THE SHADOW, “Ghost Town”: The Only Residents At This Hotel Are Specters

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

Speaker 2 (00:13):
Oh Fantasy.

Speaker 1 (00:16):
I'm gonna thank some miss.

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

Speaker 2 (00:36):
Present Suspense.

Speaker 4 (00:41):
I am the Whistler.

Speaker 5 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise. Sign up for

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

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

Speaker 6 (01:30):
The CBS Radio Mystery Theater presents.

Speaker 7 (01:50):
Come in.

Speaker 4 (01:53):
Welcome.

Speaker 1 (01:54):
I'm E. G.

Speaker 8 (01:55):
Marshall of all the mathematical plane figures that exist, rhomboid, square, parallelogram,
at al. The one that causes the most trouble in
the human comedy is a triangle. This is the story
of a very special triangle called the Isosceles, the one

(02:16):
that has two equal sides, the third unequal.

Speaker 6 (02:21):
Because this is a story of.

Speaker 8 (02:22):
That phenomenon, we should consider some other actuarial figures. The
chance of twin birth is about one and a quarter percent.
But the varieties of twins, the least likely and the
most potentially disturbing, are monozygotic or so called identical twins,

(02:47):
like Joyce and Janus Adams.

Speaker 9 (02:54):
This is what you go for, Joyce, life, your kind
of music.

Speaker 10 (03:00):
I say, do you take it over? Tchaikovsky?

Speaker 6 (03:06):
Does it matter all that much?

Speaker 9 (03:07):
Nothing with us can never matter that much or anything?

Speaker 10 (03:12):
So here here take it all, baby? What do you do?

Speaker 6 (03:17):
You'll never get rid of me?

Speaker 8 (03:29):
Or mystery drama The Tortured Twins was written especially for
the Mystery Theater by Ian Martin and stars Marion Soldy's
and Paul Heckt. It is sponsored in part by True
Value Hardware Stores and Certaintyed Fiberglass attic Insulation. I'll be
back shortly with Act one. We are of nature and necessity,

(04:03):
hemmed in by our beliefs, our prejudices, our backgrounds, and
the world we have specifically made for our own. But
no one is more circumscribed in the life he lives
than the actor, the performer, the one in the public eye.

(04:24):
Like all Homo sapiens within the jungle of life, this
particular breed has its own gathering and watering places and
is subject to a rigid pecking order.

Speaker 6 (04:37):
As for example, come on, Adam, babe, answer, you just
gotta be home. You can't have left for the theater, not.

Speaker 10 (04:51):
Without Come on, Adam duncan speaking.

Speaker 6 (04:56):
This is your wife. Joyce, Joyce and rejoice. I made it.
They brought me. I got it, signed, sealed and delivered.

Speaker 2 (05:07):
For all hunty dumpties men.

Speaker 6 (05:09):
Yeah, for the film? Will it break you up?

Speaker 10 (05:12):
Hey?

Speaker 11 (05:12):
Hey, hold on a minute, honey, what about the play?
You have a contract run of the play?

Speaker 6 (05:15):
Oh, Lou Marrisa'll get me out of that somehow. Oh,
I mean, sugar, this is a big one.

Speaker 10 (05:20):
Yeah, I know.

Speaker 2 (05:20):
It's great Holey house.

Speaker 10 (05:21):
Soon that isn't firmed up yet, firmed up yet.

Speaker 2 (05:24):
There's a great little show biz phrase.

Speaker 6 (05:26):
Oh why do you have to be so difficult?

Speaker 11 (05:28):
I mean difficult. You have a contract run of the play.
How are we gonna wig you out of your play contract?

Speaker 6 (05:33):
Oh, Lou says, that's no problem.

Speaker 12 (05:35):
I hope he's right.

Speaker 6 (05:36):
This is my big chance the movie and it's a
terrific part.

Speaker 11 (05:41):
Who knows from movies? Okay, okay, suppose it is. How
do I get out of the show?

Speaker 6 (05:46):
Oh, gee, Adam, what's the big problem? I go to
Hollywood for whatever time it takes. You stay here till
it closes. Honey, let's not argue. We'll talk about it
after the show tonight about dinner. I'll just bring in
a sandwich or something, because now I'm I'm going out
to cocktails and like that with a producer and my agent.

Speaker 2 (06:07):
Hey, you shouldn't be drinking before the show.

Speaker 6 (06:10):
Come on at him. I'm a big movie star now.
And besides, you think I'm gonna miss being at the Argonquin.

Speaker 13 (06:21):
The moment I met Joyce Adams, I was lost. She
had honey blonde hair, green blue cat's eyes and a body.

Speaker 10 (06:31):
Wow.

Speaker 13 (06:33):
I mean, it isn't like talent is anything new to me.
It's part of the theater and theaters all.

Speaker 10 (06:37):
Of my life.

Speaker 9 (06:39):
I guess.

Speaker 13 (06:39):
In the last fifteen years since I was like about eighteen,
there hasn't been a legitimate production on Broadway off or
half off I haven't seen or maybe been part of.
And a body is a body I always.

Speaker 10 (06:51):
Figured until that evening in this little.

Speaker 13 (06:54):
Theater out of an old shoe factory where they're doing
Ibsen's Dolls House with Joyce playing norm the child was.

Speaker 10 (07:02):
She was terrible, but like I said, the moment I
saw I was gone.

Speaker 9 (07:08):
So after the show I talked to her into going
down to Phoebe's with me. Oh, that's the off off
Broadway sorties, so we could talk.

Speaker 10 (07:18):
Are you sure you don't want a real drink?

Speaker 2 (07:21):
No?

Speaker 6 (07:22):
I just love cherry cream soda.

Speaker 10 (07:24):
Oh.

Speaker 6 (07:25):
I know it isn't good for my figure, but I
just love it.

Speaker 10 (07:28):
Yeah.

Speaker 13 (07:29):
Well, so far it doesn't seem to have done any damage.
You want another?

Speaker 6 (07:35):
Gee? Could I? I mean, I don't even really know you.

Speaker 10 (07:40):
Yeah, you'd really better watch out for me.

Speaker 6 (07:43):
You wouldn't tempt me all that much with cherry cream SODA's.
But what was this about? A part in a real
Broadway play.

Speaker 13 (07:50):
Oh it's a shot in the dark, Choyce, All right to.

Speaker 9 (07:53):
Call you there?

Speaker 14 (07:54):
My name?

Speaker 6 (07:56):
I'd you say it was.

Speaker 13 (07:56):
Yours, Adam, Adam Duncan you see right now, I'm a nobody.
I'm an assistant stage manager and understudy on a production
William Lloyd is putting on the Duke and the Doll.

Speaker 10 (08:06):
They're looking for an unknown for the part of the dolls.

Speaker 6 (08:09):
Gee, isn't that the one where Judson Homes is going
to play the duke?

Speaker 13 (08:13):
That's right, and you would be just perfect for the
part of the doll. Looking into those lovely sea green,
wide open eyes. Some alarm bell should have sounded somewhere
inside me, telling me that this girl only.

Speaker 10 (08:30):
Existed from her eyes down.

Speaker 13 (08:32):
The attic was empty, But I was too zonked out
to believe that, and events moved so fast I didn't
have time.

Speaker 10 (08:39):
To think about it. Because she got the part and
she was a smash, even if the show didn't get
much in.

Speaker 9 (08:46):
Reviews, And anyway, who cared, Because the Sunday of the
week we opened, Joyce and I were married and had
a twenty four hour honeymoon at Atlantic City.

Speaker 6 (09:00):
It's not as romantic as I always thought it would be.
I just never thought it would be so cold at
the beef.

Speaker 10 (09:06):
Well, honey, it is the last day of October.

Speaker 6 (09:08):
Yeah, but still it's Atlantic City.

Speaker 9 (09:13):
My adorable wife, you are something else too much.

Speaker 6 (09:17):
Now I feel all warm and scroogey. Let's go back
to the hotel.

Speaker 10 (09:24):
You know, it's the funniest thing. That's just what I
had in mind too.

Speaker 9 (09:32):
Joyce was like laughing gas a whiff of her and
you were in orbit. The twenty four hours passed on
cloud eight and we were back in New York and
under the influence of another kind of excitement. Phones ringing,
agents soffers all the wild madness of overnight success.

Speaker 10 (09:49):
Oh not the play, Joyce.

Speaker 13 (09:52):
And then suddenly the plumb of the year drops right
in her lap, the chance to play the sex symbol
in the year's hottest film.

Speaker 6 (10:00):
Honey, they're waiting for us at Saudi's.

Speaker 15 (10:02):
Let's go.

Speaker 9 (10:03):
Hey, they can wait, they can wait. We've got to
look a few things straight in the face.

Speaker 6 (10:06):
The agent has the director meeting me too, as well
as mister Jenner, the producer.

Speaker 9 (10:10):
Just stop a moment to talk to mister Adam Duncan,
your stage manager and sometime.

Speaker 6 (10:15):
Husband, What do you mean Sometimes it's.

Speaker 10 (10:18):
Just a manner of speaking.

Speaker 9 (10:19):
Honey, you can't go signing for a movie while you're
still under a theater contract.

Speaker 6 (10:25):
Oh they don't need me. Mister Holmes is a star.
They can get anybody from me.

Speaker 9 (10:29):
Sure, that's why your phone is ringing and you're getting
all the offers while this cockamamie play has no advance
and the only thing that keeps a box office alive
is word of mouth about you.

Speaker 6 (10:38):
Well, I don't like doing the same thing over and
over again. And this is new. This is a movie
what I always wanted.

Speaker 9 (10:46):
To do, Joyce. You just don't know. It's a jungle
out there. They eat up little girls like you and
spit them down the drain. The theater is something else.

Speaker 6 (10:57):
You mean you don't want me to be a stuff.

Speaker 13 (10:59):
I don't want you to get the fever. Nothing comes
easy in this business.

Speaker 6 (11:03):
I don't know. I've been pretty lucky so far. Anyway.
It's what I want to do.

Speaker 10 (11:09):
I mean, what kind of money are they talking about?

Speaker 6 (11:11):
Oh that's up to Lou, isn't it?

Speaker 2 (11:13):
Yes?

Speaker 9 (11:13):
Or no?

Speaker 10 (11:14):
I mean, I mean, what are you going to live
on out there? Can we swing it on our budget?

Speaker 16 (11:17):
Oh?

Speaker 6 (11:18):
I'll live with Janie of course, my sister.

Speaker 13 (11:21):
Remember it isn't exactly the best time to move in
with her. I mean she just lost her husband.

Speaker 6 (11:25):
Oh he was a big mistake, mistake or not.

Speaker 9 (11:27):
I thought your sister Janie was trying to sell the house.

Speaker 6 (11:30):
She hasn't yet. By the time she gets a buyer,
We're going to be rich and I'm going to be famous.
So now can I go to Sardi's. I've never been
able to go there ever before and feel really important.

Speaker 10 (11:45):
So we went to Sardis and I was a fifth wheel, but.

Speaker 13 (11:49):
Joyce was in seventh heaven and everything went off like
a storybooks and a star was on the way to
being born. She was signed let out of a contract
with the Duke and the Doll, and off.

Speaker 10 (12:00):
She went to the Golden Capitol.

Speaker 9 (12:03):
Within six weeks the show she left died and I
caught the first plane for the coast the moment I
hit LA, I had it straight for Chelsea Drive, right
off Cold Water Canyon near the Beverly Canyon Hotel. That
was where Missus west Drew, Joyce's widowed sister lived.

Speaker 13 (12:19):
I rang the bell, the door opened, and there was
the woman I loved that I'd been aching for the
last month.

Speaker 10 (12:28):
And a half. And I gobbled her up in my arms.
Oh baby, Oh, darling my love.

Speaker 9 (12:34):
Wait, you ask a man who has lived on less
than bread and water to crazy man.

Speaker 10 (12:39):
I will listen to nothing but total surrender.

Speaker 15 (12:42):
Except you got the wrong girl.

Speaker 9 (12:43):
Don't try to poist me off, babes. Tell me you're
gone Hollywood. You're my girl, and you better know it.

Speaker 17 (12:48):
I'm not why not, joy I'm just her sister.

Speaker 10 (12:55):
What come on, Joyce?

Speaker 18 (12:56):
What's the rip?

Speaker 9 (12:57):
What are you giving me? Hey, you're being for real.
You're Joyce's sister.

Speaker 6 (13:03):
But I mean, I didn't she tell you we were twins?

Speaker 9 (13:07):
Yeah, sure, I guess she said twins. I just thought
the sister. This is just not possible. But well, I mean,
people look like each other for sure. It's been a
few weeks since I saw Joyce.

Speaker 10 (13:22):
I think I know my own wife. You're putting me on.

Speaker 13 (13:27):
Honestly, I'm not yea, I should have known. Actually, you
don't sound anything like each other.

Speaker 6 (13:34):
Oh I'm the second fiddle.

Speaker 10 (13:35):
No, no, no, no, I didn't mean that.

Speaker 13 (13:37):
You have a lovely voice, thank you, And obviously you're
the loveliest looking woman I've ever known.

Speaker 10 (13:42):
Since I can't tell you from my.

Speaker 6 (13:43):
Wife, Well, I'm sure you'll find enough differences between us
so you won't be confused.

Speaker 13 (13:52):
Such a simple statement, and yet how prophetic it was
to prove to be meeting Joyce later that day when
she came back from the studio.

Speaker 10 (14:02):
It was weird.

Speaker 13 (14:04):
I mean, I was acutely aware of the differences, and
not just only in the sound of the voice.

Speaker 6 (14:11):
It's a drag, but it's exciting too. Only I just
get so strung out. I mean, I am pooped. I
just want to lie down and sleep.

Speaker 10 (14:22):
Yeah, well, I'm glad my arrival is giving you such a.

Speaker 6 (14:24):
Left Oh, honey, you know I'm glad to see you.
It's just I'm I'm so tired.

Speaker 10 (14:31):
Okay, are you're tired?

Speaker 19 (14:32):
Now?

Speaker 14 (14:33):
You're mad at me?

Speaker 10 (14:33):
I'm not mad.

Speaker 9 (14:35):
You just don't seem exactly spaced out that I'm back
with you again.

Speaker 6 (14:38):
Oh, don't you worry about that, baby kin, Your little
Joyce loved you all too. Let me just pop a
pet pill. Then I'll have a bath, and then I'll
show you just how much you're my number one man.
You're my fella. I'm a big daddy. And don't you
ever think for one minute I'd ever let you go

(15:00):
to go.

Speaker 10 (15:00):
I just arrived.

Speaker 6 (15:01):
I'm never gonna let you go again. I'm never gonna
be without you. I'm just gonna hang around you like
a little anchor around your neck. I love you, I
need you, And the only way you'll ever be rid
of your baby doll is for me to die. You
ever wanted to walk out on me, you'd have to
kill me first.

Speaker 13 (15:25):
I smothered that kind of crazy talk with a kiss.
Only the terrible thing was that, as I held Joyce,
felt her move against me in all the old exciting
ways behind my closed eyes. The face and the body
was the same, but my ears were remembering that low,

(15:46):
musical voice of janesis her even steady, amused and gentle sureness,
and the impression I'd gotten of a strong and subtle
intelligence Joyce's twin, identical in appearance but so different in character.
And even as I kissed my wife hungrily, I couldn't

(16:08):
banish the earlier embrace I had held her sister in,
and insistently, terribly A phrase was ringing in my head
in Joyce's tinkly, fully jangling, baby dull voice, if you
ever wanted to walk out on me, you'd have to
kill me first.

Speaker 10 (16:34):
What would it be like?

Speaker 8 (16:35):
Do you suppose to fall in love with a woman
and then find that she wasn't the only one of
her kind. And if you liked the second image, vetter,
could you change partners? Or would the desire to do
that lead you to incredible lengths that you could never
dream of? I shall return shortly with that too. It

(17:09):
occurs to me that I didn't mean to be chauvinistic.
Quite dwell only on the one male unequal side of
our Isosceles triangle. There are the other equal sides, or
at least by normal measurement, that now demand some study
and exploration. The females Joyce and Janis identical twins physically,

(17:32):
but how diverse as individuals, How stressful or how violent
will their contrasting personalities threaten the slender figure of the
triangle three simple straight lines which presently join, but under
opposing forces could be blown out of existence.

Speaker 6 (17:53):
For example, Hello Janus, it's Adam. You're beginning to recognize me.

Speaker 9 (18:02):
I can always tell you now by my voice, by
so many other things, Adam, if you want to talk
to Joyce, I'm afraid you're out of lucky.

Speaker 11 (18:11):
Isn't she home from the studio yet? Ben Williams always
stop shooting on the dot of five.

Speaker 6 (18:15):
And our baby doll always comes straight home and on
the stroke of five point thirty is.

Speaker 2 (18:21):
Not wallowing in the bubble bath.

Speaker 6 (18:23):
Again every night. It's a ritual with the.

Speaker 2 (18:26):
Radio blaring away out ben. You know that worries me.

Speaker 6 (18:29):
Oh, my husband said, it's built in. There's no danger,
even with wet.

Speaker 20 (18:33):
Hands, even acid rock.

Speaker 6 (18:36):
Not my favorite brand of music. But why don't you
object because she's my favorite sister? Why'd you call that him?

Speaker 7 (18:43):
Oh?

Speaker 11 (18:43):
Yeah, I got a couple of tickets for the ballet
at Sir Romeo and Juliet with Champlain in Asteria. I
was going to ask her she'd like to meet me downtown.
Oh no, look her, Tell her I have the tickets
and I'll drive home and pick her up.

Speaker 6 (18:56):
Okay, okay, lucky bums, I'm sorry I couldn't get three
jin Oh, I was just pulling your leg. I've got
packing in general, house cleaning to do anyway, packed, None
of your business. Now you get back here and take
your wife out so you can fall in love with
her all over again. And don't mind me if I
sound jealous, it's only because I am child bellow.

Speaker 13 (19:22):
I hung up with one word, ringing in my ear,
churning in my stomach, shaking me up, my good jealous
I told myself it was accidental, just kidding around, but
I knew better, no matter how deep I tried to
bury the truth. Two weeks living in the same house

(19:44):
with both Joyce and Janice.

Speaker 9 (19:46):
Had taught me that two weeks. I knew it within
two minutes after I'd met Janice. Remember the old ads,
which twin has the tony Well? I knew which twin should.

Speaker 13 (19:58):
Have the atom, but I couldn't and admit that to myself.

Speaker 10 (20:02):
I brushed it out of my mind and went home.

Speaker 21 (20:07):
Joyce, Joyce, you're still in there, Joyce, Joyce him, turn
that damn radio down, I said, turn the damn rap.

Speaker 10 (20:19):
I just wanted you to turn the radio off so
you could hear me.

Speaker 22 (20:22):
I can hear you.

Speaker 10 (20:23):
Are you still in the bathtub?

Speaker 15 (20:25):
No, honey, I'm just coming out.

Speaker 6 (20:29):
Hello, Precious, You late getting home?

Speaker 10 (20:32):
Yeah?

Speaker 6 (20:33):
I didn't have anyone to scrub my back.

Speaker 13 (20:35):
I was finding myself a job jump, Yeah, not much,
but a good start with a classic rep. What's that
it's like off Broadway, New York? Maybe more like off
of no Money. Yeah, that's where we started. But it's
my kind of theater.

Speaker 6 (20:49):
Oh love, we're in a big time now.

Speaker 10 (20:51):
You are not me.

Speaker 6 (20:53):
Well, I don't see why you have to waste your
time with culture and all that jazz. I mean, what's
in it for you?

Speaker 9 (21:00):
Satisfaction, excitement, bomb for my immortal soul and something very
special for tonight.

Speaker 13 (21:06):
The producer can't use them, and he gave them to me.
Gave you what, two tickets for Romeo and Juliet.

Speaker 6 (21:12):
Oh Shakespeare? Come on, baby, I'm tired anyway. You made
me sit through that play once I thought it would
never end.

Speaker 10 (21:21):
This isn't the play. It's the ballet with the Tchaikowsky music.

Speaker 6 (21:24):
Ooh, you've gotta be kidding. Ballet that really bores me
out of my gorge.

Speaker 9 (21:30):
Just with Champlain and Asteria. Oh Joyce, they're the top
dancers in the world.

Speaker 6 (21:35):
Okay, okay, honey, if it's all that important, do you,
why don't you take jan We just watch some TV.
Terry Sayes has a special on tonight. I just don't
want to miss it.

Speaker 10 (21:46):
That slock coming.

Speaker 6 (21:47):
He fractures me. I mean, he really lays me out. Oh,
I know, you don't go for him. So take Jan
to the ballet. Look, if it was any other woman,
I wouldn't let you out of the door. But I
know you're safe with Jam.

Speaker 10 (22:05):
But that was the whole trouble.

Speaker 13 (22:07):
I wasn't safe with Jan at all, nor was she
very safe with me. I guess that's the only reason
she was with me that night, because on the way home,
after turning our sunset under cold water.

Speaker 10 (22:21):
Just as we came to Chelsea.

Speaker 6 (22:22):
Drive she said, don't turn at him, just keep going.
Where to the next right anythy Elsworth Driveway? And cut
your lights?

Speaker 10 (22:35):
Why here they're away? Okay, cut the motor.

Speaker 6 (22:44):
We've got to talk about things, get some things straight,
particularly after to night.

Speaker 13 (22:51):
It was beautiful, wasn't it. Yes, maybe that's the greatest
thing about ballet. No words need it like us.

Speaker 6 (23:01):
Oh don't. It's what we have to talk about.

Speaker 9 (23:05):
We don't need any words to tell each other that
I don't know.

Speaker 10 (23:10):
Oh, oh don.

Speaker 15 (23:15):
Done, darling.

Speaker 9 (23:16):
God, I've been wanting to do this again on purpose,
ever since it happened by accident.

Speaker 23 (23:20):
No more than I.

Speaker 6 (23:24):
No, no, no, it's the last thing I meant to happen.

Speaker 10 (23:30):
Yeah, or I expected to.

Speaker 6 (23:32):
Why I brought you here and why I'm going away?
Please don't please, don't touch me?

Speaker 10 (23:40):
Please going going away?

Speaker 9 (23:42):
Where?

Speaker 6 (23:42):
Oh, I don't know. It doesn't matter around the world.

Speaker 10 (23:45):
But but when sooner the better?

Speaker 6 (23:47):
Wouldn't you say?

Speaker 10 (23:48):
Well, that's no answer.

Speaker 6 (23:49):
Well neither is this or how we feel about each other.
So what is all right?

Speaker 9 (23:54):
All right? We sit down, we face facts like three
rational people.

Speaker 6 (23:59):
That's just the trouble. We can't.

Speaker 10 (24:02):
Why not?

Speaker 6 (24:03):
Because Joyce and I are not only sisters who are twins,
identical twins. Hurting her would be just as more difficult
than trying to hurt myself. No, hold, she needs lam.

Speaker 13 (24:19):
For what to teach her how to act, so she
doesn't go to the studio for flat on her pretty face.

Speaker 10 (24:24):
That's all she needs me for.

Speaker 6 (24:26):
No, it isn't. But even if it were, it would
be enough. It's what she's wanted all her life. It
would kill her if she lost it just when it
was in her hands, being a star. Listen, she was
the second of us to arrive. She's always been number two,
or felt that way, and now she's number one, a career,
a husband, and probably a lot of money. Anyway, that

(24:50):
doesn't matter. Why not because because so long as she lives.
I've promised myself I'd never willingly do anything to hurt her,
nor would I want to. We're two people by accident,
you see, Actually we're only one.

Speaker 13 (25:12):
I tried, but I knew it was hopeless. No amount
of argument would change Janice's mind.

Speaker 10 (25:18):
So we drove home.

Speaker 9 (25:20):
She went up to her bed, and after a stiff drink,
I went up to mine and Joyce.

Speaker 13 (25:30):
Fortunately, as I opened the door, I could hear that
Joyce was asleep. I crossed to her bed and looked
down on her. Shaft of moonlight lit her face, and
I looked in wonder and amazement at the woman I married,
who could just as easily have been the woman I
now loved, And suddenly, horribly, the memory of some accidental

(25:55):
words of jan sprang up in my mind, as if
written there in fire.

Speaker 6 (26:01):
As long as she lives, I've promised myself I'd never
do anything willingly to hurt her.

Speaker 13 (26:11):
I undressed quickly and got into bed, but it was
a long time before I could get to sleep. Usually
I have to wake and turn off the alarm in
the morning, but this morning Joyce actually got to it first.
While she was in the bathroom getting ready for the
studio car to pick her up.

Speaker 10 (26:30):
I lay in a half day.

Speaker 6 (26:32):
Wait, did a time go? I'm late?

Speaker 10 (26:34):
I thought you had the day all?

Speaker 6 (26:35):
Oh I did, And then there was something the matter
with one of the reels of film. Yesterday we got
a reshoot.

Speaker 10 (26:39):
Oh you want me to get you some breakfast?

Speaker 6 (26:42):
You don't having time to get it on the step?
Oh I was last night.

Speaker 10 (26:46):
I was heaven. You should have been.

Speaker 6 (26:48):
There, kind not me. That ballet scene leaves me cold.
So how did you and Jan get along?

Speaker 24 (26:54):
Oh?

Speaker 10 (26:54):
You know how I get along with your sister? I
love her, my twin sister.

Speaker 13 (26:59):
I don't have to be told that. It's tough enough
to tell you a part.

Speaker 6 (27:02):
Yeah, it's kind of like why I brought the subject up. See,
we're strange, awful, strange Adam people like me and Jam
there's special vibes, and no ordinary person could know just
how special.

Speaker 10 (27:16):
That's bad.

Speaker 6 (27:17):
No, most of the times it's good. I wouldn't want
them ever to be bad. But you see, sometimes I
get screwy ideas. I know I'm not all that bright.
I try to forget I have them, but I I
had this dream last night, and I want to tell
you something.

Speaker 10 (27:35):
The dream no, just about it?

Speaker 6 (27:38):
I mean, well, I know it was way out, but
it made me think, what if you should like Jam
better than me?

Speaker 10 (27:45):
Joyce? I'm your husband.

Speaker 6 (27:47):
I put it another way, if anything happened to me,
would you turn to Jam?

Speaker 10 (27:51):
How can I answer a question like that?

Speaker 6 (27:53):
You don't have to I will. I'm gonna tell you
to stut your car. Just let me put it this way.
If I ever lost you any way to anyone, you
know something why you'd never get anything from it? Because
you can't ever get rid of me, alive or dead.

(28:14):
I'm going to haunt you the rest of my life.
How's that for the craziest? I love you, Adam duncan
keep the home fires burning, the things.

Speaker 13 (28:29):
That people think. It was all clear as glass. Joyce,
the clinging vine, who would never leave me, jan the
woman I loved, who would never have anything to do
with me as long as Joyce was alive, A simple
enough equation. The only escape was for Joyce to die.

Speaker 9 (28:51):
But how would I have the nerve? And how could
I get away with it?

Speaker 8 (29:02):
Who are any of us to criticize? Haven't we all
in anger, despair or frustration, uttered threats, sometimes out loud,
or perhaps only in the mind that were mad enough
to kill someone, or you've drive me so crazy I
could murder you. But of course none of us ever

(29:24):
did anything about it. Will Adam Duncan, I'll return shortly
with Act three. Adam Duncan is now convinced that he
can never have Janice unless Joyce is dead, and equally

(29:48):
convinced that the same is true unless death seems incontrovertibly accidental.
It's been an agonizing week for him. Day of Janie's
departure draws closer and closer, and he has still not
solved the howl of Joyce's death. Now, at the last moment,

(30:10):
he feels he has. And I'm only going to be
omniscient enough to tell you that as far as the
police are concerned, he could get.

Speaker 6 (30:20):
Away with it.

Speaker 10 (30:21):
Who is it, Adam Jane? Hey, what's all this?

Speaker 6 (30:24):
I didn't expect you home in the middle of the day.
Just stuff. I'm getting ready to move out.

Speaker 13 (30:30):
Oh when end of the week. Does Joyce know about this?
Of course he might have told me. I guess we'll
have to find somewhere else to live.

Speaker 6 (30:40):
I know the house is yours.

Speaker 10 (30:41):
I can't afford it.

Speaker 6 (30:42):
Joyce can who cares.

Speaker 10 (30:45):
I can.

Speaker 6 (30:47):
There wasn't much in my marriage with Jim, but he
did leave me more money than I'll ever need. So
the house is yours.

Speaker 10 (30:52):
That isn't the house I care about. It's who is
in it.

Speaker 6 (30:55):
Well we've solved that question, you and Joyce.

Speaker 10 (30:58):
And if there shouldn't be joys, things are.

Speaker 6 (31:02):
As they are. What can we do, Adam? But leave
it at that?

Speaker 9 (31:11):
That really should have settled it, but I wasn't willing
to let it go at that. Suddenly I knew how
to get away with it. It was just a matter
of timing.

Speaker 13 (31:21):
In all the hours I sat and thought about it,
the best thing I had going was habit. A meticulous
director who bent over backwards never to work into overtime,
a wife who felt it necessary to soak herself in
a bubble bath every night and to drown herself in
cheap rock music, the factor of time, and a cocktail
party where I was going to be highly visible at

(31:42):
Theford Hotel on Wilshire Boulevard that involved Janis as well.
When it came, as Shakespeare says, to the sticking point,
it was really all so simple.

Speaker 6 (31:56):
One tube was all I.

Speaker 9 (31:57):
Had to take out of that sybaritic bathroom video set.

Speaker 10 (32:02):
Who is that Adam?

Speaker 6 (32:04):
Come on in, baby, no radio? Well it conked out,
something wasn't working.

Speaker 13 (32:13):
I'll come here so early I sneaked out. Must have
been clairvoyant.

Speaker 10 (32:19):
Look what I have for you a poortible radio.

Speaker 6 (32:23):
Now, how did you know I needed a list?

Speaker 25 (32:25):
Oh?

Speaker 26 (32:26):
Let's just call it ESP plug this in first?

Speaker 4 (32:32):
Is that your speed?

Speaker 6 (32:36):
That's Hindenburg in the satellite?

Speaker 2 (32:39):
Man?

Speaker 10 (32:40):
That is long? Forget it. What's worth doing is worth doing? Well?
You go for this, don't you my kind of music?

Speaker 11 (32:50):
You take it over?

Speaker 9 (32:51):
Tchaikowsky?

Speaker 4 (32:52):
Yes, does it.

Speaker 6 (32:54):
Matter all that much?

Speaker 9 (32:55):
No, Joyce, nothing with us could ever matter that much
or anything.

Speaker 2 (33:01):
Here?

Speaker 21 (33:02):
Take it all baby?

Speaker 6 (33:04):
How are you doing jangeus?

Speaker 21 (33:06):
We've been living dangerously baby, and you give.

Speaker 10 (33:07):
Me no way out?

Speaker 6 (33:08):
Can get ready?

Speaker 9 (33:13):
I don't know what I really expected, probably the last thing,
that it would be.

Speaker 13 (33:16):
All so easy, the easy walk through the shrubbery to
the Ellsworth driveway, picking my car up unseen, and driving
to meet Janie as if nothing had happened, right on
the dot.

Speaker 9 (33:30):
Of six, as was planned, with plenty of people to
see us at that specific hour. While back in the bathroom,
portable clock radio lay in the bathtub, as dead as
the woman that shared it its hands, recording the time
of her death as sixteen minutes after six, the moment

(33:51):
the short circuit had stopped the radio and Joyce.

Speaker 6 (33:57):
Where do you suppose Joyce is?

Speaker 18 (33:59):
Search me?

Speaker 10 (34:00):
I came straight over from my agent's office.

Speaker 6 (34:02):
Did you call before you left?

Speaker 10 (34:04):
Sure? Sure? I thought maybe I could pick her up.

Speaker 9 (34:06):
She said she'd just gotten home and would come over
by herself, So I headed straight here.

Speaker 6 (34:10):
Maybe we ought to give her a ring. She might
have fallen.

Speaker 9 (34:13):
Asleep, and let's see quarter to seven, maybe we ought
to We went through the mockery of a call to
a woman long dead but who was to appear as
having just died in the subsequent police investigation. The timing
was perfect, the alibi unassailable, the verdict death through misadventure,

(34:39):
and I was free, as was Janice. The only problem
in the way of our future together was to bide
our time, I should say my time, since Janice was
no part of what I'd done. I had bought our future.
I simply had to wait a little while for delivery.

Speaker 6 (34:57):
I thought, yes, Oh, I really don't think it's a
very good time to speak to her husband. Yes, mister
Duncan is here, but we've just returned from the funeral,
and well hold on just a moment please.

Speaker 9 (35:19):
Uh yes, miss Bonner, Yeah, I understand, Sure, I see
your problem. Not right at the moment, but well by Monday,
after the weekend, I might be able to make more
sense as I mega barn Oh sure, sure, it's very
kind of you.

Speaker 10 (35:38):
Yes, yes, it has been a sad loss. Thank you.

Speaker 6 (35:42):
That was Joyce's producer, wasn't it.

Speaker 13 (35:44):
Yes, gool what do you mean or just what I said?
Another in the general school of Barracuda. He's got a
major film over three quarters completed. Without Joyce. He's got
about three four million dollars a film. You might as
well dump in the sea or burn up.

Speaker 9 (36:02):
Unless unless what well do I have to tell you?

Speaker 6 (36:09):
Not me, adam, I'm not an actress. I've got nothing
to offer them.

Speaker 9 (36:12):
You were the only person in the world nobody could
tell apart.

Speaker 6 (36:15):
From Joyce, but you yourself. I mean you know I
don't sound anything like her.

Speaker 10 (36:20):
Oh thank god. Well that's a trick you could learn.

Speaker 6 (36:24):
I could teach you know what for I don't care
about you, mister Bonner or his old picture let him
worry about it.

Speaker 9 (36:29):
Sure, sure, of course, But well it is a lousy
break for him.

Speaker 10 (36:35):
I mean, what happened to Joyce and could mean a
lot to our future.

Speaker 6 (36:43):
Our future.

Speaker 13 (36:44):
Well, I hope after this is all over we are
going to have one.

Speaker 6 (36:49):
Oh, Adam, I'm scared. I how could I make anyone
else understand? Who hasn't been well? Who hasn't been the
other half? Someone else?

Speaker 10 (37:00):
The other is dead.

Speaker 6 (37:03):
Don't make it sound so cruel.

Speaker 10 (37:04):
I didn't mean to.

Speaker 9 (37:05):
It's just the way things are, except for Bonner Donner
the film. Look, would you be willing to complete it
if I helped you?

Speaker 6 (37:16):
All right, Adam? If it's what you want and it's
right for us, I'll do it.

Speaker 7 (37:26):
Oh.

Speaker 13 (37:27):
I was the mastermind. I held all the strings in
my hand. I knew just what I was doing, and
I was invincible. But what I offered a lost director
and a frantic producer with a three.

Speaker 10 (37:40):
To four million dollar bomb on his hands. I was
set for life.

Speaker 13 (37:44):
If I could only teach Janice to sound as much
like Joyce as she looked.

Speaker 6 (37:50):
You wanted me? How can you get a resurrectly reserct me?

Speaker 10 (38:01):
It was a dream? Joyce's voice in my ears.

Speaker 9 (38:04):
Sure I had been recalling it, but in memory, not
in actuality.

