The Ghostly Spirit Behind the Script Wanted His Name on the Marquee, Not Hers

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

Speaker 2 (00:13):
Oh Fantasy.

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

Speaker 2 (00:26):
A man us Seal.

Speaker 4 (00:36):
Present Suspense.

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

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

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

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

Speaker 5 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 7 (01:50):
Come in.

Speaker 5 (01:53):
Welcome. I'm E. G. Marshall. Next time you go to
the theater a new play. Ask the person sitting next
to you who wrote it. Chances are you won't know. Oh,
he'll know who's starring in it, and probably he'll know
what the critics had to say about it. But it
will take a furtive glance at his program before he

(02:16):
can tell you the name of the playwright. Yet, weeks, months,
and even years earlier, there was a playlight, patiently, stubbornly
putting words on paper. As the old theatrical saying goes,
if it ain't on the page, it ain't on the stage.
Nobody's going to believe this. I know I don't believe

(02:40):
it myself and able to why.

Speaker 7 (02:42):
But it happened, didn't.

Speaker 5 (02:56):
Our mystery drama, The Impostor, was written especially for the
Mister Theater by Elsabeth Eric and stars Don Scardino and
Norman Rose. It is sponsored in part by x Lax
and the Buick Motor Division. I'll be back shortly with
that one. A playwright loses hegemony over his work as

(03:30):
soon as a producer buys his play. The producer hires actors,
a director, a designer, a manager, and the playwright who
started the whole thing becomes a pallid spectator to the
feverish activity which begins both in the theater and in
the producer's office. It is in just such an office

(03:51):
that our story begins.

Speaker 8 (03:59):
If you don't believe what I'm about to tell you,
don't blame me. I have trouble believing in myself. I'm
Ted Harris. I'm assistant to the incredibly successful Broadway producer
Norman Geld years ago when I first went to work
for him, I was sitting in my office right next
to Norman's when.

Speaker 5 (04:17):
I heard his voice raised to an unaccustomed pitch.

Speaker 9 (04:20):
It's impossible.

Speaker 7 (04:21):
It's absolutely impossible.

Speaker 9 (04:24):
This is Mahaffey.

Speaker 7 (04:25):
It can't be done.

Speaker 5 (04:26):
We open tonight, your play open tonight.

Speaker 7 (04:30):
This is mahappy.

Speaker 9 (04:31):
There isn't a printer in town.

Speaker 5 (04:32):
Who could do it. I'm telling you. Come on in, Ted,
this is Mahaffey. You have written a great play. It's
going to be a big hit. Don't you understand. No,
I can't do this one little thing for you because
it's impossible and it's crazy. What's up, Norman, Oh, come
on and sit down. I take it. That was missus Mahaffey,

(04:56):
our marvelous playwright, our genius, our pain of a neck. Ted, Ted,
you are not going to believe this. Missus Mappey's acting
up all of a sudden thing.

Speaker 9 (05:07):
She's lost her marbles.

Speaker 5 (05:08):
She's such a nice lady, k Mappy. When we all
adore and revere Missus k Mahappy was written the best
play any producer ever got his grubby hands on, the
best play since since Norman. Just tell me what does
the lady want? Oh, Ted, you are not going to
believe it? What is it she wants? She wants her

(05:28):
name taken off of the play.

Speaker 9 (05:32):
I told you.

Speaker 7 (05:33):
Wouldn't believe it.

Speaker 5 (05:34):
I don't, Ted, Ted. There has never been a production
like this. I don't mean just the script. The Lord
knows that's the masterpiece. But I have hired the best people,
the best actors, the best director, the best designer, because
I love this play. It's in my blood.

Speaker 7 (05:51):
It started me, you know that.

Speaker 5 (05:53):
Every day since I read it, I have gone around
thanking whatever star looked out for Norman Geld that this
play came into my office. And you know how it
got here? And through the mail, no agent, no nothing
from a playwright, nobody ever heard her. She I Darnia
didn't read it. Yeah, he had me read it. Huh
oh yeah, that's right, I did, didn't I and you

(06:13):
liked it. I liked it a lot, and then then
I read it and liked it even better than you did.
Couldn't wait to get on the phone and buy it,
or remember that, I remember it naturally, missus Kma happy,
was very happy, very grateful, and who wouldn't be Norman
Gall was not one of your shlock producers, far from it.
When she came in to sign the contract, I thought,

(06:36):
my what a nice, reasonable lady, so normal. I thought,
very calm, very poised, very sweet, very nice. But I
didn't take advantage of it, or the fact that this
was her first time out. I gave her good terms
because I knew that she had written a great play.
Though I remember thinking at the time, how could such

(06:58):
a great play come out such a normal lady. Now
it turns out she's not such a normal lady. You
just never know about these things. Do you never? You
know that she's a translator at the United Nations? Did
you know that?

Speaker 9 (07:14):
No?

Speaker 5 (07:14):
I didn't. Yeah, she translates from German into Enguish, been
doing it ever since her husband died about ten years ago.
Never wrote a thing in her life, not even an article,
let alone a play. Imagine, the most intricate, the most
exacting form of literary composition there is. And she writes
for one good good, it's a great one, fantastic, said said,

(07:38):
do you know what I have done for this little lady? Oh? Lot, no, no, no,
no no. This is something special, a surprise for tonight.
I put her name up on the marquee, Ted, you
know that's never been done for an unknown playwright. I
want to show her how we believe in her in
her play. I want her to come to the theater

(08:00):
night and look up at the marquis and see her
name spelled out in lights. I want to see her
face when she sees it. And now she wants new
programs printed up without her name. Do you think it's
first night nerves or what? I don't know what?

Speaker 10 (08:17):
Good Lord ed?

Speaker 5 (08:18):
We go up in four hours? How can I get
new programs printed up in four hours? Said? She's hysterical.
Do me your favor. Go up to her place and
talk to her, make her see it is impossible. Will
you do that for me? I don't know, Norman, Ted,
What'll I say? You'll think of something? I hope so
sure you will.

Speaker 8 (08:38):
She likes you you'll think of something. What name does
she want you to put it on the programs? Or
do you just say by anonymous?

Speaker 5 (08:46):
She wants me to substitute another.

Speaker 7 (08:49):
Name, any other name.

Speaker 5 (08:51):
No, she was very specific about the name. What was it?
Ver Vaine Martin Vain.

Speaker 8 (09:06):
All the way up to Missus Mhaffey's apartment building, I
tried to think what I could possibly say to this nice,
unassuming woman who had suddenly seemingly gone slightly mad.

Speaker 5 (09:18):
I didn't know her awfully well.

Speaker 8 (09:20):
Most of her contacts had been with Norman, but she
and I had always gotten along. When I got to
the apartment, I waited a moment.

Speaker 5 (09:29):
And then pushed the button.

Speaker 8 (09:33):
It was at least a full minute before the door opened,
And when it did, it wasn't Missus mahaffey. It was
a dumpy little woman I'd seen around in the theater
a few times.

Speaker 11 (09:43):
Yes, uh, is missus mhaffey.

Speaker 12 (09:46):
In what I'm afraid she hasn't seen anyone right now?

Speaker 5 (09:49):
Oh well, maybe she'd see me.

Speaker 11 (09:51):
My Happey's play is opening tonight.

Speaker 5 (09:54):
On bro I know I worked for mister Gel, the producer.

Speaker 8 (09:57):
I'm ted Harris. Mister Gail asked me to come.

Speaker 5 (10:00):
Up here and talk to her.

Speaker 11 (10:01):
Oh well, in that case, come on in.

Speaker 12 (10:06):
She might see you. If it's about the play.

Speaker 11 (10:09):
I'm Darthur Dillingham. I'm a friend of Kay's. Actually, Kay
wrote the play at my house. I have a little
place up in the Catskills.

Speaker 7 (10:17):
Oh is that all?

Speaker 11 (10:18):
Yes, we're very close. Kay and I both being widows.
My husband and hers died the same year, within a
few months of each other.

Speaker 12 (10:28):
I've done, Oh I could.

Speaker 9 (10:29):
I can't do anymore.

Speaker 12 (10:31):
They won't listen to me.

Speaker 9 (10:32):
Nobody will listen.

Speaker 12 (10:33):
Nobody understands. I've tried, like no hues, no U.

Speaker 11 (10:39):
That's Kay.

Speaker 5 (10:41):
She what she sounds very upsets.

Speaker 12 (10:44):
She's been upset ever since the road tour.

Speaker 8 (10:48):
Mister Gillis says she wants her name taken off the program.

Speaker 11 (10:51):
She does, she's.

Speaker 5 (10:52):
Quite the true. Doesn't she know that that's impossible?

Speaker 12 (10:56):
Well, if she does, it doesn't make any difference.

Speaker 8 (10:58):
But we open tonight, Missus Dillingham less than four hours
from now. I know mister Gelb said she wanted another
name substitute it.

Speaker 11 (11:07):
Martin Vain.

Speaker 7 (11:09):
You know about that, Oh yes.

Speaker 5 (11:12):
Missus Dillingham.

Speaker 8 (11:13):
On the way over here, it occurred to me, does
missus Mahaffey think that a man's name would be better
for some reason. Because if that's what she thinks, those
days are pasted.

Speaker 5 (11:22):
It might have been true.

Speaker 8 (11:23):
Once, I guess it was, But these days a woman's
name is as good as a man's, maybe.

Speaker 11 (11:28):
Better, I know, I know.

Speaker 12 (11:31):
Well then why was she? Have you done it?

Speaker 7 (11:34):
Oh?

Speaker 5 (11:35):
Kay, dear missus mahaffey.

Speaker 12 (11:37):
Have you done it?

Speaker 13 (11:38):
That's all I want to know so that I can
get some rest.

Speaker 12 (11:41):
Have you done it?

Speaker 11 (11:42):
Mister Harris?

Speaker 12 (11:43):
Have you removed my name?

Speaker 8 (11:45):
Missus mhffey. We open in less than four hours? You
can't get new programs printed up in less than four
hours that there isn't a printer in.

Speaker 5 (11:52):
New York that could do this.

Speaker 14 (11:53):
Well, have you tried?

Speaker 5 (11:54):
There's no sense in trying.

Speaker 7 (11:56):
It can't be done.

Speaker 5 (11:56):
Oh what have I got it? Too? Happy?

Speaker 8 (12:00):
You've written a wonderful play.

Speaker 12 (12:02):
You should be proud. Mister Gelve has such faith in
your play.

Speaker 5 (12:08):
He's even had your name put up in lights night.

Speaker 8 (12:13):
Light, Yes, on the Marquis, you know, over the entrance
to the theater. It was supposed to be a surprise
for you. It's a very unusual honor, he thought.

Speaker 11 (12:23):
You'd be so happy, happy, happy, I'll ever behead happy
you can?

Speaker 7 (12:32):
Oh, how can you do this to me?

Speaker 12 (12:35):
Missus doing ruined?

Speaker 5 (12:36):
I ruined for life?

Speaker 12 (12:39):
You better go, mister Harriet.

Speaker 11 (12:42):
If you need me, I'll be at the office good,
because I think it's very likely I'm going.

Speaker 15 (12:48):
To need you.

Speaker 8 (12:54):
Well, I've bombed out, that was obvious, and I've gone
there to try and pacify an hysterical and then, if anything,
I'd made things worse?

Speaker 5 (13:02):
Well, what did Norman expect from me? A miracle? I
know you're tried. She kept yelling, I'm ruined that I'll
kill myself. She wouldn't do that, would she?

Speaker 8 (13:12):
At this point, I'm not prepared to say what she'd
do or wouldn't do.

Speaker 5 (13:16):
She's one crazy lady. Well crazy enough. A curtain goes
up tonight eight o'clock sharp? Who's that? For pete sake?
And you want me to find out? I don't want
to talk to anybody, mister Harris. Uh, Norm, it's it's
Missus dolling Hare.

Speaker 12 (13:30):
Oh is that mister Gail?

Speaker 5 (13:31):
Yes, how's missus murfy?

Speaker 12 (13:33):
Not too good? That's why I had to talk to you.
I think there's something you should know.

Speaker 5 (13:37):
They come in, Missus Dollingham.

Speaker 11 (13:40):
Mister Gail, I know, Missus Mahaffey seems to be acting
a very a very peculiar manner.

Speaker 5 (13:47):
You could say that, yes, you could say that.

Speaker 12 (13:49):
Wanting the name Martin Vvain put on the program.

Speaker 11 (13:51):
It's crazy, not completely, because you.

Speaker 12 (13:55):
See, Martin the Vain did write the place.

Speaker 5 (14:00):
But do you mean to stand there and tell me
Missus Mahaffey did not write this play. She's stolen no play?
Then what did you do? Where did you get hold
of it? Missus Dillingham.

Speaker 8 (14:13):
Was mister Vervaina a collaborator, you could call him that.
Mister Vervain and Missus Mahaffey worked on the play together.

Speaker 12 (14:21):
Yes, that's it.

Speaker 5 (14:23):
Oh, she never told me that. And now miss Vervain
wants to cut in on the royalties, he'll sue. No, no, mister, well,
he consume Missus Mahaffey, not me. I acted in complete
good faith. My hands are clean.

Speaker 11 (14:36):
Mister Savaine, won't sue anybody, mister girl. Mister Vane's been
dead for fifty years.

Speaker 5 (14:50):
People tend to ask writers the oddest things, and the tritist,
where do you get your ideas? Do you write every day?
Or just when you feel like it. Do you use
a typewriter or put it down in Longhand do you
write in the morning or the afternoon.

Speaker 7 (15:09):
Or at night?

Speaker 5 (15:10):
As though by learning the mechanics anyone could write. If
you've ever tried it, you already know that nothing could
be further from the truth. We'll return shortly with that too.

(15:37):
Norman Gelb, theatrical producer, and his assistant Ted Harris, have
been disturbed, to put it mildly, by the demands of
their new and talented playwright. Came the Haffey to remove
her name from the programs and substitute the name of
Martin Vervaine. The demand seems pointless as well as impots posible.

(16:01):
The opening is to take place this very night as
our first act. M Missus Mahaffey's friend Dorthor Dillingham stood
in the office of mister Gilb, and we heard was
mister Ravain a collaborator. They worked on the play together,
and you could say that, yeah, oh, she never told
me that. And now this Vervain wants to cut in

(16:21):
on the royalties. He'll sue, well, he can sue missus Mahappy,
not me. My hands are clean.

Speaker 11 (16:26):
Mister Savain won't sue anybody, mister Gelb, mister Vane's been
dead for fifty years.

Speaker 5 (16:37):
Norman and I just sat there looking stupid.

Speaker 11 (16:41):
I know this must sound strange to you.

Speaker 5 (16:44):
Strange, you said strange. It does sound a little strange.

Speaker 11 (16:49):
It would do anybody who doesn't understand automatism.

Speaker 5 (16:53):
Automatism never heard of it.

Speaker 11 (16:56):
Well, you see in the field of parents psychology, in
which I have to be very well.

Speaker 8 (17:01):
Very missus Dillingham, why don't you start at the beginning
and tell us how missus Mahafey got mixed up with
mister Ravane, how they happened to get together and write
this play.

Speaker 5 (17:12):
Yeah, start at the beginning.

Speaker 12 (17:14):
All right, I'll do they please.

Speaker 11 (17:17):
Well, became a happy and I have very good, very
old friends.

Speaker 12 (17:21):
We went to school together.

Speaker 11 (17:24):
Her husband died and my husband died the same year.
I took a little house up in the Catskills, and
Kay went on living in New.

Speaker 13 (17:33):
York because she got a job at the United.

Speaker 5 (17:35):
Nations translating, we know that.

Speaker 11 (17:37):
Well, every Saturday almost I've come into New York and
we'd have lunch and go to a matinee.

Speaker 13 (17:44):
And this particular Saturday over.

Speaker 12 (17:46):
The luncheon table.

Speaker 11 (17:49):
You're not looking well, okay, if you'll forgive my saying, so,
I haven't been sleeping well at the truth. Oh my dear, Well,
it's living alone. Even after all these years, I can't.

Speaker 13 (18:02):
Get used to it.

Speaker 11 (18:03):
William visits me every night.

Speaker 16 (18:06):
It's a great.

Speaker 13 (18:07):
Calm, Dorothu. Please don't get started on that spiritualist stuff again.

Speaker 12 (18:12):
I know you don't believe me.

Speaker 11 (18:13):
It's fantasy. It's your family. Call it anything you like.

Speaker 12 (18:17):
William does this well, I simply can't go along with
you on that.

Speaker 11 (18:22):
Although, yes, what are you thinking? The oddest thing happened
at the un yesterday. I wasn't gonna tell you about it.
I wasn't gonna tell anybody because it was so weird.

Speaker 12 (18:36):
What what was it?

Speaker 13 (18:38):
Well, the man who does the French translating, he started
to cough, and for a few seconds he controlled it
well enough, but then I could sense that was getting
the better of him. And I, yes, yes.

Speaker 11 (18:53):
I jumped in and took over in French.

Speaker 13 (18:57):
Yes, but you can't speak frankly, Well, I told you
it was weird. Of course it was only for a
star or two. But they told me later I was
perfectly accurate. And my accident was quite good.

Speaker 11 (19:09):
Okay, you have gifts, believe me. I've always thought so,
but I didn't want to discuss it with you because
you've always been such a goat.

Speaker 12 (19:18):
A what a goat?

Speaker 11 (19:20):
That's what we call the skeptics.

Speaker 12 (19:22):
Goats.

Speaker 11 (19:23):
Believers like me are called sheep.

Speaker 13 (19:25):
Well, I think I'll stay with the goats.

Speaker 11 (19:28):
But my dear, your subconscious self has great power.

Speaker 12 (19:33):
Actually, everyone has far greater power than.

Speaker 11 (19:37):
The primary consciousness, the one we live with.

Speaker 12 (19:40):
Don't you see?

Speaker 11 (19:42):
When you jumped in for the French translator, your subconscious
self took over. You hadn't been sleeping well, you told
me so.

Speaker 12 (19:50):
You were over the border. I was what over the border?

Speaker 11 (19:57):
Your incarnate spirit was sufficiently over the book to receive,
but still able to control its own superliminal You were
able to receive from the French translator, but still able
to say the words.

Speaker 13 (20:11):
Allow, old Doris. I don't know it sounds like cheverish.

Speaker 11 (20:16):
Tell you what After the matinee, come back with me
to the Catskills.

Speaker 12 (20:20):
Stay overnight. You need the rest anyway, and.

Speaker 11 (20:23):
We can talk some more. After the matine we drove
up to my house together. I knew she was still
very skeptical towards the whole thing, not to say hospital.
So on the way, I kept the conversation on very
mundane subjects. Kay hardly said anything at all. I made

(20:49):
her go and lie down while I fix dinner, And
after we'd finished eating, without any prompting for me, she
said what you were saying at lunch about the power
of the subconscious self? Yes, how do you how do
you get in touch with it? With the power, Well,

(21:13):
there are different ways. I use a.

Speaker 13 (21:16):
Wigi board, a Wiji board. I didn't know they still
made those things.

Speaker 12 (21:21):
Oh, my dear.

Speaker 11 (21:23):
Everyone who's into parapsychology knows about Wuiji board.

Speaker 13 (21:26):
Do you have one?

Speaker 11 (21:27):
Of course I have one.

Speaker 12 (21:29):
Do you want to see it?

Speaker 11 (21:30):
I might look at it. I'll get it.

Speaker 12 (21:32):
It's right here.

Speaker 13 (21:34):
What you said at lunch about being over the border, yes,
I don't know if that's what I'm feeling right now.
I have an ideas just a mountaineer.

Speaker 11 (21:45):
How do you feel right now?

Speaker 13 (21:48):
Sort of disconnected, disassociated?

Speaker 11 (21:53):
I don't know what that means.

Speaker 12 (21:55):
It could be the beginning of a transstate.

Speaker 13 (21:58):
It's very odd.

Speaker 17 (22:00):
I'm not sure I like him.

Speaker 12 (22:01):
Here's the Ouiji board.

Speaker 11 (22:03):
I think my mother had one of those. It has
the letters and numbers from one to ten plus yes
and no and goodbye.

Speaker 13 (22:12):
It's such a funny name, Luigi.

Speaker 11 (22:15):
Well, it's a combination of the French and the German.

Speaker 12 (22:17):
Words for yes, we French, yeah German. How strange.

Speaker 11 (22:24):
Okay, I know what you're thinking. What happened yesterday at
the UN translated into France, but I only know German.

Speaker 12 (22:31):
Well, let's start, shall we.

Speaker 11 (22:33):
Oh, this is all so exciting.

Speaker 12 (22:35):
Now.

Speaker 13 (22:35):
This little three legged, heart shaped thing is a planchette.
We put our finger tips on it very lightly.

Speaker 11 (22:43):
Yes, that's right, and then we wait till it moves.
We were there for hours to almost midnight. For the
first hour, nothing happened, nothing at all. I was willing
to give up. I thought K was too tired to continue.

Speaker 12 (23:04):
Perhaps we'd do better in the morning.

Speaker 11 (23:07):
But about ten o'clock the planchette started to move. It
spelled M A R and then.

Speaker 8 (23:17):
It stopped Martin, Yes, but we didn't know that.

Speaker 5 (23:22):
Then what else did it spell out? Nothing?

Speaker 11 (23:25):
Just M A R over and over again for two
solid hours.

Speaker 7 (23:31):
Then what happened.

Speaker 13 (23:33):
Well, a little after eleven, K looked so exhausted I
insisted that she.

Speaker 12 (23:36):
Go to bed.

Speaker 11 (23:38):
We weren't getting anything new on the Ouiji board. I
said we could try again in the morning, so we
each went to our own rooms and went to sleep.
I did, but in the morning when I went to
make breakfast, there was Ka standing over the table staring
at the Ouiji board. Morning bright eyes to sleep. Well,

(24:04):
I didn't sleep at all. Okay, did you like a top?

Speaker 12 (24:09):
Never woke up once? Are you sure?

Speaker 7 (24:11):
Well?

Speaker 12 (24:12):
Of course, I'm sure.

Speaker 13 (24:14):
You didn't come into my room whistling. Of course not
somebody did. Are you sure you might have walked in
your sleep.

Speaker 11 (24:24):
I never walk in my sleep, and I can't whistle you'retha?

Speaker 13 (24:29):
A little after midnight, just after I had gotten into bed,
I heard it, the whistling. It was an old tune
Indian love call.

Speaker 15 (24:48):
Do you remember that?

Speaker 7 (24:50):
Yes?

Speaker 5 (24:51):
I remember? Well?

Speaker 12 (24:54):
Was that all just the whistling?

Speaker 13 (24:57):
I think so, except I seem to hear someone scolding me,
someone very annoyed and irritable.

Speaker 11 (25:05):
Okay, let's use the wiki boat again.

Speaker 5 (25:08):
Right this minute?

Speaker 11 (25:10):
Maybe just or maybe do you mind if I used
it by myself?

Speaker 5 (25:17):
Oh?

Speaker 13 (25:17):
I know I have this ceiling. Someone is trying to
reach me. If I could just be alone.

Speaker 12 (25:29):
Of course, I left her alone and went out to
the kitchen.

Speaker 11 (25:33):
But a minute later I heard it, very faint but unmistakable.

Speaker 8 (25:39):
Well, she could have been whistling at herself. Couldn't see well,
of course she could have been.

Speaker 5 (25:43):
Of course she could have.

Speaker 11 (25:44):
Let me tell you what happened next. I took a
good long time fixing breakfast. I ate by myself in
the kitchen, so it's not a disturb K in the
living room. I cleaned up and put it.

Speaker 13 (25:55):
Around, and a couple of hours later I looked up
to see K standing in the doorway.

Speaker 12 (26:01):
Do I know who it is?

Speaker 5 (26:04):
Who?

Speaker 13 (26:04):
Okay, the mar You remember how those letters kept showing
up on the Luigi board last night?

Speaker 12 (26:10):
Yes, just maar.

Speaker 11 (26:11):
They are the first letters of the name Martin.

Speaker 12 (26:15):
Do you know a Martin? Well, this Martin is Martin Vervaine.
And you know of Martin Vervain.

Speaker 13 (26:22):
Well, this Martin Vervain died fifty years ago.

Speaker 16 (26:25):
Okay.

Speaker 13 (26:26):
He was an actor, a very great actor, a star.
It was his whizzle I heard last night, and his
voice that was very indistinct.

Speaker 11 (26:35):
Maybe he was reciting from one of the plays he started.

Speaker 12 (26:38):
No, no, I told.

Speaker 11 (26:40):
You he was scolding me.

Speaker 13 (26:42):
But why because it seems he has a play in mind,
a play he wanted to write while he was a
living actor, but he never had the time or the
leisure to write.

Speaker 12 (26:53):
But why should he scold you?

Speaker 13 (26:55):
Because he's been trying for years now to persuade me
to write it for him.

Speaker 12 (27:02):
Only he could never get through.

Speaker 11 (27:03):
To her, something like that, Kay, Kay, are you going
to are you going to write the play?

Speaker 12 (27:10):
I must, don't you think so?

Speaker 13 (27:14):
Martin through Vain, after.

Speaker 11 (27:18):
All these years, has gotten through.

Speaker 14 (27:20):
To me, Dorotha.

Speaker 11 (27:23):
I can't let him down.

Speaker 12 (27:30):
That night, about midnight I heard it.

Speaker 11 (27:36):
I heard the soft creaking of Kay's bed, heard the
door of her room open and close, heard her go
into the living room, pull up a chair, and I knew.
I was sure that through the Ouiji board, she was
receiving the words of the departed actor Martin Ravain. Sure enough,

(27:59):
in the morning, I went into the living room and
there was Kay, her face glowing though she had had
no sleep for.

Speaker 12 (28:05):
A day and a half.

Speaker 11 (28:07):
The first act finished, Dorotha.

Speaker 13 (28:10):
All night I worked. It went so fast I could
hardly keep up with The first act is complete, Oh,
dorothe Who would have thought that? I? I?

Speaker 14 (28:22):
Why not you.

Speaker 12 (28:23):
Why should you not be?

Speaker 11 (28:24):
An automatist, Elizabeth Barrett Browning and Victor Hugo received messages
by automatic writing, why not you?

Speaker 14 (28:31):
I ever three?

Speaker 11 (28:32):
It's no more than simple telepathy. The fusing of the
incarnate with the ex carnate spirit.

Speaker 13 (28:38):
Is that what's happening?

Speaker 12 (28:39):
Martin Zane is.

Speaker 11 (28:41):
The communicator, that's all.

Speaker 12 (28:43):
An entity, ever is?

Speaker 11 (28:44):
An entity is say, an essence, a being from beyond,
a sender as you are a receiver.

Speaker 13 (28:53):
Oh, dorotha, dorotha that this should happen to me? Sunday night,
at about midnight, I heard it again, and I heard
Kay get up and go into the living room. But
this time she didn't pull up a chair. Instead, I heard.

Speaker 17 (29:16):
The soft tread of her feet up and down, up
and down the room, and I heard, even though I
could not make out the exact words, I could.

Speaker 11 (29:26):
Hear her voice, low, soft, all through the night, her
voice declaiming what was she doing?

Speaker 7 (29:36):
Huh?

Speaker 11 (29:36):
She was composing the play, of course, as it came
to her from Martin Vravane.

Speaker 5 (29:41):
Her play does not get written that way.

Speaker 11 (29:44):
I know you are one of the goats, mister ghetto.

Speaker 5 (29:46):
Oh oh, what happened next? Missus? Dollingham.

Speaker 11 (29:49):
Well, the next day was Monday, and Kay phoned the
u N to tell them she wouldn't be in that
as a matter of fact, she'd have to take off
the rest of the week. And every night about midnight
I heard the whistle and i'd hear Kay get up
and go into the living room. But along about Thursday,

(30:11):
I think it was I didn't hear her voice as
I had before. I heard it instead. You'll never believe this.
I heard a typewriter, Yes, a typewriter. Kay was taking
down Martin Bavaine's words on a typewriter.

Speaker 5 (30:28):
It's incredible.

Speaker 12 (30:29):
I told you wouldn't believe me.

Speaker 5 (30:31):
You must admit missus doing hair. It's not easy.

Speaker 11 (30:34):
No, of course it isn't. The part about the typewriter.
I found that hard to believe myself. So I had
heard such a thing a long time ago. Well, the
next morning I confronted Kay with it. You don't mind
my using your typewriter, do you?

Speaker 12 (30:50):
Of course not?

Speaker 11 (30:51):
But did you.

Speaker 12 (30:55):
Was it really?

Speaker 11 (30:57):
Was I really typing to play? Yes, of course I was.

Speaker 12 (31:01):
It sounded so easy. She went so.

Speaker 13 (31:03):
Fast, Dorothy, There's nothing to it. You know what I've decided.

Speaker 12 (31:08):
I decided I'm the entity. Oh okay, Martin Lavaine is
the entity. You are the autocatives that may have.

Speaker 13 (31:17):
Been true in the beginning, But then I went ahead
on my own.

Speaker 16 (31:20):
This is my place.

Speaker 12 (31:22):
I've even thought of the title the.

Speaker 11 (31:24):
Color of Desire. Do you like it?

Speaker 18 (31:28):
Yes?

Speaker 13 (31:28):
But I was just typing up the title page the
Color of Desire by Kay the happy.

Speaker 5 (31:40):
There tell me John Matthias, someone as opposed to have
said to the man who came to be known as
Saint John's across, tell me how do you write your
beautiful catacles to it? The poet priest, they say, replied,

(32:03):
Sometimes God helps me, and sometimes I do it by myself.
If the great Saint received help from the deity, why
should not Kmahaffey get help from a deceased actor named
Martin Ervain. No reason at all that I can see.
We'll continue shortly with act three. In our second act,

(32:36):
we heard from the lips of Dorothur Billingham the account
of how her friend came a Hafey came to write
a play, How after a session with the Wigi board,
a disconnate spirit who in his incarnate existence had been
an actor named Martin Ravain made himself known to Missus
Mahaffy and conveyed to her telepathically a play he had

(32:58):
wanted to write himself during his lifetime. As the act ended,
we heard Missus Mahaffey.

Speaker 11 (33:03):
Say, Dorsa, I had the entity, Kay Martin Ravane is
the entity you are the automatist.

Speaker 13 (33:12):
That may have been true at first, and then I
went ahead on my own, this is my play. I'd
even given it a title, the Color of Desire.

Speaker 11 (33:23):
I was just tiding the title page the.

Speaker 13 (33:27):
Color of the Desire by.

Speaker 5 (33:32):
Kay the happy there.

Speaker 19 (33:42):
The next morning we got out the Yellow Pages and
we looked up theatrical producers, and we tore the page
out of the phone book and glued it to the
Ouiji board and moved the plantchet over it, and the
plantchett stopped at the name Norman Gille. And we gathered
up all the pages and put them in a folder
and sent.

Speaker 12 (34:02):
Them to you.

Speaker 5 (34:03):
That is incredible.

Speaker 12 (34:05):
I know it's hard for you to believe.

Speaker 8 (34:06):
It's impossible, Missus Dillingham, when Missus Mahaffey came in here
to discuss the production, and all during rehearsals and all
the time out.

Speaker 5 (34:15):
Of town on tours. She seemed all right. She wasn't
you know the way she is now.

Speaker 12 (34:21):
I know, But she wrote me, I think it.

Speaker 11 (34:23):
Was from Philadelphia that Martin Ravaine was starting to give
her trouble.

Speaker 5 (34:28):
Uh what kind of trouble.

Speaker 11 (34:30):
She didn't say exactly, but she did say he was
using bad language and threatening her.

Speaker 5 (34:36):
What you mean physically? I think so, Missus Dillingham, Missus
Mahaffey has been under a great.

Speaker 8 (34:42):
Straight I should say she has no no, no, I
mean for a long time, maybe ever since her husband died, you.

Speaker 10 (34:47):
Know, living alone, earning a living.

Speaker 5 (34:50):
All that, and then she writes this wonderful play.

Speaker 7 (34:54):
It just comes to her.

Speaker 5 (34:55):
These things do happen that way sometimes had it's bought
and cast, had put into rehears still and produced and
tried out. That's all a lot of excitement and involvement,
even if you've been through it before. It's a big strain,
and it wouldn't surprise me a bit if Missus Mahaffy's
sort of, you know, broken down a little, her nerves
have gotten her best of her.

Speaker 7 (35:14):
That's all it is.

Speaker 5 (35:16):
I'll get it darling Gal's office.

Speaker 13 (35:18):
Let me speaks still half I know she's there.

Speaker 5 (35:22):
Sure it's for you. I think it's missus mappy.

Speaker 13 (35:25):
Oh kay, oh dear, Oh that's awful. Oh kay, yes,
of course I will right away.

Speaker 11 (35:36):
Dear, I have to go. He's with her and behaving badly.

Speaker 5 (35:41):
Sure, sure, you run along. We'll see at the opening.

Speaker 11 (35:44):
I'm not sure Kay will be able to come to
the opening, mister Gili.

Speaker 5 (35:48):
Not coming to the opening of her own play?

Speaker 7 (35:51):
Whoever heard of such a thing? This is going to
be a night to remember.

Speaker 5 (35:57):
Well, Norman and I will remember it, that's for sure.

Speaker 8 (36:00):
He and I stood up in the back of the theater.
All through the performance. The play had never gone better.
Everything went like clockwork.

Speaker 5 (36:06):
The actors were.

Speaker 8 (36:07):
Magnificent, and when the curtain came down on the third.

Speaker 5 (36:10):
Act, oh wow, done Shames, who's not here?

Speaker 20 (36:18):
Oh yeah, Finally they stopped applauding.

Speaker 8 (36:29):
Finally they emptied the theater. Norman and I sat in
the green.

Speaker 5 (36:33):
Room, happy and exhausted. Only one thing remained, the notices.

Speaker 8 (36:39):
What would the critics say about the play? It didn't
seem possible. They wouldn't brave about it. One thing is
sure about the theater. You can never be sure.

Speaker 5 (36:49):
What do you think that?

Speaker 21 (36:50):
Oh?

Speaker 11 (36:51):
I can't hear still.

Speaker 5 (36:54):
Critics are funny people. Yeah, what do you say? We
go across the street.

Speaker 18 (36:58):
Okay, where's your coach?

Speaker 5 (37:00):
Just across the street.

Speaker 14 (37:01):
I don't need it.

Speaker 5 (37:01):
Okay, let's go, you know, Ted, it's a funny thing
about the theater. One minute, it's full of life, sound, lights, people,
the performance ends, the applause stops, the people leave, and
it's silence as death and as dark. Look, even the
lights on the Marquee are going out. Okay, let's cross

(37:25):
the street. Oh no, no, no, wait a minute, Ted,
what's the matter. You know, I can't stand the idea
of missus Mahafey not being with us when the notices
start to come in. I don't want to sit there
with just you and my mother. Go on off the
K's apartment and see if you can't talk her And
they're joining us, So why don't you come with me?
She listen to you better than to me. My mother's
over there waiting for us. You go, huh, okay, tell

(37:45):
her we just have to have her with us. Tell
her it's a big night for all of us. Well.

Speaker 8 (37:54):
I got a taxi and drove to K's place. When
the door opened and it wasn't came happy. It was
Doritha dolling him, and she looked worried. Come in, mister Harris,
isn't Missus mafie here.

Speaker 11 (38:07):
She's in the bedroom.

Speaker 12 (38:08):
But don't go in there.

Speaker 11 (38:09):
She won't recognize you.

Speaker 7 (38:11):
Is she sick?

Speaker 11 (38:13):
Not exactly.

Speaker 13 (38:14):
The doctor left just before you got here. He says,
she's all right, she'll come out of it.

Speaker 5 (38:20):
Come out of what?

Speaker 11 (38:21):
Well, the doctor said, it's a sleep of exhaustion.

Speaker 8 (38:24):
But I know better.

Speaker 5 (38:27):
What do you think it is? I think it's deep trance. Oh, now,
missus dolling him.

Speaker 11 (38:35):
I was in here and she was in the bedroom.
I heard her cry out, don't.

Speaker 13 (38:40):
Don't, please, don't, mister Harris, I'm sure he was.

Speaker 11 (38:45):
With her, you mean Martin Levain.

Speaker 13 (38:50):
After a while, I went in there and she was
lying on the bed, perfectly quiet.

Speaker 11 (38:56):
I spoke to her, but she didn't answer me. That's
when I called the doctor. I was worried.

Speaker 5 (39:01):
Well, of course, the.

Speaker 11 (39:02):
Doctor said he found bruise marks on her body. You
know how I think they got there?

Speaker 5 (39:10):
Now, miss doing her?

Speaker 11 (39:11):
I know you're not a believer.

Speaker 13 (39:13):
I know.

Speaker 12 (39:13):
I'm sure there's a simple explanation for the bruise.

Speaker 11 (39:16):
That's what the doctor said, but I know.

Speaker 5 (39:19):
Better, missus doing him.

Speaker 8 (39:21):
Mister gel and I were very disappointed that neither of
you came.

Speaker 5 (39:24):
To the opening.

Speaker 12 (39:25):
Oh did it go well?

Speaker 5 (39:27):
Very well, very very well.

Speaker 11 (39:30):
Oh excuse me, hello, mister Harris there. Oh yes, just
a second for you.

