PARALLEL DIMENSIONS: Which World Is Real? Did He Murder His Wife or Didn’t He? How Can He Know?

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

Speaker 2 (00:13):
Oh Fantasy, you gonna thank some miss.

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

Speaker 4 (00:36):
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.

Speaker 7 (01:29):
Dark, the CBS Radio Mystery Theater Presents.

Speaker 1 (01:50):
Come in.

Speaker 8 (01:52):
Welcome.

Speaker 9 (01:53):
I'm E. G. Marshall.

Speaker 10 (01:56):
Anger is a branch, and hate is a tree, and
prejudice and bigotry are the undergrowth and the brambles, and
they all form the forest, the unwholesome forest of intolerance.
And so far this is a forest that has always flourished.

Speaker 9 (02:17):
How well has.

Speaker 10 (02:18):
It been protected and preserved over the centuries? Yes, and
for how much longer?

Speaker 11 (02:26):
Hello, darling, Penelope, it's Penelope. Of course it's Penelope.

Speaker 4 (02:34):
But you're dead.

Speaker 9 (02:37):
Who says so, it's.

Speaker 4 (02:41):
Been in all the papers.

Speaker 11 (02:42):
Really, aren't you the one who says believe half of
what you see, a quarter of what you read, and
nothing of what you hear.

Speaker 4 (02:52):
But I went to your funeral.

Speaker 11 (02:56):
Well, if it really was my funeral, then obviously I
didn't stay put.

Speaker 10 (03:12):
Our mystery drama The Man who Couldn't Get Arrested was
written especially for the Mystery Theater by Sam Dan and
stars Fred Gwynn. It is sponsored in part by sign
Off the Sinus Medicines and Buick Motor Division. I'll be
back shortly with Act one. Society endures, which is not

(03:45):
to say it always will, But as of now, the
work of the world goes on. Most people can be
depended on to do their jobs. Most people accept their responsibilities.
Most people obey the law.

Speaker 9 (03:59):
And why is it morality? Is it citizenship?

Speaker 10 (04:05):
What keeps most people on the street and narrow? Our
little drama may cast a ray of light on the subject.
On the other hand, you may find yourself deeper in
the dark than ever. It is night, late at night.

Speaker 9 (04:28):
Yeah, what are you on, madam?

Speaker 12 (04:31):
Your science says ringing the bell at this hour.

Speaker 4 (04:34):
Your sign says rooms for random I.

Speaker 13 (04:36):
Thought you know what time it is.

Speaker 4 (04:38):
Oh, I apologize for lateness of the hour.

Speaker 13 (04:40):
I run a respectable place.

Speaker 4 (04:42):
I'm connistive it, ma'am. I wouldn't have rung your bell,
but I saw the light.

Speaker 9 (04:45):
On, and you, well, come on in, come on in.

Speaker 13 (04:47):
I have to catch my debt. Panning out here, jabbering,
thank you.

Speaker 9 (04:53):
Well you want a room?

Speaker 13 (04:55):
This one at the foot of the stairs, bathrooms at
the end of the hall.

Speaker 4 (05:01):
It's it's very nice.

Speaker 9 (05:04):
Yeah, well, so what do you want?

Speaker 14 (05:05):
A palace?

Speaker 13 (05:06):
It ain't but for twenty five a week, take it
or leave it.

Speaker 4 (05:10):
I'll take it in advance. Oh yes, of course, I'll
write your.

Speaker 9 (05:14):
Check a check. Huh.

Speaker 4 (05:16):
I'm accustomed to paying all my bills by check.

Speaker 15 (05:18):
I'll bet you are.

Speaker 13 (05:20):
Listen buster. First thing in the morning, I'm at the bank.
This thing bounces, you bounced right out after it, and
one thing I don't put up with here. Women in
the room. Run a quiet, respectable house.

Speaker 4 (05:32):
Oh yes, I approve. I'm actually a rather quiet person myself.
Missus mum heard, missus mumf yes, and my name is Conahan,
Hector Fremont Conahan.

Speaker 16 (05:43):
Well but it is.

Speaker 13 (05:45):
Where's your bags, bags, luggage, your belonging, just your your stuff?

Speaker 4 (05:49):
Oh are you on the lamb? I beg your pardon.

Speaker 13 (05:54):
I ain't running a high out. So if you're wrong
with the law you.

Speaker 4 (05:57):
Oh oh, I see what you mean. Oh, I assure
you like that. Yeah.

Speaker 17 (06:01):
Well what is it like?

Speaker 4 (06:04):
Well, I'm in Wall.

Speaker 13 (06:06):
Street, Yeah, I'm miss America.

Speaker 4 (06:09):
No, no, no, it's true. I'm a stockbroker.

Speaker 18 (06:11):
You sure sure?

Speaker 9 (06:12):
You're also millionaire?

Speaker 4 (06:14):
Yes, even with the depressed state of some of my holdings,
my net worth is in.

Speaker 13 (06:18):
The Yeah, well sotel Neybuster.

Speaker 4 (06:22):
My name is Hector.

Speaker 15 (06:23):
Yeah.

Speaker 13 (06:24):
So what are you doing in a fleabag like this?

Speaker 4 (06:27):
Why now, missus mumford, you underestimate the share beauty of
this building. Oh yeah, this is what's known as a
Madison Brownstone. So what which means? It's over one hundred
years old. You're telling me the last of them were
built in the eighteen seventies.

Speaker 13 (06:43):
No, no, which answers my first question question where's your belongings?

Speaker 4 (06:48):
Oh? Well, you see, I don't intend to live here
on a permanent basis. Yeah, don't you is ei? There
are times when I need solitude, intervals for meditation, contemplation,
self commune as it were. Yeah, and I do not
wish to be disturbed by my associates.

Speaker 13 (07:04):
Well, then why don't you go on up to the woods,
Melli and naire like you? You're gonna have one of
them home lodgers.

Speaker 4 (07:11):
That would not answer the purpose. You see, I must
be available for various business decisions at a moment's notice.
At this address. I am not more than five minutes
from my office my taxicab. And who would think to
look for me here?

Speaker 13 (07:22):
Well, each his own, as they say, good night.

Speaker 4 (07:27):
Yes, good night, yes, good night missus Mumford what a
perfectly horrid woman. But that doesn't matter. I must think,
I must think clearly, clearly. I must try to remember,

(07:49):
what's who? What's that?

Speaker 14 (07:52):
Hell?

Speaker 19 (07:54):
Who's that.

Speaker 9 (07:57):
Going to be killed?

Speaker 8 (08:00):
Who are you?

Speaker 9 (08:00):
I don't want to be cute?

Speaker 4 (08:03):
Who's speaking?

Speaker 20 (08:04):
Don't let me be cute. Who are you?

Speaker 8 (08:08):
Where are you?

Speaker 1 (08:09):
I don't want to die?

Speaker 4 (08:12):
Who is that talking?

Speaker 9 (08:14):
I never did anything from you're in this room? He's
going to kill me.

Speaker 4 (08:24):
Why can't I see you? Please stop him?

Speaker 1 (08:28):
He's going to cut me.

Speaker 8 (08:31):
Who are you? Where are you?

Speaker 21 (08:35):
What's going on?

Speaker 13 (08:36):
Nest?

Speaker 4 (08:38):
Who are you?

Speaker 20 (08:42):
Yes?

Speaker 8 (08:42):
Yes, yes? Yes?

Speaker 4 (08:43):
Just a minute?

Speaker 13 (08:46):
Okay, okay, Now what's happening?

Speaker 9 (08:49):
I don't know who's in this room with you?

Speaker 4 (08:52):
I guess nobody.

Speaker 9 (08:55):
What do you mean you guess nobody?

Speaker 4 (08:57):
Well, well, I don't see anybody.

Speaker 9 (08:59):
Do well, I ain't nobody in the room. Who you're
yelling at?

Speaker 4 (09:02):
I heard somebody who? It was a woman.

Speaker 13 (09:07):
I thought we'd laid down the ground rules here, no
women in the room.

Speaker 4 (09:11):
She was in the room before I got here.

Speaker 9 (09:13):
Oh, you're crazy.

Speaker 4 (09:14):
I heard her voice, Are you nuts or something? We'd
better call the police, scats before? She was calling for help?

Speaker 13 (09:21):
Who was calling for help?

Speaker 4 (09:23):
The woman in the room?

Speaker 9 (09:23):
Well, you said there was no woman.

Speaker 4 (09:25):
I said, I didn't see her, but I heard her
heard her distinctly. She's begging for help. Somebody's going to
murder her?

Speaker 9 (09:33):
And when was this?

Speaker 4 (09:35):
It was just now?

Speaker 13 (09:36):
Yeahs oh why don't I hear her.

Speaker 4 (09:38):
Well, let's just be quiet and listen.

Speaker 9 (09:42):
I still don't hear her.

Speaker 4 (09:44):
But it was just as planning.

Speaker 13 (09:45):
You sure you haven't been taking too much sauce.

Speaker 4 (09:48):
I tell you I heard her her voice. She's pleading.
She she doesn't want to be killed. She's she's begging
for help.

Speaker 13 (09:55):
All right, let's put a stop to this.

Speaker 22 (09:59):
Now.

Speaker 13 (09:59):
Look, is there anybody in this room any praise?

Speaker 23 (10:03):
I need help?

Speaker 9 (10:05):
Now he's there.

Speaker 1 (10:06):
Speak up, well, go ahead, speak up.

Speaker 21 (10:09):
Let's hear from you.

Speaker 13 (10:13):
Well you hear something, mister hect your carnahan?

Speaker 24 (10:19):
Yes or no?

Speaker 4 (10:20):
Well I did just before, I mean, right now, But
missus mumfort, I distinctly.

Speaker 13 (10:26):
Heard the carnahan.

Speaker 9 (10:27):
I don't rent a drunks.

Speaker 4 (10:28):
Missus Mumfort, I swear to you I'm absolutely sober.

Speaker 13 (10:31):
Oh well, then that's worse than I thought you might.
Bear in mind, I don't rent to nts either.

Speaker 9 (10:37):
Good night.

Speaker 4 (10:40):
But I heard it. I heard it. I heard a voice,
a woman's voice. Oh, I must think clearly, clearly.

Speaker 25 (10:49):
Please somebody help me.

Speaker 16 (10:53):
I don't want to die.

Speaker 4 (10:56):
No, it isn't true. It's my imagination.

Speaker 20 (10:59):
It is true.

Speaker 9 (11:01):
I never heard anyone. I do want to go.

Speaker 4 (11:08):
I have to think think, who are you?

Speaker 8 (11:16):
I'm getting out of here?

Speaker 16 (11:24):
What do you have?

Speaker 20 (11:26):
What?

Speaker 4 (11:27):
Oh?

Speaker 8 (11:27):
Uh? Where am I?

Speaker 4 (11:30):
Where are you?

Speaker 16 (11:31):
Well?

Speaker 4 (11:31):
Look, you have to ask.

Speaker 26 (11:32):
You don't have any business being in here.

Speaker 4 (11:34):
This is Harry's bar. Hell, I'll have a drink anything.
You're sure you can handle it. I'm fine, just just fine.

Speaker 17 (11:44):
You're an adoptive please.

Speaker 4 (11:48):
Bartender? Yeah, listen, don what?

Speaker 1 (11:52):
Don't let him kill me?

Speaker 4 (11:54):
Who wish? Who is that woman?

Speaker 22 (11:58):
What?

Speaker 4 (11:58):
Woman?

Speaker 17 (11:59):
Hi?

Speaker 21 (12:00):

Speaker 4 (12:02):
Don't you hear that woman?

Speaker 8 (12:03):
What are you talking about? Buddy?

Speaker 9 (12:05):
I'm going to be cute.

Speaker 4 (12:07):
That's what I'm talking about. Don't you hear?

Speaker 5 (12:10):
Listen?

Speaker 4 (12:10):
Friend, answer me? Don't you hear her? Friend? You better
not have one? You don't hear a woman? Why don't
you just go home?

Speaker 9 (12:18):

Speaker 4 (12:21):
Sleep it off? Don't you understand we have to help her? Yeah?

Speaker 17 (12:25):
Sure?

Speaker 4 (12:26):
Can we let a woman die?

Speaker 9 (12:29):
Why did you go home?

Speaker 4 (12:30):
You don't believe me? You're trying to hun I look, mister,
you think I'm a nut? Well, okay, read this my card?

Speaker 13 (12:39):
Look why don't you just.

Speaker 4 (12:41):
Just read my card?

Speaker 12 (12:44):
Hector framont conahean Okay, read the rest of it. Go ahead, Conahan,
Dale and Wolfstein.

Speaker 4 (12:50):
You see d NW one of the largest brokeres's friends
on the street. Yeah, sure, sure, you don't believe me.

Speaker 1 (12:55):
I believe you.

Speaker 4 (12:56):
I believe you. You can't treat Hector Fremont Connahan as
if you were some kind of nut who wanted in here.
Oh look all, I'm saying, par Is, you better not
have a drink. What are we going to do about her?

Speaker 16 (13:08):
Her?

Speaker 4 (13:09):
The lady who who is going to die if we
don't help her friend? Just take a walk. You're going
to let that woman die. There's a lot of women
in the world, one less. Is it really going to matter?
All right, I'll go, but I hope you can live
with yourself. The recent fall in the prices precious metals

(13:37):
should not tempt the prudent investor in the thinking he
can get in on the ground floor. Hector, Am I
interrupting anything?

Speaker 22 (13:44):
Oh?

Speaker 4 (13:45):
Certainly not there. I'm just doing my market letter.

Speaker 12 (13:47):
Oh where were you last night?

Speaker 8 (13:51):
Last night?

Speaker 12 (13:51):
Yes, you and Penelope were supposed to have dinner with us,
will we? Well, of course, don't you remember?

Speaker 4 (13:57):
How would I know Penelope? And was all the social
engagements with her? Well Eleanor did yes, and what did
Penelope say?

Speaker 12 (14:04):
I don't know. She couldn't reach her. She'd been trying
to phone Penelope all day.

Speaker 4 (14:09):
Do you know where she is? Probably at the garden
club or the Woman's club. It's strange. Where were you
last night? Last night you were supposed to be at
our house, and when you didn't show up, we kept
calling and calling. As far as I can tell, we
went out to dinner. If it was supposed to be
at your house, then signals across. Let's see afterwards we

(14:30):
went home. Why, what's the matter? The matter? Well, you
have a rather strange look in your face. Down, we'll
tell you the truth. I here, Hector, there's a.

Speaker 8 (14:45):
Yes, what is it?

Speaker 12 (14:47):
There's a woman in my office.

Speaker 8 (14:49):
Yes, and.

Speaker 4 (14:52):
She told me a rather unbelievable story.

Speaker 8 (14:56):
Yes, but what but you not me?

Speaker 20 (15:00):
Yes?

Speaker 12 (15:01):
Her name is mumpt missus Marguerite Mumport. You Noah, Marguerite Mumford.

Speaker 4 (15:10):
Never heard of the woman in my life? Well let
me tell you what she said. Well we know what
she said.

Speaker 10 (15:23):
So this is as good a time as any to
take our usual intermission. At any rate, we have presented
you with two Hector Fremont Carnahan's one, the impressionable and
frightened man who hears voices, the other the hard headed,
no nonsense man of business.

Speaker 9 (15:41):
Which one is he?

Speaker 19 (15:42):
Really?

Speaker 4 (15:43):
He could be either neither or both. Act two very shortly.

Speaker 10 (15:59):
There are voices in the night, voices in the starry stillness,
Voices that whisper secrets, voices that cannot be still, voices
that laugh, sing, cry, voices that tell of love and joy,
voices that speak of death. And Hector Fremont Carnahan is

(16:23):
hearing voices?

Speaker 4 (16:25):
Or is he? Then I'll send her on our way
just a minute. What's this all about?

Speaker 10 (16:31):
Why?

Speaker 4 (16:32):
I don't know.

Speaker 12 (16:33):
It's probably a confidence racket of some kind.

Speaker 4 (16:35):
Now, I insist they'll explain it. Well, it beats me.

Speaker 12 (16:39):
Come into my office, missus muffle.

Speaker 13 (16:44):
Oh wow, good morning, mister Carnahan.

Speaker 8 (16:48):
Do you know me?

Speaker 4 (16:49):
Madam?

Speaker 13 (16:49):
We'll sure from where mister Gahan?

Speaker 9 (16:55):
You don't remember me?

Speaker 4 (16:57):
How could I remember you if we never met?

Speaker 20 (16:59):
Oh?

Speaker 4 (17:00):
Oh, it's worse than I thought, madam. Statue of business.

Speaker 9 (17:04):
Well, I don't know where to begin.

Speaker 13 (17:07):
You came around to my rooming house on Hudson Street
late last night.

Speaker 4 (17:11):
Whatever would I be doing on Hudson Street near the waterfront,
especially late at night.

Speaker 9 (17:15):
Well, sir, that'll be your affair. You rented a.

Speaker 8 (17:19):
Room, room whatever.

Speaker 13 (17:21):
Boy, Well, I can only tell you what you said.

Speaker 9 (17:23):
You said you needed it for.

Speaker 13 (17:27):
Intervals of meditation?

Speaker 4 (17:31):
Was it contemplation?

Speaker 9 (17:33):
And I guess it was communion.

Speaker 4 (17:36):
I said that, yes.

Speaker 13 (17:37):
Sir, and you paid me one week's rent in advance,
twenty five dollars. You wrote me a check and I
took it to the bank this morning, and I asked
the sad good and they said, well, as good as gold.

Speaker 4 (17:48):
Let me see that. Look at this deal, is it?
It appears to be your signature exactly. It's a very
clever forgery and i'd better destroy this.

Speaker 13 (18:00):
Well you it was not me, Oh, yes, sir, but
I had to go along with the idea it was you.
You see, he was acting very well, very strange in
what way?

Speaker 9 (18:15):
You were hearing voices? Yeah, a dame woman?

Speaker 4 (18:21):
What sort of woman?

Speaker 13 (18:22):
A woman who was calling for help? Well, because someone
was fixing the.

Speaker 27 (18:28):
Killer who well, I don't know.

Speaker 9 (18:30):
I didn't hear her.

Speaker 13 (18:31):
You're the one who claimed you heard, but it wasn't me.

Speaker 1 (18:34):
Well, what do you want from me?

Speaker 20 (18:36):
Oh?

Speaker 9 (18:38):
Ten o'clock not a guy. He's the image of you.

Speaker 13 (18:40):
He rings my bell, he rents a room, It gives
me a check for a week in advance, and then
he starts screaming to here some dame who's in trouble. Well,
I figure this guy has got.

Speaker 14 (18:49):
To be sick.

Speaker 13 (18:51):
Well I find out he's a big Wall Street businessman.
I say, well, why don't I go to this guy's office?
Oh look, I no angel of mercy. I had an angle.
I figure maybe the guy's partners or somebody who had
slipped me a couple of bills from my trouble.

Speaker 9 (19:08):
Well, well, well it's worth it aint it.

Speaker 4 (19:09):
Yeah, you did the right thing, missus Mumford. Yes, thank you.
So there's an impostor.

Speaker 13 (19:14):
Oh, I'll tell you that guy who's the speaking image
of you, just like you had a twin brother.

Speaker 4 (19:19):
Thank you for your trouble, Missus Mumford, and his twenty
five dollars at the man who was supposed to have
paid you and something for his health.

Speaker 13 (19:27):
Oh well, thank you. Oh goodbye, sir, goodbye.

Speaker 12 (19:36):
So someone's going around claiming to be you, Hector, what's
the fellow after?

Speaker 4 (19:42):
Do you suppose I could see where someone might use
my name to steal service at a luxury hotel, but
for a dive on the waterfront.

Speaker 12 (19:49):
Oh, excuse me, Hector, Yes, I'll put her on.

Speaker 4 (19:55):
Is that my wife?

Speaker 12 (19:56):
No, no, it's mine Eleanor uh huh No, I just
spoke to Hector. He doesn't know about the dinner date
last night. Oh, he doesn't know what Penelope is either. Dear,
I'm sure there's an explanation. Well, all right, all right, goodbye.

Speaker 4 (20:20):
She's been trying to reach Penelope. Oh, I'm sure this
summer explanation. We'll get it all sorted out when I
see Penelope tonight. The recent fall in the prices of
precious metals should not no, no, no, no, no strike that
I've already said. I've been saying it all day. I

(20:45):
have to think. I have to think clearly, clearly. It's
six thirty. What's happened at the time everyone's gone. I
have to think I'm slipping slipping again, Victor. Dear Penelope,
well what is it?

Speaker 19 (21:05):
What do you look?

Speaker 9 (21:06):
Because if you've seen a ghost, is it you? I'd
like to know who else it would be.

Speaker 4 (21:11):
Oh, Penelope, I had a dream, Yes, a terrible dream.

Speaker 9 (21:16):
Oh well, if it was a terrible dream you'd better
forget it.

Speaker 4 (21:19):
No, no, no, no, no, I have to tell it to you.

Speaker 9 (21:21):
Whatever for I don't tell you my bad dreams.

Speaker 4 (21:24):
Well, that's because you never have any, Penelope. I look
at you now, I see how beautiful you are.

Speaker 9 (21:30):
Oh flattery, flattery, I.

Speaker 4 (21:32):
Love it, and how good you are?

Speaker 9 (21:34):
Well about that?

Speaker 4 (21:36):
Listen, listen and forgive me.

Speaker 9 (21:39):
Did you do something wrong?

Speaker 4 (21:40):
I dreamed I did something wrong.

Speaker 13 (21:43):
Well, Donna, you can't be held accountable for that.

Speaker 4 (21:46):
Well. I was jealous, jealous of what of whom Ben Wolston.

Speaker 9 (21:52):
Ben Wolston, whatever for?

Speaker 4 (21:56):
Well, I thought I thought you would fallen in love
with him, with Ben Wolston, and that you were having
an affair with Ben Wilson.

Speaker 9 (22:04):
With Ben Walston.

Speaker 13 (22:06):
But that's impossible.

Speaker 4 (22:07):
Well, when you're jealous, anything's possible.

Speaker 9 (22:09):
Ben Wolston.

Speaker 8 (22:11):
I was.

Speaker 4 (22:13):
So angry I decided to kill both of you.

Speaker 13 (22:15):
Oh you're kiddy.

Speaker 4 (22:16):
I'm telling it the way it happened.

Speaker 11 (22:18):
But Hector, dear, I've only known you to become passionate
over Stockton Bong.

Speaker 4 (22:22):
I don't show it, Penelope, but I love you very deeply.
I know that, darling, and the fact that you and
Ben were having an affair.

Speaker 9 (22:29):
Not only in your dreams.

Speaker 4 (22:31):
It became too much for me. You had made an
excuse that you had to visit a friend somewhere out
of town. But I knew that you and Ben were
going up to the lake house together.

Speaker 9 (22:42):
And did we yes?

Speaker 11 (22:44):
And did you surprise us in flag grante delicto, as
they say in the tabloid.

Speaker 4 (22:49):
No, not exactly. But you were both up at the house,
and so I sneaked in the study where Ben was reading.
Either he didn't see me or hear me. I got
very close to him and I shot him. You heard
the gun, and as you came into the room, I
shot you.

Speaker 9 (23:06):
Hector, how could you?

Speaker 4 (23:08):
I told you I was insane. I was crazy with.

Speaker 9 (23:10):
Jealous all right, darling, I forgive you.

Speaker 8 (23:13):
Well.

Speaker 4 (23:13):
Before I went up to the country, I was able
to get into Ben's apartment. I wrote a note on
his typewriter.

Speaker 9 (23:19):
I'd love to read it, and as near.

Speaker 4 (23:20):
As I can remember it, it was a suicide packed note.
He was supposed to have written that I wouldn't give
you a divorce, and so the two of you preferred
death to being apart.

Speaker 9 (23:30):
Oh you are a romantic darling.

Speaker 4 (23:32):
Yes, better to be together in death than separated in life, Darling.

Speaker 9 (23:38):
Word of this must not get around Wall Street.

Speaker 4 (23:41):
I left you and Ben in the note in the summerhouse,
and I came back to the city. Incidentally, did you
know we had a dinner day with the Dales.

Speaker 28 (23:48):
Oh?

Speaker 9 (23:49):
I knew I had forgotten something.

Speaker 4 (23:51):
I was in the daze. I went back to the apartment,
but I couldn't stay.

Speaker 9 (23:54):
I had too many memories of me. I suppose it
was dreadful.

Speaker 4 (23:57):
It was a voice sounded like yours, but I refused
to recognize it. And the voice kept begging for help,
imploring someone to save her from death.

Speaker 9 (24:07):
Oh, how dramatic.

Speaker 4 (24:09):
I ran out of the house. I ran and ran
down the deserted streets. The voice kept following me. I
suddenly found myself in a neighborhood near the docks. I
was frightened. I was exhausted.

Speaker 9 (24:20):
This would have been a good time to wake up.

Speaker 4 (24:23):
I saw a sign on a tumbel down building and
said rooms for rent, well any port in the storm.
I went in there some slattern over landlady rended me
a dreadful little cubicle. But your voice followed me there too, so.

Speaker 8 (24:37):
I ran out.

Speaker 9 (24:38):
Oh you poor darling into a bar.

Speaker 4 (24:41):
But your voice wouldn't let me be. Finally I woke up.
I was home in bed, and I remembered you were
spending the night at your mother's.

Speaker 10 (24:50):
How is she?

Speaker 9 (24:51):
Oh? She sends you her love the days.

Speaker 4 (24:53):
We want to know why we didn't have dinner there
last night.

Speaker 9 (24:55):
I wish I could come out with it and say
they bore me.

Speaker 4 (24:58):
Please don't.

Speaker 11 (25:00):
Well, I shall make up a most delicious excuse.

Speaker 8 (25:03):
Well, shall we go home to dinner?

Speaker 14 (25:05):
You go, darling?

Speaker 11 (25:06):
I I have something committee meeting tonight and we're having
dinner set in.

Speaker 8 (25:12):
Oh will you be home early?

Speaker 29 (25:13):
Oh?

Speaker 1 (25:13):
Very early?

Speaker 4 (25:14):
Okay, Then I'll stay here while I finish this good and.

Speaker 11 (25:18):
Then we'll both get home about the same time and
you won't have a chance to miss me.

Speaker 4 (25:35):
Hector, he come in, Hector.

Speaker 12 (25:41):
I don't know if you're going to appreciate what Eleanor
and I are doing, but friendship imposes certain obligations.

Speaker 4 (25:49):
Well said I drink No, I think all this is
better clear cold soaper. It sounds grim. Well last night
you didn't show up, Yes, Penelope didn't. What didn't remember?

Speaker 12 (26:06):
It's possible you you know about Penelope and Ben Wilston.

Speaker 8 (26:14):
Now look down.

Speaker 12 (26:15):
If not, you're the only one who doesn't. And that's
what friends are for. I'm telling you why, because a
man who pretends not to see what's crystal cleared everyone
else's lapod is a fool. She went away with him
last night, Yes, and if she did, you found.

Speaker 27 (26:33):
Out about it.

Speaker 12 (26:35):
It almost drove you mad? Is that so that woman
in your office today?

Speaker 29 (26:39):
She wasn't lying.

Speaker 12 (26:40):
There's no impostor you roam the streets like a lost soul.
I went into all the neighborhood bars, and most of
them remember a nut, Yes, that's what you were to them.
Nut who tried to convince everyone that he heard a
woman's voice.

Speaker 8 (27:00):
It's my affair.

Speaker 12 (27:01):
No, it's Penelope and Ben's affair. Hector, Would you take
her back?

Speaker 8 (27:09):
Dale?

Speaker 4 (27:10):
There's something you should know. Eleen is going up there now.
It's going where to the lake house.

Speaker 12 (27:15):
She's going to try to convince Penelope to come back.

Speaker 4 (27:18):
She's driving up the country to ask Penelope to come
back to me.

Speaker 12 (27:21):
Well, it's what you want.

Speaker 4 (27:23):
Isn't it. She's going to have that long drive for nothing.
You mean you know she won't come back. She's here
here where I spoke to her at the office around
six point thirty.

Speaker 12 (27:35):
Oh well, then everything's all right.

Speaker 4 (27:39):
She's at the committee meeting. She's due home in any minute.

Speaker 12 (27:41):
Oh well, Eleenor and I have an egg on her faces.

Speaker 4 (27:50):
There was never anything between Penelope and Ben. Well, it
sure looked that way. Oh you know Ben, he's just
like a stray cat, and Penelope has a heart that's
big enough for all the world.

Speaker 12 (28:00):
Yeah well, Hector, we we meant.

Speaker 4 (28:03):
Well you must believe that. Yes, well, then will you
have dinner with us tomorrow night, have ell and the
check with Venolope in the morning. Yes, of course. Well
good night, Hector. Good night there, darling. Oh no, I

(28:28):
must have fallen asleep.

Speaker 11 (28:30):
I'm sorry the meeting ran a little later than we expected.

Speaker 4 (28:33):
Oh that's okay.

Speaker 9 (28:35):
I just want to get into my nightgown.

Speaker 16 (28:37):
And I'm sleepy too.

Speaker 8 (28:40):
Oh I'm glad you woke me. Oh my glad.

Speaker 4 (28:43):
I had this treat another one. It was about Ben.

Speaker 1 (28:49):
Back to sleep.

Speaker 4 (28:50):
Dear, it was so terrible. I have to tell him
about it.

Speaker 9 (28:53):
Well, I'm sure he doesn't care.

Speaker 4 (28:55):
I must, I must, I must, I'll call him now, Darling.

Speaker 9 (28:58):
I'm sure he's asleep, all right.

Speaker 4 (29:00):
Then you call him, say I have to tell him
his dream. Tell him he must come over right away
to hear a dream. Yes, to hear a dream, please, Penelope.

Speaker 10 (29:15):
Well it's midnight and we're dealing here with a dynamite dreamer. Now,
before you put any of this down, remember nobody really
knows what a dream is. For all we know, the
dream life may be the real one, and vice versa,

(29:35):
especially to those people who have learned how to develop
the capacity to dream. What's this about a capacity to dream?
Is there proof such a thing exists?

Speaker 20 (29:48):
Well?

Speaker 10 (29:49):
Is there proof it doesn't. In just a few moments,
I'll prove to you that we have a third act.
Mister Hector Fremont Carnahan keeps weaving in and out of

(30:10):
a dream world, and in and out of the world
that we hold to be reality, And so far no
one can really.

Speaker 9 (30:18):
Tell which is which.

Speaker 10 (30:21):
And that's power for the course, because who really knows
what about anything these days? Oh what's this all about, hectory?

Speaker 4 (30:29):
Ben? We must make peace?

Speaker 17 (30:32):
Why are we at war? Yes?

Speaker 8 (30:34):
You and I are at war.

Speaker 9 (30:35):
Oh, it's the craziest thing I've heard of. Please Ben,
just listen to Hector.

Speaker 4 (30:41):
I felt so strongly I was sure some of my
emotions had to be communicated to you. Perhaps it was
I would dream violent dreams about it. Oh, just this evening,
I dreamed I was at your house and I was
waiting there to kill you. What for jealousy?

Speaker 9 (30:57):
Then he had the same dream about me.

Speaker 4 (31:00):
I just want you to know how I felt, Ben,
Will you have nothing to be jealous about?

Speaker 1 (31:04):
Hector.

Speaker 4 (31:04):
I think hatred cannot be concealed, especially when it's so
all consuming. The one who is hated must be able
to sense it. Did you, well, will you forgive me?

Speaker 20 (31:16):
Well?

Speaker 26 (31:16):
Certainly, that is if you think I have anything to
forgive Ben.

Speaker 4 (31:22):
I killed you in my dream.

Speaker 8 (31:25):
I killed you.

Speaker 4 (31:26):
But I want us to be friends, the three of us,
the way we always work. Can we go back to.

Speaker 8 (31:31):
That, Hector? I'm not aware that we ever left it?

Speaker 4 (31:33):
Oh, Ben, Ben, that's a lot off my mind and
a weight off my heart, and a burden lifted from
my soul.

Speaker 9 (31:40):
Oh that's beautifully put, Hector. Beautiful.

Speaker 26 (31:43):
I couldn't have said it better myself. You're not supposed
to talk like that, you old stockbroker.

Speaker 4 (31:50):
Suddenly and I feel tired.

Speaker 9 (31:51):
Oh it's late, very late.

Speaker 26 (31:53):
Well, i'd better be running along. Good night, folks, don't
bother I'll let myself out.

Speaker 9 (31:58):
Good night.

Speaker 16 (31:59):
Ben Yah.

Speaker 4 (32:00):
Yes, Darli, I'm tired, but for the first time and
ever so long, I'm pleasantly tired. That is, happily tired,
the way you're supposed.

Speaker 9 (32:09):
To be, Dearest. You just close your eyes, yes, and
get to sleep.

Speaker 4 (32:15):
Yes, I'll do that up and.

Speaker 9 (32:17):
Eleves, darling, get to sleep.

Speaker 4 (32:20):
You would never leave me, would you?

Speaker 30 (32:22):
Oh you're so Why would ill?

Speaker 4 (32:27):
Because I'm I'm so dull. I'm not an exciting person.
I'm not a.

Speaker 9 (32:36):
Clever person, Dear. That's enough.

Speaker 4 (32:40):
Like I like Ben Wallston, like Ben.

Speaker 31 (32:48):
M hmm, I'm all right, all right, all right, but
crying out loud, I hear you ringing, I'm coming.

Speaker 4 (33:04):
What kind of idiot would be at the door at
this time? Who's that?

Speaker 1 (33:08):
It's me?

Speaker 8 (33:09):
Dale?

Speaker 31 (33:10):
Dale, Hector, Yes, me, hector.

Speaker 4 (33:15):
Who did you expect I have to talk to you?
It's four o'clock in the morning, dail that well, well,
what is this thing you have to tell me at
four o'clock in the morning?

Speaker 8 (33:26):
The cat Wait, Hector.

Speaker 4 (33:30):
I don't know how to say this, but yes, but
what well?

Speaker 12 (33:35):
I I never had occasion to tell something like this
to anyone before.

Speaker 4 (33:40):
Something like what come on, come on, come on out
with it.

Speaker 8 (33:43):
Man.

Speaker 12 (33:44):
I just got a call from Eleanor. So she's up
in the country. And well I told you she'd gone
up there to see if she could affect a reconciliation
between you and Penelope.

Speaker 4 (34:00):
Can I tell the two of you you were dead? Wrong?

Speaker 12 (34:02):
Well, she'd already left our house by then, so she
had the trip for nothing. She's up there now, and
she found Penelope.

Speaker 8 (34:12):
How could she find Penelope up there?

Speaker 4 (34:13):
And let me finish this, Hector.

Speaker 12 (34:15):
It's hard enough to say Penelope is dead.

Speaker 8 (34:23):
You're crazy.

Speaker 4 (34:24):
I wish I were. Let me prove it. Penelope is here.

Speaker 12 (34:27):
But I just spoke to Eleanor on the phone.

Speaker 4 (34:28):
As you were dreaming. The hector, Please get hold of
yourself and listen.

Speaker 8 (34:33):
Come with me where.

Speaker 4 (34:34):
Into the bedroom. You'll see for yourself. What'll I say
for myself? Penelope she's here. She's been in bed all night. Hector.
You have to stop fighting it, will you? Please? Come
on in? Come on, come on, you have to accept it.
What are you waiting for? Just come this way, Dale
in here, but don't.

Speaker 8 (34:51):
Wake her up.

Speaker 4 (34:52):
She hates it when somebody breaks up her sleep. There
see see what Penelope past asleep in bed?

Speaker 8 (35:02):
Hector?

Speaker 12 (35:04):
There's no one in that bed there. She was here
just a minute ago, Hector, sit down ringing the bell.

Speaker 8 (35:13):
You probably woke her up.

Speaker 4 (35:14):
Should I get you a drink or something? So she
must have gotten out of bed for a minute, Penelope, Hector, Penelope,
I know you're here. He isn't. But we were just
in bed. Eleanor went up to the summer place. I
don't care what Ellenor says. I know, she says. She
walked into the house. Deal, this is the strangest thing.

Speaker 12 (35:34):
The lights were on, and the first thing she saw
she saw Ben Walston.

Speaker 4 (35:40):
He was dead on the floor. Now, I know you're crazy.
Ben was here in this room around midnight. How could
you have been up to the summer else.

Speaker 12 (35:47):
You can imagine what a shock it was for Eleanor.
She phoned the sheriff and then she passed out.

Speaker 4 (35:52):
Is this your idea of a joke?

Speaker 12 (35:54):
Don't fight it, Hector, please, sooner or later you have
to accept it.

Speaker 4 (35:59):
Penelope dead? Then why was I able to see it
so clearly to talk to her? Hold her in my arms.
This vanilla be really dead? Get dressed. Hector, where are
we going? You know where we're going. We have to

(36:19):
drive up to the country.

Speaker 32 (36:21):
Go.

Speaker 8 (36:23):
They're dead, both of them.

Speaker 4 (36:26):
Yes, I accept I accept it. Now.

Speaker 12 (36:31):
It's going to be very bad for you for a while,
but this is the first step you have to take.
Until you do this, you'll never recover.

Speaker 4 (36:44):
All right, let's go.

Speaker 26 (36:48):
I'm ready, a rest to cord a hand.

Speaker 8 (36:56):
Hello, shot.

Speaker 26 (36:58):
Let me tell you what I happen. Now, we all
knew they were carrying on your missus and Ben Wolston.
I'm sure I have to say that, mister Conahan, but
it's part of a police record, you understand, I understand. Well,
I guess they could see no future. People in a
setup like that, they can get off of the press.
I've seen it happen. Anyhow, Muster made a suicide backed

(37:25):
he shot her, and he then turned the gun on himself.

