NEVER MURDER A MUMMY: A Mummy Is Delivered To The Desk of a Private Eye!

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Lets, 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.

Speaker 5 (00:31):
Seal 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.

Speaker 1 (00:52):
Here I have the.

Speaker 7 (00:52):
Privilege of bringing you some of the best dark, creepy,
and macabre old time radio shows ever created. If you're
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(01:14):
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
me into tonight's retro Radio Old Time Radio in the Dark.

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

Speaker 9 (01:49):
Come in. Welcome.

Speaker 7 (01:54):
I'm E. G.

Speaker 9 (01:54):
Marshall.

Speaker 8 (01:56):
It was William Congreve, the early eighteenth century playwright first
pen the words, Heaven has no rage, nor hell a.

Speaker 10 (02:04):
Fury like a woman scorn.

Speaker 8 (02:08):
It is a basic truth whatever century, certainly is true
in the nineteenth where this story lies. But the woman
in this case not exactly what you might imagine. But
I'm getting ahead of myself. Let's begin at the beginning.

Speaker 9 (02:23):
Just where was she hanging?

Speaker 11 (02:25):
Could you point it out from that big beam there?
See how she could have done it?

Speaker 9 (02:34):
Plain and simple, miss Pryor you toss hilariot over the beam,
tie it off on the hitching rail so it hangs
with the new sun eight feet off the ground. You
climb on a horse, get under it, slip the noose
around your neck and kick the spurs home, and you're
left hanging.

Speaker 12 (02:51):
To strangle slowly to death like that. It's horrible.

Speaker 9 (03:05):
Or mystery drama.

Speaker 8 (03:06):
To Hang by the Neck was written especially for the
Mystery theater by Ian Martin and stars Marion Seldie's. It
is sponsored in part by Buick Motor Division and Certaintyed
Fiberglass Attic Insulation. I'll be back shortly with Act one.

(03:34):
The Calvert Conway Spread brand Mark C Circle Sea used
to lie between Dallas to the north and Houston to
the south. And east by west between the Louisiana border
and Waco. It wasn't the largest cattle ranch in Texas,
but in its own right, between those two extremes, it.

Speaker 13 (03:55):
Was an empire.

Speaker 8 (03:57):
The ownership of empires, or the succession to them, has
caused most of the turbulence in history and has always
brought tragedy and agony to the individuals.

Speaker 9 (04:08):
Involved in them.

Speaker 8 (04:10):
Has witnessed the story of C Circle C.

Speaker 12 (04:15):
Carrie, What are you doing here?

Speaker 14 (04:18):
I came back mother.

Speaker 12 (04:22):
I thought you needed me. Of course I need you,
But what good is this?

Speaker 15 (04:28):
Your gone?

Speaker 12 (04:29):
I've had enough of dreams.

Speaker 11 (04:31):
Maybe this is a little more than dreaming. What remember
Becky Pryor, who was going to be my maid of honor?
Of course I had a letter from her recently. She's
coming to visit from New Orleans. But you don't want
to see her. That isn't that isn't true, preciousness. Your

(04:56):
father felt that perhaps the way I am it wouldn't
be the best idea. He's very solicitous of you, isn't he.
Of course he loves me and me he loved you.
Oh that's true enough. Rebecca Pryor my best friend. I

(05:23):
want to protect Becky. That's one of the main reasons
I returned, and you must help her too. My please
protect my friend, Protect my friend, my friend.

Speaker 9 (05:50):
Pardon me, ma'amma, but you've just got to be who
I'm looking for, Miss Rebecca.

Speaker 11 (05:54):
Pryor, I answer to that name's huh what is yours?

Speaker 9 (05:58):
I'm t Whitman Ranch hand of the Sea circle.

Speaker 4 (06:00):
See.

Speaker 9 (06:01):
I was sent to meet you.

Speaker 12 (06:02):
Oh how nice.

Speaker 11 (06:03):
I was afraid I might have beaten my telegram here.

Speaker 13 (06:05):
No, it come on time.

Speaker 9 (06:07):
The only thing was I reckon missus Carstairs didn't have
enough time to answer you back.

Speaker 11 (06:12):
Well, I'm glad because being an anniversary and all, I
wanted to come anniversary, Yes, sir, Just about one year
ago I came off this same old train to be
made of honor my friend Carrie's wedding, only to find
out the terrible news.

Speaker 9 (06:29):
What news is that man both.

Speaker 16 (06:32):
Faversham, her husband to be, had run out on her
and carry it.

Speaker 9 (06:37):
You have no need to go on, Miss Prior. I
know what you're talking about.

Speaker 17 (06:41):
The hanging.

Speaker 16 (06:43):
I still can't believe anyone, especially carried, could kill herself
that way.

Speaker 11 (06:49):
But I don't want to talk about it anymore.

Speaker 9 (06:52):
I can understand why I got the rake waiting to
let me get your bags and take you out to
the ranch. Oh, it's me, Julie. Chad. May I come
in your home? It's your bedroom, Julie. I wouldn't have disturbed,

(07:17):
except well, I thought I heard you talking to someone
in here.

Speaker 12 (07:22):
Well, who could I could be talking to?

Speaker 9 (07:23):
I don't know. She'll love me, perhaps I love Maybe
Becky prior to arrived earlier and we expected her.

Speaker 12 (07:30):
No, Rebecca isn't here yet.

Speaker 9 (07:32):
I was out riding the fence and just came in.
She might have arrived without my knowing it.

Speaker 15 (07:37):
There's very little.

Speaker 12 (07:37):
You don't know what happens, Chad.

Speaker 9 (07:39):
Well, I'm human and bever where it once so.

Speaker 11 (07:43):
Am I, and I find that I'm not any place anymore.

Speaker 9 (07:47):
Julie, don't talk like that.

Speaker 12 (07:50):
I try not to, Chad.

Speaker 11 (07:52):
But since the accident, and most of all Carrie, what
do I have left to live for me?

Speaker 12 (08:02):
Yes, Chad, my husband, I do have you to live.

Speaker 9 (08:07):
For Sometimes I wish you felt that more strongly.

Speaker 11 (08:12):
You must believe me.

Speaker 12 (08:14):
You are the only thing that keeps me alive.

Speaker 9 (08:17):
Chat my dad.

Speaker 12 (08:20):
Listen, someone's driving up. That must be Rebecca.

Speaker 9 (08:24):
She planning to stay long.

Speaker 12 (08:26):
Well, I shouldn't guess.

Speaker 11 (08:27):
She just said in her letter she'd like to come
and visit Carry's grave on the anniversary.

Speaker 9 (08:33):
Why didn't you mention the letter.

Speaker 11 (08:35):
It's just one of those things, I replied, invited her.

Speaker 12 (08:41):
Do you mind chat?

Speaker 17 (08:42):
Oh?

Speaker 9 (08:42):
Why should I mind? You need some companionship? Stuck out
here in the back of beyond the way we are?

Speaker 11 (08:48):
I reckon maybe I do, Chad, especially since since my accident.

Speaker 9 (08:54):
All that damn Mayor. I toold punch Williams. Her milk
wasn't proper drawn after she lost the old You want
some local I should have fired punch. What kind of
ranch foreman was he to let that happen?

Speaker 12 (09:06):
You cannot blame him.

Speaker 11 (09:08):
I should have been ready when the mayor shined.

Speaker 12 (09:10):
It's just that she was always so sure foot and gentle.

Speaker 9 (09:13):
I never want to don't dwell on, Julie?

Speaker 12 (09:16):
Well, what else can I do?

Speaker 11 (09:19):
My back broken shackle to a chair, the way I
am in pain most of the time.

Speaker 9 (09:26):
Well, as you say you're visher, all right, I'll I'll
go on out. Meeker Wilcom.

Speaker 11 (09:37):
I never should have let Rebecca come here, except somehow
I must.

Speaker 12 (09:41):
Find a way back to my own.

Speaker 11 (09:43):
Child, Oh, my lovely darling, the flesh cut and scarred,
the steering eyes, your feet moving a little yit because
if they had life of their own, but all the
rest of you.

Speaker 12 (10:02):
Was still Why why life could still have been good?

Speaker 18 (10:13):
Nothing should have made it worth throwing away?

Speaker 12 (10:26):
Well?

Speaker 9 (10:26):
Here we are, mees Prior. Can I hand you down?

Speaker 19 (10:29):
Oh?

Speaker 12 (10:29):
Thank you?

Speaker 11 (10:32):
Have you been with Conway Ranch a long time?

Speaker 9 (10:34):
Oh no, ma'am, just since I was mustered out a
few weeks. I'm a Johnny Come lately were you with
Johnny Rapp? I'm not from these parts. I was Union.
I'll get your bag.

Speaker 11 (10:47):
But what brought you to Conway Ranch?

Speaker 12 (10:49):
Oh?

Speaker 11 (10:49):
Maybe I should say the cost has.

Speaker 9 (10:51):
It's still the Sea Circle. See, even though missus Conway
married again with mister Carstairs, most of the old hands
still call it the Conway Spread near Becky. How nice
to see.

Speaker 11 (11:02):
You again, ain't you? I hope it was all right
to come.

Speaker 9 (11:06):
Well, of course you're the nearest thing to a daughter
we got left. You're always welcome here. That's nice. You
can put the horse and rig away, then report to
Punch Williams. I'm sure he can find you something to do.

Speaker 11 (11:17):
I reckon aks for your escort, mister Whitman.

Speaker 9 (11:21):
My dudey ma'am, and my pleasure.

Speaker 11 (11:23):
That's a nice young.

Speaker 9 (11:24):
Manig no, no two close mouths about himself and everything
for my fancy.

Speaker 11 (11:31):
I think he just kind of shine.

Speaker 9 (11:33):
He's a good worker, I'll say that, and haven't been
so easy to come by.

Speaker 20 (11:37):
With a war.

Speaker 9 (11:39):
Well, I'll be opened the door for you.

Speaker 21 (11:42):
Well, in you go?

Speaker 9 (11:46):
What are you waiting for?

Speaker 11 (11:48):
I was just thinking how different it was the last
time I came into this.

Speaker 19 (11:55):
Please don't I'm sorry.

Speaker 9 (11:58):
And not to talk too much about her to my wife.

Speaker 11 (12:03):
She understand. Well, I just hope I didn't make a mistake.
But I'm really welcome.

Speaker 9 (12:10):
Why you know, I couldn't be more pleased. And the
only reason Julie isn't down to meat you is because
she well, she can't walk anymore. She's confined to her
bed or her chair.

Speaker 11 (12:25):
Oh what happened?

Speaker 9 (12:27):
It was seven or eight months after after Carrie died.
She wanted to go riding one day. I still didn't
like to see her off alone, so I went with her.
Sad excuse me, yes.

Speaker 22 (12:44):
Dear Heaven's sakes, taking so long?

Speaker 19 (12:47):
Isn't Becky here?

Speaker 12 (12:48):
I just brought her in, and you just mounted your.

Speaker 23 (12:51):
Right upstairs here.

Speaker 24 (12:53):
I want to stay alone and.

Speaker 9 (12:54):
Make her welcome.

Speaker 11 (13:00):
Why don't you run along, chad Us women can find
plenty to talk about ourselves.

Speaker 9 (13:05):
Well, I throw it out to see Becky settle for dinner.

Speaker 11 (13:08):
Well, missus James can see her. Things are put away
now right now, I'd like to talk to Becky.

Speaker 9 (13:12):
Alone, Julie, see your dinner, Becky.

Speaker 11 (13:16):
Right, mister Costa, quick, go to the door. Make sure
he's gone. He's gone, don't you see? He doesn't want
us to be alone a minute? And now, don't upset yourself?

Speaker 12 (13:27):
Upset myself? I'm torn apart?

Speaker 11 (13:31):
Is he gone? Yes? I think?

Speaker 25 (13:33):
So?

Speaker 19 (13:35):
What is it?

Speaker 11 (13:35):
Missus Costa? I have no right to put you into jeopardy,
but I need help. You'll let her?

Speaker 12 (13:42):
Was a godsend, the only chance I had.

Speaker 11 (13:46):
Coss says, what is it?

Speaker 12 (13:47):
Shall I ring?

Speaker 26 (13:48):
For?

Speaker 9 (13:48):
Hell?

Speaker 12 (13:48):
What shall I? It's just another back spasm? He'lls in
my drawer. It's the water.

Speaker 11 (14:00):
Oh heyah, how many of these pills too?

Speaker 27 (14:04):
And what?

Speaker 12 (14:05):
Yeah?

Speaker 11 (14:08):
Oh?

Speaker 12 (14:13):
I can't tell you, but I must. I need help.
And Garrick Garrey can't rest in peace?

Speaker 11 (14:21):
And too true true that it's wrong.

Speaker 12 (14:26):
You better come in in the costest.

Speaker 9 (14:28):
What's the matter, Becky. I thought I heard Julie cry.

Speaker 6 (14:31):
Out her back.

Speaker 11 (14:32):
I think I gave her some of these pills, two
of them.

Speaker 28 (14:35):
Is that all right?

Speaker 9 (14:35):
Yes, sor I didn't do when these attacks come.

Speaker 19 (14:39):
Look, she's yeah.

Speaker 9 (14:40):
It's a very strong drug. Puts the person asleep almost immediately.
Quite frankly, I don't like her to have them so
near at hand. I was afraid if the pain is
too much, you might take an overdose. She seems rational enough,
but she's not. Ever since carries there, her mind wanders

(15:03):
all the wireless flights of fancy, feelings of persecution. And
I don't know. I'd hope to spare you this, but
now that you're here, I'm afraid. My poor wife is stark,
staring mad.

Speaker 8 (15:28):
Rebecca Pryor looks at the handsome man, the lines of
sorrow etched deep in the gentle face.

Speaker 9 (15:35):
And her heart goes out to him.

Speaker 8 (15:37):
And then suddenly she is remembering the haunted face of
her dead friend's mother and her cry for help against
what Rebecca doesn't know. What she does know is that
she will not be able to relax till many questions
are answered, I shall return shortly with that too. You

(16:09):
are Rebecca Pryor in the year of our Lord eighteen
hundred and sixty five. The war between the States is
over now, but you remember vividly one year ago the
excitement of traveling from New Orleans to the ranch in Texas.
For you now are in order to be made of
honor at your best friend's marriage. You were roommates and

(16:31):
inseparable at Missus Covington's seminary for young ladies during the war,
and it was there that your roommate Carrie Conway, met
Beou Faversham, who was to have been her husband. Now,
one year later, after the wedding that never happened because
Bou disappeared and Carrie's awful death by hanging herself, you

(16:51):
are back at the ranch.

Speaker 19 (16:58):
Dear Daddy.

Speaker 16 (17:00):
I'm writing you because something is strangely wrong up here
at the Sea Circle Sea, and I think it might
need you to help set it straight. Do you think
there's any possibility you could come here as though to

(17:20):
fetch me home?

Speaker 11 (17:22):
And then while you're here, who is it sad Carstairs?

Speaker 2 (17:27):
Becky?

Speaker 9 (17:28):
Can I see you a minute?

Speaker 11 (17:29):
Of course, mister Costairs I'll be right there.

Speaker 9 (17:32):
If it's too early.

Speaker 11 (17:34):
I'm all up and dress as you can see.

Speaker 15 (17:37):
Come in.

Speaker 9 (17:38):
Thank you.

Speaker 11 (17:39):
How is Missus Costairs this morning?

Speaker 9 (17:41):
I'm not much better. I'm afraid I'm going into town
to fetch a doctor. I thought perhaps you might like
to ride with me.

Speaker 11 (17:48):
Oh, that's kind of you, But maybe I can help
here with your wife.

Speaker 9 (17:52):
I doubt it should be keeping to her bed today,
and the housekeeper, Missus Eames, will be there to keep
an eye on her. Let me persuade you to come
with me. Well you could have a nice meal at
the hotel and give you some little holiday feeling on
your visits.

Speaker 11 (18:08):
That's kind of you, But I am a bit tired
after my trip up. I think I could just rest
here at the ranch today.

Speaker 9 (18:16):
Well that's what you want, I'll tell you what. My
ranch foreman hasn't quite decided what to do with that
new hand who brought you from the station. I'll have
him stand by.

Speaker 19 (18:27):
Don't bother.

Speaker 16 (18:28):
I can take care of myself If you want to.

Speaker 9 (18:31):
Rest, that's fine, but tea will be available.

Speaker 11 (18:34):
Are you sure I can't help Missus cost.

Speaker 9 (18:36):
Oh no, no, best things to leave her alone. She's
a whole lot more than you or any one of
us can handle.

Speaker 16 (18:49):
From my window, I watched mister Costas climb into his
buck wagon and give some orders to Tea whitman, who
glanced once.

Speaker 19 (18:57):
Towards the house. I drew back as he looked up.

Speaker 16 (19:01):
I found suddenly that I was a turmoil of mixed feelings,
and the only thing I could think of to do
was to finish my letter to Daddy. But as I did,
I'd blame myself busilyf or not going into town with
mister Costairs. I could have posted the letter myself. Now,
who was I going to trust to get sent out?
Once I sealed the envelope, I felt the need of

(19:23):
some air.

Speaker 9 (19:25):
Well, how do you miss, pryor once you got there,
letter you want mailed?

Speaker 16 (19:29):
Yes, I reckon I should have finished it sooner, in
time for mister Costa has to take it to town.

Speaker 9 (19:34):
You won't have to lose out. I'll be writing in
after sundown. I'll see it goes out with the morning stage.

Speaker 16 (19:40):
Oh, I wouldn't want to bother.

Speaker 9 (19:41):
You or trust me.

Speaker 11 (19:44):
Well, whatever made you say a thing like that?

Speaker 9 (19:46):
I don't know, Maybe because I wish I was sure
you did or would.

Speaker 12 (19:51):
Now why on earth, shouldn't I.

Speaker 9 (19:54):
I kind of got the notion mister Carstairs has it
in for me someway and plans to let me go.

Speaker 19 (20:00):
Oh, oh, I don't think so.

Speaker 9 (20:02):
It's just just what miss prior I think.

Speaker 16 (20:08):
No, I'll take you straight out what he said to me.
He thinks you don't talk very much about yourself, and
he'd like to know more about your background.

Speaker 9 (20:17):
And he asked you to see what you could find out.

Speaker 16 (20:20):
Not exactly anyways, I wouldn't have any part of a
thing like that. It's not in my business. But maybe
you could do something for me a pleasure.

Speaker 9 (20:28):
As matter of fact, I was told by mister Carstairs
to keep an eye on you and not on me. Well,
he seemed to want to make sure you stayed away
from missus Carstairs in the stable here. Why the stable,
I wasn't here when it happened, but I suppose because
this is where missus carry well. You know, I should

(20:49):
think it'd be the last place you'd want to see again.

Speaker 11 (20:52):
But I was going to ask you if you could
settle me up a horse or hitch one up to
the trap so I could ride into town to mail
my letter.

Speaker 9 (21:00):
Oh, I don't know. About that. There's only one horse
left in here, and Punch Williams, a ranch boss took
all the hands in the remute out this morning to
graze up on the northwest Fork. There's just this swan
mare left.

Speaker 11 (21:14):
Well, it's just this one girl that suit me. Was
she take her rid?

Speaker 9 (21:18):
I know, ma'am, the way I heard it. This poor
little black mare got stole sometime back. And whoever the
horse thief was, he hitched her to a split rail
fence somewhere and left her to starve or die a thirst.
When she got so frantic she broke the string right
out of the posts. And when they found her lying
exhausted in the royo, she plane had dragged that heavy log.

(21:40):
Lord knows how many miles till her strength gave out.
Buck hent Read, the oldest of the hands, told me
about her ever since that day. You try to hit
her at anything, and she goes just plumb loco. Other
times she's as nice as little filly as you'd ever
want to see.

Speaker 11 (21:55):
Oh is she stand?

Speaker 16 (21:56):
If you just let the reins tray out, I reckon, Well,
then I'll just changing some jeans and you could saddle
her up and I'll ride into town.

Speaker 9 (22:03):
I don't think mister Carstairs would want that what I do?
But would you? Would you come inside the stable with
me for a moment?

Speaker 19 (22:13):
No, I don't want to go in there.

Speaker 9 (22:14):
Why did you see her hanging.

Speaker 11 (22:17):
To yes, I did, just before they cut her down?
How could she have done such.

Speaker 9 (22:27):
A fig I was hoping you might know the real reason.

Speaker 12 (22:32):
What do you mean, the real reason?

Speaker 9 (22:35):
It's mighty hard to believe a girl could hang herself
just because a man ran out on her. If he did,
oh he did? Or where is he now? This man
I don't know.

Speaker 11 (22:46):
I don't reckon he dares show his face anywhere in
this state, or mister Corstairs will be out looking for him.

Speaker 9 (22:51):
What are you doing opening the stable door before? Just
where was she hanging? Could you point it out.

Speaker 11 (22:59):
From that big beam? Sir lord, I didn't see how
she could have done it?

Speaker 9 (23:10):
Plain and simpleness, prayer. You toss the lariat over the beam,
tie off the hitching rails so it hangs with a
new sum eight feet off the ground. Climb on a horse,
get under it, put the noose over your neck and
kick the spurs home, and you're left hanging.

Speaker 12 (23:27):
To strangle slowly to desk like that. It's so horrible.

Speaker 9 (23:32):
No chances are in the first drop you break your
neck and you don't know anything after that. No, ma'am,
the how is not the question. It's the why, just
like you said, and I get the feeling you know
more than you want to say about that.

Speaker 12 (23:49):
Who who are you?

Speaker 9 (23:52):
Let me ask you a question first? What brought you
back here a year after it all took place? What
are you looking for?

Speaker 29 (23:59):
Right?

Speaker 9 (24:00):
Maybe?

Speaker 30 (24:00):
None?

Speaker 9 (24:01):
Afraid to answer, I don't see any of your business.
Supposing I could convince you it might be.

Speaker 12 (24:08):
What's up?

Speaker 9 (24:10):
Someone coming? It's mister Carstairs.

Speaker 12 (24:13):
Sat from town so soon.

Speaker 9 (24:15):
I reckon he forgot something anything wrong, mister Carstairs. No, no, no,
just something to slip my mind.

Speaker 21 (24:23):
Becky.

Speaker 9 (24:24):
Didn't you say something about a letter you wanted to
get in the mail?

Speaker 27 (24:28):
Well?

Speaker 11 (24:28):
Yes I did, but I hope you didn't come all
the way back here for that.

Speaker 13 (24:32):
Well.

Speaker 9 (24:32):
Weekend coming up suddenly cross my mind could be important.

Speaker 31 (24:36):
I should take it in.

Speaker 11 (24:38):
Could I change my mind and come in with you?

Speaker 9 (24:40):
Well, that's always a lady's privilege, tell you the truth.
It's just what I hoped you do. It crossed my
mind after I left this was no place to leave
you alone. You are gonna believe in this soon back here?

Speaker 11 (25:04):
Why do you say that, mister Castle letter to.

Speaker 9 (25:07):
Your father, I thought it might be the arrange to
have meet you. There's no place for a young girl anymore.
I'm afraid I hadn't planned.

Speaker 11 (25:15):
To leave right away.

Speaker 12 (25:16):
Of course, if you want me to, would.

Speaker 9 (25:18):
Be the last person to chase you out. But with
Julie as she is and memories, sure don't blame you
if you included in your letter the news that you're
coming home now is a trained day after tomorrow or
the stagecoach, and we can make arrangements as soon as

(25:38):
we get to town.

Speaker 12 (25:40):
But you see, I'd hope to stay long enough to be.

Speaker 11 (25:44):
Of some help.

Speaker 9 (25:45):
Well, no one can help carry anymore. Julie isn't the
same way. The only difference is she's alive.

Speaker 32 (25:58):
What are you doing sneaking round up here, young man?

Speaker 9 (26:01):
I wasn't sneaking missus Eames?

Speaker 6 (26:03):
Then what were you doing?

Speaker 9 (26:05):
Before he left for town, mister Carstairs asked me to
tell his wife that he'd come back to take miss
Pryor with him.

Speaker 12 (26:11):
Mister Carstairs told you no such thing.

Speaker 32 (26:14):
There'd been no need to tell Missus Carstairs anything.

Speaker 12 (26:17):
She's sound asleep.

Speaker 11 (26:20):
You're alive?

Speaker 9 (26:22):
Maybe we both are, Missus Eames, I here talking in there.

Speaker 32 (26:26):
That's her talking to herself again?

Speaker 1 (26:29):
Crazy?

Speaker 12 (26:31):
If you ask me, she ought to be put away.

Speaker 9 (26:32):
Somewhere like her daughter and bo Faversham.

Speaker 12 (26:36):
What does that mean?

Speaker 9 (26:37):
I was just asking? Did you mean dead? Like him?

Speaker 32 (26:41):
Who said bou Faversham was dead?

Speaker 9 (26:43):
If he isn't whorred he disappeared to.

Speaker 32 (26:46):
Nobody knows that of course after he ran out on
Miss Carrie, he wouldn't dare lead any traces of.

Speaker 19 (26:55):
What business is that?

Speaker 11 (26:56):
A yours? None?

Speaker 15 (26:59):
Who are you? You?

Speaker 9 (27:01):
Just tired Anne with a.

Speaker 19 (27:02):
Large bump of curiosity.

Speaker 12 (27:05):
I'd like to know.

Speaker 32 (27:06):
Why and what you're doing in the house. I'm sure
the cat mister Carstairs wouldn't like it.

Speaker 33 (27:14):
Does he have to?

Speaker 9 (27:15):
Missus Eames, couldn't you and me share a secret or
two between us?

Speaker 32 (27:20):
You keep your ideas to yourself, young man, you pick
the wrong woman to smart around. Now I'll get out
of this house and before the sun rises tomorrow I'll see.

Speaker 11 (27:31):
That mister Carstairs gets.

Speaker 12 (27:34):
You off this ranch.

Speaker 9 (27:36):
Oh, Missus Eames, feet first, like both Faversham went, Where.

Speaker 34 (27:40):
Do you see that.

Speaker 12 (27:42):
Who are you?

Speaker 9 (27:43):
Oh, just an interested bystander. You listen to me and
listen close. If you're counting on mister Carstairs inheriting the sea,
circle sea, or ever controlling it, forget it.

Speaker 17 (27:54):
Oh and you might.

Speaker 9 (27:55):
Want to keep your own skirts a little clean. So
I'm asking you a question. What really happened to night
Miss Carrie died in the stable? How did she die?
And why?

Speaker 19 (28:07):
Why?

Speaker 9 (28:07):
Everybody knows that they know what was supposed to have happened.
What I'm looking for is the truth?

Speaker 21 (28:15):
Good Lord?

Speaker 15 (28:16):
Who was that?

Speaker 11 (28:21):
Don't Carrie?

Speaker 12 (28:22):
No, don't tell me there was a child? You know
there was? Why else would I hope you? What is
it you want me to do? Face the truth?

Speaker 35 (28:37):
Don't let me have died for nothing.

Speaker 12 (28:40):
Don't let him where What.

Speaker 19 (28:43):
Could I do?

Speaker 27 (28:45):
I'm afraid he'll kill me just as he did.

Speaker 12 (28:47):
You know, don't care? Leave me alone. I'm afraid. They
don't ask me to fight him, do don't do it?

Speaker 11 (28:55):
Missus carcro Nothing nothing, It's just a dream, a dream
about what?

Speaker 26 (29:02):
Who?

Speaker 12 (29:03):
Who's that?

Speaker 36 (29:04):
Get about?

Speaker 25 (29:05):
I don't want to talk about I don't want to
talk about anything.

Speaker 9 (29:08):
I don't want to be left alone I'd like to
have you talk to him.

Speaker 11 (29:11):
I don't want to talk to anyone to ever give again.

Speaker 12 (29:16):
Maybe Rebecca Priar.

Speaker 8 (29:25):
What is it that tortures Missus Carstairs, the daughter who
seems to haunt her? You must believe that the Carrie
who talks to her is a figment of the imagination,
a reflection of a guilty conscience. But exactly why does
she have a guilty conscience if she has one? And
who is t Whitman or Missus Ames? And most of all,

(29:48):
why should a stranger like Rebecca.

Speaker 29 (29:50):
Pryor be the one who, in her.

Speaker 8 (29:52):
Agony Missus Carstairs seems to want to turn to for help.
I'll return shortly with a three. While events at the

(30:12):
C Circle C have been moving to their own climax,
they have also been moving more slowly to a decision
in Becky Pryor's life. First off, she has a strange
feeling about the letter to her father.

Speaker 9 (30:28):
This is a general store. We've made your letter right here. Yeah,
why don't you give it to me back? Then I'll
take it in.

Speaker 11 (30:34):
Well, I can do it myself.

Speaker 9 (30:35):
Ort no trouble, won't take him minute. Unless you don't
trust me to carry the mail.

Speaker 11 (30:42):
How would I feel that way? But as I gave
it to him and he swung from the butt board
and went into.

Speaker 12 (30:48):
The store, I wish I hadn't.

Speaker 11 (30:51):
Some nagging doubt hugged at me. For a moment, I
almost followed him in, but I was too late for
at the moment of decision, he was already returning.

Speaker 9 (31:00):
H that's that. Now we can go visit Doc Metford.

Speaker 11 (31:05):
Yeah, you really think he can help her?

Speaker 9 (31:11):
I don't know what that means.

Speaker 16 (31:13):
I'm afraid to say it means anything. It was honestly
just a question.

Speaker 9 (31:17):
Then I'm going to be just as honest in return.

Speaker 21 (31:20):
Becky.

Speaker 9 (31:22):
No, I don't think he can. I don't think anyone can.

Speaker 11 (31:27):
Then why do you go to him?

Speaker 9 (31:28):
What other choice do I have? I couldn't save my daughter.
I'd like to save my wife.

Speaker 11 (31:36):
Why did Carrie do it? Mister Costas hang herself? That's
really I suppose why I'm back here. I just can't understand.

Speaker 9 (31:46):
That she counted the world well lost for love.

Speaker 11 (31:50):
No, she was young, like I am. Some of the
men would have come along.

Speaker 19 (31:55):
I tell you true.

Speaker 12 (31:56):
I am never going to rest till I can understand why.

Speaker 9 (32:03):
You are very young, Becky. So many things you don't
know or even imagine. If it'll help you, I'll tell
you the one secret why Carrie killed herself. It wasn't
just because her promised husband walked out on her.

Speaker 11 (32:23):
Then why why.

Speaker 9 (32:24):
She she was carrying a child? It would have no name.

Speaker 12 (32:32):
Both abshments.

Speaker 9 (32:33):
If he wasn't the father, who else could she claim?
And how could she face bringing a fatherless child into
the world.

Speaker 16 (32:45):
I came back and her stuck on those into it
stirred up muddy waters.

Speaker 11 (32:49):
Couldn't leave well Enough alone?

Speaker 19 (32:52):
What is well enough? What is it I'm looking at?

Speaker 16 (32:57):
And if Carrie didn't put a rope around her neck,
how else did she die?

Speaker 19 (33:04):
And most of all, why am I so scared?

Speaker 25 (33:08):
Becky?

Speaker 9 (33:09):
I I don't know what you're wrote in a letter
to your dad, but I didn't mail it. What here?
It is unopened? I just felt there was no point
in mailing it. The way I feel now, I don't understand.

Speaker 21 (33:26):
Well.

Speaker 9 (33:26):
I figured, with you taking the train tomorrow morning, he
might even get there before the mail's delivery. You want
me to leave, well, it would be best for everyone.

Speaker 16 (33:42):
I didn't see missus Costais that evening. I went through
all the preparations for leaving, haunted by some inner voice
that I shouldn't that something was being left undone. I
didn't get a chance to talk to the doctor after
he'd seen Missus Costairs, and when Tim Whitman came to
get my back, he was escorted by that dour Missus Ames, so.

Speaker 11 (34:03):
We had little to say to each other. I might
have made some opportunity to try to see Missus Costairs,
but the truth is that after dinner with mister Carstairs,
the wine seemed to go to my head.

Speaker 16 (34:17):
And I barely made it up to bed before I
was in a profound sleep, deep but uneasy, because it
seemed to me that in my sleep I was talking
to Carry Becky Becky, Huh, who who's that?

Speaker 12 (34:40):
Who's calling? It's Carry?

Speaker 19 (34:43):
But you're.

Speaker 11 (34:45):
Dead in the grave, but not at rest. I wandered
and cry out for.

Speaker 19 (34:58):
For retributions, retribution.

Speaker 12 (35:01):
For what, for dying too soon and dying in shame.
Don't leave me alone.

Speaker 1 (35:13):
You're the only.

Speaker 11 (35:14):
Friend that But what can I do to help? Someone
will show you the way you have guessed it, some
of the truth. Someone will show you the rest. Someone
It's all going to be in your hands. You're hame

(35:36):
Reggy Risprian, Wake up, wake up, wakem.

Speaker 9 (35:42):
It's ready, state whitman. You gotta get up here, let
me dear feet. Uh that's it now start walking?

Speaker 11 (35:52):
Wow? What were you doing it in my room?

Speaker 9 (35:57):
I'm trying to revive you. You've been drugged, drugged with what?

Speaker 15 (36:02):
Keep walking?

Speaker 9 (36:03):
Breathe deep with missus Carstairs medicine for her back pains?
But why why should I drugged so you could be killed?
More easy?

Speaker 12 (36:14):
Crd wh.

Speaker 11 (36:18):
Why would anyone want to kill me?

Speaker 9 (36:21):
Same reason Carrie was killed? And my brother your brother, yes, ma'am,
both Faversham. You see, Faversham is my real family name.
I don't understand, of course, Becky, Becky. It all goes
back to what is the most unattractive of human sins,
greed she had. Carstairs was forman of this ranch, and

(36:43):
he wanted to own the Sea Circle Sea so bad
he'd stop at nothing.

Speaker 17 (36:47):
He tried to.

Speaker 9 (36:47):
Romance old man Conway's wife and wouldn't have gotten no work,
except well, fate gave him a lucky break. Mister Conway
died of a heart attack, so he swarmed around and
finally up and married the widow, only to get a
real shock.

Speaker 11 (37:05):
What sort of a shock?

Speaker 9 (37:06):
Well, he found out the spread wasn't left of the widow,
but to carry the door. He tried romance in her,
but she didn't want any part of him. She had
her own man. My brother bow, but she had carstairs
as a man set on getting his own way, So
he didn't stop at romancing. It wasn't my brother's child.

(37:28):
She was carrying it.

Speaker 11 (37:29):
Oh oh no, oh, So that's why both walked out
on her, and she why she bowed.

Speaker 9 (37:38):
Didn't walk out on her, Becky, he loved her too much.
I figured Chad had some hired guns take care of
my brother and leave him in the desert to have
his bones picked clean. Carrie didn't hang herself.

Speaker 17 (37:53):
She was hung.

Speaker 9 (37:56):
At the point of a gun. He had to rope
all tied to the spike on the hitching post and
made her climb on the horse, dropped the noose over
her neck and kicked the horse out from under. I
reckon poor lady. She didn't care all that much about
living anyway, but she didn't take her own life.

Speaker 29 (38:17):
It was took.

Speaker 37 (38:18):
How do you know all this?

Speaker 17 (38:21):
I don't.

Speaker 9 (38:22):
I'm only guessing how you feeling now.

Speaker 11 (38:28):
I don't think I ever want to sleep again?

Speaker 17 (38:30):
How good?

Speaker 11 (38:32):
Good?

Speaker 9 (38:33):
Yeah, because I got to get you out of here.
Well there's still time for you to get away.

Speaker 11 (38:38):
Well I'm leaving tomorrow morning.

Speaker 9 (38:40):
That may be too late, too late for what to
save your own life?

Speaker 11 (38:44):
Why should my life be in danger?

Speaker 9 (38:46):
Because this evening, while you were asleep drugged, Doc Medwick
and I witness this will by Missus Carstairs leaving the
sea circle c to you, and she'd asked you to
take home with you to your father to be recorded.

Speaker 12 (39:03):
But why will the rich to me.

Speaker 9 (39:05):
To anyone rather than the man who murdered to make
it his own? And you were her daughter's best friend.

Speaker 16 (39:11):
But what difference does it make? A will could be
changed at anytime as long as.

Speaker 9 (39:16):
As long as the person who makes it is still alive. Becky,
Missus Carstair has died less than an hour after this
will was made.

Speaker 19 (39:26):
She's dead a.

Speaker 9 (39:28):
Few more pills than you were fed. Missus Eames took
care of that.

Speaker 19 (39:33):
She's in on it.

Speaker 9 (39:35):
She's Chad's real wife. What it's true?

Speaker 29 (39:39):
Now, you come on with me.

Speaker 9 (39:41):
We're going down to the stable and get you some
transport to get you out of here with a whole skin.
All right, I've saddled and brighted eye, poor old local
little mare on the horse. We have to get you
into towns he can pick up at midnight.

Speaker 29 (40:01):
Straight?

Speaker 11 (40:02):
Don't you going with me?

Speaker 9 (40:03):
No, ma'am, I'm staying, even up some old scores.

Speaker 19 (40:07):
You don't need to kill Chad Costas.

Speaker 9 (40:09):
That's exactly what I am to do.

Speaker 19 (40:12):
Please enough killing? What good would it do?

Speaker 9 (40:15):
It would save your life or one thing?

Speaker 16 (40:18):
Is that so important to you? Or is it just
revenge for what you think might have happened.

Speaker 9 (40:22):
I guess that's a question i'd better let you answer.
Maybe I can answer that for the bull Eve. No,
don't bull tigue except real slow loosing your gun belt
and let it drop while I like this lamp. Do it,
or I'll put a bullet in her. You can't get
away with any more murders, Chad. My territory here where

(40:44):
I live, I can get away with anything. I'll let
me have the will.

Speaker 12 (40:47):
No get to antigue.

Speaker 11 (40:49):
What does it matter?

Speaker 9 (40:50):
Once we do, we're both dead. If I kill your
bulls first, I can just take it, except that killing
us both might not be as easy to explain as
all the other Carrie, my brother, your wife, I'll find away.
I'm not so sure you're losing your touch, you know, Chad,
you finally had to poison missus carstairs because you missed

(41:14):
the first time. What does that mean? Oh, don't try
to spook me, Chad. He took her out on this
poor little mayor here. You knew it was loco, didn't you. Well,
that's what enough talking about. And then you stopped somewhere
before she had a chance to dismount. You jerked at
the reins against the bit in her mouth, as if.

Speaker 38 (41:32):
To tire an.

Speaker 29 (41:40):
Oh you all right, I am, and I missed a
poor little mayor.

Speaker 9 (41:47):
She didn't mean it, but she saved our lives. She
trampled himTo death. Well, it's sort of poetic justice what
he spent his life doing. And the women only at
the end, this particular one turned the tables in one

(42:11):
quick move.

Speaker 8 (42:12):
Tige Faversham had flipped the halter rope over the hitching rail,
and immediately the mayor had reacted by going berserk. Chad,
caught off balance, was unable to protect himself against her
flailing Who's the special death he had planned long ago
for his wife unsuccessfully was successful by accident and became

(42:35):
his own true poetic justice, that ideal justice which poets
exercise by making the good happy and the evil unsuccessful.
Our return shortly The C Circle C has changed its brand,

(43:04):
but the ranch is more successful than ever. It's now
the T bar R, framed in a sort of circle
that looks a lot more like a heart, and it's
run by Tige and Becky Faversham. Their first child is
on the way, but both of them feel, in a
sense it is their second. The first is a little

(43:25):
black mare that Tige has spent a long time gentling,
and who no longer fears being hitched. Maybe she takes
an example from Tigue and is a bride Becky. Our
cast included Marion Soeldy's Bob Caliban and Potoniac, Martha Greenhouse
and Bill Griffiths. The entire production was under the direction

(43:45):
of Hyman Brown Radio. Mystery Theater was sponsored in part
by Contact the twelve Hour Cold Capsule Missus E. G.
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant.

