THE ART OF STEALING IMMORTALITY: The Man Who Believed A Painting Could Make Him Live Forever

Episode Transcript
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Speaker 1 (00:07):
LATENSI Stations Present Escape.

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
You're gonna thank some miss.

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

Speaker 5 (00:31):
Seal Present Suspense.

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

Speaker 7 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
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(01:05):
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(01:25):
me into tonight's retro Radio Old Time Radio in the Dark.

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

Speaker 6 (01:53):
Welcome.

Speaker 9 (01:54):
I'm e. G. Marshall.

Speaker 10 (01:57):
You can't take it with you.

Speaker 8 (01:59):
This has been the conventional wisdom certainly it would be
difficult to find someone who might seriously disagree. And yet privately,
of course, does everyone really believe that? The way some
people build up treasures and possessions, you'd actually think they
were making provision. Not for just a day and tomorrow,
but forever.

Speaker 11 (02:20):
My darling, we will love each other, forever, forever. I
will make you immortal. Haw just close your eyes.

Speaker 12 (02:29):
No, that's a gun.

Speaker 10 (02:31):
It will be over in a moment. Trust me, have
faith in me. No.

Speaker 8 (02:45):
Our mystery drama A Woman in Red was written especially
for the Mystery Theater by Sam Dan and stars Robert L.

Speaker 10 (02:53):
Greene.

Speaker 8 (02:54):
It is sponsored in part by Buick Motor Division and
contact the twelve hour co capsule. I'll be back shortly
with Act one. There is a lid for every part. Somewhere,

(03:18):
there's a man for every woman, a tool for every job,
and a worker for every task. There is no end
to the resourcefulness.

Speaker 10 (03:27):
Of the human race. When we need.

Speaker 8 (03:29):
Something, we manage to find it, and if it doesn't exist,
we eventually invent it. This is what's known as progress. However,
some things are harder to come by than others. A
gentleman you are about to meet named mister Ledgard LaRue
has a rather unusual problem in recruitment, and as we

(03:51):
meet him right now, he is in a place where
he believes his problem can be solved with A sign
on the window, says Bernie bar and it is a
rather disreputable looking water in place.

Speaker 11 (04:05):
Name your poison poison a manner of speaking, Jack, What
will you have? Nothing?

Speaker 13 (04:11):
Nothing?

Speaker 10 (04:12):
I wish to converse with you, very frankly. I run
a gin mill.

Speaker 11 (04:16):
I don't sell frank conversation.

Speaker 10 (04:18):
I only pedal booths.

Speaker 11 (04:19):
Well, sir Bernie, that's the name of the window. Have
I the honor of addressing Bernie himself?

Speaker 1 (04:24):
If you're hard up for honors, you can recoop here.

Speaker 10 (04:27):
I need your guidance.

Speaker 11 (04:28):
I don't sell guidance.

Speaker 14 (04:30):
I only sell.

Speaker 11 (04:31):
I know you only sell booze. Now, sir Bernie, you
strike me as a thorough going road I do yes.
And this rather low tedious saloon is most likely a
rondizvoos for all sorts of thieves and worse, How would
you like to pick your change and get out of here? Well,
that holds the basic nature of your establishment. I have

(04:52):
five hundred dollars for you to do.

Speaker 10 (04:55):
What to do nothing? And what do you want to
give me five hundred.

Speaker 11 (04:59):
Dollars for as a finders fee?

Speaker 15 (05:02):
Well, I'm supposed to find.

Speaker 11 (05:03):
A skilled experienced thief.

Speaker 10 (05:07):
What makes you think I know any? Oh?

Speaker 11 (05:09):
I see we're haggling over the price. Make it a thousand, love, Lily,
You just can't walk in here and call me a crook.
I didn't call you a crook, I said find me
a crook?

Speaker 15 (05:20):
Ah?

Speaker 11 (05:21):
Okay, mister, what good kind of game are you playing?
I told you I need the services of a skillful
experienced thief.

Speaker 10 (05:30):
I don't know any are you?

Speaker 11 (05:32):
Are you not interested in pocketing one thousand dollars?

Speaker 10 (05:36):
How do I know you're not a cop?

Speaker 11 (05:38):
Could you have survived this long if you weren't expert
when it came to sparking policemen?

Speaker 10 (05:43):
You know I'm not a cop.

Speaker 11 (05:45):
I'm a Robert, wealthy but eccentric gentleman.

Speaker 15 (05:49):
Wait here, many says you're looking for help?

Speaker 10 (05:56):
What's your name?

Speaker 15 (05:58):
Am it? Porcelain?

Speaker 10 (06:00):
What kind of a name is that?

Speaker 15 (06:01):
I have a lot of names. You like this one?
I'll give you her.

Speaker 10 (06:05):
How much do you charge?

Speaker 14 (06:07):
What do you mean?

Speaker 15 (06:08):
How much do I charge?

Speaker 2 (06:10):
Jorge every for?

Speaker 11 (06:12):
What for?

Speaker 10 (06:12):
Stealing.

Speaker 11 (06:14):
When I steal something, I keep it. But when you
steal for me, I'm going to keep it.

Speaker 15 (06:20):
Why am I supposed to steal.

Speaker 10 (06:22):
The woman in red?

Speaker 1 (06:23):
Goodbye? Kidnappens out of my line. It's a painting, yeah,
a painting.

Speaker 10 (06:29):
The picture.

Speaker 15 (06:30):
I know what a painting is. You think you're talking
about something.

Speaker 14 (06:33):
Hold them.

Speaker 10 (06:33):
It's in the museum.

Speaker 15 (06:35):
I go in the museums, great places to pick up names.

Speaker 10 (06:38):
That painting is by Van der Lakin.

Speaker 1 (06:42):
You've got to be crazy. You don't steal paintings, not
well known paintings.

Speaker 11 (06:46):
Why not?

Speaker 15 (06:47):
What can you do with them? What can you sund to?
You want to steal ice? First catch ons?

Speaker 10 (06:53):
I want the woman in red?

Speaker 15 (06:56):
Why are you gonna do with her?

Speaker 11 (06:57):
That's not your affair?

Speaker 15 (07:00):
Where is it again?

Speaker 10 (07:01):
I'd rother her.

Speaker 11 (07:02):
You refer to her as she she's at the Downtown Museum.

Speaker 1 (07:06):
Oh, just like that, how she's at the Downtown museum.
You know how that joints guarded.

Speaker 10 (07:11):
If it were a simple matter, I could do it
myself to.

Speaker 15 (07:16):
I used to picture from the downtown how.

Speaker 11 (07:19):
Much ten thousand dollars maybet twenty fifteen?

Speaker 15 (07:25):
Where do I delivered a picture that a Birdwell, no,
nothing yet. We'll give you a choice.

Speaker 1 (07:41):
You're gonna write police are following a number of promising leads,
or you're gonna write that we are completely baffled. Take
a pick off the record, Maury, I am really baffled.
I would a piece of junk like that be worth
a half a million bucks? Woman has read it doesn't
even look like a woman, doesn't even look like anything.
I'm a wh okay, I'm a barbarian.

Speaker 15 (08:02):
Have it your way.

Speaker 14 (08:05):
The whole world's crazy.

Speaker 15 (08:08):
What do you want?

Speaker 12 (08:09):
It's in a bird where I'm Detective Rodriguez. Good for you,
Marie Concepsio, Anita Pilar Rodrigazy Burdon. To be exact, I'm
with the rape squad.

Speaker 15 (08:18):
When you're in the wrong office.

Speaker 12 (08:19):
This no, this is robbery.

Speaker 15 (08:22):
So what are you doing here?

Speaker 12 (08:24):
I think I may have solved the museum burglary.

Speaker 1 (08:26):
Oh it's very interesting, the biggest odd theft so far
in this country, and it's got us all up a tree.
Somebody somehow got into that museum sometime during the night
managed to deactivate the most sophisticated and efficient alarm system
in the world, a completely full proof system.

Speaker 12 (08:45):
The Titanic was advertised as an unsinkable ship.

Speaker 1 (08:48):
I'll take it easy, Detective Rodriga.

Speaker 12 (08:50):
Nevertheless, I solved it.

Speaker 15 (08:52):
Well, how did you solve it?

Speaker 12 (08:54):
I wish I could say by the use of brilliant
detective work, but I can't. Why I solved it because
I was lucky.

Speaker 14 (09:03):
That's better than being brilliant.

Speaker 15 (09:05):
Tell me about your luck.

Speaker 12 (09:07):
I take a class in filmmaking at night at City College.

Speaker 14 (09:09):
Why I never mind?

Speaker 15 (09:11):
I shouldn't have asked to broaden my horizons. Oh, very good.

Speaker 12 (09:15):
My instructor, Professor Slovodkin Will Slovodkan, the famous Czechoslovak director.

Speaker 15 (09:22):
Do we need him?

Speaker 12 (09:23):
Oh yes, yes, he happened to be in the museum
the afternoon before the Woman in Red was stolen.

Speaker 15 (09:28):
Oh no, well, I gotta find out he's stolen.

Speaker 12 (09:31):
Oi Viill Mosh is a most unobtrusive photographer. People were
hardly aware that a movie was being made, and so
just last night during class, we looked at some of
the footage and I saw the thief.

Speaker 15 (09:45):
You saw the thief.

Speaker 12 (09:47):
Lieutenant you have this most disconcerting manner of repeating the
last part of everybody's sentences.

Speaker 15 (09:54):
Well, how did you know he or she was the thief.

Speaker 12 (10:00):
Most camera panned over the crowd, choosing a face here,
face there, giving us a profile, a full view of
close up. Now one of those faces looked familiar. Where
had I seen this face before? I had a blow
up made of that piece of film here? Examine it
if you please see if you don't experience the same stab.

Speaker 15 (10:22):
Of recognition, stab of recognition.

Speaker 12 (10:25):
Eh, please examine the photo.

Speaker 1 (10:29):
Hey, it's it's Porcelain, amict Porcelain.

Speaker 15 (10:35):
Precisely, what would Emmitt Porcelain be.

Speaker 12 (10:38):
Doing in a museum and at four in the afternoon,
exactly eight hours before the woman in red was stolen?

Speaker 1 (10:45):
It done makes sense. Porcelain wouldn't steal a painting. Porcelain
would steal anything, anything he could raise cash on, but
a painting, a painting known all over the world, would fence.

Speaker 15 (10:56):
It for him.

Speaker 12 (10:57):
I can only answer you in the words of Samuel John.

Speaker 1 (11:00):
Does he have anything to do with this case?

Speaker 12 (11:02):
Some two hundred years ago, he wrote, I have found
you an argument. I am not obliged to find you
an understanding.

Speaker 1 (11:09):
Oh that sounds a little snippy to me, Detective. Remember
you are talking to a superior officer. So Emmitt Porcelain
it's an interesting speculation. Pollin, give me a commissioner. Yeah, Porcelain.

Speaker 12 (11:28):
Of course, no one was looking for Emmett Porcelain.

Speaker 1 (11:32):
He was never known as an art thief. He's too
smart to steal a painting.

Speaker 12 (11:37):
Well, there's the art thief who falls in love with
the painting and wants to keep it all to himself.
Share it with nobody.

Speaker 1 (11:42):
Who could fall in love with that woman and red?
It's a bunch of crazy lines and blots and who
knows what? Perhaps some Now, look, are you telling me
that Emmett Porcelain fell in love with that so called
portrait and that's why he stole it.

Speaker 12 (11:59):
I think he was tired to seal it.

Speaker 15 (12:02):
Yeah, I have a Tom Bradwell.

Speaker 1 (12:05):
Oh yes, sir, you know we have a tremendous lead,
a skillful, experienced thief. I'm at Porcelain. We have him
in a museum the day of the robbery. I know
it's impossible defense, but I still say, I still say
he did it. Well, sir, with all due respect, I

(12:27):
find you an argument. I'm not obliged to find you
an understanding. Yes, sir, we'll braaman Well Detector Rodriguez, Thank
you very much, you can go back to duty.

Speaker 12 (12:39):
Now I am, I'm judy Lieutenant.

Speaker 15 (12:42):
Well, I mean, I say, don't you.

Speaker 10 (12:43):
Have to go and sect?

Speaker 12 (12:44):
You're nice to if I could be transferred to your
section to this investigation. And he agreed.

Speaker 14 (12:49):
He agreed.

Speaker 12 (12:50):
Why because I was an art major in college? You
receive official notification? Then the where do we go pick
up Porcelain?

Speaker 1 (12:59):
Now, look, this is a potentially dangerous situation.

Speaker 10 (13:03):
No, it isn't.

Speaker 12 (13:04):
Porson never goes about armed. He has choose violence. He
what violence, doesn't use it. He's very smart.

Speaker 10 (13:12):
Oh okay, let's check him out.

Speaker 11 (13:15):
I already have.

Speaker 12 (13:16):
He spends most of his free time at Bernie's.

Speaker 1 (13:18):
Bar Bernie, Where can I find Ahmed Porcelain?

Speaker 14 (13:28):
Who's Emmitt Porcelain?

Speaker 1 (13:31):
A place that saves known criminals is subject to loss
of license?

Speaker 11 (13:36):
Well, why didn't you say his name more distinctly?

Speaker 14 (13:39):
Emmed Porcelain?

Speaker 2 (13:41):
What do you want him for?

Speaker 12 (13:42):
We understand there's a mover foot to have him appointed
adjunct professor of science for a city college jokes. So
you see, we have to find him quickly and see
if he's interested in the job before they give it
to somebody else.

Speaker 1 (13:55):
Yeah, that makes sense.

Speaker 11 (13:56):
Yeah, well, he's living with his chick at eighteen Maple Crest.

Speaker 1 (14:00):
Thank you nobody, But listen, you didn't hear it from me?

Speaker 15 (14:11):
Hmm.

Speaker 1 (14:12):
Doesn't seem to be an answer. We'll go down the
stairs and wait for him.

Speaker 12 (14:16):
I think he's home.

Speaker 14 (14:18):
He doesn't answer the bell.

Speaker 12 (14:19):
Well, if he'd gone out, he'd have taken in the milk.

Speaker 15 (14:22):
Maybe he hasn't come home yet.

Speaker 2 (14:23):
Huh.

Speaker 15 (14:23):
The fact is he doesn't answer the bell.

Speaker 12 (14:28):
The fact is if you turn the handle, the door opens.

Speaker 15 (14:32):
The fact is we don't have a search wire.

Speaker 12 (14:35):
The fact is we're not here to search the house.
We've come to talk to mister Emmett Porcelain. We rang
the bell, did we hear or did we imagine we
heard someone call? Come in?

Speaker 15 (14:48):
I think we did hear it. Can it look hold it?

Speaker 16 (14:55):
Of course?

Speaker 15 (14:56):
And yeah, he's dead.

Speaker 8 (15:04):
Well, we seem to have corralled a group of eccentrics
on both sides of the law. And it looked for
all the world as if this would turn into some
cute little caper. But there's nothing cute about murder. Mister
Emmett Porcelain is anything but cute. As he lies sprawled
on the floor, a bullet hole in his chest. His

(15:26):
life ended for all time. But if this is the
end for him, it's only the beginning for us. We
continue with that too. Very shortly, an extremely fine and

(15:50):
valuable painting has been stolen from a museum because a
gentleman whose name is Ledyard LaRue, hired an expert thief, Emmett.

Speaker 10 (15:58):
Porcelain, to steal it for him. So far we don't
know why.

Speaker 8 (16:03):
We do know that police Lieutenant Birdwell and Detective Maria
Rodriguez had a lead to Emmett Porcelain. We say had
because mister Emmett Porcelain's life has come to rather an
abrupt ending.

Speaker 1 (16:16):
Death caused by thirty two caliber bullet wound in the heart.

Speaker 15 (16:20):
Thank you doctor.

Speaker 1 (16:23):
Now, so far, Detective Rodriguez, we haven't learned too much.

Speaker 15 (16:26):
That's new.

Speaker 1 (16:27):
He's been shot to death, and that we knew all along.
We found the body at nine PM, the time of death,
about six thirty, but the painting was missing. Assuming he's
stole it in the first place, we know he did.

Speaker 12 (16:39):
How do we know that what was he doing in
the museum in that day?

Speaker 1 (16:43):
All kinds of people go to museum.

Speaker 12 (16:45):
How not Porcelain he'd only have gone if he intended
to steal the painting.

Speaker 1 (16:50):
Let me say this to you, Detective Rodriguez, you are
a snob. Why you figure EMMITTT. Porcelain a crook? Not cultured,
not even educated, maybe just about semi literate. How could
he possibly be interested in the higher things in life? No?
If he goes into a museum, it's not to enjoy

(17:10):
the beauties of art, but the case to join for
a burglary.

Speaker 12 (17:14):
Very well, lieutenant, you tell me what he was doing there?

Speaker 1 (17:17):
Just a minute, liet Birdwell, oh yeah, yes, send her in.
It's Porcelain's playmate, playmate roommates, sol Made who knows.

Speaker 17 (17:32):
You are?

Speaker 14 (17:33):
Angela? Howbust that?

Speaker 15 (17:35):
Okay?

Speaker 18 (17:36):
So you know my name?

Speaker 1 (17:37):
Did you live with them at Porcelain?

Speaker 15 (17:40):
I wouldn't call it living? Did you occupy the same premises.

Speaker 19 (17:46):
When he was home?

Speaker 15 (17:48):
Where was he usually at Bernie's bar? Who would want
to kill him?

Speaker 20 (17:54):
I want to kill him?

Speaker 15 (17:56):
Did you know who else? Would?

Speaker 16 (17:59):
Nobody?

Speaker 21 (18:00):
Why should anybody want to kill him? He was such
a good natured slab.

Speaker 14 (18:03):
Why did somebody kill him?

Speaker 22 (18:06):
It beats me?

Speaker 12 (18:07):
Did he ever mention a woman in red?

Speaker 23 (18:10):
Oh?

Speaker 21 (18:10):
Sister, he was too smart to mention another dame in
front of me.

Speaker 12 (18:14):
It's a Paine, if you ever.

Speaker 16 (18:17):
What do you mean a painting?

Speaker 12 (18:19):
A famous painting named The Woman in Red by Vanderlacken
was recently stolen from the museum.

Speaker 24 (18:26):
You got a wrong number there?

Speaker 21 (18:28):
What would he do with the painting?

Speaker 12 (18:30):
What was the last job he did? Look, he's dead now,
so what does it matter the last job? It might
be the reason why he's dead.

Speaker 21 (18:38):
Oh, he never got mixed up with dangerous kinds of jobs.
Strictly hard kliss Berkeley. Oh, he was an hardist.

Speaker 24 (18:46):
He would tell Bernie.

Speaker 15 (18:48):
Yeah, he would tell Bernie.

Speaker 20 (18:50):
Listen, I don't want to get me.

Speaker 1 (18:52):
He got jobs through Bernie, didn't He didn't he What
was the last one?

Speaker 25 (18:58):
I don't know.

Speaker 26 (19:01):
I don't know what it was.

Speaker 21 (19:03):
A week or ten days ago, he gets a phone call.

Speaker 16 (19:06):
It's late at night.

Speaker 10 (19:09):
Where are you going?

Speaker 15 (19:09):
I ask?

Speaker 20 (19:11):
Over to Bernie's. He answers, what for?

Speaker 21 (19:14):
Bernie's got a live one for me? He says, it's
worth ten geez.

Speaker 10 (19:18):
To do what?

Speaker 26 (19:19):
He never would tell me?

Speaker 15 (19:22):
All right, what else did gen?

Speaker 10 (19:23):
I'll buy it?

Speaker 20 (19:24):
That's all I know about it.

Speaker 12 (19:25):
Did he do the job? I don't know I never said,
did you see the ten thousand dollars?

Speaker 21 (19:30):
He didn't show it to me, But I'll tell you
one thing.

Speaker 12 (19:33):
He acted like he had it.

Speaker 1 (19:35):
And he said, Bernie sent the job his wife, Bernie.

Speaker 21 (19:40):
If you ask me, you don't run a gym mill.
It's got an employment agency there.

Speaker 10 (19:51):
And how soon will the construction be finished?

Speaker 14 (19:53):
I gotta say, I ain't had an order for one
of these.

Speaker 10 (19:56):
And oh, it's gotta be twenty years.

Speaker 11 (19:59):
You haven't answered mike question, mister Kruger.

Speaker 6 (20:01):
Well, in them days, people figured they'd build their own
bomb shelter.

Speaker 10 (20:04):
Mister Kruger, ten days.

Speaker 6 (20:06):
I don't take much time to pour the concrete, and
we got to put in vent relations.

Speaker 11 (20:11):
But I want it.

Speaker 6 (20:11):
Oh that's all right. You don't want a bomb shelter.
You just want a mausoleum, an underground mausoleum.

Speaker 14 (20:18):
I can do that in a week.

Speaker 10 (20:21):
Very well, I shall hold you to your word.

Speaker 6 (20:24):
I'll say one thing. I never seem the like of this.
I mean your sketch. It looks like a regular tomb.
It does yeah, like one of them old tombs for
the Egyptian kings or pharaohs or whatever.

Speaker 10 (20:36):
I mean, what are you planning to put in there.

Speaker 11 (20:40):
I'm not sure it's really any of your affairs it,
mister Kruger.

Speaker 6 (20:42):
No, no, no, no, as long as you pay your
bill when the work is done.

Speaker 1 (20:46):
Mister LaRue, Okay, many calls Porcelain then to do a job.

Speaker 15 (20:58):
Now, that's just so.

Speaker 14 (21:00):
It was to steal the woman in red.

Speaker 1 (21:02):
Porceln pulls it off. Porceln gets murdered.

Speaker 12 (21:05):
Why somebody wanted to picture stolen that? Somebody is now
out to separate himself from the thief.

Speaker 1 (21:13):
Or maybe Brainy took part in that double cross.

Speaker 12 (21:17):
I don't think so, not for ten thousand dollars. Bernie
has too much at stake to risk murder for so
little money.

Speaker 15 (21:24):
Ten thousand dollars, there's a lot of money.

Speaker 12 (21:26):
That's another thing that bothers me. You hear various values
assigned to that woman in red. All of them are
at least hundreds of thousands of dollars.

Speaker 15 (21:36):
I want to give you fifteen cents for it, but
no one wanted to sell it to you.

Speaker 12 (21:40):
Why would Porcelain steal it for so little money? What's
a less traffic up ahead?

Speaker 1 (21:47):
Huh nope, Hey, those are squad cars. Something's happened up there?
Or here's a uniform man diverting the traffic.

Speaker 11 (21:54):
You gotta turn left at the corner.

Speaker 15 (21:56):
But I'm a kind of bird.

Speaker 14 (21:57):
Well, officer, what's going on here?

Speaker 13 (22:00):
Oh?

Speaker 11 (22:00):
It runs a saloon on the corner. Bernie's he's been shot?

Speaker 15 (22:09):
Yeah, the same gun.

Speaker 27 (22:11):
Huh?

Speaker 15 (22:12):
Okay, doctor, thanks.

Speaker 1 (22:15):
Both Porcelain and Banie were killed by bullets fired from
the same gun.

Speaker 12 (22:22):
Makes sense, doesn't it, Lieutenant.

Speaker 15 (22:25):
Loos?

Speaker 12 (22:25):
Necessary to murder both Bernie and Porcelain?

Speaker 15 (22:29):
Beats me?

Speaker 1 (22:31):
This is a man who well, wait a minute, why
you say it's a man? Why could it be a woman, Because.

Speaker 12 (22:38):
The stolen portrait is the woman in Red.

Speaker 1 (22:40):
That's just a title that thy you could represent anything.

Speaker 12 (22:44):
A man falls in love with the painting. He wants
it for himself, all for himself.

Speaker 1 (22:47):
Where's your proof?

Speaker 12 (22:49):
He doesn't intend to sell it. All he can really
do with it is perhaps hold it for ransom, in
which case it's like a kidnapping. Has a museum been
contacted for money so far? Now, I'm sure it won't
be Unless we find the painting, it'll never be seen again.

Speaker 14 (23:06):
Well that couldn't be the greatest tragedy.

Speaker 12 (23:09):
Oh, it's really a beautiful painting, Lieutenant, if you look
at it properly.

Speaker 1 (23:12):
Okay, okay, you say a guy fell in love with
a picture and he hadn't stolen because he wants it
off for himself.

Speaker 12 (23:21):
Oh, I'm sure of it.

Speaker 15 (23:22):
I never heard of such nonsense.

Speaker 12 (23:24):
It could happen.

Speaker 11 (23:30):
Now, my darling, shall we have some music? How beautiful
you are Mozart? He seems to suit you. How old
are you?

Speaker 10 (23:42):
Twenty?

Speaker 11 (23:43):
Yes, vander Larkin painted you when you were twenty years old. Well,
I'm twice your age, but I'm not too old for you.

Speaker 10 (23:54):
Do you know when I fell in love with you?

Speaker 11 (23:56):
When I saw you in the Rix Museum in Amsterdam?
It was love at first sight. I came back to
America and tried to forget you, but it was no use.
Then when you came here to America, to the downtown,
I knew I would have to have you, and you
are mine mine forever.

Speaker 10 (24:17):
I shall take you with me.

Speaker 11 (24:19):
We shall never be apart, never, My woman in red,
my beautiful woman in red. I'll be still. Excuse me, darling,
but this persistent fool.

Speaker 10 (24:33):
Yes, mister LaRue, who is this me?

Speaker 11 (24:37):
Cruel?

Speaker 28 (24:38):
Yes?

Speaker 10 (24:38):
What do you want?

Speaker 11 (24:39):
I want?

Speaker 15 (24:40):
My money.

Speaker 11 (24:40):
You will get your money. The deal was on completion,
you know, I know I agreed not to them.

Speaker 9 (24:46):
Or whatever you want to call it, or was finished yesterday.

Speaker 10 (24:49):
I said you'd get your money. All the reason I.

Speaker 14 (24:51):
Could give you the price was because I expected to
get paid right away.

Speaker 11 (24:54):
You're going to get paid when tonight I'll come over
to your house and pay.

Speaker 10 (25:00):
No, No, you don't have to.

Speaker 11 (25:01):
I mean I could stop by that tomorrow. No, I'd
rather you've got yours tonight. Goodbye. Excuse me, my darling.
I am the devil by these morons. Soon there shall
be no interruptions. Soon the whole world will consist only of.

Speaker 15 (25:23):
You and me.

Speaker 1 (25:31):
All right, it isn't not a guy wants the painting
all to himself.

Speaker 12 (25:37):
Now, what do we really know? One night, say about
a month ago, a man comes into a saloon, makes
Bernie an offer. Bernie then introduces him to porcelain.

Speaker 1 (25:51):
But even if that man exists, we have no way
in this world of finding him.

Speaker 14 (25:56):
Oh boy, listen to that the commissioner. He's getting a
heat and he's passing it right down.

Speaker 12 (26:04):
Are you gonna answer it?

Speaker 1 (26:05):
I guess there's no way of We also got politics
international politics.

Speaker 15 (26:11):
That painting was.

Speaker 29 (26:12):
On loan from Holland.

Speaker 12 (26:13):
Do you want me to answer it?

Speaker 13 (26:15):
Uh?

Speaker 1 (26:15):
Yeah, yeah, yeah, yeah tell him. Let's see what kind
of brilliant excuse you can make up for me.

Speaker 12 (26:23):
Lieutenant birdwrote this. Detective road ruis yes, who.

Speaker 10 (26:31):
Oh, yes, well what.

Speaker 5 (26:34):
Oh?

Speaker 12 (26:36):
Yes, I see, yes, yes, I'll.

Speaker 16 (26:40):
Tell him.

Speaker 15 (26:42):
Who was and what bad news did he have?

Speaker 12 (26:46):
That was a medical examiner. There was a murder last night,
a man named Elvard Krueger. He was a Stonemason.

Speaker 15 (26:54):
Why do I after Oliver?

Speaker 12 (26:56):
He was killed by a thirty two caliber bullet.

Speaker 1 (26:59):
Which which was fired from the same gun that killed
Porcelain and Bernie?

Speaker 15 (27:05):
How did you know? Or what else could it be?
If we don't catch this guy soon, he's going to
wipe out the entire city.

Speaker 8 (27:18):
Not an unreasonable assumption, at least that's the way this
thing has been going. Well, you're ahead of Lieutenant Birdwell
and Sergeant Rodriguez, but not by very much. I'm sure
there are a great many questions you will also want answered,
and that happens in the place we always set aside

(27:38):
for it. Act three, which I shall bring to you
in just a moment. As you know, the woman in
red of valuable painting has been stolen from the museum.

(27:59):
Mister LaRue commissioned a mister Emmett Porcelain to perform the
deed and then killed mister Porcelain, and also a gentleman
named Bernie who functioned as a sort of agent for
mister Porcelain. Mister LaRue has also murdered a mister Kruger
who has built a tomb or a mausoleum.

Speaker 2 (28:17):
Or equipt for him.

Speaker 8 (28:19):
Evidently it is extremely hazardous to perform services for this
mister Legard LaRue.

Speaker 1 (28:25):
Now, missus Kruger, I'm sorry, I have to buy the vid.
Did your husband have any enemies?

Speaker 6 (28:32):
No, No, everyone liked Elvat.

Speaker 1 (28:35):
Did he know a man named Bernie? Bernie Bernie ran
a saloon.

Speaker 21 (28:42):
The day he married me, he promised to keep out
of saloons. He has not foot inside one in thirty
five years.

Speaker 1 (28:47):
Did he know a man named Emmett Porcelain? What kind
the crazy name is that?

Speaker 15 (28:52):
Did he?

Speaker 13 (28:53):
No?

Speaker 20 (28:54):
Now I knew everybody he knew.

Speaker 12 (28:56):
What did mister Kruger do?

Speaker 21 (28:58):
He was a mason, do everything. He'd make you a party,
or he'd make you a wall. He'd make you a
swimming pool. The last thing he made was a grave.

Speaker 24 (29:08):
A grave.

Speaker 21 (29:09):
Yeah, he was working from a diagram. It looked like
like a room was made out the reinforced concrete. It
was underground, a shelter, or that's what I said. He said, No,
it was a grave. Whose grave? I asked, Ah, that's
a secret, he said no. One was supposed to know,
not even me.

Speaker 12 (29:30):
A grave a crypt? Did he ever finish it?

Speaker 21 (29:37):
He must see the other night, I says to him,
let's go to the pictures. He says, no, I got
a stick around. The guy's coming over to pay me.

Speaker 10 (29:46):
Good bye yourself.

Speaker 21 (29:48):
I went by myself.

Speaker 2 (29:51):
I come home.

Speaker 10 (29:53):
It was dead.

Speaker 15 (29:55):
Who did he build a thing for? I told you,
I don't know.

Speaker 12 (29:58):
Wouldn't he have a record of it in his book?

Speaker 15 (30:00):
Yeah?

Speaker 5 (30:01):
I guess he would.

Speaker 15 (30:03):
Listen, do you think this guy might we'd certainly like
to know his name.

Speaker 21 (30:07):
He kept everything in a book right here on the table.

Speaker 20 (30:12):
You see.

Speaker 21 (30:13):
He would contract for a job. He'd write down the
guy's name, address, price, kept the record of everything he
spent labor.

Speaker 15 (30:21):
And so far.

Speaker 21 (30:22):
Here it would have to be on the last page,
had to be the last job he'd done well.

Speaker 15 (30:27):
That says mister Norman selan Cost.

Speaker 21 (30:30):
Oh wait a minute, that ain't the last job he'd done.
Mister Selenkowski was saying a cement.

Speaker 12 (30:35):
Wars asked one of the book, Lieutenant, there's a page turnout.

Speaker 1 (30:40):
Are you sure he kept the record?

Speaker 20 (30:42):
He always kept the record.

Speaker 12 (30:44):
Could have turned it around.

Speaker 1 (30:45):
That we could talk to your husband's helpers. They didn't
know where the work was done and for home.

Speaker 2 (30:51):
No, no, they wouldn't.

Speaker 15 (30:54):
Well why not because because he worked on it alone.

Speaker 21 (30:58):
That was part of the job to do it by himself,
tell nobody where it was, for who or anything. So
every morning he'd go away in the truck and he'd
come back at night.

Speaker 12 (31:09):
He didn't even tell you, he said, I promised the guy.

Speaker 21 (31:15):
He seemed to be enjoying the idea. I think he
would have told me later on.

Speaker 15 (31:21):
Hey, did he tell you anything about the man who
he was, what he looked like.

Speaker 5 (31:26):
No?

Speaker 1 (31:26):
Did he drop any kind of information we could use? No?

Speaker 15 (31:32):
Hmm, wow, thank you.

Speaker 21 (31:34):
Are you going to catch this killer? Or is this
going to be another one of those unsolved crimes?

Speaker 14 (31:47):
Don't let yard.

Speaker 12 (31:48):
I am so glad to see you.

Speaker 11 (31:51):
How are you, doctor?

Speaker 12 (31:52):
Oh, I'm just fine. I wish I could say this
same about you.

Speaker 10 (31:57):
Well, I resigned to it.

Speaker 12 (32:00):
I must say you've taken it remarkably well.

Speaker 11 (32:04):
You said that when the pains came, I would know
that it would only be a matter of a week
or two. Yes, have they not as bad as I
thought they'd be. But they make their presence known. Will
they get worse?

Speaker 12 (32:17):
No, actually they'll even diminish a litchard. I happened to
be in your part of town yesterday.

Speaker 10 (32:26):
You should have dropped in. I did.

Speaker 12 (32:28):
You weren't home.

Speaker 10 (32:29):
Oh, I'm sorry.

Speaker 12 (32:30):
I looked in through the living room window and I
saw the lovely things you have.

Speaker 1 (32:36):
The furniture, the antiques.

Speaker 12 (32:39):
I thought you'd got rid of them.

Speaker 11 (32:42):
No, I didn't.

Speaker 12 (32:44):
Oh, of what you're going to do with them?

Speaker 10 (32:46):
I intend to put them in a safe place.

Speaker 12 (32:48):
I was hoping you'd leave them to a museum.

Speaker 10 (32:51):
No I won't.

Speaker 15 (32:53):
Why not?

Speaker 12 (32:55):
You really don't have anyone near or dear to leave
them too?

Speaker 11 (32:59):
Doctor, I don't intendly my beautiful things to anybody.

Speaker 12 (33:04):
Well, unfortunately, somebody's going to get them.

Speaker 10 (33:08):
No, I don't think so.

Speaker 12 (33:10):
The fact is, you can't take them with you.

Speaker 10 (33:13):
Are you sure of that?

Speaker 12 (33:15):
I'm not sure.

Speaker 11 (33:17):
I understand you forget it. Goodbye, doctor, I won't see
you again.

Speaker 12 (33:23):
I'll drop by tomorrow and every day.

Speaker 10 (33:26):
Please don't I'm making.

Speaker 12 (33:28):
Plans, Yes, I would imagine.

Speaker 10 (33:31):
So plans to just steal away from the world.

Speaker 1 (33:40):
Well, I guess this is it. Detective Rodriguez will lick stumped.
We're up a tree. We'll never crack this case. You
might just as well go back to the piece and
quiet and a rape squad.

Speaker 12 (33:52):
Oh we'll solve it.

Speaker 15 (33:54):
Oh, we already did that.

Speaker 14 (33:55):
We know who's stolen, but he's dead.

Speaker 12 (33:57):
We also know why it was stolen.

Speaker 14 (34:00):
Mean, some guy fell in love with the woman and
red and wants.

Speaker 15 (34:02):
It for his very art.

Speaker 12 (34:04):
I'll tell you who this man is.

Speaker 14 (34:07):
You mean you know his name?

Speaker 12 (34:10):
Do you know what the pharaohs of ancient Egypt did?

Speaker 15 (34:13):
Does that have a bearing on this case?

Speaker 20 (34:15):
Oh?

Speaker 12 (34:15):
Yes, they believe you could take your treasures with you
to the next world. A king, man of wealth was
buried with his possessions so he could take them to
the next world. Look what was all the people who
prepared the pharaoh's tomb, the ones who buried him. Do
you know what happened to them?

Speaker 1 (34:32):
Detective? I have lived this long way.

Speaker 12 (34:34):
We're all killed for two reasons. First, so they could
serve as his slaves in the next world. Second, so
they would be unable to come back later and rob
the tomb. Now look at what's happening here. A man
is in love with a painting, he has it stolen,
kills the people who did it. Then he has his

(34:56):
tomb or cripped, constructed and kills the man who build it.
Why because he plans to have treasures in his grave, and.

Speaker 1 (35:05):
One of them the woman in Red Rodriguez, where do
you get this nonsense?

Speaker 12 (35:13):
Are you Lieutenant Bertwell? Ah, yes, in charge of the
Woman in Red investigation?

Speaker 15 (35:20):
Do you have any information?

Speaker 12 (35:22):
Well, I'm in a very difficult position. A man who
is not just a patient but also a lifelong friend.

Speaker 15 (35:30):
Well, yes, this gentleman.

Speaker 12 (35:34):
Has contracted a rare but fatal disease that is absolutely
no cure. Within the next.

Speaker 15 (35:41):
Week he'll be dead, and he stole the Woman in Red.

Speaker 12 (35:48):
Will I paid him a visit the other day. He's
quite a recluse. Snow one ever comes.

Speaker 10 (35:55):
To see him.

Speaker 12 (35:56):
He has the most beautiful things in his home. He
was out, but I happened to glance through the window,
and I saw the woman in red hanging on the wall.

Speaker 15 (36:11):
I want to thank you for coming forward. Doctor.

Speaker 12 (36:14):
If he had only planned to enjoy the painting for
the very brief remainder of his life, I would have
remained silent. However, he spoke to me of taking his
treasures with him, and in the classical sense, that might
mean he intended to be buried with them somewhere in secret.

(36:37):
A doctor, your patient's name, mister Ledyard, Lovely, Let's not
take any chances. There's no such thing as a harmless

(36:58):
not You sit in the cart.

