The Most Feared Outlaw in Texas Couldn't Hold a Gun: The Legend of Black Eagle & The Hobo Chicken

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

Speaker 2 (00:16):
I'm gonna thank some miss.

Speaker 3 (00:26):
A man us Seal.

Speaker 4 (00:36):
Present Suspense.

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

Speaker 6 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
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(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 7 (01:30):
The CBS Radio Mystery Theater presents.

Speaker 4 (01:50):
Come in. Welcome.

Speaker 8 (01:54):
I'm me G Marshall.

Speaker 7 (01:56):
Strong is the soul and wise and beautiful. The seeds
of god like power are in us still gods. We
are God's saints heroes.

Speaker 4 (02:08):
If we will, if we will?

Speaker 7 (02:12):
Oh, what an infinity of possibilities. A cat may look
at a queen, said mister John Heywood, But according to
mister Matthew Arnold, a cat may aspire to become a
King's all it takes is a great deal of willpower
and a little bit of luck?

Speaker 4 (02:30):
Or is it the other way around?

Speaker 9 (02:32):
Part tender? I'll have a.

Speaker 10 (02:33):
Drink, Yes, sir, Yes, sir, don't shoot.

Speaker 9 (02:37):
Don't shoot.

Speaker 7 (02:37):
If you're going to kill me, kill me, but don't
make fun of me.

Speaker 9 (02:42):
Why should I kill you?

Speaker 11 (02:43):
I don't know.

Speaker 7 (02:44):
Why did you kill a hundred other men?

Speaker 12 (02:47):
Maybe you just enjoy it?

Speaker 13 (02:49):
You know who I am?

Speaker 14 (02:50):
You?

Speaker 10 (02:52):
You're Black Eagle, Black Eagles, Yes, Black egl the greatest
desperado in the history in the West.

Speaker 9 (03:01):
Oh, please don't kill me?

Speaker 8 (03:04):
Wow?

Speaker 9 (03:06):
What do you know about that?

Speaker 7 (03:16):
Our mystery drama The Passing of Black Eagle was adapted
from the O Henry Classic Especially for the Mystery Theater
by Sam Dan and stars Robert Dryden and Larry Haynes.
It is sponsored in part by Contact, the Twelve Hour
Cold Capsule.

Speaker 2 (03:33):
And Buick Motor Division.

Speaker 7 (03:35):
I'll be back shortly with Act one. Throughout the entire
year of nineteen o five, a certain grim bandit insested
most of the southern part of Texas along the Rio

(03:57):
Grande River. He was known only as Black Eagle. Many
fearsome tales are on record concerning the depredations caused by
him and his followers. Then, suddenly, within the space of
a single minute, Black Eagle vanished. He was never seen
or heard of again. The border ranches and settlements lived

(04:17):
in terror that he would come once.

Speaker 4 (04:19):
More to ride and ravage.

Speaker 9 (04:22):
But he never will.

Speaker 7 (04:24):
Who says so, Why, Oh Henry says so?

Speaker 14 (04:27):
And why is Oh.

Speaker 4 (04:28):
Henry so sure?

Speaker 7 (04:32):
The reason I say so, Well, it's because Black Eagle's
my character. Well not really, I must be truthful. He
wasn't originally my character, but I bought him fair and
square from the man who invented him, a man named Chicken.
I first met Chicken on Harold Square in New York City,

(04:52):
where he was hard at work his job panhandling. Good
after little suld you spare, there's the individual A price
of a glass of whiskey. Glass of whiskey, well, a
small glass. At least you're honest wouldn't you be better
off if you cut out the booze?

Speaker 9 (05:11):
Oh? Why would I be better off?

Speaker 7 (05:13):
Because you could make something of yourself? Call well, sir,
I think I have made something of myself.

Speaker 8 (05:19):
Yeah.

Speaker 7 (05:19):
What, I'm the best pan handler on Herald Square.

Speaker 9 (05:23):
I'll go further.

Speaker 7 (05:24):
I'm the best pan handler south of forty second Street?
Is that something to be proud of?

Speaker 15 (05:29):
Sir?

Speaker 7 (05:29):
There are four millions so called human beings breathing the.

Speaker 9 (05:32):
Air above this particular city. How many of them can
say they're the best in anything? Are you the best
in what you do?

Speaker 4 (05:38):
Well?

Speaker 7 (05:39):
I'm trying to be that's my point. You're still trying.
I've already arrived. What's your name?

Speaker 8 (05:45):
Chicken?

Speaker 14 (05:46):
Why?

Speaker 16 (05:47):
Chicken?

Speaker 8 (05:48):
Oh?

Speaker 9 (05:48):
I suppose it's because I look like a chicken?

Speaker 4 (05:52):
Huh, sir?

Speaker 7 (05:52):
We have collaborate and shoot the fat as that were
long enough? Can I have ten cents for a glass
of whiskey? I can't afford non revenue conversation. I've got
my reputation to consider. Well, you won't get a very
good glass of whiskey for tent now.

Speaker 9 (06:04):
There's no such thing as bad whiskey. Yeah, but that
stuff for ruin?

Speaker 4 (06:07):
Oh no, sir.

Speaker 7 (06:07):
That stuff saves me, save you, yes, sir, because it
reminds me who I.

Speaker 9 (06:12):
Am and who are you?

Speaker 7 (06:16):
Chicken chickens, the pan, nothing more, nothing less. I cut
out the ten cent whiskey once and you know what
it gave me, delusions of grandeur. You see, I'm not
like other people. Most folks get drunk when they drink.
I get drunk when I'm sober.

Speaker 15 (06:31):
Do you follow this way?

Speaker 7 (06:32):
I'm managing to hang on barely when I'm sober. I'm
drunk with power. Why last year, if I.

Speaker 9 (06:39):
Stayed sober, do you know where I'd be now? No?

Speaker 7 (06:42):
Well, I'd be dead or alive, and either way I'd
be the most feared outlaw in Texas.

Speaker 9 (06:47):
Here is that a fact? I don't tell me you
never heard of black eagle, Breeze.

Speaker 7 (06:51):
They're a man who reads the tabloids and has never
heard of black eagle.

Speaker 9 (06:56):
But what has black eagle got to do?

Speaker 7 (06:59):
Hugh? I am black eagle. You're black egl I'm black eagles,
But black eagle disappeared from the face of the earth.

Speaker 9 (07:08):
I'm black eagles.

Speaker 7 (07:10):
Black Eagle's day, I'm black eagle. Well, how can you
be black eg Oh? No, no, I can't give that
away for the price for trade. How about a drinking
a dinner, sir?

Speaker 4 (07:21):
You struck a nerve.

Speaker 7 (07:29):
More of any more of everything? Waiter, This gentleman here
is still hungry at you.

Speaker 9 (07:34):
Sir, are an excellent host.

Speaker 7 (07:36):
And while we're waiting, the story of Black Eagle.

Speaker 9 (07:40):
All well, sir.

Speaker 7 (07:43):
For many years I have wintered in THESSA. If you
should ever become a bomb, and it's a splendid life,
spend the cold months in the Southwest. The best place
is the Texas cattle Country. The Texas cattle Country. Why
I would think that, I know, I know what you
would think, But you're wrong. They're the sweetest, kindest, gentlest

(08:03):
people in the world, mild and salubrious, just like the climate.
Oh yes, it's always spring. There's always music in the process.
Well there I was in a saloon in this little
border town of Las Rojas, and the bartender was lecturing
me on my morals and my lineage when I was

(08:25):
enjoying the free launch.

Speaker 10 (08:27):
Why you low down, walleye seven varman, You ever earned
an honest dollar in your whole misbegotten life?

Speaker 9 (08:34):
No, sir, but I never earned a dishonest one. Either
you know what you look like. You look like a chicken.

Speaker 10 (08:40):
Yeah, a miserable gnaw a caount barnyard chicken scratching here
and picking there, and oh you better run for your life.
Well well you you you your life is in mortal danger.
Here she comes down the street. Here, who comes State
Hope Alabaster?

Speaker 9 (08:56):
Well who is she? Colonel Jefro Alabasters thirst for? Why
is my life in mortal dangers?

Speaker 10 (09:02):
Because one look at you and it is an obvious fact.

Speaker 2 (09:06):
What is that?

Speaker 9 (09:07):
You're a drinking man? I never denied it, nor try
to hide it. Well, friend, miss.

Speaker 10 (09:11):
Faith Hope is with the anti saloon lead. She's president,
vice president, secretary, treasurer. That she comes in here, regular
bus up the place. Of course, later the colonel pays
for the damage.

Speaker 9 (09:24):
But you better leave, you mean, she just comes right
in and drinks up. If he says that's the truth,
and you.

Speaker 10 (09:30):
Let her do it, well it seems like the wisest
thing to do it does Yeah? You see she has
this fellow who works as her handyman. It fella by
the name of Percy. Percy trying and if anybody interfared
with her, why Percy.

Speaker 9 (09:45):
Wouldn't like it.

Speaker 7 (09:46):
You mean the folks here abouts are scared of what
a fella named Percy might or might not like. Well,
that's about the size of it.

Speaker 9 (09:53):
Well it's a peculiar time.

Speaker 10 (09:55):
Well, as I was saying, I have to stay here,
but you'd better leave.

Speaker 4 (09:59):
Why because she'll take.

Speaker 9 (10:00):
One look at you and she won't let you live.

Speaker 10 (10:03):
She'll jaw with you and lecture you. Oh it's too late.

Speaker 7 (10:11):
Chicken looked toward the door, and there was a woman
about middle aged, skinny scrawnies, about five feet tall, a
hammer in her hand and fire in her eye, and
back of her a man so tall he could have
pulled the ears off a giraffe. So why he had

(10:31):
the edge in sideways through the double doors of the saloon,
and so heavy the floor seemed to sag beneath his feet.

Speaker 1 (10:40):
Wait here, Percy, our work shall be done in a moment.

Speaker 10 (10:44):
Good morning, miss faith Hope.

Speaker 1 (10:45):
What a good moaning it would be if you were
prevented from pawing your poison, preening down the throat of
the unsuspected.

Speaker 10 (10:53):
Now, miss faith Hope, man's entitled to his bit of
relaxation and ball boom.

Speaker 1 (10:59):
That devils brew you peddle his ball, for they have
a lasting pires.

Speaker 10 (11:03):
I hate it now, mis freight, there's foul.

Speaker 1 (11:06):
Let him must be destroyed.

Speaker 4 (11:08):
Oh please, don't bust me up.

Speaker 10 (11:10):
Today it's payday and the boys will be in from
all the ranchers, and if they don't have their liquid
refreshment that they'll be powerful.

Speaker 1 (11:17):
Man, these the water to shot them, and tomorrow they.

Speaker 17 (11:21):
Must they destroy.

Speaker 14 (11:23):
Wait, well, couldn't you do it tomorrow?

Speaker 7 (11:25):
I mean that's my slowest day.

Speaker 9 (11:27):
And now.

Speaker 4 (11:29):
Now now on.

Speaker 18 (11:31):
Never we must right now off in lost for us
old faithful, and do not tend to ice for hung
the ball holes it told.

Speaker 7 (11:43):
Oh man, you never heard the proverb waste not want
not great?

Speaker 1 (11:50):
Break your email glass and tell me Satan's home.

Speaker 18 (11:54):
They broken from the earth, every angle of thin vattlavena,
all right in.

Speaker 10 (12:02):
The space hope, I would say that you got the lost, none,
not one.

Speaker 9 (12:08):
Till escape me.

Speaker 1 (12:10):
I shall seek them out and just start them to
the light.

Speaker 10 (12:14):
Well, i'd say, you done it this time?

Speaker 19 (12:18):
What is it, Percy?

Speaker 14 (12:21):
Oh?

Speaker 20 (12:21):
Is that a fact?

Speaker 9 (12:23):
You?

Speaker 14 (12:24):
You there?

Speaker 21 (12:24):
You?

Speaker 9 (12:25):
Uh me?

Speaker 1 (12:25):
Yes, yes you you you put a bottle away in
your shirt.

Speaker 9 (12:30):
Oh, I'm sure you're mistaken.

Speaker 12 (12:32):
Hand it over.

Speaker 9 (12:34):
I don't know anything about the bottle.

Speaker 14 (12:36):
The bottle.

Speaker 9 (12:37):
You'd better give her the bottle.

Speaker 1 (12:40):
No, no, now, Percy don't I'm sure, yes, he raises.

Speaker 10 (12:43):
No wait, wait, no, no, Pery gone.

Speaker 9 (12:51):
Oh mother, I drank on my milk and I don't
feel any strong. I still look like a chicken. I do, mother,
I do, everybody says I do. Oh my head, it hurts.
Oh everything's gone round and round? And why where am I?

Speaker 16 (13:14):
What?

Speaker 9 (13:14):
What? What?

Speaker 8 (13:15):
What is?

Speaker 12 (13:16):
You're here?

Speaker 9 (13:18):
Where is here?

Speaker 12 (13:19):
My house?

Speaker 9 (13:20):
And who are you?

Speaker 1 (13:21):
I am faith whole alabaster. I'm sorry. He doesn't know
his own string. Oh at first we thought you were dead.

Speaker 4 (13:29):
Oh, I feel dead, And so.

Speaker 1 (13:31):
We carried you to Deacon Fallowell's livery stable, he's the undertaker.
You were being measured for a coffin when your eyelids fluttered.

Speaker 22 (13:40):
The shame.

Speaker 1 (13:41):
Everyone was looking forward to the funeral.

Speaker 9 (13:44):
Oh, I hope no one was disappointed.

Speaker 1 (13:47):
Ah, you'll be disappointed. I bought you the most beautiful coffin.

Speaker 9 (13:53):
Oh that was very kind of you.

Speaker 12 (13:55):
Well, it was the least I could do.

Speaker 7 (13:57):
Well, now that I'm not going to be buried, be
moving along.

Speaker 1 (14:00):
Oh no, you couldn't possibly leave now for two reasons. First,
you're too weak to travel, and second, your soul has
to be saved.

Speaker 7 (14:11):
Well, well, man, there's one remedy that can take care
of both of these contingencies. There is, Yes, Yes, it'll
It'll make me feel well enough to travel, and it'll
sure save my soul. What's that look?

Speaker 9 (14:23):
A bottle of good old ten cent whiskey.

Speaker 1 (14:26):
Oh, you can't drink whiskey anymore?

Speaker 9 (14:28):
I can't. Why not?

Speaker 12 (14:29):
Of course you've taken the pledge.

Speaker 9 (14:31):
Pledge I don't remember taking them, but.

Speaker 1 (14:33):
I meant one you're going to take the place.

Speaker 9 (14:36):
Oh no, ma'am, I have no such intention.

Speaker 1 (14:39):
Oh but Percy and I have our heart set on
your salvation. Surely you couldn't disappoint that.

Speaker 9 (14:45):
I ask for nothing, man, but to be let alone.

Speaker 1 (14:48):
Now, sir, could you find it in your heart to
disappoint Percy?

Speaker 9 (14:57):
No?

Speaker 7 (14:57):
No, no, no, now that you mention it, how could
anyone disappoint Percy?

Speaker 12 (15:09):
How do we feel this morning?

Speaker 9 (15:11):
I don't know how we feel.

Speaker 4 (15:13):
I feel like dying.

Speaker 1 (15:14):
Oh that doesn't last long. Tell me why do you drink? Well,
you don't have to tell me you drink because everybody
calls your.

Speaker 7 (15:25):
Chicken Oh, people call me chicken because I look like
a chicken.

Speaker 12 (15:29):
No, you don't look like a chicken.

Speaker 9 (15:32):
Don't. What do I look like?

Speaker 12 (15:33):
Well, you look like a bird?

Speaker 4 (15:36):
A bird?

Speaker 9 (15:36):
Is that better?

Speaker 23 (15:37):
Oh?

Speaker 1 (15:38):
Yes, because even if you do look like a bird,
it doesn't mean you have to look like a chicken.

Speaker 12 (15:43):
Or you could also look like an eagle and an egle.
Would you like to look like an egle?

Speaker 9 (15:48):
Oh, it's better than looking like a chicken.

Speaker 1 (15:50):
But if you do what I tell you, you're gonna remind
people of an egle, a mighty eagle, but soors above
the mundane concerns of the earth. An eagle the ruler
of the skies and all the saveys. An egle, the
loftiest work of the creator.

Speaker 9 (16:09):
Oh what do I have to do?

Speaker 1 (16:11):
Oh it's very simple. You must never take another drink
of that sheep tar. No, no, no, you think you
might be able to convince him?

Speaker 7 (16:23):
All right, And I'm convinced. I am convinced.

Speaker 4 (16:34):
What is that little verse?

Speaker 7 (16:37):
A man convinced against his will must remain a doubter?

Speaker 9 (16:42):
Still?

Speaker 2 (16:43):
Is that the way it goes?

Speaker 9 (16:45):
Well? Something like it?

Speaker 7 (16:46):
Anyhow, Well, we're about to witness a conversion for better
or for worse. Only time will tell, and not too
much time at that, for I shall return with a
second act in a few minutes. We're listening to an

(17:10):
old Henry yarn called the Passing of Black Eagle. And
although we have a fairly good idea who black Eagle
is going to be, so far we have not seen
him in action, and already there may be some.

Speaker 4 (17:23):
Grumbling out there.

Speaker 7 (17:24):
How do we propose to transform this rather amiable hobo
chicken into the ruthless, homicidal black eagle. Well, just remember us, poets,
we have licenses. What do I have to do to
become an eagle?

Speaker 1 (17:43):
You must take the pledge, the pledge.

Speaker 7 (17:45):
Oh. I took the pledge maybe twenty five thirty times.
It never made me become anything but thirsty.

Speaker 1 (17:51):
Oh, but this time you must take the pledge and
mean it. Persey, She'll see to it that you keep it.

Speaker 7 (18:04):
Poor chicken, The days passed and he lived through the
tortures of the damned. Percy walked with him everywhere, never
let him out of his sight. Percy enforced the law,
and Chicken obeyed the law. After a while, strange things
began to happen inside of chickens, strange feelings.

Speaker 2 (18:27):
Urge his ideas.

Speaker 7 (18:29):
He was sitting silence for hours, thinking and talking to
himself as faith Hope Alabasta says, I could look like
an eagle. Well, the fact as many people can remind
you of some kind of animal, at least I don't
remind people of a pig or hyena. The whim an

(18:52):
eagle and the world will hear from me.

Speaker 24 (19:00):
I'm sorry.

Speaker 1 (19:00):
We had to leave you here all alone in the house.
There was work to do once again in jack Marlborough saloon.

Speaker 9 (19:07):
Oh how did it go?

Speaker 8 (19:08):
Oh?

Speaker 25 (19:09):
It always goes?

Speaker 7 (19:09):
Well?

Speaker 1 (19:10):
Here I brought you something? What or what does looked
like mottler whiskey? Of course, salvage from the wreckage? Yeah,
take it, ah, But what do you want me to
do with it? What do you wish to do with it?

Speaker 2 (19:26):
Well?

Speaker 26 (19:28):
Good night.

Speaker 7 (19:33):
She'd left the bottle on the table. He looked at
it for a moment, and then he yawned, stretched, then
fell fast asleep, and he dreamed. It was a marvelous dream.
There was an eagle, an enormous eagle, a black eagle,

(19:56):
and this eagle it soared high in the sky. Every
time it flew above people. Everyone became scared and started
to run. Everywhere the eagle flew. There were other eagles
who flew with them. Oh, they were much smaller eagles,
and not nearly so strong or handsome, But.

Speaker 9 (20:14):
They followed this big black.

Speaker 4 (20:16):
Eagle, and his word was law.

Speaker 9 (20:20):
He was black eagle, ruler of all. He surveyed.

Speaker 1 (20:28):
Aah, good morning, oh ah, good morning. Congratulations on work.
Oh you're past the test.

Speaker 9 (20:34):
What test the bottle is? See it's four Oh oh,
I didn't even think of that.

Speaker 12 (20:42):
Well, that's why you pass the test.

Speaker 1 (20:44):
And now you are prepared to go out into the
world of the common eagle, an eagle, an eagle among men.

Speaker 12 (20:54):
However, I've got a present for you here.

Speaker 9 (20:57):
Oh oh, I I couldn't take so much money.

Speaker 12 (21:02):
It's not very much, only one hundred dollars.

Speaker 7 (21:04):
One hundred dollars. You can't give me one hundred dollars.
Why that's too much.

Speaker 12 (21:08):
To start life a new ego.

Speaker 9 (21:10):
Well, I'll be tempted to Oh.

Speaker 1 (21:12):
No, no, no, no, no longer you have come good temptations.

Speaker 12 (21:17):
Now go out. I'm become any egos.

Speaker 9 (21:22):
Oh, what's an eagle supposed to do?

Speaker 8 (21:26):
Well?

Speaker 1 (21:26):
An ego's supposed to He's supposed to Wow, it's like
all the rest of us. I guess he just supposed
to do the.

Speaker 12 (21:35):
Best take had.

Speaker 7 (21:39):
And so Chicken walked down the streets his lost rohas
with one hundred dollars in his pocket. Never had he
seen much less possessed such a munificent sum in his
entire lifetime. He didn't know where he was going or
even what he.

Speaker 2 (21:54):
Wanted to do.

Speaker 7 (21:56):
Then he passed by a shop that said Gentleman's Furnishing,
and he looked at his ragged coat trousers, and before
he knew what he was doing, he'd walked inside the door.
It was a small shop, rather dark and musty, as
if no one had been in there in years. Chicken

(22:17):
was almost ready to walk out when an incredibly old
man seemed to materialize out of nowhere. Could you show
me an old second hand suit?

Speaker 27 (22:29):
Fuck?

Speaker 1 (22:30):
Egu is it you? Who's you come back from the day?

Speaker 9 (22:39):
Look all I want isn't all You was killed.

Speaker 1 (22:41):
In seventy one, that's mighty nine, thirty five years ago.

Speaker 9 (22:46):
No, No, I wasn't. Fat's what I said you wasn't.

Speaker 1 (22:50):
Everybody maintained you was dead, but I'm the one kept
saying you can't kill black eagle, and it's true your lives.

Speaker 9 (23:00):
Sir, Sir, I fear you have me confused.

Speaker 1 (23:04):
Use that's what everybody keeps saying to me. Pop you confused?

Speaker 15 (23:10):
What would they.

Speaker 9 (23:11):
Say if they could see it? Now?

Speaker 4 (23:13):
I knew them.

Speaker 28 (23:14):
Yankee bullets can.

Speaker 9 (23:16):
Never bring you down.

Speaker 29 (23:17):
I knew it.

Speaker 9 (23:18):
Bullets, sir. All I want who you call it, sir,
it's me.

Speaker 1 (23:24):
It's Pop, Old Pop Needles.

Speaker 9 (23:27):
I give you your.

Speaker 1 (23:28):
First voice, your first can, your first drinking liquor.

Speaker 9 (23:33):
Sir.

Speaker 7 (23:33):
I need some clothes, Yeah, I know that, sir, And
you look at you, Look at Sid. I came in
here to buy an old second half buy.

Speaker 1 (23:41):
You think you can buy anything from Old Pop.

Speaker 12 (23:45):
I got your old black.

Speaker 1 (23:46):
Suit here I kept clean and ready waiting for you.
But you see get into it. You see how nice
it's did.

Speaker 7 (23:56):
Well, I'm not sure that I won't they belong to you, son,
I knew you had to come back on well. I
really didn't want to buy such such a plaque.

Speaker 30 (24:08):
And look what I've been.

Speaker 1 (24:09):
Holding for you, your two Navy cold forty fours, cleaned
in the world and ready. Now you just wrap that
cartridge belt around you and place them.

Speaker 7 (24:22):
Secutors in the holsters.

Speaker 15 (24:23):
Where they belong, and oh, ome by, yes.

Speaker 7 (24:27):
It's Black Eagle come back again.

Speaker 1 (24:30):
Oh sir, I'm not fly, know, I know it's a
it's a hang. And if the Yankees find out, but
you can trust me.

Speaker 8 (24:39):
I'm Pop.

Speaker 12 (24:40):
Oh Pop, tell you what.

Speaker 1 (24:43):
I'll hide you here till it gets dark, and then
I'll get you a whole.

Speaker 8 (24:50):
Boy.

Speaker 1 (24:51):
You gotta be careful, after all, never forget you're a
black eagle.

Speaker 7 (25:00):
Then and there Black Eagle was born, or at least
he was christened, and poor Chicken caught a glimpse of
himself in the black suit, the wide black sombrero, the
black silk makerchief, the black gloves, and it was a
sight to chill the blood. For here indeed was a
black eagle, a killer of black eagle, a black eagle

(25:23):
meant to perform black deeds. And so Black Eagle mounted
the horse that the old man had given him and
rode off into the night to begin a legend, yes,
a legend. He had everything he once thought a man
could want, the power of money, the adoration of women,

(25:43):
the fear and respect of man. But still he was unhappy,
without knowing why. But now we must leave Black Eagle
for just a moment and repair to the camp site
of one Bud King. Bud King is an outlaw and
the head of a band of outlaws, outlaws who held

(26:06):
sway in the country that lays between the Rio Grande
and the New Seas River. Bud It's talking with a
female companion, a lady we should call Kitty.

Speaker 26 (26:17):
You know what, Charlie and one I are tonight.

Speaker 1 (26:20):
But I got an idea out looking for that black eagle.

Speaker 15 (26:25):
You know why, I know why?

Speaker 7 (26:28):
Here they want him to become leader of his outfit.

Speaker 12 (26:30):
But by this is your gang. You always been leader.

Speaker 7 (26:34):
Boys don't want me no more.

Speaker 4 (26:36):
And you know why.

Speaker 1 (26:38):
Talk is you're getting scared.

Speaker 7 (26:40):
Oh I'm not getting scared. I'm getting smart.

Speaker 1 (26:43):
But staying hold up like this all the time ain't
making the boys any money.

Speaker 7 (26:47):
We got to keep out of sight Kitty for a while.
Why now this black eagle, now he's kicking up such
a fuss around here, that gap Sam Kenny's Ranger company
is heading here to put a stop to him. He
sees signs of us. Well, what I'm doing is saving
the boys from being shot up or sent to the
chain gang. And for that they say I turned.

Speaker 1 (27:11):
Yellow the boy still walk Black eagle.

Speaker 5 (27:14):
Black eagle.

Speaker 7 (27:15):
Nobody stops to ask who's black eagle. Now what we
have here is some rustlers was supposed to be shot
and killed thirty five or forty years ago.

Speaker 1 (27:25):
And come back from the death.

Speaker 7 (27:26):
Nobody comes back.

Speaker 9 (27:28):
From the death.

Speaker 7 (27:29):
People saving something's impossible, doesn't matter how many people say it.

Speaker 28 (27:35):
Maybe he wasn't killed in the first place.

Speaker 2 (27:38):
Now that makes more sense.

Speaker 7 (27:40):
Well, but you can still shoot holes in it.

Speaker 15 (27:44):
Now.

Speaker 7 (27:44):
If he wasn't killed, then today he'd be at least
sixty five, seventy maybe well even eighty years old.

Speaker 1 (27:52):
Oh, he can't be the supposed have seen him say, he's
about thirty five maybe forty. Oh, he's just someone t
people think is Black Egel. It's that name, that awful
name that scares him.

Speaker 12 (28:06):
Oh it's more than just a name.

Speaker 1 (28:08):
But he's got the quickest, straightest.

Speaker 12 (28:11):
Gun in the West.

Speaker 7 (28:12):
Except he ain't never smoking no one with it.

Speaker 1 (28:15):
Yet, And he's supposed to killed at least one hundred men.

Speaker 7 (28:17):
That was the old Black Egel, the one we both
agree don't exist no more. Now from all we heard,
this one ain't fired one single shot yet. Now don't
that strike you as.

Speaker 26 (28:30):
Kind of funny, might know, should it?

Speaker 7 (28:32):
Well, a man wants to keep a reputation as a
fast gun, and he's got to keep shooting.

Speaker 31 (28:38):
Mabe.

Speaker 28 (28:38):
Everybody's scared to.

Speaker 7 (28:39):
Try it, don't matter now, all your fast guns like
to shoot, and they find ways of getting people to
draw on. Now that's the thing about this here, Black Egel,
what I think Maybe I'm gonna try out. Now that's

(29:02):
what every story needs, antagonists locked in us struck high stakes,
and that's just what our story has picked up. Bud
King no living legend.

Speaker 4 (29:12):
He just a journeyman outlaw.

Speaker 7 (29:15):
Does he sense what we already know that the fabulous
bad man who has been terrorizing the border is only
a chicken? In Eagles Feathers, the showdown will occur in
Act three, in just a few minutes. Fine feathers, they say,

(29:42):
do not make fine birds. In that case, how do
you account for Black Eagle? We know Black Eagle is
in actuality, a hobo named Chicken from New York City
who winters in the Southwest. He has become the legendary
Black Eagle through a series of circumstances that are really
too complicated to believe. So just relax and take o

(30:06):
Henry's word for it as he resumes telling the story,
And so Black Eagle wax fat and prosperous. Life had
never been so easy and pleasant. His cup was running
over and with strange liquids like water and milk. Well,

(30:30):
he is comfortably ensconced in the guest room of a rancho.
One night, it was an honor to the ranchero to
entertain so great a hero. When our chicken button Black
Eagle received a visitor. Black Eagle, Oh yes, it's me,
it's oh pop.

Speaker 9 (30:51):
Listen, please can't go on?

Speaker 8 (30:54):
Oh what check on.

Speaker 13 (30:55):
The way you're living now?

Speaker 9 (30:57):
Oh no, no, you know what's wrong.

Speaker 1 (31:00):
No, you ain't killed nobody since.

Speaker 9 (31:04):
You got back.

Speaker 1 (31:05):
Well, I I why why ain't he kills nobody?

Speaker 9 (31:09):
Well, I didn't have to, It.

Speaker 8 (31:11):
Did have to.

Speaker 9 (31:13):
They won't fear you no more.

Speaker 1 (31:15):
Unless folks sees the corpse now, and then unless folks
get to see that light and draw you that dead aim, they.

Speaker 9 (31:23):
Just ain't gonna believe it. Well, it's got to be done.

Speaker 1 (31:29):
When was the last trade robbery you pulled off? Well,
I was there. It was eighteen and seventy one, the
year you was killed. That's how long ago.

Speaker 8 (31:41):
It was, Well, what do I have to do?

Speaker 1 (31:44):
There's got to be another one soon, and you just
have to find a way to kill somebody too. You've
just got to hold up a train.

Speaker 9 (31:54):
I can't hold up a train by myself.

Speaker 25 (31:57):
You won't have to.

Speaker 4 (31:59):
I won't have to.

Speaker 8 (32:00):
What do he means?

Speaker 1 (32:01):
You're get to have a gang just like in the
old days?

Speaker 16 (32:05):
Okay?

Speaker 9 (32:06):
Where where where am I going to get a gang?

Speaker 1 (32:08):
There's a ready made gang just waiting for you. You
hear the Bud King, Bud King, he's old Tom King's boy.

Speaker 7 (32:20):
Bud ain't to show.

Speaker 1 (32:21):
He's the old man was, but he's a solid sort
of feather.

Speaker 9 (32:25):
Well.

Speaker 1 (32:25):
Two of the members of his gang, look me up.
They asked me if you would become their leader, says
their leader, the leader of Bud King's gang.

Speaker 9 (32:38):
Well will what will Bud King like that? But King
will have to love it? But still unless he wants
to show them.

Speaker 25 (32:47):
But I don't see the like they're taking you.

Speaker 1 (32:50):
That boys want you as a leader. You know why
why Because you're the best trade robber in the Southwest.

Speaker 7 (33:01):
Oh, well, pop pop listen, I'm at a practice.

Speaker 12 (33:06):
Oh, come back to here.

Speaker 1 (33:08):
I'll give you a hand now, I studied out the
whole thing for you. There's a little station and ign
n tracks of the town named the Spemen, about forty
miles north of Laredo.

Speaker 9 (33:20):
Now follows this poop.

Speaker 4 (33:22):
Listen to me.

Speaker 1 (33:22):
All the countryside for miles is wild, unsettled. Now the
station just a little house where the agent lives. The
train stops there for one minute. Jump pop, Listen to it.
It's just as easy as eating apple pie. Now that's
where you jump it. She combines passenger and freight. There'll

(33:43):
be four passenger cars, the mail car and a string
of freights and back. Now you just wait for her
to stop.

Speaker 9 (33:52):
Jump the mail car, and.

Speaker 1 (33:54):
You got yourself one million dollars, well up one million dollars.

Speaker 9 (34:00):
Yeah, I know, I know, Papa. I just can't see
my way clear.

Speaker 1 (34:03):
That the King's boys are outside way for you to
go back with you when I'm trying to tell you, Papa,
I just don't think i'd better do it. You can't
turn those fellas down, You just can.

Speaker 9 (34:14):
Why not?

Speaker 1 (34:15):
Because they'll think you're chicken.

Speaker 9 (34:18):
I can't help what people think.

Speaker 29 (34:20):
You know what this means?

Speaker 9 (34:22):
The word will get out?

Speaker 4 (34:23):
What word?

Speaker 1 (34:24):
The word that black eagle has.

Speaker 7 (34:27):
Lost his nerve. No, Pop, this is the year nineteen
oh five. You can't hold up trains when they want
to go out, and Black Eagle is a slipping Well, Pop,
I just.

Speaker 1 (34:37):
Know everybody's gonna try it. Every wet behind the ears
punk is gonna look for immortality is now gonna challenge
it to draw.

Speaker 9 (34:48):
You'll be reaching for the wholes third.

Speaker 1 (34:50):
Day and night we'll therefore, and you best pay attention
so as I can tell you exactly how to hold
up that train.

Speaker 7 (35:00):
Oh and suddenly Black Eagle is aware of a sinking
feeling as the thing goes in his chest. It had
been easy and comfortable to wear the clothes of Black Eagle,
but to become Black Eagle was now, as another saying
goes a horse of a different coin. And so he

(35:24):
returned with Gatchia Rogers and Bronco Charlie, two members of
Bud King's gang. When he arrived, Bud King himself greeted
him blifely, boys, tell me you got the plans for
taking the train?

Speaker 9 (35:38):
Well, why isn't your plan?

Speaker 15 (35:41):
Why you're the leader of the game.

Speaker 9 (35:43):
Oh, I wouldn't want when that for well.

Speaker 7 (35:46):
Sooner the better, any objections tomorrow night, Well, I think
we ought to excuse me, you had a long ride
getting here, now, I'm sure you must be plumb tucker out. Now,
why don't you get some shut up. We're going to
have a long, hard day tomorrow. The boys and me

(36:09):
was talking over your plans for robbing the train. Black look,
and we think you should be the one to hold
up the express car.

Speaker 9 (36:18):
Make me well, sure, well, I thought i'd be up
front taking care of the engineers.

Speaker 7 (36:24):
Well, you being the leader, Now, you wouldn't want somebody
else to take the express responsibility, would you, Well, of
course not. It's now the heart of the job. There's
only one guard in the express car. Now he's got
a shotgun. That shouldn't bother you.

Speaker 4 (36:42):
You can just shoot it.

Speaker 9 (36:43):
Out of his hand. Ah. Well, now that's what.

Speaker 7 (36:46):
They say you used to do. Oh yeah, but it's
all set then, right, You're going to take on the
express car. And after you get all that taken care of,
the rest of us, move in and very will at
the head of a column of mounted desperadoes, our own chicken,

(37:10):
black eagle.

Speaker 4 (37:11):
If you will.

Speaker 7 (37:13):
Suddenly, for the first time, he became conscious of a
great weight around his waist. For the first time, he
realized what it was, the two heavy holsters with the
Navy Colt revolvers. Till now he'd won them as mere decoration,
But now he realized that these were guns and bullets.

Speaker 2 (37:36):
And they were used to kill people.

Speaker 7 (37:40):
He'd never held a gun in his hand, much less
fired it. The night's so dark, we won't be able
to see you from here. You will have to fire
three shots to let us know to go ahead with it?

Speaker 8 (37:53):
Go ahead with it?

Speaker 7 (37:54):
Why sure, you can't handle the express card. There ain't
no sense of us trying to hold up the rest
of the train.

Speaker 2 (38:01):
Ah.

Speaker 7 (38:01):
Now you remember she only stopped for one minute, so
that's all the time. You've got to do your part
of the job one minute. One minute to get the
express car guard and give us the signal to do
the rest of the train.

Speaker 9 (38:16):
One minute.

Speaker 7 (38:18):
And I can't tell you how excited the boys are
the thought of getting that one million dollars eagle work
stop like he go, who's kiddy, k.

Speaker 1 (38:38):
I know I'm supposed to be up I heat near
the station here, but I'm on my errand of mercy rounds.

Speaker 9 (38:45):
What's that?

Speaker 1 (38:46):
Oh that's what Bud calls you see. He don't allow
no drinking. Well, there's a job to be done, but
everybody needs just a little bit.

Speaker 32 (38:54):
Of a list.

Speaker 12 (38:55):
So I got this bottle and I me chills.

Speaker 1 (38:58):
Everybody gets one little drink.

Speaker 12 (39:02):
Oh still here, take your no?

Speaker 9 (39:04):
No, no, I better not.

Speaker 1 (39:06):
They're not Why I heard the black e who's the
hardest drinking.

Speaker 32 (39:11):
Man north of the border.

Speaker 1 (39:12):
Well, of course, maybe you don't need one. All you're
going to do is hold up the express car.

Speaker 31 (39:18):
Ah, there's nothing to do.

Speaker 1 (39:21):
That shot gun God will take one look at you
and just drop his.

Speaker 33 (39:24):
Weapons and beg forard life.

Speaker 1 (39:27):
Who wants to fight with black?

Speaker 7 (39:29):
Either?

Speaker 34 (39:29):
Yeah?

Speaker 9 (39:29):
Yeah, then everything's going to be all right.

Speaker 1 (39:31):
That's right.

Speaker 31 (39:34):
Let's drink of that.

Speaker 1 (39:35):
No, I better you know, I go for you Black,
and after you kill Black, after I want kill bus.

Speaker 12 (39:44):
Oh, you have to kill Buck.

Speaker 1 (39:46):
You'll have to draw. And you don't want to give
up this job?

Speaker 9 (39:48):
Well, well, why do we waste talking?

Speaker 1 (39:50):
The train will be here soon. Come on, let's have
that little drink.

Speaker 29 (39:54):
But one little drink.

Speaker 32 (39:56):
And one little kiss.

Speaker 7 (39:58):
Huh Oh is that so hard to two?