Speaker 4 (44:04):
Dreams Now the Molley Mystery There presented by M. A. L. L. E.

(44:29):
The Heavy Your brushless shaving cream for top whiskers or
a tender skin?

Speaker 30 (44:52):
What do you mean?

Speaker 39 (44:53):
This is Jeffrey Bards welcoming you to the Molay Mystery.

Speaker 4 (44:57):
There the program that presents the best mystery and detective fiction.

Speaker 39 (45:03):
Tonight's mystery, entitled Where's a Mask was owned by Robert
Mitchell and Dean Levitt and stars Bill Quinn. It's the
story of Joseph Talbot, who escapes from prison and tries
to claim the woman he loves.

Speaker 9 (45:17):
To do so, he.

Speaker 4 (45:18):
Finds himself false to assume two aliases.

Speaker 39 (45:21):
One is a common enough name, John Mason, but the
other is hunting dumpty, and his short career follows that
as the mother Goose character rather closely as he finds
that Where's a Mask?

Speaker 4 (45:35):
For Simus to bones? You sure have me curious about
this Humpty Dumpty character. I can hardly wait. But first,
there's one thing I just can't help saying. It's this
man is shaving top whiskers or a tender skin?

Speaker 2 (45:47):
Has you hollering for help?

Speaker 4 (45:49):
Then call for Molay, the heavier, brustly shaving cream. Yes, sir,
it's small, soulful, it's so slick. It's a small smooth
flexla like shade you get.

Speaker 19 (46:02):
With Ali.

Speaker 4 (46:06):
Molay, the heavy your brustly shaving cream for tough whiskers
or a tender skin. Try it, mollay, if was a
nice molet. Mystery, were's a mask? When I saw that mask,

(46:33):
that black mask, That's when my insides turned ice well.
I clamped the bridge equipp and my courage up to
then held on to my poison, my feelings until I
unfolded that black mask, and I got scared, really scared.
That's when the whole offul business boiled through my mind

(46:53):
like a churning talent, the current of grinning, gaudy faces
that lapped and shrieked at me nothing garish, distorted faces
that bobbed and waggled as the fantastic teaching figures reached
out crying from the evil Duke of Gloss, Captain Kidds
kret Hot, George Washington, Napoleon Lucid, the Black Prince, all

(47:14):
of them and more comporting in a mad circle around them,
jiggling and talking and dressing. And there was Jon of Rot,
Jon of Rot, more beautiful than I remember, a mass

(47:34):
gone staring up the sky as the silent ripples dancing
over her face slowly got the instant was left. My
mind plunged back through these memories to the point where
it all started, back to the night I walked in
the shadows of a flag stone path and stopped a

(47:56):
moment to look the name on the door before I
pressed the bell.

Speaker 9 (48:03):
Joseph.

Speaker 4 (48:05):
Joseph surprised, brother, John, come inside quick?

Speaker 40 (48:08):
Is that why?

Speaker 4 (48:10):
Perhaps your cook or your wife alone? Coming before someone
sees you. Well, well, look as if you've done pretty
well for yourself in the last four years. New city,
new business, even a new name, Mason now.

Speaker 2 (48:28):
Talbot was little comments day, John.

Speaker 20 (48:31):
Never mind all of that?

Speaker 4 (48:32):
How did you get out?

Speaker 5 (48:33):
What do you mean coming here?

Speaker 4 (48:34):
Take it easy, John?

Speaker 2 (48:35):
One thing at a time.

Speaker 1 (48:37):
I broke out. I shot a guard, Joseph.

Speaker 2 (48:40):
He may have died.

Speaker 4 (48:41):
I don't know. Had tough time last night, at tough
time today. Getting down here and finding you wasn't easily.
Do the police now they think I went to east.
I'm okay for a while and I'll see it, Joseph.
I can't afford lives, John. Where else would I come
for help except to my big brother. Well, of course
I want to help you, but you must realize I

(49:01):
I pay a drink or help yourself. In four instance,
I take it whiskey. You have to be you know
what it's like to really relax. Wow, a little music
on the radio.

Speaker 1 (49:17):
Joseph.

Speaker 4 (49:18):
You've got to get out of here. Some friends of
mine will arrive in a few minutes. I'm expected to
go out with them to be and you will masquerade ball.

Speaker 41 (49:25):
That's all that's so bad.

Speaker 4 (49:28):
I'd hope a chance to talk to.

Speaker 1 (49:29):
You right way.

Speaker 2 (49:33):
Wait, Claire, she's.

Speaker 20 (49:34):
Gone ahead to the ball.

Speaker 5 (49:35):
She was on the committee.

Speaker 4 (49:36):
Oh well, spend time the traveling man. I'll need cash
and some clothes. It might be a long trip, so
make it heavy on the cat. Now, wait on the lawn.
Get the money, John, bring it off, and I'll bring
what there is in the safe upstairs.

Speaker 9 (49:53):
Right.

Speaker 40 (49:53):
Curse will be a little large for you.

Speaker 4 (49:55):
You'd better take sports stuff. Wait here a minute, Joseph,
I won't be along.

Speaker 2 (49:59):
You better not be.

Speaker 15 (50:02):
Well.

Speaker 2 (50:03):
So far, so good.

Speaker 4 (50:06):
The whiskey was warm and side, and the music was
row and sweet. I brought my head back into the soft,
smooth cushion of the chair and closed my eyes. The
gentle music flowed from the radio and smooth. Almost subconsciously,
I became aware of the clicking that had intruded into

(50:28):
the melody. Absolutely, I remembered it was like like a
telephone being diald the extension stairs. I sprang out of
the chair and dashed across the roads. The downstairs telephone
sat on a small table in the hall.

Speaker 9 (50:45):
This is I just not the police on all that.

Speaker 17 (50:47):
Joseph tals the time right now, and he will break.

Speaker 25 (50:51):
Your test district that glows that dirty gloves.

Speaker 4 (51:09):
Jose If you just stop at me, you're jumping John,
I think you'll blame me with you in the house.

Speaker 1 (51:13):
I just twelve hundreds.

Speaker 2 (51:14):
That's all there is, okay.

Speaker 4 (51:16):
I got restless downstairs.

Speaker 2 (51:17):
You were taking so long.

Speaker 4 (51:18):
I had trouble with the combination.

Speaker 2 (51:20):
Uh huh.

Speaker 4 (51:21):
For the clothes, Hey, the devil is this stuff. It's
egg business and these strike pants.

Speaker 2 (51:28):
And that's my costume for the night. The fits over
your head.

Speaker 4 (51:30):
I told you it's a costume. Ball that's great.

Speaker 2 (51:32):
Oh it's a little.

Speaker 4 (51:35):
Flashy for me.

Speaker 15 (51:36):
Here.

Speaker 4 (51:36):
I'll take that soup, some shirts, a couple of ties,
some socks, all right, put them in this bag. Take
anything you want on me.

Speaker 42 (51:43):
Hurry up and get out.

Speaker 1 (51:44):
Of here.

Speaker 4 (51:44):
Yes, yes, I know they'll be here any minute. Quit worrying.

Speaker 2 (51:48):
You have more.

Speaker 4 (51:49):
Importance to do. You mean, John, did you ever stop
to figure how long four years are? A man can
figure a lot of angles in four years. I've been
thinking all that.

Speaker 2 (52:01):
Time how helpful you've been.

Speaker 9 (52:04):
John.

Speaker 4 (52:04):
Well, I've always tried to do what I could, and
you've done so much.

Speaker 5 (52:08):
John.

Speaker 4 (52:09):
Like when Claire was my wife and we were flat broke,
you took us in to live at your house. Remember,
but well, I you found me a job, that book
keeping job, remember, to help me learn it, taught me
the tricks. We had a nice little Pennyanti deal going,
and all of a sudden I got arrested and tried
for grand lots and you remember that. I'm not look Joseph,
but I got the X ten years, they said. But

(52:31):
even then you help me. You promised to look after Claire,
for me, to take care of her, and you did.

Speaker 20 (52:37):
You married her.

Speaker 4 (52:38):
And now now wait a minute, Joseph, Claire and I
we well, I fell in love with her and you
were gone.

Speaker 5 (52:44):
It.

Speaker 4 (52:44):
It wasn't fair for how to wait.

Speaker 40 (52:45):
You can't expect.

Speaker 4 (52:46):
Maybe you're right, Maybe we're square, Joseph, you know I'll
do anything I can.

Speaker 9 (52:51):
All right, tell me anytime our friends of our money, Joseph.

Speaker 4 (52:53):
After I leave, you won't call the cops and you
tip the mark John, of course not.

Speaker 9 (52:58):
Joseph couldn't have a job my own.

Speaker 4 (53:00):
Wait a minute, that was a statement, not a question.

Speaker 11 (53:04):
But I do so, jut up.

Speaker 4 (53:17):
I didn't realize how much I hated John until I
found myself resenting the neatness of a little round hole
in his forest.

Speaker 2 (53:26):
And now I had to move fast.

Speaker 4 (53:28):
I snapped the same shut I'm friends, the rapid or.

Speaker 2 (53:36):
The door opened?

Speaker 12 (53:40):
Are you ready?

Speaker 9 (53:45):
Way higher up?

Speaker 4 (53:47):
Then I noticed the costume, Humpty dumpy the egg to
cover your whole head? Sure?

Speaker 21 (53:52):
Why not?

Speaker 4 (53:53):
With perfect pretend to be John.

Speaker 2 (53:56):
Our voices were like.

Speaker 4 (53:58):
Hi, you too, Sorry, I'm a little behind schedule, makes
yourself a drink already work Now at the end of
this radio I go to that dance and John's outfit
to see Claire. Now the night, maybe she'd come with me.
We could leave the country together. Costume with big and daggon.
I slipped them on over my clothes except for the
long point of shoes and my headpiece.

Speaker 2 (54:21):
The egg with a painted grinning face.

Speaker 4 (54:23):
I looked at myself in the mirror. It was funny,
really funny.

Speaker 20 (54:28):
All I had remember now I was to play the
part played John up.

Speaker 9 (54:31):
For a good time.

Speaker 4 (54:36):
Okay, I'm already jun your screen, Compy dumpy, don't look
at that head.

Speaker 12 (54:49):
I've never seen anything so funny, sir.

Speaker 43 (54:51):
I'm proud of you.

Speaker 4 (54:52):
John, tell you you look pretty good yourself? Clear pop
the line and cats and kid, No one's taking you
your old pirate running through the type.

Speaker 2 (55:00):
Okay again, if you gotta be natty, Hey, your.

Speaker 20 (55:03):
Voice, I have a different It sound like you have.

Speaker 39 (55:05):
A mouthful of mush with that thing over your nuggets.

Speaker 43 (55:09):
Squirrel time tonight. Come on, hey you Bill, you're cracking
junky dunchy?

Speaker 44 (55:26):
How you doing?

Speaker 5 (55:27):
Jump?

Speaker 4 (55:27):
All fine?

Speaker 20 (55:28):
Fine?

Speaker 4 (55:29):
Another bumper? You can serve me with hair.

Speaker 45 (55:33):
Okay, by the way, John, what's claire word?

Speaker 46 (55:37):
What?

Speaker 40 (55:39):
That's a secret?

Speaker 4 (55:40):
Talk? Here here playing according to rule.

Speaker 43 (55:42):
It's all right, it's fears all the fun is, you know?

Speaker 4 (55:46):
Hey, what's the summerhead?

Speaker 43 (55:50):
What looks like a barricade? Sometimes I have a ruder.

Speaker 39 (55:55):
Pluck mystery tans somewhere josel terribusit. It looks as though

(56:16):
Humpty Dumpty is for a fall, and we shall see in.

Speaker 25 (56:19):
This the moment.

Speaker 4 (56:19):
Let me bring you as two of tonight's Moley mysteries.

Speaker 39 (56:23):
Mean Taye Hears Dans Demur with a message for a
certain group of our man listeners.

Speaker 2 (56:27):
We say, man.

Speaker 4 (56:28):
For a long time now, we've been having a lot
of fun reminding you about Molay, even singing a little
song about it. Well, we hope you've had some fun
out of it too, especially learning about those smooth snake
Molay shades. And for those of you who just never
got around to trying it, all we say is, next time,
ask for Molay. You know many of us miss out

(56:49):
on a lot of good things by not trying them.
Cry Molay gray your brushy shaving creams. Notice what close,
comfortable shades you get, no matter how tough your whiskers are,
how tender your skin. Yes, there's plenty of men have
discovered because Molay is a heavier cream. It not only
topens your whiskers, it stands them up straight and lets

(57:10):
your razors shave them off faster, closer, easier and tamelessly.

Speaker 2 (57:15):
So how about it tomorrow, get a tube of.

Speaker 4 (57:18):
Molay, the heavier, brushly shaving cream for tough whiskers or
a tender skin. And Novice is Jeffrey Barnes returning you
to Act two of Deck wears an ass.

Speaker 2 (57:45):
Rod John's calling them. They were topping all shopping.

Speaker 4 (57:49):
I shrank back if you succeed as a cop stepped out.

Speaker 2 (57:52):
In the road.

Speaker 42 (57:55):
Ah, I hey, what's going on here?

Speaker 25 (57:59):
Welcome able Tim. We're playing with Jolly Rogers tonight.

Speaker 38 (58:02):
Iras this wrier.

Speaker 2 (58:05):
It's Bill Brady.

Speaker 42 (58:06):
Oh Brady was the.

Speaker 4 (58:09):
Place to escaped convict of the neighborhood. Kill the guard
at the prison last night, Armed the dangerous. We're taking
everybody that looks suspicious, and.

Speaker 43 (58:16):
That's love him. Captain Kim here is wanted for piracy.
I'm wanted by Mark Anthony. I guess I jumpy Mason
the back and say only everything aboard.

Speaker 33 (58:24):
He looks s bad to.

Speaker 4 (58:27):
It's sure some get up this comation.

Speaker 25 (58:30):
It's sure you're not a bad age.

Speaker 20 (58:33):
I'm pretty bad Tim.

Speaker 4 (58:34):
You might say that the yolk is on you for
letting him go.

Speaker 21 (58:39):
You okay, Paul, sn your way, have a good time.

Speaker 4 (58:56):
What was she worried she could be in them?

Speaker 20 (58:58):
Old mother hub At the time.

Speaker 4 (58:59):
Of layer they will out here. If I moved through
the car, I made quite a hip in John's costume.

Speaker 2 (59:08):
I had no idea what it stopped looking.

Speaker 4 (59:10):
Clay would recognize as Humpty dumpty rig Maybe she'd spot me.
Once a girl along walked up to me and I stopped. Hello, Oh,
you're like marvelous.

Speaker 3 (59:20):
My I'm sorry.

Speaker 4 (59:22):
Well now around, I'm the list, I'm madame.

Speaker 29 (59:25):
Can't you tell.

Speaker 4 (59:27):
These confounded masks? I moved toward the back of the room,
and then I noticed Johan of Rock standing along in
the corner.

Speaker 26 (59:33):
She was waiting.

Speaker 4 (59:35):
I looked around, but no one seemed.

Speaker 21 (59:36):
To be paying any attention.

Speaker 4 (59:37):
She waved again, so I walked toward it.

Speaker 31 (59:41):
Hello, darling, Hello there, you're wonderful.

Speaker 11 (59:44):
You're stop doing the best in the place.

Speaker 2 (59:46):
Really be so, yes, I told you we'll do it.

Speaker 47 (59:49):
I'll get down now and then take up.

Speaker 40 (59:51):
I'm down.

Speaker 4 (59:52):
Oh sure, sure, twenty times.

Speaker 14 (59:54):
Thought it might be late.

Speaker 48 (59:55):
Oh he had a awful mask here.

Speaker 4 (59:57):
I never be walthy than a dance can.

Speaker 34 (01:00:00):
Would you like to drink?

Speaker 42 (01:00:01):
John?

Speaker 4 (01:00:03):
What did you say?

Speaker 12 (01:00:05):
Doesn't matter?

Speaker 2 (01:00:06):
Oh, I'm I'm sorry.

Speaker 21 (01:00:08):
I I was thinking there's.

Speaker 9 (01:00:09):
Something wrong wrong, and I'll know this.

Speaker 2 (01:00:13):
Nothing wrong.

Speaker 12 (01:00:15):
Found you worried.

Speaker 15 (01:00:17):
Not like you sound.

Speaker 4 (01:00:20):
If you were talking to an onlook, you wouldn't have
found the same media.

Speaker 47 (01:00:24):
Can't we have a drink?

Speaker 2 (01:00:25):
I'd much rather dance with you, Claire.

Speaker 45 (01:00:27):
All right?

Speaker 4 (01:00:33):
When I took him in my arms, everything else stayed
the way, crowd, the color of annoyance, leaving just Claire
and the music. I've waited so long for this. I
wanted to.

Speaker 42 (01:00:46):
Forget everything else.

Speaker 24 (01:00:48):
I love anything.

Speaker 20 (01:00:50):
Does it stop there?

Speaker 25 (01:00:52):
It's not stop?

Speaker 4 (01:00:54):
We love.

Speaker 46 (01:00:57):
John Before I could get here, the kaky I'm almost
lost him a dozen times.

Speaker 15 (01:01:02):
I guess John of.

Speaker 5 (01:01:03):
Art have no use for pocket the keys of the crop.

Speaker 1 (01:01:06):
Oh okay, sor I've.

Speaker 43 (01:01:08):
Kept the mood over the handle of my point at all,
evening the level of your what this daggers?

Speaker 11 (01:01:13):
So we look at the INTANGI point I just found out.

Speaker 4 (01:01:16):
Oh that's all.

Speaker 43 (01:01:18):
By the way, where did your part way down at
the end of the seer lane?

Speaker 4 (01:01:21):
I got it, get out, that's fine, fine buying. I'll
keep the keys. But uh, we were talking of love, Claire, remember.

Speaker 49 (01:01:35):
Nice, Just where does.

Speaker 2 (01:01:37):
Your love stuff?

Speaker 20 (01:01:39):
It's not with things?

Speaker 5 (01:01:40):
Where how I really.

Speaker 20 (01:01:42):
Want to know?

Speaker 4 (01:01:43):
I mean it, Something's come up and I must know
for sure about your clatty.

Speaker 1 (01:01:46):
I love a joke.

Speaker 4 (01:01:49):
I've never been more curious in my life.

Speaker 15 (01:01:53):
Do you love me?

Speaker 42 (01:01:54):
And I don't know what consist?

Speaker 12 (01:01:57):
Here?

Speaker 37 (01:01:57):
You are?

Speaker 43 (01:01:57):
You love Lucy Ow?

Speaker 50 (01:02:00):
John Nathan, You're a perfect dumpty dumpty even to the justice.

Speaker 5 (01:02:04):
Everyone says, so, I'm clem I dere.

Speaker 11 (01:02:06):
You're such a fascinating down of our.

Speaker 27 (01:02:10):
Course at.

Speaker 51 (01:02:15):
Soorf eyes or so.

Speaker 43 (01:02:16):
It's a giveaway.

Speaker 52 (01:02:17):
Of course everyone recognized him.

Speaker 43 (01:02:21):
Oh well, John, people will probably suspect a scandal when
mother Good dances the Mumsey dumpty.

Speaker 47 (01:02:27):
But it is INDI dance, isn't it? Shall we reskue?

Speaker 4 (01:02:31):
Why you won't let your Austin care?

Speaker 27 (01:02:35):
He turned up over the chair.

Speaker 3 (01:02:37):
Can I'm John?

Speaker 4 (01:02:38):
Let me say Joe.

Speaker 47 (01:02:39):
The old ties of police, I.

Speaker 21 (01:02:41):
Think we can trust them.

Speaker 31 (01:02:45):
Now.

Speaker 34 (01:02:45):
This is the most wonderful body.

Speaker 43 (01:02:47):
The club's every hell, Oh for sure, I can hardly
wait for me.

Speaker 42 (01:02:52):
I'm nasty at midnight.

Speaker 35 (01:02:54):
It's going to be such fun, yes, the war.

Speaker 4 (01:03:00):
It's it's eleven thirty already.

Speaker 43 (01:03:02):
I run't any round belong now and they're they're listening
to it.

Speaker 25 (01:03:07):
I wonder what's wrong?

Speaker 27 (01:03:08):
Excuse me?

Speaker 4 (01:03:09):
Will you yes, Yes, of course.

Speaker 11 (01:03:12):
John, John, we were trouble and head God, she didn't
just got a call ve police.

Speaker 43 (01:03:19):
They didn't you, that's what you mean, but DoD, They've
got to talk.

Speaker 4 (01:03:31):
Claire took me outside and Donald pass had led to
the end of the garden with the lights in the ballroom,
dance street me on the cry of water of the
fish ponds.

Speaker 20 (01:03:40):
We were alone.

Speaker 4 (01:03:42):
Claire looked at me for a long moment, and then,
what are we going to do now?

Speaker 2 (01:03:46):
Claire?

Speaker 4 (01:03:46):
Before you say anything more, please please answer my question.

Speaker 2 (01:03:50):
Do you love John?

Speaker 25 (01:03:52):
John?

Speaker 21 (01:03:52):
How can you even ask you do?

Speaker 5 (01:03:54):
Say?

Speaker 21 (01:03:55):
Say it?

Speaker 5 (01:03:56):
Claire.

Speaker 21 (01:03:57):
I want to hear it. I love you and I
love you.

Speaker 40 (01:04:01):
I'm not always not you.

Speaker 4 (01:04:04):
Okay, okay, Claire, come on now, come on, get hold
of I'm.

Speaker 37 (01:04:10):
Okay to do.

Speaker 15 (01:04:11):
She's down. Don't come back.

Speaker 5 (01:04:13):
He done.

Speaker 4 (01:04:13):
Don't worry about him, Claire, You'll go away. I promise
you that he went to get his John.

Speaker 12 (01:04:18):
Why else he's come here at all?

Speaker 47 (01:04:20):
He knows he was blaming him.

Speaker 44 (01:04:21):
I realized that we.

Speaker 47 (01:04:22):
Did it to get rid of him, but we could
be together.

Speaker 4 (01:04:28):
I couldn't say that Claire was saying, but the meaning
of a word jammed in my brain. There's a terrible
pressure swelling up inside me.

Speaker 14 (01:04:36):
Maybe we should terrible plice.

Speaker 12 (01:04:37):
Use your brother. You'll be waiting for at home.

Speaker 27 (01:04:40):
No, no.

Speaker 21 (01:04:41):
Talking again.

Speaker 29 (01:04:42):
If I reached out, maybe.

Speaker 4 (01:04:46):
She stopped short when I ripped from her face. Her
eyes grew wide as I moved to and I'm not fellope.
I was afraid she might scream, so I.

Speaker 14 (01:04:53):
Can't run over him.

Speaker 53 (01:04:54):
Out God, then her head back, I told the little
bag as she walked with scabbard and drove its point
deep into her throat.

Speaker 2 (01:05:10):
I think her back.

Speaker 4 (01:05:13):
Needs to slow the down.

Speaker 29 (01:05:18):
Until I shout the cold water.

Speaker 2 (01:05:21):
With the climbed on my arms, I let her drop.

Speaker 4 (01:05:27):
She stared up at the sky, the ripples over her face.
Good God, from her blood. There's Jeffrey Barns again.

Speaker 30 (01:05:50):
In just a moment.

Speaker 4 (01:05:51):
We'll when you're at three of death wears a mask.

Speaker 25 (01:05:56):
All away from George Putnam.

Speaker 4 (01:05:58):
Thousands of people whose top of the social and business
handicap of dandriff our discovering as the way to combat
effectively is with double danderine. Our standing authorities explain that
the most common kind of dandriff is caused by a
germ called pity ross.

Speaker 2 (01:06:10):
Palmel Valley.

Speaker 4 (01:06:11):
Now, when you wash or brush away loose dandriff, that
doesn't destroy the germ. If you want real relief, the
germ must be destroyed, and double danderine does just that.
It kills this germ on contact, even in many stubborn cases.
Results that double danderine have been amazing. Now a special
ingredient is the reason for double danderines astonishing effectiveness and

(01:06:32):
active anisetics so remarkably efficient. Many hospitals use it in
double danderine.

Speaker 21 (01:06:36):
We call it al zam.

Speaker 4 (01:06:38):
So try double danderine and see if you don't agree
that it really works, that it really does more than
many danderff fighting methods, methods that actually are no better
than plain water. Get double danderine tomorrow. It carries a
money back guaranteed.

Speaker 2 (01:07:00):
H Claire laid dead her blood dart in the pool.
I had to get out of here.

Speaker 4 (01:07:11):
Now I have the keys to John's car. I could
if I could leave without being seen. I leaped up
for the wall, clambered up on top of it, and
swung my legs over. I was about to jump one.

Speaker 12 (01:07:20):
Pay where you here? I?

Speaker 42 (01:07:24):
What's the matter?

Speaker 40 (01:07:25):
Off?

Speaker 25 (01:07:25):
The stay?

Speaker 4 (01:07:28):
An escape comby comes in the neighborhood wouldn't be safe
to go to these trades out.

Speaker 42 (01:07:31):
Oh I I'm not leaving. Set the gag out there.

Speaker 4 (01:07:36):
You know Humpty Dumpy on the wall?

Speaker 11 (01:07:38):
There he is?

Speaker 4 (01:07:42):
What does Humpty Dumpty usually do on the wall?

Speaker 42 (01:07:45):
The walls? All mind them, say all the porn.

Speaker 54 (01:07:49):
Hey this Clare, Clare.

Speaker 20 (01:07:52):
I didn't you see her?

Speaker 41 (01:07:54):
She just went up that path.

Speaker 4 (01:07:56):
I jumped down off the wall and let him away
from the terrible thing in the first part. I left
them to the ballroom and said I was going to
find Claire. I thought of out a side entrance, the
buck back when I saw a cop standing there too.
I cut across the dance floor.

Speaker 25 (01:08:08):
Pushing my way through the people that wheeled around the edges.

Speaker 4 (01:08:11):
I was about halfway across when get around, everybody, get around.
A rush of people swarm toward the stage. I tried
to get fired, but I was swept up with them.
If they pushed in close.

Speaker 55 (01:08:27):
Yes, this is my poble, the most successful party and
responsive boy, your rich chairs, country power.

Speaker 4 (01:08:35):
I had to get out, I had to it. I
began to shoulder through the mob, forcing my way be
the taglely packed bodies took again, shoving me back toward
the stage. They were all laughing and shouting.

Speaker 42 (01:08:47):
Heys and gentlemen.

Speaker 4 (01:08:49):
It gives me great pleasure to announced that the judges
were unanimous and their selection of the Lasparada who played
best to pop Pa played by his costume.

Speaker 42 (01:08:56):
That's the best calm of the evening.

Speaker 4 (01:08:57):
The grand prize Goods Town. The announcer stepped down and
handed me a huge silver cup. I so thought I
could calm my way out here. I bowed polously, and then.

Speaker 52 (01:09:12):
His mask.

Speaker 4 (01:09:20):
I goropped the cup and pointed headlong into the milling,
laughing ring. The press in on me.

Speaker 44 (01:09:24):
I struggled to break to them, and they shrieked and.

Speaker 4 (01:09:26):
Sang and caught up my costumes.

Speaker 40 (01:09:30):
Take it.

Speaker 20 (01:09:34):
I fell down and their voice closed over me. They
didn't know what they were doing.

Speaker 25 (01:09:37):
They were laughing and shouting me.

Speaker 4 (01:09:39):
I thought the show of my head pieces crack, and
they ripped it off. Then hens were helping me to
my feet, and the deadly silence suddenly swept out through
the crowd in a never increasing circle, with me as
the center. That's not John Mason, and let my face

(01:10:09):
twisted and go judged. Some grinning lay the Humpty dumpty.

Speaker 20 (01:10:16):
Mask not like this sumble hood they were holding in
front of me, now.

Speaker 4 (01:10:29):
A black mask with no irons Joseph Talbot before you.

Speaker 39 (01:10:35):
Are executed in accordance with the laws of this state,
and the sentence pronounced, Have you anything to say?

Speaker 2 (01:10:44):
I couldn't teach.

Speaker 4 (01:10:47):
And the man holding a mask walked toward.

Speaker 1 (01:10:50):
He slipped it.

Speaker 2 (01:10:51):
Over my head and tied it on.

Speaker 4 (01:10:54):
Then they adjusted the rope around my neck, and in
the blackness of the black hood, and he expectant, hush
beyond my mind, screamed for something to hang on to,
any words.

Speaker 25 (01:11:11):
Speak them Crumpty dumpty.

Speaker 11 (01:11:17):
Head in a world.

Speaker 25 (01:11:20):
Crumpty Dumpty.

Speaker 45 (01:11:23):
Got a cut, and.

Speaker 39 (01:11:45):
Officer Jeffrey bonds again, bringing down the Pylo curtain On
tonight's Mystery Theater presentation of Death Wears a Mask, He
with Us Sweet to Hear a.

Speaker 4 (01:11:53):
Story written by Ray Darby entitled Birth Goal Shoffle. The
original music for the Mystery Theater is composed then conducted
by Alexander Sembler.

Speaker 2 (01:12:02):
Billy Quinn was starred.

Speaker 4 (01:12:03):
And Mitzi Gruel and Gregory Morton featured in Tonight's play.
Any resemblance between the names and characters used on mystery theater,
and any actual person's living or dead is purely coincidental.

Speaker 56 (01:12:23):
William Gargan stars as Barry Craig Confidential Investigators.

Speaker 57 (01:12:34):
The trouble with leading a life of crime is that
you could never rest on your laurels.

Speaker 1 (01:12:38):
What you usually wind up resting on is a prison cut.

Speaker 56 (01:12:50):
The National Broadcasting Comedy presents William Gargan in another transcribed
drama of mystery and adventure with America's number one detective
Barry Craig Confidential Investigator.

Speaker 57 (01:13:17):
Marry Craig speaking, Have you ever tried reading Confidential Investigator backwards?
It can be done if it's on the glass door
you're sitting behind, But it doesn't get you anywhere. Me
it left sitting in my office on Madison Avenue around
closing time, with nothing to do but wait till I
got hungry enough for dinner. Anyway, That's what I thought,

(01:13:39):
come in until they and it arrived.

Speaker 58 (01:13:43):
I take it easy, fellows, take it really easy, it fellas.
I'll wait downstairs till I get the sky signature. There
we are, okay, mister right on the slide.

Speaker 1 (01:13:58):
Well, wait a minute, what is it? What's what that thing?
You just dumped in here. Looks like a tree in
brown wrapping paper.

Speaker 58 (01:14:05):
Maybe it's a tree. Maybe it's a hitching post, hollow.
I know it's not a tree, there's no branches. But
a hitching post. A hitching post is something you hitch horses.

Speaker 9 (01:14:15):
Tough.

Speaker 1 (01:14:15):
I don't hitch horses anything. I haven't got horses.

Speaker 57 (01:14:18):
So now you got a hitching post, maybe you'll get some.
There's a clause in my lease says I can't keep
horses in this office.

Speaker 5 (01:14:24):
Move.

Speaker 1 (01:14:25):
There's another clause which says, oh, forget it. Will you
police sign this here?

Speaker 57 (01:14:30):
Get the wrappings off that thing first? Okay, hey, don't
look now, but were you wrong? This here came addressed
to Berry Craig.

Speaker 1 (01:14:44):
That's you, that's me. But that's not a hitching post.

Speaker 9 (01:14:48):
Who cares?

Speaker 1 (01:14:49):
It happens to be a mummy? Lay off the baby
talk mummy as in embalmed.

Speaker 58 (01:14:55):
Okay, okay, so now you won't have to buy a horse.

Speaker 1 (01:14:57):
I wasn't planning out. You won't even have to move.
But what could I use a mummy for a half rack?

Speaker 27 (01:15:04):
No?

Speaker 1 (01:15:04):
Nob so gibble a wife for Christmas?

Speaker 9 (01:15:07):
Mister?

Speaker 1 (01:15:07):
Would you police sign? Who said it to me? Mister,
I'm just a trucker.

Speaker 58 (01:15:11):
Nobody tells me the little secrets you don't want to sign?

Speaker 30 (01:15:14):
How hard is it?

Speaker 5 (01:15:15):
The forger?

Speaker 19 (01:15:15):
Next?

Speaker 21 (01:15:16):
Goodbye?

Speaker 1 (01:15:17):
Hey, come back here?

Speaker 57 (01:15:25):
He didn't come back. By the time I got to
the door, he was gone. I wandered back into the
office and stared at the mummy. For all I could
tell the mummy was maybe staring back at me. I
don't think either of it's got much pleasure out of it.
That was when the girl walked in. Staring at her
was much more fun.

Speaker 37 (01:15:44):
Hello, Hello, you are Barry Craig.

Speaker 52 (01:15:48):
I am I am the princess Nepartity.

Speaker 1 (01:15:51):
How do you do?

Speaker 11 (01:15:51):
I am coming for my sister.

Speaker 57 (01:15:54):
I don't think we are there. Princess that happens to
be a mummy?

Speaker 12 (01:16:00):
She are mine sister.

Speaker 57 (01:16:02):
But isn't she a bit older than you are? Say
five thousand years older?

Speaker 12 (01:16:05):
It's nothing.

Speaker 1 (01:16:07):
It's a long time between five thousand years old. Well,
I don't believe it.

Speaker 6 (01:16:12):
You like a proof it?

Speaker 51 (01:16:13):
Sure, I'm telling you something.

Speaker 12 (01:16:15):
What happens a long time ago?

Speaker 21 (01:16:16):
To proof it?

Speaker 4 (01:16:17):
What you like to hear?

Speaker 1 (01:16:18):
Well? Is it true what they say about Anthony and Cleopatra?

Speaker 12 (01:16:23):
It's true?

Speaker 52 (01:16:24):
Sit down.

Speaker 5 (01:16:25):
Okay, I are sitting too, and me.

Speaker 11 (01:16:29):
You are marc Antony, I are Cleopatra.

Speaker 24 (01:16:32):
He's over there denial.

Speaker 19 (01:16:34):
It's beautiful music saying it's very nice weather.

Speaker 1 (01:16:39):
I'm glad the weather's nice.

Speaker 11 (01:16:41):
Cleopatra.

Speaker 12 (01:16:43):
She makes these with the leave.

Speaker 1 (01:16:48):
Nice morma. I meant the weather. Look, Cleopatra, somebody's jumping.

Speaker 12 (01:16:55):
It's only the beginning.

Speaker 5 (01:16:57):
Next in Starma, be.

Speaker 57 (01:16:58):
Something, Jake. This is the princess Nephertiti. She came to
get her sister. She was just showing me how things
were between Cleopatra and Mark Antony.

Speaker 51 (01:17:11):
Yep, I do not like him.

Speaker 1 (01:17:14):
This is Jake, the night elevated man on denial.

Speaker 14 (01:17:17):
There are not being elevator man, psychoa.

Speaker 19 (01:17:20):
But princesses are lossing up the history.

Speaker 1 (01:17:24):
Say what you did, Jake, loust up the history?

Speaker 6 (01:17:28):
You in a Harry, Yeah, I didn't.

Speaker 12 (01:17:31):
I take the elevator dinner.

Speaker 15 (01:17:32):
I won't.

Speaker 1 (01:17:34):
Oh, but Jake, I owe you at dinner. Yep, come on, I'll.

Speaker 57 (01:17:37):
Buy you one after I find out where an Egyptian
princess five thousand years old goes when she goes home.

Speaker 5 (01:17:50):
She wasn't, of.

Speaker 57 (01:17:51):
Course, a princess Egyptian or otherwise, and she was a
lot less than five thousand years old. I didn't have
to produce that she'd sat on my lap. Uh, but
I wanted to know why she put on the act
and where the mummy came in?

Speaker 51 (01:18:08):
Hast they had cars in all Egypt there.

Speaker 57 (01:18:10):
Yeah, looks that way she drives. Well, how's her cooking?
I didn't notice, Uh, Jake, behave yourself. Remember she's old
enough to be even your grandmother.

Speaker 21 (01:18:21):
What do you think of that one?

Speaker 13 (01:18:23):
Uh?

Speaker 1 (01:18:23):
That's enough. She's stopping.

Speaker 29 (01:18:30):
Right in front of a big tomb.

Speaker 57 (01:18:32):
Yeah, inscription over the entrance. Yeah, Egypto Logical museum. She's
gone into the grounds, cutting around the building. Uh, there's
a cement path. There must be an annex to the museum.

Speaker 1 (01:18:51):
Uh huh. Uh had a small house over there?

Speaker 15 (01:18:54):
Went inside?

Speaker 21 (01:18:55):
You following her in?

Speaker 57 (01:18:56):
I don't think so, not yet anyway, which out of
a museum first? Another fire, Jake, The museum might be
more interesting. Huh?

Speaker 1 (01:19:06):
Well all right, but uh this door might do it.

Speaker 51 (01:19:20):
Yes, some of its careless live in doors someone.

Speaker 1 (01:19:23):
Just as well.

Speaker 57 (01:19:25):
Places filled with Egyptian relics and Egyptians mummy cases all around.

Speaker 1 (01:19:32):
And let's try this one.

Speaker 57 (01:19:37):
Well, mummy case and mummy inside. Would you expect daddy.

Speaker 13 (01:19:45):
And another one?

Speaker 1 (01:19:49):
Uh, it's another case, another mummy.

Speaker 10 (01:19:52):
It's likely go on like that. Maybe I'm not so
sure though, Yeah.

Speaker 1 (01:19:58):
I must take a look at this spa mummy's moving,
mister Gregg moved fell out and not a mummy?

Speaker 17 (01:20:10):
What is it?

Speaker 1 (01:20:13):
A man who was alive only a little while ago.

Speaker 57 (01:20:15):
He'd still be alive if somebody hadn't buried a knife
in his chest. There was no knife around, proving pretty
definitely the man in the mummy case had been murdered.
Suicides rarely disposed of their weapons after death. He'd been

(01:20:37):
murdered and stuffed into a mummy case. Nice place to
hide a corpse if you like hiding corpses. He had
papers on him. Live, he'd been a wealthy man named Osgood,
I remember the name. He'd financed archaeologists all over the world. Dead,
he was just a man to whom nothing mattered Jake,

(01:20:57):
Unless I'm wrong, This museum was one of oz Good's endowments,
which makes it a more or less natural place for
him to wind up dead.

Speaker 51 (01:21:05):
Makes it a natural place for us to get out
of him.

Speaker 57 (01:21:08):
Whoever killed him took the mummy out of that case
and put os Good inside and then maybe ship that
mummy to me. Why had then a yeah, give me
your hand y, Uh what I wanna get him back
inside the mummy case?

Speaker 10 (01:21:24):
Yeah he's fact.

Speaker 57 (01:21:29):
Yeah, body temperature fact that rigger's on the starting to
set in indicates he died around six hours ago. No
hurry about informing the police. Let's talk to the princess
about it instead. She knows the mummy out of that
case is in my office. It's possible she knows more
than that from what I seen when I.

Speaker 51 (01:21:50):
Come into your office. She knows more than that. Think
she's a real princess.

Speaker 1 (01:21:57):
No, but she's real.

Speaker 57 (01:22:01):
That's the annex curator's house. I guess wind or something.
I don't know how it would go with your Vermont upbringing,
but we're going to do some eavesdropping.

Speaker 59 (01:22:12):
Favorite winter squad up in Vermont. Three people in the
news girl, the little mouse of a man. There's something
that could be a football player. Don't be a football
player's name is Ted.

Speaker 9 (01:22:25):
I'm not an idiot.

Speaker 57 (01:22:26):
I tell you I had enough point due to mister
oz Good here, Lester, Mister.

Speaker 4 (01:22:30):
Osgood hasn't been here ted, believe me not for day.

Speaker 58 (01:22:33):
Listen, Lester, mister Osgood told me to meet him here
this evening hours ago.

Speaker 1 (01:22:37):
Now where is he?