Speaker 15 (37:01):
And cover me.

Speaker 1 (37:02):
Eddie, you and I'll go around Abut Okay, let's hit
it's rough.

Speaker 15 (37:14):
Open up there, Hey, I told you to wait in
my car.

Speaker 12 (37:18):
Did you see, Lieutenant look through the window. The place
is empty.

Speaker 15 (37:21):
A man is gone, and he took everything with him.

Speaker 12 (37:32):
This man will be dead in a week or ten days,
and if we don't find him before that time, everything
will be gone forever.

Speaker 1 (37:39):
In that tomb he built for himself.

Speaker 12 (37:42):
Yes, he built his final resting place, and like some
ancient king, filled it with the things he loved in
this world. Well, there may be one way we can
capture him and recover the Woman in Red? Yeah, why
did he steal the painting?

Speaker 1 (38:00):
According to you, because he fell in lover That's right,
he fell in.

Speaker 12 (38:04):
Love with her, but he settled for the painting because
that's all that was available to him. Suppose he could
have the living Woman in Red?

Speaker 1 (38:15):
Now before I even ask anything else, Detective, where could
we ever find some Dutch woman we don't even know
who polls for a portrait twenty years ago?

Speaker 12 (38:26):
He has just found her.

Speaker 15 (38:28):
Why?

Speaker 12 (38:29):
How would you like to go on TV with me? Lieutenant?

Speaker 14 (38:37):
I would like to thank this station for giving us
the time this evening.

Speaker 15 (38:41):
I'm a Lieutenant.

Speaker 1 (38:42):
Birdwell of the Police Department in charge of the Woman
in Red investigation, and with me tonight is Miss Henriquie
van Bremer.

Speaker 15 (38:52):
Did I pronounce that right?

Speaker 10 (38:53):
Oh?

Speaker 1 (38:54):
Yes, she is the model who polls for the Woman
in Red, the actual real life woman in Red sitting
here with me. She's even wearing the same red dress,
and she wants to say a few words.

Speaker 20 (39:08):
Thank you.

Speaker 12 (39:11):
The painting is so dear to my heart. I would
hope that whoever took it would be kind enough to
restore it back so that all of us may enjoy
it once again. Please please, Hello.

Speaker 10 (39:41):
Are you the woman in red?

Speaker 30 (39:43):
Yes?

Speaker 10 (39:44):
I saw you on the air.

Speaker 8 (39:47):
Oh.

Speaker 10 (39:48):
I called the station and they gave me this number.

Speaker 12 (39:51):
What do you want with me?

Speaker 11 (39:53):
I have the painting.

Speaker 10 (39:55):
I'd like to talk to you about it.

Speaker 12 (39:57):
Could you come here?

Speaker 15 (39:59):
You know I couldn't do that.

Speaker 11 (40:01):
Would you like to meet me?

Speaker 31 (40:03):
Oh?

Speaker 10 (40:03):
Yes, let me tell you where and if you're not alone.

Speaker 12 (40:07):
Oh, I'll be alone.

Speaker 10 (40:09):
I'll be able to tell if someone's following you. If
that happens, I'll destroy the painting before you can stop me.

(40:30):
Woman in red?

Speaker 12 (40:31):
Oh you startle me? Do you have to shine a
light in my eyes?

Speaker 10 (40:38):
I'm sorry? Come with me? Where are we going to eternity?

Speaker 12 (40:43):
I don't understand.

Speaker 11 (40:45):
You will just a few steps this way and down
here and come inside. There's nothing to fear.

Speaker 20 (40:57):
What is this place?

Speaker 12 (41:01):
It's evart.

Speaker 10 (41:02):
I'll die here among all the things I love.

Speaker 12 (41:06):
Well, you do have many beautiful things.

Speaker 10 (41:09):
Yes, aren't they? I spent a lifetime collecting. But now
my life is over.

Speaker 12 (41:17):
I see.

Speaker 11 (41:19):
When I was told that I must die, I felt,
I'm so young. It's so unfair.

Speaker 15 (41:26):
Why me, I'm sorry?

Speaker 11 (41:28):
Oh no, no, don't be. I was sorry at first,
sorry for myself, but I see now, it's best to
die while the flower is in full bloom.

Speaker 10 (41:39):
Why wait for decay? And I didn't wish to go alone.

Speaker 11 (41:44):
Love meant so little in my life because I never
found a woman I could love. And then I saw
the woman in Red, and she ruled out all others.
And since she was the only one I could love,
I wanted her to be with me.

Speaker 12 (42:00):
Is that why you stole the painting?

Speaker 10 (42:03):
How could I steal her? She was mine by rite
of conquest?

Speaker 12 (42:07):
Did you have to kill those three men?

Speaker 11 (42:10):
Yes? But what I am as a king and others
exist to serve me, their lives are of no consequence.

Speaker 12 (42:19):
Mister LaRue, you admit you arranged for the theft of
the woman in red.

Speaker 10 (42:23):
Firft, I took what was mine.

Speaker 12 (42:26):
You admit your murdered Bernie, mister Porcelain, and mister Krueger. No,
before you answer, I must inform you of your right.

Speaker 10 (42:33):
I know my right.

Speaker 12 (42:34):
I am a police officer.

Speaker 10 (42:35):
You are the woman in Red, my queen, my consort.
I am taking you with me.

Speaker 12 (42:42):
I must ask you to come with me. I am
prepared to use all proper and necessary force.

Speaker 11 (42:48):
Daring it will not hurt. I just placed the bullet
where it kills instantly. I promise you there will be
no pain. Do not move, beloved, you will make it
difficult for me.

Speaker 12 (43:03):
To Please let go my arm.

Speaker 11 (43:07):
You're breaking my arm, gone, durn You must come.

Speaker 12 (43:11):
With me, then, thank you. That's better.

Speaker 10 (43:17):
We could have been king and queen together.

Speaker 12 (43:20):
You're under arrest, miss de LaRue, and anything you say
may be used against you.

Speaker 8 (43:29):
Isn't it rather refreshing to have a girl in a
perilous position who doesn't have to be rescued by the hero,
but is quite capable of getting out of it herself.
She came there alone because Legard LaRue would carry out
his threat to destroy the painting if she were followed.
Our detective Rodriguez is definitely a lady who can take

(43:50):
care of herself. I'll return in just a few moments.
Some fifty minutes ago, we asked, can you take it
with you? And although we've made some speculations, we really

(44:13):
haven't come up with a definitive answer. When we go,
we leave something behind the body. What we take with
us is hopefully the spirit. It could be the same
for our treasures. Perhaps we leave the body of our
possessions here below and take their spirit with us.

Speaker 10 (44:36):
Our cast included Robert L.

Speaker 8 (44:38):
Green, Evyester, Robert Dryden, Briana Raeburn and Earl Hammond. The
entire production was under the direction of Hymon Brown and
now a preview of our next tale.

Speaker 15 (44:52):
I'm only sorry you're not feeling well.

Speaker 12 (44:55):
I'll be all right in the morning.

Speaker 15 (44:57):
You want me to stop by for you as usual, Darling,
I better go.

Speaker 20 (45:04):
Everything will be all right.

Speaker 15 (45:07):
Just seeing you makes me feel better.

Speaker 20 (45:11):
Please kiss me good night.

Speaker 2 (45:13):
Good night dearest.

Speaker 15 (45:16):
I love you so much and I love you good night.

Speaker 32 (45:28):
Donald.

Speaker 26 (45:30):
Come on in.

Speaker 15 (45:31):
Well, the chump is gone. I say yes, the chump
is gone. Ooh that was close. Well baby, where were
we before we were so rudely interrupted?

Speaker 8 (45:43):
Radio Mystery Theater were sponsored in part by True Value
Hardware stores.

Speaker 2 (45:48):
Missus e g.

Speaker 8 (45:49):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, pleasant.

Speaker 7 (46:00):
Dream, heywardos. As you know, October is birthday month for

(46:44):
Weird Darkness. We're celebrating ten years of doing the show
this year, and while it is Weird Darkness's birthday, we
want to give the gifts to those who help people
who struggle with depression, anxiety, or thoughts of suicide or
self harm, and that is what our annual Overcoming the
Darkness campaign is all about. It is the only fundraiser
that I do all year long, and you can bring

(47:05):
hope to those who are lost in the darkness of depression.
You can make a donation right now by visiting Weird
Darkness dot com slash hope. This is our last week
of doing this. It ends Halloween night, so please if
you are planning on making a donation, do so tonight.
I'd really appreciate that Weirddarkness dot com slash hope. Big

(47:26):
Joe in the four forty gave twenty five dollars a
few days ago, saying this is such an awesome cause.
As someone who's been battling depression, it's comforting knowing there
are places to find help and that there are people
who care. Keep up the great work. Well, thank you,
Big Joe. I do appreciate that we had an anonymous
giver give fifty dollars. They left a message saying thank you, Darren,
you are such a good, god fearing man.

Speaker 2 (47:48):
Well, thank you.

Speaker 7 (47:48):
Another anonymous giver gave one hundred dollars.

Speaker 11 (47:50):
Wow.

Speaker 7 (47:51):
Saying thanks for this campaign and bringing awareness of depression.
Often felt rarely discussed and it's a killer. I couldn't
agree more. It's something that when you struggle with it,
you don't want to talk about it, and so it
doesn't really get discussed nearly as much as it should.
We had another anonymous giver give one hundred dollars saying, Hi, Darren,
I didn't hear my donate donate donate comments this year.

(48:14):
Thanks for the mental health awareness. We all need a
little help, especially right now. Thank you again. That was Jamie,
Actually she decided not to stay anonymous. I know what
you're talking about, Jamie. In years past, I did have
some testimonials or comments that people had made in the
past about it, and I just decided not to use
them this year because I thought they were getting a
little bit old and I had not had an opportunity

(48:35):
to refresh them with new ones. Twenty five dollars came
in from another anonymous giver saying love your podcast. Thank
you for all you do in the name of our
Lord and Savior. Keep up the amazing work. MS Groves
gave ten dollars, saying wish it could be more, but
every little bit helps keep up the good work. You're
absolutely right, miss Groves. Every little bit helps. Even if

(48:56):
you give a dollar, that's still one dollar closer to
our five thousand dollars goal, and we still have a
long ways to go for that. By the way, we
are currently at fourteen hundred dollars and we're trying to
make it to fifty or we're trying to make it
to five thousand, So we have a long ways to go,
and we only have a few days left to do it.
A thirty dollars donation came in just yesterday saying thank
you for what you're doing, sir. Junebug gave twenty five

(49:19):
saying depression has affected me, my child, and my grandchild.
Oh my gosh, my heart goes out to those who suffer.
Thank you, Darren for making this available to those who
need it. June Bug, you are so very welcome, and
I'm really sorry that all of you are struggling with it.
I think it does run in families. My dad used
to suffer from depression too, and Bridget gave twenty five

(49:40):
dollars just earlier today. Bridget, thank you. I really really
appreciate that. So if you would like to make a
donation for our Overcoming the Darkness campaign, you can do
that at Weird Darkness dot com slash hope. While you're there. Also,
that's the place to go if you're looking for help yourself,
if you struggle with depression or anxiety or thoughts of

(50:01):
harming yourself or others. That's the place to go. With
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weird Darkness dot com slash hope. So even if you're
not planning on making a donation, go ahead and check
that page out, because even if you are not struggling,
you might know somebody who is struggling, or maybe it's
just a good resource to have to the side just
in case you can need it someday. Weirddarkness dot com

(50:24):
slash hope. And thanks to everybody who's made a donation
so far, and thanks in advance if you're planning on
making a donation.

Speaker 10 (51:07):
Mind Waves.

Speaker 33 (51:23):
Welcome to a half hour of mind works short stories
from the worlds of speculative fiction. This is Michael Anson

(51:44):
with a mind Web story that first appeared in the
Galaxy of June nineteen fifty three. It is reprinted in
Gruff Conklum's collection science fiction Terror Tales. This is Philip K.
Dick's impostor. One of these days, I'm going to take
time off spence, Olam said at first meal. He looked

(52:06):
around at his wife. I think I've earned a rest.
Ten years is a long time in the project. The
war will be won without me, and this ball of
clay of ours isn't really in much danger. The news
machines altered dispatches to make it appear the out spacers
are right on top of us. You know what I'd
like to do on my vacation. I'd like to take
a camping trip in those mountains outside of town where

(52:27):
we went that time. Remember, hmm, Sutton? Would Mary began
to clear away the food dishes. The wood was burned
a few weeks ago. I thought you knew some kind
of flash fire. Olam sagged. I didn't even try to
find the cause. No one cares anymore. All he can
think of is the war. He clamped his jaws together,

(52:48):
the whole picture coming up in his mind, the outspacers,
the war, the needleships. How can we think about anything else?
Olam nodded. She was right, of course, the dark little
ships out of Elphis and Tora had bypassed the Earth cruisers,
easily leaving them like helpless turtles. It had been one
way flights all the way back to Terra, all the

(53:10):
way until the protect Bubble was demonstrated by Westinghouse labs
thrown around the major Earth cities and finally the planet itself.
The bubble was the first real defense, the first legitimate
answer to the outspacers, as the news machines labeled them.
But to win the war, that was another thing. Every lab,

(53:32):
every project was working night and day endlessly to find
something more, a weapon for positive combat. His own project,
for example, all day long, year after year, Oulum stood
up like the Sorda Damocles, always hanging over us. I'm
getting tired. All I want to do is take a
long rest, but I guess everybody feels that way. He

(53:55):
got his jacket from the closet and went out in
the front porch. The shoot would be along any moment,
the fast little bug that would carry him to the project.
He said, I hope Nelson isn't late. It's almost seven.
Here the bug comes, Mary said, gazing between the rows
of houses, the sun glittered behind the roofs reflecting against

(54:16):
the heavy lead plates. The settlement was quite Only a
few people were stirring, and Mary said, see you later.
Try not to work beyond your shift. Olam opened the
car door and slid inside, leaning back against the seat
with a sigh. There was an older man with Nelson.

Speaker 6 (54:33):
Well.

Speaker 33 (54:34):
Olam said, as the bug shot ahead, you heard any
interesting news? Arly usual, said Nelson. A few odd spaceships hit,
another asteroid abandoned for strategic reasons. It'll be good when
we get the project in the final stage. Maybe it's
just the propaganda from the news machines. But in the
last month I've gotten weary of all this. Everything seemed

(54:54):
so grim, no colored to life. Do you think the
wars in vain? The older man said, Suddenly you are
an integral part of it yourself, missus Major Peters, Nelson
said Olam and Peters shook hands. Olam studied the older man, Oh,
what brings you along, sirly? I don't remember seeing you

(55:16):
at the project before. No, I'm not with the project,
but I know something about what you're doing. My own
work is altogether different. A look passed between him and Nelson.
Olam noticed it and he frowned. The bug was gaining speed,
flashing across the barren, lifeless ground toward the distant rim
of the project buildings. H What is your business, Olam said?

(55:40):
Or aren't you permitted to talk about it? I'm with
the government, said Peters, with fess ay the security organ
oh Olam raised an eyebrow. Is there any enemy infiltration
in this region? As a matter of fact, I'm here
to see you, ooh, mister Ollam. Olam was puzzled. He

(56:04):
considered Peter's words, but he could make nothing of them.
To see me why I'm here to arrest you as
an outspace spy. That's why I'm up so early this morning.
Grab him, Nelson. The gun drove into Olam's ribs. Nelson's
hands was shaking, trembling with released emotion, his face pale.

(56:24):
He took a deep breath and let it out again.
Shall we kill him now? He whispered to Peters. I
think we should kill him now. We can't wait. Olam
stared into his friend's face. He opened his mouth to speak,
but no words came. Both men were staring at him steadily,
rigid and grim with fright. Olam felt dizzy. His head
ached and spun, and he murmured, I don't understand. I

(56:48):
don't understand. At that moment, the shoot car left the
ground and rushed up, heading into space. Below them, the
project fell away, smaller and smaller, disappearing. Ollam shout his mouth,
we can wait a little, Peter said, I wanted to
ask him some questions first. Olham gazed dully ahead as

(57:10):
the bug rushed through space. The arrest was made, all right,
Peters said into the VID screen. On the screen, the
features of the security chief showed it should be a
load off everyone's mind. Chief, any complications, no, none. He
entered the bug without suspicion. He didn't seem to think

(57:31):
my presence was too unusual.

Speaker 18 (57:33):
And where are you now?

Speaker 33 (57:36):
On our way out? Justin Sander protect bubble. We're moving
at maximum speed. You can't assume that the critical periods passed.
I'm glad to take off. Jets and this craft were
in good working order. If there'd been any failure at
that point, let me see him. The security chief gazed
directly at Olham, where he sat his hands and his lap,

(57:56):
staring ahead.

Speaker 11 (57:58):
So that's the man.

Speaker 33 (58:01):
He looked at Olam for a time Olam said nothing.
At last, the Chief nodded to Peters, all right, all right.

Speaker 15 (58:08):
That's enough.

Speaker 33 (58:09):
I've seen all I want. You've done something that'll be
remembered for a long time. They're preparing some sort of
citation for both of you. No, that's not necessary, Peters said.
How much danger is there now? Is there's still much
chance that No, there's some chance, but not too much.

(58:29):
According to my understanding, it requires a verbal key phrase.
In any case, we'll have to take the risk. I'll
have the moon base notified you're coming.

Speaker 15 (58:40):
No.

Speaker 33 (58:41):
No, I'll land the ship outside, beyond the base. I
don't want to put it in jeopardy, just as you like.
The Chief's eyes flickered as he glanced again at Olum,
and his image faded. The screen blanked. Olam shifted his
gaze to the window. The ship was already through the

(59:01):
protect bubble, rushing with greater and greater speed, all the time.
Peters was in a hurry below him, rumbling under the floor.
The jets were wide open. They were afraid, hurrying frantically
because of him. Next to him on the seat, Nelson
shifted uneasily. I think we should do it now. I'd
give anything. If we could get it over with, I'll

(59:23):
take it easy, Peter said, I want you to guide
the ship for a while so I can talk to him.
He slid over beside Olam, looking into his face. Presently,
he reached out and touched him gingerly on the arm
and then on the cheek. Olam said nothing. If I
could let marry no, he thought again, if I could
find some way of letting her know. He looked around

(59:46):
the ship, how the wit screen. Nelson was sitting by
the board holding the gun. There was nothing he could do.
He was caught trapped.

Speaker 29 (59:57):
But why.

Speaker 33 (01:00:00):
Listen, Peter said, I want to ask you some questions.
You know where we're going. We're moving moonward. In an hour,
we'll land on the far side, on the desolate side.
And after we land, you'll be turned over immediately to
a team of men waiting there. Your body will be
destroyed at once. You understand that within two hours your
parts will be strewn over the landscape. There won't be

(01:00:20):
anything left of you. Olam struggled out of his lethargy.
Can't you tell me? Certainly, I'll tell you. Two days
ago we received a report that an outspace ship had
penetrated the protect bubble. The ship let off a spy
in the form of a humanoid robot. The robot was

(01:00:41):
to destroy a particular human being and take his place inside.
The robot was a U bomb, and our agent didn't
know how the bomb was to be detonated, but he
conjectured that it might be by a particular spoken phrase,
a certain group of words. The robot would live the
life of the person he killed, entering into his usual activities,

(01:01:03):
his job, his social life. He'd been constructed to resemble
that person, and no one would know the difference. Olam's
face went sickly chalk. The person whom the robot was
to impersonate was Spence Olam, a high ranking official at
one of the research projects. Because this particular project was
approaching crucial stage the presence of an animate bomb moving

(01:01:27):
toward the center of the project, Olam stared down at
his hands. But I'm Olam. Once the robot had located
and killed Olam, it was a simple matter to take
over his life. The robot was probably released from the
ship eight days ago. The substitution was probably accomplished over
the last weekend, when Olum went for a short walk

(01:01:49):
in the hills. But I'm olam, and he turned to Nelson,
sitting at the controls. Don't you recognize me? You've known
me for twenty years. Don't you remember how we went
to college together. You and I were at the university.
We had the same room. Listen, remember our second year.
Remember that girl what was her name? One with a

(01:02:12):
dark hair, the one we met over at Ted's place.
Nelson waved his gun frantically and said stop. Look, I
don't want to hear anymore. You you killed him, you machine.
Oullum looked at Nelson, No, no, you're wrong. I don't
know what happened. But the robot never reached me. Something

(01:02:34):
must have gone wrong. Maybe the ship crashed. He turned
to Peters. I am ollam.

Speaker 11 (01:02:40):
I know it.

Speaker 33 (01:02:41):
No transfer was made. I'm the same as I've always been.
He touched himself, running his hands over his body. There
must be some way to prove it. Look, take me
back to Earth. An X ray examination, a neurological study,
anything like that will show you, or maybe we can
find the ship. Neither Peters nor Nelson spoke. I am olam,

(01:03:06):
he said again, I know I am, but I can't
prove it. Ull the robot, said Peters. The robot Haud
be unaware that he was not the real Spence Olam.
He would become Olam in mind as well as body.
He was given an artificial memory system false recall. He
would look like him, have his memories, his thoughts and interests,

(01:03:29):
perform his job. But there would be one difference. Inside
the robot. Is a U bomb ready to explode at
the trigger phrase. That's the one difference. That's why we're
taking you to the moon. They'll disassemble you and remove
the bomb. Maybe it will explode, but it won't matter.

(01:03:51):
Not there, Olam sat down slowly. He lay back, thinking
frantically as the ship dropped slowly. Down under them was
the pitted surface of the Moon, the endless expanse of ruin.
What could he do, what would save him? In a

(01:04:12):
few minutes he would be dead. Down below, he could
see a tiny dot, a building of some kind. There
were men in the building, the demolition team, waiting to
tear him the bits. They would rip him open, pull
off his arms and legs, break him apart, and when
they found no bomb, they'd be surprised. They would know,
but it would be too late. Oulam looked around the

(01:04:33):
small cabin. Nelson was still holding the gun. There was
no chance there. If he could get to a doctor,
have an examination made, that was the only way Mary
could help him, he thought frantically, his mind racing. Only
a few minutes, just a little time left. If he
could contact her, get word to her in some way.

(01:04:53):
The ship came down, slowly, bumping on the rough ground.
There was silence. Olam said, listen, listen, I can prove
I'm spence. Olam, get a doctor. Bring him here. There's
the squad. Nelson pointed, they're coming. I hope nothing happens. Oh,
we'll be gone before they start work. Peter said, we'll

(01:05:15):
be out of here in a moment. He put on
his pressure suit. When he had finished, he took the
gun from Nelson. I'll watch him for a moment. Nelson
put on his pressure suit, hurrying awkwardly. How about him,
he indicated Olam, Will he need one? No, Peter shook
his head. Robots probably don't work. Fuire oxygen. The group

(01:05:35):
of men were almost to the ship. They halted, waiting
Peter's signal to them come on. He waved his hand
and the man approached where a lay stiff, grotesque figures
and their inflated suits. If you open the door, Olam said,
it means my death. It'll be murder. Open the door,
Nelson said. He reached for the handle. Olam watched him.

(01:05:58):
He saw the man's hand tight around the middle rod.
In a moment, the door would swing back, the air
in the ship would rush out. He would die, and
presently they would realize their mistake. Perhaps at some other time,
when there was no war, men might not act this way,
hurrying an individual to his death because they were afraid.
Everyone was frightened. Everyone was willing to sacrifice the individual

(01:06:22):
because of the group fear. He was being killed because
they could not wait to be sure of his guilt.
There was not enough time. He looked at Nelson. Nelson
had been his friend for years. They had gone to
school together. He had been best man at his wedding.
Now Nelson was going to kill in. But Nelson was

(01:06:43):
not wicked. It was not his fault. It was the times.
Perhaps it had been the same way during the plagues,
when men had shown a spot, they probably had been
killed too, without a moment's hesitation, without proof, on suspicion
alone in times of danger, there was no other way.
He did not blame them, but he had to live.

(01:07:04):
His life was too precious to be sacrificed. Olam thought quickly,
what could he do? Was there anything? He looked around.
Nelson said, here goes. You're right, Olam said, the sound
of his own voice surprised him. It was the strength
of desperation. You're right, I have no need of air.

(01:07:25):
Open the door. They paused, looking at him in curious alarm.
Go ahead, open it makes no difference. Olam's hand disappeared
inside his jacket. I wonder how far you two can run.

Speaker 11 (01:07:40):
Run?

Speaker 33 (01:07:42):
You have fifteen seconds to live. Inside his jacket, Ollam's
fingers twisted, his arms suddenly rigid. He relaxed, smiling a little.
You were wrong about the trigger phrase. In that respect,
you were mistaken. Fourteen seconds now. Two shocked faces stared
at him from there rush suits. Then they were struggling, running,

(01:08:02):
tearing the door open. The air shrieked out, spilling into
the void. Peters and Nelson bolted out of the ship.
Olam grasped the door and dragged a shut. The automatic
pressure system chugged furiously, restoring the air, and Olum led
his breath out with a shutter. One more second beyond
the window, the two men had joined the group. The
group scattered, running in all directions. One by one, they

(01:08:23):
threw themselves down, prone on the ground. Olam seated himself
with the control board. He moved the dials into place.
As the ship rose up into the air. The men
below scrambled to their feet and stared up, their mouths open.
Olam headed the ship back the way it had come.

(01:08:44):
It was night all around the ship. Crickets chirped, disturbing
the chill darkness. Olam bent over the vidscreen. Gradually the
image formed. The call had gone through without trouble, and
he breathed a sigh of relief. Mary, he said. The
woman stared. She gasped, Spence, where are you? What's happened?

(01:09:04):
I can't tell you. Listen, I have to talk fast
and they break this call off any minute. Go to
the project grounds and get doctor Chamberlain. If he isn't there,
to get any doctor, bring him to the house. And
haven't stayed there, haven't bring equipment, X rays, fluroscope, everything,
haven't get it set up in an hour and don't
tell anyone. Get Chamberlain there on any pretext. He broke
the connection and looked at his watch. A moment later

(01:09:27):
he left the ship, stepping down into the darkness. He
had half a mile to go. He began to walk.
One light showed in the window, the study light. He
watched it kneeling against the fence. There was no sound,
no movement of any kind. He held his watch up
and read it by starlight. Almost an hour had passed.

(01:09:48):
Along the street. A shoot bug came and went on.
Oulam looked toward the house. The doctor should have already come.
He should be inside waiting with Mary. A thought struck
in had she unable to leave the house. Perhaps they
had intercepted her. Maybe he was moving into a trap.
But what else could he do. He stood up and
moved toward the house. He came up on the porch

(01:10:11):
at the door. He paused, listening. Still no sound. The
house was absolutely still too still. Olam stood on the porch, unmoving.
They were trying to be silent inside. Why it was
a small house, only a few feet away beyond the door,
Mary and doctor Chamberlain should be standing. Yet he could
hear nothing, no sound of voices, nothing at all. He

(01:10:34):
looked at the door. It was the door he had
opened and closed a thousand times, every morning and every night.
He put his hand on the knob. Then, all at
once he reached out and touched the bell. Instead, the
bell peeled off some place in the back of the house.
Olam smiled. He could hear movement. Mary opened the door.

(01:10:56):
As soon as he saw her face, he knew. He ran,
throwing himself into the bushes. A security officer shoved Mary
out of the way, firing past her. The bushes burst apart.
Olam wriggled around the side of the house. He leaped
up and ran, racing frantically into the darkness. A searchlight
snapped on a beam of light circling past him. He
crossed the road and squeezed over a fence. He jumped

(01:11:18):
down and made his way across the back yard. Behind him,
men were coming, security officers, shouting to each other as
they came. Olam gasped for breath, his chest rising and
falling her face. He had known at once, the set lips,
the terrified, wretched eyes. Suppose he had gone ahead, pushed
open the door and entered. They had tapped the call

(01:11:40):
and come at once. As soon as he had broken off.
Probably she believed their account no doubt. She thought he
was a robot too. Olam ran on and on. He
was losing the officers, dropping them behind. Apparently they were
not much good at running. He climbed the hill, had

(01:12:00):
made his way down the other side. But where to
this time? What was there left? He had lost the ship,
the one hope of escape. They were at his home.
His wife was with them. Believing no doubt that the
real Oulam had been killed. He clenched his fists. Someplace
there was a wrecked out space needleship, and in it

(01:12:22):
the remains of the robot. Somewhere nearby the ship had crashed,
crashed and broken up, and the robot lay inside, destroyed.
A faint hope stirred in what if he could find
the remains, if he could show them the wreckage, the
remains of the ship the robot. But where where would

(01:12:45):
he find it? He walked on, lost in thought. Someplace
not too far off. Probably the ship would have landed
close to the project. The robot would have expected to
go the rest of the way on foot. He went
up the side of a hill and looked around. Crashed
and burned. Was there some clue, some hint. Had he

(01:13:08):
read anything, heard anything, some place close by, within walking distance,
some wild place, a remote spot where there would be
no people. Suddenly Oulam smiled, crashed and burned sutton Wood.
He increased his pace. Down below him, strewn across the

(01:13:30):
clearing and into the charred stumps that had been Sutton Wood,
lay a tangled mass of wreckage in the sunlight that
glittered a little gleaming darkly. He had not had too
much trouble finding it. Sutton Wood was a place.

Speaker 10 (01:13:44):
He knew well.

Speaker 33 (01:13:45):
He'd climbed around it many times in his life when
he was younger. He had known where he would find
the remains. There was one peak that jutted up suddenly
without warning. A descending ship, unfamiliar with the wood, had
little chance of missing it. And now he squatted, looking
down at the ship, or what remained of it. A

(01:14:05):
charred branch cracked. A figure appeared, coming forward uncertainly. Oulam
took a deep breath. Only a few seconds remained, perhaps
the last seconds of his life. He raised his arms,
peering intently. It was Peters. Peters. Oullum waved his arms.
Peters lifted his gun, aiming don't fire. Wait a minute.

(01:14:27):
Look look past me across the clearing. I found him,
Peters shouted, and security men came pouring out of the
burned woods around him. Don't shoot. Look past me, the ship,
the needleship, the outspace ship. Look, Peters hesitated the gun, wavered.

Speaker 34 (01:14:45):
It's down there. I know I'd find it here the
burned wood. Now, believe me, you'll find the remains of
the robot in the ship. Look, will you Hey, there's
something down there.

Speaker 33 (01:14:56):
One of the men said. Another voice said, shoot him.
It was Nelson.

Speaker 11 (01:15:03):
Wait.

Speaker 33 (01:15:04):
Peters turned sharply. Wait, I'm in charge. Don't anyone fire.
Maybe he is telling the truth. Shoot him. He killed
all them. Any minute, he may kill us if the
bomb goes off. Shut up, and Peters advanced toward the slope.
He stared down. Look at that, he waved. Two men
up to him. Go down there and see what it is.
The men raced down the slope across the clearing. They

(01:15:25):
bent down, poking in the ruins of the ship. The
two men stood up. What have you found, Peters said,
He held the gun steady. Is there anything there? It
looks like something that's a needleship? All right, there's something
beside it.

Speaker 35 (01:15:42):
Now.

Speaker 33 (01:15:42):
Look, Peters throde past Olm. Olam watched him go down
the hill and up to the men. The others were
following after him, peering to sea. It's a body of
some sort, look at it. Olam came along with them,
and they stood around in the circle, staring down on

(01:16:02):
the ground, bent and twisted into a strange shape. Was
a grotesque form. It looked human, perhaps, except that it
was bent so strangely. The arms and legs flung off
in all directions. The mouth was open, the eyes stared glassily,
like a machine that's run down, said Peters. Olam smiled feebly. Well,

(01:16:24):
Peters looked at him. I can't believe it. You were
telling the truth all the time. The robot never reached me,
Olam said. It was destroyed when the ship crashed. You
were all too busy with the war to wonder why.
And out of the way woods would suddenly catch fire
and burn. Now you know, he stood watching the men.

(01:16:45):
They were dragging the grotesque remains from the ship. The
body was stiff, the arms and legs rigid. You'll find
the bomb now, Olam said. The men laid the body
in the ground, Peters bent down. I think I can
see the corner of it. He reached out, touching the body.
The chest of the corpse had been laid open. Within

(01:17:05):
the gaping tear, something glinted something metal. The man stared
at the metal without speaking. I would have destroyed us
all if it had lived that metal box. There there
was silence, and Peter said to Ullum, I think we
owe you something. This must have been a nightmare to you.

(01:17:27):
If you hadn't escaped, we would have. Olam said, I knew,
of course that the robot had never reached me, but
I had no way of proving it to you. Sometimes
it isn't possible to prove a thing right away. That
was the whole trouble. There wasn't any way I could
demonstrate that I was myself. Ah, how about a vacation.

(01:17:49):
I think we might work out a month's vacation for you.
You could take it easy, relax. I think right now
I want to go home, all right, then, whatever you say.
Nelson had squatted down on the ground beside the corpse.
He reached out toward the glint of metal visible within
the chest. Don't touch it, Olam said, it might still

(01:18:12):
go off. We'd better let the demolition squat take care
of it later on. Nelson said nothing, and suddenly he
grabbed hold of the metal, reaching his hand inside the chest.
He pulled. What are you doing, Olam cried? Nelson stood up.
He was holding on to the metal object. His face

(01:18:34):
was blank with terror. It was a metal knife, an
outspace needle knife covered with blood.

Speaker 10 (01:18:43):
This killed him.

Speaker 33 (01:18:44):
Nelson whispered, my friend was killed with this. He looked
at Olam. You killed him with this and left him
beside the ship. Olam was trembling, his teeth chattered. He
looked from the knife to the body. He said, this

(01:19:06):
can't this can't be Allum. His mind spun, everything was whirling.
Was I wrong? He gaped? But if that is Allum,
then I must be. He did not complete the sentence,
only the first phrase, The blast was visible all the

(01:19:30):
way to Alfa, Centuria. That was a Philip k. Vick's
story titled The Imposter. It first appeared in Galaxy of

(01:19:54):
June nineteen fifty three and is reprinted in the collection
edited by Gruff Kant, then called Science Fiction Terror Tales.
This is Michael Hanson speaking. Technical production from mind Webs
by Leslie Hilsenhoff. Mind webs comes to you from WYHA
Radio and Madison, a service of University of Wisconsin. Extension

(01:20:28):
of the Nine.

Speaker 28 (01:20:30):
Stories of Adventure, Mystery and Suspense. The needle on the
skilometer fascinated me. Fifty fifty five, sixty.

Speaker 2 (01:20:47):
Sixty five. The truck kept.

Speaker 28 (01:20:48):
Gathering more momentum, faster and faster. I kept my hand
on the horn to warn all the other trucks and
cars that I was out of control. To get out
of my way.

Speaker 2 (01:20:56):
Seventy five eighty. I couldn't understand.

Speaker 28 (01:21:01):
I wasn't scared, like a dream, like a nightmare that
would end as quick as it began.

Speaker 2 (01:21:07):
No, not a dream. This was happening to me.

Speaker 28 (01:21:14):
Good evening, The American Broadcasting Company presents another story, Out
of the Night, written by Larry Marcus and directed by
William T.

Speaker 2 (01:21:22):
Johnsonwhere Elliott Lewis stars in.

Speaker 28 (01:21:25):
The role of George Graham in bed end this evening story.

Speaker 2 (01:21:30):
Out of the Mouth eighty five miles an hour, eighty
seven eighty eight. No way is copper, no break, no nothing.
This was my debt. I started remembering the way a
drowning man remembers, and I began to know it was
right that it should end like that.

Speaker 28 (01:21:57):
It started less than three hours ago, a few minutes
after eleven by the big noisy alarm clock. I make
care by my bed eleven o five Pacific Standard time,
like the man on the radio. Let's say the big
blue Pacific that came out to pick oranges off the
trees and baked myself in the sun.

Speaker 2 (01:22:15):
And I found out the same things happened to you,
no matter way. Started pacing up.

Speaker 9 (01:22:23):
And down.

Speaker 2 (01:22:25):
A lit a cigarette.

Speaker 28 (01:22:28):
My finger shook so much I had all the match
with both hands. The clocket was driving me nuts. Yeah,
I was smiley. Can't stop it ticking anyhow, Helen, Yeah,
what's wrong?

Speaker 2 (01:22:45):
Car FROs across the street a few minutes ago? Black
Newick's the dam. I don't know if it did. It's them,
you don't know. I'll tell you it's them. Youg got
any money, Helen? What I gotta get away?

Speaker 6 (01:22:56):
Where you're going?

Speaker 2 (01:22:57):
The Frisco. But I can get the Frisco. I'll be
all right. Yeah, I don't stop that. If you've got
any money, where would I get money from you? Maybe
in Fresco. It'll be different.

Speaker 36 (01:23:06):
It'll never be different for you. You've never done anything
right your whole life. Leave it to me to team up.

Speaker 24 (01:23:11):
With a guy like that.

Speaker 36 (01:23:13):
With me, I put diamonds in your ears, stain for breakfast,
so many foods in your closet. You think it's a
zoo trela, trela, trela. Oh sure, Look, George, all you
are is a cheap little tin horn who's reached the
dead end.

Speaker 2 (01:23:28):
Helen, don't say that?

Speaker 28 (01:23:29):
Why not?

Speaker 2 (01:23:30):
Can't you stand the truth? Don't you know you've got
no place else to go?

Speaker 36 (01:23:33):
Don't you know you be better off you let those
guys in front killers, Helen. You're welstnham, didn't you The
least you can do is let them kill you. You'll
really be better off, George, everyone is be better off.

Speaker 2 (01:23:43):
You. Shut up. I didn't mean that, Helen, Helen, you've
got me crazy. I'm sorry.

Speaker 32 (01:23:53):
You better get out of here before I invite them in.

Speaker 2 (01:23:56):
Well, I need some money to get away.

