THE BACKWARDS WOMAN MYSTERY: I Keep Meeting the Same Woman But She's Aging in Reverse

Episode Transcript
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Speaker 1 (00:07):
Lets Tony 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 Seal.

Speaker 5 (00:36):
Present Suspense.

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

Speaker 7 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
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(01:05):
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and more at Weird Darkness dot com. Now bolt your doors,
lock your windows, turn off your lights, and come with

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

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

Speaker 9 (01:50):
Come in.

Speaker 10 (01:53):
Welcome.

Speaker 11 (01:56):
I'm E. G.

Speaker 10 (01:57):
Marshall.

Speaker 8 (01:58):
If Ever, there was a time when witches might ride
or confound the pure or work.

Speaker 9 (02:04):
Their fateful wickedness.

Speaker 8 (02:06):
This is it the time of Halloween, the last gasp
for the damned and the wicked to wreck their horrors
before the midnight beyond which dawns all Hallow's Day, all
Saints Day, the celebration of all that is good. But
until that lovely dawning, everything evil moves, building their revels

(02:30):
higher and higher, till the powers of darkness are dispersed
by the light of the world.

Speaker 9 (02:36):
The way you look, Margot, you've been growing young just
as fast as me, going the other way. You keep
going that other way.

Speaker 12 (02:43):
Mike, forget about me.

Speaker 9 (02:45):
I can't.

Speaker 13 (02:47):
Then You'll just have to wait. Our paths really haven't
crossed yet. There's still the matter of age. I don't
care how old you are, makes no difference, But some
day it would, though you'd be surprised beyond belief, how
someday it would make a difference.

Speaker 8 (03:14):
Our mystery drama The Unborn was written especially for the
Mystery theater by Ian Martin and stars Mercedes mc cambridge.
It is sponsored in part by Anheuser Busch Incorporated, brewers
of Budweiser, and certaintied fiberglass attic insulation I'll be back
shortly with Act one. There are cities in the world,

(03:47):
for all their good points, where the boiling pot of
evil is the most libertine and unprincipled in the world.
Many of those who vie for the title might be Macau, Casablanca, Attom,
and Gomorrah in ancient times and in this century Hamburg, Germany,
in the early thirties, before Hitler's rise to power, it

(04:10):
could well lay claim to being the most licentious city
in Europe. It is there that our story begins.

Speaker 14 (04:18):
You're sad, Tony Luchis. You miss the Duke so much.
I missed the Duke not at all. The man was
an unprincipled Can tell me what makes you unhappy? I
live only to lie, to smile on your lips. You
live only to possess me. But you have not yet

(04:42):
calculated the price. And now that you find me at liberty,
you are busy calculating just what I might cost you.

Speaker 3 (04:53):
I would not have.

Speaker 9 (04:55):
A rich enough to give you the world too late.
I've had the wor world, at least all of the
civilized world. It is still yours to have again.

Speaker 14 (05:08):
You are a woman of incredible beauty, Marco, But beauty
is finite and eventually fade.

Speaker 9 (05:17):
Ah you see me by moonlight comes by. You couldn't
possibly Oh no, not yet.

Speaker 14 (05:28):
Time is inexorable, Madame la to chasa. No human agency
can arrest it, except briefly. You are a devil if
why generalize it?

Speaker 13 (05:42):
I don't want to listen to you, your beastly and
your cynical, and I don't need your criticism.

Speaker 3 (05:49):
I need help.

Speaker 14 (05:53):
Perhaps I can bring it to you.

Speaker 9 (05:56):
You How can you? No one but God or the
devil you say you are, could bring me what I
want eternal use. I'm not that greedy, only not to
grow old until I die. Which are you the most

(06:18):
afraid of death or growing old?

Speaker 13 (06:23):
That's easy? Death is nothing. I am afraid to grow old,
as I am at last beginning to do.

Speaker 14 (06:32):
Suppose I could offer you a way to avoid both.
What would you offer me in return? What else can
I offer you but my immortal soul? Isn't that a
classic bargain? Let me assure you that I really am
the devil, and you are on the brink of seeing

(06:53):
a bargain.

Speaker 9 (06:54):
You cannot break.

Speaker 14 (06:57):
Everything you ask for, never to grow old, never.

Speaker 11 (07:05):
You accept?

Speaker 13 (07:06):
Oh, yes, yes, yes, yes you thought. You promise it's
true and the deed is done so simply. I mean,
don't we cut our veins or sign in blood?

Speaker 9 (07:18):
That would be necessary.

Speaker 14 (07:20):
There are other ways we can see our bargain more intimately.

Speaker 12 (07:26):
Of course, but you had better deliver.

Speaker 9 (07:30):
Oh my dear Bargo.

Speaker 14 (07:33):
You can trust me absolutely, never to grow old, never
to die, that I promise you.

Speaker 9 (07:47):
The first time I ran across Margot was at Mahaka.
It was just before the big run for the championships
at Mahaliwa. We were taking on some pretty good surf
eight to ten footers, big enough to weed out the
weekenders and tough enough any surfbuff to hang tan and
remember it. I'd just ridden on down a real pretty then,
as I pulled out and took my lumps before planing

(08:07):
onto the beach, there she was, man, And.

Speaker 15 (08:13):
You wrote that one very.

Speaker 9 (08:14):
Well, Saylor. She broke just right for me.

Speaker 13 (08:18):
What's it like slipping and sliding through that green tunnel?

Speaker 9 (08:22):
Too much beyond any words I can describe?

Speaker 16 (08:25):
So that's one th real I've never.

Speaker 9 (08:27):
Had, never figured you'd miss too many.

Speaker 12 (08:32):
Could you take me with you on a joy ride
like that?

Speaker 9 (08:35):
No way, it's strictly one on one. I mean, could
you teach me to do it for myself? And Babe,
that saskin for trouble. Maybe I'm looking for it. I
gotta feeling I had lost the ball here somewhere. I
don't know just what we're talking about. Well, you're a
very nice young animal. Don't try to push anything out

(08:56):
of context.

Speaker 17 (08:57):
All I'm talking.

Speaker 9 (08:57):
About is riding a surfboard. And I could pay you
very well. The rates are ten bucks an hour. When
I'm working, When could I have my first lesson on
the surfboard? I mean, I was afraid that's what you meant.

Speaker 13 (09:10):
Will You'd be surprised how much safe you will be
if that's all we do together.

Speaker 9 (09:15):
Tomorrow morning. Now the chap will be too high for beginners,
and make it afternoon for two, just the right time
and numbre for beginnings.

Speaker 1 (09:29):
I was gone.

Speaker 9 (09:31):
I'm sure I knew she was out of my orbit.
She had to be somewhere in her forties, and well
I was just out of high school. Well give her
take a couple of years. I blew the college root, like,
who needs it?

Speaker 1 (09:43):
Go?

Speaker 9 (09:43):
Where do you want? How you want? Who calls the turns?
So that was one great trip for the couple of months.
It lasted.

Speaker 18 (09:53):
Okay, Hi, beg God, I live right now.

Speaker 9 (10:01):
You bah, what's the difference.

Speaker 11 (10:04):
You didn't duck it.

Speaker 9 (10:05):
You tried to hang in like you always do it. Yeah,
you just couldn't cut it. That's all you translate that, Margo.
It's all instant reflex and and you mean that I'm
too old that I didn't say that. No, that's what
you meant. What you don't know is that I'll grow

(10:25):
into it. I mean, I still want to learn to surfboard.

Speaker 11 (10:29):
What's the big hang up?

Speaker 9 (10:30):
There are other things in this world. Well, let's make
it that this is the main thing I have right now,
So I'll try. Let's face it, I got a two
way interest me like, for instance, you like for I'm
right up the wall. Well that's too bad. I'm a

(10:50):
little too old for you. Didn't you say, my that
was for surfing. But that's all there is for us.
Be sure, No, but we're not going to do anything
about it.

Speaker 13 (11:02):
Why not If I tried to answer that, Heaven knows
what trouble would be. And let's just say it all
could have gone our way in another world, in another tie,
but this way, the pieces of the jigsaw, Puzle just
don't lock.

Speaker 9 (11:16):
They're out of Saint so quits. Well, wait a minute,
you can't just walk out of my life like that.

Speaker 13 (11:24):
There's no way to stop me, but only because it
isn't quite the time for us yet. We need a
chance to go into each other and maybe I'll see
you then.

Speaker 9 (11:40):
Crazy two long months and all it was was Mike
and Margot. I didn't even know her square name, or
if she was hanging as loose as she seemed. There
could have been a husband around, but who wanted to
dig too deep, so I'd never level on us. Around

(12:00):
the beach. There was no makeout. That was nineteen sixty eight.
Then things happened in bunches like there was this war
and I got tapped. I spiked for Air Force. Oh.
I learned to fly all right. I also learned to

(12:20):
hate my own guts real good. Those two week leaves
in Japan were way out, especially the one where I
found Margo again. J. V. Bernstein had something to do
with our state department. I never asked. What all I
knew is that every time I hit Tokyo, he lit
all the fires for me to burn, all right, man,

(12:42):
Mike what's it going to be this trip? I don't know,
not gichee tea and flower arrangements. I'm ready to bust
out wilder than that. Why weren't you.

Speaker 19 (12:54):
All right?

Speaker 9 (12:55):
What shall we bomb ourselves with? Mike?

Speaker 20 (13:00):
Well, if you're not interested in drink, then what.

Speaker 1 (13:04):
All?

Speaker 9 (13:05):
Well, that's different. Her name is Margot.

Speaker 21 (13:10):
How do you know that?

Speaker 9 (13:12):
I'm a famous seer? Prower is a better word. Actually,
I know her, or knew her. What's her name? You
already remembered it? I know that, I mean to her
other name. She is Missus Demetrios Konstantine Stabrianos. What she'

(13:34):
doing here in Tokyo sailing around the world? Just a
port of call? How the other half lives? Tokyo isn't
a port.

Speaker 20 (13:42):
The yacht, i imagine, is tied up in Yokohama at
a where else the yacht club.

Speaker 9 (13:49):
She looks marvelous, I mean younger. Oh, there are ways,
my friend, little man with scalpeos and silicon, don't know.
This is a sort of inner thing. When I knew her,
she was almost old enough to be my mother. She

(14:10):
could adopt me right now, I'll knock it off. That
was all of six years ago, and now it's something
I don't understand myself. What was it well that I
did feel for her? I'm sure she was something. You

(14:32):
follow the big waves, I did, and there are a
thousand waves of all the same standard equipment. So what's
the big deal. The big deal is that this one
I hadn't forgotten in six years. This one sent me
all the way out of orbit. Like the old fashioned

(14:54):
way to say it would be sell my soul for
except there was a warning voice that kept saying, this
one is bad news, Mike, She's real bad news.

Speaker 6 (15:09):
Hello, my, you look terrific.

Speaker 12 (15:13):
Hmm.

Speaker 13 (15:15):
I can ride a board now. I'm getting better and
better all the time.

Speaker 9 (15:19):
I'll by the last part. Can we go somewhere? No?

Speaker 17 (15:25):
Why not?

Speaker 9 (15:27):
I've grown old real fast the last few years, old
enough for me. Do you think the way you look,
you've been growing as young, just as fast as me
going the other way?

Speaker 13 (15:39):
Well, you keep going that other way, Mike, forget about me.
Oh I can't whether you'll just have to wait. Our
paths really haven't crossed yet. There's still a matter of age.
I don't care how old you are makes no difference. Oh,
someday it would you'd be surprised beyond belief. How someday
it would. Oh, excuse me, this is mister Stavrianimush, and

(16:04):
this is Mike. He's a nice young boy who tried
to teach me to saveboard.

Speaker 12 (16:08):
Mike, I'm afraid I don't know your.

Speaker 9 (16:10):
Last name, Burns.

Speaker 13 (16:13):
I am going outside. This is no place for a woman,
an no gecia woman? Shall I say? Are you coming
Demetrios In a second, my love, I'll meet you in
the car.

Speaker 9 (16:24):
Yes, fabulous woman?

Speaker 12 (16:28):
No?

Speaker 9 (16:29):
Why no? I have no embarrassment.

Speaker 14 (16:33):
Everyone is in love with her and wants to possess
her like the Queen or Diamond or Helen of Troy.
I would forget her if I were you.

Speaker 9 (16:44):
If you can, Is that a threat, sir?

Speaker 14 (16:48):
Oh, dear me, No, I don't have to make threads.
She is something quite beyond any human beings comprehension.

Speaker 9 (17:00):
I should know.

Speaker 14 (17:02):
But for your own health you should avoid her like
the plague, just.

Speaker 9 (17:09):
A warning, take it or leave it?

Speaker 10 (17:17):
Well, what is going on here?

Speaker 8 (17:20):
Did a woman named Margot make a pact with the devil?
And if so, just exactly what were the terms? And
if she did, what fate lies in store for a
determined young man who has decided to love not wisely
and certainly too well. I shall return shortly with that too.

(17:50):
Let's see, now this is a story preoccupied with time,
or in which time will have an important bearing on
the outcome. So we left Mike and the mysterious Margot
in what year? Oh, yes, nineteen seventy two, still the past,
although the present and most of all the future may

(18:12):
have a far more important bearing.

Speaker 9 (18:15):
But slowly we have yet to leave.

Speaker 8 (18:18):
Japan and the seventy second year of this twentieth century.
And it is going to take the best diplomatic effort
by JV. Bernstein to get Mike out of Japan and
the local jail.

Speaker 20 (18:33):
I got oh, I'll have him out of here as
soon as I can, Hi, JV.

Speaker 9 (18:38):
I sprung. You are sprung, but it took some plane
in fancy Oily, can you stand up? My head doesn't
fall off.

Speaker 20 (18:47):
You're lucky you didn't get it handed to you in
a basket.

Speaker 9 (18:50):
Nearly severed by a samurai, said what did I do?
I'll just try to take Tokyo part single handed? What
made you flip your lid? I couldn't get to see
Margo Migo Missus Stavriano, sir whatever her name is, Oh
that one? Well, naturally, what do you mean naturally?

Speaker 20 (19:14):
Because she sailed that same night we saw her together.

Speaker 9 (19:17):
In the Geja house. How do you know? Look, this
is no place to talk. Come on, let's get back
to the embassy. You mean you mean I'm free to go.
We'll cost you a couple of hundred fines for breaking
up a few straw doors? Is that like no criminal charges?

Speaker 14 (19:33):
Lucky it's been written off to combat fatigue.

Speaker 9 (19:36):
Come on, this is the embassy. This mad mike is
a pike where birds do sing and bugs don't listen,
much more happily suited for a little heart to hide talk.
Come on with all this super spike crudit. I'm just

(19:57):
looking for the woman I love. It happens to be
married to a guy who enjoys the interest of almost
every major government in the world. Enjoys that's a bigger speech.
Engages is perhaps a better word, although I must say
he seems to get a bang out of his notoriety
or what is he? M? Financier, international broker, ship owner,

(20:22):
puller of strings that makes the universe dance to his tune.
He's about as close to being the biblical conception of
the devil incarnate as we have around these days. And Margot,
I don't know what I'm asking you. Is she part
of it all? Or just an innocent bystander?

Speaker 22 (20:43):
Oh?

Speaker 9 (20:44):
You really have it bed? How long has she been
married to him? If you mean legally? I don't know
how long have they been together? Yeah? Okay, Sonny boy
embraced yourself for a shock. To the best of our research,
about forty years. Forty years that would make her at

(21:10):
least there was a woman with her name, a Contessa
Margo Baranya, but the records of the family were all
wiped out during World War II, So this could be
her daughter, could be even a daughter is stretching the
imagination a little. If it's the same.

Speaker 23 (21:29):
Woman, What are you getting at?

Speaker 9 (21:33):
I don't know. There's something rotten about the whole setup.
The guy we know as a louse who got filthy
rich on wars and the weapons he broke hers to
keep them alive. The woman, the girl. You don't know
anything about her, No, we don't. Where are they now?

Speaker 21 (21:53):
Rome?

Speaker 20 (21:54):
I think I could check it out, But what are
you planning to do? Fly there from Vietnam? And a
combat plane.

Speaker 9 (22:02):
My tour of duties up. I'm getting out of this war.
Keep track of Margo for me. By the time I
was discharged, Margot had dropped out of sight, did Hostavrianos,
although I chased around after rumors which had them in Mozambique,

(22:24):
the Middle East, crete, anywhere trouble was brewing or could
be stirred up. And along the way I picked up
a new kick racing cars. The same reflexes it made
me a surfer and a hot shot pilot worked for
me behind a wheel. Within a couple of years, I
was beginning to get tabbed for the top races. My

(22:45):
first big win was most part part and the only
kind of car that could make me forget Margo, a
Lola T three point thirty. And it was like crazy
that in a way she led me back to Margo
in the car and my old buddy JV. He came
by my trailer after the race. Hey, JV, what are

(23:09):
you doing in this negative woods?

Speaker 20 (23:12):
Just watching an old cow trying out a new way
to achieve his death.

Speaker 9 (23:15):
Wish you like to live dangerously?

Speaker 24 (23:18):
Why not?

Speaker 9 (23:19):
It's my neck and there's nobody I owe any responsibility
to good and now I'll tell you the real reason
I'm here. I want to offer you a job. I no, thanks,
I don't need a job. This is an offer you
won't be able to refuse. Oh yeah, what is it?
Undercover agent to me? You gotta be kidding. How would

(23:44):
you like to cross paths with Margot again?

Speaker 12 (23:49):
Fine?

Speaker 9 (23:49):
I whereh he is?

Speaker 1 (23:50):
Yes?

Speaker 9 (23:52):
Where? We've lost touch with stavrianas he's disappeared, and for
reasons I can't tell you, at least none yet, We've
got to find him. And you think I might get
to him through Margo. Yes, the last place Margot has
been located, and as far as we know, still is,

(24:12):
although she disappears every now and then. Is back and wrong.
You've got to hand it to old JV. He might
look like a cube in his Brooks Brother's button down shirts,
but dig deep enough and you could come up with
what I always knew? Was there an all right guy?

Speaker 25 (24:35):
Right on?

Speaker 9 (24:38):
So now I was a spy or a counter spy
or whatever I was supposed to be.

Speaker 14 (24:48):
Marble, Oh, I didn't know you were there. I'm always
there or here, don't you remember? You give me little
chance to forget?

Speaker 9 (25:03):
Are you dissatisfied?

Speaker 5 (25:06):
With your bargain.

Speaker 14 (25:08):
Would you rather be dead, which, by this time you
assuredly would have been.

Speaker 9 (25:13):
I might have been better off. I didn't quite understand
the terms, sir.

Speaker 14 (25:21):
No one ever really does, but everyone always accepts them
whatever they are.

Speaker 12 (25:27):
But you misled me.

Speaker 9 (25:30):
I told you I didn't mind dying.

Speaker 14 (25:32):
I may I remind you that you were also quite
paranoid about growing old.

Speaker 13 (25:36):
I blame myself bitterly that I allowed myself to fall
into your travel.

Speaker 9 (25:41):
Oh you are lovely when you are angry.

Speaker 13 (25:44):
Thanks to you, conspire or whatever you want to call yourself.
I am lovelier by each minute that passes.

Speaker 9 (25:51):
I am grateful for you. A figure of speech, a
bitter one. I wish I could find a way to
defeat you. It really was for laughs, a guy out
to be ashamed to take the money. Most of the
time I sat sipping campari at Doni's Doni's on the

(26:14):
via Veneto. Just sit there long enough and the whole
world goes passing by, like ten days after I got
the room.

Speaker 14 (26:25):
Marco Bellissima and so Staya, My.

Speaker 16 (26:38):
It's you.

Speaker 9 (26:40):
What are you doing in Rome? You look fabulous? Oh?
Thank you? So do you so like you used to
way back when we first met. It's being unemployed. I
haven't felt so good since I was a surf bomb.

Speaker 6 (26:58):
A big deal.

Speaker 9 (27:00):
Yeah, how can you? But you know you're fabulous. I
mean you look twenty years young and I feel every
year of it. That's a funny thing to say. I
wish I could think there was anything funny about it.
I think most women would give anything to know your secret.

(27:20):
If they did, they'd be sorry for anything they gave.
Hold on, this conversation is getting out of hand. What
are you talking about? I don't think it. No, you couldn't,
but it doesn't matter. Hey, babe, you're pretty down and
anything I can do, maybe maybe it's about time for us.

(27:45):
You mean it, you're still interested. I never changed. But well,
what about your husband?

Speaker 12 (27:53):
I never said he was my husband?

Speaker 9 (27:55):
Oh like that? No, not like that, But you're I
mean you're still together.

Speaker 12 (28:04):
Do you see him anywhere?

Speaker 17 (28:06):
Well?

Speaker 9 (28:06):
No, but you always know where he can be found.
Oh yes, I always know where he can be found.

Speaker 12 (28:13):
But he doesn't own me yet.

Speaker 9 (28:17):
I'm lost again.

Speaker 13 (28:20):
Not yet, Michael Darling, not yet, but you soon will be.
If you still want me.

Speaker 9 (28:28):
I have wanted you since the first moment. You walked
into my life six years ago.

Speaker 13 (28:34):
Twelve, No only six, time goes twice as fast for
us might.

Speaker 12 (28:43):
Now come away. Let's forget everything, accept each other.

Speaker 9 (28:54):
I looked at this golden woman, no girl, this golden girl,
glowing as if she were molded out of burnished bronze.
Except Margot could never have come from any mold.

Speaker 23 (29:10):
She was too original.

Speaker 9 (29:12):
I could feel the warmth of her, her breath caressing
my cheek as she leaned close to whisper. Then why
that strange cold feeling in the pit of my stomach?
What was I scared of?

Speaker 12 (29:29):
What was I getting into? And if I did want
to hit the panic button?

Speaker 23 (29:35):
Was that anyway out?

Speaker 8 (29:42):
You should have looked more carefully, Mike. What happened to
the few wrinkles by the eyes that used to mark
her beauty ever so slightly? A slight sag of flesh
beneath the chin and along the jawline. And how could
this mysterious woman, once old enough to be your mother,
now growing older, have the skin and muscle tone of

(30:04):
a woman your own age and younger.

Speaker 10 (30:08):
I shall return shortly with Act three.

Speaker 8 (30:21):
Packing in his hotel room in Rome, Mike Burns was
in that super high state of euphoria that a man
reaches only when at last a long sought fork conquest
is within his grasp.

Speaker 10 (30:33):
Well, let's be fair to Mike. He was a man
in love and young enough to be in love with love, young.

Speaker 8 (30:41):
Enough to forget everything else in life till a phone
call brought him out of the rose colored clouds and
back to reality.

Speaker 5 (30:56):
Yeah, Mike, sure, who was a friend and a long
time out here? Now look, just listen and answer short
and sweet. You're hooked up with am again.

Speaker 9 (31:10):
You're asking or telling we know you have been and
that you're going away. What business is that of yours?

Speaker 5 (31:16):
It's a silly question. It's your business too.

Speaker 20 (31:18):
If a third party turns up, where is Stavrianos?

Speaker 9 (31:24):
Look, buddy, I guess it's something I'd like to know myself. Anyway,
I'll try to find out where do I reach you?
Forget it? I know where to reach you?

Speaker 26 (31:33):
Not good enough?

Speaker 20 (31:35):
The stops are all out for reasons you're not aware of,
And the world could be sitting on a powder keg.

Speaker 9 (31:41):
Where all right, Anna Capri.

Speaker 5 (31:45):
About the nearest thing to heaven.

Speaker 20 (31:48):
Let's keep our fingers crossed that you locate Stavrianos before
there's hell to pay.

Speaker 9 (31:59):
I picked up Margot the Spanish steps, and together we
drove south to Naples. We dumped the redit car there
and went by boat to Capri. From the dock, we
snaked back and forth around impossible turns by bus to
an eagle's nest high above the Adriatic. Wherever you looked
from there, everything was blue and flooded by sunlight. I

(32:22):
guess if I have a picture of heaven, it looks
like Capri. And we were madly in love, and Margot
was astonishingly a girl again, younger and more alive than me,
shining with youth. What are you doing up this early?

(32:42):
I couldn't sleep. It was I snoring again?

Speaker 13 (32:46):
Do you ever, my darling? I love you, whether you're
awake or asleep. There's no problem there.

Speaker 9 (32:53):
Where's the problem? Did I say there was one? What
shall we do today? Sun ourselves and go back to
bed again?

Speaker 12 (33:04):
Maybe we shouldn't even get up.

Speaker 9 (33:07):
You suppose I'm dead. I know very well that you
and not if I was. This is the only way
I'd like it to be. Who the devil is that? Anyone?

Speaker 12 (33:20):
But who you mentioned?

Speaker 22 (33:21):
I hope?

Speaker 9 (33:26):
Who was it?

Speaker 1 (33:27):
It was for me.

Speaker 9 (33:29):
I have to go down to the village and make
a long distance call.

Speaker 16 (33:33):
Is this too important?

Speaker 9 (33:35):
I guess it has to do with us, Darling. Forget
that for a moment. I want to ask. I mean,
I'm sorry, but I have to what's the deal with you?

Speaker 1 (33:48):
And stop?

Speaker 9 (33:49):
Rianous?

Speaker 12 (33:51):
What do you mean deal?

Speaker 17 (33:54):
Are you married?

Speaker 9 (33:56):
No? Where is he? Do you know? Oh? Yes?

Speaker 6 (34:01):
Where?

Speaker 1 (34:04):
Oh?

Speaker 9 (34:04):
Okay? You don't have to tell me. Just after this?
Will you and he still be together?

Speaker 12 (34:12):
We never have been, not the way you mean. He's
out of your life.

Speaker 9 (34:17):
I didn't say that. I wish I could.

Speaker 12 (34:20):
I wish you could too.

Speaker 9 (34:22):
Why none, Mike? I love you, but I don't answer questions.
You've got to take me on faith or not at all.
I'll take you on faith, but I also have to
go make the phone call. All the way down the hill,

(34:45):
I was busy making my decision. If it was JV
on the phone, he could go climb a tree. Right
at this moment, I couldn't care about international spy games.
I was with the woman I loved and nothing was
going to interfere with that. I thought, I quit.

Speaker 5 (35:08):
You can't now, might listen to me?

Speaker 20 (35:11):
All our information tells us that Stavrianos already has in
his possession a small nuclear device.

Speaker 9 (35:19):
Well, how do you know he has it?

Speaker 5 (35:20):
Well, let's define terms. We don't know that he actually
has it.

Speaker 20 (35:24):
He is, one might say, the broker between the country
that developed.

Speaker 5 (35:28):
It and the potential buyer.

Speaker 9 (35:30):
Who's the buyer?

Speaker 5 (35:31):
We don't even know that much. Just think of it
this way.

Speaker 20 (35:34):
Can you imagine such a weapon in the hands of
any terrorist organization?

Speaker 27 (35:38):
The threat they could pose of their demands are not satisfied,
The holocaust they could.

Speaker 20 (35:43):
Bring down on the whole world?

Speaker 9 (35:44):
Okay, okay, but what can I do about it?

Speaker 5 (35:49):
Find Stabrianos? We can't.

Speaker 9 (35:52):
I don't know if Margot will tell me where he is.

Speaker 5 (35:56):
Well, if she doesn't, haven't help us all.

Speaker 9 (36:00):
If she does, Heaven help me. What's wrong, darling? I
don't know that anything is yet. Just to hunch, everything
could be the telephone call, Yes, bad news.

Speaker 22 (36:21):
Yes?

Speaker 9 (36:21):
Is there any way I can help?

Speaker 22 (36:24):
Yes?

Speaker 23 (36:26):
Then ask me.

Speaker 9 (36:29):
Where is Staverianno's darling? I told you.

Speaker 12 (36:35):
He doesn't mean anything between us.

Speaker 9 (36:38):
I got news for you.

Speaker 21 (36:40):
He does?

Speaker 6 (36:41):
Why all right?

Speaker 9 (36:44):
I won't hack around. The only way I could find
my way back to you was as a government snoop.
My job is to find Staveriano's through you. My is
that you're only interest me? Oh you know it isn't.

Speaker 13 (37:03):
How well I know, and how sorry I am that
I ever allowed you to meet me? Why because we
have no future mine, especially now.

Speaker 12 (37:13):
I won't accept that.

Speaker 9 (37:14):
You'll have to accept it. We've had this short time
together and it was right and it was wonderful, but
it couldn't last. Margaret, No, don't, don't, don't interrupt me.

Speaker 3 (37:24):
Listen to me.

Speaker 13 (37:27):
Remember back when you first met me, I was old
enough to end to be your mother. I was forty
one to your eighteen, But already I was coming back
to you, coming back to me.

Speaker 12 (37:40):
Listen to me.

Speaker 13 (37:42):
When I first met Stavriano's, I was headed for my
sixties and I had an absolute terror of growing old,
and he.

Speaker 9 (37:53):
Turned the clock upside down for me. I don't understand,
How could anyone understand? Who hasn't me?

Speaker 11 (38:00):
Packed with the devil?

Speaker 9 (38:01):
The devil?

Speaker 13 (38:02):
Haven't you learned enough about Stavrihanos to know that's what
he is? But what kind of pack the one that
really ended our love affair before it could have begun?
Oh yes, my love, believe me. These past few weeks
have been my only taste of heaven. But now I
have to go, and I hope I can take him back.

Speaker 3 (38:25):
To hell with me.

Speaker 9 (38:26):
Margo, don't go to him. I'd give my own life
to save yours. You know that, and I also know
how foolish that would be. Why because you don't understand.
You don't understand the pact I made. I have no
fear of death since I will never die. He promised
you that he tricked me, but his promise was a

(38:49):
true one, that I should never grow old and that
I should never die, because he reversed the life process
for me, and from the moment I sold my soul
to him, I have been growing younger day by.

Speaker 18 (39:05):
Day, week by week, and here by year.

Speaker 9 (39:10):
And so Mike, as we grow apart, he and I
at twice the pace, since you grow older and I
grow younger. Don't you see? There is no hope for us. No,
there is no hope. There is no hope for us,
no hope for me. So this is goodbye, my love.

(39:35):
Oh God. I know you must think I'm crazy JV.

Speaker 28 (39:38):
But that's how it was.

Speaker 9 (39:40):
We argued all through the day, and back and forth
till exhaustion, and.

Speaker 19 (39:46):
Finally I.

Speaker 9 (39:49):
Fell asleep, and when I woke, she was gone. You've
got to help me find her. I can't, old buddy, no, no, no,
You got me into this. Now if it hadn't been
for you, You've got to howere is she?

Speaker 20 (40:07):
I can only tell you one thing. By our standards, Stabrianas.

Speaker 19 (40:12):
And she are dead.

Speaker 9 (40:14):
What do you mean by our standards? You haven't been
reading the news lately, not even the headlines. So what
a small island in the AEGNC just up and disappeared yesterday?
I don't read you you will.

Speaker 20 (40:32):
Oh, it's written off to a sudden earthquake or other
natural causes, but it seems to have been the private
property of one Demetrios Stabrianas.

Speaker 11 (40:43):
How do you know that?

Speaker 9 (40:45):
Because a woman named Margo left Capri suddenly and flew
directly there.

Speaker 17 (40:51):
You mean.

Speaker 22 (40:53):
Marco is He's dead.

Speaker 9 (40:57):
I'll tell you something, buddy boy, from my heart, I
hope Stabrianas, whoever he was, and your girlfriend Margot, whoever
she might have been, are dead forever and buried six
feet deep.

Speaker 17 (41:13):
The rest of the.

Speaker 9 (41:13):
World is better off if they are, as even you,
old buddy will find out in time. It took a
little time, but I guess the human spirit is elastic.

(41:34):
I came back. I still get the shakes, and I
wonder about things. She haunts me. Margot and her husband
or whatever he was, Stavrianos were burned to a crisp
and a terrible explosion that wiped out a whole island
as well. And yet more and more, as I grow older,

(42:01):
I'm afraid to look at children. I watched them playing
in a park, on a beach, at amusement parks, and
so often I see a girl who might be Margot.
It used to be teenagers, but now as the years pass,
it's the little tots younger and younger. Is it faintly

(42:25):
possible that Faust is more than a legend, that one
can make a pact with a devil, and that he
could switch the whole deal instead of holding off age,
could reverse the whole process of growing old, so that

(42:46):
in the end a person would be nothing, unborn, a
thing that.

Speaker 23 (42:54):
Never was.

Speaker 6 (43:01):
Interesting.

Speaker 10 (43:02):
Question, what do you think?

Speaker 9 (43:05):
And whether you agree with it as a possibility or not.

Speaker 8 (43:08):
Aren't you terrorized by the very concept to live life
in reverse, to travel backwards to an innocent infant, even
to the conception itself. Certainly, if the devil wanted to
steal the purest soul, where else could he find one
more pure?

Speaker 10 (43:28):
I shall return shortly by some miracle of fortune.

Speaker 11 (43:42):
Upward.

Speaker 8 (43:43):
Air currents after the explosion carried the deadly byproducts over
the Sahara Desert, where they were dispersed and absorbed.

Speaker 10 (43:52):
Margo and Starbrianos have never been seen again.

Speaker 8 (43:56):
Is it too much to speculate that she had her
revenge and that the devil is locked up.

Speaker 10 (44:02):
In hell for good where he belongs.

Speaker 8 (44:05):
Why not hope someday we must all believe that the
world will wake up and banish him as we come
to our senses, we must believe or us go mad Our.
Cast included Mercedes Mcambridge, Robert Dryden and Bob Caliban. The
entire production was under the direction of Hyman Brown Radio.

(44:26):
Mystery Theater was sponsored in part by Buick Motor Division.

Speaker 9 (44:29):
Missus E. G.

Speaker 8 (44:30):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time.

Speaker 9 (44:40):
Pleasant.

Speaker 6 (45:22):
Dark Venger presented by wild Root Green Oil or.

Speaker 1 (45:27):
The hair.

Speaker 6 (45:45):
Over the minds of mortal men come many shadows, Shadows
of greed and hate, jealousy and fear. Darkness is the
absence of light. So in the sudden shadows which fog
the minds of men and women are to be found
the strange impulses which urges them into the unknown.

Speaker 21 (46:11):
Dark.

Speaker 6 (46:11):
Venger Tonight's Venture in the Dark features Betty lou Gerson
and David Ellice in cover up, the story of a

(46:34):
woman who set out to find the killer of the
man she loved. Dark Venture is brought to you but
the Wild Root Company, makers of Wild Root Cream Oil
for the hair. But first a word about a hair
tonic that is the choice of men.

Speaker 1 (46:47):
Everywhere.

Speaker 6 (46:48):
South of the border, the girls say kiecuappo. North of
the border they say how handsome. But everywhere girls admire
the man whose hair is groomed. The Wild Root Way
for Wild Root Cream oil is famous for keeping your
hair in trim the way girls like to see. It
needed natural. There's not a drop of alcohol and Wild
Root Cream oil. What's more, it contains lanoline. So get

(47:11):
the big economy size bottle at your drug or toilet
goods counter and ask your barber for Wild Root Cream
Oil again and again.

Speaker 22 (47:19):
The choice of men who put good grooming first.

Speaker 6 (47:26):
And now tonight's dark venture cover up.

Speaker 13 (47:42):
I will tell exactly what happened in see orders that
have happened from the moment I arrived in Munich February
second of this year.

Speaker 16 (47:48):
I went directly from the railroad station. There are three story.

Speaker 13 (47:51):
Tenements that have been badly scared by bonds. I found
the name Hans Bruna and one of the door bears.
I pushed the bell and waited. Finally up stairs in
the hallway, I heard a door open.

Speaker 15 (48:03):
Yes, what is it?

Speaker 29 (48:04):
I want to see Hans Bruno second floor.

Speaker 13 (48:09):
The hallway was lit by a single gas chaff. There
was an odor, a depressive old decay. As I passed
the first floor landing, I stopped for breath. I'll started
to see a man leaning in the doorway as the
first floor apartment, A huge, red faced man in.

Speaker 30 (48:23):
A gray sweater reading a newspaper.

Speaker 9 (48:26):
He didn't even look at me.

Speaker 31 (48:27):
Why so slow, Come on up, it's calling the hard.

Speaker 13 (48:30):
When the second light up stairs more quickly, a younger
man was waiting for me, was carrying a gun on
my shoulder.

Speaker 6 (48:36):
Holdst let the gun by you?

Speaker 17 (48:38):
I mean, well, I come in.

Speaker 23 (48:44):
Now?

Speaker 6 (48:44):
What do you want?

Speaker 16 (48:45):
Hans Bruno.

Speaker 9 (48:47):
I'm Hans Bruner.

Speaker 31 (48:48):
What is it you must forgive me?

Speaker 16 (48:50):
But since I've never seen you.

Speaker 31 (48:51):
Before, you want to see my identification papers?

Speaker 20 (48:54):
Yes?

Speaker 16 (48:54):
Why, I'm Eiln, the carl from Berlin.

Speaker 32 (48:58):
Oh, I see the mus hel Na cale same, not
only for her work in the underground during the war,
but those of.

Speaker 30 (49:05):
Her beauty, magnificent golden hair.

Speaker 31 (49:09):
But I've never seen you before.

Speaker 32 (49:10):
I then, and many women have golden hair, So we
will exchange papers.

Speaker 30 (49:17):
Here are mine and mine? Well, your picture doesn't flatter you, so.

