THE HOUND OF THE BASKERVILLES | Old Time Radio In The Dark! - Weird Darkness: Paranormal & True Crime Stories

Episode Transcript
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Speaker 1 (00:07):
The latest stations present Escape.

Speaker 2 (00:13):
Oh Fantasy.

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

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

Speaker 5 (00:36):
Present Suspense.

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

Speaker 7 (00:43):
Welcome Weirdos. I'm Darren Marler and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here, I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
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check out Weirddarkness dot com for merchandise, sign up for

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

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

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

Speaker 9 (01:49):
Come in.

Speaker 5 (01:52):
Welcome.

Speaker 10 (01:53):
I'm E. G.

Speaker 11 (01:54):
Marshall.

Speaker 8 (01:56):
I remember when I was in high school, I studied
a poem which terror to my heart. I still recall
the opening lines, which went, I fled him down the
nights and down the days. I fled him down the
arches of the years. I fled him down the labyrinthine
ways of my own mind. Some of you will recognize

(02:19):
the author as Francis Thompson and the poem as the
Hound of Heaven. And it's still terrifying. But think how
much more fearful it would be if the hound you
were fleeing from was a hound of hell. O, good Lord,
what's that?

Speaker 12 (02:40):
I don't know, Sir Henry. Some sound they have on
the moor, I think.

Speaker 13 (02:42):
Don't cuddle me, Watson. When the people of the moor
hear that cry, what do they say it is?

Speaker 12 (02:48):
They say, it's the cry of the Hound of the
Baskervilles seeking its prey.

Speaker 8 (02:53):
Our mystery drama, The Hound of the Baskervilles was especially
adapted from the Sherlock Holmes classic for the mystery theater
by Murray Burnett and stars Kevin McCarthy. It is sponsored

(03:16):
in part by General Electric, Citizen Band Radios and Buick
Motor Division. I'll be back shortly with that one. The
Mantle of Immortality is elusive and unpredictable. Two fictional characters

(03:41):
created at the turn of the century by Arthur Conan
Doyle have become undying legends. So strong is the public
belief in their existence that the City of London recently
granted the owner of the premises at two twenty one
b Baker Street the right to change the number of
that address permanently in order to avoid the hordes of

(04:04):
tourists flocking to see the actual living quarters of Sherlock
Holmes and his colleague doctor Watson. Our story to day
starts in those very rooms in the year nineteen o two.

Speaker 12 (04:20):
My training as a medical man made me an early riser.
Sherlock Holmes wasn't on this morning. My friend was at
the breakfast table while I was intently examining a cane
that had been left behind by a visitor who had
missed us last night.

Speaker 11 (04:34):
Well, Watson, what do you make of it?

Speaker 14 (04:35):
You've been looking at the cane for some time since
we've been so unfortunate as to miss the owner and
have no notion of his errand this.

Speaker 13 (04:43):
Accidental souvenir carries some importance.

Speaker 14 (04:47):
Let me hear you construct the man by an examination
of it very well.

Speaker 5 (04:52):
Holmes.

Speaker 12 (04:53):
Really it's its child's play to read that the man's
name is James Mortimer, that he's a physician. But I
would go further and say he's an elderly country practitioner
who does a great deal of his visiting on foot.
Because the end of this stick is very heavily worn out,
Excellent Watson, the stick was given to him by the

(05:17):
friends of the c H for which I take to
be there's something hunt of our local group to whom
he's possibly given some assistance.

Speaker 14 (05:27):
Now has anything escaped me here? Let me have a
look at it, Watson. Well, I trust there's nothing of importance.

Speaker 11 (05:36):
I've overload.

Speaker 14 (05:36):
No, No, Watson, this man is certainly a country practitioner
who works a great deal.

Speaker 11 (05:41):
Then I was right to that extent.

Speaker 14 (05:43):
But since we know that the man is a doctor,
he's just likely that presentation to him would come from
a hospital rather than a hunt. And when we see
the initial CCH does not Charing Cross Hospital leaped at
the mind? Can we not also infer that such a
presentation would be made at the time he left, perhaps

(06:04):
to a practice in the country. And since the date
is on the stick and it's only five years ago,
it's highly unlikely that an elderly, well established physician would
go into country practice.

Speaker 5 (06:17):
So we now have a young fellow, amiable.

Speaker 14 (06:22):
Unambitious, and possessor of a favorite dog, which I should
say is much larger than a terrier and smaller than
a master.

Speaker 12 (06:31):
Come, homes, well, the dog is too much at all,
not at all.

Speaker 14 (06:34):
If you'll observe these tooth marks in the middle of
the stick where the dog has been accustomed to carry it.
The dog's jaw is too broad for a terrier, and
not quite broad enough for a mastiff. It may well
be it is a.

Speaker 11 (06:49):
Curly hat spaniel.

Speaker 12 (06:52):
My dear homes, How can you possibly be social?

Speaker 14 (06:55):
The very simple reason that I see the dog itself
on our doorstep, and there is the room of its owner,
and we shall soon discover why he has come to
see us.

Speaker 12 (07:07):
The appearance of our visitor was a surprise to me, because,
although Holmes had correctly deduced his age, his back was
already bowed, and he walked with a forward thrust.

Speaker 11 (07:16):
Of his head.

Speaker 14 (07:17):
As he entered, his eyes fell upon the stick in
Holmes's hand, and he ran to it with an exclamation
of joy.

Speaker 13 (07:23):
Ah, I'm so very glad I wouldn't want to lose.

Speaker 14 (07:26):
That stick for the world presentation. I see, yes, indeed
from charing Cross Hospital.

Speaker 13 (07:32):
From some friends. There only occasion of my marriage.

Speaker 11 (07:34):
Ah, dear, dear, that's bad.

Speaker 15 (07:37):
I beg your pardon.

Speaker 16 (07:38):
Why was that bad?

Speaker 14 (07:39):
Well, only that you've disarranged our little deductions. We had
surmised that you.

Speaker 13 (07:43):
Left the hospital, and so I did immediately upon my marriage. Ah,
it was necessary to make a home for my wife.

Speaker 14 (07:49):
Well, we weren't so far wrong after all. And not
doctor Mortimer, I think it wise if you will tell
me what the exact nature of the problem is in
which you asked my assistance.

Speaker 12 (08:01):
And then, to my astonishment, the physician took a worn
and ancient manuscript from his pocket and read to us
a most horrifying tale concerning the manor of Baskerville, located
in Devonshire, and the origin of a curse on the
Baskerville line. The manuscript told of the aduction of a
young girl on Michaelmas Eve and locking her up in

(08:23):
Baskerville Hall. The girl, being both courageous and ingenious, dared
to escape from an upper floor by clambering down the
ivy and then setting off across the moors towards her home.

Speaker 13 (08:35):
Upon discovering that the maiden had indeed escaped, Hugo Baskerville
became as one possessed, and he cried aloud before his
companions that that very night he would render his body
and soul to the powers of evil if he might
overtake the girl with the hounds he would set upon her.

Speaker 14 (08:53):
Excusing interruption, doctor, but you're certain of the authenticity of
this document.

Speaker 13 (08:58):
Absoluted, Miss Holmes. It's in the form of a letter
from the third Hugo Baskerville to his sons, explaining why
they should fear going out on the moors at night.

Speaker 14 (09:08):
I see, I presume that manuscript gives a reason, though
he most certainly does.

Speaker 13 (09:13):
The hound, the hound of the Baskervills, If you let
me continue, Hugo's companions, riding after him across the moors,
came upon a knight shepherd, a man so crazed with
fear that he could scarce speak. He told the writers

(09:34):
that he had not only seen the maid running for
her very life, but also Sir Hugo on his black
mare and running mute behind him.

Speaker 5 (09:44):
Such a hound of.

Speaker 13 (09:46):
Hall, as God forbid, should ever be at my heels,
will I come to the clothes, mister Holmesan it says
here but three writers came upon the body of the
maid did from teague and fear, and also the body
of Sir Hugo Baskerville with a great black beast larger

(10:08):
than any mortal howl ravening. It's a Hugo's throat with
its jaw dripping blood.

Speaker 15 (10:16):
Hell. Such is the tale, my.

Speaker 13 (10:19):
Sons, of the coming of the Hound, which is said
to have plagued the Baskerville family so sorely ever since. Well,
mister Holmes, would you find it interesting only to a
collector of fairy tales? Then how would you classify this
newspaper account in the Devon County Chronicle of three weeks ago?

Speaker 11 (10:41):
Hm, three weeks ago?

Speaker 14 (10:43):
Regrettable deaths and Charles Baskerville the body found it famed
you Alley of Baskerville Hall, pronounced dead by his friend
and physician James Mortiman. That's you, coroner's read a cardiac exhaustion.

Speaker 5 (10:57):
Hmm.

Speaker 14 (10:58):
Despite some strange aspects of the death. Well, now, doctor Mortimer,
everything seemed straightforward, But evidently you entertain some doubts in
the matter. Something you didn't stay to the press or
at the inquest.

Speaker 15 (11:11):
Yes, mister Holmes.

Speaker 13 (11:13):
When I first saw the body, Sir Child's lay upon
his face, his arms out, fingers dug deep into the ground,
and his features convulsed into such a grimace of terror
that I, his best friend and physician, hardly recognized him.

Speaker 11 (11:27):
Dear me, no physical injuries.

Speaker 5 (11:30):
N.

Speaker 13 (11:31):
But although Harrison, the caretaker who found the body, said
he saw no traces at all upon the ground, I did,
mister Holmes.

Speaker 11 (11:41):
SI did footprints. Footprints a man's or a woman's.

Speaker 13 (11:47):
Neither they were the tracts of a gigantic found.

Speaker 14 (11:51):
And your reason for withholding this information at the inquest.

Speaker 13 (11:56):
Because the people of the countryside do not share your
about the curse hanging.

Speaker 14 (12:01):
Over the Baskerville family.

Speaker 13 (12:03):
Sir Charles himself believed in it, and I certainly had
no wish to add fuel to the flames. Besides, yes, well,
there's a realm in which the most acute and most
experience of detectives is helpless.

Speaker 11 (12:18):
You mean the supernatural.

Speaker 14 (12:20):
Well, I can find my investigations to this world, and
I cannot understand.

Speaker 11 (12:24):
Why you are now consulting me.

Speaker 13 (12:27):
But I came to ask your advice about what I
should do with the air. The new Sir Henry Baskerville,
who arrives in Waterloo Station in the exactly one hour.

Speaker 14 (12:37):
Meet him, take him to a good hotel, and both
of you come back here tomorrow at noon.

Speaker 13 (12:48):
Mister Holmes, doctor Watson, this is Sir Henry Baskerville and
I I'm all at sea. I have been ever since
I got the news of my uncle's death in my inherit,
and I had no idea Uncle Charles was so well.

Speaker 14 (13:03):
Fixed, Doctor Mortimer, as the executive of the state, can
you tell us how there any other claimants a know her?
And then this morning I find this note at my
hotel and one of my brand new boots is missing.
The note, of course dime novel stuff. If you ask me,
as you value your life or reason, keep away from

(13:26):
the moor. Oly mister all agree, there's nothing supernatural about
this now. The missing boot a brand new pair.

Speaker 13 (13:33):
I bought them just yesterday, left them outside my hotel
door to be polished, and one of them's gone this morning.
I can only tell you that there is no devil
in hell and no man upon earth who can prevent
me from going to the home of my own people.

Speaker 12 (13:52):
And sued was arranged that on Saturday, I was to
accompany Sir Henry and take up residence with him at
Baskerville Hall, because Holmes was insistent that one be with
Sir Henry at all times. When Holmes and I called
to pick up Sir Henry at this hotel Saturday, we
found the young baronet in a rage.

Speaker 13 (14:08):
I won't be played for a sucker in this hotel.
You still haven't located your boot, Sir Henry, but this
is a different one. But I got the other one back,
and now I'm missing an old black one. I'm beginning
to think this hotel is nothing but a den of fee.

Speaker 14 (14:21):
I think it's very odd and damnably dangerous.

Speaker 13 (14:26):
Mister holmesy, if you know something.

Speaker 14 (14:28):
You should inform us so that we may doctor Mortimer.
I know only that you were concerned about the safety
of Sir Henry, and quite rightly so. I also know
that someone knew that you were in this hotel and
saw fit to warn you to keep away from Baskerville
Hall and the Moor. And we all know that there
were extremely suspicious circumstances surrounding the death of Sir Charles Baskerville.

(14:52):
I therefore suggest that anything out of the ordinary, such
as the curious incidents with the boots, must be taken
very seriously.

Speaker 12 (15:01):
Surely you must be joking about the boots homes.

Speaker 14 (15:03):
I feel to my dear Watson. Did you bring your
revolver as I asked? But course good carry it at
all times.

Speaker 13 (15:12):
I confess I your instructions are making me nervous.

Speaker 14 (15:16):
They should have precisely the opposite effect. Now, doctor Mortimer
as executor, Sir Charles, will you know the exact amount
of the estate? Is it considerable?

Speaker 5 (15:27):
Well?

Speaker 15 (15:27):
I should say.

Speaker 13 (15:28):
That a sum in excess of seven hundred and forty
thousand baths is indeed considerable to me.

Speaker 14 (15:34):
To me, that is a stake for which a man
might well play a desperate game in event something happens
to Sir Henry, who stands to inherit a.

Speaker 13 (15:45):
Distant cousin named James Desmond when if you have any
suspicions in that direction, let me inform you he's a
clergyman in his seventies.

Speaker 14 (15:54):
Thank you now, Watson, I want complete and daily reports
from you. When the crisis arises, as it surely will,
I will direct you how to act. Now, gentlemen, goodbye,
and God's feed.

Speaker 8 (16:14):
Ever since I was old enough to read, I have
delighted in the adventures of Sherlock Holmes and his bumbling
but lovable colleague, Dr Watson. The game is afoot, and
we'll be back shortly with act too.

Speaker 15 (16:30):
On you.

Speaker 8 (16:37):
One of our most successful writers of modern detective stories
once made a terrible pun but a perceptive comment on
Sir Arthur Conan Doyle's stories about Sherlock Holmes. It went
this way, be they ever so humble? There's no police
like Holmes. I agree wholeheartedly, And now we have the

(16:59):
pleasure of rejoining doctor Watson, Sir Henry Baskerville and Doctor
James Mortimer in the wagonette carrying them and their luggage
across the moors on the way to Baskerville Hall.

Speaker 13 (17:13):
Hello, look at thatcher, Henry Watson. I believe it's a
mounted soldier for the rifle at the pull up, driver, pull.

Speaker 17 (17:20):
Up, not the world, Sir. He's on the watch for
a convict escape from Princeton. The farmer's here.

Speaker 3 (17:27):
Don't like it.

Speaker 17 (17:28):
He's a man who was stop by laughing. It's Selden,
a nothing, he'll murderer.

Speaker 12 (17:36):
I gave an involuntary shudder. It was a case Holmes
had taken an interest in because of the ferocity of
the man Selden, who escaped the death penalty only because
his atrocious conduct had led to doubts about his sanity.
As I shivered, the wagons swept onto a long driveway
where stood a huge building with muggioned windows. Standing in

(17:57):
front of the large, heavy door was an angular woman
with deep set eyes which blazed with fanatic fire.

Speaker 18 (18:05):
Welcome to Baskerville, all, sir Henry. I'm missus Arrison, the
caretaker's wife. My husband will be here shortly. He joins
with me in wishing you a long, happy life, and
in begging you to avoid the moor, particularly and those
hours of darkness when the powers of evil are exhorted.

Speaker 14 (18:30):
The very next morning, I set out to explore the
more by daylight.

Speaker 11 (18:34):
As I walked.

Speaker 12 (18:35):
Along a gray and lonely road, wishing that homes were
here to help me, my thoughts were interrupted by a
man calling my name.

Speaker 13 (18:42):
Do go Orson, do co Orson? Yes, sir, I'm Stapleton.
I just lived down the moor at Merripit House. Most
of the folks around here call me an eccentric because
of my Abby.

Speaker 15 (18:56):
I'm a naturalist.

Speaker 12 (18:57):
I can see that from your net in the box.
But how do you know me? No mystery about that.
You passed doctor Martimer's house a short way back. He
pointed you out to me as your past as are
rudely the same way I thought it overtake you and
introduced myself.

Speaker 13 (19:14):
How is Sir Henry now the words for his journey?
I trust well he's very well, thank you, not afraid
of ribbing down here after the sad death of Sir Charles.

Speaker 12 (19:25):
That is of some concern to you, sir, who means.

Speaker 13 (19:28):
A great deal to the countryside. I have a wealthy
man such as Sir Henry with us. I'm glad to
hear he has no superstitious fears of the fiend dog
which is supposed to haunt the family.

Speaker 12 (19:41):
I don't believe he has. How do you stand on
the matter.

Speaker 13 (19:45):
I'm a scientist, but is extraordinary how credulous the farmers are,
any number of them are rididous. Ware they've seen such
a creature on the more and you have, as of
course not, although I I have no doubt the story
led to Sir Charles's tragedy. Again, indeed, why do you
think that mister Charles had of vivid imagination under diseased heart.

(20:12):
His nerves were sore on edge that the appearance of
any dog at all at night near the u Alley
might well have truggered a fatal heart attack.

Speaker 12 (20:20):
You agree, Well, I've come to no conclusions, sir guy.

Speaker 13 (20:23):
Sir, Well, if you cared to come along with me
to Merry Pitt House and I'll introduce you.

Speaker 15 (20:28):
To my sister.

Speaker 12 (20:29):
That's very kind of you.

Speaker 15 (20:31):
Tell me what you think of the moor.

Speaker 12 (20:34):
Well, this morning's my first tenture on it. But that
large plain to the north looks like a fine place
for a gallop on a horse.

Speaker 13 (20:41):
Muh, that thought has already cost several lives.

Speaker 11 (20:45):
Doctor Watson, What that seems hard to believe?

Speaker 13 (20:49):
You'll see those bright green spots scattered thickly over it.

Speaker 12 (20:54):
Yes, yes, they seem more fertile than the rest.

Speaker 13 (20:58):
You might say that, but in reality that's the great
grimp and mire one full step for man or beast,
and you die slowly and agonizingly in the quicksand an
awful place, doctor, And yet I find my way to
the very heart of it safely.

Speaker 11 (21:18):
Why would you want to go to such a place.

Speaker 13 (21:20):
That's where the rarest plants and butterflies are, and I
have the wit to reach you.

Speaker 9 (21:28):
Good lord?

Speaker 11 (21:29):
What was that?

Speaker 13 (21:30):
A nati who says the Hound of the Baskervilles calling
for its play.

Speaker 11 (21:35):
You don't believe that, do you?

Speaker 13 (21:38):
Perhaps it's the mud settling in the bog. Excuse me,
but unless I'm mistaken, there's a purple hairstreak, ah, very rare.

Speaker 11 (21:50):
I'll join you at merefit house.

Speaker 15 (21:53):
You can't miss it.

Speaker 12 (21:56):
Stapleton was off with amazing speed and agility. Dismay, the
creature fluttered straight for the great mire, but Stapleton never
paused for a moment. I stood watching him, and then
turned to find a woman near me upon the path, slim,
elegant with a sensitive mouth and dark, eager eyes.

Speaker 18 (22:14):
Go back, Go straight back to London instantly, instantly?

Speaker 11 (22:19):
Why I mean, why should I go back?

Speaker 19 (22:22):
I cannot explain.

Speaker 18 (22:23):
But do what I ask, Go back and never set
foot on this more again.

Speaker 11 (22:28):
I have just only come.

Speaker 18 (22:30):
Can't you tell when a warning is for your own good?
Get away from.

Speaker 19 (22:34):
This place immediately, Matam, my brother's coming back. Don't say
a wortch.

Speaker 18 (22:41):
Hello, Belle, well Jack, you're very warm and out of room.

Speaker 19 (22:45):
I see it this time, purple.

Speaker 13 (22:49):
Hair streak seldom found in the late autumn.

Speaker 5 (22:53):
Pretty I missed him.

Speaker 15 (22:56):
You've introduced yourselves, I say yes.

Speaker 18 (22:59):
I was telling Sir Henry that it was rather late
for him to see the true beauties of the moor.

Speaker 13 (23:05):
You think he's Sir Henry Baskerville, of course.

Speaker 14 (23:08):
Oh no, ma'am. I'm only a humble commoner. My name
is doctor Watson.

Speaker 18 (23:13):
We've been talking at cross purposes.

Speaker 15 (23:16):
Well, you have not had very much time to talk.

Speaker 18 (23:18):
Well, I merely mean that I talked as if Dr
Watson were a resident instead of a visitor.

Speaker 13 (23:29):
I choose us out of the waste water to center
around in doctor because it offers an unlimited field of
work in the areas of Mootnyan's ology. Doctor Mortimer's a
learned man, and Sir Charles was also an admirable companion.
We knew him well, missed him. Of course we miss
our boys too, don't we, Barrel, most certainly your boys.

Speaker 15 (23:52):
Yes, I had a school in the North Country.

Speaker 13 (23:55):
However, serious epidemic broke out from three of the boys.

Speaker 15 (24:01):
School never recovered from the.

Speaker 14 (24:02):
Brough Well, I feel I should be getting back to
the hall where's who wish?

Speaker 13 (24:08):
Do you think we'd be in fruiting if Veel and
I were to call this afternoon and to make the
acquaintance to say Henry.

Speaker 12 (24:14):
I'm sure Sir Henry would be delighted. I set off
rapidly upon the same path by which we'd come, but
there must have been some shortcut, because before I'd reached
the road, I was astounded to see Miss Stapleton sitting
upon a rock by the side of the track.

Speaker 18 (24:33):
I've run all the way in order to cut you off,
doctor Watson, and to tell you to forget what I said.

Speaker 19 (24:39):
I must not stop or my brother will miss.

Speaker 12 (24:41):
Me now on our whole honor moments. Sir Henry's welfare
is a close concern of mine. Why were you so
eager he should leave here?

Speaker 18 (24:48):
Well, my brother and I were very much shocked by
the death of Sir Charles. We all know the story
of the hand, and I felt he should be warned.

Speaker 12 (24:57):
But the harm story is nonsense.

Speaker 18 (25:00):
Happened to believe it?

Speaker 19 (25:01):
Now I must go back there.

Speaker 12 (25:02):
Now, Just one more question, Why did you not wish
your brother to know about the warning?

Speaker 18 (25:08):
My brother's most anxious to have the hall inhabit it.
He thinks it is for the good of the people here.
He'd have been angry if he knew I had ard
to Henry to leave.

Speaker 12 (25:20):
My dear Holmes, I am writing to report that I
have sold one riddle, only unfortunately to come up with another.
You may recall my mentioning to you that I believed
I heard a woman sobbing during the first night I
spent at Baskerville Hall. I mention this to Sir Henry,
and we agreed that if I heard anything this night,

(25:40):
I should wake him and we would investigate together along.
About two o'clock in the morning, I heard stealthy footsteps
going past my door. I was out of bed in
a flash and waited until they had passed. I went
to Sir Henry's room and tapped softly, our prearranged signal, Yes.

Speaker 3 (26:06):
You heard something watching footsteps?

Speaker 9 (26:09):
No sobby No.

Speaker 14 (26:11):
The footsteps past my door and went down the corridor.
I see that it turns left. Where does it end.

Speaker 20 (26:17):
At a window overlooking the moors?

Speaker 11 (26:20):
And the steps went in that direction. I'm sorry, now,
whit's missus Harrison.

Speaker 15 (26:28):
What in the world is she doing?

Speaker 12 (26:29):
She's holding a candle against the window and peering out.
Her face is pressed almost.

Speaker 17 (26:35):
Against glass and crying bitterly.

Speaker 12 (26:39):
Come on, Watson, we'll get to the bottom of this,
all right.

Speaker 15 (26:44):
This is Harrison.

Speaker 13 (26:46):
Tell us what you're doing up here?

Speaker 18 (26:48):
Oh, sir Henry, I was just going round to see
that the windows were fastened on the second floor.

Speaker 19 (26:56):
Oh yes, sir, yes, sir, I check all the windows
at night.

Speaker 11 (27:00):
And that makes you cry.

Speaker 19 (27:02):
I was doing no armswer, I was just throwing a
candle to the window.

Speaker 12 (27:05):
She must have been signaling someone. No, no, sir, there
it is, sir Henry, an answering signal from the moor.

Speaker 19 (27:13):
No, sir, it's nothing. It's nothing to a.

Speaker 13 (27:16):
Move that candle across the window. Watching hatchet there, missus, Harrison,
you see the other light ruse Alter, Now speak up.

Speaker 15 (27:28):
What is the meaning of all this?

Speaker 19 (27:29):
Oh please believe me, sir Henry. It has nothing to
do with you. It's a personal matter.

Speaker 13 (27:35):
So you say. I know your family has been employed
by mine for more than fifty years. But I'm not
in Baskerville Hall a week before I find you deep
in some dark plot against me.

Speaker 18 (27:47):
Oh no, sir, no, sir, not against you, not you.
You see, it's my unhappy brother is disturbing on the moor.
I cannot let him perish on my very doorstep. This
night is a signal that food is ready for him,
and his light is to show me and my husband
the spot to which to bring it for Lord. Then

(28:09):
your brother is yes, the escape convict, seldom the evil, nothing,
ill murderer.

Speaker 19 (28:18):
He isn't my brother.

Speaker 12 (28:23):
We took the weeping, unfortunate woman to her husband and
left her. Sir Henry insisted on accompanying me on the
moor to assist me in capturing this dangerous criminal. I
had my revolver and Sir Henry a hunting crop. The
more we're just pitch black, but we easily picked out
the pinpoint of light where the fellow was waiting, mind

(28:45):
affoording Sir Henry a pity we can't show a light.
I think we should bear more to the right.

Speaker 13 (28:52):
There's his light.

Speaker 5 (28:55):
Wats what's that?

Speaker 21 (28:57):
I don't know?

Speaker 14 (28:58):
For a sound they have on the moor, I heard
it once before. Don't cuddle me, Watson. That was the
cry of a hound. They say it's the cry of
the hound of the Baskervilles.

Speaker 3 (29:08):
Do you believe that?

Speaker 5 (29:09):
What's nobe?

Speaker 12 (29:11):
But I think that we should forget our expedition.

Speaker 13 (29:13):
No, by thund out. Whatever that cry was, it came
from far away, near the mire. We must continue and
get that convict.

Speaker 12 (29:21):
I don't think that's wise. I urge you to return
to the hall.

Speaker 13 (29:25):
You don't believe in this hell hound, and neither do lie.
Come on, man, well, I'm charged with your safety. Holmes
would never forgive me if something happened to you while
you will marry man here joying, our man will get away.

Speaker 11 (29:37):
Now come on, no, I cannot allow it.

Speaker 13 (29:40):
You can't prevent it.

Speaker 11 (29:41):
I'll either you come back to the Hall with.

Speaker 12 (29:42):
Me now willingly, or I shall be forced to knock
you down and carry you back.

Speaker 11 (29:47):
No, which shall it be.

Speaker 8 (29:53):
Each of us carries within us the seeds of our
own destruction. It would appear that Sir Henry Batt Cavil
was no different. His pride was driving him to disregard
the advice of those who were there to protect him.
We'll be back with Act three and his decision in
just a little while. People have varying thresholds fear. For example,

(30:27):
I have no particular fear of heights, but a friend
of mine hugs the wall if he finds himself on
a terrace more than three floors up.

Speaker 15 (30:35):
As for me, I shudder at the thought.

Speaker 8 (30:38):
Of being hunted down by a pack of dogs, whereas
an experienced woodsman might not find that so terrifying. However,
I think even an experienced hunter might well find the
baying of a fiend dog, a hound from Hell, a
soul shattering experience.

Speaker 12 (30:57):
Again, Sir Henry, I don't know what it is, but
you're walking back to the safety of the hall with me,
or I shall knock you down and carry you and.

Speaker 13 (31:07):
Allow this murderous convict to escape.

Speaker 12 (31:13):
And that, my dear Holmes, you must acknowledge, solves one mystery.
The other I frankly don't understand. It seems Sir Henry
is much taken with Beryl Stapleton, who is indeed handsome.
She talks of nothing but his leaving Baskerville Hall, and
he suspects her brother Stapleton, of being subject to fits
of insanity. I repeat to you what he told me

(31:36):
of yesterday's conversation.

Speaker 18 (31:37):
Please, Sir Henry, why won't you listen to to one
who means you well and leave this place?

Speaker 10 (31:44):
I will if you come with me.

Speaker 13 (31:47):
We can be married anyway.

Speaker 5 (31:49):
You say, and.

Speaker 18 (31:50):
Everything save us both. I have no defense against your stupidity.

Speaker 11 (31:54):
This kind of behavior must come to your stop.

Speaker 15 (31:57):
Sir.

Speaker 13 (31:58):
How dare you offer attention lady which are obviously distasteful
to her? Now hold on a second, Stapleton, I'm not
ashamed of how I feel about your sister. I was
hoping she might honor me by becoming my wife. And
if you can find anything dishonorable in that, you can go.

Speaker 22 (32:17):
To the devil.

Speaker 13 (32:18):
All my sentiments exactly, sir, come berrel, We're going home.

Speaker 12 (32:26):
You can imagine that Stapleton's conduct left both Sir Henry
and I completely bewildered. And another thing, I'm sure there
is another man on the moor. I swear I caught
a glimpse of him when Sir Henry and I were
out there searching for Selden the convict.

Speaker 18 (32:40):
I ask you, Sir Henry, not to report what I
told you to the police.

Speaker 13 (32:44):
The mayor is a public danger.

Speaker 18 (32:46):
My husband and I have made arrangements frohim to go
to South America.

Speaker 19 (32:50):
If you don't.

Speaker 18 (32:51):
Inform the police, he can lie safely on.

Speaker 19 (32:53):
The moor until the ship sails.

Speaker 18 (32:55):
That is, if he can stay out of the way
of the other man who hides on the moor.

Speaker 15 (33:00):
What other man?

Speaker 11 (33:00):
Whom are you talking about?

Speaker 15 (33:02):
Gently, Watson, I.

Speaker 18 (33:03):
Only know what my brother told me. There's another man
in hiding out there. My brother says he seems to
be playing some game.

Speaker 22 (33:11):
Of his own.

Speaker 12 (33:12):
Did he see where he saw this man?

Speaker 18 (33:14):
Around the old stone huts where the old folk used
to live? About my brother, Sir Henry, are you going
to inform the police?

Speaker 16 (33:23):
What do you say, Watson?

Speaker 12 (33:24):
Well, if he were safely out of the country, it
would relieve the taxpayers of a burden.

Speaker 19 (33:31):
Oh Lord, bless you, sir, Oh, thank you, sir. I
swear he'll go and you will never hear from him again.

Speaker 12 (33:41):
And Holmes, no sooner had we gotten done with missus Harrison,
than Stapleton was upon us with an explanation of his strange.

Speaker 15 (33:48):
Behavior of the other day.

Speaker 13 (33:49):
I would ask you to read bygones, big bygones, and understand,
my sister is everything.

Speaker 5 (33:54):
In my life.

Speaker 15 (33:56):
We've always been together.

Speaker 13 (33:57):
Yes, surely you must have thought that some beautiful woman
like daryld naturally Ry leave me alone. Of course, but
when I was faced with a reality, it became in
such a shock that I really wasn't responsible for what
I said or did, and I understand completely. It relieves

(34:18):
me greatly because in that case, I'm going to.

Speaker 15 (34:21):
Ask a favor of you.

Speaker 13 (34:23):
Yeah, give me some time to become accustomed to the situation. Well,
how do you mean I will withdraw or opposition if
you give me three months before claiming her love. After
that time, I should have prepared myself for losing her.
And if she's willing, she can become your wife.

Speaker 12 (34:48):
I myself was determined to discover the identity of the
other man hiding on the moor, and early that evening
I went to examine the abandoned stone huts where Missus
Hallison said her brother believed the man be lurking. I
approached one of the hats, closed my hand over the
bottom of my revolver, and entered quickly. The place was empty,

(35:10):
but there were distinct evidences that it was being used.
As I look around the remains of a meal, I
heard a stone click, then a figure loomed in the doorway.

Speaker 14 (35:20):
It's a lovely evening, my dear Watson. I really think
you'd be more comfortable outside than in Holmes. I was
never happy to see anyone in my life or more astonished. Eh,
please be careful with that revolval. I thought you were
busy working in London. That was what I wished you
to think. By keeping you in the dark, I've been
able to presume my inquiries freely, and I've uncovered some

(35:42):
information which will lead us to the villain. And all
my reports have been wasted, not at all at all.
I have them with me and they helped me immeasurably.
For instance, they've led me to the vital bit of information.
The vital bit of information. My friend, the late passing
as Jack Stapleton's sister.

Speaker 9 (36:02):
Is really his wife.

Speaker 11 (36:04):
Good heavens, Holmes, are you sure? Thanks to you Watson?

Speaker 14 (36:08):
In all a pack of lies that Stapleton told you,
he dropped one grain of truth. He was once a
schoolmaster in the north of England. A check of scholastic
agency's turned up the evidence I just.

Speaker 11 (36:19):
Passed on to you. But why why this deception?

Speaker 14 (36:23):
Because he foresaw that she would be much more useful
to him.

Speaker 11 (36:26):
In her character as a free woman.

Speaker 14 (36:29):
But what does it all mean, Holmes? What is Stapleton
after It's murder? Watson refined, cold blooded, deliberate murder. But
my nets are closing in on him, even as his
are closing on Sir Henry.

Speaker 11 (36:45):
Another day or two at the josh and we'll have him.

Speaker 3 (36:49):
Good Lord Holmes, here home.

Speaker 11 (36:51):
Which way did it come from?

Speaker 3 (36:53):
There? Near the black tool?

Speaker 13 (36:57):
You must not be too late, not now, No faster, Watson, faster.

Speaker 14 (37:11):
No, he's beating us, Watson, we're too late. Fool that
I wanted to hold my hand. And you watch and
see what comes of abandoning your charge.

Speaker 11 (37:23):
Come on.

Speaker 14 (37:25):
Up there, up there against the slope.

Speaker 11 (37:28):
Come on, wait, it is Sir Henry. I recognize the
tweet jacket.

Speaker 14 (37:34):
No, no, Watson, No, oh, the man has a beard.
It's not Sir Henry. It's Seldon. It's Sheldon, the convict
wearing Sir Henry's clothes, no doubt, furnished him by his sister.

Speaker 13 (37:48):
Doctor Watson, if you're a last man, I should have
expected to see her the more at this tabord? What's this?
Somebody hurt? Don't tell me it's Sir Henry.

Speaker 14 (37:59):
It's Selton, the escaped convict who appears to have fallen
and broken his neck.

Speaker 11 (38:04):
What brings you on to the moor at this horser?

Speaker 13 (38:07):
I heard a cry? You heard it too expect. Yes,
you hear anything else beside a cry? No. Well that's
very comforting coming from mister Sherlock Holmes.

Speaker 14 (38:21):
Well you seem to be very quick at identification, mister Stapleton.

Speaker 13 (38:25):
You areso, mister Holmes, now that you're on the scene,
perhaps you've made some discoveries.

Speaker 14 (38:32):
M only that this tragedy will make an unpleasant memory
for me to take back to London tomorrow night.

Speaker 15 (38:38):
You will return tomorrow.

Speaker 11 (38:39):
That's my intention.

Speaker 13 (38:41):
Does that mean you already have a solution to the
strange events which have been troubling all of us here
on the moor?

Speaker 14 (38:49):
No, no, no, no, Any investigator needs facts, not legends
or rumors.

Speaker 23 (38:54):
No.

Speaker 14 (38:54):
On the whole this has not been a satisfactory case.

Speaker 12 (39:05):
I couldn't believe that Holmes meant to leave the scene,
and when I questioned him, he quickly set my mind
at rest. He was laying a trap for the cunning Stapleton,
and he needed also to have Sir Henry believe he
wouldn't be on the scene the following morning at breakfast.

Speaker 13 (39:20):
Ah, good morning, gentlemen, I see you've already helped yourselves
from the cyble. I'm said, I've made some rather heavy
in rows on the bacon hits exactly the way I
like it. Tell me Tonight you dine with our friends,
the Stapletons. Yet I hope you and Watson will join me.
I'm sure you will be welcome.

Speaker 14 (39:40):
I'm sorry, I'm sorry, but Watson and I must go
to London.

Speaker 15 (39:44):
Love mm oh, I hoped you and Watson.

Speaker 5 (39:47):
Were going to see me through his business.

Speaker 14 (39:50):
My dear fellow, What I'm going to say next will
try your trust in me even more sorely.

Speaker 11 (39:55):
But I beg of you to do as I ask.

Speaker 14 (39:58):
What's that after you dine walk back to the hall
across the moor?

Speaker 13 (40:04):
What mm There's never anything you told me never to do.

Speaker 14 (40:09):
I'm asking you to believe me when I say you'll
be perfectly safe, but it's essential that.

Speaker 15 (40:14):
You do it.

Speaker 12 (40:18):
Of course, Holmes and I would be hiding along his
path to Basketball Hall, but we did not tell him that.

Speaker 14 (40:25):
A careful watching. Oh look over to Griffin Meyer. Isn't
that fog hanging over there? It is, indeed, Holmes, a
damn nation, and it's moving towards us our succession. Even
Sir Henry's life hang on his coming out before the
fog is over the path. Oh, thank Heaven, he's coming now,

(40:47):
pushing in the dark, and I can't say I blame him.

Speaker 24 (40:52):
Eh.

Speaker 14 (40:55):
Tefrey Watson, who get your revolver?

Speaker 15 (40:57):
Good blood?

Speaker 11 (40:57):
Holmes?

Speaker 5 (40:58):
What is it you're from? Mill Watson?

Speaker 15 (41:01):
Silk.

Speaker 12 (41:09):
The creature that lay lifeless on the path as Holmes
and I stood over it was part blood out, part
massive and large as a small lioness. Even in the
stillness of death. The huge jaws seemed to be dripping
with a bluish flame, and the eyes ringed with fire.
Our white face, Sir Henry staggered.

Speaker 11 (41:28):
Back to us, What Heaven's name is that creature? The
family ghost?

Speaker 14 (41:35):
And it's dead whatever it is, but the fire phosphorus.
Look now, my fingers seem on fire, Holmes.

Speaker 12 (41:45):
It's a cunning preparation because there has no odor, thus
it didn't interfere with the brute's power of scent.

Speaker 14 (41:51):
And now we must bring the man behind the brute
to book. He's undoubtedly been worn by the shots. That
the game is up, and he's headed back to my
house and his wife, wife, you mean his sister.

Speaker 15 (42:05):
Surely it isn't Stapleton.

Speaker 14 (42:07):
But Sir Henry, I meant what I said, Beryl Stapleton
is his wife, and his name isn't Stapleton since he's
your younger cousin. Mmm, the black sheep who didn't die
in Central America as we'd been told.

Speaker 10 (42:21):
What I I can't believe it.

Speaker 14 (42:25):
It can't be ha ah, the door is open. I'll
wait for the bird has thrown. But let's go in
and see.

Speaker 25 (42:32):
Ooh oh.

Speaker 13 (42:35):
Ah, they are homes. The villains tied and gagged her
one moment, Beryl, easy does it?

Speaker 19 (42:45):
Henry? Henry?

Speaker 4 (42:46):
I tried.

Speaker 19 (42:47):
I tried to warn you. You see what he did
to me.

Speaker 14 (42:50):
She'll be time for explanations later, madame.

Speaker 15 (42:52):
But where is he?

Speaker 19 (42:53):
Where is he burning in hell? I hope, dying slowly
in the quicksand of the mire.

Speaker 12 (42:59):
He knows the path you told me so, the path, Yes,
the path.

Speaker 18 (43:03):
Took his safe place in the center, where he kept
the great Hound. I helped place the guiding ones. But
yesterday I changed them. I changed them and into Knight's bog.
He'll not notice.

Speaker 12 (43:24):
Stapleton's body was never found. Some days later, when Holmes
and I were back in the Baker Street flat, I asked,
there's one thing that still puzzles me. That business about
the boots. What did Stapleton want with two different boots?

Speaker 14 (43:38):
Oh, the first booty store was brand new and therefore
useless to him because he needed a boot for Sir Henry's.

Speaker 11 (43:43):
Sent for the hound.

Speaker 12 (43:46):
Amazing homes helem Entry, My dear Watson.

Speaker 8 (43:56):
What is even more amazing is the fact that Sir
Arthur Conan Doyle, the man who created the greatest detective
of all time, a man whose cool, incisive reasoning served
as a model for hundreds of lesser detectives, was himself
a dupe of the spiritualists. He was constantly fooled and
defrauded by mediums, and was laughed at by the world

(44:20):
for relaying a message from Houdini's dead mother to Houdini.
Only the message was in English, a language Houdini's mother
never knew.

Speaker 15 (44:31):
I'll be back shortly.

Speaker 8 (44:43):
The record shows that Doyle tired of writing Sherlock Holmes
stories and attempted to kill off his popular detective by
having him thrown over the Reichenbach Falls. Popular demand, however,
forced a reluctant Doyle to bring Holmes back. The cast
included Kevin McCarthy, Lloyd Battista, Carol Titel, Robert Dryden, and

(45:04):
Court Benson. The entire production was under the direction of
Hymon Brown Radio. Mystery Theater was sponsored in part by
Contact the twelve hour Cold Capsule Missus E. G. Marshall
inviting you to return to our Mystery Theater for another
adventure in the macabre until next time, pleasant.

Speaker 26 (46:07):
Mystery is My hobby, Ladies and gentlemen, trotten to expecting
but the nights drama. I select a case history number
one hundred and fourteen from my book Mystery is My Hobby.

Speaker 5 (46:27):
I call it Bullets make holes.

Speaker 16 (46:33):
Telling you before this fellow Ronald the Razor, we called
him the razor because that's what he mostly used to
meats crime. Take a razor and slit your troop from
hairline to hairline, just as slick as a fellow skin
in the catfish.

Speaker 5 (46:46):
Don't say this.

