Nobel Physicist Claims Husband Was Alien - Then He Turns Up Dead - Weird Darkness: Paranormal & True Crime Stories

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

Speaker 2 (00:16):
You're gonna thank some miss.

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

Speaker 4 (00:31):
Seal Present Suspense.

Speaker 5 (00:41):
I am the Whistler.

Speaker 6 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise. Sign up for

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

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

Speaker 7 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 4 (01:50):
Come in.

Speaker 5 (01:53):
Welcome.

Speaker 8 (01:54):
I'm E. G.

Speaker 4 (01:55):
Marshall. Who was it that said love is like the measles?

Speaker 7 (02:00):
You can only have it bad once, and the later
in life you get.

Speaker 4 (02:05):
It, the harder it goes.

Speaker 1 (02:07):
Well, there are.

Speaker 7 (02:08):
Those things that can only come once, true love, true fame,
and it's better to know them when you're young and
can live with them, because if you have to wait
till you're old, all you can do is die with them.

Speaker 4 (02:21):
I love you, darling, and I am so happy. Really,
you make me feel so wonderful.

Speaker 1 (02:29):
I wanted to vote my entire life to you, Eric.

Speaker 9 (02:33):
My darling.

Speaker 4 (02:35):
There's only one way I can describe you. Yes, you
are out of this world. What did you say, Darling?

Speaker 10 (02:44):
What's the marry?

Speaker 4 (02:45):
What did you just say? I only said you were
out of this world?

Speaker 1 (02:50):
How did you know? How did you know?

Speaker 7 (03:02):
Our mystery drama The Star Killers was written especially for
the Mystery Theater by Sam Dan and stars Mercedes McCambridge.
It is sponsored in part by Buick Motor Division and Xlax.
I'll be back shortly with that one. As long as

(03:29):
rivers run down to the sea, or shadows touch the
mountain slopes, or stars gaze in the vault of heaven,
so long shall your.

Speaker 4 (03:39):
Honor, your name, your praises endure.

Speaker 7 (03:44):
Those words were spoken by a president of the United States,
and they were said to doctor Mary Jane Marrisset at
a reception in her honor when she won the Nobel
Prize for Physics.

Speaker 4 (03:55):
What a year that was for.

Speaker 7 (03:57):
Doctor Mary Jane Marrisset, wind die and pasted, interviewed, And
then one day doctor Mary Jane Marrisset simply disappeared, That is,
she was no longer in the public eye, and everyone
promptly forgot her. Today, our celebrities come and go so
quickly they crowd one another off the stage once they disappear. Well,

(04:21):
in case you're interested, this is what happened to doctor
Mary Jane Marrist. We're in a sanitarium.

Speaker 4 (04:28):
How do you feel this morning? I feel resigned, which
means my arms are folded, my eyes are closed. Your
arms are folded, but your eyes are open. That's only
out of courtesy to you, doctor Abeli, because I look
at nothing.

Speaker 11 (04:47):
Doctor marrast I'm new on your case.

Speaker 4 (04:49):
Oh yes, you're the new bottles, but I'm still the
old line.

Speaker 11 (04:56):
Yes, well, it's important that we restore you to.

Speaker 4 (05:01):
Well.

Speaker 11 (05:02):
Why quibble over semantics.

Speaker 4 (05:03):
Because I insist because I am the one who is sane.

Speaker 11 (05:08):
All that well may be sanity is determined by society.

Speaker 4 (05:12):
Oh dear, no, I've plowed this ground before. Doctor. You
could be tried for murder. Doctor, we should all be
tried for murder, all men and women of science. Why
you know why, Because we are destroying the world.

Speaker 11 (05:35):
You have no right to withhold your knowledge. Please shut up,
shut up, I'm sorry forgive me.

Speaker 4 (05:43):
That's all right.

Speaker 11 (05:44):
No, it's not all right. It's never right to lose
one's temper. I don't mind, doctor Avelaid.

Speaker 4 (05:52):
For the past several years now, I have been a
pet project for the psychiatric fraternity. Each doctor thinks that
he is the one who will penetrate the mystery.

Speaker 11 (06:03):
But you see, all this.

Speaker 4 (06:04):
Time I've been telling the truth. There is no mystery.
I would like to help you, and one by one
those doctors have backed the way. They go on to
more promising pastures, so that now all I get is
the second team.

Speaker 11 (06:20):
I'm sorry, no offense, Doctor a Black. I know I'm young, new,
relatively inexperienced.

Speaker 4 (06:29):
And everyone has to start somewhere, and you've chosen to
begin at the top.

Speaker 11 (06:33):
That's all right, I think you should. That's what I did.

Speaker 4 (06:36):
I was just out of college and I went to
Princeton and I saw Professor Einstein and I showed him
my formulations and he was very pleased. Do you know
what he did? No, Doctor Einstein played his violin for me.

(07:00):
And then what happened? Doctor Meryer said, you have very
little curiosity for a psychiatrist. I mean, you're all business.
Let's get to the crux, the core, the kernel of
the matter. Aren't you even going to ask me how
he played? How did he apply?

Speaker 11 (07:17):
For the truth is, you don't really give a damn
how he played.

Speaker 4 (07:21):
I mean, here is here was the greatest scientist of
our time, if not all time, and he played his violin. Really,
shouldn't you be absolutely fascinated by that? Shouldn't we be
discussing it and excitedly reconstructing that scene?

Speaker 11 (07:39):
All right, forget the violin.

Speaker 4 (07:42):
But I spoke to I worked with doctor Albert Einstein.

Speaker 11 (07:50):
The legend.

Speaker 4 (07:52):
I mean, why aren't you showering me with questions about him?

Speaker 11 (07:57):
Doctor Merris?

Speaker 4 (07:57):
Listen to me, doctor. I was born in nineteen twenty five.
My grandmother was born in eighteen sixty five. She was
Christine Marisette. She was a singer, a great soprano. She
was famous in opera, and she knew I mean she
knew personally Gilbert and Sullivan, Giuseppe ver De Puccini. She

(08:25):
sang at the White House for President Cleveland's inaugural ball.
And to me, she was the bridge to all those
famous names that are now historiy and I myself have
now become a bridge to other great names, to Einstein,
to Roosevelt, to Churchill. Doctor how old argue thirty thirty two.

(08:56):
Now that means you were a child in grammar school
that year that Joseph start and died.

Speaker 11 (09:02):
Oh well, I love what we're talking about, Doctor Marrisset.
Why did you kill Eric Marshall?

Speaker 4 (09:13):
That is how you will have it. All I want
you to do is face reality. Oh reality, is it?
That's another one in a class with sanity.

Speaker 11 (09:25):
If you will admit you killed Eric Marshall, if you'll
understand why you killed him, you'll be able to come
to terms with yourself and the.

Speaker 4 (09:33):
World, Doctor Hevelaud. Do you know why my name is
Mary Jane? It was because of my father. His mother
was the glamorous Madame Christine Marisette, and she was a
most unhappy woman. So my father wanted me to be
a Plaine Jane, and I wanted very much to please him,

(09:58):
so instead of singing dancing, I read books. I became
fascinated by physics and mathematics. I became a female scientist,
which means I had to be a very odd duck.
I mean, would you believe doctor, that Eric Marshall was
the first man who ever kissed me?

Speaker 11 (10:20):
And he was forty four and I was forty one?

Speaker 4 (10:25):
Why did you kill him? Oh?

Speaker 11 (10:26):
Please, will you stop asking that tiresome question? Doctor Marras said,
I admire you. You talk about people who have become legends,
but you were a legend yourself. Oh if I were
twenty years younger or even ten. Oh, please hear me out.
I don't want to see you waste your life in
a sanitarium.

Speaker 4 (10:47):
Why would you rather have waste it on the outside?

Speaker 12 (10:50):
At least in here.

Speaker 11 (10:52):
I do no harm, Doctor Marras said, You're sitting on
top of the world.

Speaker 4 (10:57):
Don't throw it away. Oh I think that was before
your time. That song I'm sitting on top of the world,
I think, doctor Marris, I think, but I remember it well.
I'm sitting on top of the world. What is it all?

Speaker 13 (11:16):
It's nothing?

Speaker 11 (11:22):
No, really, it's nothing.

Speaker 4 (11:25):
It's thinking of Eric. I'm just thinking about him on
our first date. You're retreating, you're retreating that little cocoon again.
I was driving home from the meeting of the AEC,
the Atomic Energy Commission.

Speaker 11 (11:44):
Yes, that sounds pompous, doesn't it.

Speaker 4 (11:47):
Well, anyhow, there was a car that was pulled over
to the side of the road and a man was waving.
Why did I stop?

Speaker 14 (11:55):
I don't know.

Speaker 4 (11:57):
I mean, at that moment, did I realize that he
was going to be had? Did I suddenly feel that lonely?
I don't know, but I stopped. Oh thank you for stopping.

Speaker 11 (12:08):
Are you in trouble?

Speaker 4 (12:09):
I suppose so.

Speaker 1 (12:11):
Could you give me a lift to the nearest telephone
or gas station or something.

Speaker 11 (12:14):
What's the matter with your car?

Speaker 4 (12:16):
You got me?

Speaker 1 (12:16):
As far as automobiles are concerned, I can start them,
steer them, and stop them. But underneath flat hood, it's
all terror incognita to me, tera terror incognita.

Speaker 4 (12:26):
That's Latin for dark, unknown, mysterious.

Speaker 11 (12:29):
Country I see. Would you like me to have a.

Speaker 1 (12:30):
Look where under the hood?

Speaker 4 (12:33):
Well? Thank you?

Speaker 15 (12:33):
Oh no, no, I should thank you.

Speaker 1 (12:36):
Thank me for what?

Speaker 11 (12:38):
For nothing?

Speaker 4 (12:38):
For nothing? I mean nothing on your face or in
your voice that says, what does a woman know about engines?

Speaker 11 (12:44):
Oh?

Speaker 4 (12:44):
I really hadn't thought of that.

Speaker 1 (12:46):
It's just that I've been standing here in the cold
for the better part of an hour, and you're the
first one.

Speaker 4 (12:50):
Who stopped for me.

Speaker 11 (12:51):
Oh, I see, you're just being polite.

Speaker 1 (12:53):
Probably when I'm in my element, I'm just as much
a male chauvinist as the next fellow.

Speaker 11 (12:59):
Well, at least you're frank.

Speaker 1 (13:01):
At the risk of a very feeble jest, I'm Eric,
Eric Marshall.

Speaker 16 (13:06):
Now, will you get behind the wheel and try to start?

Speaker 1 (13:08):
It won't do any good and trying for an hour?

Speaker 4 (13:11):
However, what did you say?

Speaker 7 (13:12):
Your name was, Mary Jane?

Speaker 17 (13:17):
No, don't, don't.

Speaker 15 (13:18):
Don't do that.

Speaker 1 (13:19):
You're running down the battery.

Speaker 4 (13:21):
You're abusing the motor abusing.

Speaker 1 (13:25):
That's rather anthropomorphic, isn't it ascribing the qualities of life
to inanimate objects.

Speaker 3 (13:30):
Who really knows what life is?

Speaker 4 (13:31):
Yeah, Mary Jane?

Speaker 10 (13:33):
What?

Speaker 7 (13:34):
Oh?

Speaker 18 (13:35):
Marisett?

Speaker 8 (13:36):
Okay?

Speaker 4 (13:37):
Why is that name familiar?

Speaker 11 (13:38):
Do you know what's wrong with your car?

Speaker 5 (13:41):
No?

Speaker 4 (13:41):
Nothing, you're out of gas, Mary Jane Marrison.

Speaker 1 (13:47):
I remember reading that name. It scans like poetry, It
sings like music.

Speaker 11 (13:53):
I'll give you a lift to the nearest service station.

Speaker 1 (13:55):
You are the atomic scientists, you won the Nobel Prize
for physics.

Speaker 4 (14:00):
You'll get a five gallon can of gas.

Speaker 11 (14:02):
And then you'll pour it into the gas tank. Do
you know where the gas tank is?

Speaker 4 (14:06):
No, I'm not sure.

Speaker 8 (14:08):
I'll drive you back.

Speaker 4 (14:09):
You know, I.

Speaker 1 (14:11):
Always dreamed of winning a Nobel Prize for what literature?
But the fact is, I'm well, I'm not good enough.

Speaker 11 (14:17):
Oh you shouldn't say that. I'm sure you're a.

Speaker 15 (14:18):
Very good writer.

Speaker 1 (14:20):
Well, maybe I'll never win the Nobel Prize. But there's
one way I can have it in my house.

Speaker 11 (14:27):
And what's that.

Speaker 1 (14:30):
I marry it.

Speaker 11 (14:31):
Oh, my dear sir, we hardly know each other.

Speaker 4 (14:33):
We won't really know each other until it's all.

Speaker 11 (14:35):
Over, until what is all over life?

Speaker 1 (14:40):
It takes years and years, and then at the end
we'll sit down together and say, will you marry me?

Speaker 4 (14:48):
That's a very serious request, what I'm giving it very
serious consideration.

Speaker 11 (14:54):
I mean, it's a proposal of marriage.

Speaker 4 (14:57):
And whether it's serious or frivolous falsest, the fact is
it is the first one I have ever received.

Speaker 1 (15:04):
You are joking?

Speaker 4 (15:06):
Are you joking?

Speaker 1 (15:07):
I cannot believe that this is your first proposal. You're well,
you're an extremely attractive woman.

Speaker 4 (15:13):
Well, very few eligible men ever get this close to me.
I mean, most of my time is spent with important
and elderly scholars.

Speaker 1 (15:22):
I think it's remarkable.

Speaker 4 (15:24):
Well, I'm afraid I'm an institution, and an institution is
admired and respected.

Speaker 11 (15:29):
But it's hardly a love object.

Speaker 4 (15:33):
Shouldn't we be getting your gasoline?

Speaker 1 (15:36):
We should be getting dinner. I've just discovered something. I
love you and we are going to be married. We are, Oh,
we'll go through certain ritualistic procedures. We'll go to dinner
in theaters, concerts, parties are things. We won't celebrate the

(15:57):
marriage right away. We'll wait a decent little Do you.

Speaker 4 (16:00):
Have any objections?

Speaker 11 (16:02):
Oh, I certainly do.

Speaker 4 (16:03):
Name one.

Speaker 11 (16:06):
Why do we have to wait?

Speaker 7 (16:17):
You think it happens only to teenagers.

Speaker 4 (16:20):
It happens to everybody.

Speaker 1 (16:22):
And if you want the true facts of life, the
older you are, the faster it happens.

Speaker 7 (16:29):
Well, let's reflect. We spent the first act getting to
know about her doctor Mary Jane Marrison. Now who is
Eric Marshall and why is she being accused of murdering him.
So far it looks very cozy and warm. Well, there
will be another temperature reading in just a few minutes,

(16:49):
when I shall return.

Speaker 4 (16:50):
With Act two.

Speaker 7 (17:02):
Bring me a play, commanded the Emperor to his clowns
that is different, but not too different. Let it have surprises,
but see that they are not too surprising. Actually, let
it be the same as the one we enjoyed last night,
but with a new twist.

Speaker 4 (17:21):
Well, it doesn't have to be all that new.

Speaker 7 (17:24):
Indeed, since everyone is so fond of the old one,
why change it at all?

Speaker 1 (17:30):
That's pretty much the way it goes. No, the truth is,
people really don't like.

Speaker 4 (17:36):
Surprises, do they.

Speaker 11 (17:38):
Well, Doctor Marasset, less than five minutes after you meet
a man for the first time, you agree to marry him. Yes, well,
shouldn't that have been a warning signal? A warning signal
of what of.

Speaker 4 (17:50):
A psychic disturbance? I don't understand why my dear.

Speaker 11 (17:55):
Doctor marast to marry him perfect stranger?

Speaker 4 (17:58):
Is it right?

Speaker 11 (17:59):
He was? It shows an imbalance, a lack of stability.

Speaker 4 (18:03):
Oh, is there a stated period, a psychiatrically accepted period
of courtship? Why did you kill Eric Marshall? Oh, that's
the like motif the recurring phrase.

Speaker 11 (18:19):
There are two significant events in your life, only two
well of immediate concern. First your decision to stop all
scientific activity.

Speaker 4 (18:29):
No, that isn't true, doctor, I decided to stop all
work on nuclear activity. Why, oh, doctor Abelade, I'm on.

Speaker 11 (18:37):
Record you say that all nuclear activity is dangerous in effect.

Speaker 4 (18:42):
Yes, and then some months later you kill your husband.
I don't know what I'm going to do about your doctor.
You insist that I killed Eric.

Speaker 11 (18:51):
Doctor Marra said, will you tell me why did you
decide to stop working? All right, I'll tell you.

Speaker 4 (18:59):
I don't mean they're the published reasons. No, I'll tell
you the impossible reason, the reason I've never told anyone
because I couldn't they say I was crazy? Had they
say it?

Speaker 11 (19:13):
Anyhow?

Speaker 4 (19:14):
And did you kill your husband?

Speaker 19 (19:16):
Oh?

Speaker 4 (19:16):
Well, we have made some progress. You no longer state
that you just asked it. No, doctor, I didn't kill Eric. Well,
if you didn't, who did Dora Shelton? Oh no?

Speaker 10 (19:33):
Why oh?

Speaker 19 (19:34):
No?

Speaker 4 (19:34):
Because Dora is the reason why you killed Eric. He
was having an affair with her and you were jealous. Yeah,
that's the story that Dora and her accomplices were very
careful to create create accomplices. Will you make this sound
like a plot?

Speaker 11 (19:48):
That's what it was.

Speaker 4 (19:49):
It was a plot, a plot to seize the world. Goodness,
I just thought of how that must sound. But that's true,
and that's the only way to say it. A plot
to seize the world.

Speaker 11 (20:06):
Is Dora in the employee of a foreign power? No,
it's nothing like that. Doctor.

Speaker 4 (20:13):
There are people from Oh this is going to sound
but I have to say it, there are people from space,
from another solar system. That's impossible.

Speaker 10 (20:33):
There you go.

Speaker 11 (20:34):
You forget everything I ever told you about the impossible?

Speaker 4 (20:36):
All right? Is there a way to prove it?

Speaker 19 (20:40):
Oh?

Speaker 4 (20:40):
Yes, Well you see that cigarette lighter of yours. Yes,
if you were to light that and hold it just
under Dora Shelton's hand, what did you say? You could
probably hold it there for as long as ten minutes
before she would feel any discomfort. I can't believe what

(21:03):
I'm hearing.

Speaker 11 (21:04):
What kind of medieval trial by torture is this?

Speaker 4 (21:08):
What kind of mumbo jumbo you and you.

Speaker 11 (21:10):
Could have done the same thing to Eric Marshall do
when you held a flame under Eric Marshall's hand. There
was no need to, doctor Marra said, I refuse to
believe because to you it's impossible. But accept it just
as I did.

Speaker 4 (21:30):
But I please don't talk, not listen to me, and
I'll tell you everything. We were married. Eric and I
were married a week after we met, and we were
very happy. The condition of love, the act of love,
was something so strange and wonderful. It was as if

(21:54):
I had been born again. Everyone said that love had
seemed to make me flower, and it did. But then
after just a few months, I noticed a change in Eric.

Speaker 11 (22:09):
Dessert.

Speaker 4 (22:09):
Eric Darling, Oh, I said, dessert. That's why we came
to this place. It's famous, it's i should say, notorious
for its dessert.

Speaker 1 (22:21):
I don't think i'd care for any Is anything wrong?
Is anything wrong? Everything's wrong?

Speaker 10 (22:29):
What does that mean, Darling?

Speaker 1 (22:31):
It means what it says?

Speaker 4 (22:33):
Well, can't you tell me? I don't know how Well,
why don't you start at the beginning.

Speaker 1 (22:40):
At the beginning, all right? The beginning was Arshana rawa.

Speaker 11 (22:49):
Arshana rawa.

Speaker 4 (22:50):
What's that?

Speaker 1 (22:52):
Could you try to guess?

Speaker 10 (22:54):
Well?

Speaker 4 (22:54):
I was a linguistics miner, very minor at college. I
should say that it sounds Persian.

Speaker 1 (23:01):
It's a mere coincidence, ye Oceana Brava is upper Arshana
as distinguished from a Narga, which is lower Oshana.

Speaker 4 (23:13):
I assume it's Ashana is a place.

Speaker 1 (23:17):
Oh, yes, it is where it's it's a planet. I
would say, it's one hundred light years from here.

Speaker 4 (23:26):
Ah. You know, one summer I was a councilor at
a girls camp and we used to play that game
around the campfire. Somebody would start a story and then
somebody else would take up the next paragraph.

Speaker 1 (23:38):
And so.

Speaker 11 (23:40):
All right, you begin with a planet a hundred light
years from.

Speaker 4 (23:45):
Here called Ashana. Nowaday, where can I go with that?

Speaker 1 (23:49):
It is true, my darling, this is no game, you see.
I am from Arsana.

Speaker 4 (24:00):
We have a red sun.

Speaker 1 (24:01):
We rotate around the star which will soon become a nova.

Speaker 4 (24:05):
It will explode and be dead. It's dying now.

Speaker 1 (24:08):
Really, for centuries we have been looking for another place
to live all over the galaxy, not just our own,
but others.

Speaker 11 (24:15):
Oh, my dear, you never told me your wrought science.

Speaker 1 (24:18):
We found your planet just a few years ago. We
were attracted by the presence of nuclear activity. It's like, well,
it's like a beacon through space. It can be picked
up over billions trillions of miles, and so a task
force was sent here. This planet is the only one

(24:39):
we could find so far that has the elements that
can support.

Speaker 4 (24:43):
Life for using Darling, this is a rather long joke.
I hope the punchline.

Speaker 1 (24:47):
Will be worth We're ahead of you in some respect,
behind you and others. We've mastered space, traveled to a
degree you haven't even approached, which is why we could
come here. On the other hand, we are not that
good at making war.

Speaker 4 (25:00):
Is that effect? I am part of an advanced unit.

Speaker 11 (25:06):
Eric, Are you all right?

Speaker 1 (25:09):
I am telling you the truth.

Speaker 4 (25:11):
Every word I have spoken so far, I am Darling darning.
But one thing that went wrong, Well, the one thing
went wrong. I fell in love with you.

Speaker 11 (25:24):
Well, how can you say that's wrong?

Speaker 1 (25:26):
Because I am going to betray my own people. Ery, No, listen,
my people must have a planet. Ours will be a
dead world in several hundred years.

Speaker 4 (25:36):
Well in that case, why not come here to us?
I mean, we've accommodated uncountered numbers of refugees for centuries.
It is impossible.

Speaker 1 (25:44):
There are four billion of us. Could this planet hold
another four billion people?

Speaker 4 (25:49):
Ery?

Speaker 1 (25:50):
We'll wait until you destroy yourselves. How nuclear energy? You
don't know how to employ it? Properly or control it.
Still you insist on using it slowly. Surely you're poisoning yourself.
You're affecting your souls, your air, your water. Oh, darling,

(26:14):
you'll know that I'm right.

Speaker 4 (26:16):
Please stop it.

Speaker 1 (26:18):
Stop what all nuclear activity until you know exactly how
to handle it, till you've mastered it.

Speaker 4 (26:25):
Well, there are certain risks that they must be taken. No, no,
don't say that you're killing yourself. I believe you're serious,
of course I'm serious. Well, atomic pollution. Could I grant
you destroy our lives? But if it does, that's what
we're waiting for. What good would our polluted planet be
to you?

Speaker 1 (26:43):
You see, we won't be affected.

Speaker 4 (26:48):
You won't we Well, we.

Speaker 1 (26:50):
Do not burn as easily as you do. Just what
I said, we have a greater resistance of fire. And
also radiation does not alter ourselves structure as radically as
it does yours.

Speaker 4 (27:02):
You see, we could live with it. Darling, you're telling
me this story for a reason. What is it you
want me to do? I want you to use your
very considerable influence to put an end to all nuclear activity.

Speaker 10 (27:20):
All of it.

Speaker 11 (27:20):
Yes, if I were to take a public position.

Speaker 4 (27:24):
On that, I would create a storm of controversy, probably,
and I would have to resign my position.

Speaker 11 (27:32):
I'd have to give up everything.

Speaker 1 (27:33):
Well, I've given up everything, my home, my loyalty to
my own people.

Speaker 4 (27:37):
I'll be an outcast and no one would listen to
me anyhow.

Speaker 1 (27:41):
I realize that. But you have no choice. You have
to save the world.

Speaker 4 (27:47):
You're really serious. Let's even say you mean it. What
could your motive be? Darling? Please, Eric, please please tell
me this is all Benn joke, some big on WI
the unfunny joke.

Speaker 11 (28:03):
Because if this is not a joke, Eric, I don't
know what to do.

Speaker 4 (28:13):
Mary Jane, Yes, I thought.

Speaker 1 (28:17):
You were asleep. You you haven't said a word all
the way home.

Speaker 11 (28:22):
No, but I haven't been sleeping.

Speaker 1 (28:26):
I've been thinking, Oh dearest, I wish I'd known how
to tell you all this differently. Oh my, i' got
to get over to the curb.

Speaker 11 (28:34):
Fire engines where they're going.

Speaker 4 (28:36):
Hey, look it's turning a corner going down the block.
Eric O, our house is on higher.

Speaker 12 (28:43):
We look at our house. Uns in't say how.

Speaker 1 (28:49):
How did it happen?

Speaker 20 (28:50):
I don't know.

Speaker 12 (28:51):
Our house is burning?

Speaker 4 (28:53):
Eric, Where are you going?

Speaker 11 (28:54):
My papers, all.

Speaker 17 (28:55):
My work, I can't let them burn.

Speaker 7 (28:57):
I can't let them be destroyed.

Speaker 1 (28:58):
No, you can't go in.

Speaker 4 (28:59):
There is no papers, Eric, I have to say this,
stay here, say I said, Oh.

Speaker 12 (29:04):
No way, don't you go?

Speaker 3 (29:05):
No you mean you?

Speaker 4 (29:07):
Oh, somebody stop him, Stop him.

Speaker 7 (29:16):
Eric Marshall has just dashed into a fiercely burning house
to rescue some of his wife's valuable papers. On the
face of it, it's a suicidal act. Certainly, he has
rushed into an inferno. How can he possibly come out
of it? But wait, didn't he say he comes from
another planet? And didn't he.

Speaker 1 (29:36):
Say he was of a race that was far more
fire resistant than our own. I'll be back shortly with
Act three.

Speaker 4 (29:56):
Accept the impossible.

Speaker 7 (29:58):
This is a slogan for all, all who would advance
the cause of learning. Accept the impossible, live with it,
and soon it becomes the every day, the familiar. It
was always impossible to transplant a human heart to break
the umbilical cord of the planet Earth, except for those
who accepted the impossible and made it happen. And doctor

(30:22):
Marrisfet has also accepted the impossible as it concerns her husband,
Eric Marshall.

Speaker 4 (30:28):
He ran into that burning house, Doctor avelaite into that
raging inferno, and in just a few moments he came
out of it unharmed, with a box of my precious
papers in his art. Well, lorry, you mean, well, well
what there were witnesses, doctor, the best witnesses you could

(30:49):
ask for, the policeman, the fireman, the down to worth,
practical people.

Speaker 11 (30:53):
Perhaps the fire seemed to be worse than it actually was.

Speaker 4 (30:56):
A few moments after Eric emerged from those flames, the
hut collapsed.

Speaker 11 (31:01):
It was a total ruin. Yes, well, there's some things
we simply cannot explain.

Speaker 4 (31:08):
Yes, but we can explain this how Eric is from
another world. His body, his tissues have a greater resistance
to fire than ours do. They have a much higher
flash point. You can't dispute the evidence. And so that

(31:30):
very night we went away together, we went away from
our child ruin of a home, and we went up
to the country, and there we decided, on the course of.

Speaker 1 (31:40):
Our lives, you must stop all nuclear activity.

Speaker 4 (31:44):
But if I told people why Eric, I'd probably be
locked up as a nut.

Speaker 1 (31:49):
There is evidence that the present course of activity will
destroy the world.

Speaker 4 (31:53):
My darling, you are not a scientist. You don't know
how it is with people like me. You think that
things could be that clear cut, but they couldn't. A
single set of facts can make fifty different impression.

Speaker 1 (32:05):
But you have to do something. I'll also have to
do something. I'll try to convince my people to look
for another planet.

Speaker 11 (32:10):
There's only one person in this world that I can
trust with this story, Eric, just one. For years.

Speaker 4 (32:16):
He's been my guide. He's the chairman of the Commission.
Can you trust him with my life?

Speaker 11 (32:31):
Why have you told me everything? Margin yes, doctor Paulson. Well,
it's remarkable. It's remarkable because it's true.

Speaker 4 (32:42):
If he comes from another preet, If Doctor Paulson, he
walked through that fire, there can be no doubt of it.
So that means, Doctor Paulson, that I must resign from
the Commission because I must now initiate a campaign for
a more ratorium on all nuclear activity, I mean everywhere.

Speaker 11 (33:07):
Will you join me?

Speaker 4 (33:08):
Well, give me a chance to think. Well, of course,
but together the two of us could have much greater impact. Well,
I'm aware of that.

Speaker 11 (33:20):
Give me a few days, yes, of course, and think
you're over yourself. Oh I have My mind is made up.

Speaker 4 (33:29):
Will you wait till I make up mind?

Speaker 11 (33:32):
That will be well worth waiting for.

Speaker 4 (33:33):
Well, then I'll call you soon. And meanwhile, goodbye my
dear Mary.

Speaker 11 (33:40):
Jane, goodbye doctor Polson, and give by regards to way.
Mm hmmm, hello Dora is doctor Parson?

Speaker 4 (34:02):
Yes, doctor, we have a.

Speaker 5 (34:04):
Problem I know with Eric Marshall.

Speaker 21 (34:08):
He spoke with me about what about abandoning this planet
for colonization?

Speaker 4 (34:13):
What it is to you?

Speaker 22 (34:14):
Nothing?

Speaker 11 (34:15):
I was about to report it to you. Well, Yes,
keep saying him as often as you can. Yes, keep listening,
say nothing definite. Yes, arranged to meet him in a
motel room. Yes, we can't afford to have her come
out against nuclear activity. She has to be side that somehow,

(34:38):
and we have to eliminate Eric. I think perhaps we
can handle both matters in a single action.

Speaker 4 (34:51):
I came as quickly as I could. Doctor Pere says,
or please sit down from what I have to say.
Isn't going to be easy. I mean, you've reached a
decision what it has to do with Eric.

Speaker 11 (35:04):
Ordinarily I would never discuss a man's actions with his wife,
but the problem of Eric's credibility suddenly has become a
matter of cosmic importance. Eric's credibility either Eric is telling
you the truth or he isn't.

Speaker 4 (35:22):
But I've already said it all comes down to that,
doesn't it. Yes, but I saw Eric walk through those flames.

Speaker 11 (35:30):
Well, it can be all kinds of explanations for that.
In other words, you don't believe Eric. Oh I tried to.
This is the part that hurts. And do you know
a woman named Dora Shelton? No, she's lovely. Well what
does this Dora? Eric is having an affair with her? Oh,

(35:52):
that's impossible.

Speaker 4 (35:53):
Why is it imporrible? Because because because you don't want
to believe it, because I know it isn't true, because
I know Eric loves me. I had Eric watched, You
had no right to. There's too much riding on Eric.
He's been seeing this Shelton woman.

Speaker 11 (36:11):
I don't believe that we have times and places, we
have witnesses, eysne, doctor Parson. Here, yes, where I see there?
You That was our detective. Eric and Dora Shelton are

(36:31):
in a motel room off the turnpike. Now, Mary Jane,
Mary Jane, my dear, I'm sorry. Here, let me give
you a drink of water. I had drinks feel better?

Speaker 4 (36:47):
What is it?

Speaker 11 (36:48):
Just there's something to steady your nerves, drink it through
a fit better?

Speaker 19 (36:56):
Thank you?

Speaker 4 (36:56):
Doctor?

Speaker 15 (36:58):
What am I going to do?

Speaker 1 (37:01):
Sace him with it?

Speaker 11 (37:03):
I can't. Don't you see, dear? Don't I see what?
Why he's unfaithful? Why is any man unfaithful? He wants
to get back at his wife? And why does he
want to get back at you?

Speaker 4 (37:16):
He's fifteen years younger five? We checked his records.

Speaker 11 (37:24):
Why would a man marry a woman fifteen years older?
Because he fell in love with me, especially a man
who was very attractive with women, that's all part of
his record.

Speaker 4 (37:35):
Why did he marry you? Why did he marry me?
I suppose it was to get the Nobel Prized. He
admitted that. He said, the only way I'll ever have
one in my house is to marry.

Speaker 11 (37:52):
He made up his story to get you embroiled in
controversy that would certainly diminish your popularity.

Speaker 4 (38:01):
Doctor Poulson, I thank you. It was a ridiculous story,
now that you make me think.

Speaker 11 (38:07):
Of it, I'm sorry. I just wish there was something
I could do for you.

