THE GOD KILLERS: Can a Fictional Character Murder His Own Creator-Author?

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

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
You're gonna thank some miss 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
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(01:05):
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(01:25):
me into tonight's retro Radio Old Time Radio in the Dark.

Speaker 7 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 8 (01:50):
Come in. Welcome.

Speaker 5 (01:54):
I'm E. G.

Speaker 8 (01:55):
Marshall.

Speaker 9 (01:57):
I am the Wound and the Knife. I am the
Blow and the cheek.

Speaker 7 (02:03):
I am the victim and the executioner, and thus we
become the things we do. The flame consumes the wood
and dies, and too late does the killer discover that
the life he takes in the end is his own.

Speaker 10 (02:22):
What am I doing here?

Speaker 11 (02:25):
You heard me call you?

Speaker 10 (02:28):
How could I hear? I live miles away?

Speaker 11 (02:31):
No, you live here in my heart, in my soul.

Speaker 10 (02:36):
What are you saying?

Speaker 11 (02:37):
You came because I needed you? You need me, I
need you. I worship you. You're a goddess.

Speaker 10 (02:50):
Now I'm just typist.

Speaker 11 (02:52):
You're a goddess.

Speaker 12 (02:54):
You created the world and all of us who are
in it.

Speaker 13 (02:59):
What you want?

Speaker 11 (03:01):
I want to worship you. Live for you, die for you,
even kill for you.

Speaker 7 (03:18):
Our mystery drama, The God Killers was written especially for
the Mystery Theater by Sam Dan and stars Tammy Grimes.

Speaker 9 (03:28):
It is sponsored in part by Buick Motor Division and
Contact the twelve hour Cold Capsule. I'll be back shortly
with Act one.

Speaker 8 (03:48):
Vanity of vanities.

Speaker 9 (03:50):
We are told all is vanity and the searching after
wind true. And yet just a little vanity? Can it
be so bad? Don't we need it to add a
bit of piquance to life? Especially women?

Speaker 7 (04:08):
Who would give a woman a second look if she
didn't have just a touch of vanity. Ursula Underwood has
no vanity at all, zero, And the result is no
one has ever given her a first look. Ursula at forty,
who doesn't think to hide the approaching gray in her hair,
whose lips have always been innocent of lipstick, Shy, quiet,

(04:31):
and self effacing, Ursula onto Wood. But here she is
suddenly a center of attraction, literally in the spotlight, surrounded
by eager, impatient, anxious men. How did this happen? Well,
she's been accused of murder.

Speaker 11 (04:48):
Okay, miss Underwood, you better come clean.

Speaker 14 (04:51):
I didn't do it.

Speaker 11 (04:53):
Make it easy on yourself.

Speaker 10 (04:54):
I didn't do it.

Speaker 4 (04:55):
Where'd you get the life?

Speaker 8 (04:56):
Why'd you kill them?

Speaker 10 (04:57):
I didn't do it.

Speaker 11 (04:58):
We know you kill them. He was gonna fire you.
You had the money. Wasn't he gonna marry someone else?
You're jealous? That's why you killed it. You picked up
that knife and you killed him. Confess, we know what happened.

Speaker 10 (05:09):
I didn't kill him. I swear to you. I didn't
kill him.

Speaker 11 (05:13):
All right, all right, all right, Joel Larry, take a break.

Speaker 5 (05:15):
I'll handle it.

Speaker 11 (05:16):
Oh, okay, Lieutenant she's all yours. Please let's My name
is Lieutenant Barney Justinkovich.

Speaker 10 (05:30):
I didn't do it.

Speaker 9 (05:31):
I assure you that you will feel better if you.

Speaker 11 (05:34):
Tell us the truth.

Speaker 10 (05:36):
I didn't do it.

Speaker 11 (05:37):
My advice to you confess this, confess you killed mister
Alistair Polyster. You will feel better. You know. Confession lifts
the weight off of your soul.

Speaker 10 (05:47):
I didn't do it.

Speaker 11 (05:50):
Miss Underwood, and can we set some ground rules. I
just don't keep saying you didn't do.

Speaker 10 (05:56):
It, Attendant chest Covich, I tell you I didn't do it.

Speaker 11 (06:00):
Please, I want to help you.

Speaker 10 (06:01):
You want to help me. Why don't you confess? What
you want is another scout for your belt, another notch
and your gun. If I confess, will you become Captain
Chester College?

Speaker 11 (06:13):
Probably so?

Speaker 10 (06:14):
The truth is you want to help yourself.

Speaker 11 (06:17):
I want to help both of us.

Speaker 10 (06:18):
Please leave me alone.

Speaker 11 (06:20):
I would if you were a professional killer, then they
cod just you know, I'll throw you at the jury
and your reputation alone would be enough to convict you.
But the way it is now, see, we need your.

Speaker 10 (06:31):
Confession, but I didn't do it, and.

Speaker 11 (06:34):
You need your confession too. You needed to make peace
with yourself, Lieutenant don't fight it. Yield to it, give way,
give in to your your better impulses, to your truer nature. Lieutenant,
let's be friends. Call me Barney, I'll call you Ursela.

Speaker 10 (06:55):
You you're trying to seduce me.

Speaker 11 (07:00):
I'm only trying to get to Where were you with
your soft voice and gentle manner and sweeter of concern
when I needed you?

Speaker 15 (07:07):
Oh?

Speaker 10 (07:07):
How I wanted someone like you, dreamed of, prayed for
someone like URSELA name an ugly name, Ursela. You know
what I mean? A female bear, a she bear? Oh
my lord, how could parents name a little girl female bear?

Speaker 11 (07:31):
It''s a pretty name.

Speaker 10 (07:33):
It's an ugly name, and I'm an ugly woman. No
no one ever thought I was pretty. No one ever
treated me as if I were pretty, and so I
never became pretty.

Speaker 11 (07:43):
You're a handsome woman, a big woman, tall, ungainly.

Speaker 10 (07:50):
I'm a bear of a woman.

Speaker 11 (07:51):
But you have you have certain qualities which are really
quite attractive.

Speaker 10 (07:56):
You are trying to seduce.

Speaker 11 (07:59):
No, no, not now, please, you must believe me.

Speaker 10 (08:02):
It's all right. I rather like it. This has never
happened to me before. Now I know what it is
to hear a man's gentle voice when he wants something
from it, something only I can give him.

Speaker 12 (08:15):
No, I would like to set the record straight. Don't
spoil it.

Speaker 10 (08:20):
You see, the pretty girls get this all the time,
what a man wants from a mispleasure, Miss Underwood, and
they know it in our hearts. We women know it,
but men lie of beutifully and for a moment. It's
all so wonderful that it's worth it.

Speaker 11 (08:38):
It's Underwood, we are still at ground.

Speaker 10 (08:41):
Zero, nobody, how can you say that we've made progress.
What you want from me is not pleasure, but something
even more important, a promotion.

Speaker 11 (08:51):
Oh no, please please, Misunderwood.

Speaker 10 (08:53):
And because you make me feel so good so need it,
I'll I help you.

Speaker 11 (09:00):
You will because.

Speaker 10 (09:03):
I love you. Oh, don't worry, you have no cause
for a long You don't have to do anything about it.
You probably are happily married with half a dozen.

Speaker 11 (09:13):
Children, U, Missould. Maybe i'd better come back later.

Speaker 10 (09:17):
Please forgive me, Bunnie for embarrassing you. But I want
to be seduced, even if it's only a figureous speech
in a prison cell. Please Bernie, keep on being kind
to me. Talk to me softly, sweetly, the way you.

Speaker 12 (09:33):
Did before, Ursula, I do, I do want to help her.

Speaker 11 (09:37):
Now, I'll help you get the best possible deal.

Speaker 10 (09:41):
Yes he will.

Speaker 11 (09:42):
Crime of passion. You see, it is an unwritten law
and it's on your side now. Alistair Pollister betrayed. You
know all these years he led you on, and then
he was going to throw you out after you've given
him your youth, your whole life. Ursula, you won't even
do a year in jail now, I know. Jewli's believe me.
Let's make it happen. Sign the confession.

Speaker 10 (10:03):
Keep talking to me, bye.

Speaker 11 (10:05):
Please said everything that's important.

Speaker 10 (10:08):
Keep talking to me. Alister Poulister never talked to me
the way you do. For fifteen years, I was a secretary.
I was nothing to him but an instrument. At nine am,
Good morning, miss Underwood, and then three uninterrupted hours of dictation.
At twelve, have your lunch, Miss Underwood. At one, let
us resume, Miss Underwood at four, enough for the day.

(10:30):
Never a social word, never an idol word. He knew
absolutely nothing about me. There was never a kind word,
never a harsh word. Just hello, goodbye. Read that back,
Type that up. Here's a check.

Speaker 11 (10:43):
Why did you kill him?

Speaker 10 (10:45):
I didn't kill him? Oh, look, but I'll tell you
who did what the shive? The what the shive? You
know what the shift is. It's under world slang.

Speaker 11 (11:00):
For a knife ursula arsla. When the cops came in
that you were standing there and he was dead on
the floor. Now there was the knife with the blood
all over it.

Speaker 10 (11:11):
But you didn't find my fingerprints on that knife.

Speaker 11 (11:13):
Because you had wiped them off.

Speaker 10 (11:16):
Had I done that, I would have wiped off the
blood too.

Speaker 11 (11:19):
I tell you, if the shift, who is the ship?
They hear his last book? You mean you mean there's
actually such a person as the ship? Oh?

Speaker 10 (11:31):
Yes, and he knife? Mister Polas did the death?

Speaker 11 (11:35):
Well why didn't you see?

Speaker 16 (11:37):
So?

Speaker 11 (11:37):
Why didn't you say there been someone else in the room?
Because because what?

Speaker 10 (11:44):
Because until now no one would believe me?

Speaker 11 (11:48):
Why not?

Speaker 10 (11:49):
Oh body, I'm allowing myself to think you care enough
to believe me. You do care?

Speaker 11 (11:55):
Don't you care about the Shift?

Speaker 10 (11:57):
We must begin with mister Alista pol there himself? Why
do men become writers?

Speaker 11 (12:04):
Is that important?

Speaker 17 (12:05):
Vital?

Speaker 10 (12:06):
Some turn the writing because of an urgent need for
self expression. Others are motivated by the need for fame.
Some are inspired by the financial reward.

Speaker 15 (12:15):
Well, all.

Speaker 11 (12:16):
It's may be pertinent, but we should get found that none.

Speaker 10 (12:18):
Of these reasons accounted for Alistair Pollister. Do you know
why he became a writer? I don't think because he
had an uncontrollable desire to kill?

Speaker 11 (12:28):
What do you mean he had an uncontrollable desire to kill?

Speaker 18 (12:31):
Oh?

Speaker 11 (12:32):
Yes, did he ever? Actually? I actually commit that?

Speaker 10 (12:37):
Oh, dear Barnie, hundreds of times? Did you realize what
you're saying? He didn't have the courage to kill real
living people. Therefore he became a writer, and that way
he could create people of his own, and he would
kill them.

Speaker 11 (12:52):
Ah, oh, yes, I say no. Look, you had a long,
hard day. Why don't I let you get some rest.

Speaker 10 (13:01):
No, don't treat me as if I were mad.

Speaker 15 (13:04):
I'm not.

Speaker 10 (13:06):
You said you'd be kind to me. All right, all right,
you must understand so you'll know why and how he died.
You see, he lived for murder. His only thought was
to kill. His only pleasure was to destroy life.

Speaker 19 (13:24):
She was his prisoner, not just the captive of his strength,
but the slave of his will. Do you have that,
miss Underwood? Yes, sir, she knew she should run that
the very least scream even begged for mercy, but she
stood absolutely still, completely silent, waiting, waiting for the knife

(13:48):
in his hand to enter her body, waiting, and then, finally,
just below her breast, the flash of steel, the short,
sharp steering, the sudden gush of crimson, and the pain
of the pain.

Speaker 11 (14:05):
For a moment.

Speaker 19 (14:06):
She she felt as swell. And then it stopped. For
the heart, the beating heart had also stopped.

Speaker 8 (14:13):
It was dead.

Speaker 19 (14:14):
There was nothingness to avoids she had come to avoid.

Speaker 11 (14:18):
She returned, what.

Speaker 8 (14:24):
Is it, Miss Underwood?

Speaker 10 (14:26):
Sure shall we continue?

Speaker 11 (14:29):
No? No, enough for the day.

Speaker 10 (14:33):
Yes, sir, was the ship mister Pollster's most notorious murderer.
Surely you've read some of mister Pollister's books.

Speaker 11 (14:46):
No, No, I'm sorry. Remember well, I mean, I get
enough violence and murder on the job. I don't need
any for refreshment in the ship. Okay, here's this character
in Pollster's book. Yes, and you say he killed Pollster.

Speaker 10 (15:00):
I know he killed him.

Speaker 11 (15:02):
But if he is only a character in a book,
someone who exists only in a printed page, how could he?

Speaker 10 (15:08):
Oh?

Speaker 11 (15:10):
I get it. The ship must be based on a
real life character. And it's this character who murdered Pollister.
Now what do you mean?

Speaker 10 (15:18):
No, the shiz is totally a sigment of mister Pollister's imagination,
and yet it was the ship who committed the murder.

Speaker 8 (15:26):
But okay, have it your way.

Speaker 10 (15:32):
Oh please, don't be angry with me. If you want
to solve the Polister murder.

Speaker 11 (15:36):
Listen to me, Bonnie, listen, Ursula, what you are telling
me is imposs No.

Speaker 10 (15:43):
Bonnie, it's true.

Speaker 11 (15:44):
A character in a book can commit murder.

Speaker 10 (15:46):
Try to believe me. Trust me, I love you, the
first and only love of my life. Would I lie
to you?

Speaker 9 (16:00):
But sure I know how to handle that question. Chivalry
would prompt me to say no.

Speaker 7 (16:05):
But here we are dealing with the emotional and chemical
reactions that crackle between highly charged men and women.

Speaker 8 (16:13):
At any rate, our story has.

Speaker 7 (16:15):
Only begun, and we can withhold judgments and answers at
least till that too, which I shall bring you in
a few moments. Can a man be killed by a

(16:37):
character in a book? A completely fictional character whose only life,
if we can call it, that, exists on a printed page.
Before you answer that, he might pause to consider. For
all we know, we ourselves might be fictional characters in

(16:57):
somebody's book Fannie.

Speaker 10 (16:58):
I wouldn't lie to you.

Speaker 11 (17:00):
I wouldn't lie, No, not deliberately. But Ursula, how can
you hope to make me believe that a fictional character
can come to life and then commit a murder?

Speaker 10 (17:10):
Fannie? I can hope for anything now now that I'm
in love.

Speaker 11 (17:15):
Look, let's put that in its place too. And I
think it's gone.

Speaker 5 (17:19):
Far a long.

Speaker 10 (17:19):
Please don't say anymore, but I have to, all right.

Speaker 11 (17:22):
I admit, I admit I was flirting with you. After all,
I was trying to soften you up to get your confession.

Speaker 16 (17:29):
I know that.

Speaker 11 (17:31):
Then why do you.

Speaker 10 (17:33):
Why do I persist in maintaining this illusion?

Speaker 20 (17:36):
Yes?

Speaker 10 (17:38):
Because I have nothing else. This poor, pathetic illusion is
the best I ever have. This ridiculous flirtation and a
jail cells as close as I'll ever come to to
an intimate conversation with an attractive man.

Speaker 11 (17:55):
I'm sorry.

Speaker 10 (17:57):
I could sign a confession saying I plunge that knife
into Polister's heart. Would you like me to do that now? Yes,
even if it isn't true.

Speaker 11 (18:08):
But please don't place me in that kind of position.

Speaker 10 (18:11):
Then you really do care for me.

Speaker 11 (18:14):
Look, I'm a cop. I'm doing a job. Everybody knows
you killed Pollister?

Speaker 10 (18:21):
How does everyone know that?

Speaker 11 (18:22):
For crying out loud? There was no one else in
the house. The neighbors heard you both screaming at each other.

Speaker 10 (18:27):
But I said, I didn't do it.

Speaker 11 (18:30):
I know you were fighting about this, this fictional character,
the ship.

Speaker 10 (18:33):
But he's not fictional.

Speaker 21 (18:35):
He's real.

Speaker 11 (18:36):
Wait, you said before that he All I.

Speaker 10 (18:40):
Said was that he was created by mister Pollister.

Speaker 11 (18:44):
Now what am I supposed to believe? That Pollster could
create the type of character that can step out of
the pages of his book and plunge a knife into
Pollister's heart? Is that what I'm supposed to believe? Yes, oh,
ground Zero, We're not just back there, we're below there.

Speaker 10 (19:01):
It's true.

Speaker 11 (19:02):
Do you know what that sounds like? Do you have
any idea what.

Speaker 22 (19:05):
That sounds like?

Speaker 11 (19:06):
Yes?

Speaker 10 (19:07):
And do you know why I have the courage to
say it, to reveal to you my innermost secret, because
I love you.

Speaker 11 (19:15):
Yeah, it's true. I think I understand, and maybe it'll
even work for you. What are you talking about, as
if you didn't know you're laying the foundation for an
insanity defense? Is that what you think the figures?

Speaker 10 (19:31):
All right, Bonnie, I'll sign a confession.

Speaker 11 (19:34):
Now you're talking sense, and you will feel a lot better,
You'll see.

Speaker 10 (19:38):
No, I won't feel better. I'll feel deceived and abandoned.
You have this fantasy that I murdered mister Pollister, and
you want me to support it by signing a confession.

Speaker 11 (19:49):
Okay, Miss Underwood, you with Please don't leave me, not yet,
don't be over just yet.

Speaker 10 (19:58):
Let it last a little bit longer. Look at me
the way you looked at me before. Talk to me
softly and hold my hand. Then I'll do.

Speaker 11 (20:06):
Anything you say, anything, Miss Underwood.

Speaker 10 (20:11):
I can make it possible for you to find a shift.
You see. He killed mister Pollister for a reason.

Speaker 11 (20:20):
What reason?

Speaker 10 (20:22):
D aside? It means murder of a god.

Speaker 11 (20:27):
I don't understand what that means.

Speaker 13 (20:29):
D a side.

Speaker 10 (20:31):
I never thought about it until one morning. Instead of
dictating fiction, he said to me. Mister Pollister said.

Speaker 8 (20:40):
To me, I want you to take a letter to
the editor of the Times review.

Speaker 19 (20:47):
Yes, mister Pollster, sir, the stupidity of your reviewer is
too much to bear. Do you have that, yes, sir,
I am, he claims obsessed with blood and dead, very well.

Speaker 15 (21:00):
I have the right to be.

Speaker 19 (21:02):
I was created by a god who is also seemingly
obsessed with blood and death. Our entire world is based
upon blood and death, fighting, killing, or inborn instincts. War
is so easy, so common, so easily begun, that indeed
it must be second nature. I had merely a patterned

(21:23):
my worlds after the only world I know. All I
had done is stripped away the hypocrisy. I had exposed
us for what we are. Have that ready for my
signature sometime today? And now now let's return to chapter five.
His eye fell on a mace. With one blow, he

(21:47):
could shatter her skull. This Underwood, Yes, sir, you seem
to be in a trance. I'm sorry, I shall repeat.
His eyes had on a mace.

Speaker 10 (22:00):
I'm sorry, mister poser. I don't know what I was
thinking of.

Speaker 19 (22:04):
I thought, with one blow, I can shatter the skull.
I don't know what got into me, mister Underwood, Please
do not interrupt. Yes, the brilliant blonde hair would be
spattered with crimines.

Speaker 10 (22:21):
I was terrified of what you'd written in that letter
the editor. Why because I've never looked at.

Speaker 21 (22:29):
It that way before?

Speaker 23 (22:30):
What way?

Speaker 10 (22:30):
T then it had just been dictation. It meant nothing
just words, and I was putting them down, typing them out.

Speaker 11 (22:38):
Was I still don't follow the first time I.

Speaker 10 (22:41):
Realized that these real people?

Speaker 23 (22:45):
What do you mean?

Speaker 11 (22:45):
Real people? These are just characters in books?

Speaker 21 (22:48):
No, they live?

Speaker 16 (22:51):
They live.

Speaker 11 (22:52):
Yeah, well, you think I'm crazy when you talk this
way to a jury, and you'll have it lecked.

Speaker 10 (22:58):
Suddenly they were more than just words in a printed page.
They were really human. They had there's a word presence.
You're gonna laught me. Don't please, don't you? Don't you
love me? I couldn't stand that.

Speaker 11 (23:15):
I'm not laughing.

Speaker 10 (23:16):
He would draw them beautifully, so beautifully, and then he
would kill them. There was a man, a man named
named Chi Stephen.

Speaker 19 (23:30):
Shay, laughing, blue eyes and a flashing smile. Stephen Shay,
Freedom foot light of heart, singer of sweet songs, with a.

Speaker 12 (23:43):
Love for all mankind.

Speaker 8 (23:46):
Have you got there?

Speaker 19 (23:47):
Yes, sir Stephen Shay, who asked for nothing but to
make another human being happy. Stephen Shay, the modern drubidou,
who under the face of the earth, whose smile dispelled
the darkness? Have you got that on the page, Miss.

Speaker 10 (24:08):
Underwood, Yes, I've got it on the page. And I've
also got it in my heart. Please, mister Parson, don't
kill him. I don't believe I could stand it if
you kill him.

Speaker 19 (24:24):
A note to myself for this done, he Stephen Shay
will be the first victim of my newest character, the
ser Missus Underwood.

Speaker 8 (24:37):
Did you hear what I said?

Speaker 10 (24:38):
Are you? Are you going to kill Stephen?

Speaker 24 (24:41):
Say?

Speaker 8 (24:42):
What an odd question?

Speaker 11 (24:43):
Of course I'm going to kill it.

Speaker 8 (24:44):
But what else is he good for? To continue?

Speaker 19 (24:49):
Stephen she awoke that morning, that bright spring morning, the air.

Speaker 8 (24:56):
So fresh, so crisp, so clear.

Speaker 19 (24:59):
It crackle, Oh god, he said, thank you for giving
me such a morning.

Speaker 11 (25:07):
Poor Stephen Sheay.

Speaker 19 (25:09):
How was he to know this would be the last
morning of his life? Eh, well, it's a seven o'clock.
Take your break, miss Underwood, and we'll kill him.

Speaker 8 (25:23):
After lunch.

Speaker 10 (25:26):
And I walked out of his apartment. I was in
a daze, chemically automatically. I made my way to the
little restaurant down the street where I always took my meals.
I sat down at my usual choiet, out of the way,
small table. I sat there in silence. Fortunately the way
he was too busy to bother with me. I don't

(25:46):
know what I could have said to him. I knew
the tears were streaming quietly down my face. And then
I became aware of someone of two flashing blue eyes
and a bright smile. I looked into his face and
I knew this was Steve Jay, the singer of sweet Songs.

(26:08):
He was there at the table with me.

Speaker 23 (26:10):
Please save me, don't let me die.

Speaker 11 (26:16):
Save you.

Speaker 8 (26:17):
Oh, I don't want to die.

Speaker 11 (26:20):
Why should I die?

Speaker 23 (26:22):
Have I ever harmed anyone?

Speaker 10 (26:25):
He's going to kill me?

Speaker 16 (26:27):
I know?

Speaker 1 (26:27):
Can't you help me?

Speaker 10 (26:28):
What can I do? It's his will, It's God's will.

Speaker 11 (26:33):
But you're also divine? Who yes, you are.

Speaker 15 (26:39):
You're a goddess.

Speaker 25 (26:40):
You helped make me.

Speaker 10 (26:41):
You put flesh on my bones, blood in my veins,
thoughts in my head, but they belonged to him, that flesh,
those thoughts, But.

Speaker 23 (26:49):
You placed it all on the paper.

Speaker 15 (26:51):
You are the handmaiden to God.

Speaker 23 (26:54):
You are also divine.

Speaker 10 (26:55):
He won't listen to me.

Speaker 23 (26:57):
I beg you.

Speaker 11 (26:58):
I don't want to die. Please save me. I worship
you forever. Promise, Promise I'll try.

Speaker 10 (27:11):
And so I was determined to save him.

Speaker 11 (27:13):
No looks now, I want you to consider I very seriously.
The idea of seeing a psychiatrist.

Speaker 10 (27:21):
You know, don't bunny, don't treat me as if I
were mad. Just be kind and patient. But the sweet
I told him I would save him. But how how
could I keep this year from killing? Stephen?

Speaker 24 (27:35):
Say?

Speaker 10 (27:36):
What could I do?

Speaker 11 (27:38):
These things that you're saying, they're not really helping you.
You'll be shut up in an asylum for the rest
of your life. Now you're better off with the crime
of passion. Even self defense. The jewelry has to be
on your side.

Speaker 10 (27:51):
You don't believe what I'm saying.

Speaker 11 (27:53):
Characters who come off are printed page.

Speaker 10 (27:55):
But suppose you can meet them, see them, talk to
them yourself. Phil that it's impossible. Stephen, she is gone fled.
I don't know where he is.

Speaker 11 (28:05):
But the shive, What about the shive?

Speaker 10 (28:08):
He's here here, we're nearby at hand waiting for me
to call Okay.

Speaker 11 (28:16):
Then we're out of the woods. If you can produce
him the shive, you'd better do it.

Speaker 16 (28:22):
I will.

Speaker 11 (28:32):
All right.

Speaker 7 (28:33):
Now we're getting somewhere, or we're at that point where
you've got to put the money on the table or
walk away from the game.

Speaker 8 (28:41):
However, don't you walk away, because.

Speaker 7 (28:43):
It's a brand new game that we have for you
in Act three, which will happen here in just a
few moments. We speak of the characters in books as fictional,

(29:05):
which means they aren't real. But is that really true?

Speaker 9 (29:10):
Haven't so many fictional characters assumed a reality far more
meaningful than most of our so called flesh and blood
people Hamlet, Hug, Finn, Don, Quixote, Heidi. Haven't they been
around longer, created more of an impact than anyone alive today?

Speaker 8 (29:30):
What is real and what is fiction? What endures and
what disappears?

Speaker 11 (29:38):
You said you could produce the ship?

Speaker 10 (29:41):
Yes, well, when he will come to me and I
need him.

Speaker 11 (29:47):
Look, for the sake of argument, let's say he exists.
Why should he come forward?

Speaker 10 (29:54):
Why because he worships me?

Speaker 8 (29:57):
He worships you?

Speaker 11 (30:00):
This I wasn't ready for. Why should he worship you?

Speaker 10 (30:04):
Because I made him? I created a hole?

Speaker 11 (30:09):
Isn't I mean? Wasn't Pollister the maker? The creator? Yes?

Speaker 10 (30:14):
For fifteen years, Alista Pallister was the creator, but not
for the last book. In the end, I became a
creator you. Yes, you see, I was afraid of all
the evil mister Pollster was unleashing on the world.

Speaker 11 (30:31):
But all he was doing was just writing.

Speaker 10 (30:34):
Oh, he was creating people. You must understand people, Stephen.
She was a person, a wonderful human being. I had
to save him, and so I tried the only way
I knew how.

Speaker 15 (30:49):
Good morning, miss Underwood.

Speaker 19 (30:51):
I believe we begin with chapter seven, title introducing the Shiv.
It would be accurate to describe the raw material that
when the making of the Shive is pure, undialuted evil.
Some men worshiped old. He worshiped death. As some men

(31:14):
lusted after women. He lusted for blood. Killing was all
that mattered. He was a machine, a merciless, remorseless, relentless machine.

Speaker 10 (31:26):
Mister, yes, what is it? I know you don't like
to be interrupted, But is that right?

Speaker 15 (31:33):
It's what right?

Speaker 26 (31:34):
Well?

Speaker 10 (31:35):
Can any person ever be completely evil? Shouldn't there be
one redeeming feature?

Speaker 11 (31:40):
Who says so?

Speaker 19 (31:41):
I would imagine Underwood sloppy sentimentalism does not change the
basic facts of life or death. The Shive did not
know Stephen say didn't matter.

Speaker 12 (31:55):
The street was deserted. Shay had a throat. The Shiv
had a knife.

Speaker 19 (32:02):
There was no flare of anger, no sciral of excitement
before Stephen Shay was even aware of him. The razor
sharp blade of the knife had already severed his juggler.

Speaker 11 (32:22):
Would shif did kill Stephen Sha? No? But how can
you say? No? That's what Polister dictated.

Speaker 10 (32:28):
May have dictated it, but I didn't write it. I
wrote something else for real. Yes, I created a different character.

Speaker 11 (32:36):
How could you?

Speaker 10 (32:37):
I gave the ship another dimension. Oh he was still
a killer, but I gave him the ability to feel pity.

Speaker 23 (32:45):
What oh?

Speaker 10 (32:46):
What mister dictated was one thing? Well, I typed up
with something else. The Shive had a knife before Stephen
Sheay was even aware of the killer. The blade was
ready to ender the juggler, and Stephen Sheay suddenly saw death.
He said quietly to the shive, why why do you

(33:13):
want to kill me? And the Shive, who had spilt
blood a dozen times, was brought up short why And
quietly he turned and walked away and silently as quickly
as he had appeared. And as he walked, he kept

(33:33):
saying to himself why.

Speaker 23 (33:37):
Why?

Speaker 27 (33:42):
So?

Speaker 11 (33:43):
What you're saying is you rewrote the story Polister was dictating.

Speaker 9 (33:47):
Is that it?

Speaker 11 (33:48):
Yes?

Speaker 10 (33:49):
And that's how I became a creator. I became god,
at least for the chief. Because that night I was
asleep and suddenly I was awake. I don't know why.
I thought I had heard a voice calling to me.

Speaker 11 (34:03):
Well, what kind of voice?

Speaker 10 (34:05):
I didn't know at the time. I felt someone wanted me,
needed me, So I got out of bed, I dressed,
I went out. I followed the voice the way the
plane follows a beam of radar. I came to a hotel.
It was actually one of those cheap rooming houses. I
followed the voice to a room. I opened the door.

(34:27):
He was there in a small, shabby furnished room. Who
was the shift. He was on his knees.

Speaker 11 (34:36):
He was praying, Please, my God, come to me, show
yourself to me. Tell me what I have done? Please,
m M you got here, you called to me, help me.

(34:58):
I've killed a dus human beings. None of it ever
bothered me until tonight. Suddenly I felt such a terrible
wave of sorrow. Why why do I feel it? I
never thought I was doing anything wrong. I only felt

(35:20):
I was following the orders of my God.

Speaker 10 (35:24):
I was, wasn't I?

Speaker 11 (35:26):
Yes?

Speaker 10 (35:27):
But you see two gods were struggling for your soul,
and now you have a new master, the new Creator.

Speaker 24 (35:37):
Do you feel it?

Speaker 23 (35:38):
Yes?

Speaker 11 (35:40):
Now I feel it?

Speaker 10 (35:42):
Not a god of death, but a god of life,
not a god of darkness and hatred, but a god
of mercy and light. Yes, will you serve this god?

Speaker 11 (35:53):
Yes, I will serve this god and fight for this God.

Speaker 10 (36:02):
I give you my blessing.

Speaker 11 (36:08):
So now you're the god the goddess are. Whatever it
is to the ship, yes, you must believe it. And
where's posolo?

Speaker 15 (36:18):
This is going on?

Speaker 28 (36:19):
Now?

Speaker 12 (36:19):
Now here?

Speaker 11 (36:20):
You are rewriting everything he dictates, how sooner or later
he has to catch on right.

Speaker 10 (36:25):
Yes, the piper would have to be paid eventually. He
never bothered reading with that type. He assumed I'd got
a word for word. I usually did, and he would
have me deliver it to the publisher later when the
galleys were sent to us. It was my job to
prove for eating correct. So once he had dictated the words,
he saw nothing in print until the book was published. Well,

(36:49):
finally the Ship was published and released. I was in
the office when he read the reviews.

Speaker 8 (36:55):
The Shive.

Speaker 19 (36:57):
The most complex character Alice to Pallister has ever created, Bobbyclock.
This Ship is the most simple, uncomplicated. Though what do
they say at the times?

Speaker 12 (37:09):
Do you have it over them?

Speaker 15 (37:10):
Miss Underwood?

Speaker 11 (37:11):
Huh, thank you.

Speaker 19 (37:14):
Just as we expect the ship to murder Stephen, shea,
Steven looks that would be murdered in the eye and says,
why why.

Speaker 8 (37:23):
Do you want to kill me?

Speaker 19 (37:25):
And we feel a sudden chill because it has the
same force as another question asked so many years ago, Saul, Saul,
why persecute it?

Speaker 15 (37:36):
Avou me?

Speaker 19 (37:38):
This man is a fool. I never wrote anything like
Miss Underwood. Hand me a copy of the book.

Speaker 10 (37:48):
He opened the book and began to read. I could
see an entire parade of emotions move across his face,
first amazement, impuzzlement, and confusion.

Speaker 12 (38:00):
I'll sue that publisher.

Speaker 8 (38:02):
I'll have the shirt off his back.

Speaker 19 (38:05):
How dare this is not the manuscript you delivered? This
is not the galley proofs you corrected. Hand me the
carbon of your final drive.

Speaker 10 (38:15):
Mister poliser, they published the manuscript that was delivered.

Speaker 12 (38:19):
I'll have them recall every last cup.

Speaker 3 (38:22):
What did you say?

Speaker 10 (38:24):
What is contained in the book you now hold in
your hand is the manuscript that was delivered.

Speaker 19 (38:29):
Miss Underhood. Have you finally taken leave of all your senses?
How could such a manuscript be delivered? I never dictated
this nonsense.

Speaker 10 (38:38):
It's true you didn't dictate it, but I typed it.

Speaker 11 (38:42):
You typed it, Yes, sir, you typed it.

Speaker 10 (38:48):
I simply had to say Stephen Shehay's life, and I
had to give some humanity to the ship you had.

Speaker 11 (38:56):
You rewrote my book.

Speaker 12 (38:58):
I'll dare you presume.

Speaker 10 (39:00):
I dare presume anything. I am also a god.

Speaker 12 (39:05):
Leave this house this moment.

Speaker 10 (39:07):
Don't you dare shout at me. I'm your equal, I'm
more than your equal. I'm your superior. Because both of
us are gods. Both of us created a character. Both
of us gave him life, and he chose me. The
shive chose me. The shive worships me.

Speaker 19 (39:24):
You rewrote my book, you frustrated, dried up old maid.
Ask you, ugly rocket Spenser, dare you how dare you
will sult me?

Speaker 10 (39:36):
Shive? Teach him respect? Teach him shive? Are here you crazy?

Speaker 16 (39:40):
No?

Speaker 10 (39:41):
No, I didn't mean for the Shift to kill mister Pollister.
I only meant for him to teach mister Pollster a lesson.
But you see, I had forgotten how much violence there
is in man. It always slumbers underneath, ready to be awakened.
Do you understand, Bonnie?

Speaker 11 (40:02):
Yeah, yeah, yeah, I understand.

Speaker 10 (40:05):
He's so much like all of us, the Shiv. He
has a thin veneer of morality, but all the time
surging inside is violence, raging, mindless violence. Yes, well, now
do you believe me when I tell you that it
was the Shiv who killed mister Bollister?

Speaker 11 (40:23):
Miss Underwood, Let me tell.

Speaker 10 (40:25):
You what I think, Miss Underworld. Why do you call
me Miss Underworld?

Speaker 11 (40:30):
For fifteen years, day in, day out.

Speaker 10 (40:33):
We're not Miss Underwood and attending Chesterkovich. You and I
we're Bonnie and Nurse.

Speaker 11 (40:40):
You have been listening to a never ending story of
death and murder and violence with others, and so I
guess I have to say it's gotten to you. As
a psychiatrist would have a lot of technical terms for it.
But Miss Underwood, you have flipped.

Speaker 10 (40:58):
Miss Underworld. It's over. The sweetness has gone from your voice,
The soft, gentle light no longer shines.

Speaker 15 (41:07):
In your eyes.

Speaker 11 (41:08):
Misunderwood, you deliberately choose to misunderstand, so.

Speaker 10 (41:11):
You use me and cast me aside as if I
were some ordinary woman. But I do not choose to
let you go.

Speaker 11 (41:20):
Now you've had a very trying day.

Speaker 10 (41:22):
I am a creator, I am God, I have chosen you.
You will stay by my side always. You will remind
me constantly that I am a woman. You will love me.

Speaker 11 (41:36):
Look, I have to be young.

Speaker 10 (41:38):
You can't leave me.

Speaker 11 (41:40):
Chiv chiv. Make him stay, Miss Underwood. Look, don't try that.

Speaker 10 (41:47):
Make him stay, Make him stay. You're crazy.

Speaker 12 (41:50):
You get a crazy makes stay gone?

Speaker 11 (42:02):
Is Underwood. I'm Sergeant Joe Macelli.

Speaker 10 (42:05):
I didn't do it.

Speaker 11 (42:08):
We know what happened. For some reason, you started a
fight with Lieutenant Chesterkovich and you managed to grab the
gun from his holster, and you didn't do it, and
you shot him.

Speaker 10 (42:20):
Now, look, all you have to do is sign this
statement I didn't do it.

Speaker 11 (42:25):
Maybe you felt threatened, you might have lost your head.
We know you're frightened and confused. I didn't do it, Ursula.
Let me call you Ursula, and you should call me Joe.
We should be friends because we can help each other.
You understand, Yes, I understand you're a very unusual woman.

(42:46):
And I understand you're trying to seduce me. Oh no, no, no,
I'm only I don't mind.

Speaker 10 (42:56):
Don't spoil it. Please be kindly, Richard will be sweet.
I'll tell you who killed body, just to college, and why.

Speaker 9 (43:13):
I better get wise to that lady before she kills
off the entire police force. But wait, why did I
say before she kills?

Speaker 8 (43:22):
After all? Isn't it possible that a gentleman.

Speaker 7 (43:24):
Named the Shiv might have been taking an active hand
in the proceedings?

Speaker 8 (43:29):
Who is to say Ursula Underwood isn't a goddess.

Speaker 7 (43:33):
You'll have to admit our theater is one of the
few places in this world where you can have your
cake and eat it.

Speaker 8 (43:40):
I'll be back shortly.