Speaker 16 (46:47):
Fellow Ronald the Razor escaped from the pin last week,
and I got a hunch he's heading straight for this lodge.
Probably cost the Pierre Marquette on the bridge below Walhalla
didn't speak up Along the south Bank coating here, you know,
started flitting through, beginning with Kevin number one, and worked
his way up to number six doing a neat job,

(47:08):
and all of them never would it coating the number six.
Only these razors let go and he had to stop
and stop it. On the bedpost, Barton Drake snap shot
the box of fishing flyers that he'd been fondly examining
and preparing for the steelhead run that was to start

(47:30):
on the Pierre Marquette tomorrow. Slowly he rose from his
chair and walked over to the fireplace, for he stretched
his long bones in front of its cheerful warmth. But
there was still a trace of snow on the old
Pierre Marquette. Slyly he winked at inspecting Oah Danton's old
Charlie Ames, the lodge keeper concluded his gally tales when
he Inspector dropped his can of worms and.

Speaker 5 (47:58):
What was that?

Speaker 16 (47:59):
Shots, Inspector and crystal shops. Somebody shream pop peanuts them shots.
They come from cabin number six. And now back to
Glen Langan called the second act of.

Speaker 5 (48:21):
Mystery is my hobby. That's heavens just over there. No light, John, No,
they there they go there on now holly up.

Speaker 16 (48:35):
Inspector, Hi, he's as young as I used to be.

Speaker 5 (48:38):
Here. I can't tell you here we are. Let it
go down to a wall.

Speaker 15 (48:42):
Yeah, yeah, that.

Speaker 5 (48:50):
Lot horrible?

Speaker 16 (48:51):
What's going on in here?

Speaker 5 (48:53):
Who is this man? Telling?

Speaker 16 (48:54):
Jeve Morgan comes here every year to feed him and
his tel Max morning Holy buckets of buttermilk?

Speaker 24 (48:59):
There?

Speaker 5 (49:00):
Max there on the floor, if that going away from him,
inspecting you that? Hey you give me that?

Speaker 15 (49:04):
What?

Speaker 13 (49:04):
What?

Speaker 5 (49:05):
What did I get? Give it here?

Speaker 10 (49:08):
Yeah?

Speaker 5 (49:08):
Yes, take it? But horrible? Hey, it's fellow.

Speaker 27 (49:11):
Warner is a man.

Speaker 5 (49:12):
Ye, the shot went through his circular vein. How it
comes to so much blood? Forty five automatic party's and
forty five is always nicked the gold. That's not nice?
Could have been nice? What's the matter with him?

Speaker 15 (49:22):
But not?

Speaker 5 (49:23):
Hardly? Think to inspector more likely a state of shock?
Come on, fellow, stop out of it.

Speaker 9 (49:30):
To do this.

Speaker 28 (49:34):
To Oh my god, h what what happened?

Speaker 29 (49:41):
That's what we want you to tell us.

Speaker 9 (49:44):
I don't know.

Speaker 5 (49:45):
Did you shoot this this spend of yours? Max Warner shot?

Speaker 10 (49:49):
Yeah?

Speaker 5 (49:50):
I don't know.

Speaker 28 (49:51):
Oh, yes, I shot him. I must have shot him.

Speaker 5 (49:55):
That's what I can't sad like we just got together
and I'm sorry. It's been a awful shock.

Speaker 28 (49:59):
Yes, shot maxic.

Speaker 5 (50:01):
I didn't know it was him. Yeah, just who do
you think it was? I don't know. I stopped saying that.

Speaker 30 (50:07):
I went to bed early, wanted to get an early
start fishing in the morning. Something worked me up in noise.
I guess it's not like somebody raising a window. I
knew somebody was in a cabin. I laid it scared
to death thinking of that. That Ronald the Razor that
Charlie Ings has been talking about in the past two days.

Speaker 16 (50:24):
Ronald the Razor. But you didn't believe that yarn, did you.
That's just a tall tale I tell to keep you
guys interested. Holy barrels of bullfolk.

Speaker 28 (50:33):
Well this is a fine time to tell me. Well,
as I was lying there, I heard this fellow morning around.
I reached under my pillow where I always keep my gun,
and I saw him outlin in front of that window.

Speaker 5 (50:45):
Over there, this one, yeah, it's the big one, and
then his patocky. I guess I just pull a trigger. Yeah,
but we heard seven shots.

Speaker 28 (50:56):
I know I was excited. I guess I did play
some more, probably empty gone.

Speaker 5 (51:01):
Can't you do something with flights? Made me sick. I
saw a black at old Way he's telling.

Speaker 16 (51:05):
Yep, and I charged the launder build a Morgan here.

Speaker 5 (51:07):
Then you're shooting of Max's apparently an accident.

Speaker 29 (51:10):
They just see He's right, Bo, there's seven bullet holes
in the floor here.

Speaker 26 (51:14):
You claimed self defense. I suppose that you shot out
of Powler thinking with somebody else.

Speaker 28 (51:18):
Well, of course, mister Drake, My Max was my best
friend who's been friends for years. In fact, we've had
many business deals together.

Speaker 5 (51:24):
The stranger friends to sneak into your cabin, isn't it, mother, Yes,
you already believe it. I thought it was kiddy, kidding,
kidding about what.

Speaker 28 (51:33):
Well, you see, Max and I are both missmatists.

Speaker 5 (51:37):
No, mister have coin collective inspector.

Speaker 28 (51:41):
Oh, I had a coin that Max wanted and I
was showing you him early in the evening. Max tried
to get me to sell it home, but I refused,
and that made him angry. He just laughsed and I
got to watch out. Someday i'd find it missing.

Speaker 5 (51:52):
Then you think perhaps he came back here tonight and
tried to steal it.

Speaker 28 (51:55):
Huh, I must have. That's the only answer. I wish
i'd known he was that serious. I have gladly given
it to him.

Speaker 16 (52:02):
Holy cranberry cakes. I just thought of something. Just teller maxious.
Why somebody ought.

Speaker 5 (52:06):
To tell her? Yes, I think somebody should.

Speaker 16 (52:09):
It was living in cabin king Especia.

Speaker 5 (52:10):
Do you want the Samanda Inspector? Somebody's coming in.

Speaker 27 (52:14):
Natal home.

Speaker 5 (52:16):
Good evening, missus Wonner. What is all of the clan day?

Speaker 31 (52:21):
Yeah, there's something, but the matter is Brown Coppell.

Speaker 27 (52:24):
Go down.

Speaker 26 (52:24):
Your husband was shocked that s fax under that blanket you. Yeah,
I'm sorry to have to tell you this.

Speaker 27 (52:35):
You're sorry?

Speaker 5 (52:36):
What are you sorry for? I'm glad it's said the loss.
That's a beautiful morning, Inspector. It's a shame that last
night's events will have to interview with our fishing.

Speaker 29 (52:57):
Yeah, me was all a nice fan arms shoe. I
don't see why we don't forget the whole thing. I'll
let the sheriff handle It looks like an accident to
me the.

Speaker 5 (53:06):
Face of it. I have to admit it does I have,
But there are a couple of things that don't gide
and I want to be statistid until they do.

Speaker 29 (53:12):
Okay, sheer luck, what do you want.

Speaker 15 (53:14):
Me to do?

Speaker 5 (53:15):
I want you to take this station wagon and drive
into Lettington.

Speaker 26 (53:18):
That's about twenty five miles in the nears time where
you'll find a telegraph office.

Speaker 29 (53:20):
What if I just want to send a wire? Whytn't
you to fall it in?

Speaker 5 (53:22):
It might be too many people are listening. There's an
extension in every cabin, you know.

Speaker 26 (53:26):
Besides, this station wagon is the only means of transportation
here at the lodge. Was it's done and the'll keep
all the interested parties close to home.

Speaker 29 (53:34):
Okay, where do you want me to wire?

Speaker 5 (53:37):
Where a the stock Exchange in New York? I want
to know whether brown copper is up or down?

Speaker 26 (53:52):
Let's walk around here by Kevin six Charlie. Huh what
par Something Steve Muggan said last night bothered me. He
said to me, so he heard a window open?

Speaker 16 (54:01):
Yeah, that's what he said.

Speaker 26 (54:02):
Now this big window here, this is one Max said
he was standing in front of when he was shot.
Seems that he made a perfect target.

Speaker 5 (54:08):
What have I guess?

Speaker 16 (54:09):
Anyway, he's head and shoulders. He couldn't open that window though?

Speaker 5 (54:12):
Why not?

Speaker 16 (54:13):
You don't open nailed in there, solid as a tombstone.

Speaker 5 (54:19):
How about these? I want to hear the side they open.

Speaker 16 (54:22):
That's cat a shot prim I don't see them.

Speaker 5 (54:27):
The ground is soft too. If anyone have tried to
open these windows from the outside, they'll be petty of them.
Let's go an back.

Speaker 16 (54:36):
Ain't no windows there, nothing but the back doors around there.

Speaker 5 (54:39):
Anyway, you're not telling the funny thing. What is why
anyone would take the trouble to come in through the
window and the door was un lost all the time.
Of course, I remember last night when we heard the shots,
we ran over him and walked that in.

Speaker 16 (54:52):
Oh well, now he ain't that a pretty picture?

Speaker 5 (54:57):
It depends on what you call putt there?

Speaker 10 (55:00):
I was just sorry.

Speaker 5 (55:01):
Still he rather servently, don't you think? Well? Shot? Oh he?

Speaker 27 (55:06):
Why didn't kill him?

Speaker 32 (55:07):
The truth to find it out?

Speaker 27 (55:09):
Anyway, Steve and I are in love, mister Drake.

Speaker 1 (55:13):
There's nothing any of you can do about it.

Speaker 5 (55:15):
I wouldn't care to him. That's the whole accident. Last
night seemed to play things up tremendously.

Speaker 27 (55:21):
Didn't Yes, there's a lot of things.

Speaker 5 (55:24):
Tell me, missus, Roonner. Did your husband know that you
and Steve were carrying on a love pair? Of course
he didn't know.

Speaker 3 (55:28):
Steve and I were too clever for that.

Speaker 5 (55:30):
And you can into wonder if you were quite clever enough.
What do you mean by that?

Speaker 28 (55:34):
I'm not sure that I know you don't get any
funny idea that the shooting wasn't an accident. Sure gave
me a clean but the goods last night when he
came to get the body.

Speaker 5 (55:41):
Not just shooting the accident theory yet, Just stop saying that.

Speaker 33 (55:45):
Yes, so I didn't get you just shooting in the dark.

Speaker 5 (55:48):
Yeah, something like you did last night.

Speaker 34 (55:50):
What you don't seem sorry, Jill, but this guy gets
my go lose your head.

Speaker 33 (55:54):
That's just what he's trying to do.

Speaker 35 (55:56):
Now, mister Drake, the wohen is that policeman for int
of yours?

Speaker 36 (55:59):
Coming down?

Speaker 5 (56:00):
Oh?

Speaker 10 (56:00):
Steve?

Speaker 5 (56:01):
And I want to use the station right new do
hear almost any moment? I suppose? What do you want
to use it for?

Speaker 27 (56:06):
You want to go into Luddington and get married?

Speaker 16 (56:09):
Holy bales are bananas and your husband's body ain't even
cold yet.

Speaker 5 (56:13):
What's the difference. There's no reason to kill anybody trying
to believe you're right. You're better get married right away,
that is, if you ever expect to get married at all.

Speaker 16 (56:31):
And now back to ben Langon for the third act of.

Speaker 5 (56:36):
Mystery. Is my hobby. Well, Inspector, am I glad to
see you?

Speaker 15 (56:50):
Then?

Speaker 5 (56:50):
I have had it?

Speaker 29 (56:51):
Wait a while at the telegraph officer anser, what.

Speaker 5 (56:53):
Did you find out?

Speaker 15 (56:54):
Round?

Speaker 29 (56:54):
Copper is down? Brother, and I mean.

Speaker 5 (56:57):
Down down about him? Well, come on, inspector, tell me.
I know you well enough to know that you'd find
out why it was done well burned. It's his way.

Speaker 29 (57:06):
If this bullet that was killed last night, this Max
Warner and he fell. Steve Morgan had a corner on
that stock. I see yesterday that Steve Morgan where he's
broken to unload his entirely he did, sold it the
big propet and broke the market.

Speaker 5 (57:19):
But Max didn't unload his stock. Now Steve left.

Speaker 29 (57:22):
Him holding the bag, wants to wipe the guy out.

Speaker 5 (57:26):
This is beginning to stack up, isn't it.

Speaker 15 (57:28):
Well?

Speaker 29 (57:28):
I don't see how if Steve pulled a dirty trick
like that on Max, and Max would have been the
one who would have been gunning for Steve, not the
other way around the way it happened.

Speaker 15 (57:36):
That I get it.

Speaker 29 (57:40):
Max finds out that he's pals, throwed him out and
sneaks over to siece Kevin to get even Steve he's
been prowling around in the dark. He's he's a thief
and shoots today. Well, anyway you figure it, it still
comes out the same. You can't spend a murder wrap
on stee.

Speaker 37 (57:54):
It seemed to be Inspector. If Max had received any
word of what Steve has done. I wonder, Oh, Charlie,
Charlie Eames, Yeah, you come up on that place. What
do you want, y, Charlie? Max one was here at
the lodge all day yesterday, wasn't Yes, you are you'd
know if he made any long distance calls.

Speaker 16 (58:13):
Wouldn't you, Charling, Yes, a long distance call has to
be okay by me.

Speaker 5 (58:17):
Personal, I thought, did Max make any or receive any yesterday?

Speaker 11 (58:20):
Nope?

Speaker 16 (58:21):
Holy piles of pancakes. What do you get next?

Speaker 5 (58:23):
Did he receive any wires?

Speaker 11 (58:25):
Nope?

Speaker 16 (58:25):
There you want?

Speaker 26 (58:27):
Well, what do you think of your very nal, Inspector?
And apparently poor Max never learned that he'd been up across,
which put.

Speaker 29 (58:32):
Us right back where we started from.

Speaker 5 (58:35):
Well, at least the poor.

Speaker 29 (58:36):
Guy died happy.

Speaker 5 (58:37):
M Oh, you better go and get your lunch, Inspector.
We all had hours an hour ago. Yes, what are
you going to do?

Speaker 26 (58:43):
And going over and have another chat with the occupant
of cabin number six.

Speaker 5 (58:51):
I w h hello, there anybody home? Cos you, missus Warner.

(59:12):
I rather expected to find Steve.

Speaker 35 (59:14):
Steve's not getting the stasion waiting. They're going into town
to get married.

Speaker 26 (59:18):
Remember now, I hate to be a party to the
contailment of such sweet happening. But I'm afraid, my dear
missus Warner, You're not going any place.

Speaker 5 (59:26):
He's going to stop me? I am you? And who else?
How reallyness is Wonner? You can do better than that,
such a trite little place.

Speaker 27 (59:33):
What's the matter with you?

Speaker 31 (59:34):
What have you got against Stephen not getting married?

Speaker 26 (59:36):
Nothing at all? I think I'm not sure that Steve
knows what he's getting into. Yes, I know, and I
also know a mesty one, a little thing called murderer.

Speaker 29 (59:48):
Don'fect me laugh. You couldn't prove my husband's death.

Speaker 16 (59:51):
Wasn't the result of an accident.

Speaker 5 (59:52):
I can normally prove it was murdered now, but I
knew it was murdered from the very first. You tell me, well,
because it was.

Speaker 16 (01:00:01):
M I mean, I mean, even if it was, that
has nothing to do with me.

Speaker 35 (01:00:05):
I didn't shook match.

Speaker 5 (01:00:06):
You see, he's that you repressing young lady, Missus Warner,
starting to turn on your lover already.

Speaker 16 (01:00:12):
I'm not going to a chair for something you did.

Speaker 5 (01:00:14):
I'm afraid you are, My dear girls, such a thing
as an accomplic that also can carry the death penalty.
You know now when you come along caseable or while
we go to meet you at parlor World, or do
I have to use for it?

Speaker 16 (01:00:27):
I'm not going anywhere I think you are.

Speaker 27 (01:00:30):
Does this look like it?

Speaker 5 (01:00:32):
Yes? Another automatic? You and Steve must have bought out
of Arsenal, and.

Speaker 38 (01:00:36):
I'm a better shot at Steve, mister Drake.

Speaker 39 (01:00:38):
I wouldn't advise you to make any false moves.

Speaker 5 (01:00:41):
I see, Well, certainly you don't expect me to just
keep on standingwhere.

Speaker 40 (01:00:47):
No, you're going to get in that closet and you're
going to stay there, or Steve and I can make
our escape.

Speaker 5 (01:00:53):
Really, I don't believe I care to imagine that closet's
rather stuffy in.

Speaker 29 (01:00:57):
There, mister Drake, or I'll shoot.

Speaker 5 (01:00:59):
I don't believe you would, Missus Wanner, try me and
see I'm coming after that gun. Yes, I believe you would.

Speaker 40 (01:01:14):
Not getting a quatic qua all right, all right, and
don't try to break out, at least not glad that
we're gone.

Speaker 16 (01:01:28):
If you do, next time off to kill.

Speaker 5 (01:01:34):
Well, good old Charlie m'swould saying, holy miles of musket.
There they go, happy driving groom. I hope you could
infect I heard that shot. There's nothing like a shop
to make him come a running. I guess I could
bust out of heard that the place is too small.

(01:01:56):
I can't get run for it. Charlie has got staunch cabins,
good solid oak, and that lucks. No, he's in marquite.
But where are you.

Speaker 41 (01:02:13):
All in here?

Speaker 3 (01:02:14):
Inspector?

Speaker 5 (01:02:16):
Yes, unlocked the door? Will you then shoot out a lot? Hurry?

Speaker 29 (01:02:20):
Okay, keep your shirt on and stand out.

Speaker 5 (01:02:22):
Of the way.

Speaker 16 (01:02:22):
Go ahead, Holy Gallonsaula Jolie.

Speaker 5 (01:02:31):
Those positive yours weren't dope for comfort. I heard the shot.
Fallow was eating more pie.

Speaker 29 (01:02:35):
Charlie and I rest out just in time to see
our friend Steve drive up to the cabin in the
station wagon and his girl friend come running out. She
gets in and they drive.

Speaker 5 (01:02:41):
Away, like, man, what's up missus?

Speaker 26 (01:02:43):
Ron at a little dickon stuffed me in the clothes
poset like an old stuffed shirt. Why you let a dame, oh, inspector,
when you're looking into the open end of the forty five.

Speaker 16 (01:02:56):
I mean it was the girl that took a shot
at me.

Speaker 5 (01:02:58):
She parted something at me and that went bang. I
don't be a finger. Holy caches a candle and land that. Now,
which way did they go? Turned right up on the road,
probably crossing the west bridge. That'll take them right into
letting No, no, they won't go to Lettington. They'll realize
that all we'd have to do to catch them would
be the selloup on the sheriff.

Speaker 9 (01:03:13):
There.

Speaker 16 (01:03:13):
What other way could they go, Charlie, We don't know.
Let's see, as did they get across the bridge, and
it's about two miles down the road, they could double
back and go east. There ain't another town that way
for sixty miles. You mean they'd have to come back
this way, only on the other side of the river. Yes, yes,
it would, Mart. If we only had another car, weel
maybe catch him. That is, if we had a bridge
up here to get across the river.

Speaker 5 (01:03:33):
Yes.

Speaker 26 (01:03:33):
If we haven't got a car and there isn't a bridge,
you have to think of something better than meat, Inspector, Hey,
I got.

Speaker 16 (01:03:37):
An amphibious jeep. Brought it to the surplus sail. Use
it for fishing.

Speaker 5 (01:03:41):
Why didn't cross the river like a double? What are
we waiting for?

Speaker 21 (01:03:43):
Come on, this is all righty By, I don't have
to do you better hold on. We're going into the river.

Speaker 5 (01:04:03):
This is from me, mart I'm gonna find me one
of these things because taking us downstream.

Speaker 21 (01:04:08):
Charlie, all right, will you come out.

Speaker 22 (01:04:10):
I'm out here.

Speaker 9 (01:04:19):
Now.

Speaker 42 (01:04:19):
If we can just dissecuse these two.

Speaker 21 (01:04:21):
Whatever you used to get us oba to that road
in a hurry, Charlie, okay, yeah, there's a road.

Speaker 15 (01:04:29):
Good.

Speaker 21 (01:04:29):
I hope we're here in time.

Speaker 3 (01:04:30):
Drive the jeep right out onto the road.

Speaker 5 (01:04:32):
Charlie, make a roadblock, not me.

Speaker 29 (01:04:34):
That station making is my property.

Speaker 21 (01:04:35):
That them two idiots don't take it out to the top.

Speaker 3 (01:04:38):
I lose both the station making and Magee.

Speaker 21 (01:04:40):
I'm good to stuffer right here.

Speaker 27 (01:04:43):
I'll stopper.

Speaker 21 (01:04:44):
I've got ways.

Speaker 5 (01:04:45):
All we can do is cut it by George. We
made it for they come and look at him coming,
Holy cow, they.

Speaker 29 (01:04:50):
Must be going around eighty Wait here, I'm going to
try and wait from tick Mark come back here.

Speaker 43 (01:04:54):
Fuck fuck, I'll shoot out the tire, all right, a minute.
She smashed turned over five times.

Speaker 29 (01:05:12):
I kind of there, Well, there's something we can do
for them now a.

Speaker 5 (01:05:16):
Devil, even if they were give you murder. That's a
horrible way to Darry.

Speaker 16 (01:05:31):
And Oh back to the Langon for the conclusion of.

Speaker 5 (01:05:37):
Mystery?

Speaker 9 (01:05:38):
Is my hobby.

Speaker 15 (01:05:45):
Now?

Speaker 5 (01:05:45):
Brock, would you please.

Speaker 29 (01:05:47):
Tell us what this is all about? Before we all
went off on a moving picture, Chase, I thought that
you thought that Max Warner killing was an accident.

Speaker 5 (01:05:55):
I'm surprised that you inspected. You should have seen the
minute we walked in that cabin at.

Speaker 29 (01:05:58):
The stand today murder You mean you knew it all
the time?

Speaker 5 (01:06:02):
Certainly?

Speaker 26 (01:06:03):
How well the way I said Inspector Steve Morgan and
Joe On it came down here.

Speaker 5 (01:06:08):
With the express purpose of killing Jill's husband Max. You meditation?
When do you figure that out? Because of the fact
that Steve unloaded his brown copper before Max was murdered.
Say what would you suggest as the best fly this
time of dear Charlie?

Speaker 16 (01:06:23):
He best fly for the spring?

Speaker 9 (01:06:24):
Tell me more?

Speaker 5 (01:06:25):
Bard, oh more? Well, Inspector com a knight of the murder.
Stephen bought his Max over to his cabin to look
at a rare coin, and Max came still thinking that
good old Steve was his pale. When he got there,
Steve simply pulled out his automatic and shock Nex dead.
So you think of the getty is the.

Speaker 29 (01:06:43):
Flight he is, Charlie, ain't hey, Wait a minute, Wait
a minute. If what you say happened, how about the light?
Max wouldn't come into a dark cabin if he would
just gone a visit if the cabin wasn't darc inspector
not for maxill it was too We saw him turn
on the light when we were running over here.

Speaker 5 (01:06:57):
You know Steve could turn on the light. He had
also turned it off. Well, we forgot that we were
in the room here with Charlie.

Speaker 26 (01:07:04):
Ames when we heard the shots. It would have been
a very simple thing for Steve if to turn off
the light before we could run to the door. Charlie,
what weight leader would you suggest?

Speaker 16 (01:07:13):
All about ten towns?

Speaker 44 (01:07:16):
Use?

Speaker 29 (01:07:16):
I mean, that's all theory. You haven't any evidence it
would stand up in court. I could think up a
pretty story too.

Speaker 26 (01:07:22):
Not ten towns, you say, Charlie, bar how did you
know what was murdered?

Speaker 5 (01:07:27):
All right, inspector, all right? How many shots does a
forty five automatic hold seven?

Speaker 29 (01:07:34):
That is seven in the clip, could hold eight if
there was one in the chamber.

Speaker 5 (01:07:37):
And how many shots did we hear? Seven?

Speaker 26 (01:07:39):
Then I could safely say that there wasn't a nextra
shot in the chamber, couldn't I?

Speaker 5 (01:07:42):
Inspector? Inasmuch as the gun was completely emptied when you
took it away from see, Yeah, you could safely say that,
And so then I thank you? And how many holes
were in the floor of Stee's cabin, inspector seven? And
how many nexes? Next one? And where did that one
come from?

Speaker 15 (01:07:58):
Why?

Speaker 5 (01:07:58):
The one in the chain that we couldn't safely say
there was one in the chamber could be infector him?

Speaker 26 (01:08:07):
I think I'll borrow that amphibious jeep of yours, if
you don't mind, Charlie tomorrow.

Speaker 29 (01:08:10):
Where did the eighth bullet come from?

Speaker 18 (01:08:13):
Oh?

Speaker 5 (01:08:13):
There wasn't any eighth bullets? Then? How That's how I
knew that Steve Morgan was lying. You remember that Steve
said he was awakened by a powler who stood between
Steve's bed and the window that couldn't be open because
it was nailed shut. Yea, he shaid that all Steve
swears that he shot at the Powler's head, which was
silhouetted against that window, the shot going through Max's neck.

Speaker 29 (01:08:32):
Yeah, I've tried.

Speaker 5 (01:08:34):
Then where is the hole in the window?

Speaker 26 (01:08:35):
Infectors, the bullet went through Max's neck, There would have
to be a hole in the window.

Speaker 5 (01:08:39):
Bullets do make holes, you know. Well, no, no, no,
don't say it, infector. There's more to come. When next
came in that night, Steve.

Speaker 26 (01:08:48):
Knocked him down and shut him on the floor. Then
he emptied his gun. There were seven bullet holes on
the floor and one in Max's neck. That's bully, you see,
making two holes. Then he turned out the light, waited
until he heard us coming and turned it on again.
He wasn't very clever, Inspector. No, he wasn't very clever
at all.

Speaker 6 (01:09:08):
You know, mister Drake.

Speaker 16 (01:09:09):
That killing reminds me at the time that Harry the
Hatchet was stopping here. So terrible fellow Harry the Hacket.
By one night he started chopping up people, started with
cambin number fifteen.

Speaker 5 (01:09:20):
Well shoot, he hacked his way all now. No, no, no, no, no,
that's enough, Charlie. Your stories are too obvious. What do
you mean obvious? Obvious?

Speaker 26 (01:09:30):
Fabrications. Nothing subtle. In other words, Charlie, they're just plain
bair face whoppers. Well, holy boxes of bear me.

Speaker 5 (01:09:38):
I like intrigue, Charlie. After all, you know, mystery is
my hobby.

Speaker 45 (01:10:04):
Kremmel Hair Tonic and Cremel Shampoo. Present The New Adventures
of Sherlock Holmes, starring Nigel Bruce as Doctor Watson and
Tom Conway as Sherlock Holmes. Now once again it's time

(01:10:32):
to renew our weekly visits with that genial host and
incomparable storyteller, Dr Watson. And here he is waiting for
us in his comfortable and familiar study. Hello, Doctor Watson,
it's mighty good to see you again.

Speaker 46 (01:10:43):
Good evening, mister Bell. Good gracious me. It's a long
time since you last stopped in to see men.

Speaker 5 (01:10:48):
Too long entirely, but I'm certainly glad to be back.

Speaker 3 (01:10:51):
I'm to have you back, my boy. It seems like
old time.

Speaker 5 (01:10:54):
Thank you, sir.

Speaker 45 (01:10:56):
By the way, I heard you had quite a trip
this summer. I went back to England, didn't I must
have had a.

Speaker 46 (01:11:00):
Very delightful time renewing old friendships. Incident, I think you'll
be particularly interested.

Speaker 3 (01:11:06):
In one visit that I made.

Speaker 45 (01:11:08):
It was to the vaults of Cox's Bank and Chatting
Cross Coxes Bank. Oh, that was the home of your
old black tin dispatch box, wasn't it the one that
contained all the notes on your adventures with a great
Sherlock home.

Speaker 3 (01:11:19):
It was, My boy, you have a very good memory.

Speaker 5 (01:11:22):
And by any chance is that the box standing there
on your table? Now?

Speaker 3 (01:11:25):
Certainly is? I brought it back with me.

Speaker 46 (01:11:27):
You see, I find it contained a veritable treasure trove
of material, notes on adventures that I've forgotten and in
some cases toys at Sherlock Holmes insists mus not be
published during the lifetime of certain famous people involved.

Speaker 38 (01:11:41):
You.

Speaker 45 (01:11:42):
That certainly is a treasure trove. And do you mind
if I take a peek in the sacred box?

Speaker 5 (01:11:46):
Doctor?

Speaker 13 (01:11:46):
The tall.

Speaker 45 (01:11:49):
Must be papers all tied up in tape, an old
signat urry.

Speaker 46 (01:11:54):
Oh that just a token of the Duke of Bedford's
esteem never did fit.

Speaker 5 (01:11:58):
Hey, what's this, doctor Watson?

Speaker 16 (01:11:59):
A small color?

Speaker 3 (01:12:00):
Yes, my boy, a small dog color.

Speaker 46 (01:12:02):
And it brings to mind one of the most exciting
bizarre adventures at Sherlock Holmes and.

Speaker 3 (01:12:06):
I ever encountered. I always referred to it as the
adventure of the Stuttering Ghost. Stuttering Ghost.

Speaker 45 (01:12:13):
That sounds provocative, doctor Watson, I hope you will find
it so, mister Bill. In just a moment, Doctor Watson
will tell us the story of the Stuttering Ghost. But
first I'd like to ask a question. Men, wouldn't you
like to feel that your hair always looks at the best,
that it always appears neat and attractive?

Speaker 5 (01:12:32):
Then let me suggest Kremmeel hair timing.

Speaker 45 (01:12:35):
This famous modern hair dressing has been especially developed to
keep wild unruly hair handsomely groomed all day, not a
locked out of place. And Kremmel gives the hair such
a nice, rich luster too. Yet it never never leaves
the hair feeling or looking greasy or sticky. Why not
buy a bottle and proof to yourself that Kremmel is

(01:12:57):
tops for better groomed hair. Kay r E M L
Cremel Hairtime now, Doctor Watson, Flory.

Speaker 3 (01:13:06):
Well, mister Bell.

Speaker 46 (01:13:07):
The story began on a certain September afternoon in well
More years.

Speaker 3 (01:13:11):
Ago, and I'd like to admit Holmes and I.

Speaker 46 (01:13:15):
Was seated in our Baker Street lodgings, having returned a
few hours previously.

Speaker 3 (01:13:19):
From a much needed holiday in Devonshire. Though I tripped
prood far from RESTful.

Speaker 47 (01:13:24):
As far as I was concerned, I.

Speaker 46 (01:13:25):
Could see that the change had worked. Wonders for my
old friend. There was a distinct touch of color in
his usually pale face, and you better sparkle in his
eye that he was happy to be back in harness
as he sat.

Speaker 3 (01:13:37):
There, skimming through the letters that had accumulated.

Speaker 5 (01:13:40):
During it happen, Watson.

Speaker 1 (01:13:43):
Has it ever occurred to you that the entire course
of history might have been changed, probably for the better,
if paper ink had never been invented or rubbish?

Speaker 3 (01:13:50):
It's good to be back in vegastreet again.

Speaker 1 (01:13:52):
Ames, Yes, back to the routine of stupid letters from
stupid people, after two peaceful weeks at the seaside.

Speaker 46 (01:13:59):
Peaceful you spent most of your time solving the problem
of a lifeguard, the calabat and the diag nursemaid.

Speaker 1 (01:14:06):
Merely a routine matter, Watson, though it did have its
points of interest.

Speaker 3 (01:14:10):
Anything startling in this morning's post.

Speaker 1 (01:14:13):
The usual trivialities. The Duke of Grennoch suspects the Duchess
of planning to elope with the under footman.

Speaker 3 (01:14:19):
Knowing the Duke. I can't say that I blame her.

Speaker 1 (01:14:22):
Quite doesn't anyone use imagination and committing crimes anymore?

Speaker 5 (01:14:29):
Ah, this looks more promising. What is it? Home?

Speaker 1 (01:14:35):
I shall present my problem to you at three o'clock
tomorrow afternoon, so almost three now.

Speaker 5 (01:14:40):
The letters dated yesterday.

Speaker 3 (01:14:41):
Will sounds particularly promising to me?

Speaker 45 (01:14:43):
Who is it?

Speaker 5 (01:14:43):
From it simply signed Ferdinand odd homes.

Speaker 46 (01:14:49):
It might be royalty only raiding monarchs signed themselves to
strangers simply by their first names.

Speaker 1 (01:14:54):
If you're referring to Ferdinand of Spain, he's dead, you
know well?

Speaker 46 (01:14:58):
I still I can't recall Ferdinand on in a current
European throne.

Speaker 5 (01:15:02):
Can I?

Speaker 1 (01:15:03):
And yet there is a certain tone of royal perempter
in this and the praising.

Speaker 5 (01:15:08):
Where's the front door?

Speaker 3 (01:15:10):
Exactly three o'clock? That could be him?

Speaker 1 (01:15:12):
Now, Yes, while Missu Hudson answers the door, suppose we
have another look at this note, extensive paper written with
a quill pen, and the presumably August describe was unfortunate
enough to get a smear of InKo on the outer
side of her right little finger.

Speaker 5 (01:15:27):
How do you say her right little fingers a woman's writing?

Speaker 13 (01:15:30):
Oh?

Speaker 5 (01:15:32):
Come in, Yes, missus Hudson.

Speaker 48 (01:15:35):
You had a visit to mister Jones. And she's gotta
we dug with her.

Speaker 1 (01:15:39):
She said, you might be expected where all Missus Hudson
shut up pleas.

Speaker 3 (01:15:42):
Yes, a woman and a wee dog, And here we
are waiting for royalty.

Speaker 1 (01:15:47):
Watson, I have sometimes observed a distinctly snobbish strain in you,
most regrettable in these democratic.

Speaker 46 (01:15:52):
Days, democratical concern of all life.

Speaker 49 (01:15:55):
Ess you, dear dear man. Oh, I've heard so much
about you. Oh, I suppose you're wondering who I am?

Speaker 1 (01:16:05):
Naturally Madam? So Donald John may introduce my friend, doctor Watson.

Speaker 9 (01:16:10):
How do you doing?

Speaker 49 (01:16:11):
I'm Missus Frampton, Missus James Brampton. That's the Buckingham Shell Frampton.

Speaker 5 (01:16:15):
You know.

Speaker 49 (01:16:16):
And I traveled all the way up here with Darling
that took bursly and drains.

Speaker 47 (01:16:21):
Don't you see that?

Speaker 1 (01:16:23):
By the way, Missus Frampton, would you mind telling me
why you signed your note?

Speaker 5 (01:16:27):
Ferdinand?

Speaker 49 (01:16:28):
Why, mister Holmes, whatever makes you think I wrote your note?

Speaker 1 (01:16:31):
Among other things? There is slight trace of an ink
stain on your right little finger.

Speaker 49 (01:16:36):
Oh dear, it's so simple when you explain it, Isn't
it quite well? Isn't You're so clever? I did write
that note, but only because Foodinani asked me to. The
Darling dictated it all by himself, he said, and I have.

Speaker 4 (01:16:54):
Wrote it all done for it.

Speaker 3 (01:16:57):
God writing note.

Speaker 1 (01:16:58):
Don't you think, missus Fenton, that if you're has any problems,
a veteran the research and would be the logical person
to consult.

Speaker 49 (01:17:06):
Oh, dear, now you've upset him. He's so terribly sensitive.

Speaker 35 (01:17:10):
Doctor Watson.

Speaker 49 (01:17:11):
I wonder if you'd mind taking.

Speaker 19 (01:17:12):
Him out for a little war.

Speaker 49 (01:17:15):
I'd much rather he was out of the way. When
I tell mister Holmes a dying he's so human, you know,
I'm quite sure he understands every word I say.

Speaker 1 (01:17:24):
Please, doctor, can't you see the little fellows dying for
some air? I think a little walk would.

Speaker 5 (01:17:31):
Do you both.

Speaker 3 (01:17:32):
Well, well, come along, you will reply.

Speaker 1 (01:17:39):
And now, missus Prempton Mayor, I ask, what has brought
you to see me?

Speaker 49 (01:17:43):
We're mister Holmes. Two weeks ago one of thirty's gold
collars was stolen, and.

Speaker 19 (01:17:47):
A week after that he was sent back to me.

Speaker 49 (01:17:48):
It was a very strange note.

Speaker 5 (01:17:50):
You have the note with you?

Speaker 33 (01:17:51):
Yes, yes, it's here in my purse.

Speaker 49 (01:17:54):
Put your hands up, mister Holmes.

Speaker 5 (01:17:56):
Well that's right.

Speaker 1 (01:17:58):
Do you mind pointing that revolver another way, missus Frampton.

Speaker 49 (01:18:00):
I have no intention of pointing it another way.

Speaker 3 (01:18:03):
Furthermore, you'd be astonished at my skill in using.

Speaker 5 (01:18:05):
It's not at all.

Speaker 1 (01:18:06):
Oh, when a woman has the audacity to call on
me with the outline of the revolver plainly visible through
the side of her purse, I naturally assume.

Speaker 11 (01:18:14):
She is able to use it.

Speaker 5 (01:18:15):
You knew I was armed, and I regret to.

Speaker 1 (01:18:17):
Say that sometimes my curiosity overcomes my caution, and I
was very curious as to the purpose of the ridiculous
rules of the letter writing dog.

Speaker 5 (01:18:24):
I still am.

Speaker 49 (01:18:25):
You'll very soon see Go and sit in that upright
chair by the desk there, mister Holmes. I assure you
I won't hesitate to use this revolver. Go over to
that chair very well, sit down in it with your
back to me.

Speaker 29 (01:18:42):
That's it.

Speaker 35 (01:18:44):
I was admiring these handcuffs.

Speaker 33 (01:18:45):
On your metal piece.

Speaker 3 (01:18:47):
They'll do very well to fasten you to the chair.

Speaker 49 (01:18:50):
Put your hands behind you.

Speaker 16 (01:18:52):
Thank you.

Speaker 5 (01:18:55):
What's the game, missus Frampton, daylight robbery?

Speaker 28 (01:18:58):
Yes, or if you don't help me, you.

Speaker 5 (01:19:01):
Realize that my friend is liable to come back at
any moment.

Speaker 49 (01:19:04):
Oh no, mister Holmes, that beastly dog was a deliberate
device to separate you and your friend. A colleague of
mine will see the doctor Watson has taken care of
as soon as he gets outside. And now, mister Holmes,
I do hope you're not going to be too difficult.

Speaker 3 (01:19:28):
Come along, you stupid creature.

Speaker 11 (01:19:29):
You don't have to sniff ever it.

Speaker 46 (01:19:30):
Come on playing nursemaide to fies. If we don't run
in general, I know, Come on, little.

Speaker 3 (01:19:36):
Brook, come on, he got match half a naice, little
dog governor what's his name?

Speaker 22 (01:19:44):
His name?

Speaker 3 (01:19:45):
Never mind, you'll give me Why are you starting to put.

Speaker 19 (01:19:52):
Do?

Speaker 5 (01:20:10):
Madam?

Speaker 1 (01:20:10):
If you just tell me what you're looking for, I'll
be delighted to tell you where to find it.

Speaker 5 (01:20:14):
There's no sense in messing all my files up.

Speaker 49 (01:20:16):
I want your records of the Ropier case in.

Speaker 5 (01:20:18):
The third draw of this cabinet.

Speaker 49 (01:20:22):
Well, here we are n O p Q Random Ropier. Well,
thank you, mister Sherla comes.

Speaker 5 (01:20:31):
Ah, there's the rescue party. It can't be doctor Watson.

Speaker 50 (01:20:34):
I'll be to take care of him.

Speaker 1 (01:20:35):
Dr Watson has resources that might surprise you. Sometimes they
surprise even me.

Speaker 5 (01:20:40):
Well, I've got.

Speaker 3 (01:20:46):
Holmes, I had the most amazing experience.

Speaker 1 (01:20:48):
Yes, you were set upon by ruffian in the street.

Speaker 3 (01:20:51):
We'll ask for imagine then ill.

Speaker 1 (01:20:54):
You know elementary, My dear Watson, Now please get the
key off the mantelpiece and unlock these handcuffs.

Speaker 3 (01:21:00):
Heavens who trusted you up?

Speaker 1 (01:21:02):
Like the missus Prampton at revolver point?

Speaker 3 (01:21:05):
You see, if who hadn't made me gud with that
little dog, you would.

Speaker 1 (01:21:08):
Never have revealed her purpose in coming here, Watson. The
whole thing was a plot to gain access to my
files on the Rothier case.

Speaker 3 (01:21:15):
Roathier case.

Speaker 5 (01:21:15):
Why hurry up with that key? Will your champion?

Speaker 3 (01:21:20):
There you are, I said, how did that woman get out?

Speaker 1 (01:21:24):
Obviously down the backstairs, As you didn't pass on the front,
I assume her acomplice got away too.

Speaker 46 (01:21:29):
Yes, you wouldn't have I hadn't tripped up over the
dog leash I left to see little beach downstairs.

Speaker 3 (01:21:34):
Missus Hudson.

Speaker 1 (01:21:35):
Of course we see if our caller took anything of
any consequence.

Speaker 46 (01:21:38):
But Holmes, why should anyone go to such fantastic lengths
to steal the file on a criminal case that happened
years ago?

Speaker 1 (01:21:47):
That's what we have to find out. You recall the
Rothier fair Watson.

Speaker 3 (01:21:51):
Yes, I could do something to do with the.

Speaker 1 (01:21:53):
Dural robbery, was it, Yes, Rotheer, in his English accomplice,
a gentleman known as touttering Steve Hacker, stole the famous
Shrewsbury emeralds. Yes, of course the jewels were never recovered.
But I was instrumental in bringing the men to justice.

Speaker 3 (01:22:06):
I remember it now. Rothea was killed resisting arrest, wasn't he?

Speaker 1 (01:22:10):
Yes, and stuttering Steve Hacker was sentenced to seven years
and died for by George Watson. I recall reading a
small item in yesterday's paper that told of Hacker's death
in prison.