Speaker 4 (38:12):
Oh there is, Yes, there is. Would you please give
me the name of the motel? Would yes? What good
would you do well?

Speaker 11 (38:19):
I'm not going there to do good my year.

Speaker 4 (38:22):
Sure you're not thinking of viron perhaps a little verbal violence.
You're a shy I'm also a woman. Doctor. Tell me
the name of the motel, Mary Jane, Eric, aren't you
going to invite me in?

Speaker 10 (38:45):
Thank you?

Speaker 18 (38:48):
Well?

Speaker 11 (38:50):
Who is your friend?

Speaker 1 (38:51):
Mary Jane?

Speaker 4 (38:52):
This is Dora Shelton, my controller. You're a fight, my
controller from Arshana, the planet Arshana.

Speaker 11 (39:02):
H huh.

Speaker 4 (39:03):
She's in command of the events party. Dora, my wife.

Speaker 15 (39:08):
What do you mean your wife?

Speaker 11 (39:09):
You never said you were.

Speaker 4 (39:10):
Married or what are you talking about? You knew that
I was married when I be here.

Speaker 11 (39:13):
If I knew you were massed, Please don't worry about it.
He won't be married very much longer.

Speaker 4 (39:17):
I just it, Mary Jane, listen, she is my controller.
What she is has been called many names, but this
is the first time I ever heard that.

Speaker 1 (39:24):
I have been trying to convince her that we cannot
let the Earth destroy itself, that we must find a
new planet.

Speaker 4 (39:29):
That's the only reason I've been seeing.

Speaker 11 (39:31):
I'm not getting tied up with a nut like you.
I'm getting out of here.

Speaker 12 (39:33):
It won't be necessary.

Speaker 4 (39:34):
Don't you see what she's trying to do?

Speaker 1 (39:36):
She wants to discredit me, or I'll prove she's from Arshana.

Speaker 4 (39:40):
I'll prove it.

Speaker 11 (39:40):
Let go of me, Eric, what are you doing.

Speaker 4 (39:42):
You've got to believe me.

Speaker 10 (39:43):
How can I believe this?

Speaker 17 (39:44):
Let go of me?

Speaker 10 (39:45):
Eric? What are you doing with that light?

Speaker 4 (39:47):
I'm proving a point.

Speaker 23 (39:48):
Don't do that.

Speaker 11 (39:48):
You'll burn her hand. Eric, you're chriate, am I.

Speaker 1 (39:53):
Look? You see she is like me. She resists flame.
Look at her head. It should turn red, it should
char but it doesn't. Why she is from Arsenal. That's
why Dora. Get out of here, freighter, Eric.

Speaker 11 (40:07):
And it's true, it is, it's true.

Speaker 12 (40:10):
There is a plot.

Speaker 11 (40:11):
It won't do any good.

Speaker 24 (40:12):
Eric, You betray your own people and for nothing.

Speaker 22 (40:15):
In the end, they'll destroy themselves. They don't have enough
sense to survive.

Speaker 13 (40:19):
While you are.

Speaker 16 (40:20):
Wrong, it wasn't for nothing, and we will not destroy ourselves,
and the earth will survive because I'm willing to.

Speaker 4 (40:31):
Fight, Jane, to fight.

Speaker 1 (40:36):
Are you all right?

Speaker 11 (40:38):
As long as the river's run down to the sea,
something's wrong.

Speaker 4 (40:43):
All the shadows touch the mountains, Jane, Oh, four stars
gaze out in the vault of heaven. Doctor Marras said,
every now and then I recall those words. But the
President of the United States said to me that was

(41:06):
quite an occasion. You say you confronted them in the
motel room. Yes, I did, doctor Abelaide, and I fainted there.
I must have been drugged, drugged how by whom I
don't know. It must have happened in some way. But
the next thing I knew, the police were in the
room and I was told that I had murdered Eric.

(41:27):
I see now, you don't see how could I have
killed him with the thirty two caliber revolver that was
found in your hand, with the thirty two caliber revolver
that was placed in my hand, in my unconscious hand,
after Eric had been shot by whom by Dora Shelton

(41:47):
and whoever else.

Speaker 11 (41:48):
From Arshana was helping her.

Speaker 4 (41:51):
But of course you don't believe me, Howard, But I do.

Speaker 11 (41:57):
You're not just saying that I believe it, do you do?

Speaker 4 (42:02):
You?

Speaker 11 (42:03):
That's good, because I'm not sure that I do.

Speaker 4 (42:07):
You don't believe it. I don't know what to believe anymore.
I am so tired. I want to read. I want
to sleep. The only time I can be with Eric
now is when I sleep. Will you excuse me? Yes?

(42:30):
Of course, to come back tomorrow. Please promise, I promise
so long will your honor, your name, your praises, and your.

Speaker 25 (42:55):
Love a person here, it's doctor Ravelhart, Doctor Marrisset. I
can no longer be taken seriously as a threat to
our position here.

Speaker 11 (43:03):
Thank you, Doctor revelad she might have been quite dangerous.

Speaker 19 (43:08):
That's over.

Speaker 25 (43:09):
The inhabitants of this earth can be relied upon to
destroy themselves, quite possibly before the end of the present century.

Speaker 11 (43:18):
What do you think, doctor, I think it's a reasonable estimate.

Speaker 7 (43:25):
Doctor, What do you think can we be relied upon
to destroy ourselves? You must admit there are times and
it looks as if that's what we're determined to do,
But always has been a miracle to save us just
in the nick of time. Can we depend on a

(43:47):
miracle this time? I only know you can depend on
me to be back in just a few minutes. Will
man destroy himself? The popular opinion seems to be he

(44:10):
won't because he can't, not because he's too smart, but
because he's unable to. However, this business of being unable
was true only of the past. Today man does have
the wherewithal someone can press a button or throw a
switch or release a lever. Our cast included Mercedes mc cambridge,

(44:35):
Norman rose Court Benson and Judith Light. The entire production
was under the direction of Hymon Brown and now a
preview of our next tale. Tell me, may I present
the Countess Degenera.

Speaker 1 (44:52):
How do you do?

Speaker 10 (44:53):
Man child?

Speaker 1 (44:55):
The Countess is an exorcist.

Speaker 4 (45:00):
Northeast. I am the one who vanishes the evil spirit.
What kind of joke is this, Dumont?

Speaker 7 (45:07):
John, This lady is a great artist.

Speaker 4 (45:09):
What did you here for? I am to exercise the
evil spirit from the house of our graves.

Speaker 7 (45:16):
Coman, there's no evil spirit in the house of our graves.

Speaker 11 (45:19):
There is a spirit.

Speaker 7 (45:23):
You have heard the spirit.

Speaker 4 (45:25):
Now that's Dumont.

Speaker 7 (45:25):
You just get taken in by his mumbo jumble Tommy.
I'm dee mumbo jumble mumbo.

Speaker 4 (45:32):
You irritated her.

Speaker 11 (45:34):
You do not believe in spirits?

Speaker 7 (45:38):
Well I I she must return to the grave. Radio
Mystery Theater was sponsored in part by x Lax and
Buick Motor Division.

Speaker 1 (45:47):
Missus E. G.

Speaker 7 (45:48):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time.

Speaker 6 (45:58):
Pleasant, Welcome to Marshport. Maine, a quaint little coastal town

(46:39):
preparing for their annual Winter Wonderland Festival. But beneath the
lights and holiday cheer, something evil is stirring and it's
not a mouse. When a mysterious package arrives on the
doorstep of veteran police officer Matthew Klein and his family's home,
it seems at first like a harmless holiday gift. There's

(47:00):
no tag and no sender. Inside lies an antique wooden
advent calendar with strange engravings and twenty four doors that
each shelter something dark and unspeakable. The line between reality
and nightmare quickly becomes blurred as Matthew races to figure
out the calendar's origin and who sent it. But as

(47:23):
each door is opened and Marshport is thrust into a
sinister nightmare, Matthew realizes the terrifying truth and is forced
to relive the horrors from his past that refuse to
stay buried. The countdown has begun, and once that first
door is opened, there is no turning back. Where Darkness

(47:46):
presents Advent of Evil, a twenty four episode audio saga
beginning December first, listen each day for a new chapter
through Christmas Eve and if you'd like to follow the
story in print. The full novel is now available in
paperback and hardcover editions, as well as on Kindle. Grab
the novel now for yourself or for someone else and

(48:06):
be ready to follow along. December first, and for a
limited time only, you can also grab an Advent of
Evil gift pack, including a signed copy of the novel
by the author Scott Donnelly, wrapped up with an Advent
of Evil bookmark, pen, highlighter, hot chocolate, Chai Tea chocolates,
a candy cane, and some horror stickers. The gift pack

(48:28):
is in limited supply, so act fast if you want
to take advantage of it. You can find links to
purchase the book or the gift back at Weirddarkness dot com,
slash Advent of Evil. That's Weird Darkness dot com slash
Advent of Evil, and then be ready as the first
episode comes your way December first.

Speaker 13 (49:02):
The Sealed Book.

Speaker 26 (49:23):
Once again, the Keeper of the Book has opened the
ponderous door to the Secret volt wherein has kept the
Great Sealed Book, in which has recorded all the secrets
and mysteries of mankind through the ages. Here are tales
of every kind, tales of murder, of madness, of dark deeds,

(49:46):
strange and terrible, beyond all belief. Keeper of the Book,
I would know what tale we tell this time. Open
the great book and let us read.

Speaker 8 (49:58):
Slowly.

Speaker 26 (50:00):
The great Book opens one by one. The Keeper of
the book turns the pages and stops ah the strange
story of a man who hated his wife because she

(50:21):
loved him too much, with a love that even death
could not extinguish, a tale.

Speaker 27 (50:27):
Called till Death Do Us Part. Here is the tale

(51:23):
tale Death.

Speaker 26 (51:24):
Do Us Part, as it is written in the Sealed Book.
The story begins in the pleasant suburban home of Chris
and Blanche Worby. It is late at night, and the
moonlight shining through the window shows Chris Worby tossing and
turning at his sleep, suffering from a nightmare, a nightmare
about his wife.

Speaker 28 (51:50):
Chris jining, you really must put on this jacket.

Speaker 23 (51:54):
It's getting really.

Speaker 11 (52:00):
Your wife is on the phone, mister Worthy Glance.

Speaker 3 (52:02):
This is the fifth time you've called me this morning. Chris.
Your wife is waiting in your office for me.

Speaker 11 (52:09):
Darling, it looks like rain I.

Speaker 28 (52:11):
Brought your rainbow Glance.

Speaker 3 (52:13):
You know there isn't a cloud in the sky. You've
got to stop this, coming to the office all the time.
Lass waiting in.

Speaker 29 (52:21):
Your office for you, Chris, Darling, I've come to.

Speaker 23 (52:24):
Drive you home.

Speaker 28 (52:25):
Missus Worthy is on the phone.

Speaker 11 (52:26):
Chris.

Speaker 30 (52:27):
Is this something I do waiting?

Speaker 10 (52:32):
No?

Speaker 13 (52:33):
No, no?

Speaker 3 (52:34):
Why won't you leave me.

Speaker 10 (52:36):
Alone for a while?

Speaker 28 (52:37):
Leave me alone? Chris, Chris Darling, wake up? You are
having another nightmare. Oh that you were having a nightmare, Dear.
I awakened you.

Speaker 3 (52:51):
Oh yes, yes, I remember now it was also real.

Speaker 28 (52:56):
Can I get you something, Darling?

Speaker 3 (52:58):
No, it isn't necessary.

Speaker 28 (53:00):
Perhaps a glass of warm milk, my.

Speaker 3 (53:02):
Dear, please plance, I don't want anything.

Speaker 28 (53:04):
Well, don't you think you'd better see a doctor, Dear,
You've been having these nightmares for several weeks now.

Speaker 3 (53:10):
A doctor can't help me, Glance. We can't go on
this way?

Speaker 28 (53:15):
Can't go on?

Speaker 12 (53:16):
What way?

Speaker 22 (53:17):
What do you mean?

Speaker 3 (53:18):
I've never been able to tell you, but I will now.
I can't stand living with you, can't.

Speaker 28 (53:24):
Stand living with me. But Chris, I love you.

Speaker 3 (53:27):
I know, I know you love me, but it's an
inhuman love. Your love is so overwhelming it's smothering me
at every step I must never divorce.

Speaker 28 (53:35):
No, Chris, I'll never give you a divorce. For two years,
I've bought to get you, did everything to prevent your
marriage to Anne Balin. I have you now, and I'm.

Speaker 3 (53:46):
Going to keep you, even knowing how I feel about you.

Speaker 28 (53:49):
Yes, my love for you, Chris is greater than my pride.
Oh please, Darling, let's not say anymore. You'll feel better
in the morning.

Speaker 3 (54:00):
I'll never feel better, not while we're together. Plans When
I get dressed, I'm going to move to a hotel.
I'm leaving you.

Speaker 28 (54:06):
Darling, you're being ridiculous. Please go back to bed.

Speaker 3 (54:10):
No, I can't live with you, and I won't. I'm
leaving you for good.

Speaker 28 (54:14):
Oh, Chris, you're funny.

Speaker 7 (54:25):
Your wife is outside, Chris, waiting to see you.

Speaker 3 (54:28):
Oh no, not again. I'm afraid, So, Chris, I can't
go on this way. Day after day. She phones every hour,
comes down here to see Well. Now, perhaps you had
better see her, Chris. Maybe you can reach an amicable agreement. No,
Artner's only one way out for me. I must leave town, disappear,
leave town. What's your business? That doesn't matter now nothing

(54:51):
matters but to be free. I'm leaving the running of
the business in your hands. Yes, but where you go
I haven't decided yet. All I know is that's going
to be someplace far away, someplace where even plants can't
find me. Come in, Chris, Hello Toppy, glad you remember

(55:15):
I should do?

Speaker 31 (55:17):
You were the best tackle you'll ever had outside of myself.

Speaker 23 (55:21):
Well, what are you doing in Texas?

Speaker 3 (55:23):
Looking for a job?

Speaker 8 (55:24):
Looking for a job?

Speaker 3 (55:26):
Are you kidding?

Speaker 20 (55:28):
What about that flourishing business you've got back in New York?

Speaker 3 (55:31):
I've left it and everything else behind. My name is
Richard Keller. Now, Chris, we haven't gotten into a jam.
I mean, the law isn't have to use it, tropy
of the law isn't after me. It's a personal matter.
Sit down, tell me about it, topy. I'd rather not
talk about it, not just now, sure, Chris, I understand.

(55:52):
How can you give me a job as Richard Keller and.

Speaker 18 (55:55):
I give you a job?

Speaker 16 (55:57):
Why this company's dying on its feet from and like
you you're hired?

Speaker 3 (56:15):
Well, this is room three thirteen. Rely signed up a waiter?

Speaker 18 (56:17):
Please?

Speaker 3 (56:18):
Oh in the morning paper? Thank you?

Speaker 32 (56:23):
Well?

Speaker 3 (56:25):
I mean.

Speaker 28 (56:27):
Hello darling? Match, Yes, darling, how are you?

Speaker 8 (56:34):
I changed my name?

Speaker 3 (56:35):
I traveled all over the West before coming here and
never told anyone where I was. How did you find me?

Speaker 28 (56:41):
I hell love you, Chris. No matter where you went
or how far it was, I'd find you.

Speaker 3 (56:46):
What do you want?

Speaker 28 (56:47):
I want you to come home.

Speaker 3 (56:49):
No, never, not coming back, and that's final.

Speaker 28 (56:51):
But Chris, I'm your wife and I love you. Oh,
just give me another chance, Darling. I'll do whatever you
want me to if you'll only come home.

Speaker 3 (56:59):
No, it'll just be the same, same thing all over again.

Speaker 28 (57:01):
No it won't, dear, I'll change, really I will.

Speaker 10 (57:04):
Do you.

Speaker 28 (57:04):
Remember you're objecting my calling you every hour at the office. Well,
I promised I won't anymore. You mean that, yes, Chris,
I do. Won't you please come home?

Speaker 4 (57:17):
All right?

Speaker 3 (57:18):
All right, we'll have another try it. But this is
the last time.

Speaker 28 (57:22):
Oh Chris, You'll never regret it.

Speaker 3 (57:34):
Gentlemen, this is to inform you that your order the
twenty fifth was ship No, I'll answer this Nelson.

Speaker 28 (57:42):
Hello, Hello, darling, how are you blance?

Speaker 33 (57:46):
Just a minute?

Speaker 3 (57:48):
Are all miss Nelson? We'll finish the letter later. Blance
This is the first time you've called this morning. The
one thing you promised you wouldn't do.

Speaker 28 (57:57):
But I only wanted to know if you wanted me
to drive in and gick you up. Oh, I'm sorry, dear,
if I've upset you.

Speaker 3 (58:03):
You say that every time you call. I see now
that I'll never be rid of the sound of your voice.
Till death parts us.

Speaker 28 (58:11):
Please, Darling, say you aren't angry with me. You know
I'm love you.

Speaker 23 (58:17):
Chris, Chris, to.

Speaker 4 (58:20):
Your death, dost part?

Speaker 11 (58:22):
She would have died, I'd be free, free, I could.

Speaker 14 (58:27):
Answer the phone.

Speaker 4 (58:28):
I know it wasn't she Hello, Darling, what happened?

Speaker 3 (58:35):
We were disconnected there?

Speaker 28 (58:37):
Oh, Chris, I thought something might have happened to you.

Speaker 3 (58:41):
No, I am all right there. I am sorry. I
spoke harshly to you before.

Speaker 28 (58:46):
Oh you know I don't mind, Chris at your nerves.
You work too hard.

Speaker 3 (58:51):
Yes, you know, I think I need a vacation. What
do you say if you and I go away for
a few days, go to the seashore, dry some deep
sea fishing.

Speaker 34 (59:02):
Oh, Chris dying, It'll be wonderful.

Speaker 26 (01:00:47):
And now to continue the story, till death do Us Part,
as it is written in the Sealed Book. Having made
his plans with care, Chris Worby has taken his wife's
Blanche to the seashore for a holiday that a rended
motor boat with fishing tackles spread about them. They are
now pulled out from shore, just Chris and Blanche.

Speaker 3 (01:01:11):
I think we're firing enough out now. I'll shut off
the motor. Yeah, looks like a good spot.

Speaker 28 (01:01:19):
Oh Chris, it's wonderful out here on the water. Then
I have you all to myself here.

Speaker 3 (01:01:25):
That's what you've always wanted, isn't it, Glance?

Speaker 28 (01:01:28):
They have me all, yes, darling. Oh Chris, look the
smoke coming out of the engine hatch.

Speaker 35 (01:01:33):
The boat is on fire.

Speaker 28 (01:01:35):
Yes, you're right, claims the shooting out of the hatch.
The whole boat is catching fire.

Speaker 3 (01:01:39):
Had select to swim from yasline. Think it's able to
explode any second?

Speaker 28 (01:01:42):
But Chris, you know I can't swim, and we're a
mile from shore.

Speaker 3 (01:01:44):
I'll keep your float until another fishing boat comes to
our rescue. I'll jump first that you follow, Chris.

Speaker 36 (01:01:49):
Our only chance, Chris, someone on sean must have heard
the explosion and seen the smoke.

Speaker 28 (01:02:05):
Why don't the boats come.

Speaker 3 (01:02:06):
No boats are going to come for you, darling, Chris,
What are you saying When the boats do arrive? They're
only going to find me.

Speaker 22 (01:02:13):
Chris.

Speaker 28 (01:02:14):
You wouldn't let me drown.

Speaker 33 (01:02:15):
Oh, wouldn't die.

Speaker 3 (01:02:17):
I tried to reason with you, and that didn't work.
I ran away, but you wouldn't let me alone. Well,
this is the only way I'll ever be free of you.

Speaker 28 (01:02:24):
You can't do it, Chris.

Speaker 22 (01:02:26):
You can.

Speaker 3 (01:02:26):
I love you the only way I can get rid
of you. So we're parting now forever. This time, you
won't follow me.

Speaker 28 (01:02:32):
I won't let you.

Speaker 3 (01:02:33):
I won't, but you will break that grip. You've been
a millstone around my neck long enough.

Speaker 23 (01:02:39):
There there, this is in you.

Speaker 13 (01:02:43):
There, I'm free.

Speaker 1 (01:02:51):
She's gone.

Speaker 37 (01:02:54):
I am free, free at last wherever?

Speaker 3 (01:03:15):
Amen? Excuse me, Chris, but there's a miss ballin to
see you, a miss ballin and balan.

Speaker 38 (01:03:22):
Yeah?

Speaker 3 (01:03:23):
Oh sure, Ian, all right, Yeah, And it's wonderful seeing
you again. Oh it's been five.

Speaker 28 (01:03:31):
Years six you left on villa nineteen thirty eight.

Speaker 1 (01:03:34):
Six years.

Speaker 3 (01:03:35):
Good deals happened in that time.

Speaker 10 (01:03:37):
Yes.

Speaker 28 (01:03:38):
Oh, I've just learned that you lost lunch year ago.

Speaker 18 (01:03:40):
Chris.

Speaker 28 (01:03:41):
I want you to know how sorry I am.

Speaker 3 (01:03:43):
Oh, thank you, Anne, But tell me how's everyone in Owensville.

Speaker 28 (01:03:46):
Well, you might have paid us a visit. Owensville is
still only one hundred miles away.

Speaker 3 (01:03:50):
I've always meant to return for a visit, but after
the way I broke our engagement, Very Blanche, I was
afraid you, Christ You.

Speaker 28 (01:03:57):
Mustn't feel that way. I got over that long ago.

Speaker 3 (01:04:00):
How long your town for?

Speaker 39 (01:04:02):
I'll have you know I am now.

Speaker 28 (01:04:03):
A resident of Visday Metropolis as of yesterday. I have
a job here.

Speaker 3 (01:04:07):
Man, it's wonderful. You may not know it, but you
are going to see a good deal on me. In fact,
don't be surprised if I proposed to you again mighty soon, Chris.

Speaker 28 (01:04:29):
It's the most beautiful house the new bride ever had.

Speaker 3 (01:04:31):
Well, if you'll carry me across the threshold, missus Worthy,
you can see what it.

Speaker 8 (01:04:34):
Looks like inside.

Speaker 28 (01:04:35):
I should be delighted to.

Speaker 39 (01:04:45):
Chris.

Speaker 28 (01:04:46):
It's a lovely present. But you shouldn't spend all that money.

Speaker 8 (01:04:49):
What are you talking about?

Speaker 3 (01:04:51):
We're married one week today, Oh, Chris.

Speaker 28 (01:04:54):
I'm so glad we found each other again at last.
We're going to be so happy together.

Speaker 3 (01:05:11):
Chris.

Speaker 11 (01:05:12):
Why, Chris Worthy?

Speaker 3 (01:05:15):
Why siddneney Ran?

Speaker 39 (01:05:17):
I thought I recognized you? How are you, Chris Hi?

Speaker 21 (01:05:20):
I haven't seen you since you left Owen'sville.

Speaker 3 (01:05:23):
Good to see you, Sydney. How are the folks back home?

Speaker 21 (01:05:25):
Fine? Just fine? I suppose you heard about Anne Ballen.

Speaker 3 (01:05:31):
What can you tell me about Anne Ballen that I
don't already know?

Speaker 28 (01:05:34):
Well, I guess this will come at the shock to you.

Speaker 10 (01:05:37):
Chris.

Speaker 21 (01:05:37):
See, you were engaged to her once.

Speaker 39 (01:05:40):
And died last month.

Speaker 4 (01:05:43):
What did you say?

Speaker 21 (01:05:45):
Anne Ballen died a month ago.

Speaker 3 (01:05:47):
That's impossible, Sydney, wrong, Chris.

Speaker 39 (01:05:51):
I wouldn't joke about a thing like that. I was
at the funeral myself, with Sam Morris.

Speaker 33 (01:05:57):
But that couldn't be.

Speaker 21 (01:05:58):
It all happened so suddenly. They never did find out
what it was she died from.

Speaker 11 (01:06:04):
Certainly was a shock.

Speaker 39 (01:06:06):
An was so young and beautiful.

Speaker 9 (01:06:08):
Now she's dead.

Speaker 40 (01:06:10):
I couldn't be.

Speaker 3 (01:06:11):
It couldn't be, Chris.

Speaker 39 (01:06:12):
What's the matter with you?

Speaker 4 (01:06:14):
Chris?

Speaker 3 (01:06:14):
Why are you.

Speaker 40 (01:06:16):
Dead a month?

Speaker 3 (01:06:18):
But Anne came to New York just a month ago
and she married me. She's alive, beautiful, everything I've ever wanted. Oh,
Sidney's wrong. It buried someone else another An Bellin, Yes,
that must be it.

Speaker 7 (01:06:30):
Anne's home waiting for me, waiting for me, and and
where are you?

Speaker 3 (01:06:41):
And and answer men.

Speaker 28 (01:06:44):
I was at the funeral myself with Sam Morris.

Speaker 41 (01:06:47):
Sam Morris, Yes, operator, I want to put in a
long distance call to Owensville, Pennsylvania.

Speaker 3 (01:06:57):
I'd like to speak to Sam Morris. I don't know
his number, but hello, Sam, Sam Morris, Yeah speaking he
Who's Chris Worby? You remember me, Sam? I used to
live right next to your carser Chris. Oh fine, thank you, Sam.

(01:07:20):
I I want to ask you something.

Speaker 20 (01:07:21):
Sure, what is it?

Speaker 3 (01:07:23):
How is Anne Balin?

Speaker 42 (01:07:25):
And?

Speaker 19 (01:07:27):
Yes?

Speaker 3 (01:07:28):
Well didn't you hear, Chris? She's been dead for over
a month. Are you sure?

Speaker 4 (01:07:34):
I'm sure.

Speaker 3 (01:07:35):
I was at her funeral. But but Sam, couldn't they
have buried someone else by mistake? Well hardly, Chris.

Speaker 43 (01:07:41):
I saw her in the coffin just before the leader
way in the family plot, Chris, Chris.

Speaker 3 (01:07:49):
Are you there couldn't be and they made away.

Speaker 19 (01:07:52):
It couldn't be.

Speaker 3 (01:07:53):
There's someone else lying in the ballon black must be.

Speaker 38 (01:07:56):
Someone else must be.

Speaker 3 (01:07:57):
I'll drive out there now. I'll find out who it.

Speaker 26 (01:07:59):
Is, and now to continue the story till death do

(01:09:44):
us part, as it is written in the Sealed Book.
After driving frantically four hours, Chris has reached Owensville, his
hometown and on the outskirts of town. At the entrance
to the ancient cemetery, he is arguing with the old caretaker.
Was come to the door in night shirt at the trousers.

Speaker 3 (01:10:03):
But I tell you I have to know tonight. Can't
you understand? I only want to know if a girl
by the name of Anne Bellen is buried here. Look, mister,
it's almost midnight. I can't go looking through any records.

Speaker 19 (01:10:14):
Now.

Speaker 23 (01:10:15):
You have to come back in the morning.

Speaker 3 (01:10:17):
Please. I'll give you twenty dollars if you look it
up for me. Now, twenty dollars, all right, come.

Speaker 4 (01:10:24):
In, thank you?

Speaker 3 (01:10:27):
What'd you say?

Speaker 18 (01:10:28):
That name was Anne Bllan.

Speaker 3 (01:10:32):
See be.

Speaker 4 (01:10:36):
Yeah he.

Speaker 37 (01:10:39):
In Benin Yeah, yeah.

Speaker 11 (01:10:42):
She's here being in the Ballin Family Plot intered.

Speaker 3 (01:10:47):
June twenty sixth, Section fifteen, Plot five.

Speaker 19 (01:10:51):
Can't be.

Speaker 23 (01:10:52):
Can't be what you say?

Speaker 3 (01:10:54):
I must see that grave open. You have to get
a courtor if you that, mister, I want to see
it now tonight. I'll give you five hundred dollars to
open that grave.

Speaker 23 (01:11:02):
You must be crazy, mister.

Speaker 3 (01:11:04):
It's against the lesson. I don't want the body. I
merely want to look at it. Would a thousand dollars,
make it worth the risk. Yes, a thousand, you'll never
make an easier thousand will be finished by dawn. Well, well,
I don't do it.

Speaker 23 (01:11:37):
Said everybody. A little more to dig?

Speaker 3 (01:11:42):
You should reach the coffin.

Speaker 4 (01:11:44):
Blessed move anybody comes past this graveyard, think.

Speaker 1 (01:11:49):
You can see it.

Speaker 3 (01:11:50):
You don't have to worry about anyone being around at
three in the morning. Keep digging.

Speaker 44 (01:11:58):
We shouldn't be this chur in the dead.

Speaker 23 (01:12:01):
Rest in peace. He's the ministry, always says.

Speaker 38 (01:12:06):
The coffin.

Speaker 3 (01:12:08):
Quick, quick, helping clil gerless worth of it, swagging anything
to get this over with. Hurry up there, that's enough,
and now hold up the lantern. I'll open it.

Speaker 23 (01:12:26):
Yeah, go ahead.

Speaker 3 (01:12:32):
Yeah, yeah, it'sad locked.

Speaker 23 (01:12:35):
What are you waiting for? Go ahead and open it?

Speaker 4 (01:12:38):
All right?

Speaker 3 (01:12:40):
Stand back a bit. It's empty, yeah, empty empty. I
know she couldn't be buried here. She's alive, do you hear?
AND's alive?

Speaker 23 (01:13:04):
And where are you a Chris?

Speaker 45 (01:13:07):
Oh?

Speaker 3 (01:13:07):
And it's good to feel you in my arm.

Speaker 28 (01:13:10):
Why Chris, you acted though you never expected to see
me again.

Speaker 3 (01:13:13):
There was a moment I thought I wouldn't you remember Sydney.

Speaker 22 (01:13:17):
Rad, don't you Sydney.

Speaker 28 (01:13:19):
Oh, yes, of course.

Speaker 3 (01:13:20):
Last evenings, I was coming out of my office building.
I bumped into it and she started telling me all
the news of Bonesville. And then she told me that you've.

Speaker 18 (01:13:27):
Been dead a month.

Speaker 28 (01:13:29):
I've been dead a month.

Speaker 8 (01:13:30):
Yes.

Speaker 3 (01:13:32):
When I got home, you weren't here, oh, darling.

Speaker 28 (01:13:35):
It was only my running out of gas that kept
me from being home, and you ride.

Speaker 3 (01:13:38):
I should have known it for something like that, But
I got panicky. Called Sam Morris long distance, and he
too said you were dead. Must have gone haywire. After that,
I took the first train to Oonesville. Chris, you didn't, Yes,
I'm afraid I did. Went to the cemetery where your
family's buried. There I found your grave, yours mine, Yes,

(01:14:02):
the tombstone had your name on it. And Balin, what
did you do?

Speaker 12 (01:14:07):
Then?

Speaker 3 (01:14:08):
I paid the care taker to help me dig up
the coffin. What we opened it? We found it empty?

Speaker 46 (01:14:18):
What is it?

Speaker 14 (01:14:20):
Why are you laughing like that?

Speaker 37 (01:14:22):
And Chris?

Speaker 28 (01:14:25):
And Ballin is dead?

Speaker 3 (01:14:26):
And you don't what you're saying, Uran.

Speaker 28 (01:14:28):
Balin because I'm not looked deeply into my eyes, Darling.
Don't you recognize me?

Speaker 3 (01:14:36):
Recognize you?

Speaker 1 (01:14:37):
Yes?

Speaker 28 (01:14:38):
Don't you know who I am, darling. You remember that
they had sea. I told you I'd never leave you.

Speaker 11 (01:14:44):
Remember.

Speaker 3 (01:14:45):
No, it can't be your an, your end.

Speaker 28 (01:14:49):
Close your eyes, Chris, just to listen to my voice.
Don't you recognize me, darling? Yes, Blanche, Blanche and Anne's
body because mine was lost to Tea. I couldn't come
back in my own body, so I killed an to
get this one. You killed her and then took her body.

(01:15:10):
I did it so that you and I could be
together again forever, darling, Yes, forever. Oh no, I'll never
leave you, darling, never, never, never.

Speaker 26 (01:15:30):
And that is the tale of Chris and Blanche worby
till death do us part, as it is written in
the Sealed Book. When Chris was sure that Blanche had
indeed returned to him, even from the grave, he tried
to escape by seeking death himself, throwing himself into the
sea from an ocean liner. Weeks later, his body was

(01:15:52):
cast up on the shore, tightly clasped in the dead
arms of the body of a woman later identified.

Speaker 19 (01:16:00):
It is lunch.

Speaker 26 (01:16:02):
So they are buried now side by side together whatever,

(01:17:14):
and now, keeper of the book, before you close the
great volume, show us the tale we tell next time.
This one, yes, the amazing story of a man who
stole millions and then found he had to steel himself
a new face so he could protect those millions. But

(01:17:36):
he would have discovered that his new face brought with
it murder and sudden death. A tale titled the Man
with the Stolen Face. Be sure to be with us

(01:18:00):
again next time when the sound of the great gun
heralds another strange and exciting tale from the.

Speaker 13 (01:18:10):
Sealed who no.