Speaker 9 (43:53):
All the world, the poet said, is a stage. And
by this time we accept that we know we're all players.
We know we have our parts, whatever they are. We
know we have our entrances and exits. We know quite
a good deal. Except what we actually don't know is
the name of the show, where it's really playing, and

(44:18):
how long it's going to run. Our cast included Tammy Grimes,
Earl Hammond, Leon Janny, and Ken Harvey. The entire production
was under the direction of Hyman Brown Radio. Mystery Theater
was sponsored in part by Contact the Twelve Hour Cold
Capsule and Buick Motor Division.

Speaker 11 (44:36):
Missus E. G.

Speaker 7 (44:37):
Marshall Inviting you to return to our Mystery theater for
another adventure in the macabre.

Speaker 8 (44:44):
Until next time.

Speaker 29 (44:47):
Pleasant, let every ghost signal remind you that you do
go farther with Signal Gasoline the Signal Oil program.

Speaker 12 (45:28):
I am the whistler, and I know many things. For
I walk by night.

Speaker 30 (45:39):
I know many strange tales, many secrets hidden in the
hearts of men and women who have stepped into the shadows. Yes,
I know the nameless terrors of which they dare not speak.

Speaker 29 (45:58):
The marketers are signals.

Speaker 15 (46:00):
I must go farther.

Speaker 29 (46:01):
Gasoline and motor Oil invite you to hear another strange
tale by the whistler tonight, the story.

Speaker 11 (46:07):
Of a wild night on foggy seal.

Speaker 15 (46:10):
Rocks and the girl who was married to murder.

Speaker 29 (46:20):
But first, I'd like to take a moment to tell
you about Clyde Davis, a signal gasoline dealer in Alameda, California,
who has been working on cars since nineteen ten.

Speaker 25 (46:29):
War or No War.

Speaker 29 (46:31):
Davis's motto is service, the kind that keeps cars running
and customers smiling. The first and fifteenth of each month
are battery days at Davis' signal station, and the battery
of every customer is given a complete free inspection Another
thing Davis has a crank on is clean car windows.
If the shammis alone won't do the job, he uses Bonammy.

(46:52):
Davis doesn't run a repair shop, but his long experience
as a mechanic has helped many a customer avoid a
repair job. Such service surprises many folks these days, but
signal gasoline dealers have a reason for going out of
their way to please. For them, running a service station
isn't just a job. It's their permanent business, and they're

(47:14):
interested in making it grow by keeping customers satisfied. Fortunately,
the same services that keep drivers smiling are the ones
that help cars last out the duration. Wouldn't you say
that's a mighty good reason for getting acquainted with your
neighborhood's signal gasoline dealers.

Speaker 15 (47:32):
Soon, and now the whistler.

Speaker 30 (47:50):
In the night, the convoys form, ship by ship, slipping
in the line, moving out past the Golden Gate, past
the fog enshrouded seal rocks in a cold gone past
rocks where the tourists go, where the lovers go. You
heard a scream, yes, But the ships are not disturbed.

(48:11):
They move on out into the Pacific, leaving far behind
the body of a girl lying face down on the rocks,
their wash, reaching for her hair.

Speaker 12 (48:20):
Just a girl who fell off a cliff, fell or
was pushed.

Speaker 30 (48:30):
The finding of a girl's body on rocks creates hardly
a stir in the bustle of the city. The next day,
a brief item in the afternoon papers, a call for
the coroner, another.

Speaker 12 (48:40):
Entry in the police records. There are only a few
people who notice.

Speaker 30 (48:44):
If we were to look for them, we might find
them down on Montgomery Street, in a dirty little bar
where artists and would be artists and slummers hang out.

Speaker 12 (48:53):
Yes, there are a lot of people here.

Speaker 30 (48:55):
Who might know something about a body twisted on the rocks.
For instance, that blonde giant at the end of the bar,
sitting with his head in his hands. For the girl
walking up to him, now sliding into the seat beside her.

Speaker 23 (49:07):
Greck.

Speaker 25 (49:09):
I thought I'd gotta tell you they're looking for you.

Speaker 15 (49:11):
Huh oh, hello, Cassie, who's looking for me? You know who?

Speaker 31 (49:15):
The police they're asking questions about Maureene.

Speaker 28 (49:18):
I know you knew it, so what why should they
ask me questions about her? Woman like her jumped off
cliffs before.

Speaker 31 (49:23):
Don't try to kid me, Rick, Remember I'm Cassie Maureen's
room mate.

Speaker 16 (49:29):
I know her better than even you did.

Speaker 15 (49:31):
Yeah, I guess you did. Maybe I never really knew
very well, well.

Speaker 31 (49:35):
Enough to break her heart, maybe well enough to want
to get rid of it.

Speaker 15 (49:41):
What are you talking about?

Speaker 31 (49:42):
You needn't pretend with me, Rick, Maureen had no secrets
with me. She told me everything, and I told the
police I had to, Rick, They kept pumping me.

Speaker 15 (49:51):
I had to. What did you tell them, Cassie.

Speaker 16 (49:54):
I told them that you loved her.

Speaker 31 (49:55):
Once, that another woman had taken her place. A society
damned gon bohemian, a blonde and beautiful heiress looking for
a thrill by flirting with a poor struggling artist and.

Speaker 15 (50:04):
A turtle neckt sweat enough leaves Sally out of it.

Speaker 10 (50:07):
She's the next.

Speaker 31 (50:09):
Marine was too good to take a back seat to
any miss Mooney. Okay, okay, I mean one more thing
I told the police about last night. What do you
mean you and Marine had a quarrel last night, just
a few hours.

Speaker 14 (50:23):
Before she died.

Speaker 28 (50:24):
Yeah, okay, so we quarrel. That doesn't mean she had
to go jump in the ocean, doesn't.

Speaker 25 (50:30):
No, it doesn't.

Speaker 14 (50:32):
I'm pretty sure that that's what I told.

Speaker 9 (50:34):
Her to take.

Speaker 28 (50:34):
You saw your accusations of murder around pretty freely, don't you, Cassie.

Speaker 31 (50:38):
No, not usually, Rick, But I like Marine. She was
more than a fine sculptors.

Speaker 25 (50:42):
She was a swell person.

Speaker 31 (50:44):
She was just about the best of this bohemian melting
pot done here. And I don't like to think of
her being pushed off that Cliff.

Speaker 5 (50:50):
Just remember that.

Speaker 31 (50:51):
I'll do anything I can to help them get to
the truth of this.

Speaker 15 (50:54):
I'll remember it, Cassie.

Speaker 25 (50:56):
Yeah, I guess you will.

Speaker 31 (50:58):
Okay, Rick, better get your answers ready, because if I'm
not mistaken, that Dick who just walked in looking for you.

Speaker 12 (51:13):
Yes, Rick, he's looking for you.

Speaker 30 (51:15):
You know that you've been expecting it. You've been curious
to see what he looked like, what expression he'll have
on his face.

Speaker 12 (51:22):
In a minute, you'll know. So gulp down that drink. There,
that's better, And there he is.

Speaker 30 (51:27):
You can see his face sliding into the spot in
the mirror where Cassie was a minute ago.

Speaker 15 (51:32):
You were, Carlson. That's right.

Speaker 28 (51:34):
I'd like to ask you if you questions. Yeah, I know, Okay,
go ahead. It's about Marine, that's right. You know her
pretty well, of course you know I did.

Speaker 15 (51:42):
She was in love with me.

Speaker 28 (51:44):
I didn't love her anymore. I took her to dinner
last night, we quarreled, she left, that's all I know.

Speaker 15 (51:49):
What about miss Blair? What she got to do with this?
And then all MAYBELLI had nothing to do with that.
She didn't even know Marine. Leave her out of it.

Speaker 28 (51:55):
I'm not sure we can. It's Marine, they tell me,
was a jealous girl, unpredictable. We're able to do a
lot of things, say a lot of things. Blairs are
a fine family, good name. They wouldn't like their daughter
mixed up with a gohead, said a bohemian crowd of artists.

Speaker 15 (52:12):
Maybe you didn't want Marine to go to the Blairs
with the story.

Speaker 28 (52:15):
And it'd be so easy to keep her quiet. Just
a shove at the right time, simple and the fog
out there, simple and shoe listen you whoever you are. Okay, okay,
take it easy. I was only guessing. But it all
fits pretty.

Speaker 15 (52:31):
Well, and then it fits only I wasn't there. Oh
that's right, you said she left you after the quarl?
Where was that?

Speaker 9 (52:40):
At?

Speaker 15 (52:40):
A little fish restaurant at the beach near the rocks?
Not very far. I see, but you didn't go with
her to the rock now, and you might have to
prove that. I suppose you can.

Speaker 14 (52:53):
Yes, he can, go on, Rick, tell him it's all right.
You needn't worry about dragging me into it.

Speaker 15 (52:58):
Tell him you were with me, Sally, Oh, this is
miss Blair. I presume that's right.

Speaker 14 (53:04):
And you see, officer, you're on the wrong track if
you're suspecting Rick. He couldn't have pushed Marine off the
cliff because he was with me last night from ten
o'clock on. You see, Rick's painting a portrait of me,
and we worked through most of the night. It was
after dawn when we stopped.

Speaker 28 (53:18):
I see, Okay, I guess I was wrong. Thanks for
your time. You're a lucky man Orson, and I guess
you'll know that.

Speaker 15 (53:28):
Yes, yes, I know. Goodbye, goodbye.

Speaker 14 (53:34):
Well aren't you going to invite me to have a drink?
I'm simply burning with thirst and your glasses empty? Good
let's have two old fashioned bishop? What darling, don't you
want another one?

Speaker 15 (53:44):
Sally?

Speaker 27 (53:45):
What?

Speaker 32 (53:45):
Rick?

Speaker 33 (53:45):
What is it?

Speaker 14 (53:46):
He looks so upset?

Speaker 11 (53:48):
Oh?

Speaker 14 (53:48):
Of course our thoughtless of me. Naturally, you're upset about
Marine wasn't it dreadful? And then you were very friendly
with her one time? Weren't you before you met me?

Speaker 15 (53:59):
Of course, Sally? Why did you do it?

Speaker 16 (54:01):
What?

Speaker 10 (54:02):
Dear?

Speaker 15 (54:03):
Tell him? You were with me last night?

Speaker 14 (54:05):
That well, after all, you're the man I love, and
naturally I'd hardly want anything to happen to you that
would take you away from me, just because you couldn't
prove where you were. Thanks, Sally, It's all right, Rick, Darling,
let's just forget it now, it's all over.

Speaker 34 (54:19):
No, Sally, that's just what I'm afraid of. It's probably
not over. They won't give up so easily. Now you'll
be dragged into it.

Speaker 15 (54:25):
I don't want that.

Speaker 14 (54:26):
It's all right, Rick, I don't mind. It might even
be fun. Yes, an investigation right here in our own group,
all our secret lives exposed, and nothing can happen to you.

Speaker 15 (54:37):
You were with me, I mean that much to you.

Speaker 14 (54:41):
After all, you're the man I'm going to marry.

Speaker 15 (54:45):
Sally.

Speaker 23 (54:45):
You mean.

Speaker 15 (54:47):
You mean you really will?

Speaker 14 (54:48):
Of course I intended to do all along, didn't you know?
And after all, a girl can't say yes too quickly,
can't she?

Speaker 11 (54:54):
Oh?

Speaker 15 (54:55):
Sally? No, But Darling, think this marine business may be messy,
scandal on the papers. What about your family?

Speaker 14 (55:01):
I never mind about them. I'm determined to marry you, Rick,
especially now, and nothing nobody can stop me. Don't worry,
Darling about me. I think it's going to.

Speaker 15 (55:11):
Be thrilling, thrilling. Everything's thrilling to you, isn't it.

Speaker 14 (55:16):
Yes, because I live that way. I couldn't stand it,
just living like most people, without any excitement or danger.
What's the good of living if you can't have any fun?

Speaker 28 (55:24):
No, of course not, Darling, of course not. And when
this mess is over and forgotten, I'll.

Speaker 15 (55:29):
Make you happy, very happy.

Speaker 14 (55:31):
Oh yes, Rick, I'm sure you will when it's over.

Speaker 12 (55:39):
When it's over. But it's not over yet, Sally. In
spite of your loyal attempt to save Rick, he's not
quite safe yet. Some people are so suspicious.

Speaker 30 (55:49):
Some people aren't yet convinced of his innocence. Yes, there's
going to be a trial for murder, the murder of Maureen.
The date had been set, and as the district attorney
prepares his case, he finds that each way he turns
is a barrier, one barrier between him and conviction.

Speaker 15 (56:06):
Sally, Oh, good afternoon, miss Blair.

Speaker 14 (56:11):
Thank you.

Speaker 15 (56:12):
I call you in because I just wanted just a
few words with you before the trial.

Speaker 14 (56:15):
All right, I'm here.

Speaker 28 (56:17):
What is it, Miss Blair. I'm gonna be very frank
with you. All the evidence in the Morrison Girl's case
points to the guilt of Richard Olsen. The coroner's jury
believed him guilty. I believe him guilty. Any jury in
the world would convict him on the evidence except for
one thing.

Speaker 23 (56:32):
Your word.

Speaker 14 (56:33):
Yes, I know he's innocent because he was with me.

Speaker 15 (56:36):
That's your story.

Speaker 14 (56:37):
You don't believe me.

Speaker 28 (56:38):
That's beside the point. It's my job to convict Richard
Olson if he's guilty.

Speaker 15 (56:42):
I'll try to do that. But I said I would
be frank. I haven't a chance. If you testify that you.

Speaker 28 (56:47):
Were with him, the jury will take the word of
miss Sally Blair, the daughter of a powerful and famous family.

Speaker 14 (56:53):
Yes, of course.

Speaker 28 (56:54):
Well it's for that very reason, Miss Blair, that I
asked you to stop and think a moment of yourself,
of your family, your position. If it should turn out
later that Richard Olson was indeed guilty.

Speaker 15 (57:04):
Could you forgive yourself for having aided a murderer?

Speaker 14 (57:07):
But he's not guilty.

Speaker 26 (57:08):
He was with me.

Speaker 14 (57:10):
Perhaps you haven't heard that Richard Orson and I are
going to be married. Married, Yes, as soon as this
farce is over. So you see, mister district attorney, you're
wasting your time.

Speaker 28 (57:19):
See and you think that you, the daughter of one
of the best families in San Francisco, will be happy
living the rest of your life with a murderer.

Speaker 14 (57:26):
Crime has to be proved.

Speaker 28 (57:28):
Rick will be acquitted, Yes, I guess he will, and
so miss Blair, he will go that far for another thrill.

Speaker 14 (57:36):
I don't know what you mean. I'm marrying the man
I love. He's accused of a crime of which I
know he's innocent. I will testify to that effect.

Speaker 15 (57:44):
Rick was with me very well, Miss Blair. May I
wish you a very happy married life.

Speaker 30 (57:53):
And so Rick, you're going free thanks to Sally and
her testimony. And when the trial is dismissed and you're free,
you'll take you to that dirty little bar that was
your rendezvous and you'll tell her about all the things
in your heart.

Speaker 15 (58:14):
You don't know what it is self. You'll be free.

Speaker 35 (58:17):
Now.

Speaker 34 (58:18):
I used to sit in that cell and think about
you and your portrait. Wonder if i'd ever see you again.
I wanted if i'd ever finish my picture of you,
so that everybody could see your beauty.

Speaker 15 (58:29):
Darling. It'll be a great portrait, really great, of.

Speaker 14 (58:32):
Course it will, Darling. After we're married, you'll have all
the time the world painted.

Speaker 28 (58:36):
Yes, yes, after we're married next week, Darling. Let's go
down and get the license right now.

Speaker 14 (58:42):
Oh wait, Rick, just one thing. You do love me,
don't you.

Speaker 15 (58:46):
You know I do more than you did Marie, much
much more.

Speaker 14 (58:51):
I just wanted to be sure Rick, Yes, Rick, why
did you do it?

Speaker 3 (58:57):
Why did you kill her?

Speaker 12 (59:00):
Sally?

Speaker 14 (59:00):
I don't look so startled. I knew all along. I
just wondered why you did it.

Speaker 34 (59:06):
Let's not talk about it. Let's leave it as dead
as Marine is. Let's be happy and not talk about
it ever. Or maybe you'd rather not go through with
this now.

Speaker 14 (59:19):
Of course, Darling, I made my choice. You love me,
I love you. That's enough. We'll both forget Marine if
we can.

Speaker 29 (59:34):
You are listening to the Signal Oil program, Let every
go signal remind you that you do go farther with
signal gasoline.

Speaker 30 (59:58):
And so Rick acquitted of murder, and Sally who saved
his life, even though she knew he was guilty.

Speaker 12 (01:00:03):
Were married.

Speaker 30 (01:00:04):
Not a very happy start for a marriage worth it, Rick,
It's somehow changed things to know that Sally knew. But
then it was only Sally, charming, beautiful Sally who got
a thrill out of life. After all, she wouldn't have
saved you, wouldn't have married you if she hadn't loved you,
would she?

Speaker 15 (01:00:22):
Sally? Hurry, Come see the portrait. I finished that. It's wonderful.
Come and see it. But aren't you excited?

Speaker 5 (01:00:30):
No?

Speaker 14 (01:00:31):
All right, rem brand where is it?

Speaker 15 (01:00:33):
Don't joke?

Speaker 23 (01:00:34):
Sweet?

Speaker 15 (01:00:34):
This is my masterpiece, cast not upon of the jaundiced eye.

Speaker 16 (01:00:37):
Ha.

Speaker 14 (01:00:39):
It's very good, Rick.

Speaker 15 (01:00:41):
I think it was sell by Jupiter. The woman's a
commercial money grabber.

Speaker 11 (01:00:45):
Sell nothing.

Speaker 15 (01:00:45):
It'll be famous, Do you really think so. I'm glad
it's a great painting, Sally, because you're in every line
of it.

Speaker 12 (01:00:51):
You and my love for you.

Speaker 14 (01:00:53):
That's very sweet of you.

Speaker 15 (01:00:54):
Rick, You're so cool.

Speaker 14 (01:00:56):
Why WELLA I thought you said the portrait was of me?

Speaker 15 (01:01:00):
Yes, and so a compositive all the loveliness.

Speaker 11 (01:01:03):
Of the world.

Speaker 14 (01:01:04):
Rick, I don't have green eyes, neither does it?

Speaker 15 (01:01:10):
So she does? Do you know I didn't realize it.
I meant to make them blue.

Speaker 14 (01:01:15):
And my nose doesn't turn up like that. I'm not complaining,
you understand.

Speaker 15 (01:01:19):
If someone don't start that again? Please?

Speaker 14 (01:01:22):
Rick, are you really happy with me?

Speaker 15 (01:01:25):
My gosh, what a question.

Speaker 14 (01:01:26):
But you never go out. You just sit here night
after night and brood. I like to stay home, Rick,
Are you in love with a girl with green eyes?

Speaker 15 (01:01:33):
Don't be silly? I love only you and you know it.

Speaker 28 (01:01:37):
Besides you yourself say, I haven't left this studio in weeks.
A fine clandestine love affair, that is.

Speaker 14 (01:01:42):
Let me see the picture again.

Speaker 15 (01:01:43):
Huh yeah?

Speaker 14 (01:01:46):
Didn't Mariene's nose turn up that way? And if I
remember her eyes were green? Just that shade of green?
Your conscience bothering you?

Speaker 15 (01:01:55):
H shut up? We weren't going to talk about her.

Speaker 14 (01:01:58):
Why don't you want to talk about her? What are
you so afraid of? Does she haunt you?

Speaker 15 (01:02:02):
Not being jealous of a corpse, Sally? Can't you stop
hating her now that she's dead?

Speaker 14 (01:02:06):
I'm not jealous, Rick, and it was never Maureen. I
hated never.

Speaker 15 (01:02:10):
That has a chilling sound. What are you driving at?

Speaker 14 (01:02:13):
Or is that what killing someone does? Does it make
you fall in love with them. Let go of me, Rick,
don't hurt me. I'm your wife. Remember, you don't have.

Speaker 10 (01:02:24):
To be afraid of me.

Speaker 14 (01:02:25):
You know that, don't you. I'm not sure you're so afraid.
I thought it would be exciting being married to a murderer,
that we'd have a deadly secret to share as no
one else could. But it's dull. We can't do this,
and I can't say that because you're afraid. You'd like
to hate me. But you don't even dare do that.
Loving me is all that keeps you together. It's dull, Rick.

Speaker 15 (01:02:51):
I imagine that you'll manage to find some amusement.

Speaker 14 (01:02:55):
I imagine I will sooner or later.

Speaker 30 (01:03:00):
Yeah, well, Sally is being married to a murderer beginning
to bore you. But as Rick says, I imagine you'll
find some amusement, even if it's only with Tommy Melvin.

Speaker 14 (01:03:17):
I need a drink, Come on, Tommy, buy anyone?

Speaker 15 (01:03:20):
Where's Rick?

Speaker 14 (01:03:20):
Oh he's it an art dealers, he'll be along.

Speaker 16 (01:03:22):
You know.

Speaker 14 (01:03:22):
Sometimes I think he loves that painting better than me.
Let's have zombies.

Speaker 20 (01:03:26):
Huh Oh, that's pretty strong.

Speaker 14 (01:03:27):
I like strong things, exciting things.

Speaker 15 (01:03:31):
You're bored aren't you.

Speaker 36 (01:03:32):
I'm very happy with Rick, are you not very? It
was none of my business, of course, But why did
you marry him? He's hardly your time.

Speaker 14 (01:03:42):
Marrying Rick was the biggest thrill I've ever had.

Speaker 20 (01:03:46):
Can you do anything for a thrill, wouldn't you?

Speaker 12 (01:03:49):
I like that.

Speaker 14 (01:03:50):
I poor easily, Tommy, and I don't like being bored.
I want to feel everything I can, every emotion, every
experience I can crowd into my life.

Speaker 36 (01:03:58):
Good Andy, you're without conscience. Sally, you could do anything
and not look back. I like that too, Thanks, But
I don't quite see you're marrying Rick in that life.

Speaker 14 (01:04:11):
I didn't think you would.

Speaker 12 (01:04:12):
You could leave him.

Speaker 11 (01:04:13):
You know.

Speaker 15 (01:04:14):
I'm going to New York next week and you could
come along, Sally.

Speaker 12 (01:04:17):
I'd like to have you.

Speaker 14 (01:04:18):
Thanks, Tommy, you're sweet. It might be fun. Give me
some time to think it over.

Speaker 15 (01:04:23):
I'll let you know tomorrow.

Speaker 14 (01:04:24):
All right, here comes Rick, You're better leave. Oh tell me,
here's a nickel drop it in the jukebox wire you
number seventeen.

Speaker 15 (01:04:31):
Sure you won't forget so no, no, I'll call.

Speaker 14 (01:04:35):
You in the morning. Hello, darling, I've been waiting for it,
so I see, but not alone. Rick you're not jealous
of Tommy.

Speaker 15 (01:04:45):
No, no, I guess.

Speaker 14 (01:04:49):
You have a drink.

Speaker 28 (01:04:49):
No, Sally, listen, I've got to talk to you. We've
got to come to some understanding. I found my painting
on the back porch this morning. The fog might have
ruined it. That painting is great. It will hang in
the Metropolitan. It's more important than my life.

Speaker 23 (01:05:06):
Sally.

Speaker 15 (01:05:06):
Remember that.

Speaker 14 (01:05:07):
I'm sorry you're so morose lately, dear wrong.

Speaker 15 (01:05:11):
I don't like it, Sally. I don't see you anymore.
You're never home.

Speaker 34 (01:05:14):
You're always here or out with that Tommy Melvin. And
when we are together, you ask questions like how does
the tide sound to two in the morning, or you
wonder what that murderer in San Mateo feels. And you
watch me when we passed Marine's old apartment house. When
I hear a police siren in the street, you watch me,
You watch me and watch me.

Speaker 15 (01:05:33):
I don't like it.

Speaker 14 (01:05:34):
How suspicious you are.

Speaker 15 (01:05:35):
I'm not kidding, Sally.

Speaker 34 (01:05:37):
I've walked around and around the streets making up my mind,
and now I'm determined to say it out.

Speaker 15 (01:05:43):
You married me for the thrill of marrying a murderer,
nothing more. Isn't that true?

Speaker 14 (01:05:46):
Old your boys down? Rick, gu I think you're afraid
of me.

Speaker 15 (01:05:51):
Maybe I am.

Speaker 14 (01:05:52):
You needn't worry. I won't tell the police. I'm your wife.

Speaker 15 (01:05:56):
Remember, that's not what I'm afraid of.

Speaker 14 (01:06:00):
Perhaps you'd like to push me off a cliff too,
but you can't do it. You love me far too
much to hurt me.

Speaker 15 (01:06:08):
You're right, Lord, how I wish I didn't.

Speaker 14 (01:06:13):
I don't mind. Let's go to dinner, darling down at
the beach. I want you to take me to that
fish place down on the cliff near the rocks.

Speaker 15 (01:06:20):
Huh, Sally, You know I don't want to go there.

Speaker 33 (01:06:22):
Why not?

Speaker 14 (01:06:24):
Because you took Marine there that last night. Rick, You
must get over that silly fear. Besides, I want to
go there. We'll have dinner, and then I I want
to take a walk along the beach. I love the
sound of the surf at night.

Speaker 37 (01:06:41):
Don't you.

Speaker 24 (01:06:41):
Rick.

Speaker 30 (01:06:55):
There's something strange here, Rick, something very strange. You sense
it as you sit opposite her at dinner, just like
you said opposite Marine that night. Only there are things
you don't notice, like those pills he slipped into your
coffee cup. And when you leave and start walking down
the beach. You aren't really aware of where you are, Sally, Sally,

(01:07:20):
slow up.

Speaker 15 (01:07:22):
I can't seem to keep up with you.

Speaker 14 (01:07:23):
Come on, dear, We're almost there.

Speaker 34 (01:07:26):
I feel sort of strain, I don't understand, sort of
sleepy entire Hu.

Speaker 14 (01:07:33):
Come on, Rick here here, give me your hand there now,
sit right over here?

Speaker 23 (01:07:39):
Where Sally? Where are we?

Speaker 15 (01:07:43):
This place seems familiar?

Speaker 14 (01:07:44):
But I can't of course it's familiar, Rick. Down below there.

Speaker 15 (01:07:47):
Are the rocks, the rocks, Sally, Why did you come here?

Speaker 14 (01:07:52):
Particular reason? I like the moonlight on the rocks.

Speaker 15 (01:07:55):
There's no moonlight. It's foggy.

Speaker 14 (01:07:57):
Never mind, I like it here. Know what's the matter, Dear?
Does your conscience bother you? I thought Harden murderers got
over that. Are you afraid?

Speaker 25 (01:08:07):
Rick?

Speaker 15 (01:08:07):
Huh? I don't know. I can't seem to think I'm tired,
but I think I'm afraid.

Speaker 14 (01:08:16):
Yes, you'd like to push me off, wouldn't you to
see my body on the rocks down there, with a
tide reaching for my hair as it did for marines?
But it won't work twice? Rick, you know that, And besides,
you love me too much?

Speaker 23 (01:08:27):
Sally?

Speaker 15 (01:08:28):
What are you doing let's get away from it.

Speaker 10 (01:08:30):
Wait.

Speaker 14 (01:08:30):
I want to tell you something. I'll tell you first.
I'm going to leave you, Rick. I'm going to New
York with Tommy Melbourne. But you won't care, Rick, because
you see, I'm not going to fall off this cliff tonight. Rick,
But you are you were right. I married you only
for the thrill of being married.

Speaker 3 (01:08:47):
To a murderer.

Speaker 15 (01:08:49):
Sally, What are you saying?

Speaker 3 (01:08:50):
But that's a thrill.

Speaker 14 (01:08:50):
If paled very easily, murder itself will be a much
bigger one.

Speaker 23 (01:08:54):
Are you crazy?

Speaker 15 (01:08:54):
Do you think I'll let you push me over?

Speaker 14 (01:08:56):
You can't stop me, Rick. You see you can't even
stand up without weaving. You won't be able to lift
a finger to stop me. I put your own sleeping
powders in your coffee. It's nothing. A doctor will turn.

Speaker 15 (01:09:06):
Up, but it's enough, Sally. You can't get away with it?

Speaker 21 (01:09:08):
Why not?

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

Speaker 14 (01:09:09):
They'll say your conscience bothered you, that you returned to
the scene of your crime and killed yourself. It will
be very neat. You weren't a very good killer.

Speaker 15 (01:09:16):
I'll be a much better one, Sally. In God's name, goodbye,
my darling.

Speaker 14 (01:09:20):
You'll be with your green eyed glove in the water,
and I shall be free of your boat.

Speaker 16 (01:09:25):
Fun.

Speaker 14 (01:09:26):
But you were afraid, you won't be afraid anymore.

Speaker 29 (01:09:29):
Rick, But that's not all of this strange story. In

(01:09:49):
a moment, the whistler will be back to tell you
what really happened. Meantime, I think you'd like to hear
how science has finally defeated the grape cause of gasoline
waste and motor troubles.

Speaker 15 (01:10:00):
Carbon.

Speaker 29 (01:10:01):
Motor experts say carbon causes noise, overheating, loss of power,
and often the destruction of expensive motor parts. After years
of research, engineers have found a formula that actually dissolves carbon,
and that priceless formula is incorporated into every quart of
Signals famous four Star motor oil as a result. Signals

(01:10:24):
four Star Motor oil helps motor performance in not just one,
but two important ways. First, its rich paraffin base protects
moving parts with a tough, lasting film of lubricant that
resists heat and wear. And second, signals four Star oil
actually dissolves out carbon to help your motor run better

(01:10:45):
and your gasoline go farther. Since both gasoline mileage and
motor performance are doubly important these days, one of the
greatest favors you could do your car and your ration
coupons is to switch to signals finer carbon removing motor
oil that costs no more than ordinary oils. So if
it's been a thousand miles or two months since you've

(01:11:06):
changed oil, drive into your neighborhood signal dealers and say
drain and refill with Signal four star motor oil.

Speaker 8 (01:11:15):
And now back to the whistler.

Speaker 30 (01:11:27):
Yes, Sally got her biggest thrill at last. She gave
Rick sleeping powders and pushed him over the cliff. But
then something went wrong For a girl who had committed
murder for a thrill, she suddenly lost her nerve. It
was only a little light from a coast guard boat,
but it sent her running along the cliff, slipping, sliding,
taking the wrong turns, and finally, yes, over she went.

(01:11:52):
They found her body next morning. Rick told him where
to look. Yes, Rick, he didn't die, He was only
injured on the rocks. It was Sally who died by
her own hands, you might say, But the police didn't
see it that way. They didn't know Sally was the
girl Rick loved too much to kill, so they said
she was pushed twice was enough, so Rick was sent

(01:12:14):
up state for a permanent change of address. Only just
before he left, a strange thing happened. The committee from
the Metropolitan Museum of Art came to see his painting.

Speaker 12 (01:12:24):
They were a little surprised. It was very beautiful, but there.

Speaker 30 (01:12:27):
Had been an accident. Someone had been a little careless
with some paint or remover. The girl in the picture
had no nose, and you couldn't tell if her eyes
had been blue or green. Sallie might have known, but
then the Rocks don't tell their secrets. The tide doesn't testify.

Speaker 12 (01:12:47):
Woo.

Speaker 29 (01:13:20):
Next Monday, at nine o'clock, the Signal Oil Program will
bring you another strange tale by the Whistler. The Signal
Oil Program is broadcast for your entertainment by the Signal
Oil Company, marketers of Signals Famous Go Farther Gasoline and
Motor Oil, and by your neighborhood Signal Oil dealer, who

(01:13:42):
is at your service daily to keep your car running
for the duration. The Signal Oil Program was produced and
directed by George w Allen. A story by Robert Libbott
and music by Wilbur Hatch is transmitted to our troops
overseas by the Armed Forces Radio Service. Bill Pennell speaking

(01:14:03):
for your friend, the Signal Oil Company, and suggesting once
again that you let every go signal remind you that
you do go farther with Signal gasoline. This is CBS,
the Columbia Broadcasting System.

Speaker 9 (01:14:44):
We bring you the Witches Case, written and produced by
Alonzo D.

Speaker 12 (01:14:51):
Coles.

Speaker 17 (01:14:52):
The Witches ca.

Speaker 23 (01:15:05):
It is hard.

Speaker 38 (01:15:05):
Purpose in these programs perform a double function by providing
thrilling entertainment and also by bringing you important information in
a brief message. Tonight's message may save you or other
members of your family. Need is needless suffering from distressing pain.
I've heard a pain which you recognize as rheumatism and
new writers or discomfort in the kidneys.

Speaker 23 (01:15:26):
In the back.

Speaker 38 (01:15:28):
Now, most of you know that for many years, wealthy
people were sent to famous European mineral springs and came
back reporting enthusiastically that the expense of the trip was
well worthwhile those European mineral waters relieved them of the
pains of rheumatism, new writers and kidney troubles, and renewed
Bible energy was reflected in their faces and in every

(01:15:48):
step they took now I've reminded you of this so
that you will understand why Crucian salts released pains of
rheumatism and similar ailments so quickly and effectively. Crusion was
developed to duplicate the therapeutic effect of those famous European springs.
Krucion contains those elements in a balanced combination of six

(01:16:09):
mineral health salts. Doctors know this remarkable Crucian formula know
that it is absolutely harmless and marvelously effective. That is
why Krusian is prescribed by more adoctors throughout the world
than any other medicinal source or crystals. If you are
subject to rheumatism and new ritis or kindred ailment, let

(01:16:29):
Krucion gently but surely rid you of the poisons which
have secretly accumulated in your system and you will be
amazed at the results. For these poisons circulate through the
blood stream and set up an aggravated pain that gradually
gets worse if it isn't properly relieved.

Speaker 23 (01:16:47):
Don't put up with it needlessly.

Speaker 38 (01:16:48):
Another day when your nearest drug counter has crusion, that
word Krusian spelled k r U s c h e
N has meant joy to millions of grateful people in
countless homes. It keeps happy folks free from acidity, free
from massive course headaches, sour stomach and flatulence, and free
from the aches and pains of rheumatism, new writers and

(01:17:11):
distress kidneys. As your doctor will confirm, all these troubles
can be related to each other. So tomorrow join the
millions who keep themselves feeling fifth and looking fip due
to crucion. Learn for yourself what it means to always
have that Crucian feeling.

Speaker 23 (01:17:29):
And now for our visit to all nancies and her
wise black.

Speaker 39 (01:17:33):
Cat Hannah and five year all I be today, Yes,
sir Hannah, and five you will, Satan.

Speaker 40 (01:17:49):
It's a real bedtime sorrow.

Speaker 41 (01:17:51):
We got the folks tonight. Everybody dots how them light sooth.
We have it nice and down. Our little little tales
is best listened to amongst the ghostly shadders. Now draw
up to the fire and gaze into members, Gaze into

(01:18:13):
em gee, and.

Speaker 40 (01:18:15):
Soon you'll be across the seas in England.

Speaker 10 (01:18:20):
Thear begins.

Speaker 41 (01:18:21):
I am of Rock, A bye baby, Rock, A bye baby.

Speaker 11 (01:18:44):
To mister Melbourne, you don't honestly believe what you just
said the room.

Speaker 42 (01:18:50):
In the east tarn of this old marchion, which is
positively haunted.

Speaker 40 (01:18:53):
Missus Beacon, he's just fooling his knee. No, indeed, Missus Christie,
I share, mister manwas the fiance.

Speaker 25 (01:18:59):
That is how our room is squeer.

Speaker 23 (01:19:01):
So do I.

Speaker 43 (01:19:03):
I wouldn't enter the priests after someone for twenty thousand pounds.

Speaker 40 (01:19:07):
Robert, I never heard of such a thing. Three grown
up people bleeding.

Speaker 23 (01:19:10):
In when everybody's entitled of their own opinions on it.

Speaker 15 (01:19:14):
But I warn you, ladies and gentlemen, that my wife
and I came from Missouri.

Speaker 17 (01:19:19):
Missouri. You know so many very can see they come
from their breech street. It must have been very populous, George.

Speaker 44 (01:19:27):
I understood, mister CHRISTI to say their home was in
Oh such a difficult name, Robert and I, but born
in Kentucky, Missus Becket.

Speaker 23 (01:19:39):
It's only since you mentioned spooks that we've been from
Missouri it was I don't understand.

Speaker 5 (01:19:47):
I do.

Speaker 45 (01:19:47):
But whether you believe us or not, mister Christie, the
fact remains that no one can passin night in the
room I speak of.

Speaker 23 (01:19:52):
Do you mean to tell me that I couldn't stay there?

Speaker 42 (01:19:54):
My dear fellow, you'd find it another impossibility.

Speaker 10 (01:19:57):
Is that's saying to be still.

Speaker 40 (01:20:01):
Let mister Melvin tell us about the place. What's supposed
to happen is so scare in, mister.

Speaker 23 (01:20:05):
Malt Well, where do we have another? Drink? Will make
the arm thing better?

Speaker 17 (01:20:09):
Yes, I'll be the boy even.

Speaker 23 (01:20:13):
Of course I'm having more.

Speaker 40 (01:20:15):
So this will make your six as even what if
it does?

Speaker 23 (01:20:17):
I know how to handle my lek a suit.

Speaker 45 (01:20:20):
When I heard you married couples follow I truly appreciate
my bachelorhood.

Speaker 40 (01:20:25):
Oh, please don't think that, Robin and I'm are calling.

Speaker 23 (01:20:27):
Mister mal Oh I should say not.

Speaker 5 (01:20:31):
Our little arguments never mean anything?

Speaker 23 (01:20:33):
Do they?

Speaker 46 (01:20:34):
Rock it?

Speaker 32 (01:20:34):
By a baby?

Speaker 23 (01:20:35):
Rock a bye baby?

Speaker 12 (01:20:37):
Just a little family, Yeah, one that goes way back,
way way back to.

Speaker 47 (01:20:44):
But now, mister Melvin, suppose you tell us what awful
things happen in that horned room?

Speaker 42 (01:20:48):
Will be?

Speaker 11 (01:20:49):
Yeah?

Speaker 23 (01:20:50):
Just what sort of a person as your family goes?