Speaker 5 (01:22:21):
That's the answer.

Speaker 46 (01:22:22):
I mean that on his death that Hacker might have
told some of the secret of where the juror is hidden.

Speaker 1 (01:22:26):
Precisely, the key to that secret must line these files.
Let me see. Yes, Yes, I recall the case vivided.
Now there was a small piece of paper found on
Rotha's body and apparently meaningless series of numbers and figures.
It was here in the file. Now she's got away

(01:22:46):
with it, Watson.

Speaker 5 (01:22:47):
I deserve to be.

Speaker 1 (01:22:48):
Kicked from here to Night's Homes.

Speaker 21 (01:22:50):
I listen to me.

Speaker 3 (01:22:50):
I was going through the file a few weeks ago,
making some notes of my stories, and I remember coming
across that tip of paper. I covered the figures down
my notebook, brow.

Speaker 1 (01:22:57):
Bo, Watson. I don't know what i'd ever do.

Speaker 3 (01:23:00):
Just a minute, just a minute.

Speaker 24 (01:23:01):
Here there, here we are.

Speaker 46 (01:23:03):
Here are the figures key two N three O two
S five. Oh, what the deuce does it mean?

Speaker 15 (01:23:12):
Homes?

Speaker 1 (01:23:13):
I don't know, but I think I may have a glimmering.
Get your coat and hat, old chap the games a foot?
Where are we going to Scotland Yard? And then I
hope we'll be on the track of the Shrewsbury Emeralds,

(01:23:35):
I say, Holmes, if you don't want to talk, you
might at least tell me why we're driving about in
this dreary part of London.

Speaker 3 (01:23:42):
I don't care for at all, especially at dusk.

Speaker 5 (01:23:45):
Sorry, Watson, I was thinking.

Speaker 1 (01:23:47):
Inspector ust Chart has just informed me that he's unearthed
a new clue in the case.

Speaker 11 (01:23:51):
Oh.

Speaker 5 (01:23:51):
It seems that when Rothe was hiding from.

Speaker 1 (01:23:53):
The police, he worked for a time in this maple
Oh well, at a place known as Gaunt's Castle.

Speaker 5 (01:23:59):
It's somewhere here of the Milane Road.

Speaker 1 (01:24:01):
Apparently it's the sort of museum run by a certain
eccentric man named Jezre of Gaunt. His main plain to
distinction is that it contains a catacomb, or to be precise,
several catacombs, an ideal place to hide stone and jewels.

Speaker 3 (01:24:14):
I'd say, patacombs here in London.

Speaker 46 (01:24:16):
Impossible, not at all, Watson, But I thought they were
passed underground tombs only found in it.

Speaker 1 (01:24:21):
Now these are reputed to be reproductions of the early
catacombs of Road. Apparently mister Gaunt found these deep underground
cabins some years ago, and their natural contours made it
possible for him to convert them into a modern counterpart
of the Italians.

Speaker 5 (01:24:35):
All right, Kevin, this is the place here you are
keep the change.

Speaker 20 (01:24:42):
Come on, you know.

Speaker 46 (01:24:48):
So this is Bruce Castle. I think, looking place like
a prison, getting dark. Why can't we come back in
the morning, homes.

Speaker 1 (01:24:57):
And I think there's somebody watching us through the people
in the door.

Speaker 5 (01:25:00):
It would be uh huh.

Speaker 9 (01:25:02):
He's opening it.

Speaker 16 (01:25:04):
Good evening, gentlemen.

Speaker 27 (01:25:06):
You're late.

Speaker 1 (01:25:06):
I was just locking my museum up for the night,
mister jes Gone.

Speaker 5 (01:25:10):
Yes, sir your service.

Speaker 1 (01:25:11):
My name is Charlocke Holmes, and this is my friend,
doctor Watson. How do you do goings to Holmes and
Dr Watson. Well, this is a great honor. Please step inside, gentlemen,
and I'll turn the gas up.

Speaker 51 (01:25:25):
Eh.

Speaker 52 (01:25:26):
I hope you'll find the castle, as I call it interesting.

Speaker 1 (01:25:29):
Mister Gaunt, time is vitally important. Some three years ago
you had a man working for He was a laborer.

Speaker 5 (01:25:35):
His name was Rothier.

Speaker 27 (01:25:37):
Currently call any man dead name, mister Holmes.

Speaker 3 (01:25:39):
He was a Frenchman.

Speaker 52 (01:25:40):
Mister Oh, I'm sorry, but in this part of London
drew many foreigners, and many of.

Speaker 5 (01:25:46):
Them have worked for me. That this man will favor.
Was a jewel thief.

Speaker 1 (01:25:50):
He is known to have hidden some very available emeralds,
and it seems quite possible he may have hidden them.

Speaker 3 (01:25:54):
Here me stolen drills in my catacombs, mister Holmes.

Speaker 1 (01:25:58):
Oh, no, I want you to give us your permission
to deduct a detailed examination of your caves and to
take some measurements.

Speaker 3 (01:26:04):
Yes, of course, what an extraordinary coincidence.

Speaker 5 (01:26:08):
Coincidence.

Speaker 27 (01:26:09):
Yes, a man and a woman were here a little
while ago. I didn't pay much attention to them.

Speaker 3 (01:26:13):
As they entered, but I happened to observe them later
in the catacombs.

Speaker 5 (01:26:17):
They were taking.

Speaker 9 (01:26:17):
Measurements by jo Holmes.

Speaker 11 (01:26:19):
Go on, mister Gaunt.

Speaker 52 (01:26:20):
When they saw I was watching them, they were very
effasi for left after a few moments, until you mentioned
taking measurements.

Speaker 1 (01:26:26):
The whole incident seemed unimportant. It was far from unimportant,
mister Gaunt. They're desperate. We must work fast. They were
start our search at once, is of course, of course
I'll go and like to guess.

Speaker 3 (01:26:37):
Holds, missus Frampton.

Speaker 46 (01:26:39):
That accompanss attack may must have come here straight from Baker.

Speaker 1 (01:26:41):
Street Here's and over back, probably tonight. It's a race
against time all so far.

Speaker 3 (01:26:45):
They apparently haven't succeeded in deciphering the.

Speaker 1 (01:26:47):
Code, and either of we Watson is a battle of wits.
Oh really, they won the first round. Let's hope we
can win the second. Doctor Watson will continue his story
in just a moment. In the meantime, I'd like to say,

(01:27:09):
and just see if you don't agree with me. Any
man who wants that modern.

Speaker 45 (01:27:13):
Prosperous appearance should certainly use a hair dressing. And men,
I'm right here to tell you I wouldn't use anything
else but Cremmeel hairtime.

Speaker 5 (01:27:22):
Do you know why?

Speaker 45 (01:27:24):
Because Kremmel is one hair tonic I've been able to
find that really keeps my hair well groomed, every hair
neatly in place. Yet it never has that greasy, plastered
down look. Kremo always feels and smells so clean on
your hair. In addition, Kremwell Trembell does lots more than
just keep hair looking handsome. It relieves itching of dry scalp,

(01:27:45):
It removes dandra flakes. Cremo actually helps condition the hair
in that it leaves it feeling so much softer, easier
to manage. Why not ask for an application of Cremmel
at your barbershop, buy a bottle at any drug counter,
just see how attractive looking it keeps your hair. That's right,
it's spelled k r e m L kremmel hair tiny.

Speaker 5 (01:28:16):
Well.

Speaker 45 (01:28:17):
Doctor Watson, how did you and the great Sherlock Holmes
make out when you explored the underground caves?

Speaker 46 (01:28:21):
So that first hour we searched that strange place exhaustively
without finding a clue. Then I remember we descended into
one of the deepest and darkest caves. Must have been
a weird picture. As we stood there, our voice is
echoing hollow lay, a vast black chasm yawning in front
of us, and a feeble flicker of gaslight throwing a
pool of light on the piece of paper which.

Speaker 3 (01:28:43):
Holmes held in his hand.

Speaker 1 (01:28:45):
Watson, I'm certain the figures on this paper are the
clue to the missing Emeralds.

Speaker 11 (01:28:49):
But why can't I get the cove.

Speaker 53 (01:28:52):
T?

Speaker 1 (01:28:53):
Two N three O, two S five.

Speaker 9 (01:28:58):
Oh?

Speaker 46 (01:28:58):
They might be pacing direct, obviously, but beginning where I
don't know, But two N could be.

Speaker 3 (01:29:03):
Two places north.

Speaker 1 (01:29:04):
Still other T and oh, the T being the first letter,
is presumably the starting point. But what does it stand for?
But of course here's the answer. Look here on the wall.

Speaker 3 (01:29:16):
You mean that colored tablet.

Speaker 1 (01:29:18):
Yes, it's a common early Christian symbol known as Saint
Antony's cross, and it's also the Greek letter T. This
is our starting point. T is the first letter in
this code.

Speaker 3 (01:29:26):
Then comes two N.

Speaker 1 (01:29:28):
Let's try it two paces north. So then comes a
letter oh, oh, oh, it could mean zero. Yes, a
good old chap where it might be no, No, I
have it. Remember that road there was a Frenchman. What's
that got to do with that? The French word for
west is west spelt O U E s T.

Speaker 5 (01:29:48):
French compasses have.

Speaker 1 (01:29:48):
An oh where ours have the W. Two paces north.

Speaker 5 (01:29:53):
Three O three paces west.

Speaker 1 (01:29:57):
See if guant will lend us a spade? What's in
dear chap?

Speaker 5 (01:29:59):
Will you?

Speaker 1 (01:30:00):
We're getting warm, We're getting decidedly warm.

Speaker 3 (01:30:14):
Holdser I think we've drawn a blank, so do I?

Speaker 1 (01:30:20):
Yet the code is a logical one two paces north
three west, two south five way. Wait a minute, paces
are ancor at, Watson, they vary. A man would surely
leave his records and carefully measured feet.

Speaker 3 (01:30:35):
Here's a tape measure. Why don't you try measuring it
out and feet?

Speaker 5 (01:30:38):
Thanks?

Speaker 1 (01:30:38):
Now two feet north three west to south by west
would be here. Give him the spade, Watson, I do
the diggain this time, Thanks very much, Homes.

Speaker 3 (01:31:07):
If you begin a deeper you come out in Australia.

Speaker 1 (01:31:11):
And yet I know we're basically on the right track.
What an unmitigated idiot, Diane Watson. Look on the other
side of this tape measure.

Speaker 3 (01:31:19):
What's on it?

Speaker 1 (01:31:19):
It's marked in meters? Roque was French. Now we have
to answer, Watson. Two meters north three west, two south
and five West.

Speaker 5 (01:31:30):
Give them the spade again. Yeah.

Speaker 1 (01:31:33):
If I'm wrong this time, I retire from my profession.

Speaker 3 (01:31:38):
What's that?

Speaker 5 (01:31:40):
It's a metal box, Watson?

Speaker 1 (01:31:43):
Unless I'm very much mistaken, We've found the Shrowsbray Emerald Way.

Speaker 5 (01:31:49):
Boxes.

Speaker 1 (01:31:49):
A little charnished, a little rusty, but its contents are undamaged.
Look at these emeralds, Watson, Aren't they exquisite in this
gas light?

Speaker 3 (01:31:58):
They look just like liquid? Quite a poet, aren't you.

Speaker 5 (01:32:02):
Dr Watson?

Speaker 3 (01:32:02):
Oh, hollos to God, you've quite started me. We've we've
found the treasure.

Speaker 52 (01:32:06):
I'm so glad, gentlemen, you've done the hard work for
Come back here, homes before we're gone. I missed our friend,
Dr Watson, but I won't miss your stand where you are.
In any case, mister Holmes can't get away, Fortunately for us,
he's run into a cave from which there is no exit.

Speaker 3 (01:32:23):
Gertrude healthy.

Speaker 5 (01:32:25):
Here we are, and yes, my dear clipper.

Speaker 52 (01:32:28):
Often wasn't it I doubt whether we could have solved
the code without their house coundrels.

Speaker 3 (01:32:32):
I was not get my hands on you are, doctor Watson.

Speaker 52 (01:32:34):
Surely you are in no position to threaten the three
of us are armed and your friend can't help you.
Mister Shellock Holmes, come out of that cave with your
hands up. We've won the final rounds.

Speaker 49 (01:32:47):
You haven't already the last, it seems to me, Doctor Watson,
and mister Holmes is being unusually stupid to gay.

Speaker 27 (01:32:53):
Be careful.

Speaker 52 (01:32:53):
Homes homes home, dear me, I'm afraid your friend's been injured.

Speaker 5 (01:32:59):
Doctor think, let me go to him.

Speaker 3 (01:33:00):
I'm a doctor. I'm afraid I can't trust you.

Speaker 52 (01:33:02):
However, I'll tell Elsie to drag his body out here.

Speaker 3 (01:33:05):
Alsie, never mind about Alfred. I just can't count him
one of the forest.

Speaker 5 (01:33:10):
Sharpest at all. But voice, it's the thing.

Speaker 33 (01:33:13):
Steve Tacker can't be.

Speaker 5 (01:33:15):
Steve Hacker's dead, that's what you was the think. But
but he ain't dead.

Speaker 54 (01:33:19):
I bribe the prison doctor in a snipe. Remember I'm
in the dark. You can't see me, but but I
can see you. You're standing in the night. You better
better do like I say, Doctor Watson.

Speaker 5 (01:33:31):
Yes, what is it?

Speaker 3 (01:33:33):
I remember you.

Speaker 54 (01:33:35):
You're in the bad stort of a text assistant. I
trust you more than these rats. If you don't want
me to shoot you, better drop your doctor revolvers at
doctor Watson speak.

Speaker 3 (01:33:45):
I'll trust him, go on to drop them. You better
do what he says.

Speaker 42 (01:33:48):
I think you means business.

Speaker 27 (01:33:49):
Hight Hacker here, now you.

Speaker 1 (01:33:53):
Go through it there, pick him up, doctor Wood, Watson,
I've got him, clearly, homes than hand me one.

Speaker 3 (01:34:02):
But Holmes, where Steve Hacker?

Speaker 5 (01:34:04):
Aside from the fact that he's dead.

Speaker 1 (01:34:05):
I have no idea, Cham, I took the liberty of
im fascinating him, or rather his ghost temporarily you shot out.
Certainly he was about to shoot me. But he is
not quite dead, unfortunately, And now what's no chap? I
think it's about time would turn this unsavory little gathering
over to the police.

Speaker 5 (01:34:33):
Watson.

Speaker 1 (01:34:34):
It's rather pleasant to be back in Baker Street. It's
been a tiring day.

Speaker 3 (01:34:38):
Do you know, Holmes, the way you imitated stuttering Steve
Hacker with.

Speaker 46 (01:34:45):
You, you had them completely fooled. Of course I should
the old thing, of course do you? Very cleverer you
shut out Fie and then faked your own wounded groans.

Speaker 1 (01:34:54):
Yes, it was remarkably effective, and Alpha's subsequent confession confirmed
my suspicions. Hacker, ill and afraid of dying, talked with
Alpha during his recent stay in Dartmoor and told him
to find the booty and share it with Hacker's wife.
But Alpha, as soon as he was released from prison
and thinking Hacker dead, decided to get it all for

(01:35:15):
himself and his accomplices. Hmm, that's pretty tangle of criminalities
I ever ran into, perhaps.

Speaker 3 (01:35:20):
Your return to practice with Dows.

Speaker 5 (01:35:22):
You think come in?

Speaker 48 (01:35:26):
Excuse me, mister Rowe for about the dog?

Speaker 15 (01:35:29):
Dog?

Speaker 5 (01:35:30):
What dog?

Speaker 48 (01:35:30):
The nice sweet feller the lady brought this afternoon. He's
still dance. I gave him a bath and a nice
big feet though. Now what do you want me to
do with me?

Speaker 28 (01:35:40):
Hm?

Speaker 1 (01:35:41):
An intriguing problem? We see now he has been cooked
up a long time. I think it'd be an excellent idea.
Doctor Watson took him for a nice walk. N hold, oh,
come Watson. Remember he's quite a remarkable animal. He wrote
a letter the wok you convinced you that he was royalty,

(01:36:02):
and then undoubtedless saved your life. I think you owe
him a little consideration, don't you.

Speaker 55 (01:36:07):
Well, of course, if you put it that word, and
that's how you acquired this little dog, Colorie, I'm.

Speaker 3 (01:36:23):
Gonna have tried with Sabelle. I have that wretched aleam
on my hands till it died of old age. I
got quite fond of it.

Speaker 15 (01:36:30):
As a matter of.

Speaker 45 (01:36:30):
Fact, I see, And what story are you going to
tell us next week?

Speaker 15 (01:36:34):
Do do? I?

Speaker 5 (01:36:35):
Well?

Speaker 46 (01:36:35):
Now, next week, I think I'll tell you a story
I call the Adventure.

Speaker 3 (01:36:38):
Of Black Angus.

Speaker 46 (01:36:39):
I always think it was one of the most gruesome
and macabre experiences that Sherlock Holmes.

Speaker 3 (01:36:45):
And I ever encountered.

Speaker 5 (01:37:00):
Well, look who's here?

Speaker 45 (01:37:01):
If it isn't Jane, do you look gorgeous tonight? And
your hair it's lowly?

Speaker 50 (01:37:06):
It should be Joe, because I always wash it with
Cremmel shampoo.

Speaker 31 (01:37:10):
I learned that beauty trick long ago from those stunning
Pauli's model.

Speaker 45 (01:37:13):
Yes, Cremel shampoo is famous. It leaves hair sparkling for
days with natural glossy highlights. What's more, Cremmel shampoo is
a hard water shampoo. It whips up just gobs of
leather in every type of water. Its fine, rich foam
penetrates right to the scalp and removes all loose dandriff
as well as the dirt.

Speaker 15 (01:37:32):
White.

Speaker 45 (01:37:32):
Even has a beneficial oil base which helps keep hair
from becoming dry. We're all using Cremel shampoo at our house.
I'd suggest you take a tip from my wife and
buy the large family side.

Speaker 9 (01:37:59):
Tonight's news.

Speaker 45 (01:38:00):
Sherlock Holmes's adventure was suggested by an incident in the
Sir Roarthur Conan Doyle story The Adventure of the Noble
Bachelor Nigel Bruce, appeared by permission of California Pictures and
Tom Conway through the courtesy of Eagle Lion Pictures.

Speaker 5 (01:38:14):
This is Joseph Bell speaking for.

Speaker 45 (01:38:16):
Kremel Hair Tonic and Cremel Shampoo and inviting you to
be with us next week at this same time when
Doctor Watson will tell us the Adventure of Black Angus.

Speaker 10 (01:38:45):
This is the House of Mystery. Good evening.

Speaker 1 (01:39:09):
This is Roger Elliott, otherwise known as the Mystery Man,
welcoming you to another storytelling session here at the House
of Mystery. Today we continue with the reading of Edward

(01:39:30):
Bulwer Lytton's famous ghost story The Haunters and the Haunted.
As Ruth told us yesterday, mister bulwer Lytton was not
only a writer of ghost stories, but the author of
the Last Days of POMPEII and a distinguished member of
the British Parliament.

Speaker 49 (01:39:46):
Why did he write the Horners in the Hornet?

Speaker 5 (01:39:49):
Why?

Speaker 1 (01:39:49):
Johnny Well, I should say, for the same reason that
I spend a good eel of time investigating rumors of
supernatural manifestations to prove it possible that ghosts and phantoms
exist on in the imagination?

Speaker 49 (01:40:01):
Does he prove it in the story?

Speaker 5 (01:40:03):
Let's find out? Shall we down with the lights journey?

Speaker 6 (01:40:07):
All?

Speaker 5 (01:40:08):
That's fine?

Speaker 1 (01:40:10):
As you know, this story is about a haunted house
in the very heart of the city of London, a
house no human being would occupy because of the weird
and frightening creatures who were said to inhabit it. However,
the man who tells the story decided to investigate the house.
He and his secretary, Frank Carter, moved in. The first
thing they noticed were mysterious footprints on the damp stones

(01:40:32):
of the yard at the rear of the house, footprints
that fawned before their very eyes. Then inside the house
they saw a mysterious light fashioned in human shape, a
light that ran up the stairway to the attic and disappeared.
They decided to retire for the night and search the
house in the morning, But no sooner was the man
who tells the story in bed. Than the cold wind

(01:40:53):
passed over his face, and an invisible hand reached out
and took his watch from the table beside the bed.

Speaker 5 (01:41:00):
That's where I stopped yesterday.

Speaker 1 (01:41:02):
Now i'll continue from page two seventy one, chapter three
of The Haunters and the Haunted. I sprang out of bed,
seizing my revolver in one hand and my dagger in
the other. I was going to make sure that englishly
invisible hand didn't get them too. Then I started to
search the floor for the watch. There was nowhere to

(01:41:24):
be seen. Suddenly I heard three loud, distinct knocks at
the head of my bed. Frank heard them two and
called out from his room. I warnd into beyond guard.
All my courage was disappearing fast.

Speaker 13 (01:41:41):
Now.

Speaker 1 (01:41:41):
My bow terrier, slipping in front of the fireplace, roused
himself and sat up on his haunches, his ears twitching.

Speaker 5 (01:41:46):
What had he heard? My attention was entirely directed toward him.

Speaker 1 (01:41:51):
I saw him get up slowly, his short hair whistling,
and stand perfectly rigid. A few seconds later, Frank came
into the room, and if I ever saw stark horror
in a human face, I saw it. Then I wouldn't
have recognized him, and I met him on the street.
He rushed over to me, and when he spoke, his
voice was a ghastly whisper.

Speaker 3 (01:42:09):
Run, run, he said, it's after me.

Speaker 56 (01:42:15):
In a moment, he was the door of the landing.

Speaker 1 (01:42:17):
He pulled it open and went bounding down the stairs,
unheeding my cries to stop. I heard where I stood
the street door open. Then I heard it slam. I
was alone in the haunted house. I struggled with myself
for a moment. Should I follow Frank? I decided against it. Yes,

(01:42:37):
I was somewhat frightened, but at the same time my
mind refused to believe the incredible things my eyes had witnessed.
If I could only keep my wits about me, I
was certain nothing could go wrong. I went immediately to
Frank's room. In spite of careful searching, I could find
no door or even crack in the wall by which
the invisible thing could have entered. My own room was

(01:43:00):
the only possibility. I decided to return to my own
chamber and wait for the thing to appear again. Once inside,
I shut and locked the door of the hall. Then
I stood by the fireplace expectant and prepared. It was
then I missed my dog. Horror seized me, for he
was my only companion. Now looking around, I saw him

(01:43:21):
slunk into an angle in the wall as it literally,
trying to force his way through it. I went over
and spoke to him. The poor beast was beside himself
with terror. His teeth were bare tonge dripped from his lips,
and my favorite pet would certainly have fitten me had I.

Speaker 5 (01:43:35):
Dared touch him.

Speaker 1 (01:43:39):
And so, though I wanted badly to comfort him, and
in fact he did comfort myself, I left him alone.

Speaker 5 (01:43:45):
Taking a deep breath.

Speaker 1 (01:43:46):
I put my weapons, gun and dagger back on the table,
lit my pipe, and seated myself near the fire.

Speaker 5 (01:43:51):
Began to read.

Speaker 1 (01:43:53):
It was only a few minutes before I became aware
of something standing between the page and the light. I
heard nothing, I'd seen nothing, only a deep shadow on
the printed gage.

Speaker 5 (01:44:05):
I looked up and saw.

Speaker 1 (01:44:07):
How can I describe the horrible sight? It was a
darkness shaping itself out of the air in an undefined outline.
I cannot say it was a human form, and yet
it looked more like a human form than anything else,
except that it was gigantic stretching from the floor to
the ceiling.

Speaker 9 (01:44:25):
While I gazed.

Speaker 1 (01:44:26):
The feeling with intense cold seized me.

Speaker 29 (01:44:29):
I couldn't have been choved more.

Speaker 5 (01:44:31):
By an iceberg. And this, I will swear.

Speaker 1 (01:44:35):
The cold I felt was not only the freezing chill
of fear. At one moment I thought I saw two
eyes staring at me from that great height. I tried
to speak, but my voice failed me. I could only
think to myself from fear like this, let men die.
I tried to get up, but I was held down

(01:44:57):
by some invisible force. An immense, an overpowering will was
pitted against mine, a will that was a superior to mine,
as the strength of storm, fire, and flood are superior
to man's. And now, as this impression grew on me,
came horror, horror to a degree impossible to convey in words.
I knew if I surrembered to it, now I was lost.

(01:45:22):
With a violent effort, I succeeded at last, and stretching out.

Speaker 5 (01:45:25):
My hand of a revolver on the table.

Speaker 1 (01:45:27):
As I did so, a heavy blow out on my
wrist and another on my shoulder.

Speaker 5 (01:45:31):
My arm fell to my side, powerless.

Speaker 1 (01:45:33):
Now to my added hollow the flames of the candle
suddenly flickered violently and went out.

Speaker 5 (01:45:39):
I was in total darkness.

Speaker 15 (01:45:43):
This was too much.

Speaker 1 (01:45:44):
I must break through this horror with a supreme effort
of will. I steeled myself and found voice. Of course,
I found voice.

Speaker 5 (01:45:54):
Though that voice was.

Speaker 1 (01:45:55):
But a scream of weenless terror, yet it was.

Speaker 5 (01:45:59):
Enough to break the spear.

Speaker 1 (01:46:00):
I rushed one of the windows, and, tearing the curtains aside,
I flung the shot a open. When I saw the
moon high, clear and calm, some part of my fright vanished.
I turned to look back into the room. The dark thing,
whatever it was, had disappeared, except that I could still
see a faint shadow against the opposite wall. My eye

(01:46:20):
next rested on the table. Then it was that horror returned,
as I saw from under the table my hand rising,
my hands seemingly cut off at the wrist. It was
a human hand, an old woman's hand with skin that
was parched, wrinkled slowly. The hand closed over the two
letters that lay on the table, and in the flash,

(01:46:42):
hand and letters vanished. Then once again I heard on
the headboard of my bed the three loud knocks. As
these sounds ceased, I felt the whole room vibrate, and
at the far in spark suddenly began to rise from
the floor, a green, yellow in red spots. A chair
then moved itself away from the wall and placed itself

(01:47:04):
at one end of the table.

Speaker 5 (01:47:05):
I blinked my eyes. This must be a delusion. When
I opened them again, i'd see nothing. But I was wrong.

Speaker 1 (01:47:13):
The next time I looked at that chair, I saw,
as if growing out of it, a woman's shape, ghastly
as the shape by the death. The face was that
of a young girl, a girl with a strange, mournful beauty.
Her throat and shoulders were bare. The rest of the

(01:47:35):
form was enveloped in a gown of cloudy white. The
figure began combing its long yellow hair, which fell over
its shoulders. Its eyes won't turned towards me, but towards
the door. It seemed listening, watching, waiting. The shadow in
the background grew dark. I thought I saw eyes booming
from the top of it, eyes that were now fixed

(01:47:56):
on the shape of what had once been a girl.
My ordeal of horror wasn't yet over coming. Through the
locked door, I saw another shape take form, as shape
equally distinct as the girl's in equally ghastly. It was
the shape of a young man dressed in a costume

(01:48:17):
of the seventeen hundreds. There was something terribly incongruous, grotesque, yes,
even frightening, in the contrast between the elaborate tinery of
his breast, with its ruffles and lacing buckles, and the
corpse like look and ghostlike stillness of the creature who worried.
Just as the shape of the young man approached the
shape of the girl, the shadow suddenly darted from the wall,

(01:48:39):
and for a moment all three were enveloped in darkness.
When the pale light returned, the two fatoms were in
the grasp of the shadow, which towered above them and
kept them separated, And there was a dark stream on
the cloudy white garments of the girl, just where her
heart might have been. The young man was leaning on
his sword. Only a moment was given me to see

(01:49:02):
this horrible sight. Then the shadow descended again, and they
were gone. The closet door to the right of the
fireplace now opened, and from it came the form of
an old woman.

Speaker 5 (01:49:17):
In her hand she.

Speaker 1 (01:49:18):
Held letters, the very letters over which I had seen.

Speaker 5 (01:49:20):
The hand close and behind her. I heard a footstep.

Speaker 1 (01:49:23):
She turned as if to listen. Then she opened the
letters and seemed to read. And over her shoulder I
saw a livid face, the face of a man long drowned,
with seaweed tangled in his blipping hair. And at her
feet there was a child, a weeping child.

Speaker 5 (01:49:42):
Even as I stared with unbelieving.

Speaker 1 (01:49:43):
Eyes at this fantastic tableau, the wrinkles and lines in
the old woman's face disappeared, and it became the face
of a young girl. Then once more, the gigantic shadow
darted from the wall and blotted out the whole mad scene.
Nothing now was left but the dark shadow, and on

(01:50:04):
that my eyes remained fixed. Suddenly, bubbles of light began
to dance once more, shooting from the floor, bubbles above
the color and shape imaginable. Sometimes I felt myself touched,
but not by them. Invisible hands touched me. Once I
felt the clutch of cold, soft fingers at my throat.
I was still conscious that if I gave weight to fear,
I might never emerge from that house alive. I knew

(01:50:27):
that there was a will working against me, a will
of intense evil which could easily crush my own I
determined not to surrender, marshaling all my strength, I started
to concentrate on fighting it.

Speaker 5 (01:50:39):
Out, but it was an unequal struggle.

Speaker 1 (01:50:43):
As the dark shadow started moving toward me, and a
great burst of colored flame shot its terrifying bold, I
fell senseless to the floor.

Speaker 5 (01:51:06):
All right, Johnny, turn up the lights.

Speaker 48 (01:51:10):
Hey, hey, this isn't a true story, is it?

Speaker 24 (01:51:15):
Mystery Man?

Speaker 3 (01:51:16):
Of course not, Johnny.

Speaker 57 (01:51:18):
But you said that mister blueber Litting had explanations for
all the supernatural.

Speaker 48 (01:51:24):
Things that happened.

Speaker 1 (01:51:25):
Well, I didn't quite say that was what I did say,
or at least what I meant to say was that
Blue were looting. Tries to explain why the storyteller saw
the ghostly manifestations.

Speaker 57 (01:51:35):
Well, how can there be any explanation for people appearing
and disappearing, and hands reaching out for things in black shadows?

Speaker 5 (01:51:44):
You haven't a very good memory, Johnny.

Speaker 1 (01:51:47):
Remember the story of the Haunted Lighthouse. Sure, Remember how
there seemed to be no logical explanation for the voice
that said you guy too?

Speaker 48 (01:51:55):
Oh yeah, yeah, yeah, but that was the wind. How'd
you go to explain?

Speaker 1 (01:52:01):
I suppose we wait and see Tomorrow. Will continue with
chapter four of the Haunters and the Haunter same time,
and for our radio listeners the same station. I'll be
waiting for you at the house of mister. This is

(01:52:30):
Roger Elliott. You're a mystery man saying good night.

Speaker 23 (01:52:56):
There was nothing uncommon about the ghost that the Royal
Irish Constabular beric, and the only reason for singling him
out is just because he was typical, because he was
responsible for things which simply couldn't happen if there were
no ghosts.

Speaker 58 (01:53:12):
The old house, which had been chosen as a police barrick,
seemed particularly cozy and comfortable to Constable Kelly on that
bitter winter night when he came off duty at twelve o'clock.
The rest of the force had retired. The guard was
nowhere inside, and so the Constable settled down and.

Speaker 11 (01:53:28):
The kitchen, removed his shoes and placed his frozen.

Speaker 5 (01:53:31):
Feet in the harbor before a blazing fire.

Speaker 58 (01:53:34):
He had just lit his pipe and taken one or
two deep, satisfying puffs when he heard.

Speaker 15 (01:53:39):
Now.

Speaker 58 (01:53:39):
It was not an unfamiliar sound. The lock up was
a one story lean to opening off the kitchen. Inebriated
gentlemen would frequently awaken in the middle of the night
and express their righteous indignation by rattling the iron door
of their cell. The sound was repeated with increasing figure,
and at length Constable Kelly's compassion outweighed his sense of propriety.

(01:54:01):
He arose, and, taking a candle from the table, approached
the door to the lean to. Selecting a key from
his key ring, he opened it. There were two cells
in the lock up, one behind the other, and the
iron door stood between them. Constable Kelly found the first
one empty. Well, no, that's a queer thing indeed, and
so it was for the Constable's candle revealed that the

(01:54:22):
second cell was empty also, and the iron door was
locked and bolted, carefully locking the door behind him, the
Constable returned to his place by the fire, but barely
had he ReLit his pipe when no, no, what the
word was at he jumped to his feet again, picked
up the candle, and once more strode toward the lean to.

(01:54:43):
But before he reached it, he stopped abruptly and staggered
back with a gasp of amazement.

Speaker 11 (01:54:48):
Great jump and jots of him.

Speaker 9 (01:54:50):
Both doors are white oak.

Speaker 58 (01:54:52):
Yes, both doors, the iron one, which he knew, had
been bolted, and the outer wooden one, which he himself
had locked with his own key. Both were standing ajar,
and there was no one but himself, either in the
cells or in the kitchen. The following evening, Kelly was
assigned to guard duty. He brought his mattress downstairs, and

(01:55:14):
it laid it across two tables in the center of
the room. Now, he picked up a magazine, and, stretching
himself out on the makeshift bed, began to thumb through
its pages. It was at that moment that the thing happened. Now,
shore that stop it?

Speaker 59 (01:55:27):
Will you cut it out?

Speaker 11 (01:55:29):
Stop kind to shump me off a bait.

Speaker 58 (01:55:32):
The Constable leaped to his feet and threw back the cupboards.
He looked under the table on which the mattress was resting,
glanced slowly and cautiously around the room.

Speaker 11 (01:55:41):
Well, no, I must have been dreaming.

Speaker 58 (01:55:44):
And, having thus reassured himself, tea started to lie down.

Speaker 4 (01:55:47):
But hey, what in the name of him?

Speaker 16 (01:55:49):
Hey, oh, window, what do you know about that?

Speaker 58 (01:55:58):
Not until he had removed his bed to another part
of the room was Constable Kelly able to remain in
it for more than thirty seconds.

Speaker 11 (01:56:06):
This was not the last of the strange events.

Speaker 5 (01:56:07):
Which occurred at.

Speaker 58 (01:56:08):
The Royal Irish Constabulary, and which were attested to by
all of the officers who resided there. We may glibly
say that there are no ghosts, but then how should
we account for the thousands of authenticated ghost stories, stories
incredible but true.

Speaker 60 (01:56:34):
For carlos On in a thanksome Mystery brought to you
by the makers.

Speaker 61 (01:56:40):
Of Fathers Hill, it is means friend, let me welcome
you once more to the in sanctum.

Speaker 9 (01:56:59):
It is Raymond John Come in, won't you in?

Speaker 2 (01:57:02):
Sit down?

Speaker 62 (01:57:04):
No, No, I'm not being polite.

Speaker 9 (01:57:06):
I'd prefer you to say see, because.

Speaker 61 (01:57:09):
Within the next five minutes you're going to be so
weak in the need that you won't be able to stand.

Speaker 63 (01:57:19):
In any thanks and mysteries.

Speaker 60 (01:57:20):
Again, there's the pleasure of bringing you the famous doll,
a radio screen and stage now featured in the current
Broadway success Arsenic and Oldways Boys Color this evening, Mister
Carloff appears in Robert Human's grammorization of Edgar Allen Poe's
famous story The tell Tale Heart, presented for your entertainment
by the makers of Connor's Little Liver Pills. The best

(01:57:42):
Friend to your funny Disposition.

Speaker 61 (01:57:53):
Now our story story based on the tale by the
greatest master of the Macabres.

Speaker 29 (01:57:58):
That ever lived, and Gale and Pull, the story of.

Speaker 61 (01:58:02):
A man who could hear not only every sound on earth,
but even things that don't exist. Oh, turn down the lights,
all in a friend or neighbor to keep your company
and listen to Boris karl Off as Simon in a
tell tale Heart. It's early evening. The sound is just

(01:58:28):
studying behind a range of low hills. On top of
the nearest hill is a huge rambling building. Surrounded that
park like grounds, A road winds from its gates down
to the little village below.

Speaker 9 (01:58:42):
Down this road comes a man. He's tall, gaunt, his
hair snow white.

Speaker 61 (01:58:48):
He's so busy with his stop that he doesn't see
the small dark man that sits by the roadside.

Speaker 20 (01:58:53):
But just as he's about to pass him. Good evening, huh, oh,
good evening. Nice hiding, isn't it nice? Why it's the
most wonderful, perfect evening.

Speaker 9 (01:59:07):
I'll never know this side of heaven, you don't say,
and you can't know.

Speaker 20 (01:59:11):
What it's like to feel as if you'd just risen
from the dead, as if your tomb was open and
you were told that you could return to the world
that you knew and loved thereby you can't you see?

Speaker 51 (01:59:25):
My name is Simon.

Speaker 5 (01:59:27):
I was a musician.

Speaker 20 (01:59:29):
Two years ago I went stone death suddenly.

Speaker 3 (01:59:35):
Completely.

Speaker 20 (01:59:37):
Do you know what deafness means to a musician. It's
like dying, or worse, like dying and knowing that you're dead.
What went to doctors, but they could do nothing for me.
But finally one of them sent me to see the
doctor worth the place up on the hills here, doctor
a dare Yes, doctor Adair.

Speaker 9 (02:00:00):
He kept me with him for six months, and now.

Speaker 2 (02:00:04):
Now I'm going home again with Georgie.

Speaker 64 (02:00:07):
You can hear.

Speaker 20 (02:00:09):
Listen, listen hard, and tell me what you can hear?

Speaker 11 (02:00:14):
Right now?

Speaker 20 (02:00:15):
I think very much the wind cricket.

Speaker 9 (02:00:20):
Cricket from the wind. Do you know what I can hear?

Speaker 20 (02:00:26):
I can hear the glass growing, the sap rising in
the trees. I can hear the stars moving in their courses.

Speaker 2 (02:00:36):
I can hear things that no man ever heard before.

Speaker 20 (02:00:40):
Now do you know why I said that this was
the most wonderful evening that ever was?

Speaker 45 (02:00:45):
Yes, Simon, but I knew why before.

Speaker 20 (02:00:49):
You see, I just left the place up on the
hill myself.

Speaker 9 (02:00:52):
You left the you mean, and I was taken there.

Speaker 20 (02:00:55):
I was flying your eyes. Yes, sir, I haven't noticed
before that. They asked, shall we walk on.

Speaker 9 (02:01:05):
Together, Simon?

Speaker 29 (02:01:08):
And just where did you plan to go?

Speaker 20 (02:01:11):
Well, I've been thinking about that for weeks now, all
the weeks when I couldn't leave my room.

Speaker 9 (02:01:18):
I must get used to being able to hear again.

Speaker 20 (02:01:21):
Gradually, from my window I could see an old mill
just this side of the village. It's deep in the woods, deserted.
There's mass on the water wheel, and the door hangs
open by one hind.

Speaker 9 (02:01:36):
You hear that, and you can see it from here.

Speaker 20 (02:01:40):
My eyes have become as good as your hearing.

Speaker 63 (02:01:43):
You thought of going there, living there for.

Speaker 20 (02:01:46):
A while until I was ready to return to the world. Oliver,
Why don't you come with me? Then, when we are
both ready, we can go back together to the world.
I couldn't think of what it's going to mean, how
much we're going to be able to help people, You
with your sight and I with my hearing. Yes, yes,

(02:02:12):
of course, all right, Simon.

Speaker 2 (02:02:16):
We'll go to your old male.

Speaker 9 (02:02:33):
This way, Oliver, up this path.

Speaker 20 (02:02:37):
He almost coming to the farmer.

Speaker 9 (02:02:40):
He seems to be looking for something. I'm looking for
my cow.

Speaker 20 (02:02:44):
Have you seen her?

Speaker 5 (02:02:45):
For?

Speaker 9 (02:02:45):
What kind of a cow?

Speaker 1 (02:02:46):
Is she?

Speaker 20 (02:02:47):
A brown and a white one with a crooked horn?

Speaker 9 (02:02:49):
Wait? I hear her.

Speaker 1 (02:02:53):
She's grazing in the field on the other side of
the woods here, that's almost a mile from you.

Speaker 9 (02:03:00):
Yeah, I have good ears. Good he must have ears
like a fox.

Speaker 20 (02:03:05):
But that feels that's the squire's How did you get there?

Speaker 9 (02:03:09):
Do you think someone took her?

Speaker 20 (02:03:10):
Who would Well, it's the squire's land. But he's the
richest man around here. Why should he have taken my car?

Speaker 3 (02:03:17):
Wait a minute, let me see.

Speaker 28 (02:03:21):
Yes, yes, I do see someone with your cow.

Speaker 3 (02:03:25):
He's just leaving her.

Speaker 9 (02:03:28):
You can see that right through the woods.

Speaker 20 (02:03:31):
I have good eyes.

Speaker 11 (02:03:33):
Who is it? What's he like?

Speaker 9 (02:03:35):
Is it all wearing a brown jacket?

Speaker 5 (02:03:36):
Yes? I know it.

Speaker 65 (02:03:38):
It's the squire.

Speaker 63 (02:03:38):
He's trying to steal my car.

Speaker 9 (02:03:40):
I'd better go get her.

Speaker 66 (02:03:41):
Thank you very much, Preaps.

Speaker 9 (02:03:42):
I'll see you both again.

Speaker 63 (02:03:43):
Perhaps we'll both.

Speaker 20 (02:03:45):
Be staying around here for a while there in the
old mill. Why did you tell him that, Oliver? Did
you really see the squire taking his cow?

Speaker 66 (02:03:53):
I saw what he wanted me to see.

Speaker 20 (02:03:55):
What do you mean he hates the squire because the
squire is rich and he's poor.

Speaker 13 (02:04:00):
But what never mind, Simon, Shall.

Speaker 20 (02:04:03):
We go on to the mill.

Speaker 9 (02:04:09):
Here we are, and it's just the way I knew
it would be.

Speaker 20 (02:04:13):
Why peaceful, no noises, just thousands, and even those are dulled.