Speaker 29 (01:22:38):
He couldn't have asked you to meet him here?

Speaker 1 (01:22:40):
Are you calling me a liar?

Speaker 15 (01:22:41):
Oh?

Speaker 21 (01:22:42):
Dear, No, for.

Speaker 11 (01:22:43):
Heaven's sake, Leicester, stop crawling like a man or something.

Speaker 5 (01:22:48):
I'm sorry, Wendy.

Speaker 1 (01:22:49):
The Prince's name is Wendy, it seems, and the mouse
is Leicester.

Speaker 58 (01:22:53):
I want to know why you are so sure he
didn't ask me to meet him here.

Speaker 30 (01:22:56):
Lester.

Speaker 42 (01:22:56):
We we quarrel violently.

Speaker 12 (01:22:59):
You who quarreled with mister you.

Speaker 29 (01:23:02):
He wanted me to put those Indonesian masters in the museum.

Speaker 9 (01:23:04):
There were fakes, and I told himself.

Speaker 3 (01:23:06):
Good for you, darling, there is something you will fight for.

Speaker 58 (01:23:09):
Maybe it escaped your notice that mister Osgood owns the museum.

Speaker 29 (01:23:12):
He doesn't own me.

Speaker 58 (01:23:13):
Well, I'm only the secretary. I take orders from him.
The last orders I got were to meet him here.

Speaker 1 (01:23:19):
Let's try the front door now, Jake, yep.

Speaker 57 (01:23:22):
Not a fascinating conversation we overheard, but considering the corpse
in the museum, it might be important. Yes, and we
commend mister Leicester why I suppose so, although do I
know you? My name's Barry Craig, this is Jake, and
we are coming in. This seems to be a mister

(01:23:45):
Craig and you'd be ten am. And you, of course
are not exactly a princess.

Speaker 51 (01:23:53):
You've been eavesdropping, You've been accent dropping.

Speaker 12 (01:23:58):
He's true us Egyptians all the time.

Speaker 1 (01:24:02):
Well, what's going on here?

Speaker 19 (01:24:03):
It talks like that because he's more or less smile
if fyance.

Speaker 57 (01:24:06):
We don't want to intrude. But with the three of
you mind coming to the museum.

Speaker 30 (01:24:10):
Oh but but it's closed at this time.

Speaker 5 (01:24:12):
The regular hours don't be.

Speaker 51 (01:24:13):
Such a stick.

Speaker 52 (01:24:14):
Forget the regular hours and the regular rules and the
mouse but.

Speaker 57 (01:24:19):
Is engaged to football, play on. I think you're right,
well all right, but I don't know what mister Osgood
would say. I don't think you have to worry about that.
I had inside information on that. An inside a mummy case.

(01:24:45):
Let's see, Yeah, that's one right here? Well this this
mummy case, Yes, that's what I wanted to show you.

Speaker 21 (01:24:53):
Open it?

Speaker 1 (01:24:56):
Why shouldn't he open it, Wendy.

Speaker 12 (01:24:58):
Because because there's blood on the floor.

Speaker 21 (01:25:01):
Girl's right?

Speaker 58 (01:25:02):
Since whe have mommy started bleeding. They don't open the case, Lester,
very well.

Speaker 12 (01:25:07):
It's a trick. It won't prove anything. Anyone could have
stapped him, stabbed.

Speaker 57 (01:25:10):
Who my dear, in spite of the fact that I've
never before dared to mention it, I happen to love
you very much, but that doesn't bly me to the
fact that you're frequently a fool. Now shut up, don't
talk that way to Wendy. Are you objecting to my
telling her I love her or that she's a fool?
I object her both, but she is a fool. Althoughhy,
she'd realize the only reason you're marrying her is the

(01:25:31):
money she expects.

Speaker 21 (01:25:32):
To get from mister Osgood.

Speaker 12 (01:25:33):
Do you you're a worm?

Speaker 9 (01:25:35):
I probably am.

Speaker 57 (01:25:36):
I hate to interrupt all this good, clean fun, but
you still haven't opened the case.

Speaker 1 (01:25:40):
Lester.

Speaker 5 (01:25:41):
I'm sorry, I'll do it at once.

Speaker 12 (01:25:48):
It's mister Good.

Speaker 30 (01:25:51):
He's dead, isn't he?

Speaker 13 (01:25:52):
He's dead?

Speaker 58 (01:25:53):
Wendy, how did you know Osgood was going to be
inside that case?

Speaker 12 (01:25:58):
I suspected it because you have an appointment with you
and didn't keep it.

Speaker 57 (01:26:02):
And he'd had a had a quarrel with me some
days ago. I'm afraid your deductions were the obvious ones, Wendy, Now, did.

Speaker 30 (01:26:09):
You have to be quite so sure they were true?

Speaker 58 (01:26:11):
The police ought to be informed. Yes, I'll phone them.
I can't believe all this is real real. Three was
the blood on the floor.

Speaker 30 (01:26:26):
He came, saw and went.

Speaker 57 (01:26:29):
But before they went, they arrested mister Leicester, so he
went with them. Jake and I returned to my office.
I thought perhaps the mummy might be getting lonely. That
didn't turn out to be the cake.

Speaker 1 (01:26:51):
Okay, Jake, whoever took those pot shots? That us is gone.

Speaker 57 (01:26:57):
And so is the mummy. I made a phone call.
I wanted to make sure Leicester was still in jail.
That would clear him of shooting at Jake and me
and swiping the mummy. Leicester, I discovered, was no longer

(01:27:18):
in jail. The district attorney hadn't admired the evidence against him,
and that means Leicester's loose, Wendy's loose, and Ted's loose.

Speaker 51 (01:27:28):
I watched that loose talk Jake, Please, I was tempted.

Speaker 29 (01:27:32):
Mister Gregg.

Speaker 1 (01:27:33):
We're going back to the museum, I thought.

Speaker 13 (01:27:35):
So worried about the worried.

Speaker 25 (01:27:37):
About I mean, I'm worried about the person who stole
the mummy. And I'm even more worried about why I
had an idea, why I didn't linger with him. I
was pretty sure I'd never get fond of it. I

(01:27:58):
hoped i'd turn out to be.

Speaker 1 (01:27:59):
Wrong about it.

Speaker 57 (01:28:03):
And the museum's dark. So there's the curator's house. Yep,
so we'll go to the museum first.

Speaker 29 (01:28:10):
Figures.

Speaker 1 (01:28:11):
Oh, don't hit below the belt. Sorry, I wanna check
that empty mummy case.

Speaker 5 (01:28:20):
What for?

Speaker 1 (01:28:21):
Make sure it's empty?

Speaker 60 (01:28:23):
Uh huh.

Speaker 51 (01:28:25):
Empty mummy case is always.

Speaker 1 (01:28:27):
In except when it isn't. Tank tant the Mummy's back inside.

Speaker 21 (01:28:36):
That good?

Speaker 1 (01:28:37):
That's bad. Wrong mummy wrong something. I'm not sure what.

Speaker 17 (01:28:51):
House is still dark?

Speaker 1 (01:28:52):
We'll change that.

Speaker 29 (01:28:55):
Thinking about the little fella lest.

Speaker 1 (01:28:58):
Yeah, what he's in this up to his neck? Where's
that door?

Speaker 29 (01:29:03):
Though?

Speaker 17 (01:29:09):
Hm could be asleep.

Speaker 2 (01:29:11):
You have to wake up.

Speaker 29 (01:29:17):
Ain't waken up.

Speaker 1 (01:29:18):
We won't wait for him. Then, doors locked and solid.

Speaker 57 (01:29:24):
We better try the windows one of the living room
we looked through before. It's around the side here. It
was ground level, which ought to help. Yeah, fastened down out.

Speaker 1 (01:29:40):
Of the way, Jake. Yep, that sounded loud enough to
wake the dead. It may have to. Now most of
the glasses out of the way.

Speaker 9 (01:29:51):
Now we go in.

Speaker 57 (01:29:55):
The light someplace around. Yeah, living room empty, Where would
lest his bedroom be?

Speaker 17 (01:30:03):
Right, don't know, it's a funny smell.

Speaker 25 (01:30:08):
You're right, that's gas, which means the kitchen. The smell
is getting stronger the other end of this hallway, which
should be the kitchen door. Kind of stay away with
that switch, and he sparked, might cause the gas inside
the kitchen to blow up.

Speaker 1 (01:30:31):
Doors open, Jake, get to a phone call in near
his hospital.

Speaker 51 (01:30:34):
You better see what's in the kitchen first.

Speaker 1 (01:30:35):
All right, here goes.

Speaker 5 (01:30:40):
It's it's really bad.

Speaker 21 (01:30:42):
It's hard to.

Speaker 6 (01:30:45):
Find him.

Speaker 9 (01:30:47):
Somebody's laying.

Speaker 21 (01:30:50):
I got him.

Speaker 9 (01:30:53):
You're better.

Speaker 57 (01:30:53):
The gas is strong. His feet all right outside hallway
and in the living room. Broken window that would help.
Ye Oh, it's a lot better in here. We put
him down in the window. Oh oh, he don't look

(01:31:19):
so good. He's still alive, though, Get on that phone.
We need an ambulance fast to get to him before
death does. They got to him and took him away.
The intern said he had a chance. Jake and I

(01:31:39):
stayed behind in the house. I made a few phone.

Speaker 1 (01:31:43):
Calls and the air got better, mister Craig.

Speaker 51 (01:31:48):
Was he trying to kill himself?

Speaker 1 (01:31:50):
No, there was a bruise on the back of his head.

Speaker 51 (01:31:53):
Well, then it was the same one who killed Oscar.

Speaker 57 (01:31:56):
Yeah, hope to close the case by making it look
as though Lester committed suicide because of guilt.

Speaker 1 (01:32:05):
Rag down here in the middle of the night. You
want ours Goods murderer court, Sure, but there's a peculiar odor.
It was Lester out for the moment that ought to
be Wendy. I phoned her too, test well. Apparently the
cleaning up hoskets murder.

Speaker 9 (01:32:24):
Wendy.

Speaker 1 (01:32:24):
I suppose they needed us here for something or other.

Speaker 11 (01:32:26):
But I thought the police decided it was Lester.

Speaker 57 (01:32:28):
They didn't like the evidence too much, and they turned
him loose. Where is he the Samaritan Hospital, condition critical?
Jake and I found him in the kitchen, breathing gas.

Speaker 12 (01:32:38):
He tried to kill himself.

Speaker 15 (01:32:40):
You'd like that, I I'd it.

Speaker 57 (01:32:42):
Would close the case, final proof against Leicester. The only thing, Wendy,
you knew.

Speaker 1 (01:32:48):
About Osgood's death before you should have. You warned Lester
not to open the mummy case in the museum.

Speaker 57 (01:32:54):
That was because there was blood on the floor you
didn't explain how you knew he was stabbed?

Speaker 9 (01:33:00):
Shots?

Speaker 1 (01:33:01):
Or when do the right I remember it explained to them.

Speaker 10 (01:33:06):
I can't, But that could mean.

Speaker 51 (01:33:10):
You shut up?

Speaker 12 (01:33:10):
Ted.

Speaker 15 (01:33:11):
You never cared about me anyway.

Speaker 37 (01:33:13):
All you wanted was the money.

Speaker 12 (01:33:13):
I didn't hear it from Osgod.

Speaker 1 (01:33:15):
Well it's likely to be bloodstained.

Speaker 17 (01:33:16):
Now I don't care for any of that.

Speaker 1 (01:33:18):
I think there's anything more, Craig.

Speaker 57 (01:33:20):
Oh, one thing, this statuette. What's it made on with granite?
And it should be hard enough?

Speaker 1 (01:33:31):
Don't you like ti? No, he's a.

Speaker 57 (01:33:33):
Murderer, A murderer who had been fingering the gun in
his pocket while I talked. Being hit over the head
by the statuett wouldn't damage him permanently.

Speaker 1 (01:33:50):
The state would take care of that. Girl was in
the rear.

Speaker 51 (01:33:58):
Hurry together to the hospital.

Speaker 1 (01:34:00):
He no, What can she see in a mouse like
Lester Captaine? No argument, Jake.

Speaker 57 (01:34:08):
Ted's motive was the money Wendy was getting from Osgood.
He killed Osgood shortly after Osgood had quarreled with Leicester.
He figured Leicester would be the obvious suspect.

Speaker 51 (01:34:19):
Anybody ask her to explain?

Speaker 25 (01:34:20):
No, no, now?

Speaker 9 (01:34:23):
Uh?

Speaker 1 (01:34:23):
Why was the mummy delivered?

Speaker 57 (01:34:24):
To me simple Ted wouldn't have He'd framed Lester and
would have left things the way he'd set them up.

Speaker 1 (01:34:30):
So it had to be Lester himself. He wanted me
to help him.

Speaker 57 (01:34:34):
He gained a little time that you said. Nobody ask
Nobody did. But I'm telling you now now, Wendy had
seemed Lester. So if she came to my office to
try to get the mummy back, prove she was innocent.
But if nobody ask you why, you explained, I'm not.

Speaker 1 (01:34:48):
I'm just dropping you off at the building.

Speaker 17 (01:34:51):
Oh okay, I.

Speaker 12 (01:34:59):
Got one question.

Speaker 1 (01:35:00):
What's that?

Speaker 59 (01:35:01):
Is it true what they say about Anthony and Cleopatras.

Speaker 56 (01:35:16):
You've been listening to William Gargan in another exciting transcribed
mystery drama from the Adventures of Barry Craig, Confidential Investigator.
Tonight's story, Never Murder a Mummy was written by Louis Vatt's.

Speaker 9 (01:35:56):
Next Week. It's the strange story Butler's can be innocent.

Speaker 56 (01:36:01):
About which Barry Craig has this to say, What.

Speaker 1 (01:36:05):
Loos can be innocent?

Speaker 56 (01:36:07):
Maybe this is a little hard to believe, but the
butter in question proves it the hard way. The National
Broadcasting Company has Just Brought You, an NBC Radio Network
production with William Gargan starring as Barry Craig, Confidential Investigator,

(01:36:32):
directed by Andrew C.

Speaker 61 (01:36:34):
Love.

Speaker 56 (01:36:35):
Our cast included Jonathan Hole, Bibby Janis, Jim Nusser, Henry Hunter,
and Howard Culber.

Speaker 25 (01:37:08):
H Murder.

Speaker 5 (01:37:16):
Midnight, This kind of glass tube was pointed at Matson's body.
When the switch went in, there was a whining noise
and then the white light shot out of it. I
know you won't bullye this when it hit the body.

Speaker 29 (01:37:31):
It's when all soft.

Speaker 5 (01:37:34):
We're just like the booms had gone out of it
just went all soft and kind of poured off its
chair and out of the floor.

Speaker 62 (01:37:46):
Midnight, the Witching hour, when the night is darkest, our
fears the strongest, and our strength that it's lowest down.

Speaker 31 (01:37:56):
Midnight, when the graves gave open and death strikes. How
you'll learn the answer in just a minute. And The
Heavy Death.

Speaker 62 (01:38:23):
And now Murder at Midnight Tales of Mystery and Terror
by radio's Masters of the Macaque. Our story, written by
Robert Newman, is a weird and fantastic night mayor called
The Heavy Death. A road just outside the small town

(01:38:46):
of Medford and running up at his face, white and
terror stricken.

Speaker 26 (01:38:50):
In the moonlight is a small, slight man.

Speaker 62 (01:38:53):
He pauses every once in a while, its breath whistling
in his nostrils, and runs on again. Finally seeing the
two green lights of the state Police pars, he moans
with relief, runs in.

Speaker 3 (01:39:04):
Thank God, there's somebody here.

Speaker 43 (01:39:05):
I was pray.

Speaker 3 (01:39:06):
Look, Opic, you gotta get me away from your past.

Speaker 30 (01:39:09):
Just a minute, easy, you'll be here.

Speaker 3 (01:39:12):
Anymorey coming after me. I gotta get away. I'm telling you.

Speaker 1 (01:39:15):
I'm telling you to take it easy.

Speaker 30 (01:39:17):
That's wait till I get through talking to doctor Carter Cotton.

Speaker 3 (01:39:20):
You doctor Carton lives as a big white house near
the river. Well, then you can tell him it's true.
Otherwise he won't believe me.

Speaker 12 (01:39:25):
Nobody will.

Speaker 11 (01:39:26):
It was you.

Speaker 3 (01:39:26):
We swiped a big last thing from fully laboratory.

Speaker 26 (01:39:28):
Tiger called her.

Speaker 17 (01:39:29):
You stole it.

Speaker 10 (01:39:31):
He made me do it.

Speaker 63 (01:39:32):
Oh no, that's getting interesting. That's why doctor Cardon's here.
You don't know anything about his assistant, young chap named Madson.

Speaker 26 (01:39:42):
Yeah, he's dead. He killed him.

Speaker 17 (01:39:46):
Madson, that'son dead.

Speaker 5 (01:39:48):
And maybe you better start from the beginning.

Speaker 26 (01:39:50):
Tell us the whole story.

Speaker 5 (01:39:52):
Yeah, but the right time, he's becoming after me. And
oh okay, Like I said, you won't believe it. My
name's Sullivan. They call me schill because I'm come on
with Bryan's giant carnival. Weight guessing is my racket, but
I turned my hand at almost anything in a shell
game three card money.

Speaker 26 (01:40:10):
Well.

Speaker 5 (01:40:10):
We hit town about about ten days ago for a
three days stand. The first two nights was pretty quiet.
The third one was when it happened there. It was
a pretty fair crowd around and I was warming him
up for some weight guessing with maybe some side bets
when he came up.

Speaker 3 (01:40:25):
Okay, folks, okay, step up, step up, Hurrey, and let
talk this Sullivan.

Speaker 26 (01:40:30):
That's show.

Speaker 3 (01:40:31):
Might not qu pre di elephant three pounds off either way.
I want you say, lady, you are weights.

Speaker 31 (01:40:37):
Not like your age.

Speaker 10 (01:40:37):
You know, ha ha, you know always show.

Speaker 30 (01:40:42):
What about you say? Guess you weaight?

Speaker 9 (01:40:44):
Do you really think you can do?

Speaker 26 (01:40:47):
I think? Ha?

Speaker 3 (01:40:48):
Listen to him, folks, you BET's your weight life?

Speaker 41 (01:40:51):
Brother?

Speaker 31 (01:40:51):
Oh I have already. The question is will you bet
your sweet life?

Speaker 40 (01:40:56):
What what do you mean?

Speaker 19 (01:40:58):
Look?

Speaker 3 (01:40:59):
If you want me to get your way.

Speaker 31 (01:40:59):
To and the terms I outlined wires. I will be
glad to have you try.

Speaker 3 (01:41:04):
Try, try, sissy, I'll play box. Here we go gallousy,
a big man, a solid man, afty pair of minds
on him. I say, one hundred and ninety five.

Speaker 31 (01:41:15):
Pounds, one hundred and ninety five and.

Speaker 3 (01:41:17):
Three pounds off either way, and you get it quby now.
Now just sit right down.

Speaker 26 (01:41:21):
Here on the scale.

Speaker 3 (01:41:22):
Here you are, and what goes on here?

Speaker 62 (01:41:28):
Give my skal Yes, it only goes up to three
hundred and fifty pounds three.

Speaker 3 (01:41:34):
What have you got in your pockets?

Speaker 17 (01:41:35):
Would you like to look?

Speaker 26 (01:41:37):
Nah?

Speaker 3 (01:41:38):
No, I don't know how you did it, But more
powerty brother. When I lose that pay with a smile.
Well here's your QP.

Speaker 9 (01:41:44):
Thank you.

Speaker 31 (01:41:44):
No, that's not what we did.

Speaker 26 (01:41:46):
What do you mean?

Speaker 31 (01:41:47):
I think you know what I mean? The carnival closes
in about an hour. I'll be waiting.

Speaker 5 (01:41:58):
He went walking off slow, and head crowd stood around
for a couple of minutes, scaping at the broken scale
and talking. Then they all decided it was some kind
of a gag and went on and forgot about it.
For me, I couldn't forget about it. Somehow, I didn't
think it was a gag. There was something about him,
the way he moved away he talked that scared the

(01:42:19):
pants off me. I hung around for a while, getting
my stuff together, and then I looked up Rube Thomas.
Rube's a big guy, used to be a restler, and
he was just closing up his wheel of fortune.

Speaker 3 (01:42:29):
Hi, Robe, how are they going?

Speaker 16 (01:42:31):
Uh?

Speaker 30 (01:42:31):
Not bad for one horse town?

Speaker 26 (01:42:33):
How's it you?

Speaker 30 (01:42:34):
Not too bad for some wise guy?

Speaker 3 (01:42:37):
Busted my scale?

Speaker 30 (01:42:38):
Busted your scale?

Speaker 21 (01:42:39):
Yeah?

Speaker 5 (01:42:40):
Well, Rob, that's why I come over. He was a
quick duck, just couldn't figure his pitch. But he said
something about waiting for me when he closed up, So
I thought, so, so you're tough.

Speaker 26 (01:42:51):
Maybe you should have some protection walking out of the station.

Speaker 30 (01:42:54):
That's a hot one. What is yeah on your side? Beds? Well,
don't worry about it.

Speaker 26 (01:43:00):
Ain't no I'm gonna lay a finger on you when
you went Rube.

Speaker 5 (01:43:03):
Thomas helped Rube take down the wheel. Even then we
were about to last to leave the fairgrounds. Who went
out to the main gate?

Speaker 17 (01:43:14):
It's pretty dark.

Speaker 26 (01:43:16):
I wasn't worried anymore.

Speaker 5 (01:43:18):
I've never yet seen anybody Roube couldn't handle. Then I
heard footsteps slow and heavy.

Speaker 13 (01:43:24):
One and then.

Speaker 31 (01:43:27):
There you are, and I've been waiting for you.

Speaker 30 (01:43:30):
Yeah, no kidding, there's the guy. Okay, Bob, what's the pitch.

Speaker 5 (01:43:36):
What's your racket?

Speaker 26 (01:43:37):
Racket?

Speaker 13 (01:43:38):
There's no racket.

Speaker 31 (01:43:39):
Your friend and I had a bet I've come to collect.

Speaker 54 (01:43:42):
Yeah, well, I'll tell you a funny thing about carnivals.
And we pull up steaks and you're ready to go. Oh,
bets is off.

Speaker 31 (01:43:49):
I'm afraid this one can't be called.

Speaker 5 (01:43:53):
You see I need him, You need him.

Speaker 31 (01:43:55):
Yes, you bet your life, remember, and you lost you.

Speaker 3 (01:44:01):
Mean your nuts?

Speaker 31 (01:44:03):
People who have thought so, but I am not.

Speaker 17 (01:44:06):
Shall we go?

Speaker 15 (01:44:07):
No?

Speaker 26 (01:44:08):
No, my god, rule pack it easy show.

Speaker 54 (01:44:11):
I told you all bets was off. Mister, Now you're
gonna blow. I'm im gonna have to get rough with you.

Speaker 31 (01:44:16):
I wouldn't be if I were you.

Speaker 30 (01:44:18):
No one hares one just for luck.

Speaker 26 (01:44:22):
I won't you break your play.

Speaker 31 (01:44:27):
I'm sorry.

Speaker 5 (01:44:28):
I didn't want to hurt you. You won't believe this,
like you probably won't believe what happened afterwards. He didn't
swing or anything. He just kind of dropped his fist
on Rube's head miss smashed in his skull. I can
hit him what I lead pipe.

Speaker 3 (01:44:49):
Good logic, you kill him?

Speaker 10 (01:44:51):
Yes?

Speaker 17 (01:44:52):
Shall we go?

Speaker 5 (01:44:52):
No?

Speaker 31 (01:44:53):
No, I look at me into my eyes. That's right now,
I remember this, your mind mine to do.

Speaker 17 (01:45:01):
It exactly as I wish, and you do exactly what
I wish.

Speaker 31 (01:45:05):
We understand, Yes, yes, yes, good, Then let's go.

Speaker 5 (01:45:14):
Something happened happened to me then, and there something I
need over Yet, it wasn't just that I was scared,
more scared than I've ever been in my life.

Speaker 26 (01:45:23):
It was something else.

Speaker 5 (01:45:25):
When I looked into his eyes, it was like a
just plain didn't count, but no one or nothing did.
Then I just headed to whatever he wanted, whatever he said.
We got Miss Candor to his your place dock, and
we stopped in front of it, and he pointed a
kind of low building behind it.

Speaker 31 (01:45:46):
That is doctor Cardon's laboratory, and he has something there.
I need a ganger counter. You're going in and get
it for me?

Speaker 30 (01:45:53):
You mean swipe it?

Speaker 62 (01:45:54):
Yes, it would take too much time to make one
of my own. And as I said, I need it now.

Speaker 31 (01:45:59):
It's a long glass tube about this size with filaments inside.

Speaker 3 (01:46:03):
Yeah, but suppose somebody sees me.

Speaker 31 (01:46:04):
Suppose somebody cous's away in Washington with that childish atomic
energy condition of airs. There's only maps and his assistant,
and he must be sleeping. If he should try and
stop you, well you'll have to take care of him.
But remember, I want that Geiger Counter.

Speaker 5 (01:46:21):
Like I said, it was like I was numb, didn't
have a mind on my own. I did it fun
and open window, went in and got what he wanted,
brought it out to him. He didn't say a word,
He just put it in the back of the car
and we drove away. It was about a quarter or
twelve We got to his place, big ramblin house to
the front of a mountain. He took me around the

(01:46:43):
back to a kinda iron doorm.

Speaker 26 (01:46:45):
Well it was.

Speaker 5 (01:46:46):
It was like out of Buck Rogers the twenty fifth century,
big glass tubes, dynamos, wires.

Speaker 26 (01:46:54):
He must have noticed me staring.

Speaker 31 (01:46:55):
Because he said, go ahead, look around. There's equipment here
that doesn't exis anyplace else in the world.

Speaker 30 (01:47:01):
But what's it all for?

Speaker 31 (01:47:03):
If I told you, you'd be even more frightened than
you are now. By the way, what's your name, Sulm.
I'm doctor Vance, Doctor Bryan Vance, doctor of nuclear physics,
without doubt, the greatest scientist in the world today. Do
you know anyone else who has been able to convert
most of the elements of the human body into the

(01:47:23):
heavy isotopes.

Speaker 3 (01:47:24):
Look, I don't know what you mean, but is that?

Speaker 21 (01:47:27):
Yes?

Speaker 31 (01:47:28):
That is why not only my weight but the entire
atomic mess of my body's.

Speaker 26 (01:47:34):
Yes, but cool?

Speaker 31 (01:47:37):
Oh, Mats must have heard you in the laboratory, I
followed up Pool.

Speaker 3 (01:47:41):
I was as quiet as I could be.

Speaker 31 (01:47:42):
Honest, there's nothing to be word or excited about Maths
and Advance. I should have known it was. You should
have known what with me a stolar geiger.

Speaker 63 (01:47:53):
You've done an awful lot of strange things in your career, fans,
But this time you've gone just a little too far.

Speaker 31 (01:47:57):
This time I've got you dead to right. I'm afraid
it's just the other way around thattson, What do you
mean but.

Speaker 26 (01:48:05):
Fast?

Speaker 31 (01:48:05):
You don't really think I'd let you or anyone interfere
with what I'm doing.

Speaker 15 (01:48:09):
Do you.

Speaker 12 (01:48:14):
Killed him?

Speaker 26 (01:48:15):
Of course?

Speaker 31 (01:48:16):
Drag him over there out of the way. There's a
certain exper in it. I'm just about ready to try,
and his body will come in very handy.

Speaker 62 (01:48:32):
With Sheil Sullivan staring at him in abject horror, Doctor
Vance turns away from the body on the floor, lumbers
over to one of his instruments and begins examining it.
Far away the town's church steeple, the clock strikes twelve four.

Speaker 19 (01:48:49):
Murder at midnight.

Speaker 26 (01:49:15):
And now back to murder at midnight and the heavy death.
It's just a moment.

Speaker 62 (01:49:21):
Later, Sergeant row Inductor Cardon staring incredulously at Sullivan as
he pauses for a moment in his terrifying story.

Speaker 63 (01:49:28):
Then the troopers says, we did find Thomas's party out
by the fairground, but it wasn't an accident, ind by
a truck or something.

Speaker 3 (01:49:36):
You mean this Vance killed Mansion just like that, shot
him without ten and air.

Speaker 19 (01:49:43):
Sure shouts to me, like at your carden.

Speaker 64 (01:49:46):
What do you think.

Speaker 54 (01:49:47):
I don't know, Sergeant, I do know Vance. I knew
that he had a laboratory somewhere near here. Well, it's
true that he probably knows as much about nuclear physics
as anyone in the world. We tried several times to
get him to work with us during the war, but
he laughed at us, said that what we were doing
was childish.

Speaker 63 (01:50:04):
But this other business is changing himself, making himself heavy. Yeah,
even his voice was heavy. Like, is that possible?

Speaker 9 (01:50:11):
Doctor?

Speaker 26 (01:50:12):
Theoretically, yes, I suppose it is.

Speaker 54 (01:50:14):
After all, Professor Yuri did it with hydrogen made heavy water,
and we've.

Speaker 26 (01:50:18):
Done it with uranium.

Speaker 5 (01:50:20):
But why would he want to do it?

Speaker 9 (01:50:21):
Why? There?

Speaker 26 (01:50:22):
I can only guess.

Speaker 54 (01:50:24):
For all his genius, I've always felt Vance was a
little mad. It's possible he believes that by changing the
atomic weight of his body he can make it immune
to disease.

Speaker 3 (01:50:34):
That's right, it's true. He said he was going to
live forever.

Speaker 5 (01:50:37):
M Well, go on, Solomon.

Speaker 26 (01:50:41):
What happened after that?

Speaker 5 (01:50:45):
He made me help him do things around the laboratory,
wire and stuff like that. Seems he got tired pretty easy,
and his hands was too heavy to do work that
was delicate. Like maybe that's why he needed somewhere else around. Finally,
I couldn't keep my eyes open any more. I fell
asleep on a cart in the corner. I don't know
if he ever slept or not he did. I never

(01:51:05):
seen him.

Speaker 31 (01:51:06):
When I woke up.

Speaker 5 (01:51:07):
It was around noon, and he had Madson's body popped
up in a chair against it. It's a kind of
a silver screen. So you finally get up the Sullivan.

Speaker 17 (01:51:15):
I was just going to wake you.

Speaker 5 (01:51:17):
Yes, sir, I'm kind of hungry, sir.

Speaker 26 (01:51:20):
Yes, food.

Speaker 31 (01:51:21):
Well, you're going to help me with a little experiment
first and then we can eat. Yes, sir, what kind
of experiment will you you mean?

Speaker 9 (01:51:29):
Why?

Speaker 31 (01:51:29):
Yes, an experiment on our friend Madison's body. He won't mind.

Speaker 62 (01:51:34):
Just a little chelcium transmutation. First we switch on our
alpha generator here. Then we make a few frequency adjustments.

Speaker 26 (01:51:49):
What what are you going to do?

Speaker 31 (01:51:50):
You'll see over there, stand by that mask to switch
on the converter. When I give the word yes, sir,
they let it climb just a little higher, a little high.

Speaker 5 (01:52:00):
H No, no, no, there's a kind of glass two
pointed at Madison's body. When I threw the switch, of
white light shot out of it. I know you won't
believe this. When I hit the body, it went all soft.

(01:52:26):
It's like the bones had gone out of it, just
went all soft and kind of poured off the chair,
out of the floor. I must have faded as something.
When I come to advance, was standing over me smiling.

Speaker 17 (01:52:41):
Anything that matters, Sullivan.

Speaker 9 (01:52:43):
Didn't you feel well?

Speaker 65 (01:52:45):
Yes, I'm all right of you. Just that was the
most awful, most terrible thing, Sullivan. If you were a
soldier and you saw that happen to the man next
to you. Did you feel much like fighting after that?

Speaker 26 (01:52:59):
What you mean you're gonna do that?

Speaker 31 (01:53:03):
Ip as you're not to ask too many questions. We
dispose of the rest of the body later that. Now,
let's eat.

Speaker 5 (01:53:13):
Like I said, it was just about a week ago.
I can't really tell you what happened after that because
I was in the daze.

Speaker 17 (01:53:20):
Most of the time.

Speaker 66 (01:53:21):
We worked, him showing me what to do, wire and
soldern stuff.

Speaker 26 (01:53:27):
We ate.

Speaker 29 (01:53:28):
Sometimes he let me sleep.

Speaker 31 (01:53:31):
Then this morning it happened. I woke up at about ten.
He was standing looking at this thing we've been making
well suller than it's finished. Just a few adjustments and
we were ready to go. Yes, and I'm profoundly grateful
to you for your help. I will show you how
grateful in a very concrete fashion.

Speaker 26 (01:53:51):
You mean you can let me go, You can let
me go?

Speaker 31 (01:53:55):
Really sell That's a little foolish, isn't it.

Speaker 26 (01:53:58):
Well, I don't know it, just what, Yeah, I guess
it is.

Speaker 31 (01:54:05):
Well, where you're going inside to fix some breakfast? No, Sullivan,
no food for you, not today, no food, no, because
tonight you're going to enjoy a tremendous experience when I
experienced myself several months ago, and the process is much
simpler when the stomach is empty.

Speaker 17 (01:54:21):
Process you you mean you you're going to make me.

Speaker 30 (01:54:26):
Like you heavy?

Speaker 31 (01:54:27):
Yes, Sullivan, I told you I was grateful to you.
And oh no, dog, no please telling rather childish. I'm
not going to bother detailing. But it will mean to you,
phuseiologically the immunities it will give you. I will nearly
tell you that we'll do it tonight.

Speaker 5 (01:54:45):
Getting changed and the time like he was heavy as lead, Well,
it did something to me. It was like I've been
dog hypnotized all that time, afraid to do anything. You're
gonna make him mad. Now now I was even more
scared to stay. I made out like everything was fine,
and I waited. I waited and watched, and about an
hour ago I got my chance. He went into the

(01:55:07):
house to get something.

Speaker 29 (01:55:08):
He did knock the door.

Speaker 30 (01:55:09):
I was out like a shot.

Speaker 3 (01:55:10):
Rapist car started down the higway. As I went past
the house, I heard the window.

Speaker 40 (01:55:15):
Come back, come back, your regret, your.

Speaker 31 (01:55:17):
Regreted, that's the story.

Speaker 26 (01:55:25):
It was so jittery.

Speaker 31 (01:55:26):
I went to a ditch just outside of town and
had to run the west.

Speaker 26 (01:55:29):
Of the way.

Speaker 5 (01:55:30):
I don't care whether you believe me or not, whether
you think I'm nuts, what you do to me. I
just want one thing. Get me away from here. Get
me far away fast, because he's going to be coming
after me.

Speaker 4 (01:55:40):
I know it.

Speaker 29 (01:55:43):
I'm not saying what I think.

Speaker 61 (01:55:45):
Not yet.

Speaker 54 (01:55:47):
What about you, doctor Garden, I wouldn't like to say either.
Knowing fans, I believe he's capable of everything Sullivan Torlas.
Theoretically everything he described is no.

Speaker 3 (01:55:59):
I told you, I don't care whether you believe me
or not.

Speaker 63 (01:56:01):
Just get me away from here. I can't for an
hour or so. I have to call Prichet and have
them send down some men and we can really go
into this. The meantime, I'll I'll put you in one
of the detention sales.

Speaker 5 (01:56:12):
You'll be okay. There are they strong, really strong.

Speaker 63 (01:56:15):
Planning is strong enough to keep you in and anyone
else out come on.

Speaker 3 (01:56:29):
Argon tay Cock not to come in at about time.

Speaker 30 (01:56:35):
They didn't.

Speaker 3 (01:56:36):
Hey, can't you hear me, sergeant?

Speaker 19 (01:56:40):
Not the come.

Speaker 3 (01:56:44):
Uh oh gee, sage. I would starting to get a
little worried.

Speaker 26 (01:56:49):
I was.

Speaker 31 (01:56:51):
You, yes, Sellah, that you didn't really think you were
going to get away, did you?

Speaker 41 (01:56:57):
What are you gonna do?

Speaker 3 (01:56:59):
You can't the way I think the cell doors locked it.
Let's see you see you can't break it down. You can't.

Speaker 31 (01:57:08):
It's steal, yes, Sullivan. But steel can be smashed if
it has to be. No, I told you you'd regret
running away, didn't.

Speaker 3 (01:57:17):
No, I'll look, I'll come back. I'll do anything you
want to.

Speaker 31 (01:57:19):
I'm afraid it's too late, Sullivan, too late for anything.
But this, doctor, Cardon, did you hear it too?

Speaker 26 (01:57:31):
I'm not sure it did sound like way quick?

Speaker 6 (01:57:38):
Good lord, look.

Speaker 26 (01:57:40):
At the cell door ball and Sullivan he smashed like
a nightshell. Well, Sergeant, I guess I must be nuts too.
All right, look, Doc, you must have just left you.

Speaker 63 (01:57:54):
If we wait for the men from Bitch and give
them time enough to get back to his place, of
those blasted gray things of his, there's no telling what
he know, how many lives are gonna cost. But if
we leave right now, the two of us, maybe we
can get there before him cut him off.

Speaker 26 (01:58:05):
What do you say your game? I'm game, sergeant, Let's go.

Speaker 29 (01:58:16):
Yeah, that must be it.

Speaker 54 (01:58:19):
Right ahead, the laboratory is probably run and back. Well, sergeant,
the lights are on.

Speaker 64 (01:58:25):
Yeah, maybe he left them on when he came into town,
got Sullivan. Oh no, listen, he's back. We're too late.

Speaker 58 (01:58:36):
What in Heaven's name is that an electrostatic generator or
a cyclotron?

Speaker 31 (01:58:42):
He's o good, Lord, put the mountain there, look.

Speaker 10 (01:58:48):
Great, Scott, looks like a whole or something.

Speaker 54 (01:58:52):
But he's moving a neutron beam, disintegrating, eating its way
into the mountain.

Speaker 26 (01:58:58):
He must have found some way of harness.

Speaker 3 (01:59:00):
Hurd of Garden swinging his way, must have seen him.

Speaker 26 (01:59:02):
Come on, run, look good, sergeant. Seems to have a
range of almost half a mile. But but you solid
rock that way.

Speaker 17 (01:59:08):
But hits us.

Speaker 30 (01:59:14):
You came to see just what Vance was doing.

Speaker 26 (01:59:19):
You better take a good look the less one.

Speaker 21 (01:59:21):
You'll never take it any day.

Speaker 5 (01:59:23):
Well you shall be the first you think that you
were gonna get away with Advance. Who's that?

Speaker 67 (01:59:29):
Take a look at the guy.

Speaker 21 (01:59:31):
It's too much.

Speaker 44 (01:59:33):
Cut that down, and what will happen when you release
the load.

Speaker 26 (01:59:36):
But I've got to cut it down.

Speaker 3 (01:59:38):
Besides, that's because I'm there that you join me.

Speaker 40 (01:59:43):
You can't do it alone.

Speaker 21 (01:59:45):
Too heavy, But.

Speaker 26 (01:59:48):
The times at the higher. But it's got to cut
that down to doctor Garden, Doctor Garden.

Speaker 5 (02:00:16):
Where are you over over here?

Speaker 9 (02:00:18):
Sargink you all right?

Speaker 26 (02:00:21):
A little shaken up? Yes, I'm all right.

Speaker 29 (02:00:24):
Laboratory, whole house.

Speaker 54 (02:00:28):
Look, Yes, what happened something, something got out of control
too much centrifugal forcer.

Speaker 26 (02:00:36):
But the load released too suddenly and the whole thing exploded.

Speaker 54 (02:00:40):
Now there are things that we'll never know except something
when you already that science can either be man's servant
or his master.

Speaker 26 (02:00:49):
And his doom.