Speaker 31 (49:23):
You have located their extrama.

Speaker 21 (49:25):
I know where he is.

Speaker 13 (49:27):
Those of us who are left have decided that Strauma
will not be turned over to the allied authorities. Why,
as you know, Trauma signed the death warrant for every
one of our group who died. It has been decided
this once we will allow ourselves it luxury of vengeance.

Speaker 30 (49:43):
And I have been named the Avenger? Is that what
you came here to tell me? Yes, good Stroma is
the cleverest of the lot.

Speaker 32 (49:52):
If you were given up into the occupation authorities, he'd
finds some way of squaming through their extrama.

Speaker 30 (50:00):
His name is like acid on the toe. Have you
ever seen him.

Speaker 17 (50:05):
No, no, of course not.

Speaker 32 (50:08):
They plastered pictures of Hitler and Gang on every billboard.
But Strama, he was a great believe in seclusion.

Speaker 30 (50:15):
Yeah, there's his picture in this billfold.

Speaker 16 (50:19):
This is Strama.

Speaker 32 (50:20):
Clipped it out of the newspaper. And then my father
was beheaded with the command of the Extroma.

Speaker 33 (50:29):
Where Istrama now and.

Speaker 32 (50:31):
The shepherd's hat in the Wittenberger forest three hundred miles south.
But every mile of the way he is well protected
by whom these Nazi ware wolves is the last great hope.

Speaker 18 (50:42):
But the occupation army, occupation armies.

Speaker 32 (50:46):
Let me tell you about one fanatic in particular forming
the streaks of Munich this very moment. His name is Felcher.
He's one of the monstrosities where Germans had given.

Speaker 30 (50:55):
For the world, with a fat, red faced lump, with
no nerves, no heart, but with no strengths in each head.

Speaker 16 (51:04):
Wait, the man I saw in the doorway of the
first floor apartment.

Speaker 11 (51:09):
What man?

Speaker 32 (51:10):
First floor apartment has been sealed up for months.

Speaker 16 (51:12):
He was very fat, his face was flushed. He was
wearing a gray sweater.

Speaker 30 (51:17):
You used to hear. You'll see why I have such
affection for this gun. There's nothing the hole now, But
I saw him.

Speaker 34 (51:30):
In that first floor doorway right down there.

Speaker 30 (51:32):
Let's go back to the apartment.

Speaker 32 (51:36):
How could Felcher have known any followed becomes the station then?

Speaker 30 (51:39):
How could he have been here ahead of you?

Speaker 29 (51:41):
I don't know.

Speaker 32 (51:42):
But then and now every rat and every swing Munich
will know you're here. Start back from Lyn on the
first train you can get. I'll leave my extra may
at once. Wish me luck, nor.

Speaker 16 (51:50):
Need do wish to luck.

Speaker 29 (51:52):
I will know how things come out.

Speaker 17 (51:54):
What do you mean I'm going with you? I'm afraid not.

Speaker 29 (51:59):
Those are my us.

Speaker 35 (52:00):
There are to be two of us.

Speaker 30 (52:02):
Where did they choose you?

Speaker 29 (52:05):
Perhaps because I have such as lended the.

Speaker 12 (52:07):
Reason for killing her strama?

Speaker 29 (52:10):
Oh itchose my wedding day to murder the man I love.

Speaker 9 (52:14):
I'm going with you.

Speaker 11 (52:15):
You have a gun.

Speaker 16 (52:16):
Here's what we'll do.

Speaker 29 (52:17):
I will be satisfied, to be expected.

Speaker 32 (52:19):
Well, she is spreading the word about us right now.
We are to have any chance at all, will have
to completely lose our identity. And once we begin, once
we begin, there's no turning back. You know that too, Yes,
all right, then let us begin, and the car.

Speaker 13 (52:50):
We purchased false sidentification papers and became Hilda and anst Schillo.

Speaker 16 (52:54):
Then we went to the public Square as.

Speaker 34 (52:56):
The black market operated.

Speaker 13 (52:58):
In the opening, I traded my raincoat and scarf because
always watching sat and gloves, glass, scissors and car reading glass.

Speaker 29 (53:07):
It's a bottle of dye and an armful of old clothes.
I have everything in a bundle.

Speaker 34 (53:13):
What do I smallow?

Speaker 9 (53:15):
Yeah?

Speaker 33 (53:16):
Yeah, he's an easy rap room thirty four?

Speaker 34 (53:20):
Thank you.

Speaker 36 (53:22):
I did a clerk care for a very long time,
and I always tried myself on being able to tell
but and that I know.

Speaker 1 (53:29):
Something about you too.

Speaker 23 (53:31):
What do you mean.

Speaker 36 (53:33):
It's your honeymoon, isn't it?

Speaker 16 (53:35):
Why isn't having mouth clowns? I say, well, I got.

Speaker 17 (53:40):
My waise, I got my waise.

Speaker 36 (53:44):
I'll leave you alone now, really if you want anything
and you're toned down?

Speaker 32 (53:54):
Helloky, Now we can get a train out of here
for the South at five o'clock tonight, so we can't
waste any time.

Speaker 30 (54:01):
Put the bundle down, sit here.

Speaker 16 (54:04):
What are you going to do? What are you doing
with sociesars?

Speaker 30 (54:09):
You're not going to like it?

Speaker 32 (54:11):
And what when a man looks at you the things
he remembers clearest with his long golden hair.

Speaker 30 (54:21):
Well, say goodbye to it. We've got to change our
appearance completely before.

Speaker 37 (54:27):
Are yes, nothing, Go ahead, start cutting.

Speaker 32 (54:36):
You'd like to cry, No, you're thinking of how he
used to look at your hair, how he used to
kiss it.

Speaker 13 (54:46):
I'm thinking of Alex Trauma, that my hair is short,
and that it gray vliety shades of his mustache such
they don't help great.

Speaker 16 (55:03):
Then he went in the bathroom changed clothes.

Speaker 13 (55:07):
When he came out, I felt a kind of chill
in my heart, as if someone else had come out.

Speaker 34 (55:14):
And it looks like I.

Speaker 13 (55:15):
See the old school teacher. Then he finished with me, No,
I have to make up on my face, but the
reading glasses.

Speaker 30 (55:24):
Now, look at yourself.

Speaker 11 (55:27):
In the mirror.

Speaker 29 (55:32):
I can't believe it.

Speaker 34 (55:34):
I know it.

Speaker 17 (55:40):
I can't wear it all.

Speaker 30 (55:42):
Right, take them off an now. But when we're outside,
you'll have to wear. You'll have to do everything right.

Speaker 16 (55:49):
Yes, I get you, Yes, Yes.

Speaker 19 (55:56):
The command and the be asking for Carl and hants Bruna.

Speaker 16 (55:59):
What do you call it? My name is Sheila?

Speaker 19 (56:01):
Because the man described.

Speaker 36 (56:03):
The people he wanted and the description the Jew.

Speaker 19 (56:07):
Indeed, I'll give you ten minutes to get out of
my hotel.

Speaker 29 (56:10):
But listen two minutes and then I called your tore right,
where's this man? How does he look like?

Speaker 38 (56:18):
Listen to this man?

Speaker 13 (56:19):
He may belong to the werewolves, another one of your stories,
fat red faced man.

Speaker 29 (56:23):
Please tell me it's very important.

Speaker 23 (56:25):
No need to tell you.

Speaker 36 (56:26):
I will describe him as clear as he describes you.

Speaker 9 (56:30):
Very well, Lance Lobby. He followed us.

Speaker 34 (56:36):
He got ten minutes to get out.

Speaker 32 (56:38):
I will soon know if the skies it's as good
as we think. Give me the bundle of ourrow clothes.
We're going downstairs.

Speaker 30 (56:45):
Is the chance to find out.

Speaker 32 (56:47):
We've got to know if they can recognize us before
we start.

Speaker 6 (56:53):
Are you coming?

Speaker 33 (56:55):
Is this Sheila's venture?

Speaker 30 (57:06):
Sitting in a chair reading in the newspaper.

Speaker 16 (57:09):
Here's what I saw in the hallway.

Speaker 30 (57:11):
He's looking up. He's seen us keep walking toward the door.

Speaker 39 (57:17):
It's working.

Speaker 30 (57:19):
It's gone back to his paper. Now we can start.

Speaker 40 (57:24):
For Eric Stomer, we went to the railway station.

Speaker 13 (57:40):
Just before we passed through a police inspection, I suggested
we had the gun in the bottle of clothes. Luckily
it wasn't found. Then I got another bit of love
when we boarded the train located off section upon.

Speaker 29 (57:52):
The compartment which was meant for six parts.

Speaker 12 (57:54):
Which just was empty.

Speaker 31 (57:56):
Well, now you can take off those glasses.

Speaker 29 (57:59):
My head, it's starting to move.

Speaker 22 (58:04):
In ten hours, will be there.

Speaker 29 (58:06):
How do you feel along with the headache and a
little shake you Oh no, what is it?

Speaker 16 (58:12):
Look through the window.

Speaker 30 (58:13):
Helcha running for the train.

Speaker 6 (58:15):
He'll never make it.

Speaker 15 (58:18):
He did make it. He's on a train.

Speaker 6 (58:31):
We'll return to our story as soon as Harry Wolstrom
has a word with a man.

Speaker 1 (58:35):
Man.

Speaker 6 (58:35):
Here is important news on good grooming. Better than pour
out of five new users of wild Root Cream oil
say they prefer Wild Root Cream Oil to all other
hair tonics. Here is new and even more conclusive evidence
that wild Root Cream oil is again and again the
choice of men who put good grooming first. So if
you want the well groomed luck that helps you get
ahead socially and on the job, listen. Recently, thousands of

(58:57):
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oil for the first time, we're asked, how does wild
root cream oil compare with the hair tonic you previously use?
The results were amazing, better than four out of fives
that they preferred Wild Root cream oil and no wonder
wild Root Cream oil gives you the advantages that men
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(59:19):
neatly and naturally. It relieves annoying dryness, and it removes loose,
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is the only leading airtonic that contains soothing lanolin. So
I ask for wild root cream oil again and again
the choice of men who put good grooming pray. Now

(59:42):
back to our dark venture for the night cover up.

Speaker 32 (59:57):
Starting up badly and with heshan by, the let to
change up to and we left to leave the train
at the next stop.

Speaker 13 (01:00:02):
But it looks so different, I'm certainly didn't recognize us
and take a chance.

Speaker 37 (01:00:12):
So the first up was a passengers.

Speaker 13 (01:00:14):
Left the train for what little food they get by
the refreshment stands.

Speaker 29 (01:00:17):
We started walking past the little station.

Speaker 16 (01:00:19):
Then so feltcher waiting.

Speaker 9 (01:00:22):
For us come on across the trains.

Speaker 16 (01:00:31):
We ran on the.

Speaker 29 (01:00:32):
Tracks until I was ready to draw up.

Speaker 13 (01:00:34):
When we look back the station, with at least half
a mile away, I sat down arrest. After a while,
the train was on its way again. As we came by,
we shung ourselves to the garn Felter. I hadn't followed
us was here on the train.

Speaker 40 (01:00:51):
We waited until dark and started back to the station.

Speaker 6 (01:00:53):
Had golm.

Speaker 16 (01:00:54):
A freight train was being loaded.

Speaker 13 (01:00:55):
By the light of bright red flairs, we walked past
the freight cars through the fun one.

Speaker 3 (01:01:00):
That was open.

Speaker 30 (01:01:01):
Look around, anybody watching us?

Speaker 41 (01:01:03):
No?

Speaker 9 (01:01:04):
Thanks?

Speaker 32 (01:01:05):
Right, the straight train's going south. It's as good as
any Yeah, you take the bundle.

Speaker 19 (01:01:09):
I'll bushted you up.

Speaker 17 (01:01:12):
You're a right, yes, when the.

Speaker 32 (01:01:14):
Last time you wait?

Speaker 37 (01:01:15):
This morning?

Speaker 16 (01:01:16):
Breakfast? Not much as the train.

Speaker 6 (01:01:17):
Won't be leaving for a while yet.

Speaker 30 (01:01:19):
We've got one of those refreshments. Stands in the station
and get us some apples.

Speaker 16 (01:01:23):
I wish you wouldn't.

Speaker 30 (01:01:24):
We can't ride all night, but nothing in our stomachs.

Speaker 21 (01:01:26):
I'll be all right.

Speaker 9 (01:01:29):
Only it was.

Speaker 29 (01:01:30):
Gone called at the fire into the freight car.

Speaker 16 (01:01:33):
Oh that happened that day?

Speaker 13 (01:01:33):
Began catching up with me. I caught myself yawning once
said old door. I came out of it, and time
to hear someone approaching the car.

Speaker 21 (01:01:44):
Look, this car is open.

Speaker 1 (01:01:45):
Did that happen?

Speaker 9 (01:01:47):
These were because you get now, they don't care about anything.

Speaker 6 (01:01:49):
Come on, help me lock it?

Speaker 41 (01:01:51):
Fuck it.

Speaker 16 (01:01:53):
I wanted to run to the door and pound on it.
I wanted to scream for them to let me out.

Speaker 42 (01:01:58):
I didn't help.

Speaker 38 (01:02:00):
I didn't know what to do.

Speaker 16 (01:02:01):
If I could make up my mind, a great train again,
moving the hands the door. Now set me up.

Speaker 43 (01:02:14):
On to hear me.

Speaker 29 (01:02:24):
I will not forget that night.

Speaker 16 (01:02:26):
I started crawling back. There was nothing else to do
in the darkness. I lost all my sense of direction.

Speaker 38 (01:02:34):
If only there have been just a little alive.

Speaker 13 (01:02:37):
Was such a dreadful, suffocated feeling lock below?

Speaker 16 (01:02:41):
Then I thought I heard someone breathing. It could not
be offs alone.

Speaker 38 (01:02:50):
Then I heard it again, Is.

Speaker 16 (01:02:54):
Is anyone else in this car?

Speaker 15 (01:02:57):
Answer me? Y?

Speaker 44 (01:03:03):
Yeah?

Speaker 13 (01:03:03):
I held my own breast to her. Better send the
breeding stuff. That's a rigid, straining listening. And then I
say it it was a long side.

Speaker 41 (01:03:21):
Oh, I trust me.

Speaker 45 (01:03:23):
I have heard it was me.

Speaker 12 (01:03:26):
Please.

Speaker 19 (01:03:28):
I couldn't let myself go to please.

Speaker 17 (01:03:30):
I could not.

Speaker 16 (01:03:40):
Find out of sheer exhaust. And I must have fallen asleep,
because the next thing I knew, the train had started.

Speaker 29 (01:03:45):
The freight car door was being pushed open.

Speaker 38 (01:03:49):
And what happened to you?

Speaker 44 (01:03:51):
Tell you later.

Speaker 30 (01:03:52):
I get the bundle and came over to the door.

Speaker 9 (01:03:55):
I had it.

Speaker 30 (01:03:57):
Now give me your hands not jump.

Speaker 46 (01:04:02):
Where are we now?

Speaker 30 (01:04:03):
Just outside the Arenberg train stopped at the water tower.

Speaker 12 (01:04:06):
What time is it?

Speaker 11 (01:04:07):
Not quite midnight?

Speaker 29 (01:04:08):
Why did you live in that car?

Speaker 16 (01:04:09):
Why didn't you come back?

Speaker 17 (01:04:10):
I did come back.

Speaker 30 (01:04:12):
I was already locked. Friend was ready to move.

Speaker 17 (01:04:15):
Look at me.

Speaker 30 (01:04:15):
I had to ride in an open coal cart.

Speaker 47 (01:04:17):
We had been.

Speaker 32 (01:04:19):
I told you this would be the longest three hundred
miles anyone ever traveled.

Speaker 30 (01:04:24):
We've gone most of.

Speaker 32 (01:04:25):
The way and there's barely one hundred miles left between
us and Derek Stover.

Speaker 29 (01:04:40):
After the rest of a while, we started for Doornburg.
We found a bus station where a little group of
people waited for a bus that was already five thousand late.

Speaker 13 (01:04:49):
Finally, two selves in the morning, the bus came and
there's that old military bus. They would leave us almost
at the doorste of the house we were planning to visit.
I was dark in the bus.

Speaker 16 (01:05:02):
They're called with passions.

Speaker 13 (01:05:03):
Was trying to sleep in the uncomfortable seats we stood
neile for I'm fighting to keep up.

Speaker 1 (01:05:10):
I need to stand up.

Speaker 17 (01:05:12):
Why, yes, I'm talking to you.

Speaker 9 (01:05:14):
You and your friends are two seats over right here.

Speaker 30 (01:05:20):
Let's go.

Speaker 16 (01:05:21):
Yes, thank you very much.

Speaker 34 (01:05:24):
We are coming.

Speaker 16 (01:05:26):
Very kind of you.

Speaker 48 (01:05:29):
Anything went your room? Room is you can sickness to me?
And USA, there's room for you.

Speaker 35 (01:05:41):
Ride in the bag, yes, all right, with your bundle
under the seat.

Speaker 9 (01:05:45):
That's right.

Speaker 1 (01:05:46):
I saw you standing up.

Speaker 48 (01:05:48):
I thought to myself, Now, why shouldn't they be comfortable?

Speaker 29 (01:06:00):
I sat next to Felis from the dark.

Speaker 13 (01:06:02):
He was eating a melon, cutting off chunks with a
large pocket knife, smacking.

Speaker 49 (01:06:06):
His lips and appreciation completely a peace with the world.

Speaker 13 (01:06:11):
Somehow that made it even more terrible.

Speaker 3 (01:06:13):
Who wanted to render the bus driver, who.

Speaker 13 (01:06:15):
Wanted to tell him about Helsier, that he was a
nasty were wolf.

Speaker 16 (01:06:18):
Who hunted down people in kild But.

Speaker 29 (01:06:21):
How did I know about the bus driver?

Speaker 12 (01:06:23):
How did I know? Put anybody on the past?

Speaker 19 (01:06:27):
I asked you, would you like some melon?

Speaker 1 (01:06:31):
What my melon? Would you like some?

Speaker 19 (01:06:33):
De's plenty?

Speaker 9 (01:06:35):
No, not like you.

Speaker 11 (01:06:37):
I want all about you, the user.

Speaker 30 (01:06:40):
It's very good, you know well, I I guess I
am pretty hungry.

Speaker 18 (01:06:45):
Help yourself mortally enough. Here take the whole thing, cut
yourself a good piece.

Speaker 11 (01:06:50):
Thank you?

Speaker 19 (01:06:52):
And where are you headed for?

Speaker 11 (01:06:55):
Miss?

Speaker 4 (01:06:56):
Oh?

Speaker 16 (01:06:58):
Didn't you know I'm going to live on berg? Oh?

Speaker 21 (01:07:02):
Yeah, I hear.

Speaker 22 (01:07:03):
It's very pleasant.

Speaker 21 (01:07:04):
This time of tea of very handsworth.

Speaker 17 (01:07:06):
I hope so, and have you come fart?

Speaker 13 (01:07:16):
Just sit there, so, I said, like nothing had happened,
feeling life, using the body of the man beside.

Speaker 12 (01:07:28):
Me, feeling his blood seat down across my coat.

Speaker 13 (01:07:33):
Then he sagged something against me, his head falling on
my shoulder. I felt myself, kidding you, huh, yes, I
can't see, can't You'll have.

Speaker 21 (01:07:45):
To stand it.

Speaker 32 (01:07:45):
Someone would see his darkness. What will they see? He
fell asleep, his head fell.

Speaker 30 (01:07:50):
Against your shoulder, and told you how it would be.
Open his shirt closely at the tattoo on his left shoulder.

Speaker 19 (01:07:59):
It's enough light.

Speaker 21 (01:08:00):
That's like care.

Speaker 30 (01:08:01):
I'll open it for your care. Now look close so
you can see, and so as to go.

Speaker 32 (01:08:08):
The mark of those who belonged to the Gestapo in
the old days, the mark of the werewolf. It was
their extrama's right hand, their extrama, the men who killed.

Speaker 30 (01:08:19):
Your lover and your wedding day.

Speaker 6 (01:08:22):
Have you forgotten?

Speaker 50 (01:08:25):
Now?

Speaker 30 (01:08:25):
Can you sit beside him?

Speaker 19 (01:08:28):
Yes?

Speaker 13 (01:08:35):
It was almost three hours Felcher's body sagged against me.
I was just about crazy by the time the bot started.
The driver called was Whittenberg, and I was the only
ones leaving. MS got his funnel from the seas. I
pushed Felter's body against the window and I started out
the bottom, never step of the way. I expected someone

(01:08:55):
to stop us, but no one did. The busy pull
that leaving or standing in the cold.

Speaker 30 (01:09:01):
Dawn half a mile from town.

Speaker 16 (01:09:05):
How are you feeling fine?

Speaker 9 (01:09:08):
Been through a lot?

Speaker 3 (01:09:10):
It will be well, let's go.

Speaker 30 (01:09:19):
There's that there in the tree. I take the gun
out of the bottle, coming.

Speaker 6 (01:09:27):
Great moment now, yes, anyone besides he lives alone.

Speaker 9 (01:09:33):
Here's the door.

Speaker 30 (01:09:36):
Locked glass bray, No, I would wake him up.

Speaker 12 (01:09:40):
This is better.

Speaker 16 (01:09:44):
Empty. You're wrong, storm isn't here.

Speaker 19 (01:09:48):
I was not wrong.

Speaker 30 (01:09:51):
Ex Strama is here and in this room. What welcome
to my humble dwelling.

Speaker 12 (01:10:01):
And nakl.

Speaker 11 (01:10:03):
You.

Speaker 30 (01:10:04):
Yes, I am lex Roma.

Speaker 23 (01:10:08):
Not hand Browner.

Speaker 30 (01:10:09):
Wait by getting this gun, you're not leaving?

Speaker 34 (01:10:18):
Why did you bring me here?

Speaker 32 (01:10:20):
This was best, the safest way. Also it provided me
with such pleasant version. I don't get much of that,
he says, you must be given in It was so
delightful to what should change before my very eyes from
a beautiful, confident disciple of this new democratic Germany to.

Speaker 9 (01:10:38):
A really terrified, rather ugly creature.

Speaker 30 (01:10:43):
You had to bite your lips to keep from stopping
when I cut your lovely hair.

Speaker 11 (01:10:45):
Didn't.

Speaker 32 (01:10:47):
For my part, I had to bite my lips to
keep from laughing in your face and the glasses. Glasses, Elna,
we'll give you a dreadful headache that they might and
two hours in the faith Khan Felcher's cold head resting
on your shoulders.

Speaker 16 (01:11:03):
Son, you was Oh?

Speaker 11 (01:11:04):
Yes, Felcher was a Nazi.

Speaker 32 (01:11:06):
Your right, one of my trusted followers others. Do you
think he was able to follow us? Why do you
think he gave me the melon with his knife when
you told the hotel clerk about him.

Speaker 30 (01:11:16):
I fear you destroyed his usefulness?

Speaker 34 (01:11:19):
And what about me?

Speaker 6 (01:11:20):
I would like to spare you.

Speaker 30 (01:11:22):
Elena, despite your rather tattered appearance. I think it would
be pleasant. Unfortunately, it would also be extremely dangerous and.

Speaker 34 (01:11:32):
So so you're going to kill me?

Speaker 18 (01:11:35):
Yes?

Speaker 9 (01:11:37):
No, Elena?

Speaker 18 (01:11:39):
No?

Speaker 9 (01:11:41):
Well, what's wrong?

Speaker 11 (01:11:43):
What did you do to discussion?

Speaker 49 (01:11:44):
What did you think I did the form when you
left your batle on the freight car fundly gone and
I took the bullets up.

Speaker 21 (01:11:50):
You knew about me?

Speaker 29 (01:11:51):
Yes, I knew about your eyes from the beginnings.

Speaker 24 (01:11:55):
No, I don't.

Speaker 46 (01:12:00):
All the bullet I need you listen to me.

Speaker 29 (01:12:03):
I have listened to you in these last moments of Yes, I.

Speaker 13 (01:12:09):
Knew you were the moment I try in the door
have hants Bruno's apartment? You found out he discovered the
hiding place on the vice.

Speaker 18 (01:12:16):
Isn't you?

Speaker 49 (01:12:17):
I found out You've been appointed to hunt you down
and care making any chancey So you came to Munich
to kill Hans Bruno A try.

Speaker 46 (01:12:24):
To kill you.

Speaker 29 (01:12:26):
I just finished killing him, ring the bells trauma and
hadn't you, yes, you would have killed me. They're on
that apartment too.

Speaker 49 (01:12:35):
If I show the lighted signs, I know you weren't
a Haunts booner.

Speaker 40 (01:12:38):
Yes, that's all way way, but still you can't shoot
me in cold black.

Speaker 29 (01:12:46):
The reason for killing you have your mar was the
man I loved on the day we were to be male.

Speaker 51 (01:12:52):
But then listen to me was long ago.

Speaker 6 (01:12:55):
That was long ago.

Speaker 29 (01:12:57):
Yesterday was to have been my wedding day.

Speaker 37 (01:13:00):
Yes, today.

Speaker 29 (01:13:06):
The man I love the man I come to Munich
tomorrow What hunts?

Speaker 6 (01:13:25):
Tonight's dark venture was written by Larry Marcus and directed
by Leonard Reed. Next week at the same time, The
Wild Root Company, makers of Wild Root Cream Oil for
the Hair, will bring you another original dark Venture story
in the meantime. Remember, the man who makes the best
impression is the man who puts good grooming first, and
you can do that follows by using Wild.

Speaker 11 (01:13:44):
Root Cream Oil.

Speaker 6 (01:13:45):
This grand non alcoholic hair tonic is again and again
the choice of men who put good grooming first. And
here's why Wild Root Cream oil is so popular. It
gives a man everything he wants in a hair tonic,
RUMs his hair neatly and naturally, relieves dryness and removes
loose dath. What's more, Wild Root Cream Oil contains soothing
lanolin that's so much like the oil of your skin.

(01:14:07):
And remember, no other leading hair tonic gives you all
of these advantages. So take Wild Roots fn test. If
you find signs of dryness, a loose dandruff, you need
Wild Root Cream Oil again and again the choice of
men who put good grooming first. In Tonight's Dark Venture,

(01:14:30):
Betty lou Gerson was Hurt as Elmer, David Ellis as Stromer,
Leo Clary as Felcher, Jack Moyles as a trainman, and
Earl Lee as a Calkirk. Original music by Rex Corey.
Your narrator has been John Lake.

Speaker 1 (01:14:45):
On the next Tuesday.

Speaker 6 (01:14:47):
Remember smart girls use wild root cream oil too, for
quick good grooming and to relieve dryness between berman mothers
say it's great for training children's Here this is ABC,
the American Broadcasting Government, the Weird.

Speaker 52 (01:15:11):
Circle, in this case by the restless scene. We are
met to call from out the past stories strange and weird.
Bellkeeper pull the bell so all may know. We are

(01:15:37):
gathered again in the Weird Circle.

Speaker 6 (01:16:14):
Out of the past, phantoms of a world gone by,
speak again the immortal tale Rappaccini's daughter.

Speaker 11 (01:16:41):
Good evening, Senora, Good evening, Senor. I have come from
the southern part of Italy to study at the University
of Padua. I was passing your house and thought you
might have a room to let.

Speaker 15 (01:16:50):
No, no, I'm sorry, My rooms are all around.

Speaker 11 (01:16:53):
For what shall I do? I was sure you would
help me when I first saw the crest and above
the door.

Speaker 22 (01:17:00):
Best.

Speaker 34 (01:17:00):
Why do you know it?

Speaker 11 (01:17:01):
It's the armorial bearing of my family, and this was
my great grandfather's house, Senora. I've often heard my grandmother
speak of it.

Speaker 15 (01:17:07):
Well, then your name must be Gasconti.

Speaker 11 (01:17:09):
Javans, be grateful for your help.

Speaker 15 (01:17:12):
Well, I really do not have a room to rent, Signor.

Speaker 53 (01:17:16):
There are so many students in Padua. But yes, I
was just thinking of the room on the east side
of the house. Long ago I closed it up, but
perhaps for one night.

Speaker 11 (01:17:26):
It's very kind of you.

Speaker 29 (01:17:27):
How long I'll show it to you.

Speaker 4 (01:17:31):
Follow me upstairs.

Speaker 11 (01:17:33):
Do you not rent it, Senora, because it is so small? Perhaps?

Speaker 1 (01:17:36):
No?

Speaker 53 (01:17:36):
No, the room is quite large, but it's the only
one in the house that has an eastern exposure.

Speaker 11 (01:17:42):
But who could object to the morning sun?

Speaker 12 (01:17:44):
Oh?

Speaker 31 (01:17:45):
Isn't the sun then?

Speaker 15 (01:17:47):
What you will see for yourself in a moment.

Speaker 9 (01:17:56):
There.

Speaker 11 (01:17:57):
Oh, it's a beautiful room, Senora. And how sweet the
air is. You keep flowers here?

Speaker 15 (01:18:03):
There's a garden outside below the window.

Speaker 16 (01:18:06):
Here, I'll show you.

Speaker 4 (01:18:10):
Peep through the shepherds.

Speaker 15 (01:18:12):
The moon's quite bright to night.

Speaker 11 (01:18:14):
Oh, that's a beautiful place, thousands of flowers, and the
wall around it is high. This is a strange thing,
sen Europe. No, No, not the garden.

Speaker 38 (01:18:26):
You know.

Speaker 30 (01:18:27):
You know how sometimes you experience something that seems to
have happened before.

Speaker 12 (01:18:31):
Hm, little things you do a scene.

Speaker 11 (01:18:33):
I have stood here before and looked out at such
a garden. But before a beautiful girl was on that path,
tending the flower.

Speaker 16 (01:18:41):
Look there she is, Senor, Come away, it is she
the doctor's door.

Speaker 11 (01:18:44):
How beautiful she is, just as I remember. It is
not good to look upon her. Oh look, she's seen us.
And there's a man, a tall, gaunt looking man, standing
in the shadows.

Speaker 12 (01:18:56):
See the doctor.

Speaker 15 (01:18:58):
I am afraid.

Speaker 53 (01:18:59):
There's something about both doctor Rappaccini and his daughter. I
don't understand something eavil the way he looked at you.

Speaker 16 (01:19:08):
I could not let you.

Speaker 11 (01:19:09):
Stay here, because you will there's nothing to fear.

Speaker 53 (01:19:12):
But the sweet smell of the flowers is so strong
it makes one grow faint.

Speaker 11 (01:19:17):
Who is he, this doctor Rappuccini.

Speaker 17 (01:19:19):
No one in.

Speaker 53 (01:19:20):
Padua knows anything about him, except that he lives alone
with his daughter, who tends the garden for him. It
is said that he distills the plants into medicines potent.
There's a charm.

Speaker 11 (01:19:31):
Now come, he will let me stay, Senor, if only
for the night. Say you will, but signor would you
send me away when I have no place to go?

Speaker 16 (01:19:39):
I should never have suggested this rule.

Speaker 11 (01:19:41):
I promise you no harm will come of it.

Speaker 21 (01:19:43):
There.

Speaker 11 (01:19:44):
Now, let me see you smile again and say I
may stay the night.

Speaker 15 (01:19:48):
But tomorrow you must find another place. Promise me that too.

Speaker 21 (01:19:52):
I promise.

Speaker 16 (01:19:53):
Then I'll fetch your sheet.

Speaker 4 (01:19:55):
I'll be back in a moment.

Speaker 11 (01:20:00):
Signorina Rappacini, who is it? Call up here in the window?

Speaker 9 (01:20:04):
What is it?

Speaker 16 (01:20:05):
Signor?

Speaker 11 (01:20:06):
Your flowers sparkle like gems in the moonlight. It is
the most beautiful garden I've ever seen.

Speaker 54 (01:20:11):
Thank you.

Speaker 11 (01:20:12):
Perhaps someday you'll honor me with a gift of one
of the blossoms.

Speaker 38 (01:20:15):
My father prizes them highly, but perhaps you would consent
to the gift of one someday.

Speaker 11 (01:20:20):
Good night to you, signor good night, beautiful lady.

Speaker 1 (01:20:31):
So my young pupil had become acquainted with the daughter
of Rappuccini. This is startling news.

Speaker 11 (01:20:37):
But signor Boni, why do you frown? So you were
as bad as dame? Is a bed of my Landlady.
I've writ in her house for a week now, and
every day she threatens to send me away.

Speaker 1 (01:20:45):
This garden, Giovanni, what does it like?

Speaker 5 (01:20:48):
Ah?

Speaker 11 (01:20:48):
Almost as beautiful as bee treat to herself, Professor. The
plants are lush, and the blossoms very very large. Some
of them have all the colors of the rainbow. But
there is one, the most beautiful of all, that grows
and the huge urn in the center of an ancient fountain.
Its leaves are bright green and very large, and its
flowers purple and red. In the sunlight they sparkle, and

(01:21:08):
at night time they catch the rays of the moon
and glimmer like diamonds covered with stew.

Speaker 1 (01:21:12):
Giovanni, you are the son of my old friend, and
I must tell you this, move away from the garden
this very night.

Speaker 11 (01:21:19):
But why why is everybody so frightened of doctor Rappacini
in paduad Giovanni?

Speaker 1 (01:21:25):
There are certain grave objections to his professional character.

Speaker 11 (01:21:28):
What are they?

Speaker 1 (01:21:29):
It is said that he cares infinitely more for science
than for mankind, that his patients are only subjects for
new experiments. He would sacrifice human life or even the
mustard seed of knowledge.

Speaker 11 (01:21:39):
There are many men capable of so spiritual a love
of science, heaven forbid.

Speaker 1 (01:21:43):
And they also say that he has instructed his daughter
deeply in his science. So you see she is as
dangerous as he.

Speaker 11 (01:21:51):
Ah, it is only a malicious gossip, believe me, signor
Almost every night I've spoken of their treaty from my window.
And she is as charmingly feminine as she is beautiful
a youth.

Speaker 1 (01:22:00):
This is heedless as the arrow of love itself. Giovanni,
you are not leaving, I.

Speaker 11 (01:22:05):
Must, Professor Balaloni, thank you for the dinner and the wine.

Speaker 1 (01:22:08):
But the evening's just begun.

Speaker 11 (01:22:10):
You see every night she comes to the garden now,
and I wouldn't miss seeing her, Professor, not for all
the flowers in the whole wide world. Goodbye, Thanks again,
But I have not told.

Speaker 41 (01:22:19):
You what.

Speaker 1 (01:22:22):
Students. They will never listen, and he jeopardizes his very life.

Speaker 11 (01:22:34):
Oh and let you have come it, li is a better.

Speaker 19 (01:22:38):
What's the matter?

Speaker 11 (01:22:38):
What's happened?

Speaker 55 (01:22:39):
Hey?

Speaker 53 (01:22:39):
He came here here, to this house, So I tell
you I've been shaking with fright thinking of it. But
the knocker sounded late this afternoon, it was, and I
went to the door, not even faintly suspecting, and the
Saints preserve.

Speaker 30 (01:22:52):
Signor there he stood a better calm yourself.

Speaker 46 (01:22:55):
Now, what is this same here to ask for you,
doctor Rappaccini himself?

Speaker 11 (01:23:00):
Oh now, Lizabeta, don't tell me, you let the old
doctor frighten. You tell me what he said?

Speaker 15 (01:23:06):
Fifteen years.

Speaker 53 (01:23:07):
I've lived in this house all of fifteen and I
never noticed it was there, never even suspect that it
was there.

Speaker 15 (01:23:13):
Signor, I must have my room. You cannot stay here
another minute.

Speaker 34 (01:23:17):
I will not allow it.

Speaker 11 (01:23:18):
All right, Lizabetha, But what is it?

Speaker 53 (01:23:21):
You never suspected the door, signor the secret door to
the garden where at the back of the large closet
under the stairs.

Speaker 11 (01:23:28):
But what did the doctor say, lizabeth Oh.

Speaker 16 (01:23:30):
He said, Oh, but Senor, you won't do it. Promise
you won't do it.

Speaker 34 (01:23:35):
The whole thing frightened me up to death.

Speaker 11 (01:23:37):
What did he say?

Speaker 53 (01:23:38):
He asked me to give you his invitation to visit
the garden tonight to night.

Speaker 11 (01:23:43):
Ah, that's what I've been waiting for, Elizabetha. Come come
show me the door.

Speaker 16 (01:23:46):
Oh no, no, come back, Senor.

Speaker 11 (01:23:47):
You must not go there the closet.

Speaker 16 (01:23:50):
Yes, Senor, But.

Speaker 11 (01:23:51):
Now where is the secret door, Isabeta.

Speaker 38 (01:23:53):
I shall never forgive myself for this?

Speaker 16 (01:23:56):
There in the fall wall, don't you see?

Speaker 21 (01:24:00):
Oh?

Speaker 11 (01:24:00):
Yes, of course, thanks Lizabetha.

Speaker 16 (01:24:03):
The Saints preserve you become home.

Speaker 44 (01:24:13):
Good evening.

Speaker 34 (01:24:13):
Signor. You did come, My father said you would.

Speaker 11 (01:24:17):
I have been wanting to since that first night when
I spoke to you from the window there.

Speaker 38 (01:24:22):
Please then sit here on the marble bench.