Speaker 24 (01:23:57):
Sorry, I'm fresh out.

Speaker 2 (01:23:59):
No, but he honest, Highway ninety nine is less than
a mile away. You should be able to hit you
a ride easy. At least you got a thumb pilling
just twenty bucks to do it?

Speaker 26 (01:24:07):
Get out?

Speaker 31 (01:24:12):
Uh?

Speaker 28 (01:24:14):
I didn't mean what I did before. Someday I'm gonna
get my break and I'm gonna make everything up to
your hell and you see it.

Speaker 31 (01:24:21):
Fight.

Speaker 2 (01:24:21):
On one of these days, I'm gonna start going places.
Where can that guy go when he's reached dead end?

Speaker 15 (01:24:30):
Wait?

Speaker 28 (01:24:34):
Anton have said that it wasn't my fault that I
never got a break. I went down the backstairs. I
get get out through the alley. Okay, they didn't know
I'd been kipped off.

Speaker 15 (01:24:46):
They were after me.

Speaker 2 (01:24:46):
They were waiting for me to come out the front way. Well,
they'd have a long wait. Pushed open the screen door.
It wasn't a sound in the darkness.

Speaker 37 (01:25:00):
I got to the alley way up.

Speaker 2 (01:25:04):
Running. I stumbled over a chair, kick myself up in
the oven. I didn't want to die. I didn't want
to die.

Speaker 28 (01:25:16):
I ran and ran, but to feel a throw a
cement mixer. My body aches like I've been beaten with
a club. I don't know how long I ran, but
totally I knew.

Speaker 2 (01:25:31):
I was okay. I've gotten away from them for now.

Speaker 31 (01:25:35):
Where cond a guy go when he's reached that in.

Speaker 2 (01:25:40):
Did you ever have a tune in your head? You
couldn't lose it.

Speaker 28 (01:25:44):
You think of a million and one things, but it's
always there. Somehow I got the highway ninety nine. It's
still here. Happens. Voice was after eleven thirty, was cold
and windy, and the cars were passing me like I
was a stone or a piece of wood, not flesh

(01:26:04):
and blood, just like them, trying to stay alive, trying
to find a place for myself in this lousy world.

Speaker 31 (01:26:09):
Where can a guy go when he's reached dead end?

Speaker 38 (01:26:12):
Couldn't get rid of that voice. If I could have
ripped that out of my head with my fingernails, I
think I would have done it. I'd show her I
hadn't reached dead end. I'd show her.

Speaker 2 (01:26:26):
Hopen.

Speaker 10 (01:26:30):
It's an old flipper.

Speaker 28 (01:26:33):
The guy driving it was a shriveled up little sport
that could have been sixty or one hundred. We've traveled
at a steady twenty five miles an hour. I'd like
to have been moving faster, but you can't choose your rides.
In the middle of the night, fifteen twenty minutes. The
old guy didn't say a word the whole time. He
just sat there behind the wheel with a cold pipe

(01:26:54):
in his mouth, at peace with the whole world.

Speaker 2 (01:27:00):
I kept thinking, I'd settle for that right now, for
the rest of my life.

Speaker 39 (01:27:06):
Oh as far as I'm going. Huh, turn off on
that little dirt road up beyonder. Oh okay, say yeah,
your place really must be away from everything. Well, you
wouldn't be interested in taking in a border for a
couple of days. I could pay you not much, but
of it a little.

Speaker 5 (01:27:26):
Wouldn't be interested and getting late?

Speaker 2 (01:27:30):
Okay.

Speaker 28 (01:27:37):
After the ford left, I felt like a lost penny.
It couldn't have been more alone if I was in
the middle of the Sahara desert. The cars started passing
me again, their headlights blinded me for a second, and
then rushing on.

Speaker 2 (01:27:52):
It was getting colder all the time, but my whole
body shivering. My teeth were.

Speaker 28 (01:27:56):
Chattering like a handful of dice. I just how long
I stood there? Then the car stopped, the headlights blinding
a ride. I walked over to the car.

Speaker 2 (01:28:07):
My fingers closed around the handle just as the door opened.
Come right in, George, you we've been looking for you.

Speaker 15 (01:28:14):
Come on.

Speaker 40 (01:28:14):
No, I don't know how I got away from my
right to the side of the road. I scratched up
and bloody, but I didn't even feel the pin.

Speaker 31 (01:28:27):
Where could a guy go when he reached it?

Speaker 2 (01:28:29):
In No, no, so I didn't believed that. I started
crawling on my hands and knees along the bottom of
the gully, the case dirt in my mouth. A second
I expected to hear a gun go off. I expected
to feel a slug chair into me.

Speaker 28 (01:28:50):
After a while I was back. I'd got about fifty yards.
The guys had trying to flashlight and was shining it
down in the gully, kind of find me.

Speaker 31 (01:28:58):
Where can a guy go when he.

Speaker 28 (01:29:04):
I don't know how long I crawled, but when I
looked back again, I couldn't seen to guys anymore.

Speaker 2 (01:29:10):
I could see where the headlights of the parked car
way down the road. Climbed out of the gully back
on the highway. I had to get another ride quick.

Speaker 28 (01:29:20):
The truck was parked just off the highway. I went
around to the cab. He climbed on the running board.
The driver was just sitting up, rubbing his eyes and yawning.
You can take a little snows for yourself. Yeah, you're
gonna start rolling pretty soon right now?

Speaker 41 (01:29:40):
Hello?

Speaker 2 (01:29:41):
Mind if I ride along with it?

Speaker 11 (01:29:43):
Yeah?

Speaker 15 (01:29:43):
I mine?

Speaker 28 (01:29:45):
No, Look, I'm not like some of these guys. I
won't talk an ear off, you know, talk an ear
off me because I won't be off the running board.

Speaker 2 (01:29:54):
Pack mister place, give me a break so I'm getting
a ride this time of night. I set off the
running board. No, no, you can't leave me stranded here.
They'll find me.

Speaker 15 (01:30:03):
Don't kill me.

Speaker 2 (01:30:04):
Like, what are you trying to hand out at the
last time? Pally off the running You gotta give me
a break. I'll give you a break right in your head.

Speaker 6 (01:30:12):
See this wrench I carried right up here with me
for jokers like you don't get me started?

Speaker 2 (01:30:16):
Pallly off the running board. No I can't. Okay, okay,
I'll see if I can help you. What are you
gonna do to me?

Speaker 6 (01:30:26):
I'm gonna give you that break you asked for, that bake,
wonderful branch.

Speaker 2 (01:30:33):
Everything get mixed up, everything smart. I felt paying one minute,
and the next minute I felt nothing at all.

Speaker 31 (01:30:40):
Where could I go? Where could I go?

Speaker 2 (01:30:46):
I know I was fighting for I was going crazy,
trying to keeping's voice out of my head. Everything I
remember my old man used to say, back when I
was from work to this wells up as mom to
wait for Ain't it great to be alive. You could
probably get the wrench and hit him with it. And

(01:31:08):
yet it ain't a great to be alive, said, great.

Speaker 10 (01:31:14):
To be alive.

Speaker 2 (01:31:20):
And it was over.

Speaker 28 (01:31:25):
Standing alone trying to get my wind back, even went
out through and through I was I was holding something
cold and wet. I looked at my fist. I sold
him a wrench. I could try to let go of it.

Speaker 2 (01:31:45):
I couldn't.

Speaker 28 (01:31:48):
Then I saw the driver huddled at my feet and
I had crawled off the highway to take a nap.

Speaker 2 (01:31:56):
Turned him over with my shoes.

Speaker 29 (01:32:00):
Eat.

Speaker 42 (01:32:02):
I felt sick. It was dead, felt the wrench bolt
on my fingers. I looked down the road. The buick
was still parked. He started for the truck. I don't
know how I felt. I felt like none of it
was real, so it couldn't manner, and I stopped. I

(01:32:24):
went back to the body and knelt down, emptied the pockets.

Speaker 28 (01:32:28):
I put the wallet with some letters in my jacket,
dug out my wallet and put it in the dead
man's pant I didn't think much about it. It just
seemed like a good idea. Then, while I was stooped over,
I happened to see that the buick down. The road
was starting to move. I rolled the body down out
of the gully because it disappeared. I called after so
long George. I went back to the truck.

Speaker 14 (01:32:52):
I was live.

Speaker 2 (01:32:54):
I was on my way.

Speaker 28 (01:32:57):
Yeah, the old man was right. It was great to
be alive. I few way passed me like I was
standing still. One of the guys in the front seat
gave the truck to went silver, but I was slunk
into the shadows.

Speaker 33 (01:33:17):
It was all right.

Speaker 28 (01:33:20):
I pulled out the driver's wallet, looked at him onto
the dashboard lights.

Speaker 2 (01:33:24):
His name was Joe Parsons.

Speaker 28 (01:33:27):
Joe Press. Okay, he was thirty two years old. He
compass for that five feet eighth. It was close enough,
one hundred and eighty pounds. Okay, so who could tell?
I might be work closed? Joe Parsons play to meja, yeah,
and the pleasure is all mine. They stopped at the

(01:33:50):
first roadhouse. I went around and back cleaned myself up.
Then I went out in front.

Speaker 2 (01:33:58):
There was a phone boost there. I'll close myself the.

Speaker 27 (01:34:05):
Style long distance, long distance I.

Speaker 2 (01:34:14):
Want to take to Helen Graham in Los Angeles.

Speaker 28 (01:34:17):
Gladstone three one sixty five one moment, please yeh in
the moment I fished this wallet out, the idea of
been taking shape.

Speaker 2 (01:34:25):
It's a fine idea. If Helen would help me, it
would work.

Speaker 31 (01:34:29):
I have your party. That will be sixty cents plus
ten cents t seventy cents in all.

Speaker 17 (01:34:35):
Please okay, okay, thank you, go ahead.

Speaker 2 (01:34:47):
Please, Hello, Helen, it's me from I'm on the highway.

Speaker 31 (01:34:55):
You got away from him, Yeah, so you were born
under a lucky stock, came.

Speaker 2 (01:35:00):
Up the apartment and maybe okay, okay, never mind that.
Listen to me, baby, I think we're gonna be okay.

Speaker 31 (01:35:06):
I'm already okay, all.

Speaker 28 (01:35:08):
Right, now listen, before very long, you're gonna get a
call from the margue that wants you to identify.

Speaker 2 (01:35:13):
A body they're gonna find on the highway.

Speaker 28 (01:35:14):
Hey, just listen, wi you Yeah, the body will be
pretty banged up, but you'll be able to identify it,
all right.

Speaker 2 (01:35:22):
You'll be able to say it's me.

Speaker 14 (01:35:26):
Yeah.

Speaker 2 (01:35:28):
When the gun sees that the purpose, they'll stop looking
for me.

Speaker 31 (01:35:30):
So now you killed the guy, Well, I didn't mean
to you, never mean anything to do.

Speaker 2 (01:35:35):
Were he'd have killed me if I hadn't fucked that.
It wants your Helene. Please Helen, this is the last
time I'll ask you for anything. I'll make it up
to you. You'll see if I house.

Speaker 31 (01:35:45):
Yeah, sure, all right, I'll do it.

Speaker 15 (01:35:49):
Yeah, thanks, Helen.

Speaker 31 (01:35:51):
I still think you'd be better off dead.

Speaker 2 (01:35:59):
All right. I'm a truck driver, right. I just saw
a body along Highway ninety nine.

Speaker 31 (01:36:04):
A body.

Speaker 32 (01:36:05):
Wait one moment, I connect you with the police.

Speaker 11 (01:36:07):
No, you're wait.

Speaker 43 (01:36:08):
I've got time to call a place on the hind schedule.
Now you call him, tell him to get out there.
About five miles I started kilgore. I hung up on her,
and I got out of the phone booth. Then I
went back to the truck and started driving. I didn't

(01:36:28):
know much about driving a truck like this, but I
kept her in low gear all the way. I fell
into place with other trucks on the highway, and I
was okay.

Speaker 9 (01:36:38):
After a while, I.

Speaker 2 (01:36:38):
Could start thinking about other things, but.

Speaker 28 (01:36:41):
Starting over again, maybe making a go of it this time.
When was I going to get my break? Everybody had
a jackpot waiting for him someplace, so I was sure
ready for mine. Then I saw the cops standing in
the middle of the road, signaling me with.

Speaker 2 (01:36:57):
A flashlight, signaling me to stop. I saw a tiny
nerve deep and stung me. Stop changing and so to
beat a sweat slide down my cheek?

Speaker 27 (01:37:07):
What this guy want?

Speaker 2 (01:37:09):
Come on out before you know what for? No, I
don't know what.

Speaker 28 (01:37:17):
Come on, you've been driving a truck long enough to
know an inspection.

Speaker 2 (01:37:21):
Depot and you see it? Oh yeah, sure, sure?

Speaker 18 (01:37:23):
What's now with me to know?

Speaker 44 (01:37:24):
What?

Speaker 28 (01:37:24):
Your name?

Speaker 2 (01:37:25):
Joe Parsons? Parsons? Oh you're the one. Huh what are
you carrying?

Speaker 11 (01:37:30):
What do you mean?

Speaker 2 (01:37:30):
I'm the one. I'm the one for what. The kid
was asking?

Speaker 31 (01:37:32):
What?

Speaker 11 (01:37:33):
Kid?

Speaker 15 (01:37:33):
Where? Come on?

Speaker 28 (01:37:34):
Come on, there's other guys waiting to what are you
carrying in back? I know, I know you guys should
carry knife for blister and not know about it. I've
been working the Nevada Highway and the driver's there just
the saying come.

Speaker 2 (01:37:44):
On, get the keys and opener up.

Speaker 9 (01:37:46):
I got the back open.

Speaker 28 (01:37:48):
The cops shines a light around. It was all wooden
packing cases in front, but in fact there were crates
of fruit.

Speaker 2 (01:37:53):
Vegetables that outfit are yours? What's the matter?

Speaker 28 (01:37:57):
I was warned to be on the lookout for something
like this. How am I supposed to inspect this? Stuff
when it's packed in like that.

Speaker 2 (01:38:03):
Oh yeah, that's right.

Speaker 28 (01:38:05):
You guys learned a lesson. Come on into the office, Parson.
Oh but listen, I'm late. You're gonna be a lot later.
Come on now, give me a break. When I'm on,
we're going to make a call. We're gonna call your company.
I haven't sent out a couple of stevendors to unload
so I can see what you got.

Speaker 2 (01:38:23):
You're gonna wait till they get here. I can't do that.
Who says you can't? Right through there?

Speaker 33 (01:38:31):
And who's that?

Speaker 16 (01:38:36):
Yeah?

Speaker 2 (01:38:37):
I had to get out of here. Man.

Speaker 28 (01:38:40):
Then kind of came out from the company that recognized
right away that I wasn't Joe Parsons.

Speaker 27 (01:38:45):
No, yeah, oh I looked at the door. Maybe I
want to make a break for me, Yeah.

Speaker 28 (01:38:49):
Right away something fine thing. I found a dead guy
up the road. Yeah, I got to get down there
right away.

Speaker 2 (01:38:57):
What about me? All right, I'll let it go this time.
Well I'll see it won't happened again. He signed the report,
didn't it? Sure? Sure? Never place me to go.

Speaker 28 (01:39:04):
Yeah, and pour a stiff on the road. Whoever he is,
he's done. You a big favorite, Joe, Go on get God.
I climbed back into the truck, kick the starter. I
wanted to get out of there so bad. It's a
whole minute before I saw the girl sitting there staring

(01:39:25):
at me.

Speaker 16 (01:39:28):
You are Joe Parsons, don't you.

Speaker 14 (01:39:31):
Well.

Speaker 32 (01:39:33):
I've been waiting for the ship. I called up the
trucking company and said it was an emergency. He told
me you'd be coming to around Now.

Speaker 2 (01:39:41):
What do you want. I'm not supposed to pick up passengers.
Even good luck to these girls, much as i'd like to.

Speaker 16 (01:39:47):
I'm Ruth.

Speaker 2 (01:39:50):
Yeah, okay, am I supposed to know you, Ruth.

Speaker 16 (01:39:56):
I'm Evelyn's sister.

Speaker 2 (01:39:58):
Oh, Evelyn's sister.

Speaker 26 (01:40:00):
She came home from last week, just like she said
she would.

Speaker 2 (01:40:05):
Wow.

Speaker 16 (01:40:06):
Yeah, she came home in a box.

Speaker 12 (01:40:12):
Luck, honey, that's why I came out here to kill you.

Speaker 2 (01:40:18):
Now, Luck Honey, you better put that gun away.

Speaker 16 (01:40:21):
Just try to grab it. I wanted to.

Speaker 32 (01:40:24):
That'll make it easier for me. I guess I've done
everything else that's rotten in this world, But I never
killed anybody before.

Speaker 2 (01:40:29):
Do you want to kill me?

Speaker 32 (01:40:32):
When you walked out on my kid's sister, you killed her.
She was dead long before she turned on the gas.

Speaker 2 (01:40:39):
What are you trying to do? Tell me I killed her?

Speaker 10 (01:40:41):
Oh a minute.

Speaker 16 (01:40:43):
You could have seen some of the letters she stayed home.

Speaker 32 (01:40:46):
You were her dreamman. I could have told her about dreammen.
I've been dumping into dreamming all my life.

Speaker 16 (01:40:55):
She wouldn't have listened. All right, it's over for her. No,
it's gonna be over for you.

Speaker 15 (01:41:05):
Joe.

Speaker 2 (01:41:05):
You make a mistake. Listen to me. I'm not Joe.
If you kill me, you're killing the wrong guy, and
I can prove it.

Speaker 15 (01:41:12):
Huh.

Speaker 2 (01:41:13):
Well, she must have sent your pictures of this guy. Look,
I'll turn on the light. Yeah, look at me. I'm
not Joe.

Speaker 32 (01:41:20):
She never sent us any picture. All she said you
were dark and handsome. If you weren't sweating so much,
some people might.

Speaker 16 (01:41:31):
Call you handsome.

Speaker 2 (01:41:33):
I tell you, I like to see your sweat.

Speaker 32 (01:41:36):
I've been batted around so much by guys like you.
I love to see your sweat.

Speaker 2 (01:41:41):
I tell you, I'm not Joe. My name is George Graham.

Speaker 16 (01:41:44):
Show me something that says you're George.

Speaker 2 (01:41:46):
Bring sure, I'll show you my wallet. Wait, she did, No,
I can't.

Speaker 16 (01:41:54):
I didn't think you could.

Speaker 32 (01:41:57):
I've been listening to the last five.

Speaker 18 (01:42:00):
Hey, what is that?

Speaker 2 (01:42:01):
Please? Car came up?

Speaker 32 (01:42:02):
If you see anything, I'll kill you.

Speaker 24 (01:42:04):
I don't care.

Speaker 2 (01:42:07):
Yeah, i'll lock you up there.

Speaker 28 (01:42:09):
I should be halfway to kill go by now on
that accident case, I gotta go chasing after you.

Speaker 2 (01:42:14):
What's wrong the report? What about it? I thought you
told me you signed it.

Speaker 9 (01:42:18):
Oh well I do.

Speaker 28 (01:42:21):
Just let one of you guys get by without signing,
and then it's my net.

Speaker 2 (01:42:24):
It slipped my mind.

Speaker 28 (01:42:26):
Oh yeah, maybe I can see why you ought to
know better to park on the highway like this, Joe,
what do you mean?

Speaker 2 (01:42:35):
Ask the lady what I mean? She was asking when
you were coming in. I didn't realize it was romance.
Why don't you shut up?

Speaker 10 (01:42:45):
You can't talk to me.

Speaker 16 (01:42:46):
You got it all figured out, haven't you.

Speaker 2 (01:42:49):
Not much to figure?

Speaker 10 (01:42:50):
Lady?

Speaker 2 (01:42:52):
Sign it?

Speaker 11 (01:42:52):
Joe?

Speaker 2 (01:42:52):
I gotta get going. Give me a pencil. Figure those
a parking Okay? Like I said, you've been out a
park on the highway with the lady, Joe. They got
lost your eyes.

Speaker 32 (01:43:18):
Nice sellers world to a nice sellers. Wherever you go
you find somebody with a hand ready to push your station.

Speaker 2 (01:43:30):
He shouldn't have talked to you like that.

Speaker 16 (01:43:32):
I'm you so you're not Joe Parsons like I had.

Speaker 2 (01:43:37):
To sign Joe Parson if I had a reason, wouldn't
if I had told him to grab you. If I
didn't have a reason, you couldn't have been afraid of
the gun.

Speaker 26 (01:43:43):
No, not you.

Speaker 32 (01:43:46):
Well you should have told him to grab me.

Speaker 10 (01:43:48):
Joe, listen to me.

Speaker 2 (01:43:48):
You're crazy, dame. I'll tell you the truth. I've done
you a favor.

Speaker 28 (01:43:53):
You don't have to worry about killing Joe Parsons. He's
already dead dead.

Speaker 24 (01:44:00):
How do you know?

Speaker 2 (01:44:00):
I killed him?

Speaker 15 (01:44:01):
That's how I know.

Speaker 2 (01:44:02):
HU Back on the highway three four hours ago, I
was in trouble. I had to get a ride. He
wouldn't give me one. We started fighting. He had a wrench.

Speaker 10 (01:44:10):
I killed him with him.

Speaker 26 (01:44:11):
I don't believe you, don't you see?

Speaker 2 (01:44:12):
That's why I couldn't tell a cop about you. Could't
you see? He'd have brought us both to him. Everything
would have come out.

Speaker 32 (01:44:19):
Wouldn't now be a stuck at a fall as that?

Speaker 2 (01:44:21):
I want you approved? Hey, Telen, sure about I can
prove I'm George Graham. The next gas station we come to,
we'll stop. You can phone Helen.

Speaker 16 (01:44:32):
You're you're trying to sell me a bill of good.

Speaker 28 (01:44:34):
I'm trying to stay alive. The first gas station the
phone from there, you'll.

Speaker 16 (01:44:41):
See it better not be too far away.

Speaker 28 (01:44:51):
Maybe the next gas station wasn't really far away, but
it seemed to me like it must have been on
the outskirts at China. She just sat there, looking out
at the road ahead. Her face was hard and cold.
I knew if this didn't work, she'd finally get nervo
enough to kill me.

Speaker 32 (01:45:10):
There's a garage down the road they phone.

Speaker 2 (01:45:13):
Yeah, there, there's only one thing I've been thinking. Yeah,
I'll have to talk to Helen first. Why, Well, so
I can explain to her. She has to tell you
the truth.

Speaker 28 (01:45:30):
Otherwise otherwise what well I called her before and told
her what happened.

Speaker 2 (01:45:36):
I mean about Parsons.

Speaker 28 (01:45:37):
I told her she was to identify the body of Parsons,
is me, Well, well that's been three hours anyhow.

Speaker 2 (01:45:44):
That means the chances are she's already been clawed.

Speaker 28 (01:45:48):
Now if you ask her about me without me talking
to her first, well then.

Speaker 26 (01:45:52):
She'd say to you, shut up, I'm tired of you lie.

Speaker 15 (01:45:57):
No.

Speaker 2 (01:45:58):
It sounds crazy, but it's the truth.

Speaker 32 (01:45:59):
I swear to a truck here before we reached the garage,
or I said, stop the track.

Speaker 2 (01:46:04):
Give me a break. You're making a mistake.

Speaker 32 (01:46:05):
I've been making mistakes all my knife.

Speaker 24 (01:46:07):
Stop the truck so.

Speaker 2 (01:46:09):
You can kill me.

Speaker 45 (01:46:11):
No, look, I told you I hadn't shook baby, and
you're gonna die too. But once my hands leave this wheel,
you think I care about that better.

Speaker 2 (01:46:23):
Than fifty miles an hour? Already they tip over and
burn like a part almost sixty babies.

Speaker 28 (01:46:32):
Hey, hellove, a sicker hold hover, the rat is coming
frol one way straight.

Speaker 2 (01:46:58):
Ruth kah, yeah, all right, I think so.

Speaker 16 (01:47:07):
You Okay, we must have been thrown clear, so it
wasn't I dead end after it all?

Speaker 15 (01:47:22):
Huh?

Speaker 16 (01:47:24):
Last time I thought about before we went off the road,
it was funny. I thought, all my life, everything i'd
done had driven me step by step to this road
under this moment, And you.

Speaker 2 (01:47:45):
Have really found.

Speaker 16 (01:47:47):
Goofy, doesn't it.

Speaker 46 (01:47:49):
No?

Speaker 2 (01:47:50):
Alee said that too about that end. I mean, and
I guess you'll think this is some more of my
won me. But what you just said, I felt that too,
No kidding, Yeah, George, I'm Joe, I remember, No.

Speaker 16 (01:48:17):
You're George.

Speaker 2 (01:48:20):
Now you believe me, yeah, why, I don't know.

Speaker 16 (01:48:28):
Maybe that Joled, I guess maybe I'm not some SENSI
to me.

Speaker 2 (01:48:36):
No, I don't think it's sad. Hey, huh what? Oh so?

Speaker 33 (01:48:50):
Oh not the matter.

Speaker 16 (01:48:54):
We must be the shock or something.

Speaker 2 (01:48:56):
You feel weak, no, funny, giddy.

Speaker 16 (01:49:04):
Like I was just starting to get high. No, I'm
not that either, Bruce. It's all mixed up. I feel
like I used to feel when I was just a
little kid, mom with Daisy in the kitchen and I'm

(01:49:27):
sitting near the stove in a big Turkish towel, and.

Speaker 2 (01:49:32):
Oh what am I talking about? Listen to me? Where
are you going?

Speaker 16 (01:49:40):
I gotta get back to the truck, look at it.

Speaker 2 (01:49:43):
No, wait, huh you don't want to go back to
the truck, Honey, why not?

Speaker 16 (01:49:52):
You gotta report the accident.

Speaker 28 (01:49:55):
If we go back to the truck, we'll see something
that whoa, this is organ The scene also crazy to
us at first, until we understand it.

Speaker 16 (01:50:09):
Benny, George, what where we see?

Speaker 2 (01:50:16):
Well, we'll see two bodies.

Speaker 16 (01:50:23):
Who body.

Speaker 2 (01:50:28):
Ours? Yours and mine?

Speaker 10 (01:50:31):
Ruthy.

Speaker 47 (01:50:36):
The American Broadcasting Company has presented another play in a
series titled Out of the Night Tonight's story dead End
starred Elliott Lewis as George, and featured Jeannette Nole in
his roof, Lois Corbett is Helen John McIntyre as the
inspector and David Ellis as the truck driver. Listen again
next week over most of these stations to another story

(01:51:01):
of George Glenman speaking. This is ABC, the American Broadcasting.

Speaker 48 (01:51:08):
Company, Mystery in the Air starring Peter Laurie, presented by
Camel Cigarettes.

Speaker 10 (01:51:37):
But Cantas, are you sure you want to put all
your winnings on a single card?

Speaker 26 (01:51:41):
Absolutely sure, my DearS you well.

Speaker 49 (01:51:44):
I don't know how it is in Russia, but here
in Paris it is very seldom that anyone wins on
three cards in succession.

Speaker 20 (01:51:50):
The game of Pharaoh is the same in Russia as
anywhere else.

Speaker 26 (01:51:53):
But I wish to put the hole a man four
hundred thousand francs and my next card.

Speaker 5 (01:52:00):
As you wish, madam, I will do it.

Speaker 26 (01:52:04):
I have one, look, I have one.

Speaker 24 (01:52:08):
Did you you were wrong?

Speaker 1 (01:52:11):
I was h.

Speaker 48 (01:52:31):
Each week at this time, Camel Cigarettes bring you Peter
Laurie in the excitement of the great stories of the
strange and unusual, of dark and compelling masterpieces called from
the four corners of world literature. Tonight The Queen of
Spades by Alexander Pushkin.

Speaker 49 (01:52:54):
Mystery in the Air Darring Peter Laurie, brought to you
by Camel. Cigarette experience is the best teacher.

Speaker 2 (01:53:13):
Try a camel.

Speaker 49 (01:53:14):
Let your own experience tell you why more people are
smoking camels than ever before. Yes, just leave it to
your t zone to judge your tea zone. That's tea
for taste and tee for throat is your true proving
ground for any cigarette. See if camel's rich, full flavor
doesn't get highest rating with your taste, and if camel's
cool mildness isn't more than welcome to your throat, See

(01:53:37):
if you don't find, like millions of other smokers, that
camels suit your tea zone to a tee. The story

(01:53:58):
I'm about to tell you you may not believe, but
I assure you it actually happened. And the whole thing
started one night when a group of young officers were
having a game of cards at the rooms of Narumov
of the Horse Guard. There were five of us there,
including a lieutenant in the Engineers named Hermann. He was
the son of a German who had become a naturalized Russian,

(01:54:18):
and he was an ambitious young man of strong passions
and imagination, which he held in check by an even
stronger will. Now so, though a born gambler at heart,
Herman never touched a card, for he considered his financial position,
he'd not allow it. Oh, I remember that night, at
about four in the morning, we all sat down to supper.

Speaker 3 (01:54:42):
And how did you make out to him?

Speaker 5 (01:54:44):
Ah?

Speaker 23 (01:54:44):
I lost you always loose hearing. You must be very
strong minded to be so consistent.

Speaker 5 (01:54:49):
Do you think he is strong minded?

Speaker 18 (01:54:50):
How about yourself?

Speaker 20 (01:54:51):
Herman?

Speaker 50 (01:54:52):
Me?

Speaker 23 (01:54:52):
Why me?

Speaker 5 (01:54:53):
You never held a card in your hand or made
a bed, and yet you sit here until four o'clock
in the morning watching us.

Speaker 23 (01:54:58):
Play while Tamson, you see, gambling interests me. It interests
me very much. In fact, I'm a gamble with heart,
but I'm not in a financial position to sacrifice. They're
necessary in a hope for winning the superfluous. In other words,
I cannot afford it.

Speaker 6 (01:55:13):
I explain anything.

Speaker 5 (01:55:15):
We none of us can afford it. Oh, her Man's
easy enough to understand. He's of German descent, therefore crypted right,
it's my grandmother, the Countess Fedo Dolna, who baffles me.

Speaker 6 (01:55:27):
You know she won't gamble either. Oh, lots of grandmothers
don't gamble. Saint Peter's bug is full of them.

Speaker 5 (01:55:32):
Yes, but they don't know the secret. My grandmother knows secret?

Speaker 23 (01:55:36):
What kind of secret?

Speaker 29 (01:55:36):
Does she know?

Speaker 5 (01:55:37):
Something? We'd all of us give a lot to possess
a combination of three cards that can't fail to win
at the pharo table.

Speaker 18 (01:55:44):
Oh, there's no such things you're trying to tell us.

Speaker 23 (01:55:46):
Oh, let's go home. It's wait, wait, termsky, I'd like
to know more about this secret.

Speaker 5 (01:55:50):
What do you careman?

Speaker 23 (01:55:51):
You don't gamble, pil I'd like to hear about.

Speaker 5 (01:55:53):
It all right. Many years ago, when my grandmother was
a lot younger, she went to Paris. Oh, she must
have quite a sensation. The muscle that Venus they called him. Anyway,
she gambled at Pharaoh with the Duke of Orleans, lost
a great deal of money, much more than she could pay.

Speaker 2 (01:56:09):
Yeah, who does?

Speaker 5 (01:56:10):
Come on? Keep quiet, will you?

Speaker 3 (01:56:12):
Well?

Speaker 5 (01:56:12):
There was a dead time a count Saint Germain in Paris,
mysterious figure that no one knew much about. Itbe that
as it may, he revealed to my grandmother the secret
of the three winning cards, and did she win?

Speaker 2 (01:56:25):
That night?

Speaker 5 (01:56:25):
She played again with the Duke Orleans, played the three
cards one after the other, doubling her bet each time,
and all three one, and she recovered everything she had
lost ten times over a little heart on the Duke,
don't you think? Yes, as a matter of fact, he
dropped dead. I believe it was a long time ago.

Speaker 23 (01:56:41):
Come on, come on, Tomsky, go on with a story.

Speaker 5 (01:56:43):
That's all there is. My grandmother never touched a card again.

Speaker 6 (01:56:47):
You mean she knows how to fake three winning cards
in succession, and you haven't succeeded in getting the secret
out of her.

Speaker 5 (01:56:53):
That's the devil of it. She had four sons, one
of whom was my father, and yet she would never
reveal the secret to any of them, though it wouldn't
have been a bad thing for him, nor for you either.

Speaker 10 (01:57:03):
Not.

Speaker 15 (01:57:05):
I've had enough.

Speaker 51 (01:57:06):
I'm going home.

Speaker 26 (01:57:07):
Well, I'll go along with.

Speaker 23 (01:57:08):
You, Tomsky. Temmy, this grandmother of you is Countess for
the toughn Does she live in St. Petersburg?

Speaker 5 (01:57:16):
Yes, with a ward of hers named Lisa Yetta for
a girl. If she is supposed to be my grandmother's companion,
but sleep.

Speaker 23 (01:57:23):
Would be a better word for it. Your grandmother is
a widow.

Speaker 5 (01:57:27):
Yes, Now, don't get your hopes up here. Man, she's
a bit too old for you. She's eighty six.

Speaker 23 (01:57:32):
If he's a day I should like to meet you.

Speaker 5 (01:57:35):
No, there's not much chance of it. I'm afraid she
doesn't go about much anymore.

Speaker 23 (01:57:38):
I still should like to meet her, Yes, I I
should like to meet her very much.

Speaker 5 (01:58:05):
Well, Lisavieta, Hello, co, don't tell me my grandmother is here.

Speaker 19 (01:58:10):
No, but she's going to the embassy ball tomorrow tonight.

Speaker 5 (01:58:15):
I came alone while the cats at home. The muss
will play him. What's this I've been hearing about you?

Speaker 20 (01:58:23):
How about me?

Speaker 5 (01:58:25):
All very romantic? I understand, I don't know what you're
talking about. Oh, come, come, come, Lisavieta. You can't tell
me that you don't know about the mysterious officer who's
been standing outside the house for the last two weeks.
About the notes he hands you when you get into
the carriage with my grandmother, About the letters he sends
by the milliner's though, who told you, great friend of

(01:58:45):
your officer, a lieutenant in the engineer is named Herman Hermon.

Speaker 19 (01:58:51):
Yes, I think I've heard of him.

Speaker 52 (01:58:54):
Is he nice?

Speaker 13 (01:58:54):
Oh?

Speaker 5 (01:58:55):
I like him very much, but he's a very determined
young man and means to get what he wants. Personally,
I wouldn't trust him. He has the profile of Napoleon
and the soul of Mephistopheles.

Speaker 23 (01:59:07):
Graving, Come skiving.

Speaker 5 (01:59:08):
Let's speak of the devil. Hello to Herman, Lisavieta. May
I present Lieutenant Herman, Mademoiselle the man we were just
talking about, Herman. This is Lisabeta Ivanov. No, it's my
grandmother's ward.

Speaker 23 (01:59:20):
How do you do, Mademoiselle Lizavieta, How do you do?

Speaker 16 (01:59:23):
Lieutenant?

Speaker 23 (01:59:24):
Would you like to dance?

Speaker 12 (01:59:25):
Yes?

Speaker 20 (01:59:26):
I would love to.

Speaker 23 (01:59:27):
Good see you later, Tomsky. Oh, this is paradise, Lisavieta
holding him my arms, feeling your heart beat against mine.

Speaker 20 (01:59:44):
Nor you mustn't say things people will hear you. Let talk.

Speaker 2 (01:59:47):
I don't care.

Speaker 19 (01:59:49):
It's talking already. Why did you make up that story
about your imaginary friend to tell Toms.

Speaker 23 (01:59:55):
Because I didn't want him to know it was I
and I had to talk about you to somebody.

Speaker 19 (02:00:01):
What the contess doesn't hear about it?

Speaker 23 (02:00:03):
Devil with her? It's not the Countess I'm in love with.

Speaker 10 (02:00:07):
It's you.

Speaker 23 (02:00:09):
Ohlavieta, this, this is so wonderful. He makes up for
all those nights I stood outside your house and.

Speaker 19 (02:00:18):
They're in the door.

Speaker 20 (02:00:19):
This contest's coachman come to patch.

Speaker 19 (02:00:21):
I must go home.

Speaker 23 (02:00:23):
What am I going to see you again?

Speaker 12 (02:00:25):
I don't know.

Speaker 23 (02:00:26):
Oh, but this is horrible. My heart is burning with
things I want to tell you, but I can never,
never see you alone. There must be some way, yes,
how take.

Speaker 20 (02:00:38):
This what's hard?

Speaker 23 (02:00:40):
This is the key to the Contess's house, Oliet.

Speaker 19 (02:00:43):
Tomorrow night, we're going to the embassy bar. We'll be
home at two.

Speaker 53 (02:00:48):
If you let yourself into the house at about eleven thirty,
all the servants will be a sis.

Speaker 19 (02:00:54):
Oh, directly to the library. It's at the right end
of the corridor, at the top.

Speaker 37 (02:00:57):
Of the stairs.

Speaker 23 (02:00:59):
Wait the righting off the corridor. Oh, you sweet little Vieta.
I adore you. Where's the countess room.

Speaker 20 (02:01:07):
At the other end of the corridor.

Speaker 19 (02:01:10):
Why do you ask me that?

Speaker 23 (02:01:12):
I don't want to get into the wrong room by mistake?
But now I must go tomorrow night at two o'clock. Oh,
the bois cherie, mademoiselle, good night.

Speaker 4 (02:01:43):
Good night, Mysa.

Speaker 19 (02:01:46):
Are you sure there's nothing you want me to do
for you.

Speaker 5 (02:01:48):
You know nothing, Thank you, little Vieta.

Speaker 54 (02:01:52):
I think I will just put my juice away and
sit quietly well by myself.

Speaker 55 (02:01:57):
Good night, good night.

