SERIAL KILLER WHO WEARS A BADGE: A Police Officer Murders Women Who Reject His Romantic Feelings

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

Speaker 2 (00:13):
Oh Fantasy.

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

Speaker 1 (00:26):
A man us Seal.

Speaker 2 (00:36):
Present Suspense.

Speaker 4 (00:41):
I am the Whistler.

Speaker 5 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise. Sign up for

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

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

Speaker 6 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 2 (01:50):
Come in.

Speaker 6 (01:52):
Welcome, I me g Marshall. Oh what may man within him?
Hide the angel on the outward side? That's what Shakespeare said,
A more mundane way of putting it is, you can't
judge a book by its cover, And yet doesn't it
happen every day? Don't we assume an inward connection with

(02:16):
an outward appearance? Of course we do, and don't we usually.

Speaker 7 (02:20):
Pay for it?

Speaker 8 (02:21):
Of course we do, and do.

Speaker 7 (02:23):
We usually learn anything from it? Of course we don't.
Why Why won't you go out with me?

Speaker 9 (02:30):
Mister? Let me alone?

Speaker 7 (02:32):
I'm a nice guy.

Speaker 10 (02:33):
If you don't get out of here, I'll call a cop.

Speaker 7 (02:36):
I'm a cop.

Speaker 9 (02:36):
Please go away.

Speaker 7 (02:38):
My face, isn't it h Please? It's the ugliest face
you ever saw. Oh that's what you're thinking of. Well,
you'll never have to look at it again. But no, look,
please look at my face for the last time.

Speaker 9 (02:52):
Please don't kill me.

Speaker 11 (02:54):
Look at my face for the last time in your life.

Speaker 6 (03:06):
Our mystery drama Somebody Stop Me was written especially for
the Mystery Theater by Sam Dan and stars Howard da Silva.
It is sponsored in part by Contact, the Twelve Hour
Cold Capsule and Buick Motor Division. I'll be back shortly
with act one. It has been written, everybody is born

(03:39):
with a taste for pudding, but the problem is not
everyone is born with a means.

Speaker 4 (03:45):
To satisfy it.

Speaker 6 (03:47):
It's all very well to say a cat may look
at a queen, but what about a cat that isn't
content merely to look. You examine the ads to show
people in love. The men are so handsome, the women
so attractive. The way things are, this world was made
for the beautiful people. What do the homely people?

Speaker 12 (04:09):
Do?

Speaker 4 (04:12):
You?

Speaker 9 (04:12):
Finished birth? Yes, mama, and I'll start on the dishes.

Speaker 7 (04:16):
I wish you'd let me buy you a dishwasher.

Speaker 12 (04:18):
What for?

Speaker 7 (04:19):
You must be the only one in town still washes
by hair.

Speaker 9 (04:23):
That way, I'm sure to get them clean.

Speaker 7 (04:25):
Yeah, mom, it's been proved. A machine does a better.

Speaker 9 (04:28):
Have me your playpers Okay, the old fashioned way is
the best.

Speaker 7 (04:35):
I guess they are. Oh mom, I just remembered I
got a date.

Speaker 9 (04:39):
You're going out with a girl.

Speaker 7 (04:41):
No, no, not that kind of date. I'm going to
meet Charlie in Mooney's Bar.

Speaker 9 (04:44):
Oh it's not that I think you shouldn't go out
with girls.

Speaker 7 (04:48):
It could help on my job, but it's so hard.

Speaker 9 (04:50):
To find one that's really and truly decent.

Speaker 7 (04:53):
I'll give your hand with the dishes first.

Speaker 9 (04:54):
Oh no, no, you go right ahead.

Speaker 7 (04:56):
I won't be late.

Speaker 9 (04:57):
Don't worry. I'll be all right. I may be all
by myself, but I won't be lonesome.

Speaker 7 (05:02):
You got your programs on the TV. I'll be back
before they're over.

Speaker 9 (05:06):
Stay out as long as you like. Lord knows, I
don't want you tied to my apron strings.

Speaker 7 (05:11):
I'll see you later.

Speaker 4 (05:12):
Bert, Yes, mam.

Speaker 9 (05:15):
I noticed you still have the picture that girl what's
her name, Gloria, Gloria Smith in your room, the one
that was murdered last week.

Speaker 7 (05:24):
We were just friends, Mom. I knew it from the.

Speaker 9 (05:27):
Job shows you the kind of company she kept.

Speaker 7 (05:30):
It wasn't her fault of some maniac murderer.

Speaker 9 (05:33):
Now, how do we know it was a maniac?

Speaker 13 (05:35):
Bert?

Speaker 7 (05:35):
Who else? Was just knife? A girl?

Speaker 9 (05:37):
She was a gold digger?

Speaker 7 (05:39):
Good night, Mom.

Speaker 4 (05:40):
A girl like that?

Speaker 9 (05:41):
What did she see in you? You have wonderful qualities,
but they're all invisible. They're certainly not handsome, so a
girl would have to be interested in you only for
your money. Now, I don't want you to get hurt.

Speaker 7 (05:57):
I realized that, Mom.

Speaker 9 (05:58):
Bert, don't you work. One day the right girl will
come along and we'll both be so glad to see her.

Speaker 4 (06:13):
Give me a beer right now?

Speaker 14 (06:14):
Is coming up?

Speaker 10 (06:16):
Hey, how you guys doing on the Gloria Smith murdered.

Speaker 13 (06:19):
Chi Well les.

Speaker 10 (06:21):
Yeah, which means you're going no place right?

Speaker 13 (06:23):
Maybe the girl cop.

Speaker 10 (06:25):
Ain't safe in this town?

Speaker 14 (06:26):
Who is?

Speaker 11 (06:27):
Gloria wasn't a cop right there? She worked for traffic control?

Speaker 9 (06:30):
So why was she cute?

Speaker 7 (06:32):
Oh?

Speaker 4 (06:33):
Could have been a nut?

Speaker 10 (06:34):
Oh you're a big help, jelly. Look if you guy
to hang around a bar and your time off, why.

Speaker 9 (06:40):
Take the one.

Speaker 10 (06:40):
Across the streets from the station house. Why ain't you
home with a wife and the kiddy?

Speaker 11 (06:45):
Because I'm having a few with bird Barges crew. What
do you call him a creep for? He's a pretty
good cop.

Speaker 10 (06:51):
Really looks like a creeper.

Speaker 4 (06:53):
He's really a nice guy.

Speaker 10 (06:55):
We have got to admit he's ugly. Well, okay, so
he's home.

Speaker 4 (07:00):
Well, that's not his fault.

Speaker 10 (07:01):
I guess. Hey, don't you guys see enough of each
other daytime?

Speaker 4 (07:06):
We don't see each other right at all?

Speaker 11 (07:08):
This I'm in homicidies with the property office.

Speaker 4 (07:11):
He's got good ideas. I like to talk to him
when I'm on a case.

Speaker 9 (07:14):
And look who Jess came in?

Speaker 11 (07:17):
Hello, Charlie, I've a poor one for my friend. Dinessa
coming up. Sorry, I'm late, Jelly, No, it's okay. Supper
was delayed at the house.

Speaker 4 (07:27):
It's all right.

Speaker 7 (07:28):
I know you wanted to get home early.

Speaker 11 (07:29):
Then you don't have to apologize all the time to
everybody about everything you are.

Speaker 7 (07:36):
Thanks you look you look very pretty tonight.

Speaker 10 (07:40):
I know if there's nothing else, I'll leave you, gentlemen,
to your conversation.

Speaker 7 (07:46):
She really is a good looking girl.

Speaker 11 (07:47):
Hey, why don't you ask her out?

Speaker 7 (07:53):
You're crazy?

Speaker 15 (07:54):
Well?

Speaker 7 (07:54):
Why am I crazy? She wouldn't give me a second look.

Speaker 4 (07:57):
Oh, I don't know about that.

Speaker 7 (07:59):
She doesn't even give me your first look, Alaska, why
don't you No, Now, guys like you don't understand.

Speaker 4 (08:05):
Now, what do you mean guys like me?

Speaker 7 (08:07):
You're looking guys like you? Oh, come on, bird, she'd
go out with you if you asked.

Speaker 11 (08:11):
Well, why would I ask her? I'm married and with
three kids. She knows that. How can she? How can
she go out with me?

Speaker 7 (08:17):
Well, she would or she wouldn't, depending on what on
how she felt she might or might not be in
the mood. Or if she turned you down, it would
be for a good.

Speaker 11 (08:28):
Reason and if she turned you down, it wouldn't be
for a good reason.

Speaker 7 (08:31):
No. No, if she turned me down, it would be
because I'm ugly.

Speaker 11 (08:34):
We're gonna go through this again, Bert, No, let's let's
let's drop No.

Speaker 4 (08:38):
Let's not.

Speaker 11 (08:39):
I look at some of the movie stars today. Are
they handsome what our parents used to call colorad handsome? No,
there's some of the homeliest guys in the world.

Speaker 7 (08:47):
That isn't true.

Speaker 4 (08:48):
But they have personality.

Speaker 11 (08:50):
And when you talk to a girl, you just kind
of moop around, You bring her down. That's why they
won't go out with you. Bert, Now you gotta get
with it.

Speaker 13 (08:59):
Now, smile, make yourself into an interesting guy.

Speaker 4 (09:02):
Now go ahead and.

Speaker 11 (09:03):
Ask you got the looks for today's lover?

Speaker 8 (09:06):
What have you got to lose? Nothing?

Speaker 7 (09:09):
You call it nothing, Charlie. But when I asked her
and she says no, what makes you so sure she's
going to say no? I can read it in her
eyes loud and clear, You ugly babboon. No, why would
I want to go out with you? I don't need that, Charlie. Please,
let's drop it.

Speaker 4 (09:27):
Okay, okay, okay, And.

Speaker 11 (09:30):
Look, you said you had some ideas about the glorious
smith killing.

Speaker 7 (09:33):
Yeah, now for tell me when I ang leave? Homicide
guy's running with not a maniac?

Speaker 11 (09:41):
Some guy ses her, follows it. It's a dark knight,
no one around.

Speaker 4 (09:44):
He kills it? Why? Why?

Speaker 11 (09:46):
Why do any of them kill? Robbery more often than not?
But a purse was there, berd it was unopened. Oh
so she was still wearing her watching her ring. So
robbery is out because then they're sex. But there wasn't
even a HI for that. This guy just came up
to it, hit her a couple of times with a knife,
and ran. Now that has to make him crazy?

Speaker 7 (10:07):
Why Who says he has to be crazy?

Speaker 4 (10:09):
But what else could it be? Angry?

Speaker 8 (10:13):
Mad?

Speaker 7 (10:13):
Mad enough to kill? And who says the guy was
a stranger? Well, why couldn't it have been somebody who knewer?
Doesn't that make more sense?

Speaker 4 (10:22):
I don't see how it.

Speaker 7 (10:23):
Would explain why nobody heard her scream? But why why
have you have you questioned all the guys who knew her?

Speaker 11 (10:30):
Who would have a motive? Okay, thanks, vert, I have
to run. I'll see you around nights.

Speaker 7 (10:39):
I'll have another. Uh could I buy you one?

Speaker 16 (10:45):
No?

Speaker 7 (10:48):
It's quiet this evening, Yeah is allD Man mooney off tonight. Look,
I uh, well, you want to go out Saturday night?

Speaker 2 (11:03):
No?

Speaker 10 (11:04):
Oh, I got a date?

Speaker 7 (11:09):
How about Sunday?

Speaker 10 (11:10):
Sunday night?

Speaker 4 (11:12):
I like to stay home Monday.

Speaker 10 (11:15):
Well, this next week I'm working every night.

Speaker 7 (11:18):
Oh a week after next week?

Speaker 17 (11:21):
We look, it's hard to tell.

Speaker 10 (11:22):
I don't know the work schedule.

Speaker 7 (11:24):
Yeah, well, I just it's getting kind of late. She is,
I got an early day tomorrow. Well, good night, good night?

Speaker 9 (11:44):
More salid birds?

Speaker 7 (11:46):
No, no, thanks?

Speaker 4 (11:47):
Mom?

Speaker 9 (11:48):
You know I notice you have a picture of another
girl in your room.

Speaker 7 (11:53):
Yeah, yeah, I have.

Speaker 9 (11:56):
Who is she?

Speaker 4 (11:58):
Just some girl?

Speaker 13 (11:59):
What's her name?

Speaker 7 (12:02):
I nurse a rota?

Speaker 9 (12:05):
Are you sure this girl's in perfect health? She looks
a bit thin.

Speaker 7 (12:08):
That's because it's a candid photo. She didn't even know
I took it.

Speaker 9 (12:12):
She seems to be wearing a lot of makeup.

Speaker 7 (12:14):
Well girls do?

Speaker 13 (12:16):
Will you just.

Speaker 9 (12:17):
Find yourself an old fashioned girl?

Speaker 2 (12:19):
That?

Speaker 7 (12:19):
Doesn't you mind if I go out Tonightmam bird?

Speaker 9 (12:23):
Are you asking my permission?

Speaker 15 (12:26):
Please?

Speaker 9 (12:26):
You make me feel like some devouring, tyrannical kind of mother.

Speaker 7 (12:30):
Well, I just wanted to be sure you're okay, darling.

Speaker 9 (12:35):
You shouldn't worry so much. About me. You should be
concerned with meeting a lovely girl and getting married and
establishing a home and family of your own.

Speaker 18 (12:45):
Yes, mom my, Jerry, Hello, I nurs.

Speaker 7 (13:11):
It's me Bert.

Speaker 19 (13:15):
Who are you doing here?

Speaker 7 (13:17):
Oh? I know you work late to isday. You catch
the last bus. By the time it gets to your stuff,
it's kind of deserted. You still got a pretty long walk,
So why I figured i'd walk your home.

Speaker 10 (13:30):
Oh, yeah, that's what you figured.

Speaker 7 (13:33):
You don't mind, do you?

Speaker 17 (13:34):
You know?

Speaker 14 (13:35):
I guess you just can't take that here, can you?

Speaker 15 (13:37):
Bret?

Speaker 7 (13:38):
What do you mean?

Speaker 10 (13:41):
I just don't go for you?

Speaker 4 (13:44):
Bert?

Speaker 7 (13:45):
Why not?

Speaker 15 (13:46):
Oh?

Speaker 10 (13:46):
Look, I don't have to explain it.

Speaker 7 (13:49):
It's because you don't like the way I look. Right.

Speaker 10 (13:51):
You want to lay it on the line.

Speaker 7 (13:55):
Sure, I love you.

Speaker 9 (13:56):
Well, that's just too bad.

Speaker 7 (13:58):
You go out with everybody.

Speaker 10 (14:00):
Why is it your business?

Speaker 7 (14:02):
I told you why I love you.

Speaker 9 (14:04):
Excuse me.

Speaker 10 (14:05):
I gotta get home alone.

Speaker 7 (14:07):
All the fellows you run around with, none of them
loves you.

Speaker 10 (14:10):
Will you please get out of my way.

Speaker 7 (14:12):
There's even one of them here now to see as
you get home safe?

Speaker 10 (14:15):
Look at you don't get out of here, I'll call
a cop.

Speaker 7 (14:17):
I'm a cop a cop.

Speaker 10 (14:19):
Yeah, you push a pencil in a new office.

Speaker 9 (14:21):
You're a clerk.

Speaker 10 (14:22):
I love you, but I don't love you.

Speaker 9 (14:26):
Why I don't even like you?

Speaker 20 (14:28):
Why?

Speaker 10 (14:28):
Because you give me the creeps?

Speaker 7 (14:31):
My face gives you the creep. I'm ugly. I'm the
ugliest man you ever seen.

Speaker 10 (14:38):
In spades? How you can get a nightmare just looking
at you?

Speaker 7 (14:42):
All right? Would you like to never see my face anymore?
I can arrange for you never to see me again.
Never do. You'll never see anybody's face anymore.

Speaker 10 (14:58):
Don't, please, don't not no with the night.

Speaker 7 (15:01):
Please, you'll never see anybody's face again, even the handsome one's.

Speaker 12 (15:09):
Never never again.

Speaker 7 (15:18):
Oh no, no, please, please to somebody, somebody stopped me.
Somebody stop me.

Speaker 9 (15:28):
She'll wake up.

Speaker 7 (15:30):
Oh, somebody stop me. Somebody, Somebody stop you from what
somebody's I don't know, something terrible.

Speaker 9 (15:42):
Oh now, how could you do something terrible? You're such
a fine boy. Now give mama chiss. That's it, good night,
sleep time, Yes, mama, see you in the morning.

Speaker 7 (16:02):
Somebody stop me, Somebody stop me.

Speaker 6 (16:15):
You know what they once said about Cleopatra, if her
nose had been a half inch longer, it would have
changed the map of the world. Well, here we have
Burt Bearringer, and if his nose had been a half
inch shorter, two women perhaps might still be alive. I
shall return shortly with that two. Love makes the world

(16:50):
go round A rather beautiful sentiment.

Speaker 4 (16:52):
No, you know who said that?

Speaker 6 (16:55):
Lewis Carroll said it, and the world he was referring
to must have been the one Alley found in Wonderland.
But how about our own world? The fact is it
does go round and round and round. But what keeps
it spinning? A safe bet it isn't love.

Speaker 9 (17:16):
That that girl who's pictures in your room?

Speaker 7 (17:18):
I love another cup of coffee?

Speaker 4 (17:19):
Mouth?

Speaker 9 (17:19):
What was the name?

Speaker 7 (17:20):
I need? Is something I had to be going on later?

Speaker 9 (17:22):
Well, here's her picture in the paper.

Speaker 13 (17:25):
What what she done?

Speaker 9 (17:27):
She went and got herself murdered. Where do you get
these girlfriends?

Speaker 12 (17:32):
Bert?

Speaker 2 (17:33):
Mom?

Speaker 7 (17:33):
They weren't my girlfriends.

Speaker 9 (17:35):
I just happened to know some fell up and stabbed
at her death last night, fine crowd. She must have
run around with.

Speaker 7 (17:42):
This road of twenty seven or thirty seven Hollywood line
there any decent on her way home from work?

Speaker 9 (17:48):
Oh, Bert, I wish you would meet a nice young lady.

Speaker 7 (17:51):
No, parent motive for the crown.

Speaker 9 (17:52):
Give me that paper now. It's not good to fill
your mind with depressing news.

Speaker 4 (17:58):
Who who could have killed her?

Speaker 7 (18:00):
She was such a sweet girl? Twenty eight I'm really
going to be late now, Mama.

Speaker 9 (18:05):
Well, I eat a light man. She's going to be
a hot day.

Speaker 7 (18:13):
No, no ac calling to my receipt. You signed for
a flashlight. I can't issue you a new one till
you bring in the old one. I know you lost it. Well,
you have to fill out form number one eighty seven K. Yeah, yeah,
I lost equipment after David six weeks. You're very welcome.

(18:34):
I'm sure morning vern. Oh, hello, Charlie, hereabout I niz? Yeah,
she's a shame. You want to work on it.

Speaker 11 (18:44):
Well, I'm still I'm glorious Smith.

Speaker 7 (18:48):
You know, maybe they could be connected, some guy who
knew them both.

Speaker 11 (18:52):
Why would it have to be somebody who knew them?
Why couldn't it be a random thing. You got some
nut running loose who just came across both of them.

Speaker 7 (18:59):
You never stop think you something, Charlie. Both girls knew
each other, right, Yeah, Gloria worked in this building, and
I know has worked in Moonies across the street.

Speaker 4 (19:09):
Bert what are you trying to bring out? I don't know.

Speaker 7 (19:13):
Both girls are in the same neighborhood. Maybe the killers
from the neighborhood too.

Speaker 4 (19:17):
Well, anything's possible.

Speaker 7 (19:20):
That's why you homicide guys should look in the neighborhood.
The killer could be very close to home. Check on
their boyfriend.

Speaker 4 (19:28):
Bert.

Speaker 11 (19:31):
Let me close it, Bert, Bert, you're the best friend
I got.

Speaker 7 (19:39):
I hope, so, charl I got to talk to.

Speaker 4 (19:41):
Somebody, somebody or I just bus for sure. I don't
know how to start this.

Speaker 11 (19:49):
You see, Bert, you meet a girl, you fall in love,
you get married.

Speaker 8 (19:53):
You know how it is.

Speaker 4 (19:55):
No, we'll take my word for it anyway.

Speaker 11 (19:57):
This girl you meet, you fall in love with, you
marry you think, you think.

Speaker 4 (20:01):
She's the whole world, isn't she? Yeah? She is for
a while. It's nobody's fault.

Speaker 7 (20:08):
What's nobody's fault?

Speaker 4 (20:09):
What happens to a girl after it?

Speaker 11 (20:12):
You see, Bert, she loses what it was that made
you fall in love to begin with.

Speaker 4 (20:17):
I don't understand now you wouldn't. I'm sorry. I'm sorry, Bert.
No offense meant none taking anyway.

Speaker 11 (20:25):
Like I said, it's nobody's fault, least of all hers.
She stays home, she has kids, or just having a
kid can do something to a girl's looks. She gets fat,
you know, a little sloppy, you know what I mean.

Speaker 7 (20:37):
Yeah, but well, it's tough.

Speaker 11 (20:38):
It's tough for a bright girl to stay home and
watch diapers, clean the house. She just becomes somebody else,
somebody had just you just can't like anymore, somebody who's
no fun anymore. But he listen to me, I'm all
wound up. It's all right, showy. So a guy can't
help himself. Bert, You come home and nag, nag, and

(21:01):
she's right, But what can I do? And I Meanwhile,
it's a big world out there, Bert, there are girls,
girls who.

Speaker 4 (21:07):
Want to have fun, just like you do.

Speaker 11 (21:09):
You understand, no strings, just a few laughs that with
all due respect, Bert, You're you're inside all day in
the office. Sure you wear a shield, you carry a gun,
but you could just as well be doing that job
for any civilian company. I just but Bert, Bert, I'm
out there where it's ugly and mean and dangerous, where

(21:30):
people die, innocent people. It gets to you. So I
have to relax. You see, I have to have to
have a couple of drinks and go dance in and
have to Bert, I can't do that with my wife anymore.
And that's why, that's why what Charlie. Well, the captain

(21:55):
gave me the job of running down the boyfriends of
Gloria Smith and I ness, but I can't. I can't
run them down too far?

Speaker 7 (22:04):
Why not?

Speaker 11 (22:04):
Because because I'm a boyfriend myself, Bert.

Speaker 4 (22:09):
You Yeah, yeah, me.

Speaker 11 (22:11):
And what's worse, I could be the only guy who's
gone out with both of them?

Speaker 4 (22:16):
Oh yeah, how how would that look to the captain? Huh?
But you didn't k how do you know? How?

Speaker 7 (22:26):
I know? Because you're not the type or what is
the type?

Speaker 11 (22:33):
The girl gives you the eye, you know what I mean.
She knows you're married. She knows you may not like
your wife anymore, even though you still love her, understand Yeah, no,
I don't think you do anyway. She knows it's got
no real future. But you're straighten all that out before
the first date. It's all only for a few laughs,

(22:53):
but the laughs get fewer and fewer, and then the
crime begins and out of nowhere, it's serious.

Speaker 4 (22:58):
Do you see what I mean?

Speaker 7 (22:59):
Yeah?

Speaker 11 (23:00):
And they want you to divorce your wife and do
what marry them.

Speaker 13 (23:04):
But what good is that if you marry him your
back way you.

Speaker 7 (23:06):
Started, couldn't you just say no.

Speaker 11 (23:09):
No, no, that's impossible. It's impossible to make a woman
hear the word no, and the only word she wants
to hear is yes.

Speaker 7 (23:15):
Oh okay. It could be embarrassing. But what are you
really worried about. You didn't kill him, did you. I
don't know, Charlie, I don't know. I don't But a
thing like that, a guy who kills he he has
to know. How could you not know it?

Speaker 11 (23:33):
Listen to me, each one of them, they threatened me.

Speaker 4 (23:39):
They threatened that.

Speaker 11 (23:39):
They'd go to my wife, they'd go to the department.

Speaker 7 (23:43):
You want to keep your voice down, Charlie. I mean,
you can never tell who's stand outside.

Speaker 11 (23:46):
But yet you are right, all right, you're right anyway.
Each each one of them, in turn, laid it on
the line, you're going.

Speaker 4 (23:53):
To marry me or else.

Speaker 11 (23:54):
They got me so married I couldn't see any way out.
And then Gloria got killed. Glorious Smith. Oh lord, she
was beautiful, wasn't she. Po Oh yeah, oh, what a break.

Speaker 4 (24:06):
I said to myself.

Speaker 11 (24:07):
Somebody, somehow, some mad killer got me off the hook.

Speaker 4 (24:11):
And I can't tell you how grateful I was to
a killer.

Speaker 11 (24:14):
But Bert, he took her life, but he saved mine.
I had nowhere to go except maybe to the holster,
and one bullet would have ended my troubles forever.

Speaker 7 (24:23):
No, Charlie, not you.

Speaker 4 (24:24):
You don't know.

Speaker 2 (24:25):
You don't know what.

Speaker 11 (24:26):
Names can do to your bird. No, just give thanks
that you're not good looking. You're better off out of it. Bert,
But I forget. And before I knew it, I was
running around with eye ness.

Speaker 7 (24:38):
Didn't you learn your lesson?

Speaker 4 (24:39):
Charl What lesson? What lesson? Who learns?

Speaker 2 (24:42):
Bert?

Speaker 11 (24:43):
It got involved just as just as deep, and it
was the same thing. Just as I'm about to end
it all, she turns up dead.

Speaker 4 (24:51):
Okay, how why? No?

Speaker 11 (24:54):
No, no, Bert, you're just saying that to make me
feel better. Your original theory, Your original theory is right?

Speaker 7 (25:00):
What theory?

Speaker 11 (25:01):
Boyfriend? And I am the boyfriend. I'm the one who
had the motive, the opportunity. Therefore I'm the one who
must have done it.

Speaker 4 (25:09):
Charlie, are you confess? I don't know.

Speaker 11 (25:12):
I don't know, but but surely you should know if
you if you kill those No, no, no, you can
do it without knowing it. I can't believe we're sure
in that psychology course I was taken at night. You see,
you can want to do something very badly, but if
it's against your moral code, like murder, you can make
yourself do it without knowing it.

Speaker 7 (25:31):
Oh no, No, I can't believe it's true.

Speaker 11 (25:34):
It's true, Bert, Now, why do you think people walk
in his sleep? No, but murder, you can make yourself
live a whole other life without being aware of it. Bert, No,
I could have killed Gloria, I could have killed Dinaz.
I was at the end of my rope.

Speaker 7 (25:48):
No, Charlie, no, who else? Who else had a motive?
What do you want to do?

Speaker 8 (25:53):
I don't know.

Speaker 21 (25:54):
I don't know.

Speaker 7 (25:55):
Let's go have a drink.

Speaker 11 (25:56):
Well, not across the street, Okay, I could I could
never walk in that joint again.

Speaker 7 (26:00):
Well, let's go Crosstown, someplace where we've never been before.

Speaker 4 (26:03):
Now, yeah, the further away the better.

Speaker 7 (26:11):
Nice little joint, eh.

Speaker 11 (26:12):
Yeah, Hey Bert, take a look at what's tending by.

Speaker 8 (26:16):
Oh she's beautiful.

Speaker 4 (26:20):
How do you know what, cops?

Speaker 9 (26:21):
I ha's a gift. My name's Lord.

Speaker 11 (26:24):
A couple of beers on the way, Hey Bert, why
don't you ask her out? Yeah, she wouldn't go out
with me. Now, how do you know she'd go out
with you? Yeah, but I'm not going to ask her.
I'm through with that now, I'm through forever, and this
time I'm in it.

Speaker 4 (26:40):
You know what I'm gonna do. I'm gonna have a
quick one and I'm gonna get out of here.

Speaker 13 (26:45):
But but why, because I want you to have a
clear feet.

Speaker 4 (26:48):
She wouldn't go something.

Speaker 11 (26:50):
Do you know something, Bert, I'm not even going to
have a drink.

Speaker 4 (26:53):
I'm taking off right this, Charlie. We know what I'm doing. Well,
just not even one nothing. Oh, I'm even with you.
Don't be asked a round. She wouldn't go out with me,
would she would just ask? What have you got to lose?
I'll see you roun.

Speaker 9 (27:08):
Oh, he's a too bit, always your friend.

Speaker 7 (27:12):
He had to take off all of a sudden. Yeah,
he just remembered he had to meet his wife. Wouldn't
you know it, wouldn't I know what?

Speaker 9 (27:22):
Guys like him, they're always married.

Speaker 7 (27:25):
Well, I'm not married, and the two of you you're
pretty good friends. Huh oh yeah, yeah, yeah, listen, I
was just wondering.

Speaker 9 (27:34):
I would say he's about thirty years old, right.

Speaker 7 (27:37):
If you weren't doing anything some night?

Speaker 9 (27:39):
How long has he been married?

Speaker 7 (27:40):
It doesn't have to be a Saturday night.

Speaker 9 (27:41):
Doesn't he have any kids?

Speaker 7 (27:43):
Like any night happened to be free?

Speaker 4 (27:45):
Eh?

Speaker 9 (27:45):
I'll tell you one thing. His wife is lucky.

Speaker 7 (27:48):
Would you would you like to go out with me?

Speaker 9 (27:51):
Listen? Tell your pala anytime he wants to come in.
Herst drinks always on the house. Yeah, Bert, I noticed
theres a picture of a new girl in your room.

(28:12):
I didn't know you were retracted. The redheads with freckles
and large staring eyes.

Speaker 7 (28:18):
She's really much prettier in person, Mom, she is.

Speaker 9 (28:21):
She should photograph much better.

Speaker 7 (28:23):
Oh, this is just a candidate. She didn't even know
how I took it.

Speaker 9 (28:27):
What's her name?

Speaker 7 (28:29):
Maud?

Speaker 15 (28:30):
Maud?

Speaker 7 (28:30):
What Mardlezinski?

Speaker 9 (28:32):
Sounds like one of those foreigners.

Speaker 7 (28:34):
I never asked.

Speaker 9 (28:37):
She your new girlfriend?

Speaker 8 (28:39):
Oh?

Speaker 7 (28:39):
Mom, she's just some girl i've met.

Speaker 4 (28:42):
Well.

Speaker 9 (28:42):
I hope she doesn't end up like all the others, and.

Speaker 7 (28:51):
So do we.

Speaker 6 (28:53):
There seems to be a little pattern operating here. Off hand,
we get the idea that Bert Bringer is a dangerous
man to turn down when he asks for a date.

Speaker 4 (29:04):
Well, at least he has her picture in his room.

Speaker 6 (29:07):
Maybe that can hold him for a while. I'll be
back in just a few moments. With Act three, every
man is the center of a circle whose fatal circumference

(29:29):
he cannot break.

Speaker 4 (29:31):
Well, maybe and maybe not.

Speaker 6 (29:34):
There are those of us who somehow manage to go
beyond our own circumference, beyond the psychological limits of our
own morality. In other words, there are some people who
simply do not know what they are doing.

Speaker 7 (29:48):
Hello, Hi, you don't remember me. Yeah, I was in
there a couple of nights ago with another guy, and
even though we weren't playing clothes, you spied us for
cup right off, Charlie. No, No, I'm not Charlie. I'm Bird.

Speaker 22 (30:03):
Oh.

Speaker 9 (30:03):
I know's Charlie.

Speaker 7 (30:07):
He doesn't get out much at night, but with being
a married guy at all.

Speaker 9 (30:11):
When the last time you were with Charlie.

Speaker 7 (30:13):
Listen, I was thinking, does he have a girlfriend? Do
you like to go see shows? There's this great musical
playing downtown right from Broadway in New York. You just
can't get tickets. But a friend of mine he was
able to get a pair of It turns out he
can't go, so I can have him. It's for tomorrow night.
Are you doing anything you want to go?

Speaker 2 (30:32):
What do you say?

Speaker 7 (30:33):
Uh?

Speaker 21 (30:33):
Oh?

Speaker 9 (30:34):
What do I say to what?

Speaker 23 (30:36):
Uh?

Speaker 4 (30:37):
Nothing?

Speaker 7 (30:41):
No? I don't watch them. Stop me. Somebody stop me, please,
somebody stop me.

Speaker 4 (30:50):
Stop me.

Speaker 7 (30:52):
Dear, wake up, somebody stop me, stop me?

Speaker 15 (30:56):
Get up?

Speaker 4 (30:57):
Oh what?

Speaker 9 (31:00):
Oh, darling, you were having a nightmare. What were you
dreaming about?

Speaker 7 (31:06):
About them? Mama? I dream about them? Oh, darling, there's Gloria.

Speaker 9 (31:13):
Why why should you dream about those two?

Speaker 7 (31:16):
Because, Mama? Because I I kill them?

Speaker 9 (31:21):
Oh, my poor boy, why should you dream you kill them?

Speaker 7 (31:25):
I don't kill them in my dreams, Mama. I really
kill them.

Speaker 9 (31:31):
No, not you, not my bird.

Speaker 7 (31:33):
I can't help it. I kill them. I kill again.
They laugh at me.

Speaker 9 (31:40):
You need your sleep. It's important for you to rest, Mama.

Speaker 7 (31:44):
I should turn myself in for what for me?

Speaker 24 (31:48):
Now?

Speaker 9 (31:48):
Don't say that.

Speaker 7 (31:49):
But I don't have the courage. Please, Mama, stop me,
stop me from killing bird?

Speaker 9 (31:56):
Go back to sleep. Do you get your rest?

Speaker 7 (32:00):
I remember, Mama, I asked you to stop me.

Speaker 25 (32:04):
I asked you, say what are.

Speaker 9 (32:19):
You doing in my apartment?

Speaker 17 (32:20):
What do you want?

Speaker 7 (32:21):
I want you to notice me?

Speaker 9 (32:23):
Yeah, consider yourself?

Speaker 7 (32:25):
Notice not be it I want you to look at me,
listen to me.

Speaker 9 (32:28):
Okay, now take off before I call a cop.

Speaker 7 (32:32):
I'm a cop. Yeah, don't you remember me?

Speaker 9 (32:35):
Why would I remember you?

Speaker 7 (32:36):
I remember you. My name is Bert, Bert. Yeah, I'm
Charlie's buddy.

Speaker 9 (32:42):
Oh why didn't you say so? You know I just
saw Charlie.

Speaker 7 (32:46):
Shut up, Shut up. I don't want to talk about Charlie.
I want to talk about me. Yeah, yeah, me, Bert Barringer.
I'm a human being. I got feelings. I'm a normal
guy like other guys. If that's what your name is, Yes,
it's burse. I must have told you fifty times, but
you don't remember. You look at me as if I

(33:07):
don't exist.

Speaker 9 (33:08):
Look, it's getting kind of later.

Speaker 7 (33:09):
I'm not leaving until I say what I come to say.

Speaker 9 (33:12):
I'm asking you in a nice way.

Speaker 7 (33:14):
Why don't you notice me?

Speaker 9 (33:16):
If you don't leave here this minute, I'll call the
station out.

Speaker 7 (33:19):
Why don't you go out with me? I could show
you a good time. I'm a gentleman. I'll treat you
like a lady. Crazy dinner in the finest restaurant afterwards,
a show.

Speaker 9 (33:29):
That sure sounds great, but we'll do it tomorrow.

Speaker 7 (33:32):
We'll do it tonight. But you what you're trying to
get rid of me? You don't want to go out
when me tell the truth.

Speaker 9 (33:40):
Please don't come closer. But we'll go out tomorrow.

Speaker 7 (33:43):
We'll never go out. You think I'm a creep, Please
and I leave creep.

Speaker 1 (33:49):
That's what you think I am.

Speaker 7 (33:51):
That's why you don't want to look at me. You
won't have to look.

Speaker 4 (33:54):
At me anymore.

Speaker 7 (34:01):
See I look in your eyes and they see nothing.
You'll never have to look at me again, never, never again,
foolish Maud, I was so much in love with you.
Why didn't you ever notice me?

Speaker 9 (34:27):
Said bird? Deary your eggs? You were out late last night,
weren't you? Did you have a date? No, mom, Oh,
you don't have to be afraid to tell me, my goodness,
even if you didn't go out with that popeyed redhead.
Way do you get such an atrocious taste in women?

Speaker 11 (34:46):
We interrupt our morning musical for a bulletin another mysterious murder.
The latest victim of a mad killer is miss Maud Lisinski.

Speaker 9 (34:54):
Mo Lisinski, the one whose picture is in your room.

Speaker 11 (34:57):
It was found strangled to death in her apartment just
a few hours ago.

Speaker 4 (35:01):
So far there seems to be.

Speaker 11 (35:02):
No apparent motive for the murder. Will bring you more
details as they come in.

Speaker 9 (35:09):
Oh who could have killed her?

Speaker 7 (35:13):
Mamma, Now listen to me, Oh now, don't talk nonsense.
We go through this every day. I told you fill
out a lost property for him one eight seven A okay, yeah,
well the same to you.

Speaker 4 (35:32):
Hi, Bert, Hello, Charlie, he got a minute? Sure, sit down?
You heard about Maud.

Speaker 7 (35:40):
Yeah, it's a shame you got any leads?

Speaker 4 (35:44):
Bert, I know who did it. I got the killer.

Speaker 7 (35:47):
That's terrific.

Speaker 4 (35:48):
Who is it?

Speaker 2 (35:49):
Me?

Speaker 4 (35:50):
Oh?