Speaker 9 (02:04:20):
But the waterfalls, it's just the way I knew it
would be.

Speaker 20 (02:04:23):
Too dark, dank, the home of the rats and spiders.
We'll be happy living here with them, happy with rats
and spiders.

Speaker 63 (02:04:35):
Because they're like me.

Speaker 39 (02:04:37):
Rats see in the dark, and spiders thin wed.

Speaker 9 (02:04:41):
I don't understand you, aniver.

Speaker 20 (02:04:44):
Must you always see the worst, the most evil side
of everything?

Speaker 9 (02:04:47):
Always? But why don't you love people? Don't you think
that this is a good world?

Speaker 63 (02:04:54):
A good world?

Speaker 20 (02:04:55):
When I was blind for more than two years, whose
fault was that?

Speaker 66 (02:04:58):
What difference does that make?

Speaker 3 (02:05:00):
I was blind? And did anyone care that I was?

Speaker 45 (02:05:02):
Now?

Speaker 9 (02:05:04):
Love people? I hate the Oliver. That's wrong.

Speaker 20 (02:05:07):
You've no right to hate anyone or anything. Fact, it
sounds like weeds, guy, Yes, there it is there a swallow.

Speaker 1 (02:05:18):
Why it's frightening trying to get up by beating itself
against the wall.

Speaker 21 (02:05:23):
And all poor thing is.

Speaker 9 (02:05:25):
It's hurt itself fallen to the ground. I'd better catch it.

Speaker 28 (02:05:31):
Is it badly hurt?

Speaker 5 (02:05:33):
No?

Speaker 9 (02:05:34):
I don't think so. Oh, just this one way.

Speaker 20 (02:05:38):
There, let's see, perhaps we can put a splint on it,
heal it?

Speaker 5 (02:05:42):
Do you think so?

Speaker 9 (02:05:44):
Yeah?

Speaker 20 (02:05:45):
Here, I'll be gentle. It's still terribly frightened.

Speaker 9 (02:05:50):
I will, I will, Oliver. What are you doing to
the word doing good?

Speaker 47 (02:05:57):
You boy?

Speaker 9 (02:05:58):
You crushed the swallow, killed it?

Speaker 67 (02:06:01):
I have you?

Speaker 9 (02:06:04):
You killed it deliberately?

Speaker 37 (02:06:07):
Do you think so?

Speaker 39 (02:06:09):
I told you we all have some badness deep inside it,
even you here, you are ready to believe the worst
of me that I'd wantonly crusher a harm us little
spider deafened.

Speaker 5 (02:06:22):
SIUs? What is it?

Speaker 37 (02:06:25):
Huh?

Speaker 5 (02:06:26):
I don't know that?

Speaker 20 (02:06:28):
And something in your face, something that wasn't.

Speaker 9 (02:06:33):
I don't know what you're talking about. I'm going up
to bed, Simon, Simon, Wait, it wasn't he that was blind?

Speaker 20 (02:06:44):
It was I eyes or he's bad even clean food.
He's like one of the spiders he loved so much,
lurking here and spinning cunning ways to catch us and
people in what he saw in my face? Just now,
there was something there, something that wasn't there before.

Speaker 9 (02:07:07):
Death? Why did this have to happen to me? I
was so happy just a little while ago. I loved everyone,
the whole world.

Speaker 15 (02:07:18):
And now.

Speaker 9 (02:07:20):
Now I have to kill him.

Speaker 61 (02:07:23):
And here I am friends, Raymond, You're hosting me and
a thankum Ah also loved everyone. So Simon has decided
he must murdered his companions, not because he wants to,
but in order to keep him from spreading the hate
and evil he seems to love.

Speaker 9 (02:07:43):
That's a charming idea.

Speaker 61 (02:07:45):
But if all of his eyes are as good as
he says they are good enough to see death in
Simon's faith, how will he be able to do it?

Speaker 9 (02:07:55):
Quite a problem, isn't it.

Speaker 60 (02:07:56):
Well, Raymond, everyone has problems.

Speaker 9 (02:07:58):
It's the answer they can't.

Speaker 61 (02:08:00):
Certainly does mister Hurley in a mystery drama, Yes, and
in a domestic drama too.

Speaker 60 (02:08:05):
If you don't believe it, listen to what Agnes Vale
says to her husband at the dinner table.

Speaker 35 (02:08:09):
Bob, you hadn't get a word about the case, and
I had based a station for your business.

Speaker 9 (02:08:13):
That's just thirty.

Speaker 61 (02:08:13):
No one wants to be reminded of birthday.

Speaker 20 (02:08:15):
That's hilly.

Speaker 13 (02:08:18):
Well, if that was the case, I'd be about sixty.

Speaker 49 (02:08:20):
You mean ninety No one could pay up the gout
you've gotten only sixty years.

Speaker 8 (02:08:24):
If you felt as irritable, low and out of sort
as I have lately, you'd be grouchy too, of course
I would.

Speaker 49 (02:08:29):
Anybody would begin to do, have to feel that way?

Speaker 5 (02:08:32):
What can anyone do about it?

Speaker 39 (02:08:34):
Very simple, my dear, try Cottons liverpills.

Speaker 60 (02:08:37):
Right, and when you don't feel good, try Cotters little
liver pills. They do the work of klamo, but have
no calamel in them. Or they are simple pills made
of vegetable drugs. They wake up the floor of one
of our most vital adjusted juices. When this vital juice
flows at the rate of two points a day, it
helps to adjust our food and bring back the glorious
feeling that goes with regularity. Then most folks feel like

(02:09:00):
happy days are here again. But be sure you get
the genuine Carter's little liver pill.

Speaker 61 (02:09:13):
Our friends, are you sorry I advised you to sit
down before I've got that?

Speaker 9 (02:09:20):
You still want me to go on with the story of.

Speaker 5 (02:09:22):
The tell Tale Heart?

Speaker 9 (02:09:24):
Very well.

Speaker 61 (02:09:26):
It's a little later that same evening, and Simon is
sitting in the upper story of the old deserted mill waiting.

Speaker 20 (02:09:35):
Listen, sleep, olive us sleep? Aren't you ever going to sleep?

Speaker 15 (02:09:41):
Oh?

Speaker 9 (02:09:41):
I know you're lying down. I heard you getting undressed.

Speaker 20 (02:09:46):
I even heard the friend snap when you pull that
button off your shirt. But you're not asleep yet. I
can tell me you're breathing the way your heart's beating.
And that's what I must wait for the time when
you're really asleep, when you close those hawk eyes that
conceive and in the dark that could read murder in

(02:10:08):
my face when I didn't.

Speaker 51 (02:10:09):
Know it was there myself.

Speaker 2 (02:10:13):
Wait a minute, there, Now you're asleep, And now I
must go.

Speaker 9 (02:10:26):
Easy with the door, careful.

Speaker 2 (02:10:31):
And even more careful going down the stairs.

Speaker 5 (02:10:35):
Sh don't creak like that.

Speaker 9 (02:10:40):
I suppose he waits. No, he can't.

Speaker 2 (02:10:44):
He won't wake up. He can't even if he does.
Here we are the door to his room.

Speaker 5 (02:10:56):
How shall I do it?

Speaker 41 (02:10:58):
No?

Speaker 20 (02:10:59):
Sex is easy a glow, and I cool them out
and held them over his face and smott at him.
That's a Then I wouldn't have to touch him my water.

Speaker 24 (02:11:09):
Who's there?

Speaker 28 (02:11:11):
There is someone there.

Speaker 16 (02:11:13):
I can see you.

Speaker 9 (02:11:16):
It's Simon, Yes, it's Simon.

Speaker 5 (02:11:19):
What do you want?

Speaker 63 (02:11:21):
What are you doing here?

Speaker 66 (02:11:23):
And now you've come to kill me.

Speaker 9 (02:11:24):
Yes, Oliver, I've come to kill you.

Speaker 63 (02:11:28):
You can't do that.

Speaker 20 (02:11:29):
You can't just pre Yesali, I can, and I have
to fain or please his song struggle like that.

Speaker 9 (02:11:37):
I'm stronger than you are.

Speaker 62 (02:11:39):
You can't get away from me.

Speaker 9 (02:11:41):
You can't, you can't. Hm, No, I here it.

Speaker 20 (02:11:51):
It's your heart beating, founding, driving the blood through your veins,
beating more slowly now slower and painter, hunning down like
a tired clock. And I'm not going to let you
go until it stopped. So don't crackle, don't truckle, please,

(02:12:14):
just a few seconds more. I can hardly hear it now,
just a faint dropping murmur.

Speaker 2 (02:12:27):
And now even that's God. Yes, it stopped, and you're dead.

Speaker 9 (02:12:38):
Oliver. Listen. I didn't want to do it. I didn't,
but I had to.

Speaker 20 (02:12:44):
You were only interested in hurting people. That's why I
had to do it. And that's why I'm not going
to give myself Apple, confess that I killed you, because
I could still help people. You understand, don't you. That's
why I must get rid of your body, hide it somewhere.

Speaker 9 (02:13:00):
Oh what am I to do with you?

Speaker 20 (02:13:03):
I know I'll keep you here, tear up the floor
and hide you underneath it.

Speaker 5 (02:13:09):
Yeah.

Speaker 9 (02:13:11):
Now this crowbar in this one here and there that
should be big enough.

Speaker 11 (02:13:21):
And now.

Speaker 51 (02:13:24):
In your gow.

Speaker 2 (02:13:27):
Uh uh, goodbye, Oliver, goodbye.

Speaker 9 (02:13:36):
I put these boards.

Speaker 20 (02:13:37):
Back, nail them down again and with the same rusty nails, and.

Speaker 9 (02:13:45):
It's done.

Speaker 20 (02:13:47):
Now I'll spread this dust over the cracks. No one
will be able to tell what I've done now, not
even with your eyes if you could still use them. Okay, Yeah,
a light lantern outside, someone at the door.

Speaker 5 (02:14:06):
Maybe Christa's come back again?

Speaker 65 (02:14:10):
Yeah, who is it?

Speaker 20 (02:14:12):
It's strength, the constable, the constable over.

Speaker 5 (02:14:16):
What do you want?

Speaker 15 (02:14:17):
Oh?

Speaker 20 (02:14:18):
Nothing much.

Speaker 9 (02:14:19):
But I dropped in. Hello, come in, constable, come right in.

Speaker 20 (02:14:28):
Thanks, wet time a night to be visiting. But there
were strangers living out the end, I thought I might. Well,
of course, it's part of your job to investigate strangers.

Speaker 2 (02:14:38):
Yeah, in no way, you're a stranger.

Speaker 9 (02:14:42):
Exactly what do you mean?

Speaker 20 (02:14:44):
You've been around here for some time? Haven't you a
a doctor? Darre's place in Nil? I mean, oh, yes, yes,
of course I just left there this afternoon. H and
your friends will see sleeping friends.

Speaker 9 (02:14:57):
There's no one here with me. I'm all alone.

Speaker 20 (02:15:00):
Hmm that they said you mind al ground? No, of
course not today, doubt your word or anything like that.

Speaker 9 (02:15:08):
No, I don't apologize.

Speaker 20 (02:15:10):
Comfortable, well, comfortable, cly no sign of anyone else that
I coached, did now?

Speaker 65 (02:15:23):
And just sit down here for a minute.

Speaker 9 (02:15:26):
No that I don't sit there, Yeah, because uh.

Speaker 20 (02:15:32):
Well it was just a the floor looked a little
rotten right there, and and I was afraid that.

Speaker 9 (02:15:39):
I guess it's all right.

Speaker 65 (02:15:41):
Don't have to hold me anyway, don't you.

Speaker 4 (02:15:47):
Heaven?

Speaker 5 (02:15:48):
What's that?

Speaker 9 (02:15:50):
That's why? That's that's popping?

Speaker 20 (02:15:55):
That's noise beating away like I don't hear any noise,
but you must too.

Speaker 9 (02:16:02):
H There was years of fine. Sometimes they're too good.
It's just your watch ticking right. I haven't got a
watch on me, Yeah you haven't.

Speaker 24 (02:16:15):
But then what's.

Speaker 9 (02:16:18):
Oh look comfortable? I could use a bit of exercise.
I suppose I walk you back to the village.

Speaker 20 (02:16:24):
And it's many nice of you, the name your company,
there's no hurries.

Speaker 9 (02:16:30):
Then it lets you do for well. I don't want
to sit constable. Will you will come down now this minute?

Speaker 65 (02:16:36):
If you don't know, I don't know what I'll do.

Speaker 9 (02:16:41):
I have gotten yourself into his state.

Speaker 65 (02:16:45):
In the matter.

Speaker 9 (02:16:45):
And oh no, of course not.

Speaker 20 (02:16:47):
It's it's just that I get nervous, rest lessened.

Speaker 9 (02:16:52):
You won't mind if I if I walk up and
down right here?

Speaker 5 (02:16:57):
Will you?

Speaker 9 (02:16:58):
It'll make you feel any better?

Speaker 18 (02:17:00):
Go ahead?

Speaker 9 (02:17:00):
Thank you?

Speaker 29 (02:17:02):
This floor it is noisy, isn't it.

Speaker 9 (02:17:08):
Icy enough? Comfortable?

Speaker 1 (02:17:10):
This?

Speaker 68 (02:17:12):
Leave here?

Speaker 9 (02:17:13):
I didn't wondering about it? What's it for?

Speaker 15 (02:17:15):
You? Know?

Speaker 1 (02:17:16):
Yes?

Speaker 66 (02:17:17):
I think it opens, the sloop starts the mill wheell.

Speaker 9 (02:17:20):
Jurne it does, and and it try see if it
still works there? What's all right? Whenever I can do
is not loud enough? He'll comfortable? I haven't think.

Speaker 22 (02:17:36):
Will come I leave here with me?

Speaker 65 (02:17:38):
If you don't double, I don't come back.

Speaker 9 (02:17:40):
Look, there's no need to get so excited you. I'm
not excited like the calm and quiet.

Speaker 6 (02:17:48):
Will you come now right away?

Speaker 20 (02:17:49):
I told you I know what you're doing, sitting there
pretending you haven't heard, making me stay here and listen
to it beating.

Speaker 9 (02:17:58):
Louder and louder. Loved all right, my confess kill kill
you his right underneath you under the floor.

Speaker 69 (02:18:09):
I killed you you here?

Speaker 63 (02:18:16):
Ah, hello doctor, they're all constable.

Speaker 3 (02:18:27):
Hello, Well did you find them.

Speaker 9 (02:18:29):
Yes, doctor, I am gud.

Speaker 1 (02:18:32):
Some of my boys will be bringing the other one,
Oliver along a little.

Speaker 29 (02:18:34):
While bringing him.

Speaker 9 (02:18:37):
It matters with him.

Speaker 65 (02:18:38):
H Charter were in the old Male by the river.

Speaker 20 (02:18:42):
Samon had evidence. We tried to kill Oliver, but he
hadn't done a good job of it. He nailed them
up underneath the floor. And then when we got him
out he was unconscious and he's still pretty weak.

Speaker 9 (02:18:52):
I see bring Simon in video.

Speaker 16 (02:18:56):
Yeah, all right, Samon in there.

Speaker 20 (02:18:59):
Yes, now turn him aroundswer that he's facing me.

Speaker 9 (02:19:05):
That hell, Hello Simon, Hello, doctor Simon.

Speaker 20 (02:19:11):
Why did you run away from here this afternoon?

Speaker 9 (02:19:14):
Run away?

Speaker 20 (02:19:15):
I didn't run away on let What need was there
for me to stay when I was cured?

Speaker 63 (02:19:22):
And what you did rather tried to do to Oliver?

Speaker 9 (02:19:28):
That was wrong.

Speaker 20 (02:19:30):
I know it was wrong, but I had to do it.
He was bad, doctor bad. He hated everyone wanted to
hurt him, and I couldn't let him.

Speaker 5 (02:19:41):
You know, it's.

Speaker 20 (02:19:42):
Strange constables, two men, both mental cases because of a
sudden affliction. But while Oliver's blindness made him hate, Simon's
deafness filled him with love for all menkind.

Speaker 9 (02:19:58):
Deafinish you mean, he's deaf, but when you talk to
me answers you.

Speaker 66 (02:20:05):
Yes, he reads lips.

Speaker 20 (02:20:08):
That's why I had your timey around, for he was
facing me.

Speaker 9 (02:20:11):
But he's stolen death.

Speaker 51 (02:20:14):
He will never hear again.

Speaker 9 (02:20:15):
What's that you're saying?

Speaker 13 (02:20:17):
Death?

Speaker 9 (02:20:18):
But I'm not deaf. Where there's no one can hear
better than I know one.

Speaker 20 (02:20:24):
I heard everything when I left here, sings no man
has ever heard before the song of the swan, the
breathing of the fish. Why I even heard the beating
of Oliver's heart after I had killed him. Yes, Simon,

(02:20:44):
of course I'm not dead. I tell you I'm not.

Speaker 5 (02:20:50):
I'm not.

Speaker 61 (02:21:00):
Ah Oh, Simon, did hear all the things he said?

Speaker 5 (02:21:06):
He did, even the beating of the telltale heart, and
not with his ears, but.

Speaker 61 (02:21:11):
With something else deep anxieties for a sick brain. And
speaking of telltale heart, I sorry, it's not hard to talk.
Just mister Hurlege's knees knocking together.

Speaker 9 (02:21:22):
And if you think you're kidding, Raymond, you're crazy.

Speaker 61 (02:21:24):
I'm not kidding, aired and mister Carlile's audiences that's the
equivalent of applause. Since everything is generally much too scared
to tell the usual approval with their hands, so we
won't take any chances. We'll just use words and say
thanks brought us called out for your splendid performance of
tonight's stamonization apposed the Telltale Heart. If it's a pleasure
Rayment to be able to bring our friends one of

(02:21:46):
the world's most famous stories. And I'm very grateful to
whever it's Sloan is Oliver and Santos or Theata.

Speaker 9 (02:21:53):
Who played Christis for the help that they gave me.

Speaker 20 (02:21:56):
So now I suggest that you listen to ed Hurlicue,
who has some helpful advice for which you may be
very grateful.

Speaker 61 (02:22:08):
This is Raymond again, your host, and getting ready to
close that door to the inner sanctum and say good
night until the same time next week. In the meantime,
if you car to do a little blood festie reading,
try this month's in a Sanctum novel I'll Eat You Last,
I Hate the Brandon.

Speaker 5 (02:22:27):
In case you've already read.

Speaker 61 (02:22:28):
That, why not try some of the other stories by
the author of Tonight's mystery drama, Edgar Allen Paul. According
to all critics, this writer has quieted.

Speaker 70 (02:22:38):
Future have a good night's thanks.

Speaker 60 (02:22:48):
To mysteries We'll be on here again next Sunday night,
same station, same.

Speaker 57 (02:22:51):
Time, with another chiller.

Speaker 5 (02:22:53):
Four thriller fans, they'll be with us.

Speaker 60 (02:22:55):
This is it early speaking for the makers of Potters
at the Liverpools and reminding you when you don't feel
gone by Connors, Little liver Field, the best friend of
your funny disposition.

Speaker 65 (02:23:29):
Every door has a key.

Speaker 6 (02:23:32):
There's a key to every situation. Behind every unopened door,
there is a missake.

Speaker 65 (02:23:40):
And the opening of this door introduces us to another
in the series the key.

Speaker 63 (02:23:48):
Heck of a night?

Speaker 65 (02:23:49):
So what so nothing?

Speaker 29 (02:23:51):
That's the heck of a knight?

Speaker 66 (02:23:53):
And being saying that for eleven straight nights we expect
something different.

Speaker 65 (02:23:58):
I'd rather be told about it.

Speaker 66 (02:24:00):
Soak your head, That's what I like about you.

Speaker 65 (02:24:02):
Stand good, quick and knock it off.

Speaker 66 (02:24:04):
Look look, all I said was it's a heck of
a knight.

Speaker 65 (02:24:09):
Yeah, well then then will he here? He jumps down
my neck like I read it.

Speaker 66 (02:24:12):
What do you think when three funds have got to
work together, they.

Speaker 65 (02:24:14):
Could have think it maybe thinking of something different?

Speaker 66 (02:24:16):
I say, sometimes that's what they think.

Speaker 65 (02:24:18):
They could go.

Speaker 66 (02:24:19):
Look they finished here in a couple of days, then
it won't make any difference.

Speaker 65 (02:24:25):
What you say, I'll let it rest. Uh.

Speaker 66 (02:24:32):
Oh, you know, it's funny being the only three guys
from miles around, just.

Speaker 65 (02:24:37):
Like well, like wore the only people left that is.

Speaker 51 (02:24:42):
Yeah, it wouldn't it be funny if we got back
and found everyone not there?

Speaker 16 (02:24:47):
You see what I mean?

Speaker 65 (02:24:48):
Kind of oh, kind of scary. Some of the people
I know, I'd be happy if they weren't there.

Speaker 13 (02:24:55):
Not me.

Speaker 66 (02:24:57):
I want to get back to the big city. I
want to hear some noise and see some lights and
drink some good whiskey.

Speaker 65 (02:25:03):
That's what I want to do. So uh, I've been thinking, you.

Speaker 66 (02:25:32):
Know, for the three guys's been working together now for
six months. You know, we well, we don't know very
much about each other. Maybe there's nothing much to know.

Speaker 65 (02:25:41):
Everyone's got something interesting up their sleeve.

Speaker 51 (02:25:45):
Hey, are you married?

Speaker 71 (02:25:47):
Married?

Speaker 65 (02:25:49):
I got seven grandchildren?

Speaker 51 (02:25:51):
Are you married?

Speaker 9 (02:25:53):
Only?

Speaker 66 (02:25:53):
Have I got seven grandchildren? Almost always got him in
the house. No, we think, and when the kids grew
up and married off, we'd have some quiet.

Speaker 51 (02:26:03):
Around the house.

Speaker 65 (02:26:03):
Uh huh, not likely.

Speaker 66 (02:26:06):
As soon as they were married and had some kids
of their own, they come and visit. And then a
couple of them.

Speaker 65 (02:26:11):
Had some bad luck and they come back to live
pretty soon. The house is full of screaming kids. Well
that's life.

Speaker 62 (02:26:19):
Still, I guess I wouldn't be without him.

Speaker 65 (02:26:24):
What about you?

Speaker 62 (02:26:24):
Stan?

Speaker 22 (02:26:25):
Not married?

Speaker 65 (02:26:26):
Not yet anyway?

Speaker 66 (02:26:28):
Oh, I see you got somebody in mind.

Speaker 65 (02:26:30):
Oh couple.

Speaker 66 (02:26:32):
I'm gonna wait for a big dowry. Oh maybe a
rich widow. They're gonna face like yours.

Speaker 5 (02:26:40):
You should get what you can.

Speaker 66 (02:26:41):
Oh, I'm not handsome, but I got sex appeal.

Speaker 65 (02:26:44):
Who tells you that the way machine.

Speaker 66 (02:26:48):
Got my weight wrong?

Speaker 5 (02:26:49):
Too?

Speaker 66 (02:26:51):
Hey, you know I must be pretty good to have
a nice house and a heap of kids. Say, but
you're never lonely only Hm? Well do you think I
took this job the only way I could figure to
get me on holiday?

Speaker 16 (02:27:04):
Still?

Speaker 52 (02:27:05):
Sure me?

Speaker 15 (02:27:07):
Yeah?

Speaker 65 (02:27:08):
WILLI what you married or anything? And say that again?
Well ayatt, I sure am. Hey sounds pretty good? Pretty good?
You just sit here, man, boy, I'll show you what's
pretty good.

Speaker 66 (02:27:29):
Seem really interested in anything?

Speaker 29 (02:27:31):
It must be some doll.

Speaker 66 (02:27:33):
I'll show you what's pretty good.

Speaker 51 (02:27:35):
Yeah, take a look at that.

Speaker 65 (02:27:40):
Me too, that's your wife. Nobody else. She used to
be on the stage went under the name of the
Pink Pearl and I used to.

Speaker 6 (02:27:49):
Do a specially act of pretty high class.

Speaker 66 (02:27:53):
I've been married six months, six months, and you believe
her to Cameron worked a stinking job like this.

Speaker 62 (02:28:02):
Oh, you're crazy in the head.

Speaker 66 (02:28:05):
I figured the door was good in her and I
wouldn't spend any out here. That way, I could save
a lot, you see. You see Pearl, well, well she's
been used to nice things, but I didn't recoon it
was fair to make it do without them. So so
so I decided to take this and then and with
the door, I say, we can maybe put a deposit
on a nice business or something. It's the first time
I've ever heard you see more than ten words at

(02:28:27):
the time. This doll sure has you.

Speaker 65 (02:28:31):
Yeah, she certainly has.

Speaker 51 (02:28:35):
Oh used there in that stid.

Speaker 65 (02:28:37):
Huh oh uh nothing uh looking at the picture, real nice. Yeah,
well you're rupped enough, hand it over. I still wouldn't
have left the doll like that, not a million. Oh,
we figured it was worth it.

Speaker 66 (02:28:53):
Of course, I didn't do it without a long talk
about it.

Speaker 65 (02:28:55):
Did Pearl like the idea?

Speaker 66 (02:28:58):
Of course she didn't like he She figured we needed
the money.

Speaker 65 (02:29:02):
So but was that uh she uh is still working? Yeah,
but not on the stage anymore. She told me she
was taking a job in a bakery. No, not that
there is anything wrong with the stage. She had a
very refined act. It's just a wow.

Speaker 66 (02:29:18):
She's a married woman now and whoa you know how
it is?

Speaker 65 (02:29:22):
Oh, y'all, I'll bet she was a wow.

Speaker 66 (02:29:26):
And then some Yeah, never could figure why a could
lookerike her married?

Speaker 65 (02:29:30):
A pan faced guy like me.

Speaker 62 (02:29:33):
Must be loved the only reason I can figure.

Speaker 65 (02:29:38):
Yeah, I guess so they But you'll be glad to
get back to her.

Speaker 6 (02:29:42):
Ah, that's not the word.

Speaker 65 (02:29:47):
Wait, when do you figure they'll pick us up?

Speaker 66 (02:29:49):
Nie, Well, job's relished just about couldn't take us up anytime.

Speaker 67 (02:29:55):
You know.

Speaker 72 (02:29:55):
It's a funny thing to think.

Speaker 65 (02:29:56):
This whole value will be flooded soon.

Speaker 66 (02:30:00):
How long it'll take the fill Oh, and that coffer
goes you will be awake before you can. Ye are
supposed to suppose we got to do nice. Keep the
people out of the area.

Speaker 65 (02:30:09):
That's about it. Yeah, that won't be hard.

Speaker 66 (02:30:13):
Everyone for a hundred miles around knows about the damn
so they're not likely to be silly enough to come here.

Speaker 65 (02:30:19):
Hey, you're gonna take us out. That helicopter.

Speaker 66 (02:30:21):
I suppose so two o us. Anyway, someone has to
drive the jeep.

Speaker 65 (02:30:29):
Won't be sorry when we get the green light?

Speaker 9 (02:30:31):
Oh me?

Speaker 65 (02:30:33):
Uh, well, you're taking two the fat all night.

Speaker 62 (02:30:37):
If you want, mind hitting a sack.

Speaker 6 (02:30:40):
I'll sure be glad to sleep on a decent bed again.

Speaker 62 (02:30:43):
Well we all?

Speaker 66 (02:30:45):
Yeah, sure, yeah, I've never seen Willish talking even be
sure going and that wife of his. Don't blame him
if it comes to that, No, U, I'll blame him
one little bit. I wish they could have.

Speaker 51 (02:31:06):
Caught her act.

Speaker 65 (02:31:08):
You get back to the city before, will you.

Speaker 51 (02:31:09):
You might just be lucky.

Speaker 9 (02:31:12):
What do you mean she's working in a.

Speaker 10 (02:31:16):
Dive on Moore Street?

Speaker 51 (02:31:17):
What you got it?

Speaker 10 (02:31:19):
How do you know?

Speaker 15 (02:31:21):
You know?

Speaker 72 (02:31:21):
When I went in a town about three weeks ago. Yeah,
I'm in a parlement to this joint.

Speaker 15 (02:31:25):
See, we just caught her act.

Speaker 66 (02:31:28):
Well she wasn't called the pink pool, but uh it's
the same as SHESSI.

Speaker 62 (02:31:36):
I don't think this would make Willie very happy.

Speaker 51 (02:31:38):
Better not say anything to him, you nuts, take my head.

Speaker 73 (02:31:41):
Off the cool guy.

Speaker 62 (02:31:45):
Feel sorry for him?

Speaker 72 (02:31:47):
Yeah, you'd be a downside more sorry if you knew
the whole story.

Speaker 62 (02:31:51):
What a whole story.

Speaker 72 (02:31:53):
Uh yeah, I don't think I better say anything. You uh,
you might just happen to mention it.

Speaker 62 (02:32:00):
Not me, I'm an oyster. I've been married too long
to have.

Speaker 9 (02:32:03):
A big man.

Speaker 72 (02:32:04):
Well, you see, the reasonably went to this joint was
because this time I had a girlfriend working there.

Speaker 51 (02:32:09):
So so guess who the girlfriend is?

Speaker 15 (02:32:15):
No?

Speaker 62 (02:32:15):
Yeah, see my Uh she didn't know why I worked
with Wooly.

Speaker 72 (02:32:22):
He come to think of it about him, But then
I didn't know she was Willy's wife. Well, anyway, after
the show were well, we kind of teamed up and
made a fool you know, and uh we uh had
all the spots we you know, we really did the town.

Speaker 65 (02:32:36):
H Well, listen to just what sort.

Speaker 51 (02:32:40):
Of an actor she do?

Speaker 2 (02:32:42):
Hardly don't have silly questions.

Speaker 51 (02:32:47):
Oh see, one morning I saw a picture. Why I
didn't twig for a second and didn't hit me.

Speaker 62 (02:32:55):
Mm I thought she went quiet, all of a sudden quiet.

Speaker 51 (02:32:58):
But wouldn't you be.

Speaker 66 (02:33:00):
I was scared he'd noticed something he nearly did. Well,
you were staring at that picture. Well, I had to
make sure it was the same girl. Look you're positive,
an't you no mistake?

Speaker 72 (02:33:10):
I bet my life on it will His wife and
the dame at the club on woll.

Speaker 62 (02:33:14):
Street are one and the same girl. All I can
say is I hope he never finds out. Yeah, yeah,
I hope for her sake.

Speaker 72 (02:33:22):
We will he be a rough man if he really
got mad.

Speaker 73 (02:33:25):
Poor guy.

Speaker 62 (02:33:26):
Some dames just don't deserve to live.

Speaker 66 (02:33:29):
Yeah, he is working himself silly just to get some
money for a little framp.

Speaker 41 (02:33:35):
All.

Speaker 29 (02:33:35):
Would you like to have no head? Willie?

Speaker 20 (02:33:38):
Yeah?

Speaker 65 (02:33:38):
Willie?

Speaker 66 (02:33:39):
We uh we wish thought you'd hit the sack, will He?

Speaker 65 (02:33:42):
Well, you thought wrong, didn't you?

Speaker 46 (02:33:44):
Yeah?

Speaker 65 (02:33:45):
I guess I did. What were you saying about her?

Speaker 51 (02:33:48):
About?

Speaker 13 (02:33:48):
Uh?

Speaker 3 (02:33:49):
About whom?

Speaker 71 (02:33:49):
Don't kid me?

Speaker 66 (02:33:51):
What were you saying about pearl? Come on here before
I tear it out of here?

Speaker 65 (02:33:57):
Will Yeah, that's right, Well it was nothing, honestly.

Speaker 51 (02:34:00):
For you're not there, kidney. What were you saying?

Speaker 13 (02:34:03):
Will you?

Speaker 65 (02:34:04):
Will he put it way off.

Speaker 29 (02:34:06):
It wasn't any show it out yet?

Speaker 51 (02:34:09):
Choke about you?

Speaker 6 (02:34:10):
Whenning go?

Speaker 24 (02:34:11):
Whenny go?

Speaker 51 (02:34:12):
Willis about her?

Speaker 65 (02:34:16):
I saw the way he was looking at a picture.

Speaker 51 (02:34:20):
Now you're really telling now.

Speaker 29 (02:34:22):
You're in trouble. Get away, get away from me, leaving
me alone?

Speaker 71 (02:34:24):
Will he leave him?

Speaker 65 (02:34:25):
The low light you shouldn't hit me, stand, I don't
like it. So what are you saying?

Speaker 8 (02:34:28):
What are you saming?

Speaker 51 (02:34:29):
Light?

Speaker 6 (02:34:29):
I don't take it to you.

Speaker 51 (02:34:30):
No good.

Speaker 63 (02:34:31):
You're to say things about my wife?

Speaker 65 (02:34:33):
You get away?

Speaker 6 (02:34:34):
Will no good?

Speaker 51 (02:34:35):
Backing off? You don't like people telling her life about it?

Speaker 49 (02:34:38):
I don't like it.

Speaker 14 (02:34:39):
Nobody's telling lies.

Speaker 5 (02:34:40):
You like that?

Speaker 65 (02:34:42):
Huh mm hmm.

Speaker 66 (02:34:44):
I didn't like it, bully.

Speaker 65 (02:34:45):
Yeah, and well you're you're not.

Speaker 5 (02:34:47):
Gonna like this.

Speaker 65 (02:34:48):
Stand your wife that pool time, I will he How
do you like that? She's a thirty no good proof.

Speaker 71 (02:34:53):
Tim, you shouldn't have said those things to him.

Speaker 72 (02:35:16):
Stand, what was his own fault?

Speaker 65 (02:35:18):
Nearly killed me.

Speaker 66 (02:35:19):
I've never seen a guy go to pieces like that,
even hit with a pole ax. Yeah, I should have
kept my big mouth shut in the first place, I
guess so well, anyway, I am as much to blame
as you.

Speaker 51 (02:35:31):
I wanted to know.

Speaker 5 (02:35:34):
Who.

Speaker 66 (02:35:35):
Oh, Willie works like a dog to say money while
his wife goes off voicing.

Speaker 71 (02:35:38):
Some crummy joint.

Speaker 9 (02:35:39):
Yeah.

Speaker 66 (02:35:40):
I suppose you could forgive that if she figured that
she could make more money there than working in the bakery.

Speaker 6 (02:35:46):
But it is the other that's so hard to take.

Speaker 66 (02:35:49):
Men like Willy won't put up with a wife two times,
and him who would?

Speaker 65 (02:35:53):
For peitchs sake, my guy gets married, he should expect
his wife could run straight.

Speaker 6 (02:35:59):
Can you imagine what gonna happen when he gets home?

Speaker 2 (02:36:02):
Wow?

Speaker 65 (02:36:03):
No, maybe nothing.

Speaker 66 (02:36:05):
Maybe you're just leaver without a word. Big tough characters
like Willie are funny. Something big happens to him. Something
they can't fight or be with their fissy go to pieces.
That's what's happened to Willie.

Speaker 65 (02:36:18):
Yeah, no, no good worrying anymore. I suppose, Well, it
was gonna hit the car. Who have to get out
of here?

Speaker 66 (02:36:28):
Be glib in the whole joints full of water?

Speaker 51 (02:36:37):
All right.

Speaker 66 (02:36:38):
He wouldn't do a thing like they said would your baby.

Speaker 62 (02:36:41):
They were lying on their teeth and we had all
work out.

Speaker 66 (02:36:44):
I'm gonna get some money and make something of ourselves. No, no,
you just wouldn't do it.

Speaker 62 (02:36:49):
Jodielias.

Speaker 66 (02:36:53):
Yeah, wait, do I tell you what they said about you?
But laugh, I stand say anything about it. He shooting
just because he's got no one. You can't sorry for it.

Speaker 65 (02:37:11):
Well, pearl, honey, I'm home and it's Willie Pearl. Honey, pearl, Hey, pearl, war.

Speaker 10 (02:37:23):
Yeah, that's you.

Speaker 72 (02:37:24):
She's going for walk someplace and a crazy pair.

Speaker 65 (02:37:27):
Just because you're a good looking doll.

Speaker 6 (02:37:29):
They make up lying storied about you.

Speaker 72 (02:37:35):
You're gonna hate me for coming to this joint, honey,
because just the oh he said, Dame was doing the
act here.

Speaker 51 (02:37:42):
Dame looks like you, and I just want to see it.

Speaker 5 (02:37:46):
He see it?

Speaker 20 (02:37:48):
Mm hmm.

Speaker 74 (02:37:54):
Then, gentlemen, we have great pledge in presenting to you
the toast of whompsie hellttle girl with the best exit
side of any place, the fabulous money.

Speaker 6 (02:38:08):
It ain't you, further say, it ain't you?

Speaker 5 (02:38:32):
Surprise?

Speaker 37 (02:38:34):
Who's that?

Speaker 22 (02:38:35):
Hi?

Speaker 69 (02:38:36):
Wally?

Speaker 39 (02:38:38):

Speaker 66 (02:38:40):
I live here doing Oh sure, honey, it's just I
told her. I thought she was out of a damn
I'm not.

Speaker 63 (02:38:46):
Oh, I can see that.

Speaker 50 (02:38:48):
Promised to call me when the job was finished.

Speaker 65 (02:38:50):
Why why didn't you because the job ain't finished yet?

Speaker 5 (02:38:54):

Speaker 65 (02:38:55):
What kind of guy see his own wife if he
wants to?

Speaker 49 (02:38:58):
Sure, hann but you're not supposed to leave the job
for the dams ready to blow.

Speaker 65 (02:39:02):
Nobody knows I'm up the job.

Speaker 6 (02:39:04):
I just walked out while the other two was asleep. Yeah,
have you to see me, Pearl.

Speaker 67 (02:39:12):
Should I am Willie?

Speaker 72 (02:39:14):
I drove one hundred and fifty miles to see you, honey.
Ain't you even gonna give me a kiss?

Speaker 49 (02:39:19):
Sure?

Speaker 5 (02:39:21):
And yeah?

Speaker 6 (02:39:22):
And your husband? You know I'm not your brother.

Speaker 9 (02:39:27):
Yeah?

Speaker 12 (02:39:28):
Better, So.

Speaker 69 (02:39:31):
You make yourself comfortable, will I'll make you some coffee.

Speaker 49 (02:39:34):
I'm afraid there's not much in the ice spot.

Speaker 65 (02:39:36):
I'm eating much?

Speaker 22 (02:39:37):
No, not much.

Speaker 6 (02:39:38):
I expect eating the bakery.

Speaker 65 (02:39:39):
Bakery.

Speaker 19 (02:39:40):
Yeah, yeah, yeah, I eat there.

Speaker 31 (02:39:42):
They give me real nice meals.

Speaker 65 (02:39:44):
Do they treat you right?

Speaker 75 (02:39:45):
Oh?

Speaker 5 (02:39:45):
Sure they do it.

Speaker 64 (02:39:46):
Yeah, they're always nice to me.

Speaker 31 (02:39:48):
Treat you like one of the family.

Speaker 65 (02:39:50):
That's good.

Speaker 66 (02:39:51):
I wouldn't like it if you weren't being treated right.
You're my wife, Pearl, and I want you to be happy.
You don't like work in one place? All you got
to do is see you I don't like it, and
you can just change your job.

Speaker 19 (02:40:02):
Oh no, no, I like it.

Speaker 6 (02:40:03):
Fine.

Speaker 65 (02:40:04):
You don't want to be frightened to tell me if you.

Speaker 6 (02:40:06):
Do decide to change, I understand.

Speaker 18 (02:40:08):
I know.

Speaker 49 (02:40:11):
Why are you so concerned about the job, For you,
you ought to be worried about your own. You're gonna
take some money, you know you haven't forgotten about what
we're gonna do?

Speaker 35 (02:40:19):
Have you about this little business?

Speaker 76 (02:40:22):
No?

Speaker 65 (02:40:23):
No, I haven't forgotten have you?

Speaker 64 (02:40:26):
That's all I ever think about that?

Speaker 25 (02:40:29):
Has you?

Speaker 65 (02:40:32):
What have you been doing?

Speaker 9 (02:40:33):
Night?

Speaker 65 (02:40:34):
Not a much nip read, taking a movie?

Speaker 51 (02:40:36):
Usual thing e I got.

Speaker 65 (02:40:38):
A ancher and to go back to the actor.

Speaker 20 (02:40:40):
No, no, that's one thing I'll never do.

Speaker 51 (02:40:45):
What do you have to lie on me for?

Speaker 35 (02:40:47):
Prow lie?

Speaker 23 (02:40:49):
Do you?

Speaker 18 (02:40:51):
I don't know, Willie, I'm not lying.

Speaker 6 (02:40:52):
What's wrong with you?

Speaker 72 (02:40:54):
I listened to a guy I called my wife for
two time of the night, my nearest darn.

Speaker 65 (02:40:58):
I choked it because he said it.

Speaker 6 (02:41:00):
I didn't believe you.

Speaker 66 (02:41:01):
Could be like that, Not, Pearl, I should think not.
So I took the jeep and came here to see you.
I didn't believe him for one minute. That's not the
reason I comme inced.

Speaker 25 (02:41:10):
And why did you?

Speaker 6 (02:41:12):
I don't know. I think I was all broke up
inside and I wanted to see you just to.

Speaker 72 (02:41:18):
Give me some courage or something.

Speaker 51 (02:41:21):
I don't know.

Speaker 6 (02:41:22):
It's hard to explain.

Speaker 66 (02:41:24):
There was no one to hear when I came home,
so so I waited.

Speaker 51 (02:41:28):
I waited a long.

Speaker 6 (02:41:29):
Time, Pearl.

Speaker 72 (02:41:30):
I went to a movie.

Speaker 6 (02:41:31):
I sat here in the dark and waited.

Speaker 65 (02:41:34):
Then I figured i'd take a walk.

Speaker 66 (02:41:36):
I didn't mean to go out of Wolf Street either.

Speaker 6 (02:41:40):
I just happened to end up there, and I didn't
like the act I saw.

Speaker 51 (02:41:49):
Why did you do it, Pearl?

Speaker 18 (02:41:51):
I didn't think you would never spy on me, Willie.