Speaker 10 (38:09):
Was I awake or asleep?

Speaker 2 (38:12):
Joyce?

Speaker 10 (38:12):
Joyce, is that you? You were dead?

Speaker 6 (38:17):
For everyone else accept you.

Speaker 10 (38:29):
Suddenly I was awake, bathed in sweat.

Speaker 6 (38:32):
Joyce was dead.

Speaker 10 (38:33):
I had gotten rid of her. How could she be alive?

Speaker 6 (38:43):
But golly, I don't want to get shot at or anything.

Speaker 10 (38:47):
I look out for your baby.

Speaker 6 (38:50):
And all the other things you promised me.

Speaker 10 (38:52):
It goes with the job too.

Speaker 6 (38:55):
A penthouse apartment, mink, no sable and one of them
long cause, with a chauffeur.

Speaker 10 (39:02):
And the thing you want, sweethearts.

Speaker 7 (39:04):
So long as you pay the.

Speaker 10 (39:05):
Price, what's the price? You never know that till someone
hands you the Hey, jan, this is great.

Speaker 6 (39:12):
That I can sound like my kid's sister.

Speaker 10 (39:16):
Like in the flesh.

Speaker 6 (39:17):
I wish she wouldn't put it that way. She is dead,
you know.

Speaker 10 (39:22):
Yes, I guess I ought.

Speaker 6 (39:23):
To, but sometimes I wonder if you do. Look, if
it means so much, yes, I'll fill in and finish
the movie, but after that I only want to be myself.

Speaker 13 (39:39):
Most people don't know the tedium, the endless amount of takes,
the close ups, the medium shots, and of course the
master shots that cover everything. It will be hard to
explain to the average person that a simple phrase like
I love you might have to be repeated again and again,
maybe twenty thirty forty times, and not necessarily the way
you might want to say it, but patterned and inflected,

(40:03):
just as the director, the producer, the power behind the
camera might dictate. And so, for six or seven endless weeks,
Janice submitted herself to the forces.

Speaker 9 (40:14):
Which had shaped her twin sister. And finally the picture
was over and she came home. We finished Adam, Hey,
today was the rap?

Speaker 7 (40:29):
Yeah?

Speaker 10 (40:29):
Oh that's great, jan What a relief.

Speaker 6 (40:31):
Really, all that happy sweetie Parson.

Speaker 13 (40:33):
Of course, now you don't have to sound like Joyce anymore.
You can be yourself. That can be born yourself, Janice,
the woman I.

Speaker 6 (40:41):
Loved, but I am the woman you love.

Speaker 9 (40:43):
Come on, Janie, knock it off. You don't have to
sound like that silly kid's.

Speaker 10 (40:46):
Sister of yours.

Speaker 13 (40:47):
You mean the woman you married, I mean the woman
I married the second time?

Speaker 10 (40:50):
What come on, honey, what are you doing to me?

Speaker 9 (40:53):
I married Joyce, which was a mistake, and I married you,
which was the best thing I ever did in my life.

Speaker 6 (40:58):
Are you so sure? I mean, baby, baby sweet, you
love me all that?

Speaker 10 (41:05):
Mon okay, okay, Jenna's cut it out, Jane, are you
all right?

Speaker 6 (41:10):
That's the question you should be asking yourself, lover, which
of us did you really marry? And which of us
did you kill?

Speaker 18 (41:18):
What?

Speaker 6 (41:20):
You know? How it is with twins, there's an esp
that no one else could understand. Whatever happens to one
strikes a Mira cord in the other.

Speaker 10 (41:32):
You know, now what, darling?

Speaker 6 (41:36):
Why do you look so terrified?

Speaker 10 (41:39):
I don't know. I don't know what to say. I
don't even know who you are your wife?

Speaker 6 (41:47):
I can answer that I know, I know, but.

Speaker 10 (41:52):
Which one which?

Speaker 6 (41:53):
But won't it be interesting for you to try to
figure out? I mean, since I had the money, where
can you? What have you paid into this marriage? I
promise you you'll get exactly what you got. So think
of me as I am big lover, where as you
made me, because I'm your till death do us passed.

(42:22):
Quite recently, there was a disturbance on.

Speaker 10 (42:24):
The Golden Gate Bridge.

Speaker 8 (42:26):
A man had climbed into the superstructure with the object
of committing suicide. Despite heroic efforts by the police, the
man an unemployed member of several theatrical unions, plunged to
his death. He was identified by his wife, a resident
of Los Angeles, as Adam Duncan.

Speaker 6 (42:48):
I'll be back shortly.

Speaker 8 (43:00):
Not all stories are pleasant, as indeed not all people are.
The happiest thing to dwell on is how few? Oh,
Now I must search for a careful word, which will
it be?

Speaker 6 (43:15):
Well?

Speaker 8 (43:15):
Let's let's settle for an old fashioned word. Rotters no
gooders anyway, human beings with nothing much to recommend them
get away with murder?

Speaker 4 (43:28):
Or do they?

Speaker 8 (43:30):
Certainly not? In my stories, they always have to pay
when it comes.

Speaker 9 (43:36):
To the end.

Speaker 8 (43:38):
Our Caste, Marion Seldie's and Paul Hecht.

Speaker 6 (43:42):
The entire production was.

Speaker 8 (43:43):
Under the direction of Hyman Brown.

Speaker 2 (43:46):
Radio.

Speaker 8 (43:46):
Mystery Theater was sponsored in part by Buick Motor Division.

Speaker 6 (43:50):
Missus E. G.

Speaker 8 (43:50):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre Until next time, Pleasant.

Speaker 27 (44:01):
Dream Now ellery Queen in the adventure of the Message

(44:25):
and Read because it relieves headache, pains.

Speaker 28 (44:29):
So fast, Taken aison because it gives prolonged relief, Taken Andson.

Speaker 24 (44:36):
Because it's made lack a doctor's prescription.

Speaker 15 (44:40):
Taken Anason.

Speaker 3 (44:45):
Aason presents the adventures of Ellery Queen. Tonight, the makers
of Anason bring you another thrilling adventure of Ellerie Queen,
the celebrated gentleman detective. Ellery Queen invites you to match
wits with him as he relates another story of a

(45:06):
crime he alone unraveled before revealing the solution.

Speaker 6 (45:09):
It gives you a chance to solve the mystery.

Speaker 3 (45:12):
Tonight, Aison's guest will represent you Hole arm Chair Detectives
is the famous actor Victor Jory.

Speaker 26 (45:18):
And now here's.

Speaker 3 (45:18):
Ellery Queen, the master detective and your Anison host for
the next half hour. Thank you, Don Hancock, and good evening,
ladies and gentlemen. Well, the night's mystery really had my father.

Speaker 15 (45:29):
Going your father, huh, oh, Nikki. I suppose all those
murders were duck soup.

Speaker 3 (45:33):
For you, huh, Nikki. This case was no harder than
many I've had. Anyway, I call it the adventure of
the message in Red.

Speaker 15 (45:58):
Hotel.

Speaker 29 (45:58):
Our beautis publics toographer. Yes, I'm as Kirby at this hour,
but all right, if you're drop into my office right away,
I'll try to get it out tonight.

Speaker 15 (46:14):
Oh why can't they just take their old business letters
during the day. Oh gee, I'm tired. I'd better douse
my eyes with cold water. Oh so sleepy, I could
so soon coming. Gee, they must have used a house
phone from the lobby.

Speaker 30 (46:31):
Come in, won't.

Speaker 15 (46:45):
Hooray in Dixy.

Speaker 31 (46:50):
Now, who's there?

Speaker 16 (46:57):
Huh?

Speaker 15 (46:58):
Nobody out here? Now we'll be using that talkie thing
from the vestibule.

Speaker 6 (47:05):
Nobody does.

Speaker 15 (47:08):
Yes, yes, this matazo.

Speaker 32 (47:12):
But at this time of night, I was just going
to bed, been washing my supper dishes.

Speaker 33 (47:20):
All right, If they've just got to have a reader's
report on it by tomorrow morning.

Speaker 32 (47:25):
Just open the vestibule door and my apartments. The first
door on your right.

Speaker 15 (47:32):
Would be my luck.

Speaker 33 (47:33):
If it's one of those half a million world jobs.

Speaker 6 (47:37):
Just a second.

Speaker 29 (47:40):
Oh, I wish I were in the land of cutting
all times there.

Speaker 26 (47:58):
Oh yes, eh eh, And that's time you've got to
tell me Piggott call back when you make sense. Sorry,
I ready to keep you ankey waiting.

Speaker 3 (48:11):
Those two killings last night there, yes, lasted what to killings, Inspector.

Speaker 15 (48:17):
I haven't seen today's paper.

Speaker 26 (48:18):
Two hares Nikki first win a public stander with the
hotel abutis and next in an avenue, shot to death
at nine fifteen pm.

Speaker 24 (48:23):
Name of Kirby.

Speaker 3 (48:24):
Second one, a part time manuscript reader for Mason and
Morris and.

Speaker 24 (48:26):
The publishers of Miss Hazel.

Speaker 3 (48:28):
Shot to death around ten thirty pm in our Greenwich
Village apartment.

Speaker 26 (48:31):
Both are opening doors. No evidence of robbery. Both in married, unattractive,
no untangling alliances, lived alone, no witnesses, no clues, no motive.
The girls never knew each other, never knew any of
the same people.

Speaker 15 (48:42):
Cute then the murder's an't connected inspector.

Speaker 26 (48:44):
They are Nikki batistics reports the same gun killed.

Speaker 24 (48:47):
Both of them. I don't wonder you're puzzled.

Speaker 3 (48:49):
I think it's not kill myself. Very yes, really have
no chargeant mermus pider.

Speaker 20 (48:54):
Charltte inspector No what no?

Speaker 10 (48:58):
Why?

Speaker 24 (48:58):
Another one?

Speaker 34 (48:59):
No?

Speaker 9 (49:00):
Yeah, girl shot to death. She answered her door around
one am last night, but it wasn't found this morning.

Speaker 15 (49:06):
Number three last night was.

Speaker 3 (49:08):
Lady's maid lucial do du boy you boss, Sergeant French.

Speaker 9 (49:13):
Yeah, yeah, French maid worked for the Canalis.

Speaker 15 (49:15):
Canela, the very very Canelos, the.

Speaker 24 (49:18):
Sign She was shot in the Canelo house. Sergeant yeah, that.

Speaker 10 (49:20):
One hundred and ninety nine room shock on upper.

Speaker 3 (49:22):
Fifth Avenue in our bedroom, a stenographer, publishers reader, and
a lady's maid. Mind if I sit in dead He
didn't make any sense out of its an.

Speaker 35 (49:32):
Come on, oh.

Speaker 17 (49:42):
My poor boy head my home over runs the police officers.
I've had to cancel the most important appointment this afternoon
with my hair dressing.

Speaker 10 (49:52):
Missus, let me get away.

Speaker 15 (49:53):
Husband is simply furious. My daughter, poor child Frost.

Speaker 24 (49:57):
Oh look, mess, I'm on the You're.

Speaker 17 (50:00):
Losing what little mind I had. You understand, mister Qrean.

Speaker 10 (50:04):
I know you do death.

Speaker 24 (50:06):
Your maid is upset, your natural Oh yeah, where am.

Speaker 15 (50:08):
I going to turn?

Speaker 6 (50:09):
How can I replace Lucie?

Speaker 17 (50:11):
You don't know the trouble I had getting her originally,
and now she's dead.

Speaker 6 (50:16):
It's not fair.

Speaker 15 (50:17):
It isn't the trouble is, gentlemen. You don't know the
problems we girls have.

Speaker 36 (50:23):
Happen.

Speaker 17 (50:24):
I'm sure I don't know people chooting off guns in
my home and everything. I'm so glad I wasn't home
when it happened, even though the house is completely sound. True,
mister Cannet, Oh no, no, he was out somewhere. His
club was madge. Oh now Please don't drag poor Marge
into this. She suffered so much already.

Speaker 24 (50:43):
When did you first learn your maid was dead? Missus Canella?

Speaker 17 (50:46):
About eleven o'clock this morning, mister queen, when she didn't
bring my breakfast in bed, I knew instantless something was wrong.

Speaker 15 (50:53):
Well, of course that's the way you tell.

Speaker 17 (50:57):
I rang and I rang, and I read Allah.

Speaker 9 (51:00):
Who found the stuff?

Speaker 15 (51:02):
Stiff?

Speaker 2 (51:03):
The remains?

Speaker 7 (51:04):
Madam?

Speaker 6 (51:05):
Oh, why my daughter?

Speaker 17 (51:07):
One of the servants tool Madge. The clue seels like
was still on this morning, and she didn't answer the door.
So Madge went up to the servants quarters and went in.
The poor child, the poor poor child. That's why no
one answered my rings.

Speaker 26 (51:21):
You see, living without break that's simply fright MILLI. Yes, well,
I suppose you have a little snack of carrier and
cold face, and it's something where we hunt up your.

Speaker 6 (51:30):
Dark Oh dear, must you must we?

Speaker 2 (51:33):
What matter?

Speaker 17 (51:34):
I give Madge that the third degree or whatever it is.
You don't know how sensitive the child is. She's always
been so delicate. She shrinks so from the more brutal
aspects of life. Oh, Madge, darling, are you all right? Dear?

Speaker 33 (51:48):
Definitely more policeman. Who's the wench a sob sister? The
wench is NICKI? Porter, mister queen, secretary.

Speaker 26 (51:55):
Ry queen, sergeant villain, inspect the queen's Canella?

Speaker 32 (51:59):
You're in charge. Why isn't that body taken away? And
who's going to clean up the mess? And you got
to keep reporters out too? Do you hear things like
this happening?

Speaker 24 (52:06):
Now?

Speaker 15 (52:06):
Do you hear me?

Speaker 35 (52:06):
No?

Speaker 33 (52:06):
Newspaper man, Oh, dearness, don't excite Oh shut up, mother, Oh.

Speaker 15 (52:10):
This is your selling court anyway. Yes, I told him
long ago you should send that snoop packing.

Speaker 32 (52:15):
But no, you had to hang on to what if
she had the bad pace to get herself murdered all
over our house? But am I going to say to
Ebby Heavy my fiance the star engagement was supposed to
be announced this week, one of the very best Boston families.
You'll never stand for a scandal.

Speaker 3 (52:29):
Why should you think there's going to be a scandal,
miss Canella?

Speaker 17 (52:33):
Oh well, isn't a murder scandal enough?

Speaker 24 (52:35):
I don't think that's what your daughter meant? Missus Canella?

Speaker 32 (52:38):
Well, oh nothing, nothing, taller, I didn't mean anything.

Speaker 37 (52:44):
Let's take a look at the corps.

Speaker 3 (53:00):
Hmm, interesting, Notice the facing surfaces, the tips of her
index and middle fingers.

Speaker 24 (53:05):
Dad on the right.

Speaker 26 (53:06):
Hand kennist he faced the key.

Speaker 33 (53:11):
If you gentlemen are through admiring mister bois callouses, would
you mind covering up again so I can turn around?

Speaker 24 (53:17):
Oh all right now, Nikki, how do you.

Speaker 15 (53:20):
Know this maid's murder is connected with the other two murders?

Speaker 3 (53:23):
Brady was here early and dug the bullet out of
a chest. Nicky the sticks just reported it came the
same gun to chat the Cabby and Hazel girls.

Speaker 26 (53:29):
Just what the connection is? I'm blessed?

Speaker 9 (53:31):
Ohdinire you throwing the curvas and spank of the margwagonsern
for the peck up anyway, She's.

Speaker 30 (53:38):
All yours boy.

Speaker 24 (53:39):
What did you find out about the other servants?

Speaker 9 (53:40):
Sergeant names Uh, Butler, James, Smallers, cook soundly, Fabian chauffeur Waller,
Boil upstairs made Vera and Darf Smellers and Boil share
a double room. Sod of the Fabian and dark woman.
Each bunkie alibi is the other for last night period.

Speaker 15 (53:59):
How about you? You shouldn't be up here. It's just
your morbid curiosity.

Speaker 17 (54:02):
I don't know why you say such things to emerge.

Speaker 38 (54:07):
Look what they're doing.

Speaker 39 (54:08):
They out here in the hall, Margaret, you too, Marge
spoke the queen.

Speaker 24 (54:13):
Who are you?

Speaker 10 (54:14):
I'm alf for Canela.

Speaker 24 (54:15):
My wife just falled my club.

Speaker 20 (54:17):
Is there anything I can do?

Speaker 2 (54:18):
Excuse my phone?

Speaker 25 (54:19):
Some came the.

Speaker 3 (54:21):
Throat helth mother, mister Cane, it was just me, Harry
web Side.

Speaker 26 (54:31):
You just picked up.

Speaker 3 (54:32):
This piece of scrap paper. It was hidden by Lucille.
Who boy's body?

Speaker 15 (54:35):
Dad a message in red red message?

Speaker 40 (54:40):
Let me see?

Speaker 3 (54:41):
Is it written in blooding it a few minutes after
the shopman I could have left.

Speaker 26 (54:47):
You tried to write something before she dies.

Speaker 24 (54:48):
What to say starts with the capitol m.

Speaker 3 (54:51):
But there are lot of spatters in the paper and
I can't quite make the rest out.

Speaker 26 (54:55):
I love Cranny. Look it over in the police lab.

Speaker 24 (54:56):
He'll just have it.

Speaker 3 (54:57):
Give it me some It's quite important that you make
a quick arrest, inspector. What's that mean, mister Cannell?

Speaker 39 (55:02):
I will I expect very shortly to be appointed to
an extremely important diplomatic post abroad, So this unfortunate little
affair must be clear up at once and without scandal.

Speaker 17 (55:12):
Milford has worked so hard for the honor.

Speaker 32 (55:15):
Yes, it's pet dree in fact inspector.

Speaker 39 (55:18):
Unless you solve this case within twenty four hours, I
may have to see to it that that someone else
is put in charge.

Speaker 1 (55:24):
Come, Margaret, mat.

Speaker 15 (55:26):
And father's just a little guy.

Speaker 41 (55:28):
Who can I?

Speaker 34 (55:31):
Dad?

Speaker 26 (55:32):
Where are you going?

Speaker 3 (55:33):
I have to confirm a theory, daed theory. But what
about the connection between the three murders last night? I
think I know now what it was. Anybody care to
come along and there, ladies and gentlemen, you have the

(55:56):
beginning of our mystery. We'll tell you more in just
a moment, but for post.

Speaker 24 (56:00):
Here's done. Hancock.

Speaker 3 (56:01):
For anison, friends, if you want quick, comforting relief from
pounding headache pains, yes, taken anison. Because anison relieves headache
pain so swiftly. Millions now know that easy to take
anison tablets act fast.

Speaker 24 (56:15):
You've prolonged relief.

Speaker 3 (56:16):
And that's why we say there's a good reason why
anison relieves the agonizing pain of headaches so much more quickly.
Anison is made like a doctor's prescription. That is, it
contains not just one, but a combination of medically proven
active ingredients. Your own physician or dentist may have already
recommended anison to you. That's how millions first discovered Anderson's

(56:38):
incredibly fast relief. And now at the first sign of
the pains of headache euralgia or ne eurytis, they simply
takes anison spelled a naci n is sold at all druggists.
So if you want fast, prolonged relief from headache pains.

Speaker 20 (56:59):
And now back to our story.

Speaker 3 (57:01):
It's a short time later and the inspector's car, with
Sergeant Feeley at the wheel, is threading its way through
midtown Manhattan traffic.

Speaker 15 (57:10):
But what is the connectionalery man Hajanoa show.

Speaker 3 (57:14):
What was the occupation of the first victim, the Kirby girl,
and the second one, Miss Hazel granwiche relaig gal Or.

Speaker 15 (57:20):
She was a part time manuscript reader for Mason and.

Speaker 3 (57:23):
Morrison, a public scenographer, a publisher's reader. Now, Dad, you
recall the pecular callouses we found on Lucille du Bois's
right hand and the facing sedge of the tips of
her index and middle things. What very ordinary activity, if
sufficiently prolonged, would cause callouses.

Speaker 15 (57:37):
There holding a pen or a pencil.

Speaker 3 (57:39):
Yes, nikki writing, but not casual writing like the occasional
writing of letters. Lucille du Bois was writing a great
deal for a long time, weeks, months, a diary, perhaps
at least a very extensive manuscript and long hand. Sogeant,
So we had Lucille du Bois, a lady's maid in
a very wealthy society family, writing a long manuscript by hand.

Speaker 24 (57:59):
When it was finish. What would happen to such a manuscript?

Speaker 3 (58:01):
You take it to a public stenograph to be tight,
surely the unfortunate, miss Kirky. And where do people usually
take type manuscripts to all publish and most publishers employee
readers to weed out undesirable submissions. And that's your Miss
Hazel of the village, Simple, maestro, you're right. The murdered
girls are probably the only three people in the world
who've read a certain unpublished manuscript, and that's.

Speaker 6 (58:23):
Why they were murdered.

Speaker 1 (58:24):
Man, it must be dynamite.

Speaker 9 (58:26):
The killer must have swept and probably from the Hazel
girls apartment in the village after a bumped.

Speaker 26 (58:31):
A rock in the strategy.

Speaker 24 (58:32):
Yes, but there's still a possibility.

Speaker 34 (58:35):
That's something roll hear me on myself.

Speaker 26 (58:38):
Here's Rockefeller Center.

Speaker 33 (58:39):
Come on, I must say, Mason and Morrison go in
for book publishing in a large and handsome way, or a.

Speaker 24 (58:56):
Bit on the sensational side. Nikki, Oh, miss Jenkins.

Speaker 3 (58:59):
Yes, Alberta Jenkins, you're the ascertain dait to my son,
spoke on the receptionist phone.

Speaker 15 (59:04):
Yes, and you must be inspector queen. That's right, I
must say. I'm all of a flutter. Am I arrested?

Speaker 24 (59:10):
Not exactly, Mistakins? Did you bring the list I asked
you for?

Speaker 15 (59:13):
Here?

Speaker 32 (59:13):
It is all the manuscripts turned over to miss Hazel
the past few months for a reader's report.

Speaker 9 (59:18):
Let me say, alri y shed alive?

Speaker 24 (59:21):
Doesn't it quite recently? I think? A look at the entry, Dan.

Speaker 3 (59:27):
May tais are I we've seen her do work? Miss Jenkins?
Where's this manuscript? Are you sure miss Hazel didn't return
it to Mason Marrison.

Speaker 15 (59:36):
I'm pretty sure she didn't inspect it. But come into
my office. No, it isn't here.

Speaker 6 (59:52):
I just remembered where is that?

Speaker 15 (59:55):
Again?

Speaker 24 (59:55):
Remembered what, Miss Jenkins?

Speaker 15 (59:57):
There was a letter from miss Hazel in this morning's mail.
Been so busy today I hear it is still unopen.

Speaker 26 (01:00:03):
They Missus Jenkins coach is a short preliminary report and
three of the last batch of manuscripts.

Speaker 33 (01:00:13):
I will personally deliver the manuscripts plus four reports later
this week. The enclosed sumnail reports cover number.

Speaker 26 (01:00:20):
One, give back my level and I flow gently fully.

Speaker 3 (01:00:23):
Rom phone both my junks and not bag Maw and
the Maid Tells All by Lucille du Bois. No, Miss Jenkins,
would you mind leaving us for a moment?

Speaker 15 (01:00:34):
I certainly do mind, mister Queen. But well, or is.

Speaker 24 (01:00:40):
That report the Hazel Woman unclosed?

Speaker 15 (01:00:44):
Now we'll find out.

Speaker 42 (01:00:45):
Maid tells all sensational true life story of high life
as seen from backstairs. I was faulty, although obviously thinks
in French, but might be worth the rewrite. Possibly high
sales appeal, but must be screened carefully by illegal apartments
against libel suits.

Speaker 24 (01:01:02):
That's all.

Speaker 3 (01:01:03):
It's manuscripts filled a lot of nasty insuspected stuff about
the Canal as it would have cost Melfit Canela that
high diplomatic post he's been angling.

Speaker 33 (01:01:09):
For, or Magic Canela, her blue blood Boston marriage.

Speaker 3 (01:01:11):
Yes, somehow the killer discovered what Lucille was writing. Who
typed a manuscript in the name of the publisher she sent.

Speaker 15 (01:01:17):
It to and through the publisher which reader had it.

Speaker 9 (01:01:19):
So he's got a white out or whatever. Run it
Steno wham, reader wham, and he swipes the manuscript from
her apartment.

Speaker 24 (01:01:26):
Then he goes back to.

Speaker 9 (01:01:27):
The Canela dump and blasts low Seal and the secrets a.

Speaker 24 (01:01:30):
Site too safe, blasted.

Speaker 3 (01:01:32):
I thought we might find a clue here to the
killer's identity, but apparently the whole Canela family has motive.

Speaker 26 (01:01:37):
I mean, it's Caadana headquarters. Maybe the autopsy has turned
up something.

Speaker 15 (01:01:58):
Don't drives the fast side and you just passed a snail.

Speaker 3 (01:02:02):
There's nothing in the rice farmist porter, don't you see
some day night in this darkness spectrum.

Speaker 33 (01:02:10):
At least I'm enjoying this ride on the East River Drive,
or I would be if the Great Man's thoughts weren't.

Speaker 24 (01:02:16):
Of course, car.

Speaker 15 (01:02:18):
Mister Queen is with us again.

Speaker 24 (01:02:20):
The answered Dad, it's right in your pocket.

Speaker 26 (01:02:23):
What answer to the triple masom?

Speaker 24 (01:02:26):
I forgot? You forgot? We all forgot that.

Speaker 26 (01:02:30):
Certain message in red Holy that dang message goes heere
wrote in the wrong black.

Speaker 15 (01:02:36):
Side, the one we couldn't decipher.

Speaker 26 (01:02:38):
Had I put it ah, hey, what's the matter with
me to get down the headquarters quick?

Speaker 6 (01:02:43):
Yeah?

Speaker 9 (01:02:44):
Man, if anybody can make it out, it's that whist
my lab man wearing sailing sailing?

Speaker 26 (01:02:53):
What's in a nassi?

Speaker 24 (01:02:54):
A car right in my trail coming up past some gunk?

Speaker 26 (01:02:56):
Glance?

Speaker 30 (01:02:57):
What the east car.

Speaker 40 (01:03:00):
Yet?

Speaker 10 (01:03:04):
No looking at my car, stern, I.

Speaker 30 (01:03:07):
Don't swap the tyler. You're done.

Speaker 15 (01:03:23):
Oh, don't tell me. I'm in one piece.

Speaker 24 (01:03:34):
I'm okay, so in fer no bones broken?

Speaker 3 (01:03:38):
Valieu, ellie, Uh, my America, We're all all right.

Speaker 24 (01:03:43):
Oh really that was quick thinking.

Speaker 33 (01:03:45):
Send me yea if it weren't for the way you
took that crash. Sergeant, We've been through the rotaining wall
at the bottom of the river.

Speaker 26 (01:03:53):
Look at the car, inspect Never mind the car, why
dad Lucille's message?

Speaker 7 (01:03:58):
Huh?

Speaker 3 (01:03:58):
All three canelas were pressing when I found it under
Lucille's body this afternoon.

Speaker 9 (01:04:02):
One of them must have trailers waiting a.

Speaker 3 (01:04:03):
Chance to destroy Lucille's clue before he could get it
to the headquarters.

Speaker 33 (01:04:06):
And the killer is one of the canals, and her
message tells which one.

Speaker 10 (01:04:10):
Hit a cove.

Speaker 26 (01:04:12):
Let's get to that lab, sergeant.

Speaker 24 (01:04:26):
What the lab verdict.

Speaker 9 (01:04:27):
Wow, it's this way, sergeant, oh good, kind of looks
like a puzzler and space and never mind characterizing it?

Speaker 24 (01:04:36):
Really, what did they say? The message is?

Speaker 9 (01:04:38):
It starts with a capital M, master like you said,
than a period M period yes, then as space than
a capital K. Then a small I in the N
trailing off like she died before she could finish the work.
And that's all.

Speaker 24 (01:04:54):
M period space Okay, small I in.

Speaker 15 (01:04:58):
Capital K, small i N started the name Canela, no.

Speaker 2 (01:05:01):
Doubt about it.

Speaker 10 (01:05:01):
Nikki.

Speaker 26 (01:05:02):
What's the capital M period? Spice man named Canela? The
period must be the initial of one of the Canala's.

Speaker 15 (01:05:08):
First names, Milford Canela M for Milford with.

Speaker 26 (01:05:11):
The daughter's name was who starts with an M?

Speaker 3 (01:05:13):
Nikkia the mad Let's not leave out missus Canela. Don't
you recall Canela addressing his wife as.

Speaker 26 (01:05:20):
Margaret Frost and the washer again, it could be any
of the three. Let's go back to the Canada house.
I'll find out which one it is.

Speaker 6 (01:05:45):
That nice mister queen Well, inspector.

Speaker 1 (01:05:49):
Have you cleared up this mess?

Speaker 26 (01:05:50):
There were you three late this afternoon.

Speaker 38 (01:05:52):
And that evening.

Speaker 6 (01:05:56):
I needed air.

Speaker 17 (01:05:57):
I was struling in central.

Speaker 26 (01:05:59):
Fall all missus Canalla about you, mister Cannello.

Speaker 39 (01:06:02):
As a matter of fact, I took a walk myself
down Fifth Avenue, very upsetting business you know, made anybody
and now mister callaf.

Speaker 32 (01:06:10):
No and you miss can I took one of our
cars and drove around town for a while, just to
fool off m I'd had a phone call from dear
dear Abbey in Boston.

Speaker 17 (01:06:21):
My daughter's fiancee, told her they'd better wait about announcing
the engagement until this, this miserable affair blows over.

Speaker 15 (01:06:28):
I knew it.

Speaker 43 (01:06:29):
I just knew it.

Speaker 15 (01:06:30):
Aren't we getting off the track.

Speaker 3 (01:06:32):
No, alibis hell enemy ending to ask these three people
before I take them downtown for real going over? No,
but why do you want to take them to headquarters Dad,
to find out which one of them bumped off the
Kirby and Hazel goes and missus Kanell is made. That's why, Oh,
I can tell you that Dad, right here and now

(01:07:04):
and there, ladies and gentlemen, you have the mystery. I
suppose you home armchair to take bis match wits with
Anderson's guests for this evening.

Speaker 33 (01:07:11):
And tonight, ladies and gentlemen, our guest the famous actor
of stage, screen and radio is mister Victor Jury, who
is starring on Broadway in the hit play to.

Speaker 3 (01:07:21):
Raise Good Evening. Mister Joy, it's nice to have you
with us, mister Joey. I guess tonight's show has a
change for you, isn't it.

Speaker 26 (01:07:29):
It certainly is, because generally I'm on the other end.
I'm the person from the murdering ellery.

Speaker 33 (01:07:34):
Well, you're always at the criminal, but you're always so
wonderful too.

Speaker 26 (01:07:39):
Thank you, Nikki. I hope you'll like me just as well.
And the role of detective.

Speaker 3 (01:07:46):
Well, mister Joy, who do you think murdered the three women?

Speaker 26 (01:07:49):
Well, I'm not very sure. I think it was the mother,
Margaret Knela.

Speaker 24 (01:07:53):
Why do you think that?

Speaker 26 (01:07:54):
My only reason for thinking that is because the Milford
Knela a suspicion that's planeted on him instantly by the
fact that he says that he has a very important postness,
very valuable to him. The daughter banks that backs that up.
The mother has said nothing. For the more, the mother's alibi,
being a central Park, seems to be one that could
be shaken less easily than the man who walked down
a fifth Avenue, which might be checked on, or the

(01:08:16):
girl in the car because the car could be checked
on afterwards.

Speaker 3 (01:08:18):
Thank you, mister Jerry. You'll find out in just a
moment if your solution is correct. Now is don Hancock
for anison?

Speaker 10 (01:08:27):
Today?

Speaker 3 (01:08:27):
Millions are switching to anison for Anison is the modern
way to relieve headache suffering. There's nothing to fuss with,
nothing to mix or spill, just easy to take little
tablets that you carry right in your pocket or purse,
and anison is the fast way to prolonged.

Speaker 20 (01:08:43):
Really prove it.

Speaker 3 (01:08:44):
Next time you have a headache andison must give you fast,
prolonged relief or your money back.

Speaker 10 (01:08:50):
I'll repeat that.

Speaker 3 (01:08:51):
If you're not thoroughly satisfied that anison does much more
for your headache pain, simply return the unused portion and
your money will be refunded.

Speaker 30 (01:09:00):
Tomorrow.

Speaker 3 (01:09:00):
Ask your druggist for the small, inexpensive package containing twelve
Anison tablets. Take only as directed. If pain persists or
is unusually severe, see your physician. Remember there's only one anison.
Don't be satisfied with anything less. Next time you have
a headache pain?

Speaker 4 (01:09:28):
But how how.

Speaker 2 (01:09:30):
Am I strong?

Speaker 28 (01:09:32):
All?

Speaker 18 (01:09:32):
Right?

Speaker 24 (01:09:33):
Son?

Speaker 3 (01:09:34):
You know which of these respectable citizens killed the three
girls sing out a bead?

Speaker 24 (01:09:38):
What was the message Lucille du Bois left in her own.

Speaker 26 (01:09:41):
Blood start of a killer's name, cabital im period space
ki and for Cana. Yes, but what did the capital
M period stand for?

Speaker 33 (01:09:51):
Well, it could only mean the initial of one of
the Canala's first names, Ellerie, I've got it.

Speaker 3 (01:09:55):
Possibly represent one of the first names Nikki, Milford, Madge.

Speaker 24 (01:09:59):
Margaret All ms.

Speaker 3 (01:10:01):
If Ucio had presence of mind enough to write that message,
certainly she wouldn't have left an ambiguous clue, a clue
that could refer to any of the canelas.

Speaker 24 (01:10:10):
So when she wrote that capital M.

Speaker 3 (01:10:13):
Period, she didn't mean the initial of one of their
first names. She meant some other abbreviation, one she thought
would be perfectly clear. What Marshall, well, sergeant, What abbreviation
other than her first initial usually precedes the last name?

Speaker 26 (01:10:28):
Hum abbreviation for missus or miss? Oh No, that would
be Mr. Mrs. And miss has no abbreviation.

Speaker 15 (01:10:38):
Oh, so it can't be that either.

Speaker 3 (01:10:39):
Ellery It kurstant for mister, missus or miss in English?

Speaker 24 (01:10:45):
But how about French?

Speaker 9 (01:10:47):
Missus?

Speaker 3 (01:10:47):
Kanella's maid was French, and that reader's report in her
book actually remarked that the author obviously thinks in French,
what's the French abbreviation for missus?

Speaker 24 (01:10:56):
Any schoolboy knows that.

Speaker 3 (01:10:58):
Capital M small M E for madam miss capital.

Speaker 24 (01:11:03):
M small l l E for.

Speaker 3 (01:11:05):
Mademoiselle, But for mister monsieur it's simply capital M.

Speaker 24 (01:11:11):
Period.

Speaker 10 (01:11:13):
I'll see you all silver.

Speaker 26 (01:11:16):
Yes, I disagree, mister Canella. Anyone's going to scissor.

Speaker 9 (01:11:24):
It's you.