Speaker 5 (39:37):
Thanks, Hello, Ted.

Speaker 22 (39:39):
The notices of Stopping becoming Radio TV, Ted, they are sensational, fantastic.

Speaker 21 (39:44):
Out of this world.

Speaker 5 (39:45):
Well, she's gonna come down here, or how is she?
By the way, I haven't seen her yet. Well, tell
her this is something she can't miss once in a lifetime, thing, unforgettable, marvelous, normal.
I'll do my best here.

Speaker 23 (39:58):
Don't take no for an answer.

Speaker 5 (39:59):
I'll see you, yeah, yeah, see you soon.

Speaker 11 (40:01):
Norman, that was mister Gelb, Yes, and he says, oh, yes, dear,
it was mister Norman Gelb.

Speaker 8 (40:11):
Oh, mister Gil Uh, missus mahaffey. Mister Gil was calling
from a restaurant across the street from the theater. The
theater where your play open to night. Oh, yes, play,
Missus mahaffey. The reviews are starting to come in radio television,
Missus mahaffey.

Speaker 5 (40:27):
They're all great.

Speaker 13 (40:29):
I wrote the play just as mister Ravine told me to.
I never corrected or changed to thing.

Speaker 5 (40:38):
Missus Mahaffey. Mister Gel wants the three of us to
join you.

Speaker 12 (40:41):
He does, yes, And when you walk in, probably everybody will.

Speaker 5 (40:45):
Applause for me, well, of course for you.

Speaker 13 (40:51):
How they know who I am?

Speaker 5 (40:54):
Well, your picture has been in the papers, and you'll
be with me.

Speaker 11 (40:57):
Okay, let's go. Well, I'll get chr coat.

Speaker 13 (41:02):
They're really applied, sure.

Speaker 5 (41:05):
And we'll sit with mister Gel.

Speaker 8 (41:06):
Then people will stop by the table and congratulate you
and tell you.

Speaker 5 (41:09):
How much they liked your player.

Speaker 13 (41:10):
Oh it does sound like fun.

Speaker 5 (41:13):
Oh it is fun, Missus mhafey.

Speaker 12 (41:15):
It's fun like no other fun in the world.

Speaker 11 (41:17):
Here's your coat, Kay, I've got mine.

Speaker 5 (41:20):
Ladies, Shall we go in the taxi? I didn't say much.

Speaker 8 (41:28):
I was secretly pleased with myself, for once I had
succeeded with Missus Mhaffey.

Speaker 5 (41:33):
And I look forward to watching her take in all
the glories, all the splendor.

Speaker 8 (41:37):
Of the theatrical world, which too often is grubby and depressing.
But tonight she'd see it with its best foot forward,
and she would be thrilled. So far as I know,
there's no bigger thrill to be had than the one
that comes from a play that's a smash hit.

Speaker 11 (41:52):
I hope I'm doing the right Help cast you off.

Speaker 5 (41:55):
You just wait and see, missus mhaffey. It'll be the
experience of your life. Will they bet it will?

Speaker 7 (42:03):
Huh?

Speaker 12 (42:05):
Mister Harris, mister Harris, are.

Speaker 11 (42:08):
You whistling me?

Speaker 5 (42:09):
No? Are you?

Speaker 7 (42:11):
No?

Speaker 24 (42:11):
I can't.

Speaker 16 (42:12):
I knew I shouldn't have come.

Speaker 5 (42:14):
A driver, driver? Yeah? Were you whistling?

Speaker 13 (42:17):
Just now?

Speaker 5 (42:18):
Why should I be whistling? Is the radio one?

Speaker 7 (42:21):
You want?

Speaker 5 (42:21):
The radio one?

Speaker 7 (42:22):
No? No?

Speaker 5 (42:24):
Here are come on, missus Dillingham. I heard it.

Speaker 12 (42:29):
I no, I did, didn't you?

Speaker 25 (42:30):
Yes?

Speaker 5 (42:31):
Yes, come on?

Speaker 16 (42:32):
I shouldn't have come.

Speaker 5 (42:34):
Yes, you should look look across the street.

Speaker 26 (42:41):
What is it, kake?

Speaker 12 (42:42):
Look up there.

Speaker 7 (42:45):
The lights, Martie.

Speaker 5 (42:48):
It's lighting up.

Speaker 13 (42:50):
The lights are going on, one by one.

Speaker 5 (42:54):
The color of desire.

Speaker 11 (43:01):
Maright thurtain.

Speaker 5 (43:11):
Ted Harris told you at the very start, he said
you wouldn't believe it did indeed? And you don't, do you.
I don't blame you. It's a completely incredible story. Do
I believe it? Well? I am rather like the white
Queen in Pallace in Wonderland. I have trained myself to

(43:31):
believe three incredible things before breakfast. Once you get the
hang of it, it's easy. Try it. You discover that
half the things you find incredible turn out to be true. Incredible,
isn't it? Missus kma Happy never wrote another play. The

(44:01):
Color of Desire ran for three and a half years.
Did Martin Ravane desert her? Or did she desert Martin Vervaine?
There have been several playwrights who have written one successful
play and were never able to do it again. Perhaps
came a half he was one of these, or should
I say Martin Vervaine was one.

Speaker 7 (44:24):
I leave it up to you.

Speaker 5 (44:25):
Believe whatever you like. Whatever you believe may very well
turn out to be true. Our cast included Norman Rose,
Don Scardino, Bryner Rayburn, and An Potoniac. The entire production
was under the direction of Hymon Brown.

Speaker 4 (44:41):
Radio.

Speaker 5 (44:42):
Mystery Theater was sponsored in part by General Electric Citizen
Band Radios.

Speaker 27 (44:47):
This is E. G.

Speaker 5 (44:48):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant dreams.

Speaker 28 (45:50):
Time, the silent heralds of life and death, success or failure,
The unseen force that measures man's destiny, reaching its most
faithful moments as it slowly strikes the eleventh out?

Speaker 7 (46:36):
Must I wait upon the women the serving wrench.

Speaker 9 (46:39):
More wine, girl, more wine.

Speaker 13 (46:43):
Comes, not drunken strangers insulted by gain by a slip.

Speaker 7 (46:48):
Of another word. That's one who coughed you your life?

Speaker 5 (46:54):
What?

Speaker 7 (46:55):
Oh the devil therese standards at your service. You are
a stranger to the tavern and lost two I am,
and I will make a point of not returning. Then
we shall both be content. Kitty has one rule for
the tavern, a rule that you have already broken. Oh
what's that that it cleon? Terra should drink like gentlemen.

(47:16):
I am a gentleman's her by burst, but not thy inclination.
You gazzle your wine like a fat fowl. Why can't
you ribble your wine over your less like a blobbering child?
And I should enjoy the privilege of running you through?
Shall we meet at dawn? I am no swordsman and

(47:39):
pistols perhaps it.

Speaker 22 (47:41):
Hands trembles, the hold thistles there.

Speaker 14 (47:49):
You wish to leave?

Speaker 7 (47:51):
Yes, yes, but first your apology. My friends, Kitty owns
the tavern has lost those. There's no serving Wench what
he wishes to crave your pardon, Yes, yes, exactly. I
had no idea good nights, my friend. I do had
to leave now.

Speaker 9 (48:10):
I had appointment mostly.

Speaker 14 (48:18):
If your sword would serve England.

Speaker 16 (48:19):
If it serves me.

Speaker 7 (48:20):
Why I kid my sword, said one man bow standish.
It is to my advantage tool that peace should prevail
in the tavern. Good wine and peace go hand in hand.
Your glass is empty now and will remain so I
shall return before midnight. Kitty. I have one thing in
common that our departed guest, an urgent appointment on the road.

Speaker 16 (48:43):
Clear, please take, and.

Speaker 7 (48:46):
If I take considerably more than that, I should regard
this as a most unprofitable night.

Speaker 10 (49:10):
Oh, juice, uncomfortable night, Margaret, cold wet? Why this devil?
We couldn't say the night and let heaven we passed
by cart Imagine father, you.

Speaker 16 (49:20):
Gave Pickens orders if we.

Speaker 10 (49:21):
Were to press on to do Oh it was in London.
I wasn't so damned cold. Then we have the package
on time at all.

Speaker 7 (49:29):
Why didn't never get me whom his regiment in the summer?
That's because Napoleon was difficult.

Speaker 10 (49:36):
Has there ever been anything else that did coursing an
upstart that though is where is there any gumption had
driven him out of.

Speaker 16 (49:44):
Spain months ago, as we British were driven out of America.

Speaker 10 (49:48):
Fater Marca, I'm tired of being reminded in the middle
of every discussion that twenty years ago I was partrayed
of Sanatoga, my regimental forehall indefinitely.

Speaker 16 (49:58):
I know, father, if it had been left to you America.

Speaker 9 (50:02):
Sty at the dish come, there was nothing to laugh about.

Speaker 10 (50:05):
Girls burl, disgrace, disgrace another thing.

Speaker 7 (50:09):
I know.

Speaker 25 (50:12):
Who the.

Speaker 10 (50:16):
Chick is more be top of earl, pass the stop
and coach.

Speaker 9 (50:23):
Turn down that horse. Pistol, my friend, where I shall
for horse?

Speaker 7 (50:25):
Shoot it half of your hand.

Speaker 9 (50:27):
You faked me on your way. This is the earl
of chitchizens coach, I am in the privileged. Then it
st it up the pistol. I'm waiting. Thank you, my lad.

Speaker 7 (50:46):
The highwayman and.

Speaker 9 (50:48):
Me have like a poof and a pistol digged. God
is for me, say.

Speaker 7 (50:59):
All hip my compliment, and to you ah, if you
were to descend, I'm sure we can terminate our business,
speeded it and allow you to continue your journey.

Speaker 16 (51:09):
I have no intention of leaving the coach.

Speaker 7 (51:11):
My advise too cold as you wish.

Speaker 9 (51:15):
If you will hand me your goal.

Speaker 7 (51:17):
Your lord, no, we'll have to kill me to get
his father.

Speaker 10 (51:20):
Well, if you have him in border, hadn't you done?

Speaker 7 (51:22):
I had to leave the boast runners myself. The prospect
of such a chaste excacts my curiosity that even highwamen
can appreciate beauty.

Speaker 5 (51:30):
Ma'am.

Speaker 16 (51:31):
We are on our way to Dover to meet my brother, Sir,
a man who is risking his life in the service
of his country, not in the pursuit of gold stolen
from his bitters.

Speaker 7 (51:40):
Mum, I had no idea. I have no desire to
spoil the homecoming of such a Here you may.

Speaker 10 (51:48):
Ride on, my ben both you may or let us
go in.

Speaker 7 (51:53):
The face of such beauty and such a dalla, what
else would I do? Come ask with ford of lam.

Speaker 14 (52:02):
You'll be wise to.

Speaker 29 (52:03):
Make all speed, deserve up and break the return journey
at the tavern of lost soul.

Speaker 9 (52:08):
So why are my friends the far.

Speaker 10 (52:12):
Well? I'll be father, well, I will anywhere. Then maybe
it's calm, It'll be execon, gentleman, did you get a
close look at him?

Speaker 7 (52:23):
I did not wish to you could have killed his water.

Speaker 10 (52:26):
Absolutely helpless, were I could do a thing to stop everything?
In of mindhood? Amazing?

Speaker 14 (52:34):
Are we learned to you?

Speaker 7 (52:36):
All night?

Speaker 9 (52:36):
Diggings.

Speaker 7 (52:37):
You've said I was dismissed your lord ship.

Speaker 10 (52:39):
Oh not here, are you fool?

Speaker 7 (52:42):
Oh ha waited dover?

Speaker 9 (52:44):
Oh right, I'll give you another tom, But next time
shoot and then whim up the orfors. I'll get the
dove of amy freak.

Speaker 14 (52:53):
Then come in, Oh bo, you're not hurt.

Speaker 7 (53:20):
Only in my pocket where it helps missed the most
unrewarding night to work kit in except for but never man,
I think I would have visitors to stay the night's kitten,
three of them, four with the coachman.

Speaker 16 (53:32):
What happened?

Speaker 7 (53:34):
I stopped the coach and made the acquaintance of the
Earl of Twistendom. And I don't know. I let him go,
let him cut?

Speaker 16 (53:43):
But why why take such risks for nothing?

Speaker 7 (53:46):
My dearest kitty. The Earl has a most charming daughter, haughty,
delightful and very beautiful.

Speaker 16 (53:53):
She has read.

Speaker 5 (53:54):
I know that it was dark the night.

Speaker 7 (53:56):
I mean her hair gleamed in the half light.

Speaker 16 (53:59):
Yes, and you told them to die here.

Speaker 7 (54:03):
Even this tavern cannot exist without customers.

Speaker 13 (54:08):
It's enough for bank of it.

Speaker 30 (54:09):
We could live well if you'd help me with the child, right,
I should die of boredom within a week.

Speaker 16 (54:14):
You die kicking your heels from the merriment of the
mob at.

Speaker 7 (54:16):
Your position, divon no doubt. Or perhaps they'll hang me
from a gibbet on Madova Road as a warning for
Calais like me. I hope their coach makes good time
on the return journey because of her hmmmm, no, dear kittie,
because of my pocket. I have a feeling that the
earl of twisted the little claut cards tonight, and my

(54:37):
night's work will be worthwhile after all.

Speaker 16 (54:57):
More wine, you know too?

Speaker 10 (55:00):
Thank who I needed to standish? You say your name
is yes, it's your launch, Standish Standish. I don't know
the name, but I was feeling we've met somewhere before,
and then I doubt it if your lordship, thank you kidding.

Speaker 7 (55:21):
I believe it's your terms to pat.

Speaker 10 (55:26):
Oh you didn't have anything worthwhile in his hands. If
you've got something, Eric, then the honor has got to
be retrieved somehow.

Speaker 7 (55:34):
Nothing Father, Then I would say that the center is mine.

Speaker 10 (55:39):
Gentlemen, I must say you're a wizard with the card.
Standish not a fortune tonight?

Speaker 7 (55:45):
Wizards are full of tricks?

Speaker 30 (55:47):
Are they not? Standish? The scripts of the hand that
deceives the eye?

Speaker 10 (55:52):
Really?

Speaker 7 (55:53):
Does it not strike you as odd, father, that.

Speaker 30 (55:56):
Ill luck with a card should follow us so painstakingly.

Speaker 7 (56:00):
Fighting the French seems to have loosened your son's tongue
or lodger, only if that his majesty's falses have tasted
defeat once too often. You're a cheat, dandish, a cheese
and a liar. Get in, where is Lord Trestingdon's room
on the first floor and unlucky number? Your lorcher, my

(56:22):
second will call on you. You own a rapier? I
presume I do. Then we shall settle for sault.

Speaker 10 (56:29):
The wise standards the boys overwrought it. Surely we can
come to summer range.

Speaker 7 (56:34):
All means, Lord Trestington, I presume you will second your son. Yes,
but I regret that you will be present at his death.
Good night to your lot. Come in, your ladyship.

Speaker 14 (57:10):
I am not here by choice.

Speaker 7 (57:11):
Mister Standish, then fire, I.

Speaker 16 (57:14):
Have come to plead for my brother's life. I know
who you are, those Standish. It was you who held
us up at Pistol Point earlier tonight on the Dover road.
I've talked with miss Kitty and she tells me that.

Speaker 14 (57:28):
You cannot kill him. You cannot.

Speaker 7 (57:30):
He has done it to apologize before morning.

Speaker 16 (57:33):
Do you think you will do that?

Speaker 7 (57:34):
I rather hope so. I just like rising at such
an earlier.

Speaker 16 (57:38):
My father knows Erik was wrong. You did not cheat.

Speaker 7 (57:42):
There is always the possibility that your brother might kill me.

Speaker 16 (57:46):
I know everything about you, your skill with a rapier.
How many men have you killed?

Speaker 7 (57:53):
Thothish the ones who use such words as cheat and liar.
But if you were a gentleman, I am not. I
was born into the gutter in cheapside. My clothes are
the finest that ill gotten money can buy. My list
is important from France. My sword was a gift from
the Great Sardini himself. My hose is important from Spain.

Speaker 5 (58:13):
But even so I am not a gentleman.

Speaker 16 (58:18):
You had a chance earlier tonight to rob me, even
kill me. If you would wish you did not do so,
then I beg you do not do so. Now do
not rob me of my brother.

Speaker 5 (58:30):
Your hair is even more beautiful than I thought.

Speaker 16 (58:34):
This Kitty has told me of your prowess with the rapier.
Could you not descend.

Speaker 5 (58:40):
Yourself and let your brother live?

Speaker 7 (58:45):
They demandared. I hesitated, where upon the consequent blot upon
my reputation. But live he shall. Now it is long
past your bedtime, they demandret.

Speaker 5 (58:58):
Go to your room.

Speaker 7 (59:00):
I give you my word that this is one affair
of honor I shall contrive to lose.

Speaker 31 (59:31):
I must born you, gentlemen, that jeweling has been outlawed
in England.

Speaker 30 (59:35):
His majesty, if you already presided this affair, then do sir?

Speaker 7 (59:38):
I did not come head to talk. There are certain
for melodies. It must.

Speaker 30 (59:42):
I have no intention of retracting my accusations. In fact,
mister President, I reiterated the gentleman I am to fight
is a cheat and a liar. Very young father, I
made a number of inquiers about this gentleman since last night. He's,
among other things, a common highwayman. Do you deny this standing?

Speaker 7 (01:00:02):
I just like the word common. I regard myself as
the most uncommon high woman.

Speaker 10 (01:00:07):
Bye, George, I should like to examine your points sentimentally.

Speaker 7 (01:00:14):
Is that a factory? Thank you? You will remember that
first blood decides the victoria.

Speaker 30 (01:00:20):
Agree, my adversary has gave to still rather a lot
of blood, mister Preston, not.

Speaker 7 (01:00:25):
A gaster thought to entertain on such a lovely morning,
Doctor wen Back, will you come over here please?

Speaker 32 (01:00:31):
Of course, get it over quickly, mister President. I have
an urgent case of shingles to attend.

Speaker 31 (01:00:37):
Ready, gentlemen, thank you, Oh god play. I thought the
army favored the Italian school.

Speaker 7 (01:00:54):
Lord leg how about you relax? You're Lord Edick, and
my fingers some crest the hill.

Speaker 33 (01:01:07):
I am not in the cell now, Standish. I intend
to kill it enough first blood to his lordship.

Speaker 7 (01:01:18):
Doctor. Will you attend, mister Standy.

Speaker 30 (01:01:21):
Let a scratch stock town, Let me see it roll
up your sleeve. The greatest duelist in England, that's about.
I found it very disappointing the boy coaches which didn't Father.
If you would meet again the Standy, I shall kill you.

Speaker 32 (01:01:38):
Do you understand it's nothing serious, mister Standish, Its whole blood,
that's all.

Speaker 10 (01:01:43):
Good morning, gentlemen who wait for me. The Standley would
like to talk to for a moment.

Speaker 7 (01:01:50):
We have nothing to discusse your load him.

Speaker 10 (01:01:53):
I saw you drop your point after fending his attack.
It was almost as if you guided soul in the
great wrong.

Speaker 7 (01:02:02):
I'm sure you're not.

Speaker 5 (01:02:03):
You're wrong.

Speaker 10 (01:02:04):
I'm deeply grateful to the standards, very fond of the
son the only air. Deeply grateful, Margaret. I'm worried about

(01:02:30):
your brother, deeply worried.

Speaker 16 (01:02:32):
He is rather more pompous than usual since the bod
Standish affair. I admit no doubt.

Speaker 11 (01:02:37):
You get over it.

Speaker 10 (01:02:39):
Where is he now?

Speaker 16 (01:02:40):
Where he spends every hour of the day at the
Great Sardini's fencing school. He's decided that, having established such
a reputation as a dualist overnight father, he can teach even.

Speaker 7 (01:02:51):
Sardini trooper, young fool, he's.

Speaker 16 (01:02:54):
Paying for lessons from Sardini, but Eric contrives to make
it sound as if the boots were on the other foot.

Speaker 10 (01:03:00):
I shall be infernally glab with the young idiot, goes
back to his regiment. Sucuse I've spoilt him a great deal,
needed a mother's influence.

Speaker 11 (01:03:09):
Were both spoiled him dying.

Speaker 10 (01:03:13):
Margaret, you know both standishes. Yes, Oh, I'll never understand
why that edic defeat him.

Speaker 7 (01:03:25):
The first few moments of the duely made Edict look
like a lumbering fool.

Speaker 10 (01:03:28):
Masterly masterly.

Speaker 7 (01:03:30):
He's almost as if he wanted to.

Speaker 10 (01:03:32):
Lose the fight, losing without coming to.

Speaker 7 (01:03:33):
Any great harm.

Speaker 10 (01:03:35):
He hadded that proustmatic beauty there then dropped his sword
point just far enough to allow the boy in Nicky's arms.

Speaker 7 (01:03:43):
Margaret, are you listening?

Speaker 16 (01:03:46):
Yes?

Speaker 10 (01:03:47):
Well, why the devil.

Speaker 7 (01:03:49):
Should he do that?

Speaker 10 (01:03:52):
In one short night? Both Standish holds us up a
fiscal point, refuses to take our gold, then contrive to
save my son, paying the penalty in his bad manners.
I don't understand now, I simply do not understand.

Speaker 16 (01:04:06):
I asked him to lose you.

Speaker 10 (01:04:09):
I see you what.

Speaker 16 (01:04:11):
I went to his room after you and Eric had retired,
and begged.

Speaker 13 (01:04:15):
Him to allow Eric to defeat him.

Speaker 10 (01:04:18):
You realize what you've done, Gil, If anyone ever discovers
the truth of the matter, right to be the laugh
in stock of London.

Speaker 7 (01:04:25):
No, I'm glad you did it.

Speaker 10 (01:04:29):
Oh, perhaps I can make young Eric see how dautilly
lucky he.

Speaker 30 (01:04:32):
Was there are, father, Margaret? As you worry from Martham,
I think perhaps of glass of Madeira. I wan't talked
to Eric, Please, father, not now. I've had the most
exhausting day, you know, Sardania is quite good with the foiler.

Speaker 7 (01:04:45):
Do you intend to spend your entirely fence him, my lidiens.
Of course, I've got to tell you. I resigned my commission,
what you did? What resign my commission? And what may
I ask you and to do with yourself?

Speaker 30 (01:05:00):
Apps the tables play the tables, and you know the
usual thing.

Speaker 7 (01:05:04):
After all, I have some little reputation to enjoy.

Speaker 30 (01:05:07):
Now I find the glamor that surrounds the man who
defeated Burst Danish quite tistened, much more said than the
winter mud of Spain.

Speaker 7 (01:05:16):
I say something wrong.

Speaker 10 (01:05:17):
You resigned your commission, and you think the greatest ending master,
and you have his quite good with the boil.

Speaker 7 (01:05:25):
You intend to gabble? Is there anything else to intend?

Speaker 9 (01:05:29):
Yes?

Speaker 30 (01:05:29):
Father, I intend to be part of my rooms and
have Master bring me to Madeira.

Speaker 7 (01:05:34):
I may join your birth to Dinna. Yeah, but starting
keeping you popping, dad.

Speaker 34 (01:05:45):
Come afraid the.

Speaker 7 (01:05:45):
Time has come, Margaret for Master at it to be
taught a lesson. He'll never forget this time.

Speaker 22 (01:05:50):
I shouldered at both standis this time I shall bleed
with him?

Speaker 7 (01:06:07):
I should like to make sure that my ears are
not perceiving me. Ever, I understand that you wish me
to challenge your son to a duel as a drive,
quite right. You wish me to defeat him. I do,
but he is not to be more than scratched at
most desire, correct I see? May I ask quiet? Because
ever since you're forcing me to be more anegous than ever,

(01:06:30):
I know perfectly.

Speaker 10 (01:06:30):
Well that you allowed him to defeat you. Standish. I
knew it at the time, and since then Margaret has
told me the gene you're moving well, he told.

Speaker 7 (01:06:38):
Me, at the risk of offending you, sir, how is
it that such a paragon should possess such an obnoxious brother?
I don't know which I did. No one had hurt,
though not not physically, Danergy exactly. I understanding? All right, then.

Speaker 9 (01:07:00):
Everything as well?

Speaker 12 (01:07:01):
But you plenty to do in here when you want
to move wine.

Speaker 10 (01:07:06):
May I ask you a question? Bow Hawaii?

Speaker 5 (01:07:09):
I will?

Speaker 10 (01:07:09):
You might may call you Boe, of course not. How
would this tavern get his name the Tavern of Lost Souls?

Speaker 7 (01:07:17):
I christened it very When Mistress Kitty's parents died, they
left her the tavern. I was passing one knife on
my way to a meeting such as our first stopped
for refreshment The parlor was full of men in their cups,
and amongst them stood Kitty, but the flagon of wine
held high above her head as she thought to disengage
herself on the arms of a drunken sucked deadly. It

(01:07:38):
was like a scene from the Infernomon. The fire like
the candles and the tanker spilled on the table. Well,
there is the time it was christened again, I think
not as they more famous or quieter tavern now between
the island the coast Boa.

Speaker 10 (01:07:56):
Will you do me this favor in God, my son.

Speaker 7 (01:08:00):
Uncertain conditions are first that you and Lady Margaret attend
the duo. Secondly, that Sardini himself shall preside. Sardini, Yes,
I spent five years in Spain under the guidance of Sardinia.
I owe my skill with the sword to the master.

Speaker 15 (01:08:18):
It is fitting that he should be there.

Speaker 7 (01:08:34):
This time. I promise you will not escape so lightly. Standish.

Speaker 30 (01:08:38):
I'm glad to have this opportunity of demonstrating something that
you seem to have found hard to believe.

Speaker 7 (01:08:42):
Sardini, your gladness is no greater than my own. Swer.
You have met my opponents, I chance.

Speaker 5 (01:08:49):
We have met.

Speaker 35 (01:08:49):
Yes, your seconds already quite quite ver, and you'll send
your standish.

Speaker 7 (01:08:56):
Of course, Master, you will attend doctor. I am then gentlemen,
lead us comments, can you take on guard.

Speaker 15 (01:09:08):
Play?

Speaker 10 (01:09:13):
There is no hurry.

Speaker 7 (01:09:15):
We have time to play with that shirt made in Spain.
It was I dislike the cap. Allow me to improve
the spining.

Speaker 10 (01:09:30):
Why you.

Speaker 7 (01:09:33):
I'll kill you, but that with or without your sword,
your lord seer luck I lost my grip, and pick
out your sword and try again. You will retire while
he does.

Speaker 35 (01:09:45):
Those singers they make three places, if you please, of course,
my thort women.

Speaker 7 (01:09:53):
Thank you.

Speaker 29 (01:09:53):
Father on guard Spanish, defend yourself your should that it's abominable,
your lordship. I'm at least you will now find it
easier to breathe. It would not be long before you

(01:10:14):
cannot breathe at all.

Speaker 7 (01:10:15):
Standing blade should dance my friends like this, and.

Speaker 29 (01:10:25):
Your cuts position is low, your lordship, you do low,
your lordship allowing me talk rat like you doctor.

Speaker 7 (01:10:35):
You will attend him at once, my stroke, my boy,
are you all right? Can you get away from you?

Speaker 10 (01:10:42):
Get away?

Speaker 7 (01:10:43):
Leave me alone?

Speaker 10 (01:10:46):
Thank you, standing, thank you. Hello. Doubt now return to
his regimen, and that that purse you requested on the
dover road. It's yours.

Speaker 7 (01:11:00):
I shall send her to the devil of lost soul.
Thank yourself. I'd better going to attend the boy. I
think you'll need me now.

Speaker 16 (01:11:12):
Oh oh, why did you want mensieur to.

Speaker 7 (01:11:17):
Say good bye?

Speaker 10 (01:11:18):
Model?

Speaker 16 (01:11:19):
Good bye?

Speaker 10 (01:11:21):
But I thought it really is the loveliest house.

Speaker 7 (01:11:24):
Don't you go with me now?

Speaker 5 (01:11:25):
Please?

Speaker 7 (01:11:25):
Not now joke that I would never do not with you?
Good Bye, lady, Margaret?

Speaker 10 (01:11:33):
Are you coming Margaret?

Speaker 7 (01:11:35):
Good?

Speaker 14 (01:11:35):
I thought?

Speaker 15 (01:11:37):
I mean hi women, Hi Margaret, good bye.

Speaker 35 (01:11:44):
Both you have remembered your lessons well, Senor Standish, Thank you, Mastra.
I am glad that my belief in you was worth
a while. Yes, Senor, very gracious for an englishman. Quite remarkable,
miss evering of his corvette. This saber movement with which

(01:12:07):
you cut his shirt, Hipper in your defense, your paris
quite good. But that final thrust you land the senior standish,
what's disgusting? Be listening for another mountain drama when we

(01:12:54):
again present the eleven hours.

Speaker 5 (01:13:04):
O.

Speaker 36 (01:14:25):
Fed up with the everyday grind, tired up by the
dull routine, you want to get away from it alone.

Speaker 37 (01:14:33):
We offer you.

Speaker 38 (01:14:36):
Escape Escape transcribe to free you from the four walls
of today for a half hour of high adventure.

Speaker 36 (01:14:48):
You're alone in the jungle with three men. You know
that one of them is a desperate criminal whom you've
come to arrest, but you don't know which one.

Speaker 39 (01:14:58):
You have to find him.

Speaker 36 (01:15:00):
He can save himself by killing you.

Speaker 38 (01:15:11):
Today we escape from reality into the depths of a
tropical jungle in a tatlyzing search for a murder.

Speaker 7 (01:15:17):
As L. G.

Speaker 38 (01:15:18):
Blackman told it in his famous story Red Wine.

Speaker 39 (01:15:31):
Rusty little traumfraighter bumped against the rickety wharf, and I
dropped from the rail under the planking for the first time,
felt the humid heat roll out of the jungle. This
was Tanjiang Samar, sweltering half forgotten, last out post in

(01:15:52):
the rubber coast of Borneo. I crossed the beach and
walked up the path of crushed shells leading to a
low bungalow at the edge of the jungle. The freighter
would lie at the whar for four hours, plenty of
time for me to get the thing over with and
be back aboard when she saved. I was expecting trouble,
of course, but no real dangers. I'd done jobs like

(01:16:15):
this before, or at least I thought this would be
the same. I thought so until I stepped up on
the porch and met here Kurt, controller of the ten
Junk Sumi District.

Speaker 40 (01:16:24):
Yeah, I'm here, Kut, the controller. What is it I
can do for you?

Speaker 39 (01:16:28):
My name's Paul Vernier. Mister Kurt, I have a letter
of introduction here from the governor generals.

Speaker 40 (01:16:36):
From the United States.

Speaker 39 (01:16:38):
Yeah, the governor promised me your cooperation, so.

Speaker 40 (01:16:40):
I see cooperation is good. But he does not say
cooperation in what.

Speaker 39 (01:16:45):
I've come here after? A killer, mister Kurt.

Speaker 40 (01:16:47):
Oh, DIACs maybe headhunters.

Speaker 39 (01:16:50):
Now, this one's a civilized killer, an American wanted in
San Francisco for murdering his wife. His name is Jerome Steeks.

Speaker 40 (01:16:58):
I see, won't ca your call it dian Jeff kaing
sht one.

Speaker 41 (01:17:04):
I brang right away.

Speaker 39 (01:17:05):
We have coffee in a moment. Nice of you, but
maybe I better pick this guy up first. I'd hate
to miss the boat and have to lay over five days.

Speaker 40 (01:17:12):
You're acquainted with this steaks, mister van No, I've never
seen him.

Speaker 39 (01:17:16):
You have photographs, right, not no fingerprints. Now, this happened
two years ago. Until last month we had it listed
as a double suicide. What are you driving at, mister Kirk.

Speaker 40 (01:17:28):
Simply this, There's no one in my district by the
name of Steaks.

Speaker 39 (01:17:33):
Now he wouldn't be using his own name. Of course,
there is an American here, though, three.

Speaker 40 (01:17:39):
Of them, mister Vania, employed as foreman on the Kota
Rubber plantation here Tanjong summer.

Speaker 39 (01:17:45):
According to my information, Steaks came here from Batavia about
six months ago.

Speaker 40 (01:17:50):
They all around six months ago on the same board.
The quota company is just going back into operation.

Speaker 39 (01:17:56):
You understand, I see well the courting of people who
have I've seen him. Jerome Steaks is a man about
thirty five years old, of medium heights, light build, pale complexion,
with black hair and mustash.

Speaker 40 (01:18:08):
Amazing. Any one of these men might fit that description,
except that all are clean shaven and heavily tanned from
the tropical sun. Furthermore, mister, all three of the men
have light blonde hair. Julie she jaf good war took.

Speaker 42 (01:18:24):
Ups one.

Speaker 40 (01:18:27):
Won't bring your baggage up from the wharf.

Speaker 39 (01:18:28):
Mister Finigiel.

Speaker 40 (01:18:29):
It appears your business may take a little longer than
four hours.

Speaker 39 (01:18:33):
I'm certain of the information I got in, but Tavia.
I know the man's here.

Speaker 40 (01:18:37):
Then the problem resolved itself into a matter of identification.

Speaker 39 (01:18:42):
And I always talk with the three of them. Are
to do that?

Speaker 40 (01:18:45):
I doubt that, mister Finniel. The swarms here that tan
junk summer are interested with fever green. It is always
hot like now, and the jungles back they are swarm
with crites, crists, deadly little snake, no longer your forearm.
There you are, and in the rivers there are crocodiles.

(01:19:06):
So men rarely come here unless they are running away
from something, trying to lose their past. I think you'll
find all three men have manufactured stories, so I always
want to choose.

Speaker 39 (01:19:19):
Well, sometimes a man can be identified by his personality, and.

Speaker 40 (01:19:23):
The personality of this man, Steaks is it's something out
of the ordinary, or.

Speaker 39 (01:19:29):
A foreman and a rubber plantation. Yes, I doubt if
all three of these men can be aristocrats. And in
a sense, well that's what Steaks is. A cosmopolitan. He's
lived all around the world, always associating with top society.
There's a lover of fine foods and wine. Speaks French
and German fluently. He's a gome bon vivan, a man

(01:19:51):
of perfect taste and clothes and manners, and a madra yeah,
and the murderer.

Speaker 40 (01:19:57):
Yeah. Well, when just three men returns as he, I
should be most happy to introduce you to them, though
it's quite probable they are aware of your identity already.
My houseboy there told me you were a detective before
you stepped off the wharf.

Speaker 39 (01:20:10):
I see so. In other words, murderer probably knows who
I am and what I'm here for, but I haven't
the slightest idea who he is exactly.

Speaker 40 (01:20:19):
It's quite an interesting thought, isn't it. More coffee, mister,
mister Faniel, I should like you to meet mister Doran.

Speaker 39 (01:20:40):
I am mister.

Speaker 40 (01:20:41):
This is mister William Metting.

Speaker 39 (01:20:43):
My name is Prayer, glad to meet you same here.
Mister Prale might.

Speaker 3 (01:20:46):
As well drop the mister. We don't use it much
around here. I'm Prayer. That's Dan, that's Wilmedin.

Speaker 39 (01:20:51):
And if it's all the same to you, sure, Prayer?
Why not?

Speaker 40 (01:20:54):
Now you gentlemen will excuse me. I have a number
of things to do. Will you bring mister Vannier to
my bank for dinner? We'll celebrate having our guests in
don junks.

Speaker 39 (01:21:02):
Somehow her kirt tells me all three of you are Americans.
I know whether I'm still one or that men of
the States in seven years, seven years, I think you're
an old timer.

Speaker 43 (01:21:18):
Here.

Speaker 44 (01:21:19):
No, not here Australia. Don't get him started from there.
He'll spend two hours telling you how he lost his
shirt trying to raise sheep down there.

Speaker 39 (01:21:27):
If I had either money or sense, I wouldn't have
come to this stinking hole. I wouldn't say you fellas
had it too rough. Noticing those empty bottles there on
the shelf.

Speaker 41 (01:21:36):
What do you mean for now, hm.

Speaker 39 (01:21:40):
Paul my Son nineteen thirty six. That's good champagne. You
boys are living like conniseirs.

Speaker 44 (01:21:47):
Oh no, you're overating us. Been there, those empty bottles
already here when we came. Oh, just never got around
of throwing him out, Prairie.

Speaker 39 (01:21:54):
Here's the only kind of syr in the bunch. He
can tell you anything you want to know about wines, yeah,
or about anything.

Speaker 3 (01:22:01):
Ud dry up. Just because a guy happens to know
a little more on somebody else has no reason to
keep riding them all the time.

Speaker 39 (01:22:06):
We should use some way to make ice. Getting plenty
fed up with warm beer day in and day out here.
That would get pretty tiresome. I think I'd switch to
Champartane or Shamble or something. Come again, Well, I didn't
necessarily mean those in particular, but quite a number of
wines that are even better warm than the hot children.

(01:22:27):
Now you're in the wrong place, Jim. We wouldn't know
what to do with him. If we had him. This
is strictly a beer and gin crowd.

Speaker 44 (01:22:34):
I'd be no kick on that. If we had some
ice to go with it. Oh, what I wouldn't give
for a cold, frosty bottle.