Speaker 42 (01:20:52):
Well, that's the uneasy spell of an ancestor of mine.
Is Patard hangs gif on his wall that old gentleman.

Speaker 40 (01:20:58):
In the red suit, Robert, just like pictures of so
well to Rot.

Speaker 42 (01:21:02):
He lived in the same age and like rally, he
died by the headsman's axe.

Speaker 23 (01:21:06):
His head was chopped over.

Speaker 42 (01:21:07):
Yes, he went to the block for murder.

Speaker 45 (01:21:09):
I blushed to admit that my ancestor was a cold
blooded killer for the most depraved type.

Speaker 42 (01:21:14):
He was a statistic strangler.

Speaker 45 (01:21:18):
All records placed. The number of his victims is between
thirty and forty. That room in the tower was the
scene of his crimes, which may be the reason his
evil spirit lingers there or bunk.

Speaker 29 (01:21:30):
They pardon me, Albert, but you can't convince me that
spirits linger anywhere on earth.

Speaker 42 (01:21:35):
Still, the fact remains that no one can remain in
that room after nightfall.

Speaker 23 (01:21:38):
You said that before, so I reckon you believe it.
But I'll remain in your hearted room any night.

Speaker 42 (01:21:44):
You say, if I permitted it, you wouldn't see it through.

Speaker 16 (01:21:48):
Is that? So?

Speaker 23 (01:21:51):
Say you are betting man occasion? Why?

Speaker 25 (01:21:53):
Because I'll bet you one hundred dollars at our stay
in your tower room.

Speaker 40 (01:21:56):
Tonight, meet you, Robert. I wouldn't make it for the word.

Speaker 42 (01:21:59):
Wild chat, but I make a wager of less than
a thousand pounds.

Speaker 40 (01:22:02):
A thousand pounds that's five thousand dollars.

Speaker 5 (01:22:05):
Mister Melbourne, insists on throwing money away.

Speaker 42 (01:22:07):
I'll just take him for a thousand, very well, I'll
make up my check, you cover it and back it.

Speaker 23 (01:22:13):
Here we'll hold the state. I'll come it. Where's the fountain? There?

Speaker 17 (01:22:16):
You use vinyl chair.

Speaker 45 (01:22:17):
The terms are that you will remain in that room
from midnight until sunrise. If you've failed, your wager is falling.

Speaker 28 (01:22:24):
And when we come down cheerfully to a late breakfast,
you fought for your exactly.

Speaker 23 (01:22:28):
Here's my check, like it, here's.

Speaker 40 (01:22:30):
Mine, Roger, it's yet at midnight. Now take us to
your table, mister Melbourne, I'm just dying very well.

Speaker 45 (01:22:37):
There's no electricity in the room, but you'll have plenty
of turnels. It will be quite comfortable at first. Oh,
do you carry a pistol?

Speaker 23 (01:22:45):
Christy?

Speaker 40 (01:22:46):
A pistol would Robert the toes of pistols?

Speaker 42 (01:22:48):
Sid you have none, I'll lend you one of mine.

Speaker 45 (01:22:51):
One has a feeling of security with a gun in
his possession, even though it will prove of little value
against the dead whom you may need.

Speaker 23 (01:22:58):
Well, well, you listen to this man, Susie, believing it
is gone you like.

Speaker 45 (01:23:04):
But the first indication of something abnormal in that room
I advise you to consider your lives rather than your way.

Speaker 29 (01:23:11):
If we see a spoof big enough to drive us
out of that room, I'll can share that worth one
thousand pounds.

Speaker 47 (01:23:17):
That's why became the England, because we hope something different
for the happening.

Speaker 45 (01:23:20):
I have an idea that tonight, if you'll see something
very different, I am quite positive.

Speaker 23 (01:23:27):
That you shall. One o'clock. Honey, we've been here over hour.
This must be the night for Malvin's ghosts.

Speaker 47 (01:23:46):
Don't worry, I reckon, but I've got to consents that
when we first came in here, I had cold shivers
running up and down my skin.

Speaker 23 (01:23:54):
Well, I don't wonder. This is sure enough what a
haunted room should look like.

Speaker 40 (01:23:58):
Yes, it's so full of cookie because the door corner.

Speaker 10 (01:24:02):
You know, I'm not scared of.

Speaker 47 (01:24:03):
Anything, but I'm mostly glad to have so many canshit.

Speaker 23 (01:24:06):
It wouldn't be that cheerful without him.

Speaker 5 (01:24:08):
That's a fact.

Speaker 10 (01:24:09):
You know.

Speaker 23 (01:24:10):
The folks who were the least bit superstitious, all that
talk that mailed and handed out, and the appearance to this.

Speaker 45 (01:24:16):
Old room, well, well their imaginations might get working so
they'd be scared of death.

Speaker 40 (01:24:21):
Yes, imaginations are powerful.

Speaker 23 (01:24:25):
I don't know.

Speaker 12 (01:24:27):
Oh I see, I mean it's just an old loose
shut and banging again in the window.

Speaker 40 (01:24:32):
Look, it startled me creak the old room, This isn't it.
I mean, if you let your imagination get going, there.

Speaker 23 (01:24:40):
Are no danger you and me doing that.

Speaker 40 (01:24:42):
Well, I should say that.

Speaker 25 (01:24:43):
Is only Robert.

Speaker 47 (01:24:46):
What do you think makes mister Malvin so sure that
something's gonna happen here tonight? Of course he's only annoy
him a couple of weeks, which is hard to timing
up to George. But he doesn't fight nears the sort
of man with better a thousand pounds ful well, just
for the fun of the things.

Speaker 23 (01:25:00):
Oh no, but this isn't the kind you call it
a natural chance taking gambler?

Speaker 11 (01:25:04):
Is it?

Speaker 40 (01:25:05):
You must believe there's something clear about this.

Speaker 12 (01:25:07):
Room and this?

Speaker 40 (01:25:08):
Can you take his gun?

Speaker 48 (01:25:09):
And all?

Speaker 11 (01:25:09):
Oh?

Speaker 23 (01:25:10):
That's cause he in the backage, he just superstitious.

Speaker 26 (01:25:13):
It is.

Speaker 25 (01:25:15):
Still I I shouldn't be making crackpot bets like this.

Speaker 15 (01:25:21):
Just I've been drinking a little too much, Lady Susie.

Speaker 47 (01:25:24):
I'm afraid you have then, Robert, Oh, I don't care
about the foolish things that makes you do like betting.

Speaker 25 (01:25:30):
But Robert's pulling.

Speaker 10 (01:25:33):
You away from me.

Speaker 47 (01:25:34):
Oh no, Susie, Yeah, we're drawing away from one another,
away from the time he used to hold.

Speaker 29 (01:25:39):
Me on your knee and singing rock a by Baby,
I get crazy, lunatic, Yeah, but.

Speaker 37 (01:25:46):
It wasn't crazy.

Speaker 10 (01:25:47):
It was something precious.

Speaker 40 (01:25:49):
We were just kids when you sang it.

Speaker 23 (01:25:51):
In the first I was on his side and I
was nine where the mother in fie.

Speaker 25 (01:25:56):
Don't make fun about it.

Speaker 40 (01:25:58):
You did it because you love him.

Speaker 47 (01:26:01):
As it grew up, you kept on doing it all
the time we were going together, while we were engaged,
and first after we were married. You having a very
good singing voice, Robert, and you helped me uncomfortably most times.
But for that song was a foolish, wonderful specret between
us two. It was a kind of symbol of our love.

Speaker 25 (01:26:21):
And don't anymore.

Speaker 20 (01:26:24):
I haven't forgot our love, Susie, and I haven't forgot
our song.

Speaker 12 (01:26:30):
Come here my knee, Honey, you've gotta be rocked in
my arms right now?

Speaker 23 (01:26:37):
What do we care about an old dress? And it's
important thinging to be done. I love you a little sweetheart,
I love you a rocker by Baby on the tree.
Where about?

Speaker 40 (01:26:57):
Oh oh, it's just a window curtains ripping in the wind.

Speaker 23 (01:27:00):
Yeah, but it she'll ruin my song.

Speaker 20 (01:27:03):
Stay look here, honey.

Speaker 23 (01:27:05):
If you're getting nervous about that room.

Speaker 12 (01:27:07):
This old room, that thousand pounds, bet don't mean anything
enough nervous?

Speaker 40 (01:27:11):
Why should I be when there's nothing here to be nervous?

Speaker 25 (01:27:15):
Two out of cannels.

Speaker 23 (01:27:16):
Just yeah, yes, the wind must have blown.

Speaker 40 (01:27:21):
Bought him again?

Speaker 18 (01:27:21):
Will you?

Speaker 40 (01:27:22):
There isn't any too much like it when all of
them are going.

Speaker 28 (01:27:24):
It's a fact, say mister Beckett bard my matches and
forgot to give him back.

Speaker 40 (01:27:30):
Take one of the towns is going, and we like
others for me.

Speaker 23 (01:27:33):
That's an idea. God, this one went out, and he'll.

Speaker 40 (01:27:37):
Close the wind and shut out the wind that's doing it.

Speaker 23 (01:27:39):
Yeah, now they'll be all right.

Speaker 16 (01:27:43):
Robert, there goes another.

Speaker 40 (01:27:44):
Cattle for the wind didn't blow it not with the
window close.

Speaker 17 (01:27:48):
We wonder what yeh another's going?

Speaker 42 (01:27:50):
That's funny.

Speaker 23 (01:27:51):
He can't do just suddenly click her out and die?
There goes nothing.

Speaker 16 (01:27:55):
What's called again?

Speaker 23 (01:27:55):
I don't know? There goes nothing?

Speaker 16 (01:27:58):
Read out him quick.

Speaker 40 (01:27:58):
If you don't will be.

Speaker 23 (01:27:59):
In dark, I will, Hannah, don't you be scared to.

Speaker 25 (01:28:02):
Moro went out that I'll get one of them.

Speaker 16 (01:28:05):
That one's gone now.

Speaker 23 (01:28:06):
This one just went.

Speaker 25 (01:28:08):
Now it's gone on Robert Robert, Yeah, I am money.

Speaker 49 (01:28:13):
Yeah, I have made those cattles.

Speaker 25 (01:28:14):
All go out.

Speaker 5 (01:28:14):
I don't know, but there's some natural explanation for don't.

Speaker 23 (01:28:17):
You be scared.

Speaker 37 (01:28:18):
I'm not only I can't bad the darkness.

Speaker 40 (01:28:21):
Take me by the window, head the moonshining.

Speaker 23 (01:28:23):
Yeah, yeah, come on, we're getting alive.

Speaker 40 (01:28:25):
Shad such ugly ship.

Speaker 23 (01:28:28):
There's only shatter, Susie. This is just a plain old room.
Nothing here can hurt us but our own imaginations.

Speaker 22 (01:28:33):
I know.

Speaker 40 (01:28:34):
It isn't possible that old murder who lost his head
for strangling polks to come back.

Speaker 16 (01:28:38):
Here from the grave.

Speaker 23 (01:28:39):
Of course, it's not imagination. Is all the ghosts that
made up.

Speaker 17 (01:28:43):
Imagination?

Speaker 50 (01:28:46):
Imagination sounds life?

Speaker 17 (01:28:53):
What's this room?

Speaker 23 (01:28:57):
We'd have heard the door open. There's only one do too.

Speaker 40 (01:28:59):
I guess we're something she had.

Speaker 10 (01:29:01):
Don't have to come through door, honey.

Speaker 23 (01:29:02):
No, don't say that thing. It's just a shadow. No, no,
it's a man a head whoever you walk.

Speaker 43 (01:29:09):
The fact I haven't gone after you for the leg time.

Speaker 16 (01:29:12):
The s.

Speaker 23 (01:29:16):
Don't stop.

Speaker 51 (01:29:17):
It is a dead cod's fried out of some sanging brow.

Speaker 23 (01:29:25):
Now she did he?

Speaker 26 (01:29:45):
Then she dropt the floor painted most likely, and I
get away quick, help me out of this constant before
he brings up on the road.

Speaker 24 (01:29:53):
That cushy game is a secret passion? Is there food?

Speaker 2 (01:29:57):
Candles with the dead with your glass?

Speaker 11 (01:30:00):
Hit miss make not.

Speaker 1 (01:30:01):
Forgetting the way I built the story up any fool
that is not afraid of ghosts, And the gun with
Tamford cottages made him sure it was the dead they
shot at, besides insuring me they used.

Speaker 42 (01:30:09):
No weapons of their own. I told you this was
the greatest Eavy money scheme I ever had.

Speaker 17 (01:30:13):
It's certainly a pers This is only the first time
we've worked it.

Speaker 42 (01:30:16):
With all of a suddenly chumps that are in London.

Speaker 50 (01:30:18):
We'll soon make a fortune at it.

Speaker 26 (01:30:20):
I'm all right now, Hi, that costume in a covered
verry urry Andrews can't stole the hall much longer.

Speaker 2 (01:30:26):
But I avery two hour to the door.

Speaker 42 (01:30:28):
There's Ernes George, she's alone.

Speaker 23 (01:30:33):
Anes.

Speaker 50 (01:30:34):
Haven't they come out yet?

Speaker 16 (01:30:35):
No?

Speaker 40 (01:30:36):
And there hasn't been a sound on that room since
they screamed. I told you this scheme was.

Speaker 52 (01:30:42):
Too fantastic to succeed.

Speaker 53 (01:30:44):
You've frightened them, all right, but then their common sense
return and now they're in there laughing at it.

Speaker 42 (01:30:51):
I won't believe that they were terrified.

Speaker 25 (01:30:53):
Then why haven't they come out?

Speaker 17 (01:31:03):
It's Christie's voice sing.

Speaker 25 (01:31:06):
Yes, rock of eye, baby, allullaby, to let us know
your ghost bout by his beauty.

Speaker 10 (01:31:14):
You terrified him up.

Speaker 24 (01:31:17):
Still there's something queer about this song.

Speaker 17 (01:31:23):
That singing is queer. I'm going to find out why
it wasn't for you all.

Speaker 50 (01:31:29):
There something wrong.

Speaker 17 (01:31:31):
Give this great life and still his O God, I
think I think.

Speaker 23 (01:31:44):
She's this.

Speaker 42 (01:32:01):
Well, she was dead, all right, get a fright and
he was mad.

Speaker 45 (01:32:04):
That child is industry and I can still hear that
lot of icelang over and over and over as he
rocked her body in his arms.

Speaker 42 (01:32:12):
Becketts and I left him the next morning. I've been
here in Paris ever since.

Speaker 23 (01:32:15):
Five years.

Speaker 54 (01:32:17):
You say, a train reconpos you six months after that
Christy's thing had happened.

Speaker 42 (01:32:22):
Unfortunately didn't happen sooner. Poor jud got drunk from glad
the history that have been known otherwise. That's how you
came to hear that.

Speaker 53 (01:32:29):
I supposed indirectly yes, but the only reasonly I learned
that you will now.

Speaker 23 (01:32:35):
I have to change my name.

Speaker 42 (01:32:36):
Christie's relatives were looking for me.

Speaker 45 (01:32:38):
People from his part of the state's going for Vanzeta
like the crossing and Vandity I've heard.

Speaker 42 (01:32:42):
But since you're an American, is probably know more about Kentuckians.

Speaker 11 (01:32:45):
Than I do.

Speaker 40 (01:32:46):
I know their reputations. Christine himself is dead, yes, died.

Speaker 23 (01:32:51):
Singing rock a Bye Baby.

Speaker 42 (01:32:53):
I suppose. Oh, let's not talk about it anymore. I
wouldn't mention the thing, only sort drag. You shouldn't.

Speaker 53 (01:33:00):
I'm discussing anything.

Speaker 42 (01:33:01):
With me, don't I trust you?

Speaker 27 (01:33:03):
You?

Speaker 42 (01:33:03):
Oh my kind? The wives and an easy money schema,
the only bit of luck I've had in five years.

Speaker 53 (01:33:08):
Would blood for me as well to meet such a clever,
imaginative fellow who can use his wits to get.

Speaker 17 (01:33:14):
What fools must work for.

Speaker 42 (01:33:16):
John, will you marry me?

Speaker 40 (01:33:18):
Marry you?

Speaker 42 (01:33:19):
Yes, I'm We're like a great team.

Speaker 23 (01:33:22):
With your looks and my experience. The easy money with
just a roll.

Speaker 25 (01:33:26):
Oh no, this is so certain.

Speaker 45 (01:33:31):
I thought I'm wearing chevy, worn out clothes and I'm
down and out has been on my word.

Speaker 42 (01:33:37):
I don't know why you even sit and talk with
me in such a public place as with cafe.

Speaker 53 (01:33:41):
If you can get back you on nerve you won't
be your husband any longer. Yes, the Christy thing broke you.
You've admitted since that night in England you haven't had
a bit of luck. It isn't luck that's beneath the
ends you, but your mind. I'll tell you why I've
met you here each day. It's because I think we
would make a great team, Melvin. If you can prove

(01:34:01):
to me that you're a man and not a coward,
I'll go along with you.

Speaker 3 (01:34:04):
I'll marry it.

Speaker 42 (01:34:05):
You mean that, I'll do anything you say.

Speaker 25 (01:34:07):
All right, tomorrow we go to England.

Speaker 17 (01:34:10):
I don't dare.

Speaker 53 (01:34:12):
Five years is a long time. They'll have forgotten why
you ran away by now, and we're going back to
living in New York ancestral estate of Malvern manner. Yes,
your scheme of a haunted room and headless ghost is
the greatest I ever heard.

Speaker 40 (01:34:26):
We're going to work it for everything at work.

Speaker 42 (01:34:28):
I'll never try that again, you will.

Speaker 23 (01:34:31):
It's a perfect rack.

Speaker 53 (01:34:32):
Only a man of imagination would have flame like that.

Speaker 42 (01:34:35):
Imagination. Yes, I have imagination, all right. An imagination for
five years has kept that room before my eyes. That's
tindered into my ears a madman's song. All right, that's
talk about nerve, But I can't return to get it back.

Speaker 16 (01:34:50):
All right?

Speaker 17 (01:34:50):
Think you and I have proved, But don't go with John.

Speaker 53 (01:34:54):
I'll do anything you say, and you go to malver
Mana and I marry you. I'm condition that our bridal
knife is spent in that tower room.

Speaker 42 (01:35:04):
In a tower room.

Speaker 53 (01:35:05):
Yet, if you will gain your nerve, you will also
gain a wife as possible. That appeels to my imaginations.

Speaker 10 (01:35:15):
You see, I have imagination.

Speaker 17 (01:35:19):
That's great.

Speaker 42 (01:35:33):
Mindy's not a stair.

Speaker 23 (01:35:34):
John. Don't want my friend and wife to have a fall.
And it's good to be in this old house again.

Speaker 42 (01:35:40):
I knew you'd enjoy your You're right they could come here.

Speaker 23 (01:35:44):
Has given me back my nerve. What a chump.

Speaker 42 (01:35:46):
I wanted to stay away from England all these years.
The Christi Affairs simply made the natives here.

Speaker 23 (01:35:51):
Believe that old room is really hearted. Good example of
how ghostly legends start.

Speaker 53 (01:35:56):
Yes, imagination needs but a grain of sand to.

Speaker 25 (01:35:59):
Build a mountain.

Speaker 42 (01:36:00):
Here we are the tower room, My rid night. You
have waited along this.

Speaker 10 (01:36:09):
It is here.

Speaker 23 (01:36:11):
It's not a very cheerful place, but it was your
idea that we occupy. Let me close the door.

Speaker 1 (01:36:21):
But alone, I.

Speaker 53 (01:36:24):
Of course we are How can you be sure in
a room where you've seen a ghostly lagiens?

Speaker 40 (01:36:32):
Where did you find Robert Christie singing?

Speaker 1 (01:36:36):
John?

Speaker 23 (01:36:37):
Let's not talk about that now.

Speaker 53 (01:36:38):
I wish to talk about it for your nerve's sake.

Speaker 10 (01:36:42):
Room missus whisky.

Speaker 17 (01:36:44):
You were so full of your.

Speaker 42 (01:36:47):
Shu it gave me the idea to play on fool's imagination.
Let's start I.

Speaker 53 (01:36:54):
Think you shut it blue against.

Speaker 10 (01:36:55):
The wall outside.

Speaker 53 (01:36:57):
Let's startled Thanks to this room, anything might happen here,
especially in the darkness, Joan.

Speaker 40 (01:37:04):
What their canters went out?

Speaker 9 (01:37:07):
Eh?

Speaker 16 (01:37:08):
Possible?

Speaker 53 (01:37:09):
The windows are closed. There goes another but made them
go out? Well, perhaps the weeks have been tamponed with
like those which you want to choose.

Speaker 23 (01:37:17):
Has any reason to play for your trick on me?

Speaker 50 (01:37:20):
There'd be no easy money is There goes another candle
and another?

Speaker 23 (01:37:23):
They got three ones? Who are my mattress?

Speaker 3 (01:37:25):
Joan?

Speaker 1 (01:37:25):
You bottled them all?

Speaker 23 (01:37:27):
The candle is gonna let me find the top.

Speaker 53 (01:37:30):
You're not afraid to be in the dark?

Speaker 42 (01:37:34):
What Ron You're probably gonna prove my nerve.

Speaker 23 (01:37:36):
I'll show you it's all right.

Speaker 42 (01:37:37):
Only Joan, come here when I can see you by
this little bit of moonlight.

Speaker 23 (01:37:41):
Why are you John?

Speaker 16 (01:37:44):
But John?

Speaker 23 (01:37:47):
Is it your footsteps? I hear? Is it you who's walking?
Caught me? John? Why don't chancer me?

Speaker 55 (01:37:57):
As the moment Christy breathing from.

Speaker 53 (01:38:09):
Exert That's when I brought you here to Sea Malton
to see and hear the walking dead. Now you know
that her he and Susie You it's rather Christie's sister
whom you married Melbourne. I refuse.

Speaker 41 (01:38:25):
I've searched for you until I found you, to bring
me only justice that would pitch your crime.

Speaker 53 (01:38:32):
Cory did that wall and stealing him in fear.

Speaker 37 (01:38:35):
Oh it's still alive.

Speaker 53 (01:38:37):
I can't command the day or Susie would be with him,
But you know the power of imagination.

Speaker 37 (01:38:43):
Now look at him alivee.

Speaker 40 (01:38:45):
A helpless, homeless madmen who's only a lucid moments of.

Speaker 10 (01:38:50):
Memories of horror.

Speaker 40 (01:38:52):
And his physician have been hidden in this house for days,
waiting for you to come here on your bridal night.

Speaker 41 (01:38:59):
Your bridal night, I promised your wife and partner, Your
wife is here your partner death.

Speaker 27 (01:39:06):
But now I'm going to kill you.

Speaker 53 (01:39:09):
Turn your eyes from Robin and look into the gun.
Turn your eyes and look upon it.

Speaker 16 (01:39:14):
And I fall in at your heart.

Speaker 53 (01:39:17):
If I say something, look.

Speaker 40 (01:39:19):
At me before I shoot, Look at me, I say, no.

Speaker 50 (01:39:23):
One.

Speaker 40 (01:39:26):
Done a mile?

Speaker 25 (01:39:32):
Come in and bring that candle.

Speaker 40 (01:39:34):
Oh, I want you to tell me what's the matter
with this man? Two years leaning against this wolf? Look
at me, Melbourne, fa he fell.

Speaker 10 (01:39:46):
As I touched him.

Speaker 17 (01:39:48):
This death got in your hand?

Speaker 23 (01:39:52):
Did you No?

Speaker 40 (01:39:54):
I didn't kill him?

Speaker 16 (01:39:57):
SI?

Speaker 40 (01:39:57):
Fright Ascus it is you imagine that.

Speaker 56 (01:40:06):
You've got together.

Speaker 23 (01:40:10):
In this room tonight.

Speaker 17 (01:40:11):
It's still another shot?

Speaker 23 (01:40:12):
That is there?

Speaker 24 (01:40:14):
Shot?

Speaker 23 (01:40:14):
Yes, your brother, my brother?

Speaker 49 (01:40:19):
Where did Robert?

Speaker 40 (01:40:21):
He was with me here?

Speaker 17 (01:40:22):
Justified that you in?

Speaker 23 (01:40:23):
He was with you here?

Speaker 53 (01:40:26):
You saying him as I told you to a bet
he could passage away when I pressed the signal button,
but I couldn't.

Speaker 23 (01:40:33):
See you before your signal came.

Speaker 50 (01:40:36):
Your brother's heart stopped beating. Brother Robert died ten minutes ago.

Speaker 23 (01:40:43):
You knew his condition.

Speaker 3 (01:40:44):
Is heart just stopped.

Speaker 42 (01:40:46):
That's where I came up to ten.

Speaker 37 (01:40:48):
I tell you my brother was here.

Speaker 23 (01:41:02):
Look look about the shadows.

Speaker 10 (01:41:08):
What and Susie is in.

Speaker 25 (01:41:12):
His arms again.

Speaker 41 (01:41:21):
Imagine, you never can tell about imagination, Satan, You never

(01:41:44):
can tell why begins a right ends. Now, you folks,
set still a minute, and we'll come back and tell
you about the cheerfully again. We've got for you next week, Satans.

(01:42:08):
Next week, when these folks comes to see us, we're
gonna take them to Chinatown of San Francisco, to China Town.
And now we're gonna spin him Yan of the Confession,
the Concession.

Speaker 57 (01:42:47):
Come down for blast off X minus five four three
two x minus one fire from the far horizons of

(01:43:23):
the unknown come transcribed tales of new dimensions in time
and space. These are stories of the future adventures in
which you'll live in a million, could be years, on
a thousand, maybe worlds. The National Broadcasting Company, in cooperation
with Galaxy Science Fiction Magazine presents he.

Speaker 23 (01:43:44):
Minus one one.

Speaker 5 (01:43:56):
Tonight, Project Mastodon by Clifford D. Simak.

Speaker 58 (01:44:05):
Mister Secretary, May, I present mister Hudson of Masterdonia a Masterdonia,
Mister Hudson, this is the Secretary of State, honored sir
now as Chief of Protocol for the Department.

Speaker 12 (01:44:18):
I've all right, mister Kingston. I have much time.

Speaker 5 (01:44:21):
I'm due at a meeting of a Senate Foreign Relations
Committee of two. If you've passed, mister Hudson in, I
will assume everything is quite proper. Now, then, mister Hudson,
I understand you've been here several times seeking recognition for
your country. Well, that's right. I had a hard time
making your staff believe I was in earnest And are you,
mister Hudson, or very much so?

Speaker 12 (01:44:42):
You are an American.

Speaker 5 (01:44:43):
Mister Hudson, I assume you are acting as a representative
for Mascedonia rather than as a principle in the matter. No, no, no, no,
I claim dual citizenship, Sir, I am a Mascedonian. You
pardon me, but I've never heard of your country. Well,
it's a new nation, but quite legitimate. We have a constitution,
a democratic form of government, Julie, elected officials, and a

(01:45:06):
code of laws. We are a free, peace loving people,
and we are possessed of a vast amount of natural resources.
And please tell me, mister Hudson, just where are you located.
I gathered it was somewhere in Asia. Oh no, no,
technically you are our nearest neighbors. That's ridiculous. Now, look here, Hudson,
you can't. If you'll give me just a moment, mister secretary,

(01:45:27):
I have considerable evidence.

Speaker 1 (01:45:28):
I'll have to ask you to leave.

Speaker 12 (01:45:30):
I'm sorry, sir. I ahead, mister Hudson.

Speaker 5 (01:45:33):
You've submitted a document signed by a certain Wesley Adamal
He's our first president. You see, we'd like to establish
diplomatic relations. After all, we are a sister republic. We
like to negotiate a trade agreement, and of course we'd
be grateful for assistance under the Foreign A program. Naturally,
who wouldn't, mister secretary. All right, Kingston, We're prepared to

(01:45:55):
offer something in return for one thing. Sanctuary.

Speaker 12 (01:46:01):
Sanctuary.

Speaker 5 (01:46:02):
I understand that in the present state of international tensions,
a fool proof sanctuary is not something to be sneezed at.
M all right, Kingston, I think we've had enough. Show
mister Hodson out. All right, Let's have the story again. Look, mister,

(01:46:29):
I don't want any trouble. Just tell the story again.
You want to cooperate with the FBI, don't you sure?

Speaker 11 (01:46:34):
Sure?

Speaker 1 (01:46:35):
I do, sure, but I just don't want any trouble.

Speaker 12 (01:46:37):
All right, start over. You found the briefcase in the booth.

Speaker 17 (01:46:41):
Yeah, yeah, that's right.

Speaker 12 (01:46:43):
I brought my beer over from the bay, you know,
and this fellow just went out a minute before, so
I figured.

Speaker 3 (01:46:48):
He must have left it.

Speaker 1 (01:46:49):
I run after him.

Speaker 5 (01:46:50):
You didn't see him, though.

Speaker 3 (01:46:51):
No, So I well, I just kind of looked in
the briefcase, you know, I mean to identify it, that's all.

Speaker 11 (01:46:56):
I don't steal.

Speaker 12 (01:46:58):
Then you came to us, Yeah, yeah, that's right. I mean,
after all, when I saw that stuff, I just figured
I was way over my head, you know.

Speaker 5 (01:47:06):
All right, don't say anything about this. Do you understand
we'd rather you just forgot the whole thing?

Speaker 11 (01:47:13):
Oh, shoe, shoe?

Speaker 5 (01:47:14):
Listen, some things I don't want to remember, you know. Hello,
is this doctor Harrison of the Paleontology Department. This is

(01:47:35):
mister Jenkins at the Federal Bureau of Investigation. We have
some movie film we'd like you to look over.

Speaker 1 (01:47:41):
Huh oh.

Speaker 12 (01:47:43):
We acquired it.

Speaker 5 (01:47:46):
Big shaggy elephants and tigers with teeth down to their neck. Now, now,
it's not fakes. Our labs are sure of that whatever
is on those films is real. Mm hm.

Speaker 1 (01:48:02):
No, we don't know.

Speaker 5 (01:48:03):
That's why we called you. We haven't the slightest idea
where those pictures were shot. We can't even guess.

Speaker 25 (01:48:32):
How.

Speaker 1 (01:48:33):
What's the matter?

Speaker 28 (01:48:35):
I was flying hypodermics. This is a fine, healthy spot.
Mosquita is as big as hummingbirds.

Speaker 1 (01:48:41):
Oh careful, Son, you're knocking the climate of the capital
city of Macedonia.

Speaker 28 (01:48:47):
Some capital city. One palm tree and a boy Scott
puff Ted Wes. This is the wildest thing we ever did.
What if Chuck can't get back? Chuck Hudson is a
man of many parts. Have fai suppose they putting him
in jail? Or something might happen to the time unit
or the helicopter we should have gone along.

Speaker 5 (01:49:06):
Do you think they'll do it?

Speaker 10 (01:49:07):
Coop?

Speaker 12 (01:49:08):
Oh?

Speaker 1 (01:49:08):
Why the United States? Do you think they'll recognize us?

Speaker 28 (01:49:13):
Not if they know that Macedonia is the United States
fifty thousand years ago.

Speaker 1 (01:49:18):
Well, we have to get legal recognition first, otherwise it
wouldn't be safe. There it goes that mested on again,
Good old Buster, Where is it right there over the groves?

Speaker 5 (01:49:34):
He's lonely?

Speaker 1 (01:49:35):
What it probably is? It must have been run out
of the herd by some younger boom. So why he
hangs around like some homeless dog?

Speaker 28 (01:49:45):
One thing worries me Wess. I know you had dreamed
up the time unit and we all chipped in for
the helicopter, But can you just claim territory on your
own like we did?

Speaker 15 (01:49:54):
Why not?

Speaker 26 (01:49:55):
We found it?

Speaker 1 (01:49:56):
It's ours? Hey, Buster's come on this way, give me
the right.

Speaker 28 (01:50:00):
Wait, wait, wait, maybe he's only bluffing that Masterdon comes
through here, he'll stop everything flat. I'll get him three
steps more would be such a shame to plaster him
a nice old monster, and more step than he gets it.

Speaker 11 (01:50:14):
Hey, let's chuck. He's back.

Speaker 1 (01:50:17):
I wish he could fly that helicopter better. You might
wreck it. Well anyway, he scared Buster off.

Speaker 28 (01:50:33):
But those fires up Wes. You don't want to saber
tooth Watson through here, do you? And we better get
a stockade up some night. I heard of Mastodon. I'll
come busting in here, and they ever hit the helicopter'll.

Speaker 12 (01:50:44):
Be dead ducks.

Speaker 1 (01:50:46):
We never get back. We'll be stuck back here in
the Plastocene age.

Speaker 23 (01:50:49):
I won't feel safe.

Speaker 5 (01:50:50):
Do we get another helicopters?

Speaker 1 (01:50:52):
Masterdons carry a lot of ivory, and the mammoth's up north?
Oh sure, sure, and.

Speaker 5 (01:50:56):
Get socked in the jug for smuggling ivory. Only way
to cash in the time unit is to get diplomatic
recognition for Macedonia.

Speaker 1 (01:51:04):
We've got a good case, you said so yourself. Saber
tooth time by the grove. I don't like that.

Speaker 5 (01:51:15):
Sounds closer.

Speaker 1 (01:51:16):
They poke up that fire, will you coop?

Speaker 16 (01:51:19):
Oh?

Speaker 50 (01:51:19):
Well that's bluster.

Speaker 5 (01:51:22):
There he is.

Speaker 1 (01:51:23):
He's tangling with a saber tooth.

Speaker 28 (01:51:25):
Lay three to five on Buster. That's drawing blood. I'll
take five dollars of it.

Speaker 12 (01:51:29):
Come on, Buster, roll on him.

Speaker 1 (01:51:32):
Cat's on his head.

Speaker 12 (01:51:33):
Now, Hey, hey, he's coming this fog out west, turn
him shoot.

Speaker 23 (01:51:49):
Eat that.

Speaker 28 (01:51:50):
Yeah, the tiger's gone. You won't get fire, neither will wait.
Oh no, no, good old bust. Trust him to drop
dead right across the helicopter. We can fix it, caw
we We probably won't even be able to roll Buster
off of it. The rotor blades are twisted in the frame.

Speaker 12 (01:52:11):
Is a mess, a total mess, gentlemen, We are in trouble.

Speaker 1 (01:52:19):
Mastdonia faces a crisis.

Speaker 59 (01:52:37):
Herb, Herb, you're the key man in the administration. You
swing a big stick on the hill. You can't give
up on Project masterdon.

Speaker 5 (01:52:44):
Now unless it's been ten years. If they were coming back,
they'd be here by now.

Speaker 59 (01:52:49):
Look, I've been working on this ever since we got
those films. I traced their lives from the time they
were born till the time they disappeared. Adams was the brains.
The other two were quite of helping him carry it out.
Hudson new all the angle.

Speaker 5 (01:53:03):
Unless I've sneak your appropriation through four times, now there's
a limit.

Speaker 1 (01:53:07):
But I've got the proof.

Speaker 59 (01:53:09):
We've had every palaeontologist in the country go over those films.

Speaker 5 (01:53:13):
They couldn't be faked.

Speaker 23 (01:53:16):
Who would know to put linx.

Speaker 59 (01:53:18):
Tassels on the ears of saber tooth tigers? Who would
know that young Masterdens were black? And the location we
tracked down Adam's farm just from landmarks in the prehistoric
landscape in those films. We've got to contact them lookless.

Speaker 5 (01:53:35):
Even assuming it's all true, a planet has only a
grand total of resources. If we get Adams a device
time machine, if we exploit resources of prehistoric America, won't
we be rubbing ourselves of our own heritage?

Speaker 59 (01:53:48):
Look, Herb, I've been over all that with the AEC.

Speaker 23 (01:53:52):
There's a lot of lead.

Speaker 59 (01:53:53):
In southwestern Wisconsin. If we go back far enough, we
can catch it when it's uranium.

Speaker 5 (01:54:00):
The whole research project hasn't turned up a lead on
Adam's machine.

Speaker 12 (01:54:05):
If it exists, we've got to keep watching that farm.

Speaker 23 (01:54:08):
They might return.

Speaker 59 (01:54:09):
We've got to keep looking for them, no matter how
long it takes.

Speaker 1 (01:54:35):
Listen, Wes. We can't stay around here much longer. Oh,
buster is getting a little too strong. Yeah, well, I'll
have the time in the tour of the helicopter in
a few minutes. Then we'll just have to move camp up.

Speaker 23 (01:54:44):
Win.

Speaker 1 (01:54:45):
Look at him, it's mean two days since he dropped dead.

Speaker 28 (01:54:48):
Bless his heart. Ready, those volchures are half into him.
I have him picked clean inside of it.

Speaker 1 (01:54:53):
Give me the extnt, Wes, Is it is it alright?
The time unit? Well, we won't know until we try
and coop. Then of course it's too late. Either does
or doesn't.

Speaker 28 (01:55:03):
The problem is how are we gonna use it without
the copter. Couldn't we take a chance on using it
on the ground.

Speaker 1 (01:55:09):
No, we have to get up in the air. You
don't want to take a chance of arriving in the
twentieth century about six feet underground.

Speaker 5 (01:55:15):
Wait a minute, West, it's gotta be higher here than
in the twentieth century.

Speaker 12 (01:55:18):
Look, these hills have stood here since the Jurassic era.
They gotta be weathered down.

Speaker 60 (01:55:23):
I don't know.

Speaker 1 (01:55:23):
The only safe way is to build a platform about
twelve feet high. Let should be in a the clartist.
I suppose we come out in the.

Speaker 12 (01:55:30):
Other end two feet higher when we fall.

Speaker 1 (01:55:32):
Which would you rather do? Take a chance on the
broken leg stage? Okay, okay, Now why do we build
a platform out of.

Speaker 3 (01:55:54):
Here?

Speaker 15 (01:55:54):
You are west?

Speaker 3 (01:55:55):
All right?

Speaker 11 (01:55:56):
I got it?

Speaker 3 (01:55:57):
Shut?

Speaker 1 (01:55:58):
Comes the next start?

Speaker 12 (01:55:59):
Wait a minute, hey, look on you want a whole pilot?

Speaker 22 (01:56:02):
Come down?