Speaker 3 (01:11:35):
And there, ladies and gentlemen, you have a solution to
our mystery. We'd like to thank mister Jorry for being
our guest armchair detective this evening. As mementos of the occasion,
Anderson has for mister Jury a beautiful grew in very
thin wristwatch, a copy of my new mystery anthology, Rogues Gallery,
and a subscription to Ellery Queen's Mystery magazine. Ellery will

(01:11:57):
be back in a moment with a preview of next
week's Meanwhile, Remember because it relieves headache pains so fast.

Speaker 28 (01:12:06):
Taken aison because it gives prolonged relief. Taken aison because.

Speaker 3 (01:12:12):
It's made like a doctor's prescription.

Speaker 6 (01:12:15):
Taken aison.

Speaker 3 (01:12:17):
There's only one anison. Get anison. Tomorrow and now, Ellary,
how about.

Speaker 24 (01:12:22):
Next week's case?

Speaker 3 (01:12:23):
Got another mystery with three or four murders?

Speaker 10 (01:12:25):
No down, only one.

Speaker 24 (01:12:26):
Murder next week.

Speaker 3 (01:12:27):
But it's one of the most confusing to come away
in a long time.

Speaker 24 (01:12:30):
A tough one.

Speaker 7 (01:12:31):
Uh.

Speaker 10 (01:12:31):
Yes, we had so.

Speaker 24 (01:12:33):
Much evidence we didn't know what to do with it.

Speaker 3 (01:12:34):
Uh not to mention the problem of the bending corpse.
The bending corpse looks like that didn't die. Now you'll
have to wait till next week. When Annason presented the
Adventure of a Happy Marriage. If you are suffering miseries

(01:13:01):
of a cold, White take chances with untried remedies. When
time tested, reliable Hills Cold Tablets may promptly relieve that
dull headache feeling and the muscular aches and soreness of colds.

Speaker 24 (01:13:12):
Double your money back.

Speaker 3 (01:13:14):
If you do not get satisfactory relief from such distress
in half an hour, take only as directed time the
action only. Hills offers you double your money back if
you do not get half hour relief Hills Cold Tablets.

Speaker 24 (01:13:39):
This is Ellerie Queen saying good night for Anison.

Speaker 3 (01:13:43):
Anison is a product of the Whitehall Pharmacal Company. This
is CBS the Columbia Broadcasting.

Speaker 10 (01:13:48):
System, Quiet Please, Quiet Please.

Speaker 44 (01:14:21):
The Mutual Broadcasting System presents Quiet Please, which is written
and directed by Willis Cooper, and which features Ernest Chappell.
Quiet Please for Tonight is called the Third Man's Story.

(01:14:41):
I have had a long time to meditate upon folly,
and I think if I could live my life over again,
this would be a better world today, dwelt in by
happier people. For I think I would not have committed
the folly of my youth, the folly that has drawn
the lines for conflict and suffering that you are heir
to now. My father and my mother, I know, committed

(01:15:02):
a greater folly, But the punishment that was laid upon
them was the sentence of an all wise judge, and
in the end of the monstrable blessing, a blessing that
might have descended unsullied to you of this present world,
had it not been from my folly, which among other things,
led to my death, and to the death of countless
other men and women and children, in the laying waste

(01:15:24):
of many a fair countryside.

Speaker 6 (01:15:26):
Through the years.

Speaker 45 (01:15:35):
I never saw the country where my father and mother
first lived, but I have heard them speak of it.
So many times that, first with an aching homesickness that.

Speaker 10 (01:15:42):
Was almost a madness between them.

Speaker 45 (01:15:46):
And then, as the years were not in my early manhood,
were a kind of hopeless uncertainty, as of a dream,
once vivid and now dim and tattered in the years,
never to be recalled, and therefore a thing to be
put away forever. My father, I recall him well, a tall,
heavy man, a little stooped with toil, smiling slowly and

(01:16:09):
saying little, his hair wrong and black. I did not
live to see the gray creep in. A man of
prodigious strength and temper. In short, the quiet, spoken, home
loving working man, father of all ages. My mother, the
most beautiful woman I've ever seen. I agree, I had

(01:16:32):
little opportunity then for comparison with other women, But there
have been many women since in this world, and none
rivaled her. Discontented, a little, impatient, a.

Speaker 12 (01:16:41):
Little, but a wise, loving mother.

Speaker 10 (01:16:44):
To her two sons, and a dutiful wife to their father.

Speaker 9 (01:16:49):
And my brother.

Speaker 10 (01:16:51):
It is a good.

Speaker 12 (01:16:52):
Thing that my brother lived, that he was born and.

Speaker 45 (01:16:55):
Existed, and strove with his hands, delving in the valleys,
untilling broad fields, learning the secrets of the earth and
the ways of seeds and plants and green things.

Speaker 10 (01:17:06):
I think he was the salt of the.

Speaker 45 (01:17:08):
Earth, although I procured for him a bad name, to
my cost and the world's. He was a little older
than I, the first born, and naturally the first beloved
until I was born. I think he was more my
father's son than I. He had my father's ways, his

(01:17:29):
slow speech, his long silences, his giant strength, and my
father's slow kindling, deep seated terrible anger that smoldered far
below the placid eyes, and a peaceful countenance. Only twice
have I seen my brother's temper flare, and the second
time was my undoing.

Speaker 12 (01:17:51):
Than yours.

Speaker 45 (01:17:54):
I think I was my mother's son. Perhaps I made
it that. I did make it that way, but I
shall tell you.

Speaker 12 (01:18:07):
Bear with me.

Speaker 45 (01:18:10):
We dwelt at the head of a valley, far from
the place where my father and mother at first lived.
It was a humble place, but tall trees shut of
our house. A sparkling hillside brook ran gurgling down the hill,
not one hundred paces from our door. In the summer's heat,
the hills grew brown and barren under the sun, save
for the plots below the slopes where my brother cunningly
led the waters of a little stream, where the corn

(01:18:33):
in the millet and the barley prospered, And the fruit
trees on the hill above the house, where my brothers too,
they tended them daily against the harvest of the fall,
while I frolicked in the stream, or lazed away the
long afternoons.

Speaker 10 (01:18:48):
In the shade of the plane trees. I well remember,
I will.

Speaker 45 (01:18:54):
Remember the rains, my brother and my father toiling in
a steamy downpourt, some only task, while life sat dry
and comfortable under the fat shelter, laughed at their dripping,
mud spattered labors. It was a good life we led,
we the pioneers, we the happy family, in the old

(01:19:14):
and good days, in the summers and the long slow winters,
in the cheerful spring, in the golden harvest days of
the fall, pioneers in the smiling land, unpeopled by enemies,
unmarred by discontent hatred. So it was in the early

(01:19:35):
days of my So it could have been today, were
it not for my folly and my death, the first
in all this peaceful land. My father was a profoundly
religious man, god fearing and devout, remembering his obligations to
his creator with an intense person of fervor, laying aside

(01:19:59):
a tithe of every thing he possessed for the lore,
thereby engendering in me a mighty dimplious curiosity.

Speaker 12 (01:20:06):
I remember an evening when my brother and.

Speaker 45 (01:20:08):
I sat alone in the twilight, resting, He from the
toil of the day and I from the day's pleasures.

Speaker 10 (01:20:18):
Brother, I said, Brother, tell me something.

Speaker 45 (01:20:24):
What did you and father do with the fruit and
grain and things you carried away this morning?

Speaker 10 (01:20:28):
She took them down to the grove, same as we
always do. But what did you do with them there?
We left them there? Just left them there, Yeah, just
left them there. Well, why did you do that?

Speaker 9 (01:20:43):
Well, you know how father feels, you know how religious
he is.

Speaker 45 (01:20:47):
I know, but I don't understand why he does this.
It seems like wasting things.

Speaker 10 (01:20:55):
Those things aren't wasting. Well, what happens to them? They're
a sacrifice. I don't understand that. Well, it's like.

Speaker 9 (01:21:07):
This, I well, go ahead. It's hard to explain. Your
father gives you things food, thanks to play with. What
do you do?

Speaker 10 (01:21:24):
I don't do anything? You say, thank you, don't you?

Speaker 24 (01:21:27):
Oh?

Speaker 9 (01:21:27):
Yes, Well, this sacrifice is a kind.

Speaker 10 (01:21:32):
Of way of saying thank you for all the wonderful things.

Speaker 9 (01:21:36):
We had, for the fields and the sunshine, and uh
well for everything for just living. Oh, we have plenty,
you see, it's only fair for us to give up
some of it for a thank offering.

Speaker 10 (01:21:55):
You understand what would happen if you didn't do it?
I don't know. Would something terrible happen? Would we have
bad luck? Maybe would we die?

Speaker 18 (01:22:06):
I don't know.

Speaker 10 (01:22:07):
Well, do we just sacrifice what we want to?

Speaker 9 (01:22:11):
We sacrifice the best we have? Sonny, has it got
to be the best?

Speaker 10 (01:22:16):
That's what your father and I think, and your mother.
What if it isn't good enough? It has to be
the best things you have?

Speaker 45 (01:22:26):
Can I sacrifice something When you're old enough, I'll sacrifice
some wonderful things, and they won't be just old bears
of corn and bundles of milk and stuff like that.
I wonder if I thought, in my youthful folly that

(01:22:47):
the greater the sacrifice, the greater would.

Speaker 12 (01:22:49):
Be my reward. I wonder if I thought I could buy.

Speaker 45 (01:22:54):
Prosperity and happiness and the pleasures of the flesh outstrip
my father and my brother by the magnificence of my
own bird offerings. I wonder if this was the burgeoning
of a thought that I might supplant my brother in
the regard of my father and mother, for he was
the principal provider. True, my father labored mightily, but it

(01:23:15):
was my brother's strong arms that till the soil, my
brother's active mind to plan the year's crops, my brother's
sweat that procured the harvest that nourished us all. And
as time went on, my father became more and more
submerged in religion, and on his first born fell a
heavier and heavier burden. Had at the time of sacrifice,

(01:23:35):
I stood sullenly aside, for I was empty handed, with
nothing of my own to place upon the order, with
nothing to gain grace and prosperity for myself.

Speaker 10 (01:23:46):
I was young. Forgive me for that, if you can.

Speaker 2 (01:23:51):
True.

Speaker 12 (01:23:52):
My elder brother had not many years over me, but
I had been brought up in.

Speaker 10 (01:23:55):
The indulgence of my parents.

Speaker 45 (01:23:58):
Then, since he was a prodigious work, I found idleness
more to my liking. I was awkward with the plow
and the harrow. I bruised the precious fruit I was
sent together. I dull the scythe and reaping time was
sent away. Less I bring further harm to the harvest
and to myself, and to praise my father gave to
my brother.

Speaker 10 (01:24:18):
It's been a good year, son. We've done very well,
haven't You've done very well?

Speaker 25 (01:24:23):
You mean, what's the difference. It's all the family, yes,
But what we'd have done without.

Speaker 10 (01:24:27):
You, I don't know.

Speaker 25 (01:24:29):
But we've got that low field now that was all
trees last year. That brings us a good drop. I
wish there was something special I could do for you, son.

Speaker 10 (01:24:40):
It's all right, father. I like to work in the fields.

Speaker 25 (01:24:44):
And those fruit trees. I never saw them bear so much.
There's hard work, but they have a pleasant winter. Thanks
to you, we've got so much.

Speaker 9 (01:24:55):
I wish there were somebody we could give some of
our plenty too, don't you, Father.

Speaker 10 (01:25:01):
We can give it to the lord's son. It'll be
a mighty sacrifice this year. All the better we have
it to give.

Speaker 9 (01:25:08):
But I wish sometimes there were some other people we
could see be neighbors with.

Speaker 43 (01:25:17):
They will come, son, and they will come.

Speaker 25 (01:25:20):
We may not live to see this world teeming with people,
but we're the pioneers, and they live.

Speaker 10 (01:25:26):
To be grateful to us. I'm thankful I have a
son like you.

Speaker 9 (01:25:31):
You've got two sons, father, Oh yes, But your.

Speaker 45 (01:25:35):
Brother and I went away and sat brooding for a
long time.

Speaker 10 (01:25:45):
Mind you.

Speaker 45 (01:25:46):
I loved my father, and after that moment, I loved
my brother. But I must find some way to outdo him,
to win a greater place than he and my father's affections.
But what was I to do? What tasks were there left?
And I could perform to please my father and the
supplant my brother? I could not think, and the other thought,

(01:26:07):
how would I ever prosper in life if I had
nothing to give, nothing to sacrifice as my father.

Speaker 10 (01:26:12):
And my brother did.

Speaker 12 (01:26:14):
My mother found me in the.

Speaker 45 (01:26:15):
Dark as I sat there sniveling at my unlucky situation,
because I sat there dissolved in unworthy tears of self pity?

Speaker 15 (01:26:25):
Is that you, son?

Speaker 18 (01:26:27):
Mother?

Speaker 15 (01:26:28):
I've been looking all over for you. What's the matter, dear?

Speaker 10 (01:26:33):
I don't feel good?

Speaker 15 (01:26:35):
Are you sick?

Speaker 4 (01:26:35):
Child?

Speaker 18 (01:26:36):
I just.

Speaker 10 (01:26:38):
I'm just good for nothing?

Speaker 15 (01:26:40):
Oh? No, son, what happened?

Speaker 46 (01:26:43):
Well?

Speaker 10 (01:26:45):
I can't do anything?

Speaker 6 (01:26:46):
You can't do anything?

Speaker 15 (01:26:48):
What do you mean?

Speaker 10 (01:26:49):
Well?

Speaker 45 (01:26:49):
Brother does everything and father tells him how wonderful he is,
and I'm I'm just useless.

Speaker 32 (01:26:56):
Oh, come now, son, there's plenty for you to do.
You always help mother around the house and do well
you when you're young.

Speaker 10 (01:27:05):
I'm not either, I'm just no good.

Speaker 32 (01:27:07):
That's a silly attitude for you to take. Now, what
put all this in your mind? So suddenly, Mother, I
want to be useful when you are useful.

Speaker 10 (01:27:20):
I haven't got anything to sacrifice.

Speaker 32 (01:27:24):
Oh that's it, eh, yes, father, I know, dear. I
didn't know you were so serious about saying, mother.

Speaker 45 (01:27:37):
How can I ever get things if I don't have
anything to sacrifice?

Speaker 15 (01:27:42):
Get things?

Speaker 30 (01:27:44):
Well?

Speaker 10 (01:27:44):
I mean, I won't prosper.

Speaker 15 (01:27:46):
You, poor child.

Speaker 32 (01:27:48):
You come in now and have your supper, and you
feel better then in the morning.

Speaker 45 (01:27:58):
But in the morning I wanted a watte, still downcast
before my parents and my brother had arisen. I do
not remember what dark thoughts occupied in my mind as
I climbed the dew drenched hillsides, wrestling with my problem.
I do not know how far I walk through the morning,
in the hot sun at noon, nor where I wandered.
I tired of the afternoon, I remember, and under a

(01:28:19):
tall oak tree on the top of the hill, I
lay my head and slept dreams haunted me. Dreams of
my tall, laughing brother, rich and happy, surrounded by a
cheerful and happy family.

Speaker 10 (01:28:32):
In some far land.

Speaker 45 (01:28:34):
Dreams of myself begging read from a stranger, unblessed and unhappy.

Speaker 10 (01:28:40):
Dreams of poverty and what in the world I never
knew I saw myself dependent.

Speaker 45 (01:28:46):
That long lastepound the body of my brother, the farmer,
the tiller of the soil, a laborer who had enough
to sacrifice to insure a good life for himself, while
I suffered the pangs of hunger, and I awoke to
the curious stair of a pair of tiny, grave little lambs.

Speaker 9 (01:29:05):
Two little lamb cancers.

Speaker 10 (01:29:07):
Stood and made bleating noises at.

Speaker 45 (01:29:09):
The strange figure on the grass, who tottered to me
and seized my fingers in their black little mouths, and
tugged at them valiantly.

Speaker 10 (01:29:17):
And so, when at sunset.

Speaker 12 (01:29:18):
I made my weary way into the clearing around.

Speaker 45 (01:29:20):
Our house, I had found my vocation. The lambs objected
mightily to being dragged up for inspection by my father
and brother and my weeping mother. But there was a
hot supper from me, and the barley meal for the lambs,
and I talked bravely of the prosperity.

Speaker 10 (01:29:37):
My new acquisition would bring to us. All.

Speaker 45 (01:29:41):
I suppose I was meant to be a shepherd. My
two little lambs grew presently there were more lambs. My
father taught me to shear them.

Speaker 7 (01:29:50):
As they grew bigger.

Speaker 45 (01:29:52):
I found out the lore of the sheep herder for myself.
It was pleasant on the hill sides, with a tinkle
of the weather's bell, and the flock grew apace. Ah,
how I remember those long afternoons. Were the clouds drifting
lazily above me, the pleasant rousies sound of the sheep
as they grazed peacefully around me.

Speaker 10 (01:30:14):
It was a lazy life, but a good one.

Speaker 45 (01:30:17):
I could laze away the afternoon securely, laughing to think
of my burly brother toiling away in the sun baked fields,
fighting his eternal battle of the earth for his sustenance.
I built my own hut down the hillside above the
home place. I lived a pleasant solitary life. Sometimes my
mother and my father would toilet the hill to visit me,

(01:30:38):
bring me cakes of millet of deep, jars of sweet
wine for my brother's grapes.

Speaker 10 (01:30:43):
There was an afternoon.

Speaker 43 (01:30:45):
Well sign you're doing fine with the sheep.

Speaker 45 (01:30:47):
I'm glad father, this is what I like to do.
And then you have you now sixteen, but there'll be
lambs in the spring.

Speaker 15 (01:30:53):
I'm making you a nice woolcoat. Then from the first cheering.

Speaker 32 (01:30:56):
Oh thank you mother, I wish you could come.

Speaker 15 (01:31:00):
I'm home oftener.

Speaker 10 (01:31:01):
Though you miss me.

Speaker 43 (01:31:03):
Of course we'll do, son, that's why we come up
to see you here.

Speaker 10 (01:31:06):
But what about You've got to stun around the house
all the time. He's pretty busy. How's he doing with
the crops? Well, not very well this year. Oh, what's
the matter.

Speaker 15 (01:31:19):
It's just a bad year, son.

Speaker 10 (01:31:21):
What's the matter? Didn't he sacrifice?

Speaker 43 (01:31:25):
I don't think I like the way you said that.

Speaker 9 (01:31:28):
Son.

Speaker 10 (01:31:28):
I didn't mean anything. Father.

Speaker 43 (01:31:30):
I hope you didn't. Yes, your brother sacrifice, you know
he did.

Speaker 10 (01:31:34):
Maybe you didn't sacrifice enough.

Speaker 15 (01:31:36):
Yes he did.

Speaker 10 (01:31:37):
Well, maybe it wasn't good enough.

Speaker 18 (01:31:38):
Son.

Speaker 43 (01:31:38):
It's not your place to decide what's good what's bad.

Speaker 10 (01:31:41):
I wasn't father, I was only asking. The crops are
going to be very small this year.

Speaker 32 (01:31:48):
It looks as if you're the support of the family
this time.

Speaker 18 (01:31:50):
Son, me.

Speaker 10 (01:31:54):
That's fine. I'm some use after all the.

Speaker 43 (01:31:58):
Son right court, you some muse, sure a great deal
of yours.

Speaker 10 (01:32:02):
More than my brother this year.

Speaker 47 (01:32:04):
Anyway, then I can't help it.

Speaker 10 (01:32:08):
Mother, I'm happy selling him.

Speaker 43 (01:32:10):
You made your sacrifice.

Speaker 45 (01:32:12):
Yet, not yet, father, But I'm going to do it
right away. I'm going to make a wonderful sacrifice. And
when the lambs were born, I made my sacrifice. I
made a magnificent sacrifice. The lovely little lambs bleeded piteously,
and my heart bled for them, but it was what

(01:32:33):
I had wanted to do. I chanted the old words
of the ceremony loudly and joyfully. The black smoke rose
to heaven. We all rejoiced greatly. We all rejoiced except
my brother. Now it was his turn to stand empty
handed and glum, although he did try to smile at me.
When I turned triumphantly away to look at him. The

(01:32:56):
poor withered ears of corn he put on his own
order looked very meager compared with.

Speaker 10 (01:33:00):
The lavishness of my gift.

Speaker 45 (01:33:03):
And when, in an excess of good feeling, I gave
him one of the lambs to offer up on his
own order, he couldn't even make the fire stale it
I had to help.

Speaker 10 (01:33:12):
I was very happy.

Speaker 12 (01:33:15):
And I rue the day now.

Speaker 10 (01:33:18):
Yes, of course it was selfishness. It wasn't devotion. I
was very happy.

Speaker 45 (01:33:26):
And when in the morning I left again to return
to the hillside pastures, for my flock had grown and
there would be much for me to do, my brother
humbly came to me and laid a hand.

Speaker 10 (01:33:36):
On my shoulders. All right, if I walked back with
you to see the flock. Why haven't you got anything
to do here? There's not a thing to do here.
Drops are in there is a well. Isn't that too bad? Yeah?

Speaker 2 (01:33:52):
Is that?

Speaker 3 (01:33:53):
Well?

Speaker 2 (01:33:54):
Come on along? Thank you.

Speaker 10 (01:33:59):
I don't know what happened this year. It is strange,
isn't it. You've done well. I'm proud of you.

Speaker 45 (01:34:07):
Oh well, you know I told you I had sacrifice
something wonderful.

Speaker 10 (01:34:11):
Yes, I remember.

Speaker 45 (01:34:12):
I sacrificed the first lambs this family ever sacrificed.

Speaker 10 (01:34:16):
It was wonderful. Too bad, your sacrifice was so cheap
and bad.

Speaker 9 (01:34:20):
I did the best I could. That's all anybody could do.
Oh well, but you should have been like me. It's
all very well that they've got the ground, but it
takes something more to do what I've done.

Speaker 10 (01:34:30):
I've done pretty well. In the past.

Speaker 45 (01:34:31):
Boy, I don't see how you can expect to do
very much when all you've got to offer is some
old carn and stuff like that.

Speaker 14 (01:34:36):
It was good enough for you for a long time.

Speaker 9 (01:34:38):
Of course, but now I work hard all my life.
You don't have to work hard if you don't want to.

Speaker 10 (01:34:44):
I don't work hard. And look at me. Yes, I
think father and mother are a little disappointed in you.
You know they are not. Oh, I think they are.
I could see the way they looked at you and
at me.

Speaker 46 (01:34:57):
I don't believe it.

Speaker 10 (01:34:58):
And you didn't do very well with not even when
I had to give you something to sacrifice.

Speaker 16 (01:35:03):
You stop that.

Speaker 10 (01:35:04):
I think your days over. Brother. I heard you to
stop talking that way. Yes, you're done. You were all
right till I got started and made a good sacrifice. Oh,
go on back and take holes from the ground, you farmer.
You ill, you'll do what you don't?

Speaker 14 (01:35:18):
Stop talking that way.

Speaker 15 (01:35:21):
Kill you farmer.

Speaker 10 (01:35:22):
Stop digg her in the dirt.

Speaker 3 (01:35:23):
I told you didn't even make a good sacrifice.

Speaker 45 (01:35:26):
You and I lay there on the ground. The sky
had turned the blood red, and the hills danced crazily
about me. I struggled to rise again.

Speaker 10 (01:35:43):
But it was too late.

Speaker 45 (01:35:46):
I had loosed murder and strife into the good world.
I had taunted my brother to the final act of death,
and it was too late to say I'm sorry. Distantly,
I heard my brother run away, and his cries filled
my ears with sound. It is more than I can bear,
he said, and those are the last words of his

(01:36:09):
I heard my good, kindly brother, and through him, I
brought strife and terror and hopelessness into the best of
all worlds. And you are heir to the evil that
I set free. I was my brother's keeper, and I

(01:36:35):
failed my trust. The title of Tonight's Quiet Please was

(01:37:06):
the Third Man's Story. It was written and directed by
Willis Cooper, and the man who spoke to you was
Ernest Chappele.

Speaker 12 (01:37:15):
And Lon Clark played the brother.

Speaker 2 (01:37:18):
The father was Arthur Cole, and the mother was Alice.

Speaker 10 (01:37:20):
Rothard's as usual music for Choiet Please is by Albert Berman.

Speaker 45 (01:37:26):
Alfred A word about Next week all writer director Willis Cooper, So.

Speaker 48 (01:37:30):
Of course, obvi is that the characters in Tonight's story
were based upon people who did live. Next Week's Quiet
Please story is called with a bout of the composer by.

Speaker 10 (01:37:39):
A theme Symphony and d Minor.

Speaker 48 (01:37:42):
It'll be the last of the Mutual Network series of
quiet Please broadcasts.

Speaker 45 (01:37:52):
Both mister Cooper and I would be grateful for your
reactions until next week at the same time, five Quietly, Yours,
Ernest Chapel.

Speaker 44 (01:38:16):
This program was heard in Canada through the facilities of
the Canadian Broadcasting Corporation. This is the Mutual Broadcasting system.

Speaker 3 (01:38:41):
The National Broadcasting Company presents Radio City Playhouse Attraction thirty four.

Speaker 24 (01:39:07):
Tonight we bring you a story with an unusual.

Speaker 3 (01:39:09):
Twist, a story by Agatha Christi titled Witness for the Prosecution.
Our featured players include Arnold Moss as mister Mayhern, the lawyer,
David Gothard as Leonard Ball the accused. Lottie Stawski is Romayne,
the witness for the prosecution. In this attraction thirty four
on Radio City Playhouse.

Speaker 49 (01:39:54):
By the lights still on in the parlor and it's midnight.
Surely mister Ball hasn't Steve Miss French till this hour.

Speaker 50 (01:40:01):
Miss French, are you still up?

Speaker 49 (01:40:03):
You should have been in gret long ago, Miss.

Speaker 33 (01:40:06):
Friend read all about it.

Speaker 3 (01:40:16):
Had you better committed at hills Well believe the rest
mondet all my suspect read all about it.

Speaker 2 (01:40:24):
That's the better.

Speaker 51 (01:40:40):
His seals right here, mister mayhurd Na.

Speaker 10 (01:40:48):
Good afternoon, mister bout Oh hello, mister Mayhun. You have
thirty minutes.

Speaker 3 (01:41:01):
I've come to talk with you, mister Paul. Yes, yes, sorry,
mister Mayha. I just can't seem to realize that I'm
charged with murder but such a horrible crime tool.

Speaker 24 (01:41:18):
It looks bad for me.

Speaker 18 (01:41:19):
Doesn't it.

Speaker 3 (01:41:19):
It does look kind of black, mister Vaul. We're going
to make it determined effort to get you off.

Speaker 46 (01:41:25):
Do you think I'm guilty?

Speaker 10 (01:41:26):
Don't you?

Speaker 24 (01:41:27):
I know you do, but I swear I'm not. I
didn't do it, mister Mayher, and I didn't.

Speaker 46 (01:41:32):
Do it very well.

Speaker 3 (01:41:32):
Then I'll accept your assurance, but I must know the worst.
I must know just how damaging the case against you
is likely to be. Now, mister Paul, the utmost frankness,
you understand me, Yes, I'll be completely honest with you
very well. I want you to tell me exactly how
you came to make the acquaintance of Miss Emily French.

Speaker 24 (01:41:56):
It was one day on main Street.

Speaker 3 (01:41:59):
I saw an elder lady trying to cross the road
and heavy traffic, she dropped the packages. I picked them
up out of common courtesy and offered to help carry
them home, and she was grateful. Yes, of course, she
was dressed so poorly. I had no idea she'd turned
out to be as.

Speaker 10 (01:42:15):
Wealthy as she was.

Speaker 46 (01:42:16):
That you did find out.

Speaker 3 (01:42:17):
Now, the first aim of the prosecution will be to
establish that you were low financially at that particular moment.

Speaker 46 (01:42:23):
You were, weren't you.

Speaker 24 (01:42:25):
Yes, I've been having a lot of battlufe, of.

Speaker 3 (01:42:27):
Course, I remember. I'm looking at this from the point
of view of the prosecution. How why did you, a
young man of thirty three, good looking, fond of sport,
popular with your friends, devote so much of your time
to an elderly woman with whom you could hardly have
anything in common. Well, I'm one of those persons who

(01:42:47):
can't say no and believe me or not. After a
few visits, I found myself getting genuinely fond of the
old lady. I had been an orphan, and I suppose
I enjoyed being pamphritted.

Speaker 30 (01:43:02):
Now.

Speaker 10 (01:43:03):
They really aren't anything French there.

Speaker 24 (01:43:07):
They're the nicest pair of socks I've ever had.

Speaker 3 (01:43:09):
You actuallymitted them yourself, Oh, yes, it must have been
quite a job.

Speaker 50 (01:43:14):
What else have I to do with my town?

Speaker 24 (01:43:16):
Well, I can't tell you how I appreciate French.

Speaker 52 (01:43:20):
Yes, Janet, it's almost ten o'clock.

Speaker 50 (01:43:22):
Well don't you think you should retire now?

Speaker 15 (01:43:25):
Janet?

Speaker 49 (01:43:26):
Stop worrying about me. But it isn't good for you
to stay up late. Now, Janet, you go on to bed.
Mister Bowle and I have a few things to discuss.
I'll stay up until you're ready to retire.

Speaker 6 (01:43:38):
Miss French.

Speaker 24 (01:43:41):
I don't think Janet likes.

Speaker 10 (01:43:43):
Me, Miss French.

Speaker 49 (01:43:45):
Janet's been with me for almost thirty years. She's become
very attached to me. I suppose she may be a
bit jealous of you of me. Yes, she knows how
fond I am of you, and I you know why
you seem like an adopted son to me.

Speaker 24 (01:44:05):
You're very kind, But I mustn't keep you up any longer.

Speaker 50 (01:44:08):
No, no, no, don't go.

Speaker 49 (01:44:10):
There really is something I want to talk to you about,
something very very important.

Speaker 3 (01:44:20):
It was then she asked me to look after her
business fire. She understood very little about money matters and
was worried over something. Janet Mackenzie says a mistress was
a good business woman, and that's substantiated by the testimony
of a banker's.

Speaker 20 (01:44:35):
I can't help that.

Speaker 3 (01:44:36):
It's what she told me, and I swear to you
that my givings were all perfectly fair and above board.
A prosecution can't get hold of a thing.

Speaker 10 (01:44:43):
On that score.

Speaker 3 (01:44:43):
When you relieve my mind very much, I pay you
the compliment of believing that you're far too clever to
line of me on such an important point. Of course,
whether the jury will take that view is another matter.
I've been completely truthful, mister Mathean.

Speaker 46 (01:44:57):
But now there's one more question. Did miss French know
that you were married?

Speaker 6 (01:45:02):
Oh?

Speaker 24 (01:45:02):
Yes, Did you ever take your wife to see her?

Speaker 18 (01:45:06):
No?

Speaker 10 (01:45:07):
Why not? I'll make a clean breast of it.

Speaker 3 (01:45:10):
Somehow Miss French had gotten the idea that Romayne and
I didn't get along, that we were living apart.

Speaker 24 (01:45:16):
You didn't give her that idea, No, no, not.

Speaker 3 (01:45:19):
At all, But I I let her go on believing it,
because well, she was fond of me, But she she
wasn't interested in the struggles of a young couple.

Speaker 24 (01:45:29):
Mister Mayhern.

Speaker 3 (01:45:30):
I wanted to borrow some money for Miss French, for
Romayne's sake, more than for mine. Did you borrow I
never had a chance to. Surely, that's the strongest point
in my favor. I wanted to borrow money from her,
but her death ruined that completely. Aren't you aware, mister Pall,
that Miss French left a will in which you are
the principal beneficiary?

Speaker 50 (01:45:49):
What good, good lord?

Speaker 10 (01:45:52):
What do you say she left me her money?

Speaker 3 (01:45:54):
You pretend to know nothing of this will, pretend there's.

Speaker 10 (01:45:57):
No pretense about it.

Speaker 46 (01:46:00):
I certainly hope you can prove that.

Speaker 24 (01:46:02):
Now I'm beginning to see how things stand.

Speaker 3 (01:46:06):
They'll say I got her to make a will leading
me her money, that I went there that night and
there was no one in the house.

Speaker 46 (01:46:11):
You're you're wrong about there being no one in the house.

Speaker 9 (01:46:14):
How was that?

Speaker 24 (01:46:15):
You say? It was Janet's night out?

Speaker 3 (01:46:16):
But she returned for a few minutes about nine thirty
to get some kind of a blouse pattern she'd promised
a friend. She used the back stairway, but she swear
she heard voices in the parlor, and that one was
Miss Franchi's and one was a man's at half.

Speaker 24 (01:46:31):
Past nine, half past nine.

Speaker 9 (01:46:34):
Oo, then I'm saved.

Speaker 46 (01:46:36):
What do you mean?

Speaker 20 (01:46:36):
I was home again by half past nine.

Speaker 10 (01:46:38):
My wife can't prove their wife.

Speaker 3 (01:46:39):
Yes, I left Miss French about five minutes to night
and arrived all about nine twenty.

Speaker 24 (01:46:44):
Thank heaven for Jennet Erckenzie's bluse.

Speaker 3 (01:46:46):
Pattern, mister Bore, was there anyone else who saw you
come home at that time to substantiate your wife's testimony?

Speaker 25 (01:46:51):
All?

Speaker 24 (01:46:51):
But it's lucky for me Romayne was there.

Speaker 3 (01:46:53):
In fact, it appears to be the only thing in
our favor at the moment. Well, goodbye, mister Paula.

Speaker 24 (01:47:00):
I say that I believe in your innocence in spite
of the many facts.

Speaker 46 (01:47:02):
Against you, and.

Speaker 3 (01:47:05):
I hope to prove it and vindicate you completely. H

(01:47:28):
What is it i'd like to say, missus that at all? Please,
I'm Henry Mayher and mister Bowle's lawyer. It's Missus Wallan.

Speaker 52 (01:47:34):
I'm the one you wish to see.

Speaker 50 (01:47:36):
I believe.

Speaker 24 (01:47:37):
Oh you're Missus Vall. I thought me.

Speaker 15 (01:47:40):
To be different.

Speaker 52 (01:47:41):
Well, I'm afraid I'm not the typical housewife. I was
an actress in Vienna before I met Lynnett.

Speaker 24 (01:47:49):
Miss wall I've just come from your husband.

Speaker 3 (01:47:51):
I know how upset you must be, But if you
don't matter, like to talk to you yes, you.

Speaker 52 (01:47:56):
May come in.

Speaker 10 (01:47:57):
Thank you very much?

Speaker 50 (01:47:58):
Is sit down?

Speaker 24 (01:47:59):
Mister mayhe me?

Speaker 10 (01:48:01):
Thank you?

Speaker 52 (01:48:02):
I know that you will try. How do you say
to spare me as much as you can? But I
want to know everything. Do you understand I want to
know the worst very.

Speaker 3 (01:48:11):
Well, missus Vall. I'll be perfectly frank with you. The
case is quite black against your husband. Everything is against
him except one thing, and what is that his French
is made. Will testify that you heard voices those of
miss French and the man talking in the parlor at
nine point thirty. However, mister Bowle says that he returned
home at nine twenty and that you were here when

(01:48:34):
he arrived.