Speaker 11 (35:50):
Tromont, Charlobert, don't say anything. Please, I'm here because you're
the only one I can really talk to. With Gloria,
I can only suspect with NZ. I was pretty sure
with more thim positively, But why Well for starters, Bird,
I knew all three of them.

Speaker 4 (36:05):
Now who else did well?

Speaker 26 (36:08):
Me?

Speaker 11 (36:08):
You you don't count. I mean I know what you mean?
Well head, and so you didn't want to kill him,
any of them? What reason would you have?

Speaker 4 (36:16):
Bert? Me?

Speaker 7 (36:17):
Me?

Speaker 11 (36:17):
I lost control. I remember I wanted to shoot Gloria
she was found dead. I wanted to stab by ns
right through the heart. That happened to her, and Maud
Maud was the worst. What I wanted to do was
choke her to death with my bare hands, and that's
just how she died.

Speaker 7 (36:34):
But you told me before you didn't know for a
fact that.

Speaker 4 (36:37):
You're the kill I have to be. I am the killer,
and I'm gonna pay for it.

Speaker 7 (36:41):
Oh, you're gonna turn yourself in bird Bird.

Speaker 11 (36:44):
I have a wife, kids. How can I go to jail?
They be disgraceful life. Well, the only thing I can
do is is killed myself.

Speaker 7 (36:52):
Oh, Charlie, you're not the killer. I know you're not.

Speaker 2 (36:56):
How do you know?

Speaker 7 (36:57):
Because because I'm what I I'm the killer?

Speaker 11 (37:04):
Oh, Bert Bert, I thought I knew what friendship was,
but not until just now.

Speaker 4 (37:10):
You take the wrap from me.

Speaker 7 (37:12):
Bert, I kill them, Charlie, I couldn't help myself, believe me.

Speaker 4 (37:18):
Sure, sure, Pal.

Speaker 7 (37:19):
I'm too scared now to confess, too frightened to sign
a statement. But I will I will.

Speaker 11 (37:26):
No, no, Pal, don't try to save me. I have
to get caught sooner or later. I can't go on
getting tied up with names and being forced to kill
them to break freech Hollie, it isn't you it's me,
but don't try to save me.

Speaker 4 (37:39):
I'm not worth it. I don't learn, Gloria.

Speaker 2 (37:42):
I know it's maud.

Speaker 11 (37:43):
And if a good looking dame was to give me
the eye right this minute, I'd be off and running.

Speaker 7 (37:47):
Charlie, you've got to believe now. I know.

Speaker 4 (37:49):
I know what I've got to do.

Speaker 13 (37:50):
My conscience won't let me do anything else.

Speaker 7 (37:52):
Promise me, Promise me, you won't do anything foolish. Promise sure, sure,
bet sure, dorem look first.

Speaker 10 (38:08):
If you want another drink? Okay, if you want to
ask what I think you're going to ask, forget it.

Speaker 7 (38:15):
Would you like to go to a basketball game? No,
I can get tickets to the finals? No dream, dream?
Why don't you go out with me?

Speaker 1 (38:26):
That's how it is.

Speaker 7 (38:28):
I happen to know you're not going steady or anything.

Speaker 27 (38:30):
I'm sorry.

Speaker 7 (38:32):
Is it because you think I'm an ugly creep?

Speaker 9 (38:36):
I don't think you're ugly. I don't think you're a creep.

Speaker 7 (38:39):
Then why won't you go out with them?

Speaker 15 (38:43):
Oh?

Speaker 10 (38:44):
I guess you could just say the chemistry isn't right.
Excuse me, Bert, I have to serve those folks at
the other end, okay, A cereal?

Speaker 9 (39:00):
Bert you need the roughage. I see you got another
girl's picture in your room.

Speaker 7 (39:07):
Well, yeah, yeah, Doreen. Doreene Causwell it doesn't need to hear.

Speaker 4 (39:14):
No there.

Speaker 7 (39:16):
Why do I have nightmares in which I dream I
kill late girls?

Speaker 9 (39:19):
You had one last night. Stop me, stop me, Stop
me before I kill again, Berta. I didn't have the
heart to wake here.

Speaker 7 (39:29):
Mama, Mama, you have to help me. You have to
come to the station house with me. I killed Gloria
and Imes and Maude. Doreen, she's next because she laughs
at me too.

Speaker 11 (39:44):
We interrupt for a special news bulletin. Officer Charles Foster
was found dead in his police car early this morning.
Committed suicide with a single bullet from his service revolver.
He left a note in which he wrote, I confess
to the murder a glorious Smith and as the Rota
and Mark Lisinski. May the Lord have mercy on my soul.

(40:05):
Oh no, for tales as they came.

Speaker 7 (40:09):
He he didn't choose.

Speaker 9 (40:12):
Now, you see, bird, your friend Charlie was the guilty
one all along.

Speaker 7 (40:25):
Stop me, stop here, please, mama.

Speaker 9 (40:28):
Stop wake up.

Speaker 28 (40:30):
Birthday now that's.

Speaker 9 (40:34):
Enough enough nonsense.

Speaker 7 (40:36):
Stop me, mama. I don't want to chow a German.

Speaker 9 (40:39):
Your friend, Charlie, your handsome friend, did it. You envy
him as good looks, so you make up for it
by trying to accept the blame. You're being childish. Mama
help me, yes, of course, but first relax. Relax. Yeah,
some nice, quiet, soothing music to relax your nerves.

Speaker 7 (41:00):
Stop me, Mama, it's over.

Speaker 9 (41:03):
It's all over. Charlie confessed, but I killed the boy.
I'm telling you didn't kill anybody. My son couldn't kill anybody.

Speaker 11 (41:12):
A special report, the body of a young lady was
found in her apartment.

Speaker 2 (41:16):
Late this evening.

Speaker 7 (41:18):
I begged you, mama.

Speaker 11 (41:19):
She was strangled. She was identified as miss Doreen Caswell.

Speaker 4 (41:23):
I beg you to stop me, Doren Caswell.

Speaker 11 (41:27):
We will have further details on the hour.

Speaker 7 (41:32):
I killed her. Mama, No bird, she laughed at me.
Call the station, please, Mama, help me take me to
the station house. Please, my poor little boy, Yes, Mama,
I'm your little boy, my.

Speaker 9 (41:50):
Little boy who never grew up.

Speaker 4 (41:53):
Station Bird.

Speaker 7 (41:56):
Dial the number, Mama, sad you. I'm afraid to go
by myself, but if you go with me, everything will
be all right. Asked for Captain Halliday, He'll know what
to do.

Speaker 9 (42:15):
Hello, Maay, I have Captain Halliday.

Speaker 7 (42:23):
Thank you Mama, Thank you.

Speaker 6 (42:31):
Sons and mothers, and silver cords and illusions and the
secret hurts and the unhealed wounds and love his The
answer is love must be blind. That explains why love
blunders and stumbles and gets everyone into trouble. If only
love could see where it was going. But then perhaps

(42:57):
it would no longer be love.

Speaker 15 (43:45):
Two pairs of footsteps echoed down the dark alley. They
stopped waited, waited for Jack the Ripper to strike. But
this is not London in eighteen eighty eight. No, this
is Chicago in nineteen forty five. Yet Jack the Ripper

(44:08):
is loose again, to knife, to butcher his.

Speaker 27 (44:12):
Victims without trace.

Speaker 15 (44:26):
Hello, craps, this is Peter Lauri opening the doors of
the Mystery Playhouse. If you recall, some sixty years ago,
London was terrorized by a one man crime wave by
a murderer who was never captured and never seen and
to night he followed the investigations of Sir Guy Hallis,

(44:49):
who firmly believes that Jack the Ripper is still alive,
that it is he who is the fiend. That once
again slashes and kills. There is the element of the
supernatural in this story that will amaze you, for it
seems that the spirit world has given the black Heart
of Jack the Riffert the power of everlasting light.

Speaker 12 (45:23):
Time.

Speaker 4 (45:24):
The present our scene as the reception.

Speaker 1 (45:27):
Room of a well known Chicago psychiatrist, doctor John Commony.
Miss Cannister, the doctor's assistant, is chatting with a tall,
distinguished man who is apparently waiting to consult doctor Comety.

Speaker 29 (45:41):
But surely, sir, guy, you can't believe a theory that
seems so well known astrological I'm.

Speaker 30 (45:47):
Afraid I, Dr Misskinister, are you er Tramptons Canister, that
we still know very little about.

Speaker 13 (45:52):
The light energy of the sun, about those forces.

Speaker 30 (45:55):
Which keep the planets in a sphere and keep a
star from spinning astray and crashing into the Oh, doctor Comedy.
I'll be with you in a moment, mister Hollis, missus cannister,
will you step into my office, take.

Speaker 28 (46:08):
Your time, doctor, anything to gain in your patient's respect?

Speaker 13 (46:13):
Well, what have I done now?

Speaker 29 (46:15):
It's sure, guy Hollis, he's a lord or a night
or anyway not a commoner attached to the British.

Speaker 13 (46:20):
Consulate here is find out anything else about him?

Speaker 28 (46:22):
Nothing about his mental conditions. He's right out of an
English movie. The only thing that's missing is a monocle.

Speaker 9 (46:28):
Oh. Yes, and he's a bug.

Speaker 13 (46:29):
About astrology sentiment.

Speaker 1 (46:37):
It's been a somewhat busy day, sir guy.

Speaker 13 (46:39):
Sorry you had to wait so long.

Speaker 30 (46:40):
Apology, doctor, need never make s most of Frankly, it's
also my hope.

Speaker 13 (46:46):
Oh that explained piano. What do you think of London? London?

Speaker 30 (46:55):
Why have you ever noticed anything strange?

Speaker 1 (46:58):
And the fog is famous, although here in Chicago we
sometimes have one to match it.

Speaker 30 (47:04):
Yes, the fog, that's important. It always provides the perfect setting.

Speaker 13 (47:10):
For what for murder?

Speaker 1 (47:14):
Tell me, sir guy, what is a Londoner doing in
Chicago discussing.

Speaker 13 (47:17):
Murderer with a psychiatrist? Have you ever heard of.

Speaker 30 (47:19):
Jack the Ripper murderer, the greatest monster of them all,
worstern Spring Hills, Jackal Criffin, red Jack, Red Jack.

Speaker 13 (47:28):
The Ripper, Yes, I've heard of him.

Speaker 4 (47:30):
Jus history doctor.

Speaker 13 (47:31):
See here, sir guy.

Speaker 1 (47:32):
Doctors are pretty much in demand these days. I assume
you were for patient.

Speaker 31 (47:36):
What is my help?

Speaker 4 (47:37):
Is a psychiatrist?

Speaker 1 (47:38):
If you just wanted to swap old wives tales about
famous crimes. Perhaps we might arrange dinners.

Speaker 13 (47:43):
This is an old tale, doctor, This is a matter
of life and death.

Speaker 4 (47:49):
What is listen?

Speaker 30 (47:52):
London, eighteen eighty eight, out of nowhere, a shadowy figure
with a knife wanting to squalidize the chaplains bittlefields.

Speaker 13 (48:01):
Six times that night as sended into throat some bodies
of London's women.

Speaker 30 (48:05):
Thirty nine stab wounds, the paper says, the first time
August thirty first.

Speaker 13 (48:10):
Another victim.

Speaker 30 (48:11):
On September eighth, watchmen making their rounds in the gray
dawn stumbled across the third tacked and horrid thing. I
understand he used his knife rather well. He was an
expert doctor, and where did he learn? At the operating table?
The butcher's block, some said on the police force. On
November ninth, a sixth victim was found on the floor

(48:36):
of her room, panic in the Grand Stone.

Speaker 13 (48:38):
Yes, but needless Panick. Months past a year they said.

Speaker 1 (48:42):
Jacket escaped to America and that he committed suicide. They've
been saying things ever since. You tell the story very well,
but I'm afraid that's all the time I can.

Speaker 2 (48:53):
Give you today, sir guy.

Speaker 13 (48:54):
I haven't in it. I'm anxious to hear the rest
of yourself. And I am.

Speaker 4 (48:59):
I am on the trail of Jack the Ripper.

Speaker 13 (49:02):
I tracked him here to Chicago.

Speaker 12 (49:05):
You cracked.

Speaker 4 (49:08):
See here, sir guy?

Speaker 13 (49:09):
Oh what was the date of those London murders? Eighteen
eighty eight? If Jack the Ripper were even born that year,
he'd be up.

Speaker 1 (49:17):
He'd be fifty six today, I'd say red Jack would
be good and dead.

Speaker 4 (49:23):
Now what he?

Speaker 13 (49:24):
Or should I say, what's she? Because the Ripper may
have been a woman.

Speaker 2 (49:27):
You know.

Speaker 13 (49:30):
Do you think I'm insane? Nothing?

Speaker 30 (49:32):
No, But then you might listened to my reason for
thinking the Ripper is still alive. I had been studying
these cases for thirteen years, talked to officials, friends of
the four drabs he killed, and then I started studying
unsalved murders all over the.

Speaker 13 (49:47):
World followed the trail of blood.

Speaker 30 (49:49):
I could show you clipping from San Francisco, Shanghai, Berlin, Tiro,
Milan eighty seven eighty seven such murders, and all have
the trademark at the Ripper. You remember the New Orleans
saucers laying last summer.

Speaker 13 (50:04):
Vaguely colleague of mine tended the herring. And surely you.

Speaker 30 (50:07):
Remember two recent ones here in Chicago went out on
South Debourne and September, And a few weeks ago there
was another very much might get up on posted there. Well, Donctor,
you're a criminologist, but figure.

Speaker 13 (50:20):
It out, sir guy.

Speaker 1 (50:21):
If red Jack were, say thirty, in eighteen eighty eight,
he'd be eighty six.

Speaker 4 (50:25):
Today, and no man.

Speaker 13 (50:27):
Of eighty six could have butchered up that horseted fort.

Speaker 4 (50:30):
Suppose he didn't get any older. Suppose red Jack knew
how to stay young.

Speaker 13 (50:35):
But people do grow old, sir guy.

Speaker 1 (50:37):
Murderers too, whether they're women or butchers or scientists, they
grow old. What about sorcerers, necromancers, wizards, practices of macnety?

Speaker 13 (50:46):
I see here, doctor.

Speaker 30 (50:47):
I have studied the dates of those eighty seven murders,
and they have an astrological significance. Suppose Red Jack didn't
murder from herder's sake alone.

Speaker 4 (50:58):
Suppose he wanted to make a second What kind of
a sacrifice said?

Speaker 30 (51:02):
It has been said that if you are a blood
to the dark gods, when the moon and the stars
are right, they grand boons, boons.

Speaker 13 (51:11):
Of eternal youth. I don't understand to guy, I'm not.

Speaker 1 (51:14):
An authority on witchcraft, nor even an amateur criminologist.

Speaker 13 (51:17):
Why have you come to me? Because Jack the Repper
is here in Chicago, and through you.

Speaker 1 (51:24):
I am going to capture him.

Speaker 4 (51:41):
Oh, good morning, doctor, morning canister.

Speaker 29 (51:44):
Well how did his lordship turn out last night? He's
the most exciting patient.

Speaker 1 (51:48):
For you, having done He's not a patient, chemister, at
least not yet.

Speaker 30 (51:52):
I can't tell. He talks so convincingly. There is a
shred of reality in a story. It's real enough to him.

Speaker 28 (52:02):
That's a comedy of it.

Speaker 13 (52:04):
May I speak with doctor comedy?

Speaker 12 (52:06):
Please?

Speaker 13 (52:06):
It's most urgent.

Speaker 28 (52:07):
One moment you again?

Speaker 4 (52:11):
Hello, it's Guy Harllis.

Speaker 1 (52:13):
Doctor.

Speaker 13 (52:14):
Oh any new clues turn up overnight?

Speaker 2 (52:17):
You're willing to go through with it?

Speaker 13 (52:19):
Just this minute?

Speaker 1 (52:19):
Set my nurse up from magnifying glass.

Speaker 13 (52:24):
Now look here, sir guy, how can I possibly help you?

Speaker 30 (52:27):
I have good reason to believe the Ripper is among
your acquaintances.

Speaker 13 (52:31):
Good reasons I'll tell you when I see you. I
understand less defense and the trend of yours. Who writes
the column for the Sun Herald has invited you to
a party tonight.

Speaker 8 (52:41):
That's right?

Speaker 13 (52:41):
How did you know that?

Speaker 2 (52:43):
I hope that you'll.

Speaker 13 (52:44):
Take me with you, take you with me. I told
you that I have plotted the astrological chart.

Speaker 30 (52:50):
The ripper must make a sacrifice before this night passes.

Speaker 1 (52:56):
Okay, how about supper for a splendid me up at
about seven thirty?

Speaker 8 (53:02):
Right?

Speaker 13 (53:02):
Bye?

Speaker 28 (53:07):
Are you sure you're doing the right things?

Speaker 13 (53:09):
That's why I wanted him to suffer first. If he
proves dangerous, I'll manage to sidetrack him somehow.

Speaker 4 (53:18):
I hope Lester's in.

Speaker 32 (53:21):
I know.

Speaker 1 (53:24):
No murder yet, Lester, but if you don't become conscious,
there may be yes. That's right now, Look, oh man,
is it okay if I bring someone to the party tonight.
It's a guy from the British Consulate. Now listen less,
he's well, he's kind of a strange dug. I'm not

(53:45):
sure yet whether his head is unright.

Speaker 2 (53:47):
That's okay.

Speaker 13 (53:48):
Plenty of company see you tonight.

Speaker 1 (53:50):
Right, And that's all that remains now is for sir
guy and I to attend the party tonight.

Speaker 13 (53:57):
And capture the rip.

Speaker 9 (53:59):
What are you talking about?

Speaker 30 (54:01):
Well, sir guy says, the ripper will be there tonight.
I am yes, But sir guy isn't.

Speaker 13 (54:09):
And perhaps he's right.

Speaker 1 (54:26):
But I still don't know who you're hoping to find
at Leicester's party night, sir guy, A few writers of painters, singer,
or fairly normal.

Speaker 13 (54:34):
I would serve the Ripper perfectly.

Speaker 30 (54:36):
Normal, except on certain nights, and he becomes an ageless,
pathological monster, crouching to kill on evenings like tonight, when
the stars have arranged in blazing patterns of death.

Speaker 13 (54:49):
But why among my friends?

Speaker 4 (54:52):
Because they are the kind of people the Ripper seeks out.

Speaker 2 (54:55):
Sir guy.

Speaker 1 (54:56):
Once these people find out what you're.

Speaker 13 (54:58):
Up to, you'd better be prepared for just about I'll
be ready.

Speaker 1 (55:02):
Look that's a good thing. See here, sir guy. You
can't go around among my friends with a gun in
your partment. Oh can you keep it?

Speaker 13 (55:12):
Perform man? Yeah, let's be prepared to use it.

Speaker 8 (55:17):
Sure, well, come on.

Speaker 13 (55:19):
The party should be in full swing by now.

Speaker 33 (55:37):
Tell the guy, are you enjoying yourself?

Speaker 13 (55:39):
Men'sly, John, Your friends are very charming.

Speaker 31 (55:42):
Except that one of them is Jack the Ripper.

Speaker 13 (55:44):
Home perhaps, And if I get the opportunity, I think
I'll show you how we can find out how soon?

Speaker 1 (55:49):
I hope it's one o'clock I should be leaving, leaving leaving.

Speaker 2 (55:52):
Who said leaving?

Speaker 15 (55:53):
Are you trying to spell my party?

Speaker 2 (55:54):
John?

Speaker 34 (55:55):
I will be a killed Joe John, I've hardly met her,
honored guest.

Speaker 9 (55:59):
Are you here on a military.

Speaker 4 (56:00):
Missions guy, Well, then it's not secret.

Speaker 13 (56:03):
Oh not at all, mister Benton.

Speaker 31 (56:05):
And I'm on the.

Speaker 13 (56:06):
Trail of Jack the Ripper exactly.

Speaker 4 (56:09):
Well, it's rude of us to be surious.

Speaker 1 (56:11):
Their guy has an idea that Jack the Ripper is
calling around Chicago.

Speaker 2 (56:14):
Lesson, he's hard to.

Speaker 13 (56:15):
Find them already, Sir guy is serious.

Speaker 4 (56:19):
Well he should.

Speaker 1 (56:19):
Be, according to some old files I've read. Read Jack
for something of a minute, had some ripping good times.

Speaker 19 (56:28):
Unless your puns get worth daily.

Speaker 1 (56:30):
Well, sir guy is sure that the Ripper is responsible
for the South murders and the one up on.

Speaker 13 (56:35):
Horse did a few weeks ago. You've covered them, less
what's your idea?

Speaker 15 (56:40):
Be very neat carving above.

Speaker 13 (56:42):
Them the men.

Speaker 9 (56:44):
I thought the Ripper was only interested in women, Oh,
not at all.

Speaker 30 (56:48):
It's probably a urture that the women we know the
Ripper sawt were fairly vivid symbols, a kind of living.

Speaker 13 (56:55):
Comment on the society which he.

Speaker 1 (56:57):
Desisted and INSes our laws change.

Speaker 13 (57:00):
Now a society changes, so then.

Speaker 35 (57:01):
Must his victims.

Speaker 13 (57:03):
With each new age, the ripper discovers a new symbol
of protest.

Speaker 9 (57:07):
But tell us to Guy, which do you open?

Speaker 22 (57:09):
Fine, here's the ripper or the symboler.

Speaker 1 (57:17):
All right, boys and girls, we're trapped.

Speaker 13 (57:20):
Let's face it.

Speaker 2 (57:21):
I told you he was sure.

Speaker 13 (57:23):
I know, John, but looking to considerate host too. I've
got it, Laverne. Let's have that bread knife there on
the sideboy.

Speaker 15 (57:29):
Thanks.

Speaker 1 (57:30):
Sir guy has come a long way on a difficult mission,
so let's give him a fair chance. I'll turn out
the lights for one minute, and sir guy can.

Speaker 4 (57:37):
Stand here in the middle of the room with the
bread knife.

Speaker 1 (57:41):
Now, if anyone here is the Ripper, they can either
make a break for it or take the opportunity to
uh well eradicate the pur Sure that fair enough, guy, Laverne,
some suitable background music, Please, something badinarian in them.

Speaker 36 (58:01):
Choose your partners for the kill.

Speaker 4 (58:02):
Ladies and gentlemen.

Speaker 1 (58:04):
There's sixty seconds of darkness for evil to make his
cosmic peasants snow unchallenged, unmolested. Let the ripper ride a
minute or death, at the end.

Speaker 13 (58:16):
Of which we'll look for the bodies.

Speaker 7 (58:19):
Ready, all right, silent.

Speaker 15 (58:25):
Now earn out the lights.

Speaker 4 (58:37):
Don't anyone move.

Speaker 1 (58:40):
That's the affirmative forces return.

Speaker 12 (58:46):
Butt, that'd be light.

Speaker 1 (58:50):
It's the god here, let's pick up the body. Nobody
had better touch the body?

Speaker 4 (58:55):
What is it?

Speaker 1 (58:56):
I mean, well, it doesn't Hollywood recommend the police moments
like this.

Speaker 30 (59:00):
Less I swear lest I didn't want to bring him,
but he insisted, said he plotted the chart, said he
was certain the ripper would use his.

Speaker 4 (59:07):
Knife before the night was out.

Speaker 1 (59:09):
And I'm supposed we had a move, Neil, what I'll
call the police if you have any ideas what we
should do? Nowgin I shoot? We ever going to get
the police, because just as easily make a neat getaway.

Speaker 30 (59:23):
Oh blessed if he was right, But I wasn't.

Speaker 13 (59:29):
Wait a minute, I really don't think that.

Speaker 1 (59:34):
Please forgive me, n J brightening yourself when you were
all so innocent. Hold everybody, are you sure about our innocence?

Speaker 31 (59:50):
A guy?

Speaker 13 (59:51):
Oh yeah, you see if the ripper over head, he
would have betrayed himself when he saw me lying there
not to any gentles. I'm afraid I got a ton
of wrecks. Yeah, come on, let's get it.

Speaker 20 (01:00:05):
Drink, Get.

Speaker 8 (01:00:13):
What John.

Speaker 13 (01:00:13):
Then so we leave. It's getting rather lace.

Speaker 4 (01:00:16):
Ye, it's a guy. You can shut your mouth now
not you know, the game's over.

Speaker 13 (01:00:22):
I'll get your coats.

Speaker 1 (01:00:28):
Thanks well, good bye and everyone, and forgive.

Speaker 13 (01:00:31):
Me if I gave you an unnecessary scare.

Speaker 1 (01:00:33):
Oh, they've forgotten about it Already's a guy. Good night,
last thanks still mention it, John, Come on again, it's
a guy.

Speaker 13 (01:00:40):
I'd like to good night.

Speaker 8 (01:00:42):
Lest don man.

Speaker 30 (01:00:50):
I suppose you're thinking that I'm guilty of the same
sort of sensational tricks.

Speaker 13 (01:00:53):
As our friend of Riffer. But I want to rid
the world of.

Speaker 30 (01:00:58):
A devilish thing that lives by the as let's said,
they've all forgotten to find it, and I guess I
was wrong to seek him out of the party. You know,
we're far more likely to find him out here in.

Speaker 1 (01:01:11):
The darkness and the fog, perhaps along the lonely shadowed
streets such as this, or perhaps a neglected tad like
this one here.

Speaker 4 (01:01:21):
That's a guy.

Speaker 13 (01:01:23):
Please do me one more favor. Say it's only a hunch,
but let's turn up the alley.

Speaker 30 (01:01:28):
See what says to offer. Remember the ripper must make
a sacrifice tonight.

Speaker 13 (01:01:33):
Right, as long as I'm going this far. Thanks.

Speaker 8 (01:01:40):
Yes, this is what the ripper likes.

Speaker 30 (01:01:42):
Small keeping anyway, hardly noticeable for the rest of the city.
It'll be in a hidden corner like this, but I'll
capture and I'll turn the bloody swine over.

Speaker 4 (01:01:53):
To the police.

Speaker 30 (01:01:54):
He's a mad beast, shot an ageless monster, little loose.

Speaker 8 (01:01:58):
On the world.

Speaker 4 (01:01:59):
There's nothing up here. Just to be into the eye, John,
and return back, I promise.

Speaker 1 (01:02:05):
Look so God, don't you think this is carrying a
hobby a little too far?

Speaker 13 (01:02:08):
The hobby John. In eighteen eighty eight, one of those
nameless drabs the Ripper killed was my mother. What Yes?

Speaker 30 (01:02:21):
My father spent his life searching for the Ripper. Caught
up with him too, about nineteen twenty six in Hollywood,
but he was stabbed in a brawl. The police never
learned who it was, but I know it was the Ripper,
and I'll live till I find him.

Speaker 31 (01:02:35):
I swear. I will let me.

Speaker 1 (01:02:37):
Hear my gun now, John, you've left your friends, and
I feel safer with my gun on me.

Speaker 13 (01:02:41):
I'll see here. Please, John, I'll let me carry the gun. Now,
let me have it, John, Please? All right, you insist, John,
it's not a gun. It's a knife. John, don't know

(01:03:04):
what you're doing.

Speaker 28 (01:03:07):
Jack, Hello, Letter Canac.

Speaker 9 (01:03:28):
I didn't get you out of bed, did I?

Speaker 13 (01:03:30):
Yes, the police picked John up this morning.

Speaker 29 (01:03:34):
The guy, Oh, he's dead, all right, what's horrible? Of
course he's gonna tell all right, that's I'm going in
there and talk to John.

Speaker 28 (01:03:46):
Insane.

Speaker 9 (01:03:46):
Of course he must be.

Speaker 15 (01:03:49):
All right?

Speaker 28 (01:03:50):
Does I'll need you here at the jail. I've handed
up now. John, I've said to be gone.

Speaker 13 (01:04:05):
Just one more thing, Canister, for some reason, I want
you to understand, he sees.

Speaker 30 (01:04:12):
The guy was right. I did have to make an
offering before the night was over. I didn't want for
it to be him, Canister. But up there in that
alley I realized he was as determined as I. No, Canister,
I still wonder who at that party was astute enough

(01:04:33):
to send the police after me so quickly, Lester brats.
Police will tell me. But I'll find out, Canister, and
if it was left, you'll know.

Speaker 12 (01:04:46):
I found not.

Speaker 28 (01:04:50):
But what difference can it make?

Speaker 22 (01:04:51):
Now?

Speaker 4 (01:04:51):
Oh, police haven't won yet, Canister.

Speaker 13 (01:04:56):
The gods won't let me.

Speaker 4 (01:04:58):
They never have. So guy was right about that tool.
I am general. I have no ade you know I
never shall.

Speaker 28 (01:05:13):
Will ah be join.

Speaker 4 (01:05:17):
Missie by John?

Speaker 13 (01:05:23):
Why Cannis style.

Speaker 4 (01:05:35):
Have a suspector handst died ten times over?

Speaker 9 (01:05:38):
I left, he said today the charge.

Speaker 4 (01:05:40):
You know I still died ten times over.

Speaker 9 (01:05:43):
You will call the police as.

Speaker 1 (01:05:44):
Long as he doesn't suspect you put me wise. Now
you'll tell me how you found out about it.

Speaker 9 (01:05:50):
I have been to the wat size because after.

Speaker 13 (01:05:52):
Calm they left last night as the party.

Speaker 29 (01:05:54):
I've got a lot of astrological plotting in his handwriting,
and that englishman would couldn't get them.

Speaker 28 (01:06:02):
Comedy just told me that God wants to move him
to be executed.

Speaker 9 (01:06:05):
He thinks he really is Jack the Ripper.

Speaker 28 (01:06:06):
He's insane.

Speaker 13 (01:06:07):
That Oh I was afraid you'd say that.

Speaker 28 (01:06:10):
What do you mean any doctor will sing?

Speaker 13 (01:06:12):
I know they will.

Speaker 30 (01:06:13):
I also tell the jury. Oh so the lord doesn't
execute the insane. It allows them to live. I mean knows, chemister.

Speaker 15 (01:06:26):
Nos Oh comfortable thought, isn't it. Doctor Comedy may die
for his crimes, but Jack the Ripper will live on.

(01:06:50):
Oh well, spirits are hard to kill. At least they're
coming up Buffle now for our next production. He is
selling much less exciting, Oh only seventeen shots are a
lot of crooked out smarting each other for a paltry
two hundred thousand dollars. Two murderers and Simon temper Bet

(01:07:11):
are known as the Saint. Follow me to the green
room for a preview. All right, this way, come come, you.

Speaker 36 (01:07:26):
Know, Horrace, you really should have told me sooner.

Speaker 30 (01:07:28):
I told you what a police headquarters have been moved
to a Long Island mansion like this. It's quite a
shock to a hardworking taxpayer like me.

Speaker 8 (01:07:36):
You'd better start getting hereto shots.

Speaker 13 (01:07:37):
Bob oh, mister Nelson, the judge is expecting you go
on here.

Speaker 37 (01:07:44):
I wish you wouldn't be botting me with that lot though.
Hollis it is this way sir? Why hozy little thumb.

Speaker 12 (01:07:56):
Isn't it?

Speaker 2 (01:07:56):
Horrace? My name is not Horace.

Speaker 8 (01:08:01):
Here please Judd Striker, mister Nasm In fact.

Speaker 2 (01:08:04):
Yes, you might as well lock the door and.

Speaker 36 (01:08:10):
Sit down at the Templer So you were the famous gentleman.

Speaker 38 (01:08:13):
Known as the State Sometimes, my friend, mister Templar, we
have faced here with a serious matter, a very serious matter.
It seem so serious, in fact, that I have been
obliged to adopt rather extraordinary measures.

Speaker 13 (01:08:27):
Like sending around the phony pick to pick me up
for you knew he was a tony might head a twin.
You didn't really think that that there could successfully impersonate.

Speaker 31 (01:08:36):
An officer of the law, did you.

Speaker 2 (01:08:38):
Why are you?

Speaker 36 (01:08:39):
Shall we get down the business very well?

Speaker 38 (01:08:42):
You have in your position a certain diary in any
statements and suggestions which.

Speaker 30 (01:08:48):
I hardly need say, are for the untrued. That is
the statement that when you held a fine job in Washington,
you dreamed.

Speaker 36 (01:08:54):
Up the high toll oil swindle and got.

Speaker 30 (01:08:56):
Away with him fabrication from beginning to end, and that
you enjoyed associates now control about ninety percent of the
black market.

Speaker 2 (01:09:02):
Case lies every one of the naturalists.

Speaker 13 (01:09:04):
That's why you're so thanks you to have it suppressed.

Speaker 38 (01:09:07):
The fact remains that their publication might seriously damage the
character and the financial standing of certain rescutable members of the.

Speaker 13 (01:09:15):
Community, especially including you. I.

Speaker 38 (01:09:19):
It is for that reason, and that reason alone, that
I am prepared to ascertain what value you.

Speaker 4 (01:09:25):
Place on this volume.

Speaker 13 (01:09:28):
What's your offer?

Speaker 12 (01:09:29):
Shall we say?

Speaker 13 (01:09:31):
Ten thousand dollars?

Speaker 31 (01:09:33):
May I ask you.

Speaker 38 (01:09:34):
What you find for funny about ten thousand dollars or nothing?

Speaker 30 (01:09:37):
Nothing under ordinary circumstances, if you must admit that in
this case it is a little ridiculous. And what would
you suggest two hundred thousand dollars have stichat?

Speaker 13 (01:09:46):
What did you say that me at a two hundred thousand.

Speaker 4 (01:09:50):
Dollars You're insane?

Speaker 13 (01:09:52):
People know I'm not.

Speaker 30 (01:09:53):
I'll tell you what I'm going to do, Judge. I'm
going to set up a foundation. I'm on Templar Foundation
for the Rehabilitation of Wounded. You will have a capital
of one million dollars. Your share will be exactly one fifth.
Do I make myself?

Speaker 36 (01:10:07):
Why haven't you changed your tune before you ever get
out of this house?

Speaker 30 (01:10:10):
Don't try to get your gun, Hollis. I always carry
a spare and I'm an excellent shot, it said, remember
that I always have something on my Please. Now, if
you've gone out very slowly by the muzzles, drop it.

Speaker 12 (01:10:29):
Thank you now.

Speaker 2 (01:10:31):
If not me, that's right.

Speaker 13 (01:10:35):
And now if you'll be good enough to unlock the door,
go open it.

Speaker 4 (01:10:46):
You'll hear from me again, template.

Speaker 13 (01:10:48):
Certain of it.

Speaker 2 (01:10:49):
In fact, I shall expect to have.

Speaker 1 (01:10:50):
Your check by Saturday morning.

Speaker 13 (01:10:52):
Good night, Chad.

Speaker 15 (01:11:01):
Yes, they call him the Robin Hood of modern crime,
but even a robin hood is not innune when powerful
interests concern themselves with arranging for the sudden death of
the saint. So with these uh gentle thoughts, this is
Peter Laurry closing the doors of the Mystery Playhouse until

(01:11:24):
next time.

Speaker 27 (01:11:25):
Good night, he tied. This is the Armed Forces Radio Service.

Speaker 39 (01:13:27):
Ladies and gentlemen, The Philippius Playhouse on Broadway. Producer director
of the Philip Arris Playhouse on Broadway, Charles Martin.

Speaker 40 (01:13:41):
Good evening, Ladies and gentlemen.

Speaker 2 (01:13:43):
To night.

Speaker 41 (01:13:43):
The Philip Morris Playhouse on Broadway offers the world famous
star mister Peter Laurie in the Grippings fantasy The Knight
has a Thousand Eyes, so port Sloans, Jewel Lane, Ed Begley,
and Mandel Kramer. Now, while our curtain is ringing up,
Ladies and gentlemen, I should like to suggest that you
light up and relax with the Philip Morris truly America's
finest cigarette.

Speaker 4 (01:14:04):
You'll doubly enjoy our show.

Speaker 42 (01:14:06):
And now was the house.

Speaker 41 (01:14:07):
Life's dark, and the curtain is going up, and the
night has a thousand Eyes starring mister Peter Lorry.

Speaker 15 (01:14:22):
This story begins in a railroad yard in San Francisco.
The night was eerie, explained weird. No moon was in
the sky, and I was looking for a girl. I
knew she was going to do something dressy, violent, terrible.
As I walked along the empty tracks, I wondered if
I was too late. Suddenly, as I approached a dim light,

(01:14:43):
I looked down and saw her pursed, her gloves, her lipstick,
and other things, all stilled out, as though thrown away
in haste. The sickening feeling came over me. Was I
too late? If I'd only gotten there a minute sooner?

Speaker 4 (01:14:55):
Where was she?

Speaker 15 (01:14:56):
I looked frantically for hers.

Speaker 13 (01:14:58):
As I heard the speak of your train far.

Speaker 15 (01:15:01):
Off, I started desperately to search.

Speaker 40 (01:15:03):
I spotted a tower with.

Speaker 15 (01:15:04):
A whining chairway. A light was overhead, and certainly there
she was, lay up on top of points, ready to
leave the front of a past out pain.

Speaker 4 (01:15:13):
Chair.

Speaker 9 (01:15:14):
Will never right, excitement I made shot a time.

Speaker 43 (01:15:24):
I want to.

Speaker 17 (01:15:28):
Let it go.

Speaker 15 (01:15:29):
It's all right.

Speaker 40 (01:15:29):
Why did you stop it?

Speaker 15 (01:15:31):
It's all right, Everything is all right.

Speaker 16 (01:15:33):
It is.

Speaker 44 (01:15:34):
I can't face life anyway.

Speaker 15 (01:15:37):
Never too late, ever, I'll never let you go.