Speaker 62 (02:00:56):
And as I stand there gazing at the smoking ruin
that were once laboratory, through the blessed silence, comes the
distant clang of the clock in the town's church, deepen
for the second time, striking.

Speaker 17 (02:01:09):
Twelve four Murder.

Speaker 9 (02:01:14):
Midnight.

Speaker 62 (02:01:49):
Remember to be with us again when death hovers like
a dark cloud and the clocks strike twelve four murder.

Speaker 8 (02:02:00):
Men.

Speaker 62 (02:02:12):
The part of Shiel Sullivan was played by Frank Reddick,
with music by Charles Paul. Murder at Midnight was directed
by Anton m.

Speaker 13 (02:02:21):
Leader Missus Austin Wells, speaking from London, the Black Museum

(02:03:20):
Here in the Grimstone structure on the Thames, which houses
Scotland Yards, He's a warehouse of homicide. A warehouse with
an a parchment lampshade and automobile tire, a canvas toppel
and an umbrella. Or are touched by murder.

Speaker 15 (02:03:42):
I has a dictionary.

Speaker 13 (02:03:43):
It's a familiar object French into English, English into French.
Every high school student or the peopleooks are like the
word here phrase there may I see, thank you, thank.

Speaker 9 (02:03:52):
You may have seen.

Speaker 13 (02:03:52):
Of course, a youth common the most young men in
country is not terrorile.

Speaker 47 (02:04:01):
Uh you found fer that that passionate kis what that
means the in the l book.

Speaker 44 (02:04:08):
At one moment that your dame, I mean I love you.

Speaker 2 (02:04:18):
Now today.

Speaker 13 (02:04:19):
The dictionary can be seen in the Black Museum any way,
I I'm a black museum. It's gotta art museum of

(02:04:42):
merdis not a bad present place, but it's interesting. An
heir lies death. The people who conceive this brace could
wish to raise the memorials of death he are collected
under one roof uh. The mementos of the murders from
over a hundred year. The darts a feathered uh made

(02:05:03):
for pleasure, for laughter and friendly taver. This tiny metal
tip was tipped in steinhi a twist of or as
reckular elbow. A dark ord and it's spectator was scratch
was an accident, an accident, Uh murder? Ah here we
I'm a dictionary. You want the English for a French

(02:05:25):
words and it is uh the French for a word
in English? A hear nice idea? Only one book's great convenience,
particularly for jour Garache rather bit of trouble, expressing himself
to Betty Brown on the beach in southern France. One
warm in the.

Speaker 5 (02:05:39):
South Island.

Speaker 47 (02:05:43):
Is oh mean sounds so much?

Speaker 11 (02:05:46):
What's passionate too?

Speaker 29 (02:05:49):
What's that mean?

Speaker 25 (02:05:50):
Uh?

Speaker 44 (02:05:50):
In the it's a book at one moment, Uh your
deme we I love you.

Speaker 11 (02:05:57):
Write you be?

Speaker 13 (02:06:00):
It was love out of the dictionary in the summer
in southern France. Cause this was in twenty three, nine
ty three. That date's important simply because radio and broadcasting
were just beginning, and Jigamage was something of an electrical engineer,
and thank he was the only man in the little
French eeaside town who was able to bring music out
of the air.

Speaker 44 (02:06:20):
Luke gunning, Luke or how you see on me?

Speaker 40 (02:06:24):
Duke Cat's whisha that's so so?

Speaker 44 (02:06:27):
But no man say equity.

Speaker 47 (02:06:29):
Oh Jill, I you said the eclasy can he's tiny's
got the air?

Speaker 11 (02:06:35):
Uh you say you op option?

Speaker 45 (02:06:41):
I loved you, I mushed, hope you no to day anyway.

Speaker 13 (02:06:48):
Out a clever Frenchman who Kneway's worry about with women?
An english woman vacationing in France.

Speaker 21 (02:06:56):
Why was she there?

Speaker 22 (02:06:58):
Oh, power as a manager, but better to be I've
never had the breakdown, I've never come to talk. I've
never met you, and your mother's.

Speaker 13 (02:07:12):
That was it there Also, t items come to an
end someday, and someone comes to an end. At least
that's the correct calculation. That's the way that he calculated.
Without thinking of her jewel.

Speaker 47 (02:07:24):
We must I have to gut her.

Speaker 44 (02:07:29):
I come also you that's impossible.

Speaker 13 (02:07:36):
I know the usual size and protestations. Of course. It's
a brief interlude that it was a trifle saddened to
let it go, after all, when a woman is crowding
ford it and she went home anyway, the suffix to
the binacle end to security of sorts and to her husband.

Speaker 9 (02:07:54):
Hell, that has been too bad.

Speaker 64 (02:07:59):
While you went away.

Speaker 40 (02:08:00):
See all the rooms are left this week, and the
bar trade was fine.

Speaker 47 (02:08:04):
I don't say you did all right by the bar.

Speaker 40 (02:08:06):
And landlord's got to be social girl, and why his
customers go somewhere else.

Speaker 47 (02:08:10):
There's a different house between social and drunk.

Speaker 9 (02:08:14):
Get around that.

Speaker 40 (02:08:15):
I take a drop down and then I don't get drunk.

Speaker 25 (02:08:19):
Yeah.

Speaker 40 (02:08:20):
Well, another customer.

Speaker 44 (02:08:24):
And on the terror side of the Oh, how can
I help you, sir? I have I say, well, mom,
it is I have kind of work.

Speaker 40 (02:08:38):
I have come to stick.

Speaker 29 (02:08:40):
What do you know a froggy?

Speaker 40 (02:08:43):
They please to have your monster, and it may I
ask how you found him?

Speaker 44 (02:08:52):
Madam Brown?

Speaker 21 (02:08:53):
Is the.

Speaker 44 (02:08:55):
Select content?

Speaker 68 (02:08:56):
He did not so that we have met him, province
with him.

Speaker 13 (02:09:06):
The little French woman to the man mad with love.
I just a little touched in the hand. In any case,
he comed just as he said, stay as he explained
it to our Brown.

Speaker 40 (02:09:18):
I am, how you say an inventor?

Speaker 69 (02:09:22):
I have much great idea, surema, sure, but do you
make any money to make money? He didn't come bompard
money my shillings, frank.

Speaker 44 (02:09:36):
Oh, like now I wake from Canada much money?

Speaker 40 (02:09:40):
And what your inventor get?

Speaker 69 (02:09:42):
All this spokeul money the wireless. I am in the
wireness very much injurant.

Speaker 40 (02:09:48):
Well, mon here if you can get music out of
the air, maybe you can get some money out of
the same place to pay what you are. Huh, you're
being here a month now and we haven't. He's a
shilling on your board.

Speaker 5 (02:10:01):
Bill would be Come on.

Speaker 13 (02:10:04):
There was another conversation shortly thereafter on the same subject,
if not exactly on the same light level.

Speaker 40 (02:10:11):
He's your friend, We've got to.

Speaker 21 (02:10:14):
Have some money.

Speaker 47 (02:10:14):
I cannot ask him for money, even if a friend
yours not mine.

Speaker 40 (02:10:20):
He doesn't take walks with me in the afternoon. I'm
not suggesting, deary, I'm telling you get some money out
of him or out he goes. You're supposed to be
the business head in his family, all right, tend of business.

Speaker 13 (02:10:34):
Here well before the first time for everything they say.
For the first time hour was in the driver's seat.
He knew it, so did Betty know it. And one
of their afternoon walks, she said as much to you.

Speaker 69 (02:10:47):
You we must say after that he miss doing that
in jams after me eh to get money from you.

Speaker 21 (02:10:57):
Else.

Speaker 12 (02:10:58):
I'm defending this.

Speaker 11 (02:10:59):
That will be real house both out.

Speaker 14 (02:11:02):
And he was out of about Fanny.

Speaker 11 (02:11:05):
He holds with hands.

Speaker 44 (02:11:06):
Don't you understand we wait moment?

Speaker 12 (02:11:10):
Uh out you not?

Speaker 44 (02:11:12):
That said focus youngness I said more.

Speaker 69 (02:11:15):
Look, believer, Uh I have it like an englishman, soul
asked when they stee his wife but not altered him.

Speaker 13 (02:11:26):
Mummy Jewel was so company, to say the least, he
behaved as if he had a plan.

Speaker 2 (02:11:48):
He said to hell.

Speaker 21 (02:11:50):
Never feel when I mean in a few days.

Speaker 70 (02:11:53):
But who do you like we to?

Speaker 21 (02:11:56):
Betty?

Speaker 44 (02:11:56):
He said with him, do not here, only will be wet.

Speaker 13 (02:12:02):
A quiet New Year's morning routine of the incontinued, minus
the overtired over sleeping maids. After a while, the Master
came grumbling down the stairs.

Speaker 42 (02:12:14):
Hey, where are you.

Speaker 11 (02:12:20):
Look at the stone?

Speaker 40 (02:12:21):
Let him go his room?

Speaker 44 (02:12:22):
Then perm into my show where you wish for me
to go?

Speaker 11 (02:12:28):
No, I know that.

Speaker 40 (02:12:30):
So long as you wait, I don't care one way
or another. Where my fat You know I can't start
a day without miss fault.

Speaker 22 (02:12:39):
I know here there where you'd expected to be.

Speaker 9 (02:12:42):
I'm a micro self, you know, a plow Yes, I forgot.

Speaker 40 (02:12:47):
If I may disturb you.

Speaker 44 (02:12:51):
But of course the chair before the fire. Very nice
play seven months when he dies.

Speaker 40 (02:12:57):
It so very good? Fight your heck, Bessie, see that
guarded there? Where's that tablespoon? And some water?

Speaker 45 (02:13:11):
Oh?

Speaker 13 (02:13:14):
Julgar match? Stood in the bay window and watched the
little domestic scene. Occasionally he riffled through his ever present dictionary,
as if for a word to describe the events he
was watching. Such inconsequential little event. Betty came trotting back
from the kitchen with a table spoone a pitcher of
water she put on the table alongside the salt, the

(02:13:34):
glys I'll measured his own dosage, putt it into the glass.
Then he put it in the water. Almost mockingly, he
raised his glass as if in a toast the frenchman
standing nearby and down the country the glass.

Speaker 40 (02:13:51):
Oh oh those salt they spitter this morning.

Speaker 44 (02:13:56):
Yeah they are never sweet.

Speaker 40 (02:13:58):
No, nothing sweet about him, So I complained.

Speaker 35 (02:14:00):
There you had not to think unusual last night.

Speaker 11 (02:14:03):
So the faults tastes more bigger than usual.

Speaker 44 (02:14:08):
One hour later, baby Patty, get some help.

Speaker 42 (02:14:13):
Oh it's the cramp awful.

Speaker 21 (02:14:16):
Oh oh and it comes.

Speaker 11 (02:14:21):
I thought you get it.

Speaker 26 (02:14:24):
Go.

Speaker 11 (02:14:24):
The cook's say, I will play my English.

Speaker 67 (02:14:27):
It is not good, not at all.

Speaker 71 (02:14:31):
My feet, my feet page who they're.

Speaker 12 (02:14:35):
Trying me crazy?

Speaker 40 (02:14:37):
The pain, the pain, And.

Speaker 13 (02:14:44):
Shortly thereafter Alsie Brown was quite dead, and so they
trying to do reached its climax. I'm playing it a
little plan, and I'm trying to do with a certain dictionary, which,
as I told you, can be seen today in the
Black Museum. Doctor Westcut, the local physician, was called at once,

(02:15:16):
but far too late. Half Brown was past help. The
doctor listened gravely of the story. Is very told it
to him while Juel stood by. But then a picture
of solicitude.

Speaker 12 (02:15:28):
He went so quick, and it's a crap closed the
strangest thing.

Speaker 34 (02:15:37):
When he cried out with his.

Speaker 12 (02:15:41):
It was almost the lasting.

Speaker 4 (02:15:42):
He said, that's right, we should have the where is
the show? It's an interesting symptom pecuriar, one particular poison.

Speaker 9 (02:15:54):
So this household will come by that.

Speaker 4 (02:15:56):
I haven't the slightest idea.

Speaker 12 (02:15:59):
Started it with his sauce.

Speaker 18 (02:16:01):
Well, they did complain that they tasted more bitter than usual.

Speaker 4 (02:16:04):
Anything else, missus Brown, No, no, nothing else.

Speaker 27 (02:16:11):
Confused, but what.

Speaker 4 (02:16:13):
Poison etching feet bitter taste great pain?

Speaker 60 (02:16:18):
Or did they?

Speaker 9 (02:16:19):
All points are strictening, But.

Speaker 4 (02:16:21):
Of course we won't be able to know for certain
us who there's been a post mortem. I can't sign
the certificate under these circumstances. I have to notify the
coroner and the police. Now I think an ex precaution
is for you to give me the bottle, the spoon.

Speaker 9 (02:16:35):
And the glass into my charge.

Speaker 4 (02:16:37):
Where are they, mister Kamash, do you remember?

Speaker 40 (02:16:42):
Urgent?

Speaker 44 (02:16:42):
Sit Madam Gin, Come Pombo.

Speaker 69 (02:16:45):
Come missus brand and I'll put yourself together. You want
to catch the party you poisoned your husband.

Speaker 46 (02:16:50):
Don't you?

Speaker 13 (02:16:50):
Perhaps there was a better question than That's so west
could realize it was pure rhetoric of that moment, as
he was concerned across the widow wanted to catch the murderers.
Still took a bit of concentrated prodding of Betty's memory
until she said, I turn now, Doctor.

Speaker 11 (02:17:06):
I put them in the drawer of the kitchen table
when I left, also promote perfection, tea and soda. I
thought it might help.

Speaker 13 (02:17:12):
They found the bottle in the grass and the spoon
and the kitchen table drawer. The doctor looked at them closely.

Speaker 9 (02:17:18):
Someone has washed these.

Speaker 4 (02:17:20):
Suddenly there are still traces of water in the bottle
and the glass.

Speaker 29 (02:17:24):
Missus Brown, I'm going to the.

Speaker 13 (02:17:25):
Police at once, and doctor Westcott went to the local police.
The local police went to Scartland yard. Betty Brown went
to jewel camche Ah, you did too.

Speaker 9 (02:17:40):
I don't know how, but you.

Speaker 4 (02:17:43):
Che unperceived you did.

Speaker 11 (02:17:47):
You killed Alphie and you stayed right there.

Speaker 44 (02:17:51):
Betty, you are most how is it?

Speaker 25 (02:17:55):
You are most hysterical?

Speaker 44 (02:17:57):
You know I do not kill your Outphie.

Speaker 48 (02:17:59):
You must not.

Speaker 12 (02:18:00):
I know I felt you killed him.

Speaker 43 (02:18:03):
Go awhere to go?

Speaker 23 (02:18:05):
I never want to see you get.

Speaker 13 (02:18:14):
Sadly as if overwhelmed by the unpredictability of women, Julga
Mash packed his things and left the binnacle in But
he didn't go fire, just to the next village.

Speaker 17 (02:18:24):
And the next.

Speaker 13 (02:18:24):
In there he waited and watch, waited to hear from
his beloved, now widowed's Betty waited for development in the case,
which the colonel's jury had labeled death at the hands
of person or person's unknown. The developments were not long
in coming.

Speaker 69 (02:18:43):
My name is West is around Inspector West Scotland yard
in my credatials. Yes, sir, I have a few questions,
particularly concerning to dispose of the poison.

Speaker 47 (02:18:54):
I tried to ask the inspector, do you.

Speaker 4 (02:18:56):
Know who washed out the bottling glass?

Speaker 14 (02:18:58):
Now I'm sad I don't.

Speaker 11 (02:19:00):
I left them in the kitchen.

Speaker 47 (02:19:02):
We're all s upset by put off his suffering.

Speaker 14 (02:19:04):
We will love a hysterically.

Speaker 4 (02:19:05):
I'm afraid I understand no idea on that I see.
They told me, Missus Brown, have you ever used any
kind of weed killer.

Speaker 72 (02:19:13):
In the gardener?

Speaker 13 (02:19:14):
This inn nursa not that I know.

Speaker 4 (02:19:17):
Are poison for rodents, rerets, mice ands on nursa.

Speaker 47 (02:19:21):
We've never been troubled by such.

Speaker 4 (02:19:23):
Have you any idea who might have wanted to kill
your husband.

Speaker 9 (02:19:26):
Missus Brown?

Speaker 31 (02:19:27):
No, I haven't.

Speaker 2 (02:19:29):
Thank you very much, mister Brown, if I could.

Speaker 13 (02:19:31):
The inspector left the front of the house, so to speak,
and visited below stairs. He had a nice talk with
a cook over a cup of tea.

Speaker 4 (02:19:41):
Missus Davis, did you wash out the soul's bottle?

Speaker 27 (02:19:43):
No?

Speaker 22 (02:19:44):
Why should I? I've got enough work, and that was
New Year's Day. The maid didn't come in. I had
to clean up too. Pity, not much of the New
Year in this house.

Speaker 4 (02:19:54):
Did you notice the bottle at all?

Speaker 22 (02:19:56):
I remember saying to missus Brown that there wasn't much
more than the tables been left in it, and perhaps
you better order another bottle in case mister Brown was
getting mad if he had none.

Speaker 4 (02:20:07):
Now this is important missus Davis, can you place anyone?

Speaker 73 (02:20:10):
And you?

Speaker 4 (02:20:10):
Were it all in this kitchen between the time Missus
Brown bought the bottle in here and the time doctor
Wescott to get away.

Speaker 22 (02:20:17):
No one but the Frenchman, Sir, mister gomsh I seemed
to remember. I wasn't want to get him the note
shovel unless he deserved it.

Speaker 12 (02:20:26):
But he did come in here and jabbrectly, And then
he used.

Speaker 13 (02:20:30):
His little book, little book.

Speaker 11 (02:20:32):
He's got a dictionary, looks at the French.

Speaker 22 (02:20:35):
And finds the English right comically as sometimes I see.

Speaker 4 (02:20:40):
Then he looked in his dictionary and he said bock.

Speaker 31 (02:20:44):
He said something else.

Speaker 11 (02:20:46):
I didn't pay much attention. I just pointed at the
kitchen drawer.

Speaker 4 (02:20:50):
Did he take the bottle out of the door?

Speaker 14 (02:20:52):
I wouldn't know, sir.

Speaker 11 (02:20:54):
For all I know, he just wanted to be sure
it was in a safe place.

Speaker 14 (02:20:58):
I heard him open. And how was the draw that
was all where he went there?

Speaker 21 (02:21:03):
Did he have a chance to put it back?

Speaker 14 (02:21:05):
Not said chances? How was that busy running in a hour?

Speaker 21 (02:21:09):
That's too bad?

Speaker 15 (02:21:10):
Oh?

Speaker 13 (02:21:10):
Excellent t The Inspector was never a man to accept
loose ends. He ran all his leads to earth. This
is the approach which brought him finally to where Zulagamash
was staying.

Speaker 4 (02:21:21):
Do you accuse me, Inspector, merely asking routine questions, mister Gomsh,
Did you have any reason to dislike or resent mister Brown?

Speaker 25 (02:21:27):
None?

Speaker 20 (02:21:28):
No, but of course not.

Speaker 4 (02:21:30):
Have you ever had any strickening in your possession?

Speaker 15 (02:21:32):
No?

Speaker 29 (02:21:33):
But why should I?

Speaker 4 (02:21:34):
I can't say, sir, I can only try to fill
in the blank spaces. Someone you see, gave mister Brown
the opportunity to poison himself. That kind of gift is murder, mister.

Speaker 44 (02:21:44):
Gomsh, that you're more, I'm afraid.

Speaker 4 (02:21:46):
I'm just asked you to remain in England so until
the case is closed.

Speaker 69 (02:21:49):
But for me this will be a pleasure, I assure
your Inspector. I wish to see vengeance on this murderer.
I loved mister Brown almost as a brother.

Speaker 13 (02:22:08):
So there at once a smooth, blank wall for Scotland
Yard to face and search for some crank Somewhere, the
interest in the case immet down. Nothing was happening.

Speaker 9 (02:22:17):
Then the newspapers spector a lead.

Speaker 13 (02:22:19):
Something so fantastic. The men assigned to watch the vinakel
en in his neighborhood hardly believe their own ears. It
seems that Jeor Gamache began to write letters and the police.
There is one suspect who had not been questioned, a
man long subject to Alfred Brown's whims and temper, the

(02:22:42):
potwasher at the inn, known to me only as Jeans.
I point the finger of suspicion observed gentlemen of Scotland
Yard the comings and goings of Monsieur.

Speaker 69 (02:22:57):
Afa book Field solicit that to Madame Brown this man
he then dount of her at all hours.

Speaker 9 (02:23:04):
Certainly not all of this can be on.

Speaker 13 (02:23:06):
Bidney was jealousy entering the picture.

Speaker 29 (02:23:08):
Now.

Speaker 13 (02:23:11):
The letters aroused a good deal of attention once they
leaked to the newspapers, and such things have a way
of doing. Juel Gamash was quite pleased when the reporters
swarmed about him. The photographers took his picture many times,
many proses. This was fame at last for an impoverished
invendor living on his wits.

Speaker 4 (02:23:34):
Comings Up, you asked to see me on the Brown case.

Speaker 9 (02:23:38):
Yes up, my name is Scott.

Speaker 40 (02:23:42):
I'm the owner of a chimist shop.

Speaker 44 (02:23:44):
In Woking, not too far from the binicle in is
It had just.

Speaker 9 (02:23:47):
Far enough to miss some of the news.

Speaker 44 (02:23:49):
But this morning I saw this newspaper.

Speaker 4 (02:23:53):
Yes, yes, our French framed.

Speaker 15 (02:23:55):
Do you know him?

Speaker 42 (02:23:56):
He was a customer of mine.

Speaker 44 (02:23:58):
There's a few weeks back, just before Christmas.

Speaker 17 (02:24:01):
To go on, mister Scott, he asked for stricken him.

Speaker 6 (02:24:05):
What excuse did he give?

Speaker 40 (02:24:07):
With something about experiments and the wireless He kept consulting.

Speaker 4 (02:24:12):
A small English French dictionary to express himself as the
wireless is that's the new excuse or a while they
should think the wireless operations in Teil. The use of
poisons is beyond me. Did you sell him any I did?

Speaker 40 (02:24:26):
I made him sign the poison book.

Speaker 4 (02:24:29):
The name he used was mister Scott. Do you think
you can identify this man among a dozen others?

Speaker 69 (02:24:41):
Well, mister Scott, that he's her, the short fellow with
the bright black eyes.

Speaker 4 (02:24:47):
Thank you, mister miss Silikim Mosur.

Speaker 44 (02:24:52):
How you say one moment?

Speaker 9 (02:24:54):
Its uh?

Speaker 44 (02:24:56):
It is a pleasure that we meet again.

Speaker 4 (02:24:58):
Use camesh. I have a warn't for your arranged on
a charge of wilful murder. I must warn you that
anything you may say.

Speaker 13 (02:25:07):
Well that's the story. And today the dictionary, which played
its part in that story can be found in its
place in the Black Museum. Truly a strange, impassioned little man,
as Julga Mash is, half crazy, half sane. You wonder

(02:25:28):
about him, and you know, to add to the dilemma
of his personality is one last point. While Jules was
awaiting execution, he wrote another letter to inspect A West,
stating that shortly after the death of al Brown, he
usual saw a woman. Whether the woman was the cook
or his beloved Betty, didn't know secrete something behind some

(02:25:52):
loose bricks in the garden wall at the Binnacle Inn.
Because the police investigated, they found two s or jugs,
one with crystalline stricken in it and the other was
a solution of the same poison. Our question is, did
your Gamache put those drugs there himself or did one

(02:26:15):
of the women? And if the latter, why did Gamache
wait until just before his death to reveal this? Was
it some odd form of gallantry? Well, I guess no
one will ever know. And now until next time, until
we need in the same place and I tell you
another story about the Black Museum, I remain as always

(02:26:40):
obedient for yours.

Speaker 61 (02:27:09):
The New Tool Broadcasting System presents The Mysterious Claver, written produced,
and directed by Robert A. Arthur and David Doggan, and
starring tonight two of radio's foremost personalities, Adelaide Prime and
Mason Adams, in an original radio drama titled The Visiting Court.

Speaker 26 (02:27:36):
This is the.

Speaker 74 (02:27:36):
Mysterious Traveler inviting you to join me on another journey
unto the realm of the strange and the terrifying. I
hope you will enjoy the trip, that it will tread
you a little and chew you a little. So settle back,
get into the scrip on your nerves, and recomfortable if
you can, as we meet.

Speaker 31 (02:27:58):
The visiting of.

Speaker 74 (02:28:12):
Our story begins late one night in the modest suburban
home of Albert Jordan's Albert, a miad looking man in
his early thirties, is tossing restlessly in his sleep. Now
in any moans and speaks as having a nightmare.

Speaker 9 (02:28:30):
Oh, leave me alone.

Speaker 19 (02:28:34):
I don't want to hear anymore.

Speaker 74 (02:28:36):
Leave me alone.

Speaker 19 (02:28:39):
Over my eyes.

Speaker 40 (02:28:41):
I'm under your weight. Oh I think my only.

Speaker 14 (02:28:44):
Child to alone.

Speaker 47 (02:28:50):
There was so many many get to marry, and he
had to be tricked into marriage by you.

Speaker 9 (02:28:56):
Oly me only me alone.

Speaker 75 (02:29:00):
Let me wake up?

Speaker 30 (02:29:02):
What oh.

Speaker 36 (02:29:06):
Oh, having a nightmare, Dear, you don't want to wake
mother up. Who's a good night's case. Let's at home tomorrow.

Speaker 21 (02:29:13):
Yes, the trip we we mustn't whether mess her train
or you mustn't hear here.

Speaker 14 (02:29:19):
But whenever in the world is rule with you?

Speaker 21 (02:29:22):
Oly.

Speaker 15 (02:29:23):
I wish you were already tomorrow and you were gone.

Speaker 14 (02:29:31):
Are you sure you have everything?

Speaker 76 (02:29:33):
Mother?

Speaker 47 (02:29:33):
Yes, Louis, Dear, everything I need to my trip home
is in his handbag.

Speaker 15 (02:29:37):
Now.

Speaker 47 (02:29:37):
Don't forget to ship my trunk now.

Speaker 36 (02:29:39):
The express man will be here to pick it up
this morning.

Speaker 9 (02:29:41):
Mother.

Speaker 47 (02:29:41):
Thank you, darling.

Speaker 21 (02:29:42):
It's almost nine o'clock. Mother, you'll miss your train.

Speaker 47 (02:29:45):
I have never missed a train in my life. She
needn't be too anxious to get rid of me now.

Speaker 11 (02:29:50):
But oh so, Louise, Darling, I do hate leaving you
alone like.

Speaker 14 (02:29:55):
This, really, Mother? Are they all?

Speaker 47 (02:29:57):
If you say so?

Speaker 40 (02:29:59):
Old?

Speaker 47 (02:30:00):
But I'll be writing to you every day, and if
he abuses you, just stop me.

Speaker 26 (02:30:06):
No.

Speaker 48 (02:30:07):
Goodbye, goodbye mother, and take care of and don't forget, Louise.

Speaker 15 (02:30:14):
Mother will come back if you need her.

Speaker 21 (02:30:16):
Yes, Mother, goodbye, Louise.

Speaker 25 (02:30:19):
If yourdmother pays us just one more visit I'll leave
the top and I'll never come back.

Speaker 14 (02:30:24):
But it's only natural that mother should want to visit me.

Speaker 48 (02:30:27):
I'm the only one.

Speaker 12 (02:30:28):
She hasn't a word.

Speaker 21 (02:30:29):
Yes, but she doesn't just visit her. She lives with it.
In the past year, she spent eight months whether she
has a clothes he or at Keith in the house.

Speaker 25 (02:30:35):
Why she's even listened in the phone book under our number.

Speaker 70 (02:30:38):
Please.

Speaker 14 (02:30:38):
Now that she's gone, now, let's not quarn.

Speaker 21 (02:30:41):
Yeah, she's gone now, but in two or three weeks,
you can be sure she'll come back to spend.

Speaker 15 (02:30:44):
A few months with it. I'm warning in Louise, I won't.

Speaker 21 (02:30:48):
Feel responsible for what happens if she keeps coming back.

Speaker 5 (02:31:00):
Mmmmm, let me see.

Speaker 15 (02:31:02):
Send off the truck.

Speaker 21 (02:31:03):
Well, that's one job I can enjoy doing.

Speaker 15 (02:31:07):
Missus.

Speaker 21 (02:31:08):
Heather rode them one two five River Road, Burndale, Pa.

Speaker 47 (02:31:15):
Oh, that won't be necessary, Albert.

Speaker 21 (02:31:17):
But I come to remain here, mother, But do you
want to catch your train?

Speaker 47 (02:31:22):
I changed my mind about going. I won't leave my
little girl alone. I'm sure she needs me.

Speaker 12 (02:31:28):
Where's Louise?

Speaker 15 (02:31:29):
She she went downtown.

Speaker 21 (02:31:31):
Oh so you've come back again.

Speaker 47 (02:31:35):
You've always wanted to get rid of and they having you, Albert,
to keep me away from my only child.

Speaker 21 (02:31:41):
But I refuse to give her up.

Speaker 11 (02:31:43):
I've come back and I'm paying for goodness.

Speaker 47 (02:31:47):
And then I'll be sure that Louise is being well treated. Frankly,
I don't crust you.

Speaker 21 (02:31:52):
You don't trust me?

Speaker 14 (02:31:53):
No why I don't even know your background.

Speaker 48 (02:31:57):
You were a complete stranger when you cassed poor Louise
to a local you a year ago, and so I
know you.

Speaker 14 (02:32:01):
You may have criminal.

Speaker 25 (02:32:02):
Tendencies, I said, no matter, not a criminal in all
of us. Most people can control their worst instincts, but
some can't.

Speaker 48 (02:32:12):
And I'm here to see you but that no one
harms a weed.

Speaker 21 (02:32:14):
But it was going to look out for you, muddy Albert.

Speaker 47 (02:32:20):
Why are you looking at me so queerly?

Speaker 21 (02:32:23):
I are you sick? Yeah, Mother, I'm sick, sick of
the sight of you.

Speaker 37 (02:32:29):
You have.

Speaker 47 (02:32:30):
You must control yourself. I wanted to go to your
room and want to lie down.

Speaker 25 (02:32:33):
No, you had to keep coming back, mother, and keep
giving me.

Speaker 47 (02:32:36):
A looking at me that way? Do you seem like
another person?

Speaker 21 (02:32:42):
I am muddy.

Speaker 25 (02:32:44):
You wouldn't let what was decent let me live, and
now you must take the concert.

Speaker 14 (02:32:49):
Fairways coming don't you dare come hear me?

Speaker 15 (02:32:51):
You would keep coming back, mother, when you're paying back?

Speaker 9 (02:32:54):
Just one.

Speaker 25 (02:32:57):
Have taken that train. But I'm now I know you
won't be coming back. You won't come back ever again.

Speaker 15 (02:33:04):
You won't, you won't. I didn't want to kill you,
but you made me.

Speaker 21 (02:33:11):
I've got to get rid of him. The approprom the trunk, Yes,
it's large enough. The k here in her handbag.

Speaker 15 (02:33:22):
Even in death.

Speaker 21 (02:33:23):
You're a problem, mother, But you won't sleeve her long. No,
I'm just it's clothing around here tightly.

Speaker 47 (02:33:35):
I got it.

Speaker 15 (02:33:36):
I don't want to get rid of the trunk.

Speaker 21 (02:33:40):
The trunk. I've got to get a clothed.

Speaker 14 (02:33:44):
Yes, dear, oh, I see you're locking the trunk.

Speaker 21 (02:33:47):
Yes, I uh, I was getting ready for the expressman.

Speaker 14 (02:33:50):
I should be here now. How it is anything wrong?

Speaker 21 (02:33:54):
Well?

Speaker 47 (02:33:55):
What do you mean, Louise, I don't know your face.

Speaker 14 (02:33:58):
You're so fluff.

Speaker 21 (02:33:59):
It's it's just a little warming here.

Speaker 48 (02:34:00):
And of course, look, we forgot to tack mother's robe.

Speaker 14 (02:34:04):
I know she'll want it.

Speaker 48 (02:34:05):
I'm sure you'll have to open the trunk again out No, I.

Speaker 21 (02:34:08):
Mean, I mean the trunk is full already. We couldn't
get anything else in it.

Speaker 14 (02:34:12):
Nonsense, Well mother and I packed it was only.

Speaker 21 (02:34:14):
Hosp Please open it, but it's locked and your mother
has the key.

Speaker 48 (02:34:18):
Yes, you're right, Well we just had to mail the
robe to her.

Speaker 14 (02:34:22):
I'll answered the door. It must be the expressman.

Speaker 48 (02:34:25):
Make sure the tags are on.

Speaker 29 (02:34:26):
It, dear peg.

Speaker 21 (02:34:27):
You can't go to it home, Todly, I had time
just to think.

Speaker 17 (02:34:31):
Wait, yes, that's the only thing to do.

Speaker 15 (02:34:33):
I'll make out new tag.

Speaker 14 (02:34:40):
The expressman's bag and has truck up the door out.
But have you got the tags already?

Speaker 21 (02:34:44):
I'm just finishing him.

Speaker 14 (02:34:46):
Yep, all right, let me teach you have the address right, somebody,
just don't forget me.

Speaker 15 (02:34:51):
Not the ways you needn't bother.

Speaker 25 (02:34:52):
Of course, the tags are made all right, now stand aside.
I'll carry the trunk to the door.

Speaker 14 (02:34:56):
Let's the expressman do it out. But that's what he's
been paid for. And I really you don't want to
check the address on the tag, No, Louise, please, al
but I'm just playing stage.

Speaker 48 (02:35:06):
But Steve's tags are addressed to missus William Smith, three
forty five Wood Streets.

Speaker 21 (02:35:14):
Not thinkers, but they are.

Speaker 14 (02:35:17):
They certainly are.

Speaker 47 (02:35:18):
Because you're thinking now.

Speaker 21 (02:35:20):
I don't know, Louise, but I'll change them.

Speaker 15 (02:35:23):
You just go on and let me tender.

Speaker 14 (02:35:26):
Indeed, I will not.

Speaker 48 (02:35:27):
You'll let the expressmen in and I'll turn to the
tag if I left it to you.

Speaker 76 (02:35:32):
Mother's talking probably go Heaven knows where. I'll never be
found against aw But I'm really worried.

Speaker 15 (02:35:48):
Worried, Louise.

Speaker 14 (02:35:49):
It's so weeks now, and no words for mother. She
said she'd right every day, my dear.

Speaker 21 (02:35:54):
Maybe she's been too busy to write.

Speaker 11 (02:35:55):
It's busy, you know.

Speaker 14 (02:35:56):
Mother doesn't do anything.

Speaker 48 (02:35:59):
No, there's something wrong.

Speaker 21 (02:36:01):
I No, you mustn't worry, Louise. I'm sure that she's
all right.

Speaker 25 (02:36:05):
I'll come with you.

Speaker 48 (02:36:06):
Maybe it's a special delivery letter for mother.

Speaker 15 (02:36:11):
I have a track for your fault, drunk.

Speaker 46 (02:36:17):
You've always wanted to get rid of the abbot me
away my only child, but I refuse to give her up.

Speaker 47 (02:36:24):
I've come back, Albert, and I'm staying for good.

Speaker 21 (02:36:28):
No, no what you say, Hey, I think lady to
truck bring it.

Speaker 12 (02:36:34):
In, won't you please? Okay, so you are don't understand.

Speaker 14 (02:36:44):
Why should mother send the trunk back to her?

Speaker 21 (02:36:46):
Would you mind signing from it to Jordren?

Speaker 15 (02:36:50):
Oh?

Speaker 21 (02:36:51):
Yes, yes, all right, here you are.

Speaker 15 (02:36:55):
Thanks bye, cow.

Speaker 48 (02:36:57):
But I can't understand why mother ship her trunk back
to us and without even writing a word about it.

Speaker 14 (02:37:05):
But I'm going to put an end to this.

Speaker 15 (02:37:07):
What are you going to do?

Speaker 12 (02:37:08):
I'm calling mother?

Speaker 48 (02:37:10):
Hello, operator, I want to put to a call to
sertain day of Pennsylvania.

Speaker 14 (02:37:13):
The numbers two to three.

Speaker 11 (02:37:16):
Yes, that's right.

Speaker 14 (02:37:17):
My number is Riverdale seven, seven, four or five?

Speaker 12 (02:37:21):
Thank you?

Speaker 21 (02:37:22):
Why by the phoning, Louis, I'm sure there's a letter
on thee.

Speaker 48 (02:37:25):
I've waited long enough for one, al But why do
you keep staring at the trunk?

Speaker 15 (02:37:30):
So hight?

Speaker 21 (02:37:32):
Oh?

Speaker 15 (02:37:32):
Was I wrong with you?

Speaker 14 (02:37:34):
Robert's past week? You've been so jumpy?

Speaker 11 (02:37:36):
Oh?

Speaker 14 (02:37:36):
Hello, Hello, sir, this is Louise calling.

Speaker 15 (02:37:39):
How are you?

Speaker 25 (02:37:41):
Oh?

Speaker 11 (02:37:41):
I'm fine?

Speaker 21 (02:37:41):
Thank you?

Speaker 11 (02:37:42):
Is my mother there?

Speaker 12 (02:37:44):
Hush?

Speaker 11 (02:37:46):
Are you sure?

Speaker 14 (02:37:49):
So that's why you ship the trunk?

Speaker 40 (02:37:51):
Pack?

Speaker 26 (02:37:53):
No?

Speaker 11 (02:37:54):
No, thank you, sir.

Speaker 14 (02:37:57):
How the sir says that mother never arrived home. She
hasn't been there this past.

Speaker 21 (02:38:03):
Week with Sarah, the one who shipped the trunk.

Speaker 12 (02:38:06):
He thought Mother.

Speaker 48 (02:38:06):
Decided to stay with us long and neat her clothes.

Speaker 21 (02:38:10):
But where can she be?

Speaker 9 (02:38:12):
Ollis?

Speaker 21 (02:38:12):
I'm sure that she's all wrong, all right, he's.

Speaker 23 (02:38:14):
Been missing a week.

Speaker 14 (02:38:15):
How could she be? I'm going to call police. Oh oh,
but where can she be?

Speaker 48 (02:38:30):
Twenty four hours of going by and the police still haven't.

Speaker 21 (02:38:33):
Seen No, dear.

Speaker 15 (02:38:34):
It takes time.

Speaker 21 (02:38:35):
You must have patience.

Speaker 77 (02:38:36):
They're doing everything I can. Who she did mustn't thought
like that. Nothing is known yet. Why do you keep
staring at the trunk?

Speaker 15 (02:38:47):
I don't know, Darling.

Speaker 25 (02:38:48):
It just upsets you to see the trunk. It keeps
reminding of your mother. I'd better put it in story,
don't you please?

Speaker 21 (02:38:55):
Now you're being sensible, dear. I'll take good care of
mother's trunk.

Speaker 74 (02:39:07):
That very afternoon, Albert took the trunk to the express office.

Speaker 21 (02:39:11):
He shifted away.

Speaker 74 (02:39:12):
Again, this time will nonexistent address in California. He also
gave a false return address, so he was quite sure
it would never come back to bother him again.

Speaker 15 (02:39:27):
Look, Darling, I've brought you some flowers.

Speaker 21 (02:39:30):
Here's a little president.

Speaker 15 (02:39:31):
Thanks very nice, Louise.

Speaker 21 (02:39:35):
Your mother has been missing five weeks.

Speaker 25 (02:39:37):
Now.

Speaker 21 (02:39:37):
You can't go on this way.

Speaker 15 (02:39:38):
You'll have a nervous breakdown, Albert.

Speaker 12 (02:39:41):
Where can she be?