Speaker 24 (01:48:34):
Now, if we can establish I.

Speaker 52 (01:48:36):
See he wants me to say he came in at
nine twenty that night.

Speaker 46 (01:48:41):
We did come in at that time.

Speaker 15 (01:48:42):
That's not the.

Speaker 52 (01:48:43):
Point we am I saying.

Speaker 15 (01:48:44):
So I quit him.

Speaker 50 (01:48:45):
Will they believe me?

Speaker 3 (01:48:46):
It would certainly be helpful if we had another witness,
but you do not. For to be honest with you,
I must say that the jury doesn't have to put
too much faith in the testimony of a devoted wife.

Speaker 52 (01:48:56):
Nevertheless, did he tell you I was the vote to
do him? Ah, yes, I see he did.

Speaker 3 (01:49:04):
How stupid Manna Look well, I know that under the circumstance.

Speaker 52 (01:49:08):
I know nothing about the circumstances. I hate him.

Speaker 50 (01:49:10):
I hate him, I hate him.

Speaker 15 (01:49:11):
I would like to see him dead.

Speaker 52 (01:49:13):
This is quite perhaps I shall see. Suppose I tell
you that he did not come in that night at
nine twenty, but at ten twenty. Of course, I tell
you there was blood on his coat. What if I
stand up in court and say all these things?

Speaker 46 (01:49:29):
You cannot be asked to give evidence against your husband.

Speaker 52 (01:49:32):
He is not my husband.

Speaker 15 (01:49:35):
What do you mean?

Speaker 52 (01:49:36):
My name is Omin Heigler. My real husband is alive,
but in a madhouse. So Lena than I could not marry.
I'm glad, not very glad.

Speaker 10 (01:49:44):
See.

Speaker 24 (01:49:44):
But may I ask why you're so bitter against as
you would.

Speaker 15 (01:49:48):
Like to know?

Speaker 52 (01:49:49):
But I shall not tell you. I will keep my secret.

Speaker 50 (01:49:52):
I am free now to play a lone hand.

Speaker 46 (01:49:55):
Well, there seems no point.

Speaker 52 (01:49:57):
Oh wait, tell me one thing. Did you honestly believe
Lennard was innocent when you came here today?

Speaker 10 (01:50:05):
I did.

Speaker 52 (01:50:07):
I still believe so, you poor little man.

Speaker 24 (01:50:26):
I don't understand her attitude, mister Mayer.

Speaker 10 (01:50:29):
I can't explain it.

Speaker 24 (01:50:30):
You've given me the shock of my life.

Speaker 3 (01:50:32):
I must say, it's extraordinary, the whole thing. An extraordinary woman,
very danger. She's the only person who can testify that
I came home at nine twenty, and I did come home.

Speaker 10 (01:50:40):
Then I spied to you.

Speaker 3 (01:50:41):
I did, mister Pole, I sincerely believe you for no
other reason because there's too much evidence against you.

Speaker 24 (01:50:48):
Dah.

Speaker 46 (01:50:49):
This woman is obviously trumping up the whole story.

Speaker 3 (01:50:51):
Of course she is. But will the jury believe her?
That's the question. But perhaps she won't testify she was
tiry with me. But I don't think she'll dare to
tell such lies in court.

Speaker 24 (01:51:03):
You don't sound too convinced about mister mayhoon.

Speaker 10 (01:51:07):
Uh PEPs.

Speaker 2 (01:51:08):
I don't.

Speaker 3 (01:51:09):
Janet Mackenzie's testimony will be damaging enough if they think
the call is highlighted this tand will.

Speaker 46 (01:51:16):
You know they wait and hope, Wait and hope.

Speaker 53 (01:51:36):
Order in the part.

Speaker 25 (01:51:38):
Order in the part, the Counsel for the prosecution may continue.

Speaker 54 (01:51:42):
How long were you in the employer of Miss Emily French,
Miss mckendon thirty years? And over that period of time
you became somewhat of a companion as well as a maid.

Speaker 49 (01:51:52):
Yes, Miss French confided most of her personal affairs to me.

Speaker 54 (01:51:56):
And did you speak to you at any time concerning
the prisoner Leonard Bowl?

Speaker 49 (01:52:01):
Indigd He warmed himself into his French's affections, good and proper, irrelevantly.

Speaker 3 (01:52:08):
I've sustained sadness in the cart continue, mister Mackenzie.

Speaker 54 (01:52:15):
Was Miss French under the oppression that mister Vole was married?

Speaker 15 (01:52:19):
No, she was not.

Speaker 50 (01:52:21):
She told me that she was thinking of marrying him.

Speaker 38 (01:52:25):
Hard now, mister Kenzie.

Speaker 54 (01:52:30):
When Miss French's will was read, it was learn that
she had named Leonard Bowl as her principal beneficiary. Were
you aware of this fact previous.

Speaker 53 (01:52:40):
To the opening of the will?

Speaker 49 (01:52:41):
Yes, she told me about it the day she made
the will, and she told Leonard Bowl too. He helped
her draw up the will.

Speaker 16 (01:53:01):
Anyone, Miss Mackenzie, you may step down will the state
preced the college snake.

Speaker 24 (01:53:05):
Mister sorry, mister Wall I couldn't shake her.

Speaker 46 (01:53:08):
I hope to be able to break it down, but
she made up have she said on the stand.

Speaker 10 (01:53:12):
I swear she did.

Speaker 3 (01:53:13):
Jennet hates me, mister Willian obviously. Well, maybe the jury
will realize she has no reason to love you. And
will discount her testimony accordingly.

Speaker 24 (01:53:22):
It looks bad for me, doesn't it?

Speaker 46 (01:53:23):
It could be worse. We may be all right.

Speaker 50 (01:53:25):
Here, Please accord our.

Speaker 54 (01:53:27):
Next witness, your honor, will Miss Romayne Hidler please take
the stand.

Speaker 50 (01:53:36):
Your name is Romayne Higer.

Speaker 55 (01:53:38):
Yes, you are an Austrian subject.

Speaker 50 (01:53:40):
Yes.

Speaker 54 (01:53:41):
For the last three years you have lived with the
prisoner and passed yourself off with his wife besides her.
Do you recall the night of Tuesday, March eighteenth very clearly?

Speaker 38 (01:53:53):
Where were you at.

Speaker 54 (01:53:54):
My home, the home you shared with the prisoner?

Speaker 35 (01:53:57):
Yes?

Speaker 50 (01:53:58):
And where was he that night? He was at home
until a quarter to eight.

Speaker 38 (01:54:03):
Where did he go then.

Speaker 52 (01:54:06):
To the house of Emily French?

Speaker 38 (01:54:10):
Did he take anything with him?

Speaker 52 (01:54:12):
Yes, he took a pair of gloves and a hatchet.

Speaker 9 (01:54:15):
No, I don't know that.

Speaker 3 (01:54:16):
Silence, silence, I will have no emotional offers.

Speaker 54 (01:54:21):
And what time did he return to your home?

Speaker 50 (01:54:25):
At? Twenty minutes past.

Speaker 10 (01:54:27):
Ten pt Real?

Speaker 43 (01:54:27):
Lie?

Speaker 56 (01:54:28):
And you know it.

Speaker 10 (01:54:28):
I returned.

Speaker 38 (01:54:30):
I returned that nine.

Speaker 25 (01:54:32):
If now any more beat this placement of dependent I
shall hold you in contempt the court.

Speaker 50 (01:54:36):
The prosecution will continue.

Speaker 38 (01:54:38):
Miss Haiger.

Speaker 54 (01:54:39):
Will you please tell the court in your own words
what transpired when the prisoner returned at twenty minutes past ten.

Speaker 52 (01:54:48):
When he came home, his shirt pups were stained with blood.
I asked him what had happened. At first, he pretended
he had fallen and hurt him.

Speaker 57 (01:54:57):
Say oh, but I soon saw this was not true.

Speaker 52 (01:55:00):
Finally, finally he admitted that he had killed Emily Friends.

Speaker 24 (01:55:06):
Your Paul one morning first and never had you removed
from the court room.

Speaker 54 (01:55:10):
Please continue your testimony with Tiger. The prisoner admitted the
murder of Emily Friend.

Speaker 52 (01:55:16):
Yes, when he came home, he had a wild stare
in his eyes. He grabbed my wrist so tightier I
cried out and pain, and he slept my face several times.

Speaker 50 (01:55:28):
He told me to shut up.

Speaker 52 (01:55:29):
Before the neighbors hurt me. He told me he had
killed her for harmony, and if.

Speaker 50 (01:55:35):
I ever breathed a word, he killed me too. His
exact words were, watch your step. It's even easier to
commit a second.

Speaker 3 (01:55:45):
Burden, mister ma who and I didn't expect to see
you again this evening, but I can't because her because
a rather strange thing has happened. When I reached my apartment,

(01:56:09):
I found this letter. It's signed by a missus Bendowski.
Do you ever hear of Herdoski? Oh, listen to what
she has to say. Dear mister Lawyer. If you want
that painted Heigler woman showed up what she is, her
and her.

Speaker 46 (01:56:30):
Pack of lies, you.

Speaker 3 (01:56:32):
Just come to five sixteen Gay Street, Greenwich Village tonight.
It will cost you two hundred dollars. So don't come
unless you're willing to pay. Ask for missus Bandovski. Are
you sure that name means nothing to you? I never
heard of it, But did miss Heigler ever mention her
at any time?

Speaker 24 (01:56:47):
As I can remember?

Speaker 3 (01:56:48):
He's probably just a crackpot trying to get some easy
money perhaps, And yet, the way things stand now, with
nothing to lose, I'm gonna pay missus Bandowski a visit
this evening.

Speaker 46 (01:57:11):
Missus.

Speaker 50 (01:57:12):
So it is you, dearie. Nobody with you? Is there?

Speaker 10 (01:57:16):
No?

Speaker 46 (01:57:17):
No, I'm alone.

Speaker 49 (01:57:19):
I don't go in for playing tricks, nor for people
who play them.

Speaker 50 (01:57:23):
Come in. You'll have to forgive the looks of my room.

Speaker 49 (01:57:28):
I don't exactly live in what you would call the
lap of luxury.

Speaker 50 (01:57:34):
Didn't no one.

Speaker 49 (01:57:35):
Ever tell you it ain't polite to stare? Mister mahan
a proper sort of gentleman, like you too. You are
wondering why I hide my beauty behind this veil. Well
I will give you a little peek. So you are

(01:57:56):
anxious not to kiss my scarlet face? Huh, Well, I
don't wonder.

Speaker 15 (01:58:02):
I don't wonder.

Speaker 49 (01:58:04):
And yet would you believe now I was a pretty
girl once even you might have taken a shine to me.
It is all her fault.

Speaker 50 (01:58:13):
You understand that she is the cause of this.

Speaker 15 (01:58:16):
She took the only man I have ever loved.

Speaker 50 (01:58:18):
Away from me.

Speaker 49 (01:58:19):
Yes, her, when I went after Max. Yes, and I
was after her too. He threw vitual in my face.
Have you ever thought what it would be like you
have your your face burnt off of you?

Speaker 50 (01:58:32):
And she laughed, She laughed. I have had it in
for her ever since.

Speaker 24 (01:58:37):
And now what is this information?

Speaker 46 (01:58:39):
You?

Speaker 18 (01:58:39):
So?

Speaker 50 (01:58:39):
What about the money?

Speaker 24 (01:58:40):
It's your duty to give information. You can be called
on to do so.

Speaker 49 (01:58:43):
Oh, no, you hand me two hundred and perhaps I
can give you a hint or two.

Speaker 3 (01:58:50):
Huh What what would you say to a letter?

Speaker 50 (01:58:55):
A letter from her? Never mind how I got hold
of it. That is my business. It will do the chick.

Speaker 14 (01:59:01):
But the money I have.

Speaker 3 (01:59:02):
The money here. I'll put it on the table. Don't
touch it. Let me see your evidence first.

Speaker 49 (01:59:11):
Here we are a whole bundle of letters in her handwriting.
It is the first letter you want the chick.

Speaker 50 (01:59:23):
Just you read.

Speaker 38 (01:59:24):
It the rana, Ladies and gentlemen of the jury.

Speaker 3 (01:59:37):
I charge that the testimony of Romayne Heigler has been
a malicious fabrication from beginning to end. What yes, I
accuse Romayne Heigler of inventing her testimony to send an
innocent man to his text. Do you deny that you're
in love with a man other than let advance?

Speaker 50 (01:59:55):
I deny it. What a ridiculous statement. I was completely fair.

Speaker 52 (02:00:00):
He's going to let it more until he became an
derect murderer.

Speaker 50 (02:00:03):
And then to kill me too.

Speaker 3 (02:00:05):
And you still maintain that the dependant confessed committing a crime.

Speaker 50 (02:00:08):
God, I do what w with yesterday, And it is true.

Speaker 57 (02:00:12):
With all these upply, foolish questions and.

Speaker 24 (02:00:16):
Vote, they're about just this mishider.

Speaker 3 (02:00:20):
I offer as evidence to the court this letter, written
in your own hair, lady.

Speaker 46 (02:00:26):
It reads as follows, Max.

Speaker 3 (02:00:29):
He loved the fates have delivered him into our hands.
He has been arrested for murder. But yes, the murder
of an old lady Leonard, who had not heard a fly.
At last, I shall have my revenge the poor chicken.
I shall say that he came in that night with
blood upon him, and he confessed.

Speaker 16 (02:00:48):
The crime to me.

Speaker 3 (02:00:50):
I shall hang him Max, and when he hangs, he
will know and realize it.

Speaker 23 (02:00:56):
Was Romayne who sent him to his death.

Speaker 3 (02:01:00):
And then Happiness beloved him.

Speaker 46 (02:01:03):
Happiness at last, silence, silence.

Speaker 3 (02:01:09):
And I have in the court three handwriting experts of
excellent reputation are ready to testify that this letter was
written by none other than Romayne Heigler.

Speaker 46 (02:01:16):
Now I call them to this tad.

Speaker 53 (02:01:17):
Yes, you may call them.

Speaker 52 (02:01:19):
That won't be necessary, I, miss Higler, I'll tell the.

Speaker 3 (02:01:23):
Court, tell them what the truth? What is the truth,
Miss Heigler.

Speaker 52 (02:01:29):
Everything you have said is true. I wrote that letter, yes, gone.
Everything Leonard said was true.

Speaker 24 (02:01:36):
I like, what does you lie about, Miss Heigler.

Speaker 52 (02:01:39):
My testimony was all alive. Leonard did return home at
twenty past nine, as he testified, and then the whole
story admitted. I wanted to destroy him. I wanted to
send him to his steath.

Speaker 18 (02:01:54):
So I.

Speaker 58 (02:01:57):
Didn't want you to believe that it would.

Speaker 10 (02:02:16):
Fresh air.

Speaker 3 (02:02:17):
Can I really believe it, mister Mahern, I'm actually freeking.

Speaker 24 (02:02:21):
Very happy to say that you are indeed acquitting. All
things look so black for me. Yesterday I had the
closest of all possible shage.

Speaker 3 (02:02:27):
But no need to think of past troubles. Now you're
a very fortunate man, mister Ball. Of course, this business
of miss high Glim may have been a bit of
a shock, but i'd see you well off.

Speaker 24 (02:02:38):
I've learned my lesson with her.

Speaker 10 (02:02:39):
I shan't be.

Speaker 24 (02:02:40):
Such a fool with another woman. But I don't even
give her a part anymore.

Speaker 20 (02:02:43):
I'm free.

Speaker 24 (02:02:44):
That's all that matters.

Speaker 3 (02:02:46):
Let's cross the street here shall we gave be a
very close call, But as I told you before, I
believe that justice has always.

Speaker 38 (02:02:52):
Gone in the end.

Speaker 50 (02:02:53):
And now I'm misb.

Speaker 46 (02:03:06):
Oh, yes, mister Mayheurn. You defended mister bol didn't you?

Speaker 10 (02:03:10):
Yes?

Speaker 59 (02:03:10):
I did come this way. He's in this room on
the left. Tragic, wasn't it? He's untimely death.

Speaker 3 (02:03:17):
Has heard everything to live for so ironic? Really do
escape death so narrowly in the courtroom, I need to
walk outside and made.

Speaker 10 (02:03:24):
It the street.

Speaker 46 (02:03:25):
She just headed in for him. I guess many people
see him.

Speaker 59 (02:03:29):
Oh, there have been, but they've most all gone now.
I think there's only one left, a relative of some sort.

Speaker 24 (02:03:37):
In there, mister, so pardon me.

Speaker 3 (02:03:44):
I hope you won't think that I'm intruding.

Speaker 46 (02:03:50):
Miss Heigler. I didn't recognize you in that veil.

Speaker 52 (02:03:55):
You did not expect me to find me.

Speaker 46 (02:03:58):
Quite frankly, I didn't.

Speaker 3 (02:03:59):
But then on, after what's happened, I suppose nothing you
do should surprise me, considering what you have done or
try to do to him. I hardly thought you'd make
a mockery of his death.

Speaker 52 (02:04:12):
By wearing the veil of morning. Yes, strange, I thought
you were cleverer than that. Mister Mayham. It's not the
first time you have failed to see through a veil.

Speaker 46 (02:04:24):
What are you talking about?

Speaker 52 (02:04:26):
A woman in Gay Street?

Speaker 47 (02:04:27):
Do you remember, missus Heigler.

Speaker 52 (02:04:32):
You never guess that I was Missus Standowsky.

Speaker 10 (02:04:36):
That's impossible.

Speaker 52 (02:04:38):
Have you forgotten? I was an act?

Speaker 10 (02:04:40):
Yes?

Speaker 24 (02:04:40):
I know, but I mean her face was enough.

Speaker 52 (02:04:44):
The light in the room was too bad for you
to see through the veil. I know it was only
make up. Why why did I play a lone hand?
Because I loved them? Because I had to save them.

Speaker 24 (02:04:55):
But why such an elaborate comedy is that?

Speaker 46 (02:04:57):
Why didn't you simply.

Speaker 9 (02:04:58):
Testify in his faith?

Speaker 52 (02:05:00):
The evidence of a woman devoted to him would not
have been enough. You hinted as much. You said, they
wouldn't have believed me. Perhaps, But if I testified falsely
against him, and you forced the contession for me that
it was all alike, then I would be damned, and
the eyes of the law and the jury would feel
bound to acquit him.

Speaker 3 (02:05:19):
And a bundle of letters, I wrote myself, what about
a man called Max?

Speaker 52 (02:05:24):
He never existed?

Speaker 46 (02:05:27):
I see, I'm afraid I misjudged you, Miss high Glove.

Speaker 3 (02:05:33):
I still think we could have got him off by
the normal procedure.

Speaker 52 (02:05:36):
I dared not risk it. You had no evidence to
prove Leonard's innocence.

Speaker 24 (02:05:42):
You merely believed it, and you you knew it.

Speaker 52 (02:05:47):
I see, my dear mister man, you do not see
it at all. On the contrary, I knew he was guilty.

Speaker 3 (02:06:14):
You have just heard Witness for the Prosecution by Agatha Christie,
adapted for radio by Agnes Eckhart. In Tonight's play, Arnold

(02:06:37):
Moss was heard as mister Mayhern Lottie Stawski Is, Romaine Heigler,
David Gotthard is Leonard Bull. Other players included Hester Sundergard,
Ethel Browning, Edgar Staley, Arnold Robertson and Frank Mulano. Music
was composed and conducted by doctor Roy Shield. Radio City
Playhouse is supervised for the National Broadcasting.

Speaker 20 (02:06:57):
Company by Richard P.

Speaker 10 (02:06:58):
McDonough.

Speaker 3 (02:06:59):
Next week, thank you, and here another exciting play Thomas
Burke's classic The Hands of Mister Ottermole Attraction thirty five
on Radio City Playhouse.

Speaker 18 (02:07:27):
Do you have a half hour to kill?

Speaker 10 (02:07:33):
Then stay tuned to.

Speaker 60 (02:07:36):
Have hour to kill?

Speaker 3 (02:07:43):
Your company, makers of your products prevent another study in murder.

Speaker 18 (02:07:49):
And suspense.

Speaker 3 (02:07:54):
From the pen of Robert Webster.

Speaker 10 (02:07:56):
Light comes Blackout.

Speaker 3 (02:07:59):
An unusual especially designed for.

Speaker 10 (02:08:01):
Your half hour to kill.

Speaker 3 (02:08:11):
And now we give you the eminent actor, mister William
Conrad in.

Speaker 10 (02:08:16):
Blackhouse.

Speaker 25 (02:08:19):
Tell me, mister police commissioner, how long ago did life begin?

Speaker 7 (02:08:24):
For you?

Speaker 25 (02:08:25):
Forty forty five years ago?

Speaker 10 (02:08:26):
That's about ryan, Yeah, Well, for.

Speaker 25 (02:08:30):
Me, life began about twenty four hours ago. And I
saw twenty four hours ago. I woke up and I
was lying in a ditch beside a railroad track, When
I first opened my eyes, I saw the sky.

Speaker 9 (02:08:45):
It was clear, very blue.

Speaker 25 (02:08:46):
And I sat up and I saw that my knee
was sticking out through a hole in my pants, and
that my clothes were dirty and torn. And I started thinking,
wait a minute, what's happened to me? I rubbed my
eyes like you'll do when you first wake up, and
my hand run across something sticky. And I looked at
my hand and it was blood, dry, sticky blood.

Speaker 10 (02:09:08):
I didn't get it.

Speaker 25 (02:09:09):
I didn't get it at all. In the distance, I
could see a train. Could I have fallen off it?
Or been thrown off? Then the guy started walking towards me.

Speaker 7 (02:09:20):
He looked like a bum.

Speaker 25 (02:09:22):
I could see him quite a ways off.

Speaker 7 (02:09:26):
I had a younger fella.

Speaker 25 (02:09:28):
Yeah, yeah, no, I don't know. All right, it's a
many nothing. I don't know.

Speaker 7 (02:09:35):
I'm dizzy.

Speaker 25 (02:09:36):
I guess you mean kind of banged around. It bumped
out the rods.

Speaker 18 (02:09:41):
I don't know.

Speaker 7 (02:09:42):
But how'd you be here in the ditch if it
wasn't bumped off the rods?

Speaker 9 (02:09:45):
I don't know.

Speaker 7 (02:09:45):
I tell you, Okay, Pete, Okay, my name isn't Pete,
And I just call everybody that. What is your name?
My name is my name is well, I can't remember
my name. You can't remember? You kidding? What are you

(02:10:07):
trying to pull? Don't know your own name? Till it's true?

Speaker 16 (02:10:10):
I don't know.

Speaker 25 (02:10:10):
I can't remember.

Speaker 7 (02:10:11):
It ain't easy to forget your own name.

Speaker 25 (02:10:13):
People, look, don't ride me. Well you something's happened. I
don't know just what.

Speaker 7 (02:10:17):
But something's wrong. Where you're from? What where you're from?

Speaker 18 (02:10:22):
I don't know that either.

Speaker 7 (02:10:23):
I just can't remember. It's so crazy. Say you really
get a bad ain't you, Joe? Let's see now I.

Speaker 25 (02:10:32):
I no, No, it's no use.

Speaker 7 (02:10:37):
Well, look in your pockets. Maybe you find something with
your name on it?

Speaker 25 (02:10:40):
Yeah, yeah, it's an idea. Let's see it's a hank
you some keys?

Speaker 7 (02:10:46):
Any money?

Speaker 25 (02:10:47):
No, no money, anything with your name on it. No,
I can't find a thing.

Speaker 7 (02:10:53):
About a wallet. Look in your coat pocket?

Speaker 25 (02:10:56):
Oh nothing, My inside cook pocket's been torn you see, like.

Speaker 7 (02:10:59):
The wall, it's been torn right out. Yeah, you've probably
had a fight and lasted.

Speaker 25 (02:11:05):
It's hopeless.

Speaker 10 (02:11:06):
What am I going to do?

Speaker 7 (02:11:07):
If I was you?

Speaker 25 (02:11:08):
The first thing I'd do is try to find out
who I am. That's kind of important. Yeah, I seen
the train pass through the train you fell off of
was coming from Chicago. Chicago.

Speaker 7 (02:11:19):
Yeah, it ain't fire, Frank.

Speaker 25 (02:11:21):
I'd get there if I was you, and start asking questions.
Then I'd get myself to one hospital. You don't look good, Pete,
you don't look good at all. Yes, mister commissioner, that's
how it started, with a loss of memory amnesia. I

(02:11:45):
was bad enough, but if I'd known how much bigger
and more terrible my problems were going to be, I'd
never have come back to Chicago.

Speaker 7 (02:11:53):
Never.

Speaker 3 (02:11:54):
Well.

Speaker 25 (02:11:55):
I hitch High ten, and when I saw how people
were looking at my torn clothes, I thought I'd better
pay a visit tailor.

Speaker 6 (02:12:03):
Come in.

Speaker 7 (02:12:04):
Thank you.

Speaker 10 (02:12:05):
It's a beautiful day.

Speaker 3 (02:12:06):
I don't feel like working already, but then it's got
to be.

Speaker 1 (02:12:09):
It's got to be.

Speaker 7 (02:12:10):
What can I do for you?

Speaker 25 (02:12:11):
Well, my clothes, chum, your head?

Speaker 12 (02:12:15):
An accident?

Speaker 7 (02:12:16):
Yeah, I'm afraid I did.

Speaker 10 (02:12:17):
What's the matter with me?

Speaker 40 (02:12:19):
Sit down?

Speaker 5 (02:12:19):
Sit down?

Speaker 25 (02:12:20):
You look terrible.

Speaker 51 (02:12:21):
You could use a little drink, some brandy, maybe.

Speaker 10 (02:12:24):
No thanks.

Speaker 7 (02:12:25):
I feel okay now. I just like to have these
clothes sewn up and pressed a little.

Speaker 16 (02:12:28):
Good while I wait, hurting and with pleasure, look go
into the back room.

Speaker 1 (02:12:33):
Throw the clothes through the door.

Speaker 7 (02:12:35):
You'll find a wash pasion.

Speaker 12 (02:12:36):
You can wash that cut on your face.

Speaker 7 (02:12:38):
That's very kind of you.

Speaker 25 (02:12:40):
Uh, there's only one thing. Yes, I'm flat broke. I
couldn't play you for them now.

Speaker 10 (02:12:47):
Maybe in a day, So all right.

Speaker 61 (02:12:49):
A day or so, a week or so, go ahead
and make yourself at home, and.

Speaker 1 (02:12:53):
While you're washing, gup aulm in depends and get them
in for its class shape.

Speaker 25 (02:12:58):
So I went out of the tailor's little bit back
room and took off my suit. Then I went over
to the washstand and started to wash my head colt better.
As soon as I got a little cool water on.

Speaker 7 (02:13:10):
It, I sat down.

Speaker 25 (02:13:11):
I tried to figure what would I do? What would
I go from here? Then I noticed something about my
pants belt. It was bulky, It had a little zipper
in the back, and when I opened it, money started
falling out in tight rolls. The bills were crisp and new,
and I thought my heart was beating love enough for
the tailor to hear it. As I counted the money,

(02:13:32):
there was sixty thousand dollars.

Speaker 10 (02:13:38):
Hey missed that.

Speaker 16 (02:13:40):
Are you coming with the clothes?

Speaker 25 (02:13:41):
Huh oh, yeah, yeah, They already. I'll hand them to
you through the door.

Speaker 1 (02:13:46):
I don't have them fixed up like you in no time.

Speaker 60 (02:13:49):
You sit there in a relax It looked like you
could stand it.

Speaker 25 (02:13:54):
Yeah, relax, relax With fifty thousand bucks strapped around my stomach. Well,
the little tailor fixed my clothes and I looked fairly
respectable again.

Speaker 3 (02:14:06):
No, I never seen such nice material in a long time,
as that suit said.

Speaker 14 (02:14:11):
So yeah, it course wautiful dollar believe me?

Speaker 7 (02:14:14):
Where did you get it?

Speaker 9 (02:14:16):
Where?

Speaker 7 (02:14:16):
Why?

Speaker 25 (02:14:17):
What was there a little honer?

Speaker 1 (02:14:19):
No, the label had been ripped off?

Speaker 47 (02:14:21):
So why am I asking so many questions?

Speaker 7 (02:14:24):
Goodbye and good luck?

Speaker 62 (02:14:26):
What do I When you earn a few dollars, come
back and you'll figure it out.

Speaker 10 (02:14:30):
Well, it's doing what twenty dollars?

Speaker 1 (02:14:34):
But before you said you were broke, I don't understand.

Speaker 25 (02:14:39):
That makes two of us, my friend. You can imagine
how I felt, can't you, miss the commissioner. I didn't
know what to do, had to turn. I thought of
going to the police, but something in my subconscious warn't

(02:15:00):
against it. When a little tailor had fixed my clothes
and I looked fairly respectable again, I went.

Speaker 7 (02:15:06):
Out on the street and began walking.

Speaker 25 (02:15:08):
I didn't know where I was going or why a
two thousand bucks. I tried with every ounce of strength
to crash through the wall that separated me from the past,
but it was no use. I must have walked for miles,
because suddenly it was dark and I was on a
dismal little side street lined with hot shops and Hamburger

(02:15:29):
joints and hanky tonks. And then some punk kid brushed
against me.

Speaker 63 (02:15:34):
Hey, mister, huh, you better fade fast.

Speaker 25 (02:15:37):
What you're being tailed?

Speaker 9 (02:15:38):
What do you mean I'm so loud?

Speaker 6 (02:15:40):
Not so loud. A guy's been following you for.

Speaker 63 (02:15:42):
The last hour, following me relaxed, don't get so jumpy.

Speaker 6 (02:15:46):
Woh, you must really be hot. Now look into this window.

Speaker 63 (02:15:50):
You can see his reflection, The tall, skinny guy in
the white suit.

Speaker 24 (02:15:56):
I see him.

Speaker 25 (02:15:58):
How do you know he's been following me?

Speaker 63 (02:16:00):
Because I've been walking a little behind you ever since
you turned down Fourteenth Street. And I can tell when
a guy's being tailed.

Speaker 10 (02:16:06):
Why are you telling me then?

Speaker 63 (02:16:08):
Because maybe you'll be big hearted and slip me a
bill for it, And because maybe I don't like cops.

Speaker 7 (02:16:14):
Cops.

Speaker 63 (02:16:15):
Sure, sure he's a cop. I can tell him a
mile away. Yeah, you must really be hot, mister.

Speaker 25 (02:16:31):
It's easy to say now that I know what I
should have done with the commissioner. I should have gone
up to this guy and had a showdown right then
and there.

Speaker 15 (02:16:38):
But panic is.

Speaker 25 (02:16:40):
A funny thing. It begins almost before you know it,
and there's no cure for it, no cure at all.
I began running as fast as I could, and I
brushed against people, and I stumbled, and I didn't stop
until my wind gave out my legs. Wait a ton
and I look back and I'd lost my friend in
a white suit. But for how well, I had to

(02:17:04):
find a place to sleep that night. I saw this
little hotel on the side street. I straightened my tie
and went the sweat off of my face and started
through the lobby. There was no one at the desk.
I rang the desk bell, and a little fellow with
glasses came out.

Speaker 9 (02:17:21):
Yeah, I'd like a.

Speaker 3 (02:17:22):
Room rate the dollar and a half in advance.

Speaker 25 (02:17:28):
No luggage, No, no, I'm just staying over there.

Speaker 9 (02:17:32):
Very few of them bring any luggage. What's your name?

Speaker 14 (02:17:35):
Well, when he getting excited about this, went your name
for the hotel registers?

Speaker 7 (02:17:40):
Are my name?

Speaker 43 (02:17:42):
The names Bronson.

Speaker 7 (02:17:44):
Yeah, Howard Bronson, Hard Bronson.

Speaker 14 (02:17:48):
I thought, for a man you was gonna say, we're
one of the smith boys.

Speaker 9 (02:17:51):
Here's the key, mister burn. Okay, and now the dollar
and a half. Yeah, yeah, twenty. That's the smallest ye.

Speaker 7 (02:18:01):
That's all I have, And.

Speaker 9 (02:18:03):
I suppose that can change it. Sure it's good.

Speaker 7 (02:18:06):
It didn't make it yourself, then it's good.

Speaker 9 (02:18:08):
I don't know. I thing, just my own.

Speaker 7 (02:18:11):
Okay, take another nickel after.

Speaker 9 (02:18:13):
This newspaper, and here's the change. Eh. Why don't you grow.

Speaker 1 (02:18:19):
Up to bed?

Speaker 10 (02:18:21):
You look very tired.

Speaker 25 (02:18:27):
I tried to sleep, but it was no use. Why
had that man in a white fuel followed me? What
had I done? Not knowing? Not knowing almost drove me
out of my mind? Out of my mind. I was
already out of my mind. Then finally I must have
dozed off because I was suddenly in the middle of

(02:18:48):
a terrible nightmare.

Speaker 7 (02:18:51):
Oh oh oh, I won't give it up. I won't
stay out of here.

Speaker 25 (02:18:58):
Leave me alone.

Speaker 15 (02:19:00):
We've been alone.

Speaker 7 (02:19:01):
We'll be alone.

Speaker 14 (02:19:11):
What are you all right, mister h.

Speaker 7 (02:19:15):
I'm all right, Horsey, Yeah, come in.

Speaker 64 (02:19:26):
Several of the guests had you screaming.

Speaker 25 (02:19:28):
We wondered it was nothing, just a nightmare. I guess
I'm all right now.

Speaker 55 (02:19:32):
I think I'm glad to hear that.

Speaker 7 (02:19:34):
Not all you wanted to know.

Speaker 14 (02:19:36):
Not exactly.

Speaker 60 (02:19:38):
Well, a detective came in a while ago and crying
about somebody.

Speaker 9 (02:19:43):
Detective, Ye, city detective, that is, according to the badge.
He showed me.

Speaker 25 (02:19:48):
What did he want?

Speaker 30 (02:19:49):
Oh?

Speaker 55 (02:19:49):
No, one named Brons?

Speaker 25 (02:19:51):
And then what are you bothering me for?

Speaker 9 (02:19:52):
It wasn't Bronson.

Speaker 14 (02:19:53):
As well, but his description of the man fitted you.

Speaker 7 (02:19:56):
Exactly how long ago was he?

Speaker 61 (02:20:00):
Yeah?

Speaker 16 (02:20:00):
About twenty minutes ago.

Speaker 9 (02:20:02):
Your name is Brons?

Speaker 25 (02:20:04):
Yeah, yeah, sure, Well you know it's technically against the
lord of register under then my name's Bron.

Speaker 45 (02:20:09):
Okay, okay, I just wanted to make sure.

Speaker 1 (02:20:11):
He must have wanted somebody else. He says, he's been
checking up in all the hotels in this neighborhood as.

Speaker 7 (02:20:17):
He might go back later.

Speaker 25 (02:20:20):
What did he look like?

Speaker 7 (02:20:21):
It was tall, fellow, kind of slim, wearing a white
summer suit.

Speaker 9 (02:20:25):
White summer suit.

Speaker 1 (02:20:27):
Don't see many of those now anything?

Speaker 14 (02:20:29):
No, you sure you're over your night man?

Speaker 18 (02:20:33):
Yeah?