Speaker 2 (01:15:42):
How did you know what I was? Well?

Speaker 1 (01:15:44):
For one thing?

Speaker 45 (01:15:45):
Your car, and I didn't tell anybody where it was going.

Speaker 15 (01:15:48):
I'll tell you about it later. First, let's have some coffee.
When did you eat less?

Speaker 9 (01:15:54):
First?

Speaker 4 (01:15:55):
Come on?

Speaker 15 (01:15:56):
Who made you do this?

Speaker 2 (01:15:58):
You know what?

Speaker 15 (01:15:59):
Who told you that you were going to die?

Speaker 44 (01:16:01):
What difference does it make?

Speaker 7 (01:16:03):
Was it?

Speaker 15 (01:16:03):
Mister Triton?

Speaker 7 (01:16:05):
Yes?

Speaker 15 (01:16:06):
I know where he hangs out. That's where we'll have coffee.

Speaker 42 (01:16:09):
Come up.

Speaker 15 (01:16:17):
I took out a little out of the way place
in the slum section of San Francisco, and as we
opened the door, I saw Tryton sitting at a table
in the corner. He looked like a dead man, with
a curious, twisted smile on his face.

Speaker 12 (01:16:30):
We went right over.

Speaker 7 (01:16:31):
Mister Triton stood.

Speaker 15 (01:16:32):
Up politely, then talked, Oh, hello, Jean, I've worded coffee
for you.

Speaker 17 (01:16:38):
Mister Triton.

Speaker 9 (01:16:39):
How did you know i'd be here?

Speaker 4 (01:16:41):
Boy?

Speaker 15 (01:16:42):
I knew? Hello, Elliott.

Speaker 8 (01:16:44):
Won't you sit down?

Speaker 15 (01:16:45):
And I think you have quite a bit of explaining
to do, mister Triton, to whom to the police?

Speaker 46 (01:16:51):
If you like, Elliot?

Speaker 9 (01:16:52):
Why should you go to the police.

Speaker 4 (01:16:54):
I know a.

Speaker 15 (01:16:54):
Confidence racket when I see one. Mister Tryton's been trying
to help me by scaring you into U a sidebook.
I don't blame you for being suspicious, Elliott, but I
have no desire to her, Gene.

Speaker 35 (01:17:05):
But what have you been doing to her?

Speaker 13 (01:17:07):
I I merely told her what I saw.

Speaker 44 (01:17:10):
He told me I was to die soon at night
under the stars.

Speaker 15 (01:17:16):
And you believe that, Gene? Yes, Look, Elliott, you're a scientist.
You're a geologist. Would you be willing to listen to
my story with a mind of a scientist? Provided I'm
free to go to the police afterwards. There are no
strings attached? All right, I'm listening. Oh he was twenty
years ago when when he first began, I was doing

(01:17:38):
a mind reading act in a boat film show. I
was build as threatened a mental wizard.

Speaker 4 (01:17:44):
I had two.

Speaker 15 (01:17:44):
Assistants, a lady named Jenny and a man named Harry Cortland.
Courtland played the piano. Jenny went into the audience with
slips of paper for that question.

Speaker 33 (01:17:56):
Next question, Sid, and I'm a lady.

Speaker 44 (01:17:58):
Can you tell me her name?

Speaker 15 (01:18:00):
Yes, her name is Mary Joking. She lives at one
two three po Avenue. Am I right?

Speaker 23 (01:18:10):
Why is the question he is asking in Titan?

Speaker 15 (01:18:13):
The question she is asking is, uh, will my mother
in law go home soon. Well, Madam, I I rarely
meddle in domestic affairs, but I believe I.

Speaker 40 (01:18:26):
Can safely say that she will leave very soon.

Speaker 8 (01:18:31):
Now.

Speaker 45 (01:18:32):
So the gentleman in the audience tribe just a.

Speaker 15 (01:18:34):
Moment, Jenny, I'm receiving a very disrupting, a very disrupting
talk connected with Missus Jilkins, Missus Gils. Yeah, that's right,
I don't understand, mister Jilkins, Miss Jilking. Go home immediately
at once. Your your little boys in trouble in being
just go home. At one lady in the audience rushed

(01:18:58):
home in a panic. She got there just in time.
Her little boy had found some matches. The room was
on fire. He was pretty badly burned, but his life
was saved. It was then that I realized that somehow,
somewhere I had been given a mysterious gift and inner
eye so that I could pierce the waves of tomorrow.

(01:19:19):
When I left in the theater that night, a newsboy
came up to sell me a paper, and that I
handed him the money. I looked into his eyes and
I saw Deck sitting there. Next day I heard he
had been run down by a truck. How do you
explain that Elliott.

Speaker 39 (01:19:40):
Good guesses that's all.

Speaker 4 (01:19:42):
Yeses huh.

Speaker 15 (01:19:43):
Let me tell you something that you didn't know. Jenny,
the girl who assisted me in my act, was this
girl's mother, Jean, Yes, Jennie.

Speaker 44 (01:19:52):
And mister Corton, who played the piano for mister Triton,
was my father.

Speaker 15 (01:19:56):
Yes, Courtland and I were both in love with Jenny.
Let me tell you what happened. One night, because Jenny
was in the audience, the vision came again, and only
this time he was a vision about Jenny.

Speaker 33 (01:20:12):
There's a passman here.

Speaker 40 (01:20:13):
Can you tell me his name?

Speaker 15 (01:20:15):
Yes, his name is Uh, I said, can you tell
me his name?

Speaker 47 (01:20:20):
Right?

Speaker 15 (01:20:21):
His name is Uh?

Speaker 12 (01:20:23):
You know I.

Speaker 15 (01:20:24):
I can't stand it. It can't be a I don't
believe it. Rings down the curtain, Ring said Ring. I
can't go on anymore. He range down the curtain, and

(01:20:45):
Jenny rushed into my dressing room in a great state
of friendly What was the matter, Trighten, I I don't know.
I suddenly felt sick. I'll explain it to the manager.

Speaker 17 (01:20:55):
You look at me so.

Speaker 9 (01:20:56):
Strangely on stage.

Speaker 44 (01:20:58):
You had another one of those visions.

Speaker 2 (01:21:00):
No, you I know it.

Speaker 15 (01:21:02):
No, I can always tell Jenny I love you, Jenny.

Speaker 44 (01:21:06):
Then why don't we get married?

Speaker 15 (01:21:08):
Because I can't marry you, Jenny?

Speaker 17 (01:21:11):
Why not?

Speaker 15 (01:21:13):
I did have a vision. I saw him married, and
I saw you in childbirth, and a child lived and
I died.

Speaker 44 (01:21:25):
Yes, you die, Oh silly.

Speaker 15 (01:21:29):
That's why I can't marry you. I won't let it happen.
And I'm never going on stage again. Oh darling, Look, Jenny,
you marry Cortlin's he loves you, and and he's a
fine man. You can't mean all this I do, Jenny.
And And if you're wondering how how I can support you,
there's an oil stock. Command you oil. Tell him to

(01:21:50):
buy it all he can. It'll make you both rich
for life. Somebody once wrote a poem something about something
about each man killing the thing he loves. He might

(01:22:10):
have been writing about me. I knew that to save
my sanity, I had to go. So I took the
first train out. He happened to be Westboundary. It wasn't
just Jenny. I had to leave it with everybody. I
had become a sort of a zombie, a dead man walking,
and I was the only one in the world who
knew it. So there was a gold mining camp where

(01:22:36):
I lived for five years. Well, what happened to Jenny
Jean's mother?

Speaker 9 (01:22:41):
She died when I was born.

Speaker 15 (01:22:43):
Yes, I read about it in Variety the week after
it happened. Then, towards the end of the fiftie, I
picked up a California newspaper and I read about Harry Courtland,
the oil man who had become rich from Commands Oil,
the tip I had given your father years before.

Speaker 44 (01:23:01):
Bother mentioned that you were responsible.

Speaker 15 (01:23:03):
And then then do you remember three months ago tonight
of your coming out party at the Mayfield's Hotel, when
I read about your happiness, Eye, I was happy until
until I listened.

Speaker 2 (01:23:19):
To the radio.

Speaker 45 (01:23:21):
I'll be eleven fifty five mus brought to you by
your commentary oil reporter. Fining has converted on Obama today,
Harry Cortlin, I'll have a millionaire president of Commandara Oil
took off a Mcguardia field in an attempt to smash
the East West speed record, mister corfand expect to.

Speaker 40 (01:23:36):
Report to live fine.

Speaker 15 (01:23:37):
You know he he must get off the planey, he
must get off.

Speaker 1 (01:23:41):
He must get off the planer hose Cross, He's daughter.

Speaker 15 (01:23:52):
It was a It was a to midnight when I
reached your house and I put my way back the
door of it. But your feel say, Elliot, please stop me.

Speaker 39 (01:24:01):
Wait a minute, Who are you?

Speaker 15 (01:24:02):
What do you Why I must talk to miss Courtland.
I'm an old friend of her father's. I have an
urgent message for him. Well, I'm sorry, but he's not here.
I know, but I must reach him at once. I'm
afraid that's impossible. He's flying from New York. She's flying
non stop. Why no one's stopping Wichita for fere Well,
I'm pleasing. Please call Ellie. Leave a message for him

(01:24:22):
through halter.

Speaker 39 (01:24:23):
Fly halt to flight?

Speaker 15 (01:24:25):
Why he laugh at us?

Speaker 11 (01:24:27):
Just a matter of jan Yes.

Speaker 15 (01:24:29):
Jean, did you hear?

Speaker 12 (01:24:30):
Yes?

Speaker 9 (01:24:31):
I heard?

Speaker 15 (01:24:31):
Please tell him the message comes from John Triton. John Trighton.

Speaker 9 (01:24:36):
The dad told me that John Tryton was dead.

Speaker 12 (01:24:38):
Oh he's not dead.

Speaker 15 (01:24:40):
Please call him. Why should mister Cartland stop the flight?
Because it's because if he doesn't, the plane will crash?
And just how do you know that?

Speaker 12 (01:24:51):
Does it matter?

Speaker 4 (01:24:53):
It's too late to reach him?

Speaker 15 (01:24:55):
No, I suppose not the lamb. Please call.

Speaker 9 (01:24:58):
What do you think, Elliott?

Speaker 15 (01:25:00):
I think it's a lot of nonsense. Why can't you
lose except three dollars on a phone bill.

Speaker 44 (01:25:04):
Well, all right, hello operator, get me the municipal airport
which you talk hands?

Speaker 15 (01:25:11):
Please, mister Triton, do you make it a practice to
go around predicting airplane crashes?

Speaker 16 (01:25:16):
No?

Speaker 12 (01:25:16):
I don't.

Speaker 15 (01:25:17):
Maybe just the planes are very rich men, No, not
even dolls. Well, and what is it the best that
he won't break the record?

Speaker 44 (01:25:25):
Hello the night manager please? Hello, this is Harry Cortman's daughter.

Speaker 39 (01:25:30):
I'm like a message delivered to my father when he lands.

Speaker 44 (01:25:34):
Oh he has no, No, that's all right, goodbye, he's
already taken off.

Speaker 40 (01:25:42):
Well good, that means he's got the record.

Speaker 15 (01:25:44):
Yeah, sir, I hope. So I went home and buried
myself in my room, and then in the morning the
news came over the radio.

Speaker 2 (01:26:01):
And now we bring away special message.

Speaker 45 (01:26:03):
The wreckage of the commandery Angel of the plane in
which Harry Cortlin and his pilot were.

Speaker 23 (01:26:07):
Attempting to smash the East West record was discovered early today.

Speaker 40 (01:26:10):
By Parmist rangers that got up New Mexico.

Speaker 48 (01:26:13):
Both occupants of the plane are dead.

Speaker 15 (01:26:22):
One week later, then there was a knock on my
door for miss courting mister Trenton.

Speaker 44 (01:26:32):
We found out where you lived.

Speaker 15 (01:26:33):
I had to cut this singer. I'm sorry, missus Cortland
number about your father.

Speaker 13 (01:26:39):
He was the best friend I ever had.

Speaker 44 (01:26:41):
How did you know about my father?

Speaker 15 (01:26:43):
I had an impression, I had a full warning about
three months ago.

Speaker 44 (01:26:48):
If you knew this three months ago, why did you wait?

Speaker 15 (01:26:51):
Why? Because I didn't believe it myself. But then then
when a time came, I became frightened. So I went
to you, and and last night I had another business,
another vision. Yes, I I can see it again now
as I look into your eyes.

Speaker 28 (01:27:10):
Tell me what do you see?

Speaker 15 (01:27:13):
You are going to die?

Speaker 12 (01:27:17):
How soon?

Speaker 8 (01:27:19):
Quite soon that month?

Speaker 12 (01:27:22):
One month?

Speaker 8 (01:27:24):
Sooner than that?

Speaker 9 (01:27:26):
Howsome?

Speaker 47 (01:27:27):
And where within a few days before the end of
the week, when at night under the stars, and I'll.

Speaker 15 (01:27:53):
Back to the pill about Playhouse on Broadway recording The
Knight Has a Thousand Eyes starring Peter.

Speaker 4 (01:28:05):
Well.

Speaker 15 (01:28:05):
I went to see the police after that, the district attorney, especially,
I told him the whole story about Tighten and my
fiance and his prediction of her death and her attempted suicide.
In the meantime, Tryton had evidently convinced Jane she needed
his protection. They were going to defy fate together, so
she invited him to her home. Only they weren't alone.

(01:28:26):
Several business partners of her father's were there too.

Speaker 44 (01:28:30):
Come in, mister Triton, than the jean These gentlemen with Dad,
and he's completing an oil merger before he died. This
is mister Gilman, president mid Title Oil.

Speaker 8 (01:28:40):
How do you do?

Speaker 44 (01:28:42):
This is mister Meyer's attorney for the estate and Peter Vincent,
Dad's secretary. They've been going over Dad's papers. Some of
the merger details.

Speaker 15 (01:28:51):
Were lost and though the estate lead settling tool. He'll
forgive me. Gentlemen, forty has jean told you about you?
But some of my terrible could addictions we've heard something
about it.

Speaker 4 (01:29:02):
It's it's very disturbing.

Speaker 44 (01:29:05):
No one seems to believe in you, mister Triton, But
I believe in you.

Speaker 9 (01:29:09):
I know you're going to help me.

Speaker 15 (01:29:11):
You see, somehow some of my faith seems inevitably bound
up in jeans and very interesting. What precisely are you
afraid of, mister Tritton? Last night I saw a vision.
There's a series of cloudy flashes, and and then I
heard a voice saying to Jeanne, there's no danger now.

(01:29:32):
And then I saw her again lying on the stars,
and then then I then I heard her shot. Sounds ridiculous, Yes,
I know, I even saw something about myself. Why, oh,
it's not important.

Speaker 44 (01:29:45):
Did did you see when the moment was?

Speaker 15 (01:29:48):
Yes, tomorrow night, as the clock stracks.

Speaker 2 (01:29:52):
You eleven.

Speaker 15 (01:29:54):
Right, the police said, yeah, Jeans, the police. Yes, I
was just down at the District Attorney's office. I told
them the whole Oh sorry, Elliott, this is Lieutenant Sean.

Speaker 4 (01:30:02):
How are you doing, miss Cortland.

Speaker 15 (01:30:03):
Which one of you is Triton? I'm John Tritton. You're
under arrest, mister Dryden, arrest.

Speaker 18 (01:30:07):
For what I don't understand.

Speaker 15 (01:30:09):
We've been talking with the police of New Mexico. Playing
your father was in was wrecked in the mountains, but
it did not hit a beak, it fell, yes, ma'am
tru propeller. That's not impossible, No none. If somebody worked
on the chaft with a file, which according to investigations,
is exactly.

Speaker 44 (01:30:23):
What happened, then my father was murdered.

Speaker 15 (01:30:26):
Precisely, missus Cortland. It's pretty easy to predict a murder,
especially when you set the forces in motion yourself by
sabotaging a plane. Come along mister Dryton. Look, you're making
a serious mistake, Lieutenant. My faith is linked to Missus Cortland's.
I'm the only one. I'm the only one who might
save it tomorrow night. If you let your fader's linked
to a pair of handcuffs, you're gone downtown, then mayor

(01:30:55):
trydon yes, sir, Look, Lieutenant, I'm I'm completely innocent of
the murder of mister Courtland. He was my best friend.
Why should I want to kill him? He was a
very rich man. If you could pull some of this
phony hocus pocus and his daughter claimed the scene of
the future, you could pull off a nice series of
blackmail son from this town. Quite a bunko gesu, Lieutenant,
I desperately need your help. Missus Cortland's life hangs in

(01:31:18):
the balance. If I am allowed to go to her
house to be near her, there's a possibility that I
might use this power of mind to save her. And
if you go back to the house when my girl
lives as she will, you can claim that you are
responsible and not for a favora way, well, I'll ask
for no rewards or in the first place, I haven't
long to live. You mean you're predicting your own death

(01:31:39):
Dryden very soon. Quite a mac An act. Look, Lieutenant,
you have on your desk some papers which I've never
seen in my life.

Speaker 2 (01:31:47):
Now, well, do you.

Speaker 15 (01:31:48):
Relate to a man convicted of murder? A man named
Amos blockow? Or you could have looked over my shoulder.
I have been facing front ever since I came into
your office.

Speaker 12 (01:31:59):
But I'll go on.

Speaker 15 (01:32:00):
Amos Block used to be moved to Saint Twentin tomorrow.
He'll never make the trip. I see him, and he
sell the suicide. Well that's what I can check. Quinn
a little sean. How's Block getting along all right? When
I'll be dying?

Speaker 7 (01:32:22):
All right?

Speaker 2 (01:32:23):
Bye?

Speaker 13 (01:32:24):
Well what happened to him?

Speaker 4 (01:32:27):
Lieutenant?

Speaker 15 (01:32:28):
Amos Block just killed himself and his cell our Lieutenant,
you can't see arrange thatad. You know, my grandmother used
to tell me stories about liprechauns and band sheees. I
used to think she was kidding, But nah, I'm beginning
to wonder. Will you let me go now under her
armed guard? Yes, we release you temporarily take him back

(01:32:48):
to the mist Cartland's house, boy, if you thank you, Lieutenant.
So they brought Titan back to the house, but before
he got there. We had look did a clock in
the hallway. It was five minutes past eleven, So the
danger seemed over. Evidently Creighton's prediction.

Speaker 4 (01:33:07):
This time had missed.

Speaker 15 (01:33:08):
Jean was grateful the suspense appeared to be over. She
walked into the garden alone. There she looked up toward
the stars. Then a man came taught her out of
the shadows. It was Gilmour, the president of the mid
Tide Oil Company, her father's associates.

Speaker 4 (01:33:24):
Oh, mister Gilman, Hello, Jim, looks.

Speaker 7 (01:33:27):
Like your troubles are all over.

Speaker 4 (01:33:29):
That man threatened was a hoax.

Speaker 49 (01:33:31):
But it's the clock inside.

Speaker 44 (01:33:33):
Are you it now?

Speaker 13 (01:33:34):
The clock is wrong, it's after eleven.

Speaker 50 (01:33:38):
What are you doing.

Speaker 4 (01:33:39):
Don't be frightened.

Speaker 2 (01:33:41):
There's no danger now.

Speaker 4 (01:33:43):
The race day saying what.

Speaker 15 (01:33:45):
There's no danger now? You must have measure.

Speaker 4 (01:33:48):
That's right, Jean, you're going to die.

Speaker 15 (01:33:50):
You're going to freight.

Speaker 13 (01:33:59):
At that moment, in one of the house, I.

Speaker 15 (01:34:00):
Was opening the door to let the lieutenant and trident name.
We decided to let him come back here. Where where's
miss Carter?

Speaker 4 (01:34:07):
She's outside?

Speaker 15 (01:34:07):
But it's all over now, it's after a lot, and
haven't moved to your crack. It's it's just eleven o'clock.

Speaker 21 (01:34:12):
Now where are you going?

Speaker 15 (01:34:13):
I'm going into the garden. See she's indangerous.

Speaker 9 (01:34:17):
Man, come back here.

Speaker 15 (01:34:25):
I couldn't rushed at break next speed toward the garden.
The police in heart pursuit.

Speaker 40 (01:34:29):
He picked up a chair, evidently in an effort.

Speaker 1 (01:34:31):
To save Jean's life.

Speaker 15 (01:34:32):
He was attempting to beat Gilman over the head, but
the shot fired from one of the policeman's valves pierced
his heart and he felt dead on the ground. We
rushed over power. We took care of Miss Cortland, and
it wasn't tight.

Speaker 1 (01:34:43):
It was this man hair gentleman who was.

Speaker 32 (01:34:45):
Trying to kill me.

Speaker 2 (01:34:46):
It's ridiculously thought.

Speaker 44 (01:34:47):
It was you, mister Gilman.

Speaker 15 (01:34:49):
Now I know there was a merger on before mister
Cortland died. Gilman didn't want the options from.

Speaker 2 (01:34:56):
What do you mean?

Speaker 15 (01:34:57):
He didn't want the merger to go through. The options
would Utilis file the day after tomorrow, provided Miss Cortland
didn't find them first go on while he tried to
make sure that she didn't. In that case, he could
keep the option money and still retain control of the
vast mid Tide Oil interests. So it was you, mister Gillman,
who tampered with mister Cartland's plane, and he and Trighton
were in Carus.

Speaker 2 (01:35:17):
Oh.

Speaker 15 (01:35:17):
I think you're wrong, Lieutenant Sean. I think Triton gave
his life to save Jean. The whole thing was an act.
Otherwise Miss Carton would be dead. Like he predicted what he.

Speaker 1 (01:35:26):
Thought she was.

Speaker 15 (01:35:28):
His visions all came true the time the stars only
you see, they ended with his death. He couldn't see
past that. He couldn't know that she was still alive.

Speaker 44 (01:35:42):
This letter fet out of his pocket.

Speaker 15 (01:35:45):
It's for you, Elliott. Dear Elliott, as you read this,
I will be lying at your feet, killed by tariff.
For policemen. The one is to blame. My death was
as certain as all the other events. Some of you,

(01:36:06):
who have just seen me die will doubt me, or
you may call this a series of weird coincidences. I
know that you, Elliott, and some of the others will
not dismiss everything so easily. My own strange fate must
make you ponder for a moment, must make you realize

(01:36:28):
that there are things on earth still hidden from us,
secret things dark and mysterious beyond the power and knowledge
of mortal man.

Speaker 4 (01:36:55):
I will.

Speaker 41 (01:36:58):
You all that, Julaane Bele and Mandel Kramer.

Speaker 2 (01:37:04):
Crime is transcribed Ellery Queens.

Speaker 1 (01:37:13):
In the interest of a safer American homes, are happier
American community, a more United States. The American Broadcasting Company
and the affiliated.

Speaker 2 (01:37:22):
Station bring you Ellery Queen. I dedicate this program to
the fight against crimes, not only crimes of violence and
crimes of visionity, but also crimes of intolerance, discrimination and
bad citizenship crimes against America.

Speaker 1 (01:37:47):
The American Broadcasting Company presents another case in the career
of Ellery Queen, celebrated fighter of crime. As usual, Ellery
invites you to match with with them as it relates
the mystery, and before revealing the look shouldn't gives you
a chance to solve it. Tonight, Ellery's guest arm Chair
Detective who will represent you home arm Chaed Detectives is
the popular Hollywood columnist, Miss Sheila Graham, and now Ellery

(01:38:12):
Queen your host for the next half hours.

Speaker 2 (01:38:14):
Thank you, Paul Masterson. Good evening, ladies and cantlemen. You've
heard me investigate crimes in just about every imaginable place. Well.
Our crime tonight took place in the strangest local of
all right. In my own radio programs, I call it
all ellery. Hold, what's the matter for what Lary? You

(01:38:35):
can't do this? You'll have to switch give us another
Why murder on.

Speaker 12 (01:38:38):
The Queen Show?

Speaker 2 (01:38:39):
Are you crazy? You'll scare the the jinkers out of people.

Speaker 1 (01:38:42):
Ever, Rae, you don't think it's actually happening in the
studio during.

Speaker 2 (01:38:44):
The Ladies and get I'm going to ask you to
be sure and keep in mind throughout the next half
hour that you're listening to a case from the past,
a crime that occurred a long time ago. That is right, Paul,
Thanks sir. It's a case I've always called the Armchair Detective.

(01:39:14):
Veteran Queen fans will recall it. In the early days
of our radio show, as today, I invited some well
known person to come to the studio and sit in
the guest detectives on chairs. Then, as now, it was
usually fun. But on the night I had in mind,
things didn't quite go in the usual way. That night,
about fifteen minutes before we were scheduled to go on the.

Speaker 23 (01:39:35):
Air, everybody got the cuts. I think on time we'll
have to pick up second. All right, coming who was too,
you know.

Speaker 32 (01:39:56):
Showing o.

Speaker 40 (01:40:00):
Like the English cruisemader. Better brush up my grandma.

Speaker 32 (01:40:04):
Nick, Thank you, Doctor mc ellery queen.

Speaker 2 (01:40:15):
How do you do that? I will but a pray
to answer, doctor mcking. I might hang a participle.

Speaker 40 (01:40:22):
Oh Rosemary, I'm sorry. Right here, May I present mister
ellery queen?

Speaker 2 (01:40:26):
How they do?

Speaker 40 (01:40:28):
And this character is my brother.

Speaker 2 (01:40:30):
And business manager. But McKee, hello there.

Speaker 23 (01:40:33):
I think our pads of cross and radio as a
small business, Say pal, how about tipping money off tonight?

Speaker 40 (01:40:42):
Sorry? We and oh yeah, sorry my secretary, Miss woollan.

Speaker 51 (01:40:51):
This is really a thrill, mister queen, I'm a I'm
a diagonable queen fan.

Speaker 40 (01:40:56):
Why isn't that nice?

Speaker 2 (01:40:59):
Doctor Mckinmy haven't too much time? Shall we go into
the guest detective room right in here, missus mccing, we've
got to duplicate a whole matters, NICKI with appoint me
nots of water?

Speaker 40 (01:41:14):
Please one. You know you can't see the procrast You
just hear it as you would in.

Speaker 32 (01:41:22):
Your program fighting here from the control room model.

Speaker 40 (01:41:25):
You get it through that that loud speaker. Cool, so
I see, But at the proper time, mister queen, I
take it.

Speaker 2 (01:41:31):
I extemporized in that microphone above the table. Yes, strictly
an ad lib spot. Immediately after my announcement on the
air that I know who's the mit of the crime,
Nicky and I dash into this room from the studio.
See how tells the other side of the table from you,
and then we hold a three corners both bought him
over the court.

Speaker 12 (01:41:50):
Course, I.

Speaker 40 (01:41:53):
See do I to take an unconscious secretary and wish
to achieve by I don't crime? Is that a bit funny?

Speaker 2 (01:42:01):
Cuproach?

Speaker 32 (01:42:02):
Mary?

Speaker 40 (01:42:03):
I didn't.

Speaker 2 (01:42:08):
Right, Nicky, I should explain no one's allowed in this room,
but I will guess at the evening.

Speaker 40 (01:42:12):
So, Nikki, if you'll show the rest of doctor mccing's
boy the client food.

Speaker 2 (01:42:18):
If you get certainly during the broadcast, doctor he is
a pitcher of water right on the table. Oh yes,
Oh Bill, I'm on a quick level. Uh, doctor mc king,
you won't say something in the if you all just
the voice level. I left doctor mking alone in the

(01:42:43):
detective room with our program, and in due course I
reached the part in our mystery where I was able
to but Hillary that now I know who committed the murder.

(01:43:07):
You and I have hurried to the archid detectives room.
As usual, there was doctor mcking, a little nervous, but
otherwise himself. I said, is it the table.

Speaker 40 (01:43:17):
And there, ladies and gentlemen, you'll have the mystery. Now
let's see what our guests are chi detectives and.

Speaker 46 (01:43:23):
Tonight, ladies and gentlemen, our guest is the famous doctor
Monty mcking, founder and leading knight of that popular radio
program M King's English.

Speaker 40 (01:43:32):
All I can think of this smaller Doctor mccing is McQueen's.

Speaker 2 (01:43:35):
Ignorant your too, mother demy. You're not the worst of
him to buy any mean Oh, you're sometimes guilty of phillipses,
but you usually avoid committing such truly paul crimes against
our brother tongue as needless variants, irrelevant allusions, pleonasms riper.

(01:43:59):
But to get away the English language and how not
to use the doctor mc king, I hear you're famous,
and the difference here all together.

Speaker 40 (01:44:05):
Yes, you said to be able to whip up a
mean boy your face, doctor.

Speaker 2 (01:44:08):
Oh, yes, Nicky, I am an enthusiastic amateurship.

Speaker 40 (01:44:12):
Doesn't your wife resent it?

Speaker 2 (01:44:14):
On the contrary, Nikky missus mccking is only too happy
to leave the solution of our households culinary mysteries to me,
ah talking about solving mysteries, Doctor mking, Oh dear, I
find that crowd has certainly attacked my vocal cause. Simple
ill irrigate him? You would you o blind?

Speaker 32 (01:44:34):
I'm way ahead of ler.

Speaker 40 (01:44:37):
Here you are, doctor mccing, a nice wet glass of
water oil.

Speaker 2 (01:44:42):
Thank you. Now, as soon as you're through oiling your learnings, doctor,
suppose you tell us who committed the murder and the
police commissioner's office or what's don't let the water glass warrior?

Speaker 40 (01:44:53):
Doctor who commission who knows?

Speaker 2 (01:45:00):
Okay, doctor mccing, roll, it.

Speaker 40 (01:45:01):
Happens for the best of it, and just the moment,
I'll give you the solutions.

Speaker 2 (01:45:04):
It's a nice mystery about First, the control room cut
our armchair. Detectives room off the air that night, just
in time. As Nicky and I hurried around the table
to doctor mc king's chair, he fell off his chair.

Speaker 12 (01:45:22):
Doctor Queen Queen, I I poisoned, Doctor King.

Speaker 2 (01:45:32):
Search Rosemary, Doctor sir Rosemary.

Speaker 33 (01:45:38):
That's his wife, Doctor mcking.

Speaker 12 (01:45:41):
Hillary, call a doctor for Hillary.

Speaker 2 (01:45:44):
What's going on in here? What happened to your guest?

Speaker 40 (01:45:46):
Hey?

Speaker 2 (01:45:48):
Dead Phil?

Speaker 12 (01:45:50):
But we're still in the air.

Speaker 2 (01:45:51):
I see the poison is in that glass of water.
M King just drank water from the picture. It just
loaded with a tool.

Speaker 40 (01:46:00):
Tell this though, huh oh, what am I doing?

Speaker 15 (01:46:03):
Holy?

Speaker 40 (01:46:03):
But the love of Mike was still on. You've got
to finish the show.

Speaker 2 (01:46:06):
Murder ready still had this room, got it to her,
off the air, back to the mic.

Speaker 32 (01:46:22):
I don't know how we got through the rest of
the program.

Speaker 40 (01:46:24):
My mind's a blank on the whole thing.

Speaker 46 (01:46:27):
But the minute we went off the air that evening,
Ellari hurried back to the guest room to save a.

Speaker 40 (01:46:30):
Very different kind of murder, the murder of his own
armchair detection.

Speaker 33 (01:46:36):
No, no, I didn't, the queen, I didn't.

Speaker 2 (01:46:41):
Your husband's dying work.

Speaker 12 (01:46:42):
What is that you?

Speaker 33 (01:46:44):
You didn't find anything on me, did you?

Speaker 2 (01:46:46):
Ridiculous? My brother probably committed super time impossible. But the
poison that killed him comes only in liquid form, so
it must have been in the container.

Speaker 52 (01:46:54):
And there's no poison container of any kind, either doctor
Mking's body or in this rule.

Speaker 40 (01:46:58):
Inspector, really, I father, ah, the bottles empty.

Speaker 2 (01:47:01):
Inspector would smell it. This is it all right? Doc?
And let you find that bottle on the floor of
that glass to closed booth where miss mc king, Budd
mcking and Miss Wooden watched the broadcast.

Speaker 40 (01:47:13):
Oh, Nikki feeling better?

Speaker 23 (01:47:15):
Yes, well, no one else is in that booth in
his wife and brother and Secretary's gonna simplify this allay.

Speaker 2 (01:47:21):
You'm sure the water and this picture was okay when
the mking Finny first came.

Speaker 40 (01:47:24):
In here with you and Nicky boy went in the
air positive.

Speaker 2 (01:47:30):
So one of these three dropped the poison into the
picture before miss Porter escorted them all.

Speaker 12 (01:47:36):
Praise.

Speaker 2 (01:47:36):
We forced the poisonous hand Nikki by sending him in
his boot. McKay, it looked as if your husband had
noticed you pulling around with that picture.

Speaker 51 (01:47:44):
If Maddy had seen me drop poison into the water,
would he have drunk any other those Mary's.

Speaker 2 (01:47:48):
Gotta point there, Inspector probably didn't get the significance and
when he cleaned until he realized he was pison.

Speaker 40 (01:47:53):
But when he does realize it, he says to search
you for the bottle.

Speaker 33 (01:47:56):
But why should I murder money?

Speaker 32 (01:47:58):
I loved my husband, I loved him dearly.

Speaker 12 (01:48:01):
Why thank you?

Speaker 40 (01:48:02):
I'll say it was before what you say.

Speaker 51 (01:48:06):
Oh, nothing gone, Elsie, say it all right, I will
not form King the kindest husband in the world of her,
and all she cared about was money, money for.

Speaker 40 (01:48:21):
Cold birds and jewelry.

Speaker 51 (01:48:24):
When he had to close down her charge to cold
she she poisoned him revenge.

Speaker 40 (01:48:29):
How much woman for the state his will leave everything.

Speaker 51 (01:48:35):
That's why missus mcking poisoned him?

Speaker 40 (01:48:37):
What is money?

Speaker 2 (01:48:39):
Well, missus vicking?

Speaker 32 (01:48:41):
What can I say? I've already told you that it
doesn't times true.

Speaker 46 (01:48:47):
I've been extravagant and I was angry when Mothery caps
done on me.

Speaker 23 (01:48:51):
It's murder for money the man I loved, all right?

Speaker 2 (01:48:58):
If that.

Speaker 40 (01:49:00):
Door well shut in it shut that? Oh he's played
radio door?

Speaker 12 (01:49:07):
Do you think?

Speaker 2 (01:49:08):
I don't know?

Speaker 40 (01:49:09):
Kings did put the finger on his way or may.

Speaker 2 (01:49:11):
Have been no more than a stab in the dark day.
Certainly none of us to hold her on, and they're
gonna stand her home, and feeling comes through the house
on the QT I send Nikki home. I went too
good or idea and see goods new wild information where
they wouldn't give out the time of day lasted? Sure,
but what that ever? Since m King said search Rosemary,
I've had the weirdest feeling that he meant something else.

Speaker 12 (01:49:34):
I don't know.

Speaker 2 (01:49:35):
I had the feeling there's a clue, clue I've missed
or forgotten, a clue that ties in with the King's
dying words, maybe something that happened during them. Of course
you've got it now, but I know where I can
get it. Hawk, Well, they always make recordings. The Queen
shows that. Now you go ahead with your plans. I'm
going to take a recording of tonight's show home and

(01:49:55):
play it back all night if necessary. The spot that
whatever it is.

Speaker 48 (01:50:12):
Bring that drought suddenly attack my vocal cords. Simple will
get him?

Speaker 2 (01:50:17):
Will you bla?

Speaker 32 (01:50:21):
Here you are, doctor m King, a nice wet glass
of water oil.

Speaker 40 (01:50:27):
Thank you, it's here, It's here, somewhere modest.

Speaker 53 (01:50:30):
Hillary, you're not the worst offender by enemy. Oh, you're
sometimes guilty, Melisen, I can't be there. Barios irrelevant than usions.

Speaker 48 (01:50:42):
Leonis said to be able to whip up a mean
will you bad doctor?

Speaker 2 (01:50:47):
Oh?

Speaker 53 (01:50:47):
Yes, Nikki, I am an enthusiastic habitur hif ye On
the contrary, nicky, yeah, missus mc king death can it
beat it?

Speaker 2 (01:50:59):
That's a.

Speaker 12 (01:51:23):
D Who is this order?

Speaker 40 (01:51:32):
But McCain yes, Wait a minute, what do you want.

Speaker 2 (01:51:41):
I saw the light under your door.

Speaker 40 (01:51:43):
I've been reading.

Speaker 32 (01:51:45):
What are you doing back at your brother's house?

Speaker 12 (01:51:47):
McCain?

Speaker 46 (01:51:47):
I thought you left after we got Rosemary to bed,
I went.

Speaker 2 (01:51:50):
Home, but then I thought, mondy, Rosemary in such a spot?

Speaker 40 (01:51:57):
Can I come in and chin for a while. I'm sorry,
it's after three.

Speaker 12 (01:52:01):
What do you want?

Speaker 40 (01:52:03):
Scared the death that night? Oh dear, hurry, you'll.

Speaker 2 (01:52:08):
Pull that murder off too, aren't you, and make you
afraid of me? Please take your away.

Speaker 12 (01:52:14):
I want to go to all.

Speaker 2 (01:52:16):
Think Gary's pulling the wall over my eyes.

Speaker 12 (01:52:18):
You're a spy.

Speaker 2 (01:52:19):
He planted you in.

Speaker 40 (01:52:22):
Ark Bond.