Speaker 2 (40:04):
Well?

Speaker 9 (40:07):
Look m m m, well I really should.

Speaker 32 (40:14):
And again m hmm and one high.

Speaker 1 (40:35):
Wait got the trains coming?

Speaker 9 (40:39):
Trade? What trade.

Speaker 32 (40:40):
Oh you're my hero.

Speaker 1 (40:43):
Did think you could sleep just as cold and cool?

Speaker 28 (40:46):
A minute before?

Speaker 12 (40:47):
You have to hold up a train?

Speaker 1 (40:49):
Honey, you get the express guy. Now I have to
run ahead to the station, the stations in the bottles?

Speaker 32 (40:55):
You want it?

Speaker 9 (40:56):
Yeah? Sure, what question would honey?

Speaker 12 (40:59):
And be sure you are? But don't shoot you in
the back?

Speaker 35 (41:04):
Where am I right?

Speaker 9 (41:07):
Those here? What are these guns? And and this hat?

Speaker 8 (41:14):
Oh?

Speaker 7 (41:14):
No railroad couple? Think I'm a bed that I better
get rid of us right now?

Speaker 9 (41:20):
And and this hat?

Speaker 2 (41:22):
And is a train?

Speaker 7 (41:24):
This this preight's open door. Maybe I can climb away
into it and climb into this box car?

Speaker 9 (41:36):
Oh my head, Oh.

Speaker 7 (41:39):
I gotta climb up into this car from want a
hard frame by your grab Hold.

Speaker 15 (41:48):
Up there.

Speaker 9 (41:52):
You're going to like this box coffee?

Speaker 7 (41:55):
I always think one with lots of nights excelsior on
the floor.

Speaker 5 (41:59):
Nice can call the pool man.

Speaker 7 (42:02):
Hey, Snuffy, that's old Coney Island Snuffy.

Speaker 16 (42:07):
And you're chicken.

Speaker 7 (42:08):
What are you doing out here?

Speaker 22 (42:09):
Chicken?

Speaker 8 (42:10):
Oh?

Speaker 7 (42:10):
I always spend the winters out here, Snuffy? You sound
happy content?

Speaker 1 (42:16):
Would you just happen to have some of that anexeer
of joy in your presation?

Speaker 7 (42:20):
Am I ever without it, snuffy, and so you claim
you were actually black eagle boy. Yes, sir, I was,
And had you remained sober that night, you would have
actually held up that express car.

Speaker 9 (42:42):
Oh no, sir, no, you've got it wrong.

Speaker 7 (42:45):
Had I remained drunk, you see, sir, I'm drunk when
I don't drink, drunk with power. It's only when I drink.
But I'm sober enough to realize I'm all chicken, and.

Speaker 36 (43:07):
There the matter must rest.

Speaker 9 (43:09):
Oh.

Speaker 7 (43:10):
Henry passes the story on to us just as it happened,
without comment or explanation. If you think it's too far fetched,
why just examine some of the things you think are
so logical, and you'll find them just as.

Speaker 4 (43:26):
As what.

Speaker 7 (43:27):
At any rate, you'll find me here again. In just
a few minutes, man was made to dream, and one
of the world's greatest dreamers, mister O Henry himself, busied

(43:49):
himself with the stuff of those dreams, and he found
what we know to be true, that dreams need something
or someone to set them in motion. However it's something
else for all of us. There's dreaming enough, and to
spare right here on mystery theater. Our cast included Robert Dryden,

(44:10):
Larry Haynes E, v Justter Portrait and Earl Hammond. The
entire production was under the direction of Hymon Brown. And
now a preview of our next tale. Boy, that's marvelousal
leave me Ma longleate two guns of stag. It's bad enough.

Speaker 9 (44:30):
I got thirty days in a steam laundry for us all.

Speaker 7 (44:32):
But if you say another word, I'll get the robe
from murder.

Speaker 4 (44:35):
Don't you know what it means?

Speaker 36 (44:37):
Madam Zozo's prophecy is absolutely accurate, and it's unscheduled.

Speaker 2 (44:42):
Everything.

Speaker 36 (44:43):
Everything she has predicted has come true in every detale.
The ocean, the boat, the fat man, the blood woman figure,
the man with the silver ornament, the band dressed in
black with the hammer, and now steel stone which is
the prison, and steam the laundry.

Speaker 4 (44:58):
It's hept in Tobin, It's happened.

Speaker 7 (45:01):
What's happening fate? Fate should have to work in a
steam line.

Speaker 36 (45:05):
And now what's left the red haired girl.

Speaker 37 (45:09):
But Katie Mahorne does not have red hair.

Speaker 36 (45:11):
Red haired girl, I tell you told, I can hardly wait.

Speaker 7 (45:16):
Radio Mystery Theater were sponsored in part by Buick Motor
Division and 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 Dream.

Speaker 6 (46:05):
October is birthday month for Weird Darkness. This year makes
ten years of doing the show. But while it's our birthday,
we want the gifts to go to those who help
people who suffer from depression, anxiety, or thoughts of suicide
or self harm. That's what our annual Overcoming the Darkness
campaign is all about. It's the only fundraiser I have
all year long. You can bring hope to those who

(46:25):
are lost in the darkness of depression. You can make
a donation right now at Weird Darkness dot com slash hope.
I'll close out the fundraiser at the end of October
and announce how much we raised. The more we raise,
the more people we can help. To donate, get more
information about the fundraiser and the organizations we're supporting, or
find hope for yourself or someone you know who are

(46:46):
fighting depression. Visit Weirddarkness dot com slash hope. Please donate
now while you're thinking about it Weird Darkness dot com
slash hope.

Speaker 27 (46:58):
This Mystery House, that strange publishing firm owned by Dan

(47:28):
and Barbara Glennon, where each new novel is acted up
by the Mystery House staff before it is accepted for publication.

Speaker 4 (47:35):
Mystery House.

Speaker 38 (47:38):
Ye call we go, Danny boy.

Speaker 14 (47:47):
Wait, don't Danny boy me or I'll I'll get even
rougher than certain characters in Tonight's script.

Speaker 38 (47:52):
My goodness, you are in fine shape. Yeah, you must
have taken.

Speaker 19 (47:55):
This script to heart.

Speaker 39 (47:56):
You take me still.

Speaker 14 (47:59):
Puff be good? Now, well, let's see. Now all our
script's all passed out. Everybody got one.

Speaker 4 (48:04):
We're all the Yeah.

Speaker 14 (48:05):
Well, and let's have a fill in on the background
for the Night's story.

Speaker 33 (48:08):
There's not much to tell except that it has a
new angle.

Speaker 38 (48:11):
A doodler plays an important part in this one.

Speaker 14 (48:13):
Oh yeah, one of those people who scribble on telephone
books is I remember it. There's a lot of writing
in this novel, that's.

Speaker 33 (48:18):
Right, And maybe that's why it's called drop me a line?

Speaker 31 (48:22):
Did you get that?

Speaker 14 (48:23):
Tom?

Speaker 4 (48:23):
Got it?

Speaker 40 (48:23):
Missus Glenn? But before I went to that, how's about
listening to some lines like this?

Speaker 9 (48:39):
Drop me a line.

Speaker 40 (48:42):
Tonight's story opens in the nightclub office of Race Wiley,
unannounced a visitor has just walked in.

Speaker 14 (48:49):
Bertie Carmichael, who did you bribe to get in here
without being announced?

Speaker 41 (48:53):
You know I can pay off Race. I've learned some
things in my association with you.

Speaker 14 (48:57):
All right, so you're in now, let's have it. I
don't have time to waste, even on millionaires.

Speaker 41 (49:01):
That's why I'm here. Even though I'm rich, I can't
buy happiness.

Speaker 14 (49:05):
Yeah, it's a matter of Bertie has number ten run
out on you. You and your weddings. You get more
laughs in their comic strips. This isn't funny. This is murder.
Murder in the Carmichael mansion. That's a new one. Usually
your brides never get farther than genteel blackmail. It's a
matter what's Candy done done?

Speaker 2 (49:25):
I don't know.

Speaker 14 (49:26):
She's disappeared, she's been well on positive, she's dead. What
are you trying to hand me? Why I was at
your wedding last night. I never saw a healthier gold digger.
That's why I'm here, Race. You know everything that went
on at the wedding and after? Yeah, well it's all over, Bertie.
I did the job you wanted. You paid off in
Alvis Square. Outside of that, I don't know what's thing

(49:46):
I know, but you've got to help me. No, no dice, Bertie,
old boy, Murder's out of my line. I've got to
know what happened to Candy.

Speaker 8 (49:53):
So what.

Speaker 14 (49:54):
I'm a gambler, Carmichael, not a dopester. I like them
when they win, but losers bore me.

Speaker 41 (50:00):
He's on business with you before, Race, I'll pay off.
And all I want to know is what your boys
did with Candy.

Speaker 14 (50:05):
My boys cut it out, Bertie. My boys take orders
from me. They don't get ideas of their own, not
when it comes to knocking off customers. It's their loyalty
to you that makes me. You think the boys would
rub out Candy just be could acting like a juvenile.
Well she was your girlfriend. Sure, she was my girlfriend,
Bertie when I got hundreds of them. And confidentially, Bertie,

(50:28):
I don't marry him. Forget the wise cracks.

Speaker 2 (50:30):
Race.

Speaker 14 (50:31):
This is going to look bad, look bad. You've been
looking bad ever since you started taking on wives like
a hard boot takes on horses. But this is different.
No wife of mine ever died before. Well, what if
Candy is dead? You're used to losing your women one
way or another.

Speaker 41 (50:46):
But I can't stand the police investigating this. If if
I had a reasonable explanation, if one of your boys admits.

Speaker 14 (50:54):
This, I can get them off with a couple of years.
Ah No, none of that. I'm not letting any of
my people take a rap for some of else.

Speaker 30 (51:01):
Race.

Speaker 14 (51:01):
I've been trying to give you a chance to admit
this so we could fix it up. Well, you're talking
about your musa little bit.

Speaker 41 (51:06):
The evidence everything points to you, outster who Well to
your trigger man, Gabby Spiotti.

Speaker 14 (51:13):
What look, Bertie, the police will be sure to arrest him.

Speaker 15 (51:16):
Race.

Speaker 14 (51:18):
You don't want that, do you. What's your game? Car Michael?
What's the sudden interest in my welfare?

Speaker 41 (51:24):
Well, I don't like to admit it, but the trustees
of my estate if I get mixed up in one
more public scandal.

Speaker 14 (51:31):
You mean the trustees are going to cut you off?

Speaker 2 (51:33):
Huh.

Speaker 14 (51:33):
They've warned me the family business can't afford. What's that
to me?

Speaker 2 (51:36):
Just this?

Speaker 14 (51:38):
If I'm cut off.

Speaker 41 (51:39):
With a or not without an income, you lose one
of your best customers.

Speaker 14 (51:43):
So you want me to line up a fall guy
for you, Not for me, for you. I want you
to find out who killed Candy right now before the
police get in on it. What's the percentage for you
if Candy died because she was two timing me, because
she ran away from me on a wedding night. Ah,
so that's what your claim happened? Why? Yes, of course,

(52:04):
But don't you see if there's some way I could
avoid being implicated, that's why I need you. You think
i'd frame this on one of my boys. I don't
care who takes the blame. One of your men did it,
but if you can make it look like somebody else,
anybody but you, a berdie, I had nothing to do
with it. No, of course not race. Look please, I'll
pay you any amount anything you'll pay. Brother, you'll pay.

(52:27):
Don't worry about that. Then you will do it. Will
you help me? I'll bet your place in half an hour.

Speaker 19 (52:47):
Come in you wish to see me to call?

Speaker 9 (52:49):
Make no?

Speaker 14 (52:51):
Well? Who were you?

Speaker 4 (52:52):
Sister?

Speaker 19 (52:53):
I am Ignosia Franks, teach Up and Meeta Garnid.

Speaker 14 (52:57):
Yeah, very nice, very nice. Bertie still knows how to
pick him.

Speaker 19 (53:04):
I do not understand.

Speaker 14 (53:06):
Or I said, you're a classy chasi with a confection complexion. Mhm.
Whoever puts you together? Baby, wasn't blandfolded.

Speaker 19 (53:13):
But you laughing at me? I can flying playing?

Speaker 14 (53:17):
Yeah, but no laughs baby, Oh no, You're not the
kind of female that I can laugh off.

Speaker 4 (53:23):
Baby.

Speaker 19 (53:24):
So why we know?

Speaker 14 (53:25):
So you know me? Sweetheart?

Speaker 2 (53:28):
Of course?

Speaker 14 (53:29):
Berty you call Michael know no, I mean yeah, but
I could be talked out of it.

Speaker 19 (53:37):
Oh no, I know me, So Berty will be you you.

Speaker 14 (53:41):
See it all right? Just no, Bertie, you didn't tell
me about this?

Speaker 20 (53:46):
What?

Speaker 14 (53:47):
Oh micheline she's teaching me French. Oh yeah, well I'll
say this for you. Bertie, you can say race. Let's
get started. I'm nervous as the devil this morning.

Speaker 41 (53:59):
The butler just found Candy's body.

Speaker 14 (54:12):
Oh no, look all right, take it easy, Bertie, hold
on to yourself.

Speaker 41 (54:14):
But Candy, she was so beautiful. Look look at her face.

Speaker 14 (54:20):
Acid He wouldn't know it was her. Acid must have
been sown at her. It's all over her hands and legs,
burnt right through her skin. But acid wouldn't kill her. No,
but look at her throat you mean, I mean her
throat's been cut. Whoever did it must have figured the
acid would eat away the scar. But why why? I
don't know, Bertie, maybe so the police wouldn't be able
to figure out what the murder weapon was. Hey, Gabby, Gabby,

(55:01):
what's the matter.

Speaker 29 (55:02):
Can't you see?

Speaker 14 (55:03):
Come on, get in, doctor, there's a better It was
hard to work, it's so black. Yeah, you're all done.
No slip up.

Speaker 42 (55:17):
You'll know better than that. The cops won't be able
to tell it from an accident. That car is really
busted up.

Speaker 14 (55:22):
Okay, how about the battery, nice cinch.

Speaker 42 (55:25):
The way I pile up that crate, it looks like
the battery just naturally fell out and spilled all over
the body.

Speaker 14 (55:30):
Oh, you didn't make it too good, now you know.
The cops got to recognize Candy, just.

Speaker 42 (55:34):
Like you told me her pocket book, driver's license. Everything's
all said, only I still don't figure your angle race.

Speaker 14 (55:43):
Okay, don't worry about us. The dough in. This is
better than any roulette for you. You have a gimmicked but
you're taking an awful chance. Everybody knows you was hooked
up with Candy NuGen supposing big get the idea you've
done a rick. No, when they find her, she'll be
here on this deserted road. And bertiekarmchas car I witht
that letter in her pocketbook. But what's the letter? Prove?

(56:04):
Just the note from heiney Luga A note, yeah, but
not just to drop me a line note, A letter
that tells Candy to meet Heinee the night of her
marriage to Carmichael. Don't think the cops won't fall for that.

Speaker 42 (56:16):
I hope it works that night, like betting to see
heine fry, especially for something he didn't do.

Speaker 14 (56:22):
W Yeah, and Bertie Carmichael pays us to get rid
of our competition.

Speaker 19 (56:40):
No, no, Darty, we most started a French.

Speaker 14 (56:44):
Oh just once more mission?

Speaker 19 (56:46):
Oh no, no the French. Oh all right, doll.

Speaker 14 (56:53):
The premiere jr. Du mois de't all right? Write it up?
Race walking in here? Who let you in? Never mind
that we got business to transact? Businesses? Won't wait for formalities?
You mean it. Everything is taken care of. It's all set.
The cops have got Candy now. I had an anonmymous
phone call planet and the bulls race right out there.
By this time, they got it all figured out that
Heine Luger was the killer. Are you sure race Luger

(57:16):
has some smart lawyers. We know he didn't do it,
do we?

Speaker 40 (57:20):
All?

Speaker 2 (57:20):
I know is.

Speaker 14 (57:20):
I had nothing to do with it. There's any slip ups.
The police won't ask me any questions. They might want
to talk to you. What you said? You know what
I said. I got the body out of your house.
Now pay off. From here on, it's your party. You've
got to stick by me. What hey, Bertie, let's not
make it complicated.

Speaker 19 (57:38):
I do not understand what you speak to each other.

Speaker 14 (57:41):
Well, don't worry, baby, Your boyfriend here will be all
right unless he tries to welsh on me. No, Race,
I'm more than willing to pay. But what if there's
a slip You should have thought of that before you
called me in.

Speaker 19 (57:52):
What is the mounter issue too?

Speaker 14 (57:54):
Nothing wrong with Bertie that you couldn't cure, Micheline. He's
got things fixed up now so as he can marry. First,
he notifies the police and his wife is missing since
her wedding night, and the cops find that Candy's dead.
What more do you want? Stop that, Race, Micheleine doesn't understand. Oh, no, accent,
don't fool me.

Speaker 19 (58:12):
Oh Grace, you faceos bud things.

Speaker 30 (58:15):
Race.

Speaker 14 (58:16):
I'll pay you half now on the rest of the
plan works. Nah, you'll pay all of it. That letter's
a cinch, but tiny will deny writing. Don't worry about it.
That letter was written, but the greatest forger in the business.
Any expert will swear it's Heinee's handwriting. Besides, I had
him put in a couple of Candy's doodles in Hancil.
You see doodles? What do you mean earlier? Know the
way she's always drawn stuff when she was talking on

(58:37):
the phone or when she was thinking we are number two?

Speaker 19 (58:41):
He did a schools she drove from everything we are.

Speaker 14 (58:44):
I've remembled him micheline. How did you know so much
about it?

Speaker 19 (58:48):
Have you've forgotten?

Speaker 20 (58:49):
You?

Speaker 19 (58:49):
Candy wring off together?

Speaker 14 (58:51):
Yeh, Now you're satisfied, Bertie. That letter's not only in
Heine's handwriting. He's got Candy's trademark on it, just as
if she put it there herself while she was thinking
about meeting Heinie that night.

Speaker 41 (59:02):
Clever, eh, I still say half now and half later
when the guild is pinned on?

Speaker 14 (59:07):
How you looking your hands off me? Race, I'll call
you go ahead, go on, call a fleet I gotta get.
Maybe you're right, Frenchie, Maybe that isn't the way to
treat your boyfriend. Here's my check. Race, Now get out
of here, getting brave when a woman does it talking
for you, Ah, Bertie, well, don't forget. This is only half.

(59:31):
You won't get a chance to forget. I'll see to that. Okay, baby,

(59:55):
here's the key. I open up the front door and
walk right in. If anybody doops and ask you who
you are, we gonna tell him.

Speaker 31 (01:00:03):
And Brenda Braddock kid, that's right, honey.

Speaker 14 (01:00:06):
There's so many show girls walking in and out of
Bertie Carmichael's house.

Speaker 4 (01:00:09):
Nobody else stop you.

Speaker 12 (01:00:11):
Oh no, right, don't worry.

Speaker 14 (01:00:13):
That's right, baby.

Speaker 43 (01:00:14):
I just make sure that he sees you. The beating
out like everything for the door, you know.

Speaker 14 (01:00:19):
The way, I am sure sure, see you later.

Speaker 43 (01:00:23):
Yeah, good luck, honey, the door ain't locked. Quiet now kidding?

Speaker 30 (01:00:30):
And so.

Speaker 14 (01:00:39):
Huh huh?

Speaker 4 (01:00:42):
Who's there?

Speaker 8 (01:00:43):
Who is that?

Speaker 30 (01:00:45):
Candy?

Speaker 11 (01:00:46):
No, nor Tuppy.

Speaker 38 (01:00:47):
You can get rid of me. Did your Birdie.

Speaker 40 (01:01:21):
And the mugens? Was she killed or wasn't she? We'll
find out on the second act. It's a night story.
But first let's consider something else. And now the second act,

(01:01:47):
I'll drop me a line. The scene is race while
he's gambling club the girl race sent to Bertie Carmichael's
house has come back to report the race.

Speaker 19 (01:01:56):
You should have seen it.

Speaker 38 (01:01:58):
Look, honey's faith. And when he yelled care I thought
i'd laugh out loud.

Speaker 14 (01:02:02):
Yeah you're sure now he called you candy.

Speaker 38 (01:02:04):
Well, of course, I'm sure he was scared.

Speaker 14 (01:02:05):
Stiff, good good. Before we're done with him, we'll have
him paying out a grand a week just for protection
from ghosts.

Speaker 38 (01:02:13):
I got a hand it to your race.

Speaker 14 (01:02:15):
Yeah, well you're not bad yourself, honey. Come in, baby,
you're still like him when they come from me.

Speaker 19 (01:02:26):
Nobody kisses like you do a race.

Speaker 4 (01:02:29):
Yeah.

Speaker 14 (01:02:30):
This is better than collecting alimony from that goofy carmichaeling.
And I always say a case settlement is better. Yeah, sure, yeah, sure.

Speaker 44 (01:02:40):
Oh that was a great idea, that was getting a
body from the morgue that looks something like me and
then throwing acid all along.

Speaker 14 (01:02:47):
And poor Bertie he really thought it was you anyway. Hello,
Yeah he is okay, sure, let him come on in,
come on, get out of here quick. He's on his
way in amscrat quick in the closet, right, there'll be
quiet now. Well, if it isn't my bosom buddy, Bertie. Hello, Race,

(01:03:09):
if what's the matter of Bertie? You look worried? Hurry
I let you in.

Speaker 9 (01:03:14):
I am so sorry.

Speaker 19 (01:03:15):
It seems no one would like to let me in,
so I come in through the window.

Speaker 14 (01:03:19):
Misterline, you show on your way. Franchie, there is no
place for you.

Speaker 19 (01:03:23):
But you are wrong. It is not a business matter.

Speaker 14 (01:03:26):
That's right, sweetheart, strictly business. No place for you, but
it is you see.

Speaker 44 (01:03:30):
No, I am barely secretary. I most helped him with
all his business matters.

Speaker 14 (01:03:34):
No, no, no, start moving. Let her stay, Race, She
can't do you any harm. I just came to pay
the other half of the money for what you did. Thanks.
What's the matter of Bertie? You ain't looking so good.
I haven't been feeling well lately. I think I need
a rest.

Speaker 19 (01:03:50):
I have advised Bertie to pay.

Speaker 29 (01:03:52):
Is that not good?

Speaker 15 (01:03:53):
No?

Speaker 14 (01:03:53):
Yeah, yeah, Franchie, that's not only good, but that's smart.

Speaker 19 (01:03:58):
It is as I thought.

Speaker 45 (01:03:59):
We is that nothing?

Speaker 44 (01:04:01):
Nothing being the check Bertie. And if you please, mister Race,
I will have a piece of paper.

Speaker 14 (01:04:06):
I must write some notes paper. Yeah, we'll do very nice, frae. Yeah, okay, Bertie,
the check. We'll call everything square.

Speaker 9 (01:04:14):
Huh.

Speaker 14 (01:04:15):
Here there's Race. Okay, wait a minute, this is the
day that they had two weeks. That's right.

Speaker 8 (01:04:21):
I have to do it that way.

Speaker 14 (01:04:22):
Race my allowance. You know, let's get this settle now,
cash on the line. I know you've got it. It's impossible.
I can't do it any other way. What do you
mean you can't you will?

Speaker 2 (01:04:32):
Huh?

Speaker 14 (01:04:33):
What do you know about it?

Speaker 19 (01:04:34):
It is not allow It's a species of the trustes,
is it not?

Speaker 14 (01:04:38):
What do you mean to get the cash to us?

Speaker 19 (01:04:40):
To trust these?

Speaker 45 (01:04:42):
That would not be so good for you.

Speaker 14 (01:04:46):
Okay, but the check better be good. And just to
make sure we and never mind, just make sure I
get the money. Don't worry, Race, you'll get it.

Speaker 38 (01:05:11):
That's French gil. She has something up her sleeve. Race,
and I don't one.

Speaker 14 (01:05:15):
I can'tn't it an easy, baby. That's why I called
Gabby in. What's the matter? Not much?

Speaker 7 (01:05:19):
Not much?

Speaker 38 (01:05:20):
That Gal picked up that paper I was doodling on.

Speaker 14 (01:05:22):
That's how I know you're talking about what's the doudling?

Speaker 46 (01:05:25):
Well?

Speaker 14 (01:05:26):
You know the way candy is has to be drawn
something with a pencil all the time. You mean, like
what you had to put on that letter from Heine luga.

Speaker 38 (01:05:32):
Yeah, Race, you gotta do something that French girl.

Speaker 14 (01:05:34):
Don't worry about her, baby, She's not smart enough to
pin anything on you.

Speaker 38 (01:05:38):
But she picked that paper up right here in the office.
Anybody would know that. Man, I'd been here.

Speaker 14 (01:05:43):
What if she spells it, don't worry, she won't spell anything.

Speaker 38 (01:05:46):
Oh Race, How can you be so calm?

Speaker 33 (01:05:48):
She knows?

Speaker 14 (01:05:48):
Look, baby, look I know something too.

Speaker 38 (01:05:51):
What do you mean what do you hold that magazine
up to?

Speaker 20 (01:05:55):
Like?

Speaker 14 (01:05:55):
For this magazine was on the desk, under the paper
that Micheline and you used to write on. See the
impression here of your own doodling.

Speaker 19 (01:06:02):
What there's no right there?

Speaker 14 (01:06:04):
And of course not dummy. The writing was on the
paper she took with her. But the pressure of the
pencil goes through the paper onto any soft surface underneath.
You see it. See there, that's your doodle.

Speaker 33 (01:06:14):
Oh yeah, no, I get it.

Speaker 14 (01:06:17):
That's right now. Look at this words written by your
friend Micheline.

Speaker 19 (01:06:22):
What did it say?

Speaker 14 (01:06:23):
It says what a dope Bertie is?

Speaker 13 (01:06:26):
What the Yeah?

Speaker 14 (01:06:27):
This Micheline's a smart babe. She wanted to get that
piece of paper with your doodling on it. She figured
it meant you were still alive. So she pretends to
write a note.

Speaker 38 (01:06:35):
But why that's why that stuff about Bertie being a dope.

Speaker 14 (01:06:39):
She just wrote the first thing that came into her head.
Figured I'd never see it, but she gave herself away.

Speaker 4 (01:06:43):
What there?

Speaker 19 (01:06:44):
I still don't follow you.

Speaker 14 (01:06:45):
Oh it's a cinch baby, What a dope? She writes, Well,
you think a real French damon write that?

Speaker 38 (01:06:51):
You mean? Micheline is a phony, that's.

Speaker 14 (01:06:54):
Right, genius. Micheline has a recket.

Speaker 38 (01:06:56):
Of her own, and she figures the tiselin on.

Speaker 14 (01:06:58):
Us unless we stop her. How are you gonna stop it? Well,
that's where you come in, Gabby. But first there's a
little job for you.

Speaker 38 (01:07:04):
Candy here, Hey, what's this My Life and Death with
Bertie Carmichael? My Candy knew Jeff Carmichael who wrote it?

Speaker 14 (01:07:15):
Be a look at it.

Speaker 38 (01:07:17):
Wait, it's nothing, but it's stack of old letters.

Speaker 14 (01:07:19):
It's gonna read that nobody beautiful. And that's where you
come in. Look, here's the name and address of the
chief trustee of Bertie's estate. I go on up there
and tell him you've decided to sell your life story
to the Daily Sentinel, and you want to check some
facts on Bertie.

Speaker 38 (01:07:33):
But what if he wants to read it?

Speaker 14 (01:07:34):
He won't if you handle it right now? Get on
up there, baby, Gabby has a job to do too.

Speaker 19 (01:07:54):
What are you doing here?

Speaker 8 (01:07:56):
What did you go there?

Speaker 14 (01:07:57):
The radio? Lady, mister Carmichael Boddy for you? I guess
a radio or you must be mistaken.

Speaker 44 (01:08:03):
I'm accompany, mister Carmichaeloney's vacation. It would not give me
a radio. No, you want to take it back?

Speaker 14 (01:08:09):
Sorry, ma'am. I got orders to bring it here, and
that's what I'm doing.

Speaker 32 (01:08:12):
Oh is it very well?

Speaker 17 (01:08:14):
All right?

Speaker 19 (01:08:16):
Well? What are you waiting for? He's not very all right?

Speaker 14 (01:08:20):
Radio though? Right?

Speaker 2 (01:08:22):
But what.

Speaker 22 (01:08:25):
You're going for?

Speaker 47 (01:08:26):
A ride?

Speaker 22 (01:08:28):
Don't try scream?

Speaker 14 (01:08:29):
And pa, don't fur a ride right inside that radio crag.
Nice work, hevery nice work. I guess I didn't hit

(01:08:52):
it too hard. She's been kicking up a fush most
of the way. Okay, it's a good thing you didn't
hurt her. I want to talk to her about right now.
Wait a minute, where frenchy do you have a good ride?

Speaker 19 (01:09:04):
I'll fretch you you.

Speaker 14 (01:09:05):
Oh what's happened to the French accent?

Speaker 19 (01:09:07):
Never mind that?

Speaker 44 (01:09:08):
What's the idea of Shanghai in me.

Speaker 14 (01:09:09):
I want me to shut her up right now.

Speaker 4 (01:09:11):
Let her alone.

Speaker 14 (01:09:12):
She can't do any harm here in my office.

Speaker 19 (01:09:13):
That's what you think.

Speaker 44 (01:09:15):
Wait till the cops get here. We'll see how smart
you are cops?

Speaker 20 (01:09:18):
Is it?

Speaker 14 (01:09:19):
You've got as much to lose with the cops as
I have. Baby. You wouldn't call the cops, now, would
you have?

Speaker 4 (01:09:24):
French?

Speaker 30 (01:09:24):
Ee?

Speaker 15 (01:09:24):
Oh?

Speaker 19 (01:09:24):
Wouldn't I?

Speaker 44 (01:09:26):
It just so happens, mister Race Wiley, that I did.
I stole one of your pet little ideas. I wrote
a letter and dropped it through a hole in the
radio create before your gorilla got it out of the house.

Speaker 19 (01:09:36):
I had a hunch I was going to.

Speaker 4 (01:09:37):
Meet you again.

Speaker 14 (01:09:38):
You invited that cops had dropping on me, did you?

Speaker 2 (01:09:41):
Or too?

Speaker 8 (01:09:41):
Little?

Speaker 48 (01:09:42):
Go ahead shoot me.

Speaker 19 (01:09:43):
That'll help a lot.

Speaker 44 (01:09:44):
When the cops get here any minute now, they might
even hear the shot. Go on, shoot, that'll just fix
everything for you.

Speaker 14 (01:09:52):
Let me have a race. No cops will hear what
I'm gonna do to her name. I'll lay off for
Gebby lay off. We're in a spot. Maybe she has
tipped off the cops, and maybe she hasn't, Or we're
taking a chances opened the door. Jeez, huh, it comes Candy.
Right there, Candy, what's the matter the copy?

Speaker 38 (01:10:08):
It's pretty Carmichael, he's right behind me, Bertie. He was
a trustees office when I got here, So help me.

Speaker 44 (01:10:14):
Race.

Speaker 38 (01:10:14):
I didn't team until all of a sudden, there he
was it.

Speaker 14 (01:10:17):
That doesn't matter with you. What are you scared of
that brunt?

Speaker 38 (01:10:19):
He was like a madman when he's called me. I
swear he's gonna kill me if he catches me.

Speaker 14 (01:10:23):
Don't worry, man, I'll take care of his day. And
sat the way.

Speaker 23 (01:10:26):
Gabby.

Speaker 14 (01:10:27):
This is one guy I just.

Speaker 4 (01:10:30):
Worry about.

Speaker 22 (01:10:31):
He got the gun.

Speaker 44 (01:10:36):
Nice going, Bertie. That's all from muscle bound.

Speaker 14 (01:10:39):
All right, Race, you too. My beloved wife sent up.
I set stand up. There's still some bullets in this gun.
Take it easy, Bertie, I tell you gun crazy. Shut up, missus. Carmichael,
I'll do the talking in this family.

Speaker 19 (01:10:49):
Perty.

Speaker 44 (01:10:49):
You're terrific.

Speaker 19 (01:10:50):
Did you get my note?

Speaker 14 (01:10:51):
What did you get a note? Bertie? You heard that lady.
She dropped you a line while my late friend Gabby
here was kidnapping her. Surely you got the note, Bertie?

Speaker 8 (01:10:58):
Shut up.

Speaker 14 (01:10:59):
I don't know what she's talking about micheline. You told
me to check with the trustees before I left town.

Speaker 19 (01:11:03):
Didn't they tell you?

Speaker 44 (01:11:04):
Tell me what I was a spot or what the
trustees hired me to see what I could find out
about the kind of friends you had, Bertie. They didn't
like your marriage to Candy Nutan for one thing.

Speaker 14 (01:11:13):
I don't tell me you were on the level French, Ye.

Speaker 19 (01:11:15):
French teaching actwork of phony.

Speaker 38 (01:11:17):
Don't believe her, Bertie, she's all phony.

Speaker 14 (01:11:19):
Shut up, Candy, we're licked. You might as well get
ready to face the cops.

Speaker 19 (01:11:23):
Keep that going on, they might take advantage of here,
not us.

Speaker 14 (01:11:26):
Where we're going, we'll need friends, a Bertie, do me
a favor? Will you Defendel's race?

Speaker 29 (01:11:33):
What?

Speaker 4 (01:11:34):
Well?

Speaker 20 (01:11:34):
Just this?

Speaker 14 (01:11:35):
Drop me a line sometime, will you pal? I want
to hear how you get along with number eleven. I
always was a sucker for romance.

Speaker 2 (01:12:35):
No no no.

Speaker 4 (01:12:43):
Again, no no.

Speaker 49 (01:12:57):
No no no no no no no no no no
no no no no no no no.

Speaker 47 (01:13:08):
M h.

Speaker 50 (01:13:33):
For people who are certain they have a grip on themselves,
a strong grip.

Speaker 23 (01:13:39):
This is nightfall. Good evening, dear friends.

Speaker 50 (01:14:02):
I'm Frederick hend I'll be here to help you get
into tonight's predicament. I only hope I'm able to help
you back out. You see our story this time concerns
a man who finds himself in a situation he'd rather
not be in. The problem is whether or not he
belongs there. It's called The Tie That Binds, was written

(01:14:26):
by Niko Rielski, directed by William Lane.

Speaker 23 (01:14:30):
It stars Michael Ball.

Speaker 50 (01:14:32):
So take a moment to prepare yourself and make sure
you leave yourself to some avenue of escape.

Speaker 39 (01:14:51):
Anyone could commit murder under certain circumstances, and if everyone has,
at some time in his life furium and an impulse
of murderer's range. Now what concerns us is the point
at which that impulse becomes irresistible.

Speaker 26 (01:15:09):
Fools.

Speaker 10 (01:15:15):
I'm standing in doctor Crossetic's office, and if I don't
get sold down.

Speaker 20 (01:15:17):
On tape, bush fool mad. I'm not mad yet.

Speaker 10 (01:15:21):
I feel perfectly fine, except perhaps for a few gaps
in my memory, but that can't be helped.

Speaker 20 (01:15:27):
My name is Alan Hart.

Speaker 10 (01:15:29):
I'm thirty eight years old, five feet eleven inches tall,
with dark hair and a scar on my left hand.
But I must be quickly at any moment, how they
may discover I'm missing from reward, so this may be
the last chance I get before they shoot me full
of drugs again.

Speaker 20 (01:15:43):
Six weeks after I came here, I.

Speaker 10 (01:15:46):
Was at only five. I have trouble remembering now. They
finally issued me a string to hold up my pajama bottoms. No, wait,
further back. It all started farther back. Six months ago.

Speaker 51 (01:16:01):
There was a party, a web nite, A few drinks.

Speaker 29 (01:16:08):
Yeah, but you want me to drive?

Speaker 20 (01:16:17):
Are you suggesting a husband has had one?

Speaker 52 (01:16:22):
No, I'm not suggesting.

Speaker 53 (01:16:25):
How come on, just get this thing moving.

Speaker 8 (01:16:32):
You're fine?

Speaker 29 (01:16:34):
Are you sure?

Speaker 54 (01:16:34):
You?

Speaker 20 (01:16:35):
For God's sake, Helen, will you let me drive?

Speaker 10 (01:16:52):
I came to in an ambulance, with Helen lying beside money.
She misday, but I didn't know that. When we reached
the hospital, they patched me up. I went back to work,
although the company had offered me a long leave of
absence when Helen was killed. I insisted I needed work
more than the rest. But the body has its limitations,

(01:17:14):
and in my effort to blot out the memory of
my wife's death, I guess I've been driving mine too hard.

Speaker 55 (01:17:29):
Well, your EEG is normal, and these X rays show
there's nothing physically wrong with you, nothing at all.

Speaker 10 (01:17:35):
But I know I'm not imagining these headaches, Doctor Barnes,
I never said you were. Ever since the accident, I've
been having these attacks, stabbing pains that shoot up the
side of my face like a charge of electricity.

Speaker 55 (01:17:46):
Calm down, mister Hart. You mustn't excite yourself. You've suffered
a severe emotional shock. It's only natural you should still
be feeling the after effects. Look, I've got an idea.
There's a colleague of mine who's a real ex bread
in these matters.

Speaker 20 (01:18:01):
A psychiatrist.

Speaker 8 (01:18:02):
That's right.

Speaker 20 (01:18:03):
Look, doctor barr it's nothing to be ashamed of.

Speaker 9 (01:18:05):
Believe me.

Speaker 55 (01:18:06):
Now, why don't I ask my nurse to set up
an appointment for you?

Speaker 14 (01:18:11):
Idiot?

Speaker 5 (01:18:12):
What did he know?

Speaker 20 (01:18:13):
What do any of these doctors know?

Speaker 8 (01:18:15):
The pain wasn't in my mind.

Speaker 20 (01:18:16):
It was in my head, and it was getting worse
all the time.

Speaker 10 (01:18:20):
First the double vision, then the shooting pain, and then
one day at work, one moment.

Speaker 20 (01:18:28):
If anyone calls Miss Roster, I'll be back in half
an hour.

Speaker 31 (01:18:32):
Are you all right, mister heart You look quite as
a sheet.

Speaker 20 (01:18:36):
It's these headaches I've been having.

Speaker 31 (01:18:38):
Hold on a second, let me get my purse.

Speaker 53 (01:18:40):
I know I've got some pain with leavers in here somewhere,
mister Hart, Mister Hart, someone.