Speaker 17 (37:29):
We got the note.

Speaker 4 (37:31):
You want to read the note? It is necessary.

Speaker 8 (37:34):
I know what it says.

Speaker 26 (37:35):
Anyhow, the things are open, and what do you mean
you know what it says? How could you possibly know
what it says? I wrote it, Sheriff, don't listen to him.
He hasn't been right. And this thing is opously. I understand,
mister Dale. It's enough to disrupt anybody.

Speaker 4 (37:54):
I know what it says, and I know what happened,
and you must listen to me. Sure, sure, mister Conahan,
just take it easy. Don't patronize me, sheriff, I'm doing
your work for you. Oh yeah, I appreciate kha and
don't be sarcastic. I hector the shaffs.

Speaker 8 (38:08):
Only you drunk out of it too.

Speaker 4 (38:09):
Dale, I'm not a fool. I knew what was happening
behind my back, and it wasn't even behind my back,
it was.

Speaker 8 (38:14):
In front of my eyes.

Speaker 4 (38:15):
Don't punish yourself. What does a man do in these things?
It's so very well as a divorce her, get rid
of her, kill her, But what if.

Speaker 8 (38:25):
You love her?

Speaker 4 (38:26):
You understand? Yes, Oh, we like to talk like two fisted,
red blooded fighting men, but that's propaganda. We sell ourselves.
Most of us go through life adjusting, don't we sue,
And so you try to live with it. You settle
for half a loaf because it's better than none. Understand.

(38:47):
I believe right, And I could even see her point
of view, because I'm dull and stodgy and boring, and
she was well, she liked to get out, she loved
the theater, concerts, lectures, everything that just meant nothing to me. Well,
you figure if the thing could be kept within decent limits.

(39:09):
I don't know how I mean that word decent eye.

Speaker 8 (39:14):
I believe I follow your true meaning.

Speaker 4 (39:16):
Yes, Well, the more I close my eyes, the more
I pretended not to notice, the more the more flagrant
they became. Finally, I couldn't pretend anymore. I couldn't disregard
it anymore. I'm a stockbroker. I must maintain a certain
amount of credibility. It was becoming a scandal. So I

(39:36):
said to them, just plain cut it out.

Speaker 8 (39:41):
You know what they did, both of them.

Speaker 4 (39:43):
They laughed at me. So I decided to kill them
now hecked. I decided I would make it look like
a lover's death pact.

Speaker 8 (39:53):
I know they'd be up there. I wrote that note.

Speaker 4 (39:56):
I shot him in such a way that it would
look like he killed himself, and then I shot her.
I didn't want to be held for it, so I
arranged it that way. But after I did it and
I saw them lying there dead, terrible feeling came over me.
It was more than guilt, more than or more is I.

(40:20):
I wanted to take it back. Do you understand if
I refused to accept the fact that I had done
this monstrous thing. I insisted myself that they were still alive,
and I heard her voice. It kept following me, don't
kill me, Please, don't kill me.

Speaker 20 (40:35):
Help.

Speaker 4 (40:36):
I don't want to die. The voice wouldn't let me alone.
I wanted to bring her back to life so badly.
I forced myself to be able to see her again, alive,
Penelope and Ben. I made them come alive for.

Speaker 33 (40:50):
Me, Sheriff.

Speaker 4 (40:51):
Can't you see how ridiculous that is?

Speaker 26 (40:53):
Of course it's ridiculous. Well, the coroner is satisfied with
murder and suicide.

Speaker 4 (40:59):
What do you mean, the corner is satisfied.

Speaker 26 (41:01):
Everybody is satisfied.

Speaker 4 (41:02):
But I'm telling the truth.

Speaker 26 (41:04):
I'm going to get you to a duct You need something.
Little Rich asleep.

Speaker 4 (41:08):
Mister conahean.

Speaker 8 (41:09):
I can prove it.

Speaker 4 (41:10):
I wrote the note.

Speaker 26 (41:11):
It was typed on his own typewriter. We established that because.

Speaker 4 (41:14):
I sneaked into his apartment. Were sure I fired those shots?

Speaker 8 (41:18):
He didn't.

Speaker 4 (41:19):
He couldn't look at his hands. Give them a paraffin test.
It'll show he has no powder. Burns when you fire
a pistol to have to be powder burns on your palm.

Speaker 26 (41:28):
Or in detective stories.

Speaker 4 (41:29):
Okay, okay, So he killed it and then he killed himself,
that's what you say. But I killed him first. Shouldn't
the coroner's report show how he died.

Speaker 20 (41:40):
Before she did?

Speaker 26 (41:41):
How long did you say you waited between killings?

Speaker 4 (41:45):
At least a minute or two.

Speaker 26 (41:47):
He had established time of death with any accuracy, within
a quarter.

Speaker 17 (41:51):
Of an hour, maybe a half.

Speaker 4 (41:52):
All right, here's the proof. Maybe subconsciously I knew I
wanted to get caught. He was found holding the pistol
in his left hand, wasn't.

Speaker 17 (42:01):
He you're telling the story I.

Speaker 4 (42:03):
Inserted the gun into his left hand. He's right handed.
That's a known fact. Everyone knows that. Don'ty Dale as Dale?

Speaker 20 (42:11):
He knows it.

Speaker 4 (42:12):
We all three played golf together, didn't we?

Speaker 20 (42:14):
All right?

Speaker 26 (42:14):
All right, even if it's true, the fact that a
man is left handed nor right handed no mean a
thing at a time like that.

Speaker 4 (42:21):
Killing yourself is.

Speaker 26 (42:22):
An awkward thing to do, and so people do it awkwardly.

Speaker 4 (42:27):
You must listen to me.

Speaker 26 (42:28):
I've been listening, and this, gentleman, here's my witness I've
been written, and I tell you I did it. I'm guilty.
What you got is a guilty conscience. You believe you
drove her to it, so your feel you're as guilty
as if you'd pulled the trigger yourself.

Speaker 4 (42:45):
But I did twice. I'm guilty. Won't you believe I'm guilty? Well?
Do you believe it? No one else did.

Speaker 33 (43:02):
The louder he shouted, the more.

Speaker 4 (43:04):
People smiled tolerantly.

Speaker 10 (43:07):
Then, of course, as happens in these affairs, people's patience
wears a bit thin, and finally, the only way to
handle the situation was to place Hector Fremont Carnan in
an institution, where.

Speaker 4 (43:20):
He insists to this day he is guilty.

Speaker 9 (43:24):
I shall return in just a few moments.

Speaker 10 (43:38):
It's one thing to hear people accused of murder insists
on their innocence. It's quite another to hear people who
are not even suspected insist on their guilt.

Speaker 9 (43:59):
Well, is he or isn't he? Did he or didn't he?

Speaker 10 (44:04):
We left enough clues in the story, but unfortunately they
could support either point of view. The only people who
know for sure are Penelope and Ben, And how can
they possibly tell us? Our cast included Fred Gwynn, Jon Jay,

(44:31):
Bill Griffiths and Court Benson. The entire production was under
the direction of Hymon Brown Radio. Mystery Theater was sponsored
in part by Anhuzer Bush Incorporated, Brewers of Budweiser.

Speaker 4 (44:43):
Missus E. G.

Speaker 10 (44:44):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time.

Speaker 4 (44:54):
Pleasant.

Speaker 34 (45:52):
Murder By Experts. The Mutual Broadcasting System presents Murder by
Experts with your host and narrator, mister John Dixon Carr,

(46:12):
world famous mystery novelist and author of the recently published
bestseller The Life of Sir Arthur Conan Doyle.

Speaker 35 (46:20):
This is John Dixon Carr. Each week at this time,
Murder By Experts brings you a story of crime and
mystery which has been chosen for your approval by one
of the world's leading detective writers, those experts who are
themselves masters of the art of murder and can hold
tensity at its highest. This time, our guest expert is
the noted mystery writer Miss Francis Crane. From the many

(46:43):
thrillers she has read and enjoyed, Miss Crane has selected
a gripping and dramatic story by Philip Andrews, and now
we present James Stevens in the Big Money.

Speaker 36 (47:07):
The big money. Yeah, I was in the big money
an hour and a half ago. I had seven million dollars.
I had a wife too, slender, dark haired, green eyes
and a cute figure. But she's gone now. She left
me one hour and thirty minutes ago. No, one hour,
thirty one minutes and twenty seconds ago. And she took

(47:28):
the money with her. That's not all she took. She
took my life. I wish you'd come back. I want
my life back. I don't care about the money. She
could keep that. After all, it only took me a
month to earn it. That's right, one month, thirty days

(47:49):
to earn seven million dollars. What's the trick? You have
to be born for it, Born for the big money.
And I was. I always it, as far back as
I can remember, even back in prison, even back before that,
in military hospitals, while the dogs patched up my face
and tried to patch up my memory, I knew I

(48:09):
was born for the big money. That's why I wasn't
downhearted when they let me out of the big house
with the usual five spot and a ticket to the
city and no prospects. The warden tried to give me
a pep targ but I put him in his place fast.

Speaker 15 (48:27):
Believe you and me, George. I'm glad you're leaving us today.
I won't keep you long, but I want to help
you if I can.

Speaker 36 (48:35):
That's nice of your warden, mighty nice.

Speaker 15 (48:37):
The prison psychiatrist says you only have a partial memory
of your military service and no memory at all of
the period before that.

Speaker 36 (48:44):
That's right. I remember coming to in a hospital and
being told a shell burst. It knocked me out and
cut up my face. That's as far as back as
it goes.

Speaker 15 (48:53):
We've checked your army career. You're a troublemaker. In fact,
you were under arrest on charges of steat in government
property when that shell hit the guard house. So what warden,
you were dishonorably discharged. But still it might be possible
to get medical treatment for your condition. Now, if you
want me to contact the proper authorists, skip it.

Speaker 36 (49:14):
Suppose I could remember everything that happened to me. I
don't want to growing up in a slum being kicked around.
Who wants to remember that kind of stuff?

Speaker 15 (49:22):
But your parents, your family don't you want to find
them again.

Speaker 36 (49:25):
They probably forgot me years ago. I'm looking ahead, not
behind me. Take the average guy with a memory. He
can't concentrate. He's distracted by all the things he remembers me.
I can look straight ahead and stick to business. And
that business is getting myself into the big money.

Speaker 15 (49:44):
Well, if that's how you feel, I won't say any more.

Speaker 36 (49:48):
Good luck anyway, Thanks Warden, Thanks anyway.

Speaker 14 (50:00):
So that was that.

Speaker 36 (50:02):
Ten minutes later, I was a free man after two
long years. I hiked straight for the railroad station and
caught the first express for New York. Then I ambled
back to the club car and ordered drink. I relaxed
and sat back, feeling good, very good. Across the isle,
a girl was reading a magazine, a knockout, black hair,

(50:26):
green eyes, and lips like rose buns. Pretty soon she
saw me watching her, But she was smooth. She didn't
even seem to look at me while she gave me
a long, steady once over.

Speaker 37 (50:38):
She was interested.

Speaker 36 (50:39):
I knew that. She turned to a short, plump, white
haired man beside her and whispered something. White hair gave
me a long look too. Then he got up and
came across smooth as butter.

Speaker 38 (50:51):
I beg your pardon. I have the feeling we're acquainted,
but I can't quite bring your name to my.

Speaker 36 (50:57):
My name's George Cook, if that's any help.

Speaker 17 (50:59):
Cook Cook.

Speaker 38 (51:00):
Now I'm afraid I've mistaken you for someone else. Yes,
of course you remind me strongly of my old friend
Howard Vincent.

Speaker 36 (51:07):
Never heard of it.

Speaker 38 (51:08):
Oh, the likeness is striking, But my apologies. I didn't
mean to intrude upon you.

Speaker 36 (51:11):
Oh you're not intruding.

Speaker 38 (51:13):
Davenport is my name, Pilo Davenport.

Speaker 36 (51:15):
List of Davenport trains are pretty dull when you're traveling alone, don't.

Speaker 38 (51:20):
You think insufferably dull? Perhaps you care to join me
and my niece for a drink?

Speaker 36 (51:24):
Mister Cook, he didn't have to ask me twice. In fact,
he didn't have to ask me once, because if they
hadn't picked me up, I was gonna pick them up.
In ten minutes. We were as cozy as three mice
in a cheese factory. Marlene was her name, my Lee

(51:50):
saying it was like tasting old brandy. Marlene and I
got along fine that I could feel them both sizing
me up, eyeing my going away from suit and I
knew they were shop shooters with some cute game on
their minds. By and bye, Marlen came to the point
I knew they were interested in.

Speaker 39 (52:11):
Very witty, mister Cook. What line of business are you in?
Traveling sales?

Speaker 38 (52:16):
Now, my dear, you mustn't ask personal questions.

Speaker 36 (52:18):
I don't mind, mister Davenport. The truth is, I'm a free.

Speaker 39 (52:21):
Traveler, A free traveler.

Speaker 21 (52:23):
What's that?

Speaker 36 (52:24):
Well, you see they set me free this afternoon, and
now I'm traveling.

Speaker 38 (52:29):
Very good, mister Cook, very good. Such frankness is refreshing.

Speaker 36 (52:34):
And what business are you in, mister Davenport.

Speaker 38 (52:36):
Well, I'm part lawyer and part detective. I have a
specialty all my own. I trace heirs to unclaimed fortunes.
Interesting business. Do you ever find them frequently? In fact,
much oftener than I have any right to expect.

Speaker 39 (52:52):
Oh now, Uncle Philo, you mustn't.

Speaker 38 (52:54):
Vote, of course, not, my dear.

Speaker 3 (52:55):
One hundred twenty fifth Street. It's up one hundred twenty
fifth Street.

Speaker 38 (53:00):
Well this seems to be our stop, mister Cook. Where
are you staying in town?

Speaker 36 (53:04):
I haven't quite made up my mind. I thought i'd
look around a.

Speaker 38 (53:07):
Bit first, to see Marlene and I would like to
have you come call on us tomorrow the next day,
wouldn't we, my dear.

Speaker 39 (53:13):
Oh, we love it if you would.

Speaker 36 (53:15):
And in that case I will find George.

Speaker 38 (53:18):
Here's my card. Don't fail us.

Speaker 39 (53:20):
Now, please promise you'll come.

Speaker 36 (53:23):
Joe, all right, Marlene, I'll drop in on you. Sure
I was gonna drop in on him. Filo obviously was
up to some little game, and if I could find
out what it might pay me. So I dropped in

(53:44):
the very next morning at two am. I didn't bother
to wake Filo or Marlane. What kind of a friend
would disturb them at that hour. I just let myself
in with a picklock, found the living room and started
going through it. I began with the drawers of a
mahogany desk, and I was just getting going when the
overhead lights snapped on and Filo's voice said.

Speaker 38 (54:06):
Good morning, George. So nice of you to come see us.
So soon.

Speaker 36 (54:11):
I turned nice and carefully. There was Philo and a
dinner jacket, and Marlene wearing a gown that started at
the floor and stopped unexpected.

Speaker 39 (54:20):
Now, Uncle Filo, don't make George think he isn't welcome.
Put away that gun off for him and dream.

Speaker 38 (54:27):
Of course, my dear George, if I put away this gun,
will you sit down for a glass of brandy and
a nice quiet chat.

Speaker 36 (54:35):
Why not, Filo, I'll sit here on the couch. I
was just looking around the room while I waited for you.

Speaker 38 (54:42):
Admirable Marley, he's our man, I know he is.

Speaker 39 (54:47):
Congratulations, George, I'll get the brandy, Uncle Philo.

Speaker 38 (54:51):
Hello, George, I made a bit with Marlene you would
show up tonight, Filo.

Speaker 36 (54:56):
I underestimated you, so you were waiting for me.

Speaker 38 (54:59):
Yes, we went waiting for you. Since we left you
on the train. I've checked your entire career, your army record,
your being wounded, your prison sentence for robbery after your discharge,
your loss of memory.

Speaker 19 (55:11):
Everything that's fast work.

Speaker 38 (55:14):
Wellre it's my business. On the train, Marlene and I
were startled at your resemblance to a certain Howard Vincent.

Speaker 36 (55:21):
Yeah, you mention him before.

Speaker 17 (55:23):
Who is he?

Speaker 38 (55:23):
I'll come to that in a moment. I said that
my business is finding missing heirs who have fortunes waiting
for them. I'm successful at a George, because sometimes when
an heir can't be found, I create.

Speaker 15 (55:36):
One, Filo.

Speaker 36 (55:39):
I'm beginning to think you want honor.

Speaker 38 (55:42):
Which brings me now to Howard Vincent. He died in
a train wreck in nineteen forty one. I saw his body,
but only I know for certain that he is dead.

Speaker 36 (55:53):
I see go on for.

Speaker 38 (55:55):
Four years in a state of seven million dollars, has
been waiting for him him to turn up to claim it.
Seven million and a few odd thousands.

Speaker 39 (56:04):
Here's the brandy, uncle, Thank you, my.

Speaker 4 (56:06):
Dear, thank you.

Speaker 38 (56:07):
Here you are, George h Now I propose a toast
to Howard Vincent, formerly George Cooky, and do seven million
dollars divided fifty fifty.

Speaker 36 (56:28):
This was it, but I'd always known what happened some day,
the break, the big money, seven million dollars, seven million,
just waiting for me to reach out and grab it.
The three of us sat up most of the night
while Filo outlined the deal.

Speaker 38 (56:45):
Is he George, you are perfect for the part of
Howard Vincent. You look enough like him so that we
can claim. It's the scars from your wound that keep
the resemblance from being exact.

Speaker 39 (56:54):
I think they rather improve your looks, George. I wouldn't
want you to look too much like Vince in his
photographs he's rather vicious looking.

Speaker 36 (57:04):
Oh thanks, my Lene. I never dreamed that shellburst was
gonna blow me right into seven million.

Speaker 38 (57:09):
Dollar three and a half million, remember, Oh sure, three
and a half Your loss of early memory is also
very fortunate. Ordinarily we would have to fake it to
explain why you didn't remember little details.

Speaker 39 (57:22):
Of your past, And that's so hard to do. Uncle
Philo tried it once, but the result was very bad,
weren't they, Uncle fire.

Speaker 38 (57:30):
Ah, let's not dwell on that case, my dear. In
this instance, George's Army medical history authenticates his condition, so
he doesn't need to remember a thing.

Speaker 36 (57:41):
I told the warden that memories only handicap a man.

Speaker 38 (57:44):
Your prison record will have to be freely admitted. Naturally,
you'll be thoroughly checked.

Speaker 36 (57:49):
Sure, let's suppose they managed to trace me back to
before the Army, to the time I can't remember about.

Speaker 38 (57:55):
But then they won't you see, I am in charge
of the search for Vincent.

Speaker 36 (58:01):
Hell, I'll come filo.

Speaker 19 (58:04):
Uh.

Speaker 39 (58:04):
Howard Vincent was a typical rich man's son, too much money,
too much freedom.

Speaker 36 (58:09):
You know the story, George, sure, I've read it a
dozen times.

Speaker 38 (58:12):
It was back in nineteen forty one. He got mixed
up in something really nasty and disappeared, and the family
got word he'd been killed, and the wreck of the
Western Flier in Wyoming. You remember thirty dead? Oh, but
I forgot You don't remember.

Speaker 36 (58:24):
I'll look it up in the papers.

Speaker 39 (58:25):
Go on, Uncle Filo flew out and found that a
watch and a wallet belonging to Vincent had been recovered
from the wreckage. There were also three bodies, any one
of which might be Vincent.

Speaker 36 (58:36):
I get the picture. He was a little hard to
identify by that.

Speaker 38 (58:40):
Yes, but I recognized one of the three as poor
dear Howard Vincent. All the same, however, I was already
foreseeen shall we say, future possibilities.

Speaker 36 (58:52):
Filo, Now I know you're not un.

Speaker 20 (58:56):
Well.

Speaker 38 (58:56):
I came back to report I hadn't been able to
identify any of the debtors Howard he might still be alive,
so his father kept on hoping. When the old man
died in nineteen forty five, he left his money to
his son, provided Howard could be found within seven years,
and he left me an annual retainer to keep looking

(59:16):
for him.

Speaker 39 (59:17):
And now at last he found you.

Speaker 38 (59:19):
No, my dear, not for several weeks. Yet you see,
we have careful preparations to make, very very careful preparations.

Speaker 36 (59:33):
Filo's plan was nice and simple. I went down to
the barery and got a room in a cheap flophouse.
Next day I found a job as a mechanic. Every
day after that I ate lunch in Battery Park, near
the Wall Street district. At the end of three weeks,
Bilo just happened to be walking through the park and
saw me. Next day he brought old mister Peebles, the

(59:55):
lawyer for the Vincent estate, to give me the once offer.
Mister Peebles, ood and ah, and I was discovered. As
easy as that. Of course, it didn't end there. They
asked me a million questions. They traced my record, prison, army, hospital,
wound everything, they had high priced docks, checked me over
to be sure my lack of memory was on the level.
But at the end of the month they hadn't proved

(01:00:17):
I wasn't Howard Vincent. And then Filo and I gave
little mister Peebles the clincher, the old one too.

Speaker 38 (01:00:24):
Well, mister Peebles, are you satisfied that we've really found
Howard at last?

Speaker 8 (01:00:28):
Yeah?

Speaker 15 (01:00:28):
Me mister Devin Brode, just ganging to make him my mind.
Whether he is harder than that I think he is,
But be dreadful. If we made a mistake, I'll completely
write you are, mister Peebles. But I think I have
the evidence that will settle our doubts for good and all.

Speaker 1 (01:00:45):
Wait.

Speaker 15 (01:00:46):
It's a college history book, one of the books Howard
used it Yale.

Speaker 38 (01:00:51):
Yesterday I had an inspiration. I searched all of Howard's
old books, and at last I found what I'd hoped for.
See here on page ninety eight.

Speaker 15 (01:01:02):
The feeded fingerprint unique an imagine made.

Speaker 38 (01:01:06):
One night ten years ago, and Howard was studying the
only fingerprint of his we've ever located.

Speaker 15 (01:01:12):
Sure Teas, my goodness, this is important. This way, this
will tell us Wen questioned whether this young man is
Howard or not.

Speaker 38 (01:01:25):
Yes, we only have to compare his fingerprints with this
print Howard made ten years ago, and we'll know. Well, George,
are you willing to make the test?

Speaker 36 (01:01:33):
Certainly I am. If I'm not, how ad vincent I
want to know it. If I am, I want to
enjoy it.

Speaker 15 (01:01:39):
A very reasonable attitude near me? Will you make the print?
Mister davenboy.

Speaker 36 (01:01:51):
Well, Filo made a print of my index finger, and
little mister people squinted at it, then at the print in.

Speaker 19 (01:01:56):
The history book.

Speaker 36 (01:01:58):
He spent at least five minutes doing it to himself.

Speaker 15 (01:02:01):
This is an important moment, very important moment. Yeh me, yes, yes,
I'm sure of it. Your prince match, you are how Advincent. Congratulations,
my boy, congratulations.

Speaker 36 (01:02:23):
Of course the prince matched follow would fake that print
in the history book. A month before I was in
the big money at last seven million dollars, yes seven,
not three and a half. I didn't have any more
idea of splitting with Filod than of flying to the moon. Naturally,
I didn't tell him that, not yet. I sort of

(01:02:45):
got the feel of things.

Speaker 4 (01:02:46):
First.

Speaker 36 (01:02:47):
I settled into being how d Vincent, very very quietly,
you know how the big money works. Hush hush, That's
how I wanted it. And pretty soon I felt as
if I'd been how ad Vincent all my life, and
I began to enjoy it, and I couldn't put Filo
off forever. And the showdown came one morning in my
plushy private office at the very top of the Vincent building,

(01:03:10):
Filo and my lane were both there, and they got
down to business fast.

Speaker 38 (01:03:14):
Well, George, you've adapted yourself to wealth very quickly, enjoying yourself. Eh.

Speaker 36 (01:03:19):
I certainly am Filo. I always knew how he was
meant for this kind of life. It seems to come
natural to me.

Speaker 38 (01:03:25):
I believe I could get used to it myself, which
brings up the matter of my split, of.

Speaker 36 (01:03:30):
Course, Filo. But it'll take time. It has to be arranged,
very smoothly arranged.

Speaker 39 (01:03:36):
Oh, we understand that, George. It isn't that Uncle Philo
distrusts you. He'd just hate to have a misunderstanding spoil
our friendship.

Speaker 36 (01:03:44):
It's a big job turning over half the estake without
anyone getting suspicious.

Speaker 38 (01:03:48):
Of course it is, my boy, of course it is.
And I'm going to give you two years to do
it in three if you think necessary. But I will
want monthly installments of at least fifty thousand dollars until
the final fifty thousand a month.

Speaker 39 (01:04:01):
But file all, George, that isn't so very much out
of all the millions you'd never have had but for
Uncle Filo.

Speaker 36 (01:04:10):
Oh all right, you win fifty thousand a month.

Speaker 38 (01:04:14):
I'm glad you're seeing it. By way, and now that
that is settled, we won't be meeting again, George, we won't.

Speaker 39 (01:04:21):
Why not, Uncle Philo means he'll feel safer if he's
where you can't try to kill him.

Speaker 36 (01:04:27):
George, kill him, that's ridiculous. I wouldn't dream of any
such thing, Filoh, you know.

Speaker 38 (01:04:32):
That, of course I do, my boy, especially since as
soon as I leave here, I intend to write out
a complete account of this interesting affair and leave it
with a friend to be forwarded to the police. If
anything violence should happen to me.

Speaker 36 (01:04:44):
Now that's not necessary, file all.

Speaker 38 (01:04:46):
Nevertheless, I shall feel better when it's dead Barley, my dear.
Shall we go now in.

Speaker 39 (01:04:52):
A minute, Uncle Filo, I want to power my nose first.
I'll be right back.

Speaker 38 (01:04:57):
No hard feelings, I hope, George. It's totally a good business,
you know, to take precaution.

Speaker 36 (01:05:02):
Of course, there's no hard feelings. I'm still making out
pretty good here. Let me ring for the elevator for you.
You might as well ride down in my private car.

Speaker 38 (01:05:11):
A private elevator. Well, great Wealth has its privileges, as
I hope to find out.

Speaker 36 (01:05:19):
Funny, I pushed the button, but I don't hear the
car coming.

Speaker 40 (01:05:22):
Perhaps it's already on this floor. Try the door, all right,
I will, Well, how do you like that? The door opens?
But the elevator isn't here. The shaft is empty.

Speaker 38 (01:05:34):
There's something wrong with the mechanism. The door shouldn't open
at the car. George, George, what are you doing? What
are you grabbing me for?

Speaker 1 (01:05:40):
Call me George?

Speaker 3 (01:05:41):
No, no.

Speaker 36 (01:05:49):
I shoved hard, and Filo went down the elevator shaft,
clawing at empty air and moving his feet like a
ballet dancer. He screamed, coming back to me, Channeled upwards
by the shaft, he screamed, and then he stopped. Yes,
there was something wrong with the elevator.

Speaker 19 (01:06:05):
All right.

Speaker 36 (01:06:06):
I discovered it that morning, but I hadn't reported it. Instead,
I'd sent for Philo and Marlene for this showdown. Ow
Philo was disposed of accidentally, with no come back at me.
I only had to take care of Morlene. I closed

(01:06:27):
the elevator door and stood there, trying to act calm,
but the perspiration was popping out of my brow. Had
fine Philo in a moment? Was it Marlene ever coming back?

Speaker 39 (01:06:36):
Then she came, Well, here I am, but George, you
is uncle Philo.

Speaker 36 (01:06:42):
He's in the elevator. I'm going down with you. We'll
stop at the bank. I'm making a small advance payment.

Speaker 39 (01:06:47):
In the elevator. Oh all right, open the door, George,
go on open.

Speaker 1 (01:06:54):
She wasn't close enough.

Speaker 37 (01:06:55):
I had a stall.

Speaker 36 (01:06:56):
Get her closer. Her door seems to be stuck. Give
me a hand, Molly, h No, thank you, George.

Speaker 39 (01:07:03):
I'd rather not, but Marley, stay right there, George, don't
come any closer, you see, Darling, I have a nice
lady like gun.

Speaker 36 (01:07:10):
In my purse, Miley.

Speaker 17 (01:07:12):
And what is this?

Speaker 36 (01:07:13):
Okay?

Speaker 38 (01:07:14):
Now?

Speaker 39 (01:07:14):
I didn't powder my nose, George. I found i'd forgotten
my compact and I came back. I was outside the
door when I heard you talking about the elevator. And
then Uncle Filo screamed, poor Uncle Philo. I thought he
was smarter than that, son.

Speaker 1 (01:07:30):
But he wasn't.

Speaker 36 (01:07:31):
A baby could have taken care of Filo. Well, go on,
grab the phall call the cops.

Speaker 39 (01:07:37):
I could, But what good would that do either of us?

Speaker 36 (01:07:41):
I don't get you.

Speaker 39 (01:07:43):
Uncle Filo is dead. I can't help him, Mammy. But
you're not dead, and I can't help you.

Speaker 36 (01:07:50):
What are you leading up to?

Speaker 4 (01:07:51):
Molly?

Speaker 39 (01:07:52):
I know you murdered Uncle Filo, but you'd be safe
and I couldn't testify against you if you married me, George.

Speaker 36 (01:08:03):
Maybe Marlene had a baby voice, but her mind was
like a steel trap. Sure I married her. She had
the whip haad. She helped me cover up Philo's death
as an accident, and she moved in and took over.

Speaker 39 (01:08:16):
Oh it's nice to be rich, isn't it, George. Poor
uncle Filo, how he would have loved though.

Speaker 36 (01:08:22):
I thought we agreed to forget Filo.

Speaker 39 (01:08:24):
Oh we did, didn't we? All right, I'll change the subject.
Then I saw a dream of a diamond necklace at
Carteris today.

Speaker 36 (01:08:32):
Oh, I won't buy it. You're spending money as if
I had all the door in the world.

Speaker 39 (01:08:35):
Marlene, I'll do nothing. George. Please sit down and stop
clenching your hands. You know you're never going to touch me.
If anything should ever happen to me, and I mean anything,
a friend will send a complete account of this impersonation
of yours.

Speaker 41 (01:08:52):
To the police.

Speaker 39 (01:08:54):
So you're going to take good care of me, darling.
And that being the case, why don't we be friends.
I'm not such bad company, am I too?

Speaker 30 (01:09:10):
Oh?

Speaker 36 (01:09:11):
Marlene wasn't bad company. She was very good company when
she wanted to be. And that written account to go
to the cops if anything happened to her protected her
better than a bodyguard could have. So I made the
best of it. We got along all right, except that
Marlene spent money like crazy. Until one night on our
private terrorist twenty stories up with a bottle of Napoleon

(01:09:31):
brandy opened between us, I began to feel sleepy, very sleepy,
too sleepy. I tried to stand up, and I couldn't.
I popped back in the deck chair like a rag doll,
and Marlene stood up and leaned over me.

Speaker 39 (01:09:48):
George, George, Eh, well, why don't you go inside instead
of falling asleep out here on the terrace?

Speaker 36 (01:09:57):
Coincide? Yes, good idea. I try to stand up again,
this time with Marlin's help.

Speaker 42 (01:10:05):
I made it.

Speaker 36 (01:10:06):
She stood very close while I will to keep my balance,
and I knew she'd put something in the brandy. Liquor
by itself couldn't have done.

Speaker 20 (01:10:12):
That to me.

Speaker 36 (01:10:14):
Helene, Helene, Yes, George, what do you put it in
the brandy?

Speaker 39 (01:10:20):
Just a few drops of something, George, dear, steady, mustn't fall,
not yet, we're not close enough to the railing.

Speaker 19 (01:10:31):
What are you up to?

Speaker 39 (01:10:32):
You've never stopped trying to find a way to be
rid of me, have you, George? Or you'll never succeed
because I can make plans too, and I've made my
plans to.

Speaker 43 (01:10:39):
Be your widow.

Speaker 36 (01:10:40):
That's crazy.

Speaker 17 (01:10:42):
You can't get away with it.

Speaker 39 (01:10:43):
Of course I can. You're going to have an accident.
You're going to fall twenty floors from this balcony to
the nice hot street. I'll come over here, George. Not
the step that.

Speaker 15 (01:10:55):
I won't.

Speaker 36 (01:10:56):
You can, but I can.

Speaker 39 (01:10:58):
What I put in the brandy is made you hopless
is a baby Matthew. The butler will testify. I'll drunk
you were, George. Can you hear me?

Speaker 17 (01:11:05):
Yes, I can hear you.

Speaker 44 (01:11:06):
George.

Speaker 39 (01:11:07):
Let go on my risk.

Speaker 36 (01:11:08):
You can make plans, George.

Speaker 45 (01:11:10):
Let me go.

Speaker 15 (01:11:10):
Your worst made it?

Speaker 17 (01:11:11):
How far gone?

Speaker 36 (01:11:12):
I was pretty well? Let me go, probably enough for
you to push me over to an I was.

Speaker 39 (01:11:17):
Just joking with you, George. I was just trying to
scare you.

Speaker 38 (01:11:19):
Let go of me.

Speaker 36 (01:11:20):
Oh no, George, We're going inside. I'm gonna teach you
a little lesson stop struggling.

Speaker 39 (01:11:27):
Won't do you.

Speaker 15 (01:11:28):
Any George, let go of me money, money.

Speaker 36 (01:11:31):
Look, she was gone. She went the same road Filo
had taken. But this time I'd have given both arms
the saber. I stood there trying to get hold of myself,
and behind me I heard the French door open. I turned.
It was Matthew, the butler, garbling at me. Mister Vincent,

(01:11:54):
mister Vincent, math I saw saw I try to push
me over than you.

Speaker 46 (01:11:59):
You saw I try to push slipping go over herself,
saw her try to push you over, mister Vincent, sir,
I saw you murder your wife.

Speaker 36 (01:12:14):
Well that's the story you, mister Peebles, and all you others.
I sure had you fooled, Howard Vincent, that's a laugh.
I was born in the gutters, but born for the
big money, and I had it, even if it didn't last.
After what Matthews tells you, I know you'll never believe
I didn't kill Marlene. With those documents, Marlene left to

(01:12:36):
be turned over to the cops. Well, I guess I've
come to the end of the road. But you can't
get the big money without paying for it somehow, can you?

Speaker 15 (01:12:45):
Oh, Howard Howard, my boy, Yes, mister Peebles, Marlene didn't
leave any documents. She didn't, but she's said that was
just an effort to keep her hold over you. You see,
shortly after we accepted you as Howard Vincent, we found
a box of your boyhood toys and among them was

(01:13:06):
a paint box covered with fingerprints in dried paint.

Speaker 36 (01:13:10):
And why didn't you happy? Why shall let me get
away with it?

Speaker 15 (01:13:12):
Because they were your fingerprints?

Speaker 20 (01:13:16):
My boy?

Speaker 15 (01:13:16):
This was also unnecessary. You are and always have been,
Howard Vincent.

Speaker 35 (01:13:36):
And so the curtain falls on The Big Money, which
was chosen by guest expert Francis Crage, whose latest mystery,
The Flying Red Horse, has just been published. Next week
of this time, Murdered by Experts brings your story of
a murderer whose victim refused to stay dead. Selected for
your approval by Cornell Woolwich. Until then, this is your host,

(01:13:58):
John Dixon Carr, hoping you'll be with us next week
at this time.

Speaker 34 (01:14:06):
The Big Money was written by Philip Andrews and adapted
for radio by Robert A. Arthur and David Cogan. In
the cast were James Stephens, An Shephard, Eric Dressler and
Wendell Holmes. Music is under the direction of Selvin Levin
and was composed by Richard U.

Speaker 17 (01:14:20):
Page.

Speaker 34 (01:14:21):
Murder by Experts is produced and directed by Robert A.
Arthur and David Cogan. All characters in our story were fictitious,
and any resemblance to the names of actual persons was
purely coincidental. This is Jack Farren speaking. This is the

(01:14:44):
mutual broadcasting system.

Speaker 19 (01:15:04):
The program you are about to hear is fiction science fiction.

Speaker 5 (01:15:08):
We make no guarantees, however, how long it will remain.

Speaker 16 (01:15:12):
Fiction to law.

Speaker 47 (01:15:29):
And now Here is your guide to these adventures of
the mind.

Speaker 48 (01:15:33):
The editor of Astounding Science Fiction magazine, John Campbell Jr.

Speaker 20 (01:15:39):
Dreams or remarkable thing, the remarkable power of the human
mind forward. The psychoanalytical school is held very important. But
there's one aspect of dreaming that they deny, they overlook.

Speaker 42 (01:15:56):
Perhaps that's the night story.

Speaker 20 (01:16:01):
If someone handed you a photograph a man's faith, he said,
do you know who this is? Suppose that was a
photograph of yourself twenty years from now. You have an
awful hard time recognizing that. We can recognize a picture

(01:16:22):
of something that we have seen, is impossible to recognize
something that we haven't yet seen. Let's say we have
a patient who comes into a analyst office, a badly
frightened man, a shock.

Speaker 8 (01:16:39):
My name is in Bedford.

Speaker 20 (01:16:41):
I got your name from the National Health Trust.

Speaker 8 (01:16:43):
They say you're the.

Speaker 20 (01:16:43):
Quick shock analyst they'd recommend in a SAIS and I
said the Health Trust to say that build up my
morale and these.

Speaker 8 (01:16:48):
Troubles plus for us. I speak very highly of you.
I feel so donfillity runningto a psychiapist. That's for all ladies.
Maybe we better forget it.