Speaker 11 (01:24:25):
Indeed, your garden is magical in the light of the moon.
How brightly the flowers shine? Do you tell them all.

Speaker 34 (01:24:32):
All that you see?

Speaker 38 (01:24:34):
Except the most wonderful one of all? It grows yonder
in the center of the fountain.

Speaker 11 (01:24:38):
I have admired it greatly. Is that one? Then your
father's special prize.

Speaker 38 (01:24:43):
It is the most magical of all, Signor, and he
watches over it himself.

Speaker 6 (01:24:48):
How sweet the air is.

Speaker 11 (01:24:49):
I can smell the fragrance of your flowers.

Speaker 17 (01:24:51):
You know in my room, can you there.

Speaker 38 (01:24:53):
Are such wonderful flowers, Signor, the fragrances as intoxicating as.

Speaker 11 (01:24:58):
Why I have breathed deeply of this wye Signorina Beatricci,
because it is yours. Knowing you were here has made
me a happy.

Speaker 38 (01:25:05):
Man, and I have felt it too, as if from
that first night you spoke I knew you from somewhere
long ago.

Speaker 19 (01:25:11):
It was in a dream.

Speaker 38 (01:25:12):
Once did you know it would become real Sunday?

Speaker 11 (01:25:14):
Oh, I could not hope for it.

Speaker 38 (01:25:16):
I too, once saw you high in the window there,
looking down, and seeing what you said to me. Later
in a vision in my mind. You came to the
garden evenings.

Speaker 30 (01:25:25):
Tonight, Bertriccy.

Speaker 11 (01:25:27):
You must know I love you with all.

Speaker 38 (01:25:29):
My heart and I since first we met in the
stillness of my dream. Giovanni, here a flower from my garden,
a token of my love. I am here father with
signor Gasconti.

Speaker 11 (01:25:44):
Let me ask your hand, Beertrici, tonight, let us be married.

Speaker 38 (01:25:47):
Soon if you wish, Giovanni, look here it comes.

Speaker 3 (01:25:50):
Good evening, Senor, Good evening, sir. We have never met,
but I believe we are acquainted often.

Speaker 11 (01:25:56):
I have seen you here in the garden. Thank you
for inviting me this evening.

Speaker 3 (01:26:00):
My daughter expressed an a special wish to see you.

Speaker 11 (01:26:03):
And I was not adverse to it. Then, Doctor Rappuccini,
perhaps it's best now to say that I am in
love with Bee Treacy. With her consent and yours, we
will be married.

Speaker 22 (01:26:14):
Married.

Speaker 3 (01:26:15):
What does my daughter say?

Speaker 38 (01:26:17):
I will gladly consent.

Speaker 3 (01:26:18):
But both of you so young, and your acquaintanceship is brief, Senor.
That flower you hold it in your hand.

Speaker 38 (01:26:27):
I gave the blossom to him farther.

Speaker 3 (01:26:29):
Does it fragrance not stun you, Senor, And the feel
of it burn your fingers.

Speaker 11 (01:26:34):
No, but why do you ask?

Speaker 3 (01:26:35):
Only because it is one of my most potent blossoms.
I see you are more ready for the bechisal than
I thought. You have my consent. Later, I'll talk further
to you both. Now good night, But Senor, I must
make one request.

Speaker 11 (01:26:55):
I am too happy to refuse you anything.

Speaker 3 (01:26:57):
You will think it's strange. Perhaps when you leave the garden,
returned the flower to my daughter. It is too precious
a blossom to part with.

Speaker 11 (01:27:10):
Good Night again, oh, Professor Valone, what a surprise finding
you here in my room.

Speaker 1 (01:27:23):
I came directly you left me at the restaurant Giovanni.
Name Lizabeth that told me you were in the garden.

Speaker 11 (01:27:27):
Yes, and Professor, the most wonderful thing Gervanny.

Speaker 1 (01:27:29):
Wait, I know what it is, but it cannot be
I tell you. Listen. Let me tell you a story.
Hundreds of years ago, Alexander the Great fell in love
with a beautiful Indian girl. She was as lovely as
the dawn, and her breath was richer than a garden
of Persian roses. Before they were married, a sage physician
luckily discovered a terrible secret in regard to her. And
what was that this lovely woman had been nourished with

(01:27:52):
poisons from her birth, until her whole nature was so
imbued with them that she herself had become the deadliest
poison in existence. Poison was her element of life. With
the rich perfume of a breath, she blasted the very
air a love would have been poisoned or embraced death.

Speaker 11 (01:28:08):
But why do you tell this to me now?

Speaker 1 (01:28:11):
It is my way of saying that this day a
treachy Rappaccini and dangers your life.

Speaker 11 (01:28:15):
Professor, you cat it.

Speaker 17 (01:28:16):
I do believe it.

Speaker 1 (01:28:17):
I know even now your room is filled with a strong,
poisonous perfume.

Speaker 17 (01:28:21):
But that is the garden.

Speaker 11 (01:28:22):
I noticed it too at first, but one grows accustomed
to it.

Speaker 1 (01:28:25):
Givanni, my poor boy, don't you see doctor Rappaccini has
selected you as the material for some new experiment, just
as he has used his daughter. Even now, your very
breath is heavy with the fragrance of that terrible plain.

Speaker 17 (01:28:36):
No, you're raw.

Speaker 1 (01:28:37):
Look. I have brought with me a bouquet of yellow rosebuds.
They are there on the table. Giovanni picked them up. No, no,
I won't touch Giovanni, Do as I say. Take them
in your hands.

Speaker 11 (01:28:47):
Not all this is mad, What but a few rosebuds?
Look at them.

Speaker 18 (01:28:52):
See you're very touch with us, the leaves and turns,
the yellow petals brown. Giovanni, you are imbued with the
poison of the garden. Even if I beg of you,
leave here this very night.

Speaker 19 (01:29:02):
Now go before it is too late.

Speaker 11 (01:29:04):
No, no, I can't, I can't. Oh, professor help.

Speaker 1 (01:29:07):
Me, I beg you, no, no, go back, Do not
come near me, Stay back. Your very touches poison. You
must go away from all this quickly, quickly, Giovanni.

Speaker 11 (01:29:15):
I can't. I can't. I love her too much. I
could not live without her. I could not live without her.

Speaker 1 (01:29:54):
Jovanny, you had imbued with the poison of the garden,
even if she I beg if you leave her this
now go go before it is too late.

Speaker 18 (01:30:03):
No no, I can't, I can't. Oh, professor help me.
I beg, oh no, no go back, Do not come
near me, stay back. Your very touch is poison. You
must go away from all this quickly, Giovanni.

Speaker 11 (01:30:13):
I can't.

Speaker 17 (01:30:14):
I can't.

Speaker 11 (01:30:14):
I love her too much. I could not live without her.
I could not live without her.

Speaker 1 (01:30:19):
Then then you should surely die already the fumes of
the flowers have impregnated you with that poison, and that
devil Rappacini is making ready even now to use you
to carry on is a choice?

Speaker 21 (01:30:30):
Is experimental lying?

Speaker 1 (01:30:31):
I don't believe you, Oh my poor boy, What reason
would I have for lying?

Speaker 11 (01:30:35):
I am trying to help you. She doesn't, no, I'm
sure of it, doesn't know about the poison that she's permeated.

Speaker 1 (01:30:40):
But of course she knows. Isn't there a peach you
Rappaccini almost as right now? And the scientist as a father.
I tell you, Giovanni, you must not see her again. Ever.
You must leave this place. My carriage is outside. We
can drive to my billa by midnight. Come come now,
before it is too late.

Speaker 11 (01:30:56):
How could their trity have done this to me, Professor Balleoni?
I couldn't go without knowing, without some word from her.

Speaker 1 (01:31:02):
You would see her again? Oh my boy, No, no, no,
you must, don't you.

Speaker 11 (01:31:06):
See I've got to know. Listen, help me, professor. There's
a mo off on the window curtain. Capture it in
this glass tumbler and cover it with a napkin. But
why what can my water proof what you've told me.
I could never be content without knowing the truth. Here,
take the tumbler, don't let them off escape.

Speaker 1 (01:31:21):
I do not understand, Giovanni.

Speaker 21 (01:31:23):
This is mad.

Speaker 11 (01:31:24):
There there it is. Cover the glass with a napkin.

Speaker 1 (01:31:27):
All right, there, it is done. Now where is your
carriage is just outside on the street.

Speaker 11 (01:31:32):
Will you wait there for me? Yes, if you wish.
But I still don't understand. Wake name lizabetha as Kurt
await in the carriage with you.

Speaker 1 (01:31:38):
What are you planning to do to find out the
truth your fanny? You are going to the garden, Yes, Professor,
I'm going to the garden. Giovanni, it's you the treatyre,
my darling.

Speaker 11 (01:31:55):
Come out in the light of the moon. There's something
I must tell you.

Speaker 38 (01:31:58):
I was frightened for a moment seeing your shadow against
my window. If something happened, Giovanni, come out in.

Speaker 11 (01:32:03):
The garden with me, and I'll tell you. Is your
father awake?

Speaker 38 (01:32:07):
I don't know. I don't think he is.

Speaker 11 (01:32:09):
Stand with me here where the moonlight's brightest be treachy.
I want you to know that I love you more
than my life. I want you to believe me.

Speaker 9 (01:32:20):
I do, Giovanni.

Speaker 38 (01:32:22):
But what is that you carry him your hand.

Speaker 11 (01:32:25):
Only a tumbler inside is a mob See how he
fluttered his wings inside the glass. Be treachy, hold out
your hand. Why, Giovanni, I want you to take the
moth on your fingers and watch it closely.

Speaker 9 (01:32:38):
Here.

Speaker 11 (01:32:38):
Don't let it fry away.

Speaker 44 (01:32:40):
No, I sha'n't.

Speaker 38 (01:32:42):
Oh how he struggles? Is he a very special mode
of some rare species?

Speaker 16 (01:32:49):
Giovanni?

Speaker 11 (01:32:50):
Look what's the matter with him?

Speaker 16 (01:32:54):
I I believe he's dead?

Speaker 21 (01:32:57):
Yes he is.

Speaker 23 (01:33:00):
Did What a shame?

Speaker 38 (01:33:02):
He was a prisoner too long?

Speaker 11 (01:33:04):
No, that isn't the reason. Be a treaty. Oh, my darling,
you've been ignorant of the poison. I knew you were.

Speaker 16 (01:33:09):
Who isn't What do you mean?

Speaker 11 (01:33:10):
Do you love me enough bear treaty to trust me completely?

Speaker 21 (01:33:13):
Do you say you do?

Speaker 16 (01:33:15):
I do your money, of course, and.

Speaker 11 (01:33:16):
There's no time to lose. I want you to go
away with me now tonight. Oh way, Why because this
garden is a tomb filled with the perfume of death, betreaty.
These flowers are deadly. They're filled with the most potent
poison in the world. Even now, your veins run with
noxious blood. Nor very touches death to any living things.

Speaker 34 (01:33:32):
So, Bunny, what are you saying?

Speaker 11 (01:33:33):
I speak the truth? Beatreachy and Heaven help us both.
For now my body too has gained your power, and
I am nourished by the poison of your garden.

Speaker 38 (01:33:43):
Oh it is my father's feet of steins. He is
united us in this fearful sympathy.

Speaker 46 (01:33:50):
Preach too, money he's seen here.

Speaker 11 (01:33:52):
Don't be afraid, my darlings.

Speaker 3 (01:33:54):
Close to midnight and tomorrow there is much to do. Oh,
you are not here alone, I see, bather.

Speaker 38 (01:34:02):
There's something you must know. Joe Bunny has come to
take me away.

Speaker 3 (01:34:06):
What where you are jesting? We will talk tomorrow of
your marriage the trich.

Speaker 11 (01:34:11):
You will not be here tomorrow, doctor opportunity.

Speaker 3 (01:34:13):
For what is this some madness of the moonlight?

Speaker 38 (01:34:15):
Joe Banny has told me of the garden, and it's poisoned.

Speaker 3 (01:34:18):
He has also poisoned your mind against me.

Speaker 11 (01:34:20):
No, it is not, and what is there to fear?

Speaker 3 (01:34:24):
The flowers will not harm either of you.

Speaker 11 (01:34:26):
Now.

Speaker 3 (01:34:27):
My science makes you both tend apart from common men.

Speaker 38 (01:34:31):
But why why did you inflict this thing upon your child?

Speaker 1 (01:34:34):
Flip?

Speaker 3 (01:34:36):
Can you use such a word when you can quell
the mightiest enemy with a breath, a power as terrible
as you are. Beautiful energy, come quickly now, No, you
cannot take her away.

Speaker 38 (01:34:46):
Chi come back, Joe, Banni.

Speaker 16 (01:34:51):
Where are we going?

Speaker 11 (01:34:52):
The carriage is waiting on the street home.

Speaker 21 (01:34:54):
What you are doing?

Speaker 46 (01:34:55):
Come back hand?

Speaker 11 (01:34:57):
Here's the stairway to the secret door.

Speaker 38 (01:34:59):
We won't sorry, Johnny will be tell me we won't
be sorry.

Speaker 11 (01:35:02):
Of course we won't. My darling come, they're waiting for us.

Speaker 1 (01:35:14):
Tell me what madness to bring that girl? Would you
like this?

Speaker 11 (01:35:17):
I would never have come without a professor, Dame Isabetta.
Let me have your should for the treaty. The air
is cold.

Speaker 38 (01:35:22):
The poor child, which you must have suffered here it is.

Speaker 1 (01:35:25):
Don't touch Elizabetha no good would come and be side
know it? Here be a treaty. Hold your shoulders.

Speaker 17 (01:35:30):
Where we going my villa just outside Padua.

Speaker 1 (01:35:33):
You understand, my child. It is not that I mean
to be unkind, but this thing is beyond our understanding.

Speaker 53 (01:35:38):
You need We will not tell me you how beautiful
she is, and to think her own past.

Speaker 11 (01:35:44):
It will be different. Now wait and see. Before many
days have passed, the poison will ever weigh, and we'll
be like anybody else freed from that terrible place. The
air is so different here, so steer, It's God's own air,
it's our life. Breathed deeply. Buddy, I'm afraid, Oh my darling,
these are our friends.

Speaker 38 (01:36:03):
Dear, it's so hard to bring their Giovanny, I'm afraid.

Speaker 16 (01:36:13):
I'm afraid.

Speaker 11 (01:36:25):
Professor Baloni, how is she?

Speaker 1 (01:36:27):
I don't know. Lizabeta is at her bedside. This this
frightens me, Giovannie. But it's been five hours since we arrived.
I can't bear for her to suffer. Giovanni. Look at me,
how pale you are, how quick you're breathy. I'm all right,
You're not all right. Come my friend dressed?

Speaker 11 (01:36:42):
No, no, no, I've got something to do for her.

Speaker 18 (01:36:44):
That's the yeah, the unpoisoned air, it suffocates her. There's
nothing we can do. Nothing, that must be something. I'm
going into her.

Speaker 11 (01:36:53):
Jame Elizabetha, how is she?

Speaker 16 (01:36:54):
Oh, Jenior, she is not well. If I could only
comfort her.

Speaker 11 (01:36:57):
A little treaty, give me for taking you away.

Speaker 38 (01:37:01):
I wanted to come, Giovanni.

Speaker 11 (01:37:04):
I want to be with you, Oh my darling. If
i'd known, you too, can feel it.

Speaker 38 (01:37:08):
I see the terror in your eyes. It's the garden, Gerovanni,
we miss the garden, but I never wanted to go back,
never again. I'd rather die than go back to the garden.

Speaker 16 (01:37:18):
Senor. Do you think, oh, that's it, that's it?

Speaker 38 (01:37:21):
What Elizabeth the garden, it's her very life there she
can lay.

Speaker 16 (01:37:25):
No, no, I won't go back.

Speaker 46 (01:37:27):
And you see, there in the garden is a drugged
air that keeps her alive.

Speaker 1 (01:37:31):
I know it is.

Speaker 12 (01:37:31):
I know.

Speaker 11 (01:37:32):
I can feel the need of it too. My lungs
burn with the need of it.

Speaker 6 (01:37:36):
And go back, go.

Speaker 16 (01:37:37):
Back before it's too late.

Speaker 15 (01:37:38):
You will die here, don't you.

Speaker 34 (01:37:39):
See, both of you?

Speaker 11 (01:37:40):
Elizabeth's write bit Richie, And there's something else? Why did
I never think of it before?

Speaker 17 (01:37:46):
Come?

Speaker 11 (01:37:46):
I'll take you in my arms to the carriage. There's
no help for us. We must go back to the garden.
Doctor Rappachili, Doctor rafa chi, we've.

Speaker 1 (01:38:01):
Come back the treach.

Speaker 3 (01:38:03):
Senor, you have killed.

Speaker 11 (01:38:06):
No, h she is not dead.

Speaker 3 (01:38:08):
Lay her hair beside the fount and oh, my child,
what has he done to you?

Speaker 11 (01:38:13):
We are both addicted to your poison.

Speaker 9 (01:38:14):
Doctor.

Speaker 11 (01:38:15):
We cannot live with how.

Speaker 3 (01:38:16):
Quick break off a flower, drop some of the dew
upon her lips.

Speaker 11 (01:38:22):
Bare treaty, my darling, taste of the flowers dew here.

Speaker 3 (01:38:26):
Doing some of it yourself? Sor it is magic. It
will give you strength.

Speaker 38 (01:38:30):
Giovanni, you have brought me back again.

Speaker 11 (01:38:33):
I could not see you die, my bear. Treaty here,
a taste of the dew again.

Speaker 22 (01:38:38):
We look.

Speaker 3 (01:38:39):
She breathes easily. The color returns to her cheeks.

Speaker 38 (01:38:43):
The air is sweet in my lungs. Giovanni, forgive me
for loving you. Now we must both stay here in
the garden forever.

Speaker 11 (01:38:51):
Lie still, my daughter.

Speaker 3 (01:38:52):
Now you know the power of my science. You see
how foolish it is to cross me.

Speaker 11 (01:38:57):
I am not convinced. Doctor Rappucini, you are a devil,
and I mean to find out the secret of your immunity.

Speaker 3 (01:39:02):
How are you saying?

Speaker 11 (01:39:03):
I know now why it is you never touch these plants.
You do have a secret of immunity from the vile
curse which the perfume of this garden inflicts upon those
who breathe the too long?

Speaker 3 (01:39:10):
Will let me listen to this.

Speaker 11 (01:39:11):
You would sacrifice your daughter to tend these poisonous things,
because if you were to remain here too long, you
would become infected too, just as we have and you
will leave this guard. I will not leave before I know,
and you will tell me, doctor Rappacini, what your secret is.
I will know the secret.

Speaker 1 (01:39:26):
I will know.

Speaker 11 (01:39:27):
The antidote get away from me.

Speaker 3 (01:39:28):
Your breath is sudden dead, Yes it is, and so
is my touch.

Speaker 11 (01:39:32):
While you are still uncontaminated by the perfume. Your life
is at the mercy of those whom it is infected.

Speaker 17 (01:39:36):
Is it not?

Speaker 11 (01:39:37):
Your temporary immunity has become your curse, has it not.

Speaker 56 (01:39:41):
Let's all, let's all, mother and doctor in the poison
of your own contriving all God, your bunny him, I too.

Speaker 11 (01:40:00):
Stand back by triccy. Look he's dying.

Speaker 46 (01:40:03):
What have we done?

Speaker 17 (01:40:04):
What have we done?

Speaker 19 (01:40:07):
My children?

Speaker 11 (01:40:09):
Forgive me?

Speaker 3 (01:40:10):
I am an old man, and my science to me
was more precious than the miracle of life. I thought
for the most powerful of drugs, and only now I
have found it. What is stronger than the love in
a man's heart?

Speaker 46 (01:40:27):
My father?

Speaker 11 (01:40:29):
What did we do?

Speaker 3 (01:40:30):
You can live your lives, my child, and walk as
free as others do. You are right here for me.
There is an antidote plot one of its blossoms, and
drink of the liquid from its petals. Even as I
have drunk of.

Speaker 11 (01:40:45):
It every day. Then you can leave the garden which
client doctor, Which is the evidence.

Speaker 3 (01:40:52):
The purple blossoms in the center of the mountain.

Speaker 22 (01:40:58):
They are my antidote.

Speaker 45 (01:41:04):
I thought that.

Speaker 11 (01:41:07):
Come my darling, leave him in his wonderful garden that
he loved. He has given us our lives again. From

(01:41:29):
the time worn pages of the past.

Speaker 52 (01:41:32):
We have brought you the story Rappaccini's daughter, Bell Keeper.

Speaker 21 (01:41:39):
All the bell m m hmmm.

Speaker 57 (01:42:40):
Let every ghost signal remind you that you do go
farther with signal gasoline. The Signal Oil program bringing you
another strange tale by the Whistler tonight, the story of
a weird game of murder of a threat which brought
the answer not if I kill you first.

Speaker 27 (01:43:20):
I am the Whistler, and I know many things, for
I walk by night. I know many strange tales, many
secrets hidden in the hearts of men and women who
have stepped into the shadows. Yes, I know the nameless

(01:43:41):
terrors of which they dare not speak.

Speaker 57 (01:43:49):
But first, I'd like to take a moment to tell
you about Joe Jagger's Signal gasoline station in Oakland, California.
It's busy as the beehive, hours before most alarm clocks
begin to jingle, Joe opens this signal station at the
cold gray hour of four forty five to get ready
for early morning defense workers because, as Joe puts it,

(01:44:09):
their jobs are helping win the war and I'm glad
to serve them. During the day, Joe finds time for
another unusual service. Many service men's families don't have cameras,
so with this fine speed graphic, Joe takes pictures of
them for mailing to their men overseas well. We can't
expect all signal dealers to open at four forty five

(01:44:31):
and take pictures for service men as Joe Jagger does,
but every signal dealer has his own way of delivering.

Speaker 6 (01:44:38):
Extra services even these days.

Speaker 57 (01:44:41):
That's because signal gasoline dealers don't operate just for to
day with them, serving you is their permanent business and
will be through years to come. They know your car
needs even better service to day when it must last
out the duration.

Speaker 39 (01:44:58):
And parts are hard to get.

Speaker 57 (01:45:00):
That's why friendly signal dealers give the thorough, conscientious kind
of service you can depend on, and that's why more
and more drivers are finding out that to make your
present car go farther. A mighty good man to know
is your neighborhood signal, gasoline dealer, and now the whistler.

Speaker 27 (01:45:29):
You probably didn't notice the item in your morning paper.
It wasn't very prominent. Just a squip on the sixth
page about another jewel robbery. Fifty thousand dollars in sparklayers
missing from one of the homes out on the hill.
Not much of a story because there doesn't seem to
be any mystery about them, As the chief of detectives
told the reporters.

Speaker 58 (01:45:49):
As simple as a BC.

Speaker 59 (01:45:52):
We knew it was an inside jam because there's no
sign of horse entry. Whoever did it got in the
house with an ordinary house. Not only that, but we
found a screwdriver under a chair. It matched up with
a march on the jewel drawer where he jimmeeted it open.
And that screwdriver came out of one of the family cars.

(01:46:12):
So we start looking around. There's a maiden cook, chauffeur, gardener.
We look up the records, found out this chauffeur is
an ex car served two terms for burglary.

Speaker 17 (01:46:24):
And there you are.

Speaker 6 (01:46:26):
He wasn't very smart. Yes, it was very simple, wasn't it, Officer.

Speaker 27 (01:46:36):
It makes no difference that the ex con turned chauffeur
swore he had nothing to do with it, swore to
you he's been.

Speaker 23 (01:46:43):
Trying to go straight.

Speaker 6 (01:46:44):
No, you're convinced.

Speaker 27 (01:46:46):
Only maybe if you knew what I do, Officer, you.

Speaker 19 (01:46:49):
Might not be so certain.

Speaker 27 (01:46:51):
If you could see the little room over on First Avenue,
where young tough Sammy Copelan is waiting for the business partner,
pacing the floor, peeking out around the drawn blind, getting nervous,
maybe you'd be interested in the conversation when his business
partner arrives, Albert easily, cheat, dapper, and proud of it.

Speaker 19 (01:47:11):
Okay, Sammy, relax. I took you long enough where you've been,
I said, relax. You're in a big time now. You
can't just dump fifty thousand dollars in hot rocks like
your pawn. A watch takes a little time, some diplomacy.
You have to sit down on chap with the fan,
so I'll be sociable here, pull up a.

Speaker 39 (01:47:26):
Chair, nuts.

Speaker 60 (01:47:27):
The main thing is that you get it.

Speaker 19 (01:47:29):
It's all here right in the briefcase. How do you
like it?

Speaker 17 (01:47:34):
Yeah?

Speaker 61 (01:47:36):
Ah, look at it.

Speaker 28 (01:47:37):
Fifty thousand collabs.

Speaker 19 (01:47:39):
Fifty thousand shows your inexperienced son. There's only thirty thousand
here thirty.

Speaker 60 (01:47:45):
What you said those rocks was worth fifty the paper
the small shore.

Speaker 19 (01:47:49):
But you don't think your offense will give you the
full value on hot rocks. He's taking a risk too,
he's gotta have some profit. We got thirty for him.

Speaker 54 (01:47:55):
Oh yeah, how do I know that?

Speaker 19 (01:47:56):
What do you mean?

Speaker 17 (01:47:57):
I mean?

Speaker 60 (01:47:57):
How do I know you ain't got the other twenty
catched out somewhere?

Speaker 28 (01:48:00):
Listen and skirt your trust me.

Speaker 19 (01:48:01):
See that's how you know. Now, relaxed like I said,
and be a good boy. I got nothing to worry
about as long as you stick with me. Now, i'll
come out your fifteen thousand.

Speaker 2 (01:48:09):
I want more than that.

Speaker 6 (01:48:11):
I want twenty five.

Speaker 19 (01:48:13):
What and leave me only five? That's a fine way
to treat a partner.

Speaker 11 (01:48:17):
I don't care about you.

Speaker 60 (01:48:18):
I want what's coming to me.

Speaker 19 (01:48:20):
You'll get it and no more. We split this fifty
to fifty.

Speaker 35 (01:48:23):
Oh why should we?

Speaker 17 (01:48:24):
Why should you get half?

Speaker 60 (01:48:25):
I did the job, I went in and got the stuff.
I took all a risk. All you did was sit
here and wait for me.

Speaker 41 (01:48:30):
Is that so?

Speaker 19 (01:48:31):
All I did is sit here and wait for you
while you running nose, little brat? What do you think
I was just thinking for you? How far do you
think you'd given that stupid brain of yours.

Speaker 3 (01:48:39):
I don't need you no.

Speaker 19 (01:48:41):
How much of this thirty thousand do you think you'd
have now if it wasn't for me? I'll tell you
in not one cent? Who found out about the jewels
in the first place? Me oo case, the joyan to
find out about the shop of being, the next con
who swiped the screwdriver, the plant on the scene, who
figured out every angle to make this one of the
neatest jobs. I'm a pull in this berg. You'd be
so stinking hot with the police right now, but I
hadn't met I mean, you've never even be able.

Speaker 60 (01:49:01):
To catch rocks in and now don't give me any
more of the style less and easily. I'm sick of
You're playing a big shot. Maybe you did do all
the thinking up to now, but maybe now it's my turn.
I've taken twenty five of that pile, and you ain't
got nothing to say about it.

Speaker 19 (01:49:14):
For you, when you're a little rat, you pull a
rot on.

Speaker 28 (01:49:18):
Me, Yeah, and I know how to use it.

Speaker 11 (01:49:20):
Big shot, I get counting twenty five for.

Speaker 62 (01:49:25):
Me, five for you.

Speaker 12 (01:49:28):
You like that?

Speaker 19 (01:49:29):
Is that a way to treat a path?

Speaker 6 (01:49:30):
And I'm no pile of you?

Speaker 17 (01:49:31):
As big shot, I can take care of myself.

Speaker 19 (01:49:34):
Okay, okay, it's twenty five for you and five for
me only if you're so smart, why not take the
whole thing?

Speaker 28 (01:49:41):
I might do that.

Speaker 19 (01:49:43):
Okay, don here take it.

Speaker 3 (01:49:45):
I drop that rock.

Speaker 19 (01:49:48):
That's better. I just keep this little rodin for suing it. Yes,
I don't teach you not to play rappers out, but
easily you see something. You're not as smart as you thought.
I'm always just a little bit small. I get up
and beat it gone.

Speaker 17 (01:50:03):
What about my money?

Speaker 19 (01:50:04):
Oh, you're so impulsive. I don't think you're better have
so much money around loose, Sammy. Maybe I better keep
it for you until you grow up a little come
around sometime when you're a not to be a double
crossing baby.

Speaker 28 (01:50:14):
I'll kill you easily, so help me. I'll kill you.

Speaker 19 (01:50:17):
Sure, I'm scared to tell you will be before i'm
throw I promise you. Okay, okay, I get going before
I take you over my knees.

Speaker 60 (01:50:24):
Better order your flowers now, pick suhot because I'll get
you if it's a last thing I do.

Speaker 19 (01:50:30):
Okay, go ahead and try it, Sammy, but just remember too,
can play that game. I can plug your mouf.

Speaker 21 (01:50:35):
I felt like it.

Speaker 19 (01:50:36):
But I'll out smart you at that game too.

Speaker 28 (01:50:38):
We'll say about that. Just remember, easily, I'm gonna.

Speaker 19 (01:50:43):
Kill you, not if I kill you first, Sammy.

Speaker 28 (01:50:46):
Okay, fair enough, so long, easily, pleasant dreams.

Speaker 27 (01:50:58):
Well, now a pleasant pair, don't you think? The kind
who make a game of murder and may the best
man win, winner gets the thirty g's loser gets six
feet of mud in his face. But then Albert, the
big shot, isn't worried yet. Maybe he didn't take Sammy
seriously at first, But then that afternoon something Harold.

Speaker 9 (01:51:17):
Paper allies vans on rhyme read all about it Paper.

Speaker 19 (01:51:23):
But him, mister Easley, here you are, thanks honey, we'll
keep it chaining good nice geez.

Speaker 16 (01:51:28):
Thanks mister Easley.

Speaker 46 (01:51:30):
Hey, mister Easley, look out look out him and he Missesley.

Speaker 37 (01:51:36):
How is a close winning?

Speaker 29 (01:51:37):
That guy looked like he was almost trying to hit you.

Speaker 19 (01:51:40):
Yeah, yes, he wasn't fooling. Huh, thanks honey for yelling
at me. I guess I'll have to be more careful
crossing streets after this.

Speaker 27 (01:51:54):
Yes, now you realize this is a pretty deadly game
you're playing, don't you, Albert.

Speaker 6 (01:51:59):
You know it's just possible.

Speaker 17 (01:52:01):
This kid Sammy might outsmart you.

Speaker 22 (01:52:03):
He might get you.

Speaker 27 (01:52:05):
He may get sent up for it, but he'll stalk
you through the streets like an animal until he gets
his chance. Yes, maybe you better figure something out out,
but do a little thinking about it. Talk it over
with somebody dolorous. Maybe she can keep your secrets. Okay,
as long as you're spending the heavy sugar on her. Sure,
talk it over.

Speaker 19 (01:52:26):
I'm not worried, you understand.

Speaker 34 (01:52:27):
Yeah, I can see that.

Speaker 19 (01:52:29):
I'm not a common gunment. I live by my brain now.

Speaker 34 (01:52:33):
But stop pacing up and down.

Speaker 63 (01:52:34):
You're getting yourself all upset. Besides, it's four in the morning, and.

Speaker 19 (01:52:37):
I have to go home upset. Well, who wouldn't be upset?
Everywhere I go, the guy's on my tail. I can't
go out in the street or so, I've been waiting
the doorway, go to my favorite restaurant. I see him
sitting there through the window, waiting for me. He's everywhere.

Speaker 34 (01:52:48):
You're afraid of him, aren't you?

Speaker 19 (01:52:49):
Afraid. No, I'm not afraid of him.

Speaker 63 (01:52:52):
Okay, so you're not afraid of him, why not let
me go get some tickets to Miami.

Speaker 34 (01:52:56):
You need the rest.

Speaker 19 (01:52:57):
No, I'm staying here. And get this straight. I'm not
afraid of him. Maybe he's not to get me. So
what he's not smart enough. Look at that car trick
that's still thick. He's not gonna get me. What tricks
like that? I've got nothing to worry about.

Speaker 34 (01:53:11):
Okay, now, how about taking me home?

Speaker 19 (01:53:14):
It's too late, I need some sleep. You take my car.
Keys are there on the table.

Speaker 34 (01:53:19):
Okay, sir Lancelot. But don't forget. You're no safer right
here than you would be taking.

Speaker 5 (01:53:23):
Me home back.

Speaker 63 (01:53:24):
Okay, Okay, sugar, I'm just kidding. I don't suppose you
can spare the time to see me to your pent
house door.

Speaker 19 (01:53:32):
You're know the way, That's what I thought.

Speaker 63 (01:53:34):
Well, my mother told me there'd be nights like this anyway.

Speaker 19 (01:53:38):
Wait a minute, what is it?

Speaker 18 (01:53:40):
Now?

Speaker 19 (01:53:40):
Shut up? You hear anything?

Speaker 34 (01:53:43):
Hear anything?

Speaker 11 (01:53:43):
Now?

Speaker 34 (01:53:44):
Why?

Speaker 6 (01:53:45):
I don't know.

Speaker 19 (01:53:47):
It's just noise.

Speaker 34 (01:53:48):
No, he's hearing things.

Speaker 19 (01:53:49):
Shut up there?

Speaker 34 (01:53:53):
Yeah, I did hear something?

Speaker 31 (01:53:55):
What was it?

Speaker 19 (01:53:55):
How should I know? But there's somebody up here on
the roof outside my apartment.

Speaker 34 (01:53:59):
Maybe it's only the wind, I'll wind.

Speaker 19 (01:54:01):
Listen, Yeah, somebody walking around out there. Turn off that light.
Hurry quiet, no more, sugar, I see it, a shadow
on the window.

Speaker 34 (01:54:18):
Shit, the doors turn open it.

Speaker 19 (01:54:20):
I'll get him, all right, prop your hands.

Speaker 11 (01:54:23):
Oh please please don't shoot.

Speaker 35 (01:54:24):
Don't shoot.

Speaker 22 (01:54:25):
It's me O'Brien, the night janitor.

Speaker 19 (01:54:26):
Oh, Brian, yes, turn on the light Solorius.

Speaker 23 (01:54:29):
Oh yes, it's me, mister, easily over the level of heaven.

Speaker 9 (01:54:32):
Don't shoot, Bryan.

Speaker 19 (01:54:33):
What are you doing up here?

Speaker 18 (01:54:34):
Well, somebody left this guy light open and I come
up to shout today.

Speaker 59 (01:54:37):
I saw a light here and then it went off,
and I just thought i'd better try your door to
see nobody get in.

Speaker 3 (01:54:41):
I didn't mean to frighten you.

Speaker 19 (01:54:43):
Mystery all right, Oh, Brian, it's all right, go on,
forget about it. It's a little something for your thank you,
Oh Brian, the janitor. You see, we've been worn a
bunch of shadows.

Speaker 34 (01:54:56):
So maybe you can laugh. But I've got the git
is good.

Speaker 19 (01:54:58):
I need a drunk gain you know where to fin
and I'm going to bed now, Brian. I should have known,
Sammy's not smart enough to try to get me here
in the apartment.

Speaker 34 (01:55:06):
Hey, don't you want to join me in a drinkroo?

Speaker 12 (01:55:08):
No?

Speaker 19 (01:55:09):
No, just bedroom was the last stop for me tonight.
I think I want to get the best nice sleep
I've had in a long time.

Speaker 6 (01:55:16):
You know the lay that.

Speaker 46 (01:55:18):
Jo what's the matter?

Speaker 9 (01:55:22):
Glorious?

Speaker 12 (01:55:24):
Come in?

Speaker 45 (01:55:25):
Where are you?

Speaker 22 (01:55:27):
The bedroom?

Speaker 34 (01:55:29):
But what's the matter? What do you just stand there for?

Speaker 9 (01:55:32):
Hello? Albert?

Speaker 17 (01:55:37):
What is it?

Speaker 19 (01:55:38):
A knife big enough to split a skull?

Speaker 34 (01:55:42):
A knife? What's it doing sticking in your bed?

Speaker 19 (01:55:45):
You was thrown there, probably through that window, somebody who
thought I'd be there asleep, Sammy.

Speaker 34 (01:55:52):
That's why the skylight was open.

Speaker 16 (01:55:53):
He came up here.

Speaker 19 (01:55:54):
Yeah, there's no imagining this. Samy wasn't kidding.

Speaker 1 (01:55:58):
He wasn't kidding.

Speaker 34 (01:56:00):
Oh yeah, And you are not afraid, are you, Sugar?

Speaker 57 (01:56:15):
You are listening to the signal oil program. Let every
go signal remind you that you do go farther with
signal gasoline.

Speaker 21 (01:56:42):
Now you know, don't you, Albert?

Speaker 27 (01:56:44):
There's no telling yourself it might not have been Samon.
You know now that he does mean to kill you
unless you can kill him first. And now you've got
to think, think hard to figure out a way to
outwit him.