Speaker 33 (01:18:48):
Called an ambulance. I think you got a heart attack.

Speaker 10 (01:18:55):
She was almost too efficient as it happened. The next
thing I knew, I was cooped up in the emergence
team work.

Speaker 29 (01:19:01):
Now, what can I do for you?

Speaker 10 (01:19:02):
I've been sitting in this cubicle for over two hours now, Heart.
That other nurse said I could have my clothes back
as soon as the doctor checked.

Speaker 24 (01:19:10):
My X rays.

Speaker 29 (01:19:10):
Here, doctor wants you to drink this.

Speaker 9 (01:19:12):
What is it?

Speaker 29 (01:19:12):
It's just medication, good for your headache?

Speaker 20 (01:19:15):
Down and what kind of medication?

Speaker 29 (01:19:17):
Just swallow it, shall we, mister Hurt?

Speaker 20 (01:19:19):
Just for me, Heart, My name's Heart. I'm not going
to swallow anything without knowing what it is.

Speaker 30 (01:19:23):
Doctor Steele.

Speaker 20 (01:19:24):
What seems to be the problem here? Oh thank god?
The nurse said, I could have my clothes back as
soon as you check my x rays. Just stay overnight
for observation. Then in the morning, Am I gonna get
my clothes back or not. Calm down, mister Hart, there's
no need to. I didn't think. I just ran.

Speaker 10 (01:19:42):
Straight into the arms of an orderly hold him fighting.
My arms felt like water in that drinking given me.

Speaker 43 (01:19:53):
The needle, went in and hold.

Speaker 8 (01:19:56):
Him for now.

Speaker 20 (01:19:57):
Down down went oh.

Speaker 23 (01:20:09):
Oh oh hell.

Speaker 31 (01:20:14):
All right, oh oh oh it's your heart, mister heart.
Huh helen, wake up, wake up? Oh you were having
a nightmare.

Speaker 20 (01:20:32):
Oh hey, what time is the nurse? You are a nurse,
aren't you.

Speaker 31 (01:20:38):
Yes, I'm a nurse and it's nine thirty time you
were out of bed?

Speaker 10 (01:20:41):
You mean it's Thursday morning already? Friday, Friday, bay, it's
two days. I've lost two whole days. I got to
get back to work.

Speaker 31 (01:20:53):
Pull off your parents, mister Hart.

Speaker 20 (01:20:56):
These aren't mine. Where are my clothes?

Speaker 53 (01:20:59):
Take it easy, mister heart. You're not going anywhere. You've
been certified, certified.

Speaker 2 (01:21:04):
What that's right?

Speaker 14 (01:21:06):
What is this place?

Speaker 53 (01:21:08):
You're in a psychiatric facility, mister Hart, that's right. Why
you'll have to ask you a psychiatry.

Speaker 20 (01:21:14):
I don't have a psychiatrist.

Speaker 30 (01:21:16):
You do now, But this is insane. I don't belong here.

Speaker 22 (01:21:22):
If we let him go home, he'll be just fine.

Speaker 4 (01:21:25):
He's much too good for this place.

Speaker 15 (01:21:27):
Who are you take him away?

Speaker 20 (01:21:32):
Don't tell us matter, You'll from another planet. Right, you
call a mistake some kind of bureaucratic foul u.

Speaker 38 (01:21:39):
Now, don't get up.

Speaker 4 (01:21:42):
I am not upset.

Speaker 20 (01:21:43):
I'm perfectly fine. There is absolutely nothing wrong with me.

Speaker 13 (01:21:48):
He's as you never did anything.

Speaker 8 (01:21:50):
You can see that, can't you?

Speaker 20 (01:21:52):
Who's in charge here?

Speaker 31 (01:21:53):
Doctor Kapidy?

Speaker 8 (01:21:53):
Get him?

Speaker 4 (01:21:54):
He wants his doctor and his lawyer to leach if necessary.

Speaker 31 (01:21:57):
Well, I'm afraid doctor Comedy is let.

Speaker 4 (01:22:00):
We'll call him.

Speaker 20 (01:22:01):
I want to see the doctor, and I want to
see him right now.

Speaker 31 (01:22:03):
She is out of town until Monday morning. Now, if
you'll excuse you.

Speaker 5 (01:22:08):
Some people say nursey, put starch in your bro but
I want to know what you think.

Speaker 4 (01:22:12):
Where did you get your sash?

Speaker 24 (01:22:13):
Sash to hold up your pajama butters, there's not enough
slack in mind and not the ends together.

Speaker 4 (01:22:18):
You mustn't let the present.

Speaker 20 (01:22:19):
Gem out of quists of the situation. Get your dad.

Speaker 4 (01:22:22):
If you do that, you're finished. That's it.

Speaker 20 (01:22:28):
We'll talk later.

Speaker 2 (01:22:29):
Man.

Speaker 10 (01:22:29):
Just tell me where you got your sash, please. I
just want something to hold up my pants, a string,
a sash.

Speaker 31 (01:22:40):
Will you take your medication?

Speaker 20 (01:22:42):
This is blackmail.

Speaker 31 (01:22:43):
You're holding up the line, mister hart.

Speaker 51 (01:22:45):
I'm not going to swallow anything without knowing what it is.

Speaker 53 (01:22:48):
It's just vitamin's, mister Hart. Good for you, Just swallow it,
shall we, mister Heart?

Speaker 20 (01:22:53):
For me, I want to see my lawyer and make
a telephone call.

Speaker 28 (01:22:56):
Orderly, orderly.

Speaker 20 (01:22:58):
I will not be intimidated.

Speaker 31 (01:23:00):
Take your hands off me, put him in isolation.

Speaker 20 (01:23:03):
Let me go, take your hands off me.

Speaker 10 (01:23:06):
Two burly attendants bagged me across the war kicking and
raging every step of the way, and a cell door
opened and I was shoved inside. There were no windows
in that six by six foot cage, no blankets, no pillows,
no sheets, nothing but an evil smelling mattress. My feet
felt like sandbags, my head like heavy water, liquid lead.

(01:23:31):
There was nothing to do but sleep and dream and
fight painful memories.

Speaker 56 (01:23:52):
One stop it, helen, stop, Let me up, Let me up,

(01:24:14):
Let me off, Thank you orderly.

Speaker 52 (01:24:19):
That will be all.

Speaker 20 (01:24:20):
Are you doctor Kousivik?

Speaker 13 (01:24:22):
I am your doctor yet?

Speaker 8 (01:24:23):
Oh?

Speaker 20 (01:24:23):
Thank god?

Speaker 2 (01:24:25):
Now?

Speaker 29 (01:24:25):
Then do you know where you are?

Speaker 4 (01:24:26):
Oh? Yeah, I know where.

Speaker 20 (01:24:27):
What I can't understand is why.

Speaker 53 (01:24:29):
Well, four nights ago you arrived in emergency in an
agitated state, you assaulted the resident on duty.

Speaker 31 (01:24:35):
Well, he wouldn't let me leave with good cause, mister Hart,
you are a very sick.

Speaker 20 (01:24:40):
Man for wanting my clothes back.

Speaker 2 (01:24:41):
You call me sick.

Speaker 13 (01:24:43):
If you weren't sick, you would not be here.

Speaker 10 (01:24:46):
Look, there's obviously been some kind of horrendous mix up here.

Speaker 29 (01:24:50):
Who will be that?

Speaker 30 (01:24:51):
As it may?

Speaker 53 (01:24:51):
Mister Hart, I would like to get started on your
treatment immediately now. Then would you care to discuss your
problems in group therapy or would you prefer to talk
to me.

Speaker 29 (01:25:00):
Alone in my office?

Speaker 20 (01:25:01):
I don't think you quite understand.

Speaker 31 (01:25:03):
I want to help you, mister hard, but I can't
do that unless you want to be helped.

Speaker 20 (01:25:07):
Leave me alone, please, I want to see my lawyer.

Speaker 30 (01:25:12):
Very well.

Speaker 10 (01:25:25):
I sank back in an evil smelling mattress, my heart pounding. Somehow,
between my office on the fifty second floor and this
this human zoo, there has been a breakdown in communications.

Speaker 20 (01:25:38):
Somehow I've gotten mislaid.

Speaker 51 (01:25:40):
Is there no one out there in the city keeping
track of me?

Speaker 30 (01:25:45):
Come on?

Speaker 20 (01:25:46):
What where are you taking me?

Speaker 29 (01:25:48):
The TV lounge? It's Tuesday visiting day?

Speaker 20 (01:25:52):
You mean you mean I've got a visitor? You're a lawyer?

Speaker 2 (01:25:57):
Come on? Come on?

Speaker 14 (01:25:58):
You look fine?

Speaker 10 (01:26:09):
My god, Allan, you look like you've been shipwrecked and
washed ashore. It's these pjs they make us wear. I
got a fresh pair in honor of your visit, but
no string to hold up the bottoms.

Speaker 14 (01:26:19):
Bob, you got to get me out of here or
I really will go nuts.

Speaker 2 (01:26:22):
Take it easy.

Speaker 10 (01:26:22):
How of that, I've already filed that field with the
provincial Health avoids.

Speaker 4 (01:26:26):
In the meantime, you have the legal right to refuse treatment.

Speaker 8 (01:26:30):
You mean I have to stay here.

Speaker 10 (01:26:31):
Only for the twenty one day mandatory observation, twenty one
days minus the five days you've spent here already. I'll
never make it say you wouldn't believe the trouble we
had trying to locate you. Took us two days and
a lot of phone calls to find out you've been
transferred here from Emergency.

Speaker 20 (01:26:48):
I suppose when they couldn't find any physical.

Speaker 10 (01:26:50):
Reason for your black out, they just assumed the problem
was emotional in origin. Why would they assume that your
secretary gold Emergency that you've been under a lot of stress,
ling what with Helen deathly terrific.

Speaker 20 (01:27:02):
Look, Alan, I'm sure we.

Speaker 10 (01:27:04):
Can get this mess straightened out, but you've got to
hold onto your temperate That's what's got you here.

Speaker 16 (01:27:09):
In the first place.

Speaker 20 (01:27:10):
Oh my god, Now is there anything you need?

Speaker 4 (01:27:14):
Anything I can bring you?

Speaker 20 (01:27:16):
Yeah, something to hold up my pant, Hold.

Speaker 9 (01:27:19):
On, Alan.

Speaker 4 (01:27:20):
We'll have you out of.

Speaker 6 (01:27:21):
Here in no time.

Speaker 31 (01:27:27):
I'm afraid you're going to be with us for a
little longer than we expected.

Speaker 20 (01:27:30):
What you can't do that?

Speaker 53 (01:27:32):
It's for your own good, mister Hart. These headaches, blackouts,
fits of rain.

Speaker 20 (01:27:36):
You're driving me crazy, that's all it is. You're killing me.

Speaker 12 (01:27:40):
Mister Hart.

Speaker 51 (01:27:41):
You were married?

Speaker 19 (01:27:42):
Yes?

Speaker 31 (01:27:43):
Now tell me did you love your.

Speaker 35 (01:27:45):
Wife very much?

Speaker 20 (01:27:46):
I don't want to talk about my wife.

Speaker 31 (01:27:47):
And that, mister Hart, is exactly why you are here.

Speaker 20 (01:27:50):
I was drugged and dragged here.

Speaker 53 (01:27:52):
You have a lot of anger, mister Hart. You feel
responsible for your wife's death?

Speaker 20 (01:27:55):
Yes, no, it was an accident.

Speaker 31 (01:27:57):
That your wife is dead.

Speaker 57 (01:27:59):
You are alive now.

Speaker 53 (01:28:00):
Guilt is a very human reaction, but you must learn
to bring it out into the open to deal with it.

Speaker 20 (01:28:05):
Okay, okay, okay, I'll deal with it first. I I
want a string.

Speaker 29 (01:28:11):
A string? Why you want a string?

Speaker 2 (01:28:14):
See?

Speaker 29 (01:28:16):
Pull up your pants, mister Hart.

Speaker 31 (01:28:19):
Now you know that we can't give you a string.

Speaker 10 (01:28:20):
You might use it to hang yourself. I have no
intention of hanging myself. I merely want to hang on
to whatever dignity I have left. Doesn't that prove I'm
more sane?

Speaker 31 (01:28:29):
You'll know that only proves that you have no insight
into your own illness.

Speaker 4 (01:28:33):
Oh my god, look.

Speaker 38 (01:28:34):
At me now.

Speaker 53 (01:28:35):
I have diabetes, so I take medicine for it. You
have a mental illness and you don't know it. You see,
you can't see it.

Speaker 28 (01:28:41):
That is why you are sick.

Speaker 53 (01:28:43):
But instead of being sensible like me and taking your medicine,
you continue to insist there is nothing wrong with you.
And that is why I have decided on a short
series of six electro shock treatments.

Speaker 20 (01:28:57):
You can't be serious.

Speaker 29 (01:28:59):
What else can I do with you?

Speaker 31 (01:29:01):
You won't attend group therapy, you refuse to cooperate.

Speaker 20 (01:29:03):
With You can't bend my mind.

Speaker 29 (01:29:05):
You'll burn it is that is I assure you.

Speaker 35 (01:29:07):
Mister Hart.

Speaker 57 (01:29:08):
You have nothing to fear.

Speaker 52 (01:29:09):
There is no pain.

Speaker 20 (01:29:11):
I don't care about the pain. I just don't want
to lose my mind.

Speaker 10 (01:29:14):
I've seen those empty faces in the day lounge, staring
at the TV soap opera's game shows.

Speaker 58 (01:29:19):
Test patterns.

Speaker 20 (01:29:20):
It doesn't matter.

Speaker 10 (01:29:21):
Whenever a program comes into focus, they switch channel.

Speaker 53 (01:29:23):
No don't start tomorrow morning, so please don't go to
breakfast with your water.

Speaker 59 (01:29:34):
No, you've got outside treatmentful, no breakfast for you this morning,
mister Hart, what's take off?

Speaker 29 (01:29:45):
All ring? Are you wearing black?

Speaker 30 (01:30:00):
Oh?

Speaker 31 (01:30:00):
Please take someone else that's all right?

Speaker 29 (01:30:02):
This pain into the treatment.

Speaker 17 (01:30:06):
Up on the table.

Speaker 60 (01:30:07):
Please, I'll do anything you say, anything, only please.

Speaker 23 (01:30:34):
Time the pain?

Speaker 10 (01:30:52):
Oh god, the pain inside my head. I could hear
my blood pounding through my veins. Alan, Alan, why are
you all right?

Speaker 2 (01:31:07):
What's the matter with you?

Speaker 10 (01:31:08):
You look like a zombie familiar but I couldn't what
his name. Listen, Alan, we've had a minor setback. Doctor
Kossovic has extended your commitment indefinitely.

Speaker 20 (01:31:21):
Alan, do you hear me?

Speaker 4 (01:31:23):
Oh?

Speaker 20 (01:31:24):
Yeah, Doctor did you bring me a string?

Speaker 4 (01:31:31):
String? What string?

Speaker 20 (01:31:32):
To hold up my pants?

Speaker 10 (01:31:35):
I'll bring it next time, Alan, Look, doctor Kossovik wants
us to drop our demands to have your case reviewed
by the appeal board.

Speaker 2 (01:31:42):
So what we have to do is.

Speaker 20 (01:31:45):
Doctor kossive, don't you think?

Speaker 2 (01:31:49):
Uh?

Speaker 20 (01:31:49):
No, No, I don't anyway.

Speaker 10 (01:31:52):
What I puppose we do is bring in an outside
expert for an independent psychiatric assessment, you know, another psychiatry,
someone from outside the province with no acts to grind
a big name, will testify on your behalf, and naturally
you have to examine you first, but I'm sure you'll
find you're as sane as I am.

Speaker 61 (01:32:19):
Frankly, mister Hart, I can't find a thing wrong with you.
What well, you're certainly not psychotic, and as far as
I can tell, you pose no danger to yourself or others.

Speaker 20 (01:32:27):
That's great.

Speaker 10 (01:32:28):
Would you be willing to put that in writing, file
a report to that effect.

Speaker 7 (01:32:31):
Ah, hold it not so fast.

Speaker 51 (01:32:35):
We have to tread very carefully here.

Speaker 10 (01:32:37):
But you will testify on my client's behalf at the
appeal board here.

Speaker 61 (01:32:40):
You want me to stand up in public and flatly
oppose one of my professional colleagues.

Speaker 62 (01:32:44):
Well, why not.

Speaker 5 (01:32:46):
There's a man's future at stake here.

Speaker 61 (01:32:48):
There is more than one man's future at stake here,
mister Bates. But I'd advise mister Hart here to submit
the further tests to convince doctor Kausivik and her staff
that he's cooperative, and therefore saying.

Speaker 2 (01:32:58):
Play the game the way you mean.

Speaker 30 (01:33:00):
That's right.

Speaker 61 (01:33:02):
Better to go through proper channels if you can. There's
more than one way to skin a cat bear in
mind that as long as your client fight stock to Kausovic,
you'll stay locked up.

Speaker 8 (01:33:12):
Well, I didn't take this fight.

Speaker 4 (01:33:14):
It was forced on this right he was.

Speaker 61 (01:33:19):
But to justify your client's release, you'll have to change
your tactics.

Speaker 5 (01:33:23):
How about it out, In which case I'd be more.

Speaker 12 (01:33:25):
Than happy to testify on your client's behalf.

Speaker 20 (01:33:28):
Alan, I'll do anything you say.

Speaker 2 (01:33:31):
That's great.

Speaker 51 (01:33:39):
They wanted me to play crazy and play crazy?

Speaker 8 (01:33:42):
What what did I have to lose?

Speaker 51 (01:33:43):
And maybe, just maybe you would get me what I
really wanted.

Speaker 31 (01:34:04):
Well, mister Hart, what do you want now?

Speaker 20 (01:34:07):
I need a whole pass to get to occupational therapy.

Speaker 31 (01:34:09):
Hmm, all right, here's your path Now. I got to
move on or you'll be late.

Speaker 20 (01:34:14):
Thank you, nurse.

Speaker 10 (01:34:15):
Oh, I almost forgot while I'm here. Would it be
too much trouble for you to get me a string?

Speaker 29 (01:34:22):
You never give up?

Speaker 10 (01:34:23):
Do you sash a strip of gaus something to hold
up my pants? I'm not particular, I.

Speaker 31 (01:34:28):
Haven't got the key.

Speaker 20 (01:34:29):
Just a little strip of gauze that would do nicely.

Speaker 31 (01:34:31):
Will you take your medication?

Speaker 20 (01:34:33):
Of course? But it's not time.

Speaker 31 (01:34:34):
You're right later?

Speaker 30 (01:34:36):
Not now?

Speaker 29 (01:34:36):
Off you go?

Speaker 20 (01:34:37):
What if doctor Kusovik says, it's all right for me
to have a string.

Speaker 53 (01:34:40):
I don't want you bothering, doctor Kosovik. Now run along
to all tea before.

Speaker 13 (01:34:44):
I really do give you a shot.

Speaker 29 (01:35:00):
Who is it, ah, mister Hart, And what can I
do for you?

Speaker 52 (01:35:06):
How are you feeling together?

Speaker 10 (01:35:07):
Oh so much better, doctor Kausik, especially since our last
session together.

Speaker 29 (01:35:11):
I'm glad to hear it.

Speaker 14 (01:35:12):
Yes, I realize now that I was only hurting.

Speaker 20 (01:35:15):
Myself by my poor attitude.

Speaker 53 (01:35:17):
Good good, Well, now, if there's something specific you wish
to discuss.

Speaker 20 (01:35:23):
With me, Well, it's such a small thing.

Speaker 4 (01:35:26):
Really, I hesitate to mention it.

Speaker 30 (01:35:28):
Go on, go on.

Speaker 10 (01:35:30):
Well, it's a matter of a little string for my pants. Yeah,
I have to walk around holding on to the ends
of my pajama bottoms.

Speaker 8 (01:35:37):
And if I am, as you say, on.

Speaker 20 (01:35:39):
The road to recovery, surely I can be trusted with
a little string.

Speaker 33 (01:35:44):
No, just a moment, nurse, nurse, please come here.

Speaker 20 (01:35:47):
I don't want to cause any trouble.

Speaker 31 (01:35:49):
Being difficult doctor.

Speaker 57 (01:35:50):
Oh no, not at all.

Speaker 14 (01:35:52):
But you must find this man a.

Speaker 20 (01:35:54):
Proper pair of pants.

Speaker 31 (01:35:55):
Yes, of course, with a string, with a string, naturally, naturally, this.

Speaker 53 (01:36:01):
Way means thank you, doctor Drop by and see me again,
mister Hart anytime.

Speaker 29 (01:36:06):
You know, my door is always open.

Speaker 31 (01:36:09):
Orderly, Will you come here for a moment?

Speaker 16 (01:36:12):
Yes, nurse.

Speaker 53 (01:36:13):
Why wasn't this man issued a proper pair of pants
this morning with a string? But can't you see he
has nothing to hold up his way?

Speaker 20 (01:36:20):
I guess you forgot.

Speaker 31 (01:36:21):
You get him a proper.

Speaker 53 (01:36:22):
Pair of pants this instant, or you'll spend the rest
of this week on bed pants and flat.

Speaker 35 (01:36:26):
Bask Is that understood?

Speaker 20 (01:36:28):
Yes, nurse, isn't not a bit severe?

Speaker 4 (01:36:29):
After all, it's not his fault.

Speaker 31 (01:36:31):
I'll be the judge of death.

Speaker 53 (01:36:32):
Take mister Hart here to the linenom give him anything
he likes as long as it has a string.

Speaker 20 (01:36:37):
Will that suit you, mister Hart perfectly? Thank you, nurse,
right this way.

Speaker 53 (01:36:48):
And the notion that the psychiatrists can't recognize potential violence
is nonsense.

Speaker 31 (01:36:54):
Such recognition is implicit in a psychiatrist's.

Speaker 29 (01:36:57):
And hires training.

Speaker 26 (01:36:58):
The point is, what what is it?

Speaker 2 (01:37:01):
Mister heart?

Speaker 13 (01:37:02):
Please?

Speaker 29 (01:37:03):
Did you not see the sun on my drawn?

Speaker 19 (01:37:04):
And listen?

Speaker 29 (01:37:05):
I am in the middle of dictation.

Speaker 10 (01:37:06):
Yeah, I read your goddamn sign and I took all
your goddamn tests and your needles and your probes and
your scans and your your ink blots and your stupid questions.
And I participated, like the good little patient that I am,
in your mindless group therapy sessions.

Speaker 9 (01:37:21):
And what did it all get me?

Speaker 10 (01:37:22):
A goddamn string that's too short to hold up my
fair heart?

Speaker 29 (01:37:25):
Please now control yourself.

Speaker 4 (01:37:29):
Stops stops?

Speaker 29 (01:37:31):
What mister hart, you bitch, mister heart?

Speaker 48 (01:37:40):
Please?

Speaker 2 (01:37:40):
What is it?

Speaker 53 (01:37:41):
Is it your head?

Speaker 52 (01:37:42):
Are you in pain?

Speaker 29 (01:37:47):
Let me out?

Speaker 30 (01:37:48):
These let me out?

Speaker 34 (01:37:53):
I'll kid you.

Speaker 29 (01:37:57):
Stephen, Stop?

Speaker 25 (01:38:04):
What dear?

Speaker 29 (01:38:06):
What are you doing?

Speaker 10 (01:38:09):
Too short to hold up a man's pants, but long

(01:38:31):
enough to tighten around a woman's neck. So here I
am standing in doctor Kozovik's office, trying to think, trying
to figure out what I should do next.

Speaker 2 (01:38:45):
Otherwise I'll go mad.

Speaker 5 (01:38:48):
I'm not mad yet.

Speaker 2 (01:38:50):
I can talk.

Speaker 10 (01:38:51):
I can here thinks, see touch, I've got all my faculties.
I'm still a rational human being.

Speaker 8 (01:39:03):
They provoked me, both of them.

Speaker 30 (01:39:06):
And headaches.

Speaker 8 (01:39:09):
Oh my god.

Speaker 20 (01:39:11):
If I don't pick it up, but if I do.

Speaker 10 (01:39:19):
Hello, May I speak to doctor Cosvick please, I'm sorry
she just stepped out for a moment.

Speaker 20 (01:39:25):
Can I take a message?

Speaker 30 (01:39:27):
Yes?

Speaker 29 (01:39:27):
Would you tell doctor Krosvik.

Speaker 4 (01:39:28):
We've got mister Hart's release papers down.

Speaker 20 (01:39:30):
Here in admitting release papers.

Speaker 35 (01:39:32):
Yes, all we need is her signature.

Speaker 62 (01:39:35):
Hello.

Speaker 29 (01:39:37):
Hello, Are you still there?

Speaker 20 (01:39:39):
Yes, I'm still here. I may be here for quite
a while.

Speaker 63 (01:40:01):
The Tithe Advines was written by Nika Rilski and produced
and directed by William Lane in Toronto. It starred Michael
Ball as Alan Hart, Linda Sorenson as Helen and doctor Kaslik,
with Maya R. Dahl as head nurse and secretary, George
Murner as the lawyer, Ray Whalen as doctor Barnes and

(01:40:24):
the orderly John Blackwood as kool Aid and the doctor.
In the emergency ward, we also heard Terry Cherniac as
the nurse and Peter Blaze as the visiting psychiatrist. The
sound engineer was John Jessop, with sound effects by Bill
Robinson production assistant Nina Callahan. Here is an excerpt from

(01:40:46):
next week's Nightfall.

Speaker 2 (01:40:57):
There always like.

Speaker 64 (01:40:58):
To keep the dental work up as well, At least
I can do for them. Sandra section.

Speaker 48 (01:41:07):
There.

Speaker 26 (01:41:09):
Do you want me to turn the machine on now?

Speaker 4 (01:41:11):
Yes?

Speaker 64 (01:41:11):
Please, But this time I'd like you to have a
try it operating. I think you can handle it. I
don't know, but you'll try, won't you.

Speaker 35 (01:41:19):
Yes, I'll try.

Speaker 20 (01:41:21):
Good, good.

Speaker 16 (01:41:23):
Now you've watched me do it a few times.

Speaker 20 (01:41:25):
Just do what I did right up through the.

Speaker 8 (01:41:27):
Roof of the mouth.

Speaker 20 (01:41:28):
You'll get used to the smell.

Speaker 50 (01:41:31):
More of that next week in The Dentist, a new
play by Bill Gray that takes you on a very
unfortunate visit. Until then, I'm Frederick Hind for Nightfall.

Speaker 6 (01:42:03):
We all know someone who struggles with depression, whether we're
aware of it or not. It's something those who suffer
tend to deal with in silence, in the shadows. But
the organizations we are supporting with our annual Overcoming the
Darkness Fundraiser this month are working to make it easier
for those in the darkness to come into the light,
to find help, and to learn they're not alone, that
there are ways to overcome the darkness of depression and

(01:42:25):
live normal lives. I do this fundraiser only one month
out of the year, as October is the anniversary month
for Weird Darkness, we launched in October twenty fifteen. It's
National Depression Awareness Month, and this month is spooky and dark,
kind of like depression. If you'd like to make a
donation or learn more about the fundraiser, or find hope
for yourself or someone you know who struggles with depression.

(01:42:47):
Visit Weirddarkness dot com slash hope. The fundraiser ends Halloween
night at midnight. Please give what you can Weirddarkness dot
com slash hope.

Speaker 4 (01:43:05):
Of session. Can the dead come to life? Can a man.

Speaker 65 (01:43:17):
Executed in the electric chair of a state's prison be
reborn to wreak vengeance against society? In a moment, you'll
hear a weird and fantastic story of a terrible obsession
starring Mary Anderson. In the sordid confines of a psychopathic ward,

(01:43:45):
redolent of biodeformant heraldehyde, where a moon faced clock bites
off time in rounded nibbles, a girl lies under the
white counterpane of a restraining bed.

Speaker 4 (01:43:59):
A girl somewhere in her early twenties.

Speaker 65 (01:44:03):
She had been found wandering in the streets, her mind
enveloped in that darks mantle that is called amnesia, remembering
not even her name.

Speaker 4 (01:44:14):
Then, at the.

Speaker 65 (01:44:14):
Hospital, that void of darkness was probed by the searching
skill of a psychiatrist. She wanted to talk. She had
to talk with the same urgency that one must breathe.
It was an obsession.

Speaker 16 (01:44:34):
There, the.

Speaker 4 (01:44:38):
Ticular lad.

Speaker 26 (01:44:42):
A darkness. I just want you to listen to anywhere
I thought, I think differently anyway, how things.

Speaker 21 (01:44:51):
He's buzzing around inside my head.

Speaker 26 (01:44:54):
It's having me crazy. Yeah, I saw that left between
you two. Do you think I'm crazy already?

Speaker 31 (01:45:05):
Well?

Speaker 26 (01:45:07):
Maybe I am. Maybe I'm dead too. I don't know.

Speaker 21 (01:45:11):
It don't seem like simple arithmatic, Yes, simple arithmatic.

Speaker 4 (01:45:21):
What what is it you want to tell us, miss Bennett.

Speaker 21 (01:45:26):
I don't know why I want to tell you a
lass on me, but I've got to stop this buzzing
inside my head, by bye bye.

Speaker 62 (01:45:37):
Looked us.

Speaker 21 (01:45:40):
You remember a guy called orlans Hike you oorlans see gangs?

Speaker 2 (01:45:44):
Oh?

Speaker 66 (01:45:44):
Yes, I saw him in the headlines, held up a
postal truck. Didn't he Let's see how he he got
away with four hundred dollars. Well, he almost got away,
And the next time I saw his name, the state
had him in a guest chamber.

Speaker 26 (01:46:01):
That it wasn't it, No, Doc, not by a long shot.
That was just the beginning.

Speaker 4 (01:46:08):
You mean you've been in conversation with him since he
went to.

Speaker 21 (01:46:13):
The Great Beyond where Frankie finally went it's too hot
for conversation. But he didn't go there in the state
and the newspapers thought he did.

Speaker 26 (01:46:22):
You see how it was Frankie's.

Speaker 21 (01:46:24):
Girl, Well, anyway you figured I was, so another whole story.

Speaker 26 (01:46:30):
I ought to know.

Speaker 21 (01:46:30):
I made it happen right from that day. I want
to visit Frankie in the death cell. He was waiting
for his mouth piece, Jim Vincent, and for his brother Karl.
I knew he'd never tell where he had hidden that
hot four hundred thousand, four hundred thousands.

Speaker 26 (01:46:47):
Unless we got him out.

Speaker 21 (01:46:49):
So when Jim and Carl arrived and told us a
reprieve had been turned down out by everybody, even the governor,
I decided to try a long shot, something I had
been keeping under wraps for a long time.

Speaker 26 (01:47:05):
Frank you was pacing the cell again.

Speaker 4 (01:47:07):
Well what are you gonna do? Just sit here? Can't
you think of something? Come on, car, where's that brotherly love?

Speaker 26 (01:47:13):
We've seen everybody?

Speaker 4 (01:47:14):
I don't.

Speaker 26 (01:47:14):
I don't know what to do.

Speaker 4 (01:47:15):
There's not a legal trick left, but there is.

Speaker 21 (01:47:18):
A chance, just one.

Speaker 26 (01:47:21):
It's a long one. Frankie, What is it for? Peake.

Speaker 29 (01:47:23):
What is it.

Speaker 26 (01:47:24):
There's a friend of mine, a doctor. I was talking
to him last night.

Speaker 4 (01:47:30):
Are you kiddings me? What can a doctor me? Why
don't you let her talk? Frankie? Maybe she's got something right?
All right, go ahead.

Speaker 26 (01:47:37):
It's like this, Frankie.

Speaker 21 (01:47:39):
The doctor told me that with the right injections, a
man who's been gassed can be uh brought back to life.

Speaker 4 (01:47:46):
Brought say, why are you giving me what kind of
a double cross of this?

Speaker 26 (01:47:50):
Realmax? Honey, Well you have a guard here.

Speaker 21 (01:47:54):
I'm telling you're playing fact. Heyone has been gassed and
even pro outstead can be revived provided to get him
to the right doctor fast enough.

Speaker 26 (01:48:04):
You want to hear the details, Franky.

Speaker 67 (01:48:07):
Okay, Sammy, I'm listening, but get this straight. You Jim
and you Car, I don't do no talking about the
four hundred grand until I'm out of this pen. And
you can figure how much talking I'll do if I
come out dead.

Speaker 21 (01:48:29):
And I was laughing in myself all the time, dock Fin,
worrying about Jim and Carl when it was literally.

Speaker 26 (01:48:38):
You had all the plans.

Speaker 21 (01:48:41):
Well, anyway, we pulled it off. We brought ourself a
couple of prison guards and a laundry driver.

Speaker 26 (01:48:48):
On my instructions.

Speaker 21 (01:48:49):
Fike asked to be cremated.

Speaker 26 (01:48:51):
And then after the prison of socials pronounced.

Speaker 21 (01:48:54):
And dead, oh God, to switch body one body to
the crematory with a tag of fight Colin.

Speaker 26 (01:49:00):
That's the one you read about in the headlines.

Speaker 21 (01:49:02):
But the real blank Olins were shoved into a laundry sack.

Speaker 26 (01:49:06):
And less than ten minutes I was coming up in
the reels and all this house. I run it about
a mile from the pans. Come on him, give me
a hand, slam.

Speaker 68 (01:49:20):
Down on the table.

Speaker 26 (01:49:21):
Okay, driver, okay, okay, here's your money, feed it.

Speaker 69 (01:49:26):
Okay, hi, scott it here he is.

Speaker 26 (01:49:36):
He was a doctor friend of mine.

Speaker 21 (01:49:37):
He had his apparreticall set up, a tank of oxygen,
a pull motor, and a little miracle dog called Methyline Blow.

Speaker 26 (01:49:46):
He didn't looking up in a medical journal.

Speaker 21 (01:49:47):
If you're interested anyway, Scotty went to work.

Speaker 26 (01:49:58):
Okay, look it, thank you what you breathe in it.
It was like a miracle, all right. But I didn't
have no time to think about miracles. It's nothing. I
didn't have a little plan all worked.

Speaker 21 (01:50:16):
Out, and I had to spring or I think it
got too much like him old stuff again right now?

Speaker 26 (01:50:21):
It was kind of danged, and what was.

Speaker 29 (01:50:23):
More important to me?

Speaker 21 (01:50:25):
Pretty grateful to be seeing right coming through the windows
and no.

Speaker 30 (01:50:30):
Bars on them.

Speaker 4 (01:50:32):
I can't believe it.

Speaker 67 (01:50:34):
I just can't believe. It's the last thing I remember.
I was being instructed a chair in the gas chamber.
And forget it, Frankie. You're gonna be fine now, Oh.

Speaker 4 (01:50:44):
You bet I am, especially when we pull out of
here and I forgot that door.

Speaker 26 (01:50:48):
That's gotta take a little doing. You leave this house
and you'll be spotted in a minute.

Speaker 4 (01:50:53):
Well, what do you expect me to do? Well up
in here like a hemit? We got a better plan
than that.

Speaker 21 (01:50:58):
We're gonna fix it so you'll never be recognized as
Franky Owens again.

Speaker 4 (01:51:03):
Yeah, how do you mean?

Speaker 26 (01:51:05):
Clastic surgery? Thank you? A new faith to go with.

Speaker 69 (01:51:09):
A new life.

Speaker 2 (01:51:11):
You know that's not bad, not bad.

Speaker 67 (01:51:14):
Well, come on, let's do it and get it over.
And the only trouble is we're broke. Shut up, car Sally,
what's he given me?

Speaker 70 (01:51:21):
What do you want?

Speaker 21 (01:51:22):
An outomised statement of how much it cost to buy
your life?

Speaker 26 (01:51:24):
All right here?

Speaker 21 (01:51:25):
It is five thousand for each of the guards two
thousands for that other stuff twenty five hundred.

Speaker 4 (01:51:31):
You'll get it back with interest. Sure, sure, we trusted Frankie.

Speaker 21 (01:51:34):
Then look, honey, it isn't what we're after. It's what
we gotta have enough about four hundred thousand to buy
the plastic surgeon and.

Speaker 57 (01:51:44):
Then get us all out of here.

Speaker 4 (01:51:45):
But it isn't safe for me to go after it.
You said so yourself, Sally.

Speaker 21 (01:51:48):
That's right I did.

Speaker 26 (01:51:50):
But how about one of us going after it?

Speaker 35 (01:51:53):
No?

Speaker 22 (01:51:54):
No, I can't.

Speaker 21 (01:51:54):
You mean you want to drop the whole thing just
after going the spot.

Speaker 4 (01:51:57):
Why won't the surgeon go on the cup?

Speaker 21 (01:51:59):
Maybe he don't believe you got four hundred thousand buried?

Speaker 26 (01:52:03):
I should? I have nothing to show him?

Speaker 30 (01:52:05):
All right?

Speaker 4 (01:52:06):
Then, look, Skelly, do you think you could convince him
if if you had a map to showing?

Speaker 67 (01:52:11):
Now you're making sense, Frankie. And I don't know whether
I am a nut, but I'm trusting you, Sally. I'll
draw a map with a dough is then you use
it to sell a doxy. But get this, nobody is
to leave this joint, So I'm ready to leave with him.

Speaker 4 (01:52:26):
That a deal, Selly, Sure, it's.

Speaker 26 (01:52:27):
A deal, honey.

Speaker 21 (01:52:29):
Now just sit down and I'll get you a pen
and some papers.

Speaker 67 (01:52:41):
And then right at this point the upside of the
highway there's an auto club road sign. It just pays
off ten yards into the woods from that sign, and
that's it, right next to a big rock.

Speaker 26 (01:52:52):
That's fine, Brandy him, I'll take that pace.

Speaker 4 (01:52:57):
Yeah, how about run up the doc huh so we
can get this whole thing over with it.

Speaker 58 (01:53:01):
Jim, it's your hands up, Frankie, go on, Noah, over
against so long.

Speaker 22 (01:53:07):
You're not going to let him do this to.

Speaker 62 (01:53:09):
Us, Sally.

Speaker 38 (01:53:10):
Sorry, Frankie, but this is the way it's gonna be.

Speaker 4 (01:53:13):
What are you dirty, little double cross chicken?

Speaker 58 (01:53:17):
I swear, go on, get back to the wall.

Speaker 4 (01:53:22):
Yeah that's better.

Speaker 26 (01:53:23):
You always were hot headed, Frankly, Jim, don't do it.

Speaker 4 (01:53:26):
She'll only double course. You actually done me, Carl, call
you tell him.