Speaker 7 (02:20:33):
All right, yeah, well okay, well good night, mister, uh
good night.

Speaker 25 (02:20:38):
Oh let's say uh yeah, if that Falla does come back, Yeah, yeah,
he does come back. Let me know. I just want
both him and you were to make sure that I
haven't not the one he's looking for. Oh after that,
I didn't want to sleep. I got very jitterate, and

(02:20:58):
I paced the room and smoked one cigarette after another.
Why had I said that to the clerk? I couldn't
be so lily white with that fifty grand strap to me. Still,
maybe it'd be better to have it out with a
guy once after all.

Speaker 7 (02:21:14):
Finally I forced myself to sit down. I picked up
the paper and started to read.

Speaker 25 (02:21:19):
The front page was filled with news and names that
meant nothing to the shadow that didn't gulfed my mind.
But down in the corner of the front page, what
was this? The detective flaying on the train? Detective Swalyn
on the train.

Speaker 9 (02:21:35):
George Bailey, Chicago.

Speaker 25 (02:21:38):
Bailey, the man of My Nightmare, was found dead this
morning in a room matte on a westbound train. Police
officials report that he was on the trail of one
Joe Latterly, who was believed to have killed the detective.

Speaker 7 (02:21:52):
During an attempted arrest.

Speaker 25 (02:21:54):
Police threw out the stater on the lookout for Lattle.

Speaker 7 (02:21:56):
Now he is known to be carrying.

Speaker 25 (02:21:58):
Fifty thousand dollars, stolen curranc, fifty thousand dollars and stolen currency.

Speaker 14 (02:22:07):
No, what was I gonna do?

Speaker 25 (02:22:10):
There was not only a thief, I was a killer.
But funny thing, somehow I didn't feel like a killer.
Didn't feel like a killer at all.

Speaker 43 (02:22:24):
Came back here with me now, Like to talk detective?

Speaker 25 (02:22:30):
Oh yeah, sure, be glad to talk to him. Wait
just one second, I'll throw on some clothes. No, thank you.
I wasn't having any of this. The only thing I
could think about was getting away. I rushed to the
window and raised it.

Speaker 7 (02:22:43):
And the fire escape led right down to the back alley.

Speaker 25 (02:22:48):
I slid over the cell and started on a fire escape,
And as I raced down the steps, I heard excited
voices above me, and then they were shooting at me.
This was a new sensation, mister Commissioner, not exactly the
most pleasant feeling in the world. Well, that convinced me

(02:23:08):
it was the killer, The killer at Bay.

Speaker 3 (02:23:22):
Act two of half Hour to Kill will follow in
just a moment.

Speaker 7 (02:23:27):
But first turn over the.

Speaker 3 (02:23:30):
Record and now back to blackout story especially designed for your.

Speaker 7 (02:23:40):
Hour to Kill What could I do? Where could I call?
It was almost midnight.

Speaker 25 (02:23:51):
There was not one person in the whole world that
I could turn to that I knew. I didn't know
my own name. Hey, wait a minute, wait a minute, Yes, yes,
I did know my own name. Joe Latterly, a newspaper said,
Joe Latterly, I sawn all my drug start down the block.

Speaker 7 (02:24:07):
I just about ran all the way.

Speaker 25 (02:24:09):
Cause myself in the phone booth and started thumbing through
the directory.

Speaker 7 (02:24:13):
Sure enough, there it was, Joe Latherley.

Speaker 25 (02:24:15):
I wrote down my address and began dialing my telephone number.
While the number rang, I saw a cold sweat come
rolling down my face and neck and soak into my collar.

(02:24:37):
Oh oh, oh, this is the Latterly residence.

Speaker 15 (02:24:42):
Yeah, what do you want?

Speaker 25 (02:24:44):
This is Joe?

Speaker 33 (02:24:46):
Joe.

Speaker 25 (02:24:46):
Yeah, I had a little accident.

Speaker 1 (02:24:51):
You got the money?

Speaker 34 (02:24:52):
Yeah, any trouble.

Speaker 7 (02:24:55):
I I I killed him.

Speaker 9 (02:24:58):
Huh look I better see you right, Yeah, well, don't
come here.

Speaker 50 (02:25:01):
The cops were sick at fly.

Speaker 61 (02:25:04):
Let him meet me at the usual place.

Speaker 25 (02:25:05):
The usual place.

Speaker 10 (02:25:06):
Yeah, mom, okay, at moms.

Speaker 25 (02:25:09):
Uh, look, this accident kind of must up my memory.
U buts Mom's addressed again. Two nine two two nine.

Speaker 24 (02:25:17):
Nine Street, Apartment two O four.

Speaker 25 (02:25:19):
Oh yeah, apartment two four. Okay, I'll see you there.

Speaker 34 (02:25:23):
It sure sounds funny.

Speaker 15 (02:25:24):
True what happened?

Speaker 25 (02:25:27):
I'll tell you all about it when I see you.
So I had a wife and she was in on everything.
You see, commission of the Jigsaw puzzle was beginning to
make some sense. Now, a wife and I couldn't even
remember the color of her hair. If only I could
break through this shadow. About ten minutes later, I was

(02:25:48):
standing in the entrance of the very classy apartment hotel lobby,
not a soul in sight. They began looking down the
list of numbers for the right doorbell to ring. I
felt myself going shaky again, and I was.

Speaker 10 (02:26:00):
Two O four.

Speaker 25 (02:26:02):
I pushed the bell, waited, and then the door buzzes sounded,
and I pushed the door open and started across the lobby.
No one in sight, no one.

Speaker 7 (02:26:12):
That was a break.

Speaker 25 (02:26:13):
I pulled my hat down over my eyes as I started.

Speaker 46 (02:26:15):
Up the steps.

Speaker 25 (02:26:17):
You see, I was beginning to think like a hunted man,
like a killer. I took the stairs to the second
floor and then started down the hall two hundred and two.

Speaker 7 (02:26:29):
The next door two O four. The door was a jar.

Speaker 25 (02:26:34):
I wanted to call my wife, but what was her name? Honey, honey,
you're there?

Speaker 10 (02:26:44):
No answer.

Speaker 7 (02:26:45):
Pushed the door open.

Speaker 25 (02:26:46):
The room was in darkness. I felt along the wall
for the light switch.

Speaker 10 (02:26:51):
And found it. And they're waiting for me.

Speaker 25 (02:26:53):
Was this detective, this tall, skinny guy in the white suit.
I let my nerves take over. I jumped from the room,
slam the door up, started running again. This time he
had a better chance at me than before.

Speaker 18 (02:27:04):
To run through the empty.

Speaker 25 (02:27:05):
Streets, I could hear him coming right behind me. I
duck down alleys and across the back yards, but he
was right on my table.

Speaker 7 (02:27:11):
I couldn't run much farther.

Speaker 25 (02:27:12):
I was all pooped off, and then I bumped.

Speaker 7 (02:27:14):
My sitt somebody, Hey, hey, watch where you're going.

Speaker 25 (02:27:18):
I didn't see you off, and I'm not exactly an officer.
I'm a night watchman. Who are you running from?

Speaker 7 (02:27:25):
Nobody? Nobody at all.

Speaker 25 (02:27:27):
I looked up and down the dark street. The detective
was nowhere inside.

Speaker 7 (02:27:30):
I don't know you weren't exactly strolling along. Come over
here to the street right. Let me take a look
at you.

Speaker 25 (02:27:38):
Well, if you must know, I got into a little
jam with a lady. Yeah, so that's you know, the
way you're running. But you're a hard man, the kid. Yeah, here,
go on going with him. Be mark careful next time.
You may not always get a head start. Yes, you're right.
Oh goodness, dear, Oh yeah, I live on the other

(02:28:01):
side of town. What's the cookest way to get home.

Speaker 7 (02:28:04):
There's an elevated train station, Drew blox from here. That's
your best bit. Okay, yeah, but you better hurry. The
last train pulled in at one o'clock and it's pretty
close to.

Speaker 18 (02:28:11):
That right now.

Speaker 25 (02:28:12):
I'll hurry.

Speaker 18 (02:28:13):
Goody.

Speaker 25 (02:28:15):
I began walking again once I got away from this neighborhood.
I have a chance, a chance for what well, I
wasn't sure, but a man with fifty thousand bucks could
do a lot of maneuvering. I saw the lights of
the elevated station I had, and in the quiet night,
I heard the rumble of the approaching train, the last train.

(02:28:37):
I started jogging. I couldn't miss that train. I took
a quick glance over my shoulder. It was him again,
my friend on.

Speaker 4 (02:28:44):
The white hut.

Speaker 25 (02:28:45):
I raced up the step three at a time.

Speaker 56 (02:28:47):
When I got to the top, he.

Speaker 25 (02:28:48):
Was at the bottom. I'd never heard a deadlier sound
from that voice. There was no one else on the
elevated platform. Even the ticket seller had closed up shop
and put a little sign on his window. Pay on train,
and the last train was just pulling in. The detective
was coming up the stairs kind of slow for some reason.
I didn't have time to figure out. The train stopped

(02:29:11):
and the door slung open, and I got in.

Speaker 7 (02:29:13):
The door closed, and the train was on its way.

Speaker 25 (02:29:16):
I looked back and the detective was standing on the platform,
just looking at the train.

Speaker 14 (02:29:21):
I didn't get it.

Speaker 25 (02:29:22):
Why hadn't he come after me? I couldn't figure it.
Then I decided I but I got some information from
the conductor, sank could you help me?

Speaker 7 (02:29:33):
Yeah?

Speaker 10 (02:29:33):
Sure?

Speaker 12 (02:29:34):
What do you want to know?

Speaker 18 (02:29:34):
Oh?

Speaker 25 (02:29:35):
Where does this train go? Nineth?

Speaker 7 (02:29:37):
Eh?

Speaker 25 (02:29:38):
Can I get to the State Highway from then?

Speaker 61 (02:29:40):
Nope, you're going the opposite way.

Speaker 25 (02:29:42):
I kind of got mixed up my directions again. The
only way to get where you were going is to
take another car back to the loop. That was what
I wanted to know. I decided to get off on
a block or two in case the cop was waiting
for me. At one hundred and nineteth He must have
figured he could beat me there and would probably have
quite a little reception committy waiting. So I got up
and started to walk to the door. Hey, yeah, where

(02:30:03):
are you going?

Speaker 7 (02:30:04):
Well?

Speaker 25 (02:30:04):
You said I was going the wrong way. I'm going
to get off the next stop. You can't get off
one hundred and ninetieth This is an express. I was
just about ready to crack.

Speaker 7 (02:30:19):
I knew to be coodings for.

Speaker 25 (02:30:20):
Me as soon as I got off the train. I
kept hoping for a miracle, maybe the train would crack
up or stop one station too soon, but it was
no use. Finally, the conductor called station.

Speaker 7 (02:30:31):
In ninetieth Street.

Speaker 25 (02:30:32):
Ninetieth Street, and a half dozen sleepy passengers started getting
up and heading for the doors. Then I got an idea.
Maybe I could stay in the car, Maybe I could wait.
When the last passenger got out, The conductor looked over
at me.

Speaker 7 (02:30:46):
This where you're transferred back to the loop.

Speaker 18 (02:30:48):
Uh?

Speaker 25 (02:30:49):
Where does the train go up.

Speaker 55 (02:30:51):
A few blocks and return around?

Speaker 1 (02:30:52):
I head back?

Speaker 7 (02:30:53):
Couldn't I go back with you?

Speaker 3 (02:30:54):
Sorry?

Speaker 24 (02:30:54):
You gotta get out here and cross the bridge.

Speaker 1 (02:30:56):
But I don't make the rules, buddy, The company makes them.

Speaker 25 (02:30:59):
Brow Well, I tell you today what's the matter.

Speaker 51 (02:31:03):
Is somebody behind you just coming there.

Speaker 7 (02:31:06):
I've got a gun right against your back.

Speaker 25 (02:31:11):
I felt the gun rubbing against my spine and you
I had only one chance, so I quipped along.

Speaker 14 (02:31:19):
I was lucky.

Speaker 25 (02:31:20):
I call him went a heart right and they went down.

Speaker 7 (02:31:22):
I stopped past and got it with rovolver.

Speaker 1 (02:31:24):
He didn't stayed not long though, And if he got up,
the unch have me.

Speaker 10 (02:31:26):
I let him have it sight between the eyes.

Speaker 25 (02:31:35):
Oh there's my story, mister police Commissioner. I'm Joe Latterly.
I've killed two cops, one today and one last week.
I stole fifty thousand bucks, and I'm tired of the
whole thing.

Speaker 7 (02:31:50):
I'm glad it's over. Well, it's quite a story, mister.

Speaker 25 (02:31:55):
I don't suppose you remember how or why Detective Bailey
was killed.

Speaker 7 (02:31:58):
Last week on that train out of your cago.

Speaker 40 (02:32:00):
No.

Speaker 7 (02:32:01):
Well, we've constructed the crime pretty well.

Speaker 25 (02:32:03):
We think began a week ago when a fellow named
Steve Roycroft came to headquarters with a complaint against one
of his employees.

Speaker 7 (02:32:10):
He suspected him of embezzling fifty thousand dollars, and that
employee was Joe Latterly.

Speaker 25 (02:32:17):
I see Latterly disappeared and Detective Bailey was assigned to
the case. Later that day, found Latterly taking the morning
train out of Chicago, called Roycroft and told him about it.
Both Roycroft and Bailey made the train on Latterly's trails.
They confronted him and got back to fifty grand who
got the money back?

Speaker 18 (02:32:37):
Man?

Speaker 7 (02:32:37):
It rightfully belonged.

Speaker 9 (02:32:38):
To Steve Roycroft? And where did that?

Speaker 38 (02:32:42):
A minute?

Speaker 25 (02:32:44):
Roycroft got his money back, but Latterly made another try.
He overparted Detective Bailey and killed him. Would have killed
Roycroft too, but Roycroft jumped for his life from the
seating train.

Speaker 7 (02:32:54):
Wait a minute, Wait a minute, you got it wrong.

Speaker 25 (02:32:56):
I jump from the train, remember exactly. But you're not
Joe Latterly, my friend. You're Steve Roycroft. When you got
your money and jumped from the train, you lost your memory. Then,
when you read that we were looking for the killer Latterly,
you naturally assumed that you were him. Of course, we
thought Latterly still had the money. Good heaven, what's the

(02:33:17):
matter now? Don't you realize what I've done? What thinking
I was Joe Latterly, I killed the detective who was
trying to bring me in, detective, yes, just now on
the elevated platform.

Speaker 7 (02:33:29):
That wasn't a detective at all.

Speaker 25 (02:33:32):
But then who he was? Joe Latterly trying to get
back his money or I should say your money, Joe Latterly.
That's right, and there won't be any charges. You killed
Hi himself defense. Yes, the man in the white suit
was Joe Latterly all the time. That's why you met
him in that apartment.

Speaker 7 (02:33:51):
It was his hideout. I know this has been a
great shock to.

Speaker 9 (02:33:55):
You, mister Roycroft.

Speaker 18 (02:33:57):
Shot.

Speaker 7 (02:34:00):
Yeah, you're not well.

Speaker 18 (02:34:01):
You need rest.

Speaker 25 (02:34:02):
I'll send an ambulance to take you to the hospital.
The guys they'll be able to help you recover your memory.

Speaker 7 (02:34:07):
I hope so.

Speaker 25 (02:34:09):
I hope they can make me forget what I thought
I was. How do you mean I've lived the life
of Joe Latterly too well done something to me. I've
begun to think like he must have thought, like a
hundred killers. Not going to be easy to return to
the commonplace, routine existence with Steve Roycroft after what I've

(02:34:32):
been through. I hope I won't become too boord mystic missioner.

Speaker 3 (02:34:50):
Next week, at the same time, over these same stations,
your company, makers of your products, will present Death on
the Highway in ninety nine, another unusual tale, especially designed
for your.

Speaker 4 (02:35:06):
Have Hour to Kill.

Speaker 3 (02:35:14):
Half Hour to Kill is written and produced by Robert Webster.
Light original music is composed and conducted by Henry Russell.
Mister William Conrad, recently featured in Mark Hellinger's production The Killers,
was supported into Night's presentation by an all star Hollywood
cast including Peggy Webber, Norman Field, Howard mcneer, Ken Christy,

(02:35:36):
Paul Freeze, and Byron Kane. This is a Tellaway's feature
produced in Hollywood for audition purposes.

Speaker 6 (02:35:44):
Only truth is stranger than fiction.

Speaker 9 (02:35:49):
This truth, this is ripley.

Speaker 10 (02:35:52):
Believe it or not.

Speaker 65 (02:35:58):
For sixty years, the price of cotton was reported daily
to the grave of Al McGhee of Glenville, Alabama.

Speaker 9 (02:36:04):
Out of respect for a dying wish. Believe it or not.

Speaker 65 (02:36:08):
In a moment, I'll tell you about the greatest lover
of them all. Hari Haras, second King of Vijayanagar, India,
in thirteen ninety eight, had twelve thousand wives, but they
were not enough. The king fell in love with a
girl from a neighboring kingdom merely because he heard she
was beautiful. To force her in the marriage, he began
a war against her country, but his neighbor, Pharaoh Shah Tuglac,

(02:36:31):
proved far more powerful, and the marrying king lost his kingdom,
his fortune, his twelve thousand wives, and his life.

Speaker 3 (02:36:38):
Believe it or not, The National Broadcasting Company presents the
adventures of Sam Spade Detective.

Speaker 15 (02:36:58):
Sounds Safe jestif Agency waiteart.

Speaker 58 (02:37:00):
How was your vacation, Sam, who said it was a vacation, Well, I.

Speaker 15 (02:37:04):
Thought you said you were going skiing for a weekends
with me.

Speaker 10 (02:37:07):
If it's always work.

Speaker 26 (02:37:08):
Do you know you can get killed on skis?

Speaker 15 (02:37:10):
Did you say so, Sam? Yes, most people just break
theirl A.

Speaker 3 (02:37:13):
Most people picked some easy little slope the cowards. But
I know a ski run up near a town called
Lucerne that's sudden death.

Speaker 15 (02:37:21):
I know a ski run called the Backbreaker.

Speaker 49 (02:37:23):
Really I'll go.

Speaker 6 (02:37:24):
And when they named suicide crops, if they.

Speaker 3 (02:37:26):
Stopped trying to top me, you just can't. This was
the deadliest ski country ever seen. You just sit there
while I do a Christiania swing down Market Street, a
galender sprung up the stairs and a Telmark right through
the door with a tail I took out of the
deep freeze only last night the Chateau McCloud Caper, FOREIGNBC.

(02:37:50):
William Spear, radio's outstanding producer director of mystery and crime drama,
brings you the greatest private detective of them all in
the Adventures of m Spain. I just wanted to prove

(02:38:12):
I could do it. I did a herring bone up
the stairs.

Speaker 15 (02:38:15):
And I'll just bet you've readed all those things.

Speaker 3 (02:38:19):
You were never in the snow country at all, So
you don't believe me. Huh, well, here doubting if I
brought you proof, and don't tell me.

Speaker 66 (02:38:27):
I rented this A snowball, Yes, damn, a real snowball.

Speaker 10 (02:38:33):
Yes.

Speaker 3 (02:38:33):
I brought back two of them in a thermospot. I
threw it out of policeman. It was a freezy soaked
with water and ice.

Speaker 16 (02:38:43):
One.

Speaker 15 (02:38:44):
I can't believe that you had trouble this weekend.

Speaker 19 (02:38:46):
Oh no.

Speaker 3 (02:38:48):
You cut that snowball open and you'll find a bloodstained
bullet inside of it, and behind the bullet lies that tail.

Speaker 6 (02:38:53):
Ready, I'm always ready, sands.

Speaker 10 (02:38:56):
Yes, mm hmm.

Speaker 3 (02:38:58):
They fill it into Sierra Boddy Sharriff's office was hern
California from Samuel S. Page, San Francisco, license number one
three seven five nine Sex subject the Chateau McCloud Caper.

Speaker 10 (02:39:08):
Dear Sheriff, you run.

Speaker 3 (02:39:10):
A neat little cobbe up there at Sierra and I
hate to be snye. But when my train steamed into
the coal mountaineer of your lovely little village of Lucer
and I knew the chill of death was afoot.

Speaker 20 (02:39:20):
It had to be. The place was too beautiful to last.

Speaker 3 (02:39:23):
The background hills were right out of the ELPs, the
snow from Grandma Moses, and the rustic buildings that snuggled
under the mantle of white were just too cute for words.
It was abnormally perfect. Something had to gale.

Speaker 20 (02:39:38):
Well, you're the.

Speaker 67 (02:39:41):
Only young man who got off the train.

Speaker 15 (02:39:42):
Are you from McCloud.

Speaker 20 (02:39:43):
Well, I'm supposed to find a SHOT's home of clock.

Speaker 41 (02:39:45):
Oh what do you know?

Speaker 15 (02:39:47):
I got the right man on the first drive.

Speaker 10 (02:39:49):
Right.

Speaker 15 (02:39:49):
Rube had sent me down to pick.

Speaker 10 (02:39:50):
You up, and you could pick me up almost anytime.

Speaker 15 (02:39:53):
What I took a little shill off today, Still we go.

Speaker 56 (02:39:57):
Mush mush. We glided out of the station.

Speaker 3 (02:40:09):
Munner is speaking on snow the soft pad of hooves
and the jangle of Merry Belle. We had a bear
skin lap road. It was a short bear, so we
had to move close. Her cheeks for apple red and
her silk brown hair flowed in a spanking bream. Oh,
it was a scene that will forever.

Speaker 15 (02:40:26):
Re tells me you're an advertising team.

Speaker 20 (02:40:28):
Well, I have placed a few ads in my day,
mostly help Wanner.

Speaker 49 (02:40:32):
Ah, don't hid me, he says.

Speaker 67 (02:40:34):
You're going to put them aclause paneries right on top
of a new campaign on top.

Speaker 10 (02:40:38):
You're supposed to have a big name, just state letters,
sam Space.

Speaker 15 (02:40:41):
Oh well, I'm Rida Parkers. I'm supposed to be Rufie's girlfriend.
Of course, I think it's only to make his white.

Speaker 10 (02:40:48):
Mad fun up here.

Speaker 20 (02:40:50):
Yeah, so this is my first trip.

Speaker 67 (02:40:51):
Oh and you're in for a treat that is, its
abnormal psychology appeals to you.

Speaker 10 (02:40:58):
What does that mean?

Speaker 67 (02:41:00):
How guest register is always full of jinnamite. For example,
this weekend read zastly Rufus Macod with half of the
money in the world, trying to get the other half
good his wife who has an intelocatory to.

Speaker 10 (02:41:12):
Cree missus.

Speaker 67 (02:41:15):
Yes Carl, her boy friend Paul Endicott Higgelo type Charlie
Allison coworker and friend to Rufus.

Speaker 15 (02:41:22):
He's a food technician or something dull.

Speaker 67 (02:41:25):
And then there's Chojer senborg Ski instructor who comes down
like a.

Speaker 10 (02:41:29):
Wolf from the folds like that.

Speaker 3 (02:41:32):
Yes, well, I'll never remember all the names I'm in
the ad Dame. You know it's initials to me. I
call people well, rl, ts, NTG and RUSS.

Speaker 34 (02:41:43):
You know.

Speaker 67 (02:41:43):
Well, the names don't mean a thing. Just remember this
every thirty second, duck, I beg your pardon.

Speaker 20 (02:41:56):
The mcclod estate was eight miles out of town, and
it seen we were there and no time at all.
Riada Parker hustle the alpine.

Speaker 3 (02:42:02):
Buck board and mayor into a stable while I went
up with the chat though to meet my.

Speaker 20 (02:42:05):
Employer Rufus McLeod.

Speaker 3 (02:42:08):
It was more of a Swiss chalet, you know, where
the second floor is larger than the first, and I
guarantee that no one in Switzerland could have afforded this chalet,
even with the second floor the same size as the first.
I walked in upon Rufus, big and red face, standing
in front of a fireplace that could easily have roasted
a brace of Oxen Rump to Rump, of course you

(02:42:29):
are Sam Spade.

Speaker 10 (02:42:30):
I am mister macleown.

Speaker 25 (02:42:31):
You came at an opportune time. There's no one around
to overhear our conversation. I suppose you wonder why I
hired a detective for a place like this. Well, not
especially I go where the people go and the money.
You'll be paid well for your time in trouble. I
must be quick. In essence, this is my situation. Earlier
this week, I received.

Speaker 3 (02:42:48):
An anonymous letter saying that if I invited the guest
list I'd planned for this weekend, there might be serious trouble.

Speaker 10 (02:42:54):
Here's the letter. Keep it to yourself, so Los Angeles Postmark.

Speaker 26 (02:42:58):
I see, well, we might start by facing down this
typewriter through an LA detective agency.

Speaker 3 (02:43:02):
Every one of my charming guests is from Los Angeles.
One of them wrote it, if you ask me, very
likely I I don't know who wrote it if I can.
But more than that, I wonder what serious trouble The
writer is referring to the girl you sent to pick
me up, said you had a very volatile group of
people assembled. Yeah, perhaps they're high strung individuals, but they're
civilized I'm sure their conflict would never get beyond a

(02:43:22):
cutting phrase or two, or perhaps a punch thrown here
or there.

Speaker 10 (02:43:26):
Well, then you really don't believe you will have any trouble.

Speaker 20 (02:43:28):
Yeah, I don't know.

Speaker 10 (02:43:29):
I don't know.

Speaker 25 (02:43:29):
I thought it would be advisable to have a man
like yourself around. Yeah, one who deals in trouble professionally.
Perhaps if things do get out of line, you can
help prepare the damages or even prevent things from occurring.

Speaker 3 (02:43:40):
Well, I'll do my best, mister McLeod, But it's not
easy to look for something when you don't know what
you're looking for.

Speaker 7 (02:43:46):
Here they come.

Speaker 20 (02:43:46):
Staith back from the ski runs.

Speaker 26 (02:43:48):
Only I told them you were handling an advertising cantaign
for my canaries.

Speaker 10 (02:43:53):
Well, well.

Speaker 3 (02:44:11):
They came stamping in, pulling off gloves, unzipping pakas. And
if it hadn't been for the grown up dialogue, looking
all over like a group of fear free children, it
was hard to believe that the chill of death was
also in an even day. I couldn't keep my eyes
off one of the particular members of the group, Lsburg
Skia booths, Chinese verminion, downhill pants and a candy striped paca,

(02:44:32):
which she now pulled over her lovely head. The sweater
she wore underneath was I'm sure designed for someone much smaller,
a doc soon.

Speaker 15 (02:44:40):
Perhaps that's the advertising man you've been.

Speaker 10 (02:44:44):
Telling me about, Ruth.

Speaker 26 (02:44:45):
Oh, mister Samuel Stade, my half wife, Cora hal Well,
how how do you do it?

Speaker 68 (02:44:51):
We became sam We can always use another support in
the crowd.

Speaker 19 (02:44:54):
Everybody shut up in producing the incomparable fabulous missus Samuel.

Speaker 15 (02:45:00):
Well, stay sir, I'll give me the pass and me
fall into cocke the poker. Charlie Alice go to finball.
Charlie is the one who doesn't.

Speaker 10 (02:45:09):
I'll take snowshoes any day.

Speaker 58 (02:45:10):
I can't get any word snowshoe.

Speaker 10 (02:45:12):
You've heard. Perhaps the tartoise and the hair rovers.

Speaker 15 (02:45:15):
Rings it and drinks Tom and Jerry's hot Totty's coffee.

Speaker 26 (02:45:17):
Gods, they were having hot buttered rum. The stuff's warming
in the kitchen.

Speaker 10 (02:45:21):
We'll get it up, Get it up right away, car.

Speaker 15 (02:45:23):
And that's for the rest of you.

Speaker 34 (02:45:25):
Ready A one, one?

Speaker 20 (02:45:27):
Oh oh yeah, oh man, shout till last stand and
Drenko tall swamps again. Let every loyal name man say,
oh he don't.

Speaker 3 (02:45:46):
He took up the song with Augusto, lifting imaginary drinks
into the air, and it was all very jolly. Were
a part of it was supposed to be faught with danger.
This one certainly started out in just the opposite direction.
The drinks came and things got even, A lunch was served,
and afterwards I slipped in with some outdoor gear and
strapped on some ski. Everybody scattered different directions. Rufus, mccott

(02:46:09):
and I asked to a place three miles away called
a halfway cabin. Between the chateau and the cabin was
a small lake called Royal Lake, completely frozen over.

Speaker 20 (02:46:19):
Rufus stood in front of the.

Speaker 3 (02:46:20):
Cabin, firing at thirty thirty at a target led up
down in the woods to the east. What do you
see through the glasses? Fade through bull's eyes and nothing
outside of the eight ring. That's right off Han shooting
at this range and standing out on the ski.

Speaker 18 (02:46:34):
Yeah, I can do much.

Speaker 2 (02:46:34):
Better than that.

Speaker 20 (02:46:35):
What's this?

Speaker 26 (02:46:36):
See that silver tip on that big Norwegian fur over there?

Speaker 10 (02:46:39):
Yeah, I'll cut it off, but probably can't.

Speaker 3 (02:46:45):
Swooping out of no west fade, I swear right now,
I think he hit him Who is it. That's Paul Endicott. No, No,
he's up good, there's Cora with him. You don't mean
nobody was supposed to be skiing in that area. I'm
not well ere. He comes in, he looks plenty of man.
What do I care about him? He just after Cora
for the money I give him, So kill me. You
weren't supposed to be skiing there, undercut and it was
an accident.

Speaker 10 (02:47:05):
Yeah, well that was all right. Oh you keep throwing
a shoe.

Speaker 20 (02:47:12):
Oh that I'd love that shop, and you acting my shoes.

Speaker 25 (02:47:17):
Your boyfriend threw a sucker punch at me, Cora, and
even if he is my guest, there's a limit to hospitality.
I don't call one punch and even tray for a
thirty thirty bullet.

Speaker 58 (02:47:26):
You aren't hit, so don't start crying rupers.

Speaker 15 (02:47:28):
I have the feeling you wouldn't mind if he were hit.
You wouldn't mind at all, Paul. I've just decided I
don't like you without a mustache.

Speaker 10 (02:47:42):
Well, well then on everybody dropped the prefense and you
knew where you stood. And it was chilli too. Lay
in the day.

Speaker 3 (02:47:49):
We're all back at the chateau again, and Paul Endicott
wove his delicate variation on his main theme.

Speaker 58 (02:47:56):
I'll knock your block of I tell you, mister Handycott,
you have some delusion.

Speaker 10 (02:48:00):
I have no delusions.

Speaker 9 (02:48:02):
Toe d you.

Speaker 24 (02:48:02):
I've seen the way you look at car, the way
you two are always.

Speaker 9 (02:48:04):
Trying to lose me on the trail.

Speaker 10 (02:48:06):
Some people ski faster than other. Yeah, well let me
tell you something.

Speaker 6 (02:48:09):
The next time you try to wolf this girl, it's
going to be your last.

Speaker 58 (02:48:11):
I know, but it's worth I'm a ski instructor.

Speaker 34 (02:48:14):
That is what I was hired.

Speaker 10 (02:48:15):
Well, I'll stick to.

Speaker 9 (02:48:16):
What you were hired for.

Speaker 58 (02:48:17):
A knock off the extra curricular accent. Anyone has to
take this kind of talk from you.

Speaker 10 (02:48:21):
Anything you'd like.

Speaker 34 (02:48:21):
To do about it, that's a matter of fact.

Speaker 50 (02:48:23):
There is.

Speaker 18 (02:48:25):
Boy.

Speaker 34 (02:48:33):
Yes, you want me to stop from missus McLoud.

Speaker 15 (02:48:36):
I want you to take me out of here.

Speaker 10 (02:48:38):
Oh all right, all.

Speaker 15 (02:48:39):
Right, let's put on skeeze and get out of here.

Speaker 20 (02:48:47):
Okay here, I'll help you.

Speaker 26 (02:48:48):
Oh no, thank you.

Speaker 15 (02:48:50):
Yes, that's your gentlemen.

Speaker 10 (02:48:52):
Well even saw won't take a minute.

Speaker 20 (02:48:55):
Yes, yea we are. Now where are we heading, missus McLeod?

Speaker 15 (02:49:00):
Why I thought we might go out to the boat house.
It's on the southern tip of Royal Lake.

Speaker 34 (02:49:03):
Don't evem all have nothing?

Speaker 15 (02:49:05):
And my name is Cora. I'm not really missus McLeod anymore.

Speaker 10 (02:49:09):
That's kind of rough on you.

Speaker 26 (02:49:10):
Isn't bringing your new boyfriend around all of your ex
husband's friends.

Speaker 15 (02:49:13):
Well, I like it up here. Rufus likes to have me.
They're not all against Paul, at least they weren't, but
he's on the defensive so much he's gonna make enemies
of all of them.

Speaker 10 (02:49:23):
Yes, he's off to a rousing start.

Speaker 9 (02:49:25):
I'd say, do you know.

Speaker 19 (02:49:26):
Sending Sam, I don't care about Paul and the cot really,
or Rufus, McLeod, Ortocia Sybog or anybody.

Speaker 15 (02:49:34):
I just care about Cora Macith's.

Speaker 2 (02:49:37):
Well.

Speaker 10 (02:49:37):
Now that's a good, honest answer. You know, most people
wouldn't be that frank.

Speaker 15 (02:49:41):
But Sam, I haven't known you law well, I like
your style style, I could care about you.

Speaker 3 (02:49:55):
It broke my heart not to stop right there on
let pray a and kisser because that's what she wanted
to do. So that's why I didn't do it, and
I'll never turn down anything better. Well, next scene, a
boat house and when we got there it was not at.

Speaker 20 (02:50:09):
All the way I thought.

Speaker 3 (02:50:10):
Food technician and close friend of Rufus McLeod was there
working on something that baffled me at first.

Speaker 10 (02:50:17):
It's an ice boat, mister Space, That's what it is,
along to Rufus.

Speaker 3 (02:50:20):
Yeah, I don't think i've ever seen one up close
before I take you for a ride, But this one
needs a lot of work before anybody could use it.

Speaker 10 (02:50:27):
I'm just fluttering. What prompted you to come out here, Cora?

Speaker 15 (02:50:31):
Because Paul and Tosha Spinborg got in a fight over me,
and I got tired of the whole thing, Sam, and
I went out with me here.

Speaker 10 (02:50:38):
Well glad you did.

Speaker 3 (02:50:38):
I was getting a bit lonesome, you see, Sam, They
always leave me in a cloud of snow on skis
and I just plod along on snow shoes all by myself.
Well maybe we can go walking together sometimes. I used
to be able to shake a pretty good snow shoe
to deal.

Speaker 34 (02:50:51):
Tomorrow morning, i'll show you the place, Sam.

Speaker 19 (02:50:54):
I think i'll stick around here and help Charlie with
the iceboats. Oh, unless you're crazy about iceboat, why don't
you go back to the chateau.

Speaker 15 (02:51:01):
We'll be there in time for dinner.

Speaker 3 (02:51:03):
Well, I don't need any engraved in the expectation. I
hope you catch your common cool. The trouble with that
girl was that she only wanted one man at a
time around here. Back at the chateau, there was no
one but the cook the Marjory main parts too fall.