Speaker 12 (01:52:22):
He wasn't murdered. It was so sad. I've been drinking.
I know what you think, that I'm in love.

Speaker 40 (01:52:28):
With Rosemary, that I killed my brother to get his wife.
If you don't know, eyes, there's never been.

Speaker 23 (01:52:33):
A thing between Rosemary and me.

Speaker 12 (01:52:41):
Sergeant, you're still down there.

Speaker 54 (01:52:46):
Nothing nothing. I just want to make sure you were there. Yes,
this woman went to a room hours a.

Speaker 2 (01:53:00):
You sounds shaky.

Speaker 32 (01:53:01):
You're sure everything's all right?

Speaker 12 (01:53:03):
Well, Sergeant putting.

Speaker 46 (01:53:06):
The king just came back to the house.

Speaker 2 (01:53:07):
I know I saw him trying to speak, so maybe
i'd better give him inte that.

Speaker 12 (01:53:16):
Heaven, don't hear the sergeants under.

Speaker 46 (01:53:20):
Someone's breaking at the house.

Speaker 33 (01:53:22):
Look at all, honey, stop? Who who's that downstairs?

Speaker 12 (01:53:40):
What happened?

Speaker 2 (01:53:55):
Water? Which this porter your here?

Speaker 12 (01:54:25):
He just came, spector queen, she's still I was upstairs.

Speaker 52 (01:54:30):
Went downstairs now, Nikki really carried her head from the
other hall where he found him now.

Speaker 2 (01:54:35):
Cold, and he told me at headquarters, I was working late.

Speaker 12 (01:54:39):
Oh what's the matter with my head?

Speaker 2 (01:54:41):
Somebody used it for target banks?

Speaker 54 (01:54:44):
Oh the scored a bull'seye.

Speaker 2 (01:54:46):
Oh who was it?

Speaker 12 (01:54:48):
Who didn't?

Speaker 2 (01:54:49):
Really was too late, Nikki, But it's somebody who was
in the house. I checked right away. But the two
women were in their room sleeping, or make them believe
they were sleeping. And I found my kid on the
couch and the upstairs fall snoring off a load. You've
got him locked separate rolls.

Speaker 12 (01:55:07):
Hellay, where the hecking?

Speaker 2 (01:55:08):
You bet my stroke? I tried calling you home, but
no answer'st have.

Speaker 12 (01:55:11):
Been on my way over here.

Speaker 2 (01:55:13):
So nicky, Nikky, you hurt.

Speaker 12 (01:55:16):
Got a crack on the skulls.

Speaker 40 (01:55:18):
Maybe I have a concussion on nicky, worry, hold me close.

Speaker 2 (01:55:25):
What are you two standing here for didn't you call
a doctor, Nikki? Honey the closer? Oh, she's okay, Stroke,
I am not sergeant. Why you, Nikky? What were you doing?

Speaker 32 (01:55:40):
Snoopy?

Speaker 2 (01:55:41):
Why?

Speaker 40 (01:55:42):
I heard someone going birth there in some room downstairs.

Speaker 2 (01:55:45):
Really, By the time Nikki got out in the upstairs hall,
it was all over and she bumped into the whoever
it was in the dark grabbed her upstairs. The kitchen.
Wasn't it fun?

Speaker 16 (01:55:54):
You know?

Speaker 2 (01:55:54):
I want to see it? Which way?

Speaker 12 (01:55:55):
Come on? Hurry up, Nikki.

Speaker 40 (01:56:01):
Probably too late.

Speaker 2 (01:56:02):
I should have foreseen at the killer. Are you talking
about gallery? There's kitchen?

Speaker 12 (01:56:08):
What you believe? Well?

Speaker 2 (01:56:11):
Look wrecksh is broken furniture in October? His search or
something but fact? And why in the kitchen? Remember doctor M.
King's dying words, search Rosemary being his why not necessarily.

Speaker 40 (01:56:23):
Not wife but Galerie Rosemary.

Speaker 2 (01:56:25):
That's this is the King's first names, also the name
of something else. Doctor Mking was an amateur chef, an
enthusiastic book The Spice Cabinet, speA.

Speaker 40 (01:56:38):
Old cloth, time, Mace, modern sage.

Speaker 2 (01:56:44):
Ah, look Rosemary rose and her abuse, he said, search Rosemary.
He meant to finish a.

Speaker 33 (01:56:51):
Search Rosemary jar in spice cabinet or something like that.

Speaker 2 (01:56:56):
Well, search it, right, there'll be something in this jar
the search and beat us to it.

Speaker 12 (01:57:04):
The King left what to Say.

Speaker 2 (01:57:07):
Dated ten days ago. Due to a recent disturbing episode,
I am writing this note of if anyone finds it,
I'm the only one.

Speaker 12 (01:57:16):
Who uses this.

Speaker 40 (01:57:19):
Discovery.

Speaker 2 (01:57:20):
It will be because they are investigating my murders. The
other night, a certain person close to me threatens my life.
I was inclined to at first dismiss it as hysteria.
Now I am not so sure if anything happens to me.
The person threat to kill me was Oh, Elsie Woolen,

(01:57:41):
my secretary signed Marty McKinney. Really, get that Woolen girl
down here. It is, Yes, Nicky, you tackle give. It's

(01:58:20):
some of the old port you know, the kind of
use on me.

Speaker 12 (01:58:27):
This Elsie. What if they just don't understan?

Speaker 40 (01:58:35):
Yes, well they're man.

Speaker 32 (01:58:38):
That'll find not eventually.

Speaker 40 (01:58:41):
It's much better to tell true they're really not.

Speaker 12 (01:58:45):
You can't blame you, dear. If you refuse to talk
it it looks as if you're something to come to you.
Why not tell them?

Speaker 54 (01:58:55):
Come on, I love, I.

Speaker 2 (01:59:02):
Shut up.

Speaker 55 (01:59:04):
I kept it walked up for so long, but one
night it came up. Hardy told me he loved his wife.
I guess I said some hush things, but I didn't.

Speaker 12 (01:59:18):
Poison him last night.

Speaker 33 (01:59:20):
I didn't.

Speaker 12 (01:59:21):
You can't prove I did.

Speaker 14 (01:59:22):
Foricult, I didn't.

Speaker 12 (01:59:26):
Try to prove it.

Speaker 2 (01:59:30):
All right, Phebe she's not going anywhere because she's right.
He can't prove it. Miss Gyles is to uncover another
possible motive.

Speaker 46 (01:59:40):
This would be about the time for the Great ellery
Queen to come up with one.

Speaker 12 (01:59:43):
Of his miraculous solutions.

Speaker 2 (01:59:46):
Nicky, how did you know?

Speaker 56 (01:59:47):
Oh no, Eller, Ray, Yes, Dad, Now I know murdered
doctor m King. And there, ladies and gentlemen, you.

Speaker 2 (02:00:12):
Have the mystery. Now suppose you home. Mom can't detectives
and our guest in the studio can be resolutions.

Speaker 40 (02:00:17):
Thank you, Hillary.

Speaker 12 (02:00:18):
I'm happy to introduce the charming.

Speaker 46 (02:00:20):
Proprietress of one of Hollywood's most popular syndicated columns, Miss
Sheila Graham.

Speaker 2 (02:00:26):
Believe me, Miss Graham, and welcome to the arm Care.

Speaker 15 (02:00:29):
Thank you.

Speaker 57 (02:00:30):
But after listening to your mystery tonight, I'm a little
worried about occupying this pose.

Speaker 2 (02:00:36):
Oh you had nothing to be afraid of. Pressure like
a glass of water to help you relax.

Speaker 57 (02:00:42):
Oh no, that's a laughing in the world I was.

Speaker 2 (02:00:46):
I can't say that I blame you, but not supposed
to get down to business. Tell me, who do you
think is the criminal in tonight's story?

Speaker 12 (02:00:54):
Well, it's very complicated tonight, sure, but I think.

Speaker 57 (02:00:58):
Miss Woolan, the secretary.

Speaker 2 (02:00:59):
Did it.

Speaker 12 (02:01:00):
I see and see it.

Speaker 40 (02:01:02):
Well, it was a very subtle murder.

Speaker 12 (02:01:05):
It takes a smart.

Speaker 57 (02:01:06):
Girl to murder a man like that, and took a
lot of preparation. Secretaries are usually rather smart.

Speaker 9 (02:01:12):
And she knew this man.

Speaker 12 (02:01:14):
She knew that he might get thirsty.

Speaker 57 (02:01:16):
He obviously got thirsty very often in his office. And
also he said that somebody very hysterically threatened his life
previously in the note he left, and she was a
very hysterical woman.

Speaker 2 (02:01:30):
So I think miss Woolen did it. Thank you very much,
Mischila Graham. We'll find out in just a moment if
your so is correct. Now here is Paul Matins.

Speaker 1 (02:01:39):
A second great War has in the not two distant
past drawn to a close. The magnificent, self sacrificing work
of the International Red Cross will long be remembered at home.

Speaker 2 (02:01:49):
The American Red Cross has always been on the job
whenever a disaster struck, whether it was a tornado, earthquake, fire,
or flood.

Speaker 1 (02:01:57):
It is our duty and our privilege to help make
the night teen forty eight Red Cross campaign.

Speaker 2 (02:02:02):
The best ever.

Speaker 1 (02:02:03):
The quote is set at seventy five million dollars. By
giving to the Red Cross, you were giving directly to
your relatives and friends and the armed forces.

Speaker 2 (02:02:12):
And here it all.

Speaker 1 (02:02:13):
Let's make nineteen forty eight the banner year in donations
to the American Red Cross.

Speaker 2 (02:02:28):
I don't care.

Speaker 46 (02:02:29):
I don't want to hear it, he says, too too smart,
always knows the end to mysteries.

Speaker 2 (02:02:34):
Well I want it hear it.

Speaker 21 (02:02:35):
Five?

Speaker 12 (02:02:37):
What you got a swelled heading?

Speaker 2 (02:02:40):
It's all right, tad. That crack of the skull? Well, now,
what was doctor Marty mc king's profession. What was the
most famous for his radio program The King's English thirty
on the correct musage of the English language. And let's
take another look at that note we just found in
the Rosemary Jar my quote due to a recent disturbing episode,

(02:03:00):
I am writing and so wrong there my stuff, Sergeant
you two in that sentence is hopelessly incorrect. Oh is
it should read the clause of a recent disturbance. I'm
writing you two can never be used at verbally, and
this if anyone finds it, it'll be because they are

(02:03:22):
investigating my murder.

Speaker 46 (02:03:23):
Any One must be followed by heat one can possibly
mean the plural.

Speaker 40 (02:03:27):
This supporter is with yes.

Speaker 2 (02:03:29):
Another mistake, and this I was inclined to at first
dismiss splitt in one. In other words, this short note,
reportedly from the pen of an authority uncorrect English, reveals
not one, not two, but three of the commonest errors
of use. Incredible conclusion. Doctor mccking did not write the note.

(02:03:50):
It's a foot and I mean a forgery.

Speaker 40 (02:03:53):
And since the note was not written by doctor mcking
was not left.

Speaker 2 (02:03:55):
In the Roseberry job at doctor McCain, someone else left
the note in the jar. Obvious the real writer of
the note apport Hillary, why what was accomplished by well?
A great deal there. It made us believe that the
word Rosemary and doctor mc king's dying statement searched Rosemary
met Rosemary the herb rather than Rosemary, the name of
a woman. And who gained by our.

Speaker 40 (02:04:17):
Thinking that the victim was not accusing a woman named.

Speaker 2 (02:04:19):
Rosemary, but was merely telling us to look for a
note in a spice jar.

Speaker 40 (02:04:24):
Herself.

Speaker 1 (02:04:25):
She did poison her husband try to twist his accusation
of her to mean something entirely different, because she had
a guilty conscience.

Speaker 46 (02:04:31):
So tonight, after I put her to bed, she forged
her husband's signature to a note.

Speaker 9 (02:04:35):
Accusing Elsie's wooman stands, sneak downstairs, lets the note of
the rosemary.

Speaker 1 (02:04:40):
Jar as a blind And then he deliberately led us
to that jar, led us to the jar my stroggle
by wrecking the kitchen side. What was that for a
clever device to draw our attention to them, to make
our search it and find her plant in the rosemary jar.

Speaker 46 (02:04:55):
On her way back upstairs, she bumped into me.

Speaker 40 (02:04:57):
In the dark and let me have it.

Speaker 2 (02:05:00):
Huh At that Rosemary's attempt to lead us down a
false trail might have succeeded if only she'd learned from
her victim the rules of governing the English language.

Speaker 52 (02:05:10):
She learned something about the rules governing murder? Really, oh
Rosemary mcking or the murder of my.

Speaker 2 (02:05:17):
Arm ched detective. Yes, and there, ladies and gentlemen, you
had the solution to our mystery. Thank you again. Michella
Graham for serving as our guest arm ched detective to

(02:05:38):
see me. As mementos of the occasion, I have for
you a coffee of my latest mystery anthology, The Queen's
Awards in nineteen forty seven, and a subscription to Ellery
Queen's Mystery magazine.

Speaker 1 (02:05:48):
Ah Paul Fealing, All right, well, I guess we're okay.
There have been no calls yet asking if our arm
chaired detective.

Speaker 2 (02:05:54):
Has really been knocked and what are you worried about?
Among other things? Ellery?

Speaker 7 (02:05:59):
Next week?

Speaker 40 (02:06:00):
Never mind about next week.

Speaker 1 (02:06:01):
What's the matter, Nikki? What gives next week that it
darkens the fair brow and brings lightning into those beauteous orbs.

Speaker 2 (02:06:10):
It's nothing, Nikki. I guess you bring out the poet
in me. Nicky, remember me go away?

Speaker 40 (02:06:17):
Not you, nick Yes, I remember you, ellery Q.

Speaker 12 (02:06:20):
I remember that female too?

Speaker 2 (02:06:22):
Female Niggy's referring to next week's problem. What was her?
I mean it's name, you were right the first time
I call it. I mean it the farmer's daughter. This

(02:06:47):
is Ellery Queen saying good night until next week and
listing all Americans every night and every day in the
fight against bad citizenship. Bigotry, discrimination, the crimes which are
weakening America.

Speaker 1 (02:07:07):
All names shoes on this program are fictitious and do
not refer to real people, either living or dead. Among
the members of the Night's cast were Larry Dobkin, Herb Butterfield,
K Brinker, Alan Reid, John Banks, Bill Johnston, Charles seal
And Morrison, and Joe Kerr. Music was by Rex Corey,
direction by Dick Wollen. Entire production under the supervision of Ellery.

Speaker 4 (02:07:30):
Queen, Quiet Please, Quiet Please.

Speaker 58 (02:08:01):
The Mutual Broadcasting System presents Quiet Please, which is written
and directed by Willis Cooper At which features Ernest Chappell.

Speaker 1 (02:08:10):
Quiet Please for Tonight is called Symphony in D Minor. Personally,
I believe in the law of the jungle. I believe
that the fight goes to the strong, so the one
that's smarter, so the one that ought to win. I've
made my way in life that way. You can't tell

(02:08:31):
me anything different. I never got past high school myself.
I had too much to do to waste time going
to college, Yet I did it.

Speaker 59 (02:08:39):
I've got just about everything I ever wanted, but I
haven't got yet I'll get The only thing I ask
of anybody is get out of my way either that
or get out of my way one side of a
wheel off.

Speaker 4 (02:08:51):
That's my motto.

Speaker 59 (02:08:53):
Friend, I may take a wheel off just for good luck.
Let's not have any misunderstandings about me. I'm tough and
I know it. I got nothing against you. If I had,
you wouldn't be just sitting there listening. You'd be well,
you'd be out of luck like a like A certain
party is going to be one of these days very soon,
which I'm gonna tell you about shortly. Look, rind, don't

(02:09:16):
get the idea that just because I'm tough, I'm not smart.

Speaker 2 (02:09:20):
Because I am.

Speaker 4 (02:09:22):
Because I'm gonna show you shortly just how smart I am.

Speaker 7 (02:09:27):
You want to hear?

Speaker 2 (02:09:29):
Good?

Speaker 59 (02:09:31):
Last night I was a guest in his house, a
very interesting evening. You see, he's a psychologist, a very
smart man, degrees honors, knowledge.

Speaker 4 (02:09:43):
A beautiful wife, and black glasses. Yeah that's right. He's blind.

Speaker 59 (02:09:50):
Very convenient for certain parties, for example, a party named Carol,
his wife for a party named Ray.

Speaker 4 (02:09:59):
It's me, See what I mean?

Speaker 7 (02:10:01):
Friend?

Speaker 59 (02:10:03):
You don't now you will shortly. He was sitting on
a blue davenport. Oh, I didn't tell you his name Johannas.
I'll just call him Johannas, so you'll not get too
much of a line on him. I wouldn't want anybody
to slip him any information he shouldn't have.

Speaker 2 (02:10:17):
You know.

Speaker 59 (02:10:19):
Well, he was sitting on a blue Davenport. Carol was
upstairs finishing the radio script. Yeah, she's very smart, but
she'll have to stop that after she marries me. I
don't want any wife would mind working. So anyway, Johanna's
and I were sitting there back in the breeze, as
you'd say in the Quartermaster Corps. I was bored, but
Yourhannas wasn't. He just keeps right on top.

Speaker 60 (02:10:40):
And whether you believe it or not, right, it's a
scientific fact, and I have occasion to use as a
great deal.

Speaker 4 (02:10:46):
It spunk like all the rest of this Cholagia racket.

Speaker 42 (02:10:50):
I'm not going to try to convince you.

Speaker 4 (02:10:52):
Oh you can't convince me. I could. Oh, look, your Hannas.
I don't believe in it.

Speaker 59 (02:10:58):
And even if I did, I know you can't hypnotize
a person against his will.

Speaker 42 (02:11:02):
You think so, I know. So you want to try
a little experiment. No, well, there's no point in it.

Speaker 8 (02:11:10):
You're sure.

Speaker 60 (02:11:11):
A man can't be hypnotized if he doesn't want to
be sure. Well, I won't argue with you. Ah, look,
hand me that push button on the extension called there
about the desk?

Speaker 4 (02:11:24):
This buy the desk. He's the only thing that it here.
Thank you? What's it for?

Speaker 42 (02:11:34):
It's a gadget I had Listen. What's that make you sleeping?

Speaker 31 (02:11:44):
Oh?

Speaker 4 (02:11:44):
It hurts my ears?

Speaker 60 (02:11:46):
Might make you sleepy? Has a very interesting sound. Listen
to a carefully ray. See if it doesn't give you
a kind of heavy, drowsy feeling. If you want to
just lie back and shut your eyes and think about.

Speaker 4 (02:12:01):
Sleepy, that's a lot of buck.

Speaker 42 (02:12:04):
So many people find it's an ideal way to go
to sleep.

Speaker 60 (02:12:07):
It's better than sleeping fields. It's better than a soft
feather bed. Just relaxes your mind so you can't think
of anything.

Speaker 42 (02:12:15):
But just going to sleep.

Speaker 4 (02:12:17):
We should turn it off.

Speaker 42 (02:12:19):
I can go to sleep in thirty seconds with it
if I want to. You could too. You could sleep
right away if you wanted to, if you would relax.

Speaker 4 (02:12:31):
That's it.

Speaker 42 (02:12:33):
You're getting sleepy already, aren't you.

Speaker 7 (02:12:36):
I am not.

Speaker 60 (02:12:37):
Nothing like sleep, nothing like relaxing back in that nice,
soft easy chair, letting your head fall back, and taking.

Speaker 42 (02:12:46):
Deep breaths, deep breaths, the way you do when you're
a sleep Take five deep breaths.

Speaker 2 (02:12:54):
Right.

Speaker 4 (02:12:55):
See that happens.

Speaker 42 (02:13:00):
Well, it's good sense, Ray, try sleeping make you feel better.

Speaker 60 (02:13:06):
Set your eyes and listen to that sound relaxed, bree deeply,
take it easy and sleep and sleepy, and sleep and sleep.

Speaker 4 (02:13:23):
And I was so bored I just dropped up a
sleep a minute while he was mumbling away. I wasn't
asleep a minute.

Speaker 59 (02:13:29):
But you know, nowadays you get bored listening to somebody
yacht at the yacht at And yeah, you know I
woke up. When Carol opened the door and came in,
I got right up out of my chair. She startled me.
I guess I never was so glad to see anybody.
I was bored with your honest, And the funny thing happened.
Your Honess whistled, and I walked right over to Carol

(02:13:51):
without thinking what I was doing, and I kissed it.

Speaker 4 (02:13:54):
Now, why the devil did I do that?

Speaker 59 (02:13:58):
I said, kind of stupid because I was scared right
in front of him, and your Honness only had off
that happened, said.

Speaker 42 (02:14:05):
You couldn't be hypnotized, Ray, what are you talking about?
You were out like a life back then.

Speaker 60 (02:14:11):
I was not, And I gave you a post hypnotic
suggestion that when I whistled, you were to kiss Carol.

Speaker 4 (02:14:19):
Are you kidding your horse? Of course? I love kidding.

Speaker 60 (02:14:22):
You are the most natural hypnotic subject I've ever run across.
Why you can be hypnotized at the drop of a
hat without even knowing it?

Speaker 4 (02:14:35):
And what do you think of that?

Speaker 59 (02:14:38):
I'll tell you what I think. I think this character,
your Honess is smarter than I thought.

Speaker 4 (02:14:42):
He was.

Speaker 59 (02:14:43):
Not smarter than I am, certainly, but smart even though
he doesn't suspect anything, and even though he can't see.
I have got to be careful.

Speaker 4 (02:14:57):
I'm my Carol. I've seen you tonight about a quarter eight.

Speaker 13 (02:15:04):
Huh.

Speaker 4 (02:15:05):
He's serious. Too bad your husband can't go to the
theater with us, isn't it. When I sit down I
look at your Honess, I'd give him a very large
baffleable hello, I say, well, how are you doing?

Speaker 2 (02:15:22):
Fun?

Speaker 53 (02:15:22):
Gully?

Speaker 42 (02:15:23):
I hope you didn't rye in that little expelliment last night.

Speaker 4 (02:15:26):
Ray, Oh, it was very interesting. I'm instructive, your honest,
very instructed, I should.

Speaker 7 (02:15:32):
Say, so, I'm gonna watch out for you.

Speaker 59 (02:15:35):
I don't want to be stretched out over two chairs
of people breaking rocks on my chest. I thought that
once when I was a kid in a vaudeville show.

Speaker 42 (02:15:41):
I don't do things like that.

Speaker 4 (02:15:43):
I sure hope not. Hey, now you're sleeping, Yes, I'm asleep.

Speaker 42 (02:16:05):
Went to sleep very easily this time, didn't you.

Speaker 59 (02:16:08):
Yes, you told me last night to go to sleep
whenever I heard that sound.

Speaker 4 (02:16:14):
You didn't like the salve, and I didn't, but.

Speaker 1 (02:16:17):
I do now.

Speaker 4 (02:16:19):
It puts me to sleep.

Speaker 42 (02:16:22):
You know you're to do anything I tell you to do.

Speaker 4 (02:16:25):
Oh? Yeah, sure, if I told.

Speaker 42 (02:16:27):
You to bark like a dog? Uh, sing for me really.

Speaker 8 (02:16:39):
Enough?

Speaker 42 (02:16:41):
And tell me the truth about everything?

Speaker 59 (02:16:45):
Oh, yes, your honess. What about Carol, I'm gonna take
her away from you, your honest what you said last night?

Speaker 7 (02:16:55):
Yes?

Speaker 4 (02:16:56):
I remember?

Speaker 42 (02:16:57):
Do you love her?

Speaker 7 (02:16:58):
Way?

Speaker 4 (02:16:59):
Not a special but she's pretty and I'd rather have
hery than to have you have her.

Speaker 60 (02:17:06):
She's my wife, ray, if I know, it's why I
very Do you think it's rather reprehensibly to steal a
man's wife, especially a blind man who doesn't know what's
going on?

Speaker 9 (02:17:17):
Oh?

Speaker 4 (02:17:17):
No, I don't think so.

Speaker 31 (02:17:18):
Well it is, I guess it is.

Speaker 4 (02:17:22):
If you say so. Your hones.

Speaker 13 (02:17:25):
Does calla love you?

Speaker 42 (02:17:28):
Really?

Speaker 4 (02:17:30):
She says she does.

Speaker 60 (02:17:34):
I used to love her myself quite a great deal.
As a matter of fact, Ray, it's too bad after
what you told me last night.

Speaker 42 (02:17:41):
And now I realize that she's been playing her for
a supper, hasn't she?

Speaker 4 (02:17:48):
She sure has.

Speaker 42 (02:17:50):
You think guys should love her?

Speaker 1 (02:17:51):
Now?

Speaker 26 (02:17:53):
No?

Speaker 42 (02:17:53):
Well I don't. Good way, What would you do if
your wife ran away with another man?

Speaker 4 (02:18:04):
I have a gother wife, Johannes.

Speaker 60 (02:18:07):
Yeah, but if you did have one who played you
for a second the way Carroll's played me, would.

Speaker 21 (02:18:14):
You kill her?

Speaker 4 (02:18:17):
Of course I'd kill.

Speaker 42 (02:18:18):
Her, all right, Ray, you kill Carol?

Speaker 2 (02:18:24):
All right?

Speaker 4 (02:18:26):
When?

Speaker 21 (02:18:27):
Well, now, we.

Speaker 60 (02:18:29):
Don't want to get me mixed up in this little
act of simple justice, do we, Ray?

Speaker 2 (02:18:35):
Oh?

Speaker 4 (02:18:35):
No, of course not.

Speaker 42 (02:18:36):
But then we'd have to do it some time in
some place when I'm not around, all right?

Speaker 4 (02:18:45):
Your eyes?

Speaker 2 (02:18:47):
You say?

Speaker 4 (02:18:47):
When?

Speaker 7 (02:18:48):
Where?

Speaker 42 (02:18:49):
How about your place?

Speaker 8 (02:18:51):
All right?

Speaker 60 (02:18:52):
As a matter of fact, you and Carol weren't really
going to the theater to night, were you?

Speaker 4 (02:18:58):
Or were going out to nightclub where we can be
alone for a while see.

Speaker 42 (02:19:04):
Well, couldn't you stop by your place tonight?

Speaker 4 (02:19:08):
All right? Stop by my place tonight. Well, let's see.

Speaker 60 (02:19:16):
You're a music club, I ancely, oh yes, and you
have a phonoplayer and ONTs of records helped me to
the piano.

Speaker 4 (02:19:26):
All right, A philip pass sidan. Let's see.

Speaker 15 (02:19:40):
You?

Speaker 21 (02:19:40):
Uh you know this?

Speaker 4 (02:19:52):
Oh yes?

Speaker 42 (02:19:53):
Symphony in D manor By, says A from.

Speaker 4 (02:19:55):
Symprom D minor By says I frant.

Speaker 42 (02:19:58):
When you get to your place, you put symphony. I'm
the philmograph, all right.

Speaker 4 (02:20:03):
And when you come to dispath, when I come to.

Speaker 59 (02:20:16):
That part, you go and strangle Carol, I go and
strangle Carol. Let ahead, murder Carol.

Speaker 4 (02:20:25):
That's right. When you hear this, all right, Johannes. When
I hear that, I murder Carol?

Speaker 2 (02:20:45):
All right?

Speaker 61 (02:20:47):
What are you playing?

Speaker 8 (02:20:47):
Right?

Speaker 17 (02:20:49):
Oh?

Speaker 9 (02:20:49):
It's you, Johannah.

Speaker 31 (02:20:50):
Right.

Speaker 42 (02:20:51):
Sounds like a funeral here in my little doesn't it?

Speaker 2 (02:20:56):
Carol?

Speaker 4 (02:20:57):
Wake up? This is better than going to the theater
or something, isn't it, Dear?

Speaker 9 (02:21:09):
But I don't like being here, Red, It's all right.

Speaker 4 (02:21:13):
Don't you like listening to music?

Speaker 9 (02:21:16):
I like listening to music, all right, darling. Do you
realize there isn't any music. What the machine stopped? Sweetheart?

Speaker 4 (02:21:26):
Well I'll start it again.

Speaker 9 (02:21:28):
Kiss me you turn on some more lights first, isn't
it bright enough in here? Creepy red?

Speaker 17 (02:21:37):
Keep feeling?

Speaker 9 (02:21:37):
Is this something's going to happen?

Speaker 4 (02:21:40):
Don't be silly. What could happen?

Speaker 9 (02:21:43):
Nothing, sweetheart, I just feel that way.

Speaker 4 (02:21:47):
All right?

Speaker 9 (02:21:50):
Everybody much better?

Speaker 14 (02:21:53):
Now you can kiss me.

Speaker 4 (02:21:55):
Thanks. Now your lips are cold.

Speaker 9 (02:22:00):
I tell you I feel scary.

Speaker 4 (02:22:02):
Stop. Let's listen to music I love.

Speaker 9 (02:22:06):
Says up Frank and me and me?

Speaker 2 (02:22:11):
Okay, oh so listen, never mind who this is?

Speaker 60 (02:22:31):
Just go to apartment sixteen hundred and three day at
the address I gave you, and you would find a
woman murdered and the murderer there with her.

Speaker 42 (02:22:39):
That's right, never mind, I know, go at once office and.

Speaker 4 (02:22:44):
Keep them waiting.

Speaker 14 (02:22:45):
Okay, Oh it's so beautiful you could die to that.

Speaker 2 (02:23:05):
Cow.

Speaker 7 (02:23:07):
I love it.

Speaker 9 (02:23:09):
Right Alms.

Speaker 21 (02:23:16):
Car thirty two, Apartment one six Sol three A four
four four Stuba.

Speaker 2 (02:23:21):
Street, investigate.

Speaker 7 (02:23:23):
Car thirty two, Apartment.

Speaker 1 (02:23:26):
One six Soul three A four or four four Stuba Street, investigate.

Speaker 2 (02:23:31):
That is all? Who is it?

Speaker 4 (02:23:55):
Police officers?

Speaker 21 (02:23:56):
H e, police officers?

Speaker 2 (02:23:59):
Wait?

Speaker 13 (02:24:00):
Just a minute.

Speaker 4 (02:24:06):
What do you have to call to investigate?

Speaker 2 (02:24:10):
What do you got?

Speaker 7 (02:24:10):
All the lights off?

Speaker 2 (02:24:11):
For a right?

Speaker 4 (02:24:12):
Somebody blew out a fuse, officer, right in the middle
of a record we were.

Speaker 9 (02:24:16):
Playing, Yeah, the off front the minor symphony.

Speaker 4 (02:24:20):
Hey, Curley, flash of light in here?

Speaker 2 (02:24:23):
Are you all right?

Speaker 7 (02:24:23):
Lady?

Speaker 9 (02:24:24):
Certainly, I'm all right.

Speaker 4 (02:24:25):
Well that ain't the way we got it.

Speaker 9 (02:24:27):
Well that's the way it is.

Speaker 4 (02:24:30):
Listen a minute, you telephone sir. Oh wait, I'll get it.

Speaker 2 (02:24:40):
Now. What the devil.

Speaker 14 (02:24:44):
You hat?

Speaker 4 (02:24:45):
Oh the lights are back?

Speaker 9 (02:24:54):
Turn that off.

Speaker 4 (02:24:55):
Wait a minute, Cabody's playing a joke on you, mister.
I hope who was it?

Speaker 36 (02:25:00):
Somebody wanted to know if the lady was dead.

Speaker 4 (02:25:03):
I said, she certainly ain't.

Speaker 2 (02:25:04):
He says.

Speaker 36 (02:25:04):
They was playing Frank D Minus sympathy, and the fuse
blew out.

Speaker 4 (02:25:09):
Let me hung up, your honess. You want me to
go to talk him up? You know what, no, Carol,
I remember, quick? Turn off the record. Turn it off.

Speaker 21 (02:25:20):
Hey, you know what are you going to do over there?

Speaker 4 (02:25:22):
What busting the records for mac?

Speaker 59 (02:25:26):
Why excuse me, officer, I just remembered something, something a
man didn't have time to tell me to forget. Is

(02:25:46):
he even the smart boys forget if he told me
to forget that post hypnotic suggestion, it is about murdering Carol.
When I heard that music, he'd have been all right.
I'd never have known the difference. He'd have had another
chance at me. But he forgot to tell me.

Speaker 4 (02:26:06):
And so.

Speaker 59 (02:26:08):
He doesn't know what I know. He doesn't know what
I'm going to do. Carol's in there talking to her now.
Carol opened the window, Chuer. I told her all about it.
She's in it with me. She opened the window.

Speaker 4 (02:26:28):
A poor blind guy, a blind would be murderer.

Speaker 59 (02:26:32):
Nobody will wonder much if a poor blind guy made
a mistake and felt out the window.

Speaker 4 (02:26:39):
It's a long drop everybody. He'll be so sorry, his
poor wife and me and there.

Speaker 7 (02:26:47):
I bet.

Speaker 4 (02:26:49):
That's what you get from being too smart for your size.
And give a quarter to here.

Speaker 59 (02:26:55):
The line of talk that's going on in there now,
Carol is sweetest pie. You're Hannah's thinking fast while she's
set it all up. You never suspect the thing, the
man we're in You have a quart it and no
what to say in there? Must be good, that must
be rich.

Speaker 60 (02:27:25):
I won't fail the next time Carol, Oh no, Johanness,
he didn't kill you, so you have to kill him.

Speaker 9 (02:27:35):
Whatever you say, Rhannes, I'll kill him.

Speaker 42 (02:27:40):
It'll be a little poetic justice.

Speaker 4 (02:27:44):
Well didn't.

Speaker 9 (02:27:46):
Oh yes, Johanna, you know.

Speaker 42 (02:27:48):
That frant the mint of theme?

Speaker 13 (02:27:50):
Carol?

Speaker 9 (02:27:51):
Oh, yes, it's beautiful, the.

Speaker 42 (02:27:54):
One that was to be a signal for him to
strangle you.

Speaker 17 (02:27:57):
Oh yes, the one goes did.

Speaker 42 (02:28:05):
That's how do you hear that melody?

Speaker 4 (02:28:08):
Carol?

Speaker 27 (02:28:10):
You will murder Ray whenever I hear the music.

Speaker 4 (02:28:15):
I'll murder Ray whenever.

Speaker 42 (02:28:19):
Whenever you would take a knife and stab.

Speaker 14 (02:28:22):
Him, I'll take a knife and stab him when you.

Speaker 42 (02:28:27):
Hear come here, I'll get it, Karen, A wake up?

Speaker 16 (02:28:34):
Hi?

Speaker 17 (02:28:34):
Hello? Ray?

Speaker 8 (02:28:42):
All over?

Speaker 4 (02:28:44):
Too bad, Carol, wasn't it?

Speaker 9 (02:28:47):
It's a shame? Well, he never knew what hit him,
and we're both out of it. Nicely, Darling.

Speaker 4 (02:28:54):
Ain't it wonderful?

Speaker 9 (02:28:56):
I just shuddered to think what would have happened if
that fuse hadn't.

Speaker 59 (02:28:59):
Blown out, and if I hadn't remembered. Well, I'll never
have to worry about that music again.

Speaker 7 (02:29:05):
It's so pretty.

Speaker 4 (02:29:06):
I hate to think what might Ray.

Speaker 9 (02:29:08):
Huh, I'm still afraid of.

Speaker 4 (02:29:11):
Oh, don't be silly.

Speaker 2 (02:29:12):
I am going to stop it.

Speaker 9 (02:29:14):
I never want to hear it again.

Speaker 4 (02:29:16):
Why you're going to hear it?

Speaker 7 (02:29:17):
Right?

Speaker 4 (02:29:17):
Please listen, baby, We might as well get this straight now.

Speaker 30 (02:29:20):
I.

Speaker 4 (02:29:22):
Say, please listen, darling.

Speaker 17 (02:29:33):
Way all right, right, darling?

Speaker 15 (02:29:53):
What have I done?

Speaker 58 (02:30:20):
The title of tonight's Quiet Please story was Symphony in
D Minor.

Speaker 4 (02:30:25):
It was written and directed.

Speaker 58 (02:30:26):
By Willis Cooper, and the man who spoke to you
was Ernest Chappel, and Cherita.

Speaker 4 (02:30:31):
Bauer played Carol.

Speaker 59 (02:30:32):
James van Dyke was Johannes, and the police officer was Padomalley.
As usual music for Quiet Please, including the theme by
says I Fractice played by Albert Burman. Now here is
our writer, director Willis Cooper.

Speaker 62 (02:30:46):
There are all creations on my own again, nor did
they represent anybody living or dead.

Speaker 42 (02:30:51):
As you already know, this is the last broadcast.

Speaker 4 (02:30:53):
Of Quiet Please on this network.

Speaker 62 (02:30:55):
I'm grateful to Bob Burman, our engineer, and too how
April Sam effects technician, for their sixty three weeks in health,
for the further adventures of CHOI as please, I recommend
you read your newspaper next Sunday.

Speaker 59 (02:31:12):
And so from now on on this network, I am
quite quietly, yours Ernest Chapel.

Speaker 58 (02:31:21):
This will be the last broadcast in the present series
of Quiet Please and it's place. For the next four weeks,
Mutual present over most of these stations a new series
of dramatic programs dealing with atomic energy. Be sure to
be with us at this time next week and the
three weeks following for Mutual's new series on atomic energy.
This program was heard in Canada through the facilities of

(02:31:43):
the Canadian Broadcasting Corporation. This is the world's largest network.
The Mutual Broadcasting System.

Speaker 20 (02:32:10):
The National Broadcasting Company presents Radio City Playhouse Attraction thirty five.

