suggest that
you acknowledge it unless you want it taken away from
you permanently. Do you know and speak the truth clearly?
Without the corporation, you have no authority to do anything.

(58:57):
Show your absolute loyalty of the operation. And when I
say I want your son to clear up the Red
Rapids mess, get him out here fast. IRA's over twenty one.
I can't make him take a job he doesn't want.
You are over twenty one. If I want you to
do something, you'd do it. There's always a method of
bending people to your will. Red Rapids is not my responsible.

(59:17):
Anything the corporation assigns you is your responsibility. Certainly, if
you can't run your own family, you cannot expect to
be allowed to run a multimillion dollar enterprise. Now you're
going to tell Ira to be here tomorrow morning or not.
I don't want my son to die mistake.

Speaker 2 (59:32):
We need Ira.

Speaker 8 (59:34):
We must have his services at whatever the cost, whatever
the sacrifice. Is that clear, Terryson, you'd be here, mister
Hay and he'll go to Red Rapids, even if I
have to carry him.

Speaker 37 (59:58):
Yes, just a minute, Hello, Pop, this is a surprise.

Speaker 8 (01:00:05):
I was in the neighborhood on company business. I thought
i'd drop in take you out to lunch?

Speaker 37 (01:00:10):
Oh coming? Well, thanks Bob. See I can't spare the
time for an expense account lunch, but you're welcome to
half my liverware sandwich.

Speaker 8 (01:00:16):
Thanks Sarah. I'll stay if you don't mind. There's something
I'd like to talk to you about, all right, What
is it?

Speaker 14 (01:00:22):
Pop?

Speaker 8 (01:00:24):
I can't tell you what it is until you promised
me to do it. Huh, And I don't want you
to discuss it or even mention it to your mother.

Speaker 37 (01:00:33):
Wow, sounds pretty mysterious or ominous. But if it means
that much, Pop, I.

Speaker 18 (01:00:39):
Have no choice.

Speaker 8 (01:00:40):
You can say no, Ira, Why should I say no?

Speaker 37 (01:00:43):
I might even want to do it, but I imagine
that you know I don't want to, or you wouldn't
make me promise first. But really, Pop, it's that important
to you count on me?

Speaker 8 (01:00:54):
Are you sure?

Speaker 41 (01:00:54):
Er?

Speaker 8 (01:00:55):
Not even knowing blind promise?

Speaker 14 (01:00:57):
Pop?

Speaker 37 (01:00:58):
I said I would. Now I get to know the
big secret?

Speaker 8 (01:01:03):
Well, you know, our Advanced Engineering division built the Red
Rapids Atomic Installation. L hey wants you to make a
special study. Why, I mean you're getting a reputation. Well,
it's a good thing you made me promise first. I
guess you know where Hey stands in my estimation, and
how I hate to interrupt my work.

Speaker 2 (01:01:24):
Here.

Speaker 8 (01:01:24):
Look, Ira, this is just a few weeks out. You
can ask for all kinds of money. You'll get it.
None of this university small change thousands. Why the high
pay bit you're trying to corrupt me something like that. Oh, no,
not at all. They've been running into some unexplained radiation
leakage down there. So this is the usual compensation for

(01:01:45):
risk radiation leak. Hey told you that. Yes, Sarah, that's
one of the things that Hey thinks you can have
some ideas about. And Ira, please take care of yourself.

Speaker 2 (01:01:57):
I'll try Pop, I'll.

Speaker 8 (01:01:59):
Try Abbey, and I are here s the man and
miss Randall. Oh, George Matula's canceled yesterday's orders and have
mister Terrison's office restored. Yes, well, good morning, gentlemen. Morning

(01:02:25):
to say good morning. So Irah, you're going to join
our team.

Speaker 37 (01:02:29):
And my father asked me to do a special study
for you. I promise to do it and I will.

Speaker 8 (01:02:33):
God good, Now did he tell you?

Speaker 37 (01:02:37):
He explained that there's a high risk of radiation and
the pay is no object.

Speaker 8 (01:02:42):
That correct, That's what I told him, right, Abbey. Yes,
that let me state my terms.

Speaker 37 (01:02:47):
Five thousand a week with a minimum guarantee of six weeks,
all payable before I start working.

Speaker 8 (01:02:52):
That's rather exorbitant, doesn't he is it?

Speaker 37 (01:02:55):
You know what the risks are, and so do I.
You're used to buying lives cheaper, mister Hay, but I
set a somewhat higher value on my life.

Speaker 2 (01:03:06):
My father persuaded me to come.

Speaker 37 (01:03:08):
He's done his work, and I'll do the investigation if
you'll meet my.

Speaker 8 (01:03:11):
Price, Abby, or a research physicist, your son is quite
a businessman. I'll make out the check immediately. Hey, to
the order of Hirah Terrison. There's some of thirty thousand dollars, Lawrence.

Speaker 15 (01:03:32):
Oh, hey.

Speaker 18 (01:03:36):
There, Teryson.

Speaker 8 (01:03:38):
I am proud of the way you came through the corporation.
I know it hasn't been easy for you to come
to this decision, and Abby, you should feel very proud
of the love your son has for you. You do
feel that way, don't you. I feel nothing. I merely
did what you asked me to do. No, Abby, it
isn't really that bad, isn't it not at all? You know, Abby,
I've watched you grow years ie that you had the

(01:04:00):
makings of a great executive. But sometimes I thought you
were a little too soft, perhaps lack that absolute loyalty
to Yellow. Hey, now I see that you don't. I'm
not following him as to Hey, Well, let's put it
this way. There's nothing wrong with Red Rapids, no radiation, leakage, nothing.
This was a test of your loyalty and you came through.

(01:04:22):
Why Why As of tomorrow, Abby, I'm going to retire
and you are going to be president of the entire
yl Hay Corporation. This is my tribute to your loyalty, and.

Speaker 3 (01:04:34):
This is mine.

Speaker 37 (01:04:35):
Pop, This old buzzer's check got thirty thousand bucks endorsed
over to you.

Speaker 14 (01:04:40):
I want no part of it.

Speaker 8 (01:04:41):
I don't be foolish, Hirah. There's no danger that there
never was any danger.

Speaker 37 (01:04:44):
I know that I knew it yesterday when you asked
me to do the work. Some of my closest buddies
work at Red Rapids. I hear from them all the time.

Speaker 2 (01:04:52):
But you didn't know.

Speaker 8 (01:04:54):
You thought that I could get burned or be killed. No, no,
I right, I knew that you'd be careful. It seemed
like a good opportunity for.

Speaker 2 (01:05:00):
Face the truth.

Speaker 17 (01:05:01):
Pop.

Speaker 8 (01:05:02):
You were willing to have me die to keep in
good with l oh Hey.

Speaker 2 (01:05:07):
Well this is where I leave, so long.

Speaker 8 (01:05:09):
That both of you you belong together. I rah a
R easy, Abby, You get over it. When you take over,
you'll be able to do a lot for him. You'll
sit in my chair and all the power will be yours,
danglar fact consultation fee, and you'll come crawling back to you.

(01:05:30):
I hope he never does. I want my son to
walk like a man, not like me. What you call loyalty,
mister l Ohay was feared, sheer, animal, got terror. I
want no part of it. I don't want your chair,
or your power you check, or your job, Abby. I

(01:05:50):
want my son. I want my son.

Speaker 42 (01:05:56):
I want my son.

Speaker 43 (01:06:23):
Theater five has presented The Sacrifice, written by Rafael David
Blau and directed by Ted Bell.

Speaker 2 (01:06:31):
In the cast Scotts.

Speaker 43 (01:06:32):
Cottsworth, Maurice Toplin, June Graham, Arlene Walker and Jack Manning.
Audio engineer Neil Pultz, sound technician Terry Ross, script editor
Jackson Wilson. Original music by Alexander Blos Dotsenko Orchestra under
the direction of Glennasser. Executive producer for Theater five, Edward
a Byron. We invite your comments. Write to Theater five,

(01:06:56):
New York, twenty three, New York. This is Fred Boy speaking.

(01:07:38):
This has been an ABC Radio Network production.

Speaker 7 (01:07:41):
October is birthday month for Weird Darkness. This year makes
ten years of doing the show. But while it's our birthday,
we want the gifts to go to those who help
people who suffer from depression, anxiety, or thoughts of suicide
or self harm. That's what our annual Overcoming the Darkness
campaign is all about. It's the only fundraiser I have
a year long you can bring hope to those who

(01:08:02):
are lost in the darkness of depression. You can make
a donation right now at weird Darkness dot com slash hope.
I'll close out the fundraiser at the end of October
and announce how much we raised. The more we raise,
the more people we can help. To donate, get more
information about the fundraiser and the organizations we're supporting, or
find hope for yourself or someone you know who are

(01:08:22):
fighting depression. Visit Weirddarkness dot com slash hope. Please donate
now while you're thinking about it. Weird Darkness dot com
slash hope.

Speaker 44 (01:08:31):
All the time that I was known, I thought, I thought,
I do if only I.

Speaker 29 (01:08:36):
Did, And then I thought the movement two thousand plus
science fiction Adventures in the World of Tomorrow.

Speaker 22 (01:08:45):
The years beyond the two thousand Baby two thousand plus
presents a robot killer.

Speaker 12 (01:09:07):
So you are, mister Samuel Donaldson.

Speaker 22 (01:09:10):
Yes, sir, Happy Sam, they call me So.

Speaker 12 (01:09:13):
I know.

Speaker 22 (01:09:13):
I have friends who think your television program it's very funny.

Speaker 15 (01:09:17):
I do not.

Speaker 12 (01:09:18):
That's a living Professorst. Trager.

Speaker 29 (01:09:20):
Now, may I see the mechanical man I'm getting away
as the jackpot prize on my show next week.

Speaker 22 (01:09:25):
It is not a mechanical man, mister Donaldson.

Speaker 12 (01:09:28):
The correct word is robot. Robot.

Speaker 29 (01:09:31):
I know, I know.

Speaker 22 (01:09:33):
Robert is a supreme achievement of our electronics division, worked
on us for six years.

Speaker 12 (01:09:38):
Do whatever it is instructor to do.

Speaker 22 (01:09:40):
I simply do not understand how the management of this
corporation can think of giving it away to this public.

Speaker 12 (01:09:46):
It's magnificent mechanism.

Speaker 29 (01:09:47):
Oh look, Professor, this corporation sponsors my TV show. We're
on one two hundred and forty six stations. We're telecat
in three dimensional color, and the Happy Sam Show is
the number two favorite in the country. The sponsor thinks
it would be a good advertising gimmick to offer up
super jackpot prize, a mechanical man, a robot, and I

(01:10:09):
never argue with a sponsor. Now, please, may I see
what I've come to see?

Speaker 22 (01:10:14):
Oh right, young man, I have no choice.

Speaker 18 (01:10:16):
Come along.

Speaker 12 (01:10:29):
There it is experimental Robot twenty three.

Speaker 29 (01:10:34):
Ve there, he's really something. Professor six feet tall, shiny metal,
flexible fingers say.

Speaker 22 (01:10:46):
How does he work?

Speaker 12 (01:10:47):
Very simply?

Speaker 22 (01:10:48):
His electronic controls respond to ultra high frequency ways which
emanate from this microphone box. Speaking to the microphone, robot
will do whatever you order into anythinks virtually, Rubert twenty
three has an electronic brain driving yourself him.

Speaker 29 (01:11:05):
Okay, thanks, we had of line.

Speaker 22 (01:11:07):
Really, mister Donaldson, what a ridiculous request. Do you think
the best scientific brains in the country worked.

Speaker 12 (01:11:13):
For six years or.

Speaker 9 (01:11:20):
With it?

Speaker 12 (01:11:28):
Really tried to see?

Speaker 29 (01:11:30):
Hey, he's very clever for us.

Speaker 22 (01:11:32):
That's there.

Speaker 29 (01:11:33):
Hey he wants this pick up that broom in the
corner and sweep before Oh boy, the housewives who watched
my program will love this.

Speaker 4 (01:11:44):
What oh he's done?

Speaker 2 (01:11:48):
Look at there he's doing it.

Speaker 32 (01:11:52):
He's doing it.

Speaker 29 (01:11:54):
Okay, Okay, stop sweeping.

Speaker 18 (01:11:56):
What a gadget?

Speaker 17 (01:11:58):
What a devil?

Speaker 29 (01:11:59):
Way naw.

Speaker 12 (01:12:01):
I see something for the kiddies, and I'll hey.

Speaker 2 (01:12:03):
What is that?

Speaker 22 (01:12:04):
That kitten is the pet of doctor Broderick, is a
physics laboratory, and I assure you you cannot give that away.

Speaker 29 (01:12:10):
I don't want to give that kitten away. I just
want a little heart throb on the show for the youngsters.

Speaker 12 (01:12:16):
Here kitty, come a kiddy kitty, not kiddie.

Speaker 22 (01:12:21):
Now down a four years old, not down a floor.

Speaker 29 (01:12:24):
Uncle ahead, and we'll show how jackal and friendly our
jackpot prize.

Speaker 22 (01:12:28):
Robot it with tat give me the mic Donaldson, what
are you going to do?

Speaker 29 (01:12:32):
Now? Okay, Robot twenty three go over to the kitten,
kick it up and pat the kitty. Nine's kitty. Look
it isn't that woe boy? What a camera shot on

(01:12:53):
the air.

Speaker 4 (01:12:54):
Hey what's he doing?

Speaker 12 (01:12:56):
Twenty three? Drop the kitten?

Speaker 22 (01:12:58):
Drop the kitten?

Speaker 12 (01:13:03):
Oh, poor Tabby?

Speaker 4 (01:13:05):
Why he.

Speaker 29 (01:13:07):
Killed a kitten? Brook its neck?

Speaker 12 (01:13:10):
He tried to pet it and he killed it.

Speaker 22 (01:13:15):
You see what comes when when fools play with friends.
No good will come of giving this little bit away.

Speaker 12 (01:13:23):
To the public.

Speaker 22 (01:13:24):
I warn you, no good will come of it.

Speaker 12 (01:13:36):
Hello, ladies and gentlemen.

Speaker 29 (01:13:37):
Hello, this is Happy Sam, the Happy Man, welcoming you
to another half hour of mirth and Meladays, Why how
about a fan there very much bagging, very much. Now
you know that every week for the past four weeks,
our Grand Cooper jackpot has been growing and growing. At

(01:14:00):
this moment, these are the sensational prizes in that jackpot.
A free rocket plane trip for two of the Parrots,
flying in the new one hundred and fifty passenger luxury
rocket cruiser at sixty thousand feet only three hours and
ten minutes from New York to Parrots. Hey Caddy, Atomic
Power sports roaster.

Speaker 12 (01:14:20):
The automobile.

Speaker 29 (01:14:21):
It never needs gas or oil. It runs almost forever.
A Cryalon Man.

Speaker 12 (01:14:26):
Suit Taylor to your measure.

Speaker 29 (01:14:28):
Cryalon is the wonder fabric, guaranteed to last one hundred years.
And with this suit a special set of fourteen different
Cryalon chemical colors. Dip that suit in the color you
prefer wear it, then change the color with another lend.
The suit is always pressed, always perfect, fourteen suits in one,
A complete wardrobe on your back. And the one thing

(01:14:50):
money cannot buy more money, Yes, ten thousand dollars k
now those are our jackpot prizes. And now tonight we
add one more prize, a prize so fantastic and wonderful,
nothing like it has ever been offered to a lucky
one or before. This prize is a supreme achievement of

(01:15:12):
modern science. It is an entire revenue of servants in
one amazing machine. It is a slave to your every
command and time. It is Michael the Mechanical Man.

Speaker 41 (01:15:31):
Thank you, thank you, thank you.

Speaker 29 (01:15:33):
And now now to determine who wins this giant jackpond,
and who wins this mechanical marvel. Michael the Mechanical Man,
a thousand slaves and one amazing machine. Now, as you know,
ladies and gentlemen, each send every one of you. Millions
of people watching this program on your business screens are
receiving this program by a microwave, and now our computators

(01:15:55):
are in action. They are channeling every microwave reception on
this program. When the spinner disc stops, if your television
set is on, if you're the lucky person, you win
the back pot. Wait now, wait, the computator has finished.
The engineer signals that the center disc is slowing down,

(01:16:15):
and we have a winner. Tonight we picked up a
set who had a tune in our fitting model is
walking across the stage.

Speaker 45 (01:16:21):
With a name.

Speaker 29 (01:16:22):
Thank you, honey, and ah here it is the name
you've all been waiting to hear. Or two three North
Glenn Cole Boulevards in Martin Hills, New York, Apartment five D.
Mister John Hannold, mister Don Handos.

Speaker 22 (01:16:52):
She's down the st Hanold my practice medicalie.

Speaker 12 (01:16:56):
Judging from the smile on.

Speaker 22 (01:16:57):
Your face, Jeous Missus, you're pretty happy that Missus Hanold
is being released from the hospital today. Not only that, doctor,
don't tell me. I haven't heard of my other good
piece of luck and I want D's been calling me
for hours before I left for the hospital and have
a good piece of lud. No, I haven't heard why
I went on fibrus prizes on a giveaway show, including
ten thousand dollars. That means Bill is going to be paid.

(01:17:19):
But I also got a trip to parents and mechanical
man and Lloyd knows, well that's wonderful. I congratulate you. However,
I think I will forget that trip to Paris for
a while. In fact, wait a few hours before telling
missus Hanold about your good fortune.

Speaker 12 (01:17:32):
Why God, mister Hanold.

Speaker 22 (01:17:34):
After your wife's illness, she suffered a nervous breakdown. She
became mentally unstable, but she's pretty good now thanks to
what the hospital has done. However, when you take her home,
she must finish his returning to her normal life and
winning ten thousand dollars prizes.

Speaker 12 (01:17:50):
Isn't time normal?

Speaker 22 (01:17:52):
I see? The main thing you want to avoid is
a relapse. She should have a few neighbors who can
drop in and see Hannah. I'm then, well, there's missus Barton,
Virginia Barton. She lives in the apartment next to us,
on our floor.

Speaker 12 (01:18:05):
As he has your wife mentioned the occasionally. Do they
get along on that? I think so?

Speaker 22 (01:18:11):
Why nothing? I just wondered, Well.

Speaker 12 (01:18:14):
Missus Hannaeld's waiting for you.

Speaker 22 (01:18:16):
I know you're very anxious to get her home.

Speaker 12 (01:18:19):
Have Missus Harold come in please?

Speaker 22 (01:18:22):
I think in another month or so she'll be fine.
Oh he is now, Hello, Missus Hamiel Mary Darling.

Speaker 12 (01:18:28):
Am I glad to see you?

Speaker 46 (01:18:29):
Hello?

Speaker 12 (01:18:31):
Hello doctor?

Speaker 15 (01:18:32):
What did I tell you?

Speaker 12 (01:18:33):
That's what?

Speaker 9 (01:18:33):
She looks?

Speaker 29 (01:18:34):
Fine?

Speaker 12 (01:18:34):
I say, certainly does John?

Speaker 44 (01:18:36):
How good it is to be going home? I'm as
excited as.

Speaker 20 (01:18:39):
The school goes.

Speaker 22 (01:18:40):
I'm you're too excited. You got to take it easy
for a while.

Speaker 44 (01:18:42):
That's what the doctors say.

Speaker 31 (01:18:44):
That's your word.

Speaker 12 (01:18:46):
You do what your housband says.

Speaker 22 (01:18:47):
Missus Hamield, can you just be fine, say doctor's artist.

Speaker 44 (01:18:51):
I promise, Thank you, doctor, you've been very kind.

Speaker 12 (01:18:55):
I'll wrap in.

Speaker 22 (01:18:55):
From time to time to see you.

Speaker 12 (01:18:57):
Well. Goodbye missus Harold.

Speaker 22 (01:18:59):
And goodbye doctor. All right here, let's go.

Speaker 44 (01:19:01):
Let's go time, John.

Speaker 22 (01:19:17):
I can hardly believe they'll not to tell me to
wait until they got home before telling you.

Speaker 44 (01:19:20):
Ten thousand dollars and the trip.

Speaker 22 (01:19:22):
To Paris think of it. I hope we can take
it in the summer during my vacation.

Speaker 44 (01:19:26):
And a mechanical slave, son, where will we put it?

Speaker 47 (01:19:30):
Wait?

Speaker 22 (01:19:30):
Honey, and I'm supposed to get excited? Oh, my boy,
who can help us?

Speaker 31 (01:19:34):
It's crazy things they give away.

Speaker 22 (01:19:38):
Oh, I'll see who it is.

Speaker 44 (01:19:43):
Hello John, Hello Virginia.

Speaker 22 (01:19:44):
Why it's Virginia.

Speaker 28 (01:19:49):
No.

Speaker 44 (01:19:49):
I just had to come and tell you how wonderful
it is you're being back and all those wonderful cottages.
It was very nice for you to come in Virginia,
and thank you for the supper. You've prepared for my homecoming.
I always delighted to Darling when John asked them, asks
you too, for yes, you were so happy you were
coming back. But John doesn't married. Being home calls for

(01:20:11):
a celebration.

Speaker 20 (01:20:11):
Can't we have a drink?

Speaker 22 (01:20:13):
And I don't know. Virginia Mary are supposed to get
rest yo, while I suppose one ship, one hurd. But
I have to go out and get something, though I'd
like that, Darling.

Speaker 44 (01:20:27):
When you get your prizes, I'll have cause to be
jealous of you. Cigarette no thanks, jealous cries. You'll have
two men, John and Baropus. Poor little me, a bachelor
gal all alone. You know, I really think you ought
to give me one of the hoops one would you
like to Darling with a silly question the mechanical man,

(01:20:50):
of course, he doesn't drop ashes on the rug yet
to wash the dishes and put out the cats. You'll
never never lie in to me.

Speaker 17 (01:21:00):
I knew it was.

Speaker 44 (01:21:01):
What did you expect me to be? I don't understand
what I do in the hospital. I began to understand
a lot of things. I know. The ductors thought something
happened to my mind that all that happened.

Speaker 34 (01:21:15):
Was that it became very clear, very sharp, and for
the first time I began to think clear, Darling, I
think this excitement has been too much for you.

Speaker 44 (01:21:30):
I shouldn't have come.

Speaker 29 (01:21:31):
In because I was here?

Speaker 44 (01:21:33):
Is that why you shouldn't have come in?

Speaker 17 (01:21:35):
You're wrong, Mary, Everything you're thinking is wrong.

Speaker 44 (01:21:37):
John would come to the hospital only once a day,
but he would work some days. He wouldn't come at all. No,
you know he has to go out of town on business.
I know many things. I would lie in my hospital
then the.

Speaker 34 (01:21:51):
Shadows would whisper to me it was dead.

Speaker 44 (01:21:56):
It is John, Now while you lie in an ant
to stay sick in the hospital room that is as
cold as a surgeon's nice cutting your memories to teachers.

Speaker 34 (01:22:11):
Don't go.

Speaker 44 (01:22:12):
John will be back in a moment. I have a headache.

Speaker 2 (01:22:15):
I got God, What will.

Speaker 44 (01:22:17):
John say when you're not here?

Speaker 28 (01:22:21):
You?

Speaker 44 (01:22:22):
You are, darling, you poor?

Speaker 18 (01:22:26):
Sick?

Speaker 31 (01:22:26):
More?

Speaker 44 (01:22:31):
Yes, walk out? I leave the day gave me alone,
But I'm not alone as I was in the hospital.
I'm home now, my home, and I'm may you will
us to kill you?

Speaker 34 (01:22:44):
If only I could think your child.

Speaker 4 (01:22:48):
To do it?

Speaker 22 (01:23:04):
I rote, But quite a guy, hasn't it.

Speaker 44 (01:23:05):
He looks something like the tin woodman of Obs.

Speaker 22 (01:23:08):
I used to read that he can do any of
the things they said on that program.

Speaker 12 (01:23:14):
Oh my guess is you have to tell him.

Speaker 22 (01:23:15):
For junk or give him away to some kids. Let's
see the direction said, turn on the racket, switch the power,
and then just talking to the microphone. Use simple phrases
and precise instructions. What's not tell him to do? He's
your boyfriend.

Speaker 44 (01:23:31):
Tell him. Tell him to move the green chair about
two feet.

Speaker 2 (01:23:34):
Back in the corner.

Speaker 22 (01:23:35):
Okay, move good chair back two feet into the corner.

Speaker 8 (01:23:45):
He's rocky.

Speaker 22 (01:23:47):
That's the fund thing I ever saw.

Speaker 32 (01:23:53):
He did it.

Speaker 22 (01:23:54):
He's going to be all right.

Speaker 12 (01:23:55):
Man.

Speaker 44 (01:23:56):
Does he have a name?

Speaker 22 (01:23:58):
Name? I hope he's still have a name.

Speaker 32 (01:24:00):
He's almost like a person you talk to.

Speaker 12 (01:24:05):
What is your name?

Speaker 29 (01:24:07):
Your name?

Speaker 22 (01:24:09):
Do you have a name?

Speaker 25 (01:24:12):
He can't.

Speaker 44 (01:24:13):
Don't ask him a question. Tell him to tell you
do is the direction thing?

Speaker 22 (01:24:17):
Tell me your name? So we're about twenty three, roll about.

Speaker 44 (01:24:27):
Twenty three, and it gives me the creek.

Speaker 22 (01:24:30):
It's bunder well, no I do. You can't stand there
staring at us. There's nothing for him to do around here?

Speaker 44 (01:24:36):
Is the poker that steel poker in the fireplace.

Speaker 12 (01:24:40):
What about it?

Speaker 44 (01:24:40):
He looks as Tom tell him, tell him to burnd it,
bend it.

Speaker 12 (01:24:44):
Mary, that's solid steal.

Speaker 22 (01:24:46):
He's just a tim toilet electronic.

Speaker 44 (01:24:48):
Please, John, tell him what's honey.

Speaker 22 (01:24:50):
He'll probably get a short circuit of something straining himself.
Then we we're up the jugging. Oh all right, all right,
Ben Poker there, then Steve Poker.

Speaker 12 (01:25:08):
I see just pig to that.

Speaker 22 (01:25:10):
But nothing's happening. Thend it, bend it?

Speaker 12 (01:25:16):
You see I took good Lord?

Speaker 44 (01:25:18):
Are you bending the steel as if it were happy?

Speaker 22 (01:25:25):
And did you see that? Why it's almost as if
if you threw it down. Disdaining of showing.

Speaker 44 (01:25:31):
Off, why did you take him off?

Speaker 22 (01:25:35):
It's dangerous, Mary, dangerous and frightening. I'm going to dismouin now. No,
we don't get so excited about it.

Speaker 12 (01:25:41):
You know what the doctor says?

Speaker 48 (01:25:43):
John?

Speaker 11 (01:25:44):
All right, all right, all right.

Speaker 22 (01:25:45):
All right, you insist. Remember Mary, you're not to give
them any orders except when I'm home, Darling.

Speaker 44 (01:25:52):
I wouldn't do anything that wouldn't be right for me.

(01:26:12):
Two o'clock, almost four hours until John comes home. Lock
the door, and now to make him come to life again,
speak to me. Say to me, Hello Mary, Hello Mary, Hello,

(01:26:38):
Rode the twenty three. How nice of you to visit
me every day you visit me. Why do you do that?
Tell me because I love.

Speaker 12 (01:26:47):
You, Because I love you, because you.

Speaker 44 (01:26:54):
Love me over rode the twenty three. How handsome and
strong you are and you are mine? You do what
I want you to do. You are my slaves. Say
to me, I am your slave.

Speaker 22 (01:27:08):
I am your slave.

Speaker 44 (01:27:11):
That days, that days that Virginia gave me last year,
there the blue and the straw that day. Thank you,
thank you, thank you. Will the twenty three. Very much.
Of all the things in the world I have, you

(01:27:33):
are the most wonderful because you love me and O'Day
me and would do anything for me anything. The doors
Someone there. It can't be John's much too early for John.
I'll see who it is, and you await for me.

Speaker 2 (01:27:49):
Wait as you always do.

Speaker 49 (01:27:57):
You.

Speaker 44 (01:27:58):
Hello Mary, Sorry to disturb you. What do you want?
This package was delivered to my door something you probably
ordered my phone. It marked five D, but your name's
on it should have said five D. Yes, yes, from
the grocery. Oh, he's not a mechanical man standing in
the living room. That is Robus twenty three.

Speaker 26 (01:28:18):
Does he really work?

Speaker 44 (01:28:19):
He's alfully big and clumsy looking. He's come to visit me.

Speaker 8 (01:28:23):
He's mine.

Speaker 44 (01:28:24):
He doesn't love you, doesn't love of course, it's not
marry of course not.

Speaker 22 (01:28:34):
I'm sorry.

Speaker 8 (01:28:34):
He will disturb you.

Speaker 44 (01:28:36):
If anything I can do for you?

Speaker 9 (01:28:37):
No, no, nothing.

Speaker 44 (01:28:39):
Go away. You saw her, didn't you?

Speaker 2 (01:28:48):
Say? Yes?

Speaker 29 (01:28:50):
I saw her.

Speaker 44 (01:28:51):
Yes, she's the one, the one I hate and John,
John is the one.

Speaker 9 (01:28:59):
I love you.

Speaker 44 (01:29:00):
You love me so I loved you.

Speaker 22 (01:29:04):
I love you.

Speaker 44 (01:29:07):
You must destroy her the way we destroyed the babe.
Now that you've seen her, you know my secret, and
you will kill her for me, because you are my slaves.
Say I will kill her.

Speaker 22 (01:29:44):
Hello, John, Virginia is a pleasant surprise.

Speaker 12 (01:29:49):
Why are you calling me?

Speaker 29 (01:29:51):
Mary?

Speaker 22 (01:29:53):
Why something happened?