Speaker 3 (01:22:41):
A relax what you won with? Dang, you're making me thirsty.

Speaker 4 (01:22:44):
How about some music music?

Speaker 39 (01:22:46):
There's one of you play some instruments. Sure pray he's terrific.
I'm a phonograph over there in the corner. Only trouble
is he thinks three o'clock in the morning is the
greatest song ever written. Well, I can see that that
would lead to quite an argument, and particularly if you're
a lover of the classics. No, I don't go for

(01:23:06):
that long hair stuff, but I would like to hear
a fast number once in a while.

Speaker 44 (01:23:11):
It's less than ten years old. Yeah, you ought to
see this collection. Prail, drive up here from Batavia strictly
from the gay nineties.

Speaker 39 (01:23:18):
Praier, you don't buy any chance? Have a number called
young Meruti downset Mason.

Speaker 45 (01:23:24):
Ah, some Italian opera.

Speaker 39 (01:23:25):
Oh no, no, it's French. Well come on, Bray, I'll
translate it for us. You claim to be an expert
on the French language.

Speaker 3 (01:23:31):
Oh it's worded kind of funny, like poetry.

Speaker 39 (01:23:34):
Ah sure, sure.

Speaker 3 (01:23:35):
And a last word though, maison that means house.

Speaker 39 (01:23:39):
I know that it's too bad. I thought maybe Jerome
Steaks might translate it. It refers to him. Of course, what
are you talking about? The sentence reads there is a
murderer in this house. Huh, Well, so you're finally coming
out in the open. Yeah we heard you were a detective, Bronnie.

Speaker 3 (01:23:59):
You don't have to some you've never seen him, Steaks,
you figure one of us?

Speaker 7 (01:24:02):
Is it?

Speaker 39 (01:24:02):
That's right, Prail.

Speaker 3 (01:24:03):
And the guy you're after is Wilma Ding?

Speaker 45 (01:24:05):
Are you crazy?

Speaker 3 (01:24:06):
Whoever heard of anybody with a name like Wilma Ding?
Unless they made it up?

Speaker 40 (01:24:09):
Malay it up nothing.

Speaker 44 (01:24:09):
I gotta passport to prove it.

Speaker 45 (01:24:11):
What are you trying to do?

Speaker 46 (01:24:11):
Prail?

Speaker 44 (01:24:12):
Turn attention away?

Speaker 47 (01:24:13):
From yourself.

Speaker 3 (01:24:14):
I got nothing to hide you to you a durant.

Speaker 39 (01:24:16):
You can leave me out of this right now. There's
plenty of people in Australia who can tell you who
I am. Unfortunately, though, there's nobody in tan Jiang Samara
who can tell me for certain who any of you are.
One of you is a murderer, And by the time
the boat gets back here, I don't know which one.
Either I'm going to take your own steaks back to
San Francisco, or I'm going to kill him trying to

(01:24:37):
You can counter it, Well, what do you say? We
go on over to Kurt's bungalow and have dinner.

Speaker 40 (01:24:58):
That's Wilma Think's room, yea dorand sleeps here and pray
on down at the end. And this is the guest room,
at least the only guest room that's usably present.

Speaker 39 (01:25:10):
Looks all right, Well.

Speaker 40 (01:25:12):
It's yours for the time you're here, mister.

Speaker 39 (01:25:14):
Or do all of these rooms open out under the porch?

Speaker 40 (01:25:16):
Yes, the veranda as we call it here.

Speaker 39 (01:25:18):
And there's no way to lock this doore Unfortunately?

Speaker 2 (01:25:21):
No?

Speaker 40 (01:25:21):
And anyway, the windows are covered only by mosquito netting.
It makes another interesting situation, does it not.

Speaker 39 (01:25:28):
Yeah, I suppose interesting is the word for it.

Speaker 40 (01:25:31):
Most likely all these gentlemen are acting to a greater eral.
That's an extent, which of course makes your problem exceedingly difficult.

Speaker 39 (01:25:37):
That's right, mister Kurt. You did say a man rarely
came here unless he wanted to lose his past. Yet
you're here.

Speaker 40 (01:25:48):
Yeah, it is true, But then I'm only a servant
of the government and have a little choice when no. Well,
good night, mister pil.

Speaker 39 (01:25:57):
Good name, mister Kirk.

Speaker 40 (01:25:58):
I trust you'll have a very comfortable night.

Speaker 39 (01:26:00):
Thank you. I sat there for a long time after
Kurt left, trying to figure things out getting nowhere. This
was borneo though. The common lantern on the table at
my elbow threw a blaze of white light into every

(01:26:21):
corner of the room. Outside that light lay the dark veranda,
and beyond that the jungle. Gradually, the night breeze brought
the smell of the jungle into the room, as rich
and as exotic as the scent of taboo, fragrant as
midnight orchid, as disturbing as the scent of danger. Or

(01:26:45):
maybe maybe it was danger itself. I was smelling a
heavy knife missed my throat by two inches, thudded into
the bamboo partition and stuck their quivering. I doused the latter,
and one sweet dropped down on the floor and slid
my thirty eight out of its holster. I could hear
nothing but the rustle of palm thatch along the eaves,

(01:27:08):
low creeks from the pilings underneath the bungalow, soft night
sounds from the jungle. Finally, I slipped my shoes off,
pulled the knife out of the wall and dropped it
in my pocket, moved to the door, and stepped quietly
out onto the verandah. It was empty. Across the railing.

(01:27:29):
The fringe of undergrowth was dappled in silver moonlight. Nothing moved.
I paused quickly at the three doors, and from each
heard the sound of snoring. One of the men was faking,
but which one. I'd reached the end of the porch
when my eye caught a slight movement in the banana
clump a few yards from the steps. Someone was hiding there.
I moved swiftly, holding the gun ready, came within a

(01:27:50):
few feet before I could make out of shape in
a red and white saran complete with dark tumbled curls
and a flower behind one ear. It was a girl one.

Speaker 48 (01:28:00):
You're gone, you are going to shoot me.

Speaker 39 (01:28:03):
I relax, honey, I was looking for somebody else.

Speaker 48 (01:28:08):
And now you have found Milana. So you are disappointed.

Speaker 39 (01:28:13):
Well, look, did you see anybody moving around up there
on the veranda?

Speaker 12 (01:28:17):
Only you?

Speaker 48 (01:28:18):
Twe? I became frightened and ran to hide. Fright Why
I should not be here at night? I mean, let
us talk of something else? Huh?

Speaker 46 (01:28:32):
All right, Nellana twe.

Speaker 48 (01:28:35):
Do you like Milana barette?

Speaker 39 (01:28:38):
Definitely?

Speaker 48 (01:28:39):
Why do we not go somewhere else along the beach?
Perhaps you would like that is.

Speaker 40 (01:28:46):
Too serious minded for such things.

Speaker 39 (01:28:48):
Never mister Kirk to join us, won't you?

Speaker 40 (01:28:52):
Thank you? Nelana? Go to the bangalored once?

Speaker 48 (01:28:55):
Yes, min yes, I go.

Speaker 49 (01:28:56):
I go immediately.

Speaker 40 (01:28:57):
She's just not business being not alone at night. But Stephanie,
is something wrong with your room? It's not comfortable.

Speaker 39 (01:29:03):
It was until this flew in through the window. A knife, Yeah,
a throwing knife. Never see it before?

Speaker 40 (01:29:10):
Oh yeah, yeah, it's one of the collections. Turns a
bungalow to see Americans saw them at tard that's every
evening and wager on the results. I believe mister Doran
taught the other two.

Speaker 39 (01:29:22):
What about you, mister Kurt, do you ever bet with.

Speaker 40 (01:29:25):
It would be too easy? Watch well, I learned to
throw a knife in Java many years ago.

Speaker 39 (01:29:35):
And Nalana, I suppose she's an expert, had it too.

Speaker 40 (01:29:38):
Millana knows nothing of knife, her greatest accomplishment. Instead of
making friends too easily.

Speaker 39 (01:29:44):
I see just who is she anyway? Does she live here? Yeah,
she lives here. She is my wife, your wife.

Speaker 40 (01:29:54):
Exactly my wife.

Speaker 46 (01:29:57):
Good night, mister Fannia.

Speaker 38 (01:30:04):
In just a moment, we will return to Escape, but
first coming to you in succession, Spike Jones, Jack Benny,
and Amos and Andy bring you ninety non stop minutes
of superlative joy every Sunday night when you hear them
among CBS's ten great Sunday Night shows. The Spike Jones
Show and Amos and Andy are heard over most of these

(01:30:24):
same CBS stations, and Jack Benny comes to you over
them all. And now with our star Jeff Chandler, we
returned to the second act of Escape and red Wine.

Speaker 39 (01:30:43):
When I finally turned in that night, I didn't make
the mistake of lighting the lantern again, being a target
once in an evening was enough, and dressed in the dark,
pushed the bed up to block the door, propped a
chair against the window sill, and lay down on the floor.
I kept trying to fit some theory together to account
for the things that had happened. When I drifted off

(01:31:05):
to sleep, I was no nearer any answer than before.
I woke up with the first light of dawn. For
a full minute was ready to predict a peaceful day.
Then I turned my head slightly and saw it on
the floor against the wall, eighteen inches from my left hand,

(01:31:26):
and its eyes open and unmoving. Lay a kright first
cousin to the cobra, the deadliest snake in borneo. Cold
sweat broke on my forehead ran into the corners of
my eyes. Not daring to make any sudden move, I
slid my right hand slowly up behind me and found
my gun under the pillow. The snake moved slightly. I

(01:31:48):
froze for one long minute. Carefully I brought the gun
over until I had the ugly head centered above the foresight.
Then I did curt in here, all right, sure, come

(01:32:10):
on in. I had an early morning visited there on
the floor.

Speaker 40 (01:32:13):
God cright, did he bite you.

Speaker 41 (01:32:16):
The devil's the record.

Speaker 39 (01:32:17):
Of ah snake. That's funny.

Speaker 45 (01:32:22):
What's funny?

Speaker 7 (01:32:23):
Duran?

Speaker 39 (01:32:23):
I cried, Wilma Ding just killed one here in my room.

Speaker 3 (01:32:27):
Well, there's plenty of around, but I never heard of
one crawling into a room before.

Speaker 39 (01:32:31):
I'm not sure it did crawl in you. I've got
an idea may have been dropped in through the mosquito
netting there at the window eh By home by a
guy named Jerome Steaks. Have you hear up in Turan?

Speaker 3 (01:32:43):
Why don't you pick up Wilma Ding? He's your man?
Oh sure sure.

Speaker 44 (01:32:46):
I always carry a couple of snakes around my pocket,
just for luck.

Speaker 39 (01:32:49):
What I want to know is who carries this around
in their pocket for luck?

Speaker 3 (01:32:53):
It's one of our nice in the living room. We
throw them at a target.

Speaker 39 (01:32:56):
Yeah I know. Last night I was the target and
prails your boy. He's an expert, wins every time we played.

Speaker 3 (01:33:02):
Dry up, Duran.

Speaker 39 (01:33:04):
Kinds all of you so nobody knows anything about these accidents.
They just happened. Here's a warning to whichever one of
you is Steaks. The next time, you better cover yourself.
I'm through being a clay pigeon from now on. It's
going to be a lot tougher, a whole lot tougher.

(01:33:25):
That day passed. The next I got exactly nowhere. Things
didn't fit, didn't add up. I saw Nilana several times,
but had no chance to speak to her. When her
Kurt was with me, she'd pass without a glance, but
if I was alone, she'd manage a quick, provocative smile
that sent shivers down my spine. By the fourth day,

(01:33:46):
the tension among us had grown almost unbearable. The steamer
was due the next evening on its return trip to Batavia.
I needed a break of some kind.

Speaker 37 (01:33:53):
Had to have.

Speaker 39 (01:33:54):
One, and it came at dusk when I dropped into
my room to change for dinner.

Speaker 46 (01:34:01):
One it is I, Milana, Lana, what the devil you're
doing here?

Speaker 48 (01:34:06):
To see you to one? Does that make you unhappy?

Speaker 7 (01:34:09):
No?

Speaker 39 (01:34:10):
But I doubt if hair cut and sink much of
the idea.

Speaker 48 (01:34:12):
No, he must not find out. That is why I
hide here and wait for you.

Speaker 39 (01:34:16):
Probably may walk in here any moment.

Speaker 48 (01:34:18):
That is true to one. It is why I cannot
stay now. But I wish something to ask you. It
is true that you look for a man who has
killed a woman in your United States. Yeah, that's right,
A man who now names himself by another name. Yes again,
perhaps the same one who one night threw the knife
at you.

Speaker 39 (01:34:37):
I think, so, do you know who it is?

Speaker 48 (01:34:38):
I saw the knife thrown to one I was outside.

Speaker 39 (01:34:41):
Maybe quiet.

Speaker 42 (01:34:44):
It is someone Yeah, hair court.

Speaker 39 (01:34:49):
He's going into the living.

Speaker 48 (01:34:50):
But he will come here when he does not find you.
I'm very frightened to one.

Speaker 39 (01:34:55):
I must go.

Speaker 48 (01:34:55):
No, there's no time now tonight, when everyone's wait by
the tall palm at the edge of the clearing, I
will come.

Speaker 39 (01:35:04):
All right, I'll be there.

Speaker 48 (01:35:05):
Neilana has done foolish things to one, but to night
she will fix it.

Speaker 46 (01:35:09):
All good, you come.

Speaker 39 (01:35:19):
I waited for a long time in the shadow by
the palm tree, watched the moonlight sift down through the
shaggy fronds. But two hours passed. She didn't come. Waiting
there though, in the jungle night, a plan began to
form in my mind. A long shot, true enough, but
one with possibilities. It needed luck to work, but I'd

(01:35:42):
come to the point where I had to count on
a little luck at any rate. I decided to start
the ball rolling the next morning after breakfast. Oh wait
a minute, Ranier. Let's get this straight. And I thought
i'd put it straight enough to Anna. I said the
hunts off. I'm pulling out on that boat tonight. You can,
I'll relax.

Speaker 44 (01:35:59):
Yeah, five days ago you were a cock eyed Sure
it was one of us.

Speaker 39 (01:36:03):
I'll come the switch. Five days ago, Wilma Ding, I
didn't know you guys. I was certain of the information
I'd picked up in Betavia, and I'm not so certain
of it now.

Speaker 3 (01:36:13):
What change your mind? A sweet disposition?

Speaker 39 (01:36:16):
No, exactly the opposite, Prail, No, I doubt very much
if any of you guys is who he claims to be.
I wouldn't be surprised if Doran, Wilmerding and Prail are
all phony names. But that's not my business. I came
here after steeks. I've decided now I made a mistake,
and that's that.

Speaker 44 (01:36:32):
Wait a minute, aren't you forgetting the fact that somebody
tried to knock you off a couple of times?

Speaker 39 (01:36:37):
Well, let's just say the reason for that was a
side issue, had nothing to do with steaks.

Speaker 3 (01:36:42):
Come in here, push us around for a week, and
then decide it was all a mistake.

Speaker 39 (01:36:45):
I'm sorry, Prail, and look I'm gonna try to make
up for it this evening. I'm throwing at dinner party
at here kurts Bungalow before the port leaves tonight. You're
you're all invited. Yeah, that's pretty decent, have you ever? Yeah,
I'll get some food and drinks from the captains soon
as he docks. If you're fed up with ryestaffel and
warm beer as i am, you'll be ready for change.

(01:37:05):
Good goodness, it's all settled, and I can promise you
at least two surprise dishes, maybe three if you can't.

Speaker 40 (01:37:11):
Beg your pardon.

Speaker 39 (01:37:13):
Oh, he could come on in.

Speaker 40 (01:37:15):
I was wondering if any of you had seen the
Landa this morning.

Speaker 39 (01:37:19):
Well, what's wrong? You could?

Speaker 40 (01:37:21):
I am rather concerned about her, mister Venier. She has
not been home since early last night.

Speaker 39 (01:37:27):
I had a couple of ideas about that myself, ideas
I wished I didn't have anyway. As soon as the
rest of the bunch went about their business, I began
my own search for Nelana. I didn't know the country,
and it was nearly dusk before I found it. Then
I said nothing about it to anyone, but sitting at
the table that night while the dinner party moved along.

(01:37:48):
I was seeing everything through a haze of red, the
same color as the red and a saraan wrapped around
the slim figure of a beautiful girl. I kept thinking
how she'd never smile anymore, how she'd never walk in
the moonlight again because somebody had cut her throat.

Speaker 50 (01:38:05):
I know a.

Speaker 3 (01:38:05):
Story along the same lights. I never heard that one before.

Speaker 39 (01:38:09):
What a dinner after six months of rife stuff I
like to go crazy about.

Speaker 41 (01:38:14):
Yeah, when you throwing from there, you ready throw it?

Speaker 39 (01:38:16):
This is only the beginning beginning?

Speaker 3 (01:38:19):
Where can you go from here?

Speaker 10 (01:38:20):
Well?

Speaker 39 (01:38:20):
Right now? For instance, roast pheasant? All right, one, bring
it over.

Speaker 41 (01:38:24):
Shirt one right away?

Speaker 2 (01:38:25):
I bring.

Speaker 3 (01:38:28):
For me to put here for you to cove.

Speaker 39 (01:38:29):
P No, no, I wonder if you'd mind carving it here, because.

Speaker 40 (01:38:34):
Not at all, mister, I should be happy to place
it here.

Speaker 39 (01:38:36):
One. I haven't had a roast pheasants since Australia. He
used to shoot them all the time.

Speaker 3 (01:38:41):
Even a smells enough to drive you crazy, you said it, pray.

Speaker 39 (01:38:44):
Oh, you haven't seen anything yet. The pheasant is the
main dish, So the two surprises go right along with it.
One bring it.

Speaker 51 (01:38:50):
Out, Shirt one. I bring rack away.

Speaker 39 (01:38:53):
Not careful, don't drop it. Yeah, yeah, thanks, Well there
you are. It's Chambourtin vintage nineteen teen eleven, unquestionably the
finest red wine that exists in the world today. Holy smoke,
where'd you get it? I found out on the trip
in the captain of the steam I had a few bottles.
Took a lot of talking to get one out of him,
but I'll open it one if you got the glasses hairite.

(01:39:14):
Good boys, you make it back to warm beer tomorrow.
But you got the best tonight?

Speaker 40 (01:39:21):
How long?

Speaker 39 (01:39:21):
Show them a second surprise?

Speaker 3 (01:39:23):
One big bucket ice.

Speaker 39 (01:39:25):
Ice real honesty, gosh, cracked ice or I haven't seen
a chunk of ice for six months, so I thought
you'd go for that one, all right, Wang, serve the wine,
William cat Wine. You know, it was pretty amazing to
find nineteen eleven chamber ten on a little tramp freighter
down here in the South Pacific. The stuff's so rare
it's hard to get at any price anymore. Maybe so,
but that ice is what gets me.

Speaker 52 (01:39:46):
Yeah, that's it, Wang, dumb plenty in mind?

Speaker 3 (01:39:50):
I stop that?

Speaker 7 (01:39:51):
What the double?

Speaker 39 (01:39:53):
What's the matter, Wilma Dinghy, Well, what I mean. Is
that you mean you're well aware of the fact that
ice kills the bouquet of sambote. Isn't that it steaks steaks?

Speaker 3 (01:40:05):
You mean Wibile day.

Speaker 39 (01:40:06):
Yes, yes, once a good may, always a gourmet. A
crook with enough sense to keep his hair dyed black
for years so he could become a natural blund if
he ever had to make a getaway, but not enough
sense to keep still. And let me row in a
bottle of wine. Easy with those hands, don't try reaching
for a gun. Let him Kurt no put down.

Speaker 4 (01:40:24):
That night the Governor's count.

Speaker 53 (01:40:34):
Kurt Good, Lord Kerchief killed him.

Speaker 40 (01:40:39):
And sorry, you do not have a prisoner to take
back with your mister Vania. But I too found our body.
I knew you had been there. I saw your footprints.

Speaker 39 (01:40:50):
I'm sorry good And she was she.

Speaker 40 (01:40:53):
Had been seeing Wilmarthin. I guessed that was one of them,
and apparently she found out he was steeks.

Speaker 39 (01:41:02):
Yeah, I know that's what she was going to tell me.
He didn't give her a chance.

Speaker 40 (01:41:06):
She was young, mister Fanniel, foolish.

Speaker 39 (01:41:09):
Perhaps the day I loved her very much.

Speaker 3 (01:41:14):
Hey, look he knocked over the bottle of wine.

Speaker 45 (01:41:17):
He's pouring out all over the place.

Speaker 39 (01:41:19):
Yeah, brother, what a mess here there am. It's quite
a mess. Only one thing, though not all of it,
is Red Wine.

Speaker 38 (01:41:40):
Escape is produced and directed by Norman McDonald. Today we
have presented transcribed Red Wine by L. G. Blackman, adapted
for radio by Morton Lewis and Less Crutchfield, with editorial
supervision by John Buncle. Starred as Paul Vernier was Jeff
Chandler with Barry Kroger's Haircurt Featured players were David Ellis,

(01:42:04):
Lou Krugman, Jack Krusian, and Lorette phil Brand. The special
music was arranged and played by Ivand at Mars.

Speaker 37 (01:42:12):
Next week, you are flying.

Speaker 36 (01:42:14):
Over the lonely wastes of the Pacific, lost, torn by
the fury of a typhoon, your gasoline running out, and
the head of you is an adventurous, so strange, so
terrifying that your mind cannot accept it.

Speaker 38 (01:42:35):
Next week we Escape with Nelson Bond's gripping story of
a fantastic conquers Isle. Goodbye then until the same time
next week, when once again CBS offers you Escape. Broadway

(01:42:57):
is my beat, says Danny Clover, and he's proud of
it tomorrow afternoon. Over most of these same CBS stations,
you'll hear the first of Danny's adventures. You'll hear how
a real cop with a real purpose for running down
a murder goes about his business, backed by the world's
largest police department. Listen in as Danny declares, Broadway is

(01:43:18):
my beat. Now, stay tuned for five minutes of the
latest news, to be followed by let's pretend over most
of the same CBS stations. This is Roy Rowan speaking
for CBS the Columbia Broadcasting.

Speaker 54 (01:43:37):
System, October nineteen forty. Suddenly peace was a fraud from overseas.

(01:44:06):
The agony of the innocent massacred was rising, darkening the
light of the world, making a mockery out of the
wily stratagems of temporal political alliances. To me, the issue
became a simple one. Freedom. I wrote a play, and
the distinguished actor Raymond Massey said, yes, of course, I'll

(01:44:27):
do it anywhere, anytime. But the radio network said, sorry,
we're not at war, we have no enemy. We still
do business with all customers. So mister Massey and I
flew to New York from California, pounded on tables until
the microphones that were given us in Small Surrender.

Speaker 18 (01:44:51):
Every Man's Theater, written especially for radio by Arch Obler.
Tonight our star is the celebrated actor of stage and screen,

(01:45:13):
mister Raymond Massey in an adventure of our times. This
Precious Freedom the second of an exciting series of plays
especially written for radio and brought to you each Friday
at this time and over this station by Oxidoll. And
I'm mister Obler to tell you more about tonight's program
In every Man's Theater.

Speaker 7 (01:45:31):
This is a fictional.

Speaker 54 (01:45:32):
Story a play about it tomorrow, which would never happen here.

Speaker 18 (01:45:54):
Margant, Yes, sir, can't you make this cred of mine
go faster? Sorry, missus Stevenson, we're bucking a pretty stiff headwind.
Come now, don't tell me the heavens are conspiring to
keep me from getting back to work. Open her up, Morgan,
I've had enough vacation.

Speaker 4 (01:46:08):
Yes, sir, that's better, you.

Speaker 18 (01:46:16):
Know, Morgan, I should think you'd be as eager to
get back to the city as I am. After all,
a young fellow like you month up in the woods
with nothing around but.

Speaker 7 (01:46:23):
Those over stuffed squaws.

Speaker 18 (01:46:25):
Well, I, for one, I'm gonna be glad to get
back in harness again.

Speaker 7 (01:46:29):
Groys, I'm not going to admit that of missus Stevenson.

Speaker 18 (01:46:31):
I talked to her for the last ten years about
cutting myself off from the civilization, having a real vacation. Morgan,
what's the matter?

Speaker 7 (01:46:40):
Oil line, my joye? Take it easy, mister Stevenson.

Speaker 18 (01:46:44):
Or okay, just fashing your safety belt?

Speaker 7 (01:46:46):
Where are you going to land? Feel the head hold on?
Don't be afraid, don't be a fool.

Speaker 18 (01:46:51):
I've been in forced landing before. All i want to
do is to get down there fast. I've got to
get the city, got to get back to my business.

(01:47:16):
I guess there's no one home, mister Stevenson, no one
in the fields, no one to help us fine into
a vacation.

Speaker 4 (01:47:22):
I guess we'd better try to flag a ride in
the town.

Speaker 18 (01:47:25):
Wait a minute, huh, someone coming?

Speaker 7 (01:47:29):
Wow?

Speaker 4 (01:47:31):
How do you do?

Speaker 7 (01:47:32):
Which has had a force.

Speaker 18 (01:47:33):
Landing out in one of your fields?

Speaker 55 (01:47:34):
What do you want?

Speaker 18 (01:47:35):
I'm trying to tell you we had a force landing
out there in your field?

Speaker 7 (01:47:39):
Could I use your telen?

Speaker 5 (01:47:40):
Who are you?

Speaker 18 (01:47:41):
I don't see what earth the difference that makes? All
I want is to use your Why are you Morgan.
Did you see that sign the door in my face? Yeah,
in my face?

Speaker 7 (01:47:52):
Infernal pool.

Speaker 5 (01:47:54):
Mister Stevenson, you know that guy was awful scared.

Speaker 7 (01:48:15):
This is the main road, isn't it.

Speaker 4 (01:48:16):
That's what the sign says.

Speaker 7 (01:48:17):
Then where's the traffic?

Speaker 18 (01:48:18):
He stood here for an hour? Does it make sense
that on a main road. Hey wait, mister Stevenson, here
comes a truck all about time. If you don't stop,
we'll make him.

Speaker 4 (01:48:27):
Stop. Driver, driver, driver, Hey driver, ciber stop stop.

Speaker 27 (01:48:35):
Driver.

Speaker 18 (01:48:36):
My plane I had a force landing out here.

Speaker 7 (01:48:39):
Would you drive me into the city? Did you hear me?

Speaker 4 (01:48:42):
I'll give you twenty five dollars.

Speaker 18 (01:48:44):
Okay, jump in, Morgan. You better stay here with a plane.
I'll send someone back.

Speaker 4 (01:48:48):
Yes, I hope you're a fast driver.

Speaker 5 (01:48:56):
Fast enough.

Speaker 4 (01:49:02):
Well, for a while there.

Speaker 18 (01:49:03):
I thought there weren't any trucks on the road anymore.
An't many, But this is the main highway now it's
practically empty. Why, mister, I'm just a driver, ah Sam
sort of labor disturbance, and you're kidding me.

Speaker 7 (01:49:17):
What are you talking about?

Speaker 5 (01:49:18):
I'm not talking mister, you are.

Speaker 7 (01:49:21):
Look here.

Speaker 18 (01:49:22):
I've been vacationing up in the woods for weeks I deliberately.
I haven't read a newspaper or heard a.

Speaker 10 (01:49:27):
Radio in all that time.

Speaker 18 (01:49:28):
But now that I'm back, oh well, I might as
well start taking it again.

Speaker 7 (01:49:33):
What's up?

Speaker 27 (01:49:35):
Well?

Speaker 7 (01:49:35):
Why don't you answer me?

Speaker 5 (01:49:36):
Mister?

Speaker 7 (01:49:36):
I'm just driving?

Speaker 18 (01:49:37):
What is this anyway? All I want is a civil answer.
I don't know any answers, mister. You'll find them out
for yourself.

Speaker 4 (01:50:01):
Fifteen, twenty twenty five. They are okay.

Speaker 18 (01:50:05):
Well, I certainly didn't get any conversation for my money.

Speaker 5 (01:50:08):
Are you getting off mister? Yes?

Speaker 4 (01:50:10):
Of course.

Speaker 41 (01:50:12):
Man.

Speaker 18 (01:50:12):
The certainly haven't improved while I've been away.

Speaker 56 (01:50:14):
Goodbye paper, mister paper, Yes, yes, of course.

Speaker 7 (01:50:26):
Boys.

Speaker 18 (01:50:26):
Let me have one of each, I said, one of each?
Each newspaper?

Speaker 7 (01:50:31):
Oh you kidding?

Speaker 10 (01:50:32):
Say?

Speaker 7 (01:50:32):
What's come over?

Speaker 18 (01:50:33):
Everyone here? Give me a tribune, the news Times, all
of them. Well, don't stand there. I'm gonna hurry, mister.

Speaker 7 (01:50:40):
Don't you know?

Speaker 57 (01:50:42):
No?

Speaker 9 (01:50:42):
What?

Speaker 13 (01:50:43):
What?

Speaker 7 (01:50:45):
Boy?

Speaker 9 (01:50:47):
Boy?

Speaker 7 (01:50:47):
Come back here? Where are you going come back here?

Speaker 5 (01:51:00):
H uh uh?

Speaker 7 (01:51:10):
At least my office is still here, doors stock fine business.

Speaker 18 (01:51:17):
Can't be eating into my own office?

Speaker 10 (01:51:20):
Wow?

Speaker 7 (01:51:22):
Hope not hope, not no one in there? Door locked?

Speaker 18 (01:51:29):
Where's my key? Nice business? Eleven thirty and they haven't
even opened the office. That's loyalty.

Speaker 7 (01:51:37):
Boy.

Speaker 5 (01:51:38):
Didn't expect me.

Speaker 18 (01:51:38):
Back to sooner as book so our office STA decided
to take a vacation.

Speaker 7 (01:51:43):
Well what in the desk files? Gone? Office? Where looking
for something? Breagan?

Speaker 18 (01:51:56):
Eh, Reagan, Reagan? Don't you know me? What's going on here?
Mister Steevenson? What's happened to my office? Where are all
my things? What's going on here? Don't stand there with
your mouth don't tell me?

Speaker 7 (01:52:09):
Did I taught you was dead? What are you talking about?

Speaker 18 (01:52:13):
Everyone knew I was going on a vacation. What's happened
to my things? Where are all my people?

Speaker 7 (01:52:17):
Answer me?

Speaker 5 (01:52:18):
You don't know what?

Speaker 7 (01:52:21):
Talk words? Man? What's happened to my business? Mister Steevenson?
I I can't tell you. What do you mean?

Speaker 18 (01:52:27):
You can't tell me? You're the manager of the building.

Speaker 7 (01:52:29):
Who moved out my office? Where are all my things?

Speaker 5 (01:52:31):
Answer me? You hurt me?

Speaker 7 (01:52:32):
Answer me? And I ask questions? Mister Steve.

Speaker 4 (01:52:37):
What's go ome?

Speaker 58 (01:52:38):
Missus Stephenson? Please go home quick. Jean Jean, where are you?

(01:53:08):
Jean Jeane?

Speaker 7 (01:53:12):
To somebody fella who stands still? Yeah, in your mouth shut?
Oh damn you get out of my house. Start walking walking?

Speaker 57 (01:53:21):
What do you mean somebody wants to talk to you?

Speaker 7 (01:53:24):
What are you?

Speaker 10 (01:53:25):
Please?

Speaker 57 (01:53:26):
Sure?

Speaker 5 (01:53:26):
Start moving?

Speaker 4 (01:53:27):
But why mister get going?

Speaker 7 (01:53:30):
No, if you're please?

Speaker 18 (01:53:32):
Where are your warns?

Speaker 5 (01:53:33):
Yes?

Speaker 7 (01:53:33):
Where are your warms?

Speaker 5 (01:53:35):
No?

Speaker 10 (01:53:52):
Ahead?

Speaker 57 (01:53:54):
Room?

Speaker 7 (01:53:56):
Where what?

Speaker 10 (01:54:02):
Oh?

Speaker 7 (01:54:03):
Man?

Speaker 5 (01:54:04):
What did he?

Speaker 59 (01:54:11):
Mm?

Speaker 5 (01:54:11):
Hmm?

Speaker 7 (01:54:12):
You all right?

Speaker 10 (01:54:14):
Yes?

Speaker 11 (01:54:15):
No?

Speaker 15 (01:54:16):
No?

Speaker 5 (01:54:16):
No, you better not try to stand up? Take it easy?

Speaker 57 (01:54:20):
Hi?

Speaker 7 (01:54:20):
They please? Yeah, in a way. Someone made a mistake.

Speaker 60 (01:54:27):
No mistake, mister Steve. You know and I used to
do business with your company once. Always treated me fine?

Speaker 7 (01:54:38):
Are you me?

Speaker 54 (01:54:40):
Nobody?

Speaker 5 (01:54:41):
Just so they know where, mister Stephenson. Some things I
can't tell you.

Speaker 7 (01:54:51):
Stay.

Speaker 18 (01:54:53):
Horrible mistake. I'm John Stevenson. I'm respectable citizen. All right,
my wife, I've got to get in touch with Jeans.
Should be worried. One home and not take it easy now.
The mayor, Yes, the mayor, he's a friend of mine.

Speaker 7 (01:55:10):
Steve gets to tell.

Speaker 27 (01:55:11):
Him to keep.

Speaker 7 (01:55:14):
If they come in here.

Speaker 18 (01:55:15):
To get them coming. I've got nothing to be afraid of.
I've done nothing. Come into my house without a warrant.

Speaker 7 (01:55:20):
They've got no right now.

Speaker 5 (01:55:21):
Mister Stevenson, you don't understand. Please, mister Stevens, understand.

Speaker 18 (01:55:27):
What tell me jes different different? What do you mean,
what's it got to do with this with me.

Speaker 5 (01:55:35):
Mister Stevens. It's something I don't understand.

Speaker 7 (01:55:41):
Been out of the city in the woods.

Speaker 18 (01:55:43):
Don't waste time, man, call up them there, tell him,
But that won't do anything.

Speaker 7 (01:55:46):
Why not there's been a mistake.

Speaker 5 (01:55:47):
There's been no mistake, mister Stevens. Yeah, Hey, I guess
maybe you're the only one in.

Speaker 7 (01:55:54):
The whole country don't know the talks.

Speaker 23 (01:55:56):
Man.

Speaker 5 (01:55:56):
Well, I'm trying to I don't know exactly how to
say it.

Speaker 58 (01:56:02):
Well, Well, first the well that part of the constitution,
they threw.

Speaker 5 (01:56:09):
It out hard.

Speaker 7 (01:56:11):
What the devil are you talking about?

Speaker 60 (01:56:12):
That part of the constitution you know about rights, threw
it up.

Speaker 5 (01:56:19):
And the way I got it figured out?

Speaker 12 (01:56:20):
When another's ganged up on us, all them battleships airplanes,
Well there wasn't much we.

Speaker 7 (01:56:28):
Could do, now, was that? And just sort of well
throw in the towel.

Speaker 18 (01:56:34):
Are you trying to tell me that while I was
away there's been an invasion?

Speaker 5 (01:56:39):
Invasion?

Speaker 60 (01:56:40):
Well, now they ain't gone all the way. I mean,
just this piece of the coast set out of here.

Speaker 7 (01:56:46):
You hurt me get out. Haven't I had enough to
day without listening to you?

Speaker 18 (01:56:49):
You have crazy old food, mister Stevens. I tell you,
listen someone out there. I got this crazy old fool
out of here because is a jail.

Speaker 7 (01:56:56):
Get me my lawyer. What am I being held here for?
What are the charges?

Speaker 9 (01:56:59):
Get me my lawyer? Yet, be my lawyer?

Speaker 12 (01:57:11):
So you still insist on having a lawyer.

Speaker 18 (01:57:15):
Certainly if there's some criminal charge against me, I have
a right to have a lawyer, right, right, right?

Speaker 7 (01:57:22):
What right are you talking about?

Speaker 4 (01:57:24):
You?

Speaker 18 (01:57:26):
You're obviously some sort of police officient. Well, let me
tell you a horrible mistake has been made. I'm no criminal.
I'm John Stevens, and an ordinary businessman. Call Mayor Alden,
who tell.

Speaker 7 (01:57:37):
You tell us nothing.

Speaker 12 (01:57:38):
The man is of no importance, no important but the mayor,
the mayor of what the worms worms?

Speaker 5 (01:57:44):
The man is dead.

Speaker 12 (01:57:46):
Oh, but that too is of no importance. What is
important to me is you and your activities. I don't
know what you're talking about, your so called vacation trip me.

Speaker 7 (01:57:58):
What do you don't ask questions?

Speaker 12 (01:57:59):
Answer that you've been out of the city for weeks
suddenly return?

Speaker 18 (01:58:03):
But where you fun on my vacation. Of course, is
there any law against that?

Speaker 12 (01:58:08):
For the last time, don't try to be clever with
me once and for all.

Speaker 18 (01:58:12):
Will you tell me what the charges are against me?
There's been some kind of terrible mistake, all right, but
tell me what the charges are. Give me a chance
to clear myself.