Speaker 47 (01:18:35):
What evil works in the heart of men?

Speaker 48 (01:18:39):
The Shadow? Now serious kind of way to want the

(01:19:02):
ball and honor?

Speaker 47 (01:19:04):
Isn't really?

Speaker 33 (01:19:05):
Wealthy?

Speaker 19 (01:19:06):
Young man?

Speaker 47 (01:19:06):
About coming?

Speaker 4 (01:19:08):
As the Shadow?

Speaker 10 (01:19:10):
Cranston's gifted with hypnotic power.

Speaker 33 (01:19:11):
To cloud men's minds so that.

Speaker 1 (01:19:14):
They cannot see him.

Speaker 49 (01:19:16):
Cranston's friend and companion, the lovely margl La. It's the
only person who knows to whom the voice of the
invisible Shadow belongs. Today's story, The Green Man.

Speaker 10 (01:19:33):
Come on, get out of the cards.

Speaker 36 (01:19:36):
Why are you taking mine?

Speaker 10 (01:19:38):
And get inside you get me?

Speaker 35 (01:19:41):
What have I done?

Speaker 50 (01:19:44):
What do you mean?

Speaker 10 (01:19:45):
You know what I'm talking about? You're cross.

Speaker 51 (01:19:49):
I do only once but fight, and that's to take
college and running around with him behind my back. I
finish happy to know you sayed around with that punk
for a year without my ever knowing it.

Speaker 10 (01:20:03):
Shut up three days ago. You were tips that I
found out about it. You were smart enough to know
what I'd do that, both of you. So you'll run
christ to Commissioner Western and put the finger on me.
You tell them just where the friends.

Speaker 51 (01:20:17):
Yeah, but I was a little too smart for all
of you.

Speaker 4 (01:20:20):
You.

Speaker 15 (01:20:21):
I didn't do not mind.

Speaker 1 (01:20:22):
Start it work out.

Speaker 10 (01:20:23):
A perfect Wesson could pick me up and then you
and tell.

Speaker 4 (01:20:27):
You whatever, nothing to.

Speaker 14 (01:20:28):
Worry about it.

Speaker 10 (01:20:30):
And I'm spoiling all that right now? What are you
going to do, Gracie. You ain't going to leave his
house alive.

Speaker 51 (01:20:38):
Swheeler is a squeader in my book, whether it's a
guy or the day doesn't mind.

Speaker 52 (01:20:41):
You better not touch me because I'll know you don't
A captain time on me for three days and I
knew I.

Speaker 46 (01:20:46):
Was seeing you.

Speaker 11 (01:20:47):
Then?

Speaker 42 (01:20:50):
Why are you?

Speaker 14 (01:20:51):
I want some smartest?

Speaker 53 (01:20:52):
Wrong with your mother?

Speaker 47 (01:20:53):
How smart?

Speaker 10 (01:20:54):
I am going to get me.

Speaker 53 (01:20:58):
Right now?

Speaker 47 (01:21:01):
There goes one of them.

Speaker 54 (01:21:03):
Jo Come on and get me your guys.

Speaker 47 (01:21:06):
Just around to the house of the places wallets.

Speaker 53 (01:21:10):
I can take care of that.

Speaker 5 (01:21:12):
Life.

Speaker 20 (01:21:13):
Honey, you like that?

Speaker 3 (01:21:13):
You guys, Well, here's another samples.

Speaker 47 (01:21:18):
Well comms you can have this gunners at the present, tell.

Speaker 10 (01:21:23):
I'm never gonna give us. You understand that. At the
side of the house, just have the sire a dirty.

Speaker 17 (01:21:32):
Will go up?

Speaker 7 (01:21:33):
No, Tim, then you're staying here, Lor come back here,
you turn over that Cary.

Speaker 9 (01:21:38):
Fine fu.

Speaker 55 (01:21:46):
We all alone, my honey when we ride out a
famous seminal love you?

Speaker 11 (01:22:01):
Is it evening, miss Marden?

Speaker 8 (01:22:02):
Where you were?

Speaker 28 (01:22:04):
I'm model Lane?

Speaker 35 (01:22:05):
Well I asked the hospital officials if I might visit
you here?

Speaker 47 (01:22:10):
What well?

Speaker 11 (01:22:11):
I wanted to talk to you about.

Speaker 46 (01:22:14):
Will you see several other people and myself have been
able to help girls who are in the same circumstances.

Speaker 40 (01:22:20):
That you are.

Speaker 10 (01:22:20):
Now what I means help them?

Speaker 46 (01:22:22):
Well, we've tried to redirect a mode of living and
we found jobs for them and change their Environmentary.

Speaker 11 (01:22:29):
Would that interest you at all?

Speaker 12 (01:22:30):
Miss Martin?

Speaker 52 (01:22:32):
Well, well, yeah, yeah, it was good After what I
went through last night, Miss Lene, I I think I
tempered a chance.

Speaker 11 (01:22:43):
To start coming again. It must have been horrible, it was,
believe me.

Speaker 35 (01:22:47):
After I got out of the house and just stand
there and wat the place burn with monkey inside.

Speaker 28 (01:22:54):
Yeah, I hate him, but I didn't.

Speaker 35 (01:22:55):
Want to see him go like that.

Speaker 11 (01:22:56):
I understand.

Speaker 52 (01:22:57):
I suppose you wonder how I.

Speaker 35 (01:22:58):
Ever got mixed up with a guy like her.

Speaker 15 (01:23:00):
Well it really doesn't matter now.

Speaker 35 (01:23:02):
I was just a kind green and he was a
big shot. That's counted with me. Then it was a
flashy guy too, always dressed in green, green hat, green suits,
green tie.

Speaker 17 (01:23:16):
That's how we got that nickname, the green kid.

Speaker 30 (01:23:19):
He used to say that was his lucky top.

Speaker 28 (01:23:23):
It wasn't what you last night that.

Speaker 35 (01:23:24):
Didn't keep from being fronted. It's that.

Speaker 45 (01:23:34):
What's the.

Speaker 46 (01:23:36):
Doors open?

Speaker 47 (01:23:38):
Light?

Speaker 39 (01:23:39):
He put out those lights, the.

Speaker 31 (01:23:43):
Ghostly good night.

Speaker 4 (01:23:46):
N H and green.

Speaker 35 (01:23:49):
His whole body is flowing with that green rice.

Speaker 1 (01:23:52):
I'll call a desk, I'll get.

Speaker 10 (01:24:00):
Yes, shut you up the west, Come back from the
come back from the desk. You're going to know what
it is to die too.

Speaker 17 (01:24:12):
Monta, come in.

Speaker 10 (01:24:14):
It's only one way out of here, for you know, Gracy,
wind the window. You can jump from the window.

Speaker 4 (01:24:24):
He's open. Gracy, the window is open.

Speaker 47 (01:24:28):
A jumps be backing up, Gracy and did come nearer
to the window.

Speaker 10 (01:24:35):
Now you want to jump, you.

Speaker 7 (01:24:38):
Want to jump?

Speaker 10 (01:24:41):
Get there now, I'll just get up on the sills,
up on the sills. Yeah, that's it. That's that's it.

Speaker 4 (01:24:57):
Yeah. Here, now's your chance jump jump. That's it.

Speaker 46 (01:25:07):
So well, I came to the month after the girl
had jumped. I'm sure that I would have been his
next victims. He hadn't been frightened away to the hospital
attendants who were ponding at the door.

Speaker 39 (01:25:25):
I still don't know how he got out.

Speaker 4 (01:25:27):
Of the room.

Speaker 35 (01:25:27):
He just disappeared.

Speaker 28 (01:25:28):
No one could find him.

Speaker 33 (01:25:29):
This is a green light muddle. Can you describe it
more clearly?

Speaker 46 (01:25:33):
A ghostly light a month, his whole body thing to
glow with him.

Speaker 11 (01:25:37):
It's radiance almost fill the room.

Speaker 33 (01:25:40):
You say that the girl identified him as the man
who was killed last night.

Speaker 15 (01:25:43):
Yes, she called him by his name, Monga.

Speaker 47 (01:25:45):
S come in, grandson. The message of left this package
in the outer office.

Speaker 12 (01:25:50):
From his rain for me.

Speaker 47 (01:25:51):
Yes, ma'am, I'll take it.

Speaker 1 (01:25:53):
Thank you.

Speaker 11 (01:25:55):
We'll be sending me a package.

Speaker 1 (01:25:56):
Here.

Speaker 5 (01:25:57):
Let's open it.

Speaker 33 (01:25:58):
We'll find out you are all.

Speaker 11 (01:26:00):
This isn't a surprise gift.

Speaker 4 (01:26:02):
From you, is it?

Speaker 14 (01:26:02):
The Martin.

Speaker 33 (01:26:04):
Say, what I'm persu is that.

Speaker 8 (01:26:09):
I don't know.

Speaker 11 (01:26:12):
It's it looks like a tiny coffin.

Speaker 33 (01:26:16):
That's what it is.

Speaker 1 (01:26:18):
Let me have it, mother, I better open it for you.

Speaker 11 (01:26:21):
That's someone's idea of a joke.

Speaker 35 (01:26:22):
It's a pretty poor and look looking side.

Speaker 4 (01:26:28):
Small green dogs a car detectulate.

Speaker 47 (01:26:33):
The writing is in green ink the sailor man, I
have come back from the dead. You are one of three.
Your turn will come to sign the man in green. Oh, mother,
don't be alone.

Speaker 56 (01:26:49):
But Mammy found out who I am.

Speaker 35 (01:26:51):
He knows that I'm the one who is.

Speaker 12 (01:26:52):
With great Martin is Mama?

Speaker 19 (01:26:54):
What you do?

Speaker 33 (01:26:55):
I think we'd better take this box to commission a
Western at once.

Speaker 7 (01:27:06):
I mean, I see this small coffin, Please grants them
here it is, Commissioner, I'm the same, exactly the same.

Speaker 5 (01:27:12):
What do you mean there on my desk? Oh, you
will seed one too him in the mail this morning.

Speaker 33 (01:27:17):
Commissioner, was Monk Harvey really burned to death in that house?

Speaker 5 (01:27:21):
Yes, yes, of course he was place as a shot ruined, Commissioner.

Speaker 22 (01:27:24):
If you could have seen it, said green light that
surrounded his body.

Speaker 11 (01:27:28):
It was almost like a school.

Speaker 33 (01:27:30):
Not to me, Commissioner, have you any idea who the
third victim might be?

Speaker 5 (01:27:34):
Well, might be Kelly, who's he rival?

Speaker 18 (01:27:38):
Of monks.

Speaker 5 (01:27:39):
Monk hated him because he saw a great martin away
from him.

Speaker 33 (01:27:41):
Where can this Telly become?

Speaker 5 (01:27:43):
His headquarters are over on the west side.

Speaker 33 (01:27:45):
I see well, Commissioner, we better be getting along. Do
you hear of any further developments?

Speaker 47 (01:27:49):
I wis should call this and Commissioner, you'd better watch
your step two?

Speaker 19 (01:27:54):
Yeah?

Speaker 5 (01:27:54):
Yeah. If anything happens to me, I'll call a cop. Goodbye,
commiss god bye bye.

Speaker 22 (01:28:03):
I won't you have something in mind?

Speaker 33 (01:28:04):
What is this to Tally?

Speaker 47 (01:28:07):
I'm curious to learn just what he knows about this
affair and possibly warn him he doesn't already know that
the Green Man may have marked him as one.

Speaker 4 (01:28:16):
Of his victims.

Speaker 46 (01:28:16):
Are you going to his headquarters?

Speaker 33 (01:28:18):
No, Margaret, that's going to be a job.

Speaker 4 (01:28:21):
For the Shadow.

Speaker 10 (01:28:26):
I put the car aways right.

Speaker 1 (01:28:28):
You want me anymore tonight? Hey?

Speaker 5 (01:28:30):
Oh no, no, you can go?

Speaker 47 (01:28:32):
Okay, see a lighter.

Speaker 56 (01:28:36):
Er?

Speaker 33 (01:28:40):
What was that you're tury? I believe who said that?
Who's talking to I don't feel armed?

Speaker 4 (01:28:46):
Well?

Speaker 6 (01:28:46):
Where are you?

Speaker 5 (01:28:47):
Who are you?

Speaker 33 (01:28:48):
Men? Call me the Shadow?

Speaker 4 (01:28:50):
The Shadow?

Speaker 47 (01:28:51):
You've heard of me? Then?

Speaker 11 (01:28:53):
Yeah?

Speaker 47 (01:28:53):
Yeah, then you know that it's useless to try to
see me by my hypnomic powers. I've made myself invisible
to your eye.

Speaker 33 (01:29:00):
What do you want with me?

Speaker 47 (01:29:01):
I have come here to learn what you know about
Monk Harvey.

Speaker 7 (01:29:05):
He's dead, That's all I know.

Speaker 33 (01:29:08):
He was your enemy, wasn't he.

Speaker 10 (01:29:09):
Yeah?

Speaker 4 (01:29:10):
I hated him.

Speaker 47 (01:29:11):
You took his girl from him, didn't you?

Speaker 10 (01:29:13):
Who told you that?

Speaker 47 (01:29:14):
Did you know that she was with Monk Harvey the
night he died?

Speaker 1 (01:29:17):
Sure?

Speaker 4 (01:29:18):
Sure?

Speaker 47 (01:29:18):
Aren't you jealous of that?

Speaker 10 (01:29:19):
Turk?

Speaker 47 (01:29:20):
What do you mean didn't you think that Grace Martin
double crossed you and went back to him again?

Speaker 42 (01:29:24):
What gives you that idea?

Speaker 47 (01:29:26):
That reason would be enough for you to want to
take his life, wouldn't it?

Speaker 9 (01:29:28):
No?

Speaker 1 (01:29:29):
No, do you know how she died?

Speaker 4 (01:29:31):
Yeah?

Speaker 5 (01:29:31):
She jumped out a window.

Speaker 47 (01:29:32):
She was urged to jump out that window by a
man who was dressed in green.

Speaker 10 (01:29:35):
What a man?

Speaker 47 (01:29:36):
She said? With Monk Harvey.

Speaker 5 (01:29:38):
I didn't know that.

Speaker 47 (01:29:38):
Are you sure? Are you sure you didn't take advantage
of the fact that Monkoe was dressed in green that
you impersonated him and killed Grace Martin?

Speaker 19 (01:29:46):
No?

Speaker 5 (01:29:46):
No, I don't know nothing about it. I see well, I.

Speaker 47 (01:29:50):
Can't prove anything yet, Turk Tully, But let me want you.
If the man in green strikes again, he will have
to deal with the shadow.

Speaker 35 (01:30:05):
I'm not going to come into the apartment for night.

Speaker 33 (01:30:07):
That no, thanks, Margo. I better be getting home. I'll
call you in the morning.

Speaker 10 (01:30:11):
All right, don't forget good night.

Speaker 19 (01:30:18):
Much.

Speaker 22 (01:30:20):
That light wick there it is.

Speaker 3 (01:30:25):
What happened to the life.

Speaker 11 (01:30:29):
You were sitting in the chair the green man.

Speaker 10 (01:30:34):
That's right, I'm back in the grave to get you.

Speaker 35 (01:30:39):
Might your body is blowing.

Speaker 46 (01:30:43):
You'll get out of here.

Speaker 57 (01:30:44):
I'll call for help.

Speaker 12 (01:30:46):
And right, what do you want?

Speaker 11 (01:30:48):
Why are you here?

Speaker 10 (01:30:49):
You got my message? Yes, and then you know why
I'm here. I'm gonna make you jump out that window.
That's like I did with Greg smut.

Speaker 51 (01:30:59):
No, go on, start walking, get away from start walking
towards the window.

Speaker 10 (01:31:05):
Still come in, let's he stacking up?

Speaker 4 (01:31:08):
Kenny.

Speaker 10 (01:31:08):
That that's it. Get in the window now.

Speaker 4 (01:31:14):
No, you want to jump, Kerny, you want to jump? Don't?

Speaker 19 (01:31:22):
I don't.

Speaker 58 (01:31:23):
All right, you're there now, I'll turn around. Get up
on the sill, he I said, get up on the shoe.

Speaker 4 (01:31:36):
Up on.

Speaker 10 (01:31:37):
Still, Yeah, I got the idea. Now open the window, Gerry.

Speaker 59 (01:31:48):
Open the window.

Speaker 10 (01:31:50):
That's it, Kelly, that's it. That's it.

Speaker 19 (01:32:00):
M h.

Speaker 1 (01:32:04):
What's new in the social scene?

Speaker 7 (01:32:06):
Need advice on home decorating fashion?

Speaker 4 (01:32:11):
Yeah?

Speaker 56 (01:32:13):
M A R.

Speaker 10 (01:32:17):
I am What am I doing here going out that window?

Speaker 4 (01:32:21):
Sister?

Speaker 11 (01:32:24):
Oh no, I'm not, and you keep away from me.

Speaker 56 (01:32:27):
I have a gun here in my hands.

Speaker 35 (01:32:28):
I'll be coming you.

Speaker 10 (01:32:30):
Go ahead, go ahead and use it. You gotta know
that guns can her to go keep.

Speaker 52 (01:32:34):
Aware else you are go on shoe still coming new.

Speaker 15 (01:32:40):
I want you.

Speaker 17 (01:32:46):
With me, stuck.

Speaker 10 (01:32:51):
Never a good and still coming at about what happened
to you?

Speaker 7 (01:33:11):
Dommy, Dommy?

Speaker 42 (01:33:12):
I get some water?

Speaker 10 (01:33:14):
Mother?

Speaker 4 (01:33:15):
Are you all right here? You take this water?

Speaker 11 (01:33:18):
Oh?

Speaker 10 (01:33:21):
How you hurt?

Speaker 4 (01:33:21):
Mongol Ma? You're here?

Speaker 11 (01:33:25):
Thank hen you?

Speaker 33 (01:33:27):
What happened?

Speaker 1 (01:33:27):
Mango?

Speaker 56 (01:33:28):
The man, the man in green here in my apartment.

Speaker 12 (01:33:32):
He was sitting in my can like.

Speaker 35 (01:33:35):
Glowing from his body.

Speaker 10 (01:33:36):
What did he do?

Speaker 46 (01:33:37):
Becau tried to make me jump from the window like
Grace Martin.

Speaker 11 (01:33:40):
Yes, I shot at him, right at him, and he
had no offense.

Speaker 35 (01:33:43):
Who came at me?

Speaker 15 (01:33:45):
And then no more bullets?

Speaker 10 (01:33:47):
I think?

Speaker 7 (01:33:48):
Did I guess?

Speaker 33 (01:33:48):
I heard the shots and I came running back to
your apartment upont.

Speaker 8 (01:33:51):
On your door.

Speaker 11 (01:33:51):
I must have fighten him away?

Speaker 1 (01:33:53):
Yes, how did he leave.

Speaker 33 (01:33:54):
That door is the only entrance to the apartment.

Speaker 47 (01:33:58):
Yes, the windows open. He must have gone out there. Well,
only one thing to do now, I'm paying a call
on at the turch Tulley right now.

Speaker 5 (01:34:10):
Hoddy, hoddy, what do you want to play? Come here?

Speaker 47 (01:34:15):
Yeah?

Speaker 42 (01:34:16):
Who left this tagage for me?

Speaker 33 (01:34:18):
Or as a kid?

Speaker 10 (01:34:19):
I told you My sine just said, what a uniform?

Speaker 33 (01:34:21):
Do you see what it is?

Speaker 10 (01:34:23):
It's a coffin. It's tiny, a little bit of coffin.

Speaker 47 (01:34:26):
Yeah, yeah, and look put inside of it?

Speaker 10 (01:34:29):
It's this aw Hey, what's the idea? Charles?

Speaker 4 (01:34:34):
Dress and green?

Speaker 10 (01:34:35):
Don't that mean anything to you?

Speaker 4 (01:34:37):
And no?

Speaker 10 (01:34:37):
I or dressing green?

Speaker 47 (01:34:41):
That's that's the way monk hobby.

Speaker 10 (01:34:43):
Is to d Yeah, let's come from the grave, lady,
that taggers come from the grave? Lot tag Now what
else can it be?

Speaker 5 (01:34:51):
Don't get it for me?

Speaker 10 (01:34:53):
Yeah?

Speaker 33 (01:34:53):
But he was enemies for we.

Speaker 4 (01:34:55):
I took it fir from him.

Speaker 47 (01:34:57):
He yeah, yeah, but he's said, now now you're you
can't get all worked up over nothing. Look, I think
I'll be running along.

Speaker 33 (01:35:05):
I know an he don't go stay here a while,
will you?

Speaker 3 (01:35:08):
Yeah?

Speaker 10 (01:35:08):
You ain't scared, I know.

Speaker 47 (01:35:10):
I I just got a funny feeling that though stick around,
we will play some cards or something. Hey, I'll turn
off a Hey, what happened?

Speaker 48 (01:35:18):
I don't like I don't know what?

Speaker 10 (01:35:22):
Nothing?

Speaker 19 (01:35:24):
What?

Speaker 5 (01:35:26):
What the cost?

Speaker 30 (01:35:27):
Both put a funny kind of light hurning out of him?

Speaker 47 (01:35:33):
A green light look a can of a man in
green light shining from his buddy?

Speaker 3 (01:35:40):
Remember the Mount Mount Horby?

Speaker 10 (01:35:43):
He used to be monks?

Speaker 4 (01:35:45):
What does he mean used to be?

Speaker 10 (01:35:47):
Did you hear about me getting burned to death?

Speaker 33 (01:35:50):
And that tight of.

Speaker 10 (01:35:52):
Can't that it goes from the grave and I've come
back to get you.

Speaker 1 (01:35:57):
No, no, can't do something that will you?

Speaker 10 (01:36:00):
Yeah, he'll do something right, he'll here's you full of hole?
Why let me out of the.

Speaker 33 (01:36:06):
Don't listen to man?

Speaker 10 (01:36:07):
Gone out?

Speaker 15 (01:36:08):
I can't throw a summer?

Speaker 10 (01:36:09):
Can do here's my buddy? You don't want to guy
to No, no, no you can.

Speaker 47 (01:36:14):
Edy no, no, not put away that gun. He not
listen to me, Eddie, don't pay no attention to him,
that eddie heady cog.

Speaker 33 (01:36:20):
I don't want to te any honey.

Speaker 47 (01:36:21):
Please, I gotta do it.

Speaker 7 (01:36:24):
No, No, I gotta give it.

Speaker 5 (01:36:27):
Ah er, I shouldn't have done it.

Speaker 10 (01:36:33):
Well, let's one down and two to go.

Speaker 47 (01:36:43):
When I reached Turk Till's hide out, I found him
dead on the floor. The henchman was battling hysterically about
a ghost in Green.

Speaker 5 (01:36:48):
And you believe historic ransom, yes, I do. And you
think that the ghost of Monk Hobby is really responsible
for crimes?

Speaker 33 (01:36:54):
I'm not sure, but one thing is certain. Both you
and Mago are in great danger.

Speaker 47 (01:36:59):
I I wish you do me one paper, please, And
what's that? I have an idea e Lade that I
want to investigates while I'm away.

Speaker 33 (01:37:05):
I wish you would say with Margot as much as possible. Well,
I know that you have your work to.

Speaker 47 (01:37:09):
Do, commissioner, but if you could be with her just
this evening, take it to the theater. Perhaps you give
me the chance to learn one thing that can clear
this entire case.

Speaker 5 (01:37:17):
Well, certainly, certainly I'll be glad if they were.

Speaker 47 (01:37:19):
Good as a new play opening, and my commissioners, I'll
try to get back in time to meet you with
the theater. Meantime, if you value your life as well
as Margo's, keep a sharp look out at all times
for a man in Green. You want me to make

(01:37:42):
a Wesons, Yes, I have a message for you from
a mission.

Speaker 11 (01:37:45):
What is it?

Speaker 19 (01:37:46):
What is it?

Speaker 47 (01:37:47):
He wants you to meet him in the lounge in
the middle of.

Speaker 5 (01:37:48):
The second act our vaga. Yes, do you suppose he
found out?

Speaker 39 (01:37:51):
Tell me about the names?

Speaker 60 (01:37:53):
I hope though, that's the wanting of the second act?
On Margo, we'll watch to play for a while, and
then we'll keep our round.

Speaker 5 (01:37:58):
The bou.

Speaker 10 (01:38:13):
Jack wouldn't believe me when I told him that to
come back.

Speaker 5 (01:38:15):
Come on, Mongol, to get up. Then we go up
these stairs here Mongrel, I wonder why.

Speaker 46 (01:38:22):
The mom didn't come right into the theater.

Speaker 11 (01:38:24):
He knew we were saving a seat.

Speaker 5 (01:38:26):
Must be heard him right in the door here, Margarel.

Speaker 30 (01:38:31):
I don't see him.

Speaker 54 (01:38:32):
I guess we're early.

Speaker 5 (01:38:32):
We might as well wait, I'd like to figure out, Mongrel.

Speaker 46 (01:38:35):
Yes, thank you, both might as well.

Speaker 5 (01:38:38):
What happened to the life? It turned off.

Speaker 12 (01:38:43):
The life?

Speaker 1 (01:38:45):
What weird?

Speaker 10 (01:38:46):
The man?

Speaker 5 (01:38:48):
It is him?

Speaker 10 (01:38:50):
That is my message?

Speaker 5 (01:38:51):
Listener, So you were sent that message?

Speaker 10 (01:38:53):
Yes right, I thought it was as good a way
as any to get the post because the listeners and
the ghost of your old friend Monk Harvey.

Speaker 5 (01:39:01):
You're no ghat where.

Speaker 10 (01:39:02):
That's something you're never going to be able to prove.
What did you mean either one of you are going
to leave this place alive?

Speaker 5 (01:39:07):
Why are you?

Speaker 10 (01:39:10):
I thought too that you were relieved in the.

Speaker 5 (01:39:12):
Last out here. You're not scaring us.

Speaker 51 (01:39:15):
I got my card the same when I sent to
your girlfriend that card and meant business with them doing
the problem.

Speaker 10 (01:39:23):
Remember the warning on that card, it said you are
one of three. I'm taking care of Pike. Tell and
that leads to them.

Speaker 8 (01:39:30):
Now it's your look how its body goes and darts, queen.

Speaker 10 (01:39:34):
Yeah, take a good look at it. It's going to
be the last thing you've ever pee.

Speaker 28 (01:39:37):
He has a gun, that's right.

Speaker 10 (01:39:40):
Got a silence around it too. Nobody's going to hear
his sound. You're gonna die real peace for my gun.
I'm giving the orders now, Westerns. They've got no propers
around here to help you neither.

Speaker 11 (01:39:49):
He's coming out.

Speaker 10 (01:39:51):
I want to get real close. There's no chance on missing.

Speaker 5 (01:39:54):
Keep away from us, monks.

Speaker 10 (01:39:55):
They're going to get that. Seems like ladies, fis you.

Speaker 12 (01:39:59):
Gotta away from keep him away from me?

Speaker 19 (01:40:04):
No?

Speaker 48 (01:40:04):
No, don't you for.

Speaker 47 (01:40:08):
There is a gun go on my hand.

Speaker 5 (01:40:10):
Who's labbing my gun?

Speaker 47 (01:40:11):
I'll show you, Commissioner Shadow, Yes, I'll put on those
light FaZe.

Speaker 5 (01:40:17):
We're gonna have a look at this fellar which is
on the wall. Miss Lane.

Speaker 47 (01:40:20):
I think you'll find that your green man is Monk Harvey.
Are very live, Monk Harvey not a ghost.

Speaker 1 (01:40:26):
Take a look at him, Commissioner.

Speaker 5 (01:40:27):
They seems to be wearing a kind of rubber suit.
That's right.

Speaker 47 (01:40:31):
The rubber is covered with a posphorus and paint. Even
a face has painted green. And I think if you
look under that rubber shooting, you'll find that mister Harvey
is wearing a bulletproof vest.

Speaker 56 (01:40:41):
And that explains why I shot at him with no set.

Speaker 47 (01:40:43):
Yes, Harvey didn't die and that fire, Commissioner, if your
men had examined the ruins more closely, they would have
found a cellar under the house, a cellar that was
an excellent hiding place for Monk Harvey.

Speaker 5 (01:40:55):
How did you learn all this shadow?

Speaker 47 (01:40:56):
You've forgotten, Commissioner, how many things the shadows?

Speaker 1 (01:41:01):
Now?

Speaker 47 (01:41:01):
You better get your police here. Monk seems to be
coming too.

Speaker 5 (01:41:03):
Yes, Hell, open this window and see what this brings.

Speaker 8 (01:41:07):
I want to do it.

Speaker 60 (01:41:08):
I want to thank you Shattle for helping me on
this case. I do appreciate it, But you still haven't
answered my question. How did you learn all this shadowy shadow?

Speaker 5 (01:41:18):
Where are you?

Speaker 11 (01:41:19):
I think the shadow is gone?

Speaker 47 (01:41:22):
Boggle?

Speaker 15 (01:41:22):
Are you all right?

Speaker 7 (01:41:23):
Yes?

Speaker 35 (01:41:23):
La Montain tastes so much.

Speaker 5 (01:41:24):
Oh there you are, grand, Well you'll miss the excitement.

Speaker 47 (01:41:28):
And I just came back. I had important youth for you, Commissioner.
I examined the house that Monk Hobby was cut.

Speaker 5 (01:41:33):
In and I found the sh Yes, I know, I
know he hid in the cellar and wasn't killed at all.

Speaker 33 (01:41:38):
How did you learn that?

Speaker 60 (01:41:39):
Well, I'm not commissioner for nothing, you know. Look look there,
mister Monk Hovey are green man now in the.

Speaker 5 (01:41:46):
Custody of the police.

Speaker 47 (01:41:47):
We're good work with.

Speaker 60 (01:41:50):
That will give you amateur boys an idea of how
a professional cop work.

Speaker 5 (01:41:54):
Yes, yes, I want no funny Commissioner, you'll never know.

Speaker 18 (01:42:19):
This is Nelson Olmsted.

Speaker 38 (01:42:25):
Sleep no more, sleep no more.

Speaker 54 (01:42:44):
Turn down the lights, Sink back in your chair, and
don't look into the shadows. In the shadows, there may
be moving things tonight. It may be you will sleep
no more.

Speaker 18 (01:43:00):
Ah, good evening.

Speaker 54 (01:43:12):
This is Ben Grauer introducing tonight's tale of terror, told
by Nelson Omsted on the National Broadcasting Company's presentation of
Sleep No More.

Speaker 18 (01:43:22):
The story of.

Speaker 54 (01:43:23):
Terror can be as simple as a sheeted ghost rattling chains.
It can be a complex and hidden world of horror,
lurking in such unholy dimensions as only the dead and
the moonstruck and glimpse. Or it can be those terrible,
fathomless shadows which lie buried deep in the primitive mind

(01:43:45):
of civilized man. And for this evening, well Nelson Omstead
tell us about this evening story.

Speaker 4 (01:43:53):
Thank you.

Speaker 18 (01:43:53):
Ben.

Speaker 54 (01:43:55):
Some time ago a listener wrote asking me to do
a particular story which I told a number of years ago. Frankly,
I was surprised she could remember so well. But the
story is like that I have never been able to
forget it myself, and I'd like to tell it to
you again tonight as our first offering. This is the
story of a man who thought he could hate people
with impunity.

Speaker 18 (01:44:16):
Written by Walker G.

Speaker 8 (01:44:17):
Everett.

Speaker 18 (01:44:18):
It's entitled The Woman in Gray.

Speaker 54 (01:44:28):
Bill was at a dinner party at the Carter's when
the subject first came up, a dinner to which he
would never have gone if he could have thought of
a single plausible excuse. Sarah Carter had a girl visiting
her from the east, her school roommate or something.

Speaker 18 (01:44:40):
Bill thought vaguely Bill was her dinner partner.

Speaker 54 (01:44:43):
They were talking about some people she didn't like, and
she said yes, and they told it all over town
that I was the girl who was caught in the
raid and that I had a red wig on so.

Speaker 8 (01:44:52):
Nobody would know me.

Speaker 54 (01:44:53):
Oh, how I wish I could get even with him,
the most hateful people. Now, haven't you any suggestions? Bill
looked pensive. Many Martini said set up a pleasant buzzing
in his brain, and everything in life seemed very easy.

Speaker 18 (01:45:05):
And he said, you might.

Speaker 54 (01:45:07):
Tell everybody that they have a repulsive daughter hidden the
way that nobody ever sees, and that's why they don't
like young men.

Speaker 18 (01:45:13):
Calling at the house.

Speaker 54 (01:45:14):
No, that's too easy. They have three daughters, all repulsive,
only not hidden away, that is. Yet in that case,
I don't know. Uh, well, why didn't you just leave
it to me? What do you mean do you make
little wax images and stick pins in them?

Speaker 10 (01:45:28):
Ah?

Speaker 54 (01:45:29):
There she'd stolen a march on him, because that was
just what he'd been going to say. So he took
a piece of salary, applied his mental spurs to himself
and came out in an inspiration.