(02:51:25):
As supper time approached, Rufus came in, then Rita, then Cora,
then Allison, and finally Tojuer in that order. And the
order is important because you see nowhere in the list
is the name of Paul Endicott.

Speaker 20 (02:51:36):
He didn't come in to supper nor for the next
three hours.

Speaker 3 (02:51:39):
It was dark by then and Rufus MacLeod was worried
about Endicott, so.

Speaker 20 (02:51:43):
We found out in a searching party.

Speaker 3 (02:51:45):
I was alone when I found them. He was lying
in the snow three hundred yards west of the halfway Kevin.
There was a thirty to thirty slug in him. Period
end of Paul Endicott.

Speaker 2 (02:52:01):
You are listening to the.

Speaker 3 (02:52:02):
Weekly adventure of radio's most famous detective, Sam Spade. This Sunday,
Carrie Grant and Betsy Drake star in the second of

(02:52:24):
the new Mister and Missus Blandings series over most of
these NBC stations. The delightful tribulations of Jim Blandings and
his wife Muriel as they built their famous dream house
entertained millions as a novel and then as a motion picture,
and now you can follow the further adventures of mister
and Missus Blandings every Sunday on NBC, and Sunday also

(02:52:45):
means your weekly visit with the hilarious Harris's on The
Phil Harris Alice Fay Show. And now back to the
Chateau McCloud caper Tonight's adventure with Sam Spade. There were

(02:53:08):
no stea marks near the body of Paul Endicott, just
his own. Somebody had drawn a beat on him in
the dust from some distance. I started to look for
the rest of the searching party, and then changed my mind.
If the body of Endicott wasn't found, the murderer might
wonder what happened to it, get worried and make a mistake.
So I picked him up, carried him to a small cave.
I found cover the entrance with snow brushed over the

(02:53:29):
stea marks, and went back to the chateau.

Speaker 20 (02:53:31):
One by one, they all showed up, discourage.

Speaker 15 (02:53:35):
You, but we actually keep it looking.

Speaker 46 (02:53:37):
I know how you feel.

Speaker 20 (02:53:38):
Cool, it's so dark. We'll try tomorrow.

Speaker 15 (02:53:40):
Oh, don't worry about him. Can take care of him?

Speaker 10 (02:53:43):
Oh can you take care of him? Says missus Parker.

Speaker 20 (02:53:45):
If you've got the most, he said, he got lost.

Speaker 10 (02:53:47):
I am assuming.

Speaker 25 (02:53:48):
I think we're all assuming too much. I'm sure that
there's nothing to worry about. If I know Paul, he'll
show up tomorrow with some tall tale to tell.

Speaker 10 (02:53:56):
Or do you think, mister.

Speaker 15 (02:53:56):
Spade, what is an advertising executive?

Speaker 10 (02:53:59):
No, Coral, your Manna's a sponsor might be listening.

Speaker 26 (02:54:03):
Oh well, I'm sorry, Sam, okay, okay. Frankly, I don't
know what to say. But if I were a detective,
i'd hazard a guess that Paul met with foul play.
Oh nonsense, Maade, nonsense. Come on, everybody, let's have a
drink and have some fun. Paul I'll be back, And
even if he isn't, who really cares.

Speaker 15 (02:54:22):
Scotch for me?

Speaker 10 (02:54:28):
And I guess nobody cared.

Speaker 3 (02:54:30):
Rufus was a little more jolly than usual, and the
drinks began to dispel the gloom. It was as if
Paul Endicott never had existed. It began to get laid,
and the bizarre wake broke up. Everybody went to bed,
including me. I lay there fully dressed, looking up at
the beans ceiling for an hour. About then my doorknob
turned and the door slid open and shut. Someone moved

(02:54:51):
quietly into my bed as I was slatting my thirty
eight out of its holster.

Speaker 15 (02:54:57):
Are you away?

Speaker 10 (02:54:58):
Yeah? I wasn't even under the mind.

Speaker 15 (02:55:01):
I Sam, Sam, I'm scared. I wish I could leave here.

Speaker 10 (02:55:07):
What's the man?

Speaker 15 (02:55:07):
Paul's dead?

Speaker 14 (02:55:08):
I know he is.

Speaker 15 (02:55:09):
He didn't mean anything to me one way or the other,
but I know he's dead.

Speaker 10 (02:55:13):
Anything to back up your feeling.

Speaker 15 (02:55:15):
I guess not.

Speaker 6 (02:55:16):
It's it's just something I'm sure of.

Speaker 7 (02:55:19):
Why'd you come to me?

Speaker 66 (02:55:20):
Because you're really a detective and I know it. Oh no,
now you had the case for my father one. You
just don't remember me, all.

Speaker 26 (02:55:28):
Right, I'm a detective. RUP's hired me because he expected trouble.

Speaker 2 (02:55:31):
Damn.

Speaker 15 (02:55:31):
I'll tell you something about Paul. Corey didn't really like him.
They were always fighting.

Speaker 26 (02:55:36):
She only cares about herself, So she said, Sony, what
kind of a car does Paul drive?

Speaker 15 (02:55:41):
It's a yellow convertible. But it's still in the garage.

Speaker 34 (02:55:43):
I checked any other cars missing, No.

Speaker 66 (02:55:46):
No, they're all there. Oh, and I find out something else.
Right before supper there was a gun missing from Rufus's
gun rack.

Speaker 15 (02:55:52):
It's back now.

Speaker 10 (02:55:54):
Anything else.

Speaker 15 (02:55:54):
That's all I know, Sam, except that Paul's dead. I
know it. I wish i'd never come up here.

Speaker 3 (02:56:06):
After she left, I dressed for outdoors and climbed through
the bedroom window. It was still and quiet, and there
was a quarter moon. When I skied away from the chateau.
I wanted to look the land over myself before the
next day, when the clues, if any, were trampled into
the snow. When I passed the northern tip of Royal
Lake on the trail of the Halfway Caven, I saw
a new set of ski tracks heading into the woods

(02:56:26):
where I had found Endicott's body. I followed them, and
they went right to the cave where I'd hidden them,
and he was gone. I was standing there.

Speaker 10 (02:56:33):
Pondering this when I thought I saw something move in.

Speaker 20 (02:56:36):
The trees to the west of me. I stood socked still.
That was a mistake.

Speaker 3 (02:56:42):
A bullet spun at a tree next to me, and
I shoved off as fast as I could. There was
no second shot. I circled around in the trees, trying
to catch sight of someone. Nothing. I kept in the
shadows and made for the halfway Heaven. It was dark
and quiet, at least until I opened the door. I tried,
but he had the advantage of surprise and some kind
of a club.

Speaker 20 (02:56:59):
I ended up on a floor with someone sitting on
my chest.

Speaker 34 (02:57:02):
All right, I have your gun.

Speaker 10 (02:57:04):
You make one wrong move space and I'll use.

Speaker 3 (02:57:06):
It's got bullets in it and a hair trigger, so
be careful. We quick use a little light as you
see there Paul Anicut's body.

Speaker 10 (02:57:13):
Yeah, why did you find them?

Speaker 4 (02:57:15):
Closure?

Speaker 10 (02:57:15):
They're only putting a noose around you.

Speaker 58 (02:57:18):
You're the very perceiving men, mister Spade?

Speaker 10 (02:57:21):
How do you figure I did it?

Speaker 20 (02:57:23):
I thought better on my feet.

Speaker 10 (02:57:25):
Just remember the game.

Speaker 3 (02:57:26):
If you didn't kill him, how else would you know
whether body? Because I know this country like the back
of my hand. You had to be somewhere. Do you
have to killer, mister Spade?

Speaker 33 (02:57:34):
Me?

Speaker 10 (02:57:35):
Why do that?

Speaker 18 (02:57:36):
No?

Speaker 58 (02:57:37):
You found the body before anyone else could hit it,
then clumsily right to white your truck.

Speaker 20 (02:57:42):
Don't be silly. Why would I come back and.

Speaker 34 (02:57:44):
Murder always worries about his crime.

Speaker 58 (02:57:46):
Did you forget something or something left undone?

Speaker 10 (02:57:49):
It's a natural.

Speaker 3 (02:57:49):
It sounds good, except that isn't true. You couldn't penant
on me and amount of sundays, but somebody might just tie.

Speaker 2 (02:57:54):
It on to you.

Speaker 10 (02:57:55):
That's what you think.

Speaker 14 (02:57:56):
Do you know what I'm going to do now?

Speaker 10 (02:57:59):
I wouldn't want to guess.

Speaker 3 (02:58:05):
The shots came pouring in through the window and told
your Spendborg went down. I saw the flash of the
face outside and was gone. I kicked the lamp through
the place in the darkness and lay on the floor.
Then I cawled over the Spenborg and took my gun back.

Speaker 34 (02:58:18):
That was a surprise. It hurts quite a bit.

Speaker 20 (02:58:21):
Where'd you get it?

Speaker 10 (02:58:22):
Somewhere in the back. It's at the shoulder level. Then
he won't die anyway. I'm afraid.

Speaker 34 (02:58:29):
I'm afraid I misjudged you as the spait.

Speaker 10 (02:58:31):
Go aff to him, Go aff to him and catch
whoever it was.

Speaker 34 (02:58:34):
I can't leave you here as to care for myself.
Just leave me a gun for protection.

Speaker 10 (02:58:38):
No, I'll stay, go please while there's time. Or are
you afraid?

Speaker 20 (02:58:48):
I was when I gave him my gun and left outside.

Speaker 26 (02:58:50):
There were many ski tracks, so the fresh that led
left from the halfway cab and down.

Speaker 10 (02:58:55):
They went right to the edge of Royal Lake and
then stopped.

Speaker 20 (02:58:58):
There were no marks of ski poles on.

Speaker 3 (02:58:59):
The so I followed the shoreline looking for some kind
of a clue. It wasn't until I reached the southern
tip of.

Speaker 20 (02:59:05):
Royal Lake that my effort was rewarded.

Speaker 3 (02:59:07):
Leading up from the ice were a set of footprints,
then a set of ski marks.

Speaker 20 (02:59:11):
They led to the boat house.

Speaker 3 (02:59:13):
Inside I found two interesting items, one of dismantled ice
boat with fresh ice on the runners, two a pair
of skis with snow in the druls. I made my
way along the beaten pack back to the chateau circle.
At once found interesting item number three and went in,

(02:59:35):
What were you.

Speaker 10 (02:59:35):
Doing up state?

Speaker 7 (02:59:36):
Did you hear the shot?

Speaker 63 (02:59:37):
So?

Speaker 19 (02:59:38):
Yeah, I look around, cool walk out of a stone
seets what why did you know?

Speaker 26 (02:59:45):
I didn't find out about the first shot, Missus McCleod
that was fired at me, but the next three were
fired on a man named tozuer Spendboard.

Speaker 24 (02:59:51):
Oh no, Ojia, how did it happen?

Speaker 9 (02:59:54):
Spate? What's it all about?

Speaker 6 (02:59:55):
He?

Speaker 20 (02:59:55):
Found Endicott's body in the woods dead.

Speaker 6 (02:59:58):
I chose you, San, I told you owed him.

Speaker 15 (03:00:00):
What what do you know about it? Nothing? I just
had the ceiling, That's all.

Speaker 3 (03:00:04):
You know.

Speaker 15 (03:00:04):
Something I'll tell us her. I'll swept the rents right
out of your head. I don't know anything, anything at all.
I just had a ceiling.

Speaker 10 (03:00:10):
Who shot Tosha's fade?

Speaker 9 (03:00:12):
And why?

Speaker 10 (03:00:12):
I don't know.

Speaker 26 (03:00:13):
I was standing with them in a halfway Kevin. Somebody
shot through the window. Didn't you see them?

Speaker 10 (03:00:17):
Don't you know who it was? I was too busy
ducking the look. Just answer me one thing. Have any
of you been out?

Speaker 6 (03:00:22):
Of course? Not?

Speaker 15 (03:00:24):
No, I haven't. And mister Allison's in dead.

Speaker 3 (03:00:30):
Of course they all lie. A cloud shirt was stained
with sweat. He'd been moving fast somewhere. The ski pants
sticking out from under Cora's robe were wet, and Rita
Parker was now dressed when she wasn't before. I was
trying to figure out something to say when Charlie Allison
came out from his bedroom, rolling asleep out of his
eyes and pulling a robe on.

Speaker 24 (03:00:48):
What's going on here? What's the excitement about?

Speaker 15 (03:00:50):
They found Paul dead? Somebody shot toss.

Speaker 10 (03:00:54):
No, where is Tosha in the halfway?

Speaker 20 (03:00:56):
Kevin, Well, let's get him to a doctor.

Speaker 10 (03:00:58):
I'll call one from Tom.

Speaker 15 (03:01:00):
Why don't you go up and get to share. I'll
have a car ready and we'll take him right into
the Lucieran hospital.

Speaker 34 (03:01:04):
Wait a minute, what about the murderer.

Speaker 15 (03:01:05):
Who did the shooting? Nobody's getting out of my side.

Speaker 19 (03:01:08):
It had to be one of us, why, Coral, Oh,
it wasn't just anybody. We're the only ones left walking.

Speaker 15 (03:01:14):
Why didn't you ask Sam? He's the detective. Detective?

Speaker 10 (03:01:19):
Yes, I had him because somebody sent me an anonymous letter.

Speaker 34 (03:01:21):
Saying that the trouble you knew there was going to
be trouble rufus?

Speaker 10 (03:01:25):
Somebody else knew? Then? Why did you let people come
up here?

Speaker 9 (03:01:29):
Did you wait a minute?

Speaker 10 (03:01:30):
Spade?

Speaker 3 (03:01:31):
What did you find out? If you'll all wait here
a minute, I'll tell you. When I circled the Chatauld
before I came in, I'd seen footprints leading to a
window not mine.

Speaker 10 (03:01:43):
That meant somebody else here was the back way in
and out too.

Speaker 3 (03:01:46):
I wanted to find out whose window it was, And
of course, when I was looking, I remember the apparently
dismantled ice boat and the fact that a set of
skis were in the boat house. It took me about
a minute to find the right room, but somebody knew it.
All right, Spade, stand where you are awesome. You might
be a great food technician, but you're a lousy killing Yeah.

Speaker 56 (03:02:03):
Well, at least he didn't get her.

Speaker 20 (03:02:10):
God in Spade, all right, come on, stand up, Come on.

Speaker 10 (03:02:17):
You sap Cora. Huh you think you could get her
by killing somebody?

Speaker 9 (03:02:23):
Shut up with me along.

Speaker 10 (03:02:24):
I'm sorry for you, sorry for anyone that ever knew.

Speaker 24 (03:02:28):
I'm sorry for myself.

Speaker 15 (03:02:30):
She loves me as.

Speaker 20 (03:02:33):
We found our killer.

Speaker 10 (03:02:34):
And missus McCleod.

Speaker 15 (03:02:36):
Sure, yes, baby, oh ruthless. It's been a long day.
I need a drink.

Speaker 10 (03:02:54):
And that goes to show you how cold it can
get in the snow country.

Speaker 7 (03:02:58):
Yeah.

Speaker 10 (03:02:58):
Period, and the report.

Speaker 19 (03:03:01):
Why would a man do anything like that when he
knew he couldn't get away with it because he was stupid?

Speaker 3 (03:03:07):
If people must have told him a million times as
they told him once, crime just doesn't pay.

Speaker 10 (03:03:15):
I'll go and type that up, will you go?

Speaker 34 (03:03:16):
On sca scaper.

Speaker 3 (03:03:25):
Three chimes mean good Times on NBC. Here's news of
two important musical events. This Saturday, our Toro Toscanini begins
a new Saturday series of concerts with the NBC Symphony,
and for his premiere, the celebrated Maestro Toscanini will present
a special hour and a half performance of Verdi's Requiem,
And beginning next Monday, you can hear the first in

(03:03:46):
a new series by the Boston Pops Orchestra.

Speaker 6 (03:03:59):
Al but the TS page, that is what TS page?

Speaker 10 (03:04:04):
Why I should it need a ps?

Speaker 15 (03:04:06):
And you know that this report to borrow face from you.

Speaker 6 (03:04:09):
Is full of holes?

Speaker 10 (03:04:11):
My phrase, I wish I'd never said it.

Speaker 26 (03:04:13):
For instance, who sent the note to Rupert Paul Endicott?
He expected trouble answer so belligerent to everybody.

Speaker 6 (03:04:20):
All Right, I'm gonna come right out in nasim good.
Why did Allison kill him?

Speaker 10 (03:04:26):
Well?

Speaker 3 (03:04:26):
I thought it was rather obvious Cora was leaving Rupus
McLeod for Allison. But because Allison worked for McCloud until
Cora's divorce was flannel, they didn't want Rufus to know
about it, so they used Paul Endicott as a decoy
love affair.

Speaker 15 (03:04:38):
But Albert Endicott didn't want to get Cora up.

Speaker 10 (03:04:40):
I bet that was it, Saffie.

Speaker 26 (03:04:42):
I don't know how you ever guessed Endicott saw another
chance to pick up a buck with a little blackmail.

Speaker 49 (03:04:47):
It's just a wild guest, yes, And of course Alison
did ski didn't he?

Speaker 10 (03:04:52):
What do you think?

Speaker 15 (03:04:53):
Well?

Speaker 6 (03:04:53):
How else could he get around so fast?

Speaker 15 (03:04:55):
And he made such a flight about those snow shoes? Dan, Yes,
if i'd written the chaper.

Speaker 6 (03:05:02):
I'd have covered that up a little.

Speaker 3 (03:05:07):
You certainly should not have. You know, there's only one
thing around here. You're supposed to say, I know, Mago fast,
I damn good night sweet. The Adventures of Sam Spade

(03:05:33):
are produced, edited and directed by William Spears. Sam Spade
was played by Stephen Dunn. Loreen Tuttle is Effie Split
for tonight's adventure by John Michael Hayes. Musical scoring by
lud Gluskin, conducted by Robert Armbridsgart. Join us again next week,

(03:05:57):
same time for another adventure with Sam Spade.

Speaker 53 (03:06:12):
The Seal Book.

Speaker 69 (03:06:37):
Once again, the Keeper of the Book has opened the
pondrous door to the secret vault, wherein has kept a
great seal Book in which has recorded all the secrets
and mysteries of mankind through the ages. Here are tales
of every kind, tales of murder, of madness, of dark deeds,

(03:07:00):
strange and terrible, beyond belief. Keeper of the book, I
wouldn't know what tale we tell this time. Open the
great book and let us read.

Speaker 9 (03:07:12):
Slowly.

Speaker 53 (03:07:14):
The great book opens one by one. The keeper of
the book turns the pages.

Speaker 4 (03:07:29):
And stops.

Speaker 30 (03:07:31):
Ah.

Speaker 69 (03:07:32):
The strange tale of a dying man told on his deathbed,
A story of madness.

Speaker 53 (03:07:39):
And horror, a tale called out of the past.

Speaker 69 (03:08:34):
Here is a tale out of the past, as it
is written on the pages of the sealed book. It
is five o'clock in the afternoon and Helen Morgan has
just received the afternoon mail. As she's about to look
at it, her husband Gerald enters their luxurious suite.

Speaker 16 (03:08:53):
Oh beautiful out my one and only hell.

Speaker 70 (03:09:01):
No wonder every actress wants to have you for her
leading man.

Speaker 9 (03:09:05):
No, I'll have you know.

Speaker 16 (03:09:07):
The only person I guess like that is my wife.

Speaker 70 (03:09:10):
You'd better say that. How is the matinee today?

Speaker 16 (03:09:13):
Fine? I got seven curtain calls. M I see the
afternoon mail. Cane the thing for me?

Speaker 70 (03:09:18):
Yes, it is one letter for me and one for you.

Speaker 18 (03:09:21):
Thanks j M.

Speaker 16 (03:09:25):
Mind the bell from the hotel management. Darling, we're living
beyond our means.

Speaker 15 (03:09:29):
Oh no, Cherialds.

Speaker 70 (03:09:30):
You're not going to start that again, are you. Why
we have over half a million dollars in our joint account.

Speaker 16 (03:09:36):
I've told you a dozen times, Darling. I won't touch
that money. It's yours, not mine.

Speaker 15 (03:09:40):
Gerald.

Speaker 70 (03:09:41):
It isn't a question of its being yours or mine.

Speaker 16 (03:09:44):
It's ours, Helen. I made it clear to you when
we got married, but we'd have to live on the money.

Speaker 70 (03:09:50):
I earn, all right, Gerald. I wonder who my letter
can be from?

Speaker 1 (03:10:00):
Hello?

Speaker 9 (03:10:00):
What is it?

Speaker 69 (03:10:04):
For a moment, as Helen stared at the letter in
her hand, she felt as if her heart had stopped.
Then it began to beat again, wildly, as though it
would burst over and over. She read the few lines
in the letter. A friend from England expects you tomorrow
afternoon at two o'clock at the Hotel Edgewood. Please bring
twenty five thousand dollars in cash, or else I shall

(03:10:28):
be forced to take action John Benedict. Helen thought to
suppress a cry of fear. The specter of her past
returned in one overwhelming moment. From a great distance, she
seemed to hear Gerald.

Speaker 10 (03:10:40):
Calling, What is it?

Speaker 50 (03:10:43):
What's wrong?

Speaker 16 (03:10:46):
I said, what's wrong? You look so upset? Is it
that letter you're reading?

Speaker 26 (03:10:51):
Letter?

Speaker 16 (03:10:53):
Oh no, no, no, If it isn't the letter, what
is it?

Speaker 70 (03:10:57):
Oh it's nothing, nothing at all. It's just that I
had a headache.

Speaker 10 (03:11:02):
I'm sorry.

Speaker 16 (03:11:03):
Can I get your song?

Speaker 15 (03:11:06):
Well?

Speaker 70 (03:11:06):
I needs a little rest.

Speaker 69 (03:11:15):
Helen noticed the worried look in Gerald's eyes and strove
to act natural. That night, she lay awake hour after hour,
staring at the ceiling, seeing the words of the letter
before her, the letter that reached out for her from
the terrifying past. The next day, after Gerald had left
the apartment, Helen ordered a cab. Twenty minutes later, she

(03:11:37):
rushed into the office of Martin Walker, her attorney.

Speaker 70 (03:11:40):
Martin, you must help me. I'm in trouble, great trouble, Helen.

Speaker 2 (03:11:44):
What is it?

Speaker 55 (03:11:44):
What's wrong?

Speaker 22 (03:11:45):
I'm being blackmail like me, Yes, by whom a man
named John Benedict. I don't know who he is, but
I received a letter from him yesterday afternoon.

Speaker 55 (03:11:55):
Well, there's only one thing to do, and that's to
go to the police.

Speaker 70 (03:11:57):
Oh no, no, I can't go to the police. Why
not This man Benedict knows something I can't afford to
have exposed.

Speaker 16 (03:12:04):
What does he know, Helen?

Speaker 22 (03:12:06):
Please don't ask me, Martin, I can't tell you, but
believe me, if it ever gets out, it would ruin
my marriage, my life.

Speaker 70 (03:12:14):
I couldn't stand a loose jaild.

Speaker 10 (03:12:17):
I could not.

Speaker 55 (03:12:18):
I'd rather don' no, no, please, Helen, don't cry. You
know there isn't anything I wouldn't do to help you.

Speaker 10 (03:12:24):
As I see it.

Speaker 16 (03:12:25):
Your only chance is to go to the police. Oh no,
I can't.

Speaker 70 (03:12:28):
It would ruin everything. Well, but if you really wanted
to help me, you do as I asked you. I've
got to buy him off.

Speaker 55 (03:12:36):
All right, Helen, I think you're making a mistake, but
I'll help you. How much money does this Benedict want?

Speaker 69 (03:12:51):
At two o'clock that afternoon, an hour after Helen had
withdrawn twenty five thousand dollars from the bank, Martin and
she entered a small hotel on a side street. Following
the hotel clerk's instructions, they climbed one plight of stairs
and walked down a long, dark hallway to room fourteen.

Speaker 1 (03:13:13):
Come in.

Speaker 69 (03:13:16):
As Martin opened the door, revealing a squalid and dimly
lit room, Helen saw for the first time John Benedict.

Speaker 10 (03:13:24):
He was a large man with coarse features and a
thick black beard.

Speaker 69 (03:13:29):
In the half light, he appeared to be about fifty.
His clothes were of a fine English cut, but time
and wear had taken their toll. He stared at Helen
for a moment, then spoke, how do.

Speaker 16 (03:13:42):
You do, missus Morgan? Won't you please come in?

Speaker 15 (03:13:45):
Thank you?

Speaker 70 (03:13:47):
This is mister Walker.

Speaker 16 (03:13:48):
My attention, y is, of course, how do you do?

Speaker 7 (03:13:52):
Sir?

Speaker 16 (03:13:53):
I am very pleased to meet you.

Speaker 55 (03:13:54):
I'm afraid I can't say as much.

Speaker 16 (03:13:58):
Yes, I trust you'll forgive me these dismal surroundings.

Speaker 9 (03:14:03):
But unless I am quite penniless.

Speaker 55 (03:14:06):
So you thought it would be an excellent idea to
blackmail this lady for funds.

Speaker 16 (03:14:10):
I am afraid you misunderstood me, mister Walker. I'm not
forcing this beautiful lady to give me five thousand pounds,
or rather, I shall we say requesting alone.

Speaker 55 (03:14:20):
Yes, but if she doesn't give you this long, you'll
ruin her marriage, her life.

Speaker 16 (03:14:24):
It would distress me to ruin anyone's life, But then
it also distresses.

Speaker 12 (03:14:29):
Me to live in a pig style like this.

Speaker 55 (03:14:31):
A much more suitable place would be the state penitentiary.

Speaker 70 (03:14:34):
Min Please don't talk like that.

Speaker 16 (03:14:35):
Evidently, missus Morgan, your friend is more interested in having
me pleased in prison than in saving you from a disaster.
I'm afraid you haven't revealed our little secret to mister.

Speaker 10 (03:14:46):
Walker, have you No, I hadn't.

Speaker 16 (03:14:49):
Well, perhaps if we were to tell him, he wouldn't
be quite so eager to imprison me. Perhaps if he
knew that at one time you had you allow me
to named you on your good judgment.

Speaker 55 (03:15:02):
I'm giving the money, give it, jo him very well,
here's your filthy blood money.

Speaker 12 (03:15:09):
Thank you.

Speaker 16 (03:15:10):
I think you've been very wise, missus Morgan, very wise.

Speaker 69 (03:15:14):
Indeed, good day, and now to continue the story as

(03:17:04):
it is written in the Sealed Book. In the days
that followed Helen's payment of money, the money mister Benedict demanded,
she tried, unsuccessfully to forget him and the terrifying secret
he shared with her. Life for Helen became tense, watchful, frightening.
Then what afternoon, while Gerald without a rehearsal of a

(03:17:26):
new play, she received another call, a call that sent
her and panic to Martin Walker's office.

Speaker 70 (03:17:32):
Martin, I've heard from him again. Oh, he phoned an
hour ago. He wants fifty thousand dollars.

Speaker 46 (03:17:38):
Fifty thousand dollars.

Speaker 55 (03:17:41):
Now, maybe you'll have sense enough, Helen to let me
turn this over to the police.

Speaker 70 (03:17:44):
Oh, I can't do that.

Speaker 9 (03:17:45):
You can't.

Speaker 55 (03:17:46):
You mean you're going to buy him off a second time?
You can't, Helen, You can't. Was to prevent his extorting
money from you a third and a fourth time. You'll
squeeze your dry.

Speaker 70 (03:17:55):
The money doesn't mat at you here.

Speaker 22 (03:17:57):
Nothing matters but keeping what Benedict knows from Gerald, if
you find that, will meet the end of everything for me.

Speaker 50 (03:18:03):
Everything.

Speaker 69 (03:18:13):
An hour later, Martin and Helen alighted from an elevator
at the twenty third floor of the hotel Belldue. They
walked down the large, luxurious hallway through Sweet twenty three se.

Speaker 16 (03:18:29):
Ah, Good afternoon, missus Morgan.

Speaker 10 (03:18:32):
Oh, so you brought mister Walker.

Speaker 16 (03:18:36):
It was counting on a pleasant afternoon. Mati goku, no
at of it.

Speaker 55 (03:18:43):
What do you mean by asking for fifty thousand dollars?
Now we paid you twenty five thousand dollars. That was
supposed to keep your mouth shut.

Speaker 12 (03:18:50):
And will it up to now? However?

Speaker 10 (03:18:53):
No I need more money?

Speaker 55 (03:18:55):
Well you shan't have it. There's a limit to what
anyone will.

Speaker 16 (03:18:57):
Pay great troom, mister Walker, but the limit hasn't been
reached as yet. Missus Morgan is very much in love
with her husband and would pay considerable more to keep
him from learning what I know.

Speaker 1 (03:19:08):
She must never know, you shine.

Speaker 55 (03:19:11):
If I had my way, I'd call the police and
put you where you belong.

Speaker 69 (03:19:28):
A week passed, a week which found Helen living in
a fearful nightmare, a nightmare from which she couldn't escape.
Every time anyone knocked at the door, the phone rang,
her heart began to beat wildly.

Speaker 16 (03:19:44):
It was a theater. They wanted to make sure I
hadn't forgotten today's special performance.

Speaker 9 (03:19:49):
Helen.

Speaker 24 (03:19:51):
Yes, what is it, darling?

Speaker 1 (03:19:53):
What's come over you?

Speaker 18 (03:19:55):
Yes?

Speaker 16 (03:19:56):
This past week you've been just a bundle of nerves.
Every time the phone rings on the rhymes, you begin
to tremble.

Speaker 1 (03:20:01):
What's wrong?

Speaker 70 (03:20:03):
You're just imagining all that, Dear.

Speaker 16 (03:20:05):
Helen, Stop acting as though I were a child. I
can see something wrong, and I want to know what
it is.

Speaker 70 (03:20:09):
Please Cheril, there's nothing wrong?

Speaker 15 (03:20:12):
Could that be?

Speaker 16 (03:20:12):
Never mind, I'll get it.

Speaker 50 (03:20:22):
I don't need to come back.

Speaker 70 (03:20:27):
It's taking him so long. Gerald Who is it, child, Helen?

Speaker 2 (03:20:36):
What is it?

Speaker 16 (03:20:36):
Why did you scream like that?

Speaker 70 (03:20:39):
I didn't scream?

Speaker 15 (03:20:41):
Who was it?

Speaker 43 (03:20:41):
At the door a bell hop?

Speaker 16 (03:20:43):
You brought a special delivery letter for you.

Speaker 70 (03:20:45):
That's a special delivery letter. Thank you.

Speaker 16 (03:20:51):
Aren't you going to open it?

Speaker 9 (03:20:53):
After all?

Speaker 16 (03:20:53):
It's a special delivery Yes, of course. You never saw
anyone so afraid of a letter. Who's it from?

Speaker 1 (03:21:03):
Anything?

Speaker 16 (03:21:04):
Wrong?

Speaker 15 (03:21:04):
No?

Speaker 16 (03:21:06):
No, nothing, nothing. Don't tell me that, you know, because
though you were going to collapse and let me see
that letter, I said, give it to me. That's better,
that says letter. I'll tell me what's wrong. But it's
only one sentence. I will phone you at two. There
isn't even a signature. Who wrote this note?

Speaker 18 (03:21:28):
Helen?

Speaker 15 (03:21:28):
Hi, I don't know.

Speaker 16 (03:21:31):
You must know, that's why would you have gone so pale?
I phone you too.

Speaker 51 (03:21:35):
It's almost too now.

Speaker 16 (03:21:37):
I'll wait for that.

Speaker 70 (03:21:38):
You must have faith in me.

Speaker 16 (03:21:39):
All these weeks I've had faith, said nothing. Hope you'd
tell me what was wrong. I must find out for myself.

Speaker 54 (03:21:46):
Well, right on time.

Speaker 16 (03:21:47):
It's just too o clock. Please don't take your hand
off that phone, Helen, I said, take your hand off
that phone. Hello, Hello, Hello, No answer we have a
call hung up when he heard my voice. I suppose
you still won't tell me who it is?

Speaker 9 (03:22:10):
All right?

Speaker 16 (03:22:10):
Then I have to leave bro matter now. When I return,
we'll have this thing out once and for all.

Speaker 70 (03:22:16):
Dear, I just can't tell you if you don't believe me.

Speaker 16 (03:22:24):
No you wrote me.

Speaker 22 (03:22:25):
I could tell you, if only I could, I know
you wouldn't want me. Then must be here again.

Speaker 16 (03:22:38):
Hello, good afternoon, missus Morgan.

Speaker 22 (03:22:42):
You you'll promise you leave me alone, that i'd never
hear from you again. That was only a week ago.

Speaker 16 (03:22:48):
Yes, I know, but then I'm always making promises.

Speaker 45 (03:22:52):
I can't keep.

Speaker 15 (03:22:53):
What do you want?

Speaker 70 (03:22:54):
I'm tired if you're playing cat and mouse with me.

Speaker 16 (03:22:57):
I should like you to call on me at five
o'clock this honon.

Speaker 70 (03:23:00):
If it's money or after, I will pay another cent,
not another cent.

Speaker 25 (03:23:03):
You're here.

Speaker 10 (03:23:04):
There's no ending here the man, but there is the lady.

Speaker 16 (03:23:07):
I assure you that this is the last time you'll
ever hear from me or see me, if I can
only believe.

Speaker 70 (03:23:14):
But that's what you promised the last time. I won't
be tricked again.

Speaker 50 (03:23:18):
I'm not coming.

Speaker 70 (03:23:19):
You're here, I'm not coming.

Speaker 16 (03:23:20):
I shall expect you at five, and don't bring walker.

Speaker 40 (03:23:25):
I won't be there.

Speaker 16 (03:23:30):
Hell, Ah, come in, missus Morgan. You're right on time,
it's just five. It's good to see you without that
bound of Walker around.

Speaker 70 (03:23:51):
If I give you money now, how do I know
you won't be asking for more in another week?

Speaker 47 (03:23:56):
Oh?

Speaker 16 (03:23:57):
That's very simple, because after you pay me this time,
there won't be any point in my bothering you again.
What do you mean, I mean, Missus Morgan, that this
time I want a half million dollars?

Speaker 70 (03:24:10):
A half million does?

Speaker 16 (03:24:11):
Yes, I'm not mistaken. That's what your balance is.

Speaker 10 (03:24:17):
Don't you see?

Speaker 16 (03:24:18):
Once you paid it over to me, there'd be no
point in my bothering you anymore, as you wouldn't have
any money left.

Speaker 10 (03:24:25):
Simple, isn't it.

Speaker 9 (03:24:28):
You must be mad? I?

Speaker 16 (03:24:30):
Oh no, Missus Morgan, not.

Speaker 20 (03:24:32):
I come now.

Speaker 16 (03:24:34):
You love your husband and he loves you. There are
years and years of happiness before you if he doesn't
learn your little secret. If you're wise, you'll turn the
money over to me.

Speaker 22 (03:24:45):
I can't. My husband and I have the money in
a joint account. If I were to withdraw a half million,
he'd know about it at once.

Speaker 35 (03:24:53):
Ah.