Speaker 14 (02:39:43):
Why can't the police find it?

Speaker 15 (02:39:44):
Darling?

Speaker 21 (02:39:45):
If she hasn't been found in five weeks. I'm afraid
there's no Louise. You must resign yourself to her loss. Oh,
I'll answer, Do you just sit here and rest?

Speaker 15 (02:39:56):
All right?

Speaker 21 (02:39:59):
Yes?

Speaker 60 (02:40:00):
I mean it's not something here which I believe belongs
to you, belongs to me.

Speaker 15 (02:40:04):
Heah, the drunk.

Speaker 60 (02:40:07):
Ever since I came into the deepot a couple of
days ago, I've been trying to locate the owner and
able to haven't quite a time of it. Did a
little second and figured out as might be yours.

Speaker 46 (02:40:17):
You've always wanted to get rid of the Albert, to
keep me away from my only child, but I refuse
to give her up. I've come back Albert.

Speaker 9 (02:40:27):
Do you recognize it now?

Speaker 21 (02:40:31):
Don't you know where the trunk goes?

Speaker 25 (02:40:34):
Well?

Speaker 60 (02:40:35):
No, come all the way back from California. Seems there
wasn't any such a death where this here shipped too.
Surely had had to return it. Yeah, it was the
rain kind of washed it off, Gil Lady to make out?
Now is Riverdale, New York?

Speaker 15 (02:40:46):
What makes you think it belonged here?

Speaker 12 (02:40:48):
Well?

Speaker 60 (02:40:49):
I sort of did a little detective work. The initial
stamped on the trunk or H L R. And I
looked it up in the phone book. The only person
in Riverdale with those who's live here.

Speaker 21 (02:41:00):
I'm sorry, but you must have the wrong place. Where
will you take the trunk now?

Speaker 9 (02:41:05):
Oh, it'll be put with uncleaned bloods.

Speaker 60 (02:41:07):
Then in a few months it will be sofa charge.

Speaker 21 (02:41:09):
You don't know, sulfa charge.

Speaker 60 (02:41:10):
Yeah, and he would be surprised what you sometimes find
and unclaimed trunks, sort of like a grab bag game.

Speaker 17 (02:41:17):
Well, sorry to.

Speaker 25 (02:41:18):
Wait a minute, Wait a minute, what what what did
you say? Those initials were h L HL. Why they
are my mother in law's initials.

Speaker 29 (02:41:28):
How stupid.

Speaker 25 (02:41:29):
Oh, but you just said it wasn't George Trunk. Well
it isn't, it's hers. Her name is peat L Rodin.

Speaker 60 (02:41:36):
Yeah, that was the only name in the phone book
with those initials.

Speaker 15 (02:41:38):
That's why I come here.

Speaker 25 (02:41:39):
It was an extremely clever piece of detective was I
suppose there's a collect charge on the trunks?

Speaker 9 (02:41:45):
Yep?

Speaker 60 (02:41:45):
Comes to thirty one fifty with the truck. Well, I'll
just put the trunk inside for you.

Speaker 21 (02:41:52):
Thank you. Well, we'd have hated to lose the trunk.

Speaker 15 (02:41:56):
His thirty five dollars keep the change straight.

Speaker 2 (02:42:00):
Thanks, you're right night.

Speaker 15 (02:42:04):
So you've come back again as you said you would. Well,
you haven't beaten me yet.

Speaker 14 (02:42:10):
Abat was it?

Speaker 11 (02:42:13):
Why a trunk?

Speaker 21 (02:42:15):
I thought it was in story? It was, dear, But
they're causing the storage house they brought it back.

Speaker 48 (02:42:20):
Oh, I see looks rather warm now, doesn't it. Oh
but how do we know there isn't a letter or
something in the trunk that will give us a clue
to mothers disappear?

Speaker 21 (02:42:31):
Oh, Louise, you know that's ridiculous. There's nothing in that
trunk but cloth.

Speaker 14 (02:42:36):
Probably right, als just the same.

Speaker 21 (02:42:39):
I'm going to alter it, but I haven't got the
key to it.

Speaker 14 (02:42:41):
No, but I have ha a dozen old keys on
this ring.

Speaker 48 (02:42:43):
Possibly, just possibly, one of them might open the trunk.

Speaker 21 (02:42:46):
Well, yeah, let me have the keys. I'll see if
I can open every way.

Speaker 14 (02:42:49):
Thank you here, you are.

Speaker 21 (02:42:52):
Just waste the time if it.

Speaker 15 (02:42:53):
Will make you feel better.

Speaker 21 (02:42:56):
Fun doesn't work, No, no does.

Speaker 14 (02:43:01):
But you're not even really trying. Well, let me try
for myself.

Speaker 11 (02:43:10):
Oh no, the key doesn't.

Speaker 21 (02:43:11):
I told you, son, Now, why don't you give up?

Speaker 14 (02:43:15):
This one doesn't either.

Speaker 25 (02:43:16):
They're only wasting your time.

Speaker 14 (02:43:20):
No, this one isn't any good. Perhaps just want to
do it? No, none of these keys will open it.
But in the morning, I'm going to get a locksness
to open it.

Speaker 48 (02:43:33):
I've got to see what's in that trunk.

Speaker 14 (02:43:35):
Got to leap to our finding mothers.

Speaker 25 (02:43:44):
So she's going to get a locksmith in the morning,
and she when you won't be here when he comes out.

Speaker 46 (02:43:51):
Seat that You've always wanted to get rid of me, Albert,
to keep me away from my only child.

Speaker 12 (02:43:57):
But I refuse.

Speaker 15 (02:44:01):
I will come back, Albert.

Speaker 70 (02:44:03):
I've stay good.

Speaker 21 (02:44:06):
You're not here, You're not You'll never come back after
that's a night. Never bidoning this. But you store trunks.

Speaker 15 (02:44:20):
Here, don't you?

Speaker 21 (02:44:21):
Oh?

Speaker 47 (02:44:21):
Yes, sir, this is the largest storage house in New York.
Do you wish the store that trunk you just brought in?

Speaker 2 (02:44:27):
Yes?

Speaker 9 (02:44:27):
Please?

Speaker 25 (02:44:28):
Now I have your name William John William and the
address three thirteen Maple Street.

Speaker 21 (02:44:34):
What you please, Baltimore nor okay?

Speaker 47 (02:44:38):
Now, the charge for the trunk will be four dollars
a month. How many months do you will want to
store it?

Speaker 21 (02:44:42):
How many months? Let me too much money I have?
I'm only eight dollars with me.

Speaker 47 (02:44:47):
Well, that'll pay for two months. Then if you want
to keep it longer, you can.

Speaker 11 (02:44:50):
Really your check?

Speaker 21 (02:44:51):
Yes, I'll do that, okay, mister William, thank your good night.

Speaker 74 (02:45:10):
And so Albert got rid of the embarrassing drunk at last.

Speaker 29 (02:45:15):
So there was only one little hit.

Speaker 74 (02:45:18):
Before he could spend any more money. He lost the
storage receipt and he forgot the false name he'd given
the storage people, so he couldn't pay for additional storage.
I knew they'd keep it at least a year. He
was quite sure that it could never could never be
traced back to him, So after a few months he

(02:45:40):
stopped worrying.

Speaker 21 (02:45:43):
Goodn't mean, dear, how are you all right?

Speaker 1 (02:45:45):
That's fine?

Speaker 25 (02:45:48):
A budget of George Horton and his wife on the
way home, and they asked us to come to a
charity auction, that being hell's nice, and that was very.

Speaker 14 (02:45:55):
Nice of him.

Speaker 21 (02:45:56):
Why don't we go, dear? Do you a lot of good?
You haven't been anywhere for six.

Speaker 36 (02:46:00):
Months now, I know, Alberton, I've been uncare of you, haven't.
You haven't seen anyone in six months yourself?

Speaker 14 (02:46:08):
All right, if you like, I'll go to the charity
auction tonight.

Speaker 25 (02:46:20):
All right, ladies, and tell her none of I fit
for there's beautiful ante clun Do I have five dollars.
I'll come time, lady, some time I look close with
let's workome off.

Speaker 42 (02:46:34):
Now do I hear five?

Speaker 14 (02:46:36):
I big five dollars?

Speaker 25 (02:46:37):
Then we have a lady with a real pensive beauty.

Speaker 21 (02:46:39):
Now do I here?

Speaker 15 (02:46:40):
Picked song? Couldn't enjoy?

Speaker 73 (02:46:43):
Hello, Albert, I'm glad that Louise and you came.

Speaker 21 (02:46:47):
Louise quite suid.

Speaker 14 (02:46:48):
Nice of you to invited to it.

Speaker 73 (02:46:50):
Well, it's this talk to be quite a bit.

Speaker 21 (02:46:52):
I hope you'll be seeing more of it. You know
you've got quite a quart here tonight.

Speaker 25 (02:46:56):
It is we hope that he has a good deal
of money. You know that auction are the gin here
you can tell the most useless object. Next team down on, Well,
I will have to get in on the bidding.

Speaker 21 (02:47:06):
They wait, will you see the next time?

Speaker 25 (02:47:07):
And he puts up the sails something I donated.

Speaker 15 (02:47:10):
It's going to be quite at.

Speaker 42 (02:47:10):
The time left all has done it that here you didn't.

Speaker 25 (02:47:14):
Let's move a little closer as the octnoon do I
hair plod, do I hair flow? I have got eleven dollars,
Well you wanna lessons? Remarkable lamps off for as little
as eleven dollars. All right, it's the last time fighters
and Camon calling him eleven dollars one by five. Oh

(02:47:35):
for the German and the queens hook. I'm very fortunate here,
said lamps. Couldn't have cost more than three dollars when
it was new. Now here comes something to saale that
I donate.

Speaker 15 (02:47:46):
Oh, I lighted, gentlemen.

Speaker 25 (02:47:49):
The next signing for tail is something so good that
I attempted to enter in the bidding myself. I last, gemon,
my my assist. Who will remove that color?

Speaker 48 (02:48:00):
Am there?

Speaker 25 (02:48:03):
You have the next one? A lot unto alight demons? Buddy,
Well but well, lads, gemen.

Speaker 42 (02:48:13):
I've even a few minutes that would stop of it.

Speaker 9 (02:48:16):
The trunk, No, no, it can't be.

Speaker 25 (02:48:21):
Yet. It's the same side. It's the same color, the
initial that'll pool. But no, no, they seem to have
been rubbed off.

Speaker 46 (02:48:35):
You've always wanted to get rid of me, Albert, keep
me away from my own child, but I refused to
give her up.

Speaker 47 (02:48:43):
I've come back, Albert, and I'm staying for good.

Speaker 15 (02:48:47):
You are back.

Speaker 21 (02:48:49):
When I didn't send them any more money, they sold
the trunk for chige it.

Speaker 46 (02:48:53):
Yes, I've come back, Albert, and I'm staying for good.

Speaker 42 (02:48:59):
Oh they were Now, this is no ordinary talk, ladies
and gentlemen.

Speaker 25 (02:49:03):
It was donated to this auction by mister George Horton,
who boughted out a storage house. He never broke the
lot to examine the contents, preferring to save that wonderful
surprise for the person who purchases this remarkable talk to
that all right? Who knows what it contains? That's the
town to possessor?

Speaker 42 (02:49:23):
Are that are still five quarts of sky?

Speaker 46 (02:49:29):
Now?

Speaker 25 (02:49:29):
Who started the pending for this mystery time? I did
twenty dollars, twenty dollars, my man.

Speaker 42 (02:49:33):
Of miss Park, the clunk alawn, its worth points? Who
knows what's in it?

Speaker 67 (02:49:37):
I've come back al and I'm stay for food.

Speaker 14 (02:49:41):
No, no, well you look so pale.

Speaker 11 (02:49:44):
Is there anything wrong?

Speaker 21 (02:49:45):
Huh oh no, no everything all right?

Speaker 25 (02:49:50):
Oh come come, ladies and time and the contents? So
this turk may be priceless. Do I have did a
thirty dollars?

Speaker 73 (02:49:57):
I'm afraid I'm just as curious as everyone else.

Speaker 17 (02:49:59):
You know what's in that?

Speaker 15 (02:50:00):
Think I've been thirty dollars.

Speaker 25 (02:50:02):
We have a bit of thirty dollars for mister Horton,
the German who donated.

Speaker 42 (02:50:05):
This list the time.

Speaker 15 (02:50:06):
Alright, do I hear forty dollars?

Speaker 27 (02:50:08):
Oh?

Speaker 14 (02:50:08):
The top trunk looks something like mother, doesn't it?

Speaker 15 (02:50:11):
So you'll notice?

Speaker 25 (02:50:13):
Jolly I hear forty dollars? Why any singer would say
forty dollars for the tuck along? That means to have
the content for free? Come on, ladies, dem do I
hate forty dollars?

Speaker 15 (02:50:23):
Forty dollars?

Speaker 25 (02:50:24):
That's a lady with a shrewd guy for bargain? All right,
old bid fifty dollars. I'll take fifteason? What's all this?

Speaker 21 (02:50:32):
He did?

Speaker 73 (02:50:33):
The Fun't let him have fun, Louise, After all, it
is for charity.

Speaker 21 (02:50:37):
Besides, you can never tell.

Speaker 15 (02:50:39):
What's in the truck.

Speaker 42 (02:50:40):
I wish I could bid on this.

Speaker 25 (02:50:41):
Vistoff, ladies and tellen I now have a bit of
fifty dollars, which I have convinced is only one tenth
the true value of this touch.

Speaker 42 (02:50:50):
Alright, do I hear sixty dollars?

Speaker 11 (02:50:52):
Sixty dollars?

Speaker 21 (02:50:53):
Seventy dollars?

Speaker 42 (02:50:54):
That's more like a Now do I hear eighty dollars?

Speaker 25 (02:50:56):
Eighty dollars, one hundred dollars?

Speaker 48 (02:50:58):
Hi?

Speaker 25 (02:50:58):
If people are beginning to showy appreciation for this time,
we'll make it one hundred and ten, one hundred and ten,
one hundred and twenty Do I heard one hundred and thirty,
one hundred and thirty.

Speaker 21 (02:51:09):
Fun fun, Albert, But you're going too hot along habit sucks?

Speaker 25 (02:51:13):
Wrong with you the three one hundred and fifty dollars,
don't I hear anymore?

Speaker 42 (02:51:19):
Going on? One hundred and thirty.

Speaker 15 (02:51:23):
Going twice that one hundred and thirty.

Speaker 25 (02:51:28):
Taul, do I tell them for one hundred.

Speaker 21 (02:51:30):
And fifted off.

Speaker 73 (02:51:34):
I never saw anyone go after anything the way you
went after that trunk, Albot. Well, I'm afraid nothing was
satisfy the crowd now, but for you to open up
the trunk and reveal whatn't it?

Speaker 15 (02:51:45):
No?

Speaker 25 (02:51:46):
No, I'm sorry, but I don't intend to open until
I get home.

Speaker 21 (02:51:50):
Oh no, no, come on now, but now, don't spoil
the fun.

Speaker 31 (02:51:56):
It won't hurt to open it.

Speaker 40 (02:51:57):
Call, I wouldn't do it suck.

Speaker 25 (02:52:00):
I'm I'm sorry, George, But well, I I haven't a
keet open it, and and there's no sense in breaking
the lock after paying one hundred and fifty.

Speaker 15 (02:52:08):
Dollars for the truck.

Speaker 42 (02:52:09):
Well, maybe I can help you.

Speaker 25 (02:52:11):
And that's some skeleton keyes that will open any lot.

Speaker 21 (02:52:14):
Yeh, I'll show you. We action is as running into
lot drunk.

Speaker 60 (02:52:17):
Someone will said, and they appreciate it.

Speaker 21 (02:52:19):
Yeah, I think this kid will do it.

Speaker 25 (02:52:22):
I don't no right to touch my trunk. I payed
for it, and I don't want to open that get
way from it.

Speaker 15 (02:52:26):
It's mine.

Speaker 14 (02:52:27):
But what's wrong with you?

Speaker 9 (02:52:28):
All right?

Speaker 42 (02:52:29):
Certainly that's the way a pail the bottom.

Speaker 21 (02:52:31):
Come on the way.

Speaker 9 (02:52:33):
We're going home.

Speaker 14 (02:52:34):
Oh, but you're acting so strangely.

Speaker 48 (02:52:37):
Why do you insisting on driving that trunk away?

Speaker 21 (02:52:39):
Now?

Speaker 25 (02:52:40):
Stop talking and come along all right now, But that
drunk is pretty heavy.

Speaker 21 (02:52:46):
Don't you want me to give you a hand? I like,
can't manage it alone.

Speaker 9 (02:52:49):
Thank you.

Speaker 21 (02:52:52):
Open that door for me, Luis now, But Joe, you thinks.

Speaker 48 (02:52:55):
You'd better let George helps you get the crunk down
those streaks.

Speaker 15 (02:52:58):
No, I'm not going let anyone touch this trunk.

Speaker 25 (02:53:02):
You've always wanted to get rid of me.

Speaker 46 (02:53:04):
Now that's keeps me away from my only child.

Speaker 21 (02:53:07):
But I refuse to give her up.

Speaker 49 (02:53:10):
I have come back out and I'm stayed for food.

Speaker 48 (02:53:14):
I would still be careful on those stairs.

Speaker 46 (02:53:17):
I've come back Albert, and I'm stayed for food.

Speaker 21 (02:53:21):
Required, you old bags required. You haven't figured me yet.

Speaker 42 (02:53:25):
I'll get rid of you.

Speaker 25 (02:53:27):
The last thing I.

Speaker 21 (02:53:31):
Have in lon since I was on the stairs trunk.

Speaker 15 (02:53:35):
It too heavy?

Speaker 14 (02:53:36):
Fine, helps go ex do something.

Speaker 17 (02:53:43):
I'm sorry. Ways, I'm afraidic songs.

Speaker 60 (02:53:50):
Crush them all both the trunk open, there was nothing.

Speaker 21 (02:53:57):
In it but a load of books.

Speaker 74 (02:54:26):
This is a mysterious travel again. You do you enjoy
our t too bad about four albs? Similar always some
mother in law. If we can't get away from that,
he's coming back like an old refrain.

Speaker 21 (02:54:44):
Oh well, Albert, now a.

Speaker 74 (02:54:46):
Free man, unless, of course, you've been haunted on the
other side. I to call another occasion with a young
man who woke up to find himself dead.

Speaker 21 (02:54:58):
Decided that now you have to get off here.

Speaker 29 (02:55:02):
I'm sorry, and I'm.

Speaker 21 (02:55:03):
Sure we'll meet again.

Speaker 74 (02:55:06):
I take the same train every week at the same time.

Speaker 5 (02:55:21):
Mystery House.

Speaker 12 (02:55:35):
M H.

Speaker 78 (02:55:48):
Mystery House, that strange publishing firm owned by Dan and
Barbara Glenn Maver. Each Ston novel is acted out by
the Mystery House staff before it is accepted for publication.

Speaker 5 (02:55:59):
Mystery House Bobbie the novel We're trying out the Mystery
House tonight.

Speaker 30 (02:56:12):
The murder Hires a Hall.

Speaker 5 (02:56:13):
I've read it and I like it.

Speaker 11 (02:56:15):
Well, I do too.

Speaker 52 (02:56:16):
We'll see how it plays the whole point of having
our publishing staff act out these stories.

Speaker 5 (02:56:20):
Yeah, I know, but I'd take a chance on this.
We not even trying it out.

Speaker 78 (02:56:23):
I disagree, mister Glenn. I don't think there's any portant
taking chances on anything in this day and age.

Speaker 5 (02:56:28):
Yeah, Tom, but this story.

Speaker 78 (02:56:30):
I'm not talking about stories particularly. There's no need to
guess on anything when you can get authentic, reliable information.

Speaker 5 (02:56:36):
I bet this is leading up to something. Of course
it is, mister Glenn. Listen, okay, places everybody Murder Hires

(02:56:57):
a Hall tonight story. It takes place shortly after the
close of the Second World War. It opens in the
office of Robert Lawson, candidate for governor. Across the desk
from Lawson sets Jasper Jade, known throughout the state as
the Boss.

Speaker 30 (02:57:13):
The last time Jade, the answer is no, n oh no.

Speaker 5 (02:57:17):
Now look, Laws, and I'm a reasonable man. I wouldn't
be here talking to you if I were. I mean,
you wouldn't be here if you didn't think you could
buy me off. Oh now look here, Laws, and that's
not the way I like to hear young politicians talking
in the first place. Jade, I'm not a politician in
the sense you and your gang use the term. I'm
a yes, yes, of course, Lawson. You're one of our
honored war veterans. You did a great job in the war.

(02:57:40):
There's every reason for you to expect to collect the reward. Now, Jade,
I'm about to lose my temper. I'm a war veteran, yes,
but I'm not running for governor to collect any reward.
I'm sticking my neck out to clean up some very
dirty politics, a mess which you alone and responsible for.
Oh come now, Lawson, look here. You don't like it
when it's set out loud, do you.

Speaker 30 (02:58:01):
Well.

Speaker 5 (02:58:01):
I'm saying it out loud, and I'm going to keep
on saying it as loud as possible before the greatest
number of voters. I admire your courage, young man, but
I'm beginning to doubt your sanity. Are you sure the
War Department gave you a clean dell of health? Getting scared, Jade, Oh,
don't make me laugh. How do you think I got
where I am now? And where are you now? The boss, Boss, Jade,

(02:58:26):
Dictator of the most corrupt political machine on the state's history.
You think I want my name linked with anyone with
your reputation? Apparently you want to be elected. Don't worry
about that. I'll be elected, ah, but not without my support.
You want your support. The only purpose that would serve
would be the WHITEWASHO in the eyes of people who
believe in me, You're being very foolish, Lost.

Speaker 30 (02:58:47):
I grant you.

Speaker 5 (02:58:48):
I don't have an organization, Jade, but I do have
the backing of thousands of people who would send you
to prison if they knew as much about you as
I do.

Speaker 20 (02:58:54):
Eh.

Speaker 5 (02:58:55):
Careful, Loss, Remember I still control the course.

Speaker 30 (02:58:58):
I know exactly what you control, and I give you
my word right now.

Speaker 5 (02:59:02):
The first move I'll make as governor will be to
clean out your mob, and you'll be number one to
go to trial.

Speaker 9 (02:59:07):
Ow.

Speaker 5 (02:59:07):
Look, I'll make the offer once more. I'll endorse you
publicly and ensure your election. If you play ball, I'll
go hit at your reform platform. We can make it
look good. I need some new blood in my organization,
and if you have the backing of people that I've
never been able to reach, why all right, we could
dare make a good team Lawson. You mean you think

(02:59:28):
i'd make a good stooge. Well, of course, I'd have
to make most of the decisions. After all, my organization,
your organization. I wouldn't join your organization if it meant
staying out of politics for the rest of my life.
That's your last word.

Speaker 30 (02:59:43):
It's been my last word for the past half hour.

Speaker 5 (02:59:46):
Aw get out of here, Jade. Take your hand off
my sleep, young man. I'll leave here when I see fit.
You'll forget Jade. This is my office for This is
my office, Jade, and I'm telling you to leave it.
Your office?

Speaker 4 (02:59:58):
Is it?

Speaker 5 (02:59:59):
Well, I'll see that you never have another one. Maybe
the voters will have something to say about that. Eh, well,
perhaps we will give the voters a chance to show
their sentiments about you. Are you threatening me, Jade, I'm
warning you. Get out of here.

Speaker 30 (03:00:14):
Get out of here before I lose my temper.

Speaker 52 (03:00:16):
Well, j got a place to bounce into you.

Speaker 30 (03:00:20):
Goodbye, Karen. I'm sorry I have to see this.

Speaker 52 (03:00:27):
This is what this intimate little Farewell, Okay, you.

Speaker 5 (03:00:33):
Have your jokes.

Speaker 30 (03:00:35):
I'm sorry.

Speaker 5 (03:00:36):
I have to be more serious about things like I'm.

Speaker 52 (03:00:38):
Not laughing, Bob. I'm more serious than you.

Speaker 25 (03:00:40):
Are.

Speaker 5 (03:00:42):
I've got to persuade you to Karen, Karen, please don't
start that again. Nothing can persuade me to give up
this campaign.

Speaker 52 (03:00:49):
But do you know what it means, Bob. It's suicide
or maybe something worse.

Speaker 5 (03:00:54):
I've started it and I've got to finish it. That's all.

Speaker 52 (03:00:57):
No, that isn't all. What about me, don't you?

Speaker 5 (03:01:00):
Karen? You know I care more about you than anything
else in the world. But Darling, I swore i'd break
the your Boss Jade holds over the voters, and I'm
going to do it.

Speaker 52 (03:01:12):
You mean that's more important than I am.

Speaker 10 (03:01:14):
Karen.

Speaker 5 (03:01:15):
Of course it is more important than you. You're everything
I want.

Speaker 52 (03:01:19):
But you want to be governor more?

Speaker 5 (03:01:21):
No, No, of course not. But look, Karen, when I
came back from the war, I was determined that I
was going to see that people at home got some
of the things so many soldiers died for. I don't
really care about being governor, but I'm going to see
that Boss Jade is thrown out of this state. And
if I have to be governor to do it, I'll
be governor.

Speaker 52 (03:01:38):
Oh stop at Galahad.

Speaker 5 (03:01:40):
Stuff, Galahad stuff, Karen, what's got into you?

Speaker 52 (03:01:45):
Oh, I'm sorry, Baba, I didn't mean that.

Speaker 5 (03:01:49):
But father, what about your father?

Speaker 52 (03:01:53):
He's going to have to pull out on you.

Speaker 5 (03:01:55):
He's been my strongest backer. His newspaper is the one
way I've had of reaching the voters. His support is
meant everything.

Speaker 52 (03:02:01):
Yes, and if he continues to support you, he'll lose everything.

Speaker 5 (03:02:04):
Oh, even if I lose the election.

Speaker 52 (03:02:07):
Women are losing. The election has nothing to do with it.
You forget that Jade controls the only paper milk from
which Dad has been able to buy a newsprint.

Speaker 5 (03:02:15):
There must be a way.

Speaker 52 (03:02:16):
There isn't any way. You know what the paper milk
situation is, and without paper Dad will have to quit publishing. Bob,
you've got to give up. You've got to quit this
useless fight against Boss Jay.

Speaker 5 (03:02:28):
It isn't useless. I'm going to beat Boss Jade if
it's the last thing I do.

Speaker 52 (03:02:33):
You can't do it alone.

Speaker 5 (03:02:34):
Well, I've certainly counted on your father's support. But I
have to do it alone without any newspaper backing me.
I'm still going to do it.

Speaker 52 (03:02:43):
What about me?

Speaker 5 (03:02:45):
What do you mean, Karen?

Speaker 52 (03:02:47):
Unless you announce your withdrawal right now, you and I
are finished?

Speaker 5 (03:02:52):
Why Karen, I can understand your father being forced to
pull out. He has to think of his newspaper and
all the people depend upon it. But you, you and I,
we belong together, fighting the same battle.

Speaker 52 (03:03:06):
Don't you understand. I can't stand by and see my
father ruined.

Speaker 5 (03:03:09):
He won't be ruined if he withdraws his support.

Speaker 52 (03:03:12):
Unless you either accept the support of the Jade machine
or withdraw completely from the election. Jade will expose Dad
and break him completely, expose your dad. Dad has spent
his life as a crusading editor. When he hired a
business manager, he didn't watch him closely. Now he finds
that his business manager is one of Jade's men, and

(03:03:32):
he's been so unscrupulous that Dad's paper and Dad will
be completely ruined if certain facts are ever brought to life.
That's not possible, That's what I thought, But I saw
the evidence. Jade's paper has it all set in type
Dad's picture, in a complete set of facts that will
force him out of business and make it absolutely impossible

(03:03:53):
to defend himself.

Speaker 5 (03:03:54):
That's preposterous. We'll take it to court.

Speaker 52 (03:03:56):
You know that won't do any good. Jade controls the courts.

Speaker 5 (03:03:59):
But Karen, that's just one more reason for me to
run Jane out of business.

Speaker 52 (03:04:03):
You haven't a chance without dead support.

Speaker 5 (03:04:05):
I can't give up now you can, Bob.

Speaker 52 (03:04:07):
You must if you love me.

Speaker 5 (03:04:09):
You know I love you. That's why I have to
make this fight, regardless of the consequences. You couldn't respect
me if I turned out to be a quitter.

Speaker 52 (03:04:17):
I couldn't respect a man who brought about the ruin.

Speaker 12 (03:04:19):
Of my father.

Speaker 5 (03:04:21):
I'm afraid your father will have to look out for himself.

Speaker 52 (03:04:23):
But what about me? Don't I count for anything?

Speaker 5 (03:04:26):
Karen?

Speaker 1 (03:04:27):
You know what you mean to me.

Speaker 52 (03:04:29):
If you really mean that, you'll sign this statement.

Speaker 5 (03:04:34):
But this is a statement of the public saying I'm
giving up the.

Speaker 52 (03:04:36):
Fight, darling.

Speaker 27 (03:04:37):
Can't you see it's the only thing to do.

Speaker 5 (03:04:40):
No, Karen, this is one thing I can't do for you.

Speaker 52 (03:04:43):
All right, Bob, if that's the way you feel about.

Speaker 30 (03:04:46):
It, Wait a minute.

Speaker 5 (03:04:48):
What's that you've got in your bag?

Speaker 52 (03:04:50):
Oh? I, I didn't want you to see that for good?
But why I'm sorry, Bob. I tried to keep this
from you. There are people who would go to any
length to keep you from being governor.

Speaker 5 (03:05:03):
Bob. You mean they threatened your life, But you don't
have anything to do with my political life.

Speaker 52 (03:05:08):
No, but everybody knows that you and I are going
to be married. They figure threatening me is a way
to get it.

Speaker 30 (03:05:14):
You don't you worry, Darling.

Speaker 5 (03:05:16):
Nothing's going to happen.

Speaker 12 (03:05:17):
But I do worry.

Speaker 5 (03:05:17):
Bob.

Speaker 52 (03:05:18):
Please sign a statement now, please, Darling. Let's both get
out of this while we can.

Speaker 5 (03:05:25):
And admit defeat. I'm scheduled to speak before a packed
house tonight and I'm going to blow.

Speaker 30 (03:05:30):
The roof off Bob for me.

Speaker 52 (03:05:32):
Please sign that statement.

Speaker 79 (03:05:33):
Nothing doing, sweetheart. This is a fight to the finish.
It's either Boss Jade or me, mister.

Speaker 38 (03:05:55):
Chairman, Ladies and gentlemen, night to hear from our next Governor,
Robert Lawson. Yes, we're here to listen to him as.

Speaker 80 (03:06:14):
He gives you the facts about the worst cheating the
people of this community have ever been subjected to.

Speaker 38 (03:06:21):
The facts, Ladies and gentlemen, not a story, but facts.

Speaker 5 (03:06:28):
How did you get backstage Walker?

Speaker 41 (03:06:30):
Never mind that I hear you're going to shoot the
works tonight.

Speaker 30 (03:06:34):
That's right.

Speaker 5 (03:06:35):
We'll make a great story for that newspaper of yours
if you print it, which you won't.

Speaker 41 (03:06:40):
That's right, Lawson.

Speaker 81 (03:06:41):
I worked for Jade, I've been with this newspaper for years,
and so far I've done a pretty good job of
keeping the opposition in line.

Speaker 30 (03:06:49):
You admit you aren't bound by the great code of
newspaper ethics ethics.

Speaker 81 (03:06:55):
I'm too much of a realist, enough of a realist
to give you one more chance to call off this speech.

Speaker 30 (03:07:00):
Call it off.

Speaker 5 (03:07:02):
With three thousand people out in front with a statewide
radio hookup, you can quote me as saying that I
will definitely not call off this speech. I'll be on
that stage in three minutes maybe. But let me fill
you in on the situation.

Speaker 30 (03:07:15):
First.

Speaker 81 (03:07:16):
The orders are that you are not to be permitted
to finish your speech too late now to stop me?

Speaker 41 (03:07:21):
Is it you think you've got three thousand friends out there,
ha ha ha.

Speaker 30 (03:07:26):
I've had rotten tomatoes thrown at.

Speaker 81 (03:07:28):
Me before this time. There won't be any tomatoes. That
audience has been well sprinkled with ammunition.

Speaker 5 (03:07:33):
And I don't mean tomatoes. Jade wouldn't dare the.

Speaker 81 (03:07:36):
Gun will be found in the hand of some dope
who really believes you're trying to take away his bread
and butter.

Speaker 30 (03:07:41):
Even Jade wouldn't frame an innocent man that way.

Speaker 81 (03:07:43):
Don't be so naive, Lawson. I know you've got enough
evidence to throw the book at Jade. Only that book
is going to hit a lot of people, including yours. Truly,
talking won't help you. I'm nallack Lawson. In five seconds,
you'll be walking out on that stage. But if you
say one word of what you promise to say, it'll
be the last word you've ever said.

Speaker 30 (03:08:03):
Thanks for the entertaining conversation. That's my cue, ladies and gentlemen.

Speaker 82 (03:08:20):
Without preliminaries, I want to come directly to the subject,
which is the principal reason you're all here tonight. I
propose to tell you about one Boss Jade Jasper Jave, dictator.

Speaker 30 (03:08:34):
Of the Colonel Faver.

Speaker 41 (03:08:38):
Somebody sho didn't wait.

Speaker 11 (03:08:41):
This isn't my kid.

Speaker 5 (03:09:02):
Somebody took a well timed shot just in time to
stop Robert Lawson from saying too much about his political enemy,
Boss Jade. And it looks as if that somebody was
trying to lay the blame on Kiaren Lindsey, Lawson's girlfriend.
But let's see what the second act has to say
about that. In the meantime, now.

Speaker 78 (03:09:38):
The second act of Murder hires a Hall The scene
is backstage in the auditorium where Robert Lawson began the
political speech, which was interrupted by a pullet police Lieutenant Murphy.

Speaker 52 (03:09:52):
But I didn't do it, I know, I didn't.

Speaker 30 (03:09:55):
Look, Miss Lindsay, tell me what happened. It will be
much easier for everybody.

Speaker 52 (03:09:58):
But Lieutenant Murphy, no, I didn't.

Speaker 80 (03:10:00):
No, no, there's no use denying it. Came here with
a gun right after the shooting, with this in your hand,
the gun the shot losses.

Speaker 52 (03:10:08):
But that isn't my gun.

Speaker 30 (03:10:09):
What do you mean it isn't your gun.

Speaker 52 (03:10:12):
Mine was a little pearl handled revolver I carried in
my purse.

Speaker 41 (03:10:15):
That's how I laughed. Why do you think you are
a sleight of hand?

Speaker 5 (03:10:18):
Either a little careful to attention?

Speaker 80 (03:10:20):
Oh no, no, no, now, mister Jade. Look, Miss Lindsay.
The bullet that hit lost and came from this gun,
the gun you were holding.

Speaker 52 (03:10:27):
But it isn't my gun.

Speaker 30 (03:10:29):
I never saw it before. Where did it come from?

Speaker 25 (03:10:31):
Then?

Speaker 52 (03:10:32):
I don't know. All I know is that I came
here trying to find Bob. The stage was full of
people and I was jostled. I had my own gun
in my head. Did you have a gun for I
brought the gun because because I'd heard things, I knew
Bob's life was in danger, and I want him to
have a gun to protect himself. I tried to attract
his attention.

Speaker 30 (03:10:51):
You still haven't explained the other gun.

Speaker 52 (03:10:54):
I don't know. I remember passing mister Jade, and then
Walker got in my way. I was so confused. I
was only thinking of getting to Bob. Someone must have
changed guns with me.

Speaker 30 (03:11:05):
That isn't easy to believe, Miss Lindsey. You don't have
any reason to believe that this gun isn't yours.

Speaker 52 (03:11:10):
Well, of course it isn't mine. Bob would know. He
knew I carried a pearl handles revolver.

Speaker 30 (03:11:15):
Well, suppose we call the hospital. Chances are a loss
and may be able to talk. Now, operator, there's a
police call, Get me the hospital in a hurry. Yeah, hey, look,
this is little teller Murphy. Awesome, conscious Okay. I ask
him to describe the gun that Miss Lindsey carried in

(03:11:36):
her purse. Yeah, yeah, and her purse. Call me right back.

Speaker 81 (03:11:42):
Look, Murphy, I know you got to routine to go through,
but you practically got this thing pinned on the Lindsay girl.

Speaker 41 (03:11:48):
You can't hold me here. I gotta get this story
to the paper.

Speaker 5 (03:11:50):
Walker quiet, Remember, remember what, mister Jaye. I don't like
your tone, Murphy. I was just cautioning Walker. That is
our duty to be cooperated.

Speaker 30 (03:11:59):
Oh well, nobody leaves here until I say so, Murphy speaking. Yeah,
Hey what he says? It was a pearl handle? Ah okay, yeah.

Speaker 5 (03:12:16):
Yeah, yeah, thanks.

Speaker 52 (03:12:17):
I told you that isn't my gun.

Speaker 30 (03:12:19):
Maybe not, miss Lindsay. But where is the pearl handled?

Speaker 9 (03:12:22):
Gap?

Speaker 5 (03:12:23):
What'd you do with it?

Speaker 52 (03:12:25):
Someone must have exchanged us with me and all that confusion.

Speaker 30 (03:12:28):
Maybe you say you saw mister j I don't care. Murphy.
You admit you're backstage. Well, of course I was backstage.
I was late.

Speaker 5 (03:12:35):
I didn't arrive until well until just before you got here.
Walker was here when the shot was fired. He could
tell you that I hadn't arrived yet.

Speaker 41 (03:12:42):
What about the audience? He got three thousand suspects.

Speaker 30 (03:12:45):
Out there, so we don't have a motive for any
of them, and we do have motives for all three
of you. I've sent that Murphy, I'll have you thrown
off the force exactly.

Speaker 5 (03:12:53):
That might be your motive.

Speaker 10 (03:12:55):
Mister j.

Speaker 80 (03:12:56):
Lawson was a threat to your power to dictate to
the police department, you might easily have tried to kill him.

Speaker 5 (03:13:01):
Why, Joe, you a man in my position? Stup be
White's ridiculous.

Speaker 30 (03:13:05):
That's a nice point.

Speaker 80 (03:13:07):
You wouldn't stop the murder, but you might have hired
someone someone like Walker. Oh wait a minute, Murphy, I
think miss Lindsay's right.

Speaker 30 (03:13:14):
Maybbe somebody did swamp guns with her. Hey, you Walker,
you bumped into her.

Speaker 41 (03:13:19):
You think you can scare me? Where's the other gun?
I haven't got it.

Speaker 5 (03:13:22):
I know you haven't got it.

Speaker 30 (03:13:24):
I've got it.

Speaker 52 (03:13:25):
Why where did you find it?

Speaker 30 (03:13:26):
Walker's top coat pocket?

Speaker 5 (03:13:28):
Here?

Speaker 30 (03:13:29):
It is pearl? Handle it all?

Speaker 41 (03:13:31):
Why you I never well?

Speaker 30 (03:13:33):
Walker? I told you to be careful.

Speaker 5 (03:13:34):
Walker.

Speaker 41 (03:13:35):
This is our frame up. I never touched that gun.

Speaker 30 (03:13:37):
It begins to look as if the frame up was
on Miss Lindsey, You and Jane.

Speaker 5 (03:13:40):
Wait, this has gone far enough. I won't stay here
and listen to such accusations. You know where to reach
me in just a minute. Jade, you're defying the law.
That's impossible. I am the law.

Speaker 41 (03:13:49):
Get him back here. If anybody's being framed, it's me.
Jade planned a murder.

Speaker 52 (03:13:53):
Laws can't. You can't let him get away?

Speaker 41 (03:13:55):
And look, Murphy, I didn't do it. Jade had a
guy planted in the audience.