Speaker 21 (01:53:31):
I was not going to tell him a thing, frank
It's a simple question of arithmetic. Four hundred grand about it.
Four ways just don't add up to as much as
when you divide it among three.

Speaker 30 (01:53:43):
I damn wait, we take away that's I drove it.

Speaker 11 (01:53:48):
Get on the level.

Speaker 10 (01:53:49):
I was trying to trick.

Speaker 4 (01:53:50):
You let me go and I'll show you where it is.

Speaker 21 (01:53:52):
No good, Frank, you, we were expecting that one so long, honey,
that was the real end of yelling.

Speaker 26 (01:54:08):
I don't know why I couldn't understand.

Speaker 21 (01:54:11):
Oh, it's just a matter of simple arithmetic. Besides, it
wasn't any crists. There's no crime involved, is there?

Speaker 29 (01:54:18):
Shooting a man who was already dead?

Speaker 65 (01:54:36):
No, there is no crime in killing a man who
is already dead, no crime to be reckoned with in
the courts of mortal men. But what of the crime
reflected in the dark mirror of your mind, the hideous
crime of your own obsession? Returning now to the strange

(01:55:07):
obsession starring Mary Anderson in the white walled cubicle of
the psychopathic ward, the sweet hand of the clock turned
silently on its orbit as Sally Bennett's voice knifs through
the stillness like a thin blade of a scalp.

Speaker 4 (01:55:25):
Or ripping through membrane. Frank Orleans estad his debt to.

Speaker 65 (01:55:30):
Society marked paid in full, and somewhere four hundred thousand
dollars lies waiting for those who can find it, for
those whose murder warped minds will stop at nothing under
the compelling influence of obsession.

Speaker 26 (01:55:54):
So now there were only thy offs.

Speaker 21 (01:55:57):
We powered into Carols to dance, Jim, Karl and Nate.
And he started out well, Carl was anxious to get there,
all right. He drove like one of those high school kids.

Speaker 26 (01:56:09):
And I cut down, Lizzie.

Speaker 5 (01:56:11):
You want to get there, don't you?

Speaker 9 (01:56:14):
Exactly?

Speaker 4 (01:56:14):
I want to get there. That's why I get a
slow down.

Speaker 21 (01:56:17):
Take it easy, both, I guess right, say, why don't
we stop at a roadside hotel for the night and
go on in the morning.

Speaker 2 (01:56:25):
Okay with you?

Speaker 58 (01:56:26):
Carl, Well, I think it's crazy, but that's.

Speaker 4 (01:56:30):
The way you want it.

Speaker 71 (01:56:31):
Okay, let's here of us had dinner in an upstairs room,
dinner and wine and conversation.

Speaker 26 (01:56:49):
Conversation that set things up for a little plan i'd
work out with Carl.

Speaker 58 (01:56:54):
I was about a gym another glance for you.

Speaker 4 (01:56:56):
I don't think i'd better have any Don't.

Speaker 68 (01:56:58):
Be silly, Jim.

Speaker 21 (01:56:59):
We got lucks celebrate tonight.

Speaker 58 (01:57:01):
Okay, yeah, certainly, half up.

Speaker 29 (01:57:04):
You keep Jim company.

Speaker 26 (01:57:07):
Call I'm going to take a look at the.

Speaker 11 (01:57:09):
Talking of you.

Speaker 58 (01:57:10):
Okay, Sally, Well, here's to the four hundred grand Jym
and to Sally.

Speaker 4 (01:57:14):
Huh what did it do?

Speaker 58 (01:57:20):
That's one thing I want you to keep straight to
the money we divide, but not Sally.

Speaker 4 (01:57:26):
She's all mine, you understand.

Speaker 47 (01:57:28):
Yeah?

Speaker 20 (01:57:32):
With me, nice and prod here.

Speaker 4 (01:57:37):
Now you don't have to repeat that invitation. Yeah, see
you later.

Speaker 23 (01:57:42):
I go to a gym.

Speaker 58 (01:57:44):
I wouldn't have a chance with her even if I
wanted it.

Speaker 26 (01:57:49):
Yeah, I am jim pretty out here.

Speaker 4 (01:57:56):
Yeah, yeah, you are pretty Sally to me. To me,
you and me, you don't have a great time, aren't we?

Speaker 68 (01:58:06):
Why not?

Speaker 4 (01:58:07):
I have nearly three hundred thousand bucks to keep us warm, Sally.
Anywhere we want to go, we go there. Anything we
want to do, we do it.

Speaker 58 (01:58:16):
I've been waiting a long time for a setup like
like this, so have I.

Speaker 21 (01:58:23):
Oh, Jummy, look right now, backyard, dear, that's nice him
Jimmy's hue.

Speaker 4 (01:58:31):
I don't see anything.

Speaker 26 (01:58:32):
Yeah, get where I'm standing right by the rail.

Speaker 4 (01:58:36):
Still don't see anything.

Speaker 26 (01:58:37):
He's down under our balcony. You'll have to lean over
to see him.

Speaker 58 (01:58:43):
Sure you're not seeing an elephant, Sally?

Speaker 4 (01:58:47):
A little pink one? Huh huh?

Speaker 70 (01:58:50):
Oh?

Speaker 4 (01:58:50):
Where?

Speaker 2 (01:58:51):
Oh?

Speaker 4 (01:58:52):
Yes? Seeing things? Sally? Maybe you did? I have another
to tell you.

Speaker 72 (01:58:58):
No find that deceased James Vincent at his death from
an accidental fall while under the influence of alcohol.

Speaker 21 (01:59:16):
Naturally, the other guest understood when Carl and I left
immediately after the inquest. We we couldn't dare to hang
around the scene of a tragedy.

Speaker 26 (01:59:25):
Besides, there was a pala.

Speaker 21 (01:59:26):
Dough waiting to be dug on Carl and I. We
were the only members left to the four hundred grand club.
There were those secrets between us except.

Speaker 33 (01:59:36):
One, just one.

Speaker 26 (01:59:39):
Carl didn't know that I've gotten jumps gone. A girl
can't be too careful.

Speaker 2 (01:59:46):
You know.

Speaker 4 (01:59:50):
It's kind of nice, isn't it.

Speaker 26 (01:59:52):
What's the.

Speaker 4 (01:59:54):
Two of us alone?

Speaker 43 (01:59:56):
You did want it that way?

Speaker 26 (01:59:58):
What do you think, Carl?

Speaker 5 (02:00:00):
I think the future looks mighty sweet.

Speaker 4 (02:00:04):
It was different with Frankie and Jim along. They were
both suckers, always in hot water with the cops.

Speaker 2 (02:00:11):
You and me.

Speaker 5 (02:00:12):
Nobody's got a thing on us. It's because we keep
our heads working.

Speaker 68 (02:00:16):
Yeah, and that's why we get Carl house the road
sign on the map.

Speaker 14 (02:00:22):
Yeah, you're right.

Speaker 5 (02:00:27):
Come on, honey, get your purse open, just done.

Speaker 21 (02:00:29):
Minute, call, Get that shovel out of the turtle back.

Speaker 5 (02:00:32):
Yeah, I'm so excited.

Speaker 4 (02:00:33):
Almost forget you what you're saying.

Speaker 26 (02:00:35):
You always keep your head working.

Speaker 68 (02:00:37):
Well, mine's still untight.

Speaker 26 (02:00:40):
Let's now ten paces from the sign.

Speaker 29 (02:00:42):
Into the water.

Speaker 21 (02:00:43):
You must all I'll get the thing one, three, four, five, six, seven,
eight nine.

Speaker 35 (02:00:53):
This must be it?

Speaker 26 (02:00:54):
All right?

Speaker 29 (02:00:55):
Is everything?

Speaker 26 (02:00:55):
Match? I came right up by the big rock, just
like on the drawer.

Speaker 21 (02:00:59):
Yeah, okay, Carl, I'll keep a look out just in
case anybody gets here.

Speaker 68 (02:01:03):
Okay, go on, you can start digging. You get twenty wide, Carl.

Speaker 4 (02:01:15):
You don't worry, baby, I'll dig it. Whine is a grave.

Speaker 9 (02:01:18):
I never felt more like working.

Speaker 5 (02:01:25):
Oh baby, there she is. Looks like an old duol
chest on it.

Speaker 26 (02:01:29):
But we know better.

Speaker 11 (02:01:30):
Stop me, Carl.

Speaker 26 (02:01:31):
We know it's a gold mine.

Speaker 68 (02:01:33):
Come on, get it out of that hole.

Speaker 4 (02:01:35):
Are okay?

Speaker 8 (02:01:36):
Okay?

Speaker 10 (02:01:38):
Oh we are safe and sound on now, Sally know
we can.

Speaker 5 (02:01:45):
Sally, Holly, what are you doing with that?

Speaker 15 (02:01:49):
Done?

Speaker 11 (02:01:51):
Sally?

Speaker 2 (02:01:52):
We're partners.

Speaker 22 (02:01:55):
There's plenty here for both of us.

Speaker 11 (02:01:56):
Please Sally talk play.

Speaker 26 (02:02:08):
I don't know why not of the men, dog. It
was all just simple arithmetic.

Speaker 21 (02:02:15):
I wanted it to be four hundred thousand divided among
one lead and that's the way it was now. I
pushed Karl's body into the gravy.

Speaker 26 (02:02:26):
Dug for himself, and then I knelt down.

Speaker 73 (02:02:30):
Beside the chest and I tried it open for the shovel.

Speaker 34 (02:02:37):
I did it.

Speaker 26 (02:02:38):
I wondered if the money would be in small build on.
I netted the lid. That didn't seem to be anything
in it, just torn pieces of newspaper. It just couldn't

(02:02:59):
be empty.

Speaker 29 (02:03:01):
Then I found something, an envelope seal that.

Speaker 32 (02:03:08):
I tore it off from you.

Speaker 26 (02:03:11):
Do you do you know what was inside?

Speaker 73 (02:03:15):
There was a single dollar bill and a note, a
note from Frankie that said, whoever's double across me, keep
this butt for your trouble.

Speaker 26 (02:03:29):
The rest of the four hundred gran I leave to.

Speaker 4 (02:03:32):
The word, to the word.

Speaker 68 (02:03:45):
Funny talk, all red money to the word.

Speaker 7 (02:04:07):
They say.

Speaker 21 (02:04:08):
They found me wondering on the highway. I don't know
how I got there.

Speaker 26 (02:04:14):
I didn't remember anything until just a little while ago,
and then I got this awful buzzing inside my head.

Speaker 21 (02:04:21):
I thought it'd gow up. I told you about everything,
but it's worse than before.

Speaker 26 (02:04:31):
I guess I just got a better get rid of it. Anyway,
it'll be better that way.

Speaker 33 (02:04:38):
I wouldn't want to live without the money.

Speaker 26 (02:04:41):
You see, I counted so much unit. I never thought
about the things I was doing to get it into.

Speaker 57 (02:04:51):
The money.

Speaker 56 (02:04:52):
Wasn't there.

Speaker 26 (02:04:55):
You understand about that?

Speaker 38 (02:04:57):
Don't you talk?

Speaker 26 (02:04:59):
It was all.

Speaker 8 (02:05:10):
Rum old.

Speaker 4 (02:05:14):
What's happened to adopted holding in ystamnute? No, no, it's
no use. She's dead. You have been listening to Obsession

(02:05:49):
your first station on the air.

Speaker 74 (02:06:20):
It's our pleasure to offer you another short short story
in the series designed to disclose the origins of superstition.
This one deals with the belief that if you throw
shoes at a bridle couple, it will bring them good luck.

Speaker 11 (02:06:35):
Oh oh.

Speaker 4 (02:06:42):
Oh, the wedding super.

Speaker 29 (02:06:51):
Books Young and you're right old.

Speaker 11 (02:06:52):
Shoes ready, the bridal couple's coming out?

Speaker 75 (02:06:55):
Now here they come?

Speaker 30 (02:06:58):
Didn't make everybody? Let the bridal couple through.

Speaker 11 (02:07:02):
To their car.

Speaker 47 (02:07:03):
If the bride lovely, here's.

Speaker 30 (02:07:04):
The shoes for you.

Speaker 76 (02:07:08):
What's the matter last ya?

Speaker 75 (02:07:10):
Come on get in the car, Lilian, good heavens, I
just got hit by a.

Speaker 29 (02:07:13):
Shoe intended for the bride and groom.

Speaker 4 (02:07:15):
After all, I'm only.

Speaker 69 (02:07:16):
The best man, were you for dear verymember lest year
hits all inside, maybe, but getting hit on the head
with the shoe isn't very funny.

Speaker 62 (02:07:25):
I don't know why they still continue that practice of
throwing shoes.

Speaker 30 (02:07:28):
At the wedding.

Speaker 77 (02:07:29):
But Lester throwing shoes as a bridal couple means good luck.

Speaker 62 (02:07:32):
Oh nonsense, Lilian, there's nothing to.

Speaker 2 (02:07:34):
That for them.

Speaker 26 (02:07:34):
Oh, yes, there is.

Speaker 52 (02:07:36):
Almost everybody believes in it.

Speaker 30 (02:07:37):
I know I do.

Speaker 62 (02:07:38):
It's just superstitious, Tommy rot Lilian. At the last wedding
I attended, I was hit by a shoe, just as
there was today. So little Lester decided to look up
some information on why shoes are used at weddings. I
found out that as far as good luck as concerned,
it's all amiss.

Speaker 26 (02:07:54):
Oh, we can't be a miss Lester.

Speaker 77 (02:07:56):
After all, it must have proved good luck to the
people with whom it originated, otherwise it wouldn't be as
popular as.

Speaker 62 (02:08:01):
It is today.

Speaker 2 (02:08:02):
That's just this. You see.

Speaker 62 (02:08:04):
That custom started with the old Israelites as the result
of an incident which caused them to attribute the power
of good luck to the shoe, But in reality, the
shoe was in no way responsible.

Speaker 77 (02:08:13):
What did happened that caused the people to believed that
the shoe brought good luck.

Speaker 29 (02:08:16):
Master.

Speaker 62 (02:08:17):
Well, to begin with, let me explain that among the
early Jewish peoples there was an established custom of presenting
a shoe as a testimony in the transference of any goods,
particularly of land, when they threw a shoe on the
property as a sign of new ownership.

Speaker 33 (02:08:30):
In other words, you mean to stay that the shoe
acted as a symbol of.

Speaker 62 (02:08:34):
Possession exactly, and in about eleven hundred before the Christ
several centuries after the Jews had come out of Egypt
into the land of Canaan, they began to seize the
land and kill an enslave the inhabitants. Jacob, the young
leader of an Israelite group, had been ruthlessly oppressing the
people of the Syrian city state of Kabul. As their
story opens, the beloved Princess Magla has called a meeting

(02:08:54):
of the high officials to decide what must be done
to save herphy.

Speaker 47 (02:09:03):
But nay, tell us, I cannot put any more troops
at your disposal.

Speaker 52 (02:09:08):
They will only be an irit and the other being
it is useless. Jacob, the leader of the Israelite is
too powerful.

Speaker 22 (02:09:16):
But Princess I am sure I will succeed this time
if only Nay.

Speaker 35 (02:09:20):
We've been a prince of war too long.

Speaker 52 (02:09:23):
Our people must have peace. Ah, Surely there must be
some other way out of that difficulty.

Speaker 62 (02:09:29):
If you will allow me, Princess, I can tell you
of a.

Speaker 29 (02:09:32):
Way, and by all means speaks tell us what it is.

Speaker 78 (02:09:37):
It will mean a sacrifice for you, Princess, but it
is the only thing that will bring peace and contentment
back to Kabul. The young leader Jacob beheld you recently
and became deeply enamored with your great beauty.

Speaker 62 (02:09:51):
He has just sent his emissaries to ask your hand
in marriage.

Speaker 52 (02:09:54):
What he dead asked to marry me, yay, princess.

Speaker 75 (02:09:59):
And that'll is the way that you can free your
people from his oppression. By'm marrying him.

Speaker 29 (02:10:04):
I marry him that best, Nay, never a.

Speaker 62 (02:10:09):
Birth, Princess, think of your people. You desire to help them, Yay.

Speaker 52 (02:10:16):
Their happiness means everything in the world to me.

Speaker 1 (02:10:19):
But this, oh, you.

Speaker 52 (02:10:20):
Cannot realize what you're demanding of me. It's too horrible
to contemplate.

Speaker 4 (02:10:25):
This, Princess.

Speaker 75 (02:10:26):
Many a loyal lady have considered no sacrifice too great
to make for her people.

Speaker 62 (02:10:32):
And you know how dearly, your followers love you.

Speaker 46 (02:10:35):
Ah say no more, Sir, I will marry Jacob. Better
that one should be sacrificed than thousands. You may send
my acceptance to him. And now, gentlemen, excuse this. I
will retire to my quarters. I wish to be alone.

Speaker 75 (02:10:55):
Good afternoon, jealous, you've heard what the princess said. She
will marry Jacob splendid. At last, here is our opportunity
to rid ourselves of this tyrant.

Speaker 62 (02:11:11):
What do you mean, sir?

Speaker 75 (02:11:12):
I mean that after the wedding and Jacob is taking
the princess out of the city, you with your soldiers.

Speaker 79 (02:11:18):
Must stir up the people to save their princess. You
must tell them that Jacob have fossd her into this marriage.
Fact will incite them against him so that they will
kill him.

Speaker 22 (02:11:29):
But Senec, that people will fear to attack Jacob, for
he will be surrounded by his worry.

Speaker 62 (02:11:35):
We shall take care of that. But how I shall tell.

Speaker 75 (02:11:38):
The princess that the presence of Jacob's troops in the
city will alarm the.

Speaker 62 (02:11:42):
People, and that she must demand.

Speaker 75 (02:11:45):
That if Jacob wishes to prove his love for her,
he must send his troops outside of the city.

Speaker 4 (02:11:50):
Wall.

Speaker 22 (02:11:51):
Yeah, Senec, but then the Israelites will sorely annihilate us
for having killed their leader.

Speaker 75 (02:11:56):
Hey, chill from arale of the Israelights will be broken
when they.

Speaker 62 (02:12:01):
Realize that they no longer have their powerful leader. Jacob
verily is a splendid plan, Senec. But what of the princess?
Perhaps he will not agree, or do not speak foolishly.
Tell him you do not hear her say that the man.

Speaker 48 (02:12:17):
Was a beast.

Speaker 62 (02:12:18):
She will not oppose us. She hates Jacob very well. Then, Senec,
I will do as you say.

Speaker 45 (02:12:23):
Good, Oh, I.

Speaker 75 (02:12:25):
Must see the emissaries of the cup and send word
to him of the Prince's acceptance. Farewell, jealous, jealous, have

(02:12:47):
you your troops and readiness? Yes, Senac, good, for the
marriage agreement is almost completed, and Jacob willieve immediately asked
with the princess.

Speaker 4 (02:12:56):
Magna for the city, you must not fail.

Speaker 22 (02:12:58):
Cheer up, nay, Sennahi will not fail. But look, Jacob
is striking the princess upon the shoulder with his shoe.

Speaker 62 (02:13:06):
Let us listen to what he is saying.

Speaker 80 (02:13:10):
And so, Princess Magda, since thou art the most prized
of all my possessions, I touch you with my shoe,
so that no man may ever dispute my ownership of thee.

Speaker 52 (02:13:19):
But Jacob, my lord, what power hath thy shoe to
bind me unto.

Speaker 62 (02:13:23):
These among my people?

Speaker 80 (02:13:25):
A shoe is a symbol of ownership, and by this
sign do I proclaim unto all men that you belong
to me.

Speaker 62 (02:13:31):
But come, let us depart. We have a long journey
before us.

Speaker 81 (02:13:34):
As you will, my lord, come, then let me help
you into this golden litter, upon which you shall be
carried through the streets of your city and mine like
an empress, and I shall ride beside you.

Speaker 46 (02:13:45):
You're most generous, my lord Senac, come here this yay, Princess,
I commend.

Speaker 52 (02:13:52):
The welfare of Cabool into thy hands, Sennec, during my.

Speaker 62 (02:13:56):
Absence, I wish is my law, Princess.

Speaker 22 (02:14:00):
Say will.

Speaker 52 (02:14:04):
I am ready, Jacob mass.

Speaker 62 (02:14:06):
And let us proceed onward, men, beloved Princess.

Speaker 80 (02:14:13):
Until I beheld THEE, I had not known love, and
I was a hard, ruthless man.

Speaker 62 (02:14:19):
I have made thy people suffer, and.

Speaker 80 (02:14:21):
I repent that I have been responsible for causing you
a moment's pain. But now will you allow me to
send for my troops outside the city walls, so that
your people may see.

Speaker 62 (02:14:30):
My followers bow down in homage before.

Speaker 52 (02:14:33):
Thee by Jacob, your words astonish me.

Speaker 29 (02:14:35):
Yay you missin for your.

Speaker 80 (02:14:37):
Troops brabor, Ah Master, ride swiftly to the city gates
and order my troops to enter the city and paylmage
to my wife, the Princess Magda.

Speaker 52 (02:14:46):
Yay Master, Oh my god, I had not thought to
find you so glad.

Speaker 80 (02:14:50):
Yeah, I know you did hate and fear me, but
I should change all that, beloved, But I will fill
your heart with love for me, and to bring peace
and security back to your peace.

Speaker 62 (02:15:00):
They shall dwell with my followers as a brother with
brother Ah.

Speaker 52 (02:15:04):
Jacob in this moment now has made me happier than
I had ever dreamed to be.

Speaker 82 (02:15:09):
High.

Speaker 83 (02:15:12):
Those people are rushing upon us. They seem in arrange.
Have your people gone mad? They're crying for my blood?

Speaker 52 (02:15:23):
Oh Jacob, I fear they think that you intentional harm me, But.

Speaker 33 (02:15:26):
I will pass upy him way way my people.

Speaker 84 (02:15:32):
What madness has seized you that your action in this
man up on my wedding days?

Speaker 30 (02:15:37):
Tell us why had you brought.

Speaker 11 (02:15:39):
Your soldier's hears?

Speaker 20 (02:15:40):
The people would kill the.

Speaker 85 (02:15:41):
Tron Jacob princess and free you from this hateful marriage.

Speaker 20 (02:15:45):
Yeah, Princess, kay my paper.

Speaker 28 (02:15:50):
You must not harm him.

Speaker 8 (02:15:53):
Rest is my command.

Speaker 62 (02:15:55):
We seek the freak abol and you from this merciless
mon Nay.

Speaker 11 (02:16:00):
Jacob is my husband.

Speaker 8 (02:16:01):
The people kill him against my honors.

Speaker 52 (02:16:03):
They must kill me.

Speaker 68 (02:16:04):
First, My Papa, go back to your home.

Speaker 11 (02:16:10):
I promise you that you have nothing to fear, for
the Israelites.

Speaker 52 (02:16:14):
Are no longer all enemies. Pease hath come to our lamb.

Speaker 85 (02:16:21):
Here is our beloved princess. Dear God, good on to us, Hannah.
What has happened to change the princess so suddenly? Only
this morning she hated Jacob and now she protects him.
Surely he must have passed a spell upon her.

Speaker 4 (02:16:39):
Hurly killers.

Speaker 62 (02:16:41):
You are right, Ah, it was the power of the
shoe that brought.

Speaker 4 (02:16:46):
Him this good watun and made her obedient with me.

Speaker 62 (02:17:00):
And so the belief gradually spread among the people that
the shoe was a symbol of good luck. For as
you know, the shoe had nothing to do with it.

Speaker 77 (02:17:07):
But master is Jacob having struck her with his shoe,
missus Nagda wouldn't have changed her mind about him and
saved his life.

Speaker 62 (02:17:13):
Oh, Lilian, don't you see that if it wasn't the
shoe that caused her to change her mind, but Jacob's
repentance that inspired love in her heart and prompted her
to protect him. However, if she hadn't saved Jacob, his
troops would have done so well.

Speaker 86 (02:17:25):
Yes, but well, here we are the house, all the
emotions about.

Speaker 62 (02:17:32):
I don't know what I'm going to find out?

Speaker 30 (02:17:34):
Hey, Tom, what's the double?

Speaker 41 (02:17:36):
Somebody hit the bridegroom with a shoe just as he
was getting out of the car.

Speaker 7 (02:17:40):
There must have been a horseshoe in it because it
knocked him cold.

Speaker 74 (02:17:47):
Ooh, and so what was intended to be good luck
turned out just the opposite for the bridegroom. However, Lillian
will probably go on believing that throwing shoes at a
wedding will ensure good luck for the newly wed.

Speaker 62 (02:18:05):
But Ivoir and good luck to you.

Speaker 6 (02:18:50):
Weird Darkness is celebrating our birthday this month. We use
this annual celebration to help those who struggle with depression.
Every October, we raise money for organizations that help people
overcome to depression, anxiety, and thoughts of suicide and self harm.
It's called Overcoming the Darkness, and you can make a
donation right now at Weirddarkness dot com slash hope. That's

(02:19:10):
weird Darkness dot com slash hope. A gift of any
amount helps with every dollar bringing hope to someone affected
my depression. To donate, to get more information about overcoming
the darkness, or to find hope to battle back the
darkness of depression in yourself or someone you love, visit
weird Darkness dot com slash hope. The fundraiser ends on
Halloween night at midnight, so please give right now while

(02:19:33):
you're thinking about it. That's weird Darkness dot com slash hope.

Speaker 15 (02:19:48):
Hello, starts of suspense.

Speaker 29 (02:20:13):
Good evening, Good evening. I received an invitation.

Speaker 14 (02:20:16):
You are, miss kit Baker.

Speaker 1 (02:20:18):
Yes good, if you will give me the invitation you receive,
Miss Baker?

Speaker 29 (02:20:22):
Yes here you are you?

Speaker 8 (02:20:25):
Please come in?

Speaker 32 (02:20:25):
Thank you?

Speaker 1 (02:20:28):
I think you could you find the others inside?

Speaker 29 (02:20:31):
The others? Yes, well, who lives here?

Speaker 4 (02:20:34):
Don't you know?

Speaker 21 (02:20:35):
I know?

Speaker 29 (02:20:36):
The invitation merely said that there would be a cocktail
party in.

Speaker 28 (02:20:39):
Regard to John Marshall's new plate.

Speaker 29 (02:20:41):
Lucky Lady.

Speaker 2 (02:20:42):
You find out all there is to know, Miss Baker
in the other room.

Speaker 4 (02:20:46):
Just go through that doorway, please go in.

Speaker 12 (02:20:49):
Thank you.

Speaker 29 (02:20:51):
Wow, ladies, the fourth member of our party.

Speaker 30 (02:20:56):
Who is she?

Speaker 29 (02:20:57):
Can't you get that? I am? There are four of
us being consid it for the lead and lucky lady,
this is the fourth candidate for the part. As the
newspapers put it, that brilliant.

Speaker 86 (02:21:07):
New kiss baker here.

Speaker 29 (02:21:10):
Hello, kids, John Marshall introduced it at the theater when
you tried out for the party. Lucky lady. Remember, Oh,
of course you're Sherry Williams. That's right. This is Phyllis Conway. Hello,
hello kid, And this is Diane Parker. Hello.

Speaker 70 (02:21:26):
How do you do?

Speaker 29 (02:21:29):
You'll have to forgive Diane she doesn't like meeting new actresses.
I don't worry about competition from new actresses, Sherry, not
the old ones.

Speaker 15 (02:21:38):
Eye yew.

Speaker 29 (02:21:40):
Look, I may be one of the older actresses, but
at least I can say I got there on my
talents alone. Here, easy, let's not have any hair pulling.

Speaker 20 (02:21:50):
Please.

Speaker 29 (02:21:50):
I don't like our inferences. I could make a list
of the things I don't like about you, my dear.
Oh listen, do you arguing at some later day? Girls, Chris,
Let's try to learn what this cocktail party is all
about Kit. How much do you know?

Speaker 30 (02:22:06):
Well?

Speaker 29 (02:22:06):
Nothing.

Speaker 76 (02:22:07):
I received an invitation to come here. There was no
signature or anything, just instructions to come by myself.

Speaker 29 (02:22:14):
How did you get here? I took the train to
Baronville and got a cab at the station. The driver
seemed surprised.

Speaker 84 (02:22:20):
When I gave him this address. He said he thought
no one lived here. That's what they told me in Baronville.
When I asked, direche me too, You see Kit. The
three of us drove here alone. None of us knew
the others were coming.

Speaker 29 (02:22:33):
An old house miles off the main road. Now, why
should we be invited here? It could be somebody's idea
of a joke. Yes, and if John Marshall wasn't in
Europe now, I'd say he was behind it.

Speaker 26 (02:22:47):
That butler.

Speaker 29 (02:22:49):
Maybe he can tell us what goes on? Yes, let's
see it.

Speaker 13 (02:22:52):
Yes, Hey, Leo, oh, George or what have you.

Speaker 29 (02:22:58):
You're not off here. There's no door in this hallway
except the door to the room we were just in
and the front door. How he's gone up, which is
just what I'm going to do. I don't like mysteries.

Speaker 69 (02:23:15):
A dog on the stairs, nice dog, nice dog, come
back here.

Speaker 29 (02:23:28):
He went for me. I don't like this. I don't
like this at all. Look they're on this table, on
the dress to the forest. Let me see that. Dear ladies,
only one of you can appear in the play, lucky lady.

(02:23:51):
The one who does will indeed be a lucky lady.
Because tonight are you?

Speaker 12 (02:24:01):
We'll die.

Speaker 9 (02:24:20):
We'll be back in just a minute to tell you
more of tonight's story, lucky lady.

Speaker 29 (02:24:36):
If this is somebody's idea, but Joe, that dog out there,
here's no joke, joke or no joke. I'm not staying here.
And how do you propose to get out the back way?

Speaker 57 (02:24:46):
There's a door in the other room.

Speaker 29 (02:24:47):
I'll go through the hoods walk to the highway. And
what if that dog goes after you as a dog's
guide in the front door. If you'll three stay here
and keep him occupied, I can get away. Oh I
need a few minutes. And what about the roast harvest?
How long do we stay here. I'll go to the
police as soon as I can. They'll come and get you.
That's a lot of trouble for what might only be
somebody's big joke. Well, somehow I don't think there is

(02:25:09):
a joke, Sherry or else?

Speaker 48 (02:25:11):
Can it be?

Speaker 29 (02:25:11):
I don't know, But that dog he went from my throat. Yeah,
yes he did, Diane. I've got no special love to you.
But if that dog got hold of if he won't,
if you keep him occupied. How long do you think
it will take you to get to the highway? Oh, no,
more than half an hour. The house is there. I'll

(02:25:32):
be able to get to a telephone. Telephone, here's one.
Don't waste your time, dearie. I can see the cup
wire from here. I noticed that as soon as I
came in. I thought it was part of the joke.
Perhaps the joke is on me.

Speaker 19 (02:25:46):
What do you mean by that?

Speaker 76 (02:25:47):
Well, I haven't had any experience on the professional stage.
But well I've been told I have a good chance
of getting the leading role in Lucky Lady. It could
be that this little party was arranged to frighten me.

Speaker 29 (02:26:00):
Who told you that you had a good chance of
getting the part? John Marshall himself, just before he went
to Europe for your information kits, he gave each of
us the same line.

Speaker 2 (02:26:10):
Well, I have only your word for that.

Speaker 29 (02:26:12):
Do you honestly believe that the three of us would
get together to eliminate you. No, why not if you
knew I was getting a part and you got rid
of me. But that would put the three of you
in the running again. Oh, Kit, one of us might
try to frighten you off, but not.

Speaker 2 (02:26:27):
The three of us.

Speaker 29 (02:26:28):
Speaking for myself, I have no need to try to
frighten anyone. I am quite sure I'll be given on
the part if talent counts. Diane, you haven't got a chance,
and I suppose you have the necessary talent. Well, I've
been on the stage for almost twenty years, almost thirty years.
I started my stage career when I was only a child,

(02:26:49):
a rather old childs girls, Well, you still imagine, Kit,
that these two could get together on anything? Yourself for this,
you want that part more than anything in the world. Yes,
I admit I wanted the role of Sarah Martin and
Lucky Lady is a chance of a lifetime. It's a

(02:27:10):
great play, a wonderful role. But oh, I'm not worried.

Speaker 17 (02:27:15):
If I get it, I get it if I.

Speaker 29 (02:27:16):
Don't, well, or other parts. In the meantime, I'm doing
alright with radio and television. I has been in your
note Lucky lady, is your last chance for a comeback.
You're such a lovely girl, I am. Why is it
that no one's ever tried to strangle you? You know
what you need is a darn good spank me and
our spect fellows in your face. Well, Kit, you still

(02:27:38):
believe we're ganging.

Speaker 9 (02:27:40):
Up on you.

Speaker 29 (02:27:40):
If she does, she's crazy. I have no need to
gang up on anyone. I'll get that part.

Speaker 13 (02:27:48):
I know, I'll get it.

Speaker 7 (02:27:49):
Well.

Speaker 29 (02:27:50):
You've worked hard enough for it, that is, you've worked
on John Marshall. One of these days, Shirley Williams. If
you're thinking of a good fight, Diane, don't wait for
one of these days. Come at me right now. I've
handled your kind long before this and enjoy. That's why
should I let you mark my face? I bet that's
exactly what you'd like to do. You know, I'm younger,

(02:28:12):
I'm pretty get away from it before I do something dressed.
I think we'll do as you suggested, Diane. You will
call the police and tell them about us, won't you?
Of course I will. You'd better, My dear or Sherry
and I will both be coming after you, all right, Diane,
See if you can get out through the back of
the house. If you can, we'll keep the dog occupied.

Speaker 57 (02:28:32):
I'll shot to you when I'm.

Speaker 76 (02:28:33):
Ready, Lovely girl, I still think this may be a
game of some kind.

Speaker 5 (02:28:40):
You don't know much about people, do your kids?

Speaker 76 (02:28:42):
Those arguments of yours, why why they could have been
just an act Honey.

Speaker 29 (02:28:46):
I'm a good actress, but not that good.

Speaker 4 (02:28:48):
There's a way up.

Speaker 29 (02:28:49):
The back door is locked. Well, they'd better make sure
there's the dog out there too.

Speaker 73 (02:28:54):
Go one, look all right, no dog?

Speaker 29 (02:28:59):
Then get very a run.

Speaker 87 (02:29:01):
Here we go on my way.

Speaker 29 (02:29:06):
Hello fella, oh Nie, you got nice big cheek your
have and only on the second step. He wouldn't let
anything get past. Don't worry, boy, we're staying right here.
Diane should be in the woods by now.

Speaker 69 (02:29:21):
No, Diane, Diane, Dian there was someone waiting in the water.

Speaker 38 (02:29:35):
The dog is coming out.

Speaker 32 (02:29:37):
How is the dog getting.

Speaker 29 (02:29:43):
My dog got front and in the back. Someone with
a gun. There's no way out. What can we do?
If only a car would come along, we could show

(02:30:06):
not likely. It was along this lonely stretch of road.
You've been crack kid, that's screaming. It was so real,
of course it was real.

Speaker 33 (02:30:17):
Why Why would anyone want to.

Speaker 29 (02:30:20):
Kill us third part in Lucky Lady. What a perfect
way to get rid of the competition, Lilis. Why else
would anyone want a murder three of us? That butter
He could have been waiting out there with a gun.
He could have been hired by.

Speaker 4 (02:30:34):
One of us.

Speaker 29 (02:30:35):
I never saw that man before in my life, nor
have I. One of you could be lying. It may
also be that you arranged all this. Oh you know
me better than that. Why all I really know about you, Phyllis,
is that you want that party Lucky Lady, and you
want it badly. As Diane said, that's your last chance.

(02:30:57):
Doesn't the same apply to you? Your practically finished as
a leading lady. I happen to know that you've been
offered two character parts in the past month, and you
turn them by. I'm not ready for character parts yet. No,
there's a mirror over there, Sherry, look into it. I
can play that part. I know I can do it. Oh,
perhaps you can, but you and I both know how

(02:31:18):
it is in the theater. Well, in doubt, who's the
younger actress. On the other hand, you kids, It's not
often that an unknown actress gets a chance for a
big part like this. I've seen ambitious young actresses before today,
girls who hit their dirty little minds behind innocent expressions.

(02:31:39):
It could be that way with you too. You're doing
all we're talking phyllis. But that may be just a
cover up. You may be the one who's arranged all this. Yes,
I could be. It could be any of the three
of us.

Speaker 4 (02:32:08):
In just a moment, we returned to our story.

Speaker 15 (02:32:11):
Lucky ladies, are we are.

Speaker 29 (02:32:26):
Cozy treats them. There's one consolation. Two of us are innocent.
I wonder which of the two of you is the
guilty one. I was just thinking the same thing, and
you kit I. For all I know, it could be
both of you. No, my dear, but Killer is playing
a tarring role. She wouldn't allow a costar be too

(02:32:48):
risky anyhow, But she hasn't accomplished that's risky too. Her
accompasses can be gotten with us spoken like a woman
with experience and that sort of thing. It's also obvious
to this, obvious enough for even.

Speaker 11 (02:33:00):
You to have thought of it.

Speaker 29 (02:33:02):
Look, we just can't sit here suspecting each other. Oh no,
we can't just sit here. Sooner or later, something has
to happen. That note in the hallway. It said that
three of us were to die. The note. I was
the third one to get here. The note wasn't there
when I arrived, you, Kit, You were the last to arrive. Yes,

(02:33:23):
and you were the one who found the note was there.

Speaker 19 (02:33:25):
On the table in the hall.

Speaker 29 (02:33:26):
I didn't see it.

Speaker 86 (02:33:27):
I tell you it was there.

Speaker 29 (02:33:28):
You could have put it there, Oh I didn't. We
only have your word for that. I didn't, and I
have the note here. I'll read it again. It's typewritten,
but there may be something in the wording that gives
us a clue. Dear ladies, only one of you can
appear in the play lucky Lady. The one who does
will indeed be a lucky lady, because tonight three of

(02:33:52):
you will die. It starts off, dear lady, the way
a woman would begin a note that was meant for
three other women. John Marshall, This is just the sort
of thing he'd do.

Speaker 30 (02:34:07):
Yeah, it is.

Speaker 28 (02:34:09):
No, No, I don't believe it.