Speaker 16 (03:24:53):
But there's always a chance that he won't find out.
But if you don't know, as I ask, I assure
you he will. Yes, Missus Morgan, your husband will learn
that while you're in England in nineteen thirty four you
murdered your sweetheart.

Speaker 70 (03:25:07):
I would listen.

Speaker 16 (03:25:09):
Your husband will and he'll learn that after you committed
this murder, you spent the following seven years in an
English insane asylum.

Speaker 70 (03:25:17):
No, you can't tell him.

Speaker 3 (03:25:18):
You can't that I will.

Speaker 16 (03:25:21):
What do you think your husband will say when he
learns his dear wife had murdered a man and spent
seven years in an insane asylum. Think of what the
sensation the tabloids should make out of it. Your husband
will have to divorce.

Speaker 12 (03:25:33):
You, so indeed have you?

Speaker 16 (03:25:42):
That isn't going to help you, missus Morgan.

Speaker 69 (03:27:30):
And now to continue the story as if it's written
on the sealed book. After Helen Morgan painted when Benedict
threatened to tell her husband of her terrible past unless
she paid him a half million dollars, she lay helpless
and stunned at her bed. When Gerald came home that night, Helen, Helen.

Speaker 26 (03:27:54):
We're up.

Speaker 16 (03:27:55):
Why Martin, doctor Smith? What are you two doing here?
Is anything wrong.

Speaker 1 (03:27:59):
What Helen?

Speaker 51 (03:28:00):
She's in her room, Jered, what's wrong? She's had a breakdown?

Speaker 16 (03:28:04):
A breakdown?

Speaker 9 (03:28:04):
Yes, I must see it.

Speaker 1 (03:28:07):
But only for a moment.

Speaker 51 (03:28:08):
I'm afraid you'll have to wait out here, mister Walker.
I understand that I must be very quiet, Jeron, of course.

Speaker 16 (03:28:17):
Helen Darling, how are you.

Speaker 9 (03:28:22):
Helen? Please speak to me.

Speaker 6 (03:28:25):
I'm not Helen.

Speaker 70 (03:28:27):
My name is Grace, Grace annad Helen.

Speaker 16 (03:28:31):
What are you saying?

Speaker 40 (03:28:33):
Yes, Grace Hanold, Grace doctor.

Speaker 16 (03:28:39):
Why does she keep saying her name is Grace Arnold?
Why doesn't she recognize me?

Speaker 51 (03:28:42):
We must let her rest now, Gerald, come along.

Speaker 16 (03:28:45):
She doesn't even know me.

Speaker 1 (03:28:46):
What's wrong?

Speaker 9 (03:28:47):
I'm wrong?

Speaker 4 (03:28:48):
Gerald?

Speaker 12 (03:28:52):
Well?

Speaker 18 (03:28:52):
How is she?

Speaker 10 (03:28:53):
Doctor?

Speaker 16 (03:28:54):
Who said she had a breakdown? She didn't even know me? Gerald.

Speaker 51 (03:28:57):
I'd hoped I'd never have to tell you what I'm
going going to, but now I must tell me what.
Helen comes from a family which has insanity in its blood.

Speaker 9 (03:29:06):
Insanity.

Speaker 10 (03:29:07):
Yes.

Speaker 51 (03:29:08):
For many years Helen had a fear of becoming insane,
until in nineteen thirty four in England, she she had
an unfortunate accident and as a result did become insane.

Speaker 14 (03:29:20):
No, that can't be.

Speaker 51 (03:29:21):
It's true gerald I went to England with her father
to look after her. She spent the following seven years
in an English nursing home. She was discharged as sane
in nineteen forty one. Her father had died a short
time before, so I brought her home.

Speaker 16 (03:29:36):
She she never told me a word about it.

Speaker 51 (03:29:40):
One day she came to my office and asked me
if she had any right to marry you. I am
afraid I was being unfair to you when I said.

Speaker 16 (03:29:49):
Yes, No, No, you weren't being unfair to me.

Speaker 51 (03:29:54):
You see, I felt that with a person like you
at her side, someone strong, someone who loved her, she
she'd overcome her fear of insanity. During the first two
months of your marriage. My theory seemed correct. She never
looked so well or was so happy.

Speaker 25 (03:30:09):
Then.

Speaker 16 (03:30:10):
What caused her breakdown?

Speaker 9 (03:30:11):
I don't know, Gerald.

Speaker 51 (03:30:13):
I suppose she was so happy that she began to
fear it couldn't last. But you'd find out about her past.
Probably it preyed on her mind day and night, leading
to this breakdown.

Speaker 16 (03:30:25):
She'd only told me. Why does she keep saying her
name is Grace Arnold?

Speaker 51 (03:30:29):
It's the symptom of her illness, Gerald She's seeking to
escape from herself. Oh, there must be something you can do.
Will she would she always be like that? That's very
difficult to say. Naturally, she'll have to go away. She
may recover in a year or two.

Speaker 16 (03:30:46):
And again no, no, she's so young and beautiful. You're tired, Gerald,
You had better sit down and rest.

Speaker 51 (03:30:54):
Yeses Gerald, that's an excellent idea. Meanwhile, I must return
to Helen look after him, all right, doctor.

Speaker 10 (03:31:05):
Well how do you feel? Gerald?

Speaker 18 (03:31:07):
Tired?

Speaker 55 (03:31:08):
If you want to know, that's only natural. These past
three weeks have been quite strenuous for you. But with
a half million dollars and a joint account and a
wife will probably never be in any condition to ask
you about it.

Speaker 16 (03:31:25):
You've done quite well, quite well. That's an understatement. Name
one actor, living or dead, who could have given us
greater performance of mister Benedict as I did.

Speaker 55 (03:31:36):
You were superb, as Benedict I admitted, superb.

Speaker 16 (03:31:39):
I I did myself. You should have heard me this afternoon.
My dear missus Morgan, your husband will learn that while
you're in England in nineteen thirty four, you murdered your sweetheart,
and that after you committed this murder, you spent the
following seven years in an English and asylum.

Speaker 10 (03:32:01):
Gerald, shall hear you nonsense?

Speaker 16 (03:32:03):
I have broken her once and for all mine.

Speaker 9 (03:32:06):
Ah, what a pity.

Speaker 16 (03:32:08):
I played my greatest role to an audience of one.

Speaker 55 (03:32:10):
Yes, Gerald, but you were probably the highest paid actor
in the world. I'm sure that a half a million
dollars for three weeks work, uh less my share of
cord something.

Speaker 9 (03:32:23):
Of a record.

Speaker 30 (03:32:25):
You know.

Speaker 16 (03:32:25):
It's really rather a pity for Helen, that is that
she talks in his sleep, because if she didn't, I'd
never have learned it. She once murdered a man and
spent seven years in an insane asylum.

Speaker 69 (03:32:49):
Clever of Gerald, wasn't it the way he played his
wife's love against her? But unfortunately he never had a
chance to enjoy his ill gotten games for h Two
weeks later, he died as a result of an awfubile accident,
and on his deathbed confessed to everything. Even after Helen's recovery,

(03:33:11):
which took some time, she was never told the truth
about her dear departed husband.

Speaker 53 (03:34:22):
And now keeper of the book.

Speaker 69 (03:34:24):
Before you close the great volume, show us the tale
we tell next time? This one, ah, Yes, A story
about the dark and mysterious Louisiana, bio country and voodoo
in the night and the water rising in an old
mausoleum built underground, a tale called Welcome Home. Be sure

(03:35:10):
to be with us again next time when the sound
of the Great Gong heralds another strange and exciting tale from.

Speaker 53 (03:35:21):
The Sealed Book.

Speaker 69 (03:35:27):
The Sealed Book, written by Bob Arthur and David Cogan,
is produced and directed by Jock McGregor.

Speaker 4 (03:35:51):
Who knows what evil in the hearts of men the
Shadow nos.

Speaker 71 (03:36:04):
In just a moment, the Shadow starts his thrilling adventure.
But first a word about this invisible enemy of the underworld.

Speaker 1 (03:36:11):
The Shadow, the serious character who raid the forces of
law and order, is in reality La Monk Cranston, wealthy
young man about town. As the Shadow, he is the
mortal enemy of all those who had work evil upon
their fellow men. Cranston is gifted with the hypnotic power
to cloud men's minds so that they cannot see him.
This hypnotic power is the result of years of research

(03:36:32):
in the mystical Orange. The Shadow does not bear a
charmed life, yet he defies death in all its forms
to aid mankind. Cranston's friend and companions. The lovely Margot
Lane is the only person who knows to whom the
voice of the shadow belongs. Today's sorry ghost town, O.

Speaker 60 (03:37:00):
It's miss Lame mister Branson, Idad Lord, and the famous
old coal mining town of bat Crick certainly looks authentic.

Speaker 15 (03:37:09):
God sele monitors like the movie.

Speaker 1 (03:37:12):
Yes, that howling coyotes probably wrecked the Wonder.

Speaker 60 (03:37:15):
Dog, and we'd better be traveling down the hill if
you want to visit the town before dark.

Speaker 1 (03:37:20):
Get your boy, Come on, come.

Speaker 18 (03:37:22):
On, gud.

Speaker 1 (03:37:24):
I understand that there's quite a story to be told about.

Speaker 60 (03:37:26):
Bad Greek, Yes, sir, Yes, indeed so. At the end
of the last century, Bad Greek was a rip roar
in this mining town west of the Mississippis. Man, and boy,
there ain't never been another place like it, easy boy.

Speaker 15 (03:37:38):
Says the pastes now all the way down.

Speaker 41 (03:37:40):
The cliff, Prenaire, quite a sheer drop.

Speaker 61 (03:37:43):
But if you just keep your horse boats up to
the side, man, there ain't no danger of falling much.

Speaker 15 (03:37:49):
That's encouraging.

Speaker 60 (03:37:50):
Yeah, I reckon the thing bad Crick's best known for,
as the time Alvarres the Mexican band had shot his hand.
Paul Sweetheart comments sea. They read a song about that.

Speaker 14 (03:38:00):
Oh, yes, I know.

Speaker 1 (03:38:01):
The song's al much as famous as Franky and Johnny
in American folklore.

Speaker 61 (03:38:04):
Yeah, well, we better be getting down faster. It'll be
dark tuned. Sorry, Pardner, I didn't mean to bump you.
My horse just swerved there.

Speaker 15 (03:38:15):
A month you almost went over the side with Cliff.

Speaker 4 (03:38:17):
Oh, don't be alarmed, man, man and boy.

Speaker 1 (03:38:20):
I ain't never seen no one go off here yet.

Speaker 41 (03:38:22):
Well, man and boy, there's always a first time.

Speaker 1 (03:38:25):
Yeah, come on, come on, Is there anyone living in
Bad Creek now?

Speaker 60 (03:38:30):
No, sir, Bad Creek's the coast town. He's been a soul,
lived there for over forty five years. Certain courts old
pop Evans, So it's top Evans. He's an old track
part to run a hotel when Bad Creek was really operating.
Then when the gold give out and the miners deserted,
the town pop just hung on men and boys. Been

(03:38:51):
there ever since, waiting for the town to be revived.

Speaker 4 (03:38:54):
Yeah, something like that.

Speaker 60 (03:38:56):
He's a bit pets now thinks his hotel is still driving.

Speaker 18 (03:39:00):
I can use to.

Speaker 9 (03:39:02):
Uh here we are in the town.

Speaker 6 (03:39:04):
Oh boy, so this is ghost town.

Speaker 15 (03:39:09):
Gosh, look at those buildings, lamonth it's almost falling to pieces.

Speaker 18 (03:39:13):
Yes, the deserted streets so quiet.

Speaker 60 (03:39:17):
We'll just take a quick run down the main street, folks,
and get up to the hills again.

Speaker 15 (03:39:21):
Oh no, let's really stay and explore the place.

Speaker 60 (03:39:24):
Of course, give us a chance to look around. Oh no, no,
you can't stay here, no, sir, Oh why not, Pardoner?
When I told you Bad Creek was a ghost town,
I didn't.

Speaker 61 (03:39:32):
Just mean it was a deserted village.

Speaker 10 (03:39:34):
It's really a town of ghosts.

Speaker 15 (03:39:36):
What oh, what do you mean?

Speaker 60 (03:39:38):
I mean that the ghosts of them who lived in
Bad Creek when it was a gold mining camp have
been seen here at night relive in their days of glory.
There's been shooting, and even dead bodies that weren't so
pretty to look at that have been found in these
lonely streets.

Speaker 41 (03:39:54):
And that's all right, guys, you can't scare us. I
don't think of nothing more enjoyable than sending evening with
the band at Delvarez and his sweetheart common Cedar.

Speaker 61 (03:40:03):
Yeah, there's been others who said the same thing as
you're saying. Man, they spent a night here too. The
next day they was found raven mad or dead. Well,
if you'd seen them folks like i'd seen them, their
eyes popping, their faces all twisted like with fear, and
then that we found alive wasn't like humans at all.

Speaker 1 (03:40:24):
You wouldn't believe it unless you'd seen it. Well, how
do you feel about staying now, Margot the Mater?

Speaker 15 (03:40:30):
Are you afraid to face the ghosts?

Speaker 18 (03:40:32):
Well, I was thinking of you.

Speaker 15 (03:40:34):
Well, if they're thinking of me, you're a greedst day.

Speaker 1 (03:40:36):
Then it's settled. We stay and you're staying alone, Pardner, I'll.

Speaker 18 (03:40:40):
Go to the hills.

Speaker 15 (03:40:41):
Well, where is this pop Evans Hotel.

Speaker 61 (03:40:43):
That's down the street a ways, ma'am you'll see a sign.
But look here, man, won't you change your mind?

Speaker 4 (03:40:50):
Man and boy? I'm man and boy.

Speaker 41 (03:40:52):
I've never met a ghost and I'm not passing up
the opportunity.

Speaker 60 (03:40:55):
Well, there's your answer, guide, all right, I'll be back
here in the morning. I must say that I'm expecting
to find that both of you will have met up
with the same fate as them others who dared to face.

Speaker 72 (03:41:07):
The ghosts of bad Greek All this must be the place, Margo,
Oh hello, can you read that sign?

Speaker 41 (03:41:25):
But there is left of us Evans Imperial Waldorf Grand Hotel.

Speaker 15 (03:41:31):
I wonder why I left out.

Speaker 10 (03:41:32):
The rist tie, the horses too, the hitching post.

Speaker 1 (03:41:35):
All right, all right, down you come, thanks.

Speaker 31 (03:41:41):
Come months, hasn't it gotten dark quickly?

Speaker 1 (03:41:44):
Not changing your mind about staying here?

Speaker 25 (03:41:46):
Mongo?

Speaker 69 (03:41:47):
Oh?

Speaker 1 (03:41:48):
Well then shall we enter the Imperial Waldorf Grand Hotels?

Speaker 15 (03:41:52):
Definitely my lorne yet if you please, We.

Speaker 1 (03:41:55):
Have fresh out of lawn yets. But I can give
you my extra flashlight. It might be more useful.

Speaker 15 (03:42:01):
Which one of the ghosts of fighting that coyote.

Speaker 1 (03:42:03):
You might as well get used to him.

Speaker 18 (03:42:04):
Watch they step on.

Speaker 4 (03:42:06):
Boards are well caved in, and you.

Speaker 15 (03:42:08):
Just imagine now what the rules arelike.

Speaker 73 (03:42:12):
Well, here's the door you first, madam, Thank you. I
neglected to notice that there were no hinges.

Speaker 41 (03:42:23):
I don't say how any self respecting ghosts could live
in a place like this.

Speaker 9 (03:42:26):
Well, you know how ghosts are.

Speaker 1 (03:42:28):
Come on, that's going back.

Speaker 4 (03:42:32):
I guess this is it.

Speaker 15 (03:42:34):
I mean, I guess this is a lobby.

Speaker 7 (03:42:36):
Yeah.

Speaker 1 (03:42:38):
From the looks of things, we're the first guests to
arrive since the gold miners left.

Speaker 6 (03:42:43):
The pictures on the wall.

Speaker 15 (03:42:44):
There's a cupboard with duck kind are those shadows. Those
shadows moving on the wall.

Speaker 9 (03:42:52):
Those are bats, my dear, nice playful bats were attracted
by our flashlights.

Speaker 15 (03:42:57):
I wish that coyote would howl again. He sounded so
friendly compared to this.

Speaker 1 (03:43:02):
Not frightened, are you, Margot frightened?

Speaker 15 (03:43:05):
No, of course not.

Speaker 41 (03:43:06):
Why I lamon coming over there, standing in the corner
right there of the desk, Margo, do you.

Speaker 2 (03:43:13):
Know what that is?

Speaker 1 (03:43:14):
No, that is one of the last survivors of a
vanishing race, a cigar store Indian Cigar Stoor Indian Tomahawk.

Speaker 41 (03:43:24):
Well, but you can't blame me for being you know,
I've never met at the garth Stoor Indian before.

Speaker 1 (03:43:30):
Well, I'll see if I can arrange your form an introduction,
Big Chief Snaggle too.

Speaker 15 (03:43:34):
I'm on if that's another Cigars do inion coming down
those stairs. It's the first one I've ever seen.

Speaker 9 (03:43:39):
At walk where it's an old man. That must be
pop Evans.

Speaker 15 (03:43:44):
Such an old man, wrinkled wishing partners.

Speaker 14 (03:43:51):
Good evening, good evening, Welcome to the hotel.

Speaker 6 (03:43:55):
Thank you you wish homes.

Speaker 1 (03:43:57):
I presume, yes, yes we do. Step over the desk, please,
thank you.

Speaker 14 (03:44:04):
Watch out for that hole there on the floor. I've
been telling the porter to fix it up, but he's
just forgetful. I guess, just forgetful.

Speaker 10 (03:44:11):
I want you step on wor.

Speaker 14 (03:44:14):
Here we are well dust and the register, and I'll
have to speak to that clerk. He's taking careless too.
That's the way this is in the hotel business. You know,
you gotta watch them all the time. Blow this dust up.

(03:44:35):
Excuse me more dusting the thought. I will spin the
register around. Let you sign in means oil sign right
below that last name Please look.

Speaker 31 (03:44:50):
Lamont at last registration was in eighteen ninety five, forty
five years ago.

Speaker 14 (03:44:56):
Why did you see man business been kind of slack
making off lately.

Speaker 15 (03:45:01):
Yes, I would say you've an experiencing a law.

Speaker 1 (03:45:04):
There seems to be a quite difficulty him sevens there
no ink in the well, and think there's no point
in the pen either.

Speaker 14 (03:45:11):
No, that's funny. And I told that bellboy'd always keep
them pens in shape. Careless, careless, are all careless?

Speaker 18 (03:45:20):
Thank you.

Speaker 1 (03:45:22):
We'd like our rooms to be on the same floor.

Speaker 14 (03:45:24):
The same floor. Let me see, Yes, yes, I think
guy can accommodate you. He just come this way please right.

Speaker 1 (03:45:37):
Oh well, miss Evans, I understand that there are ghosts
to be seen here in Van Creek.

Speaker 14 (03:45:42):
Oh yes, yes, yes, Elbres Common seat and all the
old timers. They're very good friends of mine. They're up
these stairs.

Speaker 33 (03:45:50):
Please you seriously believe that their spirits are still around
the seven believe.

Speaker 14 (03:45:56):
Why, ma'am. I've been seeing them for years. But I
would be too curious about him if I was you.
They ain't formed the strangers, no, sir, not one bit.
Now this year room can be for you, ma'am. In
your room, sir, he's just down the hall.

Speaker 15 (03:46:13):
Well, is it all right to go in? I mean,
has the room got a floor?

Speaker 10 (03:46:18):
Eh?

Speaker 14 (03:46:21):
Yes, indeed, go right in.

Speaker 1 (03:46:23):
We can open our packs and have our suffer in
your room.

Speaker 18 (03:46:26):
I'll go if you don't.

Speaker 15 (03:46:27):
Mind, mind if you think I'm gonna stay here. What's that?

Speaker 1 (03:46:33):
Well, it's a piano and a woman singing.

Speaker 14 (03:46:36):
Yes, sounds like the star at their evening's business at
the Crystal saloon?

Speaker 1 (03:46:41):
Or who are you talking about?

Speaker 14 (03:46:42):
The spirits? That's carm and see the singing. Now, hey,
if he disturbs you, I'll send word the sheriff to
have him and tone it down.

Speaker 6 (03:46:51):
It's serious.

Speaker 31 (03:46:52):
N He honestly believes that Those are spirits.

Speaker 15 (03:46:55):
That we're hearing goes to people who's been dead forty
or more years.

Speaker 14 (03:47:00):
Got a sweet voice, ain't she? No ononder'll raise your
so local about it?

Speaker 1 (03:47:04):
The Trevens. Where is the Crystal saloon?

Speaker 18 (03:47:07):
They're still on the street.

Speaker 1 (03:47:08):
Come on, Mago, where are you going to the crystal saloon?
This is our chance to learn something of mister Evans.
Ghosts singing, playing of stuff. Come on, Mago, we may
still be in time to see them. Well I get there, gone, yes,

(03:47:35):
cure your behavior for ghosts. Well there's the piano over there.
Let's have a look at it.

Speaker 41 (03:47:41):
This place is just as it must them on the
goal while there's still glasses on the bar, and chairs
are still set around tables. If it went for the
heavy dust, you'd almost believe it that they were open
for business tonight.

Speaker 1 (03:47:56):
That's odd. What the same heavy dust that you speak
of is covering the keys of the piano, And yet we.

Speaker 18 (03:48:04):
Heard it play?

Speaker 15 (03:48:05):
Was there another pianos?

Speaker 1 (03:48:08):
No not hearing this?

Speaker 2 (03:48:11):
What was there?

Speaker 1 (03:48:12):
Let's find out?

Speaker 2 (03:48:15):
Stop?

Speaker 15 (03:48:16):
Stop he's riding up through the hills.

Speaker 1 (03:48:18):
Did you see him as he went tired? Not to
think they know he was dressed in the costume of
old Mexico, said, ghost of Albaretz or someone pretending to
be the ghost of Alvarez. Come on, we better see
what happened at the hotel.

Speaker 41 (03:48:28):
Right look co month on the hotel sif there's a
man lying there, Yes, let's hurry.

Speaker 15 (03:48:36):
The mon he's driving in pane shot to say.

Speaker 1 (03:48:40):
Yes, this man was the victim. I'd rather you didn't
look at a morgo.

Speaker 9 (03:48:45):
Oh he's been shot to.

Speaker 15 (03:48:46):
The head, but he's still alive.

Speaker 1 (03:48:49):
Yes, we've got to go in and find pop eavans,
get some water and some bandages. Come on, Margo.

Speaker 15 (03:48:53):
Oh, he certainly isn't one of the ghosts.

Speaker 1 (03:48:55):
No ghosts never bleed, Miss Driven. Mister Evan, Yes, oh
well you're right here, Miss seven. There's been a man
seriously wounded right outside your door. We must have some
water and vantages quickly. Can you hear me, ma'am?

Speaker 64 (03:49:11):
Yes, yes, I hear you. But don't get excited. And then, yes,
my friends, the stays having a little friends.

Speaker 1 (03:49:19):
If you'll just step outside and look, you'll see that
this is not a spirit this time.

Speaker 14 (03:49:23):
Sure, sure, I'll come out and look.

Speaker 64 (03:49:25):
I seen the same show a hundred times, and when
I look again, Sure anything can please accustomer.

Speaker 14 (03:49:33):
Now where is this mightly wounded individual?

Speaker 18 (03:49:37):
Right?

Speaker 1 (03:49:39):
But he's gone the month?

Speaker 14 (03:49:41):
Well, hey, are you satisfied?

Speaker 1 (03:49:44):
No, no, I'm not a bit satisfied.

Speaker 14 (03:49:48):
And I suppose you'll be wanting to check out after
this little scare.

Speaker 1 (03:49:52):
Quite the contrary, Miss seven, we're more determined than ever
to spend the night here and before morning. I personally
guarantee you that we would have exploded for all the
time the legend of Bad Creek.

Speaker 15 (03:50:24):
What do you make of this whole thing?

Speaker 2 (03:50:26):
Lamon?

Speaker 1 (03:50:26):
Well, Marza, one thing is certain, we're not dealing with ghosts.
But who these halloween artists are and what the purpose
of the exhibition is I still can't figure out.

Speaker 15 (03:50:38):
Hmm our friend again, is suppose he's part of a
thing too?

Speaker 1 (03:50:42):
No, it's the voluntary helper.

Speaker 31 (03:50:44):
They have a woman working with him, the one we
heard singing in the Christmas saloon.

Speaker 1 (03:50:48):
Yes, I presume she's supposed to be the spirit of
the lovely common Citar.

Speaker 15 (03:50:53):
The man on horseback was dressed as Alvarez.

Speaker 1 (03:50:56):
Yeah, say common skar Elbrez Margo. Why didn't we think
of this before? What the events so far this evening
had coincided with the verses of the song Alvarez and
Cormon Cedar remember it, yees yes.

Speaker 41 (03:51:12):
In the first verse of the song, Carmon theeter is
singing to the goal miners in the crystal saloon.

Speaker 1 (03:51:17):
That's right, And in the second verse, Alvarez rides through
the town and shoots his rival on the steps of
the hotel. Now we have something to work on. All
we have to do is wait for them to begin
to enact.

Speaker 15 (03:51:28):
The next verse, well, let me see, lamont, what is that.

Speaker 31 (03:51:31):
Next version Alvarez and common seam Berty.

Speaker 1 (03:51:37):
Wait a minute, that's it. That's it.

Speaker 15 (03:51:40):
Later on that very evening down the main street, he
did rid he remember left it?

Speaker 31 (03:51:46):
And in the third verse, Elbarez rides back to the
crystal saloon and.

Speaker 15 (03:51:50):
Shoots the girl.

Speaker 35 (03:51:51):
Yes.

Speaker 1 (03:51:51):
Yes, And in the fourth verse the year, fourth verse,
the year.

Speaker 2 (03:51:55):
That's funny.

Speaker 1 (03:51:56):
I can't remember him of it.

Speaker 15 (03:51:57):
Now, Well, is that where the sheriff's party hangs him?

Speaker 1 (03:52:00):
No, no, no, no, that's much later in the song.

Speaker 15 (03:52:02):
I don't remember this. Well, at least we know what's
going to happen.

Speaker 1 (03:52:06):
Next, you mean happen Now, shall we go to the
Christmas loon?

Speaker 59 (03:52:10):
No?

Speaker 1 (03:52:10):
No, it's too late for that. They can stop before
we get there. I'd rather investigate this thing. You wait
right here in this room, ut here old of mine.
I'm sure that nothing would happened to you, So please say,
I must do this alone.

Speaker 15 (03:52:22):
Well, where are you going to?

Speaker 1 (03:52:24):
Pop Evans room? He's going to receive a visit from
the Shadow, mister Ribbins, Pop Evans?

Speaker 18 (03:52:45):
Eh?

Speaker 4 (03:52:46):
Well, wake up, mister Ribbins.

Speaker 10 (03:52:50):
Who's there?

Speaker 4 (03:52:51):
You have company?

Speaker 1 (03:52:52):
Mister Ribbins, wake up?

Speaker 14 (03:52:55):
Where do I write this?

Speaker 2 (03:52:56):
Lamp?

Speaker 14 (03:52:58):
Were in turn for college? H ohay a, I now say,
where are you?

Speaker 10 (03:53:10):
Didn't someone speak to me?

Speaker 9 (03:53:12):
Yes, I spoke to you, mister Evans, but I don't
see it.

Speaker 1 (03:53:16):
I'm standing right beside you, mister Ribbons, but you can't
see me because I've pouted your brain with my hypnotic power.

Speaker 14 (03:53:23):
You mean you're invisible?

Speaker 10 (03:53:27):
Invisible?

Speaker 14 (03:53:30):
A ghost, a real ghost has come at last? Eh.
I told him. I told him that I told him
that someday a real ghost had come along and spoil
her little game. Well, I'm mighty glad you.

Speaker 9 (03:53:45):
Come, mister h men call me the Shadow.

Speaker 14 (03:53:52):
Yes, yes, mister Shadow, I'm mighty glad you come. They're
going to be sorry. Now, ain't they you real ghost?
He's going to give him a tussle.

Speaker 4 (03:54:00):
Who are they, miss Evans?

Speaker 10 (03:54:02):
They why?

Speaker 14 (03:54:04):
They's the ones who's been scaring folks that are pretending
to be over as in common see the murderers. That's
what they've been playing, murderers.

Speaker 1 (03:54:12):
But who are these people?

Speaker 18 (03:54:13):
What are the names?

Speaker 14 (03:54:15):
Their name?

Speaker 10 (03:54:16):
Yes, yes, well you should know that.

Speaker 18 (03:54:19):
Why?

Speaker 14 (03:54:22):
Oh, miss, it shocked me?

Speaker 9 (03:54:26):
Who was it must have been?

Speaker 18 (03:54:34):
Kick?

Speaker 15 (03:54:45):
Thank you lemon the moan?

Speaker 61 (03:54:50):
Why didn't dance to me the little pool? It's useless
to struggles. You're coming with me. We are living here.

Speaker 9 (03:55:01):
Stop biting me your little spitfire.

Speaker 61 (03:55:06):
Now I shall take you for a little horseback ride Thenorita,
and make the.

Speaker 4 (03:55:10):
Most of it.

Speaker 18 (03:55:10):
It will be the last ride you will ever take.

Speaker 1 (03:55:13):
The handle up with all there you are shut up,
You comeantandle.

Speaker 15 (03:55:33):
Where do you think?

Speaker 61 (03:55:34):
Well, right now, Senorita, we are in one of these tundles.
It is sing lad cord, and I don't think that
you should hope anyone will find you here. This mine
has been abandoned for almost fifty years. To this door,
please step in the room. You brought that company, Yes,
I've brought up one of the gets from the Heavens Hotels.

Speaker 31 (03:55:56):
Oh, mister Janus, been nosing around all night.

Speaker 15 (03:55:58):
He's the one, the guy he had.

Speaker 18 (03:56:01):
We'll return for him later. Where's Eddie? All right?

Speaker 10 (03:56:04):
Here?

Speaker 15 (03:56:05):
That man that's the one who was shot in front
of a hotel.

Speaker 1 (03:56:09):
That's right to say that would in you here?

Speaker 18 (03:56:12):
That was a little trick we learned from some movie pocals. Here,
I want pretty good?

Speaker 14 (03:56:16):
That's not too good?

Speaker 15 (03:56:18):
And I suppose this woman was the one who sang
his common season. Yeah, i'd you know, i'd recognize that
all key voice any play. Say so, I'm finally meeting
the ghost of Bad Creek.

Speaker 18 (03:56:31):
I guess you could call us that thing.

Speaker 15 (03:56:33):
We wanted to take off your mask Elverarell so I
can see you too.

Speaker 18 (03:56:37):
I never take off the mind.

Speaker 6 (03:56:39):
So why did you bring me here?

Speaker 15 (03:56:40):
What do you want of me?

Speaker 18 (03:56:42):
We have decided, singer is Sa, that you should become
one of us.

Speaker 6 (03:56:46):
That's what's part?

Speaker 15 (03:56:47):
Would I play in its ghosted?

Speaker 18 (03:56:49):
Well?

Speaker 61 (03:56:50):
We have always felt that our performance would be more
effective we only had a corpse, a real corpse.

Speaker 18 (03:57:02):
Yes, senor Isa, you would be because.

Speaker 61 (03:57:06):
And I think that you will give your first performance
this very evening, you will exhibit you for your companion
back in battery.

Speaker 1 (03:57:15):
Now, have you any preferences prefer what do you mean?

Speaker 10 (03:57:20):
Well?

Speaker 18 (03:57:20):
Would you rather have a bullet hole.

Speaker 61 (03:57:22):
Perhaps in your head, a real bullet hole this time,
of course, or would you prefer a knife?

Speaker 15 (03:57:29):
No, let me out of here. You can't do this
to me.

Speaker 61 (03:57:33):
Since you won't make your own choice, Senorita, I shall
make one for you. A knife would be much more
effect No, no, Eddie, you will use your knife.

Speaker 18 (03:57:43):
Please? Do you do those things so artistically? Okay?

Speaker 6 (03:57:47):
Now let me go, Let me go on.

Speaker 14 (03:57:49):
Now, it'll be all over in a second.

Speaker 4 (03:57:52):
Dead enough, drop that knife?

Speaker 1 (03:57:56):
Y huh?

Speaker 18 (03:57:57):
What?

Speaker 1 (03:57:57):
Let go that girl and drop the knife?

Speaker 4 (03:58:00):
But who was that?

Speaker 18 (03:58:01):
I don't know.

Speaker 1 (03:58:02):
Since you won't drop the knife, I'll have to knock
it off your hand.

Speaker 26 (03:58:05):
For the knife was knocked out of my head.

Speaker 6 (03:58:07):
I didn't see.

Speaker 1 (03:58:07):
No one know it.

Speaker 18 (03:58:08):
What is this? What's going on?

Speaker 15 (03:58:10):
Is right?

Speaker 7 (03:58:10):
Hearing it?

Speaker 10 (03:58:11):
Room?

Speaker 18 (03:58:11):
Your voice is still here in the room. You needn't
look around for me.

Speaker 1 (03:58:15):
I've used my hypnotic power so that you cannot see me.

Speaker 18 (03:58:18):
Who are you?

Speaker 1 (03:58:19):
I am called the shadow.

Speaker 18 (03:58:22):
The shot I've heard it him.

Speaker 1 (03:58:24):
Now, mister elburre is we shall remove your mass.

Speaker 10 (03:58:27):
Oh Lord, take your hands off me.

Speaker 1 (03:58:29):
How don't we see what you look like?

Speaker 18 (03:58:32):
How do you like it?

Speaker 6 (03:58:34):
Why?

Speaker 15 (03:58:35):
Why you are a guide who led mister Cranton lead
a bad creek?

Speaker 18 (03:58:38):
Well?

Speaker 2 (03:58:38):
What of it?

Speaker 1 (03:58:39):
Why have you tried to frighten people away from bad creek?
What secret have you here that you've been willing to
resort to murder to protect?

Speaker 18 (03:58:46):
We like to be alone, that's all.

Speaker 2 (03:58:48):
It wouldn't be gold?

Speaker 18 (03:58:50):
Would it come to me?

Speaker 2 (03:58:52):
Is it gold?

Speaker 9 (03:58:52):
Why don't you find out on my wife?

Speaker 18 (03:58:54):
In here?

Speaker 1 (03:58:55):
I saw that there's been some recent diggings in this mine.
When I examined it, I saw that struck a vein
of pure gold. That's why you've tried to frighten people away.

Speaker 68 (03:59:05):
You're stealing this goal from my mind and does not
belong to you. Yeah, what can you do about it?
I can turn you over to the authorities, all of you.
I'm charge of the lasting and murder lessen shadow.

Speaker 9 (03:59:15):
You've gone far enough.

Speaker 18 (03:59:16):
See you ain't telling us what to do.

Speaker 9 (03:59:18):
Nobody is.

Speaker 1 (03:59:20):
We've been prepared just such a happening. Is this well prepared?

Speaker 60 (03:59:25):
There's enough dynamite planetness mind to poll the hole work
tired iness kirogna, Now, don't use the dynamite.

Speaker 61 (03:59:31):
Cut Maybe we can't see you, shadow, but when I
pull the quick you'll.