Speaker 18 (01:56:57):
You won't have much time. Maybe his next at ten
will be more successful, and it might come anytime, any time.

Speaker 12 (01:57:06):
Oh there, it's made the lord.

Speaker 63 (01:57:09):
Okay, who's got this place closed up tight in a jail?

Speaker 34 (01:57:17):
When i'd open a few windows, it's stuffing.

Speaker 6 (01:57:19):
Other mind.

Speaker 19 (01:57:20):
I like it this way, okay, but in broad day
I like it this way.

Speaker 34 (01:57:23):
Hey, don't snap at me. I brought your paper. Becured
you wouldn't want to walk down the corner for it.

Speaker 19 (01:57:29):
Thanks.

Speaker 63 (01:57:31):
I was down at the station today, Price two tickets
to Miami. We can get reservations Thursday.

Speaker 19 (01:57:36):
I said, I wasn't going anywhere, okay.

Speaker 34 (01:57:38):
No harm and just pricing tickets.

Speaker 19 (01:57:39):
Is there brings cigarets?

Speaker 64 (01:57:41):
Yeah?

Speaker 17 (01:57:44):
Oh.

Speaker 63 (01:57:45):
While I was down there in the district around the station,
a very funny thing happened.

Speaker 19 (01:57:50):
I thought, I saw you, very funny. You know, I've
been here all day.

Speaker 34 (01:57:54):
I know, I know, but that's what it was so funny.

Speaker 63 (01:57:57):
This guy looked exactly like you, fool even me. I
walked right up to him and said, well, sugar, what
are you doing down here? And then I see by
the way he looks at mate, it wasn't you at all.

Speaker 34 (01:58:07):
It's some other guy.

Speaker 46 (01:58:08):
Oh you got a double running around town?

Speaker 34 (01:58:12):
Very funny, What a mistake a girl could make in
a situation.

Speaker 19 (01:58:15):
Like hey, you wait a minute, you're not exaggerating worries.
You mean this guy really could have been me? Fooled
you completely.

Speaker 63 (01:58:22):
I went right up to him and spoke to him.
I don't know what he could have thought of me,
but I nearly slapped his face for the look he
gave me.

Speaker 19 (01:58:28):
Yeah, yeah, yeah, that gives me a night waste the
idea I've been waiting for. It's made to water. What
do you mean, why don't you get it? I got
a double, there's two alban Easily.

Speaker 63 (01:58:38):
Well, that's what I've been telling you, sugar, Only his
name isn't Albert Easily, it's pocketfucker. I heard the footman
on the corner say good afternoon, mister Parker to him
when he went.

Speaker 19 (01:58:45):
Five, Oh, darling, it's perfect, a perfect alibi.

Speaker 34 (01:58:49):
I don't get it.

Speaker 19 (01:58:49):
Oh no, my mind.

Speaker 34 (01:58:50):
Now, say what did you see him down on fourteenth
Street near the station, and.

Speaker 19 (01:58:53):
He seemed to be known around there.

Speaker 34 (01:58:55):
Well, the fruitman said.

Speaker 19 (01:58:56):
Okay, okay, maybe they get easy I'll be back sometimes
that Where are you going down the fourteenth Street to
look up an alibi?

Speaker 2 (01:59:09):
Now this is more like it, Albert.

Speaker 27 (01:59:11):
Now you've got an idea. That brain of yours is
going full tilt, and you've got a feeling you're just
about to outsmart Sammy. But good you're down on fourteenth
Street passing the fruit stand.

Speaker 21 (01:59:22):
When hello there, mister Parker?

Speaker 6 (01:59:26):
Can I sell you some nice fruit?

Speaker 21 (01:59:27):
Today?

Speaker 6 (01:59:27):
I beg your pn and we got some nice apples?

Speaker 65 (01:59:30):
The kind of you like?

Speaker 19 (01:59:31):
I thought you'd called me mister Parker?

Speaker 6 (01:59:34):
Why sure, what else should I call you?

Speaker 19 (01:59:37):
Well, my name's not Parker, so wait on me.

Speaker 6 (01:59:42):
You are not the mister Parker, are you?

Speaker 21 (01:59:44):
Now?

Speaker 6 (01:59:45):
You talker like him? A little older maybe, and you
sure lookalike him dead the ring one of your suitors
are different?

Speaker 19 (01:59:53):
You mean I've got a double around were?

Speaker 6 (01:59:55):
You're sure I have a mister Bill Parker? He lives
right down the sh stir and missus Holmph is a
boarding house.

Speaker 17 (02:00:03):
You sure you enter his twin brother.

Speaker 19 (02:00:04):
I'm afraid now you say I haven't got a brother,
but you know i'd certainly like to see this guy.
You suppose he's home now?

Speaker 6 (02:00:10):
No, I'm pretty sure he's or not. He always goes
down to the theater district in the afternoon. He's an actor.
Between the engagements, you might have to say.

Speaker 19 (02:00:19):
Oh, I see, well, thanks a lot. Maybe I look
up this Bill Parker. I'd like to see a guy
who looks just like me.

Speaker 27 (02:00:36):
Yes, you'll look him up, all right, Albert. You hang
around his street all day watching for him. Finally he
comes home and you get a good look at him
from across the street.

Speaker 11 (02:00:45):
But it's not enough.

Speaker 27 (02:00:46):
You're there the next day when he goes out, and
again when he comes back, and the next day you
notice everything about him.

Speaker 6 (02:00:52):
It's easy to find out how he talks.

Speaker 27 (02:00:55):
Just questions some of the people along the street, people
who are surprised that you're not Parker. Then, to make
doubly sure, you take the final step.

Speaker 19 (02:01:03):
Try it once.

Speaker 46 (02:01:08):
Oh, mister Popper, you've got early.

Speaker 19 (02:01:10):
Oh just for a miner, missus hamp Rays, I forgot something.
Run up to my room for a second.

Speaker 34 (02:01:14):
Well here, you're forgetting your key.

Speaker 19 (02:01:16):
Oh yes, I forgot I left it with you.

Speaker 46 (02:01:19):
Mister Parker, you are we'll leave it with me.

Speaker 19 (02:01:22):
Oh, yes, so I do.

Speaker 46 (02:01:24):
Did you get to see mister silver the producer.

Speaker 40 (02:01:26):
No not yet, Oh dear, I do hope you'll see you.

Speaker 46 (02:01:29):
I know how much you're counting on that part, mister Parker, and.

Speaker 34 (02:01:32):
We're all pulling for you. Sure, I need a candle
for you.

Speaker 19 (02:01:35):
This morning, Thank you, Missus Hamprey.

Speaker 46 (02:01:37):
So are sure to happen today, and you won't forget
dinner tonight.

Speaker 19 (02:01:41):
We're going to have patrols, so, Missus Hamphreys, I.

Speaker 34 (02:01:43):
Know, but's about it. You've got to get some meat
on your bones.

Speaker 46 (02:01:46):
One hot mean a week isn't too much. We'll be
expecting you at six now, mister Parker.

Speaker 15 (02:01:50):
All right, miss cent.

Speaker 27 (02:02:00):
Sin sure even his landlady who sees him every day,
didn't suspect you weren't Parker. A few minutes in his room,
and now you're ready. You get Delores and give her
the setup found to work.

Speaker 19 (02:02:12):
It's beautiful, a perfect alibi. So Sam's going to be
a Charlie's Club tonight. I plug him on the data
eight And that exactly the same time Albert Easley walks
into the Hotel Commodore five miles away.

Speaker 20 (02:02:23):
Only it isn't Alberdeezer, that's right, it's Bill Parker.

Speaker 19 (02:02:26):
No much you'll know that.

Speaker 63 (02:02:27):
Yeah, one thing, how do you get Parker to show
up at the Hotel Commodore on the data of eight?

Speaker 19 (02:02:31):
That's for you for them baby. Oh see this Parker
is an actor trying to get apart from him, mister
Silver's his only chance. He's been starving to death. Okay,
you get on a phone call Missus Humphreys, tell her
to have Parker at the Hotel Commodore on the data
of eight, to see mister Silver in his room about
the park in his new play Your Silver Secretary. But
don't worry about Parker. He'll show up. Okay, I'm trying

(02:02:51):
to see Silver a week.

Speaker 34 (02:02:53):
Oh, I get it. But what happens when he shows
up there and there's no mister Silver.

Speaker 19 (02:02:56):
I only just figured somebody made a mistake. Maybe try
some other hotels. What the desk clerk will remember what
he looks like, and when he came in, he'll identify
me when the cops asked him, and Parker will never hear.

Speaker 12 (02:03:08):
Sounds pretty good, fool proof.

Speaker 19 (02:03:10):
I thought of every angle. I even went to raise
closet and then both suits. It looks just like here's
I'll have him in my wad. So one of them
will check with Parker's description at the hotel. Oh baby,
I figured everything out. Nothing can go wrong.

Speaker 34 (02:03:22):
Yeah, maybe you're smarter than.

Speaker 19 (02:03:24):
I thought, smarter than Sammy thought.

Speaker 34 (02:03:27):
And all I gotta do is call this guy on
the phone.

Speaker 19 (02:03:29):
Huh, that's all. Then tonight, a few minutes before eight,
you take my car pocket in a red zone in
front of the Commodore and get out quick without anybody seeing.

Speaker 34 (02:03:37):
In a red zone. But you'll get a ticket.

Speaker 19 (02:03:39):
Oh dear, that's just the idea. At eight o'clock, the
cop on the corner makes his last check up on
park cars. I checked up on that. After I pluged Sammy,
I raced uptown in a cab pick up the car,
have a traffic ticket in my pocket. Date at eight
o'clock in front of the Commodore. Just another piece of
my alibi.

Speaker 34 (02:03:55):
That's pretty clever.

Speaker 19 (02:03:56):
Sure, that's what I've been telling you, al but easily
smart guy, A very smart guy.

Speaker 6 (02:04:08):
Yes, you're a smart guy. All right, Albert, it's all
figured out. Delores makes the call. Parker will be there.
She drops you down near Charlie's Club and goes.

Speaker 9 (02:04:17):
On to park the car.

Speaker 19 (02:04:19):
You sneak in the back way up the hall.

Speaker 27 (02:04:23):
The door's ajar. There's Sammy sitting there, half facing you.
He's grinning about something, looking satisfied. You'll soon fix that. Yes,
you wipe the grin off his face, and nobody saw you.
You're out the back way before anybody has the sense
to look for you, into a cab hurrying uptown to

(02:04:45):
the Commodore. Yes, there's your car, and even before you
get to it, you can see the traffic ticket fluttering
from the windshield.

Speaker 19 (02:04:53):
Everything's okay, it's perfect, yes, perfect.

Speaker 27 (02:05:02):
You're home now and you're dressing down the traffic ticket
on the table, the suits that look like Parker is
hanging in the closet.

Speaker 6 (02:05:09):
You're just waiting for the cops and you don't have
long to wait. Yeah, uh, you out but easily, Yeah
from headquarters.

Speaker 19 (02:05:23):
Oh, come in.

Speaker 6 (02:05:26):
I'd like to ask you a few questions.

Speaker 19 (02:05:27):
Okay, go ahead.

Speaker 6 (02:05:30):
How where were you tonight around eight eight?

Speaker 19 (02:05:35):
Why? I don't know. Yeah, yes, it must have been
just about a when I stopped in the Commodore to
see a friend. What was his name, mister Silver? But
you know a funny thing, he wasn't registered there. I'd
been missing palm.

Speaker 6 (02:05:47):
You can prove that.

Speaker 19 (02:05:49):
Of course, yes, I thoughtlessly parked in a red zone
outside the hotel and got a ticket. There it is
on the table.

Speaker 6 (02:05:58):
I say, let's prose your car was there? What about you?

Speaker 19 (02:06:06):
Well, the desk clerk will remember me, I suppose.

Speaker 6 (02:06:10):
I will say about that. In the meantime, you'd better
come along with me, Isly. If what you say checks,
you'll probably be okay. If not, you might be held
on suspicion of murder.

Speaker 21 (02:06:32):
So far, so good.

Speaker 19 (02:06:34):
Just what you expected, wasn't it.

Speaker 9 (02:06:35):
Albert, the detective takes a look at your suits before
you go, questions you as to what you had on.

Speaker 27 (02:06:41):
You can't remember one of those in there, so no
matter what Parker was wearing. It'll check them down at headquarters.
You parry all the questions and insist that the desk
clerk be brought in to identify you.

Speaker 17 (02:06:55):
Finally, he is.

Speaker 21 (02:06:58):
Okay, Well, this is Ronald.

Speaker 6 (02:07:00):
The clerker was and dirty at the hotel Commodore at
eight o'clock to save me. Now do you recognize this man,
mister Ronald?

Speaker 11 (02:07:11):
No?

Speaker 17 (02:07:11):
I I never saw him before.

Speaker 19 (02:07:14):
Don't you remember I came in and asked you for
mister silver tonight at eight.

Speaker 66 (02:07:19):
Nobody resembling you came in the night and asked for
mister silver. Sure I'd remember that, but no one did.

Speaker 19 (02:07:28):
Oh you you you must be mistaken.

Speaker 66 (02:07:32):
No, I'm sure, I'm not. I've never seen this manner
anyone who looks like him.

Speaker 6 (02:07:39):
Man.

Speaker 57 (02:07:47):
In a moment, the whistler will be back to tell
you what really happened to the perfect alibi. Meantime, I'd
like to pass along some facts I just found out
on the battery situation. Did you know that last winter
batteries needed replacing the demand for new batteries actually exceeded
the supply by twenty five percent. Yes, and this year

(02:08:08):
the demand is likely to be even greater. All cars
are a year older, and ration driving is tough on batteries.
What's more, with our motorized armies advancing at full speed,
the military's demand for batteries will reach an all time high. Now,
I'm no crystal gazer, so I can't predict whether this
winter's supply of batteries will.

Speaker 1 (02:08:29):
Be enough to go round.

Speaker 57 (02:08:30):
But I do know that your neighborhood signal gasoline dealer
has just received a fresh stock of top quality batteries
built to signals rigid specifications for longer service batteries, so fine,
they're fully guaranteed up to two years. In my way
of thinking, that makes right now the time to have

(02:08:51):
your neighborhood Signal gasoline dealer inspect your battery. Then if
you need a new one, you can be sure of
getting one of those guaranteed quality the Signal Deluxe batteries.

Speaker 6 (02:09:03):
And now back to the whistler.

Speaker 27 (02:09:06):
And so Albert Easley wasn't as smart as he thought.
He was the perfect alibi, blew up somehow, And now
he's going to stand trial for the murder of Sammy Copeland.
Sitting in his cell, going over every detail. He can't

(02:09:27):
figure out what happened, what could have gone wrong. He
has only one satisfaction now. At least he outsmarted Sammy.
He got Sammy before the kid could get him, or
did he, you see, Albert, that's the part you don't
know about. That's why your alibi failed you, because Sammy
did get you first.

Speaker 11 (02:09:48):
When you shot him at.

Speaker 27 (02:09:49):
Eight o'clock, he interrupted his celebration of your death. Yours, Albert,
Only it wasn't yours at all. The police might have
told you that they found the body of a man
that night a man who looked enough like you to
have been your twin brother. His name was Parker, Bill Parker,
and your mistake was in not realizing that if you

(02:10:11):
accidentally ran across him, Sammy might too. Only Sammy didn't
look too closely. He simply unloaded that rod of.

Speaker 12 (02:10:18):
His, and that's why your Albi didn't show up.

Speaker 27 (02:10:22):
Yes, you were pretty smart, Albert, but sometimes the smart
ones have to pay off too, and Sammy got you
after all.

Speaker 57 (02:10:56):
Next Monday, at nine o'clock, the Signal Oil Program will
bring you another strange tale by the Whistler. The Signal
Oil Program is broadcast for your entertainment by the Signal
Oil Company, marketers of Signals Famous Go Farther Gasoline and
Motor Oil, and by your neighborhood Signal Oil dealer, who

(02:11:17):
is at your service daily to keep your car running
for the duration. The Signal Oil Program, directed by George
w Allen, The story by John Everett Hudson and music
by Wilbur Hatch, is transmitted to our troops overseas by
the Armed Forces Radio Service. Bill Panal, speaking for your friend,

(02:11:38):
the Signal Oil Company, and suggesting once again that you
let every go signal remind you that you do go
farther with signal gasoline. This is CBS, the Columbia Broadcasting System.

Speaker 11 (02:12:13):
The Witch's Tale.

Speaker 67 (02:12:20):
The Fascination of the eerie, weird, blood chilling tales told
by Old Nancy, the Witch of Salem, and Satan, a
wise black cat.

Speaker 18 (02:12:33):
They are waiting waiting.

Speaker 68 (02:12:36):
For you now, and I'm seventeen year old ivy today

(02:13:00):
I'm written seventeen year old. Well seton, Let's get down
to our yan spinning. Come on now, dost helped them light,
so we'll have it nice and dark. And draw up
to the fire so that you can gaze into the embers.
Her lead a fire to warm your blood. Here, listen

(02:13:23):
to this pretty tale.

Speaker 51 (02:13:26):
You gaze into the.

Speaker 69 (02:13:27):
Embers deep, and soon you'll see a big railway depot
in the town of London, England. Near them funny little
engines the English people got. Soon you'll see a funny
little coach. What the ones they pulled behind them? I'm
soon nearly a yarn about the puzzle.

Speaker 29 (02:13:51):
The puzzle.

Speaker 18 (02:14:03):
Every day's start away there. And the God has assured me,
mister Ims, that you'll have the compartment. Yourself said all
the way the theory. Hard that's just bully. This is
the show for of yours A born fikes us. That's
in Allison's I first came to England. I've learned to
appreciate the privacy of your railway compartment system, and today
I take it you're especially officiative the chap who's on
his way to meet the penance of his perspective Bride.

(02:14:23):
The first time we want privacy is the examination of
his conscience. A Julia has much respect for her stepmother's opinion.
I really have only my future father in law to
worry about.

Speaker 12 (02:14:35):
You know, it's funny you.

Speaker 70 (02:14:36):
Haven't heard of him.

Speaker 18 (02:14:37):
I'm told he's one of the most successful attorneys in London.

Speaker 22 (02:14:40):
Well, his name is vaguely familiar.

Speaker 18 (02:14:42):
Omroy, Theodore Omoroy, firm of Homoy and Hardy. There's any
other claims of fame? Well, Julia tells me he's a
puzzle expert.

Speaker 23 (02:14:52):
Puzzle expert.

Speaker 18 (02:14:53):
Yeah, you know, puzzles are his hobby.

Speaker 17 (02:14:55):
Oh you mean he.

Speaker 18 (02:14:55):
Solves those crossword binging bubs and plays with those wire
Yeah that's the word. Well, let's be walking towards the train,
says anywhere lead the way, Colin, Yes, I'm dead sorry,
you won't stand to the next train, vielish. He's only
had these few minutes together since you arrived from the verb.
I can't stay over. It was awfully good of you
to meet me here for this preet get together. Oh,

(02:15:16):
I had to hear more of the wonderful girls who've
been writing me about you met her in France. Yeah,
deuceouldly romantic. You from USA and Chief from England go
to France to find each other. Well, the poet says, two,
she'll be born a whole wide world apart.

Speaker 9 (02:15:30):
The man is in love.

Speaker 22 (02:15:32):
He's even courting forward me.

Speaker 18 (02:15:33):
Yeah, I guess I have got it pretty badly for
his train nearly ready to stop, I'm very anxious to
rejoin it.

Speaker 46 (02:15:40):
Why did she leave?

Speaker 17 (02:15:40):
Pattis just ahead of him?

Speaker 18 (02:15:41):
Are stupid conventions? Julia chaperone couldn't get away, and she
maintained it wasn't proper for engaged people to travel on
a company. So I'm sorry I didn't tell the old
Dodo to go jump on the scene with a Victorian notions.
Julia shouldn't have made that trip alone. She was too
badly upset or upset, and you see, she was called
home by a telegram from her stepmam. It was one
of those vaguely worded your presence is required immediately messages.

(02:16:05):
It makes you imagine all sorts of calamities. Well, Juliet
decided something had happened to her father. She's very devoted
to him. Well, two weas of mind. I called her
home by long distance and was told there was no
illness there or accident or death. They just wouldn't explain
the reason for her summon soul. Well, that only made
it more so. When I put around the train, she

(02:16:25):
was still greatly worried, so I was rather mysterious.

Speaker 39 (02:16:27):
Yeah, it does.

Speaker 18 (02:16:29):
But whatever the trouble is, it can be very serious. Illness,
death and accident are being definitely ruled out.

Speaker 23 (02:16:34):
What that means me, which is my compartment? Columns right?

Speaker 18 (02:16:38):
He is number three and this is my Hittleman God,
which you're promised to take care of. Oh yes, ship,
run inside. You'll be learning the compartment all the way, sir,
I've arranged for this. Oh that's spine guard here. Thanks
very much, Oh, thank you, sir, thank you very much. Well,
now in perfect solitude, you can prepare yourself to meet
your future father.

Speaker 1 (02:16:55):
In law.

Speaker 18 (02:16:57):
Too bad you haven't made a study of puzzles with
us then if you was a kingdom throned. I suppose
I'll have to give that subject a lot of serious sporty.

Speaker 35 (02:17:07):
Old don pestel by Colin.

Speaker 23 (02:17:12):
It's not thanks that I.

Speaker 71 (02:17:13):
May need it.

Speaker 22 (02:17:15):
Well, Well, a nice young chap your friend.

Speaker 1 (02:17:25):
What Oh, I thank you?

Speaker 18 (02:17:28):
But we're you weren't in this compartment a moment ago.

Speaker 11 (02:17:32):
How did you wisle?

Speaker 72 (02:17:33):
Isn't it you really must give serious thoughts to the
subject of puzzles.

Speaker 23 (02:17:37):
Mister Holmes, you know my name very well.

Speaker 1 (02:17:41):
Now permit me to tell you mine.

Speaker 22 (02:17:43):
I am Theodore Omaroy.

Speaker 18 (02:17:44):
You you're Julius Father. Yes, of course, now I recognize
you from the photographs. Oh, this is a place, sir,
excuse me if I don't shake hands. I've recently met
with a serious injury, an injury, rather painful one. Although
as you see, I wear no Bandit was it merely

(02:18:05):
your hand that was injurcer.

Speaker 9 (02:18:07):
You were very pale.

Speaker 18 (02:18:09):
Thought he had experienced a serious illness.

Speaker 30 (02:18:11):
You have been ill.

Speaker 18 (02:18:14):
That's the reason missus Omeroyd sent that telegram to Junior.

Speaker 72 (02:18:17):
It was because of me that telegram was in But
let's not talk about that now, if you don't mind,
I prefer a.

Speaker 21 (02:18:24):
More pleasant subject.

Speaker 22 (02:18:26):
I'm very glad to know you, my boy, and.

Speaker 18 (02:18:28):
I don't know either.

Speaker 10 (02:18:29):
But how did you know me?

Speaker 72 (02:18:31):
Well, that's an easy puzzle to solve. According to my
daughter's letters, they can be but one willis who Well
I hope I can convince you of that, sir. But
the guard said I was to be alone in this compartment,
and when he closed the door, I was alone.

Speaker 22 (02:18:47):
How one nurse did you?

Speaker 23 (02:18:49):
I came aboard from the other side, the arther side. Yes.

Speaker 72 (02:18:55):
You see how simple puzzles are when one has told
the answers. Oh, my gracious yeah, I've been talking of

(02:19:16):
puzzles for a solid uh.

Speaker 1 (02:19:18):
I hope you'll forgive me.

Speaker 72 (02:19:20):
You see, to me, all life is an endless succession
of intricate problems, which the successful man miss solved for himself, and.

Speaker 21 (02:19:29):
Which the good man, the man who.

Speaker 22 (02:19:31):
Loves miss solved for others.

Speaker 23 (02:19:35):
I wanted you to know my philosophy, and now I.

Speaker 11 (02:19:38):
Won't bore you any longer.

Speaker 18 (02:19:40):
Oh, you haven't bought me at all, sir. I've been
intensely interested a ticket, chir Oh, good lord, conductor not again.

Speaker 3 (02:19:47):
Sorry to body.

Speaker 18 (02:19:48):
Every each roll sat all right, sack and thank you.

Speaker 9 (02:19:54):
Well.

Speaker 18 (02:19:54):
One puzzle I wish you'd solve for me, mister Olmroyd.
Is why that conductor and never asks to see your ticket?
He's looked at mine four times?

Speaker 22 (02:20:02):
I ride free?

Speaker 73 (02:20:03):
My boy?

Speaker 18 (02:20:04):
Are you are a stockholder of this road?

Speaker 6 (02:20:06):
No?

Speaker 72 (02:20:07):
I am well acquainted with the chairman of its governing board, though, Uh,
mister Travis, my firm handles his legal business. The last
time I rode this train, I carried fifty thousand pounds
of his money in currency in currency, thousand pound notes.

Speaker 18 (02:20:25):
That's rather dangerous, isn't it. Men have been murdered for
a great deal less.

Speaker 22 (02:20:28):
It is a dangerous business.

Speaker 72 (02:20:31):
But when one is accustomed to handling large sums, one
grows careless.

Speaker 1 (02:20:36):
Ah, we're pulling into Whittam.

Speaker 22 (02:20:40):
I leave you here, my boy.

Speaker 18 (02:20:41):
Oh wor aren't you going home to fearing mister Romoight
not now? First time is to turn to Whittam. That's
where mister Treasits has his residence. You won't see me
again until tomorrow. In the meantime, will you give a
little serious.

Speaker 22 (02:20:57):
Thought to the subject of.

Speaker 18 (02:21:00):
I certainly shall mister Omelroyd. But uh, I'd value your
expert opinion as to wear and how i'd best begin.

Speaker 72 (02:21:06):
Circumstances will indicate your course of thought.

Speaker 6 (02:21:12):
Wait were uh?

Speaker 21 (02:21:13):
Were all right?

Speaker 18 (02:21:16):
Oh it's been wonderful meeting you like this. I was
a little worried at the prospect of formally asking you
to accept me as your son more and I accept
you gladly.

Speaker 1 (02:21:24):
If you look after Julia, won't you?

Speaker 9 (02:21:26):
I love your daughter very daily, sea, and you.

Speaker 72 (02:21:29):
Will remember that he who loves the solved life's problems
for others.

Speaker 1 (02:21:37):
I must leave you until tomorrow. I again, excuse my hands.

Speaker 23 (02:21:41):
The injury I mentioned?

Speaker 1 (02:21:44):
Do me?

Speaker 18 (02:21:45):
Where's my cigarette case? A cigarette case? I I haven't
seen you use once air.

Speaker 72 (02:21:50):
I'm sure I headed with me. I I mist abducted
here or what? I look for it and just take
care of it if you find it. You and Julia
take good care.

Speaker 18 (02:22:02):
Oh right, I followed already follow behind these cushions, this
rom Royd. Oh well, God, God, which way did the
gentleman go?

Speaker 35 (02:22:12):
Who is with me in this compartment?

Speaker 11 (02:22:14):
A gentleman with you?

Speaker 22 (02:22:15):
The discompartments?

Speaker 18 (02:22:16):
Of course, he just stepped out. You were standing right
beside the door. You must have seen him.

Speaker 19 (02:22:21):
This door has been closer until you will yourself just there.

Speaker 18 (02:22:24):
You've been alone the disc apartment all the way from London.
The gentlemen, we've been expecting his arrived, Missus Ameroyd.

Speaker 46 (02:22:40):
Mister Willis Holmes sure him in Barker, and then informed
Miss Julia that he's here right fins, Julia, if you wish, Missus,
perhaps you'd better to Thomas.

Speaker 18 (02:22:47):
You're going to let Julia tell the young men are
bad news.

Speaker 46 (02:22:50):
Naturally, he's heard of finest husband to pet.

Speaker 18 (02:22:53):
You think he'll break the engagement when he learns, Well,
what would you do if you were in his places?

Speaker 58 (02:22:57):
To Harvey, mister Willis Hoe were.

Speaker 46 (02:23:01):
Coming, mister Holmes, Julia will be here directly. I am
missus omoy.

Speaker 18 (02:23:05):
This is a great pleasure, Missus Omrod. Julia has told
me so many things about you. I feel I already
know you.

Speaker 46 (02:23:11):
I'll wait if she never told you many nice things
about me.

Speaker 3 (02:23:13):
I guess I control yourself.

Speaker 46 (02:23:15):
Allow me to present these gentlemen, mister Hard mister.

Speaker 1 (02:23:18):
Holmes, how do you do, young man?

Speaker 18 (02:23:19):
Mister Harry, you are mister Homeroyd's partner. I imagine I'm
a junior member of Omroyd and Hardier. And this is
mister Justice Rollainster, how do you do justice?

Speaker 28 (02:23:28):
Roley?

Speaker 18 (02:23:28):
Justice is a difficult title, isn't it In America? I
believe you would call me judge, although I'm merely a provincial.

Speaker 11 (02:23:34):
Justice of the peace.

Speaker 46 (02:23:36):
Julia, all right, this is mister Thoms, mister Holmes, how
do you do charms? And mister Toms is my husband's
personal secretary. Won't you all sit downe?

Speaker 9 (02:23:47):
Thank you?

Speaker 23 (02:23:48):
Mister Holmes looks rather uncomfortable.

Speaker 18 (02:23:50):
I don't imagine he expected to encounter such a large
gathering it uncomfortable. Oh yeah, comes the player visitor missus
Omeroy's family and finds the house swing about the blaze.
I guess you must control yourself. I don't understand. There's
nothing you need to understand, old man. Now I'm told
you're Aminican. How do you like England? I have learned

(02:24:11):
to like it very much. Mister Tom's with there's some exceptions. Well,
one is the type of guard employed on your railway train.
You don't approve a little regards. And I've just had
a very ridiculous experience with one. A chap either afflicted
with blindness or a very faulty sense of humor. I'd say,
rather silly story. But if you can't hear it, Willis, Julia, Oh, Willis,
I'm so glad, so glad, darling. What's the matter, Julia,

(02:24:35):
control yourself?

Speaker 46 (02:24:35):
Things already bad enough, Julia? Do you wish to tell
him now at our disgrace? At least wait until I
can be the rule disgrace?

Speaker 18 (02:24:41):
What do you mean, Julia, dear, I talked to your
father on the train an hour ago, and he didn't
mention any trouble here. What did you say, Yes, yes,
we traveled from London together as far as with him.
I don't believe that he would.

Speaker 46 (02:24:54):
Willis, you're sure it with my father?

Speaker 33 (02:24:57):
Of course?

Speaker 46 (02:24:57):
I am Why he did he say where he was
going he left you? Did he say when he beholds?

Speaker 18 (02:25:02):
Yes, he was eye's way to a place called with him.
He say he'd be home tomorrow.

Speaker 74 (02:25:06):
Tomorrow.

Speaker 46 (02:25:07):
Oh, thank god. I knew everything would come out all right.
The father would come back and explain.

Speaker 18 (02:25:12):
Mister Holmes was mistaken in the man he talked to. Yes,
Mury couldn't have traveled on that train as far as Whiham.

Speaker 46 (02:25:17):
The police would have arrested him before he got a board.

Speaker 18 (02:25:19):
Please, if the Bobby has missed him, every garden conductor
on that road has his description. But I have the
faintest idea what any of you were talking about. Though
I've never met him before, I've seen his photographs, and
I was neither mistaken nor the dupe of an impostor.

Speaker 38 (02:25:31):
What did he say to you?

Speaker 46 (02:25:32):
Willis decide the other things you've told us.

Speaker 18 (02:25:34):
He talked mostly about puzzle.

Speaker 71 (02:25:36):
It was father.

Speaker 46 (02:25:37):
He's coming home to explain everything.

Speaker 18 (02:25:39):
Want someone please explain to me what all this is about.
Perhaps that's my painful duty, mister Holmes. Through powerful influence,
we've thus far kept the story from the newspapers. But
two weeks ago Theodore Omeroy disappeared with fifty thousand pounds
belonging to a client of our firm and mister Travis
of Whittam. Indication has been found that mister Omeroyd met

(02:26:11):
with accident or foul play.

Speaker 22 (02:26:14):
Inference is obvious, and.

Speaker 46 (02:26:15):
He left me his wife to face the scandal.

Speaker 18 (02:26:17):
Travis is them, and he was on his way to
see today.

Speaker 11 (02:26:19):
You have been.

Speaker 18 (02:26:20):
Imposed upon no it father.

Speaker 46 (02:26:22):
I know he talked with father, and I.

Speaker 18 (02:26:25):
Hardly think Justice Rowley that a practical joker would have
possessed this cigarette case with mister Homeroyd's monogram upon it.
Josh homroids, where did you get that silver case from
the compartment where he left it? As he alighted from
the train.

Speaker 46 (02:26:36):
Everything will be explained. He said he'd be home tomorrow
with us. Yes, maybe let's him now. Maybe it'll be ridiculous.
Your father wouldn't ring his own door there.

Speaker 18 (02:26:45):
If he comes here, the police will bring him as
a prisoner.

Speaker 51 (02:26:49):
Come in.

Speaker 18 (02:26:51):
A police officer is here to see you, missus Homeroy.

Speaker 46 (02:26:54):
They were resting him.

Speaker 18 (02:26:55):
If they have, dear, they'll soon let him go.

Speaker 64 (02:26:58):
Yes, ma'am, I urged to come in on you like this,
Ladies and gentlemen, Mister Justice Rowley, what is it? Man speaker,
the bad nurse? The constables? At wit them a fair
mister Omeroy said, he the rest of him.

Speaker 22 (02:27:11):
No, ma'am, I found him dead.

Speaker 64 (02:27:14):
Doctor say he's been dead two weeks?

Speaker 18 (02:27:19):
Said two weeks.

Speaker 64 (02:27:21):
Yes, sir, I'll bring his body home first thing tomorrow.

Speaker 23 (02:27:24):
His body home tomorrow, merciful God, what was it that
worked with me in that compartment?

Speaker 18 (02:27:42):
But my dear Holmes, it's been established conclusively that my
partner was lying dead in that pit where they found
him the very time you insist he was with you
on that train. Nevertheless, he or his spirit was with me,
as I said, Oh, I know, it sounds mad, impossible.
I've always laughed at the tales of the supernatural, just
as you're laughing at me now. But I saw mister Omerod.
He talked with me an hour. I tell you, Julia,

(02:28:05):
you at least believe me.

Speaker 34 (02:28:06):
I don't know.

Speaker 46 (02:28:08):
It's all so horrible, it's too fantastic for any one
to believe.

Speaker 18 (02:28:12):
And even if you did see a ghost, Holmes, what
purpose did the thing accomplish? None, I guess still, I
feel it had a purpose in coming to me, one
I can't grasp. Seems to me the traditional storybook phantom
would have been of more practical service, mister Holmes.

Speaker 22 (02:28:28):
They always accused their murderer.

Speaker 18 (02:28:30):
And such an accusation seems the only means by which
the killer can never be brought to justice. We know
now that poord Omeroid was struck down for that large
sum of money he carried, But other than that of disconclusion,
we of the law haven't found a single clue.

Speaker 22 (02:28:45):
The girl should have known his murdered left no trail.

Speaker 18 (02:28:48):
But instead of dupping a helpful hint, mister Holmes says
his specter merely talked of puzzles.

Speaker 74 (02:28:54):
It would have been my father's way.

Speaker 18 (02:28:56):
Julia, you're not going to become a champion of this
young man's man delusion.

Speaker 46 (02:29:00):
Your father spirit could return to earth he'd appeared to you,
or to me, rather to dentiled fiance, whom he never
met in life. Father always said, the man who loved
solved the problems of others.

Speaker 18 (02:29:11):
That's what he said to me.

Speaker 23 (02:29:12):
Oh, this is asinine.

Speaker 18 (02:29:13):
You've had a dream, my boy, better forget now, for
it wasn't a dream. It was real, and it had
a purpose. Only I'm too blind to see it. I
didn't dream. The silver cigarette case, isn't that tangible proof?
I'm afraid that now I must shatter your illusions. I
was advised today that the coach in which you traveled
from London, by a strange coincidence, was the one in which,

(02:29:35):
two weeks before mister Romeroy took his fatal journey to
with him lying in idleness. The car had not been
cleaned carefully, so you found that case where the unfortunate
man had misplayed it, and he returned to put it
in my hands.

Speaker 6 (02:29:50):
That was his purpose.

Speaker 11 (02:29:52):
I see it now.

Speaker 18 (02:29:53):
Somehow in this cigarette case is the solution of the
puzzle you hint you regard the case in that life.
Perhaps you'd better give it into my keeping as a
possible clue for the police. Now I give it to
no one. For now I know a guilty conscience has
been keener than my wits.

Speaker 22 (02:30:09):
A guilty conscience.

Speaker 18 (02:30:11):
You are guilty, I accuse no one yet, Oh what
do you mean?

Speaker 75 (02:30:15):
I mean that?

Speaker 18 (02:30:15):
Now everyone in this room, at different times, with a
different excuse, has asked me for this case.

Speaker 9 (02:30:33):
Let me close the storg, Julia, and then talking.

Speaker 46 (02:30:37):
Private, will it What did you mean by the insinuation
you made a moment ago?