Speaker 17 (01:56:02):
I'm sorry.

Speaker 1 (01:56:03):
Okay, Wes, handed up, give me. That's about twelve feet,
isn't it?

Speaker 17 (01:56:08):
What a lot of it took us ten days to
pile it up?

Speaker 42 (01:56:11):
Oh god, I'm coming down all right.

Speaker 1 (01:56:12):
Don't start an avalanche. Wow, very soon we'll be able
to start it all over again if the unit work.

Speaker 28 (01:56:21):
Now, that isn't all. We don't have any proof we've
been back here. We'll be stone broke. Another helicopter across
thirty thousand dollars can walk into a bank and borrow
thirty grand. If that a short trip to the stone Age, Wes,
where you figure we are?

Speaker 5 (01:56:35):
I mean on a farm.

Speaker 1 (01:56:36):
Well, I think we're clear of the barn and the silo.
I hope so the way I figured, we're a straddle
that barbed wire fence at the south end of the orchard. Wow,
we might as well give it a dribe. All right,
don't get the unit. You two clim up on top
of the pyramid.

Speaker 23 (01:57:02):
Are you ready?

Speaker 1 (01:57:03):
They gonna work West? I don't know who got pretty
well banged up when Buster hits the comfort. I haven't
got the equipment to check the waveforms. All right, stand
around close then genis a middle might be quite duck.
Go ahead, wheresh the button? Okay, one, two, three? Nothing

(01:57:28):
doesn't work. Well, that's that you're stuck.

Speaker 15 (01:57:44):
I'm sorry.

Speaker 5 (01:57:44):
Less.

Speaker 59 (01:57:45):
There's nothing you can do, herb you've been out of
government for five years.

Speaker 5 (01:57:49):
If there's anything I can do, the Board of directors
instructed me to offer you.

Speaker 23 (01:57:54):
No thank you.

Speaker 15 (01:57:55):
What are you going to do?

Speaker 12 (01:57:56):
I mean, now that you're retired, I bought a.

Speaker 5 (01:57:58):
Farm in Wiscon.

Speaker 12 (01:58:00):
You haven't given up.

Speaker 5 (01:58:02):
I'm the only one.

Speaker 59 (01:58:03):
They closed Project Mastered one down three years ago, and
they've been hinting ever since that.

Speaker 15 (01:58:08):
I'd be happier retired.

Speaker 11 (01:58:11):
Old Bowers.

Speaker 59 (01:58:12):
He's the Crackpot from Project Mastered.

Speaker 12 (01:58:15):
On I'm sorry, Les, but it has been twenty years.

Speaker 5 (01:58:18):
Yes, yes it has.

Speaker 59 (01:58:20):
But think of it from a military point of view,
hidden bases in enemy territory itself centuries removed in time,
yet only seconds away. If we had bases like that and.

Speaker 12 (01:58:31):
Shelters relax less, it's all over.

Speaker 5 (01:58:35):
Sure, Sure, it's all over.

Speaker 1 (01:58:50):
Ah messed.

Speaker 5 (01:58:53):
He should be more careful. We've only been stuck a
month now. Someday we'll run out of AMMO and in
his spows and arrow, it's cool, I'll be snow sowed, Cooper.

Speaker 1 (01:59:03):
I'm worried about Wes.

Speaker 12 (01:59:04):
He takes it pretty hard.

Speaker 28 (01:59:06):
As long as he's tinkering on the time unit, he's happy.

Speaker 5 (01:59:08):
Oh, he isn't going to repair the unit.

Speaker 12 (01:59:10):
He hasn't got a chance back in the workshop the tools.

Speaker 1 (01:59:13):
Maybe well anyway, the hunting's great, and.

Speaker 12 (01:59:16):
Maybe we better start saving bullets for a big game.
It won't be Lords of Creation around here long without
our guns.

Speaker 28 (01:59:23):
Yeah, and if one of us gets sick or breaks
a light, well, nobody lives forever.

Speaker 5 (01:59:29):
Wes is a lucky one. He's got that time unit
to tinker with. Come on, we better get back to camp.

Speaker 1 (01:59:51):
Hey, Hey, what.

Speaker 26 (01:59:57):
What Wes?

Speaker 28 (02:00:00):
There's no sign of him. Wait, there's a note on
the door. What never mind, listen here, guys. I don't
want to get your hopes up again and have you disappointed.
But I think I may have found the trouble. I'm
going to try it out. If it works, I'll be
back to get you.

Speaker 3 (02:00:18):
Wes.

Speaker 12 (02:00:18):
What a fool.

Speaker 1 (02:00:19):
A unit can't work? He must be off his rocker.

Speaker 12 (02:00:22):
Wait a minute, coop, look at pyramid. It took us
ten days to pilo stones up. It's gone.

Speaker 1 (02:00:30):
Pyramid of rocks, it's gone.

Speaker 59 (02:00:43):
Oh what the I've all the confounded? How what's what's
going on out there?

Speaker 38 (02:00:52):
Rocks?

Speaker 17 (02:00:53):
Who dumped those rocks?

Speaker 23 (02:00:55):
My car? Who's out there?

Speaker 22 (02:00:56):
It's all right?

Speaker 23 (02:00:57):
Don't you move, mister.

Speaker 5 (02:00:59):
I got a forty five I pointed at you.

Speaker 59 (02:01:00):
Well you better there was a brand new car where
you dump that load of rocks?

Speaker 23 (02:01:05):
Who the devil are you?

Speaker 17 (02:01:07):
My name is Wesley Adams, Adams.

Speaker 50 (02:01:11):
Man.

Speaker 23 (02:01:11):
Where have you been all these years?

Speaker 11 (02:01:13):
Well?

Speaker 5 (02:01:14):
I don't suppose you believe me, but the fact is
I've been waiting for you for twenty five years.

Speaker 23 (02:01:18):
The others all gave up.

Speaker 22 (02:01:20):
I'm sorry about your car.

Speaker 50 (02:01:21):
Never mind, I'll be right down and now.

Speaker 23 (02:01:23):
Don't touch a thing. Don't go anywhere.

Speaker 1 (02:01:36):
It can't be twenty five years. It's only been a
few months in Macecedonian time.

Speaker 23 (02:01:40):
Twenty five years.

Speaker 5 (02:01:42):
Man, it's been a long wait.

Speaker 12 (02:01:43):
To the unit.

Speaker 1 (02:01:45):
It's been badly calibrated. You see, it is an accurate
for more than fifty thousand years at a jump at
the setting has moved.

Speaker 59 (02:01:50):
Well, we better call Washington. I imagine you want the
same terms before terms recognition, economic aid from Mascedonia defense pack. Listen, Adams,
you've got those SAPs over a barrel. You can get
anything you want now, unit.

Speaker 1 (02:02:06):
I'll have to calibrate to the day to go back
for them.

Speaker 59 (02:02:08):
Oh, don't worry about it. You can have every scientist
in the country working on it now. Oh, you've got
them right where you want them. Hello, a long distance.
This is Major General Leslie Bauers, retired. I want to
put a call to the President of the United States

(02:02:30):
White House, Washington. You can tell them I'm placing the
call for the President of the Republic of Macedonia.

Speaker 1 (02:02:45):
Come on, occent of fire, put another log on.

Speaker 5 (02:02:49):
It's cold.

Speaker 28 (02:02:50):
It's good call storage for the first boy, when West
gets back, will be millionaires firs jinsang Roade Ivory.

Speaker 1 (02:02:57):
If he gets back, It's been fine, I'll come back.
I feel it in my bones.

Speaker 5 (02:03:03):
Well, he better find it before we get too old
to enjoy anything. Unfortunately, there's no social security in Master Doom.

Speaker 1 (02:03:10):
Don't you worry? West is working on it right now.
I can feel it.

Speaker 5 (02:03:27):
Hello, Charlie, some just came through on a ticker. I
want you to get a background story on it. And
we just recognize Master DONI what how should I know
where it is? Look it up in the encyclopedia? Huh Now,
The item says formal recognition was delayed five years until
communication could be established certain technical difficulties. What I don't

(02:03:54):
know wherever it is? I don't see what difficulties could
hold up five years. It stands the reason. Wherever the
place is, you could walk there in five years.

Speaker 12 (02:04:04):
Nah, No, it's not important.

Speaker 5 (02:04:07):
You're know these postage stamp countries Monica, Luxembourg, derall alike.
What's so different about Master Donnie? You have just heard
X minus one presented by the National Broadcasting Company in

(02:04:30):
cooperation with Galaxy Science Fiction magazine, which this month features
the Theodore Sturgeon novelette The Skills of Xanadu. When a
malignant world endangers another, surgery is the usual answer, but
perhaps there's another solution. To kill it with kindness. Galaxy
Magazine on your newsstand today Tonight by transcription X minus

(02:04:55):
one has brought you Project Mastodon, a story from the
pages of galice See, written by Clifford D. Simac and
adapted for radio by Ernest Cannoy. Featured in the cast
were Floyd Mack, Dick Hamilton, Charles Penman, Raymond Edward Johnson,
Frank Maxwell, Robert Hastings, John Larkin, and Joseph Julian. Your

(02:05:17):
announcer is Jerry Damon. X minus one was directed by
Daniel Sutter and is an NBC Radio Network production.

Speaker 61 (02:05:47):
It's Mystery Time, Time Now for the best in Mystery Night,
mystery classics. As Sir Ralph Richardson in My Adventure in Nfolk.

Speaker 62 (02:06:10):
Her Sir Ralph Richardson and Mystery Time presents him now,
transcribed in the adventure classic My Adventure in Norfolk by A. J.

Speaker 15 (02:06:21):
Allen Well.

Speaker 9 (02:06:34):
I didn't know how sis with you, but four or
five weeks after the New year, my wife always says
to me, have you thought about where we should go
in August? Of course I always say no, and then
she starts looking through advertisements of bungalows to met It
happened last year, as usual, and I had forgotten all

(02:06:56):
about it as usual until one very foul morning in February.
It was snowing like a Barnstall's production of East Lid.
Margaret looked up from her letters at breakfast and said.

Speaker 37 (02:07:11):
I think it's a very place.

Speaker 2 (02:07:13):
Ah. The mantin is very civil too.

Speaker 9 (02:07:15):
Oh god, you know, if you ask me, the government
will never get this your bill through.

Speaker 37 (02:07:21):
It's enough like a place called hicking Broad.

Speaker 20 (02:07:24):
Eh.

Speaker 10 (02:07:25):
What is this Bangalore? Of course I told you.

Speaker 37 (02:07:29):
It's furnished too, with boat house, garden and garage.

Speaker 2 (02:07:33):
It seems hardly possible.

Speaker 25 (02:07:35):
And paid a million, He says, we can go and
see it and stay the night.

Speaker 37 (02:07:39):
He'll arrange for a woman to come in and apply.

Speaker 9 (02:07:41):
Well just a minute, I remember, now, isn't that's the
place for the exorbitant rent.

Speaker 37 (02:07:47):
Yes, but you'll have to talk to him about that.
But he's bound to come down.

Speaker 2 (02:07:51):
They always do. My experiences, they always don't.

Speaker 37 (02:07:54):
You're never firm enough anyway, we can go down on
Thursday and stay the night.

Speaker 25 (02:07:58):
What is it may be beautiful by then. You know
what the weather is this time of the year.

Speaker 9 (02:08:17):
Between then and Thursday, the weather did everything it does
at any time of the year. But when the train
battled its way into Potter high on the station and
we stood shivering on the platform, it was settled again,
snowing hard.

Speaker 2 (02:08:34):
Fortunately the card ordered was waiting, and the.

Speaker 9 (02:08:37):
Five mile drive to the bungalow, which seemed to be
in the most desolate spot on Earth, was accomplished with
no more than average had it.

Speaker 2 (02:08:47):
I was apprehensive in case the woman who was too.

Speaker 9 (02:08:49):
Oblige should have proved disobliging, But my affairs were grounded.
Although it was late and dark when we arrived, we
found powers burning.

Speaker 2 (02:08:59):
And she'd even cock to some steak a piece.

Speaker 63 (02:09:04):
And Sofia, Sure you'll be all right now, sir. I'll
be getting a long home. I can catch the lost
that's at the top of the lake.

Speaker 2 (02:09:11):
Oh, thank you, missus Selson. Oh we'll be quite happy now.
And that takes all right. I asked them to pick
it up special, very nice. It's so nice.

Speaker 63 (02:09:22):
Probably, i'd say, if my husband was all right but
it was the lastly operation.

Speaker 40 (02:09:28):
If I don't know did, I'd be a liar if
I was to tell you what they've.

Speaker 10 (02:09:32):
Done to him.

Speaker 64 (02:09:33):
And you are even sure it must have been very drying. Well,
if you must go so messy, that's what evold and
a dressing. But every night I have to are you
sure that takes nice?

Speaker 14 (02:09:46):
Man?

Speaker 16 (02:09:46):
If I'll be touched it.

Speaker 37 (02:09:49):
I don't think I feel very hungry after all.

Speaker 2 (02:09:52):
Mustn't let you it's yours, missus Selston. I'll like you
to the door as myself.

Speaker 9 (02:10:00):
It's not so stark as electricity. Not saying much now,
I see, but thank you very much for coming in.
We'll be seeing you in the morning. I can't think
why they always refer to that type of woman as
homely nursing homely.

Speaker 2 (02:10:19):
They are better description what tired I am. Rather, it's
been a long day, yes, and I think bed's indicated.
I'll tell you what.

Speaker 50 (02:10:27):
You go up.

Speaker 9 (02:10:28):
There's enough fire left in the bedroom to undressed by.
I'll boil a kettle and bring you up a hot
water bottle. This is things left, two enormous stone ones
in the kitchen.

Speaker 37 (02:10:37):
I think I will go up if you don't mind
you almost dreadfully tired.

Speaker 16 (02:10:41):
Quite suddenly I expected the reaction after rushing the battle
all day.

Speaker 9 (02:10:45):
Yes, and the complete absence of any noise. These in
a sort of lecuum. This is a quiet place, Prick.
I don't think I've heard a sound since we arrived. Well,
that's funny, what is that car?

Speaker 2 (02:11:01):
Just as I said that? But is it a car?

Speaker 37 (02:11:05):
I didn't hear anything.

Speaker 2 (02:11:08):
That's important thing. I'll tell you what is funny the
way we speak of going up to bed. But isn't
any up. This is a bungalow. You go southeast to
bed or is it northwest?

Speaker 65 (02:11:20):
Anyway you go there, I won't be along with.

Speaker 2 (02:11:23):
A bottle when Margarets has gone. I put the kettle
over the farm. It might a pipe. The kettle started
singing away.

Speaker 9 (02:11:33):
And as it hadn't been in a competition, it sounds
like a mass choir, and one of those downward cadence.

Speaker 2 (02:11:39):
Is I thought I heard the car again. I took
the kettle off for a minute because there was nothing.
Not that it matter if they had been the car.

Speaker 9 (02:11:49):
You know how it is when everything is very quiet,
they give every little noise it's full value.

Speaker 66 (02:11:56):
Well, I put the kettle back and had a look
out of the window. It was pretty dark, but put
that sort of numerous darkness. Did you get to the snow?
And then down the road beyond the bunkroom, behind some
trees the bordered the road.

Speaker 2 (02:12:14):
I saw a light.

Speaker 9 (02:12:15):
I didn't want to bother Mark, so I crept along
the hall and opened the front door quietly.

Speaker 16 (02:12:23):
What's that car?

Speaker 23 (02:12:25):
Tell the media?

Speaker 2 (02:12:27):
I just gotta pop out from it. I thought you
were coming to be fire.

Speaker 15 (02:12:31):
Just a dick.

Speaker 2 (02:12:33):
Just fall up on those outfirts.

Speaker 25 (02:12:35):
Do like what you're doing.

Speaker 37 (02:12:36):
You'll fall into a dyft or something.

Speaker 9 (02:12:39):
Actually, I fell into an adventure. I suppose you could
call it there. When I got out, the course of
the radiance was obvious. It was the light of a car,
one of those square box looking saloons with a flat
radiator about the size of a small hotel. What was
more interesting was there was a girl tinkling with the
engine quite an, I think, as far as I could

(02:13:01):
see it too, which was pretty well muffled up with first,
so I couldn't be quite sure.

Speaker 4 (02:13:07):
Oh really, something.

Speaker 15 (02:13:11):
I can do?

Speaker 37 (02:13:12):
Oh thank you.

Speaker 2 (02:13:13):
I don't know what's the matter, just stopped. It smells hot?
Are any water radiator, there's.

Speaker 64 (02:13:22):
No I expect, so there are always eggs, water and radiator, isn't.

Speaker 2 (02:13:25):
It I see your point.

Speaker 9 (02:13:27):
It depends whether anyone's remembered to put some inn Have
a look.

Speaker 12 (02:13:32):
Shall I.

Speaker 2 (02:13:34):
M I come see any by show she is hot.
You know we better get some water in there. I
can get some from my garage. Couldn't we use snow?

Speaker 22 (02:13:47):
Better not?

Speaker 9 (02:13:49):
Oh, hold on, jiffy, I'll get a bucket. By the
time I've got back with a bucket the water. She
found a funnel, and so I poured a little water
into the radiator.

Speaker 2 (02:14:07):
Oh look out now, oh oh, talk about volcano. I've
even blown the funnel out. All right, let me see
if I can turn the engine.

Speaker 37 (02:14:20):
And I couldn't move it.

Speaker 24 (02:14:21):
I have a girl.

Speaker 26 (02:14:23):
Mm hm.

Speaker 9 (02:14:26):
Oh, come all up to broode. No, it's no girls,
it's feels solid. I can't move an inch.

Speaker 13 (02:14:35):
It's no good.

Speaker 2 (02:14:35):
I must get on my dear girl. There's miles to him,
and I've got to what's that?

Speaker 50 (02:14:42):
What's what?

Speaker 25 (02:14:44):
That noise?

Speaker 50 (02:14:47):
That sounds like.

Speaker 2 (02:14:48):
Another vessel coming.

Speaker 9 (02:14:50):
But if it comes this way, you can get a
tow or at least a lift to a more acceptable rule.
I can see its light. It's a long way after
you can see for miles in that country. It struck
me the girl didn't seem to be as free as
a short has been. As the lights in the sound

(02:15:12):
of the engine got the other. She was the first
uneasy and played let's scared.

Speaker 50 (02:15:21):
Hello there, what's up?

Speaker 25 (02:15:28):
Oh?

Speaker 9 (02:15:30):
This lady has I'm credit conflicted too, She seized up solid.

Speaker 2 (02:15:34):
I mean the car has I wonder if you could
help with a toe. Well, I'm going to Knowledge. I
could give the lady a lift that part if you like.

Speaker 15 (02:15:43):
But what about the car.

Speaker 2 (02:15:45):
Well, I'll tell you what.

Speaker 9 (02:15:46):
If you can give me a hand, we could push
it into the garage for tonight there's no car, and
then miss, if you can send boys in the morning,
but not too late though, because I'm going to London.
That's a little gratitude on her part would have been
more gracious. But any driver whose name turned out with
Williams helped me push the car into the garage, and

(02:16:07):
a tough job it was.

Speaker 2 (02:16:08):
It was heavy.

Speaker 9 (02:16:09):
For one thing, the body and the wings were slipping
in the snow and knives. The girl made no attempt
to help. She just fussed around as.

Speaker 2 (02:16:15):
Though she told me about go off of the be sitting,
and she seemed a bit calmer than him. Was safely
in when the doors locked.

Speaker 9 (02:16:21):
As he walked away from the garage, I suddenly realized
how cold it was.

Speaker 2 (02:16:26):
Saving up there.

Speaker 24 (02:16:27):
Miss.

Speaker 2 (02:16:28):
No one could start it anyway, Oh no, it's cold.

Speaker 16 (02:16:31):
You know.

Speaker 9 (02:16:31):
You two want to come in and have a drink
before you start. But I won't take him a little
warm with boat this way, I'll come in.

Speaker 20 (02:16:39):
I don't, I don't.

Speaker 2 (02:16:40):
It will be not out in the middle of the
road in case anything else comes along. Don't want something
up the back of it.

Speaker 9 (02:16:45):
I took the girl in the set her by the
sitting on fire, and then I went out again to
show Williams the way, and I met him by the gate.

Speaker 2 (02:16:55):
Lady of friend. Never seen him before in my life.

Speaker 9 (02:16:59):
Its meet her? There's I'm being fishy about her. What's
a young lady driving around at night and in this weather?

Speaker 22 (02:17:03):
Allowed for.

Speaker 2 (02:17:17):
An next three whiskers and water otherwise wasn't Minnesota.

Speaker 9 (02:17:21):
I took my first opportunity to just tut it the girl.
But she's a bit older than I thought, and she
she can does with a lack of friendliness.

Speaker 2 (02:17:28):
Were oh he's done to deserve it.

Speaker 9 (02:17:32):
There's a really hostility and suspicion which has a lot
of hard lines on us considering.

Speaker 2 (02:17:37):
And she came dodging her light, which struck me as odd.

Speaker 9 (02:17:41):
She hurried Williams over his drinking a rather foolish way
in view of the fact that he was the driver.
But when he'd gone to start the engine, I asked
her if she was all right for money and a fount.

Speaker 15 (02:17:53):
She was well.

Speaker 2 (02:17:54):
I reminded her the same earlier for the car, and
she said she would not they with.

Speaker 16 (02:18:02):
I.

Speaker 23 (02:18:03):
You sleep here?

Speaker 22 (02:18:06):
No?

Speaker 37 (02:18:07):
I happy mys from it? Why did you go out?

Speaker 2 (02:18:11):
Yes? I thought I heard something. I went down to see.

Speaker 3 (02:18:16):
I was right to.

Speaker 2 (02:18:16):
It was a car broken down outside and the girl
all on her own. I gave her a drink, but
she wouldn't stop. She got after knowledge and a lot
of it.

Speaker 37 (02:18:25):
The girl stop, where's that car?

Speaker 16 (02:18:28):
We shut it in?

Speaker 2 (02:18:29):
The girls, you must have been gone for hours.

Speaker 25 (02:18:33):
Why didn't you wake me up?

Speaker 9 (02:18:35):
I told her about it isn't the way the girl
had acted, and how she'd been anxious to get away.

Speaker 2 (02:18:41):
Then Margaret said something which.

Speaker 37 (02:18:43):
Made me think, I think the whole thing's most pecuniar.

Speaker 9 (02:18:47):
Peculiar or fully you should say that the knowledge yep
said it was fishy. Look here, where did she come from?
This is non important road, not one normality.

Speaker 63 (02:19:01):
No, unless you were avoiding people, if you were driving
a stone car, for instance.

Speaker 2 (02:19:07):
A stolen car. Well, I've never thought of that. You
wouldn't it was a girl if he was a stolen
Thank Joe. I'm gonna have another look at that car. No,
don't you move. I'll slip out and I look at
it again. That car may hold the cool of a
whole fishing business.

Speaker 9 (02:19:41):
It was very dark outside and so still that the
candlight carriage burns without a flicker.

Speaker 2 (02:19:47):
It wasn't a large garage in the car, and there
they filled it with back to it him so that
it would be easier to tow.

Speaker 20 (02:19:54):
Out m.

Speaker 2 (02:20:01):
Of a sort of card pine.

Speaker 9 (02:20:04):
An engine stool. Well, i've seen the engine or no
clues there? If I can squeeze around the wall and
get a peeping at the back. Have low frosted windows,
Oh no, of course, not as rail frot. I wonder
if it was room to open the door, because it

(02:20:24):
would open away from me.

Speaker 2 (02:20:29):
Hey, so sharp, you're pilling me against the wall.

Speaker 9 (02:20:33):
I didn't know anyone was there. Good Heaven, he wasn't pushing.
He was as dead as a door name. When I

(02:20:59):
got out of the back shock, I managed to bundle
them the body back into the car and have a
look at it. There was the body of a tall
mare with a mustache, and evidently had been propped up
on the floor against the door, so that as soon
as I opened the door, it slumped out. It was
tall and thin, dark, dressed in tweeds and a raincoats,
no papers in the pocket. There was a notecase with

(02:21:21):
nine pounds in it, no tailor's name on the clothes,
nothing whatever to give any clothes identity.

Speaker 2 (02:21:27):
But it was obvious why he was dead. It was
a bullet hole under his right shoulder blade.

Speaker 9 (02:21:33):
Someone had shot him from behind, and I guessed the
bullets had gone through into the lung.

Speaker 2 (02:21:38):
Well, what was I to do?

Speaker 9 (02:21:41):
There was no phone in the house and there the
police station was probably miles away, and I had no transport. Besides,
there was Margerie. I couldn't stroll off and the beaver
alone there was no knight to drag her around me
around the countryside. In the end, I shut the car
door again carefully locked up the garage and went to bed.

Speaker 37 (02:22:05):
What on earth have you been doing? What an age
you've been?

Speaker 2 (02:22:08):
I'm sorry, sorry, darling.

Speaker 37 (02:22:10):
Sorry, Well did you find anything?

Speaker 11 (02:22:13):
Yes?

Speaker 2 (02:22:14):
I found something in the back of the car. I
found nine.

Speaker 37 (02:22:18):
Pounds, nine pounds in the back of the car.

Speaker 2 (02:22:22):
Yes, in the back of the car in her wallet.
How extraordinary.

Speaker 37 (02:22:26):
She must have forgotten all about it.

Speaker 2 (02:22:29):
I wonder if she did. I do you mean? I
just wondered, what did you do with it?

Speaker 23 (02:22:34):
Well?

Speaker 9 (02:22:35):
I left it that I thought it was best. After all,
it was not of my business. There's nothing we can
do about it.

Speaker 15 (02:22:41):
In hours?

Speaker 11 (02:22:42):
No, no, well then.

Speaker 2 (02:22:47):
That's good to see.

Speaker 37 (02:22:48):
Mhmm, good night.

Speaker 10 (02:22:50):
I'm so tired.

Speaker 9 (02:23:02):
The next thing I knew, it was born daylight and
nine am. This is sels with you at ten, So
I tumbled out pretty quickly. I wanted to have another
look at the car and the body in daylight. Unfortunately,
I've informentioned that I quidd roused my wife's curiosity, and
she insisted on coming to the garage with me. Now,

(02:23:25):
now look here, dear, I didn't tell you last night,
but well there's there's something rather more to this than
I said. You'll have to be prepared.

Speaker 2 (02:23:33):
For a little bit of a shock. A shock.

Speaker 37 (02:23:35):
Why what else is there?

Speaker 20 (02:23:38):
Well, you see the.

Speaker 37 (02:23:42):
There's no car here at all? The garage you empty.

Speaker 2 (02:23:49):
I've never had such a shock in my life. No car,
no body, nothing.

Speaker 9 (02:23:54):
There a patch of grease on the floor when I
dropped the candle, but otherwise it was nothing to show
that I'd ever been in there.

Speaker 2 (02:24:01):
Another queer thing with no heel marks, either in the
garage or outside.

Speaker 9 (02:24:07):
So whether the parts snowed very heavily again and covered
them up, it didn't look as though there had been
all that snow. Margaret was inclined to laugh at the
whole thing. We went back to the house and she
got some breakfast.

Speaker 63 (02:24:22):
My belief is that you sat by the far after
I'd gone to bed.

Speaker 37 (02:24:25):
Dozed and dreamt the whole thing. There never was any
car or girl wish for thinking.

Speaker 9 (02:24:33):
Probably, And did I dream going out to the garage
again and finding the nine pounds?

Speaker 37 (02:24:38):
I don't know, but you must admit it.

Speaker 2 (02:24:40):
Wait, wait a minute, Ok, here the glasses.

Speaker 9 (02:24:43):
The glasses, Yes, I said, I gave them a drink,
didn't I? When If the glasses are there, that proves
it I was in that drawing room like a shot.
The glasses were there, three of them, just as they'd
left them, so I had been right.

Speaker 2 (02:25:04):
But I still didn't say anything about the body. The
mystery was quite mysterious enough already.

Speaker 9 (02:25:09):
Besides, the idea was pulling at the back of my mind,
and I wasn't ready to talk about it.

Speaker 16 (02:25:15):
But if there was a car when a girl came
back and took it, how did you do it without wakingness?

Speaker 37 (02:25:21):
Oh, the garage is so close to the house, and
we're not headed sleepers.

Speaker 9 (02:25:24):
She couldn't have done it alone anyway, it wouldn't have started,
so it had to be either towed or pushed, neither
of which could be done by one person.

Speaker 37 (02:25:33):
What are you going to do with that glass? Why
do you have this in your handkerchief?

Speaker 2 (02:25:36):
I'm going to take it away with me.

Speaker 9 (02:25:41):
I didn't say a word to missus Selston about our
knight's fun and games, but I settled up with her,
and soon after that our previously ordered car came to
drivers to the station on the way.

Speaker 2 (02:25:53):
I called on the landlord of the bottom below and
told him we'd let him know about taking it.

Speaker 9 (02:25:58):
Neither Margaret nor I could make up our minds just
then and whether we wanted to see the place again
or not.

Speaker 2 (02:26:05):
I had the girl's glass with me, carefully packed in
that biscuit tin.

Speaker 9 (02:26:09):
And when we reached Liverpool Street, tax it. There's a
Roger all right, Scott of the yard. I was lucky
my friend inspected Gregson was in even heem quite pleased
to see it. But I didn't tell him the story

(02:26:31):
to begin with. It seemed a bit thin in broad daylight.
But I brought out the glass and I asked him
if he contested for prince and I identified him.

Speaker 1 (02:26:40):
Well.

Speaker 9 (02:26:40):
He was a bit amused, but Gregson's the sport and
he knows me well. His chaps alfully quick on the job.
It wasn't long before one came back and laid a
file on the desk in front of the inspector. Gregson
funded it through for a bit and then he looked
up and grinned at me.

Speaker 2 (02:26:57):
Well, Helen, we know your old little lady right enough.

Speaker 9 (02:27:00):
I got a picture of it here too. Here is
that the DNSLS you're looking for? Yes, that's her fight too, Yes?

Speaker 2 (02:27:06):
Who is she?

Speaker 11 (02:27:07):
Oh?

Speaker 9 (02:27:08):
She's had lots of names at different times, but the
last one was nearly sterling. She was in twice for shoplifting,
but that was early in her career. Later on she
took up with the leader of a very well known
race gang, one of the naziest pieces of work we've
had in this country. Here there's a picture of him too.
Ahead it is good law, good body. What it doesn't

(02:27:30):
matter for a minute. No, go on, what do you
know anymore about these people? That's quite a bit. This
race gang fell power of another gang, and there was
a bit of his craft. Then his boyfriend, he was
known as Smug, got shot dead in the fight and
there he managed to get him away in a.

Speaker 2 (02:27:46):
Car and the car broke down somewhere in Norfolk, I believe.
But Craig should look here.

Speaker 9 (02:27:52):
Oh well, go on, Well it seems that she left
the car and the dead man in the garage belonging
to some simple oaf that she did into.

Speaker 2 (02:28:00):
Helping her anything the matter? No, no, nothing, Oh go on,
go on.

Speaker 9 (02:28:05):
Well, she left it in this garage and got a
lift in the blue Cary that was going to knowledge
and she never got there.

Speaker 2 (02:28:12):
She well, you knew all about this and you picked
her up on the way.

Speaker 8 (02:28:19):
No, we didn't.

Speaker 9 (02:28:20):
We didn't know about it until afterwards that don't live
the lot of being driven pretty furiously in the snow
and had skidded.

Speaker 2 (02:28:26):
On a bend and hit a wall.

Speaker 9 (02:28:28):
Now me and the driver, Chap nine Williams, were thrown
out and ran their heads against the wall. And that,
in case you don't know, is a very very faithful
thing to do. Anyhow, it was in their case a
getting like a fish for don't you believe me?

Speaker 16 (02:28:42):
Yes? No?

Speaker 9 (02:28:44):
I mean, look here, Gregson, I know you chapter pretty smart,
but how on earth can you know all this and
have it there in black and white? There hasn't been time.
It only happened last night, last night, last night, my foot.
It happened four years ago this February. And the people
we are talking about have been dead for four years.

Speaker 2 (02:29:07):
Grace Scott Adam looking at him, you.

Speaker 25 (02:29:09):
Look at the ghost.

Speaker 2 (02:29:18):
That was the end of my adventure in Norfolk.

Speaker 25 (02:29:20):
But just think of it.

Speaker 2 (02:29:22):
I could have stucked that ninety thousand.

Speaker 23 (02:29:35):
Strange adventure.

Speaker 67 (02:29:39):
Sheriff Patrick O'Brien shifted his portally form around in his
chair as his deputy Mark Watson entered the office. Mark,
I've been hearing stories about out of season deer hunting
around here.

Speaker 12 (02:29:51):
Yeah, sharaff fact, what I'm gonna carry you?

Speaker 67 (02:29:54):
Indian George just came in town and told me he
saw a guy in a canoe up on half Away
quick and he's got a big bucket it. Huh could
Joe identify the man? Polly shedd? It look like John Friday?

Speaker 16 (02:30:05):
John Friday.

Speaker 67 (02:30:06):
Ah, the little devilish pudd his foot into it for fare.
This tame he outsmarted me before, But this time I'll
get him deduration when I do, I've come on, come on,
be Foddy gets away. The men rushed out of the
Sheriff's car and were soon bounding over the rough road
that led the Hathaway Creek. A half hour later, Patrick
and Mark pulled up in front of Indian Joe's cabin.

(02:30:27):
The sheriff made for Joe's boat, landing in a puffing,
waddling run. Tied up to the landing was a small
row boat. Patrick stepped into it and yelled to his partner, Mark,
you brave up to the head of the canyon and
head him off. If he traced to get out that way,
I'll go in behind him. It took a brave man
or a foolish one to attempt the passage through the
roaring white water. Patrick watched the stream ahead for the

(02:30:49):
little man who had dared to violate the state game laws.
Rounding a bend, he came upon his man hovin close
against the bank and hanging on to a jutting boulder.
The loaded canoe was trying to swing out into the stream.
It needed but a quick glance to see that John
Fridy was in trouble. The sheriff headed for the canoe.
John Friday seemed happy to see the big man bearing

(02:31:11):
down upon him. Illo Patrick, I'm sure glad you happened along.
I broke my paddle. Oh you did know, did you?
I broke you man, you little scoundrel. I had to
leave a warm offish and come all the way out
here just because.

Speaker 1 (02:31:26):
You have to go and shoot yourself A nice pat
book out of season.

Speaker 67 (02:31:29):
But Patrick's never remained if he going blained, Why can't
see the evidence?

Speaker 16 (02:31:33):
Michael here you under.

Speaker 1 (02:31:35):
Says public enemy.

Speaker 67 (02:31:37):
Make this line fast and pat tray to get away
or throw that evidence overboard. John tied the line to
the canoe and settled back for the ride. Patrick fought
against the current, working his boat skillfully between the boulders.
After n agonizing pole, he finally reached the head of
the canyon and eased in the calm water. Deputy Mark
Watson ran down to help him.

Speaker 15 (02:31:59):
I'll looks like you got the criminal.

Speaker 1 (02:32:02):
He's got the evidence with him too.

Speaker 67 (02:32:04):
I see why she has Hey, you guard him when
I get the evidence out of the canoe and loaded
into the car. A couple of minutes later, a blue
and vitriolic oath rent the air, and the territory for.

Speaker 21 (02:32:17):
A mile around was warmed by the blast.

Speaker 15 (02:32:21):
Why you little runt, what's the meaning of this?

Speaker 12 (02:32:24):
Patrick held up a mounted deerhead.

Speaker 67 (02:32:27):
Oh, Patrick, I was moving all my things into town
for the winter, and that head just happened to be
out from under the canvas.

Speaker 1 (02:32:33):
But thanks for the toe.

Speaker 67 (02:32:34):
Anyway, I couldn't have made it with that broken paddle.

Speaker 3 (02:32:37):
Bye.

Speaker 67 (02:32:39):
This is Pat McGain in Hollywood, California, saying goodbye for
my writer Charles Growder, and inviting you to listen again
to another tale.

Speaker 2 (02:32:46):
Of Ray Advent.

Speaker 68 (02:32:51):
From almost the first moment that I entered the big room,
clutching my bottle, my attention was riveted upon a girl
that was there. Girl, but in fact she was considerably
older than I was thirty at least, I should suppose.
She was very blonde and slender, almost ethereal. She had
the greenest eyes I'd ever seen, or have ever seen since,

(02:33:15):
and the biggest too. She wore white boots which went
right up under her dress. If this girl worked in
my bank, i'd certainly not seen her there. We were
never introduced or anything like that, but I simply couldn't
bother about anyone else who was there, male or female.
I simply gravitated towards and around her. In the end,

(02:33:35):
she said, hello, you look unhappy.

Speaker 8 (02:33:39):
I nodded.

Speaker 68 (02:33:40):
That was partly because I was shy and speechless. Come
and sit by me, she said, and have a drink.

Speaker 15 (02:33:47):
Well.

Speaker 68 (02:33:47):
The drink was the usual dreadful stuff that you get
at parties where everyone's mucking in, but three or four glasses,
each of something different gave me more confidence, and in
the end I was conversing with the girl quite intelligently.
We had all kind and to things in common, like
books and films and concerts, which I used to go
in for at that time as much as I could,
And in no time at all, I was in seventh heaven.

(02:34:10):
It was absolutely the first time in my life that
I had entered that region, and as it happens, it
was more or less the last time. Also, the rest
of them were making more and more noise utter. It
was exactly like the bank, or like the sort of
tavern my father used.

Speaker 23 (02:34:28):
To look for.

Speaker 68 (02:34:29):
In the end, my girl said, let's explore. We went
upstairs and entered what I suppose was the parents bedroom.
We sat together on the bed, I say, I said,
who are you? I'm Laura, she said. She did tell
me her other name, but I'm giving that to myself.
She even told me her address and telephone number, and

(02:34:50):
of course I should have written them down, but I
supposed them to be burned on my brain forever, as
one does at that age. I'm Andrew, I said, and
she smiled at me mysteriously. So I put my arm
around her shoulders and should have liked to turn out
the light, but I knew the door was unlocked and
did not dare to go so far as to lock it.