Speaker 18 (01:45:41):
Oh uh, haven't I ever told you about the lady
in gray?

Speaker 29 (01:45:45):
No?

Speaker 4 (01:45:45):
Who is she?

Speaker 8 (01:45:46):
Just a lady in gray? Well? Where is she?

Speaker 18 (01:45:50):
Right here beside me?

Speaker 19 (01:45:50):
Now?

Speaker 4 (01:45:51):
Where?

Speaker 10 (01:45:52):
Oh?

Speaker 54 (01:45:52):
You can't see her. I'm the only one who can
see her. But she's right here by me all the time.
I've known her for years. Goodness, gracious, aren't you scared?
Doesn't she haunt you?

Speaker 1 (01:46:02):
Oh?

Speaker 5 (01:46:02):
No, she likes me.

Speaker 54 (01:46:03):
That's why she stays here, isn't it lady? He turned
and nodded to the imaginary figure beside him. Well, of course,
she's very modest and goes out of the room when
I'm undressed. But all the rest of the time she's here.
Even her face is gray. Well doesn't she do anything
at all? Certainly she gets after people I don't like

(01:46:25):
how terrible. Well sick her on the quarries in Hartford, Connecticut,
then and tell her to do her worse?

Speaker 18 (01:46:31):
I will right now, Do you hear that?

Speaker 8 (01:46:33):
Lady and Gray?

Speaker 54 (01:46:35):
Hartford, Connecticut. Quarry is the name the third house from
the corner on the left. I don't want any mistake. Oh,
she never makes a mistake, said Bill.

Speaker 18 (01:46:44):
He was rather pleased with his little joke as he
finished the last of his martine. That was the last.
Bill thought about it for two weeks.

Speaker 54 (01:46:59):
Until Sarah plowed across the room at a cocktail party
and said, now, what's this all about the lady in Gray?

Speaker 18 (01:47:05):
Well, I don't know, said Bill, What do you mean?

Speaker 54 (01:47:08):
I had a letter from Elsa, She said, to tell
you your lady in Gray did the work a little
too well and you'd better be careful.

Speaker 18 (01:47:15):
What else did she say?

Speaker 54 (01:47:17):
Something about a family named Cory. They had an automobile
accident and all died five. I think, what a coincidence,
and what a story. He lost no time in telling
it around. Of course, it was a good story, with
enough of pleasant actual horror in it, but not too much,
the Quarry's remaining mythical, so that it was worth a

(01:47:39):
chill and a laugh in a place. Two weeks later,
he was at a dinner at Corren Gorman's house, A
fine old fashioned dinner with old fashioned cocktails before, new
fashioned highballs after, and good old fashioned screaming all the
way through. Bill sat Correen. She turned to him and

(01:48:02):
pointed to two empty seats. Oh you know, I could
kill those people. She said, they're always hours late anyway,
And finally they phoned from Winnetka that they've broken down. Now,
why don't you sick your lady in Gray on them
for me? I would, but I don't hate them. I
don't want them to turn over like the Quarries. How
well do you know them?

Speaker 5 (01:48:21):
Not very well?

Speaker 54 (01:48:22):
Well, I can tell you some things. They've named their
children Peggy Jean and Michael Peter.

Speaker 8 (01:48:28):
They have some name for their car.

Speaker 54 (01:48:29):
And they go to the circus every year and laugh
and laugh and eat crackerjacket peanuts.

Speaker 18 (01:48:33):
That's the kind of people they are. Well, I just
as soon hate them for myself.

Speaker 54 (01:48:39):
Sure, I'll send the Gray Lady after them, only they'd
better look out. That was the last they thought about
it until the dinner was nearly over and Coreene was
called to the telephone, and she came back white. It
was they, She whispered, terrible accident, A taxi hit them.

(01:48:59):
Don't tell anybody for a minute.

Speaker 18 (01:49:02):
Were they badly hurt?

Speaker 54 (01:49:03):
Yes, he wondered suddenly if he ought to say anything
about the absurd conversation regarding the Lady in Gray, He
decided not. Two coincidences were just a little too much
yet he knew there was nothing in it. Hadn't he
made her up out of a clear sky just to
amuse the guest of Sarah Carter. But just the same
he felt it would be a little smart glicate to

(01:49:25):
allude to it. However, Correen soon saved him the trouble.
She said, never mention that gray woman again.

Speaker 18 (01:49:31):
Never never.

Speaker 54 (01:49:33):
Oh, well, that didn't have anything to do with it,
you know that, Yes, but it's a little too strange,
that's all. As if Santa Claus should suddenly come down
the chimney, or you'll find a baby in a cabbage,
I think that would be a great improvement. But this
isn't any time to be funny. But the story leaked out,

(01:49:58):
and Bill's lady in Gray became even more famous. It's
the funniest thing, people said. Somebody ought to send it
into the New Yorker. And you know, Bill is such
a scream about it. He's afraid to hate anybody now,
he says, for fear she'll get after them, and he's
going to run her out to the government if we
ever get into a war. But Bill didn't think he

(01:50:18):
was funny. He thought this while not exactly playing with
fire was at least in bad taste. He didn't think
he was in very.

Speaker 18 (01:50:24):
Good taste anyway.

Speaker 54 (01:50:26):
For about this time he had a bad week, seven
nights of drinking and running around town, cashing checks all
the time with a low, wormish feeling of approaching reckoning,
under the talking of nightly parties to get over yesterday's hangover,
and every day down at the office getting blearier, going
to the water cooler with the aspirn bottle in his

(01:50:46):
hand and standing blindly in the window when the terrible
eleven thirty nausea swept.

Speaker 1 (01:50:50):
Over him in waves.

Speaker 54 (01:50:52):
But he didn't know what to do, because life didn't
have much meaning anyway, and he was having a better
time than most people. One warm night, it was the
next Monday, he sat in his room alone. The window

(01:51:13):
was open on blackness, The curtains were limp. His electric
fan turned its flat face wearily from side to side,
stirring up an ineffectual commotion in the air.

Speaker 18 (01:51:23):
The phone rang. It was the dorman who said, mister Jacobson,
to see you, tell him to come up. What could
he want?

Speaker 54 (01:51:32):
Jacobson from the office, unctuous and self righteous, for I
hardly knew the man. The doorbell buzzed, come in, good evening,
Good evening. Jacobson came in and sat down. Well warm,
isn't it terribly? You probably wonder why I'm here. Jacobson's

(01:51:53):
mouselike eyes took in the empty highball glass, the bowl
of melted eyes.

Speaker 8 (01:51:57):
Well, yes, I do you want a drink?

Speaker 19 (01:52:01):
No?

Speaker 8 (01:52:01):
Thanks, No, I.

Speaker 4 (01:52:03):
Never touched it.

Speaker 18 (01:52:04):
Oh okay, And what I wanted to see you about
is this, you know, mister.

Speaker 54 (01:52:10):
Selfridge asked me to have a little talk with you,
in a friendly chat really between friends. Yes, it's about
your work, a word to the wise, as it were.

Speaker 18 (01:52:23):
Oh have I been lying down on the job? And
am I going to get the gate?

Speaker 54 (01:52:27):
Oh no, no, not that but the first perhaps a
trifle a little too many parties. Eh yeah, mister Selfridge
thought that just a quiet tip from a friend, I see.

Speaker 4 (01:52:42):
Thank you.

Speaker 5 (01:52:42):
Oh not at all, not at all.

Speaker 18 (01:52:44):
It's a pleasure. Yes, I don't doubt it. Oh well,
I didn't mean that. Well, I'll be running along. Jacobson
got up. Nice little place you got here, Yes, I
like it. The man why didn't he go? Well, I
better go. I got a new convertible downstairs.

Speaker 11 (01:53:07):
I have to go slow.

Speaker 18 (01:53:08):
And it'll take me a while. I live in the suburbs.

Speaker 19 (01:53:10):
You know you do?

Speaker 5 (01:53:13):
How do you like it?

Speaker 54 (01:53:14):
Oh, it's a fine little boss. Now you can see
it from the window. I'll look out, good night, good night,
see you tomorrow.

Speaker 18 (01:53:27):
That lug in this convertible, thought Bill, I wish. He
went to the window and looked out.

Speaker 54 (01:53:34):
Presently Jacobson came out, climbed into a little yellow car,
started out, and drove.

Speaker 18 (01:53:39):
Straight into the side of a big truck that had
swung around the corner with a horrible ripping and glass noise.
After a long time, Bill whispered, no, no, it can't be.

Speaker 54 (01:53:57):
He waited until he saw people like sudden ants flo
and then he came back, put himself a drink, and
sat down on the couch.

Speaker 18 (01:54:06):
It had happened again, and just after.

Speaker 54 (01:54:08):
Being told all that about his job, everything he did
seem to be wrong and it was all his own fault.

Speaker 18 (01:54:14):
He gulped on his drink and made another stronger.

Speaker 54 (01:54:19):
The light seemed so bright, made the room look so
empty with only those two black holes of windows, So
he turned about and sat in a single ray that
came from the bathroom. When the lights were out, the
room changed. The black windows became gradually a soft, warm blue,
like a promise of day to come. It was the
room that was dark, but Bill just sat there a

(01:54:42):
long time without moving. Finally he put his hands over
his eyes and whispered, I hate myself. Then the door
opened and in came the lady in gray. Now it
wasn't anyone dressed up to frighten him. Doris sister come
to call. It was the lady in gray, and Bill

(01:55:04):
knew it. He looked at her steadily as she came nearer, quietly, delicately.
He felt his brains run down the inside of his
skull like melting drug store ice. The room started to
rock and then swirl faster and faster. Finally she was
half way across the room, and he threw his glass
at her. It smashed against the opposite wall. Bill stood

(01:55:25):
up and whirled around. The whole room was swinging in
a gray shaze. He turned to the window. They found
him the next morning on the second floor fire escape,
one of those horizontal ones with a weight on the end.

(01:55:48):
He had landed almost in the middle and was doing
aghast a little teeter tutter, a ghastly little story too.
Nelson Olmsted. I can understand now why your listener was

(01:56:09):
never able to forget the woman in gray.

Speaker 18 (01:56:12):
But what is your second story tonight?

Speaker 54 (01:56:14):
It's a story by Algernon Blackwood, ben a name in
modern short story literature that is synonymous with a particularly
frightening kind of narrative. Blackwood writes with a weird sincerity
about the spirit world and the supernatural. This tale we're
about to hear is a masterful one about a man
who suddenly finds himself irrevocably involved in a crime of

(01:56:35):
which he is innocent.

Speaker 18 (01:56:36):
It's a story of suspense called a Suspicious Gift.

Speaker 54 (01:56:45):
Blake had been in very low water for months, almost
underwater part of the time, due to circumstances which he
was fond of saying were no fault of his own,
And as he sat writing in.

Speaker 18 (01:56:56):
His room on the third floor back of a New
York boarding house.

Speaker 54 (01:57:01):
Part of his mind was busily occupied in wondering when
his luck was going to turn again. In the daytime,
he was a reporter on an evening newspaper of sensational
and lying habits. His work was chiefly in the police
courts and in his spare hours at night when not
too tired or too hungry. He wrote sketches and stories
for the magazines that very rarely saw the light of day.

(01:57:21):
On this particular evening, Blake sat scribbling by the only
window that wasn't cracked. His thoughts kept wandering to food, beefsteak,
and steaming vegetables. He pulled himself together and again attacked
the problem. As he did so, there came a gentle
knock at the door, and Blake started. The knock was
repeated louder. Who in the world could it be at

(01:57:42):
this late hour of night? And he said come in.
The door opened in response, and the man came in.
Blake didn't turn around at once, and the other advanced
to the center of the room, but without speaking. Then
Blake knew it was no one from the boarding house
and turned around. He saw a man about forty standing

(01:58:06):
in the middle of the carpet, but standing sideways so
that he didn't present a full face. He wore an
overcoat buttoned at the neck and on the felt hat,
which he held in front of him. Fresh rain drops glistened.
In the other hand, he carried a small black bag.
Blake gave him a good look and came to the
conclusion that he might be a secretary, or a chief clerk,
or a confidential man of sorts. There was something singular

(01:58:30):
about this man, something far out of the common. Over
the life of him, Blake couldn't say.

Speaker 19 (01:58:34):
What it was.

Speaker 54 (01:58:35):
The fellow was out of the ordinary and in some
very undesirable manner. He spoke in a quiet, respectful voice.
Are you mister Blake? I am mister Arthur Blake. Yes,
mister Arthur Herbert Blake. Well that's my full name.

Speaker 19 (01:58:55):
Er.

Speaker 18 (01:58:56):
Won't you sit down please?

Speaker 54 (01:58:58):
The man advanced with a curious sideways motion like a crab,
and took a seat on the edge of the sofa.

Speaker 18 (01:59:03):
He put his hat on the floor at his feet,
but still kept the bag.

Speaker 4 (01:59:06):
In his hand.

Speaker 54 (01:59:08):
I come to you from a friend who wishes you well,
A friend of mine, just so, a friend of yours,
A man or a woman that I cannot tell you.
You can't tell me. I cannot tell you the name.

(01:59:28):
Those are my instructions. But I bring you something from
this person. I am to give it to you, to
take a receipt for it, and then to go away
without answering any questioning.

Speaker 18 (01:59:43):
Blake stared very hard.

Speaker 54 (01:59:45):
The man however, never raised his eyes above the level
of the second china knob on the chest of drawers opposite.

Speaker 18 (01:59:51):
Well, what have you got for me? Please?

Speaker 54 (01:59:55):
By way of answer, the man proceeded to open the bag.
He took out a parcel wrapped loosely and paper. When
at last the string was off and the paper unfolded,
there a period of series of smaller packages inside. The
man took them out very carefully and set them in
a row upon his knees. They were all one hundred
dollars bills. There are ten thousand dollars here and there

(02:00:19):
for you. What ten thousand, ten thousand?

Speaker 18 (02:00:23):
Why you sure?

Speaker 38 (02:00:24):
I mean?

Speaker 33 (02:00:25):
What you mean?

Speaker 10 (02:00:25):
You mean?

Speaker 18 (02:00:25):
They're there for me?

Speaker 54 (02:00:27):
He felt quite silly with excitement, and grew more so
with every minute, as the man maintained a perfect silence.
Was it a dream? He couldn't believe his ears or
his eyes. Yet, in a sense it was possible. He
had read of such things in books the generous philanthropists.
Who was determined to do his good deed and to
get no thanks or acknowledgment for it. Still it seemed
almost incredible. His troubles began to melt away like bubbles
in the sun. He thought of the landlady in the

(02:00:49):
arrears of rent, of regular food and clean linen, and
books and music, of the chance of getting into some
respectable business, of well, of as many things as it's
possible to think of. When excitement and prize fling wide
open the gates of the imagination. But side by side
with the excitement caused by the shock of such an event,
Blake's caution was beginning to assert itself. It all seemed

(02:01:12):
just a little too much out of the likely order
of things to be quite right, The police courts had
taught him the amazing ingenuity of the criminal mind, as
well as something of the plots and devices of which
the unwary are beguiled into the dark places where blackmail
may be levied with impunity.

Speaker 18 (02:01:29):
The only weak point.

Speaker 54 (02:01:30):
In the supposition that this was part of some such
proceeding was the selection.

Speaker 18 (02:01:34):
Of himself, a poor newspaper reporter, as a victim.

Speaker 54 (02:01:37):
It did seem absurd, but then the whole thing was
so out of the ordinary, and the thought, once having
entered his mind, wasn't so easily got rid of.

Speaker 18 (02:01:47):
Blake resolved to be very cautious the man.

Speaker 54 (02:01:51):
Meanwhile, though he never appeared to raise his eyes from
the carpet, had been watching him closely all the time.

Speaker 18 (02:01:58):
If you will give me a rest seat, I'll leave
the money at once.

Speaker 54 (02:02:04):
He said this with a touch of impatience in his tone,
as if he were anxious to bring the matter to
a conclusion asm as possible. But now wait a minute,
you say, it's quite impossible for you to tell me
the name of the well wisher, or why he sends
me such a large sum of money in this extraordinary way.
The money is sent to you because you are in
need of it. It's a present without conditions of any

(02:02:27):
sort attached. You have to give me a receipt only
to satisfy the sender that it has reached your hands.

Speaker 18 (02:02:34):
The money will never be asked of you again. Well,
suddenly it flashed.

Speaker 54 (02:02:39):
Across Blake's mind that if he took the money and
gave the receipt before a witness, nothing very.

Speaker 18 (02:02:44):
Disastrous could come of the affair.

Speaker 54 (02:02:46):
It would protect him against blackmail, if this was after
all a plot of some sort with blackmail in it,
or in case the man were a madman or a
criminal who was getting rid of a portion of his
ill gotten gains, to divert suspicion. There was no great
harm done, and he could hold the money till it
was claimed or advertised for.

Speaker 18 (02:03:02):
In the newspapers.

Speaker 5 (02:03:03):
Ah.

Speaker 54 (02:03:04):
I'll take the money, he said, although I must say
it seems to me a very unusual transaction, and I'll
give you such a receipt as I think proper under
the circumstances.

Speaker 18 (02:03:14):
A proper receipt is all I want. I mean by that,
a receipt before a proper witness.

Speaker 54 (02:03:20):
Perfectly said his factory. Only it must be dated and
headed with your address here in the correct way. Blake
could see no possible objection to this, and he at
once proceeded to obtain his witness. The person he had
in mind was a mister Barclay, who occupied the room
above his own, an old gentleman who had retired from business,
and who the landlady said was a miser and kept

(02:03:40):
large sums secreted in his room. He was, at any
rate a perfectly respectable man. It would make an admirable
witness to a transaction of this sort. Blake made an
apology and rose to get him, crossing the room in
front of the sofa where the man sat.

Speaker 18 (02:03:53):
In order to reach the door.

Speaker 54 (02:03:55):
As he did so, he saw for the first time
the other side of the visitor's face, the side that
had been always so carefully turned away from him. There
was a broad smear of blood down the skin, from
the ear to the neck. It glistened in the gaslight.
Blake never knew how he managed to smother the cry
that sprang to his lips, but smother it he did.

(02:04:16):
In a second, he was at the door, his knees trembling,
his mind in a sudden and dreadful turmoil.

Speaker 18 (02:04:21):
His main object, so far as he.

Speaker 54 (02:04:23):
Could recollect afterwards, was to escape from the room as
if he noticed nothing, so as not to arouse the
other suspicions. The man's eyes were always in the carpet,
and probably Blake hoped he had not noticed the consternation
that must have been.

Speaker 18 (02:04:35):
Written plainly on his face. At any rate, he had
uttered no cry.

Speaker 54 (02:04:38):
In another second, he would have been in the passage
when suddenly he met a pair of wicked, staring eyes
fixed intently and with a cunning smile upon his own.

Speaker 13 (02:04:46):
In the mirror.

Speaker 54 (02:04:47):
The visitor was calmly watching his every movement. He tore upstairs,
his heart in his mouth, Barkley must come to his aid.

Speaker 18 (02:04:54):
This matter was serious, perhaps horribly serious.

Speaker 54 (02:04:57):
Taking the money, or giving a rice heat, or having
anything at all, it became an impossibility. Here was crime,
He felt certain of it. He reached the next landing
and began to hammer at the old miser's.

Speaker 18 (02:05:06):
Door, as if his curry life depended on it. He
got no answer. He turned the handle and walked.

Speaker 54 (02:05:10):
Into the room, and to his immense relief, he saw
the old man lying asleep in the bed. Blake opened
the door to its whitest to get more light, and
then walked in quickly. Something clutched at his heart. As
he looked closer. He stumbled over a chair and from
the mattress, Calling upon Barkley the whole time to wake
up and come downstairs with him. He blundered across the
floor and lit the gas over the table. In the

(02:05:32):
fol glare, he saw the old man lying huddled up
into a ghastly heap on the bed, his throat cut
across from ear to ear, and all over the carpet
lay new dollar bills, crisp and clean like those he
had left downstairs, and strewn about in little heaps. For
a moment Blake stood stock still, bereft of all power

(02:05:53):
of movement. The next his courage returned, and he fled
from the room and dashed downstairs. He reached the bottom
and tore along the passage to his room, determined at
any rate to seize the man and prevent.

Speaker 18 (02:06:07):
His escape until health came.

Speaker 54 (02:06:09):
But when he got to the end of the little
landing he found that his door had been closed, and
he seized a handle, fumbling with it in his violence.
It felt slippery and kept turning under his fingers without
opening the door, and fully half a minute passed before
it yielded and let him in headlong. At first glance,
he saw the room was empty, and the man gone.
Scattered upon the carpet lay a number of bills. In
beside him, Half hidden under the sofa where the man

(02:06:31):
had sat, he saw a pair of gloves, thick leather
gloves and a butcher's knife. Even from the distance where
he stood, the blood stains on both were easily visible.
Dazed and confused by the terrible discoveries of the last
few minutes, Blake stood in the middle of the room,
overwhelmed and unable to think or move. Unconsciously, he must

(02:06:53):
have passed his hand over his forehead, for he noticed
that the skin felt wet and sticky. His hand was
covered with blood, and when he rushed in terror to
the looking glass, he saw that there was a broad
red smear across his face and forehead. Then he remembered
the slippery handle of the door and knew that it
had been carefully moistened. In an instant, the whole plot

(02:07:14):
became clear as daylight, and he was so spellbound with
horror that a sort.

Speaker 18 (02:07:19):
Of numbness came over him, and he came very near
to fainting. At this moment, there came a loud knocking
at his gowar.

Speaker 54 (02:07:27):
It was the police, and all Blake could do was
to laugh foolishly to himself and wait till they were
upon him. He couldn't move or speak. He stood face
to face with the evidence of his horrid crime, his
hands and his face smeared with the blood of his victim,
and a voice which he knew very well, said.

Speaker 18 (02:07:43):
Here it is third floor back, and the fellow caught
red handed.

Speaker 54 (02:07:50):
It was the man with a bag leading in the
two policemen, hardly knowing what he was doing. In the
fearful stress of conflicting emotions. He made a step forward,
but before he had time to make a second one,
the two policemen moved up to seize him. His only
thought was that there was nothing he could do, nothing

(02:08:12):
he could do. You can turn up the lights now,

(02:08:45):
you can look around you. Nobody is there. Really, everything
is all right, isn't it? Thank you Nelson Olmsted for
two exciting stories, The Woman in Gray by Walker G.

(02:09:07):
Everett and A Suspicious Gift by Algernon Blackwood. Now what
about next week? Well, Ben, next week I plan to
present two stories which I think you like very much.
What as a narrative which has popped into my mind
at the oddest and most unexpected moments.

Speaker 18 (02:09:23):
I've never been able to forget it.

Speaker 54 (02:09:25):
I've even tried to imagine what I would do under
similar circumstances. It concerns a man who made a fantastic wager.
He bet that for two million dollars he could spend
fifteen years in solitary confinement.

Speaker 4 (02:09:39):
Would you do it?

Speaker 18 (02:09:41):
Anton Chekaw writes a vivid story about the bet.

Speaker 54 (02:09:46):
Our second tale is by George Moore, entitled The Clerk's Quest.

Speaker 18 (02:09:49):
The human mind is universally enigmatic.

Speaker 54 (02:09:52):
Like fingerprints, no two form the same pattern, and no
two run the same course of emotion. Because of our
ignorance as to the opera of the human mind, great
writers have been fascinated with the subject. George Moore's story
is an example. It concerns a poor bank clerk who
smells perfume on an envelope and because of it falls
disastrously in love of the woman he never sees.

Speaker 5 (02:10:15):
Be with us next week.

Speaker 54 (02:10:16):
May I add just a word of thanks for your letters.
We have been immensely pleased that so many of you
have taken the time to write. Thank you for your interest.
You have been listening to Sleep No More, an NBC

(02:10:38):
Radio Network production directed by Kenneth McGregor. Mister Olmstead's albums
are recorded exclusively for Vanguard Records until next week, when
Nelson Olmstead will again be here in person. Missus ben
Grauer bidding you good night.

Speaker 40 (02:11:10):
Stupid, stupid, stupid.

Speaker 47 (02:11:17):
I sat on the train seats.

Speaker 29 (02:11:18):
Am I going to bring on bed bugs?

Speaker 40 (02:11:20):
And I think lessa maybe because I'm fat.

Speaker 8 (02:11:22):
My dad left just used gum off the floor. Next
they give her.

Speaker 40 (02:11:42):
This is this is this is this is this is
this is.

Speaker 19 (02:11:49):
This is.

Speaker 40 (02:12:03):
Pick up, pick up, pick up? Oh, come on, Julia.

Speaker 53 (02:12:11):
I'm sorry. Julia is not available to speak right now.
Please leave a message after the tone. If you'd like
to re record your message, press one at any time.

Speaker 40 (02:12:23):
Hi, Julia, it's me again. I'm just on my way
home from work and I always called you when I
was riding home from the hospital. Old habits die hard,
they say, someone says that I'm sure of it. Okay, Well,
I guess I'll just speak to your machine. Since you

(02:12:44):
don't pick up. What's new with you?

Speaker 4 (02:12:48):
Oh?

Speaker 40 (02:12:48):
I got my bite fixed finally. You know how I
get flustered when my routine changes, So it's good to
be back on track. Text me what's going on with you,
or don't whatever, or you can call me. It would
be great to chat. I'll be operating tomorrow if you
can call after nine am. But apart from that, I'll

(02:13:10):
be by my phone. I'm not waiting, obviously, I'm not
that desperate on my phone. Will just be beside me
like it always is. Okay by then, Actually, Jus, I've

(02:13:30):
been meaning to say something else to you. I was
in surgery today and it didn't go as planned. I
felt off I wasn't on top form, and I was thinking,
it doesn't make sense because I did everything. It usually
makes me feel great. You know how I need my

(02:13:54):
routines to be in order. Of course you do. You
hate my rituals, but I was prepared. I went to
the gym this morning. My workout felt good. I had
the pull to myself. That creepy guy who usually angry
stairs at me in the sauna wasn't there today. Hallelujah.

(02:14:16):
I arrived at the hospital early enough to grab coffee.
The lady at the cafe, you know, the one who
you used to get jealous about because you thought she
had a thing for me. Well maybe you were right,
because she gave me a free quasso when she found
out I was a doctor. Maybe that was what did it.
I never usually eat before surgery, so I had my

(02:14:41):
scrubs on in the changing room with time to waste,
headed down to theater, hat on before mask on. Like always,
washed my left hand nails before my right. Didn't rip
any water on the floor, not a splash, and I
rubbed twenty times, twenty times each hand. Yet I messed up.

Speaker 1 (02:15:00):
It all went wrong.

Speaker 40 (02:15:04):
It was a baby too. I had no clue what
I was doing.

Speaker 8 (02:15:08):
It was this rare case.

Speaker 40 (02:15:09):
She had eaten a whole load of random objects and
we had to remove them from her gut. It was
pretty frightening and I couldn't handle it. Another doctor had
to take over. And I know you're probably wondering, why
is he telling me all this? Well, it's because I
realized one massive thing was different, one thing is missing

(02:15:34):
from my routine every day.

Speaker 4 (02:15:36):
Now you.

Speaker 29 (02:15:44):
Hi, Welcome to the Loosest Podcast. It's time to take
a deep breath and let go of the worries of
the day. This podcast may contained content that some listeners
find distressing, with subjects that may be triggering, but don't worry.

Speaker 9 (02:16:07):
You're in safe hands. Release that tension in.

Speaker 29 (02:16:13):
Your shoulders, relax the muscles in your face and neck,
and maybe let yourself find that in a smile.

Speaker 9 (02:16:29):
Find your happy place.

Speaker 29 (02:16:36):
Some people find that happy place in their everyday routines
and rituals. Doing the things we know in a way
we know makes us feel safe and in control. But
when change is on the horizon, like breakups, job loss,

(02:16:57):
or relocation, stress and anxiety, you're not far behind, and
that can lead to sleepless nights and hair pulling. Let's
exercise your ability to let go of old habits and
accept change. Let's take a walk through the city, a

(02:17:22):
new route, a route you've never taken before, breathing. If
you don't do your rituals, they're all going to die.

Speaker 53 (02:17:57):
I'm sorry, Julia is not available to speak right now.
Please leave a message after the tone. If you'd like
to re record your message, press one at any time.

Speaker 40 (02:18:09):
Hi Julia, me again. I don't know what's happening to me.
I downloaded that podcast you said I should try out
to help me get over my obsessive habits. I don't
think I'm obsessive. I'd just like to talk to you.
What's obsessive about that? Yeah, I know what you'd say.
You'd say that me talking to you has turned into

(02:18:30):
an obsessive ritual like everything else I do. Well, maybe
you're right. Sometimes I feel every fun thing in my
life that I want more of becomes an obsession. And honestly,
I think that's podcast might be making everything worse. Maybe

(02:18:54):
it's because I fall asleep and then the meditation voice
is still talking in my bedroom and it's making me
have these strange dreams. The streets are empty like they
are now while I'm riding my bike home. But you're
not there on the other end of the phone to
keep me company. It would be so nice to dream

(02:19:16):
about you, huh, But I don't. All I hear is voices,
something like a party happening a few streets over, but weirder,
more like chanting, And that's the only sound in the
entire city. And they call to me. I mean, they

(02:19:41):
don't say my name, but I know they want me
to find them. And I'm alone, not just on my own,
there is literally no one else. All the people are gone,
and I'm barefoot. I've left my shoes somewhere and I'm

(02:20:02):
walking in just my socks over dirty pavements, stepping on everything,
half eaten ron kibabs, old gum, broken glass. I mean,
it's filthy, and you know that is completely unlike me,
But I don't care. All I want to do is
get to those voices. And then I arrive at this place.

(02:20:27):
But it's not a party. There's no one there. There's
just a door. And it's a pretty regular looking door too,
just a regular door to a dentist who has gone
out of business. Maybe I'm just streaming about dentists, because
that was the last place you were when I spoke
to you.

Speaker 8 (02:20:48):
I don't know, but I just stop and.

Speaker 40 (02:20:52):
Look at that door, and I notice it's vibrating from
sound of all those voices behind it, and I think
to myself, there must be a million people inside there,
inside that tiny dentist's office, and it's so intense I

(02:21:14):
can't explain it. I feel like I can see the
sound and I want to open it, but sorry, so
I go to open the door, but someone pulls it
shut from the other side. So now I think I
got this far. I need to know what's behind that door,

(02:21:36):
so I pull harder and I manage to prize it
open just a hair. Then I see her, a really
I mean really old lady, like really old. But she
looks weirdly familiar to me, Like I get this strange

(02:21:56):
feeling of deja vous, but I don't think i've been
I know, I've never seen her before, and I think
she's the one holding this door. She's nowhere near as
strong as I am.

Speaker 1 (02:22:09):
I was wrong.

Speaker 40 (02:22:11):
I was weak, like that doe weak you get in dreams,
like running through sand.

Speaker 8 (02:22:17):
Weak.

Speaker 40 (02:22:19):
But now I feel like I need to prove a point,
and she won't let me. She's clawing at my arms
through the gap. And her nails are like old bones.
They were long and hard, and her skin was peeling
from her face like dandruff. And she had this slow
voice that just kept repeating, don't open the door. But

(02:22:44):
I didn't listen to her. I grabbed the door handle
and yanked with everything I had, and it opened, and

(02:23:04):
then I woke up.

Speaker 29 (02:23:07):
Let's exercise your ability to let go of old habits
and accept change. Let's take a walk through the city,
a new route, a route you've never taken before, breathing.

Speaker 9 (02:23:29):
A magnus, Are you sleeping?

Speaker 29 (02:23:45):
Magnus? Never changed? Everything must stay exactly the same. If
you don't do your rituals, they're all going to die.

Speaker 40 (02:24:14):
Where is it?

Speaker 14 (02:24:14):
Whether hell is it?

Speaker 40 (02:24:16):
I live there right here?

Speaker 53 (02:24:19):
I'm sorry, Julia is not available to speak right now.
Please leave a message after the tone if you'd like
to read.

Speaker 40 (02:24:26):
This cannot be happening.

Speaker 1 (02:24:28):
Where is it?

Speaker 8 (02:24:29):
I parked it?

Speaker 1 (02:24:31):
Julia?

Speaker 8 (02:24:31):
Is that you.

Speaker 40 (02:24:35):
Got your voicemail again? How wonderful? I'm sorry if you
heard me shouting, it wasn't at you. Some little I mean,
some lovely individuals stole my bike, and I've had that
bike for years, and I don't know what I'm going
to do now, because it's just another thing that is changing,
and I need to make sure everything stays the same,
because I just have this feeling You're going to mock

(02:24:57):
me if I tell you so. I'm not going to
say it. If I don't do my rituals, no no, no, no, no, no,
forget it. I guess I am walking home tonight, just
walking walking home or waiting for the night bus. I
cannot believe it. This is a perfect ending to a
rotten day, and this is a perfect example of it.

(02:25:20):
This is what I've been talking about, stuff like this.
Everything is going wrong, everything is falling apart, and I
keep having these dreams.

Speaker 3 (02:25:34):
Jewels.