Speaker 20 (01:29:54):
What is it?

Speaker 11 (01:29:55):
I rang your doorbell a few minutes ago. One of
Mary's packages had been delivered to me by mistake. She
came to the door.

Speaker 19 (01:30:01):
Yes, she acted very strangely, particularly when I asked about
the mechanical man the robe.

Speaker 22 (01:30:08):
Well, what do you mean, Virginia?

Speaker 18 (01:30:09):
Strangely?

Speaker 11 (01:30:10):
She wouldn't let me come in and look at him.

Speaker 38 (01:30:12):
She said he he didn't love me.

Speaker 19 (01:30:15):
What she was in a strange well, a strange mental state, John,
Are you sure she's all right?

Speaker 22 (01:30:23):
The robot wasn't moving or doing anything?

Speaker 19 (01:30:25):
Was it not?

Speaker 28 (01:30:25):
That I could notice the fry's attitude and the mark
I knew I shouldn't have extent to that ten monster.

Speaker 22 (01:30:32):
Well, I'll get home as soon as I can, Virginia.
Thanks for calling no doctor Rosenblod. This is John Hanold.
As I know, they just called me. Mary's acting strangely.

(01:30:56):
I'm worried.

Speaker 11 (01:30:56):
I don't understand.

Speaker 12 (01:30:58):
Donald.

Speaker 22 (01:30:59):
We won some prizes on a TV show a few
days ago, and one of them was a mechanical man
a robot.

Speaker 11 (01:31:04):
Oh, yes, you told me about him.

Speaker 22 (01:31:05):
A robot, in my opinion, is a dangerous gadget. Well, anyway,
one of the neighbor's reporter that Mary is talking strangely
about it. I wonder if you could meet me at
the apartment. It'll take me about half an hour to
get there.

Speaker 11 (01:31:16):
Mister Hanrold. I hope you'll forgive me, but you've got
to expected neighbors, with all the good will in the world,
tend to exaggerate the exactions of the people whom they've
not have been mentally ill. I'm sure, there's nothing to
be alarmed about.

Speaker 12 (01:31:31):
Yes, the doctor.

Speaker 22 (01:31:32):
This neighbor is a good friend and an intelligent woman.
I've had a.

Speaker 11 (01:31:35):
Lot of experience in these matters, mister Harold. Now I
have a to ease your mind. I'll try to drop
over sometime this evening on in the morning. We'll have
a talk about it. I'm in the meeting now.

Speaker 22 (01:31:48):
Well all right, doctor, if you say so, Thanks very much.
Hello or Virginia.

Speaker 12 (01:32:07):
This is John.

Speaker 22 (01:32:08):
Yes, John, I just spoke to the doctor. He thinks
there's nothing to worry about. But well, I wonder if
you do me a great favorite, of course, John, I've
got a few things here to clean up with the desk,
so I can't get home right away. I wonder if
you go in and stay with Mary until I get there.

Speaker 11 (01:32:26):
But John, frankly, that's.

Speaker 22 (01:32:30):
Silly, Virginia. After all, what can happen?

Speaker 44 (01:32:48):
But do we throw the twenty three and I'll come
back to you say I will wait for you. Wait,
thank you, thank you. Don No, I wonder if I could.

Speaker 32 (01:33:07):
Visit with you for a while.

Speaker 44 (01:33:08):
Why why do you want.

Speaker 8 (01:33:10):
To visit with me?

Speaker 44 (01:33:11):
We're doneing on your movie, and I thought it would
be very nice if we had teeth. Don't you want
me to come in?

Speaker 9 (01:33:19):
Mary?

Speaker 44 (01:33:20):
Yeah, yes, I do want you to come in, Come
in and leet Rode twenty stree. Really he moved since
I saw that he was sending by the fireplace when
I was at the girl with bought and I was
by the sofa. Done that love me birth I gave

(01:33:42):
you and Johnny it's broken.

Speaker 9 (01:33:47):
Broken.

Speaker 44 (01:33:50):
I had him do it. He did it, He did it.

Speaker 14 (01:33:55):
What do you mean?

Speaker 44 (01:33:55):
You know what I mean? You and your eyes and
your deceit?

Speaker 9 (01:34:00):
Mary?

Speaker 44 (01:34:00):
What are you doing? Why are you picking up that microphone?
Robe twenty three loves me?

Speaker 50 (01:34:05):
Is I love John and he won't destroy my love?

Speaker 28 (01:34:09):
You?

Speaker 50 (01:34:10):
Rob twenty three?

Speaker 2 (01:34:12):
Don't you care?

Speaker 15 (01:34:16):
Mary?

Speaker 49 (01:34:17):
Marry no?

Speaker 51 (01:34:21):
No?

Speaker 22 (01:34:35):
Can you please please stop crying?

Speaker 12 (01:34:37):
You goa haapen?

Speaker 15 (01:34:38):
What happened?

Speaker 23 (01:34:42):
This?

Speaker 22 (01:34:42):
U excuse me, miss, but I think I can tell
you what happened. I referred to Trager, one of the
men who built that robot. I came to your apartment
hoping to persuade you to return the robot an a
dreadful commotion inside, called this Potoma in the corner before.

Speaker 12 (01:34:57):
Something again the robot was moving. Tod young lady here.

Speaker 44 (01:35:01):
I tried to get way whoever I went.

Speaker 12 (01:35:06):
I got off the control dogs and stopped the us.

Speaker 32 (01:35:10):
You wanted to kill me, John, kill me, doctor, I.

Speaker 12 (01:35:17):
Had given her sent to mister Harold.

Speaker 22 (01:35:19):
I'd take her back to the hospital in a few hours.
To all this excitement. However, I'm sure she'll be all
right in another month or two.

Speaker 51 (01:35:28):
But she tried to kill me.

Speaker 22 (01:35:30):
She tried to kill me for some reason.

Speaker 12 (01:35:32):
She was horless of you.

Speaker 22 (01:35:34):
But now that we know, I would say, surely we
couldn't treat it psygathlically, and she'll be all right doctor.
She won't try to kill again. I think what might
have happened to Virginia, mister Handlld. Nothing would have happened
because your wife told the robot to kill. That was
not an instruction the robot could carry out. What do

(01:35:56):
you mean, professor, You said yourself the robot was going
toward Virginia, of course, because your wife said go to her.
Simple physical action a robot is capable of performing due
to its directional mechanism. However, the command killed is not
sufficiently explicit. The robot cannot kill. In general, must have

(01:36:16):
step by step instructions as to how the command is
to be carried out, you see, mister Hamild, I might
put it this way. To strike out blindly, to kill
without thinking, requires an emotional drive, the capacity to.

Speaker 12 (01:36:34):
Hate that a robot cannot do.

Speaker 22 (01:36:38):
It is, after all, a machine, not a human being.

Speaker 35 (01:36:58):
From Hollywood, Lorene Tuttle in the Unexpected, the unexpected. The unexpected.

(01:37:19):
Life is filled with the unexpected, romantic, tragic, and mysterious
endings to our most ordinary actions. Dreams come true, or
dreams are shattered by sudden twists of fate in the Unexpected,

(01:37:41):
But first a word from your annswer and now, Loreene

(01:38:44):
Tuttle outstanding radio and screen star in The Mink Coat,
a drama of the unexpected.

Speaker 52 (01:38:57):
You have no right to say that, mister Flint. I
don't care what's kind of a person you think I am.
You shouldn't say so.

Speaker 25 (01:39:03):
Oh but Laura, please, how would.

Speaker 52 (01:39:05):
You like it if your boss called you when it
was office and said, miss Rogers, you're a thief? I
asked you, wh would you like it?

Speaker 25 (01:39:11):
But my dear Laura, you are a thief. The records
are right.

Speaker 52 (01:39:15):
Here, Mead's records. I don't care anything about your old records.

Speaker 25 (01:39:17):
All I want is my mink coat, your min coat.

Speaker 52 (01:39:20):
Certainly, what do you think I'm talking about? Going on?
I'm choosing people unjesting when it's really all your own fault.

Speaker 53 (01:39:25):
Anyway, Now see here, Laura, what's this all about. Why
don't you just explain exactly what happened?

Speaker 52 (01:39:34):
Well, it was about a year ago. I just started
to work for Flint and Comedy. That's you, And I
must say, things in this office weren't a bit what
I expected on the movies the boss would have on
the mine. Well, anyway, I was walking back from lunch
and I saw it in the window, the most wonderful
mink coat I could imagine wearing it. Maybe you don't

(01:39:56):
know what a mink coat does for a woman's ego,
but you feel it's all warm and extensive here, and
I wanted to feel all warm and expensive. So I
went into the shop and guess what I found out?
For four thousand, eight hundred and seventy five dollars plus tacks. Well, now,
where can a girl like me get four thousand, eight
hundred and seventy five dollars plus tags? But I wanted

(01:40:20):
that coat. I wanted it so badly. I just well,
I just had to have it. And then I remembered
in the movies, what does the boss always give the
girl the wits.

Speaker 21 (01:40:31):
In his office?

Speaker 17 (01:40:32):
Right?

Speaker 52 (01:40:33):
A mink coat? So I let you take me home
that evening? And why you remember what happened? It's the
next apartment, mister Flint. Oh, would you like to come
upstairs for a nightcap. I don't drink, you don't drink ulcers,
But mister Flint, the boss is always supposed to come

(01:40:54):
upstairs for a nightcap.

Speaker 25 (01:40:55):
Always, certainly.

Speaker 52 (01:40:57):
Now, my apartment's on the third floor. I'll go in
first and you come up in a few minutes.

Speaker 25 (01:41:01):
But why because that's the.

Speaker 52 (01:41:03):
Way it's always done, Really, mister Flinn, I don't think
you're even trying.

Speaker 25 (01:41:06):
Oh I'm sorry, Lorna, I'll try.

Speaker 52 (01:41:10):
Well, it's more like it. I'll see you upstairs, mister Flynn. Why,
mister land, how nice to.

Speaker 25 (01:41:26):
See you again, Lorna. Isn't it a little too late?

Speaker 52 (01:41:30):
And silly boy, it's never too late?

Speaker 21 (01:41:32):
Come in?

Speaker 25 (01:41:37):
What's that peculiar smell?

Speaker 15 (01:41:39):
Lorna?

Speaker 25 (01:41:39):
Is the place on fire?

Speaker 21 (01:41:40):
Christ?

Speaker 52 (01:41:41):
Not is the perfumed candles?

Speaker 2 (01:41:42):
Oh?

Speaker 52 (01:41:43):
And now, if you'll excuse me, I just slip into
something more comfortable.

Speaker 25 (01:41:48):
But Lorna, I can only stay a moment.

Speaker 52 (01:41:51):
Well, then we better not waste time, had we be?
Now you just said over here by me. I'll turn
down the lights and get some soft music on the
radio and then.

Speaker 25 (01:42:00):
Yeah, what do you mean?

Speaker 2 (01:42:02):
Then?

Speaker 52 (01:42:02):
Oh, let's not fight this, mister Flint. Alan, it's too
big force, Laura. We were meant to pass like ships
in the night and then die in the harbor.

Speaker 25 (01:42:15):
I'm afraid you're a bit ahead of me.

Speaker 52 (01:42:17):
It's fate, Alan, just pure simple faith.

Speaker 53 (01:42:21):
We'll say something good night, Laura, I really must go
good night?

Speaker 52 (01:42:25):
Is that all you can say?

Speaker 21 (01:42:26):
Just good night?

Speaker 52 (01:42:27):
I'm afraid so, mister Flint. The trouble with you is
you don't see enough movies. Well, the next day you
didn't act like anything had happened. I was just beginning
to wonder if you were going to buy the coat.
But all my girlfriends got mink coats when they went
out with their bosses, and I couldn't see why you

(01:42:47):
should be the exception, which you were. A week later,
I just had to give in and admit that you
weren't going to.

Speaker 53 (01:42:54):
Buy me a mink Lorna, What has all this to
do with the shortage of funds in the firm's account.

Speaker 52 (01:42:59):
You mean you don't understand what I've been trying to
tell you.

Speaker 25 (01:43:01):
No, not very clearly.

Speaker 52 (01:43:03):
But it's so simple. I wanted a mink coat. I
used to dream about it at night when I was asleep,
and I knew if I didn't get it, i'd i'd
be frustrated. People who don't get what they wanted are frustrated,
mister Flint. They have nightmares and awful things happen.

Speaker 25 (01:43:20):
Oh yes, I see, Well go ahead, please.

Speaker 52 (01:43:23):
Well, the company was making lots of money, and you
said yourself, the government wouldn't let.

Speaker 21 (01:43:27):
You keep it.

Speaker 52 (01:43:28):
So I decided to take a little each week, Oh
very much. I went down and had them put the
mink coat away for me and told them in about
a year, i'd be able to pay for it. They
didn't believe me at first, but each week I brought
in one hundred dollars. I would have told you about it,
mister Flint, But who's up dig never came.

Speaker 25 (01:43:45):
Up, Lorna. You were stealing that money.

Speaker 52 (01:43:49):
That's a terrible thing to say, mister Flint. If you
don't stop talking like that, I'll quit.

Speaker 2 (01:43:55):
Quit.

Speaker 25 (01:43:56):
Lorna how much.

Speaker 52 (01:43:57):
Of it, Flint?

Speaker 25 (01:43:59):
How much?

Speaker 52 (01:44:01):
Five thousand dollars? Well, just a bit.

Speaker 25 (01:44:04):
More five thousand.

Speaker 52 (01:44:06):
There wasn't any problem about it, mister Flint, not until
the day. I just marked one hundred a week down
of miscellaneous and wrote myself a check. But then you
brought in that auditor. Why'd you do that, mister Flint?

Speaker 49 (01:44:18):
Don't you trust me?

Speaker 52 (01:44:19):
You know, there's never been any mistake in my bookkeeping.
I think bringing in an auditor in the cas a
certain lack of faith.

Speaker 53 (01:44:27):
Don't you Lorna? Exactly what happened with that auditor?

Speaker 52 (01:44:33):
Well, I showed him all my books and answered all
these questions, and everything tallied perfectly. There wasn't a single mistake,
now a' you proud of me? Not a single mistake.
And then after he was all done, mister Jenkins that
was auditor's name, turned to me.

Speaker 54 (01:44:46):
And said, well, miss Rogers, everything seems to be an
a number one order.

Speaker 38 (01:44:51):
Certainly, I guess you haven't been taken any of the
company fund though.

Speaker 52 (01:44:54):
It certainly not. What kind of a person do you
think I am?

Speaker 54 (01:44:57):
No, miss Rogers, I'm just having my little joke.

Speaker 52 (01:45:01):
Well, I don't think it's very funny.

Speaker 54 (01:45:02):
Now, uh, there's just one more item. I noticed serious
this column marked him. That's for miscellaneous.

Speaker 52 (01:45:09):
Pause, yes, miscellaneous and mean and mean what well, that's
the money I used to pay for my mink cold.
You see, I have a separate file here, my mint file.
It has all the council checks in the seats and
it's an order.

Speaker 54 (01:45:23):
I uh readly, Miss Rodgers. I I'm afraid I don't
quite understand.

Speaker 52 (01:45:27):
Oh, well, I went out with mister Flint and.

Speaker 50 (01:45:29):
Then when he's oh, oh oh, yes, you shouldn't tell
me about that.

Speaker 54 (01:45:33):
I mean, if mister Flint, well, sometimes employers feel grateful.

Speaker 31 (01:45:37):
They do.

Speaker 54 (01:45:38):
Now, Miss Rodgers, let's not discuss this. It has nothing
to do with the audit.

Speaker 42 (01:45:42):
Oh oh, and you're a very fortunate girl.

Speaker 54 (01:45:44):
I mean, but it's his nice, mister Flint to buy.

Speaker 52 (01:45:46):
You a f Oh he didn't buy it.

Speaker 54 (01:45:48):
I did, certainly, certainly.

Speaker 52 (01:45:51):
Because I do think you should have taken the initiative.

Speaker 54 (01:45:54):
You mean, mister Flint didn't buy it. He doesn't know
about her coat.

Speaker 52 (01:45:59):
No, I don't think so. He never said anything. If
he does.

Speaker 25 (01:46:03):
This is really quite serious, Miss ron.

Speaker 52 (01:46:05):
I know, a mink is a very serious manner in
a young girl's life.

Speaker 2 (01:46:09):
Yes, of course.

Speaker 54 (01:46:10):
Well, I think i'd better talk to mister Flint.

Speaker 25 (01:46:13):
Excuse me, miss wrong.

Speaker 54 (01:46:15):
About the colt, I'm afraid I must.

Speaker 52 (01:46:16):
Well, I wish you wouldn't. I was going to wear
it to work tomorrow was a surprise and show him
how much I appreciate it.

Speaker 25 (01:46:20):
I think he'd better be prepared for the shock.

Speaker 52 (01:46:23):
Well, whatever you say, but don't make him feel too
guilty about not having brought one for me. I'm willing
to pretend he did, so that's all what happened, mister Flinton.
I don't see why you're.

Speaker 53 (01:46:41):
So excited, But Lorna, you must understand that you had
no money.

Speaker 52 (01:46:45):
Difference is that Nike. Now the coat's all paid for,
I won't need any more money for it. Let's just
forget the whole thing. We've both been wrong, mister Flint,
and I'll forgive you if you'll forgive me forget.

Speaker 25 (01:47:01):
I should have put you in jail for borrowing company funds.

Speaker 52 (01:47:06):
It's not against a law to borrow money, is it.

Speaker 25 (01:47:08):
You didn't borrow it you.

Speaker 52 (01:47:10):
I told you what would happen if you call me names,
and I meant.

Speaker 25 (01:47:13):
It very well. Lorna, you may keep the cold.

Speaker 52 (01:47:17):
Of course, so paid for it.

Speaker 53 (01:47:20):
But you'll have to give back every cent of that money,
every penny. I'll take it out of your salary if
you have to work here ten years to make it up.

Speaker 9 (01:47:28):
I think it's very petty that will do, Laurna.

Speaker 25 (01:47:31):
You may leave now. Oh well, one more thing.

Speaker 53 (01:47:34):
You'll be given a different job, one that doesn't require
so much responsibility.

Speaker 52 (01:47:39):
You don't trust me, mister Flint, just say so.

Speaker 25 (01:47:42):
You must realize, Laurna, I'm being very lenient.

Speaker 52 (01:47:47):
Well, oh, mister Flint, could I leave early this afternoon?
I want to pick up the cold. Just imagine my
own maink code. I'll be able to wear it tonight. Gee,
I guess I'm really a very lucky girl.

Speaker 25 (01:48:00):
Yes, I would think so.

Speaker 52 (01:48:02):
But I always say, if you want a thing, you've
got to go after yourself. You can't wait for favorites.
Don't you agree, mister.

Speaker 25 (01:48:08):
Flan Yes, Lorna, I agree.

Speaker 52 (01:48:10):
I thought you would.

Speaker 35 (01:48:20):
You think the story is over it, don't you? But wait,
fate takes a hand, Wait for the unexpected, and now

(01:49:34):
for the surprising conclusion of The Mink Coat, starring Miss
Loreene tuttle A Hamilton Whitney production written by Robert Libbert
and Frank Bert and directed by Frank ky Danzig.

Speaker 55 (01:49:50):
Hello.

Speaker 52 (01:49:51):
Hello, is that your mister Flann?

Speaker 49 (01:49:55):
Oh?

Speaker 21 (01:49:55):
This is Lorna.

Speaker 52 (01:49:57):
I knew you'd be worried about me when I didn't
come to work today, but I can't. I'm in the hospital.
I don't know what's wrong with me. They're trying to
find out. But don't worry about the account. I'll get
caught up just as soon as I'm feeling better. Oh,
doctor's coming in now. I gotta hang up.

Speaker 21 (01:50:14):
Come on, mister Flinn.

Speaker 8 (01:50:16):
Good morning, Miss Rogers. Feeling better?

Speaker 52 (01:50:18):
I guess so.

Speaker 18 (01:50:19):
Well.

Speaker 37 (01:50:20):
We've found the cause of your trouble.

Speaker 52 (01:50:22):
What is it, doctor?

Speaker 8 (01:50:23):
You're allergic to mink. Miss Rogers.

Speaker 14 (01:50:25):
Have to get rid of that coat.

Speaker 8 (01:50:27):
Never be able to wear it again.

Speaker 37 (01:50:29):
You're allergic to mink.

Speaker 35 (01:50:40):
The Mink Coat starred Lori in Tuttle. Listen soon for
another of your favorite motion picture stars in a drama
of the unexpected. This program was transcribed in Hollywood.

Speaker 56 (01:51:40):
Unsolved Mysteries.

Speaker 22 (01:51:59):
True is stranger than fiction.

Speaker 40 (01:52:02):
We are endeavoring to bring to you little.

Speaker 10 (01:52:04):
Known mysteries of the entire world, and in this series
of Unexplained true happenings. We cannot overlook the puzzling and
weird practices found in Buddhoism. There are strange stories of zombies,
stories which goes are into the world of everyday life,
leaving no room for doubt that within the cult of
Buddhism in Haiti, zombies do exist. The scene is glamorous

(01:53:42):
at a few miles from Porto pranz A long, low,
rambling bungalow, bathed in the liquid beams of a silver moon,
faces the open sea behind the keep rises in serid
ridges of blacks and purples, and beyond that, faintly ominous.
The deep, constant rhythm of the voodoo drums seems to
belong to another world. Three men sit on the lanaie

(01:54:06):
or veranda, facing the beach. One of them tall, slender,
young in years, but with gray hair and blind face,
stares out into nothing. The elderly man by his side
looks at the third and raises bushy eyebrows. The third man,
a stranger to I, t.

Speaker 8 (01:54:22):
Speaks very decent of you fellows who invite me out here.
I sort of feel that well.

Speaker 45 (01:54:27):
That I'm putting you to a lot of extra work,
not a bit of a servants take care of all
the extra work. We're glad of your company.

Speaker 8 (01:54:32):
Clark.

Speaker 45 (01:54:33):
Yes, Strong, I'm going down there. You must, yes, but
don't belong. I won't, but don't wait up for me.
Good Night, good night. In a moment after Strong's out
of hearing, I'll be able to explain. That's all right,
I think I understand. Just a minute, I'll look down
the pathway.

Speaker 2 (01:54:51):
Yes, he's gone, all right.

Speaker 45 (01:54:53):
In spite of what he said, we can't turn in.
Although you're a stranger here, I'm going to do what
white men have to do in the Tropic. I'm going
to ask for your help if I need it. You
won't have to ask quite. I didn't think so. That's
why I asked you at the hotel if you'd like
to come out to our place. A few moments ago,
you said you thought you understood. Yes, I know, of course,
as it was just.

Speaker 25 (01:55:12):
A year ago to day that Strong's wife died.

Speaker 45 (01:55:15):
I was in New York at the time, and we
were all very much upset. I never knew Strong, but
I went to school with his wife, Helen. Well, it
isn't because of his wife's death that I want you tonight.
Because of what happened.

Speaker 18 (01:55:25):
After her death.

Speaker 45 (01:55:26):
After her death, yes, do you know where Strong went?

Speaker 2 (01:55:29):
Just now?

Speaker 45 (01:55:29):
No, he went down to her grave, as he has
every night the six months.

Speaker 2 (01:55:33):
Amore, good, heavens.

Speaker 8 (01:55:35):
Why That's what I'm going to explain.

Speaker 45 (01:55:37):
When Strong first came out here, he had a native
servant girl, Clarissima. Her name was attractive little thing, and
she fell in love with Strong. Strong ever gave her
a thought. But you know native women, of course. Well,
Helen came out here, and the night before their marriage,
they were sitting just about here on.

Speaker 57 (01:55:53):
The verandah, oh, John, it's so grand to be here
with you. Then, what do you think it is for me, darling?

Speaker 2 (01:56:09):
Have you here in my arms to know that tomorrow
you'll be mine? Forever?

Speaker 12 (01:56:13):
Darling?

Speaker 31 (01:56:14):
Yes, John, forever.

Speaker 58 (01:56:16):
When I think of the nights I've sat out here
dreaming watching the ship sailing for the States, and then
other nights when I've watched these scene steamers come into
the harbor, and try to imagine what you would look
like standing there on the deck coming out to me.

Speaker 57 (01:56:31):
Did your dream come true to you? Did you find
the change?

Speaker 14 (01:56:35):
What?

Speaker 6 (01:56:35):
Little James dear?

Speaker 2 (01:56:36):
It's darling, but better than.

Speaker 59 (01:56:38):
A thousand dreams, So love, let's lock darling.

Speaker 10 (01:56:43):
Time for little girls to be in bed, especially when
they're going to be married in the morning.

Speaker 60 (01:56:48):
I hate to think of driving you out of your bungalow,
even for one night.

Speaker 57 (01:56:51):
I could just as easily have stayed than one time.

Speaker 2 (01:56:53):
Oh, not a bit of it, Dear.

Speaker 25 (01:56:55):
It'll take me less than five minutes to walk down
the Clark Place.

Speaker 57 (01:56:58):
Good night, Dear, Good night John.

Speaker 8 (01:57:04):
John, Clarissima, what on earth are you doing here at
this time of night?

Speaker 2 (01:57:08):
Why aren't you home with your father?

Speaker 60 (01:57:10):
I have been watching you.

Speaker 2 (01:57:11):
You've been watching me.

Speaker 38 (01:57:12):
You and the woman.

Speaker 2 (01:57:14):
What's the matter with you? What's come over you? What
business have you watching us?

Speaker 60 (01:57:17):
I have every business.

Speaker 2 (01:57:19):
You belong to me.

Speaker 25 (01:57:20):
I have belonged to you.

Speaker 10 (01:57:22):
What rubbish is this?

Speaker 22 (01:57:23):
You're talking?

Speaker 60 (01:57:24):
No rubbish, John, You have belonged to me since that
night that the bocar placed his spell upon her.

Speaker 2 (01:57:29):
Have you been drinking, Clarissima?

Speaker 17 (01:57:31):
You know I do not drink.

Speaker 9 (01:57:32):
John.

Speaker 60 (01:57:33):
If you marry this woman, I tell you something, in
three months she will be dead.

Speaker 2 (01:57:37):
Though.

Speaker 10 (01:57:37):
Now listen, Clarissima, I'm not afraid of your bokhors, your
voodoos or your wanger I have.

Speaker 60 (01:57:42):
Told you marry that woman, and before the setting of
the third moon, she will be dead.

Speaker 10 (01:57:48):
Clarissama spoke the truth. Before the third moon had set,
Helen was dead. In his grief, John gave no thought
to her prophecy gave no thought to the warning that
the wangor spell.

Speaker 8 (01:57:59):
Of bok Or had been placed upon her.

Speaker 10 (01:58:02):
Clark, John Strong's friend came to live with him, and
one afternoon, Strong, arriving home earlier than usual, came up
the veranda steps in time to hear Clark talking.

Speaker 18 (01:58:12):
To one of the native servants. I'll tell it to you, Muster.

Speaker 8 (01:58:16):
I have heard it too many times.

Speaker 45 (01:58:18):
Nonsense, loaner, just jungle talk, native rubbish, no muster many
times before a white man, he say rubbish. But me, Loma,
he sees zombie, not one zombie, not too but many
zombies worked back there in sugar Cane be but not
a white woman, Loma. No one ever saw Clark or

(01:58:39):
we were just talking.

Speaker 18 (01:58:41):
Didn't hear you come in?

Speaker 12 (01:58:42):
I know you didn't.

Speaker 8 (01:58:43):
I'm sorry, Oh man, but I listened.

Speaker 2 (01:58:45):
Oh yes, I listened.

Speaker 10 (01:58:47):
I know you were talking about Helen.

Speaker 2 (01:58:49):
Now what was it called?

Speaker 45 (01:58:50):
Just jungle nonsense and nothing to even think of I'll
be the best judge of that. Tell me Loma, no o, muster,
If muster understand, he s all comes strong. You're making
a puzzle over nothing.

Speaker 18 (01:59:02):
Loma, Yes, Mush, did I ever beat you?

Speaker 45 (01:59:05):
Hello, Mushi, I'm going to Loma, beat you till you
can't stand.

Speaker 12 (01:59:08):
If you don't tell.

Speaker 45 (01:59:09):
Melson, John, this is no way to behave. I tell
her you come with me and I'll explain. Come where,
Come along and I'll show you Together. The two men
leave the bungalow. Loma, his eyes filled with tears, stands
at the top of the Lani steps and watches them
disappear into the underbrush down toward the sea. Clark leads

(01:59:29):
The way is set Jaw the only answer, the strongest question, Sark.

Speaker 10 (01:59:33):
Tif pathway doesn't lead any place except for the seminary.

Speaker 45 (01:59:35):
I know that that's where we're going.

Speaker 40 (01:59:37):
What in Heaven's names are all about?

Speaker 8 (01:59:38):
Why don't you tell me?

Speaker 45 (01:59:39):
I want to prove that the whole thing is nonsense.

Speaker 8 (01:59:41):
Before I said, I've thought you on my friend.

Speaker 40 (01:59:43):
I'm friend enough to want.

Speaker 45 (01:59:44):
To save your reason. Oh there's an open grave, Hew,
go ahead. I want to get that paid clutch.

Speaker 2 (01:59:55):
Plush.

Speaker 18 (01:59:55):
What Helen's grave. It's been opened. What her grave?

Speaker 8 (01:59:59):
Clark, it's been open.

Speaker 45 (02:00:00):
You'll find out in a minute.

Speaker 61 (02:00:01):
How FanTac while I do, let me talk, let me
know it ought to be hot yet, Clark, Clark, the
casket's gone. These devils have taken a my Helen for

(02:00:22):
the damnable voodoo.

Speaker 45 (02:00:23):
No John, no zombie.