Speaker 20 (01:16:56):
I've got a lot of pressing work that I should
really should be taking.

Speaker 8 (01:16:59):
Let's see, mister for now.

Speaker 20 (01:17:00):
According to the data you gave my secretary, you with
the State War Reclaimed Business. That's right, our regional director.
I've been with the bureau all my adult life since
nineteen seventy one, since the doom.

Speaker 8 (01:17:10):
Work must be rewarding.

Speaker 20 (01:17:11):
Work, watching the radioactive ash cleared away, houses and stores
springing up again after so many decades, seeing the city
itself come back from the rubble. Knowing you could take
a good share of the credit.

Speaker 8 (01:17:24):
That's going to be a long task.

Speaker 20 (01:17:25):
Another generation.

Speaker 8 (01:17:26):
Sit down and you tell me about it.

Speaker 20 (01:17:29):
No, couch, I thought I'll use psychoanalysts had couches. This
office building was lucky to escape being hit. Yes, it's
one of the few pre war buildings left in this
part of Sacramento. Matter of fact, it was your War
Reclaimed Bureau that loaned my family the money to reveal
the doctor.

Speaker 8 (01:17:48):
Why is this happening to me? What am I going
to do? I have to stay at my job.

Speaker 20 (01:17:53):
Nobody else can do it. Nobody else knows this area
the way I do. Nobody knows the people here the
way I do. You were born here, William as a
liberal Sacramento all my life. What is it this bother?
I have some kind of hallucination that keeps getting worse.
I've tried to shake it, but it comes back bigger
and stronger. Now it's getting to my tech work.

Speaker 8 (01:18:14):
I can do my job.

Speaker 20 (01:18:16):
I'm starving up recarling Gibson the equipment. Mister Bedfid, you
don't put you in a state of semi sleep for
a few moments. I'd like you to tell me what
this hallucination is. Then maybe I can tell you why
you help and maybe help.

Speaker 27 (01:18:31):
You do.

Speaker 20 (01:18:44):
To all these damage inventories must be a million of
them struck in the basket today along.

Speaker 8 (01:18:52):
Oh, I have to go to bed and get some sleep.

Speaker 42 (01:18:57):
Who was a report of it?

Speaker 20 (01:18:58):
You'vegret they've been killing one that spins webs better? Okay,
the extermination program poisoned grain probably be best if.

Speaker 8 (01:19:09):
It eats grain.

Speaker 20 (01:19:11):
Probably have to ask for federal aid and enough funds
to the job. Right. I'll okay the extermination and hope
they can raise the funds bad enough to have ordinary
rodent investation play carriers the worst possible sanitation menace.

Speaker 8 (01:19:29):
Man. Uh oh, that's a U dealer.

Speaker 20 (01:19:32):
How did you get into my apartment door with unlock
in sidey interrupt your work?

Speaker 8 (01:19:36):
All I was about the stuff.

Speaker 20 (01:19:38):
What time is it? That's midnight? You want to beer?
I'm gonna have one.

Speaker 49 (01:19:43):
I have an invaluable grain ought to make beer in.

Speaker 20 (01:19:45):
These times the need must be nice to be a
big wheel and have luxuries your own stove, refrigerator. You
know I haven't had beer since last may go survive.
You've always managed to create some of that black market
coffee of yours, or some of those eggs from your chickens.

Speaker 8 (01:20:01):
You know we lost all right?

Speaker 20 (01:20:02):
Chicken dead blood. He's from the old age.

Speaker 17 (01:20:04):
Bomb blast.

Speaker 20 (01:20:06):
Hey gonna look at this your application for aid bring bono.

Speaker 8 (01:20:11):
Why don't ask me why?

Speaker 20 (01:20:13):
I oh, okay, okay, I'm the responsible person. I turned
it down. You and I have been, for instance, we
were a kid. Oh what you get a kick out
of it? Lord?

Speaker 21 (01:20:24):
You know what?

Speaker 20 (01:20:25):
The people you've known, people were.

Speaker 50 (01:20:27):
Something in the community before they're doing more.

Speaker 20 (01:20:29):
People you had to look up to and say, sr too,
I'm sorry about your poultry farm. I'm sorry for all
the poultry raisers you included, and the beef raisers and
the walnut growers. But certain things have to be rebuilt
before others. Heavy industry comes first. Factory Steve and cement
and fuel producers, synthetic fabriak where your people? Good night, Giller,

(01:20:53):
write me a letter on the proper form. I talked
to you in a few days about my application for aid.

Speaker 8 (01:21:00):
You change your mind?

Speaker 20 (01:21:01):
Come around, Giller. Ever got that farm going, he'd be
the biggest black market operator in California. Five bucks apiece
for gray eggs, and he knows where to get it.
Everybody trying to swing a deal.

Speaker 42 (01:21:18):
And make money cash in on people's hunger.

Speaker 20 (01:21:23):
I wonder if he's really gone or if he's hanging
around outside. People like him get on my nerves. I
better go see pictures. A very tago analytic practice, a

(01:21:50):
dream of falling tends to indicate that the patient has
some kind of fear of a basic insecurity, a feeling
that he is faced with a problem that he must
solve and can't solve it. But he's got to solve it.
But he can't solve it, but it must be solved.

Speaker 51 (01:22:10):
I'm falling there.

Speaker 8 (01:22:15):
Why, Oh no, you're not.

Speaker 42 (01:22:17):
You're here in my arms, sitting in a chair.

Speaker 20 (01:22:21):
Yeah, but I was falling.

Speaker 8 (01:22:25):
I started to go out of my apartment.

Speaker 20 (01:22:26):
I opened the door to the hall and there wasn't
any four under my feet, just emptiness.

Speaker 8 (01:22:30):
And I tried to grab hold of.

Speaker 20 (01:22:32):
Something and there wasn't anything, nothing at all anywhere, just darkness.
What happened next with.

Speaker 8 (01:22:36):
You at doctor? How could I have been hurt? Was
just in my mind?

Speaker 20 (01:22:42):
Maybe I stumbled or something, but I didn't fall because
there was no place to fall. Mormondary dizziness from over
work fatigue. Yes, yes, maybe since then you've had a
fear of fall, a phobia about high places. Okay, mister Bedd,
just try another recall of this time.

Speaker 8 (01:23:01):
I want you to remember more.

Speaker 42 (01:23:02):
About the falling and your friend doing it.

Speaker 52 (01:23:05):
Oh starlet broll over the railhet that you probably think,
I'm going to give you one last chance before we
tossed you off this.

Speaker 8 (01:23:16):
Ryan on my fault.

Speaker 20 (01:23:18):
I tried to get funds. Drews short on funds. Terrible
task of her.

Speaker 4 (01:23:23):
You can here.

Speaker 20 (01:23:23):
You bet that I came here and bake.

Speaker 50 (01:23:25):
You had okay our application, but you turned this down.
You did all you could to block it.

Speaker 20 (01:23:30):
Black market rebel pol he's never seemed to get your world.
Probably bought all that's right, brought off that look bed
for pear old times sake.

Speaker 42 (01:23:39):
You want to get in on this along with this,
I'll let you in. I have a sentimental feeding towards you.

Speaker 20 (01:23:44):
I think you sincerely felt you shouldn't okay our application.

Speaker 8 (01:23:48):
I never will even if you kill me.

Speaker 20 (01:23:50):
Oh you mean I got my job?

Speaker 8 (01:23:52):
Responsibility?

Speaker 20 (01:23:53):
Heavy industry comes first.

Speaker 52 (01:23:55):
Remember when there were eggs, how the shelves looked when
they were dropped?

Speaker 20 (01:23:58):
Remember how it felt.

Speaker 42 (01:23:59):
That brushed the eggshell und your foot?

Speaker 20 (01:24:01):
How did that old nursery Ryan d about putting the
pieces of the shell back together.

Speaker 42 (01:24:06):
But the way Bedford, we're.

Speaker 20 (01:24:08):
Making sure the next reason or director isn't so devaulted.
They having industry.

Speaker 50 (01:24:12):
We're getting in somebody with, shall we say, an agricultural
frame of mind.

Speaker 20 (01:24:18):
Okay, let's finish this up and get gone. Get him
over the rail almost a mile of the ground. How
could a thing like this happen to me and be forgotten?
Can a person forget be knocked down, kicked and threatened
with death? It wasn't forgotten. It remained buried beneath repressed.
We'll have to try some more, recall, mister Bedford. So

(01:24:41):
far I don't have enough to go on now. This
business of Gilla and his men beating and terrorizing you
provides what's called the chromatic incident, the moment of fear
that starts the chain reaction of repression going. But are
you willing to try another? Recall? But now, doctor, you
shouldn't stop. At this point, I couldn't stand anymore Tomorrow.

(01:25:05):
Maybe we'd better go on now, mister Bedford. Now from
what you recall, I got an impression that there's no
time to waste. I don't think they just beat you
up and threatened you. I think they did throw you
over the.

Speaker 42 (01:25:18):
Rail to your death. I think they killed you.

Speaker 9 (01:25:22):
And again.

Speaker 8 (01:25:26):
All right, Boxa, I'll let.

Speaker 20 (01:25:28):
You start your recall inducing gadget again, but don't don't
make me go back to that moment.

Speaker 8 (01:25:34):
Something else.

Speaker 20 (01:25:35):
I couldn't stand to see them standing there above me,
higher and higher, and then the ramp and the railing disappearing.
This time, I'd like you to think of something pleasant, satisfying,
perhaps a day in your work when you were particularly pleased.

Speaker 17 (01:25:50):
With what you accomplished.

Speaker 20 (01:26:02):
The public bath, kids splashing around lots.

Speaker 8 (01:26:05):
Of hot water.

Speaker 20 (01:26:06):
Wonder how many of us would be dead by now,
dead some contaminations from the perpetual fall out if we
hadn't built those huge pools and fountains over there. It's
the hardest decision I ever made. I felt like a
lunatic giving them the go ahead, and a lot of
people were angry about that. But after I saw the
figures from the Anti Radiation Committee, it had been done.
No matter how many people got.

Speaker 42 (01:26:27):
Angry, I know my duty. It's to the whole people.

Speaker 20 (01:26:32):
A lot a few respectful up.

Speaker 8 (01:26:34):
Here and air.

Speaker 20 (01:26:40):
You say you okayed the building of mass public baths,
and you actually stood and watched the people bathing. That's right,
togas like ancient times mister Bedvid, I want you to
listen to me carefully. I have something important to said
to you.

Speaker 8 (01:26:56):
What's wrong?

Speaker 20 (01:26:57):
Doctor? Well as a licensed general practitioner, and I've been
interested in the idea of public baz as an anti
radiation measure. In my opinion, it's a sound idea, But
the proposal hasn't yet been put through. No baths have
been built. It'll be at least five years before the

(01:27:18):
baths can be put into operation. The usual interpretation doesn't
quite check. Sometimes the dream isn't quite usual. The man

(01:27:39):
has a dream of the future. It's awfully hard to
identify its source because the source hasn't happened yet. Tell
me Bedford, Now, you were exposed to a great deal
of radiation in the early part of your life, and
so were your parents. That's right, we all were. We
all went through the blasts and the heavy fallout of
the war, domination of our food, water, homes, clothing. Do

(01:28:03):
you remember any unusual exposure, either to you or to
your parents radiation approaching a dangerous maximum?

Speaker 8 (01:28:14):
Let me try to remember. I'm confused.

Speaker 42 (01:28:19):
You think I'm some sort of a freak.

Speaker 20 (01:28:23):
Stop sitting there in the chair in sellling yourself. You
have to make plans time.

Speaker 8 (01:28:28):
There's nothing I can do.

Speaker 20 (01:28:30):
There's no way I can stop them. Try to remember
any toxic dose of radiation, especially in the earliest part
of your life. I'll go back to the enemy missile
attack sirens. Can you hear sirens? You're possibly running forward
to shelter, your family, running too across the field. Maybe

(01:28:55):
I'm sorry, doctor, I've had all I can take. I'll
see you against some other times you're leaving. Thanks for
the help. I've got to consider all this. Maybe I'm
not remembering the future. Maybe it's just a false memory
of Eurotic fantasy. How could we check if it's really
in the future. What's the matter?

Speaker 8 (01:29:19):
I can't get up what I can't stand up?

Speaker 17 (01:29:21):
I'm fed.

Speaker 20 (01:29:22):
I'll fall doctor, now, I can't even get to my feet.

Speaker 8 (01:29:26):
Or make yourself comfortable in your chair.

Speaker 20 (01:29:27):
And we'll go on with the therapy as I said
we should.

Speaker 8 (01:29:30):
I just found no choice.

Speaker 20 (01:29:33):
You know what we're after this time, at some point
in your life, you apparently were exposed to a near
toxic dose of radiation. But for me, they don't leave me.
I come on back.

Speaker 14 (01:29:50):
They fall you wait for me.

Speaker 20 (01:29:51):
I am okay, Lett get down, get the middle. They're
almost here. It's a little a show off, so we
get done that to safe.

Speaker 1 (01:30:02):
You scared, Jimmy.

Speaker 17 (01:30:03):
Yet yet not.

Speaker 20 (01:30:06):
Jim you are flat. Okay, what you.

Speaker 10 (01:30:08):
Said in Plat the other day he said, my family, Jimmy,
because they told nobody was found.

Speaker 20 (01:30:13):
This second he said, my family was scared of being found.

Speaker 53 (01:30:16):
Okay, let's be.

Speaker 20 (01:30:22):
Yes. I remember Antonio and I were kids during the war.
We got the scuffling, seeing who was braver. And while
we were scuffling, the first warhead exploded a couple of
miles off the coast. So that's where you got the
near toxic dos. Yes, whole place was saturated hot. They
had to rope off the rubble, close the roads. I

(01:30:44):
was in the hospital for more months, done in the
underground medical wars along with the real casualties. Were you
were a real cash can. I wasn't hurt. They made
all the tests. They found no sign of tissue damage.
But got okay, bone marrow and affected. No answer as
for nations, But now you know you were affected. I

(01:31:05):
was affected. I listen to me, mister Bedford.

Speaker 42 (01:31:08):
You still have time to re examine your dealings with Gila.

Speaker 20 (01:31:12):
You mean give him the bureau of funds he wants
so he can set up his black market operations, or
doctor Sharp. I have my responsibility to the people of
this area. Those funds have to be given to the
proper applicants. Even if it means you're lift, even if
it means my life, I'm still not going to get
guiller of the funds. I respect you, mister Bedford.

Speaker 42 (01:31:34):
I can see why the government gave you the job.

Speaker 8 (01:31:37):
I've tried to do it right. I feel proud of.

Speaker 20 (01:31:40):
What I've done hygienic paths. Evidently I'll be successful there.
That alone makes it worthwhile. I don't feel too depressed.
All in all, it was worth it. A lot of
people died in the war. My death comes a number
of years later, but I can possibly consider it as
a bona fide or death with arma. Hey, look, I

(01:32:04):
can stand up now. I'm on my feet bringing up
that material about the radiation exposure.

Speaker 8 (01:32:10):
Must have done it.

Speaker 20 (01:32:11):
Do you intend to come back again and see me? Now?

Speaker 8 (01:32:14):
That doesn't seem to any much of a reason.

Speaker 20 (01:32:15):
I'd like to keep on trying. Maybe there's a junction
of possible futures, some point in time at which we
can deflict the future that's waiting for you. I'll think
about it all right, doctor, thanks a lot for trying.

Speaker 8 (01:32:43):
Did you read to see me? My name is Kis
Tony and Gillick.

Speaker 50 (01:32:49):
I'm sorry to bother you, but this constitutes an emergency.

Speaker 20 (01:32:54):
I got well, Well, he's compassion follow up my life
said down, tell me about it. I have an irresistible.

Speaker 9 (01:33:06):
Urge to push people, push people.

Speaker 14 (01:33:10):
Towards windows out.

Speaker 20 (01:33:12):
What am I gonna do? Doc?

Speaker 9 (01:33:14):
There was this little shrimp of a guy I push.

Speaker 50 (01:33:16):
Wasn't One day a girl was standing ahead of me
on this way and I shoved here.

Speaker 20 (01:33:22):
She was injured.

Speaker 50 (01:33:25):
I'm afraid I'll eventually kill somebody someday.

Speaker 20 (01:33:29):
So perfectly am this person who needs today?

Speaker 42 (01:33:47):
A stone is never afraid of anything.

Speaker 20 (01:33:50):
The stone has no sense of futurity, no sense of
the futures of control. I wherefore it has no fear.

Speaker 17 (01:33:58):
If you can feel fear, it means that you.

Speaker 20 (01:34:01):
Can sense the future. To the extent that you can
sense the future, you can control it. You don't have
to be stuck with any particular future us to take
the trouble to dream about the future, then you have
a chance to do something about the future. If you
don't like atomic wars, you have a chance to do

(01:34:25):
something about it, provided you dream that it's there nightmare
or not, you have a chance to do.

Speaker 54 (01:34:32):
Something dark fantasy. I am the thing.

Speaker 33 (01:35:12):
From the scene. Sorry, mister Hedges.

Speaker 29 (01:35:25):
This is all we can dig up on that story
about the missing Hollywood people. So now we can't waited longer.
We got to go to press.

Speaker 14 (01:35:31):
Lets see what you got ye story from the film
Capital more than a Wee Cold Go November twenty is
in the exact Philip Hayward, young cinema star of.

Speaker 29 (01:35:39):
Yesterday's Bread and a popular actress, Judith Johnson set sale
for New zeal on the board Hayward's private yacht as chaperone.
Miss Johnson's movie director father accompanied the pair, and it's
reported that Johnson Senior is taking advantage of the sea
voyage to complete his original cinema yarn, a story of
the strange creatures who lived beneath the surface of the
sea that was more a week ago weren't been received

(01:36:01):
from New Zealand. That's the hebrid yachts more than two
days overdue. The careful check gives evidence that there have
been no disturbances on the Pacific. Throughout the time the
party has been aboard, special searching parties failed to discover
the whereabouts of the boat.

Speaker 8 (01:36:15):
Question.

Speaker 29 (01:36:15):
In Hollywood tonight, the question everywhere is what's happened to
the trio aboard the Dolphin? Where have they become victims
of the fantastic creatures created in the imagination of the
author director aboard the yachts? That is this week's unsolved mystery?

Speaker 19 (01:36:30):
Will it ever be?

Speaker 20 (01:36:30):
Oh?

Speaker 14 (01:36:30):
That's all right, boy, right, get this down to make up.
Let's get a ruling right away.

Speaker 55 (01:36:52):
Unin hered stupid food and noise when you know, take
it easy, Johnson, no reason to start shouting at each other.

Speaker 29 (01:36:56):
You know, I don't here. We've been become two days
in the night. Now we have moved in, not one
way or the other.

Speaker 55 (01:37:03):
I assure you there's nothing wrong with the motors. I've
been over them myself. Some fantastic reason. They just refuse
to start again.

Speaker 29 (01:37:10):
Why why won't they start?

Speaker 19 (01:37:12):
I don't know why did they stop in the first place.

Speaker 29 (01:37:15):
It's weird, like or like some strange spirit had you
sent me upon the boat?

Speaker 4 (01:37:21):
Oh?

Speaker 29 (01:37:21):
Nonsense is nonsense. There are many terrifying legends about sea
spirits and touched to g adventures that have happened to
sailors at sea.

Speaker 19 (01:37:31):
Just a lot of myths.

Speaker 55 (01:37:33):
Who knows what strange creatures learn beneath the sea surface?
Who can tell what might come up out of the
depths at any movement?

Speaker 19 (01:37:40):
Or stop it?

Speaker 55 (01:37:41):
You're talking like a superstitious old fool made too many
gooping movies. It's because he won an Academy awards. No sign,
I'm going to swallow the tripe your dish out in
those eight real climbkeser yours?

Speaker 19 (01:37:52):
No, Judy, you.

Speaker 14 (01:37:55):
Cannot.

Speaker 29 (01:37:57):
I would like you gotter.

Speaker 19 (01:37:59):
Hey, Oh you can't do it, Judy, What in the
name of Heaven?

Speaker 29 (01:38:09):
Are you all right?

Speaker 49 (01:38:11):
Oh?

Speaker 9 (01:38:13):
I was asleep and dreaming.

Speaker 17 (01:38:17):
Oh it was.

Speaker 19 (01:38:18):
Horrible, I said, it was a nightmare.

Speaker 22 (01:38:21):
I dreamed I was talking to a young girl. Yet
she didn't seem like a girl at all. She looked
more like a mermaid of what She was, like a
nymph from the sea. I thought she stood looking at me.
She told me she'd been dead for centuries, and yet

(01:38:43):
not really dead. I couldn't understand what she meant. She
said something about her body being dead but her mind
being free to wander.

Speaker 9 (01:38:54):
About the world.

Speaker 21 (01:38:56):
Dead. It was ghastly.

Speaker 22 (01:38:58):
She kept trying to convince me that I should let
her mind and of my body.

Speaker 19 (01:39:03):
Well, what did she say she wanted to do?

Speaker 22 (01:39:05):
She said the entire civilization of the earth depended upon
the task she had to perform. Oh, sil she she
seemed to be actually trying to force me out of
my body so she could enter it today.

Speaker 29 (01:39:18):
What did this creature look like?

Speaker 22 (01:39:21):
Oh? She was awful looking dead. She had long hair,
green and slimy like seaweed. Her teeth were brilliant red.
They were long and pointed. She kept staring at me
with her little beady eyes. They were horrible, for there

(01:39:41):
were new eyelids. She never blinked once, She just stared
and stared.

Speaker 29 (01:39:50):
What else, Dody?

Speaker 22 (01:39:51):
What was horrible? When she touched me? She had long,
narrow fingers with no nails on them, and they were
covered with fish like scale.

Speaker 55 (01:40:00):
It's positively the most amazing thing I've ever heard her. Oh, yes, man,
what is it when I say, look at the lad
what's wrung by? You're pails a goost?

Speaker 56 (01:40:11):
Mister Hayward, the dolphin, she's moving.

Speaker 19 (01:40:16):
The boat's moving.

Speaker 16 (01:40:17):
Good.

Speaker 19 (01:40:18):
The man got the motors started.

Speaker 4 (01:40:19):
No, so that's just it.

Speaker 36 (01:40:22):
The motors aren't running and there's no wind, but the
boat's making about twenty knots an hour.

Speaker 29 (01:40:29):
Oh, this boat couldn't possibly move without.

Speaker 36 (01:40:33):
Motives, not at all. There's a man at the helm
steering the boat. And he's a man none of us
have ever seen before.

Speaker 19 (01:40:43):
Man, Are you sure sure?

Speaker 36 (01:40:45):
As I'm standing here, sir, And he's the strangest thing
I've ever seen.

Speaker 19 (01:40:51):
Let's go have a look at him.

Speaker 29 (01:40:52):
Hey, come on, Youdith, you'd better stay here.

Speaker 22 (01:40:55):
No, no, I'm not going to stay here by myself.

Speaker 19 (01:40:58):
All right, Come along, OLIVI follow me.

Speaker 20 (01:41:11):
More.

Speaker 56 (01:41:16):
It's him standing up there at the helm, singing.

Speaker 29 (01:41:21):
Some sort of an ancient sea chounting.

Speaker 19 (01:41:24):
Easy enough, maybe trouble there he is, sir.

Speaker 56 (01:41:33):
You see, mister Hayward.

Speaker 29 (01:41:35):
Oh yeah, I see. That's no man, some sort of
a sea monster.

Speaker 56 (01:41:47):
Look at his hands, mister Hayward.

Speaker 29 (01:41:49):
Lad's right, long, narrow fingers with waves between them and
no fingernails.

Speaker 22 (01:41:57):
Yeah, they're like the hands of the girl in the dream.

Speaker 9 (01:42:01):
Where is he taking us?

Speaker 29 (01:42:03):
Yes?

Speaker 55 (01:42:05):
I wonder behind the suner O good, a huge wall
of water rising out of the sea. Get down those steps, everybody,
get down. Everybody down the shower here, out of the cabin, I.

Speaker 19 (01:42:40):
Say, everybody, all right, yes, I am.

Speaker 55 (01:42:45):
Did Judy get down in the cabin, Yes, she made it,
just managed to close the door before the wave hit.

Speaker 22 (01:42:51):
Are you all right?

Speaker 19 (01:42:52):
Yes, okay you Judy?

Speaker 22 (01:42:54):
What in the world caused there?

Speaker 29 (01:42:56):
Yeah? What when in a wave of water hundreds of
feet high?

Speaker 9 (01:43:02):
It's a miracle we didn't catch size.

Speaker 55 (01:43:04):
Looks to the pot side, isn't it there's land, land
by heaven. It can't be not in these waters. There's
no land for five hundred miles.

Speaker 29 (01:43:14):
And what's that away under mirage?

Speaker 4 (01:43:17):
Sir?

Speaker 56 (01:43:18):
That's no mirage. It's land.

Speaker 29 (01:43:21):
It certainly is long low coast, extending north and south
as far as you can see.

Speaker 22 (01:43:28):
A low, steaming land. Look look at the heavy vapors
rising from it.

Speaker 55 (01:43:34):
You're right, Judy, it is steaming. I must explain this
sultness has been around us these past two days.

Speaker 48 (01:43:41):
Why I've been in these waters a dozen times. This
has never been here before. It's an entire continent where
there ought not to be anything but empty.

Speaker 29 (01:43:49):
Sea land from the sea. That explains the wave that
swept over us. A wave that high could only have
been caused by an undersea disturbance.

Speaker 19 (01:44:00):
Nonsense, Johnson.

Speaker 48 (01:44:01):
You're trying to say an underwater convulsion forced this vast
expanse of land up to the surface.

Speaker 29 (01:44:06):
Precisely a land called Eban.

Speaker 55 (01:44:11):
I'll have to have a better explanation than that. Things
like entire continents rising up out of the ocean just
don't happen.

Speaker 22 (01:44:16):
Then, if that's not correct, what is the explanation?

Speaker 29 (01:44:18):
There is no mother.

Speaker 55 (01:44:20):
A land called Eban did exist at one time, nearly
ten thousand years ago, ruled by a man named Bull
and a woman named Lana. They both possessed wonderful powers
and knowledge. Boo, the Emperor destroyed the continent of Eban,
oh by releasing vast unknown forces beneath the continent, forces

(01:44:42):
that only he and Lana knew.

Speaker 29 (01:44:44):
How to control.

Speaker 22 (01:44:45):
But why did he destroy it?

Speaker 55 (01:44:48):
I don't seem to recall. I read the legend once
doing research for one of my pictures. It seems that
for some reason or other, Bull and the girl were
to release their spirits from their bodies, and those spirits
would have the power someday of recalling the sunken land
from the sea.

Speaker 22 (01:45:07):
Then if such a story is true, that must be
the land of Evan we're approaching.

Speaker 29 (01:45:15):
Not at all impossible.

Speaker 55 (01:45:17):
And if it is true, couldn't that monstrous chanting thing
at the helm be pulled himself, taking us with him
back to his long lost kingdom?

Speaker 19 (01:45:32):
You don't actually believe that?

Speaker 8 (01:45:34):
To you?

Speaker 19 (01:45:34):
Justin?

Speaker 22 (01:45:35):
Why not?

Speaker 4 (01:45:36):
Well?

Speaker 19 (01:45:36):
I certainly don't.

Speaker 9 (01:45:37):
So what else can we believe?

Speaker 55 (01:45:38):
That wave couldn't have swept us off our course enough
to put us in sight of this land. Besides, look
at it steaming, that sultry, foul odor land covered with seaweed.

Speaker 56 (01:45:51):
There's no one at the helm, sir, That monsters disappeared.

Speaker 22 (01:45:54):
Look there's someone lying on the deck beneath.

Speaker 9 (01:45:57):
The wheel, ma'am.

Speaker 29 (01:45:59):
Maybe that things met with bit of a hard luck
A couple couple halk right, he's breathing slightly.

Speaker 19 (01:46:08):
I say, who is he?

Speaker 29 (01:46:09):
Not a member of the crew? How to get on board?
Why is he lying here on dick?

Speaker 22 (01:46:15):
What happened to him?

Speaker 19 (01:46:16):
He's conscious, he's trying to tell us something. Look here,
who are you? A stowaway?

Speaker 57 (01:46:28):
Hit in supply room, went to sleep, don't remember, eddie h.

Speaker 55 (01:46:42):
H ah, stowaway, he says, hid in the supply room
and went to sleep. Wait a minute, he's dead.

Speaker 19 (01:46:57):
Hey, when I'm going to have a look over here, Judy, Judy.

Speaker 9 (01:47:02):
I feel so strange. You look so very strange.

Speaker 19 (01:47:06):
You'd better go below to the cabin, dear.

Speaker 22 (01:47:08):
Yes, I better, I'll down for a while.

Speaker 19 (01:47:11):
Shall I go with you? Dear?

Speaker 48 (01:47:14):
I'll be all right, all right, dear, be careful going
to your cabin. Oh, ned, get a tire pole and
then cover the body right away, sir, he come over here,
I mean, William, Yes, Joson, what is it there?

Speaker 17 (01:47:30):
Have a look.

Speaker 29 (01:47:32):
See someone's climbed down that rope ladder on ashore through
the muddered slime.

Speaker 20 (01:47:38):
Mm hmm.

Speaker 19 (01:47:40):
Whoever it was he didn't sink in very deep?

Speaker 29 (01:47:43):
Seehas too thick kept him from sinking? I wonder who
it was.

Speaker 19 (01:47:48):
I am in favor of finding out.

Speaker 48 (01:47:51):
Ned, Yes, sir, we're going ashore. Watch out for miss Blake,
will you right? And not a word of this to
the rest of the crew.

Speaker 55 (01:47:56):
Understand, all right? Justin and you go. Yeah, follow those
footprints and see where they lead us.

Speaker 29 (01:48:22):
Evil smiling place I was ever in.

Speaker 19 (01:48:28):
Hold on, Look, yeah, I see what you mean. A
city up ahead.

Speaker 29 (01:48:34):
There, a city from the depths of the sea.

Speaker 48 (01:48:38):
I see Johnston. Isn't that Captain Webb going into that
low dome building over there?

Speaker 22 (01:48:42):
Eh?

Speaker 29 (01:48:43):
Yes, yes, it is so, that's our man.

Speaker 19 (01:48:48):
Oh hi, captain, Captain Webb. Wait a minute, Captain hold
up a bit.

Speaker 49 (01:48:58):
Hey, right.

Speaker 29 (01:49:00):
And wrong?

Speaker 55 (01:49:01):
That's snarl on his face. He's got a gun in
his hand. It isn't Webb's that thing?

Speaker 19 (01:49:09):
What in the name of Heaven?

Speaker 17 (01:49:10):
Stand back?

Speaker 14 (01:49:12):
The two of you.

Speaker 29 (01:49:14):
Stand by what you're not?

Speaker 4 (01:49:17):
Captain Webb?

Speaker 29 (01:49:18):
I am Bull, Emperor of Eban, and I have returned
to claim again my ancient kingdom. If you come one
step nearer, I shall be compelled to slay you.

Speaker 19 (01:49:35):
You dare not boom Lana Judy.

Speaker 21 (01:49:38):
You seem surprised.

Speaker 9 (01:49:41):
Did you think I would forget Lana?

Speaker 4 (01:49:43):
Judy?

Speaker 8 (01:49:44):
Darling?

Speaker 4 (01:49:44):
What does this mean?

Speaker 19 (01:49:46):
Why do you speak so strangely? Why does this this
thing called you?

Speaker 8 (01:49:50):
Lana?

Speaker 9 (01:49:51):
I am Lana, Philip Heyward.

Speaker 58 (01:49:54):
I have borrowed for a while the body of your
beloved Judy. What my mind, my spirit has entered her body.
You see me as Judith Johnston. But now now I
am Lana, Empress of the Kingdom of Eban.

Speaker 29 (01:50:12):
I have returned to rule Evan, and I have returned
to prevent You cannot prevent it.

Speaker 8 (01:50:19):
Lana.

Speaker 55 (01:50:19):
Look here, this quarrel is none of my affair. I
demand that you release whatever power you have over my fiance.

Speaker 58 (01:50:25):
I have borrowed her body only for a little while,
Philip Heywood, just as Boole has borrowed the body of
the captain of your craft.

Speaker 29 (01:50:32):
Eh, the body I first borrowed was a weak one,
a six stowaway. The captain's is a sturdy body. Now
it is mine, but you must return it to him,
boul It is the law.

Speaker 58 (01:50:47):
You must return his body unharmed, just as I must
return the body of Judith Johnson.

Speaker 8 (01:50:52):
It shall be so.

Speaker 29 (01:50:55):
I am about to enter the temple. Now regain Ebonite body.

Speaker 9 (01:51:02):
You cannot open the burial chamber.

Speaker 21 (01:51:03):
And as I accompany you.

Speaker 59 (01:51:05):
I realize that full Well.

Speaker 29 (01:51:10):
I enter the temple. Now I shall await you Lana
beside the suffulcher.

Speaker 48 (01:51:19):
Look here, Lana, oh, whoever you are, this is some
horrible nightmare till a payward.

Speaker 58 (01:51:25):
We must act quickly. I will try to explain. When
Bool destroyed Eban ten thousand years ago, we sealed our
Ebonite bodies in a vacuum chamber. Inside this temple, and
our spirits left our bodies to roam the universe until
Eban should be restored. Now Boole intends to re enter

(01:51:48):
his body and build a new Eban. Once he does
reclaim his ancient body, all is lost, for no one
save me can destroy And if I slay him, I
too must die.

Speaker 8 (01:52:05):
But what can you do?

Speaker 9 (01:52:06):
I have a plan.

Speaker 21 (01:52:07):
Come with me into the temple.

Speaker 49 (01:52:10):
Where boull away.

Speaker 58 (01:52:29):
There is bull standing beside our ancient bodies, just as
we left.

Speaker 21 (01:52:34):
Them so long ago.

Speaker 54 (01:52:37):
All israeldy Lana.

Speaker 29 (01:52:40):
We will break the vacuum permit our spirits to enter
our sleeping bodies.

Speaker 8 (01:52:48):
Are you prepared?

Speaker 60 (01:52:50):
I am prepared, boul.

Speaker 1 (01:52:53):
Then we begin a.

Speaker 29 (01:53:00):
Mhm hurry.

Speaker 61 (01:53:09):
Look those buddies in the glass vacuum. They're beginning to move, Yes, slowly, slowly,
look at them?

Speaker 21 (01:53:27):
No, don't please.

Speaker 62 (01:53:33):
Tell me again?

Speaker 24 (01:53:37):
Oh where am I?

Speaker 21 (01:53:42):
How did I get here?

Speaker 19 (01:53:44):
Judy? Thank Heaven, she's left you.

Speaker 4 (01:53:46):
You're yourself again.

Speaker 56 (01:53:47):
Look they left the vacuum.

Speaker 4 (01:53:51):
See a player there.

Speaker 22 (01:53:54):
She is, She's the one in my dream.

Speaker 21 (01:53:57):
You are free?

Speaker 49 (01:53:59):
Ah?

Speaker 28 (01:54:00):
Not so?

Speaker 29 (01:54:02):
The three of you will remain here forever to help
rebuild the populace of Eban.

Speaker 53 (01:54:09):
You cannot BOOLO is all great, all powerful.

Speaker 17 (01:54:14):
Booll is the law.

Speaker 29 (01:54:16):
No one can define, No one bool say me you
lack the courage, Lana not, No, I have the courage.

Speaker 21 (01:54:26):
No, you're cruel and wicked bull. Your rule aged e
band ended in horrible tragedy. It must not happen again.

Speaker 29 (01:54:34):
Put down the weapon, Lana, you dare not slay me?

Speaker 4 (01:54:41):
You'll die yourself.

Speaker 21 (01:54:42):
And I call congath to claim.

Speaker 63 (01:54:44):
You dare not.

Speaker 29 (01:54:46):
Lana, you dare not slay the son of.

Speaker 4 (01:54:49):
The ancient one.

Speaker 14 (01:54:51):
Yes, fool, Yes, it has been written by the hand
of destiny.

Speaker 64 (01:54:55):
Lana, think, think before you slay me.

Speaker 5 (01:54:59):
Young I'm a.

Speaker 16 (01:55:02):
No, I say, didn't she didn't.

Speaker 20 (01:55:14):
That is the end.

Speaker 56 (01:55:16):
Paul's finished.

Speaker 19 (01:55:17):
Now, No, you must go. Can you come with a
slatter No?

Speaker 56 (01:55:23):
But soon night perish.

Speaker 22 (01:55:24):
Also, you must hurry now leavey, Ben quickly go.

Speaker 21 (01:55:30):
I'll let you have time hasten. The pauls is too late.

Speaker 19 (01:56:04):
Well, Judy, darling, we're underway, full speed ahead.

Speaker 22 (01:56:08):
No trouble starting the motors, dam none at all.

Speaker 19 (01:56:10):
Your father and Ned are down to the crew. The
men don't even suspect what has happened to her.

Speaker 9 (01:56:15):
Just as well they'd never believe it.

Speaker 19 (01:56:18):
Well, take a last look, Judy, You'll soon be out
of side.

Speaker 20 (01:56:22):
Of the land.

Speaker 22 (01:56:23):
Yes, Oh, I'm so glad it's all over, Phil. But
poor Lena, she gave her life to save ours.

Speaker 9 (01:56:33):
Phil.

Speaker 19 (01:56:34):
Yes, Darling, she did.

Speaker 9 (01:56:38):
What's that look?

Speaker 19 (01:56:41):
Flames from the mainland like a volcano.

Speaker 16 (01:56:43):
Phil.

Speaker 9 (01:56:44):
The lamb's thinking it's smaller.

Speaker 1 (01:56:48):
Judy, she's released the forces.