(02:35:11):
She was wearing a thin, greeny dress with a pattern
on it like waves. I'd never seen a dress like it.
But why it's impossible to describe Andrew, she said, looking
at me with her enormous eyes.

Speaker 5 (02:35:24):
I do love you, huh.

Speaker 68 (02:35:26):
Let me tell you it was the supreme moment of
my entire life, though I didn't realize that at the time.
But then she cried Andrew, I must go and telephone.
I'd quite forgotten. You made me forget. Oh, you will
come back, I gasped out. Of course it was dangerous,
or to leave the room at all, that was obvious enough.

(02:35:47):
Even so A reply astonished me. I shall always come back,
was what she said. She pulled up her boots and
flitted out. Laura didn't come back.

Speaker 3 (02:36:01):
In the end.

Speaker 68 (02:36:01):
It seemed quite certain that she must have heard something
on the telephone which had made her leave at once.
I did not care to ask any one. I was
downcast enough on the way home, and it became worse
when I realized that I had forgotten both Laura's exact
address and her telephone number. However, I knew her name
right enough, and I remember the name of the road
she had given me. Immediately I reached my digs, I

(02:36:24):
looked Laura up in the communal telephone directory and found
that the page was missing. It was not that it
had been torn out, though the other chaps often did that.
I examined the binding. It seemed that that particular page
had never been there. I slept not one wink that night,
between rapture and regret. But in the end I left

(02:36:47):
the banking floor and I was given a more confidential
job of toting records from place to place. It was
inevitable that I saw more of the world, though I
didn't always like what I saw. On several occasions I
even thought of marrying, and the different girls seemed quite
keen to have me, but each time I drew back
at the last moment. Most men value their freedom, of course,

(02:37:08):
but it was really Laura. There was the trouble with me.
She'd transfixed me. I could never get her out of
my thoughts. Though you may think this is odd, because
I believe it was as much as eight or ten
years before I saw or heard of her again. I
was in Paris and strolling through the park Monceaux on
business when all among the prams and nursemaids, I saw

(02:37:29):
her on a seat. My heart turned over. I was
all but sick with the shock. Hello, she said, you
look unhappy. I am, I said, it's your fault.

Speaker 5 (02:37:40):
You must know that.

Speaker 68 (02:37:43):
She smiled in that way, which so confused me, In
which case we're going to have a drink and make
it up.

Speaker 8 (02:37:50):
Oh you must be cold.

Speaker 68 (02:37:52):
I couldn't help saying it, because she was wearing very
much the same dress and the same sort of boots.
And it was a blust street day in Paris, with
rain every now and then, and worse undoubtedly to come.
I've been waiting too, she said, reproachfully. She never added
much to that. We wandered off across the park to
a funny little place in a side street. On the way,

(02:38:15):
though really it wasn't far, we passed a ghastly street accident,
or perhaps it was something worse. I tried not to
look at it, and as she said nothing, of course
I didn't. We began mixing our drinks again in the
same unwise way, and talking about all those things we
had in common, though naturally we both went to fewer
films in concerts and read fewer books than before Hamper

(02:38:39):
that applies to almost everyone. I realized with a little shiver,
she might well be forty minor, or at least thirty eight.
I can only say that she did not look it.
She looked devastating in a slightly peculiar way. In the end,
I began eating as well as drinking, though she would

(02:39:00):
only nibble. While I was in the middle of one
of those hatched up mockstakes, the patron came up in
his red apron and whispered into Laura's ear. She rose instantly.
Excuse e moha, she said, absent mindedly, and as if
I had been a Frenchman. Well, she pulled herself together
and added back in a moment, smiling a smile. Then

(02:39:22):
before I could get out a word, she walked quickly
out of the cafe. Oh yes, this time I tore
right after her, but the patron clutched at me and
held me back by brute force. I suppose he was
frightened for his bill, but alternatively it might have been
that he knew something I didn't. I mooched miserably about
in the chilly drizzle, for I dare say an hour

(02:39:43):
and a half trying to keep the cafe entrance under observation.
But I knew in my bones that Laura would not return,
not there anyway.

Speaker 23 (02:39:52):
Not then.

Speaker 68 (02:39:54):
Within only a couple of years I got down at
last a proposing marriage, and Cecilia Susan accepted me at once.
I was perfectly determined to work in the marriage, and
obviously it was only fair that I should. But Laura
stood more hopelessly in the light than I had supposed possible.

(02:40:15):
I never said a word about it to Cecilia Susan.
It would have sounded so utterly unrealistic. Nor were things
helped by the fact that our two children, only a
year apart, actually died in an accident at the nursery school.
I'm sure you heard about it or read about it
at the time. There were questions in Parliament and a
big inquiry at which we both gave evidence. In the end,

(02:40:36):
Cecilia Susan left me for a more practical chapter, ten
years younger than I was and eight years younger than
she was. There was a quick divorce, and I've never
seen or heard of Cecilia Susan since. All this time
I was working for these new people, having left the
bank soon after the Park Monceux business. It's a funny
sort of job, but it pays a lot better, and

(02:40:57):
it's occasionally quite exciting. There was a meeting at a
big hotel near Well, I won't name it. It was
in the north of Italy. Now that'll give you the picture.
Not actually in the town either. As I say, the
gathering was international, cosmopolitan, all those things, And believe me,
it was pretty tense. By then, I was accustomed to

(02:41:18):
almost anything. But suddenly I'd had enough and I went
out for a breather. I hate a pet room. I
went downstairs, and they're at a table in the lands,
said Laura. She was looking out through the big window
at all the snow and ice and tempest. I did
not say that she was dressed in exactly the same way,
not at all, but it was a version of the

(02:41:41):
same garb in every detail, and she looked well, ageless
might be the best word.

Speaker 5 (02:41:48):
I stood back.

Speaker 15 (02:41:49):
I was petrified.

Speaker 68 (02:41:51):
It had been a terrible afternoon upstairs, if I am
to be honest about it, And now here in the
dusk was this. In the end, Laura turned and saw
me me. You do look unhappy, she said, Come and
sit by me. Why could hardly cut and run in
any case, we're all virtually snowed up. But needless to say,

(02:42:11):
I did not want to do anything of the kind.
Calm judgment was useless where Laura was concerned. I find
it almost always as useless. She filled a glass from
a big decanter of red wine. It was as if
the glass had been set there for me and waiting
wine of oblivion, said Laura, smiling. At least this time

(02:42:32):
we seemed not to propose mixing them, and inevitably, by
now we no longer read books at all or bothered
ourselves as with films and concerts or anything like that.
How longre you staying, I asked, with one part of
my mind still on the drifting snow. It doesn't matter,
said Laura. There will be future occasions. I laughed, and

(02:42:54):
everyone in the lounge looked up, except for the very
old and the very deaf. The interval there a bit
on the long side, I said. One day there won't
be a second despair, she replied, in a matter of
fact way, I expect. I stared at her like a fool.
Now if you like, she said, I suppose. I continued
to stare, and my work I had become ready with

(02:43:16):
conventional words, but only with those Come and see, she said,
with that all dissolving smile of hers, do you mind
carrying the wine? I followed her up stairs, back up stairs,
where I was concerned in the conference room. There seemed
to be total silence, which was absurd and impossible. She

(02:43:37):
wove in and out on the first floor of the hotel,
then pushed open a dingy and ill painted door, not
up to the general standard of the place, and held
it for me to pass through, with the big decanter
in one hand and the two big wine glasses slipping
about in the other. Beyond was a very big corridor,
ill lighted and with battered bedroom doors on either side.

(02:43:59):
There were a whole in the carpet and big cracks
in the plaster of the ceiling through which things might
emerge when most people had gone to bed. One could
not help thinking of that plainly it was a wing
which had been virtually closed, and not only for the
off season, one would suggest. I marveled that Laura should,
as I presume, sleep there and dwell there. Before long,

(02:44:23):
I was unable to reconcile so long a corridor with
the outside of the building, as I glimpsed it for
a moment on arrival, On and on and on I
tramped after her, tripping over the ragged carpet, coping with
my slithery burdens. She opened a door to our left
I felt immediately that it might have been any door.

(02:44:46):
She stood at the portal, smiling. Really she was much
too lightly clad for the dreadful chill of that corridor,
where the central heating had been so long turned off.
In her wavy dress, she looked more like the sea
in summer, though deep and mighty. But you wouldn't possibly
understand what I mean. You will who had to be there.

Speaker 23 (02:45:10):
One day?

Speaker 15 (02:45:11):
Perhaps you will be.

Speaker 68 (02:45:13):
I could only just see into the room by the
few glimmering lights in the corridor, totally insufficient for modern
hotel visitors. I could discern in the room only rotting
would work, and huge worms and saw drags.

Speaker 15 (02:45:29):
On the floor.

Speaker 68 (02:45:32):
Come in and have a drink with me, bed Laura.
Then I can look after you properly. After a second
or two of silence between us, she gently added, you
might call me your guardian angel. No one should think
I made a fool of myself, not at all. I'd
been very fully trained in self control. I set down

(02:45:55):
the heavy decanter on the threshold, and though one of
the glasses fell from my hand, and as I stooped,
it did not shatter. I by no means broke into
a panicky rush, but at the most what my late father,
who came very much into my mind at that moment,
would have called a fast jog trot, which sufficed perfectly well.

(02:46:15):
Though I don't know what might have happened if, by
mistake I had run in the wrong direction. Naturally, i've
not again seen Laura as yet. I keep telling myself
to stop worrying, because such things are not decided by us,
but for us. That was Joss Acklund reading Laura by

(02:46:37):
Robert Aikman.

Speaker 8 (02:46:38):
The producer was Richard Dunn.

Speaker 6 (02:46:40):
Welcome, ladies and gentlemen.

Speaker 69 (02:46:41):
This is beasl wrap on, inviting you to join me
beyond the green door today with the company Patrolman Hawkins
into Wattings Waxworks, a place which partially exists behind the
green door. Sheer luck could put Patrolman Hawks on the
trail of the notorious murderer Jonathan Gatt. Hawkins almost lost

(02:47:04):
him on the dark, fog bound London streets, but he
turned a corner just in time to see Gat disappeared
into Wattings Waxworks. Hawkins agripped his club and followed. Wattings
was not as famous as Metal two Swords, but it
was more sinister. It specialized in murderers, cunningly cast in
wax and set in characteristic scenes. The workmanship was superb,

(02:47:28):
and Hawkins lantern picked up the figures of book and
hair the notorious grave robbers. There was Bluebeard, the wife killer,
and there was beautiful Constance Kent, more dangerous than a cobra.
Here was Doctor Bund, a fair head and smiling, and
over there was Morvin, the Marseilles strangler, and there were
many others who were his most deadly killers. They're wax

(02:47:50):
and features molded with a terrible reality. But Jonathan Gatt
was not to be seen. Another man might have left
that place at once. Even in daylight. Those figures could
get on one's nerves, but Hawkins had no nerves to
speak up, and he went on fast, leering, larm rue
and a solemn faced Ogden lantern in one hand, club

(02:48:12):
in the other. He peered around their ghastly room, knowing
that Jonathan Gatt had to be here. Their hairs on
his neck itched, for Hawkins had the sudden feeling that
the killer had somehow crept behind him and was approaching him. Now,
his razor ready, Hawkins got a grip on himself. He
looked into a far corner of the room, and yet

(02:48:33):
he dropped his lantern, for there was Jonathan Gatt.

Speaker 11 (02:48:40):
His razor was open, there was a grin on his face.

Speaker 69 (02:48:43):
Hawkins raised his club and saw that the killer's smile
was the rhesus sardonicus, the death grin of a corpse.
Gat was dead, propped up against the wall, as though
on exhibitions, staring vacantly at some imaginary victim his feet.
But who killed him and who had arranged him in

(02:49:04):
this bizarre pose? Could he have died of fright, unnerved
by the evil wax figures around him? Or was he
not dead but merely pretending and waiting for an opportunity
to use his deadly razor. Hawkins approached curiously and saw
that the man was not pretending. There was no mistaking

(02:49:24):
the clays and those downward staring eyes. Somehow, Gett had
met his death here among the images of his brothers.

Speaker 12 (02:49:34):
He lacked only a victim at his feet to look
exactly like the rest of them.

Speaker 8 (02:49:39):
Then Hawkins understood and tried to run, but it was
too late.

Speaker 69 (02:49:46):
Terrible strangling hands had closed around his throat, and Hawkins'
last thought was that the hands.

Speaker 10 (02:49:52):
Were very cold and smooth and waxy.

Speaker 69 (02:49:59):
You could visit he Waxworks yourself any weekday between nine
and five. It's located on Charing Cross Road and is
famous for its exhibitions of murderers. Bluebeard is there, and
doctor Bond and Constance Kent and Burke and Hair and
many others. Even Jonathan Gatt is there with a razor
and his grin, and Patrolman Hawkins, his last victim lies

(02:50:24):
at his feet. Both look extremely life like. The official
theory is that they killed each other. But mister Watting,
the owner of the waxworks, isn't astute businessman. He likes
to rub his smooth, cold, waxy hens together and hint

(02:50:46):
at some strange mystery.

Speaker 20 (02:51:10):
I have another story to tell you today.

Speaker 70 (02:51:13):
This one is about a crime in which a murderer
is trapped by one of the most powerful forces of nature.

Speaker 20 (02:51:21):
Do you want to hear it.

Speaker 26 (02:51:29):
Now?

Speaker 46 (02:51:30):
Starring Paul Freese, is your teller of tales. Another story
from the Black Book.

Speaker 70 (02:51:41):
Yes, from the world's most fabulous collection of strange and
unusual stories, the Black Book, I have selected a story
called the Vagabond Murder. Eric Patterson was growing desperate. He'd

(02:52:07):
been there for over two hours, waiting, waiting with less
and less patience for the door in front of him
to open. He listened intently for the warning sound of
the key in the door. Eric needed to be warned,
because when the man he was waiting for entered the room,
Eric was going to kill him. As the seconds ticked

(02:52:36):
past in the darkness, Eric thought back to the beginning
of all this. It was in New York. He had
taken his wife Karen along on a business trip. It
had been quite successful, and one of the best contacts
he'd made was Henry Drucker. Drucker the richest, most influential
man in the whole investment business, and he seemed to

(02:52:56):
like Eric from the start, and with Karen, they made
a trio the last few days, rounds of cocktail parties,
the theater, endless nightclubs, and then on the last evening
of all Drucker had said, look, Eric, why not join
me on the Bermuda trip?

Speaker 20 (02:53:14):
The best thing in the world for you and Karen?
My yacht sales tomorrow. What do you say?

Speaker 70 (02:53:20):
At first Eric thought it was just talk, but he
was wrong, and the next day they sailed for Bermuda
on Drucker's yacht, the Vagabond. It wasn't until the return
trip that Eric began to suspect that it wasn't him
Drucker was really interested in, but Karen. And then the

(02:53:41):
night before they were to dock in New York had happened.
The three of them were sitting at the small bar
after dinner when Karen got up, said she wanted some
fresh air and went out on deck. A few minutes later,
Drucker excused himself, I think I'll.

Speaker 20 (02:53:57):
Go to my cabin. Eric be long wait here for me,
will you? Well?

Speaker 70 (02:54:03):
Yes, if you like, good, then we'll have a nightcap together.
And so Eric was left alone. As he sat there,
disturbing images began to form in Eric's mind, pictures of Drucker, handsome,
viril wealthy, and of Karen, young, beautiful and oh so impressionable.

(02:54:29):
With a suddenness that overturned the barstool, Ric was on
his feet and half running across the room and went
down the corridor the Drugger's stay from Crucker.

Speaker 20 (02:54:37):
Drucker opened the door.

Speaker 1 (02:54:39):
Crocker, you hear me open this door.

Speaker 11 (02:54:40):
I'll break it down.

Speaker 20 (02:54:44):
I'll take it easy till I count to five, and
I'm coming in one.

Speaker 16 (02:54:47):
Two?

Speaker 20 (02:54:49):
All right?

Speaker 9 (02:54:49):
Here?

Speaker 12 (02:54:50):
Where's my wife?

Speaker 5 (02:54:52):
Well?

Speaker 20 (02:54:52):
You must be drunkenry Karen, isn't he?

Speaker 15 (02:54:54):
Here?

Speaker 23 (02:54:55):
Was she in here?

Speaker 20 (02:54:56):
Drucker tell me the trope. Don't be a fool, Eric,
Of course she wasn't.

Speaker 15 (02:54:59):
And why was your door?

Speaker 26 (02:55:03):
Oh?

Speaker 20 (02:55:04):
I guess I have made a fool of myself. I'm sorry, Drucking.
Forget it.

Speaker 71 (02:55:09):
I'll tell you why I locked the door. And you see, Eric,
I'm diabeting. I have to give myself an insulin shot
about this time every night. Naturally, I don't talk about it,
nor do I like anyone barging in while I'm at it.

Speaker 70 (02:55:21):
Eric stood there, feeling like a fool, while Drugger washed
the hypodermic needle and put it away in a box.
Eric watched him place the box next to a packet
of insulin capsules in the drawer of the night table
by his bunk.

Speaker 71 (02:55:33):
I can understand you're a jealousy old man with her
wife as lovely as Karen.

Speaker 42 (02:55:39):
But I know women, Eric, and Karen is in love
with you. She always will be.

Speaker 20 (02:55:43):
Look, I'm terribly sorry about this drawing.

Speaker 22 (02:55:46):
Now, let's just forget all about it.

Speaker 71 (02:55:48):
Matter of fact, I've been wanting to talk to you
about something I've already told Karen.

Speaker 20 (02:55:53):
It should prove how I feel about you.

Speaker 11 (02:55:55):
Eric.

Speaker 20 (02:55:55):
Here, poy yourself a drink. Thanks, I need it. You
know anything about it?

Speaker 26 (02:56:00):
Out?

Speaker 23 (02:56:00):
Uranium?

Speaker 20 (02:56:01):
That's expensive? Know anything about Peru? What are you driving at?
Uranium and Peru?

Speaker 33 (02:56:08):
Eric?

Speaker 71 (02:56:08):
Big, really big and the payoff is so big that
I was going to put in seven hundred and fifty
thousand dollars on my own, but I'll let you have
two hundred and fifty thousand of it if you want it.

Speaker 70 (02:56:20):
That's a lot of money. So is a return of
twenty three percent. But I haven't got that much. I'd
have to borrow on everything.

Speaker 20 (02:56:29):
One hundred and eighty days should see the first dividends.
You'll have a certified check within two weeks.

Speaker 70 (02:56:43):
Back in New York, Eric and Druckers spent hours pouring
over grafts reports, chart surveys to make certain their investment
was sound, and they could find no flaw. But six
months later, Eric learned that even the most guilt edged
promotion can fail.

Speaker 20 (02:57:01):
Uranium in Peru didn't make him a millionaire. It ruined him.

Speaker 70 (02:57:06):
It took his entire personal fortune, and because he borrowed
so heavily, his business and his credit were ruined. Eric
suddenly found himself without a single capital asset. In desperation,
he went to Sea Drucker.

Speaker 15 (02:57:20):
So that's the picture.

Speaker 5 (02:57:21):
Eric, There isn't a thing I can do.

Speaker 20 (02:57:23):
Yes, of course, I understand your position.

Speaker 71 (02:57:26):
All my cash assets went too and everything else of
mine's tied up. He can't touch it for years. Well,
we took a chance and we both lost. Thanks again, Drugger.

Speaker 20 (02:57:37):
Eric, Do you have any plans?

Speaker 70 (02:57:40):
Well, I've had an offer from the Coast small investment
house in Oakland.

Speaker 20 (02:57:44):
I'm sure it'll work out fine.

Speaker 42 (02:57:46):
Tell me about Karen.

Speaker 20 (02:57:47):
How is she taking all this? Karen? She's she's really great, Rugger.

Speaker 70 (02:57:53):
Now she decided to go back to modeling in New
York for six months or so, just while I'm getting started.

Speaker 20 (02:57:58):
You couldn't understand.

Speaker 15 (02:57:59):
He's a fine girl.

Speaker 20 (02:58:00):
Eric, You're very lucky. Yes, I no, I am.

Speaker 70 (02:58:05):
Well, goodbye and thanks again. Out in California, Eric thought
often of Drucker. After all, it was part of the
game they'd missed.

Speaker 20 (02:58:23):
This time, but maybe the next. More often, however, he
thought about.

Speaker 70 (02:58:27):
Karen in New York, he'd heard from her regularly at first,
and then the letters stopped.

Speaker 20 (02:58:34):
For six weeks he heard nothing.

Speaker 70 (02:58:36):
He phoned long distance again and again, but nothing was
able to find her, and he was beginning to be
beside himself with worry and fear.

Speaker 20 (02:58:46):
Then one night his phone writing.

Speaker 1 (02:58:49):
Yes, hello Patterson, Yes, this is Oliver Fay.

Speaker 3 (02:58:53):
I do a little gossip column here for the Herald.
I hope you read me.

Speaker 20 (02:58:57):
No, I don't.

Speaker 3 (02:58:58):
Well anyway, perhaps you would like to make a statement statement.

Speaker 20 (02:59:02):
What are you talking about?

Speaker 51 (02:59:03):
Well, it's about the marriage of Karen, you're perfectly lovely
ex wife and Henry Drucker.

Speaker 20 (02:59:08):
Where'd you hear this?

Speaker 3 (02:59:09):
I never reviewed my sources, mister Patterson.

Speaker 51 (02:59:12):
But they're driving mister Drugger's nashly out from Reno. Tomorrow
they'll be married about the vagabond. Oh it'll be terribly romantic,
sailing off to the Seven Seas in search of happiness,
nursing their newfound love under the Southern Cross.

Speaker 70 (02:59:24):
At first, Eric thought it was all a lie, that
perhaps he was the victim of a cruel prank, but
he had to find out, and an hour later he
was standing on a fog wet pier looking at the sleek,
quite outline of the Vagabond, and suddenly, as waves of

(02:59:48):
nausea swept through him, he understood everything. Drucker had deliberately
ruined him, and undoubtedly with Karen's knowledge. These last six
weeks Karen had been in Reno, divorcing him by default.
Everything had been taken from him, his money, his wife,
his pride, and he.

Speaker 20 (03:00:07):
Hated them for it.

Speaker 70 (03:00:09):
Derek stood there, raging, his eyes fixed on the porthole
he knew to be that of Drugger's own cabin, and
suddenly he realized that he was going to kill Drucker,
and a second later he knew how he was going
to kill him. He returned to his rooms and dialed
the number of the Herald, asking for Oliver Faye. Mister

(03:00:32):
fay uh, this is Eric Patterson. Look, I want to
apologize for my rudeness earlier.

Speaker 51 (03:00:39):
This evening are often harsh.

Speaker 20 (03:00:43):
Yes, well, I'm sorry. I would like to give you
a statement now.

Speaker 70 (03:00:49):
It's simply that Henry Drucker and I are close friends,
and well there's no ill feeling between any of us,
you understand. I certainly wish them the best of everything good.

Speaker 3 (03:00:59):
I'll print that.

Speaker 51 (03:01:00):
Showed to them tomorrow night. And you know there's a
pre wedding party about the vagabond.

Speaker 20 (03:01:04):
Oh what time are they sailing? I might want to
send him a wire.

Speaker 3 (03:01:09):
Well, I have my little notes right here.

Speaker 51 (03:01:10):
Let me see now, cottails at five point thirty, then
dinner about eight, and finally the sailing around two am.

Speaker 3 (03:01:17):
I think you know it's going to be such fun.
I'm the only one of the literary Cardivent.

Speaker 20 (03:01:21):
Oliver fay sh Don.

Speaker 70 (03:01:22):
But Eric wasn't listening now almost yet, all the information
he needed Henry Drucker was as good as dead right now.
About six thirty next evening, Eric stood in the shadows
of the pier and watched the last of the guests
arrive and board the Vagabond. Then he walked quickly across

(03:01:45):
the open area, directly to the porthole of Drucker's cabin.
He was unobserved. The porthole was on a level with
the pier. Eric had to lie on his stomach in
order to crawl through it. A moment later he was
safely in side. He closed the portal and waited for
his eyes to become accustomed to the darkness. Then he

(03:02:06):
found the night table by Drugger's bunk and removed the
hypodermic needle and insulin. Quickly, he filled the syringe with
more than enough insulin to kill a man and placed
it carefully on top of the table. Next, he found
a towel and rolled at lengthwise. With it he could
choke Drunker into unconsciousness without leaving a mark. Now he

(03:02:26):
was ready. An hour passed, then two and a third,
more slowly than ever, and for the first time Eric
grew nervous.

Speaker 20 (03:02:38):
Another hour and the towel in his hands was wet
with perspiration.

Speaker 70 (03:02:42):
What had happened a Drucker in the excitement of the
evening forgotten his injection.

Speaker 20 (03:02:48):
Panic began to rise in Eric, and he fought it
back desperately, And then suddenly he heard a key in
the door. He stood back and waited.

Speaker 70 (03:02:56):
The door opened and Drunker, a black figure against the
light of the corridor, entered the cabin. Eric waited until
he blocked the door behind him. Then he moved, but
all went around Rugger's neck, and he twisted it with
a frenzied straight. After a moment or two that Druggers
ceased to struggle, and Eric finally released him. He might

(03:03:18):
have been dead already, but to be sure, and to
make it look like suicide or an accident, he injected
the overdose of insulin.

Speaker 20 (03:03:27):
Then it was over perfect. Eric sighed deeply with relief
and satisfaction.

Speaker 50 (03:03:35):
Mister, oh, come now, I know you're in there, you
you know.

Speaker 70 (03:03:43):
Terror stricken, Eric moved to the portal. His hands trembled
as he opened it and prepared to climb through. But
something was wrong. The portal was opened, but he couldn't
get out. Blocking At six inches from his hands was
a solid wall of pilings, great timbers, side by side.

Speaker 20 (03:04:04):
The floor of the pier was now two feet above him.
For a moment, he was dazed, and then he knew.

Speaker 13 (03:04:13):
The tide.

Speaker 70 (03:04:15):
The tide was going out, and the ship had dropped
a few feet with it. The tide had cut off
Eric's only escape. He was hopelessly trapped. He sat down heavily,
almost ready to cry.

Speaker 71 (03:04:33):
I'm still here, mister trucker, and I wait right here
all night if necessary, do you hear me?

Speaker 46 (03:04:55):
The Black Book stars Paul Freeze as your teller of tales,
assisted today by the noted Hollywood actor John Dayner. The
Vagabond Murder was written by Norman McDonald and John Neston
and directed by mister McDonald. The special music is composed
and conducted by Leete Stephens.

Speaker 20 (03:05:13):
Every Monday Night, the.

Speaker 46 (03:05:14):
Tap Hollywood Star plays the leading role in the thrill
Pack story on Suspense on most of these same CBS
Radio stations. Clarence Cassell speaking Remember Broadway Playhouse brings you
top Stars and Top Stories.

Speaker 20 (03:05:25):
Sunday Nights on the CBS Radio Network.

Speaker 18 (03:05:49):
The Magic Detectives starrying the world's greatest position black Stones. Tonight,
he tells an inside story of the ghost that's Pack
the Killers. Right after Tonight's Sorry, Blackstone will explain quick
that you yourself can perform. He will repay over guided
secret to the world's greatest magician. Now to Blackstone's magical studio.

Speaker 65 (03:06:25):
He's got a single the place it is.

Speaker 23 (03:06:27):
But wait a moment.

Speaker 11 (03:06:28):
I like you to meet Blackstone himself.

Speaker 23 (03:06:29):
Good evening.

Speaker 25 (03:06:31):
I see that you're admiring my new cabinet.

Speaker 26 (03:06:33):
Yeah, that that's right at Blackstone. I'm just gonna mention
those unusual bottles on that shaft. That's interesting because the
two go together. I'll tell you about them in a moment,
but first let me introduce my leading ideas, mis.

Speaker 2 (03:06:43):
Throw their brain.

Speaker 16 (03:06:44):
How do you do?

Speaker 15 (03:06:45):
Don't get any of this plant?

Speaker 18 (03:06:47):
Do you are disturbed in that cabinet?

Speaker 16 (03:06:48):
Oh?

Speaker 25 (03:06:49):
No, that's the ghost cabinet.

Speaker 15 (03:06:50):
You mean there's a ghost in it.

Speaker 26 (03:06:52):
There will be there where you hit the ghosts out
of those bottles over there on that shelf that site.

Speaker 65 (03:06:57):
Would you like me to manufacture a ghost right now? Well?

Speaker 25 (03:07:01):
Will it be a world ghost? Parker Harry thought it
was real when you saw it.

Speaker 26 (03:07:04):
Harker Harley is the first man who ever saw the
ghost pick. It was one of my strangest adventures as
a magic detective.

Speaker 65 (03:07:11):
We were playing a town in New England. I was
in my dressing room after the final school when somebody
knocked at the door.

Speaker 12 (03:07:19):
Who is it?

Speaker 11 (03:07:22):
Oh?

Speaker 65 (03:07:22):
Show him in murder, mister blatch dog kid.

Speaker 25 (03:07:27):
I'm sure, Okay, how do you do? I want you
to solve the murder.

Speaker 2 (03:07:30):
A murder, but I'm a magician, not a detective, and
I was.

Speaker 25 (03:07:33):
Going to take a magician to collect this case.

Speaker 2 (03:07:35):
Oh how's that, Sheritt?

Speaker 25 (03:07:36):
Because we know who the murder is and why he
killed his victim, and.

Speaker 72 (03:07:40):
You know how he committed the crime.

Speaker 1 (03:07:41):
Yes, ma'am, we knows what.

Speaker 25 (03:07:42):
To Oh, we think we do, and we can't prove anything.

Speaker 65 (03:07:45):
So that's why you need a magician more than a detective.

Speaker 25 (03:07:48):
That's why, mister Blackstone.

Speaker 65 (03:07:49):
It found the dressing.

Speaker 26 (03:07:50):
Chery, tell me the table, I say, But the girls
with all Hyls Hounders who died last week?

Speaker 40 (03:07:57):
Well I read about that in a local rowspaper.

Speaker 16 (03:08:00):
Oh, I thought pictures a queer old house with all
the goobers where mister Sanders.

Speaker 42 (03:08:04):
Yes, I'm very died too, Miss.

Speaker 26 (03:08:06):
I'm taking too much of the medicine that doctor Talbot
gave him.

Speaker 42 (03:08:09):
And it wasn't doctor Talbot's fave.

Speaker 65 (03:08:11):
Then whose fault was it? Care Well, I'm blaming Parker.

Speaker 25 (03:08:14):
Harley, the caretaker. We could have given mister Saunders and
overdose that.

Speaker 26 (03:08:18):
Medicine is easy as you make people vanished, mister Blackstay,
who thanks to the compromentiative. But if Parker was the murderer,
what was his money?

Speaker 24 (03:08:26):
Money?

Speaker 25 (03:08:27):
That's right, But then you take a sub to sound
dad's hen.

Speaker 26 (03:08:30):
Well that's what we thought, miss, until we opened the
old cabinet up to his bedroom. Inside we found the
tea in cash box were five thousand dollars.

Speaker 65 (03:08:38):
But if Parker was after the money.

Speaker 25 (03:08:39):
Why he didn't deceive it because he didn't need to
turned out and the old gentleman looked everything in his wills.
Who Parker, Harley?

Speaker 40 (03:08:47):
Well, then a Parker has to do it.

Speaker 25 (03:08:48):
Go to the house and find the money. That's right, moves,
I have to see it already has taken it. No,
I get mister Blackstone right now.

Speaker 26 (03:08:55):
Parker's at the lawyer's office. Came in some of the
Saunders' personal belonging thems.

Speaker 40 (03:08:58):
And he the keated the cabinet.

Speaker 25 (03:09:00):
That's rights, Papa, won't waste no time lost.

Speaker 26 (03:09:03):
And then we've got to stop at the old house
right now, go ahead, I've got my car outside.

Speaker 65 (03:09:07):
So we can get the ahead of paper.

Speaker 25 (03:09:21):
Ye, eli's the house, Foks.

Speaker 40 (03:09:24):
Why what a poky price?

Speaker 65 (03:09:26):
You may be right, Loda, That's what I'm going in
to see about.

Speaker 26 (03:09:30):
Wait, I almost forgot something. Hand me that second when
you got it? When I got a blood stall.

Speaker 25 (03:09:36):
Here it is?

Speaker 2 (03:09:37):
Thanks?

Speaker 25 (03:09:38):
Are you right here?

Speaker 20 (03:09:39):
The sheriff, Oh.

Speaker 65 (03:09:40):
Well, if I'm not back in ten minutes, come in after.

Speaker 25 (03:09:48):
What did mister Blackstone? So he is going to say
about why why ghosts? That he didn't say enough about
ghosts you don't in a way he did.

Speaker 40 (03:09:58):
When I said the place with spooky, he said that
Noddy was right.

Speaker 65 (03:10:01):
Well, what we really do hot in.

Speaker 25 (03:10:04):
The house was oh, sounded ghost chef. Oh he was
murdered writing.

Speaker 53 (03:10:10):
And if there are ghost the usually those have murdered people,
aren't folk.

Speaker 25 (03:10:14):
Sure, miss, that's right, and they often guard money.

Speaker 23 (03:10:18):
You shall I've heard?

Speaker 25 (03:10:19):
Well shut up there you are, and don't do that.

Speaker 20 (03:10:24):
What does it mean?

Speaker 25 (03:10:24):
Sat light in the window. The room is stayed.

Speaker 11 (03:10:27):
That's that's run window?

Speaker 23 (03:10:29):
The room died?

Speaker 37 (03:10:31):
What sawy?

Speaker 25 (03:10:32):
A flashlighting dragon on its Parker, he got here ahead
of it. No, nor a blackman's sho looking up the window. Yeah, yeah,
I see you now he's betting to us.

Speaker 11 (03:10:43):
Come on, let's go out.

Speaker 25 (03:10:47):
Oh isn't a Shoven's cause chilly out here?

Speaker 3 (03:10:51):
Come on in.

Speaker 17 (03:10:52):
It's warmer in the hall.

Speaker 65 (03:10:58):
I mean, sharif bye.

Speaker 25 (03:11:00):
Tat Parker, trap, I don't see any tramp.

Speaker 65 (03:11:03):
I'm not supposed to see it.

Speaker 25 (03:11:05):
But I just heard something somebody why sounded like the
full door.

Speaker 52 (03:11:10):
Turn off that flashy chap and listen to somebody coming
up the stair.

Speaker 24 (03:11:17):
I was weird in all the darkness, Parker, we don't
want him to find us.

Speaker 8 (03:11:24):
You won't find us.

Speaker 52 (03:11:25):
Move back here in the out croache.

Speaker 24 (03:11:27):
Yeah, Parker, I saw his face when the match perid.
But he's get gone to the cabinet.

Speaker 33 (03:11:41):
You will literally light those candles on the table. See
he's stopping at the cabinet. Watch he's found the tin box.
You should putting the door on the tab.

Speaker 35 (03:12:01):
Fuck, look at the cabinet, the doors, clothing shots, that's nothing,
miss just to kind of a gun.

Speaker 11 (03:12:07):
Stay in the vessel. Don't come through a crack.

Speaker 52 (03:12:11):
You don't go out of his turred Parker or the
ghost ghost what ghost Saunders ghost hair?

Speaker 37 (03:12:18):
Don't you see chat come on the corn?

Speaker 24 (03:12:21):
Yeah, it is a ghost creeping out like a great
big hand.

Speaker 65 (03:12:26):
Bigger than a fan, as big as a pair of arms.

Speaker 48 (03:12:31):
Are you doing closer to Parker?

Speaker 24 (03:12:33):
No, it's as big as he is. He's a bigger
You can see right through it like a ghost. Piet.

Speaker 52 (03:12:43):
Now this Park's turning around door the cabinet.

Speaker 73 (03:12:47):
No no, no, no, no, no no word.

Speaker 25 (03:12:51):
I don't want to know. I don't want the ghost
is coming. It's spreading all around him like it was
a fog.

Speaker 15 (03:13:00):
Just let me go.

Speaker 50 (03:13:02):
She tied the bland Parker, you.

Speaker 25 (03:13:04):
Can't because the ghosts already hardly. He's going to complaints.

Speaker 16 (03:13:11):
She let me said, you're.

Speaker 65 (03:13:18):
Take part of now s.

Speaker 25 (03:13:22):
Come along, you'll kill so period. I kill him kills
doesn't his.

Speaker 10 (03:13:32):
Ghost came back.

Speaker 25 (03:13:33):
You got to stick to that metation, Parker. I know
you want the ghost to tell you.

Speaker 26 (03:13:36):
I want to.

Speaker 23 (03:13:38):
I'll tell everything everything I know.

Speaker 25 (03:13:39):
I you know anything, Get me away from it. That's
her blade, your poker. I got a nice jail, sir,
for you without ghosts.

Speaker 65 (03:13:57):
Well, so that was the first moments of your famous
ghost act yours.

Speaker 26 (03:14:02):
It was a simple chemical experiment plug the imagination of
those who witnessed it. When there aren't such things as
your gus, they only those rule those people imagine them
to be. I manufactured the ghost from two of those
bottles on the ship.

Speaker 73 (03:14:14):
Say well, what was in the cart?

Speaker 25 (03:14:15):
Two simple hipples that can be bought at any drug store.
A watch.

Speaker 26 (03:14:19):
While I make the ghost first, the hudt from this
bubble they went to women themes well in Shaunder's tebnet
and from this bottle a Qudrot's son of Butter that
I tucked in the cabinet.

Speaker 40 (03:14:30):
Door, and thorny smoke more and more of it.

Speaker 26 (03:14:33):
It's creeping out just just not just like a ghosttrodren,
growing bigger and bigger, like the four a good part
a holly when it turned round and saw its It's
most amazing the folk that a gross could be put
yourself simpering so easily, not at all.

Speaker 65 (03:14:47):
I'll show you something crabby wonderful that could be done anywhere.
While we're trying it, our listening oriens can try it too.

Speaker 25 (03:14:55):
First, I need a nickel or they are.

Speaker 65 (03:14:57):
Vice con and next door drinking that.

Speaker 25 (03:15:00):
I'll get one good now, a piper match.

Speaker 26 (03:15:03):
While I light it and to blow it out. I
want you to balance the makel on the table, balance
the lecco.