Speaker 40 (02:25:35):
It's true. I like things how I like them, and
it was a good reason as any to break up
with me. I know I made it difficult. I know
I put my needs before yours and I acted selfishly
because I wanted everything to be done in a certain way,
my way, and when that didn't happen, I would take
it out on you. I absolutely see that now. But this, Jewels,

(02:25:57):
this is different. This isn't about me. It's about them
my patience. Oh okay, okay, so I'm getting ahead of myself.
I went to the gym this morning. The pool was

(02:26:19):
closed for maintenance, so I came into work early. The
lady at the cafe, you know, the one you used
to get jealous about because you thought she had a
thing for me, Well she's gone. She doesn't work there anymore.
And in her place is this rude guy who takes
an eternity to do anything. He took so long to
make an Americano that I ended up being late for theater.

(02:26:41):
Hat on before mask on, like always washed my left
hand nails before my right. Didn't drip any water on
the floor, not a splash. And so I'm thinking I
might have got this together. As I'm gowning up, and
everyone seemed to be in a good mood, even the
nurse's assistant, and she is never in a good mood.
And I thought, maybe I can change, Maybe I can

(02:27:02):
be okay. With change, I might be able to pull
this off simple gall bladder procedure.

Speaker 42 (02:27:12):
But I didn't.

Speaker 40 (02:27:14):
Patient leaves theater in great shape. That was two days ago.
I get a call while I'm doing my rounds on
the war this morning. The patient has been readmitted with
jaundice and now he needs repair surgery for a mistake
I made. I must have pulled on the gall bladder
too much. I inadvertently clamped the common bioduct as well.

(02:27:37):
Can you believe it? It's not like me stupid mistakes.
I'm an idiot. I am so stupid. I am so stupid.
He could have died, and it's because I didn't do
my rituals. Everything is changing? What jewels? Where are you, Julia?

Speaker 4 (02:28:01):
Jules?

Speaker 40 (02:28:02):
I really really need to speak to you. Julia, please
pick up. I need things to go back to how
they were. Julia, please call me back something, will you please?

(02:28:24):
I'm sorry, I'm sorry. I'm just tired.

Speaker 8 (02:28:28):
Ignore me.

Speaker 40 (02:28:30):
I've just not been sleeping great recently. Bad dreams.

Speaker 53 (02:28:36):
You have pressed one to re record your message. Please
rerecord your message after the tone.

Speaker 59 (02:28:56):
We're looking at him. No, I think he has a DNA.
MAGNI stop, do not be LAFFI dated. I consider Magnus
is way outside.

Speaker 9 (02:29:17):
Come with me, Magnus.

Speaker 29 (02:29:20):
Let's take a walk through the city, a familiar, comfortable walk.
Let's exercise your ability to remain exactly the same and
keep everything stagnant. Let's return to the door, magnus. Surrender

(02:29:47):
to your rituals. When you don't do your rituals, they
are displeased with you. And you know what happens when
they are displeased.

Speaker 53 (02:30:05):
Ground for pharmacy made entrance after you.

Speaker 11 (02:30:10):
My nus like nus.

Speaker 10 (02:30:12):
I'm sorry. I can't talk right now.

Speaker 4 (02:30:14):
I'm not feeling well.

Speaker 40 (02:30:27):
I'm sorry, I'm sorry. What do you mean? I wasn't
looking let me parking, but it's still I'm sorry.

Speaker 53 (02:30:34):
Julia is not available to speak right now. Please leave
a message after the tone. If you'd like to re
record your message, press one.

Speaker 4 (02:30:43):
At any time.

Speaker 40 (02:30:47):
Julia, where are you? I went by your apartment today
and your neighbor said she hasn't seen you in a while.
I'm worried. Are you avoiding me? Or is it something else?
I know these messages must sound crazy, but they're the
only thing that is keeping me together.

Speaker 4 (02:31:08):
It happened again.

Speaker 40 (02:31:11):
I lost another one sepsis. I know death comes with
the territory, but they are displeased with you. Did you
hear that? I decided to take some time off get
myself sorted out. You know I hate having time off.

(02:31:33):
That's definitely not part of my routine and it usually
just messes me up, but I think it's the right
thing to do. I'm even walking home tonight, I haven't
got round to buying a new bike, and still holding
up hope that my old bike might show up somewhere
doubted police think it's long before you say anything. I

(02:31:58):
am not blaming you, but you've got to admit it
feels more than just a coincidence. After surgery, I always
spoke to you. I'd get my bike and i'd ride
home and we'd just chat and it would settle my
mind after a long day. It was like a ritual.
It was like the way I washed my hands before

(02:32:19):
I operated it. It matters. It's like hitting all green lights.
I'd call you on my way home and the next
day everything would be perfect. Now I hit red after
red after red. Now we don't talk anymore. Can you

(02:32:42):
please just pick up the phone. I'm worried about you.
I'm really worried about you. Actually we haven't spoken since
that day you were the dentist and you sounded really
stressed out. I just hope you're all right. Just text
me you're okay. There's a committee at work looking into

(02:33:05):
my practices. They think I'm not capable of doing the
job anymore. I need to retrain when I come back
to work after my time off, or more of them
could die. But they don't realize that's not the problem.
I need you to make this right. I cannot lose
anyone else. It has to go back to how it was.
We can save them. Okay, I call me back when

(02:33:30):
you get a chance. Oh it's Magnus.

Speaker 4 (02:33:35):
By the way, some.

Speaker 29 (02:33:38):
People find that happy place in their everyday routines and rituals.
Doing the things we know in a way we know
makes us feel safe and in control. But when change
is on the horizon, stress and anxiety are not far

(02:33:59):
better kind, and that can lead to sleepless nights and
hair pudding. Magnus, you know what's coming, don't you. You
were supposed to keep everything the same, so why did
you change it?

Speaker 9 (02:34:21):
Now you've made them mad.

Speaker 29 (02:34:24):
They are very angry with you, Magnus.

Speaker 7 (02:34:32):
They expect an offering.

Speaker 29 (02:34:35):
A sacrifice has to be made. Surrender, surrender, surrender.

Speaker 53 (02:34:47):
Yes, yes, I'm sorry. Julia is not available to speak
right now. Please leave a message after the tone. If
you'd like to re record your message, press one at

(02:35:08):
any time.

Speaker 19 (02:35:10):
Hey, it's me.

Speaker 40 (02:35:13):
I know it's late, and I know you'll probably think
this is just me trying to find an excuse to
call you. Yeah, maybe I am. I just had no
one else to call, and I didn't want to be alone.
I'm not okay, ha ha. That doesn't sound creepy or
desperate or anything. I didn't mean it like that. You

(02:35:39):
know what I meant. I just had that dream again.
I have that song you always played in the car
when we drive to visit your parents. Not the Michael
Boublet version, the good one, the original one by Nina Simone.

(02:36:00):
It came on the radio when I was at the dentist.
When did I go to the dentist anyway? It had
a line in it that I never really thought much
about before. After she talks about all the things that.

Speaker 38 (02:36:15):
Know how she feels.

Speaker 40 (02:36:18):
Sleep in peace. I can't remember the last time I
slept in peace. Juliet, are you there?

Speaker 4 (02:36:29):
Call me back?

Speaker 40 (02:36:33):
I hear them louder at night. They're calling to me.
There was a door in the city. It looks just

(02:36:55):
like any other door. Crowds passed by it every day,
but none know what is behind it. Nobody remembers the
day the door appeared seemingly out of a dream. It
has always been there, and yet perhaps it never was.

(02:37:18):
The real question to ask is is it locking something
out or is it keeping us in? Don't open little.

Speaker 32 (02:37:49):
Stay yes, ladies and gentlemen, stay tuned for terror, Stay

(02:38:12):
tuned for shivers and excitement. Listen to Craig Dennis in
The Boogeyman Will Get You, Written by Robert Block for
Weird Tales Magazine and adapted by the author especially for
this program. You'll hear it now if you stay tune
for and now here is Craig Dennis in The Boogeyman

(02:40:07):
Will Get You.

Speaker 14 (02:40:15):
You're afraid of the dark, aren't you are? Oh?

Speaker 18 (02:40:18):
But you are?

Speaker 14 (02:40:20):
I know all about you. Do you understand? You were
afraid of the dive when you were a child, Not
because of robbers or themes or murderers. Children don't think
of such things. You were afraid of the dive because
of the Boogeyman. That's the name your parents used. Boogeyman,

(02:40:45):
one of those smart, sophisticated grown up words. But there
is terror behind it. When you were a child, you
knew what the Boogeyman looked like. You would see him
in your dreams, that black, grinning shape, but the wicked
red eyes and the clutching claws. You heard his buzzing
voice mumbling to you in sleep, when you had nightmares

(02:41:09):
and you'd wake up screaming for your mother.

Speaker 33 (02:41:16):
I met it.

Speaker 14 (02:41:18):
You did scream, didn't you. Now that you're grown up,
you laugh about it, But deep down inside you're still afraid. Yeah,
you don't believe such things. It's all superstition. And why
are you still afraid.

Speaker 4 (02:41:38):
Of the dark?

Speaker 14 (02:41:40):
Why do you keep the lights on when you're home
alone at night? I'll tell you why, because you know
it's true. There are such things as monsters. There are
such evil beings, and the Boogeyman will get you if
you don't watch out. Well, what do you think of it, marvelous?

Speaker 56 (02:42:08):
I don't know how you do it?

Speaker 32 (02:42:09):
Walty, great stuff?

Speaker 56 (02:42:10):
You say.

Speaker 32 (02:42:11):
It's part of a new essay.

Speaker 14 (02:42:12):
That's right, looks like I'll have it finished this week.

Speaker 56 (02:42:14):
But Wally, you work too hard, cooped up all day
long in that cottage of yours. Why don't you relax?

Speaker 14 (02:42:20):
That's just why a run of the cottage to stay
cooped up and get some work done. A book doesn't
write itself.

Speaker 32 (02:42:25):
You know, I don't see how you fellas do it writing.
I mean me, I'll stick to the insurance business.

Speaker 14 (02:42:31):
Life. Insurance must be a wonderful thing.

Speaker 32 (02:42:33):
You mean to tell me you're not insured?

Speaker 11 (02:42:34):
Man?

Speaker 56 (02:42:35):
Oh wait a minute now, Darling Walter, you'll have to
excuse that husband of mine. He's always trying to sell something.

Speaker 1 (02:42:40):
Lewis.

Speaker 56 (02:42:41):
Let the poor man alone. We invite him over here
tonight for a visit.

Speaker 14 (02:42:44):
Remember, I appreciate it too. You folks are very kind
to ask me in, but I am apt to bore
you with my essays.

Speaker 1 (02:42:51):
Both to me.

Speaker 56 (02:42:52):
Oh nonsense, you Nelly scared me stiff?

Speaker 4 (02:42:55):
Is not why?

Speaker 14 (02:42:56):
Nancy isn't wrong? Do I scare her too?

Speaker 3 (02:43:00):
Of course not.

Speaker 56 (02:43:01):
Child's probably out with her gang, you know, the Bobby
Socks Crown.

Speaker 14 (02:43:04):
Nancy is a very remarkable young woman. She didn't strike
me as a typical member of the younger generation at all.

Speaker 32 (02:43:11):
Well she isn't really. Nancy is very mature for seventeen.
Too mature, I'm afraid. Sometimes she comes out with something
that surprises me. Really, Yes, I'll take what she was
saying about you the other day.

Speaker 14 (02:43:23):
Oh, I guess I put my foot in at that time,
Nancy said something about me.

Speaker 19 (02:43:29):
What was it?

Speaker 32 (02:43:30):
Oh, nothing, nothing at all. Matter of fact, I've I've
forgotten just exactly what it was.

Speaker 14 (02:43:35):
Please tell me. I won't be offended. I'm curious. I've
noticed that daughter of yours watching me, and I've wondered
about it.

Speaker 32 (02:43:43):
Well, you'll have to excuse you, Walter. She's just a kid,
after all, she said. Well, we were talking about why
we never saw you in the daytime out on the
tennis corridor at the beach, and she said, that's not
so strange. Vampires always sep in the daytime.

Speaker 56 (02:44:01):
Vampires nevern adolescence gets the funniest.

Speaker 14 (02:44:03):
Notion sometimes, Yes, yes they do.

Speaker 56 (02:44:07):
She's all awfully interested in you're really, Walter. After all,
you're handsome stranger here at the resort, an older man.
I do believe she's getting a crush on you, but
tries to hide it by crazy remarks calling.

Speaker 32 (02:44:18):
You a vampire. What does she get such ideas? Reads
too many books, I'd say, yes, sly kid.

Speaker 35 (02:44:24):
Though.

Speaker 4 (02:44:25):
I asked her why she thought you were a vampire?

Speaker 33 (02:44:27):
Know what she said?

Speaker 14 (02:44:29):
What did you say?

Speaker 32 (02:44:30):
Said it was because you didn't eat any food?

Speaker 14 (02:44:32):
She said, what Nancy said?

Speaker 56 (02:44:33):
She'd asked around town at the grocery store in the
butcher's shop, and that you never bought any food.

Speaker 32 (02:44:38):
I shut her up in her hurry, though, young lady,
I said, apparently you don't know much about bachelor's eating habits.
Did you ever hear of places called restaurants? You should
have seen the look on Nancy's face when I quite hello, Nancy.
We were just talking about.

Speaker 15 (02:44:54):
You, so I heard.

Speaker 56 (02:44:55):
Well your manners, dear. Aren't you going to say.

Speaker 35 (02:44:57):
Hello to mister King?

Speaker 14 (02:44:58):
Good evening, Nancy, Nancy, mister King spoke to you.

Speaker 12 (02:45:03):
Nancy.

Speaker 17 (02:45:03):
What are you doing?

Speaker 56 (02:45:04):
Child?

Speaker 14 (02:45:06):
She's making the sign of the cross, an ancient custom.
It's supposed to ward off vampires.

Speaker 32 (02:45:12):
That's a good one. Well, young lady, how come you
were running around in the dark tonight? Aren't you afraid
of evil spirits?

Speaker 56 (02:45:18):
Don't joke about things you don't understand, father, Nancy, that's
no way to talk to your father. Where were you?

Speaker 37 (02:45:24):
Oh?

Speaker 56 (02:45:26):
Just walking?

Speaker 8 (02:45:27):
Oh?

Speaker 56 (02:45:27):
It was billy legged up in the hills under the
hemlock trees. I suppose that's where you lost your scarf,
young thing. Oh, oh, yes, I I didn't know i'd
lost it.

Speaker 14 (02:45:39):
Well, folks, I've got to be running along. It's getting
laid so soon. Yes, it's getting a little late, all.

Speaker 32 (02:45:45):
Right, water see you Ron. You sure you don't mind
walking home alone?

Speaker 14 (02:45:49):
Of course not.

Speaker 32 (02:45:50):
Maybe we could send Nancy along with you to protect
you from vampires.

Speaker 14 (02:45:58):
Nancy was a silly little girl. I knew it, but
still she upset me. Maybe it was because she was
so beautiful and she hated me, so thought I was
a vampire, just a silly little girl with a queer
idea in her pretty head. I wondered what she was
trying to do at night. When I got back to

(02:46:18):
the cottage, I found out. I stood in front of
the door and saw something lying on the path. It
was nancy scarf. What had she been doing here? She
said she had gone for a walk to the hills
near the hemlock trees. But here was her scarf. And
as I opened the door, my hand touched something. A

(02:46:39):
wreath on the doorknob, A wreath of hemlock. Hemlock, that's
what you put on the door to keep vampires away.
I thought about it all night, What was that girl
up to? The Next day I investigated a little. I
found out play Nancy had spread talk all over the village,

(02:47:02):
talk about me about my habits, how I stayed in
all day and came out at night, about my not
eating at home. She even tried to call New York
to check up on me, although I really had a
job and so on. She told the minister I didn't
dare come to church and said I had no mirrors
in my house because a vampire couldn't look into mirrors.
This wasn't funny any more. Foolish kid was making trouble

(02:47:25):
for me. Somehow she had this mad obsession about vampires.
I had to talk to her, So that night I
started over for her place. But before I arrived, I
ran into her by accident on the path.

Speaker 56 (02:47:37):
Oh oh, you startled me.

Speaker 14 (02:47:40):
Sorry, Nancy, I didn't mean to frighten you, but say
I've been looking for you. Let's take a walk, shall we.

Speaker 56 (02:47:47):
Well, really, mister King, I have a date.

Speaker 14 (02:47:51):
For a few minutes, my dear, and why so formal
call me Walter. By the way, I seemed to have
a speck in my eye. Have you a mirror in
your purse?

Speaker 38 (02:48:01):
A mirror?

Speaker 12 (02:48:03):
Why?

Speaker 56 (02:48:04):
Yes, here it is?

Speaker 14 (02:48:07):
Oh good, you see there, I've got it. No, thank you.

Speaker 56 (02:48:15):
You looked into the mirror.

Speaker 14 (02:48:18):
Of course, I found that hemlock on my doornob last night, too. Oh,
don't look so startled, Nancy. I know all about your ideas.
You thought I was a vampire, didn't you, just because
I work all day and eat in restaurants and walk
at night. But you're wrong. You know that, now, don't you.
I look in mirrors, touch hemlock and all the rest.

Speaker 56 (02:48:39):
Yes, I see I. I guess you think I'm an
awful fool.

Speaker 14 (02:48:45):
Water not at all. I think you're a very lovely girl.
I wish it wasn't so dark out here so I
could see your hair. You have beautiful hair, Nancy. Look,
the moon is rising. I can see you now. Nancy,
you aren't afraid of me anymore.

Speaker 56 (02:49:07):
No, Waller, I never was afraid, not really. I just
thought of all these vampires to have to to make
you notice me. And besides, all the vampires are tall
and dark and enhandsome like you.

Speaker 14 (02:49:24):
You're a very clever little girl, Nancy, very clever. Only
I wish you hadn't gone to the police today, then,
you know. Yes, I found that out too, a search
one for my house.

Speaker 56 (02:49:38):
Oh, but that was all a joke, and you aren't
really a vampire, so it doesn't matter. When they come.
We'll laugh at them.

Speaker 14 (02:49:45):
I'll laugh at them.

Speaker 11 (02:49:47):
You won't, Waller, what are you doing?

Speaker 37 (02:49:51):
Let go on me.

Speaker 4 (02:49:53):
Water.

Speaker 56 (02:49:54):
What's happening to you? You're changing Waller?

Speaker 4 (02:49:58):
Too bad?

Speaker 61 (02:49:58):
You are such a med little fool, Nancy. I can't
let you get away now. It would spoil everything. You
guessed too much.

Speaker 35 (02:50:12):
Oh good, Heaven, and it is.

Speaker 62 (02:50:16):
You are a vampire.

Speaker 14 (02:50:18):
No, my dear, I am not a vampire.

Speaker 4 (02:50:27):
I'm just a wow.

Speaker 32 (02:50:42):
You have just heard Craig Dennis and the Boogeyman will
get You. Written by Robert Black, author of Stories and
Weird Tales Magazine. The original music was conceived and played
by Romel Fay. In just a moment, We'll tell you about.

Speaker 14 (02:50:56):
The next story in say two four.

Speaker 32 (02:51:03):
In the meantime.

Speaker 4 (02:52:08):
Strange Wills.

Speaker 63 (02:52:14):
Starring the distinguished Hollywood actor Warren William and featuring Carlton Young,
with Howard Culper and an all star Hollywood cast.

Speaker 8 (02:52:22):
Original music by Del Castillo.

Speaker 3 (02:52:30):
Dead men's wills are often strange. We cannot attempt to
understand them or try to find the answers.

Speaker 14 (02:52:38):
We can but tell the story.

Speaker 64 (02:52:43):
This is Warren William bringing the story dance Director, but first.

Speaker 63 (02:53:51):
And now back to Warren william as John Francis O'Connell
in Dance Director.

Speaker 64 (02:54:03):
An Opening Night on Broadway invariably brings back a flood
of memories and stories about the private lives of many
of the stars whose names have written theatrical history. One name,
in particular, that of Margo Davis, stands out above all
the rest. I knew Margot when she began her climb
on Broadway. In fact, I was her father's lawyer. It

(02:54:23):
was upon his suggestion that I drew his will with
the provision that his only child and heir at law
must first earn her own living for one year before
acquiring his estate roughly estimated at around ten million dollars.
He wanted her to learn the value of a dollar
the hard way. I remember the day I called upon

(02:54:43):
her at the Davis.

Speaker 65 (02:54:44):
Haut town house.

Speaker 64 (02:54:46):
It was a few weeks after her father had been buried.
I found Margo in the music room.

Speaker 8 (02:55:05):
May I interrupt my john?

Speaker 65 (02:55:08):
He startled.

Speaker 64 (02:55:09):
I'm sorry, I hated to interrupt your playing, Margo.

Speaker 62 (02:55:13):
I'm glad you did. I'm afraid it's a dreary old
piece anyway. Well, come on in and sit down, won't you?

Speaker 11 (02:55:19):
Thank you?

Speaker 65 (02:55:21):
Margo?

Speaker 64 (02:55:22):
May I have your undivided attention for just a few
minutes until I tell you what I have to say.

Speaker 62 (02:55:28):
I'll be very attentive.

Speaker 64 (02:55:29):
Good now, then, Margo, you've had rather a sheltered life
to date.

Speaker 8 (02:55:34):
Happens you extremely?

Speaker 65 (02:55:37):
Did you learn anything?

Speaker 8 (02:55:40):
Well?

Speaker 3 (02:55:40):
That depends.

Speaker 62 (02:55:41):
I know which fork to use at dinner, I know
how to dress conservatively?

Speaker 65 (02:55:46):
Did you learn how to work for a living?

Speaker 39 (02:55:49):
Work?

Speaker 62 (02:55:50):
But quite frankly, John, I've never earned a penny in
my life, but I'm not afraid of work, if that's
what you mean.

Speaker 65 (02:55:55):
Your father was a hard worker, Margo.

Speaker 11 (02:55:57):
He loved it.

Speaker 65 (02:55:58):
He did more than love it, heved in it.

Speaker 62 (02:56:01):
Just what are you getting at, John?

Speaker 65 (02:56:03):
Only this His.

Speaker 64 (02:56:05):
Estate will net around ten million dollars. But in order
to make sure that you learn the value of a dollar,
he made a special provision in.

Speaker 39 (02:56:12):
His last will, a special provision.

Speaker 64 (02:56:16):
He insisted that you earn your own living for one
year before you come into your inheritance.

Speaker 62 (02:56:21):
One year earn, John, that's wonderful, wonderful. Well, of course,
do you know I've envied every girl I've ever seen
catching the subway on.

Speaker 8 (02:56:31):
Her way to work, envied Wi.

Speaker 62 (02:56:33):
Those girls had a look of independence about them. They
were self supporting, self sufficient.

Speaker 65 (02:56:40):
You mean, you've wanted to work.

Speaker 62 (02:56:42):
For years, but I've never had a chance.

Speaker 65 (02:56:44):
What can you do, Margo? What sort of work can
you learn to keep you alive for a whole year?

Speaker 62 (02:56:50):
Did you ever hear of a yen? Yes, of course,
Well I've had a yen for almost two years. I'll
start looking for a job in the morning, and when
I get it, you'll see a transform you'll never forget.

Speaker 4 (02:57:01):
What will it be?

Speaker 62 (02:57:02):
Margot Margot Davis Broadway chorus girl.

Speaker 8 (02:57:05):
Oh, true to her word.

Speaker 64 (02:57:16):
Margot Davis started out bright and early the next morning
to look for a job as a chorus girl. She
bought a copy of Variety and read that Bert Frost,
dance director of the Broadway Follies, was holding auditions. Margot
caught the subway and went over to the Harris Theater.
It was jammed with girls, beautiful girls, all trying out

(02:57:36):
for the dancing line.

Speaker 66 (02:57:38):
All right, now, checks, slide up across the stage.

Speaker 43 (02:57:44):
That's right, that's right, spread out, spread out, give yourself
honey of room. Hey, I'm Blondie, plandee. You and the
polka dot sun suit, park the gum. This is for
the Follies, baby, the Follies, not Minsky's bur Lasco. Okay, okay,
that's fine. Now listen, listen, chicks. Pete here at the
piano is going to do a timestep rhythm starting with

(02:58:06):
the girl at the left. I want each of you
to pick up the beat when your turn comes and
do about four bars the timestep.

Speaker 8 (02:58:11):
Do you all get it?

Speaker 5 (02:58:13):
All right?

Speaker 8 (02:58:13):
Then, Pete, let's have it.

Speaker 20 (02:58:25):
Okay, honey, okay, next, good, good good?

Speaker 8 (02:58:40):
What's your name? Alice?

Speaker 20 (02:58:42):
Allison? All Right, Alice, see me have to rehearsing a right.

Speaker 8 (02:58:46):
Next, let's go.

Speaker 66 (02:58:49):
Oh no, no, hold it, hold it, Pete?

Speaker 8 (02:58:57):
What's your name?

Speaker 11 (02:58:58):
Kid?

Speaker 62 (02:59:01):
Margot Davis, Miss frost.

Speaker 8 (02:59:02):
Well, Margot, you've got a nice figure.

Speaker 66 (02:59:04):
Your face is cute too, But honey, this is a
tryout for a dance line, not a kangaroo hop.

Speaker 20 (02:59:12):
Okay, next, girl.

Speaker 64 (02:59:22):
Well Margot walked slowly downstairs to the dressing room. She
learned quickly and bitterly that it takes more than a
pretty face and a nice figure to crash a Broadway
chorus line. As she entered the dressing room, an old
time Broadway Hoffer. Rena Blake saw her in tears and
walked over to her.

Speaker 22 (02:59:41):
That's a mat a kid getting kicked around a bit, he.

Speaker 62 (02:59:47):
Said, I advance my kangaroo.

Speaker 22 (02:59:50):
Why they're so and so? Yeah, but that's just like him.
He's just a Broadway jerk from my door. But I
want it so hot. Yeah, I know you wanted to
make the grade on Broadway. And the guy that wrote
that song There's a million Tears for every light on
Broadway wasn't kidding, was he right?

Speaker 62 (03:00:10):
I guess not.

Speaker 22 (03:00:11):
What's your name, Margo Margot Davis?

Speaker 3 (03:00:14):
What's yours?

Speaker 22 (03:00:15):
Reena Blake, the oldest hoofer on the stem. I ain't bragging, honey,
but three face lifts ago, I look classier than all
them dames up there role in the one, and I
can still outdance any of them.

Speaker 62 (03:00:28):
Oh, Reena, I feel terrible. I counted on this job
so much.

Speaker 22 (03:00:32):
What that old goat say to you, honey?

Speaker 8 (03:00:35):
He said.

Speaker 62 (03:00:35):
I I had a cute face and then my figure
was good.

Speaker 22 (03:00:38):
Yeah, yeah, I know.

Speaker 7 (03:00:39):
I know.

Speaker 22 (03:00:40):
You can't do the time step that's right ever danced before.
It's just a little for fun. Well, I say, you
got a lot of nerve kid and a girl who
tries to crash a Bert Frost production and doesn't even
know the time step. Oh boy, I didn't know it
was so hard. Yeah, well you still want to make it?

Speaker 19 (03:00:58):
Uh?

Speaker 4 (03:00:58):
Huh?

Speaker 62 (03:01:00):
How can I? He knows me now, he wouldn't let
me try again.

Speaker 22 (03:01:02):
Listen, He's gonna try out six hundred babes today and tomorrow.
But I still don't know how to Suppose you get
into your street clothes and come with me.

Speaker 18 (03:01:08):
Huh with you?

Speaker 17 (03:01:09):
Where are you going?

Speaker 22 (03:01:10):
I don't go ask him questions, but I'll tell you this.
I got a little apartment over on East fifty fourth.
I got a tap board too.

Speaker 1 (03:01:18):
Get it you mean?

Speaker 22 (03:01:20):
I ain't promising nothing, kid, But if your game and
your feet hold out, I'm gonna teach you what you
need before try out tomorrow morning, and then you can
come back and knock mister Bert Frost for our loop.

Speaker 62 (03:01:31):
But won't he mister Frost recognize me.

Speaker 22 (03:01:33):
Rena, recognize you? Oh honey, listen? With six hundred pairs
of gains to look at, that guy, ain't gonna remember
your face?

Speaker 39 (03:01:42):
Believe me?

Speaker 22 (03:01:51):
All right, honey, Let's try it again. Now, remember and
right foot pick it up, hop down, left foot, pick
it up, hop down, right foot, pick it up, pop
down left foot.

Speaker 62 (03:02:02):
That's it, gets it, kid, you got it, You got it.
I'm dead, I'm exhausted, but I'm happy.

Speaker 22 (03:02:11):
I'll bet y'all.

Speaker 3 (03:02:12):
Kid.

Speaker 22 (03:02:13):
Well, it's four am, honey. That a knock off for
a few hours of shut eye, so we can be
in first class shape by ten ten o'clock.

Speaker 39 (03:02:18):
Tomorrow, obviously before you can turn off the right.

Speaker 22 (03:02:22):
I just can't wait to see bird Frost's face when
you go into your dance in the morning. I just
can't wait.

Speaker 66 (03:02:41):
All right, girls, all right, line up across the stage.
I'll pay attention when you get into your practice clothes.
I want each of you to do a waltz clod
for me this morning.

Speaker 23 (03:02:52):
You have about four bars each.

Speaker 22 (03:02:54):
Okay, write that dirty double crossings, Oh, Rena, what can
I do?

Speaker 55 (03:03:01):
Wait?

Speaker 22 (03:03:02):
Wait, get to stay right here on the wings and watch,
and then when you're turned, when my.

Speaker 62 (03:03:05):
Turn comes, I'll still only know the time. Step Orena.
There's only a few girls left. It's almost time for
me to go on stage.

Speaker 22 (03:03:23):
What will I do? Get in there and pitch, kid?
Remember it's one, two, three, four five, one two three
four five one two three.

Speaker 20 (03:03:29):
Four five to my last group on stage. Hurry up,
hurry up, line up, girls, we have a good all day.

Speaker 23 (03:03:36):
Okay, same thing.

Speaker 66 (03:03:38):
I'll pick up the beat and give me about four
bars in the waltz clog, starting off with the first
girl of the left.

Speaker 8 (03:03:43):
All right, Pete, that's all.

Speaker 65 (03:03:52):
That's all.

Speaker 66 (03:03:53):
Next girl, who told you you could dance? Baby, we'll
go back home and tell her to guess again. All right,
next girl? Hey, wait, wait, wait, wait a minute, wait
on the hold of Pete. Hey, hey, you haven't I

(03:04:16):
seen your legs before?

Speaker 8 (03:04:19):
No, no, I don't think you here yesterday. I'm here, yeah,
right here on this stage.

Speaker 1 (03:04:24):
You couldn't do the time step, remember.

Speaker 62 (03:04:25):
No, I can do the time staff.

Speaker 66 (03:04:27):
I want to see Listen, honey, I'll bet you a
job in the line against the Hamburger sandwich that you can't.

Speaker 62 (03:04:32):
You will all turn on the music.

Speaker 66 (03:04:34):
Okay, Pete, give the little lady music. Okay, okay, honey,
you win. I guess my eyes are going bad. First
time in my life I ever forgot a pair of legs.

Speaker 8 (03:04:54):
Wait a minute, honey, you're in Thank you, miss Thanks honey.
What's more? When we're through here? I'll buy you that
hamburger too.

Speaker 64 (03:05:13):
Oh well, that's the way Margot Davis crashed her way
into the Broadway Follies the hard way. From that day on,
Bert Frost saw more of Margot than just at rehearsals.
In fact, their backstage romance was the talk of the cast.
Everything would have been all right too, if Gloria Wainwright,
the leading lady, hadn't heard about it. She too, it seems,
was in love with the gentleman and now a chorus girl,

(03:05:36):
some cheap little minx she surmised, was trespassing on what
she thought was her property.

Speaker 65 (03:05:42):
She decided to have a talk.

Speaker 8 (03:05:43):
With Bert Darling.

Speaker 39 (03:05:46):
What is all this chatter about you and that that
chorus girl?

Speaker 8 (03:05:51):
Oh you mean Margot? Why what have you heard?

Speaker 39 (03:05:53):
What have I heard? What happened?

Speaker 8 (03:05:54):
I heard?

Speaker 22 (03:05:55):
Bert?

Speaker 39 (03:05:55):
You're making a fool of yourself. What makes you think
so glory when the day comes that Broadways biggest dance
director starts chasing around with some little dame from the
dance line.

Speaker 8 (03:06:07):
Get this straight, Margot Davis is no dame.

Speaker 39 (03:06:10):
But how do you think I feel about it?

Speaker 8 (03:06:12):
Bert?

Speaker 39 (03:06:13):
After all, you did ask me to marry you.

Speaker 8 (03:06:15):
That was last season honey, and anyway you turned me down, remember.

Speaker 39 (03:06:19):
Well, maybe I did. There was a reason for it then.
Oh yeah, of course, Darling, I had a career to
think of. You still have, Oh, maybe I have. But
on the other hand, maybe I'm ready to reconsider.