Speaker 19 (01:56:52):
She's destroyed. Angently back once again.

Speaker 4 (01:57:28):
Dark Fantasy.

Speaker 48 (01:57:49):
The Thing from the Sea an original tale of dark
fantasy by Scott Bishop. Eleanor Nayler Koran was Judith Johnston.
Ben Morris played Philip Hayward. Fred Wayne was heard as Johnston.
Eugene Francis played ned Georgiana Cook was Lana, and Daryl

(01:58:09):
McAllister was Boull. The Thing from the Sea. Next Friday Night,
at the same time, the National Broadcasting Company will bring
you another weird adventure thriller, The Demon Tree, another tale
of dark fantasy, created by Scott Bishop and based upon
the ancient legend of the Strangling Oak of Nanowood in England.

(01:58:34):
So listen for The Demon Tree next Friday Night. Dark
Fantasy originates in the studios of Station w k Y
Oklahoma City, Keith Payton speaking, this is the National Broadcasting Company.

Speaker 19 (01:58:48):
Welcome.

Speaker 65 (01:58:50):
I hope you are listening to this in comfort and
that tonight you will sleep well. There are many who weren't.
For Sleeping rough is a term we have become increasingly
used to hearing in the last few years. Every night
in most of our major cities, people, people of all

(01:59:13):
ages can be seen sleeping rough on the streets. These
people are the jobless, the homeless, and the helpless. They
are people who live without hope for the future. They
are people too, who can mainly be described as victims

(01:59:33):
victims of circumstance. Some of these people, however, become victims
of something even worse than normal misfortune. They become victims
of what can truly be called an evil force. It
is a force that few of us are aware exists.

(01:59:55):
Some of us, of course, have heard rumors of it.
But hearing these rumors, we dismissed them. We tell ourselves
they must be fanciful. No matter how often we hear
of its possibility, We tell ourselves, surely it couldn't happen
in Britain. But we are wrong, very wrong. This trade

(02:00:20):
for evil trade.

Speaker 22 (02:00:21):
It is.

Speaker 65 (02:00:23):
Most certainly does exist.

Speaker 53 (02:00:49):
Good, thank you, nurse. You can take over now, doctor. Yes, sir,
make a good job of the shoota.

Speaker 66 (02:00:55):
I won a prize for sewing at school.

Speaker 4 (02:00:58):
Well done.

Speaker 53 (02:01:00):
Yes, this has been very successful, very successful.

Speaker 67 (02:01:24):
You said your daughter went missing yesterday, missus Drew. Do
you know if she was involved in last night's disturbances?

Speaker 66 (02:01:30):
No, not Alana, mind.

Speaker 60 (02:01:32):
I wouldn't blame if she had been out there, somebody's
got to do something. As state of things. She had
her breakfast and off she went to school.

Speaker 68 (02:01:40):
But they said she never got there.

Speaker 2 (02:01:42):
I can't believe it.

Speaker 60 (02:01:45):
She's taken some clothes and that bag of hers with
the picture of.

Speaker 69 (02:01:48):
A cat on it.

Speaker 53 (02:01:50):
Why did she take your time? I'm sorry, take your time.

Speaker 60 (02:01:58):
I'm sorry, sergeant.

Speaker 53 (02:02:00):
Is this a recent photograph of her?

Speaker 60 (02:02:02):
Yes, it's taken in a summer out there in the
backyard there.

Speaker 68 (02:02:06):
Sixteen.

Speaker 60 (02:02:07):
She's never been in any trouble, mind, but big.

Speaker 53 (02:02:09):
Trouble things all right here?

Speaker 70 (02:02:11):
All well, we had rows, it doesn't it's been difficult
like since my husband, her father died.

Speaker 53 (02:02:18):
Oh, yes, I see.

Speaker 60 (02:02:19):
She kept saying things was hopeless, but she was right,
it wasn't.

Speaker 70 (02:02:23):
She no work crankier than anybody, nothing, and nobody cares,
at least not down there in London.

Speaker 53 (02:02:28):
Did she ever say she wanted to leave home, run away?

Speaker 60 (02:02:32):
She didn't like school. She kept on about going down
to London to find a job.

Speaker 66 (02:02:36):
London. I mean she's never been there, She's hardly.

Speaker 60 (02:02:40):
Ever been away from here.

Speaker 53 (02:02:41):
Did she have any cash with her?

Speaker 56 (02:02:43):
She had maybe.

Speaker 60 (02:02:44):
Fifteen pounds in the post office.

Speaker 28 (02:02:46):
She got something, she got some money at Christmas. Oh sorry,
you will find her, won't you.

Speaker 53 (02:02:59):
We'll do our best, drew it.

Speaker 67 (02:03:00):
But but what there are thousands of missing teenagers. I'm
afraid anyhow, this photograph should help. I'll take it for
copying and we'll return it to you later. I don't
mind a bloody photo. It's all that I want.

Speaker 53 (02:03:13):
I'm sorry.

Speaker 60 (02:03:13):
Sorry, it just I'm so frightful.

Speaker 53 (02:03:17):
For it down there on their own. Like I say,
we'll do our best, misses, drew it.

Speaker 71 (02:03:27):
The trailer now standing on the platform twelve is the
twenty twenty in the city for Manchester Calling Act.

Speaker 72 (02:03:36):
If you're not wanting them, do good as you are.

Speaker 20 (02:03:38):
What do you want?

Speaker 63 (02:03:38):
I want?

Speaker 66 (02:03:39):
I would like to help you.

Speaker 72 (02:03:41):
Oh yeah, well I think you're from the welfare.

Speaker 53 (02:03:44):
What a fast.

Speaker 66 (02:03:45):
I promise you.

Speaker 73 (02:03:46):
I'm not look another coffee sandwich, money from a newspaper's
writing about what's his name?

Speaker 53 (02:03:51):
Cardboard cities and the owner's dropouts like me.

Speaker 74 (02:03:55):
I'm not from the welfare, I'm not from the police,
and I'm not a journalist. But I think I might
be able to offer your job. You don't have a job.

Speaker 16 (02:04:01):
I take it.

Speaker 66 (02:04:02):
Would you think you'd like to make some.

Speaker 53 (02:04:03):
Money doing more? I don't do drugs in it.

Speaker 9 (02:04:07):
I'm glad to hear it.

Speaker 66 (02:04:08):
You didn't tell me your name. Well, at this stage
it doesn't matter.

Speaker 74 (02:04:13):
Might just call me Tom, take his card, Come to
that address tomorrow morning about ten.

Speaker 53 (02:04:19):
It could be worth your while.

Speaker 72 (02:04:20):
It's not too far from here Winter Street.

Speaker 20 (02:04:24):
Ask for Hillary.

Speaker 74 (02:04:25):
Hillary, Hillary, think about it, and I hope to see
you tomorrow.

Speaker 20 (02:04:29):
Tom.

Speaker 60 (02:04:35):
What are you shift?

Speaker 20 (02:04:38):
This?

Speaker 72 (02:04:38):
Might pitch pitch his door? I sleep in his doorway.

Speaker 68 (02:04:43):
Shook your doorway? Here are you anyway?

Speaker 36 (02:04:45):
Never mind?

Speaker 9 (02:04:46):
Moved right?

Speaker 75 (02:04:51):
You can stay for a minute.

Speaker 17 (02:04:55):
You want to talk?

Speaker 75 (02:04:58):
Why and suit yourself?

Speaker 17 (02:05:01):
You around here?

Speaker 38 (02:05:03):
Yeah as well?

Speaker 75 (02:05:04):
Never seen you before?

Speaker 72 (02:05:05):
Where are you from North?

Speaker 16 (02:05:09):
You've got a name.

Speaker 75 (02:05:11):
Alma, Alma? That foreign stupid.

Speaker 72 (02:05:18):
Mine's Tom?

Speaker 75 (02:05:20):
What are you gonna do right tomorrow day after get
a job down here?

Speaker 17 (02:05:28):
Good luck?

Speaker 68 (02:05:30):
Hello, No, might be none, I might not.

Speaker 75 (02:05:34):
Okay, I could be getting work tomorrow. I've got to
go see somebody general work.

Speaker 68 (02:05:43):
What's some chration?

Speaker 75 (02:05:46):
How old are you?

Speaker 61 (02:05:48):
Oh?

Speaker 17 (02:05:49):
Trying it?

Speaker 19 (02:05:52):
You don't look it.

Speaker 75 (02:05:54):
If you want to be careful, you know you come
look after myself. That's what they all say, twenty few
some of them. And then the police was always picking
up kids like you.

Speaker 68 (02:06:04):
I haven't done anything, I believe you.

Speaker 75 (02:06:08):
Yeah, we want to get some sleeps A shut up?

Speaker 26 (02:06:15):
Can I can?

Speaker 68 (02:06:16):
I stay here?

Speaker 19 (02:06:17):
Ya?

Speaker 49 (02:06:19):
Do what you like.

Speaker 74 (02:06:24):
This one's called Tom something or other. They never seem
to want to give their full name. I think he
will turn up fairly certain, Yes, fairly certain is a
contradiction in terms Hillary, we should be more definite. Time
is of the essence in these cases.

Speaker 66 (02:06:36):
Ralph.

Speaker 53 (02:06:37):
It's never easy sometimes, I know, I know, just facts.

Speaker 74 (02:06:42):
Well, he's the right age, often with a sister in
New Zealand, no friends or relatives over here.

Speaker 53 (02:06:48):
Hmmm, very well, he'll do there's something else, Ralph.

Speaker 54 (02:06:53):
Mm hmm.

Speaker 66 (02:06:54):
We've got to talk.

Speaker 53 (02:06:57):
Hillary. We've talked and talked to endly sleep We're in
this together. Never forget that. Now, May I get on?

Speaker 72 (02:07:13):
Just don't over there somewhere Alma and look for fake.

Speaker 53 (02:07:17):
Yeah, well that would be difficult.

Speaker 72 (02:07:19):
This is morning rush. How you could do well? Ask
him for any spare chat.

Speaker 69 (02:07:22):
That's all you do.

Speaker 72 (02:07:24):
Tom?

Speaker 68 (02:07:25):
Where are you going?

Speaker 72 (02:07:26):
See about this job? I told you I might see
you later? That's so funny it maybe she wants a
toy boy. Oh, she'd be barking up the wrong bloody tree. Remember,
look per fake. I'll see you, Alma, Ralph.

Speaker 60 (02:07:49):
This is Tom, the young chap I told you about.

Speaker 53 (02:07:53):
Come in, Tom, sit down.

Speaker 60 (02:07:54):
I got work to do, so I'll leave you two
to have a chat. Tom, would you like a coffee?

Speaker 20 (02:07:58):
No?

Speaker 53 (02:07:59):
No, I'm all see you later. They so young man.
You'll be wondering what all this is about.

Speaker 72 (02:08:06):
She told me she might be able to fix me
up with something.

Speaker 53 (02:08:10):
This place is a clinic, Tom. We do research here,
basic medical research.

Speaker 19 (02:08:15):
Do you know what I mean?

Speaker 4 (02:08:17):
Well?

Speaker 53 (02:08:18):
No, no, Look, I'd like you to stay here for
a few days in comfort, test your heart, blood pressure,
et cetera. And oh yes, probably take a tissue sample.
At the end of your visit here, we pay you
how much four hundred pounds.

Speaker 66 (02:08:33):
How much?

Speaker 53 (02:08:34):
Four hundred pounds in cash?

Speaker 4 (02:08:38):
What is this?

Speaker 72 (02:08:39):
There has to be a catch.

Speaker 53 (02:08:40):
Oh there's no catch.

Speaker 72 (02:08:43):
Oh when I mean, when do you want me today?

Speaker 17 (02:08:47):
Now?

Speaker 41 (02:08:48):
Oh?

Speaker 53 (02:08:49):
Yeah, Well, but first I need to know one or
two details for our records. You are of no fixed
bode I believe, no, yeah, and your parents are both deceased,
both well dead.

Speaker 72 (02:09:05):
Oh yeah, yes.

Speaker 53 (02:09:08):
But you have a sister, Hillary tells me who lives
abroad in New Zealand.

Speaker 37 (02:09:13):
Are you in contact with her?

Speaker 22 (02:09:14):
No?

Speaker 53 (02:09:15):
No, no, Ale months as far as you know, no,
And you're not on any form of medication.

Speaker 22 (02:09:22):
No.

Speaker 53 (02:09:26):
Fine, Well that's all I need to know really for
the moment.

Speaker 74 (02:09:34):
Hello, Hillary Western here. Everything is arranged. That effrectomy is underway. Yes,
we expect one hundred percent success. Yes, it will be
dispatched immediately.

Speaker 53 (02:09:51):
Oma almas, are you.

Speaker 72 (02:09:56):
Why cut this smash some remember Tom?

Speaker 2 (02:10:00):
Yeah?

Speaker 66 (02:10:02):
What's the time.

Speaker 36 (02:10:03):
But I'll just come back.

Speaker 43 (02:10:05):
Where are you? I haven't seen you for days?

Speaker 15 (02:10:08):
Days.

Speaker 75 (02:10:10):
I've got some money, real money, big money.

Speaker 53 (02:10:18):
There's nothing.

Speaker 36 (02:10:19):
I'll just feel a big busy.

Speaker 68 (02:10:22):
Fighting.

Speaker 72 (02:10:22):
No, no, I'll tell you later.

Speaker 36 (02:10:25):
I'll go around the corner to the off license.

Speaker 53 (02:10:31):
We're going to celebrate.

Speaker 68 (02:10:32):
You celebrate, help yourself carrying the bowl some crisps.

Speaker 60 (02:10:38):
While you're atting fifty packages if you want, you sure, you're.

Speaker 68 (02:10:43):
Terrible on fire?

Speaker 23 (02:10:46):
Won't go away?

Speaker 68 (02:10:48):
Where's he going?

Speaker 72 (02:10:49):
Come going?

Speaker 24 (02:10:54):
There?

Speaker 23 (02:10:54):
You go?

Speaker 66 (02:10:54):
Then two bottles of six packets?

Speaker 1 (02:11:00):
You're right?

Speaker 26 (02:11:02):
Sure?

Speaker 20 (02:11:04):
Yeah?

Speaker 4 (02:11:05):
Okay?

Speaker 43 (02:11:07):
What is then you're doing?

Speaker 60 (02:11:08):
I just stacked those ads? Go it, go on, off
you go, Lady Mandel.

Speaker 70 (02:11:25):
Oh my god, I don't understand. The young man's had
an accident in London. What's that got to do with
my Alma?

Speaker 67 (02:11:38):
He was carrying this similar to the one you described
with the picture of the cat on it, and this
exercise book was inside with Almah's name and address on it.

Speaker 53 (02:11:53):
You recognize it?

Speaker 20 (02:11:55):
Yes?

Speaker 17 (02:11:56):
Yes?

Speaker 1 (02:12:01):
Where is she?

Speaker 60 (02:12:03):
Where's Alma?

Speaker 67 (02:12:05):
The police down there believe she may be sleeping rough
somewhere near Houston Station.

Speaker 60 (02:12:12):
You've got to find that, You've got to find We.

Speaker 53 (02:12:16):
Are doing our best, missus. Drewett m hm oh.

Speaker 60 (02:12:21):
Sorry sorry, I can't help it. It's just seen these
things of us.

Speaker 53 (02:12:28):
This young man must have known Alma. Did she go
with anyone?

Speaker 60 (02:12:33):
I don't know.

Speaker 53 (02:12:33):
She might have run off with him well, or he
could have stolen the bag of course, god, they ask him. No,
I'm afraid not. You see, missus Drewitt.

Speaker 76 (02:12:45):
He's dead.

Speaker 68 (02:12:59):
Because Mortimer.

Speaker 41 (02:13:01):
Yes, here we are, sergeant, thanks doctor, road traffic accident,
multiple fractures of the skull.

Speaker 66 (02:13:08):
Must have died instantly. But there's something else. He'd had
a recent affract to me what a kidney removed? And
according to the PM.

Speaker 53 (02:13:17):
Very recently, what was he doing out of hospital?

Speaker 20 (02:13:19):
Then?

Speaker 66 (02:13:20):
Might have discharged himself and now identifying papers on them?

Speaker 53 (02:13:23):
Nothing odd?

Speaker 66 (02:13:25):
Why do you think somebody might have taken them?

Speaker 53 (02:13:28):
Why take away of all means of identification and leave
the money?

Speaker 66 (02:13:32):
Four hundred quid in cash, wasn't it?

Speaker 53 (02:13:34):
Yes, looks like I had a lucky day at the
betting shop.

Speaker 23 (02:13:37):
Oh, I'll get in touch with other hospitals, try to
find his medical record checking this necroft.

Speaker 60 (02:13:45):
I know the NHS is understaffed, but there must be
a hospital somewhere who realized his missing.

Speaker 68 (02:13:54):
Why all the questions?

Speaker 66 (02:13:55):
Then, I'm sorry, I'd just like to help you. Alma
pretty name. Your parents must be very worried. Do they
know where you are?

Speaker 17 (02:14:05):
No?

Speaker 77 (02:14:06):
Mom doesn't care. And my dad cheat it cheated, went
and died, said he wouldn't it was ill? He told
me it get better, promised.

Speaker 66 (02:14:24):
I I'm lovely Dad, come to this address tomorrow morning.

Speaker 4 (02:14:30):
Alma.

Speaker 68 (02:14:31):
Why should I yell at you asking all these questions
up to you?

Speaker 66 (02:14:35):
If you don't want to earn some money, forget it.
But I want to help.

Speaker 53 (02:14:40):
Believe me, you'd have to stay for a few days,
but you'd be well remunerated. Hey, well paid.

Speaker 17 (02:14:52):
What do I have to do?

Speaker 22 (02:14:53):
Like?

Speaker 53 (02:14:54):
I remember, you can always say no and go where
as free as a bird, no hard feelings. But on
the other hand, if you need say two hundred pounds
two hundred.

Speaker 77 (02:15:04):
Quid, yes, listen, I don't talk posh and use long
words where I'm not a flaming dickhead.

Speaker 66 (02:15:13):
It's sex, isn't it sex?

Speaker 68 (02:15:16):
What I've seen all the papers, girls coming to London
and getting getting snared up.

Speaker 53 (02:15:23):
If that's what you think, Alma, I'm shocked. Nothing could
be further from the truth. Now, I think perhaps you
should go.

Speaker 21 (02:15:33):
Yeah.

Speaker 68 (02:15:34):
Well, I just thought, like, look, I need the cash.

Speaker 38 (02:15:41):
What do I do.

Speaker 53 (02:15:42):
I'm asking you to be a volunteer. You see, I'm
a medical man.

Speaker 37 (02:15:46):
This is my clinic.

Speaker 53 (02:15:47):
We do valuable work here, a service to humanity. We
save lives. Come with me.

Speaker 37 (02:15:57):
Look at this room.

Speaker 53 (02:16:00):
I'm nervous. See comfortable and warm, nice bed, books, magazines,
color television. All this is yours. You will have three
meals a day, and you can even choose what you
want to eat. Better than shivering in a shopped doorway. Eh,
you can lie in bed all day, eating, reading, watching
television videos. But yes, what else?

Speaker 70 (02:16:25):
I mean?

Speaker 66 (02:16:26):
What else?

Speaker 53 (02:16:27):
We ascertain your blood group, check your heart, blood pressure,
all very simple. Later, one painless injection. That's all injection.

Speaker 68 (02:16:35):
No, I don't like injections.

Speaker 53 (02:16:36):
I did say painless. But if that worries you, no problem.
We can find someone else, some girl who really needs
two hundred pounds and the injection is painless. We just
want to see a reaction to a common code vaccine.
Nothing else.

Speaker 68 (02:16:49):
If I stay here and have all these blood pressure things,
how do.

Speaker 43 (02:16:53):
I know you pay me?

Speaker 53 (02:16:55):
I do have a reputation to think of. Besides, you
will sign a contract offer your services, and the contract
will be legally binding, legally binding, understand Think So when
I was your age, I'd have left at the chance
of earning two hundred pounds for lying in a warm
bed for a few days.

Speaker 68 (02:17:13):
Well, you're on, I'll do it.

Speaker 4 (02:17:19):
Excellent.

Speaker 68 (02:17:19):
It's the money, see I need it.

Speaker 76 (02:17:21):
Fine, thank you.

Speaker 53 (02:17:23):
Now I'll ask the nurse to come and help you
settle in.

Speaker 43 (02:17:26):
Now today right now?

Speaker 53 (02:17:30):
That well, yes, isn't it convenient?

Speaker 68 (02:17:32):
Oh it's convenient?

Speaker 53 (02:17:33):
All right?

Speaker 68 (02:17:34):
Good that injection you mentioned. I don't like injections. I
used to get them at the dentists.

Speaker 53 (02:17:41):
This one will be in your arm, and Alma, if
you feel anything, anything at all, I'll pay you twenty
pounds extra. How's that on top of the two hundred? Yes,
trust me, Alma, trust me?

Speaker 4 (02:17:58):
Good, very good.

Speaker 53 (02:18:01):
Now breathe out again.

Speaker 60 (02:18:05):
What are you doing?

Speaker 53 (02:18:06):
I've told you, just checking up, just routine. You've got
very healthy lungs, Alma, and nothing wrong with your heart.
How old are you twenty Alma?

Speaker 60 (02:18:21):
Sixteen sixteen last month?

Speaker 53 (02:18:24):
I see fine, nurse will take the blood sample now,
nothing to worry about, Alma, As I said, just trust me. Really,
it's late. Where did you go to the flat and relax?

Speaker 66 (02:18:43):
I must talk to you.

Speaker 53 (02:18:45):
I know I've been difficult lately.

Speaker 66 (02:18:46):
It's not that you're tired, yes, tired of all this.

Speaker 53 (02:18:51):
We're saving lives.

Speaker 66 (02:18:53):
That saving lives and making a handsome profit.

Speaker 53 (02:18:57):
And complaining before the world is nothing to offer These
people from the street and aim nothing to offer the world.

Speaker 66 (02:19:03):
Oh the hell are we to say? So, Ralph, I've finished.
I want out. I've decided to take that post in Edinburgh.

Speaker 53 (02:19:11):
Edinburgh, if you don't freeze to death in the climate,
you'll starve to death on some wretched NHS salary.

Speaker 66 (02:19:16):
I'll risk it.

Speaker 53 (02:19:17):
Be sensible. Hillary, Please, I keep telling you we're in
this together. I can't let you go.

Speaker 19 (02:19:24):
Hillary, It's all.

Speaker 53 (02:19:27):
Gone so sour.

Speaker 66 (02:19:29):
I worship the brilliant surgeon with a terrific future, but
now your only interest is money.

Speaker 53 (02:19:35):
Hillary, No, don't.

Speaker 66 (02:19:38):
At least your staff here still believe in you. But
I'm leaving. I've decided. Yes, you're afraid.

Speaker 53 (02:19:47):
Let's it isn't it?

Speaker 66 (02:19:49):
I might tell someone will be that cheeping dewy listen
to it.

Speaker 53 (02:19:51):
Listen, I'm not going to perform and effectomy on the girl. No,
the child in a manner was to have received the
kidney has died. So I'll get rid of Alma in
the morning. She could go now, but she's a sleeper.
Get rid of her.

Speaker 66 (02:20:04):
Get rid of her. You promised her four hundred pounds.

Speaker 53 (02:20:07):
She agreed two hundred. She's more than satisfied. I'll give
you two influences.

Speaker 74 (02:20:11):
Satisfied what she she didn't know she was going to
leave here minus a kidney if you want me, and
I hope.

Speaker 60 (02:20:18):
You don't, I'll be at home, probably packing.

Speaker 76 (02:20:24):
I'd hope to let you go.

Speaker 19 (02:20:25):
Hillary.

Speaker 67 (02:20:28):
Look, I'm sorry, missus drew it, but the police in
London have drawn a blank so far. In fact, Detective
Sergeant Cramballs has come up here to make inquiries.

Speaker 66 (02:20:37):
What are you doing exactly?

Speaker 37 (02:20:38):
We're doing everything in our power, I assure you.

Speaker 60 (02:20:41):
Well, it's not enough visits.

Speaker 53 (02:20:42):
Their only lead was the boy killed by that Laurie.
We still can't find out who he was, or trace
any friends or relatives.

Speaker 60 (02:20:48):
Now they're putting me on television make an appeal like that.

Speaker 1 (02:20:52):
Yes, I heard.

Speaker 60 (02:20:53):
Maybe that'll help. Do you think it will?

Speaker 53 (02:20:56):
I don't know, Missus Druid, I don't know. Yes, I'm
calling from London, doctor Van Gelder, and I'm calling to
tell you that circumstances have changed. I can help you
after all. Yes, the transplant. I have a young patient
here who will make a very suitable donor. The delivery

(02:21:17):
will be in Amsterdam in less than two hours. The
helicopter is please right, bring me back to confirm, and.

Speaker 60 (02:21:28):
Alma, wherever you are. Please please, I beg you just
telephone and let us know.

Speaker 9 (02:21:36):
You're all right.

Speaker 70 (02:21:37):
I love you, You're all I've got now, Please please
just telephone.

Speaker 9 (02:21:45):
I heartfelt plea from the mother of yet another missing teenager.

Speaker 4 (02:21:49):
This seems to be a never end.

Speaker 76 (02:21:54):
Alma, hmmm.

Speaker 43 (02:22:00):
What mm hmmm.

Speaker 68 (02:22:03):
I heard my mom, I heard a voice.

Speaker 43 (02:22:10):
Mm hmm.

Speaker 76 (02:22:12):
No, No, you were dreaming.

Speaker 60 (02:22:18):
And Tom. I was dreaming about Tom.

Speaker 76 (02:22:26):
Tom mm hmmm. Who's Tom?

Speaker 15 (02:22:31):
Mm hmmm.

Speaker 66 (02:22:32):
He never came back.

Speaker 76 (02:22:37):
Just a dream, Alma, A silly old dream. Now relax,
just relax, you won't feel a thing, A promise.

Speaker 74 (02:23:06):
Three four three seven. Hello, Oh yes, doctor van Gelder. No,
Ralph isn't here. He's still at the clinic. You're confirming
what the helicopter. Oh yes, the Golden Goose.

Speaker 9 (02:23:29):
I see.

Speaker 66 (02:23:30):
I'll tell him then, Thank you, good night Golden Goose.

Speaker 78 (02:23:39):
My god, he wouldn't dare.

Speaker 68 (02:23:45):
Oh where.

Speaker 74 (02:23:48):
Where?

Speaker 76 (02:23:51):
It's all right? Alma, am I at all thanks. I'm
just going to give you another injection. You have nothing
to worry about.

Speaker 15 (02:24:10):
M Dad.

Speaker 43 (02:24:15):
Is that you dad, oh me, yes, oh, my.

Speaker 53 (02:24:26):
Daddy, there.

Speaker 76 (02:24:33):
You see painless?

Speaker 60 (02:24:40):
Where's Ralph?

Speaker 45 (02:24:40):
Oh to you?

Speaker 60 (02:24:41):
I didn't expect to see you at this later, to
see him? No way, he's upstairs in theater.

Speaker 53 (02:24:46):
I've got to talk to him at once.

Speaker 66 (02:24:47):
I don't know if you can go.

Speaker 21 (02:24:49):
This is urgent.

Speaker 66 (02:24:50):
Yes, well, I try and contact him.

Speaker 53 (02:24:52):
Then, all right, everyone, we've had clearance from the hospital.
We can go ahead earlier than I'm ah. Let's have
that lap further to the left, let's it closer to
the upper part of the body. Excuse me, what the
devil do you want? Sister, No one's allowed in here.
I'm about to perform.

Speaker 68 (02:25:10):
Sorry, but it's Hillary.

Speaker 60 (02:25:12):
She's downstairs, so she has to talk to you at once.

Speaker 53 (02:25:14):
Now, see well I said not now, look, tell her
to wait. I'll see her as soon as I can. Yes, Oh,
and sister, tell her Alma has gone.

Speaker 20 (02:25:29):
Alma has gone.

Speaker 53 (02:25:31):
Make sure Hillary waits behind until we've finished.

Speaker 76 (02:25:39):
Ready, thank you.

Speaker 53 (02:25:43):
Now, remember the donor's heart must be in perfect condition. Scalpel,
please first incision here.

Speaker 65 (02:26:15):
Alma never returned home. No trace of her has ever
been found. She's still on the missing list, and Hillary,
she too, vanished like Alma, and indeed, like Alma, has
saved the life of an overseas patient, enabling Ralph to

(02:26:37):
continue his terrible trade tonight. Perhaps at this very moment,
someone sleeping rolf in a city street is being approached
by a stranger being invited to call at a clinic tomorrow.

(02:26:57):
Alma was Melanie Hudson, Ralph, Eric Allan, tom Nicholas Murchie, Hilary,
Anne Windsor, Missus Druitt, Margaret Herey, police sergeant Peter Gunn,
female doctor and managers Melinda Walker, p C. Crambell's, David

(02:27:22):
Bannerman and TV presenter John Church. Playing God was written
by John Graham and directed by Jerry Jones. My name
is Edward de Sousa, the Man in Black. Next week's

(02:27:42):
story is one of obsession and human sacrifice.

Speaker 79 (02:27:53):
Another five minute mystery. Good Morning, Chiff, Morning, every Day Kid,

(02:28:31):
Just cold in and city be late. Springfield bus from
Cleveland broke down just outside of Cleveland and won't be
until eleven o'clock.

Speaker 80 (02:28:37):
Well, I guess you and I can handle what little
business we get here in the Springvale until len oh
Sheriff's office speaking James Coleburner shot be right there, Sheriff.

Speaker 79 (02:28:58):
The bullet edit is right temple, just over the eye,
passing through the head and made its exit from the
back of the neck.

Speaker 41 (02:29:04):
I knew this would happen to James.

Speaker 5 (02:29:05):
You knew this would happen, Miss Alice.

Speaker 21 (02:29:08):
Yes, you see, Sheriff.

Speaker 41 (02:29:10):
Some man in Cleveland had attempted to blackmail James because
of an earlier romance, and James had threatened to turn
the blackmailer over to the police.

Speaker 21 (02:29:18):
Because of that, his life was threatened.

Speaker 41 (02:29:21):
I had him come here to Springville to hide out
for a while.

Speaker 80 (02:29:24):
Debuity, Have any strange men been reported in town the
last few days or have you seen any suspicious characters
that might have been trying to locate James Coburn.

Speaker 79 (02:29:33):
Oh, haven't heard of a soul except some bum that
must have dropped off a freet, A short, swarthy.

Speaker 41 (02:29:38):
Looking guy that sounds just like the Cleveland man. James
described him to me one day.

Speaker 36 (02:29:42):
Don't recall anyone saying he'd been quiet about Cohen.

Speaker 80 (02:29:47):
James always seemed like a pretty upright man to me.

Speaker 41 (02:29:50):
Oh, James was a very quiet man, Sheriff. He was
just unfortunate enough to have been tied up with this
affair in his youth, and then this this gangster had
to try a shakedown on him and ruin all our happiness.
We we would have been married. We were going to
be married tomorrow and go to Cincinnati to live. James

(02:30:11):
had a job offered him there.

Speaker 5 (02:30:13):
I'm sorry this has been a shock to you, then.

Speaker 70 (02:30:16):
Yes it has.

Speaker 41 (02:30:17):
Sheriff James had written me last week. He asked me
to come on the eight thirty bus today. Then we
were going on to Cincinnati this afternoon.

Speaker 17 (02:30:27):
Oh.

Speaker 5 (02:30:27):
I was so happy.

Speaker 41 (02:30:29):
I packed all my things and left Cleveland on the
bus early this morning. I rushed right out here, only
to find them dead. Oh if only had gone to
Cincinnati months ago, as I begged.

Speaker 5 (02:30:42):
Him, it would have been just the same, Miss Alice.

Speaker 21 (02:30:46):
Well, it couldn't have been.

Speaker 41 (02:30:48):
He'd have been safe there.

Speaker 5 (02:30:49):
No, Now, you'd attracted him there and murdered him, just
like you did here.

Speaker 79 (02:30:57):
Do you know why the sheriff accused Alice of murder
James Cobraen In just a moment, we shall find out
the first and now for the solution to our mysteries.

Speaker 14 (02:31:53):
Alice James Coleburn was shot by someone facing him as
he sat in a chair, obviously someone from whom he
didn't fare violence.

Speaker 5 (02:32:03):
Therefore not a man. You were, the black mayor.

Speaker 80 (02:32:06):
If anyone was Alice, he probably laughed at your threat today,
went back to reading, and you shot him. You said
that you arrived this morning at eight thirty on the
bus from Cleveland.

Speaker 33 (02:32:17):
You couldn't have that bus.

Speaker 80 (02:32:18):
Broke down, and one of my own deputies is still
stranded outside of Cleveland.

Speaker 36 (02:32:23):
I'm that bus come along.

Speaker 81 (02:33:05):
Muriel lived alone in an old Victorian house overlooking the
rocky coast of Maine. She had grown lonely in her
old age and relied heavily on the comforts of her
Newfoundland Misty. Misty had taken to sleeping under Muriel's antique
canopy bed, and because of the bed's height, his furry

(02:33:26):
body just fit underneath. All his treasures awaited him beneath
the meadow sprays, balls, toys, biscuits, and riches of all candles.
Muriel catered to his very fanciful whims, as she had
known children to love. Every night, before going to sleep,

(02:33:46):
Muriel would take down her long gray hair and brush
each strand over and over again until it shines like
the moon. As she would say, Misty would sit below
her with his hat and peering out from the bed.
After she brushed her own hair, she would take the
doggie brush from the bedside table and brush Misty's bushy locks.

(02:34:07):
Misty would fall asleep every night as she performed this ritual.
Every morning, Muriel would wake and put her hand underneath
the bed who Misty would greet her with a gentle
lick on her hand, and Muriel would know that she
was safe. Nobody visited Muriel except for the occasional postal
worker and paperboy, though she had recently taken to listening

(02:34:30):
to the radio for news stories as her eyes grew
weaker and weaker with age. One particular night, Muriel could
not sleep. She awoke to a dreadful.

Speaker 43 (02:34:41):
Surround, dreaming more Captain.

Speaker 81 (02:34:47):
This monotonous noise continued to keep Muriel from her dreams.
She rose from her bed and went to the bathroom
to check the horses. One fauset appeared to have slightly.
She turned the knobs tightly, then returned to her bed.
The next morning, Muriel put her hand under the bed,
as she did every morning. She felt Misty's strong tie

(02:35:09):
to lick her hand. As she got out She began
talking to Misty, as she often did, reciting the coming
events for the day. Muriel put on her bathroom and
slippers and walked slowly down the curvy, velvet covered staircase
to her kitchen. As she walked, she heard the familiar
noise of her leaky faucet, drip, drip, trip, over and

(02:35:35):
over again. As she approached the kitchen, the noise got louder, drip, drimp, drimp.
She turned on the light switch. Hanging by his tongue
from the light fixture was Misty. His blood was drooping
onto the floor, drimp drop drop, And there on the wall,

(02:35:58):
spoiled in blood was message, this is not the only
one who fits under.

Speaker 17 (02:36:05):
Your bed.

Speaker 45 (02:36:19):
Head my gee. It's time to listen to future gents.

Speaker 44 (02:36:24):
Here entertainment for the entire family produced right here in Kalamazoo.

Speaker 62 (02:36:38):
Join us now for our voyage into another damasure, a
journey into our realm as infinite and limitless has time
itself our destination, the farthest reaches of the imagination.

Speaker 9 (02:37:04):
Wm UK special projects The Sense.

Speaker 17 (02:37:10):
Show Chat Takes.

Speaker 4 (02:37:22):
Zero hour by Ray Bradbury.

Speaker 82 (02:37:35):
It was a perfect summer day in the year nineteen
eighty five, The streets were lined with green, peaceful trees.
Business People sat in their client offices, taping their voices
or watching televisors. Rockets hovered like darning needles in the
blue sky. There was the universal quiet, conceit, and easiness
of a society accustomed to peace, quite certain.

Speaker 8 (02:37:58):
There would never be war or again.

Speaker 82 (02:38:01):
There were no unhappy citizens, no disgrumbled ones, and no
traders among them.

Speaker 4 (02:38:06):
The world was upon stable ground.

Speaker 20 (02:38:10):
Sunlight illumined the suburbs, and the town drowsed on the
tide of warm summit air.

Speaker 82 (02:38:16):
On the lawns, children played catapulting this way and that
across the green grass, shouting at each other, holding hands,
flying in circles, climbing trees and laughing, and the households
prepared for the arrival of evening.

Speaker 44 (02:38:36):
Excuse me, mom, what heaven's mink? What's all the excitement?

Speaker 45 (02:38:39):
We're playing a game?

Speaker 14 (02:38:40):
I that game?

Speaker 17 (02:38:41):
Ever?

Speaker 44 (02:38:42):
Are you doing in that cabinet?

Speaker 45 (02:38:43):
We need some children, Danny's canlather may not take good?

Speaker 44 (02:38:47):
Cancel my life, promise very well.

Speaker 39 (02:38:49):
Don't lose anything.

Speaker 45 (02:38:50):
Oh thank you, mom? You want a glass of milk?

Speaker 44 (02:38:53):
Can't what's the name of the game, Mink, invasion, invasion?

Speaker 24 (02:38:58):
What will they think of?

Speaker 44 (02:38:59):
Now?

Speaker 83 (02:39:04):
This and this and this and this?

Speaker 84 (02:39:10):
Now put that there and bring that over here. Oh no, you, Lenny,
Now get back for what I fix it.

Speaker 16 (02:39:20):
There?