Speaker 12 (01:58:20):
I have wasted quite enough time with you, mister Stevens Reposton.

Speaker 7 (01:58:24):
Let me call my lawyer. You have no right to
keep me here.

Speaker 18 (01:58:27):
My wife she wasn't home, and I was taken away
to be worse.

Speaker 5 (01:58:30):
Of course your wife.

Speaker 12 (01:58:31):
Have you any idea where your wife is, mister Stephens?

Speaker 7 (01:58:35):
Home?

Speaker 5 (01:58:35):
I suppose yes?

Speaker 7 (01:58:36):
She must be there now if you have me not home,
believe me? Why do you say that? All right? Sergeant Mare? Geane? Jean, Jean,
what are you doing here?

Speaker 13 (01:58:51):
What is it?

Speaker 7 (01:58:52):
She's stopped crying.

Speaker 18 (01:58:53):
I'm all right.

Speaker 7 (01:58:54):
There's been some crazy mistake, Jeane. Why should you cry
like this? You never cried, Jean, the children. I'll be
all right, Jean, talk to me. Stop crying and talk
to me. She knows better better. What are you talking about?
Lift your face? What's happening? What's wrong?

Speaker 5 (01:59:14):
Take her away? No?

Speaker 7 (01:59:15):
You stay here, Geene.

Speaker 61 (01:59:17):
You tell me what this is about?

Speaker 7 (01:59:18):
Has everyone gone crazy?

Speaker 59 (01:59:19):
What?

Speaker 5 (01:59:20):
No?

Speaker 7 (01:59:20):
Let over you go me, bring it back here, bring
it back your I'll.

Speaker 12 (01:59:26):
Tell you, Jean, Jean, you will be quite calm now,

(01:59:48):
eighties just leave reason. Yes, yes, I'm sure you will.
We have quite a technique for calming down unreasonable people,
haven't we. You will still persist in talking. So discipline
That is the first lesson you must learn in this
new state of ours. Discipline, always discipline. It is very strange,

(02:00:16):
mister Stephenson. You've been here now over an hour, and
yet there is very little fear in your face. I
wonder why. Astonishment? Yes, yes, a sort of astonished wonder
in your faces. If you can't believe, could you possibly
be ignorant of the facts, this glorious new state that

(02:00:39):
we are planting here, this fulfillment of the dreams some
of us have had since the day we heard a
voice telling us of our destiny, a dream that will
come true. This will soon be our nation now, mister Stephenson,
ours all of it. Women are fighting, yes, but we

(02:01:00):
will win. Wonder in your face? Yes, Sometimes I ask myself,
can it be true? The wonder of it?

Speaker 27 (02:01:08):
Yet?

Speaker 7 (02:01:09):
No wonder of it?

Speaker 12 (02:01:10):
The plan, mister Stevenson. The plan. Always it was there,
and always we followed it. We poured our propaganda in
on you. Yes, we used your own weaknesses against you.
We probably let us speak. It is all right. How
simple it was to use your own rights against you.
So now you have no right, Stevenson, No one has right,
but you are leaders. I was quite carried away, wasn't I.

(02:01:31):
I must not forget to let you speak. We want
to know many things, every detail of your airplane trip.
Whom you saw? Which of our enemies are hiding up there?

Speaker 9 (02:01:42):
Where you were?

Speaker 7 (02:01:43):
How are you answer?

Speaker 12 (02:01:44):
Quigly Stephenson, Who are your friends? Which of our enemies
did you meet? Who were your friends? Whom did you meet?
Where did you go you meet?

Speaker 7 (02:01:52):
Where did you go?

Speaker 62 (02:02:00):
Yeah?

Speaker 7 (02:02:06):
Put him here?

Speaker 9 (02:02:07):
Yeah?

Speaker 5 (02:02:09):
Did yet?

Speaker 23 (02:02:11):
Oh not yet?

Speaker 11 (02:02:16):
Oh?

Speaker 5 (02:02:22):
Dad?

Speaker 25 (02:02:22):
Yet?

Speaker 5 (02:02:24):
No not yet?

Speaker 7 (02:02:27):
Who said that? I can't see? All mixed up vacation
enemies of the state.

Speaker 5 (02:02:39):
A plan?

Speaker 7 (02:02:41):
I don't know, mum, all mixed up?

Speaker 42 (02:02:56):
No?

Speaker 18 (02:02:57):
No, got stop, got the thing pain, No, got to
think things out? What's happened to me? What our glorious news?

Speaker 5 (02:03:11):
State?

Speaker 59 (02:03:11):
We?

Speaker 5 (02:03:11):
Who are the leaders?

Speaker 7 (02:03:12):
This will be our nation soon?

Speaker 63 (02:03:14):
Voices in my head all mixed up, think things out.
I've got to go crazy from the start, Yes, from
the start, vacation, come back from my vacation land playing.

Speaker 18 (02:03:34):
Yes, that farmer, that guy was awful, scared awful. Yes, Morgan,
you said that.

Speaker 59 (02:03:41):
I don't know any answers.

Speaker 23 (02:03:42):
You'll find him up for yourself.

Speaker 18 (02:03:43):
Yes, truck driver, mister, don't you know?

Speaker 7 (02:03:46):
Mister don't you know?

Speaker 4 (02:03:47):
Yes, newsboy, he too.

Speaker 18 (02:03:49):
You can't ask questions, mister Stephen Steing's a different You
can't ask questions. Yes, Yes, they said that. Everyone said that.
Everyone talked to me trying to tell me I didn't know.

Speaker 7 (02:04:05):
I don't know.

Speaker 12 (02:04:06):
This will soon be our nation.

Speaker 7 (02:04:08):
It isn't true.

Speaker 18 (02:04:10):
No, it's all in my head.

Speaker 7 (02:04:15):
Gene, Gene, where are you?

Speaker 5 (02:04:19):
Gee?

Speaker 7 (02:04:21):
Where are the children? Gene?

Speaker 18 (02:04:26):
Did I just cry out? Cry out? Why should I
cry out? My name is John Stephenson. I have a
business in the Central Building. I have a house in
Arcade Street. I have a wife, two children, a.

Speaker 7 (02:04:43):
Boy and a girl. We have good light, a good
light that shad Why do I keep thinking that? Who
said it to me?

Speaker 9 (02:04:54):
Dead? Dead?

Speaker 18 (02:04:56):
Yes, I know, I remember, going to kill me. I'm
an enemy of the state, our glorious news state.

Speaker 7 (02:05:04):
But it's so funny.

Speaker 18 (02:05:07):
John Stephenson eight three two Arcade treat enemy of the State.
I went on a vacation. I came home and I
am an enemy of the state. Yes, my wife, the children.
That's what he said, everyone, enemies of the new State.

Speaker 7 (02:05:25):
Oh it's madness. I'm me.

Speaker 18 (02:05:29):
I can do what I want. I can get up
out of here. Yes, I will get out of here.
And John Stephens, you hurt me blood? Yeah, no, I
will get out of here. You can't accuse me and
not give me a trial. You can't come into my house.
You can't take away my business. I'm a free man,

(02:05:53):
I'm an American.

Speaker 12 (02:05:54):
This will be hardish and soon ours hours.

Speaker 5 (02:05:57):
How could that be?

Speaker 7 (02:05:59):
There wasn't what you could do that one.

Speaker 22 (02:06:01):
That's mind our own business, nothing to do with us.

Speaker 7 (02:06:03):
Who said that, that's mind our own business, nothing to
do with that.

Speaker 18 (02:06:07):
I remember I said that, Yes, all the time I
said that.

Speaker 64 (02:06:15):
And I know none of my business. We lit our freedom,
none of my business. What none of my business, our leader,
our people, none of my business.

Speaker 18 (02:06:31):
How could I Why did I don't antagonize the have
to do business with them?

Speaker 7 (02:06:36):
Let them talk at all? The things I say.

Speaker 5 (02:06:40):
Seen as we.

Speaker 11 (02:06:40):
Weren't ready, there wasn't much we could do that way.

Speaker 7 (02:06:43):
Oh hey, dead yet he will be dead.

Speaker 9 (02:06:47):
Yet he will be.

Speaker 7 (02:06:48):
I do understand, he will be.

Speaker 18 (02:06:50):
I wanted everything, and I didn't want to risk anything
to keep.

Speaker 7 (02:06:55):
What I had. What I had, what I had. Your
home is your kingdom, your own God is your god.

Speaker 18 (02:07:03):
Say what you want to say, what you want to write,
trial by Jurian sanctity of person who process of law.

Speaker 10 (02:07:09):
What I had.

Speaker 7 (02:07:14):
Is that you now in my.

Speaker 4 (02:07:17):
Head so dark, there's blood in my so dark.

Speaker 1 (02:07:24):
Yet he will be, he will be.

Speaker 4 (02:07:27):
Gene.

Speaker 18 (02:07:28):
I'll tell you something very funny. I'm not afraid to die. No,
I'm afraid to go on living.

Speaker 10 (02:07:38):
If all this.

Speaker 18 (02:07:39):
Isn't really a dream, bad dream, then I don't want
to go on living. Everywhere I turn they'd be there.

Speaker 4 (02:07:46):
Shut them out.

Speaker 7 (02:07:46):
You can't do that.

Speaker 24 (02:07:47):
Come with that, we accuse you must.

Speaker 7 (02:07:54):
I can't live with that.

Speaker 18 (02:07:56):
All my life I lived with freedom, She me. We
didn't know it was freedom, did we. Living in our house,
a good life, our neighbors, not hating anybody, and driving
in the country with the kids wherever we wanted to go,

(02:08:16):
and feeling sure the future for the kids, because whatever
was wrong here, we ourselves could fix with work and
with our votes, and with what we knew was right
in our hearts. I never said this is freedom, but
it was.

Speaker 2 (02:08:36):
It was.

Speaker 18 (02:08:38):
When they talked to me about losing it, I said,
don't be fools, no one will take it from us.
I thought freedom was like the air, all was with
me as long as I lived. I thought I didn't
have to do anything about it. Gee, I was wrong.
I cut the words now to say it. What I

(02:08:59):
had was a gift. It was a victory and I
can't live without it. Do you hear me out there?

Speaker 61 (02:09:07):
I won't live without it to say what I think
is right, to do what I think is right.

Speaker 7 (02:09:14):
That's the only life I want. It is life.

Speaker 9 (02:09:18):
I'll live for it.

Speaker 61 (02:09:19):
I'll fight for it, This precious freedom.

Speaker 7 (02:09:52):
This is arch Obler.

Speaker 18 (02:09:54):
May I present the leading actor of our play tonight,
mister Raymond Massey. Ladies and gentlemen, I want to say this.
At the opening of tonight's drama, arch Obras said, this
is a play of a tomorrow which should never happen.
I know all of you agree with me that this
kind of a tomorrow must never happen, and it can

(02:10:17):
never happen as long as we all dedicate ourselves to
live for the freedom of our father and the.

Speaker 7 (02:10:24):
Future freedom of our children.

Speaker 18 (02:10:33):
Every Man's Theater written especially for radio by Arch Obler.

Speaker 65 (02:11:19):
Murder by Experts. The Mutual Broadcasting System presents Murder by
Experts with your host and narrator, mister John Dixon Carr,

(02:11:41):
world famous mystery novelist and author of the recently published
bestseller The Life.

Speaker 41 (02:11:45):
Of Sir Arthur Conan Doyle.

Speaker 66 (02:11:48):
This is John Dixon Car. Each week at this time,
Murder by Experts brings you a story of crime and
mystery which has been chosen for your approval by one
of the world's leading detectives, those experts who are themselves
masters the art of murder and can hold tensity at
its highest. This time, our guest expert is the noted

(02:12:09):
mystery writer mister Bruno Fischer, who has selected the first
moving realistic study of a killer at Large written by
Joseph Roskill and Paul Mnish. And now we present Kenneth
Lynch in prescription for Murder. On a Midwestern highway, a

(02:12:41):
car bearing two men moves at a good speed through
a dark and stormy night. The driver of the car
has just turned on the car radio.

Speaker 1 (02:12:52):
Now the local and state news.

Speaker 67 (02:12:54):
The giant man had his arm to night for escaped
convict Curley Elkins, who shot his way out of the
state prison at Harmon, US.

Speaker 1 (02:13:00):
Few hours ago, killing two guards in the getaway.

Speaker 67 (02:13:03):
Roads in the vicinity of Harmon have been plucked and
search parties are combing the woods for the escape desperado.
All citizens are asked to be on the alert for Elkins,
who is armed and dangerous. Elkins is six feet two,
blue eyes, brown curly hair, pale complexion, with a horizontal
scar on the left cheek.

Speaker 1 (02:13:21):
He was last scene wary.

Speaker 42 (02:13:24):
Why did you turn it off?

Speaker 34 (02:13:25):
Doc?

Speaker 7 (02:13:26):
Why?

Speaker 1 (02:13:26):
I that is? The FOG's bad enough without news like
that distracting me.

Speaker 42 (02:13:31):
Why's that wheel?

Speaker 7 (02:13:32):
Doc?

Speaker 42 (02:13:32):
Your handshake? Why are you so nervous?

Speaker 1 (02:13:36):
Nervous? It's just this fog. I can't see an inch
ahead of me. It gives me the jitters.

Speaker 42 (02:13:43):
Ah, Hey, thanks for stopping to give me a lift.

Speaker 1 (02:13:47):
Oh that's perfectly all right.

Speaker 42 (02:13:48):
I didn't think i'd never get a lift tonight. No
one likes to take on a hitchhiker.

Speaker 1 (02:13:53):
You from these parts in a way. You said you
were going into town.

Speaker 42 (02:13:59):
Yeah? Which Tom, Oh, same one. You're headed for Somerset, Yeah, Somerset,
that's it. No, it's funny how you get chummy on
the road and tell your life's history. Eh. See you
at doctor Richard Bennett. You're going to Somerset to take
over some ailing old MD's practice. His daughter too, huh eh?

(02:14:22):
What's her name again? Marcia?

Speaker 1 (02:14:24):
Yesh?

Speaker 7 (02:14:26):
What?

Speaker 1 (02:14:26):
Tom? Did I pick you up?

Speaker 7 (02:14:27):
That friend?

Speaker 42 (02:14:28):
Harmon? So you've never seen Marsha or her old man?

Speaker 34 (02:14:32):
Huh?

Speaker 7 (02:14:32):
Why?

Speaker 1 (02:14:32):
No?

Speaker 42 (02:14:32):
No, I haven't just exchanged letters? Were there from overseas?
You can now here? You are coming to a strange
town to take over life history. It's funny the white
guys open up on the road, ain't it. Now you
take me you know all about me too? Huh No,
I don't you sure?

Speaker 1 (02:14:52):
You didn't say a word, didn't open your mouth till now?

Speaker 7 (02:14:55):
Just now on?

Speaker 42 (02:14:56):
But what you turned the radio off and stared at me?

Speaker 1 (02:15:00):
I stared at you.

Speaker 42 (02:15:02):
Yeah, I watched the road, doc. What was so interesting?

Speaker 39 (02:15:08):
Nothing?

Speaker 1 (02:15:10):
Nothing at all?

Speaker 42 (02:15:11):
Now come on tell me that. Why did you look
at me like that? Why this sudden? Once ober?

Speaker 1 (02:15:17):
Once over? What gave you that idea.

Speaker 42 (02:15:20):
Don't find my idea is, Doc, I'm wondering about yours.
But listen, you suddenly got a bright idea, didn't you. Doc,
you saw the light? Huh. Maybe you can say this too.
That's gone. Now wait a second, Okay, Doc, just pull
over to the side of the road. I want, Doc
be smart. Pull over.

Speaker 1 (02:15:40):
Oh no, no, I'm not going to pull over. I'm
going faster. It's fifty five now sixty. You can't shoot me,
I can sut now, not before I keep it going
this fast.

Speaker 42 (02:15:49):
I got this figured all wrong. Doc, I can let
you have it. After all? What have I got to lose?
Why I get caught? It's the chair. We go off
the road, so I get killed. So what but you
you get killed too, Doc, You've got a lot to lose. Look,
I'm gonna count to five.

Speaker 5 (02:16:04):
Doc.

Speaker 42 (02:16:05):
You don't stop by then, I'm gonna give it to you.

Speaker 41 (02:16:09):
One.

Speaker 42 (02:16:11):
Listen, Doc, stop the car now and you'll be okay.

Speaker 1 (02:16:15):
Two.

Speaker 42 (02:16:16):
Maybe I'll take your car. But what have I got
the game by killing you? Three?

Speaker 46 (02:16:21):
Doc?

Speaker 42 (02:16:22):
Three, I'm not stopping out here in the country. You'll
be stranded for the night. But I don't have to
shoot you. Doc, I'll get my head started.

Speaker 41 (02:16:30):
Four.

Speaker 42 (02:16:32):
I set four, Doc, getting kind of close.

Speaker 1 (02:16:36):
How do I know you won't shoot me?

Speaker 42 (02:16:38):
You're only chance you don't stop now. I'm sure they
gonna let you have it the other way. You got
a chance. Ah, that's better die now you're playing it smart. Okay, Doc,
get out, but don't try anything now.

Speaker 1 (02:16:55):
Looks you have nothing to get him behind.

Speaker 42 (02:16:59):
Doc, I said with myself, I start walking into those woods,
but don't argue with me. Get gold. Still got a chance, doctor,
Just trust your luck. It's been pretty good so far.
Got you to be a saw bones, got your girl.
This will do.

Speaker 7 (02:17:17):
Doc?

Speaker 41 (02:17:17):
Stop here.

Speaker 42 (02:17:20):
Now he can't be seen from the road.

Speaker 1 (02:17:22):
Elkins. I was only trying to be a decent guy
giving you a ride.

Speaker 42 (02:17:25):
Good dog, you're a good guy. You're a big guy too.
Just about my size. They're gonna be your coat. We're
gonna change clothes, sure, sure, come on shirt too.

Speaker 39 (02:17:40):
Here's my coat.

Speaker 1 (02:17:42):
Made his shirt?

Speaker 39 (02:17:45):
Silk shirt?

Speaker 42 (02:17:46):
Eh?

Speaker 59 (02:17:46):
Nice?

Speaker 42 (02:17:48):
The pants, that's fine, that's fine. Don't bother to put
my stuff. Fine, you won't catch cold. You don't have
to be modest because.

Speaker 25 (02:18:03):
Oh who died?

Speaker 42 (02:18:24):
Ah? There closing the car?

Speaker 41 (02:18:26):
What a break to get cool. Spark plugs must be with.

Speaker 7 (02:18:37):
My baby.

Speaker 42 (02:18:38):
Start stuff? Thank somebody coming motorcycle?

Speaker 1 (02:18:43):
Cot alright, yo, what's the idea?

Speaker 42 (02:18:52):
Oh, it's the matter?

Speaker 1 (02:18:53):
Can tell you lights? Want somebody to come along and smash?

Speaker 15 (02:18:55):
Have you?

Speaker 5 (02:18:55):
Gosh?

Speaker 42 (02:18:56):
Was on the last time I noticed headlights were? Okay,
let me stop my motor see if that makes any difference?

Speaker 43 (02:19:02):
Right?

Speaker 1 (02:19:05):
Maybe when I'm in that is the second. I'll have
a look.

Speaker 51 (02:19:09):
No, swatch on your brights, see if it works that way.

Speaker 42 (02:19:13):
Okay, just a second. The coper's the second when I shifted.

Speaker 40 (02:19:17):
In the r vers like this, dumb copper?

Speaker 42 (02:19:40):
What's that roadblock?

Speaker 7 (02:19:42):
Might have known?

Speaker 42 (02:19:43):
I wouldn't waste any time?

Speaker 9 (02:19:48):
You want to get killed? Didn't you see this roadblock?

Speaker 15 (02:19:51):
I know?

Speaker 42 (02:19:52):
Sorry, after the fog, you know.

Speaker 1 (02:19:54):
Let's see your license, jamis and you come on the
other side.

Speaker 42 (02:19:58):
Here, what's the matter? Off sairs?

Speaker 1 (02:19:59):
Nothing wrong plenty? Some guy escape from the state prison.
Now let's see your license?

Speaker 42 (02:20:04):
My license?

Speaker 1 (02:20:05):
You got one, ain't you?

Speaker 5 (02:20:07):
Yeah?

Speaker 42 (02:20:08):
Yeah, it's right here while at some place. Yeah, here
it is.

Speaker 1 (02:20:13):
Man's see now six feet to one ninety brown hair Bennett,
doctor Rich Bennett. Oh, so you're the new doc.

Speaker 42 (02:20:26):
Coming to some set like guy. Yeah, that's right, I heard.

Speaker 1 (02:20:30):
Old Doc Milburn has been expecting you.

Speaker 41 (02:20:32):
Doc Melburn's expecting the whole town's expecting. Or excuse us
for stopping you like that.

Speaker 1 (02:20:38):
Yes, sir, this is a heck of a reception, practically
being me mistook for an escape convict.

Speaker 41 (02:20:44):
Well, look right, I got an idea. Why don't we
greet Doc Bennett here in style? You're going off duty
in a few minutes. Anyway, give me a motorcycle ASTs
gork to Marsha's place.

Speaker 1 (02:20:54):
That's a swell idea. Yeah, wait a minute, take no
for an answer, No, sir.

Speaker 41 (02:20:57):
Or would I like to see Marsha's face when you
pull up with that siren?

Speaker 5 (02:21:01):
Go?

Speaker 42 (02:21:01):
Let's tell us I appreciate it off, keep it talk.

Speaker 1 (02:21:03):
I'm already on the motorcycle.

Speaker 57 (02:21:06):
Come on, let's go.

Speaker 41 (02:21:09):
Right, Doc, I relieve sort up in time.

Speaker 7 (02:21:12):
I'll bring up the rear.

Speaker 1 (02:21:38):
Yeah you're here, Doc, here's the house.

Speaker 42 (02:21:42):
Thanks a lot of us.

Speaker 41 (02:21:44):
I'll see you later.

Speaker 1 (02:21:44):
Sure, sure, but let me get Marcia first.

Speaker 42 (02:21:47):
No, that's all right, he says, run along.

Speaker 7 (02:21:48):
I don't mind it all.

Speaker 68 (02:21:53):
Hey Marcia, Marsha, Hello, Red something wrong wrong?

Speaker 1 (02:22:01):
Everything's fine? Look who I got with me.

Speaker 7 (02:22:06):
Him.

Speaker 1 (02:22:07):
Don't you know him?

Speaker 68 (02:22:09):
I never saw that man before in my life?

Speaker 11 (02:22:12):
What goes?

Speaker 7 (02:22:13):
Look?

Speaker 1 (02:22:14):
You didn't you say you was doctor Richard Bennett. Yes, yes,
doctor Richard Bennett.

Speaker 68 (02:22:19):
Oh, Dick, can you ever forgive me?

Speaker 7 (02:22:21):
What is this?

Speaker 42 (02:22:23):
I thought she'd recognized me at first side, after a
lot of letters.

Speaker 68 (02:22:26):
Oh, Dick, do come in, please don't stand out here.
Oh it's all right, Red, And thanks for showing him
the way you see Red, we'd never really met. Well anyway,
it's all right.

Speaker 1 (02:22:40):
Leave it to a woman to foul things up.

Speaker 18 (02:22:42):
Hey, Doc had me thinking you were that escaped convict
or something for a minute.

Speaker 21 (02:22:48):
Well seeing you, goodbye man.

Speaker 68 (02:22:51):
Well, Dick, do come in please. Oh I'm so glad
you're here. Don't stand out there.

Speaker 49 (02:22:57):
Come on.

Speaker 68 (02:22:58):
You know we'd just about giving you walk. It's so latent, Dad,
and I thought that with the fog and all over
the road. Well look, i'll call Dad.

Speaker 42 (02:23:09):
You know, I hoped you looked like this. I never
saw it, but I would.

Speaker 25 (02:23:15):
Have known you.

Speaker 68 (02:23:16):
I think i'd have known you too. Dick had given
me one second more tall, serious looking, But you didn't
right me that you were wounded.

Speaker 42 (02:23:25):
Wounded that score on your cheek.

Speaker 2 (02:23:27):
Oh well I just came here, Mark.

Speaker 68 (02:23:32):
Dad, he's here. Oh Dr Bennett.

Speaker 41 (02:23:37):
Dr Bennett were willing mans.

Speaker 51 (02:23:40):
Hello, Dick.

Speaker 41 (02:23:41):
Don't mind my calling you that though we've never met.

Speaker 42 (02:23:44):
Good to see it, Doctor MILBURNA. You must be tired
and hungry. Well I am a little horse, you are.

Speaker 52 (02:23:50):
I'll show you up your room and Marsha warm up
something for Dick. All right, yeah, hurry, I'll tell Dick
all about Scottie, the motorcycle cop used to keep company
you're in until your male romance started.

Speaker 41 (02:24:04):
Of course.

Speaker 52 (02:24:05):
Well we can all have a nice long chat. You
two can talk about those soul for letters. But save
me a moment with the Marsha to discuss his new pap.
And I like him to see some X ray plates.
I've just developed him direct this way, okay over here? Yeah, yeah,

(02:24:31):
the x ray shots. Yet to know your future patients
inside out? Yeah, I know it's late, but here's one.

Speaker 42 (02:24:44):
I like your diagnosis on why diagnosimale.

Speaker 41 (02:24:50):
For chicks with mine? He can't take it. Ah, what
do you make of it?

Speaker 42 (02:25:00):
What do I make of it?

Speaker 5 (02:25:03):
Well?

Speaker 42 (02:25:03):
Uh, i'd say, I'd say, Dick, h you will.

Speaker 41 (02:25:13):
Have your little joke.

Speaker 42 (02:25:15):
What do you mean?

Speaker 7 (02:25:16):
Oh?

Speaker 41 (02:25:16):
You know well enough? What I mean? You're holding that
X ray upside down?

Speaker 42 (02:25:34):
Oh? Why I'm hungry? Never been hungry in my life?

Speaker 68 (02:25:37):
Do you want any more?

Speaker 42 (02:25:38):
You just take it easy.

Speaker 68 (02:25:40):
You seem so jokey.

Speaker 5 (02:25:41):
Is there anything wrong wrong?

Speaker 42 (02:25:43):
No, I'm just tired and well, you know how it is,
coming into a strange town, taking over a new practice
patience I don't even know, got me sort of phased.

Speaker 12 (02:25:53):
But that's what I always like about you.

Speaker 42 (02:25:55):
Your attitude, attitude.

Speaker 68 (02:25:58):
When things go wrong, out of the night that covers
me black as the pit from pole to pole.

Speaker 42 (02:26:04):
You finish it, Dick, finish it.

Speaker 68 (02:26:07):
I'd like to hear you say it.

Speaker 42 (02:26:09):
Say why with the rest of the poem poem? I
I don't know it.

Speaker 14 (02:26:15):
Stop kidding, Dick. It's invictus.

Speaker 42 (02:26:18):
Yeah, why still don't know it?

Speaker 12 (02:26:21):
Oh that's strange.

Speaker 42 (02:26:22):
Why some people like one poem other's well they dog
what's strange?

Speaker 68 (02:26:28):
Because that was your favorite poem, Dick. You quoted it
to me in one of your letters.

Speaker 42 (02:26:33):
Remembering now Dick, Uh, oh, okay, I guess I get
a good night's rest.

Speaker 41 (02:26:39):
Then you start right in tomorrow.

Speaker 42 (02:26:42):
Tomorrow you mean start treating patience. Tomorrow.

Speaker 41 (02:26:45):
Yes, sooner you take over the better.

Speaker 42 (02:26:47):
But I'm all fagged out. I need a rest.

Speaker 41 (02:26:50):
By tomorrow you'll be as fresh as deed.

Speaker 42 (02:26:52):
No, no, look, I need a couple of days, that's all.
A couple of days, and then i'll be set. Let
me get a custom of things.

Speaker 68 (02:26:59):
Then i'll see who it is. Dad. Excuse me, Dick?

Speaker 1 (02:27:05):
Is your dad in Marsha?

Speaker 13 (02:27:06):
Yes?

Speaker 69 (02:27:06):
Red? Oh, good lord, what's happened?

Speaker 1 (02:27:09):
There's been an accident?

Speaker 68 (02:27:11):
Quiet Scottie.

Speaker 1 (02:27:12):
Yep, you must have got run over. You found him
lying on the road near his motorcycle, unconscious.

Speaker 50 (02:27:19):
Dad coming here quick.

Speaker 12 (02:27:21):
What's happened, Scotty?

Speaker 41 (02:27:23):
He was run over? Heaven to bring him into my office.
He's in now, he's all right.

Speaker 52 (02:27:29):
Yeah, and put him down there here on the couch.

Speaker 1 (02:27:34):
Scotty. Oh, Scotty looks like hit and run dark. I'm
going down to headquarters and report.

Speaker 41 (02:27:40):
Yes, may do you do that?

Speaker 1 (02:27:42):
Call me in headquarters when you finished, Scotty.

Speaker 68 (02:27:49):
Scotty, this is Morsha. Listen, Scottie.

Speaker 41 (02:27:52):
What happened? Hemorrhage?

Speaker 1 (02:27:57):
Some some guy carp parked side of the roads.

Speaker 41 (02:28:00):
You know, want to listen to your How.

Speaker 13 (02:28:02):
Is your father?

Speaker 41 (02:28:06):
He'll be all right, Thank goodness.

Speaker 68 (02:28:09):
You have to move him to the hospital.

Speaker 41 (02:28:11):
Day, not now, first aid? Right now?

Speaker 1 (02:28:14):
You ran over me on purpose? But kill me? What
I think it was?

Speaker 41 (02:28:21):
Escape killer? Curly Elkins, Curly, you get a good look
at him.

Speaker 68 (02:28:25):
Scottie, describe him and we'll notify headquarters.

Speaker 1 (02:28:29):
His height was about doctor Melbourne.

Speaker 42 (02:28:32):
I'll take over this.

Speaker 41 (02:28:34):
Documentett. I don't but I thought you wanted to wait
a few days.

Speaker 42 (02:28:38):
No, but you're right. I gotta begin some time, and
as well. Be Now that voice, what is it?

Speaker 7 (02:28:45):
That voice? Just?

Speaker 57 (02:28:48):
Oh?

Speaker 41 (02:28:50):
Lost consciousness again? What did he say?

Speaker 68 (02:28:53):
I don't know something about a voice?

Speaker 41 (02:28:57):
Well, let me explain the case.

Speaker 42 (02:29:00):
I know it's an accident case. How did you know
I'm a mind reader? Pretty obvious, isn't it. Well, my diagnosis,
I'll make my own diagnosis. Well all right, but I'll
just stay around and help. No, no help. No one's
going to help me when you're gone. So I want
to handle my very first case in this time alone,
very well.

Speaker 68 (02:29:21):
But Dick, can I I always help father in cases.

Speaker 42 (02:29:24):
No, Marsha, you go to I don't worry. I know
he means a lot to you both. That's easy. I'll
take good care of him, very good care of him.

Speaker 41 (02:29:35):
All right, let's go, marsh.

Speaker 42 (02:29:44):
How do you feel, scunny?

Speaker 1 (02:29:47):
Who are you that you know?

Speaker 46 (02:29:51):
Honest?

Speaker 42 (02:29:53):
How did you get run over? Did you get a
good look at the driver? No, you're sure?

Speaker 1 (02:30:00):
I want to see old Doc Milburn.

Speaker 42 (02:30:02):
Why what do you want to tell him? You're sure
you can't identify that driver? Oh, I don't believe you're liar.
You said that voice?

Speaker 27 (02:30:08):
What voice?

Speaker 46 (02:30:09):
What did you mean?

Speaker 1 (02:30:10):
I want to talk to Marcia and the dock. Let
me see him.

Speaker 42 (02:30:14):
Taking care of you, Scotty. I'm gonna fix you up
good right now, scalp ticket still just a little to
make sure you'll be all right.

Speaker 68 (02:30:39):
I wish he'd hurry with Scottie.

Speaker 11 (02:30:41):
Dad.

Speaker 68 (02:30:43):
There's something funny about him, isn't there?

Speaker 41 (02:30:46):
You think so too?

Speaker 14 (02:30:48):
Yes?

Speaker 12 (02:30:48):
I do.

Speaker 68 (02:30:49):
I recited a poem tone one he had sent me in. Well,
he didn't remember it.

Speaker 52 (02:30:55):
It's nothing to condemn a man for her, but I
don't know. Oh, maybe we'd better check up. Well, he's
busy with Scotty.

Speaker 68 (02:31:04):
Yes, I can call his club in Los Angeles get
a description of him.

Speaker 41 (02:31:08):
Maybe you'd better all right.

Speaker 62 (02:31:10):
Hello, hello operator, operator, put down phone, he said, put
down that phone.

Speaker 42 (02:31:19):
That's better. We don't want the police, now, do we.

Speaker 16 (02:31:23):
What have you done to Scotty?

Speaker 42 (02:31:25):
Get a box for him after I'm gone?

Speaker 68 (02:31:28):
Doctor Bennett, you're not doctor Bennett.

Speaker 42 (02:31:30):
That's right. My name is Elkins, Curly Elkins. Well, doctor
Bennett is lying out in the woods with a bullet
in his head. I got a bullet for each of
you two if you make one false not.

Speaker 41 (02:31:39):
Going to get away with his Elkins?

Speaker 1 (02:31:41):
Why you old?

Speaker 42 (02:31:45):
That was dumb off? You doc, never rush a guy
with a gun. And I listen to me, both of you.
Case the cops return to check on Scotty's condition, you
won't let him in the door. Scotty was fixed up,
so you went away for a rest. If either of
you say one word out of turn, you're gonna get it.

Speaker 68 (02:31:58):
What do you want from us? Why don't you leave?

Speaker 42 (02:32:01):
I'm staying right. Here's sister right in this house until
he heats off. Remember this, I just assume killers. Look
at you. I'm staying put. You're going to cover for
me because if you don't, if you were your old man,
try anything or give me away, it's curtains for both
of you. How does that sound convincing. Oh well, well

(02:32:29):
that wasn't such a bad night, now, cozy. Just the
three of us a lot better than the pen.

Speaker 41 (02:32:37):
You can't keep this up forever, Ilkins. Someone sure to
find out, and then.

Speaker 42 (02:32:44):
Then it's flowers for you. Yeah, and for your Marsha too.
Get up, Doc, I don't like to see you always
laying around.

Speaker 68 (02:32:51):
See can't get up. Your hurt his back when you
hit him with your gun. But we'll get even with you, Welkins.
You can't keep us prisoners forever. One of us will
find a way. You can always stay up chain smoking.
You've got to go to sleep sometime.

Speaker 42 (02:33:07):
Sure I do, SI what I do. I'll take your
old man into the room with me and tie him up,
and I'll lock the door and sleep with a gun
under my pillow if anyone tries to get into that room.

Speaker 41 (02:33:19):
You've got it all figured out, haven't you, Eleko.

Speaker 1 (02:33:23):
But what are you going to.

Speaker 41 (02:33:24):
Do in a couple of hours when my patients come in?

Speaker 42 (02:33:29):
I thought of that till Doc, you'll tell him all
you got kind of crippled falling down the stairs, see,
and you'll send him away. But you won't let out
one peep because all the time, I'll be upstairs with Marsha.
She'll stay alive as long as you play ball, Doc,
that's just how long? No more? Let's take us a

(02:33:59):
lot hurry about coffee.

Speaker 68 (02:34:02):
It's not boiled yet, Elkins, Let's.

Speaker 42 (02:34:03):
Take this along. You're growing it. Gotta have a swallow job.
Are you here?

Speaker 43 (02:34:07):
Ah?

Speaker 52 (02:34:07):
She just bringing? It's the matter? Why you so jumpy?
Why you're right so blood shot?

Speaker 27 (02:34:15):
Shut up?

Speaker 41 (02:34:16):
Look at your hands trembling?

Speaker 39 (02:34:19):
What is it?

Speaker 41 (02:34:20):
Tancience? I don't shut up to clam up your hair nerves?
Where are you afraid of? You got the gun in
your hand?

Speaker 42 (02:34:31):
Were him up?

Speaker 11 (02:34:31):
By?

Speaker 42 (02:34:31):
Cycle up? Let's see who's jumping? As soon as I've
had my coffee. Just wait, I gotta be glad to
get rid of me. Hey, Doc, half an hour, it'll
be dark, and I'm scramming out of here. You feel
good about that? He saw bones?

Speaker 41 (02:34:48):
I can't see. I'll be sorry you hear that?

Speaker 42 (02:34:52):
Watch. He thinks I'm going off and leave you two
here to blow the whistle at me. He thinks I'm
fool enough to do that? What take take me for
a no.

Speaker 41 (02:35:02):
Good heavens man? Surely you won't. It can do anything
you want to me.

Speaker 42 (02:35:06):
But Masha, she's deaf and dumb. She can't talk to
the cops.

Speaker 41 (02:35:10):
I promise we won't. We won't be the word, not
a word. I beg you.

Speaker 42 (02:35:16):
Ask me, duck, ask me right? Who knows?

Speaker 10 (02:35:19):
Come out with a jaba coming?

Speaker 68 (02:35:21):
You like it hot?

Speaker 42 (02:35:22):
Don't you give it here?

Speaker 2 (02:35:26):
Yeah?