Speaker 8 (03:06:31):
No, you're not kidding, You're not it. I know you
better than you think I do. I resent that orr
of head, but it's true.

Speaker 57 (03:06:38):
You know, Gloria, once upon a time I really thought
you'd make a swell wife a partner.

Speaker 8 (03:06:41):
Now I know better.

Speaker 57 (03:06:42):
What do you mean I would have been Well, it
would have been mister and missus Gloria Wainwright.

Speaker 39 (03:06:48):
I'll always be Gloria Waynwright.

Speaker 10 (03:06:50):
Bert, I know it.

Speaker 8 (03:06:52):
You don't love me. You love me.

Speaker 39 (03:06:53):
It's the grading Bert to have some little gutters, and
I take my place in your affection.

Speaker 8 (03:06:58):
You're just burnt kid.

Speaker 39 (03:07:00):
Supposing I withdraw from the cast, what would the great
director do that?

Speaker 8 (03:07:04):
Have Margaret Davis take your place.

Speaker 57 (03:07:06):
You don't know it yet, Gloria, but that kid's got
everything you've got and maybe a little bit more.

Speaker 39 (03:07:10):
All right, have it your own way. But I'm going
to tell you something. I'll give you odds that you
will never be around to open the show. Brave, aren't you? Well,
just wait until I get through with this.

Speaker 8 (03:07:21):
Now, supposing you stick to dancing and leave the rest.

Speaker 39 (03:07:24):
To me, you'll be welcome to the Leaving's Bird fast
after I get through with Margot Davis. Hang around and
pick up the pieces.

Speaker 63 (03:07:40):
Act two of Dance Director, written by Ken Crapene and
directed by Robert Webster. Light follows in just a moment. First,
here is a word from your announcer and now back

(03:09:11):
to Dance Director, starring Warren william as John Francis O'Connell.

Speaker 64 (03:09:22):
The night before the opening, Gloria Wainwright caught Margo alone
in the dressing room. This is what she'd been patiently
waiting for.

Speaker 39 (03:09:31):
I want to talk to you, miss Davis.

Speaker 62 (03:09:34):
Go ahead, I'm listening.

Speaker 39 (03:09:35):
Bert told you what I said is well, well, no
sixty dollars a week is going to take away anything
I want from me. I understand.

Speaker 62 (03:09:46):
I haven't tried to take anything from you, Gloria. If
Bert and I happened to be in love, that happens
to be our affair.

Speaker 39 (03:09:52):
I told Bert to hang around and pick up the pieces. Yes,
I know, and he's going to get them in about
two minutes. Stand up, you creature, while I slap your
little face.

Speaker 62 (03:10:02):
You can try, all right? Him up?

Speaker 39 (03:10:07):
You did slap me.

Speaker 62 (03:10:08):
That's just the beginning. You bet it is there, returned
with interest.

Speaker 39 (03:10:14):
All right, you'll ask for.

Speaker 28 (03:10:16):
It, you contemptible?

Speaker 62 (03:10:23):
You know what about those pieces? But you'll get them.

Speaker 3 (03:10:30):
What's going on in your stopping?

Speaker 8 (03:10:31):
Stop it?

Speaker 13 (03:10:32):
Break it up?

Speaker 8 (03:10:33):
This beats the devil.

Speaker 57 (03:10:34):
Less than twenty four hours before the opening night, I
find my star in a brawl.

Speaker 8 (03:10:39):
Well, why don't you say something?

Speaker 62 (03:10:41):
We were just having a nice, friendly little discussion.

Speaker 8 (03:10:43):
You look like it both of you. Get up, Gloria.

Speaker 39 (03:10:46):
All right, Berna, I'm really going to give you something
to worry about it. But I think I.

Speaker 62 (03:10:53):
Spring my ankle.

Speaker 8 (03:10:54):
Stranger ankle here? Let me look out.

Speaker 62 (03:10:56):
Oh wait, let me help you, Bertie, it's really a sprain,
all right. Look how it's swelling.

Speaker 8 (03:11:03):
That's all I need.

Speaker 4 (03:11:04):
Now?

Speaker 8 (03:11:05):
What am I going to do?

Speaker 39 (03:11:06):
You still have Margo? You said she could take my place?

Speaker 8 (03:11:09):
Got the kidding, Gloria?

Speaker 39 (03:11:10):
Oh can't she yet?

Speaker 8 (03:11:11):
I told you before, but I'll tell you again. You're
a great artist. Tops that's why you're in my show.

Speaker 39 (03:11:17):
Thanks Bert, That made it worthwhile?

Speaker 62 (03:11:21):
Bert, Why not. Let me take her up to my room.
I'll stay with her. I'm sure I can get the
swelling done. I'll have her ready for tomorrow night. Let
me try you do that for me, after course, Gloria.

Speaker 66 (03:11:32):
The only chance, Okay, kid, go out and get a cab,
take her home, and I'll send a doctor out as
soon as I can locate one.

Speaker 62 (03:11:37):
All right, Bert, I'll have a cabin a jiffy.

Speaker 8 (03:11:42):
Come on, kid, tie up that hair and I'll carry you. Bert.

Speaker 39 (03:11:45):
Yeah, it's things like this that make me happy. I'm
in the theater. Imagine a little coarse girl who has
everything to gain doing this. She's a real trooper.

Speaker 11 (03:11:55):
Bird.

Speaker 8 (03:11:56):
That's nothing, kid, So are you believe me?

Speaker 62 (03:12:10):
We're almost there, Gloria, Say, we're going to an elegant
part of town.

Speaker 39 (03:12:15):
Why don't you ever find a room out here?

Speaker 62 (03:12:17):
It is much of a place.

Speaker 8 (03:12:22):
Here we are, Lady, here we are.

Speaker 39 (03:12:25):
Say what is this? We've stopped in front of a palace.

Speaker 8 (03:12:30):
Do you know whose house this is?

Speaker 7 (03:12:31):
Lady, it's the home of the late Dexter Davis, the
multi millionaire.

Speaker 39 (03:12:35):
Dexter Davis Davis.

Speaker 62 (03:12:39):
Well, then you're you're has Gloria. I'm Margot Davis his daughter.
The swelling's going down.

Speaker 39 (03:12:53):
Look, Gloria, Oh yeah, I see that it is.

Speaker 62 (03:12:55):
And look I can wiggle my ankle. That wonderful. We'll
have you ready for the opening, Margot. I want to
tell you something, y'all.

Speaker 11 (03:13:04):
Gloria.

Speaker 39 (03:13:05):
I'm sorry, awfully sorry.

Speaker 38 (03:13:08):
I'm sorry.

Speaker 62 (03:13:09):
I guess maybe I had it coming.

Speaker 39 (03:13:11):
No, you didn't, but oh well, what's the use of
talking about it?

Speaker 62 (03:13:16):
Go ahead and tell me.

Speaker 39 (03:13:18):
I wasn't fooling when I said I loved him. Honestly,
I believe you.

Speaker 62 (03:13:25):
Bert's a swell egg, isn't he.

Speaker 39 (03:13:26):
The very best? I've known him ever since I got
my first job on Broadway almost ten years ago.

Speaker 62 (03:13:31):
He's He's been wonderful to me too.

Speaker 39 (03:13:34):
Does he know who you really are?

Speaker 19 (03:13:36):
No?

Speaker 62 (03:13:37):
To him, I'm just Margot Davis sixty dollars a week,
and you don't want me to tell him, But please don't.
I'm on my own in spite of everything.

Speaker 39 (03:13:46):
See, kid, I've got to hand it to you. You're
a better sport than I am, much better. Well, Good luck, Margot.
No hard feelings, No, no hard feelings.

Speaker 64 (03:14:05):
The opening night of the Broadway Follies turned out to
be a wonderful thing. The show was sensational. Gloria Wainwright
danced her way into the hearts of everyone. During the intermission,
I received a note from Margo. She asked me to
be best man at a wedding. Would I drive to
Jersey with the marriage party? Well, of course I would.

(03:14:26):
After all, Margo was old enough to know what she
was doing and if this was what she wanted, well
it was all right with me. We left by car
right after the final curtain. There were four of us, Margo,
Gloria B. Frost and I. Finally we ended up at
the home of a sleepy Justice.

Speaker 67 (03:14:44):
Of the Peace, getting me out of a nice warm
bed at three in the morning. Ate, my dear friend,
But when there's two happy hearts to splash way, I
always say, there's no.

Speaker 22 (03:14:55):
Time like pleasent.

Speaker 8 (03:14:56):
I'm as nervous as a webhead.

Speaker 67 (03:14:58):
All right, san just relaxed and I explained the three
ways which I can marry.

Speaker 8 (03:15:02):
Yeh, three ways, yep, that's.

Speaker 36 (03:15:04):
What I said.

Speaker 56 (03:15:05):
Now.

Speaker 67 (03:15:05):
The first way is just saying the words and it's
over in less than twenty seconds.

Speaker 22 (03:15:09):
You wouldn't like that. That costs two bucks?

Speaker 62 (03:15:12):
Oh, and what's the second way?

Speaker 3 (03:15:13):
Justice well, that's a bit fancier.

Speaker 67 (03:15:15):
My wife Abigail rings wedding bells whilst I pronounced the
fatal words. Give them a listen, abby, pretty inted?

Speaker 62 (03:15:23):
Well, it's divide well with the words and bells.

Speaker 8 (03:15:26):
It costs three dollars.

Speaker 67 (03:15:27):
That's my grand special. But what's the third way I'm
coming to that, young fella. That's what I call my
super Deluxe Special.

Speaker 39 (03:15:35):
Super Deluxe Special. Well, that sounds simply angelic.

Speaker 67 (03:15:39):
Here's two is I thought of it myself, well, sir,
For the super Special Deluxe, my wife Abigail shakes the
bells with her left hand and plays oh promise me
on the organ with her ride.

Speaker 47 (03:15:49):
I give the folks a.

Speaker 67 (03:15:50):
Saple abbe all right, folks, the super Special Deluxe cost
a five dollar bill, but you won't regret it. You
will carry the memory of it with you down the
golden path. Now, then, what you're gonna choose?

Speaker 8 (03:16:08):
The super Special Deluxe? Of course? I want to remember
this night forever.

Speaker 67 (03:16:11):
Well, sir, I admire your good judgment. Yes, sir, Now, folks,
will the couple to be married get right over here
in front of me, witnesses two steps.

Speaker 9 (03:16:20):
To the rear.

Speaker 67 (03:16:21):
There there you're right, Harry, have it okay, and I'll
hold hands now just a minute, and I get my
book open. Here ashes to ashes, whoop, almost read the
burial service by mistake. All right, here we go, Abby,

(03:16:41):
bells and music? Please, do you bet Frarst take this
young lady not solid with the bells?

Speaker 1 (03:16:49):
Abby?

Speaker 67 (03:16:50):
Do you bet Frost take this young lady here to
be your side, to be your lawfulwaded wife?

Speaker 19 (03:16:56):
I do?

Speaker 67 (03:16:57):
And do you, young lady take this man to be
your law a wedded spouse.

Speaker 4 (03:17:01):
I do.

Speaker 38 (03:17:01):
I don't.

Speaker 67 (03:17:03):
Then, by the virtue of the authority destiny in me
by the state, I do hereby pronounce you men, and
why not so loud?

Speaker 12 (03:17:12):
Abby?

Speaker 67 (03:17:13):
Five dollars please thank you now whilst you two love
birds enjoyed the first ten Decas of where it this,
I'll make out the certificate. I know from experience it
takes about that law.

Speaker 63 (03:17:38):
Warren William will be back in just a moment to
tell you the rest of the story. Dance director. First,
here is a brief message from your announcer, and now

(03:18:19):
back to dance Director, starring Warren William as John Francis O'Connell.

Speaker 3 (03:18:25):
Got it time pretty well and all right, folks, you
can come up for there.

Speaker 4 (03:18:29):
Now that was a long kiss.

Speaker 67 (03:18:32):
Justice, I reckon, you're right, but they've just been married.

Speaker 22 (03:18:36):
That makes a difference.

Speaker 67 (03:18:38):
Now you two newly wedded, come over here to the
table and sign.

Speaker 3 (03:18:41):
The marriage register. You first.

Speaker 65 (03:18:44):
Then where do I sign?

Speaker 8 (03:18:46):
Here?

Speaker 34 (03:18:47):
Ye?

Speaker 67 (03:18:47):
Signing Chas bridegroom.

Speaker 8 (03:18:50):
Bert Frost bridegroom.

Speaker 22 (03:18:53):
It's fine, it's fine.

Speaker 67 (03:18:55):
Now you young lady, your next just sign your name
right under his where it says sign it, just like
it is on your marriage license. At she now, oh,
yes it is, sign it. Gloria Wainwright, Frost.

Speaker 64 (03:19:28):
Well, Gloria, Burt and Margo have been the best of
friends for years. Margot worked her way up to starring
roles and can be seen in many of Broadway's musicals.
And as to Gloria, Well, she's still a star, but
not on Broadway. She's the leading lady of the Bert
Frost household. And incidentally, they're not known as mister and

(03:19:51):
missus Gloria Wainwright. Next week, I have a tory about
one of the strangest wills ever written. Left Delight Underworld
gangster was found dead in his bulletproof car on the
outskirts of the city. There was no doubt in the
minds of the police but that he was murdered. Before

(03:20:13):
he died, Lefty found time to write a last will
on a piece of newspaper. In his will, he left
his entire fortune to a young and beautiful cigarette girl
in an uptown nightclub. But amazingly enough, Left Delight had
never spoken to this girl in his life, nor had
she ever seen him. It took Mike Shannon, young cub

(03:20:36):
reporter to crack the case wide open and bring the
murderer to bay. We call this exciting story death is
My Destiny. This is Warren William inviting you to join
us again next week.

Speaker 63 (03:21:05):
Strange Wills is a Tellaway's feature produced in Hollywood. Names, places,
and events have all been changed so that no reflection
can fall on any person or person's living or death.

Speaker 42 (03:21:54):
Suspense.

Speaker 68 (03:22:04):
This is the man in Black, here to introduce Columbia's
program Suspense. Heading our Hollywood cast. Tonight is the distinguished
American actor, the star of the Broadway suspense drama Angel Street,
who has recently returned to this coast to resume his
film career. Mister Vincent Price. Tonight's suspense play, which presents

(03:22:25):
mister Price and which is produced and directed by William Spear,
relates an episode of recent years in the unfriendly Nazi
capital of Berlin. The Strange Death of Charles Humberstein by E.
Jack Newman is to Night's tale of suspense. If you
have been with us before, you will know that suspense

(03:22:45):
is compounded of mystery and suspicion and dangerous adventure. In
this series, our tales calculated to intrigue you, to stir
your nerves, to offer you a precarious situation, and then
withhold the solution until the last possible moment. And so
with the strange death of Charles Uberstein, and with a
performance of Incent Price, we again hope I'll keep you

(03:23:07):
in suspense.

Speaker 1 (03:23:20):
I was infuriated to think I had been trapped. The
thought that someone had discovered my intentions maddened me to
the breaking point. Nothing had slipped, everything had run smoothly
as I had planned. No evidence, not the slightest trace, nothing,
And yet I was trapped, trapped?

Speaker 5 (03:23:44):
But why?

Speaker 1 (03:23:45):
How let me see papers in my briefcase train to
get information forwarded safely to my office? And he knew
how how? But he did know? I stood quietly in
my room, watching him, watching him, me waiting for me,
standing by the lamp post beneath my window, knowing, knowing

(03:24:06):
he had trapped me, waiting for me. I recognized him
almost immediately, Captain von Hind. Once before I had seen
him briefly in her Miller's office. I had been working
on some corrections. Her Miller was escorting him through the

(03:24:27):
plant on an inspection tour. They stopped for a moment
outside my office. I glanced up as har Miller gestured
my way through the partially opened door.

Speaker 10 (03:24:39):
So well is the alloy artist?

Speaker 18 (03:24:41):
Well, here it was.

Speaker 8 (03:24:42):
They were talking about me.

Speaker 19 (03:24:43):
My heart stopped.

Speaker 1 (03:24:48):
He was explaining how I had been recommended by the
Furia himself my qualification. They continued on their tour. Her
Miller explained later when I went to his office, A Lumberstein,
there you are you sent for me?

Speaker 3 (03:25:03):
Yes, Mberstein.

Speaker 69 (03:25:04):
This morning, when Captain von Hein, then myself passed by your.

Speaker 42 (03:25:08):
Office, I knew it was you.

Speaker 1 (03:25:11):
You knew it was me.

Speaker 69 (03:25:13):
Captain von Hein, this head of Gieshtapo intelligence in this area.
He was conducting a routine inspection this morning, and it
was he who suggested that well, since your recommendations whereby
the Fura himself.

Speaker 42 (03:25:28):
Yes, your work here has been excellent.

Speaker 69 (03:25:32):
I knew you were the man when I passed by
today my work. Oh no, no, no, of course not
that why you have become one of our best men.

Speaker 4 (03:25:44):
Thank you, Henner.

Speaker 42 (03:25:45):
No, this is it.

Speaker 69 (03:25:46):
Yes, through various posts, we are releasing more prints and
munitions areas in this country.

Speaker 4 (03:25:54):
And other countries.

Speaker 42 (03:25:56):
You are to be in complete charge of their release
from the wars.

Speaker 1 (03:26:00):
Stand him as a citizen of the right. I am
greatly honored that I have been given such an opportunity.

Speaker 69 (03:26:04):
An opportunity to show your loyalty, and I will give
you the combinations you will see that.

Speaker 42 (03:26:11):
No other person enters the war. Of course him one
moment on Berstein.

Speaker 69 (03:26:16):
Yes, I think I should tell you that a few
months ago, in one of the neighboring plants, the Gestapo
apprehended a spy.

Speaker 42 (03:26:26):
Yes, he was working for an enemy espionage service.

Speaker 69 (03:26:30):
Found the impossession of certain vital documents which he had
access to in his work.

Speaker 1 (03:26:35):
And what did they learn from him?

Speaker 42 (03:26:38):
Many things.

Speaker 69 (03:26:40):
He was reluctant to speak at first, but it's difficult
to hold out indefinitely.

Speaker 42 (03:26:48):
But he finally gave them enough information to locate other
agents who had filtered in.

Speaker 4 (03:26:53):
It was well he was detected.

Speaker 69 (03:26:56):
The Gestapo is still on the alert for some of
his cover, still expected to arrive.

Speaker 42 (03:27:03):
Of course, they are ignorant of his confession and his faith.

Speaker 69 (03:27:09):
So Olmberstein, I must warn you to take all the
necessary steps against the possibility of espionage.

Speaker 42 (03:27:14):
We cannot be too careful.

Speaker 1 (03:27:16):
I shall be careful.

Speaker 69 (03:27:18):
In New Umberstein is exemplified the efficiency of the Third Reich.

Speaker 1 (03:27:33):
I closed my suitcase and looked down on the street.
I watched him standing there. I kept asking myself, how
how how could he know this, Captain van Hind?

Speaker 8 (03:27:43):
How could he know?

Speaker 1 (03:27:44):
The plan was perfect, the best yet? And yet I
was discovered, trapped. It was a late Saturday afternoon, and
the silence of the day hung heavy in the room.
Outside it was cold, very cold, But in my room
it was warm, stuffy. The radiator hissed and spewed, as
though it with the judge of the events to come.
I was almost angry at it. A radiator was still

(03:28:05):
light enough that he might see me if I crossed
to raise the window. He wasn't aware that I was
in the room. I hadn't turned on the lights. Now
he stood there waiting for me to return. I lay
down on the bed, smoking, my thoughts, troubled by the
one question, how how how had he discovered me safely?

(03:28:29):
I had avoided all connections with anyone who might have
a chance to spy on my work.

Speaker 4 (03:28:33):
There was not the least cause for suspicion.

Speaker 1 (03:28:35):
An established citizen of the right well recommended pure arian
employed as an architect in one of the country's largest
munitions plants. Certainly there was no reason for him.

Speaker 4 (03:28:44):
To suspect me.

Speaker 1 (03:28:45):
The Gestapo, This Captain van Hind waiting to take me
roy lin Keller Freulein Keller absurd. Oh, of course not
not she. But could you ever trust a womany Lime Keller?

Speaker 4 (03:29:05):
Did I give her any reason? Any reason at all?

Speaker 1 (03:29:13):
Good morning, fy Lion, Good morning. My name is Charles Umberstein,
and I have to be at the munitions factory near here.
I wish to take a room, oh one facing the
outer street. Fry Lion, if you can accommodate me.

Speaker 22 (03:29:25):
Oh, I think so.

Speaker 24 (03:29:26):
We have one niches on the second floor overlooks the
street cross.

Speaker 1 (03:29:30):
Oh fine, I'm glad. It looks comfortable here small and comfortable.

Speaker 24 (03:29:34):
Oh, yes you will like it. I'm sure. I am
the owner and manager here steign here please, there.

Speaker 1 (03:29:46):
You are thank you.

Speaker 24 (03:29:48):
Also, would you show her Umberstein.

Speaker 70 (03:29:51):
To his room?

Speaker 4 (03:30:01):
Yes?

Speaker 1 (03:30:03):
Yes, who is it?

Speaker 46 (03:30:04):
It's I boy, Line yellows.

Speaker 1 (03:30:06):
Just a moment.

Speaker 11 (03:30:10):
Yes, I have got you some extra blain.

Speaker 1 (03:30:14):
You may be cold.

Speaker 44 (03:30:15):
That's very thoughtful of your fry Line and the hair Umberstein.

Speaker 24 (03:30:19):
Down the stocky the little cafe. You may find nice
meals and the little music too.

Speaker 1 (03:30:25):
How wonderful. I haven't debted to you, fry Line, but
you are my charge.

Speaker 11 (03:30:29):
I look after my guess.

Speaker 4 (03:30:30):
It is my job that is most kind.

Speaker 11 (03:30:33):
Lie here Umberstein, I also dine.

Speaker 1 (03:30:37):
It's a little cafe. Often to your fry Line for
your wonderful hospitality.

Speaker 7 (03:30:50):
Oh to you.

Speaker 4 (03:30:51):
He Umberstein.

Speaker 8 (03:30:55):
Is growing late.

Speaker 1 (03:30:55):
I must be off. I have a great many things
to do tomorrow, and so do I. Oh it has
been a wonderful evening.

Speaker 5 (03:31:02):
Wonderful.

Speaker 1 (03:31:03):
Here's your coat?

Speaker 13 (03:31:09):
Hi?

Speaker 4 (03:31:10):
Growing colder now, isn't it.

Speaker 70 (03:31:11):
Yes?

Speaker 11 (03:31:12):
The winter will be here soon too.

Speaker 1 (03:31:14):
Soon, Yes, but I won't be eh. You won't be
nothing for.

Speaker 22 (03:31:19):
Line, nothing, You will be here alone.

Speaker 1 (03:31:22):
Certainly Freulen. Certainly I was just wishing, wishing for what
no I had done. It had started thinking, perhaps she
could for what, nothing, for nothing important, only the hopes
of every man. They become so near sometimes they're almost reality.
What else could I do? I had to lead her

(03:31:45):
thoughts away? Somehow she took the leader You, me and
a woman, Yes, yes, froud line you.

Speaker 24 (03:31:53):
Oh but we have known he Joseph for such a
short time, only too week.

Speaker 1 (03:31:59):
That's true. But I've been aware of you for a
longer time, though I've just met you.

Speaker 24 (03:32:03):
Oh, oh, hell bush Dinah, Charles, oh Joe.

Speaker 1 (03:32:17):
At first I was uneasy about the whole affair, and
after a while I did grow rather fond of her.
She was so accommodating, and we dined together each evening,
and I played my role to the letter. Never once
did she mention my work. Froylein Keller, what are you
doing in my room?

Speaker 34 (03:32:33):
Well?

Speaker 1 (03:32:34):
I was you'd be looking through my papers? Why I
was looking for something? What right have you? What are
you looking for?

Speaker 35 (03:32:40):
I was, well, I wanted you a letter, A.

Speaker 1 (03:32:44):
Letter, what letter, one that you haven't got?

Speaker 35 (03:32:46):
I thought perhaps you might have it?

Speaker 54 (03:32:47):
Now?

Speaker 12 (03:32:48):
Out with it A letter for me?

Speaker 1 (03:32:49):
Woman?

Speaker 56 (03:32:50):
Very well, childs if you must know, I suspect you
are blessing your life.

Speaker 1 (03:32:54):
She was actually looking for a letter from some woman,
any woman. She didn't trust me, she didn't trust her child. No, no,
it couldn't have been Frylin Keller. Who then could it
have been? I walked over to the window and looked

(03:33:17):
down at the figure who so patiently kept his viitual
there Captain van Hind, waiting why.

Speaker 4 (03:33:26):
There had been something wrong with the passport.

Speaker 1 (03:33:28):
But no, that was perfect.

Speaker 11 (03:33:29):
Not the passport, all passengerson report as a train master
for FastPort examination.

Speaker 1 (03:33:37):
All in order you can take your luggage to Berlin.

Speaker 26 (03:33:39):
Yeah, this way next.

Speaker 1 (03:33:43):
Here you are named Charles Umberstein, President's belin nationality German.

Speaker 4 (03:33:49):
H m hmm.

Speaker 1 (03:33:51):
All in order, pike your luggage olinorda. Thank you, train master.
It must be careful, you know. When may I catch
my train for Bellin? It should be by any more next.
So I stood there in the shadows waiting for my train.
I examined my passport again, as I had done a
hundred times before. No one would have any reason to
doubt anything so genuine as that God God, must we

(03:34:17):
stand passport inspection again?

Speaker 42 (03:34:19):
He yah Army intelligence for the commentate CHOHn to pray.

Speaker 1 (03:34:28):
Three stops, my passport was inspected a good test. If
the passport had been suspected or investigated, it would only
prove that I was Charles Umberstein. I had come by
the passport through Hans. At the time, Hans was employed
as an Austrian customs inspector. This gave him access to

(03:34:51):
many such passports. According to Hans, there had been a
person named Charles Umberstein who had suddenly disappeared in nineteen
thirty six. Since there it'd be no friends or relatives
to make an inquest. Well you can see no, No,
I was Charles Umberstein. Why I even resembled the badly
scarred photograph on the identification card from the front view.

(03:35:12):
He was evidently a large man, big shoulders, large head,
wore a short Prussian haircut. Yes, I certainly looked enough
like the photograph. Passport was flawless and couldn't have discovered
me through that this fun heind.

Speaker 4 (03:35:28):
Something else?

Speaker 19 (03:35:30):
What else?

Speaker 4 (03:35:31):
The plans?

Speaker 11 (03:35:32):
No?

Speaker 4 (03:35:33):
No, no, of course not.

Speaker 1 (03:35:34):
They couldn't have discovered that I merely made copies and
left the originals. No, no, no, not the plans? Why
Hans and I.

Speaker 19 (03:35:45):
Hans?

Speaker 4 (03:35:47):
Oh no, no, not Hans. Never it worked so well together.
Oh no, no, not Hans.

Speaker 1 (03:35:54):
A strange, silent boy perhaps, But surely at night in
nineteen thirty six when he gave me the passport, he
was our man in Austria. But strange things happen even
to the most mile, or said Charles and I. When
I see you again hands until til I arrive, I
will be attached to an army Ornate's division of the city.

(03:36:15):
You will receive additional information on the first day of
each month from you. Yes, there's a hotel not far
from the factory. Here is the address for in Calrhant's hotel.
Now on the second floor, in one corner sits on
ma hagony table. On it are a set of silver
candlesticks for them. Beneath candlestick nearest the right you may

(03:36:37):
find your information of the first day of each month.
It will be written in code. Naturally, be very careful
when you pick it up. I see, and make no
effort to conduct me in any other way than can
I leave.

Speaker 4 (03:36:49):
Anything I might learn in the same place? Is it safe?

Speaker 1 (03:36:52):
Yes? Now, remember, sooner or later we are bound to
be introduced. You and I my duties with the Ordnates
division will of course bear and yea so far kind
of thing, Yeah, very far. Once inside the city, I'm Oberlot,
not Hans Neuman of farmd Man's.

Speaker 4 (03:37:07):
Understanding hair, Charles Umberstein, architect. Right well, time grows short.

Speaker 19 (03:37:13):
I must go.

Speaker 1 (03:37:14):
Everything checked, your passport perfect. I have even resembled the
photograph from the counciler.

Speaker 4 (03:37:19):
You think so, yes, it's not fair.

Speaker 1 (03:37:23):
Very consider the Wolmberstein to I have looked this way,
tickets right here through the Berlin I report to Prance Million.
The munitions factory produced my credentials. He's been expecting me.
I haggled a little about the salary. Then I accept
that first opportunity to become acquainted with MV plans, and
I will see that you are highly recommended from a
relival source, just as a matter of curiosity, hands who

(03:37:45):
will recommend me?

Speaker 4 (03:37:46):
You needn't worry, Helmberstan.

Speaker 1 (03:37:48):
It'll be good, I'll assure you, and goodbye, hands overt Neumann,
if you please overlighten hanns Neumer. Well, then my hair,
Charles Umberstein, I'll be us and Hitler. Yes, everything Hans

(03:38:12):
it said came about. I picked up my information each
month with a little hotel. I left an occasional report
for Hans. It was the only way we ever communicated.
And then ober Light and Hans Neimann began to appear
in Franz Muller's office and eventually Mirror introduced us. In fact,
Hans was with Muller quite frequently and they dined together regularly.
Hans played his part well, but one day something.

Speaker 5 (03:38:36):
Was worrying and I don't wait here for you mill.

Speaker 46 (03:38:40):
Ah.

Speaker 1 (03:38:40):
I almost signed it's good to see you again, no mind,
and Mina speaks very high of your work here.

Speaker 5 (03:38:47):
Thank you.

Speaker 4 (03:38:48):
Be very careful of just getting one hand.

Speaker 8 (03:38:50):
There's something wrong. I don't know what it is.

Speaker 12 (03:38:52):
He looks at me very strangely, and there is something
I recognize.

Speaker 4 (03:38:56):
About the man.

Speaker 71 (03:38:57):
The eyes are yes, yeah, yeah, who was just chatting
a moment I've seen Van Hind somewhere before. Be very
careful and don't come with us in case they ask you.

Speaker 1 (03:39:08):
You already why? Yes?

Speaker 5 (03:39:09):
Of course?

Speaker 42 (03:39:10):
Um much time? Would you care to join us? A
plan shown?

Speaker 4 (03:39:15):
No?

Speaker 1 (03:39:15):
No, thank you, I have some work to do, all
of us working.

Speaker 8 (03:39:20):
Well, let's go haunt.

Speaker 1 (03:39:21):
Yeah suddenly, Oh, by the way, will Captain one Hind
be joining us today.

Speaker 3 (03:39:25):
Von hind sends is very great. Something is delieve.

Speaker 1 (03:39:29):
Oh that's too bad.

Speaker 42 (03:39:30):
Fun Hind a remarkable man.

Speaker 5 (03:39:32):
No one like him in the service.

Speaker 1 (03:39:34):
No one likes Goodbye oointness Unhind. Such a brief warning,
Kurt and sinister Hans was frightened. He would never have
taken the chance to speak to me if he had
not been frightened something that he recognized about fun Hind.

(03:39:57):
Saturday was the first of the month and there was
no information Hotel Hans didn't appear again to lunch with.
Something was wrong, Something had happened to Hans today. I
found out we will.

Speaker 42 (03:40:10):
Enjoy ourselves today Umberstein.

Speaker 69 (03:40:13):
We should lunch together them off and you and I
I like good company when I good food, good company,
good the gesture.

Speaker 42 (03:40:21):
This is a wonderful restaurant that we are going to.
You know, they serve Norwegian smoked salmon.

Speaker 69 (03:40:26):
That is excused and the cheap too, nothing like these
new foods we are getting from Norwalk.

Speaker 1 (03:40:33):
I've heard of Norwegian salmon and this is the best.
You and over like Neiman dying here often don't hands.

Speaker 45 (03:40:40):
Yeah, we came here off and here and Neumann will
not come here for a long long time. Again, I'm
afraid I don't understand now you don't you remember Captain
von Hein?

Speaker 8 (03:40:54):
Oh?

Speaker 1 (03:40:55):
Yes, the Gestapo man was inspecting our factory a few
weeks ago.

Speaker 42 (03:40:59):
Most efficient man. He has apparently been observing Hans Neimann
for some time. Oh, overlight, not nyman is being detained
by Captain von Hein. Now was he was a spy?

Speaker 4 (03:41:14):
A spy?

Speaker 1 (03:41:16):
How do you know?

Speaker 42 (03:41:17):
Behind a rest only spies and from Hind never makes
a mistake. The man is in credit?

Speaker 1 (03:41:25):
Or was there something suspicious about Hans?

Speaker 42 (03:41:28):
Something suspicious about everyone? To for Hind?

Speaker 69 (03:41:33):
He himself asked me to cultivate oblight not Neimann, so
that he could better observe his action.

Speaker 1 (03:41:39):
Yes, I noticed that you two lunch together very often.