Speaker 45 (02:39:20):
They want it this way? See yeah, just let me
say oh many, Oh I guess mighty pants.

Speaker 84 (02:39:27):
Joseph kind of don't let him play, he said, he
is all.

Speaker 45 (02:39:30):
Don't worry. I won't.

Speaker 22 (02:39:32):
What's your playing me?

Speaker 45 (02:39:34):
Not if you're a business money pants? I want to play, can't?

Speaker 29 (02:39:38):
Why not?

Speaker 84 (02:39:38):
You're too low old just because you're only eight. You'd
only laugh at us and spoil the invasion.

Speaker 45 (02:39:43):
Make him go, lay me, go away? This is my backyard.
Oh who wants to play with.

Speaker 60 (02:39:49):
Your little make leave people anyway?

Speaker 45 (02:39:51):
They aren't made believe.

Speaker 9 (02:39:52):
Oh, forget you.

Speaker 45 (02:39:54):
I don't want to play, good Dinning, I plan you
just let him play me?

Speaker 17 (02:39:58):
He only laugh.

Speaker 45 (02:40:00):
We better talk to Drill and get some more instructions.
All right, here's your pad and pencil.

Speaker 72 (02:40:04):
Let's DRIs tris.

Speaker 8 (02:40:08):
He's glance.

Speaker 44 (02:40:09):
He went into the rose bush.

Speaker 45 (02:40:10):
I think I'll talk to myself when you write it down.

Speaker 19 (02:40:13):
On the pads.

Speaker 84 (02:40:14):
Okay, Drill, drill, okay, Gril wants you to write down
cry angle.

Speaker 45 (02:40:24):
What's the triangle? Never mind, Drew will tell us when
he wants us to know. It helps the invasion. How
do you set it? Hmm, well, I'll ask Drill. Drill,
how you smeow here? You might not looking at the
mad Yes, mother, who you're talking to the rose bush? Mom,
it's not really a rose bush. That's Drill.

Speaker 24 (02:40:46):
Who's Drill.

Speaker 45 (02:40:48):
He's planning the invasion?

Speaker 20 (02:40:50):
Oh?

Speaker 45 (02:40:50):
I see, well, you better get in and clean up
for supper.

Speaker 60 (02:40:53):
Your father will be home soon.

Speaker 45 (02:40:54):
Just the second month. You got that art. Let's see
now fly.

Speaker 85 (02:40:59):
Night seven and eights and the index and uh and
the hexagony hexagonal dopey?

Speaker 60 (02:41:10):
Oh on me, Supper is in ten minutes.

Speaker 45 (02:41:13):
Okay, on just a minute. I have to tell Drill.

Speaker 44 (02:41:18):
I wish we didn't have to eat, though.

Speaker 45 (02:41:20):
It holds up the invasion.

Speaker 44 (02:41:30):
Mink, for heaven's sake, slow down, you'll choke on that food.

Speaker 45 (02:41:34):
I can't, Mom, is a matter of fly from death?

Speaker 24 (02:41:37):
What's a matter of life and death?

Speaker 45 (02:41:39):
The invasion?

Speaker 24 (02:41:41):
What invasion?

Speaker 20 (02:41:42):
Is that?

Speaker 44 (02:41:43):
It's some silly game the children have been playing.

Speaker 64 (02:41:45):
Well, whatever it is, Mink, it'll wait until you finish
your supper.

Speaker 45 (02:41:48):
And I don't want anymore.

Speaker 24 (02:41:50):
Who you barely touched anything.

Speaker 44 (02:41:52):
Oh, but Drill's waiting for me, Daddy, Drill.

Speaker 4 (02:41:55):
Now, who's Drill?

Speaker 44 (02:41:56):
He lives in a rosebush in the backyard. Imagine, I've
got to run now.

Speaker 24 (02:42:03):
Are you will sit through desert?

Speaker 15 (02:42:04):
Young lady?

Speaker 64 (02:42:05):
Oh, daddy, And while you're at it, tell me more
about this new game.

Speaker 45 (02:42:11):
It's the Martians invading us, Daddy. What they're not exactly martians, Daddy.
They're from Gee, I don't know.

Speaker 44 (02:42:19):
They're from inside that littletty yours.

Speaker 45 (02:42:22):
You're laughing at me. Drill said, you would you killed
grown and everybody.

Speaker 44 (02:42:27):
Oh, I didn't know you could kill a martian?

Speaker 45 (02:42:30):
Is that really a martian?

Speaker 38 (02:42:31):
Mom?

Speaker 84 (02:42:32):
Maybe he's from Jupiter Vinus even imagine he couldn't.

Speaker 45 (02:42:36):
Figure up the way to a text.

Speaker 17 (02:42:37):
Hear.

Speaker 44 (02:42:38):
We're imprigonable, impregnable, dear, Well.

Speaker 45 (02:42:41):
That's the word Drill said. We're helping him. Who's helping who?
The kids are helping the Martians?

Speaker 8 (02:42:48):
Oh the column?

Speaker 45 (02:42:50):
He Drill says, in order to make a good fight,
you've got to have a new way.

Speaker 44 (02:42:54):
Of surprising the people. That way you win.

Speaker 45 (02:42:57):
And he says, you got to have help.

Speaker 64 (02:42:59):
From your enemy's Oh pretty swickt those Martians using the
kid for a fifth column.

Speaker 44 (02:43:04):
I'm Mary and hiding under rose bushes too. Don't forget that, Henry.

Speaker 45 (02:43:09):
That's because grown ups never look under rose bushes. Only kids.

Speaker 9 (02:43:13):
Oh, I see you.

Speaker 44 (02:43:14):
Well finish your food, darling. You can play for an
hour after wed. I'm married, So nice out, Henry. There's
no school tomorrow.

Speaker 24 (02:43:22):
Very well tell eight o'clock on it, Drilled.

Speaker 84 (02:43:25):
After the invasion, we can stay up as late as
we want. No more bad s Neiver and we too
much the grown up television show.

Speaker 64 (02:43:33):
I don't wonder that this invasion is caught on among
the kids.

Speaker 45 (02:43:37):
Some of the kids are giving us trouble, like Dale
Briggs and Pete Kicks. They're grown ups. They will believe
in the invasion.

Speaker 86 (02:43:45):
They make fun worse than parents, even I hate them worst.
We'll kill them first. I hope you're saving your father
and me for last.

Speaker 15 (02:43:56):
Wow.

Speaker 84 (02:43:57):
Grill says you're dangerous, but I think they'll let me
teach you. Because I'm hoping so much. I'll talk to Drill.

Speaker 45 (02:44:06):
Maybe we won't have to kill you.

Speaker 64 (02:44:08):
Now, Mary, I think this nonsense has gone far enough.

Speaker 45 (02:44:11):
Can I go out now? Please run along now, dear,
don't worry that I won't let them hurt you.

Speaker 64 (02:44:19):
Now, Mary, I think the child is taking this game
entirely too seriously in vain.

Speaker 44 (02:44:25):
You know how mean key is. Besides, all children have
their aggressions. It's better to let them get it out
in the open.

Speaker 9 (02:44:31):
I suppose.

Speaker 64 (02:44:32):
Well, maybe you're right. I was wondering about bridge with
the Jacksons tonight.

Speaker 20 (02:44:38):
Mary.

Speaker 44 (02:44:39):
Might you look tired?

Speaker 17 (02:44:41):
Dear?

Speaker 44 (02:44:42):
Why don't you just sit and relaxed for a while?
So for a while until it's time. I wanted to
call my sister Helen.

Speaker 64 (02:44:49):
Oh good and find out when her husband is going
to return my golf club.

Speaker 86 (02:44:57):
Televisor would you please connect me with missus Helen Rogerson
on Channel seven two D, Pittsburgh, Pennsylvania.

Speaker 2 (02:45:05):
What is your channel?

Speaker 20 (02:45:06):
Please?

Speaker 44 (02:45:07):
Eight seventeen ex Kalamazoo, Michigan.

Speaker 2 (02:45:11):
Thank you just a moment, go ahead. You can see
your party now. Hello, Mary, how are.

Speaker 43 (02:45:18):
Things in Kalamazoo?

Speaker 38 (02:45:19):
Fine?

Speaker 44 (02:45:20):
Helen? How are things in Pittsburgh? You look tired?

Speaker 87 (02:45:24):
Oh, I've been having a terrible time with the children.

Speaker 17 (02:45:27):
Sid No, just underfoot.

Speaker 2 (02:45:29):
They've got a new game that's got me just about crazy.

Speaker 21 (02:45:32):
It's called invasion.

Speaker 44 (02:45:33):
Did you say invasion. That's right, Well, isn't that strange?

Speaker 45 (02:45:39):
My Mink is playing a too.

Speaker 87 (02:45:41):
My boy Tim is all involved in some imaginary fellow
named Drill who's running the invasion.

Speaker 44 (02:45:47):
It must be a new password.

Speaker 9 (02:45:49):
Mink likes him too.

Speaker 32 (02:45:51):
How do you suppose these games start?

Speaker 87 (02:45:53):
My backyard looks like a scrap drive. They've got every
conceivable kind of mechanical gadget arranged out there. I talked
to Josephine Shower in Boston, and she said her kids
are wild about it too.

Speaker 44 (02:46:05):
It's sweeping the country. Remember when it was hula hoops?

Speaker 60 (02:46:09):
Please dear, I'm not that old mommy.

Speaker 44 (02:46:12):
Please make I'm on the televisor can see your aunt Helen?

Speaker 2 (02:46:15):
Hello, min hi aunt Helen.

Speaker 45 (02:46:17):
Look what I've gotten?

Speaker 1 (02:46:18):
What is it?

Speaker 15 (02:46:19):
Honey?

Speaker 45 (02:46:19):
It's see yo yo. Look when I enroll it? See Helen,
Look it's vanished. Where did it go into others?

Speaker 21 (02:46:30):
She means to mansion.

Speaker 2 (02:46:31):
An't say the darnest thing.

Speaker 87 (02:46:33):
My Timmy brought one home to I can't figure out
how they work.

Speaker 88 (02:46:37):
Make it reappear, Honey.

Speaker 45 (02:46:38):
There it's easy.

Speaker 9 (02:46:41):
Where did you get it to you?

Speaker 45 (02:46:42):
Drill gave it to me, mom? Mink, Bye, Aunt Helen
gotta run now, I mink, you come back here. I
want to talk to you. Can't, Mom's dear when I
was at seven o'clock.

Speaker 2 (02:46:51):
Make bye.

Speaker 44 (02:46:53):
I can't understand it. The child's never been so unruly, Helen.
Do you suppose that what oh nothing? Hits a wild sauce?
But say the reason I called. I want to get
that black and white cake recipe. And Henry wants his
golf clubs. I don't know what he'll do.

Speaker 17 (02:47:15):
What was that?

Speaker 9 (02:47:17):
I don't know.

Speaker 44 (02:47:18):
One of the children must have been heard of. I'll
have to run and see.

Speaker 60 (02:47:21):
Call me back tonight.

Speaker 17 (02:47:22):
Will you all right?

Speaker 45 (02:47:23):
Mary far Man, come here?

Speaker 14 (02:47:26):
Yes, Mar?

Speaker 20 (02:47:27):
What is it?

Speaker 88 (02:47:27):
Who screamed?

Speaker 16 (02:47:28):
Peggy?

Speaker 44 (02:47:29):
All right? What happened?

Speaker 17 (02:47:31):
Well?

Speaker 45 (02:47:32):
She gets scared?

Speaker 49 (02:47:33):
Went on?

Speaker 14 (02:47:33):
Did you hit her?

Speaker 45 (02:47:35):
No, she just got scared. She's a scared baby. Anyway,
we won't let him play any more.

Speaker 44 (02:47:40):
She's getting too Now, in Mink, you tell me why
she cried? No, I can't do you answer me this instagra.

Speaker 22 (02:47:46):
Come inside.

Speaker 44 (02:47:46):
I've had enough of this nonsense.

Speaker 45 (02:47:48):
Gee, I can't quit. Alma, it's on a zero.

Speaker 44 (02:47:51):
Hour, and tell me what frightened Peggy?

Speaker 45 (02:47:53):
Ann Okay, she saw drill drill. He almost came through.
He just testing through what through those pipes and things
he set up. She looked into one of the pipes
and screams, I guess she's sadri and.

Speaker 44 (02:48:08):
No one hit her?

Speaker 21 (02:48:09):
No, Ma, very well, mink.

Speaker 44 (02:48:10):
I'll call Peggyanne's mother and see how she is, and
i'll call you for your bath in half an hour.
Your father and I want to go out tonight.

Speaker 45 (02:48:17):
You won't be able to go out tonight, Mom?

Speaker 9 (02:48:19):
Why not?

Speaker 45 (02:48:20):
Zero hours at seven o'clock?

Speaker 49 (02:48:21):
Mom?

Speaker 27 (02:48:22):
Are you ready?

Speaker 52 (02:48:34):
Dear?

Speaker 44 (02:48:35):
Just about?

Speaker 64 (02:48:36):
I thought i'd relax a little before we went to
the Jackson.

Speaker 24 (02:48:40):
Where's the little one out back? Same game?

Speaker 15 (02:48:44):
Same game.

Speaker 44 (02:48:45):
You've got a stack of pipes and hammers and spoons
a mile high out there?

Speaker 4 (02:48:49):
Children?

Speaker 24 (02:48:49):
Children?

Speaker 19 (02:48:50):
Why do we have them?

Speaker 44 (02:48:51):
Strange little creatures? Ante even me, Henry, She's a part
of us, and yet, well, what do we really know
about how she thinks?

Speaker 24 (02:48:57):
I didn't mean to start a philosophic discussion.

Speaker 44 (02:49:01):
The kids ask such a clear mixture of love and
hate though, even normal, healthy kids, they need you, they're
dependent on you, and yet they resent that dependence.

Speaker 64 (02:49:11):
You sound like a child's psychology course.

Speaker 42 (02:49:13):
I want to.

Speaker 44 (02:49:14):
I wonder if they ever really forgive the whippings and
commands we have to give them. Sometimes I wonder if
we ever forgot them when we were too.

Speaker 64 (02:49:22):
Now, look, I'd like to discuss this with you, dear,
but we do have to go out. It's almost seven o'clock.

Speaker 20 (02:49:28):
Now.

Speaker 64 (02:49:30):
What's happened to the kids. They're so quiet. When children
are quiet, you know there's some mischief.

Speaker 19 (02:49:38):
And what's that sound?

Speaker 22 (02:49:40):
Now?

Speaker 64 (02:49:40):
Those kids aren't playing with anything electrical, are they?

Speaker 44 (02:49:43):
I'm sure they aren't.

Speaker 24 (02:49:43):
Well, just the same.

Speaker 9 (02:49:44):
I better go out and see it, Henry.

Speaker 44 (02:49:48):
Tell them to put off the invasion.

Speaker 24 (02:49:49):
Now, Mary, don't get upset. It's just a game.

Speaker 9 (02:49:55):
Good lord.

Speaker 24 (02:49:56):
What's that look out the window?

Speaker 75 (02:49:58):
Mary, Henry?

Speaker 29 (02:50:00):
What is it?

Speaker 9 (02:50:01):
Where are the children?

Speaker 57 (02:50:03):
Mary?

Speaker 19 (02:50:04):
Mary?

Speaker 24 (02:50:05):
Why are you shaking?

Speaker 21 (02:50:06):
Oh?

Speaker 24 (02:50:06):
What did you see?

Speaker 41 (02:50:07):
Henry?

Speaker 44 (02:50:08):
Quick up to thee.

Speaker 24 (02:50:09):
They aren't in the abbey.

Speaker 45 (02:50:11):
Sh'S auntie?

Speaker 16 (02:50:12):
Quick?

Speaker 20 (02:50:13):
Mary?

Speaker 88 (02:50:13):
Come back here, Mary, Marry, don't go up there.

Speaker 24 (02:50:17):
They aren't there. Mary, are you out of your mind?
There's no one up here.

Speaker 22 (02:50:22):
Quick shut the door, lock it, lock it.

Speaker 24 (02:50:29):
There's nothing up here.

Speaker 38 (02:50:31):
What is wrong with you?

Speaker 10 (02:50:33):
Now?

Speaker 20 (02:50:33):
Mary?

Speaker 30 (02:50:33):
Come to your sense, Henry, Henry, we've got to save
our lives.

Speaker 17 (02:50:38):
What are you talking about?

Speaker 44 (02:50:39):
I saw it through the window, Henry. It was horrible.

Speaker 14 (02:50:43):
What it is?

Speaker 9 (02:50:46):
An invasion?

Speaker 64 (02:50:47):
For Heaven's sake, Let's get down out of this attic
and talk this over.

Speaker 24 (02:50:50):
Sensibly. I want to find out if Mink is all right.

Speaker 9 (02:50:53):
She's all right.

Speaker 30 (02:50:55):
I saw she was leading them around the corner of
the house, leading who the kids?

Speaker 64 (02:51:06):
It's nothing, O Lord, don't those kids sound like fifty
men with who?

Speaker 45 (02:51:18):
She's gone? Don't he's gone.

Speaker 88 (02:51:23):
I don't understand who's there?

Speaker 9 (02:51:28):
Who's there?

Speaker 24 (02:51:28):
I demanded to answer me, tell me who?

Speaker 3 (02:51:34):
Who's there?

Speaker 9 (02:51:36):
Go away?

Speaker 45 (02:51:41):
Henry, Henry, Man, are you in here? Henry?

Speaker 1 (02:51:49):
She loves them.

Speaker 24 (02:51:50):
It's me think we we've got to save me.

Speaker 30 (02:51:53):
You don't understand she's leading them, what she's leading them.
She's on their side. Oh, please God, forgive us children
on their side. She told us, but we wouldn't believe her.

Speaker 45 (02:52:13):
Henry's coming now, Mom, Dad, we know you're in there.
I guess you had better about the locks.

Speaker 44 (02:52:25):
Drill, Henry, the lock, Melton the door.

Speaker 45 (02:52:33):
Oh dear God, Mom, Dad, Oh I see you now.

Speaker 20 (02:52:41):
Peekaboo.

Speaker 47 (02:52:53):
W m UK Special Projects has presented Zero Hour by
Ray Bradbury and Bailey was featured as Mink, with Mark
Spink and Peg Small as her unsuspecting parents. And others
in our cast were Bran Harding, Pat Michael Kate Bailey
and Stephen Grant. Our narrator was John Phillips. Future Tents

(02:53:17):
is produced and directed by La Segull. Next on Future Tents.

Speaker 89 (02:53:39):
Let me talk to Commissioner Patrick please, Sid Ryan? Hello,
Commissioner Sid Ryan.

Speaker 49 (02:53:45):
Woot you? Well, what is it this time?

Speaker 14 (02:53:48):
If you want to drop a man off the ISB
building into a tea cup, pull of.

Speaker 24 (02:53:52):
Water, the answer is no.

Speaker 88 (02:53:54):
I want a permit for a parade June first, down
Michigan Avenue. It's a Sunday, so this is no. Everybody
else gets a permit. Don't give me a hard time, Patrick,
this is too big.

Speaker 31 (02:54:06):
Come.

Speaker 88 (02:54:07):
I have the Downtown Kalamazoo Association behind me.

Speaker 20 (02:54:10):
Okay, Ryan, fill out the forms.

Speaker 24 (02:54:13):
I'll pass them on to the license commissioner. That's my boy, Bay.
Let's see occasion. Don't you read the papers?

Speaker 45 (02:54:18):
Patrick?

Speaker 88 (02:54:19):
June first is Martian Day.

Speaker 47 (02:54:25):
If you are enjoying these Future Tense programs and would
like to hear more drama on WMUK, please let us
know address your comments as well as suggestions for future
programs to future tents WMUK Western Michigan University, Kalamazoo, Michigan.

Speaker 4 (02:54:40):
The zip code is four nine one.

Speaker 47 (02:54:44):
This is Gerard MacLeod inviting you and your entire family
to join us every Monday through Thursday at the same
time for future tents.

Speaker 4 (02:54:52):
Be sure to listen.

Speaker 3 (02:55:00):
Oh m hmmm, it's a lovely day today. So what

(02:55:21):
are you got to do? You've got a lovely.

Speaker 22 (02:55:29):
M hmm.

Speaker 53 (02:55:30):
If you've got to you got to.

Speaker 3 (02:55:34):
Think, didn't.

Speaker 2 (02:55:38):
You really?

Speaker 3 (02:55:49):
I'd be so happy to be doing air to it.

Speaker 37 (02:55:59):
It's over. Mister Fitzsimmons has had his last eggs.

Speaker 71 (02:56:04):
Benedict I fear.

Speaker 37 (02:56:11):
Oh hello, Simon Evans here, Simon is James. Hello James?

Speaker 1 (02:56:21):
What can I do for you?

Speaker 90 (02:56:21):
Have you heard about the warden?

Speaker 17 (02:56:23):
No?

Speaker 37 (02:56:23):
What's the old sard down?

Speaker 4 (02:56:24):
He has died.

Speaker 90 (02:56:25):
That's what he's done. God, yeah, he's died while while
he's having his breakfast.

Speaker 37 (02:56:29):
I'm sorry.

Speaker 90 (02:56:30):
Yes, it's a heart attack.

Speaker 37 (02:56:32):
A bit young for that, wasn't it.

Speaker 90 (02:56:33):
Well, that's the trouble. The ticker never knows the time. Well,
the show's about to begin now, no mistakes Simon, Poor
Oldfred Simmons, he never smoked or drank for fear of dying,
and then he goes and does it while eating.

Speaker 91 (02:56:45):
I hope this table is all right for you.

Speaker 73 (02:56:47):
Fine, that's my favorite eating place actually well on large meals,
low price, good food, though very good.

Speaker 90 (02:56:53):
I certainly hope so.

Speaker 91 (02:56:54):
I wouldn't have brought you otherwise.

Speaker 90 (02:56:55):
And are you worried about price?

Speaker 73 (02:56:57):
My editor pay is working expenses, of course, but why
waste I don't see the point in wasting money.

Speaker 90 (02:57:02):
I feel the same about time. I hope this is
going to take too long.

Speaker 91 (02:57:05):
Or it's been very good of you to give me
your time, mister Montague. I appreciate it.

Speaker 37 (02:57:08):
Good afternoon, gentlemen.

Speaker 53 (02:57:09):
Can I get you something to drink while you study
the menu?

Speaker 91 (02:57:11):
Mister Montague?

Speaker 90 (02:57:12):
There some red wine?

Speaker 91 (02:57:13):
I think fine, Fine, we'll have a bottle of brewing.
It certainly said, I shall be a moment. Well, shall
I start with the questions?

Speaker 90 (02:57:20):
And I hope it's only going to be a few. Certainly,
it is what you said on the telephone, and I'll
be true to my word. And as I sund I'm
grateful for your time. Well in the way that you
think a good meal for a little money as a bargain.
I feel the same about a good meal for a
few questions.

Speaker 91 (02:57:33):
Right, then, tell me first about All Saints College.

Speaker 90 (02:57:36):
Oh well, it's rather unusual in that there are no
students and few educational responsibilities to take into account. Created
by Henry the third as a graduate only foundation, some
of its fellow as a resident, but many are dispensed
all over the world. I suppose you could call it
a sort of medieval think tank.

Speaker 73 (02:57:53):
Ah, the while you're winding, would you like me to
pour a little? No, that's fine, Thank you help ourselves.
I was just told by another way to say that
you are mister Lang. I'd like to say how much
I enjoy your articles.

Speaker 53 (02:58:06):
Each week from Good Heaven's Fame.

Speaker 91 (02:58:08):
And what is it exactly that you're like?

Speaker 53 (02:58:09):
Well, I suppose we all like to know what's going
on behind the scenes, don't we. Are you ready to
order yet? I certainly recommend the stuff.

Speaker 91 (02:58:16):
Dobergines another five minutes.

Speaker 73 (02:58:18):
I think I'll come back later. Then excuse me, right,
I'll poor shall I? Well, here's to us and a
good article, one that pleases the way to anyway.

Speaker 4 (02:58:29):
Sure?

Speaker 91 (02:58:31):
Now, then, mister Monticue the College Well.

Speaker 90 (02:58:34):
As I was saying, it's regarded as something of a
medieval think tank.

Speaker 91 (02:58:38):
I believe you said.

Speaker 90 (02:58:39):
Yes, yes, says that's right. But indeed its critics will
say that it's gone further and further back into history. However,
its fellows are some of the leading figures in the
country and indeed internationally. For example as Woodie Henshaw, Primary
councilor Queen's Council, Knight Bachelor, Chairman of the two Royal Commissions,
author of a major report to the Governor and Court
of the Bank of England, and an international corporate lawyers

(02:59:00):
to Montague. And then there's Lord Segantol, a recently retired
Cabinet ministers to Montague. And Matthew Moore, regarded as the
finest Middle Eastern archaeologist of his generation. Those are just
some of the names. But as you can see, the
college is rather a unique place.

Speaker 91 (02:59:13):
Missus Montague.

Speaker 90 (02:59:14):
Excuse me, but I know the history of the college,
and then why did you ask me here? I thought
that's what you wanted to talk about.

Speaker 91 (02:59:19):
Tell me about the warden.

Speaker 90 (02:59:22):
Well, that too is a position which is rather unique.
Despite the college being described by many as archaic. Nevertheless,
to be it's warden elevates that person to the status
of an unofficial chairman of the establishment.

Speaker 91 (02:59:33):
That's not what I want to know, mister Montague. Oh,
now what is it you do want to know? I
want to know about his death.

Speaker 56 (02:59:41):
I beg your pardon.

Speaker 73 (02:59:41):
Look, I know he died of a herd to dag
everybody does. What everybody doesn't know is what kind of
cat has been put amongst the pigeons.

Speaker 91 (02:59:49):
By that death. That's what I want to look.

Speaker 81 (02:59:50):
Wait a moment.

Speaker 73 (02:59:51):
I mean, there's going to be one hell of a
struggle for the position of new warden, isn't there. I'd
like to know about it.

Speaker 90 (02:59:55):
I'd like you to tell me, mister Lang on the telephone.
You've said to me that you wish to talk about.

Speaker 91 (02:59:59):
The history of a college. Isn't that what we do?

Speaker 90 (03:00:01):
You know perfectly well that I cannot discuss any forthcoming
election for the post of warden.

Speaker 91 (03:00:06):
Who the favorites.

Speaker 90 (03:00:06):
I will talk about the history of the college and
nothing else.

Speaker 91 (03:00:10):
Who the favorites?

Speaker 90 (03:00:10):
You must excuse me, I'm leaving. I came under a misunderstanding.

Speaker 73 (03:00:13):
A the names you mentioned candidates for the post could
be quite a fine.

Speaker 90 (03:00:16):
Look, I have nothing further to say. And what is more,
I hope that you have forgotten what I've said so far.

Speaker 73 (03:00:21):
Willy Henshaw, Lord Seagan tole Matthew Moore. Sorry, but I'm
a reporter. You see name stick like clone.

Speaker 90 (03:00:27):
A scandal munger is what you are. I see now
why the waiter say you enjoyed your articles?

Speaker 1 (03:00:31):
What was it?

Speaker 20 (03:00:31):
He said?

Speaker 90 (03:00:32):
We all like to know what's going on behind the scene,
and we do, and it's my job to find out.
And it's my job to see that All Saints College
maintains a certain dignity and does not sell itself for Obergenes.

Speaker 91 (03:00:44):
Mister Montague, we don't really have a problem.

Speaker 90 (03:00:47):
I certainly don't. Goodbye.

Speaker 73 (03:00:49):
If you just told me the facts of the matter,
it may help prevent some of the what you call
scandal mungering.

Speaker 91 (03:00:55):
Go to hell, mister Lang, I'm sorry, go to hell?
Are you one of the candidates? I'm telling you nothing more.

Speaker 73 (03:01:01):
You told me nothing I didn't already know as it is.
And what about the names you didn't tell me? What
about Tom Ducassis who's off to the Library of Congress
any day now, Maximon Aheronberg, who's off to the archives
in Venice and the Susan shines. What are the few
women Fellows elected? What about Simon Evans? You didn't mention
him either, What about them? I just want to know
how they feel about the election, who they're supporting, and

(03:01:22):
why and why not? Who's the favorite for the job,
mister Montague? I mean, what's the big secret? For God's sake,
I'm not asking you to tell me who really shocked Kennedy?

Speaker 90 (03:01:34):
Sell you something, mister Lane. You're not a reporter at all.
You're a little nosy bastard snipping around for trouble.

Speaker 91 (03:01:41):
And shall I tell you something? Mister Montague? I think
it's you who's favorite for the job?

Speaker 1 (03:01:45):
Am I right?

Speaker 90 (03:01:46):
And what if I am nothing? It's not me who's
making a big fuss about this. Thanks for the wine, goodbye,
hardly touched the stuff. Bloody waste money.

Speaker 37 (03:01:57):
He's your friend?

Speaker 90 (03:01:58):
Leaving sir, so I would say, aims, it would sing?

Speaker 73 (03:02:01):
I used to What else is there to do it?
One p fifteen or dark afternoon. Yes, I'm staying to eat.

Speaker 53 (03:02:05):
Then may I take your order?

Speaker 73 (03:02:07):
So tell me, my friend, the reason you like my arsicles?
Is it because you enjoy poking your inquiring little nose
into other people's mess ups. Well, I wouldn't put it
quite like that, No, I suppose you would your order
to well for a star. You can stuff your ober sheets.

Speaker 20 (03:02:27):
Sometime.

Speaker 71 (03:02:28):
Gentlemen, I know we're not all here more was the pity.
But a senior fellow, I think I have to say that,
while of course we are all excessively burdened by our
responsibilities to a grateful world, the time has come to
put on our collective caps. I hope you will have
your thinking caps with you somewhere and haven't altogether lost
them on the road to Pristine.

Speaker 53 (03:02:45):
I don't think this is a funny matter, Lord Medway.

Speaker 71 (03:02:47):
Did I say it was quite the contrary. In fact,
the choosing of a new warden is a task to
which we must apply ourselves with a seriousness we reserve
normally to the choosing.

Speaker 91 (03:02:56):
Of people we invite to dinner.

Speaker 37 (03:02:57):
Then let's get on with it exactly.

Speaker 71 (03:03:00):
Tell me, gentlemen, what do you think of the candidates
so far and their chances?

Speaker 92 (03:03:04):
Well, speaking for myself, it looks as though it's going
to be a real battle of bastards, or perhaps I
should say it's going to be a bastard.

Speaker 91 (03:03:10):
Of a battle.

Speaker 37 (03:03:11):
Yes, perhaps you shouldn't be.

Speaker 92 (03:03:13):
I would have thought though, that Montague would be the
obvious choice.

Speaker 53 (03:03:16):
Yes, he'll certainly take the first ballot, there's no doubt
of that.

Speaker 37 (03:03:19):
How do you feel about Simon Evans.

Speaker 92 (03:03:21):
Well, he's a very popular chap of course, but sometimes
that works against a candidate, and he has the look
of someone not really expecting to win.

Speaker 71 (03:03:28):
As opposed to Matthew Moore, who has the look of
someone who can't possibly be defeated.

Speaker 19 (03:03:32):
Arrogant bugger.

Speaker 71 (03:03:32):
Good track record though. I granted, there's quite a few candidates,
and they've all got records of which to be excessively proud,
but there's certainly something about Moor and the way he
wears those endless metals of archaeological medit around his neck
that makes him very much a front runner. And what's more,
he desperately wants to be woron.

Speaker 92 (03:03:51):
Yes, to tell you the truth, his eagerness is already
rather sickening. However, I still think James Montague is the
one who will come out tops.

Speaker 90 (03:04:08):
Hello James Montague here, Oh hello, well, yes, yes, of course,
come round straight away.

Speaker 71 (03:04:18):
No, no, no, not at all.

Speaker 90 (03:04:20):
I'll see you one moment.

Speaker 91 (03:04:32):
An come on, then, I hope I'm not disturbing you.

Speaker 53 (03:04:36):
No, no, I was going to phone you anyway. It's
about the election, Yes, as.

Speaker 20 (03:04:40):
I thought it might be.

Speaker 90 (03:04:41):
Is it true, well, if you mean am I not
taking part? Yes, yes, it's perfectly true.

Speaker 37 (03:04:46):
You're really not standing.

Speaker 90 (03:04:47):
No more than that, I'm not even going to express
a preference as to who has the post. I'm simply
going to sit back and watch the fun. Okay, what
are you worrying about? My dear boy leaves the field
more open for you.

Speaker 37 (03:04:58):
I don't think I'm in much of a chance.

Speaker 90 (03:04:59):
James, nonsense, don't underestimate yourself. You stand a very good chance.

Speaker 37 (03:05:02):
But there's a lot of tough opposition.

Speaker 90 (03:05:04):
Well, of course you'd expect that for such a post.

Speaker 18 (03:05:07):
I'm still surprised that you've backed out. You were the
favorite candidate, you know, and rightly so.

Speaker 90 (03:05:12):
Maybe, but I don't have the guts for combat anymore.

Speaker 37 (03:05:15):
I don't think I do either. And who do you
think does well? Matthew Moore certainly, yes, dear.

Speaker 90 (03:05:21):
Old Matthew, a man so riddled with ambition it seeps
from him like sweat.

Speaker 37 (03:05:25):
I think he wants to be Warden more than anything
in the world, except.

Speaker 90 (03:05:28):
Perhaps ruler of that world.

Speaker 37 (03:05:30):
It's going to take a damn good candidate to beat him,
that's for sure.

Speaker 90 (03:05:33):
And are you that candidate?

Speaker 18 (03:05:36):
Well, like I said, I'm very doubtful. And after all,
there are quite a few others throwing in their cap.

Speaker 49 (03:05:41):
Now.

Speaker 90 (03:05:41):
I have a feeling, though, that quite a few of
those caps are going to be without homes, by which
I mean there's going to be another meeting of the
Fellows in the main library tonight, and I'll expect a
few heads to start rolling. In fact, despite your rather
low and totally unjustified opinion of yourself, I shouldn't be
tall surprised when we get down to the third or
fourth ballot. The contest isn't simil between Matthew Moore and

(03:06:01):
yourself anyway. It's all up to the great and goodly Fellows,
isn't it. And I can't tell you how pleased I
am to be simply a happy and unbruised spectator to
the contest. Thank you for calling Simon telling me that
you believe I'll be missed. I appreciate it very much.
I've got a feeling you care for the college more
than most.

Speaker 1 (03:06:21):
Thank you.

Speaker 37 (03:06:22):
Well, if you'll excuse me, I'll let you get back
to mister Mozart.

Speaker 71 (03:06:31):
And now we come to Willie Henshaw. I don't have
to remind anyone here of his distinguished career, truly outstanding,
and he will of course be receiving the backing of
all the lawyers who make up the college's non resident fellows.
There's no doubt he has strong support. Let's really get
to know him, though, shall we. I suggest a series

(03:06:52):
of informal lunches be set up for him, with us
as his hosts. The way to a man's mind is
often through his mouth.

Speaker 92 (03:07:03):
I don't think zign is going to make it through
the next ballad you.

Speaker 53 (03:07:06):
I'm not sure, Leo, old dear.

Speaker 71 (03:07:07):
He certainly has support, and he has been at the
college forty years.

Speaker 92 (03:07:10):
Yes, but when you think about it, every damn thing
he set his hand and has ended up in the
dustin And that, I feel is where his candidate chairs going.

Speaker 73 (03:07:26):
Montague here and Martin Lang here, remember me, mister Montague,
your nosier reporter, Frank, what do you.

Speaker 90 (03:07:31):
Want, mister Lang I'm very busy.

Speaker 73 (03:07:32):
I hear there's quite a little war going on, Like
tell me about it now you're no longer in the
run yourself. No, I would not, I hear Old Willie
Henshaw has suddenly been dropped like a whole potato.

Speaker 4 (03:07:41):
Why wasn't that?

Speaker 90 (03:07:41):
Goodbye, mister Lang?

Speaker 73 (03:07:42):
Come on, you owe me?

Speaker 20 (03:07:45):
Owe you for what?

Speaker 17 (03:07:48):
Well?

Speaker 73 (03:07:48):
Glass of wine?

Speaker 90 (03:07:50):
Half a glass?

Speaker 73 (03:07:50):
Anyway. Look, I'm only a poor reporter, mister Montague, trying
to make an honest living.

Speaker 90 (03:07:55):
And did your honesty prevent you from claiming for a
meal for two? I wonder, of course not.

Speaker 1 (03:08:00):
Then I think I owe you.

Speaker 71 (03:08:01):
Nothing, mister Lang.

Speaker 72 (03:08:03):
Goodbye.

Speaker 17 (03:08:19):
Hello, Hello.

Speaker 78 (03:08:23):
Matthew here, Simon, Oh, this is something of a surprise.
I've been rather impressed by your performance, impressed and worried.
You're a little too close for comfort. It looks as
though it stands a very good chance of ending up
with you and me fighting it out.

Speaker 1 (03:08:39):
Vote for vote, Yes, it looks like it.

Speaker 78 (03:08:43):
Why are I just want you to know that I
want the post of Warden very badly. I want you
to know that. Yes, I want you to burn it
into your mind, Simon, dear boy, burn it very deeply
into your mind, very very deeply. I want you to
be completely clear that if something should go wrong, for me,

(03:09:05):
things could get very nasty. Indeed, what do you mean,
I mean very nasty? That's what I mean.

Speaker 90 (03:09:14):
Well, I must say, James, this election has turned into
a right old pickle, certainly has.

Speaker 1 (03:09:18):
I mean here we have.

Speaker 71 (03:09:19):
Simon Evans only two votes short of the two thirds
majority needed, and Matthew murd I'm sure he's not going
to release a single one of his supporters to.