Speaker 26 (02:02:01):
I am so tired, so very tired.

Speaker 12 (02:02:07):
I am too old.

Speaker 23 (02:02:10):
I don't be alarmed, madam. Oh, please don't be alarmed. Countess.
I have no intention of harming you. But you get them.
I have been waiting behind that curtain, waiting just for
a chance to ask you a favorite. Yes me, yes,
a favor of you. Madam. You can ensure the happiness

(02:02:30):
of my life. It'll cost you nothing.

Speaker 19 (02:02:32):
I don't know who you are, but you're mad.

Speaker 7 (02:02:34):
No, I'm not.

Speaker 23 (02:02:35):
I happen to know that you can name three winning
cards in order.

Speaker 20 (02:02:40):
That was a joke.

Speaker 23 (02:02:42):
No, it was not a joke. Oh, I can see
it by your expression, madam. Madam, I want you to
tell me those three winning cards. I do no, No,
But whom are you keeping that secret for her? Your grandsons?
They are rich enough without it. Besides, they they don't
know the value of money. But I I your cards
will not be thrown away. No, no, it is a

(02:03:04):
pest things that I'll chance that.

Speaker 5 (02:03:08):
Of what use is it to you?

Speaker 23 (02:03:11):
Or is it connected with some terrible singer or some
bargain with the devil. I'm ready to take your sins
upon my soul only Please please reveal the secret to me.

Speaker 3 (02:03:21):
Please.

Speaker 10 (02:03:22):
What you you don't, I'll make your answer.

Speaker 15 (02:03:28):
You have my happiness.

Speaker 10 (02:03:30):
You won't speak.

Speaker 23 (02:03:39):
She wouldn't tell me, she wouldn't kill me, Goddess.

Speaker 10 (02:03:49):
You.

Speaker 20 (02:03:50):
Yes, it is not that I don't understand.

Speaker 10 (02:03:52):
Where's this she is?

Speaker 23 (02:03:56):
It's she's dead, Yes, dead, She's taking with her the
one thing I wanted in the world without which I
don't want to face life, do kid, Yes, but you're
not going to say anything to you. No one knows
I was in the house except you. You can't tell

(02:04:16):
because you give me the key. Yes, yes, I killed her.

Speaker 41 (02:04:20):
I killed her.

Speaker 1 (02:04:21):
She deserves to die.

Speaker 23 (02:04:24):
But now now I'll never know her secret, never know one.

Speaker 5 (02:04:29):
No one will ever know her secret.

Speaker 56 (02:04:32):
Unless she unless she comes back to tell it to somebody.

Speaker 48 (02:04:55):
In a few moments, mister Peter Laurie will bring us
the climax of tonight's miss story in the air when
Camels present Act two of the Queen of Spade.

Speaker 5 (02:05:08):
Experience.

Speaker 57 (02:05:09):
Is the best teacher.

Speaker 49 (02:05:11):
Remember the wartime cigarette Shorty who doesn't one thing about it. Though,
Smokers who went through it really learned a lot about cigarettes.
They had firsthand experience with many different brands.

Speaker 36 (02:05:21):
Oh, true goodness, we certainly smoke whatever brands we could
get in those days.

Speaker 19 (02:05:26):
I smoked so many different brands. I'm practically a walking
encyclopedia about cigarette. Well, I'm a camel smoker now, And.

Speaker 12 (02:05:33):
Believe me, I know camel's a cigarettes to me because
I've compared so many brands.

Speaker 49 (02:05:38):
Yeah, smoking whatever brands they could get during the wartime,
Cigarette Shorty made people everywhere experts on judging the differences
in cigarette quality. That experience convinced a host of smokers
that they preferred the rich, full flavor and cool mildness
of camels.

Speaker 57 (02:05:55):
Result, more people are smoking camels than ever before.

Speaker 5 (02:06:00):
Experience is the best teacher.

Speaker 23 (02:06:03):
Try a camel yourself.

Speaker 10 (02:06:08):
Something about bruises on her throat, No.

Speaker 5 (02:06:10):
No, no, nothing to it.

Speaker 29 (02:06:11):
Know.

Speaker 5 (02:06:11):
The doctor said she could have inflicted those herself, but
she had trouble Breathingski, my condolences. Oh thank you for
coming here. Man, that's very nice of you. You never
met my grandmother, did you?

Speaker 19 (02:06:23):
No?

Speaker 23 (02:06:23):
I didn't, But that's no reason I shouldn't show my
respect that all you're my friend.

Speaker 18 (02:06:28):
I beg your pardon.

Speaker 48 (02:06:29):
But would you, gentlemen, care to view the remains before
the services commenced?

Speaker 5 (02:06:34):
I suppose I should anyway?

Speaker 23 (02:06:35):
No, yes, by all means I'll come too if if
you don't mind.

Speaker 15 (02:06:38):
Not at all?

Speaker 58 (02:06:39):
Thank you?

Speaker 39 (02:06:40):
Some alon.

Speaker 29 (02:06:47):
Doesn't she look peaceful?

Speaker 10 (02:06:50):
I was fond of her?

Speaker 23 (02:06:51):
Wait, did you see that?

Speaker 15 (02:06:54):
We see what?

Speaker 10 (02:06:55):
Look?

Speaker 23 (02:06:56):
One of her eye leads moved?

Speaker 10 (02:06:58):
What I tell him, I'm the quiet, But I saw.

Speaker 23 (02:07:01):
Her eyelids moved it as if she winked at me,
that as if she she went.

Speaker 6 (02:07:09):
I spend a fine example of an army officer fainting
at a funeral.

Speaker 5 (02:07:12):
Maybe he's sick helping Kenny out of you.

Speaker 8 (02:07:32):
Oh I know, I know.

Speaker 23 (02:07:34):
I shall never get to sleep. My my conscience won't
let me.

Speaker 5 (02:07:38):
Oh why did I do it?

Speaker 11 (02:07:39):
Why?

Speaker 23 (02:07:40):
Why did I go to that cursed funeral? Just just
because my conscience said, you are the murder of that
old woman. I wanted to implore her pardon, But but
she winked at me.

Speaker 5 (02:07:50):
I could swear that she did.

Speaker 41 (02:07:52):
Who's there?

Speaker 26 (02:07:55):
You do not.

Speaker 4 (02:07:58):
You have a short memory counts. I have come back
from the beyond against my wages, I have been ordered
to grant your request.

Speaker 29 (02:08:09):
Request.

Speaker 4 (02:08:10):
Yes, three seven and eight will win for you if say,
in succession.

Speaker 23 (02:08:18):
Three seven and only on these anything, anything at all, do.

Speaker 54 (02:08:24):
Not play more than one card in twenty four hours,
and that you never play card again during the rest
of your life.

Speaker 23 (02:08:36):
I promise, I promise three seven in the ace, three
seven and a ace. Oh, I must remember it. Three
seven ace, three seven ace. Come in.

Speaker 5 (02:09:06):
Oh there you are here, man. Are you all right?
All right?

Speaker 23 (02:09:10):
Yes, sir, all right, Yes, I'm all right.

Speaker 5 (02:09:12):
That's good.

Speaker 9 (02:09:13):
We were worried about you.

Speaker 5 (02:09:14):
We hadn't seen you since you collapsed at my grandmother's funeral.

Speaker 23 (02:09:18):
That was terrible at Tynan and an officer shouldn't think.
I hope you'll forgive me for what happened yesterday.

Speaker 5 (02:09:24):
That's all right, could have happened to anyone. But it
wasn't yesterday, you know. It was the day before, day before. No,
I don't remember that. You must have been pretty sick
to lose a whole day like that. What got into you?

Speaker 23 (02:09:39):
Will you do me a favor?

Speaker 5 (02:09:40):
Have I gone?

Speaker 2 (02:09:41):
What is it?

Speaker 23 (02:09:41):
I've heard a lot about his certain Chi Kolinsky and
a gambling that goes on at his house.

Speaker 5 (02:09:46):
Oh. Yes, Trekolinsky has practically spent his whole life at
the card tables. He's the massed millions at it. But
what I should like to go there?

Speaker 29 (02:09:55):
Oh?

Speaker 5 (02:09:55):
You want to watch them play?

Speaker 15 (02:09:56):
Far?

Speaker 5 (02:09:56):
Oh at Chakolinsky?

Speaker 23 (02:09:57):
No, I want to play?

Speaker 5 (02:09:59):
You want to play?

Speaker 58 (02:10:00):
Yes?

Speaker 5 (02:10:02):
What's happened to you?

Speaker 11 (02:10:02):
Herman?

Speaker 5 (02:10:03):
I thought you couldn't afford the gamble?

Speaker 23 (02:10:05):
Yes, but now I can. You see I have a
little legacy lift from my father and graduation. I feel
I'm in luck.

Speaker 5 (02:10:13):
When can you take me anytime tonight? Yes, if you
feel up to it.

Speaker 23 (02:10:18):
Good, that's very good. We'll go to Chikolinsky's tonight. Huh Tomsky. Honestly,
I who have never seen such a magnificent establishment, never,
never in my life ever seen such a places.

Speaker 5 (02:10:39):
Well, it's all paid for by fellows like you who
felt they were in luck. Look, there's Chakolinski at the
pharaoh Tabe. Come on over. I'll introduce you. But don't
say I didn't want you Chakolinsky. I want you to
meet a friend of mine, Lieutenant Herman. Hellman, this is
the famous Chakkolinsky. Good evening, herman seems to feel particularly

(02:11:01):
fortunate tonight. Do you suppose he could sit in and
take a card?

Speaker 9 (02:11:04):
Kay for ind of yours?

Speaker 10 (02:11:06):
But of course good luck her man.

Speaker 6 (02:11:08):
Thanks?

Speaker 5 (02:11:08):
Will you be kind enough to select your card?

Speaker 10 (02:11:11):
Please?

Speaker 23 (02:11:11):
Thank you?

Speaker 5 (02:11:13):
This is my card? And how much would you like
to bet?

Speaker 9 (02:11:16):
Lieutenant?

Speaker 23 (02:11:18):
I would like to bet forty seven thousand rubles.

Speaker 9 (02:11:23):
Forgive me, lieutenant, but we only play for cash.

Speaker 23 (02:11:26):
It's quite all right time I have it when he's
right here.

Speaker 5 (02:11:30):
Crazy herman, you're playing pretty high, Lieutenant.

Speaker 15 (02:11:34):
Nobody here has ever staked anything like that on one
card before.

Speaker 23 (02:11:38):
Wow, do you accept it or don't you?

Speaker 29 (02:11:42):
I accept it?

Speaker 5 (02:11:43):
And if you'll be kind enough to deal.

Speaker 10 (02:11:45):
As you wish?

Speaker 9 (02:11:47):
Nine three?

Speaker 5 (02:11:49):
Herman has one one.

Speaker 26 (02:11:51):
Look his card is a three.

Speaker 2 (02:11:52):
Well congratulations, Lieutenant.

Speaker 5 (02:11:55):
Do you want me to settle with you now?

Speaker 23 (02:11:57):
If you please?

Speaker 13 (02:11:59):
Here?

Speaker 9 (02:11:59):
You are forty seven thousand rubles.

Speaker 5 (02:12:04):
Would you like to try again?

Speaker 10 (02:12:05):
No?

Speaker 23 (02:12:07):
Not tonight, but tomorrow night. I'll be back to try
another card.

Speaker 9 (02:12:20):
Well, Lieutenant, what do you want to wait?

Speaker 10 (02:12:22):
You tonight?

Speaker 23 (02:12:24):
Same mistake as last night, plus my winnings ninety four
thousand rubles.

Speaker 6 (02:12:30):
Just as you say you have picked your card, I
will deal.

Speaker 5 (02:12:37):
Nave seven.

Speaker 14 (02:12:40):
Look, come has won again the card?

Speaker 1 (02:12:43):
There you are ninety four thousand rubles.

Speaker 5 (02:12:47):
Thank you, sir.

Speaker 23 (02:12:49):
I shall see you again tomorrow night.

Speaker 6 (02:12:58):
I don't believe you'll show up in your fooling.

Speaker 2 (02:13:01):
Here it comes now with Thomsky.

Speaker 6 (02:13:03):
I can't well three times gentlemen, gentlemen, quiet, please.

Speaker 9 (02:13:10):
Well, Lieutenant Herman, how much do you wish to bed tonight?

Speaker 23 (02:13:14):
Same stake plus my winnings here it is eighty thousand
roubles hot.

Speaker 5 (02:13:21):
On one card. Yes, hey man, don't you think that?

Speaker 23 (02:13:26):
Please be quiet. Toms can know what I'm doing.

Speaker 5 (02:13:29):
Gentlemen, Please, will you choose your card?

Speaker 9 (02:13:35):
Lieutenant?

Speaker 59 (02:13:36):
I have it?

Speaker 10 (02:13:37):
Will you please?

Speaker 9 (02:13:38):
Dear Queen Ace win again?

Speaker 23 (02:13:44):
Ace wins here.

Speaker 18 (02:13:46):
It is huh.

Speaker 60 (02:13:47):
If you'd been holding an ace you would have won.
But you haven't a n ase. You have a queen
and it loses. What do you mean what you weren't
holding a niece? My dear fellow, you have the Queen
of spades. Look look at your Queen of spades. It
is impossible.

Speaker 23 (02:14:04):
I have, yes, it is, yes, it is the Queen
of spares. No, I said, but look it it isn't
the Queen of Spades.

Speaker 11 (02:14:17):
It's the countess.

Speaker 23 (02:14:18):
Look see dos emblance.

Speaker 1 (02:14:21):
Yes, yes, she's trick, she's deliberate, tricked. What are you
talking about?

Speaker 12 (02:14:27):
Your grandmother?

Speaker 23 (02:14:28):
Your grandmother, the countess?

Speaker 15 (02:14:30):
She told me three seven and eight, he told you, Yes,
I do have a mesr.

Speaker 1 (02:14:35):
I did meet her.

Speaker 23 (02:14:36):
I waited for her one night in her bedroom.

Speaker 1 (02:14:38):
And I pleaded with her.

Speaker 5 (02:14:40):
But she refused to tell me.

Speaker 23 (02:14:41):
She refused to tell me your secret. And then I
took her by the throat.

Speaker 10 (02:14:45):
And you killed her.

Speaker 5 (02:14:47):
You took her by the pertin killed her.

Speaker 23 (02:14:49):
Yes, but she didn't tell me that. But then one
night she came back, She came back from the grave,
and she told me three cars He was seven and no.

Speaker 5 (02:14:58):
Buts life she right to me.

Speaker 10 (02:15:01):
Oh, she's got no revenge.

Speaker 45 (02:15:06):
I've lost all the money I had in the world,
but I don't care anymore.

Speaker 5 (02:15:10):
But the heart of house shoulder.

Speaker 15 (02:15:11):
Wlod, you matter than your hair. That light to me,
Len hang me.

Speaker 10 (02:15:19):
I'll get with her beyond the.

Speaker 14 (02:15:21):
Gray ragged the mad.

Speaker 10 (02:15:24):
I'll be glad when he.

Speaker 24 (02:15:25):
Had me, I'll be gladly.

Speaker 5 (02:15:41):
But they didn't hang him. He is spending the rest
of his life in Room seventeen of the Obukhra Hospital.
He never answers any question that constantly mutters the same things.

Speaker 23 (02:15:56):
Freeze seven.

Speaker 49 (02:16:17):
East makers the Camel cigarettes and Free Camel's the thirds
Man's Hospital from coast to coast, this Lake the Camel's
go to Veterans Hospital, American Lake, Washington, US Army and
Navy General Hospital, Hot Springs, Arkansas, US Naval Hospital Brooklyn,
New York, US Marine Hospital Detroit, Michigan, and Veterans Hospital
Perry Point, Maryland.

Speaker 61 (02:16:34):
There are many doctors among America's millions of camel smokers.

Speaker 57 (02:16:38):
In fact, according to a nationwide survey, more doctors smoked
camels than any other cigarette.

Speaker 61 (02:16:45):
This survey was made by three leading independent research organizations
who questioned one hundred and thirteen thousand, five hundred and
ninety seven doctors living in every state of the Union,
what cigarette do you smoke?

Speaker 11 (02:16:56):
Doctor?

Speaker 2 (02:16:57):
The brand's name most was Cammel.

Speaker 48 (02:17:12):
Next Week, Mystery in the Air starring mister Peter Laurie,
brings you one of the greatest American classics of all times,
The Black Cat by Edgar Allan Poe BC.

Speaker 49 (02:17:36):
Listen again next week at this same time, when the
makers of Camel Cigarettes present mister Peter Laurie in mystery
in the Air. The artist supporting mister Lorry tonight were
Henry Morgan, Loreene Tuttle, Peggy Weber, Ben Right, Louis Van Rutten,
Stanley Waxman, Jack Edwards Junior, and Ralsey Dan. This is
Michael Roy in Hollywood, wishing you all a pleasant good

(02:17:56):
night for Camel's.

Speaker 13 (02:18:03):
This is in DC, the National.

Speaker 9 (02:18:05):
Broadcast in Comy.

Speaker 62 (02:18:08):
Could you use a three thousand, five hundred dollars vacation trip,
a new for deluxidan or a television set. Then listen
to the Molay Mystery Theater for details of Molay's big
new twenty five thousand dollars contest.

Speaker 14 (02:18:42):
Good evening.

Speaker 63 (02:18:43):
This is Jeffrey Barnes, welcoming you to the Molay Mystery Theater,
the program that presents the best in mystery and detective fiction.
Tonight's mystery, entitled Close Shave, was written by Frederick Matho
and stars the beautiful motion cture and stage actress Katie
Stevens and the role of Ellen Thomas. Now, most of

(02:19:06):
us lead fairly tranquil lives, but some of your listeners
may have narrowly escaped disaster, and we'll understand the fear
and terror experienced by Ellen Thomas, and she finds herself
helpless in the face of death. In a few moments,
you'll hear the story of Ellen's close shave.

Speaker 62 (02:19:25):
But now, dan Seymour and friends, we want to hear
about your close shave too, because the story of your
closest shave, your narrowest escape, may win Molay's great new
contest may win you a three thousand, five hundred dollars vacation.
Later in the program, we'll bring you the full details
of Molay's contest My Closest Shave.

Speaker 63 (02:19:48):
This is Jeffrey Barnes again and act one up Tonight's
Molay Mystery Close Shave, Starrying Katie Stevens as Ellen Thomas.

Speaker 19 (02:20:12):
Coming.

Speaker 15 (02:20:16):
Oh hello, Larry, Hello, Ricky is Ellen Holme, my.

Speaker 64 (02:20:19):
Darling roommate should be here any minute, Come on in.

Speaker 14 (02:20:21):
Oh thanks.

Speaker 64 (02:20:23):
Ellen's boss is away on her vacation. I guess that's
why she's late. Ellen's running Neat and Company's payrolled apartment
herself these days.

Speaker 15 (02:20:30):
Yeah, she's done swallow with a new job. Say you
remember old mister.

Speaker 1 (02:20:34):
Bruno at the barbershop, the one who gave Ellen that
job as a manicurist. When she first came to New York. Yeah,
well that's what I came to tell eleanor Bob.

Speaker 14 (02:20:42):
He died yesterday.

Speaker 20 (02:20:43):
Oh I'm sorry, Larry, Ricky.

Speaker 19 (02:20:46):
I want to show you I've found the most divine habit.

Speaker 20 (02:20:49):
Oh hello, Larry, Hello Allen.

Speaker 64 (02:20:51):
Larry says that nice old mister Bruno died yesterday.

Speaker 20 (02:20:55):
Oh I am sorry, Larry.

Speaker 1 (02:20:56):
Yeah, the funeral is tomorrow afternoon. I was thinking I
could stop by for you and we could go together.

Speaker 20 (02:21:02):
What I just couldn't make it tomorrow, Larry. I'm sorry.
Oh you sent some flowers for me, will you?

Speaker 26 (02:21:10):
Larry?

Speaker 5 (02:21:11):
Ah?

Speaker 15 (02:21:11):
Sure?

Speaker 14 (02:21:12):
Sure, Ellen?

Speaker 1 (02:21:14):
And I don't suppose I wondered if yes, I don't
suppose you'd have dinner with me tonight.

Speaker 20 (02:21:21):
Thanks, but I've got a date.

Speaker 14 (02:21:24):
Okay, Well I better go bye, Ellen, good Bye, It's.

Speaker 19 (02:21:29):
Along Larry A long, Ricky, would you iron my blouse?

Speaker 20 (02:21:33):
I'm late?

Speaker 64 (02:21:34):
Are you going out with Tony again?

Speaker 8 (02:21:36):
Yes?

Speaker 12 (02:21:36):
A little rough on, Larry, aren't you.

Speaker 20 (02:21:39):
I'm not obligated to Larry. Besides, he's just a barber.

Speaker 64 (02:21:43):
Oh nice. Going one year in the big city and
our little girl from Grand Rapids has already learned how
to be a snow.

Speaker 20 (02:21:50):
Now, Ricky, Just because I prefer Tony Delarry doesn't.

Speaker 64 (02:21:53):
Mean sure, Honey, Anthony Drexel Drake fancy stuff. The baby
graduating from manicures to assist in cashier doesn't give you
a diploma to hobnob with the social register.

Speaker 20 (02:22:05):
But you were the one who encouraged me to take
that business course.

Speaker 64 (02:22:08):
That means I want you to get hurt by some
rich playboy. Oh honey, break it off.

Speaker 12 (02:22:13):
Don't see him?

Speaker 10 (02:22:14):
Call it off.

Speaker 20 (02:22:15):
I couldn't not tonight anyway.

Speaker 26 (02:22:17):
Why not?

Speaker 20 (02:22:18):
Well, he's in.

Speaker 64 (02:22:20):
Trouble, Tony Drake in trouble. The bank's foreclosing on his
Pollo Ponies.

Speaker 29 (02:22:24):
Mate.

Speaker 65 (02:22:25):
He hasn't said anything, but something's wrong I know now, Ricky.
Please help me get dressed. I'm so late now, Toney,
you bought it already.

Speaker 15 (02:22:46):
And all my favorites too, favorite foods for my favorite
girl and for me too.

Speaker 10 (02:22:51):
Of course, the condemned man ain't a hearty meal?

Speaker 16 (02:22:56):
Tony?

Speaker 20 (02:22:57):
Is something wrong?

Speaker 10 (02:22:58):
Oh no?

Speaker 14 (02:22:59):
What could be wrong?

Speaker 10 (02:23:00):
Come on, have some more champagne.

Speaker 20 (02:23:01):
But you said that I love you, Tony?

Speaker 10 (02:23:04):
Or did I ever say that?

Speaker 11 (02:23:06):
No?

Speaker 20 (02:23:06):
You you never did.

Speaker 10 (02:23:09):
Well, I do, Darling, I love you too, I don't
say it. What's the matter, nothing? Only well ell and
I I won't see you again after tonight.

Speaker 20 (02:23:24):
Oh, your family's forbidden you my family. It's all right.
I understand. I'm not good enough for you.

Speaker 10 (02:23:32):
Not good enough. Good Lord, honey, you you've got it backwards.
You're too good.

Speaker 20 (02:23:38):
I don't believe you your parents.

Speaker 10 (02:23:42):
Now, will you listen and listen hard?

Speaker 66 (02:23:44):
Yes, I hadn't intended to tell you this, but Dart,
if I let you go off believing a lot of nonsense,
you're in some kind of trouble. Yes, before I met you,
there was a girl, not a very nice girl. I'll
skip the sword of details. I lost my head and
she knew how.

Speaker 29 (02:24:03):
To make it pay off.

Speaker 66 (02:24:04):
Go on, I don't think you're gonna like me anymore
when you bear the rest. I took some diamonds from
the wall safe at home, stuff Dad had given mother
when they were married.

Speaker 10 (02:24:14):
I pawned them you know who, to.

Speaker 33 (02:24:16):
Pay her off.

Speaker 15 (02:24:18):
Well, tomorrow's their anniversary and mother always wears the diamonds.

Speaker 10 (02:24:21):
Then I'll find out what I did, and that'll be
the end of everything.

Speaker 13 (02:24:27):
What'll I do to you?

Speaker 58 (02:24:28):
Oh?

Speaker 10 (02:24:29):
Dad wouldn't send me to jail?

Speaker 66 (02:24:30):
But I'll be packed off somewhere, and I hate to
think what this will mean to mother.

Speaker 20 (02:24:36):
W couldn't you borrow the money somewhere?

Speaker 66 (02:24:38):
Look, Darling, I've been a pretty respectable character since I
met you, but my former reputation doesn't exactly enhance my
credit rate.

Speaker 20 (02:24:46):
There's no one who can help.

Speaker 66 (02:24:48):
Has always been my sister Stella. She used to bail
me out of scrapes when I was too scared to
tell Dad. Oh, that's the irony of it. She was
Jue Tomorrow and the Queen Mary. I know she'd have
helped me for mother's sake. But oh now the ship's
delayed by storms and won't be in until Sunday.

Speaker 20 (02:25:04):
How much money do you need, Tony?

Speaker 27 (02:25:06):
Huh?

Speaker 10 (02:25:08):
Ten thousand dollars.

Speaker 20 (02:25:09):
Oh gosh, that's a lot of money.

Speaker 10 (02:25:11):
All tonight's Friday.

Speaker 15 (02:25:12):
I could pay it back Sunday at the latest, as
soon as I could see Stella.

Speaker 66 (02:25:16):
All I need is a loon for two days. Well,
I can't get it. I cried everywhere, So there's nothing
to do but face the music. Honey, I deserve it.

Speaker 10 (02:25:27):
But if mother, oh I'll I'll feel like a murderer.

Speaker 65 (02:25:33):
Tony, Yes, Tony if you did have the money by tomorrow,
you're sure you could repay it before Monday.

Speaker 67 (02:25:42):
Oh, by Sunday at the latest. I know Stella would help.
But oh anyhow, let's make.

Speaker 10 (02:25:49):
Our last day fun. Let's dance. What do you say? No?

Speaker 65 (02:25:51):
Wait, Tony, I'm in charge at my office now. I've
got the whole week's receipts in the safe and I
know but our office is closed Saturday and Sunday. We'd
put it back before Monday, you said, yourselling.

Speaker 10 (02:26:05):
I wouldn't think of you. I'm letting you do such
a thing.

Speaker 20 (02:26:07):
But it wouldn't be stealing, Tony. We'd put it right back. Please, Tony,
please let.

Speaker 68 (02:26:14):
Me help, Darling. I'll never forget you for this, Tony,

(02:26:34):
I got the money. Swell, I give meet a soul.

Speaker 10 (02:26:36):
Here, thanks, Darling. Come on, we'd better walk over to
third Avenue. Get cat to someone's coming.

Speaker 20 (02:26:43):
Step back into the doorway.

Speaker 10 (02:26:56):
He's going into the building. Let's get what's wrong that man.

Speaker 20 (02:27:01):
He was one of the night watchmen.

Speaker 10 (02:27:03):
Do you think he saw us?

Speaker 20 (02:27:03):
He must have before he stepped back in the shadows.

Speaker 10 (02:27:06):
But wouldn't he say lord to you?

Speaker 20 (02:27:08):
Maybe he was suspicious?

Speaker 10 (02:27:09):
Would he find out the money's gone.

Speaker 20 (02:27:12):
No one could know until Monday morning.

Speaker 10 (02:27:13):
And don't worry.

Speaker 66 (02:27:15):
I'll tell Stella Sunday and definitely have the money for
you Sunday morning.

Speaker 20 (02:27:20):
Nothing will go wrong.

Speaker 66 (02:27:21):
Nothing can possibly go wrong, and believe me, Darling, if
it does, I'll take the blame.

Speaker 10 (02:27:27):
You know that?

Speaker 26 (02:27:41):
Did you drink?

Speaker 14 (02:27:42):
Tony?

Speaker 11 (02:27:43):
Oh?

Speaker 10 (02:27:43):
Oh, thanks, Stella?

Speaker 20 (02:27:44):
He going to call her now?

Speaker 66 (02:27:45):
Yes, I think I better. She's probably pretty upset. I
promised to call her this morning. You know she's probably
half out of her mind by now. Sh Hello, Ellen,
it's Tony.

Speaker 20 (02:28:00):
Tony, why didn't you call me this morning? I've been
at the phone all day waiting for you.

Speaker 10 (02:28:04):
Oh I'm awfully sorry, Darling. But it being Sunday.

Speaker 66 (02:28:07):
Seller couldn't get the money around town, so we had
to go up and see her husband in Stanford.

Speaker 20 (02:28:10):
Did you Did you get it?

Speaker 69 (02:28:13):
Of course?

Speaker 20 (02:28:14):
Thank Heaven.

Speaker 14 (02:28:16):
Stella and I just got back.

Speaker 10 (02:28:17):
That's why I didn't call you until now.

Speaker 20 (02:28:19):
I understand, Tony, though I've been so worried.

Speaker 10 (02:28:22):
Oh sure, honey, Now listen, I wanna get the money
back to you. Can you make me right away?

Speaker 14 (02:28:26):
Yes?

Speaker 26 (02:28:27):
Where are you?

Speaker 25 (02:28:28):
Well?

Speaker 10 (02:28:28):
I've taken a room with the Harker Hotel.

Speaker 66 (02:28:30):
Oh, I thought it would be better if we weren't
too ostentatious about all this.

Speaker 10 (02:28:34):
Huh, don't ask for me at the desk. Just come
right up to eight o two. All right, Tony, sell
us with me now, and she's dying to me to
sell her.

Speaker 20 (02:28:41):
I'll be right over. Oh, Tony, your sister must be
a wonderful girl. I don't know what we'd have done
without her.

Speaker 25 (02:28:47):
And give her a kiss for me, sure thing, by darling,
you heard what the lady said, Honey, m give sister
a great, big brotherly kiss.

Speaker 10 (02:29:00):
Mmmm, well, not exactly what i'd call brotherly.

Speaker 25 (02:29:08):
I don't like that girl, Tony, after this, I don't. Then, gullage,
you make love to anybody but me, even for business.

Speaker 10 (02:29:15):
Stella for ten grand, you'd let me make love.

Speaker 26 (02:29:21):
S always a lovely day for us.

Speaker 25 (02:29:22):
Today you spotted little Ellen working behind that cashier's window.

Speaker 20 (02:29:27):
But tomorrow it'll be all over.

Speaker 23 (02:29:29):
It'll be in all the.

Speaker 20 (02:29:30):
Morning paper's real human interest story.

Speaker 25 (02:29:33):
Trusted employee dips into company funds, then gets panicky, can't
face music, so she gets us have a hotel room
and takes an overdose of sleeping pills.

Speaker 10 (02:29:46):
Yes, just couldn't resist the temptation of easy money. Poor girl.

Speaker 63 (02:30:08):
Well, it looks as if poor Ellen stands to lose
her faith in Tony, her ten thousand dollars, and possibly
her life. We'll continue with her story close Shave Inact
two of Tonight's Moley Mystery. But first, here's Dan Seymour,
who wants to know the story of your closest shave.

Speaker 62 (02:30:25):
That's right, friends, because the story of your closest shave,
your narrowest escape from peril, embarrassment, or failure, may win
the grand prize in Molay's big new contest called My
Closest Shave, a three thousand, five hundred dollars vacation for
yourself and your immediate family, or the cash if you prefer.

Speaker 10 (02:30:45):
Well, that's certainly a grand prize, Denny.

Speaker 2 (02:30:47):
Yes, mister Barnes.

Speaker 15 (02:30:48):
And that's only one of the prizes.

Speaker 62 (02:30:49):
The next five winners each get a new nineteen forty
nine Ford Sedan. The next ten winners get either an
Emerson table Model television set installed or Emerson's new radio phone.
Also twenty five cash prizes of one hundred dollars each
and fifty cash prizes of.

Speaker 11 (02:31:06):
Fifty dollars each. How do you enter the contest down, get.

Speaker 62 (02:31:09):
The printed contest rules and suggestions from your druggist. Then
write the story of your closest shave in not more
than two hundred words. The originality of the story is
what counts, not the literary quality, and the judge's decision
will be final. Send your entry with the two end
flaps bearing the name Molay from any Molay carton. Mail
it to Molay Post Office Box forty nine, New York, eight,

(02:31:34):
New York with your own name and address. Send your
entry to Molay Bucks forty nine, New York, eight, New York.
Send as many entries as you wish, friends, including two
Molay carton end flaps with each entry.

Speaker 2 (02:31:47):
Remember there are twenty.

Speaker 62 (02:31:49):
Five thousand dollars worth of wonderful prizes one hundred and
seven prizes in all, including trade prizes. Your close shave
may be the big winner, so send your Molay contest
entry soon. This is Jeffrey Barnes again, returning you to
the Mystery theater and Act two of Close Shaves, tarrying

(02:32:10):
Kagie Stevens as Ellen Thomas.

Speaker 58 (02:32:27):
Darling.

Speaker 10 (02:32:27):
This is my sister Stella the time she doesn't spend
at the races. She spends listening to my troubles.

Speaker 58 (02:32:32):
Stella, this is Ellen, how do.

Speaker 18 (02:32:35):
You do Hello?

Speaker 25 (02:32:36):
I hope I'm not intruding, Darling. No, I'm intruding. When
Tony told me he was in love, I just had
to see. And you are pretty.

Speaker 20 (02:32:45):
You're terribly pretty, and I'm glad for you both. Thank you.
I'm very glad to meet you too.

Speaker 67 (02:32:50):
Wherever Stella goes, so goes the bottle. Well, let's all
have to drink to celebrate your first meeting.

Speaker 34 (02:32:55):
Huh.

Speaker 20 (02:32:57):
You can not even to worry about me here, what.

Speaker 66 (02:33:00):
Stella, Ellen has nothing to worry about anyhow. What you
know of my past is just that past. Ellen is
my future. Anyone, Ellen, drink.

Speaker 25 (02:33:13):
Ellen, I drink to your future and to Tony as well,
any girl who can put that critter on the straightaway
as a girl with.

Speaker 20 (02:33:19):
Lots of what it takes your talk, Darling, what happened
went down the wrong way? Tastes so funny.

Speaker 30 (02:33:31):
You're not using them, and it happens, dear, you gonna
like him, Darling, Come on, let's sit down. Shatt a
wild good idea. Here, Ellen, sit here, It's comfortable. Thank you,
I am a little tired. I didn't sleep and hed
well last night.

Speaker 10 (02:33:48):
You do seem a little drowsy, Darling.

Speaker 20 (02:33:51):
Put your head back, Ellen, Dear, rest a bit.

Speaker 10 (02:33:56):
Yeah that's better, Ellen. Are you all right there?

Speaker 29 (02:34:02):
Yes?

Speaker 20 (02:34:04):
Take a nap, dear, a nice long nap, Ellen, Ellen,
Dear Ellen, Ellen, Dear, goodbye.

Speaker 15 (02:34:17):
Ellen, Dear.

Speaker 10 (02:34:19):
Cut it out, Stella.

Speaker 58 (02:34:20):
Don't you have any feelings at all?

Speaker 18 (02:34:22):
Do for you died?

Speaker 58 (02:34:24):
Oh?

Speaker 20 (02:34:24):
Tony you lot?

Speaker 10 (02:34:28):
Ceiling?

Speaker 20 (02:34:43):
Hello Fallen Spield, please speaking Larry.

Speaker 19 (02:34:46):
This is Ricky Ellen's roommate.

Speaker 14 (02:34:48):
Oh yeah, hello, Rocky.

Speaker 19 (02:34:49):
I'm worried about Ellen.

Speaker 64 (02:34:51):
She's been acting awful funny since Friday when you came
to tell her about mister Bruno's death.

Speaker 15 (02:34:55):
Well, gee, why are you calling me? She made things
pretty plain.

Speaker 12 (02:34:58):
We're the only real friend she's got.

Speaker 5 (02:35:01):
Mary.

Speaker 64 (02:35:02):
I just don't like that, Tony Drake. And Ellen's acting
queer all weekend. Wouldn't leave the house.

Speaker 19 (02:35:08):
She jumped like she'd been shot.

Speaker 12 (02:35:09):
Every time the phone rang.

Speaker 64 (02:35:11):
Then just a few minutes ago, she went out and
wouldn't say where she was going, said she didn't know
if she would come back.

Speaker 20 (02:35:17):
Something wrong.

Speaker 26 (02:35:18):
Larry, and I don't like it.

Speaker 14 (02:35:20):
Uh, you know, where this Tony Drake lives.

Speaker 64 (02:35:23):
I heard Ellen say that he lived at the University Club,
though it asked.

Speaker 42 (02:35:26):
Her not to call him there.

Speaker 1 (02:35:27):
Okay, Ricky, if it'll make you feel better, I'll go
over to the University Club and see if I can
talk to this Tony Drake.

Speaker 20 (02:35:48):
I great, great, well she does its groan.

Speaker 25 (02:35:52):
She should have kicked ten hours ago. She's coming to
Why don't you give him more?

Speaker 10 (02:35:56):
Shut up?

Speaker 66 (02:35:57):
How did I know? I gave her plenty. We'll give
her some more, now, will you pipe down? I'm going
to give him more as soon as she comes out
of it.

Speaker 20 (02:36:04):
Enough, wait anywhere?

Speaker 66 (02:36:05):
Listen, Stella. You're a lovely doll, a wonderful partner, and
I love you. But if you don't shut up, you
too will.

Speaker 10 (02:36:10):
Go to sleep. People who are unconscious can't drink. Now,
let me handle this.

Speaker 20 (02:36:15):
Shut a die. She's messing things up.

Speaker 10 (02:36:17):
Ellen, hm, Ellen dolling?

Speaker 2 (02:36:20):
I can you hear me?

Speaker 10 (02:36:22):
Ellen?

Speaker 20 (02:36:23):
Tony Tony, I'm sick, so sick.

Speaker 10 (02:36:29):
Yes, yes, dear, I know here I am. He drink this,
it'll make you better.