Speaker 10 (02:00:27):
At breakneck speed, the two men race back to their bungalow.
Loma from the Veranda season coming up the pathway and
runs to meet them. In silence. Clark points to the brush,
and Loma in the lead, breaks into the thick tropic growth.
Dusk finds them struggling up.

Speaker 18 (02:00:40):
The steep slopes of the cape with that.

Speaker 45 (02:00:41):
Energy born of frenzied fear and nameless horror.

Speaker 8 (02:00:45):
Loma holds up his hand.

Speaker 10 (02:00:52):
In the strained silence, the men listen to the sharp
crack of caine eves on stalks of cain, crackling of
falling kane leaves.

Speaker 32 (02:01:00):
Low E motions strong to come forward.

Speaker 10 (02:01:03):
He forces aside the sugar cane and stares Horror stricken
into the clearing hell him.

Speaker 15 (02:01:09):
Tell him collom horrible.

Speaker 40 (02:01:18):
Clark, ghastly story.

Speaker 45 (02:01:19):
You understand now why John acts as he does. And
why why did you hear tonight?

Speaker 21 (02:01:23):
Friends?

Speaker 25 (02:01:23):
She was buried alive.

Speaker 8 (02:01:24):
Oh, she wasn't buried alive, She wasn't dead.

Speaker 18 (02:01:26):
Yes, she was dead.

Speaker 45 (02:01:28):
She was a zombie, a dead person raised from the grave,
the body without mind or soul.

Speaker 2 (02:01:32):
It's impossible, That's what I said alone.

Speaker 45 (02:01:34):
No, Helen was dead, killed by the curse brought on
her like Clarissma's jealous hatred, and raised from the grave
to be a zombie by the same voodooism that.

Speaker 2 (02:01:43):
Killed Yes, Clarisima, what happened to her?

Speaker 45 (02:01:45):
The ladies killed and Helen you you buried her a
heed of sauce.

Speaker 2 (02:01:49):
Salt, Yes, salt.

Speaker 45 (02:01:51):
The zombies eat anything containing salt. They returned to their
graves in peace, and you fed her salt. Yes she
she crumpled up at our feet dead, really death.

Speaker 10 (02:02:03):
Out of deference to people who are still alive, character
names in these unsolved mysteries have been changed inasmuch as
any solution must have necessary be supposition. Liberties of time, place,
and character exist in the solution that will be presented
after you have heard from your sponsor. Ladies and gentlemen,

(02:03:45):
the solution for what you have been waiting have you
really a reasonable explanation of.

Speaker 2 (02:03:49):
How such a thing could have happened?

Speaker 45 (02:03:50):
I'll answer that by asking you a question, do you
think that any explanation of such a ghastly affair could
be classified as reasonable? I suppose not what had happened,
and so I say, how could it happen the first place?
Don't imagine this is an isolated case so serious as
a matter of zombies in the island of Haiti, that
the government has been compelled to pass the following law.
Article two forty nine of the Court Canal of the
Republic of had also shall be qualified as attempted murder

(02:04:12):
the employment which may be made against any person of
substances which, without causing actual death, produces a lethargic coma
more or less plonged. If after the administration of such substances,
the person has been buried, the acts shall be considered murdered,
no matter what the result that follows. And the government
thinks to see zombies of people who have been poisoned
and who have been certified as dead and buried are

(02:04:34):
in the state of suspended animation. I mean that they
have been given a poison that kills the brain, but
leaves their motor faculties unimpaired. Between you and me, I
don't think that the government really believes that. But after all,
how would you try to fame a law against taking
corpses out of their grades and making them work in
the cane field?

Speaker 39 (02:04:48):
Yes?

Speaker 45 (02:04:48):
I see the difficulty there, but just the same I
don't see how even Buddhism can make a corpse walk?
Have you ever heard of inanimate objects being moved by
the power of mind? As I head, and isn't as
possible that the same worker in black magic or vudoism
that killed a person by part of mine would take
that inanimate object.

Speaker 2 (02:05:04):
Of the course and make it move.

Speaker 4 (02:05:05):
Do you believe that?

Speaker 22 (02:05:06):
Yes?

Speaker 45 (02:05:06):
And I'll give you the final proof, at least my
way of thinking.

Speaker 2 (02:05:08):
What is that?

Speaker 45 (02:05:09):
The fact that the natives themselves killed Charisma, the native girl,
because they knew that were the assistance of the witch doctors.
She killed and made a zombie halt of Helen.

Speaker 7 (02:06:03):
We all know someone who struggles with depression, whether we're
aware of it or not. It's something those who suffer
tend to deal with in silence in the shadows. But
the organizations we are supporting with our annual Overcoming the
Darkness Fundraiser. This month are working to make it easier
for those in the darkness to come into the light,
to find help, and to learn they're not alone, that
there are ways to overcome the darkness of depression and

(02:06:25):
live normal lives. I do this fundraiser only one month
out of the year, as October is the anniversary month
for Weird Darkness. We launched in October twenty fifteen. It's
National Depression Awareness Month and this month is spooky and dark,
kind of like depression. If you'd like to make a
donation or learn more about the fundraiser, or find hope
for yourself or someone you know who struggles with depression,

(02:06:47):
visit Weirddarkness dot com slash hope. The fundraiser ends Halloween
night at midnight. Please give what you can Weird Darkness
dot com, slash hope.

Speaker 5 (02:07:01):
Dark Avenger.

Speaker 62 (02:07:18):
Over the minds of mortal men come many shadows, Shadows
of greed and hate, jealousy and fear. Shadows which fog
the minds of men and women would urge them on
into their venture in the dark. Dark Avenger, The American

(02:07:57):
Broadcasting Company presents Dark Are written by Larry Marcus, directed
by William T. Johnson and featuring an all star cast,
and now your host for tonight's journey into Darkness, John Newlan.

Speaker 6 (02:08:17):
Tonight, the City has a fable to unfold for those
who would follow us through the summer darkness. It is
not quite eleven o'clock in the city. The street lamps
are glowing targets from mosquitos and moths, the endless miles
of neon tubing slashing the darkness with scarish reds and
blues and greens. Traffic moves quickly down the street. The

(02:08:38):
sidewalks are filled with sleepless citizens, fruitlessly searching for some
wayward breeze. But here where our story begins. Here, in
this dark alley, there is only George, a scary, scrawnye
bum whose bed for tonight is a strip of cobblestones
behind the road of trash. It would be interesting to

(02:08:58):
wonder what the old bum dreams about the leaps in
the alley, But there is no time for now. Suddenly
George is no longer along.

Speaker 4 (02:09:08):
Get out, Jill. Listen, Yeah, listen, you got me all wrong.

Speaker 63 (02:09:13):
No, wait, listen, walking down the alley, Harry, give me
afraid of Harry.

Speaker 59 (02:09:21):
Harry, listen dark ally, maybe you can get away her.

Speaker 51 (02:09:26):
You mean you let me get away?

Speaker 4 (02:09:28):
You mean your televis you can help her.

Speaker 64 (02:09:30):
Know what you mean, Harry can tell I always said
you okay, I always knew it.

Speaker 4 (02:09:36):
Run shout down the alley, had the boss to believes it.
To Harry, it's a dark shout ash you walk.

Speaker 51 (02:09:46):
So long, Harry.

Speaker 6 (02:09:58):
U Joe falls and dies almost at the scrawny bum's feet.
The car races away, and now George, the bum is
alone in the alley with the dead man.

Speaker 4 (02:10:16):
Here can't be found to this guy. They might bring me.

Speaker 65 (02:10:21):
Gotta get out hot, you get out, hey, But wait,
use your head, George, because the closest guy is wearing.
Even in the dark, you can see how classy they are.
He usually got a roll in his wallet, and he
don't need it anymore. Hurry every same time.

Speaker 59 (02:10:42):
Here here's his one.

Speaker 51 (02:10:46):
Let me get from his alley.

Speaker 4 (02:10:47):
Gouch, gotta get out of here.

Speaker 6 (02:10:49):
Because George turns to run, the wallet drops in his
nervous fingers, the money scattered across the cobblestones. He has
no time to look forth in the dark. The police
are already coming up the alley. He grabs the first
bill is thing to touch, and then starts running. George
doesn't stop running till half a dozen blocks separate him

(02:11:10):
from the alley and the dead man and the police. Now,
finally he slows down to a walk where the people
on the street are staring at him, fearful that they
might wonder what he clutches so tightly in his list.
He steps into a doorway, opens his hand, but the
dim hallway light, he looks a ten dollar bill. Now

(02:11:32):
that there were fifty of them in that wallet, and
all I got there's one. I don't know you trying
about it now?

Speaker 66 (02:11:40):
Anyway, There's still a lot of things a guy can
do with a ten dollar bill.

Speaker 6 (02:11:50):
A ten dollar bill, But this is a very special
ten dollar bill, and you are not to lose sight
of it for an instant. For in a sense, you
might say, the hero of our journey into doctors tonight
is this ten dollars bill. Now, George folds the bill
into a pocket head the cross Fifth Avenue to Charlie's Tavern.

(02:12:10):
Not many in Charlie's place tonight, the usual crowd. Everybody's edgy,
it's hot, it's too hot tonight. They get much of
a kick out of saying Old George Mosey and.

Speaker 67 (02:12:19):
Hey, hot night, and here's Charlie, the best turned bartender
that ever scraped the head off a glassic Olbi adding
none of the voices in the mode to set you
up tonight, George, why don't you.

Speaker 4 (02:12:32):
Be just a minute, just a minute now? How many
times would you say I moved drink so a few fellows? Yeah, yeah, yeah,
too many times. But I always give you a laugh tonight.

Speaker 67 (02:12:43):
Old George always give you a laugh for sitting to George.
Go on, Peter, Oh, Old George had to do was
say this is a fine in per a fella who
studied business administration at Princeton University. Yeah, and then you
all had a good laugh, and Old George, tonight it's
going to be different.

Speaker 4 (02:13:01):
Look, well you scram out here.

Speaker 67 (02:13:03):
Tonight, Old George's gonna set him up for you boys,
every one.

Speaker 6 (02:13:06):
Of you ten dollars worth.

Speaker 66 (02:13:10):
And this time when he tells you about Preston, this
time you're not gonna laugh at all.

Speaker 4 (02:13:15):
Set him up, Charlie, anything he want ten bucks worth
of that? So that doesn't get out of here? Well,
what are you talking about? I told you to.

Speaker 67 (02:13:23):
Set him up and I told you to get out
so drunken bum, but you're going to try to pull
ten bucks worth.

Speaker 23 (02:13:28):
I got to get out going.

Speaker 6 (02:13:39):
So before George can pull the ten dollars bill out
of his pockets, he finds himself sitting on the sidewalk,
and through the screen door come the laughs and TNTs
of those inside. He picks himself up, shakes his head,
starts shuffling down the street.

Speaker 4 (02:13:56):
Oh, drunken bum laughing at me like that, not even
giving me a chance to show my money. What do
they think they are?

Speaker 6 (02:14:07):
Old drunken bonge And suddenly George stops. He's looking into
a store window where orange faced dummies gracefully displays the
very latest fashion in secondhand clothing. But George is not
looking at the dummies or the clothing, is watching his
own reflection. This torn, faded shirt, his baggy pants, patched,

(02:14:27):
food stained and greasy.

Speaker 4 (02:14:29):
Old bumb oh bomb in some nice commerce.

Speaker 22 (02:14:33):
Mister.

Speaker 4 (02:14:34):
I've seen you standing there looking at the display. Oh
aren't you come aside and look around? Don't write the
look but I said you can't buy, You can't buy.

Speaker 68 (02:14:42):
Look between me and you, I ain't have a customer
inside the stuff for so long, even a guy just
looking at me a relief.

Speaker 4 (02:14:48):
Well, all right, shit by myself. All I do is think,
what do I think about? How allowsy business has rumed
my nerves?

Speaker 59 (02:15:00):
How I treat my wife Eva, It's like she was
a dog.

Speaker 4 (02:15:03):
Well, maybe maybe I do want to buy.

Speaker 68 (02:15:05):
I mean I could use some clothes, I guess, And
I got a little money, a little ten dollars, A
little money missed up At ten dollars, you could get
dressed from head to bottom and maybe have a couple
of bucks left. I got good values only today. Who'll
buy second hand clothes?

Speaker 6 (02:15:21):
Here?

Speaker 4 (02:15:21):
Take a little bits phil a Matteo sixty percent. World
wes my guy.

Speaker 6 (02:15:33):
And in a very short time, George the old bum
finds himself in the washroom behind the store, changing into
his new second hand clothes. Then he finds a razor
on the sink, He shaves himself, comes back his hair.
After that, he walks out, say.

Speaker 4 (02:15:52):
That looks more like it. Look look at yourself in
the mirror. Well yeah, looks pretty good, pretty good, terrific.
You really look like something.

Speaker 66 (02:16:02):
Well, Well you know, I wasn't always a brum. Once
I was headed for big things. I even studied business
administration at Princeton University.

Speaker 68 (02:16:15):
Yeah, say that's a pretty good college. You you believe me, well,
I should not believe you. You look like a man
who has a head for that stuff. I got side checked,
that's all. I had a bad looking and everything.

Speaker 4 (02:16:30):
That is so wide a guy can bounce back.

Speaker 68 (02:16:34):
Look, I bet you could go out tomorrow if you
told people about this Princeton deal.

Speaker 4 (02:16:38):
I'll bet you could name your own job. You really
think so? Sam Benstein never says anything you don't think.
Life' styoll short, it will be a Dallas eio. Yeah,
here's a ten dollars bill. Yeah, get changed. You wouldn't
know of any fairly good hotel around here, would you?

Speaker 2 (02:17:00):
Oh?

Speaker 4 (02:17:00):
Yes, so place down the street where you get a
room for a buck and a half. It shuts my fency.
What it's cleane. I want to get a good night's sleep.
I got a lot of things to do tomorrow. Good night, I'll.

Speaker 63 (02:17:14):
Say, miss the Wait a second, why do you want
me to do with y'all clothes?

Speaker 4 (02:17:18):
Do anything you want? What would I use for them?

Speaker 29 (02:17:22):
Well?

Speaker 66 (02:17:23):
Those clothes are only good for a no boom.

Speaker 6 (02:17:33):
And George leaves the second hand store and disappears into
the night. Maybe tomorrow night he'll sell his new clothes
for a pint of gin. Then again, that's hope he won't.
It's almost eleven thirty when Sam closes the store. He
walks down the street toward the bus stop. The ten
dollar bill is in his pocket with the other money.
The bus is late, and he waits in the doorway

(02:17:54):
of the Pearson Flowers shop. Mister Pearson is closing up
and taking the flowers out of the window, so Sam
watches him and remembers how long it has been since
he brought either his wife anything. Before he knows that
he's going.

Speaker 4 (02:18:07):
Inside the shop. Hello, I just got a minute before
I catch my bus. I thought maybe i'd like to
buy their little flower. I'm sorry, but I'm close to night.

Speaker 68 (02:18:16):
Yeah, but look, I want to bring my wife home
a little something, you know, And I don't tell him
by tomorrow.

Speaker 4 (02:18:21):
I don't want it tomorrow. I want it now. I'm
look about it. That flower down the desk. Now, what
does it take to put in a little box?

Speaker 8 (02:18:27):
Give it to me? How about it?

Speaker 2 (02:18:28):
Eh?

Speaker 4 (02:18:28):
And that's an orchid ocket. Yes, this is pretty expensive.

Speaker 59 (02:18:32):
Six dollars six bucks for one flower.

Speaker 4 (02:18:35):
Yeah, okay, wrap it up, give it to me. Well,
all right, I suppose I can this box be all right?

Speaker 6 (02:18:46):
Sure? Sure?

Speaker 4 (02:18:46):
You don't even have to tie a fIF ten dollars?
Oh don't you everything smaller?

Speaker 69 (02:18:51):
No?

Speaker 4 (02:18:52):
I put all the minion as safer When I got
a dollar, Well, that's my bus coming down the street.
I got my own store block away.

Speaker 29 (02:18:58):
Just give me the dollar.

Speaker 68 (02:18:59):
I'll pick up the rest of my all right, that's
all right with yeah, sure, sure, sure, come in here
with a ten dollar bill. And all I got to
show for is one buck and a flower. I don't know,
guess maybe it's.

Speaker 6 (02:19:19):
And now the floorist has a ten dollars bill. He
falls it into a tiny square and stuffs it into
his watch pocket. Yawns and finishes putting the flowers into
the ice box, and by ten to twelve he is finished.
He washes up and back, straightens his tie, turns out
the lights, and starts at the front of the store
in the darkness. Someone is waiting for him.

Speaker 2 (02:19:39):
Who is it?

Speaker 4 (02:19:40):
Never mind?

Speaker 64 (02:19:41):
Just say where you are. I'm not kidding with a
stun good Yeah yeah, Just handle all the Domestickney's in
the safe, then open a safe. I can't it's automatic.
It can only be opened book. Maybe you think I'm
kidding with a stun. Maybe you think I won't use
it if I have.

Speaker 4 (02:19:56):
To think it easy, take it easy. I told you
the safe, but never mind a safe. You mean what
you got on you.

Speaker 64 (02:20:01):
I haven't got a penny. I look, I'm telling you
I'm gonna kill you. Maybe you think I ain't got
the gut. Maybe that's what you think. No, hannoy, I
told you I don't have a penny. Okay, I'm gonna
show you away.

Speaker 4 (02:20:15):
I forgot.

Speaker 6 (02:20:15):
I do have some money, ten dollars.

Speaker 4 (02:20:17):
Hand it over quick in my wifefie it.

Speaker 64 (02:20:22):
I'm okay, mister, that's better. Maybe I want to let it.
Let you kiss the store before I take it.

Speaker 4 (02:20:30):
It just saved your life.

Speaker 6 (02:20:37):
So now our ten dollar bill is in the hands
of a young thief running now down a dark side street,
his face placid with sweated heart beating.

Speaker 4 (02:20:45):
Wildly against his ribs.

Speaker 32 (02:20:48):
I knew I could do it.

Speaker 4 (02:20:49):
I knew I could do it.

Speaker 6 (02:20:50):
Even in the darkness. It's easy to see his youthfulness,
the slender, undeveloped shoulders, the smooth, unshaven face, the kids,
mouth sagged open, gasting and air of the run.

Speaker 4 (02:21:00):
My good who was that guy?

Speaker 32 (02:21:02):
Care?

Speaker 6 (02:21:04):
What is not apparent in the darkness? All the years
that brought the boy to this street on this knife,
with a gun in his pocket and a stolen ten
dollar bill. The poverty is a loneliness, the many hungers.
Now the boy slows down, standing under a street lamp,
put the ten dollar bill into his wallet. At this moment,
a little man in a doorway, biting a cruspick, smiles

(02:21:25):
and glanced out of the shadows.

Speaker 63 (02:21:26):
Hey buddy, Hey, buddy, you wouldn't many chance be having
a match from my cigarette?

Speaker 44 (02:21:33):
Now?

Speaker 63 (02:21:34):
Oh yeah, oh, very kindly, But John forss a lot
of man to keep one in his and no circumstances, no, sir,
So I'll just strike one of your fine matches, I
my cigarette.

Speaker 51 (02:21:51):
And deposit the book.

Speaker 4 (02:21:53):
Of matches right in the same pocket that you took
him out.

Speaker 63 (02:21:56):
Hey, and now, begging your foret, sir, I will first
it on my way good night, and yeah, yeah, beat it.

Speaker 6 (02:22:11):
The young thief continues down the dark street, not quite
sure where he's going, but glorying in his new fan's courage.
Then just ahead he sees a pair of headlights coming
his way.

Speaker 51 (02:22:24):
To get out of here.

Speaker 63 (02:22:29):
Okay, okay, what do you want from me? I didn't
do nothing, sae too, What.

Speaker 49 (02:22:36):
Are you doing that for?

Speaker 29 (02:22:37):
I don't carry no gun.

Speaker 4 (02:22:38):
If that's what you're looking for. I went over to
the squad car with me. Sure the only reason I ran.
I got kind of real. All right, mister Pearson, thank
a good look at him? Is he the one I had?

Speaker 12 (02:22:52):
Yet?

Speaker 4 (02:22:54):
I don't know. Like I said, I didn't see much
of his face.

Speaker 6 (02:22:57):
From the dark.

Speaker 4 (02:22:58):
About his voice, fella who held me up? I was
pretty excited. I no, Well, he's not carrying a gun.
I don't know any other way. Oh wait, yeah, look
at his wallet. See if he has a ten dollar bill?
Hey not, what would that prove?

Speaker 6 (02:23:12):
Well?

Speaker 4 (02:23:13):
If he doesn't have a ten spotifle, she proves he
isn't the one. If he does, well, I don't know,
he might be. Let me see what kind of money
you're carrying? Saying no, yeah, I got no right, okay,
finding myself stand stair you this is no man. He
don't have a dime on him. Did you look in
his wallet? He doesn't have a wallet. Go on, buddy,

(02:23:35):
beat it. This is one time when it's lucky not
to have a ten dollar bill.

Speaker 6 (02:23:46):
Two blocks away, a spindley legged little man, still smiling,
throws away an empty wallet and pockets our ten dollar bill.

Speaker 63 (02:23:55):
Eh, punk, kid, he really thought I was drunk.

Speaker 4 (02:24:00):
I could have picked his pocket with my teeth.

Speaker 6 (02:24:02):
A little man walks through the night, humming to himself,
his eyes darting up and down the dark streets, till
suddenly he stops, like a man who suddenly beholds an
image of unbelievable loveliness.

Speaker 4 (02:24:12):
Hey, a liquor store. Open this lake locked put.

Speaker 37 (02:24:22):
All the lights are on and it's a fellow working
insun Hey, hey, open up your open up.

Speaker 4 (02:24:30):
No, I ain't gonna all away. Don't you believe a
locked door when you see it? We're closed?

Speaker 32 (02:24:37):
What all the light's burning?

Speaker 4 (02:24:39):
And you and your shirt sleep?

Speaker 6 (02:24:40):
I'm taking inventory.

Speaker 4 (02:24:41):
That's all come back tomorrow. Oh no wait, no, wait
tomorrow And that's a poor word.

Speaker 63 (02:24:46):
What if tomorrow?

Speaker 4 (02:24:47):
But a great big question?

Speaker 23 (02:24:48):
May?

Speaker 6 (02:24:49):
Okay, good night? No wait, no way to make your
foot out of the door.

Speaker 63 (02:24:52):
Oh man, can't you see I'm ready to drop just
for a little teeny.

Speaker 4 (02:24:58):
Bottle or something or a sorry but but I got money.
Look a ten.

Speaker 59 (02:25:04):
Dollars after three in the morning, I can't sell you anything.

Speaker 4 (02:25:07):
Did you ever hear about the law?

Speaker 6 (02:25:09):
Law?

Speaker 4 (02:25:09):
That's another word that don't bring no joy to my heart. Look, pal, I.

Speaker 6 (02:25:14):
Only work here.

Speaker 8 (02:25:15):
I'm tired.

Speaker 6 (02:25:15):
I want to go home.

Speaker 22 (02:25:16):
Yeah.

Speaker 4 (02:25:17):
Look, hey, that dick, that bottle of bourbon standing over there.

Speaker 63 (02:25:21):
Yeah, you could just reach back and grab it, well,
even stretching your little finger.

Speaker 4 (02:25:26):
Now, look, I told you it's Mark.

Speaker 63 (02:25:28):
It's Mark six dollars plus tax.

Speaker 10 (02:25:30):
Right now.

Speaker 63 (02:25:31):
I'll just give you this ten dollar bill for it,
and I won't even.

Speaker 4 (02:25:34):
Complain a bit.

Speaker 63 (02:25:35):
In fact, I'll be the happiest guy in the world.

Speaker 4 (02:25:39):
Hell, you pick the right man.

Speaker 59 (02:25:43):
I guess it's like they say, takes the heel and
noway hill and over the tent.

Speaker 6 (02:25:54):
So by three twenty our ten dollar bill is owned
by a clerk in a liquor store, a clerk named it,
and by a quarter to four, Eddie's locking the store,
starting his walk across town to his rented room in
Fourth Street. But at this time of night, Eddie doesn't
mind that walk so much. In the darkness, Eddie can relax,
even drop the scowl that his defense against whatever life

(02:26:14):
might do to him. Eddie's never had much faith in life,
and what little he had he lost in the mud
before Casino. Now Eddie's out to get whatever he can
any way he can. He's thinking about that now as
he reaches the bridge that spends the North River. Then
he sees the girl standing near the middle of the
bridge looking down.

Speaker 59 (02:26:36):
What's she doing here? Maybe she's lonely. Maybe I'll say hello,
what she trying to do?

Speaker 70 (02:26:43):
Hey, lady, don't do it.

Speaker 23 (02:26:44):
I get up and lash.

Speaker 55 (02:26:51):
You're not going to stop me?

Speaker 71 (02:26:52):
Yeah, I am going to stop your Come on, relax
like you're right.

Speaker 4 (02:26:55):
Ori shouldn't any of your businesses.

Speaker 71 (02:27:00):
That's a prow coming across the bridge at three in
the campter trying something like this. Yeah, look like we
just stuff to light a cigarette here, and that's a
prower Carl.

Speaker 59 (02:27:12):
Okay, it's past.

Speaker 4 (02:27:13):
You're gonna stop me.

Speaker 47 (02:27:15):
Nobody's gonna stop me, So you lead, I'm gonna do
it an'ytway.

Speaker 4 (02:27:19):
That's your business, that's right.

Speaker 71 (02:27:22):
I don't know why a good looking dame like you
want to do something like this.

Speaker 59 (02:27:26):
You know what, if you weren't so skinny, you'd really
be something right home about what's the trouble?

Speaker 6 (02:27:33):
Cool? Beat it?

Speaker 8 (02:27:35):
Sure, I beat it.

Speaker 4 (02:27:37):
You can jump nice as you please.

Speaker 72 (02:27:39):
Only I got a nice long way to walk till
I get to my room, and I always like to
have something to think about while I walk.

Speaker 71 (02:27:45):
So you tell me why it's well looking dame like
you has to kill yourself, and I'll think about that.

Speaker 73 (02:27:49):
Yeah, if I tell you, maybe you're even help me
since I'm such a swell looking dame. Sure you can't
tell everybodd he's always willing to help a swallow conde
and all they want in return.

Speaker 59 (02:28:03):
Is your little gratitude.

Speaker 4 (02:28:06):
After all, it's only you.

Speaker 6 (02:28:08):
Yeah, sure, go on, leave me alone.

Speaker 59 (02:28:13):
Now you got me really interested.

Speaker 4 (02:28:15):
I'd be like leaving a good movie right before the
best part. Oh, please leave me alone, you tell me,
and then I'll go what can I'll be so bad.
We can finish these cigarettes.

Speaker 6 (02:28:25):
It's a nice night.

Speaker 59 (02:28:27):
Besides, what does a couple of minutes mean to you?
One way or the other?

Speaker 17 (02:28:33):
Okay, it's a big hut.

Speaker 55 (02:28:35):
Yeah, I'll tell you fast and sweet, And all I
need is a couple of violins playing softly in the background.

Speaker 57 (02:28:42):
Which person do you want?

Speaker 55 (02:28:44):
Annie the Stone Machine girl, a little nell making paper
flowers in your dark bedroom. Or maybe you want to
hear about Helen. That's me, the big blonde was going
to come to the city and set it on fire,
sing and dance and act and you name it.

Speaker 28 (02:28:54):
It's right up Helen's alley.

Speaker 42 (02:28:56):
Maybe you want to hear about her.

Speaker 55 (02:28:58):
I mean, she found out that set You're on fire
wasn't such a blood pipe stinch after all, when.

Speaker 4 (02:29:05):
Cold steal.

Speaker 6 (02:29:08):
My holding your interest?

Speaker 4 (02:29:10):
Yeah, you go on, You're goes along.

Speaker 73 (02:29:14):
Maybe you want to follow a Helen throwing me on
dive she work in.

Speaker 9 (02:29:18):
Maybe you'd like to see.

Speaker 6 (02:29:27):
And the girl tells Eddie everything and she's right. There
should have been violins playing in the background. Because it's
really a very trite little story about a pretty blonde
kid getting no place fast about the late hours, the
stale cigarette smoke, the sandwich is grabbed on the run,
finally taking their toe yelp, And like all trite little stories,
there's even a doctor in it, and he says with

(02:29:49):
the doctor in the story always says mild TV, but
it'll kill you if you don't get away. And of
course there's a sister in Arizona who will put her
up till she gets well, if she'll only grab a
bus and come right out and all the stands in
the way, is thirty seven dollars, But in three months
of trying, she hasn't been able to make it. Once

(02:30:10):
she passed the bridge, she wasn't thinking about suicide, but
then then suddenly she was very tired, and jumping into
the water seems the only sensible thing in this world
to do. Finally, the girl finishes. The two stand in
the dark for a very long time.

Speaker 4 (02:30:28):
Well, I don't believe any of it.

Speaker 59 (02:30:32):
Hey, no, I think you're a cheap little show trying
to talk me out.

Speaker 12 (02:30:34):
Of some dough.

Speaker 73 (02:30:35):
Good for you, Now you can be on your way.

Speaker 2 (02:30:38):
Good night.

Speaker 4 (02:30:38):
Wait I'm not finished. Yeah, sure, that's what I believe.

Speaker 59 (02:30:44):
Then I'm a guy that's all twisted up like a person.
And because I believe it, that doesn't have to make it.
So how much do do you need?

Speaker 62 (02:30:55):
Now?

Speaker 59 (02:30:55):
Listen, look curly, get it fast before I start thinking
about it.

Speaker 6 (02:30:58):
How much do do you need?

Speaker 8 (02:31:00):
How much?

Speaker 73 (02:31:01):
Though you can get a bus out of here in
just two hours, it will take me all away for
thirty seven dollars, that's what meals mean.