Speaker 90 (03:09:27):
Break the deadlock. Cheers as you say, a right old pickle.
We'll have to put heavy pressure on work and we'll
be wasting our time when you know it.

Speaker 71 (03:09:37):
In that case, it will simply force a reference to
the college visitor.

Speaker 90 (03:09:40):
And oh no, we mustn't have that.

Speaker 91 (03:09:41):
We won't have a choice.

Speaker 90 (03:09:43):
Look, I'm not happy the fate of this college put
in the hands of an ignorant bishop. Then what do
you suggest I suggest I change my mind about not
expressing a preference and start throwing a bit of weight around.

Speaker 91 (03:09:58):
And whom are you going to support?

Speaker 20 (03:10:04):
No?

Speaker 37 (03:10:09):
Hello, Simon, Yes.

Speaker 90 (03:10:11):
Just being informed of the results. Congratulations, I said, congratulations.

Speaker 2 (03:10:17):
You mean I mean you've won.

Speaker 90 (03:10:19):
Of course, it's almost unanimous in the end. Oh god,
I suppose I'll have to get used to calling you
warden now, won't.

Speaker 78 (03:10:28):
I I want you to be completely clear that if
something should go wrong for me, things could.

Speaker 69 (03:10:35):
Get very nasty, very nasty.

Speaker 90 (03:10:38):
Indeed, Oh, come on, now, you'll have to get used
to being called warden.

Speaker 17 (03:10:45):
It's not that.

Speaker 18 (03:10:45):
In fact, I got used to being called warden after
the first six seconds. What is it, then, I'm worried
about Matthew Moore. Well, it's been a week now since
the election, and in that time we've not exchanged so
much as a grunt across high table. I think he
really hates me for taking the wardenship away from now.

Speaker 90 (03:11:01):
I don't think you need worry when I wish I
shared your optimism, James, Look, let's just sit here for
a minute. You know, naturally Matthew was bitterly disappointed in
not becoming warden. I mean, it's hardly been a secret
how much he coveted the post. Nevertheless, I've known who
since he was an undergraduate, which I could verse is
rather longer than either of us curse to remember. And
I'm sure he'll behave himself well.

Speaker 18 (03:11:21):
As tomorrow is the final day the academic year, he'll
have a chance to show his true colors.

Speaker 37 (03:11:25):
At my party won't.

Speaker 90 (03:11:26):
He'll be fine.

Speaker 81 (03:11:27):
I hope you're right.

Speaker 18 (03:11:28):
Obviously I'm uneasy on a personal level, but also this
being my first Warden party, I don't want more to
turn up simply to exacerbate the tensions, the residual tensions
left over from the election. And this college means a
great deal to me, as you know, and the tradition
of the party tomorrow also means a great deal to me.
And I don't want the anger and disappointment of one

(03:11:48):
man turning the occasion into a slanging match.

Speaker 90 (03:11:51):
Oh, it won't happen, I'm sure, although I do have
to admit, of course, that where Matthew Moore is concerned,
I could never be really sure. Geting to sound less optimistic, James, No, no,
not at all, not at all. Come on, let's continue
our walk, shall we. M Hello, Willie, it's James here,

(03:12:22):
James Montague. Yeah, oh I'm fine.

Speaker 4 (03:12:24):
Thanks.

Speaker 49 (03:12:25):
Listen.

Speaker 90 (03:12:25):
Are you going to Warden's party tomorrow?

Speaker 8 (03:12:27):
Oh? Good?

Speaker 90 (03:12:28):
And well it's the last chance i'll get to see
you before October, and i'd like to have a chat
with you about a book I'm working out at the moment. Yes,
oh that's excellent. Willy By the way. Have you seen
Matthew Moore lately?

Speaker 1 (03:12:39):
Yes?

Speaker 37 (03:12:41):
How do you think he is?

Speaker 36 (03:12:43):
M m.

Speaker 90 (03:12:46):
M m yeah, well he's going to be there tomorrow,
and between you and me, I'm rather worried. Ah, James,
good to see you, Yes, and you not a bad
turn out?

Speaker 37 (03:13:03):
Eh, not bad at all.

Speaker 71 (03:13:05):
But you know we'd have had one more if the
Campuccians hadn't opened the border yesterday. Young Weems shot off
like a bat out of hell. Should be an anchor banner.
Oh and of course kid Brown's in Larsa. Oh so
he is pity translating. Indeed, mantras, don't tell the chapel clerks,
indeed not well, must circulate see you later.

Speaker 90 (03:13:24):
Well well, well, well it's Leo Dart And how are
you coping with life?

Speaker 92 (03:13:28):
To tell you the truth, I'm still recovering from that bloody,
awfully licks.

Speaker 1 (03:13:31):
And you thought he was going to be mean?

Speaker 92 (03:13:33):
You would have been if you'd ended you should have known.

Speaker 90 (03:13:35):
Well, I prefer life as much on the sidelines as possible.

Speaker 92 (03:13:37):
And you certainly entered into the freight at the end,
didn't you.

Speaker 90 (03:13:40):
I simply did my best to see that a choice
was finally made.

Speaker 92 (03:13:43):
Yes, I think you've been crossed. Orf More's Christmas cardless there?
But then haven't we all just a look at him?
Have you ever seen such a depressed looking person in
your life? God, he looks as though he's just one
Norway in a raffles. Maybe it must be killing him
that we finally decided that a grandson of a coal
miner and one of a grammar school scholarship pilot killed
in a bombing raidover Arkham and fell more clearly into

(03:14:04):
the traditional image of all saints. It's over, Thank God.
Let's hope he doesn't machine gun as all that.

Speaker 90 (03:14:12):
Oh, by the way, where was Jack Amesley?

Speaker 2 (03:14:13):
Is he coming?

Speaker 27 (03:14:14):
No?

Speaker 4 (03:14:14):
He isn't.

Speaker 92 (03:14:15):
In fact, he's many many miles away at this very moment.
He's probably being buggered my little boys in Moroccan.

Speaker 4 (03:14:21):
I don't think I heard that.

Speaker 91 (03:14:22):
Oh God, look Mores walking to the trestles.

Speaker 69 (03:14:26):
He's going to speak.

Speaker 90 (03:14:28):
Well, here we go.

Speaker 93 (03:14:30):
I wonder if I may have your attention for a
moment or two. You bet you can, As most of
you know, I leave for Babylon later today.

Speaker 49 (03:14:40):
The ladies are going to do with that?

Speaker 3 (03:14:42):
Oh, I'm sure they'll survive.

Speaker 93 (03:14:44):
My God, he's smiling the fact is, I've got to
get out there because you can't stand any of us,
not at all. It's because someone has to make sure
that the French aren't wrecking the site as they rebuild it.
And in this case that someone is yours.

Speaker 91 (03:14:58):
Truly, you've always been hear Oh, matthew Ah, So.

Speaker 3 (03:15:01):
What happened to the crosses by my name?

Speaker 26 (03:15:03):
Then?

Speaker 1 (03:15:03):
I cannot believe this now.

Speaker 93 (03:15:06):
Apart from my going to Babylon, you also know that
a week ago I lost one of the harder forty
elections in this college's recent history. What I want to
do before I go away, before many of us go away,
is to settle something. I think it is about time
that we I drank a toast to the new Warden

(03:15:29):
and welcomed him properly to his high and arduous office. Doctors,
I asked you to join me in raising your glasses
to the Warden of all Saints.

Speaker 90 (03:15:44):
This morning. I would have bet a million this wouldn't.

Speaker 78 (03:15:47):
Happen, Warden, Warden, would you just come beside me for
a moment.

Speaker 17 (03:15:52):
That's it?

Speaker 1 (03:15:53):
Now?

Speaker 78 (03:15:54):
You see that I have a small black figurine here
with me, one in fact that I treasure greatly. I
acquired it on my What should I say, ah, last
dig in Syria, Warden, I would very much like for
you to accept this as a gift from me to you,
a gift which I hope with all my heart expresses
to you the fact that I do not hold and

(03:16:16):
will never hold a single grudge.

Speaker 1 (03:16:20):
Warden.

Speaker 37 (03:16:22):
This is for you, Matthew. This is really most kind
of you.

Speaker 78 (03:16:29):
I'm afraid I don't have an export license to go
with it.

Speaker 8 (03:16:32):
Though.

Speaker 37 (03:16:34):
I'm not surprised, Matthew. I always thought you are chaeologist
chaps for nothing but two robbers.

Speaker 90 (03:16:43):
I mean, the reason I came to see you was because,
although we're among the few fellows left in full residence,
I seem to be seeing remarkably little of you.

Speaker 37 (03:16:49):
Yes, I'm sorry, James.

Speaker 18 (03:16:51):
It's just that, although I don't have a term time
schedule to keep to at the moment, I nevertheless do
seem to be in demand socially quite a bit.

Speaker 1 (03:16:57):
No, wh I'm not.

Speaker 90 (03:16:58):
Blaming you, far from it. I mean, after all, I'm
up to my ears in preparing that book of mine
or Champallion's work. I just thought it time I popped
in for a quick hello.

Speaker 37 (03:17:06):
Is everything all right? Indeed, thousands of letters.

Speaker 18 (03:17:10):
Of course, I tell you, most of my invitations seem
to come from rather fetching ladies who are high up
in the social scene.

Speaker 91 (03:17:16):
I just put these in my post tray.

Speaker 49 (03:17:20):
Sir.

Speaker 37 (03:17:20):
Everything's certainly all right.

Speaker 18 (03:17:22):
It's amazing how attractive to the opposite sex I suddenly
am since becoming wharden.

Speaker 90 (03:17:25):
Yes, I bet sorry you didn't.

Speaker 37 (03:17:27):
Apply for the person. Oh no, not at all.

Speaker 90 (03:17:29):
I mean, if there's one thing I prefer to sex,
it's good food and wine.

Speaker 37 (03:17:34):
Well that's two things.

Speaker 90 (03:17:35):
Yeah, well, yes, so they are. Believe me, the tention
of ladies comes a pretty poor third on the list
of things I enjoy.

Speaker 37 (03:17:41):
Shame mind you, Jae.

Speaker 90 (03:17:42):
Listen, why don't we have lunch together sometime next week?
We could go to that restaurant on an Ambuleery Street.
Do you like seafood? I love it yet, Well, they
do muscles in mustard and brand disaurce there, and I
tell you, Warden, old friend, it defeats all competition.

Speaker 37 (03:17:59):
Wednesday. Then, well go on Wednesday.

Speaker 17 (03:18:02):
Good.

Speaker 90 (03:18:04):
Well, I'll let you get on with your letters. We'll
get back to the book I'm reading. You know, there's
nothing like treating oneself to a few hours with the
first class book.

Speaker 37 (03:18:12):
So sex in fact comes forth les.

Speaker 90 (03:18:14):
So it does, and I'm a feeling. If I really
put my mind to it, I think a lot of
other things too.

Speaker 49 (03:18:21):
Right, Well, take care of yourself.

Speaker 90 (03:18:23):
I look forward to our meal together next.

Speaker 17 (03:18:25):
Week, and so do I.

Speaker 37 (03:18:27):
Thanks for coming round, James.

Speaker 20 (03:18:29):
Very nice of you.

Speaker 19 (03:18:29):
No, not at all.

Speaker 90 (03:18:31):
You take it easy with those ladies.

Speaker 37 (03:18:33):
Now, I do my best. I be seeing it then, Yes, sir,
I regret that in the circumstances, go.

Speaker 72 (03:18:50):
Away, go away, go away?

Speaker 53 (03:18:56):
What an earth long.

Speaker 8 (03:18:58):
Wrong?

Speaker 37 (03:19:01):
Nothing? It was nothing.

Speaker 91 (03:19:02):
I heard you crying, go away, you shun.

Speaker 37 (03:19:05):
It was nothing. Really a wasp. It was wasp, that's all.

Speaker 91 (03:19:08):
Wasp.

Speaker 37 (03:19:09):
Yes, I I can't bear them. I was trying to
swat it.

Speaker 20 (03:19:14):
That's all it was.

Speaker 37 (03:19:16):
Anyway, I I managed to yet did, Thank heavens. Sorry
I worried you. It's just this terrible phobia of mine.
Are you sure you're all right? Absolutely must say.

Speaker 90 (03:19:25):
You look as thoofs just in a ghost. You're white
as a sheet.

Speaker 37 (03:19:28):
I know, silly, isn't it Anyway? As I say, I'm
fine now, and who say so?

Speaker 90 (03:19:33):
All right, I'll er I'll get back to my book.

Speaker 37 (03:19:36):
That's it. See you Thursday. Then we Wednesday, Yes, yes,
of course Wednesday.

Speaker 90 (03:19:41):
Look, if I were you, I'd make yourself a cup
of very sweet tea, sit back and relax while get
some collar back in your cheeks.

Speaker 37 (03:19:48):
I'll do that Wednesday, Yes, Wednesday, I'll remember. Don't worry.

Speaker 76 (03:19:54):
For God's sake.

Speaker 69 (03:19:55):
What's wrong?

Speaker 37 (03:19:57):
There's no solidity?

Speaker 20 (03:19:59):
What?

Speaker 37 (03:20:01):
Please go, James, Please leave me now, please?

Speaker 90 (03:20:04):
What is all this nonsense?

Speaker 37 (03:20:05):
James, I'm asking you to leave me please.

Speaker 90 (03:20:09):
Well, if that's what you want, If that's if that's
what you really want.

Speaker 37 (03:20:13):
There are things to be done, you see, things to
be dealt with.

Speaker 90 (03:20:15):
You understand, No, I can't say I do understand.

Speaker 37 (03:20:17):
I see you Wednesday in the restaurant.

Speaker 4 (03:20:20):
All right?

Speaker 17 (03:20:23):
Goodbye? Warden?

Speaker 69 (03:20:26):
Oh God, oh God, help me.

Speaker 90 (03:20:35):
Lord Medway, Lord Medway, tell me have you have you
seen the warden of late I talked to him briefly
a few days ago, but that's all.

Speaker 71 (03:20:45):
Seems to be keeping himself pretty.

Speaker 90 (03:20:46):
Much to himself.

Speaker 71 (03:20:47):
The odd social event will get him out of his
office for a while, but that's it.

Speaker 17 (03:20:51):
Why do you ask?

Speaker 90 (03:20:52):
Well, I'm I'm a bit worried about him. He doesn't
seem too good to me at the moment.

Speaker 37 (03:20:57):
I'm glad you say that.

Speaker 17 (03:20:58):
I'm in a way.

Speaker 71 (03:21:00):
I've noticed it myself, but I thought perhaps I was
just imagining things.

Speaker 37 (03:21:04):
What do you think's wrong?

Speaker 90 (03:21:05):
Well, I don't know, but he certainly seems to be
under some awful stress of some kind.

Speaker 71 (03:21:10):
I hope it's not that he can't cope with the
job been terrible if we've chosen the wrong man.

Speaker 90 (03:21:15):
Talking of which, did you hear.

Speaker 71 (03:21:17):
That Matthew has had to postpone his visit to Babylon
yet again?

Speaker 90 (03:21:20):
Yes, I have heard.

Speaker 71 (03:21:21):
Seems to be taking it very well, although the thought
of those french S wrecking the site must be burning
him up a bit.

Speaker 90 (03:21:26):
Has he said anything about the warden's behavior.

Speaker 71 (03:21:30):
Yes, I spoke to him about it. In fact, he
said he thought we were overreacting, that all Simon wanted
was a little more time to get used to the
job early days.

Speaker 1 (03:21:40):
Yet he said, give the poor chap.

Speaker 71 (03:21:41):
Until all Saints at least he's sure everything will be
all right by then. Matthew's being very supportive of the Wharton,
isn't he.

Speaker 4 (03:21:50):
He certainly is.

Speaker 71 (03:21:50):
Well, let's hope he's right and we're wrong, and that
there's nothing to worry about.

Speaker 91 (03:21:58):
I tried phone him times. Each time I get no reply.

Speaker 53 (03:22:03):
I have to even seen.

Speaker 1 (03:22:11):
Go away, go away.

Speaker 66 (03:22:15):
I'm trying to fill him several times.

Speaker 91 (03:22:17):
Seem I'm trying to fool the US.

Speaker 20 (03:22:19):
It seems to use trying.

Speaker 69 (03:22:26):
A price to make, always a price to pay. Go
away as a price to pay.

Speaker 12 (03:22:35):
Okay, the wolves, the walls are melting.

Speaker 36 (03:22:43):
Help me, please help me, someone helping someone someone.

Speaker 53 (03:22:54):
Are you sure I can't get you a drink?

Speaker 22 (03:22:56):
Sir?

Speaker 4 (03:22:56):
Oh?

Speaker 17 (03:22:57):
Why not?

Speaker 90 (03:22:57):
I can't just sit here watching people enjoy themselves. The
thought of those muscles waiting to be eaten is driving
me crazy. If my friend doesn't show up soon, I'll
eat alone and to hell with it.

Speaker 53 (03:23:07):
What would you like to drink?

Speaker 8 (03:23:08):
So, James? I'm so sorry.

Speaker 90 (03:23:11):
Please give me my god, what's happened to you?

Speaker 37 (03:23:14):
I couldn't help it, James.

Speaker 90 (03:23:16):
No, No, I don't mean your lateness. I mean I
mean you a waiter. Uh bring us a bot of
the same wine?

Speaker 69 (03:23:21):
Would you?

Speaker 20 (03:23:22):
Yes? Sir?

Speaker 90 (03:23:24):
I don't know what to say.

Speaker 37 (03:23:27):
What do you mean?

Speaker 79 (03:23:27):
Well?

Speaker 90 (03:23:28):
You're a perfectly world to your appearance. I'm I'm sorry,
you must be very ill. I'man simon. To hell with
calling you Wharton. I'm speaking to you now as a friend,
a friend who really cares for you.

Speaker 78 (03:23:37):
I have to say that you you look terrible.

Speaker 37 (03:23:39):
Don't worry.

Speaker 19 (03:23:40):
What do you mean?

Speaker 13 (03:23:41):
What do you mean?

Speaker 71 (03:23:41):
Don't worry?

Speaker 90 (03:23:42):
Your face is gone, your lines have appeared, and you've
got as bad as much gray hair as auburn.

Speaker 71 (03:23:47):
I can't believe the way you look.

Speaker 90 (03:23:49):
I've not been sleeping well, not sleeping well, my god, Simon,
you have to go without sleep for a year to
look the way you do.

Speaker 37 (03:23:55):
I'm all right, just leave me alone.

Speaker 90 (03:23:57):
I'm sorry, Simon. I'm not going to leave you alone.
I'm not this. I should have pursued the matter last
week when I heard you calling out in your office,
but I let the matter ride.

Speaker 69 (03:24:04):
But not now, not now.

Speaker 37 (03:24:06):
What is it you want from me?

Speaker 71 (03:24:07):
The truth? That's what I want?

Speaker 37 (03:24:09):
Or the truth about what?

Speaker 94 (03:24:10):
Only you know that?

Speaker 37 (03:24:13):
Yes, only I know that.

Speaker 71 (03:24:15):
So here we are, gentlemen.

Speaker 53 (03:24:17):
You're whined.

Speaker 90 (03:24:17):
You will no, no, no, no, no, we damn well
don't very well, sir. Look, I'm sorry, I'm sorry forgive me.

Speaker 71 (03:24:22):
I shouldn't spoken like that.

Speaker 53 (03:24:23):
It's it's perfectly all right, sir, I do understand.

Speaker 19 (03:24:26):
All thank you.

Speaker 37 (03:24:27):
I'll come back later.

Speaker 90 (03:24:28):
Then, now listen the truth. What's getting to you? Oh, James,
come out with it, out with it, Simon, Well it.

Speaker 37 (03:24:39):
Is to do with sleep. What should I say?

Speaker 81 (03:24:43):
Dreams?

Speaker 4 (03:24:43):
What kind of dreams?

Speaker 37 (03:24:44):
Terrible dreams? Oh God, such terrible dream What happens? Nothing
that makes much sense? Really, everything just has an awful
sort of in substantiality. Nothing is solid, and the dreams
nothing is solid.

Speaker 81 (03:24:59):
Nothing in my way.

Speaker 18 (03:25:01):
I'll have be in a chair or in bed, and
suddenly the whole room will go soft, soft, as though
the furniture were flesh suppurating flesh, and the walls, the
walls are made of hair.

Speaker 37 (03:25:20):
It's just as so. Everything that shouldn't be is alive
but dying.

Speaker 1 (03:25:27):
Look Lucian a doctor.

Speaker 18 (03:25:30):
Yes, sleeping pills they don't help, They don't stop the dreams.

Speaker 91 (03:25:35):
What brought all these dreams on?

Speaker 18 (03:25:37):
I'm not sure, and I think I know what. I
think they're coming for me. Oh, I'm not mad, you know, no,
I know that, But I think they're coming for me.
And when they do, when they come for me, James, Oh,
hell's going to be let loose. Oh James, such a

(03:25:58):
short while ago, I was so happy.

Speaker 37 (03:26:00):
I'd become Warden, and I was so happy.

Speaker 18 (03:26:03):
Now I can't trust a thing I see. My nights
are all nightmare and I feel as though my very
veins are filled with worms.

Speaker 69 (03:26:10):
I'll listen to me.

Speaker 90 (03:26:11):
I'm going to refer to you as Wharton again, because
what I have to say has a very real bearing
on your career somehow, either with the help of doctors
or psychiatrists or your own will power. You have got
to pull yourself together. You have got to put yourself
together Warden. I mean, you know the college.

Speaker 71 (03:26:28):
It's too clever to be forgiving.

Speaker 44 (03:26:30):
Now.

Speaker 90 (03:26:30):
I know what's happening to you is causing your great distress. God,
I can see that all too clearly, and I want
to help. And if at any time, day or night,
you need that help, I want you to pick up
the phone and call me.

Speaker 17 (03:26:41):
Will you do that?

Speaker 8 (03:26:43):
Yes?

Speaker 37 (03:26:44):
Good, right, Let's see if we can get you to
eat something.

Speaker 4 (03:26:50):
Well.

Speaker 37 (03:26:50):
Thank you again, James for listening to my tale of world.
I did ask you to tell me you don't think
I'm mad to you?

Speaker 90 (03:26:56):
No, of course, not certainly, No more than any one
else in this place anyway, not very reassuring.

Speaker 37 (03:27:02):
Would you like some tea or something I think not
ivesc out to my rooms. I've got quite a bit
of paperwork to do.

Speaker 3 (03:27:08):
Again.

Speaker 37 (03:27:09):
Thanks for everything. I'll never forget your kindness.

Speaker 90 (03:27:12):
And don't forget either what I said in the restaurant.

Speaker 37 (03:27:14):
I won't you have my.

Speaker 90 (03:27:15):
Work anytime, day or night. If you need my help,
just pick up that phone and call me anytime.

Speaker 17 (03:27:20):
Just call.

Speaker 4 (03:27:35):
James Monty.

Speaker 1 (03:27:36):
Come back, James. They've come back, worse than before, worse.

Speaker 37 (03:27:39):
I'm on my way.

Speaker 53 (03:27:46):
They're behind the living things, the ones that shouldn't be alive.

Speaker 1 (03:27:49):
What do you understand?

Speaker 37 (03:27:50):
Behind the living things that shouldn't be alive are other
living things.

Speaker 53 (03:27:53):
Things I can't see.

Speaker 37 (03:27:55):
I can only hear them.

Speaker 1 (03:27:58):
Can you hear them?

Speaker 69 (03:27:59):
James Orden, I hear nothing.

Speaker 37 (03:28:01):
They're crawling in my ears.

Speaker 91 (03:28:03):
Something's coming, something an't it's away.

Speaker 90 (03:28:05):
Don't understand. I'm sorry, but I just don't understand.

Speaker 37 (03:28:08):
You do think I'm mad? I knew you did, I
knew the water.

Speaker 90 (03:28:11):
Hell with what you think, Simon.

Speaker 37 (03:28:12):
I know what's happening to me. They're coming from me,
and they think I can't hear them.

Speaker 17 (03:28:17):
But I do.

Speaker 2 (03:28:19):
I do, God, I do.

Speaker 37 (03:28:26):
Help me, James, Please please help me.

Speaker 90 (03:28:29):
I can't help you, Simon, I wish I could.

Speaker 37 (03:28:31):
You said you would.

Speaker 90 (03:28:32):
Seeing you like this, I realized that I was right
when I said you needed a psychiatrist.

Speaker 37 (03:28:36):
So Simon help me.

Speaker 1 (03:28:38):
You help me.

Speaker 37 (03:28:39):
Look, I can't you can listen, you can ow.

Speaker 1 (03:28:44):
I know what brings them.

Speaker 20 (03:28:47):
It's that.

Speaker 37 (03:28:49):
What that over there on the mantelshelf, that black figurine
that Matthew gave me. It's that that brings them.

Speaker 18 (03:28:57):
It's crazy, isn't it.

Speaker 37 (03:28:58):
But it's that that brings them on. Not s are
you never more so?

Speaker 90 (03:29:02):
The figuren brings them.

Speaker 18 (03:29:04):
Yes, there's something about that writing at the base of it.
I want you to find out what it means.

Speaker 90 (03:29:11):
Why didn't you ask Matthew?

Speaker 18 (03:29:13):
I have and he says the writing is unknown. I
don't know if that's true, but I do know it
brings them. Find out for me, James, and tell me
what it says.

Speaker 24 (03:29:32):
Ah, James, at.

Speaker 17 (03:29:34):
Last, I want a word with you.

Speaker 90 (03:29:36):
I'm sorry, Lord Medway, but I'm in rather a hurry.
I've had a call from the warden. He wants to
see me at once.

Speaker 71 (03:29:40):
Well, I'm glad he wants to see someone. He's been
locked away in those lodgings of his for the past weeks.
But this is hopeless behavior by someone who is supposed
to be warned. And I don't mind telling you that
everyone now wishes we had appointed Mathew to the post.

Speaker 90 (03:29:51):
Look, I'm really sorry, but I don't have time to
stop and talk now.

Speaker 71 (03:29:54):
And for that matter, what have you been locking yourself
away from the past?

Speaker 90 (03:29:56):
Two foreign foreign travels? Is all I can say. Where too,
That's all I can say. I'm afraid. Look, I must go, James.

Speaker 1 (03:30:02):
This isn't good enough.

Speaker 71 (03:30:05):
We can't have a warden behaving like a lunatic. There's
got to be some explaining.

Speaker 53 (03:30:09):
But don't worry.

Speaker 90 (03:30:10):
There will be, James and so.

Speaker 71 (03:30:15):
Mad as hatters, both of them.

Speaker 18 (03:30:18):
Last week marks began to appear on the fabric. My
furniture was sudden smashed by unknown hands. This week scratches too,
terrible scratches on the doors, made by animal teeth and
claws in the glass too, the glass, the windows.

Speaker 53 (03:30:34):
You can see.

Speaker 90 (03:30:34):
You can see for yourself, Yes, I can see.

Speaker 37 (03:30:36):
And what do you think, my friend? You think I
made these marks? You think I made them?

Speaker 90 (03:30:40):
You asked me to come because you said you had
a note from Matthew.

Speaker 18 (03:30:43):
Yes, yes, here it is listen what he is written.
Whatever this matter is between us has to be resolved.
You must meet in the New Quadrangle at midnight, must
finish a matter between us that I think you already understand.

Speaker 37 (03:30:57):
You have to be there, You have to mid Then.

Speaker 76 (03:31:02):
They don't have to go, won't you.

Speaker 19 (03:31:03):
I can't.

Speaker 18 (03:31:04):
They're coming, whatever they are, they're coming.

Speaker 37 (03:31:06):
I should have guessed it would be all saying tonight.

Speaker 1 (03:31:09):
Well, I'm certainly not going.

Speaker 90 (03:31:10):
I'm sorry, Simon, but this is something that cannot be avoided.

Speaker 37 (03:31:14):
You found out, haven't you. You've found out what the
writing on the figurine says, haven't you.

Speaker 65 (03:31:21):
I know what it means.

Speaker 95 (03:31:22):
I can't go.

Speaker 90 (03:31:23):
Well, if you don't, you will lose the post of Warden.

Speaker 1 (03:31:25):
I just want an end of all it.

Speaker 90 (03:31:27):
Then be at the New Quadrangle before midnight.

Speaker 37 (03:31:30):
Is it really the only way?

Speaker 4 (03:31:31):
Yes, don't worry.

Speaker 17 (03:31:33):
I'll be with you.

Speaker 18 (03:31:38):
This is strange. I don't like it at all, James,
not at all. I think it was a mistake coming here.

Speaker 69 (03:31:44):
You had to come.

Speaker 37 (03:31:45):
It was a mistake.

Speaker 4 (03:31:46):
Believe me.

Speaker 18 (03:31:46):
There was no escaping ho mister God, James, there's something
not right here.

Speaker 69 (03:31:50):
There's nothing we can do. Your being here is not
really a matter of choice, you know that.

Speaker 37 (03:31:58):
But where is more? Then you'll be here at midnight,
just as he said, What time is it now?

Speaker 76 (03:32:02):
It's nearly tied.

Speaker 20 (03:32:05):
There.

Speaker 1 (03:32:06):
Look over there in those shadows.

Speaker 69 (03:32:08):
That's him, isn't it. I think so he'll step from
the darkness in a few seconds. What in God's name
is there?

Speaker 1 (03:32:20):
That sound?

Speaker 18 (03:32:21):
I don't know, but I know it has little to
do with God.

Speaker 37 (03:32:25):
It's coming from over there across the quadrangle. Oh my God,
what's happening here?

Speaker 90 (03:32:32):
The moment's almost come.

Speaker 1 (03:32:33):
Let's past the middle gate. I can't stand this.

Speaker 45 (03:32:35):
I can't.

Speaker 2 (03:32:36):
I don't care what you say.

Speaker 49 (03:32:37):
I can't.

Speaker 1 (03:32:38):
You've got to.

Speaker 37 (03:32:43):
Sweet Heavens. It's something like a man, something like a man.

Speaker 1 (03:32:49):
Look the smell of it.

Speaker 90 (03:32:52):
He's here, Matthew's here. Look stepping from those shadows.

Speaker 1 (03:32:58):
God help us both.

Speaker 93 (03:33:00):
At the first stroke of midnight, I am here, as
I said, although I didn't mean you to come, James, Still,
no matter what is to be will be.

Speaker 23 (03:33:08):
What in Christ's name is this thing approaching us?

Speaker 91 (03:33:11):
In Christ's name, I suppose it would be the power
of evil?

Speaker 93 (03:33:14):
In my name, it is my lord and master, a
master I have served for years, and now comes a
time to repay that service.

Speaker 78 (03:33:23):
You took what was mine, Simon, and you have to
pay for that.

Speaker 53 (03:33:28):
You have to pay, and the time is now.

Speaker 93 (03:33:30):
There always comes a time to pay sand Saturnus blada
bah old death.

Speaker 72 (03:33:40):
Oh Lord, hold death to thy servant.

Speaker 3 (03:33:43):
There's nothing you can do, James, Nothing on this own.

Speaker 63 (03:33:46):
To thy servant, about to enter hell. Come to thy servant, Lord,
come poor thy servant.

Speaker 14 (03:33:58):
No, my lord.

Speaker 96 (03:34:00):
Wait, my law servant calls thee. He calls the No,
my servant calls the lord. Take thy servant.

Speaker 1 (03:34:13):
Lord. Oh, he calls thee. My master, my master.

Speaker 37 (03:34:40):
Huh, James, it's all right, it's all over now. But
what happened?

Speaker 90 (03:34:44):
You fainted and I brought you back up here?

Speaker 37 (03:34:46):
I mean before I fainted.

Speaker 90 (03:34:47):
Take it easy enough.

Speaker 37 (03:34:49):
We saw it, didn't we?

Speaker 17 (03:34:51):
Yes?

Speaker 1 (03:34:51):
I mean we really did see it moving towards us.

Speaker 37 (03:34:53):
Yes, I'm not sure. I can't trust myself, can't trust
my thoughts.

Speaker 1 (03:34:56):
And I'll tell you what I saw. I don't think
I like you, Simon.

Speaker 90 (03:35:00):
And I saw this creature, something like a man, but
a greater statue and black, coming towards us, its movements liquid.
I am right, Aunt, I simon. I can see it now,
as it came, forming and re forming itself. I can
smell the stench of rot, of decay.

Speaker 69 (03:35:17):
I could hear that sound.

Speaker 90 (03:35:19):
I'm right, aunt, I, God help me, he did.

Speaker 1 (03:35:24):
What do you mean?

Speaker 90 (03:35:26):
Matthew had summoned from the bowels of the earth or
wherever it is that evil resides, the power that we
call the devil. He'd summoned him, or, to be more correct,
begged him to appear and take you away. Well, as
we saw, only too well.

Speaker 18 (03:35:42):
He appeared, all right, and he came towards you, extending
that arm, that hideous is.

Speaker 90 (03:35:46):
An arm that seemed made of thousands and thousands of flies.

Speaker 1 (03:35:52):
So why was I spared?

Speaker 90 (03:35:53):
You were spared because Matthew started calling out in an
ancient tongue, a language as chilling as the grave itself.

Speaker 69 (03:36:01):
It was what I needed. I knew the nunciation now,
not just the translation you were.

Speaker 37 (03:36:09):
Calling out the inscription written on the figurine.

Speaker 6 (03:36:12):
Mad you.

Speaker 26 (03:36:12):
Yes.

Speaker 1 (03:36:14):
And that's when I fainted.

Speaker 90 (03:36:15):
And it's also when that creature from hell became confused.
As I called out to it, come Lord, take thy servant,
it turned towards its true servant, Matthew. It saw the
look of pure reverence in his eyes. It embraced him,
infolded him so completely it was impossible to tell the

(03:36:36):
to a part. And then it seemed to soften and
spread out like mist across the codrangle. In seconds it
was gone, leaving behind only the corpses of endless flies.
It was certainly lucky I learned the inscription on that figurine.
My journey abroad was not for nothing. I am pleased

(03:36:58):
to say, thank God you were there, James, indeed, And no,
now you must think no more about it too impossible,
or you must try. You have a college to salvage
and a missing person to report.

Speaker 16 (03:37:13):
But what do I say?

Speaker 90 (03:37:15):
Well, I think you simply say that Matthew seems to
have disappeared from the face of the earth.

Speaker 20 (03:37:20):
Is that enough?

Speaker 17 (03:37:21):
What?

Speaker 4 (03:37:21):
Enough?

Speaker 90 (03:37:21):
And now I think it will certainly give every one
something to talk about.

Speaker 1 (03:37:24):
Eh.

Speaker 18 (03:37:26):
So the inscription simply said, come Lord, take thy servant.

Speaker 90 (03:37:30):
Yes, you know, I don't suppose the Prince of Darkness
is ever to be trusted, but it may be that
sometimes he keeps exactly.

Speaker 4 (03:37:38):
To his word.

Speaker 94 (03:37:52):
Benjamin Wittrow was James Montague and John Rowe Simon Evans
in A Warden for All Saints, i Hs, Barbara Lang,
David Lerner, The Waiter, Edig Allen, Lord, Medway, Brett Usher,
Leo Dart, John Webb and Matthew Moore Keith Trinkle. A

(03:38:14):
Warden for All Saints was dramatized by Jerry Jones and
directed by Martin Jenkins.

Speaker 95 (03:38:34):
Ladies and Gentlemen, The Granite Furniture Company, with stores in
sugar House, Murray and Provo, presents.

Speaker 49 (03:38:44):
The Hall of Fantasy. Welcome to the Hall of Fantasy.

Speaker 1 (03:38:53):
Welcome to the series of radio dramas dedicated to the supernatural,
the unusual, and the unknown.

Speaker 49 (03:39:00):
Come with me, my friends. We shall descend to the
world of the unknown and forbidden.

Speaker 1 (03:39:05):
Down to the depths where the veil of time is
lifted and the supernatural reign says King. Come with me
and listen to the tale of Man Size in Marbles.
The Granite Furniture Company brings you the Hall of Fantasy.
Listen now to original tales of the imagination and some

(03:39:27):
of the classics of the supernatural, as we take you
down the corridors of the Hall of Fantasy to the
mysterious realms of the unknown. These are stories of eerie
and fantastic thrills brought you by your friends at the
Granite furniture stores. And now for tonight's story. A radio

(03:39:48):
adaptation by Bob Olsen of e Nesbit's story Man's Size
in Marble, villagers called it a delusion. That explanation gave
them some comfort, since it will give you comfort also,
I'll say no more about it, except that it's difficult

(03:40:10):
to understand how hallucinations can commit murder. Ours was one
of those marriages on a dime. I'd been doing a
bit of painting in those days and never knew what
it was to have the money I really needed. But
then Laura knew this before she married me.

Speaker 83 (03:40:28):
We'll get along if we're careful. You can paint in
and I'll write articles for the magazines.

Speaker 1 (03:40:34):
Living in town will be out of the question. Dear well,
we can find some little place in the country.

Speaker 83 (03:40:39):
As long as it's picturesque and sanitary, it doesn't matter
where it is.