Speaker 6 (02:41:54):
It wasn't spying, Peul.

Speaker 9 (02:41:55):
Honest.

Speaker 31 (02:41:56):
I didn't like to tell you, Willie.

Speaker 35 (02:41:58):
I thought you might worry.

Speaker 62 (02:42:00):
We're a husband and wife.

Speaker 66 (02:42:02):
We shouldn't have to lie to We joke here, but
Aker he wasn't good enough.

Speaker 18 (02:42:05):
I don't want to say as much as I could.

Speaker 62 (02:42:07):
That's why I took the job.

Speaker 6 (02:42:09):
If I thought you would get to me per i'd.

Speaker 51 (02:42:13):
Well, I just don't know what i'd do.

Speaker 41 (02:42:15):
Anything I've done, Honey, has been because I want us
to get somewhere and I'll get that look off your face.

Speaker 32 (02:42:21):
Gia.

Speaker 76 (02:42:21):
I haven't even put the coffee on yet.

Speaker 20 (02:42:23):
I'd like something you can't come through with me. Well,
I fix it.

Speaker 50 (02:42:31):
Gee, it's nice to have you home.

Speaker 66 (02:42:34):
Where do you have to get back as soon as
I have some coffee. It's a long haul and I
want to get him before dawn.

Speaker 65 (02:42:41):
I don't want to get into trouble. Honey, he's the foreman.

Speaker 29 (02:42:44):
He's a bit particular about the job.

Speaker 66 (02:42:45):
You see, we're gonna make sure everything's clear, no people around.
It's a pretty responsible job, you know.

Speaker 59 (02:42:51):
It sounds like.

Speaker 65 (02:42:54):
I guess I shouldn't have come to town like I did.

Speaker 47 (02:42:56):
I guess.

Speaker 51 (02:42:58):
You're not mad at me. No, mad at me, not
the name more.

Speaker 72 (02:43:07):
I can see now why he did it without telling me.

Speaker 65 (02:43:10):
Good, Hey, pearl, this is this fellow, the one who
said he saw him. His name is stand.

Speaker 51 (02:43:18):
It was the matter, nothing conty.

Speaker 65 (02:43:23):
He said, he and another buddy, if he's made a
four with you and another girl. He seemed pretty sure
of himself.

Speaker 66 (02:43:30):
But I figured he just wanted to say he'd been
out with such a good looking gal, especially when on
the stage. That's yeah, that's what it must be here,
That's what it is.

Speaker 51 (02:43:40):
That's the one thing I couldn't stand.

Speaker 65 (02:43:43):
I don't want to the other but true time and me,
I couldn't stand.

Speaker 51 (02:43:48):
I right have to do something about it.

Speaker 66 (02:43:50):
Look, who are you gonna believe this?

Speaker 62 (02:43:52):
This smart allek on me?

Speaker 6 (02:43:54):
I'm sorry, just thinking about it makes me go.

Speaker 77 (02:43:57):
Don't think about it, just just forget it.

Speaker 47 (02:44:00):
Not crue.

Speaker 3 (02:44:00):
So why should you worry?

Speaker 51 (02:44:03):
I love you, Pearl?

Speaker 78 (02:44:04):
All right?

Speaker 20 (02:44:04):
Welly, so you love me, it's no reason to get
crazy ideas.

Speaker 65 (02:44:08):
No, I don't suppose say I ought to be beat up,
or even.

Speaker 63 (02:44:13):
Just think God, just forget it.

Speaker 66 (02:44:15):
Why didn't you go on inside?

Speaker 63 (02:44:16):
Do not want to relax?

Speaker 72 (02:44:17):
Go on, go on your ten step like a spring.

Speaker 18 (02:44:20):
I'll bring the coffee Indian.

Speaker 69 (02:44:22):
All we got to eat is some cream crackers.

Speaker 65 (02:44:25):
I'll just take the coffee, those creamy things. Don't someone
at the door when I should get No.

Speaker 79 (02:44:32):
It's just some crazy character down the Hollies, almost loose.

Speaker 50 (02:44:35):
On the keet to with apartment.

Speaker 6 (02:44:38):
Hadn't better help him?

Speaker 5 (02:44:39):
Not?

Speaker 80 (02:44:39):
Oh?

Speaker 35 (02:44:40):
Now I'm sick of let him use our window?

Speaker 65 (02:44:43):
Yeah, but the poor guy. What's the matter?

Speaker 6 (02:44:46):
You can't leave him standing?

Speaker 65 (02:44:49):
Maybe you don't want to ask to the door?

Speaker 66 (02:44:52):
That is, I'm going to open it, Pearl, don't please?

Speaker 6 (02:44:58):
Okay, pull me it yourself, go on open it?

Speaker 66 (02:45:05):
Don't you hear me? I said open the door?

Speaker 64 (02:45:06):
I don't want to.

Speaker 66 (02:45:07):
Willie, don't make me.

Speaker 63 (02:45:09):
Don't you remember his name, Pearl?

Speaker 6 (02:45:12):
Well stam, he's the other fella.

Speaker 65 (02:45:15):
Do you want I should open the door and say
have you seen your old buddy stand lately? Do you
want me to do that? All right?

Speaker 31 (02:45:22):
Go ahead, holding it up?

Speaker 50 (02:45:24):
Go on, you begot what are you waiting for?

Speaker 49 (02:45:27):
You want me to draw your picture?

Speaker 59 (02:45:30):
Yeah?

Speaker 51 (02:45:32):
Yeah, I'll open the door and I'll give you to
your friend. I'm sorry for you, Pearl, real sorry for you.

Speaker 64 (02:45:43):
Please, I didn't mean it.

Speaker 66 (02:45:45):
Willie, Oh sure, grad to be out of that valley, Anie,
I wonder what became a Willie k and crazy fool
must to beer during the night.

Speaker 65 (02:46:04):
Looking for him in the job's finished to be real trouble.

Speaker 51 (02:46:08):
Was the time?

Speaker 66 (02:46:10):
Eight twenty seven blow eight thirty. Yeah, I hope he
didn't give his wife a bad time.

Speaker 73 (02:46:17):
She deserves it, poor old Willie.

Speaker 65 (02:46:20):
I guess we shouldn't have told him. Now, came on,
let's get down to the playoffice.

Speaker 66 (02:46:24):
I got a lot of spending to catch up on.
Don't start giving me a bad time, boys, Honie Stam,

(02:46:47):
where are you?

Speaker 65 (02:46:48):
Honnie?

Speaker 81 (02:46:49):
Honey?

Speaker 24 (02:46:50):
Honey?

Speaker 15 (02:47:00):
M hm.

Speaker 79 (02:47:17):
A closing door finishes a story. Next week, another key
will open another door to another story. This story, romance
or adventure, all start when a door is unlocked by.

Speaker 73 (02:47:35):
The key, lights out everybody.

Speaker 15 (02:47:57):
It is.

Speaker 56 (02:48:01):
Later then.

Speaker 82 (02:48:05):
You see.

Speaker 16 (02:48:13):
This is arch Obler bringing another in our series of
stories of the Unusual.

Speaker 5 (02:48:22):
Our scene a doctor's office.

Speaker 83 (02:48:24):
The doctor, a genial, middle aged man, is smiling across
his desk at young missus Peggy Connon, and he's saying.

Speaker 84 (02:48:32):
Well, missus Connon, I don't think there is much more
I can say other than this. Don't be too afraid.
This sort of thing has been going on since the
beginning of time millions of women.

Speaker 5 (02:48:45):
So don't be frightened. Go home, tell your.

Speaker 36 (02:48:48):
Husband, be happy, Thank you doctor, goodbye, goodbye, baby, baby, babe, just.

Speaker 3 (02:49:08):
Damn it, no, thank you.

Speaker 69 (02:49:09):
I'll walk.

Speaker 25 (02:49:23):
Walk, Yes, I'll walk. It takes longer when you walk,
no longer longer.

Speaker 16 (02:49:29):
To get home, by ba, bay.

Speaker 5 (02:49:37):
Home?

Speaker 25 (02:49:39):
What will he say?

Speaker 35 (02:49:41):
What will he say?

Speaker 85 (02:49:43):
By baby?

Speaker 3 (02:49:47):
What will Bill say?

Speaker 5 (02:49:49):
What? What?

Speaker 83 (02:49:51):
At of the questions? Take out of the question on
the money I made? Now, look, this isn't confetti. It's
bills for groceries, bills for laundry, bills for gas.

Speaker 86 (02:49:59):
I you take it out of the question, out of
the question, out of the question.

Speaker 25 (02:50:07):
He'll stay out of the question, Baba.

Speaker 35 (02:50:13):
What will he said, oh Bill?

Speaker 41 (02:50:16):
What will you.

Speaker 5 (02:50:19):
Watch the right lady?

Speaker 13 (02:50:20):
Oh?

Speaker 5 (02:50:21):
Yeah, watch where you're going to the lady, and lights
for your as well as for the car.

Speaker 14 (02:50:26):
What will Bill say?

Speaker 5 (02:50:28):
What did you say, Hey, you don't feel well or
something your your face?

Speaker 83 (02:50:33):
I mean, I'm all right, officer. Sure you don't want
to can No, I'm I'm walking home, okay, but watch
the traffic at the crossing.

Speaker 25 (02:50:48):
If I take short of steps, it'll take longer. Yes,
short of steps.

Speaker 3 (02:50:53):
You'll realize it'll set us back for the next five years.

Speaker 11 (02:50:56):
We won't be living.

Speaker 46 (02:50:57):
We'll always be paying bills for doctors, for hospitals.

Speaker 9 (02:50:59):
For nurse.

Speaker 35 (02:51:01):
Who will you say?

Speaker 19 (02:51:02):
That?

Speaker 5 (02:51:03):
Go on the beginning of time, millions of women. So
don't be afraid.

Speaker 87 (02:51:07):
Go home, Tell your husband, be happy, be happy, happy happy?

Speaker 25 (02:51:12):
Doctor said that? Didn't we happy?

Speaker 3 (02:51:16):
Bill?

Speaker 25 (02:51:18):
We have been happy.

Speaker 82 (02:51:24):
I don't think I'm gonna row anymore too hot.

Speaker 9 (02:51:28):
Just drive.

Speaker 5 (02:51:32):
Now? What was I talking about?

Speaker 25 (02:51:33):
Happiness?

Speaker 13 (02:51:34):
Oh?

Speaker 83 (02:51:34):
Yeah, yeah, happiness. Now you know I think that the
most important thing in life is to be happy, don't you?

Speaker 1 (02:51:40):
Oh?

Speaker 5 (02:51:40):
Yes, Bill?

Speaker 82 (02:51:42):
Now you take ordinary people on a day like this.

Speaker 47 (02:51:44):
What are they doing?

Speaker 82 (02:51:45):
Working in factories, working in offices, working, working?

Speaker 11 (02:51:49):
Isn't that right?

Speaker 13 (02:51:49):
Yes?

Speaker 82 (02:51:50):
But the park is here, The lagoon is here, the
boats are here.

Speaker 83 (02:51:54):
Man, if they just had a little common sense and
say the devil would work, we're gonna be happy.

Speaker 16 (02:51:58):
And they come out here and they.

Speaker 41 (02:51:59):
Go writing four million people the lagoon to be off
the crowded, wouldn't it?

Speaker 10 (02:52:05):
Pill?

Speaker 5 (02:52:06):
I'm serious, all right.

Speaker 82 (02:52:08):
So I'm not working today, so I'll have five bucks less.

Speaker 16 (02:52:11):
But I'm doing what i want and I'm happy.

Speaker 25 (02:52:13):
I'm happy to Bill.

Speaker 82 (02:52:15):
Oh yeah, honest pick uh huh oh gee. When I
think that only two days and I wasn't even going
to the dad, I took one look at it.

Speaker 3 (02:52:25):
That's the song Bill, the truth.

Speaker 82 (02:52:27):
Oh gosh, I'm happy about you, Pig. I'm happier than
I've ever.

Speaker 44 (02:52:31):
Been in my whole life.

Speaker 25 (02:52:37):
Happy, we have been happy.

Speaker 82 (02:52:43):
Perfect.

Speaker 51 (02:52:44):
Let's fine.

Speaker 82 (02:52:45):
That's just again.

Speaker 3 (02:52:46):
I did anything.

Speaker 64 (02:52:47):
He was not.

Speaker 13 (02:52:50):
God me.

Speaker 22 (02:52:51):
We're allowed, I.

Speaker 35 (02:52:52):
Mean allude to pass.

Speaker 82 (02:52:54):
Hurry, I'm on my way to get my read, my read,
my read. I'm on my way to get my bill.

Speaker 25 (02:53:01):
They'll think you've been drinking.

Speaker 3 (02:53:02):
Oh, I have poor coach of double Aall the two
kids in a marriage.

Speaker 82 (02:53:05):
License you, they'll behave yourself.

Speaker 83 (02:53:07):
Oh, the bride and bridegroom's been a happy night in jail.

Speaker 16 (02:53:11):
Hey, huh, start in the rain.

Speaker 5 (02:53:14):
He put the top up.

Speaker 41 (02:53:15):
Oh no, no, please want the rain in the face.
It's wonderful, Bill, the wind in the rain. I feel
as if I were flying.

Speaker 44 (02:53:25):
This is angel you know.

Speaker 31 (02:53:27):
All my life I thought that if I.

Speaker 41 (02:53:28):
Ran away to get married, I'd be so frightened. But
I'm not afraid the least little bit.

Speaker 25 (02:53:33):
I love you, Bill, and everything's wonderful, and I'm so happy,
so happy, we've been so happy.

Speaker 83 (02:53:50):
Well, I don't know, Bill, we'll speak of them as
a tuner or forever.

Speaker 35 (02:53:53):
I have to hold your feet study can't already?

Speaker 83 (02:53:55):
Oh, I was only warming up one more time, and
I know I can hit it all right, go ahead,
O came.

Speaker 3 (02:54:00):
It's all fire against one time.

Speaker 88 (02:54:03):
Not down the top bottom and whim the little lady
at Brest bag beautiful?

Speaker 89 (02:54:06):
Okay, you're right, oh would okay, it's a pay off,
little lady. If you feel a pop eye, pye, isn't
it cute?

Speaker 1 (02:54:25):
Hey?

Speaker 47 (02:54:26):
Let's it down over here, Oh.

Speaker 41 (02:54:31):
Darling, you're wonderful, wonderful and hungry. Fail After four hot dogs,
three sodas and all those peanuts.

Speaker 25 (02:54:38):
You ought to be sick.

Speaker 3 (02:54:39):
I am, but I'm hungry bottom. There's peels in the
old dark.

Speaker 6 (02:54:43):
Hit me peel.

Speaker 25 (02:54:45):
You're so crazy and I love you so much.

Speaker 83 (02:54:47):
You talk like that now because you're right in the
middle of the midwayble dare yet, Hey.

Speaker 82 (02:54:52):
Maybe there's a law against gissing your own bride.

Speaker 25 (02:54:54):
Maybe there's a law against things are happy?

Speaker 16 (02:54:57):
You got the prettiest little funny face.

Speaker 13 (02:55:00):
You know.

Speaker 25 (02:55:01):
I used to think that when I got married, i'd
be going to the French.

Speaker 41 (02:55:04):
Riviera Honolulu, and we know places like that, And here
I am Luna Park.

Speaker 25 (02:55:08):
Oh pay no, darling, you don't understand. I like it.
I'm happy about it.

Speaker 41 (02:55:13):
Why, I'll bet there are thousands of women who've been
to all those famous places who could give every minute
of it to be in my place with someone she
loves and who loves her. Women are really awfully simple people, Dollie.
They they want love and I view and I'm happy.

Speaker 25 (02:55:33):
Terribly happy.

Speaker 82 (02:55:37):
Oh, oh, hell of your husband.

Speaker 16 (02:55:40):
Be happy to be happy with happiness.

Speaker 90 (02:55:43):
I could be happy.

Speaker 41 (02:55:45):
Money, Peggy connon mother, mother, mother, my mother, mother, my words.
You'll never make a good living for you, never drive,
no ambition or worthless young man, never make a good
living for you, Peggy, you'll never have anything you mark

(02:56:07):
my words. Listen to me, daughter, Now, if you marry
that boy, you will cry a great deal.

Speaker 3 (02:56:15):
More, believe me.

Speaker 5 (02:56:16):
Oh, stop crying. Hagain, Listen to me.

Speaker 41 (02:56:20):
Someday you'll be a mother and you'll understand that I'm
telling you these things for your own sake. When you
have children of your own, you will understand.

Speaker 25 (02:56:32):
Understand what mother understand?

Speaker 19 (02:56:35):
What should I understand?

Speaker 64 (02:56:37):
Now?

Speaker 41 (02:56:38):
If you were alive, could you make me understand those bills?

Speaker 18 (02:56:42):
All right?

Speaker 25 (02:56:42):
He's all right, I'll tell you.

Speaker 90 (02:56:43):
Somebody used to laugh all the time.

Speaker 25 (02:56:49):
But how can you laugh now?

Speaker 5 (02:56:50):
Red like God? He red like God? Here?

Speaker 41 (02:56:59):
That's what I don't Tand mother? Doesn't the world want
people like Bill who can laugh? Must everyone be wonderful
at making money?

Speaker 25 (02:57:07):
Isn't there a place for.

Speaker 41 (02:57:08):
People like Bill who don't want a great deal?

Speaker 50 (02:57:10):
Can't things be.

Speaker 41 (02:57:11):
So that they can make the little they need without
growing the old entire They forget what it.

Speaker 25 (02:57:17):
Is to laugh and be happy at just being alive.

Speaker 9 (02:57:21):
Fine mess.

Speaker 16 (02:57:22):
We're in a fine mess.

Speaker 83 (02:57:23):
Where we get the money, where we get the money taking,
where we.

Speaker 44 (02:57:25):
Can stop thinking things like that?

Speaker 90 (02:57:30):
Got to think about.

Speaker 13 (02:57:35):
Him?

Speaker 5 (02:57:36):
Shine?

Speaker 49 (02:57:37):
Shine, Lady Shine Shine, Miss.

Speaker 9 (02:57:40):
Shine Shine, What will he be? From all and all?

Speaker 22 (02:57:52):
And from all?

Speaker 88 (02:57:54):
Give me pay from day to day for the lost
recorded time and all our yesterdays have I to pooled
the way to dusty dish. I'll pretangle my butt walking
shadow of course down now. No, And so, my fellow citizens,

(02:58:21):
standing here in profound humility, where so many of our
truly great have stood all, there is less to say
at this In accepting this high office, and in assuming
the leadership of our great nation in these troubled.

Speaker 27 (02:58:38):
Times, I have pledged myself.

Speaker 61 (02:58:43):
In that moment, he realized he no longer loves Samatolen,
In that moment the past with her comma lanspere hespan
French moment comma.

Speaker 51 (02:58:55):
Maybe.

Speaker 91 (02:58:56):
And so it is with a great deal of pride
that this network brings you the premiere radio performance of
the world's premier Violet David Commons. Maybe maybe in my

(02:59:20):
diagnosis of the patient only concerns my profound belief that
such diseases can be cured. Maybe investment of these issues
with my concern will net you profit of not less
than the summer twice You're in.

Speaker 5 (02:59:33):
No.

Speaker 41 (02:59:34):
Oh, he used to say that didn't your mother, Jilly
Peggy because I laughed at the wrong time.

Speaker 25 (02:59:46):
Maybe I laughed then. Maybe I'm laughing now because I'm afraid.

Speaker 5 (02:59:52):
Millions of years.

Speaker 10 (02:59:53):
No, no, not that.

Speaker 19 (02:59:54):
Paine goes quickly, I know it.

Speaker 35 (02:59:55):
But Bill, what will Bill say?

Speaker 5 (03:00:00):
No?

Speaker 4 (03:00:00):
No, stop thinking?

Speaker 90 (03:00:02):
Stop thinking?

Speaker 44 (03:00:03):
Oh, walk slowly, very slowly.

Speaker 25 (03:00:28):
What was I thinking?

Speaker 15 (03:00:29):
Oh?

Speaker 41 (03:00:29):
Yes, my boy, I'll be so much wiser for the time.

Speaker 5 (03:00:33):
He grows up.

Speaker 25 (03:00:34):
Give him advice, yes, mother, of course.

Speaker 27 (03:00:38):
Mother, Yes, I'm listening. You're a wonderful mother.

Speaker 49 (03:00:42):
Oh you're right, mother, just as you say.

Speaker 6 (03:00:44):
Mother.

Speaker 49 (03:00:44):
No, no, not like to have You're wrong, Mother, I
will not Mother, I won't do it.

Speaker 4 (03:00:48):
Mother.

Speaker 49 (03:00:48):
No, mother, No, no, not that way.

Speaker 27 (03:00:50):
Why mother?

Speaker 66 (03:00:52):
Explain?

Speaker 13 (03:00:52):
Mother?

Speaker 25 (03:00:53):
Tell me if you know, mother, why is it like that?

Speaker 1 (03:00:56):
Mother?

Speaker 25 (03:00:56):
Yes, looked like what will he looked like?

Speaker 13 (03:01:03):
Lovely?

Speaker 5 (03:01:03):
Shallow?

Speaker 11 (03:01:04):
Hold him?

Speaker 3 (03:01:05):
Looks like you his father's hair.

Speaker 5 (03:01:07):
Beautiful child, beautiful.

Speaker 25 (03:01:10):
Beautiful child? Yes, why not?

Speaker 49 (03:01:13):
Why not?

Speaker 25 (03:01:16):
David COmON beautiful child.

Speaker 90 (03:01:19):
And read aloud it.

Speaker 20 (03:01:21):
We'll prise it.

Speaker 19 (03:01:22):
Woll prise this warring.

Speaker 40 (03:01:26):
War?

Speaker 3 (03:01:31):
Babe?

Speaker 5 (03:01:33):
Baby?

Speaker 22 (03:01:33):
Bill?

Speaker 5 (03:01:34):
What if he does read the newspapers?

Speaker 36 (03:01:36):
I take read the newspapers.

Speaker 82 (03:01:38):
There's your answer. Raise them up so they can blow
him up.

Speaker 3 (03:01:40):
The answers in your newspapers, I tell you pay what
can I answer him?

Speaker 25 (03:01:46):
I'm not good at answers. If Bill says bad.

Speaker 33 (03:01:49):
For li Sa, So I said to him, I said, Joe,
I will.

Speaker 90 (03:01:52):
Not go through a rock.

Speaker 50 (03:01:53):
And he said why not? And I said why should I?
And he said, well, you say, if you don't win,
will you give him a smile?

Speaker 25 (03:02:01):
You know, girl, maybe it'll be a girl. Yes, why not?

Speaker 34 (03:02:11):
Girl?

Speaker 25 (03:02:12):
Mother, a lovely girl?

Speaker 1 (03:02:14):
Mother?

Speaker 16 (03:02:14):
You think my dress hangs right?

Speaker 6 (03:02:16):
Isn't it too long?

Speaker 32 (03:02:17):
Or is it too sure?

Speaker 31 (03:02:18):
Don't you think I would have any little fleas here?
No wars, killing, dying?

Speaker 51 (03:02:23):
Just mother?

Speaker 50 (03:02:24):
Do you think I ought to go out with him
after what he said to me?

Speaker 31 (03:02:28):
Mother, I don't think that's a good school.

Speaker 27 (03:02:30):
Really, I don't can or bomb father, lay him song
and blow him up.

Speaker 90 (03:02:35):
No, can't be like that, not with a girl.

Speaker 41 (03:02:39):
Ruths No Ama, non, no Elizabeth, no Caroll?

Speaker 20 (03:02:50):
Yes, call.

Speaker 11 (03:02:56):
Him beautiful, yell nor what could she be?

Speaker 2 (03:03:00):
What did you know all about?

Speaker 43 (03:03:01):
Baby?

Speaker 50 (03:03:02):
You don't you know that girl?

Speaker 27 (03:03:04):
Look at me?

Speaker 50 (03:03:05):
Well, I was wondering about Junior. He won't eat his cereal,
he won't touch his bottle.

Speaker 16 (03:03:09):
I don't know what to do.

Speaker 44 (03:03:10):
I simply don't know.

Speaker 25 (03:03:11):
What to do.

Speaker 13 (03:03:12):
Maybe Carol Colin Opera Tonight Curtain eight thirty.

Speaker 35 (03:03:17):
Yes, and you didn't want my daughter.

Speaker 50 (03:03:58):
Oh, you'd be so proud of Bill.

Speaker 27 (03:04:00):
You would.

Speaker 25 (03:04:02):
Almost there.

Speaker 41 (03:04:04):
Walk lower, Old Bill, don't get angry when I tell him, God,
don't let it be angry.

Speaker 36 (03:04:11):
I couldn't stand it if.

Speaker 25 (03:04:12):
He yelled at me. I couldn't.

Speaker 41 (03:04:15):
I'm afraid, Bill, if you knew I was afraid, you'd
help me.

Speaker 25 (03:04:19):
Wouldn't you afraid of you?

Speaker 27 (03:04:23):
That's not right of it.

Speaker 25 (03:04:26):
Walk lower, walk slower.

Speaker 41 (03:04:29):
If when I get there, Bill, and you look at me,
if then for the first time in my life, I
can say everything I've been thinking before you have a
chance to say anything.

Speaker 25 (03:04:40):
Then you'll understand how I feel.

Speaker 35 (03:04:41):
And because you love me, you won't say.

Speaker 25 (03:04:43):
Anything that'll hurt me, and you'll take me in your arms.

Speaker 90 (03:04:48):
Oh Bill, But.

Speaker 25 (03:04:51):
I can only think things.

Speaker 41 (03:04:53):
I can never say them clearly when they should be said.
Maybe everybody's like I am talking. It's too late this time.
I've got to talk now, right away, the minute I
get in the house.

Speaker 25 (03:05:06):
Because if you talk person.

Speaker 41 (03:05:09):
Say things that hurt me, you and I we'll never
oh bill, all I wanted to be happy, just a little.

Speaker 25 (03:05:18):
Everything's so mixed up.

Speaker 35 (03:05:19):
All over the world that you know all.

Speaker 31 (03:05:22):
I know all I wanted.

Speaker 25 (03:05:26):
Oh, mister Tumosy.

Speaker 3 (03:05:28):
Somebody you're walking right a fare from.

Speaker 22 (03:05:31):
Maybe you're thinking, you know, living or what.

Speaker 41 (03:05:34):
I was so preoccupied I didn't notice.

Speaker 15 (03:05:37):
Sure was a hot day.

Speaker 3 (03:05:38):
I was a gunner, Yes it was.

Speaker 13 (03:05:42):
I don't like to go in, Oh body, your husbond.
He's a home, eh home. Sure he'd come about it
ten minutes ago. I'm gona see him go upstairs.

Speaker 80 (03:05:50):
It is latest.

Speaker 15 (03:05:51):
Sure you'll put it in the garden.

Speaker 13 (03:05:53):
But when husband to come home from work and a
wife and not a home, sometimes you get a plenty.

Speaker 5 (03:05:58):
Man.

Speaker 47 (03:05:59):
I bet you scan.

Speaker 3 (03:06:02):
I better go up, and I'm gonna come up before
your story and picture.

Speaker 90 (03:06:05):
I want all right, bab.

Speaker 27 (03:06:23):
You go talking about Yeah, I was gonna stop. You
gonna go on.

Speaker 92 (03:06:30):
Talking about about what I gotta do this talk say.

Speaker 44 (03:06:38):
Babe, babe.

Speaker 11 (03:06:42):
M h.

Speaker 1 (03:06:51):
H.

Speaker 5 (03:06:52):
Good evening, missus conning.

Speaker 25 (03:06:54):
Good evening, mister Gold. You're you're playing very well tonight.

Speaker 4 (03:06:59):
Yeah.

Speaker 1 (03:06:59):
Yeah, in sixties, even a fuller institutionthing.

Speaker 5 (03:07:04):
Oh to sleep, to go.

Speaker 62 (03:07:18):
To please su.

Speaker 41 (03:07:22):
Oh, good evening, Miss Conon hot tonight?

Speaker 31 (03:07:26):
Yea, yes, the baby all right?

Speaker 41 (03:07:31):
Oh yeah, you're a lot better, you see, it's the
tiniest mare.

Speaker 35 (03:07:36):
You like a baby, I'm miss Conning.

Speaker 92 (03:07:39):
Well yeah, I know, I know they look like cloud
the trouble, but you bet you for people who have
got little a baby's.

Speaker 27 (03:07:49):
The whole world.

Speaker 35 (03:07:51):
Yes, believe me, Baby's good.

Speaker 41 (03:07:57):
Good night, good night missus Mulvey.

Speaker 85 (03:08:06):
Bay Bay.

Speaker 8 (03:08:12):
Bay Bay.

Speaker 15 (03:08:17):
Peggy?

Speaker 6 (03:08:17):
Is that pay bill?

Speaker 82 (03:08:20):
Gosh peg?

Speaker 5 (03:08:20):
Where are you then? Up?

Speaker 27 (03:08:21):
In words?

Speaker 15 (03:08:22):
Too?

Speaker 35 (03:08:23):
Just walking?

Speaker 1 (03:08:25):
I got home, there was nobody here.

Speaker 5 (03:08:27):
I was ready to do a calling. All cars so
help me? Well you gonna stand.

Speaker 11 (03:08:31):
Here by the door all night?

Speaker 5 (03:08:34):
What's the matter of thing?

Speaker 82 (03:08:36):
Oh honest, I don't care if there isn't any dinner.

Speaker 1 (03:08:39):
John's so full of love for you tonight, one.

Speaker 83 (03:08:40):
Potatoes me and I'd pop like a kid's balloon.

Speaker 82 (03:08:42):
Bill, I want no wait, I'm gonna tell you me.

Speaker 5 (03:08:45):
Yeah, come on over by the window.

Speaker 15 (03:08:47):
She was hot.

Speaker 83 (03:08:50):
Yeah, nice breeze to keep you cool while I burn
you up with the news. Right off the press, Bill,
I flash am fishing comes to the La connon.

Speaker 38 (03:09:00):
Bill.

Speaker 3 (03:09:00):
If you let me, can you tell me when I'm
trying to tell you.

Speaker 82 (03:09:03):
I'll listen, sweet funny face, Today.

Speaker 83 (03:09:06):
The great lords of industry unlocked the octopus long enough
to hand Billy conn and I, oh your breath. Five
bucks morrow week, Phil, I've done. Yeah, so I'll help
me five dollars that terrific. Thay, we move right into
the upper brackets.

Speaker 16 (03:09:17):
Got everything we want?

Speaker 35 (03:09:18):
Bill, Please listen to me.

Speaker 82 (03:09:19):
I sure, as soon as I finish my say now,
I got.

Speaker 83 (03:09:23):
To say it they because I've been kind of getting
upstem to say it all the way home from the office.

Speaker 16 (03:09:28):
Now, all this may.

Speaker 82 (03:09:29):
Sound a little screwy to you, but here goes Bill,
I want to tell you.

Speaker 83 (03:09:32):
Please, funny face, don't interrupted tell me about the bargain
you saw today, because.

Speaker 82 (03:09:37):
Well, if I stop talking, I'll lose my nerve and
and maybe I won't ever.

Speaker 5 (03:09:40):
Say it again.

Speaker 83 (03:09:42):
Fake this five dollars a week now, that's over two
hundred and fifty dollars a year. And I began thinking
right away how we could spend it. Then, Yeah, you
know me, So I got thinking about maybe we get
another car, but the old Silopi is pretty good yet.
And then I thought maybe we could take a cottage someplace,

(03:10:02):
But then.

Speaker 82 (03:10:02):
I don't get a vacation until next year.

Speaker 83 (03:10:05):
So then I got thinking, why heck, what's the matter
with me? Why should I be afraid to talk to you?

Speaker 25 (03:10:14):
There's no reason to be afraid, is there? Bill?

Speaker 83 (03:10:17):
Of course not see what I'm trying to say is that? Well,
look at the newspaper headlines the door. Yes, I have
wa going a smash maybe, So I got thinking, the
heck with it? There isn't time enough to go anywhere
or plan anything, and who wants money anyway?

Speaker 27 (03:10:31):
So how can we spend it to make both of
us really happy?

Speaker 16 (03:10:37):
You know, to make our lives, I.

Speaker 82 (03:10:39):
Mean, if one of us should die before the other,
make our lives.

Speaker 25 (03:10:45):
Mean something, mean something?

Speaker 82 (03:10:48):
Oh, Peg, I gotta say it faster. I won't be
able to say at the door, Peg, let's spend the
money for a kid?

Speaker 5 (03:10:56):
Peg?

Speaker 82 (03:10:57):
What do you look at me like that?

Speaker 5 (03:10:59):
For? Oh?

Speaker 83 (03:11:01):
I know we never talked about it, but well I
was kind of scared of the idea, and I didn't
know if you want one, well.

Speaker 16 (03:11:10):
Pay for Pea's sakes say something?

Speaker 83 (03:11:13):
Looking at me, Well, what did't you want to tell
me before say that?

Speaker 5 (03:11:17):
At least.

Speaker 39 (03:11:25):
Way?

Speaker 90 (03:11:26):
Are you here?

Speaker 13 (03:12:00):
It is.

Speaker 5 (03:12:04):
Later then you Pain Lux Resents Hollywood.

Speaker 76 (03:12:26):
Leave the Brothers Company, the makers of Lux Toilet Soap
bring you the Lux Radio Theater starring Barbara Stanwick and
Burt Lancaster in Sorry Wrong Number, Ladies and Gentlemen, your
producer mister William.

Speaker 93 (03:12:41):
Keating readings from Hollywood Ladies and Gentlemen.

Speaker 42 (03:12:50):
Tonight's play reverses the usual.

Speaker 94 (03:12:53):
Relation between radio and motion pictures. Sorry Wrong Number was
first the radio drama, and it achieved such success on
the air that hal Wallace decided to make a picture
of it. He assigned the author Lucille Fletcher to expand
her short drama into a full length screenplay, and the
result was a triumph of suspense drama. The rest of

(03:13:17):
the success story you know, because the paramount picture, with
Barbara Stanwick and Bert Lancaster as the stars, was one
of the top films of the year. Tonight, Sorry Wrong
Number completes the circle and comes back to radio with
Miss Stanwick and mister Lancaster in their original screen roles.

(03:13:37):
Just as our drama had a double success story, so
has our product, Lux Toilet Soap.

Speaker 42 (03:13:43):
It's been a favorite for years in the regular.

Speaker 94 (03:13:45):
Size and now the new bath size has made lux
Soap a hit all over again. The curtain rises now
for the first act of Sorry Wrong Number, starring Barbara
Stanwick as Leona and Bert Lancaster as Hen in the

(03:14:10):
Tangles Network of a Great City. The telephone is the
unseen link between a million lives, servant of our common needs,
confidence of our inmost sequence, life and happiness waited upon
its wings, and horror and loneliness and sometimes even dead.

Speaker 35 (03:14:30):
Operator Operator, Operator Operator.

Speaker 64 (03:14:35):
I've been ringing murray Hill three two four nine one
for the last half hour, and the line is always busy.

Speaker 35 (03:14:39):
Will you ring it for me?

Speaker 27 (03:14:40):
Please?

Speaker 32 (03:14:41):
Three four nine one.

Speaker 81 (03:14:45):
It's my husband's office. He should have been home hours ago.
I can't think why that ridiculous wire should be busy.
They always close that office at six o'clock.

Speaker 32 (03:14:52):
I am ringing your number.

Speaker 22 (03:14:54):
Thank you.

Speaker 35 (03:14:57):
Oh it's busy again that the line is busy now?
Will you please hello hello missus Stevenson, Please hello.

Speaker 81 (03:15:04):
I want to speak to mister Henry Stephenson.

Speaker 5 (03:15:07):
Hello, George speaking Hello?

Speaker 3 (03:15:08):
What number?

Speaker 5 (03:15:09):
Is this everything okay for tonight? George plan says it
cost his plan.

Speaker 35 (03:15:12):
I beg your pardon, but I'm using this wire?

Speaker 95 (03:15:14):
What about the time still eleven fifteen, eleven fifteen, he
got it all straight down.

Speaker 85 (03:15:19):
Hello, Yeah, I think so.

Speaker 5 (03:15:20):
At eleven o'clock, the private patrol and.

Speaker 95 (03:15:22):
Goes around to the bar on Second Avenue for a beer,
and I get in through the kitchen window.

Speaker 5 (03:15:27):
I wait until the train goes over the bridge in
case the window is.

Speaker 35 (03:15:30):
Open and she should scream who is this Hello?

Speaker 95 (03:15:33):
The clan says he doesn't want it to summer long,
you know me, George, And don't forget the jewelry. He
wants it to look like a robbery.

Speaker 5 (03:15:39):
See, that's very important. Okay, now let me check that.

Speaker 27 (03:15:42):
Hello.

Speaker 35 (03:15:43):
Hello, Oh that's awful. It's horrible. Opready you you just
gave me a wrong number.

Speaker 64 (03:15:57):
I was calling murray Hill three two four nine one,
but instead I was cut into some other number that
you dialed. The wires must have been crossed or something,
and I just heard the most dreadful thing, a murder. Yes,
I want you to get that wrong number back for me.

Speaker 24 (03:16:09):
At once.

Speaker 64 (03:16:10):
I just told you you dialed the number for me,
And then those those horrible men came on, and well
it's it's unnerved me dreadfully.

Speaker 35 (03:16:20):
I'm an invalid, and well do something please. Oh, oh, yes,
yes you may.

Speaker 64 (03:16:32):
I'm an invalid and I've just had a dreadful shock
just now on this telephone, and I'm very anxious to.

Speaker 35 (03:16:36):
Trace the call.

Speaker 81 (03:16:38):
It was about a murder, a terrible, cold blooded murder
of a poor, innocent woman. Tonight, at eleven fifteen, I
was trying to reach my husband's office. He should have
been home hours ago. It's almost ten o'clock. I'm all
alone tonight. My nurse hays the night off because my
husband promised he'd be home by six. I don't know
any of the neighbors, as we live permanently in Chicago.
And it so happens that the couple I have working

(03:17:00):
for me had some important date or other.

Speaker 35 (03:17:02):
I I don't know a movie.

Speaker 81 (03:17:04):
I suppose they They said it was promised them three
weeks ago.

Speaker 64 (03:17:07):
You think that at least have checked with me before leaving.
They they know I'm not well.

Speaker 35 (03:17:13):
I told you.

Speaker 81 (03:17:14):
I kept getting a busy signal. Then I asked the
operator to call for me, and then I'm of a
clear sky.

Speaker 64 (03:17:20):
I was cutting to this ghastly conversation between two killers.

Speaker 35 (03:17:25):
Oh, for heaven's sake, all this idiotic red tape. You
just sit there and let people die. Oh, is it
is anyone downstairs? Gertrude, Gertrude, are you down there?

Speaker 4 (03:17:43):
Oh?

Speaker 35 (03:17:50):
Give me the police.

Speaker 80 (03:17:57):
I just first of all, there's a lot of people
name George as with the private patrolman and Second Avenue
when the bridge, when Second Avenue was a very long street.

Speaker 27 (03:18:06):
I don't care about it. I don't know how many bridges.

Speaker 35 (03:18:09):
Oh, this is insane. I tell you, a woman is
going to be murdered.

Speaker 5 (03:18:12):
A clue of this sort way.

Speaker 80 (03:18:13):
It's not much more used to us than no clue
at all, unless you think there's something funny about all.

Speaker 5 (03:18:19):
What somebody trying to murder you me?

Speaker 35 (03:18:22):
Oh, that would be ridiculous. I mean, why should anybody?

Speaker 90 (03:18:25):
What have I yah.

Speaker 15 (03:18:28):
To worry?

Speaker 1 (03:18:29):
No?

Speaker 35 (03:18:29):
Just a minute, all right, don't listen to me. Who cares? Oh, Henry,
why did you leave me alone? Why did you leave
me alone?

Speaker 15 (03:18:40):
Here?

Speaker 11 (03:18:41):
Oh?

Speaker 64 (03:18:42):
His secretary, Henry's secretary. She'd know her numbers on the pad. Jennings,
Miss Jennings, Elizabeth Jennings.

Speaker 67 (03:19:00):
I know, missus Stevenson. I haven't any idea where mister
Stephenson is.

Speaker 35 (03:19:04):
He was supposed to be home hours ago.

Speaker 32 (03:19:06):
Well, that's odd, isn't it. The last time I saw
him was when he left this afternoon to keep an appointment.

Speaker 35 (03:19:11):
What appointment?

Speaker 32 (03:19:12):
Well, well, I don't know, but I do know he
had a lunch and date with a young lady.

Speaker 35 (03:19:17):
What young lady? Tell me, Miss Jennings.

Speaker 32 (03:19:19):
Oh, missus Lord, missus Frederick Lord. She seemed very anxious
to see mister Stephens.

Speaker 35 (03:19:23):
Missus Lord.

Speaker 32 (03:19:24):
I heard him make a date to meet her for lunch.

Speaker 64 (03:19:27):
Why, missus Lord, fawn here this afternoon? Oh yes, the
nurse answered, I have the memorandum right here, missus Lord,
four fifty pm.

Speaker 67 (03:19:37):
I'm afraid that's all I know, missus Stevenson, But I'm
sure it's nothing to worry about.

Speaker 32 (03:19:41):
Mister Stephenson, so devoted, he speaks so beautifully of you. Well,
is there anything I can no?

Speaker 35 (03:19:48):
No, thank you, Miss Jennings.

Speaker 32 (03:19:49):
I do hope I haven't let a cat out of
the bed.

Speaker 64 (03:19:51):
Good night, Miss Jennings, missus Lord, a young lady, she said,
lunch and gone all afternoon.

Speaker 27 (03:20:01):
Hello, mister Stephenson, Please, he's not in.

Speaker 35 (03:20:04):
Who's calling?

Speaker 27 (03:20:05):
It's it's mister Evans again. You know where I could
lead you?

Speaker 35 (03:20:08):
I'm sure I don't know where mister Stephenson is called
back later.

Speaker 27 (03:20:12):
Fifteen minutes to be all right, I haven't much time.

Speaker 35 (03:20:14):
Yes, fifteen minutes.