Speaker 29 (02:34:11):
You don't know John Marshall. He has a practical joke
for every occasion. You can murder a practical joke. No,
but we're not sure it was murder. We heard Diane's
scream and two shots. But that could have been fake. Yeah, yes,
of course we're being fools to let him frighten us

(02:34:32):
out of our wits, isn't it just like him. He
tells us that we have a good chance of getting
the part, then he arranges this. So he went to
Europe a week ago. He could easily have flown back
if he went at all. Oh, we know, he may
have stayed in New York getting this monumental practical joke
with this. And Diane, well, what about her? He put

(02:34:53):
her wife stood? Of course, he probably told her that
she had the part, but that he wanted to have
a little bit of fun. This idea of fun, my dear,
this is nothing to what he's capable of.

Speaker 57 (02:35:04):
Remember what he did to Vaneza Cromwells for this.

Speaker 29 (02:35:07):
Yes, that was the dirtiest of all. During the war,
the ne we just married a pilot who was sent
to New Guinea.

Speaker 26 (02:35:13):
Wow.

Speaker 29 (02:35:14):
John Marshall faked War Department terry again, which said that
Banita's husband are being killed in action. Banita fainted from
shock and Marshall laughed for a week.

Speaker 76 (02:35:25):
I just can't believe that John Marshall is liked that
why why he was wonderful when he tested me to depart.

Speaker 29 (02:35:31):
As a writer director. He's brilliant as a man. He's
a skunk. You're in a rotten business.

Speaker 30 (02:35:38):
Kid.

Speaker 29 (02:35:39):
It's dog eat dog with a stab in the back
of minutes.

Speaker 76 (02:35:42):
Once again, you sound as though you're trying to talk.

Speaker 29 (02:35:45):
Me out of a stage career. Well, I'll say this,
if I were your age again, I certainly wouldn't go
on the stage.

Speaker 33 (02:35:53):
Where back where we started.

Speaker 29 (02:35:55):
You still think we might be getting.

Speaker 9 (02:35:57):
Up on you.

Speaker 76 (02:35:57):
Yes, I've heard the you don't like any newcomers in
this profession, and that you do almost anything to keep
them out.

Speaker 29 (02:36:05):
Not this time, kiss, But I can't blame you for
suspecting us. Until a few moments ago, I didn't know
what to think myself. But now I can see that
it was arranged by John Marshall, with Diane's help and
the butler. Oh, he's probably an actor who was hard
for the occasion. The dog he's probably trained, so I'm
certainly not going to risk him taking a bite out

(02:36:27):
of me. Oh, it's Marshall, all right, Sherry. The whole
thing's got his trademark on it. I'm sorry for some
of the things I said about you, forget it. Besides,
I think we came out even.

Speaker 4 (02:36:41):
We certainly did.

Speaker 29 (02:36:43):
But as for Diane, joke or no joke, I didn't
appreciate some of the things she'd called me. We'll both
get back at her the list later. But right now,
how about a drink? So wonderful?

Speaker 4 (02:36:54):
Where do we get here?

Speaker 29 (02:36:55):
A bottle of brandy in his cabinet?

Speaker 88 (02:37:00):
Oh?

Speaker 29 (02:37:00):
Look the real stuff?

Speaker 15 (02:37:02):
Good?

Speaker 29 (02:37:03):
Oh, here's some glasses. Well, my stitch is that we
sit here and enjoy ourselves until John Marshall and Diane
get tired of their little joke. That's all we can do.
Poor mere drink?

Speaker 5 (02:37:15):
Will you coming up?

Speaker 29 (02:37:18):
How about you? Kids?

Speaker 20 (02:37:19):
No?

Speaker 52 (02:37:19):
Thank you?

Speaker 29 (02:37:20):
Oh, cheer up tomorrow you'll be laughing at this. Parn
me for not waiting. Here's luck, catch up on you
in just a minute.

Speaker 7 (02:37:32):
Well, here's luck.

Speaker 29 (02:37:36):
Sure, Oh don't d what is it.

Speaker 35 (02:37:44):
I throw Brady?

Speaker 76 (02:37:51):
She cushioned her fall very nicely by putting her hand out,
didn't she.

Speaker 22 (02:37:57):
Nice?

Speaker 29 (02:37:57):
Acting? Sherry as feel us? That was brilliant. But now
you can get up the joke so that she's not acting.
She'll never act again.

Speaker 62 (02:38:08):
If you don't believe me.

Speaker 29 (02:38:09):
Feel a pulse. Go on, feel it. There isn't any
pulse poison. We're acting poison in that brandy.

Speaker 4 (02:38:31):
We'll be back in the minute, too, peril and our
story lucky ladies.

Speaker 30 (02:38:41):
Poison.

Speaker 29 (02:38:41):
Then then it couldn't have been arranged by John Marshall.
What's behind it all is just as I thought in
the beginning, the process of elimination. Only one of us
can play the part.

Speaker 4 (02:38:54):
Now there's just you and me.

Speaker 29 (02:38:57):
Chare you and me the less talked about ambitious young actress?

Speaker 19 (02:39:02):
No, no it's not me.

Speaker 29 (02:39:04):
Ianne wasn't a good actress, but she was fairly well known,
and she's just as young and as pretty as you are.
Phyllis and I we get at rings around you. You
knew you couldn't get the part, so you arranged this.

Speaker 52 (02:39:16):
No, it has to be I.

Speaker 29 (02:39:18):
Didn't you have sat there while I poured the brandy.
You expected both Phyllis and I to drink. Then it
would have been over. The part would be your. Yeah, yes,
I offered you a drink and you refuse, But I
don't drink.

Speaker 19 (02:39:32):
I never see you.

Speaker 30 (02:39:33):
It has to be you.

Speaker 33 (02:39:34):
Well, you're not going to get me.

Speaker 44 (02:39:36):
You don't come near me.

Speaker 33 (02:39:37):
No, so that's how you'll finish me off with that bottle.

Speaker 52 (02:39:42):
I'm only protecting me.

Speaker 29 (02:39:43):
Why you don't fool me and you don't poll me.
You're trying to get me off my guard. Well, you
won't watch every move you make. If you come too
close to me, I'll hit you. In this part, I'll
find something that will take care of you.

Speaker 20 (02:39:57):
That's kind of door.

Speaker 29 (02:40:07):
The door got Oh, Sherry, did.

Speaker 76 (02:40:22):
The drawer a gun rigged up inside, fixed so that
it did fire when the drawer was opened. If I
can get that gun out, I can take care of
the dog.

Speaker 29 (02:40:36):
There, gun's empty. There was only one bullet in it.

Speaker 76 (02:40:43):
First, Diane Phyllis Sherry, Oh, what could be the answer. Wait,
there's only one answer, only one.

Speaker 2 (02:40:56):
What I do?

Speaker 5 (02:40:58):
I know the brandy.

Speaker 76 (02:41:06):
If anyone's watching, they'll see me through the window. Pick
up the glass, Pretend to drink. Now, put the glass
down behind the bottle. Wait a few seconds, pretend to stagger.

Speaker 29 (02:41:23):
Knock the bottle and glass over.

Speaker 39 (02:41:26):
Now four.

Speaker 29 (02:41:31):
And wait, stop barking. Some one coming.

Speaker 33 (02:42:00):
God was shot all though soon it was behind all it.

Speaker 76 (02:42:05):
But Killy has a gun.

Speaker 29 (02:42:14):
The door.

Speaker 26 (02:42:18):
Someone coming in?

Speaker 29 (02:42:30):
Wow, there you are.

Speaker 30 (02:42:33):
The three of you.

Speaker 86 (02:42:36):
Work better than I hope.

Speaker 29 (02:42:39):
You felish you finally drank it.

Speaker 57 (02:42:43):
What today, just like they've been predicted, you share you.

Speaker 29 (02:42:48):
Lost your nerves and your head and you kid and.

Speaker 86 (02:42:54):
You just couldn't take it, so you picked the quick
way out.

Speaker 29 (02:42:58):
But no, I have some digging to do. I have
to get rid of the car. I'll take that gun.

Speaker 88 (02:43:14):
I'll have your gun no more.

Speaker 29 (02:43:19):
I pretended to drink it. I knew you'd be waiting
somewhere wat.

Speaker 2 (02:43:24):
You knew it was me.

Speaker 19 (02:43:25):
You had to be you.

Speaker 29 (02:43:26):
Phyllis and Sherry are there. But that I didn't see
your body.

Speaker 76 (02:43:30):
I only heard the shots and the screener hard over,
and I see I didn't guess the rest of it,
all right.

Speaker 29 (02:43:38):
The shots they served two purposes. One they made us
think you were killed. Two, you used the gun to
get rid of your accomplice, the butler.

Speaker 89 (02:43:47):
Correct and the dog he was placed on the steps
by the man.

Speaker 76 (02:43:51):
Who played the part of the butler. It wasn't your dog,
because you had to shoot him to get past.

Speaker 29 (02:43:58):
Are doing fine about this heart? Probably for sale deceased
the street.

Speaker 47 (02:44:04):
You found out about it.

Speaker 29 (02:44:05):
And decided it was perfect for your little scheme.

Speaker 86 (02:44:08):
Right on all counts, of course it's a poison Brandy,
and the booby tip and the drawer hadn't worked, I'd
have had to do the job myself. You see, I
realized that the three of you had better chances than
I for that part.

Speaker 76 (02:44:23):
Well, right now, Kit, I'm taking you to the police.

Speaker 29 (02:44:30):
No, you won't take me to the police.

Speaker 9 (02:44:33):
Not a law.

Speaker 29 (02:44:34):
Say where you are, you'll have to shoot me.

Speaker 86 (02:44:37):
I'm walking towards you, so shoot me. No, I'm going
to try to take that gun away from you.

Speaker 30 (02:44:45):
If you don't want me to, you have to shoot me,
and then this girl be blamed on me.

Speaker 1 (02:44:49):
No, I'm going to take that gun.

Speaker 29 (02:44:57):
You're going to the police alive, Diane. Yeah, so that
you can be the leading lady in a murder trial.

Speaker 49 (02:45:38):
If you were to call a girl angel's face, you'd
have to be a beautiful girl. A girl as beautiful
and lonely as Dolores. Caught doing a job, she didn't
especially care anything about, waiting for the chance to get

(02:46:03):
away from it all.

Speaker 4 (02:46:06):
With the boys she loved.

Speaker 49 (02:46:14):
Hello, creeps, this is T four y opening the doors
to the Mystery Playhouse. Tonight, we bring you a modern
horror story complete with chills and frightening situations. It's called

(02:46:35):
Angel Face, and it was written by mister Walter Wilson.
I felt it was worth bothering with, even though mister
Wilson is somewhat a newcomer at this writing game, and
we had planned to bring you one of the more
prominent authors from our shelves downstairs. Here then, is Angel
Face by Walter Wilson. Our scene is a smart nightclub

(02:46:59):
in midtown.

Speaker 2 (02:47:00):
Happen Tuesday, my love song.

Speaker 30 (02:47:11):
And until the day one comes along.

Speaker 4 (02:47:18):
My waiter.

Speaker 82 (02:47:27):
Have you seen miss Yes, sir, I know she's waiting
for you all right, corner table, late tonight, mister Wrangler, Yes,
I know.

Speaker 87 (02:47:33):
Thank you, Oh Lors, Sorry I'm late. Oh guys to
law you look lovely, Joe, see, I'm getting sorry. I
can't think about anything but you. All day at the bank,
I keep wishing it was time to get.

Speaker 5 (02:47:54):
Off so I could see you.

Speaker 30 (02:47:55):
Joe.

Speaker 26 (02:47:55):
You sweet.

Speaker 19 (02:47:57):
I think about you all the time too.

Speaker 5 (02:47:59):
I guess I thought there never could be anyone.

Speaker 4 (02:48:01):
Like you for me anyway.

Speaker 33 (02:48:04):
I never thought i'd meet anyone like you, A real
nice guy like you.

Speaker 90 (02:48:09):
You know what some people think of chorus, Gee, you
make me feel like I was something out of this
world or something.

Speaker 8 (02:48:16):
Oh you are Delorius.

Speaker 5 (02:48:18):
You've got a face just like an angel.

Speaker 90 (02:48:21):
You say such pretty things sometimes I almost want to
cry and say such pretty thing.

Speaker 87 (02:48:27):
Three weeks ago we didn't even know each other, but
we were meant to meet. We were meant to stay
together too. You and I were always and we can't
let anything in a fear and spoil things for us.

Speaker 5 (02:48:46):
Do you think that too, don't you?

Speaker 4 (02:48:47):
Doloris?

Speaker 5 (02:48:48):
Tell me you think that, Joe.

Speaker 33 (02:48:50):
Darling, what's the matter? Of course, nothing's going to spoil
things for us.

Speaker 29 (02:48:53):
I couldn't live with us.

Speaker 2 (02:48:57):
I just couldn't live without you.

Speaker 9 (02:48:59):
Joe.

Speaker 52 (02:48:59):
I love you.

Speaker 33 (02:49:01):
I love you like I never loved anyone before. Yeah,
the first person who's ever been really kind to me.
I know something's the matter. Tell me, Joe. Maybe I
couldn't help, but tell me it hurts no one. There's
something wrong in me not knowing what it is, so
I can help.

Speaker 5 (02:49:15):
Oh, is it?

Speaker 33 (02:49:19):
Is it something at the bank, Joe. It's not something
at the bank, is it?

Speaker 5 (02:49:24):
Well, yes, Joe, I was going to put it back.
I just needed some money quickly.

Speaker 30 (02:49:34):
But what was it?

Speaker 87 (02:49:36):
It was important, but it was the first important thing
that ever happened to me de Laura's I couldn't let
it slip away.

Speaker 90 (02:49:43):
Joe, Joe, do you mean to say you did it
for me? All that money you've been spending on you're
taking me to expensive places like this?

Speaker 5 (02:49:53):
That was, don't you see?

Speaker 2 (02:49:57):
Just see?

Speaker 20 (02:49:57):
I was afraid i'd lose you.

Speaker 90 (02:50:00):
Oh look, Joe, I have a little money saved up,
not much, of course, but some take it and put
the money back if it's enough.

Speaker 48 (02:50:09):
How much was it you do that for me?

Speaker 87 (02:50:14):
Oh no, no, it's too late for that. It was
only four or five hundred. But the orders will catch
up to me in a day or two, and then
it'll be all up. They came unexpectedly, hear. It's no
use to Laura.

Speaker 19 (02:50:25):
We can't do this, Joe.

Speaker 33 (02:50:27):
Look, we'll run away. We'll go somewhere with they'll never
find us. They can't do this to it.

Speaker 5 (02:50:33):
You don't know what you're letting yourself in for.

Speaker 2 (02:50:35):
Delora.

Speaker 33 (02:50:35):
I don't care wherever you go.

Speaker 26 (02:50:37):
I'll go with you.

Speaker 5 (02:50:39):
You won't be afraid, not.

Speaker 91 (02:50:40):
With you, Joe, I won't be afraid of anything. Joe,
hold my head, hold it tight, darn, I'll be all right, Joe.

Speaker 33 (02:50:53):
We'll make out, won't we?

Speaker 30 (02:50:56):
Joe?

Speaker 33 (02:50:57):
I said it, Laura sair.

Speaker 2 (02:50:58):
It's uh.

Speaker 5 (02:51:00):
It's going to take money to get away.

Speaker 33 (02:51:02):
You can have everything I've got, Joe, and I can
hop that bracelet you gave me.

Speaker 87 (02:51:06):
And they're going to be after me anyway. What do
you mean, well, a lot of money would help. There's
an old saying you might as well hang for a sheep, Joe. Look,
they don't suspect anything yet, but I've got to work fast.
If I could lay my hands on some real money,
say say twenty thoughts. Oh no, Joe, we've got trouble

(02:51:28):
and now they're going to try to send me to
jail for a few hundred Anyway, the laws with twenty
thousds just makes it worse, Darling. It can't be any worse.
Will you stick with me to Lores?

Speaker 29 (02:51:35):
Will you?

Speaker 2 (02:51:35):
Will you?

Speaker 29 (02:51:36):
Darling?

Speaker 33 (02:51:36):
I told you I'd do anything whatever we have to do.
I'm sticking with you, Joe.

Speaker 9 (02:51:59):
Yes.

Speaker 2 (02:52:00):
So what can I do for you? Please? Are you
a locksmith?

Speaker 4 (02:52:03):
Yes?

Speaker 8 (02:52:04):
Yes?

Speaker 20 (02:52:04):
You want some keys made?

Speaker 2 (02:52:06):
Perhaps?

Speaker 26 (02:52:07):
No?

Speaker 5 (02:52:07):
I want you to do a job for me, sort
of a special job.

Speaker 7 (02:52:11):
Why not?

Speaker 5 (02:52:12):
I'll make it with you a while?

Speaker 2 (02:52:14):
See here.

Speaker 5 (02:52:15):
Here's the address's right right in the neighborhood.

Speaker 3 (02:52:18):
Let me see miss Dolores still apartment eleven, two hundred
and one bed for.

Speaker 20 (02:52:26):
I don't know about this.

Speaker 87 (02:52:27):
I'll have to explain it to her. And when we
get there, if it's a lock, I can fix. I
told you i'd make it worth you a while. Well,
i'd have to charge you for it, a special job
like this and leaving my shop.

Speaker 5 (02:52:39):
Yeah, hey, well let's do. Oh sure, mister Shure, for this,
I can fish?

Speaker 2 (02:53:00):
Is that you yeh?

Speaker 29 (02:53:02):
Jo Joey, you're right?

Speaker 20 (02:53:07):
Yeah?

Speaker 23 (02:53:08):
Sure?

Speaker 33 (02:53:08):
Worried so every minute.

Speaker 5 (02:53:11):
I think it's all right. Nobody noticed the thing.

Speaker 87 (02:53:14):
They won't notically balance the books tomorrow night, and by
that time we will be a long way away.

Speaker 33 (02:53:20):
They won't think anything tomorrow morning when you don't show
up for work.

Speaker 87 (02:53:23):
I told one of the boys I was going to
the races and he's going to tell on my phone
in and said I was sick.

Speaker 5 (02:53:30):
That'll give me a good start on it.

Speaker 33 (02:53:32):
I'm sure it will. It will work out, all right,
Ju'll see.

Speaker 87 (02:53:36):
Yeah, Well, here it is in this little satchel. Twenty
thousand dollars. Gee, I want you to have a dupe
with the key to the statue in case anything happens
to me.

Speaker 33 (02:53:47):
No, no, nothing that's happened to you, Joey. Can't it
just can't.

Speaker 5 (02:53:49):
Of course, nothing have happened to me.

Speaker 2 (02:53:51):
Huh.

Speaker 5 (02:53:52):
I only meant just in case.

Speaker 33 (02:53:54):
No, No, I don't want the key. If anything happened
to you, I wouldn't what the money? What good would
it do me? The only reason we've got it is
to you and I can have a chance at living
and belonging.

Speaker 9 (02:54:06):
To each other.

Speaker 33 (02:54:08):
Maybe we're doing wrong.

Speaker 13 (02:54:09):
I don't know.

Speaker 90 (02:54:11):
I guess people would say it's wrong. Only it's the
only way we have a chance of being together. And
that couldn't be wrong, could it.

Speaker 5 (02:54:17):
No, No, you and me, that's the rightest thing in
the world. You gotta get going in a minute.

Speaker 33 (02:54:24):
Just let me kiss you, aren't you, Julie. You're trembling.

Speaker 5 (02:54:32):
I know, I know it'll pass.

Speaker 2 (02:54:35):
It's just my nerves.

Speaker 5 (02:54:36):
It'll pass off in a minute.

Speaker 33 (02:54:38):
Here, take a little brandy, it'll fix you up.

Speaker 22 (02:54:46):
Here.

Speaker 5 (02:54:46):
You are, thanks. I guess I need it. You're not
having anything?

Speaker 33 (02:54:51):
No, you know I never can drink brandy.

Speaker 2 (02:54:54):
Well, Oh that feels good.

Speaker 5 (02:55:00):
When I knew all assure Joe.

Speaker 35 (02:55:05):
Yeah, just what you needed.

Speaker 5 (02:55:08):
It's funny.

Speaker 9 (02:55:11):
All of a sudden, I feel so.

Speaker 30 (02:55:16):
The longest like.

Speaker 33 (02:55:18):
Brady Joe Joe mm hm.

Speaker 2 (02:55:36):
H h.

Speaker 9 (02:55:57):
Yeah all yeah, can you talk?

Speaker 48 (02:56:02):
Is clear?

Speaker 4 (02:56:03):
All set?

Speaker 8 (02:56:04):
Sure?

Speaker 68 (02:56:05):
Al?

Speaker 4 (02:56:06):
Did he fall forward to Laris?

Speaker 33 (02:56:08):
Of course he fell for it, the sucker. All yeah,

(02:56:30):
there he is out like a light.

Speaker 9 (02:56:32):
Nice baby was sick. You shoo can handle him? Well,
come on, get we got to do.

Speaker 33 (02:56:38):
Don't I even rate a kiss?

Speaker 2 (02:56:40):
Oh?

Speaker 9 (02:56:40):
Sure, sure, baby, I was just thinking maybe we got.

Speaker 2 (02:56:45):
Is that all? Well?

Speaker 35 (02:56:50):
Better?

Speaker 44 (02:56:52):
You like that, didn't you?

Speaker 2 (02:56:54):
Yeah?

Speaker 33 (02:56:55):
You still love your little Dolores, don't you? But you
couldn't get along without her?

Speaker 29 (02:56:59):
Now? O?

Speaker 33 (02:57:00):
Good Yoh?

Speaker 9 (02:57:01):
Sure sure you know I love you, Delors.

Speaker 33 (02:57:03):
Sure, Delories knows your little boy loves you. He just
wants to be sure.

Speaker 20 (02:57:07):
That's so odd.

Speaker 33 (02:57:08):
And now I would never think of leaving his little Dolores, now,
would he. That wouldn't be a wise thing to do
at all.

Speaker 9 (02:57:17):
Take it easy, Dolors.

Speaker 30 (02:57:18):
What's seat? Hew?

Speaker 40 (02:57:19):
You know me?

Speaker 8 (02:57:19):
Sure?

Speaker 30 (02:57:20):
I know you?

Speaker 2 (02:57:20):
Well.

Speaker 33 (02:57:21):
We've been around a lot together, you and me. It
isn't as if this was our first job. Okay, okayo, Oh.

Speaker 35 (02:57:31):
This one was a cinch.

Speaker 33 (02:57:32):
He fell forw it even harder than that guy in Chicago.
What was his name, Tom Stevens?

Speaker 22 (02:57:38):
Names like that.

Speaker 9 (02:57:40):
Something you'll say something in the wrong place.

Speaker 90 (02:57:41):
Relax al, everything's honkey. Do know what are you worrying
about Tom Stephens? For it is still looking for him
and the payroll he made off with. Tom's been sixty
under for nearly a year now. And even if somebody
does dig up that Tom was a nice He always

(02:58:02):
used to call me angel face.

Speaker 29 (02:58:04):
Remember angel face?

Speaker 33 (02:58:06):
Cripes, what's the matter with angel face? Come on, now,
don't look so sour. We just made twenty grand I
feel swell, come to think of it, I feel kind
of hungry.

Speaker 48 (02:58:19):
Hungry, sure, hungry or rustle up something in the kitchen.

Speaker 9 (02:58:22):
I couldn't need a thing.

Speaker 33 (02:58:23):
Come on, now, that's no way to talk. We got
a job to do to night. You got to keep
up your strength.

Speaker 2 (02:58:30):
Yeah.

Speaker 9 (02:58:30):
Well, look, let's get that guy out of the way
before somebody walks in there.

Speaker 33 (02:58:33):
No one's gonna walk in and him. He's out cold
for a good four hours. Well, oh, okay, okay, let's
dump him in the trunk. I'll give you a hand.

Speaker 9 (02:58:42):
Yeah, let's get this thing with.

Speaker 33 (02:58:45):
I wonder why they don't the way so much more
when they're out.

Speaker 48 (02:58:49):
I don't know, close it out, all right? I suppose
we could call on that hurry.

Speaker 33 (02:59:01):
I told you I was hungry. Come on after the kitchen.

Speaker 9 (02:59:04):
It beats made away. You'll calmly go a home all right?

Speaker 33 (02:59:07):
All right, I tell you he's out for hours.

Speaker 90 (02:59:09):
We got plenty of time because when he comes to
there'll be six feet don shut you.

Speaker 9 (02:59:17):
Come along.

Speaker 33 (02:59:18):
We'll look in the ice box. Maybe I can find
you a chicken hot.

Speaker 9 (02:59:42):
Another red light.

Speaker 33 (02:59:43):
Take it easy, we're not trying to catch a train.

Speaker 4 (02:59:45):
Yeah, well, I don't like it. Maybe somebody saw us.

Speaker 9 (02:59:47):
Maybe maybe somebody will stop us or something.

Speaker 90 (02:59:49):
Sure, maybe this, maybe that, maybe anything. Maybe we wouldn't
have a thin dime between us if I listen to
you squawking.

Speaker 45 (02:59:55):
All the time.

Speaker 19 (02:59:56):
Well, go ahead, you got the green oa.

Speaker 9 (03:00:02):
I just feel better when we get rid of the sloth.

Speaker 16 (03:00:04):
I don't like driving around.

Speaker 9 (03:00:05):
With anything hot like this.

Speaker 29 (03:00:06):
Yeah you're a stipe.

Speaker 33 (03:00:08):
You haven't got such a hot load.

Speaker 2 (03:00:09):
Oh yeah, we can face some murder wrap and you
say it is some hot.

Speaker 33 (03:00:12):
Not on this trip, not on the way out. The
guy's alive, stealing, of course, I admitted. It takes some
fast talking to explain why we got him in a trunk.
But if someone was to stop us this very minute
and found him, there wouldn't be no murder.

Speaker 2 (03:00:26):
Rap.

Speaker 52 (03:00:27):
He's alive.

Speaker 26 (03:00:29):
Don't just relax.

Speaker 33 (03:00:30):
Sound we got no worries. That's deep enough, hain't it?

Speaker 75 (03:00:58):
Yeah?

Speaker 9 (03:01:00):
Okay, that hole will take the trunk all right?

Speaker 33 (03:01:03):
Here, we'll drag it over.

Speaker 9 (03:01:05):
I tell you, I'll be glad to see the last
of this.

Speaker 17 (03:01:08):
Right heavy, let's shove it down.

Speaker 2 (03:01:12):
Wait a minute.

Speaker 45 (03:01:14):
I I just want to see if I can hear
him breathing, hear anything? No, another thing you.

Speaker 90 (03:01:27):
Suppose No, you couldn't hear things with a trunk anyway.
He just got cold from that drink I gave him.
Open it up if you want to No, no, all right,
then what are we waiting for?

Speaker 22 (03:01:38):
Here?

Speaker 33 (03:01:38):
Help me give it a shove.

Speaker 90 (03:01:43):
Okay, shovel of it back in. Oh, take your shovel
and get to work. Oh what are you just standing
there for?

Speaker 92 (03:01:56):
You think you think he comes too on there under
the ground, and and there isn't any en anything.

Speaker 9 (03:02:05):
Now ooh, but do he said?

Speaker 2 (03:02:08):
The year is gone and.

Speaker 9 (03:02:11):
It's all over. Even before he comes.

Speaker 33 (03:02:14):
To give me that shovel.

Speaker 29 (03:02:22):
Yeah, top, cover it over.

Speaker 33 (03:02:24):
You can hardly see any of the trunks now here.
You can finish it. Take the shovel out.

Speaker 22 (03:02:47):
Well, that's over with.

Speaker 33 (03:02:48):
Twenty thousand now twenty thousand.

Speaker 9 (03:02:51):
Yeah, I guess we can use it all, right, we can.

Speaker 33 (03:02:54):
There's more where that came from.

Speaker 9 (03:02:56):
What do you mean if the guy's dead.

Speaker 33 (03:02:59):
Happen last sucker alive? There's plenty more where he came from.

Speaker 92 (03:03:03):
Now, Look, don't you figure you ought to lay low
for a while. We don't want to take no chances.
We got enough to lasses for a while.

Speaker 33 (03:03:08):
Now taking any chances you want to ever pin anything
on us?

Speaker 92 (03:03:12):
Yeah, but I still think I wouldn't do no harm
to kind of lay low for a while.

Speaker 9 (03:03:15):
After this chopsy.

Speaker 33 (03:03:16):
Well, you'll never change What do you mean?

Speaker 9 (03:03:19):
I won't change?

Speaker 33 (03:03:20):
There a small time, just like when I picked you.
A small time punk.

Speaker 29 (03:03:25):
That's all your level do.

Speaker 9 (03:03:26):
Don't you talk that way to me?

Speaker 90 (03:03:27):
Shut up, small time puck, small time rackets for a
small time go.

Speaker 22 (03:03:33):
Yeah.

Speaker 9 (03:03:34):
Well, at least I didn't have no murder wraps hanging
off the middle I met you. I can thank you
for that.

Speaker 33 (03:03:38):
Aly ungrateful.

Speaker 30 (03:03:39):
Load up.

Speaker 8 (03:03:41):
Here.

Speaker 33 (03:03:42):
I pick you up practically out of a gunner and
make a man of you. I cut you in on
some big time stuff, and that's.

Speaker 19 (03:03:46):
The gratitude, I guess.

Speaker 33 (03:03:48):
Just let me tell you one thing, pretty boy.

Speaker 45 (03:03:51):
Yes, I'm sorry to Lauris. It's just I know if
I say things I don't mean.

Speaker 33 (03:03:59):
Well, that's better.

Speaker 2 (03:04:00):
Yeah, it's just my nursey.

Speaker 9 (03:04:02):
I got to thinking about about the guy in that
trunker and the cop.

Speaker 33 (03:04:08):
Six feet underground now, and why should you worry about it?
Joe wasn't exactly a friend of yours.

Speaker 29 (03:04:18):
After the way he made love to me, you'd hardly
call him a.

Speaker 33 (03:04:21):
Friend of yours.

Speaker 45 (03:04:22):
Well, I didn't like that part of it either, The
way he used to make love to me.

Speaker 26 (03:04:28):
The lord is you say you got a face like
an angel.

Speaker 33 (03:04:31):
He said he thought there never.

Speaker 29 (03:04:32):
Could be anyone like me, had something there.

Speaker 22 (03:04:34):
He used to say he.

Speaker 33 (03:04:35):
Could never live without me. He said, we'd loved each
other all our lives, the only part of our lives
that mattered. And then he kissed me.

Speaker 31 (03:04:46):
I bet that used to make you jealous out.

Speaker 13 (03:04:48):
Huh uh didn't it?

Speaker 33 (03:04:50):
Al didn't that used to make your real jealous I
thought I didn't like that part of it. Tonight, Well
you won't have to be jealous anymore.

Speaker 4 (03:04:58):
Yeah.

Speaker 31 (03:04:58):
Now you'll have your li Dolores all to yourself.

Speaker 52 (03:05:02):
You'll like that, won't you.

Speaker 53 (03:05:05):
Yeah, we got twenty grand and Delores is gonna buy
her pretty boy and nice prison.

Speaker 35 (03:05:12):
We'll be Holmes, ah, and we'll be all alone.

Speaker 26 (03:05:17):
Just al.

Speaker 33 (03:05:32):
Here we are ouse home again.

Speaker 4 (03:05:34):
Yeah.

Speaker 19 (03:05:36):
No, don't turn on.

Speaker 33 (03:05:37):
The light for a minute.

Speaker 29 (03:05:39):
Just kiss me first.

Speaker 33 (03:05:44):
All right, you can turn on the light now.

Speaker 5 (03:05:50):
Joe, Joe, good evening. Dolores cries, why.

Speaker 38 (03:05:57):
You take easy lay?

Speaker 33 (03:06:00):
You see, he's got a gun.

Speaker 17 (03:06:01):
You're supposed to be dead.

Speaker 2 (03:06:02):
Why don't you too?

Speaker 5 (03:06:02):
Sit down?

Speaker 87 (03:06:04):
You're both a little over raw and ah, there we are.
I think we've got a few things to talk over.
But calmly, that's why I've got this gun, so we
can talk things over.

Speaker 2 (03:06:18):
Calmly. You're supposed to be dead.

Speaker 33 (03:06:20):
You must have got out of the trunk while we were.

Speaker 87 (03:06:22):
It's like a spot of brandy, probably chilly from your
little expedition. Grave digging is so depressing, don't you think?

Speaker 5 (03:06:31):
I don't worry. The brandy was not poison. I saw
of that this morning.

Speaker 9 (03:06:37):
How'd you get out?

Speaker 2 (03:06:39):
The trunk was locked? I thought it would be.

Speaker 87 (03:06:42):
That's why I saw a locksmith this morning when you
were out and had it fixed so it could be
unlocked from the inside. You see, I made a few
plans too, like putting those weights in the trunk to
take my place.

Speaker 33 (03:06:55):
And you got out of the trunk while we were
in the kitchen. Oh you smile guy, you real smart guy.
But you haven't got a thing on us.

Speaker 2 (03:07:04):
We'll let the police be that judge.

Speaker 90 (03:07:06):
Then you ain't gonna call no cops. You can't afford to.
You gotta rap waiting for you. And you know it
a little matter of the bank's twenty thousand dollars.

Speaker 2 (03:07:14):
Oh that eh?

Speaker 5 (03:07:15):
Oh, you see, I don't work in a bank.

Speaker 4 (03:07:19):
What where'd you get that?

Speaker 30 (03:07:20):
Case?

Speaker 2 (03:07:21):
Belong to me?

Speaker 5 (03:07:23):
And you and I didn't meet by chance, Delrus. I
waited a long time to meet you. Yeah, I looked for.

Speaker 14 (03:07:31):
You a long long time.

Speaker 33 (03:07:32):
What did you want to meet me for?

Speaker 87 (03:07:34):
Because I want to see you when this punk of
yours hang for the murder of Tom Stevens and Chicago?

Speaker 9 (03:07:38):
How do you know about that? Them talk?

Speaker 2 (03:07:39):
Let him talk?

Speaker 87 (03:07:42):
It doesn't make any difference now, I've got all the
evidence I need.

Speaker 5 (03:07:46):
It all fits together.

Speaker 90 (03:07:47):
Okay, so we did bump off Stevens, but it's still
just your word against her.

Speaker 5 (03:07:51):
No, now, what's your word? Your words verbatim?

Speaker 2 (03:07:56):
I told you I did some planning too.

Speaker 87 (03:07:59):
That dictograph on your chair is just this moment recorded
you confess.

Speaker 30 (03:08:02):
I stay right there.

Speaker 87 (03:08:05):
That's better. Now I've got a call to make the police.
Remember I've still got your covered. Oh you wanted to
know where I got the money at twenty thousand.

Speaker 2 (03:08:16):
You thought i'd taken from the bank I told you
was mine.

Speaker 87 (03:08:19):
It is and quite legally the paid claim of a
life insurance policy which I was the beneficiary. Tom Stevens
a Chicago Tom Stephens, Yeah, the man you killed Tom.

Speaker 2 (03:08:30):
That's right, isn't it. That's right?

Speaker 29 (03:08:34):
Isn't it?

Speaker 5 (03:08:34):
An angel face?

Speaker 33 (03:08:35):
Angel face?

Speaker 2 (03:08:36):
That's what That's what Tom used to call you, isn't it.

Speaker 62 (03:08:39):
I guess I forgot to tell you.

Speaker 2 (03:08:40):
My name isn't Joe hanglining.

Speaker 30 (03:08:41):
It's Joe Stevens.

Speaker 5 (03:08:44):
See Tom was my brother.

Speaker 49 (03:09:00):
That was angel Face. A modern surprise in Horror Stories
written for the Mystery Playhouse by Walter Wilson. I hope
you enjoyed it as much as I did. Well, it's
getting early again.

Speaker 8 (03:09:21):
This is T four Y.

Speaker 49 (03:09:24):
Closing the doors to the Mystery Playhouse and saying nay
sleep tides. This is the Armed Forces for.

Speaker 4 (03:09:34):
You, sir.

Speaker 6 (03:09:39):
October is birthday month for Weird Darkness. This year makes
it ten years of doing the show. But while it's
our birthday, we want the gifts to go to those
who help people who suffer from depression, anxiety, or thoughts
of suicide or self harm. That's what our annual Overcoming
the Darkness campaign is all about. It's the only fundraiser
I have all year long. You can bring hope to

(03:09:59):
the those who are lost in the darkness of depression.
You can make a donation right now at Weird Darkness
dot com slash hope. I'll close out the fundraiser at
the end of October and announce how much we raised.
The more we raise, the more people we can help
to donate. Get more information about the fundraiser and the
organizations we're supporting, or find hope for yourself or someone

(03:10:20):
you know who are fighting depression. Visit Weirddarkness dot com
slash hope. Please donate now while you're thinking about it.
Weird Darkness dot Com, slash.

Speaker 93 (03:10:29):
Hope, The Price of Fear, Vincent Price, pre Them, Michael Jason,
Sound the Clock and deathne Heard in Goody to Shoes
by William ingram.

Speaker 16 (03:10:40):
Linsem Price, Hello and welcome. The story I'm about to
tell you is a love story. It's not as perfect love,
at least the perfecting of it, something difficult to achieve,
something which can often lead to disasters, indeed horrific results.

(03:11:03):
David and Anne Fordyce mister and missus, both mid thirties.
They'd been married for five years, known each other for ten.
They were well what you might say, meant for each other.

Speaker 2 (03:11:18):
Everybody said so.

Speaker 16 (03:11:19):
Attractive, personable, identical taste, interests meant, and yet a feeling
of growing apart was the way David eventually put it.
The reason for this growing apart neither new or even understood.
Both finally blamed it, quite simply, on the rat race.

(03:11:44):
They thought about it a lot. It preoccupied them, indeed,
to get away out of the rut, a chance to
find themselves and each other again, and they both believed it,
really believed. Once decided, the move wasn't difficult to arrange.

(03:12:05):
David's credentials as a junior partner in one of the
city's most reputable law practices, of fine mind, excellent connections.
It was all there just for the asking. Their best
friends Charles and Victorious had so at the time. They
even said so after my little story was told. But

(03:12:26):
at the time there was no sense of sacrifice, of
giving up anything, and was quite simply the most important
thing in David's life. So fresh Fields and Pastors knew
it had to be the city Chambers lost him to

(03:12:48):
a small country practice, their stylish George and Terrace house
in London, to a temporary flat above the office in
that distant market town in deepest Devonshire. And it was
from there every weekend they'd drive deeper, ever deeper into
the surrounding countryside.

Speaker 2 (03:13:08):
In search of well.

Speaker 16 (03:13:11):
At the time, they'd both have found it impossible to
put a name to that.