Speaker 42 (03:41:41):
We lunch together at this very same restaurant you and
I are going to. Now that made it easy for
for Hind, easy to study. The man in leisure from
Hind always wants to be certain of his query.

Speaker 1 (03:41:57):
And where is Hans?

Speaker 8 (03:41:58):
Now?

Speaker 4 (03:42:00):
Who knows?

Speaker 45 (03:42:01):
Who knows what happens when Captain from Hind takes a man?

Speaker 42 (03:42:05):
Don't you admire such efficiency of merchandise? Well, of course
the captain did indicate that there were others to be
rounded up too.

Speaker 7 (03:42:14):
Well.

Speaker 42 (03:42:15):
Here we are.

Speaker 69 (03:42:17):
Oh look, look you see them in the window, Norwegian salmon.
They are beautiful, so red, so delicious. Are you hungry, Ulmerstein?

Speaker 1 (03:42:28):
Yes, yes, they do look delicious.

Speaker 4 (03:42:39):
Captain van Height. I looked at him out at the
window again.

Speaker 1 (03:42:44):
I can see his breath now. It was growing very cold.
He was well dressed and neatly tailored over coat and
dark head. It was too dark to tell the exact color.
The only thing I was sure of with the hands
and the gloves on the hands, heavy thick, powered mounted
prongs encased in a gray, tightly fitting material style lines

(03:43:05):
running across the back. I noticed when he lifted them
to light a cigarette. What beautiful weapons his back.

Speaker 8 (03:43:11):
Was to me.

Speaker 1 (03:43:12):
I couldn't help but admire the fine breadth of his
shoulders and the thick, closely barbered neck. He stood quietly
by the lamp post, smoking, watching his breath and the
smoke battle for existence in the icy air. Once, when
he turned to look up at my window, the single
eye glass he wore caught the reflection of the light.
I wondered how much he weighed.

Speaker 4 (03:43:35):
Carefully. I retraced each step over again.

Speaker 1 (03:43:37):
In my mind. I couldn't find the flaw that made
me a marked man. The absurdly easy way I had
gone through Mueller's office carrying an innocent looking bundle of blueprints,
then to the vault, the super the superstition of copies.
No one could suspect what I had done, No one
had any reason to.

Speaker 4 (03:43:57):
Why.

Speaker 1 (03:43:58):
Why then, was I trapped? Of course he was after me,
waiting down there. I wondered why he didn't come up
and wait in my room.

Speaker 4 (03:44:10):
Surely he didn't know I was in the room. Perhaps
he had searched my room one day while I was out.
But what could he find?

Speaker 1 (03:44:17):
Nothing?

Speaker 4 (03:44:17):
Absolutely nothing.

Speaker 1 (03:44:18):
A passport proving I was Charles Uberstein, a monogram suit
case bearing the initial see you, A few letters and
old papers, nothing, nothing at all. I had never talked,
I had never known anyone else in service except Hans Franz.
Miller was too stupid to suspect anything. For a line Keller. No,
the passport perfect. Only one other way, Only one other

(03:44:44):
way could he possibly know. For an instant the possible
answer flashed through my brain. For a full five minutes,
I watched him, watched him very discerningly. Could it be?
Could it possibly be? The stillness of the street below

(03:45:09):
was broken from time to time by the blare of
an occasional horn and the rattle of armored cars carrying
soldiers to different parts of the city. Turning from the window,
I groped about in the darkness of my room, searching
for the automatic I had concealed in the slip compartment
of my traveling bag. When I found it, I tested
the chamber. Yes, it was loaded. I jammed it in

(03:45:33):
my coat pocket, and putting on my hat, I stood
there by the window watching him. He seemed very ominous,
very assured, waiting for me. He must have been getting
anxious with his long vigil. I watched him signal to
an accomplice across the street. Walking back and forth under
the street light, I noticed something familiar, very familiar, A

(03:45:58):
bolt from off the bit tied to a piece of
cord attached to the light switch near the radiator pipe,
room enough to pass it through the weighted end, dragging
the string to the lobby below. I picked up my
suitcase and stepped out. At the door, the hall was
dark and quiet.

Speaker 4 (03:46:15):
I walked down the stairs. The lobby was empty, deserted
the bottom of the stairs.

Speaker 1 (03:46:19):
I placed the suitcase by the door, and I crossed
the desk hastily. I jammed a few bills in an
envelope and addressed it to Frauleine Keller. Now, as I
picked up my suitcase, I could see him very plainly
on the corner. He was only a few feet from
the entrance. The cord with its weighted end, had fallen
just short of the door. I stood there quietly. He

(03:46:43):
looked up at my room. I pulled the cord and
he was startled when the light went on upstairs. Searching
the window for a view of the occupant, I walked
to the door. As I opened it, he looked at me.
He looked my way, game is at me? Point blank?
Seemed surprised and assuring himself. He took a step toward me.

Speaker 72 (03:47:06):
Umberstein er Umberstein, Oh you are you are Charles Umberstein?

Speaker 4 (03:47:13):
Why? Yes?

Speaker 72 (03:47:13):
I Charles Umberstein, who entered Germany nineteen thirty six from Austria.

Speaker 4 (03:47:19):
Here's my passport, your pastord.

Speaker 73 (03:47:22):
Yes, I have always wanted to meet you, Charles Lumberstein.
I have always wanted to meet you face to face.

Speaker 47 (03:47:32):
You know who I am?

Speaker 4 (03:47:34):
Yes, you are.

Speaker 73 (03:47:36):
I wonder you know the others I have had my
men pick up, but you I wanted to attend to personally.
It's because you are Charles Umbashtein.

Speaker 1 (03:47:52):
Now we will just I'm sorry.

Speaker 8 (03:47:53):
My friend.

Speaker 1 (03:48:00):
Sat down hard on the Curbain looked up at me,
mumbled strangely, and then fell over with his head in
the gutter. His hat fell off, and I saw that
his hair was closely cropped. There were other people on
the street. I ran till I was out of breath.

(03:48:25):
The next day, I had picked up a Berlin paper
on the railroad station. On the second page I read
the headline Gestapo official murdered Saturday, January twenty fifth. Captain
Charles von Heim, high ranking official of the Gestapo intelligence service,
was instantly killed last night by the bullets of an
unknown assailant whom he was attempting to arrest on charges

(03:48:47):
of his espionage. Captain von Hind had been connected with
the Gestapo since nineteen thirty six. Prior to his affiliation
with the Gestapo intelligence, he had been known by his
real name, Charles Umberstein. His entry into such dangerous work

(03:49:07):
made necessary a complete retirement from all public life. The
Reich will long honor the memory of Charles Umberstein. I
wired flowers from Geneva with a card marked Sympathy, signed
see you, and.

Speaker 68 (03:49:34):
So closes The Strange Death of Charles Umberstein by e
Jack Newman, starring Vincent Price. Tonight's tale of Suspense Vincent
Price will soon be seen in the twentieth Century Fox
production Song of Bernadette. The producer and director of Suspense

(03:49:57):
is William Spear. Music was composed by Dushan Monowik and
conducted by lud Pluskin. This is the man in black
who would like to draw your attention to the new
day in time for suspense beginning next week, when Kerry
Grant will be our star. Beginning next week, listeners in

(03:50:20):
the Eastern and Central time zones, we'll here suspense on
Thursdays at eight pm Eastern Wartime and seven pm Central Wartime.
Listeners in the Mountain and Pacific time zones will be
brought their next story of suspense on Monday December sixth,
and each Monday thereafter at nine pm Pacific Wartime. Don't

(03:50:42):
forget Suspense on Thursdays beginning December the tecond If you
live in Eastern and Central time zones, and Mondays beginning
December the sixth for listeners in the Mountain and Pacific
time zones with Kerry Grant our opening guest star that

(03:51:05):
is BBS, the Columbia Broadcasting Sister.

Speaker 31 (03:51:14):
Surely you must have read Hamlet at some time or
other in your life. If you did, do you recall
that line there are more things in heaven and hell
Horatio than ever dreamed of in your philosophy. Well, a
strange tale that I'm about to tell you is something
like that. My story has to do with traveling and

(03:51:36):
automobiles than a little girl. Do you believe that the
dead can influence the living? But come listen to the
incredible history of Martin Cable and the little girl in
the polka dot dress. The road was dark and winding
that grim night that Martin Cable drove me Sinan towards

(03:51:57):
Web Center. The rain slack owl tore at the windows,
and Martin Cable was worried his head lights and fused out.
And driving in unfamiliar territory down an unknown road on
such a dreadful light was not the safest thing in
the world. But Martin Cable busw in web Center on

(03:52:17):
an important business meeting that could mean a whole new
light for him, and so he drove on, taking his
chances with the weather, with the car, with his life. Suddenly,
through the windshield wipers mopping furiously at the glass, Martin
Cable saw a flash of something up ahead, a white

(03:52:38):
face in the darkness. Hurriedly, he slammed on the brakes
and the cars swerved toward. Martin Cable peered out onto
the road. There was a little girl standing there in
a poker up dress, the rain pelting at her viciously,
making of a hair a tangled mess. The child's face

(03:52:58):
was chalk white and ghost and before Martin Cable could
ask of anything, she came forward and put one tiny
hand on the car window and pointed down the road. Mister,
her small voice was pitiful, you better turn left here.
There's a bigger hole in the ground just to heard you.
You can't go that way. Gratefully, Martin Cable thanked her

(03:53:23):
and asked her if he could give her a lift home.
She shook her head and indicated a gray cottage just
to the right of the road. I'll be all right,
she said, I live just there. So Martin Cable that
the turn off and arrived safely at his destination, tired
and shaken, but thankful that the little girl had saved
his life. The next day, when he inquired about the road,

(03:53:47):
the hotel clerk told him that a rock slide had
made an immense pit on the road that would kill
anyone and fell into it well. Martin Cable completed his
business in web Center, paid a visit to a toy store,
and drove back the way he had come. He decided
to repay a little girl for her kindness of the
night before. When he drew his carb to the gray

(03:54:09):
cottage and peaceful serenity hung over the walls and the windows.
Martin Cable, with his gift under his arm, knocked loudly
on the little oaken door. The small, gray haired woman
came to see who it was, and Martin Cable introduced
himself and explained his visit. He wanted to see the
little girl, He said, What little girl?

Speaker 38 (03:54:33):
The woman asked.

Speaker 31 (03:54:35):
Martin Cable rushed on to tell about the rain being
lost and saved from certain death and describe her to
whom he The lady said, what was she wearing? Confused,
and Martin Cable mentioned the poker dot dressed, and he
didn't understand until the lady shook her head sadly. Yes,
she said it was Madeleine. Once a year she comes

(03:54:58):
to that part of the road, worn some traveler away
from the very spot. It's been like that for five
years now. But Martin Cable was dumbfounded. What did the
woman mean? Yet it was all very simple. Madelene was
my daughter, and five years ago she died in an

(03:55:19):
accident at the place where she told you to turn.
You see, she got run over by a car there. Curious,
isn't it a little girl returning like that to warn
the unwary traveler away from death. Oh yes, sir, if
you're driving to night, do be careful. There might be

(03:55:41):
a nasty break in the road.

Speaker 74 (03:56:17):
The Adventures of the Saint starring Vincent Price. The Saint,
based on characters created by Leslie Charteris and known to
millions from books, magazines, and motion pictures. The robin Hood

(03:56:40):
of Modern Crime now comes transcribed to radio, starring Hollywood's
brilliant and talented actor Vincent Price as.

Speaker 4 (03:56:48):
The Saint.

Speaker 1 (03:56:56):
Good afternoon, mister Templar, Oh good afternoon. Well come in, sir,
come in, you're very kind eh, And it isn't everyone
who'd invite a mere stranger in like this. The fact
that it's my own apartment into which I'm being invited
is Oh, did you find what you were looking for?

Speaker 19 (03:57:13):
Or?

Speaker 18 (03:57:13):
Dear?

Speaker 44 (03:57:14):
Then you can tell I've been searching through your things,
But it took such pains to be neat.

Speaker 1 (03:57:19):
I abhorred disorder. That's exactly the way I feel about
fat intruders who practiced burglary in my apartment. Burglary? Oh really, sir,
do I look like a burglar? You look like a
fastidious rhinoceros with a taste for bond street tailoring.

Speaker 44 (03:57:34):
You see how appearances can be deceiving, I assure you, sir.
Another thing I am not is it rhinosceriance.

Speaker 1 (03:57:40):
That makes two things? You aren't suppose we trade him
for one thing? You are very well for one thing.
I am an unhappy man. Your wife doesn't understand you.

Speaker 4 (03:57:50):
No.

Speaker 44 (03:57:50):
The reason for my own happiness is I no longer
understand myself.

Speaker 1 (03:57:55):
I've changed it worries me. Now take last night, for example.

Speaker 44 (03:57:59):
Yeah, it was such a commonplace activity, a sort of
thing a man in my profession soon gets used to.
And yet all during it and afterwards, I found myself
actually feeling sorry for the poor.

Speaker 1 (03:58:10):
Chap oh, And uh, what was happening to the poor
chap oh?

Speaker 44 (03:58:13):
The usual thing, placing lighted matches under the fellow's fingernails,
pressing burning cigars under the soles.

Speaker 4 (03:58:19):
Of his feet, sticking pins into the calf of his leg.

Speaker 44 (03:58:22):
Y's exactly prosaic on original, but still highly effective if
they want effective.

Speaker 1 (03:58:28):
It's hardly likely that I would be here, wouldn't you say?
The point is, why are you here?

Speaker 4 (03:58:33):
Fanny?

Speaker 44 (03:58:34):
The name is Archibald, Archibald, Roland p Archibald. Obviously I
have come to regain possession of my property.

Speaker 4 (03:58:41):
What property? What does it look like?

Speaker 44 (03:58:44):
An envelope, mister Templer, a small Manila envelope.

Speaker 1 (03:58:47):
And the man you tortured said he gave it to me.

Speaker 44 (03:58:50):
Yes, Fernanda said your name, very clearly, even though we
were doing a magnificent job of twisting his arm at the.

Speaker 1 (03:58:56):
Time, and he was doing a pretty good job of
pulling your leg. What do you mean, Look, Rowland p Archibal.
My tailor is due here at any moment with a
newly made suit that I am very eager to try on.
I'd be obliged to you if you picked up your
marbles and er nice. That depends on whom it's being
pointed at.

Speaker 44 (03:59:17):
It's a Wolfer, one of the finest automatics the Germans
ever made.

Speaker 1 (03:59:21):
I suppose you'd suspect an ulterior motive if I asked
you for a closer look the envelope.

Speaker 44 (03:59:27):
Please, I've gone to considerable trouble, mister templom My patience
has exhausted, thoroughly exhausted.

Speaker 1 (03:59:33):
I'm not as thin as I used to be. So
we break some rye, crisp together the envelope for the
last time.

Speaker 4 (03:59:39):
Very well.

Speaker 1 (03:59:40):
I suppose next you'll be pestering me for a stamp.
Im don't come any closer, Saints, I have to get
the envelope. I just don't happen to have it on me.

Speaker 44 (03:59:49):
I've searched this apartment thoroughly. It has to be on
your person, outwitted, curse you. I'll take it, please hand
it over all right?

Speaker 1 (03:59:58):
Wouldn't it be amusing if when I rea each into
my pocket, instead of finding an envelope, I found a gun.

Speaker 44 (04:00:04):
You will have a gun, mister Templar, A gun, of
course not. I was just waiting keep your hands where
they are, saint, but the envelope now raise your hands, please, hire,
thank you. I'll remove the envelope from your pocket myself.

Speaker 1 (04:00:20):
Playing it cagey mmm, Shelby.

Speaker 44 (04:00:23):
In my profession, caution is the difference between living and dying.

Speaker 1 (04:00:27):
Now, which pocket this one? Yes, it is a nice gun.
You've shown it to me. When I asked, I wouldn't
have had a kick in your bay window. That kick
is going to cost you your life. Well, everything's extensive
these days. Do you know the way out?

Speaker 44 (04:00:47):
Yes, mister Templar, But what's more important, I know the
way back.

Speaker 4 (04:00:59):
Who is it?

Speaker 12 (04:01:00):
It's Finley, mister Templar, I've brought your sor.

Speaker 1 (04:01:04):
Oh, come in, Finley. If you'd been here ten minutes ago,
you'd have find me having my measure taken by someone else.

Speaker 12 (04:01:10):
Indeed, you're displeased with my work, mister Templar.

Speaker 19 (04:01:13):
Mm.

Speaker 1 (04:01:13):
That someone else wasn't a custom tailor, Finley, he was
taking my measure with a gun. Well, now let's see
how did this latest masterpiece of yours work out?

Speaker 12 (04:01:22):
If I may say so, sir, I do believe I've
exceeded myself.

Speaker 1 (04:01:25):
Then you've exceeded the best tailor in town.

Speaker 7 (04:01:27):
Kay, if you'll remove your coat, mister Templar, I'll just
take the suit out of the box. Yeah, now, if
you'll just slip the coat on, alright, Uh, that's a
good bit, eh. Step over to the mirror, sir.

Speaker 1 (04:01:43):
Yeah, it's a well tailored piece of Hey, what's this?
Pardon this little.

Speaker 11 (04:01:52):
Well, I'll be it s something wrong, sir?

Speaker 4 (04:01:55):
Yeah, you know?

Speaker 1 (04:01:57):
Is it the latest fashion to wear a bullet hole
beside the breast pocket?

Speaker 10 (04:02:00):
What's that?

Speaker 12 (04:02:01):
A bullet hole?

Speaker 19 (04:02:02):
Yeah?

Speaker 1 (04:02:02):
Look say for yourself, small and round and still smelling
of cordite. Who but it isn't possible. How could a
thing like that have happened? Did this suit have any
known enemy? Say a bargain basement blue serge with a
jealousy neurosis?

Speaker 12 (04:02:16):
It's Templar, I'm dumbfounded.

Speaker 1 (04:02:18):
I I don't know what to say.

Speaker 12 (04:02:20):
What's this another bullet hole?

Speaker 50 (04:02:22):
Huh?

Speaker 1 (04:02:23):
Something in the inside pocket?

Speaker 4 (04:02:25):
It feels like a it's an envelope?

Speaker 19 (04:02:28):
What?

Speaker 1 (04:02:29):
Yeah, a small manilla envelope. Now that has a familiar ring.
So has this name penciled across the flat name?

Speaker 19 (04:02:39):
Yeah?

Speaker 1 (04:02:40):
Do you have a customer name for Nandi's.

Speaker 11 (04:02:43):
Nandi's wife, No, sir, I know no one by that name.

Speaker 19 (04:02:47):
Who is he, sir?

Speaker 1 (04:02:49):
A man who tells tall tales when his arm is twisted,
A man who right now is probably very dead.

Speaker 2 (04:03:05):
Oh, my beloved, he'll a cup the clears today of
past regret and future fears.

Speaker 14 (04:03:14):
Tomorrow, why tomorrow, I.

Speaker 1 (04:03:17):
May be exactly where you are right now, coding, Oh Mark,
I am to a disinterested highball, brick and empty. Simon,
this coptic clears empty, an entirely temporary condition. Bartender double
for mister Murphy and I will have the same.

Speaker 7 (04:03:34):
Yes, sir ah, your generasity is matched only by your
injelosens and wits. What brings the mighty men catcher to
Third Avenue? Whiskey women, I'm encyclopedia that walks like a man.

Speaker 2 (04:03:47):
And drinks like a fish. I'm at your service, my
saintly friend.

Speaker 1 (04:03:50):
Well, I'm glad Einstein just wasn't available, en amateur, Thank you.

Speaker 12 (04:03:56):
Thank you.

Speaker 2 (04:03:57):
Think ah, ask me anything, Simon, My brain is in
your hands.

Speaker 1 (04:04:04):
I would start with names. Two names.

Speaker 4 (04:04:07):
Name them Rowland, t Archibald.

Speaker 7 (04:04:10):
Neat, natty, and fat with an extra bulge under the arm.
That probably means a gutten MM, that's Roland and that's all.

Speaker 1 (04:04:17):
Now, don't tell me that filing system you call a
brain is slipped up on Rowland.

Speaker 7 (04:04:22):
P I'm afraid so, Simon, he has, oh, no friends,
no acquaintances, no non occupation or non anything.

Speaker 2 (04:04:28):
A very mysterious cookie.

Speaker 1 (04:04:30):
I'd put him more in the plumb pudding clad. Next
name Fernandez Bernandes.

Speaker 14 (04:04:37):
No, Simon, I know some many MM.

Speaker 4 (04:04:39):
I was afraid you would.

Speaker 1 (04:04:40):
Three bartenders.

Speaker 2 (04:04:41):
A manufacturer of hearing aid's a truck drive all.

Speaker 11 (04:04:44):
Best and safest driver, I evenue.

Speaker 1 (04:04:46):
All truck drivers are the best in the safest anymore.

Speaker 7 (04:04:50):
Eh safe cracker or professor of Oriental languages? Three more bargenders?

Speaker 4 (04:04:55):
What's the use?

Speaker 1 (04:04:56):
I wouldn't know the right one if I heard it. Look, uh,
you can look at this four seats of fool's cap.

Speaker 5 (04:05:03):
You wanna know what it is?

Speaker 4 (04:05:05):
I know what it is.

Speaker 1 (04:05:06):
It's a formula, complicated formula and nuclear physics.

Speaker 14 (04:05:09):
Oh now I'm learning.

Speaker 2 (04:05:11):
Where did you get this hot potato?

Speaker 65 (04:05:14):
Simon?

Speaker 1 (04:05:14):
It came in a small manilla envelope that I found
in the pocket of a brand new suit.

Speaker 14 (04:05:19):
You want me to tell you what the formula means?

Speaker 2 (04:05:23):
Too bad Einstein wasn't available.

Speaker 1 (04:05:25):
I'm more concerned with whom this belongs to rather than
what it means. These initials printed in the upper left
hand corner. Oh yeah, the RL which means the.

Speaker 19 (04:05:38):
R l uh.

Speaker 7 (04:05:41):
Well, Simon On a formula in nuclear physics. The L
probably Central Laboratory.

Speaker 1 (04:05:47):
M mm, I mean bartender hm A triple for mister Murphy.

Speaker 2 (04:05:52):
Yes, sir, drop in any times, Simon, at any time.
I shall always be glad to receive you.

Speaker 8 (04:05:59):
I I.

Speaker 75 (04:06:11):
Been waiting a long time for you to come out
of that saloon. Oh why I wanted to see you.
That's why You're a saint, aren't you.

Speaker 1 (04:06:18):
I'm a saint and you're seeing me what he's seeing me.
About the envelope, you know, the one with a formula.

Speaker 5 (04:06:24):
I want it now.

Speaker 1 (04:06:26):
Don't tell me it's your homework. You know who I am, junior?

Speaker 18 (04:06:29):
Who are you?

Speaker 75 (04:06:30):
It don't make no difference who I am. But if
it'll make you happy, it'll make me happy. My name's Gus.
I come on, give why. I got a gun in
my pocket, that's why. And I'm told to bring back
that envelope no matter what, and.

Speaker 1 (04:06:42):
If I refuse to give it to you. You shoot
me and take it from me.

Speaker 2 (04:06:46):
Huh, that's the truth.

Speaker 1 (04:06:47):
Mm, you knew it this, aren't you. I know my
way around what happens when you shoot me here on
the sidewalk.

Speaker 4 (04:06:53):
You'll fall down, of course.

Speaker 1 (04:06:55):
Eventually, but first a woman's screams. There's always a woman
who screams, and people start running toward us, and the
cop comes tearing up, and uh, what do you do
during all of this?

Speaker 4 (04:07:05):
Guys?

Speaker 55 (04:07:06):
Me, I run the envelope.

Speaker 12 (04:07:09):
I take it out of your pocket before I run.

Speaker 4 (04:07:11):
Oh, you'll have time.

Speaker 38 (04:07:13):
Huh.

Speaker 1 (04:07:13):
When a man is shot, he doesn't just go PLoP
like they do in the Funny Baby Kirsty clutches the
spot where the bullet hit him, and then he staggers
around for a while. Then he lurches, swerves, sinks to
one knee, gets up again. You know, nothing brings out
the ham and a man like being shot. So you'll
have to wait until I'm through with my dying act
before you can reach into my pocket.

Speaker 4 (04:07:35):
Guys.

Speaker 1 (04:07:36):
By that time, yeah, maybe you're right.

Speaker 4 (04:07:39):
There will be no charge for the lesson.

Speaker 12 (04:07:41):
Maybe I can teach you something.

Speaker 1 (04:07:43):
Yep, what his rifle fire?

Speaker 4 (04:07:45):
Get down.

Speaker 1 (04:07:47):
Over here behind this car?

Speaker 55 (04:07:49):
Gus, Yes, you're wrong.

Speaker 12 (04:07:53):
Sing, I didn't lurch a stagger.

Speaker 4 (04:07:56):
No woman screams uh gus, I didn't stay.

Speaker 10 (04:08:03):
Guss.

Speaker 1 (04:08:07):
I guess mine was the last lie you'll ever hear.

Speaker 19 (04:08:20):
Templar.

Speaker 4 (04:08:21):
Mister Templer, Oh it's you, Patty.

Speaker 1 (04:08:24):
Oh, mister Templar.

Speaker 44 (04:08:25):
I wish you wouldn't persist in calling me by that absurd.

Speaker 1 (04:08:28):
Name, oh Rose, by any other name. I suppose the
same sort of reasoning applies to a rat. Well, is
this the big moment Roland h Archibald's revenge? The payoff
I was promised for the kick in the stomach I delivered.

Speaker 44 (04:08:41):
I would hardly honk my horn after you shot your
name at the top of my voice on a busy
thoroughfare if it were my intention to kill you, mister Templar.

Speaker 1 (04:08:48):
Mm no, I suppose you wouldn't. You'd park your car
somewhere and stalk me from it with a high powered rifle. Well,
you know that sounds rather effective. I must bear it
in mind for the future. I'm still bearing it in
mind from the past. Kidnam Gas caught the bullet for me. Eh,
I don't quite understand. It's simple, Fatty, you missed me.

Speaker 40 (04:09:07):
You think that I.

Speaker 1 (04:09:10):
Oh, really, sir, this is most amusing.

Speaker 44 (04:09:12):
You won't hear gas laughing, My dear Templar, I am
an expert rifleman. If I had aimed at you, I
shouldn't have missed you. But come, sir, the temper of
this conversation is not at all what I had in
mind when I sought you out. Now I should like
to suggest an omistice, a peace plan, as it were,
with a loser paying a generous amount as h reparations

(04:09:32):
to the winner.

Speaker 1 (04:09:33):
Meaning that you wind up with a formula and I
with the customary thirty pieces of silk.

Speaker 44 (04:09:37):
No, come, com colm, Templar. You make it sound as
if treason were involved. I assure you the formula has
nothing to do with any government project.

Speaker 1 (04:09:45):
Then what is it, Chubby? A recipe for sweet potato pie,
A method of manufacturing quick frozen bourbon?

Speaker 19 (04:09:50):
What is it?

Speaker 44 (04:09:51):
The only person who can answer that is doctor Vargas Bargain. Thanks,
h Where are you going?

Speaker 1 (04:10:00):
You can tell the phone book. You've just given me
the answer to another one of three puzzling initials, Chubby.
I think I know now what the middle one stands for.

Speaker 17 (04:10:17):
Good morning, good morning?

Speaker 1 (04:10:24):
May I help you So this is VRL. HM, good
old vr L.

Speaker 35 (04:10:29):
I beg your pardon.

Speaker 1 (04:10:30):
I'd like to see doctor Vargus. Doctor Vargas, you seem surprised.
This is the Vargas Research Laboratories vr L, of course.

Speaker 12 (04:10:38):
But doctor Vargus never sees visiting.

Speaker 1 (04:10:41):
Oh I'm not a visitor, but I've got in a
small manilla envelope practically makes me a member of the firm.

Speaker 35 (04:10:47):
I beg your pardon again.

Speaker 1 (04:10:50):
And on such short acquaintance, what merely tell the doctor?
It's probably a matter of life or death.

Speaker 35 (04:10:56):
But I've strict instructions never to interrupt the doctor.

Speaker 1 (04:11:00):
Whom shall I say is calling Simon Templar st a
saint with a question mark where my halo ought to be.
Do we know each other? No, Hu, something tells me
that we will. But until that happy moment.

Speaker 23 (04:11:13):
I got Templar, send him right in.

Speaker 1 (04:11:16):
Did you hear something something that sounded like ourtillery fire
with the ability to make words.

Speaker 12 (04:11:20):
Through that door, mister Temple, Oh thank you, well, come in,
come in. Don't take all day about it. You close
the door. Now, sit down, Templar. I believe we have
something to discuss.

Speaker 1 (04:11:35):
I have something to discuss with doctor Vargas.

Speaker 12 (04:11:38):
And who am I supposed to be snow white?

Speaker 4 (04:11:40):
I'd rather not answer that.

Speaker 12 (04:11:41):
Let's get right to the heart of a temper.

Speaker 1 (04:11:42):
I'm a busy woman and I'm a puzzled man, doctor,
And one of the things that puzzles me is how
you knew I was coming here. A friend told me
to expect you mm a friend who carries about seventy
five extra pounds and it dislikes being called fatty.

Speaker 4 (04:11:56):
Humm, not so sure.

Speaker 1 (04:11:57):
I like your friends, and I'm not so sure.

Speaker 12 (04:11:59):
I give a hang.

Speaker 70 (04:12:01):
Just for the record, I've been checked and double checked
by almost every government agency in this and several other countries.

Speaker 1 (04:12:08):
Oh, then you are doing government work. Your fat friend
is a terrible liar.

Speaker 12 (04:12:13):
Take it up with his clergyman.

Speaker 70 (04:12:15):
We're here to discuss the formula one that somehow found
its way out of this laboratory and into your pocket.

Speaker 1 (04:12:21):
You have it, Yeah, it's burning a hole in that pocket.

Speaker 4 (04:12:23):
Toss it over.

Speaker 12 (04:12:26):
Hm, this is what the fuss is all about. That
good day, templar.

Speaker 4 (04:12:34):
Yes, it is rather nice.

Speaker 19 (04:12:35):
Huh.

Speaker 12 (04:12:35):
Then please feel free to go out and enjoy it
and take this mishmash with you.

Speaker 70 (04:12:39):
Mish marsh gibberish, prattle, nonsense, pick your own word.

Speaker 4 (04:12:42):
The word I pick is why?

Speaker 10 (04:12:44):
Why? Why?

Speaker 11 (04:12:45):
What?

Speaker 1 (04:12:46):
Look at this formula is mishmash? Why does a fat
man named Archibal want it so badly? Why does a
kid named Gus threaten to gun me down for it
and wind up getting a rifle slug right into another world?
And why is a new suit deliver with a bullet
hole over the heart?

Speaker 19 (04:13:01):
And why did it?

Speaker 12 (04:13:02):
I'm a scientist, not a policeman.

Speaker 35 (04:13:04):
Goodbye, mister doctor August excuse me, yes, you're one in
the laboratory right away.

Speaker 12 (04:13:11):
Okay, mister Temple was just leaving. Will you show him out?
Miss Fernanda?

Speaker 4 (04:13:16):
Did uh?

Speaker 1 (04:13:17):
Did she say? Fernandez?

Speaker 35 (04:13:19):
That's my name, Jean Fernande, and I'm.

Speaker 4 (04:13:21):
Delighted to hear it.

Speaker 1 (04:13:23):
You have a father, a husband perhaps, or is it
a brother who might be mysteriously absent?

Speaker 10 (04:13:31):
You know what?

Speaker 35 (04:13:32):
Oh, mister Temple, you must help me, you must. Oh,
but my brother louis he? No, we can't talk here later.

Speaker 4 (04:13:40):
Here's my address.

Speaker 1 (04:13:41):
And if you see a certain beef truss named Archibald
before I do, don't tell him your name is Fernandez.

Speaker 35 (04:13:48):
But she knows that. Oh, mister Temple, I, I'm afraid.
I'm afraid.

Speaker 1 (04:14:04):
Who is it?

Speaker 12 (04:14:05):
It's I, Sir Finley. May I see you for a moment.

Speaker 1 (04:14:09):
Uh, come in, Finley now, don't tell me you've made
me a new coat. There's a fash.

Speaker 7 (04:14:14):
No, mister Templar, I could hardly do justice to my
craft if I. Mister Templar, I have a problem.

Speaker 1 (04:14:22):
Judging from the wreckage. You've come to the right place
to unload it.

Speaker 7 (04:14:25):
It's that the object you've found in the suit I
delivered yesterday, sir, the envelope.

Speaker 1 (04:14:30):
Yes, sir.

Speaker 7 (04:14:31):
A gentleman called at my shop to day inquiring for it.
He insists that the envelope is hear and demands its
return er fat gentleman, No, sir, rather thin gentleman. His
name is Fernandez.

Speaker 4 (04:14:43):
M I doubt it.

Speaker 12 (04:14:44):
Pardon.

Speaker 1 (04:14:45):
Did he tell you how the envelope happened to be
found in my suit?