Speaker 27 (03:20:15):
And if he should come in, the name is Evans.
It's very important.

Speaker 35 (03:20:20):
Yes, yes, I'll tell him.

Speaker 64 (03:20:22):
Missus Lord telephone over fifty pm Murray Hill three nine
two six six.

Speaker 27 (03:20:41):
Hello is missus Lordian.

Speaker 50 (03:20:43):
This is missus Lord. Who's calling?

Speaker 33 (03:20:44):
Please missus Henry Stephenson.

Speaker 32 (03:20:46):
If how happens my husband hasn't come home this evening.

Speaker 4 (03:20:49):
I thought perhaps you might give me some ideas.

Speaker 50 (03:20:51):
Yes, yes, but I can't talk many can he? Could
I call you back?

Speaker 19 (03:20:54):
Call me back?

Speaker 27 (03:20:55):
Why is anything wrong?

Speaker 78 (03:20:56):
Leona?

Speaker 50 (03:20:57):
This is Sally Sally Hunt. Sally, I'm sorry if I
sound ridiculous, but I can't talk now. No, no, no,
If you're I'll call you back as soon as I can.
Leona was just one of the girls. Dear she you
wanted a.

Speaker 42 (03:21:11):
Recipe they joyed like a bottle of beer you got
in the on ice.

Speaker 50 (03:21:14):
Oh no, I'm afraid not. I'll run down to the store.

Speaker 59 (03:21:17):
H honey, and hurry back.

Speaker 64 (03:21:18):
Joel is dying, Sally Sally hunk Oh yes, yes, that
was long ago college spring dance. He was Sally's date.
He was with her when I met him. Henry Henry

(03:21:41):
dancing with that?

Speaker 50 (03:21:48):
Hello, Leona, This this is mister Henry Stevens.

Speaker 42 (03:21:51):
Hello Henry.

Speaker 35 (03:21:52):
Well, can I cut in?

Speaker 11 (03:21:54):
You don't mind?

Speaker 56 (03:21:54):
That's where I come from.

Speaker 5 (03:21:55):
It's the man who does the picture.

Speaker 35 (03:21:56):
All right, go ahead.

Speaker 56 (03:21:58):
Why don't you get somebody your own spear? I'm sure
there are better dances around.

Speaker 50 (03:22:01):
Oh you'll do all right, Henry. Leonna knows a way
around the plot.

Speaker 35 (03:22:04):
Thank you, darling. Well, Henry, let's dance.

Speaker 11 (03:22:12):
So your name's color Man.

Speaker 74 (03:22:14):
No relation to uh JV cuddle distance.

Speaker 35 (03:22:17):
He's my father father. Anything wrong with that?

Speaker 5 (03:22:20):
Oh?

Speaker 56 (03:22:20):
No, no, nothing wrong.

Speaker 27 (03:22:22):
What do they call you?

Speaker 56 (03:22:23):
They asked for a nearest you from out of town? Well,
that depends on what you call out of town.

Speaker 27 (03:22:28):
Oh I don't know, carve him.

Speaker 56 (03:22:30):
I'm trying to be funny.

Speaker 35 (03:22:31):
Okay, what do you call out of town?

Speaker 27 (03:22:34):
Oh?

Speaker 35 (03:22:35):
What college is up there?

Speaker 5 (03:22:36):
No college? Miscuttle, just factories.

Speaker 56 (03:22:39):
I never even finished high school.

Speaker 3 (03:22:40):
They either did. My father.

Speaker 64 (03:22:42):
He always says, if a man has talent for making money,
why should he waste his time in school?

Speaker 56 (03:22:46):
I guess your old man ought to know.

Speaker 35 (03:22:48):
What do you say we said the.

Speaker 64 (03:22:49):
Next dance out what I've got a car, mister Stevens,
and a brand new one, a laganda have a drive
one I.

Speaker 56 (03:22:56):
Never even heard of him. Besides, I'm with selling.

Speaker 35 (03:22:58):
Oh don't worries you'll never make but.

Speaker 56 (03:23:01):
Maybe i'll miss her? Why didn't you think of that?

Speaker 44 (03:23:04):
Oh?

Speaker 35 (03:23:04):
Come on, he'll be silly. Oh once, I'm not kidding,
neither am I?

Speaker 56 (03:23:09):
So long as caro?

Speaker 35 (03:23:20):
Well, Henry, it took me a few days, but I
finally got you in my car.

Speaker 10 (03:23:24):
How do you like it?

Speaker 73 (03:23:25):
Fine?

Speaker 11 (03:23:26):
Only we don't go together.

Speaker 5 (03:23:28):
It's a lot.

Speaker 64 (03:23:28):
Easier to see you here than well with Sally Hunt.
I've never put the two of you together in a
million years.

Speaker 59 (03:23:34):
Why not?

Speaker 35 (03:23:35):
Oh you're both so different, you belong in different worlds.

Speaker 27 (03:23:41):
What are you stopping for?

Speaker 15 (03:23:42):
Why not?

Speaker 35 (03:23:42):
It's nice here?

Speaker 56 (03:23:43):
Sure, it's nice here.

Speaker 5 (03:23:45):
Take a look. This is Grassville.

Speaker 56 (03:23:48):
Stick around a few years, and then see how much.

Speaker 13 (03:23:50):
You like it.

Speaker 3 (03:23:50):
What do you do, Henry?

Speaker 5 (03:23:52):
I work in a drug store?

Speaker 35 (03:23:53):
Well that's a coincidence.

Speaker 56 (03:23:54):
Sure, I work in a drug store and your father
owns a hundred of them?

Speaker 35 (03:23:57):
Would you like to meet him?

Speaker 5 (03:24:00):
Who are you kidding?

Speaker 27 (03:24:00):
Nobody?

Speaker 35 (03:24:01):
Dad will like you You're young, healthy, ambitious.

Speaker 5 (03:24:04):
Why don't you stop?

Speaker 56 (03:24:06):
What does a girl like you want with.

Speaker 5 (03:24:07):
A guy like me?

Speaker 35 (03:24:08):
Dad's coming to New York next weekend. I'm cutting my
classes on Saturday.

Speaker 38 (03:24:12):
Want to come with me?

Speaker 56 (03:24:15):
I don't know, And you're looking at me like that.
I come on, let's get out of here.

Speaker 35 (03:24:21):
No, not yet, Henry, not yet, Darling.

Speaker 15 (03:24:31):
Sure, I like him, honey, but he's nobody, Leona?

Speaker 27 (03:24:34):
And what has he got?

Speaker 15 (03:24:35):
Nothing?

Speaker 35 (03:24:36):
And what did you have dad when you started?

Speaker 96 (03:24:38):
Besides, I thought you said he was sort of engaged
to that girlfriend of yours, that Sally something.

Speaker 35 (03:24:42):
Oh that's all over with Dad.

Speaker 27 (03:24:44):
I love him, love me?

Speaker 15 (03:24:47):
Oh?

Speaker 5 (03:24:47):
Come on?

Speaker 96 (03:24:48):
If I really thought you did you know?

Speaker 35 (03:24:50):
I No, don't start telling me that, Leyona. What's the
you make me laugh? What does it really matter to you?
If I love Henry or not?

Speaker 81 (03:24:58):
All you want is for me to stay here with
you for the rest of your life. You're afraid of losing.

Speaker 96 (03:25:01):
Haven't I always let you do anything you ever wanted
to do. But marriage is something else.

Speaker 5 (03:25:07):
I've worked hard.

Speaker 96 (03:25:09):
I built up a big business just for you, and
you yourself wouldn't want to see some worthless clock of
a husband A guy who let alone.

Speaker 35 (03:25:16):
You don't care about me. You're thinking only of yourself
and your business. You're a hateful.

Speaker 96 (03:25:20):
Selverish and hateful la owner. Stop it here, you'll make
yourself sick.

Speaker 35 (03:25:23):
And what good is your wonderful money and your wonderful
business if I'm dead. Yes, that's what you want to do.

Speaker 85 (03:25:28):
Drive me into my grave.

Speaker 35 (03:25:29):
You don't care, just as long as your business is saying.

Speaker 3 (03:25:32):
Oh, can you say things go away?

Speaker 35 (03:25:33):
Don't touch me.

Speaker 47 (03:25:34):
Don't you dare touch me, darling, listen to me. I
don't mean you.

Speaker 96 (03:25:39):
Oh look, we'll talk it all over again, it says
Leona Wilson.

Speaker 59 (03:25:46):
Wilson Quick doctor.

Speaker 50 (03:25:53):
Sally Sally, and.

Speaker 64 (03:25:58):
I took Henry away from her. She could standard even
after all these years. She couldn't stand it going to
him today, seeing him in his office.

Speaker 27 (03:26:09):
Hello, Leona, this is Sally him.

Speaker 32 (03:26:12):
I'm sorry I had to be so mysterious before.

Speaker 24 (03:26:14):
But I just couldn't talk at well.

Speaker 35 (03:26:16):
This is all certainly rather odd to say the least.

Speaker 33 (03:26:19):
Seem very peculiar to hearing from me after all these years.

Speaker 50 (03:26:23):
But I had to see Henry again today. I've been
so worried.

Speaker 35 (03:26:25):
About him, about what, well, my my husband.

Speaker 50 (03:26:30):
He's with the District Attorney's office and a couple of
weeks ago and.

Speaker 53 (03:26:39):
Funny Sally here in the newspaper about an old boyfriend
of yours old boyfriend, Remember Henry Stevenson pictures in the paper.
Mister and missus Henry Stevenson, she's the formerly on a
cauttural of Lake Forest, Illinois, have taken a house for
the summer and Sutton place. Missus Stevenson, in poor health
for several years, is here to consult with specialists.

Speaker 56 (03:26:59):
Mister Stevenson a vice president of the cat World Drug Corporation.

Speaker 35 (03:27:04):
Are you tearing it out for me?

Speaker 74 (03:27:05):
Oh no, no, I'll make him in handy in the
case I'm working on.

Speaker 50 (03:27:08):
What sort of the case?

Speaker 16 (03:27:10):
Oh, special investigation?

Speaker 50 (03:27:12):
Joe's an would Henry hasn't done anything wrong?

Speaker 44 (03:27:15):
Has he?

Speaker 73 (03:27:15):
Sorry?

Speaker 59 (03:27:16):
I won too many questions.

Speaker 11 (03:27:18):
Hey, don't tell me you're.

Speaker 56 (03:27:20):
Still stuck on that day.

Speaker 35 (03:27:21):
Oh don't be silly.

Speaker 47 (03:27:25):
Hello, anything happened to.

Speaker 5 (03:27:29):
And Stevenson fell for? Oh sure, we'll go look.

Speaker 47 (03:27:34):
Tell bulget line it up.

Speaker 5 (03:27:35):
Hell, five thousands enough one hundred dollars bills and make
sure that marked And for Pete's take.

Speaker 47 (03:27:40):
Keep your mouth shut Thursday.

Speaker 16 (03:27:42):
Huh, okay, ten o'clock.

Speaker 50 (03:27:45):
This seems importably.

Speaker 27 (03:27:47):
I don't know what you're trying to.

Speaker 50 (03:27:49):
Well, wait till I finish. I know I didn't have
any right to do it. But that Thursday I went
to South Terry. I don't know what I expected to
see it. Well, anyway, I spotted Fred and his friend
Joe from the police. There was another man with them,
I guess for one who was to bring the five
thousand dollars in mark Bill's well. I followed aboard the
ferry and over to Staten Island. They went far out

(03:28:10):
to a very decidated stretch of beach, nothing but a
few broken down shacks in an old, deserted house. I
had to stay away behind them so they wouldn't see me.
But then they went in the house. That gave me
a chance to come closer. There was a freshly painted
sign out front twenty dunstan Terrots. It said, and the
name Evans w Evans.

Speaker 19 (03:28:29):
Do you know it?

Speaker 67 (03:28:30):
I've never heard of it.

Speaker 27 (03:28:32):
What happened?

Speaker 50 (03:28:33):
Well, after a while a motor boat came into shore
and tied up at a pier in the back of
a house. A man sort of elderly got out of
the boat and went into the house. He was carrying
a suitcase. A little later, my husband came out, only
now he had the suitcase. Well, he didn't come home
until late that night. I was dying to ask him
what happened, what possible connection it could have with Henry.

(03:28:54):
I didn't dare ask him, Leona, But things have happened since,
and unless we'd do something, something drastic, it may.

Speaker 48 (03:28:59):
Be too late.

Speaker 32 (03:29:02):
Please for the next five minutes, just.

Speaker 50 (03:29:05):
A minute, please, I know I have another Nikola. Are
still there, Leona, I'm here.

Speaker 32 (03:29:12):
This is one of the queerest things I've heard.

Speaker 50 (03:29:14):
Yes, I know, and I just didn't seem to be
able to connect Henry with it. That's why I finally
went to see him today.

Speaker 3 (03:29:20):
What did you find out?

Speaker 50 (03:29:22):
I met him for lunch. He told the captain he
was expecting a very important phone call, and then.

Speaker 32 (03:29:27):
We sat down.

Speaker 56 (03:29:29):
It's been a long time, Sally, eight years.

Speaker 11 (03:29:32):
Tell me how's dear old grassfell these days?

Speaker 50 (03:29:34):
I don't know, Henry. I haven't been back.

Speaker 56 (03:29:36):
So you're married on living here in New York.

Speaker 50 (03:29:39):
Yes, my husband's with the District Attorney's office. That's why
I wanted.

Speaker 27 (03:29:45):
Henry.

Speaker 50 (03:29:46):
What I But what I'm trying to say is this.
A few days ago, I saw a picture of you
in the newspaper Vice President.

Speaker 56 (03:29:54):
Now sounds beautiful, doesn't it? Biggest drug business in the country.

Speaker 50 (03:29:58):
I was sorry to read that le owner isn't worth.

Speaker 56 (03:30:00):
Yes, Chicago doctors don't seem to know just what it is.

Speaker 5 (03:30:03):
How trouble.

Speaker 50 (03:30:03):
I mean, Henry, what do you do in the drug business?

Speaker 56 (03:30:07):
Push buttons like all other vice presidents?

Speaker 50 (03:30:10):
Oh but I'm serious, so.

Speaker 11 (03:30:11):
Am I I'm almost as important as the office boy.

Speaker 50 (03:30:15):
Don't mean to be inquisitive. I only needness for your
own good.

Speaker 5 (03:30:19):
I mean, what for my own good?

Speaker 50 (03:30:21):
Well, yesterday my husband was making out a report.

Speaker 5 (03:30:24):
A phone called mister Stevens.

Speaker 56 (03:30:25):
Oh thanks, excuse me, Sammy, I'll be right back.

Speaker 50 (03:30:28):
Well I waited a while, leoner, but Henry didn't come back.

Speaker 27 (03:30:31):
And then for the next five minutes.

Speaker 50 (03:30:34):
Operator, but I haven't been talking five minutes. I deposited
another NICKELOEA.

Speaker 67 (03:30:38):
Sorry man, please departit another five cents.

Speaker 50 (03:30:41):
But I haven't any more. Chare no hello, Leonard, will
have to call you back. But I only wanted to
say that.

Speaker 33 (03:30:47):
Henry never came back to the table, and that he
is in trouble.

Speaker 67 (03:30:50):
Frit's been talking to the police. I've heard him mention
Henry's name over and over again. And there's someone else
in it too, That man called you're five minutes are up,
madam muldo Evan.

Speaker 27 (03:31:01):
Jack n I am sorry, madam.

Speaker 22 (03:31:03):
I will where's the chargers?

Speaker 35 (03:31:05):
Put them on this poone hop the later.

Speaker 20 (03:31:20):
A few moments.

Speaker 56 (03:31:21):
She'll give you Act two.

Speaker 42 (03:31:22):
Oh, sorry, wrong number. Now here's Libby Collins, our Hollywood reporter.

Speaker 94 (03:31:27):
Well, Livy, that was a gaily evening we all had
at the premiere of twentieth Century Fox's new picture twelve
o'clock High.

Speaker 64 (03:31:34):
Yes, indeed, and for one person in particular, it must
have been the thrill of a lifetime. I'm thinking about
our little Lux Girl, Jackie Barnes.

Speaker 94 (03:31:41):
The winner of the national contest for the prettiest fifteen
year old Lux Girl. Jackie was an honored guest at
the premiere. She certainly was a radiant youngster.

Speaker 35 (03:31:49):
She got more compliments than she could count that evening.

Speaker 42 (03:31:52):
Well, that's the way it is with Lux girls, Libby.
You know, Jackie was telling me how impressed she was
with twelve o'clock High.

Speaker 64 (03:31:58):
As everyone was always good news when Gregory peck haads
a cast, and this time I think he has the
best role of his career.

Speaker 94 (03:32:06):
Yes, he makes the tough commander of a wartime bomber
group an unforgettable personality.

Speaker 19 (03:32:11):
It's a gripping story.

Speaker 64 (03:32:12):
You feel intensely, the dangerous flying sequences, the day by
day strain those men endure. The whole cast is magnificent.

Speaker 94 (03:32:19):
Twelve o'clock High is one picture living where the men
take the honors.

Speaker 64 (03:32:23):
Yes, except for Joyce mackenzie. She plays the one feminine role.
Makes her debut in pictures as the army nurse.

Speaker 5 (03:32:30):
Mmmm, there's another lovely Lux girl.

Speaker 27 (03:32:32):
She is, indeed John.

Speaker 64 (03:32:34):
Like so many successful young actresses, she finds Luck's Toilet
Soap gives her complexion.

Speaker 35 (03:32:40):
Just the care it needs.

Speaker 97 (03:32:41):
Recent tests by skin specialists proved that Lux soap care
really works. In actually three out of four cases, skin
became softer, smoother in a short time.

Speaker 5 (03:32:54):
No wonder.

Speaker 97 (03:32:55):
Lux Toilet's Hope is the leading beauty so hope, not
only in Hollywood but all over the country. If you
hadn't tried it, why not begin your Luck Soap facials tomorrow? Remember,
Nine out of ten screen stars recommend this gentle protecting care.

Speaker 5 (03:33:12):
Now our producer mister William.

Speaker 94 (03:33:14):
Keeley Act two of Sorry Wrong Numbers, starring Barbara Stanwick
as Leona and Bird Lancaster as Henry.

Speaker 42 (03:33:28):
It's a moment or so later through an open window.

Speaker 94 (03:33:31):
The night air drifts slowly in Leona's window, heavy with
the heat of New York summer. Leona lies motionless on
the bed, and the sounds of the night become magnified.
The thudboats on the river, the hum of distant traffic,
the muffled roar of the train passing over a bridge.

Speaker 42 (03:33:48):
And then suddenly, Hello, this is Salli.

Speaker 27 (03:33:55):
Can you hear me.

Speaker 35 (03:33:56):
I can hear you from the subway station.

Speaker 32 (03:34:00):
I've just been home, Leoner. And some more has happened.

Speaker 67 (03:34:02):
That house on Stati, the one I told you about,
but it was burned down, the sackternoon. The police have
captured three men, but this Vodo Evans escaped.

Speaker 35 (03:34:10):
But who is Waldo Evans? And for heaven's sake, what's
his connection with my husband?

Speaker 32 (03:34:14):
I still don't know, Leona, but I do know the
whole thing has something to do with your father's coming.

Speaker 35 (03:34:19):
Oh that's absurd. My father called me from Chicago this afternoon.
He never mentioned a word. Now, look who's been arrested
and why?

Speaker 82 (03:34:26):
Three men?

Speaker 32 (03:34:26):
And I don't know why?

Speaker 35 (03:34:28):
And why do you think Henry's one of that?

Speaker 32 (03:34:29):
I didn't say that.

Speaker 67 (03:34:30):
I only know that somehow he's terribly involved.

Speaker 35 (03:34:33):
Did anyone say he was going to be arrested?

Speaker 32 (03:34:35):
No, not exactly.

Speaker 35 (03:34:36):
Then what are you talking about?

Speaker 27 (03:34:37):
Why are you calling me like this?

Speaker 81 (03:34:39):
Are you still jealous that I took Henry away from you?
Can't you bear to see me happy? Can't you stop
telling lies and making trouble?

Speaker 77 (03:34:45):
Even Nyowna, I kept talking, and I'm right, you are
just trying to make trouble.

Speaker 67 (03:34:49):
No, No, Fred and Joe, they're coming down the subway,
tatform if my husband should see me here.

Speaker 27 (03:34:54):
Cleo, I've got to hang up. Hello.

Speaker 24 (03:34:58):
Oh yes, this is Western Union.

Speaker 5 (03:35:09):
We have a message for missus Henry.

Speaker 35 (03:35:11):
Step This is missus Stevenson.

Speaker 98 (03:35:12):
The telegram is as follows Darling. Terribly sorry but last
minute remembered Annual drug convention tomorrow in Boston, taking next
train out back Sunday morning.

Speaker 5 (03:35:24):
Keep well, all my love and signed Henry. That is all, madam.
Do you wish us to deliver a copy of the
game oh.

Speaker 23 (03:35:33):
Oh.

Speaker 3 (03:35:36):
Then I wait till the train goes over.

Speaker 5 (03:35:38):
The bridge and kiss your windows open and she should
stress I got your message, George. Everything okay for tonight,
Please get terribly sorry to get. Then I wait till
the train goes over the bridge. Then I wait till the.

Speaker 4 (03:36:03):
Oh.

Speaker 35 (03:36:05):
Oh oh, hello doctor Alexander. Doctor, this is missus Stevenson.

Speaker 5 (03:36:12):
Oh yes, Missus Stevenson.

Speaker 35 (03:36:14):
How I need you right away? Doctor? Please come right over.

Speaker 4 (03:36:17):
Now now, Missus Stevenson, what seems to be I said?

Speaker 35 (03:36:19):
I want you to come over at once.

Speaker 99 (03:36:21):
I'm afraid I can't tonight, Missus Stevenson. That'll be sensible
if you just make up your mind to cooperate with
your husband and me and I'll plan it back.

Speaker 35 (03:36:28):
Man, imagine what are you talking about.

Speaker 5 (03:36:30):
Missus Stevenson. I explained everything in my letter over a
week ago.

Speaker 4 (03:36:34):
Letter.

Speaker 3 (03:36:34):
What letter?

Speaker 5 (03:36:35):
But surely your husband hasn't he spoken to.

Speaker 4 (03:36:38):
You, Missus Stevens about what?

Speaker 99 (03:36:40):
Look cute you tried to compose yourself. Now, perhaps we
can discuss it tomorrow.

Speaker 35 (03:36:45):
We'll discuss it now, do you hear me? Now this
very minute?

Speaker 99 (03:36:48):
Man, if you insist upon knowing your husband called in
my office about ten days ago.

Speaker 5 (03:36:53):
He seemed quite concerned about your petition. Not you anyway.

Speaker 11 (03:36:57):
We discussed your illness a great way.

Speaker 5 (03:37:05):
It's still a pleasitive me, doctor.

Speaker 56 (03:37:07):
I still don't know what's wrong with her.

Speaker 87 (03:37:09):
Well, mister Stevenson, your wife's illness seems to date far
back to our early childhood.

Speaker 11 (03:37:14):
Is that true?

Speaker 5 (03:37:14):
Yes?

Speaker 56 (03:37:14):
I suppose so. But you knew nothing about it when
you married her.

Speaker 86 (03:37:18):
No, not eleft for a couple of years. You see,
we were we were living with her father then in
Lake Forest. I remember early one.

Speaker 19 (03:37:26):
Why did you do that, Henry?

Speaker 35 (03:37:28):
Why did you send the maid for my handbag?

Speaker 15 (03:37:30):
Why?

Speaker 56 (03:37:30):
Because there's something in it that I need?

Speaker 5 (03:37:32):
Oh?

Speaker 35 (03:37:32):
How much money do you want?

Speaker 86 (03:37:33):
I'm sorry to disappoint you, Leona, but this time it
isn't money. Simply that I wrote Ferguson's telephone number in
your notebook last night, and I want to call him.

Speaker 56 (03:37:41):
We have a date for lunch.

Speaker 35 (03:37:42):
You know perfectly well, you're having lunch with me today.

Speaker 56 (03:37:44):
I know, Leona, but but I won't be able to
make it mistake with Ferguson's rather.

Speaker 35 (03:37:47):
Important, oh more important than me. I suppose.

Speaker 56 (03:37:50):
It isn't that, Leona.

Speaker 5 (03:37:51):
It's just that.

Speaker 56 (03:37:53):
Well, it's about a job.

Speaker 27 (03:37:55):
You have a job.

Speaker 35 (03:37:56):
What on earth are you talking about, Leona?

Speaker 86 (03:37:59):
Leona, I have been meaning to say this to you
for weeks. I just don't belong in your father's business.

Speaker 35 (03:38:03):
Who says you don't?

Speaker 44 (03:38:04):
I do?

Speaker 10 (03:38:04):
I say it.

Speaker 86 (03:38:05):
Working for your father is like like running in a dream.
No matter how hard you try, you know you'll never
get anywhere. I don't want to graft off your charity
for the rest of my life. I want a chance,
a chance on my own.

Speaker 64 (03:38:15):
Only you're not getting the chance. I won't have you
trapesing around you here just because Dad doesn't.

Speaker 35 (03:38:20):
Go falling all over himself.

Speaker 81 (03:38:21):
You're not going to throw away a million dollar business
like Cattero for an idle whim.

Speaker 64 (03:38:25):
It happens to be my business too, you know. And
to think my own husband turns up his nose at it. Now,
call Ferguson and tell him you've changed your mind.

Speaker 3 (03:38:33):
Go on, Henry, call him.

Speaker 5 (03:38:35):
But I haven't changed my mind.

Speaker 35 (03:38:37):
You're still going.

Speaker 56 (03:38:38):
Yes, someday you'll see it'll be benefitable.

Speaker 35 (03:38:40):
Henry, Henry waiting.

Speaker 11 (03:38:43):
That's a little silly, isn't it.

Speaker 56 (03:38:44):
Locking the door.

Speaker 35 (03:38:45):
You're not going, Henry, not as long as you're my husband.

Speaker 11 (03:38:47):
Oh, come on, leanly give me that.

Speaker 4 (03:38:48):
You can't do it.

Speaker 35 (03:38:49):
You can't do this to me. Nobody's ever done it, nobody, nobody.

Speaker 86 (03:38:52):
Will you please stop and give me that can please?

Speaker 35 (03:38:55):
If you love me, if you love me at all, Henry,
I beg you. I'll talk to dad. I'll do anything
anything you want.

Speaker 19 (03:39:02):
Only don't leave me.

Speaker 5 (03:39:03):
Don't go away, give me that.

Speaker 4 (03:39:05):
No, No, I won't, I won't. I won't. Oh, Henry,
your heading.

Speaker 87 (03:39:11):
Harry, your husband told me missus Stevenson that in spite
of your opposition, he had lunched that day with mister Ferguson.
When he got home that evening, he said, your father
was waiting for him at the door, angry and worried.
All right, Henry, come in the library.

Speaker 5 (03:39:30):
I want to talk to you.

Speaker 11 (03:39:31):
What's the matter?

Speaker 5 (03:39:32):
Where's Leona?

Speaker 96 (03:39:33):
Leona's in bed. She had an attack, a heart attack,
She almost died a heart attack. Did you too Quarrel
this morning?

Speaker 5 (03:39:40):
Yes? But what are you supposed to have lunch with Leonor?

Speaker 100 (03:39:43):
Yes?

Speaker 56 (03:39:43):
But I had to see someone else.

Speaker 11 (03:39:45):
Look, mister Carra, if you don't mind, I'd like to
see Leona.

Speaker 96 (03:39:47):
You'll see Leonor when she is ready to see you,
just in case you don't know what. Leonor's had a
hot condition since childhood. Her mother died of it the
day Leonor was born. Leona can't stand being treated the
way you did this morning. She never has been before,
and she's not going to be now by you or
anyone else.

Speaker 56 (03:40:03):
And what happens if once in a while I have
an opinion of my own.

Speaker 96 (03:40:06):
I don't give a hoot about your opinions, Henry, have them.

Speaker 16 (03:40:08):
Think anything you like.

Speaker 96 (03:40:09):
But while you're in this house, you'll do what my daughter.

Speaker 5 (03:40:11):
Tells you to do.

Speaker 86 (03:40:12):
I think you should know that the argument this morning
was about a very important decision. Don't be a fool,
A decision I made as much for the sake of
leon as futurist for my own.

Speaker 96 (03:40:20):
Was it for her that you had lunch with Ferguson?

Speaker 5 (03:40:24):
Well did you get the job?

Speaker 1 (03:40:29):
No?

Speaker 5 (03:40:30):
No, I didn't. I don't tell you why you didn't.
It so happens.

Speaker 96 (03:40:33):
I'm a pretty good customer of Ferguson's. I buy more
than two million dollars worth of dies every year. Now,
who do you think he's going to care.

Speaker 5 (03:40:38):
About you or me? So that's what happened.

Speaker 96 (03:40:42):
Now, who else in Chicago would you like to have
lunch with about a job? Oh, face up to it, Henry.
Just as long as you're my son in law, you're
working for me and nobody else. If you really cared
for Lee another way I do, you'd have done the
same thing in my place. Besides, you haven't done so
badly for yourself.

Speaker 5 (03:41:04):
I'll go upstairs and see Leona. She's been asking.

Speaker 47 (03:41:12):
Where missus Stevenson.

Speaker 87 (03:41:13):
As I say, we discussed all these things in my
office ten days ago, your husband and I. I asked
mister Stevenson, how long this heart attack of yours lasted?

Speaker 5 (03:41:22):
Oh?

Speaker 56 (03:41:22):
She got well right away.

Speaker 5 (03:41:23):
Doctor.

Speaker 11 (03:41:25):
Maybe I.

Speaker 86 (03:41:27):
Maybe I should have pulled out then and there, But
I didn't pull up. Somehow I couldn't. My father wasn't
altogether wrong. I hadn't done too badly for myself anyway.
From that time on, I began to compromise, always with
the hope that somehow someday I'd went out on my own.

Speaker 5 (03:41:46):
But it wasn't long.

Speaker 56 (03:41:47):
Before we were right back my way.

Speaker 87 (03:41:49):
Stand another attack, Yes, sir, I remember one day in particular,
I had.

Speaker 42 (03:41:53):
An idea that I thought that I hoped might help
it Henry.

Speaker 64 (03:41:57):
You mean you have brought me here just to look
at an apartment?

Speaker 56 (03:42:00):
Crazy about it?

Speaker 44 (03:42:00):
The on it?

Speaker 56 (03:42:01):
Now, come on, let's go in and look at up.

Speaker 86 (03:42:02):
I'm not interested, Henry, but you haven't even seen it
by There are terraces on all four sides.

Speaker 35 (03:42:06):
I've hearn you a thousand times.

Speaker 56 (03:42:07):
We don't need an apartment, Leona. It's not an apartment.

Speaker 10 (03:42:11):
I'm looking for.

Speaker 86 (03:42:12):
What I want is a home, a home borrow. You
just can't go on living with your father in Definitely,
I don't see why not.

Speaker 64 (03:42:17):
There's plenty of room and I like it. Besides, who's
going to pay for this little penthouse?

Speaker 15 (03:42:22):
Well?

Speaker 64 (03:42:24):
I think eventually I will, oh, eventually. But in the
meantime it's my money and I'm the one who's going
to pay for it.

Speaker 5 (03:42:31):
Okay, let's go, Henry.

Speaker 81 (03:42:34):
You're so naive, You're like a little boy with a
box of candy. I just can't throw my money away
on everything you happen to see.

Speaker 27 (03:42:41):
There's a limit.

Speaker 86 (03:42:43):
I'm supposed to follow you around like a pet dog
tied to a chain. I'm supposed to like whatever crumbs
you want to throw it. Oh, don't be ridiculous, You've
got me sewed up sixteen different ways, three meals a
day in pocket money.

Speaker 3 (03:42:52):
That's all you care about.

Speaker 35 (03:42:54):
That's all you married me for my money. I should
have known it.

Speaker 4 (03:42:58):
I should have known it.

Speaker 56 (03:43:00):
Top A, Leona, Please, just for once, will you listen?

Speaker 19 (03:43:02):
You hate me, You're bored with me.

Speaker 35 (03:43:04):
All you want to do is get away?

Speaker 11 (03:43:06):
Kay, I'm bored, bored, stiff. I wouldn't be with that
neat little routine you've got cooked up on me.

Speaker 10 (03:43:10):
What do I have?

Speaker 15 (03:43:11):
Nothing?

Speaker 86 (03:43:12):
Nothing on my own but even the studs on my
shirt of the mattress.

Speaker 13 (03:43:15):
Henry, how can you say this to me?

Speaker 86 (03:43:17):
He once told me I'd love this kind of life, remember,
or do you want to know something I do that?
I love it now more than you'll ever know. But
I want to be my own boss, profiting by every
bit of it, not.

Speaker 42 (03:43:26):
Just a stooge on the outside looking in.

Speaker 35 (03:43:28):
Henry, give me some water quick.

Speaker 5 (03:43:31):
Listen to me.

Speaker 3 (03:43:32):
Please.

Speaker 42 (03:43:33):
It isn't that I want to be without you.

Speaker 3 (03:43:35):
I could love you, feel it, only you try to understand.

Speaker 86 (03:43:47):
That attack kept her in the hospital and aby three weeks.
Doctor the time, well, I thought it was all my fault,
But no matter what I did, her attacks increased in
violence and became more frequent. What a year ago leaned well,
She just seems to give up hope of ever getting well.
She took to her bed more or less termidly. It
was my idea to come to New York and see you.
The doctors in Chicago said she didn't have much of

(03:44:08):
a chance anyway. We rented the house on second Place,
and here we are ready. It's been more and more
like a nightmare. Mister Stephenson. There's absolutely nothing wrong organically
with your wife's heart, nothing wrong. I have examined her thoroughly,
and what you've just told me confirms what I have

(03:44:29):
thought from the stone, and that is her condition is
mostly mental.

Speaker 82 (03:44:35):
Mental.

Speaker 5 (03:44:36):
She's what we call a cardiac neurotic.

Speaker 87 (03:44:39):
Her attacks are brought on by her emotions, the lack
of control of frustrations. Whole thing is probably quite unconscious
on her part. Now I'm not seeing your wife isn't
sick mentally. She is sick, and her attacks aren't really enough.
But given the proper treatment, she may snap out.

Speaker 5 (03:44:56):
Of it entirely.

Speaker 87 (03:44:58):
Well, I'll i'll call on tomorrow as a psychiatrist. I
wanted to see doctor. I wish you could wait a
few days. I'd like to think this over, think it over. Yes,
you see, she's so easily upset. But I think that well,
that maybe I ought to pup bear, you know, get
used to the idea of well, or a few days
more on this won't matter, I suppose, unless unless you

(03:45:19):
wanted to write a letter.

Speaker 56 (03:45:20):
It might make it easy for her to take and
it well, it would give me more time.

Speaker 5 (03:45:24):
To talk to her.

Speaker 87 (03:45:25):
Well, it's extremely delicate matter, mister Stephenson, but if you
think you can manage it, let's find it that way.
Give me a ring in a couple of days. Meanwhile,
I'll write the letter. Thanks doctor, thanks for everything. Well
that's exactly the way I left things, Missus Stevenson. Ten

(03:45:46):
days ago, as your husband requested, I wrote you the letter.

Speaker 3 (03:45:49):
And I'm telling you I never received a letter.

Speaker 11 (03:45:52):
Well, let's not worry about that.

Speaker 5 (03:45:53):
Now. I've told you everything, and now I want you
to relax.

Speaker 35 (03:45:59):
Yes, yes, it's here, dou.

Speaker 19 (03:46:03):
Liar, liar, liar, liars. Hello, who is it this Evans.

Speaker 27 (03:46:21):
I've been trying to get you with your line has
been busy. Has mister Stevenson come home?

Speaker 3 (03:46:25):
No, No, he isn't here.

Speaker 35 (03:46:26):
He won't be back until Sunday, and will.

Speaker 18 (03:46:29):
You please please tell me what this is all about?

Speaker 27 (03:46:32):
Why are you calling him?

Speaker 90 (03:46:33):
Who are you?

Speaker 34 (03:46:34):
I've already told you, mister Stevenson, and I'm very sorry
if I have annoyed you. But there are names and
addresses that are very important for mister Stevenson to know.
So if you want, be good enough to take the
following message.

Speaker 27 (03:46:45):
What are you talking about?

Speaker 19 (03:46:46):
I can't take any messages now.

Speaker 34 (03:46:48):
If you'll please tell mister Stephenson but the house at
twenty dunstan Tellis has been burned down. I you you
want also that I do not believe it was mister Millano.
The name is felled kim O r A n O,
who betrayed us to police. And since mister Milano has
been arrested by the District Attorney's office, there is no

(03:47:10):
necessity for the money.

Speaker 64 (03:47:11):
Oh this is fantastic.

Speaker 19 (03:47:14):
What money?

Speaker 3 (03:47:15):
Who's Lorano?

Speaker 34 (03:47:16):
Cdly tell mister Stephnson that I escape and I am
now coming to have my address.

Speaker 27 (03:47:21):
However, I do not expect to be here after midnight.

Speaker 34 (03:47:25):
If he wishes to find me, he may call me
a phone number Bowie two one thousand and Now, if.

Speaker 19 (03:47:32):
You'd be so good as to repeat you're insane.

Speaker 35 (03:47:35):
Do you realize I'm a terribly sick woman.

Speaker 27 (03:47:37):
I'm very sorry for you, Missus Stephenson. I don't know.

Speaker 34 (03:47:41):
Perhaps it would be better to tell you the two
facts I mean now before they are gobbled by the police.

Speaker 27 (03:47:46):
Maybe then you'll understand.

Speaker 74 (03:47:48):
But if you're here, I don't know what or whom
to believe.

Speaker 27 (03:47:51):
So much has happened to.

Speaker 19 (03:47:53):
Me tonight, and I'm sick.

Speaker 67 (03:47:55):
My doctor says, I will tell you all I know.

Speaker 27 (03:47:57):
Missus, Well tell me, then tell me. It started a
year ago at your father's factory in Chicago. You see,
miss I had worked at your father's company for many years.

Speaker 3 (03:48:11):
I'm a chemist.

Speaker 27 (03:48:12):
Anyway, late one afternoon, your husband walking to.

Speaker 5 (03:48:27):
He paused.

Speaker 42 (03:48:28):
Now for station identification.

Speaker 5 (03:48:30):
This is CBS, the Columbia Broadcasting System.

Speaker 42 (03:48:52):
In a few moments, we'll continue with Act three of
Sorry Wrong Number.

Speaker 94 (03:48:57):
Our guest tonight is Barbara Ann Newtson, young Paramount Starlett.

Speaker 42 (03:49:01):
Aren't you glad?

Speaker 3 (03:49:02):
Barbara?

Speaker 94 (03:49:02):
You were present at a certain Little of Theater production
one evening, A lucky.

Speaker 31 (03:49:06):
Evening for me, mister Keeley, A talent scout saw me
arranged for a.

Speaker 42 (03:49:10):
Screen test and here you are in picture.

Speaker 31 (03:49:12):
Yes, and from now on I'm going to work like
mad Oh, it must be wonderful to be a great actress,
like like Olivia de Havlin.

Speaker 42 (03:49:20):
I gather you've seen her new picture as The Heiress.

Speaker 31 (03:49:23):
Now once but three times. I can understand why the
New York Motion Picture critics gave mister Havelin the award
for the best performance.

Speaker 3 (03:49:31):
Of the Year.

Speaker 94 (03:49:31):
And how did you like Montgomery Cliffs as the money
conscious suitor in The Heiress.

Speaker 31 (03:49:35):
He's splendid, so dashing and romantic too. And Ralph Richardson
as a stern father is simply perfect.

Speaker 94 (03:49:42):
Do you remember the scene where he compares his unpopular
daughter with her sought outter cousin.

Speaker 31 (03:49:47):
Oh, yes, the party scene where Mona Freeman is the
reigning bell. She's like a dressden doll, so blonde and dainty.

Speaker 97 (03:49:55):
Those lavish costumes of the Crinoline era suit her beauty
very well, yes, Kennedy.

Speaker 31 (03:50:00):
And she's just as delicate and lovely in real life,
always so beautifully.

Speaker 5 (03:50:05):
Groomed, real lux loveliness.

Speaker 31 (03:50:07):
Huh exactly. Murda Freeman gives her complexion daily luck, soap care,
and she's really keen about.

Speaker 33 (03:50:13):
The new bath Size cake.

Speaker 97 (03:50:15):
Nine out of ten screens stars say they're delighted with
this new product of Liver Brothers Company. For a luxurious, refreshing,
relaxing beauty bath, you simply can't buy a finer soap.

Speaker 31 (03:50:27):
That's the way I feel. I love the nice fragrance
that leaves on the skin.

Speaker 97 (03:50:31):
Thank you, Miss Barbara Endudson. Women who use the generous
new Bath Size Lux Toilet soap will agree. It's rich,
abundant lather and delicate flower like fragrance make a wonderfully
refreshing beauty bath.

Speaker 5 (03:50:45):
So for all over lux loveliness, why not.

Speaker 97 (03:50:48):
Get the satin smooth Bath Size Lux Toilet Soap tomorrow.

Speaker 5 (03:50:53):
Here's our producer, mister William Keeley.

Speaker 94 (03:50:55):
The curtain rises on the third act of Sorry Wrong Number,
starring Barbara Stanwick as Leona and Bert Lancaster as Henry.

Speaker 5 (03:51:10):
I get it from the kitchen window. I wait till
the train goes over the break in eleven fifteen. You've
got it all straight by eleven fifteen.

Speaker 100 (03:51:24):
The clock on the table says ten minutes to eleven o'clock,
but Leona Stephenson, clutching the telephone listens with mounting the
wilderment and fright the voice of a man named Waldo Evans.

Speaker 34 (03:51:38):
Yes, missus Stevenson, your hosbald came into the laboratory and
started asking me.

Speaker 27 (03:51:42):
Questions on the tops for you and how we began.

Speaker 86 (03:51:47):
Well, this is very interesting, mister Evans. So this is
where the formula for all our products are developed here.