(02:32:37):
Tonight we bring you a story that we, in common
with many others who are far better qualified to judge,
believed to be one of the finest mysteries ever written.
The author is Thomas Burke, and the title, well, perhaps
it might reveal too much too.

Speaker 4 (02:32:51):
Soon to those of you who prefer to solve your
own mysteries, So.

Speaker 20 (02:32:55):
Rather than deprive you of that pleasure, we'll save the
title for later and simply introduce our story Tonight, A's
Attraction thirty five on Radio City Playhouse.

Speaker 2 (02:33:18):
Ahi.

Speaker 63 (02:33:18):
Charlie Heme on John Hey, the boss is screaming for you.

Speaker 36 (02:33:21):
Yeah, well, I see you in a minute.

Speaker 31 (02:33:22):
I got something to take.

Speaker 12 (02:33:23):
Care of first.

Speaker 31 (02:33:40):
Hello, Hazel, this is Charlie.

Speaker 19 (02:33:42):
Oh darling, I've been so frightened for you.

Speaker 12 (02:33:44):
Where are you now?

Speaker 64 (02:33:45):
I'm in my office the paper I just got back.
I'm all right, Come right down. No, don't, dear, write story.

Speaker 31 (02:33:51):
I got the story. I'm gonna write it now.

Speaker 9 (02:33:53):
You sound strange.

Speaker 19 (02:33:54):
You're sure you're all right?

Speaker 31 (02:33:55):
I'm fine. I'm fine. I'll call you when i'm finished.
Please hurry, I will by.

Speaker 12 (02:33:58):
Dear Charlie.

Speaker 31 (02:33:59):
Fine, You're the.

Speaker 19 (02:34:00):
Best newspaper man in New York, and I love you.

Speaker 31 (02:34:12):
It was so easy.

Speaker 64 (02:34:14):
I knew now how easy it must have been for him.
I had just walked in and sat down. No one
noticed the thing, not even old horse Face at.

Speaker 31 (02:34:23):
The city desk.

Speaker 64 (02:34:25):
My hands tremble a little as I reached through the
phone again. Aside from that, no one would ever dream
that fifteen minutes before I had killed a man was

(02:34:50):
mister Margue sam Lisen, mister Charles.

Speaker 31 (02:34:53):
I'm in my office.

Speaker 64 (02:34:54):
I want the complete file of clips on the green
Point Strangler, all the stories I've written yet.

Speaker 31 (02:35:00):
I want to write an obituary, maybe my own. I
lit a cigarette. In a few seconds, Sam would bring the.

Speaker 64 (02:35:13):
Files in the other d all my stories laid out
before me, starting with the first one. I remember writing it.
A feature piece about a man, a walking man. The
Whybrow Murder by Richard Charles, New York, January the sixth,

(02:35:37):
At six o'clock, last evening, a wretched evening of damp
and fogg, mister Ralphord Wybrow was walking home through the
cobweb valleys of.

Speaker 31 (02:35:46):
The green Point section.

Speaker 64 (02:35:48):
He walked slowly, head down, as if pondering some pressing trouble.
But mister Whybrow had no trouble, not yet. He walked
slowly because his feet were aching, and the only problem
on his mind was whether to take home some helibut
or some herring for supper.

Speaker 27 (02:36:10):
Paper.

Speaker 22 (02:36:11):
Get your evening paper, Ah evening, mister Whitebrown, Good evening, Martin.

Speaker 19 (02:36:17):
Here's your paper, sir.

Speaker 2 (02:36:18):
Thank you.

Speaker 65 (02:36:19):
Anything exciting in the news tonight, eh, talk.

Speaker 31 (02:36:24):
Don't know how to expect us to sell our papers.

Speaker 9 (02:36:26):
We haven't had a good crime story in weeks.

Speaker 40 (02:36:28):
Too bad.

Speaker 65 (02:36:30):
Well, maybe tomorrow your luck of change and we'll be
enjoying a fine, juicy murder.

Speaker 13 (02:36:35):
I hope so well.

Speaker 19 (02:36:36):
Good night, mister Wybrow, Good night, you're ripe.

Speaker 8 (02:36:46):
Mister Wybrown.

Speaker 31 (02:36:48):
There will be your murder, but I doubt if you
will enjoy it.

Speaker 64 (02:36:53):
Walk on now and hurry, mister Wybrow. It's too miserable
a night for anyone to be out. And at home
there's a warm, gas lit kitchen and a table all
laid for your evening. Sucker, no wonder your step is
quickening in such a pleasant prospect, but you aren't going
to get that supper this evening or any other evening tonight.

(02:37:14):
Mister Wybrown, you are going to die.

Speaker 31 (02:37:24):
Would you like to know why?

Speaker 64 (02:37:27):
We'll stop here where the corner street light casts its
greasy sparkle on the pavement. Stop, look and listen before
you cross the street. Especially listen hear that, mister Wybrown,
somewhere there in the fog, another man is walking, his

(02:37:48):
footsteps coming closer to you. Go on now, don't wait
to see who he is, for just now, a thought
has come into this man's mind mind, a sudden, strange
desire to kill somebody. And that is the reason, mister Wybrow,
you will never live to taste another.

Speaker 36 (02:38:11):
Hurry, yes, sir, oh it's you mister Wybrown, what will
it be?

Speaker 65 (02:38:20):
Wife told me to bring some herrying or halib it
home for supper. Halibut looked good tonight.

Speaker 36 (02:38:26):
Percival, sir. But if I was you, I try the
haddock instead.

Speaker 8 (02:38:30):
All right, found a haddocke.

Speaker 36 (02:38:32):
Then well that'll be fifty cents.

Speaker 65 (02:38:35):
Yester minute I find where I put my money.

Speaker 36 (02:38:38):
That's all right, mister Wybrow.

Speaker 66 (02:38:40):
No hurry, Just take your time, Yes, take your time,
mister Wybrow, No hurry at all.

Speaker 31 (02:38:51):
Death will still be waiting for you when you step outside.
The man hidden there in the fog has picked you out.

Speaker 64 (02:39:00):
It's the same blind choice that made you choose the haddock,
not herring for your supper. And since he has no
fear of God or man, he's going to murder you
and then go home to his supper. There you go, now,
mister Wybrow, you and your following phantom, two nebulous dabs

(02:39:23):
of mortality, one to kill, the other to be killed.

Speaker 20 (02:39:29):
Walk on, mister Wybrow, and as you walk, look for
the last time at the familiar features of your neighborhoods.

Speaker 31 (02:39:37):
Don't hurry, or.

Speaker 64 (02:39:39):
The slower you walk, the longer you will breathe the
green air of his January dusk.

Speaker 31 (02:39:48):
Closer. Now, your shadow of massacre moves. He's only a
few yards behind you.

Speaker 8 (02:39:54):
Now.

Speaker 64 (02:39:56):
Can't you hear something in those footfalls, mister Weybron. Can't
you hear them almost streaking something at you? Murderer, murderer, No,
there's nothing in footsteps. They all sound the same.

Speaker 36 (02:40:15):
But those footsteps are bearing on to you a pair of.

Speaker 20 (02:40:18):
Hands, the large white hands that even now are stretching
their muscles in preparation for your end.

Speaker 31 (02:40:27):
Another minute, mister Whybras, and you will know all.

Speaker 64 (02:40:31):
About the horror of human hands, for you're almost home now,
turning into your own street, you and you're pursuing phantom.
It's growing darker. So hurry, mister Whybrow Dah, there's your
own front steps. Now the door is locked, your key, hurry,
there's no time for fumbling. Now they're home.

Speaker 4 (02:40:53):
You're safe.

Speaker 31 (02:40:54):
You have a chance.

Speaker 64 (02:40:55):
Now shut the door quickly and bolded tight. There where
it was a close thing, mister whitebrow. You'll never know
how close did you friz?

Speaker 12 (02:41:07):
Yeah, it's my dear.

Speaker 36 (02:41:09):
I brought you some headache. I'll bring it out to
the kitchen and I'm just starting stopping.

Speaker 65 (02:41:13):
Now, Wait, till I hang up my coat.

Speaker 49 (02:41:17):
Anything exciting happened today?

Speaker 67 (02:41:19):
H No, nothing exciting never happens to me. Just a
minute maybe until I answered the door.

Speaker 31 (02:41:30):
Don't do it, mister white Brow. Get away from that door.

Speaker 4 (02:41:32):
Don't touch it.

Speaker 64 (02:41:33):
Get out of the house, out the back way with
the missus and over the fence. But don't touch that door,
mister Whitebrow.

Speaker 31 (02:41:39):
Don't open that door.

Speaker 65 (02:41:42):
Yes, Oh, good evening, sir.

Speaker 8 (02:41:47):
It's something that.

Speaker 17 (02:41:53):
Who is it, Friz?

Speaker 10 (02:41:56):
If it's missus Waimo's asked to come in for a
cup of coffee.

Speaker 33 (02:42:01):
Oh, why don't you answer me?

Speaker 63 (02:42:03):
Fred?

Speaker 43 (02:42:04):
Who is this?

Speaker 21 (02:42:06):
Fred?

Speaker 19 (02:42:06):
If you're playing another one of your trek.

Speaker 31 (02:42:19):
I hold it boys, hold it one? You question the time?
All right, suck? And what time did you discover the body?

Speaker 20 (02:42:25):
About six thirty the night I was walking down the
street checking my patrolm and just like I've been doing
for thirteen years, when I see the door at number
ready five open, naturally, I look in to see if
everything's all right, and they're laying on the floor. I
see this body, see, so I blew my whistling when
mag would come resyched the house on both of them strangled,

(02:42:45):
just like that do you have any idea who did that?

Speaker 30 (02:42:47):
Well, Schnyder and I'll take over now, all right, inspected,
and I'll ask you do you have any idea who
the murderer was?

Speaker 36 (02:42:52):
Of obligation?

Speaker 8 (02:42:54):
Not yet?

Speaker 31 (02:42:54):
Well then do you have any theory about a motive
for the murder?

Speaker 8 (02:42:57):
Well?

Speaker 1 (02:42:58):
Yeah, so no?

Speaker 36 (02:43:00):
Does that mean means maybe?

Speaker 21 (02:43:01):
Yes?

Speaker 46 (02:43:02):
Maybe?

Speaker 42 (02:43:02):
No?

Speaker 31 (02:43:02):
Have you found any clues that might give you a lead?

Speaker 64 (02:43:05):
If there are any, well, dine, look, inspector. What are
you trying to build this up to the perfect crime?
Our paper sent us out.

Speaker 1 (02:43:11):
Here to get a story.

Speaker 31 (02:43:12):
How do you expect me to write a story without
me facts?

Speaker 63 (02:43:14):
That's your worry, not mine.

Speaker 3 (02:43:17):
You're so smart you ought to be able to solve
this case all by yourself.

Speaker 64 (02:43:23):
There was nothing to go on, no facts, no motive,
nothing at all that I had to get something. So
I went back to the office and wrote the walking
man story and wondered that the city editor would pass it.

Speaker 36 (02:43:39):
Eh, not a bad story, Charles. But how do you
know it happened this way?

Speaker 37 (02:43:44):
Well?

Speaker 31 (02:43:44):
I don't.

Speaker 64 (02:43:45):
But the police didn't give us a thing. I don't
think they know more any about it than we do.
So I dug up a couple of people who saw
why Brown his way home.

Speaker 36 (02:43:51):
They didn't say anyone following him today.

Speaker 31 (02:43:53):
No, but it's a foggy knight. It could have happened
that way.

Speaker 68 (02:43:55):
Well, all right, we'll take a chance on of them,
un Charles. Yet, I'm gonna leave you on this story.

Speaker 36 (02:44:02):
Let you follow it up.

Speaker 68 (02:44:03):
And I wouldn't mind throwing a hooker into the police
right now. If you can stay ahead of them on
this case. There'll be a bonus, no raising it for you. No,
it's a deal, all right. Stop by interviewing the neighbors
and see what you can dig up.

Speaker 31 (02:44:29):
You say you live next door to the wine Browse
for seven years, missus.

Speaker 4 (02:44:32):
Wesley, seven years?

Speaker 9 (02:44:33):
Come January.

Speaker 31 (02:44:35):
Did you ever notice anything?

Speaker 19 (02:44:36):
Mom, I'm going out, Oh excuse excuse me.

Speaker 28 (02:44:39):
This is my daughter Nellie.

Speaker 9 (02:44:40):
This gentleman is a reporter from the gazette. Is it
about mister Wybrow.

Speaker 31 (02:44:44):
I'm afraid it is so nice? Yes, so everyone says,
excuse me, Mama.

Speaker 19 (02:44:48):
I'm doing Saint Michael.

Speaker 9 (02:44:49):
Now mind you now come directly home.

Speaker 19 (02:44:50):
Ask Ptome and Maud which to walk with you. Don't
stop the chantel now, good night, Mama, have a nice time.

Speaker 9 (02:44:58):
I hate to let it go.

Speaker 14 (02:44:59):
Out after what just happened.

Speaker 64 (02:45:00):
Oh no, she'll be all right. The police are all
over green Point tonight. The strangler wouldn't dare show himself
around here again. Well, yes, I've got to get back
to my paper. Thank you, missus Wesley, and don't worry
about Nellie. She's as safe as she would be in church.

Speaker 31 (02:45:23):
I was wrong.

Speaker 64 (02:45:25):
Nellie Wesley was not actually dead until two minutes later,
but she was as good as dead. And from the
moment she left her mother's door, somebody, somebody resembling a man,
began to walk after her.

Speaker 31 (02:45:40):
Walked, Nellie Wesley, walk and listen, and you hear them.

Speaker 4 (02:45:47):
Listen.

Speaker 31 (02:45:48):
It's growing darker, and wisps of fog begin to curl
on the alleyways. Ah, you hear them now, a set
of footsteps following after yours.

Speaker 4 (02:45:58):
Yes, you hear them.

Speaker 64 (02:46:00):
Your heart beats faster. You begin to hurry. Now you
are certain they're following you. You walk faster, faster, but
they're catching up to me. He's close now, he's right
behind you. Turn around, mall, turn around.

Speaker 44 (02:46:23):
I was so frightened.

Speaker 19 (02:46:24):
I thought for many of you were decide.

Speaker 31 (02:46:36):
Hello, baby, Sorry I'm late.

Speaker 19 (02:46:38):
You look tired, Charlie, I am want me to have
the way to bring you some coffee.

Speaker 9 (02:46:43):
No, no, I couldn't, Charlie.

Speaker 31 (02:46:45):
What's the matter. Did you read my story tonight in
the Wybrown Murder?

Speaker 19 (02:46:49):
Yes, Charlie, I thought it was awfully good, too good?

Speaker 9 (02:46:53):
What do you mean?

Speaker 31 (02:46:55):
About an hour ago I was interviewing Whybrow's next door neighbor.
She had a daughter and pretty kid about thirteen. Oh, competition,
isn't funny, Hazel, she's dead.

Speaker 17 (02:47:08):
Sorry.

Speaker 64 (02:47:10):
I was there almost as soon as the police. Iight
and I saw her face. I could have stopped that, Charlie.
Don't be saying no, it's true, Hazel. I left the
house right after her. She was still in sight. I
knew the streets were dangerous. I said to myself, Should
I walk with her? And then I said no, no,
She'll be all right, and I have to get back
to the paper. Just like that, I went the other way.

Speaker 31 (02:47:26):
A minute later, I heard the police sergeants whistle. There
she was. All I had to do was walk with it.

Speaker 9 (02:47:32):
Charlie stopped.

Speaker 31 (02:47:33):
I thought to myself, what kind of a monster could
do a thing like that?

Speaker 19 (02:47:35):
Charlie, why don't you drop this story? Has the paper
to put another reporter on it. It's getting too dangerous now.

Speaker 31 (02:47:43):
But baby, this is my biggest chance, chance for what
chance to get killed.

Speaker 69 (02:47:48):
I don't like the idea of your wandering around those
streets at night. What's to prevent you from being Is
this what it's gonna be like when we're married.

Speaker 31 (02:47:55):
Well, if I don't do a job on this story,
we won't have anything to get married on.

Speaker 9 (02:47:58):
Charlie, I don't care. Please drop the story for me, But.

Speaker 4 (02:48:03):
It's for you that I'm sticking. You really think that, No,
I suppose not.

Speaker 64 (02:48:13):
It's got me one look at that kid's face to night,
and I swore I'd find out who was doing it.

Speaker 31 (02:48:18):
You see what I mean? Let it go, Charley, I can't.

Speaker 64 (02:48:21):
A long time ago I decided to be a reporter.
Well I am a reporter. This is my chance to
break into the big time. I can't quit, Hazel, I can't.
I went back to green Point on the prowl that night,
and every night for a week. Nothing happened, but you

(02:48:45):
could feel a sense of near panic in the air,
and the police were completely stimied. Everybody was waiting, just waiting.
They seemed to know the killer would strike again.

Speaker 3 (02:49:02):
Margaret, Oh oh hy yes, Arge old quiet, oh quiet?

Speaker 20 (02:49:08):
So far seen anyone just that reporter heavy fought tonight, yeah,
wish if you see anyone suspicious. I've got Coleman stationed
to the other end of the block, so no one
can get out without passing one of you. Walk toward
each other and cross every ten minutes, right, keep an eye.

Speaker 3 (02:49:26):
Out right, who's there.

Speaker 2 (02:49:39):
That you?

Speaker 3 (02:49:40):
Coleman? I'm on, Speak up, I can see it. I'm closer.

Speaker 1 (02:49:51):
I've got a gun on. You walk toward me.

Speaker 3 (02:49:56):
Walk Why didn't you say it was? You almost scared me.

Speaker 4 (02:50:08):
Out of my wick.

Speaker 64 (02:50:18):
Patrolman mag which was the fourth victim of the green
Point strangler. I covered that one too, I covered them all.
There was something more than murders. They were motiveless. There
was an air of black magic em each one was committed.

(02:50:41):
When the streets were empty of any perceptible murderer, there
would be an empty alley.

Speaker 31 (02:50:46):
There would be a policeman at its end.

Speaker 64 (02:50:49):
He would turn his back to the empty alley for
a second, and then he would look around and run
into the night. With news of another strangling, the police
would throw a cord on around the area. And search
all the houses of no murderer be found. Each time
it was as if he vanished into thin air, and
it was driving me crazy.

Speaker 19 (02:51:08):
Drink your tea, Charlie. I refuse to talk about murders tonight.

Speaker 31 (02:51:11):
I just don't understand it. You can't just danish.

Speaker 19 (02:51:14):
You have a curled up nose like a teddy bear.

Speaker 31 (02:51:17):
I once owned murder is a human.

Speaker 9 (02:51:19):
They have substance, long eyelashes. It must be some clue,
and your hair won't stay.

Speaker 31 (02:51:23):
Put some logic to this.

Speaker 9 (02:51:25):
In fact, you're a very cute fella.

Speaker 4 (02:51:27):
Oh Hazel, be serious, darling.

Speaker 9 (02:51:29):
I see you so seldom these days. Must we but
talk about murders.

Speaker 64 (02:51:37):
I'm sorry, baby, This blasted case has got me to
the point where I see bodies when I.

Speaker 31 (02:51:42):
Dream, when I eat.

Speaker 19 (02:51:43):
Charlie, what give it up?

Speaker 31 (02:51:45):
Oh no, we didn't through that before.

Speaker 9 (02:51:46):
I can't take much.

Speaker 17 (02:51:47):
More of it.

Speaker 19 (02:51:48):
Every night I sit alone and wonder what's he doing now?

Speaker 31 (02:51:51):
Is he safe?

Speaker 9 (02:51:52):
Is he being followed by someone?

Speaker 69 (02:51:54):
Will I open my paper tomorrow to see the headline
screaming reporter is strangled.

Speaker 9 (02:51:58):
If being a reporter's wife is going to be like that,
I'm afraid I can you.

Speaker 31 (02:52:01):
Can't go on like this, Darling. After all, this series
is making me I'm in for a raise.

Speaker 9 (02:52:05):
Sounds wonderful, but I'd rather not wait for it.

Speaker 31 (02:52:09):
You really want me to quit, don't you?

Speaker 19 (02:52:10):
Yes, I do, Charlie, I do.

Speaker 9 (02:52:14):
You needn't burn up the world in a week, Darling,
I can wait. I love you.

Speaker 17 (02:52:18):
Please?

Speaker 31 (02:52:20):
Well, maybe you're right, Charley.

Speaker 64 (02:52:24):
Come on, let's find the waiter and go shakeshel Yes, yes, please?
Now where the devil did that waiter come from?

Speaker 9 (02:52:32):
He's been standing next to us for about five minutes.

Speaker 31 (02:52:34):
I never even noticed him.

Speaker 64 (02:52:38):
Wait a minute, it's no matter now, Holy smokes, what
is it, Hazel? I know who the murderer is, at
least I think I do what that waiter? No, no,
not the waiter, but he gave me the idea, And Hazel,
the murderer doesn't run away at all.

Speaker 9 (02:52:54):
I don't understand.

Speaker 31 (02:52:55):
He doesn't run away. He just stands there. He just
stands there, and nobody notices that.

Speaker 9 (02:52:58):
Charlie, where are you going?

Speaker 31 (02:52:59):
I'm the murderer and ask him a question.

Speaker 19 (02:53:01):
Charlie, no, call the police, tell him about it.

Speaker 31 (02:53:03):
I don't dare.

Speaker 64 (02:53:04):
What I'm thinking is so fantastic. They lacked me right
out of the town. I've got to find this out
for myself.

Speaker 19 (02:53:08):
Not alone, Charlie, you might be killed.

Speaker 64 (02:53:10):
I'll be all right, Hazel. I've got a gun, Oh, Charlie.
I walked with a kind of excitement I hadn't known

(02:53:31):
since I was a boy. When I reached the green
Point section, the fog had blanketed the streets. It curled
into my nostrils and eyes.

Speaker 8 (02:53:38):
The street was empty.

Speaker 64 (02:53:40):
I strained my ears for a sound that I heard
nothing except the pounding of my own heart. At the
corner of an alley, I stopped him on Was my
mind playing tricks? Or did I hear something?

Speaker 4 (02:53:54):
Yes?

Speaker 64 (02:53:55):
Through the fog, I could hear a set of footsteps
approaching the acoustics of the played tricks on my senses.

Speaker 31 (02:54:01):
For a moment, I couldn't tell which direction they were
coming from.

Speaker 36 (02:54:05):
And then here, Now, what are you up to problem
the streets at this hour?

Speaker 8 (02:54:12):
Oh?

Speaker 31 (02:54:13):
It's you, good evening, sergeant.

Speaker 36 (02:54:16):
You ought to know it ain't safe.

Speaker 31 (02:54:17):
Are we walking alone here? I do know, but I
had some thinking to do.

Speaker 20 (02:54:21):
I'll do your thinking at home, where you'll be safe.

Speaker 31 (02:54:24):
Sergeant.

Speaker 20 (02:54:25):
I can't stop thinking about this case. I guess you've
thought a lot about it too. Well, yes, of course
it's my duty. Well, then tell me has anyone ever
seen this murderer? Not as I know, yet he must
be there, that's for a second.

Speaker 31 (02:54:43):
Then answer me this, sergeant. What sort of a person
do we all see every day?

Speaker 64 (02:54:48):
Always standing around, always at every crime, and yet we
never really noticed him because he's part of the scenery.

Speaker 31 (02:54:55):
Now, how would I know the way I see it?
Or might reckon be anybody?

Speaker 63 (02:55:00):
Even you?

Speaker 31 (02:55:02):
H You're always prowling around? And do you suspect me?
I suspect everybody?

Speaker 2 (02:55:08):
Any more?

Speaker 31 (02:55:09):
Silly questions? Just one?

Speaker 64 (02:55:12):
Well, Sergeant Antimal, why did you kill all those innocent people?
Sergian Atimal stand back? I have a gun, well, sergeant,
to tell the truth. I don't know, mister Charles.

Speaker 20 (02:55:34):
In fact, I've been worried about myself, but I got
an idea I have. Everybody knows we can't control the
working of our minds, don't they, So they say that
they expect us to control our bodies.

Speaker 31 (02:55:47):
That's funny, ain't it.

Speaker 20 (02:55:48):
After all, we get our minds from the Lord knows where,
from people who are dead hundreds of years.

Speaker 31 (02:55:53):
Suppose we get our bodies the same way.

Speaker 20 (02:55:56):
Well, it couldn't be that parts of our bodies aren't
really us, that they really they belong to other people,
and other people's ideas come into them all. It was sudden, Lord, man,
you're really insane. Couldn't it be say good ideas would
come into my hands?

Speaker 1 (02:56:13):
I did.

Speaker 12 (02:56:16):
My arms like all the other lad.

Speaker 64 (02:56:23):
Hands are no match for a gun sergeant, not even
hands with ideas sergeant at them all. I came right
to the paper I wanted they get the story in
before anyone knew, even the police.

Speaker 31 (02:56:45):
I sat down and started to write. My hands trembled
a little.

Speaker 64 (02:56:51):
I killed the Green Point Strangler, an exclusive story by
Richard Charles.

Speaker 31 (02:56:58):
Less than one hour ago.

Speaker 64 (02:56:59):
In self, the sense I shot and killed the murderer
of four defenseless people.

Speaker 31 (02:57:04):
Before he died, he confessed to me, Hazel, I couldn't wait.

Speaker 19 (02:57:08):
I had to come right over, darling.

Speaker 9 (02:57:11):
You are all right?

Speaker 4 (02:57:11):
We sure?

Speaker 31 (02:57:12):
Didn't you believe me?

Speaker 9 (02:57:14):
Sounded so strange?

Speaker 31 (02:57:16):
Did you get the story I'm writing it now? You
take a look.

Speaker 19 (02:57:19):
Less than an hour ago, I killed.

Speaker 4 (02:57:23):
Child.

Speaker 31 (02:57:23):
There it is. I haven't told anyone yet. Well what'd
he say?

Speaker 17 (02:57:28):
I don't know what to say?

Speaker 31 (02:57:31):
H'm stune why this story will.

Speaker 64 (02:57:32):
Make history those clippings, mister child thanks ham putting the
funny of excitement on his Green Point strangler.

Speaker 70 (02:57:38):
Huh, what do you mean she's got a flash? He's
killed another victim? What, yes, sir, that's impossible. Who some
police sergeant guy named Automole Animo? Yeah, it's a second cop,
but he's knocked off. Police are really on the war
path now. It posted a new reward already ten thousand
dollars for the murderer of Automole ten grand dead or alive.

Speaker 19 (02:58:02):
Dead or alive.

Speaker 4 (02:58:03):
Hazel were rich?

Speaker 19 (02:58:04):
Charlie, you can't write that story. Why I said, you
can't write that story?

Speaker 31 (02:58:09):
Honey?

Speaker 8 (02:58:09):
Are you crazy?

Speaker 4 (02:58:10):
No?

Speaker 9 (02:58:10):
But you are if you don't realize.

Speaker 12 (02:58:11):
What you do?

Speaker 31 (02:58:12):
You mean I found the strangler, didn't I? Charlie think
who would believe you?

Speaker 9 (02:58:17):
Where's your evidence?

Speaker 31 (02:58:17):
He told me him.

Speaker 19 (02:58:18):
Did anyone hear you?

Speaker 7 (02:58:21):
Then?

Speaker 9 (02:58:21):
Who's going to believe you? Not the police?

Speaker 69 (02:58:23):
Where were you when the murders were committed? Prowling around
always first on the scene, Charlie, it's no good.

Speaker 1 (02:58:29):
You can't admit that you killed Automos but it was
self defense.

Speaker 31 (02:58:31):
Hazel, You believe me, don't you Yes.

Speaker 69 (02:58:33):
But they won't call it that. They'll think it's murder.
They'll think you're the strangler. Don't you see They've already
made up their minds.

Speaker 9 (02:58:41):
If you sign that story, you'll be signing your own
death warrant.

Speaker 12 (02:58:48):
Hm.

Speaker 31 (02:58:48):
Hmmm. I wanted an exclusive and I got it.

Speaker 8 (02:58:54):
What a laugh so exclusive?

Speaker 31 (02:58:58):
I don't even dare write it, Charlie.

Speaker 9 (02:59:00):
No one has never known.

Speaker 31 (02:59:04):
What are you doing?

Speaker 1 (02:59:05):
Hmm?

Speaker 31 (02:59:06):
What do you think? I got to write something?

Speaker 9 (02:59:09):
Yes, but what.

Speaker 31 (02:59:11):
I'm writing a eulogy. The murderer has struck again.

Speaker 64 (02:59:19):
Tonight, one of New York's finest police, sergeant Automoble, bravely
met a hero's death in the line of duty while
attempting to capture the Green Point Strangler.

Speaker 20 (02:59:57):
You have just heard The Hands of Mister Ot by
Thomas Burke, Attraction thirty five on Radio City Playhouse.

Speaker 31 (03:00:18):
Now griffing credit where credit is due with the night's performance.

Speaker 20 (03:00:22):
The Hands of Mister Automole was adapted for Radio City
Playhouse by George Leffards. John Larkin was featured as Richard Charles,
The reporter Deli Ellis was heard as Hazel, and Edwin
Jerome is Sergeant Ottermole. Music was composed by doctor Royshield
and conducted by Joseph Gorner. Radio City Playhouse is supervised
for the National Broadcasting Company by Richard P. McDonough Bob

(03:01:11):
Warren speaking, This is NBC, the National Broadcasting Company.

Speaker 1 (03:01:16):
Woodberry for the Skin you love to touch, Woodbury brings
you direct from Hollywood the Woodbury Double Seat First Hollywood

(03:01:37):
Best Known, Best.

Speaker 12 (03:01:38):
Loved Reporter Luana Parsons with.

Speaker 1 (03:01:40):
Exclusive news about your favorite stars, direct from the Glamour
Center of the World and Hollywood Mystery Time starring Gloria
Blondell and.

Speaker 4 (03:01:48):
Carld Myng.

Speaker 1 (03:01:59):
Girls for ex fighting new beauty like a Hollywood Star's Try.
Woodbury's new film Finish Face Powder.

Speaker 34 (03:02:05):
It's a dreamlan preferred by stars like Ava Gardner, Clorida Haven,
Lucille Ball. Woodburry film Finished Potter is different. Five way
blending creates colorful shades so brimming with beauty that they
lend a new.

Speaker 50 (03:02:18):
Beauty to you.

Speaker 34 (03:02:20):
It creates smoother texture that clings longer, give skin the
satin smooth look of a Hollywood stars.

Speaker 1 (03:02:26):
Woodburry Powder comes in eight glorious new shades. Be sure
to look at champagne, Rachelle. It's specially good with new
spring colors. You can fry Woodbury for as little as
ten cents, but right now with the dollar size you
also get matching lipstick and Rouge Woodbury matched makeup to
make you prettier. Get Woodbury film, finish face powder tonight,

(03:02:48):
and now here she is Loella Parsons.

Speaker 71 (03:02:51):
Hello to all of you from Hollywood. Here's my first
news tonight. Brigadier General Elliott Roosevelt, summoned to Washington to
confer informally with President Truman, is back in Hollywood to
see his bride, actress Faye Emerson. I've good reason to
believe that both Elliott and his sister Anna would ask
if they knew anything about their father's plans as they

(03:03:13):
yawed a conference, plans that had not already been told
to President Truman. My second exclusive is that Clara bow It,
girl and star of the Silent Screen, is desperately ill
again at her ranch in Nevada. This time it's a
complete nervous breakdown. Friends say that wedding bells will jingle

(03:03:34):
merrily for Groucho Marx and k Gorsey just about this
time next month, when the lady is free. She's the
youthful ex wife, a dead ender Leo Gorsey. These dead
end kids are certainly hitting the Hollywood's social columns lately.
I'm sorry to say that the quarrel between Abbott and

(03:03:55):
Costella has become very bitter. Indeed, remember I told you
last week they were fighting, and now there is a
very good, or should I say a very bad chance
that these two funny men will break up permanently. Although
they are making in them GM comedy together, they do
not even speak to each other. Oh, come on, boys,
don't be so foolish. The carry Grant Betty Hensel romance

(03:04:19):
is beginning to totter. How do I know, Well, Betty's
been stepping out lately with attractive major Arthur Little. I
just heard that forty important Hollywood films have been dubbed
in German and will be shown to the Nazis. But
immediately they are intended to conteract the dirty work done
by Goebels who painted all Americans as gangsters and barbarians.

Speaker 9 (03:04:43):
The dubbing job was done in Paris.

Speaker 71 (03:04:46):
I hear that cameraman Hal Rossen, once married to Jean Harlowe,
is about to lose his third wife, Yvonne, in the
divorce courts. They've been separated for some time. If Louis
b Mayre's dark to give him the go sign, you'll
travel overseas in July to start the MGM line roaring
again in Europe. The Llewella Parsons Medal this week goes

(03:05:10):
to Paramount's eccentric musical Out of this World. I say
eccentric because out of Eddie Bracken's mouth comes Bing Crosby's
gorgeous singing voice in some new and very tuneful songs.
The picture has actions, music galore, and believe it and
out of plot, and the medal for the Best Performances

(03:05:31):
goes to youthful Diana Lynne, whose playing is indeed out
of this world. She and Eddie Bracken both deserve for
his prize, she for her music and acting and he
for his comedy plus a course that help from being Crosby.

Speaker 17 (03:05:46):
The fourth.

Speaker 71 (03:05:47):
Gail's sister Jane, is a bride of Professor Norman Adams
of the Chicago University. Gene Joan, June, and Jane, two
sets of twins, have all married very well. Joan is
the wife of lou Shriver, general manager of twentieth Century Fox.
June is missus Ostrolevant, and Jane is married to Burywood,

(03:06:09):
well known radio singer. You know, I never thought that
Bob Hope, with his banana nose, would follow in the
footsteps of the screen's greatest lover of them all, Rudy Valentino, say,
I'm not kidding. When Bob comes back to Paramount, his
first picture will be Booth Tarkington's Monsieur Bouquier, a movie
that had the girls panting when Valentino made it twenty

(03:06:32):
long years ago, who says we have no intellectuals in Hollywood.
My Russian friend Gregory Rathoff and my English pale Reginald
daughter Gardiner have both been asked to make us six
weeks Overseas tour with information Please. Reggie and greg will
toss the answers around, right or wrong? With John Cannan, F.

(03:06:56):
P Adams and Clifton Fatiman, the Regulars Last Minute News.
John Garfield goes into the Navy Tuesday, and here's a surprise.
Van Hesslin, who received his medical discharge yesterday, takes John's
role in The Postman Always Rings Twice. The next Lana
Turner movie. That's all for tonight. See you next Sunday,

(03:07:19):
and don't forget before then to buy Bye Bye Barbs
at your favorite motion picture theater.

Speaker 1 (03:07:34):
Now the makers of Woodbury Complete Beauty Cream.

Speaker 36 (03:07:36):
Beauty Cream for the skin you.

Speaker 8 (03:07:38):
Love to touch.

Speaker 1 (03:07:39):
Present Hollywood Mystery Time tonight, the case of the Glowing Eyes.
Being secretary to a Hollywood producer, even a quickie mystery
producer like Jim Lawton sounds like that flammor job most

(03:08:01):
girls dream about. But if you're a gym secretary Gloria Dean,
and your boss makes a habit of involving you in
very real murders at the most peculiar hours, well, your
dreams are likely to be filled with clutching hands and
screams in the night. Right now, She's home in bed,
dreaming about sea breezes and swaying palms, when her very
pleasant dreams are rudely interrupted at seven am by a

(03:08:22):
noise that a noise all of us.

Speaker 2 (03:08:26):
Oh well, Gloria, this is your boss.

Speaker 9 (03:08:29):
Remember I haven't any boss until nine am. Please call
in good night.

Speaker 8 (03:08:33):
Oh Gloria, wait a minute, this is important.

Speaker 72 (03:08:35):
I got a sensational idea for a new horror mystery intactical.

Speaker 9 (03:08:39):
Oh it's been elephants and yellow dragon.

Speaker 13 (03:08:41):
Uh huh.

Speaker 9 (03:08:41):
I'll go back to sleep and you'll feel much better
in the morning.

Speaker 2 (03:08:44):
I can.

Speaker 8 (03:08:44):
I've got to be in school by eight thirty.

Speaker 2 (03:08:47):
Is this a.

Speaker 9 (03:08:47):
Nightmare or am I dreaming?

Speaker 8 (03:08:49):
All right, I'm serious.

Speaker 72 (03:08:50):
It's all part of the research for our next picture,
and meet me at the USC campus at eight twenty
five sharp.

Speaker 8 (03:08:55):
I want you to take notes at.

Speaker 9 (03:08:56):
A lecture, not me. I don't know my ABC's I
stop every time I get to you. Yeah, if you
know what I mean.

Speaker 8 (03:09:04):
You're sweet Laia, even at seven.

Speaker 11 (03:09:06):
But as the title of the last picture I didn't make.

Speaker 72 (03:09:08):
We've no time for love, Gloy, don't let me down.
This is going to be the greatest mystery since well.

Speaker 8 (03:09:13):
Since my last one.

Speaker 9 (03:09:14):
Jim Dear, that one was so bad. I really thought
it was going to be your last one.

Speaker 61 (03:09:33):
This morning, gentlemen, our subject is Florescian, a remarkable liquid
which under ultra violet ray produces a strange glowing effect.
Your Florescian will appear under the ray a ghostly green.

Speaker 8 (03:09:57):
You did a swell job, Gloria taking.

Speaker 9 (03:09:59):
Notes, and an night I'll prove it to you tonight.