Speaker 59 (02:31:08):
I got about six dollars. You need thirty one more.

Speaker 22 (02:31:13):
Yeah, this is your lucky night.

Speaker 10 (02:31:16):
Usually I wouldn't have that much with me.

Speaker 59 (02:31:17):
Got guy, slip me an extra ten. Come on, you said.

Speaker 6 (02:31:22):
The bus leaves in two hours.

Speaker 59 (02:31:23):
We got to be getting down to the station.

Speaker 6 (02:31:31):
At six am. A sleepy little crowd has gathered around
the door of a bus marked Phoenix. The girl is
the last to get off.

Speaker 17 (02:31:39):
Well, I guess i'd better get my seated.

Speaker 4 (02:31:43):
Yeah, good night.

Speaker 6 (02:31:46):
You know, I don't know what to say.

Speaker 72 (02:31:50):
Thank you, It's okay, mee and rocket felly, go on,
you better get on the bus. Yeah, I'll be going
come on, well.

Speaker 63 (02:32:02):
Hey, hell on, wait a minute, don't get on the bush.

Speaker 6 (02:32:03):
Yes, you know, I'm always thinking someday I might go out.

Speaker 18 (02:32:11):
To the West coast.

Speaker 17 (02:32:14):
That's the second Eddie was saying.

Speaker 63 (02:32:16):
And if I do well, I gotta go to Frinks.

Speaker 59 (02:32:19):
And maybe, well maybe if you give me your sister's address,
maybe maybe I'll.

Speaker 4 (02:32:23):
Look you up.

Speaker 50 (02:32:25):
Eddie.

Speaker 42 (02:32:26):
Just look in the phone book.

Speaker 73 (02:32:27):
It's listed Undromallia Benson's me.

Speaker 17 (02:32:30):
He's the only one in the books.

Speaker 15 (02:32:33):
Disappear.

Speaker 59 (02:32:34):
Want me to look you up?

Speaker 73 (02:32:36):
Yes, yes, you want to look me up?

Speaker 23 (02:32:39):
I do, Eddie I do, I do, And so.

Speaker 6 (02:32:51):
It is dawn in the city, and as the sky lighting.
An old man in a hotel room on Fourth Street
has just awakened and carefully putting on his new suit.
In a flat on Harrison Street, an orchard dress still
fresh in an ice box, put there by a grateful wife.
Across town, in a Wetworth Street studio, a flora stirs

(02:33:13):
in his sleep, as if suddenly reliving his moments with
the gunman in the dark, and the ten dollar bill
saved his life. In a small bedroom near Logan Square,
a young kid is thinking about that ten dollar bill too,
and wondering how he could have lost it, but thankful
that he did, because losing it has given him another chance.

(02:33:33):
In a store doorway on Twelfth Street, the pickpocket is
sleeping off a drug, dreaming of a happy world he's
never known. Down Sixth Street, Eddie is walking toward his room,
whistling to himself and wondering if maybe by next month
he'll be able to buy his bus ticket for Arizona.
And on the outskirts of the city, in a fast
moving bus, a girl looks out the window. She sees

(02:33:55):
a reflection in the glass and realizes that for a
very long time she's been smiling only if the ticket
win of the bus company. Is there any real unhappiness
and the cashier shakes his head. Heels to his assistant.

Speaker 4 (02:34:08):
Hey, Frank, where do you get this bill?

Speaker 50 (02:34:10):
Huh?

Speaker 4 (02:34:12):
I don't know what counterfeit? That's why? Huh. Yeah, as
phony as they come. What are you gonna do with
What can you do with it?

Speaker 35 (02:34:22):
I guess there's nothing in the world as worthless as
a phony ten dollars bill.

Speaker 2 (02:34:37):
Moral.

Speaker 6 (02:34:38):
Oh, I kind of think you've already figured out the
moral for tonight's story, and I guess it goes something
like this. In this life, nothing is ever counterfeit that
brings people happiness. Of course, that doesn't mean you should
go right out and start printing ten dollars bills. Good night, folks,
See you next week.

Speaker 62 (02:35:16):
Listen next week for another dark venture with John Newlan.
Starring in Tonight's story were Jack Moyles as Harry, Jack
Edwards Junior as Joe. Norman Field was George the old Bum,
David Ellis was Eddie.

Speaker 4 (02:35:31):
Sam Edwards was the thief. Wilms Herbert is mister Pearson
the florist.

Speaker 62 (02:35:36):
Eddie Marr was Sam Herb Bigran the pickpocket, and Virginia
Gregg as the girl. Original music by Rex Corey George Fennvan.

Speaker 74 (02:35:46):
Speaking the Weird Circle, in this cave by the restless sea,

(02:36:12):
we are met to call from out the past stories.

Speaker 36 (02:36:17):
Strange and weird. Bell keeper, pull the bell so all
may know. We are gathered again in the Weird Circle.

(02:37:05):
Out of the past.

Speaker 75 (02:37:07):
Phantoms of a world gone by speak again their immortal tale.

Speaker 12 (02:37:12):
The doll.

Speaker 8 (02:37:29):
Fiat fiat.

Speaker 76 (02:37:31):
I'll have the bailiff clear the court that this continues.
Quiet now, then, did the court understand the defense correctly?
The defendant wishes to make a statement.

Speaker 33 (02:37:44):
Yes, your honor, I wish to make it regarding the
death of the fortune teller, Madame Philamil of Golash Street.
My name, as I have said, Your Honor, is Frederic Hippy.
I am an inventor and have fashioned many strange things
in Goulash Street.

Speaker 14 (02:38:01):
I was and still am called.

Speaker 15 (02:38:03):
The Wonder Smith.

Speaker 33 (02:38:05):
And what I wish to say now is not merely
a change in testimony, No, your Honor, it is more
than that.

Speaker 14 (02:38:12):
It is a confession.

Speaker 33 (02:38:15):
I am only a man who hated his stepdaughter with
a burning passion. Hated her, who, through all her life
crossed me, whose wilfulness made of my days a running sore,
whose very youth and strength angered my aging eyes. Yes,

(02:38:36):
hated her, and to make her life suffer was my
one consuming ambition.

Speaker 14 (02:38:41):
Now she is out of my reach.

Speaker 33 (02:38:44):
The young man Soulan, her foolish and scrawny lover, is
innocent of anything. In the death of the fortune teller Philomel,
I am the guilty one. Ay, the events began when
I first saw them together, Solon and my stepdaughter Zonila.

Speaker 14 (02:39:02):
Soulon had a bookstore, a hovel of a place across
the street.

Speaker 33 (02:39:07):
On this afternoon, he was reading to my stepdaughter Zonila,
and the pleasure on her face angered me. I could
hear Solon's voice from here. I was standing in front
of my shop with Philomel, the fortune teller.

Speaker 10 (02:39:22):
Let me not get the.

Speaker 14 (02:39:23):
Marriage of two minds in love.

Speaker 49 (02:39:28):
Wonder Smith, your little bud's blooming in the sun, so Nila, Yes,
come here, Look how he shuts his book with a bang.
You have a great voice for frightening, wonder Smith.

Speaker 33 (02:39:42):
Years have you sat there in the sun long enough,
cooing to each other like sick doves?

Speaker 2 (02:39:47):
We're not.

Speaker 18 (02:39:48):
Get in the house.

Speaker 33 (02:39:49):
Upstairs to your room and stay there. Your lover will
bake alone in the sun.

Speaker 49 (02:39:54):
Get in, Wonder Smith. The joy is gone out of
her face.

Speaker 14 (02:39:58):
She'll laugh only when I laugh.

Speaker 49 (02:40:00):
Get in the house, Unila, you're a fine stepfather, Wonder Smith.
Your daughter's lucky.

Speaker 33 (02:40:09):
Stop it we business, Phila Mail. So we have we
made a bargain, Philamil. I have done my part of it.
Have you done yours?

Speaker 49 (02:40:19):
Yes, Hippy, my magic has trapped a soul for the doll.
It's in a bottle. You'll say your part is done.

Speaker 15 (02:40:27):
Yes, the paint is drying on the doll.

Speaker 14 (02:40:29):
Now we will meet tonight at eight in my shop.

Speaker 49 (02:40:32):
Do our honored colleagues know Croplone the honest Duela and
Oaksmith the cutthroat.

Speaker 14 (02:40:38):
I've told them, and we will test.

Speaker 49 (02:40:41):
The doll tonight. Yes, it will be a rare sight,
Wonder Smith, to see a wooden Mannikin come alive, full
of murder and wrath.

Speaker 14 (02:40:49):
If the soul you've bottled is full.

Speaker 49 (02:40:51):
Of murder and wrath, do not worry, neighbor. My pick
of murderous souls is vast and deep. Gallow birds, jail birds,
a whole nation of outlaws are on the waiting list,
and we'll be rich, and with the richest will have
Paul Eye wonder Smith. We will be rich, albeit somewhat bloody.

Speaker 33 (02:41:10):
Tonight, then, Philammel, tonight, Philammel answered, Chapter eight o'clock.

Speaker 49 (02:41:21):
It must be there, coming, coming, Patience you dogs. I'm
an old woman, not a young bird. So you're here
at last. Come in, cuplom you two.

Speaker 77 (02:41:35):
Brother oak Smith is everything ready?

Speaker 18 (02:41:38):
Worshippy is shit?

Speaker 33 (02:41:39):
Sit friends, We will begin in a few minutes.

Speaker 14 (02:41:42):
He is wine, I drink.

Speaker 18 (02:41:45):
I will be back.

Speaker 77 (02:41:47):
I've brought some stones, pilamel rubies. We'll test the doll
with them.

Speaker 33 (02:41:53):
Eh here good, and you, Oaksmith, the key to the
bird stor splendid.

Speaker 49 (02:41:59):
You're a fine per snatcher boy.

Speaker 6 (02:42:01):
Is that a doll?

Speaker 15 (02:42:02):
Yes?

Speaker 18 (02:42:04):
Look all, a masterpiece, beautiful one smith, beautiful, A magnificent
little man with.

Speaker 49 (02:42:13):
The face of a devil.

Speaker 2 (02:42:15):
The sword in his hand is as sharp as a race.

Speaker 33 (02:42:17):
I have never fashioned anything as fine as this. And
we will bring him alive with one of Phillamale's souls
and send him out into the world, a.

Speaker 25 (02:42:25):
Victim that we choose, Yes, that we choose.

Speaker 33 (02:42:30):
He will bring us back the rarest jewels, and he
will fight the very devil himself.

Speaker 2 (02:42:34):
To do it.

Speaker 33 (02:42:35):
An epic thief the size of a Let us test him.

Speaker 77 (02:42:39):
Now, have you the soul, Philammel in this bottle.

Speaker 49 (02:42:44):
The soul of a scoundrel hung it dawn from a
public gallows.

Speaker 14 (02:42:48):
You seem uneasy, Filamal.

Speaker 49 (02:42:50):
This is a restless and angry soul. He stirs in
the bottle.

Speaker 2 (02:42:55):
Loose upon the doll, soon soon silence.

Speaker 28 (02:42:59):
What is it?

Speaker 18 (02:42:59):
Hibby?

Speaker 14 (02:43:00):
I heard something.

Speaker 49 (02:43:03):
In this hall, the step going by your daughter.

Speaker 14 (02:43:07):
Perhaps she wouldn't dare. Oh, come, you're imagining things.

Speaker 18 (02:43:10):
There's no one here.

Speaker 14 (02:43:11):
I'm not so sure.

Speaker 18 (02:43:13):
We're only wasting.

Speaker 42 (02:43:14):
Time the doll.

Speaker 14 (02:43:15):
It sounded like a step.

Speaker 18 (02:43:17):
Oh, shut the door. You're nervous, all right, And I
was sure whose the soul? Film Mel.

Speaker 49 (02:43:25):
Then put the rubies away and stand behind me. The
soul will leap to the first figure at seas, And well,
I am a bit uneasy about the one I've captured.
Be careful now. Then I cover the doll and push
the bottle under the covering. Loose the stopper, and on

(02:43:47):
airring shore with devilish art, possess this body seize this heart,
muscle and nerve and bristled bone. Nake them all your
anny bone.

Speaker 77 (02:44:01):
Oh it's it's moving under the covering.

Speaker 2 (02:44:04):
Pull off the wrapping, pulled off. I'll do it, see all,
by the seven gods.

Speaker 25 (02:44:10):
It's a lie.

Speaker 2 (02:44:11):
It's alive like you.

Speaker 49 (02:44:12):
And I see how it glares at us, turning its
doll's head from side to sign.

Speaker 46 (02:44:18):
Look it bears its teeth at me, hate in its
eyes when it glares at you.

Speaker 2 (02:44:23):
Pillamel, Beware it's sword, Philamel, hippie.

Speaker 49 (02:44:26):
It is not a friendly doll.

Speaker 14 (02:44:28):
That's the soul you gave it, Philamel.

Speaker 49 (02:44:30):
It does not like me. Perhaps it wants the taste
of blood. And I'm the most of it.

Speaker 7 (02:44:35):
Here the key to the bird store, Filmel, I gave
it to you.

Speaker 49 (02:44:38):
So you did well, my bitter little foe. You shall
have your taste of blood.

Speaker 33 (02:44:43):
Oh you'd better call back that soul, Philamel, until we
get to the bird shop.

Speaker 49 (02:44:47):
I think i'd better too. Come, my friend, it's home
for you. Better call back the soul. Relax the muscle,
release the bone, give up this palace, Ye.

Speaker 77 (02:45:00):
This hole, the light it's black as pitch.

Speaker 33 (02:45:12):
Here you wait, I have a candle hold the doll,
oak smith, while I strike a match.

Speaker 15 (02:45:17):
I have the doll, wondersmith, just.

Speaker 49 (02:45:22):
The match, wonder smith. E Si, there's a watchdog of
a bird for.

Speaker 33 (02:45:31):
Your quick someone might have heard, give the doll his
soul again, Pilamel.

Speaker 2 (02:45:36):
Let's be done with this tis silence, silence.

Speaker 49 (02:45:39):
You have a pool to work. Cover the doll the
bottle now and an ailing sure with devilish art, possess
this body, Seize this heart, nerve and muscle and writtle bone,
make them all your very own name. Put the the

(02:46:00):
pros cage, and it was alive.

Speaker 33 (02:46:07):
At first, your honor. The tiny doll glared murderously at Philamel,
the fortune teller. Even in the candlelight, I could see
her grow pale. But the instant the dolls saw the jewels,
greed crept into its eyes, and, nimbly, its tiny sword,
glittering in the candlelight, it ran across the table top,
jumped to a shelf, and then, as graceful as a cat,

(02:46:29):
leaped across to.

Speaker 14 (02:46:30):
The parrot's cage.

Speaker 33 (02:46:32):
For a moment, he hung there, the cage, swinging back
and forth, silently, back and forth. The parrot shouted at him,
but the doll showed no signs of fear. He stared
coldly and with a thin, mused smile at the bird
behind the bars. What happened, then, your honor, happened in
a twinkling, the doll clung the cage door back, and

(02:46:55):
then he leaped, his sword, flashing with a rapier speed.
The parrot's wings frantically the air, and it screamed, blood
feared upon the bird's breast.

Speaker 14 (02:47:05):
The doll, like an Italian.

Speaker 33 (02:47:07):
Fencing master, danced about the fencing bird, plunging his sword
into a Time and time again, all of us stood there, staring,
open mouthed at the struggle in the cage.

Speaker 14 (02:47:17):
Unaware that it was only the parrot screaming.

Speaker 33 (02:47:20):
It seemed to each of us that we could hear
the din of some Titanic battle, that we could see
the dust of some distied armies locked in war.

Speaker 14 (02:47:28):
And then it was over.

Speaker 33 (02:47:29):
In the flag the bird screamed, it shuddered, and spasms
racked its body, and then it fell to the floor
of the cage. For a moment, the dolls stood there,
wild eyed and panting, and then it bent, scooped up
the rubies, and swung out of the cage. When it
reached us, it dropped the jewels on the table top

(02:47:52):
and watched Philomel magnificent, magnificent, You see him, Lord, my
dolls a success A six.

Speaker 8 (02:48:01):
Watch out wi you build her.

Speaker 14 (02:48:03):
I've got him draw the SOULA quick clet you see.

Speaker 11 (02:48:06):
He lunched her.

Speaker 15 (02:48:07):
The doll lunched a filmal.

Speaker 14 (02:48:08):
Draw out the soul. Draw out the soul.

Speaker 49 (02:48:10):
Lax the muscle, release the bone, give up this palace,
lave this hole.

Speaker 33 (02:48:21):
Nay.

Speaker 76 (02:48:21):
Dull lungs at Phillamel the fortune Tell her, Yes, your honor,
the dull had lunged at Philamel, the fortune teller.

Speaker 14 (02:48:30):
There was no question about it. The dull or the
soul that was in it, considered Philammel as his fool.

Speaker 33 (02:48:37):
At that time, your honor. The sword in the doll's
hand was not poisoned. Ah, But later on, yes, later on.

Speaker 41 (02:49:14):
Silence, swill the car be quigher. Must I clear it?

Speaker 25 (02:49:24):
Now?

Speaker 76 (02:49:24):
You may go on, mister Hebby, continue with your confession
regarding the murder of the fortune teller Philomel.

Speaker 33 (02:49:31):
When we were done, they're in the bird shop, and
we'd drawn the soul out of the doll in time
to save Philamel, we separated. I took my doll, now
stiff and wooden, back to my shop, placed it on
a shelf, and began walking upstairs to bed. I didn't
hear the voices until after I'd reached the first land.

Speaker 40 (02:49:51):
He left you here like this, in the dark.

Speaker 78 (02:49:53):
You always leave me like this, so Lan, I said,
for hours in darkness, I cannot open the window.

Speaker 20 (02:49:57):
He nailed it shut.

Speaker 40 (02:49:58):
I watched from the street many times, being you'd come
to it.

Speaker 2 (02:50:01):
I couldn't.

Speaker 18 (02:50:01):
I know why?

Speaker 28 (02:50:02):
Now?

Speaker 25 (02:50:02):
What shall I do?

Speaker 14 (02:50:03):
So Lan?

Speaker 78 (02:50:04):
While if he is a misery, he beats me, treats
me like a slave, and hates me.

Speaker 40 (02:50:08):
Come away with me, z Onela, with you, Yes, listen
to miss Onnella. All that he's been said between us
are the words and books I've read to you. They
were men for others, those words, But when I said
the mind you, I felt that they were mine. What
are books to me, z Anela? But sauces to find
my thoughts of you in words? So don't look at
me with such wonder and surprise in your eyes? Onela?

(02:50:28):
Is it a wonder that I should love you? Is
it an incredible event that your name should ring like
a joyous bell in my brain. For months, I've watched
your window, hoping to see you.

Speaker 12 (02:50:37):
Appear in it.

Speaker 40 (02:50:38):
For months, torturous days. I've loved you, Zaneila, loved you
and spoke to you the words of others because I.

Speaker 25 (02:50:45):
Was afraid you love me, Sola, me poor wretch.

Speaker 40 (02:50:50):
No poor wretch to me, z Anela. But the reality
of my dream, the personification of my hopes me me.
My love's as wide as the ocean's wides, and he
learn as deep and as strong and firm as the
iron mountains.

Speaker 23 (02:51:04):
Soulana.

Speaker 25 (02:51:04):
Yes, it's so hard to say, so hard.

Speaker 2 (02:51:09):
Say it's, Zunila.

Speaker 25 (02:51:10):
Say it is, Soula.

Speaker 40 (02:51:13):
You cried because the miracle has happened.

Speaker 25 (02:51:16):
The miracle, Zanila.

Speaker 78 (02:51:18):
I've loved you from the first time I heard your voice,
and I thought you were only kind shoeing pity, and
I need it even the head.

Speaker 20 (02:51:25):
I never thought you'd loved me.

Speaker 40 (02:51:26):
In my misery, Zunila, come away with me. Something is
happening here in this house. It's evil.

Speaker 2 (02:51:32):
I felt it.

Speaker 40 (02:51:33):
You must come away with me.

Speaker 50 (02:51:34):
Wherever you want to go.

Speaker 2 (02:51:35):
So long?

Speaker 25 (02:51:36):
Will you come now?

Speaker 2 (02:51:37):
Yes?

Speaker 50 (02:51:38):
Father?

Speaker 33 (02:51:38):
And where will you take her? Mister hipp In what
volumes this chapter book? Where is the escape old planned
out for you by some other writer? I don't need
their help, yet you use them to steal her affection
from me?

Speaker 14 (02:51:49):
Affection?

Speaker 33 (02:51:49):
What affection from her father's loving bosom you would steal her?

Speaker 18 (02:51:52):
Is light of life?

Speaker 17 (02:51:53):
Leave us alone.

Speaker 33 (02:51:54):
I'm the brute, the beast of treads and delicate feelings.
Is that it We're leaving her together without my blessing?

Speaker 40 (02:52:00):
Without your curse? Comes only to stop?

Speaker 33 (02:52:03):
Leave the girl alone, cokerel, or I shall smash you
even more than I plan.

Speaker 14 (02:52:07):
Do you think, fool that I shall let her go?

Speaker 33 (02:52:10):
After all these years of crossing me, taunting me? Do
you think I shan't have my vengeance? Cry to your
miserable lover, Get out of the doorway. I have plans
for us, only that you shall play nursemaid and mother
to a doll I fashioned a more murderous child you'll
never have. It's a gift I've carved for you to
amuse you when you're lonely, or to haunt your dreams.

(02:52:30):
And have a name for that doll, A fine name,
one which will dry your tears when the real owner
of it is no more.

Speaker 14 (02:52:38):
It shall be called Solan.

Speaker 40 (02:52:40):
Get away from the door.

Speaker 14 (02:52:41):
That comedy is over.

Speaker 25 (02:52:42):
Now bo is coming, Torch.

Speaker 14 (02:52:43):
That's an alert girl. You never wed come here now,
col will test you, lad so.

Speaker 8 (02:53:05):
Yat, you may proceed.

Speaker 33 (02:53:08):
I had to strike the girl to quiet her your honor,
and when she was still I bound up Solan, slung
him across my shoulder like a sack of meal, and
carried him downstairs to the shop. A plan was already
formed in my mind, but it needed the help of
the fortune teller Philimmel. I made sure the shop was locked,
and leaving Solan there lying on the floor, I went out.

Speaker 14 (02:53:30):
The hour was nine thirty.

Speaker 33 (02:53:32):
It took me only a few minutes to reach the
fortune teller's door.

Speaker 2 (02:53:39):
Who is it open?

Speaker 14 (02:53:40):
It's I Hippy, the wondersmith coming.

Speaker 49 (02:53:44):
I'm an old woman. You knock like the very devil's
behind you.

Speaker 2 (02:53:49):
Come in er?

Speaker 49 (02:53:51):
What brings you here?

Speaker 18 (02:53:52):
Now?

Speaker 14 (02:53:53):
The dull soul?

Speaker 45 (02:53:54):
I need it?

Speaker 33 (02:53:55):
Ah, and why I've a task for him, another test,
and it must be done tonight.

Speaker 49 (02:54:00):
What test, wander smith? A human one, Solan, the bookworm?

Speaker 14 (02:54:05):
Will you bring the soul?

Speaker 2 (02:54:07):
No?

Speaker 9 (02:54:08):
What?

Speaker 14 (02:54:09):
Why?

Speaker 8 (02:54:10):
Why not?

Speaker 49 (02:54:10):
I am not anxious to be carved like roast. Pork
won the smith by the little devil. He hates me.
We were badly that, it seem.

Speaker 33 (02:54:18):
If I need the soul now, no, I'll give you
half my share of what the doll brings us later.

Speaker 49 (02:54:23):
And if I've long been buried by then, Philomel, No, Hippie,
I must trap another soul.

Speaker 14 (02:54:30):
I won't wait.

Speaker 2 (02:54:31):
I won't.

Speaker 33 (02:54:34):
Sola must dine now, yea, But I wasn't leaving as
early as that, your honor. Outside the fortune teller's door,
I waited, and when I heard her creak out of
the room, I stole in.

Speaker 14 (02:54:51):
I knew where she kept the bottle soul.

Speaker 33 (02:54:53):
I found it, slipped it in the pocket, and stole
out down to my workshop again. Solan was awake now,
and as I came in, he watched me.

Speaker 14 (02:55:03):
I was pleased that he would be aware of what
was going to occur.

Speaker 2 (02:55:08):
Who is it?

Speaker 14 (02:55:09):
Who's there?

Speaker 18 (02:55:10):
Awake?

Speaker 14 (02:55:10):
Bookworm? Good? You shall be my audience. Look do you
see this bottle? Answer?

Speaker 2 (02:55:19):
I listen.

Speaker 15 (02:55:20):
Let me go, Hippie.

Speaker 14 (02:55:21):
Soon soon you shan't be in this world much longer.
This bottle.

Speaker 40 (02:55:26):
Let Zunila go.

Speaker 33 (02:55:27):
Then, If not me, it's Onnella, I want it's you.
I've no use for book one. Look, there's a soul
clapped in this bottle that fits a tight one.

Speaker 14 (02:55:37):
Listen how he stirs, hippie. But what do you want?

Speaker 33 (02:55:42):
I'll give you anything, the richest of books, the wealth
of fool's wisdom.

Speaker 14 (02:55:46):
Have you any gold?

Speaker 28 (02:55:47):
No?

Speaker 14 (02:55:48):
But then we will go on. I have a dull bookworm.
Let me show you why I am called the wondersmith.

Speaker 18 (02:55:57):
Look isn't he a very pillow?

Speaker 14 (02:56:01):
And the sword it's sharp? Small?

Speaker 33 (02:56:04):
But life, they say, hangs only by a thin thread.
Yet to make sure bookwhem, I shall poison the sword.

Speaker 40 (02:56:11):
You're mad, mad enough, I.

Speaker 14 (02:56:13):
Shall kill you.

Speaker 33 (02:56:14):
There swords primed. Now watch me, I too can create life.
I shall cover the doll. Now, if you please, I
shall place this diamond ring upon your chest. My dull
needs an incentive.

Speaker 77 (02:56:29):
No, no, don't move.

Speaker 10 (02:56:31):
Have you pity?

Speaker 14 (02:56:32):
Pity is the disease?

Speaker 2 (02:56:33):
Are fools?

Speaker 14 (02:56:34):
I've done without it? But no, man, take your ethics
to the grave with you now A moment's ready.

Speaker 33 (02:56:41):
Watch sharply, I put the bottle beneath the wrapping, loose
the stopper and unerring. Sure, with devilish heart, possess this
body seize this heart, nerve and muscle and brittle bone.

Speaker 14 (02:56:57):
Make them all your very own.

Speaker 16 (02:57:00):
Ah.

Speaker 33 (02:57:00):
Look it moves off with the covering off. See how
he glares. There's your victim there, fame month Philamel, right, Philammel,
the doll, the doll, Philamel stop. I can still see

(02:57:24):
it all clearly, Your honor, the shop soul on the floor,
and the look on the doll's face when he caught
sight of Philamel. That was the time I first noticed
the gold brooch on the front of Philammel's dress. The
doll raced across the floor with his sword held high.
Philammel's face fell and then grew.

Speaker 14 (02:57:42):
Rigid with terror.

Speaker 33 (02:57:43):
She tried to back away, but the doll kept plunging
and striking, lunging and striking, and I could see the
tiny sword sinking each time Philamel gasped, and streak of
fame each time the sword struck. Suddenly, the fortune teller
tottered and her great body crashed to the floor.

Speaker 14 (02:58:00):
There was a sharp splintering of wood.

Speaker 33 (02:58:02):
I saw a tiny sword go skimmering across the floor,
and then I knew the doll, the doll I had fashioned,
Your Honor, had been crushed and the soul in it freed.
I tried to raise philamt she was still alive.

Speaker 49 (02:58:16):
Oh, I'm sick, one, the smith sick. The sword you
poisoned it, didn't you?

Speaker 14 (02:58:25):
Yes, Philammel, can you do anything?

Speaker 79 (02:58:29):
No, you fool, fool.

Speaker 18 (02:58:32):
I warned you.

Speaker 49 (02:58:33):
The doll would have turned on you.

Speaker 14 (02:58:36):
Where is he crushed?

Speaker 18 (02:58:38):
You crushed him?

Speaker 49 (02:58:41):
So I gave him his freedom. After all, he was
an angry soul, stubborn for his freedom.

Speaker 2 (02:58:50):
The book were alive, but not for long.

Speaker 49 (02:58:53):
Let him alone, one, this smith. Never, you're purchasing a
bitter after life as bad as mine will be. Oh,
the pain, the pain, no riches, and no power for us,
wonder Smith. We will go to the grave, tending less

(02:59:13):
like all the others.

Speaker 9 (02:59:15):
Light light, it's getting dark.

Speaker 49 (02:59:20):
I say that there'll be light. So I am forewarned
of the region I shall awaken, wonder Smith. Yes, you
are my executor. You will find me the throw nor jewels,
but a crystal which you must destroy.

Speaker 17 (02:59:40):
Where are you.

Speaker 49 (02:59:43):
You will find it in?

Speaker 2 (02:59:44):
Oh?

Speaker 9 (02:59:45):
Oh a light.

Speaker 49 (02:59:49):
Strike a light someone, wonder smith, wonder Smith, I must
have a light. Mumm ill eaving so soon, wondersmith. O.
Then good night neighbor. Good night. It was a fine evening,

(03:00:13):
good night, good night.

Speaker 12 (03:00:21):
Voice.

Speaker 14 (03:00:24):
And she was dead, your Honor.

Speaker 33 (03:00:26):
And for a little while I sat there in the silence,
holding her head in my arms.

Speaker 14 (03:00:32):
I think and believe me, your Honor. It is important
that you do. I think.