Speaker 18 (02:30:41):
Exactly what I said that, Perhaps a guilty conscience has
been keener than my wits. The killer of your father
wants this cigarette case because he has some reason to
be afraid of it. Your father's partner, Hardy, came to
me two days ago and requested it as a keepsake.
The day before that, Tom's made the same request. Yesterday
stepmother asked for it, and now Rowley would like to

(02:31:02):
have it. Fortunately, some instinct made me refuse to give
it up, even before I guessed it was the solution
of my ghastly puzzle.

Speaker 46 (02:31:09):
But your suspicions are terrible in spite of the frightful
way they've acted. Those people were my father's friend.

Speaker 18 (02:31:15):
Your father was killed for a sum of money, but
only his friends or his confidence you he carried on
his person. If I can only solve the puzzle of
the cigarette case, I learned which one is guilty. His
last words to me were, take care of it. You
and Julia, take good care of it.

Speaker 46 (02:31:34):
Your theory must be right with father. Everything was the
foundation of a puzzle. You think there may be a
secret compartment in the case.

Speaker 18 (02:31:41):
Yes, in which something is hidden. The metal is unnaturally
thick on the sides and heavily embossed. There may be
a shallow cavity between.

Speaker 46 (02:31:49):
Hooper a spring will leave the hidden in that school
work Here I am heel around the edges.

Speaker 74 (02:31:54):
Maybe something slide.

Speaker 21 (02:31:55):
That's it.

Speaker 18 (02:31:56):
That's a sliding edge. Look I found it look slight,
a hollow and there's a fold of paper in the recess.

Speaker 46 (02:32:03):
What's written?

Speaker 18 (02:32:03):
Might it stayed in June twelfth, the day your father
went to widhom about fifty thousand pounds. It says on
the understanding that if I have not left England by
tomorrow noon, Theodore Omeroid, to whom I give this writing,
will make its contents public. I hereby confess confessed to

(02:32:29):
what well that can wait? Let me see whose name
is signed here? Who turned off those lives?

Speaker 11 (02:32:36):
Let me go, Let me go.

Speaker 46 (02:32:37):
You won't get this paper, Hell Wills.

Speaker 76 (02:32:43):
You're running up of the door getting away, hellwill Willis?

Speaker 46 (02:33:02):
Is he going to be all right?

Speaker 70 (02:33:03):
Of course he is coming to now.

Speaker 18 (02:33:05):
Nothing wrong with a bump on the head.

Speaker 46 (02:33:07):
What happened in this room before you screamed, Julia is
the hippen's shape?

Speaker 22 (02:33:10):
What happened?

Speaker 46 (02:33:11):
One of you know what happened as well as I do.
One of you came in that door while our backs
were turned. One of you turned off these lights. One
of yours, Tuck Willis, then sees the paper we found
and ran and the one of you who did it
is the one who killed my father.

Speaker 18 (02:33:28):
Dare you accuse one of us your father's because.

Speaker 46 (02:33:31):
One of you is guilty?

Speaker 18 (02:33:33):
Julia Darling, are you all right now?

Speaker 12 (02:33:35):
Yes?

Speaker 18 (02:33:36):
Whoever hit me got away with the paper before we
saw the name of.

Speaker 38 (02:33:40):
Pat They got away.

Speaker 46 (02:33:44):
Where you failed.

Speaker 77 (02:33:45):
I may succeed.

Speaker 46 (02:33:46):
If my father came to you, Perhaps he'll come again
to me. Julia, I have lost the one door leading
from this room.

Speaker 18 (02:33:56):
She shurt off the lights. Turn those lives.

Speaker 51 (02:33:58):
You're going too far.

Speaker 46 (02:34:00):
Only one of you needs the other. Dark in this
locker room, my prayer is answered that one must face
the man he killed. Oh, Lord, I praisey, send my
father from the dead to bring justice.

Speaker 18 (02:34:17):
Open the door, turn on these lights.

Speaker 46 (02:34:19):
Are you afraid?

Speaker 18 (02:34:19):
Oh no, I didn't kill him.

Speaker 46 (02:34:21):
Father, Father, come to me from the greatest nonsense and
dun far enough. Are you afraid? I have no cause
to be afraid. Lord, send my father here to bring justice.

Speaker 18 (02:34:35):
Oh why not to be made a fool of by
a sick brained girl.

Speaker 46 (02:34:38):
Think what you like?

Speaker 18 (02:34:40):
I'm Did you leave this room? Yes, yes, we'll all
leave your come on quickly, good.

Speaker 46 (02:34:51):
Father, Father, God has let you answer.

Speaker 23 (02:34:55):
Some puzzles are too difficult for a man to solve alone.

Speaker 46 (02:35:01):
Don't be afraid that that's not Amorad's vice. You see,
Romes and the girl are playing a trick upon us
in the darkness.

Speaker 23 (02:35:10):
Some awful here easy light is growing in this room over.

Speaker 64 (02:35:14):
Royd's faces taking shape.

Speaker 46 (02:35:17):
Keep him away, keep him away.

Speaker 22 (02:35:19):
You help us with our puzzle.

Speaker 78 (02:35:22):
I can't do anything you say, only don't come to
hear me with your cold, dead hands. Keep away. I'll
tell them, I'll confess, but keep away.

Speaker 22 (02:35:34):
Yes, I killed him, tell them why. And I taken bribes.

Speaker 78 (02:35:41):
He made me sign a confession that would send me
to prison if I stayed in England.

Speaker 51 (02:35:45):
I waited for him on the road to private house.

Speaker 78 (02:35:48):
I didn't know about the money he had with him.
All I wanted was the paper that I didn't find,
the paper in that cigarette case that.

Speaker 18 (02:35:56):
I never found until tonight.

Speaker 16 (02:35:58):
Here it is.

Speaker 46 (02:35:59):
Use it.

Speaker 78 (02:36:00):
Send me to the gallows, but don't come here me
with your cold desserts.

Speaker 51 (02:36:05):
Don't come here.

Speaker 54 (02:36:06):
Me with your cold.

Speaker 18 (02:36:10):
I have the papers, confession you and Tom's hold on
to him.

Speaker 19 (02:36:13):
I'll phone for the police.

Speaker 22 (02:36:14):
I won't try to get away. There's no escape from
the dead.

Speaker 46 (02:36:21):
Father, Father will It's.

Speaker 22 (02:36:26):
Goodbye, Julia.

Speaker 1 (02:36:28):
My task is over. We will not meet here again.

Speaker 18 (02:36:32):
Father Julia, dear, take care of her, my boy.

Speaker 23 (02:36:36):
And remember he who loves muscle the puzzles of life
for other.

Speaker 39 (02:36:54):
Way.

Speaker 68 (02:36:55):
Actual the end of that scene, you folks, come, here's
next time my un birthday.

Speaker 6 (02:37:31):
Come down for blast off X minus five four three
two x minus one. Fire from the far horizons of

(02:38:07):
the Unknown come transcribed tales of new dimensions in time
and space.

Speaker 9 (02:38:12):
These are stories of the future.

Speaker 18 (02:38:15):
Adventures in which you'll live in a million, could be years,
on a thousand, maybe worlds. The National Broadcasting Company, in
cooperation with Galaxies Science Fiction Magazine presents he.

Speaker 23 (02:38:28):
Minus one.

Speaker 31 (02:38:40):
Tonight, the Murray Leinster Story.

Speaker 6 (02:38:43):
If you was a Macklin.

Speaker 17 (02:38:52):
After the last minute, I can't imagine that Maklin is
going to be the first planet that humans get off
of moving fast, braiden, hard and sweat and obious. There
wasn't any raising for it. Everything was all quiet at
the trading post. I was sitting on the front porch
while Beef he's the Macklin clerk, looks a lot like
a guy named Casey used to be a wiper on

(02:39:12):
the poll Myra. He comes out on the porch sprinkling
one and date has business.

Speaker 31 (02:39:19):
That's so good. There were a few Woodmarklins in this morning.

Speaker 17 (02:39:22):
Yeah, saw kind of nice looking because big saucer eyes.
What makes the nose is wake. I like rabbits. I
don't know, sir, I am not a Woods Macklin shoe.
I sure, no fense they buy much.

Speaker 6 (02:39:34):
No they didn't.

Speaker 31 (02:39:35):
He said the prices were too high.

Speaker 18 (02:39:37):
Oh yeah, they said they can get the same goods
at the other trading post for half price.

Speaker 17 (02:39:40):
Yeah, it's kind of hard to run a nice little
monopoly for the company with another trading post opening up
at half price. What is it the look at that
little kid playing on the mutt?

Speaker 31 (02:39:51):
You mean the Macklin kid. It's my cousin's niece.

Speaker 17 (02:39:53):
I can't get over those little kids would have dropery
mustaches like oh Man Bland, I gotta laugh every time.

Speaker 31 (02:40:00):
Well I understand, but you see, Marklins are getting much
more human every day.

Speaker 17 (02:40:08):
Hey, look at that. I got a trace on the
landing field.

Speaker 31 (02:40:11):
But the relationship isn't due for a month.

Speaker 17 (02:40:13):
I never know those trades to get up and walk
away if there wasn't a ship though, And yeah that
goes all Sally pulling up her roots. Well this can't
be any Rotaine ship. I wish Brooks was back from
the hills. Hey, captain heide overhead.

Speaker 23 (02:40:40):
Yeah, nice to see you all again, friends, Yeah sure, sure, friends, friends.

Speaker 39 (02:40:47):
I wish those Marklins were a little less friendly each time.
It's like being a movie.

Speaker 17 (02:40:51):
Shit, Hey, what's that? We didn't sign our requisition for
anything like that? Red hair everything else.

Speaker 39 (02:41:03):
Captain relaxed Brinkley. That is Inspector Caldwell. She's a troubleshooter
for Sam company.

Speaker 17 (02:41:10):
They must have finally read those reports books keeps signed
in that look for her.

Speaker 39 (02:41:14):
She's all, well, good morning, miss Colwell.

Speaker 37 (02:41:16):
Inspector Caldwell, please, this.

Speaker 39 (02:41:18):
Is Joe Brinkley. He's the assistant manager of the company post.

Speaker 37 (02:41:22):
Where's Brooks?

Speaker 17 (02:41:23):
He's up in the mountains, ma'am.

Speaker 37 (02:41:24):
We should have been here. I'm on Macklin to check
into this matter of a competitive trading post. Who's back
of it? The company is supposed to have exclusive trading rights.

Speaker 17 (02:41:33):
Brooks is trying to find out. The Macklin's around the
place always say that humans are off somewhere hunting or something.
We've never seen him. They take the lady's logging. Yes, sir,
it's a pleasure.

Speaker 37 (02:41:45):
He looks a little familiar, your clerk.

Speaker 17 (02:41:48):
He's a Macklin, but he looks a lot like a
man used to be a wiper on a Palmyra casey.
I think he's on the al Debroan run.

Speaker 37 (02:41:55):
Now, please please conduct me to the trading post.

Speaker 17 (02:42:03):
That afternoon, Brooks come down out of the hills with
a bunch of woods Macklins that were guiding them. I
took inspect the car well over them made him and
he gets one look at her red hair an otter
equipment and he stops short.

Speaker 1 (02:42:17):
Hey, what's this? She Macklin?

Speaker 37 (02:42:20):
I beg your pardon.

Speaker 17 (02:42:21):
This does inspect the call while she comment on a
Palmyra today. This is Brooks that had tried for hell
am I glad to see you. I guess they finally
read my reports and sect her headquarters. You've come to
check my request at the planet be abandoned, not at all.

Speaker 37 (02:42:34):
Macklin has great potentialities friendly natives trade should continue and increase.

Speaker 17 (02:42:40):
I explained.

Speaker 37 (02:42:40):
What I'm interested in is why you allowed a competitive
post to be established in our exclusive territory.

Speaker 35 (02:42:46):
My reports cover that, haven't you read them?

Speaker 34 (02:42:48):
Of course not.

Speaker 37 (02:42:49):
I was given a briefing on the situation here and
told to correct it. Well, now let's get to it.
Do they cut prices.

Speaker 17 (02:42:56):
Fifty but lots of Macklins still tried. What is just
our friendship, the real friend lady's marklins. Now, I'd like
to know excuse me, what does it take A girl
just brought you a compliment? Oh oh no, Sander run
and got a present for yes.

Speaker 16 (02:43:11):
Sir fifty.

Speaker 37 (02:43:14):
Well, if they want a trade war, we'll give it
to them. We can cut prices if we have to.
We have all the resources of the company behind us.

Speaker 35 (02:43:21):
Dear miss Caldwell, if you'd read any of my.

Speaker 79 (02:43:23):
Respector compliments compliment, Wow, let's say, well look at that.

Speaker 17 (02:43:34):
He is like mine, the same, bashed in nose and everything.
What do you know? Hey, what's your name? I can't
remember ever seeing you before. Well, that's the way it goes. Hey,
they take them in the post and give her a
present in this way. Thanks for the compliment. I'm greatly

(02:43:56):
on it. Yeah, it's real cute, real human.

Speaker 37 (02:44:01):
Human, Brinkley, you are going to be transferred out of
here the instant the Pellmarra gets back.

Speaker 17 (02:44:07):
Why you mean that girl, I'm giving her a present?
What's the matter?

Speaker 37 (02:44:12):
That's all you think about it? The callousness you're revolting.

Speaker 17 (02:44:18):
Miss Carlwell, I'm a fighting Maybe you don't exactly understand
about parallel evolution. Aaron Markley.

Speaker 37 (02:44:24):
I gather it's been parallel enough. That will be all
on that subject, if you please. In the morning, I
shall want to go and inspect that other trading post.

Speaker 17 (02:44:37):
We set out for the trading post the next day.
Brooks stayed behind on the conner. He was paved that
she hadn't read his report. Anyway, she was cured as
the bug, and he resented anyone with a figure like
that in authority over him, especially without reading his report.
I tried to explain to miss Cardweller, we just couldn't
go in and rip up the opposition post.

Speaker 37 (02:45:00):
Why not?

Speaker 17 (02:45:01):
They're poaching Macklin's imity humans. If we start trouble else
started to anything, may I murdered? That begamy?

Speaker 37 (02:45:10):
Vegamy? You're worried about that.

Speaker 17 (02:45:14):
Listen, let's call it.

Speaker 1 (02:45:15):
Well.

Speaker 17 (02:45:15):
You've got to understand about macklin evolution.

Speaker 38 (02:45:18):
I'm not interested.

Speaker 17 (02:45:18):
Yeah, hell now, this is the nest. Boy, say there's
about a dozen nuts on it. Not only if I
thought I'm a right.

Speaker 37 (02:45:26):
Look, there's a bird.

Speaker 17 (02:45:28):
Yeah, That's what I'm trying to tell you. I see
the bush grows nests for the cackle bird, and the
bird well fertilizes around the boys. It's even Steven. See
that's the way evolution works on Marklin. Like we were
trying to tell you.

Speaker 37 (02:45:43):
Mister Brinkley, I am not interested in learning about the
birds and the bees on Macklin or any other planet
from you. And let's get on to that trading post now.

Speaker 17 (02:45:55):
Naturally, when we got there it was only a couple
of Macklins hanging around. They told us to say, same
story about the humans having gone off somewhere hunting Donda flies.
When we got back to the company, plus Inspector Carlwell
furious is a wet cackle bird marched right in the brooks.

Speaker 37 (02:46:11):
I have just ordered a price cut on all items
on sale by seventy five percent. I've also ordered unlimited
credit for Macklin customers. They want a trade war over.

Speaker 6 (02:46:20):
There, I'll give it to But you don't understand there's
a whole planet where they could have put another trading
post without being discovered.

Speaker 35 (02:46:27):
Why put it so close to us?

Speaker 37 (02:46:28):
That furnishes them with a ready made market for human
trade goods, and it furnished them with Mocklins trained to
be interpreters and clerks, and it furnished them with a
Mocklin head clerk who was a very handsome young man.
Mister Brooks, he not only resembles you in every feature,
but he even has a good many of your mannerisms.
You should be very proud. Goodbye.

Speaker 6 (02:46:51):
That's funny like me. That's right, spreading image. Funny as
folks never brought him for a compliment present.

Speaker 17 (02:46:59):
How good is the If they was wearing your clothes,
I'd swear it was you.

Speaker 35 (02:47:04):
Maybe Joe remember that time he went off hunting with
Death and his folks.

Speaker 17 (02:47:10):
Yeah, sure, we were after don the flies. We caught
about sex.

Speaker 19 (02:47:13):
Up.

Speaker 17 (02:47:13):
You were wearing Mocklin clothes, won't you? You know they
are You're insulted if you don't listen. Did you come
back after one day for tobacco and a bath? Nah?
Now we were way over at Tunlip Hill. So Macklin
got killed and we had to bury him. It took
two days.

Speaker 6 (02:47:28):
Well, during that week, while you were off wearing Mocklin clothes,
somebody came back here wearing your clothes. He got some
tobacco and went out again. He looked just like you, Joe, exactly.
Nobody suspected it wasn't you.

Speaker 17 (02:47:42):
Why should he want to do.

Speaker 35 (02:47:43):
That, and he might have been checking to see if
he could fool me.

Speaker 17 (02:47:47):
Oh, that's a situation.

Speaker 6 (02:47:49):
I have mentioned it before, but I've been guessing at
something like this. Macklin's like to be human, and they
have kids that look human. Look at the difference between
death and the woods Macklin. Well, maybe they can want
to be smart like humans. Pretty soon they are or
their kids are that rival trading.

Speaker 17 (02:48:09):
Post you figured there on any humans running it?

Speaker 6 (02:48:13):
They're practicing with that.

Speaker 17 (02:48:14):
You mean they might figure they get rid of us
and have a couple of Macklins take up place. I
don't believe that Macklins like humans. They wouldn't harm humans
for anything. They like to be just like them.

Speaker 18 (02:48:28):
Listen, Joe, this Coldwell is the first human woman on Macklin,
isn't she. Yeah, Why she's got red here, the first
woman the Macklins see and with red hair.

Speaker 6 (02:48:39):
You know how Macklins admire humans with luck. It ought
to turn up soon. Boy, she's gonna take it hard
if it does. Women hate to be wrong, but it's
about our only chance. Listen, Joe, We've got to have
some check between us. What for, Well, if there's a
Marklin that looks like me, and when it looks like

(02:48:59):
you about to have a signal. Look, I'll cough twice
like this and you whistle back. That way we'll know
it's us. Okay, try it good, good.

Speaker 17 (02:49:14):
That way we'll know where us. Brook starts off the
next morning to visit the other trading post and see
the Maklin. It looks so much like him. Before he goes,
we do our little routine. It's about two weeks till

(02:49:34):
the Palmyras due back. That's pretty close fragrant waiting for
what we're waiting for it. I was thinking how good
life was on Markling up to now, and that made
me kind of a little sad. But it's the end,
there's no doubt about it. Macklin sure admire humans. They
pro those kids that look like him. You can't help

(02:49:56):
liking Macklins. But I can see what Brooks means. Marklin's
loose among humans, outsmarting them as that kids grow up
just about taking over in the galaxy when they come
back from the other trading posts. We went through the
sacred business again. The main time. Inspector Cardwell was busy

(02:50:17):
with her trade war. She cut prices once, twice, finally
six times until three days before the palmyras due back.
Our goods are market exactly one percent of what they
cost a month before. Brooks was getting more and more nervous.
Seemed like he was falling kind of in love with
a snappy little inspected. He was getting jumpy waiting for

(02:50:38):
her to get her big supplies. She was making out
merchandise requisitions. One morning when Daith come in, smiling friendly
at her. Oh, what is it, Deeth, there's a compliment
for you?

Speaker 31 (02:50:50):
What three of them?

Speaker 37 (02:50:52):
What is he talking about?

Speaker 80 (02:50:53):
Jo?

Speaker 17 (02:50:53):
This is it?

Speaker 39 (02:50:54):
Deith?

Speaker 17 (02:50:55):
Show them in now.

Speaker 37 (02:50:56):
Look, I haven't got time for public relations.

Speaker 81 (02:50:58):
These invertis here they.

Speaker 31 (02:51:00):
Are, inspector called the three compliments.

Speaker 82 (02:51:03):
Compliment, compliment, compliment.

Speaker 37 (02:51:06):
I see them, very pretty, very human. No oh no, no, no,
that that's impossible.

Speaker 35 (02:51:12):
No, very pretty red hair, all three of them, red hair.

Speaker 82 (02:51:17):
Very pretty red hair, same as human.

Speaker 6 (02:51:19):
Lady, very pretty, all right, take her out and give
us some presents this way, come on.

Speaker 37 (02:51:24):
But that's impossible. But those babies, three of them, but
they all they.

Speaker 19 (02:51:30):
Couldn't they do?

Speaker 35 (02:51:32):
They look exactly like you. That's what we were trying
to tell you.

Speaker 37 (02:51:36):
I've only been here a month.

Speaker 17 (02:51:39):
Mark when babies get one real fast. You admire humans.
It's kind of friendly when you think about it.

Speaker 37 (02:51:46):
You mean they can make their babies look like anybody.
They won't.

Speaker 35 (02:51:50):
It is all in my reports.

Speaker 6 (02:51:52):
They've got a queer sort of evolution here on Marklin
babies here inherit desired characteristics, not acquired characteristics, desired one
and what could be more desirable than you? Red hair
and all.

Speaker 1 (02:52:06):
That?

Speaker 37 (02:52:06):
I thought, I mean you and Brinkley, you could.

Speaker 35 (02:52:12):
Help it, dear, really, but I hated you. I thought about, Oh,
Darling and Joe, Yeah, do me a favor.

Speaker 1 (02:52:21):
Will you sure what?

Speaker 11 (02:52:22):
Get out of here?

Speaker 17 (02:52:24):
Oh?

Speaker 31 (02:52:25):
Okay and stay away for a while?

Speaker 17 (02:52:27):
Sure, only one thing? What that's.

Speaker 31 (02:52:34):
Okay?

Speaker 17 (02:52:35):
Then I'll leave your toe together. About two days later,
the Palmyra boomed down out of the sky. We were
all packed up waiting on a field. When the trees
finished getting out of the way. I kept thinking, No
matter what, Marklin, sure our friendly, They sure do it

(02:52:58):
my humans. I can see them crew members with levity
heading off from the field, with a whole gang of laughing,
singing Macklins following each one of them. After a while,
Cap Haney came over on a freight truck.

Speaker 39 (02:53:12):
It's a pleasure. I tell you to see these Mocklins.
I just came here from Welch's planet. The natives there suspicious, unfriendly,
and if you're not watching, they'll steal your gold teeth.

Speaker 37 (02:53:24):
But Mockley, Captain Haney, don't give orders to unload your cargo.
What do you mean we are abandoning the post? What
we are leaving Macklin completely?

Speaker 39 (02:53:33):
Sam company pulling out when there's still a milk credit
to be made. I don't believe it.

Speaker 37 (02:53:37):
I have authority to order the move, and mister Brooks
has convinced me of the necessity for it.

Speaker 39 (02:53:41):
Oh, Inspector, I know the company doesn't like to give
in the competition.

Speaker 37 (02:53:46):
There isn't any competition.

Speaker 11 (02:53:48):
Well, I thought.

Speaker 6 (02:53:49):
Scholar was right that at a trading post is purely
a Mocklin enterprise. They bought our goods from us and
pretended to sell them at half price, and we got
our prices, so they bought more goods from us and
went on some Macklin must have thought it'd be nice
to be a smart businessman, so his kids would be
smart businessmen, too smart. We'll close up this post before

(02:54:10):
the Macklins think of something else. What what do they
think of if they got loose from this planet, if
they can pass as humans, their kids could take over
human civilization. How would you like that?

Speaker 37 (02:54:22):
M I see, yeah, you'd better make ready to blast off.

Speaker 34 (02:54:27):
Captain.

Speaker 39 (02:54:27):
Yeah, but I got the B section off on shore.
Liberty men are scattered all over the place with Macklin's. Sure,
with Markland's. You know how it is regular party, fancy
Markland clothes, food, liquor, contin.

Speaker 37 (02:54:39):
You'd better sound the emergency record.

Speaker 39 (02:54:41):
Yeah, I see what you mean right away. Well, a
lot of accounts for all, but about up five of them.

Speaker 35 (02:55:00):
They're coming across the field.

Speaker 39 (02:55:01):
Now keep that line straight for the hatch. We gotta
cut off five.

Speaker 17 (02:55:06):
They're all in line.

Speaker 39 (02:55:07):
I'll check against the roster.

Speaker 17 (02:55:08):
White a minute does not. I went COmON luck by
that three.

Speaker 39 (02:55:12):
They can't be. I got thirty eight men lined up already.
Thirty eight. That's a full count.

Speaker 37 (02:55:17):
That's a human.

Speaker 17 (02:55:19):
He's wearing Mocklin clothes.

Speaker 39 (02:55:21):
It looks like Pete Werber from the engine crew.

Speaker 46 (02:55:24):
Hey, wait, wait for me.

Speaker 39 (02:55:27):
Wait, but it can't be. Werber's already checked in there.
He is in line.

Speaker 51 (02:55:31):
Wait, wait for me.

Speaker 39 (02:55:33):
WHA where'd you come from?

Speaker 6 (02:55:35):
I couldn't find my clothes.

Speaker 17 (02:55:37):
You see, I was in these mockling clothes when the
signal went off. I was trying to find my clothes.

Speaker 39 (02:55:43):
Werber, look over there in the line.

Speaker 9 (02:55:46):
Where, Hey, that's my clothes.

Speaker 17 (02:55:50):
That guy he looks just like me.

Speaker 6 (02:55:53):
Now, what's the idea?

Speaker 21 (02:55:54):
Hey?

Speaker 39 (02:55:54):
You come over here? Yes, sir, what's the idea?

Speaker 35 (02:55:59):
All right?

Speaker 17 (02:56:00):
All right? You caught me.

Speaker 31 (02:56:01):
I'm a mocklar clothes.

Speaker 17 (02:56:02):
Why did you do it?

Speaker 79 (02:56:04):
We mocklins like humans so much. I thought it would
be nice to make a trip to Earth and see
more humans. How come he looks like me? My parents
planned it five years ago when you came here. First,
they made me look like this wonderful human and hit
me till now and you'd give me back my clothes.
But of course, of course I wouldn't want to make
any difficulties for humans.

Speaker 17 (02:56:29):
He took it as a joke on him. He thought
the English as good as anybody.

Speaker 19 (02:56:34):
It was.

Speaker 17 (02:56:34):
I had to thought which was the macklin, which the
human guy? So we let him keep the human unifor him,
and he was very grateful. We took off after that,
and the Marklan stood around and laughed and waved and
threw flowers as we closed the hatches. Pretty soon that
Palmyra was pushing up through the atmosphere just before the
auxiliary circuits went on during the jump to overdrive. We

(02:56:56):
all stood around and the astrogator's dumb with the screen
turned up the I mag and watched as Macklin faded
into a round cattle out behind us.

Speaker 21 (02:57:07):
It's a shame.

Speaker 39 (02:57:08):
Sure was a pretty planet, real friendly, too friendly.

Speaker 35 (02:57:12):
I still have the shivers thinking we almost took a
Mocklin off with it.

Speaker 39 (02:57:16):
The other crew had been on Markland long enough to
have a double five years as a safety margin. Takes
them that long to grow up.

Speaker 35 (02:57:23):
We were lucky, Uh Joe, Huh what I said?

Speaker 28 (02:57:27):
We were lucky?

Speaker 17 (02:57:29):
Yeah, yeah, we sure are. I guess I was the
only one who felt a little different from the others
about leaving Macklin. I mean, Macklin's a swelled folks. It
seemed a shame. It would be annoyed it out that

(02:57:52):
no human ship is allowed to land on Macklin. But
I was thinking, I'll save my money, and I was
comp elements. Those three little kids that look just like
Inspector Carlwell and about five years they'll be grown and
I'll buy me a little private ship and shove off
of Markland again. And I'll pick me one of those
three redheaded gals and marrier Macklin style and bring her

(02:58:14):
out to a human colony planet. We'll have kids with brains,
top level brains. That's easy, if she wants it. That's
the way the kids will be born. I'll have to
bring other Marklins out too, and start them passing for humans.
My kids are going to need other Macklins to marry,
aren't they. It's not that I don't like humans.

Speaker 61 (02:58:37):
I do.

Speaker 17 (02:58:38):
If the fellow I look like Joe Brinkley hadn't gotten
killed action battle in that hunting trip, I never would
have thought of taking his place and being Joe Brinkley.
That's what I was thinking when Brooks suddenly got an IDEA.

Speaker 18 (02:58:52):
Wait a minute, Joe, you and I were on Macklin
more than five years.

Speaker 35 (02:58:58):
Yeah, so one thing and everything's all right.

Speaker 17 (02:59:13):
I mean, you can't blame me for one to live
among humans, can you? Wouldn't you if you was a Marklin.

Speaker 6 (02:59:36):
You have just heard X minus one, presented by the
National Broadcasting Company in cooperation with Galaxy Science Fiction magazine,
which this month features another fascinating for your Information column
written by Willie Lay Galaxy Magazine on your news stand
today The Night by Transcription X minus one has brought
You If You Was a Macklin, a story from the

(02:59:59):
pages of Galaxy by Murray Leinster and adapted for radio
by Ernest Cannoy. Featured in the cast were Joseph Julian,
Patricia Wheel, Carl Weber, Ralph Camargo, Helen Gerald, Stan Earley,
John Marley, and Dick Jennifer.

Speaker 35 (03:00:15):
Your announcer Fred Collins.

Speaker 6 (03:00:17):
X minus one was directed by Daniel Sutter and is
an NBC Radio Network Production's.

Speaker 23 (03:00:47):
Mystery Time Time Now for the Best in Mystery. Tonight
on Masters of Mystery, an exciting melodrama titled No One
Will Ever Know. Sure we supply bodyguards by the day,

(03:01:07):
a week or month, It's got to be twenty four
hours a day. You're best man, and I want him
to shoot to kill.

Speaker 3 (03:01:20):
Good Evening.

Speaker 50 (03:01:21):
This is Don Daud, your host for Mystery Time, back
again to introduce another and ABC Radio is great Monday
through Saturday lineup of mystery dramas.

Speaker 23 (03:01:31):
Every night at this time. A new and different story
our drama Tonight.

Speaker 50 (03:01:36):
On Masters of Mystery presented Live from New York, is
written by Leonard Saint Clair and is titled No One
Will Ever Know. Murder is bad business under any circumstances.
But when a man plots to make himself the victim,
well we promise you plenty of suspense, as Masters of

(03:01:57):
Mystery brings you No.

Speaker 23 (03:01:59):
One We'll ever know. Nobody believes me. They all think
it's my imagination, the sixth dream of a sick mind.
But I know he's out there in the night. I
know he's waiting for me, waiting for the right moment

(03:02:23):
to kill me. Nobody believes it could happen, because everybody
still believes I'm lucky. Lucky Sam Parnell, the man who
always wins. Lucky Sam who bought that stock that jumped
ten points in two days, Lucky Sam who was on
the long shot at yesterday's race. Lucky Sam who owns

(03:02:45):
a piece of that oil well out in Texas. That's
the way it was with me until last week. It
was Monday evening. I'd just gotten home, The maid took
my raincoat, and I headed for the bar to fix
myself a dream.

Speaker 83 (03:03:02):
Hello Sam Darling, Sure fine, honey, My Tini loved one. Good,
here we are, and damn you have notice? Notice what
my new dress?

Speaker 5 (03:03:16):
Oh?

Speaker 23 (03:03:17):
Well it's fine, fine, it's pretty fancy.

Speaker 74 (03:03:21):
And well it's a cocktail dress, darling. I thought I
ought to have something new for the boat. And I
promise I won't cost you anymore until we get to Paris.

Speaker 23 (03:03:29):
Who's complaining? All right, honey, to the trip to Paris.

Speaker 19 (03:03:36):
Good.

Speaker 74 (03:03:36):
That's delicious. Oh, by the way, did you find a telegram?

Speaker 23 (03:03:41):
Telegram?

Speaker 74 (03:03:41):
My left is on the ball for you. Yes, here,
it is practically under your nose.

Speaker 23 (03:03:47):
I wonder whom I called your.

Speaker 46 (03:03:49):
Office in case you wanted me to read the message
to you, but you'd already left.

Speaker 74 (03:03:52):
What what's the matter?

Speaker 9 (03:03:57):
Nothing?

Speaker 3 (03:03:57):
Do nothing?

Speaker 23 (03:03:59):
And I'm it was a clumsy thing to do.

Speaker 74 (03:04:02):
I'm dying. There is something wrong.

Speaker 16 (03:04:04):
You look sick.

Speaker 23 (03:04:05):
No, I'm I'm all right. There's nothing the matter. Look, Catherine,
can you get a rag and mop off? Dismiss Sam?

Speaker 74 (03:04:16):
What was in that telegram? Who is it from? Tell
me who is it from?

Speaker 28 (03:04:21):
Please?

Speaker 21 (03:04:22):
Please?

Speaker 23 (03:04:22):
Honey, you're getting yourself all upset about nothing. I suppose
you go tell Lottie to clear up this broken glass.
I'll fix this. Another round of drinks. As soon as
Catherine disappeared toward the kitchen, I reread the telegram. Sorry,

(03:04:42):
old man, our well is a dry hole. Send ten
thousand more to clean up.

Speaker 39 (03:04:47):
Final that.

Speaker 23 (03:04:50):
Signed Harry ten thousand more, ten thousand. I didn't have
every penny I had poured into that texas well was
borrowed money. Harry ought to know this that the be
our big plunge. Harry and I were going to crack
our first million. Now lucky Sam Parnell was broke bankrupt.

(03:05:12):
After dinner, I locked myself in the study. I have
to think to work something out with pencil and paper.
But it didn't work out. The stocks and bonds would
have to go to pay off the loans. The mortgage
would take the house. The only asset left would be
my life insurance about fifty thousand dollars policy with the

(03:05:33):
double indemnity clause.

Speaker 74 (03:05:37):
Yes, the phone, Jimmy, he's calling from school.

Speaker 23 (03:05:44):
Well tell him I'm tied up, Kathy and give him
my love.

Speaker 74 (03:05:48):
Oh but Darling, he must to say goodbye to you
before we sail.

Speaker 23 (03:05:52):
Well, then you can tell him we're not going to Europe.
What I'm turning in that tickets in the morning. Tell
Jimmy the old man's got to stay in clothes of
business deal, the biggest deal of my life. Don't argue
with my past. Run and don't wait there for me.
I'll be working most of the night. I'll see you
in the morning. The biggest business deal in my life,

(03:06:15):
it would be that all last and my last deal.
I set up most of them. I trying to work
it out. The idea was okay, but I was going
to need help, expert help. The next morning I dropped
by to see Max. His office was in the back
of a particular drugstore on forty third Street. Hello, mister Parnell,

(03:06:43):
it was a pretty good long shot running in the
eat this afternoon.

Speaker 17 (03:06:47):
As if you didn't know better.

Speaker 23 (03:06:49):
Mean why I came by an oh maxt as a
man who's in trouble. He's looking for somebody who will
do anything for a price.

Speaker 12 (03:07:00):
I was like, he's in big jovel.

Speaker 23 (03:07:02):
He is in a few days, will be broken. It's
big enough. It occurred to me Max that you might
have some friends, some connections, no friends, connections, maybe somebody
who can trust, somebody who won't talk. What's the job

(03:07:23):
to kill a man?

Speaker 11 (03:07:26):
Now?

Speaker 9 (03:07:26):
I'm the mister.

Speaker 23 (03:07:27):
Baron actually doing business with the mobs all the time.
You must have somebody. If it's done right, there won't
be any risk, and there's five thousand dollars in it.
Suppose we level with each other, mister Burnell, This friend
of yours.

Speaker 22 (03:07:49):
You, isn't it?

Speaker 11 (03:07:54):
Yes?

Speaker 12 (03:07:55):
Okay?

Speaker 23 (03:07:58):
Now, who do you want to taken care of.

Speaker 41 (03:08:02):
Me?

Speaker 23 (03:08:04):
You've sound like you mean it. I do, Max, I'll
be completely wiped out within a month. I don't want
my wife or my boy, and I'm the figure. I
don't want them out in the streets. I want them
to hold on to what they've got.

Speaker 21 (03:08:18):
Now.

Speaker 23 (03:08:18):
I'm too old to start all over again. My luck's
run out. Max alive, I'm worth nothing, not even to myself.

Speaker 5 (03:08:25):
Dead.

Speaker 23 (03:08:25):
At least my family will get by life insurance. Yes,
double indemnity, but the company won't pay off for suicide,
so it has to look like an accident, mister Max,
is no other way. I'm afraid to fake it myself.
I'll pay five thousand dollars all right, Maybe I can

(03:08:49):
get a boy for you, But well, with this kind
of deal, you'll have to be paid in advance. I'll
bring the money this afternoon, okay, thanks, Yeah, how do
you think you'll do it.

Speaker 19 (03:09:08):
Better?

Speaker 12 (03:09:08):
If you don't know?

Speaker 23 (03:09:11):
You might get two anxious maybe to help. Well, you
make it so no one we'll ever know, not even you.

(03:09:31):
When I left Max, I went directly to the steamship
office and got a refund on our round fift tickets
to Europe fourteen hundred dollars. I needed every penny I
could get hold of to make the five thousand for Max.
But I got it, and that afternoon I gave it
to him in cash. All I had to do now.