Speaker 7 (04:14:48):
Yes, sir, he did. He he was in for a
fitting himself the other day, Bernandez. Yes, sir, Fernandez. He
says he saw your coat hanging on the rack, admired it,
and on an impulse, dried it on. The envelope been
in his hands.

Speaker 1 (04:15:01):
At the time, and he just slipped it into the
park and then forgot about it.

Speaker 4 (04:15:04):
Huh, sure he informed me, sir.

Speaker 12 (04:15:06):
Now he's threatening me with legal action if I don't.

Speaker 1 (04:15:08):
Tell the gentleman to call here for the envelope. Finley,
if he can identify the contents.

Speaker 4 (04:15:13):
He can have it.

Speaker 12 (04:15:14):
That sounds reasonable enough, mister Templar.

Speaker 4 (04:15:17):
I'll tell him.

Speaker 12 (04:15:18):
Good day, sir, and thank you.

Speaker 1 (04:15:19):
Oh Finley, Yes, tell the gentleman. I'll expect an explanation
about that bullet hole in my coat. You know, I'm
dying to hear how the uh gentleman gets around that one?

Speaker 19 (04:15:30):
Who is it this time?

Speaker 4 (04:15:47):
Gee? I expect a two hours ago.

Speaker 35 (04:15:49):
I couldn't get away, and then when I did, he
followed me.

Speaker 12 (04:15:53):
I had to lose him.

Speaker 15 (04:15:54):
Who fat meant?

Speaker 12 (04:15:56):
Archible?

Speaker 1 (04:15:56):
You know it's remarkable that he stays that fat getting
around as much as he.

Speaker 35 (04:16:00):
Mister Temple, Please, I haven't seen or heard from Lewis
in three days.

Speaker 22 (04:16:04):
Do you know what?

Speaker 19 (04:16:04):
No?

Speaker 35 (04:16:06):
But I thought I thought.

Speaker 1 (04:16:08):
It isn't what you thought of what you think it's
going to find your brother, Jean, it's.

Speaker 19 (04:16:12):
What you know what I know?

Speaker 1 (04:16:15):
I don't understand, Jeane, what's your brother mixed up in.

Speaker 35 (04:16:18):
No, I can't tell you I came here because I
thought you knew where Lewis is. I'm going now, do you.

Speaker 1 (04:16:22):
Want to see your brother again alive? What do you
mean The first and last I heard of your brother
was when Fatty told me about putting lighted matches under
his fingernails. Oh no, no, I didn't mean to break
it to you so ungently. But you've got to be
made to realize that unless you tell me what.

Speaker 35 (04:16:41):
All right, I'll tell you, but you must help me
find Lewis.

Speaker 1 (04:16:45):
You must, and I will at first that formula that
seems to be so important, and yet isn't I did that?

Speaker 4 (04:16:51):
You did?

Speaker 19 (04:16:52):
What?

Speaker 4 (04:16:53):
It's a good place to begin from.

Speaker 35 (04:16:56):
When Louis was a very young man in his teens,
he was restless, nervous, neurotic.

Speaker 1 (04:17:02):
The doctor called him the type which, with a few
lies here in a little propaganda there is easily convinced
that there's nothing more noble than a certain form of politics.

Speaker 17 (04:17:11):
Huh, yes, Oh.

Speaker 35 (04:17:13):
He joined the movement and rose rapidly in it. He
was slated for big things. So one day he stopped
being restless and eurotic and looked at himself and what he'd.

Speaker 4 (04:17:22):
Become with disgust, and so he quit.

Speaker 35 (04:17:25):
Oh, he only thought he quit all these years. He
he didn't have the slightest connection with him. He never
dreamed that they'd seek him out again, and had.

Speaker 1 (04:17:32):
Expected they wanted something from him. Huh, something that he
could get for them easier than anyone else could.

Speaker 35 (04:17:40):
Well, they found out where I was working. They knew
that doctor Vargus was conducting important experiments, and they made
my brother a proposition. Either he was to make me
give him the Vargus formula or he was to be
the execute Oh can't you see why.

Speaker 1 (04:17:59):
I'm the word, especially since the formula di you gave
your brother to pass along was a phony.

Speaker 19 (04:18:04):
That's right.

Speaker 35 (04:18:07):
I couldn't give him the real one, not even to
save his life. I I simply couldn't. So I copied
things from papers the doctor had thrown away a little
bit of each of the score of discarded papers. I
thought it would work, that I'd fool them. Lewis doesn't know.
He took it from me, said goodbye.

Speaker 1 (04:18:26):
And you haven't seen him since. Did he tell you
where he was bringing the supposed formula who he was
giving it to?

Speaker 35 (04:18:34):
He said, I'd be safer if I didn't know. He
merely said that he was going to meet a man
who had been one of the Cleverest agents for years,
one of the most important men in the organization.

Speaker 11 (04:18:46):
It must be him, it must be Batty.

Speaker 4 (04:18:49):
Well, what makes you think so?

Speaker 35 (04:18:50):
Why else would he follow me? Why else would he?

Speaker 1 (04:18:53):
Where are you're going to look out the window? No, Jeane,
get away from that window. I just wanna see if
somebody's been playing Fourth of July with a high powered rifle.
This is no time to stand near.

Speaker 55 (04:19:07):
Get down, Jean, gee, Jean, oh, hello, welcome home again.

Speaker 1 (04:19:32):
Come in, mister Templar, Come in, sir. Some day I'll
open the door of my apartment, walk in and h
This time you wren't quite so neat about it, Fatty.
The name is.

Speaker 44 (04:19:42):
Uchabald, And this time, mister temple Rick was someone else
someone would deplorably. Missay Habits, who such your apartment? You've
been to the hospital? Yes, Miss Fernandez as she'll live?
How about her brother will?

Speaker 1 (04:19:54):
He's still in the common. And I suppose we discuss
Roland p Archibald and what brings in here this time,
my dear sir, the formula and that's no Rowland, not
the formula. I'm certain Doctor Vargus must have told you
by now.

Speaker 19 (04:20:07):
That the formula.

Speaker 1 (04:20:07):
Why should she tell me anything? Because of what you are, Roland.
Something had been stolen from a laboratory, so you set
out to bring it back. That's your job. We're both
on the same team.

Speaker 44 (04:20:18):
But my dear Templar, I'm the villain in this opera
and the fellow who swore that he'd have your life.

Speaker 1 (04:20:23):
Remember your cover you were making like the criminal element
as a cover up. You're a counterintelligence agent, am I?

Speaker 4 (04:20:31):
Yeah.

Speaker 1 (04:20:31):
I began to get on to you into what part
you were playing in this drama, and I called on
Vargas this morning.

Speaker 19 (04:20:36):
Hmm.

Speaker 1 (04:20:37):
She was expecting me, and the only one who could
possibly have told her that I'd be dropping in was you.
And so the doctor is doing important work. She's been
security checked from here to Sunday. So since you're playing
ball with her, you must be playing for the home team.

Speaker 44 (04:20:52):
Have you anything at all that might help us find
out who pressured Finandas to go after the formula.

Speaker 1 (04:20:56):
He's the same man who's been shooting off his rifle.
If we could only find out who I know who
he is, you'll do sure. Fernandez gets the formula from
his sister, goes to deliver it, has a few unpleasant
words with Uncle Joe's one man spy ring, and they
start fighting with guns.

Speaker 44 (04:21:12):
My new suit is a casualty, and so was Fernandez.
But he managed to get away and come to us.
He's been in a coma ever since. Keeps muttering your
name and the words in the pocket, in the.

Speaker 1 (04:21:24):
Pocket which led you to me, and the pocket I
was wearing instead of the pocket of the new suit
that was hanging in the shop with my name on it,
would you mind explain? Fernandez wasn't sure he'd be able
to get away, so he hid the manilla envelope with
the formula in the pocket of.

Speaker 4 (04:21:38):
My new suit.

Speaker 1 (04:21:38):
Get Away. Get away from where in the tailor's shop
where he went to meet the spy. But why the
tailor's shop. Why because the spy has a cover identity too.
He happens to be in your hands, I was saying.
He happens to be a tailor, a taylor named Finley.

Speaker 12 (04:21:54):
Keep those hands up.

Speaker 1 (04:21:56):
A tailor named Finley who one day tells me he's
never heard of a man for Nande's and the next
day tells me an old customer named for Nande's is
called to claim the Minila envelope.

Speaker 12 (04:22:06):
You're very clever, mister Templar.

Speaker 1 (04:22:07):
But where did you come from?

Speaker 4 (04:22:09):
Just now?

Speaker 1 (04:22:09):
Where were you hiding?

Speaker 7 (04:22:10):
I was in the closet, fatty. You very rudely dropped
in here while I was going through mister Temples's things.

Speaker 1 (04:22:15):
Just before, still looking for that allusive Manila envelope. A finley, yes,
but the search seems to be about over, mister Templar. Sir, oh,
I know what you're going to say. It's worthless. Don't
waste your words, your last words.

Speaker 12 (04:22:31):
Just take the envelope out of your pocket and hand
it over if you insist, and I see that you do.
Care very careful. Now, something is funny.

Speaker 44 (04:22:40):
Yes, I was just thinking, wouldn't it be amusing if
when he reached into his pocket instead of bringing out
an envelope, he brought out a gun.

Speaker 12 (04:22:47):
He wouldn't live long enough to point it. You will
have a gun, Templar, A gun?

Speaker 19 (04:22:53):
Oh?

Speaker 4 (04:22:54):
Why of course not.

Speaker 12 (04:22:55):
Wait, stay just as you are, Templar.

Speaker 7 (04:22:57):
I'll take the envelope from your pocket myself, playing cagey
in my profession, which pocket this one.

Speaker 44 (04:23:05):
Oh that's splendid, mister Templar, splendid, splendid. You must teach
me that kick trick sometimes. And the knockout punch was magnificent.

Speaker 18 (04:23:20):
Oh.

Speaker 1 (04:23:20):
I enjoyed it, thank you, And I don't think you
enjoyed it nearly as much as I did. In fact, Fatty,
I'm a little sorry it's over.

Speaker 44 (04:23:27):
Oh, mister Templer, for the last time, the name is yes,
never mind, I think you've earned the right to call
me fatty.

Speaker 4 (04:23:47):
You have been listening to.

Speaker 74 (04:23:48):
Another transcribed adventure of the Saint, the robin Hood of
Modern Crime. Now Here is our Starvncent Price. Ladies and gentlemen.
In tonight's cast you heard Patricia Jeffson as Gene and
Bill Conrad is Archibald. Jack Moyles was Finley Whitfield Connors
Murphy Sam Edwards played Gus and Jody Gilbert doctor Varges.

(04:24:10):
This is Vincent Price, inviting you to join us again
next week at the same time for another exciting adventure
of the Saint.

Speaker 4 (04:24:17):
Good Night the Night.

Speaker 74 (04:24:35):
Script of the Saint was written by Michael Cromwell. The Saint,
based on characters created by Leslie Chatteris is a James L.
Sethier production and is directed by Helen Mack. Vincent Price
is soon to be seen co starring with Errol Flynn
and Michelin Prell in William Marshall's production of Bloodline. All
you Saint fans will be glad to know that the
Saint comic books are on sale at all new stands.

(04:24:56):
Your an answer is Don Stanley Free Chi Times mean
good Times. On NBC, there's fun today in Every Sunday
with two of your favorite families. On NBC, there's the
Blandings family with more perplexing adventures in their famous dream house,
starring Carry Grant and Betsy Drake as mister and Missus Blandings.

(04:25:17):
And Sunday also means the Harris Family with Frankie Julius
and all.

Speaker 1 (04:25:20):
The other favorites of the Phil Harris Alice Face Show.

Speaker 74 (04:25:23):
And Today here Julie Holliday, Jimmy Durandy, Carmen Miranda on
The Big Show on NBC.

Speaker 7 (04:25:28):
They say that everybody has a double. It's somewhere in
the world there's someone who looks and acts just like you.
Sometimes it leads to minor complications, sometimes to embarrassment, but
in this instance, it leads to the most dramatic moment
in the lives of four people. Listen to the story
of the Prodigal Sun on theater five.

Speaker 30 (04:26:02):
Oh not again, get him stuck ten miles out of nowhere,
there was a gas station and had this heap.

Speaker 10 (04:26:24):
Of only May.

Speaker 4 (04:26:28):
Had a baby.

Speaker 15 (04:26:30):
He'd gone, good girl. You didn't let me down, Hoady.

Speaker 11 (04:26:44):
Hey, you were sure having trouble and I was watching.
I didn't think it'd make it frankly needed, did I?

Speaker 4 (04:26:50):
Oh, you was lucky.

Speaker 7 (04:26:52):
There ain't another gas station between here and Rutland. You'd
have got stuck in the mountains. Then you'd have really
been in trouble.

Speaker 4 (04:26:58):
Yeah, I'm lucky.

Speaker 7 (04:27:00):
Can you get this heat back in operation?

Speaker 4 (04:27:02):
Come on out, stretch your eggs.

Speaker 7 (04:27:04):
And I opened the hood and look, might as well say, say,
I couldn't see it inside the car. You're Kenny, canny brunner.
It must be four or five years since you've been home.

Speaker 4 (04:27:18):
I'm home. The name is Jack.

Speaker 7 (04:27:20):
Robins, and I've never been in this part of the
country before. Don't cry kidding an old man, Kenny, I
have no juice since you was a baby.

Speaker 4 (04:27:28):
Say your power.

Speaker 7 (04:27:30):
Sure, welcome the sight of you. Look, mister, it's late.

Speaker 5 (04:27:32):
I'm tired.

Speaker 7 (04:27:33):
I don't know what you're talking about, but it's a
sure thing you're getting me confused with somebody else.

Speaker 4 (04:27:37):
Would you mind fixing my car? I want to get
along Canny Brunner. You know for a fact he cheged
a little, but not much. Knock off the games and
look at the car.

Speaker 33 (04:27:47):
Please. Hey, this ain't the car you had.

Speaker 4 (04:27:53):
When you left home, Kenny.

Speaker 33 (04:27:55):
Whatever happened to that car?

Speaker 4 (04:27:58):
Oh? My, this car pretty much shot, I can tell you.

Speaker 7 (04:28:01):
Look, mister, don't put me on with that Kenny routine.
All I want to know from you is whether you
can fix my car, and I sort'll run you always
was a kid of Kenny. Sure I can fix your car,
but not tonight. I have to get parts from the
dealer that's in Rutland. Tomorrow morning. You will have to
put up somewhere. So why don't you just go on home?

(04:28:25):
Shame for you, young fellow to stay away from home
and his mind so sick. Luck mister, I know somebody
else was sick if there was another station.

Speaker 4 (04:28:32):
Not taking my car there? But I'm stuck with you.

Speaker 7 (04:28:35):
Okay, get my car fixed? Where can I put up
around here a hotel?

Speaker 4 (04:28:39):
I mean you plan to stay overnight in a hotel.

Speaker 38 (04:28:43):
MM.

Speaker 7 (04:28:44):
There's only one hotel in town on Maine right off me,
but you can't miss it straight down this street. Okay, thanks,
have your car for you in the morning, say about noon.

Speaker 4 (04:28:54):
Thanks, let's say breed in this time. Jenny hit me
Harry Brunner right away?

Speaker 47 (04:29:07):
Abn?

Speaker 4 (04:29:07):
Thanks? Oh Harry Abner Davis?

Speaker 1 (04:29:15):
How are you?

Speaker 33 (04:29:15):
Harry?

Speaker 10 (04:29:15):
Ah?

Speaker 19 (04:29:16):
Alright?

Speaker 4 (04:29:17):
How was the missus? Harry?

Speaker 7 (04:29:17):
Hope she's tolerable. I'm afraid she's about the same. I'm not, uh, Harry,
I got some surprise and news for you. You know
who come into the station not more than a half
hour ago.

Speaker 4 (04:29:27):
Harry, it's your boy Kenny.

Speaker 18 (04:29:30):
Hello, Hello, Harry.

Speaker 1 (04:29:32):
I yes, no I I he you said, Kenny.

Speaker 7 (04:29:36):
In the flesh Harry, And he's putting up the hotel
and Harry the strangest thing. And he made out he
didn't know what I was talking about when I called
him by name. Say, Harry, you think maybe the boy
has uh amnesia?

Speaker 4 (04:29:51):
You meat about things like that?

Speaker 10 (04:29:52):
Harry?

Speaker 4 (04:29:54):
Well, why don't you say something? I I ha much pride.

Speaker 47 (04:29:59):
You'll let me know.

Speaker 4 (04:30:00):
What are you gonna do? Henry. Hello, Hello, Hello, Jenny,
I lost my connection.

Speaker 47 (04:30:10):
Oh you didn't that? But he hung up?

Speaker 15 (04:30:12):
He hung up?

Speaker 4 (04:30:14):
What do you know?

Speaker 10 (04:30:22):
Come in?

Speaker 7 (04:30:25):
Yes, I'm uh Harry Brenner, Kenny's father. Oh now look, oh,
I know you're not Kenny. He he left here five
years ago. But you do look enough like.

Speaker 42 (04:30:37):
Him for people to make the mistake.

Speaker 7 (04:30:40):
Well like as it must have been a disappointment that
you're looking forward to seeing your son and finding a stranger.
Oh no, mister Robin, there's no disappointment to me. I
knew I could never find Kenny waiting for me cause
Kenny's dad. Oh, I'm sorry, uh two years ago. I'm sorry,
but I don't understand if if they knew he's dead,

(04:31:03):
how could they think that I read?

Speaker 5 (04:31:04):
Or No, I'm the only one who knows.

Speaker 7 (04:31:08):
Well, why did you come to satisfy your curiosity? Partly
I wanted to see how closely someone could look like
my son, and I I thought perhaps, Yes, she thought,
mister Robins, I'm.

Speaker 4 (04:31:23):
The only one who knows Kenny is dead. Not even
his mother knows. Well, how can his mother?

Speaker 7 (04:31:26):
And my wife has been ailing for a long time.
It's Robins, and now it's a. It's a terminal illness.
Her life has numbered in weeks, perhaps in in days,
and all that tall that time, she's gone on firmly
believing that her son was alive. It I had h
made the pain endurable? Or how could you possibly keep
up the illusion? Didn't she want to hear from me?

Speaker 33 (04:31:49):
Or she heard from him?

Speaker 7 (04:31:51):
I used, Oh God, forgive me. I use the fact
of her failing sight as the means of keeping the
illusion alive. I read his LUs to her, the ones
you wrote.

Speaker 4 (04:32:03):
The ones I wrong.

Speaker 7 (04:32:05):
Oh it's a heartbreaker. Al right, mister Brunner. I I
feel sorry for him.

Speaker 1 (04:32:09):
Well, now you're very kind.

Speaker 7 (04:32:12):
That's why I've hear I can marry and talk to you.

Speaker 33 (04:32:15):
May make a deal with you.

Speaker 7 (04:32:17):
The deal will that you help me for the time
that's left to keep the illusion alive, bring it to life,
that that you'll be my son.

Speaker 4 (04:32:25):
You can't be serio it to me to.

Speaker 7 (04:32:27):
Look my My wife is bedridden and a state between
waking and sleep.

Speaker 5 (04:32:30):
A great part of the time.

Speaker 7 (04:32:31):
She can't can make out shatters, but she can't distinguish
anything sharply in the voice. With her desire to see him,
the voice will be his, but Uh, all the memories,
the childhood, the thing's shared between mother and son. I
I couldn't possibly get by, mister Brunner. It's it's too
far out. I can tell you things, and even there

(04:32:53):
it isn't the same. And you don't have to say
much to her, no one that you're there when you
want to believe, mister roper Ones, you will believe. My
wife will believed that her son is alive and home
to be with his mother.

Speaker 4 (04:33:05):
She'll be able to t to die happy.

Speaker 7 (04:33:09):
I'm prepared to give everything I can accomplish that, but
you mean every one. I wouldn't expect you to do
it merely as a favor. I know you have to
make a living. I know there are all kinds of
things you're concerned with. I'm prepared to make it worth
your while. Uh A hundred dollars a day? A hundred
dollars a day? Yeah, well, alright, mister Brunner. I I

(04:33:31):
can't be the hypocrite and say I'll do it because
I feel sorry for you both. I mean I do,
But as you said, mister Bunner, I have to make
a living, and I've been making a pretty poor one.

Speaker 4 (04:33:41):
So let's take the business proposition.

Speaker 7 (04:33:43):
Keep it clean, cut that way, and I'll genuinely try
to fulfill my part of the bargain. You'll keep me
on the line so I don't give it away. Oh,
I'll have you done, then shake on it.

Speaker 19 (04:33:56):
Hy.

Speaker 7 (04:33:57):
Alright, Kenny, let's go home.

Speaker 4 (04:34:02):
You're right y, mar I was waiting for you, m.

Speaker 19 (04:34:31):
Kenny.

Speaker 10 (04:34:33):
You uh, you call me mar?

Speaker 4 (04:34:36):
Yes, your pillows? Alright, you wanna drink of water.

Speaker 11 (04:34:39):
I'm comfortable, dear. I just wanted to know you were here.

Speaker 4 (04:34:45):
You know I'm here, ma.

Speaker 11 (04:34:48):
He's have been the happiest two weeks of my life.

Speaker 50 (04:34:52):
To have taken a leave of absence from a good job,
travel three thousand miles because because you knew it would
make me happy.

Speaker 4 (04:35:04):
I I couldn't come before. You know that, of course, Kenny.

Speaker 12 (04:35:09):
I've never blamed you for a moment.

Speaker 11 (04:35:13):
So wonderful, How well you're.

Speaker 50 (04:35:14):
Doing at your job, all those letters, so considerate, so thoughtful.
You're an executive. Your pos says she'll be a big
man some day. A what's the word tycoon?

Speaker 4 (04:35:33):
Well maybe that's a little too thick.

Speaker 11 (04:35:35):
I always knew you'd be a success. When you were home,
you were unhappy.

Speaker 4 (04:35:42):
No, I wasn't.

Speaker 11 (04:35:44):
Oh, there's no need to pretend. Now I must tell
you the truth.

Speaker 50 (04:35:51):
I used to be so worried about you, I said
to myself, Kenny has to find himself, that's all. But
at night the sleep wouldn't come worrying. But now you
full filled every dream I ever had for you. It's
like like having a brand new son.

Speaker 4 (04:36:14):
What do you mean a a brand new son?

Speaker 50 (04:36:18):
I mean you've been alive in my memory. I saw you,
heard you all so clear. But this, this is better,
better than anything I could remember.

Speaker 4 (04:36:34):
Ay you alright, I'm tired.

Speaker 11 (04:36:38):
I think i'll sleep now.

Speaker 50 (04:36:41):
Alright, Ma and Kenny Yre's Ma, thanks for what, mar
for everything.

Speaker 4 (04:36:53):
There's nothing to think.

Speaker 11 (04:36:55):
Come in again later, of course.

Speaker 7 (04:37:08):
Uh, wat's the matter, Kenny, Kenny, that's the matter, mister Brunner.

Speaker 4 (04:37:13):
I I can't take it anymore.

Speaker 7 (04:37:15):
But why, h don't understand? What?

Speaker 4 (04:37:18):
What?

Speaker 7 (04:37:18):
Don't you understand that for the first time in my life,
I've been treated like a son. All of a sudden,
I I I find it can be real, a home word,
softly spoken and meant. And in the middle of all
these real things, here am I a fake?

Speaker 4 (04:37:35):
A fake? O? No, no, you're not a fake.

Speaker 7 (04:37:38):
I've You've done a wonderful thing to make a human
beings last day's happy.

Speaker 4 (04:37:42):
At a price.

Speaker 7 (04:37:43):
Don't forget that, Kenny Jack. I made the offer of
my own free will. What was wrong with you being
able to use money. I've lived here in your house
in the past few weeks and my eyes are open.

Speaker 4 (04:37:54):
You're not rolling in wealth either.

Speaker 7 (04:37:56):
What are you doing, dad, bankrupting yourself to pay me
to make your wife's last days happier? Oh, my wants
are provided for. I have pension and it'll see me too,
very well.

Speaker 33 (04:38:09):
When I.

Speaker 4 (04:38:11):
Well, when I'm along.

Speaker 1 (04:38:13):
Then who am I in this?

Speaker 4 (04:38:14):
Just? Uh?

Speaker 7 (04:38:14):
An interested bystander raking it in while you shell it out.
I always figured myself for a pretty tough cookie, but
it's a little too much even for me.

Speaker 4 (04:38:23):
Think of what you're doing for her. A lie is
still a lie.

Speaker 7 (04:38:27):
And the kind of person your son must have been
what I've heard about him a decent, fine, honorable, a
hero practically from what I can put together, And I
can't measure up. I can't look at her eyes and
keep on lying. I went out, mister Brunner. Now alright,

(04:38:50):
I uh, I understand, pay me what I'd earned the
kind of jobs I've been able to land twenty bucks
a day.

Speaker 4 (04:38:59):
Figure it a hundred boks a week that much. I
need my car's shot.

Speaker 7 (04:39:04):
I need one to get around on all the original agreement.
What I offered, Look just what I ask no more,
and tell her I just got a wire. They needed
me back at the job, an urgent situation. Only I,
the big executive, could handle it to She'll understand, all right,

(04:39:26):
and tell her I'll I'll always remember her with love.

Speaker 4 (04:39:30):
I will now get my things together and go.

Speaker 7 (04:39:33):
And I kind of happy of it, sir, Uh, I
got the door.

Speaker 5 (04:39:37):
No let me.

Speaker 4 (04:39:38):
My last role is a dutiful son.

Speaker 11 (04:39:44):
Hello else?

Speaker 4 (04:39:45):
Did you wish to see someone? Miss I?

Speaker 11 (04:39:49):
But you can't be.

Speaker 7 (04:39:54):
Kenny? Well, a fella can change in five years, you
know it's it's it been that long.

Speaker 4 (04:40:00):
Uh, come in.

Speaker 15 (04:40:02):
I don't understand, Kenny, I'd been away.

Speaker 4 (04:40:06):
You know.

Speaker 7 (04:40:08):
It isn't real to can't well pinch me and see
Kenny in the flesh.

Speaker 19 (04:40:16):
What's the matter?

Speaker 4 (04:40:17):
Can't you believe it?

Speaker 1 (04:40:18):
Mister B told me Kenny was that two years ago? Look, I.

Speaker 47 (04:40:27):
Why what's happening?

Speaker 11 (04:40:31):
Tell me?

Speaker 19 (04:40:31):
Please?

Speaker 15 (04:40:32):
I don't understand.

Speaker 7 (04:40:33):
No, no, no, don't cry, now say it's just that
I Kin never thought you'd be back here again. I
am glad you were making a new life for yourself
up in the Capitol, and I I was glad for here.

Speaker 4 (04:40:43):
Why why are you here?

Speaker 34 (04:40:46):
A friend of mine phoned from town here we keep
in touch sometimes, and she told me you your.

Speaker 5 (04:40:52):
Wife is dying.

Speaker 7 (04:40:53):
I came down to see her once more, and and
then here at the door of facing.

Speaker 11 (04:40:59):
Facing me Kenny.

Speaker 28 (04:41:02):
Would it can't be Kenny, Kenny and Denny.

Speaker 5 (04:41:08):
Eventhy you couldn't be so cruel?

Speaker 4 (04:41:11):
How could I be cruel to you?

Speaker 2 (04:41:13):
Nancy?

Speaker 7 (04:41:13):
I loved you as if you were my own daughter,
You who had enough cruelly to keep you for the
rest of your life? Kenny his dad Nancy Hell years ago?

Speaker 50 (04:41:24):
Then what terrible masquerade are you playing here?

Speaker 11 (04:41:29):
He looks enough like him to be Kenny?

Speaker 34 (04:41:33):
But how can he fool anyone who really knew Kenny,
not just the outside of the inside kinda.

Speaker 7 (04:41:38):
But my wife fail and saw at her side, practically
gone and wanted and saw the believe him. I think
we pulled her and we met her happy. Who with
the enactor?

Speaker 19 (04:41:49):
Who a am I?

Speaker 4 (04:41:50):
That's a good question.

Speaker 7 (04:41:51):
By his name is Jack Robins, and he was just
passing through his resemblance to Kenny.

Speaker 4 (04:41:56):
Struck some of the.

Speaker 7 (04:41:57):
Folks here and they called me, thought it was Kenny
come home. The rest Well, you can grasp that it.
It's a fine thing he's done.

Speaker 11 (04:42:05):
Thank you for that jacket.

Speaker 4 (04:42:07):
Oh stop at the both of you. How can I
compare with him?

Speaker 7 (04:42:10):
You who both loved him admired him?

Speaker 4 (04:42:12):
Him?

Speaker 3 (04:42:13):
Uh?

Speaker 4 (04:42:14):
Oh, we both loved him.

Speaker 7 (04:42:15):
I loved him, but I never admired him.

Speaker 11 (04:42:18):
I couldn't help my feeling.

Speaker 35 (04:42:19):
Love isn't the thing you explained.

Speaker 4 (04:42:21):
But all the time, right from the first time, knew
what kind of man he was.

Speaker 11 (04:42:24):
He was nothing to admire.

Speaker 18 (04:42:27):
I'm sorry, mister Bunnett, It's true.

Speaker 4 (04:42:29):
I know it. Nanci, my son wasn't much of a man. Jack.

Speaker 7 (04:42:33):
He was and considered of other's feelings. He was selfish,
he was cool, out from him self, and willing to
destroy whatever was in his way. He died in a
senseless brawl, had no meaning, just as his life had
no meaning.

Speaker 4 (04:42:50):
Oh, I'm sorry, I'm truly sorry. I I didn't know,
and I'm glad you know all the truth now.

Speaker 7 (04:42:56):
It helped me to see you berate yourself for hipocracy,
feeling you couldn't measure up to Kenny, when all the
time I knew that, H Well, I I'd be proud
I had you for my son.

Speaker 4 (04:43:10):
Thanks, mister Brenner.

Speaker 7 (04:43:13):
You know, I almost said dad again and it felt
natural on my lips. Strange thing, Nancy, I've been pretending
that I i'd come home, and you know, I feel
that I really.

Speaker 4 (04:43:26):
Have not Kenny but me, Jack. Come home. What you
gonna do now?

Speaker 5 (04:43:33):
JACKI?

Speaker 33 (04:43:34):
Uh, you got a job waiting for you someplace?

Speaker 4 (04:43:37):
Oh, nothing definite.

Speaker 7 (04:43:38):
The guy told me they're hiring at a big plant
just open, and I figured I might get a chance
on the production line.

Speaker 11 (04:43:44):
The job situation in Capital City is pretty good.

Speaker 4 (04:43:48):
They're putting up these big industrial parks.

Speaker 11 (04:43:50):
There should be a lot of hiring.

Speaker 4 (04:43:52):
When I go back, I i I can find out.

Speaker 5 (04:43:56):
It might be.

Speaker 4 (04:43:59):
Interesting to find out.

Speaker 11 (04:44:02):
Yes, Uh, I I think I'll be needing me.

Speaker 4 (04:44:08):
Only not yet.

Speaker 10 (04:44:09):
Right now.

Speaker 4 (04:44:10):
I'm still needed here.

Speaker 7 (04:44:14):
Don't bother about my bags, Dad. I'll still be sleeping
in my room tonight.

Speaker 19 (04:44:21):
Uh.

Speaker 4 (04:44:22):
You go to stay.

Speaker 19 (04:44:24):
Well? Uh? Jack?

Speaker 7 (04:44:27):
Later on, when you do go your well, you let
me hear from you. You know when I'm uh alone.
I'd like to feel I have a a friend and
like to feel you can call us camp a second home.

Speaker 4 (04:44:42):
Of course, I think I've found a friend.

Speaker 7 (04:44:45):
To Nancy, Yes, Nancy, I'm sure missus Brunner would like
to see you and me, would you, of course come
in with me and say hello to.

Speaker 76 (04:45:16):
Theater five has presented The Prodigal Sun, written by Max
Burton and directed by Warren Somerville. In the cast Cliff Carpenter,
Ian Martin Ethel Everett, Johan Loring and Jackson Beck.

Speaker 33 (04:45:29):
Audio engineer Bill.

Speaker 7 (04:45:30):
Sand Reuter, sound technician Ed Blaney, script editor Jackson Wilson.
Original music by Alexander VLAs dot Senko Orchestra under the
direction of Glennasser. Executive producer for Theater five Edward A.

Speaker 19 (04:45:44):
Byron.

Speaker 4 (04:45:45):
We invite your comments write.

Speaker 13 (04:45:47):
To Theater five, New York, twenty.

Speaker 1 (04:45:49):
Three, New York.

Speaker 6 (04:45:56):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:46:17):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus it's where you can find the
Hope in the Darkness page. If you are someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weirddarkness dot com. I'm Darren Marler. Thanks for

(04:46:38):
joining me for tonight's Retro Radio, Old Time Radio and
the Dark

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Nobel Physicist Claims Husband Was Alien - Then He Turns Up Dead

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Nobel Physicist Claims Husband Was Alien - Then He Turns Up Dead