Speaker 2 (03:15:10):
That's good.

Speaker 25 (03:15:11):
It's pretty uffic of it, so now that's easy.

Speaker 18 (03:15:14):
Hey, I'm standing.

Speaker 25 (03:15:15):
Now burn the match a little and place it.

Speaker 24 (03:15:17):
On the balance.

Speaker 65 (03:15:17):
Snicker says Keathley.

Speaker 11 (03:15:19):
That's right.

Speaker 17 (03:15:20):
The bent match is wrestling on the balanced snakel. And
when that comes next the drinking glass.

Speaker 65 (03:15:26):
Thanks da, set it upside down over the nickel and
the match catheree it good?

Speaker 25 (03:15:31):
And now do you think you could remove the match
from the nickel without lifting the glass?

Speaker 26 (03:15:36):
I don't think gosh, if I caught it would be magic.
If a ghost, yes, it doesn't look as they're only
a strip could manage it.

Speaker 11 (03:15:41):
But the tip's very easy.

Speaker 65 (03:15:43):
We need just one thing more the magic we're on. No,
something much more simple.

Speaker 25 (03:15:47):
Something you have in your pocket right now, and I'll
go back in.

Speaker 23 (03:15:50):
A moment to tell you part of you.

Speaker 65 (03:16:02):
And now that stone that's tracking was all right?

Speaker 17 (03:16:05):
Now?

Speaker 25 (03:16:06):
Remember I said there was something else that would have Yes,
what is it? What cold of you are there in
your coat pocket?

Speaker 17 (03:16:11):
I remain in this little tomaways challenged.

Speaker 25 (03:16:13):
That's right, give us a black story. He'll show you
how the trick is done.

Speaker 26 (03:16:16):
All right, here's a calm Blackstone, and good a little
moment first, running through our head to accumulate some electricity.

Speaker 25 (03:16:22):
All right, that's good. Now move the cold slowly around
the glass.

Speaker 2 (03:16:28):
I guess you know. That's the way the rock the
match is turning like the middle of a corpace.

Speaker 65 (03:16:36):
And there it goes, the match.

Speaker 26 (03:16:38):
Right off the head, just as I said it would.
There's the magic you and all your friends will enjoy.
Just try it and find out until we meet the game,
which is Blackstone saying.

Speaker 2 (03:16:48):
Good magic and goodbye.

Speaker 33 (03:16:57):
Being with us.

Speaker 18 (03:16:57):
The next time when that Stone, the World's Greatest Magician
tells us the story out there the Reluctant Buzzsa and
explains Martretch that you yourself can perform Listen them again
to the magic. Effective was based on the World's Greatest Magician.

Speaker 74 (03:17:28):
Box thirteen with the star of Paramount Pictures Alan Ladd
as Dan Holliday.

Speaker 3 (03:17:40):
My dear mister Holliday, I do not address you as
Box thirteen, because having seen your advertisement, I was intrigued
and found out who you are. You write mystery stories.
I am a professor of criminology at the University. I
think I have something of enormous interest to both of.

Speaker 12 (03:17:56):
Us, The perfect Crime. I am going to commit it,
won't you be my audience?

Speaker 3 (03:18:01):
Give it?

Speaker 12 (03:18:01):
Pleases you come to my room, please my rooms at.

Speaker 5 (03:18:10):
The University, Sincerely, doctor John Dobbs. At first I wasn't
sure whether the letter was on the level or not.
Then when I saw doctor Dobbs, I was sure it was.
And he did commit the Perfect Crime almost.

Speaker 74 (03:18:35):
And now back to Box thirteen and Dan Holliday's newest adventure,
The Perfect Crime.

Speaker 75 (03:18:46):
John Dobbs, Doctor John Dobbs, I never heard of him,
mister Holliday.

Speaker 27 (03:18:53):
He read this Who's Who in American education.

Speaker 5 (03:18:57):
Our doctor Dobbs is quite a personage.

Speaker 27 (03:18:59):
Dobbs, John H.

Speaker 75 (03:19:01):
Professor of criminology and abnormal psychology, author of over fifteen
volumes on crime and the criminal.

Speaker 5 (03:19:08):
That's enough season, and now doctor Dobbs says he's going
to commit the perfect crime. Is there such a thing, Susie,
Any unsolved crime is perfect?

Speaker 27 (03:19:16):
Oh, maybe he's just kidding. He's a professor. He wouldn't
do anything like that.

Speaker 5 (03:19:20):
That's exactly what I'm going to find out. At least
I'll have an interesting evening. Doctor Dobbs is waiting for me.
When I got to his rooms, he was a harmless,
pleasant looking man of about sixty five. He smiled shyly
as he greeted me.

Speaker 3 (03:19:38):
Hi, I'm so glad you came, mister Holiday. How long
can you stay all evening? My time is yours wonderful.
You think I'm a little crazy, don't you?

Speaker 23 (03:19:48):
Well?

Speaker 5 (03:19:49):
Aren't we all go? I suppose so.

Speaker 12 (03:19:50):
But let's discuss the perfect crime?

Speaker 11 (03:19:53):
Now?

Speaker 12 (03:19:53):
What is a perfect crime one that isn't solved?

Speaker 3 (03:19:56):
Yes, yes, of course, But nine times out of ten
the crime isn't I'm speaking about a planned murder, perfectly
executed and perfectly hidden.

Speaker 5 (03:20:05):
Doctor Dobbs, you're a great man in your field. Therefore
you should know that no one ever gets away with it.
Oh why not, because there's always some clue, some minute
trace that leads directly to the murder.

Speaker 11 (03:20:15):
Oh.

Speaker 12 (03:20:16):
True, But suppose there were no clues, none at all.

Speaker 5 (03:20:19):
Ah, but you're leaving out an important factor, and that
is the body. It's hard to get rid of a body.
Doctor Crippen was trapped, trapped because police found the body
of his wife in the basement.

Speaker 12 (03:20:29):
Yes, but suppose a body could be destroyed altogether.

Speaker 5 (03:20:32):
Well, it's never been done. With today's scientific police laboratories,
even the tiniest clue can be built up enough to
convince a jury.

Speaker 3 (03:20:39):
Yes, that's very true. But suppose the body of the
murdered person were never found.

Speaker 5 (03:20:45):
It always has been, granted, But suppose it were not,
that'd be absolutely no proof of murder.

Speaker 12 (03:20:49):
Ah, my point exactly.

Speaker 5 (03:20:51):
Now just a minute. First, you have to find a victim,
one who isn't even remotely connected with you. Then you
have to kill him.

Speaker 25 (03:20:58):
Yes, go on.

Speaker 5 (03:20:59):
Then, having found you a victim and killed him, you
have to get rid of his body altogether.

Speaker 12 (03:21:03):
Those are the conditions.

Speaker 5 (03:21:04):
Yes, so after those conditions were fulfilled, you'd have to
escape detection and final punishment.

Speaker 3 (03:21:10):
And your argument is that with those conditions, the perfect
murder would have been committed. Yes, suppose I told you
I can do it.

Speaker 5 (03:21:19):
You're asking me to believe the impossible. First, you're a
famous man. It's hardly likely you'd risk everything you've worked
for just as satisfying insane whim go on. Secondly, I
I don't believe you're serious.

Speaker 12 (03:21:31):
But I am mister holiday. I am a very sick man.
My doctor gives me three.

Speaker 20 (03:21:37):
Months to live.

Speaker 5 (03:21:38):
Oh, I'm very sorry.

Speaker 11 (03:21:39):
It's no matter.

Speaker 5 (03:21:40):
Perhaps he's wrong.

Speaker 12 (03:21:41):
No, I know he's right.

Speaker 5 (03:21:42):
Then What does it have to do with what we're
talking about?

Speaker 3 (03:21:45):
Perhaps nothing except that I'm very tired. I spent a
lifetime with books and studying students. I'm a crusty old bachelor.
I suppose now I want some excitement. Even my name
is prosaic John dobb doctor Dobbs.

Speaker 5 (03:22:01):
I still don't think you're serious. Maybe you are kidding me.
For some reason, I haven't been able to see her
even guess at No, I I think I refuse to
believe ah, what are you laughing at what you said?
I don't understand.

Speaker 12 (03:22:15):
You refuse to believe me?

Speaker 8 (03:22:17):
That's right?

Speaker 5 (03:22:17):
Is that funny?

Speaker 3 (03:22:18):
Yes, because you see, mister Holiday, the fact that you
refuse to believe me is part of my plan. It
makes me even more certain that I can commit the
perfect murder and win.

Speaker 23 (03:22:32):
Well.

Speaker 5 (03:22:32):
I stayed with doctor Dobbs until after three in the morning.

Speaker 15 (03:22:35):
We talked.

Speaker 5 (03:22:36):
He had a marvelous knowledge of crime, and I left
him with a great admiration of his intellect. Then three
days went by. I heard nothing from him until one
day at the office.

Speaker 27 (03:22:48):
Hello Dobbs. Oh oh, just ann mister Halliday, doctor Dobb's calling.

Speaker 5 (03:22:55):
Oh okay, thanks, Hello mister, I'm fine and you, oh
pretty well?

Speaker 3 (03:23:01):
You remember our conversation the other night.

Speaker 5 (03:23:03):
I certainly do.

Speaker 3 (03:23:04):
Would you get to be in on the start of
my plan?

Speaker 5 (03:23:07):
Now, look, I refuse to take you seriously, that's wonderful.

Speaker 3 (03:23:10):
But are you free this afternoon and evening?

Speaker 12 (03:23:13):
Oh?

Speaker 15 (03:23:13):
Yes?

Speaker 11 (03:23:13):
Why?

Speaker 3 (03:23:14):
I want you to fly to Chicago with me? What
will you I have the tickets on the plane. You're
my guest.

Speaker 5 (03:23:20):
But why to Chicago?

Speaker 3 (03:23:21):
I'll tell you why when we're on the plane. Will
you go with me.

Speaker 5 (03:23:25):
Yes, yes, I think I will.

Speaker 3 (03:23:35):
Do you like to fly, mister Holliday, I love it you?
Oh yes, it gives me a great sense of exhilaration.
I am untouchable up here.

Speaker 5 (03:23:44):
Why are we going to Chicago, doctor Dobbs?

Speaker 12 (03:23:46):
Here, read this newspaper account of the murder.

Speaker 5 (03:23:50):
Police or at lost for clues in the Caroline Standish
murder case. All aids have come to dead ends. And
why do you want me to read this?

Speaker 23 (03:23:59):
Doctor?

Speaker 3 (03:23:59):
Because I'm going to Chicago to confess to the crime.
You're what I'm going to confess that I killed Caroline Standish.

Speaker 5 (03:24:08):
I don't believe that.

Speaker 3 (03:24:09):
We'll be in Chicago in exactly one hour and twenty minutes,
half an hour after we step off this plane, you
and I will be at police headquarters and then you
will see.

Speaker 5 (03:24:18):
But you couldn't have killed this woman?

Speaker 12 (03:24:20):
Oh yes, I could have. She was killed the day
before yesterday.

Speaker 3 (03:24:23):
That was Sunday. Sunday is a holiday. It's not too
long a plane trip from our city to Chicago. And
Caroline Standish is a complete stranger to me.

Speaker 5 (03:24:31):
And being a complete stranger, she satisfies the first condition
of the victim that he should not even remotely be
connected with him exactly.

Speaker 12 (03:24:39):
Now settle back, mister Holiday. We'll be in Chicago very soon.

Speaker 15 (03:24:48):
All right.

Speaker 5 (03:24:48):
Now, let me get this straight, doctor Dobbs. You say
you killed Caroline Standish, Yes, I killed her, Lieutenant, And
you you say your name is Holiday. That's right.

Speaker 26 (03:24:58):
M hm.

Speaker 5 (03:25:00):
Well, doctor Dobbs, we've checked on you since you first
came in here an hour ago. We've got quite a
bit on you. Your books, for one thing, I've enjoyed those.
Now suppose you tell us how you killed Carolyn Standish.

Speaker 22 (03:25:13):
It's very simple.

Speaker 16 (03:25:14):
I shot up.

Speaker 5 (03:25:15):
Oh what kind of a gun? A thirty eight calen
that was in the newspaper. I know, mister Holliday, what
do you know about this or nothing? Except that doctor
Dobbs asked me to come here with him. I see,
Well you can both go home, thank you, Lieutenant. It's
not very often that a murderers sent home scott free.

(03:25:35):
Why are you letting him go? Lieutenant? Look, Carolyn Standish
was killed with thirty eight. Yes, but two hours ago
we found the killer. He had the gun in his possession.
Then I am free to go as fast as you
can get out the door.

Speaker 12 (03:25:51):
Thank you.

Speaker 3 (03:25:52):
Come along, mister Holliday. I'm afraid the lieutenant has his
killer and it doesn't seem to be me. So we'll
go back home and then I'll get in touch with
you again. Hello, mister Holiday, this is doctor Dogs.

Speaker 5 (03:26:13):
Oh you sound pleased to hear from it. Where are
we going this time?

Speaker 3 (03:26:18):
So you guessed?

Speaker 5 (03:26:19):
Yes, guess what.

Speaker 3 (03:26:21):
I'm going to Philadelphia to confess to a murder.

Speaker 5 (03:26:24):
There, you're going to do what the same thing I
did in Chicago.

Speaker 3 (03:26:28):
Will you come along?

Speaker 5 (03:26:29):
Oh? No, no, no, thank you very.

Speaker 3 (03:26:30):
Well, but I suggest you keep reading the newspaper. You
may see some very startling developments. Good Bye, mister Holiday.
I'm leaving for Boston this evening to confess another crime. Holiday.
I don't suppose you care to go to Hartford with me.

(03:26:55):
In San Francisco this time, mister Holiday, I want like
your company with you.

Speaker 5 (03:27:03):
Well it went that way for two solid months. Doctor
Dobbs confessed every murder that hit the newspapers, and every
confession was laughed at. His name gradually became as well
known as the police departments of the country as those
of the public enemies number one through twenty. Then he
came to see me at my apartment.

Speaker 12 (03:27:19):
Well, mister Holliday, what do you think now?

Speaker 5 (03:27:21):
Look, mister Dobbs, I don't know what you're doing, but please,
why don't you cut it out?

Speaker 12 (03:27:26):
Oh? Are you feeling sorry for me?

Speaker 5 (03:27:28):
Look? Every one of these newspapers has your name in it.
You made a laughing stock of yourself. Does that concern you?

Speaker 16 (03:27:35):
Yes?

Speaker 12 (03:27:35):
It does.

Speaker 5 (03:27:36):
I admire you. I've read your books and I've talked
with you. Why are you so intent on breaking up
a brilliant career?

Speaker 3 (03:27:41):
Because I intend to go through with what we discussed
that first night in my rumors.

Speaker 5 (03:27:45):
I don't know whether you're trying to make a fool
of me or not, doctor Dobbs, but I'd rather you
didn't count me in on your little escapades.

Speaker 12 (03:27:51):
It's no fun committing a perfect crime without an audience.
What I need you, Dan, You're very intelligent. You could
appreciate what I'm going to do.

Speaker 5 (03:28:00):
Look, Doctor, forget all this and go back to the university.
Say you that as an experiment?

Speaker 3 (03:28:04):
Oh well, I've already been given a vacation from the university.
What do you mean The publicity was bad for the school.
The president suggested that perhaps I've been working too hard
and needed arrest.

Speaker 5 (03:28:16):
You brought it on yourself.

Speaker 12 (03:28:17):
Oh yes, I know. Now I want you to do
me a favor.

Speaker 5 (03:28:21):
What do you want.

Speaker 12 (03:28:22):
There's a small city about three hundred miles from here.

Speaker 5 (03:28:24):
Go there with me so you can put in another
phony confession.

Speaker 12 (03:28:27):
No, no, no, so I can point out my real
victim to you.

Speaker 5 (03:28:31):
Say that again.

Speaker 11 (03:28:32):
I want to show you my victim, the.

Speaker 3 (03:28:34):
Man I am going to kill, the man whose body
will never be found, and the crime to which I
am going to confess this time legitimately.

Speaker 5 (03:28:40):
I don't believe you.

Speaker 12 (03:28:42):
Please, Now go to the town with me.

Speaker 3 (03:28:45):
I'm now supposed to be a little cracked humor me
and if I do well, we'll have a little mental
chess game, you and I. I'll give you the opening gambit, murder.
From then on it will be your job to checkmate me. Agreed,
All right, Doctor Dobbs, I'll go with you, but this
will be the last time. Understand, Yes, I understand, this

(03:29:08):
will be the last time. Now back to the Perfect Crime.
Another Box thirteen adventure with Alan Land as Dan holiday.

Speaker 5 (03:29:32):
Well. I went with doctor Dobbs to the small city
and he took me to a restaurant. He seemed to
be looking for someone when suddenly.

Speaker 15 (03:29:39):
Look Dan, there he is.

Speaker 12 (03:29:41):
Oh the man I'm going to kill, the one who
just came in.

Speaker 3 (03:29:44):
Yes, look at him. Describe him to me. I want
you to be able to recognize him any place, under
any conditions.

Speaker 60 (03:29:49):
What for?

Speaker 12 (03:29:50):
Please? Please just do as I asked.

Speaker 5 (03:29:52):
Well, I say a man about your bill. He's a
little younger, perhaps non the script.

Speaker 3 (03:29:57):
His name is Alexander Ferris, and he's a bi for
one of the department stores here.

Speaker 23 (03:30:02):
How do you know all this?

Speaker 12 (03:30:03):
I looked all over for a victim, and then one
day I saw him in our city. I followed him,
found out he lives here. Hm hm, oh he doesn't
even know he's going to die.

Speaker 5 (03:30:12):
Gods, let's cut out this nonsense.

Speaker 42 (03:30:14):
But it's not.

Speaker 3 (03:30:15):
Ferris is a bachelor. He lives in a boarding house.
Once a month he takes a trip to Osity to
buy for the store.

Speaker 16 (03:30:20):
Here.

Speaker 5 (03:30:21):
Go on, you're not finished, No, I'm not.

Speaker 1 (03:30:23):
I was going to add that.

Speaker 3 (03:30:24):
Mister Ferris is going to make one more triptoarsity and
that one will.

Speaker 12 (03:30:28):
Be his last.

Speaker 5 (03:30:29):
Tell me one more thing. Why did you pick him?

Speaker 3 (03:30:32):
Because he seems the logical one. He does things by routine.
He stays at the same hotel in our city, take
the same train there and back home here.

Speaker 5 (03:30:40):
Oh, I hate monotony. Now, suppose I should walk over
to mister Ferris and tell him that a madman is
going to kill him.

Speaker 52 (03:30:47):
Go on and try it.

Speaker 12 (03:30:49):
You know what he'd do?

Speaker 5 (03:30:52):
Yes, I think I do. Look at me as though
I were the madman. Then he'd called for the police,
and I'd be sucking a nice cell until the police
decided I was hot.

Speaker 12 (03:31:00):
Exactly.

Speaker 3 (03:31:01):
All right, Dan, we're finished here. You've seen the victim.
Now we'll go back home and I'll let you know
when the game begins.

Speaker 43 (03:31:18):
Hello, mister Holiday.

Speaker 27 (03:31:20):
Oh just a second, mister Halliday's that man.

Speaker 5 (03:31:24):
Again, Dobbs, Okay, give me the phone here. Hello, look, doctor,
let's call off this race. I'm getting tired of it.

Speaker 3 (03:31:34):
Alexander Ferris leaves his town this afternoon. He will arrive
here at seven thirty this evening on the Lake Shore Limited.
He will go to the Barrett Hotel. He will never
leave there alive. Goodbye.

Speaker 5 (03:31:46):
Hello, Hello Dobbs. Hello, what do you say this to him?
Same thing still happening on the Perfect Crime.

Speaker 27 (03:31:54):
Do you think he means it?

Speaker 5 (03:31:55):
Hi, he's got me over a bear. I don't want
to believe him. Sometimes I don't, But but what there's
something earnest about him when he talks about it. Well,
I can't take a chance. I'm going to keep my
eyes on Alexander Ferris. I decided to warn Ferris so
that evening I met the Lake Show Limited. I tried

(03:32:17):
to get to him, but before I could, he hurried
into a taxi. I grabbed the first empty cab I
could find and went to the Barrett Hotel. Ferris had
already registered and was disappearing into the elevator. I ran
across the lobby at the elevator, door closed, and Ferris
was gone. I got his room number seven oh eight,
took an elevator. We were just passing the fifth floor
when those were shots, and they came from the seventh floor.

(03:32:39):
I missed, my guess, I didn't miss it because on
the seventh floor, all right, back to your rooms. Come on, everybody,
come on you too with the hotpitecting.

Speaker 26 (03:32:49):
Yeah?

Speaker 23 (03:32:50):
Who are you?

Speaker 5 (03:32:50):
My name's Dan Holiday. Did those shots come from this room?

Speaker 15 (03:32:53):
Yes?

Speaker 3 (03:32:53):
They did?

Speaker 5 (03:32:54):
Dops, Hello, Dan.

Speaker 12 (03:32:56):
What's happened?

Speaker 5 (03:32:57):
Look, I'll take care of this, of course.

Speaker 12 (03:32:59):
But the shot came from that room. I know because
my room is next door.

Speaker 5 (03:33:02):
You're next door?

Speaker 12 (03:33:04):
Yes, since I left the university, I've been living here.
The house detective will verify that.

Speaker 5 (03:33:10):
Sure, But that's got nothing to do with this. Hadn't
you better get inside the room and see what's happened?
This is my job. Since you've stuck your nose in,
stay right with me. The ole pass key? Yeah hmm.

Speaker 12 (03:33:22):
You can still smell the powder from the shots.

Speaker 5 (03:33:25):
Yeah, where's the guy that came in here? Look at
the bath? Close that door, now you too, stay right there.
I'm going to give this place a look. See something
fishy here?

Speaker 12 (03:33:37):
So your curiosity got the better of you? Add you're
a next door Huh?

Speaker 15 (03:33:42):
Yes?

Speaker 11 (03:33:42):
Convenient, isn't it.

Speaker 12 (03:33:45):
He's dead?

Speaker 5 (03:33:46):
You shot him? I suppose my child him. I saw
him get on the elevator. Come up here, all right.

Speaker 3 (03:33:50):
You saw that?

Speaker 12 (03:33:52):
What then?

Speaker 2 (03:33:52):
Where is he?

Speaker 4 (03:33:54):
I don't get this.

Speaker 5 (03:33:55):
I ain't a sign of the guy anyplace, but there's
his hat, top coat and volie on the bed, which
proves he.

Speaker 10 (03:34:01):
Came in here.

Speaker 12 (03:34:02):
The boy will verified if he came in. All right,
let's ask the bellboy.

Speaker 5 (03:34:05):
I'm running this until the police get here.

Speaker 12 (03:34:08):
By all means, call the police.

Speaker 5 (03:34:09):
Doctor Dobbs, would you mind if your room was searched?
I was going to suggest it myself. Ain't no fire escape.
Nobody fell out the window and nobody's here.

Speaker 12 (03:34:20):
Please let's look in my room. Then you can question
the other guests on this floor.

Speaker 5 (03:34:24):
Okay, come on, you two out of this room.

Speaker 11 (03:34:28):
Well, Dan, what do you think now?

Speaker 5 (03:34:32):
I don't know. Maybe I've stopped thinking. Well, the case
was a sensational one. Two shots fired, nobody and no
Alexander Ferris. Two days later, doctor Dobbs visited me in
my apartment. Well, Dan, have you made any headway? I
am not trying.

Speaker 1 (03:34:51):
Oh, yes, you are.

Speaker 12 (03:34:52):
It intrigues you, doesn't.

Speaker 5 (03:34:53):
It's a hoax. The whole thing is a hoax, not.

Speaker 15 (03:34:56):
The whole thing.

Speaker 5 (03:34:56):
Dan.

Speaker 3 (03:34:57):
I give you my word of honor that I killed Ferris.
Will you tell a police that I already have? I
confessed you what? They laughed at me? You see, I'm
known now as a crank. I confess to all murders.
Where is Ferris's body?

Speaker 12 (03:35:11):
Holiday? How did I get it out of the room?

Speaker 5 (03:35:14):
You You didn't. You couldn't have. The other guests rushed
to the doors after the shots. The only stairways are
at the end of the car. You couldn't have carried
his body without being seen.

Speaker 12 (03:35:22):
Correct, And the bell boy verifies the fact that Ferris
entered his room.

Speaker 5 (03:35:25):
Next to mine and yours was empty. So what have
you got, Dobs. I don't believe he killed right, and
we're is he? I don't know.

Speaker 12 (03:35:33):
So I fulfilled two of the conditions we talked about
our first night. Remember what they were.

Speaker 3 (03:35:37):
Yes, the victim had to be a stranger to you,
and the body had to disappear. And the third condition,
I escaped detection and punishment. Dan, Why don't you tell
the police about me?

Speaker 26 (03:35:47):
What you know?

Speaker 12 (03:35:48):
What I've told you.

Speaker 5 (03:35:50):
They wouldn't believe me.

Speaker 25 (03:35:51):
I know they wouldn't, But.

Speaker 12 (03:35:53):
Dan, I swear to you that I killed Ferris.

Speaker 3 (03:35:56):
If you figure out how I did it, I'll admit
it and take my punishment.

Speaker 5 (03:36:00):
I am not the police.

Speaker 23 (03:36:01):
No, no, you're not.

Speaker 3 (03:36:02):
But you know more about this than they do. I
swear to you again, Dan, you have the whole solution
in your head. All you have to do is put
together the pieces of the puzzle. It's really very simple.
Well goodbye there.

Speaker 76 (03:36:22):
Mister Holiday, Mister Holliday, I'm sorry Susie, I was daydreaming
about doctor Dobbs.

Speaker 75 (03:36:31):
Gee, I think it's some kind of a Joke's there
just isn't anybody that they've been looking for almost.

Speaker 27 (03:36:37):
A week now.

Speaker 5 (03:36:38):
That's what bothers me. Farris is missing. He left his
hometown until the train came here. I saw him, Susie.
I saw him then.

Speaker 27 (03:36:48):
Oh, Ferris and the police won't believe doctor Dobbs or.

Speaker 5 (03:36:52):
Me claim thinks I'm in the same class as Dobbs.

Speaker 11 (03:36:55):
I know.

Speaker 5 (03:36:56):
Oh, thanks, It's got to be an answer though. No one,
not even an admitted genius such as Dobbs, could kill
a man and do away with his body, but there
isn't a trace. Look, Dobbs had about fifteen seconds to
kill Ferris and then hide the body.

Speaker 27 (03:37:14):
Yeah, what were you going to say?

Speaker 5 (03:37:16):
I'm not sure, Dobbs said. I had the whole solution
in my head, Susie. Ever see a magic act?

Speaker 27 (03:37:24):
Magic act? Oh, you mean a magician side of hand?

Speaker 5 (03:37:28):
That's right, sleight of hand illusions.

Speaker 23 (03:37:30):
Now you see it.

Speaker 5 (03:37:31):
Now you don't watch the little lady disappear from under
your very eyes. Keep your eye on the magician and
miss how the trick is done.

Speaker 27 (03:37:38):
I don't know what you're talking about.

Speaker 5 (03:37:39):
I'm not sure I do, but I've got an idea, Susie.
We're going to send a telegram where to Alexander Ferris's
hometown to the chief of police.

Speaker 27 (03:37:47):
But that's been done, you know that.

Speaker 5 (03:37:49):
Sure, sure I do. But the other telegrams were about
in concerning Ferris.

Speaker 27 (03:37:54):
Well, what yours going to be about?

Speaker 5 (03:37:56):
A perfect stranger? Well, I was shooting in the dock
that I hit. The answer I received my telegram made
me sure I had the solution to doctor Dobb's illusion.
Smart police work in Ferris's hometown proved it. So that
night I went to see Dobbs.

Speaker 3 (03:38:16):
It's nice if you come to see me, Dan. I
was wondering if you'd forgotten me. Everyone else seems to
have done so.

Speaker 5 (03:38:24):
No, you're not forgotten doctor Dobbs. Quite the contrary.

Speaker 12 (03:38:27):
Oh how do you mean that?

Speaker 5 (03:38:30):
Just the way I said it, Masston, certainly, please do? Thanks?

Speaker 12 (03:38:34):
May I offer you a drink?

Speaker 16 (03:38:35):
Oh?

Speaker 5 (03:38:36):
No, thank you? Mind if I have one? Please do?

Speaker 12 (03:38:40):
You've come to see me for a very special reason,
haven't you.

Speaker 5 (03:38:44):
Yes, I have read this telegram. It's from the police
in Ferris's hometown.

Speaker 3 (03:38:50):
Oh hm, did you guess, or did they I did.
I'm glad, glad you were my audience. It was fun
playing to you.

Speaker 5 (03:39:02):
Yes, you were the magician. I was the kid in
the audience with his mouth open and his mind closed.

Speaker 12 (03:39:07):
Magician not quite.

Speaker 5 (03:39:09):
Oh, Yes, like the trick where the magician shows the
audience a nice, big red ball, He gets them used
to seeing it. He conditions them to its size, its shape.
Then he covers the ball with a handkerchief, makes a
mystic pass and the ball is gone.

Speaker 12 (03:39:23):
Go on, what then?

Speaker 15 (03:39:24):
Ah?

Speaker 5 (03:39:25):
But the ball never disappears, It never goes under the handkerchief.
All the audience sees is a similar shape outlined under
the silk. Yes, I'm very happy I chose you as
my audience. I'm not. I don't like to be the
one to catch you.

Speaker 26 (03:39:40):
Why not?

Speaker 12 (03:39:40):
I took the risk.

Speaker 5 (03:39:41):
Paris never came to the city. You got off the
Lake Shaw Limited that night. And what else, Dan, You
called me and told me Ferris would come here that
day in his hometown. You pointed him out, You made
me take a good look at him. About your height
and built I even mentioned that, I think, Yes, you
did go on before he left. You came here, you

(03:40:02):
intercepted him, killed him in his own hometown. You took
his top coat, hat, and police then you addressed him
entirely different clothes, took his body to the freight yards.
That telegram from the police there verifies that an unidentified
man was found dead.

Speaker 3 (03:40:16):
Yes, unidentified, because the police weren't anxious to identify.

Speaker 5 (03:40:20):
That body, but they did this afternoon. Dental work proves
the man to be Pharaohs. You see, Dobbs, there's always
a clue. Always. There is no perfect crime.

Speaker 12 (03:40:31):
But just a moment.

Speaker 3 (03:40:33):
There were three conditions to the action of committing a
perfect murder.

Speaker 12 (03:40:36):
Now I fulfill tool aw the third, I must escape
detection and punishment. How is anyone going to prove what
you've just said by.

Speaker 5 (03:40:44):
Your admissions, Dobbs. The police are in the next room
and outside in the home. They heard every word.

Speaker 3 (03:40:51):
Oh, there are still a few things to clean up.
But there isn't time, is there. I still have to
escape punishment.

Speaker 12 (03:40:59):
I'm sorry you can't. Okay, boys, come on in. Well, well,
the police.

Speaker 3 (03:41:07):
But then I still say, I've fulfilled the last condition
to escape punishment. It's a good thing you didn't take
the drink I offered you. I knew as soon as
you came in that you had me, Dan, explain how

(03:41:27):
I did it. It's no fun doing something clever if
no one appreciated Dobbs.

Speaker 5 (03:41:33):
Doctor Dobbs.

Speaker 3 (03:41:34):
So long, Dan, don't forget to explain the rest. It's
been a wonderful chess game.

Speaker 10 (03:41:41):
Now, check mate.

Speaker 27 (03:41:58):
But how did he mister Ferris in the hotel?

Speaker 5 (03:42:01):
I told him he didn't, Susie. He killed Ferris in
the man's own hometown. You see, I thought I'd followed
Ferris to the hotel from the station, but I had
followed Dobbs, and then, very simple Dobbs had reserved a
room next to Ferris's. Then, disguise as Ferris, he went
into the room Farris had reserved, Dobbs, took off the
top coat hat, put the police on the bed, fired

(03:42:24):
two shots blanks, then stepped quickly into his own room.

Speaker 27 (03:42:28):
Do you see, oh, sure, leaving the other room empty.

Speaker 5 (03:42:32):
Right, So everyone was looking in the wrong place for Ferris.
Everyone assumed he had really come to this city, like
the old trick with the ball, Susie, you think you
see it, but you don't, so you look in the
wrong place.

Speaker 27 (03:42:44):
Gee, he was really smart.

Speaker 5 (03:42:46):
Reck'ty, Susie. Just remember this. No matter how smart you are,
there's always somebody will trip you up. Everyone makes mistakes.

Speaker 27 (03:42:54):
But doctor Dobbs didn't.

Speaker 5 (03:42:56):
Oh, yes he did. He made the same mistake I did.
He looked in the wrong place. What do you mean
you see? I had to trap him into a confession.
He assumed that dental work would identify Ferris's body, but
the man found in the freight yards had perfect teeth
and no dental work. Good night, Sissy.

Speaker 74 (03:43:19):
Listening again next week when, through the courtesy of Paramount Pictures,
Alan Ladd stars as Dan Holliday in Box thirteen. Box
thirteen is directed by Richard Sandfilm and this week's original
story was written by Russell Hughes.

Speaker 5 (03:43:34):
Original music is composed.

Speaker 74 (03:43:35):
And conducted by Rudy Schraker, and the part of Susie
is played by Sylvia picker Burne.

Speaker 5 (03:43:40):
Carstensen is in charge of production.

Speaker 74 (03:43:42):
Box thirteen is a main production from Hollywood. Watch for
Alan Ladd in his latest Paramount.

Speaker 32 (03:43:52):
Picture, Mystery Theater this week from Vancouver. The duel by
Alexandra Dumont, adapted for you by Howard Griffin.

Speaker 4 (03:44:29):
How do you.

Speaker 77 (03:44:29):
Define and measure that elusive quality of the human spirit
we call courage.

Speaker 22 (03:44:35):
Consider, for example, the man who is.

Speaker 77 (03:44:37):
Called upon to face an opponent in a duel, knowing
that only his skill in the chance trembling of his
adversary's hand may save him from the grave. Lieutenant Andre
de Montigni, for instance, that made a reputation for himself
on the field of honor as a fearless and skillful

(03:44:57):
duelist by the time he came to Quebe in seventeen
fifty nine.

Speaker 4 (03:45:11):
Welcome back to Covect, Lieutenant de Montini.

Speaker 22 (03:45:14):
Thank you, Monsieur Brasa. This is a happy day for me.

Speaker 54 (03:45:17):
Speaking as a citizen, I feel safer with it. Welcome
back to Corect, Lieutenant de Montgie.

Speaker 22 (03:45:27):
Thank you, Monsieur Brasa. This is a happy day for me.

Speaker 54 (03:45:29):
Speaking as a citizen, I feel safer with brave soldiers
like yourself to strengthen the garrison against the English forces.
And speaking as Marie's father, I'm pleased to see how
happy your.

Speaker 4 (03:45:40):
Arrival has made my daughter. Frankly, a lonely old widower
is not fit company for a pretty young lady.

Speaker 60 (03:45:46):
Father, you speak much too much.

Speaker 54 (03:45:49):
Marie has been lonely, Not that my little dove has
lacked attention far from a lieutenant.

Speaker 4 (03:45:54):
Ah, you should see the way that they are me.

Speaker 60 (03:45:58):
Has she been seeing I have not been seeing anyone
else since you were here last Andre.

Speaker 37 (03:46:04):
Don't take father's teasing too fury.

Speaker 54 (03:46:06):
Yes, have no fear, as your little Marie has done
little else but talk, talk, talk about nothing else but you.
It's a good thing you've been transferred to the Quebec
ass I'm ready to admit that I am getting too
old to play chaperone as social functions.

Speaker 78 (03:46:19):
I consider myself lucky to have drawn the assignment.

Speaker 54 (03:46:22):
Oh, you should have seen the way the young blades
flocked a butter at the Governor's ball last.

Speaker 73 (03:46:25):
Week, which only proves that there is safety in numbers.

Speaker 4 (03:46:28):
Bother Yes, that holds for the colony.

Speaker 54 (03:46:30):
Also, I'm convinced that the British will launch their assault
very shortly, other than eure ape a long winter siege.
As a military man left chennant, what do you think
the English are foolish enough to attempt to direct assault.
We'll have a field day cutting them to ribbons below
the citadel. And I doubt you've seen the extra cannon
were mounted in the past month. But Quebec is now

(03:46:53):
virtually impregnable.

Speaker 73 (03:46:54):
How can you be so confident?

Speaker 50 (03:46:56):
Andrea?

Speaker 60 (03:46:57):
After looking through a telescope at the British Fleet, I
had a terrible succession of nightmares which oh, a brutal
red coated soldier pursued me from room to room. During
one dream, I screamed so loudly that poor father thought
I was being murdered in my bed.

Speaker 22 (03:47:11):
And how did you happen to view? The British Fleet
would tell us.

Speaker 54 (03:47:14):
Oh, a Lieutenant Valcour spurted it away one fine Sunday
morning after Mass, when we were visiting the fortifications.

Speaker 22 (03:47:22):
Tenant Valcour, I don't think I know him, probably not.

Speaker 25 (03:47:27):
He hasn't been here very.

Speaker 54 (03:47:28):
Long more, Win, I'm lift not just now Well, I'm
afraid I must excuse myself.

Speaker 4 (03:47:33):
Business remains as brisk as ever.

Speaker 54 (03:47:36):
You will be dining with us sooner, I hope, with
the greatest pleasures, and I am pleased to see you
back here.

Speaker 4 (03:47:41):
Soldiers like you do a great deal for arm around.

Speaker 56 (03:47:43):
I'm hoping that the English will continue their siege throughout
the winter. It would be my assurance of remaining here
on more or less permanent duty.

Speaker 54 (03:47:52):
Who knows what tomorrow will bring come to think of it,
tomorrow as the thirteenth of September.

Speaker 22 (03:47:58):
I hope it will not bring this fortune.

Speaker 4 (03:47:59):
In anything to anyone, and avoid black caps and ladder.

Speaker 22 (03:48:03):
I'm not the least superstitious.

Speaker 4 (03:48:05):
Oh, then please do something for Marie. She sees bad omens.