Speaker 47 (03:13:16):
It was late evening when we got that first glint
of Tice Cottage. It's just a ghiints at first, briefly
between the hedges and high elms.

Speaker 35 (03:13:26):
Only the roof really torns that.

Speaker 47 (03:13:29):
No smoke rising from the lop side of old chimney neglected,
but strangely, betterly.

Speaker 11 (03:13:41):
Darling, hold on, have a heart.

Speaker 16 (03:13:44):
You need a flamer to get rid of the examples.

Speaker 26 (03:13:47):
I get better once you find the bar.

Speaker 9 (03:13:49):
They certainly couldn't get worse.

Speaker 16 (03:13:50):
What you do realize we're trespassing.

Speaker 29 (03:13:52):
Whatever happened to your use of adventure?

Speaker 16 (03:13:55):
I left it at the gates?

Speaker 47 (03:13:57):
Non, come on, then come on.

Speaker 94 (03:14:05):
Anybody?

Speaker 22 (03:14:08):
And it's a word idear, you talk yourself out of it,
and then.

Speaker 2 (03:14:12):
God, what a shamble?

Speaker 29 (03:14:14):
If not exactly how some gardens.

Speaker 4 (03:14:16):
I'm whacked.

Speaker 29 (03:14:17):
There's a three legged chair if you want to bring.

Speaker 22 (03:14:18):
That now where.

Speaker 2 (03:14:23):
Oh living you?

Speaker 22 (03:14:26):
I'll take your word for it.

Speaker 29 (03:14:28):
Open hart ingle nook.

Speaker 47 (03:14:32):
That swiftingle staircase not God to say, but they run
after the president reluctance.

Speaker 15 (03:14:37):
Now I have to take your word for that too.

Speaker 4 (03:14:41):
I'm love.

Speaker 7 (03:14:43):
And s.

Speaker 14 (03:14:50):
Now what are you pundering?

Speaker 35 (03:14:52):
Only the possibilities?

Speaker 16 (03:14:53):
Come on, man, I'm starved and it doesn't look as
they were going to get him back into dinner.

Speaker 4 (03:14:57):
What possibilities?

Speaker 16 (03:14:59):
Oh possibility, there aren't, Tony, use your head to the
roof for me.

Speaker 70 (03:15:04):
That that staircase obviously need a business, but it's a
positive slum.

Speaker 35 (03:15:11):
So what are an elbow greens? Me own theories, and
they're not mad about the idea. I you're obviously it.
You're quite right, it's getting eight go to help with that.
It's just that I thought getting away from it all.

Speaker 29 (03:15:29):
Wasn't part of the general idea.

Speaker 16 (03:15:31):
We have good as settled for something on that new estate.

Speaker 47 (03:15:34):
Estate, yes, always that, But who the hell wants to
live in a boot box when there's the challenge of
something like this?

Speaker 16 (03:15:41):
Challenge is right?

Speaker 26 (03:15:42):
Please please David.

Speaker 35 (03:15:45):
It might not even be on the market.

Speaker 7 (03:15:48):
It might.

Speaker 35 (03:15:50):
At least think about it, please.

Speaker 4 (03:15:53):
Please Bedid.

Speaker 16 (03:15:55):
All right, I'll think about it, but for God's sake,
don't set your heart on it. Already are and needn't
of worried. Tithe cottage was on the market, it had
been for a very long time, and at the price
even David found it impossible to resist. They spent their

(03:16:16):
first night there on a borrowed and very uncomfortable pair
of cat beds and slept like a top David hardly
at all. Breakfast was served amidst the debris of the
old cottage colors, and just as I was dropping off,
those damn birds started their many twittering the kadillion of

(03:16:36):
rush hour. I can take those dampers.

Speaker 29 (03:16:38):
Not to worry, darling, look at used to it?

Speaker 2 (03:16:42):
God, look at the time. I must be off.

Speaker 16 (03:16:45):
What's on the agenda?

Speaker 29 (03:16:46):
Just water and delberg grief.

Speaker 57 (03:16:48):
Can't do much else for the FIA to get.

Speaker 16 (03:16:49):
Yet, well they did from its midday latest.

Speaker 29 (03:16:52):
Yeah, so we all know what that means.

Speaker 47 (03:16:54):
Anyway, I believed for a Missus Perkins from the village
to come in in in your.

Speaker 11 (03:16:59):
Hands, ain't it just so?

Speaker 16 (03:17:02):
What about lunch and dinner?

Speaker 61 (03:17:04):
Oh?

Speaker 47 (03:17:04):
Popping into a shop once I've got the organized Oh worry, darling,
you get home, you won't.

Speaker 16 (03:17:12):
Know the old place somehow, I think I might. And
what happened from the start? Nothing but hitches By midday,
no furniture van and no reliable Missus Perkins. Anne decided
to cut her losses. She left a note explaining her absence.

(03:17:33):
She set off across the fields to the village and
the small general store. At least David wouldn't have an
empty larder to add to the list of discomforts. It
was early afternoon by the time she got back to
the cottage and the surprise that awaited her. Not only
had the furniture been delivered, but Missus p had already

(03:17:54):
got things very much in hand. In the living room,
the carpet down the three p sweet arranged very much
as she would have chosen. And upstairs in the bedroom
her dressing table was just in the place that she
would have chosen.

Speaker 35 (03:18:10):
Well, well, who clever old missus Jerkins.

Speaker 16 (03:18:15):
It wasn't until an hour or so later, when that
clever lady called up to her from the bottom of
the stairs, that she realized that something was amiss.

Speaker 57 (03:18:28):
Hello, anybody else, missus fauld dies.

Speaker 94 (03:18:39):
Your business?

Speaker 52 (03:18:54):
Talk about the marass of centuries.

Speaker 29 (03:18:58):
You get, killy, give give me a hands full of.

Speaker 57 (03:19:02):
Slam the door as the little stuff there them. Yes,
my husband will have to rebalance it.

Speaker 29 (03:19:13):
I'm also in the room.

Speaker 57 (03:19:15):
Would you like to see no thanking them?

Speaker 47 (03:19:17):
It's no trouble that I hadn't mastered that's too but
they scramched up a primus, so.

Speaker 57 (03:19:22):
No blieve thanking them.

Speaker 35 (03:19:26):
Well later, bed, it's something the matter, missus Perkins.

Speaker 57 (03:19:30):
I just come to say, how sorry I am my head?

Speaker 35 (03:19:34):
Sorry?

Speaker 2 (03:19:35):
Well, Jack, that's my husband.

Speaker 29 (03:19:36):
He says.

Speaker 57 (03:19:37):
No need now need to go apologizing for someone that's
not really your making, he says, But like I says,
why is that poor woman's concerned. All water under the bridge,
not a bidder doing.

Speaker 95 (03:19:52):
We're not, no, says least I can do is to
get out there, know you and say I've sorry I
am for not being able to get here at all.

Speaker 47 (03:20:04):
Not able to get here at all, Missus Patten's you
did take up then? Uh no, No, it's just that
I had to go into the village for a few
things that I left you a note. But if you've
just got here, you won't know about the note, nor
one anyway, It's all took rather longer than I expected
down in the village. I mean, when I got back,

(03:20:26):
most of the furnitives neatly stacked in the front garden,
and this sum arranged just as you see it now.
I just took it for granted.

Speaker 33 (03:20:39):
It was your game, you see.

Speaker 35 (03:20:40):
Oh my DearS, missus Patton, my jo right.

Speaker 2 (03:20:46):
Sit down from me.

Speaker 35 (03:20:48):
Yes that there should be some brandy.

Speaker 57 (03:20:50):
I'm all right, no minute so started already, see, I'm
my should have expected it in view of what's gone for.
But it's been such a long time now since the
last couple moved out.

Speaker 95 (03:21:09):
Always townies one foot inside the door, and it's love
at first sight.

Speaker 57 (03:21:16):
But no soner settled and moving on again, and all this.

Speaker 35 (03:21:21):
Of a sudden light, didn't they give the reason?

Speaker 57 (03:21:23):
Not folk, I've never got that close, none of our business,
was it?

Speaker 29 (03:21:27):
So what call us to us?

Speaker 57 (03:21:29):
Wise and read for us?

Speaker 94 (03:21:31):
Just a moment a girl who said started again?

Speaker 2 (03:21:34):
Is she did she?

Speaker 35 (03:21:37):
Did they see two shoes? I'm sorry, Goody too, shoos.

Speaker 29 (03:21:45):
You can smile.

Speaker 95 (03:21:47):
Just a name for the good of any other nursery rhyme, name,
no telling, for while at first give it to her,
but whenever a little neighed, I used to listen to
the old one's talking in the village and telling the dale,
and smile, just smile.

Speaker 35 (03:22:07):
Tell me about how missus pattin the right to know,
to right to know.

Speaker 95 (03:22:14):
Well abandoned on her wedding day a church, according to her, saying,
all nothing so much thought in these days, But in
Goody's time, well even now possible to imagine the snidings
and the wise and wherefore and they become.

Speaker 35 (03:22:33):
This cottage is.

Speaker 95 (03:22:34):
Already prepared simmily so, because here she comes and stays
and never ventures, swearing, never.

Speaker 57 (03:22:44):
To be seen again by another widden soul. Out the
night and in the day was what they.

Speaker 95 (03:22:50):
Reckoned but not even the night poachers and the light.

Speaker 57 (03:22:54):
Ever call a glimpse of her from wedding day on.

Speaker 35 (03:23:00):
Long dead May.

Speaker 95 (03:23:01):
Finally notices no smoke from herginly long long dead.

Speaker 35 (03:23:09):
So no face do they put to her, even in death.

Speaker 95 (03:23:16):
That seems grave or arranged and paid for, even something
in her own hand wrote for her stone.

Speaker 47 (03:23:25):
Accept the offer, accepts them come what No? But she
but once sad and lives two rooms day.

Speaker 30 (03:23:38):
Oh did you know that?

Speaker 2 (03:23:41):
Then?

Speaker 35 (03:23:41):
I don't know, but you've never even seen the grave
of it.

Speaker 2 (03:23:46):
No happen.

Speaker 16 (03:23:53):
Its present, And a hand turned back into the passage
where something different the tea chairs had gone. It now
stood on the landing at the top of the stairs.
The bedding, if it contained, was already neatly stacked in
what she'd only just decided should be her linen cupboard.

(03:24:16):
Even before she'd opened the door, she knew it would
be there. It didn't really worry her. She'd already decided
not to tell any of it to David, And then
several weeks later, Hoddy, I need you ask just as well.

(03:24:36):
If I always imagined it might be more, much.

Speaker 35 (03:24:39):
More, didn't I always tell you the place that possibility?

Speaker 16 (03:24:43):
I just hope you're not over doing things.

Speaker 94 (03:24:45):
That's all.

Speaker 47 (03:24:46):
I've loved every minute of it. Wait, it's almost to say, well,
so she owed it something, which is where we came here,
meant now loving us back in return?

Speaker 35 (03:25:02):
Idiot, dearly, I'll just take these coffee things through.

Speaker 16 (03:25:09):
Is the woman from the village to come in to
give you a hands?

Speaker 29 (03:25:12):
No, not anymore, darling.

Speaker 33 (03:25:15):
So what her husband was taken?

Speaker 47 (03:25:17):
Ill, it's quite suddenly, she says, she can't manage it anymore.

Speaker 16 (03:25:22):
When did you drop that on you?

Speaker 51 (03:25:24):
Just recently?

Speaker 16 (03:25:25):
How recently a week or so back? Then you'll have
to look around for somebody else.

Speaker 35 (03:25:30):
No, we don't need anybody else.

Speaker 57 (03:25:32):
But we don't jar me.

Speaker 35 (03:25:36):
We don't tell you, don't She didn't.

Speaker 16 (03:25:41):
Of course, if there had been any initial terror, it
had long passed. She groomed to depend on her good
fairly to take her for granted. It's no longer even
surprised to leave the kitchen to return a few minutes
later and find the dishes, whist and stack the way
to find a fresh supply of logs in the polished park,

(03:26:04):
freshly baked bread and cakes. When she entered the pantry,
if there was any motives. In her continued silence, one
had to look no further than David's praise of her,
and yet as the months passed, she felt the need
of a wider, less captive audience. Their own friends, Charles

(03:26:26):
and Victoria proved.

Speaker 2 (03:26:28):
The obvious sign.

Speaker 16 (03:26:29):
When we got your invitation, Nicky and I had an
each way then.

Speaker 4 (03:26:35):
Don't fit my love?

Speaker 16 (03:26:36):
Do tell then shake my word for it. You said,
either they've decided to throw.

Speaker 4 (03:26:41):
Even the rural fun and joy, or oh boor David's
gone over the orchard wall on his.

Speaker 20 (03:26:50):
Own and is beseeching us to get the spare bedroom late.

Speaker 16 (03:26:54):
I'm not that far from the truth. Oh come on, darling,
don't mind living, but you already have so I agreed
with you getting away from it all and to hell
with the black.

Speaker 29 (03:27:04):
Ways a bit.

Speaker 96 (03:27:05):
But I wasn't too key on any else's word or
gummage while better half put on the old mop cap
and got on with the gum making outside. If you'd
seen this place were we first setful through the door,
that is been more than justified.

Speaker 4 (03:27:19):
Worth.

Speaker 96 (03:27:20):
I still thank God for a telephone in the village
and a hotel with instructing distance.

Speaker 29 (03:27:24):
Justifications out talking a little space.

Speaker 4 (03:27:30):
Take a word for it.

Speaker 16 (03:27:32):
God, looking at the condition, is in that just just
about bother big miracle?

Speaker 35 (03:27:39):
Yes, yes, I suppose it must seem like a bit
of a miracle.

Speaker 52 (03:27:43):
You all right, daring, Fine, everything's fine.

Speaker 29 (03:27:47):
Just start a bit stuffy in here for a moment.
That's all, charl victorious, And I gave you anything else.

Speaker 94 (03:27:53):
An hasn'tnother crumbs to me down.

Speaker 29 (03:27:55):
He sent it to me to a six months plast
as it is, some.

Speaker 16 (03:28:00):
Hush, let's do that country pie of yours. You know,
I can't remember ever having shamble it before. Have been
damn surprising if you had, missus Beeton, did you say,
doming oh, previous.

Speaker 33 (03:28:10):
To that concert?

Speaker 29 (03:28:11):
Heyst previous to that?

Speaker 35 (03:28:13):
Come on, what can we care?

Speaker 29 (03:28:15):
A dark secret is no dark secret?

Speaker 70 (03:28:17):
Man?

Speaker 29 (03:28:17):
Did commonly meet parts poetry?

Speaker 52 (03:28:21):
What pichon last, Sweet Jenny Wren?

Speaker 35 (03:28:24):
If you remind to it either.

Speaker 47 (03:28:26):
Soak puffle, deal peppercorn, bannos and butter rigeran they have
stood one year around.

Speaker 20 (03:28:35):
That's first, catch your lark.

Speaker 21 (03:28:41):
We can all do it.

Speaker 29 (03:28:42):
My little stage away.

Speaker 16 (03:28:45):
And came across an old recipe book when she was clearing.

Speaker 29 (03:28:48):
Out the attic with seepne with sheep.

Speaker 96 (03:28:51):
God knows how long it had lurked there, hand written
crab like you never believe crabs, do you say?

Speaker 7 (03:28:57):
So?

Speaker 16 (03:28:58):
I've seemed easy enough for you anyway, before you could say,
missus Besan's grandmother, We've resurrected the old herb garden, flirted
with a local gamekeeper, and I've been playing your eighteenth
century guinea pig ever since.

Speaker 29 (03:29:10):
You're not find me a fault my fifty year so.

Speaker 9 (03:29:13):
Far from it.

Speaker 29 (03:29:16):
I try to get your hand to say you don't.

Speaker 94 (03:29:18):
Stay out of there.

Speaker 32 (03:29:19):
You hear me?

Speaker 29 (03:29:20):
You knew well what I might tell you in my
place mine.

Speaker 28 (03:29:23):
No others dan cars for her to go on medlanning.

Speaker 32 (03:29:26):
Do you hear me?

Speaker 29 (03:29:30):
Oh, darling, you're face.

Speaker 16 (03:29:38):
So it happened several months later, summer had gone, autumn
was in the trees and had started out to the village.
When she remembered her shopping list on the kitchen table,
and she passed the half drawn curtains of the room windows.

Speaker 2 (03:30:01):
She caught her first glimpse of her.

Speaker 35 (03:30:06):
Small, very small I'm much older than I, Oh, how
very old? She looks? Not at all frightening, sir, but
white hair pulled natly into a tight bun at her neck.

Speaker 47 (03:30:23):
They can see even whiter, I suppose, by her long
black dress reaching wipe to the ground.

Speaker 35 (03:30:30):
From verge. And yet if I stretched a little higher
over the still I can just about through the stone floor.

Speaker 16 (03:30:43):
An on tiptoe peering over the window, ledge and saw
keeping out from under the hair of the long dress.
A pair of black kid's shoes polished to breathe on
the front, two very large silver shiny buckles. Then Anne
looked up. For just the briefest of moments their eyes met.

(03:31:04):
Then the old lady was gone.

Speaker 47 (03:31:08):
Accept the gifts I offer, accessed, Come with me, but
see that once their givers and live to rule the day.

Speaker 16 (03:31:23):
For God's sake, Darling, haven't you made a movie yet?
Here right have to be a beacher? I'm afraid come
to that about the only clean crock in the house.
What and why the hell didn't you let me give
you a hand with the dinner things? Your gramet speciality
certainly goes through one hell of a lot of pots
and pans. It's ruddy chaos down there, No nothing.

Speaker 29 (03:31:48):
They won't take me last.

Speaker 16 (03:31:49):
The way things are going lately, be a damn sight
better if we cleared the decks before we turned in.
On top of which that damn cat must have not
the sugar bowl over, It's all over the ruddy place.
If I won't catch because of stick for damp and
it rained in the night, so one of us seems
or left the living room window offer catch. Oh hell, Love,
I don't even have a clean shirt. It was that

(03:32:10):
first morning, and began to realize things were not as
they had been, that something was a myth. Much as
she tried, the shambles continued. The more she tried, the
worse it up. Untidiness became chaos. Chaos turned to silk.
She tried, but could do nothing to prevent it.

Speaker 35 (03:32:33):
Nothing, my dear darling David. Nothing in the world, simply
too much out of my hands. See why, Love, why
the change? There must be some reason, the young reason,
my old beerie.

Speaker 16 (03:32:52):
All right, perhaps I shouldn't have depended on you so
much the same things, for granted, If that's why, If
it's something that can be put right, don't laugh at me,
can you.

Speaker 4 (03:33:14):
Please?

Speaker 24 (03:33:14):
Don't?

Speaker 59 (03:33:16):
Oh, dear, oh, poor poor Jess.

Speaker 94 (03:33:28):
It's all my doing. I should have told you before,
confided in you, But you've suddenly grown so proud of me.

Speaker 61 (03:33:40):
Too.

Speaker 94 (03:33:40):
Proud see I'm am growing to depend on it.

Speaker 35 (03:33:48):
She she must have realized that, count on that.

Speaker 97 (03:33:55):
Right from the very first moment we walked through those doors,
all those long years before, just waiting for it.

Speaker 16 (03:34:07):
Oh my love her, But I don't understand.

Speaker 35 (03:34:13):
No, you could never understand. Too late to understand.

Speaker 94 (03:34:22):
Hold me closer, Oh please hold me. I sawry you see,
just that one.

Speaker 98 (03:34:33):
I should never have done this. It was a pointless glimpse.
I should never have caught her. She hated me for that.

Speaker 16 (03:34:47):
That evening, even as David walked up the path, he
sensed the change in the place, the smoke curling up
from the chimney. The brass knucker again worked to a
brilliant shine, just as he remembered it.

Speaker 29 (03:35:08):
And anyone.

Speaker 16 (03:35:19):
It was in the kitchen he founder dar Anne. She
was wearing her favorite dress. She was smiling at him,
so tender and sweet, a smile as she swung gently
back and forth from the heavy oak beams. There was

(03:35:40):
one other detail David took in in that first horrendous moment.
The chair she must have climbed down and then jumped from,
was back in its usual place below the recently polished window,
and then beneath the chair something as incongruous as it
was bewildering, a pair of shoes of the old fashioned kind,

(03:36:05):
much too small for Anne, tiny low heeled kid leather
polished to brilliance, and in the front two heavy silver
shiny buckles, and reflecting in their shine the swimming course.

(03:36:33):
David married again. The h missus Fordyce, was quite the
opposite of Anne. Sophisticated, poised, almost glossy. She ran her
own advertising agency, far too well for her male competitors
on the domestic fronts, and only in their crisis she
could just about manage to top up a coffee percolator.

(03:36:55):
Thatch Cottages gave a hay fever, and yet the match
seemed to work well enough. David probably prefers it this way.

Speaker 93 (03:37:09):
That was Goody two Shoes, starring Michael Jason as David Dyce,
Sondra Clark and Daphney Heard Missus Perkins, with Francis Jeter,
Victoria and Nigel Graham Charles. The Price of Fear was
presented by Vincent Price, written by William Ingram and directed
by John.

Speaker 2 (03:37:29):
Dye Ellery Queen.

Speaker 41 (03:37:36):
In the interest of a safe for American home, a
happier American community, a more United States. The American Broadcasting
Company and it's a fulliated stations bring you Ellery Queen.
I dedicate this program to the fight against crime, not
merely crimes of violence and crimes of dishonesty, but crimes

(03:37:59):
of intolerance, discrimination and bad citizenship, crimes against America. The
American Broadcasting Company presents a new series and the Career
of Ellery Queen, celebrated fighter of crimes. As usual, Ellery

(03:38:20):
invites you to match wits with him as he relates
the mystery, and before revealing the solution, he gives you
a chance to solve it. Tonight, Ellery's guest Armchair Detective,
who will represent you home Armchair Detectives is the prominent
radio and motion picture actor Gerald Moore. And now here's
Ellery Queen himself, your host for the next half hours.

Speaker 70 (03:38:41):
Thank you, Paul Masterson, and good evening, ladies and gentlemen.
Tonight we tell you the story of a man who
was surrounded by enemies, ten thousand of them. I call
it the Man in the Street.

Speaker 22 (03:39:05):
I'm not tickling your mona. This is a frisk stand still.

Speaker 2 (03:39:09):
I'm a little nervous. Sergeant he's a.

Speaker 22 (03:39:11):
Little nervous inspector.

Speaker 2 (03:39:12):
Now it's that crowd outside.

Speaker 22 (03:39:15):
Stand still, mana, why don't you chase them away with
my brother Joel?

Speaker 2 (03:39:20):
Why didn't Joel come home from my office tonight because
he was smarter than you, liars?

Speaker 29 (03:39:24):
Leaving me to face the marb.

Speaker 22 (03:39:26):
Alone pickle lein'th they manor stand still?

Speaker 2 (03:39:30):
Yes's Elias.

Speaker 82 (03:39:31):
Only a few days ago the man in the street
was calling you his benefactor. You and your brother had
a great idea, liars, build a model town, mana city
cheap good housing, co op stores, fine schools and playgrounds
for the kids, a great modern hospital.

Speaker 2 (03:39:46):
Everything shared by the community. Utopia for Joe Doaks.

Speaker 82 (03:39:51):
Now, wonder they were giving you and your brother testimonial dinners?
Please they'll try to playem me it there's only that window.

Speaker 22 (03:39:58):
Between still, Oh man?

Speaker 2 (03:40:00):
How many people did you and Joel rope in? Elias?
Ten thousand from this area alone, wasn't it?

Speaker 22 (03:40:06):
Ten thousand suckers? You're gonna stand.

Speaker 82 (03:40:08):
Still, MANA city turned out to be some rotten marsh
land and a long island swamp. Those ten thousand investors
will never say a cent wiped out a liars.

Speaker 2 (03:40:20):
Only it came out too soon? Didn't that.

Speaker 29 (03:40:23):
They're throwing rocks. Tech one almost kick me.

Speaker 11 (03:40:28):
You've gotta get me out of.

Speaker 30 (03:40:29):
Here through that.

Speaker 1 (03:40:30):
Mom.

Speaker 2 (03:40:30):
We'll wait for the reserve.

Speaker 4 (03:40:32):
Liar.

Speaker 2 (03:40:33):
Tell me the people in there, if it will make
you feel any.

Speaker 22 (03:40:35):
Better, Lock the shoppers, lock them, Okay, Inspector, there's wallet, papers, jewelry, everything,
even a small change.

Speaker 2 (03:40:46):
You better get him ready, where's that butler?

Speaker 22 (03:40:49):
Butler, Yes, sir, come in here.

Speaker 8 (03:40:51):
Yes, inspected queen, Sir, I'm just an employee.

Speaker 82 (03:40:55):
Yes, you've got nothing to worry about. Get Elias Mana's
hat and called. Well, come on, whom are you staring at?

Speaker 2 (03:41:03):
Why, mister Marna, you're frightened? Didn't you hear the inspector?

Speaker 70 (03:41:08):
The boys said the people, how you and your brother
used to laugh at them, suckers you call them, And
now the suckers don't make you laugh anymore. Mister Marna,
get my hat and coat, mister Marma, sir, get your
own hat and coat.

Speaker 2 (03:41:26):
Take that, mister Mana, Sir, I'll get my things myself.

Speaker 82 (03:41:32):
They're just in the hall out to bat. His brother smelled.
The rat feeline took a powder before we could grab him.
Look at this role I just took off a liar's
inspector chicken feed. You always got the real poke.

Speaker 2 (03:41:44):
I'm afraid really getting ugly out there.

Speaker 82 (03:41:48):
Hey, MANA, hurry up, I said, mana, hurry up, there's
the reserves.

Speaker 2 (03:41:52):
This is our chance.

Speaker 22 (03:41:54):
Mana where are you? Mana manor blunder in the hall?

Speaker 2 (03:42:03):
He hate you? Butler wit mind ago you see him?

Speaker 22 (03:42:06):
Why you said? He went to the via the kitchen
just five Not in the kitchen net back of e
It's open alley runs right through to the side street.
And spector he got away.

Speaker 2 (03:42:20):
Like his brother, send out a general alarm. I see okay.

Speaker 22 (03:42:35):
The specter was that nothing.

Speaker 33 (03:42:36):
Really, But I don't understand it.

Speaker 26 (03:42:38):
Where can he be?

Speaker 22 (03:42:39):
I don't get it myself? But frisked and dry, Elias
didn't have a red sand on him when he gave
us a slip, Missport.

Speaker 29 (03:42:45):
A man needs money in New York.

Speaker 22 (03:42:47):
Especially one on the lamb A lesson inspector. Elias and
Joel had fixed up a meeting place beforehand, and Joel
had plenty of moolah.

Speaker 2 (03:42:54):
I don't think so it happened so quickly.

Speaker 29 (03:42:56):
Maybe a friend.

Speaker 22 (03:42:56):
He ain't got a friend in the Western Hemisphere.

Speaker 82 (03:42:59):
Miss Porter, many relatives lasted, covering every car, road bridge, tunnel,
railroad station, airport.

Speaker 2 (03:43:05):
City seal tight. Where is he ellery? Huh? Tchool cop
man floating.

Speaker 82 (03:43:11):
Around the city with ten thousand yowling suckers after their highs.
And you sit in your spine in my office reading
the morning paper.

Speaker 2 (03:43:16):
Aren't you interested lra and saving the manas lives?

Speaker 8 (03:43:19):
Nikki?

Speaker 4 (03:43:20):
Oh?

Speaker 22 (03:43:20):
Yes, well, don't sound so sincere my stroke. They're hardly
worth the effort.

Speaker 70 (03:43:24):
No, I just agree, sergeant, Saving the allies is one
of the most important jobs.

Speaker 15 (03:43:28):
You'll ever be called out to do.

Speaker 22 (03:43:29):
Why my stroke keep a couple of high minders from
getting what's coming to them so they can lay around
the south for a few years and think up some
more for nagles.

Speaker 70 (03:43:36):
Oh, sergeant, the the moners didn't really steal money. They
stole hopes, plans, years of hard work, and a part
of a lot of ordinary people. They stole Johnny Doe's
first payment of the house, Mabel Brown's wedding money, the
operation that Bill Smith's.

Speaker 9 (03:43:50):
Wife may need a year from now.

Speaker 2 (03:43:53):
That's why the miners must be kept.

Speaker 70 (03:43:54):
The lives started got the live to give back that house.
And that's true. So and that operation.

Speaker 2 (03:44:00):
Oh, by the way, that seen this ad in the
personals car Why.

Speaker 99 (03:44:04):
Let me see it's addressed to dear dot dot. I
suppose that's short for Dottie or Dorothy and sign h
got dash.

Speaker 2 (03:44:13):
Who cares?

Speaker 82 (03:44:13):
I went from honor brothers dot got death.

Speaker 70 (03:44:17):
Hey, that's the basis of the mosque colde goeregraphy Joe
walk my stroke. I believe the Maner Brothers used to
be telegraph operator. A code hidden message read that adnefe.

Speaker 99 (03:44:28):
Dear dot Sorry he had to run off before get together.
If p X Jones will engage room at Haven Hotel
between two and four this afternoon, we'll contact him there
to arrange export details.

Speaker 8 (03:44:43):
Dash.

Speaker 22 (03:44:43):
It's from Joel Manor to Elias.

Speaker 82 (03:44:46):
Joel must have read in the late extras last night
that Elias escape without a sense.

Speaker 99 (03:44:49):
Not knowing where Elias is hiding, Joel put this.

Speaker 22 (03:44:51):
Ad in the paper to get brother Rath to come
to the Haven Hotel under the air here.

Speaker 70 (03:44:55):
So p X Joel Joel will join Elias and arrange
export tales both of them.

Speaker 29 (03:45:00):
They're gonna skip the country.

Speaker 2 (03:45:01):
I believe that's what Joel had in mind.

Speaker 82 (03:45:03):
Nicking all we have to do is watch the Haven Hotel,
keep an eye on Elias when he checks in his
p X Jones this afternoon, and wait for Joel to
contact him, since.

Speaker 22 (03:45:12):
Phily maybe not inspected. The Haven's like Grand Central, a
thousand rooms, crowds pouring in and out all day. Even
if we spotted Malias knows our pusses, he'd run like
a rabbit. Maybe we'd lose him again, and Joel too.

Speaker 2 (03:45:27):
And I don't feel like trusting this one to the boys.

Speaker 82 (03:45:31):
Our spotter has to be somebody smile, somebody that miners
don't know, somebody who can keep him alive.

Speaker 2 (03:45:37):
Long enough for us to get him safely in a
cell ellary. Hey what do you say?

Speaker 20 (03:45:43):
So?

Speaker 2 (03:45:44):
I would consider it a privilege? Hey?

Speaker 34 (03:45:57):
But how much show?

Speaker 30 (03:45:58):
Are you're gonna park in my hat?

Speaker 72 (03:46:00):
Hey?

Speaker 2 (03:46:00):
My friend ought to be along any minute now, driver,
and it's your dough?

Speaker 8 (03:46:03):
Hey?

Speaker 29 (03:46:04):
Hey, what are you thinking?

Speaker 2 (03:46:05):
His Mona DearS Look at here?

Speaker 4 (03:46:07):
Look at him MUSHes in.

Speaker 30 (03:46:08):
The paper at thirty Crooks Gallery.

Speaker 2 (03:46:09):
No, Nikki, the Mona brothers alar cops will catch him.

Speaker 30 (03:46:12):
And they'd better work face.

Speaker 33 (03:46:14):
Why what do you mean?

Speaker 8 (03:46:15):
Driving?

Speaker 15 (03:46:15):
Is en?

Speaker 2 (03:46:16):
Awful lot of people in this town?

Speaker 60 (03:46:17):
God Hood lady.

Speaker 4 (03:46:18):
If one of the victims spoted those trucks.

Speaker 76 (03:46:24):
Oh yeah, Kelly, you suppose that's why Alias hasn't shown
up at the Haven.

Speaker 10 (03:46:29):
Here.

Speaker 2 (03:46:29):
Could be he knows he's surrounded by enemies, ten thousand
of them. Might be too scared to come out of hiding.

Speaker 33 (03:46:34):
Imagine not knowing who your enemies are.

Speaker 99 (03:46:37):
Might be a newsboy, a sonogras, even a policeman, anybody
on the street.

Speaker 70 (03:46:41):
Wait, Nikki, what's the matter that old man shuffling toward
the hotel entrance right there.

Speaker 33 (03:46:46):
Bundled up to the ears, dark glasses.

Speaker 70 (03:46:48):
I pulled on his eyes several days growth of bed, Nikki,
that's Elias Mona.

Speaker 33 (03:46:55):
He's carrying a suitcase salary. He had no money.

Speaker 2 (03:46:57):
He's an old piece of junk. Nick He might have
picked it up here he comes.

Speaker 33 (03:47:01):
Gallery that fat woman with a shopping bag.

Speaker 19 (03:47:03):
She's gonna stop him.

Speaker 2 (03:47:05):
Keep back, nick I may have to jump out much.

Speaker 29 (03:47:10):
Could you be telling me which way to the subway?

Speaker 50 (03:47:12):
That way?

Speaker 10 (03:47:13):
Yeah?

Speaker 33 (03:47:15):
Second, I thought that woman was gonna there.

Speaker 2 (03:47:17):
He goes into the haven dri driver.

Speaker 4 (03:47:21):
Yeah, yeah, what is it?

Speaker 2 (03:47:23):
You are to keep the change? Come on, Nicky, but
email calm down, Nicky. There he goes, we're heading for
the desk. He's nicky.

Speaker 70 (03:47:38):
Maybe he's not a lot he is if you're registered
as p X Jones. No, no, stop writing, he nicky.
Pretend to be looking at the magazines.

Speaker 29 (03:47:45):
I'm on the room.

Speaker 2 (03:47:46):
Please, yes, sir single, do you have a reservation for me?

Speaker 29 (03:47:50):
What's the name, sir, p X joone gallery?

Speaker 2 (03:47:52):
Read that magazine? Nikky jo Joe. Why no, mister Jones,
we have no reservation listing for you.

Speaker 21 (03:47:59):
No.

Speaker 2 (03:48:00):
Well give me a room, any room.

Speaker 11 (03:48:03):
Yes, yes, yes, you know you're lucky at that a convention.

Speaker 2 (03:48:06):
Just check. I don't want conversation.

Speaker 8 (03:48:07):
Room clock. Where is my room?

Speaker 2 (03:48:09):
Yes, sir Franz, Yes, sir. Fourteen o nine boy.

Speaker 7 (03:48:13):
Here's yes, sir.

Speaker 4 (03:48:14):
I'll thank your bag.

Speaker 7 (03:48:15):
Sir.

Speaker 2 (03:48:15):
All right, elevators right this way? But yet Nikki? All
right now fourteenth floor? Watch step playn't you nicka?

Speaker 29 (03:48:34):
Thank you?

Speaker 33 (03:48:37):
Fourteen o nine wasn't?

Speaker 2 (03:48:38):
Yes? Yes to the left? I think, oh there, Nikki.
Bell boy just came out.

Speaker 35 (03:48:43):
Wait, why Ellory, he's putting his ear to the door.

Speaker 2 (03:48:48):
Here you boy, what do you think you're doing? Huh
oh y, you see that old crumb I just brought
up to fourteen o nine. Yes, no, why I think
he is? Whyas Marner.

Speaker 70 (03:48:58):
Oh he couldn't be, of course, not impress the little bit,
But I tell you he is. I just heard that
Mona was seen heading for Mexico of Corse feathers. I
tell you that guy looks just like the newspaper photos
of Elias Marner. I wouldn't spread that story around, young fellow.
You might get a harmless old man into a lot
of trouble.

Speaker 22 (03:49:15):
Yeah, but gush, he sure looks like him going down.

Speaker 2 (03:49:17):
Please, Yeah, Joe said, Jue.

Speaker 49 (03:49:19):
You know that old boys.

Speaker 19 (03:49:21):
Not so good.

Speaker 33 (03:49:22):
Ellerie, he'll talk.

Speaker 70 (03:49:24):
Yes, Becky, I'll watch fourteen oh nine. You run over
to that hotel across the street, the universal Dad and
Vilia waiting in the lobby there. Tell him to join
me up here right away.

Speaker 2 (03:49:44):
So in the case like this, I always go to
the manager the top.

Speaker 70 (03:49:48):
Can you do it well, inspector, I just a moment,
give me the desk. Naturally, hotels aren't crazy about this
sort of thing. Hello, desk manager speaking is seven, not
to five? Then how about fourteen eleven? Hold fourteen eleven
open all right, inspector, Queen, you can watch fourteen oh
nine from fourteen eleven.

Speaker 2 (03:50:09):
It's next door, thanks a lot. There wouldn't be a
communicating door between them, would there?

Speaker 4 (03:50:12):
Why?

Speaker 2 (03:50:12):
Yes, it used to be a two room suite. Wouldn't
be better?

Speaker 82 (03:50:15):
I want the key to fourteen eleven manager, and also
the key to the door between the two rooms.

Speaker 70 (03:50:19):
And keep this under your hat, please naturally, mister queen.
But tell me is it true this man Jones in
fourteen oh nine is Elias Marler. Huh month, one of
my bell boys claims he is nothing so exciting if
she were.

Speaker 2 (03:50:33):
Now get me the key.

Speaker 8 (03:50:35):
Yes, I'll be glad to do.

Speaker 82 (03:50:37):
You should have strength alled that bell hop allery be
all over the hotel by this time a half hour
will be all over New York.

Speaker 70 (03:50:43):
I only can't take a Lias away from here either.
How if we expect to.

Speaker 82 (03:50:46):
Nab Joel too, maybe it'll work out with Zeal in
the squad covering the fourteenth flour you and me in
fourteen eleven listing it where you're going? So I have
a little talk first with the chief operator of the hotel.

Speaker 89 (03:51:06):
You want to be notified the second there's a phone
call two or from fourteen o nine.

Speaker 2 (03:51:10):
Is that it?

Speaker 29 (03:51:10):
Mister Queen.

Speaker 4 (03:51:11):
That's it.

Speaker 9 (03:51:11):
Operate.

Speaker 33 (03:51:12):
We'll be in fourteen eleven.

Speaker 2 (03:51:13):
Not you, nicky, you'll be in She's forteen nine.

Speaker 16 (03:51:16):
Now see what Jones wants operating?

Speaker 52 (03:51:17):
Yes, yes, please, this is the X Jones in forty
or nine.

Speaker 4 (03:51:22):
Have there been any phone calls for me?

Speaker 2 (03:51:24):
Operator?