Speaker 42 (02:35:26):
Maybe I will, Maybe I will, duck, Maybe I'll kiss
your both goodbye? Or maybe two bullets.

Speaker 25 (02:35:32):
Will do it.

Speaker 42 (02:35:33):
He can't be sure. I get kind of a funny feeling.

Speaker 68 (02:35:37):
Uh, drink your coffee?

Speaker 42 (02:35:39):
Who's nervous?

Speaker 40 (02:35:40):
Now?

Speaker 42 (02:35:41):
I don't know if you're alive or dead in a
few minutes from now.

Speaker 46 (02:35:43):
He did something?

Speaker 68 (02:35:44):
Drink your coffee?

Speaker 5 (02:35:45):
Elkins?

Speaker 42 (02:35:47):
Why?

Speaker 16 (02:35:48):
Why?

Speaker 61 (02:35:49):
What?

Speaker 41 (02:35:50):
Why?

Speaker 42 (02:35:51):
You're so anxious for me to drink the cup of coffee?

Speaker 68 (02:35:53):
You wanted it, didn't you?

Speaker 41 (02:35:56):
Good?

Speaker 1 (02:35:57):
I hope, so you hope, so I hope.

Speaker 42 (02:35:59):
Maybe a few d a poison, I'll do the trick
and get rid of me.

Speaker 68 (02:36:01):
What are you talking?

Speaker 42 (02:36:02):
You wouldn't try a little thing like that?

Speaker 5 (02:36:03):
Now?

Speaker 42 (02:36:04):
Would you to save your own neck?

Speaker 3 (02:36:05):
Here?

Speaker 7 (02:36:05):
You drink me?

Speaker 18 (02:36:06):
Yeah?

Speaker 2 (02:36:06):
You drink and drink it.

Speaker 45 (02:36:07):
I say, take a few swallows?

Speaker 70 (02:36:09):
Very well?

Speaker 68 (02:36:10):
Why not for the silly things?

Speaker 16 (02:36:14):
Give it here.

Speaker 68 (02:36:19):
There are you satisfied?

Speaker 45 (02:36:21):
Now?

Speaker 42 (02:36:24):
Okay, I wasn't taking any chats.

Speaker 59 (02:36:29):
Give me that coffee.

Speaker 68 (02:36:29):
Now, yeah dead dead PCDCD.

Speaker 41 (02:36:38):
Two way so far quick.

Speaker 42 (02:36:40):
What's all that? What was that double talk? Talk might
spill it? What was it all about? Where's she run after.

Speaker 52 (02:36:47):
He's gone to the next room to the dispense? What
for get a drink?

Speaker 41 (02:36:53):
Drink of what h a certain liquid?

Speaker 46 (02:36:58):
What for?

Speaker 41 (02:36:59):
What is this?

Speaker 42 (02:37:00):
Tell me your scheme of old devil. I'll kill you
right now. What did she ask you?

Speaker 46 (02:37:03):
What did you answer?

Speaker 41 (02:37:04):
What my daughter just ask busy antidote for poison? I
gave it to a head. Poison that does poison. Coffee.

Speaker 52 (02:37:19):
You both just drank, Elkins, It would take exactly sixty
seconds to kill you.

Speaker 46 (02:37:25):
Sexty seconds.

Speaker 68 (02:37:28):
Washa washia, yes, Elkins, May I help you? Do you
want something in this laboratory?

Speaker 25 (02:37:35):
Yeah?

Speaker 42 (02:37:36):
Anido swallow?

Speaker 68 (02:37:37):
Oh yes, I took some myself. I quite well now
thank you?

Speaker 6 (02:37:41):
Give it to me.

Speaker 2 (02:37:42):
Where is it now?

Speaker 68 (02:37:42):
Isn't it a pity?

Speaker 14 (02:37:43):
I forget?

Speaker 10 (02:37:44):
Where?

Speaker 41 (02:37:44):
Where's it?

Speaker 10 (02:37:45):
A bottle?

Speaker 45 (02:37:47):
Which one?

Speaker 1 (02:37:49):
Doc?

Speaker 4 (02:37:49):
Doc?

Speaker 41 (02:37:50):
Tell me?

Speaker 42 (02:37:51):
Tell me which one insides burning?

Speaker 46 (02:37:54):
Which one?

Speaker 41 (02:37:55):
E two is?

Speaker 6 (02:37:55):
So for?

Speaker 41 (02:37:56):
What's that the antidote. See what what the full names
and the battle?

Speaker 45 (02:38:03):
What's I mean?

Speaker 41 (02:38:04):
What's the name your doctor?

Speaker 7 (02:38:07):
Doc?

Speaker 5 (02:38:07):
Doc?

Speaker 41 (02:38:08):
Surely you weren't merely pausing give me brighte.

Speaker 52 (02:38:11):
Any doctor would know Doctor Bennett for me heartscas, I'd
be glad to doctor Bennett you had hippled me.

Speaker 41 (02:38:21):
But I can't move.

Speaker 52 (02:38:22):
I must lie on this couch, perhaps for life, or
else I'd get the bottle for you and save you.

Speaker 27 (02:38:31):
Doc.

Speaker 41 (02:38:37):
No, Doctor Bennette, there is no antidote to death.

Speaker 66 (02:38:56):
And so the curtain falls on Prescription for Murder, which
was chosen by guest expert Bruno Fischer, whose latest thriller,
The Restless Hands will soon be published next week at
this time, Murdered by Experts brings you the story of
an invisible menace which terrorizes a whole city, selected for

(02:39:20):
your approval by the noted mystery writer mister Lawrence Blackner.
Until then, this is your host, John Dixon Carr, hoping
you'll be with us again next week.

Speaker 65 (02:39:31):
At this time, Prescription for Murder was written by Joseph
Roskell and Paul mamash. In The cast were Kenny Lynch,
Kathy McGregor, Roger de Covin Bernie Grant and Jack Curtis.
Music is under the direction of Emerson Buckley, composed by

(02:39:53):
Richard due Page. Murder by Experts is produced and directed
by Robert A. Arthur and David Cogan. All characters in
ours story were fictitious. Any resemblance to the names of
actual persons was purely coincidental.

Speaker 41 (02:40:05):
This is Phil Tonkin's speaking.

Speaker 65 (02:40:15):
This is the mutual broadcasting system.

Speaker 7 (02:40:34):
The program you are about to hear is fiction science fiction.

Speaker 5 (02:40:39):
We make no guarantees, however, how long it will remain fiction.

Speaker 7 (02:40:44):
Exploring tomorrow and now here is your guys, These Adventures

(02:41:04):
of the mind.

Speaker 61 (02:41:06):
The editor of Astounding Science Fiction magazine, John Campbell Junior.

Speaker 5 (02:41:14):
The scene is a missile testing base somewhere in the
count of the United States. The time half past two
on a Tuesday afternoon, five maybe ten years from now.
A rather unusual missile is getting worked over last off
of ten minutes away, and the count bound is in
its last stages, and a man is sitting inside dismissal waiting.

(02:41:38):
The United States is about to make its first attempt
to send a man rocket to the moon like a bird.
Colonel Whiting to be cut loose and soar out of
your field of star. You want to launch your bet,

(02:42:00):
and you're the one who has to face all the
reporters after blast off. Me. I'm glad I'll be up
there alone. How much time left, Colonel.

Speaker 23 (02:42:08):
Takes last twenty seconds?

Speaker 5 (02:42:11):
One last time? Okay. I sit in this cradle and
I wait for the rockets to toss me up into space.
I get five hundred seconds of four G accelerations. Then
I sit around and look out the view port for
the next four days while the ship coast in zero
G three four. I'm roughly eight and a quarter minutes
past four on Sunday afternoon. The auto pilot is going
to turn the rocket engines on again long enough to

(02:42:34):
land me in The oceanis coast Alarum, which better be
as dry as Paloma Boy sailed. I climb into my
little Jim Dandy space suit, wander around the moon for
a while, take some snapshots, pick up a couple of rocks,
a souvenirs, and fifteen hours after landing, I get back
into my ship and I come home. Did I leave
anything out? I don't think that. All I do is

(02:42:56):
sit here and wait. Anyway, computer down below in the
belly of the ship does all the work me, Mike Wellman,
first man on the moon. Maybe anyway, what do you
mean maybe that has been tested for me.

Speaker 23 (02:43:09):
That's no possibility I blow up.

Speaker 5 (02:43:11):
No, go ahead, don't be afraid to say it. I
wasn't talking about that. The odds are pretty good that
this bird is going to get me there. The only
thing I'm wondering about is whether someone else is going
to get there ahead of me. I'd hate to find
a big vodka part oft going on when I get there.

Speaker 23 (02:43:27):
Ninety seconds it's learning won We're going to break contact, Hugh,
good luck. I'll explain my hair from it's going to
be from space.

Speaker 5 (02:43:35):
Sure, I'll reports soon as I'm in the free fall.
Then radio messages every four hours. You won't forget about
those baseball court, will you? Of course?

Speaker 23 (02:43:45):
Thirty seconds, Kevin, all amount is rooting for.

Speaker 5 (02:43:48):
You, and I'm rooting for the Dodgers. So I'm kindle
see you next week when I get back tu.

Speaker 23 (02:43:57):
Nine eight, seven, six, five or three two one?

Speaker 5 (02:44:06):
Mark?

Speaker 7 (02:44:38):
Are you reading me?

Speaker 5 (02:44:38):
Launching bass? How do I come in? Shure? I'm glad
to hear it. Okay, Ship's time fourteen hundred and fifty
two hours. Blanstof went fine from this end. I got
through acceleration good enough. Four ds is much fun, but
I don't mind it. Napement and stretches, and ship's in
free fall out no gravity at all, and it's weird.
All right, you're gonna have to all those hours training chamber.

(02:45:00):
I still feel a little strange, pretty quiet up here.
Nice man really can think here, And if he was
really something when you see the pros.

Speaker 23 (02:45:10):
About the psychological reactions, you don't feel at off.

Speaker 5 (02:45:14):
Mean, a guy whose idea of heaven is being along
with some books, Colonel, I like it up here. The
psyche test said I was an introvert, didn't he, Well
not really, that sort of solitary mine the same thing. Well,
it's a solitary minded people who are going to be
your spaceman, Colonel. We don't mind the loneliness. Listen, Colonel,

(02:45:36):
how are the cosmic ray readings coming through perfect? All
the equipment, including the pilot or rather the live cargo,
because that's all I really am. Okay, Colonel, I got
a few odd jobs to do on board. I'll be
talking to you again in four hours forward. Here I

(02:45:56):
am again, Colonel, two days out. Still knows what I'm
getting used to this no gravity business.

Speaker 7 (02:46:02):
And I go on to the wrestling report.

Speaker 23 (02:46:04):
Captains, there's been a change in the operational plants.

Speaker 5 (02:46:07):
Uh, what kind of change you wanted? Landing on the
moon and the.

Speaker 23 (02:46:11):
Gun winners aren't for you to adjust the computer to often?
En course, me circle the Moon and return the Earth
without landing.

Speaker 5 (02:46:17):
Hey, wait a minute, how come the switch?

Speaker 23 (02:46:21):
It's an awkward situation happened between the time I last
spoke to you and now the Russians. I know this
will come as kind of a shock to you. The
Russians made a successful landing on the Moon.

Speaker 5 (02:46:32):
No radio Moscow and until.

Speaker 23 (02:46:35):
Two hours ago, and since then we have picked up
broadcast from the Russian ship. They've landed, all right.

Speaker 5 (02:46:40):
They plead us through it by two stinking days. Two
days earlier, and I would have been our first. You
haven't heard the worst part of it yet. The Russians
have claimed the Moon they want.

Speaker 23 (02:46:52):
Like Columbus claiming the Western hemisphere. We're putting up a hill,
of course.

Speaker 5 (02:46:56):
But there just isn't any president for this kind of thing.

Speaker 23 (02:47:00):
Um is meeting to decide whether they have any right.

Speaker 5 (02:47:02):
To so this is why I can't land.

Speaker 23 (02:47:04):
The Russians say they don't regard any lunar landing and
trespreding on that property. We can't risk an incident, of course,
so for the time being we're going to hold back
and wait till the legal aspect of this business has
worked out.

Speaker 5 (02:47:16):
So I can't land. He send me up here and
I ride around for a weak and don't even put
my foot down on the moon. Colonel, Russia doesn't own
the moon, no matter what they say.

Speaker 7 (02:47:26):
That's a woman.

Speaker 5 (02:47:27):
I'm sorry, Colonel, I'm more than halfway there and I've done.
I'm going to miss my chance. I'm gonna land, sir.

Speaker 7 (02:47:35):
You can't order, Yes, I can, sir.

Speaker 5 (02:47:37):
I'm landing over and out. It's not that the moon
wasn't meant a man. It's just a man was never

(02:47:59):
designed for the moon. It's a fantastically inhospitable place, harsh,
blinding sunlight with no atmosphere to limit jagged shadows. The
rocks are hard, sharp edged, there's been no weathering to
soften them, and the shadows are just as hard and black.

(02:48:21):
It's not a nice place to be alone, or even
when there's only one other human being, within two hundred
thousand miles. I don't know if you want to hear
from me again, colonel, but I'm beating this anyway because
I just wanted to let you know that I've landed
on the Moon as originally scheduled. Yeah, right on the
oase in the designated landing area. Northern branch of the

(02:48:43):
oceanis trus allarum. And you can tell the Palomar fellas
that they were right all along. Maybe this was an
ocean once, but not in the last million years or so.
As for the Russian ship, but isn't any hooks? I
saw it when I came down about fifty miles worth
of here. Later I'll break out the rocket sled and
wander over there for some podcasts. The Russians are trying

(02:49:05):
to contact me. Now I better shift channel see what
they want over Come on in Ivans die yes the
marriage niche ball. I'm afraid that uses up my Russian vocabulary. Ivan,
how's your rangelings?

Speaker 23 (02:49:26):
I am counting the solid spacewashers. You are illegally class
passing in our property.

Speaker 5 (02:49:33):
American I am. I say your English is pretty good,
but your politics Isn't you say the Moon is yours.
Uh you know, I tell you a socialist republic. I'm sorry,
you just agree. Just getting here first doesn't give you
the right to claim the whole place. You know. Matter
has been continued by our legal experts.

Speaker 23 (02:49:50):
We have established tryal crime. I am under order to
in question to leave Russian territory immediately.

Speaker 5 (02:49:57):
But this is cod guy claiming the whole moon. I
look here, meehan met a cough. Okay, now look care
at all the coughs. The Moon's a big play and
there's room for a lot of us up here. It
really isn't fair. They want to hark the whole thing yourself.

Speaker 11 (02:50:12):
The pritadiums.

Speaker 5 (02:50:13):
That sarvy a polity, not space pilot.

Speaker 23 (02:50:16):
I'm instructed to warn you that you are transpassing. I
do not wish the donat them as a were you.

Speaker 5 (02:50:21):
So I'm transporting, man, What are you going to do
about it?

Speaker 15 (02:50:24):
My heath is armed, and.

Speaker 5 (02:50:26):
You can't figure out any better way of celebrating the
conflict of space and starting a warning about it.

Speaker 23 (02:50:30):
The United States ordered you not to make it around
me the rucknoe or claim. We're gonna tolerate violation of
all right, and.

Speaker 5 (02:50:39):
You're gonna be nasty about it.

Speaker 23 (02:50:40):
I see.

Speaker 5 (02:50:40):
Yeah, well I take my chances. Now, I've got some
work to do before I go back. I'll be leaving
the moon in fourteen hours and a bit. Hey, now,
how long are you staying up there? You've been here
better than two days already. You're playing the whole of
fort forever.

Speaker 23 (02:50:57):
My plans for departure should not concern you.

Speaker 5 (02:51:00):
I'm just curious. That's okay to me. Dream Maybe I'll
be talking to you again soon. And yeah, you uh,
the sneaky set of a gun. Congratulations you did get here. Fred,

(02:51:23):
come in launching base. You hear me, We're getting Look,
I just had a little chat with the rookie. There
seems to be only one of them. He gave me
some malarkey, A boy firing you on me if I
don't clear off the moon right away.

Speaker 23 (02:51:36):
To touch up a war over this moon?

Speaker 5 (02:51:38):
Well, what was I supposed to do? Smile politely and
turn back just because they got here first? You think
they have any right to claim the moon?

Speaker 7 (02:51:44):
Of course not.

Speaker 5 (02:51:45):
That's not the point.

Speaker 23 (02:51:46):
You ordered nothing.

Speaker 5 (02:51:47):
Trouble, Yeah, and I landed anyway. We'll go ahead. Chop
my head off when I get back to Earth. Meanwhile,
I'm here and if that Russian doesn't blow me up,
I expect to do a little exploring in the next
fourteen hours.

Speaker 23 (02:51:59):
I'm going to blow you up.

Speaker 5 (02:52:01):
These guys don't double What do you mean we have
to go to some of the messages.

Speaker 23 (02:52:04):
He's been running back to Moscows. You need to fold
your landing, and has to make some returns and they
shipped may make him a week or two and he
doesn't have enough food. Russia may be crying about cleaning
the moon, but it's going to look back for them.
The best space man can't get back to darn today.

Speaker 5 (02:52:20):
Yeah, yeah, that would be rough, and maybe I better
call him back and see if I can help him out.

Speaker 23 (02:52:26):
Well, then leave him alone.

Speaker 5 (02:52:28):
He's a human being. He saw am I you know.
After while, I let me call him Colonel, I order.

Speaker 23 (02:52:34):
You not to make an overdres to that Russian.

Speaker 5 (02:52:36):
Look, I'm not on Earth now. There doesn't need to
be a cold war up here too, Colonels and I
have plenty of food to spare. Give the folks back home,
my love. I'm going to call Ivan again. You know,

(02:52:59):
it's one thing to make a claim to say this
is mine, it's something else to hold on to it
and make the claim stick. Someone like the colonel. It
was a little difficult for him to enforce the orders.
He was trying to give it to the man on
the moon. Another coup you're getting mean?

Speaker 23 (02:53:18):
You don't have three hours to leave Washington Territory.

Speaker 5 (02:53:23):
Oh look, don't get me that step. I know you're
ships disabled and you're in trouble. Is un trouve Dan
Trotsky with rat Puten's brother. You don't know the couse.
I sometimes feel I'm the only saying man in a
world of lunatics. Those idiots down there in Washington didn't
want me to land because it might make Moscow sore,

(02:53:44):
And you don't want any help from me because I'm
not a good Marxist. They're losing battle to me. For
everyone seems to know what he really wants, and yet
everybody tries hire to get the opposite.

Speaker 23 (02:53:56):
I don't know what you're talking about.

Speaker 5 (02:53:58):
Okay, you just said tight, I'm going to launch the
rocket sled and get over your way with a couple
of cartons of provisions. If you won't take food from
a luckier war freak.

Speaker 26 (02:54:07):
That's your business over anyway.

Speaker 5 (02:54:29):
It's good to get that helmet. Ut holo on nov cuff.
My name's Mike Wellman. Why have you done this? What
trick are you playing? Listen, friend, all I am doing
is bring you some of my spare food. Nothing up
my sleeve at all. I do not understand that up
my steve, it said decadent capitalist idiom means I'm not

(02:54:51):
trying to fool you. The surprises are out on the
rocket sled. Get into your suit in a stagamn. I
said I would fire on you and you bring me
food and silly is met? But they told me they
picked up your message. It's a monstar that you were
going to be stuck here a few weeks for repair.
I was not cutting the food. The ship will never

(02:55:13):
take off again. The real rocket troops are hopelessly crupled.
If you will see the lines are severed. It was
a very poor landing. I gave incorrect daughter to the computers,
and you told them you could fix it. They do
not like to receive news of failure. Leave me alone, American,
Take your food and going away. Hey, what are you
going to eat? Rocks? There won't be a rescue ship

(02:55:34):
up here for a month at least there will be
no rescue ship for me. I do not viseral rescue.
You'll just sit up here and starve. Today, I'm at
the faulty landing. I cannot return for my country up
and I disobeyed orders. I wasn't supposed to land because
the moon is red property now, but the only Russian
here is franded helpless. Do not mock me. I'm not

(02:55:57):
and a fine bunch of spacemen you and me are?
You smash up your ship and I disobeyed half my orders,
But I'm glad I disobey anyway. At least there'll be
one practical result of my trip. I'll be saving a
man's life. You sure you're coming back with me to Earth.
We can jettison some of the meters and stuff make

(02:56:18):
room for you. I bet you're going to weigh more
than one hundred and fifty week in manage. Sure, but
save the butts for lad And you try to argue
me out of it, I'll slug it. Hello, I'm on

(02:56:42):
my way home. Pretty fair, blast open. We're twenty thousand
miles out in the moon now. Oh, I left the
little of the equipment behind the next ship can.

Speaker 7 (02:56:49):
Figure it up.

Speaker 5 (02:56:50):
And I've got a passenger. Yeah, seems a ship was wrecked,
so I talked him into coming back with me. He's
down back in the gallay faking lunch. Now. I guess
we'll both be called traders for saying it, but we've
sort of become friends. And he doesn't think Russia ought
to claim the Moon either.

Speaker 23 (02:57:10):
I only have one this season anyway. Maybe the Russian
ship wants the first to get to the Moon, but
an American woman played the first successful round trip.

Speaker 5 (02:57:19):
I like to think of it in a different way,
not an American ship or a Russian ship. Stuff like
that shouldn't matter anymore. Call of a ship from Earth. Yeah, no,
the cope and I started out separately, but we're coming
back together. The first expedition from Earth to the Moon
is coming off. The answer is to who owns the

(02:58:04):
Moon is to be very simple, belongs to man, of course,
to mankind. You know, Earth is really a twin planet.
No other planet we know of has the moon. That's
practically is big. Is the planet itself the Moon. The
Earth's the smaller sister. And it's like the Earth belongs

(02:58:29):
to man. We earned it, We worked for it for
three billions of years we have been evolving and struggling
and growing. A next growth is out the moon.

Speaker 34 (02:58:44):
We're on our way.

Speaker 5 (02:59:01):
This is Kenrdine.

Speaker 2 (02:59:03):
I come to you from out of darkness into a
single point.

Speaker 43 (02:59:08):
Of light, run out of the darkness that walks to

(02:59:32):
this turn of midnight, and then there's.

Speaker 5 (02:59:36):
The long, lonely road to dawn.

Speaker 43 (02:59:40):
From this deep darkness, the mind accepts a single point
of concentration.

Speaker 25 (02:59:52):
The senses are shopping through it.

Speaker 5 (02:59:56):
All elic is blacked.

Speaker 43 (02:59:57):
Out, and from any floating farm or shifting shapes, the
midnight mine will see faces in the window.

Speaker 24 (03:00:26):
Listen, listen to the storm. Never never, since time is beginning.
Can so much fury have been poured out of.

Speaker 2 (03:00:46):
The brooding heavens on a single night?

Speaker 25 (03:00:49):
As there was that night.

Speaker 24 (03:00:52):
I went alone alone on Earth, As I thought, standing
on my heartstone along the graylock hills and the earth
alone in the universe. The scattered boats boomed overhead and
clashed down among the valleys, every boat followed by cracklings
and zagsfires and swift plants and sharp rains, which addedly

(03:01:16):
right like the charge of spear points.

Speaker 25 (03:01:20):
And my loads.

Speaker 24 (03:01:21):
The rules the mountains have a way of breaking and
churning the thunder, so.

Speaker 2 (03:01:26):
That it is far more glorious than a storm on
the plane.

Speaker 25 (03:01:30):
No, it was no near rains, but the sky at night.

Speaker 24 (03:01:35):
It was a dark and vast inverted scene, with monstrous
waves of thundered turf crashing over and across the mountains.

Speaker 2 (03:01:48):
Then there was a knocking the doors, not the clear
ring of the.

Speaker 24 (03:01:55):
Knocker, but a doleful undertaker's clatter of a fish against
the hollow tunnels. I admitted the stranger, Come in, sir,
come in quickly. The fine thunderstorm stranger pushed the door
shut behind him, Fire off the wettern. I mere stand

(03:02:19):
here before the heart, before the fire.

Speaker 25 (03:02:23):
Love for anything, he played.

Speaker 24 (03:02:26):
The stranger still stood in the exact middle of the
cottage where he had first granted himself.

Speaker 2 (03:02:33):
Now there was nothing ordinary about this man's turn.

Speaker 5 (03:02:36):
A lean, gloomy figure.

Speaker 2 (03:02:39):
Hair dark and lance snaggedly streaked over his brow. His
sunken pitfalls of.

Speaker 27 (03:02:46):
Eyes were ringed by dark.

Speaker 24 (03:02:48):
Blue halo shone with an inoscular sort of lighting. The
gleam without the boat, the whole man was convinced. He
stood in a puddle on the bare oak floor.

Speaker 71 (03:03:01):
His hand resting pertickly. At his side was the strangest
walking stick I had ever seen. Was a polished copper
rob four feet long, which was.

Speaker 24 (03:03:12):
Joined to a would be spat my blue balls with
greenish glass ringed with copper vand the metal rob flared
out at the top like a fitch fork, with the
three keen shining throng the hills.

Speaker 25 (03:03:27):
The thing by the wooden parm alone.

Speaker 24 (03:03:31):
Now I hardly meant to be bitters, but his strange appearance,
out of nowhere, in the middle of this chaos, struck
me half humorously, Sir.

Speaker 5 (03:03:40):
I said, bowing for light.

Speaker 24 (03:03:41):
Late, have I the honor of a visit from that
illustrious God, that Jupiter, or he stood like you in
that Greek statue of old grasping the lightning bolt.

Speaker 2 (03:03:51):
Now, if you be he or his messenger, I have
to thank.

Speaker 24 (03:03:55):
You for this noble storm you we threw among our bunks.
Listen to the glorious clap of the thunder. To lover
of the majestic, it is a.

Speaker 2 (03:04:05):
Good thing to have the thunder her himself in one cottage.
The thuder goes sier for that, but he is seated.

Speaker 27 (03:04:13):
This old rush bottomed arm.

Speaker 25 (03:04:15):
Chair is the pullest of which you received.

Speaker 24 (03:04:17):
For your ever green thrown on olympus. But please condescend
to be seated. But the stranger was not amused, belithe
me half in wonder and half an extrange sort of horror,
but he didn't move a foot. I placed the chair
invitingly on the broad heart, where a little fire had

(03:04:39):
been tingled that afternoon to dissipate the damp. Come, come, sir,
be seated. You need to get dry before going up again.
The dad stranger ignored me, and, still standing in the
middle of the floor, stepped thumbly instead of.

Speaker 27 (03:04:56):
My except seure invitation to be seated on the heart.

Speaker 24 (03:04:59):
There I solemnly warn you, sir, that you had nest
against mine to stand with me in the middle of
the room. A wild surge of thunders sprang against the
side of the mountain. Stranger's eyes quivered. I warn you, sir,
get off that heart, you see. I replaced a growing nervousness,

(03:05:21):
and quietly shifted my weight on.

Speaker 2 (03:05:22):
The stone to stand very well where I am.

Speaker 25 (03:05:26):
Mister Jupiter.

Speaker 24 (03:05:27):
Are you so horribly ignorant? He cries, as not to
know that my far the most dangerous part of a
house during such a terrific emphasis. This is is the fireplace.

Speaker 2 (03:05:39):
No, I didn't know that, I said the sa I
found I would step into the first board next to
the stone. The stranger, seeing my.

Speaker 24 (03:05:48):
Foot move in response to his grim warnings, twisted his
thin lips into a flight smug smile. I quickly stepped
back on the heart and threw myself into the proudest
posture I could come.

Speaker 5 (03:06:00):
And gazed steadily appy.

Speaker 27 (03:06:03):
But I said nothing.

Speaker 24 (03:06:05):
For Heaven's sake, he cried, the strange mystery of alarm
and intimidation.

Speaker 2 (03:06:10):
Get off that high. Don't you know that it isn't
air conductors, fire dogs?

Speaker 7 (03:06:18):
Leave?

Speaker 6 (03:06:19):
That's what I want.

Speaker 25 (03:06:21):
I command. It is a hungry of myself that.

Speaker 24 (03:06:25):
The effect this man who's happened. I am not accustomed
to be commanded in my own house.

Speaker 25 (03:06:30):
Mister Jupiter, call me not.

Speaker 2 (03:06:33):
I got bea con Dad.

Speaker 24 (03:06:34):
You are pro save in this time of terror. I
have had just about enough, sir, he said, Will you
be good enough to tell me your business? If you
seek shot from a storm, you're welcome as long as
you remain civil. But if you come on business, get
on with it now.

Speaker 5 (03:06:51):
Who are you?

Speaker 2 (03:06:59):
I am a dealer in lightened the strange soft. My
special business is first of all heavens.

Speaker 24 (03:07:09):
But a crash and letterman stock. You remember when he
lets sleep, I did he rattles helic staff on the floor.

Speaker 27 (03:07:19):
No, my nature, there are no.

Speaker 25 (03:07:21):
Castles in thunderstorms.

Speaker 27 (03:07:23):
You just say the word, and with a few ways
of this.

Speaker 24 (03:07:26):
One, I can make of this cottage. And just brought
her against stull angry heaven.

Speaker 2 (03:07:31):
Listen to those mountains of concussion.

Speaker 25 (03:07:35):
You love. I said your special business. You were about
to speak of it?

Speaker 5 (03:07:40):
Oh?

Speaker 25 (03:07:40):
Yeah, special business is.

Speaker 27 (03:07:42):
To travel the country.

Speaker 2 (03:07:43):
Were ordered for lightning, lost my sex, set staff on
the floor. I was about reference in Krigan last month,
I would have twenty three rods and only five buildings.

Speaker 24 (03:07:56):
He was a sales and beyond all German salesman. I
had to miss his honor somewhere let me sing. Was
it not at Krigan last week? About midnight on Saturday?
The people, the big elms, the assembly room, Googola were struck.

Speaker 27 (03:08:15):
Any of your rods.

Speaker 59 (03:08:16):
There not on the trees?

Speaker 27 (03:08:20):
The people, then, of what use is your raw light?

Speaker 59 (03:08:27):
Death?

Speaker 25 (03:08:27):
Us my workmen, with careless compitting.

Speaker 2 (03:08:31):
The rod to the top of the people, we allow
the puzzle revel to touch the skin sheeting.

Speaker 24 (03:08:37):
Therefore the accidents not my ball, but is the muscles
in his god cheeks tightened.

Speaker 2 (03:08:44):
Tremble out there heaven enough fan riten.

Speaker 27 (03:08:49):
To the mon.

Speaker 24 (03:08:51):
That quite loud enough to be heard without pointing fingers.
Did you hear the events of Montreal last year?

Speaker 25 (03:09:00):
The servant girl struck at her.

Speaker 24 (03:09:02):
By side with the rosary in her hands, to these
being metal? Now does your territory extend into Canada's?

Speaker 15 (03:09:10):
There?

Speaker 27 (03:09:12):
No, I hear that they're only.

Speaker 24 (03:09:14):
Iron rods are in union. They should have mine, which
are covered. Iron is easily used. Then they draw the
rods hood's blender, that it doesn't have enough body to
conduct all the.

Speaker 2 (03:09:26):
Full electric currents. The metal melts, the building is destroyed.
But I cover rods, never acts like this. Mine is
the only true rod. The sky's depth charge fear is
only my work. Look at it, only one dollar a point.
He stood like Jupiter.

Speaker 24 (03:09:44):
Instm in the middle of the universe, holding his lightning
rod aloft like a terrible boat.

Speaker 25 (03:09:50):
Amount of these flung from the dry.

Speaker 2 (03:09:55):
I could only find treasures to say that this.

Speaker 24 (03:09:57):
Disparaging attitude toward others in his own Molly only made
the struck for him.

Speaker 27 (03:10:03):
In the next instance, a thunderbomb burst.

Speaker 2 (03:10:06):
From a rocky's float and sent him bounding to the window.

Speaker 24 (03:10:10):
Leaned forward intensely with his right fore and middle fingers
on his wrist.

Speaker 2 (03:10:15):
Now he talks more to himself than to me. That
crash only three pots, less than a third of a
mile loss.

Speaker 27 (03:10:23):
Somewhere in edwards he.

Speaker 24 (03:10:25):
Passed three stricken oak there ripped out glittering. The elk
draws lightning more than other timber, having iron. In solution
with the stat weird salesman turned and stared at me
with a smirk of triumph. Your floors shall be open,

(03:10:52):
I shooted uneasily from the stairs. Possible, I replied, from
the peculiar time of your call, I suppose you purpose
with select stormy weather for your journey.

Speaker 27 (03:11:02):
When the thunder is roaring, you seems a streaking do
with a crash.

Speaker 24 (03:11:07):
Like the collision of one hundred trains, and the jerk
half around you with a kind of insane nervous pleasure.
For one who would arm others with fearlessness, I say
you seem uncommonly fear for yourself. Ordinary men choose fair
weather for their traffics. You choose thunderstorms, and yet the
night that will understorms by crash, but not without ridiculous

(03:11:32):
the cart. There's only a lightning rod Man lay no
and brinst was close. Quick look at Mike Freckerman rock
only one dollar a.

Speaker 25 (03:11:44):
Man get me?

Speaker 27 (03:11:47):
And I couldn't take him.

Speaker 2 (03:11:48):
I walked abruptly back towards the shoppers.

Speaker 27 (03:11:51):
The rain is coming through, I said, I will bar.

Speaker 25 (03:11:53):
The window, and he grabbed my arm to man, are
you aware that.

Speaker 2 (03:11:57):
That iron bar is a sprinton? Not there?

Speaker 9 (03:12:00):
Ye?

Speaker 2 (03:12:01):
All right, all right, that shot.

Speaker 24 (03:12:03):
I will simply close the shutters then and call my
boy to bring a wooden bar.

Speaker 25 (03:12:08):
Please, if you will bring that bell.

Speaker 2 (03:12:11):
Ah, that bell wire?

Speaker 24 (03:12:14):
My glasses never come sell wire ring a bell of
any sort? And where and how one makes a time
like this? Is there any part of my house I
may touch with hope for my life, please, but not
where you stand.

Speaker 27 (03:12:33):
Now, come away from the wall.

Speaker 24 (03:12:36):
The current will sometimes run down the wall, and a man,
being a better conductor than a wall, it would leave
the wall and run through him. Then tell me if
the lightning rock man, which in your opinion, is the
safest part of his house, And there's one spocking in
where I stand.

Speaker 27 (03:12:56):
Come here, please, and first.

Speaker 34 (03:13:00):
After the flash.

Speaker 24 (03:13:01):
Forgot the slash of shiver bouse, the house comes.

Speaker 2 (03:13:05):
Come here, please, reasons, please come here to me. Thank
you again. I think I will try my old place
by the heart.

Speaker 24 (03:13:16):
And now, mister lightning rod Man, be so good as
to tell me your reasons for thinking that this one
room of the house states your own one standpoint.

Speaker 25 (03:13:24):
There is the safer spot in it.

Speaker 24 (03:13:27):
Now there was now a little sessations of the storm,
at least for a while. The lightning rod Man replies,
in a quieter tone. Your house, the one storied house
with an attic and a cellar.

Speaker 27 (03:13:42):
This room is clean.

Speaker 25 (03:13:44):
Therefore it's compared its safety.

Speaker 24 (03:13:46):
Because lightning sometimes patches from the clouds to the earth,
and sometimes from the earth to the.

Speaker 2 (03:13:52):
Clouds, can you comprehend? And I choose the middle of
the room because.

Speaker 24 (03:13:58):
If the lightning should strike, if the lightning should strike
this house at all, it would come down the chimney
or walls. So obviously the farther you are from them,
the better. So come here to me now, presently, breast,
I said. But something you said, instead of alarming me,

(03:14:19):
is strangely inspired confidence.

Speaker 27 (03:14:21):
You said that sometimes lightning flashes.

Speaker 2 (03:14:24):
From Earth to the clouds. Yes, the returning stroke to
his cause when.

Speaker 24 (03:14:31):
The earth, being overcharged with the fluids, angrily hurls its
surplus upwards.

Speaker 5 (03:14:39):
I nodded this, say information.

Speaker 24 (03:14:42):
The returning strong that is from earth the sky better
and better. But come here on the hearth and dry yourself.

Speaker 5 (03:14:53):
I am better here, he said shortly, and.

Speaker 24 (03:14:56):
Better, how I said, he answered, It is the safest
thing you can do to get yourself thoroughly drenched in
a thunderstorm. Wet clothes are better conductors than the body.
So is the lightning strike. It might pass down the
wet clothes without touching the body. Whitten the storm deepens again,

(03:15:18):
spoke of leakers, mistress, month, have you a rugged the
house drugs are unduttes.

Speaker 2 (03:15:26):
Get one quickly so I may stand on it here
if you too.

Speaker 24 (03:15:30):
The sky is black, and listen closer and closer, Get
the rug, the rug.

Speaker 25 (03:15:36):
I think, why I remember?

Speaker 42 (03:15:38):
No.

Speaker 24 (03:15:39):
Meanwhile, the hooded mountains outside seemed to close in and
tumble over the cottage.

Speaker 27 (03:15:44):
I resumed my plate.