Speaker 11 (03:48:08):
And all sorts of things.

Speaker 4 (03:48:10):
But I'm l like or overall aft it.

Speaker 22 (03:48:12):
Good day, Monsieur Bersad.

Speaker 73 (03:48:18):
Will you drink my wine? Andre, I have no desire
for it.

Speaker 37 (03:48:21):
Don't you feel well well enough?

Speaker 22 (03:48:25):
But I am worried?

Speaker 73 (03:48:26):
What about oh so many things, the war for one
and you. Yes, Andrea, it's wonderful to have you here
for more than just to leave.

Speaker 12 (03:48:38):
But but what am I?

Speaker 60 (03:48:40):
God, I'm afraid. I'm afraid that something might happen to you.
If the English do attack in force, things might go
badly for us.

Speaker 22 (03:48:50):
Nonsense, Mary, we have the advantage of form.

Speaker 56 (03:48:54):
After all, we are the ones sitting up here and
overlooking the Saint Lawrence with hundreds of cannon.

Speaker 22 (03:49:00):
General Montcalmen is more than a match for wo.

Speaker 73 (03:49:02):
But you can't be sure, Andre.

Speaker 60 (03:49:05):
History is filled with accounts of military reversals. If anything
happened to you, rather than be taken a prisoner, I
would kill myself.

Speaker 56 (03:49:15):
God, Darling, stop being an alarmist and an armchair general.

Speaker 22 (03:49:20):
I leave the war to the soldiers.

Speaker 42 (03:49:21):
That's what we're paid for.

Speaker 22 (03:49:23):
Concentrate instead on being pretted, charming and affectionately.

Speaker 25 (03:49:29):
Oh, Andre, I love you so.

Speaker 3 (03:49:34):
Oh.

Speaker 78 (03:49:35):
Oh, I am sorry.

Speaker 56 (03:49:36):
I'll see that it's replaced as soon as possible.

Speaker 60 (03:49:40):
But the glass doesn't matter, Andre, He's just it's bad
luck to break a glass given to you by the
woman to whom you are betrothed.

Speaker 42 (03:49:48):
Oh, oh, nonsense.

Speaker 22 (03:49:52):
If all the old wives tales were to come.

Speaker 79 (03:49:54):
True, it will be no end of the problem. O,
bring me more wine.

Speaker 80 (03:50:02):
That's the second wine glass Valcour has dropped. He's had
more than enough. Come on, Valcour, you're holding up our
game of car the devil take your cats. I've lost
too much this switch, sir, bring me wine last year.

Speaker 23 (03:50:18):
Hurry, April.

Speaker 22 (03:50:19):
Have you in the sALS for a week.

Speaker 79 (03:50:20):
Alcour has had more wine today than I drink in
a week. Why the devil is in such a foul mood?
I believe it's his nature room and he's in love. Also,
I understand I thought that love was supposed to make
a man gay. In good nature.

Speaker 81 (03:50:35):
It depends on these circumstances. In Valcour's case, the lady
is betrothed already, or so they say.

Speaker 25 (03:50:41):
Do you know what she is?

Speaker 81 (03:50:43):
A mademoiselle brossa daughter of a well to do merchant
here in Quebec city. But Valcour, I'm told, didn't stand
a chance against the other fellow.

Speaker 79 (03:50:51):
It comes to Major, for Valcour had better pull himself together.

Speaker 22 (03:50:55):
He's been in the Major's band books before.

Speaker 23 (03:50:57):
Gold even good rink?

Speaker 79 (03:50:59):
Major, you care to join us a friendly game of
cards before Captain.

Speaker 4 (03:51:04):
I really needed some distraction.

Speaker 16 (03:51:06):
But do.

Speaker 23 (03:51:08):
Good evening?

Speaker 4 (03:51:09):
Major? You care to share my flagon of wine?

Speaker 23 (03:51:14):
Take a Valcour?

Speaker 22 (03:51:15):
But I expect to have wine at dinner. I don't
believe in over indulgent Major, what is it?

Speaker 23 (03:51:19):
Tempierre?

Speaker 82 (03:51:20):
Can you tell us, sir, without being indiscreet, what the
colonel has decided to do about filling the vacancy of Captain.

Speaker 43 (03:51:27):
I suppose I can, considering you'll be posted on the
bulletin board tomorrow. A new officer has been transferred from
Montreal to fill the vacancy.

Speaker 81 (03:51:34):
His name is de Montigni de Montigni. Do you know him,
not personally, sir, but he is supposed to be well placed.

Speaker 22 (03:51:43):
I presume you have nothing.

Speaker 43 (03:51:44):
Oh yes, Lebru at the Colonel's den is very anxious
to make your acquaintance. Gentlemen, I have invited him to
dine with us.

Speaker 81 (03:51:51):
Someone remarked only today, what a skillful duelist he is
reputed to be, and with a fiery temper to man.

Speaker 54 (03:51:56):
They say he's quite fearless on the field of honor,
then he should be very well well here, Eh, a
duel is a family affair with us, Monsieur de Montigni
will be most welcome.

Speaker 22 (03:52:05):
But however quick cares temper, you'll have to be careful of.

Speaker 78 (03:52:08):
It before me, or I shall take it upon myself
to cool it.

Speaker 81 (03:52:12):
Apparently de Montigni recently inherited an impressive sum of money
from a rich.

Speaker 22 (03:52:16):
Old honor money. If that's all a man needs to
be a success in this life, courage, devotion to du
the ability. All our manlike qualities come from nothing with
women went weight against a sack of gold.

Speaker 43 (03:52:28):
Still bring me more wine, little valcour, I suggest that
you try some food for the change.

Speaker 82 (03:52:34):
Food sir, if I may be permitted to say so,
it's not that must be the Mantini crossing the room.

Speaker 22 (03:52:40):
Oh, yes, it is this way, Montigi evening. Major, gentlemen,
come and join us.

Speaker 23 (03:52:47):
These are your new regimental comrades.

Speaker 43 (03:52:51):
Perhaps I should say captain. They're all good fellows and
brave soldiers.

Speaker 79 (03:52:55):
I am captain of any liberal.

Speaker 22 (03:52:57):
Welcome particularly, thank you.

Speaker 81 (03:52:59):
I have long hope to be stationed here, and I
can tell you I am Lieutenant Jean Dufort. Congratulations on
your appointment to captain.

Speaker 1 (03:53:06):
Thank you.

Speaker 22 (03:53:06):
I'm Charles Saint Pierre. I hope you'll like it here.

Speaker 82 (03:53:08):
I have no doubts on that score. And this is
Lieutenant Balcore You, Captain, must excuse me if I do
not shake hands. It would be a climate if I
were to drop this wine flagen.

Speaker 22 (03:53:20):
Yes, a man should be able to hold his wife.

Speaker 56 (03:53:25):
Gentlemen, I am proud and happy to have been transferred
to your regiment. It was Major Propos who recommended me
to the colonel.

Speaker 43 (03:53:32):
It was the easiest way to avoid treading on the
feedings about young lieutenants bringing in someone from another regiment
to move any suggestion of favorite.

Speaker 79 (03:53:38):
Have you located to confortable enough court? The city is
very crowded these days, and be glad to assist you.

Speaker 4 (03:53:45):
Thank you very much.

Speaker 56 (03:53:47):
But Monsieur Bross, a very generous friend, has offered me
the use of a small cottage near his home. I
have my horses there, and an excellent cook, a very
good library, a little garden, and a target.

Speaker 22 (03:54:00):
I'm sure I shall be happy as a king. You
practice shooting, yes, I do, Lieutenant Doctor.

Speaker 78 (03:54:08):
It is my custom every morning to fire twelve rounds
at the tapen.

Speaker 4 (03:54:11):
You're very fond of that amusement, thenh I don't.

Speaker 82 (03:54:15):
Understand the use of shooting unless it's to do battle
or to hunt with I think that you are wrong
in calling it lost time to learn to shoot the business. Well,
you have been with the regiment only a few minutes,
and already you are telling us what is what.

Speaker 4 (03:54:29):
Pray, go ahead and tell me why and how I.

Speaker 56 (03:54:31):
Am wrong, As you undoubtedly know. In military garrison life,
an impudent word often leads to a meeting between comrades
on the field of honor, in which case he who
is known for a good shot inspires respect among those
indiscreet persons who amuse themselves by making foolish observations.

Speaker 82 (03:54:55):
That's not much of a reason in dules, as in
everything else something we left a chance. I maintain my
first opinion and say that an honorable man ought not to.

Speaker 4 (03:55:05):
Take too many precautions.

Speaker 3 (03:55:06):
And why.

Speaker 22 (03:55:09):
Do you play it card?

Speaker 82 (03:55:11):
Occasionally I will explain to you, and I will try
to render my explanation clear so that all will understand it.

Speaker 22 (03:55:20):
Everyone knows that there are certain card players.

Speaker 82 (03:55:22):
Who have an enviable knack while shuffling a pack bus
at rightly making himself master of the winning card.

Speaker 22 (03:55:29):
Now, I see no difference myself between a man who
robs his neighbor of his money and the one who
robs him of his life.

Speaker 77 (03:55:36):
I do not say this to you in particular, Captain Demontignie.

Speaker 23 (03:55:41):
I speak in general.

Speaker 56 (03:55:43):
It is too much, as it is, monsieur. I beg
Captain Lebron to terminate this a pair with you. Lebron
will not refuse me in this question.

Speaker 22 (03:55:58):
I am sure he will apologize for his rash words.
I apologize for nothing, Captain Lebron. You refuse to act
for me, So be it. Captain de Montaignie, you have
told me yourself.

Speaker 81 (03:56:12):
You practice shooting every day, while I hold a pistol
and fire it only on the day I fight.

Speaker 22 (03:56:17):
We will equalize the chances, I'll settle the details with
Captain Lebron or Revois. Gentlemen, gentlemen, we must not allow
such a fight to take place.

Speaker 43 (03:56:30):
The most you realize that Falcour has been drinking too much.
Tomorrow I shall force him to apologize to Major. I
am a newcomer. Manuel, none of you really knows me.

Speaker 56 (03:56:40):
I have your cholseed were to win my spurs. It
is impossible for me to let this insult pass without fighting.

Speaker 1 (03:56:48):
I have done to.

Speaker 22 (03:56:48):
Arouse the gentlemen. It's evident that he has some spite
against me.

Speaker 83 (03:56:52):
The truth of the matter is that Belcour is jealous
of your I happen to know that he's in love
with Mademoiselle and she has rejected his advances and review.

Speaker 22 (03:57:04):
That explains a good deal of rum.

Speaker 50 (03:57:06):
But I must still defend my reputation.

Speaker 56 (03:57:09):
Since Valcour has accepted you as my second, you see
him and arrange matters, accept all his conditions, then meet
me a major provo at my quarters.

Speaker 79 (03:57:21):
If you really intend to go through with this duel
and had to attend to it immediately before General Marcom gets.

Speaker 43 (03:57:29):
Till later, Major, I would prevent it. But I know
that Balcore is holiday enough to find a way. Regardless,
you also seem to have quite a tempered amont.

Speaker 22 (03:57:39):
You will you let us know the hour of comeback, Captain, certainly,
come and farewell. There are my conditions.

Speaker 82 (03:57:49):
These two savers have to be planted at a distance
of one pace apart, only one pace apart, precisely, Tenor
Desmondonny and I shall face one another, each standing behind
one of the sabers.

Speaker 22 (03:58:04):
Each opponent is to extend his arm at full length
and fire at the word three. You must be mad,
valcour Man priory myself with so much I am restless.
To Montagnier, I feel like a caged animal.

Speaker 78 (03:58:23):
This is an excellent volume of Hogarth engravings.

Speaker 22 (03:58:26):
Are you familiar with his work?

Speaker 56 (03:58:28):
The Englishman last one carry national prejudice into the field
of art.

Speaker 43 (03:58:33):
As well as the field of battle. I know nothing
about art, only artillery. God knows we could do with
Morrow Canon I mean not folks, ah Lebron.

Speaker 22 (03:58:44):
I'm sorry to be late.

Speaker 79 (03:58:46):
It was unavoidable. I had the very devil of an
argument with Balcour. His conditions are fantastic. He insists that
both opponents stand behind sabers planted one pace apart, facing
on another, arms raised at full length. They both fire
at the count of three.

Speaker 22 (03:59:07):
Preposterous.

Speaker 4 (03:59:08):
Must be drunk than I thought he was.

Speaker 79 (03:59:10):
Balcour is absolutely serious, sir. However, and this is the
strange part of it, only one pistol will be learned.

Speaker 22 (03:59:20):
Most unusual conditions.

Speaker 79 (03:59:22):
Balcour insists that this way he won't be a victim
for you, but an adversary. He maintains that all your
skill with the pistol will amount another I've.

Speaker 43 (03:59:31):
Told the fool you couldn't accept such unheard of conditions,
protested Major that Balcour is adamant on that point.

Speaker 79 (03:59:38):
Either Captain de Montoni fights as he proposes, or he
will not bet at off. But in that case, Balcour
said he would prove that demotony is brave only when
sure of his own safety, guaranteed by his skill of
acquired marketmanship. I don't like him demand and he did
tell me to accept any conditions he might stipulate.

Speaker 22 (03:59:57):
Yes, she did the correcting the.

Speaker 78 (04:00:00):
I had a feeling Valcour might devise something out of
the ordinary.

Speaker 22 (04:00:07):
Come in, what are you doing here?

Speaker 42 (04:00:13):
What am I doing here?

Speaker 10 (04:00:14):
Andrea?

Speaker 60 (04:00:16):
Is it you who asked me when this night is
perhaps the last of your life?

Speaker 37 (04:00:20):
Why am I here to plead with you not to.

Speaker 53 (04:00:23):
Risk your life.

Speaker 60 (04:00:24):
Told you about the duel whose travels quickly among the
servants in Quebec.

Speaker 4 (04:00:28):
Gentleman, come is sure to hear of it.

Speaker 78 (04:00:30):
In that case, sir, it might be wise if we
were to make ourselves scarce until your point of time.

Speaker 60 (04:00:34):
No, Andrea, you mustn't risk your life. Stay gentlemen, perhaps
you may be able to help me.

Speaker 37 (04:00:42):
In what I am about to say.

Speaker 22 (04:00:43):
Please, Marie, don't make it difficult for me.

Speaker 60 (04:00:46):
I implore you, Andre, do not fight this duel with
Paul Valcour. You can't end two lives by this useless eye.
You mean, remember what I told you would happened to me.
If you'll defail you, our lives belong to each other. Now, Andrea,
do you hear you can't do.

Speaker 22 (04:01:06):
It the name of Heaven, don't talk sure me this way.
Can I refuse to fight?

Speaker 56 (04:01:12):
I shall be dishonored lost if I couldn't do so cowardly.
An act shame would kill me more surely than our course.

Speaker 60 (04:01:20):
Pistol major provo. You are esteemed in the regiment as
a man of honor. You can then judge about affairs
of honor. Have pity on me, sir, and tell Andrea
he can refuse such a duel, as this will make
him understand it is not a duel but an assassination.

Speaker 37 (04:01:39):
We speak to him, Major.

Speaker 73 (04:01:40):
If he won't listen to me, he will to you.

Speaker 78 (04:01:43):
Marie, what do you know about the conditions of the encounter?

Speaker 60 (04:01:46):
I hesitated at the door before entering, and overheard Captain
Lebron explaining them. Oh please, Major, I beg of you
to interpose.

Speaker 40 (04:01:55):
Or must I go straight to General Montcalm himself.

Speaker 23 (04:01:57):
You wouldn't dare.

Speaker 79 (04:02:00):
Spare you in his sorrow, Mademoiselle, I would willingly on
my life.

Speaker 43 (04:02:03):
But the counsel Captain of martinita be unworthy of his
uniform by refusing this duel is impossible. Each adversary, your betrothed,
as well as Valcour has a right to propose his.

Speaker 60 (04:02:13):
Conditions, then Andre should propose new conditions.

Speaker 22 (04:02:16):
Whatever the conditions.

Speaker 43 (04:02:17):
He's in circumstances which render this duel absolutely necessary.

Speaker 22 (04:02:21):
He is known as a skillful duelist.

Speaker 43 (04:02:23):
To refuse Valcour's conditions will be an admission that he
counts upon his skill.

Speaker 22 (04:02:27):
Please, marry, you.

Speaker 4 (04:02:29):
Don't know what you demand?

Speaker 2 (04:02:32):
Do you wish me to fall?

Speaker 22 (04:02:33):
So low that you yourself would be ashamed of me.

Speaker 43 (04:02:37):
I ask you, are you capable of loving a dishonored man?

Speaker 10 (04:02:45):
You will write, andre.

Speaker 60 (04:02:48):
It is not I who would love you less, but
you who would hate me more. You must resign ourselves
to our fate. Perhaps we shall never see.

Speaker 56 (04:03:00):
Gentlemen, the time approaches, we'd better both retire. I have
several letters to write before dawn at five, we must
be at the world.

Speaker 60 (04:03:10):
Let me stay with you till then, Andre, I promise
not to make any more protests. I'll sit by quietly
while you write your letters very well.

Speaker 22 (04:03:19):
But you must not be upset.

Speaker 84 (04:03:23):
Believe it, then, mademoiselle after you. The grand missed this
morning has a penetrating chill.

Speaker 22 (04:03:41):
It would take more than that to dampen our jewelists.

Speaker 4 (04:03:44):
I have a premonition that one of them will not
see the sun rise.

Speaker 81 (04:03:48):
Do you think that de Montigny may take offense because
I have agreed to serve as valcourz second, it's hardly likely.

Speaker 22 (04:03:54):
Ah, there's valcour tethering his horse by the bridge. Ellis
are approaching from the opposite direction. Morning, gentlemen, I trust
I have not kept you waiting unduly. Time passes all
too quickly on a day like this.

Speaker 82 (04:04:08):
Right, So did you sleep well, Captain de Montagnie, I
always sleep well.

Speaker 22 (04:04:14):
Are you ready of Alcome yes, and let us proceed
without delay?

Speaker 4 (04:04:18):
Gives the words to fire.

Speaker 22 (04:04:19):
Captain le Bon. We gave no third to that detail.
Do you have any preferences? De mar provo? Will you
render the service very well? Don't have to indicate our
places the load if that will not be necessary. One
of the pistols in this case is loaded, the other
is not. You know which is which? Malcoo, what does

(04:04:39):
it matter?

Speaker 4 (04:04:40):
Major, Captain de Montigni will choose it is well.

Speaker 22 (04:04:45):
Let's get on with it. Make good choice, to Montigni.

Speaker 82 (04:04:48):
Therefore, candy plant these two sabers in the ground one
piece of head.

Speaker 22 (04:04:53):
I don't understand it. You will be holding the pistols
only six inches from each other's heart. Precisely take your positions.

Speaker 79 (04:05:03):
De Mountainous seems remarkably calm.

Speaker 2 (04:05:06):
Some possessed cosn't easy desires.

Speaker 42 (04:05:11):
I don't like It's.

Speaker 4 (04:05:13):
Something.

Speaker 8 (04:05:16):
The conditions works.

Speaker 4 (04:05:20):
Are you ready, gentlemen?

Speaker 22 (04:05:23):
Raise your pistols, fire the counter three.

Speaker 11 (04:05:28):
One two.

Speaker 22 (04:05:32):
Three detiously unloaded pistol are alcore. It is not for
you to command the mountain. It is I who must
decide whether the fire or mask, and that depends on
how you answer what I am about to say. Speak, then,
in the name of Heaven speaking the guy.

Speaker 77 (04:05:52):
Haven't come here to kill you, dem I have come
with the carelessness of a man the whom life holds nothing,
just kept.

Speaker 4 (04:06:00):
None of the promise that is made to me. You
are rich, you are beloved, You have a promising future
before you. Life must be dear to you.

Speaker 22 (04:06:08):
But fate decided against you. It is you who must die. Another,
Captain de Montgi, give me your word not to be
so prompt the future to fight jewels, and I will
not fire this pistol.

Speaker 56 (04:06:22):
I have not been prompted to call you out of
you insulted me by an outrageous comparison that I call
compel the chal.

Speaker 4 (04:06:33):
Fire.

Speaker 22 (04:06:33):
Then I have nothing to say to you. My conditions
cannot wound your honor.

Speaker 82 (04:06:39):
Be our judge, Major proper, or I will abide by
your opinion.

Speaker 22 (04:06:43):
Perhaps Captain de Montini will follow my example.

Speaker 43 (04:06:47):
He has conducted himself as bravely as possible. If he
isn't killed, it isn't his fault. Gentlemen, and de Montigni
except the imposed condition.

Speaker 22 (04:06:56):
Yes, sir, of course he can without staining his honor.

Speaker 23 (04:06:59):
In the slightest.

Speaker 82 (04:07:01):
Captain consents Falcour. In the future you will be less
prompt challenge trade issues. Speak Major Brovo and not Captain
de MONTAIGNI would.

Speaker 22 (04:07:08):
Turn my words to Montagni very well, Sir, I consent
is the happiest ending to any duel I have ever wiled. No,
I am more gratified than anyone. Always ended as I desired.
And now Captain de Montagnier have shown you that before

(04:07:30):
a resolute.

Speaker 4 (04:07:31):
Man, the art of shooting is nothing in a due
and that if.

Speaker 22 (04:07:35):
The chances are equal, a good shot is on the
same level as.

Speaker 50 (04:07:38):
A bad one.

Speaker 1 (04:07:40):
Guy.

Speaker 4 (04:07:41):
I did not wish in any case.

Speaker 22 (04:07:43):
To keep, only had a great desire to see how
you would look death in your face a man of courage,
degni except my confidence.

Speaker 77 (04:07:56):
Oh, by the way, neither pistol was loaded, neither I
will demonstrate what.

Speaker 22 (04:08:04):
This is even more insulting than the first offense.

Speaker 1 (04:08:07):
And now you think it's ended, do you?

Speaker 10 (04:08:09):
No?

Speaker 56 (04:08:10):
No, it must recommence, and this time both pistols shall
be loaded if I have to load them myself.

Speaker 22 (04:08:15):
No, Captain I have given you your life.

Speaker 56 (04:08:17):
I will not take it back.

Speaker 22 (04:08:19):
Insult me if you wish, I will not fight you.

Speaker 23 (04:08:21):
And it is me whom you will fight.

Speaker 82 (04:08:23):
Why you Major acted like a scoundrel, bulkur, We received
a mandity at all of us.

Speaker 22 (04:08:29):
If in five minutes your dead body is not lying
at my feet.

Speaker 2 (04:08:32):
There is no such thing as justice.

Speaker 22 (04:08:34):
I don't havenderstands, and if the Major doesn't kill you,
I will or right, oh, the devil, I can't fight
with you all. Choose one among you, and I'll fight
with him. It won't be a jewel but an assassination.
I'm sure I got into my horse at more than
a few paces.

Speaker 11 (04:08:46):
Let alone a man have a fear balcore.

Speaker 43 (04:08:49):
We will do nothing that the most scrupulous honor can
complain of. All our officers are insulted fro under their uniform.
You conducted yourself like a rascal. Make captive demand, and
he passed through all the sensations of a man condemned
to death.

Speaker 22 (04:09:04):
While you were puffet bating. He is knowing full well
that both pistols were not loaded.

Speaker 43 (04:09:08):
Finally, you have refused to fight with a man whom
you have doubly insulted.

Speaker 15 (04:09:12):
Load the pistols, make a load up.

Speaker 22 (04:09:13):
I will fight with anyone.

Speaker 43 (04:09:18):
No, no, you will fight none of your comrades. You
have disgraced your uniform. We can no longer serve with you.
Rather than make your divisions.

Speaker 4 (04:09:32):
Is know to the colonel.

Speaker 43 (04:09:33):
I asked you to give in your resignation on the
cause of bad health. I'll see whether the surgeon will
sign all necessary certificates. Today is the thirteenth of September.

Speaker 4 (04:09:43):
You have from now to the thirteenth of October to
quit the regiment.

Speaker 22 (04:09:45):
I will quit it, certainly, not because it is your
desire but mine, and I curse upon a lot of you.

Speaker 78 (04:09:53):
Sure why did you force me to consent to that
scourel's conditions about you?

Speaker 22 (04:10:00):
I should never have accepted.

Speaker 43 (04:10:01):
Them, comrades, and I will take all the responsibility acting
nobody the mountaineer. I must tell you that you are
indeed a man of honor.

Speaker 79 (04:10:11):
It goes one trouble maker Echenland will be better off with.

Speaker 16 (04:10:15):
That es.

Speaker 15 (04:10:18):
Well.

Speaker 5 (04:10:18):
Gentlemen, this affair has ended more happily than one could
have hoped for.

Speaker 79 (04:10:22):
And Momoiselle Vissa will be overjoyed at the glad news.

Speaker 22 (04:10:25):
I'm sure, yes, yes, I promised to go immediately to her.

Speaker 42 (04:10:30):
Once it didn end it.

Speaker 23 (04:10:32):
Canon fire.

Speaker 12 (04:10:34):
What could be happening?

Speaker 79 (04:10:36):
It must be the signal for the English attack.

Speaker 43 (04:10:39):
Quickly report your backle stations as on the moment to
be last time along Captain de Montaigne.

Speaker 22 (04:10:43):
You don't want to miss any of the fun, do
you coming, San Pierre.

Speaker 77 (04:11:03):
Many years have passed since the tragedy, years of change
and turmoil. Today is the thirteenth of September, the day
that altered the lives of so many persons. Two opposing
generals died that day on the plains of Abraham, as
did many a brave soldier in their armies.

Speaker 5 (04:11:22):
Old call is long, and I knew many of.

Speaker 77 (04:11:24):
Them, major provos, Captain Lebrun, Lieutenant Saint Pierre, and Alice.
And that day also a beautiful young woman watched Lieutenant
Valcour galloped past her window.

Speaker 5 (04:11:39):
Since he was alive, she.

Speaker 77 (04:11:40):
Assumed her betrothed had been killed in the duel, and
she took poison. But here in the monastery we found
a peaceful refuge. Each year for the past three years
now I have said a special prayer for our devoted
brother Toil.

Speaker 22 (04:12:01):
For thirty years within these ancient walls. When he died,
we buried him here under the great Elm.

Speaker 77 (04:12:10):
Not once during our years of service together in this
monastery did Brother Andre remind me of the duel we
once fought on that morning that Quebec fell to the
invading British army.

Speaker 32 (04:12:51):
The duel by Alexandre Duma, adapted for radio by Howard
Griffin Andrea de Montigni, was played by Robert Clothier, Marie
Brossar by Linda Sorenson, Paul Valcour by Derek Ralston, and
major provo by Roy Brinson. Other parts were played by
Bill Buckingham, James Johnston, William Buck and Eric Schneider. Mystery

(04:13:17):
Theater was produced this week in the Vancouver studios of
the CBC, with sound effects by Lars east Holme and
technical operation by Gene Lobrock. Direction Don Mowett.

Speaker 10 (04:13:47):
Can ride.

Speaker 15 (04:13:51):
Have a seat.

Speaker 13 (04:13:53):
As Welcome to my.

Speaker 35 (04:14:00):
I am the chitter of the more attendance and a
resident storyteller.

Speaker 13 (04:14:08):
You've caught me in a nostalgic.

Speaker 35 (04:14:11):
Mood today, I was remembering back to the golden age
of radio, the days before television and computer games, the
days when the radio was the nucleus of family entertainment,
and the sound was a bit crude. There was a

(04:14:32):
great deal of static, but oh it didn't matter. We
would gather around the entire family and listen to stories.
There were soap operas and dramas and comedies, and my
favorite of all the scary stories his.

Speaker 10 (04:14:56):
Tales of suspense and murder.

Speaker 35 (04:15:01):
They catered to your deepest fears, and they said, did
something like this. Ladies and gentlemen, the stories you're about
to hear contain images of pure terror. Therefore, we warn you,
if you or anyone in your family has a weak

(04:15:21):
heart or bad nerves, please turn off your radio now.
The makers of this program will not be held responsible
for anyone who dies at fright or goes insane.

Speaker 25 (04:15:34):
Remember you have been war.

Speaker 35 (04:15:45):
We turn out your lives, lock all your doors and windows.

Speaker 3 (04:15:55):
Listen.

Speaker 25 (04:15:56):
Do you hear that?

Speaker 35 (04:15:58):
It is the beating of your your own heart, beating
harder and harder and harder in anticipation of the horror
that is about to take place.

Speaker 21 (04:16:09):
You can feel it all around you.

Speaker 35 (04:16:12):
It is a dark, black, prettiest crowd of dread.

Speaker 21 (04:16:17):
You're paralyzed with fear. There's no escape.

Speaker 35 (04:16:21):
From the terror. Far today's story of Price.

Speaker 11 (04:16:35):
Revenge of the Prospective Bias.

Speaker 25 (04:16:40):
I hope you enjoy our little tail for today.

Speaker 14 (04:16:45):
It's too late to turn back now.

Speaker 13 (04:16:53):
Oh uh huh, you heard right, ma'am.

Speaker 12 (04:16:57):
That's right.

Speaker 35 (04:16:57):
One hundred dollars a night, yes, ma'am, just ma'am. I
know it's cheap, but it's done good land, ma'am. We'll see, ma'am.
The our rest says I got to sell off my land, yes, ma'am.
I got so busy tending to my crops that I
forgot to.

Speaker 12 (04:17:13):
Pay my taxis for three years.

Speaker 13 (04:17:15):
And it kind of builds up, you know, yes, ma'am.

Speaker 35 (04:17:20):
But you say you're gonna come over to mark seven o'clock.

Speaker 13 (04:17:23):
That's fine, ma'am.

Speaker 35 (04:17:25):
Just fine, you come on over. Then bring you hooey.
I'll show you around, okay, ma'am, see you then, yeah, yeah,
you just come on down. Old Jody will show you
all around.

Speaker 10 (04:17:42):
And then Jody's gonna show you something else.

Speaker 35 (04:17:54):
Jody Brown a simple mind, a proud thought who finds
his livelihood in jeopardy. But Jody has a plan to
save his precious land. It is an evil plane that
will ensure Jody Brown a place in hell.

Speaker 13 (04:18:23):
Well here she is thirty five are.

Speaker 12 (04:18:26):
Oh, it's so beautiful, gorgeous.

Speaker 5 (04:18:29):
Honey.

Speaker 35 (04:18:29):
There's something I want to show you, folks. I watch
what I can do with this shovel here. Now you've
got some dandy fertile land.

Speaker 11 (04:18:35):
Here.

Speaker 13 (04:18:35):
Watch how easy the shovel breaks up this ground and
watch it.

Speaker 12 (04:18:39):
Well, if that isn't, the cats me out here.

Speaker 35 (04:18:42):
If you plant you there's some corn in a big
vergetable gardener. You can live off this land. I'm gonna
do it to myself for forty years.

Speaker 21 (04:18:47):
Oh honey, Oh honey, I want the land.

Speaker 14 (04:18:49):
I want the house right now.

Speaker 35 (04:18:50):
More thing I want to show you before we finalize
the deal. Okay, I want you to take again that
straight ahead there past that hill.

Speaker 15 (04:18:57):
Uh.

Speaker 35 (04:18:57):
Now, the sun sets about this time every evening, and
I'll tell you it's more beautiful than a picture postcard.
Now just look straight ahead there.

Speaker 12 (04:19:03):
You see, well, I'll be that is one pretty sunset, honey.

Speaker 37 (04:19:07):
It's just gorgeous.

Speaker 12 (04:19:08):
Smile waiting by God himself.

Speaker 13 (04:19:10):
Now that's right you he just looks gray ahead and
just look at that.

Speaker 12 (04:19:12):
Sun, says drinking old darling, that I just looking at what.

Speaker 35 (04:19:27):
Oh you got a pretty son, said there's the last
one you'll ever gaze apart. Actually, actually, I thought I
was gonna give my land away for one hundred dollars
a night during woman even worn in my house. Yeah,

(04:19:51):
I guess it's time to get you to in the ground.

Speaker 25 (04:19:55):
Get in that hole now.

Speaker 48 (04:19:57):
I'll just cover you up here, out of side, out
of mind.

Speaker 13 (04:20:01):
Always say, man, I just dump your car and the swamp.
When I'm through.

Speaker 52 (04:20:10):
What.

Speaker 35 (04:20:10):
They'll keep coming and the tax man let me put
that head in the paper. You're gonna keep coming. But
I'll be ready for him.

Speaker 13 (04:20:19):
I got plenty of room for him.

Speaker 3 (04:20:21):
Yeah.

Speaker 35 (04:20:23):
Yeah, when the tax man comes, I'll just say, no, sir,
nobody's come to look at this land, no sir, And
then he'll get discouraged and give me my land back
to me.

Speaker 12 (04:20:34):
Yeah.

Speaker 13 (04:20:35):
And if you don't, there's plenty of room for.

Speaker 24 (04:20:38):
Him here too.

Speaker 35 (04:20:39):
I got room for them all, because nobody's taking my
land away. The land is part of me. Nobody's taking
me off of it.

Speaker 13 (04:20:49):
Nobody.

Speaker 35 (04:20:51):
Day by day, Jody carried out his demented plight.

Speaker 13 (04:20:56):
Right over there is where you can raise your some cattle.
Day by day.

Speaker 11 (04:21:03):
The land's perfect.

Speaker 13 (04:21:04):
I'll take it, stay it week bye.

Speaker 12 (04:21:08):
Week to shoveling at your skull.

Speaker 35 (04:21:14):
The death toll continued for one month until one faithful
night when Jody, asleep in his bed, dreaming peacefully.

Speaker 13 (04:21:28):
Heard a noise.

Speaker 12 (04:21:32):
Mm hmm, what's that?

Speaker 48 (04:21:41):
What's that sound?

Speaker 35 (04:21:44):
Sounds sounds like something falling out of the ground. Now, now,
don't come away, Jody.

Speaker 13 (04:21:52):
It's just a gophers. Yeah, a bunch of gophers. That's all.

Speaker 24 (04:21:57):
It is, just gophers.

Speaker 13 (04:21:59):
Yes, just go back to someone's at the door.

Speaker 16 (04:22:04):
Who is it?

Speaker 35 (04:22:05):
Man?

Speaker 13 (04:22:09):
Nickna? Now you you get away from here.

Speaker 15 (04:22:12):
You're here.

Speaker 35 (04:22:14):
This is private property, private property.

Speaker 13 (04:22:16):
You get out of here.

Speaker 23 (04:22:18):
Where call me?

Speaker 15 (04:22:20):
Yes?

Speaker 18 (04:22:21):
Joe?

Speaker 22 (04:22:23):
No?

Speaker 13 (04:22:24):
No, huh huh no, oh yeah, you can't be here.

Speaker 3 (04:22:33):
I killed you.

Speaker 25 (04:22:35):
I killed Joe a.

Speaker 15 (04:22:36):
Bird in the ground.

Speaker 12 (04:22:38):
No will take the last Jody.

Speaker 22 (04:22:44):
Will take right.

Speaker 21 (04:22:48):
No, no, no, you just stay away from me. Now,
you stay away from me.

Speaker 12 (04:22:54):
You ain't gonna take me off my land.

Speaker 85 (04:22:57):
No worry, Jody, he won't take you off your lab.
Twa life o man, as hard as you now, you're gonna.

Speaker 15 (04:23:11):
Be hard of the No no say.

Speaker 49 (04:23:17):
No, I uh.

Speaker 35 (04:23:32):
I appreciate your coming out here with me. We told
mister Brown if he didn't have his property sowed by
the end of the month, we would have to take
control of the land.

Speaker 12 (04:23:40):
He may refuse to leave you.

Speaker 22 (04:23:42):
Well, it doesn't hear me in the house, not in
the barn, versa broad.

Speaker 15 (04:23:47):
It's the sheriff out here.

Speaker 25 (04:23:48):
Won't you get your body on out here, boss, We
need to talk to you.

Speaker 12 (04:23:52):
Right now, chriff, sheriff.

Speaker 35 (04:23:54):
Look look over here, over here behind the house.

Speaker 12 (04:23:58):
What in the world it's a it's a yes, yes.

Speaker 35 (04:24:02):
And there's footsteps leading up to it. And look what's
on top of the mound. It's a sign it says
this property has been sold.

Speaker 13 (04:24:11):
Oh my god, the sheriff.

Speaker 14 (04:24:13):
Look sticking at the top of the mound.

Speaker 10 (04:24:17):
It's a human hand.

Speaker 35 (04:24:24):
Poor Jody found out just how fertile his.

Speaker 10 (04:24:28):
Land was, didn't he.

Speaker 35 (04:24:31):
Why just plant a few dead bodies that may sprout
ride up.

Speaker 50 (04:24:39):
Well.

Speaker 35 (04:24:40):
Now, our next excursion, Interfear, is about a very nervous
man named Arnold Craig. We begin inside the room of
a psychiatric hospital. Mister Craig is lying on a couch.
He appears to be at WIT's end. Listen, I am

(04:25:03):
not crazy, doctor.

Speaker 18 (04:25:05):
I'm not.

Speaker 35 (04:25:07):
I may be having a nervous grape down I'll give
you that, but I'm not insane, and I will not
lie here and have you condescend to me like like
I'm some sort of child who thinks he's seen the Boogeyman.

Speaker 5 (04:25:19):
Mister Craig, I am here to help you.

Speaker 12 (04:25:22):
You will just calm down. Maybe we can talk about
this thing when I.

Speaker 13 (04:25:24):
Say, do you want to help me? Do you want
to help me?

Speaker 35 (04:25:28):
And give me a gun so I can borrow my
brain's house. Let me end it now before they find me.

Speaker 5 (04:25:33):
Who is they, mister Craig.

Speaker 12 (04:25:36):
The cars, the cars.

Speaker 48 (04:25:39):
They won't rest until I'm dead.

Speaker 86 (04:25:41):
Because you said you're talking about automobiles.

Speaker 13 (04:25:44):
Yes, yes, they hate me. They hate me because because they.

Speaker 12 (04:25:49):
Know I hate them.

Speaker 35 (04:25:51):
Don't look at me that way. Doctor, Now, calm down,
calm down, Oh, shut up, shut up. I know what
you must be thinking. I know what you must be
riding on that pad of yours. Schizophrenia. Probably, yeah, But
i'll tell you my story, doctor huh.