Speaker 11 (03:10:01):
Yes, tonight, We're going to see a practical demonstration of
Professor Davidson's theories at Pierre's Nightclub.

Speaker 9 (03:10:07):
From college student to nightclub, Uay and one easy lesson, Jim,
I don't get.

Speaker 13 (03:10:11):
Purely research, Darling, purely research.

Speaker 4 (03:10:13):
What are we doing?

Speaker 9 (03:10:14):
In the meantime?

Speaker 11 (03:10:14):
You run ahead, I'm going back and talk to Professor Davidson.
I want to pick up a few more ideas. I'll
meet you tonight at Pierre's at eight pm.

Speaker 8 (03:10:20):
Sharp.

Speaker 24 (03:10:29):
Ah, mister Laughlin, Miss Deeds, good evening, good evening, perre,
Yeah too, eh?

Speaker 8 (03:10:34):
Please hy lad's a good David?

Speaker 4 (03:10:38):
How is he?

Speaker 13 (03:10:38):
Misieur?

Speaker 11 (03:10:39):
Will I give us a good view of the fluorescent dancing?

Speaker 36 (03:10:42):
It was the very best Miss year a dancer.

Speaker 9 (03:10:45):
Now I'm beginning to understand why we're here, Please Doria.

Speaker 11 (03:10:48):
She uses Varescian body makeup under ultra violet light, and
I'm interested in the effect.

Speaker 1 (03:10:54):
That's all knowing you.

Speaker 9 (03:10:55):
I can't quite believe.

Speaker 11 (03:10:56):
That all no ro when I'm working on research for
a picture, strictly business, and that's.

Speaker 9 (03:11:01):
Just what worries me. You have a habit of making
business a pleasure.

Speaker 73 (03:11:09):
Your attentions makes years. I know that the lights five,
it's me me and tell sensationery.

Speaker 9 (03:11:15):
It's not right than dolls, whether attractive or haven't you
noticed it?

Speaker 11 (03:11:22):
Yes, Florescian certainly gives an amazing effect.

Speaker 9 (03:11:26):
I wasn't particularly commenting on the Florescians.

Speaker 73 (03:11:29):
That's especially at be jail meem if produces about the
fountain times the most dowering downs I've represented the dolls.

Speaker 40 (03:11:37):
That's a blowing eyes.

Speaker 9 (03:11:39):
Looks like we're in for a premiere performance.

Speaker 12 (03:11:41):
I don't like this.

Speaker 11 (03:11:42):
Don't like watch here coming on stage with that yellow liquid.
He can't possibly think of putting that in her eyes,
but he is looking as an eye dropper. He's dropping
the liquid right into her eyes.

Speaker 7 (03:11:52):
Stop it stopped him.

Speaker 9 (03:11:53):
You're not on the step now, you can't stop the
out Say you don't.

Speaker 8 (03:11:56):
Drop anymore of that liquid into your eyes?

Speaker 9 (03:11:57):
Yeah, you don't go out there on the floor.

Speaker 12 (03:12:00):
Is the meaning of this?

Speaker 36 (03:12:00):
Miss your love?

Speaker 11 (03:12:01):
That isn't fu're Fluorescian. You put into her eyes? Something
else has been mixed in. She's liable to be blinded
my eyes. Somebody give me a hand.

Speaker 35 (03:12:11):
Yes, I call an ambulance at once. Here's the ambulance
at last.

Speaker 7 (03:12:28):
I'll go along.

Speaker 8 (03:12:28):
You stay here, Gloria, and keep your eyes open.

Speaker 7 (03:12:30):
Search mean he's dressing in your pos I watched Pierre
totally careful right.

Speaker 8 (03:12:35):
Here with that stretcher man.

Speaker 15 (03:12:37):
Oh my eyes.

Speaker 35 (03:12:40):
A Santa side. Please let these men through.

Speaker 8 (03:12:43):
We've got to get this girl to the hospital.

Speaker 13 (03:12:52):
Oh, such excitement.

Speaker 8 (03:12:53):
He's not good for business, miss Jean.

Speaker 4 (03:12:55):
Business.

Speaker 28 (03:12:56):
What about meaning?

Speaker 7 (03:12:57):
Oh?

Speaker 24 (03:12:57):
Yes, probably mean you know, I don't, don't. Just then
Mimi came to me tonight. She was very excited. She
has a new feature for her eye, the racing in
her eyes. It is harmless, she says, gives a beautiful
glowing color. She tells me to put it into her
eyes after I introduce her.

Speaker 13 (03:13:12):
And that is all I know. I do only as
she says.

Speaker 9 (03:13:15):
Pierre, would you mind if I looked in Mimi's dressing room?

Speaker 13 (03:13:18):
But of course, anything to help was clear at this
horrider thing. This way, I'm moving.

Speaker 9 (03:13:25):
Wait, wait, there's someone in Mimi's room.

Speaker 4 (03:13:28):
I will open it very quickly. We were surprising. Yes,
sound els, what are you doing here in Mimi's room?

Speaker 28 (03:13:35):
You know him?

Speaker 4 (03:13:35):
Oh?

Speaker 24 (03:13:35):
Of course he's the janata who sweets around the nightclub. Well,
I'm Soommy Sanders What are you doing here in Mimi's room?

Speaker 1 (03:13:42):
I'm only sweeping up and see her I always do. Well,
Mimi is out on the floor.

Speaker 9 (03:13:46):
No, we can't prove that by Mimi, so I guess
we'll just have to take your word for it.

Speaker 2 (03:13:50):
Can I go ahead with her cleaning us? No?

Speaker 13 (03:13:52):
No, you wait, we would like to look around a
bit first.

Speaker 9 (03:13:55):
This is her makeup kit, isn't it, Pierre.

Speaker 24 (03:13:57):
Yes, as far as I know, they came into Mimi's
dressing room.

Speaker 27 (03:14:01):
She was how do you say, very secretive about her
personal life?

Speaker 9 (03:14:06):
Do you mind if I open the skit? I may
pick up a few beauty hens.

Speaker 4 (03:14:11):
Coo, what's this?

Speaker 24 (03:14:14):
Perhaps it is only a love note from one of
Mimi's many admirals, nothing more but what.

Speaker 9 (03:14:20):
A strange love No here, listen to this, my dear Mimi.
One unbearable week has gone by without seeing you meet
me for supper at the usual place. You must come
your partner, that's all. And look he had to question
Mark right after the word partner. Maybe the partnership is
on the verge of being dissolved.

Speaker 4 (03:14:40):
I can make no sense of ease.

Speaker 9 (03:14:42):
I can tell me it was was Mimi married or
about to be divorced.

Speaker 4 (03:14:44):
No, no, of that, I am positive.

Speaker 9 (03:14:46):
Well, then maybe it was a business arrangement that.

Speaker 24 (03:14:49):
Could be we Yes, there was a man, a strange man,
a famous makeup artist, I believe, Yes, it was he
who gave Mimys the idea for her for racing day.

Speaker 4 (03:14:59):
What partners?

Speaker 13 (03:15:00):
Oh, but of course I'm just gassy.

Speaker 9 (03:15:02):
Well, thanks, Pierre, You've been very cooperative, almost too cooperative.

Speaker 13 (03:15:08):
Can I start sweeping again?

Speaker 7 (03:15:10):
And there?

Speaker 8 (03:15:11):
Yes, Sanders?

Speaker 13 (03:15:12):
Will that be all misty?

Speaker 14 (03:15:14):
Oh?

Speaker 9 (03:15:14):
Just one more thing, Perre, I had almost forgotten. Do
you happen to recall the name of this self advertised
partner of Mimi's?

Speaker 13 (03:15:21):
Well, I should know you know.

Speaker 24 (03:15:24):
Mimi often said he is only a master as he
aftered makeup. Yes, I remember now, Yes, his name and
it begins with a B.

Speaker 4 (03:15:37):
Saunders.

Speaker 31 (03:15:38):
But why do you.

Speaker 12 (03:15:41):
Shoot me?

Speaker 9 (03:15:42):
As you must be out of your mind? You kill him?

Speaker 1 (03:15:45):
Yes, and one peep out of you when you join him?

Speaker 9 (03:15:49):
It doesn't make sense?

Speaker 13 (03:15:50):
That what makes sense?

Speaker 8 (03:15:51):
If I'm mistained?

Speaker 12 (03:15:52):
But I'm forced to do it.

Speaker 1 (03:16:09):
Hollywood, mystery time will continue in just a moment. First, ladies,
let's talk about you. Have you made the mirror close
up test?

Speaker 7 (03:16:17):
Lately.

Speaker 12 (03:16:17):
Try it to night.

Speaker 1 (03:16:18):
It tells exactly how your complexion looks to the man
whose admiration is so important.

Speaker 74 (03:16:23):
Even if your complexion still looks fairly smooth, you may
be risking underprivileged skin. It's the tiny blemishes and ugly
pores that come from half way cleansing and clear care.
You can help avoid that risk the way many famous
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(03:16:46):
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(03:17:10):
smoother New beauty.

Speaker 4 (03:17:12):
Girls, don't delay.

Speaker 1 (03:17:13):
Begin right away with Woodbury w O O D B
U R Y Woodbury Complete Beauty Cream. And now back
to Hollywood mystery time.

Speaker 8 (03:17:38):
Sorry, what happened?

Speaker 4 (03:17:40):
I remember?

Speaker 16 (03:17:41):
Now?

Speaker 9 (03:17:42):
Sanders killed, Pierre hit.

Speaker 11 (03:17:43):
Me on the joy he escaped, and my hold element.
One thing at a time, I know Pierre is dead.
The carn is examining the body now. But who is
this Sanders?

Speaker 9 (03:17:51):
He's the janitor. He was in Mimi's room when we
went to look it over. Just as Pierre was about
to mention the name of Mamy's partner, Sanders killed him.
I saw the terrible thing right before my eyes.

Speaker 8 (03:18:01):
Did Pierre manage to say the name of Mimi's partner, Well.

Speaker 9 (03:18:04):
All he had time to say was that that it
began with a bee.

Speaker 11 (03:18:08):
No, we better let the police in on this so
they could start searching for this. Santa is the star
witness like you, Handy, It shouldn't be a hard case
for them to seve.

Speaker 9 (03:18:16):
Wait, do you hear anything.

Speaker 8 (03:18:18):
It's coming from down the hallway.

Speaker 63 (03:18:19):
Don't go see what it is.

Speaker 9 (03:18:20):
I'm coming to.

Speaker 63 (03:18:23):
Whet me up.

Speaker 61 (03:18:24):
What me out?

Speaker 8 (03:18:25):
Locked in this closet.

Speaker 31 (03:18:28):
It seems someone hit me over the head and locked
me in here.

Speaker 9 (03:18:31):
That's the man who killed Pierre. Jim I saw him.

Speaker 4 (03:18:33):
Yeah, killed me.

Speaker 8 (03:18:35):
I tell you, I've been locked up in this closet.
That's a good alibi.

Speaker 72 (03:18:37):
Santa's the closet with the door locked on the outside.

Speaker 13 (03:18:40):
But of course you could have had what the police
would call in the content.

Speaker 31 (03:18:42):
I don't know what you're talking about.

Speaker 75 (03:18:44):
I tell you someone hit me on the head and
locked me any here.

Speaker 8 (03:18:46):
I suppose you tell that to the police.

Speaker 11 (03:18:47):
It's your alibi against this young lady's vision, and knowing
her well, I'm inclined to believe her.

Speaker 9 (03:18:52):
I've watched criminals before, but that's the first one who's
ever had the nerve to contradict an eye which.

Speaker 8 (03:18:57):
I tell you, you're both crazy.

Speaker 63 (03:18:58):
I've been hit on my head the night.

Speaker 11 (03:18:59):
Maybe the blow affected his memory, or maybe that punch
in the jaw affected yours.

Speaker 13 (03:19:03):
Gloria, Which could it.

Speaker 9 (03:19:04):
Be, Jim, I tell you I saw him kill Pierre.

Speaker 11 (03:19:07):
Wait a minute, I've got an idea. Let's go out
in front you two Sanders, get up on the States Santa's.
I want to turn out the lights.

Speaker 9 (03:19:15):
What are you gonna do? Play cops and robbers and
give him the third degree?

Speaker 8 (03:19:18):
Oh, I just want to throw a little violet light
on the subject.

Speaker 9 (03:19:21):
Here goes wow, what do you see?

Speaker 2 (03:19:25):
Nothing?

Speaker 11 (03:19:25):
And it just about squashes your eyewitness report, Gloria, No,
I don't get it.

Speaker 8 (03:19:29):
Well I do. I have definite proof.

Speaker 13 (03:19:31):
Now, this man couldn't possibly be the one we're looking for.

Speaker 4 (03:19:33):
It was too easy that way.

Speaker 11 (03:19:34):
I saw him, Yes, him, or a reasonable fact, simile.
Mimi told me at the hospital that the man she
feared was an expert makeup man. And it isn't too
far first to believe he disguised himself as Sanda's here
when he committed the murder.

Speaker 9 (03:19:46):
Take up expert, of.

Speaker 8 (03:19:47):
Course, another Pierre is dead.

Speaker 13 (03:19:49):
One person in all the world knows who this man
really is.

Speaker 42 (03:19:51):
Mimi.

Speaker 11 (03:19:52):
Yes, Mimi in her life's in danger. He's probably on
his way to the hospital.

Speaker 76 (03:19:55):
Now, come on, I hope I'm not intruding me Me,
Oh you, I can't see you, but I can tell
from your boys.

Speaker 50 (03:20:11):
How did you know I was here?

Speaker 13 (03:20:12):
I heard what happened at Pierre's tonight, and I rushed
over as soon as I could.

Speaker 1 (03:20:17):
What do you want?

Speaker 8 (03:20:18):
You know what I came for?

Speaker 60 (03:20:19):
Mimi?

Speaker 34 (03:20:19):
Haven't you done enough to me?

Speaker 14 (03:20:20):
Already?

Speaker 9 (03:20:21):
My career is ruined.

Speaker 47 (03:20:22):
I may even be blind.

Speaker 8 (03:20:24):
Don't say that, MEMI don't say that.

Speaker 15 (03:20:25):
Oh.

Speaker 9 (03:20:26):
The funny part of it is, I'm glad.

Speaker 15 (03:20:27):
I'm glad.

Speaker 9 (03:20:28):
Yes, I'm glad that me.

Speaker 31 (03:20:29):
Me, you're making too much noise.

Speaker 8 (03:20:30):
You'll disturb the other patient.

Speaker 12 (03:20:32):
Let the whole world know, I'm glad, glad.

Speaker 1 (03:20:35):
Quiet, I tell you through your half right, Mimi, you're fruit.
I handle your mouth will silence you for a moment,
and this knife silence you for an eternity.

Speaker 9 (03:20:56):
Hell, come quick, it's been an accident, Doloria. What's all
this car? Something's gone wrong?

Speaker 25 (03:21:03):
Through?

Speaker 15 (03:21:04):
Please?

Speaker 9 (03:21:04):
What's happened, Jimmy?

Speaker 8 (03:21:06):
Is she's going on in my favor?

Speaker 12 (03:21:08):
Too late?

Speaker 8 (03:21:08):
Say?

Speaker 35 (03:21:09):
Did any of you people see a man.

Speaker 1 (03:21:10):
With a well, I don't know what.

Speaker 8 (03:21:11):
He looks like.

Speaker 19 (03:21:12):
You got here, per sae, miss did you see anybody?

Speaker 15 (03:21:14):
Yeah?

Speaker 4 (03:21:14):
I was down at that end of the hall.

Speaker 1 (03:21:15):
I heard a woman scream and rush towards this door
just as a man came turn out of the rum
at full speed.

Speaker 8 (03:21:19):
Did you got a chance to see him?

Speaker 1 (03:21:20):
And he was wearing dark blue overall?

Speaker 8 (03:21:22):
What'd he look like?

Speaker 1 (03:21:23):
Well, he had a great beard, but from the way
he ran, I'd say he was years younger than he looks.

Speaker 9 (03:21:27):
That was him, jim Still, this guy's a sander.

Speaker 11 (03:21:28):
Oh, I suppose you run downstairs and check the door
attendants find out if they've seen him.

Speaker 1 (03:21:32):
Okay, I'll be right back, say well, that be all
from me.

Speaker 31 (03:21:34):
I'm in kind of a hurry.

Speaker 11 (03:21:35):
This one more question, mister. I don't believe I caught
your name Forbes. Robert Forbes. Seems rather odd to me
than a man in the street clothes would be walking
through a hospital hall at two in the morning.

Speaker 8 (03:21:44):
Well you're not a doctor, are you?

Speaker 2 (03:21:46):
No?

Speaker 1 (03:21:46):
You see, my wife's having a baby on the next floor,
and I just walked down here to the sort of well,
relieve the tension.

Speaker 8 (03:21:51):
Oh, I can understand that.

Speaker 1 (03:21:52):
Do you mind if I leave now?

Speaker 13 (03:21:54):
Maybe something's happened. I've been to wait ten minutes.

Speaker 8 (03:21:56):
Sorry, yeah, you go out ahead, by the way. I
hope it's a.

Speaker 9 (03:21:58):
Boy, Jim, it is a man, answering Sanders description entered
the building at one forty five am, and no one
saw him leave.

Speaker 11 (03:22:06):
We'll check maternity to see if missus Forbes is having
a baby, Groy, We've got to find our criminal within
the next twelve hours, or what proof I have will
be gone.

Speaker 9 (03:22:13):
Surelock, dear, what kind of talk is guy?

Speaker 11 (03:22:16):
I can't take time to explain now, Gloria, come on,
let's get down to maternity. I want to see mister
Forbes again. Tell me nurses there are missus Forbes in
the delivery room.

Speaker 9 (03:22:37):
Yeah, why this sudden interesting baby?

Speaker 71 (03:22:40):
No, missus Forbes already had her baby, an eight pound boy,
an hour ago.

Speaker 72 (03:22:44):
An hour ago, nurse, it's very important that I see
mister Forbes.

Speaker 2 (03:22:47):
Where is he?

Speaker 9 (03:22:48):
Well, you'll find him in the waiting room. I believe
he's completely recovered. Jim, what's going on? Will somebody please
explain something?

Speaker 8 (03:22:55):
A lot of things may be explained in a minute.
Anyone here named for it's me.

Speaker 9 (03:23:01):
Wait a minute, Jim, that's not our mister Forbes.

Speaker 77 (03:23:03):
What do you know?

Speaker 1 (03:23:04):
Just tell a boy in my first one?

Speaker 50 (03:23:06):
Two?

Speaker 8 (03:23:06):
He thanks?

Speaker 11 (03:23:08):
By the way, are you the only Forbes having a
baby here tonight?

Speaker 31 (03:23:11):
Only one?

Speaker 12 (03:23:11):
I know him?

Speaker 4 (03:23:12):
Hey, what do you mean by that trick?

Speaker 8 (03:23:15):
Nothing? Nothing at all? And I'm was Forbes.

Speaker 35 (03:23:16):
Thanks for the cigar and congratulations, Gloria.

Speaker 11 (03:23:21):
Call me Rattlebrainer stupid and I deserve it me too.
He's clever, all right to think of an alibi like that.
It's a good actor too, as well as a good
makeup artist.

Speaker 9 (03:23:29):
It must have been pretty desperate to take the chance.

Speaker 11 (03:23:32):
It's pretty crazy too. Let's see. I know two facts
about mister what's his name. First of all, I know
he's an expert makeup man and second, one fact at
a time, Gloria, Right now, we're going to visit every
makeup man in town.

Speaker 9 (03:23:44):
Right now it's three am. I think you're the one
that's crazy.

Speaker 11 (03:23:48):
Don't you understand, Gloria, time is the keys of this mystery.
We've got to check every makeup man within twelve hours,
and we lose our proof entirely.

Speaker 9 (03:23:55):
Oh there you go again. What's all this twelve hour talk?
You talk like a sailor on it.

Speaker 15 (03:23:59):
Surely?

Speaker 11 (03:23:59):
First going to stap at Professor Davidson's the Farescian Experts,
I'm want to borrow that vil ray flashlight that are
used in his lecture this morning.

Speaker 9 (03:24:05):
You go borrowing flashlights and I get further and further
in the dark.

Speaker 11 (03:24:22):
Well, this is number four on our list of makeup
man room. Each one seems to be living in a
shadier neighborhood.

Speaker 9 (03:24:28):
This place is not only shady, it's a complete blackout.
You better be careful with Professor Davidson's flashlight. I don't
think the last guy believed it when you said you
came to read his meter. This is two thirteen, all right,
What a weird light in this whole way?

Speaker 8 (03:24:46):
Where's the directory?

Speaker 10 (03:24:47):
Oh, here it is in the wall. Let me see
Borgia theatrical makeup room.

Speaker 2 (03:24:52):
To a.

Speaker 8 (03:24:53):
Let's be ahead of these stairs.

Speaker 4 (03:24:54):
Well, let's go, Jim, Jim, I I don't like this.
You're not scared.

Speaker 9 (03:25:00):
I'm scared. You can call me a Dutch chuckle.

Speaker 12 (03:25:05):
Cat.

Speaker 14 (03:25:05):
I'm so mean fool.

Speaker 9 (03:25:09):
Oh there sound like their fugitives from a Frankenstein picture.

Speaker 8 (03:25:15):
This should be the wrong. Yeah, to a Bora, it's funny.
Nobody else is.

Speaker 10 (03:25:24):
Oh, maybe he's just sound sleeper. Boria must be a
trusting soul.

Speaker 9 (03:25:29):
He leaves his door open. I don't think we'd better
disturb him, Jim.

Speaker 8 (03:25:35):
Let's go, steady, Gloria, we're going in.

Speaker 4 (03:25:36):
That's what we came for.

Speaker 9 (03:25:40):
Booria's first name must have been Raymond.

Speaker 8 (03:25:43):
That's a familiar order.

Speaker 9 (03:25:44):
Definitely not my favorite perfume.

Speaker 8 (03:25:46):
It sounds more like a hospital.

Speaker 9 (03:25:50):
Somebody brock the door? Did you Jim?

Speaker 21 (03:25:51):
No?

Speaker 2 (03:25:51):
Did you about wrong?

Speaker 75 (03:25:52):
Eye?

Speaker 39 (03:25:53):
Locked the door?

Speaker 9 (03:25:55):
Sounds like what's the name Jim out?

Speaker 28 (03:25:56):
Can we be sure?

Speaker 8 (03:25:57):
The spoil the rays flashlight? I'm gonna turn his own watch.

Speaker 14 (03:26:01):
His eyes they're glowing?

Speaker 9 (03:26:04):
What green eyes he has?

Speaker 1 (03:26:06):
The better to kill you with my dear, if you're
overly curious boyfriend, but lower's light, you'd see a shining
black gun pointing straight at him.

Speaker 13 (03:26:12):
I'll lower my flashlight run in your eyes.

Speaker 9 (03:26:18):
If I could only find the light here? Did they're
both out? I guess you call it a drawer. Oh,
favor me and Jim Darling, wake up?

Speaker 17 (03:26:31):
Wake up?

Speaker 13 (03:26:33):
Where am I not?

Speaker 32 (03:26:34):
You?

Speaker 12 (03:26:35):
Boy? Oh?

Speaker 9 (03:26:37):
I should keep you quiet for a while. Where is
he daring?

Speaker 17 (03:26:43):
He's out?

Speaker 8 (03:26:44):
Then he got away, don and you just.

Speaker 9 (03:26:46):
Go back to sleep. Let Gloria handle everything.

Speaker 31 (03:27:04):
Hello, Hello, Jim, did I wake you?

Speaker 50 (03:27:07):
No?

Speaker 8 (03:27:07):
No, I've been up all night waiting for this thrilling moment.

Speaker 9 (03:27:11):
Oh, I'm sorry, idea, but it's nine o'clock and I
couldn't wait any longer. You've slept enough anyhow.

Speaker 13 (03:27:15):
Shoot I mean, don't shoot up. Oh I don't know
what I mean.

Speaker 4 (03:27:18):
My head's killing me.

Speaker 9 (03:27:20):
Jim, listener, I figured it all out. You stopped Mimi's
act last night because you saw a yellow blow and
you knew pure florescian under thought it ray shine.

Speaker 4 (03:27:29):
Free bride in deduction.

Speaker 11 (03:27:31):
If you'd been listening to Professor Davidson yesterday morning instead
of eyeing all the Joe colleges. You'd also have known
that Florescian can remain in the eye for only twenty
four hours.

Speaker 8 (03:27:41):
That's why we had to work so fast.

Speaker 11 (03:27:43):
Bourgie demonstrated to Mimi how to use Florescian by actually
dropping the pure liquid into his own eye. Mimi told
me that, so for twenty four hours he was a
marked man.

Speaker 47 (03:27:53):
Of course, Jim, I give.

Speaker 9 (03:27:57):
Me an idea, a wonderful idea for our next picture.
The first Killer Diller and Technicolors. The mash now an
expert makeup man who uses a series of clever disguises,
so the detective always thinks he's somebody else when he
commits the murders, and then he finally is trapped by
Fluorescian in his eyes.

Speaker 8 (03:28:15):
That's too fantastic, glory.

Speaker 11 (03:28:17):
The public would never believe it, honestly, and what kind
of a detective would be dumb enough to be fooled
by disguises?

Speaker 4 (03:28:23):
Of what am I saying?

Speaker 13 (03:28:41):
Now, Hollywood Beauty News, that's good.

Speaker 9 (03:28:43):
News for you for lovely skins.

Speaker 74 (03:28:46):
Glamorous Marlene Dietrich advises the beauty method made famous by
many Hollywood stars. It's the Woodbury beauty Nightcap with Woodbury
complete beauty cream. At bedtime, Marlene swirls on the luxurious
cream that cleanses thoroughly. Next she removes it and smooths
on a fresh film of Woodberry. Leave it on overnight,

(03:29:07):
Marlene says Woodbury helps vanish flaky roughness and tiny dry
skin lines.

Speaker 9 (03:29:12):
By morning, skin.

Speaker 74 (03:29:14):
Feels wonderfully refreshed, so smooth you just can't help looking irresistible.

Speaker 42 (03:29:19):
You can try.

Speaker 1 (03:29:20):
Woodburry for as little as ten cents. When you're lovelier.
Enchantment registers, you'll want Woodburry's dollar twenty five economy size.
Remember for complete beauty care Woodberry Complete Beauty Cream. Hume
in again next week at the same time for Woodbury's
double feature Luella Parsons with exclusive news about your favorite

(03:29:42):
movie stars and another thrill and laugh packed story with
Carlton Young and Gloria Blondell in the Hollywood Mystery Time.
Be sure to listen, won't you missus? James Doyle saying
good night for Woodberry for the skin You'll love to tye.

Speaker 4 (03:29:57):
Truth is stranger than fiction. This is the truth. This
if ric is believe it or not.

Speaker 1 (03:30:10):
The Pond of the Apostles in Chipperfield England is circled
by eleven lime trees, each named for an apostle. A
twelfth tree, named Judas, was blown down by the wind.

Speaker 61 (03:30:20):
They lave it or not.

Speaker 1 (03:30:21):
In a moment, I'll tell you about a fantastic burglar alarm.
The fabulous moongate of the Imperial Palace of Ofang near
Baping was built twenty three hundred years ago of solid
loadstone the magnetic iron ore as a protection against assassins.
The magnetic attraction of the moongate would betray anyone attempting
to enter the palace with a concealed metal object. Thus,

(03:30:44):
Opang's ingenious moongate anticipated by more than twenty three centuries.
The electronic eye. Believe it or not, The National Broadcasting
Company presents the Adventures of Sam Spade.

Speaker 16 (03:31:02):
Detective Sam Stay is sative agency.

Speaker 10 (03:31:14):
Me sweetheart, dam A man named five Dollars Frankie call
up and said he's putting two dollars in your name
on a sure.

Speaker 19 (03:31:20):
Thing at some track or other.

Speaker 1 (03:31:22):
Well, that's nice to hear.

Speaker 9 (03:31:23):
I don't think it is at all.

Speaker 19 (03:31:25):
You know, I don't approve of your gambling.

Speaker 4 (03:31:26):
Say Effie, you do.

Speaker 11 (03:31:28):
Some things I disapprove of, But do I snipe at you. No,
that's about it.

Speaker 1 (03:31:32):
And besides, I didn't place the bet.

Speaker 2 (03:31:34):
It was placed for me.

Speaker 12 (03:31:35):
I don't care.

Speaker 19 (03:31:36):
It's the principle of the thing I don't like.

Speaker 1 (03:31:37):
I suppose I put it this way.

Speaker 11 (03:31:38):
Fee, that two dollars bet on a sure thing was
more than just a money bet. It was a gamble
on the inherent goodness of the human soul.

Speaker 19 (03:31:45):
Oh, Sam, you're just trying to confuse me.

Speaker 11 (03:31:47):
I am, but I'll straighten everything out to your satisfaction.

Speaker 2 (03:31:49):
I trust.

Speaker 13 (03:31:50):
When I appear at the office with a highly.

Speaker 1 (03:31:51):
Stylized and rather charming saga of horse players and the
world they live in, what else but the sure Thing?
Caper or NBC William Spear Radio.

Speaker 11 (03:32:07):
Is outstanding producer, director of mystery and crime drama, brings
you the greatest private detective of them all in the
Adventures of Sam's Baid. Yes, and I hope you always
are at the wages I pay you.

Speaker 9 (03:32:24):
I'm glad you brought that up, SAT when I pay them.

Speaker 19 (03:32:26):
I don't want to start an argument, but I do
need some new clothes.

Speaker 9 (03:32:29):
You want me to put up a good front, don't you.

Speaker 31 (03:32:31):
I will rephrase my answer.

Speaker 1 (03:32:33):
Yes, Well, if if you can hold warp and looks
together for a few weeks, I have a feeling we'll.

Speaker 4 (03:32:38):
Be rolling in dough, driving big cars and wearing.

Speaker 9 (03:32:41):
Make oh you mean that all congestion?

Speaker 31 (03:32:44):
Enough of your sneering?

Speaker 8 (03:32:47):
Can you hear me out?

Speaker 1 (03:32:47):
Weigh the evidence, and maybe you'll feel different. I doubt it.

Speaker 9 (03:32:50):
No good comes of playing the horses.

Speaker 11 (03:32:52):
Dates fill it in two five dollars, frank A care
of five dollars.

Speaker 17 (03:32:58):
What does as?

Speaker 1 (03:32:58):
I don't think he has one f as I get it.

Speaker 11 (03:33:00):
He was born just before a gold Cup handicapapimicole, and
they didn't have time to give my last name and
place a vet too, so they chose the bet.

Speaker 9 (03:33:06):
Oh San, that's awful.

Speaker 1 (03:33:08):
What do you mean awful?

Speaker 12 (03:33:09):
At horse?

Speaker 11 (03:33:10):
Paid eighteen to one, Well well to get on two
five dollars Frankie, care of Patterson Smoke Shop, Myrtle Street, City,
from Samuel Sucker Spade, San Francisco, license number one three seven,
five nine six, subject the sure thing caper Deer.

Speaker 1 (03:33:24):
Five dollars Frankie for you to be seen at the
r of one pm post time anywhere but at the
track is truly a veritable, unbelievable occurrence. So in my
door pivoted open Monday it said R, and a short
gent with thirty six shoulders and a forty four long
plaid coke came in My eyes told me it was you,
but my mind screamed no. I checked your wide brim

(03:33:48):
pork pires zooke, gabardine slacks, swayed and alligator winged fifth shoes,
and it's still repeated, you.

Speaker 13 (03:33:55):
You, you, Sammy, do not look as if you have
just lamthor ghosts.

Speaker 1 (03:34:00):
It is I five dollars, frankly. But at this hour, Frankie,
what is it? You're watch broken? Did you lose your way?
Your sleepwalking?

Speaker 9 (03:34:06):
What?

Speaker 78 (03:34:06):
No, sam I am in complete possession of my faculties good,
and I came here with the full knowledge of my intellect.
I even see through the crystal of my time piece
that it is one o'clock, the hour from which.

Speaker 13 (03:34:18):
They break from the barrier.

Speaker 78 (03:34:19):
Right, but I have not been drinking, and as far sleepwalking,
that is strictly for gents with unhappy marathal relationships.

Speaker 1 (03:34:25):
All right, Frankie, I'm forced to agree with you that
you're standing in front of me instead of the five
dollar window. Now, what's the dope?

Speaker 4 (03:34:31):
Well.

Speaker 78 (03:34:31):
Ordinarily I do not resort to hiring a strong arm
to consummate my business dealings, naturally, there being a full
supply of such muscles lying around the back room of Patterson.

Speaker 4 (03:34:40):
Smoke Shot loose.

Speaker 78 (03:34:42):
But when the job calls for both packed and muscle,
I am forced to roam far abroad in sights.

Speaker 42 (03:34:48):
Of the same.

Speaker 11 (03:34:48):
You mean you have a job for me, A real
honest to see this got job that'll pay money.

Speaker 78 (03:34:52):
Well, with the ordinary Shamus, I might try to offer
a little paduct chatty, you know, yes, But with you, Sammy,
would you I will tender point of the realm good.
I will pay you, of course, in five dollar.

Speaker 1 (03:35:03):
Bills, as is my wont in advance.

Speaker 78 (03:35:05):
Ten twenty thirty, twenty fifty, ten times five figures. Now,
do you veritably consider yourself in my employees?

Speaker 1 (03:35:13):
I am veritably in the race.

Speaker 78 (03:35:14):
Frankly good Now, Sammy, leave it to be understood by
both parties that I am not powdered you off on
any sour deals. A rather curious situation has arisen, and
I will explain it to you candidly, as they say
at Citan novels which I have not read well.

Speaker 1 (03:35:29):
Most novels lose so much in the translation true truth.

Speaker 78 (03:35:32):
Yeah, my narrative begins yesterday, to be exact, yesterday, There
heels impose into the back room of Patterson smoke Shop
a jim whose face was once as familiar to me.

Speaker 15 (03:35:42):
As my own.

Speaker 31 (03:35:43):
By name, said Jen.

Speaker 15 (03:35:44):
They call him a gentle Joe.

Speaker 1 (03:35:46):
Higgins, gentle Joel.

Speaker 78 (03:35:47):
Yeah, a horse trainer by profession, which in our civilized
society stands second only to jockey's an.

Speaker 1 (03:35:52):
Important granted, granted, no argument.

Speaker 78 (03:35:55):
Well, I say to gentle Joel, it has been some time,
gentle Joel since I see your about, and he says,
I have gave up the old life for the new,
as I no longer am welcome at the track since
a certain embarrassing incident five years ago.

Speaker 1 (03:36:08):
What incident was that Frankie a horse.

Speaker 78 (03:36:10):
Doping job, the illegal type. Ah, which depresses me to relate,
so I will not ethics. Yeah, Well, gentle Joe looks
a little voice for the wear, his clothing being littlely shabby.
M Oh, I figure a touch, and I am preparing
a story that will ring tears from a tax collector.
Even what what gentle Joe does not mention the word touch? Instead,

(03:36:34):
he announces he has a sure thing. Sammy, you know
how those words do to a horse place.

Speaker 1 (03:36:40):
It's like throwing a bail of catnip to a lion.

Speaker 78 (03:36:43):
Oh, my arter is open to let the blood through faster.
My nerves give off loud, ringing noises, and my mind
is already computing.

Speaker 8 (03:36:51):
Of course.

Speaker 11 (03:36:51):
Well, before I can stop myself, I have pressed five
hundred rocks in gentle Joe's hand, begging him to place
them on the same sure thing.

Speaker 1 (03:36:59):
I have done the same thing under the circumstance, of course.

Speaker 78 (03:37:02):
But gentle Joe says it will take at least.

Speaker 13 (03:37:05):
Fifteen hundred rocks to pull off the deal.

Speaker 50 (03:37:07):
Oh.

Speaker 78 (03:37:08):
He further advises me that the horse in question is
due to retain twenty rocks to one.

Speaker 1 (03:37:13):
So you gave him the other times?

Speaker 78 (03:37:14):
Well, not having it in my jeans at the time,
I cut two other business and professional friends in on
the grave, Dinosaur Thorelli and Bones Moten five builds a pitch,
and then gentle Joe rushes out of Patterson's and has never.

Speaker 1 (03:37:27):
Been heard from again.

Speaker 13 (03:37:29):
A sad tale.

Speaker 1 (03:37:30):
Do you think he just stole the money?

Speaker 78 (03:37:32):
Sam, gentle Joe Higgins is a horse player, not a
common sneak bee.

Speaker 1 (03:37:37):
I'm sorry, sorry, but did he leave time?

Speaker 78 (03:37:40):
He did not, or the advice of certain informers, I
tracked this gentle Joe to a ramble shack or rooming
house on clod Street two forty one to be sad Am.
And there the trail gets.

Speaker 1 (03:37:51):
Very cold, very cold, and deeds he's made his move.

Speaker 78 (03:37:54):
No, no, no, But he had a landlady who would
not let me in with you. Oh, she is a
frightening pace to behold. She is indeed half wild cat
and half witch.

Speaker 1 (03:38:03):
I'll deal with her, heah, and tell gentle.

Speaker 78 (03:38:07):
Joe that I am not an overly suspicious person, but
also relate to him my position. Dinosaur Paurellian bones molten
are two such gents as it is wise not to
cross rough back fence. Gossip has it they are the
Undertaker's best friend. Indeed, it is also rumored they are
behind their.

Speaker 13 (03:38:26):
Quota for the month.