Speaker 33 (03:00:37):
I love the fortune teller. In a little while I
got up. The young man was staring at the door.
In it, pale drawn, filled with terror, stood Zorilla, a pistol.

Speaker 14 (03:00:55):
Shaking in her hand. I could have taken it from
her without danger.

Speaker 33 (03:00:59):
Your Honor, But what was the use? Philammel was dead
and I knew it was the end. How can I
explain it?

Speaker 2 (03:01:09):
The rest?

Speaker 33 (03:01:10):
You know how Solon and Zunilla brought me to the police,
How I was brought to trial.

Speaker 14 (03:01:17):
I am here because I am guilty. I beg no
mercy from the court. Only your honor.

Speaker 80 (03:01:26):
Make it soon, soon, soon, from the time warn paid

(03:01:47):
it of the past.

Speaker 2 (03:01:48):
We have brought you the story.

Speaker 11 (03:01:51):
The doll.

Speaker 2 (03:01:54):
Bell keeper toll the bell.

Speaker 15 (03:02:00):
A h.

Speaker 17 (03:03:00):
M hmmm.

Speaker 81 (03:03:20):
Let every go Signal reminds you that you do go
farther with signal gasoline, the signal oil program, the Signal
Oil company, and your neighborhood signal dealer bring you another

(03:03:41):
curious story by the whistler tonight, the beloved fraud.

Speaker 82 (03:04:01):
I am the whistler, and I know many things.

Speaker 2 (03:04:05):
For I walk by night.

Speaker 82 (03:04:07):
I know many strange tales, many secrets hidden in the
hearts of men and women who have stepped into the shadows. Presently,
I'll tell you of nameless terror.

Speaker 2 (03:04:16):
As they dare not speak.

Speaker 81 (03:04:25):
In a moment, the whistler will tell you his gripping story.
But first, Signal Oil Company brings you an urgent message
from the War Department. Smokeless powder for explosives. Thousands of
tons of it are needed daily on the battlefronts. But
do you know that sixty percent of all smokeless powder
is made from.

Speaker 2 (03:04:44):
Pulpwood, the same pulpwood used.

Speaker 10 (03:04:47):
To make paper.

Speaker 81 (03:04:48):
That's why Donald Nelson stated the most critical raw material
problem facing our war effort today is the shortage of
all forest products, including pulpwood. It's why every one in
the w home front is being asked to help by
cutting down on the use and waste of paper. Uncle
Sam suggests that you accept items from the store unwrapped

(03:05:10):
whenever possible, bring back paper bags for reuse, and save
every newspaper, magazine, carton, and especially brown wrapping paper for
the salvage drive. You see seven hundred thousand items of
war going overseas, all need the paper you're being asked
to save. Each five hundred pound bomb, for instance, takes

(03:05:31):
twelve pounds of paper. So when you save paper, however
little it is, you're doing your part to speed vital
weapons that will end the war sooner and now.

Speaker 8 (03:05:44):
The whistler.

Speaker 82 (03:05:55):
Bitterness, like wine, matures with age and high on a dismal,
windswept hill on the outskirts of a small New England
factory town sits a house in which bitterness is a
living thing, a companionable presence. It's an old house, weather beaten,
run down, with perhaps a touch of its own bitterness,

(03:06:16):
a silent lament or splendor long gone.

Speaker 8 (03:06:20):
There was a time, back in nineteen five, when.

Speaker 82 (03:06:23):
Bitterness was young and splendor was still present, and the
Woodford sisters sat in the comfortable parlor before the winter's
fire and read poetry to each other.

Speaker 2 (03:06:33):
Emma Graying commanding the.

Speaker 82 (03:06:35):
Protector, Constance, the younger, timid, yielding.

Speaker 17 (03:06:39):
All poets use the skies, the clouds, the fields, the
happy violets hiding from the roads. The primroses run down
to carrying gold. The tangled hedge rows, where the cows
push out impatient hans and tolerant churning mouths, TwixT ripping
ash boughs. Hedge rows all alive with birds and nets

(03:07:03):
and large white butterflies.

Speaker 50 (03:07:06):
Constance, Yes, Emma, Constance, aren't you interested?

Speaker 17 (03:07:11):
Yes, Emma, you've always been very receptive to the works
of missus Elizabeth Barrett Browning.

Speaker 50 (03:07:18):
You see him on edge. What's the manner?

Speaker 52 (03:07:20):
Nothing?

Speaker 9 (03:07:21):
Nothing, really, Emma.

Speaker 50 (03:07:22):
Something's the matter. Don't lie to me, Constance.

Speaker 17 (03:07:25):
You've been fussing and fretting all day peeking out the window, Emma.

Speaker 52 (03:07:28):
For pity's sake, Constance, I'm sorry, but I was only
looking out the window. I felt perhaps mister Willoughby might
be coming by. He usually passes about this time.

Speaker 17 (03:07:40):
And why should you be so interested in the mail men?
Were you expecting a letter?

Speaker 28 (03:07:44):
You know?

Speaker 9 (03:07:44):
I'm not.

Speaker 52 (03:07:46):
You know how seldom anything comes for me, only once
in a while, from Aunt Sarah or somebody like that.

Speaker 50 (03:07:54):
Constance, I don't believe you're happy happy.

Speaker 52 (03:07:59):
I hadn't thought about it, not that way. I don't
know Emma, after all I've tried to do for you. Yes,
I know, Emma. Oh please don't think me ungrateful. You've
been wonderful.

Speaker 17 (03:08:12):
I've been a mother to you, Constance, ever since dear
Mamma left us. I know, I know. And now you
tell me you're not happy here at Gordon, fidgety, almost
like I was keeping you prisoner, always wanting to go out, if.

Speaker 52 (03:08:22):
Only we went out, just once in a while, if
only for.

Speaker 17 (03:08:25):
A walk in the villa is not the fit place
for ladies to walk unescorted, No, I suppose not.

Speaker 52 (03:08:31):
But we never have anyone to escort us ever, And this, Emma,
perhaps all miss Willoughby would have got us to the village.

Speaker 50 (03:08:39):
Some time, Constance, have you lost your mind? A postman, but.

Speaker 17 (03:08:43):
He's a very nice, old gentleman.

Speaker 52 (03:08:45):
He's the only person I ever see except Dorothy.

Speaker 18 (03:08:48):
And I like him.

Speaker 17 (03:08:50):
The only people you ever see the postman and our housekeeper.

Speaker 50 (03:08:55):
And what about me? Oh you you, Emma, I always
see you, but you'd rather be with the others.

Speaker 17 (03:09:04):
Oh, yes, don't think I don't know how.

Speaker 50 (03:09:06):
Dorothy brings you tea in your room and sits and talks.

Speaker 52 (03:09:09):
A common housekeeper, she's very nice, Emma, and genteel too,
you said, for yourself, and you hired her a good family,
you said, not like a servant at all.

Speaker 50 (03:09:16):
But she is a servant now, Constance, our servant.

Speaker 17 (03:09:20):
I've heard you.

Speaker 50 (03:09:21):
Laughing when you thought I wasn't around.

Speaker 49 (03:09:22):
Oh I shouldn't we laugh a little.

Speaker 52 (03:09:24):
Why shouldn't people laugh and have fun?

Speaker 21 (03:09:26):
Be happy?

Speaker 50 (03:09:33):
John cried, Dear. Of course you should be happy.

Speaker 17 (03:09:35):
That's what I've tried to do for you, because I
love you, my dear, because I promised Mamma that i'd
look after you, make a home for you.

Speaker 52 (03:09:43):
I know, I'm sorry to be so hateful, Emma.

Speaker 57 (03:09:47):
You know I appreciate what you've done.

Speaker 17 (03:09:50):
Well, let's say no more about this now, Dear. You
run up to your room and dry your tears. I'll
have Dorothy bring up a warm cup of tea, and
then you and she can have your talk. You'd probably
planned on that anyway, O, Emma, don't be angry about Dorothy.

Speaker 52 (03:10:04):
It's not that I enjoy her mother and you, honestly,
it's it's just as he tells me things, things about
the outside the city, the world, people.

Speaker 17 (03:10:13):
I like that you're tired of your home here aren't you, Constance, No, Emma,
I'm not.

Speaker 52 (03:10:18):
It's a very nice home. I know that. Only I
had hoped that I might see the city, go on
a holiday, a little trip or something.

Speaker 73 (03:10:25):
Would you always say no?

Speaker 50 (03:10:27):
Yes, Dear, I always say no, And I know what's
best for you.

Speaker 19 (03:10:32):
Oh?

Speaker 82 (03:10:40):
Yes, Sister Emma knows best, Constance. She's always known best,
and before her it was dear Mamma, whom she adored.

Speaker 18 (03:10:48):
You should be.

Speaker 82 (03:10:49):
Grateful to have some one else looking out for you,
taking care of you, running your life for you.

Speaker 2 (03:10:55):
But you're not, are you, Constance? You're unhappy, desperately unhappy. Ha.

Speaker 48 (03:11:01):
Here you are Wisconsin, a nice hot Oh thank you?

Speaker 9 (03:11:05):
Do?

Speaker 45 (03:11:06):
They're there?

Speaker 48 (03:11:07):
Dinner? You mustn't carry on so cranning spoiled your pretty eye?

Speaker 17 (03:11:10):
What does it wasn't butter to do?

Speaker 48 (03:11:13):
There's precious little you can do with her running you
like you didn't have a mind of your own.

Speaker 44 (03:11:18):
But I do have a mind of my own.

Speaker 48 (03:11:19):
I'm not a child, of course you're not. You're a
grown woman, and you're not getting any younger. If ever,
you're going to get out of here and find happiness,
you'll have to do it soon.

Speaker 2 (03:11:29):
I know, I know.

Speaker 52 (03:11:32):
Perhaps it's too late. Now, that's what I keep telling myself.

Speaker 8 (03:11:36):
Too late, Fiddlesticks.

Speaker 48 (03:11:38):
You're only thirty five, and there are plenty of gentlemen
who'd find you very attractive.

Speaker 52 (03:11:44):
Do you think so, Dorothy? Do you really think so?

Speaker 25 (03:11:48):
Of course I do.

Speaker 48 (03:11:49):
If ever, she'd let you go into town by yourself,
you'd see the men would stay.

Speaker 31 (03:11:55):
Oh, Dorothy, we shouldn't talk like this.

Speaker 48 (03:11:57):
What would Emma say? She'd say it was wicked, no doubt,
because she hates men. Why I don't know, but she's wrong.
Why should it be wicked for a woman to want
the men to notice her? It's natural every room one
should have the attentions of a man, fall in love,
get married.

Speaker 52 (03:12:13):
Do you really think so, Dorothy?

Speaker 48 (03:12:15):
Of course, and you'll find one yet, don't you worry?

Speaker 44 (03:12:19):
Oh?

Speaker 52 (03:12:19):
It's not that I've never thought really and truely about
getting married or anything like that, never seeing that I
was meant for anything like.

Speaker 48 (03:12:26):
That, But just to meet people?

Speaker 52 (03:12:29):
Are the women and men see something besides the inside
of this howl?

Speaker 48 (03:12:33):
I know, I know, and you shall. Why shouldn't you
leave her and live your own life?

Speaker 52 (03:12:37):
She'd never let me do a chissel stall and she'd
find a way to stop me, bring me back.

Speaker 25 (03:12:42):
Perhaps I can help you you, Dorothy, Yes, miss Constance.

Speaker 48 (03:12:46):
What you need is a man, a man who will
come and take you out of here. Then Emma would
have nothing to say about it.

Speaker 52 (03:12:53):
Where Why would I meet a man? No one ever
comes here?

Speaker 9 (03:12:55):
Perhaps one will.

Speaker 2 (03:12:57):
If we work it right.

Speaker 25 (03:12:58):
What do you mean, Dorothy, I but cousin.

Speaker 48 (03:13:00):
He's a fine man, a widower, and just the type
for you. I'm sure you and he would find each
other very interest that have here in No, No, he
lives in.

Speaker 50 (03:13:09):
New York, in New York, the city.

Speaker 52 (03:13:12):
Oh but Dorothy, how will.

Speaker 31 (03:13:14):
I ever meet you?

Speaker 25 (03:13:15):
My letters?

Speaker 48 (03:13:16):
I'll write and tell him about you, giving your permission
to write, you will have many things to say to
each other, and perhaps who knows what may come of it?

Speaker 8 (03:13:32):
And that was the beginning, wasn't it, Constance?

Speaker 82 (03:13:35):
Remember how you waited for his first letter, half afraid
that it would come, half fearful that it wouldn't, And
then how you hit it until Emma had gone to bed,
and then.

Speaker 2 (03:13:45):
Pored over every word again and again until after dawn.

Speaker 82 (03:13:49):
In a later one, he sent to his picture Julian
Handsome a trifle slick looking not like the countrymen in
the village, you said in your picture and told Emma
you'd misplaced. And then after months came the letter asking
you to marry, telling you he was coming to the
village to get you. And the last letter that day

(03:14:10):
you read it in the grape barbor and came running
in to tell Dorothy, Dorothy.

Speaker 52 (03:14:14):
Dorothy Constant, such noise, himmah, Oh, I thought you'd going
down to the grossest.

Speaker 17 (03:14:20):
And this is the way you behaved behind my back.
But you have their considence a letter.

Speaker 50 (03:14:26):
Oh yes, Oh, well, I suppose it's Romans. Sarah, come
in and read it to me. I can't, Emma, what
do you mean you can't? It's personal personal?

Speaker 17 (03:14:36):
Do you know what you're saying?

Speaker 50 (03:14:38):
We have no secrets from one another, we never have.

Speaker 25 (03:14:41):
I always read you.

Speaker 50 (03:14:42):
My letters, but this is personal.

Speaker 17 (03:14:44):
I can't read it to you.

Speaker 50 (03:14:45):
Constance. You're acting very strangely.

Speaker 17 (03:14:47):
Let me see that letter. No, no, you're hiding something
from me.

Speaker 50 (03:14:50):
Let me see it.

Speaker 17 (03:14:51):
Oh you're hurting my arm, Constance.

Speaker 50 (03:14:56):
Baby, What have I done that you should treat me
this way? Heapned.

Speaker 17 (03:15:02):
I always thought of you, always before myself, and now
you tell me you.

Speaker 50 (03:15:09):
Have something private and personal between us.

Speaker 57 (03:15:14):
I'm sorry, Emma.

Speaker 52 (03:15:16):
I didn't mean to hurt you, really, but well, I
suppose I might as well tell you now you're not
soon enough. He's coming here tonight.

Speaker 17 (03:15:25):
He What are you talking about, Constance.

Speaker 52 (03:15:28):
Julian my friend. This is his letter telling me he
will be here to night.

Speaker 17 (03:15:34):
You've written to a strange man behind my back.

Speaker 52 (03:15:36):
It's nothing wrong with it. We've just exchanged letters. Such
nice letters. He told me, such wonderful, interesting things about
life in.

Speaker 17 (03:15:43):
The city, Constance. How could you do anything so simple?

Speaker 52 (03:15:46):
Please try to understand, Emma. Perhaps you're satisfied to stay
here in this old house all your life, but I'm
young and I have a right to some happiness.

Speaker 17 (03:15:53):
I want to get out to live. This creature wants
to take you away after all I done for you,
grown old, caring for you, giving up everything for you.

Speaker 48 (03:16:03):
No, Emma, you've given up nothing.

Speaker 52 (03:16:05):
Everything is just the way you want it. You keep
saying that you're taking care of me for Mamma, but
you're not. You're keeping me tied here, trying to make
me give up everything for you.

Speaker 38 (03:16:15):
And I can't do it, not any longer.

Speaker 17 (03:16:17):
Emma.

Speaker 50 (03:16:17):
If Julian will take me.

Speaker 17 (03:16:19):
I will go away with him. I will marry him.

Speaker 50 (03:16:23):
Who is this man? How did you meet him?

Speaker 23 (03:16:27):
He's does his cousin.

Speaker 52 (03:16:29):
She told him to write.

Speaker 17 (03:16:30):
The relative of our servant, said yourself. She came from
a good family.

Speaker 52 (03:16:33):
He's just as good as anybody.

Speaker 50 (03:16:35):
He's wonder what you know about everything?

Speaker 17 (03:16:38):
He's been writing regularly for six months.

Speaker 52 (03:16:40):
He's told me everything.

Speaker 17 (03:16:42):
You fool, you fool. How do you suppose a man
like that would want to marry a country girl thirty five?

Speaker 28 (03:16:49):
Like you?

Speaker 17 (03:16:50):
Don't you see? He's after your money. Dorothy's told him
that you have money.

Speaker 50 (03:16:54):
Mamma left you. That's all he's asked.

Speaker 9 (03:16:55):
Don't that's true?

Speaker 17 (03:16:56):
Oh, isn't it? But you'll never get the chance to
find out because you'll not go off with him.

Speaker 52 (03:17:00):
I'm through obeying you, Emma. I shall go with Julian Tonight.

Speaker 50 (03:17:07):
We'll see about that constance. We'll see you.

Speaker 81 (03:17:19):
You're listening to the whistler brought to you by your friend.
The Signal Oil Company marketers are famous. Signal Gasoline your
best buy today. Remember to let every go Signal remind
you you do go farther with Signal Gasoline.

Speaker 2 (03:17:52):
Well, Constance. The time has come at last. Julian will
be here soon.

Speaker 82 (03:17:57):
And you've told Emma that you're leaving.

Speaker 2 (03:17:59):
Can she stop you?

Speaker 82 (03:18:01):
Can she carry out her threat to keep you here?
Perhaps the only answer to that is Julian. And at last,
after dinner he's here.

Speaker 9 (03:18:09):
You're a Julian mid Constant, Constant.

Speaker 50 (03:18:14):
Julian, come in, Duke, come in, Constant.

Speaker 10 (03:18:19):
So at last we meet face to face.

Speaker 52 (03:18:21):
Yes, I hope it's not a disappointment.

Speaker 10 (03:18:25):
Disappointment anything, but that you're just as I expected you
to be. And what about me?

Speaker 52 (03:18:36):
Oh, yes, you're just as I expect Jupie.

Speaker 10 (03:18:42):
But I interrupted something. You were turning the fire.

Speaker 9 (03:18:45):
No, I I was burning your letters.

Speaker 10 (03:18:48):
Then you've regretted your decision.

Speaker 15 (03:18:50):
Comes home?

Speaker 2 (03:18:50):
No, Tulia?

Speaker 10 (03:18:52):
Then why I warned you?

Speaker 52 (03:18:54):
It's Emma. She wants to stop us. She's upstairs, honey,
but these let us know.

Speaker 10 (03:18:57):
We shall leave anywhere. She can't stop us.

Speaker 52 (03:19:00):
She'll do everything she can, She'll stop up nothing, some
finglish power. I don't understand.

Speaker 17 (03:19:04):
Impelser's yes, Constance, go on, ju.

Speaker 10 (03:19:07):
Lives you are Emma.

Speaker 50 (03:19:10):
I am Constant's sister, Constance.

Speaker 10 (03:19:12):
If you haven't already done, so go pack your bags.

Speaker 52 (03:19:15):
I haven't packed. You would have seen in add.

Speaker 17 (03:19:17):
Question, sir, I'll hurry come back here, Constance, what do
you want?

Speaker 14 (03:19:24):
What?

Speaker 50 (03:19:26):
I want to talk to you once more?

Speaker 17 (03:19:28):
You must listen to me.

Speaker 50 (03:19:31):
This man does not love you.

Speaker 4 (03:19:32):
I know.

Speaker 50 (03:19:33):
Don't be a fool.

Speaker 17 (03:19:34):
Don't risk everything on this sudden, wild impulse. Think of
me how lone may i'll be. This man wants your money?
And what do you think he'll do with you when
he finds you have none?

Speaker 52 (03:19:43):
But I do, Emma, half of what my mom Papa
lets his mind, but I have control of it.

Speaker 17 (03:19:48):
You don't even know where it's kept. Did you think
I would just give it to you?

Speaker 52 (03:19:53):
I don't care about the money. Another does, Julian.

Speaker 17 (03:19:55):
I'm going to pack, You'll only have to unpack, Constant.

Speaker 10 (03:19:58):
Constance and I are to be married miss with or
without sisterly approval.

Speaker 50 (03:20:03):
I understand that to be your intention.

Speaker 10 (03:20:05):
Surely you can have no objections. She's not a child,
she's thirty.

Speaker 17 (03:20:09):
Thirty five thirty five. Yes, Constance has never been very
practical or serious minded. When Mama and Papa were killed
in the train wreck many years ago, I realized Constance
was in my charge, that it was my duty to
shield her from the ialth of the world.

Speaker 10 (03:20:26):
I believe I understood you to say Miss Constance has
no control over her money.

Speaker 50 (03:20:31):
You understood correctly.

Speaker 10 (03:20:32):
Well I'm not poor, so far from it. But of
late I've suffered some reverses, and.

Speaker 50 (03:20:38):
Constance will have no money unless I.

Speaker 52 (03:20:41):
Give it to her.

Speaker 10 (03:20:43):
You know, I admire a woman like you. I admire
your strength, your practicality. Really, and now, miss Emma, that
I've come face to face with you and your sister,
it seems to me that you're strikingly the more admirable.

Speaker 2 (03:20:58):
In the two.

Speaker 50 (03:21:00):
What are you implying?

Speaker 18 (03:21:01):
But perhaps I was being too hasty.

Speaker 10 (03:21:04):
Perhaps if I were to think this over. You know,
miss ever, you too have.

Speaker 2 (03:21:10):
A right to a man's protection, in a man's love,
you filthy beast.

Speaker 17 (03:21:15):
I have never asked for a man's love or a
man's protection, and I never shall. I shall have to
advise Constance of this interesting deviation and character and this
sudden change of affection. Andy's for you leave this house.

Speaker 10 (03:21:28):
I shall leave, but Constance comes with me. You understand
I have not the slightest interest in your sister, especially now,
But that's because you're so dead set on keeping her
here with you. I'm going to take her with me.
Of course, I may drop it like a hot penny
in a few weeks. But why, Constance Pigeon, whatever you heard,

(03:21:50):
don't you believe a word of it. I was just
teasing your sister here, the old pill. I'm crazy about
you girl.

Speaker 44 (03:21:55):
You know that.

Speaker 52 (03:21:56):
Don't you come there me?

Speaker 69 (03:21:57):
Don't you dare?

Speaker 10 (03:21:58):
Why Constance, after all the sweet and hearing things you
said in your letters, get out of this house. See
who do you think you're talking to in that tone
of voice? No, No, I think I'll stay in Citi spell.
Who's to know there's a gentleman paying a call way
out here in the edge of town. Who's to know

(03:22:19):
what's going on out here?

Speaker 50 (03:22:21):
Julian attack more than clothes in these grips.

Speaker 52 (03:22:25):
As you can see, you are not staying in this house.

Speaker 10 (03:22:29):
Hey, hey, lady, put down that revolver. If firearms a
dangerous things to be handling, especially for a.

Speaker 17 (03:22:34):
Woman, might go off, You're right, Constance, be careful well
turn it in some other direction the way it's facing.

Speaker 10 (03:22:40):
Look, my ladies, I was only fooling, just starting to
give you a bit of sport, That's all.

Speaker 25 (03:22:45):
To liven up a dull weather evening.

Speaker 10 (03:22:47):
That's all.

Speaker 8 (03:22:47):
Good night, There are sausage.

Speaker 10 (03:22:50):
People talk about the New England hospitality must have been
invented by somebody who was never in New England. Well,
good night, ladies.

Speaker 18 (03:23:00):
It's been a downright charming.

Speaker 2 (03:23:04):
Constant.

Speaker 17 (03:23:05):
Constant, you were wonderful. I never thought you could be
so brave, standing right up to that big bully. Oh
that for so clever of you bringing down Papa's or
revolver and so brave. How could you do it?

Speaker 50 (03:23:17):
Oh my heart, Constance, are down there, Please do there?
If anything should happen to you, I don't know what.

Speaker 23 (03:23:25):
I do, am I.

Speaker 52 (03:23:29):
Hamma us, dear Emma. Why won't you allow me to
have my own banking account? I promise you I won't
be extravagant. It's just that I would feel more of
an adult, the person in my own right if I
knew I could have access to my money.

Speaker 57 (03:23:47):
If I didn't want it.

Speaker 17 (03:23:48):
So, Constance, you were so brave and so forceful. Of
course us, I shall see that you have access to
your money. You saved my life and you will let
me heaven my own account. The money isn't the bank, Constance,
it's not no, it's right here, right in the house.
I wouldn't trust the bank.

Speaker 50 (03:24:07):
They might be run on it some day.

Speaker 52 (03:24:09):
Shootie might have fitted the house, taken it all I know.

Speaker 17 (03:24:12):
I was frightened to death. You're facing him with the
revolver was the only thing that saved us. But I
have the money well hidden in a safe behind this
picture of Dimmaba, and only I know the combination.

Speaker 52 (03:24:24):
I never knew there was a safe there.

Speaker 50 (03:24:27):
Come, I'll show you.

Speaker 82 (03:24:36):
Emma, relieved of her fright, is more human than you've
ever seen her, isn't she Constance.

Speaker 2 (03:24:41):
She seems really happy as she goes to the safe
and opens it.

Speaker 17 (03:24:47):
There it is all they are here. Didn't know we
were so wealthy, did your little sister?

Speaker 9 (03:24:53):
How much is it, Emma?

Speaker 17 (03:24:54):
At my last count, it was a little over two
hundred and fifty thousand dollars including the bonds. Mamma was
so wise she made up I investing only the safest things,
so you see them.

Speaker 10 (03:25:05):
If you'll just hand over the content of that safe, Julian,
I availed myself of your servant's entrance, Miss Emma informal,
but packed.

Speaker 17 (03:25:13):
Their constance the revolver there on the floor at the revolver.

Speaker 22 (03:25:15):
I have the revolver now.

Speaker 10 (03:25:18):
Now it is my turn to give directions back against
the wall. And let's not have a son from you.
I don't know who'd hear your way out here if
you did.

Speaker 17 (03:25:26):
Yell, Constance, do something. Don't let him take our money.

Speaker 50 (03:25:29):
What will happen to us?

Speaker 17 (03:25:30):
That's our security, our future, our happiness, my.

Speaker 52 (03:25:33):
Security, my future and happiness. Emma, don't worry, he's only
taking my half.

Speaker 50 (03:25:39):
What do you mean.

Speaker 52 (03:25:40):
Julian and I planned the whole thing, and we didn't
know it was going to be this easy. I thought
I had to draw the money out of the bank.
It's much simpler this way.

Speaker 17 (03:25:48):
What are you saying, Constance. You can't know what you're saying.

Speaker 50 (03:25:51):
Oh, yes, I do know.

Speaker 52 (03:25:53):
I thought it would take a fight to make you
part of my money, and I wrote Julian it would
be a battle, and.

Speaker 17 (03:25:57):
He suggested this little plot.

Speaker 52 (03:26:00):
You were happy went to Emma when you thought Julian
a sief and a ruffer.

Speaker 17 (03:26:03):
You are gloating inside because you thought everything you had
said was too Constance. You must be out of your mind.
Union and I are going to travel all over the world.
I'm going to live at last time. I'm going to
see him, and the Lord will punish you. Constant.

Speaker 52 (03:26:15):
Oh, I've had my share of punishment, Emma, all the long,
rotten years I've had to spend with you.

Speaker 10 (03:26:22):
I have your grips in the money, Constance.

Speaker 9 (03:26:23):
Shall we leave, Yes, yes, jus.

Speaker 10 (03:26:26):
Goodbye again, Miss Emma.

Speaker 17 (03:26:29):
You vile, unspeakable man, you vile, unspeakable woman.

Speaker 31 (03:26:36):
You'll be sorry, Constance.

Speaker 17 (03:26:40):
You'll regret this to the end of your days. I
shall hate you, hate you forever and ever. My hate
will reach out for you wherever you are. You'll never
be happy.

Speaker 52 (03:26:51):
Goodbye, Emma, Constance, Constance, how could you, miss Emma?

Speaker 38 (03:26:59):
Have they got.

Speaker 2 (03:27:01):
You?

Speaker 17 (03:27:03):
You're the cause of this. After I gave you a home,
a job, companionship, you did this to me. I could
kill you.

Speaker 48 (03:27:12):
No, no, miss Emma, calm You said she took.

Speaker 28 (03:27:14):
Her away from me.

Speaker 17 (03:27:15):
You're responsible for me being left alone to about a
miserable only old lady no.

Speaker 48 (03:27:21):
Stuff looking at me like that. She'll be there back.

Speaker 50 (03:27:24):
She'll look.

Speaker 17 (03:27:26):
But don't you say why he Why are you so
sure she'll be back? You know something more about this.

Speaker 48 (03:27:34):
Don't you way, No, Semma, No you do, But do
you know, Dorothy.

Speaker 17 (03:27:40):
Why should Constance come back if she's got the money.

Speaker 48 (03:27:42):
I don't know. Only you said yourself that he might
take the money from her.

Speaker 17 (03:27:46):
But if you're a cousin, Dorothy, you must know him well.
Therefore you must know he is going to take the
money and leave her penalist to come shrinking back to me,
don't you, Dorothy? Don't you all right?

Speaker 48 (03:27:58):
Yes?

Speaker 44 (03:27:58):
I do.

Speaker 48 (03:27:59):
He planned it that way, and I'm not sorry. It's
what the two of you deserve. What good was it
doing you, either of you? It will help Julian I
need to really live again. So you're going to get
part of it too, Yes, yes, And it's only what
I deserve. That so what I put up with from you,
And there's nothing you can do about it. Now they're
already on their way to the city. I'll be married.

(03:28:24):
What are you laughing at you?

Speaker 25 (03:28:28):
You do.