Speaker 20 (02:36:38):
No, you don't drink. I'm sick, sick, don't drink.

Speaker 10 (02:36:44):
Drink this just to make you better drink it.

Speaker 20 (02:36:48):
Don't want Tony. Where's Ricky? It's Ricky?

Speaker 33 (02:36:52):
I don't I know?

Speaker 58 (02:36:54):
Drink this.

Speaker 10 (02:36:56):
Please, Ellen, Ellen, Dolly, you're Tony.

Speaker 25 (02:37:01):
Ellen Darling, it's your Tony. Drink that, your little triumphant Tony.

Speaker 37 (02:37:06):
Tony?

Speaker 23 (02:37:06):
Where am I?

Speaker 1 (02:37:07):
What?

Speaker 20 (02:37:07):
What's wrong? Tony Darling? Oh Darling, you your little Tony?

Speaker 26 (02:37:14):
He die? Why don't you die?

Speaker 9 (02:37:17):
You get a problem?

Speaker 11 (02:37:20):
Now?

Speaker 10 (02:37:20):
You really fixed it? Your green I'd were kill her.

Speaker 26 (02:37:23):
So we can beat it.

Speaker 20 (02:37:23):
We got the doughn now nuts.

Speaker 66 (02:37:25):
We can't lay a finger on her. She's supposed to
die from an overdose of sleeping pills.

Speaker 20 (02:37:30):
You're killing me, both of you. You're trying to do
help me, help it worked on he'd worked.

Speaker 14 (02:37:41):
She's dead.

Speaker 66 (02:37:42):
Shut up, she's only passed out. We're right back where
we started, only now she's wise. It's got to be
murdered now, you and your big mouth.

Speaker 20 (02:38:06):
Oh, she's coming out of it again.

Speaker 66 (02:38:09):
Not a good that'll do if she won't drink the stuff. Oh, brothers,
tell her you are sure foul this up?

Speaker 26 (02:38:14):
Maybe not?

Speaker 20 (02:38:16):
Look, Tony, did you take a room next door in
her name?

Speaker 11 (02:38:18):
Sure?

Speaker 66 (02:38:19):
I figured after she died we could take her in
there and no one could trace it or us. No
one here has ever seen me with her.

Speaker 20 (02:38:25):
Alright, how about the window. Well, she's loaded with sleeping pills.

Speaker 10 (02:38:28):
She wakes up.

Speaker 25 (02:38:28):
She's still scared of facing her boss on Monday, so
she jumps out of the window.

Speaker 20 (02:38:32):
This is cleaning out for us.

Speaker 10 (02:38:34):
Just tell her that's it. Her windows over this same court.
Toss her out here.

Speaker 66 (02:38:38):
Then fix the window in her room to look like
she fell from there. It's good, Ricky, she's come out
of it. Play along now at at an angle, Ellen, Ellen,
can you hear me? Yes, Ellen, listen, we decided not
to go through with it. If you will do just
as I say. Don't shout behaviors.

Speaker 20 (02:39:00):
I will, I will, Yes.

Speaker 33 (02:39:02):
Good.

Speaker 67 (02:39:03):
At first, you need air. You got to have some
air to keep come out of this. You've had an
overdose of sleeping pill.

Speaker 26 (02:39:08):
Get her over here. I'll open the window and let
the breezes in.

Speaker 10 (02:39:12):
Come on, Uh, hang on to me and try to
walk over it.

Speaker 15 (02:39:17):
That'll wake you up.

Speaker 13 (02:39:18):
There, that's it.

Speaker 6 (02:39:20):
Oh, hold, you're on.

Speaker 26 (02:39:21):
Get for blood?

Speaker 24 (02:39:22):
Going move?

Speaker 10 (02:39:25):
Ah's it? Breathe deeply, that's it, bet aint.

Speaker 20 (02:39:33):
Yes, yes, it's good. My head's clearing.

Speaker 10 (02:39:38):
What will you do?

Speaker 13 (02:39:38):
To me.

Speaker 20 (02:39:39):
Will you let me go? Please? Will you? Tony?

Speaker 10 (02:39:43):
Never mind for now, just stay close to the window.
Breathe deeply, h feeling.

Speaker 20 (02:39:51):
Better now it's a lot better. Okay, Tony, now baby,
what are you doing?

Speaker 12 (02:39:59):
Come on?

Speaker 25 (02:40:00):
Don't want to screen right now?

Speaker 14 (02:40:12):
Who's that?

Speaker 10 (02:40:13):
Probably one of the hotel employees said, tight, Maybe they'll leave.

Speaker 63 (02:40:40):
This is Jeffrey Barnes again. In just a moment, We'll
bring you Act three of close shaves. Starrying Katie Stevens
Now a word from George Putnam.

Speaker 67 (02:40:51):
Every day, more and more people are discovering that you
get real relief from the most common kind of dandruff.
They must destroy the germ called pitty ross borumo valley,
which many outstanding authorities say is its cause. You see,
merely washing or brushing away loose dandrovf has no effect
whatsoever on this germ. But one thing that does work
is double danderine, For double danderene actually kills this germ

(02:41:12):
on contact, even in severe cases. Results with double danderine
have been amazing, and the reason for double danderine's astonishing
effectiveness is a special ingredient, an active adiseptic so remarkably
efficient many hospitals use it in double danderene.

Speaker 2 (02:41:27):
We call it al zan.

Speaker 67 (02:41:29):
So stop trying to combat this dandreff with ineffective methods
that actually are no better than plain water. They can't
compare with double danderine or double danderine destroys the cause.
If you're not completely satisfied, you will get your money back.
Get double danderine tomorrow. Persistent whoever he is books tell

(02:42:01):
her you see who it is? And Ellen, you see
this yes a gun?

Speaker 66 (02:42:07):
You better say the right things to understand? Well, yes, yes, okay, Stella.

Speaker 14 (02:42:20):
Hello, Hello, mister Tony.

Speaker 10 (02:42:23):
I'm Tony. Come in. What can I do for you?

Speaker 14 (02:42:27):
I wanted to.

Speaker 20 (02:42:29):
Allen, Larry, oh friend of yours? Tony, Yes, Larry, what
brings you here?

Speaker 1 (02:42:35):
Ricky was worried about you and called me and I
found out plenty. Listen, Ellen, this guy's a phony. I
checked at the University club. This guy's not Anthony Drexel Drake.
His name is Tony Sumac. He's a gym instructor at
the club.

Speaker 11 (02:42:50):
You'd better explain to him about our marriage.

Speaker 65 (02:42:55):
Larry, you should mind your own business. I know all
about Tony, and I don't care. We're going to be married.

Speaker 26 (02:43:02):
Oh isn't that wonderful?

Speaker 25 (02:43:04):
As an old friend of Ellangie should be happy for her.
I think she's a darling. I love her to death already.

Speaker 29 (02:43:10):
I see.

Speaker 14 (02:43:11):
Well, okay, that takes care of that.

Speaker 20 (02:43:15):
So long, Larry, Yeah, will you do me a favor?
What I I had a date.

Speaker 65 (02:43:23):
I want to call it off, and I'm too busy,
as you can see. And Bruno is waiting for me.

Speaker 20 (02:43:30):
Bruno, but yes, poor boy, he's waiting for me. Tell him.
I'm sorry. You understand, Larry, I'd rather not see him.

Speaker 58 (02:43:39):
Yeah, I I understand.

Speaker 20 (02:43:41):
So you should have your head examined, Tony.

Speaker 10 (02:43:47):
Now what why do you let him go?

Speaker 25 (02:43:49):
And you see the suicide's out. When her body's found,
he'll know about.

Speaker 10 (02:43:52):
Us, sure, ripe the whole thing shut. Look, let's just
tie her up and get out of here.

Speaker 25 (02:43:58):
May prety shoot her mouth off later, but I won't
say anything if you'll just let me get.

Speaker 15 (02:44:03):
It still it?

Speaker 20 (02:44:04):
Yeah, Oh, forget something.

Speaker 14 (02:44:09):
Yeah, I guess you'd say I did.

Speaker 15 (02:44:11):
I got to think and I acted kind of sore
and I'll look.

Speaker 9 (02:44:16):
Uh.

Speaker 14 (02:44:17):
I'd like both of you to know Larry Fields has
no saw.

Speaker 20 (02:44:20):
Oh sure we know that don't we Ellen, Yes, of course,
of course, Larry.

Speaker 15 (02:44:26):
I mean, well, congratulations. I hope your marriage will be
very happy. Let's shake annat Tony.

Speaker 10 (02:44:34):
Why you bet hard luck on you? But here's my
hand on it. That's how things go.

Speaker 11 (02:44:40):
It.

Speaker 14 (02:44:40):
Sure is Tony my arm.

Speaker 10 (02:44:45):
Sure, I'll go.

Speaker 20 (02:44:51):
Surry in his pocket of gun.

Speaker 1 (02:44:53):
Okay, I got it. You sister just stands there all right, Ellen, Yes, okay,
grab the phone and call the desk.

Speaker 26 (02:45:03):
What'll I tell him?

Speaker 14 (02:45:04):
Tell him to get the police up here.

Speaker 12 (02:45:06):
Hello, Hello, this.

Speaker 19 (02:45:09):
Is Roomato two. Get the police up you're hurry? Yes,
at O two.

Speaker 14 (02:45:14):
Sure you're okay, I guess I am.

Speaker 20 (02:45:16):
But I was so frightened you weren't coming back.

Speaker 10 (02:45:19):
I was so mad at you.

Speaker 15 (02:45:20):
I got halfway down the hall before I remembered Bruno
was dead.

Speaker 14 (02:45:24):
Sure was a close shave.

Speaker 20 (02:45:26):
Oh, Larry, you'll never know how close.

Speaker 59 (02:45:45):
Frank Sinatra transcribed as Rocky Fortune. Thank Sinatra, starring as

(02:46:09):
that pootloos and fancy free young gentleman, Rocky Fortune. Hi, Well,

(02:46:36):
I landed myself a new job last week again Inside
Talker on a Manhattan sightseeing tour. Grant's Tomb, Chinatown, The
Empire State building, brother, I've been.

Speaker 58 (02:46:47):
The place that really gets me, though, is the Museum
of Ancient History.

Speaker 59 (02:46:50):
Man, they got dead people laying all over that joint,
some of them in mummy cases five thousand years old.
Now I don't object to a few old corpses, but
they tried to embomb a fresh one, the Rocky Fortune.
All right, ladies and gentlemen, As you will note, we
are progressing up Central Park, Western on your right, is
the largest civic park to.

Speaker 58 (02:47:10):
Be found inside the city the size of New York.

Speaker 59 (02:47:14):
Of us will stop at the famous Museum of Ancient
History next, where we'll take an hour or so to
explore the finest collection of natural nature ever collected, including
the Hall of Man, the Egyptian Wing, the mummies of
the ancient Pharaohs, as well as several of the daddies,
and the Wildlife Exhibit of.

Speaker 6 (02:47:33):
Wildlife.

Speaker 58 (02:47:34):
Any questions, Yeah, I got a question.

Speaker 19 (02:47:36):
Shoot, how long you've been conducting this tour?

Speaker 6 (02:47:39):
Well?

Speaker 15 (02:47:39):
As a matter of fact, lady, this is my first
time around.

Speaker 70 (02:47:42):
Yeah, that's what I thought all my life, I ain't
been inside a museum even so, I finally.

Speaker 64 (02:47:47):
Decide when the Kolberman is time for.

Speaker 19 (02:47:49):
A little culture. So what happens I get a dodo
this life, kid, you got.

Speaker 14 (02:47:54):
To take your chances.

Speaker 58 (02:47:54):
But I'll do what I can. I'll liven up the tour.

Speaker 19 (02:47:56):
That kind of enlightenment. I can live without.

Speaker 58 (02:48:01):
Any more questions.

Speaker 20 (02:48:02):
I'd like to ask a question if I may anything.

Speaker 53 (02:48:06):
Yeah, sugar, is it true that they all have real
dead people inside them?

Speaker 19 (02:48:11):
They're soar A cup of guys is at the museum.

Speaker 58 (02:48:13):
Yeah that's right, sugar.

Speaker 19 (02:48:14):
Why that's scary?

Speaker 59 (02:48:16):
Well, I can be guided tours guarantees to protect his
clients at all times, sweetie, And seeing that there are
only three clients on this tour, why I'll take special
care that nothing happens to you.

Speaker 12 (02:48:25):
Hey, kid, Yes, it's nay on the Iday, which means
look out for wood.

Speaker 53 (02:48:30):
If you mean mister Fortune, our guide, well, I'm sure
he's a gentleman, aren't your mister Fortune.

Speaker 15 (02:48:36):
Well it's up for grabs, but I'll try mister fortune.

Speaker 58 (02:48:40):
Colonel Potters.

Speaker 6 (02:48:41):
Being in the oil business back in Waco, I'm naturally
interested in the natural formations in this part of the country.

Speaker 15 (02:48:47):
Hmm, naturally Can you tell me so what that formation
over that way might be?

Speaker 59 (02:48:52):
Well, if you mean the blonde walking down the street, Colonel,
that is the product of the ice age. And if
you mean the rock like structure behind her, that's a
washroom in Central Park.

Speaker 19 (02:49:01):
I'm goy, you should be on television. You're a screen.

Speaker 58 (02:49:05):
Yeah, thanks, Sadie. I was on the radio once my
mom made me get off. I was scratching the top.

Speaker 11 (02:49:10):
Yup, yup, yuk.

Speaker 15 (02:49:13):
All right, everybody, everybody out here was theam of ancient history.

Speaker 58 (02:49:16):
Please wear you green tags and follow me.

Speaker 59 (02:49:24):
We all pile out of the bus and I lead
the way into the museum, wondering how I'm gonna fumble
my way through.

Speaker 58 (02:49:28):
The next hour.

Speaker 59 (02:49:29):
Right behind me is the cute little blunt from the
Land of Cotton. Behind her is the Redhead from Brooklyn,
and bringing up the rear as Colonel porches hand oba
mustaches trailing like banners.

Speaker 15 (02:49:38):
The first place we breezed through is the Egyptian Wing.

Speaker 59 (02:49:43):
Now a few folks will all step over this way.
We have a genuine example of a rock job brought
over from Egypt, which is called, according to the guide pamphlet,
a monolith from the Temple of Osiris.

Speaker 58 (02:49:53):
Follow me, please, uh just a minute, sir, where's Linda?

Speaker 29 (02:50:00):
A redhead?

Speaker 10 (02:50:00):
From Brooklyn.

Speaker 53 (02:50:01):
Why she was with us when we went inside that
scary old king Pharaoh's tomb back then?

Speaker 15 (02:50:06):
Well, I haven't seen her since we came in here.

Speaker 5 (02:50:08):
Come to think of it, I'll.

Speaker 58 (02:50:10):
Give her a blast.

Speaker 6 (02:50:12):
Hey, redhead, perhaps we'd better conduct a searching party.

Speaker 58 (02:50:17):
Look, I'll go back to the tomb.

Speaker 59 (02:50:19):
Colonel, Will you take a look in the hall of
man and Honey? Yes, you better stay right here in
case she comes along. We'll all meet back here in
five minutes.

Speaker 58 (02:50:25):
Let's go.

Speaker 15 (02:50:32):
I go back to the tomb of King Amon or
whatever his name is, A.

Speaker 58 (02:50:36):
Walk inside and places as empty as Santa's bag the
money after Christmas.

Speaker 10 (02:50:41):
I'm just about to leave when I see what looks
like a piece of.

Speaker 15 (02:50:43):
Red silk sticking out of a stone sarcophagus that's up
against the wall.

Speaker 10 (02:50:48):
I go over and give the cover a heave.

Speaker 58 (02:50:54):
Inside is the body of Linda Kogelman, stone dead.

Speaker 59 (02:50:58):
I turn around to go for the John Domes, just
in time to feel a ton of concrete to send
on the back of my skull.

Speaker 19 (02:51:04):
Oh isn't he a cute lamb there? Just like Moses
and the bull rushes.

Speaker 5 (02:51:18):
Oh, he seems to be reviving I'll.

Speaker 9 (02:51:20):
Get some mice for Oh oh, drop that.

Speaker 29 (02:51:23):
Pyramid on me.

Speaker 15 (02:51:24):
Easy boy, you excuse the expression, but where am i?

Speaker 6 (02:51:28):
The office of the Curator. This young lady is miss Baby,
and the curator secretary. How you all feeling, boy like
I've been santraized. I like the thought you all was
dead when I came bunking bunking in that there tomb.

Speaker 58 (02:51:40):
Speaking of dead, did you see the body?

Speaker 1 (02:51:42):
You all was stretched out like a wet corn.

Speaker 58 (02:51:45):
What my body?

Speaker 59 (02:51:46):
Colonel Linda Kogelman's the redhead. She was inside that sarka,
that that trunk, and that.

Speaker 20 (02:51:51):
Dead The poor man was hurt worse than we thought.
I'd better call a doctor all.

Speaker 15 (02:51:55):
That, Miss This is no dream. I saw that body
inside the sarcophagus.

Speaker 20 (02:51:58):
We'd better open it and have a look.

Speaker 58 (02:52:00):
We'd better not disturb anything.

Speaker 59 (02:52:02):
I think we orders in for the lords. Son good,
let's have the phone. Hello, Sogean Hamilton finger please?

Speaker 11 (02:52:17):
Yeah?

Speaker 15 (02:52:17):
Wait, hello, Saje Rocky. Uh huh, I got a corpse
in King Tut's tomb.

Speaker 59 (02:52:27):
No, it ain't a Halloween joke. It's over at the
Museum of Ancient History. Yeah, get your fat feet over here.
I'll see you. I spend the next few minutes messing
my noggin until Sojean finger flippers in the curator's office.

Speaker 15 (02:52:45):
We all head for the tomb of King Tutt. Sure
this name is in there, I saw with my own eye.

Speaker 29 (02:52:51):
Side.

Speaker 10 (02:52:52):
Okay, who is she?

Speaker 15 (02:52:53):
The name and her tour ticket, said Linda Kugelman.

Speaker 10 (02:52:56):
But she looked like like she's.

Speaker 58 (02:52:58):
Been around more than once. There's the spot right in here.

Speaker 19 (02:53:02):
You all don't mind if we don't go inside. It's
scary you.

Speaker 58 (02:53:06):
Wait here, Let's go, rock, I said sage.

Speaker 15 (02:53:11):
Inside that stone coffin there opened the lid. Right, Holy smokes,
Linda Kugelman, Girl, mummy, uh, I swear she was in
that coffin not more than fifteen minutes ago.

Speaker 6 (02:53:26):
This guy has been in there fifteen thousand years, but
looks of somebody moved her.

Speaker 10 (02:53:30):
Rocky, old man.

Speaker 15 (02:53:31):
This may come as something of.

Speaker 6 (02:53:33):
A blow to you, but one more crazy trick like
this and I'm gonna put you in the closet.

Speaker 18 (02:53:37):
It's no joke.

Speaker 5 (02:53:38):
Side, you bumped your head on the stone.

Speaker 2 (02:53:39):
And don't your sore body now forget it? Come on?

Speaker 26 (02:53:43):
Is she I mean?

Speaker 9 (02:53:45):
There's nothing there but a mummy?

Speaker 14 (02:53:46):
Go home.

Speaker 9 (02:53:47):
Mollie, is you mean miss Linda just vanished?

Speaker 15 (02:53:50):
But where Maybe she's hiding your mustage?

Speaker 23 (02:53:53):
Uncle.

Speaker 9 (02:53:54):
Okay, Rocky, now you remember what I said?

Speaker 6 (02:53:56):
One more false alarm and out through the book.

Speaker 59 (02:54:03):
By this time, I'm beginning to wonder myself if I
really saw a body in that box. I gave another
yodel for Linda Kougelman, but she doesn't show. So I
hustle handlebars and honey back into the sightseeing wagon. As
I get the motor started, things begin to happen.

Speaker 58 (02:54:17):
Okay, Honey, yes, ready, colonel.

Speaker 15 (02:54:19):
Ready, Son, next stop, grants tone.

Speaker 19 (02:54:21):
Just a minute, mister fortune.

Speaker 15 (02:54:23):
What now?

Speaker 19 (02:54:24):
I think I found this coogleman his pocket book step
way down here in the seat.

Speaker 15 (02:54:28):
Oh, let's have a look right here it is.

Speaker 59 (02:54:32):
I guess you won't mind if we open it to
find out where she lives. Well, well, look at this
stack of letters or wrapped a nice pretty red ribbon.

Speaker 6 (02:54:41):
Son, I think you all had better hand those letters
over to me.

Speaker 58 (02:54:44):
Just a minute, pop, I said, hand them over.

Speaker 6 (02:54:46):
Boy, this ain't no bubble pipe I'm holding against your head.

Speaker 14 (02:54:50):
Yeah, I hurt you good.

Speaker 15 (02:54:52):
He wouldn't be the gentleman who stuffed Linda's body in
that money case? Would you the letters boy be my guest,
thank you?

Speaker 58 (02:55:00):
Anything else?

Speaker 37 (02:55:00):
Just loan me the bory of your little bus.

Speaker 13 (02:55:03):
Hey, I'll just take it a few blocks and leave it.

Speaker 6 (02:55:05):
Son, you won't get in no trouble now if you
and the young lady, you'll kindly step out.

Speaker 58 (02:55:13):
Better dude, like the man says.

Speaker 20 (02:55:14):
Honey, Well, I do declare.

Speaker 19 (02:55:16):
I never expected a Southern gentleman to a block.

Speaker 6 (02:55:19):
Leave step down, man, Thank you, when as notches, I'll
leave the bus a few blocks.

Speaker 59 (02:55:25):
Down, Honey and I stand there like a couple of
outsiders watching one sail over the fence while Colonel Luci's
Porchers drives away and achemy's.

Speaker 58 (02:55:41):
DNK a little sight seeing bus.

Speaker 19 (02:55:44):
What now, mister fortune.

Speaker 15 (02:55:45):
That's a good question, and I wish I had an answer.

Speaker 70 (02:55:47):
As long as we're here at the museum, supposing we
finish our too.

Speaker 15 (02:55:51):
As a matter of fact, Baby, that's not a bad idea.

Speaker 59 (02:55:54):
Something tells me our friend Colonel Porchas had something to
do with Lenna Kougelman's recent demise and the removal of
her body. We hustle back into the museum and I
start looking around for one fresh corpse, which is not
an easy thing to locate in a place the size
of a museum.

Speaker 19 (02:56:11):
But mister Fortune, we've already been.

Speaker 15 (02:56:13):
In the ferries too, I know, baby.

Speaker 10 (02:56:15):
But if that body was moved, it was moved from here,
So let's have a look around.

Speaker 53 (02:56:19):
It just doesn't seem possible if somebody carried a dead
lady through the holes without somebody.

Speaker 19 (02:56:24):
Remarking about it.

Speaker 53 (02:56:25):
Yeah, you're right there, unless there's another entrance to this
little old tom uh huh, my goodness.

Speaker 19 (02:56:31):
They must have a place there so a party can breathe.

Speaker 59 (02:56:35):
Air conditioning, Baby, don't ever let anybody tell you you're dumb.

Speaker 10 (02:56:41):
What are you doing?

Speaker 15 (02:56:42):
It's gonna have a look behind the vent in this
air conditioning pipe.

Speaker 58 (02:56:47):
Oh yeah, oh that's all right.

Speaker 59 (02:56:51):
Whoever killed or came back conked me and stuffed the
body in that air vent. Come on, we're too the
curator's office. I want to make a phone call on
my palle size and finger.

Speaker 58 (02:57:07):
Come in, Yes, pardon me. My name's Fortune, Rocky Fortune.

Speaker 6 (02:57:13):
Oh yes, my secretary told me you're the young man
with hallucination.

Speaker 9 (02:57:16):
That's right.

Speaker 15 (02:57:17):
My name is Dems, Curator of Ancient Art.

Speaker 10 (02:57:19):
What can I do for you?

Speaker 58 (02:57:20):
Call the cops.

Speaker 15 (02:57:21):
My hallucination is laying in the air vent with a
broken headbone.

Speaker 11 (02:57:24):
Are you serious?

Speaker 14 (02:57:25):
Take a look for yourself.

Speaker 59 (02:57:26):
If you don't believe me, Oh, I certainly intend to you.
Mind if I use the phone while you're gone, help yourself.

Speaker 15 (02:57:34):
Operator, give me the police headquarters.

Speaker 58 (02:57:36):
Make it fast, Finger is there?

Speaker 15 (02:57:41):
Unless time it takes to say fit the camp of
who erect.

Speaker 58 (02:57:43):
Us and we head for the too mc king tutt.

Speaker 15 (02:57:45):
Once again, you say she's in the air man.

Speaker 58 (02:57:48):
Huh so help me, Saje ask honey here.

Speaker 19 (02:57:51):
Well there she was as big as life. I was
never so skinned my whole life.

Speaker 15 (02:57:56):
The curator's in there now, okay, let's go on in.

Speaker 13 (02:58:00):
I'll see the police have arrived.

Speaker 58 (02:58:01):
Sergeant Finger. Mister Dames, Sergeant.

Speaker 6 (02:58:03):
I regret all the confusion. This, this unfortunate man here is.

Speaker 58 (02:58:07):
Called get the apologies. Let's see the corpus DELECTI.

Speaker 15 (02:58:10):
Of course that's just the point, Sergeant, there is no
corpus DELECTI.

Speaker 19 (02:58:14):
What hey are you kicking?

Speaker 58 (02:58:16):
See for yourself this airway is perfectly empty.

Speaker 15 (02:58:21):
Fortune Dodge, I tell you you come on with me.

Speaker 11 (02:58:25):
Now.

Speaker 58 (02:58:25):
Look, maybe if we call somebody in for a certain
nobody gets cold Fortune, you.

Speaker 15 (02:58:28):
Are mine, Dodge Hamilton, control yourself.

Speaker 9 (02:58:31):
I'm gonna lock you up.

Speaker 14 (02:58:32):
Fortune.

Speaker 15 (02:58:33):
You need a charge, not in jail, Fortune in the booby.

Speaker 1 (02:58:36):
I'm telling you're.

Speaker 5 (02:58:36):
Telling me nothing.

Speaker 25 (02:58:37):
I come on.

Speaker 58 (02:58:39):
Anything you say, Sage are before we go. Yeah, you
have been locking the tomb, not recently. Well, I got
you're locking one.

Speaker 5 (02:58:46):
Now the door.

Speaker 59 (02:58:58):
I slammed the steel fire door shu, and take off
down the Egyptian wing like Pharaoh with the frogs after him.

Speaker 58 (02:59:03):
I hear Finger get the door open again, and his
delicate broken's.

Speaker 59 (02:59:05):
Compounded down the marble and hunt pursuit, arguing with a
stone age stick trace.

Speaker 58 (02:59:09):
He's like flagging down a bomber.

Speaker 59 (02:59:10):
So I duck into the nearest exhibit, which happens to
be the Hall of American Indians. They got a dugout
canoe that fifty feet long paddle by a gang of
wax Indians. I jump in tars an avahole blanket over
my shoulders and make like I'm stroking the Carlisle crew.

Speaker 58 (02:59:22):
He came down this leave Fortune, Come on, he must
have gone further.

Speaker 10 (02:59:28):
Come on, he can't get fat.

Speaker 58 (02:59:32):
Finger in the curate.

Speaker 59 (02:59:33):
I head for the medieval exhibit and I'm just about
to climb out of the canoe when Honeygal comes in,
followed by a couple of little kids on a grammar
school outing.

Speaker 70 (02:59:40):
Hey, Sammy, look at that a real war canoe with
Indians and everything. Oh boy, excuse me, little balls. Have
you all seen a nice looking, dark haired young man
around bother? Hey, Sammy, look at that ding with a
blanket on him?

Speaker 13 (02:59:52):
Boy?

Speaker 19 (02:59:52):
Is he funny looking? You sure you all haven't seen anybody?

Speaker 70 (02:59:56):
Lady, Hey, Sammy, dig the rus on indiny William.

Speaker 19 (02:59:59):
If you show see him, little boy, would you tell
him that honey fair child is looking for him? Surely,
come on, Sammy, let's go to the next walk.

Speaker 1 (03:00:07):
All they're gonna close.

Speaker 19 (03:00:08):
Come does that down your neck?

Speaker 10 (03:00:10):
Close it?

Speaker 70 (03:00:11):
That's right, lady, Come on, simmy, boy, did you ever
see anything like down? He's Sammy, let's get out of here.

Speaker 10 (03:00:20):
He just wake.

Speaker 19 (03:00:23):
Oh dear, I beg your pardon.

Speaker 70 (03:00:27):
I'm not gonna habit of being addressed by strange northern warriors.
If you are, why it's mister fortune. I've been looking
all over for you.

Speaker 10 (03:00:36):
Honey.

Speaker 19 (03:00:37):
Whatever are you doing in that canoe with those Indians?

Speaker 59 (03:00:40):
Well, if you give me a hand out, try to
Oh he comes fingering dems play dumb.

Speaker 58 (03:00:45):
That shouldn't be hard.

Speaker 10 (03:00:46):
You must have got out.

Speaker 58 (03:00:47):
I don't see how the guards at the exits.

Speaker 15 (03:00:49):
Oh it is blossom child. You seen your friend fortune, Honey?

Speaker 19 (03:00:53):
Why come to think of it, Sergeant, I did see.

Speaker 70 (03:00:56):
Well he went through that door there, and then well,
why don't.

Speaker 19 (03:01:00):
You two gentlemen come with me, and I'll show you
just where he all went?

Speaker 58 (03:01:03):
What's cool?

Speaker 59 (03:01:11):
Usually they're really dumb, but every once in a while
you find one who's so good she can even fool
smart people into believing she's dumb.

Speaker 58 (03:01:17):
Honey, Fatchie was one of those.

Speaker 59 (03:01:19):
When she'd let finger and beams out of the American wing,
I resigned from the tribe and climbed out of my canoe.
My first stop was the office of the Curator of
Ancient Art, Jeremiah Demes.

Speaker 15 (03:01:28):
Something told me that all was not kosher with this kid.

Speaker 59 (03:01:33):
Anybody home deems no good. I'll be your guest, nothing
nothing more nothing. Now, why would you keep this drawer locked, deemsy,

(03:01:58):
old boy, Let's just force it open.

Speaker 58 (03:02:05):
And have a look inside. Nothing nothing.

Speaker 59 (03:02:12):
Something mm seems to me, I've seen this stuff before,
my darling, it's been so long since.

Speaker 58 (03:02:23):
Uh huh, let's read some more.

Speaker 15 (03:02:28):
I know it is wrong for us to see each other, but.

Speaker 6 (03:02:31):
You find the contents of my desk interestingness to Fortune,
it knocks me out anything in particular. Now, don't move
this gun as loaded, and I'm well within my rights.

Speaker 10 (03:02:40):
To shoot you.

Speaker 59 (03:02:41):
It's all very interesting, especially your tour tag with Colonel
porchiss on it not to mention these letters that Linda
Koglman was using the blackmail.

Speaker 6 (03:02:48):
You're with, h so I see you recognize them.

Speaker 58 (03:02:50):
I took the liberty of reading a couple.

Speaker 59 (03:02:52):
You know, it's a pretty foolish man who writes love letters,
or a guy like Linda, especially when he's married, hand
them over help yourself.

Speaker 6 (03:03:00):
You know what's a pity? I had to kill her,
but then she wouldn't listen to reason. She bled me White.

Speaker 59 (03:03:05):
You really had me fooled with that fake mustache and
a phony Texas accent.

Speaker 27 (03:03:08):
Colonel.

Speaker 6 (03:03:10):
Yes, I thought it was rather convincing myself, mister Fortune.

Speaker 15 (03:03:14):
How did you manage to get Linda to take this tour?

Speaker 29 (03:03:16):
Oh?

Speaker 2 (03:03:16):
Quite easily.

Speaker 6 (03:03:17):
I suggested that if she took the tour and brought
the letters to the museum, we could meet surreptitiously inside
the Egyptian Wing and I'd give her the final payment.

Speaker 15 (03:03:25):
Yeah, you gave her the final payment, all right.

Speaker 6 (03:03:27):
She wanted ten thousand dollars. I thought I was getting
off quite cheaply with only a few cents worth of
lead pipe.

Speaker 58 (03:03:34):
Okay, Dames, you're a big success.

Speaker 59 (03:03:36):
You pulled off the Colonel Portress act and knocked off
Linda's shuffled her body around so not even the cops
can find it, and you got your letters anything.

Speaker 58 (03:03:43):
You seem to overlooks little old me.

Speaker 14 (03:03:44):
Oh not for long, mister Fortune.

Speaker 11 (03:03:46):
You see, I have plans for you.

Speaker 58 (03:03:48):
I can imagine.

Speaker 15 (03:03:49):
Yes, mister Fortune, You're going to become a mummy at
my age.

Speaker 28 (03:03:54):
Doctor.

Speaker 6 (03:03:55):
After I've killed you, you'll be wrapped in mummy dressing
and placed inside a sealed stone sarcophagus.

Speaker 15 (03:04:00):
Just think you may not be found for another ten
thousand years, at.

Speaker 58 (03:04:04):
Least untill next Christmas.

Speaker 6 (03:04:06):
Anyway, Well you don't seem particularly worried, mister Fortune, I
am not. You see, I've got other plans, such as
such as putting out the tight and leave. I managed
to knock a lamp up his desk and beat it

(03:04:26):
before he can find the rains.

Speaker 58 (03:04:28):
All I had to do now is figure a way out.

Speaker 59 (03:04:30):
The museum was closed, the lights are out, the doors
were double locked, and I didn't have a key.

Speaker 58 (03:04:35):
I dove to the first door, which.

Speaker 59 (03:04:36):
Happened to be the medieval exhibit about one hundred suits
of armored clubs, wooden horses, and shields.

Speaker 15 (03:04:41):
I figure I play it smart and climb into a
bulletproof suit before teams.

Speaker 59 (03:04:44):
He gets there with the artillery, so I manage to
squeeze inside a little number designed by Richard the lion
Hearted for the Crusades. I pull on the shoulder plate,
pull down the visor, and make like a dead saracen.

Speaker 1 (03:04:56):
Fortune.

Speaker 9 (03:04:58):
I know you're in here.

Speaker 5 (03:04:59):
You may as well.

Speaker 6 (03:05:00):
We'll give up.

Speaker 4 (03:05:00):
You can't get out.

Speaker 5 (03:05:04):
It's no use Fortune.

Speaker 58 (03:05:07):
I figure I'll weigh them out.

Speaker 59 (03:05:08):
But after a few minutes of this, my right arm
begins to get tired since I'm holding it up over
my head. With a forty pound accident, the arm slips
down and ailbows joint creaks like it ain't had a
shadow of oil in a few thousand years.

Speaker 6 (03:05:20):
Well, well you've given yourself away, mister Fortune, and let's
see now, would you be inside the eleventh century Harper.

Speaker 10 (03:05:29):
No, no, not there, perhaps the thirteenth century suit of armor.
Let's lift the viser and have a look.

Speaker 59 (03:05:39):
At this point, I figure I'll take a chance to
suit his really bulletproof and go after him with a
battle axe.

Speaker 6 (03:05:44):
Then you must be in the English armor, the Crusades type.

Speaker 58 (03:05:47):
You're getting warm, deamsy.

Speaker 59 (03:05:49):
You'll be a lot warm in a minute, because I'm
coming after you right now.

Speaker 71 (03:05:54):
Oh really, mister Fortune, don't you know that armor is
so rusted it couldn't possibly move a Oh you're prepped
like a sardine in a can, mister Fortune, like a saltine.

Speaker 12 (03:06:06):
In a cab.

Speaker 15 (03:06:12):
When I try to move, I see the dems. He's right,
I can't budge.

Speaker 58 (03:06:16):
I stand there like an iron deer on somebody's front lawn.

Speaker 59 (03:06:18):
While Deams lifts the vizor and pokeses forty.

Speaker 58 (03:06:20):
Four into my bridge work.

Speaker 15 (03:06:22):
Your a new suitor is very becoming, mister Fortune.

Speaker 59 (03:06:25):
How do you like it if you'll have your tail
a grease up to Lapel's our way at home.

Speaker 15 (03:06:28):
The tailor's out just now, mister Fortune.

Speaker 1 (03:06:31):
But after I pull this trigger, you can change it
for a wooden.

Speaker 10 (03:06:33):
One, right, now.

Speaker 18 (03:06:38):
What hit?

Speaker 14 (03:06:39):
But where are you?

Speaker 29 (03:06:40):
Hey?

Speaker 67 (03:06:40):
Hey over here?

Speaker 10 (03:06:41):
Wouldn't it.

Speaker 19 (03:06:44):
Rocky? Are you all right?

Speaker 15 (03:06:46):
I think so?

Speaker 28 (03:06:48):
What happened?

Speaker 5 (03:06:48):
Miss spair?

Speaker 15 (03:06:49):
Charlie convinced me, how do you give a place one
more look?

Speaker 58 (03:06:51):
See for the red hedge body.

Speaker 15 (03:06:52):
I found it in the closet and Deam's office and
we heard the noise and sneaked in here.

Speaker 58 (03:06:57):
How's my boy? Deams?

Speaker 27 (03:06:58):
Well?

Speaker 13 (03:06:58):
I had to put some Mallenni in him?

Speaker 15 (03:07:00):
So good?

Speaker 58 (03:07:01):
Hey, how about getting not him cast iron overalls?

Speaker 15 (03:07:03):
I'm stuck, no kidding sides, I'm dying in here.

Speaker 19 (03:07:07):
Oh you poor man? Is there anything I can do
to ease the pain?

Speaker 58 (03:07:12):
Yeah? To think of it, maybe there is sugar.

Speaker 19 (03:07:15):
Will you just name it Rocky?

Speaker 15 (03:07:17):
Yeah? Oil me?

Speaker 27 (03:07:20):
Will you?