Speaker 2 (03:15:45):
From the hearth, and now, sir, let me hear your precautions.

Speaker 7 (03:15:50):
Ali during understorm.

Speaker 27 (03:15:53):
Crazily, then, he said.

Speaker 24 (03:15:55):
Before his fine trees, high houses, only bond upland pastures,
running water, blocks of cattle and sheep, and crowds of men.
With the mention of the she seems to burn into
me till.

Speaker 2 (03:16:11):
I was ready to abandon myself to total terror, and see.

Speaker 24 (03:16:17):
I travel on, But he went on, I do not
walk back. If on horseback, I dismount and lead the horse.

Speaker 27 (03:16:24):
But of all things I avoid tall men.

Speaker 2 (03:16:29):
Since he was I heard man avoids men, and in.

Speaker 27 (03:16:34):
A time of danger, tall men from the store, I session.

Speaker 24 (03:16:39):
Are you so grossly ignorant as not to know that
the height of a six foot her is sufficient to
discharge an electric cloud upon him? Not lonely Kentuckians flowing
struck dead in the unfinished hurl my stands by running waters.
The cloud will sometimes select him as its conductor to
that running water.

Speaker 2 (03:17:00):
Listen, listen the top of a black mountains with a box.

Speaker 27 (03:17:05):
He's a good conductor.

Speaker 24 (03:17:06):
The lightning goes through and through a man, but only
peels the trees. Now, the dark stranger in the middle
of the room, stepping his turn.

Speaker 5 (03:17:14):
Burns before my eyes.

Speaker 2 (03:17:15):
Concerns rushed on to the long answering your questions that
I have not come.

Speaker 27 (03:17:19):
To business yet? Will you order one of my robs?

Speaker 24 (03:17:22):
Look at that spectamen one see he is the bet
of cover covers, the best conductor. Your house is low,
being upon the mountains, that lowness doesn't matter. Few mountaineers
are most exposed by by.

Speaker 25 (03:17:36):
By mountainous country.

Speaker 27 (03:17:38):
Is the lightning rod man in the both business.

Speaker 24 (03:17:41):
Look at the look one rods will esther for a
house as small as this one, rods only twenty dollars.

Speaker 27 (03:17:48):
Listen again, All.

Speaker 2 (03:17:50):
The crane giants dash to gather like tables. Now he
turns to be a curl before me, like a strong wire.

Speaker 24 (03:17:57):
He grasps his lightning rods on his knuckles, showed white
and elevation. In the fine seas about the house there
were perhect twenty feet making it's all about.

Speaker 27 (03:18:05):
The rods only twenty dollars. There I founded in the
art of eatings. Will you will you ordered?

Speaker 7 (03:18:11):
Will you buy?

Speaker 27 (03:18:12):
Can I put down your name?

Speaker 2 (03:18:14):
Think of being a heap of child flesh like a
hawferd horse burnt in his strong and all in one flash.

Speaker 24 (03:18:39):
The men with a tearing burning my fears seemed to
leap out of me like a lightning, And I found
myself laughing, laughing wildly, you pretender's messengers in the system
of the contary up. Why you, mere man who came
here to.

Speaker 2 (03:18:55):
Put you and your pipe stemmed between clay and sky?
Do you think to it?

Speaker 24 (03:19:01):
Because you strike a bit of green light from a
light and jar with you the burlier boy, the heaven's boat.

Speaker 2 (03:19:08):
Your rod roup it breaks. Where are you who has empowers.

Speaker 24 (03:19:14):
You to pettle your indulgences from divine orders? The hairs
of our heads are number of the days of my life.
In thunder as in sunshine, I stand at ease in
the hands of my God. Get out of these sham
See the scroll of the storm is already roll bag.

Speaker 2 (03:19:35):
The house is unharmed in the blue heaven, virid.

Speaker 27 (03:19:39):
In the rainbow. But the denity will not a purpose.
Make fight a warm on the.

Speaker 25 (03:19:53):
Stranger foam.

Speaker 24 (03:19:55):
The blackening in the face of the rainbow beams through
the shutters you from a wretch.

Speaker 2 (03:20:01):
I'll publish your infantel notions.

Speaker 24 (03:20:03):
The scowl grew blacker on his face, the deep blue
circles the large around his eyes, and the storm rings
around the midnight home. He flang at me his white
more thing aimed at my heart. I sneezed and whirled round,
my arms closed over his fruit. He struggled violently across
the room and crashed together against the wall.

Speaker 42 (03:20:21):
The door flew open, stumbled down.

Speaker 24 (03:20:23):
With a supreme effort, I dragged his dark lightning came
to his feet and flung him violently from me, with
the points of the lightning rock very deep in his.

Speaker 2 (03:20:31):
Chest, over his heart, and wear a settle.

Speaker 24 (03:20:36):
Before there had been a rainbow and the blue sky.
Now the heaven foiled into an angry eye. The lightning
rod crackled, and at the point where it entered his
check it burned with a serial.

Speaker 27 (03:20:48):
White hot light that almost blinded me.

Speaker 24 (03:20:51):
The mean stranger didn't utter a sound, and he became
at once a living lightning bulb of burning whiteness.

Speaker 2 (03:20:57):
The hot flame went down through him like a shame.

Speaker 24 (03:21:00):
Being drawn a from his windows and streaking on the
ground along the grounds of the base of the sea.
The scream of a long jacket racing boat passed out
of the earth, ripping upward through the trees and burning
in the pine until it hurls itself with a dark,
angry ocean of clouds, and then burnt down. Yeah when

(03:21:25):
my eyes could see again, I saw, I swear to you,
I saw there in the distance the dark form of
the tall lightning rod man walking down the mountain path
with the lightning rod in his hand. And I know
that the lightning rod Man still dwells in the land,

(03:21:46):
still travels in storm time, and drives.

Speaker 2 (03:21:49):
A brazen plain with the fearsome man.

Speaker 43 (03:22:13):
The mind at midnight is lonely, and the senses are shot.
And so from out of darkness of shape and form,
where a single light is focused, the sharp.

Speaker 7 (03:22:31):
And lonely midnight mind will see.

Speaker 25 (03:22:35):
Faces in the windows.

Speaker 59 (03:22:52):
All right, fantasy that from the past, starring Jane Wyatt.

Speaker 13 (03:23:22):
I beg your pardon. Oh yes, is that your newspaper
line now in the park? Stam?

Speaker 72 (03:23:29):
Why yes it is now. I look at them all
if you wish, of course, here, I'll move over, sit down,
thank you.

Speaker 59 (03:23:37):
Oh there you are.

Speaker 13 (03:23:39):
I hope you don't make me foolish. I'll only be
a minute.

Speaker 59 (03:23:43):
Take as much time as you like here. Will you
roll yourself a cigarette?

Speaker 7 (03:23:47):
Oh?

Speaker 59 (03:23:47):
No, thanks, Sorry, I can't offer you a tailoring one.

Speaker 13 (03:23:51):
Oh quite all right? At you out of a job, yes,
but don't tell me. I look that desperate.

Speaker 59 (03:23:57):
No, I, well, I notice you've turned to the help
wanted columns.

Speaker 13 (03:24:02):
Yes, but some of these things have been there ahead
of minute, and that to set me along. Help a
pencil that.

Speaker 59 (03:24:08):
You can say that again. I was lucky even to
find a pencil.

Speaker 11 (03:24:11):
Oh you too?

Speaker 13 (03:24:15):
Yeah, Oh, I'm sorry.

Speaker 59 (03:24:17):
Well, that's all right, nobody needs to feel sorry for me.

Speaker 5 (03:24:20):
I'll get along.

Speaker 13 (03:24:21):
You've been to all these places you marked here in
this column, sister.

Speaker 59 (03:24:24):
I've been there and then sid and you didn't get
one of them.

Speaker 25 (03:24:28):
No one.

Speaker 72 (03:24:29):
Well, look at the soles on my shoes here. Look
those are yesterday's want ads. I'm walking home.

Speaker 13 (03:24:35):
How long have you been out of work?

Speaker 5 (03:24:36):
Oh?

Speaker 72 (03:24:37):
I don't know, about ten weeks. First I had a
lot of dough. I thought I was a wise guy.
I wouldn't have any trouble getting another job.

Speaker 5 (03:24:44):
I was wrong.

Speaker 72 (03:24:45):
I dropped all my money and I've been sleeping here
on his park bench for the past three weeks.

Speaker 13 (03:24:49):
When do you eat?

Speaker 59 (03:24:51):
Whenever I can? Today, I'm all right.

Speaker 72 (03:24:53):
I got a chance to make a couple of iron
men yesterday iron man bucks, Dolly, Oh you around, Tomlin.

Speaker 13 (03:25:01):
I've been here about two weeks. I came up from Sandul.
You have people here, No, my father and stepmother living Sanville.
I tell my stepmother and I have never been anything
more than barely sigl to each other.

Speaker 5 (03:25:14):
Oh, I get it.

Speaker 59 (03:25:15):
So you've come here but get a job.

Speaker 13 (03:25:17):
Oh I come here to get a job.

Speaker 59 (03:25:20):
How much money you got?

Speaker 11 (03:25:21):
Well, I.

Speaker 13 (03:25:23):
Really don't think that's anyone's paid.

Speaker 59 (03:25:25):
Oh, bother, you've got to be formal about it. My
name's Mark Matthew.

Speaker 13 (03:25:29):
Mine is Luke John.

Speaker 72 (03:25:30):
Oh, I'm serious. My name is Mark Matthew. I wasn't
named after the two gentlemen who helped.

Speaker 5 (03:25:35):
Write the Bible.

Speaker 13 (03:25:36):
Well, my name's Mary billing Well.

Speaker 72 (03:25:39):
Miss Billings, I'm mighty please to know you now that
we're thoroughly acquainted and completely good friends.

Speaker 59 (03:25:44):
You tell me when you ate last.

Speaker 13 (03:25:48):
I'm all right.

Speaker 59 (03:25:50):
You are hungry?

Speaker 13 (03:25:52):
Oh yes, I I guess I am.

Speaker 59 (03:25:54):
Join me for a hamburger the onion as you like,
and a cover of coffee.

Speaker 13 (03:25:59):
That a date?

Speaker 59 (03:25:59):
Mary, Well, I'm sorry I can't buy you a thirty
five cent blue plate.

Speaker 13 (03:26:03):
I love a handler demark. Then it's a deal, Okay,
mister Matthew, it is a deal.

Speaker 59 (03:26:21):
What another hamburger?

Speaker 5 (03:26:21):
Mary?

Speaker 13 (03:26:22):
No? Thanks to s plenty. You shouldn't have made leave
that second one. I'm sure you can't havecord it.

Speaker 59 (03:26:28):
Oh, I know where I can make a dollar or
so tomorrow I'll buy some cigarettes.

Speaker 13 (03:26:31):
If you don't think you can roll, well, thanks, No,
I don't buy any. I really don't smoke much.

Speaker 59 (03:26:36):
Say hey, you're a nice girl. No inexpensive.

Speaker 13 (03:26:40):
I really don't know why I'm got any dogs for me.
I'm not in the habit I know.

Speaker 7 (03:26:45):
I know.

Speaker 59 (03:26:46):
My Irish mother taught me never to ignore a pretty
young woman who is hungry.

Speaker 5 (03:26:52):
See you are pretty.

Speaker 18 (03:26:54):
You know.

Speaker 13 (03:26:56):
I thought you were going to be different.

Speaker 59 (03:26:58):
I'm different. I say, I'm to pecha hamburgers, and I
feed your hamburgers and good ones too, though that I
know they're good. I've been eating them for weeks.

Speaker 13 (03:27:08):
No, I think I'll answer the zad.

Speaker 59 (03:27:13):
Say, did you drag that old beating up newspaper.

Speaker 39 (03:27:15):
In here with you?

Speaker 13 (03:27:16):
Certainly I did. And I'm still looking for a job,
even if my hunger has been temporarily satisfied.

Speaker 59 (03:27:20):
Well, if you can find a job out of that bunch,
you're a better job hunter than I am.

Speaker 13 (03:27:24):
Well, you haven't tried this one. Someone's looking for a woman,
m sound good. Listen wanted sonographer if you are an ambitious,
talented and reasonably attractive young woman who use the typewriter,
the adding machine and to write short linds applying first
and to see mister Gibson Friday night after the night
Room thirteen thirteen Temple Building.

Speaker 59 (03:27:46):
Do you think you can fill a bill? Are you ambitious?

Speaker 13 (03:27:49):
I can use the typewriter?

Speaker 59 (03:27:50):
Are you talented?

Speaker 13 (03:27:52):
I can operate an adding machine?

Speaker 59 (03:27:53):
And are you reasonably attractive?

Speaker 13 (03:27:56):
You told me you thought I am pretty? Remember beside
to know how to write.

Speaker 59 (03:28:00):
Shot home, then apply for the job by all means.

Speaker 13 (03:28:03):
I think I will, But I don't like this to
apply after midnight.

Speaker 59 (03:28:09):
Angle, Yeah, it is very unusual. Why at that time
of night?

Speaker 13 (03:28:15):
Maybe at the night job. Anyway, I'm going to have
a tryoutle Wroom thirteen thirteen Temple Buildings. Where's the temple building.

Speaker 59 (03:28:22):
On the other side of town?

Speaker 13 (03:28:24):
How farmer?

Speaker 59 (03:28:25):
Oh about ten or twelve miles?

Speaker 13 (03:28:27):
Oh?

Speaker 59 (03:28:28):
Hey, you need carpet here? Take this half buck?

Speaker 13 (03:28:30):
Oh my god? Well, I'm not going to argue about it.
I'll take it and I'll return the money tomorrow night.
I get a s full check to my father tomorrow morning.

Speaker 5 (03:28:39):
That's all right, I'll meet you.

Speaker 13 (03:28:41):
Let me see. I'll meet you here in the park
at the same bench, and i'll let you know how
I come out about the job of the Temple building. Yes,

(03:29:04):
this is the Temple building all right off the quiety,
dimly lighted. Nobody around, not even the hall quarter. This
is a very strange place. Yes, here's the building directly. No,
let's see. What is the man's name. Oh, yes, Gibson

(03:29:26):
gives gives, No, No, Gibson listed here. This company's name
is probably here, but I don't know that name. Now
it's see how does one get up to the thirteenth floor.
Here's a open elevator, but I think there's no one operated.
Oh oh, this is the type you operate yourself. Just

(03:29:48):
step in, press the button mark thirteen. The doors closed.

Speaker 5 (03:29:59):
Up.

Speaker 7 (03:30:00):
We do.

Speaker 13 (03:30:02):
Oh, but if they're a little prayer that I get
this job. Oh, man, here we are. Well, it must
be a night job. With this entire course one huge office.
We're all at the row of desks. If people work

(03:30:22):
at that time, the brilliant lights everywhere. You must be
a big country.

Speaker 16 (03:30:27):
May I help you?

Speaker 59 (03:30:28):
Miss?

Speaker 5 (03:30:29):
Oh?

Speaker 13 (03:30:29):
Yes, see, I've come an answer to the avenue station.

Speaker 57 (03:30:33):
Ad Oh, advertisements.

Speaker 16 (03:30:36):
Yes, I'm afraid I don't know what you mean.

Speaker 11 (03:30:38):
Uh uh.

Speaker 13 (03:30:39):
Mister Gibson advertised for a young woman to do typing
and the short hands.

Speaker 27 (03:30:43):
Here.

Speaker 13 (03:30:44):
I've cut out the ad.

Speaker 73 (03:30:45):
This is may I see it. Please, thanks you, I
see mister Gibson fair.

Speaker 13 (03:30:53):
To tell me he had instead of an advertisement and
the bee over the pres in the time.

Speaker 73 (03:30:56):
I'm sorry, young lady, mister Gibson uses only the bee.
You'll find his office right down this aisle the first
thirty you're left room thirteen sixteen sens.

Speaker 16 (03:31:06):
Just knock on his door and he'll answer you.

Speaker 5 (03:31:08):
Yes. Thanks.

Speaker 13 (03:31:10):
That's strange. These people don't seem the modern, said Crystal Quen.
Hey look ohe oh here's the door.

Speaker 57 (03:31:24):
Come in please, mister Gibson.

Speaker 7 (03:31:28):
Yes, come in, please and close the door.

Speaker 5 (03:31:30):
Thank you.

Speaker 57 (03:31:31):
Sit down, Sit down, young lady, don't just stand there.

Speaker 13 (03:31:34):
Yes, sir, I've come about a job, sir, the one
you mentioned in your Adver time kinmes, I never.

Speaker 57 (03:31:40):
Add advertising anything but the bee.

Speaker 13 (03:31:43):
You read my advertise, but in the b I'm sure
you want a stenographer, one who can type, use the
adding machine and take directions. Yes, I'm very ambitious, mister Gibson,
and I feel that I can learn the word quickly.
I'm easily taught.

Speaker 25 (03:31:56):
Good.

Speaker 1 (03:31:57):
Good.

Speaker 11 (03:31:58):
I your ad.

Speaker 13 (03:32:00):
That's promoderately attractive girl. I'll try to be meet tity soon.

Speaker 57 (03:32:04):
My dear young lady.

Speaker 74 (03:32:04):
If your qualifications are as you claim, I feel you
would do very nicely. Here take this pencil please, and
this pad there now are you ready to take a letter? Yes,
address it mister Hugh Lanning, fifty oh one, Tower Building City.
Dear mister Lanning, we have received your order for the
office material. It's listed on your invoice. Nice will personally
see to it that the items ordered our assembled box

(03:32:26):
and shipped you immediately.

Speaker 57 (03:32:27):
You are exceedingly thankful.

Speaker 74 (03:32:28):
For your order, and we trust you will find our
service up to its usual properness and capitalists. If we
may serve you again in the future, please be assured
every attention will be given to your desires.

Speaker 7 (03:32:37):
Yours very truly.

Speaker 57 (03:32:38):
You act may offer supply company by Jonathan Gibson. Got that, yes, sir.
Now when you type it up, please use that machine
over there.

Speaker 59 (03:32:46):
You will find paper in the drawer.

Speaker 7 (03:32:47):
Yes, how old are you, young lady?

Speaker 13 (03:32:50):
Twenty two?

Speaker 51 (03:32:52):
Your name Mary where were you born in?

Speaker 13 (03:32:57):
That's about thirty five miles from here.

Speaker 57 (03:33:00):
Are you ready to start work tonight? If you prove satisfactory? Oh?

Speaker 7 (03:33:03):
Yes?

Speaker 45 (03:33:04):
What shall we will you expect?

Speaker 13 (03:33:06):
That will depend upon the work, sir.

Speaker 12 (03:33:07):
You must know up there?

Speaker 57 (03:33:08):
Well, I say, say twenty dollars a week?

Speaker 13 (03:33:11):
Shall we say that to begin with? Then if I
do more for twenty dollars worth of work, I'll.

Speaker 16 (03:33:16):
Ask for a raise.

Speaker 13 (03:33:17):
It's my opinion that employees should paid the cloins and
money work.

Speaker 59 (03:33:20):
Day, poor, young lady, quite true?

Speaker 57 (03:33:25):
What's your home address?

Speaker 25 (03:33:26):
Please?

Speaker 13 (03:33:27):
Twenty one twenty two? No, I'm only there temporarily, would
you please? Sims? Mister Goodson?

Speaker 5 (03:33:31):
Eh?

Speaker 39 (03:33:32):
What sign?

Speaker 13 (03:33:33):
What the lover you gave me?

Speaker 7 (03:33:35):
Ready?

Speaker 57 (03:33:36):
Denise already, young lady. You're quite efficient, see happiness neat?

Speaker 13 (03:33:43):
I like it, Thank you, sir. I hope I may
have the job.

Speaker 25 (03:33:48):
Yes, of course.

Speaker 74 (03:33:49):
But one thing, miss Billings, Yes, sir, your clothes, my dear, yeah,
shall we say a little too modern.

Speaker 13 (03:33:57):
Man, too much talking quite conservative?

Speaker 57 (03:34:01):
The neckline and the skirt link and the sleeves.

Speaker 74 (03:34:03):
I'm afraid miss Billings, you'll be compelled to wear a
tight neck dress, long sleeves and the skirt to the ankles,
like like the others outside are dressed, yes, exactly, and
the rules and lipstick. We don't use cosmetics for the
ACME company, Miss Billings, very well, sir.

Speaker 57 (03:34:21):
And the short haircut, Bob, I believe it's called you
will let your hair go out, Miss Billings. Meanwhile, you
will add a switch to your hair.

Speaker 13 (03:34:31):
Yes, mister Gibson.

Speaker 74 (03:34:32):
Now if you just step outside and speak to the
young lady at the reception desk, she'll show your place
to work and assign your duties.

Speaker 13 (03:34:38):
Mister Gibson, I can't thank you enough. I work very
hard and I'll try to be a credit to your company.

Speaker 7 (03:34:44):
I'm sure you will, Miss Billings.

Speaker 13 (03:34:46):
Now I try to at the office before I take
over my wa mighty up my office? Well, yes, pardon me.
We really could stand little cleaning and dustin so many
cobwebs and dust everywhere. The windows looks like though they
hadn't been washed in a year. And your calendar needs changing.

Speaker 57 (03:35:01):
Mister Gibson.

Speaker 13 (03:35:02):
My calendar, yes, look it says April sixteenth. This is
January sixteenth.

Speaker 57 (03:35:07):
My dear girl, you're mistaken. This is the sixteenth day
of April and.

Speaker 13 (03:35:12):
The calendar says nineteen twelve. That's right, this is nineteen twelve,
mister Kitson, this is nineteen forty two, and it's January,
not April.

Speaker 57 (03:35:23):
My dear young lady, are you in niniest?

Speaker 13 (03:35:27):
Well, of course I am. This is the sixteenth of
January nineteen forty two. Certainly you must be jesting. No,
mister Gibson, I'm not jesting. This is not nineteen twelve.
It's nineteen forty two.

Speaker 74 (03:35:39):
I can't understand what would lead you to say a
thing like that. Yeah, yeah, young lady, there's newspaper today's now.

Speaker 57 (03:35:47):
Look at the date on it. April is sixteenth, nineteen twelve.

Speaker 13 (03:35:51):
There you see, Skipson, you say this is today's newspaper.

Speaker 7 (03:35:56):
Of course, of course it is.

Speaker 57 (03:35:58):
Look at it yourself, Tracy, smell it fresh paper.

Speaker 13 (03:36:02):
Yes, yes, you're right. But those headlines.

Speaker 57 (03:36:07):
Yes, a terrible disaster, the.

Speaker 13 (03:36:10):
Titanic sunkit Sea on her maiden voyage.

Speaker 57 (03:36:13):
Yes, she hit an iceberg. A sad tragedy.

Speaker 13 (03:36:18):
That was thirty years ago, long before I was born.

Speaker 5 (03:36:23):
What was that?

Speaker 57 (03:36:25):
I'm afraid I don't hear very well these days?

Speaker 13 (03:36:28):
It wasn't important. Shall I take of my work now?

Speaker 57 (03:36:31):
Yes, if you will. You need your services very badly.
Business is exceptionally good, and I.

Speaker 74 (03:36:37):
Admit it's difficult to find young woman with as much
ability as you have.

Speaker 13 (03:36:41):
Thank you, mister Gibson. I'll try to live up your expectations,
and I feel.

Speaker 7 (03:36:45):
Certainly will miss billings.

Speaker 57 (03:36:46):
There's anything you don't understand, just ask the young lady
at the front desk.

Speaker 13 (03:36:50):
Yes, thank you, I shall thank you very much, mister Gibson.
Mister Gibson said for you about the work I under
do here.

Speaker 73 (03:37:02):
Yes, you will use desk number twenty seven if they
were there, the one with the rose spot.

Speaker 2 (03:37:08):
In the vase.

Speaker 13 (03:37:09):
Yes, I'll see it.

Speaker 14 (03:37:11):
I believe.

Speaker 73 (03:37:11):
I'll let you work on the first of the month.
In voices here use these invoice lengths. The books were
on that metal table by your desk.

Speaker 13 (03:37:19):
Yes, thank you. How how do you want the invoices.

Speaker 73 (03:37:24):
Dated May first, nineteen twelve, May nineteen twenty. That's right,
it'll reach our customers the first day of May. And
did mister Gibson mention about your clothes?

Speaker 13 (03:37:37):
Oh yes he did, but he said I was to
go to work now and take care of changing later.
Very well.

Speaker 73 (03:37:43):
You'll find paper pencils and erasers in your desk.

Speaker 13 (03:37:46):
Thank you. I've filled out this form for you. Tell
me if it's correct.

Speaker 73 (03:37:51):
Names Mayor Billings born at Scandals, aged twenty two. See
you were born in eighteen ninety then, weren't you.

Speaker 13 (03:38:00):
That would be twenty two years ago, wouldn't it. Your
hours will.

Speaker 73 (03:38:04):
Be from midnight until late am. You may take time
out at four a clock for refreshment one hour. If
you have any questions about your work.

Speaker 70 (03:38:12):
Please don't hesitate to ask me, Miss Buildings speaking, Yes,

(03:38:35):
mister Gibson in your office, Yes, sir, I'll come in immediately.

Speaker 13 (03:38:44):
Yes, mister Gibson, stand for me.

Speaker 57 (03:38:46):
Yes, I sit down, Miss Billings.

Speaker 59 (03:38:49):
The dawn will be here soon, Miss Billings.

Speaker 57 (03:38:51):
I don't have a watch and there are no clocks
in the office.

Speaker 59 (03:38:55):
He noticed. Yes, ah, yes, the dawn will soon be here,
all too soon.

Speaker 13 (03:39:03):
I haven't been here long, mister Gibson, but I enjoy
the work I've done so far.

Speaker 74 (03:39:07):
Yes, and missus Johnson reports you give all your attention
to your work.

Speaker 57 (03:39:11):
To reports that you're extremely efficient, So I'm.

Speaker 13 (03:39:14):
Glad, sir. I've tried to appid myself. Yes, you were
just as I expected you would be here what was that,
mister Gibson. I mean I could tell for the work
you didn't hear from me, that you would be quite capable.
I hope you like me wrong enough to allow me
to keep the job.

Speaker 59 (03:39:31):
I want you to go home now, my dear.

Speaker 57 (03:39:34):
You've done quite enough work for tonight.

Speaker 13 (03:39:36):
But I just as soon stay my full time.

Speaker 57 (03:39:38):
No, no, won't pay to overwork. The first day you
all here, Miss Billings? Is your check my check?

Speaker 32 (03:39:45):
Yes?

Speaker 74 (03:39:45):
You probably need a little money, why yes? But no, no, no,
just case to check and get what you need with
the money.

Speaker 13 (03:39:53):
But this check is made out for eighty dollars.

Speaker 57 (03:39:57):
Yes, I believe that was amount, wasn't it?

Speaker 13 (03:40:02):
Why? I don't understand.

Speaker 59 (03:40:05):
Would you mind going now, Miss Billings?

Speaker 57 (03:40:08):
The dawn will soon be here, and.

Speaker 46 (03:40:11):
Would you mind going now?

Speaker 16 (03:40:12):
I know if you wish.

Speaker 74 (03:40:16):
Thank you, my dear, and may I wish you every happiness,
Miss Billings, every happiness in the world.

Speaker 13 (03:40:26):
Good day, now, marry, I say, Mary, wait for me,
Oh Mark, I've been waiting so long I.

Speaker 72 (03:40:43):
Thought you want Oh Mary, Oh boy, am I glad
to see you. I can hardly wait all day to
hurry here and tell you the new you. Yes, I've
got a job, and a good one, fifty five dollars
a week.

Speaker 13 (03:40:52):
Oh, I'm so happy for you.

Speaker 72 (03:40:54):
Yeah, I got some swell ideas. I mean, I'm gonna
tell you one of them for long. Hey, how about
your job?

Speaker 13 (03:41:00):
Uh?

Speaker 69 (03:41:01):
I got it?

Speaker 11 (03:41:01):
Mark, I don't know what to think about it.

Speaker 13 (03:41:05):
Everything was so strange.

Speaker 59 (03:41:06):
Yeah, what happened?

Speaker 13 (03:41:08):
Well, I went to Temple building and I took the
elevator after the thirteenth floor. So I picked the check
and left the buildings just as the dawn was beginning
to Great.

Speaker 59 (03:41:28):
That's a.

Speaker 7 (03:41:30):
Very look. Mary.

Speaker 59 (03:41:32):
You have to go to work at midnight. You say,
do you mind if I go along?

Speaker 13 (03:41:35):
I know, I suppose it'll be all right.

Speaker 59 (03:41:37):
Goodness, I don't.

Speaker 72 (03:41:38):
Want to get a look at the kind of a
businessman who'd have a nineteen twelve calendar on his office wall.

Speaker 59 (03:41:57):
There's some elevator. He pushed the button for yourself.

Speaker 13 (03:42:01):
I guess they figured cut down over there? No operator.

Speaker 59 (03:42:05):
Here we are, ma, Hey, are you sure you pushed
the right button?

Speaker 13 (03:42:16):
I'm positive.

Speaker 18 (03:42:19):
Look at this price.

Speaker 59 (03:42:20):
I thought you said this entire floor was an office.

Speaker 13 (03:42:23):
It won Now there's nothing for one dim light, heaps
of gentlemen, boxes and barrels and sofia.

Speaker 59 (03:42:33):
But this floor isn't used for anything but storage space.

Speaker 13 (03:42:36):
There was lots of them, and people were.

Speaker 59 (03:42:39):
All but merry. There couldn't have been.

Speaker 13 (03:42:42):
Ma lying over there on the floor.

Speaker 57 (03:42:44):
Let's see that's something glittering over here.

Speaker 59 (03:42:47):
Hmmm, it's a lipstick.

Speaker 13 (03:42:50):
My lipstick?

Speaker 57 (03:42:51):
What?

Speaker 13 (03:42:52):
Yes? And mister just that got up the building early
this morning. I'm attracted here while I was waiting for
the elevators.

Speaker 59 (03:42:58):
Then then what you told me did happen?

Speaker 13 (03:43:03):
Yes, Mark, I'm very certain of that. Very simply come
inside a minute, marcle you. I want you to say

(03:43:23):
the check the little man named Gibson made out to me.

Speaker 59 (03:43:25):
Yeah, I want to see it.

Speaker 13 (03:43:29):
There's something else I want you to look at, something
I'd brought with me from home.

Speaker 59 (03:43:33):
Come in, you said, this fellow Gibson had a City
B newspaper on his desk.

Speaker 13 (03:43:39):
Yes, dated April sixteenth, nineteen twelve.

Speaker 59 (03:43:42):
Well you might not know it, but the B went
out of business in this town twenty years ago.

Speaker 13 (03:43:46):
But the ink was flashed and the paper, any newspaper
printed thirty years ago, would have been yellow and faded.

Speaker 59 (03:43:53):
Yeah, that's true, boy.

Speaker 7 (03:43:54):
Is is that the check?

Speaker 5 (03:43:55):
Yes?

Speaker 13 (03:43:56):
Here, m.

Speaker 7 (03:43:59):
Crazy.

Speaker 59 (03:44:02):
Wait a minute, Do you notice this, Mary, the checks
made out to Margaret Billing.

Speaker 13 (03:44:07):
Yes, I noticed that this morning, but I thought mister
Gibson had just made a mistake. Now I think I
know the answer.

Speaker 59 (03:44:15):
Do say, what are these things in this little box?
Your souvenirs?

Speaker 11 (03:44:19):
Yes, more or less.

Speaker 13 (03:44:21):
Here it's late handkerchief.

Speaker 59 (03:44:23):
Thanks you lovely.

Speaker 13 (03:44:25):
It belonged to my mother. Her name was Margaret. Oh,
I see, and this is a portion of a diary
she kept up to a year after I was born.
Next see nineteen twelve, ten eleven. Here's nineteen twelve.

Speaker 59 (03:44:43):
What are you looking for, Mary, I'm not.

Speaker 13 (03:44:45):
Sure, Mark, February March April. Here April April sixteen.

Speaker 57 (03:44:53):
Here we are well, Mary, Mark.

Speaker 13 (03:44:57):
Listen, Here's what my mother wrote her diary in April sixteenth,
nineteen twelve. Today, the acting office Apply company on the
fifteenth floor of the Temple Building declared bankruptcy. Forty two
employees were left without work and the month's pay to
each of us. I went to this to Gibson, the owner,
and asked for at least a portion of the money

(03:45:19):
he owed me, And he said he was unable to
pay a cent. He promised however, to pay me eat
eighty dollars the old man just as soon as possible.
This was bad news born, indeed almost as bad as
the news the headlines carried in the day's paper. Titanic

(03:45:41):
was sunk at sea on her maiden boy.

Speaker 59 (03:45:52):
A panteresty.

Speaker 75 (03:45:58):
You have heard that from the past, A tale of
dark Patasy, starring that popular Hollywood actress Jane Wyatt, and
written especially for her by Scott Bishop. We wish to
thank Miss Wyatt for her most excellent portrayal to Night
of Mary Billings, and we joined Jane Wyatt in urging
you to do your bit toward the cause nearest to
President Roosevelt's heart on his Diamond Jubilee, give to your

(03:46:20):
local Mile of Diamonds committee. Van Morris was heard to
Night as Mark Matthew Eleanor Naylor Korran was the office manager,
and Meure Height played mister Gibson. Next Friday night, at
this same time, we'll bring you another unusual tale of
dark patasy. The headless Dead. Miss Wyatt appeared tonight through
the courtesy of the r k O Studios. Dark Patasy

(03:46:43):
originates each Friday night in the studios of w K y, Oklahoma, Ciday,
Tom Paxton speaking, This is the National Broadcasting Company.

Speaker 46 (03:46:52):
Welcome to Fear on four The Aimes of Midnight by
Nick Fisher, starring David Souchet.

Speaker 50 (03:47:14):
Time, the trickling grains of sand, the switch of the pendulum,
the waxing and the waning of the moon, the Sun,
and the stars. Time encasing our lives as our bodies
wither and perish and decay, to the ceaseless march of

(03:47:37):
its seconds, minutes, hours. Time the subject of my working life.
How and when did it begin? How and when will
it end? What is its relationship ship with space and

(03:48:01):
with humankind? This was the field of my workers, holder
of the Chair of Theoretical Physics at christ Church, Oxford,
And such were the questions I posed not only with
my doctorate students, but also in lecture halls at large,
where I discovered an avid public thirsting for more knowledge

(03:48:21):
of their place in the cosmos. Thus we can look
back to the creation of the universe, to the beginning
of time itself at the Big Bang singularity, as we
can indeed look forward to the eventual heat death of
the universe and the absolute end of time as we

(03:48:41):
understand it. But one question remains, can time exist without us?
If humankind cease to be, would time have any meaning?
And if not, then would anything at all exist? For
how could it beyond the ultimate of all boundaries?

Speaker 5 (03:49:07):
Time?

Speaker 13 (03:49:20):
So stimulating, Professor Hargreaves.

Speaker 50 (03:49:22):
Thank you, nice audience.

Speaker 45 (03:49:24):
I enjoyed it.

Speaker 76 (03:49:25):
Good.

Speaker 46 (03:49:26):
Now we're booked for dinner at the Savoy.

Speaker 45 (03:49:29):
Excellent.

Speaker 46 (03:49:29):
But first there are drinks.

Speaker 49 (03:49:31):
In the hospitality suite.

Speaker 46 (03:49:33):
There's quite a few VIPs waiting to have a word,
of course.

Speaker 50 (03:49:38):
But if it's all right with you, I just like
a couple of minutes to myself cigarette on the terrorist
to relax before meeting everyone.

Speaker 77 (03:49:43):
Oh, by all means, we'll see you in the hospitality
in five minutes.

Speaker 69 (03:49:47):
I'll keep the bobbley all nice.

Speaker 50 (03:49:49):
Thank you, nice kind, fine lecture.

Speaker 46 (03:50:06):
Cough thought I was alone?

Speaker 39 (03:50:10):
Where did you spring from?

Speaker 46 (03:50:11):
I was here all the time.

Speaker 50 (03:50:13):
Seemed like it came out of nowhere, out of nowhere,
hardly possible. Indeed, as I understand physics and I trust
I do rather well, not at all possible.

Speaker 45 (03:50:23):
Forgive me the Having.

Speaker 50 (03:50:24):
Startled you, allow me to introduce myself Jonathan Tempre, habitual
dealer in antiquities and occasional frequenter of scintillating lectures. You
liked it, I wouldn't have missed it for the world.

Speaker 7 (03:50:38):
Thank you.

Speaker 50 (03:50:39):
We share some common ground, you and I really how
that you specialize in understanding time?

Speaker 46 (03:50:46):
I specialize in collecting it and dealing in it.

Speaker 50 (03:50:50):
Collecting and dealing in time, Yes, ought to be more
accurate time pieces. Oh, I see antique clocks exactly. So
I've got quite a decent collection myself. May be rather
an obvious hobby for me, but I enjoy it a
happier incidence. Perhaps you'd like to visit my shop in Greenwich.

(03:51:14):
Once there, I'm sure I could tempt you, tempt me
to purchase.

Speaker 46 (03:51:19):
A night or orto.

Speaker 50 (03:51:21):
I am afraid.

Speaker 45 (03:51:21):
I'm back to Oxford early to morrow, no matter, you
can come to night.