Speaker 17 (03:28:30):
You think I'm angry at you?

Speaker 52 (03:28:31):
You think I want to stop you?

Speaker 17 (03:28:33):
No, take the money. I'm glad you here.

Speaker 14 (03:28:35):
Take it.

Speaker 17 (03:28:35):
You're welcome to it, because now Constance will be back.
She'll be penniless. Take the money and have Constance back.

Speaker 16 (03:28:44):
I'm consious back.

Speaker 81 (03:28:55):
But that's not all of this strange story. In a moment,
the Westler will be back to tell you what really happened.
And while we're waiting, here's the modern version of that
old story about the lost horseshoe nail. Just one nail,
but for lack of it, the shoe was lost, then
the horse, the rider, and as a result, the battle
was lost. Well, this year, Uncle Sam says, one out

(03:29:18):
of every.

Speaker 18 (03:29:19):
Twelve cars will be lost, that is.

Speaker 81 (03:29:21):
Go off the road, many of them because just one
vital part is worn out which can't be replaced today.
That's why your signal dealer takes no chances of missing
even one.

Speaker 10 (03:29:32):
Part when he lubricates your car.

Speaker 81 (03:29:35):
It's why he uses the famous signal safety.

Speaker 10 (03:29:37):
Chart, on which the maker of your particular car has.

Speaker 81 (03:29:41):
Indicated every lubrication point and the exact oil or grease
it should have. Before your signal dealer returns your car
to you, he checks every point against the safety chart,
not just once, but twice. This double protection is Signal's
way of assuring you that your car will won't be
the one one in twelve that goes off the road

(03:30:03):
because some vital part wore out from lack of lubrications.
So if it's been a thousand miles or two months
in s last lubrication, Play safe see your neighborhood signal
dealer or a signal safety chart.

Speaker 8 (03:30:17):
Lubrication and now back to the whistler.

Speaker 82 (03:30:30):
Yes, Emma sat in a lonely old house and waited,
nursing her bitterness. And down in the city at a
small hotel, Julian stood at the desk waiting for his
bride and her money. Constance was upstairs dressing for the wedding.
It was scheduled to take place at the little church
just around the corner within the hour. As the minutes

(03:30:51):
went by and the time grew short, Julian became impatient.

Speaker 2 (03:30:55):
He went upstairs to the room looking for Constance. She
wasn't there. On the table he found a note.

Speaker 10 (03:31:01):
Julian, I'm sorry to disappoint you, but you see, I
knew all along what you really wanted from me. I
suppose it was deceitful to let you believe you were succeeding,
but I needed your help to gain my freedom. How
then I have it and the money. I thank you
and wish you good luck.

Speaker 18 (03:31:23):
Goodbye, Constance.

Speaker 82 (03:31:25):
Julia knew what that meant, and after a time, so
did Emma, sitting alone in the old house on the hill.

Speaker 81 (03:31:55):
Next Monday night, at nine o'clock, the Signal Oil Company
will bring you another strange tale by the whistler, The
Curious Tale of a Twin. The Signal Oil Program is
broadcast for your entertainment by the Signal Oil Company, makers
of signals famous Go Farther Gasoline and motor oil, and
by your neighborhood Signal oil.

Speaker 2 (03:32:14):
Dealer, who is at your service daily to.

Speaker 81 (03:32:16):
Keep your car running for the duration. The Signal Oil Program,
produced and directed by George w Allen, with story by
Victor Kushner and music by Wilbur Hatch, is transmitted to
our troops overseas by the Armed.

Speaker 18 (03:32:30):
Forces Radio Service.

Speaker 81 (03:32:32):
Bob Anderson, speaking for your friend, the Signal Oil Company,
and suggesting once again that you let every go signal
remind you that you do go farther with Signal Gasoline.
It's a CBS, the Columbia Broadcasting System.

Speaker 8 (03:33:06):
The Witch's Tale, The Fascinations of the Eerie. We're the
blood chilling tales told by Old Nancy, the Witch of Salem,
and Satan, a wise black cat. They're waiting waiting for you.

Speaker 83 (03:33:33):
Now and I around thirteen year old. I be today, yes, sir,
and we're in the thirteen year old were satan Ah'll

(03:33:54):
be getting down to our yam spinning. If you're tell
folks stand, that's all right, that's it. We want things
nice and cheerful for our pretty little tails.

Speaker 9 (03:34:07):
I'll draw up to the fire.

Speaker 83 (03:34:10):
And gaze into the embers, daze into our deep and
soon you'll be across the seas in the jungle land
of Africa British in what's called Tandanita Territory. Here they're chanting,
and then seven drums with them begins.

Speaker 49 (03:34:30):
Our story of the Devil Mask.

Speaker 21 (03:34:35):
The Devil Mask.

Speaker 18 (03:34:48):
The drums have been booming from Sonidar.

Speaker 9 (03:34:50):
Now you'll probably hear them until will Park Midnight.

Speaker 18 (03:34:53):
Hour waited the drumm and Johnnys will have eighteen wrists
tomorrow and the singers won't be able to speak above
a whisper on the.

Speaker 9 (03:35:00):
Okay, they'll all feel wonderfully refreshings.

Speaker 31 (03:35:02):
What is ceremony to lease tide?

Speaker 23 (03:35:04):
We'll like going called on in the morning, or cantering
through Hyde Park on the bright spring day would.

Speaker 9 (03:35:10):
Be to one.

Speaker 18 (03:35:10):
You mustn't speak of London here, it's only a reminder
that we are over a month away from there.

Speaker 23 (03:35:15):
If we're leaving bringing them tomorrow, Harlem, you and Alick
and I, when we witch there, we'll find it no
more pleasant than Africa.

Speaker 18 (03:35:24):
You're right, but one finds contentment within himself, not in
the surroundings. Well, one thing's certain. Fuggy old London moons
never so beautiful as the one above us. Now it
is beautiful, isn't it gorgeous? It's like those who used
to sit and watch so long ago in Surrey. As
we please, Harlem, because you're now married to another man,

(03:35:47):
can't I indulge in spoken memory?

Speaker 9 (03:35:49):
I wish you wouldn't.

Speaker 18 (03:35:52):
Rather a nice compliment. Those blacks out there paying you
and Alec with their chanting, and they're running Gadeo the
witch doctors Sun told me all about in his funny
Pidgeon English.

Speaker 9 (03:36:02):
I had already told you.

Speaker 18 (03:36:03):
You simply said they were holding a religious ceremony to
pray that you and Alec have a safe journey back
to civilization. Gadea's version was far more dramatic. He said
this jamboree was to propitiate the devils so they wouldn't halt.

Speaker 9 (03:36:16):
That's why Monco.

Speaker 23 (03:36:17):
His father came here to the Bungalow a while ago,
much as magic words about eat a piece of our
baggage to drive away the devil.

Speaker 18 (03:36:25):
Well, that mask he hed on certainly ought to frighten
them away.

Speaker 31 (03:36:28):
It's a sacred devil masks one, especially for this.

Speaker 18 (03:36:30):
Sort of ritual mm roum looking object.

Speaker 31 (03:36:33):
Yes, instead of taking measures to protect us they think they're.

Speaker 23 (03:36:38):
Doing, they should pray to all their God that we
never leave the jungle alive.

Speaker 18 (03:36:41):
Oh, why Phyllis, I owe you gratitude.

Speaker 31 (03:36:45):
Oh I've tried to treat them decently.

Speaker 18 (03:36:48):
You mean that Alec?

Speaker 23 (03:36:49):
No, No, he's treated them well too, except when he's
been drinking. Then then he isn't responsible.

Speaker 18 (03:36:56):
In the seven days I've been here, Alex never drawn
a sober breath. He's inside that bungal are now sleeping
off a quart of whiskey, and he'll begin on another
the moment he awakes.

Speaker 9 (03:37:04):
It isn't his fault.

Speaker 23 (03:37:05):
It's just the a fake that Africa has upon some
white men. When Alick gets back to England, he'll become
himself again.

Speaker 18 (03:37:11):
I hope so, no, hang it all I does. I
hope the rotterd brings himself to death as fast as
he can. I hope he uh forgive me, Phyllis.

Speaker 31 (03:37:21):
I'm going inside. Good night, Harlem.

Speaker 8 (03:37:24):
No, please let go of my hand.

Speaker 18 (03:37:25):
No, I won't. Now I've begun. I won't let you
go till I finished, Phyllis. When your father brought you
to Africa, my regiment was sent to India three years ago,
you were engaged to marry me. For six months after that,
I received your letters, love letters, just as I wrote
every day to you. Suddenly I heard no more from you,
And and months later I heard you married Alec. I

(03:37:47):
didn't mean to speak, but now, why Why hasn't.

Speaker 23 (03:37:52):
It occurred to you that I may have married Alec
because I loved him and had fallen out of lood
with you.

Speaker 18 (03:37:58):
Well that's the reason. Yes, I see, I'm coming outside.
Stay away, or I'll come to you. Well, your lieutenant
lawns being romantic in the moon.

Speaker 9 (03:38:20):
We've been talking Alec and listening to the chanting.

Speaker 18 (03:38:22):
There was that blasted noise.

Speaker 12 (03:38:24):
Woke me up.

Speaker 8 (03:38:24):
Where's my whip?

Speaker 18 (03:38:25):
I'll soon make that biggest stop.

Speaker 40 (03:38:27):
No, No, you can't.

Speaker 52 (03:38:28):
You to deal with him.

Speaker 29 (03:38:30):
For us?

Speaker 18 (03:38:32):
Oh yeah, so you told me.

Speaker 8 (03:38:36):
How monpo is driving devils out of the way so
I'll get to England safely. Nice of him after all
that kicks I landed on where he should we have pants.
He's got a first class Christian spirit, don't you think so?

Speaker 18 (03:38:50):
Horand yes, he finds it easier to return good for
evil than I ever shallow.

Speaker 8 (03:38:55):
Oh, I would say that you've got a first class
Christmas spirit too.

Speaker 18 (03:39:00):
Why you even come and say me a visit after
I marry a woman you was once engaged.

Speaker 12 (03:39:06):
Don't worry if it is.

Speaker 8 (03:39:08):
I ain't gonna quarrel with your ex lover. See, I
don't don't get mad. I ain't mad. I like to
have your own lieutenant. Say, you can enjoy watching my
happy married life.

Speaker 9 (03:39:21):
Alick, go back to bed, please.

Speaker 8 (03:39:24):
Or all right, I'll leave you two alone again.

Speaker 9 (03:39:28):
Please here, I'll help you.

Speaker 8 (03:39:31):
I don't need any help, but I needs another bottle
of whiskeys. No, yeah, you don't want me to stop
those black monkeys in the village from making a noise,
so I gotta drink enough not to hear them.

Speaker 18 (03:39:43):
I got a bottle in the cabin here.

Speaker 23 (03:39:46):
Get it.

Speaker 9 (03:39:49):
Hey, what's the matter?

Speaker 18 (03:39:51):
The bottle I had is gone?

Speaker 31 (03:39:53):
You must have taken it in.

Speaker 46 (03:39:54):
No, I put an extra bottle here special so I
everyone have a.

Speaker 18 (03:39:59):
Hard Who's stole it?

Speaker 23 (03:40:01):
No one, Alex, not as girl has been in this
room since you fell asleep except Lieutenant Laurence mon Poe
and I.

Speaker 46 (03:40:07):
Monpo, you need took it. I'll teach that Stephen witch
doctor to steal my whiskey.

Speaker 9 (03:40:13):
Alex, put down that pistol. Come back, take hard and
help me harden.

Speaker 46 (03:40:18):
You keep out of that Lawrence, let me go top
that pistol.

Speaker 18 (03:40:21):
Last, stop keep breaking my arm. Off that pistol. I
have dropped it. Take your hands and get the I
have it.

Speaker 9 (03:40:29):
Lead him. He doesn't know what he's doing, Yes, I do.

Speaker 18 (03:40:33):
I'm going to kill that thief.

Speaker 9 (03:40:34):
Monpo is not a thief. He was never near that cupboard.
He only came into the house to perform his magic
on our luggage, to do it a favor.

Speaker 46 (03:40:42):
That rotten blacker has my whiskey. Monpaul stole my whiskey.

Speaker 18 (03:40:48):
We'd better go away, go back to sleep. Yes, he's
falling asleep.

Speaker 23 (03:40:53):
Now come on, all right, you'll keep his pistol. I
don't wanted to have it handy. If he wakes up again,
he's liable to do anything.

Speaker 2 (03:41:05):
Oh God, to think you're married to that swine?

Speaker 18 (03:41:09):
Do think you love him?

Speaker 23 (03:41:10):
Harlen, I'm going to tell you the truth, truth about
Alec and m what do you mean?

Speaker 31 (03:41:17):
God died again? He's opened the door.

Speaker 23 (03:41:20):
Certain when I said I married Alec because I loved him,
I lied for I mean to go online, but after all,
I owe you of the truth. Oh why you'll know
that my father died of fever six months after we
arrived here. Yes, that's when my letters to you stopped.

(03:41:40):
The day before he died a mission we came here.
He was from the coast and on his way to
the interior.

Speaker 9 (03:41:46):
Hardan you old he had but a few hours to live.

Speaker 23 (03:41:49):
And when the mission we left, I dare known with
Alec was the only other white man in fifty miles
of jungle, and he had often tried to make.

Speaker 2 (03:41:56):
Love to me.

Speaker 31 (03:41:57):
He's shrinking heavily.

Speaker 45 (03:41:58):
Then.

Speaker 23 (03:42:00):
Well. He suggested to father that if he didn't have
the missionary, marry us. I I believe you'll understand that,
beastly swine. Nothing we can say or don't change it.

Speaker 18 (03:42:15):
We can change the future, and we will. Oh my God,
you still love me. You can get a divorce, and
then there can be no divorce. Then you'll stay with
this this brook.

Speaker 23 (03:42:27):
He isn't a boot, He's a weak, spoiled topis child
must have his own way, no matter how he gets it,
no matter who it harms.

Speaker 9 (03:42:34):
I'm his wife and I must take care of him
and keep him out of trouble as long as we
both live.

Speaker 18 (03:42:38):
You're not thinking reasonably.

Speaker 23 (03:42:40):
You've got to listen to me and the way everything
you could say, I've already said to myself. Oh, you've
already arranged to return to England at Alicantle, so that
can't be changed. After we reach there, we must never
see each other again. I want you to promise me that.

Speaker 28 (03:42:56):
Harlem.

Speaker 18 (03:42:56):
No, if you must take care of the swine you
call a weak child, then I must look after you
until he dies sends you to your grave. Harland, how
can you have sympathy with such a beast or consider
it your duty to sacrifice our lives?

Speaker 52 (03:43:11):
Is?

Speaker 9 (03:43:11):
Can't you understand?

Speaker 60 (03:43:12):
No?

Speaker 18 (03:43:12):
I can't, No more than I can understand why those
blacks out there should repay his kicks with prayers that
he was saved from devils. I can't understand why any
rothis should get better than he medads. And I don't
believe God permits such blind injustice. For long Harland, he
sounded like the back door.

Speaker 31 (03:43:31):
He's gone out.

Speaker 9 (03:43:32):
Yes, he goes across the content where the native village.
And he hasn't gun a gun.

Speaker 18 (03:43:37):
I have his pistols.

Speaker 23 (03:43:38):
He's taken his rifle. We'll stop him while, come on quick,
we can stop him. Think he is liable to do anything.

Speaker 9 (03:43:48):
He disappeared among the hut. Hardon if he had text
to witch doctor. When he's wearing the sacred devil masks,
the unoblexible, the rifle comes have stopped.

Speaker 18 (03:44:00):
How did you blackest look by that power.

Speaker 9 (03:44:06):
I'm on the ground, children, good tail, good day. Your
father is ready hot.

Speaker 18 (03:44:12):
Didn't you look for yourself in his mask patted with
blood shut between the eyes.

Speaker 84 (03:44:20):
Yes, my pearl, monpo die you have on the sacred mask?

Speaker 18 (03:44:27):
Did they know that you do not wish him?

Speaker 70 (03:44:29):
Die?

Speaker 12 (03:44:29):
Right?

Speaker 18 (03:44:29):
Missy? But for boss who did the cloth?

Speaker 46 (03:44:36):
My husband didn't know what you were doingsing around, stap
away from me, who blacks, I'll shoot the first to
take another step.

Speaker 18 (03:44:44):
You came back the d kill your life.

Speaker 84 (03:44:47):
I did another You know my father, people, it is
did dared to pay you for what you do tonight?
Can you have killing peace thes you die? I'm Devilus
on your path. Now his soul will title devil on you. Yes,
when the sun rise in the morning, you will laugh

(03:45:08):
no more. When you will own my bag, the devil mask.

Speaker 12 (03:45:13):
I'm the devil.

Speaker 18 (03:45:14):
Mask with his blood under Hold your bullet. Make when
you kill him, you take his life, he gives to
you his mask.

Speaker 84 (03:45:28):
I've far the people no more close away. You're free
to leave here now. When the sunrise, you will own
the devil mask and it will never leave you.

Speaker 79 (03:45:44):
Come die, Phyllis, It's nearly morning.

Speaker 18 (03:46:00):
Won't you lie down now and get a little rest.

Speaker 31 (03:46:02):
Don't ask me again, you know I can't.

Speaker 18 (03:46:04):
In a few hours we'll be starting through the jungle
for the coast. You can't stand the trip without rest.

Speaker 9 (03:46:08):
Here I can watch that village.

Speaker 18 (03:46:10):
Oh, if the Blacks meant to attack this bungalow, they'd
have done it hours ago. I'm convinced that Goodeo wasn't
attempting any trick. Poor Negro really means to leave his
vengeance to the dead.

Speaker 23 (03:46:19):
His people believe the dead have much more power than
the living. But I still can't understand the things he
said about that devil mask some.

Speaker 18 (03:46:27):
Other savage superstition.

Speaker 23 (03:46:29):
I suppose I've been in Africa too long to despise
what White's call just savage superstition.

Speaker 18 (03:46:35):
But you don't think that that dead man's mask going
to harm him.

Speaker 28 (03:46:39):
Do you?

Speaker 9 (03:46:39):
I don't know.

Speaker 23 (03:46:40):
Goodo said ELC would own the mask by sunrise. Since
we left the village, those drums have never ceased. They're
making magic there.

Speaker 18 (03:46:48):
If the mask or anything else gets into this bungalow,
it'll have to come by magic. Every dawn window and
the place is locked but this one, and we've sat
behind the screen all night. I'm sorry, I can't believe anything.
I'll pay that his just dessert. He's even safe here
from the law. Looks as though I was wrong last night,
and I told you God wouldn't long permit injustice. They

(03:47:11):
must be having a nightmare.

Speaker 9 (03:47:12):
Come make me quick, Look at my mid That thing
that's great at me, the devil?

Speaker 18 (03:47:17):
How did it get here?

Speaker 9 (03:47:18):
Look out of that window, Harlem nor sun's rising.

Speaker 18 (03:47:39):
After tramping through this rotten jungle all day, I'd like
to sit quiet in my tent tonight and have a
drink in peace, Will you too, please stop talking about
this crazy mask, not until you do as your wife
asks Ratson, and get rid of the thing. Why in
Heaven's name did you bring it with you When you
first saw it on your bed this morning, you were
more afraid of it than philistine. I was merely startled
when I saw how frightened you too were. I made

(03:48:00):
up my mind to keep it and prove what fools
you are.

Speaker 9 (03:48:03):
There's no use arguing with him further harm. It only
makes him more stubble.

Speaker 18 (03:48:07):
I'm stubborn because I won't give into savage superstition. And
I let your tell you and the rest of those
blacks know they weren't going to scare me with their
mumbo jumbo. You hurt me when they all came sneaking
around to watch us leave.

Speaker 28 (03:48:18):
Ha ha.

Speaker 46 (03:48:19):
I thanked them for their funny devil mask and said
I'd cheap it to remember them by it.

Speaker 9 (03:48:24):
Yes, And the day a repeaterd that you'll keep it
until the day you done.

Speaker 18 (03:48:28):
Now, I'll have it for a long while and it
won't hurt me in the meantime, I wouldn't be too
sure of that. It wasn't presented to you as a
love token, and it came to you somehow through locked
doors and solid walls. So you and phylis same because
we know. Don't think for a minute I care what
happens to you. But your wife's terrified of that mask.
The least you could do is to humor her feels.

(03:48:49):
If you must know, I'm keeping it because I like
to see you bob it. H I guess that leaves
nothing more to be said for this, I hope not.
Then I can have a quiet drink trying to scare
me with an ugly wooden face at his shevels for
eyes and bits of files off leaden brass for teeth. Yeah,

(03:49:10):
and a bullet hole between the eyes. It was about
this time last night. I put it there and have
a drink to celebrate. Let's get out of here for
this so we won't have to breathe the same air
as that.

Speaker 46 (03:49:24):
I thought that it'd shot your tender sensibilities, both of you.
Tell my wife what a cat I am and how
much better off.

Speaker 18 (03:49:33):
She'd be with you. It won't do any good, but
he won't leave me. Get out.

Speaker 44 (03:49:38):
You come, we.

Speaker 14 (03:49:44):
Come back.

Speaker 46 (03:49:45):
We are those drums, drums, Yes, we're miles away many village.
Who's rumming in this jungle?

Speaker 2 (03:49:54):
Neither?

Speaker 46 (03:49:55):
What's the matter with better be in love? For every
second dru voice is chanted like there was last night.
Those blacks are coming out to me.

Speaker 9 (03:50:04):
You can't hear drums chanting.

Speaker 18 (03:50:05):
No, there's not here.

Speaker 46 (03:50:06):
You're lying to me now. They're just outside. They're all
around his head with my gun. They won't get me
without a.

Speaker 8 (03:50:12):
Fights, don't get him.

Speaker 9 (03:50:13):
Test that rifle hard.

Speaker 8 (03:50:14):
I'm the fools.

Speaker 18 (03:50:15):
Come then, let me go, Let me go.

Speaker 9 (03:50:19):
Look at the Mouse's this.

Speaker 18 (03:50:21):
Blood on it? Fresh blood? Oh, you're seeing and hear
anything that don't exist. You're lying to me lying. Drums
are beaten all around it. Blood is horrin fast.

Speaker 85 (03:50:49):
Drums keep beating all around me, and they never stop.
I know, I just imagine drums. There's no blood on
that mask, but I see blood and I hear drums.

Speaker 46 (03:51:00):
The devil's mask keeps grinning at me, his whispers in
the dead man's voice.

Speaker 2 (03:51:05):
But soon I'll die.

Speaker 18 (03:51:06):
It's gonna kiwy no, no.

Speaker 28 (03:51:09):
No, oh no, no.

Speaker 18 (03:51:14):
How long has your husband been like this, missus Ransom?

Speaker 23 (03:51:17):
It began three weeks ago. Doctor in the jungle. He
didn't talk as you've just heard him do it first,
but again after we came aboard this ship.

Speaker 18 (03:51:24):
Now he keeps it up at intervals night and day.
And you'll say, this fixation concerning drums and blood is
in some way connected with that African which mask at
his bedsides? Doctor, Then why haven't you removed it? You
try removing that mask from his bedside?

Speaker 23 (03:51:38):
Doctor, I'm into Wait, it's quiet now, which usually moved
if he does off, moved very quietly so that he
can't possibly hear you.

Speaker 8 (03:51:46):
Why if you.

Speaker 18 (03:51:47):
Those we ask, you will say much explanation very well? Well,
oh no, no, don't turn mask.

Speaker 14 (03:51:56):
Bring it back.

Speaker 46 (03:51:57):
If you take it away when I can't see it, grinnin,
I won't know what it's play, whether it's going to
kill me.

Speaker 18 (03:52:01):
Here, here's your mask, man, take it and get back
to bed. You won't take it away again?

Speaker 12 (03:52:06):
What you won't?

Speaker 28 (03:52:06):
No?

Speaker 18 (03:52:06):
No, no, no, get back in bed. You see why
we haven't removed the mask?

Speaker 28 (03:52:11):
Doctor?

Speaker 18 (03:52:12):
How did he know I touched the thing? His eyes
were tightly closed. I didn't make a sound.

Speaker 9 (03:52:16):
He just know, doctor, drums drums keep being keeping again, that.

Speaker 18 (03:52:23):
Mask won't be removed without his knowledge? Yes, but how
when you call it my quarters and he's what sort
of a case this was? I prepared this hyperderma in advance.
Now you're holding tightly, lieutenant while I jabbed the needle
in his arm, Or let me go. What are you
going to do with me?

Speaker 79 (03:52:38):
Oh?

Speaker 63 (03:52:39):
My arm?

Speaker 18 (03:52:39):
My man, you're going to make me sleep while you
take away the mask. Don't do it. If you do,
I'll die.

Speaker 49 (03:52:46):
No, no, no no.

Speaker 18 (03:52:49):
I gave him a double dose. He's hitting him quick.

Speaker 77 (03:52:52):
Those don't.

Speaker 49 (03:52:56):
Drums.

Speaker 8 (03:53:00):
Now take that ugly witch mask and throw it through
the porthole.

Speaker 18 (03:53:05):
There it's in the sea. You should sleep for forty
eight hours and wake up cured.

Speaker 31 (03:53:09):
Harden.

Speaker 9 (03:53:10):
The mask has propped up to the surface. It seemed
to be grinning at us.

Speaker 18 (03:53:14):
Phyllis ship should be leaving it behind, but it seems
to be traveling along at our side, as.

Speaker 9 (03:53:20):
Though it was following you.

Speaker 23 (03:53:22):
You don't think the Dale said Eric would own it
until the day he died.

Speaker 18 (03:53:36):
As much as it hurts me to thank you for anything, Harlan,
and I'm forced to admit that you probably saved my
life by throwing that rotten mask over board, I'm not
at all proud of saving your life. Ransom, who too bad.
I didn't go crazy or blow out my brains when
those drummers were throbbing in my head all day and night.
Then you'd have won my wife. Perhaps suppose we don't
discuss it. I've caught it your hotel tonight to bid

(03:53:57):
Phyllis goodbye? May I see her now? Did you say goodbye?
He made me promise that after we reached England i'd
never seen her again. A ship ducked this morning and
you rushed her away. I'm keeping my promise after the night. Well,
that's simply fine. She'll be here in a moment, ah,
knowing I won't see you anymore. AD's extra delight to

(03:54:17):
being home again England after three years in the bush,
first class whisky instead of African trade. Slash and feast
your eyes on that roaring fire in the grate and
open fireplaces in Tanganiga and here. There are no savage
superstitions that a clever tap like you can use to
drive another man. What do you mean I've got that
masked business figured out.

Speaker 46 (03:54:38):
You seiz the Poonadeo's crazy threat that night as a
means to drive me mad or kill me. You've brought
the masket at the house and put it at my bedside.
It was your constant suggestion that made me hear those
drums and see that blood. You're talking like a lunas
mar No, I'm talking like a sane man now because
I'm safe in silber.

Speaker 8 (03:54:54):
England, where nothing in the world can frighten me.

Speaker 18 (03:54:56):
My wife can get along without your goodbye, lieutenant getting
out of here now.

Speaker 46 (03:55:01):
No, I'm not get out, I say, get out. Phillis
here just in time, my dear to see your lover
leave here. I'm putting him out. No, you can't put
this pistol. Can You're looking at my wife for the
last time until the day I die, and that won't
be for a long long time. Now there's the door.

Speaker 2 (03:55:20):
Get out.

Speaker 18 (03:55:21):
You have made a disadvantage. Goodbye, Phillips. That's enough.

Speaker 25 (03:55:24):
Get out? What drums?

Speaker 2 (03:55:28):
Thrums?

Speaker 44 (03:55:29):
What a.

Speaker 18 (03:55:32):
Drums coming from to thrums room?

Speaker 2 (03:55:36):
No?

Speaker 9 (03:55:37):
No, the mask is gone at the bottom.

Speaker 18 (03:55:39):
To see the mask can't find me here?

Speaker 21 (03:55:42):
What's that?

Speaker 2 (03:55:43):
Who's at that door?

Speaker 18 (03:55:49):
On the ships? Think the lady there recognized me? What
do you want me here? Come to the intensive property
of yours? What was dished up from the doctor afternoon?
I've never seen it in your care when you were
so tenierle sick about two weeks back. What's wrapped in
that paper? You'll carry it? What do you mean to me?

Speaker 8 (03:56:05):
Why the marks?

Speaker 46 (03:56:10):
I knew it's when I heard those drums, and now
they're throubbing my head once more.

Speaker 18 (03:56:13):
But it's not going to turn my mind again.

Speaker 14 (03:56:15):
I'll just do it.

Speaker 77 (03:56:16):
No good.

Speaker 46 (03:56:17):
Hello, aw, you're sung in the fire. Yes, what I
brought it back to me. But nothing can return from fire.
It's flame from which all devils come, and back to
flames they go. I'll beat your rotten witchcraft. Now it
come from that mask in the fire. There's a bullet

(03:56:37):
hole in Alec's head between his eyes, that mask.

Speaker 18 (03:56:44):
In the flames. Quick, Yes, I said, handle it with it,
Tom the face, the little ruggle.

Speaker 9 (03:56:49):
Why take it from the fire, to say the rest
of our lives?

Speaker 18 (03:56:52):
Look look where the fire take the.

Speaker 9 (03:56:54):
Way, the wood, the metal teeth of the mark, our old.

Speaker 18 (03:56:56):
Rifle cartridges with the bullets, files, the slugs.

Speaker 32 (03:57:00):
And when the fire got him off, one pop right then.

Speaker 23 (03:57:04):
Then Eli was killed by natural means, and all the
other things were coincidence, imagination.

Speaker 21 (03:57:12):
I what do you think, Satan, what do you think?