Speaker 9 (03:09:50):
Was waiting.

Speaker 23 (03:09:54):
Tuesday past and Wednesday Thursday. Every morning when I left
the office, I kissed cats from goodbye for what might
be the last time. Every night when I came home
to her, I dreaded the thought of leaving again in
the morning. The stream began to get unbearable. Let's get
this over with next, let's end it before I go mad.

(03:10:16):
And Friday, half Friday afternoon, Hello, oh, yes.

Speaker 45 (03:10:24):
Another telegram to the house. Do you want me to
read it to you?

Speaker 39 (03:10:28):
Yes?

Speaker 23 (03:10:28):
What do you please?

Speaker 5 (03:10:30):
I open it?

Speaker 45 (03:10:32):
Here's what it says. You will came in this morning.
Looks like a thousand barrels.

Speaker 23 (03:10:40):
Congratulations and it's Harry. Oh yes, Catherine, how wonderful, how unbelievable.

Speaker 45 (03:10:51):
Forget everything. You'll go off that up and you said
you won't do won't you sham? Are you messing?

Speaker 9 (03:11:01):
No?

Speaker 74 (03:11:03):
No, it can't go through now it mustn't.

Speaker 23 (03:11:06):
I've got to get the Max. I don't want to
get killed. I tell you he's gone, mister Barnell, gone
to where you've worked for him for years. You must
know where he's gone. Last I don't know.

Speaker 84 (03:11:28):
Right after the last time you were here, he came
out and give me two weeks wages. And that's a
pleasant for you, Charles. He said, I'm going on a vacation,
maybe two or three months. But look, some of his
friends must know where he is. Tell me where I
can find them. I never paid any mind to his friends,
mister Barnell. The reason I know your name is because

(03:11:49):
you told me.

Speaker 23 (03:11:50):
Once stays, I'm too late. Max didn't tell me who
was going to do it, or when or where, he said,
No one want I know, not even me.

Speaker 6 (03:12:10):
God, you're home early.

Speaker 23 (03:12:11):
That's for How soon can you pack your bags? I'm
pulling the airline right now to see if we get
the night's plane for London.

Speaker 74 (03:12:17):
That's impossible.

Speaker 46 (03:12:18):
Well, I need to least a week.

Speaker 74 (03:12:20):
To close up the house.

Speaker 23 (03:12:21):
A s all right, and I'm leaving tonight by myself.
You can join me later, but I don't want to, Sam.

Speaker 74 (03:12:28):
Something wrong with your fight is dead.

Speaker 23 (03:12:31):
That's a good comparison, Sam, Give me that phone.

Speaker 74 (03:12:35):
Now, what's happened?

Speaker 37 (03:12:37):
Sam?

Speaker 74 (03:12:37):
Tell me.

Speaker 5 (03:12:42):
So?

Speaker 23 (03:12:42):
I told them the whole story, right from Harry's first
telegram in my idea about the life insurance.

Speaker 1 (03:12:50):
Cats.

Speaker 23 (03:12:50):
Weren's face went as white as mine. Her eyes stared
at me with a day's unbelieving expression.

Speaker 85 (03:12:58):
How could you have a thought of such a thing.
Without you, this house and your own money would mean nothing.

Speaker 23 (03:13:05):
You don't understand. We'll pack your bags any hour, any minute.
Max is liable to go through with his part of
the deal. Please to get started, Catherine, I'll phone the airline.

Speaker 46 (03:13:14):
No, let me do it, you're your much too up there.

Speaker 23 (03:13:17):
I'll start cleaning up my desk. How if the London
plane is sold, I'll get up seats on a plane
going somewhere else anywhere.

Speaker 86 (03:13:23):
Hello, this is this is finale, doctamed please come right
over it.

Speaker 16 (03:13:28):
And is terribly sick.

Speaker 23 (03:13:29):
That's from Give me that are you wanted your mind?

Speaker 46 (03:13:32):
No, dear, I'm not, but I'm afraid you are.

Speaker 23 (03:13:44):
She didn't believe me. She thought I was cracking up.
I grabbed the phone and call the airline myself. The
best I could do was tomorrow's plane fourteen hours away.
Fourteen hours. I had to gamble on staying alive, Sam.

Speaker 86 (03:14:05):
Doctor Mead was called away on an emergency, but he
sent doctor Ives.

Speaker 12 (03:14:09):
To see you.

Speaker 46 (03:14:09):
I don't want to see him, but Sam, you must
see him.

Speaker 23 (03:14:17):
There's nothing the matter with me.

Speaker 28 (03:14:18):
I tell you.

Speaker 23 (03:14:19):
You've got to believe me.

Speaker 12 (03:14:20):
Doctor.

Speaker 23 (03:14:20):
That's why Max left town, don't you see? So he
won't be connected with my des But the guy he
hired is waiting for me. Doest any time anywhere. I
won't take a senators. Keep away from me, Catherine. Don't
let him use the needle, Catherine, Cathern.

Speaker 87 (03:14:53):
Catherine, I'm right here, Sam. It's ten o'clock. Wouldn't you
like some breakfast?

Speaker 23 (03:15:05):
Breakfast?

Speaker 17 (03:15:07):
Ten?

Speaker 23 (03:15:09):
Catherine? Get my pose to play.

Speaker 87 (03:15:11):
It took off an hour ago, Darling, I canceled our reservations.

Speaker 23 (03:15:16):
You cancel our Listen to me.

Speaker 74 (03:15:18):
You're going to be all right. Doctor, I've says this
happens to a.

Speaker 86 (03:15:21):
Lot of men when they overworld. He says, Oh, you
need is to rest and forget about business. Doctor ives
he knows all about everything, doesn't he? Except when I'm
going to be killed.

Speaker 39 (03:15:32):
And how and where?

Speaker 23 (03:15:43):
Listen. As my wife left the room, I jumped out
of bed and dress. I slipped down the backstairs and
before captaining the servants. Spite of me, I had my
car out of the garage. I drove to the nearest
precinct station. As I pulled up to the curb, I
couldn't help noticing the yellow coop that passed me in

(03:16:04):
parts further up the street. I thought I saw the
driver's serraton, but I wasn't sure. I couldn't afford to
take any chances, so I got back into the car
and roll of iron the science. I'd have been a
fool to go to the police if anything did happen.
I mean, the police would notify the insurance company and
Catherine would get nothing. I drove aimlessly around town, and

(03:16:28):
I happened to look in the rear view mirror. The
merry was the man in the yellow coop, and this
was his I tried to lose him in traffic across
town and back. Stilly hung on. I swung into a
parking lot and jumped out. I ran out of the
Mirror's building. I had to lose in my hand to

(03:16:53):
Just as I stepped into the elevator, my eyes suddenly
focused in the office directory Ryan Detective Agency Investigatations, Property
and Personal Protection from fourteen oh two.

Speaker 18 (03:17:11):
Whatever you wish, miss by now, we supply bodyguards by
the day, a week or as long as you walk.

Speaker 23 (03:17:17):
Got to be twenty four hours a day. You're best man.
And I want him to shoot to kill Well, that
all depends if the circumstances are to Ryan somewhere outside
this office, in the hallway, or in the elevator on
the street. A man I don't even know it's waiting
to kill me. I waited live in the office till

(03:17:46):
Ryan brought in Harrison, and then it was to be
my bodyguard for the first twelve hour shift. We left
the office together and picked up my car. As we
drove back to the house, I wanced for the yellow
coup Yes, it was keeping about a half a one
behind us. When we told him our driveway, the cook
kept on going and then turned it The next corner.
I sprinted for the front door and slam it.

Speaker 74 (03:18:09):
And you, oh god, you gave me such a fight
when you sneak off this morning. What are you doing?
What are you looking out of the window for waiting.

Speaker 23 (03:18:19):
For him to turnaround? You'll drive past again.

Speaker 74 (03:18:21):
Oh Sam, you can't keep on like this.

Speaker 23 (03:18:26):
You're ill, don't you realize, Sue shoe shure, this is
all my imagination. Catherine told the cook to fix dinner
for one extra. Harrison will be eating with us, is
my body, God, body God. He's putting the car in
the garage. You'll be along in a minute.

Speaker 74 (03:18:39):
Well, I want you to get rid of him. There's
absolutely no danger.

Speaker 16 (03:18:43):
Tell him to go.

Speaker 23 (03:18:45):
Is that what you want?

Speaker 39 (03:18:47):
Why?

Speaker 23 (03:18:49):
Maybe you want me to be killed? That's my insurance
looks pretty good to you, after all, And all the
money that'll be coming into that oil well stop stop.

Speaker 74 (03:18:57):
I can't take any more.

Speaker 16 (03:18:58):
I cut.

Speaker 23 (03:19:04):
I guess I am sick.

Speaker 12 (03:19:07):
With fear.

Speaker 23 (03:19:09):
Everything's going to be all right, honey. I told the
detective agency to track down Max. We'll get word of
him that the dealer is off. Max will call off
his blind obvious safe. Then I won't need the body God.
That makes sense, doesn't I suppose so, sure it does.
We'll see Europe yet, Catherine, You and I?

Speaker 6 (03:19:30):
What's that?

Speaker 74 (03:19:31):
It was only a car backfiring.

Speaker 23 (03:19:44):
Too much, too much for any human beings? Then for long?

Speaker 5 (03:19:49):
How long?

Speaker 23 (03:19:51):
How long will it take to find Max?

Speaker 21 (03:19:54):
The day?

Speaker 19 (03:19:56):
Two?

Speaker 11 (03:19:56):
Three?

Speaker 2 (03:19:56):
A week?

Speaker 11 (03:19:59):
What will happen?

Speaker 12 (03:19:59):
On the mean time.

Speaker 23 (03:20:04):
We played card film Catherine Harrison and I, my mind
was on another game, A game for my life. Eleven o'clock.

(03:20:26):
Catherine kissed me good night when we came up to
our rooms. She's probably asleep by now, and Harris and
the bodyguard are stationed outside my door in the big
easy chair, reading from tho Attack of magazines? Or is
he asleep too? Are He mustn't be, because my life
depends on him. But I've got to sleep. I must

(03:20:51):
rest and sleep. I can't go on this way when
I sleep mid night, still sleep on coming, This maddening
waiting waiting for what? When? Perhaps if I read a while? Yes,

(03:21:17):
I'll close the daw sit up to read a while.
Wait a minute, that's son, it's a Rudio. He's ready
on the yellow coop there in front of the house.
That see him out there waiting for me? Waiting to
kill me. He's not waiting. He's getting out of his car. Harrison, Harrison,

(03:21:40):
wake up. He's coming from me. He's coming in the
front door. You won't get me, Not that easy, because
all you'll find is Harrison sound asleep outside my door.
Because I'm going out this window now. If I can
make it to the garage without being seen going a

(03:22:27):
headlights behind me, No, I can't be, but it is.
He turns a corner too. All right, Max, I'll make
your prince sweat for us five thousand. I'm gonna cheat
him out of his Max because he won't get.

Speaker 71 (03:22:42):
Me to you here.

Speaker 74 (03:22:42):
I won't let him.

Speaker 46 (03:22:44):
I won't let him.

Speaker 9 (03:22:45):
Max my light.

Speaker 51 (03:22:47):
And I'm so lucky, say you here.

Speaker 18 (03:22:50):
I'm gonna win because.

Speaker 4 (03:22:51):
I'm so lucky.

Speaker 74 (03:23:11):
I heard the crash. I ran out as quick as
I could.

Speaker 23 (03:23:15):
The ambulance is on the way, Missus Parnell. But I'm afraid.

Speaker 85 (03:23:18):
I told you, doctor, I have told you he was
a sick man. That's why I hired you, mister Miller,
to keep him from doing Sunday foolish, and you drove
him to this.

Speaker 23 (03:23:30):
I followed my order, ma'am. I never let him out
of my sight. When I saw him go to the
bedroom window from where I was parked outside of my coop,
I forgive he was gonna jump. That's that's when I
rang your doorbell, and he.

Speaker 74 (03:23:43):
Thought you were someone who was good because Tennadan might
could there have been someone like.

Speaker 23 (03:23:52):
Max maybe Missus Parnell. But if I was a cheap
bookie and your husband gave me five one thousand dollars
to kill him, I just take the money and float down.
Why go through with a risky deal when you've already.

Speaker 17 (03:24:07):
Got the do.

Speaker 23 (03:24:09):
No, it doesn't make sense. Like you said, man, your
husband was pretty sick house did. I guess nobody will
ever know.

Speaker 62 (03:24:36):
Raise at the door, The two white men sitting on
the branda of the bungalow looked up as the Burmese
foreman climbed the steps and stood before them. Gregory Hopkins,
the manager of this remote timber camp in the heart
of Burma, montioned the native to a seat. What's the
trouble barn more tiger stories?

Speaker 5 (03:24:56):
Yes, one.

Speaker 62 (03:24:57):
The priest just told the villagers again that they he
does not hunt the tiger that is killing all their livestock.
They are afraid the manager's friend bart. Trevor listened to
Bahan's story with interest.

Speaker 81 (03:25:08):
He turned to Hopkins, Greg, do you mean that these
people won't hunt this tiger because he has some supernatural power?

Speaker 1 (03:25:15):
Yes, that's right.

Speaker 81 (03:25:16):
These kill people are very superstitious and believe anything the
priest tells them. I see suppose Bahana and I visit
the priest and see if we can find out anything.

Speaker 62 (03:25:24):
Early the next morning, Trevor entered a desolate section of
the jungle to visit the hut of the hermit priest.
The old man was evasive, even insolent in his answers
to Trevor's questions.

Speaker 81 (03:25:34):
That tiger you seek is not an ordinary tiger, but
is sacred. I have worn the villagers that anyone that
kills it will meet with a violent death, even you.

Speaker 62 (03:25:45):
Trevor and Bahan left the hut and started toward the village.
The Englishman spoke quietly to his companion, hurry to the
camp and bring mister Hopkins here. I'll see what I
can find out to meet you here. It was almost
dark when Bahan and Hopkins arrived at the rendezvous at
the side of the jungle trail. Trevor outlined his plans.
The three men climbed the giant tree that overlooked a

(03:26:07):
large enclosure where the goats of the village were penned.
Trevor smiled as he tried to make himself comfortable.

Speaker 81 (03:26:14):
Hissy, if the spirit Tiger shoes himself to night, we'll
see just how powerful he is.

Speaker 62 (03:26:20):
The hours passed with maddening slowness. The moon rose, scattering
the darkness, and the clearing about the goat pen. At last,
the silent vigil was broken by the sound of broken twigs.
Pulses leaped as a huge tiger emerged into the clearing
and made its way toward the goat pen. Hopkins switched
on his flashlight. Trevor raised his gun to fire. Then

(03:26:41):
an astonishing thing happened. Instead of springing back in the cover,
the animal rose on its hind legs and shuffled quickly
behind a tree. Trevor leaped into the jungle, following the
sound of the fleeing marauder. Seconds later, Hopkins heard him
shot quake, I've got him. Hopkins found his friend grappling
with the struggling figure. Ba Haan lifted a large tiger's
skin that revealed the identity of the spirit tiger as

(03:27:04):
the old hermit priest.

Speaker 81 (03:27:06):
When I needed meat, I went to village and killed
a goat. I wore tiger skin and told story of
spirit Tiger, so villagers would.

Speaker 17 (03:27:15):
Not harm me.

Speaker 81 (03:27:17):
If it had not been for you, white devils who
don't share our beliefs, I would.

Speaker 17 (03:27:22):
Not have been found out.

Speaker 81 (03:27:24):
But the people believed my teachings, and I must not
betray them now. Then, before the astonished gaze of his captors,
the hermit's hand flew swiftly from his waistband to his mouth.
He then staggered and fell dead by a powerful native
poison he had secreted on his person. This is Pat

(03:27:45):
McGee in Hollywood, California, saying goodbye for my writer, Charles Crowder,
and inviting you to listen again to another tale of.

Speaker 58 (03:27:53):
Strange adventure, Appointment with Fear.

Speaker 88 (03:28:18):
This is your storyteller, the Man in Black, care again
to bring you another story in our series, Appointment with Fear.

Speaker 28 (03:28:29):
Edgar Allan Poe's.

Speaker 88 (03:28:30):
Story The Pit and the Pendulum adapted for broadcasting by
John Dixon Carr.

Speaker 28 (03:28:39):
Jean Delbray. Captain Jean Delbray, Good fathers.

Speaker 17 (03:28:45):
Gentlemen, will hear you? My son?

Speaker 6 (03:28:47):
I have been confined for many months in a dungeon.

Speaker 22 (03:28:50):
I have been tormented by nightmare.

Speaker 28 (03:28:53):
Our conscious one trust, very silent, cling to you.

Speaker 41 (03:28:56):
Even now I have no knowledge of where I am
or to whom my name is speaks.

Speaker 28 (03:29:00):
You are speaking to me, my son. I am fa
Pedro d'espila, prior of the Dominicans of Segovia, and Grand
inquisitor for all space.

Speaker 11 (03:29:13):
Is this the court of the inquisition?

Speaker 28 (03:29:15):
It is, then God help me. He will help you,
my son, if you trust him.

Speaker 51 (03:29:22):
But I am a French officer, that is true, a
Souldian creature of.

Speaker 41 (03:29:27):
The Archien Napoleon Bonaparte, but a French officer, nonetheless, a
prisoner of war.

Speaker 89 (03:29:33):
By what right you try me in this court? Let
the clerk read the charges against this prisoner. Pray silence
while the clerk reads the charges.

Speaker 90 (03:29:43):
The charges against the prisoner das for a imprimis that
he is one Jean albre a captain of artillery in
the army of Bonaparte, so called Empire de fence.

Speaker 28 (03:29:53):
This means nothing, as the prisoner says, it is no crime.

Speaker 90 (03:29:57):
Proceed I tell on the fourth day of September, in
the year of our Lord eighteen hundred and eight, said
John Delbray did with Esparus and Mary that most noble lady,
the Donna Beatrice Valdez, niece and ward of the illustrious
One moment, your excellency.

Speaker 28 (03:30:12):
Is spoke Briantonio. Was any cheat employed to trap this
girl into marriage against her will?

Speaker 18 (03:30:20):
No, we have no actual evidence of any cheats.

Speaker 28 (03:30:24):
Was the girl of a I believe?

Speaker 41 (03:30:26):
So?

Speaker 28 (03:30:26):
Then, wherefore is the prisoner here? This marriage was a
deplorable thing. If you like, Bonaparte himself is almost at
the gates of Madrid, his general Lasale menises our city
of Toledo itself. But lawful marriage, however regrettable, is no
sin or crime. There are other matters in the indictment.

(03:30:49):
I think, then, continue, but give us nothing that is
not material.

Speaker 90 (03:30:54):
Item that on the twelfth of October eighteen hundred and eight,
said Jean Dalbray, being in command of a five battery
of light artillery, did direct the power of his guns
against the Holy Church of s. Martha the Innocent, and
thereby his wicked malice destroyed the church.

Speaker 28 (03:31:12):
Captain Dalbray, is this charge true? Yes, you admit it,
good father.

Speaker 41 (03:31:19):
Here what I have to say the church blew up,
I think, would you boast of your sin?

Speaker 16 (03:31:24):
Young men?

Speaker 17 (03:31:24):
It blew up.

Speaker 41 (03:31:26):
Because it was stored with kegs of gunpowder for your army.
I had every right to parliament, and that is all
the defense you have to make. I tell you I
had every right to parliament by military law.

Speaker 28 (03:31:37):
Is military law above God's law?

Speaker 1 (03:31:41):
I don't know.

Speaker 17 (03:31:42):
I did my d say, long live the Emperor.

Speaker 28 (03:31:45):
Captain Delbray, here the sentence of this court. Had your
offense been any except this, the Holy office would have
been worser maah what I say. No man, however great
his heresy, is ever condemned to be burnt in the fire, fire, fire,

(03:32:11):
the fire, if he first recent and acknowledge the error
of his ways. But for you, Jean Delbrey, there can
be no mercy, no pity, no atonement. The onless sentence
of this cord can be.

Speaker 21 (03:32:30):
Death.

Speaker 28 (03:32:32):
There the secular or government armed to which we must
release you, has devised two ways of punishment in cases
such as yours. You hear the tolling of bells.

Speaker 21 (03:32:44):
I hear them.

Speaker 28 (03:32:45):
It is the procession of the condemned going to the
auto da fe.

Speaker 91 (03:32:51):
Soon the yellow light of the flames will stream through
the windows.

Speaker 6 (03:32:56):
And flicker on floor and feeling captain not just in
manners to as dominate.

Speaker 28 (03:33:04):
Most of those condemned out of mercy will be strangled
before they are burnt. It cannot be so with you,
Jean Delbray. You must die in one of two ways.
Either with a diarist of physical agony, a slow.

Speaker 91 (03:33:22):
Fire of green wood het bandages about the head and
heart so that the fire does not approach too quickly
silent cry to you, I cry your pardon, Grand inquisitor.
Or else, Jean Delbrey, you must die in a certain
other way.

Speaker 6 (03:33:39):
Have done with this, Pass your sentence, and let me go.

Speaker 28 (03:33:42):
The Lord does not permit me to tell you now
what this other way is. It must approach you slowly
and force itself into your mind. It must stop you
like a tiger. It must bring you face to face
at last with the King of terrors, the sentence of

(03:34:04):
this court.

Speaker 12 (03:34:05):
There hot.

Speaker 41 (03:34:22):
I had swooned. Yet still I will not say that
all of consciousness was lost in.

Speaker 12 (03:34:28):
The deepest slumber.

Speaker 41 (03:34:30):
No in delirium, no in a swoon, no in depth,
No even in the grave hall is not lost. There
are shadows of memory which tell me indistinctly of tall
figures that lifted.

Speaker 3 (03:34:44):
Me and bore me in silence, down, down, still.

Speaker 81 (03:34:48):
Down, until a hideous dizziness oppressed me.

Speaker 51 (03:34:51):
But that does sent into the earth.

Speaker 41 (03:34:53):
There was a vague horror at my heart because of
that heart, and as little stillness, then this consciousness swam
back from I would.

Speaker 12 (03:35:00):
Alone darkness, stone floor, darkness.

Speaker 9 (03:35:09):
Oh, Beatrice, Oh my wife?

Speaker 44 (03:35:16):
Did you call me, Jean?

Speaker 9 (03:35:18):
Beatrice?

Speaker 12 (03:35:20):
Was that you who spoke? Yes, you here in the
dungeons of the inquisition.

Speaker 44 (03:35:27):
I am not really speaking to you, my poor Jean.
I am only in your imagination.

Speaker 12 (03:35:35):
Am I mad?

Speaker 24 (03:35:36):
Then?

Speaker 41 (03:35:37):
No?

Speaker 44 (03:35:38):
But your brain is fevered. You only think you hear me.

Speaker 12 (03:35:43):
I hear you clearly, as clearly as I once heard
you in the.

Speaker 44 (03:35:47):
Little church near the ebro well we were married.

Speaker 12 (03:35:50):
Yes, I destroyed that church, Beatrice.

Speaker 17 (03:35:54):
I had to.

Speaker 18 (03:35:54):
It was my commanding officer's order.

Speaker 12 (03:35:58):
Be comforted.

Speaker 44 (03:35:59):
There are those who can.

Speaker 41 (03:36:00):
It is completely dark. There's hardly any air. I dread
to get up, and I dread to stretch out my hand.
Suppose they have buried me alive?

Speaker 44 (03:36:20):
Courage can you stand up?

Speaker 9 (03:36:26):
I think so?

Speaker 44 (03:36:28):
Then walk, walk as far as you can. Measure the
limit of the cell.

Speaker 12 (03:36:33):
If this is not a tool, You're right, Beatrice, as always,
I'll try.

Speaker 44 (03:36:42):
Are you on your feet?

Speaker 12 (03:36:43):
Yes?

Speaker 41 (03:36:45):
Now pray for a poor devil who always meant well?
One pace, two, three, four?

Speaker 44 (03:36:59):
You are very weak shot, rest a moment.

Speaker 12 (03:37:03):
Where are you now, Beatrice in the flesh.

Speaker 44 (03:37:05):
I mean you know that John in the old house
by the olive grove, scorned of my people?

Speaker 12 (03:37:13):
Yes, I know it.

Speaker 44 (03:37:16):
Each morning I climb to the hilltop and watch go on.
Sometimes I think I hear dune for yous rumble in
the hill, and long moving columns with the red dust
rising above them.

Speaker 9 (03:37:30):
Go on.

Speaker 92 (03:37:31):
First come the heavy cavalry and plume crested helmets on
their flanks, wheeling like hawks, white huzzards in blue and scarlet,
and behind them in a glitter of bane's as vast
as light points are seen, rank upon rank, the long
gray coats and tall bask in cats.

Speaker 4 (03:37:49):
Of old God on the grand novel.

Speaker 16 (03:37:55):
It is only a vision, my dear one.

Speaker 12 (03:38:00):
They do not come, Will they ever come? Atrius?

Speaker 44 (03:38:04):
I cannot tell.

Speaker 9 (03:38:06):
Then, Niemus face.

Speaker 30 (03:38:08):
What has been prepared for me?

Speaker 12 (03:38:11):
The tris Yes, Joe, I tried to walk. I took
some steps four steps pretty much direction.

Speaker 11 (03:38:18):
I can't remember.

Speaker 44 (03:38:19):
Are you facing in the same way?

Speaker 22 (03:38:21):
I don't know.

Speaker 44 (03:38:22):
Perhaps then walk again. Try keep your hand in front
of this.

Speaker 41 (03:38:27):
This robe impedes me, and the floor is treacherous with slime.
But I try four paces, five, six, seven.

Speaker 44 (03:38:39):
It can't be a tomb.

Speaker 28 (03:38:42):
Eight nine.

Speaker 46 (03:38:45):
Look out.

Speaker 12 (03:38:53):
I'm all right.

Speaker 41 (03:38:55):
I fell on my face. The robe trip ney, But
what is it? My hand is in front of me,
lower than my face, but I feel.

Speaker 44 (03:39:07):
Nothing, nothing, Jean.

Speaker 41 (03:39:11):
It's a bit, a circular bit, and I fell on the.

Speaker 12 (03:39:17):
Very edge of it.

Speaker 44 (03:39:17):
They would have made you walk into it.

Speaker 41 (03:39:19):
Yes, there's a loose fragment of rock just inside the edge,
if only I can dislodge it.

Speaker 12 (03:39:25):
Listen, water, there's something done there.

Speaker 87 (03:39:37):
Rats.

Speaker 12 (03:39:37):
It may be rats, yes, but.

Speaker 6 (03:39:41):
Something else.

Speaker 12 (03:39:43):
I had heard it move, so did I. Accidents saved me.

Speaker 41 (03:39:47):
They would have had me plunge there symbolically like the
ascent of the soul, to keep company with something else
and quick. There forms no part of their plan.

Speaker 16 (03:39:59):
What is in the pit? John?

Speaker 42 (03:40:00):
I can't say?

Speaker 28 (03:40:06):
Did you say I was saved? Beatrice?

Speaker 41 (03:40:09):
Saved from the inquisition. My torture has been merely postponed.

(03:40:34):
A deep sleep fell upon me asleep, like that of death.
How long it lasted I know not, But when I
opened my eyes once again, I could see, Yes, see,
my prison was large and naughty, its walls formed of
massive iron plates, bolted or joined together a wild.

Speaker 28 (03:40:57):
Sulfurous luster. I could not pay it origin lit up.

Speaker 41 (03:41:01):
A dungeon on the circular pit, and the crudely dawged
skeleton figures painted in evil colors on the iron walls,
skeleton figures, demon pillars, garboiled figures, their colors a little
blurred as from the effects of a damp.

Speaker 12 (03:41:17):
And I.

Speaker 41 (03:41:27):
I now lay on my back and at full length,
on a low framework of wood. To this framework, I
was securely bound by a long fastening resembling a surgical bandage.

Speaker 12 (03:41:42):
Bound.

Speaker 9 (03:41:43):
But why why, why.

Speaker 12 (03:41:48):
Why there's.

Speaker 41 (03:41:51):
Look where at the ceiling of the room, thirty forty
feet up?

Speaker 28 (03:41:58):
What do you see?

Speaker 44 (03:42:00):
I see painted on.

Speaker 93 (03:42:02):
The ceiling A figure's Father Time anything else, but father
Time carries no size. He carried instead what looks like
a gigantic pendulum from an ancient clock.

Speaker 41 (03:42:19):
About one thing, I swear I am in my right senses,
I saw that pendulum move.

Speaker 44 (03:42:28):
The painting cannot move yet.

Speaker 41 (03:42:29):
I swear the pendulum did it swung a little back
and forth, just like a real pendulum.

Speaker 44 (03:42:35):
Try not to trouble your brain.

Speaker 41 (03:42:37):
Father, Time is not like those other paintings dawbed on
the walls, the imps and devils and skeletons.

Speaker 3 (03:42:44):
That pendulum is real.

Speaker 44 (03:42:47):
Fet to titter.

Speaker 93 (03:42:50):
Take care of what you are not looking at the pendulum.

Speaker 41 (03:42:52):
Now take care of the rest, thet this high seat
that's warming up, and Dunn.

Speaker 4 (03:42:57):
You can see their eyes with us, one of the
radical I have a god, what do they want?

Speaker 44 (03:43:02):
They have the tint of the meat and they'll not
get you. Move your hand above the place, John, move.

Speaker 1 (03:43:10):
Me, PRIs.

Speaker 51 (03:43:10):
Where are you going? I can hardly hear you.

Speaker 45 (03:43:13):
You are sending me away.

Speaker 46 (03:43:15):
I sending you away, my poor loved ones.

Speaker 44 (03:43:19):
You can't bear to see the rats running about my feet?

Speaker 93 (03:43:22):
Tell you see you when you.

Speaker 46 (03:43:25):
Know I'm not here?

Speaker 51 (03:43:26):
Their trou distrusion you are telling.

Speaker 41 (03:43:33):
Yes, it's true, you know, Settle swarming with vermin brothers.

Speaker 28 (03:43:40):
I had rather see here.

Speaker 12 (03:43:42):
I had rather see you.

Speaker 51 (03:43:49):
If you call me Captain Calbray and you skid it,
I am here.

Speaker 28 (03:43:55):
Who are you recognize me?

Speaker 12 (03:43:58):
No?

Speaker 83 (03:43:59):
I am?

Speaker 51 (03:44:00):
And that second physical bar and two unfair at your tire.
But we were not unfair. We administer the law.

Speaker 11 (03:44:09):
That is all go.

Speaker 61 (03:44:11):
I command you go not until I have first told
you what you already guess, which is, as the Grand
Inquisitor said, there are two forms of death for such
as you, one death with its daist physical torture, the
other death with its direst mental torture.

Speaker 6 (03:44:34):
And I have been condemned to the second.

Speaker 51 (03:44:37):
Your guess is good.

Speaker 12 (03:44:38):
Listen, don't hear anything, Yes.

Speaker 6 (03:44:46):
I hear something.

Speaker 51 (03:44:48):
Turn your eyes upwards.

Speaker 9 (03:44:50):
We're the ceiling, the pendulum.

Speaker 91 (03:44:52):
High, the pendulum bits descending only a photosso as yet
as you notice, it is not really a pendulum.

Speaker 75 (03:45:02):
No, no, it's underside is a crescent formed of sharp.

Speaker 28 (03:45:07):
A raisor sharp steel.

Speaker 51 (03:45:09):
You mean a ponderous witt, Captain Delbray. Its movement is
slow now, but soon it will take un momentum.

Speaker 75 (03:45:19):
It will swing why and why the defeat? Perhaps presently
it swings.

Speaker 51 (03:45:31):
You will hear it is.

Speaker 94 (03:45:34):
And will each broad movement it will creep a trifle
low steel is directly above me, yes, above.

Speaker 51 (03:45:44):
The region of your heart. Lie still and look.

Speaker 6 (03:45:48):
Up at it.

Speaker 28 (03:45:49):
Oh long before you need.

Speaker 22 (03:45:52):
Have no immediate fear.

Speaker 12 (03:45:55):
It will not be too s But how soon?

Speaker 55 (03:45:58):
Who can tell him the name of pitty? Give me
some answer our Perhaps days its motion can be arrested
while you sleep.

Speaker 51 (03:46:10):
It's beginning to swing wider. I can't take my eyes
from it.

Speaker 91 (03:46:16):
It's glitter fasten its See how it shines in that wildlight.

Speaker 41 (03:46:21):
And this is your utmost refinements and croyls.

Speaker 51 (03:46:25):
The Lord Captain Telbrayer is never.

Speaker 42 (03:46:28):
Croyled, and now still in.

Speaker 12 (03:46:31):
Spirit, I leave to your meditation.

Speaker 95 (03:46:44):
Minutes, hours, days, down, steadily down it crept days past.

Speaker 41 (03:46:58):
It might have been many days before. It swept so
closely as to fan me with its acrid breath. The
odor of the sharp steel forced itself into my nostrils,
to the right, to the left.

Speaker 24 (03:47:14):
Far and wide, with the shriek of a damned spirit,
to my heart, with the stealthy pace of a tiger.

Speaker 41 (03:47:26):
Down, certainly, relentlessly down, I prayed, I wearied Heaven with
my prayer for its more speedy descent. I grew frantically
mad and struggled to force myself up against that swinging.

Speaker 51 (03:47:40):
Glittering depth of no avail. Down, still, unseatingly, still, inevitably.

Speaker 41 (03:47:47):
Down, the sharp steel flashed past within three inches of
my chest, and then hold it down.

Speaker 44 (03:48:00):
I heard you calling, John, I am here.

Speaker 28 (03:48:05):
Here is a strange thing, Beatrice.

Speaker 12 (03:48:07):
I am quite calm you I resigned? Then, No, that
is a strange thing too, even now I am not resigned.

Speaker 17 (03:48:16):
Is there no way out?

Speaker 2 (03:48:18):
How can we?

Speaker 28 (03:48:19):
Ten twelve more vibrations?

Speaker 41 (03:48:21):
And it will free the surge of my robe only
likely as a razor and a delicate hand. There will
be many sweeps before it bites deep. I can't escape it.
And yet, and yet, if I could only use my weight.

Speaker 93 (03:48:36):
You'll get me away from you. John, you locked me
out of your thoughts. If I am here only in
your thoughts, why should I fear the rats?

Speaker 34 (03:48:45):
The rats.

Speaker 17 (03:48:48):
Place?

Speaker 1 (03:48:49):
What is it?

Speaker 51 (03:48:49):
The rat They still swarm.

Speaker 44 (03:48:52):
You across the floor and over the meat platter. They
have taken nearly all your food.

Speaker 18 (03:48:56):
Yes, yes they are, and they are shafty well to
meet oil and spice.

Speaker 41 (03:49:01):
If I take what from enst taper burning and rub
that meat from the bandage is supposed here?

Speaker 51 (03:49:05):
Try It may be too late. If I move my
body a fraction of an in, shall try it? I
tell you, try Lord today, tattle as soon as I do. Try,
and they are watching.

Speaker 44 (03:49:15):
I can see their eyes glitter.

Speaker 51 (03:49:18):
They're creeping back and I.

Speaker 41 (03:49:19):
Scan those rats crawling across mere can the flesh verist.

Speaker 44 (03:49:24):
One of them is eat on the wooden frameworks.

Speaker 16 (03:49:26):
Another follows.

Speaker 44 (03:49:27):
They are annoying at the bandage.

Speaker 51 (03:49:30):
It's more sweets of a pendulum? Does a bandage gay
a little?

Speaker 17 (03:49:37):
Ten?

Speaker 9 (03:49:38):
A dozen rats?

Speaker 12 (03:49:39):
Now is death? I wonder worse from this discussion.

Speaker 44 (03:49:43):
Dozen sharp knife could do no better the bandage of
the ribbons five ways, carefully and talk to the floor.

Speaker 6 (03:49:52):
I try't move my arms from the numb, so there's
no power to take your a limut more too.

Speaker 51 (03:49:59):
Late, Try then, with all the sights.

Speaker 57 (03:50:03):
Other than mare and I hate fred, I fear my enemies.

Speaker 9 (03:50:14):
Three second time.

Speaker 44 (03:50:20):
Free the seeson the pendulumself. They are drawing it back
up through the roof.

Speaker 12 (03:50:30):
Each move I make is watched.

Speaker 28 (03:50:34):
You never doubted that.

Speaker 44 (03:50:35):
No, Yet, with all they could do to you, they
have failed.

Speaker 17 (03:50:39):
Tight.

Speaker 12 (03:50:40):
They will not sail a third time, my dear.

Speaker 19 (03:50:44):
There must be no more daying with the.

Speaker 9 (03:50:46):
King of Tellos.

Speaker 16 (03:50:47):
What else can they do?

Speaker 9 (03:50:49):
I can't say.

Speaker 12 (03:50:51):
See how the rats, nor in silence for the bandage
to what food.

Speaker 28 (03:50:57):
I wonder have they.

Speaker 23 (03:50:58):
Been accustomed to.

Speaker 93 (03:51:02):
Escape the pit?

Speaker 42 (03:51:04):
I escaped it once. Listen, what do you hear groaning?
The grindings of metal?

Speaker 44 (03:51:16):
It was only the cog wheels of the pendulum knife.

Speaker 9 (03:51:19):
I think not, Beatrice, Why not?