Speaker 50 (03:51:26):
Unfortunately, the hospitality laid on for me, no matter come afterwards.
I was liable to be pretty late, no matter, let's
say midnight cherry. How I wish I had never accepted?

(03:51:50):
How could I have foreseen? Not that I was unhappy
when I arrived at Deschamp, but certainly loved the dan
Perreignon still bubbling in my blunt indeed one inside I
was like a child in a toy shop.

Speaker 45 (03:52:10):
Well, what do you think fantastic?

Speaker 46 (03:52:17):
Good fool is this, sir John Arnod? It is seventeen
seventy nine of avery, fine mechanism, though still requiring oil,
of course.

Speaker 2 (03:52:27):
And like this.

Speaker 50 (03:52:32):
Thomas Earnshaw, with spring, debt and escapement. No more pivots,
so no more oil. A revolutionary moment. You know your horology, professor,
I know a little. What would be the earliest clock
you have seen outside a museum? Probably a Nicholas fanin
fifteen ninety or thereabout?

Speaker 39 (03:52:53):
Is that all?

Speaker 50 (03:52:55):
Perhaps you would like to see the duel of my collection,
But you have something older by far by centuries, centuries.

Speaker 46 (03:53:02):
I don't believe you. Oh, but you will come.

Speaker 7 (03:53:06):
Where to?

Speaker 50 (03:53:07):
I keep it across the courtyard, in the cellar, beneath
the old stables, for security, for exact placing on the
Greenwich prillium, A bit.

Speaker 45 (03:53:26):
Of a gloomy spot to keep the duwel of your collection.

Speaker 51 (03:53:29):
Too much light is harmful for such a delicate piece. Nonetheless,
I will.

Speaker 46 (03:53:34):
Illuminate it now or the chimes of midnight. My god,
it is but five seconds to twelve.

Speaker 27 (03:53:50):
Wait, I have.

Speaker 78 (03:54:08):
Cerv How.

Speaker 46 (03:54:12):
How much do you want for this I'm afraid it
is not for sale, but I must have it.

Speaker 50 (03:54:17):
I have never seen anything to compare how much it
would be beyond your means. My books are best sellers.

Speaker 46 (03:54:26):
Well, I suppose I would know it was going to
the right person, someone who would care for it, appreciated
into the spirit of it.

Speaker 50 (03:54:36):
Please, mister Temprey, just nime your price you paid him
for I know, I know, but the advance on the
next book covers that. And just look at it, just
listen to it. Well, yes, it is nice. Nice, it's peerless. Look,

(03:55:05):
have you ever seen such a mechanism?

Speaker 49 (03:55:09):
Certainly not such a complex.

Speaker 50 (03:55:11):
But that's because there are so many more things. It
doesn't just count the minutes and hours quarto past.

Speaker 45 (03:55:17):
Listen, listen, now.

Speaker 49 (03:55:24):
That looks beautiful.

Speaker 46 (03:55:26):
Oh look, the little figures are all mortal.

Speaker 50 (03:55:30):
The autometer, I know, aren't they wonderful? I said it
was peerless, and it is.

Speaker 46 (03:55:36):
What are all the dials and spears for? But I
don't know yet.

Speaker 50 (03:55:40):
But this one's obviously for mapping the position of the Sun,
the Moon, and the planets. But what about this no idea?
Though the outside edge seems to reflect months, years, and centuries.

Speaker 46 (03:55:53):
Looks like it was built to run forever.

Speaker 50 (03:56:07):
I cleared out the guest room and put blinds over
the windows to keep the chronometer in total darkness, except
when I was studying its Byzantine complexity. Each day I
witnessed something new, Incredibly, the delicate little autometa that traveled
about the timepiece never repeated the same moves. Likewise, the

(03:56:29):
ticks and clicks and whirrs continually assumed a subtly changing rhythm,
and the chimes for melodies and cadences forever shifting in
glorious harmony, never repeating quite the same tune. They became
something I could not bear to miss, particularly the mesmerizing

(03:56:55):
chimes of midnight.

Speaker 69 (03:57:10):
Richard, have you heard a word we've been saying?

Speaker 54 (03:57:15):
Yes?

Speaker 45 (03:57:16):
Yes, Really?

Speaker 27 (03:57:17):
Do you know what I think?

Speaker 55 (03:57:19):
He's having an affair?

Speaker 5 (03:57:21):
Yeah?

Speaker 55 (03:57:21):
That dreamy look smacks of a mistress in some sneaky
little an Somer's numeral?

Speaker 50 (03:57:25):
And what do you know about numerous, Toby, you'd be surprised.

Speaker 46 (03:57:30):
Well, you've never bought me anything like that yet?

Speaker 41 (03:57:35):
What was going on in there?

Speaker 37 (03:57:36):
Richard?

Speaker 50 (03:57:38):
Wondering a chapter for the new book? Sorry, you know
how I get more?

Speaker 7 (03:57:43):
Yet, Laura?

Speaker 50 (03:57:44):
So what's the problem, Richard problem.

Speaker 55 (03:57:47):
A chapter in the new book's clearly more increasing than
my after than a batter.

Speaker 50 (03:57:51):
No, it's simply a question of time. Well, naturally, it
always is with you, a thorny little moment, that's all.

Speaker 55 (03:57:58):
Oh, look, I'm aware, I'm humble research metallogist rather than
the new Einstein.

Speaker 7 (03:58:03):
Try me.

Speaker 50 (03:58:03):
Look, I mean these terms of yours are meant to
be accessible to the general public, aren't they all?

Speaker 5 (03:58:07):
Right?

Speaker 50 (03:58:07):
What I'm pondering alongside Einstein, as it happens, is the
anthropic principle, which is roughly that we need to be
in the universe for the university.

Speaker 55 (03:58:17):
Aha, like students need to be in the university for
the university to be.

Speaker 46 (03:58:22):
I'm not sure about that.

Speaker 7 (03:58:24):
Now.

Speaker 50 (03:58:24):
I'm suggesting we're here what human intelligence has developed because
we're an essential component of our universe. It couldn't exist
as it does without us.

Speaker 79 (03:58:33):
Isn't that metaphysics rather than astrophysics?

Speaker 50 (03:58:36):
Not entirely, mo because also by observing the universe we
interfere with it, that is, we change it by looking
at it.

Speaker 2 (03:58:44):
You just lost me.

Speaker 50 (03:58:45):
Well, to study subatomic particles, we need to observe.

Speaker 46 (03:58:48):
Them, that's obvious.

Speaker 6 (03:58:49):
Yeah, But to do that, we.

Speaker 50 (03:58:52):
Need to illuminate them, and that changes them. Is it
placing light on those tiny particles? Or does their position
or their velocity? So we're never passive observers. Furthermore, we
never observe what we set out to. By the time
we see it, we've altered it. And that's what I
was pondering, because that seems to suggest that the entire

(03:59:13):
universe doesn't exist in any real sense without us.

Speaker 45 (03:59:17):
But what's that got to do with time?

Speaker 59 (03:59:19):
But a lot?

Speaker 50 (03:59:20):
Because if we can't measure the state of the universe
exactly at this moment, what are our chances of predicting
future events? Of course, that's why quantum mechanics introduced the
uncertainday principle. Let me illustrate something with my watch, Dan,
let's start, what's the time.

Speaker 7 (03:59:39):
Your watch has?

Speaker 55 (03:59:42):
Is that really part of this or simply your idea
of the joke?

Speaker 50 (03:59:46):
What's the time right now? The time just on midnight?

Speaker 46 (03:59:51):
Shod it?

Speaker 27 (03:59:52):
Richard?

Speaker 41 (03:59:53):
Richard.

Speaker 55 (03:59:55):
Looks like the pressure of the big concept is getting
to our star Theoryy.

Speaker 45 (04:00:05):
Richard, what's going on?

Speaker 46 (04:00:08):
I didn't want to miss the chimes of midnight?

Speaker 5 (04:00:10):
What?

Speaker 49 (04:00:11):
But what about Toby and Moira?

Speaker 46 (04:00:13):
Oh, they'll understand.

Speaker 79 (04:00:14):
Eccentric academic rushes off without saying goodbye, leaving his guests
to wander off into the night.

Speaker 50 (04:00:20):
But that's okay, as.

Speaker 79 (04:00:22):
It's just powerful the course with a brilliant cosmologist. Sorry anyway,
what's so compulsive about these times?

Speaker 50 (04:00:31):
Well, I've been studying the way the clock behaves, especially
at midnight. The complexity and variety of sound and movement
is simply astonishing. Now what I want to do is
get to grips with the way the internal mechanism works.

Speaker 79 (04:00:47):
So you're observing exterior changes, the better to understand what
lies behind what you see. Precisely that Richard Hargreaves trust
you to examine a clock the same way you'd approach
the universe. Now, as our guests have gone, perhaps.

Speaker 46 (04:01:03):
You'd like to examine and approach me.

Speaker 50 (04:01:10):
It's entitled The Gravity of the Question of Time and.

Speaker 23 (04:01:14):
The Lectures subject Matter.

Speaker 50 (04:01:17):
It examines the effect of gravity on the movement of time.
Rejecting notions of absolute time, it suggests that the four
great forces of the universe electromagnetic, strong, nuclear, weak, nuclear,
and above all gravitational actually interact with our idea of time.
Itself excellent I'm sure we can guarantee you a packed
house in Edinburgh.

Speaker 76 (04:01:37):
Professor, Sorry, I must go come in by the now.

Speaker 37 (04:01:43):
Got a watch that works yet?

Speaker 40 (04:01:45):
God?

Speaker 50 (04:01:48):
As a matter of fact, I have Mary pointed out
that wasn't too bright for someone.

Speaker 45 (04:01:54):
In my position.

Speaker 55 (04:01:55):
So what's this mysterious clock of yours?

Speaker 46 (04:02:01):
What do you know about that?

Speaker 55 (04:02:02):
Very little? Hence my question?

Speaker 46 (04:02:04):
But how do you know about it at all?

Speaker 55 (04:02:06):
Well, when you dashed out the other night, Mary said
it might have been related to your latest clock.

Speaker 39 (04:02:11):
So what is it?

Speaker 46 (04:02:13):
It's just an old chronometer.

Speaker 55 (04:02:15):
Oh and naturally you dive out of dinner parties in
a total lava for the sake of an old chronometer.

Speaker 50 (04:02:21):
All right, it's probably the most beautiful man made artifact
I have ever seen in my life.

Speaker 37 (04:02:34):
That's all right?

Speaker 45 (04:02:36):
What obviously pretty old?

Speaker 46 (04:02:38):
Pretty old. I'd rather have a Rolex any day.

Speaker 45 (04:02:42):
You're mad, I'm also a liar.

Speaker 46 (04:02:45):
It's stupendous. I'm not surprised you want to keep it secret.

Speaker 55 (04:02:49):
And if they heard about it, the British Museum had
probably slapped some compulsory purchase order on it.

Speaker 7 (04:02:54):
Throw links.

Speaker 46 (04:02:55):
You have me going there?

Speaker 59 (04:02:58):
Have look inside?

Speaker 50 (04:03:01):
Beautiful? I started to unscrew some of the panels. If
I could just ease those plates to one side, could
you hold a screwdriver?

Speaker 46 (04:03:10):
Of course, that's it.

Speaker 50 (04:03:14):
I don't want that spring Tosh shift Alan, Yes, I think.

Speaker 45 (04:03:19):
This well, all careful, it'd be criminal to damage this.

Speaker 46 (04:03:23):
I think we're all right.

Speaker 15 (04:03:25):
There.

Speaker 46 (04:03:28):
That's hard. What is the little box with the cordon ratchet?
What's that for?

Speaker 39 (04:03:35):
No idea?

Speaker 46 (04:03:36):
What's this made of? Richard mainly?

Speaker 39 (04:03:39):
Would?

Speaker 50 (04:03:39):
I think lots of early clocks were famously a wonderful
John Harrison.

Speaker 25 (04:03:44):
Would?

Speaker 46 (04:03:44):
I don't think so.

Speaker 50 (04:03:46):
Well, you're the metallogist, Toby. You're not going to tell
me it's Sheffield's steel, are you?

Speaker 45 (04:03:50):
Absolutely not?

Speaker 46 (04:03:52):
I doubt if any of it's metal, but I don't
know if it's would either or what else could it be?
Good question?

Speaker 55 (04:04:00):
Can that take some tiny shavings to the lab for analysis?

Speaker 37 (04:04:03):
Find out if it is?

Speaker 25 (04:04:04):
Would?

Speaker 55 (04:04:05):
If so, what sort?

Speaker 50 (04:04:06):
Well, you'll be very careful, of course.

Speaker 59 (04:04:09):
I think will show.

Speaker 50 (04:04:13):
The universe grows to a finite point before it begins
to fall back upon itself in a state of increasing disorganization.
Rather like the gravitational collapse of certain styles to form
black holes, this will eventually lead us back, as it were,
to the point in the future where we began with

(04:04:34):
what has been dubbed the Big crunch. When time is concluded,
the second hand stops forever. Yet the point of.

Speaker 46 (04:04:44):
The universe is still there.

Speaker 39 (04:04:51):
How was Edinburgh?

Speaker 50 (04:04:53):
Oh boggled a few brains, but that'll do them no
lasting damage. Things being with you exceptionally peculiar. I've got
some results from those samples. First, no metal present.

Speaker 46 (04:05:09):
Told you, so, what sort of wood is it? It
isn't What do you mean, there's no wood at all.
That's not possible.

Speaker 55 (04:05:18):
Have a look at the cross section under the microscope,
and now have a glance at this.

Speaker 46 (04:05:30):
Looks very much the same.

Speaker 39 (04:05:31):
It is unhappily are.

Speaker 46 (04:05:34):
They both from the chronometer?

Speaker 25 (04:05:36):
No?

Speaker 55 (04:05:36):
No, The second ones from a friend in anthropology, anthropology, Richard.
This is human bone. That's what the clock's casing is
made of, compacted human bone. The enameling effect is produced
by the addition of teeth. What well, there's more. Some
of the more delicate components are made of dried skin tissue.

(04:06:00):
Some of the finest springs are hair, and the automata
are mainly teeth and fingernail, but I've traced tiny amounts
of well everything in them. What do you mean everything
like dried internal organs? The entire clock has been fashioned

(04:06:24):
from someone's body, Richard.

Speaker 50 (04:06:28):
I went home. The clock was brooding as before in
its darkened room. The clock made entirely of human parts.
I had to know more about its origins. I wondered
if the antique dealer might be able to shed some

(04:06:48):
light on its history. So the next evening I returned
to the Greenwich Meridian.

Speaker 77 (04:06:58):
This isn't a shark, but I bought a clock here
only a couple of weeks ago. You must have got
the address wrong. There are plenty of antique shops in Greenacha.
I'm sure you'll find it if you han'ts are back,
But it was here. I'm sorry you're mistaken.

Speaker 80 (04:07:10):
Now, good night, good evening, professor. Where Why aren't you
where you were?

Speaker 46 (04:07:22):
Why am I not where I was?

Speaker 50 (04:07:24):
Wouldn't physics suggest that I have exerted energy to shift
the mass of my body through a small amount of
space and time?

Speaker 40 (04:07:31):
That is, I had moved.

Speaker 46 (04:07:33):
But your shop was there only two weeks ago, merely
temporary premises.

Speaker 50 (04:07:38):
Would you like to join me for a drink at
my workshop.

Speaker 59 (04:07:41):
It is nearby.

Speaker 50 (04:07:42):
Happily, I wanted to pick your brains. Anyway, pick my brains.

Speaker 2 (04:07:54):
Now.

Speaker 50 (04:07:55):
I want to find out as much as I can
about the clock's history. I was wondering if you have
any information that might help. For for instance, where did
you buy it? It was a gift, as it was
also a gift to you. Sorry, your check to purchase
it uncashed. Why I'm not here for money, an antique

(04:08:17):
dealer not making money. I'm not exactly an antique dealer.
Let us say I am the keeper of the clock.
How can you be its keeper? You haven't kept it,
haven't I you recognize it, of course I do, But

(04:08:40):
what's it doing here? I made a trip to your
house and retrieved it.

Speaker 39 (04:08:43):
You stole it?

Speaker 46 (04:08:44):
Absolutely not Tell me have you managed to understand its mechanism?
Largely except for the sealed box at the center the
clocks motor? Nonsense?

Speaker 50 (04:08:56):
It is too old for such a thing.

Speaker 46 (04:08:58):
Besides, what could it run on? It is indeed too
old for a motor in the mechanical sense. I use
the word poetically. The clock's motor is as old as mankind. Unfortunately,
it cannot last forever. It and various other parts of
the clock need regular renewal. That time has now come.

(04:09:31):
I passed out and came to strapped to a frame.
Clearly I had been drugged, for I felt no pain
as I lay there, paralyzed and suspended in time now,
none at all.

Speaker 50 (04:09:46):
As I watched the keeper of the clock cut open
my body, slicing through pink skin and yellow fat. As
the blood welled about his hands to remove my heavy,
slithery heart. I watched as he transferred it, still pulsing, gently,
into a little box, which he sealed and exchanged for

(04:10:10):
the motor of the clock.

Speaker 46 (04:10:13):
You do understand how the clock must be maintained till
the end of time?

Speaker 34 (04:10:21):
Now?

Speaker 50 (04:10:21):
Then he sliced two tiny wormlike shavings from my liver
and placed them as lips on one of the autometer.
A thumb then prized out my left eyeball. There it sat,
startled and unblinking, in the palm of his hand. The

(04:10:44):
knife cowed out little balls of cornea, and he popped
them into the waiting sockets of the same automaton. And
suddenly I found I could now look out from the
face of the clock and down at a tiny machine

(04:11:05):
of a body. Meanwhile, pliers drew out my finger nails,
blood dribbling aimlessly from the torn sockets they left behind.
These were fashioned into little limbs to replace the worn
ones of my automaton form.

Speaker 46 (04:11:25):
Now this won't hurt, but it will inevitably feel odd.

Speaker 50 (04:11:34):
Incredibly still, I felt nothing except for a strange sensation
of space, And to my amazement and my horror, I
found I could now witness events, looking down through galaxy
upon galaxy.

Speaker 46 (04:11:56):
At myself.

Speaker 50 (04:11:59):
Carefully cut slivers of my brain, soft wet, variegated cross
sections of temporal lobe, and started to place them inside
the chronometer.

Speaker 46 (04:12:15):
The anthropological clock must be conscious. Without that, time has
no meaning. It has to be aware of itself. Not
only my body, but my mind was incorporated. I wasn't
merely inside the clock or just part of it. In
a very real sense, I was the clock. When on

(04:12:39):
some midnight of the future, your heart gives up the struggle,
another will be selected to fuel the chronological register. But
even then your consciousness will remain spinning through space on
and on until the end of time.

Speaker 50 (04:13:00):
Farewell the clock, small and so precise, yet embracing the
entire universe, all the rocketing galaxies still red shifting apart.

(04:13:26):
But I knew, one far distant day, the mechanism would
begin to slow, the galaxies would cascade back upon themselves,
the heat of existence would cease, space would compact, and
time would be over and done. I looked down at

(04:13:47):
the tiny automaton that was my body, trapped and encased
in time, and I began to scream.

Speaker 46 (04:13:57):
And scream and screen, but there was no one, no
one at all.

Speaker 25 (04:14:09):
To hear.

Speaker 46 (04:14:23):
In the Chimes of Midnight by Nick Fisher, David Suchet
was Professor Richard Hargreaves. Jonathan Temprey was played by John Rowe,
Mary Jenny Lee, Toby, Christopher Wright and Moira Allison Pettitt.
The woman at the lecture was Jilly Meres With thanks
to the Horological Students Room at the British Museum. The

(04:14:46):
Chimes of Midnight was directed by Mariam Nancarrow.

Speaker 21 (04:14:56):
Another five minute mystery, Police Headquarters. Inspector Harris speaking Inspector Harris,

(04:15:34):
This is Peter Ronald. Yeah, what can I do for you,
Inspector Harris.

Speaker 7 (04:15:37):
I think I'm going to be murdered. What I.

Speaker 47 (04:15:41):
Just a minute ago I received an anonymous letter threatening
my life.

Speaker 21 (04:15:44):
I have any idea. Who it's from? Where are you now?

Speaker 12 (04:15:46):
I'm at my office in the Acting Building, tenth floor.

Speaker 21 (04:15:48):
I'll be right office, stay right where you are.

Speaker 81 (04:15:50):
Yes, Inspector O, my hurry, here's the place, Chief, the
ACME building. Okay, I hope we're not too late. Well,
if we hurry, we can the matter.

Speaker 7 (04:16:07):
Chief.

Speaker 21 (04:16:08):
Yeah, and a straight little pieces of glass glass? Where'd
that come from?

Speaker 38 (04:16:12):
I don't know?

Speaker 21 (04:16:14):
Hey, Chief, Look up there see that broken window. That's
Arnold's office. Come on, Stacy, something's wrong up there. What's
happened up here?

Speaker 66 (04:16:26):
Who are you?

Speaker 21 (04:16:27):
Where the police? I'm Inspector Harrison. This is my assistant,
Joe Stacey.

Speaker 14 (04:16:30):
Oh, my glad you've come.

Speaker 68 (04:16:31):
I'm Lows Cranks and mister Arnold's secretary.

Speaker 21 (04:16:34):
Something terrible's happened.

Speaker 68 (04:16:36):
Mister Arnold locked himself in this office.

Speaker 14 (04:16:38):
Yes, and just a minute ago I heard a shot
and then glass breaking.

Speaker 21 (04:16:41):
Come on, Stacey helped me break down this door.

Speaker 7 (04:16:43):
Okay, all right ready?

Speaker 82 (04:16:45):
What two?

Speaker 10 (04:16:47):
Three?

Speaker 83 (04:16:48):
Eh?

Speaker 7 (04:16:50):
Holy Moses, luck? Chief?

Speaker 16 (04:16:53):
Is anything wrong?

Speaker 7 (04:16:54):
Mister Arnold?

Speaker 21 (04:16:58):
Will you look at that broll haul right through his
head and the window is broken.

Speaker 13 (04:17:03):
The murderer must have been standing on the roof of
that building across the alleyway and fly through this window.

Speaker 21 (04:17:08):
I'm afraid you're wrong.

Speaker 46 (04:17:10):
What do you mean?

Speaker 21 (04:17:11):
I mean that I'm arresting you, Miss Cranston, for the
murder of Peter Roinold.

Speaker 47 (04:17:17):
How does the inspector know that Miss Cranston murdered Peter Arnold.
We'll give you the solution in just a moment, but first,

(04:18:10):
and no, back to our story.

Speaker 68 (04:18:13):
Mister Arnold, were shot from outside. The broken glass proves it.

Speaker 21 (04:18:17):
Oh, that's what you've tried to make us believe. No,
Miss Cranston, you shot Peter Arnold from this very room,
broke the window to make it look like the shooting
was done from outside, and then went out and locked
the door. It would have been a perfect murder except
for one thing. What was that a broken window?

Speaker 39 (04:18:35):
You see?

Speaker 21 (04:18:36):
We found the fragments of glass on the street. Well,
if the bullet had been fired from the outside, the
fragments of glass would have gone in the direction of fire.
In other words, the glass would have landed inside the room,
not on the street. Now, Miss Cranston, you murdered Peter Arnold.
I don't know why you did it, but we'll soon

(04:18:56):
get the story out of your headquarters.

Speaker 13 (04:19:09):
And and.

Speaker 5 (04:19:39):
Understand and.

Speaker 25 (04:19:59):
You.

Speaker 37 (04:20:00):
Wilson had just wrapped up a grueling business meeting. It
did not go well. He had been on the road
for over three weeks now, trying to earn his Salesman
of the Year award and a much needed cash bonus.
Jim needed a drink, a few drinks as a matter
of fact. He rushed downstairs to the hotel lobby and

(04:20:20):
finally exhaled as he entered the lounge. Jin and tonic,
my man, and please don't spare the alcohol, he exclaimed
to the bartender. Just as Jim took his first sip,
he felt a tap on his shoulder. Do you mind
if I join you? A sultry voice whispered in his
right ear. Jim turned around to find in front of

(04:20:43):
him an angel, dark, shapely, gorgeously with a pair of
poudy lips that could not be denied. Maybe this day
is not so bad after all. Jim slowly slipped his
wedding ring into the pocket of his pants and offered
the woman a seat next to him. I'm Jim. What's

(04:21:03):
your name? Gorgeous angel, she replied. How perfect is this?

Speaker 46 (04:21:09):
Jim thought to himself.

Speaker 37 (04:21:11):
Angel looked sad. Jim kept chugging down his gin and
tonics as if they were water. Angel began to tell
him of her brother who lives in her native country
of Colombia. He is in the hospital and has been
waiting for a kidney transplant for six months now, but
to no avail. As a tear rolled down the side
of her face, she turned to Jim and said he

(04:21:34):
only has a week to live. Just as Jim sipped
his twelfth drink, Angel asked, would you like to take
a bath together? Jim shocked, paused for a quick second,
then said, with the silly grin on his face, well,
I'd be delighted to excited, Jim slammed down the rest

(04:21:55):
of his drink and the two rushed up to his room.
Getting in the bath was the last thing Jim remembered
before waking up early the next morning. He was still
in the bathtub, his body completely submerged in ice from
the neck down, felt completely numb. A phone was placed
next to him on top of the ice. As he

(04:22:17):
looked up, he saw a big note with the following
instructions written lipstick, do not move, Call nine for an
ambulance now. Jim who could not move anything but his hands,
knocked over the phone. Handset pressed the speakerphone button and
immediately dialed nine one one. An ambulance arrived within minutes.

(04:22:39):
The medics carefully pulled Jim out of the bathtub and
gasped in horror. Have you recently had a surgery, mister Wilson.
The medic asked, No, replied Jim, why do you ask?
The medic reached behind Jim and pulled a tube which
was protruding from his lower back. As they took and

(04:23:00):
Jim around, the medics' faces were as white as the
wall behind him. The scene was bloody. One of the medics,
and shocking disbelief, fell to the floor and passed out.
Jim's back had been cut wide open. The other medic,
barely holding onto consciousness, said in a faint voice, mister Wilson,

(04:23:22):
your kidneys are gone.

Speaker 84 (04:23:35):
The Boathook by Sheila Hodgson, with Michael Williams as m R.
James Brett Usher as Masterman, and David King as Professor anders.

Speaker 45 (04:23:48):
The Boathook.

Speaker 46 (04:23:50):
I have an affection for the Scandinavian countries. That is,
a particularly fine cathedral in Trondheim which I discovered. In
the spring of nineteen hundred and four, The Norwegian Guide
informed me that the original archbishop of Trondheim had been
English and responsible for the spiritual welfare of the Shetland islands. Well, well,
I see no reason to doubt it. Oh, I beg

(04:24:12):
a pardon. We were talking about Scandinavia. Yes, yes, Norway
and Trondheim.

Speaker 34 (04:24:21):
And the boat.

Speaker 46 (04:24:23):
The boat. Oh, dear me, I shall really have to
leave you to make up your own mind about the
boat in Trondheim Cathedral, magnificent nurse.

Speaker 45 (04:24:38):
I agree, it's a remarkable building.

Speaker 46 (04:24:40):
I should date it round twelve hundred, though, whether any
of the original stonework remains. Do look at that vaulted
arch just a moment. It's curious we left a door open.

Speaker 45 (04:24:52):
No, it's is coming from the roof.

Speaker 46 (04:24:54):
I dividely hope that it is not a loose beam
about the crashed islanders. I should object to being discovered
dead in a foreign.

Speaker 45 (04:25:00):
Difficult to see in the shadows, only up there, hanging
from the crossbar. It's a model boat, isn't it good?

Speaker 46 (04:25:08):
Heavens, very odd, What a beautiful piece of carving you
You can get a clear view from this angle.

Speaker 45 (04:25:16):
Yes, I fancy those chains are making the noise as
it swings backwards and forwards.

Speaker 46 (04:25:21):
Must be in a cross draft. I don't remember that
from my last visit. Now, why should anyone hang a
wooden boat?

Speaker 45 (04:25:29):
Excuse me?

Speaker 39 (04:25:30):
Please?

Speaker 46 (04:25:31):
Good morning? Good morning, sir.

Speaker 85 (04:25:33):
You are speaking English. I'm also speaking English, so we
understand each other.

Speaker 45 (04:25:37):
Yes, I don't think we need a guide.

Speaker 39 (04:25:39):
Thank you.

Speaker 46 (04:25:40):
Excuse me? I am sorry, but I hear you asking
what a boat?

Speaker 7 (04:25:46):
Yes?

Speaker 46 (04:25:46):
Indeed, can you tell us?

Speaker 85 (04:25:48):
Of course, the fishermen hang these in church to ask
for protection, a blessing on their sail.

Speaker 46 (04:25:54):
You understand me.

Speaker 45 (04:25:56):
They asked the holy saints to keep them safe across them?

Speaker 46 (04:25:58):
What I see? Interesting? Are they always so elaborate?

Speaker 43 (04:26:03):
No?

Speaker 15 (04:26:04):
That one is important.

Speaker 50 (04:26:06):
That is they paint the name of the boat on
the side. I can't quite make it out.

Speaker 46 (04:26:14):
Oh dear, why have I left my glasses back at
the hotel? Can you read it?

Speaker 48 (04:26:18):
No?

Speaker 45 (04:26:18):
Just just about n Yes, that is no good.

Speaker 46 (04:26:25):
Unfortunately I'm shortsighted. All this will give me is a
crick in the neck.

Speaker 85 (04:26:29):
If I may introduce myself, my name is sirleanson a
lash servants, how.

Speaker 46 (04:26:34):
I'm doctor James and this is my friend, George, Masterman
of the Masterman Press. It is my pleasure you have
a holiday th part holiday, part business.

Speaker 45 (04:26:42):
Doctor James is well known for his ghost stories. They
are being translated into Norwegian and we are here to
finalize the contract. All a translation good?

Speaker 46 (04:26:50):
But who translates? I do translations from the English myself.
Who will be making this translation? You'll probably know the man.
That can't be so many academics and time who specialized
in English literature. This is a professor.

Speaker 45 (04:27:03):
And please professor? And have you not met the professor
Jergan and.

Speaker 46 (04:27:14):
Something that metal?

Speaker 45 (04:27:15):
He's gone over there, he's sitting down in the field.

Speaker 46 (04:27:19):
Are very awkward? What one ought to do? That's a
class of water.

Speaker 45 (04:27:23):
Yes, we can get a glass of water.

Speaker 46 (04:27:25):
And there's a cafe nearby. This is it's a question
of being able to explain James James.

Speaker 45 (04:27:29):
There is somebody coming. I really think we'd better leave
it to them. Oh lord, Now there's a clergyman looking
out of the vestry, and I suggest we.

Speaker 39 (04:27:36):
Go as you wish.

Speaker 46 (04:27:38):
Poor fellow, this is most unfortunate. Perhaps it would be
proven to get out of the way if the man
is seriously unwell, as neither of us can speak their language, Dear,
it is very little we can profitably do what come.
Later in the day we noticed an ambulance drawn up
outside the cathedral. I cannot say I made any immediate

(04:28:01):
connection then, indeed, I thought no more than mister Lars Surranson,
until a year later, as I sat in my study
in Cambridge awaiting the arrival of the distinguished Professor and
translator Jogan Anders. He's later.

Speaker 50 (04:28:21):
There's plenty of time. We're not due in the lecture
hall till seven thirty. Tell me, do you remember that
strange person we met in Trondhem Cathedral, the old gentleman
who practically choked when I mentioned and it professional.

Speaker 45 (04:28:33):
Jealousy, My dear James. We both know that hell hath
no fury like an academic passed over in favor of
somebody else where.

Speaker 46 (04:28:41):
Is the excuse, Lisa, Yes, missus Cradick, This past has
just come, sir.

Speaker 49 (04:28:46):
It's addressed to Professor Jorgan Anders.

Speaker 7 (04:28:49):
Bless my soul.

Speaker 46 (04:28:51):
We're in Heaven's name, DIDs tripping wet? Oh dear, Oh,
dear dear, has the person gone wasn't born by the postman?

Speaker 18 (04:28:59):
Sir?

Speaker 46 (04:29:00):
Found it on the doorstep.

Speaker 21 (04:29:01):
Is it raining.

Speaker 46 (04:29:02):
No, doctor James, that's a volting, sudden mess. We cannot
possibly give that to professors. I imagine some clumsy boys
dropped it in a bottle and the ink is running
in a Please take it away, missus cub take it
to the kitchen and get him dry near.

Speaker 49 (04:29:17):
The boiler might do it.

Speaker 69 (04:29:19):
I shouldn't be surprised if this.

Speaker 7 (04:29:21):
Brown people can start.

Speaker 46 (04:29:22):
It can't be helped.

Speaker 3 (04:29:23):
Just do the best you can.

Speaker 45 (04:29:25):
That, of course, is the man himself.

Speaker 69 (04:29:27):
No, no, missus Kaddock, get.

Speaker 51 (04:29:29):
That thing out of here, Come in, come in, you

(04:29:49):
remember George Master clearly?

Speaker 40 (04:29:51):
How are you, sir?

Speaker 45 (04:29:52):
Pretty fits?

Speaker 18 (04:29:53):
Thank you?

Speaker 76 (04:29:54):
Have you had a good journey bed crossing and not
like to see You'll take a glass of.

Speaker 45 (04:29:58):
Us lecture you are speaking. I believe on Nordic legends
a fascinating subject.

Speaker 40 (04:30:06):
I find it is this.

Speaker 76 (04:30:09):
I go to several cities. Yes, now to speak plainly,
you are content with my translation of your work?

Speaker 51 (04:30:14):
Seems excellent?

Speaker 45 (04:30:15):
Oh yes, yes, perfectly satisfactory, first class.

Speaker 76 (04:30:18):
I've found your stories most curious. Tell me, doctor James,
do you you personally do you believe in the supernatural?

Speaker 46 (04:30:27):
My dear fellow, you usual have the answer. I give everybody.
I neither believe nor disbelieve. I merely collect evidence.

Speaker 76 (04:30:33):
You're sharing, ah, and the evidence proves nothing as yet,
but your mind will remain open. I certainly hope, so
good good. I put to you a suggestion, Why do
it not be possible to move a solid object by
paranormal means?

Speaker 42 (04:30:46):
No?

Speaker 5 (04:30:47):
No?

Speaker 76 (04:30:48):
Do you not think a violent emotion if you hatred,
some disturbance of the brain might actually cause movement.

Speaker 46 (04:30:54):
It depends what you mean. If I hate you so much,
I pick up this decanter and throw it at your head,
Professor QUI, yes, yes, my emotion has produced movement. But
if you mean, can I cause the bottle to fly
through the air of its own position?

Speaker 39 (04:31:08):
My friend?

Speaker 76 (04:31:09):
How many things you don't understand in this world?

Speaker 46 (04:31:11):
I agree, But the law of gravity is not one.

Speaker 45 (04:31:14):
James, James, it's twenty past.

Speaker 46 (04:31:17):
Gracious, we shall have to go. I'm afraid I.

Speaker 69 (04:31:21):
Think it's rather important, sir. It's about you know what?

Speaker 5 (04:31:28):
What?

Speaker 46 (04:31:30):
Dear dear dear Massimon. Will you take professor handas across
to the legs, all of course, on the west side
of the court.

Speaker 57 (04:31:36):
Yes, I'll be with you in a minute.

Speaker 46 (04:31:38):
Dr James.

Speaker 86 (04:31:39):
Yes, yes, I mean a hurry that part of sir,
addressed to your visitor. You told me to get it
dry only I'm sorry to say the box bad. The
piece is never mine. I put it on the kitchen table.
I didn't like to touch the thing. Some kind of anibal,
would it be?

Speaker 46 (04:31:54):
Surely not?

Speaker 49 (04:31:55):
It's about a foot long or done up in linen,
and it seems to be heaving good health.

Speaker 13 (04:32:02):
Sure if you wouldn't mind come me to the kitchen
and having.

Speaker 49 (04:32:04):
A look, sir, there heaving you see my soul?

Speaker 45 (04:32:15):
Do you see what I mean?

Speaker 46 (04:32:16):
Give me air or it?

Speaker 5 (04:32:17):
Kids in knife? Quick?

Speaker 13 (04:32:18):
Quick?

Speaker 46 (04:32:26):
What on earth?

Speaker 42 (04:32:30):
Well?

Speaker 46 (04:32:30):
I never oh that pass?

Speaker 86 (04:32:33):
And it's only a toy, lovely little toy both.

Speaker 49 (04:32:36):
This is quite extraordinary. He may have been frightened by
a kid's plaything. Has the baring gentleman got children?

Speaker 46 (04:32:44):
Then I have no idea, No no, no, no, no,
missus crediic. This will be a model. Use no doubt
to illustrate some point in his talk. Oh dear me,
he may want it. Get me a carrier bag, please
be delivered to the lecture hall at once.

Speaker 5 (04:32:59):
Right.

Speaker 45 (04:33:05):
Where the devil is, James, I don't know. Still we
better get on.