Speaker 83 (03:57:33):
Yeah, right about that. After the husband's funeral, them lovers
went right out and got a marriage license.

Speaker 21 (03:57:44):
Good old devil mask.

Speaker 7 (03:58:04):
Weird Darkness is celebrating our birthday this month. We use
this annual celebration to help those who struggle with depression.
Every October, we raise money for organizations that help people
overcome depression, anxiety, and thoughts of suicide and self harm.
It's called Overcoming the Darkness, and you can make a
donation right now at Weirddarkness dot com slash hope. That's

(03:58:24):
Weird Darkness dot com slash hope. A gift of any
amount helps, with every dollar bringing hope to someone affected
by depression. To donate, to get more information about overcoming
the darkness, or to find hope to battle back the
darkness of depression in yourself or someone you love, visit
Weirddarkness dot com slash hope. The fundraiser ends on Halloween
night at midnight, so please give right now while you're

(03:58:47):
thinking about it. That's Weird Darkness dot com slash hope.

Speaker 86 (03:58:51):
In just a moment, X mindus one, but first, after
a hard day's work, there's nothing more welcome than an
evening of variety entertainment that's just the time, like provided
Tomorrow Night by NBC Radio. You'll laugh your cares away
when good natured contestants carry out the rib tickling stunts
streamed up by mc Jack Bailey an NBC's Truth or Consequences.
Later on Groucho Marx PEPs things up with lots of

(03:59:14):
spontaneous good fun and more of the friendly insults at
which he is so accomplished for a brighter, livelier evening.
Tomorrow Night, It's Groucho Marx and Truth are Consequences on
this station. I'll stay tuned for X minus one on NBC.

Speaker 62 (03:59:35):
Come down for.

Speaker 35 (03:59:36):
Blast Off X minus five four three two X minus one.
Fire from the far horizons of the unknown come transcribed

(04:00:13):
tales of new dimensions in time and space.

Speaker 25 (04:00:16):
These are stories of the future.

Speaker 35 (04:00:19):
Adventures in which you'll live in a million, could be years,
on a thousand, maybe worlds. The National Broadcasting Company, in
cooperation with Galaxies. Science Fiction Magazine presents.

Speaker 8 (04:00:30):
Heck Heck Heck minus.

Speaker 35 (04:00:34):
One Tonight, Bad Medicine by Finn O'Donovan. But first, farmers
know they can't stop storms, floods, or drafts from ruining

(04:00:55):
a crop. But they can make sure things like that
can't ruin them by in United States savings bonds. Not
only farmers, but over forty million Americans in all sorts
of jobs own forty billions of savings bonds. And why
because savings bonds are the easy way to start saving
and to keep saving. And the money you invest in

(04:01:16):
savings bonds mean protection now and ready cash when you
need it.

Speaker 6 (04:01:20):
In the future.

Speaker 35 (04:01:21):
Improving the farm, sending the youngsters to college, or planning
your own retirement. These are the big things you can
be ready for with savings bonds. And besides offering you
a safe investment, each series he savings bond pays you
back four dollars at maturity for every three you invest. Yes,
you earn extra dollars while you save. So start saving

(04:01:42):
now for the big things in your life. Be ready
with United States savings bonds, and now on.

Speaker 8 (04:01:52):
With our story.

Speaker 87 (04:02:04):
On May second, twenty one oh three, Elwood Casswell walked
rapidly down Broadway. It was a gentle, misty spring day,
and the air held the smell of rain and blossoming trees.
But Elwood Caswell didn't smell the rain and the trees.
He just gripped the loaded gun he had in his pocket.
He didn't want to use the weapon, but he was

(04:02:26):
certain that he would. This was justifiableom you see, Elwood
Casswell was a homicidal maniac.

Speaker 42 (04:02:41):
Why shouldn't I kill him?

Speaker 32 (04:02:42):
Hey?

Speaker 88 (04:02:42):
Look out where? Oh sorry, sir?

Speaker 42 (04:02:47):
The other day said to me, Elwood, you're looking very well.
What business is it of his?

Speaker 88 (04:02:53):
How I look either?

Speaker 21 (04:02:54):
Alwood?

Speaker 4 (04:02:55):
Ow would huh?

Speaker 69 (04:02:56):
It's me Marty Klein. I work on the jet buses
with you, remember, Oh.

Speaker 42 (04:03:00):
Yeah, of course, hello Marty, you forgive me. My mind
was another thing.

Speaker 69 (04:03:04):
Yeah, I know how it is. A couple of weeks ago,
I was walking around a fox so thick you could
cut it?

Speaker 25 (04:03:09):
Yeah, really sure?

Speaker 69 (04:03:10):
Preoccupied?

Speaker 88 (04:03:11):
You know I had this idea my mind?

Speaker 42 (04:03:13):
You too, Yeah, the same person?

Speaker 23 (04:03:15):
Huh?

Speaker 42 (04:03:16):
Were you troubled by the same person?

Speaker 2 (04:03:18):
My wife?

Speaker 69 (04:03:18):
Hey you okay?

Speaker 14 (04:03:20):
Oh?

Speaker 42 (04:03:20):
Oh yeah, yes, yes, of course.

Speaker 69 (04:03:22):
Well I had this idea. See, I was going to
get rid of my wife killer killer, I mean, send
it to a country for a week. Oh you sure
you ain't sick?

Speaker 31 (04:03:32):
No?

Speaker 8 (04:03:32):
I never felt better.

Speaker 69 (04:03:34):
Well, well, anyway, I was going to take a week off,
quit the jet buses. Can you imagine I've been a
jet bus operator for ten years now, and all of
a sudden, I feel like I can't take it for
another minute.

Speaker 6 (04:03:44):
I know how you feel.

Speaker 69 (04:03:46):
I was going to take a trip, oh by myself,
a trip to where, to the farthest place I could think,
to Mars. I was just going to pick up and
take a vacation on Mars. Silly, huh.

Speaker 42 (04:03:57):
I don't know what happened.

Speaker 69 (04:03:58):
Well, I talked it over with Ethe, your wife. Yeah, Ethel,
she's a real sensible girl.

Speaker 42 (04:04:03):
You know what she did, No, am, I supposed to.

Speaker 69 (04:04:06):
Well, Ethel went right down to that home therapy appliance
store and she says, you got a home therapy machine
that'll cure my husband of this idea he can't stay
on the jet buses.

Speaker 42 (04:04:16):
I've heard that those machines aren't perfected.

Speaker 69 (04:04:18):
They got them licked. Now it's okay. She describes the trouble,
and next day they delivered this thing, and boom, I
plug it and seeing and her voice talks to me.
He starts asking me questions. You know what kind of questions,
all kinds things I wouldn't even tell my own mother.

Speaker 42 (04:04:34):
You told the machine, why not?

Speaker 69 (04:04:36):
It's only a machine?

Speaker 25 (04:04:37):
Yeah, I see your point.

Speaker 69 (04:04:39):
Well, then the machine starts to tell me a few things,
and before I know it, inside a week, I'm cured.
Now I can't wait to go back driving the jet busses.
You don't say so, That's why I say. I know
how it is to have one thing on your mind
all the time like that.

Speaker 25 (04:04:54):
This machine?

Speaker 2 (04:04:54):
What did it cost you?

Speaker 69 (04:04:55):
That's the beauty part of it? Here by ethel boy,
she's a swat girl. After a week, she sends it
back seat. She says, it don't work, so all we
lose is the deposit. I see, well, I gotta go
back to work now. Hey, ain't you working the jet
buses today?

Speaker 2 (04:05:11):
Huh?

Speaker 42 (04:05:11):
No, I'm off today. Well I'll see yl would yeah
see you, Marty.

Speaker 28 (04:05:15):
Uh.

Speaker 69 (04:05:16):
What was the name of that place where they sell
the home therapy machine? Yeah, home Therapy Appliances. It's right
down Broadway about two blocks from here. So long, I would.

Speaker 87 (04:05:28):
Perspiring freely Elwood Caswell continued down Broadway toward forty third Street.
His friend Magnuson will be finishing work soon, returning to
his apartment less than a block from caswells Ell would
gripped the gun tighter. How pleasant it would be to
saught her in, exchange your word with him and then.

Speaker 2 (04:05:44):
No, no, I won't do it.

Speaker 42 (04:05:47):
I don't really want to kill anybody.

Speaker 25 (04:05:50):
It isn't right.

Speaker 42 (04:05:52):
Think what will happen?

Speaker 47 (04:05:54):
The authorities will lock me up, My friends won't understand,
and mother, mother would never approve.

Speaker 15 (04:06:02):
Still a ye, magnism.

Speaker 2 (04:06:05):
If I see his hateful, accusing face in front of me, Oh,
this must be the store.

Speaker 42 (04:06:13):
Yeah, home therapy appliances.

Speaker 89 (04:06:19):
Good afternoon, sir. Can I show you some of our
home therapy appliances? I want therapy quick, of course, sir,
this way please now. Then this is our new alcoholic reliever,
built by International Combustion Motors and advertised in leading magazines.
A handsome piece of furniture I think you will agree
in not out of place in any home. It also
opens into a television set up. What I need therapy,

(04:06:40):
of course. I just want to point out this model
need never cause embarrassing to you, your friends, or your
loved ones. Notice if you will, the recessed dial which
controls the desired degree of alcoholism. You see heavy, moderate,
social light and teetotal. A new feature unique in mechanotherapy.

Speaker 42 (04:07:00):
Not alcoholic. The New York Jet Bus authority does not
hire alcoholic.

Speaker 89 (04:07:04):
Oh sorry, you've seen the type. No offense, I please,
you seem rather nervous. Perhaps the portable anxiety reducer. No, well, sir,
perhaps if you told me just what you feel is
bothering you?

Speaker 42 (04:07:15):
What have you got for homicidal mania?

Speaker 88 (04:07:18):
I beg your pardon.

Speaker 42 (04:07:19):
Homicide the urge to kill someone?

Speaker 88 (04:07:21):
Oh of course, well let's see now pardon me.

Speaker 42 (04:07:24):
Have you worked here very long?

Speaker 8 (04:07:25):
A week?

Speaker 23 (04:07:26):
Oh?

Speaker 88 (04:07:26):
Yes, here's the ticket, This black job of the chrome trim.

Speaker 2 (04:07:29):
What is it?

Speaker 89 (04:07:29):
This is a rex regenerator built by Planetary Motors Corporation.
Handsome goes with any decoll opens to a well stocked
at the bar. So your family, friends, loved ones need never.

Speaker 42 (04:07:40):
Pure homicidal urge a strong one.

Speaker 89 (04:07:43):
Oh, absolutely, don't confuse this for the little ten amp
neurosis model. This is a hefty, heavy duty twenty five
amp machine for really deep rooted conditions.

Speaker 88 (04:07:52):
That's what I've got. Well, this baby will joke you
out of it.

Speaker 89 (04:07:55):
Big heavy duty thrust bearings, oversize heat absorbers, completely insulated,
sensitive you range you'll vake it, yes, sir.

Speaker 42 (04:08:02):
With me right now now before it's too late. I'll
pay cash.

Speaker 88 (04:08:06):
Well, yes, sir, it'll be a few hours before the warehouse.

Speaker 42 (04:08:08):
Can I'll take this one here.

Speaker 88 (04:08:10):
Well, that's a flawed.

Speaker 89 (04:08:11):
Demonstra Does it work all of our demonstrators' works.

Speaker 42 (04:08:14):
Then I'll take it. I can't wait for a warehouse.
I can't wait for anything. Have it put in a
taxi for me?

Speaker 88 (04:08:19):
Yes, sir, Tell him to hurry.

Speaker 42 (04:08:20):
I want to kill my friend Magnuson. You know who
my friend Magnuson.

Speaker 89 (04:08:25):
Of course, that'll be four hundred dollars and fifty nine
cents sales tax included.

Speaker 87 (04:08:36):
After Elwood Caswell left the store, the clerk, whose name
was Haskins, smiled to himself and lighted a cigarette.

Speaker 8 (04:08:42):
He had made his first sale. He inhaled Haskins.

Speaker 88 (04:08:46):
Yes, ms follows me, smoking smoking.

Speaker 29 (04:08:48):
I asked you to rid yourself aout that trophy habit immediately,
mister follows me.

Speaker 89 (04:08:52):
I'll use one of this display model de nicotinizers at once.
By the way, I just made a rather good sales, sir, really, yes,
one of our big Rex regenerators will.

Speaker 25 (04:09:02):
Now it isn't often we wait a minute. Where's the
floor model?

Speaker 88 (04:09:07):
Well, sir, The customer was in an awful hurry. He
was going to kill his friend.

Speaker 25 (04:09:10):
You gave him the floor model?

Speaker 18 (04:09:12):
Yes, sir? Was there any reason why? Grief askings?

Speaker 33 (04:09:15):
Didn't I inform you we never sell a floor model,
but so heavens, I've got.

Speaker 2 (04:09:19):
To get to him.

Speaker 14 (04:09:21):
What was his address?

Speaker 2 (04:09:22):
Address? His name?

Speaker 88 (04:09:24):
Then he didn't say check he paid cash?

Speaker 42 (04:09:26):
You mean you just set him, pick up the machine
and walk out for saying he paid cash?

Speaker 2 (04:09:30):
He was homicidal?

Speaker 88 (04:09:31):
You say, yes, sir, his friend.

Speaker 42 (04:09:33):
I don't care about his friend.

Speaker 14 (04:09:34):
Get the police.

Speaker 2 (04:09:35):
No, no, no, no no.

Speaker 25 (04:09:36):
They call a Planetary Motor Security division quick.

Speaker 88 (04:09:38):
Yes at once. Well, will excuse me, mister Follsby. What
will I tell them?

Speaker 25 (04:09:42):
Tell able, you fool.

Speaker 18 (04:09:44):
Tell them that one of our customers accidentally got that
display regenerator they sent us, the one they shipp by accident.

Speaker 25 (04:09:49):
They were going to replace it tomorrow.

Speaker 88 (04:09:51):
Yes, the one they ship by accident. Will they know
if they.

Speaker 53 (04:09:53):
Don't be more explicit, tell them we've sold the Marshal model,
the one for treating psychotic martians.

Speaker 87 (04:10:06):
Meanwhile, Elwood Caswell had returned to his apartment and lugged
the big black Rex regenerator into his living room. He
put it down near the couch and studied it carefully.

Speaker 25 (04:10:16):
He was right, it does go with the room.

Speaker 90 (04:10:19):
Now, then let's see those instructions. Place regenerator near a
comfortable couch. All right, plug in machine. There a fixed
contact band to your forehead. That's all there is to it.
Just turn on the machine and it will do the rest.

(04:10:42):
There will be no language problem, since your regenerator communicates
with you by direct sensory contact pattern pending.

Speaker 15 (04:10:51):
Well, it seems easy enough.

Speaker 42 (04:10:53):
Now I'll just put the contact on.

Speaker 2 (04:10:55):
My head.

Speaker 8 (04:10:57):
And blasted.

Speaker 18 (04:11:01):
Hello.

Speaker 42 (04:11:03):
Yes, this is Henri, Henri Magnus, and how are you?
Oh boy, I'm fine.

Speaker 91 (04:11:09):
I wanted if you're doing anything tonight, thought you might
like to drop over for a game of chess.

Speaker 42 (04:11:13):
Game of chess?

Speaker 2 (04:11:14):
Huh?

Speaker 15 (04:11:15):
He stupid old?

Speaker 25 (04:11:17):
What nothing?

Speaker 42 (04:11:19):
I thought you called me a stupid old just talking
to my cat.

Speaker 3 (04:11:23):
Oh I didn't remember you had a cat. I thought
you hated cat.

Speaker 28 (04:11:27):
Oh I do?

Speaker 42 (04:11:28):
This is really mine. It's the neighbors. It keeps coming in.

Speaker 3 (04:11:32):
Oh what about tonight?

Speaker 42 (04:11:34):
Will you be alone?

Speaker 2 (04:11:36):
Yeah?

Speaker 47 (04:11:37):
You haven't mentioned anyone that you're inviting me over all?
Why someone's looking for me? A process server?

Speaker 41 (04:11:45):
Oh?

Speaker 47 (04:11:46):
Now, I've been avoiding him for days. I don't even
leave word where I'll be when I go out.

Speaker 3 (04:11:50):
You can trust me what I'm your best friend?

Speaker 42 (04:11:52):
Yes you are, but not for long?

Speaker 92 (04:11:55):
Huh?

Speaker 42 (04:11:57):
Just talking to the cat again?

Speaker 3 (04:11:58):
Oh will you be over?

Speaker 8 (04:12:00):
Yeah?

Speaker 11 (04:12:00):
In about an hour?

Speaker 42 (04:12:01):
Okay, yeah, an hour will be fine. There are a
few things I have to do it.

Speaker 3 (04:12:04):
It's gotten some new laugh records from the boys at
the office. I got something there I'll really kill.

Speaker 42 (04:12:09):
Young what's along?

Speaker 18 (04:12:12):
I've got something here that'll kill you too.

Speaker 35 (04:12:27):
X minus one will continue in one minute.

Speaker 93 (04:12:31):
Each of us has a personal reason for wanting to
see cancer conquered.

Speaker 8 (04:12:35):
Steve Allen would like to tell you his.

Speaker 75 (04:12:38):
I have a wife and three wonderful kids, and when
I think about cancer going to strike one American in
every four well, that's more than enough reason for wanting
to see it conquered. I know that some people don't
even want to think about cancer, but pretending it's not
a threat doing an ostrich routine isn't going to.

Speaker 2 (04:12:54):
Get us anywhere.

Speaker 75 (04:12:55):
You've got to stand up to it and fight. We
can fight, each and every one of us. Through the
American Cancer Society. We can be part of the battle
that someday will beat cancer once and for all that
day will come, but you and I have got to help.

Speaker 18 (04:13:09):
How about it.

Speaker 93 (04:13:10):
Thank you, Steve Allen. Remember fight cancer with a checkup
and a check. See your doctor once a year for
a checkup. It's your best cancer insurance. And to help
conquer cancer, send a check to your unit of the
American Cancer Society.

Speaker 6 (04:13:25):
Make it generous, and now on with our story.

Speaker 87 (04:13:35):
Taking the revolver from his pocket, Ellwood laid it on
the table in front of him. His face became suffused
with hatred at the thought of Magnuson, He pope with
the gun with.

Speaker 2 (04:13:44):
A stiff forefinger.

Speaker 94 (04:13:46):
Magnuson, you no good, shifty eyed enemy of all that's
decent in the world, the man who ruined my sister, Irene,
the man who Wait.

Speaker 42 (04:13:58):
A minute, Wait a minute, Elwood.

Speaker 25 (04:14:00):
You have no sister, Remember no sister.

Speaker 42 (04:14:05):
Now, before you go off and commit murder, why not
just try that machine just once?

Speaker 2 (04:14:09):
I turn it on.

Speaker 25 (04:14:11):
Ocane reach over.

Speaker 3 (04:14:18):
Good afternoon, Ellwood. I am your mechanical therapist. You may
call me glue Glop. You seem surprised. It is a
perfectly common name here on this planet.

Speaker 2 (04:14:27):
Glue.

Speaker 42 (04:14:27):
Of course, I heard it many times.

Speaker 3 (04:14:30):
Now then I am scanning the material in your preconscious
with the intent of synthesis, diagnosis, prognosis and treatment. Yes,
I find hm, this is a most unusual case.

Speaker 42 (04:14:41):
Really, I thought it was simple homicidal mania.

Speaker 3 (04:14:44):
There is, of course no such thing. You are obviously
hallucinating a set of symptoms, nonsense syllables to enable you
to avoid the real problem. Oh hm, a most unusual
set of symptoms.

Speaker 42 (04:14:53):
I must say, your pilot light seems to be fading.

Speaker 3 (04:14:56):
My light is not fading. I am merely trying to
relate your symptoms to proving theory.

Speaker 42 (04:15:01):
As long as you know what you're doing.

Speaker 3 (04:15:02):
Mechanotherapy is an exact science cell word. It admits of
no significant errors.

Speaker 18 (04:15:06):
We will proceed good.

Speaker 3 (04:15:07):
First the word association test, miralway. I will proceed to
give a word. You answer with the first thing that
comes to your mind. Ready, ready, house, home, planet Earth.
Hmm hmmm, are just musing now?

Speaker 42 (04:15:20):
Fleeful fleeful fleeful That sounds like a Martian word. Just
give me a response fleeful hmm. Okay, I can make
them up too, Mark Pousche, that's a pretty good one.

Speaker 2 (04:15:34):
Huh.

Speaker 42 (04:15:35):
Made it up in the spur of the moment.

Speaker 3 (04:15:36):
Marfousch is very significant. It is a corruption of the
Martian concept of push clip. Very significant.

Speaker 42 (04:15:41):
I don't know any Martian works.

Speaker 3 (04:15:43):
Aha noteworthy. We will proceed loud, soft, green, mother thanagoyas half.

Speaker 42 (04:15:49):
Am a funger. How's that one?

Speaker 62 (04:15:52):
Charities nextor theesma drastica top that katieth.

Speaker 3 (04:15:58):
A snow hell. Cannot to say.

Speaker 42 (04:16:01):
Okay rigamaroo kalamazoo boo good.

Speaker 3 (04:16:06):
It fits the pattern pattern you're neurosis. I can diagnose him.

Speaker 29 (04:16:10):
Now go on.

Speaker 3 (04:16:12):
You have a classic case of theme desire complicated by
strong twalwkish intentions.

Speaker 42 (04:16:17):
I could have sworn I was homicidal.

Speaker 3 (04:16:19):
The term has no referrent. It must be rejected as nonsense. Now,
if you'll just settle back on the couch, we'll proceed.

Speaker 87 (04:16:32):
At precisely this moment, a tall, gnarled ugly man pushed
his way through the doors of home therapy appliances. His clothing,
unpressed and uncarrying, hung on him like corrugated iron. When
the clerk Hoskins approached him, he flipped back his lapel
to show a small silver badge underneath.

Speaker 91 (04:16:49):
Sir John Wrayth's Planetary Motor Security Division.

Speaker 88 (04:16:52):
Oh yes, sir, mister Follensby, mister.

Speaker 8 (04:16:58):
Hello, Farnsby, mister Rath.

Speaker 25 (04:17:01):
Well, so far we have no single lead.

Speaker 91 (04:17:04):
He certainly never mentioned his name. Well, yes, sir, I
think there anything significant? Is it serious, mister Rath, mister
fallens Be, this man is homicidal.

Speaker 18 (04:17:13):
Wo to treat him?

Speaker 91 (04:17:14):
Homicide is unknown on Mars. It'll treat him for the
most likely Martian sickness.

Speaker 18 (04:17:19):
What would that be?

Speaker 8 (04:17:20):
Theme desire, mister follens Be.

Speaker 91 (04:17:22):
Theme desire, the Martian illness in which the victim feels
cursed by the treelike nourishing parent, although of course martians
don't have parents in the ordinary sense.

Speaker 88 (04:17:31):
Well, asking, I remember one thing he mentioned? He was
a jet bus operator for the New York Jet Bus Authority.

Speaker 2 (04:17:38):
Ah.

Speaker 89 (04:17:39):
One other thing, yes, I believe, Yes, he was alcoholic.

Speaker 91 (04:17:43):
An alcoholic jet bus operator. Excellent, it'll be on his records.
Get the jet bus authority at once.

Speaker 3 (04:18:02):
But surely, Elle, would you remember your Gordice? No, tell
me that about your juvenile experiences with the Forestrian fleet.

Speaker 25 (04:18:10):
Never had one complete.

Speaker 3 (04:18:12):
Blockage, my father, There is no such thing, of course,
but I thought we'd finally.

Speaker 18 (04:18:17):
Agreed on that.

Speaker 42 (04:18:18):
Okay, if you say so.

Speaker 3 (04:18:20):
Then since you claim you don't even know what a
goddessy is. Tell me what you imagine it to be?

Speaker 95 (04:18:27):
A forest fire, as salt tablet, a small screwdriver?

Speaker 42 (04:18:34):
Am I getting warm? A revolver?

Speaker 15 (04:18:37):
Uh Ah?

Speaker 88 (04:18:38):
What the heck is a gorricy?

Speaker 3 (04:18:40):
Why the tree then nourished you into puberty?

Speaker 25 (04:18:44):
No tree nourished me.

Speaker 3 (04:18:46):
You have completely repressed the experience. No tree ever nourished
mister Caswell. Let me try to explain your case as
best I can. Somewhere in your childhood, your gorricy or
parent tree stifled your themed. Now this gave rise to
your present urge to dwalk someone in a flendish manner?
Do what to dwalk someone in a flendish manner?

Speaker 42 (04:19:09):
Listen, you crummy piece of hardware.

Speaker 88 (04:19:11):
I have never had a golrusy.

Speaker 47 (04:19:13):
I have no desire to dwark someone in a blendish
manner or any other manner.

Speaker 42 (04:19:18):
All I want to do is put a bullet into
Herbert Magnuson. Understand, All I want to do is kill Magnuson.

Speaker 3 (04:19:26):
Lie do mister Caswell, We'll go over it again.

Speaker 2 (04:19:40):
My dear man.

Speaker 91 (04:19:41):
I'm not trying to insinuate that the Jetmus authority hires alcoholics,
if you will, just.

Speaker 8 (04:19:49):
Any look is a dead.

Speaker 91 (04:19:51):
End now, Haskins, Yes, sir, A man's life may be
at stake here.

Speaker 28 (04:19:56):
Now.

Speaker 91 (04:19:56):
Think was there anything else this fellow said to you?

Speaker 8 (04:19:59):
Anything?

Speaker 88 (04:20:00):
Well, he did mention the name of his friend, of
which friend, the one he was going to kill?

Speaker 8 (04:20:04):
The one he Why didn't you say so?

Speaker 2 (04:20:07):
Now? What was it?

Speaker 88 (04:20:09):
A Magnuson? You sure that's it? He said, I'm going
to kill Magnuson, you know, just casual like.

Speaker 91 (04:20:14):
That follows me. See if there's a Magnuson in the
Manhattan phone book, now hurry it up.

Speaker 3 (04:20:30):
Yes, mister Caswell, you were saying, well, something about your gorricy.

Speaker 42 (04:20:36):
Yes, I was saying, I think perhaps you're.

Speaker 3 (04:20:40):
Right, naturally, but right about what mister Caswell.

Speaker 47 (04:20:44):
Well, I think perhaps, yes, I think perhaps I do
remember my gorricy.

Speaker 3 (04:20:50):
Ah, Now, mister Caswell, we're on the road to a cure.

Speaker 91 (04:21:03):
Mister Magnuson. Yes, do you know a short, angry looking,
red haired man? I might think, or I might not.

Speaker 25 (04:21:11):
Can you tell us where to locate him?

Speaker 8 (04:21:13):
You're a process server?

Speaker 21 (04:21:14):
Huh?

Speaker 8 (04:21:15):
Certainly not?

Speaker 91 (04:21:16):
Oh kid, may mister Magnuson, this man is trying to
kill you. Oh on, you're full of happy pills. Elwood's
my best friend, Elwood. He loves me like a brother.
And if you think I'm going to six some process
server on mister Magnuson, I'm not a process server. Your
friend Elwood is a psychopathic killer. You're his intended victim.

(04:21:36):
Can you get that through your thick skull. I'm trying
to save your life. Yes, you're Elwood Caswell. Yes, the
Elwood Caswell who bought a Rex regenerator early this afternoon.

Speaker 42 (04:21:58):
Yes, won't you come in?

Speaker 8 (04:22:00):
Thank you?

Speaker 91 (04:22:02):
My name is Rath Planetary Motors.

Speaker 42 (04:22:04):
Nice to meet you.

Speaker 8 (04:22:05):
H Have you used the machine?

Speaker 41 (04:22:08):
Oh?

Speaker 91 (04:22:08):
Yes, I see, mister Caswell. I I don't know how
to explain this, but we made a terrible mistake. The
regenerator you took was a Martian model for giving therapy
to Martian I.

Speaker 22 (04:22:21):
Know you do.

Speaker 42 (04:22:23):
Yes, it became pretty obvious after what.

Speaker 91 (04:22:25):
It was a dangerous situation, especially for a man in
your condition.

Speaker 70 (04:22:30):
Yes, the poor thing tried its best, but of course
it couldn't cure what wasn't there. Well, then the company
will of course reimburse you for your lost time and
your mental language naturally, and we will substitute a regular.

Speaker 8 (04:22:44):
Human type regenerator.

Speaker 91 (04:22:46):
Oh that won't be necessary, you see, mister Caswell, you
put down that gun, and I warn.

Speaker 47 (04:22:52):
You I'm not going to shoot you. I merely want
to turn this gun over to you. You do, Yes,
I'm not going to shoot anybody. You mean that the
machines attempt at therapy forced me to reappraise my whole self.
There was an insight during which I was able to
get rid of my obsession.

Speaker 8 (04:23:09):
You no longer want to kill your friend Magnuson.

Speaker 42 (04:23:12):
Kill Magnuson. I haven't the faintest urge.

Speaker 88 (04:23:17):
Well, I.

Speaker 8 (04:23:19):
I must say then that it worked out for the best.

Speaker 91 (04:23:22):
I'll get back to the store and have him picked
up this machine in an hour.

Speaker 42 (04:23:26):
And oh well, sir, don't forget to take this gun.
I won't need it, of course.

Speaker 2 (04:23:31):
Uh.

Speaker 8 (04:23:32):
When I was to have met you, sir, and good evening.

Speaker 15 (04:23:35):
Good evening.

Speaker 25 (04:23:42):
Did you hear that?

Speaker 47 (04:23:44):
He asked me if I still intended to kill Magnuson. Magnuson,
that inhuman monster who cut down my Gorricy Magnuson, the
man who even now.

Speaker 42 (04:23:55):
Is secretly planning to infect New York with abhorrent fiend desire.
Are you going to kill him?