Speaker 41 (03:51:22):
It seemed to come from behind these iron plated walls.
It seemed to shake the dungeon as a milllew wheel
might shake it it.

Speaker 46 (03:51:29):
Stand up, my pison, Get up, off your knee.

Speaker 12 (03:51:32):
I can't, Beatrice, I can't.

Speaker 93 (03:51:40):
The paintings on the walls of this dungeons.

Speaker 46 (03:51:43):
And innocent devils, they seem different.

Speaker 21 (03:51:47):
They are different.

Speaker 51 (03:51:49):
The colors sharper and go bright.

Speaker 17 (03:51:52):
The demon eyes lare.

Speaker 28 (03:51:55):
The skellop man's outstretched.

Speaker 96 (03:51:57):
Don't you catch even yet the odor of heated iron,
eated iron.

Speaker 51 (03:52:09):
I have been much humble, but I won't have you
see me in tears.

Speaker 28 (03:52:15):
I order you to go.

Speaker 16 (03:52:17):
You're in the name of the Head, Yes, in the
name of Heaven.

Speaker 6 (03:52:20):
Go.

Speaker 9 (03:52:23):
Yah.

Speaker 41 (03:52:38):
A suffocating heat pervaded the prison. A deeper glow settled
in the painted eyes that glared at me.

Speaker 12 (03:52:45):
I could draw no breath of air into my lungs
against the loom of.

Speaker 18 (03:52:48):
That hard destruction.

Speaker 51 (03:52:50):
The thought of the pit, and its coolness came like bomb.

Speaker 28 (03:52:55):
I staggered to the edge of the pit.

Speaker 41 (03:52:57):
I looked into it, the enkindled walls and roofed.

Speaker 1 (03:52:59):
Likeed to it its depths.

Speaker 41 (03:53:01):
Yet the one wild moment, even then I refuse to
believe the meaning of what I saw.

Speaker 97 (03:53:13):
Does the pit pease you, Captain Talbret? You again, do
you find its contents pleasing?

Speaker 73 (03:53:22):
Not?

Speaker 51 (03:53:22):
The pit mirderful?

Speaker 13 (03:53:24):
God?

Speaker 51 (03:53:25):
Anything with the p and how shall you avoid it?
The dungeon has changed the hape, and this true all
my closing in. It was formerly a.

Speaker 41 (03:53:39):
Square, and now it is flattening slowly towards the center
to past me into the pit.

Speaker 51 (03:53:45):
Of course it will post you along with me again.

Speaker 97 (03:53:49):
Ten you will be told, Captain Talbret, that you are
speaking only to your own sick fancy.

Speaker 28 (03:53:57):
I am not here at all.

Speaker 41 (03:54:01):
Nollas, and now flatter and flatter through the red burning walls.

Speaker 35 (03:54:08):
With the swiftness that left me no time to port,
I shrank back with.

Speaker 18 (03:54:12):
The closing walls, testly, resistlessly.

Speaker 51 (03:54:14):
Onward at length. For my seared and writhing body there
was no longer any ins of footholds.

Speaker 16 (03:54:19):
I tottered on the edge of the pit.

Speaker 78 (03:54:26):
There was a death tornent tongue of human voices.

Speaker 97 (03:54:31):
There was the dowa of many compis.

Speaker 28 (03:54:39):
The fiery walls rushed back.

Speaker 18 (03:54:42):
An outstretched arm caught my own as I felt painting
into the abyss.

Speaker 41 (03:54:47):
It was that of General Lapal. The French army had
entered Toledo. The inquisition was in the hands of its enemies.

Speaker 98 (03:55:05):
The road begins to rise in a series of gentle curves,
passing through pleasing groves of olive and vines. Five kilometers
on the left as the fork for Florence to the
right may be seen the Tower of Sacrifice four hundred
and seventy steps, built in fifteen thirty five by Niccolo
de Ferramano. Superstitious fear left the tower intact when in
fifteen forty nine the surrounding village was completely destroyed. Triumphantly,

(03:55:30):
Caroline lifted her finger from the fine Italic type. There
was nothing to mar the success of this afternoon. For
the first time, she had taken the Italian guidebook. Neville
was always urging on her and hesitatingly haltingly, she had
managed to peace out enough of the language to choose
a route that took in four well thought of frescoes,
two universally admired campanilis, and one wooden crucifix in a

(03:55:52):
village church quite a long way from the main road.
It was not, after all, such a bad thing that
a British council meeting had kept Neville in Florence. Perhaps
there would just be time to add this tower to
her dutiful collection.

Speaker 19 (03:56:05):
What was it called?

Speaker 98 (03:56:06):
She bent to the guide book again, carefully tracing the
text with her finger to be sure she was translating
it correctly, a word by word. But this time her
moving finger stopped abruptly at the name of Niccolo di Ferromano.
There had risen in her mind a picture. No, no,
not a picture, A portrait of a thin white face
with deep set eyes that stared intently into hers. Why

(03:56:30):
a portrait, she asked, And then she remembered. It had
been about three months ago, just after they were married,
when Neville had first brought her to Florence. He himself
had already lived there for two years, and during that
time had been at least as concerned to accumulate Tuscan
culture for himself as to disseminate English culture to the Italians.

(03:56:52):
She had been proud to accompany Nevill to castles and
palaces privately owned to which his work gave him entry,
and there to gaze with what she hoped for pleasure
on the undiscovered Raphael the Titian that had hung on
the same wall ever since it was painted, the Giotto Fresco,
under which the family that had originally commissioned it still
said their prayers. It had been on one of these

(03:57:14):
pilgrimages that she had seen the face of the young man.

Speaker 6 (03:57:16):
With the black eyes.

Speaker 98 (03:57:17):
In a castle at the top of a hill. She
had followed Neville dutifully along a gallery lined with five
centuries of family portraits, listening politely while in his light,
well bred voice, he had told her some intimate anecdotes
of history, and involuntarily she had let her eyes wander
round the room. It was thus that her eye was

(03:57:38):
caught by a face on the other side, and, forgetting
what was due to politeness, she caught her husband's arm
and demanded Nevill, who's that.

Speaker 6 (03:57:46):
Girl over there?

Speaker 98 (03:57:48):
But he was pleased with her. He said, ah, I'm
glad you picked that one out. It's generally thought to
be the best thing in the collection. A Bronzino of course,
and they went over to have a look at it.
The picture was painted in rich, pale colors, a green curtain,
a blue dress, a young face with cald brown eyes
under plaits of honey good hair. Caroline read out the

(03:58:08):
name under the picture, Giovanno de Ferremano, fifteen thirty one,
fifteen forty nine. That was the year the village was destroyed.
She remembered now sitting in the car by the roadside.
But then she had exclaimed Neville, she was only eighteen
when she died. Oh, they married young in those days,
Neville commented, and Caroline said, in surprise, Oh, was she married?

(03:58:31):
It had been the radiantly virginal character of the face
that had caught her in attention. Yes, she was married,
Neville answered, and added, look, look at the portrait beside her.
And this was when Caroline had seen the pale young man.
There were no clear light colors in this picture. There
was only the whiteness of the face, the blackness of
the eyes, the hair, the clothes, and the glint of

(03:58:53):
gold letters on the pile of books on which the
young man rested his hand. Underneath this picture was written
portrait of an unknown gentleman. Do you mean he's her husband?
Surely they'd know if he was instead of calling him
an unknown gentleman. Oh, he's Niccolau de Ferromano.

Speaker 21 (03:59:10):
All right.

Speaker 98 (03:59:10):
I've seen another portrait of him somewhere, and it's not
a face one would forget. But there's apparently some queer
scandal about him, and though they don't turn his picture out,
they won't mention his name. Last time I was here,
the old count himself took me through the gallery. I
asked him about little Giovanna and her husband. It was
horribly clear that I shouldn't have asked. He said, either oh,

(03:59:34):
she was lost or she was damned, But which word
it was I can never be sure. The portrait of
Niccola he just ignored altogether. What was wrong with Niccolo,
I wonder. I don't know, but I can guess. Did
you notice the lettering on those books up there under
his hand? It's all in Hebrew or Arabic. Undoubtedly the
unmentionable Niccolo dabbled in black magic. Caroline shivered, I don't

(03:59:59):
like him. She said, let's look at Giovanna again, and
then moved back to the first portrait, and Nevil had
said casually, do know, she's rather like you. Caroline put
the guide book back in the pigeonhole under the dashboard
and drove carefully along the gentle curves until she came
to the fork for Florence on the left, on the

(04:00:19):
top of a little hill. To the right stood a tall,
round tower. There was no other building in sight. Caroline
knew that she wanted to take the fork to the
left to Florence and Home and Neville, and said the
nurgent voice inside her for safety. This voice so much
shocked her that she got out of the car and
began to trudge up the dusty tract towards the tower.

(04:00:43):
The tower was built of narrow red bricks, and only
thin slits pierced its surface. Right at the top, where
Caroline could see some kind of narrow platform encircling it.
Before her was an arched doorway. I'm just going to
have a quick look, she assured, a surf again, and
she walked in. She was in an empty room with
a low arched ceiling. A narrow stone staircase clung to

(04:01:07):
the wall and circled round the room to disappear through
a hole in the ceiling. There ought to be a
wonderful view at the top, said Caroline firmly to herself,
and she laid her hand on the rusty rail and
started to climb. And as she climbed she counted thirty
nine forty forty one, she said, And with the forty

(04:01:27):
first step she came through the ceiling and saw over
her head, far far above the deep blue evening sky,
a small circle of blue framed in a narrowing shaft
round which the narrow staircase sparled. There was no inner wall,
only the rusty railing protected the climber on the inside.
It's getting dark very quickly, said Caroline at the hundred

(04:01:49):
and fiftieth step, I know at the tower is like now.
It had been much more sensible to give up and
go home. At the two hundred and sixty ninth step,
hand moving forward on the railing made only empty space.
For an interminable second, she shivered, pressing back to the
hard brick on the other side. Then hesitatingly she groped

(04:02:13):
forwards upwards, and at last her fingers met the rusty
rail again and again she climbed. At the three hundred
and seventy fifth step, the rail as her moving hand clutched,
it crumbled away under her fingers. I'd better just go
by the wall, she told herself, And now her left

(04:02:35):
hand traced the rough brick as she climbed up and up.
Four hundred and twenty two. Four hundred and twenty three,
counted Caroline with part of her bread. I really ought
to go down now, said another part. I wish, oh,
I want to go down now.

Speaker 6 (04:02:55):
But she could not.

Speaker 98 (04:02:57):
It would be silly to give up, she told herself,
desperately tried to rationalize what drove her on, just because
one's afraid, and then she had to stifle that thought too,
and there was nothing left in her brain but the
steadily mounting tally.

Speaker 19 (04:03:12):
Of the steps.

Speaker 98 (04:03:14):
Four hundred and seventy, said Caroline aloud, And then she
stopped abruptly, because the steps had stopped too. There was
nothing ahead but a piece of broken railing barring her way,
and the sky, drained now of all its color, was
still some twenty feet above her head. But how idiotic,

(04:03:35):
she said to the air. The whole thing's absolutely pointless.
And then the fingers of her left hand exploring the
wall beside her, meant not brick but wood. She turned
to see what it was. And there in the wall,
level with the top step was the small wooden door.
So it does go somewhere, after all, she said, and

(04:03:55):
she fumbled with a rusty handle. The door pushed open,
and she staid through. She was on a narrow stone
platform about a yard wide. It seemed to encircle the tower.
The platform sloped downwards away from the tower, and its
stones were smooth and very shiny. And this was all
she noticed before she looked beyond the stones and down.

(04:04:19):
She was immeserably, unbelievably high and alone, and the ground
below was a world away. It was not credible, not possible,
that she should be so far from the ground. All
her being was suddenly absorbed in the single impulse to
hurl herself from the sloping platform. I cannot go down

(04:04:41):
any other way, she said, And then she heard what
she said, and stepped back, frenziedly, clutching the soft rotten
wood of the doorway with hands sodden with sweat. There
is no other way, said the voice in her brain.
There is no other way. This is vertigo, said Caroline.

(04:05:02):
I've never had it before, but I know what it is,
and it's vertigo. She closed her eyes and kept very still,
and felt the cold sweat running down her body.

Speaker 19 (04:05:13):
I shall be all right now, she said.

Speaker 98 (04:05:15):
At last, and carefully, she stepped back through the doorway
on to the four hundred and seventieth step, and pulled
the door shut. Before her, she looked up at the
sky swiftly darkening with night. Then, for the first time,
she looked down into the shaft of the tower, down
to the narrow, unprotected staircase, spiraling round and round and

(04:05:36):
round and round, and disappearing into the dark. She said,
She screamed, I can't go down. She began to cry,
shuddering with the pain of her sobs. It could not
be true that she had brought us alf to this peril,
that there could be no safety for her unless she
could climb down the menacing stairs. At last, she stopped

(04:05:58):
crying and said, now I should go down. One she counted,
and her right hand tearing at the brick wall, she
moved first one and then the other foot down to
the second step. Two she counted, and then she thought
of the depth below her, and stood still, stupefied with terror.

(04:06:20):
The stone beneath her feet, the brick against her hand
were two frail protections for her exposed body, they could
not save her from the voice that repeated that it
would be easier to fall. Abruptly, she sat down on
the step.

Speaker 17 (04:06:34):
Two.

Speaker 98 (04:06:34):
She counted again, and spreading both her hands tightly against
the step on each side of her, she swung her
body off the second step down on to the third.

Speaker 21 (04:06:44):
Three.

Speaker 98 (04:06:44):
She counted, then four, then five, pressing closer and closer
into the wall, away from the empty drop on the
other side. At the twenty first step, she said, I
think I can do it now. She slid her right
hand up the rough wall and slowly stood upright Then

(04:07:06):
on the other hand, she reached for the railing. It
was now too dark to see, but it was not there.
For timeless time, she stood there, knowing nothing but fear.
Twenty one, she said twenty one, twenty one, over and
over again, but she could not step on to the
twenty second step. Something brushed her face. She knew it

(04:07:29):
was a bat and not a hand that touched her,
but still it was horror, beyond conceivable horror, And it
was this horror, without any sense of moving from dread
to safety, that had last impelled her down the stairs.
Twenty three, twenty four, twenty five she counted, and around
her the air was full of whispering skin, stretched wings.

(04:07:50):
If one of them should touch her again, she must fall.
Twenty six, twenty seven, twenty eighth. The skin of her
right hand was torn and hot with blood, for she
would never lift it from the wall, only press it
slowly down and force her rigid legs to move from
the knowledge of each step to the peril of the next.

(04:08:10):
So Caroline came down the dark tire. She could not think,
She could know nothing but fear.

Speaker 21 (04:08:18):
Only.

Speaker 98 (04:08:19):
Her brain remorselessly recorded the tally.

Speaker 22 (04:08:23):
Five hundred and one.

Speaker 31 (04:08:26):
It counted five hundred and two.

Speaker 17 (04:08:31):
Oh three.

Speaker 41 (04:08:34):
O four.

Speaker 28 (04:08:37):
Oh.

Speaker 35 (04:08:39):
That was Joss Ackland reading the Tower by Marganie Tulaski.

Speaker 6 (04:08:42):
The producer was Richard Dunn.

Speaker 99 (04:08:44):
Welcome, ladies and gentlemen. This is Basil Rathbone inviting you
to join me beyond the Green Door. Tonight's story proves
that a man may wander the world, cheating death at
every turn, only to have it catch up with him
beyond the green door. Stuart Dennett had joined the Hampton
expedition in Tanganika, near the Congo border.

Speaker 28 (04:09:06):
Just east of Kigali.

Speaker 99 (04:09:08):
Hampton, an anthropologist, had been hard pressed for a guide
to lead his party into the Congo, and in desperation,
had offered Leonard two hundred pounds in advance. In exchange
for this generosity, Leonard planned to desert the expedition of
the first opportunity it presented itself. In the early evening
of the third day out under the pretext of scouting

(04:09:30):
for a suitable place for a camp for the night,
Leonard had pushed.

Speaker 6 (04:09:33):
On ahead of the others.

Speaker 99 (04:09:35):
Coming upon a clearing, he started across it, but immediately,
to his horror, discovered that he had stepped into quicksand slowly, inexcellently,
he began to be drawn downward, downward, and the more
he struggled, the deeper he sank. Help help me, quicksand Hampton, Hampton,

(04:09:56):
But his words died on the evening breeze. His heart
beat curiously as the dark ooze drew him down to
his waist. Then he could no longer move the lower
half of his body, and his cries for help grew
louder and more frantic. Knowing he had less than a
minute to live, he struggled harder, vainly. He sought the
frames of twisting and turning, struggling with every ounce of

(04:10:17):
strength that he had in him.

Speaker 28 (04:10:18):
Hampden help me.

Speaker 17 (04:10:23):
Now.

Speaker 99 (04:10:23):
He had been sat down to his neck, his shoulders
disappearing in the all devouring muck, when suddenly, miraculously, the
downward progress of his body ceased to budeath. I hit
a stone, not a stumpy, thought to himself, and an
immense wave of relief passed over him. He would seek
no deeper now, and if he continued calling, sure that

(04:10:46):
the others would hear and come to his rescue.

Speaker 1 (04:10:50):
But even as this.

Speaker 99 (04:10:51):
Thought crossed his mind, a strange sight met his eyes
directly across from him. On the rim of the clearing,
he discerned a brown stump shaped like the head of
a wild boar, and then as he watched, the color
dissolved into patches, and in the rising light of the
African moon, he can see that it was indeed the

(04:11:13):
head of a boar trapped in the quicksand as he
watched in horror, the head became a skull, and the
brown patches rapidly diminished in size, as hordes of driver ants,
having picked the fresh from the helpless boar, were now
deserting it, joining together, moving forward, pushing across the quicksand

(04:11:35):
in the quest of more food.

Speaker 2 (04:11:43):
The man in Black.

Speaker 70 (04:11:52):
Come with me down the long chordy, through the shadows,
to the secluded study of the famous teller of Taale.

Speaker 2 (04:12:03):
Welcome, I am the man in Black.

Speaker 100 (04:12:15):
These magnificent volumes you see surrounding me contain the world's
greatest collection of unusual and fantastic stories. Today, I have
selected a tale by mister John Russell, A strange story
of the South Seas, The Price of the Head. The

(04:12:48):
possessions of mister Christopher Pellett. Were these a bad name
in the islands, a continuous thirst of liquor, and a
set of five red whiskers. Also, we had a friend, Karake.
It was a strange thing, this friendship between Pellett and

(04:13:08):
the native. For down among the Solomon Islands, the terrors
of pure savagery lay just beneath the thin cover of
the white men's civilization.

Speaker 21 (04:13:19):
Bring me another bottle, by Jake.

Speaker 100 (04:13:22):
At first it involved nothing more than Karak patiently standing
outside Moi Jack's barret for footie and waiting for Pellette
to get drunk enough to take along home.

Speaker 6 (04:13:33):
Please, mister Pellett were closing up.

Speaker 19 (04:13:35):
Now you're pretty drunk already.

Speaker 100 (04:13:37):
Night after night, Karaki waited while the white men sat
roaring inside.

Speaker 21 (04:13:43):
Don't tell me when to drink. I get that bottle.

Speaker 6 (04:13:47):
Jump all right, all right, mister Pellett, or right at
the bottle.

Speaker 35 (04:13:51):
I'll fix you the bottle.

Speaker 2 (04:13:53):
A hurry up, be a bold clown. Here were many
good RUMs.

Speaker 6 (04:14:06):
Hey, mister Pellett.

Speaker 2 (04:14:11):
Thinks, and so do you, and so did this old bloody.

Speaker 11 (04:14:17):
Don't you like my rum?

Speaker 9 (04:14:19):
Yes?

Speaker 2 (04:14:20):
Well, I think you your room? How come here more, Jake.
I'm going to crack your ribs.

Speaker 6 (04:14:30):
Crack ya, hey, Karake, Karaky.

Speaker 2 (04:14:39):
Take him out.

Speaker 100 (04:14:42):
A few minutes later, Karaki had the white man across
his shoulder and bore him down the beach to the
miserable shelter of pandanus leaves that they called home. There
he is pellet to a mat, bathed him with cool water,
and carefully brushed the dirt from his bright red hair
and whiskers. It was quite a mystery and for the
friendship between these two men. After all, Karake was nothing

(04:15:04):
more than a heathen from Bougainville, a place where some
people were smoked and others eaten. It was midday, when
mister Christopher Pallader woke ground his way out of a
painful fog of alcohol.

Speaker 28 (04:15:19):
Rum, karaoke, rum.

Speaker 80 (04:15:21):
No rum, you drink them too much? Rum last night
too much? Moy Jack rum, what do you mean too much? Moijack?

Speaker 41 (04:15:32):
Drum My Jack put white pad and bottle, make him
use sleep?

Speaker 2 (04:15:37):
Wow, So that's it why they drew right falta, So.

Speaker 7 (04:15:45):
Be careful, my jack.

Speaker 12 (04:15:47):
One time, carry knife, cut face.

Speaker 101 (04:15:49):
All up, word little wax men, all murdering, come on karaoke.

Speaker 100 (04:15:57):
Perfet anger and half an anticipation of the pleasure of
beating someone up. Pellett staggered off down the beach towards
Moi Jack's bar. Correct you followed him. It was the
noon hour of repose and all for food. He was asleep.
Pellett reached the bar and found moy Jack dozing peacefully
among his bottles.

Speaker 2 (04:16:15):
He woke him with a savage kick.

Speaker 6 (04:16:19):
Scum, get up, sig and bust holes.

Speaker 77 (04:16:21):
You letting me.

Speaker 2 (04:16:24):
Me and mickey? Will you daughter again?

Speaker 12 (04:16:27):
You want it.

Speaker 2 (04:16:32):
Now, I'll cut you ah williamna, Well, I'll just fix
me a knife too.

Speaker 9 (04:16:41):
Wow.

Speaker 41 (04:16:42):
Come on, moy Jack, I want to twist this bottle.

Speaker 54 (04:16:45):
Around in your face.

Speaker 2 (04:16:58):
That'll learn you to fight with a reddited man. That'll
learn he's dead.

Speaker 80 (04:17:07):
Rookie, I killed him, Yes, dead, plenty of trouble now, police.

Speaker 2 (04:17:14):
Come on, let's get out of here. Where we go karaoke?
I've got ride, someplace you'll go house, house on beach.

Speaker 19 (04:17:21):
Wait there, well you fix some boat?

Speaker 6 (04:17:23):
Leave what you got?

Speaker 2 (04:17:25):
No boat?

Speaker 41 (04:17:26):
Me find them boat?

Speaker 100 (04:17:28):
Ah, I trust you, But hurry, man, hurry.

Speaker 70 (04:17:40):
We returned to the Price of the Head in just
a moment.

Speaker 23 (04:17:43):
But first, hello everyone, this is Raymondland.

Speaker 102 (04:17:47):
You know, making motion pictures is a difficult chore and
doesn't leave one very much time but too many outside interests. However,
even when making something to live for, there was one
must on my weekly schedule, and that was listening to
the Amos Andy program every Sunday on CBS Radio.

Speaker 70 (04:18:04):
Thank you, mister Miland. And now once again the man
in black.

Speaker 100 (04:18:14):
Pellett waited in tearing the shack on the beach while
Karaki broke into the boat sheds and with an axe
smashed the bottoms out of the three craft sheltered there.
Then he opened the trade room and quickly gathered together
a big bundle of supplies including a Winchester rifle and
box of cartridges. Next, he carried everything out onto the
beach and loaded it into a stout out rigger canoe

(04:18:36):
that belonged to the company agent. And finally he feed
Pellet from the shack, and together they hurriedly launched the
canoe in the lagoon. Karaki rigged the Big Matt's sail
and they paddled out into the breeze just beyond the
harbor entrance.

Speaker 2 (04:18:51):
We might it karaoke.

Speaker 58 (04:18:53):
We're safe.

Speaker 101 (04:18:54):
Yes, Oh, look where we edit for anyway, Wood Island
and we go karaoke Bugerville.

Speaker 2 (04:19:05):
You crazy? That's eight hundred miles from me.

Speaker 51 (04:19:08):
All shame?

Speaker 2 (04:19:09):
We go my home eight hundred more we go?

Speaker 51 (04:19:14):
Are fine?

Speaker 6 (04:19:15):
Otherwise?

Speaker 4 (04:19:16):
Want to bring you my home?

Speaker 33 (04:19:18):
Ah?

Speaker 2 (04:19:19):
Right, you idiots savage. I don't know why you're doing
it for me, but I'll see you through.

Speaker 100 (04:19:27):
It was not the beginning of a very pleasant voyage
for mister Christopher Pellett. The fear of being captured and
hanged was great enough, but added to it were the
horrors brought on by a sudden and complete lack of alcohol,
and Pellett had been constantly drunk for over two years.
The first night, he was too seasick to care, but

(04:19:48):
by morning he was rathing. However, Karaki quickly tied him
up hand and foot and lashed him under a thwart,
and continued to sail off into the open sea. Now
and again he threw a dipper full of sea water
over the white man and occasionally fed him with coconut milk.
Karaki was an excellent nurse, even combed Pellet's red hair

(04:20:09):
and whiskers twice every day. By the time they reached
the Santa Cruz region, Pellet's condition had improved and Karaka
released him. They were now in an area peppered with
tiny islets, and Karaki decided to land on the lee
of one in order to replenish their water supply. He
dropped sail and was paddling slowly into the beach when suddenly,

(04:20:32):
from out of nowhere, a cutter carrying two white men
appeared behind them. One of the men signaled for the
canoe to stop and surrender, but Karaki had other ideas.

Speaker 18 (04:20:40):
No not catching Karaki a Pellet do but gone down, Karake.

Speaker 35 (04:20:46):
We're in enough trouble now, okay I shoot.

Speaker 21 (04:20:51):
Karaki.

Speaker 100 (04:20:55):
For some foolish reason, the two white men didn't believe
a native would dare resist them, and for their mistake,
they were both killed and the cutters sunk. Karaki, however,
wasted no time sailing back into the open sea without
his precious water, and twenty nine days later he was
doling out the few remaining drops to Pellett, taking none

(04:21:16):
for himself. His every gesture was one of sacrifice that
his white companion might survive. Finally, on the thirty sixth
day they sighted Schwazil. By noon they came ashore. There
they stayed for a week, fattening themselves on the unlimited
supply of coconut. Oh you think boogain Bill's just under

(04:21:40):
the horizon night karaoke?

Speaker 5 (04:21:41):
Yes, why all I do?

Speaker 21 (04:21:45):
Chip?

Speaker 2 (04:21:46):
You got me this?

Speaker 1 (04:21:46):
Whar?

Speaker 2 (04:21:47):
I trust you?

Speaker 51 (04:21:49):
You know karaoke?

Speaker 2 (04:21:51):
You're quite a fellow.

Speaker 25 (04:21:53):
Yes, yes, you sure don't talk much, said I don't
seem to reach you an hour, And I liked, And
how it goes on under that top not of yours,
my boy. I'd also like to tell you how grateful
I am. Wish I could show you. Uh karaokey Now listen,

(04:22:16):
may one big fellow friend, long you Deddy, you big
fellow friend, long me dey, we too, damn big fellow friend.

Speaker 2 (04:22:29):
Always I.

Speaker 3 (04:22:32):
Yes my word by word.

Speaker 100 (04:22:37):
Oh karaokey, you kill me. And so Christopher Pellet warmed
to a man. For the first time in his mean life,
he actually felt grateful to this quiet savage who had,
with rarest self sacrifice, saved his life again and again.
And now that he was thoroughly sober, he could understand
it even less. The Native islander was a misste to

(04:23:00):
the end. The end came two days later at Buchinville.
Under a gorgeous dawn. They sailed into a bay that
was crystal blue and right up onto a dazzling white beach.
Well it was the first to shore him. He ran
up to a rocky point to see all the charm
of the place for himself. Karaki, in his simple and

(04:23:23):
efficient way, proceeded about his own affairs. He landed what
was left of the supplies, stolen it for footy, and
piled them high on the beach. A few minutes after,
pelletered a gentle footstep behind him and turned to find
Karaki standing there with the rifle at his hip and
an axe in his hand.

Speaker 2 (04:23:45):
Me like, oh, sir, me like too.

Speaker 23 (04:23:49):
Ah.

Speaker 54 (04:23:49):
It's a great place you have here, krooky me nack
him head h hah oh uh well uh, I like
you too, Karaky.

Speaker 2 (04:24:02):
We big fellow fright right.

Speaker 18 (04:24:05):
May like him too much?

Speaker 1 (04:24:07):
One flair head belong you.

Speaker 28 (04:24:12):
What do you mean?

Speaker 73 (04:24:13):
I don't understand red hair, fine red whisker, big prize here,
Smoke him head, make him karak big man on island.

Speaker 2 (04:24:25):
You mean you mean you you're going to.

Speaker 74 (04:24:30):
Oht fine head, very fine head.

Speaker 6 (04:24:36):
Cut him off?

Speaker 30 (04:24:37):
Now, sure.

Speaker 2 (04:24:44):
That was the way of it.

Speaker 100 (04:24:46):
That was all the mystery. In Karaky's country. A white
man's head well smoked was indeed a prize, but that
of mister Christopher Pellett, with his precious red whiskers, were
a thing to be desired above the love of women
and the simple patient, And during Karate had served hard.

Speaker 2 (04:25:07):
To win in.

Speaker 100 (04:25:09):
And that it really matter to pelle it how or
why he died, since his own race would have hanged
him for murder anyway.

Speaker 70 (04:25:25):
And so ends the Man in Black. Story for today
the Price of the Head by John Russell.

Speaker 100 (04:25:41):
Next week I've selected for you one of the most
unusual and terrifying stories in my library. Mister William Faulkler,
one of America's most distinguished authors, wrote it, and he
calls it simply a rose for Emily.

Speaker 70 (04:26:02):
The Man in Black stars Paul Freeze Today, assisted by
the note of Hollywood actor John Dayner, this is the
CBS Radio Network.

Speaker 71 (04:26:37):
The Magic Detective, starring the world's greatest magician Blackstone. They
killed the inside story the Ghost that Wasn't, and right
after the story, Blackstone will explain quicks that you yourself
can perform, reveal the guarded secrets of the world's greatest
living magician, and now stand by for Blackstone the Magic Detective.

Speaker 6 (04:27:15):
Well, Rhoda, I thought you weren't.

Speaker 21 (04:27:17):
Going to get here me.

Speaker 77 (04:27:18):
I'm never late.

Speaker 6 (04:27:19):
Then you're the only girl in the world who isn't.

Speaker 77 (04:27:21):
I'm exceptional, I am, But your boss is late?

Speaker 21 (04:27:23):
Where's he? Sorry to be held up, But even magicians
get caught in traffic.

Speaker 6 (04:27:29):
Dam Well, it's only a couple of minutes.

Speaker 77 (04:27:31):
A couple of minutes.

Speaker 16 (04:27:32):
You shouldn't say that.

Speaker 21 (04:27:33):
Remember, Rhoda, I certainly do.

Speaker 6 (04:27:36):
Hey, this sounds like double talk.

Speaker 21 (04:27:37):
Remember what I guess.

Speaker 77 (04:27:39):
We've never told you the story of what two minutes
meant to Mortimer Weldon.

Speaker 21 (04:27:42):
It meant a gray deal to him is life.

Speaker 26 (04:27:45):
If it happened in for those two minutes, we might
still believe in his grandfather's ghost.

Speaker 21 (04:27:49):
Okay, okay, what's the story? Well, it all started out
of the old mansion that was owned by Mortimer Wildon.

Speaker 103 (04:27:56):
It was a funny old place with turrets and cupilas
and great winding stairways. Lada and I got there about.

Speaker 21 (04:28:02):
Nine o'clock on a dark, windy.

Speaker 77 (04:28:10):
Weldon want to see you about Blackstone?

Speaker 99 (04:28:12):
Did he say?

Speaker 41 (04:28:12):
No?

Speaker 12 (04:28:13):
He didn't, But I think that mister Blackstone, Yes, believing
you're Martimer Weldon's want to come in?

Speaker 21 (04:28:23):
You think, well, this is an interesting place you have here,
mister Weldon.

Speaker 12 (04:28:31):
Yes, I've always liked it until recently.

Speaker 41 (04:28:35):
I've tried to keep it justice weld in my father's times,
I've never put in electricity.

Speaker 12 (04:28:42):
Won't to come into my study? Certainly, I'll go ahead if.

Speaker 11 (04:28:45):
I may, with.

Speaker 44 (04:28:48):
Urs black doughnuts.

Speaker 12 (04:28:51):
It's booky. Won't you sit down? It's funny? You said, that's.

Speaker 103 (04:28:55):
Mister Oh, I am sorry, mister Weldon, my assistant lad
of bread.

Speaker 77 (04:29:00):
How do you do?

Speaker 46 (04:29:00):
How do you do funny?

Speaker 16 (04:29:01):
I said?

Speaker 12 (04:29:02):
Try about this place being spooky? It is, you know,
it's haunted.

Speaker 77 (04:29:07):
Oh wonderful. I've always wanted to meet a ghost.

Speaker 21 (04:29:10):
Mister Welbon, you can't be serious, Oh but I am.

Speaker 41 (04:29:14):
Oh, I know it sounds fantastic, But well, I want
to give you the whole story, if I may please.

Speaker 103 (04:29:21):
But no one has ever shown me a hearted house
or a ghost that I couldn't explain. That's why I
called you, mister Blackstone. I wondered if perhaps you couldn't
explain your ghost. Well, I'll try tell me all about it.

Speaker 41 (04:29:36):
We've always known that the house was supposed to be haunted,
especially the tower, but none of us ever gave much
spot to it.

Speaker 12 (04:29:43):
It was just a nice family traditions until last week.

Speaker 44 (04:29:48):
Well, what happened last week?

Speaker 41 (04:29:50):
I was having a house party for my brother Clarence.
We started talking about the ghost and Clarence was there
to spend.

Speaker 12 (04:29:58):
The night in the our room.

Speaker 77 (04:30:01):
Tell me he saw the doos, mister Weldon, we will
never know.

Speaker 12 (04:30:06):
The next time we saw Clarence, he was dead.

Speaker 41 (04:30:11):
What happened late that night, after all of us had
been asleep for hours, I was awakened by a screen,
as were my guests.

Speaker 12 (04:30:20):
It seemed to come from the tower room.

Speaker 103 (04:30:22):
Your brother Clarence found lying in the courtyard with his
neck opened.

Speaker 12 (04:30:27):
The door of the tower room was locked from the inside.

Speaker 21 (04:30:30):
Well, what do you want me to do?

Speaker 12 (04:30:32):
I want you to see if you can find an
explanation for Alie.

Speaker 21 (04:30:36):
I see the room.

Speaker 12 (04:30:38):
I'm afraid you won't find anything there. It's been searched
again in the game.

Speaker 21 (04:30:42):
Nevertheless, I would like to see it very well.

Speaker 12 (04:30:46):
I'll lead the way.

Speaker 21 (04:31:00):
Well, they well, always seem to be solid enough.

Speaker 77 (04:31:03):
It doesn't seem to be a secret door.

Speaker 12 (04:31:05):
Yes, that was my first thought, but I couldn't find
a trace of one.

Speaker 103 (04:31:09):
Well, the next thing for us to do is measure
the place. Sometimes there's a difference in measurement that will
show up a secret door. We're tapping and warms. Oh
ten o'clock.

Speaker 21 (04:31:20):
Is that clock right, mister Walden.

Speaker 22 (04:31:22):
Oh?

Speaker 12 (04:31:22):
Yes, it has always kept excellent time.

Speaker 21 (04:31:25):
So many of those old grandfather clocks do. This is
a very beautiful example.

Speaker 12 (04:31:31):
Yes see, I've always been very fond of it.

Speaker 21 (04:31:33):
Yes, it's the right time to the second according to
my watch.

Speaker 12 (04:31:36):
Shall we go down and get a yard stick. We
want to get on with this very unpleasant business.

Speaker 21 (04:31:41):
I've got a tape in the car I'll get it.

Speaker 12 (04:31:49):
Oh, I ought to go with him. He's all carried
as a tricky Sometimes he may get lost. I mean,
just bring no.

Speaker 77 (04:31:57):
I'll wait here and see if it does that. Come
out and talk to me.

Speaker 29 (04:32:06):
Hello girls, Hello, girls, Come out.

Speaker 34 (04:32:12):
And talk to me.

Speaker 3 (04:32:14):
I sat down like an idiot.

Speaker 47 (04:32:18):
No load of my girls. You weren't known from coast
and coast is the very spirit of bravely. Id say
you were a keen tiny keep it speared. I keep
hearing things.

Speaker 77 (04:32:36):
The clock start, the camera's going on. I'm gonna ripe
in here, get a.

Speaker 22 (04:32:51):
D us.

Speaker 21 (04:32:53):
What's all? I heard a scream? Rode his voice? And
now the door is locked?

Speaker 1 (04:32:59):
What did you leave it alone?

Speaker 12 (04:33:01):
I went after you to see that you didn't get lost.

Speaker 21 (04:33:04):
Open the door, Rod, that road? Are you all right?
Light the candle welder, h Thank heaven, she's alive. What
happened to be?