Speaker 27 (03:51:55):
That's right.

Speaker 5 (03:51:56):
Some of these drugs must be very valuable.

Speaker 27 (03:51:58):
Oh yes, missus Stevens, and very valuable.

Speaker 5 (03:52:01):
See and tell me what do you do with them?

Speaker 27 (03:52:05):
Well, they go into the various cartel products, sir.

Speaker 56 (03:52:09):
And you're the man in charge here.

Speaker 27 (03:52:11):
Huh, yes, sir, I see.

Speaker 56 (03:52:14):
Well, thanks for your time, mister Evans.

Speaker 5 (03:52:16):
I was just curious, Thank you, sir.

Speaker 27 (03:52:18):
Good night, mister Stevenson. That was my first meeting with
your husbands. And from time to time the laboratory and
visited me, and one night when it was storming, he
offered to drive me home.

Speaker 56 (03:52:39):
So you're a bachelor, mister Evans.

Speaker 5 (03:52:41):
Well I didn't know that.

Speaker 3 (03:52:42):
Yes, sir, I live in a rooming house on Chestnut Street.

Speaker 5 (03:52:45):
A man all by himself, no responsibilities.

Speaker 56 (03:52:48):
Tell me why do you work so hard?

Speaker 34 (03:52:49):
Well to tell you the truth, sir, because because I
have a hope, an ideal. You might say, in a
few years, I hope to retire. Oh, I have it
all planned. I'm going back to England. I hope to
raise horses, sir. Not raised horses, just hors.

Speaker 18 (03:53:07):
Sir.

Speaker 3 (03:53:08):
Do you care for horses, mister.

Speaker 56 (03:53:09):
Stevenson, Well, I'm afraid I haven't thought very much about them.

Speaker 34 (03:53:12):
Then you're missing a great deal. Well that's my hope, sir,
to live there quietly and raise horses.

Speaker 5 (03:53:19):
Why have you waited this long? Money?

Speaker 27 (03:53:22):
Money, of course, but someday I'll.

Speaker 5 (03:53:24):
Why wait until your road?

Speaker 11 (03:53:26):
What good is the dream when you're too old to
enjoy it?

Speaker 34 (03:53:28):
Oh, I've thought about mister Stephenson. I suppose the zest
does come out of things with the encroachments of old age?

Speaker 56 (03:53:34):
Are you talking, Wally?

Speaker 11 (03:53:35):
My motto is, if you want something.

Speaker 15 (03:53:37):
To get it now.

Speaker 27 (03:53:38):
It's it's the next turn of the right, mister Stevenson.

Speaker 86 (03:53:41):
Est nuts, you know what I've been thinking. There might
be a way out, a way out, yes, to have
you a little place in the England everything you want, indeed, sir,
And all you have to do is to make a
little mistake every now and then mistake in the laboratory.
I've been checking only Willie. The way you're set up,

(03:54:02):
no one would.

Speaker 3 (03:54:02):
Ever know, mister Stevenson, I better say good night, sir.

Speaker 86 (03:54:06):
Wait a minute, the differences in the amounts of those
raw drugs you handle, he'd be so slight that nobody
but yourself would ever know.

Speaker 3 (03:54:13):
I don't understand, Sam.

Speaker 86 (03:54:15):
Look what you've done for the company all these years,
and what have you gotten out of it? Not a
tenth of the salary you should be getting. No, no, please,
mister Stevenson.

Speaker 5 (03:54:21):
Don't be silly.

Speaker 86 (03:54:23):
I've already talked it over to someone else, talked it
all the way with whom a man named Morano.

Speaker 56 (03:54:28):
He can handle all the raw drugs that we can get,
and then we split you Mirano and.

Speaker 27 (03:54:32):
I, mister Stevenson, I just can't believe it.

Speaker 34 (03:54:36):
You're a young man, vice president of the company, a
wonderful future ahead of you.

Speaker 11 (03:54:40):
Don't make me laugh.

Speaker 86 (03:54:41):
Yes, I'm young, young enough not to waste my life
and dreaming. There are things I want to do, big things,
and the only way to do them. I'm sorry why
I thought you were my kind of a person. I
trusted you, But what if we were caught. Why should
we be caught. We'll make our pile and stop before
anyone even guesses what we're on. Marano knows just what

(03:55:02):
to do. Besides, for once, there's an advantage in being cultural.

Speaker 56 (03:55:06):
Son in law. Yes, yes, I see, I thought you would, Wanley,
well partner. We're in business, and so.

Speaker 34 (03:55:23):
We started, missus Stevenson, a systematic plan of robbing your
father's company. By September of last year, I have thanked
the sum of seven thousand, five hundred dollars.

Speaker 27 (03:55:33):
But then I received a memorandum from the personnel office.

Speaker 56 (03:55:37):
Will you please stop your whinning?

Speaker 11 (03:55:39):
Did you read the memo? You're not fired. They're simply
transferring you to the New Jersey plant.

Speaker 3 (03:55:43):
But they must suspect this is a warning.

Speaker 27 (03:55:45):
I'm sure of it. I'm through.

Speaker 86 (03:55:47):
Mister Stevenson's here, you old fool. We've been stooges up
till now. Morano's played us for suckers. This is our
chance to get rid of me. That transfer of yours
is just what I've been looking for. I don't understand.
I'll tell Marana you've been fired, that the deals all washed. Meanwhile,
you're back there in New Jersey we'll operate on our
own and we'll split Morano share between us.

Speaker 34 (03:56:05):
But I'm just a chemist, mister Stevenson. If I don't
know anything about disposing of drugs, but.

Speaker 11 (03:56:09):
I do, I know all about it.

Speaker 3 (03:56:11):
Now.

Speaker 5 (03:56:11):
Listen.

Speaker 86 (03:56:12):
The cuttural plant in New Jersey is in Bayone, and
just across the bay from Bayone is Staten Island.

Speaker 11 (03:56:17):
I happen to know a little about Stay.

Speaker 34 (03:56:23):
About six weeks later we began operations Missus Stevenson on
Staten Island, New York. My headquarters was an old abandoned
house twenty dunstan Terrace. There, twice a week after work,
I would come from your father's plant in Bayone, and
there mister Stevenson would telephone me or mail me his
instructions from Chicago. A little over three months ago, mister

(03:56:45):
Stevenson arrived in New York. A few nights later, when
I went to twenty dunstan Terrace, I found that your
husband was not alone.

Speaker 21 (03:56:54):
Come right in.

Speaker 38 (03:56:55):
We're waiting for you.

Speaker 56 (03:56:56):
Weally, this is Marana Morano.

Speaker 101 (03:57:00):
Didn't expect me, did you, Mister Evans well needed of
mister Stephenson.

Speaker 22 (03:57:03):
But here I am.

Speaker 101 (03:57:05):
You see, I have ways of finding things out. For instance,
ever since the two of you broke off our president
Association in Chicago, I find you accumulated a rather large
bank account.

Speaker 5 (03:57:15):
All right, what about it?

Speaker 86 (03:57:16):
I'm warning you right now, Marna, don't you try any
funny relax.

Speaker 3 (03:57:19):
I'm wanting you.

Speaker 22 (03:57:20):
I can relax.

Speaker 27 (03:57:22):
Sure.

Speaker 101 (03:57:23):
You're a big, strong guy, mister Stevenson, but messing me
up won't get you anyway. You see, I merely represent
an organization. But we had what you might call a
board meeting, and the vote was seven to one against you.

Speaker 47 (03:57:37):
And that's pretty serious. That's like a death sentence.

Speaker 11 (03:57:40):
Cut short man, What do you want, mister Stevenson?

Speaker 34 (03:57:42):
Please give them what they want. Mister Blano, you can
take everything I've got.

Speaker 5 (03:57:46):
Shut up now.

Speaker 101 (03:57:47):
If you were to turned back what you'd accumulated, mister
Stevenson and pay us two hundred thousand dollars for our
injured feelings, I might get the board.

Speaker 56 (03:57:55):
To reconsider the decision. You know as well as I do.

Speaker 11 (03:57:57):
I don't have that kind of money.

Speaker 101 (03:58:00):
Such wonderful connections. A millionaire father in law, very rich wife, somebody.

Speaker 47 (03:58:04):
Good dut does?

Speaker 11 (03:58:05):
What do you suppose I went into this record, but.

Speaker 101 (03:58:07):
I thought I read somewhere about your wife being sick,
very sick.

Speaker 5 (03:58:13):
What about it?

Speaker 101 (03:58:14):
Well, she has life insurance, hasn't she made out in
your name? I'm pretty sure the boy would give you, say,
ninety days to raise the money on something like that.
For ninety days, isn't that what the doctor in Chicago
said she wouldn't get better?

Speaker 5 (03:58:29):
Yes, that's what he said.

Speaker 59 (03:58:30):
But what's that?

Speaker 101 (03:58:32):
Well, just a little lie on you to make it
league and you see, everything can be straightened out without
any trouble, without any rough stuff.

Speaker 11 (03:58:40):
I suppose something happened, but my wife didn't.

Speaker 5 (03:58:42):
I mean, I mean, if she got better, I wouldn't
worry about that.

Speaker 47 (03:58:46):
Mister Stevens, you've got a doctor's word for it happened.
They know their business. So here, take the pen and
sign the piece of paper.

Speaker 34 (03:58:59):
What I just told you, missus Stevenson took place three
months ago. I need not describe mister Stephens Stevenson's distress
when the IOU became due last Wednesday. As I understand it,
mister Stevenson saw mister Millano, but his request when extension
was refused. And now, inasmuch as I have already given
you the final message, I believe the rest explains itself

(03:59:22):
quite simple.

Speaker 81 (03:59:22):
Mister Evans, where is my husband? Where is mister Stevenson?

Speaker 15 (03:59:26):
Now?

Speaker 27 (03:59:26):
I wish I.

Speaker 5 (03:59:27):
Knew, perhaps if you tried the moth bowing.

Speaker 35 (03:59:29):
The bowering number.

Speaker 27 (03:59:30):
What bowery number one I gave.

Speaker 34 (03:59:32):
You when I first started to talk Missus Stevenson.

Speaker 27 (03:59:34):
I'm afraid I must ask you to check them all.

Speaker 19 (03:59:36):
I can't, I can't.

Speaker 27 (03:59:38):
I will beat it once more.

Speaker 34 (03:59:40):
Point one the house at twenty dunstan tell Us was
burned down this afternoon.

Speaker 13 (03:59:44):
I did it.

Speaker 34 (03:59:45):
Point two I escaped. Point three mister Millano has been arrested,
so it will not be necessary to raise the money.
Point four it was not mister Mollano who told the
police just give.

Speaker 35 (03:59:55):
Me the bowery number, the one for my husband.

Speaker 27 (03:59:57):
Point five I am unhat my address now, but I'm leaving.

Speaker 3 (04:00:02):
Maybe Barry to one thousand.

Speaker 27 (04:00:05):
Yes, good night, mister Stevens. Thank you very much.

Speaker 64 (04:00:12):
Mry two one thousand, Verry two one thout, Henry. This
is mister Stevenson. There, Stevenson, Mister Henry Stevenson. I was

(04:00:33):
told to call by mister Evans.

Speaker 5 (04:00:36):
Stephens.

Speaker 35 (04:00:37):
Yes, yes, Stephenson, Hello, yes, No, he's not here.

Speaker 2 (04:00:45):
Man.

Speaker 35 (04:00:46):
Oh, well, mister Evans said he might be expected.

Speaker 19 (04:00:49):
Could I could I.

Speaker 35 (04:00:50):
Leave a message?

Speaker 27 (04:00:53):
Lady, this is your idea.

Speaker 35 (04:00:54):
But oh, please please help me.

Speaker 27 (04:00:57):
What number is this?

Speaker 33 (04:00:57):
What am I calling?

Speaker 5 (04:01:00):
A thousand? Oh?

Speaker 38 (04:01:05):
Oh?

Speaker 18 (04:01:09):
Oh?

Speaker 27 (04:01:13):
Operator?

Speaker 35 (04:01:14):
Please give me the police quickly. No, no, wait a minute,
give me the hospital.

Speaker 27 (04:01:20):
I can't be alone.

Speaker 35 (04:01:21):
It's eleven o'clock. Hurry, please, it's eleven o'clock. Operator.

Speaker 21 (04:01:26):
I can't hear you.

Speaker 35 (04:01:28):
Are you calling the hospital? Operator?

Speaker 33 (04:01:30):
Operator?

Speaker 35 (04:01:32):
Is this a hospital? I want the nurses registry. I
want to hire a trained nurse immediately for the knife.
It doesn't matter. I've got to have a nurse.

Speaker 81 (04:01:42):
I'm sick and I'm all alone, all alone in this
horrible empty house.

Speaker 64 (04:01:48):
I overheard a conversation, a telephone conversation about.

Speaker 77 (04:01:51):
A murder, a murder to be committed at eleven fifteen.
I don't know what's happened to my husband. If something
isn't done, I'm afraid.

Speaker 4 (04:02:01):
What was that?

Speaker 32 (04:02:02):
What was mad?

Speaker 64 (04:02:04):
But the click just now on my telephone, as though
someone had lifted the hook of the extension downstairs.

Speaker 35 (04:02:12):
I did not hear, well, I did.

Speaker 64 (04:02:16):
There's someone in this house, the someone downstairs, and they're
listening to me?

Speaker 90 (04:02:22):
Now, who is it?

Speaker 19 (04:02:25):
Who's done?

Speaker 4 (04:02:26):
There?

Speaker 13 (04:02:28):
Oh?

Speaker 32 (04:02:31):
Hello missus, Henry Stevenson.

Speaker 35 (04:02:35):
I can't talk now, call back later.

Speaker 32 (04:02:37):
I have a call from mister Stephenson.

Speaker 64 (04:02:40):
Did you say, mister Stevenson, mister Stevenson from new Haven.

Speaker 32 (04:02:44):
To accept the call?

Speaker 33 (04:02:45):
Mad, Oh, yes, yes, hello.

Speaker 85 (04:02:49):
Darling, Henny hen anywhere?

Speaker 22 (04:02:52):
Oh are you?

Speaker 5 (04:02:56):
Did you get my wife? Yes?

Speaker 3 (04:02:57):
Yes, I got it.

Speaker 5 (04:02:58):
I'm sorry I couldn't reat you by phone before I left.

Speaker 3 (04:03:01):
But well, I'm not all right.

Speaker 64 (04:03:03):
I'm there's someone in his house, Henry, right now, I'm
sure of it.

Speaker 35 (04:03:11):
Well, of course I'm alone. Who else could be here?
You promise to be home at six o'clock. I've been
alone for hours.

Speaker 77 (04:03:18):
I've been afraid of every kind of horrible call. And Henry, Henry,
I want you to call the police. You hear me,
tell him to come over at once.

Speaker 5 (04:03:27):
You know, you're perfectly the doors are all locked and
as a private controlment. You're right in the heart of
New York City.

Speaker 35 (04:03:32):
In the phone there, Henry, Henry, what do you know?
What do you know about a man named Waldo Evans?

Speaker 64 (04:03:43):
I had a long talk with him just a little
while ago about you. Oh, he told me some terrible things.
Some of it sounded insane, but some of it.

Speaker 3 (04:03:54):
Maybe it was true.

Speaker 5 (04:03:58):
I'll just try to forget.

Speaker 35 (04:03:59):
He's said you've been stealing from Dad's company.

Speaker 19 (04:04:02):
Is that true, Henry?

Speaker 81 (04:04:05):
Well, he loves some kind of a message for you.
That the house on Staten Island had been burned down,
and that the police knew everything, and that Morano had
been arrested.

Speaker 35 (04:04:15):
And Henry, are you still there?

Speaker 64 (04:04:19):
They said you were a criminal, Henry, a desperate man,
and Heaven said Evan said you wanted me to die.

Speaker 35 (04:04:29):
And that money, Henry, that money does people wanted? Why
didn't you ask me for it?

Speaker 81 (04:04:35):
I'd have given it to you gladly if it would
have saved your life.

Speaker 35 (04:04:39):
I'll give it to you now, if.

Speaker 3 (04:04:40):
It isn't too late.

Speaker 35 (04:04:43):
I didn't mean to be so awful to you, Henry.

Speaker 77 (04:04:45):
I only did it because I loved you, and I
thought you didn't love me, and that you go away
and leave me.

Speaker 35 (04:04:53):
Yes, will you forgive me first, Henry?

Speaker 22 (04:04:56):
Will you please?

Speaker 4 (04:04:59):
Please?

Speaker 35 (04:05:00):
I can't I can't get out of bank. I can't move, Henry.
I'm too frightened that.

Speaker 4 (04:05:10):
I You've only got three more minutes time, Henry.

Speaker 35 (04:05:24):
I can hear what steps.

Speaker 19 (04:05:27):
Somebody's coming up and stead walk on the floor.

Speaker 18 (04:05:31):
No, no, I can't, Henry, Oh, Henry saving me the train.

Speaker 35 (04:05:38):
I can hear the train. It's near the bridge.

Speaker 22 (04:05:41):
Please know they'll find out from.

Speaker 5 (04:05:48):
No.

Speaker 31 (04:05:50):
No, please, please don't, oh please please, I'll give you anything.

Speaker 102 (04:05:57):
Please no no, sorry, wrong number.

Speaker 42 (04:07:13):
For a thrilling experience in the theater.

Speaker 94 (04:07:16):
Our thanks go to this evening stars Barbara Stanwick and
Bert Lancaster.

Speaker 42 (04:07:21):
They're coming downstage now for a curtain call. You know,
it's good to have you both back, and it's nice
to be back.

Speaker 56 (04:07:27):
Bill says, you got him in bed with the audience.

Speaker 10 (04:07:29):
Baba in what way?

Speaker 94 (04:07:32):
Well, we keep getting letter and asking why you haven't
been here for so long, and we have to keep
explaining that you've made one picture right after another with
no time off in between.

Speaker 64 (04:07:43):
One thing is sure, Belle, I haven't forgotten a Lux
radio theater or Lux soap. It's my favorite complexion can
has been for years.

Speaker 42 (04:07:51):
And that's one of the nicest compliments Lux has ever received.

Speaker 56 (04:07:54):
Barbara, tell me if you can how she says, she
sounds like Andy Devine. Tell me, Barbara, how many pictures
have you made that still aren't released.

Speaker 42 (04:08:09):
And what's the first one we'll see.

Speaker 64 (04:08:14):
The hell Wallace production the Helmer Jordan.

Speaker 42 (04:08:17):
Oh, yes, Wendell Corey is in that tool.

Speaker 41 (04:08:20):
You know.

Speaker 42 (04:08:20):
When you and Hal Wallace get together on a picture,
we know it's going to be a hit. Bird. I
hear you are off in New York in a few days.

Speaker 86 (04:08:27):
Yes, I've just finished my own normal fr production of
The Hawk and the Arrow at Warner Brothers.

Speaker 56 (04:08:32):
And now I'm going to New York too, see a
few shows and take a brief vacation.

Speaker 94 (04:08:36):
Well, your last vacation you spent out on the road
with a circus is an acrobat.

Speaker 56 (04:08:40):
Nothing like that this time, not unless you have to
be an acroback to get.

Speaker 11 (04:08:44):
Tickets to South Pacific.

Speaker 56 (04:08:46):
Bill, tell me what's next Monday's show.

Speaker 94 (04:08:49):
Next week, Bert, one of America's best love characters, will
return to this stage. The gentleman I am talking about
is mister Belvidere, and our play is the twentieth century
Fox hit.

Speaker 42 (04:09:01):
Mister Belvidere goes to college.

Speaker 94 (04:09:03):
Naturally, we'll have the original mister Belvidere here to play
the part, the amazing Clifton Webb. And besides mister Webb,
we have two other stars, Colleen Gray and the popular
Robert Stack, a great comedy and.

Speaker 42 (04:09:18):
The return of mister Belvidere.

Speaker 27 (04:09:20):
All on X moubly nat everybody will love it.

Speaker 42 (04:09:23):
Bell good Night, good Night, good night, and thank you.

Speaker 15 (04:09:31):
Ladies and gentlemen.

Speaker 93 (04:09:32):
Has a great deal of vague and sentimental talk about
the American economic system, but here often cold facts. Since
nineteen ten, we have increased the income of each household
from twenty four hundred dollars to.

Speaker 42 (04:09:47):
About four thousand, and the figures are in.

Speaker 94 (04:09:50):
Dollars of the same purchasing power. We've done it by
increased production, and yet we work eighteen hours less each
week for this extra money.

Speaker 42 (04:09:59):
This is the miracle of America.

Speaker 94 (04:10:07):
Leave her Brothers Company, the makers of Lux Toilet Soap
join me in inviting you to be with us again
next Monday evening, when the Lux Radio Theater presents Clifton Webb,
Robert Stack, and Colleen Gray in Mister Belvedere Goes to College.

Speaker 42 (04:10:22):
This is William Perey saying good night to you.

Speaker 3 (04:10:25):
Ron Hollywood.

Speaker 42 (04:10:32):
Okay was adapted by S. H.

Speaker 5 (04:10:34):
Barnett and our music was directed by Lois Silburts.

Speaker 35 (04:10:44):
Here's a Passion Suy from Hollywood.

Speaker 64 (04:10:46):
Barbara Stanwick has one of those smart, new finally pleaded
nylon nineties that stays in fleet when you wash it.
Of course, she insists on lux Flake's care for it,
just as she does for all her lovely langerie. One
of her favorite shade is a pale green orchid. This spring,
you'll be seeing more and more delicate and unusual colors
and slips and nineties, so play safe wash them.

Speaker 35 (04:11:07):
With gentle lux Flakes.

Speaker 64 (04:11:09):
Tests prove that wrong washing soon fades, colors often tears
delicate lace. Lux Flake's care keeps pretty slips and nineties
new looking three times as long. Use lux Flake to
give your nice washables that lovely lucks look.

Speaker 103 (04:11:26):
This is your announcer, John Milton Kennedy, reminding you to
join us again next Monday night. Then hear the Lux
Radio Theater presentation of Mister Belvidere Goes to College, starring
Clifton Webb, Colleen Gray, and Robert Stack.

Speaker 5 (04:11:37):
Stay tune for My Friend Irma, which follows over these
same stations. It's the CBS for Columbia Broadcasting.

Speaker 85 (04:11:42):
Crystal the Man lives in the world of time, space and.

Speaker 5 (04:12:11):
Of the universe. When the ventures beyond his limited, he
is in wars. Strange forces are world into.

Speaker 4 (04:12:24):
Plays where the power is beyond.

Speaker 5 (04:12:29):
His, he is often destroyed.

Speaker 1 (04:12:35):
This is.

Speaker 104 (04:12:43):
The Far East Network presents in special performance Macabre The
Night's Story The Edge of Evil.

Speaker 5 (04:12:53):
As I came closer, collar turned up against the storm,
I saw the house in more detail. It was a
house out of the past. Towers, turrets, bay windows, gingerbread
scroll worked like rick brack on a spinster's bodies. A
white flash of lightning revealed everything with a frozen bullet.
There was a tower under the house, a round tower,

(04:13:15):
perhaps three stories high. I have no idea what it was.
I had never seen anything quite like it in the
New England countryside. I reached the front door. There was
no bell. There was a huge brass knucker, no answer.
I was disappointed. I'd assume from Luc's letter that she'd
be home when I arrived, and I didn't like the

(04:13:36):
idea of walking back to the station in this thunderstorm.
I knocked again, the door open. Store A creature stood
before me. It's difficult to think of him as a man.
He was twisted, ugly, as tortured. His eyes were bright
and they fastened themselves upon me like sharp pins. Yes,

(04:14:01):
I'm Jerry Mayer. You're not Professor Norvick?

Speaker 15 (04:14:04):
Are you?

Speaker 13 (04:14:05):
No?

Speaker 5 (04:14:06):
Isn't it obvious? Is the professor here?

Speaker 13 (04:14:09):
Is?

Speaker 5 (04:14:10):
Is Missus Narvick here?

Speaker 56 (04:14:12):
Come in?

Speaker 5 (04:14:20):
I don't know whether the professor expects me. You see,
it was Missus Narvick who asked me to come.

Speaker 38 (04:14:24):
Yes, the clerical color you're wearing. The minister you would
be Lucy's friend. She's not here now. Professor Narvik took
her out tonight.

Speaker 5 (04:14:39):
M h.

Speaker 38 (04:14:41):
I think he means to prove something to her people.

Speaker 5 (04:14:44):
Forgive me Hamad a loss here. I don't think Lucy
mentioned you in her letter. No, she would not. I'm chester.
Come let me take you into the living room.

Speaker 15 (04:15:02):
Here you are, Reverend.

Speaker 38 (04:15:05):
Brandy or are you going to pretend it's wicked and sinful?

Speaker 5 (04:15:11):
I'd say, all a night like this, it's very sensible.

Speaker 53 (04:15:15):
Ah.

Speaker 5 (04:15:16):
Oh, why do you suppose Lucy? Missus s Norvig. We'll
be back.

Speaker 38 (04:15:21):
I think you better wait, mister Mayor, till the professor
comes home. I think he will answer your questions. Now
you'll excuse me. I have work to do out in
the tower.

Speaker 5 (04:15:37):
I saw the tower out there. What's it for an
old shot tower?

Speaker 38 (04:15:42):
They used to make musket balls by dropping pellets of
hot lead from the top into tubs of water. Today, well,
let's say today we still use it for a scientific purpose.

Speaker 5 (04:15:59):
Good night, mister Mayor. As I sat there in that huge,
old fashioned living room, I suddenly became aware of some
strange presence. But I felt it was almost impossible to describe,
not sound, not sight, not touch. I was feeling pure

(04:16:22):
inner feeling. There was something evil.

Speaker 15 (04:16:26):
In this room.

Speaker 5 (04:16:26):
Where I wanted to rise, I couldn't. I wanted to scream,
my throat was paralyzed. The room began to spend an
evil force, swirling tornado like all about the edge of
bractice edge evil. I OpEd my eyes. I was in
the same chair. I don't know how long the blackness

(04:16:49):
had been all about me, A dim face sweat in
front of my eyes. Then suddenly it took a form.

Speaker 33 (04:16:54):
Jerry, Jerry Mayor. Oh Jerry, I'm so glad to see you,
even if I did find you fast asleep.

Speaker 5 (04:17:01):
Oh yes, sleep must have dosed off.

Speaker 105 (04:17:05):
I'm sorry, Lucy, nonsense, Jerry, don't apologize.

Speaker 33 (04:17:09):
You're here.

Speaker 27 (04:17:10):
That's all that counts.

Speaker 5 (04:17:11):
Yes, I guess I am. I expected to find you
when I came in.

Speaker 33 (04:17:16):
I know, Jerry, I should have been here. Richard insisted
I go with him to a lecture. Was very dull.

Speaker 5 (04:17:23):
Where is Richard, doctor Novick, He'll be here in a moment.

Speaker 33 (04:17:27):
You wanted to see Chester out in the tower.

Speaker 5 (04:17:29):
You said you were in trouble, LIZI what kind of trouble?

Speaker 33 (04:17:33):
Could we wait till tomorrow?

Speaker 105 (04:17:36):
If you like, I'm run upstairs now and freshen up.

Speaker 33 (04:17:40):
Make yourself at home.

Speaker 29 (04:17:41):
Jerry, I'll try to.

Speaker 5 (04:17:48):
There was something wrong here, something wrong with the house,
something wrong with Woozy. As I took a few aimless
steps in the whole living room, a figure suddenly appeared
in the door, A man of forty five or so, lean,
dark saturn eye. I needed no introduction to know that
this was doctor Norvick, Lucy's new husband giving mister mayor.

Speaker 78 (04:18:11):
Lucy has told me all about you. You'll forgive me
if I fail to show enthusiasm. Ordinarily, an old friend
Lucy's would be welcome. What just steps me, I'm afraid
is the reason you've come.

Speaker 5 (04:18:22):
That would make you pretty perceptive? Doctor Novick. I'm not
sure of the reason myself.

Speaker 78 (04:18:26):
It's clear enough you are here because of Lucy's ridiculous superstitial.

Speaker 5 (04:18:30):
I'm here because she seems to be afraid of something.
Let us state the case correctly.

Speaker 78 (04:18:36):
Because she imagines she's afraid of something, she thinks there's
some sort of apparition, some sort of evil presence in
this house.

Speaker 5 (04:18:43):
She may have reason to think it. Allow me to
correct you.

Speaker 78 (04:18:47):
There is nothing that has not been explained, or at
some future time, will not be explained. I do not
expect you to agree, but Lucy is my wife, mister Mayor,
I will not have my wife and a group of savage.

Speaker 5 (04:19:00):
Superstitions I see.

Speaker 78 (04:19:03):
And now, since I have some difficult research tomorrow, if
you'll excuse me, I will take some sleep.

Speaker 5 (04:19:10):
Good night, mister Mayor, Good night, doctor Novic. Maybe we'll
both see things differently. In the morning, I awoke at
a cold sweat. I knew something was in the room. Something.
There was a medium sized room of the Bedom Bureau,

(04:19:30):
ordinary guest room. We'll see you have given me. The
window was open, but there was a cloud covered and
it was pitch black. I can see nothing. There was
no lamp, but I have left my lighter on the
bedside table.

Speaker 24 (04:19:44):
I could just make a.

Speaker 5 (04:19:44):
Little light feel better. I'll reach him a miner, that's something.
Put the lighter in my hand.

Speaker 33 (04:20:12):
More eggs than bacon.

Speaker 5 (04:20:13):
Jerry, this is wrong with your story?

Speaker 105 (04:20:16):
Well, I suppose this is a good chance to tell it.
You see, Jerry, I really did love Richard when I married,
and I looked up to him and admired his brilliant mind.

Speaker 27 (04:20:25):
He is brilliant, you.

Speaker 33 (04:20:26):
Know, as a worldwide reputation as a physicist.

Speaker 105 (04:20:30):
Go on, Well, Dick bought this old house because it
was near the university and because it was a bargain.

Speaker 5 (04:20:36):
You see it, it's supposed to be haunted, and do
you really think it is?

Speaker 33 (04:20:39):
Jerry?

Speaker 105 (04:20:40):
You know why I really called you, don't you because
you needed help, a special.

Speaker 33 (04:20:45):
Kind of help. You are an ordained minister. Isn't there
a technique for ghosts? Isn't there some sort of ritual?

Speaker 5 (04:20:54):
You mean exorcism? Yes, there is such a thing.

Speaker 29 (04:20:58):
I've looked into it.

Speaker 5 (04:20:59):
Ceremony dates from medieval times, bell, book and candle, but
it should be used only in extreme cases. That day
I examined the old house from top to bottom. I
found nothing unusual. In the afternoon, Lucy followed to say
she'd be delayed at a faculty wives dinner. Doctor Narvic

(04:21:22):
was still at the university. As doctors fell, I found
myself once more alone. I went to the big living room,
opened a book and sat in a Victorian chair. I
suppose I had read a chapter or two when it
happened once more. I was aware of something, some evil
presence of the group. This time there was more than

(04:21:45):
somebody of feeling the evil. This time I heard something.
It was a human voice. If I got kind of
your name, I couldn't say. I rose began to look
all around the room. I looked in every corner, the loss,
all the doors and winters. There was a small closet
in one corner of the room there open human skulls

(04:22:11):
stared out, and it's grinning mouth came the horrible sound
of someone in me. Well, what happened to you, mister Mayor?
Don't tell me? My life has also got you believing
in ghost, doctor Novig, There is something very strange going
on in this house of yours.

Speaker 78 (04:22:32):
Really, I'm afraid there's nothing I find strange. Would you
care for a drink, mister Mayor?

Speaker 13 (04:22:37):
Not?

Speaker 15 (04:22:37):
Now?

Speaker 5 (04:22:38):
Thank you? And you don't mind if I have one.
I think we'd better have a talk. That's exactly what
we're doing, is it not, doctor Novig. There's a small
closet here beside me. Have you looked into it recently?

Speaker 9 (04:22:50):
Oh?

Speaker 5 (04:22:51):
I don't think so. I suppose you look into it now?
Well if you wish, well, well, what what you see there?
Just an old skull? Just an old skull? Do you
have one in every closet? My dear mister Mayor.

Speaker 78 (04:23:07):
It is a skull I got from the medical department
when I was doing research on great Too.

Speaker 5 (04:23:11):
Act of carbon in bone mattered, Doctor Norvik, that's skull, Moon,
I don't look at it like that. I heard it
more before I did. There was a presence in this room,
something evil. Yes, no doubt you felt something.

Speaker 78 (04:23:24):
But if you have an explanation, perhaps something as simple
as indigestion.

Speaker 5 (04:23:28):
Eh, what have you been eating? Nothing unusual? Chester gave
me a glass of brandy when I came in out
of the rain. That's all brandy. Well, they could have
been something in it. Yeah, let us look at the bottle.
That's strange. I was sure I had a bottle of
brandy here. It was here last night. No matter, we'll

(04:23:51):
find it. Perhaps Tester took it with him to the tower.

Speaker 15 (04:23:54):
Oh.

Speaker 5 (04:23:54):
In that case, I think I better have a talk
with Chester.

Speaker 15 (04:23:57):
Mister Mayor.

Speaker 78 (04:23:57):
Please, I do not to be an ungracious host, but
I'm afraid I will have to forbid that. Why Chester
is doing important research in the tower, I do not
want him disturbed, And speaking of research, I have.

Speaker 10 (04:24:12):
My own work to do.

Speaker 5 (04:24:13):
You will excuse me.

Speaker 15 (04:24:14):
Eh.

Speaker 78 (04:24:15):
I have nothing against you personally, mister Mayor, but there
is one thing you must understand. Yes, there is nothing
I will not do to change Lucie to my way
of thinking.

Speaker 5 (04:24:26):
Good night, mister Mayor. Sleep well if you.

Speaker 104 (04:24:30):
Can act two of the Edge of Evil will be

(04:24:50):
heard in a moment to save your life. You can't
be the seat belt and careful courteous driving. The National
Safety Council says, strong seat belts properly installed our friends
for life on today's pectic highways. Now back to of

(04:25:11):
the Edge of Evil.

Speaker 5 (04:25:30):
If doctor Richard Narvik were a poor host, I'm afraid
I was a poor guest. I couldn't quite obey his
wishes to stay away.

Speaker 9 (04:25:36):
From the tower.

Speaker 5 (04:25:38):
That night, when everyone was to speaking, I slipped from
my room and went outside. There was only a short
walk across the lawn to the tower, and by now
the cloud cover had cleared and there was faint moonlight.
There was a large wooden door at the bottom of
the tower. When I tried this it opened. I was

(04:26:01):
at the foot of a light. There was nothing but
blackness above. Subtly, as I stood there with my eyes
streaming at the darkness, I began to hear a voice somewhere,
some of the men. I did my best of us,
but it was impossible to make up all the words
you adop Then probably a trap door opened, A shock

(04:26:27):
of light came down into the top. Now I could
begin to hear the voices clearly, want you.

Speaker 59 (04:26:34):
Coming down, checker, don't Chester, get back.

Speaker 5 (04:26:37):
Get I rushed up the latter as fast as I could.
A trap door open into a room. I think that
will take care of him for a few moments, Doctor Dovic,
you have a very strong punch from a minister. Mister mayor.

Speaker 78 (04:26:53):
Well, I suppose I must thank you for saving me.
I seem to remember telling you not to come here
to the tower.

Speaker 5 (04:27:00):
All of the electrical equipment now look here, doctor Novick.
I think it's time you explain a few things, and
explain them honestly. Wait, Chester is coming around here. Chester,
I'll give you a hand.

Speaker 29 (04:27:11):
Come on you.

Speaker 5 (04:27:13):
You hit me, yes, I did, and I think it
kept you from murdering doctor Novick. Yes, yes, that's true.
I'm sorry.

Speaker 38 (04:27:23):
I knew what I was doing, but I couldn't help myself.

Speaker 5 (04:27:26):
Why would you want to kill doctor Norvick? Chester, Chester,
do not answer that question. What are you hiding Novig?
It's not your concern Chester thinking what happens to you?

Speaker 73 (04:27:36):
If you do not have me?

Speaker 5 (04:27:38):
Bye? Ye, all right, I will say nothing. It's better
just doctor Novick. If you don't want Chester to say anything,
I'm forced to ask you to make the necessary explanations.

Speaker 78 (04:27:50):
If your superstitious notions are beginning to bother you, mister mayor,
I have only one suggestion, which is that you leave
this house in the morning.

Speaker 21 (04:27:59):
You are no longer to come.

Speaker 5 (04:28:00):
Guess when I reached the house again, I headed from
my room. Then I noticed a light in the living
room shining through the cracks of the door. I started
toward the living room casually enough. Suddenly, we'll see, we'll see.

Speaker 11 (04:28:24):
Are you all right here?

Speaker 10 (04:28:26):
I'll help you up on the floor.

Speaker 5 (04:28:28):
It's all right, Lucy, You're all right. Now, take it
easy here, miss the water. Yeah, that better.

Speaker 33 (04:28:42):
Jerry, what happened?

Speaker 5 (04:28:43):
I heard your scream, rushed in found you're lying here
on the.

Speaker 33 (04:28:46):
Floor, Cheery. It's horrible.

Speaker 13 (04:28:49):
I don't know what it was.

Speaker 33 (04:28:50):
The room was pressing on me and the air was
filled with something black and evil.

Speaker 5 (04:28:56):
Oh, Jerry, we'll see, we'll see. Stop it, Lucy, right, I'm.

Speaker 33 (04:29:05):
Sorry, Jerry.

Speaker 5 (04:29:06):
I just I just don't know where I can stand
any long. I don't know if I can either. We'll see.
I know it's late at night, but certain things have
to be said. I'm going to see them right now.
You're a Saturday won't hold up under this, But what
can I do? You don't have to leave this house,
We'll see leave.

Speaker 33 (04:29:24):
Where will I go?

Speaker 9 (04:29:25):
I don't know?

Speaker 5 (04:29:26):
Have you any friends in town?

Speaker 105 (04:29:29):
I suppose I could find a place to stay, but
it's things like running away, And in spite of the
way Richard feels it.

Speaker 5 (04:29:36):
Isn't really fair to him, there's an alternative. Then, convince
your husband that you both have to move. Let him
sell the house. Yeah, sell the house. That's very well,
mister Mayor, you know very well. Of course, I would
never never sell this house. I'm afraid I don't see
anything logical and keeping Lucy in this house, not if
you love her. But you're mistaken, mister Mayor.

Speaker 78 (04:29:59):
Every act of mine has been the most logical possible behavior,
and now I'm going to prove.

Speaker 5 (04:30:05):
It to you, to both of you, Richard, I don't
understand you will in a moment, can't have a drink
with me, mister Mayor. No, I don't like you very well.

Speaker 78 (04:30:15):
I'll have one for myself. Excuse me, you see, mister Mayor,
I am a scientist. Throughout history, scientists have been destroyed
by superstition. I find it unbearable that my own wife
should be superstitious. I decided to prove to Lucy once
and for all that what we call mysteries spiritual matters

(04:30:38):
may invariably be explained in terms of the real physical world.

Speaker 5 (04:30:43):
I'll be interested in that proof too, of course, mister.

Speaker 78 (04:30:47):
Mayor, the incontrovertible proof, scientific proof. You are familiar with
scientific method.

Speaker 5 (04:30:54):
I know it well enough. It has its uses. At
the times it's dangers, we shall see. I wonder if
both of you will return to the tower with me,
If you wish.

Speaker 33 (04:31:05):
Do we have to go out there the tower? It
frightens me.

Speaker 78 (04:31:09):
I think this time, my dear, you'll find that the
tower will merely educate you.

Speaker 5 (04:31:15):
Huh. No light upstairs? That's strange. Chester always works at
this hour. Wait a minute, Look up there, the trap

(04:31:35):
door is opening. There is a light, Yes, a small
one from a candle. Why would you be using a cannon?

Speaker 33 (04:31:43):
Should we go back to the house?

Speaker 9 (04:31:46):
Chester?

Speaker 5 (04:31:47):
Are you a per Chester?

Speaker 15 (04:31:49):
Yes?

Speaker 82 (04:31:50):
I am up here, Doctor Norvick.

Speaker 13 (04:31:52):
Don't tell any further Chester.

Speaker 22 (04:31:54):
What kind of mountains is it?

Speaker 3 (04:31:56):
I'm not going to.

Speaker 16 (04:31:57):
Live this way any longer.

Speaker 3 (04:32:00):
Lay it tells everything.

Speaker 43 (04:32:02):
Chatter.

Speaker 5 (04:32:03):
What are you talking about?

Speaker 48 (04:32:04):
Look called, doctor Noddy.

Speaker 102 (04:32:06):
I'm coming down just to talk.

Speaker 5 (04:32:08):
Donchester.

Speaker 85 (04:32:09):
Wait, I've made up my mind.

Speaker 78 (04:32:17):
Oh god, very well, Lucy, mister Mayor. You've read Chester's
suicide notes. Now you know the whole story. We'll go
back to the house. Call the police.

Speaker 15 (04:32:33):
The first.

Speaker 5 (04:32:34):
I want you both to have a good look at
the laboratory here on the top of the tower. It's
part of what I wish to explain. Let me get
everything straight now, doctor Novick, you kept Chester hear because
of his brilliant theories and you passed them off as
your own. Take a good look at this laboratory before
you return to the house.

Speaker 78 (04:32:51):
I cannot expect you to understand this equipment, but to oversimplify,
these are oscillators to generate supersonic waves, have parabolic reflected
that send them into the house. They can be focused
on any room. And now, if you'll come back to
the house, I'll explain further.

Speaker 33 (04:33:09):
Richard, Please let's get out of here.

Speaker 5 (04:33:12):
Very well.

Speaker 78 (04:33:13):
You should go back, and I think, Lucy, when you
hear what I have to say, yes, you'll perhaps come
to your senses.

Speaker 5 (04:33:25):
All right, we're here at doctor Noddick and we're waiting
for your great revelation. Whatever it is I said, it
would prove to you that all so called mysteries have
a physical cause.

Speaker 78 (04:33:35):
Supersonic waves that you perhaps know are merely sound vibrations
far beyond the range of the human ear.