Speaker 10 (04:26:10):
I'll tell you.

Speaker 35 (04:26:10):
You're probably too simple to see it other than the
ratings of a madman. But I'll tell you if only
to purge my soul of this terror.

Speaker 86 (04:26:21):
Remember, mister Craig at it as a fifteen minute session.

Speaker 35 (04:26:23):
Shut up, I'll take as much time as I please.
It won't matter in the end anyway. For twelve years, doctor,
I have worked in an auto junkyard. My job was
operating a machine that compacts the cars into a small cube.

(04:26:43):
It was a perfect job for me, you see, because
I've always hated cars. I hated the way they sounded.

Speaker 48 (04:26:52):
The way they polluted the air, the grating sound.

Speaker 13 (04:26:57):
Of the horns.

Speaker 35 (04:27:00):
See you can understand my intense pleasure when I would
start the compacting machine and watches the cars collapsed out
of the intense hydraulic pressure. I was three on by
the sound of a car being crushed, the sound of
steel buckling under intense pressure. It was like it was

(04:27:20):
like they were screaming in pain.

Speaker 13 (04:27:23):
Oh oh, how I love that sounds.

Speaker 35 (04:27:27):
Die die, say, Greg, you really love this job, don't you.

Speaker 10 (04:27:33):
Oh?

Speaker 13 (04:27:34):
Oh, yes, sir, I love it.

Speaker 9 (04:27:37):
I love it.

Speaker 13 (04:27:38):
I hate cars and I want you to destroy them all.

Speaker 11 (04:27:42):
You're a weird man, Craig, but you're a hard worker.

Speaker 12 (04:27:45):
I'll see them back here tomorrow morning. Oh is it
closing time already?

Speaker 13 (04:27:51):
How time flies when you're having fun?

Speaker 35 (04:27:56):
It was it was only two days ago, doctor, funny
how how little time it takes for things to go
completely haywire.

Speaker 13 (04:28:05):
It was a beautiful afternoon.

Speaker 35 (04:28:08):
I was riding home from work on my bicycle, the
way I had done for twelve years.

Speaker 13 (04:28:14):
I went by the park as I enjoyed doing.

Speaker 35 (04:28:17):
On beautiful days like that. It was the picture of serenity.
Then then behind me, I heard a car engine. Now, doctor,
I always stay on the shoulder of the road, away
from traffic, but this car was was right behind me.
I looked at the room over my shoulder, and there

(04:28:37):
was a station wagon, a blue station wagon, correctly behind me.

Speaker 13 (04:28:41):
The driver had a puzzled look on his face.

Speaker 35 (04:28:45):
I yelled at him, now.

Speaker 21 (04:28:46):
Seen here, you melodics, So why are you following me?
Why don't you take that thing and drive.

Speaker 70 (04:28:52):
Off a cliff.

Speaker 35 (04:28:53):
Suddenly the car accelerated me. The thumper met with my
back wheel, and it was trying to run me over.
It flew its corn as if in anger. I had
to fix fast, so I peddled as fast as I
could into the park, but the car safe behind me.

Speaker 21 (04:29:10):
People were running in fear. I began to loose your
tral my box. I felt the.

Speaker 10 (04:29:16):
Ground behind a tree and the car smashed into it.

Speaker 11 (04:29:22):
That tree.

Speaker 13 (04:29:23):
That tree saved my life.

Speaker 12 (04:29:25):
Doctor.

Speaker 35 (04:29:26):
The man inside the car looked dazed. He had a
small bump on his forehead, but otherwise he was unharmed.

Speaker 13 (04:29:33):
He got out of the car and rushed over to me.

Speaker 21 (04:29:35):
Hey, Hey, mission mission to say, are you right? You okay?

Speaker 9 (04:29:39):
What?

Speaker 4 (04:29:40):
Why?

Speaker 12 (04:29:41):
Why did you try to run over me?

Speaker 21 (04:29:42):
I didn't miss you, I swear I didn't even have
control of the car.

Speaker 40 (04:29:45):
I didn't even touch the wheel it.

Speaker 13 (04:29:47):
What do you mean you didn't have control of the car.

Speaker 21 (04:29:49):
I went into the park and you followed me. It
was like it had a mind of its own.

Speaker 13 (04:29:54):
Like it had a mind of its own.

Speaker 35 (04:29:56):
Yes, yes, exactly, think me insane if you wish, doctor,
But at that precise moment I knew what had happened.

Speaker 10 (04:30:06):
The car was trying to kill me.

Speaker 35 (04:30:09):
Somehow it sensed my hatred for cars and considered me
an enemy to be destroyed. Impossible, yes, insane perhaps, but
it's true, doctor, True. Despite that horrible realization, I managed
to fall asleep that night, but my slumber was short lived.

(04:30:30):
It was about midnight when a peculiar sound awakened me.

Speaker 15 (04:30:39):
What's that?

Speaker 13 (04:30:40):
What's that outside?

Speaker 15 (04:30:42):
Sounds like car?

Speaker 35 (04:30:44):
Engines, those lights shining through the window, dear heavens out
there surrounding the house. Cars and they're empty. No one's
inside the cars.

Speaker 13 (04:31:01):
They're waiting for me.

Speaker 35 (04:31:03):
Wants me to come out, wants me to come outside
so they can will will, They'll have a long way.

Speaker 21 (04:31:10):
You hear me, You hear me. I'm not coming out.

Speaker 35 (04:31:15):
You'll you'll, you'll run out of gas.

Speaker 25 (04:31:16):
Before I come out.

Speaker 35 (04:31:20):
You think you think I'm a murderer, don't you, Yes,
Arnold Craig, murderer of car that's me.

Speaker 21 (04:31:30):
Will go away, go away, do you hear me?

Speaker 28 (04:31:33):
Go away?

Speaker 35 (04:31:35):
But they didn't go away, Doctor, Simultaneously they blew their horns.

Speaker 21 (04:31:43):
The windows of my house shattered, and then I I
passed out.

Speaker 35 (04:31:52):
Hold it's horrible to contemplate the possibilities of reality, doctor.

Speaker 13 (04:32:04):
The terror and.

Speaker 35 (04:32:05):
Hopelessness overwhelmed me, like a criminal walking to his execution.
But unlike a criminal walking to the electric chair.

Speaker 12 (04:32:12):
I could defend.

Speaker 13 (04:32:13):
I could fight, I could resist.

Speaker 35 (04:32:16):
I had a gun, and with it I could blow
out every tier on every car that threatened my existence.

Speaker 13 (04:32:21):
In my front yard, there was silence, no cars in sight.

Speaker 48 (04:32:25):
So I waited all day, the sun set all night
I stood nothing.

Speaker 10 (04:32:33):
Days passed and.

Speaker 35 (04:32:34):
I stood with my gun routinely rotating in all directions,
ready for the moment when they would attack. But after
five days I began to give up. I'd seen the cars.

Speaker 15 (04:32:43):
Were gone for you.

Speaker 13 (04:32:46):
I'm afray, I'm a fray.

Speaker 21 (04:32:50):
Surely they would have attacked me by now.

Speaker 35 (04:32:52):
Oh, thank god, I'm rid of this life threatening nuisance.
Then I heard a car from the distance. I ran
into the street and saw a car it what looked
like half a mile away. It was speeding at me
at an incredible rate. I aimed a gun, waiting for
the car to get close enough so I could open fire.

Speaker 13 (04:33:14):
And when it did, I didn't hold back.

Speaker 21 (04:33:17):
Die David cotail stop y God, but I missed the tires.

Speaker 35 (04:33:25):
I was directly in its path, and I only had
time to jump in the air and hoops of a
boating death.

Speaker 21 (04:33:30):
But after standing for five days, my chumping abilities were
severely limited. I crashed through the windshield and.

Speaker 35 (04:33:36):
It astablished at sixty thousan an hour. I began firing
bullets into the dashboard. Surely this was disabled A healthy,
good for nothing car used by it? Did?

Speaker 21 (04:33:50):
It swerved out of control and spashed into the face
of the town waterflower, causing it could.

Speaker 14 (04:33:55):
Plummet on top of both of us.

Speaker 35 (04:34:19):
After five months in reconstructive surgery, I was out of
the hospital and thirsty for revenge.

Speaker 21 (04:34:28):
Welcome to big city hardware.

Speaker 35 (04:34:30):
You ma, don't be alarmed by the sack of my head, Lady,
I don't want the cost to recognize me.

Speaker 10 (04:34:36):
Come give me a sledgehammer quickly.

Speaker 16 (04:34:39):
Yes, that's a very nice that you have.

Speaker 25 (04:34:43):
Here's your ghost.

Speaker 10 (04:34:44):
Please don't hurt me.

Speaker 35 (04:34:46):
I'm not going to hurt you, lady, but you have
to understand every automobile must be destroyed.

Speaker 21 (04:34:52):
Yes, here's your money, Thank you, lady is.

Speaker 15 (04:34:56):
Mister mcginse.

Speaker 72 (04:35:00):
Ladies, and I'd say, let me stuck my car.

Speaker 4 (04:35:04):
I'll call the police right now.

Speaker 15 (04:35:06):
Die die, kill you all, kill you all?

Speaker 3 (04:35:13):
What to learn on me?

Speaker 21 (04:35:15):
How ye foul priest?

Speaker 28 (04:35:20):
And you die?

Speaker 21 (04:35:21):
If you flipped your gord? Man, that's my car, give
me that thing?

Speaker 20 (04:35:25):
Release, may you fool?

Speaker 15 (04:35:27):
I have to destroy them all.

Speaker 35 (04:35:28):
There's millions and I haven't much time. What did my
car do to you men?

Speaker 14 (04:35:33):
It would try to kill me sooner or later.

Speaker 21 (04:35:35):
They would all try to kill me. And they're not cars.

Speaker 35 (04:35:39):
My young man they're beasts, they're animals, demons of gasoline
for blood.

Speaker 25 (04:35:45):
Then I must just say them all.

Speaker 10 (04:35:49):
Sah a diy di.

Speaker 49 (04:35:55):
Si die die.

Speaker 9 (04:36:16):
Die.

Speaker 35 (04:36:17):
Yes, yes, I suppose I did look like a maniac, doctor.
I suppose to the untrained eye, I looked like a
sledgehammer welding madman. I tried to explain to the policeman
when they arrived what I was doing. But well, here
I am. So you've heard my story.

Speaker 86 (04:36:42):
What do you think, doctor, Well, mister Craig and the friend,
I'm gonna have to have you committed, probably for the
rest of your life, if you showed no sign of improvement.

Speaker 35 (04:36:50):
Yes, yes, I thought you would say that. But you see,
that would be very dangerous for you, doctor, because they'll
find me sooner or later.

Speaker 48 (04:37:00):
When they do, they'll.

Speaker 13 (04:37:03):
There there.

Speaker 17 (04:37:04):
Do you hear that, doctor?

Speaker 45 (04:37:05):
Do you hear that?

Speaker 21 (04:37:06):
It didn't take the blog to fight me.

Speaker 5 (04:37:08):
Did it, mister Clegg?

Speaker 86 (04:37:12):
But it does seem to be a car out there
by the window, reving its engine, and goodness, there is
no driver.

Speaker 48 (04:37:18):
Yes, yes, they found they found me.

Speaker 21 (04:37:23):
Hell, okay, okay, I'm ready, I'm.

Speaker 53 (04:37:27):
Ready for you.

Speaker 87 (04:37:28):
Come on, come on, mister, mister, mister.

Speaker 86 (04:37:35):
Clegg, do not antagon as the car I would call
security at once.

Speaker 85 (04:37:39):
They're no good doctor, no goods, backing up, coming forward, Yes, come.

Speaker 15 (04:37:44):
On for the window.

Speaker 35 (04:37:55):
Well, it looks like, mister psychiatrists, that what seems like
obsessions and delusions can in fact brain a quinn and
merciless damp. But on the bride side, mister Craig was put.

Speaker 21 (04:38:16):
Out of his misery.

Speaker 35 (04:38:25):
Well there you are two spine chilly excursions into fear.
It's too bad that storytelling has evolved into high text,
special effects nudity and mindless violence.

Speaker 13 (04:38:44):
So often I hark back to.

Speaker 35 (04:38:46):
The days of old time radio, when the imagination was
the special effects department. Well, the price we must pay
for progress, as I see ready to go, Well, please
keep me in mind.

Speaker 12 (04:39:05):
I have many more stories to tell until next time.

Speaker 35 (04:39:12):
Lessons Streams.

Speaker 87 (04:39:34):
You have just heard Cheddar's Tales from the Morgue. Today's
installments Excursions and Fear. For correspondence send to M and
J Audio Theater po Box two five two Mahea m
e x I A Texas seven six six sixty seven.

Speaker 5 (04:39:56):
The names and characters portrayed in this production are.

Speaker 87 (04:39:58):
Fictitious, and any similarities with the actual persons living or
dead is purely coincidental.

Speaker 11 (04:40:10):
A production by M and J Audio Theater.

Speaker 82 (04:40:35):
Sunrise and Sunset, Promise and fulfillment, birth and death.

Speaker 88 (04:40:42):
The whole drama of life is written in the sounds
of time.

Speaker 5 (04:40:51):
We present a new series of radio programs, The Clock.

Speaker 88 (04:40:59):
Ah, how many stories have you heard the beginning of
the words once upon a time?

Speaker 11 (04:41:20):
Hundreds of them.

Speaker 50 (04:41:20):
Perhaps when you were younger, and when the hours of your.

Speaker 88 (04:41:23):
Life passed by in a more leisurely face, you'd huddle
in the big easy chair with a fire while the
old grandfather clock ticked the minutes away in a reassuring,
monotonous and soothing fashion. Your narrator would tell you a
frightening tale of Beauty in the Beast. Then you'd scurry
off to bed, happily, secure in the knowledge that they
lived happily.

Speaker 11 (04:41:42):
Ever after, Oh, I have a story for you tonight
that begins with.

Speaker 88 (04:41:47):
Once upon a Time, and in a way it's a
modern version of Beauty and the Beast or Lady Pontifell.
But I'm afraid that I am unable to guarantee that
they lived happily.

Speaker 16 (04:42:01):
The idea is ridiculous, Naturalie, But why it's too dangerous,
that's why, or how can it be dangerous to you
want to help someone, you can't just go into the
street and pick up in your old chap. It's fantastic, Eve.
Do you know how unhappy I've been since Ralph died?
But what your husband got to do with it, it's
a great deal. He needed me while he was alive,
he needed me badly. I don't say I was responsible

(04:42:23):
for his success, but I do know I gave him inspiration,
and that was what I left for Eve when Ralph
was with me. I suppose you consider yourself one of
those women who has to mother every male in son. Really,
what you get to do just wander along somewhere to
find some filthy drug toy?

Speaker 50 (04:42:39):
Claim?

Speaker 11 (04:42:40):
Why not?

Speaker 16 (04:42:40):
Weakness isn't a crime when a man's done, and there
must be a reason for it, and it may only
take a few pounds and a little kind of advice
to streeten him out. Where on earth did you get
this idea, Natalie? I saw in the papers today, But
some poor soul picked up in the street an unidentified
man who died of malnutrition and alcoholism. No, that isn't true.

(04:43:02):
He hadn't been drinking anyway. I don't intend to look
for an alcoholic.

Speaker 10 (04:43:06):
There are doctors and hospitals for those.

Speaker 16 (04:43:08):
All I want to do is find one man who
needs my help and do what I can for him.
And what will let get you? I I won't to
feel the way I felt when Ralph would come to
me for advice.

Speaker 10 (04:43:23):
W he depend on me?

Speaker 16 (04:43:25):
And when do you intend to go on this hunts
for the lost soul?

Speaker 10 (04:43:28):
This evening?

Speaker 16 (04:43:29):
You're mad, Natalie. You're just looking for someone to chauch
you over the head and take your purse. You needn't
come with Natalie, for Heaven's sake. Forget it. I'll tell
you what we'll do. We have dining at Louis, then
go to a show. There's a musical.

Speaker 12 (04:43:41):
I'm dying.

Speaker 16 (04:43:42):
I made up my mind.

Speaker 40 (04:43:44):
I'm going through with this.

Speaker 12 (04:43:46):
Will you come with me?

Speaker 9 (04:43:48):
Oh?

Speaker 16 (04:43:48):
All right, I may as well. At least i'd be
around to identify your body. Oh what a neighborhood. Couldn't

(04:44:11):
you pick a street with lights? There's a little park
over there, Eve, with some benches. That's it done for
a while. I give anything for a cocktail.

Speaker 25 (04:44:20):
Eve?

Speaker 16 (04:44:20):
What look lying on that bench? Yes, dear, it's a
man his face covered with newspaper. I'm going over to
talk to me. Now, wait, let me get the police
to know. Do you want to frighten him? Look at
the way he's lying there. How can you be afraid
of a human being who's so pitiful, so close.

Speaker 10 (04:44:40):
To being completely broken?

Speaker 12 (04:44:41):
Oh?

Speaker 16 (04:44:42):
All right, give him some money and let's get out
of here and stay here? Natalie, h Are you a weak?

Speaker 50 (04:45:00):
Yeah, I'm awake.

Speaker 10 (04:45:01):
I'm sorry.

Speaker 16 (04:45:03):
I didn't mean to disturb you.

Speaker 50 (04:45:04):
That's all right, lady. What do you want? Well?

Speaker 3 (04:45:09):
I I.

Speaker 16 (04:45:12):
Just want to help you.

Speaker 37 (04:45:14):
Yeah, I'll give you.

Speaker 16 (04:45:18):
Some money if you promise to use it in the
way I.

Speaker 50 (04:45:21):
Suggest that much what I said, how much you want
to give me?

Speaker 16 (04:45:27):
Well, how much do you need? Do you think you
can buy a good suit of clothes for fifteen or
twenty pounds?

Speaker 37 (04:45:36):
I have thirty here that I.

Speaker 50 (04:45:39):
Let's see three tens?

Speaker 16 (04:45:45):
Will you? Will you use it to give yourself another
chance to live like a decent human being? I really
want to help you in other ways. If you'll just
be honest with me, I can get you a job,
and I can wait.

Speaker 10 (04:46:00):
Here.

Speaker 25 (04:46:01):
This is my card.

Speaker 16 (04:46:03):
Tomorrow morning, when you feel better, come over to my home,
and I'll make inquiries about a position for you.

Speaker 50 (04:46:10):
What's your name, Hike?

Speaker 16 (04:46:13):
Is that your last or your first name?

Speaker 50 (04:46:15):
It's my only name.

Speaker 16 (04:46:17):
Oh well, you have some money now, I expect you'll
really make some.

Speaker 10 (04:46:24):
Good use of it.

Speaker 50 (04:46:25):
Yeah, yeah, I make good use of it. Good night,
mister Pike, Good night lady.

Speaker 16 (04:46:38):
Latterly you happy fight to death? What did you say?

Speaker 12 (04:46:42):
Nothing?

Speaker 16 (04:46:42):
I saw you getting some money. Didn't he even thank you? No,
my de quick. Well there you have it Jon the park.
Now you see how park kindness will get your Maybe
you were right here.

Speaker 37 (04:46:54):
He really didn't seem very impressed. I probably won't ever
see him again.

Speaker 16 (04:46:58):
Now, will you forget this idiotic notion? If your assault ride,
I feel better about it anyway, at least I dried.
Where is he is he going?

Speaker 52 (04:47:06):
No?

Speaker 16 (04:47:07):
He's just standing there staring at us. Come on, Ehie,
let's get out of here.

Speaker 9 (04:47:27):
Yeah.

Speaker 50 (04:47:29):
Oh it's you here, Laddy, it's me, Come in bike.
You gave me your card. I knew, but you didn't
look very glad to say me lad.

Speaker 16 (04:47:48):
It's a funny word to use, Pike. Thankly, I didn't
think you'd show up.

Speaker 25 (04:47:51):
I have it on my hair.

Speaker 16 (04:47:53):
Yes, you're here.

Speaker 50 (04:47:57):
What you're looking at?

Speaker 11 (04:47:58):
Lady?

Speaker 16 (04:48:00):
Your clothes they're the same ones you had on last night,
and you haven't even.

Speaker 50 (04:48:04):
She and A's Saturday Saturday and he's heaven Saturday.

Speaker 16 (04:48:09):
Oh you could at least have brought yourself some second
hand clothes.

Speaker 50 (04:48:14):
The ones I got on are okay?

Speaker 16 (04:48:15):
Did you spend the money I gave you?

Speaker 50 (04:48:18):
Well? Are you used at the play some bits?

Speaker 16 (04:48:21):
Well that's something anyway. When a man turns over and
you leave, it's always a good idea to clear himself
with these obligations.

Speaker 50 (04:48:27):
I got on the Pegger game last night. I lost
Where my Dead's outday?

Speaker 18 (04:48:32):
Oh?

Speaker 16 (04:48:35):
Then why did you come here? You didn't do as
I asked in it?

Speaker 50 (04:48:38):
I came for some more money.

Speaker 16 (04:48:41):
More money now, just a second pike. Let's understand each other.
I have no intention of giving you money to gamble with.

Speaker 50 (04:48:49):
I won't gain.

Speaker 16 (04:48:50):
I paste my feet in you last night, and you've
disappointed me terribly. I'd rather not let myself in for
another disappointment.

Speaker 50 (04:48:56):
But I need some money.

Speaker 16 (04:48:58):
Leg you can get yourself a job and earn I'll
call a friend of mine if you like, and see
if he can.

Speaker 50 (04:49:02):
I don't want a job I want money.

Speaker 16 (04:49:05):
Well, you're not going to get any from me now,
please leave. I have an appointment downtown.

Speaker 50 (04:49:10):
What's the mayor close? Of course?

Speaker 10 (04:49:14):
Are you good?

Speaker 49 (04:49:17):
How dare you?

Speaker 50 (04:49:19):
What's these men's suits dinner?

Speaker 5 (04:49:20):
There?

Speaker 16 (04:49:21):
They belong to my husband? Now, will you please?

Speaker 23 (04:49:24):
Yes?

Speaker 50 (04:49:25):
Hmm that's my size? Oh, this brown one's nice.

Speaker 16 (04:49:31):
Take your hands off that suit?

Speaker 50 (04:49:32):
Why don't you give it to me? Of course not,
it's a nice.

Speaker 16 (04:49:35):
Sid anything I have left all night? Why am I
talking to you like this?

Speaker 25 (04:49:40):
It's none of your affair.

Speaker 16 (04:49:42):
Put the suit, icond leave please?

Speaker 50 (04:49:43):
Ah, you wouldn't miss it. Lady, the guy's dead.

Speaker 40 (04:49:47):
Are you going?

Speaker 16 (04:49:48):
Or must I call the police?

Speaker 50 (04:49:50):
Won't you give me that sick?

Speaker 9 (04:49:52):
Oh?

Speaker 16 (04:49:52):
All right, take it? Take it and go?

Speaker 50 (04:49:56):
The good suit?

Speaker 72 (04:50:07):
Where can I drop you?

Speaker 49 (04:50:17):
Eve?

Speaker 16 (04:50:18):
I'll drop you. This cat's on me for a change.
It's been a lovely afternoon and I haven't been to
commuitium in ages. I'm afraid we're becoming a couple of
lowe brows. Natalie. Really, we want have been intellectual a
little more. I guess you're right. Oh, by the way,
I meant to ask you you never heard for that
raggedy tramp?

Speaker 78 (04:50:34):
You helped last week?

Speaker 16 (04:50:36):
What made you ask this? No, I just wondered if
he ever tried to follow you up for another touch.
As a matter of fact, I saw him the next day,
but it was only for a moment. I gave the
poor fellow a suit of Bo's clone.

Speaker 15 (04:50:49):
But what about that money?

Speaker 10 (04:50:50):
Oh?

Speaker 16 (04:50:51):
Yes, Eve, he's gone now. I haven't seen him since then,
and it's been almost a week. I'm sure I'll never
hear from him again. Rather stop on this corner, please
say you are several blocks from I had some shopping
to do. I'm dining in the night for a change.
Oh by myself.

Speaker 40 (04:51:07):
I haven't got to me since well since twelve was
with me.

Speaker 37 (04:51:11):
I'm going to spend a nice quiet evening at home.

Speaker 16 (04:51:38):
A lady, what are you doing here?

Speaker 50 (04:51:41):
I just got him to say, how did you get in?

Speaker 22 (04:51:45):
That?

Speaker 23 (04:51:45):
Happen?

Speaker 26 (04:51:46):
It wasn't.

Speaker 16 (04:51:46):
I just unlocked at my shoe.

Speaker 50 (04:51:50):
What you got in those packages?

Speaker 23 (04:51:52):
Food?

Speaker 50 (04:51:52):
Let's see? Mm hmmm, let's taken like a pie? That's good?
What's this?

Speaker 16 (04:52:03):
That's nevcada?

Speaker 15 (04:52:04):
Pear.

Speaker 16 (04:52:04):
Now, if you know what's good for you, you're mouch
right out of that door and leave this neighborhood as
fast as you can.

Speaker 50 (04:52:09):
I never tased avacada.

Speaker 37 (04:52:10):
Did you hear what I said?

Speaker 50 (04:52:13):
I'll leave lady right out. We have I have some dinner.

Speaker 88 (04:52:49):
Every species has its own particular life cycle, and they
greatly vary in length of time. It said that the
seater loo can live more than two hundred years. They
often can go beyond the century mark man has given
his three score and ten. And when you come to
the insects at the bottom of the scale, we find
they complete.

Speaker 4 (04:53:09):
Their lives in a single season.

Speaker 88 (04:53:12):
There is one species of life, however, that depends upon
a host in order to exist. It is not as
the leech, and it seems to me it might be
logical to assume that the length of life this creature
can look forward to depends in part upon how much
blood he can squeeze.

Speaker 11 (04:53:29):
From his victim.

Speaker 50 (04:53:32):
I'll take another cup of coffee.

Speaker 16 (04:53:34):
You've had two cups?

Speaker 50 (04:53:34):
A ready one more, lade?

Speaker 16 (04:53:38):
Why don't you go what a you're waiting for? You've
sponged to me.

Speaker 50 (04:53:41):
You'll now leave me alone past the sugar.

Speaker 16 (04:53:45):
Do you know what I'm going to do with you?
Don't stop annoying me. I'm going to call the police.
I'll have you arrested. Now put you in jail.

Speaker 50 (04:53:52):
Past the cream.

Speaker 14 (04:53:53):
What are you trying to do to me?

Speaker 16 (04:53:55):
Why are you keep following in this way? It's the
first time I've lost my tempering years and it's your offled.

Speaker 50 (04:54:05):
You got any money on your lady, I've.

Speaker 16 (04:54:07):
Given you money.

Speaker 50 (04:54:09):
I need some more.

Speaker 16 (04:54:10):
I gave you money and I gave you a suit.
What did you do with a suit?

Speaker 43 (04:54:13):
You'm up wearing it?

Speaker 15 (04:54:14):
I hacked it.

Speaker 50 (04:54:15):
It was a good suit. I gave me a fifteen quid.

Speaker 16 (04:54:18):
You're a parashyde You're like some horrible thing that attaches
itself to your skin and you can't get rid of it.

Speaker 50 (04:54:26):
You've got a nice skin, lady.

Speaker 16 (04:54:28):
Take your hand off my arm.

Speaker 50 (04:54:30):
Pink skin. I like pink skin.

Speaker 16 (04:54:33):
If I given some money, will you go away and
never come back? How much I've got twenty pounds in
my bag? Take it. I haven't said don't come back
here anymore. Let me have it here now get out.

Speaker 50 (04:54:51):
That was a nice dinner, laddy.

Speaker 16 (04:54:52):
Will you stop calling me lady? I happen to have
a name.

Speaker 50 (04:54:56):
Yeah, it was a nice dinner. Only next time, don't
forget batistics.

Speaker 16 (04:55:07):
Hello, hello, yes, get why it didn't you tell me
you were going away for a few weeks five years.
I'm going to when you're leaving tomorrow. If Eve, would
you do me a great favor. I'll never forget you
for this, even if only you'll say yes. Please don't
refuse me, darling.

Speaker 3 (04:55:24):
You sound you're awful. I'd never refuse you anything.

Speaker 10 (04:55:27):
You know this.

Speaker 16 (04:55:27):
I want to move into your plat until you get
back at all. You don't know what this means to me, yourself, trouble.
It doesn't matter, I'll explain to another time. I've got
to get out of this house. Little then I've got
to get out immediately.

Speaker 37 (04:55:42):
You can look it in the morning at it.

Speaker 70 (04:55:44):
Thank you, Thank you.

Speaker 16 (04:55:49):
Sure you'll be all right now, I'll be fine. Me
and you still don't want to.

Speaker 60 (04:55:54):
Tell me what the trouble is.

Speaker 16 (04:55:56):
The whole thing's so so ridiculous, I'm sure aim to myself.
I'm just acting like a brightened child. By the time
you come back, I have sold my home and bought nothing.
You're going to sell that pretty house and buy a
new one, yes, and that the way the prices are
these days, you'll never get anything. Let me handle this. Please.
You better hurry or your mister plane. You'll be comfortable

(04:56:19):
here and I'll write.

Speaker 43 (04:56:20):
To you already.

Speaker 16 (04:56:21):
Bye now, goodbye, have a nice tripped.

Speaker 14 (04:56:25):
Thanks Who is it? Who is there?

Speaker 50 (04:56:54):
Where you would have been?

Speaker 11 (04:56:59):
More?

Speaker 23 (04:56:59):
Care for you?

Speaker 50 (04:57:01):
Lock the door? You can never tell about Douglas?

Speaker 16 (04:57:05):
How did you find out where I was?

Speaker 50 (04:57:07):
I followed you?

Speaker 16 (04:57:08):
What do you want? I've given you money in clothes.
What do you want to me for? Please? Please don't
do this to me. What have I done for you?

Speaker 21 (04:57:18):
Why do you talk to me this way?

Speaker 11 (04:57:20):
Please?

Speaker 16 (04:57:21):
I'm big of you. Leave me alone.

Speaker 50 (04:57:28):
You look better when you're dry than most women do
when they laugh.

Speaker 16 (04:57:32):
If you try to stop me lavinga get out of
my way, starting suching. My name is Williams, missus Natalie Williams.

(04:57:55):
I live on Parking Drive. Who's a man? A man?
I can't get rid of him. He didn't follow Wait,
you've got to do something. You've got to help me.

Speaker 5 (04:58:02):
He's been molesting him.

Speaker 16 (04:58:04):
He keeps coming to my house and asking the.

Speaker 5 (04:58:08):
Second lady take it easy.

Speaker 15 (04:58:09):
Do you know thisell?

Speaker 27 (04:58:10):
His name is Pike.

Speaker 5 (04:58:11):
Where did you meet him in the first place?

Speaker 16 (04:58:13):
Well, I gave him money. I gave him some money.
He was on the path wanted to help him?

Speaker 5 (04:58:20):
You mean you picked him up?

Speaker 10 (04:58:22):
No?

Speaker 16 (04:58:22):
No, I only wanted to telp him. I wanted to
do something with someone, and you started.

Speaker 5 (04:58:28):
A conversation with a stranger and gave him money.

Speaker 3 (04:58:30):
You don't understand what else did.

Speaker 15 (04:58:32):
You give him?

Speaker 16 (04:58:33):
What sort of clothes he belonged to? My husband?

Speaker 15 (04:58:37):
Okay, lady, you better be on your way.

Speaker 16 (04:58:40):
What's the matter with him? Why would you give me protection?

Speaker 22 (04:58:43):
Protection from?

Speaker 9 (04:58:44):
What?

Speaker 50 (04:58:45):
Has he threatened him?

Speaker 16 (04:58:46):
No?

Speaker 12 (04:58:47):
Yet?

Speaker 5 (04:58:49):
Is the case of assault and battery?

Speaker 18 (04:58:50):
Maybe?

Speaker 50 (04:58:51):
Did he hit you?

Speaker 16 (04:58:52):
No?

Speaker 5 (04:58:53):
Do you steal anything from him?

Speaker 16 (04:58:54):
No?

Speaker 20 (04:58:55):
But it's worse, is it.

Speaker 12 (04:58:58):
It's what you don't believe me to.

Speaker 5 (04:59:02):
Yes, I believe you. Lady.

Speaker 43 (04:59:04):
You pick up a tramp and get him clothes and money.
He doesn't touch you, and he doesn't steal from you.
So now I'm supposed to let him.

Speaker 5 (04:59:10):
In jail on what charge? May I ask?

Speaker 10 (04:59:13):
You?

Speaker 16 (04:59:13):
Kill me if you don't help me?

Speaker 43 (04:59:15):
As to you, lady, is to meet your boyfriends at
bridge parties and not on park benches. Wait a minute,
I want you to talk to somebody who is a doctor.

Speaker 5 (04:59:25):
Inside you don't look so good. Maybe you need a
little star.

Speaker 16 (04:59:28):
Look I'm crazy.

Speaker 5 (04:59:30):
Look let's just take it easy.

Speaker 26 (04:59:32):
Hey, come back, come.

Speaker 11 (04:59:33):
Back here, I help you, madam.

Speaker 16 (04:59:46):
Do you sell guns here?

Speaker 11 (04:59:47):
Hunting guns?

Speaker 16 (04:59:48):
Yes? Give me one.

Speaker 40 (04:59:50):
What kind of you?

Speaker 43 (04:59:53):
Well, we have rifles for duck shooting and larger models
with bigger game.

Speaker 16 (04:59:57):
Let me see a larger model.

Speaker 88 (05:00:00):
Well, this is the man that a point two five
six years the big game mostly leopards and lie in
this one.

Speaker 23 (05:00:08):
This is the most powerful.

Speaker 43 (05:00:09):
Model we have to a point four or five h
higher velocity job, kick like a mule and stop a
mad elephant at one hundred yard.

Speaker 50 (05:00:18):
You must be going after dangerous game.

Speaker 16 (05:00:21):
Yes, I'm going after the most dangerous game of hole. Oh,
come in, come in, pike. I want to see you.

Speaker 15 (05:00:43):
Come in.

Speaker 16 (05:00:51):
Than you you jo? I can look?

Speaker 40 (05:00:56):
Why did you come, homies?

Speaker 16 (05:00:57):
My plane was grinded latinally, what's going on here?

Speaker 40 (05:01:01):
Why you're pretty that done at the door.

Speaker 16 (05:01:02):
I'm I'm waiting for a visitor. Literally, you're either him
or me.

Speaker 37 (05:01:08):
I know why he follows me.

Speaker 16 (05:01:09):
Now he wants my life. He's got everything else, and
now he wants my die. Give me that gun.

Speaker 53 (05:01:13):
Don't tut me and your ear darling, please listen to reason.

Speaker 40 (05:01:17):
Give me the die here until he walked inside that door.

Speaker 16 (05:01:21):
And then I'll pull the trigger.

Speaker 40 (05:01:22):
Who are you talking about?

Speaker 16 (05:01:23):
Like the tramp, the parasite. I can't wait any longer.

Speaker 40 (05:01:27):
I've got to get him.

Speaker 16 (05:01:28):
Now before he gets me. But that's murder to think.
So you see what you're doing? Oh darling, you're so ill.
Let me call the doctor. Sits down, down, and don't
into fear. Naturally open the door for you.

Speaker 40 (05:01:44):
The door, I said, Then stand aside.

Speaker 16 (05:01:48):
The open come in naturally.

Speaker 42 (05:01:54):
What's the big idea, lady?

Speaker 15 (05:01:58):
Give me that gun.

Speaker 37 (05:02:00):
This is some cannon, it's it's a hunting gun.

Speaker 5 (05:02:05):
Sergeant, What were you expecting to walk through that door?
A rhinoceros?

Speaker 16 (05:02:11):
We are planning a hunting trip, an't be Natalie. We're
going to Africa, or to India or somewhere.

Speaker 43 (05:02:19):
And your missus Natalie Williams, Yes, you're the lady who
came into the station a few hours ago.

Speaker 14 (05:02:30):
Yes, m M.

Speaker 5 (05:02:33):
I got some news for you, lady, but I'm not
sure as how I ort to yank you in on suspicion.

Speaker 16 (05:02:38):
Now offer this woman is a friend of mine. I
can provide character witnesses for her.

Speaker 25 (05:02:45):
Now, look, officers, I see.

Speaker 16 (05:02:46):
No reason why we can't clean a rifle in my
own home. It's a hunting gun.

Speaker 5 (05:02:50):
And we weren't concealing, all right, all right, stop chewing
my ear.

Speaker 16 (05:02:53):
Sergeant, you said you had news for me.

Speaker 43 (05:02:57):
Yes, hell, a name Pike of a train half an
hour ago. He had no identification on him except this card.

Speaker 15 (05:03:04):
With your name on it.

Speaker 5 (05:03:06):
It is yours, isn't it?

Speaker 62 (05:03:08):
Yes?

Speaker 16 (05:03:09):
I gave it to him.

Speaker 43 (05:03:11):
Well he's dead now for a fellow, A more harmless
looking guy I never saw, looked like he wouldn't have
to fly.

Speaker 5 (05:03:18):
It's a tramp, was all. He was down a nutter.
What is the name of all that's sensible? Made you
think he was bad?

Speaker 53 (05:03:28):
I don't know.

Speaker 37 (05:03:30):
Sounded he's cal I.

Speaker 50 (05:03:35):
She's thinking, easy lady.

Speaker 16 (05:03:40):
Maybe maybe the jokes on me? He was harmless, that true.

Speaker 23 (05:04:14):
Copper.

Speaker 88 (05:04:14):
The poet might have ended the story with a couplets
such as this fancy like the finger of a clock
runs the great circuit and is still at home.

Speaker 43 (05:04:28):
The clock will be heard again next week, same time.
This program was written by Lawrence Klee, with Harp McGuire
as the clock you heard, Mary Clark as Natalie, and
Ozzie Wenvin as Pike, with Muriel Steinbeck and Gordon glen Wright.
The Clock, directed by John soul is a Grace Gibson
Radio production.

Speaker 6 (05:04:52):
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 love's 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

(05:05:13):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page. If you are someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weird Darkness dot Com. I'm Darren Marler. Thanks

(05:05:34):
for joining me for tonight's retro radio Old Time Radio
in the Dark

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