Speaker 15 (03:07:20):
Kid?

Speaker 59 (03:07:35):
NBC has presented Frank Sinatra as that footloose and fancy
free young gentlemen Rocky Fortune. Others in tonight's cast included
June for A, Gloria Grant, Quonnie Phillips, Dick Beel's, and
Dan Ritz.

Speaker 1 (03:07:48):
Tonight's script was written by George Leopards. Howard Wiley directed

(03:08:11):
Now to tell you about next.

Speaker 59 (03:08:12):
Week's transcribe adventure, Here's Frank Sinatra as Rocky Fortune. This
ain't exactly the season for Fourth of July celebrations, But
next week I'll tell you about the time I almost
got to be a Roman candle and the biggest explosion
since they took the cork out of Vesuvius.

Speaker 14 (03:08:26):
See you around, Murder.

Speaker 72 (03:08:48):
Midnight, So lovely everything about you, your eyes, your lovely
white throat.

Speaker 10 (03:09:00):
Kay.

Speaker 41 (03:09:00):
I can feel it posting under my hands, ye, stoking me.

Speaker 29 (03:09:10):
Wow.

Speaker 73 (03:09:15):
Midnight, the witching hour, when the night is darkest, our
fears the strongest, and our strength at its lowest. Emp Midnight,
when the graves gape open and death strikes.

Speaker 37 (03:09:33):
How you learn the answer in just a minute? In
Till Death Do Us Party?

Speaker 69 (03:09:41):
Mm hmm, Murder at Midnight Tales of Mystery and Terror

(03:10:04):
by radio's Masters of the Macaws. Our Story by Joseph
ruscoll Is. Till Death Do Us Part?

Speaker 52 (03:10:24):
I never saw a man who looked at such a
wistful eye upon that little tint of blue which prisoners
call the sky.

Speaker 29 (03:10:32):
I want to tell you something.

Speaker 10 (03:10:33):
Put down that book and listen.

Speaker 27 (03:10:35):
I love you.

Speaker 26 (03:10:44):
Some too long, Some sell and others buy.

Speaker 52 (03:10:48):
Some do the deed with many tears, and some without
a sigh, I love you. Some do it with a
bitter look, some with a flattering word as present his bar,
I love me wildly.

Speaker 23 (03:11:03):
Put the book away almost there now, bride or sweet waiting?

Speaker 26 (03:11:09):
Oh Frank, pamis you'll always love me till death?

Speaker 10 (03:11:13):
Do us right?

Speaker 23 (03:11:26):
I'm glad, darling.

Speaker 52 (03:11:27):
Come on, it's sweet to dance the violins when love
and life are fair.

Speaker 26 (03:11:32):
To dance to flute. To dance to lute is.

Speaker 19 (03:11:35):
Delicate and rare.

Speaker 23 (03:11:36):
But it is not so sweet with nimber feet to.

Speaker 26 (03:11:41):
Dance upon the air. Frank, God, you've hardly kissed me.
Why are you looking at me like that?

Speaker 10 (03:11:52):
You're so lovely?

Speaker 26 (03:11:55):
Come over here the couch a shy bridegroom in this
day and eight, darling, why are you acting so strange?

Speaker 23 (03:12:06):
Well, if the.

Speaker 26 (03:12:07):
Mountain won't come to Mohammed, come here, my lord and master,
kiss me, Oh Ruth, I love you so much. Mm hmmm, darling,
Fidy keep staring at me like that, Darling, what's the matter?

Speaker 15 (03:12:28):
I don't know?

Speaker 26 (03:12:29):
Please Frank after it.

Speaker 13 (03:12:30):
No, don't come here me, don't touch me.

Speaker 15 (03:12:32):
Rule.

Speaker 10 (03:12:32):
Something terrible is happening to me.

Speaker 14 (03:12:34):
It's a feeling. It's too dreadful.

Speaker 18 (03:12:37):
To believe it.

Speaker 5 (03:12:38):
When I take you in my arms, when I kiss.

Speaker 6 (03:12:40):
You, I love you and I want you so that
I feel a hideous urge too, darling, strangle you to death,

(03:13:03):
very dear.

Speaker 19 (03:13:03):
The way, just got in breakfast?

Speaker 23 (03:13:06):
What are you doing shaving?

Speaker 10 (03:13:08):
Finishing up?

Speaker 13 (03:13:09):
Now?

Speaker 26 (03:13:11):
Morning, professor, Morning, professor. Life is wonderful, wonderful?

Speaker 6 (03:13:17):
How thank you?

Speaker 20 (03:13:21):
Leave us?

Speaker 26 (03:13:21):
Enter the parlor, husband, yes.

Speaker 13 (03:13:24):
Leave us, eat my bride?

Speaker 37 (03:13:27):
Ah?

Speaker 56 (03:13:28):
What what feast does this attempts repellet fall to spouse? Ah, citrus,
my favorite ice, squirt. I'm so happy.

Speaker 26 (03:13:40):
I feel like dancing. It's sweet to dance the violin.

Speaker 18 (03:13:43):
That's right.

Speaker 5 (03:13:44):
How's it go?

Speaker 26 (03:13:45):
It's sweet to dance to violin when love and life
are fair? Eat, dear, that's wrong because I'm not very hungry.
Thank you. Thinking of that incident last night, again, you
are art.

Speaker 23 (03:14:01):
How could I have said that to you?

Speaker 10 (03:14:02):
I can't understand it.

Speaker 26 (03:14:04):
Get into now, darling, You're to forget it. Don't talk
about it anymore, don't even think of it.

Speaker 6 (03:14:08):
It was just your little joke, some joke. Wonder I
didn't fighten you to death. The funny thing is, the
next minute I was laughing at myself.

Speaker 18 (03:14:14):
And so were you.

Speaker 5 (03:14:15):
But when I said it, I, Ruth, I can't explain it.

Speaker 26 (03:14:22):
I can't eat now, Frank.

Speaker 13 (03:14:25):
It was like an obsession, Yes, I did. It was
it was an obsession.

Speaker 2 (03:14:30):
Ruth.

Speaker 23 (03:14:30):
You're a psychologist.

Speaker 26 (03:14:31):
What does it mean to have felt that horrible urge
to do that to you?

Speaker 29 (03:14:36):
Do?

Speaker 26 (03:14:36):
You must have been mad? Now, Darling, don't say that.
Don't spoil our honeymoon with this nonsense. You'll be talking
things into yourself. I don't know what it is. Your
nerves are on edge from your accident, that terrible crash
just three months.

Speaker 6 (03:14:49):
Please, Ruth, Please, I don't want to think about it.
I can still see it, that horrible twisted right.

Speaker 26 (03:14:54):
When you're lucky you're alive. Defct fly.

Speaker 6 (03:14:56):
She was living eighty showing off. I couldn't stop her,
that deaf little SI mister of yours. I'm sorry, dear,
I'm sorry. I guess I had felt as awful about
it as you did. A brilliant student could have been
one of my best. If she never opened a book,
the poor kid went away to die. Maybe if I,
if I hadn't accepted.

Speaker 23 (03:15:17):
A lift to town, who knows she might still be Please, please.

Speaker 26 (03:15:19):
Darling, let's forget it. It's not good for you. You
haven't done it all yourself ever since then?

Speaker 6 (03:15:25):
No, I haven't have.

Speaker 26 (03:15:26):
I Well, everything has its compensation, dear, After all, that's
what brought us together closely.

Speaker 10 (03:15:34):
I mean, yes, that's right. In the hospital you were Amaine. Well,
you were just an angel from heaven.

Speaker 6 (03:15:42):
The way you helped to nurse me through all that
time when I was only half conscious, nursed me and
read to me, read to me.

Speaker 10 (03:15:53):
Yes, the way you read to me.

Speaker 26 (03:15:58):
Why do you say it like that, Frank?

Speaker 13 (03:16:00):
But I don't know.

Speaker 6 (03:16:02):
There's something you read to me over and over when
I was barely conscious. I've heard it ever since. Deep
down I can't seem to recall it, but I feel
that it had something to do with my crazy behavior
last nighter.

Speaker 13 (03:16:16):
A line it's still with me.

Speaker 1 (03:16:18):
It never seems to leave me, seems to make me
want to do something horrible.

Speaker 26 (03:16:23):
No, Frank, stop talking. You're ill again. You're pail as
a ghost.

Speaker 15 (03:16:26):
What is a line?

Speaker 26 (03:16:26):
I've got to know, Darling, Please stop shutting. I'm with you.
Your love is with you now you've kiss me, dear,
hodly tight.

Speaker 2 (03:16:41):
Oh so lovely.

Speaker 23 (03:16:43):
Everything about you, your eyes, your lips, your lovely white throat.
I feel it pulsing. I can feel your throat pulsing,
darling in my hands, pulsing.

Speaker 74 (03:16:59):
Frank, Oh you're choking, Yes, sir, I'm checking out a
room number for thirty eight.

Speaker 3 (03:17:18):
Call me a cab from the bridal suite just a moment.

Speaker 6 (03:17:24):
There's something wrong, sir. You and your wife just checked
in last night. Any complete, no, no complaint. Just call
me a cab.

Speaker 13 (03:17:30):
Oh an emergence?

Speaker 1 (03:17:31):
What business is it of yours?

Speaker 5 (03:17:33):
Where's another hotel?

Speaker 9 (03:17:34):
Why?

Speaker 6 (03:17:35):
You'll find it very difficult in New York without reservation?
And if you and your wife I'm checking out? Who
said anything about my wife? She's better off without media here?

Speaker 5 (03:17:44):
Well?

Speaker 6 (03:17:44):
What are you gawking at?

Speaker 14 (03:17:45):
She's very lovely? Remember?

Speaker 5 (03:17:47):
Would you make a nice corpse.

Speaker 26 (03:17:49):
In a bridal suite? Oh?

Speaker 5 (03:17:51):
Go to the devil?

Speaker 11 (03:18:00):
Where to now?

Speaker 13 (03:18:01):
Mister?

Speaker 5 (03:18:02):
Where?

Speaker 29 (03:18:02):
Now?

Speaker 6 (03:18:04):
Just shake off that other cat.

Speaker 5 (03:18:06):
I did three hours ago?

Speaker 26 (03:18:07):
I told you ten times. What now?

Speaker 5 (03:18:11):
Just drive around the park.

Speaker 26 (03:18:13):
We've been around and around and around.

Speaker 11 (03:18:16):
How long can this go on?

Speaker 26 (03:18:17):
That line?

Speaker 11 (03:18:18):
What was that line?

Speaker 18 (03:18:19):
What was it?

Speaker 26 (03:18:20):
What was that line?

Speaker 3 (03:18:21):
Lor pal?

Speaker 26 (03:18:21):
We're going over that again?

Speaker 18 (03:18:23):
Told what line?

Speaker 26 (03:18:26):
You want the seventh Avenue line.

Speaker 22 (03:18:29):
If I'm not talking out a turn, but you must have.

Speaker 6 (03:18:32):
Lifted quite a few today.

Speaker 29 (03:18:34):
Get me to a hotel.

Speaker 6 (03:18:35):
We tried a dozen, remember that?

Speaker 31 (03:18:37):
Full up?

Speaker 6 (03:18:39):
Hey, just who are you?

Speaker 15 (03:18:40):
Mister?

Speaker 6 (03:18:41):
What's your racket?

Speaker 13 (03:18:42):
What's that to you?

Speaker 5 (03:18:44):
Okay, okay, I just asked.

Speaker 10 (03:18:47):
I was a teacher Cabby in a woman's college.

Speaker 5 (03:18:51):
But that's only a blind My name is Jack the Rippersy,
but some.

Speaker 6 (03:18:56):
People just call me blue Beard.

Speaker 18 (03:19:00):
Flock him.

Speaker 5 (03:19:04):
This is the end of my line. Cham Hey, upen,
get out?

Speaker 14 (03:19:08):
No, no, I won't.

Speaker 26 (03:19:09):
You can't make me get out.

Speaker 1 (03:19:10):
You can't.

Speaker 10 (03:19:10):
I can't no, because if I do get out, I
may go back.

Speaker 13 (03:19:14):
And if I go back, don't.

Speaker 29 (03:19:15):
You understand I'll kill uf.

Speaker 73 (03:19:27):
Porniture for poorer in sickness and in health, Till death
do us part? A bridegroom, dazed and obsessed, standing on
the city street, fearing to return to his bride because
he knows if he does, it will mean.

Speaker 9 (03:19:46):
Murder a ma.

Speaker 69 (03:20:11):
And now back to murder at midnight and till death
do us part?

Speaker 11 (03:20:29):
Yes, what do you want?

Speaker 5 (03:20:32):
Good evening?

Speaker 15 (03:20:32):
Sir?

Speaker 75 (03:20:34):
My nayor is Blue Bears here? The proprietor of this
charming boarding house. You're drunk for souls, is true? May
I carry the knights?

Speaker 5 (03:20:47):
No vacancies go on, o' get on your way.

Speaker 76 (03:20:57):
Is top floor three here, missus Clark. He came in
about an hour ago, the drunk, as you please. He
asked for a single. I'm not one to rent a drunks,
mind you, but I can see he's really educated and
a gentleman.

Speaker 26 (03:21:14):
That was queer one if you ask me. With his
eyes all bloodshot, here it is. Did he say when
he'll be back? He said he was going for his bags.
I'll just wait in his room if you don't mind,
it's all right. I'm his wife. I tell you I
don't know something mighty fishy about all this. Hell. Excuse me,
there's the whole phone.

Speaker 56 (03:21:34):
It's not one thing, it's another.

Speaker 26 (03:21:35):
All right, all right?

Speaker 55 (03:21:38):
Hello?

Speaker 12 (03:21:40):
Yes, who?

Speaker 14 (03:21:44):
Who?

Speaker 12 (03:21:46):
Oh?

Speaker 26 (03:21:47):
Just a minute. It's him, ma'am. He wants to talk
to the lady who just came in.

Speaker 24 (03:21:51):
Let me speak to him.

Speaker 26 (03:21:54):
Hello, Frank, I saw you in, Darling. It's so good
to hear your voice again. I was worried. I've been
following you everywhere. I don't want you to leave me, Darling.
I love you.

Speaker 59 (03:22:10):
Away.

Speaker 26 (03:22:10):
I won't you need me and your wife come back
to me? Thank What are you fighting?

Speaker 15 (03:22:17):
Why don't you take a train home?

Speaker 6 (03:22:18):
You want to die?

Speaker 10 (03:22:20):
You know next time we're alone.

Speaker 26 (03:22:23):
Now, don't say that you're just ill, and I'll nurse
you back to health. Oh, Frank, this is your wife talking.
What sort of spineless thing do you suppose you're married?
What would you have me do? Run to the police
and ask me to protect me from my husband. Run
to the police and cry that the man I love
wants to kill me. Run to the police, and that's right,
of course. Didn't No, thank thank you, thank What are

(03:22:47):
you going to do?

Speaker 58 (03:22:55):
Said missus Clark?

Speaker 10 (03:22:56):
What is it you wanted me?

Speaker 26 (03:22:57):
Inspect the way? Why was I called here to the
police station?

Speaker 9 (03:23:00):
You've no idea?

Speaker 31 (03:23:01):
No?

Speaker 26 (03:23:02):
Oh?

Speaker 19 (03:23:03):
Is he here?

Speaker 26 (03:23:04):
My husband?

Speaker 5 (03:23:05):
He told you, but I thought he was just drunk.

Speaker 26 (03:23:08):
Oh, I told him not to come here.

Speaker 37 (03:23:10):
I told him not to Then it's all true. This
speaks anything I've ever heard. Man loves wife so much
he wants to strangle her, kisses her. It's an irresistible ender,
choke her to death and on a honeymoon. You want
to prefer charges?

Speaker 26 (03:23:27):
Prefer charges?

Speaker 37 (03:23:28):
What for well tempted homicide or.

Speaker 9 (03:23:30):
To cover it.

Speaker 10 (03:23:31):
I won't.

Speaker 26 (03:23:31):
He's my husband, I love him. I'll stick by him
no matter what.

Speaker 37 (03:23:35):
But he ought to at least be sent to Bellevue
for a mental.

Speaker 14 (03:23:38):
Oh no, you won't.

Speaker 26 (03:23:39):
There's nothing mentally wrong with Frank, nothing at all. It
simply nerves the result of an accident he had recently.

Speaker 37 (03:23:46):
It really takes the cake, missus Clark. Another thing that
puzzles me. Yes, he kept raving about a line when
he staggered in here, as if it were life or death,
a line of poetry. Couldn't remember, wanted me to tell
him what it was. Confidentially, I've only read one poem
in my life. Now, Now, what's what's that all about?

Speaker 26 (03:24:07):
I haven't the vaguest notion, Inspector, just part of his
neurotic state. I suppose when we get back to our
hotel room.

Speaker 37 (03:24:13):
What you want him back after what happened?

Speaker 26 (03:24:16):
Yes, don't you see? I must cure him that awful obsession.
Who else can do it with me? I'd like to
see him now, Inspector, Please release him till me. I'll
take the consequences.

Speaker 37 (03:24:28):
He's not here, not here. No, we held him overnight
just to let him sober up, like we would any
other drive.

Speaker 13 (03:24:35):
I thought it was just all boozy eye wash.

Speaker 37 (03:24:38):
This morning, he seemed a new man, laughed it all off.
So we released him just a few minutes ago.

Speaker 26 (03:24:44):
So wonderful.

Speaker 37 (03:24:45):
But then I had a hunch I would have warn
you anyway, just a hunch. Yeah, he said he was
gonna call on you tonight at the hotel for a
little reunion.

Speaker 26 (03:24:54):
Oh, how marvelous. Maybe he's all cured.

Speaker 1 (03:24:58):
I don't know.

Speaker 37 (03:24:59):
I didn't like away he smiled when he said it.
Missus Clark, After what you just told me, I think
I ought to have him picked up again.

Speaker 26 (03:25:07):
You'll do no such thing.

Speaker 37 (03:25:09):
It's taking your life in your hands. I think he's
got wheels in his hand.

Speaker 26 (03:25:12):
I don't care. I love him.

Speaker 37 (03:25:14):
You die just as dead when you're in line.

Speaker 26 (03:25:15):
I'm not afraid. I'll never leave him, certainly not now.
And he needs me more than ever. Is that all fact?

Speaker 37 (03:25:22):
Okay, lady, you're a fourteen carrot. He sure doesn't deserve
a wife like you. And don't say I didn't warn you.
It's your funeral, thank you, Oh missus Clark. There's one
more thing, perhaps out to tell you, when I released
him just a while ago. He said something else that
puzzles me, that being in jail had suddenly given him revelation.

(03:25:46):
He smiled very queerly when he said it. Oh, I
think maybe he found that line of poetry missus Clark.

Speaker 26 (03:26:11):
Hello, Ruth?

Speaker 5 (03:26:13):
Where are you?

Speaker 26 (03:26:14):
Frank?

Speaker 13 (03:26:17):
I don't know exactly what your game is, my sweet bride.

Speaker 69 (03:26:22):
I'm warning you, I've had a revelations.

Speaker 26 (03:26:26):
It's high time.

Speaker 13 (03:26:28):
I'm going to finish at Ruth.

Speaker 10 (03:26:29):
This time you asked for it.

Speaker 26 (03:26:32):
Come up, Frank, Sure, sure, a coward does it with
a kiss. Come in, Frank. The door is open.

Speaker 13 (03:26:56):
Throwing a party?

Speaker 5 (03:26:59):
Yes, who's invited?

Speaker 15 (03:27:01):
You and I?

Speaker 26 (03:27:03):
What are we celebrating an uninvited guest at our honeymoon?
Death has come with you, hasn't it this time?

Speaker 1 (03:27:11):
Yes?

Speaker 26 (03:27:12):
Shall we drink to lind?

Speaker 58 (03:27:16):
Why not?

Speaker 26 (03:27:18):
Do you still love me?

Speaker 2 (03:27:19):
Frank?

Speaker 10 (03:27:20):
Yes?

Speaker 5 (03:27:21):
I still love you, But I love you better when
you're dead For what you've done.

Speaker 26 (03:27:26):
How much do you know?

Speaker 15 (03:27:28):
Not enough?

Speaker 6 (03:27:30):
It came to me in jail last night that jail
had something.

Speaker 18 (03:27:34):
To do with it.

Speaker 13 (03:27:36):
How I still don't know, but enough to make me
remember something.

Speaker 5 (03:27:39):
You whispered in.

Speaker 6 (03:27:40):
The hospital when I was just coming to you, said,
I'll get my revenge. Frank, do you hear me, I'll
get my revenge?

Speaker 26 (03:27:51):
Splendid a from memory?

Speaker 6 (03:27:54):
What else enough to make me realize that you hate
me and have always hated me, although you pretend.

Speaker 26 (03:28:00):
That otherwise, say loved and hated you go on and.

Speaker 6 (03:28:05):
That somehow I don't know myself in what way, but
I'm sure it must be a very clever way, as
your psychology students would agree. You've been coldly, deliberately torturing me,
trying to make me think myself a maniac or have
others think so why. What I can't understand is why
you did it or why you weren't afraid that I'd
really murder.

Speaker 26 (03:28:25):
You'll soon find out.

Speaker 13 (03:28:27):
And I'm convinced now.

Speaker 6 (03:28:28):
That you've done it all with a single line, a
single line of poetry.

Speaker 10 (03:28:36):
In my jail cell. I was sure of it.

Speaker 6 (03:28:38):
The very walls seemed to tell me. I don't know why,
that it was a line that you kept reading to
me at the hospital over and over and over again
that made me think I wanted to tell you, and
that line that's what I'm going to find out right now.

Speaker 26 (03:28:52):
Don't come any closer, professor, Well, no.

Speaker 13 (03:28:56):
It's perfectly ridiculous.

Speaker 6 (03:28:59):
Looking at you now, close to you where I can
almost touch you, that crazy obsession is still with me.
I laugh at it intellectually. I know that you've tricked
me into it by some very obvious power of suggestion.
But I still I still feel that way.

Speaker 26 (03:29:12):
Way come any nearer.

Speaker 13 (03:29:13):
I'm mourning you, isn't it, dearie.

Speaker 6 (03:29:16):
I still love you and can strangle you for my
love and will stay where you are.

Speaker 26 (03:29:27):
You're not going to kill me, darling.

Speaker 55 (03:29:30):
I'm going to kill you.

Speaker 31 (03:29:34):
Now.

Speaker 26 (03:29:34):
Do you see why I wasn't afraid of you a gun?

Speaker 5 (03:29:37):
You've had it all the time, correct, my love.

Speaker 25 (03:29:40):
Right here in the wine table drawer. I've planned this
all along, Angel, from the very first, before we were
even married. Yes, your intuition was right, from the day
you and my little sister were brought to the hospital
after the accident, From the day she died.

Speaker 26 (03:29:59):
And the doctor said, and you'd pull through.

Speaker 25 (03:30:02):
I planned it all, and it's worked out like a
perfect equation every step of the way. Why why I
had to commit the perfect.

Speaker 26 (03:30:10):
Crime and I've done it.

Speaker 25 (03:30:12):
Even the police will testify that it was self defense
against a homicidal maniac. And when they find you here
with a bullet in your head, they'll congratulate me.

Speaker 5 (03:30:19):
But what's this?

Speaker 77 (03:30:20):
Or I still don't cast to be the perfect crime
because I must go free. You see, one life has
already paid for yours and for court. Your blood is
worth no more than my family.

Speaker 15 (03:30:31):
They don't understand this at all.

Speaker 18 (03:30:33):
What did I ever do?

Speaker 24 (03:30:34):
You killed my sister?

Speaker 26 (03:30:35):
I killed her who told me before she left from
that drive with you that she was going to crash
the car. She left before I could stop her. She
told me everything, Frank, including what you've done to her.

Speaker 29 (03:30:46):
Everything I see.

Speaker 10 (03:30:51):
So that's it.

Speaker 29 (03:30:53):
Well, I don't suppose it would be of any use.

Speaker 5 (03:30:55):
My trying to convince it no use.

Speaker 26 (03:30:58):
I waited a long time for this moment. Revenge is sweet,
and it was such fun to torture you. I used
a weapon I knew, of course, it was power of suggestion.
Sure you guessed it. But what a pity You don't
know the line yet?

Speaker 2 (03:31:15):
What was it?

Speaker 13 (03:31:17):
What was it?

Speaker 15 (03:31:19):
Tell me?

Speaker 11 (03:31:20):
Tell me don't keep being.

Speaker 26 (03:31:21):
Torture back, Think god, Frank, think all around it. What
about a jail and the revelation it gave you? What
about a famous poet. I wrote a famous poem while
in jail.

Speaker 1 (03:31:33):
Why, yes, yes, Oscar Wild, that's it.

Speaker 18 (03:31:36):
Yes, that's it from usco Wild.

Speaker 10 (03:31:38):
A ballot, of course, the ballot, the Ballad of Reading Jail.
How could it ever have escaped me?

Speaker 6 (03:31:43):
Why you witch, You've even been reading from it.

Speaker 18 (03:31:46):
On our honeymoon.

Speaker 15 (03:31:47):
But what part?

Speaker 6 (03:31:48):
What first?

Speaker 15 (03:31:48):
What line?

Speaker 24 (03:31:49):
What was the line?

Speaker 5 (03:31:50):
Take?

Speaker 6 (03:31:51):
Give me the line, I say, I still can't think
of the line that ut Oh, no you won't step
glass chute, tell me that finer arch.

Speaker 55 (03:32:03):
Oh, all men kill the thing they love, Remember, Frank.

Speaker 13 (03:32:19):
How's the next line?

Speaker 2 (03:32:20):
Go?

Speaker 10 (03:32:20):
Missus Clark?

Speaker 13 (03:32:23):
Iy all let this be heard?

Speaker 28 (03:32:27):
So I heard, too bad.

Speaker 37 (03:32:30):
I was a little late expect to wait, you know, ma'am.
Like I said, I only read one poem in my
whole life. But it ain't at the dyst thing. It
happened to be The Ballad of Reading Jail till Death,

(03:32:57):
The West Park Moon and the Bridal, Sweet red wine
spilled on the table and red blood on the floor.
As the clock strikes twelve for murder, mid remember to

(03:33:48):
be with us again when Death's key turns in the
lock and the clocks strike twelve for Murder mid The
part of Professor Ruth Clark was played by Elsbeth Eric

(03:34:08):
Professor Frank Clark by Eric Dressler, with music by Charles Paul.
Burder at Midnight was directed by Anton m Leader.

Speaker 78 (03:34:53):
This is Ason Wells speaking from London, the Black Museum,
the Repository of Death. Yes, here in the Grimstone structure
on the Thames which houses Scotland Yard. He's a warehouse

(03:35:14):
of homicide. While everyday objects are teapot of sewing, needle
folding camera or are touched by a murder.

Speaker 29 (03:35:29):
Has a handkerchief, a khaki.

Speaker 78 (03:35:32):
Handkerchief, soldier's handkerchiefs common enough sort of thing during the war.

Speaker 1 (03:35:38):
A handkerchief stock fairly clean, if a bit moldy, that
would be from exposure.

Speaker 13 (03:35:43):
Thompson looks like army issue it.

Speaker 5 (03:35:46):
Is, but no hero used it.

Speaker 18 (03:35:48):
You can bet on that.

Speaker 10 (03:35:53):
Well.

Speaker 29 (03:35:53):
That handkerchief can be seen today in the Black Museum.

Speaker 6 (03:36:06):
From the annals of the Criminal Investigation Department of the
London Police. We bring you the dramatic stories of the
crimes recorded by the objects in Scotland Yard's Gallery of.

Speaker 10 (03:36:16):
Death, the Black Museum.

Speaker 78 (03:36:35):
Here we are at the Black Museum in Scotland, yard.
Just come to the silent room. Outside. The Thames is
busy with London's river traffic, and just upstairs police communications
tap from the teletypes, rings from the telephones. But here,
as I say, is silence. Now here's a length of

(03:37:05):
garden hose. Once it was connected to an exhaust of
a car from there up through the floorboards.

Speaker 29 (03:37:14):
The time was winter.

Speaker 78 (03:37:15):
The driver rode with all the windows closed, and the
car crashed.

Speaker 29 (03:37:19):
The man died.

Speaker 78 (03:37:20):
It wasn't exactly an accident, No, it was murdered as
a German Mauser war trophy, a heavy gun strange. A
tiny woman held it with two hands, mutched her own fingerprints.
She was found out Her hands gave her away. The
paraffint test, you know, for a gunpow to smoke. Yeah,
here we are here. It is the khaki handkerchief. Originally

(03:37:44):
it was intended for camouflage. Fairly shouted for recognition at
the right time in the wrong place if the trouble
first appeared. Is the commonplace ringing of a telephone.

Speaker 12 (03:38:01):
Hello missus Lance, Yes, this is Liz Hert.

Speaker 16 (03:38:05):
How are you fine?

Speaker 14 (03:38:06):
And you all right?

Speaker 6 (03:38:07):
I'm a little worried though Kathy is so late getting
home is.

Speaker 2 (03:38:10):
She with Doris?

Speaker 26 (03:38:11):
Well, they're not here.

Speaker 12 (03:38:13):
I thought Doris was with Kathy at your house.

Speaker 31 (03:38:15):
Oh dear, Now where have they got to?

Speaker 12 (03:38:18):
Or probably stop at one of their friends. Now, I says,
don't you worry, Katy'll come home with my.

Speaker 24 (03:38:23):
Doris and both of them will be.

Speaker 29 (03:38:24):
Willis so commonplace? One mother worries the other.

Speaker 78 (03:38:29):
Dozens later, around six, the worrier Missus Hard, Kathy's mother,
speaks to her husband.

Speaker 19 (03:38:37):
You'll have to speak to Kathy when she gets home.

Speaker 10 (03:38:40):
Isn't she home?

Speaker 5 (03:38:41):
It's practically dinner time and I thought she was in
her room.

Speaker 19 (03:38:44):
She's off somewhere.

Speaker 1 (03:38:46):
Oh John, I'm so worried.

Speaker 13 (03:38:48):
You call the places where she might.

Speaker 12 (03:38:49):
Be hours ago, no one's seen her.

Speaker 15 (03:38:52):
Well, we'll have to wait until six thirty. Then I
suppose we'll have to start looking for her.

Speaker 12 (03:38:56):
When will Kathy learn to let us?

Speaker 15 (03:38:57):
Next?

Speaker 29 (03:38:57):
Six thirty? Oh Kathy? From Kathy?

Speaker 78 (03:39:01):
This time the telephone rings in the heart household. Missus
Lyons is calling, missus Heart.

Speaker 26 (03:39:06):
Yes, I assumed you'd call me if Doris turned up
with Katy at you're out here?

Speaker 24 (03:39:11):
I wonder where they can have.

Speaker 78 (03:39:12):
Gotten to Franky, Missus Hart cradles the telephone, looks to
her husband. Together they leave the house, go under the
darkening street to ring doorbells.

Speaker 19 (03:39:32):
I'm sorry to disturb you, but I'm trying to find
my lit But.

Speaker 29 (03:39:35):
The Curtis haven't seen Kathy.

Speaker 15 (03:39:39):
It choos us old men, But our Kathy seems to
be among the unaccounted for.

Speaker 29 (03:39:43):
No, Bradley's haven't seen Kathy.

Speaker 13 (03:39:47):
Sorry to bother you. Have you seen anything of law?

Speaker 29 (03:39:50):
No, the Corbetts haven't seen Kathy.

Speaker 6 (03:39:57):
Oh please, I'm almost friended.

Speaker 78 (03:39:59):
Where's my no one? No one has seen Kathy. No
one's seen Doris. Word is getting around now, the room
has spread. The time grows later. All of Penn, rustic
Pen and Buckinghamshire is buzzing. Now at the end, the
tap room is crowded. Closing time draws near. Still no word.

Speaker 10 (03:40:20):
Penn in landlord speaking.

Speaker 58 (03:40:21):
Oh, this is John Hart.

Speaker 1 (03:40:23):
Look, Lions and I are together at my place.

Speaker 29 (03:40:26):
Do you think some of the men would help start
a search?

Speaker 6 (03:40:28):
Well, I'll ask him, mister Hart. I'm sure they will.
I used to stay right where you are. We'll be
along bity soon. Can I have your attention, man, your attention?
Men Art and Lions need help. They want to start
a search. Now, how many of you fellas will help
after all, neighbors and neighbors, And if so, it begins.

Speaker 78 (03:40:47):
The long, hard search continues. It's six hours now they've
been missing. It's dark, very little lone. Lanterns of the
searchers move around the village of Penn, through the fields
and the clumps of trees in ever widening circles. The
men beat the fields at the hard home. Two mothers
waits and wait and wait.

Speaker 5 (03:41:11):
Yes, nothing yet, dear, try not to worry.

Speaker 19 (03:41:16):
Nothing yet.

Speaker 78 (03:41:18):
The sun rides high above the fields and the woods
of Buckinghamshire. Sun passes its course, descending behind the.

Speaker 29 (03:41:25):
Hills to the west.

Speaker 78 (03:41:26):
Already the searchers, hundreds of them now, have moved outward from.

Speaker 29 (03:41:30):
Penn, some four miles outward.

Speaker 2 (03:41:32):
The night is coming on.

Speaker 29 (03:41:36):
The doorbell rings.

Speaker 10 (03:41:40):
Yes, just on my way to the inn.

Speaker 9 (03:41:42):
Men for more entns, Just to tell you.

Speaker 10 (03:41:45):
We'll keep headed all night if need be.

Speaker 12 (03:41:48):
And there's nothing yet.

Speaker 29 (03:41:51):
Oh night again.

Speaker 78 (03:41:56):
Now the police are in the search and within a
group of soldiers from the nearby camp up steadily monotonously,
the men work their voices subdued, the lanterns barbing and
weaving over the countryside outward, always outward. From Pen five
miles now six miles. As the radius lengthens, there's more
ground to cover. False dawn grazed the sky to the east,

(03:42:18):
and the morning starlow in the west begins to pale.

Speaker 10 (03:42:25):
Good way, Oh you found something? Maybe I found something
er covet or beliefs. They were just just beyond me ere.

Speaker 29 (03:42:50):
Found.

Speaker 78 (03:42:51):
The weary men brought the terribly tragic news back to
Penn and the little wood with its running stream of
the bodies were found. Two of Scotland yard inspectors Thompson
and Stark, took over together. Now is the time for
professionals at man hunting.

Speaker 58 (03:43:28):
What have we got?

Speaker 2 (03:43:29):
Stark?

Speaker 6 (03:43:30):
Not much, barely anything to go on? Gas mask, container,
wooden out near the road. I don't think they were
killed here, do you? Our chances are against that.

Speaker 1 (03:43:39):
One of the men brought me this, a handkerchief Stark,
fairly clean, if a bit molder, that.

Speaker 6 (03:43:44):
Would be from exposure. Thompson looks like army issue it.

Speaker 14 (03:43:48):
Is, but no hero used it. You can bet on that.

Speaker 6 (03:43:51):
And tire marks and an all patch over to the right.
Truck tires, double rear wheels, army truck. It looks like
faster casts the men who making them. No army truck,
army handkerchief, anything else?

Speaker 13 (03:44:04):
Not yet.

Speaker 1 (03:44:06):
All right, let's get out of here. We've got a
killer to find.

Speaker 78 (03:44:16):
They know the routine. These two grammy, they said about
the work. Star takes the gas mask, container, the plastic
casts the handkerchief to the experts of the yard. Thompson
stays on in pen he visits a different.

Speaker 12 (03:44:29):
Kind of yard, dares and Katy, who wants my pupils?

Speaker 26 (03:44:34):
Inspector.

Speaker 24 (03:44:34):
I have a very personal reason for wanting to.

Speaker 10 (03:44:37):
Help you, But just how can I?

Speaker 1 (03:44:39):
It doesn't need me to tell you or miss how
observant children can be. Now, it occurred to me that
some of the kiddies in your school, who live near
the Hearts home might have noticed something unusual on their
way back from school. Of course, Tonia shot in the dark,
but a child might remember something that had grown.

Speaker 58 (03:44:55):
Up would forget.

Speaker 12 (03:44:56):
I see what you mean, Inspector.

Speaker 1 (03:44:58):
Right then, now, who in your class near the hats Let.

Speaker 16 (03:45:01):
Me see now?

Speaker 50 (03:45:03):
Linda Carter, oh yes, and Kenneth Bradley they're playing just
over there.

Speaker 19 (03:45:08):
Come with me.

Speaker 1 (03:45:14):
Now then, what's your name?

Speaker 11 (03:45:16):
Now?

Speaker 1 (03:45:16):
Lady, Linda Linda Carter, and yours.

Speaker 12 (03:45:19):
My lad, Kenneth brad Licha.

Speaker 1 (03:45:22):
I understand you too. Both live in the same street
as the Hots.

Speaker 19 (03:45:25):
Yes, sir, I live next door.

Speaker 12 (03:45:27):
Kenneth's a couple of houses down.

Speaker 1 (03:45:28):
Right, Kenneth. Yes, sir, Now, I know you'd like to
help me if you could. I think your teacher told
you I'm from Scotland yard.

Speaker 14 (03:45:34):
She sure did.

Speaker 2 (03:45:36):
You.

Speaker 12 (03:45:36):
You don't look like a detective.

Speaker 1 (03:45:38):
Detectives usually don't look like detectives.

Speaker 10 (03:45:42):
Now let me tell you something.

Speaker 1 (03:45:43):
We're looking for. The truck, a large heavy truck, an
army truck maybe maybe? Why did you see one, say,
day before yesterday?

Speaker 50 (03:45:53):
Yes, sir, at the crossroads, just standing there.

Speaker 19 (03:45:56):
I saw it too.

Speaker 36 (03:45:57):
It was a big one.

Speaker 14 (03:45:58):
Any one in it, just the driver.