Speaker 5 (03:13:59):
Get at Walker, mister Jade won't get very far this time. Well, listen,
by the time you opened your eyes, Jade, who let

(03:14:22):
you in?

Speaker 29 (03:14:22):
Here?

Speaker 30 (03:14:24):
Isn't this Yes?

Speaker 5 (03:14:25):
This is the hospital. All right? Get out of here, Jay,
I'll deal with you later. Lost, and don't get excited.
I know this is a little abrupt, but it struck
me that you might be in a better mood as
a result of this. Frank is here. Take a look
at this.

Speaker 26 (03:14:41):
What what is it?

Speaker 5 (03:14:43):
Go ahead, take a look at it. You recognize it.
It's a statement of withdrawal. The fact that you've been
well wounded gives you a fine excuse for eliminating yourself
from the election. Very interesting, Go ahead, sign it. That
bullet hole in your shoulder. You can give up the
campaign grace. Even your most rabid supporter don't expect you
to go on getting shot. Aren't you forgetting something? Oh

(03:15:06):
what don't you usually take care of people under these circumstances?
What are you getting at? Little gift settlement? Oh? Yes,
the sement? What I said it the settlement well lost,
and I see that you are a practical politician. After all,
I did you an injustice. I thought your crusade was

(03:15:27):
really on the level. Won't bother me with flattery?

Speaker 1 (03:15:30):
How much?

Speaker 5 (03:15:31):
Well, I guess we can come to terms. Let's say
the same as the last payment you made on my
case onshead. Oh yes you were well? Sure sure, lawson,
it's worth that much to me. That'll make it nice
for both of you wanted. It makes everything perfect. Give
me a little time for the shoulder to heal. I
don't want to give you a wabbly signature. That's fair enough.

(03:15:56):
And you surprised me, lawson, But you took a load
off of my shoulder. And I'll run along now.

Speaker 30 (03:16:02):
Oh no, you don't what still got some business to
attend to, Jade, Murphy. You showed up just in time.
Where's Karen full? The thing? Just we got to the hospital.
I got a lying down one of the other rooms.

Speaker 41 (03:16:11):
Listen, Jade, you can't hang this on me.

Speaker 5 (03:16:13):
You fright your own soul when you're right out on Murphy.

Speaker 41 (03:16:15):
That'll take a lot of fix.

Speaker 30 (03:16:16):
Are you su here? Walker? I may have to get
a new political reporter.

Speaker 81 (03:16:19):
After that, Skipper rule in front of the witnesses. You're
going to need a lot of new things, including a
good lawyer.

Speaker 30 (03:16:25):
Murphy. Get Karen in here. There are some things I
wanted to know. Okay, Walker, you know where she is. Murphy.
I think we have everything just about cleared up.

Speaker 5 (03:16:35):
Lawson seems to think the shooting was one of those
unavoidable things that politicians face. It might be silly to
prefer charges, Lawton. I didn't say that, Jade.

Speaker 29 (03:16:45):
What's it?

Speaker 30 (03:16:46):
What have you got off your sleeve, mister Lawson?

Speaker 5 (03:16:48):
Here she is to skip at Karen.

Speaker 52 (03:16:51):
What's the matter?

Speaker 21 (03:16:52):
Other thing?

Speaker 10 (03:16:52):
Karen?

Speaker 30 (03:16:53):
Nothing that your friend Jade can't explain.

Speaker 52 (03:16:57):
What do you mean?

Speaker 30 (03:16:57):
Jade has just admitted the whole story.

Speaker 52 (03:16:59):
What do you mean he told you about giving me
you Look.

Speaker 5 (03:17:02):
Here, Lawson, you can't prove a thing.

Speaker 30 (03:17:03):
Is somebody around her? Better start letting me in on this.
What are you talking about, mister Lawson?

Speaker 5 (03:17:07):
I might have told most of this on the radio tonight,
but the real clincher was the admission that Jade just
made to me before you came in.

Speaker 30 (03:17:13):
Awson.

Speaker 5 (03:17:13):
One more work, Jade, don't forget I got you covered.
Jade has been trying to get me to withdraw from
the election for a long time. But I didn't get
really suspicious until the other day when Karen.

Speaker 30 (03:17:23):
Came in with a statement.

Speaker 5 (03:17:24):
She wanted me to sign an agreement to get out
of the campaign. You mean she didn't want to be
engaged to a future gunnner. She told me a wild
story about the pressure Jade was putting on her father's newspaper.
I might have believed her if I hadn't noticed that
the statement had been drawn up by Smith and Reynolds,
the law firm for that's right, the dummy law firm
set up for Jade and used by nobody. But Jade

(03:17:46):
and I began checking. You mean you found out about
what was happening while you were overseas well. I did
find out that Karen had seen a lot of Jade
while I was in service. But the important thing I
found was a canceled check signed by Jade and made
out to Karen, a check for fifty thousand dollars. The
rest was a matter of talking to Jade, and he
all but admitted tonight that he had paid Karen to

(03:18:07):
keep me out of the race for governor.

Speaker 52 (03:18:09):
I should have known you to find out, but Jake
kept having the shooting.

Speaker 5 (03:18:12):
Was the girl's idea. I swear it, maybe so, but
it wasn't exclusive.

Speaker 81 (03:18:16):
What do you mean, Walker, Jade had a gunman planeted
in the balcony right next to the fire exit, but
the girl beat.

Speaker 26 (03:18:21):
Him to it.

Speaker 34 (03:18:21):
Jade made me to it.

Speaker 52 (03:18:23):
He told me I could make it look as if
Walker had fired the shot.

Speaker 5 (03:18:26):
What do you mean The girl's gun was found in
Walker's code pocket.

Speaker 52 (03:18:29):
Jade invented that story. I told you about the guns
he gave me the second Revolver told me to hide
my own in Walker's pocket. Jade wanted to get rid
of Walker.

Speaker 41 (03:18:38):
I told you it was a frame up.

Speaker 81 (03:18:39):
Jade's been getting me the heat because because of me Walker.
He figured I was getting soft, that I knew too much.

Speaker 5 (03:18:45):
You're fired Walker. You will never work on another paper
as long as as long as you.

Speaker 80 (03:18:49):
Watch he Oh, Miss Lindsey, looks like you picked the
wrong man when you teamed up with Jade.

Speaker 30 (03:18:54):
I'm along both of you.

Speaker 5 (03:18:56):
I'm sorry about this losson.

Speaker 30 (03:18:57):
Don't worry about it. I've learned my lesson.

Speaker 5 (03:19:00):
Next time I hire a hall, I'll know enough to
look out for murder.

Speaker 29 (03:19:25):
Mike in the.

Speaker 83 (03:19:35):
Dream you are falling lost in the listening distance. As
dark locks in Nightfall, Good Evening, didn we enter the

(03:20:01):
bizarre world of singles bars and downtown discos, and perhaps
we should pass along a special warning to listeners who
particular sensibilities may be offended by strong language and fortright situations.
The play, a collaboration between John Graham and George R. Robertson,

(03:20:21):
is called Angels Kiss. I shot the guilt or of Agela.

Speaker 29 (03:20:40):
It's late. I gotta get going. I didn't feel so lonely. Oh,
look at our fings. Time to go. It's some fun. Well,
I see you again, But don't count on.

Speaker 37 (03:20:55):
I can't count on anything.

Speaker 9 (03:20:57):
Oh, cheer up?

Speaker 29 (03:20:58):
Another day done.

Speaker 12 (03:20:59):
I can't make it anymore, can I? I can't go on.

Speaker 37 (03:21:04):
I'm going to kill myself.

Speaker 29 (03:21:06):
Yeah, fine, if it'll make you feel better, but just
don't do it here, rods.

Speaker 11 (03:21:33):
I just wanted to make him happy.

Speaker 38 (03:21:37):
Are you all right?

Speaker 84 (03:21:40):
Me?

Speaker 37 (03:21:43):
Yes, sir, Yes, I.

Speaker 29 (03:21:47):
I'll be okay. Anything I can do.

Speaker 19 (03:21:50):
No, thanks, I thought you were maybe a bit faint.

Speaker 29 (03:21:56):
No, I'll be all right.

Speaker 37 (03:21:59):
I just have to go home.

Speaker 29 (03:22:02):
Here, take my arm if you feel dizzy.

Speaker 73 (03:22:07):
I just have to go home.

Speaker 37 (03:22:12):
She jumped up.

Speaker 27 (03:22:38):
Plan.

Speaker 9 (03:22:38):
I said, I want to make you feel.

Speaker 29 (03:22:40):
Better, Just don't do it here. Oh Jack, you say,
at least she went un happy. Oh you're dead right
under the wheels instead of last night with me. Guys,
you should know she went out smiling. And he said,
he teach me about life. I listen, not a bigger brother.
Can't take the competition. I'm a punk like you. Give
me your match, yes, and can this big pan?

Speaker 85 (03:23:00):
Hey, you hang out here only for your stimulating conversation. Swifted, Chuck,
you don't give it down about anybody. And what do
you care about swifting computers? Well, the more computers, no,
the more reasonable they get.

Speaker 29 (03:23:11):
Oh that's nice, go up with one at night. You
want to get reprogrammed.

Speaker 5 (03:23:15):
Check?

Speaker 29 (03:23:16):
Hey, Swift, you think your.

Speaker 5 (03:23:17):
Technology could take the tomcat out of his head?

Speaker 29 (03:23:19):
Not a chance, he's swifty. Hey, how's it, Goldy?

Speaker 47 (03:23:23):
Great?

Speaker 9 (03:23:24):
Yourself?

Speaker 25 (03:23:24):
Not bad?

Speaker 59 (03:23:25):
Not bad?

Speaker 29 (03:23:25):
It's a fact doing here, Andy, But Joe, what.

Speaker 9 (03:23:28):
Is this the morality squad?

Speaker 29 (03:23:30):
This is no queer bath. Hey wait a minute, Andy
and I played football. They got to restraight us in
the arrow. Oh yeah, football, I can just hear him. Ooh,
let me play quarterback but put the hands between his legs.

Speaker 3 (03:23:39):
An easy, Chuck, you're getting ridiculous.

Speaker 29 (03:23:41):
You scared some guy will make a passach. Hey, hey, hey,
look at that. She's the best news ever lot in
this place. What do you say, hot rocks good news better?

Speaker 5 (03:23:53):
I believe it.

Speaker 29 (03:23:54):
You think you can scale those heights?

Speaker 5 (03:23:56):
Just watch me.

Speaker 37 (03:24:05):
And hi.

Speaker 29 (03:24:08):
Anyone sitting here?

Speaker 37 (03:24:10):
No, I was uh saving it for you.

Speaker 29 (03:24:14):
Yeah, let's just say that's all.

Speaker 37 (03:24:16):
About hi, Chuck, I'm Dolores.

Speaker 17 (03:24:21):
Hey.

Speaker 37 (03:24:22):
How'd you know who it was nor where it gets around?

Speaker 29 (03:24:26):
Yeah, especially at this place.

Speaker 37 (03:24:28):
I know quite a bit about you.

Speaker 26 (03:24:30):
Oh.

Speaker 86 (03:24:30):
The only thing I know about you, Dolores's that little
birdy once told me you'd walk into my life if
I waited.

Speaker 37 (03:24:37):
Long enough, they not turn out the way you expected.

Speaker 29 (03:24:41):
Is that a warning?

Speaker 37 (03:24:42):
I just try to be fair.

Speaker 29 (03:24:44):
Well.

Speaker 37 (03:24:44):
We live in a home and die in despair.

Speaker 29 (03:24:49):
Oh, there's a positive little jingle for.

Speaker 17 (03:24:53):
H.

Speaker 29 (03:24:54):
What are you drinking?

Speaker 37 (03:24:56):
M I'd like an angel this kiss mm hmm.

Speaker 87 (03:25:00):
Putting me all part tender up one angel's case. H.

(03:25:23):
So that's my story, the like of a salesman.

Speaker 37 (03:25:28):
We've all got something to sell. H.

Speaker 29 (03:25:32):
Thank you. Perfect.

Speaker 37 (03:25:34):
It's called temptation.

Speaker 29 (03:25:39):
Not a devil. You're a devil, all right, the devil
sense of humor to make us the best wory. Great face,
smart head, I'm lucky.

Speaker 26 (03:25:52):
Can a guy get How lucky?

Speaker 9 (03:25:54):
Do you want to be ill icky enough to spend
the night with heem?

Speaker 29 (03:25:59):
Sure make it work, so fat hey, that angels kissed.

Speaker 37 (03:26:04):
The truth, little coast you move in the bar.

Speaker 29 (03:26:07):
Tab sure anything for you too?

Speaker 37 (03:26:11):
How much your soul? You're immortal, as they say.

Speaker 29 (03:26:19):
So that's all that's package, terrific.

Speaker 37 (03:26:24):
You got it so easy it can't be worth much.

Speaker 29 (03:26:27):
Soul, pretty lady is for people who are singing blues.

Speaker 37 (03:26:31):
I guess the price is going down.

Speaker 29 (03:26:32):
Excuse me YouTube? Did Swifty Lee who is roommate, just
ask him? Put your limpers out of your Why did
you get your paranoid hand out of here? Oh he
might be an alley body. Sure talk stuff, you punk,
stay in that faggot all right around. Take the karate

(03:26:54):
demonstration somewhere else. Just leave it, go on dolors on
your show. That could person has all over me.

Speaker 37 (03:27:19):
M m mmm. I like your place.

Speaker 29 (03:27:24):
I'm glad.

Speaker 37 (03:27:26):
I knew it would look like this, Like what blunt
bit hard.

Speaker 19 (03:27:33):
Mail?

Speaker 29 (03:27:34):
Yeah, well it's me.

Speaker 37 (03:27:39):
How a little music might mellow the atmosphere.

Speaker 29 (03:27:44):
Use me some cozy stuff on this thing? And that's
so there that how to break the ice? Come here?

Speaker 37 (03:28:02):
Hey, I like it fine here. You don't waste any time,
do you?

Speaker 29 (03:28:08):
Who knows how much we got?

Speaker 37 (03:28:10):
Who knows?

Speaker 30 (03:28:15):
Goh?

Speaker 37 (03:28:16):
SAITI up?

Speaker 29 (03:28:34):
Dolores, Dolores?

Speaker 37 (03:28:36):
Where are you right here?

Speaker 26 (03:28:39):
M hm?

Speaker 29 (03:28:41):
Hi?

Speaker 37 (03:28:42):
Good morning?

Speaker 29 (03:28:44):
Jeez, what a night I can't ever remember making love.

Speaker 37 (03:28:51):
I'm glad you had a good time.

Speaker 29 (03:28:53):
Check, hey, where you're going?

Speaker 37 (03:28:56):
I'm leaving.

Speaker 29 (03:28:57):
I got what I came for, doll Was it something
I said?

Speaker 11 (03:29:02):
No?

Speaker 37 (03:29:03):
Nothing, you said?

Speaker 27 (03:29:05):
What?

Speaker 37 (03:29:07):
Relaxed? Don't look so anxious? You'll meet again?

Speaker 5 (03:29:10):
Sure thing?

Speaker 29 (03:29:10):
How about half a long from now?

Speaker 37 (03:29:13):
I'm never far away.

Speaker 88 (03:29:14):
Stay here, No, Chuck, stay don't. I can't, jeez, listen
to me. Never expected to hear myself. Oh come on,
I don't know I need you.

Speaker 72 (03:29:33):
You do.

Speaker 29 (03:29:33):
Actually, it's it's like you're taking a part of me
with you.

Speaker 37 (03:29:38):
I am Chuck.

Speaker 29 (03:29:52):
Look, Marty, she's had heart attacks before she got over them.
She's your mother, for God's sake. I know she's my mother. Well,
but I didn't cause her heart condition.

Speaker 9 (03:30:02):
I just got sick you out.

Speaker 29 (03:30:04):
I'm waiting for an important phone call.

Speaker 9 (03:30:06):
Okay, Chuck, what the hell's going on?

Speaker 89 (03:30:11):
Wish on you, Marty? I only wish on you. Hi Jack,

(03:30:37):
Oh my god, you look terrible.

Speaker 29 (03:30:39):
Yeah, I feel it too. By the way, I'm sorry
about your mother. Sure, I'm sure what you've been doing
with yourself? Looking for Dolores? The hell's Dolores? Big news?
Oh yeah, that's stunner. You took off with the other night.
I got to find her swift team. Yeah, I remember
she was in Monday. It look different, same eyes, though, violent.

Speaker 90 (03:31:04):
You were talking to her, not exactly, but I heard
her tell one of the guys she'd.

Speaker 29 (03:31:08):
Be around to collect from you soon. What hey, you
paying for it now? Cute? Where'd she go?

Speaker 62 (03:31:13):
Oh?

Speaker 1 (03:31:14):
Not so intense?

Speaker 29 (03:31:15):
He used to come here to the lot. Come on,
come on, come out? Where's she goes? Should I off? Thanks?

Speaker 17 (03:31:19):
What do you think?

Speaker 29 (03:31:19):
What is this cross examination?

Speaker 26 (03:31:21):
You drink? What she was with?

Speaker 90 (03:31:22):
What did you talk to Tom Baker?

Speaker 29 (03:31:24):
Yeah, the stockbroker with the curly hair.

Speaker 90 (03:31:26):
Remember Baker's putting me into my ead shot bozzardop killing
me kind of later.

Speaker 29 (03:31:31):
Huh he's dead?

Speaker 17 (03:31:33):
What?

Speaker 30 (03:31:34):
Yeah?

Speaker 29 (03:31:34):
Tom Baker?

Speaker 90 (03:31:35):
Real good time guy, bitch, great hustler, Lewis, what happened?

Speaker 29 (03:31:40):
It's some bread too and only thirty five?

Speaker 9 (03:31:41):
What the hell happened?

Speaker 29 (03:31:43):
Heart attack? Picture of health, but his heart just.

Speaker 28 (03:31:49):
Blew up.

Speaker 29 (03:32:05):
Look, friend, we got a million chicks in here.

Speaker 82 (03:32:07):
I don't remember eyes, I don't remember perfume, I remember tabs.

Speaker 29 (03:32:11):
Now, you're gonna pay yours? Okay, okay, what's the damage?
I'll wear it apt.

Speaker 9 (03:32:18):
Hm.

Speaker 29 (03:32:19):
Amen, you've got violet eyes. It seems the worst. It's
my woman you're talking to. She's just reminded me of someone, right, Yeah,
I'm listening to her. An her for sure? What are

(03:32:40):
you talking? You installed?

Speaker 26 (03:32:42):
My woman?

Speaker 29 (03:32:43):
I'll fix your face if that's doors hit those kids?

Speaker 9 (03:32:47):
All right? I just shut up.

Speaker 29 (03:32:50):
Hey, look, I'm sorry, man, I.

Speaker 10 (03:32:52):
Just a lot, half a story.

Speaker 17 (03:32:55):
I'm your packet.

Speaker 29 (03:33:11):
That's all we can do for you now, mister Donald,
you took quite a beating. Her face does a little
kind of soggy, isn't it.

Speaker 19 (03:33:17):
I think you should stay in the hospital a little
the night.

Speaker 29 (03:33:19):
I gotta find her.

Speaker 9 (03:33:20):
We've notified your brother.

Speaker 29 (03:33:21):
Is there a lady friend you'd like to call Dolores?
But I don't know where to reach her.

Speaker 81 (03:33:26):
Well anyway, your condition is not critical, but I'd like
a specialist to take a look at you in the morning.

Speaker 9 (03:33:30):
All I need is Dolores, no number, nothing.

Speaker 29 (03:33:36):
Maybe she's back.

Speaker 15 (03:33:37):
At the I just got a finder.

Speaker 23 (03:33:39):
What's happening to me?

Speaker 15 (03:33:41):
So downrighte?

Speaker 9 (03:33:42):
This call?

Speaker 21 (03:33:43):
That's it?

Speaker 73 (03:33:44):
Downrighte?

Speaker 9 (03:33:45):
This call, mister Doyle come back?

Speaker 17 (03:33:59):
So has with it?

Speaker 27 (03:34:00):
That?

Speaker 29 (03:34:02):
Hey, what happened to you? The husband come home early? No,
it just went through a windshield. There was a winner
n the other night. I left me happy for me?
Do you remember Jack? I look after the bar after
Broad's Georgia. She was here again with Tom Baker.

Speaker 88 (03:34:19):
Must be a popular lady, can come on shore, I
don't fool and I gotta find her at disco Damon's.

Speaker 29 (03:34:24):
Can't tell one friend out of that. Do you remember
one with violet eyes?

Speaker 91 (03:34:28):
If I had time to watch Broad's and I look
at I'm in a hurry the way your brother was in.

Speaker 29 (03:34:34):
She can't just fade off the face of the Yeah,
you got really lucky.

Speaker 89 (03:34:37):
With some chick, Martie.

Speaker 91 (03:34:42):
I didn't get your name. She's been in before, dying
a night fucker. And good for Busbee. That angels kiss
is getting to be a popular drink. Come on, Marty,

(03:35:04):
it's with a buzzer. Dolorus is up there, all there
your park.

Speaker 29 (03:35:10):
Open, open, open, open and open? Hear you hold the door?

Speaker 26 (03:35:15):
Can I help you?

Speaker 30 (03:35:15):
Mister?

Speaker 92 (03:35:16):
I'm the super Yeah, I'm trying to get my brother.
You're gonna break the buzzer to keep that out, And
I'm looking for Marty Doyle. Oh, poor mister Doyle. You
mean poor mister Doyle. He's at the Morgue. Marty dead right,
So if it's the same Doyle parkman fourteen? Oh souvend
what happened? He jumped well, I should say, from his balcony,

(03:35:41):
landed on the iron fence.

Speaker 29 (03:35:43):
I don't believe it. Dead on arrival. Was there a woman?

Speaker 92 (03:35:47):
Yeah, yeah, plice haven't found her yet though, Dolorus her name.
I was cleaning the brass numbers out front when they
came in.

Speaker 29 (03:35:56):
Good looker, Yeah, and that's her.

Speaker 3 (03:35:59):
But that perfume had to touch the lobby with lysol
to get rid of it.

Speaker 29 (03:36:21):
Mom, Marty both dead. That doesn't matter. What Why don't
I feel anything good of saying, Mike? Why does father mean?

(03:36:48):
Still there?

Speaker 17 (03:36:54):
Good evening?

Speaker 93 (03:36:56):
Nice to find a fellow night person evening.

Speaker 29 (03:36:59):
Father for the I I just feel terribly lost. Oh
is it possible for a man to lose himself completely?

Speaker 93 (03:37:15):
He may lose his way, but he can never stray
from the sight of God.

Speaker 29 (03:37:20):
God, God and the devil? Do you think there ready
is a devil?

Speaker 93 (03:37:29):
If there's good, there must be contrasting evil. Therefore, if
God exists sort of satan number, the Worius is up to.

Speaker 29 (03:38:18):
Somewhere else.

Speaker 94 (03:38:20):
I always can think about it is what happened that night?
Get so you can fool this creeping apartments? Beford to
complain again?

Speaker 29 (03:38:38):
All right, I'll turn it down. Just don't FuG me.

Speaker 86 (03:38:42):
Feelings about a sound proves a paper bag? Is that
to give me a decent set of headphones?

Speaker 29 (03:38:48):
Well?

Speaker 9 (03:38:49):
How to do it? Neighbor?

Speaker 29 (03:38:49):
Even I can't hear it? Now you call this number
once more?

Speaker 37 (03:38:53):
Nice way to talk to Worris.

Speaker 29 (03:38:56):
Where are you?

Speaker 4 (03:38:57):
You goot the catchup with you?

Speaker 21 (03:38:59):
Check?

Speaker 37 (03:39:00):
You've been a busy boy going to church and all
that's so business. It's kind of late about check. Where
here waiting to collect?

Speaker 29 (03:39:09):
Collect?

Speaker 9 (03:39:10):
What?

Speaker 12 (03:39:11):
I still don't want to admit there's been a transaction.

Speaker 29 (03:39:13):
All I admit is I'm in love with you, and
it's chilling me.

Speaker 12 (03:39:16):
It's not nearly as simple as a broken heart.

Speaker 15 (03:39:18):
Check?

Speaker 29 (03:39:18):
But then what is it feels like the end of
the world.

Speaker 12 (03:39:20):
That's presure, gladly paid?

Speaker 29 (03:39:22):
Come, it's so stuffed? Who's a joke? Well, I'm still
full of the breath of life if you want to
get biblical?

Speaker 37 (03:39:30):
And why can't you feel anything?

Speaker 29 (03:39:33):
As sure as he don't feel for you?

Speaker 19 (03:39:35):
Watch tallow isn't it got the game?

Speaker 15 (03:39:39):
I got to see you will chuck you will?

Speaker 84 (03:39:43):
It's about time when tomorrow night where I will place
the disco.

Speaker 29 (03:39:51):
I'll be there though without you. I'm going through hell.

Speaker 95 (03:40:00):
Yeah, look who's back?

Speaker 9 (03:40:19):
Hey?

Speaker 29 (03:40:20):
You check? Maybe a little swift?

Speaker 17 (03:40:21):
Ye?

Speaker 29 (03:40:22):
Hey, what'smatter? No time for an old friend. It's too late.

Speaker 90 (03:40:26):
If you're in trouble. Check maybe I can help you?
Fuck well, talk about it? And dooris dolorous?

Speaker 29 (03:40:38):
But she's you.

Speaker 26 (03:40:39):
What have you seen him?

Speaker 12 (03:40:41):
No?

Speaker 29 (03:40:42):
Check, let's get out of here. Mining swifty?

Speaker 37 (03:40:44):
Where's she? Come on?

Speaker 29 (03:40:45):
It's Claire?

Speaker 5 (03:40:45):
Where is she?

Speaker 27 (03:40:47):
What?

Speaker 29 (03:40:47):
You hurt yourself? She said in the back?

Speaker 61 (03:40:57):
Hi?

Speaker 37 (03:40:57):
Check right on time?

Speaker 30 (03:40:58):
Oh?

Speaker 26 (03:40:58):
What are you doing this time?

Speaker 9 (03:41:00):
He's my date?

Speaker 29 (03:41:00):
Matcha man? Take off? Oh you let that bag buy
your drink.

Speaker 25 (03:41:03):
Why not?

Speaker 12 (03:41:04):
Come on?

Speaker 37 (03:41:05):
Come on, I go buss the night still.

Speaker 87 (03:41:07):
Young, satisfied, big man, shove off your bloody perfect that's enough,
you son of a big.

Speaker 21 (03:41:13):
Come on.

Speaker 5 (03:41:15):
Put that down?

Speaker 46 (03:41:16):
Then what.

Speaker 10 (03:41:20):
Your help?

Speaker 29 (03:41:20):
Bigger God?

Speaker 12 (03:41:24):
His talks stuff?

Speaker 48 (03:41:26):
Come on, talk.

Speaker 29 (03:41:31):
Life God.

Speaker 28 (03:41:47):
I'm tired.

Speaker 29 (03:41:49):
How I get here? My whole life go crazy?

Speaker 84 (03:41:53):
Hi, Chuck, it's time. Were you been waiting to collect?
Come to my place though it's beginning to bore.

Speaker 37 (03:42:04):
Meet Chuck. I thought you were a lot smarter.

Speaker 29 (03:42:06):
Oh I need you and you've got me.

Speaker 37 (03:42:09):
Its good, so so come on.

Speaker 29 (03:42:10):
Back to my pass.

Speaker 37 (03:42:11):
We too late, Chuck, Your time's up?

Speaker 29 (03:42:15):
Police swifty, a righteous pastored? Why did everything go wrong?
I just wanted to be with you?

Speaker 21 (03:42:22):
Who?

Speaker 29 (03:42:23):
You're so beautiful?

Speaker 11 (03:42:24):
Am I?

Speaker 29 (03:42:25):
Ever since? I been lost?

Speaker 37 (03:42:27):
And we haven't even settled the tab.

Speaker 30 (03:42:31):
What?

Speaker 37 (03:42:31):
You're immortal? As they say? Soul, you're crazy. This neighborhood's
been profitable. Four souls.

Speaker 84 (03:42:39):
Four Baker, your brother Marty, Andy, and your soul was
hardly worth it the shape it was in still a
Bargain's a bargain.

Speaker 29 (03:42:48):
No, I'm not going to die.

Speaker 84 (03:42:49):
I wouldn't be able to collect what's rightfully mine unless
you did well?

Speaker 29 (03:42:53):
Who are you the devil?

Speaker 37 (03:42:56):
Apologies for the old fashioned term is satan?

Speaker 12 (03:42:58):
More up to date?

Speaker 29 (03:43:00):
Mm hmm, straight out of Sunday School. Good and evil?

Speaker 37 (03:43:06):
In my book, there's no good and evil groomy deals.

Speaker 29 (03:43:11):
You can't be the devil. The devil's a man.

Speaker 12 (03:43:16):
What proof is that the devil man?

Speaker 29 (03:43:20):
Make you?

Speaker 5 (03:43:21):
Like?

Speaker 12 (03:43:22):
Am I?

Speaker 37 (03:43:22):
The devil?

Speaker 14 (03:43:23):
Now?

Speaker 29 (03:43:24):
Suck? What's happening? Your chi? Your man? The gender, the
name are unimportant. I simply am. When you're a man,

(03:43:53):
all right? No, no, she she's a man.

Speaker 9 (03:43:59):
She's wait.

Speaker 12 (03:44:00):
He made me, He made me, He made me.

Speaker 29 (03:44:12):
The account.

Speaker 13 (03:44:15):
Is close.

Speaker 37 (03:44:25):
Hey you out there? Are you looking for pleasure in
the big time? The very best. I've got a place
just for you. Sit down, aren't you? How about an
Angel's Kiss?

Speaker 66 (03:44:58):
You have just heard Angel Kiss by John Graham and
George R.

Speaker 29 (03:45:02):
Robertson.

Speaker 66 (03:45:04):
Featured in tonight's cast were Elva May Hooper as Dolores
and John Evans as the unfortunate Chuck you heard, John
Stocker as Swifty, Gordon Thompson as Marty, and Neil Dynard
as Andy. Cameo roles included Mary Pierre as Angela Sandy
Webster as the Doctor, Gerard Parks as Father Mehan, and

(03:45:25):
Budnapp as the apartment superintendent. Other voices in the cast
were those of Ken James and Richard Donnat. Our recording
engineer is John Jessp with sound effects by Bill Robinson.
Our production assistants are Nina Callahan and Nancy Macklebean, and
the series story editor is Earl Toppings. Nightfall is produced

(03:45:47):
and directed for CBC Radio by Bill Howell. And now
here is a final word from your host.

Speaker 29 (03:45:55):
Hello again.

Speaker 83 (03:45:57):
Next week's Nightfall ranges allay from the literal to the literate,
and poses the ultimate question, who is reading whom he lost?

Speaker 11 (03:46:09):
Soul is one that no longer controls its own circuitry.

Speaker 84 (03:46:13):
The signal apparatus has been taken over by the enemy,
which uses it to destroy.

Speaker 37 (03:46:17):
Me, to destroy you. The sensation is like spontaneous combustion.

Speaker 83 (03:46:24):
The Book of Hell a new play I may for
more and a somewhat dyspeptic overview on the current publishing scene,
starring Bud Napp, Nannie Griffin, Patrick Young Linderregon, Hugh Webster
and Alan de Ramis.

Speaker 96 (03:46:40):
That's next week on Nightfall. Until then, careful of the edge.

(03:47:02):
Obsession New Orleans.

Speaker 72 (03:47:31):
What does it suggest that is besides shrimp creole Jean
Lafitte and the broad girth of the Mississippi rolling into
the sea.

Speaker 17 (03:47:43):
Mm hmm.

Speaker 72 (03:47:45):
There are legends in New Orleans, strange legends, one of
which you'll hear in a moment in the Story of
the Peacock Screen starring Annabella as Yvette.

Speaker 1 (03:47:59):
When you hear it, you'll no.

Speaker 72 (03:48:01):
Doubt SERTs the inner most recesses of your soul for
the true meaning of the word obsession. The time is

(03:48:24):
now the place, glamorous New Orleans. And the girl, well,
the girl she is, the lovely Yvette, desired by many,
but in love with none, a situation which is proving
most distressing to her voluptuous and eloquent maman. And as

(03:48:48):
our story opens, Maman is propounding the many advanities of
an early marriage, Yvet.

Speaker 35 (03:48:56):
In a year you were be twenty four, almost an
old maid. It is it's time to think very carefully.

Speaker 12 (03:49:01):
About marriage, Mama. Oh, but I have thought of it.

Speaker 51 (03:49:04):
Oh that is good.

Speaker 35 (03:49:05):
I was afraid you might still be drooling about Douglas
Hayes that one.

Speaker 12 (03:49:09):
Please, Mamma, that's over.

Speaker 35 (03:49:11):
I should hope so no money, no background, and.

Speaker 24 (03:49:13):
No good He was very handsome and he kissed me
very nice.

Speaker 35 (03:49:18):
Kisses are for fun, not for food and a roof
over the head.

Speaker 12 (03:49:21):
You must be practical, Oh, Mamo, no love that map petit?

Speaker 35 (03:49:26):
Why do you not wear the brooch from Tony? He
would be so pleased.

Speaker 12 (03:49:28):
Why should I please him?

Speaker 35 (03:49:30):
Get a lot of money and he's mad about you?

Speaker 12 (03:49:32):
Oh, Mamo, always with you?

Speaker 24 (03:49:34):
The money is important? Was it your great grandfather? Oh,
your great great grandfather who was a parrot with your
life hit?

Speaker 12 (03:49:40):
Now that is beside the point.

Speaker 19 (03:49:42):
Has Tony said anything to you?

Speaker 24 (03:49:44):
Not yet, dear mamma, But he will.

Speaker 12 (03:49:46):
How do I look? It is dress right for a proposal?

Speaker 35 (03:49:49):
Oh, the dress is beautiful and you are lovely.

Speaker 19 (03:49:52):
You will accept him appetito.

Speaker 24 (03:49:55):
You are quite shameless. How can I tell you when
he hasn't asked me yet?

Speaker 3 (03:49:58):
But he will?

Speaker 11 (03:49:59):
You said so yourselfie, will he will?

Speaker 17 (03:50:17):
You're so lovely of it. I'm almost afraid to touch you. Why, Tony,
because you look like something that should be put upon
a pedestal and worshiped from afar.

Speaker 12 (03:50:27):
I'm very human.

Speaker 17 (03:50:28):
I don't believe it, you know, I want very much
to put my arms around you, but afraid, afraid of
what that you'll vanish in the thin air and it
won't be true after all.

Speaker 12 (03:50:39):
Why don't you try it.

Speaker 68 (03:50:44):
Darling, that you've got to marry me just because I
kissed you, because I love you and you love me,
and you couldn't have kissed me the way you did
just now if you didn't love me.

Speaker 17 (03:50:53):
Will you marry me, Darling?

Speaker 12 (03:50:54):
Of course, Tony, I think it would be very nice.

Speaker 35 (03:51:13):
My daughters too, so almost have two dozen of everything.
I was married when I was fifteen, stilest and on
my petticoats even there was real lays.

Speaker 16 (03:51:20):
But Madam, since you were fifteen, there is a new time,
no petticoats.

Speaker 12 (03:51:26):
And so where can one sew the lace?

Speaker 11 (03:51:28):
Or nothing?

Speaker 35 (03:51:29):
Use your imagination, Celeste, for the bride. Nothing is more
important than this.

Speaker 11 (03:51:34):
Love is more important, Mada.

Speaker 23 (03:51:36):
Oh love, love, it is all I hear.

Speaker 3 (03:51:39):
So some lace I love?

Speaker 27 (03:51:40):
Then?

Speaker 19 (03:51:41):
How does it look?

Speaker 35 (03:51:41):
Don't be a fool, Soleste, You are too old for nonsense. Hello, mamma,
you got you are so late, no consideration.

Speaker 24 (03:51:49):
I'm sorry, Mamma. I went to see Mickey Mouse and
he's so cute.

Speaker 12 (03:51:53):
You should see it.

Speaker 35 (03:51:54):
You see Celeste, she is seeing Mickey Mouse, and I
am thinking about the veil of my grandmar Now will
you have a right back or falling before the face.

Speaker 12 (03:52:03):
Anyway you like?

Speaker 24 (03:52:04):
Mama, I do not care.

Speaker 12 (03:52:05):
You do not care.

Speaker 35 (03:52:07):
Look, I was mad with excitement weeks before my wedding.
I knew to have falled how I wish the bail
to fall?

Speaker 14 (03:52:13):
And I was about fifteen years old.

Speaker 12 (03:52:15):
Dear Mama, that does explain so much.

Speaker 35 (03:52:17):
Well, I knew what I was doing, and so do
I come ce list Let.

Speaker 12 (03:52:21):
Us get on with the fitting.

Speaker 17 (03:52:36):
A vett. Forgive me for dropping in on you, darling,
but I want you to meet an old friend. This
is Douglas Hayes. He's going to be best man at
our wedding. Douglas, this is my fiancee, Yvette. Isn't she lovely?

Speaker 30 (03:52:49):
Hello?

Speaker 6 (03:52:51):
You're even lovelier than Tony said you were.

Speaker 24 (03:52:55):
Thank you, mister Hayes. Haven't we met before the year
I came out?

Speaker 12 (03:53:00):
Would perhaps?

Speaker 26 (03:53:01):
Oh?

Speaker 17 (03:53:01):
Yes, yes, I believe.

Speaker 9 (03:53:03):
So.

Speaker 97 (03:53:04):
I'm really surprised that you remember. I thought I made
a very bad impression.

Speaker 24 (03:53:09):
Perhaps that's why I remember you?

Speaker 9 (03:53:11):
Oh please?

Speaker 17 (03:53:12):
Is that this will amuse you? You see Some time ago,
I made a bet with Doug that i'd never marry.
I didn't believe there was a woman in the world
who could possibly be all the things you are.

Speaker 12 (03:53:23):
Thank you joining in what was a wager.

Speaker 17 (03:53:27):
Only that if I ever did marry, Doug would drop
everything from any places in the world and be my
best man at the wedding.

Speaker 24 (03:53:33):
Best man. Yes, I often wondered why they call it
best man. In any case, I'm glad you're here well,
thank you, and I'm also very glad Tony lost this wager.

Speaker 17 (03:53:46):
Darling, you do love. I've been worried.

Speaker 98 (03:53:49):
You know.

Speaker 12 (03:53:51):
I don't believe it.

Speaker 24 (03:53:52):
Oh, Tony, Mamma is wreaking upstairs to see you about
something surprise I'm not to know about.

Speaker 17 (03:53:58):
Oh, yes, because I know what. Excuse me? Will you,
oh entertain Doug for a minute, Darling, I'll be right back.

Speaker 27 (03:54:11):
You.

Speaker 12 (03:54:12):
You haven't changed, Douglas.

Speaker 17 (03:54:14):
You're lovelier than ever.

Speaker 12 (03:54:16):
Did you expect me to waste away because you left
without saying goodbye?

Speaker 17 (03:54:19):
I couldn't explain then, Darling, But I can't tell you now.

Speaker 24 (03:54:22):
It isn't really necessary. Let us say it was just
a pleasant memory and leave it that way. Shall we
But if that is, I'm going to marry Tonian and
you will be the best man and we'll all leave
happily ever after Nesa, No, I won't let you marry him.
I'm afraid you have nothing to say about it, but
you can.

Speaker 97 (03:54:38):
You love me four years ago, and it was true
and real. You still love me a bit I can
tell by your eyes. Oh, darling, Douglas, please it's over.

Speaker 12 (03:54:51):
We mostly be that way.

Speaker 17 (03:54:52):
It will never be over.

Speaker 9 (03:54:53):
You know that.

Speaker 12 (03:54:54):
No, no, please, Tony is coming back.