Speaker 77 (04:33:21):
I think dark and clowning hit me? Ship me blaggly
to the window.

Speaker 12 (04:33:26):
The window that my brother was felling from.

Speaker 77 (04:33:29):
It was the ghost blacktone. I swear it was.

Speaker 21 (04:33:32):
Where were you're standing Rod?

Speaker 77 (04:33:33):
When you were dressed over there right near the clock.

Speaker 19 (04:33:37):
That's funny.

Speaker 103 (04:33:39):
According to my website, clock is two minutes slow and
get The last time we checked it, it was exactly.

Speaker 77 (04:33:44):
Right, Blacktone. Just before the ghost grabbed me, the clock stopped.
I remember it.

Speaker 21 (04:33:49):
You're sure?

Speaker 16 (04:33:50):
Practically I could swear to it.

Speaker 21 (04:33:52):
Mister Weldon, you and I have a little trip to
make to the police.

Speaker 12 (04:33:58):
Black Stone. Have you lost your mind?

Speaker 21 (04:34:01):
I'm afraid not.

Speaker 103 (04:34:02):
The police will want to ask you a few questions
about your brother's death.

Speaker 21 (04:34:16):
But was he really guilty? Did Weldon kill his own
brother and grab brother?

Speaker 6 (04:34:20):
And was weld in the ghost?

Speaker 21 (04:34:21):
Yes to all those questions. But how did you know?

Speaker 103 (04:34:24):
It was very simple, really, once Roda pointed away, I
knew whether there had to be some exit and entrance
to that room.

Speaker 21 (04:34:31):
There had to be, And there.

Speaker 77 (04:34:33):
Was only one place in that room that we hadn't
to it the clock right.

Speaker 103 (04:34:36):
We found later that there was a secret door boots
in the back of the clock. There was only one
mistake that Welldon made. You had to take the pendulum
off in order to get in and out, and that
stopped the clock.

Speaker 26 (04:34:48):
Weldon was in too much of a hurry to reset
the clock after he got through a slugging maze from
part did you slug you order? Well That parted me
for a little while too, but we finally figured that
it was to bear out Historia the girl. The same
reason really is that he called Blackstone.

Speaker 21 (04:35:02):
He had heard that I had never found the ghost.

Speaker 103 (04:35:05):
I couldn't explain, and he was so confident of himself
and his scheme that he felt if I failed to
discover the secret, no one could.

Speaker 26 (04:35:13):
It's lucky you know so much about escape Blackstone. We
might never have discovered how Clarence Rolland was killed.

Speaker 71 (04:35:19):
And so another mystery was solved by a knowledge of massic. Well,
my son, he got a new trick for us today. Yes,
I have a very battling one, but I'll have to
borrow some money.

Speaker 21 (04:35:29):
It seems to me that all the tricks start that
way when I'm around.

Speaker 23 (04:35:32):
When do you want this sung on the corner?

Speaker 21 (04:35:34):
No, no, it's time we were playing with bigger money.

Speaker 12 (04:35:37):
I need a dollar this time.

Speaker 39 (04:35:39):
Well you are, thank you?

Speaker 77 (04:35:42):
Where am I coming on this?

Speaker 21 (04:35:43):
You see those two bottles.

Speaker 103 (04:35:44):
Were there, and those classes right, Okay, just for the
contents of the bottles into the glasses.

Speaker 77 (04:35:54):
This sounds interesting. Let's see, didn't you do a trick
of glass am time before?

Speaker 2 (04:36:00):
Yes?

Speaker 103 (04:36:01):
But this time we aren't using the glasses. We're using
the bottles. That's why roote it is empty there they are.

Speaker 21 (04:36:09):
Now, take down the dollar bill and set one end
of it on top of a bottle. Hold it there
are What do I do next?

Speaker 71 (04:36:16):
Just keep it there when I set the other bottle
upside down on top of it. Oh, I see you're
going to trap my dollar bill right between the tops
of the two bottles.

Speaker 77 (04:36:23):
You mean he's going to try to It is easy
to balance one bottle on top of another.

Speaker 21 (04:36:27):
Why, it's very easy.

Speaker 77 (04:36:30):
See praise Jonath.

Speaker 23 (04:36:32):
And there's my dollar bill sticking out the between the
two bottles.

Speaker 21 (04:36:35):
Well to tick over and the trick is just the game.

Speaker 103 (04:36:38):
What I want you to do is to remove the
dollar bill from between the bottles without disturbing either one.

Speaker 77 (04:36:43):
Don't you expect us to leave the bottles balance just
as they are?

Speaker 21 (04:36:46):
That's right, that's impossible. You think it over road, and
maybe you will find a way.

Speaker 1 (04:36:50):
To do it.

Speaker 103 (04:36:51):
If you don't, I'll be back in a few minutes
to explain it to you. Well, Rhoda, how are you
making out with the bottle?

Speaker 19 (04:37:09):
Pick?

Speaker 26 (04:37:09):
Well, I've upset the top bottle three times already.

Speaker 77 (04:37:12):
Wait, I learned how to put it back.

Speaker 21 (04:37:14):
Well, that's to move in the right direction.

Speaker 77 (04:37:16):
I've got the balance for you with a dollar bill
between them. Now you show the me.

Speaker 21 (04:37:19):
All right, here we go. But first order, how did
you try to remove the dollar bill?

Speaker 77 (04:37:24):
I just grabbed the long end and tried to pull
it out from between the.

Speaker 21 (04:37:27):
Bottle, but the top bottle always came with it.

Speaker 77 (04:37:29):
That was the trouble.

Speaker 103 (04:37:30):
No, the trouble was that you didn't use the right system.
Now watch Kartholey and I'll show you, chirice to take.

Speaker 71 (04:37:36):
The long end of the dollar bill and draw it tightly,
but cassully, without trying to pull it from between the bottle.

Speaker 12 (04:37:41):
That's right.

Speaker 103 (04:37:42):
Just hold it extended with one hand and then raise
the other hand above the dollar bill and hold the
hand sideways like this.

Speaker 77 (04:37:50):
I see you know what.

Speaker 21 (04:37:51):
I'm going to drive my hands straight downward when I.

Speaker 77 (04:37:54):
Say three, so you'll strike the center the dollar bill.

Speaker 21 (04:37:57):
Correct. Now, what one, two and three.

Speaker 71 (04:38:02):
Are using to build right in between the gardens the
bottles are saying exactly the way rod affects them.

Speaker 21 (04:38:08):
And that's how the trick is done. Just draw the
dalla bill tight, put it in the middle and I'll
eat come. I hope ladies and gentlemen you enjoy that trick.
And now until next week, this is Blackstone wishing you
good magic and goodbye.

Speaker 71 (04:38:36):
Be with us next time when the world's Greatest Living
magician Blackstone tells us the story, I'll they icy touch
and explains more picks that you yourself can beform listening again,
told Blackstone the World's Greatest Living Magician.

Speaker 104 (04:39:14):
Box thirteen with a style of paramount pictures Alan ladd
as Damn Holiday.

Speaker 43 (04:39:26):
Box thirteen, care of the Star Times.

Speaker 82 (04:39:29):
Dear Box thirteen.

Speaker 43 (04:39:31):
Please come as quick as you can, because I think
there's something wrong. Nobody will listen to me because they
think I don't know what I'm talking about. But I
know there is something wrong, and I think it's bad.
My name is Marty Kennedy and I live at two
or three Webster Street in Collingwood. Come to the address
and love past whistling news party.

Speaker 6 (04:39:58):
And I live it too. M Webster Street and Collingwood.
Come to the address and walk past whistling Yankee Doodle,
so I will know you. Sure it was only a
letter from a kid, but that kid knew what he
was talking about.

Speaker 104 (04:40:21):
And now Mick to Box thirteen, and then Holliday's Newest Adventure,
Archimedes and the.

Speaker 65 (04:40:26):
Roman Mister Holliday, They lots of other letters. Are you're
gonna pay any attention to this one?

Speaker 6 (04:40:37):
Bromody Kennedy? Yeah, I think so, Susie.

Speaker 65 (04:40:40):
But it'll be a wild goose chase. You'll go all
the way to Collingwood didn't find out there's nothing.

Speaker 6 (04:40:45):
Wrong, which might be a welcome change for me. Yes,
I think I'll go, Susie. After all, there might be
something in this.

Speaker 65 (04:40:53):
But mister, how they look at the handwriting it it
belongs to a kid. So so there'll be a wild
goose chase.

Speaker 6 (04:41:00):
Okay, charge it off as a little vacation. Besides, sometimes
kids have problems, Susie, big ones. So maybe I ought
to give Marty Kennedy a hand, So long, Susie.

Speaker 105 (04:41:11):
Collingwood was an easy two hundred and fifty mile drive.

Speaker 6 (04:41:19):
It was a little town that sat at the foot
of the Mountain Range. It was early afternoon when I
got there and found two O three Webster Street. I
left my car at the corner and walked past the address.

Speaker 82 (04:41:39):
Marx thirteen.

Speaker 6 (04:41:40):
Mm hmm, Marty Kennedy, Yeah, look.

Speaker 82 (04:41:43):
Tea going down the street and I'll meet you around
the corner. Don't let on like we know each other.

Speaker 6 (04:41:47):
Huh, got your money? See you around the corner. The
so dded kid made it look like good old cloak
and daggerstad He trailed me to the corner of the street,
and once we were out of sight.

Speaker 82 (04:41:56):
Of his home, this is okay, nobody can see us now.

Speaker 6 (04:42:00):
Okay, Maddy, what's on your mind?

Speaker 82 (04:42:03):
You got some I I that's something that will show
me who you are.

Speaker 6 (04:42:08):
I think I can arrange that. Yeah, there's your letter
to me.

Speaker 82 (04:42:12):
Okay, you are private eye?

Speaker 6 (04:42:16):
No, I'm not a private detective.

Speaker 82 (04:42:18):
You are a policeman?

Speaker 105 (04:42:19):
Then, no, I'm afraid not. I'm I'm a writer. Oh
doesn't that sound romantic enough to you?

Speaker 82 (04:42:25):
Romantic?

Speaker 6 (04:42:26):
I mean, isn't it mysterious enough?

Speaker 16 (04:42:28):
Yeah?

Speaker 37 (04:42:29):
I guess so.

Speaker 82 (04:42:30):
But we got to go someplace where we can talk.
We don't want to be overheard.

Speaker 6 (04:42:33):
Oh, certainly not. What do you suggest we're going?

Speaker 82 (04:42:36):
I guess the rest of the kids ain't in the clubhouse?
We can go there.

Speaker 6 (04:42:39):
Clubhouse?

Speaker 37 (04:42:40):
What kind just a shack we built?

Speaker 82 (04:42:43):
Can you climb a tree?

Speaker 1 (04:42:44):
Uh?

Speaker 19 (04:42:45):
Do I have to?

Speaker 12 (04:42:46):
Well?

Speaker 43 (04:42:46):
The shacks in a tree, but nobody will hear us there.

Speaker 6 (04:42:50):
Okay, Mardy, lead the way and I'll go climb a tree.

Speaker 43 (04:42:58):
Say you did pretty good. They're easy to climb this tree.

Speaker 6 (04:43:01):
Just don't ask me to hang by a tail.

Speaker 19 (04:43:03):
That's all.

Speaker 6 (04:43:05):
Now that we're sitting on top of the world, what
do we talk about?

Speaker 82 (04:43:08):
You don't think I'm serious, do you?

Speaker 5 (04:43:09):
Oh?

Speaker 19 (04:43:10):
Definitely?

Speaker 6 (04:43:11):
Incidentally, my name's Dan Holiday.

Speaker 82 (04:43:13):
Okay, mister Holliday, you make it Dan.

Speaker 6 (04:43:15):
As long as we're up a tree there, gather, we've
got to be friends.

Speaker 82 (04:43:18):
Yeah, well, I want to know what's happened to Ted?

Speaker 6 (04:43:23):
Who's Ted?

Speaker 37 (04:43:24):
Well?

Speaker 82 (04:43:24):
Here, look out this here window, see where I'm.

Speaker 6 (04:43:27):
Pointing, Yes, tar the mountains, we'll.

Speaker 82 (04:43:29):
See that shiny dome on the top of the biggest peak.

Speaker 6 (04:43:32):
Yeah, what about it?

Speaker 43 (04:43:34):
That's the Williams Observatory. They look at stars up there.

Speaker 82 (04:43:37):
There are astronomers.

Speaker 6 (04:43:38):
Oh, yes, yes, I've heard about it.

Speaker 19 (04:43:41):
Well, what of it?

Speaker 82 (04:43:42):
Ted's the assistant up there? He helps Professor Irving.

Speaker 17 (04:43:45):
All right?

Speaker 77 (04:43:45):
And then what every week?

Speaker 43 (04:43:47):
Ted comes down for groceries and things. When he does,
he gives me a lesson lesson and what astronomy?

Speaker 33 (04:43:54):
I like it?

Speaker 6 (04:43:55):
Oh, that's a good deal. But your friend Ted didn't
show up this week?

Speaker 1 (04:43:59):
Is that what worries?

Speaker 6 (04:44:01):
How'd you know and do together?

Speaker 78 (04:44:03):
Oh?

Speaker 82 (04:44:05):
Well, when he can't make it, he signals me.

Speaker 6 (04:44:07):
And how does he do that?

Speaker 82 (04:44:08):
Is he that tower sticking up on the peak?

Speaker 21 (04:44:11):
Mmm?

Speaker 82 (04:44:11):
I said he flashes me by mirror, But so far
this week he didn't.

Speaker 6 (04:44:15):
Well, maybe he's been busy.

Speaker 82 (04:44:17):
That's what mom and pop said, But I don't think
you'd say it.

Speaker 6 (04:44:20):
Oh, I'm sorry, Marty. Okay, let's go out from a
different angle. Suppose he isn't busy. In that case, what
would keep him from coming down or at least flashing
you the signal?

Speaker 82 (04:44:29):
I don't know.

Speaker 43 (04:44:30):
I wanted to go up, but mom and Pop wouldn't
let me, And then I saw your ad in the paper,
so I wrote to you.

Speaker 105 (04:44:36):
In other words, you want me to take a run
up to the observatory and find out what's wrong?

Speaker 1 (04:44:41):
Is that it?

Speaker 82 (04:44:41):
That's it?

Speaker 9 (04:44:42):
You?

Speaker 6 (04:44:43):
You couldn't have asked someone else, I mean a forest stranger,
someone who goes up there, Gane. No, no, that wouldn't
have been mysterious enough with it you're making fun of me.
Oh no, no, not at all, Marty. I watch your
friend's full name, Ted?

Speaker 82 (04:44:58):
What Ted Whitman?

Speaker 6 (04:45:00):
And are he and Professor Irving the only man up there?
All right, Marty, I'll tell you what. I'll take a
run up there and see what's what?

Speaker 82 (04:45:06):
Sure me know?

Speaker 9 (04:45:07):
Will you absolutely?

Speaker 82 (04:45:09):
And you won't say a word to anybody? This is
just between us, huh, just the two of us.

Speaker 12 (04:45:16):
On my honor swell, because if.

Speaker 43 (04:45:18):
Mom and Pop knew I'd bothered anybody.

Speaker 82 (04:45:20):
I'd get the deconds.

Speaker 6 (04:45:21):
Oh in that case, Mum's the word. Okay, Marty, let's
get out of this tree before a high wind comes up.
I left Marty Kennedy and drove toward the hills. I
on the tallest peak, the silver dome of the observatory
turned to crimson in the sunset. I laughed at myself
of what I was doing, but I kept going until

(04:45:42):
I reached the summit. An iron gate blocked the way
to the narrow connecting road that led to the observatory itself.
I got out to open it when oh, hello there, Hello,
don't open I'm sorry. I didn't know anyone who's around.
Did you lose your wife?

Speaker 5 (04:46:00):
No?

Speaker 6 (04:46:00):
As a matter of fact, I intended to come here
I'm looking for someone. Yeah, Ted Whitman, what do you
want with him? I wanted to see all right, I'm ted.
Oh okay, then I guess we can talk here. What
a friend of yours, a kid named Marty Kennedy. Oh sure, Marty.

Speaker 17 (04:46:21):
How is he?

Speaker 6 (04:46:22):
Oh he's fine, but he's a little worried about you.
Oh I'm okay, there's nothing wrong. Thanks anyway, He wondered
why he didn't signal him when you didn't get down
this week. Oh, I I didn't have time.

Speaker 21 (04:46:36):
I see.

Speaker 6 (04:46:38):
How is that all you came up to tell me? Yeah, yeah,
that's all okay. It's pretty dark on the road at night.
You don't know the turns. You can get into trouble.
So if you leave now, you can make it back
down in time. Oh. Thanks, any message for Marty? I
tell him it. Tell him I'll see him next week.
All right? Is there anything else?

Speaker 5 (04:47:01):
Mister?

Speaker 9 (04:47:02):
No?

Speaker 6 (04:47:02):
I guess that's all. Sorry to bother you. That's okay,
Cavil turning your car around. It's pretty steep right there. Yeah,
I noticed?

Speaker 17 (04:47:11):
Oh so long?

Speaker 50 (04:47:12):
Hold on?

Speaker 17 (04:47:14):
Who is that nobody?

Speaker 6 (04:47:17):
I thought I heard steps?

Speaker 11 (04:47:18):
It didn't.

Speaker 6 (04:47:19):
Now, look mister, it's getting dark. You better turn around.

Speaker 51 (04:47:21):
Who's that?

Speaker 17 (04:47:23):
Who is it?

Speaker 6 (04:47:23):
It's somebody to see me? Professor? You better get back
to the cutting, please, please.

Speaker 51 (04:47:27):
We've got got up.

Speaker 6 (04:47:29):
What's the matter up here?

Speaker 51 (04:47:30):
Nothing?

Speaker 6 (04:47:31):
I told you to turn your car around, get back
down the mountain.

Speaker 22 (04:47:33):
No, please, don't go, don't.

Speaker 6 (04:47:36):
Hey, what's the idea hitting that old man?

Speaker 17 (04:47:38):
Okay?

Speaker 16 (04:47:38):
You asked for it, mister.

Speaker 6 (04:47:40):
Now come on in with your hands in the air.
Come on in, mister. You had your chance to get
out of this. Now it's too late. Do all astronomers
carry guns? He's shut up, all right? You whoever you are,
help the old guy up until you're walk in front
of me. Come on, you heard that the professor? No, no,

(04:48:03):
but he is he who shut up? Hey, wait a minute,
you'll what's your name? Holiday? Okay, get back to your
car and lift the hood.

Speaker 4 (04:48:12):
Go on, they go distributed cap. Hurry it up, throw
it off a hair on the ron.

Speaker 6 (04:48:29):
Now come back in. They got that big boulder on
your way, that one, this one, yeah that. Don't think
of anything to do with it except what I tell you.
I know what I'd like to do with it. Yeah,
but you won't try, because I'll get both of you
I'll smash that distributor. Why not just take my car

(04:48:51):
keys because lots of people carry extra set. Smash that
distributor that suit you. Yeah, like I said, both of
you walk in front of me to the cottage, and
one band move and I'll put a bullet right in
the back of your head. He walked to the cottage.

(04:49:12):
Professor Irving hung on my army, tried to tell me something,
but each time he started to women shut him up.
Then we got to the cottage and stepped inside, knowing, Yeah,
what do you want?

Speaker 9 (04:49:26):
Hey?

Speaker 17 (04:49:27):
Who's that company?

Speaker 22 (04:49:28):
Who is he?

Speaker 77 (04:49:29):
What's you want up here?

Speaker 82 (04:49:30):
I thought you said nobody?

Speaker 6 (04:49:33):
Holliday, sit on YouTube, Professor, Take it easy, Professor, that's it.
Please let me phone for the doctor. Please sure when
I'm ready.

Speaker 37 (04:49:41):
Look, this aint good.

Speaker 82 (04:49:42):
Why this guy come up here?

Speaker 6 (04:49:43):
He's looking for Whitman.

Speaker 82 (04:49:45):
If he's looking for him, somebody else is liable to.

Speaker 16 (04:49:47):
Do the same thing.

Speaker 6 (04:49:48):
You take it easy, Holliday. Why did you come looking
for Whitman? So you're not ted? That's right? Now, answer
my question. I told you a friend of his was
worried about him, asked me to see if he all right. Frank,
I told you I told you you stop blaborating.

Speaker 29 (04:50:03):
We gotta get out of here, Frank.

Speaker 17 (04:50:04):
We just got shut up.

Speaker 6 (04:50:06):
One more peop out of you and Unlucky up on
that iron dome outside. Now talk Holiday. How many other
people besides you know about this? Look? I don't know
what you're talking about. What do you mean by this?
Anybody else looking for whitman? I wouldn't know. You know,
maybe you'll talk there after a little persuasion. I wouldn't
try anything. Frank, talk talk, I said, tell him Holiday.

Speaker 1 (04:50:29):
Tell him or he will.

Speaker 21 (04:50:30):
He will.

Speaker 6 (04:50:31):
He's letting Ted die.

Speaker 17 (04:50:32):
Tend me to doctor.

Speaker 6 (04:50:33):
He's should be quiet, okay, Holiday talk.

Speaker 19 (04:50:44):
I had to talk.

Speaker 6 (04:50:46):
I told Frank about the letter from Mardy Kennedy. You know,
I was telling the truth. He seemed satisfied, but I
still didn't know what the game was, or who Frank was,
or what he was doing there. Then later that evening, Nelly,
turn on the radio. It's just time for the news.

Speaker 77 (04:51:01):
Boy, you know what it's going to say.

Speaker 6 (04:51:02):
Turn it on. I don't like it for the last time.

Speaker 1 (04:51:06):
Will you please get a doctor for Ted?

Speaker 39 (04:51:08):
He'll die.

Speaker 6 (04:51:08):
I did the best I could, but he needs a
doctor too bad.

Speaker 12 (04:51:11):
Isn't it.

Speaker 105 (04:51:12):
Let me say, maybe I can do something for him.
You can't let a man die in cold blood.

Speaker 11 (04:51:17):
A daring, single handed jewelry store robbery holds the spotlight.

Speaker 1 (04:51:20):
The clerk who resisted the.

Speaker 11 (04:51:21):
Robber died this morning.

Speaker 1 (04:51:23):
The car in which the.

Speaker 39 (04:51:23):
Killer escape was found abandon about five miles.

Speaker 23 (04:51:26):
North of Collingwood.

Speaker 6 (04:51:27):
And and now you know, don't you, Holliday? Yeah, now
I know it's funny. H Yeah it is. How do
you think you're going to get away from here? In
Billy's car? She met me at a job. I pull
my car's a bend and I stay up here where
no one will think of looking for him. And after
the roads are cleared, after the police think you've left

(04:51:49):
the state, what then? What I said? I get away clean?
And what about us? What do you think I want
me to tell you? We'll go ahead. You'll have to
kill us too, won't you. You've already got one murder
on your slate. A couple of more won't make any difference,
not as long as you can save your own dirty high.
You talk big and brave, but it doesn't worry me.

(04:52:11):
Now I'll tell you something, Holiday, Yeah, what else? You
hit the nail right, on the head. I got to
kill you and the professor because I don't want anybody
left to tip the cups when I leave here and holiday.
Just as soon as the radio tells us the roads
are clear, that's when you get it.

Speaker 104 (04:52:42):
And now back to Archimedes and the Rollman. Another Box
thirteen adventure with Alan Land That damn holiday.

Speaker 6 (04:52:54):
Frank meant what he said. He'd kill us when he
felt it was safe, and to leave you watch for
Professor Irving and May every minute. Finally I talked to
him into letting me take a look at Ted Whitman.
Professor Irving was with me. Is he going to die?
He's in bad shave. The woman needs cleaning and redressing
more than anything else. He needs a hospital and a

(04:53:15):
doctor's care. Is there anything we can do?

Speaker 105 (04:53:18):
Listen, Marty Kennedy, you know, yes, he told me Ted
signaled him from the observatory here. How is it done
with the mirror Morse code? Look, Marty will be watching
for a signal, but you can't get up there to signal.
That beast won't let you. Yes, I know, someone even
try to do it, but it's the only way. No
one ever comes up here, No visitors No, this is

(04:53:39):
just an observation station. Our work is routine photographic spectral analysis.
Nothing to interest the casual visitor.

Speaker 6 (04:53:46):
Does anyone in town to think of anything when you
don't get in?

Speaker 13 (04:53:49):
No?

Speaker 105 (04:53:50):
No, we often lose contact for several weeks at a time.
But how about supplies? We got them last week. They'll
think nothing of it if we don't show up for another.

Speaker 6 (04:53:58):
Five or six days. Great, but you said you you
weren't going to make an attempt to signal. That's right.

Speaker 105 (04:54:06):
If Marty doesn't hear from me, maybe he'll talk. Maybe
some will be interested enough to come up here.

Speaker 6 (04:54:11):
I see that might work. Yes, that might work. It
might work. And I asked you a question. Let him alone?
Is an old man? Let him alone? What are you
too whispering about? Come on, spill it nothing we were
talking about, Ted, you're a liar. What did he mean
when he said it might work? Nothing?

Speaker 2 (04:54:33):
Okay?

Speaker 6 (04:54:34):
You want me to let him alone? Don't you? Holiday?
What are you going to do? Work on him a
little bit? Why are you now holiday? Will you tell
me or do I get it out of the old man?
Let him alone? I'll tell you once again. I had
to tell the truth. Frank would have recognized a lie.
It was a trapped rat, and his instinct made him shock.

(04:54:56):
The next morning made me go to the sun tower
and signal what I I was to say. He had
written down and he had a book of Morse code handy.
I didn't have a chance to trick you. L I
D A Y H E R E have been busy.
Holiday here good and I will see if the kid answers. Look,

(04:55:18):
why don't you give the professor a break? Time up,
do anything, but don't kill it. I take no chances
with anybody. We'll take me with you to give the
old man a break. You both get it. I take
no chances. I'm look in the electric chair, right in
his face, and I don't like it. Hey, hey, look
the kid's flashing back. Take it down when I give
it to you. Dot dot dot dot dot dot dash

(04:55:39):
dot dot dot dash dot dot dash dash dash dash
dash dot dash dash. That's a that's a y and
that's the last letter. Okay, let's see what we got. Hello, Ted,
and mister Holiday. This is Marty. Glad to know you

(04:56:00):
were all right. I'll be here again tomorrow waiting to
talk to you. Marty.

Speaker 82 (04:56:04):
Hey, this is perfect Frank, what good is it we're
sitting up here while the cops are looking for us.

Speaker 6 (04:56:08):
I'm using brains, Billy. As long as the kid thinks
everything is all right up here, he won't worry. He'll talk.
You'll say he heard from Whitman. See very clever, Frank, Congratulations,
Thank you. Now more than ever, no one's going to
look up here. You're gonna signal every day until I
get ready to leave. See Holiday. All it takes is brains. Yes,
that's all you know, Frank. You remind me of someone. Yeah,

(04:56:31):
a Roman soldier. He's nuts, Frank, No, no, no, I
want to hear what he's going to say. Go on holiday.
Maybe you don't know the story, but I'm sure Professor
Irving does. About Archimedes and the Roman Yes, I know what. Okay, Holiday,
tell us the story, all right. Archimedes was a Greek,
a great scientist and a mathematician. He lived in Syracuse,

(04:56:54):
on the island of Sicily, and the year two hundred
and twelve b C. The Romans besieged the city and
sacked it.

Speaker 82 (04:57:00):
What kind of a story is this?

Speaker 6 (04:57:02):
Very much like the one we're going through now, Go ahead,
finish in Holiday, okay. Well, the invading Romans do to
the city, and one of them, looking for spoils, enter
the garden. There he saw an old man sitting alone,
drawing circles in the sand with a stick. The Romans
spoke to the old man Archimedes, but the old man

(04:57:23):
thought of nothing but his circles and his science. The
Roman running through with his sword, so what of it? Well,
no one remembers the soldier's name, but Archimedes has never
been forgotten.

Speaker 34 (04:57:38):
What are you trying to do?

Speaker 82 (04:57:39):
Give me the willie?

Speaker 6 (04:57:39):
Now he's trying to scare me, but he doesn't. You're
still going through it. Huh, you're going to kill a
man who lives for nothing but science. I take no chance.
He hasn't harmed you or anyone else. I won't beg
him for my life. Mister Holliday, it wouldn't do you
any good. They getting your own, both of you. Maybe
tomorrow would be the day we put a tag on
the story, but it wasn't. Radio reports by short wave

(04:58:04):
said the police were still looking in that area. I
was forced to signal Mandy that everything was all right.
Then two days later, this is the day, hallidey, it's
too bad. The old guy's name is in Archimedes. You
still don't want to get my break, snap yapping about it.

Speaker 17 (04:58:19):
We've got to do something.

Speaker 6 (04:58:20):
You won't have to worry about it anymore. Archimedes. Oh,
I see, I'm sorry, Professor Irving. Maybe if I hadn't
come up here, you wouldn't it would have been the
same halidy Billy Reilly.

Speaker 51 (04:58:34):
Yeah, what's the matter?

Speaker 6 (04:58:35):
Get the things packed. We're pulling out tonight. Yeah, honest.

Speaker 82 (04:58:39):
But is it all right? I mean the cops they're
off the trail.

Speaker 6 (04:58:42):
Yeah, yeah, I'd picked their calls up on the short wave.
Everything is just ducky.

Speaker 9 (04:58:45):
Baby, brother.

Speaker 82 (04:58:47):
I'll be glad to get out of this place.

Speaker 43 (04:58:50):
Maybe it's doing these guys a favor what they have
up here anyway, A whole.

Speaker 105 (04:58:54):
Life, a whole life deep in the immensity of space. Dan,
I'm sorry you have to be in on this me.
I'm an old man's it's all right, Professor. Here we
are for little people in the limitless well of the universe.
Four tiny lives. It does seem o, doesn't it. All

(04:59:17):
the billions upon billions of miles out there.

Speaker 82 (04:59:20):
And we're just a spec for crying out loud that
talks me. The creeps right, make them shut up?

Speaker 6 (04:59:25):
Yeah, shut up? Oh scared a little, Frank. Tonight, when
you leave here, look up into the sky. Just remember
how tiny you really are, swallowed up in the immense
stretches that are so huge that a billion miles is
only only a speck. The Roman soldier. Yeah, that's right.

(04:59:48):
What about Ted Whitman, You'll die anyway. You shouldn't have
gotten my way when I first came up here. Just
push anybody out of the way, kill them if you
have to. I take no chances. I use my head.

Speaker 82 (04:59:56):
Stop arguing with him, Frank, I'm getting nervous.

Speaker 37 (04:59:58):
We got to get out of here right now.

Speaker 6 (05:00:00):
We'll get out tonight when it's dark. Okay, Holliday, Let's
go to the tower and signal at kidd, Why should
I you're going to kill us anyway? Why should I
give you a break? Fight on signal? Mary will get
suspicious your signal?

Speaker 1 (05:00:13):
Can you make that?

Speaker 6 (05:00:14):
Yeah? I can go ahead, beat me then I'll be
in great shapes.

Speaker 19 (05:00:17):
Signal.

Speaker 6 (05:00:17):
Look, either you do it or all Archimedes heah takes
it for you do it then. But if we're going
to die, why I give this right of break, for
Marty's sake. For Marty's sake, Yes, I don't want the
boy to miss what's going to happen tonight. What are
you talking about?

Speaker 82 (05:00:30):
You careful, Frank, don't let him trick.

Speaker 6 (05:00:32):
I'll use my brains. Now, what are you talking about,
you Archimedes? What do you mean?

Speaker 105 (05:00:37):
Professor Ted? Ted taught Marty astronomy. The boy has a
wonderful natural intonation for it. There are too few of
us like Marty. I want him to see the comet tonight.
He won't look for it if I don't tell him,
if you don't signal him about it.

Speaker 6 (05:00:52):
Well, how do you like that? Something you wouldn't understand? Frank? Okay,
so I don't understand it. Who wants to? All right?
Write down what you want me to sing? On a professor?
I'll do it, thank you. It'll be sure, Ladi. You
like that he's gonna get killed and he wants to
tell a kid about a comet? And now I die
much happier if I had just one good crack at you. Yeah,

(05:01:13):
sure you would. I'll stick my chin out and let
you take a punch at it. Here's the message. Thanks,
let me see that come on, hand it over, sure,
read it? Yeah? Anything wrong with it? Just tell us
the kid to look for a comment.

Speaker 82 (05:01:26):
Don't send it, Frank, there's something wrong.

Speaker 6 (05:01:28):
I run this show. You think these two can pull
a fast food on me? There's no code in this
I look, No, there's no code, Frank.

Speaker 82 (05:01:35):
Sometimes the first letter of each word spills another word.

Speaker 6 (05:01:37):
I know, I know, I looked. Can you make anything
out of l F HCT No?

Speaker 77 (05:01:43):
I guess not.

Speaker 6 (05:01:44):
Okay, come on holiday, let's go. I signal Marty beynswied.
I pray that the kid would understand. Then we went
back to the cottage the New Past, and it was
early evening and in.

Speaker 82 (05:02:02):
The cottage, it's about time we went, ain't it's, Frank?

Speaker 6 (05:02:05):
No, not quite. The sun's not all the way down yet.

Speaker 29 (05:02:07):
But the longer we stay, the worse it's gonna be.

Speaker 6 (05:02:09):
You stop yapping. We've been here all day. Nothing's happened.
That's right, nothing's happened. I wonder if Marty is looking
for the comet. I guess he is.

Speaker 82 (05:02:19):
I bet there ain't no comment, But you're wrong.

Speaker 6 (05:02:22):
There are over nine hundred comets recorded, and five or
ten more discovered every year, save at Archimedes. You're not
teaching a class now, and you'll, Billy take it easy.
It's been over seven hours since we flashed the message.

Speaker 16 (05:02:33):
All the same.

Speaker 40 (05:02:33):
We better go.

Speaker 6 (05:02:35):
Yeah, yeah, the sun's down. I'll be dark enough.

Speaker 105 (05:02:39):
Okay, Halliday Archimedes, on your feet the last time. Take
me along with your tyler, professor, but don't kill.

Speaker 6 (05:02:44):
Me, and take no chances on your feet, both of you.
Don't you try that again. You'll go out the hard
way A little by little.

Speaker 17 (05:02:52):
I'm moved.

Speaker 6 (05:02:55):
We'll get in the next room and face the wall
right in the back hand unless you want to see
what you're getting. Okay, Hey, what's that?

Speaker 37 (05:03:03):
Sounded like a car?

Speaker 6 (05:03:04):
That's the light fast? Something unforeseen, Frank, Frank, who is it?
Don't worry. Can't be anybody that knows anything. Even if
it is.

Speaker 82 (05:03:10):
I can see by moonlight.

Speaker 34 (05:03:11):
They're rangers.

Speaker 6 (05:03:12):
They've got guns and they can use them.

Speaker 37 (05:03:14):
There's a kid with.

Speaker 6 (05:03:14):
Them, Marty Kennedy.

Speaker 17 (05:03:16):
That kid.

Speaker 6 (05:03:17):
Okay, he asked for it. I take no chances. Don't
shoot that cat up, all right, drop it, drop the gun, well, Frank,
this time our committees wins. I've been waiting to do

(05:03:37):
that for two days.

Speaker 82 (05:03:39):
Gee, gee, mister Holliday, Professor wors ted.

Speaker 6 (05:03:43):
He'll be all right, Marty, soon as we can get
him too a doctor. But you, you're a smart boy.
I thought you'd guess it, Marty Gee.

Speaker 43 (05:03:53):
I knew something was wrong, but it took me a
long time to make anybody else believe it. Shucks, I
knew Ted or anybody else up here wouldn't send me
such a silly message.

Speaker 82 (05:04:20):
And is dead Whitman going to be all right, mister Holliday.

Speaker 6 (05:04:23):
Sure he'll be all right.

Speaker 65 (05:04:24):
But what was the message that made Marty think something
was wrong?

Speaker 6 (05:04:28):
To watch for a comment that night?

Speaker 65 (05:04:30):
If they're over nine hundred comments and five or ten
new ones discovered every year, what was silly about it?

Speaker 6 (05:04:36):
This was a particular comment, Susie, A very particular one.

Speaker 82 (05:04:39):
Oh G, tell me what was it?

Speaker 6 (05:04:41):
Remember the first letters of each word l F HCT.
Look for Halle's comment tonight. Well, Halle's comment is a
big orbit. It takes seventy five years for it to
get around, and it isn't do until nineteen eighty five.
Good night, Susy.

Speaker 104 (05:05:05):
Listen him again next week, when, through the courtesy of
Paramount Pictures, Alan laddstars is Dan Holliday and Box thirteen.
Box thirteen is directed by Richard Sandville, but this week's
original story by Russell Hughes. Original music is composed and
conducted by Rudy Schrager, and the part of Susie is
played by Sylvia picker Burn. Carstonsen is in charge of production.

(05:05:27):
This is a Mayfair production from Hollywood. Watch for Alan
Laddin his latest paramount picture.

Speaker 7 (05:05:40):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot com as also

(05:06:01):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus it's where you can find the
Hope in the Darkness page. If you are someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others. You can find all of that and
more at weird Darkness dot com. I'm Darren Marler. Thanks

(05:06:22):
for joining me for tonight's retro Radio, Old Time Radio
in the Dark.

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