Speaker 78 (03:38:28):
Well, oh when Sam at Bay Meadows, Yeah, a bad
cod nothing going today.

Speaker 11 (03:38:38):
In preparation for my meeting with this redoubtable landlady, I
ran through my repertoire of low mean places in front
of the mirror, leaving smoking holes in the glass, and
then I stamped out, heading for the rooming house on
Clark Street two forty one. The big exact I not,
was answered by well, it was even worse than.

Speaker 7 (03:38:58):
You told me.

Speaker 1 (03:38:59):
She was coming a sen sent What.

Speaker 12 (03:39:02):
Do you stand in there for?

Speaker 19 (03:39:04):
You're shaking my geraniums?

Speaker 4 (03:39:06):
Oh?

Speaker 1 (03:39:07):
No, well, sirrycups.

Speaker 19 (03:39:09):
Teacup, curly, I ain't that old.

Speaker 4 (03:39:11):
Day, madam?

Speaker 11 (03:39:12):
Perchance do you house in this quaint colonial inn the
fine old gentleman called gentle Joe Higgins, you the laark?

Speaker 1 (03:39:19):
No, I'm in business for myself.

Speaker 4 (03:39:20):
You see this?

Speaker 7 (03:39:21):
Oh?

Speaker 9 (03:39:22):
One thing I hate version. The lore is private detectives.
Can't trust them? Nope, she never have.

Speaker 19 (03:39:28):
Any money, look, never want to pay anything.

Speaker 9 (03:39:31):
Always want something for nothing.

Speaker 1 (03:39:34):
Surely no good out of pocket pickers who should.

Speaker 19 (03:39:37):
All be boiled and oil and sold in a pittel or.

Speaker 1 (03:39:40):
Snarling One moment, madam, madam, look at this fool.

Speaker 69 (03:39:44):
Well that's kind of crinkling and like to hear, I
thought you would you wouldn't mind having a mattress.

Speaker 19 (03:39:51):
To pull that green paper curly.

Speaker 11 (03:39:53):
It is a pleasure, distinkly to be able to present
it to such a charming, witty and gay woman I
guess as yourself.

Speaker 1 (03:40:00):
Now come in, come in right?

Speaker 7 (03:40:02):
Aye?

Speaker 8 (03:40:04):
Yes, Now where did you.

Speaker 4 (03:40:05):
Say, Gentle Joe could be located?

Speaker 9 (03:40:07):
Door the left?

Speaker 1 (03:40:08):
Thank you kindly.

Speaker 19 (03:40:11):
Go knock somewhere.

Speaker 1 (03:40:12):
Yeah, your timing, madam, and I should add defarge was
a little sadistic. Now give me my five back.

Speaker 9 (03:40:18):
You heard my proposition.

Speaker 11 (03:40:20):
I've heard enough, madam. You have acted in a very
hateful manner.

Speaker 19 (03:40:25):
Another five.

Speaker 9 (03:40:26):
I'll let you wait in his room.

Speaker 1 (03:40:27):
Madam, you are a dressdend no matter what anybody says.

Speaker 69 (03:40:32):
Can the tower wave you lots?

Speaker 34 (03:40:34):
Let's go, let's have a ball.

Speaker 11 (03:40:41):
Once in General Joe's room, I closed the door, thus
separating myself from that skid rowe bankhead. While I was waiting,
I kissed the room spartan, a bed, the chair, addresser,
a racing form, some worn clothes, various mementos and pictures
of his better days at the track. I was studying
an old print of Equipoise when Gentle Joe turned up.

Speaker 1 (03:41:02):
Yeah she was a great stretcher, and it wasn't she.

Speaker 22 (03:41:04):
Yeah?

Speaker 1 (03:41:05):
Yes, indeed a violent one body one.

Speaker 64 (03:41:07):
And nip and hardly damp.

Speaker 1 (03:41:08):
At the end.

Speaker 4 (03:41:08):
Well yeah, yeah, yeah, don't don't.

Speaker 1 (03:41:10):
Look up set that's the spade.

Speaker 35 (03:41:12):
Fanny.

Speaker 1 (03:41:12):
Fanny told me that you were a detective waiting for
Oh she's a swell chit.

Speaker 42 (03:41:16):
Yeah.

Speaker 77 (03:41:17):
Yeah, Fanny's impetuous, but a good sort.

Speaker 4 (03:41:18):
Yeah.

Speaker 1 (03:41:19):
It keeps the right people out and lets the wrong
ones in. Fine judge of characters. No, you're generous, sir.
I'm about to have a cup of tea.

Speaker 4 (03:41:26):
Will you join me?

Speaker 8 (03:41:26):
Be delighted.

Speaker 1 (03:41:27):
I'll just take the water out of the tap.

Speaker 40 (03:41:31):
It's odd enough.

Speaker 1 (03:41:32):
Well, hell, gentle Joe, I'm I'm here on a rather
painful mission. How he didn't goes the tee? Uh five dollars? Frankly,
he thinks you caged him out of fifteen hundred dollars.
Now for the water and the two tough friends that
they are looking for your scout, Yeah.

Speaker 2 (03:41:46):
There we are.

Speaker 1 (03:41:48):
How will just let that steep a while and we'll
have us a pickups.

Speaker 31 (03:41:50):
Do you hear anything I said?

Speaker 1 (03:41:52):
Of course, every word. I know why you're here. Those
men are worried about their money. Well, the next time
you see them, you tell them not like you said,
this sure thing of yours was going to return twenty
to one eyes.

Speaker 13 (03:42:04):
That's a lot of money.

Speaker 1 (03:42:05):
Oh it will, it will all of that, maybe even
many times more.

Speaker 79 (03:42:07):
Yeah, yes, it's a sure thing.

Speaker 1 (03:42:09):
You mean the race hasn't been run off yet.

Speaker 21 (03:42:10):
Yeah, there we are.

Speaker 1 (03:42:11):
Now I think the tea should be ready. Well, now
this is yours, thank you, and this is mine. Ah
ah adajelan flowering pico. There's no finer tea as an
almond flavor. Yeah, it's peculiar to the region, especially pronounced
in last year's crop. That's well, show we get back

(03:42:34):
to business. Yes, now you tell those gentlemen that they
have no need to fit about their money.

Speaker 4 (03:42:38):
It'll be returned to them.

Speaker 1 (03:42:39):
Many times over, many many times over. Are you feeling
all right, mister spain Groggy? They'll look back on this
investment with considerable pleasure and pride, and some day they'll
be able to say the thing.

Speaker 7 (03:42:52):
Too stupid, Sam.

Speaker 1 (03:42:58):
Nobody had to give me a salive attest to.

Speaker 13 (03:43:00):
Guess what happened.

Speaker 1 (03:43:01):
That nice, sweet gentle old man had doped me right
up to the ears. I tried to stand up at
my legs were like two wet pieces of spaghetti, and
I went down. Gentle Joe went right on talking and smiling.

Speaker 11 (03:43:11):
Until everything was nothing. When I came to Joe was gone,
and so was my faith and horse people. Fanny had
made herself scarce too, and.

Speaker 1 (03:43:22):
I stumbled alone out into the daylight for resuscitation. It
took walking, coffee, whiskey, and a bowl.

Speaker 11 (03:43:28):
Of raspberries to bring me around. I eventually found a
safe haven in my own office. Sam Spade, Detective Agency,
mister hangover sea.

Speaker 2 (03:43:38):
Mister Spade, this is general Joe.

Speaker 9 (03:43:40):
What listen?

Speaker 1 (03:43:41):
Yeah, I know, I know how upset you must be
over my little deception, little this such it was out
to a good purpose, mister Space. You see, I had
to get out of there in a hurry with the
minimum of discussion. I seem to remember you were hustle
out of the racing game for doping a few three
year olds. Well that's what some people in official circle spell.
But mister Spate, I want to apologize to you and
tell you that I.

Speaker 2 (03:44:02):
Will be able to explain everything to you.

Speaker 12 (03:44:03):
Are satisfaction for me?

Speaker 31 (03:44:05):
No no matter?

Speaker 13 (03:44:07):
Say wait, hello, hello, hello, hello.

Speaker 1 (03:44:16):
Somebody put the phone back on the hook, so I
hung up and dial a friend at the telephone exchange.
She quickly paced the number. The call came from the
Sunset Stables out near Bay Meadows, I dialed back, but
nobody answered, so I beat it out there. It was dark,
and the only person I could rouse was a young
stable boy.

Speaker 40 (03:44:31):
Now what do you want?

Speaker 31 (03:44:32):
My name is Spade.

Speaker 1 (03:44:32):
A guy named General Joe was calling me from hearing
something happened for him.

Speaker 13 (03:44:35):
Gentle Joe Higgins, that's what I said.

Speaker 15 (03:44:37):
Oh I haven't seen him.

Speaker 39 (03:44:38):
In two or three years.

Speaker 1 (03:44:39):
Now, look, don't give me that he called from here?

Speaker 31 (03:44:41):
Now where is he?

Speaker 28 (03:44:42):
I love?

Speaker 35 (03:44:42):
Beat the way before, I screamed.

Speaker 39 (03:44:43):
For the CODs.

Speaker 1 (03:44:44):
All right, I'll look myself. I say, you can't know,
but I did. There were two phones inside the stables,
both hanging on posts. The second one had the number
of the phone company had given me, and although someone
had tried to it up with sawdust on the floor
under the phone, where three tea bags and somebody had

(03:45:05):
done a lot of bleeding, looked like Gentle Joel's parley
had run out. By listening to the weekly adventure of
radio's most famous detective, Damn Spade, three chimes mean good

(03:45:36):
Times on NBC. There's music and Mystery on NBC every
Saturday night. For Music Tomorrow, your Hit Parade brings you
the top tunes in the Land as elected by you
and presented by Raymond Scott's orchestras Nukie Lanson and Eileen Wilson.
For Mystery Tomorrow, Herbert Marshall stars as the Man called
at In all the strange and far off places of

(03:45:56):
the world, wherever there is intrigue, danger in romance, there
you will find the man called in. Hear him tomorrow night.
And now back to the sure Thing Caper Tonight's adventure
with Sam's bade.

Speaker 11 (03:46:20):
I caught her the stable boy and questioned him about
the blood under the phone and about what could have
happened to General Joe Higgins. Nothing just wouldn't talk, and
he was too small to beat up, so I went
looking for the stable manager. He lived in a small
white house behind the exercise ring. He wasn't too happy
at being awakened, but when I explained things, he came
down to the stable with me. I Canada sent a
missus spade. General Joe Higgins hasn't been around here for

(03:46:42):
at least two years. With the boy told me, you see,
for doping a horse once he can't come near a
track or the stable.

Speaker 4 (03:46:47):
We let him hang around here.

Speaker 1 (03:46:48):
The Racing Commission and find us finally called from here
and something happened to him. The number of the phone
company gave me matches up with one of your phones
with a lot of blood on the floor too.

Speaker 21 (03:46:57):
Who are now?

Speaker 1 (03:46:58):
Which phone?

Speaker 4 (03:46:58):
Was it that one?

Speaker 12 (03:47:00):
All right, let's look at it.

Speaker 1 (03:47:01):
This is the phone and here is a wait a minute,
come in here here now, tell mister Kemp here what
was on the phone when I came in? Nothing? Nothing,
but I tell you other theor was blood?

Speaker 22 (03:47:14):
Day?

Speaker 1 (03:47:14):
Oh no, honest, nothing, mister Spade. This boy has been
with me for five years.

Speaker 11 (03:47:18):
He's perfectly reliable, but so am I.

Speaker 12 (03:47:20):
But what do you think happened?

Speaker 11 (03:47:22):
I think somebody used this old man for a punching baby.

Speaker 1 (03:47:24):
Maybe you'd better go home and sleep on it, mister Spade.

Speaker 75 (03:47:26):
We'll talk about it tomorrow.

Speaker 7 (03:47:28):
Don't humor may make this ted talk.

Speaker 2 (03:47:29):
Mister Kemp.

Speaker 1 (03:47:30):
This guy's tappy, Danny.

Speaker 4 (03:47:32):
Are you certainly there was no blood or no gettle Joe, mister.

Speaker 11 (03:47:35):
Kemp, I'd swear on my father's grave is necessary, you see,
mister Spade. I calmed down in a little while and
searched the place myself. I came up with exactly nothing
but an attack of hay thief and a horsey smell.
And I suddenly wondered why I cared about General Joe
at all after what he'd done to me. So I

(03:47:56):
went home and called five dollars Frankie.

Speaker 78 (03:47:59):
You'll shaw you have convice with Gentle.

Speaker 1 (03:48:01):
Joe twice, and both under rather trying circumstances.

Speaker 31 (03:48:04):
Frankie, once I.

Speaker 1 (03:48:05):
Was doped, and once something happened to him.

Speaker 78 (03:48:07):
I take it he did not heed the message I
employed you took innviyce.

Speaker 1 (03:48:10):
So far he hasn't heeded anything.

Speaker 57 (03:48:13):
Uh.

Speaker 78 (03:48:13):
Then he is, without a doubt inconsiderable trouble, I would say. So,
it seems that my business associates, Dinosaur Parelli and Bone's
Mowden have blown their tops and gone looking for Gentle
Joe with something special in mind, something like assassination.

Speaker 8 (03:48:26):
I was afraid of that.

Speaker 78 (03:48:27):
Mayhaps they have already contacted Gentle Joe for an accountant.

Speaker 4 (03:48:31):
Certainly, mayha.

Speaker 1 (03:48:32):
So I think they've already mowed him down, and there
is nothing further.

Speaker 72 (03:48:35):
For us to convise about.

Speaker 32 (03:48:36):
Sam.

Speaker 15 (03:48:37):
It is history, and it will be recorded.

Speaker 13 (03:48:39):
Fustly well, if you say so, and if I might tender.

Speaker 78 (03:48:42):
A bit of advice, I would say, pop into the Simmons, Sammy,
and knock yourself off. A few hours of that, ever,
love and forgetfulness, and when you arise you will have
a race from your mind the names of gentle Joe
Higgins and yours truly five dollars Frankie for some time
to come.

Speaker 11 (03:49:02):
I was tired and it seemed smart to take his advice,
so I did.

Speaker 13 (03:49:06):
I went to bed.

Speaker 1 (03:49:09):
It must have been three in the morning when something
woke me up. It was a ghost with a big
white head tiptoeing into my room. I thought was so
absurd that I turned over and started back to sleep.
That's when the ghost touched me and I grabbed for him.
Let me go to state, Let me go, it's me,
gentle Joe. Will I turn on a light.

Speaker 77 (03:49:26):
Of course I look a little different, the bandages around
my head, with my conturbule.

Speaker 1 (03:49:30):
What happened to you? I was in mister Kemp's house
when you were searching the stave.

Speaker 7 (03:49:34):
Stupid me.

Speaker 77 (03:49:35):
I should have come out then, but I didn't. And
then I got to thinking I certainly owed you some
kind of an explanation. Oh, I found your addressing.

Speaker 1 (03:49:43):
Came here all right, I'll collect the explanation. Now, First,
what was a dope for?

Speaker 8 (03:49:46):
Well?

Speaker 77 (03:49:47):
I was afraid you might take me back to five
dollars Frankie in this fence before I did what I
had to do.

Speaker 1 (03:49:52):
Would you care to tell me what that was? I
wanted to buy a horse with their money. Yes, with
their money. They thought you were betting it on a horse,
A sure thing. I know, I know, but let me explain.
I was thrown off the tracks for doping a horse.
I needed money, But that that's another story. After five
years I could get my trainer's license back.

Speaker 2 (03:50:13):
Tell me more.

Speaker 1 (03:50:14):
Do you know what it is to love horse fresh
and not be able to go near it for five years? No,
the bank tail bug never got me. You can't con
guys like frank and his thugs out of some money
to buy a horse whenever you want one.

Speaker 42 (03:50:25):
There's more to the story.

Speaker 1 (03:50:26):
The horse I dope didn't get into the race, and
the jockey had to ride another mount.

Speaker 2 (03:50:32):
He was thrown and killed.

Speaker 4 (03:50:35):
Well, I was too bad.

Speaker 1 (03:50:36):
I felt that I'd murdered the man. His name was
Sandy Bean. Andy Bean, that stable boy at Sunset Stables,
any relative, his son, Ah, His wife and son ran
out of money and they'd had a hard time of it.
I'd worked as a janitor for the past five years,
trying to raise enough money to buy them a horse
to help make up for what I did.

Speaker 8 (03:50:55):
How much did you say?

Speaker 1 (03:50:56):
Only fifteen hundred dollars? The horse I wanted, two year
old name sure Thing, costs three thousand ah.

Speaker 2 (03:51:04):
Things are beginning to clear up now.

Speaker 1 (03:51:05):
How did you figure you to take money from Frankie
the lay Well? Frankie and his friends made a lot
of money off Sandy Bean when he rode.

Speaker 2 (03:51:11):
I figured it wouldn't.

Speaker 1 (03:51:11):
Hurt them to pay a little of bit back. I
don't think they'd see it that way. I wasn't stealing
the money. I was going to give each of them
a ten percent of the horse. I didn't dare pull
it until after i'd bought it. Well, General Joe, maybe
they'll see the light, but I doubt it.

Speaker 77 (03:51:24):
I was going to take ten percent for training to
give the other sixty to missus Bean and her son Danny.

Speaker 1 (03:51:30):
He'll make a good jockey, and sure Thing is a
great horse. I know, I know they'll make a lot
of money.

Speaker 2 (03:51:35):
Off of it. It's a noble plan.

Speaker 1 (03:51:38):
Tomorrow my five years is up, and I wanted to
give them the horse.

Speaker 8 (03:51:41):
Then I see who ropped you up?

Speaker 13 (03:51:43):
When I was talking to you on the phone.

Speaker 1 (03:51:45):
Danny was backing a horse into the stable and it
got excited, it started kicking, and I was in the way.

Speaker 4 (03:51:49):
I thought maybe you had been done in.

Speaker 15 (03:51:51):
I know.

Speaker 77 (03:51:52):
That's why I came to see you and explain things.
Can you do anything to help me?

Speaker 1 (03:51:57):
Well, there's no need wave a gun around here, Get up,
you gent to Joe.

Speaker 4 (03:52:03):
We've been looking for you around in a bun now dinosaur.

Speaker 8 (03:52:06):
Now we were steeve and you joke.

Speaker 1 (03:52:09):
Come look, you're not gonna take him out here without
a fight.

Speaker 13 (03:52:12):
We wouldn't mind this as much as we come A
quipped with a little tilly.

Speaker 1 (03:52:17):
I didn't still get shut up? All right, all right,
knock at all. You want some of the same if
you think you can do it, And it turned out
they could. Why not carell he's gonna aside. Hit him
with a hard left and he didn't go down. I'd
try a right down and knee, then a couple of
elbow and I was just getting ahead of that game
when something hit me across the face in front of

(03:52:37):
Colt forty five on my forehead. I know this sounds repetitious,
but I went out again, honest, I did. Really, I'm sorry.
Appropriately it was gone when I woke up cold and headache.
Of course I was alone. General Joe Higgins was the
victim of a successful snatch, and I had an idea
of what might have happened to him. I dressed and

(03:52:58):
started looking all over time, but I didn't have any luck.
Kenny wasn't until I was eating breakfast and met a
police sergeant. I know that I got a tip burn
and send hello, sergeant, what happened you? I tried the kisser.
I didn't know they made those kendeyns anymore.

Speaker 8 (03:53:11):
Let them sit out pleasure.

Speaker 1 (03:53:13):
Yeah, we got a homicide this morning.

Speaker 2 (03:53:16):
Yeah who who knows?

Speaker 4 (03:53:17):
Just no?

Speaker 1 (03:53:18):
Man found him in the park.

Speaker 4 (03:53:19):
Somebody really worked you moving? And what do you look like? Oohs?

Speaker 7 (03:53:22):
Five?

Speaker 2 (03:53:23):
Ten? Watch?

Speaker 4 (03:53:23):
Oh clothes?

Speaker 12 (03:53:24):
Probably bum?

Speaker 8 (03:53:26):
Where's he morre?

Speaker 2 (03:53:27):
Eh?

Speaker 1 (03:53:27):
Else he's putting a run down on him.

Speaker 7 (03:53:29):
Now, yell, I'll see your later card.

Speaker 4 (03:53:31):
Thanks.

Speaker 1 (03:53:31):
Hey, Sam, I haven't finished your breakfast. They let me
in my morgue and I took a look at the corpse,
and once I saw it, I knew just where I
had to go. I caught a cab out of the
Sunset stables. The horses were just having a roller loas
when I pulled in and Danny Bean, the stable boy,
was there, dressed in his cleanest LEVI, what do you want?

Speaker 8 (03:53:51):
Where's the show going to be? What show?

Speaker 7 (03:53:53):
Gettle?

Speaker 2 (03:53:53):
Joe?

Speaker 8 (03:53:54):
Give you the horse?

Speaker 1 (03:53:54):
Isn't this a day?

Speaker 53 (03:53:55):
Okay?

Speaker 1 (03:53:56):
So you know see, I'm sorry about last night, missus Spade.

Speaker 13 (03:53:59):
I had to keep it secret to get it.

Speaker 1 (03:54:00):
To get it, he did the right thing.

Speaker 4 (03:54:02):
When's the ceremony in.

Speaker 15 (03:54:03):
About an hour?

Speaker 8 (03:54:04):
Right here?

Speaker 15 (03:54:04):
You want to wait?

Speaker 4 (03:54:05):
Sure? Sure I would miss it for the world.

Speaker 8 (03:54:11):
Of course I cheated a little.

Speaker 1 (03:54:13):
I didn't tell you who it was I saw and
the Lord.

Speaker 11 (03:54:15):
The truth was, I didn't know it wasn't gentle Joe Higgins, though,
and so I reasoned dustly, if Torelli and Moulton didn't
finish him off in the night, he must have gotten
out of it somehow. It was a resourceful old man,
and I was sure nothing short of death would keep
him from presenting.

Speaker 1 (03:54:27):
Danny with a horse on the day he played. And
I was right.

Speaker 11 (03:54:31):
An hour later he came walking in leading the prettiest
jestnut mayor i'd ever seen, and was a smile two
feet wide on his face. And behind him, carrying blankets,
a saddle and riding colors were who else five dollars Frankie, Dinosaurs,
Arelli and bone smoke.

Speaker 12 (03:54:45):
Well this is a surprise.

Speaker 1 (03:54:48):
It was a pleasant one.

Speaker 21 (03:54:49):
Yeah, this is sure Thing.

Speaker 53 (03:54:51):
Oh she she is indeed?

Speaker 77 (03:54:54):
How did you do it?

Speaker 2 (03:54:55):
Gentle joon?

Speaker 1 (03:54:55):
Where was the state? I just invited the moment to
my place to have a cup of tea? You get it? Yeah,
while we was a half out to explain the whole
thing to us, Dan like good.

Speaker 2 (03:55:05):
Deal and may we can win both ways?

Speaker 7 (03:55:07):
And then the window.

Speaker 2 (03:55:10):
Horse just waiting to cross.

Speaker 1 (03:55:11):
The finish line.

Speaker 78 (03:55:12):
Sally boy, this is indeed a signal occasion. Huh, this
is the first time I have ever been this close
to a horse, and me being a horse player. By sure,
I am already talking to sure Thing and explain to
her our financial position. Oh, she has assured me she
will ramp home first more times than that.

Speaker 1 (03:55:30):
Well, gentlemen, shall we do what we came here to do?

Speaker 7 (03:55:32):
Sure?

Speaker 1 (03:55:33):
Leave us make the present. Come on, come on, let's
get in the business.

Speaker 46 (03:55:36):
You have the animal already, I agree, Danny.

Speaker 77 (03:55:40):
Yes, mister Higgins, Danny, the four of us are giving
you this horse sure thing in memory of your father,
the late Great Sandy b Thank.

Speaker 13 (03:55:53):
You, Thank you, sir.

Speaker 2 (03:55:56):
He's a beauty, isn't she.

Speaker 31 (03:55:59):
I feel like I was just born writer Wilson.

Speaker 42 (03:56:04):
Rider wealth.

Speaker 8 (03:56:13):
And I think he will period.

Speaker 7 (03:56:16):
End of report.

Speaker 1 (03:56:19):
It was so beautiful, A simple, old fashioned type story.

Speaker 31 (03:56:23):
If we feel we can use.

Speaker 2 (03:56:24):
One now and then.

Speaker 9 (03:56:25):
And I'm glad nothing happened to anybody because.

Speaker 1 (03:56:27):
I just love them all, everything considered.

Speaker 4 (03:56:30):
If they weren't half bad?

Speaker 1 (03:56:31):
Now, how about typing it up?

Speaker 61 (03:56:33):
I love you.

Speaker 1 (03:56:40):
Three chimes mean good times. On NBC, there's music and
fun in the air Tomorrow evening style to suit your
Saturday night of merrimon. Dennis Day brings you songs in
comedy in his charming, boyish manner, and then Judy Canova
gets together with her frolicsome friends for Mountain Melody and Mayhem,
followed by Grand Olofrey with singing mc red Foley in
his game. It's a Saturday night of fun designed for you,

(03:57:11):
all types of let me say no, you captured five
dollar Frankie's peculiar style perfect and that wasn't easy, Sam,
I was just.

Speaker 19 (03:57:19):
Thinking we ought to contribute something along with everybody else.

Speaker 9 (03:57:22):
Did that horse?

Speaker 14 (03:57:23):
You know that sure Thing?

Speaker 11 (03:57:24):
I probably will Effie a few dollars here, a few
there whenever it's running.

Speaker 12 (03:57:27):
Well, I didn't mean, Benny.

Speaker 19 (03:57:29):
What I mean is, for example, it's it's gonna need
a lot.

Speaker 17 (03:57:32):
Of hay, isn't it?

Speaker 4 (03:57:33):
Bails and bails?

Speaker 69 (03:57:34):
Well, my cousin's frisby, because how long I'll have him
save the grass and send up the stable.

Speaker 1 (03:57:38):
Effie, you are a noble creature. But I think sure
Thing can get along without your little loss.

Speaker 9 (03:57:43):
Well, i've seen horses wearing stocking.

Speaker 19 (03:57:45):
Couldn't I need a pair?

Speaker 8 (03:57:46):
Two pair?

Speaker 4 (03:57:47):
Two pair?

Speaker 1 (03:57:48):
But let's not lose our heads.

Speaker 11 (03:57:49):
Fire Dollar, Frankie and his pals will take good care
of sure Thing. How about worrying about taking care of me?

Speaker 14 (03:57:55):
All right?

Speaker 31 (03:57:55):
Yes?

Speaker 17 (03:57:56):
Did you use some grass? Some socks?

Speaker 8 (03:57:59):
Ef not off this horse talk?

Speaker 1 (03:58:01):
Well?

Speaker 11 (03:58:01):
Yeah, we're almost at the wire now. People are just
champing at the bit for the payoffs.

Speaker 9 (03:58:06):
Let's finish neck and neck.

Speaker 1 (03:58:09):
Why not come here, sure Thing?

Speaker 77 (03:58:13):
Night?

Speaker 4 (03:58:15):
Good night sweet.

Speaker 1 (03:58:30):
The Adventures of Sam Spade are produced, edited and directed
by William Spears. Sam Spade was played by Stephen Dunn.
Loreen Tuttle is Effie wally Meyer was gentle Joe. Script
for Tonight's adventure by John Michael Hayes, Musical scoring by
lud Gluskin, conducted by Robert Armbrewster. Join us again next week,

(03:59:01):
same time for another adventure with Sam's Bath.

Speaker 49 (03:59:17):
The Seal Book once again.

Speaker 75 (03:59:41):
The Keeper of the Book has opened the ponderous door
to the secret vault, wherein has kept the Great Sealed Book,
in which has recorded all the secrets and mysteries of.

Speaker 49 (03:59:54):
Mankind through the ages.

Speaker 75 (03:59:57):
Here are tales of every kind, tale of murder, of madness,
of dark deeds, strange and terrible, beyond all belief. Keeper
of the Book, I would know what tale we tell
this time. Open the great Book and let us read.

Speaker 49 (04:00:17):
Slowly. The Great Book opens.

Speaker 21 (04:00:27):
One by one.

Speaker 49 (04:00:29):
The Keeper of the Book turned the pages.

Speaker 2 (04:00:34):
And stops.

Speaker 75 (04:00:36):
Are the strange story of three people who ventured into
a long lost cavern, a cavern cursed by the ancient Aztecs.

Speaker 21 (04:00:46):
A tale called I'll Die Laughing.

Speaker 75 (04:01:41):
Here is the tale I'll Die Laughing, as it is
written on the pages of the Sealed Book. It begins
in one of the big old houses on Knob Hill
in San Francisco. John Dayton, a huge, fat, middle aged man,
is laughing at a store. The doctor Smith, this personal
position has just told him.

Speaker 21 (04:02:06):
Say, Doc, that's a good I remember that. You'd better
remember the other things I told you too, John, I will, Doc,
I will. Thanks for dropping in.

Speaker 36 (04:02:19):
That's quite all right by John.

Speaker 21 (04:02:24):
What did he say?

Speaker 50 (04:02:26):
Did he think the dizzy spells you've been having with serious?

Speaker 21 (04:02:29):
Oh, of course not, he said, I'd love to be Maddie.
He just told me to stop working so hard at
the office and learn to take things easy.

Speaker 63 (04:02:37):
You have been spending too much time at the office, John, Well, I.

Speaker 21 (04:02:41):
Am thinking of taking a vacation, a long vacation. Now.
Please excuse me, Dear. There's someone upstairs and study waiting
to see me.

Speaker 33 (04:02:48):
John.

Speaker 50 (04:02:48):
Who is that horrible looking old man waiting.

Speaker 9 (04:02:51):
Up there for you?

Speaker 21 (04:02:52):
Well, I'll explain that, lady.

Speaker 4 (04:02:53):
Dear.

Speaker 21 (04:02:54):
Oh, say, when Harvey gets here, set him right up
to the study.

Speaker 50 (04:02:56):
With you, all right, John, Yes, Oh, Harvey.

Speaker 7 (04:03:11):
Come in.

Speaker 21 (04:03:11):
Hello.

Speaker 79 (04:03:12):
Laura Jung Kung said he wanted to see me, Sean. Yes,
he's upstairs now, Laura, listen, Is it about us?

Speaker 32 (04:03:18):
Oh?

Speaker 50 (04:03:19):
No, he doesn't suspect anything. This is about something else.

Speaker 63 (04:03:22):
He is a perfectly weird old man up there with him. Now, Yes,
I know an old prospect, the named Gid big Gord.
What do you mean? Well, this Gordon came, so I
talked to him.

Speaker 79 (04:03:31):
He told me a ridiculous story about a lost Aztec
treasure in a secret cave in New Mexico. I knew
it was just the kind of thing that John would love.
So I told Gordon to come and see John here
at the house. And I warned him to be sure
not to mention having spoken to me. But why I
want John to decide to go looking for that treasure
and to take us along.

Speaker 50 (04:03:50):
I don't understand, Darling.

Speaker 79 (04:03:53):
John is like a boy in many ways, but he
isn't a complete fool. He finds out about us, we'll
both be out in the coal. You would lose this
lovely mansion and all the things you enjoy so and
i'd lose my job as lawyer for the John Dayton Enterprises.

Speaker 50 (04:04:06):
Oh, I tell John we love each other in that and.

Speaker 63 (04:04:09):
Live in a garret someplace on love and a crust
of bread.

Speaker 21 (04:04:11):
No, Lord, it wouldn't work.

Speaker 50 (04:04:13):
No, No, I suppose not.

Speaker 2 (04:04:15):
What are we going to do?

Speaker 79 (04:04:17):
Suppose something should happen to John an accident, saying Harry.

Speaker 63 (04:04:22):
You don't mean yes, John, I'm on my way up now,
right away, John.

Speaker 21 (04:04:40):
Harvey, this is Gimpy Gordon, the prospecting Jippy. This is
Harvey Lewis, my legal advisor. Howdy, mister Lewis Harvey, I've
just paid Gimpy here five thousand dollars for a map
showing the location of a buried ass, take treasure and
a hunted cave. What yeah, better sit down on that one. Ahha,

(04:05:01):
Well where is this treasure? Well, however, you've heard of
the Devil's Cavern, haven't you? Tremendous cave mentioned in early
historical records of the Southwest, but apparently lost the last
three or four hundred countries.

Speaker 63 (04:05:12):
Why yes, I've read something about it.

Speaker 79 (04:05:15):
Supposed to have miles of winding passageways in which a
man could wander for weeks without.

Speaker 63 (04:05:19):
Finding a way out. That's the one, and I found it.

Speaker 21 (04:05:23):
Well. The gist of the story is this. In fifteen
fifty four, a Spanish looting expedition led by a nobleman
named de Mendez had acquired a great wealth of jewels
and gold figurines, which de Mendes put into three small
brass bound chests. I see going, Johnny, Well, this treasure
just made de Mendez greedier. A story whispered to him
by an Aztec priest led him the Devil's cave, and

(04:05:46):
de Mendez and his men entered the cave, onted to
find out they'd fall into a trap. The Aztecs attacked
them and all were killed. But de Mendees he found
his way into a great central cavern about a half
mile from the entrance of the cave. And then that
cavern as a natural chef like a well.

Speaker 26 (04:06:03):
The Devil's well, that's the name of it. It bubbles
and gurgles, and a way to drive a man.

Speaker 21 (04:06:10):
May take it easy, can't be taken easy? Well, Harvey,
the Mendez reached this Devil's well, and when the Astecs
closed in on him, he threw the treasure into the
well and leaped in after it himself. So the priest
sealed up the cave and put a curse.

Speaker 7 (04:06:24):
On it, a curse.

Speaker 63 (04:06:26):
Oh, come now, John, you don't believe in that.

Speaker 21 (04:06:28):
Oh it's true, It's true, mister Lewis.

Speaker 26 (04:06:31):
The curse was that nobody who went into the cave
to get the treasure could ever get out again alive.

Speaker 21 (04:06:37):
They was doomed to die there, I see.

Speaker 79 (04:06:41):
But you say you went into the cave and came
out again alive, so it can't be much of a curse.

Speaker 26 (04:06:46):
Oh but it is, mister Lewis. It killed Pedro, my Indian,
and it's still after me. I wouldn't go back there
again if it was worth a men.

Speaker 79 (04:06:57):
Assuming your story is true, how could anyone on their
way into the cavenaut again?

Speaker 26 (04:07:02):
There's a stream marking the root, mister Lewis. Two months
ago me and Pedro found the entrance. We tied the
string to a rock and went in, letting it unroll
behind us. Took us a week, it did, to find
our way to the big room where the Devil's well is.

Speaker 3 (04:07:20):
But we made it.

Speaker 1 (04:07:21):
Huh.

Speaker 4 (04:07:22):
And then what happened?

Speaker 21 (04:07:23):
Well?

Speaker 26 (04:07:23):
I had one hundred foot rope and some big hooks.
We fished around in the well for the chests, and
by and by we drew one of them up. You
actually fished up one of the treasures.

Speaker 2 (04:07:36):
Yeah.

Speaker 26 (04:07:37):
It was about so long and so wide and six
inches high. I shook it and we could hear the
jewels rattle inside of it.

Speaker 63 (04:07:47):
Where is it now?

Speaker 21 (04:07:48):
What happened to it?

Speaker 12 (04:07:49):
Well?

Speaker 26 (04:07:49):
When Pedro seen the chest, he grabbed for it and
tried to push me into the well well. I ducked,
and Pedro got hold of the chest, when all of
all of a sudden he fell over into the well
with it.

Speaker 2 (04:08:03):
Oh what did you do?

Speaker 42 (04:08:04):
Oh?

Speaker 21 (04:08:04):
I run for it before the cave and the well
could get me too.

Speaker 26 (04:08:08):
I followed the string back and I didn't stop till
I was outside all away. I heard Pedro calling to
me for help, And now now whenever I hear the well,
I hear him too, calling to me, still calling to me.

Speaker 21 (04:08:28):
Well, Harvey, that's the story, and making all due allowances.
I think it's well worth investigating, don't you.

Speaker 79 (04:08:36):
It is an interesting on, John, and I think it'd
be a lot of fun to look into it. Whether
we find any treasure.

Speaker 21 (04:08:41):
Or not, good, then we'll do it, you and me
and Laura. There'll be a vacation for all of us. No, No,
what is it, Gimpy, what's the matter?

Speaker 49 (04:08:50):
Look that the Devil's well.

Speaker 60 (04:08:54):
I hear it again.

Speaker 4 (04:08:55):
It's calling me.

Speaker 21 (04:08:56):
Oh, come now, Gimpy, you're letting your nerves get the better.

Speaker 15 (04:08:59):
No, no, I hear it.

Speaker 21 (04:09:01):
I tell you listen.

Speaker 63 (04:09:05):
We don't hear a thing, Gordon, just your imagination.

Speaker 15 (04:09:07):
No, no, I hear it.

Speaker 63 (04:09:10):
I hear it.

Speaker 42 (04:09:17):
She me keep share.

Speaker 23 (04:09:22):
Well, I hear it.

Speaker 21 (04:09:24):
And Pegros calling to me, I hear it. Nonsense, your imagination.

Speaker 63 (04:09:31):
He's trying to think.

Speaker 49 (04:09:40):
That's pay in the well.

Speaker 63 (04:09:45):
He's calling to me. He don't let him.

Speaker 21 (04:09:51):
H good grief. He's dead.

Speaker 17 (04:10:00):
The old.

Speaker 15 (04:10:29):
Name.