Speaker 17 (03:54:57):
Well, darling, it's all fixed. I agreed with me entirely.
Now was I away long enough for you two to
catch up with all anxiety?

Speaker 24 (03:55:06):
I think we got as far as the four years ago,
and perhaps on another occasion we may finished a season.

Speaker 17 (03:55:12):
It's great. As a matter of fact, you can probably
wind up the whole thing tonight. Your mother has asked
us for dinner.

Speaker 11 (03:55:33):
What that is to losing?

Speaker 52 (03:55:34):
How the poor man must have stoppered when he learned?

Speaker 17 (03:55:37):
Oh, I don't think he suffered too much. I left
a substantial tip. Money heals a lot of wounds.

Speaker 97 (03:55:42):
The ancients, too, believed in the healing properties of gold.
It's interesting how that, along with other beliefs has survived
the present.

Speaker 17 (03:55:49):
Day, like the Aspita.

Speaker 26 (03:55:51):
The bags.

Speaker 17 (03:55:51):
Mothers used to hang around their youngsters next.

Speaker 26 (03:55:53):
To ward off contagious diseases. I had one.

Speaker 17 (03:55:56):
I remembered it smelled of high heavens.

Speaker 12 (03:55:58):
Yes, it is very good.

Speaker 24 (03:56:00):
She's very superstitious. Hav instance that lovely peacocks screen before
the fireplace. She will not have the peacock's tail turned
towards the room.

Speaker 17 (03:56:09):
But what harm would that do?

Speaker 52 (03:56:11):
It is very bad luck. Someone would become jealous.

Speaker 6 (03:56:13):
Now there you have a very definite link with the
old lawyer.

Speaker 12 (03:56:16):
You see I know what I am saying.

Speaker 17 (03:56:18):
Well, of course you do. But now that I know
how you feel about peacocks, I'm almost afraid to give
a better wedding present. But I suppose I have to
take a long chance. You are darling, Please like them.

Speaker 12 (03:56:30):
Oh my, what beautiful clips, Tony. They are too lovely.

Speaker 17 (03:56:36):
Thing's too lovely for you? You see how the tales
of the peacock's former clips. And let me put them
on for you.

Speaker 6 (03:56:42):
After all, the best man should do something to deserve
the honor.

Speaker 17 (03:56:47):
Very bad.

Speaker 24 (03:56:48):
I don't think I will wear them now I look
at them tonight, and and wear them tomorrow to the opera.

Speaker 17 (03:56:54):
Well, just as you wish, darling, although I was anxious
to see.

Speaker 40 (03:56:58):
Them on you.

Speaker 24 (03:56:59):
Oh please, don't please understand me, Tony. They are beautiful
and I'm most grateful to you. Believe me only. I'm sorry,
but I don't feel a tory way.

Speaker 17 (03:57:09):
That you're you ill.

Speaker 19 (03:57:13):
Why didn't you tell me, Tony?

Speaker 17 (03:57:15):
I do think of course, we'll go right away, take
care of her, Mamma.

Speaker 12 (03:57:19):
Good night, Eve, my dearest, good night Tony, and thank
you for understanding.

Speaker 17 (03:57:24):
I love you. Remember hold on, Douglas, good night, Evet.
What was it he said? Good night, Yvette?

Speaker 31 (03:57:41):
Hm, I wonder what sort of a good night Evette
will have?

Speaker 19 (03:57:47):
Peacock feathers?

Speaker 31 (03:57:49):
Well, have you ever heard the cry of a peacock?

Speaker 13 (03:57:53):
It's rather horrible.

Speaker 72 (03:57:55):
His beauty turned his face to the wall in the
presence of a rock, a sind earthly scream. And there
are many to whom the peacock cry awakens the thurtive
creeping robbers and becomes insanity the charter members of that
black guild known as Obsession. An uld romance in the

(03:58:51):
form of Douglass Hayes has returned to jeopardize the happiness
of Yvette Antoni. It is now the following evening, and
Yvette has recovered sufficiently from her illness to attend the opera.
As our second act opens, they have returned home, and

(03:59:12):
Tony had a loss to understand if that's strange behavior
is saying?

Speaker 17 (03:59:18):
Is there is there anything wrong of it? Have I
done or said something that displeased you?

Speaker 24 (03:59:23):
No, Tony, you have been most kind as always.

Speaker 17 (03:59:29):
Something is different. Well, I know man A is your
favorite opera, but I've never before seen you so overcome
by it.

Speaker 12 (03:59:36):
I'm tired.

Speaker 24 (03:59:37):
I suppose so many parties, so many people like Manu.
My life has been a little too gay lately. Ooh, Manu,
I always weep when she dies.

Speaker 17 (03:59:50):
You're an adorable little girl. Hope you feel well enough
to rehearse the wedding ceremony tomorrow.

Speaker 12 (03:59:55):
He'll be all right, I promise you.

Speaker 6 (03:59:57):
Tony.

Speaker 17 (03:59:57):
Good go to bed now, Darling, good night, my dear,
good night, Tony told tomorrow.

Speaker 12 (04:00:03):
Then, Oh, Douglas, what are you doing in here?

Speaker 37 (04:00:13):
Oh?

Speaker 17 (04:00:13):
Forgive me, but I had to talk to you a bet.

Speaker 6 (04:00:16):
We haven't had a minute alone since Tony interrupted our
conversation yesterday.

Speaker 12 (04:00:20):
There is nothing to talk about.

Speaker 17 (04:00:21):
There's everything to talk about.

Speaker 24 (04:00:23):
No, Douglas, it is late and I am tired. Besides,
Mamma would be very angry if she found you here.

Speaker 17 (04:00:29):
Now, your mother never liked me that.

Speaker 6 (04:00:32):
I won't stay long, only long enough to find out what.

Speaker 17 (04:00:35):
You intend to do.

Speaker 24 (04:00:36):
Then that makes it very simple. I plan to marry Tony.

Speaker 6 (04:00:41):
You don't plan anything of the kind or before I came, perhaps.

Speaker 17 (04:00:45):
But not now.

Speaker 12 (04:00:46):
How How can I convince you?

Speaker 29 (04:00:48):
You can't?

Speaker 17 (04:00:50):
Because I know you'll love me.

Speaker 6 (04:00:51):
You don't love Tony, Juligo amazes me. It isn't ego.
It's something I know, something I knew four years ago.

Speaker 24 (04:01:00):
I'm running away from.

Speaker 12 (04:01:01):
Don't forget that, Douglas.

Speaker 97 (04:01:03):
Well, I thought I was doing the best thing for
both of us, dearest. If you're the same e bet
who loved me four years ago, you couldn't love Tony?

Speaker 12 (04:01:10):
And why not? Tony's fine and thought fool.

Speaker 6 (04:01:13):
And can he kiss you like this?

Speaker 29 (04:01:20):
Lips just as warm as I remembered?

Speaker 12 (04:01:22):
Please let me go.

Speaker 17 (04:01:24):
Do you think i'd let him have you? You love
me once? I'll teach you to love me again.

Speaker 12 (04:01:30):
I can't. Oh, I mustn't, please, Douglas. If you love me,
let me go.

Speaker 35 (04:01:37):
What is the meaning of this?

Speaker 6 (04:01:39):
Well, we were just saying good night, just.

Speaker 12 (04:01:41):
Good night with you that in your arms, mamma, and
you leave it.

Speaker 35 (04:01:45):
If you have no conservation for me, at least you
should consider your promise to Tony.

Speaker 97 (04:01:50):
And if you, Madam, had any consideration for Abat's feelings
and our happiness, it released it from this ridiculous promise
and let her come to me.

Speaker 35 (04:01:57):
That's happiness is my happiness. You think I want to
see it destroyed by you?

Speaker 8 (04:02:01):
Mamma?

Speaker 30 (04:02:02):
Yeve it?

Speaker 35 (04:02:03):
Are you still in love with this man, Mamma, please?

Speaker 12 (04:02:08):
I I don't know.

Speaker 35 (04:02:10):
If that darling, if you are foolish enough to fall
in love with him again, you will be sorry the
rest of your life.

Speaker 24 (04:02:17):
And if I do not, I may regret that the
rest of my life.

Speaker 35 (04:02:22):
If that, dearest, I saved you once from this man, Yvette, this.

Speaker 24 (04:02:25):
Time, Mamma, you can do nothing. I must find out
for myself whether it is Tony or Douglas, that I
truly alone.

Speaker 12 (04:02:34):
I'm sorry, mamma, but if.

Speaker 24 (04:02:36):
You try to interfere, I will go away from his
Douglas tonight.

Speaker 6 (04:02:41):
If that darling come with me now.

Speaker 24 (04:02:43):
No Douglas I must have time to think. There must
be no mistake. It is too important. I will see
Tony tonight the the rehearsal, and then tomorrow I will
tell you one way or the other.

Speaker 17 (04:02:58):
All right, Darling, tell tomorrow that.

Speaker 29 (04:03:02):
I love you.

Speaker 17 (04:03:04):
Always remember that.

Speaker 19 (04:03:37):
It is so exciting. The rehearsal is about to start.

Speaker 11 (04:03:42):
But you are shaking, Missievette.

Speaker 17 (04:03:44):
It is the nervousness.

Speaker 24 (04:03:46):
No, I'll be all right, Celeste.

Speaker 12 (04:03:49):
It's just as you say. I am nervous. Oh, they're
waving to us. It's time to begin.

Speaker 5 (04:04:07):
Douglas.

Speaker 12 (04:04:08):
What are you doing here? Where is done?

Speaker 21 (04:04:10):
Well?

Speaker 17 (04:04:11):
He couldn't come. Do you mind?

Speaker 12 (04:04:12):
Event certainly? I mind?

Speaker 24 (04:04:15):
What are you doing in his place?

Speaker 6 (04:04:16):
Tony asked me to stand in for him.

Speaker 12 (04:04:18):
I don't believe you, all right?

Speaker 6 (04:04:20):
Shall we stop the rehearsal?

Speaker 19 (04:04:21):
No?

Speaker 12 (04:04:22):
No, oh, I don't know what to do.

Speaker 97 (04:04:25):
Are you still going through with this tomorrow? After kneeling
here beside me where you really belong?

Speaker 12 (04:04:31):
Please, Douglas, you can still escape. Don stop it, Douglas.

Speaker 6 (04:04:35):
You can't stop your heart. You know you love me.

Speaker 12 (04:04:39):
I'm stand it.

Speaker 40 (04:04:41):
What is it?

Speaker 99 (04:04:42):
Please?

Speaker 47 (04:04:42):
Almore?

Speaker 30 (04:04:43):
The day I can't stand it anymore?

Speaker 17 (04:04:45):
Wakening darling.

Speaker 26 (04:05:06):
What is it?

Speaker 17 (04:05:07):
You're so pale? You better rest a little.

Speaker 12 (04:05:11):
No, I'll be all right. You mustn't worry, Tony.

Speaker 17 (04:05:14):
But I am worried, dearest. Oh you are upset because
I couldn't come to the rehearsal.

Speaker 29 (04:05:21):
Is that an event?

Speaker 12 (04:05:21):
No, No, it's Tony. I must tell you something.

Speaker 28 (04:05:29):
Oh, I'll get it you you stay there with a fire.
Oh hello, Doug, Oh Tony, Abette, how are you feeling better?

Speaker 17 (04:05:42):
Thank you? I was rather expecting you, Douglas, you were, Yes,
it come straight to the point. Does either of you
wish me to release a Vette from her promise to
marry me?

Speaker 6 (04:05:53):
Oh you're pretty frank, aren't you. It's necessary for me
to be frank.

Speaker 17 (04:05:58):
Abette, my dear, When you said you would marry me,
I was the happiest man in the world. I'd loved
you for a very long time, you know. But don wait, dear.
You see and embarking upon any association, business or otherwise,
I'd take stock of the situation. Here was I ten

(04:06:20):
years older than you, Yvette, and inclining to be impractical
rather than emotional. You see, I would have been very
foolish not to recognize the potential danger of my position.
What if after we were married, some younger man should
come into our lives take you away from her. Wouldn't

(04:06:41):
blame him and I certainly couldn't blame you. You see, Darling,
I knew about your romance with Doug, and I also
had known Doug in the east rather well, well, tony,
you'll be impatient. I had to know if Favette's infatuation
for you was definitely over. That's why I ask you
to come out to the wedding as my best man.

(04:07:04):
I wanted you two to see each other again and
decide for yourself so there could be no unhappiness for
any of us later on.

Speaker 12 (04:07:11):
Didn't you take a great deal for granted to.

Speaker 30 (04:07:13):
So you tricked this?

Speaker 5 (04:07:13):
Did you?

Speaker 6 (04:07:14):
You knew about it, vetting me all the time and
didn't say a word. You went behind our backs and
made fools of both.

Speaker 17 (04:07:19):
Of us, making rather a fool of yourself.

Speaker 5 (04:07:20):
Right now?

Speaker 9 (04:07:21):
Why you are.

Speaker 25 (04:07:23):
Please stop?

Speaker 17 (04:07:28):
Still lead with your chin I Doug, Sorry, Bet, I'll
see if I can have your mother's screaming is nothing.

Speaker 24 (04:07:37):
Perhaps the peacocks do cause jealousy.

Speaker 17 (04:07:40):
And just patient. As for Doug, I want you to
know that if you love him. I won't stand in
your way.

Speaker 6 (04:07:46):
You're too generous, Tony. But I'm afraid the best man
wins is that, Darling. There's nothing standing in our way.

Speaker 24 (04:07:55):
Now, nothing, Douglas, nothing but the decision I prom to
give you tonight. I've something to say to both.

Speaker 30 (04:08:03):
Of you, Douglas.

Speaker 24 (04:08:06):
When I loved you four years ago and lost you,
I thought I would never again love anyone. Mamma and
Uncle Pierre made you go away, But if you had
really loved me, you would have taken me with you.
I kept every letter you wrote me, telling me you
were coming back for me, and then the letters stopped,

(04:08:29):
and I thought you had forgotten me. Until the other day,
when you stepped into this room. I thought my love
for you was dead. But seeing you again brought everything back,
and I was afraid. I thought I loved Onnio, but
I had to be sure. So after the rehearsal, I

(04:08:50):
came home and took out your ole letters. I put
them in a box of my mauth for safe keeping,
and they were all things of hers. In the same box.
There were several canceled checks in that box, checks that
had been made out to you, Douglas, because you took
my day from Mama and a Pierre to.

Speaker 12 (04:09:10):
Stay away from me.

Speaker 6 (04:09:11):
That you don't understand, it doesn't matter.

Speaker 17 (04:09:15):
I'm sorry that that case, I think I better go,
my dearest to me, I was so terribly afraid, afraid.

Speaker 12 (04:09:34):
You need never be a.

Speaker 17 (04:09:42):
You have been listening to obsession.

Speaker 44 (04:09:56):
I perstration on the air.

Speaker 30 (04:10:53):
Ladies and zeelmen, we offer you another short.

Speaker 31 (04:10:55):
Short story in a series designed to.

Speaker 33 (04:10:58):
Disclose the origin of Superstar issues.

Speaker 26 (04:11:01):
This one deals with the.

Speaker 13 (04:11:03):
Belief that if you see a pin and pick.

Speaker 15 (04:11:05):
It up, it will bring you good luck.

Speaker 23 (04:11:07):
Oh, good heaven. The train is pulling into the station.

(04:11:28):
We come.

Speaker 34 (04:11:30):
We better read it.

Speaker 100 (04:11:30):
We want to give yourself to be mustn't it's this train.

Speaker 34 (04:11:33):
We'll have a long way to the next one.

Speaker 9 (04:11:37):
What's the fan?

Speaker 34 (04:11:38):
What are you starting for? It means good grace? Don't
you don't stop for that?

Speaker 30 (04:11:43):
Now?

Speaker 34 (04:11:44):
We lose the trains.

Speaker 23 (04:11:47):
Starting now?

Speaker 34 (04:11:54):
That make makes heaven? We got here you, yes, oh
and a lot of brass. We wouldn't have had the
rustal fast.

Speaker 55 (04:12:04):
You wouldn't stop to pick.

Speaker 23 (04:12:05):
Up that pear, melcy.

Speaker 100 (04:12:06):
Oh but you know that what they're saying is the
weied if you see a pin pick it up and
all the day you have good love.

Speaker 25 (04:12:13):
Nonsense.

Speaker 100 (04:12:14):
You don't expect me to believe that you're really serious
about such an idiotic.

Speaker 34 (04:12:17):
Superstition, do you, Elsie? Why said the series about it?

Speaker 10 (04:12:21):
Louise?

Speaker 34 (04:12:22):
I know a number of people who have had good
luck after.

Speaker 35 (04:12:24):
They picked up a pin.

Speaker 34 (04:12:26):
Coincidence, nothing more, just as ridiculous as the old story
that was responsible.

Speaker 12 (04:12:31):
For originating that superstition.

Speaker 34 (04:12:33):
What how did it originate, Louise? Would you see? Healthy
in the midieval days never had always.

Speaker 100 (04:12:40):
Been considered a protection against evil and witches.

Speaker 34 (04:12:43):
So after brass.

Speaker 100 (04:12:44):
Pins were imparted into England from France in the sixteenth century,
people sometimes threw.

Speaker 34 (04:12:50):
Them as allfense into wishing and healing well my house, silly, Louise,
using pins is offering he knows wasn't selling to the
people of that time healthy because pins were highly sties.

Speaker 100 (04:13:01):
And so were considered worthy off things. In fact, they
were so costly that, in order to present the women
from staying.

Speaker 34 (04:13:07):
Too much of their household money for them, a law
was passed prohibiting the same of pins except on the
first and second of January.

Speaker 100 (04:13:15):
Consequently, housewives began putting small change aside so as to
have the necessary pin money ready when the.

Speaker 34 (04:13:22):
Time came to buy them pin money.

Speaker 100 (04:13:24):
Is that where that phase we used today originated the
weeds exactly?

Speaker 13 (04:13:29):
But to get to the story.

Speaker 14 (04:13:31):
In England, as.

Speaker 100 (04:13:32):
The Tragic War, the roses are joined to the close,
many feudal lords and there left for power were confiscating.

Speaker 12 (04:13:38):
Property of the gentry and lesser nobles.

Speaker 100 (04:13:41):
Killing people and committing more sources about religions. People on
their property were not very safe in those days the weeds,
But what does that got to do with the superstition
of picking up a pin.

Speaker 34 (04:13:50):
I just wanted to realize the conditions existing then empty
so you can.

Speaker 100 (04:13:54):
Understand how little things were often greatly exaggerated in the
minds of the peace.

Speaker 34 (04:13:58):
Oh, I see the back ground of the Saron yes Elsie.

Speaker 27 (04:14:02):
But to go on.

Speaker 100 (04:14:04):
In about fourteen hundred and eighty I think there lived
on a fine estate north of London, a.

Speaker 34 (04:14:10):
Man by the name of Thomas Clark and his lovely
daughter and name.

Speaker 100 (04:14:14):
His property and stoff were coveted by Robert Henning, a
feudal baron who lived close by. Henning wanted Thomas Clark
and his followers to join forces with him so he
could conquer his bitter enemy, another feudal baron.

Speaker 34 (04:14:27):
It would morten by me. Did Clark during with Henning?

Speaker 23 (04:14:30):
Loue?

Speaker 26 (04:14:31):
You know?

Speaker 15 (04:14:31):
No?

Speaker 100 (04:14:31):
He rejected all of Henning's offers, for he was a
peaceable fellow and didn't wish to implicate himself or his
followers in any teddy warfare.

Speaker 34 (04:14:40):
Finally, the Baron Henning decided to use force to accomplish
his ends, so.

Speaker 100 (04:14:44):
He made his plans for his chief henchman, Jeffrey by name,
who was really a spy for Morsemon, the Baron's enemy.
The baron was outlining his plan to Jeffrey one evening, and.

Speaker 33 (04:15:07):
Thomas Clark has defied me for the last time.

Speaker 26 (04:15:09):
Jeffrey, this very night, I will make him accept my terms.

Speaker 29 (04:15:13):
What do you propose to do?

Speaker 13 (04:15:15):
Side?

Speaker 3 (04:15:15):
I shall force him to find his possessions over to me.

Speaker 31 (04:15:18):
If the fine sight is property commands, I shall have the.

Speaker 101 (04:15:21):
Very outpost I need as a defense against that scoundrel
mot de High. Clark's tables have many fine horses, and
he has a goodly following of men.

Speaker 29 (04:15:31):
All this will add to my power.

Speaker 31 (04:15:33):
What if he refuses to sign, my lord?

Speaker 6 (04:15:36):
Refuse?

Speaker 31 (04:15:37):
Will he not if we put a ForWord to his.

Speaker 23 (04:15:40):
Neck, Jeffrey.

Speaker 101 (04:15:40):
Ah, but Sire, Thomas Clark is a very stubborn man. Well,
then I'll find another way to bend him to my will.
I'll torture his daughter before his eyes not tis well, Millow,
and that failing, I shall kill him, and I will
force his daughter to find everything over to me.

Speaker 34 (04:15:57):
Time as you are remarkable.

Speaker 41 (04:16:00):
Gent, you shall go and seize Thomas Clark and his daughter.

Speaker 29 (04:16:03):
Bring them here.

Speaker 13 (04:16:04):
Take a band of my men you may meet with.

Speaker 102 (04:16:06):
Resistance eyes, sire, and shall I throw them into the
dungeon when we return.

Speaker 101 (04:16:12):
Yay, the cold and slime of the dungeon have made
many a men change his.

Speaker 102 (04:16:19):
Mind, well spoken, Sire, before this night has passed, made
thinks Thomas Clark will be most eager to.

Speaker 26 (04:16:27):
Accept your term.

Speaker 103 (04:16:28):
Yes, Jeffrey, either cars, I'll have what I desire.

Speaker 29 (04:16:32):
I'll go call your men together. Be off at once,
I sire, I go.

Speaker 5 (04:16:36):
To fulfill your orders immediately, Charles.

Speaker 3 (04:16:42):
Jeffrey this, and Charles right to Morton's castle.

Speaker 102 (04:16:45):
Tell him he must strike tonight, for the Baron has
just ordered me to seize Thomas Clark and his daughter
so that he may force Clark to join with him.

Speaker 30 (04:16:53):
Yes, Sefray and.

Speaker 31 (04:16:54):
Charles, you must convince Morton that it is imperative, for.

Speaker 45 (04:16:57):
By tomorrow the Baron will have a power, and.

Speaker 31 (04:17:00):
It'll be too late then for Moking to overthrow him.

Speaker 29 (04:17:03):
I understand, Jeffrey. I'll ride at once.

Speaker 9 (04:17:05):
Be careful that.

Speaker 13 (04:17:06):
You're not observed.

Speaker 40 (04:17:07):
Make haste off with you.

Speaker 70 (04:17:08):
Now I must call them in to go with me
to seize Clark.

Speaker 33 (04:17:13):
Men, take a golm him master.

Speaker 38 (04:17:16):
Now to your horses.

Speaker 55 (04:17:18):
We go to the house of Thomas Clark to seize
him and his daughter and to bring them here. Follow
me here this Dan Jon Thomas Park and yay, young wench.

Speaker 40 (04:17:49):
What is the meaning of this outrage?

Speaker 25 (04:17:51):
What have we done that we should be thrown into
this filthy dundron sired answ your.

Speaker 103 (04:17:56):
Fool, your firearller, hear that they are fools.

Speaker 9 (04:18:02):
Release us at once, refu come and.

Speaker 103 (04:18:06):
We're pamne paven my poor child by your hut.

Speaker 34 (04:18:14):
Something something sharp seems.

Speaker 47 (04:18:17):
To be in my knee.

Speaker 34 (04:18:18):
Father, I struck it when his name threw.

Speaker 25 (04:18:21):
Me to the floor.

Speaker 34 (04:18:22):
Let miss ceil elane Ah, he's but a pin.

Speaker 47 (04:18:26):
Father that has pierced my knee.

Speaker 15 (04:18:29):
A pin.

Speaker 29 (04:18:31):
Perhaps it is an omen for us, Elaine.

Speaker 50 (04:18:34):
Yes, father, you know nettle is a tartful protection against edel.
I shall take this thing, and if we are in
ease from this place, I'll think it is an offering
to the magic well of their Yes.

Speaker 4 (04:18:48):
Yes, my daughter, let us hope this is an omen
of good, for we need protection.

Speaker 9 (04:18:55):
This Aaron Henning is a madman.

Speaker 40 (04:18:58):
He'll stop at nothing.

Speaker 104 (04:19:02):
You've done good work.

Speaker 44 (04:19:03):
This scoundrel Henning is coming now, Henning Henning.

Speaker 5 (04:19:09):
I him on release from this dungeon.

Speaker 31 (04:19:14):
Yeah, and you may have that on one condition, plark,
what is that?

Speaker 5 (04:19:19):
Swear allegiance to me and ye.

Speaker 34 (04:19:21):
And your daughter will go free.

Speaker 103 (04:19:23):
Name Nay, I'll have no hand in your murderous business. Sounds,
I'll tell you then, But your sufferer, I'll torture your daughter.

Speaker 23 (04:19:34):
No, mother, God, let them take me from.

Speaker 103 (04:19:37):
You and coming have mercy. Do what you will with me,
but scare my daughter and tim this fucking no. No,
I cannot betray my people into your bloody hand.

Speaker 42 (04:19:50):
He well, then you are you over, No hire, thrive.

Speaker 103 (04:19:56):
Her down the way for hi you alone on Oh no,
stop stop heading Henning, have mercy.

Speaker 30 (04:20:04):
The fuck and see the pretty wealth.

Speaker 33 (04:20:07):
I shall make upon the pair skin of your daughter.

Speaker 34 (04:20:11):
You cannot break up?

Speaker 74 (04:20:12):
Did it with the last?

Speaker 34 (04:20:13):
Darren?

Speaker 5 (04:20:14):
You think not?

Speaker 42 (04:20:15):
Preside Wench, we shall see way.

Speaker 13 (04:20:18):
Not at last?

Speaker 21 (04:20:19):
Hendy.

Speaker 15 (04:20:20):
What what do you mean, Jeffrey, I.

Speaker 87 (04:20:21):
Mean that I will not let you spike that he
preserve you believe?

Speaker 40 (04:20:25):
Why not cut your heart off? And if you do, Henning,
you tell.

Speaker 105 (04:20:29):
Not escape either, for Martin at this very moment has
entered your cock card with his men.

Speaker 42 (04:20:34):
Oh rasy to watch me?

Speaker 9 (04:20:36):
Why are you smiling?

Speaker 69 (04:20:40):
Die Henning?

Speaker 25 (04:20:41):
You know, ah, gentle Maaby, I will release you now.
Do not fear Henning is dead Mortan than his men
have arrived, and you and your father will be returned
safely to your home.

Speaker 34 (04:20:57):
Oh movies, ye me humbly thanks.

Speaker 25 (04:21:02):
Hye a thousand thousand thanks.

Speaker 100 (04:21:12):
And so she lay and her father were free. They
attripated their miraculous belief to the finding.

Speaker 50 (04:21:18):
Of the pin, which they happy me was an omen
of good for them.

Speaker 4 (04:21:22):
But you know the pin really.

Speaker 34 (04:21:24):
Had nothing to do with it. So you see how
fast that that superstition was healthy? I know it wasn't, Louise.
It saved them some talk to and there, but.

Speaker 100 (04:21:33):
Doctor see Yelsie and Jeffrey, knowing Morton.

Speaker 34 (04:21:36):
Was attacking the baron's castle last night, had the courage
to turn against Kenny and kill him.

Speaker 100 (04:21:42):
So, regardless of the pin and day and her father
would have been saying anyway, well, oh yes, that's trueber.

Speaker 34 (04:21:49):
Oh hell can we had to say?

Speaker 73 (04:21:52):
Healthy?

Speaker 46 (04:21:53):
Come on?

Speaker 23 (04:21:53):
And so all right we smile.

Speaker 9 (04:21:55):
What a clown?

Speaker 34 (04:21:56):
Heaven life you say? So, come on, superfic you here?
Shall we get to that behind you?

Speaker 11 (04:22:01):
Oh?

Speaker 100 (04:22:01):
Good heaven, Louise, my friend, what happened to it?

Speaker 34 (04:22:05):
Elsie? Get somewhere?

Speaker 106 (04:22:08):
Well, picking up that pin hasn't brought you very.

Speaker 34 (04:22:11):
Much good luck, has it?

Speaker 27 (04:22:13):
Oh?

Speaker 34 (04:22:14):
Come on, let's look for everything.

Speaker 37 (04:22:16):
I oh.

Speaker 25 (04:22:25):
And so, ladies and gentlemen, we hope Elsie recovers her purse.

Speaker 45 (04:22:29):
But whether she does or not, we know that she'll
still believe that picking up a.

Speaker 17 (04:22:33):
Pin will bring her good luck.

Speaker 33 (04:22:35):
Well, all wine and good luck to you.

Speaker 9 (04:22:54):
Harold.

Speaker 31 (04:22:58):
Story is of suspense.

Speaker 12 (04:23:14):
Mister Fansworth, come in.

Speaker 19 (04:23:16):
Thank you, missus Johnson, forgive me for calling so late
in the day. I was working in my garden and
lost track of a time. Time doesn't mean much when
I'm amongst my flowers.

Speaker 9 (04:23:27):
I thought you might like.

Speaker 12 (04:23:28):
Oh, thank you very much, mister Fans.

Speaker 19 (04:23:30):
But they're beautiful, wonderful things flowers. You get pleasure out
of both growing them and giving them away. How's your
husband this evening, missus Johnson?

Speaker 12 (04:23:40):
That the same doctor Sanders is with him now?

Speaker 19 (04:23:42):
Oh he's quite a remarkable young man at doctor Sanders,
Very efficient, very good looking.

Speaker 11 (04:23:50):
Yes, isn't he?

Speaker 19 (04:23:52):
Oh here he comes now, good evening, doctor Sanders.

Speaker 26 (04:23:56):
Oh hello, mister Farnsworth.

Speaker 19 (04:23:57):
How's mister Johnson this evening? And not too well?

Speaker 29 (04:24:00):
Afraid?

Speaker 45 (04:24:01):
And missus Johnson, i'd like to talk to you alone.

Speaker 19 (04:24:03):
Oh well, I just dropped in with these flowers.

Speaker 106 (04:24:07):
Good night, Good night, mister Farnsworth. Make sure he's gone, Yes,
I can see him through the window.

Speaker 19 (04:24:16):
There he goes.

Speaker 15 (04:24:18):
Oh, Peter.

Speaker 11 (04:24:21):
Is Edward.

Speaker 45 (04:24:21):
He's the same you said that was for Farnsworth benefit.
Your husband can go on for years, Dorothy years two
months ago. I thought it'd be only a matter of weeks.

Speaker 29 (04:24:30):
But he's rallied.

Speaker 12 (04:24:32):
Is there any chance of him fully recovering?

Speaker 45 (04:24:35):
No, he'll be a bedridden invalidill he dies.

Speaker 52 (04:24:38):
Oh Peter, what are we going to do?

Speaker 12 (04:24:41):
How long can I go on?

Speaker 19 (04:24:42):
Life?

Speaker 12 (04:24:43):
He's loving you. I'm waiting for him to die.

Speaker 45 (04:24:46):
That's entirely up to you, Dorothy, up to up to me.
I think you've got the courage. That's why I told
fans Worth, your husband's in a bad way.

Speaker 12 (04:24:55):
What are you saying, Peter?

Speaker 45 (04:24:57):
You're going to take him some tea, aren't you. He's
a helpless old man, Dorothy. He's not good to himself
or anyone else with him out of the way, you
and I have the way you wouldn't suffer. Yeah, this
packet of partisan lison, very quick acting, could be dead

(04:25:17):
a few minutes after drinking his tea. I'll be back
in just a minute to tell you more of tonight's
story a cup of tea.

Speaker 107 (04:25:39):
Which statement is correct in the beginning God created or
in the beginning God did not create? This question has
answered every Friday afternoon at five point fifteen on WMUU
on the Bible and Modern Science. Join us each week
and invite your friends to listen.

Speaker 45 (04:25:54):
To I don't look at it that way. He's keeping
us apart besides his suffering, but to give him it's
a merciful way out. Of course, if you're willing to

(04:26:16):
wait a few years, we can run away to give her,
Peter what we use for money. He's worth a fortune.
You've been married to him for six years. I think
you've earned the right to his money. But if you'll
leave him now, Dorothy, you won't.

Speaker 9 (04:26:27):
Get a cent.

Speaker 12 (04:26:27):
But the police, as far.

Speaker 45 (04:26:28):
As anyone knows, your husband is a dying man, ud
come and dried. There'd be no reason in the world
for anyone to suspect murder. But we'd still have to
be very careful. How do you mean we wouldn't be
able to see much of each other. This is a
small town.

Speaker 29 (04:26:44):
People talk.

Speaker 45 (04:26:45):
How long will we have to wait a few months? Well,
that's better than four or five years, isn't it.

Speaker 26 (04:26:50):
Oh?

Speaker 12 (04:26:50):
Yes, yes, I will be areing hi, Peter. I mean
going away to care.

Speaker 45 (04:26:56):
Well, you could leave town. You could say you're going
on a long trip. Just before that, I'll tell my
practice the way I have it figured, we'd meet in
Los Angeles and go to South America. As for the
stocks and property your husband leaves, I'll convert the cash
and banget in Los Angeles.

Speaker 12 (04:27:10):
What if what it is not topsy?

Speaker 29 (04:27:12):
There won't be I've.

Speaker 45 (04:27:14):
Told people that your husband had a bad heart. They
won't suspect anything you.

Speaker 12 (04:27:17):
Surely won't suffer.

Speaker 29 (04:27:18):
I give you my word.

Speaker 15 (04:27:21):
Do you love me, Peter?

Speaker 29 (04:27:23):
You know I do?

Speaker 99 (04:27:24):
But if I thought you didn't, I'd take that poison myself.

Speaker 29 (04:27:27):
Don't be silly.

Speaker 12 (04:27:28):
I never loved anyone before I'm married.

Speaker 45 (04:27:30):
But don't evenuse you could take care of him in
the past few years. You've been taking care of him.
He refuses to hire a nurse. You waited on him
night and day. That's no life for a young and
beautiful woman.

Speaker 12 (04:27:40):
We'll be happy, won't be, Peter, wonderfully happy.

Speaker 29 (04:27:42):
I'll see the last well.

Speaker 12 (04:27:43):
You always love me, always.

Speaker 29 (04:27:45):
I'll never stop loving.

Speaker 12 (04:27:46):
You mean so much to me that it's frightening.

Speaker 29 (04:27:48):
Shouldn't frighten you, darling.

Speaker 45 (04:27:50):
I love is a wonderful thing, and we're not going
to let that old man upstairs robbers of it, are we?

Speaker 29 (04:28:00):
No?

Speaker 70 (04:28:00):
Peter, Dorothy, how do you feel, Edward?

Speaker 9 (04:28:17):
Fine? Just fine?

Speaker 12 (04:28:19):
Here, let me fix those billows for you. I'll help
you up.

Speaker 19 (04:28:28):
Thank you, Dorothy, My dear, I've been doing some thinking
the last year or so.

Speaker 29 (04:28:37):
It hasn't been very pleasant for you.

Speaker 106 (04:28:39):
Never mind, Edward, I should have engaged in murders, all right?

Speaker 9 (04:28:43):
No, no, it's not all right.

Speaker 29 (04:28:46):
You need a vacation, my dear, and I'm.

Speaker 9 (04:28:49):
Going to.

Speaker 12 (04:28:51):
Well, we'll want to talk about that tomorrow.

Speaker 11 (04:28:54):
Here, Edward, it's your tea.

Speaker 29 (04:29:06):
Sorry, he's finished. Good work, Darling, Yes.

Speaker 12 (04:29:24):
Thank you so much, missus Wijamson. You've been very kind.
Goodbye oh.

Speaker 75 (04:29:34):
Oh in christ funeral during the past three days and
we spoken to you. Went whisper at the funeral. Right,
there's nothing to worry about her to worry about. This's
cold Jesus, when am I going to see him again?

Speaker 29 (04:29:59):
We have to be careful.

Speaker 70 (04:30:00):
People see me a.

Speaker 12 (04:30:01):
Few months away, to go away, a few months of
living in this horse Peter, Peter moo free. I must
see you at most. This isn'tn back. What's wrong?

Speaker 29 (04:30:28):
Someone might be passing by.

Speaker 12 (04:30:29):
You want to ruin everything. I had to see you.
You put your arms on me, Homie tired. I'm afraid
I get.

Speaker 29 (04:30:34):
Control of yourself.

Speaker 5 (04:30:35):
You can keep on like this.

Speaker 29 (04:30:36):
You give everything over, Peter, not take it easy.

Speaker 12 (04:30:43):
Ahem strong meat, you so much.

Speaker 15 (04:30:50):
Peter.

Speaker 12 (04:30:51):
You don't know what I've been through as I do.

Speaker 29 (04:30:53):
But you've got to keep your courage.

Speaker 12 (04:30:55):
I can as long as I see you often.

Speaker 29 (04:30:57):
That's not possible life. Look, this is the danger period.

Speaker 45 (04:31:01):
If one person guesses how we feel about each other,
just one, then everyone in town will be talking in
no time at all.

Speaker 29 (04:31:08):
You shouldn't have polled me.

Speaker 12 (04:31:09):
I warned you all I was to tell you I
felt sick. You're my doctor. Even though am I was
listening to our own conversation. They couldn't possibly suspect anything.

Speaker 106 (04:31:16):
Yes, yes, but you mustn't do it again, all right, Peter,
But but please don't exect me to carry on by myself.

Speaker 1 (04:31:22):
I don't see you.

Speaker 12 (04:31:23):
I'm afraid of what I might do.

Speaker 9 (04:31:25):
I have a key.

Speaker 45 (04:31:27):
I'll come here as often as I dare, when I'm
sure it's safe. How often maybe twice a week, twice
a week. We only have a few months to wait arth.

Speaker 19 (04:31:35):
In his house.

Speaker 12 (04:31:37):
Sometimes I imagine I hear his boys. I don't.

Speaker 45 (04:31:40):
Just a few months, and then we'll have the rest
of our lives. Remember it's not easy for me either.
I love you so much, Peter, Peter, don't hear us.
Stop saying that I won't. I'll keep that cat up
and don't be afraid anymore.

Speaker 12 (04:31:56):
Who can it be? Maybe you a better leave.

Speaker 29 (04:32:00):
My car's out front.

Speaker 26 (04:32:03):
Open the door.

Speaker 19 (04:32:07):
Ah, mister Farnsworth, good evening, missus Johnson, and may I
come in, of course?

Speaker 9 (04:32:13):
Thank you.

Speaker 30 (04:32:15):
Well.

Speaker 19 (04:32:16):
Doctor Sanders.

Speaker 45 (04:32:17):
Hello mister Farnsworth. And now don't forget to take that
medicine I prescribed, Missus Johnson. All right, doctor, and the
golden air as much as you can.

Speaker 29 (04:32:24):
It'll help you to go to sleep.

Speaker 12 (04:32:26):
I'll do that, doctor.

Speaker 29 (04:32:27):
Thank you, goodbye for now, see you.

Speaker 19 (04:32:29):
Again, mister Farnsworth. Yes doctor, yes, nice looking fellow doctor Sanders, yes,
I yeh. I came over to see if there was
something I can do for you, Missus Johnson.

Speaker 12 (04:32:42):
Go you very much, mister Farnsworth.

Speaker 40 (04:32:44):
But I'm quite all.

Speaker 45 (04:32:44):
Right about my not going to the funeral today.

Speaker 12 (04:32:49):
I don't like fun I understand. But thank you for
the lovely reach you.

Speaker 19 (04:32:54):
Sent pink Roses. When your husband was well a few
years back. He used to stop at my place at
I had the prengroses send him.