Speaker 5 (04:33:41):
But when you are caught in a certain pattern of
directed waves, you cannot hear them.

Speaker 78 (04:33:46):
But you are filled with nameless terror, Yes, Lussie, with
a feeling of evil pressing in upon you, overwhelming you.

Speaker 33 (04:33:55):
You made me feel that way.

Speaker 68 (04:33:58):
This horrible equipment for a reason, Lucie to prove to
you that all your beliefs about spirits, about mysteries, yes,
about even the god you worship, were merely superstitious.

Speaker 5 (04:34:09):
Novic?

Speaker 78 (04:34:09):
What did you hope they gained by this? I hope
nearly that Lucy would come to her senses. The same
applies to you, mister Mayor. It was not difficult to
place the lighter in your hand, but to use a
speaker to make that skull moan?

Speaker 38 (04:34:24):
What's that?

Speaker 5 (04:34:26):
What's what that sound?

Speaker 33 (04:34:28):
Or is it a sound?

Speaker 5 (04:34:29):
I think I feel it true. It's more like more
like a strange force coming into the room. Yeah, I'm possible,
just the same. I feel something not quite the same.
It seems different as time. Wait, I can hear something too.
I'm surprised you admit it, dtor Novick became now this

(04:34:50):
can't be explained, but it is a strange feeling. What
is it you're asking us? Dtor Norvic, you're the scientific expert.
Why don't you tell us?

Speaker 33 (04:35:00):
Yes, it is different as time. It's evil, dear, it's
almost pure.

Speaker 5 (04:35:06):
Evil, likes everybody about to become. I'm sure this can
be explained.

Speaker 27 (04:35:17):
What was that?

Speaker 5 (04:35:18):
Don't you know? Doctor Novic?

Speaker 15 (04:35:22):
What is it?

Speaker 16 (04:35:23):
Wants?

Speaker 34 (04:35:23):
To kill us.

Speaker 5 (04:35:24):
Impossible, This is right. I can sense its impossible. Impossible?
Could it? Don't you creed it? Something in spite of yourself?
Novig an apparition? A ghost donald ghosts, ghosts do not exist?

Speaker 21 (04:35:44):
What this exists?

Speaker 5 (04:35:45):
Whatever it is not only exists, but it's here.

Speaker 15 (04:35:48):
Chills. I can move?

Speaker 5 (04:35:54):
What do you mean? Something holding me here? Some plus?

Speaker 15 (04:35:58):
I cannot move?

Speaker 5 (04:35:59):
Nonsense here.

Speaker 33 (04:36:00):
Let me help you, Jerry. What's the trouble?

Speaker 5 (04:36:04):
Oh no, there is some force. There's too much for me.

Speaker 27 (04:36:08):
Help me, please, don't don't let me die.

Speaker 5 (04:36:12):
I don't know what's happened here, but there's only one
thing left to do. Is there a Bible here?

Speaker 33 (04:36:16):
Bibles?

Speaker 5 (04:36:18):
Please don't ask questions. Get a bible if you can.
There's one in the bookcast and a bell Lussy, there's the.

Speaker 33 (04:36:25):
Bible, Jerry on the earth. Are you doing the.

Speaker 5 (04:36:29):
Candle? What you for?

Speaker 33 (04:36:32):
EXI?

Speaker 5 (04:36:33):
That's right, exorcism, the ancient ceremony to drive away and need.

Speaker 33 (04:36:37):
Richard just explained it was his machinery in a tower.

Speaker 5 (04:36:39):
Maybe, but maybe something else has happened. Now, please please listen,
may help me. Whatever you do, please do it quickly.
Disabled thing pressing in I cannot breage. First like the candle,
now the bell bell candle, an old form of this

(04:37:01):
from the Middle Ages. Then you know it. I can
remember the words.

Speaker 33 (04:37:05):
Please help me, poet, Jerry, hurry pay.

Speaker 5 (04:37:09):
What The souls of the righteous in the hand of God,
and there shall not touch them. In the sight of
the unwise, they seem to die, and their departure is
taken from misery, and they're going from us to be
utter destruction. But they are in peace, although they be
punished in the sight of men. Yet is their hope.

Speaker 33 (04:37:30):
A terrible evil presence?

Speaker 49 (04:37:32):
I think it's leaving now, Yes, it's leading us.

Speaker 33 (04:37:37):
The lights are getting brighter, Jerry. Are you all right?

Speaker 5 (04:37:40):
I think so almost from Jerry.

Speaker 106 (04:37:44):
Look what is the Look at his pace, Jerry. Look,
it's got to him. Whatever it was, it got to him.

Speaker 18 (04:38:03):
No, Richard, Lucy, is it.

Speaker 10 (04:38:10):
No pulse?

Speaker 5 (04:38:13):
First Chester, Now your husband. There's death in this house. Lucy.

Speaker 33 (04:38:18):
He killed himself with a horrible equipment.

Speaker 5 (04:38:22):
It wasn't the equipment, luc What do you mean. I
looked at that equipment before we left the tower.

Speaker 33 (04:38:27):
Carefully, Jerry, what are you trying to say?

Speaker 5 (04:38:30):
All the wires were cut, sliced, all the connections. Chester
must have done it in a rage before he committed suicide.

Speaker 33 (04:38:37):
Jerry, are you sure?

Speaker 5 (04:38:39):
I give you my word, Lucy. Whatever killed Richard was
not physical, then then what was it? Give it any name?
You want a thing, force the evil he himself had created.
Call it Chester's ghost if you will, I still strange.

(04:39:00):
I thought I'd drivenhim away. Chester. Are you still here? Chester?

Speaker 15 (04:39:06):
Don't you know me?

Speaker 5 (04:39:09):
Of course? Richard evil never dies. He will be the
ghost of this house now until he turned it in.

Speaker 104 (04:39:43):
You have just heard mccab, a special Faris Network presentation
tonight's story The Edge of Evil feature John Dewey is
Doctor Norvic, Mitsy Hennessy as Lucy, Milton rad Milovich as Chester,
and William Verdier as j Technical supervision by Hiroshi Ono

(04:40:04):
with sound patterns by Airman First Class James Connolly. The
Knight's mccab was written and directed by Walt Sheldon.

Speaker 16 (04:40:27):
Mccob comes to you each week at this time through
the worldwide facilities of the United States Armed Forces Radio
and Television Service.

Speaker 59 (04:41:54):
Get This and Get It Straight. Crime is a sucker's road.
Those who travel and wind up in the gut of
the prison of the grave. This started with a terrified
woman lost in amaze of memory she couldn't explain, and
waiting for her outside an open window was death.

Speaker 75 (04:42:09):
From the pan of Raymond Chandler, outstanding author of crime fiction,
comes his most famous character in the Adventures of Philip Marlowe.
Now with our star Gerald Moore starred as Philip Marlowe,

(04:42:31):
we bring you tonight's exciting story The open Window.

Speaker 59 (04:42:48):
California is a year run kind of place where each
day blends into the next with a sort of sunny indifference.
But the one just passed had been a little special.
It was the cool, crisp boy weather that reminded you
of the East, where artam meant kicking your way through
knee deep drifts of brown and yellow leaves along a
rutted country road that hinted an adventure at every turn. Yeah,

(04:43:11):
that's the kind of a day it's been. But now,
at a little past eight, as I stood at the
window of my third floor apartment and stared out over
enough improved Los Angeles real estate to house maybe half
a million people, tonight, I wanted no part of because
the world was out there minding everybody else's business while
I was in here, minding my own in here. Everything

(04:43:31):
was in order and cozy. I could read if I
want to write a letter, if I want to, or
just relax with.

Speaker 69 (04:43:38):
Oh no, yes, is your name Philip Mono?

Speaker 27 (04:43:45):
Yeah?

Speaker 69 (04:43:45):
Why because I have that name in this address written
here on this car. I think I was supposed to
see you? Do you know me?

Speaker 15 (04:43:54):
Well?

Speaker 59 (04:43:54):
No, frankly, I don't What were you supposed to see
me about?

Speaker 69 (04:43:58):
Who are you, mister Mono? I mean what sort of I'm.

Speaker 59 (04:44:02):
A private detective? Wait a minute, wait a Minute's not
that bad a racket? Oh no, why don't you come
in and we'll talk this about?

Speaker 5 (04:44:10):
Huh?

Speaker 59 (04:44:10):
Come on, thank you? I sit down, won't you? You
look like a navy keep and use a drink? But
you want one?

Speaker 69 (04:44:20):
No, thank you? I just need to restu home. No,
I've been walking for hours.

Speaker 59 (04:44:26):
Well, now tell me what is it?

Speaker 92 (04:44:29):
A man?

Speaker 69 (04:44:29):
I think someone's been following me. I was followed here.
I'm sure I don't know why. Really this is Los Angeles, California,
isn't it.

Speaker 15 (04:44:38):
Yeah?

Speaker 69 (04:44:39):
I keep thinking that is. I feel as though it
should be a Vancouver, British Columbia. Oh, I don't know
how I got here or why I want to see you.
But I've walked until I'm nearly exhausted, and I found
that I'd written your name and address on this card.
Here's what I decided to come and try to find out.

Speaker 59 (04:44:58):
Well, not tell me. Do you know who you are?

Speaker 18 (04:45:02):
No?

Speaker 69 (04:45:02):
I don't know who I am.

Speaker 59 (04:45:05):
This man you're afraid of do you know him?

Speaker 13 (04:45:08):
No?

Speaker 69 (04:45:09):
But I believe he knew me. He reminded me of Vancouver,
and that frightened me. I seem to remember I saw
him a year ago. Maybe it was just the day before.

Speaker 59 (04:45:21):
Yes, you did.

Speaker 69 (04:45:23):
See how crazy that some?

Speaker 90 (04:45:27):
But I can't help I can't remember it.

Speaker 59 (04:45:29):
Tao, easy, now you better lie down on the dive.

Speaker 5 (04:45:31):
Man, that's it.

Speaker 59 (04:45:32):
Come on, I had a girl.

Speaker 5 (04:45:35):
Look.

Speaker 59 (04:45:35):
I think we ought to call a hospital and see it.
Stay away, it's happening in the hall. Maybe for us.
I just take it easy, Hey, hey, you hold it?

Speaker 22 (04:45:42):
Hold it aday?

Speaker 59 (04:45:44):
Oh great?

Speaker 33 (04:45:45):
Who was it, mister Marlow?

Speaker 59 (04:45:46):
I couldn't see. Don't let it bother, you know, honey,
it's probably just one of my clumsy neighbors. Never watches
where he's going, you know.

Speaker 69 (04:45:54):
The other night, all right, whoever was out there was
looking for me.

Speaker 9 (04:46:00):
I know he was, I know it.

Speaker 59 (04:46:01):
I look, honey, isn't that something you can tell me?
Don't you remember any I.

Speaker 27 (04:46:06):
Don't know.

Speaker 69 (04:46:09):
Here, Look in my purse. There's things in it I
don't understand. Maybe there'll be some hell.

Speaker 59 (04:46:15):
Key address on a piece of brown paper. Eighty four
hundred North Virgil, Tompkins. Does that mean anything to you?

Speaker 5 (04:46:25):
No?

Speaker 59 (04:46:27):
Little snapshot album with one of the pictures missing.

Speaker 69 (04:46:31):
I remember now that was still good, but I don't
remember what the picture was. Oh, please please try to
find out who I am and why I'm being followed.
Please try to find out why I'm afraid.

Speaker 59 (04:46:46):
All right, baby, Now you stay here to like get back?

Speaker 5 (04:46:49):
Huh.

Speaker 69 (04:46:50):
I won't bother anything. I'll wait right here.

Speaker 16 (04:46:54):
Oh I'm so tired.

Speaker 59 (04:47:07):
I figured what she needed most was rest, and she
was getting that fast. So I dropped the items from
a person in my pocket, snapped the lock on my
apartment door, and left. My first stop was the phone
downstairs in the lobby, where I found out that the
Missing Person's bureau had no one on fire answering her description.
My next stop was eighty four hundred North Virgil. A
half hour later, I found it a crumbling stucco rooming

(04:47:29):
house in a weader of knobby hills, huddled with other
ramshackle houses that years ago it had abandoned any hope
of beauty in the face of the leaky, bobbing oil
wells that had invaded the neighborhood like a heart of huge,
greasy grasshoppers. I walked past one of the creaking monsters
in the front yard and down a grimy hall with
a door marked manager Jacob Philpotts, below which some neighborhood

(04:47:50):
wagged pencil stinks wasn't funny. Neither was Jake Philpotts.

Speaker 15 (04:47:56):
Yeah, what is this?

Speaker 22 (04:47:58):
Speak up spoiling? I'm very busy. Give me a soldier.
What's on your mind beside your hat?

Speaker 59 (04:48:03):
Okay, comic, I want to see Tompkins.

Speaker 107 (04:48:05):
Oh you want to see tom That's what I said.
Why you're too late, sporty, he's gone blue flew the coop,
took the five hundred bells and shoved off two hours
ago away for his hometown. I guess Vancouver. It sway
up in Canada, which is a long walksparty. So your
beggest by.

Speaker 59 (04:48:23):
Wait a minute, chake way did Tomkins get the five
hundred some crossy guy gave it to him, bassy guy?

Speaker 22 (04:48:30):
Why why to get out of town and stay out?
So he does, but first he pays back all his
back rent and buys me a bottle.

Speaker 27 (04:48:37):
Besides, wasn't that sweeter?

Speaker 59 (04:48:40):
That stuff over there? Must have hated you. Who is
the classic guy? Why do you want Tompkins out of town?

Speaker 5 (04:48:45):
Why?

Speaker 4 (04:48:47):
How do I know?

Speaker 27 (04:48:48):
Why?

Speaker 107 (04:48:48):
Am I in acycloprenia? I look nosey? My wish is
getting cold? So why don't you run the line?

Speaker 59 (04:48:53):
I want to know who the guy was, and I
want to know.

Speaker 108 (04:48:55):
So you're goodness, stop pushing that you want to fight?
H okay, come on take it's make it easy. You'll
beat yourself at that. Let's negotiate. Prop up against the
wall and I'll talk to you. What about a price
for another bottle.

Speaker 59 (04:49:09):
Of that stuff? I wouldn't not just another bottle, That's
what I said.

Speaker 22 (04:49:14):
Oh well, that's that's different. That's really I sure spoiling.

Speaker 59 (04:49:17):
Not really, kid, I'm trying to poison. You know what
was Tompkin's record?

Speaker 22 (04:49:21):
Oh, guarder copping, the handing man? Nothing much?

Speaker 5 (04:49:25):
What else?

Speaker 59 (04:49:26):
Who was the classic guy that brought him off?

Speaker 107 (04:49:29):
Let's see his name, right, on the tip of my
tongue a minute ago. A red handed and flashy dress
so had a sort of oh oh.

Speaker 22 (04:49:39):
Boy, yeah yeah, yeah, that'sh palm.

Speaker 59 (04:49:41):
Very good. Now one more, Where can I find him?

Speaker 22 (04:49:43):
Why? He said something about running the Pearls.

Speaker 59 (04:49:48):
You Yeah, it's a dive on Highland. Thanks Phil Potts.

Speaker 107 (04:49:51):
About don't time me spoiling your bot. Remember this brand
comes to seven fifty attack.

Speaker 59 (04:49:56):
Don't kidding, old kid. A Jakie can squeeze that junk
out of salbott Is and have a happy hangover outside.
The smell of the oil well as I passed it
was welcomed by comparison to Jake, which made it tough
to reconcile anything I'd seen at eighty four hundred North
Virgil the girl asleep on the dive van in my apartment.

(04:50:19):
As I drove back the Hollywood, then down Highland Avenue,
the night was still strangely quiet. Everything seemed to come
in whispers, even the hunch I had with the vanishing
mister Tompkins had sold out dirt cheap to the boss
of the Pearls. Near Third Street, I spotted the place
poked aways beyond it and walked back it was one
of those dumps that dealt in bad bar whiskey, second
rate buck but a lot of darkness. I shook off

(04:50:42):
a brace of last weekenders on my way through, made
it up the stairs to the offices, where a block
of orange light on the floor and a two toned
conversation told me to stop, look and listen.

Speaker 35 (04:50:53):
Alan, as they say in Missouri, I have to show you.

Speaker 22 (04:50:56):
Huh hah, All right, no, my will.

Speaker 74 (04:50:58):
You're not easy to get over. I still you, and
I've missed you. So when you drop me for your
stuffy broker friend, I did a little checking up and
I found.

Speaker 59 (04:51:05):
Out plenty about Cooper.

Speaker 74 (04:51:07):
About Cooper Gerard, I don't believe. Oh but your shirt, honey,
you see normal. It's not about him specifically, but about
a woman, a woman who's all wrong, who spells trouble.

Speaker 59 (04:51:16):
This deep, and I can prove it.

Speaker 74 (04:51:18):
I went to work on it tonight and things are
going to be different from now on.

Speaker 59 (04:51:22):
Buddy, get out of here, go on, and I want
a minute. All I want to know is what I said,
beat it. I mean, never mind, Buster, it doesn't matter anymore.
My presence is now known.

Speaker 85 (04:51:31):
Come on, in junior, you can hear better inside.

Speaker 5 (04:51:35):
I doubt it.

Speaker 59 (04:51:35):
I'll inhibit the performers, but thanks anyway, baddy all I
want to try the end of the hall and left
it's usually there.

Speaker 3 (04:51:41):
Okay, thanks, that's all I want to know.

Speaker 59 (04:51:44):
Hello, Hello, what do you want? Miss It? Make it snappy? Okay?
Why'd you pay Tompkins leave town?

Speaker 16 (04:51:50):
Tonight?

Speaker 59 (04:51:51):
Tom?

Speaker 34 (04:51:53):
How are you?

Speaker 59 (04:51:54):
Marlow gonna answer the question formally?

Speaker 15 (04:51:55):
Oh?

Speaker 74 (04:51:56):
I certainly I didn't pay him to leave town. I
paid him for some work, carpenter work.

Speaker 59 (04:51:59):
Why what's the matter?

Speaker 27 (04:52:00):
Alan Field? The whip handle slipping?

Speaker 5 (04:52:02):
Not a bit? Baby?

Speaker 16 (04:52:03):
Look, why don't you run along now?

Speaker 59 (04:52:04):
I'll call you later.

Speaker 74 (04:52:05):
Oh, here's your cigarette.

Speaker 59 (04:52:07):
Case, my cigarette case, Yeah, take it with you. We'll
get in touch later.

Speaker 50 (04:52:11):
Okay, Alan, good night, Marlow?

Speaker 59 (04:52:15):
Good night, missaves o that it'll do you any good tune.
It's a cute kid, smart too, alright?

Speaker 15 (04:52:23):
All right?

Speaker 74 (04:52:25):
Why are you interested in Tompkins?

Speaker 59 (04:52:26):
There's a certain lady's interested in a lady's name business. Okay,
go on, it's key? What door does it fit? Pomery?
How should I know?

Speaker 74 (04:52:37):
Have you got anything else?

Speaker 59 (04:52:38):
Isn't it enough? Not enough to worry about? Marlow?

Speaker 74 (04:52:40):
So I suggest that you leave, and in case you
have any doubts, this thing goes off awful easy.

Speaker 59 (04:52:46):
I see your point, yeah, and I just assume should
is not.

Speaker 74 (04:52:50):
So start down those stairs and don't look back.

Speaker 59 (04:52:52):
I bust for a couple of the boys.

Speaker 74 (04:52:53):
They'll be at the bottom.

Speaker 59 (04:52:54):
They help you out the front door.

Speaker 109 (04:52:55):
Oh and Marlow, take some advice.

Speaker 74 (04:52:58):
I don't like your type, so don't come back.

Speaker 59 (04:53:06):
I can get boys escorted me politely as far as
the sidewalk and get me ascent off that piled me
into the gutter. It's my own fault, letting commie get
the drop on me. But it was father ahead of midnight.
Figured in fact, I was lucky. All I got was
the bounce. I limped back to my car, got in
and started home. But something about the trio of normal
La Casso, Pomally and a broker named Girard was offset

(04:53:28):
it and Gerard's connections were too strong to pass up.
So I decided to let the pale woman asleep in
my apartment go right on sleeping. While I stopped at
a phone booth found only one Kooper. Girard list didn't
he had eighty one twelve North Orange Drive. It was
a lonely house up in the Hollywood Hills. I tried
the bell and got no answer, but I knew he
was there. I slipped the enigmatic key out of my

(04:53:51):
pocket and listened to the music coming from inside. I
stuck it in the lock turned just as the footsteps inside,
so I pulled it out fast and the party on
the other side of the door do the honors. What
is it you are, mister Geran, Yes, I'm Cooper Girard.
What is it I'd like to commit and talk to you.
My name is Marlow. I'm a private detective. I've got

(04:54:11):
a key that fits your front door, plus a little
photo album full of a girl here.

Speaker 109 (04:54:16):
Why that's Margaret's album and her key.

Speaker 59 (04:54:18):
You found a Where is she? What's happened to her?
She's safe? Come in the upper room right. So her
name is Margaret? Eh, Margaret? What vs?

Speaker 5 (04:54:26):
Margaret?

Speaker 59 (04:54:26):
VZI?

Speaker 5 (04:54:27):
But where is she?

Speaker 109 (04:54:27):
I've been frantick.

Speaker 59 (04:54:28):
I just call the police.

Speaker 110 (04:54:29):
She left the house this morning and didn't come back.
It's late now, and in her condition. I'm afraid.

Speaker 59 (04:54:33):
What is Margaret's condition, mister Girard.

Speaker 110 (04:54:36):
She was injured in an auto accident a year ago
last July up near Vancouver affected her mind.

Speaker 59 (04:54:41):
But please, where is she? Just a minute? There are
some questions said, I'd like answered. First, exactly what is
Margaret Vz to you?

Speaker 110 (04:54:48):
On till July ninth, nineteen forty eight, when that horrible
accent happened? Nothing merely a hitchhiker. My wife and I
were motoring back from a vacation in Canada. They picked
Miss Vz up on the road. In the accident, Grace,
my wife, was killed. Miss Phezy seriously injured. All I
knew about her was that she was alone in the world,
so there was no one to help him. Well, since

(04:55:10):
I was driving the car, I assumed that responsibility was
the least I could do. I stayed with her in
Vancouver until she partially recovered, and then thought her here.

Speaker 16 (04:55:19):
She's been with me ever since.

Speaker 109 (04:55:21):
Now will you please take me to her?

Speaker 59 (04:55:22):
But the story doesn't end there. What do you mean,
Margaret Vezy's in trouble and she's scared. What do you
know about a man named Tompkins?

Speaker 27 (04:55:30):
Why?

Speaker 109 (04:55:32):
Nothing, I don't know any Tompkins.

Speaker 59 (04:55:33):
You do know a normal A Casso, don't you Norma?

Speaker 109 (04:55:37):
Of course, mister Cassa and I are quite good friends.

Speaker 59 (04:55:41):
What about Alan Palmery. I heard of him.

Speaker 109 (04:55:44):
He runs a nightclub, I believe.

Speaker 59 (04:55:46):
All right? Not tell me? Can you tell me why?
A third picture is missing in the album?

Speaker 5 (04:55:49):
What's that?

Speaker 59 (04:55:50):
Let me see.

Speaker 5 (04:55:52):
Why?

Speaker 16 (04:55:53):
This is very strange?

Speaker 109 (04:55:55):
Margaret cherishes every picture in this album.

Speaker 59 (04:55:57):
She thinks that one was stolen. Any idea? What the picture?

Speaker 5 (04:56:00):
No?

Speaker 110 (04:56:01):
I can't imagine why it was stolen. All the pictures
were simple, harmless snapshots. I can't remember the one that's missing.
Marlow What does all this mean?

Speaker 109 (04:56:10):
What's it all about?

Speaker 15 (04:56:11):
All?

Speaker 59 (04:56:11):
As near as I can tell, some kind of nasty
shakedown brewing. I don't know how why. But Alan Pomley's
behind it. Margaret Vez's caught in the middle, so it
involves you too. Come on, let's go get her. She's
asleep in my place. You didn't leave her alone, Yes,
I did.

Speaker 109 (04:56:24):
You shouldn't have done that. Couldn't you tell from her
mental state that she isn't responsible?

Speaker 5 (04:56:28):
For two days?

Speaker 109 (04:56:29):
She's been moody, she's been talking about suicide.

Speaker 59 (04:56:31):
She might marl are right. Let's travel.

Speaker 75 (04:56:44):
In just a moment the second act of Philip Marlowe.
But first, by the time you've listened to Johnny Dollar,
Philip Marlowe, Gangbusters and Escape, and the CBS All Star
Saturday Night lineup. You may be in the mood for
some slow thing of your own, So try it with
Sing It Again and the Phantom Voice. Don't always let
the other guy or gal solve the mystery. Try it

(04:57:04):
yourself with sing It Again on most of these same
CBS stations every Saturday night.

Speaker 23 (04:57:10):
In tune in this fall all this show that you
love best of all, Carefully, here's the address.

Speaker 75 (04:57:18):
It's now With our star Gerald Moore, we returned to
the second act of Philip Marlowe and Tonight's story, The
Open Window.

Speaker 59 (04:57:39):
It took ten minutes to get from Gerard's house to
my place. I knew because he reminded me of each
one as it passed. And when we turned on to Franklin,
where we could see my apartment house, the word Harry
is stuck in his throat. An ambulance was pulling away
from a tightan out of people standing on the concrete
driveway beside the building, and three floors above them, glowing
like a single, ugly and blinking eye, was the window
of my own apartment wide open. Even before I could

(04:57:59):
stop the grot was out and running trd the crowd.

Speaker 74 (04:58:02):
Woman, mister, it was terrible wind up there?

Speaker 59 (04:58:06):
Did you say it?

Speaker 74 (04:58:08):
They say she's been laying here on the concrete for
at least a half hour before anybody got to.

Speaker 35 (04:58:12):
Her, and so quiet around here the night times a week.

Speaker 59 (04:58:14):
I did tell me was she was?

Speaker 72 (04:58:15):
She did?

Speaker 59 (04:58:16):
Just they don't give her a chance. Let's go upstairs.

Speaker 22 (04:58:18):
The police are up there now.

Speaker 85 (04:58:19):
They're trying to find.

Speaker 5 (04:58:30):
You.

Speaker 74 (04:58:30):
Say, the woman came here to your apartment, miss Marlowe
and ask you for help.

Speaker 5 (04:58:34):
Is that right?

Speaker 59 (04:58:35):
That's right? Obviously she was frightened and exhausted, and I left.
She was asleep on the divan. There was the door locked, Marlowe.
It's kind of night lights, Gerard, I snapped at myself,
and you left her alone, right, mm hmm.

Speaker 83 (04:58:46):
Well take a look around, well, just see if you
can find anything to indicate that an outsider came in
while you were gone.

Speaker 59 (04:58:52):
What makes you think there was an outsider here? Because
I don't think she fell.

Speaker 109 (04:58:56):
Margaret was in mental turmoil, Officer, she's been dispunded. It's
possible that she jumped.

Speaker 74 (04:59:00):
How many people have you heard of that jumped out
of a window backwards. Mister, I think she was pushed pushed. Yeah,
come here, both of you.

Speaker 59 (04:59:07):
I want to show you something. He went over to
the window and pointed to five scratches where fingernails had
clawed the paint off the casing. The one that had
to be made by her thumb was the lowest. It
was true, she's gone out backwards, As the officer explained
that the girard, I stared down at the dwindling knot
of people three stories below, then up again at the
five jagged scars ripped deep by a terrified woman's nails,
stared at them until I screamed at me as a

(04:59:27):
sick mind must have screamed when she fell.

Speaker 74 (04:59:29):
Now, mister Marlowe, what about this cigarette stub with lipstick
on it?

Speaker 59 (04:59:33):
Cigarette stubb? Hey, that's exactly what I'd like to know, Gerard.
Where does Normal live?

Speaker 109 (04:59:37):
Wi the Hillcrest apartments on Sunset?

Speaker 59 (04:59:39):
But should never mind what I think. You go to
the hospital and find out about Margaret. I'm going to
pay a call on Normal a casso right now. She's
a type to be jealous enough not listen.

Speaker 109 (04:59:46):
You're making a mistake. That cigarette stubb must be Margaret's
because Norma doesn't smoke.

Speaker 59 (04:59:50):
Mama doesn't smoke. And what about the cigarette case? Hey, Buster,
you better check with Lieutenant Matthews at Homicide. I'll see
you later.

Speaker 74 (04:59:57):
Hey, come back here, Marlow.

Speaker 59 (05:00:07):
The whole Crest apartments fit Normala Casso to a tea.
There were sleek, soft tones of burnished wood, streamlined and glass,
and just enough chrome around for glitter. And once she
answered the door and glossy green lounging pajamas edged in gold,
smiled and tossed the head of hair that was almost
burgundy back to her face. I knew what Alan Palmerly meant.
Loving Normala Casso would be hard to get over.

Speaker 50 (05:00:29):
Hello, Junior, don't tell me you're joining the league.

Speaker 31 (05:00:32):
Dude, it's fast, you know.

Speaker 59 (05:00:34):
Skip it, baby, I'm coming into your mind.

Speaker 16 (05:00:37):
Are they're doing any good?

Speaker 50 (05:00:39):
Get comfortable and make sure drink or something?

Speaker 15 (05:00:41):
You know me?

Speaker 59 (05:00:41):
You know Margaret Vizzy, don't.

Speaker 35 (05:00:43):
You that peculiar girl that stays at your odds?

Speaker 4 (05:00:45):
Please?

Speaker 59 (05:00:46):
Yeah?

Speaker 44 (05:00:46):
Matter?

Speaker 59 (05:00:46):
While a little while ago, she dropped three floors from
an open window to a slab of concrete lay there
over thirty minutes before she was found.

Speaker 69 (05:00:54):
Oh, Mala, that's dreadful.

Speaker 35 (05:00:56):
I'm sorry, don't look at me like that.

Speaker 50 (05:00:59):
I'm mean.

Speaker 59 (05:01:00):
I like Margaret, so do I. What's more, she didn't fall,
she was pushed. O got a cigarette?

Speaker 1 (05:01:07):
Sure?

Speaker 59 (05:01:08):
Yeah, cat, thanks? Just one cigarette? Toss like that. Your
man's a lovesy. You're supposed to pass the kiss and
let the guests help himself.

Speaker 86 (05:01:19):
I don't want to keep right on twisting until I
sell a gold cigarette case drops.

Speaker 34 (05:01:22):
Strot a head door about me in there.

Speaker 64 (05:01:23):
Bulls, that's better, gorilla, all right, to help yourself.

Speaker 35 (05:01:28):
The pictures there under the bottom layer of cigarettes.

Speaker 59 (05:01:31):
But why it's important is beyond me. It's important to
Pomily baby had you smuggle out of his office so
I couldn't find it? Ah, Margaret and Gerratt at some
little amusement park Vancouver.

Speaker 64 (05:01:41):
Probably she told me how I used to take her
out while she was recovering from that accident.

Speaker 35 (05:01:45):
So what even the autographs so I didn't make no
sense to me?

Speaker 59 (05:01:48):
Yeah, this one's hers.

Speaker 5 (05:01:50):
Yeah, we had fun this day.

Speaker 59 (05:01:52):
This must be his, even the hottest day in Vancouver's history.

Speaker 35 (05:01:55):
That's it, muscles, all of it. Now, will you apologize
for these welts on my arm?

Speaker 15 (05:01:59):
I don't care.

Speaker 5 (05:02:00):
Whole deal screwy.

Speaker 59 (05:02:02):
The only way it would make any sense is, oh my,
where's your phone book?

Speaker 22 (05:02:06):
Over there?

Speaker 59 (05:02:06):
On the phone?

Speaker 4 (05:02:07):
What what have you got?

Speaker 23 (05:02:08):
More?

Speaker 59 (05:02:09):
Just an idea? So fast to around? AND's the US
government or US it's as Weather Bureau flane logical records. Yeah,
mutual six or four two one.

Speaker 5 (05:02:28):
Weather Bureau records.

Speaker 59 (05:02:29):
Hello, listen, can you tell me what the hottest day
on record in Vancouver has been? I mean the date?
Do you have that information?

Speaker 5 (05:02:35):
British Columbia.

Speaker 32 (05:02:36):
Yes, we've got it in I'm pretty sure.

Speaker 5 (05:02:37):
Just a minute.

Speaker 27 (05:02:38):
What's that supposed to go?

Speaker 59 (05:02:39):
I'm not sure?

Speaker 22 (05:02:40):
Yeah, you got it?

Speaker 59 (05:02:42):
Hello, Yeah, I'm here, go ahead.

Speaker 13 (05:02:43):
The book says the hardest day up there was on
July three, nineteen forty eight, on the seventy ninety two
degrees some eat record.

Speaker 5 (05:02:51):
That's a nice place.

Speaker 27 (05:02:52):
Van Cooper was up there on one year.

Speaker 59 (05:02:53):
Yeah, thanks friend. The Weather Bureau had just lifted a
cloud my lady's mind. I hope you did it in
time so long something, didn't you? It works? Well, aren't
you gonna pull a gun? They always do about here.

Speaker 13 (05:03:04):
Not me.

Speaker 59 (05:03:05):
I've got concealed weapons. You've also got delap bills and
your bloodstream instead of copaseles. But you're smart, baby, so
take a tip stick close to home, don't even use
the phone. You're a real nice shiny at him. I'd
like to keep you that way.

Speaker 9 (05:03:20):
Thanks.

Speaker 35 (05:03:20):
I'm gonna take your words, Junia.

Speaker 19 (05:03:22):
But what does it mean.

Speaker 59 (05:03:23):
Trouble Just as soon as I can stir it up.
Good night, Phenomas. In the time that had have gone by,
I figured my best bed was Gerard's place, but I
was wrong. It was deserted, so I took the next best,
which was Alan Pomelly's. The Pearls was well after two
o'clock when I got there, and the club was closed,

(05:03:44):
but the lights were on the officers upstairs. I parked,
slipped around of the back and up a flight of
iron stairs to a metal door at the top. I
pressed my weight against it and very gently turned the
knob and tugged softly, and it swung open without a sound.
Voices and the same square of orange light on the
floor said that Pameli's office was open again. So I
eased my gun into my hand and move until I
could see him. A pair of jackals caning get terms

(05:04:05):
over the time.

Speaker 74 (05:04:05):
I know your little secret, mister Gerard. The proposition I'm
offering is perfectly fair.

Speaker 5 (05:04:10):
What is it?

Speaker 74 (05:04:11):
First, did you stop saying Norma lecasso and I mean
stop go on?

Speaker 6 (05:04:15):
Second, that you.

Speaker 74 (05:04:16):
Deliver five thousand dollars here to me by the end
of the week. You must have got a lot of
insurance on your wife, Gerard, double indemnity too am I
asking too much?

Speaker 11 (05:04:23):
Black mail?

Speaker 109 (05:04:24):
Leaves me no alternative?

Speaker 22 (05:04:25):
He's so right?

Speaker 109 (05:04:26):
How did you find out that she's not Margaret vc?

Speaker 4 (05:04:28):
Haha?

Speaker 74 (05:04:28):
A beautiful break? When you started seeing miss La Casa.
I began checking out by you in two days ago.
That checking up led me to the strange woman you
called Margaret VZ and the character named Tompkins.

Speaker 11 (05:04:38):
Ever hear of him?

Speaker 74 (05:04:39):
No, an itinerant Gardner was looking for work at your
place also, Gerard and itinerant Gardner, who knew your Margaret VIZ?
Well know where is someone named Grace? And Grace Girard?

Speaker 109 (05:04:50):
Lest we forget was your wife?

Speaker 74 (05:04:52):
When he called her, Grace had scared he She couldn't
do it, but.

Speaker 109 (05:04:55):
I could, so I see where is this Tompkins?

Speaker 2 (05:04:58):
Now?

Speaker 29 (05:04:58):
Partly?

Speaker 74 (05:04:59):
Oh, don't worry about him. I send him away.

Speaker 109 (05:05:00):
You keep his mouth shut.

Speaker 74 (05:05:02):
He used to be a gardener on the wealthy side
of Vancouver where your wife lived. Small world and very small.

Speaker 110 (05:05:09):
Now wait a minute, at your heart, I'm going to
kill you, Pomily, I knew something like this what happened
someday My wife was getting her memory back. She was
beginning to remember things to realize that she wasn't really
Margaret vs At all. That Margaret Busy had died in
the accident the night Ah pushed her out of an
open window. The doctors practically assure me that she'll be
bid by morning. She won't be missed, neither will you.

Speaker 47 (05:05:30):
I'm sure that must be a telling Gerod.

Speaker 59 (05:05:33):
If you move one inch, you promibly come around here
wait my desk, Come on, it's time.

Speaker 22 (05:05:37):
I'm glad to see you. Allow you're the lesser of
two evils.

Speaker 59 (05:05:39):
That's great. Well, it was a sweet story, fellas. But
tween you you left that only one thing, the picture.
You got it from the little album because you needed
some tangible proof, didn't you, Pomily, And it since the
deal because the accident happened on the ninth of July.
But Gerard here had his picture taken with a supposed
hitchhiker on Vancouver's hottest day, which was July third, six
days before he claims to have met the girl picture.
How'd you manage the master strow Gerard, the switch and

(05:06:00):
identities in the first place.

Speaker 22 (05:06:02):
Come on, talk, we're here.

Speaker 59 (05:06:04):
It was a mistake.

Speaker 110 (05:06:06):
Both miss Uzzi and my wife were in the car
at the time of the accident. The car burned then
somehow or other later at the hospital, Margaret Vizi, who died,
was identified as my wife Grace.

Speaker 59 (05:06:15):
And since her memory was gone, you made the switch
complete and called your wife Margaret Vizi and left it
like that, you al Gerard. I hope you make a
break for it, just once before we get the headquarters.
Let's go, You too primily moved all right, but you'll
have a hard time sticking me.

Speaker 74 (05:06:30):
Snoop, I haven't done anything.

Speaker 59 (05:06:31):
Oh yes, you have attempted extortion as of right now.
You just inside it a rash.

Speaker 32 (05:06:47):
Doctor Gray. You're receiving war, Please.

Speaker 5 (05:06:49):
Doctor Gray.

Speaker 47 (05:06:50):
She didn't hear, mister Morrow.

Speaker 59 (05:06:52):
Sure it's her right if I see a non doctor.
After what you've just told me, I think it's a
good idea.

Speaker 47 (05:06:57):
Her condition has changed somewhat she's responded better than I
can expected.

Speaker 16 (05:07:00):
But if you can use some fighting spirit.

Speaker 47 (05:07:03):
Some spunk, maybe you can give her that we can't.

Speaker 5 (05:07:06):
I hope.

Speaker 47 (05:07:06):
So don't say too long at all.

Speaker 59 (05:07:11):
About Grace and Philip Marlow.

Speaker 69 (05:07:13):
Remember me, Yes, I think I do, Mistermorrow, glad to
see you.

Speaker 59 (05:07:19):
Oh good. I just stopped by it to tell you
that I have all the answers to those troublesome questions
in your mind. You don't have to be afraid of
them anymore. Have you had nothing to worry about now
except getting well?

Speaker 1 (05:07:28):
Thank you?

Speaker 35 (05:07:30):
Oh hazy.

Speaker 50 (05:07:32):
Back then, I can't remember where I've been.

Speaker 59 (05:07:34):
You've been away, Grace for a long time, but now
you'll be going home soon to your friends. Believe that
I'll run along now and come back tomorrow when you're
feeling better. I'll have a long time then.

Speaker 69 (05:07:47):
Who is Margaret vs?

Speaker 5 (05:07:52):
Girl?

Speaker 59 (05:07:52):
You knew once briefly and what I'll never forget went
to sleep one night. I might die then I don't
you will. Don't think about it now. Just think about
home in Vancouver. You'll be there soon.

Speaker 5 (05:08:08):
I promise.

Speaker 3 (05:08:11):
That sounds wonderful.

Speaker 69 (05:08:14):
It's lovely in Vancouver.

Speaker 59 (05:08:16):
Yeah, that's what the weather man says good night, my dear.
When I finally got home, the air in my apartment
was thick, full of stagnant fear and stale tobacco smoke.

(05:08:36):
So I went over the window to open it up.
But there I stopped because I remembered standing at that
same window earlier that evening, standing there, thinking how happy
I was the world was out there, now, happy I
was to be inside looking out. Then I saw again

(05:08:56):
the five deep scratches on the Casey inside looking out.
There was a guy once, a long time ago who
said something like, no man is an island the entire
of itself. Yeah, about three hundred years ago.

Speaker 5 (05:09:16):
He said that.

Speaker 59 (05:09:18):
Any man's death diminishes me because I'm involved in mankind.

Speaker 10 (05:09:25):
Yeah. Sure.

Speaker 75 (05:09:45):
The Adventures of Philip Marlowe, Bringing you Raymond, Chandler's most
famous character, starred Gerald Moore and are produced and directed
by Norman mac donnell, script as by Robert Mitchell and
Jean Levitt. Featured in the cast were Betty lou Gerson
at Begley, Lilian Bioff, Paul Dubas of Jadevello, and Harry Bartel.
The special music is composed and conducted by Richard o'rand,

(05:10:10):
be sure and be with us next week. When Philip
Marlowe says.

Speaker 59 (05:10:14):
This time it was a wrestler on the skids, a
quick change, hardest in an alley, and a girl with
an eye for angles, I'll met destruction because a hundred
thousand easy bucks caught him in a stranglehold which none
of them wanted to break.

Speaker 75 (05:10:42):
The next time you're in the woods, make sure that
cigarette butt, that match, or that campfire is completely out.
Only you can prevent forest fires. This is Paul Masterson speaking. Now,
stay tuned for Gangbusters, which follows immediately over most of
these same stations. This is CBS, the Columbia Broadcasting System.

Speaker 7 (05:11:15):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website Weirddarkness dot com as also

(05:11:36):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus it's where you can find the
Hope in the Darkness page. If you or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weird Darkness dot com. I'm Darren Marler. Thanks

(05:11:57):
for joining me for tonight's retro radio Old Time Radio
in the Dark

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