Speaker 89 (03:51:25):
Well, phone messages are sent to your room box with
the desk, mister Jones.

Speaker 29 (03:51:29):
But I just spoke to the desk.

Speaker 4 (03:51:30):
They said there's no message in my box.

Speaker 89 (03:51:32):
Then I'm sorry, mister Jones. If there's been a call,
you either have got it directly or found a message
in your boux.

Speaker 2 (03:51:37):
Yes, yes, well bring me hearing forty or nine in
the moment I get a call.

Speaker 33 (03:51:41):
Do you understand, yes, mister Jones.

Speaker 9 (03:51:43):
Operator. How later are you on duty?

Speaker 89 (03:51:46):
Well, all the day.

Speaker 33 (03:51:46):
Shifts in the hotel are from noon to eight.

Speaker 26 (03:51:48):
Pm, mister queen.

Speaker 2 (03:51:49):
Then I'm leaving miss Potter here with you doing what Yes, Niki,
you can.

Speaker 70 (03:51:54):
Operate a switchboard and this young lady can arrange leave
you in charge when she goes off duty tonight.

Speaker 2 (03:51:59):
The fuel who know about this, the better I'll remember.

Speaker 16 (03:52:01):
Operator.

Speaker 70 (03:52:02):
I'm relying on you to keep this Jones business absolutely
hush hush oh, why.

Speaker 89 (03:52:07):
Won't tell anybody, mister queen, I realized, mister Monor, Why
I mean, mister Jones mustn't know he's being watched. Oh
pardon me, Hotel haydn good afternoon, glory.

Speaker 70 (03:52:19):
She's heard the rumor too, and you'll keep her from
shooting off her mouth. Nicky, I'll be in fourteen eleven
with dad. Don't tell me you haven't heard a thing

(03:52:42):
through that door since he phoned room service with food and.

Speaker 2 (03:52:44):
That keeps walking around him man like a case. Wheezl levery?
What time is it?

Speaker 4 (03:52:51):
That six?

Speaker 2 (03:52:53):
Why no word from his brother? I don't understand.

Speaker 82 (03:52:56):
Miss Joes got cold feet when some of these blame
rumors got to his ears. Ah way, take another.

Speaker 70 (03:53:01):
Look into the card, not a think, Oh yes, it
comes a hotel wait of pushing the table.

Speaker 2 (03:53:09):
It must be that chow Olias ordered little wider son. Okay, Dad, Sir?

Speaker 14 (03:53:17):
Would that waiter be Joel Mona in disguise?

Speaker 100 (03:53:19):
No?

Speaker 2 (03:53:20):
No, that too short?

Speaker 22 (03:53:24):
Yes? Who is it the way?

Speaker 94 (03:53:26):
Oh?

Speaker 11 (03:53:26):
Food?

Speaker 30 (03:53:27):
I ordered?

Speaker 101 (03:53:27):
Definiteave it outside my door. Wait, I'll take it in myself.
I got to collect, sir, what is on my bill? Well,
then you gotta sign up for it oh yes, one second.

Speaker 8 (03:53:42):
All right, wait quickly.

Speaker 4 (03:53:44):
Through what they say you wanted I to mine? No, wait,
you're mistake.

Speaker 2 (03:53:48):
I'm making a mistaken, making a break for it.

Speaker 22 (03:53:51):
That can't lose him again.

Speaker 11 (03:53:55):
Help me all the group tongue from stop it mana
in here, let me kill me?

Speaker 4 (03:54:06):
Old body is killing you?

Speaker 22 (03:54:07):
Mana shut down waiter?

Speaker 2 (03:54:09):
Yes, where police? This is not Elias? Mana he Santa Claus.
You understand you forget this.

Speaker 22 (03:54:17):
Don't shoot off your mouth.

Speaker 2 (03:54:20):
Yes, very fast along to the boys. Come on.

Speaker 82 (03:54:26):
Well mana the cats out of the bag. We may
as well keep you company here. Tell your brother shows up.

Speaker 22 (03:54:31):
Yes, yes, only don't leave me. You don't know what
it's been like.

Speaker 29 (03:54:34):
Man can face anything when he knows who's after him.

Speaker 11 (03:54:37):
But this mean that a trousers after me.

Speaker 22 (03:54:39):
Don't let him get me.

Speaker 2 (03:54:40):
Oh, then you play all the lines. You'll help us.
Grab your brother when he contacts.

Speaker 14 (03:54:45):
Anything, inspect for anything.

Speaker 2 (03:54:46):
Only don't let them get me. That's a mighty fine spirit.
There's the lettery where's Joel?

Speaker 30 (03:54:54):
Where is Joel?

Speaker 20 (03:55:03):
Hmm?

Speaker 2 (03:55:09):
Stop with ellery. It makes me tired just to look
at you. What time is it now, dad? Ten minutes
to nine? Wait a while longer.

Speaker 55 (03:55:17):
You're not going to leave me.

Speaker 2 (03:55:18):
We're just about sir, you'll write a liar? Why doesn't
Joel call? Why doesn't he fo the phone?

Speaker 70 (03:55:23):
In forteen to Eleven's Nicky from the switchboard.

Speaker 2 (03:55:30):
Sticky just got a call on.

Speaker 29 (03:55:32):
The board for p X Jones. Not even sure it's
a man's voice.

Speaker 26 (03:55:34):
Oh manco hllary?

Speaker 2 (03:55:36):
What I do? Tell him?

Speaker 9 (03:55:37):
You're trying to reach mister Jones.

Speaker 15 (03:55:38):
Snicky.

Speaker 70 (03:55:38):
Meanwhile, ring operator and have her trace the call. I'll
hold on here, dad, Joel MANA I think so, my brother,
Elias when that fall in forteen oh nine rings, you
answer and stall you understand.

Speaker 2 (03:55:49):
Hold your brother on the line, try to find out
where he's calling. I'll do my best, Nicky, I've been
the call traced. Yeah, good now ring forteen oh nine.
Back in the other room, Ali, he will do what
you say.

Speaker 16 (03:56:01):
Now.

Speaker 2 (03:56:01):
He won't say where he is, Elias.

Speaker 70 (03:56:03):
Get him to come to the Havens all right now,
answering yes, yes, Hello.

Speaker 2 (03:56:11):
You'll have to speak up.

Speaker 30 (03:56:13):
You'll have to speak loud. I can't tell you shut up.

Speaker 9 (03:56:16):
That's Joel Man?

Speaker 22 (03:56:18):
Oh yeah, where's he calling? From? Slab eight?

Speaker 2 (03:56:20):
What are you talking about?

Speaker 22 (03:56:21):
Sting Joel Marner's body has been fished out of the
East River while heard me three rifle slugs in him,
rubbed out. Joel's been dead at least forty eight hours.
Dead forty eight hours?

Speaker 2 (03:56:32):
Who put that ad in this morning's paper? Who's that
on the phone? Mama dropped that phone?

Speaker 4 (03:56:39):
Get away from that window.

Speaker 14 (03:56:40):
What mister queen you do?

Speaker 11 (03:56:43):
Right the window of the hotel across the street.

Speaker 4 (03:56:45):
Then he get over there and.

Speaker 2 (03:56:46):
Grabbed the sight right Hillary is Elias? It's dead?

Speaker 11 (03:57:02):
No, no, no.

Speaker 82 (03:57:04):
All we know is we found a smoking rifle in
this room at the Universal Hotel, under an open window,
same gun that killed Joel mana night before last. Keller
got away before my boys could cross over here from
the Haven. Now lay off and let us walk where.

Speaker 15 (03:57:17):
Your hair.

Speaker 2 (03:57:19):
Bector.

Speaker 99 (03:57:20):
It wasn't anybody's fall from.

Speaker 11 (03:57:22):
This fourteenth floor window.

Speaker 62 (03:57:23):
The killer had a perfect view of Miner's window on.

Speaker 2 (03:57:25):
The fourteenth floor of the Haven.

Speaker 11 (03:57:27):
Of course, that narrow streeter, you could.

Speaker 2 (03:57:30):
Have plugged Elias with this rifle. Niggas whoa slow down
the nikki's right. No one could have foreseen this.

Speaker 70 (03:57:36):
Kila must have trailed Joel Mona two nights ago from
his office shut him and dumped him.

Speaker 9 (03:57:40):
Into the river.

Speaker 99 (03:57:40):
Then he must have gone gunning for a liass, but
by that time Alias had escaped and disappeared.

Speaker 82 (03:57:45):
Somehow, this killer found out, maybe from something on Joe's body,
that the brothers used the code words dot and dash
for secret communication.

Speaker 99 (03:57:53):
So he got the idea of luring Alife out of
hiding by placing that ad in the paper?

Speaker 11 (03:57:58):
Is it from Joel?

Speaker 70 (03:57:59):
When Alias felt the trick and checked into the haven,
the killer simply waited for nightfall, drew a liars to
the phone at his window by calling from this room
at the Universal clever touched that, and then, when he
was sure it was Elias on the phone, simply shot
him from across the street and made his escape.

Speaker 82 (03:58:13):
But who signed no clue in this rifle A hot
shop job. Killer must have brought it in dismantled in
this suitcase we found here, But the suitcase is also
a pickup. There's not a print in the room or
a single witness who saw the killer af he checked
in on?

Speaker 22 (03:58:31):
Really, Inspector, Yes, really.

Speaker 2 (03:58:35):
Here, I cadot anything else?

Speaker 22 (03:58:37):
Yeah, I got his hotel registration card, Inspector.

Speaker 82 (03:58:39):
Now gimme when did he check into the universal death
on a stamp d down here same ninety bump Joe
two nights ago?

Speaker 2 (03:58:47):
Who J J. Jones Chicago and black platters a pony.

Speaker 99 (03:58:52):
But there must be a description the bell boy who
carried his bag of he what's on that vally?

Speaker 22 (03:58:56):
Description short of short bell Hop shays or maybe not
age round twenty five to fifty four, dark glasses, sort
of medium colored hat and coat, hat pulled over his eyes.
Count a handkerchief over his mouth when he talked. Belhop
remembers him five.

Speaker 29 (03:59:11):
That might be anybody, even a woman dressed up of
the man.

Speaker 82 (03:59:14):
Any one of the ten thousand victims of the miner's
con game blasted.

Speaker 22 (03:59:18):
What do we do now, inspect to start checking ten
thousand alibis?

Speaker 2 (03:59:22):
I don't think, sergeant, that's going to be necessary. You
don't what other way is there?

Speaker 82 (03:59:26):
I suppose, son, you picked the killer of the Mina
brothers out of.

Speaker 2 (03:59:29):
The whole city of New York, just like that. It's
one of the people we met in the course of
the investigation.

Speaker 22 (03:59:33):
It is what how do you know?

Speaker 35 (03:59:35):
And what people whom have we met?

Speaker 22 (03:59:36):
A buchling, a taxi driver, a woman on the street,
some hotel employees.

Speaker 99 (03:59:40):
Room, click, manager, waiter, telephone operator, be elevator man, I'll
come off at elree.

Speaker 2 (03:59:45):
We didn't even get their name.

Speaker 22 (03:59:46):
We don't even know if any of them was a
victim of the swindle.

Speaker 70 (03:59:49):
My stroke, that's the same. I know exactly who murdered
the Mona brothers. And here, ladies and gentlemen, you have

(04:00:11):
the mystery. Now suppose you home, Mom, Chatt Detectives and
our guest in the studio compare solutions.

Speaker 2 (04:00:16):
He will you do the honors gladly? Ellery.

Speaker 29 (04:00:19):
Our guest tonight is mister Gerald.

Speaker 33 (04:00:21):
Moore, the prominent wolf.

Speaker 2 (04:00:22):
Thank you that night.

Speaker 29 (04:00:25):
No, but it's true, Ellary. Mister Moore plays the title
role of the lone Wolf in the Columbia Picture series.
Isn't the same name?

Speaker 34 (04:00:31):
Thanks for the explanation, Nikki. I hate to have anybody
get the wrong idea.

Speaker 70 (04:00:35):
I know radio microphones are known new experience to your Jerry.
You also played the part of Bill Lance and the
Adventures of Bill Lance over ABC every Sunday.

Speaker 4 (04:00:42):
Don't Yeah, that's right, Ellary.

Speaker 34 (04:00:43):
We do our share of tracking down criminal too good.

Speaker 70 (04:00:46):
I suppose you draw upon your experience as a clue
chaser and well it has to be done, and expose
the killer in tonight's mystery.

Speaker 2 (04:00:54):
Tell me now who killed the Mona brothers?

Speaker 34 (04:00:57):
Well, your solution was incomplete, you see, I'm alibying myself advance.

Speaker 22 (04:01:00):
I see, but my solution is not yet been offered.

Speaker 8 (04:01:03):
No, that's what I mean.

Speaker 2 (04:01:04):
I have two favorite suspects.

Speaker 16 (04:01:06):
Tell me quickly, Yeah, I have the butler and the bellhave.

Speaker 70 (04:01:08):
All right, Thank you very much, mister Oil. You'll find
out in just a moment if your solution is the
correct one.

Speaker 2 (04:01:13):
Now Here is Paul Masterson.

Speaker 41 (04:01:16):
Save wheat, save meat, save the piece. This, in simple terms,
is the slogan adopted for the World Food Emergency campaign.
We little realize here in America the rather grave food
crisis and the majority of countries throughout the world, a
world food crisis that could easily precipitate another major conflict
among nations, because the seeds of discontent are forerunners of

(04:01:38):
intolerance among nations and are greatly influenced by hunger and malnutrition.
A healthy, properly educated nation breeds healthy intelligent minds, minds
that work in unison for a better understanding of world
problems and world peace.

Speaker 2 (04:01:52):
Each individual in.

Speaker 41 (04:01:53):
This great country of ours is an integral part of
the whole scheme of things. Your responsibility now may avert
an irre responsible act in the future. Your part as
an individual may seem small and inadequate compared to the
greatness of the task ahead of this. But it is
to you, mister and missus America, that a world struggling
in the agonies of hunger and despair looks for hope.

(04:02:14):
Think over this slogan, save wheat, save meat, save the peace,
and you will begin to realize the pressing need for
food conservation at home, a conservation that will help make
world security a reality today.

Speaker 2 (04:02:39):
Logical. Now, what do we know about those.

Speaker 70 (04:02:40):
Two hotel rooms involved, the room the killer checked into
a Universal and Elias Manna's room at the Haven. Well,
we know that both rooms are on the fourteenth floor
of their respective hotels, that their windows face each other
across a narrow street. In fact, that the Killer's room
commands a perfect view of Elias room. As you yourself
pointed out there, that had been chance accidental, hardly obviously,

(04:03:04):
the ideal relation of these two hotel rooms to each
other was a planned element of the Killer's plot, and
that tells us who the killer is not me though, Well,
that Sergeant, plus one other fact, which room was hired first?

Speaker 2 (04:03:18):
The killers are Elias Manas.

Speaker 82 (04:03:19):
Killer's registration kind indicate that he checked into this room
at the Universal two nights ago, and.

Speaker 33 (04:03:24):
We saw Alias check into the Haven this afternoon, Mallory.

Speaker 2 (04:03:27):
So the killer's room was hired first.

Speaker 70 (04:03:29):
But if the killer checked into this room two nights
before Mana checked into the one across the street, how
could he know in advance that Mana was going to
draw a room at the Haven on the corresponding floor,
a room from which Mana would be a perfect target.

Speaker 2 (04:03:42):
Sure?

Speaker 70 (04:03:43):
In other words, how was the killer able to control
Mana's getting room fourteen oh nine in the Haven Hotel?

Speaker 22 (04:03:49):
Maybe he reserved fourteen oh nine for Marna.

Speaker 29 (04:03:51):
No he didn't, Sergeant.

Speaker 99 (04:03:52):
We actually heard Elias Manor asked at the desk if
a room had been reserved for him, and the clerk.

Speaker 82 (04:03:56):
Said, now, mat if there was no reservation. It's imparssiblarity.
When a tranch and walks into a hotel, there's only
one person controls a room. We gave a man behind
a desk a room clerk miscrow exactly.

Speaker 70 (04:04:08):
The room clerk undoubtedly one of the ten thousand victims
of the Monas swindle, and the present repository of all
that's stolen money. Well, it's another example of the folly
of taking the law to your own hands. And it's
going to land mister room clerk in the usual place,

(04:04:32):
And there, ladies and gentlemen, you have the solution to
our mystery. Thank you again, mister Gerald Moore for occupying
our guest detective's armchair this evening, And as mementos of
the occasion, I have for you a copy of my
latest mystery anthology, The Queen's Awards nineteen forty seven, and
a subscription to Ellery, Queen's Mystery magazine, Ellery Don't Go Away.

Speaker 2 (04:04:51):
Huh oh, Paul, what's the matter?

Speaker 102 (04:04:53):
Uh?

Speaker 2 (04:04:54):
I don't want to put you on the spot, fellow.

Speaker 41 (04:04:55):
And maybe it's none of my business, but how long
is that young young girl, key Porterben.

Speaker 2 (04:05:00):
Your secretary Nikki?

Speaker 15 (04:05:03):
Oh?

Speaker 4 (04:05:04):
Quite a while, Paul.

Speaker 2 (04:05:05):
Why?

Speaker 41 (04:05:05):
Maybe it's news to you, Ellerie, but I'm told your
friends out there.

Speaker 2 (04:05:09):
Are sort of worried, worried about what about what gives
with you? And Nicky? So you too don't seem to
be getting anywhere.

Speaker 70 (04:05:16):
Oh oh, Niki as a special favorite of Paul Nikki.
Would you announce the title of next week's case?

Speaker 21 (04:05:26):
Oh?

Speaker 99 (04:05:27):
Yes, Next week, Ladies and Gentlemen, Ellery Queen presents the
Case of.

Speaker 33 (04:05:34):
Niki Porter frid.

Speaker 70 (04:05:46):
This is Ellery Queen saying good night until next week
and enlisting all Americans every night and every day in
the fight against bad citizenship, bigotry, and discrimination, the crimes
which are weakening America.

Speaker 41 (04:06:08):
All names used on this program were fictitious and do
not refer to real people, either living or dead. Among
the members of tonight's cast were Larry Dobkin, Virginia Greg,
Alan Reid, Herb Butterfield, Ruth Parrott, Jack Lewis, Charlie Seal,
Peter Leeds, Paul Freese, and Jan Novello. Music was by
Rex Corey, direction by Dick Wollen. This is ABC, the

(04:06:38):
American Broadcasting Company.

Speaker 6 (04:06:40):
We all know someone who struggles with depression, whether we're
aware of it or not. It's something those who suffer
tend to deal with in silence, in the shadows. But
the organizations we are supporting with our annual Overcoming the
Darkness fundraiser this month are working to make it easier
for those in the darkness to come into the light,
to find help and to learn they're not alone, but
there are ways to overcome the darkness of depression and

(04:07:02):
live normal lives. I do this fundraiser only one month
out of the year, as October is the anniversary month
for Weird Darkness. We launched in October twenty fifteen. It's
National Depression Awareness Month, and this month is spooky and dark,
kind of like depression. If you'd like to make a
donation or learn more about the fundraiser, or find hope
for yourself or someone you know who struggles with depression,

(04:07:24):
visit Weirddarkness dot com slash hope. The fundraiser ends Halloween
night at midnight. Please give what you can Weirddarkness dot com,
slash hope.

Speaker 4 (04:07:35):
Quiet Please, Quiet Please.

Speaker 9 (04:08:05):
The American Broadcasting Company presents Quiet Please, which is written
and directed by Willis Cooper and which features Ernest Chappell.

Speaker 4 (04:08:15):
Quiet Please for Today is called Beezer's Cellar.

Speaker 24 (04:08:26):
I looked at Marlena. Marlena looked at me when we
heard this old guy talking about Beezer's Cellar. Get a
load of this, Marlene, I said, and she picked up
a French fry and ate a very quiet while we
listened to the old guy.

Speaker 4 (04:08:42):
He was sounded off to another old guy, and the
other old guy couldn't get a word in Edgeway.

Speaker 29 (04:08:46):
So this here Beezer.

Speaker 13 (04:08:48):
They always called him six fingers.

Speaker 103 (04:08:50):
Diezer tea on accounty. He had six fingers on each hand.
He never did build his house. He got the cellar
dove and then he up and hung himself in it. Well,
I don't know why rightly.

Speaker 104 (04:09:06):
But they want some talk about the cellar being dug
into a cursed ground. Well, I want to tell you
there's been mighty odd doings up there. I judge up
a disu cellar, what well fis? And lights at night?

Speaker 29 (04:09:25):
And don't you tell me Foxfire?

Speaker 13 (04:09:28):
I've seen fox far and I know it when I did,
And this year ain't Foxfire? Who sixty odd years ago?

Speaker 102 (04:09:40):
And moons and who men hollering all over the place
at night, and trees are waving their branches when they
haat no wind. No, sir, that's a real deserted place.
You couldn't get me up there with a ten foot pold.
There place is haunted, Sonny, I want another roof deer, No, sir,

(04:10:06):
goats and sperrit and crawling things that hoot and holler.

Speaker 13 (04:10:11):
They in my line.

Speaker 4 (04:10:12):
You're getting that, Marlena.

Speaker 13 (04:10:15):
No, ain't been up there since I was a kid
in short pants.

Speaker 102 (04:10:20):
The click of us went up there one afternoon in
the fall and we thought we'd seen a skeleton laying
down there on the floor of the cellar, and we'd
cut and run, never stop till we got to the
c and a tracks Yes, sir Sonny, thank you for
the root beer. That there's a place to shun and

(04:10:41):
by doll people shun it. Well, hey, it's right out
past the cemetery where you turn off to the strict
Faden Road, but if it takes quite.

Speaker 29 (04:10:52):
A lot of funding.

Speaker 13 (04:10:54):
About three mile east there's a big elm tree that
was struck by.

Speaker 24 (04:11:00):
Come on, Marley now, I said, we sort of drifted
out of the place right. The car was parked up
under a big tree. But the side of the road.
Pete was sitting there with the Pete thirty eight pistol
he brought back from the war with his feet on
the suitcase with the eighty two thousand dollars. We stopped
to count it on the side street in Wilmington, on

(04:11:21):
the way down from Chicago. He watched the state cops
go on passed us down sixty six. Then we switched
the license plates and jogged on after him. He wasn't
taking any chances. He had the snow of that P
thirty eight and our faces them, and then we walked up.
You were to make some kind of noise or something,
I might.

Speaker 4 (04:11:39):
I'll let you have it with the gun. Away from
it and move over. Get in, Marley.

Speaker 13 (04:11:45):
You bring me a sandwich, barbecued polk of eight.

Speaker 4 (04:11:49):
Get eat it raw? What's cooked?

Speaker 28 (04:11:52):
He's done? He's got an idea.

Speaker 8 (04:11:54):
What now?

Speaker 28 (04:11:56):
Who's scared of ghosts?

Speaker 14 (04:11:57):
Pete?

Speaker 4 (04:11:58):
I ain't scared of anything. Hell, that's good. What's this
about ghosts? We might run into a couple of them
where we're going.

Speaker 28 (04:12:06):
An old man with six fingers on it.

Speaker 62 (04:12:09):
He can oh a cop.

Speaker 4 (04:12:11):
He hanged himself sixty years ago. What is all his
double talk? Quit? Holler and aneacha sandwich?

Speaker 9 (04:12:17):
Listen?

Speaker 4 (04:12:17):
What are you figure out?

Speaker 24 (04:12:20):
I found a place to leave the bank with the
money for a while where things cool off.

Speaker 33 (04:12:25):
He's a bag.

Speaker 4 (04:12:27):
What do you think I was gonna do that? Sella watch?

Speaker 2 (04:12:30):
Sellar Stanley?

Speaker 28 (04:12:32):
Are you crazy?

Speaker 4 (04:12:33):
Listen, I would like to let me in on this. Huh. Listen,
this is a haunt. Sellou see? The old man says,
nobody ever goes there. There is scared to go there?

Speaker 32 (04:12:42):
So am I?

Speaker 4 (04:12:43):
Oh? Can up my lane? Is there anything to be
scared of?

Speaker 28 (04:12:46):
Only ghosts?

Speaker 4 (04:12:48):
Well?

Speaker 24 (04:12:50):
You can always go riding around the countryside if you
want to ask him some take cop to take us.

Speaker 4 (04:12:56):
Yeah, it's always the way with you, amateurs. Amateur, I
shot the guys did night?

Speaker 24 (04:13:02):
Who told you to shoot? Who told you which ones
to shoot? You're beefing about it.

Speaker 4 (04:13:09):
I didn't say anything.

Speaker 28 (04:13:11):
Well, I wish I'd never got into.

Speaker 4 (04:13:13):
This or a nice chunk of eighty two thousand dollars?
You wish that?

Speaker 22 (04:13:17):
Well?

Speaker 19 (04:13:19):
But do we have to do it this way?

Speaker 28 (04:13:21):
Stanley?

Speaker 4 (04:13:23):
You think of a better way? Where is this place
few miles from here? What are we waiting for? That's
my boy?

Speaker 28 (04:13:31):
We wouldn't have to stay around there long? Will be standy?

Speaker 4 (04:13:34):
I listen? Maybe you think i'd go there.

Speaker 24 (04:13:36):
At all if I didn't have a hot suitcase to
take care of.

Speaker 28 (04:13:39):
Leave right away.

Speaker 4 (04:13:40):
I will. We all will, whether old six fingers shows
up to scare us or not.

Speaker 5 (04:13:48):
Don't Stanley, which way stand?

Speaker 4 (04:13:52):
Well, the old fella said something about a.

Speaker 28 (04:13:56):
Road stick Fadden road.

Speaker 37 (04:13:59):
Well, now, but the reason I was asking is there's
a motorcycle.

Speaker 4 (04:14:03):
Coming down the road back there where. I was just
kind of interested in.

Speaker 37 (04:14:07):
Our next move, not that I haven't good ideas, and
I oh, I put that gun away.

Speaker 4 (04:14:13):
I was only going to ask him a question.

Speaker 24 (04:14:19):
But Bete didn't have to ask him a question. Marlene
had stepped out of the car and she walked right
up to the man in the blue suit, and she said,
how do I get to strik Faden the road? The officer,
now the opposite, told her just as polite as the headwaiter.
He's been awful surprise if you knowing what was pointing
at him while he was being so nice to the

(04:14:40):
cute little redhead.

Speaker 4 (04:14:43):
Eh, what do you don't know?

Speaker 24 (04:14:44):
Won't hurt him, I always say, And we relaxed. Well,
so we found the road all right. We drove along slow,
the low model A forward with Indiana license plates, and
we were pretty quiet. I don't know what people thinking
about it, Marlane, but I know what I was thinking about.
Trees hanging low over the road, trees that moved their branches,

(04:15:09):
when there wasn't any wind and lights in the night
that wasn't fox fire, whatever foxfire is. And pretty soon
there was a great, big old elm tree alongside the
road and it looked as if it had been struck
by lightning.

Speaker 4 (04:15:26):
So we stopped.

Speaker 24 (04:15:28):
Yeah, there wasn't any trees waving their branches or any
funny noises, but we found bees are cellar.

Speaker 4 (04:15:36):
I wish we hadn't.

Speaker 24 (04:15:44):
There was the elm tree that was struck by lightning,
and there was a fence that we busted down. There
was a kind of path, it'd have been a path
once and it was all I could do in the
doctor bust my way through the under brush with a
flashlight and Pete waiting in the car ready to win.
There was smooching active and then quisite it cop pulled

(04:16:04):
up smooching with a heiny pistol laiming under his arm
over the side of the car. It was a lot
easier getting the eighty two thousand dollars and it was
crawling through the bushes looking for a Beezer's cellar. I
pretty near fell into it. It didn't smell very good.

(04:16:25):
There was water in spots in the bottom and it
looked haarted enough kind of felt my back hair coming up,
and I said, yeah, well, it's better than one of
these little lion rooms. They got down Stateville and I
went back after Pete and Marlena. We ran the car
off the road open nobody would see it. We lugged
the suitcase back to the underbrush. I jumped down. Pete

(04:16:49):
and Marlena climbed down after me.

Speaker 4 (04:16:53):
Good deal. Huh looks hot?

Speaker 28 (04:16:56):
All right, I don't like this, Stanley, Yeah, it stashed
the bag.

Speaker 4 (04:17:00):
Get out of here. How are you going to do it?
We'll dig a hole, jerk and bury it?

Speaker 61 (04:17:05):
What with?

Speaker 4 (04:17:06):
Well didn't you oh first?

Speaker 2 (04:17:09):
Oh?

Speaker 28 (04:17:10):
Wait a minute, standing, I see something over there against
the wall.

Speaker 4 (04:17:14):
Flash the light.

Speaker 28 (04:17:16):
I thought I saw it when I climbed down a shovel.

Speaker 4 (04:17:21):
Ain't that convenient? Maybe the ghosts left it here? Cut
that out? Scare you kid? You'll cut it out?

Speaker 9 (04:17:33):
Yeah?

Speaker 24 (04:17:33):
Thanks, Arlanda hold the light, pet and I'll turn it
out quick as a car coming.

Speaker 4 (04:17:40):
Okay, it makes so much noise.

Speaker 24 (04:17:47):
You want to dig. I'll hold a light. Wait, what's
the my shirt? I thought I heard somebody go on
dig pick up the bricks.

Speaker 28 (04:18:03):
Okay, let me hold the light and you can both
dig will get out of your quicker. Okay, don't do
that stuff.

Speaker 4 (04:18:20):
Nobody gonna hurt your kid. Nobody here, come back with
that light. Come on, let's stop kidding around.

Speaker 28 (04:18:25):
I'm going to sit down.

Speaker 4 (04:18:27):
You get all wet.

Speaker 28 (04:18:29):
I know it's bust the chair here?

Speaker 29 (04:18:31):
Oh all right, yeah, let's go.

Speaker 4 (04:18:38):
Now, what's the matter?

Speaker 28 (04:18:39):
Family? You didn't sit in this chair, did you?

Speaker 4 (04:18:43):
You kidding? What's the matter?

Speaker 28 (04:18:46):
Somebody's been sitting in it. The seeds to the wrong.

Speaker 4 (04:18:54):
And she dropped the flashlight, and the roll down into
the hall. We've been digging.

Speaker 24 (04:18:59):
I went bouncing down and down and down and down
hundreds of feet. We could watch it, twisting and turning
and letting up the sides of a deep, smooth shaft
that seemed.

Speaker 4 (04:19:08):
To have no bottom at all. And there we were
in the dark, down in.

Speaker 24 (04:19:13):
The Beezer's cellar, darkness pushing down on us. And there
was a sound somewhere, way far off that seemed to
come up to us from the bottomless pit we had opened.
And I swore I let a match. Pete and Mylene
were leaning over the edge of the hole. Marlena jumped

(04:19:35):
back and she scream, and she would have stopped till
I slapped her face a couple of times.

Speaker 4 (04:19:40):
I said, cut it out. Do you want all the
cops in the state to come running? She grabbed me
by the arm. She would have yammering like a baby.

Speaker 76 (04:19:46):
I saw it and was looking right at me at
our side.

Speaker 24 (04:19:51):
She passed out cold. Only the quick grab the Pete
mate kept her from falling.

Speaker 4 (04:19:55):
Right down the hole. Well, I'll beat.

Speaker 24 (04:20:00):
I slapped some of the dirty water in her face.
Pretty soon she sat up. She started to cry and
it started to rain. Look, Pete said, look, I don't
go for this Stanley scared of ghosts.

Speaker 4 (04:20:15):
Nuts.

Speaker 37 (04:20:15):
There's no ghost, but I think we can find a
better place to.

Speaker 4 (04:20:19):
Bury our dough than mister Beezer's selling.

Speaker 11 (04:20:21):
Let's get on of you, please, let's get shut it.

Speaker 4 (04:20:24):
Out, Marlene, Let's get on of you. Tell you you
saw a reflection of the match down this old well. Well, sure,
that's what it is.

Speaker 22 (04:20:33):
It's a well.

Speaker 37 (04:20:35):
Some of these old houses had a well right and
a cellar. I remember it from when I was a
kid and we busted into the well.

Speaker 4 (04:20:42):
Looking at me put it out, she didn't either. We'd
have been in a swell fixed. If we dropped the
suitcase down the well.

Speaker 24 (04:20:48):
I'll say we would. Let's dig another hole. Shut out, Marlene,
Let's get out of this. I'm getting soap.

Speaker 28 (04:20:56):
Yes, let's get out of your something.

Speaker 24 (04:20:59):
Go on, you two, if you're I'm going to get
this two case planted, yeah, hurry upstanding, I'll hurry.

Speaker 4 (04:21:12):
We shouldn't dropped that white.

Speaker 20 (04:21:16):
All right, all right, cut.

Speaker 4 (04:21:17):
It out, don't make so much noise.

Speaker 68 (04:21:25):
I cannot cannot.

Speaker 7 (04:21:36):
Wait.

Speaker 4 (04:21:36):
I'll write a match.

Speaker 20 (04:21:41):
On the other side.

Speaker 4 (04:21:42):
I guess what's the matter. I can't find a place.

Speaker 20 (04:21:45):
Where we climbed down.

Speaker 29 (04:21:49):
This way, this sun, oh, that way?

Speaker 70 (04:22:00):
Yeah?

Speaker 37 (04:22:04):
Wait, say you know something, Stanley?

Speaker 4 (04:22:11):
Huh, I know what. Something's happened.

Speaker 29 (04:22:16):
I don't room singing about it.

Speaker 4 (04:22:17):
Listen, Stanley. I had been all around the walls of
this place, and I trusted place.

Speaker 8 (04:22:21):
In the walls where we came down.

Speaker 4 (04:22:22):
Ain't there anymore? What did you? I'm telling you, Stanley,
i'd imatchine look for yourself.

Speaker 24 (04:22:28):
And I struck a match and I shielded it carefully
in my hands, and I looked around the walls of
Beezer's cellar in the drizzling rain, and you know what
there wasn't any way out of that place that I
could see. The walls, all four of 'em was as
smooth as glass, and from way way down deep in

(04:22:52):
the earth, I could just see a little.

Speaker 4 (04:22:54):
Bitty gleam from that flashlight. Mm, I thought to myself,
I and see what my lane a mandic? It does
look like eyes, now, don't it?

Speaker 2 (04:23:03):
Oh?

Speaker 4 (04:23:09):
Down at the.

Speaker 24 (04:23:09):
Bottom of a mustial cellar in the middle of the night,
and a hole in the floor.

Speaker 4 (04:23:12):
That goes down. I haven't got any idea how far
and rain and a.

Speaker 24 (04:23:16):
Hysterical woman in a suitcase with eighty two thousand dollars
and no way to get out of the place. Great, huh,
Well you can explain anything, can't you. A hole on
the floor, Sure that was a well the eyes she
thought she saw. Sure that was a flashlight reflecting on

(04:23:38):
the water down there. And the way we couldn't get out. Well,
maybe the wall wasn't as busted down as I thought
it was when we got into the place. Maybe we
didn't notice how smooth the walls was.

Speaker 4 (04:23:52):
Yeah.

Speaker 37 (04:23:53):
Sure, And how are you gonna explain that chair seat
being warm when Marlene sat down on it?

Speaker 4 (04:24:02):
Yeah, that's right, Pete.

Speaker 28 (04:24:04):
I didn't want to come here in the first place,
and you guys get a life all these.

Speaker 4 (04:24:09):
There is no such thing as ghosts. Just pick a
swell time to make a statement like that.

Speaker 28 (04:24:14):
Boy hella right, maybe there is no ghosts, but there
are other things.

Speaker 20 (04:24:21):
Like what.

Speaker 4 (04:24:23):
Next, things that come up out of the Cut it out.
Give me a cigarette, pep, you're gonna sit here all
night in the rain. What'll I do? Fly out of
here or something? Yeah, give me a match. Wait, I'll
spit for you.

Speaker 19 (04:24:40):
Let's get out of here.

Speaker 4 (04:24:46):
Wait till morning. We'll find a way out.

Speaker 9 (04:24:49):
Then.

Speaker 4 (04:24:50):
I wonder if we could reach the top of the
wall if we stood on that chair.

Speaker 9 (04:24:52):
I don't know.

Speaker 28 (04:24:53):
You wouldn't get me to touch that chair for one
million dollars it was war.

Speaker 4 (04:24:58):
That don't signify. What about the suitcase?

Speaker 2 (04:25:02):
What what'd you do with it?

Speaker 4 (04:25:05):
I'm sitting on it, he.

Speaker 37 (04:25:07):
Said, warm hot as a pistol. Cut it out, Look, babe,
I don't like this any too well either. Meet move
over this way.

Speaker 24 (04:25:21):
Yeah, don't worry, kids, another couple of months we'll come
back and pick up our.

Speaker 4 (04:25:27):
Little price package.

Speaker 47 (04:25:28):
Here.

Speaker 4 (04:25:29):
It'll be warm for life, all of us. If we
ever get out of here. Come on, you do that, Pete?

Speaker 8 (04:25:41):
No, but was it?

Speaker 4 (04:25:44):
I don't know. Oh wait a minute, Stanley, I think
I know what it was. What wait?

Speaker 8 (04:25:54):
What come there?

Speaker 4 (04:25:56):
Yellow?

Speaker 24 (04:25:59):
In the damp darkness. I moved toward the sound of
Pete's voice. He stuck my hand, put it on the edge.

Speaker 45 (04:26:06):
Of the whole.

Speaker 4 (04:26:06):
I dug, see what A couple of bricks fell in
the hole? Hole, mar leney, get back from the edge
a match, Stanley, you got him your life one alright?
Stand back a little.

Speaker 24 (04:26:25):
Handing the light from the match before it fizzled out
in the rain, and he saw what it made the sound.

Speaker 4 (04:26:30):
Two or three bricks had got loosened at the edge
of the whole, I dug had fallen in.

Speaker 24 (04:26:35):
And as I looked before the match went out, two
more sagged and fell downward into that bottomless pit.

Speaker 4 (04:26:40):
Get back, my Lene, I yelled. Pete lit another match out.

Speaker 24 (04:26:44):
The crack yawned open, and with a crash, a half
a dozen more bricks tumbled into the hole below us.
I could see the feeble blower the flashlight way down there.
Seem to me the things crawled far far below us
in that horrible pit. Pete and I dragged my lane
away to the wall.

Speaker 4 (04:27:01):
There was a rumble in the.

Speaker 24 (04:27:02):
Mouth of the pit grew bigger, seeming that the glow
from down there was growing stronger. We sat there, huddled
against the slippery walls, frozen cold with terror. Another section
of the floor fell in.