Speaker 19 (03:46:01):
He had no for red face and he had glasses
on with silver rings. He was sitting there smoking.

Speaker 1 (03:46:08):
Can you tell me anything about the truck?

Speaker 13 (03:46:10):
Yeah?

Speaker 50 (03:46:12):
No, I just remembered the man in it. It looked
like a Wallace truck, but he didn't have any aeriel.
There were those big double wheels on the back and
a number forty four on the door, and a red
and blue square on one side. And the tailboard had
some letters JB I think, and on the front bumper
there was fat.

Speaker 10 (03:46:32):
She B M, Bettery, C, Prime, Mover anything.

Speaker 1 (03:46:37):
Else Kenneth not that I can think of, Sir Nosa.
How old do you think the driver was? Linda?

Speaker 10 (03:46:43):
Oh?

Speaker 19 (03:46:43):
Twenty six?

Speaker 1 (03:46:44):
Hey, you seem very sure? Did you ask him?

Speaker 12 (03:46:46):
Nosir? But he looked about my father's age and daddy's
twenty six.

Speaker 1 (03:46:50):
I heard him say, so, thank you, Linda, you too, Ken,
You've been very helpful.

Speaker 10 (03:46:55):
When you come to London.

Speaker 1 (03:46:56):
I'll seat with that. You're shown through the yard. You're
like that? I am sure, eh.

Speaker 78 (03:47:05):
Inspector Thompson sought out his colleague stock at scarp and Yards.

Speaker 1 (03:47:09):
I've got good descriptions the truck and the driver. How
about you on me?

Speaker 6 (03:47:12):
Launder mark and the handkerchief print on gas masked container.

Speaker 1 (03:47:16):
That's all.

Speaker 13 (03:47:16):
And nobody's seen them in the truck.

Speaker 1 (03:47:18):
A man and a woman about a mile apart along
the line from the school towards where where they were found.

Speaker 13 (03:47:24):
Any numbers in the.

Speaker 1 (03:47:25):
Truck, battery, regiment and division insignia.

Speaker 6 (03:47:28):
That launder mark's going through the mill H two five
or three has been checked in every laundry in the
country of Buckingham.

Speaker 1 (03:47:34):
The good I'll get onto Army Intelligence. We'll find that truck,
the outfit that uses it, and the man who drives it.
A leaky axle, drip soil does it. We'll see about that.

Speaker 10 (03:47:47):
Well.

Speaker 78 (03:47:47):

(03:48:12):
Now it was routine, except for the unforgettable side of
leaf shrouded.

Speaker 29 (03:48:16):
Bodies in the wood.

Speaker 78 (03:48:19):
The mechanics of tracing a laundry marker, routine, preservation of
pasta casts of tire marks. That's routine, grim, routine with
an inevitability about it.

Speaker 29 (03:48:30):
Pursuing a routine.

Speaker 78 (03:48:32):
Inspector Thompson called Army Intelligence and spoke with a colonel
whose main function was liaison of the civilian police.

Speaker 1 (03:48:39):
Those are the details, Colonel Well, I have it all
on large number four four red and blue square.

Speaker 2 (03:48:47):
Gave me on the tailboard meta c.

Speaker 9 (03:48:51):
PM on the front lumper that it sounds like.

Speaker 44 (03:48:55):
One of those forts and six by sixes were getting
for a field arty.

Speaker 15 (03:48:59):
I'll quite thank you.

Speaker 78 (03:49:01):
Like war crime, detection is largely a matter of waiting,
waiting for information, waiting for results. When they wanted alarms
to send out, waiting for a suspect to appear at
a certain place. And now Thompson and Stark waited for
answers to their inquiries. A matter of hours the answers
began to come in.

Speaker 13 (03:49:19):
There's a report on the lawn to Mark.

Speaker 6 (03:49:21):
Thompson ties in with a series given an army outfit
stationed about five miles outside of Penn Village.

Speaker 13 (03:49:26):
It begins to fit, It begins.

Speaker 29 (03:49:28):
To patiently, grimly.

Speaker 78 (03:49:29):
The two men went along, waiting once again the.

Speaker 10 (03:49:33):
Telephone inspector Thompson.

Speaker 13 (03:49:37):
Here, Colonel Gardner, inspector, I have your information.

Speaker 1 (03:49:40):
Here he comes Stark.

Speaker 15 (03:49:41):
Good, go ahead, Carol.

Speaker 44 (03:49:43):
That truck apparently belongs to the forty fourth Battalion, Devonshire Blues.

Speaker 10 (03:49:48):
A better is ce prime mover? Where is that outfitter?

Speaker 44 (03:49:52):
They've been in camp five miles outside Penn Village. They've
just been moved to Yoxford on the south coast of
further Field Trainers.

Speaker 1 (03:49:59):
Thank you, Carrol. Shall I advise there if you would.
It should take us about about two hours. You'll move fast,
don't I'll kill him and good hunting hope your man.

Speaker 15 (03:50:11):
Thank you.

Speaker 1 (03:50:11):
Against If he's still with that outfit, we'll get him.
If he's still alive. We will get him. Oxford Stark,
get a car and a driver. We're going to the country.

Speaker 78 (03:50:25):
Traffic was light in Gasoline, Russian England. Some two hours later,
Thompson and Stark conferred with the major commanding the battalion.

Speaker 6 (03:50:34):
Yes, we do have a prime mover with a leaky
excel gentlemen.

Speaker 2 (03:50:37):
As a matter of fact, it's in the shed just outside.

Speaker 13 (03:50:39):
May we see it, Major, Yes, of course this way.

Speaker 1 (03:50:49):
I have the tired cast Stark good. Our accommodations are
still a bit primitive, no proper gears facilities. We just
moved into the setup day before yesterday. We understand, Major,
we've been having my trouble with that truck. Yes, yes,
a few days ago, just before we broke camp near
pen and that's over in Buckingham Turn.

Speaker 13 (03:51:05):
Yes, we know the player. We released the truck to.

Speaker 6 (03:51:08):
The maintenance depot. Apparently there isn't much they can do
with it. The main differential is a problem. Ah, well,
there we are, JB on the tailboard.

Speaker 1 (03:51:16):
Have it at the inside with you. I'll take the
tires in the marking.

Speaker 13 (03:51:19):
Check fourty four on the door.

Speaker 9 (03:51:22):
Yes, take enough.

Speaker 1 (03:51:23):
The leg could hardly miss it.

Speaker 15 (03:51:25):
Red and blue.

Speaker 6 (03:51:26):
Square our battery shoulder patch inspector.

Speaker 1 (03:51:28):
Yes, I thought so. Markings all check have be seen.

Speaker 44 (03:51:31):
Now the tires.

Speaker 1 (03:51:34):
Are hauling in here, Thompson, he has tires check with
the car stuck?

Speaker 6 (03:51:40):
Well we expected that. Here's something on the top wallar.

Speaker 10 (03:51:44):
What do you make of these days?

Speaker 1 (03:51:46):
Want to guess, old man?

Speaker 6 (03:51:47):
Your guess is as good as mine, and it'll be
confirmed by pathology.

Speaker 10 (03:51:51):
Blood.

Speaker 1 (03:51:53):
I think we're through here, Major, Maybe go back to
your office.

Speaker 14 (03:51:55):
Please.

Speaker 78 (03:51:55):
Blood on the top fallar, crumpled up and tossed into
a corner.

Speaker 6 (03:52:00):
I don't think there were kill here?

Speaker 28 (03:52:02):
Do you?

Speaker 1 (03:52:03):
Chances are against that?

Speaker 78 (03:52:04):
No blood around here, but blood on the top or
out of the truck. The two detectives and the major
went back to the ordinary room.

Speaker 1 (03:52:14):
I think we better see the driver of that truck. Major, Oh, yes,
of course.

Speaker 6 (03:52:18):
And do you know who drives the prime mover for metric?

Speaker 15 (03:52:23):
There'll be Driscoll? Where does he now?

Speaker 14 (03:52:27):
Expect he's in the battery day room?

Speaker 13 (03:52:29):
Bring him over, will you?

Speaker 14 (03:52:30):
With his gear?

Speaker 10 (03:52:31):
Duffle bag the whole outfit.

Speaker 29 (03:52:34):
A sergeant turned and left.

Speaker 78 (03:52:36):
The Major with Thompson and Stark waited silently, each busy
with his own thoughts.

Speaker 9 (03:52:43):
An army.

Speaker 6 (03:52:43):
Here is a cross section of the population. They say,
if Driscoll did this thing part.

Speaker 10 (03:52:49):
Of that cross section. I suppose let blood stay.

Speaker 1 (03:52:53):
I hope it's enough for pathology to type it.

Speaker 6 (03:52:56):
Lawn remarks if shirts and underwear or have the mark
as a handkerchief, if he's.

Speaker 78 (03:53:02):
The man in the day room, A battery c in
the situation is normal. The sergeant walked in without attracting
too much attention.

Speaker 5 (03:53:11):
Oh here you are, Drisco.

Speaker 13 (03:53:13):
What's up, Sarge? You are?

Speaker 1 (03:53:15):
Major wants you or what's wrong?

Speaker 18 (03:53:17):
Now?

Speaker 1 (03:53:17):
He didn't tell me.

Speaker 15 (03:53:18):
Let's get over the quarters first four for Major wants
to see your gear, all of it.

Speaker 10 (03:53:24):
Let's go.

Speaker 78 (03:53:28):
Was the waiting over out of the seeming anonymity of
the army.

Speaker 29 (03:53:33):
Had they found their man and so.

Speaker 10 (03:53:35):
Quickly in my office? I don't, sir, Oh can I
just go?

Speaker 31 (03:53:45):
Major?

Speaker 1 (03:53:46):
Thank you?

Speaker 10 (03:53:46):
Sergeant dismiss.

Speaker 1 (03:53:51):
He is disco Thank you, sir.

Speaker 6 (03:53:53):
This is Inspector Thompson and Inspector Stark, Scotland Yard.

Speaker 10 (03:53:56):
They have some questions.

Speaker 58 (03:53:57):
Disc answer them.

Speaker 14 (03:53:58):
I'll try, sir.

Speaker 13 (03:53:59):
He's all yours.

Speaker 1 (03:54:00):
Gentlemen, May I examine your duffel bag? Distol A courser.

Speaker 13 (03:54:07):
Some blows is rather word, isn't it?

Speaker 1 (03:54:10):
Caught in the rain sack? Must have been quite arranged.
He goes with the pockets like this, it was, sir.

Speaker 6 (03:54:15):
You're sure you didn't wash it yourself and pack it
before it was dry.

Speaker 1 (03:54:19):
Now, sir, it was the rain sack. How do you
explain the shirt the cuffs cut off like this? Came
back from the laundry with the cuffs all frayed. I
cut them off, and you use a shirt around a tractor?
I see, discoo. Does this handkerchief look familiar to you
like any other handkerchief? Inspector Thompson. The lawndow marks here,

(03:54:40):
color of the shirt, I see it.

Speaker 6 (03:54:43):
We'll try again, distool. Look at the laundry marks on
the shirt and on the handkerchief. Seems to be yours,
doesn't it.

Speaker 1 (03:54:49):
I wouldn't know about laundry marks there, I gain you go?

Speaker 13 (03:54:52):
How they have you had a handkerchief like this recently?

Speaker 1 (03:54:55):
All the army issue is a sainsa.

Speaker 6 (03:54:57):
We got a lot of trouble getting things back from
the laundry.

Speaker 11 (03:55:00):
Someone else could have had this.

Speaker 1 (03:55:01):
Handkerchief rather a careless laundry driscol. Sorry sir, yes, sir,
have a look at this tar paul In Cristal. Yes, sir,
what's your guess about those stains?

Speaker 14 (03:55:13):
Grease, sir?

Speaker 6 (03:55:14):
That's shape, that color might be blood, sir, there's paullen
comes from your trucks.

Speaker 5 (03:55:21):
I never saw the stain, sir.

Speaker 13 (03:55:23):
Might be someone swapped this one for mine.

Speaker 1 (03:55:25):
Bristol. Where were you on the nineteenth, three days ago
maintenance daypot repairs leak the axle? Did they repair it?
I couldn't not in the time we had before we
moved down here.

Speaker 13 (03:55:37):
I see anything else a lot at the moment.

Speaker 1 (03:55:40):
Major, we'd appreciated if you'd hold this man and rescord.

Speaker 13 (03:55:43):
There are still a.

Speaker 1 (03:55:44):
Few inquiries to be made.

Speaker 6 (03:55:45):
There's the course, Inspector, Oh Tartan in here please?

Speaker 78 (03:55:57):
There was still a loosens on identification laundry problem. Drisco
wore horn ram glasses. Inspector Thompson asked some more questions.

Speaker 1 (03:56:07):
I see Corbal he wore army issuance suddenly brought himself
the horned frame. He joked with about it, and he
didn't like him. How angry did he?

Speaker 78 (03:56:15):
Inspector Stark visited the Regimental laundry dep.

Speaker 6 (03:56:18):
No complaints from Gunnar Driscoll about losing things for him,
never tore of Freddy's shirts.

Speaker 13 (03:56:23):
I see, thank you.

Speaker 78 (03:56:25):
Stark stayed with the shirt a battery made of briscals.

Speaker 29 (03:56:28):
Had noticed the missing cuffs the.

Speaker 6 (03:56:31):
Night you rolled in here, you noticed the cuffs missing.

Speaker 13 (03:56:34):
That was the night of the twentieth.

Speaker 78 (03:56:36):
Very good, Inspector Thompson turned up an interesting item.

Speaker 1 (03:56:40):
Say that again, sergeant night.

Speaker 15 (03:56:41):
We came in here weird about those tooth in the woods.
We were shooting the breeze about it in the day room.

Speaker 5 (03:56:48):
All at once too.

Speaker 15 (03:56:49):
Driscoll looks around and says, kinder one is a murderer
in here, that's.

Speaker 29 (03:56:55):
What And once again a telephone.

Speaker 1 (03:57:05):
Yes, oh it's for you, inspector, Thank you, maja, Inspector
Thompson speaking, He did, I see it's been checked at
criminal records. Good, very good. Yes, of course I wanted
the word at once. Thank you very much.

Speaker 13 (03:57:23):
They found something.

Speaker 1 (03:57:24):
The crew we left to pain turned up the second
gas mask container metal. This one had a print on it.
They checked in criminal records. The fingerprint belongs to an Oscar.
Driscoll served a term eight years ago for molesting and
impairing the morals of a minor Oscar Driskell. You're under arrest.

(03:57:45):
The charge is wilful murder of Kathy Hart and Doris
Lyons on the afternoon of October.

Speaker 24 (03:57:50):
The nineteenth.

Speaker 10 (03:57:55):
Well.

Speaker 29 (03:57:55):

Speaker 10 (03:58:00):
Uh.

Speaker 78 (03:58:04):
The defense, of course, was insanity. The defense tried to
prove that risk Or suffered from schizophrenia spread personality, that
he had no recollection of what he'd done and therefore
no legal responsibility. The jury brought in its verdict, and
finally this man died the hands of the public executioner.
There was apparently no doubt in the minds of the

(03:58:25):
jury that this man had known, had planned.

Speaker 29 (03:58:28):
Exactly what he'd done.

Speaker 78 (03:58:31):
At any rate, the khaki handkerchief remains in its usual
place in Scotland.

Speaker 29 (03:58:37):
New Yards, in the Black Museum.

Speaker 78 (03:58:42):
And now until next time, till we meet again in
the same place, and I tell you another story of
the Black Museum, and remain as always obedient for you aways.

Speaker 35 (03:59:27):
The Mutual Broadcasting System presents The Mysterious Travelers, written produced
and directed by Robert Day, author and David Cogan, and
starring tonight, three of radio's foremost personalities, Ralph Bell Lowie
van Rutten and Roger Di Covin in S O S.

Speaker 37 (03:59:59):
This is an serious traveler inviting you to join me
on another journey into the realm of the strange and
the terrifying. I hope you will enjoy the trip, that
it will free you a little and chill you a little.
So settle back, get a good grip on your nerves,
and be comfortable if you can, as we join three

(04:00:20):
enterprising men who are in a very dire predicament. It's
a story I call s S. My story tonight is
about a group of unsavory individuals at a moment discussing

(04:00:42):
a little unhappily.

Speaker 10 (04:00:44):
They are recent past.

Speaker 24 (04:00:49):
Yes, sir, here we are, the three of us a
drive out here?

Speaker 18 (04:00:53):
How long is it be a long?

Speaker 10 (04:00:54):
Like?

Speaker 2 (04:00:54):
Let me alone?

Speaker 22 (04:00:56):
That Steve who knows every day sure die couldn't miss
he said, couldn't miss still opportunities.

Speaker 24 (04:01:04):
You just had to recognize them.

Speaker 15 (04:01:06):
Isn't that what you said, Steve?

Speaker 24 (04:01:07):
Is that what you say?

Speaker 14 (04:01:08):
Shut up?

Speaker 41 (04:01:09):
Shut up?

Speaker 9 (04:01:09):
I've had enough look at him.

Speaker 24 (04:01:13):
Now, I's gonna turn on that automatic radio sender. Isn't
that right?

Speaker 18 (04:01:17):
Shut up?

Speaker 9 (04:01:18):
Shut up?

Speaker 24 (04:01:22):
Do you really think someone's going to hear those signals.

Speaker 18 (04:01:25):
No, sir, we had ripped out here. But for good.

Speaker 24 (04:01:30):
You're wasting your time with that radio sender.

Speaker 10 (04:01:33):
No one's going to pick us up.

Speaker 28 (04:01:37):
Right by pardon, let me alone.

Speaker 24 (04:01:41):
Yes, I can remember that Daysty when you first filled
the plan to us.

Speaker 10 (04:01:46):
Oh you want a master mind, all right, remember Steve?

Speaker 9 (04:02:00):
Yeah, I remember all that. I wish I could forget
that day, forget everything that happened, But there's no escaping in.
I can see everything that happened as clear as if
it were only yesterday. Yeah, I remember the way I

(04:02:23):
walked into the office. Mike and Doc were sitting there waiting,
waiting for the bad news. Well, Farsen got a life
sentence and the rest got ten to twenty years.

Speaker 10 (04:02:45):
Great, just great.

Speaker 18 (04:02:49):
I just can't get over it, just can't.

Speaker 22 (04:02:52):
Things were running so smoothly, the syndicate was cleaning up,
and then the this.

Speaker 9 (04:02:57):
Happens, and three of us were pretty lucky not being
indicted with the others. Yeah, we hadn't been in South
America hand on that end. We had gotten it in
the neck too.

Speaker 22 (04:03:10):
And I still do not understand how could they smash
the syndicate overnight? There were no records fast and took
every recourse.

Speaker 41 (04:03:18):
Let's face it, the day for guys like us is over.
The cops have science on this side. They're using every
trick in the book. You're right, television, radar, infrared cameras,
electro detectors, light beam alarms, and a hundred one other
scientific gimmicks.

Speaker 18 (04:03:36):
Yes, you are right.

Speaker 22 (04:03:38):
They have learned to move so fast that they have
taken all the profit out of the rackets.

Speaker 41 (04:03:43):
They sure have. I just wish I had a small
pot of all that dough I once made.

Speaker 9 (04:03:49):
Where did it go?

Speaker 2 (04:03:50):
Lowly is Bay Protection?

Speaker 41 (04:03:53):
They haven't got a scent left either, have I?

Speaker 9 (04:03:56):
What about you, Steve, I've still got a few grand left.

Speaker 41 (04:04:00):
The way science is turning the heat on, it looks
like we'll have to turn on us, whether we want
to or not.

Speaker 9 (04:04:06):
Luck, I've been working on an angle. What about sticking
around for a couple more days?

Speaker 41 (04:04:12):
Dead wise, Steve, the cops are ready for everything these days.
They're on any more angles.

Speaker 9 (04:04:18):
I tell you I've got one. I just need a
little more time to work it out. What are you saying?

Speaker 2 (04:04:24):
Well?

Speaker 18 (04:04:24):
Can I do any harm to listen?

Speaker 41 (04:04:26):
How much time do you need?

Speaker 9 (04:04:28):
Two days? Meet me? Here the day after tomorrow. Now
lay out the whole plant for you, while Steve.

Speaker 41 (04:04:44):
You still got an angle or just blow up in
your face.

Speaker 9 (04:04:47):
For the past forty eight hours, I've been going over
and detail by detail and it still looks good.

Speaker 13 (04:04:54):
Well, what is the job?

Speaker 10 (04:04:55):
Let's have it?

Speaker 9 (04:04:56):
The lifting of five million dollars worth of cut Martino
diamonds from the SS Europe. What it must be out
of your head? Would require an army to take over
that boat.

Speaker 18 (04:05:10):
It has a whole of over three hundred.

Speaker 9 (04:05:14):
His plan of mine can be worked with three.

Speaker 41 (04:05:16):
Men us this and I've got to hear just how
would you go about it? Mastermind?

Speaker 9 (04:05:23):
All right, two weeks in the night, the SS Europe
will be docking in London with five million and uncut
diamonds and the shipment of three thousand pounds of uranium
under pressure.

Speaker 41 (04:05:34):
Three thousand pounds of uranium under precious What are you
getting at a.

Speaker 9 (04:05:39):
Half hour before the Europe lands. I go to the
Captain's quarters. You might you go to the radio communication office,
and you doc you go to the special room where
the uranium is stored under pressure. Then what I tell
the captain that I have one man in control of
radio communication and another in the uranium storage room. And

(04:06:03):
unless he turns over the diamond shipment to me, a
bullet will be fired into the uranium compressor, blowing up
the ship.

Speaker 14 (04:06:15):
You really expect the captain to fall for that?

Speaker 2 (04:06:17):
Why you'll call your blood dare you.

Speaker 58 (04:06:19):
To blow up the ship with us?

Speaker 18 (04:06:21):
Of course he will have read like that would never work.

Speaker 9 (04:06:23):
You're wrong, You're wrong there. Psychologically, we've got the edge
of the cat. Maybe we're willing to die too. With
a crew of three hundred and twice as many passengers,
he just would burst it.

Speaker 22 (04:06:37):
Perhaps your hand. After all, his first duty is to
his passengers and ship. He would probably figure that.

Speaker 41 (04:06:44):
We wouldn't get fired with those diamonds, that.

Speaker 22 (04:06:47):
The police would get us in no time.

Speaker 9 (04:06:48):
Though, of course that's exactly the way he see it.

Speaker 41 (04:06:51):
And suppose you to force him to turnover the diamonds,
how would we make our get away?

Speaker 9 (04:06:58):
We'd use one of the ship's emergency launchers.

Speaker 29 (04:07:01):
Sure.

Speaker 41 (04:07:02):
Meanwhile, the captain of the SS Europe is radio the
police and we walk right into their rye there.

Speaker 9 (04:07:08):
Captain walk radio the police, and why won't he? For
two reasons, First, radio rome will be put out of commission.
And second, ten minutes after we leave the Europe, it's
gonna blow.

Speaker 10 (04:07:21):
Up, blow up the Uanium.

Speaker 9 (04:07:23):
That's right. There won't be a piece of the ship
left or anyone to identify it.

Speaker 22 (04:07:29):
Huh, five million in uncuttiments, you.

Speaker 9 (04:07:35):
Say, at least five millions.

Speaker 10 (04:07:40):
This plan of your Steve is just wild enough to succeed.

Speaker 41 (04:07:44):
Yes, we'll see audacity. It might be carried Go gently, Dad.

Speaker 9 (04:07:52):
That's right? Or what do you say that?

Speaker 18 (04:07:55):
Finding the thought of honest labor abhorrent? I'm inclined to
go wrong with you, Steve.

Speaker 9 (04:08:01):
What about you? Mike?

Speaker 41 (04:08:04):
He adds against this, But for that kind of dove,
I'll risk it.

Speaker 9 (04:08:08):
You won't regretted, Mike. All right, Now, here's a setup
today and tomorrow the SS America is that would bomb.
We'll be honor when it leaves.

Speaker 22 (04:08:19):
You mean so that we can study the same layout
that we'll find on the York.

Speaker 9 (04:08:22):
Yes, that's right. By the time we bought the Europe
the return trip, we'll know every into the ship. Now
we'll have to work fast. I'll take care of getting
his passports under assumed names. Doc, I want you to
put passage with the three of us on the America.

(04:08:45):
Two days later, Doc Mike and myself boarded the SS
America using false passports. We pushed our way through the
other passengers, mostly vacationists, to our cabin on d Day
while we were unpacking the ship's whistle glue for all
visitors to leave. A few minutes later we were on

(04:09:08):
our way. During the next three days, we covered the
ship from one end to the other, taking pictures of
the layout, learning the schedules of the crew. When we
walked off after the ten day trip, we knew everything

(04:09:29):
that wants to know about both liners.

Speaker 10 (04:09:36):
At all of my bi.

Speaker 15 (04:09:42):
Posse Angeles.

Speaker 9 (04:09:43):
We kindly stepped this way on shore the post war
Come on.

Speaker 22 (04:09:49):
It says, I hope we don't have any trouble with
these Facebook stop wearing?

Speaker 37 (04:09:53):
Will you.

Speaker 41 (04:09:55):
Where I see your first word?

Speaker 2 (04:09:57):
Free?

Speaker 9 (04:09:58):
Here you are?

Speaker 41 (04:09:59):
Thank you?

Speaker 79 (04:10:01):
Richard will be born in Boston, United States. How long
do you intend to stay here?

Speaker 9 (04:10:09):
Mister werbin abor week?

Speaker 27 (04:10:11):
Have you ever been here before?

Speaker 15 (04:10:13):
Oh?

Speaker 9 (04:10:13):
Now, this is my first verson.

Speaker 79 (04:10:15):
Our laws are quite different than those of your country.
You will do well to study this cooklet, which is
issued by my government.

Speaker 18 (04:10:26):
I go, will your passport?

Speaker 2 (04:10:29):
Is you made past?

Speaker 13 (04:10:31):
I go?

Speaker 9 (04:10:32):
I trust you enjoy your.

Speaker 80 (04:10:34):
Stay with us.

Speaker 41 (04:10:36):
Next passenger, my fraithead, why don't we go back to
the hotel.

Speaker 9 (04:10:52):
We might as well say the local sights while we're here.

Speaker 10 (04:10:55):
So this is what all our fellow passengers came over this.

Speaker 41 (04:10:58):
Waitress and excise me to creech the natives too.

Speaker 9 (04:11:03):
Everything looks so different. Oh come on now, my got's
no way for a traveler to speak. Sure, this place
is different from what you've known. If you'll find plenty
to interest you here.

Speaker 41 (04:11:12):
Yeah, just is gonna be back in New York. It's
all the same to.

Speaker 18 (04:11:15):
U helas Mike. Another week and he'll be back in
New York.

Speaker 41 (04:11:18):
Relaxed, he says, I don't like places that are different.
I like what I'm used to.

Speaker 9 (04:11:23):
These crazy birds.

Speaker 41 (04:11:24):
What do they call them? Anyway, I don't know them.

Speaker 9 (04:11:26):
Used to I have a national bird called martinos.

Speaker 41 (04:11:30):
Martinos, Eh, look at them like bolts, thousands of them.

Speaker 9 (04:11:33):
Oh, you get used to them.

Speaker 41 (04:11:35):
All these comands.

Speaker 14 (04:11:37):
Never seen nothing like that.

Speaker 9 (04:11:38):
That's one of the great attractions here. People come from
all over the earth to see these crowds.

Speaker 41 (04:11:42):
Yeah, well they can happen.

Speaker 18 (04:11:43):
You've got those ruins over there.

Speaker 10 (04:11:46):
While he's been over all these years, and yet they've
never cleaned them up.

Speaker 9 (04:11:50):
We been, Yeah, our rocket fighter is sure level of
the company side.

Speaker 22 (04:11:53):
No wonder the natives aren't any tool. Friend there you
say that again. I'll be glad when we afford to Europe.

Speaker 13 (04:12:00):
Leave this place for leven.

Speaker 1 (04:12:10):
Lay ba ba lay by bad time.

Speaker 9 (04:12:17):
Check all our luggage.

Speaker 10 (04:12:18):
Yes, I went all the emotions of looking like an
anxious tourist.

Speaker 18 (04:12:22):
It will be an our.

Speaker 9 (04:12:22):
Kevin when we go aboard.

Speaker 41 (04:12:24):
What Kevin did we get?

Speaker 9 (04:12:25):
St Kevin? Thirty two by thirty two B.

Speaker 79 (04:12:28):
That's just a few feet away in the radio communications office.

Speaker 80 (04:12:30):
That's right, Oh tangent, please, oh tengent please, All passengers
bound for London.

Speaker 11 (04:12:42):
Will now board.

Speaker 80 (04:12:44):
The essence Europe departure time is all nine hundreds. All
passengers for London will please board, day says Europe.

Speaker 9 (04:13:00):
Come on, that's us. We followed the returning vacationists aboard,
had our passports checked and was shown to our cabin.
It would be ten days before we'd go into action,
but already the three of us felt that sense of

(04:13:21):
excitement that comes before a big job, and this would
be a big job, the biggest ever. The minutes and
the hours seemed to drag On that homeward trip. We
checked the craft from stem to stern and the layout

(04:13:44):
was exactly like that of the SS America. And the
final night out, all the passengers were celebrating, none of
them thinking that they'd never see London. At four a m.
If the liner just one hour from London, three of
us went over our plants for the last time. The

(04:14:07):
interminable roar of the motives in our ears. Okay, this
is it you both. Have you gone?

Speaker 18 (04:14:15):
Yeah, I've gone.

Speaker 9 (04:14:16):
I might. You'll take over radio communications. There'll be just
one radio operator on duty. Remember now take him quietly.

Speaker 41 (04:14:26):
You want to let NSP good.

Speaker 9 (04:14:28):
It shouldn't take you more than a few minutes to
put the radio and radar equipment out of commission. I
make sure you don't damage the shifts in the communication system.
Just leave it a week, a doc. There's one crew
member guarding the storage thrown by the uranium ship is
being captain. Once you've taken care of him. Locked yourself
in the storageng. Now you don't come out until I

(04:14:50):
give the signal.

Speaker 22 (04:14:51):
I understand now, uh, And you got the demolition stay
right here, h god Uh?

Speaker 9 (04:14:58):
I understand now, Uh, you got the demolition stick right?

Speaker 15 (04:15:03):
Ye?

Speaker 29 (04:15:03):
Uh, god ud, I've.

Speaker 9 (04:15:06):
Explained how it works. When I rap on the storage
room door, you plant the demolition stick under the uranium compressor.
But they won't be able to say it right. We'll
have to move fast. Now that explosive will go off
ten minutes after it's set.

Speaker 2 (04:15:19):
Will we be able to get fire.

Speaker 22 (04:15:21):
Enough his way before the explosion?

Speaker 44 (04:15:22):
Oh?

Speaker 9 (04:15:22):
Yes, the launch is on B deck, right outside the
storage room. We'll be in the launch and away in
a matter of a second.

Speaker 41 (04:15:29):
Dack, you will already take the launch engine.

Speaker 10 (04:15:31):
Yes, I just came up from me.

Speaker 18 (04:15:32):
We saw the ticks would go alright.

Speaker 9 (04:15:34):
That takes care of everything. Now, what's said our watches?
I've got uh four twenty six forty five seconds?

Speaker 37 (04:15:46):
Ooh, fifty seconds.

Speaker 9 (04:15:52):
Fifty five seconds, four twenty seven five tick. Okay, let's go.
The three of us left the cabin and separated on
the deserted and dimly lit deck. I walked to the
nearest staircase and went up to eight deck. There wasn't

(04:16:17):
my soule in sight. As I walked to the captain's quarters.
Was exactly four twenty nine a m. I left a cigarette.
Waiting on the horizon. Far ahead, I could see the
lights of London. I could feel the liner losing speed.

(04:16:40):
Exactly four thirty I knocked on the captain's door, carry in,
come in, oh, ken in Philip, have you ready it?

Speaker 18 (04:16:51):
Uh?

Speaker 9 (04:16:53):
I thought it was Phillips, my first officer. No, Captain,
I'm uh merely one of the passengers.

Speaker 14 (04:16:58):
I'm afraid to have fixed me.

Speaker 18 (04:17:00):
I'm doing the control. We we'll be landing.

Speaker 9 (04:17:02):
You'll uh have to hear me out.

Speaker 14 (04:17:04):
But I've just told you.

Speaker 18 (04:17:07):
God, what's the meaning of this?

Speaker 9 (04:17:11):
Said captain. I see here, let's down. That's better.

Speaker 10 (04:17:19):
But what is it?

Speaker 9 (04:17:21):
You're carrying five million dollars in uncut my Tino diamonds.
I want them.

Speaker 18 (04:17:29):
You must be out of your line.

Speaker 9 (04:17:30):
I am not alone in this, Captain. At the moment,
the ship is at my mercy.

Speaker 10 (04:17:36):
It's your mercy.

Speaker 9 (04:17:37):
Yes, my men have taken over key positions on the ship.

Speaker 14 (04:17:42):
Like I don't believe you.

Speaker 10 (04:17:44):
That isn't possible.

Speaker 9 (04:17:45):
Now, well, this is a test. Pick up the phone
and dial the radio communications of it. Go ahead, a.

Speaker 22 (04:18:00):
Radio communications office.

Speaker 18 (04:18:03):
Who who is it?

Speaker 31 (04:18:04):
It ain't one of your crew members, Captain.

Speaker 9 (04:18:07):
Let me on the phone.

Speaker 18 (04:18:09):
Or mike.

Speaker 9 (04:18:09):
Yeah, everything out of control wouldn't be better. God, I'll
be talking to you. Maybe now you're beginning to realize
that I'm not out of my head, Captain.

Speaker 18 (04:18:21):
You must be. You believe you can commit piracy and get.

Speaker 14 (04:18:23):
Away with it.

Speaker 9 (04:18:24):
I'll get away with it, Captain, because you see you're
going to help me.

Speaker 2 (04:18:28):
I help you.

Speaker 9 (04:18:29):
Yes, that's right. One of my men has taken over
the storage room where the uranium is stored under pressure.

Speaker 2 (04:18:37):
You can't do that.

Speaker 22 (04:18:38):
Why that pressure machine calls the constant care of an engineer.
If the pressure postil at a certain point, the uranium explode.

Speaker 9 (04:18:44):
Take it easy, Take it easy. That pressure machine is
being looked after by one of my men. Nothing will
happen to it. That is, if you do exactly as
I say. Do you think I'm bluffing? You think I'm
loving about the storage room?

Speaker 10 (04:19:05):
A storage room?

Speaker 9 (04:19:09):
Everything under control down, Yes, the Captain's fame of the farm.
Tell 'em what your orders are.

Speaker 18 (04:19:15):
I have to put the bullet in the pacial machine.

Speaker 22 (04:19:17):
If I don't hear from you in fifteen minutes.

Speaker 9 (04:19:21):
You heard what he said, Well, he's bluffing.

Speaker 22 (04:19:26):
If he put a bullet and the pressure machine. You
ain't even blow us all up, you and your men included.

Speaker 9 (04:19:32):
That's right, But you see, Captain, my men and I
have nothing to lose, and you and the rest do
what do you mean the authorities in London there waiting
to arrests.

Speaker 18 (04:19:43):
Murder.

Speaker 9 (04:19:45):
So, as I said, we have nothing to lose if
we're forced to blow up the ship.

Speaker 22 (04:19:50):
Even if I turned the diamonds over to you, how
would you get away?

Speaker 9 (04:19:53):
We'd take the launch on badagg. I see, you've got
thirteen minutes left, Captain before my man fires that bullet,
and believe me, he will.

Speaker 22 (04:20:06):
Seems I haven't any choice not the authorities will get
you for they'll let me worry about that.

Speaker 9 (04:20:14):
You got twelve minutes left. Now, you're being sensible.

Speaker 22 (04:20:23):
First Officer Philip, speaking first, says it's Captain Andrews. Yes, sir,
I want you to go to the purser, have him
turn over to you the consignment of uncut diamonds for cannying.

Speaker 10 (04:20:32):
Bring him to my cabin.

Speaker 14 (04:20:35):
That's not a yes.

Speaker 10 (04:20:39):
You should be here with the diamonds in a matter
of minutes.

Speaker 9 (04:20:42):
For your sake. I hope so, Captain, I hope.

Speaker 11 (04:20:47):
So that must be Phillips.

Speaker 9 (04:20:57):
Now have him command, come in.

Speaker 22 (04:21:01):
Have a diamond here, sir, turn them over to this man.
But sir, as I say, the safety of the ship
and our passengers are at stake. Yes, sir, thank you,
If you don't mind if I look them over.

Speaker 18 (04:21:12):
What is it all about?

Speaker 10 (04:21:12):
Sir?

Speaker 22 (04:21:14):
Seems that after many centuries, piracy has returned.

Speaker 14 (04:21:17):
Piracy is are alright?

Speaker 9 (04:21:18):
I check them now, Captain, if you and your first
officer will escort me to B deck, they will go
out filips, Yes, sir, after you, gentlemen. Our first stop
will be the radio communications office. Hey we I'm come

(04:21:45):
on out on deck, Mike. Everything alright, Yes, steps in
the spots, all right, Captain. The next stop is the
special storage room.

Speaker 18 (04:21:53):
They will.

Speaker 9 (04:21:55):
Did you take care of the communications office?

Speaker 18 (04:21:57):
Mind?

Speaker 41 (04:21:57):
Yeah, they won't be sending out any messages.

Speaker 9 (04:22:00):
Go ahead, Uh here we are, Captain, back.

Speaker 14 (04:22:12):
Back, Wait any answer?

Speaker 9 (04:22:16):
The door slot popping up?

Speaker 41 (04:22:18):
Tacket's us the something's wrong. Look, let's take the launch
at It isn't our fault.

Speaker 2 (04:22:23):
Something happened for.