Speaker 1 (03:40:44):
And so we spent our honeymoon lightheartedly looking for a
place that was both sanitary and picturesque, the two qualities
that rarely keep company. In one cottage, little rose covered
trellises would invariably hide the corruption that lurked inside. We'd
looked so hard, and were so confused by the eloquence
of house agents, that we seriously began to doubt if

(03:41:04):
we could tell a house from a haystack, even if
we found one. But when we came out to the
little village of Brenzette, and thence two miles out to
see the famous little church, our search was ended. For there,
just two fields away was the cottage. Picturesque it was,
for it was long and low, with rooms taking off

(03:41:26):
in unexpected directions. Two of the rooms were of ancient
stone work, now covered with moss and ivy. It was
all that remained of a huge manner that had stood
here years ago. Around these rooms had risen the cottage
as it stood this day, quite by itself. Our nearest
neighbor was a jolly Scotch, doctor mc carthy by name,
whose cottage was a little distance down the lane. Our

(03:41:48):
new home nestled cozily against a low hill and looked
out across the marsh meadows to the sea. Yes, it
was a pretty cottage, though stripped of its roses and jasmine,
it would no doubt have been hideous the rent was
absurdly cheap, and it seemed quite likely that between the
two of us we could keep the kettle simmering. We

(03:42:09):
spent the rest of our honeymoon and second hand shops
picking up odds and ends of oak and chippendale, until
the cottage soon became very homey, fully settled. We were
so happy, and that day we looked from the latticed
window on to the old fashioned garden with its colorful
splash of hollyhocks and lilies. Laura sat outlined against the
window eye before my easel.

Speaker 21 (03:42:30):
What are you painting?

Speaker 1 (03:42:31):
Van you, my dear me?

Speaker 83 (03:42:34):
Why not this lovely country side?

Speaker 13 (03:42:35):
Mm?

Speaker 1 (03:42:36):
First my wife, then the country side? And what are
you writing?

Speaker 49 (03:42:40):
But what you?

Speaker 1 (03:42:47):
It was a gay life, the sort that only the
quite humble or the very rich could enjoy. Our fortune
was added to when we found Missus Dorman, a tall
peasant woman with a good face and figure, to keep.

Speaker 19 (03:42:58):
House for us.

Speaker 1 (03:42:59):
Laura was delight for Missus Dorman was full of stories
of the past, stories of the smugglers and highwaymen who
dominated this part of England, cutting purses and throats with
equal zest. Better still were her stories about the things
that walked, and the sights that one met of a
starry night. They gave Laura a good deal of material
for her articles, Old wives Tales, I called them. Three

(03:43:25):
months passed quickly. We hadn't had a single quarrel. That's
why it startled me when, on the return from a
visit to doctor MacCarthy, Laura, who had always been so happy,
rushed to my arms and buried her dark little head
on my shoulder and wept. Laura, what is it.

Speaker 83 (03:43:43):
It's missus Dorman.

Speaker 1 (03:43:44):
Oh what about Missus Dorman. She's leaving us, leaving us
what on earth for?

Speaker 83 (03:43:50):
She says that she must leave before the end of
the month. She says that her niece is ill, but
I don't believe her, because well, her niece has always
been ill. She acted so so queerly.

Speaker 1 (03:44:01):
Don't cry, Laura, you know it's a terrible shock to
see you cry. I might cry a bit myself just
watching you, and you'd never respect me again.

Speaker 21 (03:44:11):
But it's serious.

Speaker 83 (03:44:12):
Those people in the village are so sheepy and well,
if Missus Dorman leaves us without any explanation, no one
will come and take her place.

Speaker 49 (03:44:20):
I just know it.

Speaker 1 (03:44:21):
Well, then we'll share the housework.

Speaker 83 (03:44:23):
But we'll have no time to earn what we need.
And we've been doing so nicely. Now we'll have to
work all day and rest only when the kettle's boiling.

Speaker 1 (03:44:31):
Oh, you exaggerated, Laura. We'll have less time, but there'll
still be time. However, when missus Dorman comes back, I'll
have a talk with her. We'll come to some sort
of terms. Tell you what. Let's take a walk.

Speaker 20 (03:44:44):
Up to the old church.

Speaker 1 (03:44:47):
The church was large and lonely, and we enjoyed the
stroll in the moonlight. The path that went through a
wood and long the crest of a little hill was
called the Bier path, for the dead had been carried
along this path to be buried. The churchyard was enclosed
by a low wall and ceiling by several large elms,
whose branches stretched out as if in benediction over the dead.

(03:45:09):
We entered the old church from a long, low porch
and through a heavy oak door studded with iron. Inside
the arches rose up into the darkness. We strolled up
to the chancel, where the fine colored glass windows let
in faint hues of filtered moonlight. It gave everything a
substance of shadow, even the gray marble figures of the

(03:45:29):
two knights who lay there in full plate armor with
hands upheld in everlasting prayer. You know, it's a funny thing.
If there is any light in this church at all,
it seems to shine on these figures.

Speaker 9 (03:45:42):
Who are they?

Speaker 49 (03:45:44):
No one knows.

Speaker 1 (03:45:45):
The peasants say they were marauders, bandits, that they were
the scourge of their day.

Speaker 83 (03:45:50):
Does it give you kind of a strange feeling to
know they used to live where we live now?

Speaker 1 (03:45:55):
I hadn't thought much about it. As Missus Dorman told
you the story.

Speaker 83 (03:45:59):
She doesn't know about it. She said the house was
struck by a bolt of lightning.

Speaker 1 (03:46:03):
I heard it was the vengeance of Heaven against their
foul deeds.

Speaker 83 (03:46:06):
Funny how pale like that would be given such an
honored place in this little church.

Speaker 1 (03:46:10):
Well, gold was good, no matter where it came from.
Their heirs probably bought the honor.

Speaker 83 (03:46:15):
Those marble statues certainly aren't flattering.

Speaker 1 (03:46:18):
H From the looks on the faces, even in marble,
I doubt their conversion to Christianity. The church looked very
weird as the shadows cast EERI forms about. We looked
again at the sleeping warriors, and a feeling of paw
came over us. Outside we sat on the ancient stone seats,
gazing out across the moon misted meadows. A sense of

(03:46:40):
quiet and peacefulness came over us. At such times troubles
don't exist. Now, feel better than you did there?

Speaker 83 (03:46:48):
Yes, Vance, Oh, let's never leave this place.

Speaker 97 (03:46:52):
It's lovely.

Speaker 4 (03:46:53):
Ah.

Speaker 1 (03:46:53):
Yes, wasn't it silly to get all worked up over
missus Dorman.

Speaker 83 (03:46:57):
It's still a terrible noosenesse.

Speaker 1 (03:46:58):
Granted, But if scrubby and blacking Boots is the worst
of our lot, we'll manage quite well even without Missus Dorman,
of course we will. Nevertheless, when we get back to
the house, I'll have a talk to her. She should
be there by now.

Speaker 83 (03:47:10):
I hope you can convince her.

Speaker 1 (03:47:17):
Missus Dorman. What's this I hear about your leaving?

Speaker 97 (03:47:19):
Well, i'd like to leave before the end of the month.

Speaker 1 (03:47:22):
Well, aren't you happy here? Maybe you'd like to raise
in your wages.

Speaker 97 (03:47:25):
It's not that, sir, you and your lady have been
most kind.

Speaker 1 (03:47:30):
Well, then suppose we work it out so that you
can stay.

Speaker 97 (03:47:33):
No, mister long and I rather leave.

Speaker 36 (03:47:35):
My niece is ill, yes, I know.

Speaker 1 (03:47:37):
But she's been ill all along. Would you consider staying
on for another month?

Speaker 97 (03:47:43):
No, sir, I want to leave before Thursday.

Speaker 1 (03:47:46):
But this is Monday. Woman, that's rather short notice.

Speaker 17 (03:47:50):
I'll tell you what.

Speaker 1 (03:47:51):
Stay on until next week, Moby.

Speaker 97 (03:47:53):
I can come back next week.

Speaker 1 (03:47:55):
But why must you go this week?

Speaker 49 (03:47:58):
Well?

Speaker 1 (03:47:58):
Speak up, it's this house, sir, this house, Well what
about it?

Speaker 97 (03:48:04):
They saw that strange deeds was done here in olden times?

Speaker 1 (03:48:09):
In olden times? Oh, but this is now? What what
deeds you mean? Well, don't worry, missus Dorman. I'm not
going to laugh at you.

Speaker 97 (03:48:19):
Well, sir, have you seen them two shipes beside the
altar in the.

Speaker 1 (03:48:23):
Church You mean the effigies of the knights and armor?

Speaker 97 (03:48:27):
I mean them two bodies drawed out men's size and marble.

Speaker 1 (03:48:33):
A very graphic description, Missus Dorman. But uh, what about
the knights in the village.

Speaker 97 (03:48:38):
They saw that on all sides eve those bodies come
to life.

Speaker 1 (03:48:45):
Those marble statues.

Speaker 97 (03:48:46):
They saw that they rise up from their slabs and
walks down the aisle in their marble.

Speaker 21 (03:48:54):
Then when the.

Speaker 97 (03:48:54):
Church clerk strikes eleven, they come out into the night
and walks over the grive.

Speaker 1 (03:49:02):
But how do you suppose when the.

Speaker 97 (03:49:03):
Lights has been wet. There was the marks at their
feet along the beer pot. Oh where do they go
back to their home?

Speaker 1 (03:49:10):
Their home? But their home was in this house? Well
did anyone ever see this happen?

Speaker 97 (03:49:19):
I ain't siying.

Speaker 14 (03:49:21):
All I know is what I know.

Speaker 1 (03:49:24):
Who was living here last year?

Speaker 97 (03:49:26):
No answer. The lady would only out spend the summer here,
but she always went up to London.

Speaker 73 (03:49:31):
A good month before the nights.

Speaker 97 (03:49:35):
And so you think you must go, yes, sir, my
niece is ill.

Speaker 1 (03:49:39):
Oh your niece, Oh very well, Missus Dorman go if
you think you must, but don't say anything about this
to Missus Langham.

Speaker 97 (03:49:50):
Must you go, Missus Dorman, Yes, ma'am, this is Thursday.
I can't ste no longer.

Speaker 1 (03:49:55):
It's going to put quite a load on us.

Speaker 97 (03:49:56):
Don't try to do too much, Missus Langham. If there's
anything I can do next week, I won't mind in
the least, thank you.

Speaker 1 (03:50:05):
Oh, but.

Speaker 83 (03:50:07):
We'll try to manage and whatever you do.

Speaker 21 (03:50:10):
Knock the door early.

Speaker 97 (03:50:11):
Tomorrow night, and Mike a sign of the cross over it.

Speaker 1 (03:50:18):
What do you mean that's Missus Dormant's little Halloween joke.

Speaker 97 (03:50:21):
Dear, it's no joke.

Speaker 32 (03:50:23):
And if you ask me bye, Missus Dormant, goodbye, and
don't forget what I said.

Speaker 66 (03:50:31):
What did she mean then?

Speaker 4 (03:50:32):
Nothing?

Speaker 1 (03:50:33):
Dear missus Dormant is just a superstitious old biddy, That's all.
I would have looked forward to Friday a much happier
man if I could have believed what I had just
told Laura. But Friday came the day before All Saints Eve,
the day this story ends, in fact, the day that

(03:50:53):
gave this story it's horrible substance.

Speaker 95 (03:51:02):
You are listening to Man Size and Marble in Tonight's
Journey down the corridors of the Hall of Fantasy, brought
to you by your friends at the Granite Furniture Company
with stores in Sugar House, Murray, and Provo. And now
back to Tonight's story, Bob Olsen's adaptation of Man Size
in Marble.

Speaker 1 (03:51:26):
I arose early that morning and had already built her
rather smoky success of afire when Laura came down, as
bright as the bright morning itself. We had breakfast and
went after the housework when the brushes and pails were silent.
At last, we set and pails were silent, and spent
one of the merriest days since our wedding. That afternoon,
we took a long walk, completely happy and Laura sweeter

(03:51:49):
than ever. I decided that housework was good for her.
We watched the deep flame of sunset as it slowly
faded to a dull gray, and then walked back to
the cottage hand in hand without a word. Once inside,
we sat in the parlor and seemed to settle into
a deep silence. I thought it was a happy silence,
and what I asked Laura had no particular significance at

(03:52:10):
the time. You seem sad, Laura. I was surprised at
her answer.

Speaker 83 (03:52:16):
Yes, I don't think I feel quite well. I've had
the shivers and it isn't cold, is it.

Speaker 1 (03:52:22):
No, unless it's one of those nasty mists that creep.

Speaker 83 (03:52:25):
Up from the marsh, there is no miss, dear.

Speaker 1 (03:52:27):
Hmm, doesn't seem to be at that hmm, no mist
In that case, darling, you're not entitled to a chill, sorry.

Speaker 97 (03:52:35):
Vance mm hmm.

Speaker 83 (03:52:37):
Do you ever have a presentiment of evil?

Speaker 9 (03:52:39):
Mmm?

Speaker 1 (03:52:39):
Don't believe in them?

Speaker 20 (03:52:41):
I do.

Speaker 83 (03:52:42):
When my father died, he was away in North Scotland.
But the night he died I knew it. Oh, forgive me, Vance,
come and light up the candles on the piano, and
we'll play one of our duets.

Speaker 14 (03:53:07):
HM.

Speaker 17 (03:53:08):
Ten o'clock already light up.

Speaker 83 (03:53:10):
Your pipe if you like, Vance, I don't mind.

Speaker 1 (03:53:12):
Yeah, I think I'll take it outside.

Speaker 97 (03:53:14):
May I come too, No, dear, you're.

Speaker 1 (03:53:16):
Much too tired. I shan't be long. You get to bed,
or you'll be ill.

Speaker 83 (03:53:20):
You're taking good care of me, darling.

Speaker 1 (03:53:22):
I have to can't do all this housework by myself,
you know.

Speaker 83 (03:53:25):
Then give me a kiss.

Speaker 1 (03:53:26):
That will be a pleasure.

Speaker 26 (03:53:31):
Let me go with you.

Speaker 19 (03:53:33):
You get some rest.

Speaker 83 (03:53:35):
Vance. Yes, we've been very happy today, haven't we.

Speaker 1 (03:53:39):
Even happier than usual?

Speaker 19 (03:53:41):
Sweetheart?

Speaker 83 (03:53:41):
You won't be gone long, will you.

Speaker 1 (03:53:43):
No, dar not long. I stepped out, leaving the door
unlatched for I expected to be back shortly. The night
was magnificent. Huge masses of clouds, dark and heavy, seemed
to clasp hands and reach from horizon to horizon. Through
this flowing stream of clouds moved the moon like a
dolphin diving in and out of an endless succession of waves.

(03:54:06):
The tree top swayed like a metronome to the gentle
swing of the clouds, and there was the mystic glow
on the earth that comes from the blend of dew
and moonlight. I drank in the serene beauty of the night.
There wasn't a hint of emotion about, not even a
leaf stirred. The wind was high up, busy herding the clouds.

(03:54:28):
Across the meadow. I saw the church tower standing out
black against the sky. I suddenly thought of the three
happy months I'd known here with Laura. And just then
the church sounded its belly eleven o'clock. I should be
getting back to the house, but first, I think I'll

(03:54:49):
visit the church. I felt so happy and so very thankful.
I wanted to take my gratitude to the old chapel
that had heard the sorrows and the joys of its
peace for so many countless years. On my way, I
passed our cottage and looked in the window, where I
saw Laura's dark little head silhouetted against the pale blue wall.
She was very still. I decided not to disturb her.

(03:55:14):
I turned down beer path. It was such a peaceful
night that at first I was conscious of nothing, And
then suddenly I became aware of a rustling sound that
broke the stillness. Ever so gently. I stopped to listen.
The sound stopped too. I took another step and listened.
A step seemed to echo my own. Well, if that's

(03:55:37):
a poacher, he's a fool not to step more lightly.
I left the beer path and took to the woods.
The footsteps seemed to echo along the path I had
just left. It was strange, Yes, it was strange. Ah,
but then all night sounds are strange. I passed through

(03:55:58):
the corpse gate and walked among the grit to the
low porch of the church. The door was opened. Hmm,
did I leave that open? I'd hate to have the
damp get in and ruin those fine old fabrics. I
went in and was halfway up the aisle when suddenly
I remembered that the bell struck eleven o'clock. This is

(03:56:20):
the very day, the very hour when the shape strawed
out man's size and marble begin to walk. Once I
did remember, it came on me with a shiver, and
I was ashamed, And so to make up for it,
I walked boldly to the altar. I did that because, well,

(03:56:41):
because I wanted to tell missus Dawman how peacefully the
shapes had slept through the ghastly hour, and so with
my hands nonchalantly shoved into my pockets, I passed up
the aisle. In the dim gray light, the other end
of the church looked more well. It looked larger than usual.
The arches above the two tombs seemed to have grown too.

Speaker 19 (03:57:00):
Oh.

Speaker 1 (03:57:01):
At that moment, the moon came out from behind the cloud,
and then the ghostly beams of light eye I saw
the reason they're gone, I steadied myself. It hits some
fool's practical joke. They can't be gone. I'm not in
the right place. It's too dark to see here clearly.

Speaker 38 (03:57:25):
Yes, that's it.

Speaker 1 (03:57:26):
I took a newspaper from my pocket and lit it
with a match. It flared up brightly. The confirmation was sickening.
The bodies drawn out man's size and marble had actually
disappeared from the church. Suddenly I was gripped with an
indefinable horror. It was an overwhelming certainty of finished calamity.

(03:57:47):
I threw down the torch and dashed down the aisle,
out the front door and into the night. They're gone,
They're gone. Help me, someone the bodies they're gone, said
old ole man.

Speaker 17 (03:58:00):
Left.

Speaker 1 (03:58:00):
Hold me you fool. The marble figures have gone from
the church. They've disappeared.

Speaker 98 (03:58:05):
I know, hey, they know you've been smoking to emuch,
smoking and listening to old wives.

Speaker 1 (03:58:10):
Tell doctor, I've seen the bear slabs with my own eyes.
They're gone.

Speaker 98 (03:58:15):
I tell you, we'll come back with me. I'm going
up to the Palmers. No, his loss is sick.

Speaker 1 (03:58:20):
We'll hail look into the bear slabs and you can
go if you like. I'm going home to a lot
of rubbish, and they permit it.

Speaker 98 (03:58:27):
You kind of go around all your life are saying
you saw a slab of marble, gin vitality.

Speaker 5 (03:58:32):
You kind of do it.

Speaker 1 (03:58:32):
Man, I'm not going back there.

Speaker 98 (03:58:35):
Then you want that, you should be a coward, coward,
nobody eye coward, and they can help you if you're
gonna go down with me.

Speaker 1 (03:58:42):
Oh all right, come on, no, here we are at
the church. Came in with me. I'm coming. Oh what here?
You got your ease closed?

Speaker 17 (03:58:54):
For here? I'll strike a match.

Speaker 1 (03:58:59):
No, look there what he had to drink?

Speaker 21 (03:59:02):
Man?

Speaker 1 (03:59:03):
I opened my eyes and what I saw made me
absolutely mad. A huge black screen dropped across my reason.
But there on the cold gray slabs were the two
grotesque shapes in their marble. I I, doctor McCarthy. I
simply don't know what to say. It must have been

(03:59:24):
the light, or maybe I have been working too hard. Yes,
you know I was sure they were gone.

Speaker 98 (03:59:31):
I I am quite aware of that. You had to
do something about that brain of yours. Or wait, look, dishart,
what's wrong with it?

Speaker 17 (03:59:39):
Doctor?

Speaker 1 (03:59:40):
It's been broken. There's a finger, mission finger, but the
last time I saw it was perfect. Someone may have
tried to remove it. That can't be right. My impression
was that they were gone, completely disappeared. That was too
much tobacco and painting. Perhaps well, come along, doctor McCarthy.

(04:00:02):
My wife would be getting anxious. I told her I
wouldn't be gone long. Will I should be going off
to the Palmers. I'd appreciate it if you'd come on
to the cottage with me and drink to my better
senses or confusion to all ghosts or something.

Speaker 20 (04:00:14):
Will?

Speaker 1 (04:00:14):
It is pretty late, No, I had to see a
lot of people to nature. I could go to the
Palmers tomorrow to come with you. I believe I needed
this sensible old doctor more than the Palmer girl. Did
you've had an illusion? Man Nort and more than an illusion,
as I fancy you're right about that, doctor, but it

(04:00:34):
was a most amazing one. A Doctor McCarthy then went
into a dissertation on ghosts and apparitions as we walked
on up to the cottage. When we reached the garden path,
I was a little puzzled by the bright light that
was streaming out the front door. Soon I saw that
it was wide open. Had Laura gone for a walk? Well,

(04:00:56):
come on in, doctor, we'll find Laura and then pour
ourselves a drop of whiskey. The house was ablaze with candles.
Laura had not only lit the wax ones, but there
must have been a dozen other sputtering glaring tallow dips
stuck all over the room in odd little places. Laura,
we have company, oh Laura. And I wonder if she

(04:01:18):
went out for a walk Laura brunch, Yes, lork where who.

Speaker 12 (04:01:26):
Ah?

Speaker 20 (04:01:30):
There?

Speaker 1 (04:01:30):
In the little recess of the window, I saw her?
What had she been doing there? Looking for me? But
the doctor said it before I quite dared too. Someone's
been in this room. Must Gina belong here? Who yi?

Speaker 36 (04:01:43):
Who?

Speaker 1 (04:01:45):
Laura didn't move, Her mouth was drawn and her eyes
were wide open, very wide. She looked as if she'd
heard a footstep behind her and turned to meet what.
I passed my hands over her eyes. They saw nothing.
What had they seen last? The doctor moved toward her,
but I pushed him aside as if I were afraid

(04:02:07):
of what he'd say. And then I took her in
my arms. Laura, Laura Darling, I've got you. Now you're safe.

Speaker 4 (04:02:20):
I she's safe.

Speaker 5 (04:02:23):
She's dead.

Speaker 1 (04:02:25):
Oh no, she fell into my arms like a limp,
loose jointed doll. I was slightly mad with this horrible
sense of loss. But I knew she was dead. I
knew it, and nothing mattered any more. Laura was dead,
and the world was dead, and I silently prayed that

(04:02:49):
I might die a watch in her hand. I don't know,
I don't care. Laura's dead. But the doctor pried open
her fingers, and soon something fell out of that grim
clutch and dropped to the floor. We looked at it,

(04:03:10):
and then at each other, For what we saw was
no hallucination. It seemed to fairly shriek its defiance to reason,
For there on the floor was a gray marble finger.

Speaker 49 (04:03:30):
And so runs the tale of Man size in Marble.

Speaker 1 (04:03:39):
Remember to join us next week at the same time
for another journey down the corridors of the.

Speaker 49 (04:03:44):
Hull of Fantasy.

Speaker 1 (04:03:54):
To Night's story was adapted from the story by E.

Speaker 95 (04:03:56):
Nesbit entitled Man's Size and Marble at In Tonight's program,
where Kyle Grayson as Van Slangen, Beth Calderist, Laura Phyllis
Perry as Missus Darman, and Archie Hugely as Doctor McCarthy.
Musical background was provided by Earl Donaldson. The technical supervisor
was Nephi Sorenson. This program was written by Bob Olsen

(04:04:20):
and produced and directed by Richard Thorne. Remember be with
us again next Sunday Night on Call at eight thirty
p m. When the Granite Furniture Stores in sugar House,
Murray and.

Speaker 1 (04:04:38):
Provo will take you on another journey down the corridors
of the Hall of Fantasy.

Speaker 99 (04:05:10):
We present Haunted Stories of the Supernatural. The Family by

(04:05:34):
John Elliot, adapted for radio by Derrick Hoddinot, starring George
Cole as Watson.

Speaker 100 (04:05:46):
Haunted Yes, sir, good morning, Detective Sergeant Forester. Yes, sir,

(04:06:11):
I'm David Eccleston, mister Watson's solicitor. Oh, yes, sir, come in.
Will you thank you if you'd care to sit down
for the moment. Oh, thank you, but i'd like to
see my client first, if you don't mind. Where is
mister Watson in the bedroom. But before you go in,
I think you ought to read this.

Speaker 4 (04:06:33):
Oh what is it?

Speaker 17 (04:06:35):
A letter, sir?

Speaker 4 (04:06:36):
Addressed to you?

Speaker 100 (04:06:37):
So I see it hasn't been opened. I can see
that sergeant mister Watson wants me to read it, now,
does he? I think that's his intention, Sir. When you've
read it, perhaps then we can have a talk. You're
being somewhat mysterious, Sergeant. I didn't mean to be, but
perhaps when you've read the letter, sir.

Speaker 17 (04:07:04):
Dear mister eccleston, kindly forgive my presuming on your acquaintance.
But I can think of no one else suitable. This
being written in confidence. As you know, I'm a reserved
sort of man. I don't make friends easily. You'll be
surprised at hearing from me. In fact, I hope you
remember me, since you must have to look after a
lot of cases like mine. Having received for a mission

(04:07:28):
for good conduct, I've now been out of prison for
some eighty months and I am still living in the city.
As you can see from the above address. Although I'm
a relatively well educated man, as you know, I have
not succeeded in obtaining good, regular employment. Once a thief,
always a thief. I suppose I am not in trouble again.

(04:07:48):
Let me make that perfectly clear. No, this letter is
about something peculiar which has happened to me lately. He
concerns a young woman called old Carol Temple. I met
her one night as I was approaching the front door
of the boarding house where I live. Who's that? Who

(04:08:21):
is it?

Speaker 21 (04:08:23):
It's me? Funning me?

Speaker 17 (04:08:26):
Who is me? And what are you doing here in
the porch?

Speaker 29 (04:08:31):
Nowhere else to go?

Speaker 17 (04:08:33):
Oh? Shivering? Were you going to stay here all night?

Speaker 29 (04:08:37):
Yes?

Speaker 17 (04:08:39):
You live here, I have a room. Yes.

Speaker 8 (04:08:44):
Do you know what time it is?

Speaker 17 (04:08:46):
No, it's gone one o'clock in the morning.

Speaker 22 (04:08:48):
I didn't think anyone else would be coming in.

Speaker 21 (04:08:51):
That's why I settled down.

Speaker 16 (04:08:52):
For the night.

Speaker 17 (04:08:54):
You can't sleep out here, I've done it before.

Speaker 29 (04:08:57):
What here?

Speaker 17 (04:08:59):
No other places, my dear child.

Speaker 21 (04:09:03):
I'm alone.

Speaker 17 (04:09:06):
I'm not going to hurt you. Don't touch me. Where
do you live? You're from the country, run away from home,
maybe alone in the city. No friends, no money either.
I suppose look, you can't stay here, not with that cough.
You'll catch pneumonia. Come on, what are you going to do?

(04:09:31):
There's my room. There's not much, but at least it's
warm and you can have something to eat. What do
you say, So you have no home, no parents, no relations?

(04:09:53):
Is that right?

Speaker 9 (04:09:54):
Yes?

Speaker 17 (04:09:55):
Where are your belongings? You're your things? You must have
a sooner case or something close personal thing. I left them.

Speaker 8 (04:10:04):
Behind behind where at the station?

Speaker 17 (04:10:07):
Left luggage office? Perhaps in the country. Where stop going
on at me?

Speaker 21 (04:10:11):
You don't like the police?

Speaker 17 (04:10:14):
The police, Yes, that's where I should take you if
I had any sense, I.

Speaker 8 (04:10:20):
Would if I.

Speaker 17 (04:10:22):
Look, Carol, why don't you go to the police, tell
them what you've told me. They'll help you find somewhere
to go. They have contacts with people, organizations. Were this
young girl?

Speaker 16 (04:10:32):
No, but they'd help you.

Speaker 22 (04:10:35):
No, please, please don't make me go to the police.

Speaker 17 (04:10:39):
Why you haven't done anything wrong?

Speaker 20 (04:10:41):
Have you?

Speaker 17 (04:10:43):
Is that the truth?

Speaker 22 (04:10:44):
Yes?

Speaker 20 (04:10:49):
I'd like to stay here.

Speaker 15 (04:10:52):
I like it here.

Speaker 20 (04:10:54):
I could stay for tonight.

Speaker 17 (04:10:56):
Thanks. I'll sleep in here on the floor.

Speaker 8 (04:10:59):
You can have My.

Speaker 17 (04:11:04):
Cough really is bad? Need a doctor. You need to
stay in bed for a few days.

Speaker 25 (04:11:09):
Then let me stay, Please, mister Watson, let me stay.
I won't get any trouble.

Speaker 17 (04:11:17):
I can talk to you.

Speaker 20 (04:11:18):
You're nice.

Speaker 17 (04:11:21):
You'd like me to stay.

Speaker 21 (04:11:22):
I know you would.

Speaker 17 (04:11:23):
You'd like a bit of company, Carol. If I if
I thought about you, stay, thank you, I said, if
I thought about it. I want you to answer my
questions honestly and truthfully.

Speaker 25 (04:11:39):
What do you want to know?

Speaker 17 (04:11:42):
Well, you've told me nothing about yourself. You've been invasive
in all your replies.

Speaker 25 (04:11:47):
Where do you come from a small village called Newampton?
It's in the West Country.

Speaker 17 (04:11:54):
Why did you leave home?

Speaker 21 (04:11:56):
Because I hated them and they hated me.

Speaker 17 (04:11:59):
Who's them?

Speaker 8 (04:12:00):
Your parents?

Speaker 25 (04:12:02):
My real father's dead, my mother and the man she
lives with. They run a boarding kennels for dogs and
I used to help them, but well, they treated me
like muck. No one else would work for them. I
was forced to, so I decided to run away. I
think they wanted it that way. That way they could

(04:12:23):
be rid of me.

Speaker 17 (04:12:29):
And that's the truth. Yes, I see, I'm afraid I
haven't any suitable nightclothes for you. Well, I can find
you a shirt to put on if you like.

Speaker 21 (04:12:42):
No, I don't want anything. I don't want to put
you to any trouble.

Speaker 17 (04:12:47):
There's a bathroom off the landing to the right. You
can't miss it. You better get to bed. It's through
that door.

Speaker 21 (04:12:54):
Thank you, and above stay that we'll.

Speaker 17 (04:12:59):
Talk about it in the morning. Carol, goodt I good night. Well,
mister Eggleston. I want you to believe me when I
say that I had no intention of taking advantage of
this girl. But during the night on the cold, hard floor,

(04:13:19):
I not only felt uncomfortable, but I also felt an excitement.
I don't mean excited sexually, but an excitement as if
in a dream. I'd never had a naked girl in
my rooms before. You may not believe it, but I've
hardly experienced sex.

Speaker 13 (04:13:40):
No.

Speaker 17 (04:13:42):
What I felt most of all at that moment was
a warm friendliness towards her, And soon I found myself
in bed with her. She said nothing, her body felt
more developed and mature than I had expected. Then we

(04:14:03):
made laugh for the first time in my life. It
was wonderful. But afterwards, I'm sorry, Carol, I shouldn't have.

(04:14:32):
Did you hear what I said?

Speaker 4 (04:14:35):
I said?

Speaker 17 (04:14:35):
I was sorry.

Speaker 21 (04:14:37):
It doesn't matter.

Speaker 17 (04:14:44):
Good morning morning. I made you some coffee. Oh thanks,
I thought, I smelted. Have you had anything to eat?

Speaker 21 (04:14:54):
Who had some toast?

Speaker 4 (04:14:55):
Dope?

Speaker 25 (04:14:55):
You didn't mind?

Speaker 20 (04:14:56):
No?

Speaker 17 (04:14:56):
No, of course not. M Oh, what's the matter, No, sugar,
Sorry you want to know?

Speaker 8 (04:15:09):
Well, what are you going to do?

Speaker 17 (04:15:14):
Look around?

Speaker 21 (04:15:16):
I've decided to look around for something.

Speaker 20 (04:15:20):
Good. Good.

Speaker 17 (04:15:24):
You can stay untill you find a job if you like.

Speaker 25 (04:15:26):
No, that's very nice to you. But well I got
a girlfriend who might put me up for a week
or two. I phone her this morning.

Speaker 17 (04:15:36):
I thought you didn't know anyone in London.

Speaker 21 (04:15:38):
Well there is this girl.

Speaker 25 (04:15:39):
She's not a friend, at least not a close friend,
only met her once, but I got her address and
she might help me. I don't think you need to
worry about me anymore, honest.

Speaker 17 (04:15:53):
I see.

Speaker 8 (04:15:54):
Yeah, you better take this.

Speaker 17 (04:15:57):
You can't afford not broke. I can afford a couple
of pans, for Heaven's sake.

Speaker 26 (04:16:01):
Are you sure?

Speaker 4 (04:16:02):
Yes, you take it.

Speaker 17 (04:16:05):
It's the least I can do. Thank you. After she
washed up the breakfast things, she went and I was
alone again. There was no legitimate work that spring, though
I assure you I tried. I did some more night work,
though you know what I mean by that, And over Easter.

(04:16:26):
It was possible to do some daytime work too while
people were away. This is in the strictest confidence, of course.
Because of this, I became a bit depressed. My whole
life seemed a bit pointless, especially when I thought about
Carol and our one night of intimacy. But I neither
saw her or heard of her again until one evening

(04:16:51):
the thirteenth of April, the very anniversary to the day
that you defended me in court. I arrived home late
from a job. Hello, Carol, that's me.

Speaker 15 (04:17:10):
You're right?

Speaker 16 (04:17:12):
Can I say?

Speaker 17 (04:17:13):
Of course?

Speaker 21 (04:17:20):
Your coffee? I remember to put sugar in.

Speaker 1 (04:17:23):
It this time.

Speaker 17 (04:17:27):
What have you been doing with yourself these last three months?

Speaker 25 (04:17:30):
I got a job as a kennel maide at a
place in Rickmansworth.

Speaker 17 (04:17:34):
That's nice.

Speaker 21 (04:17:35):
I didn't like it much though. Why people that ran
it weren't friendly?

Speaker 17 (04:17:40):
Well? Why weren't they friendly? I don't really know.

Speaker 8 (04:17:43):
Had you done anything?

Speaker 17 (04:17:44):
No?

Speaker 9 (04:17:46):
No, In the end they told me to go.

Speaker 17 (04:17:48):
Were they dissatisfied at your work? Don't think so? They
must have been.

Speaker 25 (04:17:52):
No, No, it wasn't that.

Speaker 9 (04:17:56):
I told them I was pregnant.

Speaker 17 (04:18:02):
I see, are you?

Speaker 8 (04:18:07):
Yes?

Speaker 17 (04:18:11):
How long?

Speaker 25 (04:18:13):
Just under three months?

Speaker 17 (04:18:16):
Oh, Carol? Yes, you can stay here in as long
as you like. I'll arrange it with the landlady. Hey, hey,
don't don't cry. I'm going to look after you. We're
going to be together. You don't have anything to worry

(04:18:36):
about it. Please, you're so kind and you've no reason
to be. Please listen the night you found me in
the doorway, Carol, I don't want.

Speaker 25 (04:18:50):
I want to tell you the truth. If I'm to stay,
I want you to know the truth about me, all right.
When you found me, I hadn't just arrived in London
like I said. I'd run away.

Speaker 17 (04:19:12):
I'd run away from someone, someone who someone doesn't matter,
a man.

Speaker 25 (04:19:22):
What I said about leaving home and coming to London
was true. But I was picked up by this man
and I went to live with him.

Speaker 20 (04:19:29):
And then.

Speaker 25 (04:19:32):
He put me into a house with some other girls,
and well, he tried to.

Speaker 17 (04:19:37):
Make me like them the brothel. He turned you into
a prostitute.

Speaker 25 (04:19:42):
I told him I wanted to leave, that I wouldn't
say anything, but he threatened me.

Speaker 17 (04:19:49):
Still.

Speaker 25 (04:19:50):
After a few weeks, I managed to get out one night.
I was afraid to go to anyone, even the police.
I'd never be safe from him. You see, that's when
you found me. I was hiding from him. That's the

(04:20:10):
truth I thought you should know.

Speaker 17 (04:20:14):
And that's why you changed your mind about staying.

Speaker 4 (04:20:19):
After we made love.

Speaker 17 (04:20:23):
You thought the same thing was happening. Yes, something like that. Well,
it does raised a question about the child, isn't it.

Speaker 21 (04:20:37):
I'm not saying it to yours. I know you, Carol,
I know that you've asked me to stay.

Speaker 25 (04:20:41):
And I'd like to, but it'd be unfair on you
to take on the responsibility of a child if it
isn't yours.

Speaker 17 (04:20:49):
See what I mean, Carol? Can't you see don't you
realize I love you? What you told me doesn't make
the slightest difference. I love you. I loved you when
I first saw you, and I love you now. I'd

(04:21:13):
hoped beyond hope you'd return, and now, well, I'm not
going to let you out of my life again. And
so it was the next six months with the happiest
of my life. We never discussed the baby much. Not
at first. She was content to do the shopping, look

(04:21:35):
after our little flat, and I got regular daytime work.
Now she got plumper, and she visited the clinic regularly.
She made the arrangements with the hospital that when her
labor pain started, I was to take her in right
away because she was a bit narrow and small, and
it was her first child. That happened four days ago.

(04:22:01):
You all right, Yes, they won't belong.

Speaker 8 (04:22:06):
Good Carol.

Speaker 16 (04:22:08):
I'm all right.

Speaker 25 (04:22:10):
Another pain't much.

Speaker 17 (04:22:12):
I'll go and ask the nurse.

Speaker 21 (04:22:15):
It will be all right.

Speaker 25 (04:22:17):
Babies don't get born quickly like that, you know.

Speaker 17 (04:22:21):
Sit down, Please, they give you something for the pain.

Speaker 21 (04:22:24):
When I need it, they will. I don't need it yet,
all right.

Speaker 17 (04:22:31):
I love you, I love you, Missus Watson.

Speaker 21 (04:22:35):
Yes, would you come this way please.

Speaker 32 (04:22:46):
Reception, Yes, mister Larama, Yes, visiting ours are from three
to four in the afternoon.

Speaker 21 (04:22:55):
Thank you, goodbye.

Speaker 17 (04:22:59):
Excuse me, Yes, yes, I'm inquiring about missus Watson. She
was brought in last night last night.