Speaker 19 (04:24:01):
Oh no, I wish him a long life, all life
filled with a torture I can now inflict on him.

Speaker 14 (04:24:06):
Chill magnuson.

Speaker 47 (04:24:08):
Oh no, I'm going to start right now to dwark
him in a full Engish manner.

Speaker 35 (04:24:22):
You have just heard X minus one, presented by the
National Broadcasting Company in cooperation with Galaxy Science Fiction Magazine,
which this month features Honorable Opponent by Clifford D. Simak,
the story of an Earth general with a distasteful assignment
of meeting a delegation of unmilitary clowns who arrive as conquerors.

(04:24:43):
Galaxy Magazine on your news stand today in a moment
Tonight's cast and a preview of next week's exciting drama.

Speaker 96 (04:25:00):
I came to the plan boom prouty where you astam
or school?

Speaker 18 (04:25:07):
Are you lasso me?

Speaker 96 (04:25:11):
A man with a green on America seems ver plugget
and rerey from one months up to your master or school.

Speaker 18 (04:25:25):
To you as as we know where. Then we sent
a part time from the sky and a pretty girl's
side and a such a moon.

Speaker 9 (04:25:40):
A resu.

Speaker 96 (04:25:43):
I came to the pan boom prouding where you master
or school?

Speaker 4 (04:25:50):
Roady were as.

Speaker 35 (04:25:54):
I the Night by transcription X minus one has Brought
You Bad Medicine, a story from the pages of Galaxy,
written by Finn O'Donovan and adapted for radio by George Leffards.

(04:26:14):
Featured in the cast were Cliff Carpenter, Bill Britton, Alan Manson,
Charles Webster, Carl Weber, and Joseph Julian. Norman Rose was
heard as the machine You're announcer Fred Collins. X minus
one was directed by Bob Mauer and is an NBC
Radio Network production.

Speaker 97 (04:26:56):
It's Mystery Time, Time now for the best in mystery.
Tonight Mystery Classics stars Ralph Richardson in the tale.

Speaker 75 (04:27:11):
I don't know whether I've done ster retribution, Oh murder,
I don't know.

Speaker 2 (04:27:20):
I shall never know.

Speaker 18 (04:27:31):
Good Evening.

Speaker 98 (04:27:32):
This is Don Daoud, your host for Mystery Time Tonight,
and every Thursday night, Mystery Time brings you mystery Classics. Personally,
I've always been found the stories of the sea. Most
of us have a bit of soft water in our blood,
haven't we. That's why I'm happy that tonight's transcribe mystery

(04:27:53):
classic is Joseph Conrad's exciting story of Pearls on the
sea now Joseph Conrad's The Tale starring Ralph Richardson.

Speaker 75 (04:28:07):
Outside the large single window, the late evening light was dying.

Speaker 15 (04:28:15):
Out slowly in the long room.

Speaker 75 (04:28:18):
The irresistible tide of the light had run into those
distant parts of it with a whispering of our voices,
passionately corrupted and passionately renewed, and died away with the
dying light. I could see only the faint oval of
her upturned face, the pale immobility of her hands against

(04:28:38):
the dark of her dress. Oh, we loved each other, yes,
but there was little hope in that love. At last
she turned her head away.

Speaker 49 (04:28:50):
Please, we can only hurt ourselves going on like this.

Speaker 15 (04:28:54):
You'll know that, Oh, my darling, tell me something was about?

Speaker 2 (04:29:00):
Tell you?

Speaker 50 (04:29:01):
Why not tell me a tale?

Speaker 1 (04:29:03):
Tale?

Speaker 2 (04:29:03):
Yes? Why not? Why not?

Speaker 20 (04:29:06):
You used to tell your simple and professional tales very well.
At one time you had a sort of art that summer,
the days before the.

Speaker 15 (04:29:15):
War already, But now who's here?

Speaker 22 (04:29:17):
The war is going on.

Speaker 50 (04:29:19):
It could be a tale not of this world.

Speaker 75 (04:29:21):
If you want a tail of the other, the better
world must call back someone who's already gone there.

Speaker 2 (04:29:27):
No, I don't mean that, I mean some other world
in the universe, not in heaven.

Speaker 75 (04:29:32):
Well, I'm relieved, would you forget that I've only five
days leave?

Speaker 20 (04:29:38):
Yes, and I've also taken five days leave.

Speaker 31 (04:29:43):
From my duties.

Speaker 2 (04:29:44):
I like that word. What word duty? It is horrible.

Speaker 15 (04:29:49):
Sometimes that's because you think it's never.

Speaker 12 (04:29:53):
Rest to this other world.

Speaker 14 (04:29:55):
Who's going to look for it?

Speaker 15 (04:29:56):
And the tale that's in it?

Speaker 14 (04:29:58):
You h.

Speaker 15 (04:30:01):
As, you will shame that world.

Speaker 75 (04:30:06):
Then there was once upon a time a naval commanding
officer and a Scandinavian. It was a world of seas
and continents and islands like the Earth. A war was
going on in that world, and many young men in it,
firstly in wardrooms and missus used to say to.

Speaker 15 (04:30:27):
Each other, bad war, But it's better than no war tour.
That sounds flippant, doesn't it.

Speaker 75 (04:30:32):
Yes, Let's get back to our commanding officer, who, of
course commanded the ship a warship. But he used to
be sent out with her along certain coasts to see
what he could see, just that sometimes he had some
preliminary information to help him, and sometimes he hadn't.

Speaker 15 (04:30:50):
It was in the early days of the war.

Speaker 75 (04:30:52):
The ship was sailing in northern waters, stealing along her
beach inside of a rocket dangerous coast which stood out
intensively black like an Indian ink drawing on gray papers. Well,
anything to report? There's her, not so much as a

(04:31:14):
fishing boat. Nothing's stirring on shoulder, the coast absolutely deserted.
If I never mind about the coasters, to see where
I'm interested in.

Speaker 15 (04:31:21):
You know, what used to amaze me is the way
that the war never seemed to change. It just the
same expensive water, neither more friends they nor more hostile.
It's impossible to believe that that same.

Speaker 75 (04:31:34):
Horizon is now become one great circular ambush, as it
is until you see a ship blow up all of
a sudden and PLoP under, almost before you know what's
happened to us?

Speaker 15 (04:31:45):
You know, in some ways one almost ended the surgery
at the end. Looks at out there ahead on the
start about.

Speaker 12 (04:31:52):
Quick man heard report It may be a mind.

Speaker 15 (04:32:02):
Ahead of the ship.

Speaker 75 (04:32:03):
Something was floating and rolling laterly on the sea, something
but what A ship's course was altered to pass their
object close. It was necessary to have a good look
at it to see what one could see close, but
without touching it. It was not advisable to come in
contact with objects of any form floating carelessly about. Small

(04:32:23):
wreckage perhaps, but there shouldn't be any wreckage here now.
The last reported torpedo rings were a long way westward,
but one never knows, and there have been others that
weren't reported.

Speaker 12 (04:32:34):
Gone with all.

Speaker 15 (04:32:35):
Hands, seems to be a battle. Yeah, have a look
through the glasses set. Yeah, it's a pretty obvious proof
of what we've suspected all along.

Speaker 75 (04:32:47):
But certain neutrals around here haven't been quite so neutral
as they should have been. You boats, yes, replenishing the
stores of U boats somewhere also very.

Speaker 15 (04:32:56):
Far off either?

Speaker 75 (04:32:57):
Why leave the evidence lying about like it? Indeed almost
looks as though had been done on purpose?

Speaker 18 (04:33:03):
But what on earth for more?

Speaker 75 (04:33:04):
Probably it was an oversight. Well, it's proof of what
we were pretty certain of before. I'm playing too much,
good little doers, the parties of miles away, you were
ready to kill the noble neutral slipping away to the eastward,
ready with a pack of lies. Sure they won't have
to lie very much, fellows like that unless call to

(04:33:24):
him the act are pretty safe. Yes, I suppose they
can afford to chuckle. They probably don't even care a
rap for the bit of bilitians.

Speaker 2 (04:33:31):
Left behind me.

Speaker 15 (04:33:32):
It's a game where practice makes your bold and successful.

Speaker 2 (04:33:35):
Too.

Speaker 75 (04:33:36):
Well, perhaps this will be once too often, the fox
coming up again, a solid white wall of it. In
five minutes we were in the thick of it. Great
convolutions of paper flew over us, wording about our masts
and funnel, which looked as if they were beginning to milk.

Speaker 15 (04:33:57):
Then the ship was stopped. All sounds ceased.

Speaker 75 (04:34:05):
But then if fog became motionless, growing denser as if solid,
and it's amazing dumby mobility. Men at their stations lost
sight of each other. Footsteps sounded still, rare, voices impersonal
and remote.

Speaker 15 (04:34:20):
Died away without residue. A blind white stillness took possession
of the world.

Speaker 12 (04:34:28):
Well what do we do now?

Speaker 18 (04:34:30):
Wait a minute, the fox.

Speaker 15 (04:34:31):
Lifting only in patches. Look there's the shoreline again.

Speaker 18 (04:34:35):
Ah, that's a bit better.

Speaker 29 (04:34:39):
Right now, I know where I am again.

Speaker 75 (04:34:41):
We're going in shore, yes, but it's all right. I
know the stretch of closet like the back of my hand.

Speaker 2 (04:34:45):
That peak.

Speaker 15 (04:34:46):
There's the southern shore of a fiord. The guy who
ease round.

Speaker 75 (04:34:49):
Into it and sit tight For the weather men, there's
plenty of sea room, and they can drop anchor keep
the ledsman singing out. Walking slowly, with infinite caution and patience,
they crept in closer and closer, seeing no more of

(04:35:11):
the cliffs than the effervescent dark loom with a narrow
border of angry foam at its foot. At the moment
of angering, the fog was so thick all they could see.
There might have been one thousand miles out in the open.

Speaker 15 (04:35:23):
Sea, yet the shelter of the land could be felt.

Speaker 75 (04:35:26):
There was a peculiar quality in the stillness of the
air that I fainted to the elusive the wash of
the ripple against the unsettling land reached their ears with
mysterious sudden poison.

Speaker 29 (04:35:45):
Well, that's that.

Speaker 75 (04:35:47):
It's about half a mile between us and the other
side of the fiord. We can stay ahead of the
fog lifts, we get a chance to see what we're doing.

Speaker 12 (04:35:54):
Again.

Speaker 15 (04:35:55):
It seems to be lifting already, sir. Back then towards
the open sea. By jove, it does quite a bright.

Speaker 22 (04:36:00):
Yeah, wait a minute, what's that?

Speaker 15 (04:36:02):
Give me the glasses? I could almost swear. Well, well,
you'd be right.

Speaker 75 (04:36:08):
Then there's another ship out there lying at anchor, has
been hanging at her. It's a wonder we didn't run
step into her when we came in certain ease, But
why didn't you make herself known and wrung her bell?
She must have heard us coming in. We came in
pretty quietly, admittedly, but they must have heard our lidsman.
At least, we couldn't have passed her more than fifty
yards off right, what you might call a close shade.

(04:36:32):
We never heard a sound from her. Fellows on board
must have been holding their breaths. I rather think that's
what they were doing.

Speaker 25 (04:36:39):
Eh.

Speaker 75 (04:36:40):
Had we better take a look at them, sir? I
think we better had. At first, I supposed she was
just a coaster's tending too. I'm not so sure the
more I think about it. In fact, I'm a lot
of tor sure. Laura Bolton sent the boarding party across
to her. I want to know a little more about
that ship, y Isa. The boat was lowered and moved

(04:37:05):
away into the fog. The white swirl of vapor that lay.

Speaker 15 (04:37:08):
On the water spolowed that as though it had been sunk.

Speaker 75 (04:37:10):
Only the shadowy outline of the mystery ship remained afloat
above the drifting whiteness for a quarter of an hour
was other silence, and then the boarding party returned, appearing
suddenly alongside. The officer in charge came up to make
his report. Well, what is she a coaster and as
a stranger and neutral?

Speaker 22 (04:37:31):
Really?

Speaker 15 (04:37:32):
Well, tell us a little bit more about it. Then
they stood in help keep up.

Speaker 2 (04:37:40):
Well, they were drifting about the stream.

Speaker 24 (04:37:45):
Door and sto ramp was taken. I checked them, she
fromberg A checking any from what I could say, that
is quite in the clear. What the master said, he

(04:38:05):
didn't well said they been drifting along in the fog.

Speaker 6 (04:38:08):
He didn't have a good idea of his position.

Speaker 29 (04:38:11):
Asked me for a burning I didn't get him.

Speaker 18 (04:38:13):
UNCHI i'd checking yourself.

Speaker 2 (04:38:14):
Good.

Speaker 22 (04:38:15):
Just one thing?

Speaker 12 (04:38:16):
What about our engines?

Speaker 18 (04:38:17):
Now?

Speaker 2 (04:38:19):
So she has dream on them?

Speaker 15 (04:38:20):
A number one? You know, I think you were right.
After all, they were holding their breath as we passed through.
They certainly were. I tell you number one.

Speaker 22 (04:38:43):
I don't like it.

Speaker 15 (04:38:44):
I don't like it one little bit.

Speaker 75 (04:38:45):
Somewhere around here, as we know very well, the German
U boat has been restopped, probably by the neutral vessel.
Here in this period we find the neutral vessel hiding
away in the fog. But her story was perfectly plausible, Yes,
a little bit plausible to my mind. What did you
make of the coul Johnson the usual lot, sir?

Speaker 24 (04:39:05):
The engineer is quite typical, I should say, very full
of the way they repaired their engines. The mate a
bit surdy, perhaps not much English. The master rather an
impressive sort of a fellow in his way, typically Scandinavian.

Speaker 2 (04:39:18):
Typically with love, but peer to have been drinking. Seemed
to be recovering from a regular bout of it.

Speaker 15 (04:39:24):
Well, I did he What instructions did you give him?

Speaker 2 (04:39:27):
I tell him I couldn't give him permission to proceed, Sir.

Speaker 24 (04:39:29):
He said he wouldn't dare to move his ship her
own length out and a FuG like this permission or
no permission, I left a.

Speaker 75 (04:39:35):
Man on board, all same, quite right, But keep her
eye as much as you care what all this fog about.

Speaker 15 (04:39:40):
And keep your ears open eyes.

Speaker 2 (04:39:43):
I don't know.

Speaker 75 (04:39:45):
Maybe I'm a bit too suspicious, but I can't help
feeling that this very plausible ship may very well have
been the one that had.

Speaker 15 (04:39:53):
A rondezvous with that you built out there, but you could.

Speaker 18 (04:39:56):
Never prove itself.

Speaker 12 (04:39:56):
Well, I don't know.

Speaker 15 (04:39:59):
I want to have a look a with myself.

Speaker 75 (04:40:01):
But from the report we've had, I'm afraid you couldn't
even make a case for reasonable suspicions.

Speaker 29 (04:40:05):
Could you go on board?

Speaker 15 (04:40:06):
All the same? That's another boarding party.

Speaker 2 (04:40:15):
What did I expect to find?

Speaker 15 (04:40:18):
Well, I couldn't have told anybody, not even myself.

Speaker 75 (04:40:21):
I went aboard the Master, large robust Scandinavian led the
way to the chart room.

Speaker 32 (04:40:29):
It's not very comfortable, but while I am at sea,
this is where I live.

Speaker 15 (04:40:35):
Aha, Oh, take a seat pleasy.

Speaker 32 (04:40:38):
What can I do for you?

Speaker 18 (04:40:40):
As nothing?

Speaker 15 (04:40:40):
It's merely a routine check. Your papers appear to be
an order.

Speaker 32 (04:40:44):
Of course, if it had not been for trouble.

Speaker 1 (04:40:47):
With the engines, we would have been in England in
new instead of which were Ah, what I mean?

Speaker 18 (04:40:54):
I don't know where?

Speaker 32 (04:40:55):
He believe youab in last Monday last week.

Speaker 1 (04:41:00):
I am somewhere south of here and my engines break down.
We dressed in the dog I don't know.

Speaker 32 (04:41:05):
Where, and it even gets up and have we put
in here?

Speaker 4 (04:41:09):
Since then?

Speaker 32 (04:41:10):
Has been nodding but four gig in Ah, so you've.

Speaker 2 (04:41:14):
Been ang and here all that time?

Speaker 32 (04:41:16):
Is right for day?

Speaker 12 (04:41:18):
Though?

Speaker 32 (04:41:18):
Isn't it enough to drive a man out of his
mind and it's like this.

Speaker 4 (04:41:23):
This ship is my own.

Speaker 14 (04:41:25):
Your officer has seen the pay.

Speaker 32 (04:41:27):
She isn't much, as you can see for yourself. Just
to know, cargo boat just.

Speaker 15 (04:41:31):
A bear living for my family.

Speaker 14 (04:41:34):
Those are their pictures up there.

Speaker 75 (04:41:36):
Yes, we'll be making a fortune for your family with
this whole ship. Before you finished, please see I mean.

Speaker 15 (04:41:42):
Out of the wall.

Speaker 32 (04:41:44):
Uh yeah, out of the boy. Well, but of that
you wouldn't be angry about it, would you?

Speaker 18 (04:41:51):
No, you are too much of it.

Speaker 32 (04:41:53):
Gentlemen, if you didn't bring this board.

Speaker 15 (04:41:56):
On you, I suppose you didn't.

Speaker 1 (04:41:58):
Well, and suppose we sat down and cried, What good
would that be? Let those cry who made all the trouble?

Speaker 32 (04:42:05):
Time is money? Using in English? Well, well, this time
is money.

Speaker 4 (04:42:11):
Yes, it is money.

Speaker 75 (04:42:13):
Well, I'm glad your satisfied. Well, I suppose you've made
it perfectly clear that the war was not your fault,
and why you're here. Your log book confirms that very minutely.
Of course, a love book may be cooked. Please, I
say a log book may be cooked, faked, used as

(04:42:34):
an alibi, nothing easier.

Speaker 1 (04:42:37):
Oh, but you can't suspect me of anything. My cargo
is made out for an English sport in Newcastle.

Speaker 2 (04:42:46):
True, I didn't know.

Speaker 32 (04:42:47):
How can you suspect me?

Speaker 18 (04:42:49):
And what is it you suspect me of doing?

Speaker 15 (04:42:51):
Well? I haven't said that. I do suspect you. What
makes you think I might?

Speaker 18 (04:42:55):
What you said about the love book?

Speaker 15 (04:42:57):
Well, I find you lying here with steam up, hiding
in the fall.

Speaker 1 (04:43:02):
My engines have been repaired, so at last I can
get steam up again.

Speaker 75 (04:43:06):
Why didn't you make yourself known when you heard us
coming into the field.

Speaker 32 (04:43:09):
I was indischartable. I hear nodding at all.

Speaker 75 (04:43:17):
I wondered what he'd do if I accused him to
his face of being what I suspected he was. I
turned away in disgust and went up on the deck.
But I had the crew must formerly for an inscription.
You're the chief engineer. Yeah, there's been no trouble with
the engines.

Speaker 18 (04:43:33):
Please.

Speaker 15 (04:43:34):
Your engines broke down, didn't they? Oh?

Speaker 12 (04:43:36):
Yeah?

Speaker 15 (04:43:37):
Yeah?

Speaker 12 (04:43:37):
Yeah? Domain?

Speaker 32 (04:43:39):
You saying a domain feed became loose and the steam
was not right in the cylinder.

Speaker 18 (04:43:45):
Also the condensed chamber was wrong.

Speaker 14 (04:43:47):
Where was this?

Speaker 18 (04:43:48):
If you could go last Tuesday? He was a maid.

Speaker 6 (04:43:52):
Let me see your papers here?

Speaker 15 (04:43:55):
Where did you join the ship?

Speaker 22 (04:43:56):
You're the boy when three months ago this is your
first trip to holl We are not bound for Hell.

Speaker 18 (04:44:03):
We are bound for Newcastle.

Speaker 75 (04:44:08):
I could discover no flaw in the log books. Toy
at last, I returned to the chart room. The master
still lingered there, appeared to have been drinking while.

Speaker 29 (04:44:17):
I was away.

Speaker 18 (04:44:18):
On dick.

Speaker 75 (04:44:21):
Sit down, They say, you're wondering at my proceedings, though
I'm entertaining you am I? I mean you wouldn't care
to move in.

Speaker 18 (04:44:28):
This fall, don't I am?

Speaker 75 (04:44:31):
Earlier today, I saw something out there that makes me suspect,
but not so very long since the U boat was
contacted and re stopped, perhaps by a neutral vessel.

Speaker 15 (04:44:42):
Oh I see, But you.

Speaker 18 (04:44:45):
Only suspect that you have no proof.

Speaker 15 (04:44:48):
Oh well, perhaps not, But I also have my information.
That's why I happened to be here at all. Shooting's
too good for people to conceive neutrality and that sort
of manner. Oh yes, perhaps, now there's no perhaps about it.

Speaker 32 (04:45:02):
Oh no, no, you are right. But but what about
the tempts? Better kill off that lot? Have you ever
seen a poor.

Speaker 1 (04:45:10):
Man on one side and a bag of gold on
the other. Of course I couldn't be tempted. I haven't
enough for it.

Speaker 18 (04:45:18):
Oh, I told you.

Speaker 3 (04:45:18):
It is nodding to me.

Speaker 18 (04:45:19):
I just talk openly for once.

Speaker 15 (04:45:23):
I'm listening to you now that I know you have
no suspicions I talk.

Speaker 8 (04:45:28):
You don't know what a poor man is.

Speaker 28 (04:45:31):
I do.

Speaker 32 (04:45:32):
Don't poor myself.

Speaker 2 (04:45:34):
This old sheep.

Speaker 32 (04:45:35):
She isn't much and she's mortgaged to bare living no more.

Speaker 2 (04:45:41):
Oh, of course I wouldn't have the nerve.

Speaker 1 (04:45:43):
But a man who has diener stuff he takes about
looks like at the cargo packages barrels didn'ts coppered you
what not. He doesn't see it working. He isn't real
to him, but he sees the gold.

Speaker 18 (04:46:00):
Three.

Speaker 1 (04:46:02):
Of course, nothing would induce me. I suffer from an
internal disease. I would go crazy with anxiety, or take
a drink.

Speaker 15 (04:46:10):
Or somebody not.

Speaker 18 (04:46:11):
The risk is too great.

Speaker 15 (04:46:13):
It would be ruey April.

Speaker 8 (04:46:14):
But death will.

Speaker 18 (04:46:16):
But it is not into me.

Speaker 15 (04:46:17):
I am not one of those, No, of course not.
And I'm going to clear your fellows off this coast
at once, all of you. I begin with you. You
must leave in half an hour or leaving this fun.

Speaker 32 (04:46:28):
Yes, you have to go in this fog, but but
I don't know when I am.

Speaker 18 (04:46:31):
I telling you that three days I drifted lost in
the fog.

Speaker 75 (04:46:35):
Ah, she do know how to get out, don't you. Well,
I'm giving you your course. You're still south by east
half east for about four miles. Then you'll be clear
to hold to the westward fear port the weather, or
clear up before.

Speaker 32 (04:46:50):
But please better like this, I tell you I haven't
the nerved to do it.

Speaker 15 (04:46:54):
I'm ordering you to do it unless you want.

Speaker 28 (04:46:57):
No.

Speaker 32 (04:46:57):
No, no, I tell you why I have I did
enough walk food leave.

Speaker 15 (04:47:02):
Within the next half hour, you steam and I've given.

Speaker 2 (04:47:05):
You your call.

Speaker 1 (04:47:06):
What the police?

Speaker 29 (04:47:06):
I do not know, man, I am.

Speaker 12 (04:47:08):
I've given you your.

Speaker 18 (04:47:10):
Course, very email, I have no choice.

Speaker 75 (04:47:23):
I returned to my ship, leaving the master standing there
as if he were rooted to the deck. Within the
next ten minutes, I heard the anchor being weighed, then
shadowy in the fog, she steamed a.

Speaker 15 (04:47:34):
Way out of the fiord on to her given course. Well,
my dear, that's the end of the tail.

Speaker 2 (04:47:52):
In fact, you let him go now listen.

Speaker 75 (04:47:56):
That course would lead the ship straight onto the rocks
beyond the mouth of the field. He steamed out, He
ran into them and went down. So he had spoken
the truth. He did not know where he was, but surely.

Speaker 99 (04:48:14):
I proved nothing. Nothing Either way, it may have been
the only truth in all his story. Yes, it seems
to have.

Speaker 75 (04:48:25):
Been driven out by a menacing stare nothing more and
you knew.

Speaker 15 (04:48:32):
H Yes, I gave a costume. It seemed to me
the supreme test.

Speaker 18 (04:48:37):
I believe.

Speaker 15 (04:48:39):
No, No, I don't believe. I I don't know. At
the time I was sin they all went down. I
don't know whether I've done stern retribution.

Speaker 2 (04:48:54):
Or murder.

Speaker 6 (04:48:55):
I don't know.

Speaker 2 (04:48:58):
I shall never know. Oh my poor fai.

Speaker 98 (04:49:05):
No, this is Don Dowd again, your host for Mystery Time.
Tonight's mystery classic featured Ralph.

Speaker 18 (04:49:25):
Richardson in the tale.

Speaker 98 (04:49:27):
It was produced transcribed in association with Harry Allen Towers.
For Mystery Time. Next Thursday, and every Thursday night you'll
hear another mystery classic. This is Don Doud, your host

(04:49:50):
for Mystery Time. That's Mystery Time was produced by Clark Andrews.
This program came to you from New York.

Speaker 95 (04:50:12):
Range Sheriff Patrick O'Brien looked up from his Detective Story
magazine as the door of the office swung open and
the tiny form of John Friday entered allow Patrick. Listen,
your little squirt, I was reading a detective magazine.

Speaker 3 (04:50:29):
You broke up my train of thought.

Speaker 95 (04:50:31):
The sheriff motioned John Pridy to a seat. The little
man leaned back comfortably and smiled at the portly officer
of the law. I just came by to tell you
that the Revelley gang isn't down. I advise you to
be on the lookout for trouble, especially since one of
the gang was killed here last month.

Speaker 25 (04:50:47):
Look, when I want your advice, I last for it.

Speaker 95 (04:50:50):
What if Tony Ravelli did get killed in the Bridle
pasture just outside of town, they won't cause any trouble.

Speaker 3 (04:50:55):
Well, just the same, Patrick, I'm going to be on
the lookout for them.

Speaker 95 (04:50:58):
At the same moment the Sheriff we're conversing in Patrick's office,
another in quite different meeting was going on in a
certain hotel room in another part of town. Nails Doug
lessened three of his gangs set around the littered table
in the smoke filled room, planning their next move. They
must avenged the death of their leader, Tony Rebelli. Nails
ground out his cigarette and the ashtray. Look, something's gotta
be done about this killing.

Speaker 22 (04:51:19):
At Tony.

Speaker 95 (04:51:20):
We can't afford to let our guys get bumped off
and not do anything about it. One of the other
gangsters spoke up. Yeah, pretty soon.

Speaker 92 (04:51:26):
We'll be getting a bad name the other man to
be knocking user. Well, then, what are we waiting for?
Any you guys think you'd recognize the killer? Sure, Nails,
I know where to find him too, down at the
park riding Academy. Okay, so let's go get him. Hey,
wait a minute, I got an idea. Let's put him
on the same spot Tony was put on.

Speaker 22 (04:51:44):
Eh.

Speaker 95 (04:51:45):
The four men piled into a car and drove to
the stable of the academy. Old pops Lee recognized the
men as they piled out of the car, and Nails
grabbed the old man by the collar and hustled him
back into the stable. All right, lead him out, or
you'll get some of the same an automatic wishe against
the owner's ribs. Still protesting, the old man led the
way back through the line of stalls. A few minutes later,

(04:52:06):
the four gangsters had led their victim into the park,
and now they stood near a giant tree that shaded
part of the bridle path. One of the gangsters pointed
to a spot of turf beneath the trees. Hey, that's
the spot where Tony was killed.

Speaker 92 (04:52:18):
How look, this will show people that nobody can get
away with killing any of arms.

Speaker 95 (04:52:22):
The victim, evidently resigned to his fate, stood silently by
as the four men threw their guns. A second later,
the death of Tony Revelli would be avenged. The gangsters
were about to blast out the life of their prisoner
when the shrill sound of a police whistle froze them
in their tracks. They were even more startled to see

(04:52:42):
a little man step out from behind a clump of
chobry with a grown gun.

Speaker 100 (04:52:47):
Oh no, you don't, gentlemen. Ah Na, nah, you better
drop your guns and put your hands up. Look, just
because an excited horse, poor horse, threw one of your
gang and killed him, that's no excuse for shooting the animal. Gentlemen,
you're looking down the gun bowl of a deputy of
the SPCA.

Speaker 95 (04:53:06):
Yes, for the first time in history, or at least
to our knowledge, gang Land had soft revenge on a poor,
dumb animal. Hooray from mister John Friday. This is Pat
mcgehn and Hollywood, California's saying goodbye to my writer Charles Prouder,
and inviting you to listen again to another tale of
say thanks for listening.

Speaker 7 (04:53:32):
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 where you can listen to

(04:53:53):
free audiobooks I've narrated, get the email newsletter, visit the
store for creepy and cool Weird Darkness merchandise. Plus, it's
where you can find the Hope in the Darkness page.
If you are someone you know is struggling with depression, addiction,
or thoughts of harming yourself or others, you can find
all of that and more at Weird Darkness dot com.
I'm Darren Marler. Thanks for joining me for tonight's retro Radio,

(04:54:16):
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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}My WIFE DIED – Then She Became a ZOMBIE in Haiti: Truth is Stranger Than Fiction | Unsolved Mysteries