Speaker 12 (04:33:01):
A very kind so I appreciate it.

Speaker 29 (04:33:03):
You are, you're going to.

Speaker 19 (04:33:05):
Be pretty lonely here in this big house, aren't you.
I suppose I will be, but then it might be
too bad. The doctor will probably stop by every now
and then.

Speaker 12 (04:33:18):
I don't be nice I want to call him today
because I had a hitdache.

Speaker 44 (04:33:24):
Why are you laughing?

Speaker 19 (04:33:27):
Yes, sir, the doctor is a very good looking fellow.

Speaker 12 (04:33:31):
Exactly what you mean by that, mister Farnswood.

Speaker 19 (04:33:33):
I think you get the picture pretty well. Missus Johnson,
your husband left you a good deal of money, didn't be.

Speaker 12 (04:33:40):
I don't see what that has to do with you.

Speaker 19 (04:33:42):
But I can see what it has to do with
doctor Sanders.

Speaker 106 (04:33:45):
I have no idea what you're getting at, but I
don't like your attitude.

Speaker 47 (04:33:48):
Please see this.

Speaker 19 (04:33:49):
Horse and climbed down off that big white horse, Missus Johnson.

Speaker 51 (04:33:52):
You see I know plenty.

Speaker 19 (04:33:54):
I know, for instance, that you and doctor Sanders a
suite on each other. Now, I've done some snooping around.
I've seen you kissing when you thought nobody was looking.
You're in love with each other, and you couldn't wait
for your husband to die. You couldn't wait.

Speaker 11 (04:34:09):
What are you suggesting?

Speaker 19 (04:34:10):
That's you and doctor Sanders murdered your husband.

Speaker 5 (04:34:14):
That's what.

Speaker 19 (04:34:17):
As in testing as it's them.

Speaker 29 (04:34:18):
Why do you look so scared?

Speaker 19 (04:34:20):
I have no reason to be frightened, or in that case,
you won't mind if the police exhume the body I'll
phone them right now.

Speaker 33 (04:34:28):
Body, uh, in just a moment, we return.

Speaker 31 (04:34:41):
With our story a cup of tea.

Speaker 108 (04:34:46):
The City coach Lines asked you to leave the traffic
bus and ride with them. You'll enjoy the clean coaches
and the pleasant bus drivers. You'll also enjoy talking to
people as you travel along.

Speaker 19 (04:35:09):
If your husband died of natural causes, Missus Johnson, then
you've got nothing to be afraid of. Now let's see
what's the number.

Speaker 12 (04:35:16):
Of the police on the phone.

Speaker 19 (04:35:18):
Now, why should I do that?

Speaker 45 (04:35:20):
I'm a citizen doing what I figure is my to Please.

Speaker 12 (04:35:23):
Please put down the phones to Farnsworth please.

Speaker 19 (04:35:26):
Eh, Well, seen you might be getting sensible about this year.

Speaker 12 (04:35:34):
My joice chest is completely untrue.

Speaker 19 (04:35:36):
Oh, I thought you were going to be sensible. I
thought you were going to say, what kind of deal
can we make, mister Farns real. Yes, your husband left
a pretty big estate. They tell me worth her arm
half a million dollars.

Speaker 12 (04:35:51):
It's not nearly that much.

Speaker 19 (04:35:52):
Well take off a third for natural exaggeration, and it's
still a heap of money. You and doctor Sanders wouldn't
missus say fifteen thousand dollars? Fifteen thousand best.

Speaker 29 (04:36:04):
Or missus Johnson.

Speaker 12 (04:36:05):
I'm not a greedy man, or why should I give
you all that money? Have done nothing wrong. I have
no reason to any me enough of it.

Speaker 19 (04:36:12):
Now you listen to me. I know what happened. I watched,
and I waited for it, and now it'll cost you
fifteen thousand dollars to buy my silence. I'll give you
till tomorrow to think it over you, every handsome young doctor.

Speaker 98 (04:36:34):
Mister Farnsworth, this is doctor Sanders. I'm phoning from missus
Johnson's home.

Speaker 19 (04:36:39):
Yeah, so you go in just minutes ago that day.

Speaker 29 (04:36:42):
We'd like to have a talk with you, mister Farnsworth.

Speaker 13 (04:36:44):
I'll be right over.

Speaker 19 (04:36:55):
You can raise only six thousand, man, I had the
rest of it by next week. Hmm, well, I'm a
reasonable man, Missus Jamson.

Speaker 45 (04:37:04):
Have you told anyone else of your suspicions, mister Farnsworth.

Speaker 19 (04:37:07):
Oh no, Doctor, I'm a man who minds his own business,
especially when the business is worth fifteen thousand dollars.

Speaker 45 (04:37:14):
What guarantee will it give us that you'll keep quiet well?

Speaker 17 (04:37:17):
Now?

Speaker 40 (04:37:17):
Will require some.

Speaker 19 (04:37:18):
Kind of a guarantee. I'm afraid you'll just have to
take my word for a doctor. I'm not signing any papers.
If that's what you've got on your mind, you're not
going to get something on me.

Speaker 45 (04:37:28):
But how do we know you'll stay happy with fifteen
thousand dollars?

Speaker 19 (04:37:32):
Well you don't.

Speaker 45 (04:37:34):
In other words, later on you can blackmail us again.
So you're just trying to frighten me with that gun.
We could never feel safe.

Speaker 29 (04:37:43):
With you alive Funds worth.

Speaker 19 (04:37:45):
Now, now look, I paper the statement house Finn has
a statement to accessory to murder blackmail? And why you
hold that statement?

Speaker 27 (04:37:52):
Hall?

Speaker 19 (04:37:53):
I'll have to keep quiet.

Speaker 45 (04:37:54):
You can word it any way you like, on the
house and any way you like. No, we could never
trust you Funds to be hurt.

Speaker 29 (04:38:00):
Not with this pillow over the gun.

Speaker 6 (04:38:02):
You'd be suspected.

Speaker 45 (04:38:03):
It all come out, not the way I've got it
figured Farn's work. No, no, please please, I had to
do it, Dorothy, you were standing in the way. I
won't let anybody stand in the way.

Speaker 12 (04:38:19):
What am I gonna do now?

Speaker 45 (04:38:21):
I have to get rid of the bore. Farns went
off and drove to New York City, didn't he.

Speaker 12 (04:38:26):
Oh that's almost three hundred miles away.

Speaker 45 (04:38:28):
I can drive there in seven or eight hours and
take the train back.

Speaker 29 (04:38:31):
I'll use his car.

Speaker 45 (04:38:33):
I'll abandon the car and the woods on the Jersey
side of the river. Please, body, I'll make sure it
won't be found. He has no relatives. He won't be
missed for weeks. But this means we'll have to be
even more careful from now on, Dome.

Speaker 12 (04:38:45):
If I'll be strong enough.

Speaker 9 (04:38:46):
You'll have to be.

Speaker 45 (04:38:48):
We gotta let this miserable blackmailer Ruin have fruit together.

Speaker 9 (04:38:51):
He's living in this house, jumpy in every sound.

Speaker 52 (04:38:54):
We have to wait as long as he plan.

Speaker 45 (04:38:57):
If we don't, someone may guess what's happened. It'll take
this one gossip.

Speaker 29 (04:39:01):
No, we must wait up. You will, Dorothy, you will?

Speaker 21 (04:39:06):
You'll do as I say?

Speaker 57 (04:39:07):
Hey, you're let me beer?

Speaker 19 (04:39:13):
You'll do as I say, Dorothy? Or are?

Speaker 26 (04:39:17):
What?

Speaker 19 (04:39:19):
What's the matter with this?

Speaker 29 (04:39:21):
Arguing?

Speaker 45 (04:39:21):
Is the last thing in the world we should do.
I'm sorry, Darling.

Speaker 12 (04:39:26):
Let's just forget it, per I shouldn't have lost my head.

Speaker 19 (04:39:29):
You'll be all right. Well, I better get rid of him.

(04:39:50):
Good morning, missus, Jason, Captain Morgan.

Speaker 4 (04:39:54):
Won't you come in?

Speaker 19 (04:39:55):
Thank you?

Speaker 37 (04:39:57):
Sit down?

Speaker 21 (04:39:58):
Don't know?

Speaker 25 (04:39:59):
Thank you?

Speaker 29 (04:39:59):
I be staying long?

Speaker 70 (04:40:01):
What can I do for you?

Speaker 19 (04:40:03):
How well, do you know your next door neighbor George Farnsworth?

Speaker 12 (04:40:08):
Very well?

Speaker 1 (04:40:09):
When did you see him last, Missus Johnson?

Speaker 12 (04:40:11):
Not for quite some time, about two weeks, I'd say.

Speaker 13 (04:40:16):
Do you have any idea where he went?

Speaker 5 (04:40:18):
Well?

Speaker 75 (04:40:18):
Yes, at least a few days before he left, he
said he was thinking of making.

Speaker 12 (04:40:23):
Another trip to New York City. I see, nothing has
happened with my hope.

Speaker 29 (04:40:28):
Well, we are not sure the last time you saw him?
Was he behaving normally? I mean, did he seem worried?

Speaker 9 (04:40:37):
I think no?

Speaker 29 (04:40:39):
Hey, does he have any enemies.

Speaker 40 (04:40:41):
That you know of?

Speaker 12 (04:40:42):
He never spoke about any enemies.

Speaker 29 (04:40:46):
Well, thank you, mister Johnson.

Speaker 19 (04:40:48):
If you think of anything that may help us to
locate Farnsworth, let me know what you.

Speaker 12 (04:40:52):
Yes, but what happened?

Speaker 49 (04:40:57):
His car has found abandoned in New Jersey a week ago. K.
I'm sorry to have trouble you, Missus Jason.

Speaker 12 (04:41:04):
Go back, Captain.

Speaker 75 (04:41:12):
Charrison.

Speaker 12 (04:41:13):
Well, look on the Captain's face.

Speaker 6 (04:41:17):
I wonder if he is.

Speaker 12 (04:41:19):
He ain't been feeding me out? Did I see anything wrong?
I can't even remember when.

Speaker 15 (04:41:26):
I say it.

Speaker 75 (04:41:28):
My face.

Speaker 12 (04:41:34):
Minds keep blind me, my eyes.

Speaker 75 (04:41:38):
I wonderful this noise? Why do people think when you
see me, Peter, I see Peter.

Speaker 12 (04:41:47):
I guess it anymore.

Speaker 45 (04:41:55):
We'll be back in a minute to peril and our
story a cup of tea.

Speaker 33 (04:42:00):
Even with all.

Speaker 107 (04:42:04):
Our elaborate transmitting facilities, utilizing the most modern principles of
communication and your fine home radio receiver w mu U
cannot bring you. It's high caliber programming without a most
important component. The advertisers trade with them regularly. You'll be
doing both of us the favor.

Speaker 45 (04:42:31):
Dorothy getting side quick? Did you want to see your company?

Speaker 31 (04:42:36):
You don't know, Dorothy.

Speaker 12 (04:42:38):
If you come, don't get.

Speaker 74 (04:42:43):
Keptain morning?

Speaker 45 (04:42:44):
Can you a houselogan?

Speaker 29 (04:42:46):
What do you want?

Speaker 27 (04:42:46):
He asked?

Speaker 11 (04:42:47):
Questions about barns with the car was bound in your jersey?

Speaker 19 (04:42:49):
Well, that's nothing to worry about.

Speaker 31 (04:42:50):
I you the commy found sooner or later. In fact,
I can't.

Speaker 12 (04:42:53):
Even a police is fake this.

Speaker 29 (04:42:55):
That's a good listen.

Speaker 45 (04:42:57):
They have no reason to suspect us, and they won't
have unless you give them mind.

Speaker 12 (04:43:00):
I I want to see him.

Speaker 15 (04:43:01):
What to do?

Speaker 31 (04:43:03):
Let's go right that.

Speaker 45 (04:43:04):
It'd be like putting a sign on our backs, a
sign that says we murdered Edward Johnson and George Farther.
There's nothing to worry about, Dorothy, How can I get
that into your head?

Speaker 12 (04:43:14):
Put your arms from me.

Speaker 23 (04:43:16):
He doesn't us.

Speaker 45 (04:43:17):
Feel better, Dorothy, We're going to win out. You must
realize that fans Worth body will never be found. You'll
be just a missing person. The police won't have a case.
You've got to be calm. It's Peter, and promise you
you won't ever come me to my apartment again.

Speaker 29 (04:43:34):
I had to see you, yes, yes, I know, but
you mustn't.

Speaker 26 (04:43:37):
Kids.

Speaker 12 (04:43:38):
I had to live for see you.

Speaker 29 (04:43:39):
In another six weeks, it'll be all over.

Speaker 6 (04:43:42):
We'll beat it, cass see.

Speaker 75 (04:43:43):
He's convenient guaranty.

Speaker 19 (04:43:45):
All right, I'll try and see you more.

Speaker 12 (04:43:49):
Please, please don't do anything. Just come to see me, Peter,
Please don't let me a lot in that house. I
haven't seen him for five days. I have the phone
calls to the phone.

Speaker 23 (04:44:13):
And logo.

Speaker 75 (04:44:24):
Hello missus Johnson, Oh missus Arnold, how are you these things?

Speaker 25 (04:44:30):
Thank you?

Speaker 106 (04:44:31):
If we missed you at the country club dance last night,
thinking you were real, I asked doctor Sanders about you.

Speaker 12 (04:44:36):
He said that as far as he knew.

Speaker 11 (04:44:37):
You were all right.

Speaker 12 (04:44:38):
I didn't go to the dance because well, I'm stilling
more now.

Speaker 19 (04:44:41):
Oh, yes, of course.

Speaker 99 (04:44:45):
Speaking of doctor Sanders, I wonder if he'll marry Shirley
English Sanders.

Speaker 12 (04:44:51):
Mary. Yes, they're being seen everywhere together. You know, my,
they make a very handsome couple.

Speaker 29 (04:45:02):
Dorothy.

Speaker 45 (04:45:03):
I told you not to get in touch with me because.

Speaker 3 (04:45:05):
I had to see you.

Speaker 99 (04:45:06):
What about Shirley English, Shirley English listened. I've been told
that you're seeing a lot of that.

Speaker 45 (04:45:11):
Only because she happens to be at the same parties.
That's all you could have party by here and it's
half Dorothie. If you remember, we decided on a plan
we were both at normally.

Speaker 12 (04:45:21):
You had the fun while I sit here for hours
an hour, and I just said, if it sounds like
a knife standing at my inside, my head pounds.

Speaker 52 (04:45:27):
I feel I'm going mad.

Speaker 45 (04:45:28):
I better give you something to quiet.

Speaker 12 (04:45:30):
I don't want anything.

Speaker 45 (04:45:31):
No, well, at least let me picture a drink. I'm
gonna have one myself.

Speaker 109 (04:45:35):
Anyhow, English is young and beautiful, Peter. You can see
Missy mix the drinks.

Speaker 29 (04:45:52):
Wow, fine, how.

Speaker 12 (04:45:56):
Do you do my drink?

Speaker 26 (04:46:01):
Hey?

Speaker 29 (04:46:01):
My, Dorothy, double scotch? Thank you? Here's the worst, aren't
you drinking?

Speaker 12 (04:46:10):
I'm I'm going to bed, Sorry, for behaving like I did, Peter.

Speaker 29 (04:46:16):
That's all right. I know you're under a big strain.
I'll have you drink first.

Speaker 110 (04:46:21):
I'll have it upstairs in my room. Here's most of
my money, and I want to get rid of me. See,
I'm murdered.

Speaker 17 (04:46:38):
I asked me.

Speaker 75 (04:46:40):
Cleverly, work, Peter.

Speaker 19 (04:46:42):
How clever are you played?

Speaker 12 (04:46:44):
I won't work, Peter.

Speaker 3 (04:46:56):
Why have you happy brought you?

Speaker 5 (04:46:57):
Captain?

Speaker 106 (04:46:58):
Let me tell him captain ahead, Missus Jenson, it's all over, Peter.

Speaker 45 (04:47:03):
I confess it twice.

Speaker 99 (04:47:04):
How you poisoned my husband, How you shot pans for
Doris and then and then Peter.

Speaker 12 (04:47:09):
How you tried to poison me?

Speaker 45 (04:47:11):
Poison you saw you in the mirror.

Speaker 12 (04:47:13):
I'll say you with the poison, Potter, my drink, drink.

Speaker 45 (04:47:17):
You'll fool Dorothy, You'll fool.

Speaker 1 (04:47:20):
You, stupid fool.

Speaker 12 (04:47:23):
I tricked him, sat for him.

Speaker 19 (04:47:26):
I'm afraid he's right, Missus Jensen, you are a fool.

Speaker 25 (04:47:33):
Yeah.

Speaker 17 (04:47:34):
Have a look at this.

Speaker 49 (04:47:37):
Report from the lab analysis of that drink you brought in. Yeah,
the last item should.

Speaker 1 (04:47:43):
Interest you.

Speaker 33 (04:47:46):
An Yeah, an ordinary headache?

Speaker 9 (04:47:49):
Potter?

Speaker 29 (04:47:51):
Would you care for another one?

Speaker 45 (04:48:08):
And that concludes tonight's peril story.

Speaker 15 (04:48:11):
A cup of Tea.

Speaker 104 (04:48:16):
Mystery in the Air starring Peter Laurie, presented by Camel Cigarettes.

Speaker 10 (04:48:36):
Yes, yeah, misteramos cheehaul, aren't you?

Speaker 9 (04:48:40):
Yes, I am woo you.

Speaker 10 (04:48:42):
I'm Borastro, the hypnotist and magician. He called me, the
marvelous Bastro.

Speaker 9 (04:48:48):
What do you want? How did you get in my orfer?

Speaker 10 (04:48:50):
I said, I was a magician. I do such things.
But why have you come to see me? Why because
you're a great lawyer and I'll have need of your
service soon. Indeed, yes, indeed, because tonight time I shall
commit a murder.

Speaker 104 (04:49:19):
Each week at this hour, Peter Laurie brings us the
excitement of the great stories, of the strange and unusual,
of dark and compelling masterpieces culled from the four corners
of world literature. Tonight, the Marvelous Barrastro by Ben Hecht.

Speaker 80 (04:49:39):
Mystery in the Air starring Peter Laurie, brought to you
by Camel Cigarette. Experience is the best teacher a camel.

(04:50:01):
Let your own experience tell you why more people are
smoking camels than ever before. And the best place for
that experience is right in your own tea zone. That's
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your taste has to say about the rich, full flavor
of Camel's superb blend of choice tobaccos. Find out how
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(04:50:26):
millions of delighted smokers, may well find yourself saying, Camels
suit my tea Zone to a tea.

Speaker 104 (04:50:41):
The famous criminal lawyer Amos g Haw sits staring into
the hypnotic eyes of the marvelous Barrastro, who has just
announced that to night he will commit murder.

Speaker 10 (04:50:52):
Yes, mister Hobb, for a long time, a long time,
I have dreamed only one dream, to kill this man.

Speaker 9 (04:51:00):
Why who is he?

Speaker 10 (04:51:03):
Ricos Sensoni. Have you heard of him?

Speaker 9 (04:51:06):
No, can't say that I have.

Speaker 10 (04:51:08):
Well he he's a great magician, a great hypnotist. Yes,
he he's clever. He's too clever. I've hunted him from
country to country, from city to city, all over the world.
Sometimes I've almost caught him in London. I I only
missed him by only two hours. But to night, to night,
I shall meet him face to face.

Speaker 17 (04:51:30):
You know where he is then?

Speaker 5 (04:51:32):
Right now?

Speaker 10 (04:51:32):
Yes, Ricos Sensoni is here in this city. Now to
night he opens in his first stage performance, and I'll
be there waiting for him.

Speaker 5 (04:51:44):
Hmm.

Speaker 71 (04:51:45):
Weller, Apart from the legalistic aspects of the er Er case,
why do you want to murder this man?

Speaker 10 (04:51:54):
Why listen closely, mister Holland, and perhaps you'll know a
part of my hate for this, for this fiend. Oh
it began some time ago. I was traveling with a
small carnival through Eastern Europe. I cast horace cops, I
read the future, I revealed the past, and conversed with

(04:52:16):
the spirits. That is how I earned a meager living well.
One night, our carnival came to a village, oh somewhere
in mellow Russia. Peasants and the villagers gathered around our
tents and wagons and through a hole in a black

(04:52:38):
box where I stood, I watched the crowd while a
barker made his speed.

Speaker 71 (04:52:46):
The day tell us the future, reads the secrets of life.

Speaker 10 (04:52:52):
And then then I saw her. She had a young
and gentle face. She was beautiful, Oh so beautiful, I
couldn't take my eyes away. And then, then, to my
indescribable joy, her peasant led her in and I saw
at once the girl was blind.

Speaker 9 (04:53:23):
This is my granddaughter, Anna.

Speaker 15 (04:53:26):
She would like you to tell her fortune.

Speaker 27 (04:53:28):
Can you tell my future?

Speaker 61 (04:53:30):
Yes?

Speaker 10 (04:53:31):
I yes, Anna, I can.

Speaker 27 (04:53:33):
Will it be a happy one my future?

Speaker 10 (04:53:36):
Show me your hand and I'll tell you yea. I
took her hand, and suddenly I felt a chiller. I
could hear the voices which foretell the future. Fly, fly, run, Yes,

(04:53:59):
I I could hear them and feel a great fear
gripped me. But the girl's beautiful, sightless eyes, they were
so full of hope and faith. I couldn't. I just
couldn't tell her the truth. Spirits promise you great happiness, Anna,
Oh thank you. Yes, your hands will touch beautiful things

(04:54:22):
and love and great happiness.

Speaker 74 (04:54:25):
Await you?

Speaker 27 (04:54:26):
Oh thank you, sir, Oh, thank you, thank you.

Speaker 10 (04:54:40):
That was the beginning. Her face never left me that night,
and I couldn't sleep. The next morning, I looked for her,
and I found her. We walked through the hills and
she spoke of the trees she could not see.

Speaker 27 (04:54:57):
I call that tree lullaby because it sings when it
sways in the wind. And this other I call prayer.
He told me it's branches open toward heaven.

Speaker 10 (04:55:19):
I was with her that whole day and the next
and the next, and we walked off and in the
hills in a forest, and she knew every turn in
a path.

Speaker 15 (04:55:31):
We were in love.

Speaker 10 (04:55:32):
And when it came time for the carnival to move on,
I asked Anna to come with me as my wife.

Speaker 27 (04:55:41):
You make me very happy, Gregord.

Speaker 12 (04:55:44):
I could live only with you.

Speaker 10 (04:55:46):
I love you with all my heart, and I love
you with all my heart, Anna, And I'll care for you,
and I'll protect you.

Speaker 27 (04:55:54):
And you'll teach me, Gregord. You'll teach me to see
to see. One doesn't need eyes to see as you do.

Speaker 10 (04:56:00):
No one does not.

Speaker 27 (04:56:02):
Oh, please Gregor, teach me to see beyond the horizons.
Please teach me to see as you see.

Speaker 10 (04:56:10):
My sweet little Anna. And the day we were married,
we rode together in a gilded wagon and a vase
were taken under clear sky. But immediately after the skies

(04:56:31):
suddenly changed. I realized what I had done.

Speaker 6 (04:56:37):
It was I.

Speaker 10 (04:56:38):
It was I who was carrying out a terrible message
of the stars. For it was I that fate had
selected to destroy her. From that moment on, I was haunted.

(04:57:01):
One evening, it was less than a month later I
stood in a black box outside my tent, and I
knew it had come. That graceful, smiling man who stood
before the tent. He was studying Anna. Not once did
he take his eyes from her. Hey, you you, Why

(04:57:26):
do you stare at her? We've got my eye. Don't
want you to stare at her?

Speaker 41 (04:57:30):
Who are you?

Speaker 10 (04:57:31):
It makes no difference. She's my wife.

Speaker 111 (04:57:34):
Oh, I most humbly beg your pardon, sir. You see
I was admiring your wife. Allow me to introduce myself.
I'm Rico Sansoni, the hypnotist and magician. I'm going on
a world tour soon, and I hoped she could join
me as my assistant.

Speaker 112 (04:57:52):
I feel she has remarkable psychic powers.

Speaker 10 (04:57:56):
She is blind.

Speaker 112 (04:57:57):
I apologize doubly for my scenior forwardness.

Speaker 10 (04:58:01):
Oh I knew. I knew he sends the ominous shadows
around her asided. But then he smiled, and I was disarmed,
and and soon I became interested in his talk. He
talked like a friend. He flattered me about my knowledge
of the secrets of our profession.

Speaker 112 (04:58:18):
I know that you performed a disappearing cage strag barastro. Yes,
I do a most difficult one that you performed magnificently.

Speaker 10 (04:58:25):
Thank you well, comes and Sony, I'd like you to
meet my wife. She she's here in the wagon.

Speaker 112 (04:58:31):
Delighted, my dear Barastro.

Speaker 10 (04:58:33):
It's a privilege I'll not forget. Let me assure you.

Speaker 27 (04:58:37):
Oh, Gregor, Hello, Anna, Gregor?

Speaker 24 (04:58:40):
Who is that with you?

Speaker 10 (04:58:42):
Oh? It's a gentleman. I want you to meet Anna.
This is Rico Sansoni. A great pleasure and a great sorrow.

Speaker 112 (04:58:50):
You see, I've been watching you tonight in the hope
I could persuade you to become my assistant. But now
I learn your this charming gentleman's wife. How fortunate is
the marvelous barastro.

Speaker 10 (04:59:02):
Marvelous barastro? Anna? Did you hear what he called me?

Speaker 15 (04:59:06):
I know?

Speaker 10 (04:59:07):
What's the matter? Had you no word of greeting for
our guest?

Speaker 12 (04:59:11):
No, it's an I have nothing to say.

Speaker 10 (04:59:16):
I'm sorry. See, my wife and I we we seldom
a a visitor.

Speaker 112 (04:59:20):
I understand perfectly. But I hope that she will like
me when she gets to know me better.

Speaker 10 (04:59:33):
And so Rico Sandsni entered our lives. In a days
which followed, he attached himself ever more closely to us
as a lonely man would who seeks the friendship of
those he likes. But Anna, she would never trust him. Sometimes,
after he would leave at night, she'd whispered.

Speaker 19 (04:59:54):
I don't like him, Gregor, I don't like why. I
feel something strange from him, and I like a fool.

Speaker 10 (05:00:02):
I would always defend him. I'd remind her of his
gay talk and how he made us laugh, and how
interested he was in me and my methods of magic. Oh,
I was flat at that. Even Rico wanted to learn
from me. One night, Anna and I had just finished

(05:00:25):
our dinner. She turned to me. She had a troubled
expression on her beautiful face.

Speaker 27 (05:00:35):
Gregor, there's something I must tell you, what my swing?

Speaker 10 (05:00:40):
Are you getting tired of this kind of life?

Speaker 27 (05:00:42):
Oh no, no, Gregor, it's this afternoon.

Speaker 10 (05:00:47):
What about this afternoon? What about it?

Speaker 5 (05:00:50):
Dina?

Speaker 12 (05:00:51):
Rico?

Speaker 10 (05:00:51):
What about Rico?

Speaker 12 (05:00:52):
This afternoon?

Speaker 27 (05:00:53):
Rico came here and talked to me as he always does.
I suspect of nothing. But then he took my hand
in his and I I loved you, Yes, you? Why
if I loved you even more than happiness or life?

Speaker 10 (05:01:04):
What did you say?

Speaker 27 (05:01:06):
I was so frightened. I just asked him to leave us.

Speaker 12 (05:01:09):
I don't like him, Gregor, I'm afraid.

Speaker 10 (05:01:18):
Again again, I reassured, And after all what had happened
nothing well. Our friendship continued. Weeks past, the carnival had
moved to Hamburg and and we had taken an apartment
in the city. We spent the days to get in.
He was more and more interested in my every word
and thought and mood, and as always I was flattered

(05:01:39):
by him. You have a funny way of saying, beautiful,
my friend. How is it again? Beautiful?

Speaker 17 (05:01:45):
Yes, yes, that's it beautiful.

Speaker 10 (05:01:49):
Look rick Or, you were telling me about that.

Speaker 1 (05:01:53):
Beautiful Oh I like you, Gregor, I.

Speaker 9 (05:01:56):
Like you very much.

Speaker 10 (05:02:00):
Oh yes, amazing, isn't it how one can be taken
in by flattery? Yet so clever was he. I never
realized the terrible truth of his friendship with me. I

(05:02:21):
was in my tent one afternoon when a warning swept
over me because all of a sudden, but I couldn't
mistake it.

Speaker 112 (05:02:29):
I left the tent and I I hurried to the
apartment and.

Speaker 10 (05:02:33):
Care for you. I opened the door. Yes, yes, that
was Rico standing with his arms surround my wife, her
face raised to his lips. She kissed him, and then
I heard him talk.

Speaker 15 (05:02:53):
He was my voice.

Speaker 10 (05:02:55):
He was losing my voice completely mine. At the sound
of his voice, her nameless hury seized me. Now I

(05:03:17):
knew why he'd been so interested in me, why he'd
spent so many hours with me.

Speaker 19 (05:03:22):
He'd learned, he'd learned the perfection.

Speaker 10 (05:03:25):
How to use my voice.

Speaker 12 (05:03:27):
Now now his words seemed to come come from my
own throat.

Speaker 10 (05:03:31):
I sprang forward, shout him like a thrill, add don't don't,
God damn dog.

Speaker 104 (05:03:56):
In a few moments, mister Peter Laurie will bring us
to climb mas of tonight's mystery in the air. When
Camels present Act two of the Marvelous barrascro.

Speaker 80 (05:04:09):
You know it's getting to be like a chorus, as
one champion after another joins in with the same words,
those true, true words. Experience is the best teacher. Yes,
Cecil Smith states that it's experienced at Counts Int Polo's
Mildred O'Donell says the same thing about diving, and Don
Whitfield about racing outboard motor boats, and they all say

(05:04:31):
that when it comes to choosing a cigarette, experience is
the best teacher too. Like all of us, they had
the experience of smoking anything they could get during the
wartime cigarette shortage. They compared the differences in cigarette quality.
Really became experts. You could say, that's when experience really
taught them all about the rich, full flavor and the

(05:04:54):
cool mildness of camel's great blend of choice, properly hed Tobaccos.
I had taught so many other people too, that well.

Speaker 67 (05:05:02):
More people are smoking camels than ever before.

Speaker 30 (05:05:06):
Experience is the best teacher.

Speaker 10 (05:05:10):
Try a camel yourself. AMOSG.

Speaker 104 (05:05:26):
Hawley, attorney sits at his desk, fascinated by the magician
Barastro as he tells his strange story. Now, the attorney
leans forward, that is incredible.

Speaker 71 (05:05:37):
Yes you mean this, SAMSONI had studied your speech and
mannerisms so perfectly that he was able to deceive your.

Speaker 10 (05:05:43):
Life as incredible as it may seem. Welder, go on,
go on, fine. I hardly remember rushing across the room
or all I could think of was it was to
kill this man, To kill him, Hannah scream and he
and eye was struggled across the room, over over his
chairs and table, against the walls and the window. I

(05:06:08):
saw him through my rage. Every feat had changed. He
was Brastro there were two of us, yes, two morasterol screaming, screaming,
get fighting.

Speaker 40 (05:06:23):
Then then he had me.

Speaker 5 (05:06:24):
By the throats.

Speaker 10 (05:06:25):
His strength was terrifying to birth began to leave my
body as as this horrible fiend changed and he became
recals and shown me against of mercyman Gregor, greg are
you killing me?

Speaker 40 (05:06:41):
I am dying?

Speaker 10 (05:06:42):
He was pretending it was I who was killing him.
He would kill me and and live with and his brastro.
His cruel eyes burned into mind, and he leaned close
to my ears and whispered, you, fool, I'll kill.

Speaker 21 (05:06:58):
You for her.

Speaker 15 (05:06:59):
It was that, it was end that I cried with
all my might.

Speaker 17 (05:07:03):
I know not.

Speaker 10 (05:07:05):
And then then suddenly a great darkness flooded over me.
I don't know how much time, and it had gone
by when I opened my eyes. I looked her on

(05:07:26):
the room and was gone. Then I saw Anna. She
was crouched against the wall. I tried to whisper Anna, Anna.
I began to drag myself across the floor to hers.

(05:07:48):
When I got to her, sadday, I tried to reach
her hand. She pulled it away and screamed, and then
I realized her terror who was in a room, whether
her was it record, was it her husband?

Speaker 27 (05:08:02):
Or how could she know?

Speaker 10 (05:08:05):
I pleaded with her. I assured her again and again
that Recu had gone, but she remained against the wall,
her hand held in her teeth, and staring, staring into
the terrible dark around her. Frantically, I I searched my
mind for words, words to tell.

Speaker 105 (05:08:23):
Her it was really I look, Anna, listen, Look, remember Hannah,
Remember her walk through the hills first time? Hum see
Remember Anna, your trees, remember them, the one you called
lullyby and the one whose branches pointed to the sky.

Speaker 10 (05:08:45):
She called it prayer. She see, Anna, Hm, it is listen,
listen carefully, look look, Remember I read your future. It's
the first time we met. I said, the spirits promise
your happiness and your hands will touch beautiful things. Love

(05:09:08):
and great happiness await you. And you said, oh, thank you, sir, thank.

Speaker 29 (05:09:13):
You Greco.

Speaker 23 (05:09:16):
Gregor only greg On god.

Speaker 10 (05:09:35):
Rico had disappeared. But from that day on I had
only one thought to God against the day I knew
must come. Traveled all over Europe, and she learned to
smile and be happy again, And at times I felt

(05:09:58):
her fears had left.

Speaker 27 (05:09:59):
Her fear is such a lovely city, Greg. I knew
it would be like this in the spring. Now, Gregar,
these mountains they're like the ones near my village. One.
I can almost see them. Oh, it's wonderful to be home, Greg,

(05:10:27):
to walk in our hills and over the old pass again.

Speaker 10 (05:10:38):
Well, at last I felt it was safe to get
a job in a cabaret. I had to get a job.
Our savings were almost gone, and I had only worked
there two weeks when I felt that same terrible warning
sweep over me again. Choked and dizzy, I ran to

(05:11:00):
our cottage. Yes, yes, Rico was back. I stood there, motionless, silent, listening.
I heard her laugh like a child. All I knew

(05:11:23):
I had to kill this devil would take my wife,
my identity, my my happiness. I am sure if I
had been able to think, I would have realized that
I shouldn't rush into the room because cause it would
kill her. I'm quite sure Rico knew it. But all
I could think was I had to kill him. And then,

(05:11:45):
when mister Hall I I had a terrifying idea. What
if Rico killed me, He'd go on living with her
as barrastro and she'd never know see, mister Hall. Hm well,
I opened the door and walked in. Anna. Don't touch him.

(05:12:10):
It's Rico. Well, this, sir, is my memory of Anna.

(05:12:32):
She tore at her eyes with her hands, as if
to tear away the darkness. As I rushed to her,
she she fell. She didn't speak again, and the next
morning she died. Huh sin sony think you understand now,
mister Hall, Why well, I'll kill Rico Sansoni to night,

(05:12:58):
now you know why I may need your service to
defend me. No, not my life, but but my name
and my honor. Good night, mister Hall.

Speaker 9 (05:13:17):
Ladies and gentlemen.

Speaker 71 (05:13:18):
I've practiced criminal law for twenty five years, and I've
heard many strange tales. But that night I couldn't sleep.
The next morning there was an item in the paper.
A train had hit a car in which two magicians
were riding. One was killed, his body so badly cut
up as to be unidentifiable.

Speaker 5 (05:13:39):
The other was in the hospital.

Speaker 10 (05:13:41):
I hurried over there, made inquiries and went.

Speaker 15 (05:13:44):
To the room.

Speaker 71 (05:13:45):
I quickly told the nurse my business, and she led
me to the bed. Two burning eyes all that was
left of a face stared out through a massive bandages.

Speaker 9 (05:13:55):
As the nurse leaned over close to him.

Speaker 19 (05:13:57):
You're atturning, mister Hall is here?

Speaker 10 (05:14:01):
Hm?

Speaker 5 (05:14:01):
M yes, Well, I I guess you will not have
any need of my services. After all, the police haven't
placed a charge against you, have they?

Speaker 17 (05:14:11):
Police?

Speaker 10 (05:14:14):
Where should They's an accident, just a bad accident.

Speaker 113 (05:14:19):
Well, it must have been perfectly done, you know. The
only thing I don't understand. How could you have killed
him in the accident and not be killed yourself? Well,
I I'm the marvelous for rest to him, I not.

Speaker 10 (05:14:37):
Why don't you believe me?

Speaker 80 (05:14:55):
Hate make a mac us of camel, cigarettes and free
camels the servicemen's hospitals from coast This week. The camels
go to Veterans' Home Yontville, California, Lockborne Army Air Base Hospital, Columbus, Ohio,
US Naval Hospital Great Lakes, Illinois, US Marine Hospital Fort
stamp And New York and Veterans Hospital Stapne Island, New York.

Speaker 114 (05:15:13):
The makers of camels take great pride in the fact
that among the millions of smokers who enjoy camels, there
are many doctors. One hundred thirteen thousand, five hundred and
ninety seven doctors in every state of the Union were
queried by three leading independent research organizations.

Speaker 30 (05:15:30):
What cigarette do you smoke?

Speaker 10 (05:15:31):
Doctor?

Speaker 30 (05:15:32):
That was the question.

Speaker 114 (05:15:33):
The brand name most was Camel.

Speaker 67 (05:15:37):
According to a nationwide survey, more doctors smoke Camels than
any other's cigarette.

Speaker 104 (05:15:50):
Next week, Mystery in the Air starring mister Peter Laurie,
brings you the Lodger by Missus Bellick Lounds with a
special musical score composed in conducted by Paul Baron.

Speaker 67 (05:16:10):
How about it, mister, have you tried mild Prince Albert
and your pipe? More pipe smoke Prince Albert than any
other tobacco. See if you don't like that extra rich,
full flavor too. Like Prince Albert more than any other
tobacco you've ever smoked. Prince Albert is specially made for
smoking pleasure, Specially treated to insure against tongue bite, crim

(05:16:31):
cut a burn, slow smoke cool. Fill your pipe with
mild pa. Be sure to listen in on Prince Albert's
Grand Ole Opry Saturday night. You'll hear Red Fowl in
his Cumberland Valley Boys, Minnie Pearl, Rod Brassfield and all
of the Opry Gang, and as Red special guest, you'll
hear Texas Jim robertson, Remember Prince Albert's Grand Ole Opry

(05:16:51):
Saturday Night over NBC.

Speaker 80 (05:17:00):
Again next week at the same time, with the makers
of Camel Cigarettes present Mister Peter Laurie and Mystery in
the Air. The artist supporting Mister Laurie were Henry Morgan,
John Brown, Barbara Eiler, Howard Culver, Jane Morgan and Russell Thorson.
This is Michael Roy in Hollywood, wishing you all a
pleasant good night for Camels.

Speaker 7 (05:17:24):
This is NBC, the National Broadcasting Company. Thanks for listening.
If you like what you heard, be sure to subscribe
so you don't miss future episodes. If you like the show,
please share it with someone you know who loves old
time radio or the paranormal or strange stories, true crime, monsters,
or unsolved mysteries like you do. You can email me

(05:17:46):
and follow me on social media through the Weird Darkness website.
Weird Darkness dot Com is also where you can listen
to free audiobooks I've narrated, get the email newsletter, visit
the store for creepy and cool Weird Darkness merchandise. Plus
it's where you can find the Open the Darkness page.
If you are, someone you know is struggling with depression, addiction,
or thoughts of harming yourself or others. You can find

(05:18:07):
all of that and more at weird Darkness dot com.
I'm Darren Marler. Thanks for joining me for tonight's retro
radio Old Time Radio in the Dark

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