Speaker 21 (04:23:05):
You say that's right, emergency, was it?

Speaker 17 (04:23:09):
No, not exactly. She's having a baby. And I was
passing the hospital on my way to work this morning,
and I thought i'd call in to see how there's.

Speaker 21 (04:23:16):
No record here of a Missus Watson being admitted. Do
you know the w she was taken to?

Speaker 17 (04:23:21):
Oh no, I forgot to ask Watson.

Speaker 21 (04:23:24):
No person by that name. Do you know the name
of the nurse who was on duty?

Speaker 52 (04:23:29):
No?

Speaker 32 (04:23:30):
Would you just wait a moment, Janet Madge reception here.
I have a mister Watson. He claims he brought his
wife in last night maternity. Yes, just checking, mister Watson.

Speaker 4 (04:23:53):
She's here.

Speaker 20 (04:23:53):
I know she is.

Speaker 17 (04:23:54):
How we sat over there waiting and a nurse came in.

Speaker 32 (04:23:56):
Calm, mister Watson. Probably a slip up on the paperwork.
It can I'm onto maternity now and they're checking the
night's intakeing.

Speaker 17 (04:24:03):
But she is here. She must be here.

Speaker 21 (04:24:05):
Yes, no record of a missus Watson.

Speaker 17 (04:24:09):
Impossible.

Speaker 32 (04:24:10):
Three intakes last night, Needham, Currie and Patel. Thank you, Janet, Look,
I know this is the hospital. Well I was going
to ask you that, mister Watson. Are you sure this
was the hospital you came to last night?

Speaker 17 (04:24:25):
Of course, I'm sure. We sat over there, a nurse
called my wife, We said goodbye, and she went down
the corridor and into the lift. She must be somewhere,
but perhaps she's been taken to the wrong wall.

Speaker 21 (04:24:35):
Highly unlikely.

Speaker 32 (04:24:36):
There's no record of home maternity, and there's no record
on last night's log, a copy of which is left here.

Speaker 16 (04:24:42):
I don't believe it.

Speaker 17 (04:24:43):
I must be going mad. You are saying my wife
doesn't exist.

Speaker 21 (04:24:48):
No, of course not.

Speaker 17 (04:24:49):
I want to see the headman. Please. Something's gone terribly wrong.
I mean, who's above you. I have to speak to someone, mister.

Speaker 21 (04:24:55):
Watson, Please try and calm down.

Speaker 17 (04:24:57):
My wife is missing, disappeared, and you'll say, oh my god,
I'm dreaming, miss Please God give me someone in authority,
you hear, give me someone in authority. Well, mister Eccleston.

(04:25:32):
They turned that hospital inside out. I called all the
other hospitals in the area. They checked, no one could
find Carol. I left my name and address. They said
they'd notify the police. I dreaded going back to the flat.
I'd be all alone again, But of course I had.

Speaker 8 (04:25:58):
To go home.

Speaker 17 (04:26:01):
As I walked, I found myself trembling. I got the
keys out of my pocket. As I put the key
into the lock, I thought I heard I was sure
I heard.

Speaker 101 (04:26:18):
Carol, Carol, Carol. Are you there, Carol, Carol, Carol?

Speaker 4 (04:26:56):
You're here, aren't you. I know you're here, Carol, Carol.

Speaker 17 (04:27:07):
Where are you? Yes, mister Watson, Yes, officer, what is it.

(04:27:35):
Sorry to get you up, sir, but.

Speaker 100 (04:27:37):
I've been given to understand that you've been inquiring about
a missus Carrol Temple. Yes, yes, come in, officer, please,
thank you, sir.

Speaker 17 (04:27:46):
Do you know where she is? Well, sir yes, in
the manner of speaking, I do.

Speaker 20 (04:27:52):
What do you mean.

Speaker 17 (04:27:54):
You know she's deceased? Deceased? It's all right, sir. H
take it easy and i'd sit down if I wire you.
Thank you.

Speaker 4 (04:28:15):
She's dead, you say.

Speaker 17 (04:28:18):
On Wednesday, April the thirteenth, last.

Speaker 100 (04:28:21):
Oh, that's impossible. Well, I can remember it exactly. I've
got my notes on it, sir.

Speaker 8 (04:28:27):
I'll read them to you if I may.

Speaker 100 (04:28:30):
Between six and seven pm at marble Art Central Line station,
a young female, identified by the contents of her handbag
as Carol Ivon Temple threw herself from the westbound platform
in front of an incoming.

Speaker 17 (04:28:43):
Train and was killed outright.

Speaker 100 (04:28:46):
The young lady was discovered at the post mortem to
be in a state of pregnancy nearly three months advanced.
There were numerous witnesses. If our play is not suspected,
the verdict was suicide ride while of unbalanced mind. I'm
surprised you hadn't heard of it, sir.

Speaker 17 (04:29:08):
Oh what did you say, officer?

Speaker 8 (04:29:10):
I said, never mind.

Speaker 100 (04:29:14):
All I can say, sir, is that you couldn't have
been with a young lady last night at the hospital.
You may have been the last person to see her
alive on April or thirteenth.

Speaker 4 (04:29:26):
Sir.

Speaker 17 (04:29:30):
Well, that's all, and I better go. I'll see myself out.

Speaker 51 (04:29:39):
Oh no, not again, please, not again.

Speaker 17 (04:30:29):
I have not been out since I shut the bedroom
door because I can hear the baby crying in there,
and I imagine Carol in there with it. I got
dressed after the constable left, though I've not yet shaved.
I cooked myself some dinner yesterday and managed to eat
it all last night I sat trying.

Speaker 20 (04:30:51):
To figure it out.

Speaker 17 (04:30:54):
It's all very quiet in here now. I hope you
don't mind if I conclude this for the present, since
I can hear the baby crying again, which I have
to stop.

Speaker 8 (04:31:07):
I have to stop.

Speaker 17 (04:31:19):
Well, mister eccleston, hmmm is it evidence?

Speaker 8 (04:31:24):
No doubt about it, Sergeant.

Speaker 4 (04:31:26):
You want to see him.

Speaker 17 (04:31:28):
He's in the bedroom.

Speaker 8 (04:31:29):
You say, how did you do it?

Speaker 100 (04:31:32):
I don't know yet, waiting for the doctor's report.

Speaker 17 (04:31:36):
I see.

Speaker 100 (04:31:39):
No, I'll just make a note on the envelope and
you can give it to the Coronel. The above unfinished
letter was found addressed to me in The dead Man's Lodgings.

Speaker 99 (04:32:17):
That was The Family by John Elliott, starring George Cole
as Watson. Carroll was played by Janet Moore, the sergeant
by Peter Baldwin, eccleston by John Church, the nurse by
Elizabeth Ryder, the receptionist by Jane Thompson, and the policeman
by Graham Faulkner. Haunted is adapted and directed by Derek Hardinott.

Speaker 14 (04:33:17):
No, No stay where you are.

Speaker 59 (04:33:21):
Do not break the stillness of this moment, For this
is a time of mystery, a time when imagination is
free and moves forward.

Speaker 1 (04:33:33):
Swiftly, silently.

Speaker 3 (04:33:37):
This is.

Speaker 59 (04:33:40):
The Haunting hour.

Speaker 17 (04:35:03):
Date in the dark.

Speaker 59 (04:35:20):
Midnight, midnight in the metropolis, town of a thousand moods
and contrasts of wealth and lightness and laughter, of poverty,
heartbreak and tears, of shadowy people and dark dark things,

(04:35:41):
big city, heart boiled and tender, weak and mean and
cheap without dignity, and great and proud and powerful, And
the metropolis at midnight filled with the high spirits of
joy seekers, revelers who give way to the goodness of

(04:36:02):
living or try to forget the badness.

Speaker 19 (04:36:05):
Of living midnight.

Speaker 59 (04:36:08):
That is brooding, sinister. The sounds of the big city
at midnight, the squeaks and roars of taxicabs, the rumble
of trucks, the moan of river boats and underground, the
subway and under and above, the sounds of the people, shrill, ribbled, futile.

(04:36:35):
But there is quiet too in the teeming city at midnight,
the quiet that is broken by the wail of a child,
the rattle of a snore, or as in the home
of Earl Breton, a our private detective and his partner,
Owen Bailey called the professor. The telephone rings, and the professor.

Speaker 2 (04:37:00):
Is it hello, Earl Breton?

Speaker 23 (04:37:03):
No, this is mister Bailey, Breton's partner who's calling.

Speaker 2 (04:37:06):
This is Bill Henderson, this earlier.

Speaker 23 (04:37:09):
Adjust the moment. It's Bill Henderson Arrow. You want to
talk to him, Bill Henderson, what does that crooked politician wanted?
Sounds very anxious.

Speaker 53 (04:37:18):
That's too bad.

Speaker 14 (04:37:19):
Tell him, I'm very busy. I gotta go to sleep.

Speaker 23 (04:37:21):
Hello mister Henderson.

Speaker 102 (04:37:22):
Yeah, I'm sorry, but mister Bretton is not really If
Earl doesn't talk to me, he may be responsible for
my death.

Speaker 14 (04:37:29):
I can't possibly see how to let me have the phone?

Speaker 20 (04:37:31):
Professor?

Speaker 14 (04:37:33):
Hello Henderson?

Speaker 17 (04:37:34):
Is you earl?

Speaker 14 (04:37:34):
Yeah? What's on your man?

Speaker 2 (04:37:35):
I gotta see you right away. Can you meet me
down at your office?

Speaker 14 (04:37:39):
Office hours I from ten to two Henderson. You'll know
that we'll see you tomorrow.

Speaker 2 (04:37:42):
Waiter, wait, I tell you got to see me tonight.

Speaker 20 (04:37:44):
Now.

Speaker 2 (04:37:45):
Look, I can't wait until tomorrow because I may never
get there tomorrow.

Speaker 14 (04:37:48):
How do you figure?

Speaker 102 (04:37:49):
I can't explain it on the phone, but I know
what I'm talking about. I gotta see you tonight, got it?

Speaker 14 (04:37:54):
Where are you know?

Speaker 2 (04:37:55):
I met my house?

Speaker 14 (04:37:56):
Okay, give me a few minutes to get a cup
of something warm. I'll meet you down at the office.
A millionaire, never mind the thanks. Bring some money with you.

Speaker 2 (04:38:02):
I'll worry about that earth. This is worth anything to me.

Speaker 23 (04:38:05):
But seems to be his troubler and he's probably swindled
one guy too many.

Speaker 20 (04:38:11):
Good.

Speaker 14 (04:38:12):
But do you mean good?

Speaker 49 (04:38:13):
I mean he picked a good time for it.

Speaker 23 (04:38:15):
We can very well use the money.

Speaker 17 (04:38:17):
You know well.

Speaker 14 (04:38:17):
You can start drawing the bill now, Professor, And remember
after office hours it's triple usual.

Speaker 23 (04:38:34):
Here comes the elevator.

Speaker 20 (04:38:35):
Now.

Speaker 14 (04:38:36):
If we haven't make enough dough professor, remind me to
move out of this broken down building.

Speaker 23 (04:38:42):
All buildings are pretty much alike at this hour of night.

Speaker 14 (04:38:45):
How do they expect one old guy to take care
of this whole thing by himself?

Speaker 23 (04:38:49):
He manages if you don't rush him.

Speaker 53 (04:38:51):
Yeah, what devil has got his finger on it?

Speaker 23 (04:38:55):
It's you, mister Britain.

Speaker 53 (04:38:57):
You'll never be known as a patient man.

Speaker 14 (04:38:59):
I hate waiting for elevators, ald timer, mister beauty.

Speaker 23 (04:39:02):
Good evening. All right, you've got lots to do around here,
haven't you?

Speaker 82 (04:39:10):
Sure?

Speaker 49 (04:39:11):
Sure?

Speaker 1 (04:39:11):
I've got to make the rounds, you know?

Speaker 14 (04:39:13):
How's business?

Speaker 24 (04:39:14):
Very slow?

Speaker 23 (04:39:15):
Mister Brittain, you are the only two people I've seen
all night. Hey, it's pitch black out here, isn't it.

Speaker 1 (04:39:24):
You want me to put the whole lights on?

Speaker 14 (04:39:26):
Oh bother all the time and we'll make it.

Speaker 23 (04:39:28):
It might help if you throw your flashlight being down
the hall?

Speaker 29 (04:39:31):
Sure thing?

Speaker 16 (04:39:32):
Yeah?

Speaker 49 (04:39:33):
How's this?

Speaker 23 (04:39:38):
That's fine? Yeah, I've got the key all.

Speaker 14 (04:39:42):
Right, thanks all the timer. We're okay now have me
seeing you're on.

Speaker 3 (04:39:46):
The way house.

Speaker 23 (04:39:51):
Now if I can just find the switch. Oh here,
it's a matter of the light. Looks like the switch
don't work.

Speaker 14 (04:40:01):
It's working all right. When I left this evening way
to find.

Speaker 23 (04:40:04):
The desk lamp, find it out. Yeah, yeah, you didn't
take the ball out of this lamp, did you, Professor?

Speaker 1 (04:40:17):
Of course not.

Speaker 14 (04:40:20):
I've got an idea, Professor, and we have company.

Speaker 5 (04:40:23):
You're a very smart chap Breton.

Speaker 23 (04:40:25):
Who's that?

Speaker 5 (04:40:26):
Just stay where you are, both of you, and don't
ask any questions. Mister Breton knows that those lights are
not out by accident, but if either of you makes
a false move, there could be one.

Speaker 14 (04:40:37):
What are you looking for?

Speaker 5 (04:40:38):
Information?

Speaker 14 (04:40:39):
And why keep us in the dark.

Speaker 5 (04:40:41):
There's enough light for me from that street lamp shining
in your window. I can see you both.

Speaker 14 (04:40:46):
What do you want to know?

Speaker 5 (04:40:47):
I understand Breton, that you got some new dope on
the Kennedy murder. Am I right?

Speaker 14 (04:40:52):
Kennedy murder? Why the police gave Kennedy up as a
suicide five years ago?

Speaker 1 (04:40:57):
But what I say you are? Breton?

Speaker 5 (04:40:59):
I tell you I can see.

Speaker 14 (04:41:01):
Yeah, yeah, sure, seems kind of I guess I visited
a little touchy, Professor.

Speaker 5 (04:41:08):
You didn't believe that I could see you. Next time,
I won't miss Now give it to me straight.

Speaker 14 (04:41:15):
I told you I don't like the smell of a
body that's been buried five years and I ain't digging
it up. Now, what else do you want?

Speaker 3 (04:41:22):
Are you in there?

Speaker 1 (04:41:23):
Don't make a move, mister Preston, mister Barry.

Speaker 2 (04:41:27):
Whatever happened?

Speaker 14 (04:41:30):
Okay, I hope you'll get a big kick out of
beating up a helpless old guy that was very tough, very.

Speaker 1 (04:41:37):
Do professor like that?

Speaker 2 (04:41:38):
What happened?

Speaker 38 (04:41:39):
Where are you?

Speaker 17 (04:41:40):
Right? Off her head?

Speaker 3 (04:41:41):
Where voice was coming from?

Speaker 60 (04:41:42):
And he's not here?

Speaker 23 (04:41:43):
Maybe he moved up to another corner of the room.

Speaker 14 (04:41:44):
Behind something, Professor, I'm gonna light him at careful now, world,
Well I'll be there's nobody here.

Speaker 23 (04:41:53):
Who who's that lyne in the doorway?

Speaker 14 (04:41:56):
Looks like the old timer? Here's a flashlight out?

Speaker 23 (04:42:01):
Put him in this chyroll.

Speaker 14 (04:42:04):
That's too late, professor.

Speaker 23 (04:42:06):
He's dead, dead, that dirty rat killing a sweet, harmless
old man. Well what's this here on the floor?

Speaker 14 (04:42:14):
I mean, tilkey? A hotel? Mark them room five one seven.

Speaker 23 (04:42:20):
Think that fell out of the old man's pocket.

Speaker 14 (04:42:22):
No, No, that's a mobster's hotel. It's full of gamblers
and racketmen.

Speaker 23 (04:42:26):
Then that means if we go to room five seventeen,
we ought to be able to find out the man
who did this.

Speaker 14 (04:42:31):
You don't find anybody in that hotel. You smoke him out.

Speaker 23 (04:42:35):
Besides, that keem might have been stolen just so somebody
could plant it here, don't you see that?

Speaker 20 (04:42:39):
Then?

Speaker 23 (04:42:40):
How are we gonna know the voice?

Speaker 14 (04:42:42):
Professor? I'll never forget that voice. I'm promising the old
man now that I'll find it.

Speaker 29 (04:42:48):
Well, what do we doing?

Speaker 14 (04:42:49):
Well, you go find Henderson to tell him. We won't
be able to see him to night. I'm going to
the hotel, Markham, meet me there as soon as you're through,
in front of a hotel.

Speaker 23 (04:42:57):
And what about the old man?

Speaker 14 (04:42:59):
On our way out, we'll ring the night alarm. That'll
bring the police.

Speaker 23 (04:43:01):
But we're gonna tell them what happened right now.

Speaker 14 (04:43:04):
Professor, we don't know any more than they do. Come on,
let's go.

Speaker 5 (04:43:19):
Anything I can do?

Speaker 14 (04:43:21):
Oh, hello, Benon, how's the hotel business? Oh, we don't complain,
Uh huh. And who's up in room five seventeen? I
wanted to know. I understand there's a game going on,
so Sorr, I'd like to get in. Well, there's a
gentleman by the name of Sparrow into the room.

Speaker 17 (04:43:41):
Maybe you know him?

Speaker 14 (04:43:42):
That's all I wanted to. Hey, you can tell him
a good friend, mister Sparrow. I'm coming right up.

Speaker 17 (04:43:45):
Don't worry.

Speaker 49 (04:43:46):
I will.

Speaker 14 (04:43:47):
Oh and by the way, I hear there's a shortage
of keys. You still lose many of them?

Speaker 17 (04:43:52):
Serag me we do every day.

Speaker 14 (04:43:54):
It's really interesting. Variant.

Speaker 5 (04:44:06):
Well logos, here, fellas, my old paler, Old Breton. Hi
a Sparrow, Fine, fine, come on in.

Speaker 49 (04:44:15):
How's the game?

Speaker 5 (04:44:15):
Pretty good? You want to take a hand?

Speaker 14 (04:44:17):
Yeah? Maybe how long you've been playing?

Speaker 5 (04:44:19):
Oh about twelve hours?

Speaker 20 (04:44:20):
Now?

Speaker 8 (04:44:20):
Meet the boys?

Speaker 5 (04:44:21):
Alright, fellas.

Speaker 49 (04:44:22):
This is Dan Hubert.

Speaker 5 (04:44:23):
He's new in this town.

Speaker 14 (04:44:24):
Yeah, it take you long to find this place, did it?

Speaker 17 (04:44:27):
Dan?

Speaker 20 (04:44:27):
Me?

Speaker 14 (04:44:28):
I get a nose for this stuff?

Speaker 5 (04:44:31):
And you know Harry Jackson?

Speaker 29 (04:44:32):
Earl?

Speaker 5 (04:44:33):
Don't you sure?

Speaker 14 (04:44:33):
I know Harry? How are you Harry?

Speaker 49 (04:44:35):
Hey?

Speaker 14 (04:44:36):
What did you say, Harry? I said them pie, that's
what I say.

Speaker 20 (04:44:40):
Oh?

Speaker 17 (04:44:41):
Sure?

Speaker 5 (04:44:41):
This is Willie Garvin.

Speaker 14 (04:44:43):
And oh it's a funny name, Willie.

Speaker 2 (04:44:45):
That's funny of her.

Speaker 14 (04:44:47):
How do you spell it?

Speaker 49 (04:44:48):
Yeah?

Speaker 5 (04:44:49):
Be a Why does it sound similar?

Speaker 54 (04:44:53):
Uh?

Speaker 22 (04:44:54):
No?

Speaker 14 (04:44:54):
Will you know?

Speaker 5 (04:44:55):
And I don't have to introduce you to my partner
Joe Murray.

Speaker 14 (04:44:57):
Huh Hello, Joe. Hello, funny to find you and Sparrow
in the same game. Joe, what's funny about that? Well,
after all, you and Sparrow were partners, aren't you.

Speaker 49 (04:45:06):
Nobody said for you, Breton, And if you don't like
what goes on here, you can shove off.

Speaker 5 (04:45:10):
I'm on, Earl, When are you gonna stop burning up?

Speaker 8 (04:45:13):
Joe?

Speaker 5 (04:45:14):
Anyhow? He just came in a few minutes ago, so
we really just started playing together.

Speaker 14 (04:45:17):
Oh just came in a few minutes ago. Where were you, Joe?

Speaker 49 (04:45:20):
Since when do I report to you?

Speaker 14 (04:45:23):
I'm just curious, That's all I told you before, Bretton,
I don't like coppers and that still goes.

Speaker 5 (04:45:28):
Now, let's get the game gone, Earl. Are you taking
a hand?

Speaker 26 (04:45:31):
Sure?

Speaker 14 (04:45:31):
Sure, but first I got to get the professor. He's
got my dough. I'll be back.

Speaker 49 (04:45:35):
Wait a minute, Breton, what are you trying to pull?
Why didn't you bring it dough in the first place?

Speaker 14 (04:45:39):
I just wanted to see who was in the game.
Oh sure, Joe, he's got a right to know better.
I'll get your dough, but uh, don't forget to come back. Huh,
otherwise it wouldn't.

Speaker 1 (04:45:49):
Look so good.

Speaker 14 (04:45:49):
Sure, I don't worry. I'll be back, Earl.

Speaker 1 (04:46:00):
I'm over here.

Speaker 14 (04:46:02):
How long you have been waiting? Professor?

Speaker 23 (04:46:04):
I just got here. Did you find out anything?

Speaker 14 (04:46:07):
I listened to every voice up there, not one of
them was a light one. How about you? Do you
see Henderson?

Speaker 29 (04:46:12):
Yeah?

Speaker 23 (04:46:12):
That is I didn't see him, but I found out
about him.

Speaker 14 (04:46:15):
What do you mean found out about him?

Speaker 23 (04:46:17):
Well, when I got there, L, there were a lot
of people outside the house, and the police were to
plaise what happened. Henderson was murdered.

Speaker 59 (04:46:49):
It was midnight when the phone rang in the home
of Earl Breton, a private detective. A man named Henderson
was calling. Henderson a crooked politician, who insisted he was
in danger of being killed and that he had to
see Breton immediately. Earl agreed to meet him in his office,
but when he and his partner, the Professor, arrived a
few minutes later, they were faced with a peculiar situation.

(04:47:12):
The lights in the office wouldn't work, and before they
could investigate, a voice challenged them from the darkness. Their
unknown visitor fired at them, purposely missing in order to
warn them that he meant business. The sound of the
gun attracted the attention of the night watchman. He came
to investigate and was killed by the intruder, who disappeared,
leaving Earl with the old man's body and a clew

(04:47:35):
the key to room five seventeen at the Hotel Markham.
There rang the police alarm, and Earl sent the Professor
to intercept Henderson to break the appointment they had with him.
Then he went to the hotel, the room five seventeen,
where he expected to find the killer. He interrupted a
card game, but Sparrow, the gangster who was registered in

(04:47:56):
five seventeen, invited Earle to sit in, much to the
displeasure of his partner, Joe Murray Breton accepted, promising to
return soon. He went down to the street where the
Professor was waiting. The Professor had news for him. Henderson
had been murdered.

Speaker 14 (04:48:15):
How did you find out he was murdered?

Speaker 19 (04:48:16):
Professor?

Speaker 23 (04:48:17):
I overheard two policemen talking to one another.

Speaker 14 (04:48:19):
Did the cops know you were there?

Speaker 30 (04:48:20):
Oh?

Speaker 23 (04:48:21):
No, we wouldn't want them to know. We was interested,
would we?

Speaker 14 (04:48:24):
Good for your professor?

Speaker 23 (04:48:25):
But now that I think of it, Earl, shouldn't we
tell the police what we know?

Speaker 14 (04:48:29):
Well, that's a good idea. Except that we don't know,
and nahin they can't find out for themselves, But.

Speaker 23 (04:48:33):
They don't know that Henderson called us to meet him
at the office, and then when we got there, we
met somebody else, and it was that somebody else who
killed a night watchman.

Speaker 14 (04:48:41):
I know there's some connection between those two things, Professor.
In fact, if I didn't know Henderson's voice so well.

Speaker 23 (04:48:47):
You'd say that it was the man at the office
who imitated it.

Speaker 14 (04:48:49):
Sure, that's an old trick. A man disguises his voice
to sound like, hey, just a minute, Professor, Why couldn't
it be You mean you.

Speaker 23 (04:49:00):
Trually think that the men we met in the office
was the one who called us earlier and he imitated
Henderson's voice.

Speaker 14 (04:49:04):
No, no, no, that'd be too obviously kill us much
cleverer than that.

Speaker 23 (04:49:08):
But you do think he had something to do with
both of the murders.

Speaker 14 (04:49:10):
Certainly if he didn't, how would he know that we
were coming down to the office at midnight? He was
expecting us, so he must have been with Henderson at
the time Henderson called us.

Speaker 23 (04:49:18):
If you don't mind my saying so, Earl, it doesn't
make sense. Why should this man have bought it to
come down to our office just to ask us about
some murder case that was over and forgotten five years ago.

Speaker 14 (04:49:28):
That's just it, professor. He didn't want that information at all.
That was just to throw us off the track. That
was why he left the key there when he slugged
the old man and disappeared.

Speaker 23 (04:49:37):
You mean he actually wanted us to follow him here
to the hotel, Malcolm.

Speaker 14 (04:49:41):
Don't you see? He was trying to establish the alibi
that he was playing cards in this hotel at the
time of the murder, and he could force us to
testify as police witnesses that we saw him here.

Speaker 23 (04:49:51):
Then why don't we tell that to the police.

Speaker 14 (04:49:53):
Oh, professor, you're slipping. You know, the police don't want ideas.
They've got their own. Besides, if we don't know who's
we heard, what can we tell them.

Speaker 23 (04:50:01):
Well, at least we can tell them that it was
somebody who's up in that hotel room.

Speaker 14 (04:50:05):
Now sure, sure, but can we prove it?

Speaker 23 (04:50:09):
I guess not. Well, then what can we do.

Speaker 14 (04:50:12):
We gotta go upstairs and find out who that phony
voice belongs to.

Speaker 23 (04:50:15):
But oh, life can be very short in a place
like this. I mean, I'm not thinking about me.

Speaker 14 (04:50:20):
I know, but I made a promise to that old
watchman that I find the guy who killed him, and
I like to keep a promise.

Speaker 23 (04:50:27):
We ain't done enough money to play cards with those people.
They don't know that well. I don't think it should
take them more than one hand to find out. All right,
and you'll have the stare now. One of those guys
up there has a phony British voice.

Speaker 5 (04:50:40):
Soul listen, stay very well, button. I told you I
can see how's that?

Speaker 23 (04:50:48):
If I wasn't looking at you, i'd swear it was
the guy in the room.

Speaker 14 (04:50:51):
God. God, that's all I wanted to know.

Speaker 5 (04:51:01):
I knew you'd keep your promise to come back, Earl.

Speaker 14 (04:51:03):
Why not?

Speaker 49 (04:51:04):
This is my night, Sparrow.

Speaker 5 (04:51:05):
Well, come on, take a chair.

Speaker 23 (04:51:07):
I think I'll let the Professor play for me. I
do much better when i'm looking over his shoulders.

Speaker 5 (04:51:11):
Let's get going.

Speaker 49 (04:51:12):
You're holding up the game.

Speaker 5 (04:51:13):
How many chips, Professor?

Speaker 23 (04:51:14):
Well that's up to Earl chips. Why what do you
say we start off with ten dollars worth?

Speaker 14 (04:51:21):
Professor? Like a hunch, I guess that's all right. Wait
a minute, who are your kidd and Breddon? Since twenty
a figure? You can get in on this game for
ten bucks. That's just the start at Joe. I always
like to play hunches.

Speaker 5 (04:51:33):
But you got more than that, having Joe earl, you
know better.

Speaker 14 (04:51:38):
Than ask me that, Sparrow.

Speaker 29 (04:51:39):
Yeah, let's see.

Speaker 1 (04:51:41):
Okay, deal them out, Joe.

Speaker 14 (04:51:47):
If I didn't know that you just came into this
game a little while ago, i'd figure that you were
losing plenty. Why ah, you're so touchy.

Speaker 5 (04:51:55):
I open five bucks, raise your ten I'm out Wow.
Playing it safe, professor, I'd rather not explain my game.

Speaker 14 (04:52:03):
Maybe if Joe played it safe, he wouldn't be so
worried all the time.

Speaker 5 (04:52:06):
Oh Joe, Joe's got lots on his mind.

Speaker 14 (04:52:09):
I don't know, Sparrow. You're Joe's partner. You never seem
to worry like he does.

Speaker 23 (04:52:13):
Or do you mean worry?

Speaker 14 (04:52:15):
Who says I'm worried? I'm just careful, it's all. I
don't trust nobody, see nobody. You may not even Sparrow,
your own partner, I said nobody.

Speaker 5 (04:52:25):
Oh Joe thinks maybe I talked to him.

Speaker 14 (04:52:27):
That's right. I didn't hear you say anything out of play, Sparrow.
He thinks I made a mistake telling you he just
came into the game a little while ago.

Speaker 5 (04:52:34):
I told you to shut up, Sparrow. Come on, Joe,
you don't have to be afraid of Earl Bretton.

Speaker 49 (04:52:38):
He's a cup and I told you don't have to
know nothing.

Speaker 14 (04:52:40):
He wouldn't repeat anything he heard up here, would your Earl?
I always played safe.

Speaker 5 (04:52:47):
I think you're all right.

Speaker 23 (04:52:48):
Oh ah, matter a stand up where you're going. I
just want to walk around a little bit, stretch my legs.

Speaker 1 (04:52:54):
I just don't go looking at any heads.

Speaker 14 (04:52:56):
Okay, I'll stand over the head by the wall.

Speaker 5 (04:52:59):
Yah're gonna let the professor play himself.

Speaker 20 (04:53:01):
Sure.

Speaker 14 (04:53:02):
Hey, this is a very interesting electric light switch.

Speaker 20 (04:53:04):
You guys.

Speaker 14 (04:53:05):
Don't cut the chatter up. Blow this game off. Hey,
wait on, well put those lights out. Put the lights on.

Speaker 5 (04:53:12):
What are you getting so crazy about, Joe? You act
as if you just murdered someone.

Speaker 1 (04:53:15):
Put up the light.

Speaker 14 (04:53:16):
I said, quick, I'm sorry, Joe, that was my mistake.
I didn't know the light switched off this way. Shut
up and you, Sparrow, who's the idea saying I murdered someone?

Speaker 5 (04:53:27):
What are you talking about, Joe? I didn't say anything.

Speaker 1 (04:53:29):
Don't give you that stuff.

Speaker 20 (04:53:30):
I heard you.

Speaker 1 (04:53:31):
You can't fool me with that phony voice you put on.

Speaker 5 (04:53:33):
I told you I didn't say anything.

Speaker 49 (04:53:35):
Oh yeah, well I happened to know that nobody else
but you talks that way.

Speaker 5 (04:53:38):
How did you dope? And you know that wasn't my voice, Sparrow.

Speaker 23 (04:53:41):
If you're trying to pull anything, okay, okay, Joe, Sparrow's
right now, don't get sore.

Speaker 14 (04:53:46):
It was my fault. I didn't know. I ain't the point, Britton.
I don't know what he's trying to pull, and I
ain't none of your business, Copp, But I just wanted
to tell you I'm sorry that was my voice you heard, John.

Speaker 16 (04:53:57):
Are you.

Speaker 54 (04:53:59):
All right?

Speaker 5 (04:54:00):
What's the game, Breton?

Speaker 14 (04:54:01):
No game, Joe? Just a joke, that's all, sure, Joe,
just a joke, very funny too. Can't you take a
joke Joe and nuts? All right?

Speaker 19 (04:54:12):
Breton?

Speaker 5 (04:54:13):
Do you want to stay in this game?

Speaker 14 (04:54:14):
Get up some real dough upbeat it? Okay, okay, I'll
come clean with you. That's all a doe we got
with us. Right now? Do you let me go in
the next room and make a call. I'll get some
sent up here right away.

Speaker 5 (04:54:26):
Sure, sure you want to use the phone. Yes, it's
right in the next room.

Speaker 14 (04:54:30):
Thanks Sparrow.

Speaker 49 (04:54:39):
This is the mask.

Speaker 14 (04:54:40):
Hello, give me spring seven.

Speaker 49 (04:54:42):
Three spring seven for your kidding. That's police headquarters.

Speaker 2 (04:54:47):
Say, have you got any complaints to me?

Speaker 17 (04:54:48):
Angle on there?

Speaker 49 (04:54:49):
Hey, hey, wait a minute, what goes on here?

Speaker 5 (04:54:51):
It's one of your keys.

Speaker 49 (04:54:56):
Oh hello, Sparrow.

Speaker 42 (04:54:59):
I am.

Speaker 14 (04:55:00):
I can't say much for your phone service.

Speaker 5 (04:55:02):
Oh that's the matter with it.

Speaker 14 (04:55:04):
They it wouldn't get a number for me. I see
who you call him? It's so important the police. I
guess I can wait now.

Speaker 19 (04:55:14):
See.

Speaker 5 (04:55:14):
I'm glad you came in here, Breton. I wanted to
have a little talk with you alone.

Speaker 14 (04:55:19):
You wouldn't use that revolver right here in this room, would.

Speaker 17 (04:55:22):
You wouldn't die? You know?

Speaker 5 (04:55:24):
I can do pretty much as I want to in
this hotel.

Speaker 19 (04:55:26):
You know that, don't you?

Speaker 20 (04:55:26):
Yeah? Yeah?

Speaker 14 (04:55:28):
But if you killed me now, wouldn't you have to
tell Joe why you did it?

Speaker 20 (04:55:31):
Well? What do you mean?

Speaker 14 (04:55:32):
I mean? Wouldn't you have to tell him that you
were tired of being partners with him and Henderson? You
wanted the whole racket for yourself, so that you killed Henderson,
trying to make it look as though Joe did it
so he could take a rap. If you're trying to
talk loud, so Joe will hear you, I might as
well tell you he just left. Well, at least I
found out it was you who slept the night watch

(04:55:52):
one of my building the night. So what just that
you killed him, that's all.

Speaker 5 (04:55:57):
You shouldn't have gotten away.

Speaker 14 (04:55:59):
Then you're admitting that you killed Henderson.

Speaker 5 (04:56:00):
And the watchman only to you, Breton.

Speaker 14 (04:56:03):
Not tell you why, because I'm going to make sure
that you'll never be able to tell it to the cops.
I don't have to tell them, Sparrow. They know about
it already. Oh sure, sure you gave them all this
information before you came up here. No, I didn't tell
him you did you know something?

Speaker 4 (04:56:19):
Breton?

Speaker 14 (04:56:20):
I'm beginning to think you're a little bit nuts. I
suppose you wouldn't believe me if I told you. The
police are listening to you right now. They heard you
admit all this to me.

Speaker 5 (04:56:27):
Oh no, wait, the man that don't tell me you
hit them in my closet.

Speaker 14 (04:56:30):
No no, but they're right outside in that room where
we were just playing cards.

Speaker 5 (04:56:35):
You're crazy.

Speaker 14 (04:56:37):
Why don't you take a look, Because I ain't dumb
enough to turn my back on you, and that makes
it easy for them to come in the give it
here it is the cops.

Speaker 49 (04:56:47):
They heard the whole thing outside, Breton.

Speaker 1 (04:56:49):
Pretty smart.

Speaker 5 (04:56:50):
But how did you get the cops up here?

Speaker 14 (04:56:52):
I didn't get them, Sparrow.

Speaker 5 (04:56:53):
You did cut it out, Bretton.

Speaker 14 (04:56:54):
It's true.

Speaker 23 (04:56:56):
You know the best way to bring the police is
to leave a hotel key next to a dead man.

Speaker 14 (04:57:00):
That's what you did there. But you picked that up,
not me. I just made a mental note of it.

Speaker 49 (04:57:04):
That song.

Speaker 23 (04:57:05):
What puzzles me, he is, how do you know the
police were out here when you made Sparrow talk?

Speaker 14 (04:57:09):
Ah, that was easy. When I tried to put through
a call before I heard a voice at the switchboard
asking about a key, and I just played a hunch.

Speaker 1 (04:57:18):
I'm glad we got here in time.

Speaker 14 (04:57:19):
Come along, Sparrow, well, professor, Let's go on, Yes, sir,
oh and okay? If our phone rings again tonight, don't answer.

Speaker 59 (04:58:49):
From shadows and stillness, Mystery weaves a spell of strangest fascination,
charging the mind with doubts or Mystery is a strange companion,
a living memory in the haunting.

Speaker 6 (04:59:36):
Thanks for listening. If you like what you heard. Be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:59:58):
where you can listen to free audio books of 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

(05:00:19):
joining me for tonight's retro radio Old Time Radio in
the Dark

All Episodes

Episode Transcript

Popular Podcasts

On Purpose with Jay Shetty

Stuff You Should Know

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}PARALLEL DIMENSIONS: Which World Is Real? Did He Murder His Wife or Didn’t He? How Can He Know?

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}On Purpose with Jay Shetty

Stuff You Should Know

Dateline NBC

All Episodes

PARALLEL DIMENSIONS: Which World Is Real? Did He Murder His Wife or Didn’t He? How Can He Know?

On Purpose with Jay Shetty