Speaker 4 (04:27:13):
The whole floor's going Come on, we gotta get out.

Speaker 24 (04:27:15):
Marlena is sobbing, and Pete and I scrambling at the
slippery walls. There wasn't a chance, and the onembling stopped
for a second. We flattened ourselves against the bricks and
the light that came up from down there. I could
see Pete's staring eyes and the tears of fright shining
on Marlene's cheeks.

Speaker 4 (04:27:31):
I said, we got to get out of here. Help
me up the walls. Danny can't tell you.

Speaker 13 (04:27:38):
The tribe boys, you can't get out.

Speaker 4 (04:27:45):
And I looked up.

Speaker 24 (04:27:47):
And there sitting comfortably on the edge of the cellar wall,
grinning at us, and the light that flowed up from
the pit and the cellar floor.

Speaker 4 (04:27:55):
As the old man, Marlene and I had heard at
the roadside restaurant.

Speaker 24 (04:27:59):
The old man had told the heard story about pieces
cellar ain't no use to.

Speaker 13 (04:28:04):
Try your still held. Don't hoop holler baby.

Speaker 4 (04:28:10):
Look on, man, give us a hand, will you.

Speaker 13 (04:28:13):
I heard tell it was.

Speaker 1 (04:28:15):
Fell a long time ago that got down into this
year's cellar.

Speaker 4 (04:28:20):
Just like you done. Give us a hand of floor's coin.

Speaker 7 (04:28:23):
I know.

Speaker 13 (04:28:25):
The floor fell in with him too.

Speaker 4 (04:28:28):
Help us.

Speaker 102 (04:28:29):
He killed a fella down towards manitoe, and he come
and hid.

Speaker 13 (04:28:34):
Here in the cellar.

Speaker 4 (04:28:35):
Give us a hand out of here with and the
same thing.

Speaker 29 (04:28:38):
Happened to him.

Speaker 13 (04:28:40):
Never did find his body more floor falling in.

Speaker 4 (04:28:48):
Hey, come on, give us a hand up out of here.

Speaker 70 (04:28:50):
Help us.

Speaker 2 (04:28:55):
What's down there?

Speaker 4 (04:28:58):
Fire and destruck? Listen, old man, that's boy.

Speaker 102 (04:29:03):
You know you hadn't go to shot that poor feller
at the bank of there in Chicago.

Speaker 4 (04:29:10):
Murders bad Listen. We got a lot of money down
here with us.

Speaker 13 (04:29:15):
I know it.

Speaker 2 (04:29:17):
You're criminals.

Speaker 4 (04:29:20):
Well we'll split it with you.

Speaker 102 (04:29:22):
Don't want no part of stolen money. Bove ain't much
more left days there. They'll never find your body.

Speaker 4 (04:29:33):
I'll listen you all. I don't call me put that
pistol down.

Speaker 13 (04:29:40):
That won't do you no good, son, too bad o listen.

Speaker 4 (04:29:45):
Mister, But the look there's a woman down here.

Speaker 7 (04:29:49):
Yeah, criminal, Thank you too, boy, But look look out
my lena.

Speaker 47 (04:29:58):
Here.

Speaker 102 (04:30:00):
Kind of figured you was listening to me back there,
sould wetherill stand.

Speaker 13 (04:30:05):
Kind of figured you'd come a kite out here to
the cellar, but to.

Speaker 15 (04:30:10):
Listen to reason, please just reach down and give us
the hand.

Speaker 13 (04:30:15):
Kind of figured i'd come along and watch and see
what had happened to you. Mighty interested or if I
could get my hands on you.

Speaker 54 (04:30:24):
You can't not unless I let you come do this
one reale, No lady, no use to holler.

Speaker 13 (04:30:42):
The wages have seen his death.

Speaker 30 (04:30:44):
I always say, you.

Speaker 13 (04:30:46):
Robbed and you're murdered, so you've got to be punished.

Speaker 4 (04:30:51):
See, you can't sit there and watch us die.

Speaker 13 (04:30:54):
Another hunk of the floor is good. You better move
over to one side.

Speaker 4 (04:31:00):
I'm gonna get that all done.

Speaker 13 (04:31:02):
Put down your pistols and I'm getting I told you
ain't no.

Speaker 4 (04:31:09):
Listen, sheriff.

Speaker 1 (04:31:10):
By Uh, I ain't no sheriff. I'm just a fella
interested in seeing justice. And I recognized you back there.

Speaker 102 (04:31:21):
At the restaurant, and the thought to myself, I thought, well,
I'll just told these people you're over to the cellar
and we leave. Things take their course.

Speaker 4 (04:31:32):
Look off Marlen.

Speaker 13 (04:31:36):
Much not much for thieves and murderers.

Speaker 4 (04:31:40):
He's crazy, Stanley. There's an insane asylum across the river.
That's someplace he's escaped from there.

Speaker 13 (04:31:45):
No, son, I ain't insane. What would you give to
get out of there?

Speaker 4 (04:31:54):
You can have half the money.

Speaker 13 (04:31:56):
Ain't much time for bargaining it all to understand me.

Speaker 8 (04:32:00):
Let here.

Speaker 13 (04:32:02):
You ought to be willing to give up all the
money to save your life.

Speaker 7 (04:32:08):
I was in a fix like that.

Speaker 13 (04:32:09):
I'd give anything I got.

Speaker 102 (04:32:11):
We won't, we will, Lord getting hot down there, mighty interest.

Speaker 4 (04:32:22):
Well, all right, you can have all the money. Help
us out. I know you don't, Stanley, Han, Stanley, how
do we know he'll help us? Wait, don't give it
to take it?

Speaker 24 (04:32:32):
Crawl and Pete leaped at the suitcase I was handing
up to the old man. His fingers just touched the
edge of the bag when another section of frog gave
way right under him.

Speaker 105 (04:32:46):
He fell down and down and down and down, twisting
and turning into the fire that kept coming higher and
higher up the shop reaching for us, and the.

Speaker 4 (04:32:58):
Old man took the bag. Can set it down on
the edge of the cellar.

Speaker 102 (04:33:04):
See that might have been you fellaw er, you lady,
help us out of Good riddance. He was the one
that shot the fellas at the bank up in Chicago.
Good briddance.

Speaker 4 (04:33:18):
I always say, are you going to help.

Speaker 13 (04:33:21):
Your right in the naked time? Here rab a hold
of my hand.

Speaker 4 (04:33:27):
Lady on the plane, you come, lady Poster, mister.

Speaker 13 (04:33:36):
There you are just as right as rain, all right
now you?

Speaker 24 (04:33:50):
And is the strong arms that the old man lifted
me up over the lip of the cellar wall. The
last section of the four blows fell away into the fire,
just as if a player something was over. The flames
died down. First they were yellow and then purple, and
they just went out. Marlena grabbed my arm.

Speaker 28 (04:34:14):
Where did he go?

Speaker 29 (04:34:15):
Then?

Speaker 26 (04:34:16):
Where did he go?

Speaker 4 (04:34:17):
I don't hey, oh man, hey, come on, let's get
out of here. What's this, mar Lena?

Speaker 20 (04:34:30):
What?

Speaker 4 (04:34:31):
He didn't take the money? It's right here.

Speaker 24 (04:34:39):
And so I picked up the suitcase and Marlene and
I hacked that way through all that underbrush back to
the road.

Speaker 4 (04:34:45):
We were just opening the door to the.

Speaker 24 (04:34:47):
Car to get in go away from Beezer's cellar, when
there was sawed off shotguns in our faces and lights
like I see the State Cops badge behind the light.
He laughed and said, come on, kids, we're going for
a ride. And it's very comfortable here in the little

(04:35:08):
iron room at Stateville. Then I hear the marline is
all right down there at the Women's President Dwight. She
can stay there for twenty years.

Speaker 4 (04:35:19):
Me, well, I'm gonna move.

Speaker 24 (04:35:24):
They got a tight little room here for people to
get mixed up in murders. Little room you can walk into,
but you can't walk out. All modern conveniences, electricity and everything. Well,
the old fella said, the wages of sin is death.

(04:35:45):
And I I guess I'd rather be here than in
Beezer's cellar. I really am pretty grateful to the little
old fella, A little old fella with the six on
the hand they pulled me out.

Speaker 62 (04:36:25):
The title of.

Speaker 9 (04:36:26):
Today's Quiet Pleas story is Beezer's Cellar. It was written
and directed by Willis Cooper. And the man who spoke
to You was Ernest Chappell, and.

Speaker 24 (04:36:35):
Lata Stavisky played br Lena, Warren Stevens was Pete, and
the six fingered old man was Charles Eggleston. As usual,
music for Quiet Please is played by Albert Burman. Now
for a word about next week, Willis Cooper, thank you
for listening to quiet Please next week I have a

(04:36:56):
story for you called The Genie Dreams of Me. And
so until next week. At the same time, I'm quietly yours.
Fernist Chapel.

Speaker 4 (04:37:11):
Now are listening.

Speaker 9 (04:37:11):
Reminder today David Harding Counter Spy is dedicated to employ
the physically handicapped.

Speaker 4 (04:37:18):
Wheak be sure to tune in.

Speaker 9 (04:37:20):
This is ABC, the American Broadcasting Company WJYZ, New York's
first station, WJZ AM and FM.

Speaker 41 (04:37:33):
The National Broadcasting Company presents Radio City Playhouse Attraction forty one,

(04:37:58):
Ladies and gentlemen. Here is the director of Radio City Playhouse,
Harry W.

Speaker 8 (04:38:02):
Jenkins.

Speaker 2 (04:38:02):
Thank you, Fred Collins. Friends.

Speaker 106 (04:38:05):
It is with a deep sense of pride that we
present a short note on the terrifying and credible, yet.

Speaker 2 (04:38:11):
Somehow glorious phenomenon known as Danger B.

Speaker 14 (04:38:15):
To tell you the story of Danger B in his
own way, here.

Speaker 106 (04:38:19):
Is the author of the Sat Report and the discoverer
of Danger B, Doctor George Sat, Doctor Sat.

Speaker 8 (04:38:27):
Thank you, mister Jenkin.

Speaker 88 (04:38:30):
In Ladies and gentlemen, I have at last been granted
permission to broadcast the long suppressed.

Speaker 8 (04:38:35):
Pages of my report on Danger B, which was filed
away a secret by the War Department in nineteen forty five.

Speaker 88 (04:38:43):
I believe it is possible that in discovering Danger B,
I may well have discovered the method of winning mankind's
oldest and most heartbreaking battle, a method of triumphing over
our most ancient and terrifying enemy death. Three weeks ago,

(04:39:10):
a twenty eight year old pilot named ted Oxen crashed
in a jet plane at the White.

Speaker 8 (04:39:15):
Sand fooding Grounds.

Speaker 88 (04:39:17):
A few seconds after his machine hit the earth, it
exploded and ted Oxen was instantly killed. There was something
mysterious about this crash, mysterious and frightening. I flew to
White Sands and had an interview with a doctor Harler,
the man who officially.

Speaker 8 (04:39:33):
Pronounced ted Oxen dead.

Speaker 88 (04:39:35):
Here is an exact transcript of the conversation which occurred
between doctor Haller and myself three weeks ago in doctor
Haller's home.

Speaker 30 (04:39:44):
Leave me.

Speaker 3 (04:39:44):
I'm quite aware of your reputation, doctor Sant, but I've
had strict daughters from the War Department to suppress all
information regarding ted Oxen's death.

Speaker 8 (04:39:51):
Why why this secret? I don't quite know. I'd like
to help you, doctor.

Speaker 14 (04:39:56):
Sant, but this is beyond me.

Speaker 30 (04:39:57):
It is incredible, It's simple.

Speaker 14 (04:40:00):
He cannot be believed by hard headed men of science.

Speaker 8 (04:40:03):
The aircraft which ted Oxen was piloting, it was an
experimental type.

Speaker 2 (04:40:06):
Yes.

Speaker 8 (04:40:06):
Was it jet propelled?

Speaker 75 (04:40:07):
Yes?

Speaker 8 (04:40:09):
How old was ted Oxen? Twenty eight? Are you sure
of his age?

Speaker 2 (04:40:13):
Yes?

Speaker 8 (04:40:13):
His birth certificate was with his papers. You examined his
body after the crash?

Speaker 2 (04:40:17):
Yes?

Speaker 8 (04:40:18):
Did you notice anything unusual about it? Was there anything?

Speaker 4 (04:40:20):
No?

Speaker 3 (04:40:21):
I will not answer that question. I have been told that,
under no circumstances must have divulged any information.

Speaker 8 (04:40:28):
Horror. There is no reason to be so upset.

Speaker 14 (04:40:29):
There is every reason to be upset, and I think
you know that very well.

Speaker 8 (04:40:37):
Did you see the speed indicator on Oxen's plane after
it crashed? Yes? What was the reading? I can't tell you.
Was it more than fifteen hundred miles per hour?

Speaker 30 (04:40:44):
Yes? Yes?

Speaker 88 (04:40:45):
And now you'll have to excuse all right, doctor holler,
I leave, But I know now what happened to ted Oxen.
He experienced the phenomenon which I call danger b. It
is something that happens to a human being who moves
too fast through space. I don't wonder it frightens you
would fight me, but it may well be the key
to a method of prolonging human life.

Speaker 9 (04:41:04):
And that you please go, Doctor sat this conversation's end.

Speaker 88 (04:41:08):
Yes, doctor Holler, I'll go, but I'll get an order
from Washington for an autopsy on tetor.

Speaker 30 (04:41:11):
I'll fight it.

Speaker 88 (04:41:12):
You may fight it as much as you like, doctor Holler,
but I have influence and I'll win. I'll win because
I'm determined to publicize danger b I will not allow
a rather tim a doctor to suppress the knowledge of
a force so revolutionary that it may well change the
course of the world.

Speaker 8 (04:41:37):
I went to Washington.

Speaker 88 (04:41:39):
I did get an order for an autopsy on ted oxen,
and this autopsy was performed by three of the nation's
most prominent surgeons. The report of this autopsy is here
beside me. The information contained in it will astound you
as it did me. It may even frighten you, but
there is no cause for alarm in view of what

(04:42:00):
I am now about to tell you. I wish you
to remember that I have the report of this autopsy
here with me in the studio.

Speaker 8 (04:42:08):
I shall read it to you shortly.

Speaker 88 (04:42:10):
It is absolute and concrete proof that what I call
danger be really exists. My story now goes back to
nineteen thirty four, when I was a young and very
enthusiastic aircraft designer. This is a transcript of a conversation
which I had with Sir Anthony Fleming, the President of
the British Aerodynamics Board, superintendent of the aircraft designed for the.

Speaker 8 (04:42:33):
Royal Air Force.

Speaker 88 (04:42:35):
The conversation took place in his office in London on
a summer afternoon.

Speaker 100 (04:42:40):
My dear doctor Sanch, you're a very young man, and
you're very excitable. I'm interested in your theories, but believe me,
their only theory.

Speaker 88 (04:42:48):
Is Sir Anthony, I cannot understand why you aren't willing
to at least try some of my designs. There is
no reason on Earth why an aircraft can't travel a
thousand miles an hour. There are many reasons, of decent,
many reasons. When an aircraft approaches the speed of sound,
strange things happen to it.

Speaker 100 (04:43:05):
Strange forces come into play. The hurtling metal machine crushes
the atmosphere into something hard and unyielding, a brick wall
of compressed air, if you like. We don't know much
about it yet.

Speaker 8 (04:43:17):
I know all about it.

Speaker 25 (04:43:19):
I beg your pardon.

Speaker 8 (04:43:20):
I know all about it. The sonic barrier, I say
it is nonsense. Do you really and I can prove it.

Speaker 88 (04:43:25):
I call the sonic barrier danger A danger A. I
believe that by nineteen thirty six, the sonic barrier will
have lost its terror.

Speaker 8 (04:43:33):
Sir Anthony, have you ever heard of the gun and
candle principle?

Speaker 25 (04:43:36):
Are you presuming to instruct me in elemental physics?

Speaker 8 (04:43:38):
Or believe me? Sir Anthony, I don't mean to be
imputent flat.

Speaker 88 (04:43:42):
As you know, if you fire a soft wax candle
from a smooth board gun, the power behind will drive
that candle through an oak plank. That is the principle
behind the F S one. The FS one FS is
an abbreviation of flying spade.

Speaker 8 (04:43:56):
The ship resembles the ace of spades. It embodies an
entirely new theory and.

Speaker 88 (04:44:00):
Jet proportion that will not only allow us to triumph
over the sonic Barrier, or danger A, as I call it,
but may also allow us to investigate an entirely new
type of physical phenomenon, which I refer to.

Speaker 8 (04:44:10):
As danger B.

Speaker 100 (04:44:12):
Doctor Sancho conversation reminds me of nothing, Glad so much
as juven drama and sensationalism should.

Speaker 8 (04:44:18):
Be left out of style. Galileo didn't leave it out,
nor did Newton nor Pasteur.

Speaker 25 (04:44:22):
Oh what an extraordinary young man you are, pastor.

Speaker 8 (04:44:25):
Indeed, oh, I didn't mean to compare myself with men
like that, don't you?

Speaker 25 (04:44:30):
And guess what is this danger B?

Speaker 88 (04:44:32):
It is a physical and mental phenomenon which occurs within
and without the human body when it travels as speeds
above fifteen hundred miles per hour. It is the most
frightening thing that I've ever experienced, and I'm positive experience.

Speaker 25 (04:44:44):
Am I to understand that you yourself have traveled at
the speed?

Speaker 20 (04:44:47):
No?

Speaker 100 (04:44:47):
No, no, but I'm sure that this danger B is
an experience that you've worked out on paper.

Speaker 30 (04:44:53):
Yes, but I know it exists.

Speaker 2 (04:44:56):
Well, I know it, that's all.

Speaker 88 (04:44:57):
If you could only trust me for six months and
give me your equipment that I need to experiment, I'm
positive that I could demonstrate that.

Speaker 8 (04:45:02):
The data doctor stands. Why don't we talk about this
some other time. I'm really very.

Speaker 25 (04:45:08):
Busy, and I jove it's a quarter to five, frightly, sorry,
but I should be laid.

Speaker 8 (04:45:13):
For my tea. Nobody would listen to me. I was
a visionary. I was a mad scientist.

Speaker 88 (04:45:31):
Well, it wasn't long before British and American aircraft designers
did triumph over the sonic barrier. Today, in nineteen forty nine,
many aircraft can travel faster than sound, But in those days.

Speaker 8 (04:45:42):
Nineteen thirty four, no one would believe me. During the
next six years, Danger B became an obsession with me.

Speaker 88 (04:45:51):
I couldn't get it out of my mind. I became desperate.
Every disappointment made me strain the harder. I resolved that
if necessary, I would sacrificed my life in order to
prove to the world that danger BEE was a real danger,
that it did exist, that it might be used to
benefit mankind. It took me until nineteen forty one to

(04:46:12):
complete my plans, and then, with the approval of the
War Department, I negotiated a loan from a fabulously wealthy
motor car manufacturer. You would immediately recognize his name, but
he is asked to remain anonymous. I told this man
about Danger B in his own home on the evening
of January the sixteenth, nineteen forty one.

Speaker 3 (04:46:29):
This is astounding, It's the most astounding thing I've ever heard?
Is this theory your own discovery?

Speaker 88 (04:46:35):
No, sir, actually it isn't. There was a mathematician named
Berliner who died in nineteen hundred and ten. He wrote
a paper called Living Cells and their relation to Time,
Philosity and Space.

Speaker 8 (04:46:44):
In it, he suggested that danger Be. Have you a
copy of this paper?

Speaker 21 (04:46:48):
No?

Speaker 8 (04:46:48):
No, there is a copy in the British Museum which
I have seen. I believe there's one in the Bodily Library.

Speaker 3 (04:46:52):
I know of no other, Doctor Sante, you really believe
that danger Bee can save lives?

Speaker 8 (04:46:58):
I think it might.

Speaker 3 (04:46:59):
But isn't it possible that once a man enters danger
Be he might never be able to return. Yes, sir,
that is very possible, and you are prepared to take
this risk if I can build an aircraft fast enough
to incur such risk.

Speaker 8 (04:47:13):
Yes, I'm quite prepared to be killed.

Speaker 2 (04:47:15):
Doctor Sant. How much money will you need?

Speaker 8 (04:47:20):
One million dollars?

Speaker 3 (04:47:21):
I see, doctor Sant, you're a very remarkable man. I'll
let you have the money. The Secretary of Defense is very.

Speaker 2 (04:47:30):
Interested in this project, and so am I.

Speaker 3 (04:47:33):
More than this, I would rather like to play a
part in the eventual discovery of so shattering a phenomenon
as Danger be.

Speaker 8 (04:47:50):
I got the money. The work was unending.

Speaker 88 (04:47:53):
Day after day after day, we struggled and sweated an
even quarrel over the f S two. There was discouragement
and heartbreak, and then there were moments of glorious achievement
that made all the past trouble seem worthwhile. It was
at this time that the War Department set me Captain
Richard Mayo, one of those rare and wonderful flying prodigies
who longed to get away from this slow, boggy earth.

(04:48:17):
He had courage, imagination, gots, he had everything. We finished
the f S two in April of nineteen hundred and
forty five. We shipped by train under the greatest secrecy
to the White Sands Moving Grounds in New Mexico. The
flight which would once and forever bring us face to
face what Danger B was planned for April sixteenth. The

(04:48:37):
night before the flight, Captain Mayo and I talked for
a long time. We sat on the bench outside the
isolated hangar which housed the f S two, and talked
far into the night.

Speaker 4 (04:48:51):
Doctor's saddest time.

Speaker 16 (04:48:52):
We went to bed.

Speaker 8 (04:48:54):
There's no use wondering about it.

Speaker 2 (04:48:55):
By this time, tomorrow, we'll either know or we'll be dead.

Speaker 88 (04:48:58):
It's got to be there. If danger Bee has got
to exist, it has to you'll know to morrow. Yes, yes, yes,
we'll know tomorrow.

Speaker 14 (04:49:06):
Is it liable to change us physically?

Speaker 88 (04:49:08):
I mean the way we look it might, Dick. I
don't know what symptoms to expect. I only know that
they will be violent and frightening. That's the reason for
the tape recorder. Even if the ship does crash, that
tape recorder is indestructible. It's encase in the magnesium box.
It's absolutely foolproof. And Dick, you've got to talk. You've
got to describe everything you feel and think.

Speaker 8 (04:49:30):
If we well, if.

Speaker 88 (04:49:31):
Anything happens to us, that recorded impression of danger Bee
must be complete.

Speaker 8 (04:49:36):
Otherwise there'll be no proof nothing, doctor said.

Speaker 2 (04:49:39):
We've done everything we can. It's late.

Speaker 9 (04:49:42):
Let's turn in.

Speaker 8 (04:49:43):
Now, you'll go to bed. I'm going to sit out
here for a while.

Speaker 2 (04:49:46):
All right, But don't stay too long, No, no, I won't.

Speaker 8 (04:49:49):
Good night, good night, Dick. And remember what I say.
Some day men will be looking out from those.

Speaker 88 (04:49:56):
Stars up there, looking down at this old earth, and
the first hurdle they'll have to lick will be my
danger be.

Speaker 8 (04:50:12):
The F S two weighs three tons.

Speaker 25 (04:50:15):
It looks like a great silver ace of spades.

Speaker 88 (04:50:18):
The tiny cabin is pressurized and the temperature is controlled
so that two men can be perfectly comfortable in light
flying suits. Oxygen masks are unnecessary, but recarried them in
case of emergency. It is powered by eight L seventy
nine turbojets and eighteen aero Jato rocket units. These engines,
at top speed, develop a trust of ninety six thousand

(04:50:40):
pounds or forty eight tons. It was my belief that
this colossal power could be maintained in flight for at
least forty minutes. Takeoff time was at nine fifteen on
the morning of April sixteenth. We took off with the

(04:51:02):
help of a B twenty nine, which has four plattent
Withney engines.

Speaker 8 (04:51:06):
The tiny F S two was nestled under the belly
of the enormous B twenty nine and held in place
by a series of electromagnetic grapples.

Speaker 88 (04:51:14):
As soon as the B twenty nine attained the speed
of two hundred miles per hour, the F S two would.

Speaker 8 (04:51:19):
Be released and then swing free of the mothership.

Speaker 88 (04:51:23):
The engines of the B twenty nine road in our
ears from the boat, taught and strained with nervousness and
the fear of the unknown effects of danger b the
noise of the B twenty nine seemed deafening. Slowly, we
edged to one hundred and seventy five miles per hour,
then two hundred, the lowest.

Speaker 8 (04:51:40):
Seat at which our jet engine would function.

Speaker 88 (04:51:43):
When the B twenty nine hit two hundred and twenty
five miles per hour, Captain Mal and the B twenty
nine pilot had a short conversation, and then Captain Male
switched on our jet engine. Ten seconds later, the electromagnetic

(04:52:04):
grapples were released and the FS two swung.

Speaker 8 (04:52:07):
Free of the B twenty nine.

Speaker 88 (04:52:09):
We shot ahead like a bullet from a gun, and
almost in an instant, the roar of the mighty B
twenty nine died away far behind us. In thirty seconds,
we reached four hundred miles per hour, then five hundred,
then six.

Speaker 8 (04:52:21):
Everything was working perfectly.

Speaker 30 (04:52:24):
What's the thrust stick?

Speaker 88 (04:52:25):
Twelve thousand pounds or I'll give it more oxygen. Right,
I'm going to start recording. Remember what I told you,
describe every sensation, no matter how ordinary it seems. If
anything happens to us, there's got to be absolute proof
of what we experience.

Speaker 30 (04:52:39):
I'll remember you go first.

Speaker 88 (04:52:42):
This is George Sands speaking. I am making this tape
recording on board the FS two.

Speaker 8 (04:52:48):
The time is nine thirty one.

Speaker 30 (04:52:50):
Our altitude is.

Speaker 88 (04:52:51):
Fifteen thousand feet, speed six hundred.

Speaker 8 (04:52:54):
Miles per hour. Ship functioning perfectly.

Speaker 30 (04:52:58):
It's a perfect day for it.

Speaker 2 (04:53:00):
Are you nervous?

Speaker 88 (04:53:02):
Yes, yes, all right, give it more helium right, head
it up quickly to critical step.

Speaker 8 (04:53:09):
Okay, how's the temperature normal?

Speaker 30 (04:53:12):
Get it up over the speed of sound. The noise
of these jets is.

Speaker 17 (04:53:15):
Deafening, all right, that's it. Faster than sound man.

Speaker 8 (04:53:34):
This is George sand on board the FS two.

Speaker 25 (04:53:37):
The time is nine thirty three, altitude.

Speaker 30 (04:53:39):
Nineteen thousand feet.

Speaker 88 (04:53:41):
We have just passed the sonic barrier and the coughing
and roaring of the jets has stopped. We hear only
a low, swishing noise of air against the ship. It's
strange to feel that the roar of our motors is
only ten feet behind us, and that we cannot hear it.
We are accelerating very rapidly and climbing almost vertically. We
feel a sensations of discomfort. Ship functioning perfectly. Feel all right, yes, fine,

(04:54:07):
but accelerate more. At this altitude our fuel will only
last forty minutes. Give it everything, all right. This is
George sand recording aboard the f S two. Altitude is
now forty one thousand feet rated climb very fast, speed
eight hundred and fifty time nine thirty seven. No unusual sensations,

(04:54:27):
except that I am somehow becoming aware of how fast
we are traveling. A moment ago, I thought we were
hanging motionless in space. Now we seem to be moving
in a different way, almost as though we were being
drawn along our course by a magnetum. The ship is
functioning perfectly, you feel all right? I feel that we're
going very fast. Yes, we're beginning to feel it. It's slight,

(04:54:49):
but it's starting. Shove the flattle right over. It's quite
open now. Can you feel it as though we were
being drawn towards something, something incredibly powerful?

Speaker 22 (04:54:59):
Right here?

Speaker 88 (04:54:59):
Take them up microphone, record exactly what you feel, all right,
give it to me. This is Captain Richard Mayo, recording
aboard the f S two. Thrust is almost thirty tons
and increasing very fast. I feel a strange sort of pressure,
and becoming very conscious of some sort of force, sense
of great speed, with something almost.

Speaker 30 (04:55:19):
Electric about it.

Speaker 88 (04:55:20):
It's hard to describe the sensation, but it's something like
falling too quickly in a fast elevator. I'm not experiencing fear,
but I am nervous and sweating out.

Speaker 2 (04:55:32):
Here.

Speaker 88 (04:55:32):
You take me hurts a little to talk as it's starting.
We're rendering danger be now. It'll get a great deal worse,
and I have no idea what will happen. Try to
keep talking as long as you can.

Speaker 30 (04:55:44):
Right.

Speaker 88 (04:55:46):
This is George Sand. Time is nine thirty nine. We
have just touched twelve hundred miles per hour. We have
now a terristic sensation of tremendous speed. Something seems to
be pressing against us, some strange force. I feel an
odd willness in my head. It's becoming very painful to
move at all. I'm leaving the microphone switched on and

(04:56:09):
locked to its support on the dashboard between Captain Mayo
and myself. I'll say something. Don't stop talking. Didn't say something.
I can't talk, can't you can't you Sand a little pain?
This sacrificing you?

Speaker 30 (04:56:21):
You hear me? Clearly yes.

Speaker 88 (04:56:24):
And the pain's getting less, It's getting less. Please please
keep talking. Please, This is Captain Mayo.

Speaker 17 (04:56:34):
Doctor sands plait the microphone and it's racked between us.

Speaker 88 (04:56:36):
I'm looking straight ahead, but I have difficulty seen. Everything's
very bright, almost blinding. Her Steed's fourteen hundred miles per
hour times.

Speaker 30 (04:56:44):
Nine forty two thirty.

Speaker 88 (04:56:47):
Our altitude is seventy thousand feet, dressed is forty five
tons and slowing.

Speaker 17 (04:56:53):
The pain in my jaws and hands has gone away.

Speaker 30 (04:56:57):
I'm feeling some nausea.

Speaker 2 (04:56:59):
I I can't understand why it's so conscious.

Speaker 30 (04:57:02):
Of enormous speeda.

Speaker 8 (04:57:03):
I'm not looking at the earth.

Speaker 30 (04:57:05):
There's nothing to gage our speed with. And I feel
as though I'm rippling through his face like a bullet.
I'll go on. We've got to have a record of this.

Speaker 88 (04:57:14):
Nothing can happen to that tape even if we crash.

Speaker 30 (04:57:16):
Now, Please please keep talking. I can't, I can't. I'm
not here, I'm not really here.

Speaker 47 (04:57:21):
I go on.

Speaker 30 (04:57:22):
We're in danger. Pee, don't you understand danger?

Speaker 15 (04:57:24):
Pee?

Speaker 30 (04:57:25):
Doctor sat wants me to talk with but I can.

Speaker 14 (04:57:30):
I'm not here.

Speaker 17 (04:57:31):
Come into Marauder in France in the war, I go on,
go on.

Speaker 88 (04:57:36):
I can't please, I can't short stand speaking. I am
quite conscious of what I am saying. I feel a
great sensation of speed. And Captain Mayo looks ill and
ash and white. His whole body is trembling. We are
trying to talk clearly so.

Speaker 30 (04:57:50):
That you will understand.

Speaker 88 (04:57:52):
Captain Mayo has just said he was in a marauder
and he's gotta turn. We gotta slow down.

Speaker 2 (04:57:58):
Please.

Speaker 88 (04:57:58):
Oh oh, my arm, my arm, Dick, what is it
that my arm is brokell me tell me quick if
you break your arm in front? Yes, yes, we've gotta turn.

Speaker 17 (04:58:06):
When hey, I don't.

Speaker 88 (04:58:08):
Understand what's happening when I have you break your arm
in France in nineteen forty two in the marauder, sick.

Speaker 30 (04:58:18):
That the mail was blacked out.

Speaker 88 (04:58:20):
He just said that his arm was broken, and I
can see it hanging at a horribly twisted angle from
his elbow. The ship is handling very easily. It no
longer is painful to move. Speed is sixteen hundred miles
per hour, thrust forty eight tons. Sensation of great speed
is almost unbearable. I expect to end the danger be
myself at any moment that the Mayle was recovering consciousness.

Speaker 9 (04:58:44):
It looks very ill.

Speaker 30 (04:58:45):
Dick, Dick, are you all right?

Speaker 57 (04:58:49):
It's gone now, My arm's all right.

Speaker 5 (04:58:51):
Now it's gone.

Speaker 88 (04:58:53):
Now the pain talk louder, talk louder. I can't we
gotta turn Doctor's leave the.

Speaker 52 (04:59:00):
Problem along, leave the pottle alone.

Speaker 19 (04:59:02):
Please slow down.

Speaker 17 (04:59:03):
I can't get it any longer.

Speaker 88 (04:59:05):
George Fast speaking, I have a strange geological sense of
having gone out of this world.

Speaker 30 (04:59:11):
I feel great.

Speaker 88 (04:59:12):
Fears and a sickening sensation of incredible speed. Everything is
whirling around me. Our speed is seventeen hundred miles per hours.
I am remembering nineteen thirty eight very clearly. I am
remembering nineteen thirty eight, almost as though I weren't here.
My sister had a Snauser dog in the summer of

(04:59:33):
nineteen thirty eight.

Speaker 30 (04:59:33):
It fits me badly. I sick. Get look at my hand.

Speaker 88 (04:59:37):
Oh now turn back, please tad to my wrist. I'm
trying very hard to speak loudly enough for this to
be recorded. I cannot move closer to the microphone. I
feel paralyzed.

Speaker 30 (04:59:49):
I feel pain in my wrist.

Speaker 33 (04:59:50):
I I can feel the.

Speaker 88 (04:59:53):
Part of the dog by guy Dick dead, Look.

Speaker 30 (04:59:57):
No now, turn around. We've got to slow down playing
more happy.

Speaker 88 (05:00:03):
Elaporations on my skin are getting angry and then flamed.

Speaker 30 (05:00:06):
They are undertaking me. The marks of the dog's teeth
are getting better. It flamed and bleeding in other they're
open red wounds.

Speaker 8 (05:00:14):
They're bleeding in around.

Speaker 11 (05:00:15):
Please fact this hand turn around.

Speaker 30 (05:00:17):
My got the wounds of the dogs fight is gone.

Speaker 88 (05:00:22):
Thet little spots of blood on my flying suits, but
the wound has disappeared.

Speaker 30 (05:00:27):
Not even the scars remained.

Speaker 88 (05:00:30):
The ship seems to be flying without any assistance for
either of us. I thought it was being drawn along
a groove of state by some outside power. I have
a great feeling for nineteen thirty two. Captain Mail was
blacked out again. I'm beginning to feel better. I am
thinking very clearly of nineteen thirty two.

Speaker 2 (05:00:46):
I have.

Speaker 88 (05:00:49):
Captain Mayo has just lost one of his heavy flying gomplets.

Speaker 30 (05:00:53):
It fell off his hand, and his hands on those
of a small boy. We are at the peace games
of Bees.

Speaker 88 (05:01:01):
They cannot last much longer. I am looking at Captain
Mayo's hands, and they are very young hands. That is
no longer any of the heavy black hair on his wrists,
his flying through his trumpled and wrinkled around his two
small bodies. The speed indicator has stopped moving and I
cannot read it. We must be traveling two thousand miles

(05:01:22):
an hour. We're traveling backwards in time.

Speaker 30 (05:01:26):
This is this is please turn back.

Speaker 88 (05:01:29):
Guy and Mayo have regained consciousness again. He is trying
to reach for the trattle, but he cannot move. I I,
I have tried to cut I'm motive.

Speaker 30 (05:01:40):
The emergency switches at my finger kipps, but I my mother, father,
please help me. Hi, I have reached the emergency button
that I a.

Speaker 88 (05:02:05):
Ladies and gentlemen, we landed twenty minutes later. Had we
remained on that course for another minute, we would not
now be alive.

Speaker 8 (05:02:16):
At the moment when Captain Mayo.

Speaker 88 (05:02:17):
Called to his mother, he was a little boy, ludicrously
little in his flying suit, which was slipping away from
him as he.

Speaker 8 (05:02:24):
Grew smaller line by line.

Speaker 88 (05:02:28):
Once we turned, the reverse process took place, and very
soon our minds and bodies were back to normal.

Speaker 8 (05:02:35):
I knew then that what Berliner had dreamed was true.

Speaker 88 (05:02:40):
Traveling at a very high speed in a given direction,
man touches one of the grooves along which time travels.

Speaker 8 (05:02:48):
Captain Mayo and I had gone back in time many years.

Speaker 88 (05:02:52):
If this process could be control, we could remain perpetually.
Young ladies and gentlemen, you may think this fantastic. I
told you at the beginning that I would give you proof.

(05:03:13):
I told you about ted Oxen, the young flier who
crashed three weeks ago at the White Sands Proving Grounds.
I told you I managed to have the War Department
order an autopsy on his body. I have the results
of this autopsy with me now. When ted Oxen took
off in his jet plane, he was twenty eight years old.

Speaker 8 (05:03:34):
Twenty eight The remains on which the.

Speaker 88 (05:03:38):
Autopsy was performed must, according to certain chemical tests, must
have been those of a boy between nine and ten
years old. This I regard as proof that Danger Bee exists.
Perhaps you will too. There is, however, much that must

(05:03:58):
still be worked out.

Speaker 8 (05:04:00):
Good night.

Speaker 41 (05:04:18):
The National Broadcasting Company has presented Radio City Playhouse attraction
forty one note on Danger b. The story was written
by Gerald Kersh and all characters were purely fictional. The
radio adaptation was written by Harry W. Junkin, who also
directed the production. Doctor George sand was played by John Larkin.

(05:04:39):
Richard Mayo was Bill Lifton. Other players included Horace Brahm
and Paul Mann. Music was composed and conducted by doctor
Roy Shield.

Speaker 14 (05:05:09):
This is Harry Jonson again.

Speaker 106 (05:05:11):
Next week on Radio City Playhouse, The Story of How
Love Came to Professor Guildea with Louis van Ruten and
David Goths. Please join us for this exciting story next
week Attraction forty two on Radio City Playhouse.

Speaker 8 (05:05:25):
Good Night, everybody.

Speaker 41 (05:05:49):
This is Fred Collins speaking, and this is NBC the
National Bloodcasting Company.

Speaker 6 (05:05:55):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(05:06:17):
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 Weirddarkness dot com. I'm Darren Marler. Thanks for

(05:06:38):
joining me for tonight's Retro Radio, Old time Radio and
the Dark

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