Speaker 75 (04:11:41):
And now to continue the story as it is written
in the Sealed Book, The doctor's examination showed heart failure
to be the cause of Gimpee Garden's death, not an ancient.

Speaker 49 (04:11:54):
As text curse.

Speaker 75 (04:11:56):
In spite of the tragedy, John Dayton went ahead with
his plans with undiminished enthusiasm. Laura, his wife, protested, but
Harvey added his persuasion to John's, and at last she
agreed to go on the treasure hunt with them. A
week later, they were ready, John's car loaded with all
the necessary equipment.

Speaker 34 (04:12:17):
Harvey, I've hardly had a chance to speak to you
all week before John comes and we start out.

Speaker 14 (04:12:23):
You must tell me what are you planning?

Speaker 79 (04:12:25):
Why, Laura Darling, We're just going on a treasure hunt,
an expedition from which I expect to return with a fortune.

Speaker 14 (04:12:33):
A fortune from a lost cave.

Speaker 31 (04:12:35):
You're not serious, Oh, but I am.

Speaker 79 (04:12:38):
There'll be a fortune that I can claim for my
own after we return, a very beautiful fortune.

Speaker 50 (04:12:44):
You, my dear Harvey, you don't know what you're saying.

Speaker 21 (04:12:48):
I do.

Speaker 63 (04:12:49):
It's the only way out.

Speaker 79 (04:12:50):
That's what I had in mind when I sent Gimbe
to John in the first place. I've been thinking for
a long time that John would have to have an accident.

Speaker 63 (04:12:57):
Harvey, I'm afraid must just leave everything to me. I
don't know what to do when the time comes.

Speaker 36 (04:13:03):
Let me get back.

Speaker 31 (04:13:04):
We'll be able to be together.

Speaker 4 (04:13:06):
Always, Yes, yes, I know.

Speaker 14 (04:13:08):
But suppose someone suspects no one will.

Speaker 79 (04:13:11):
After all, on an expedition of this kind of accidents
of bomber happening, no one will be able to prove
a thing against us.

Speaker 21 (04:13:35):
And just imagine our guess Wilson and Dack Arnold will
look when we invite them over and show them a
couple of chests full of old Aztec jewelry. Their eyes
will pop right out of their heads.

Speaker 10 (04:13:47):
John, for heaven's sake, stop laughing anymore.

Speaker 21 (04:13:51):
Oh, what do you mean stop laughing? Oh, Laura, what's
wrong with laughing?

Speaker 49 (04:13:55):
I like to laugh?

Speaker 21 (04:13:56):
And when I die, I hope i'll die laughing.

Speaker 40 (04:14:00):
Well, if you.

Speaker 63 (04:14:00):
Don't stop at John, I'll die.

Speaker 75 (04:14:10):
After that, all three were silent as they drove.

Speaker 21 (04:14:14):
The afternoon of the second day.

Speaker 75 (04:14:16):
They turned off the highway and carefully following Gimpey's chart,
threaded their way through a series of narrow canyons until
they reached a spot between two towering cliffs beside a
great black rock gave the dark mouth of a cavern.

Speaker 49 (04:14:33):
John directed the unloading of the.

Speaker 75 (04:14:34):
Car that he led the other two or few feet
into the mouth of the cavern, until he found there
the end of a slender white string that led into
the cave, losing itself in the darkness.

Speaker 21 (04:14:46):
Look, there's the string. Well it's old Gimpy Gordon telling.

Speaker 63 (04:14:51):
The truth or not, certainly looks as if he was.

Speaker 50 (04:14:54):
We're not going to explore the cavern, now, are we.
Let's wait until morning?

Speaker 21 (04:14:58):
Oh nonsense, my, There now as good a time as any. Harvey.
You and Laura go ahead of your flashlights. Laura can
carry the rope, and you carry the food, and I'll
bring the grappling hook.

Speaker 63 (04:15:07):
All right, John, Ready, Laura, I'll wait it a second.

Speaker 21 (04:15:10):
I want to try this little special device I brought
along to make sure we don't get lost. A bottle
with a sprayed top and the colorless liquid in it.
Why don't get it, John, what's that for? I told
you it's to make sure we don't get lost. Now watch,
I'll spray some of the ink and his bottle on
the wall of the caverns. There. Now I've sprayed the

(04:15:30):
spot on the wall. Now shine a flashlight on it.

Speaker 63 (04:15:34):
Well, I don't see a thing.

Speaker 21 (04:15:38):
That's because the ink is a special invisible type. You see,
the ink only shows up when you look at it
through special glasses. Now here, Harvey put on these colored glasses.
All right, John, But you see why, George, you're right.
The ink has a greenish glow when you look at
it through the glasses. Ah, you see, it works. I'm

(04:15:58):
going to use this bottle to spray the ink and
the walls of the cave and it'll mark the proper passage.

Speaker 63 (04:16:02):
Oh John, you always have to amuse yourself with something
silly like that.

Speaker 21 (04:16:06):
Don't It isn't silly. You'll give us a double check
and the right root, so we can't get lost. Now,
you two start, I'll bring up the rear, and every
ten feet I'll squirt a little of this stuff on
the wall. Then we won't have to worry about Gimpey's string.

Speaker 75 (04:16:28):
Uncertainly, the little party groped its way forward through winding
passageways that opened constantly into dozens of other passages. They
would have been lost in no time but for the
slender white string that led them ever deeper than the
echoing depths. Half an hour later they came out into
a great chamber far below the surface. Huge stelectites hung

(04:16:52):
from the ceiling, glistening damply in the beams of their flashlights.
They advanced a little way into the underground chamber and
put down the ropes and the other equipment they were carrying. Hello,
gurgling and moaning of water echoed through the cavern.

Speaker 21 (04:17:08):
That's the sound, Gimby mentioned, Harvey. It means you've reached
the devil's well. Look over here, a round opening in
the floor of the cabin.

Speaker 63 (04:17:16):
Yes, this is it all right, John, Be careful, don't.

Speaker 21 (04:17:19):
Worry about me. Laura. You stay there with our equipment
if you like.

Speaker 63 (04:17:23):
See water isn't gurgling anymore.

Speaker 21 (04:17:26):
No, Oh, but Gimpy said it came in Williams. Must
be an underground stream causing it, say, Harvey, hine.

Speaker 2 (04:17:33):
Your life hmm.

Speaker 21 (04:17:34):
One hundred feet at least, and to think there's a
fortune down under that water. All right, George, before we
go back, what do you say we drop the grappling
hook down and see what we can find?

Speaker 16 (04:17:42):
Now?

Speaker 63 (04:17:43):
Yeah, sure, all right, Jonah'll admit I'm kind of curious myself.

Speaker 21 (04:17:46):
Harvey, give me the rope and the grappling hook, will you.
We may bring up one of those chests the first try,
of course.

Speaker 63 (04:17:51):
John, I won't take a second to try all that. Laura.
Have you got the rope there? Yes, right here, Harvey.

Speaker 17 (04:17:58):
You're not going to do it now?

Speaker 4 (04:18:00):
Yes, yes I am. There's no sense in waiting.

Speaker 79 (04:18:02):
We'll be out of here in thirty minutes, free to
laura own life, just as we.

Speaker 63 (04:18:05):
Wish it was tangled. John, I'm bringing it now.

Speaker 31 (04:18:11):
Just keep you new, Laura, be all over in a minute.

Speaker 63 (04:18:13):
Here's the rope, John, and the.

Speaker 21 (04:18:15):
Grappling hook too. Oh fine, let's give me a hand
with it. Harvey, what are you doing?

Speaker 26 (04:18:21):
Just giving you the rope? John, but not quite as
you expected. Yeah, I try to move your arms. Why
you've bound my arms to my side?

Speaker 21 (04:18:31):
Harvey. What's the meaning of this.

Speaker 63 (04:18:32):
I'll tell you what it means.

Speaker 49 (04:18:33):
John.

Speaker 63 (04:18:34):
It means that you're about to die.

Speaker 21 (04:18:36):
Die if you've gone crazy, you fool.

Speaker 63 (04:18:38):
Why do you think I arranged this silly treasure trip anyway?

Speaker 4 (04:18:42):
You arranged?

Speaker 21 (04:18:42):
Why I arrange?

Speaker 63 (04:18:43):
That's what you think. But you're wrong, old Gimby.

Speaker 79 (04:18:45):
Gordon came to me first with this ridiculous story, and
I passed him on to you, and you were to
give Laura and me the opportunity we needed to get
rid of you.

Speaker 2 (04:18:53):
Laura, is this true?

Speaker 21 (04:18:55):
Are you in this with Harvey? This this murder plot?

Speaker 61 (04:18:58):
Hurry?

Speaker 9 (04:19:00):
Sorry?

Speaker 21 (04:19:01):
Oh so it is true. You two brought me here
to kill me, and I thought, yeah, what a joke
on me. You won't think it a joke.

Speaker 79 (04:19:16):
Along in just a minute, Joe going down, and then well, John,
story will tell us that you got tangle in the rope,
tripped and fell in. If anyone comes to fish out
your body, Johnny, it was an accident.

Speaker 21 (04:19:28):
If anyone comes to bishop my body, oh that's a joke.

Speaker 2 (04:19:34):
Heavy.

Speaker 21 (04:19:35):
You don't know how good a joke, it is, But
you will, you will make him stop.

Speaker 63 (04:19:47):
Goodbye, Joe.

Speaker 14 (04:19:56):
He loved when you pushed him off me said he'd laughing.

Speaker 63 (04:20:02):
Laura, put yourself together. It's all over now, do you
hear It's all over?

Speaker 21 (04:20:07):
I'm all right.

Speaker 63 (04:20:09):
Let's get away from here. Let's get out of here.

Speaker 75 (04:20:12):
No, and now to continue the story as it is

(04:21:58):
written in the Sealed Book, Lauren Harvey, with a guilty
feeling in their very souls, started back to the entrance
of the cave, following always the trail of the slender
white string.

Speaker 21 (04:22:12):
But their progress seems.

Speaker 75 (04:22:14):
So slow, all too slow, and they're hurry to get
away from what they were leaving behind in the Devil's well.

Speaker 50 (04:22:23):
Harby, hurry, can't you go any faster?

Speaker 63 (04:22:25):
No, Laura, I don't dare do. If I tried to
go any fast, the string might break.

Speaker 2 (04:22:29):
And the what is it?

Speaker 50 (04:22:31):
Why have you stopped?

Speaker 63 (04:22:32):
Come to the end of the string.

Speaker 14 (04:22:34):
What do you mean?

Speaker 9 (04:22:35):
You can't here?

Speaker 14 (04:22:36):
And we're near the entrance, Yet.

Speaker 63 (04:22:38):
The string ends here. It's tied to a piece of rock.

Speaker 17 (04:22:41):
No, No, it can't end here.

Speaker 75 (04:22:42):
It must be broken.

Speaker 9 (04:22:43):
Look for the other end of it.

Speaker 26 (04:22:45):
H here's the rest of it. Neatly coiled upon this ledge.
And here's an envelope underneath it, a fresh white envelope.

Speaker 14 (04:22:52):
It was John.

Speaker 63 (04:22:54):
It's one of John's jokes.

Speaker 14 (04:22:55):
At it quick? What does that say?

Speaker 79 (04:22:59):
Dear Laura and Harvey? For some time I have known
what was going on between you two. It's time you
were both told a lesson. When old gimpy Gordon came
to me with his story, I saw my way clear
to do so, and I have worked out a plan,
a plan that will be in operation when you read
this letter.

Speaker 31 (04:23:19):
This is my plan.

Speaker 79 (04:23:21):
As we enter the cave, I shall send you two
on ahead. I shall follow and remove the string from
the entrance of the cave to the point where you
find this letter. After we have reached devils well, I
shall contrive somehow to slip away from you two, leaving
you alone together. You will of course follow the string
back toward the mouth of the cave, but when you

(04:23:43):
come to the end where this letter is, you will
be forced to stop.

Speaker 14 (04:23:46):
So John plan this.

Speaker 9 (04:23:48):
He wants to kill us.

Speaker 79 (04:23:50):
I shall be able to find my way in and
out of the cave by means of the special luminous
ink which I.

Speaker 21 (04:23:56):
Shall spray on the walls.

Speaker 79 (04:23:57):
As I go in, my colored glasses will enable me
to see the ink where your eyes will see nothing.
I shall leave you alone in the cave for twelve hours,
and if at the end of that time you can
still stand the sight of each other, I shall cheerfully
step out of the picture. Or during those twelve hours

(04:24:19):
you should get well acquainted with each other's true character.

Speaker 50 (04:24:22):
A beasties.

Speaker 79 (04:24:24):
You ask why I do this, because Doctor Smith has
told me that at best I can hope to live
not more than six months, and under the circumstances, I
don't much care what happens. My little joke on you
is all the punishment I care to inflict. At least
you'll always remember that a man is not a fool

(04:24:46):
just because he likes to laugh a lot. Signed John Dayton.

Speaker 63 (04:24:52):
That's all of it, Laura, Holly, Hobby, listen, he's laughing, Holly,
he's laughing this. I'll stop it. Laura, it's just your nerves.
You've got to get hold of yourself. But we'll never
get out of here you. We never will, Hobby. That's
why John laugh when you kill him. That's why he's laughing. Now, Laura,

(04:25:12):
put yourself together.

Speaker 61 (04:25:13):
He played a joke on his and now he's laughing.

Speaker 63 (04:25:18):
Oh, we're going to get out of here. I tell
you we are. We're not never in a million years, all.

Speaker 21 (04:25:24):
I tell you the same way John planned to get out.

Speaker 26 (04:25:26):
He marked the wall of the cabin with special luminous
and didn't he Well, those mars will lead us out too.

Speaker 63 (04:25:31):
You here, they'll lead us off, No they won't.

Speaker 9 (04:25:34):
You have to have special glasses.

Speaker 26 (04:25:37):
Yes, but we'll go back to the well where we
left the equipment and get the glasses and then we'll
be all right.

Speaker 2 (04:25:42):
Oh no, he won't.

Speaker 49 (04:25:44):
That's why he's laughing.

Speaker 50 (04:25:47):
Class in his pocket when you pushed him in the devil's.

Speaker 61 (04:25:50):
Hobby he has.

Speaker 75 (04:26:04):
And that is the tale of vi'le die Laughing, as
it is written in the Sealed Book. For days, Lauren
Harvey wandered through one corridor after another seeking the entrance
of the cave. John's laughter record in their ears as
time and time again they ran into blank walls.

Speaker 4 (04:26:23):
Weeks later, a searching bodies.

Speaker 75 (04:26:24):
Found their bodies lying a scant hundred.

Speaker 21 (04:26:27):
Yards from the entrance of the cave.

Speaker 75 (04:27:34):
And now, keeper of the book, before you close the
great book, show us the tale we tell next time.

Speaker 8 (04:27:43):
This one.

Speaker 49 (04:27:45):
Ah, Yes, why this is amazing. It's the tale of a.

Speaker 75 (04:27:50):
Mad killer who lived alone in a great country house,
that is until two murderers came to live with him,
a tale.

Speaker 49 (04:28:00):
Called Design for Death.

Speaker 75 (04:28:13):
Be sure to be with us again next time when
the sound of the Great Gong harolds another strange and
exciting tale from.

Speaker 49 (04:28:25):
The Seal Book.

Speaker 75 (04:28:33):
The Sealed Book, written by Bob Arthur and David Cogan,
is produced and directed by Josh McGregor.

Speaker 22 (04:28:44):
Man.

Speaker 2 (04:29:00):
Mysterious character who waits the forces of law and order
is in reality Lamont Cranston, wealthy young man about town.
As the Shadow, Cranston is gifted with hypnotic power to
cloud men's minds so that they cannot see. Cranston's friend
and companion, the lovely Margot Link, is the only person
who knows to whom the voice of the invisible Shadow belongs.

(04:29:24):
Today's story The Isle of the Living Dead. Margo Lamont
and Margo's act are on a cruise of the West Indies.
It is early evening at their ship sails into the
harbor of the little island at Saint jew In spite

(04:29:47):
of the thunderstorm that is in progress. Margo insists that
they go ashore. Her answer Huity, So only Lamont accompanies
her as they walk down the ship's gang planks to
a waiting las.

Speaker 43 (04:30:00):
But the mind you told me yourself to be topical
films here the last long But.

Speaker 2 (04:30:04):
This is the rainy sias in mark. One more slip
and you'll swim the Saint Jude.

Speaker 22 (04:30:10):
Why they don't put escalators on these gang plank that's
all I have him the best apartment.

Speaker 2 (04:30:14):
Store, But the best apartment stores don't float. Yeah yeah,
let me help you in the long Yeah yeah, hi, pilot, Uh,
don't you going to the cabin? Get out of the thing.

(04:30:36):
Go ahead, Mama's good eating kind of UK back when
he wasn't the pilot. Maybe who will get the troll?

Speaker 46 (04:30:47):
I won't wait?

Speaker 40 (04:30:48):
Maybe tell us.

Speaker 2 (04:30:52):
Are you a native of Saint June?

Speaker 7 (04:30:54):
Yeah?

Speaker 2 (04:30:55):
Well me turning looks like a beautiful blade? You think so?

Speaker 77 (04:30:59):
Well?

Speaker 2 (04:30:59):
I yeah, yes, you have been here before. I know
we haven't. Then wait and see before you talk.

Speaker 22 (04:31:09):
You might be a big health of the Chamber of comments.

Speaker 2 (04:31:14):
What's wrong with the island pilot? One half of island goods,
other half belonged to the devil. What do you mean
look through window. You'll see big hill over there. Oh, yes,
I can just fairly make it out.

Speaker 47 (04:31:30):
That plantation belonged to Devil Lady.

Speaker 30 (04:31:34):
This is Devil Lady.

Speaker 2 (04:31:36):
Yes, no one go near her place. You ever hear
of zombie zombie zombies? We're supposed to be dead men
here in the tropics who walk about with no mind
a soul, native superstition? What about these zombies? Violot? Are
they supposed to be zombies on the plantation? Will answer me? Now,

(04:32:01):
talk to pilots when you stay aboat.

Speaker 43 (04:32:04):
You must have read that on a street car someplace.
Come on, Mama, let's go there, all right, won't spot.

Speaker 2 (04:32:16):
He led lamm Look, I don't know. Hey, it's not
the young girl that play break with it on the
board where I'm sitting back there in the stairs. Yes,
of course, very st The month is fine. I wonder
what the cover's fine?

Speaker 7 (04:32:32):
Now?

Speaker 2 (04:32:35):
Hello there, Oh hello, Margael. Know anything wrong, Betty?

Speaker 32 (04:32:43):
No, that is.

Speaker 12 (04:32:49):
I'm leaving.

Speaker 13 (04:32:50):
Why Betty, I'm.

Speaker 30 (04:32:52):
Going to the other to look too much junk.

Speaker 2 (04:32:55):
David, Well, that shouldn't be an occasion for that.

Speaker 20 (04:33:00):
I'm afraid something.

Speaker 57 (04:33:02):
Happened to me.

Speaker 43 (04:33:04):
That's why I'm here.

Speaker 2 (04:33:06):
That's why I've come to this. No, no, Betty, do
you know that something's happened to him? Well, six months
ago he went to New York to find work.

Speaker 9 (04:33:19):
I heard from him regularly.

Speaker 7 (04:33:21):
Tell him.

Speaker 22 (04:33:21):
One day I was the letter telling me that he
secured a job on the island too, And what kind
of a job?

Speaker 43 (04:33:29):
Something the sugar plant with sugar promptly the mode.

Speaker 9 (04:33:34):
Isn't that the place?

Speaker 2 (04:33:35):
Well, there must be more than one sugar plantation model.
What happened next, Betty?

Speaker 33 (04:33:41):
I never heard from him again.

Speaker 22 (04:33:43):
I wrote to this steamship company and learned that he
had definitely come to thing.

Speaker 42 (04:33:47):
Dude, So I turned to New York and book Happy che.

Speaker 2 (04:33:52):
Mix up in the nail?

Speaker 51 (04:33:53):
Is there any No, No, I've heard too many.

Speaker 47 (04:33:56):
Plain things about the Island of Tape too.

Speaker 51 (04:33:59):
Now that I'm here the night kill them.

Speaker 1 (04:34:05):
I hear something that's happened to Come on?

Speaker 2 (04:34:11):
What is that? That is probably a native celebration. Well,
of course, look up down the hill. See the saint
line of light bobbing along the month that's on the
planet taking the pilot told us the bottle. Come on,
Well that's the pilot. What all this means? Hold a month?

Speaker 22 (04:34:26):
Do you supposed candy zombies.

Speaker 2 (04:34:29):
I don't suppose anything. Yes, pilot, a pilot that's light
moving along that hill side. What are they light?

Speaker 23 (04:34:37):
Yes?

Speaker 2 (04:34:38):
And one of those drums we're hearing.

Speaker 47 (04:34:39):
I hear no drum, no drums.

Speaker 2 (04:34:41):
I see no light. Now wait a minute, are those zombies?
Are they? That's Yandy? You know Johndy, know everything he say,
drum death Johndy.

Speaker 4 (04:34:56):
But who is Johndy from this?

Speaker 2 (04:35:01):
Did you find out what? Nobody?

Speaker 7 (04:35:04):
Now?

Speaker 33 (04:35:06):
You know what I mean about the island it's taken.

Speaker 2 (04:35:11):
Betty Mark. When I have a day and a half
to spend on this island, I believe your mind will
help you look for David, and believe me, we won't
give up until he's hounds.

Speaker 22 (04:35:36):
But we should have gotten one of the natives to
garden to the plantation.

Speaker 2 (04:35:39):
I couldn't find anyone who takes the job. Oh, full
of super tickets here and go near the network place.
I've had trouble hiring these taddle horses to make this trip.
Tonight has the only plantation on the island. Nobody there's
one other. We don't find David tonight. We'll visit there
in the morning. Well, look, but they head there. Let

(04:36:00):
someone standing in the room, but you can tell us
the way.

Speaker 40 (04:36:03):
Get up, Get up there.

Speaker 2 (04:36:04):
Come on, we'll talk to this little slee job.

Speaker 22 (04:36:07):
I'm riding certainhim up and it's the old milk wagon,
I say, there.

Speaker 2 (04:36:14):
I wonder if you can help it. We're looking for
the net with plantations. No yeah, no plant season? Yes, yes,
the word come back, run.

Speaker 15 (04:36:29):
Into the underpart.

Speaker 22 (04:36:31):
You see his face from up that's weird half dark face.

Speaker 2 (04:36:35):
Yea. Suppose you with a no please, both of you,
does not have any more talk about the zombies glum
over there through the please's the plantation, right, hope? Come on, yeah, boy,

(04:36:57):
come on, come on.

Speaker 46 (04:37:01):
Now, you were hiring the horses.

Speaker 22 (04:37:02):
I asked one of the Nabors about the zombies from
the drum. Yes, he told me that when the tom
tom played, that meant that another body has risen from
its grave to wander about the.

Speaker 47 (04:37:13):
Nes A plantations.

Speaker 2 (04:37:15):
Of course that's the native. Look there's a house, oh boy,
oh yes, leave the horses.

Speaker 22 (04:37:23):
Here up ready, gave the door like we'll find them.

Speaker 2 (04:37:30):
Grim looking place, isn't it. He worked at the horses
to the tree's a pair, huh.

Speaker 43 (04:37:37):
It looks like the fun door out over there.

Speaker 2 (04:37:40):
Well, let's see what happened.

Speaker 22 (04:37:43):
The mon I don't like any part of this business.

Speaker 13 (04:37:50):
Quiet.

Speaker 22 (04:37:50):
It's almost like like a graveyard.

Speaker 7 (04:37:53):
Is that what you meant to say?

Speaker 40 (04:37:55):
When no, No, it is like a graveyard.

Speaker 2 (04:38:00):
Why did David crazy? Hi? Hitherto again? Mother? The evening? Well,
you'd like to see missus please? Yes? But are you missus? Yes?
I am.

Speaker 22 (04:38:16):
Won't you come in?

Speaker 2 (04:38:17):
Thank you? This is miss Lane, miss Thoughton, and I'm
a month and.

Speaker 22 (04:38:23):
I'm happy to meet all of you.

Speaker 2 (04:38:24):
Won't you come in and study?

Speaker 57 (04:38:25):
Well?

Speaker 2 (04:38:26):
Thank you a month? And not at all?

Speaker 22 (04:38:30):
It's the Native stores rightly. Wasn't that what you were
going to say, miss Lane?

Speaker 9 (04:38:34):
Yes?

Speaker 22 (04:38:34):
Well, the islanders love to talk about anything or anyone.

Speaker 2 (04:38:39):
And I'm a white woman living alone.

Speaker 22 (04:38:41):
I suppose I'm a good target.

Speaker 2 (04:38:43):
That's the lam. Well you need me more?

Speaker 22 (04:38:47):
Nondo you may go.

Speaker 2 (04:38:49):
It's bad night tonight. I keep what gondo I go.

Speaker 22 (04:38:58):
The lady is a long uneasy and lady see.

Speaker 2 (04:39:01):
Yeah, and listeness been. I'd like to explain the reason
for our late visits tonight. We called on you to
learn if you had ever heard of a young man
here on the island named David Bellmont David.

Speaker 22 (04:39:11):
Bellmong No, I'm afraid I don't know. Oh, I hope
there's another plungage on the island and you look for
in there.

Speaker 2 (04:39:20):
No, we came to you first. Well, I wish I
could help you, but I'm afraid I can. I see. Well,
it looks like what was that? It sounds that ever
were in that home. Yeah, I couldn't be hellten that
seems to come from under this fool.

Speaker 22 (04:39:35):
Now, don't be alarmed. I'll find out where the disturbance is.

Speaker 2 (04:39:39):
Lundo, bndo.

Speaker 9 (04:39:41):
Oh, there's the window.

Speaker 33 (04:39:43):
Someone's looking here?

Speaker 1 (04:39:44):
That a fool?

Speaker 43 (04:39:47):
That No one at the window?

Speaker 15 (04:39:50):
Your pardon?

Speaker 22 (04:39:51):
No, look all of you see anyone there?

Speaker 2 (04:39:55):
No, No, I don't know.

Speaker 57 (04:39:58):
I saw someone up.

Speaker 14 (04:40:00):
No idea A.

Speaker 2 (04:40:01):
Very very jo you call, mistress, ma'am. That is that noise?

Speaker 34 (04:40:07):
Mundo?

Speaker 2 (04:40:08):
Hi, I'm Johnsy outside. I chased him away. But what
was the noise beneath the house? Noise beneath the house?
Yet those those moons, that that's what's hot they make
them rest.

Speaker 22 (04:40:25):
God, that's forgotten in this really season.

Speaker 2 (04:40:28):
But the horses in the.

Speaker 22 (04:40:29):
Cellar under this room, ma'am. That yes, yes, I'm excuse me.

Speaker 2 (04:40:37):
Well, of course we were leaving anyway. Quite all right,
quite all right, mistress Manet yet.

Speaker 22 (04:40:45):
Mandos good night, we playing.

Speaker 2 (04:40:48):
Good night and thank you anyway for it.

Speaker 15 (04:40:51):
Yeah, that's where I come from.

Speaker 2 (04:40:54):
That's known as the problems Lot.

Speaker 40 (04:40:56):
Almost to hear that certain stick Johnny.

Speaker 2 (04:41:00):
Yeah, and the polt on the boat spoke of Johnny cool. Yes,
that's fine, he said, that's Johnny Candy knows everything because
there most unusual animals. Baddy, Well, do you remember those
moans were heard? Now to forget them? That was the

(04:41:22):
first time, Margo, I'd ever heard a horse moan was
a vocal cord of a human being. I believe that

(04:41:49):
the name got down the street. They can work there
before we go to the other plantation in the morning.
It's almost morning now, No, it's only two o'clock, so
I thought it would be too much first to get
ahead of the plantations. Well, quite a journey on a
night like this. I got to know something about David.

Speaker 7 (04:42:07):
Soon.

Speaker 2 (04:42:08):
If David isn't it the other plantations, I'd like to
pay another visit to our friend boy. Can't well leave
the heart yet? Well, someone to awake at the.

Speaker 22 (04:42:20):
Local inn them on, Why do you want to go
back to some of the place.

Speaker 2 (04:42:24):
Well, for one thing, I'd like to learn more about
those moans that came from her telling they did humans,
they were human? Manco what about this more come?

Speaker 7 (04:42:37):
The one knows everything.

Speaker 2 (04:42:38):
I very much enjoy meeting him. Mono, Well till we
go in coming better.

Speaker 9 (04:42:47):
Well, well, my long thank you.

Speaker 2 (04:42:51):
This is one large barn, yeo, two small table and there.

Speaker 22 (04:43:00):
Whether I want coffee or a clothes ringer.

Speaker 51 (04:43:03):
I don't know how to thank the boot for pneumonia.

Speaker 22 (04:43:07):
Just mind says all right, betty here, let's not stand
here and rip all over the floor.

Speaker 40 (04:43:12):
We must make puddles.

Speaker 2 (04:43:13):
Let's do it at the table. Let's going on over
there seems to be a cop gathered around someone at
the end of the barn.

Speaker 43 (04:43:21):
What did him do this one?

Speaker 2 (04:43:23):
Why are we waiting here?

Speaker 21 (04:43:24):
I want.

Speaker 30 (04:43:31):
You want to make.

Speaker 2 (04:43:37):
Way? Uh uh, but I can't. Boy, I read a cop,
don't you know? Talking that's not enough.

Speaker 46 (04:44:00):
Of probing, putting money.

Speaker 40 (04:44:01):
Money, more money.

Speaker 2 (04:44:05):
Now he's talking in a native voice, and just a
moment ago he spoke a moment Let's find out about this.
I beg your pardon. Yes, is this man just one
of the natives? But his speech. First he spoke perfect English,
and then he reverted to a cultural native voice. That's
why we're throwing money in his hat.

Speaker 8 (04:44:24):
Now.

Speaker 2 (04:44:24):
This man is sort of half witted, drunken, his character
around his pot because he's been gifted with a remarkable
talent for imitating any found here. No, I see I
haven't told him that rather than Tanny when you first
hear it. A look, he's waking up another taking. I

(04:44:48):
just sucking it for a quick pick me up my
door for heaven's sake to my wife. He's just plans.

Speaker 40 (04:44:55):
It's not perfect to amazing money for dandy, get into money, lamar,
see what.

Speaker 2 (04:45:01):
Happened, Johnny? Here's some money for you. Johnny listened to me?
Can you talk like missus? Net the plantation owners? Come on, Johny,

(04:45:23):
I think.

Speaker 22 (04:45:26):
Lettle let the medial. Here's this slide on your plate.
You must have been me. You have your lords not
do as I command?

Speaker 40 (04:45:37):
Come on, who do you suppose to be talking to?

Speaker 2 (04:45:39):
You haven't finished? Yeah, let's yes, let's just do what
the couple? Where did he go out? Why do you

(04:46:01):
want to jump?

Speaker 4 (04:46:03):
Come?

Speaker 2 (04:46:06):
Missus?

Speaker 12 (04:46:07):
M nswer.

Speaker 2 (04:46:19):
Hando, miss ma'am? What's that?

Speaker 22 (04:46:22):
Manning? You're carrying to the guy, miss ma'am, knowing going
out into the fields of work propably ruined. If they
don't whine, you can hide food carrying for them.

Speaker 2 (04:46:35):
Hando, landin yeh, miss ma'am.

Speaker 22 (04:46:39):
Tall false rings will come and they'll stop us, for
it will be funny. Miss Terry Mundo, jog aware off.
I don't give each another ingestion.

Speaker 2 (04:46:49):
Suh Mando. I'd like to be around when you needed
in men's arms.

Speaker 22 (04:46:55):
Mando, open that cellar door.

Speaker 2 (04:46:58):
No, no, not makes me go with them.

Speaker 22 (04:47:01):
I stead open that cellar door.

Speaker 2 (04:47:04):
Man all.

Speaker 22 (04:47:12):
Loaded quickly, wi fool. I'll listen to me, all of you,
and I don't expect you to know what I'm saying,
but listen anyway. You understand that you're no longer manual
climb in chains bound together, help the couple labor in
the cane field under my commands for.

Speaker 2 (04:47:33):
Two days hours of rain. Out that, my fool, you've gotten.

Speaker 40 (04:47:38):
My care or my crap running in the fields.

Speaker 77 (04:47:45):
Mondo.

Speaker 22 (04:47:46):
I only keep all of you alive because I save
money using you the labor for me instead of native help. Fortunately,
that still is supred station of bombs to step door
people away and now you've got this rain, I'm going
to punish your fin it.

Speaker 2 (04:48:02):
Before you go to the fields.

Speaker 22 (04:48:04):
You're gonna feel a lack.

Speaker 12 (04:48:08):
All the time.

Speaker 40 (04:48:17):
Happy here, come here, come here, not today.

Speaker 22 (04:48:25):
I'm giving me command Joe, that.

Speaker 2 (04:48:31):
They no longer obey your command.

Speaker 39 (04:48:33):
Miss, talk to me.

Speaker 2 (04:48:39):
I spoke, missus nesbit, but I'm not one of your flavors.
Who are you? Then?

Speaker 1 (04:48:44):
Don't call me the shadow like no one.

Speaker 2 (04:48:51):
I understanding, like the tide? Who would my hypnotic powers
make me in this to your eyes?

Speaker 40 (04:49:01):
But you want why are you here?

Speaker 2 (04:49:03):
I have come to free these men from the evil
spell that you've cast upon them.

Speaker 12 (04:49:07):
No, no, you have no get up? Set up.

Speaker 2 (04:49:13):
My power right you? Because it's par greater than yours.

Speaker 22 (04:49:18):
No, no one has power than us. Man looking for
the location of his boy.

Speaker 2 (04:49:25):
Yes, Mondo, come on, seize me if you're dare no boys, Bungo,
No want to your voice, Mungo here, paithful man has
deserted you. Miss. He's not only deserted you, but he's

(04:49:48):
also lucky in the cellar with the slaves. You're so
cruelly treated, and they're becoming restless. Perhaps they feel that
the power you hold over them is not a stormy
You let them to believe that door will remain locked
until you tell me the secret you've used to turn

(04:50:08):
these poor creatures into living dead men. Believe you next
like animals. You can't.

Speaker 40 (04:50:13):
I can't tell you that the men are becoming.

Speaker 2 (04:50:15):
More restless till your power will wear off altogether. And
when it does, I must warn you it would be
usful for me to attempt to save you from them,
mad rage. No, no, you haven't much time, mister, but
you can't give me.

Speaker 40 (04:50:32):
I cannot reach you, So you tell.

Speaker 2 (04:50:34):
Me what you've done to these men. I've been giving
them a job, the job that I discovered here in
the island. I thought, is there an aide for that?

Speaker 22 (04:50:45):
Brog No, No, it's not necessary unless it's administered daily. Result.

Speaker 2 (04:50:53):
First, you must tell me who these men are.

Speaker 15 (04:50:55):
Come of them?

Speaker 2 (04:50:57):
The other's a white men that are had.

Speaker 40 (04:50:58):
This take and you gave the this drug and put
the work in your fels as slaves.

Speaker 2 (04:51:02):
And you created the two petition of a dumb bas
the dumb thumb. Just to take away anyone who might
be curious about directivities. Learn one more thing. Is one
of the men, David Belmont is he a London.

Speaker 40 (04:51:21):
Help me open the door.

Speaker 2 (04:51:23):
You promised me, Please, I keep my promit.

Speaker 17 (04:51:30):
Me the door?

Speaker 12 (04:51:33):
Where hollo are you.

Speaker 2 (04:51:55):
Get the Yeah? I want to back your den, mister
Crampton for all that you've done for Betty and me.
Now don't mention it, David.

Speaker 22 (04:52:03):
Good bye, many good bye and remember we'll see you soon.

Speaker 40 (04:52:06):
In mistake, oh very.

Speaker 2 (04:52:08):
Far getting into the lunch.

Speaker 23 (04:52:12):
All about their.

Speaker 33 (04:52:17):
All a month.

Speaker 2 (04:52:18):
I can't say that.

Speaker 22 (04:52:19):
I'm sorry to be bidding farewell as a dreamy little.

Speaker 40 (04:52:22):
Isle of thank you.

Speaker 2 (04:52:24):
I think it wasn't so. Oh, I'm glad that.

Speaker 22 (04:52:27):
The authority is cleared, the man of any responsibility for
the nest.

Speaker 2 (04:52:32):
Well, it was easy to prove that she died of shot,
shot and used by fear from the living dead men
that she herself had creating.

Speaker 22 (04:52:42):
Well, I've settled one point in my mind anyway.

Speaker 2 (04:52:45):
Oh like that.

Speaker 22 (04:52:46):
The only zombies that I ever want to see again
are the time they.

Speaker 45 (04:52:50):
Serve in a nightclub in a.

Speaker 23 (04:52:52):
Long cool girl.

Speaker 5 (04:53:38):
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.

Speaker 4 (04:53:52):
Like you do.

Speaker 5 (04:53:53):
You can email me and follow me on social media
through the Weird Darkness website. Weird Darkness dot com is
also where you can listen to free audiobooks I've narrated,
get the email newsletter, visit the store for creepy and
cool Weird Darkness merchandise. Plus, it's where you can find
the Hope in the Darkness page. If you are someone
you know is struggling with depression, addiction, or thoughts of

(04:54:13):
harming yourself or others, you can find all of that
and more at Weird Darkness dot com. I'm Darren Marler.
Thanks for joining me for tonight's retro radio Old Time
Radio in the Dark.

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