Speaker 87 (04:33:09):
The gentlemen and visitors. We are honored by the presence
of Professor Jogan Anders. If Professor Anders comes to us
from Norway and we'll speak on Nordic myths and legends,
the subject which promises to be of great interest. He
is an expert on Scandinavian mythology and has I understand,
recently published a Norwegian translation of the works of our

(04:33:30):
own Dr Montague James. So, without further interruption from me,
I give you Professor Jogan Anders.

Speaker 45 (04:33:40):
Still no sign you'll be here in a minute. He
doesn't know he has to move the vote of thank, yes.

Speaker 6 (04:33:44):
Yes, good evening.

Speaker 88 (04:33:45):
I wish to begin tonight by considering the early Icelandic literature,
the fragments of poetry still preserved in the richness of
the Edda.

Speaker 57 (04:33:54):
I don't before Christian that.

Speaker 89 (04:33:57):
He had brought to them to the influence of the
classical races. The alien mythology of Greece and Rome may
have the first lantern side.

Speaker 46 (04:34:07):
To apologize, missus, what have you got there?

Speaker 89 (04:34:10):
It's for him they needed, and the northern gods has
shown in the editor stood as massive as these Scandinavian mountains.
Here they flew over the waters and rode on the tempest.
Professor little superior to the elements in different they commanded,
the old force of the universe.

Speaker 2 (04:34:29):
Yes, yes, yes, what this.

Speaker 46 (04:34:31):
Has come for you? What the devil is it?

Speaker 7 (04:34:34):
I don't know.

Speaker 45 (04:34:37):
Get a class, somebody.

Speaker 55 (04:34:38):
It's quite all right, professor, has it got in your papers?

Speaker 10 (04:34:41):
Sorry?

Speaker 55 (04:34:42):
Let me It was my fault.

Speaker 46 (04:34:44):
I'm afraid I interrupted.

Speaker 45 (04:34:45):
You do continue, professor, you were saying, yes, he's lost
his notes.

Speaker 5 (04:34:52):
Let us have the next slide, if you please.

Speaker 51 (04:34:55):
Now that is upside down.

Speaker 89 (04:34:56):
I don't think it is, professor, No, no, of course,
nothing like we have a glass year from this place
came a rushing water hardening into ice.

Speaker 88 (04:35:07):
And the gods, the gods, as we had in the Involves,
sunga saga the gods.

Speaker 46 (04:35:13):
I wish people with golds would stay at home. It's
generally a sign that the people can't hear you.

Speaker 88 (04:35:18):
Yes, gods uncreated an unseen medi great giant.

Speaker 55 (04:35:22):
Could you speak up a little, professor anders?

Speaker 7 (04:35:25):
What have I done?

Speaker 43 (04:35:26):
Oh?

Speaker 45 (04:35:26):
No, no, nothing, Could you just speak a little louder?
This was to be the creation of man. In Valhalla,
the Hall of the Chosen.

Speaker 7 (04:35:34):
Slain, we find the dead.

Speaker 89 (04:35:36):
I suppose well, those men, why are slain in battle?

Speaker 45 (04:35:40):
Who are the especial favorites of old?

Speaker 69 (04:35:42):
Was the same as the Greek Olympus, As I explained
to you. Olympus was the seat of the Greek gods.

Speaker 45 (04:35:50):
Val Halo was more like the underworld, wasn't it?

Speaker 89 (04:35:52):
Yesion was also known as as Voden or Volden.

Speaker 45 (04:35:58):
Why what? I think we better keep questions until the end.

Speaker 88 (04:36:02):
And the gods also created other maggot like creatures who
lived in the mountains. They were tall, and they were
dark and treacherous and count They pursued with spight and
malice anyone they thought but they believed, had in some
way done them.

Speaker 46 (04:36:19):
Hawk, Professor rounds is something the matter s but and

(04:36:39):
then he just ran out. But what do you make
of it, sir?

Speaker 21 (04:36:42):
Make of it?

Speaker 46 (04:36:43):
Goodness? Note, that's my soul. This is a highly respected
international scholar. I cannot believe he would deliberately let us done.
I feel responsible. I introduced the man to college. I
am highly embarrassed, and I'm also rather cross. Nice heart, whiskey, sir, Yes,
that'll be spended. Missus Gradick, thank you. Let me answer that.

(04:37:07):
I suspect a deputation complaining about the night's fiasco.

Speaker 7 (04:37:10):
Quite trevorable.

Speaker 9 (04:37:11):
This is quite intolerable.

Speaker 51 (04:37:15):
I must really, yes, doctor James, What can I said?

Speaker 57 (04:37:21):
I have no idea?

Speaker 7 (04:37:22):
What excuse me, please, professor?

Speaker 69 (04:37:26):
Professor, it is nearly midnight. I am in the present
of going to bed. You have wrecked what should have.

Speaker 39 (04:37:32):
Been an event of some importance, in the presence.

Speaker 46 (04:37:34):
Of one hundred students and several of our more distinguished dogs.
You came here, sir, of my personal invitation. If I
called your extraordinary behavior to scutius, it is the very least.

Speaker 7 (04:37:45):
I must have my coat. I beg your pardon. You
would have this.

Speaker 88 (04:37:47):
I've wanted this, my coats, my papers, found my notebooks.

Speaker 45 (04:37:49):
I collected to a personal belongings from the lecture hall.

Speaker 69 (04:37:52):
It seemed the only rational thing to do. Tightly wit, am,
there is that hat.

Speaker 9 (04:37:55):
Also, you had better come in.

Speaker 78 (04:37:58):
Oh you're silking wet.

Speaker 39 (04:38:09):
Did you not take a cab?

Speaker 1 (04:38:11):
Or does not matter?

Speaker 7 (04:38:12):
God?

Speaker 45 (04:38:12):
Look, please sit down. You will appear to be ill.
I really think i'd better offer you a bed for
the night. I do not wish to sleep. I assure you.

Speaker 7 (04:38:20):
My housekeeper is still about.

Speaker 51 (04:38:21):
I shall ask her to prepare the wrong no, no.

Speaker 76 (04:38:23):
No, I must go from here at once, if you insist.

Speaker 69 (04:38:29):
You're whiskey, sir, Oh would the gentleman like that?

Speaker 46 (04:38:35):
No, Missus Craddock, you will find a pile of things
on the chair in my study, a hat coat, if
you could bring them. Yes, you must forgive me, my
dear fellow, what on earth happened?

Speaker 76 (04:38:50):
It is not possible for an inanimate object to move.
You have said this, Yes, it is not possible.

Speaker 46 (04:38:58):
Excuse me, I fail to understand, Missus credit. Thank you
your coat, hat, briefcase.

Speaker 49 (04:39:05):
And there was this to sir, the little boat.

Speaker 46 (04:39:10):
It's yours. It came by post addressed to you.

Speaker 39 (04:39:14):
No, no, no, my coat please.

Speaker 76 (04:39:18):
That is a present, Yes, a little gift for yourself,
Doctor James, I thank you.

Speaker 45 (04:39:24):
President.

Speaker 39 (04:39:25):
You must have that.

Speaker 76 (04:39:26):
You must you must keep that my briefcase, Professor Anders,
there is really no not at all.

Speaker 45 (04:39:30):
You're most welcome. I was to repay your kindness, so good.

Speaker 27 (04:39:36):
So kind.

Speaker 46 (04:39:37):
It's still ready.

Speaker 51 (04:39:39):
Then we call your cat. Goodbye, my dear sir, it's
such a pleasure.

Speaker 10 (04:39:43):
To meet with you.

Speaker 5 (04:39:44):
Goodbye.

Speaker 69 (04:39:45):
Wait at least take my hand, red good gracious?

Speaker 51 (04:39:51):
Do you know I begin about it saying come back
for God's sake.

Speaker 69 (04:39:57):
He's hi.

Speaker 9 (04:40:00):
What what did you say?

Speaker 90 (04:40:03):
He's gone, sir, gone, And I can only suggest you
lock up, missus Credick.

Speaker 46 (04:40:25):
Doctor James, Doctor James, I don't want breakfast just yet,
Missus Credick.

Speaker 69 (04:40:31):
It's not breakfast, sir. You've got a visitor.

Speaker 9 (04:40:34):
What time is it?

Speaker 69 (04:40:35):
Half past late? It's a young lady, sir.

Speaker 46 (04:40:37):
And she says it's urgent, linsense. What's her name?

Speaker 69 (04:40:40):
Wonders? I think she might be some relation of that
foreign gentleman who call last night.

Speaker 46 (04:40:44):
Oh, put her in the drawing room and tell her
to wait.

Speaker 41 (04:40:48):
She won't like that, sir.

Speaker 46 (04:40:49):
She can scarcely expect me to come downstairs in my
dresing gown.

Speaker 49 (04:40:57):
Are you doctor James?

Speaker 51 (04:40:58):
Good morning, madam?

Speaker 41 (04:41:00):
What can I do?

Speaker 49 (04:41:01):
My name is Caroline Anders.

Speaker 46 (04:41:02):
Ah yes a RELIGIONI ticket? And you speak English? Good?
What is the precise connection between you and Professor Anders?

Speaker 49 (04:41:10):
I'm his wife?

Speaker 45 (04:41:12):
His wife?

Speaker 49 (04:41:14):
I am his wife, Doctor James, and I speak English
because I am English.

Speaker 46 (04:41:21):
Very stupid of me, but I had no idea that
professor was married.

Speaker 49 (04:41:24):
Jorgan has been married twice. I'm his second wife.

Speaker 46 (04:41:27):
Are you indeed?

Speaker 39 (04:41:29):
May I offer you some coffee?

Speaker 49 (04:41:31):
This is not a social called doctor James, and I
object to wasting time?

Speaker 1 (04:41:34):
Where is he?

Speaker 46 (04:41:35):
Forgive me?

Speaker 49 (04:41:35):
Where is my husband?

Speaker 39 (04:41:36):
Am I likely to know?

Speaker 49 (04:41:37):
Jorgan gave a lecture at your college last night?

Speaker 46 (04:41:39):
No he didn't. I regret to tell you that his
talk was canceled for reasons which I prefer not to
go into. I formed the impression he was unwell.

Speaker 49 (04:41:47):
My husband has excellent health.

Speaker 46 (04:41:49):
If you say so, it is a thousand pities you
were not at the lecture, and missus Anders.

Speaker 49 (04:41:54):
I had to visit my parents in Cambridge. I can't
watch Organ all the time.

Speaker 50 (04:41:58):
Don't you, respect madam?

Speaker 46 (04:41:59):
Neither can I Are you sure he doesn't suffer from
some nervous complaints?

Speaker 49 (04:42:03):
Certainly not. Why what has he said to you?

Speaker 27 (04:42:08):
Very little?

Speaker 49 (04:42:10):
We have a very important lecture tour. We have to
be in London by the tenth Where did he spend
the night.

Speaker 46 (04:42:15):
At some hotel? I imagine?

Speaker 49 (04:42:17):
No, I've been to the Royal Imperial. He checked him
but never came back. He told the desk clerk he
had an appointment with you at half past six.

Speaker 39 (04:42:24):
That is correct.

Speaker 46 (04:42:24):
I saw him then and again rather about midnight. Missus Anders,
you are naturally very concerned about this, I suggest we
telephone the police.

Speaker 49 (04:42:32):
No, if he has disappeared, don't be absurd, There is
no need.

Speaker 46 (04:42:35):
No No, I really think the police ought to be
notified in case some accident.

Speaker 49 (04:42:41):
But it's your fault. You organize the whole event. You
were responsible when you saw Organ was ill. Why didn't
you send for me?

Speaker 46 (04:42:48):
Because I failed to realize anything was wrong until halfway
through the proceedings. And as for calling you, quite frankly,
I had no idea you existed.

Speaker 49 (04:42:59):
I am staying at the room an imperial.

Speaker 46 (04:43:00):
I shall make a note of the address.

Speaker 49 (04:43:02):
Thank you, and call me the moment you have any news.

Speaker 46 (04:43:05):
Of course, the why you assume it?

Speaker 39 (04:43:08):
Missus?

Speaker 46 (04:43:08):
And missus anders?

Speaker 13 (04:43:11):
What is it?

Speaker 49 (04:43:13):
Where did you get it? What that object?

Speaker 39 (04:43:17):
I beg your pardon?

Speaker 46 (04:43:19):
Oh that small boat? It was a present from your husband.
I don't believe you if you wish me to return
it to.

Speaker 49 (04:43:26):
No, why should we care about a toy boat?

Speaker 69 (04:43:31):
You keep it, keep it safe, it's nothing to do
with us.

Speaker 46 (04:43:42):
And then she departed in a world of for and indignation.
Strange you know she came here as well to your office.
Oh yes, in as you so happily describe it a
whirl of fur and indignation. She seemed to think that I,
or the college authorities, or the publishing firm of Masterman
and Son had kidnapped her husband. Chrisius where the devil
is the man gone?

Speaker 45 (04:44:03):
I can't imagine what did you make of her? She's
very pretty astonishing me young May married to December and interfeel.

Speaker 46 (04:44:10):
Ladies handsome enough. But I found it lacking in Grayson there,
I said, with a disposition of solid grad shame forgives me.

Speaker 45 (04:44:19):
I really don't see what we can do to help
my dear fellow. We can't do anything short of going
to the police, and she won't hear of that.

Speaker 21 (04:44:25):
Why.

Speaker 45 (04:44:26):
By the way, we had a very pleasant notice in
the Norwegian press. Would you care to see it? But yes,
thank you, Yes, my secretary has the fire. Did you
all that? What someone coughing in the outer office? Missus
Lindsey must have shown up a visitor, Missus Lindsey.

Speaker 5 (04:44:46):
You secretary is busy.

Speaker 45 (04:44:48):
Nobody in the room, that's all, miss miss Lindsey.

Speaker 46 (04:44:53):
It doesn't matter, I assure you.

Speaker 45 (04:44:55):
But I definitely heard a kind of dry cough. Oh,
let me find this file for it.

Speaker 46 (04:45:05):
Masterman bless my soul. I must readily ask you to
explain how in the name of wonder did that thing
get here?

Speaker 59 (04:45:11):
What?

Speaker 39 (04:45:12):
There is a model.

Speaker 45 (04:45:13):
Boat on the dessol, I asked Miss Lindsay.

Speaker 46 (04:45:17):
Masterman, I left that boat in my house less than
two hours ago. I can only assume it's Caroline and
has brought it to you. She must have done confound
a woman.

Speaker 76 (04:45:25):
I said you might have it.

Speaker 50 (04:45:26):
I oftened to leave it back, but to return to
my home and deliberately Stames.

Speaker 45 (04:45:31):
James, missus Anders had nothing in her hand, and I
have never seen that boat before.

Speaker 50 (04:45:37):
Hope that you have, of course the lecture hall earlier
you're studied earlier earlier. I'm sorry, I'm afraid my memory
was hanging in the cathedral at Trondheim. Surely not examine
the carving, the shape of the prow and the name
carved on the side. I haven't gotten my classet with me.
Be so good as to read the name.

Speaker 15 (04:45:57):
I need.

Speaker 50 (04:46:00):
I have the most horrid premonition it must be a
copy a souvenir. It's come from some gift shop for
the visitors me.

Speaker 46 (04:46:10):
I do so hope you are right. Damn well, put
your thinker on it a kind of electric tinkling.

Speaker 45 (04:46:19):
But would does not conduct electricity?

Speaker 27 (04:46:23):
Has it?

Speaker 45 (04:46:25):
The whole frame is shivering vibration.

Speaker 50 (04:46:28):
Perhaps by all means let us call it vibration. Let
me understand you that this boat was in your house
least two hours ago. I gave it to my housekeeper,
who very sensibly desired to wash it on account of
the dust.

Speaker 45 (04:46:41):
It feels dry enough now and the shuddering stopped.

Speaker 46 (04:46:45):
Dear God, can such things be? Can't you ask your
secretary to bring me string, the scissors and quite a
lot of brown people.

Speaker 45 (04:46:55):
Certainly, as soon as she returns that though, why I fear.

Speaker 46 (04:46:58):
We're in deep waters and meddling with matter which could
be extremely grave dangerous. I shall return the boat to
missus Anders immediately at the Royal Imperial Hotel.

Speaker 39 (04:47:22):
Dear dear, this is quite appalling.

Speaker 46 (04:47:25):
We shall be soaked, we must have walked. Turn up
your coat color, allow me thank you.

Speaker 82 (04:47:30):
Oh there's a cab but club club, well, well, what
an extraordinary piece I like this?

Speaker 46 (04:47:42):
We shall both have caught a very nastic covid dreams.

Speaker 45 (04:47:45):
As it is, my socks are depsychedly my dreams. What
have you done with the bussel. I had it.

Speaker 40 (04:47:53):
I had it under my arm.

Speaker 45 (04:47:57):
That you put it down when we took shelter from
the ring. You've left it in the doorway.

Speaker 46 (04:48:00):
Oh no, not to it all kebby, kebby, stupid. Please
turn around and right back right you are, sir, where
down the place where you picked us up?

Speaker 5 (04:48:12):
As I remember where that was going loading.

Speaker 45 (04:48:16):
It was the doorway of a draperies to an extra
tailor's snuff and tobacco shop.

Speaker 46 (04:48:20):
You want to go, hurry, man, hurry, it's not far.

Speaker 50 (04:48:24):
I must find it. Oh, dear dear, it didn't take long,
all right, James, it isn't there, good Lord, are you certain?

Speaker 45 (04:48:38):
I mean that's the same doorway.

Speaker 46 (04:48:39):
And possigist I put the packet up against the glass window.

Speaker 45 (04:48:42):
The thing's gone. Oh come, come, come, much too strong
a word, No doubt some passive eyes picked it up.

Speaker 46 (04:48:48):
That is just possible.

Speaker 45 (04:48:49):
I suppose, my dear fellow, it hasn't walked away by itself.
Back to my office? Yes, where to sir?

Speaker 46 (04:48:55):
They're all in Pieri in the hotel at once. I
really want to go there this time, you please fastest possible, James,
there's no point why bother I have a certain dreadful
an ease, and we find Professor anders with what I
suspect is wrong. If what I feel that is entirely mistaken,
and then there is no point in the journey at all.

Speaker 15 (04:49:15):
Thank God.

Speaker 46 (04:49:17):
Good water. He said it must be kept away from water.

Speaker 45 (04:49:24):
I think you must be catching a feverish cold.

Speaker 51 (04:49:35):
That's why I think yes, two two two and three.

Speaker 46 (04:49:43):
Two one four. Pray God, this is a delusion. I
have the most appalling fear. We must find Professor Anderson.

Speaker 7 (04:49:56):
Good morning, do you.

Speaker 76 (04:49:59):
That's nice?

Speaker 46 (04:50:00):
So it is quite extraordinary.

Speaker 7 (04:50:04):
You wanted to see my wife?

Speaker 76 (04:50:05):
Please, gentlemen, step inside.

Speaker 7 (04:50:07):
Are you well?

Speaker 45 (04:50:08):
Yes, we've been wondering way worse her?

Speaker 7 (04:50:12):
Please?

Speaker 76 (04:50:12):
Why should I be I'm staying at this excellent hotel.
There's a problem.

Speaker 46 (04:50:16):
Your wife is looking for you?

Speaker 76 (04:50:19):
Oh no, not possible, some misunderstanding. I think Caroline is
here with me at the Imperial.

Speaker 7 (04:50:24):
You're together?

Speaker 46 (04:50:25):
May I ask since one?

Speaker 39 (04:50:26):
Perhaps two?

Speaker 45 (04:50:28):
Well, we've obviously made a mistake.

Speaker 76 (04:50:31):
Excuse me, someone is coffee idotating. Yes, the person in
the next room has a cold.

Speaker 50 (04:50:38):
Professor Anders, I have no wish to intrude on you
or the lady, but certain curious events make it necessary.

Speaker 45 (04:50:46):
Can either of you explain?

Speaker 76 (04:50:48):
Please, we wait for Caroline. That will be better at
the moment she's taking her bath, and you will have
a drink.

Speaker 45 (04:50:54):
I'm afraid we're inconveniencing you.

Speaker 46 (04:50:56):
This is evidently the wrong time, James, James.

Speaker 45 (04:51:00):
We must call back after lunch, not at all.

Speaker 76 (04:51:02):
You must eat with us. I'm sure Caroline would wish
me to invite you.

Speaker 39 (04:51:06):
Oh, dear God, Caroline.

Speaker 45 (04:51:09):
What in Heaven's name, Caroline, Caroline, what he did?

Speaker 46 (04:51:15):
It's locked?

Speaker 91 (04:51:16):
You must open the door. H Why don't you help me?
Showed it at the top. Hands. It's all right, missus Hunters.
Your husband is coming. Please calm yourself.

Speaker 1 (04:51:39):
Oh no, oh, dear.

Speaker 7 (04:51:41):
God, that what did you say?

Speaker 45 (04:51:44):
I can't see anything the steam.

Speaker 46 (04:51:46):
Lift her out of the water quickly. Must have got
a doctor, get the hug, of course, get somebody, for
pity's sake.

Speaker 42 (04:51:53):
Please hold ahead, very very careful.

Speaker 7 (04:51:58):
Please, No, she's fainted. She's just fainted.

Speaker 46 (04:52:04):
She had not just fainted, Caroline Anders was dead. Particles
of talcum dust drifted across the mirror, and in the reflection,
for one fleeting second, I thought I saw a boat
rocking on top of the bath sets, But then suddenly

(04:52:26):
Professor Anderes gave a heartrending cry and crashed to the floor,
after which we're all too concerned to check the matter. Then,
of course, there was the question of Caroline Anders's funeral.

Speaker 45 (04:52:45):
Morning, James, sir, have you seen today's paper? Missus Anders
is to be buried on Tuesday? Cast it heart an you,
I imagine, don't you?

Speaker 46 (04:52:56):
I imagine what I imagine? No, this pointless speculation. And besides,
he could be wrong.

Speaker 45 (04:53:03):
And I suppose, as a matter of courtesy, which will
have to go? You think it necessary for both. I
think it's vital that I should go.

Speaker 46 (04:53:12):
He asked if I believed in it, I begar pond
supernatural movement of objects.

Speaker 45 (04:53:21):
And you said no, rather wittily. I remember something to
do with emotion and throwing things at your enemy's head.

Speaker 5 (04:53:26):
Why didn't I listen?

Speaker 45 (04:53:28):
Damn you did.

Speaker 46 (04:53:30):
Why should Professor Rounds be so frightened of a model boat?

Speaker 27 (04:53:34):
Well?

Speaker 45 (04:53:34):
I presume it means something to him.

Speaker 46 (04:53:36):
Oh yes, oh, dear me, yes, master man, it means something.

Speaker 45 (04:53:41):
The parents have a house by the river. I checked
the address. The ceremony is at two thirty. Shall I
call for you at two.

Speaker 39 (04:53:47):
We can share a cab.

Speaker 46 (04:53:53):
Earth to earth, ashes to ashes, dust to dst listen,
sh someone is coughing.

Speaker 39 (04:54:03):
Head's cold out here in the churchyard.

Speaker 46 (04:54:05):
Can you see? Can you see him? And he's over there?
Not anders that other?

Speaker 5 (04:54:11):
What?

Speaker 45 (04:54:13):
I can't see anyone?

Speaker 59 (04:54:14):
I know?

Speaker 46 (04:54:15):
Oh, dear me, and I so much hope you could.
Why it doesn't matter, and the blessing of God remain
with you always.

Speaker 45 (04:54:23):
Amen, Amen, m oh, they're moving off. I shall Shall
we join the party going to the house? Or would
you rather look at the floral tributes? Quite a number
of people have sent reath James, James, what is it,
dear God?

Speaker 46 (04:54:40):
I am not hallucinating. No, no, either is a trick
of the light. It is there, isn't it against the wall,
between the crosses of lilies and the brick.

Speaker 37 (04:54:52):
I don't know what you mean.

Speaker 46 (04:54:56):
Oh, yes, you can see it too. The boat.

Speaker 45 (04:55:02):
That's impossible.

Speaker 50 (04:55:03):
Time to get hold of it. For pity's sake, we
can't let down the sketch sight of this. The people
are watching us, James, don't stand in front of it.
It can't be the same one. No, then we have
two boats.

Speaker 46 (04:55:17):
Called any track. Let us be rational. I left that
object in a poor way. It is possible, possible, mine
not probable, that some person discovered the thing and carried idiot. Yes,
of course, of course it is why not a logical theater,
Dear dear passer bun who happened to no Professor Anders
and chanced to hear of the funeral, and being no

(04:55:39):
doubt a fellow Norwegian of benevolent intent?

Speaker 1 (04:55:41):
On come, come, come.

Speaker 45 (04:55:43):
It is not even half way reasonable, do you your
common self? But the only other explanation.

Speaker 46 (04:55:51):
That's not bear thinking about it quite dear Heaven, he's
coming this way, Doctor James, you feel God, Professor Rounders,
you have all her sympathy in your great lost kind.

Speaker 39 (04:56:08):
You need not trouble to hide it from merself. I
beg your pardon.

Speaker 46 (04:56:13):
I have already seen it, the flowers. Yes, yes, it's
so many and so beautiful. Please stand aside. I know
the boat is there.

Speaker 25 (04:56:25):
Give me.

Speaker 46 (04:56:28):
Is there a special meaning?

Speaker 7 (04:56:29):
No?

Speaker 46 (04:56:29):
You can be frank with me.

Speaker 45 (04:56:31):
So good of you to come, Professor Rounds.

Speaker 46 (04:56:33):
I once told you I have an open mind. If
we are face to face with some kind of.

Speaker 39 (04:56:38):
Mystery, no means no, no.

Speaker 45 (04:56:40):
I give you my word as you wish.

Speaker 46 (04:56:42):
I should have preferred a few honest facts.

Speaker 76 (04:56:44):
Excuse me, you will excuse my english. I do not
always understand you pity. I am not ungrateful for your kind.

Speaker 46 (04:56:49):
But I am willing to trust one.

Speaker 45 (04:56:51):
Can I say the boat a private joke?

Speaker 39 (04:56:54):
A piece of childish malice.

Speaker 46 (04:56:58):
Gline would have known what to do.

Speaker 39 (04:57:01):
She was such a strong person.

Speaker 76 (04:57:03):
Caroline, Caroline has always managed my life.

Speaker 46 (04:57:06):
You see, Caroline would have told me how to.

Speaker 69 (04:57:10):
Will come this way?

Speaker 53 (04:57:13):
Now I understand.

Speaker 46 (04:57:16):
Yes, I have been a foolish a week, so stupid.

Speaker 7 (04:57:22):
You know.

Speaker 46 (04:57:23):
It is almost as if Caroline herself was speaking to me. Yes, yes,
at last I realized what it is I have to do.

Speaker 76 (04:57:32):
Please do join the rest of the company. There's a
meal waiting at the house.

Speaker 39 (04:57:44):
Don't you think we should go now?

Speaker 83 (04:57:46):
James, Hey, excuse me, I am doctor James. Yes, indeed,
I hope you've got a drink. I'm Caroline's mother, Missus Vickers.

Speaker 46 (04:57:53):
How do you do my friend, George master madam?

Speaker 45 (04:57:55):
I'm so sorry.

Speaker 49 (04:57:56):
Yes, yes, yes, she's gone, my lovely girl.

Speaker 46 (04:57:58):
I can't cry anymore.

Speaker 49 (04:57:59):
That part of it is finished. Could I have a
word with you in private?

Speaker 83 (04:58:02):
By all means, please follow me there's nobody in my
husband's study.

Speaker 46 (04:58:10):
I only met your daughter once, Missus, because she struck
me as the most beautiful creature. How did you do
it a bigger one and has killed her?

Speaker 41 (04:58:18):
Didn't he?

Speaker 46 (04:58:19):
Bless my soul? You are in a understanding misconception.

Speaker 27 (04:58:24):
Dear.

Speaker 46 (04:58:25):
Of course, I quite understand in your present state of
grief and shock.

Speaker 83 (04:58:28):
You were there at the time he murdered my darling child.

Speaker 45 (04:58:31):
She's thick.

Speaker 2 (04:58:31):
Just tell me how it was done.

Speaker 46 (04:58:33):
Haven't you must rid yourself immediately of this extraordinary delusion.
I assure you there is absolutely no reason to suspect no.

Speaker 49 (04:58:42):
His first wife died, so I.

Speaker 46 (04:58:43):
Believe a tragic coincidence.

Speaker 83 (04:58:45):
They said it was a boating accident. She was supposed
to have drowned in a boating accident. I never wanted
Caroline to marry the man just because he was rich
and famous. My Caroline could have had her peak.

Speaker 49 (04:58:57):
She was wasted on that.

Speaker 83 (04:59:00):
Realize yorg and Anders was old enough to be her father.
I told her to forget the money. All though was
foul the go Josie.

Speaker 46 (04:59:08):
Kept buying for her.

Speaker 5 (04:59:09):
She was a foreigner.

Speaker 49 (04:59:11):
Why did she ever go to Norway?

Speaker 46 (04:59:13):
She had a good home, Missus Vickers. I do sympathize.
It must be hard to come to time.

Speaker 49 (04:59:18):
Give her everything.

Speaker 76 (04:59:19):
She was my little girl. Now she was dead.

Speaker 46 (04:59:24):
Murder, Missus Vickers. What I have seen, what you have
just told me confirms my impression. The Professor Anders adored
his wife more. I am convinced he was totally dependent
on her, and he's devastated by her loss.

Speaker 83 (04:59:38):
He talked to you, I suppose, smooth, cunning lies James,
the old.

Speaker 46 (04:59:44):
Evil hypocrite, if you insist. But as for killing his wife,
I really must protest. By the time she died, Professor
Anders was in the room with me and George Masterman here.
Who will confirm the fact? Isn't that so what when
the accident happened, we were all together.

Speaker 45 (05:00:00):
That's true, Missus, because he never left us even for
a moment. Besides, the bathroom door was locked.

Speaker 41 (05:00:07):
You won't help me, madam.

Speaker 46 (05:00:09):
There is no way in which, good Graces, where's that
smoke coming from it?

Speaker 13 (05:00:14):
Yeah?

Speaker 45 (05:00:14):
I can smell burning. It's something on fire. The gardens
full of smoke. Good Lord, it's getting into the house.

Speaker 46 (05:00:21):
The wind must be in our direction. I can see
flameing somebody out there.

Speaker 49 (05:00:26):
Gods, it must be man. He's trying to burn down
my house.

Speaker 45 (05:00:30):
Stop that stop the most name.

Speaker 46 (05:00:34):
He's trying to burn the boat.

Speaker 45 (05:00:36):
That's eurotic. There'll be an accident if a spark lands
on the wooden fence or near that rubbisht a stop
to this, You'll think.

Speaker 50 (05:00:49):
You, dear God, what is that woman doing us getting
the boat away from Anders. She's pulled it out of
the fire. Don't give me, I chose a modicum of sense,
give the lety? Could that sort of stop the fire?

Speaker 78 (05:01:02):
Not in the water, Not in the water.

Speaker 2 (05:01:05):
It must not go in the water.

Speaker 46 (05:01:07):
As we've watched, missus Vickers ran down the garden, crossed
the grass and hurled the blazing boat into the river.
There was an acrid smell, and smoke rose hissing from
the surface. Dark oily bubbles drifted downstream, catching and blackening
the weed. With the main source of he gone, the
bonfire began to subside in collapsing ash and billowing smoke

(05:01:29):
gusting across the lawn in a pulsating cloud. The air
became full of tiny specks, like a swarm of malevolent flies.
In the meantime, Andnders had gone to the river bank
and was trying to fish the boat out of the water.
Suddenly he slipped and fell in.

Speaker 39 (05:01:49):
Let me help you get a pole, my rope.

Speaker 46 (05:01:51):
Hurry the current sweeping him away. He's going to dry.

Speaker 45 (05:01:53):
Well, here's a rope and they're launching and inking.

Speaker 46 (05:01:56):
I'm happy able to reach him from here. If you'll
hang on to my waistlet to falling.

Speaker 45 (05:02:00):
Into the water.

Speaker 9 (05:02:01):
Might sell it.

Speaker 46 (05:02:01):
Can you manage not take the rope, Professor, and hold
on to this he's mister dear goddle unders. Don't struggle,
just the airfloat.

Speaker 45 (05:02:12):
They've got the dingy home. I haven's sake.

Speaker 39 (05:02:18):
Don't panic, man, there's no danger.

Speaker 3 (05:02:21):
You're going to be all right.

Speaker 45 (05:02:22):
The boat is coming.

Speaker 46 (05:02:24):
Yes, yes, they'll have you waded in a moment.

Speaker 69 (05:02:26):
Please take The.

Speaker 45 (05:02:27):
Boat is coming for me and.

Speaker 10 (05:02:33):
Alitra.

Speaker 46 (05:02:35):
Even as I watched, he flung up his arms and
disappeared beneath the water. I cannot do this day understand it,
For of course the ding he was coming for him.
It was a bare ten yards away, unless in his
distress Professor Anders imagined some quite other and alien vessel.

Speaker 50 (05:02:59):
But I prefer not toll on the notion. A year later,
at George Masterman's insistence. I found myself in Trondheim again.

Speaker 45 (05:03:10):
Your book has been a great success here. There's even
some idea of bringing out a second collection using the
rest of your stories.

Speaker 46 (05:03:16):
And another translator.

Speaker 45 (05:03:17):
Well, of course, that's why we have agreed to meet
mister Neilson for your in Anders. Oh, he was very
unpopular here. I gather the yacht accident was distinctly suspect.
Several people thought Professor Anders had murdered his first wife
in order to marry the beautiful English visitor. Ah, there's Nielsen.
Good morning, gentlemen, Good morning. May I introduce doctor James.

Speaker 92 (05:03:38):
A pleasure, My dear sir, I understand we may vote together.

Speaker 46 (05:03:42):
Perhaps you have read the AND's translation.

Speaker 45 (05:03:44):
I have a great scholar. Is such a pity he's dead.

Speaker 46 (05:03:48):
Indeed, tell me, mister Nielsen, do you think Professor and
has murdered his first wife?

Speaker 92 (05:03:54):
Yes, good gracious, bless my soul. You knew the lady
Anitra du little. She was very timid. She did not
like to see when he insisted she sailed with him.
Miss he Saunders hung a small boat in the cathedral
as the fisherman do, praying the good Saints to protect her.
Hope it seems to have been misplaced. I did not
know her very well. I knew her father much better.

(05:04:15):
At larsh Sirensen large slush upon my work, we met
him once so well, for what it is worth, Sir
and Sen always believed his daughter had been murdered.

Speaker 45 (05:04:25):
Now that's very interesting. Did you hear that, James. Perhaps
mister Surenson took the model boat and pursued Anders to England.
Or impossibly he really hated the man.

Speaker 46 (05:04:34):
And I'm sorry what you suggest is quite impossible.

Speaker 92 (05:04:37):
Why because Lars Sirenson died in Trondheim Cathedral over.

Speaker 45 (05:04:41):
A year ago.

Speaker 46 (05:04:44):
On what date, mister Neilson, Oh, I am forgetting.

Speaker 39 (05:04:49):
Does it matter?

Speaker 46 (05:04:49):
Probably not, but I have a horrid presentment.

Speaker 45 (05:04:54):
All right, not her father, but imagine some other member
of the family, bent on revenge, carrying the to England. No,
you can't be set, I assure you I can, mister Marthamun.

Speaker 92 (05:05:05):
The little boat is hanging in Trondheim Cathedral at this moment.

Speaker 40 (05:05:10):
Do you wish to see it?

Speaker 46 (05:05:10):
If you would be so good?

Speaker 45 (05:05:12):
Oh, please follow me, but be careful crossing the road.

Speaker 46 (05:05:17):
He led us through that magnificent building, and there it
was swinging slightly in the draft, creaking a little A
model of the boat anitra this time said goodness, I
had not forgotten my glasses. We studied a thing in silence.

(05:05:40):
Then we thanked mister Nielsen and left. It would have
been pointless to trouble that good man any further. But
what alarms me? A source of a certain teep Unease
Anders had asked me, would it not be possible to
move an object by paranormal means? I had rejected the

(05:06:02):
idea so emphatically. But now you see there are scorch
marks along the side of that little boat in Trondheim Cathedral,
and part of the howl has been burnt. Upon my word,
you could swear some one had tried to set fire

(05:06:24):
to it.

Speaker 84 (05:06:25):
A Michael Williams played m R James and Brett Usher
masterman in the boat hook by Sheila Hodgson Sorenson, Peter Tutenham,
Missus Craddock, Joanna Wake, Professor Anders, David King, Caroline Anders,

(05:06:51):
Cyril Jenkins, Nielsen and chairman Eric Allen, Students Neil Roberts
and David Lerner. The director was Martin Jenkins.

Speaker 6 (05:07:04):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(05:07:26):
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.

Speaker 7 (05:07:36):
If you or.

Speaker 6 (05:07:36):
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 for joining me for tonight's retro radio Old Time
Radio in the Dark

All Episodes

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

Betrayal: Weekly

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}The Ghostly Spirit Behind the Script Wanted His Name on the Marquee, Not Hers

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Stuff You Should Know

Dateline NBC

Betrayal: Weekly

All Episodes

The Ghostly Spirit Behind the Script Wanted His Name on the Marquee, Not Hers

Stuff You Should Know