Speaker 9 (04:22:24):
Doct for getting one thing we need. Doc, He's the
only one of us knows how to navigate that launch. Yeah,
come on, let's break down the door to get it out.

Speaker 10 (04:22:32):
Scume it. What's more, Sir, I try to slip the
winds hondy lock.

Speaker 58 (04:22:39):
It won't be necessary.

Speaker 9 (04:22:41):
There's not lying on the floor, and there's our call.

Speaker 10 (04:22:43):
Let's get him on.

Speaker 41 (04:22:46):
Here and here.

Speaker 14 (04:22:49):
I can't breathe graceful?

Speaker 10 (04:22:52):
Better get out of here?

Speaker 18 (04:22:53):
Who we pass off?

Speaker 10 (04:22:57):
I guess, guess must have gotten talk.

Speaker 18 (04:23:02):
Calips.

Speaker 22 (04:23:02):
Yes, sir, disarmy two men have the third one on
our guard taken out of the torn.

Speaker 14 (04:23:07):
Jerom on the gas.

Speaker 18 (04:23:08):
This person pretty good, sir, I see.

Speaker 14 (04:23:18):
I see Phillips.

Speaker 18 (04:23:19):
You've revived the third manner, Yes, sir.

Speaker 10 (04:23:21):
The three of them are all conscious again in the guard.

Speaker 9 (04:23:24):
He's all right.

Speaker 15 (04:23:25):
To sir.

Speaker 22 (04:23:25):
Oh, we found this, sir, in the third man's pocket
demolition stick, as I see it. They were going to
sit it before they left the ship. Sir, bow up
my ships and passengers, would they?

Speaker 18 (04:23:35):
Shall?

Speaker 22 (04:23:36):
I put them in the brig sir, brig no flus.
I'm not taking them into London. I'm dealing with them.

Speaker 10 (04:23:42):
Here now what I they don't understand, Sir. This launch
they were going to take, have.

Speaker 22 (04:23:49):
It filled with concentrated food and water.

Speaker 6 (04:23:51):
Enough to last them for years.

Speaker 18 (04:23:53):
Very good, sir, then I want.

Speaker 22 (04:23:54):
To launches motor completely demolished.

Speaker 10 (04:23:56):
Is that clear?

Speaker 14 (04:23:58):
Yes, sir?

Speaker 9 (04:23:59):
What what are you going to do with it?

Speaker 22 (04:24:02):
You've attempted a crime unheard of for centuries piracy. I'm
going to meet out the old punishment for it. I'm
setting the three of you adrift a drift out here.

Speaker 7 (04:24:15):
No, no, you can't.

Speaker 1 (04:24:19):
Girth take us in the horn and you got it?

Speaker 9 (04:24:21):
They're right, sir.

Speaker 18 (04:24:22):
Don't you need to turn them over to the police.

Speaker 41 (04:24:24):
You haven't the authority to whose lest out here.

Speaker 18 (04:24:27):
I'm the law. You carry out my orders to the letter.

Speaker 9 (04:24:30):
Yes, sir, can't give.

Speaker 18 (04:24:31):
Us a break with don't tell us a drift. It
will be murder, That's what it will be.

Speaker 9 (04:24:35):
Murder.

Speaker 15 (04:24:36):
Can't set us a drift out there?

Speaker 9 (04:24:37):
You can't, I can and I will.

Speaker 31 (04:24:40):
You and it.

Speaker 9 (04:24:51):
How long have we been a drift out here? Two months?

Speaker 5 (04:24:58):
Three?

Speaker 9 (04:25:00):
I guess I lost track A long way back out here,
there was nothing but the sky to look at, black
empty sky, blazing with stars. Time loses all meaning the

(04:25:25):
automatic radio senders keep transmitting signals, but no one listens.
No one listens, ha ha.

Speaker 51 (04:25:40):
Yes, Elteeve couldn't miss, could it? He couldn't miss You
had everything covered all night.

Speaker 22 (04:25:49):
All you missed was that automatic gas allowed they had
in the story room up. Yes, when that gun fails
to check in, I got a good dose of that gas.

Speaker 10 (04:26:00):
Just the smart tail.

Speaker 1 (04:26:01):
You over rules.

Speaker 24 (04:26:04):
This is because you're sending out those signals. Someone is
going to pick us up.

Speaker 18 (04:26:08):
Got to pick us up.

Speaker 9 (04:26:09):
They've got you pool.

Speaker 24 (04:26:11):
We are drifting further from the Earth all the time.

Speaker 9 (04:26:14):
But they can't leave us drifting in space in this
rocket launch.

Speaker 1 (04:26:16):
They can't.

Speaker 9 (04:26:17):
Why not?

Speaker 24 (04:26:18):
We are one hundred million miles out and going further
and has anyone come after us yet?

Speaker 14 (04:26:23):
The space but fall.

Speaker 9 (04:26:25):
They'll rescue us.

Speaker 18 (04:26:26):
I tell it, I world never.

Speaker 5 (04:26:27):
They're letting us.

Speaker 22 (04:26:28):
The examples to anyone else who tries to hijack a SpaceLiner.

Speaker 26 (04:26:33):
We're drifting out.

Speaker 24 (04:26:34):
You're an empty space romance.

Speaker 26 (04:26:36):
We drift on up to the day we die.

Speaker 9 (04:26:38):
No, oh no, we won't.

Speaker 35 (04:26:40):
We'll be picked up.

Speaker 24 (04:26:41):
I tell you, yes.

Speaker 2 (04:26:43):
Why don't you get white?

Speaker 24 (04:26:44):
You says, this is a year of two thousand, one
hundred eighty five. Miracles don't happen anymore.

Speaker 37 (04:27:17):
This is a mysterious server Again, to do you enjoy
our trip into the year twenty one eighty five. It
seems that criminals of the future, I'm going to have
any futures, not what science did it begets from or
Steve Mike And imagine being a vist in space in

(04:27:37):
a disabled rocket launch and being completely ignored. Yes, it
seems that not only doesn't crime pay today, but it's
going to pay even less than the year twenty one
eighty five.

Speaker 29 (04:27:48):
Oh pathetic.

Speaker 37 (04:27:48):
Reminds me of my story for next week, The Big Dive.

Speaker 10 (04:27:52):
It's about a young.

Speaker 37 (04:27:52):
Man who figured out a perfect alibi for murder and
forgot to take into account that is. Oh, you have
to get off here. I'm sorry, but I'm sure you
meet again. I take this same train every week at
this same time.

Speaker 35 (04:28:15):
You have just heard The Mysterious Traveler, which is played
by Murice Tartlin in the cast where Ralph Bell, Lois
van Ruten and Roger d Kofaz.

Speaker 9 (04:28:24):
Original music is composed and played by Al Finelli.

Speaker 35 (04:28:27):
All characters in night story were fictitionous, and any resemblance
of the names of actual persons was curly coincidental. Frank
Waldecker speaking, this is the mutual broadcasting.

Speaker 10 (04:28:38):
System, Mister House.

Speaker 81 (04:29:29):
Mystery House, that strange publishing firm owned by Dan and
Barbara Glenn, where each new novel is acted up by
the Mystery House staff before it is accepted for publication.

Speaker 6 (04:29:40):
Mystery House, Well Barbia murder story about airplane Sunidan. Is
it tough to solve?

Speaker 26 (04:29:55):
It looks like you know the identity of the murder
almost right from the start, Dan, But do you wonder
if the police will ever find out?

Speaker 37 (04:30:02):
Ah?

Speaker 15 (04:30:02):
Frame up?

Speaker 1 (04:30:03):
Huh?

Speaker 6 (04:30:03):
Well, I like that kind of a story once in
a while.

Speaker 26 (04:30:05):
Oh, this is the honey of a frame up, one
that doesn't seem to have any.

Speaker 6 (04:30:08):
Loose ends, but right triumphs in the end.

Speaker 10 (04:30:10):
Why, mister Glenn, I'm surprised at you.

Speaker 47 (04:30:12):
Yeah, why Tom, we're talking about right at the end
of the story. Everything's right in these stories, right from
the start.

Speaker 6 (04:30:19):
Just listen, okay, Tom places everybody set the scene for
tonight's story with him.

Speaker 81 (04:30:40):
Operation Murder. The scene is the office in an isolated
building where logan former woman's speed pilot turned aviation engineer,
is working on a government sponsored secret experiment.

Speaker 11 (04:30:55):
Doug Ward has just come in.

Speaker 26 (04:30:58):
Doug, what's the idea of in on me here?

Speaker 31 (04:31:01):
You know?

Speaker 6 (04:31:02):
Yeah, sure, I know. Anne but I was just driving
by when I saw a very shady customer coming out
of your place. What do you mean a guy named
Lopez as soon as he saw.

Speaker 26 (04:31:10):
Me, Dug Lopez. I never heard of him. Maybe some
friend of Austin's all.

Speaker 6 (04:31:15):
This guy's nobody's friend. N I had plenty of trouble
with him way back when I was flying in Spain.

Speaker 26 (04:31:20):
Well, I'm not going to worry about him. That's Austin's department.

Speaker 6 (04:31:24):
But you're kind of leaving everything to Austin these days,
aren't you.

Speaker 26 (04:31:27):
Austin is important to me, sure, I know.

Speaker 6 (04:31:30):
Got yourself engaged to him because of his bank roll. An,
how could you sell out like that?

Speaker 26 (04:31:34):
I didn't sell out Austin Ames Is. Well, he's done
more than anybody to make this operation successful.

Speaker 6 (04:31:41):
Okay, so he put up the door.

Speaker 26 (04:31:43):
HiT's more than that, Doug. He's seriously interested in the
future of aviation.

Speaker 6 (04:31:47):
He's not just of that's right. He's no stick pusher.

Speaker 13 (04:31:50):
You know.

Speaker 26 (04:31:51):
I never called you a stick pusher, Doug. It's just well,
I always hoped you'd grow up and get serious about flying.
Now you could amount to something.

Speaker 10 (04:32:00):
It's a laugh.

Speaker 6 (04:32:01):
Do you know anybody who's done more flying than me.

Speaker 26 (04:32:03):
Sure, you're just about as hot as any flyer in
the country on stunt stuff, but you're not young. You
want to settle down. Why don't you take the job
I offered you?

Speaker 10 (04:32:12):
Ah?

Speaker 6 (04:32:12):
No, thanks, Angel, I don't need charity. They're still doing
test stuff.

Speaker 26 (04:32:16):
But any day now your nerves will get you and
you'll be grounded for good. What'll you do then?

Speaker 6 (04:32:20):
I'll get by in.

Speaker 26 (04:32:21):
Oh sure any bum can get by, but you know
too much about flying to let her go to waste.
Look what an amateur like Austin can do.

Speaker 6 (04:32:29):
Why the main difference between your pal Austin than me
is that that bank account of his. Now, maybe if
I'd have had that, you'd be engaged to me instead
of him.

Speaker 26 (04:32:37):
Oh please, don't start that again. You know we had
that out long before Austin and I were engaged.

Speaker 6 (04:32:42):
Okay, Angel, Okay, I just don't want you to forget that.
I'll always be available.

Speaker 26 (04:32:46):
Oh dog Doug, if you'd only grow up get a
serious interest, you could change if you wanted to.

Speaker 6 (04:32:52):
Look, Anne, don't try to keep making me over. I
could sweet talk your baby, but you know cloud hoppers
like me don't change. I'll be a stick put until
he ground me. But you don't want me that way.

Speaker 26 (04:33:03):
That's right. I want a man with a purpose in life.
Oh hello Austin.

Speaker 3 (04:33:08):
Hi Anne, we're all set.

Speaker 6 (04:33:10):
Hello Austin. You don't mind if I visit your future bride?

Speaker 13 (04:33:13):
Do you?

Speaker 2 (04:33:14):
Oh?

Speaker 3 (04:33:14):
I didn't see you what. I don't like to seem rude,
But you don't belong here, you know.

Speaker 26 (04:33:20):
Now, Austin, don't be that way. Doug's an old friends.

Speaker 6 (04:33:22):
That's all right, Anne, I'll take off.

Speaker 26 (04:33:23):
No, Doug, Austin didn't mean it that way, did you, Austin?

Speaker 3 (04:33:26):
And this office is full of secret plans, plans we
swore to protect until his plane is ready.

Speaker 26 (04:33:31):
Austin, aren't you forgetting what's all right?

Speaker 6 (04:33:33):
Anne?

Speaker 3 (04:33:33):
Wait a minute, Maybe I am a little touchy working
under pressure.

Speaker 6 (04:33:38):
Well, you don't have to worry about me, old timer.
I haven't seen sign of your secret plans.

Speaker 26 (04:33:43):
Oh too, Why don't you be friends?

Speaker 3 (04:33:44):
I was just going to suggest, Doug, we could, well,
we could make a good.

Speaker 6 (04:33:50):
Spot for you.

Speaker 26 (04:33:50):
Now that's more like it. I was just telling dog.

Speaker 6 (04:33:52):
No, I'm not on the skids yet.

Speaker 3 (04:33:54):
You don't get it, Doug. This is a big operation
made to order for you sorry, Would you like to
make the first test of our new plane?

Speaker 26 (04:34:02):
Wait a minute, I'm going to make that flight after all.

Speaker 3 (04:34:05):
I'll take it easy, Anne, I know you counted on this,
counted on it. I'm going and we need publicity, the
kind we can get with Doug as a pilot. He's
the best known flyer in the country. That'll get us
twice as much space in the paper.

Speaker 26 (04:34:18):
Look that plane as my baby. I've given her everything.

Speaker 3 (04:34:21):
No, I know, darling, but your safety means too much
to me. I couldn't think of you cracking up.

Speaker 6 (04:34:27):
What are you so excited about? AND's as good as
they come.

Speaker 26 (04:34:30):
Well, if Doug would, I might be willing.

Speaker 3 (04:34:33):
I knew you'd see it. Anne, you've always wanted Doug
as a partner.

Speaker 6 (04:34:37):
Not so fast. I might do this test. But if
you would, Doug, well, well, it's only because I don't
like to see you taking chances. Angel, that's the spirit.

Speaker 3 (04:34:46):
We'll work out details later.

Speaker 26 (04:34:47):
Oh, it's going to be good to have you around us,
Sure it is.

Speaker 3 (04:34:50):
We can take a look at the ship now while
you're cleaning up.

Speaker 16 (04:34:53):
I am as well.

Speaker 26 (04:34:54):
Why don't the three of us go out tonight sort
of celebrate.

Speaker 6 (04:34:57):
What is this I just said it?

Speaker 3 (04:34:58):
Ah, sure, Doug. But Ann's just happy to have you
with us.

Speaker 26 (04:35:02):
Oh, I'm so glad you said yes.

Speaker 6 (04:35:04):
Okay, Angel, you wear that favorite dress of mine.

Speaker 10 (04:35:07):
And I'll go.

Speaker 26 (04:35:08):
That's to day. Take care of him. Austin, I'll hurt it.

Speaker 14 (04:35:10):
I met a girl.

Speaker 6 (04:35:11):
See you soon, Austin. You sure you go for this deal?

Speaker 2 (04:35:18):
Of course?

Speaker 10 (04:35:19):
Oh?

Speaker 6 (04:35:19):
I just thought to forget it.

Speaker 10 (04:35:21):
I trust that.

Speaker 3 (04:35:22):
And besides, we couldn't let her take any chances on
this test flight.

Speaker 2 (04:35:26):
Could we.

Speaker 6 (04:35:26):
Well, there's always that million to one sure.

Speaker 3 (04:35:29):
And besides, there are certain details I don't think Anne
could handle.

Speaker 37 (04:35:34):
What do you mean?

Speaker 6 (04:35:34):
And I don't know all about her own plane, after all,
she designed it. Of course, That's exactly why I don't
get it. It's because she did design the ship that
I can't let her make the test?

Speaker 10 (04:35:44):
What's that?

Speaker 3 (04:35:45):
And would make a success of the test or dying
the attempt?

Speaker 9 (04:35:48):
Oh?

Speaker 6 (04:35:48):
You mean, if somebody's got to die, you'd rather be me?

Speaker 13 (04:35:51):
Not that.

Speaker 3 (04:35:52):
I just can't afford to let this be a success.

Speaker 29 (04:35:56):
What.

Speaker 3 (04:35:57):
Oh, I've got reasons.

Speaker 14 (04:35:59):
You see.

Speaker 3 (04:35:59):
I don't have as much money as Anne thinks I have.
So when I got this offer, what offer. Never mind
that I need money to keep ann in business.

Speaker 6 (04:36:07):
Well, but if this test flight's good, you have all
the money you ever need.

Speaker 3 (04:36:10):
If it's successful.

Speaker 10 (04:36:12):
But what if it isn't.

Speaker 6 (04:36:13):
Well, any designer takes that gamble. Failure means you may
go broke. Well I'm not taking that chance. We're going
to fail and get well paid for it, very well paid.
Oh come on, talk sense and doesn't go for fail.
That's where you come in. You're going to deliberately crack up.

Speaker 3 (04:36:30):
Now wait a minute, I'm you're going to pile up
that plane sort of look like something's wrong with the design.

Speaker 6 (04:36:34):
Oh so that's the angle. Euh, well, a cheap little
rat you've sold out to a rival company.

Speaker 3 (04:36:39):
Oh no, I'm taking off Not so fast, bird man.
I'm afraid you'll find it a little difficult to get
out of here. Yeah, I had a hunch you might
not like this job. That's why I made other arrangements.

Speaker 6 (04:36:51):
Well, hey, who's this jerk?

Speaker 3 (04:36:53):
Come on in, Sammy, Our hero is going to require
some persuasion. He doesn't seem to real he's involved in
a very melodramatic situation.

Speaker 6 (04:37:03):
Okay, boss, is this overstupped character part of the melodrama.

Speaker 3 (04:37:08):
This Doug is Samson. He used to be a circus
strong man, but he found my kind of word pays better.

Speaker 6 (04:37:16):
Okay, boss, Now get away from me, muscle bounds.

Speaker 3 (04:37:21):
Just keep an eye on him, Sammy, I want my
friend Doug to understand the plot.

Speaker 6 (04:37:26):
Hey, Austin, you haven't seen enough movies. Don't you know
the hero always comes out on top?

Speaker 10 (04:37:30):
Does he?

Speaker 11 (04:37:31):
Yeah?

Speaker 15 (04:37:31):
He does.

Speaker 6 (04:37:32):
For instance, I haven't forgotten. No, no, it's not to
take your hand up and Doug, I've got your covered.
Why Oh, guns make you nervous, don't they Shut up?

Speaker 3 (04:37:43):
I don't want to shoot you yet, Sammy, here's one
for you. Catch nice now, bird Man, got your covered
from both sides.

Speaker 6 (04:37:54):
A fast work, Austin, Maybe the movies could use you.

Speaker 3 (04:37:58):
Just shut up and start moving, and remember there are
two guns in your back. You think this is melodrama, Birdman,

(04:38:25):
Take a look at that plane.

Speaker 6 (04:38:28):
Wow, Hey, I got a hand at Ann. She sure
did a job of design on this.

Speaker 3 (04:38:32):
Baby, So you're impressed. Eh, well just watch Sammy. He's
gonna do a few tricks with that window over there.

Speaker 6 (04:38:40):
Hey, what's the idea that's a sure way to get
the car?

Speaker 3 (04:38:43):
Absolutely that's part of the plot.

Speaker 6 (04:38:46):
Okay, genius, you got me.

Speaker 3 (04:38:48):
By the time they get here, you'll be all ready
for them.

Speaker 20 (04:38:52):
Me.

Speaker 3 (04:38:53):
You remember in this plot the hero is the fall guy.
Now just climb up there in the cap. We need
a few fingerprints.

Speaker 6 (04:39:02):
Oh so that's why you always wear gloves.

Speaker 3 (04:39:04):
Get up there. There is much time, all right, Okay.

Speaker 6 (04:39:11):
Come on down now, Look what what kind of a
brainstorm are you? Heavy? Come here now?

Speaker 3 (04:39:18):
Look take a look at this engine.

Speaker 10 (04:39:20):
Well, yeah, that's right.

Speaker 6 (04:39:22):
Get your hands in there.

Speaker 3 (04:39:24):
That's emmy, yeah, buss, you keep him covered while I
get these Emory filings.

Speaker 6 (04:39:28):
Ready, Emory filings, and well you'll cut the heart out
of that motor. Let me kill them now, boss, that's
one of the oldest tricks there is. Anybody knows that
every do.

Speaker 3 (04:39:37):
The cops are going to think you were the stupid
guy who used Emory to conk out the ship of an.

Speaker 15 (04:39:42):
Why you let's kill them all?

Speaker 28 (04:39:45):
My heart?

Speaker 37 (04:39:46):
Heavy?

Speaker 18 (04:39:51):
Help help?

Speaker 15 (04:39:53):
I mean shot?

Speaker 6 (04:39:57):
Hey, hey, Austin, Austin, what's the matter with you? Great
scott man?

Speaker 15 (04:40:04):
He's dead? You you kill him?

Speaker 10 (04:40:09):
You shot him with my guard?

Speaker 18 (04:40:11):
No, no, I didn't.

Speaker 6 (04:40:12):
Your gun must have gone off when we were fighting.
It was an accident.

Speaker 9 (04:40:15):
It must have been what's that.

Speaker 10 (04:40:20):
You?

Speaker 9 (04:40:23):
It was you?

Speaker 6 (04:40:25):
Somebody over there? It was an accident and where are you?

Speaker 2 (04:40:34):
What?

Speaker 13 (04:40:34):
Well?

Speaker 6 (04:40:34):
It was an accident, wasn't it.

Speaker 26 (04:40:36):
You saw moved back a little dog. I wanna see
if Sammy is really dead? Yes, funny, isn't it. One
bullet took care of poor l Looston, but it took
two to finished.

Speaker 15 (04:40:50):
Sammy was the man.

Speaker 29 (04:40:53):
You're crazy.

Speaker 6 (04:40:53):
You must have gone out your head. You'll give me
that gun.

Speaker 26 (04:40:56):
No, stay where you are, Doug. Don't try anything smart.

Speaker 20 (04:40:59):
We gotta the police.

Speaker 6 (04:41:00):
You just killed Austin and Sammy, and you're going to
call the police.

Speaker 26 (04:41:04):
That's right, Don, I'm going to call the police, so
you better scram. They might find you, Doug, and for
the lover might find me. Why, Doug, I know this
place like a I can get out of here without
anybody seeing me. I don't think you can.

Speaker 24 (04:41:17):
Oh find you?

Speaker 31 (04:41:18):
All right?

Speaker 6 (04:41:19):
And wait a minute, where you're going? You shot these
men in cold blood? You can't, I Doug?

Speaker 26 (04:41:24):
So long and happy Landings.

Speaker 10 (04:41:51):
And logan?

Speaker 81 (04:41:53):
Will she get away with the cold blood of killing
of Austin? Names this bodyguard? Samson? Will Doug war be
able to convince the police that he did not kill
Ann's partner. Of the second act, we'll answer those questions.
But in the meantime and now act too of Operation Murder,

(04:42:30):
Police Detective Jurgons has arrived on the murder scene and
has begun to question the flyer, Doug war.

Speaker 6 (04:42:37):
Oh, you take me forward.

Speaker 3 (04:42:39):
You'd better start talking if you want to have any
chance at all.

Speaker 6 (04:42:41):
I told you I didn't do it.

Speaker 3 (04:42:42):
Sure, sure you didn't do it. But you were sitting
here when I come in.

Speaker 2 (04:42:45):
Weren't you.

Speaker 6 (04:42:45):
You admit you were fighting with these guys. Well I
didn't kill him.

Speaker 10 (04:42:48):
I told you that.

Speaker 6 (04:42:49):
All I know is the shots came out of the
dark behind those empty crates.

Speaker 5 (04:42:52):
Well who was it?

Speaker 15 (04:42:53):
Then?

Speaker 6 (04:42:53):
Who was behind them? Box high? I can't tell you.

Speaker 82 (04:42:57):
You can tell me, and you will tell me, or
you'll hang you protecting Come on board. I know you're
a great stunt flyer, but I don't give you no
license to commit murder.

Speaker 6 (04:43:05):
I didn't murder anybody.

Speaker 82 (04:43:07):
Well, maybe you'll start talking when we find the fingerprints
and the gun you left lying here.

Speaker 6 (04:43:11):
Look, I didn't have a gun.

Speaker 82 (04:43:12):
I don't even carry one, Okay, so you took it
off of one of these guys. Everybody knows you were
sweet on that Galan Logan. You were jealous, weren't you, Ah,
But not like you were trying to make it look
You were mad because Ames was in on this new
plane of that logan girl designed. You figured you could
make it look like Ames was no good. Oh no,
your crazy came here to jimmy up that plane, and
your figured to make it look like Austin Names had
done it.

Speaker 6 (04:43:32):
I tell you you're wrong, head.

Speaker 3 (04:43:33):
It all figured out, didn't you.

Speaker 82 (04:43:35):
Only Austin comes along and catches you at it, and
so you get mad and kill him. No, you killed
Austin Names, and then you shot Sammy because.

Speaker 6 (04:43:41):
He was a witness. No, you've got it all mixed up.

Speaker 3 (04:43:43):
And what about Anne? She telephoned the station and she'll
be here in a minute.

Speaker 10 (04:43:48):
All right.

Speaker 6 (04:43:48):
An Logan was a friend. I was gonna make the
test flight for her.

Speaker 2 (04:43:51):
She asked you to.

Speaker 6 (04:43:52):
No, No, Austin did it. Was double crossing Ann. You
wanted to make the test to flop. They tried to
hire me to pull up funny crack up. Well, then
why did you kill him? Wouldn't he pay you enough?
I told you I didn't kill him, now, I.

Speaker 26 (04:44:05):
Don't know, No, Inspector, You you don't think Doug Ward
killed or he couldn't have. Surely it couldn't be Doug, Inspector.
Doug had agreed to pilot the ship in tomorrow's test
flight because Austin didn't want me to take the chance
he did.

Speaker 5 (04:44:19):
Uh.

Speaker 26 (04:44:19):
Yes, of course, Doug and Austin weren't very good friends.
But I guess Doug felt it would be better if
I didn't take the chance. You know, you can't always
tell about new planes.

Speaker 82 (04:44:29):
Is that why your friend Doug came here tonight because
you and Austin invited him.

Speaker 26 (04:44:34):
No, I guess Doug was curious about the plane. He
just dropped in and asked.

Speaker 3 (04:44:39):
If he could take a look, and it took him
out to see it.

Speaker 26 (04:44:42):
Why. No, Doug is a friend. I knew, of course
it would be all right for him to go alone alone.

Speaker 5 (04:44:48):
You.

Speaker 6 (04:44:49):
Yeah, sure, he was alone, that's right.

Speaker 26 (04:44:51):
Austin and Sammy went out a few minutes later, and
then I heard chots hamm. I didn't know what to
make of it. I was frightened, and I ran out
to find help.

Speaker 6 (04:45:00):
So that's the way you wanted, Uh, well, I'm sorry, Hey,
stop getting away?

Speaker 13 (04:45:21):
What is the meaning of the hello, Lopez?

Speaker 6 (04:45:25):
Surprised?

Speaker 2 (04:45:26):
But get art?

Speaker 13 (04:45:28):
What do you mean break?

Speaker 6 (04:45:29):
If it makes the second time today you've tried to
ignore me, Lopez, I do not know you? Get all?

Speaker 2 (04:45:36):
Oh you know me?

Speaker 6 (04:45:36):
All right, Lopez, that's why you're so nervous. You've been
worried about me. Get all Terrisha Coldado. Not until we've
had a little talk. And don't reach for that desk drawer.
Have you've forgotten, Lopez? And I'm an expert on judo?
Oh yeah, make your squirrel right.

Speaker 10 (04:45:56):
You are Doug Ward and I am Raymond Lopez.

Speaker 2 (04:45:59):
But not spend.

Speaker 6 (04:46:06):
I told you not to reach for that gun. You
ought to learn to act better, low Pez. Now that
you're an airline executive, this is a legitimate business.

Speaker 15 (04:46:15):
Sure, what do you want?

Speaker 6 (04:46:18):
How much did you pay for the plans to a
Logan's plane?

Speaker 18 (04:46:21):
What you heard me?

Speaker 41 (04:46:24):
How much?

Speaker 29 (04:46:25):
Go o?

Speaker 26 (04:46:27):
My arms?

Speaker 15 (04:46:28):
Luck?

Speaker 6 (04:46:29):
I saw you coming out of an Logan's office. I
know your tricks now how much?

Speaker 18 (04:46:36):
Can't tell?

Speaker 6 (04:46:38):
You've been selling your services to one country after another.
Your reputation is worth a nickel.

Speaker 3 (04:46:43):
I am now, just tell me how much how much
did you pay for the brands?

Speaker 14 (04:46:49):
Gor?

Speaker 6 (04:46:52):
Three hundred thousand, three hundred and miss Logan? Here he is?

Speaker 26 (04:47:00):
I was so sure we wouldn't find you here.

Speaker 18 (04:47:02):
What may I ask?

Speaker 2 (04:47:04):
What is the meaning of these? Sir?

Speaker 29 (04:47:05):
Just mean?

Speaker 26 (04:47:05):
No, Inspector, I'm sure you're wrong. Why there must be
some explanation for Doug's being here.

Speaker 6 (04:47:11):
Well, man, you know darn well why I'm here.

Speaker 26 (04:47:13):
Doug, you misunderstand me. Why I just told the inspector
what you said about seeing mister Lopez.

Speaker 13 (04:47:18):
What?

Speaker 26 (04:47:18):
Well? I only thought you see if Doug was right
in saying he'd seen you near my office, why that
must mean you'd come to see Austin.

Speaker 6 (04:47:25):
What's the game?

Speaker 28 (04:47:26):
Man?

Speaker 26 (04:47:26):
I'm so sorry about this, Doug. If I'd had any
idea we'd find you here. But I only thought Lopez
must know something because of all the things you've told
me about him.

Speaker 18 (04:47:34):
What is this?

Speaker 26 (04:47:35):
Well, Doug always said if I ever wanted to sell
out to a foreign country, that you were the man
to see.

Speaker 6 (04:47:40):
Looks like your goose's cooked water. What do you mean
you're falling for her story?

Speaker 15 (04:47:45):
Ah?

Speaker 3 (04:47:45):
None of that one.

Speaker 26 (04:47:46):
You You won't need me anymore, will you? Inspector I'm
so unaged. Do you mind if I go on home?

Speaker 3 (04:47:52):
Sure enough, miss Logan, and thanks for having that hunch about.

Speaker 26 (04:47:55):
Lopez, Doug, I'm really awfully so.

Speaker 3 (04:48:01):
Look, Jerkins, are you gonna left fipe downward and start talking?

Speaker 10 (04:48:04):
Now?

Speaker 82 (04:48:04):
But she sure sure she was too smart for you,
wasn't she? You shouldn't have blabbed about your friend Lopez.

Speaker 6 (04:48:10):
Listen, why do you think I came to this guy's
office get him to tell you about the three hundred
thousand bucks he paid out for the plans to Ann's plane.

Speaker 15 (04:48:16):
It is a lion, Inspector.

Speaker 3 (04:48:18):
I demand that you take the man away.

Speaker 6 (04:48:19):
Look, Jerkins, this guy's bad medicine wherever he goes. He's
admitted that he paid out three hundred thousand berries to
get the design for Ann's ship on condition that the
test flight was called off. Now he paid that money
to An Logan herself.

Speaker 18 (04:48:31):
He is guessing inspector.

Speaker 9 (04:48:33):
He knows nothing.

Speaker 46 (04:48:33):
Oh yeah, well, and what were you doing in Ann's office?
It is true I weren't there, but not to seems loathed.
I make my arrangements with her partner. These austin Ames
or arrangements. The people I represent pay Austin Ames to
make sure the test flight is a failure. But it
is understood this this Doug War needs to be the pilot.

Speaker 3 (04:48:51):
Do you mean that Ward was to fix the planes
or it would crash?

Speaker 29 (04:48:54):
That is correct.

Speaker 46 (04:48:55):
However Austin Ames and dissipated some trouble and persuadion.

Speaker 6 (04:48:59):
Oh so killed days because he wouldn't pay you enough
as that it were, Look, Jergens, I told you I
didn't kill anybody. The killer is your friend and Logan
and Logan, that's right.

Speaker 14 (04:49:08):
I saw her do it.

Speaker 3 (04:49:09):
Oh you told me you didn't know.

Speaker 6 (04:49:11):
I know, I know. I couldn't figure out why she
did it then. But when she began acting sorry for me,
acting actually was defending me, I realized I was supposed.

Speaker 10 (04:49:19):
To be the fall guy.

Speaker 6 (04:49:20):
What was her motive then?

Speaker 13 (04:49:21):
If your story is true?

Speaker 6 (04:49:22):
Money Austin Ames was her husband to be. She wanted
his money, not him. When she got engaged to him,
she got him to make a will in her favor.

Speaker 3 (04:49:30):
Are you guessing?

Speaker 13 (04:49:31):
Do you know?

Speaker 6 (04:49:32):
I'll bet on what I say being right. Look, if
you just let me talk to her, ask her some questions,
I can trap her.

Speaker 10 (04:49:38):
I know I can.

Speaker 6 (04:49:38):
Okay, then come on.

Speaker 46 (04:49:40):
Then I am free.

Speaker 82 (04:49:41):
Now you're gonna have to answer some questions about those
plane plans and that money, Lopas, but we'll take care
of that later. Just don't get any ideas about getting away.
Come onward O, Why.

Speaker 46 (04:50:08):
Miss Logan, you startled me? And what brings you back
to my office? The policemen in that fly award, they
just left for your apartment.

Speaker 26 (04:50:16):
I never went to my apartment, Lopez. I waited outside,
waited till they left.

Speaker 10 (04:50:22):
I saw them leave.

Speaker 46 (04:50:23):
That was a clever, miss Logan.

Speaker 26 (04:50:26):
But why because I wanted to talk to you alone
without anyone hearing us. What about I knew at this
plane designed business, Lopez? A lot depends on what happens
to my first job. Ever, let a story get out
that I was mixed up in a sellout to a
foreign country, and I'd be licked done. Nobody give me
another chance. I've got to know, Lopez. Were you dealing

(04:50:50):
with Austin or weren't you?

Speaker 46 (04:50:52):
I am afraid I cannot discuss my business affairs with you.

Speaker 29 (04:50:54):
Miss Logan.

Speaker 26 (04:50:56):
Oh yes you can. You can do that or answer
for two murders right now, me two murders.

Speaker 46 (04:51:03):
First, you tried to blame the flyer for them, and
now you think you can change to me. I doubt that,
Miss Logan.

Speaker 15 (04:51:09):
I doubted very much.

Speaker 26 (04:51:11):
I saw you kill them, no pis. So you dropped
the gun and run. I picked it up and went ahead.

Speaker 46 (04:51:17):
You think you would make the police believe a story
like that fantastic, particularly after what you have said about
Doug war.

Speaker 26 (04:51:25):
Oh no, it's true, and I can prove it. I
had my gloves on a PIS and I guarded your
fingerprints carefully. They're still on the gun. I imagine the
police could trace it to you if I told them
where to look.

Speaker 46 (04:51:37):
You have made the mistake coming here alone, Miss Slogan.

Speaker 26 (04:51:42):
But who that gun? So you admit?

Speaker 46 (04:51:46):
I admit nothing, Miss Slogan, except that I am about to.

Speaker 10 (04:51:52):
Come meet a murder.

Speaker 26 (04:51:54):
Listen, you couldn't kill me, not here.

Speaker 46 (04:51:56):
I can do it and admit it freely. I'll say
that you came back here to kill me, just as
you killed Ames and his stooge, that I shot himself defence,
and I can take care of the fingerprints on that gun.

Speaker 26 (04:52:09):
So there are fingerprints, you admit you kill them.

Speaker 46 (04:52:11):
It doesn't make much difference now, Miss Logan, to you
or to me, But why why would you do such
a thing?

Speaker 6 (04:52:18):
Ames made the deal with me.

Speaker 46 (04:52:20):
He took the money, and he insisted he'd get Doug
War to crack up the plane so the test would
be a failure. But dog War turned down the deal.
I knew he would talk. I couldn't afford to have
my operations known. Why didn't you kill Doug and let
Austin Emes have that over my head? No, my dear,

(04:52:40):
that wouldn't have done at all.

Speaker 26 (04:52:42):
And now, no, no, can't you bell.

Speaker 6 (04:52:50):
And Hannah your heart.

Speaker 26 (04:52:55):
Come?

Speaker 55 (04:52:55):
He came back.

Speaker 3 (04:52:56):
You came here with me, Remember miss Logan, you said
you were going you.

Speaker 6 (04:53:00):
When you left him.

Speaker 2 (04:53:00):
She lied, she stayed.

Speaker 82 (04:53:02):
You've heard why she stayed here, Lopez, How did you
know I'd be Well? You came with me, and there
wasn't a cab any place around, not for blocks. Didn't
seem like you could have gotten far enough away so
we couldn't see you. So we came back to see
what you were up to.

Speaker 6 (04:53:16):
Yeah, we heard Lopez admission of the murders, and you
should have told me about him before.

Speaker 26 (04:53:20):
I had to be sure about Austin Names being a crook.
I had to know about Lopez playing there with Ames.
I'm sorry I had to mix you into a doctor.
With you, I wouldn't let convict you, and there had
to be somebody to keep the police interested until I
could talk to little Peasant.

Speaker 6 (04:53:39):
Well, you were handy, handy, but I won't be from
now on. Ann, since you've become a big business gay.
You know you're out of my league. No, I'm going
to stick to test flights from now on, where a
guy isn't risking his life all the time.

Speaker 7 (04:54:22):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:54:43):
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 or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others. You can find all of that and
more at weird Darkness dot com. I'm Darren Marler. Thanks

(04:55:04):
for joining me for tonight's retro Radio Old Time Radio
in the Dark

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