Speaker 1 (03:59:35):
Die just like the rest of us.

Speaker 10 (03:59:36):
He don't know what he's saying.

Speaker 18 (03:59:38):
Shut down. Huh. Well, let's pull the twicks and see.

Speaker 15 (03:59:40):
Don't stopping.

Speaker 10 (03:59:41):
Don't touch that tick.

Speaker 1 (03:59:42):
Let me go.

Speaker 18 (03:59:43):
You hear me, Carol, Let's go out.

Speaker 15 (03:59:45):
Your knocking over the lad well.

Speaker 18 (03:59:47):
You can't see me now he's shadow.

Speaker 1 (03:59:50):
Fight is uneven turns?

Speaker 18 (03:59:53):
Come on, where are you babo?

Speaker 2 (03:59:54):
Come with me quickly?

Speaker 18 (03:59:55):
Can you hear me?

Speaker 1 (03:59:56):
We've gotta try to get out of here. Well, where
are you?

Speaker 10 (03:59:59):
Shadow?

Speaker 18 (04:00:00):
Ay? You pray to me?

Speaker 7 (04:00:03):
I cut it out? Will you?

Speaker 14 (04:00:04):
If you pull up what you kill all of us?

Speaker 18 (04:00:06):
Cut up? Why don't you try to stop me pulling this?

Speaker 1 (04:00:09):
SQUI now shadow? Huh I don't know what's that.

Speaker 6 (04:00:14):
Girl's break.

Speaker 9 (04:00:17):
Me too?

Speaker 46 (04:00:17):
Oh no, you don't.

Speaker 1 (04:00:19):
No one is getting out of here alive la mon
I'm right here, Marga, well, I hate it. Dif in time.
Are you all right?

Speaker 15 (04:00:39):
Yes? For those people, those see what we left in the.

Speaker 1 (04:00:42):
Mind, they're buried in man, there's nothing we can do.

Speaker 18 (04:00:46):
A lamon.

Speaker 15 (04:00:49):
How did you know where to look for him.

Speaker 1 (04:00:51):
Very simple, Marga. You remember how we followed the movements
of the ghost by recalling the verses of the Alvarez
and Commentita tone. Yes, I finally remember the fourth first.
It tells of how Alvarez fled to the single ace
mine on the hillside. I played the hunt that they
were sticking to the song and came here.

Speaker 41 (04:01:10):
Lamon's from now on, Nan and boy, that's my favorite melody.

Speaker 71 (04:01:33):
Friends, you want to hear next week's unusually flooding Shadows story,
when Lamont and Margo venture into Voodo Land to starve
the weird mystery of the truck.

Speaker 10 (04:01:43):
I wonder if you.

Speaker 1 (04:01:44):
Can help us. So we're looking for the Nezbe plantation
nes bit.

Speaker 3 (04:01:49):
Yes, yes, the plantation, Yes, yes, keep away, keep away
from there.

Speaker 14 (04:01:59):
Come back here, Come by my mom?

Speaker 15 (04:02:02):
Did you see his page? Do you suppose he was
a zombie?

Speaker 71 (04:02:13):
They's program is based on a story. They program is
based on a story copyrighted about the Shadow magazine block
or fictition. Any similarity to the person's living or dead
is purely for incident. The weed of crime, There's bitter fruit.

Speaker 4 (04:02:34):
Crime does not pay the Shadow note.

Speaker 62 (04:02:41):
This is nowsome Unstead, Sleep no more, Sleep no more.

(04:03:06):
Turned down the lights. Sink back in your chair, and
don't look into the shadows. In the shadows, there may
be moving things tonight. It may be you will sleep
no more. Good evening.

Speaker 9 (04:03:34):
This is Ben Gower introducing Tonight's tale of Terror, told
by Nelson Omstead on the National Broadcasting Company's.

Speaker 10 (04:03:40):
Presentation of Sleep No More.

Speaker 9 (04:03:44):
The story of terror can be as simple as a
sheeted ghost rattling chains. It can be a complex and
hidden world of horror, relating in such unholy dimensions as
only the dead in the moonstruck and glimpse. It can
be those terrible, fathomless shadows which lie buried deep in

(04:04:05):
the primitive.

Speaker 10 (04:04:06):
Mind of civilized man.

Speaker 9 (04:04:09):
And for this evening, well, Nelson Armstead tell us about
this evening story. Once in a while in my reading,
I come across a short story so different, so powerful,
so well written, that I can't forget it. Our first
story tonight is a case in point, written by one
of England's masters of the short story art A. M.

Speaker 18 (04:04:27):
Burridge.

Speaker 9 (04:04:28):
It's the bottom man who went out of his way
to scare himself to the absolute limit. Listen while I
tell you about the waxwork. While the uniformed attendants of

(04:04:51):
Merrimur's Waxworks were ushering the last stragglers through the great
glass panel double doors, the manager sat in his office
interviewing Raymond Houston, a journalist. The manager I was speaking, Yes,
mister Houston, it used to be said years ago that
Madame Tussau's would give a man a hundred pounds for
sleeping alone in the chamber of horrors. I hope you

(04:05:13):
don't think that we've made any such offer, mister Houston. However,
if you get your story printed in the Morning Echo,
there will be a five pound note waiting for you
here when you care to come and call for it. Well,
that's satisfactory, fine, But first of all, it's no small
ordeal that you're proposing to undertake. I'd like to be

(04:05:35):
quite sure about you, and i'd like you to be
quite sure about yourself. I own, I shouldn't care to
take it on. I've seen those wax figures dressed and undressed,
and I know all about the process of their manufacture.
I can walk about in their company downstairs as unmoved
as if I were walking among so many skittles. But

(04:05:56):
I should hate having to sleep down there among them. Well, why,
I don't know versions any reason. I don't believe in ghosts.
It's trusted. I couldn't sit alone among them that night,
were there seeming to stare at me the way they
do no other whole atmosphere The place is unpleasant, And

(04:06:17):
if you are susceptible to atmosphere, I warn you that
you are in for a very uncomfortable night. Houston had
known that from the moment when the idea had.

Speaker 10 (04:06:28):
First occurred to him.

Speaker 9 (04:06:29):
His song sickened at the prospect, even while he smiled
casually upon the manager. But he had a wife and
family to keep, and for the past month he had
found almost no newspaper work. Here was a chance not
to be missed. The price of a special story in
the Morning Echo with a five pound note add to it.
It meant comparative wealth and luxury for a week, and

(04:06:50):
freedom from the worst anxieties for a fortnight. Besides, if
he wrote the story well, it might lead to an
offer of regular employment.

Speaker 6 (04:06:58):
So he said to the man, I've.

Speaker 9 (04:07:02):
Already promised myself an uncomfortable night, because your murderers, then
as obviously not fitted up as a hotel bedroom. But
I don't think your waxworks will worry me much. You're
not superstitious, not a bit. But you're a journalist. You
must have a strong imagination. Well, the news editor's room
I work have always complained that I haven't any real

(04:07:26):
There is one condition I'm afraid I must impose upon you.
I must ask you not to smoke. As we had
a fire scare down in the Murderers then earlier this evening.
I don't know who gave the alarm, but it was
a false one. Fortunately there were very few people down
there at the time, or there might have been a panic.
And now, if you're ready, we'll do well. Houston followed

(04:07:51):
the manager through half a dozen rooms where attendants were
busy shrouding the wax figures.

Speaker 10 (04:07:56):
Beyond these rooms was the Murderers.

Speaker 9 (04:07:58):
Then it was a room of irregular shape with a
vaulted roof by design, an eerie and uncomfortable chamber whose
atmosphere invited its visitors to speak in whispers. The waxwork
murderers stood on low pedestals. The manager, walking around with Houston,
pointed out several of the more interesting of these unholy criminals,

(04:08:19):
and Houston pointed and whispered, who's that? Oh, I was
coming to him. They come and have a good look
at him. Oh, this is our starboarder, doctor Burdett. M yes,
I think I've heard the name, but I forget in
connection with what well, you'd remember better if you were
a Frenchman. For some long while, that man was the

(04:08:41):
terror of Parisis, as he carried on his work of
healing by day and throat cutting by night. When the
fit was on him, he killed for the sheer, devilish
pleasure it gave him to kill, and always in the
same way with the razor. After his last crime, he
left a clue would set the police upon his track.

(04:09:02):
One crew led to another, and before very long they
knew that they were on the track of the Parisian
equivalent of our Jack the Ripper. But when he realized
that the police were closing about him, he mysteriously disappeared,
and ever since the police of every civilized country have
been looking for him.

Speaker 2 (04:09:22):
Hm.

Speaker 9 (04:09:24):
Yes, well I don't like him at all. Oh what
eyes he's got? Yes, Miss Wax figures a little masterpiece.
You find the eyes fit into you. Well, now that's
excellent realism. Then for Burdette practiced mesmerism and was supposed
to mismerize his victims before dispatching them. Hu, I thought,

(04:09:45):
I saw a move. You'll have more than one optical
illusion before the knight's out, I explained, you shan't be
locked in. You can come upstairs when you've had enough
of it. Well, good night, mister Houston, Good night, I'll

(04:10:06):
see you in the morning. The manager left and Hewston
got ready for the night. He wheeled the armchair a
little way down the central gangway and deliberately turned it
so that its back was toward the effigy of doctor Burdette.
For some undefined reason, he liked doctor Burdett a great
deal less than his companions. Busying himself with arranging the chair,

(04:10:28):
he was almost light hearted, But when the attendants footfalls
had died away and a deep hush stole over the chamber,
he realized that he had no slight ordeal before him.
The dim, unwavering light fell in the rows of figures,
which were so uncannily like human beings that the silence
and the stillness seemed unnatural and even ghastly. The eyes

(04:10:51):
of doctor Bordet's effigy haunted and tormented him, and he
each with a desire to turn and look. At last,
he could stand it no longer and quickly looked beyond
find him. Among the many figures standing in the stiff,
unnatural poses, the effigy of the dreadful little Doctor stood
out with a queer prominence. Hewson looked into the doctor's
eyes for one agonized second, and turned again to face

(04:11:14):
the other direction. It struck him, in the moment or
two while he'd looked behind him, that there had been
the least subtle change in the grouping of the figures
in front. Howson held his breath for a moment, and
then drew his courage back to him as a man
lifts the weight. He remembered the words of more than
one news editor and laughed savagely to himself, saying, is

(04:11:37):
can they tell me I've got no imaginations? He thought
this was very cowardly and very absurd. They were only waxworks,
and they couldn't move. Let him hold that thought and
all would be well. But then, why all that silent
unrest about him? A subtle something in the air which
didn't quite break the silence, and happened whichever way he

(04:12:00):
looked just beyond the boundaries of his vision. Suddenly he
heard somebody breathing. He swung around quickly to encounter the
mild but baleful stare of doctor Burdette.

Speaker 4 (04:12:10):
No change.

Speaker 9 (04:12:11):
Oh, this was a little too much. It was bad
enough that the waxwork effigies of murderers should move when
they weren't being watched, but it was intolerable that they
should breathe. Somebody was breathing, or was it his own
breath which sounded to him as if it came from
a distance.

Speaker 6 (04:12:26):
He sat rigid, listening and straining until he.

Speaker 9 (04:12:31):
Exhaled with a long sigh, his own breath after all,
or if not, something had divine that he was listening
and had at that moment ceased breathing throughout this would
not do, this distinctly would not do. He must touch
at something, gripped with his mind upon something which belonged
essentially to the workaday world, to the daylight London streets.

(04:12:53):
He was Raymond Hewston, an unsuccessful journalist, a living and
breathing man, and these figures grouped around him were only dummies,
so they could either move nor whisper. Still. The gaze
of doctor Burdett urged, challenged, and finally compelled him to turn.

(04:13:15):
Hewson half turned and then swung his chair so us
to bring him face to face with those dreadful hypnotic eyes.
Houston's own eyes were dilated and his mouth lifted at
the corners in a snarl. And then Hewson spoke and
woke a hundred sinister echoes.

Speaker 6 (04:13:32):
You mo blash you, Yes you did, I saw you.

Speaker 9 (04:13:36):
And then he sat quite still, staring straight before him,
like a man found frozen in the arctic snows. Doctor
Burdett's movements were leisurely. He stepped off his pedestal with
the mincing care of a lady alighting from a bus.
He stepped off the platform and sat down on the edge,
facing Houston. And then he nodded and smiled, and he
said good evening. He spoken perfect English, with only a

(04:14:01):
trace of foreign accent. I need hardly tell you that,
not until I overheard the conversation between you and the
worthy manager of this establishment, did I suspect it.

Speaker 10 (04:14:14):
I should have the pleasure of.

Speaker 9 (04:14:16):
A companion here for the night. Now you cannot move
or speak without my bidding, but you can hear me
perfectly well. Something tells me that you are, Shall I
say nervous, My dear sir, have no illusions. I am
not one of these contemptible effigies miraculously come alive.

Speaker 10 (04:14:40):
I am doctor Budette himself.

Speaker 9 (04:14:44):
Let me explain the circumstances with which I need not fatigue.
I've made it desirable that I should live in England.
I was close to this building this evening when I
saw a policeman regarding me a bit too curiously. So
I mingled with the crowd, and I came in here,
and an inspiration showed me a certain means of escape.

(04:15:05):
I raised a cry of fire, and when all the
fools had rushed up the stairs, I stripped my effigy
of the caped coat which you behold me wearing. I
downed it. I hid my effigy under the platform at
the back, and I took its place on the pedestal.
I own that I have spent a very fatiguing evening,
but fortunately I was not always being watched, and had

(04:15:28):
opportunities to draw an occasional deep breath and ease the
rigidity of my pose. One small boy screamed and exclaimed
that he saw me moving. I understood that he was
to be whipped and put straight to bed in his
return home. And I can only hope that the threat
has been executed to the letter. I am obliged to

(04:15:51):
the chance which brought us together to night. And perhaps
it would seem ungrateful to complain from motives of personal
safe See, my activities have been somewhat curtailed of late years,
and I am glad of this opportunity of gratifying my
somewhat unusual for him. But you have a skinny neck,

(04:16:14):
if you will overlook a personal remark, I should never
have selected you from choice. I like men with thick necks,
thick red necks. This which I have in my hand
is a little French raisor they're not not used in England,
but perhaps you know them. This one drops them on wood.

(04:16:36):
The blade you will observe is very narrow. They do
not cut very deep, but deep enough. In just one
little moment you will see for yourself. No, my friend,
you will have the goodness to raise your chin a
little thank you, a little more, just just a little more, ah,

(04:16:57):
thank you, messy monsieur ah metis mertie. In the morning,
the sunrise began to mingle with subdued light from the
electric bubs, and this mingled illumination added a certain ghastliness
to a scene which needed no additional touch of horror.

(04:17:18):
The waxwork figure stood apathetically in their places, in their
midst on the center gangway, Jushian sat still, leaning far
back in his armchair. His chin was up tilted as
if he were waiting to receive attention from the barber.
And although there was not a scratch upon his throat
nor anywhere on his body, he was cold and dead.

(04:17:40):
His previous employers were wrong in having him credited with
no imagination. Doctor Burdett, on his pedestal, watched the dead
man unemotionally. He didn't move, nor had he moved, after all,
how could he? He was only a waxword.

Speaker 6 (04:18:12):
And that was Nelson Olmstead and the story the wax
work by A. M.

Speaker 10 (04:18:17):
Burrage. And now you have a second tale face. Indeed
I have been you know.

Speaker 9 (04:18:23):
The human mind reacts peculiarly under great stress, especially when
overcome with fear. It ceases to be normal and golds
the body onto fantastic acts of bravery or cowardice. Ambrose
Bierce expressed this condition in many of his fine short stories,
and the narrative I want to bring you now is
about a man whose great fear was the last reaction

(04:18:43):
of his life. It's entitled The Man and the Snake.

(04:19:03):
Stretched at ease upon a sofa in gown and slippers,
Harker Breton smiled as he read from Morrister's Marvels of Science.
It was an ancient book with its archaic English, which
stated it is a veritable report and attested of so many,
that there be now of wise and learned none to
gainsay it that ye serpent his eye hath a magnetic property,

(04:19:24):
that whoso falleth into its suasion is drawn forwards in
despite of his will, and perisheth miserable by ye creature
his bite. Brayton smiled again as he thought, the only
marvel in the matter is that the wise and learned
in Morristers they should have believed that snakes could hypnotize
our human victims. And a train of reflection followed, for

(04:19:45):
Breton was a man of thought, and he unconsciously lowered
his book without altering the direction of his eyes. As
soon as the volume had gone below the line of sight.
Something in an obscure corner of the room recalled his
attention to her surroundings. What he saw in the shadow
under his bed was two small points of light, apparently
about an inch apart. They might have been reflections of
the gas jet above him in metal nail heads. He

(04:20:08):
gave them but little thought and resumed his reading. A
moment later, something, some impulse which it didn't occur to
him to analyze, impelled him to lower the book again
and looked for what he saw before. The points of
light were still there. They seemed to have become brighter
than before, shining with a greenish luster that he had
not at first observed. He thought, too that they might
have moved a trifle were somewhat nearer. They were still

(04:20:30):
too much in the shadow, however, to reveal their nature
and origin to an indolent attention, and again he resumed
his reading. Suddenly, something in the text suggested a thought
that made him start and drop the book for the
third time to the side of the sofa, where, escaping
from his hand, it fell, sprawling to the floor back upward.
Breyton half Risen was staring intently into the obscurity beneath
the bed, where the points of light shone with it

(04:20:52):
seemed to him an added fire. His attention was now
fully aroused, his gaze eager and imperative. It disclosed, almost
directly under the foot rail of the bed, the coils
of a large serpent. The points of light were its eyes.
Its horrible head, thrust flatly forth from the innermost coil
and rested upon the outermost, was directed straight toward him,

(04:21:12):
the definition of the wide, brutal jaw and the idiot
like forehead serving to show the direction of its malevolent gaze.
The eyes were no longer merely luminous points. They looked
into his own with a meaning, a malign significance. A
snake in a bedroom of a modern city dwelling of
the better sort, is happily not so common a phenomenon

(04:21:33):
as to make explanation altogether needless. Harker Brayton, a bachelor
of thirty five, returning to San Francisco from all manner
of remote and unfamiliar countries, had gladly accepted the hospitality
of his friend, Doctor Druring, the distinguished scientist. Doctor During's house,
a large, old fashioned one in what is now an
obscure quarter of the city, had an outer and visible

(04:21:55):
aspect of proud reserve. It plainly would not associate with
the contiguous elements of its altered environment, and appeared to
have developed some of the eccentricities which come of isolation.

Speaker 16 (04:22:05):
One of these was a.

Speaker 9 (04:22:06):
Wing, which was a combination of laboratory, menagerian museum. It
was here that the doctor indulged the scientific side of
his nature in the study of reptiles. He loved nature's vulgarians,
and described himself as the Zola of zoology. His wife
and daughters, not having the advantage to share his enlightened
curiosity regarding the works and ways of our ill starred

(04:22:27):
fellow creatures, were with needless austerity, excluded from what he
called the snakery. Architecturally and in point of furnishing, the
snakery had a severe simplicity, befitting the humble circumstances of
its occupants, many of whom indeed could not safely have
been entrusted with the liberty that is necessary to the
full enjoyment of luxury, for they had the troublesome peculiarity

(04:22:49):
of being alive in their own apartments. However, they were
under as little personal restraint as was compatible with their
protection from the baneful habit of swallowing one another. And
as Brayton had thoughtfully been appraised, it was more than
a tradition that some of them had, at divers times
been found in parts of the premises where it would
have embarrassed them to explain their presence. Despite the snakery

(04:23:13):
and its uncanny associations, to which indeed he gave little attention,
Brayton found life at the during mention very much to
his mind. Beyond a smart shock of surprise and a
shudder of mere loathing, mister Braken was not greatly affected
by the side of a huge snake under his bed.
His first thought was to ring the call bell and
bring a servant, But although the bell court dangled with
an easy reach, he made no movement toward it. It

(04:23:35):
had occurred to his mind that the act might subject
him to the suspicion of fear, which he certainly didn't feel.
He was more keenly conscious of the incongruous nature of
the situation than affected by its peril. It was revolting,
but absurd. The reptile was of a species with which
Brayton was unfamiliar. Its length, he could only conjecture. The
body at the largest visible part seemed about as thick

(04:23:56):
as his forearm. In what way was it dangerous? If
in any way was it venomous? Was it a constrictor?
He didn't know. Crayton rose to his feet and prepared
to back softly away from the snake, without disturbing it,
if possible, and through the door should the monster follow.
A rack of murderous oriental weapons hung in the wall,
from which he would snatch one to suit the occasion.

(04:24:17):
Brayton lifted his right foot free of the floor to
step backward. That moment he felt a strong aversion to
doing so. He lifted the foot a little higher by
slightly bending the knee, and thrust it sharply to the
floor an inch in front.

Speaker 10 (04:24:33):
Of the other.

Speaker 9 (04:24:34):
He couldn't think how that curred.

Speaker 25 (04:24:35):
A trial where the left foot had the same result.
It was again in advance of the right. His hand
was grasping the back of a chair, the arm of
straight reaching somewhat backward. One might have said he was
reluctant to lose his hold. The snake's malignant head was
still thrust from the inner coil.

Speaker 9 (04:24:51):
As before the next level. It hadn't moved, but its
eyes were now electric sparks, radiating an infinity of luminous needles.
Brayton had had an ashy palpern. Again, he took a
step forward, and another, causing his hands, and knocked the
chair over with a crash, and the man groaned. The
snake made neither sound nor motion, but its eyes were
two dazzling suns. The reptile itself was wholly concealed by them.

(04:25:17):
They gave off enlarging rings of rich and vivid colors, which,
at their greatest expansion, successively vanished like soap bubbles. They
seemed to approach his very face, and again were an
immeasurable distance away. He heard somewhere the continued thropping of
a great drum, with nestutory bursts of far music, inconceivably sweet,

(04:25:38):
like the tones of an alien harp. He knew it
was the sunrise melody of Memnon's statue, as though he
stood in the nile side reeves, hearing with exalted sense
that immortal anthem.

Speaker 6 (04:25:49):
Through the silence of the centuries, music ceased brother.

Speaker 9 (04:25:53):
It became, by insensible degrees, the distant roll of a
retreating thunderstorm, A landscape glittering with sun and rain stretched
before him, arched with a vivid rainbow, framing in its
giant curve a hundred visible cities. In the middle distance,
a vast serpent wearing a crown, reared its head out
of its voluminous convolutions and looked at him with his

(04:26:15):
dead mother's eyes. Suddenly, this enchanting landscape vanished at a blank.
Something struck him a hard blow upon the face and breast.
He had fallen on the floor.

Speaker 10 (04:26:26):
The blood ran.

Speaker 9 (04:26:26):
From his broken nose in his bruised lips. For a moment,
he was dazed, and then stunned, and lay with closed eyes,
his face against the floor. In a few moments he
had recovered and then realized that his fall. By withdrawing
his eyes, had broken.

Speaker 10 (04:26:39):
The spell which held him.

Speaker 9 (04:26:40):
He felt that now, by keeping his gaze averted, he
would be able to retreat. But the thought of the
serpent within a few feet of his head, yet unseen,
perhaps in the very act of springing upon him and
throwing its coils around his throat, was too horrible. He
lifted his head, stared again into those baleful eyes, and
was again in bondage. What ensube was of fearful scene.

(04:27:02):
The man thrown upon the floor within the yard of
his enemy, raised the upper part of his body upon
his elbows, his head thrown back, his legs extended to
their full length. His face was white between its gallups
of blood. His eyes were strained open to their uttermost expansion.
There was froth upon his lips. He dropped off in flakes.
Strong convulsions ran through his body, making almost serpentine undulations.

(04:27:24):
He benn himself at the waist, shifting his legs from
side to side, and every movement left him a little
mirror to the snake. He thrust his hands forward to
brace himself back, yet constantly he advanced upon his elbows.
Doctor Druring and his wife were at this moment in
the library. Their conversation was interrupted by a mighty cry

(04:27:47):
which rang through the silent house, like the voice of
a demon shouting in a tomb. Again and yet again,
it sounded with terrible distinctness. They sprang to their feet,
the man confused, the lady pale and speechless with fright.
Almost before the echoes of the life last cry had
died away, the doctor was out of the room, springing
up the staircase two steps at a time. In the
corridor in front of Brayton's chamber, he met some servants

(04:28:08):
who had come from the upper floor. Together they rushed
at the door without knocking. It was unfastened and gave way.
Breton lay upon his stomach and the floor dead. His
head and arms were partly concealed under the foot rail
of the bed. They pulled the body away, turning it
upon the back. The face was dauged with blood and froth.
The eyes were wide open, staring a dreadful sight. Well

(04:28:32):
he died in a fit, said the scientist, bending his
knee and placing his hand upon the heart and file
in that position, he happened to glance under the bed.
Good Lord, how did this thing get in here? And
he reached under the bed, pulled out the snake, and
flung it, still coiled, to the center of the room,
where it slid across the polished floor till stopped by

(04:28:54):
the wall, where it lay without motion. It was a
stuffed snake. Its eyes were two shoe buttons.

Speaker 18 (04:29:26):
You can turn up the.

Speaker 25 (04:29:27):
Lights now, you can look around you.

Speaker 7 (04:29:31):
Nobody is there?

Speaker 9 (04:29:32):
Really?

Speaker 10 (04:29:33):
Everything is all right, isn't it?

Speaker 18 (04:29:44):
Now?

Speaker 9 (04:29:44):
Here is Nelson Omsteed to tell us about next week,
Mister Olmstead well been two ghost stars. One is by
Christopher Issue with Me Now, about a man who, for
reasons he doesn't understand, is able to get brief glimpses
into the future. It's entitled I Am Waiting. The second
Browdy and Farm by A. M. Brange might just be
described as an old fashioned ghostar about a haunted house.

Speaker 6 (04:30:16):
You're listening to Sleep No More, an NBC Radio.

Speaker 26 (04:30:20):
Network production directed by Kenneth McGregor.

Speaker 9 (04:30:24):
Mister Armstead's albums are recorded exclusively for Vanguard Records.

Speaker 10 (04:30:30):
Until next week, when Nelson Olmstead will again be here
in person.

Speaker 4 (04:30:36):
Miss is ben Grauer Bidding you good Night.

Speaker 23 (04:30:49):
Figures by Colin Hayden Evans starring Anna Massey. Let me
put it this way, it's marriage of convenience only in
so far as my convenience is concerned. I won't give
you a divorce because I don't want a divorce. It's

(04:31:11):
that simple. I find you a perfectly useless wife, but
rather surprisingly an excellent mother. Rebecca needs us both. So
you will stay. You'll always stay unless I change my mind.
If you leave me, I will gain custody of Becky.

(04:31:35):
You can be sure of that, and when I do,
you will never see her again. You can go to
as many lawyers as you like, and they do as
many courts, but you will never see her again. Believe me,
you're an infant, Anne, just a kid in the games

(04:31:56):
people now play. I grew playing those games, which is
why I always win.

Speaker 40 (04:32:06):
So sorry, I'm sorry.

Speaker 74 (04:32:08):
What did you say your husband's Canadian? I was wondering
if your husband was Canadian?

Speaker 40 (04:32:13):
Yes, Canadian? Following on later, then is it much further?

Speaker 75 (04:32:19):
Mister Fuller? If you bend your head a little, you
can just see it through the trees.

Speaker 40 (04:32:25):
Do you think you might stop?

Speaker 10 (04:32:26):
I'm sorry?

Speaker 74 (04:32:28):
Oh yes, yes, of course. It's a good view from here.
Actually you can't see the outbuildings.

Speaker 40 (04:32:38):
But how long has it been empty?

Speaker 75 (04:32:40):
All getting on? For eighteen months? And missus Harding lived
there before for years. She lived alone, As far as
I know, she didn't need all the rooms then most
of them hardly need any attention. We have made an allowance.

Speaker 40 (04:32:52):
Did she live upstairs?

Speaker 75 (04:32:55):
She was getting on a bit. I think she preferred.

Speaker 47 (04:32:59):
Not to I expect, So.

Speaker 75 (04:33:03):
Right, shall we go on?

Speaker 74 (04:33:20):
It's a very reasonable price to ask for a house
of this size, actually, especially as it comes partly furnished.

Speaker 53 (04:33:28):
She had no one left. You see, very hardly for
the executasis. The door's locked.

Speaker 74 (04:33:34):
I'm afraid we can't find the key. I'm afraid it's locked,
Missus Simon's.

Speaker 40 (04:33:41):
It is a very reasonable price, mister Fuller. I mean
it's unreasonably reasonable.

Speaker 76 (04:33:47):
Oh, a realistic figure, i'd say, considering I'm sorry that
you can't sell it.

Speaker 16 (04:33:52):
Oh, we will sell it.

Speaker 40 (04:33:54):
It's only fair to say that I have every intention
of buying it. But I would be grateful if if
you told me, Well, shall we say what you'd first
decided to keep to yourself. Ah, mister Simon's, the house
will be brought in my name. No mortgage will be required.

Speaker 2 (04:34:13):
Ah.

Speaker 75 (04:34:15):
Well, it's what you'd call a bit different.

Speaker 43 (04:34:21):
Different.

Speaker 75 (04:34:22):
There's always some that'd like to look at it that way.
I can't say, I do.

Speaker 40 (04:34:25):
Are we talking about, mister Fuller?

Speaker 50 (04:34:29):
What do you mean?

Speaker 47 (04:34:30):
A bit different?

Speaker 10 (04:34:31):
It?

Speaker 16 (04:34:32):
There is mostly hearsay.

Speaker 76 (04:34:34):
Really you mean haunted, don't we? It's a point of view,
of course, but you have an open mind. I've been
a Baptist all my life, Missus Simons.

Speaker 40 (04:34:48):
What was in the locked room. Is that where it happened?
She was frightened.

Speaker 75 (04:34:56):
No, well you wouldn't stay if you were, would you.

Speaker 40 (04:35:02):
Couldn't we force the lot? Oh well, now I'll be
happy to leave the deposit with you this afternoon, mister Fuller.

Speaker 43 (04:35:08):
It's a heavy door, but you'll try.

Speaker 16 (04:35:19):
Oh well, it's as you see.

Speaker 23 (04:35:29):
Yes, yes, I know, Yes, I guess it was the money.
It was the best thing you had to offer. Don't
tell me you didn't realize. It wasn't as if I
paid you that much attention. People have always been unkind

(04:35:50):
to you, haven't they, Anne. But then that's what you want,
isn't it. That's what makes it so enjoyable for.

Speaker 1 (04:35:57):
Them every night?

Speaker 75 (04:36:02):
No, just sometimes what sort of noise is?

Speaker 40 (04:36:06):
Well?

Speaker 75 (04:36:06):
I never went into it, to tell you the truth.
She used to tell my sister about it.

Speaker 1 (04:36:10):
Mostly that's how I hurt.

Speaker 75 (04:36:12):
They were quite friendly. Marjorie and Missus h shared an
interest in African violets. You see, Marjor's always been one
for the African violets.

Speaker 40 (04:36:21):
Did she ever see anything? Missus Harding kept.

Speaker 74 (04:36:25):
The door locked, hardly went upstairs. No, I don't think
she ever saw anything. Missus Simon's Do you mind if
I ask you something?

Speaker 40 (04:36:35):
Why I want to buy the place?

Speaker 1 (04:36:38):
You were right?

Speaker 75 (04:36:38):
You know I can't sell it.

Speaker 40 (04:36:41):
That's really rather honest of you, mister Fuller. You don't
want me to buy it.

Speaker 75 (04:36:47):
Somebody has to, I suppose.

Speaker 15 (04:36:49):
Especially not me.

Speaker 75 (04:36:50):
Would you say, well, you knew about it, didn't you?
The others they found out, you see, half the village
always fell over itself to tell them. But you, well,
you seem to.

Speaker 40 (04:37:03):
No one came to any harm, did they? How do
you mean there was any of the noises?

Speaker 18 (04:37:08):
Oh?

Speaker 75 (04:37:09):
Yes, no, it didn't harm anyone as far as I know.

Speaker 40 (04:37:14):
I suppose.

Speaker 75 (04:37:14):
It's just a way of looking at it, isn't it
If you're not bothered, Well, it's all right.

Speaker 46 (04:37:18):
I suppose.

Speaker 23 (04:37:23):
When there's nothing left between two people, or perhaps simply
nothing to begin with, it creates a kind of space.
I know you feel that too, Anne. We both live
there now, don't we?

Speaker 50 (04:37:37):
Me?

Speaker 23 (04:37:38):
Comfortably?

Speaker 47 (04:37:38):
You anything?

Speaker 23 (04:37:40):
But you feel guilty about not caring. You see, that's
your problem. You feel you should care, if only for
Becky's sake, but you can't. Your disgust won't let you.
So you pretend you lay with me at nights, whispering
your lies so that the days that follow will be

(04:38:01):
more tolerable. Not for me, of course, never for me,
just for you and Becky. You think you have to
keep me happy. There's no need, Anne, there really isn't.
The very last thing I would ever want from you
is actual happiness.

Speaker 40 (04:38:24):
And this will be your Tell me what you can
see from the window.

Speaker 57 (04:38:30):
Lots of trees, almost all the way up to the sky.

Speaker 40 (04:38:34):
This will be your window. Where will yours be?

Speaker 10 (04:38:36):
Mommy?

Speaker 40 (04:38:36):
In my room, of course, not far away down the wall,
past the old painting on the wall we have to clean,
the one we have to clean.

Speaker 57 (04:38:43):
Will Daddy come soon, Yes? Will he have the same
room as you?

Speaker 40 (04:38:51):
Of course he will. It'll be just the same as
it was in Toronto.

Speaker 57 (04:38:55):
He he used to make noise in Canada. What that
night he used to make noises?

Speaker 40 (04:39:06):
Daddy, You shouldn't have been listening.

Speaker 57 (04:39:09):
It was only when he was asleep. When I went
to the bathroom sometimes I heard.

Speaker 40 (04:39:13):
Him, Becky. It was a dream. Either Daddy was dreaming
or you were well. When people dream they sometimes do
make funny noise.

Speaker 50 (04:39:20):
If he was.

Speaker 57 (04:39:22):
Drowning inside his mouth.

Speaker 40 (04:39:26):
Becky, you and I are going to do some cleaning
starting right now.

Speaker 57 (04:39:29):
Come on, you can sleep with me in here if
you like, if you want me to no all the time?

Speaker 40 (04:39:34):
I mean, what would Daddy say. Don't suppose he'd want
a room older himself.

Speaker 57 (04:39:38):
Why is your door broken?

Speaker 52 (04:39:43):
Mummy?

Speaker 57 (04:39:45):
Why do you want to sleep in a room where
the door is all broken?

Speaker 47 (04:39:52):
I'm sorry if I seen, well, I take an afternoon nap.
You see, have to watch the old blood pressure, take
it easily, as they say, basically, you have to stop
living in order to preserve what's left.

Speaker 2 (04:40:05):
Please sit down, won't you?

Speaker 40 (04:40:07):
Thank you? I shouldn't have called without warning. I'm sorry
if I startled you.

Speaker 47 (04:40:12):
And don't get many visitors. Perhaps chat with the postman
a bit, usually about the state of this season's garden.
Compasses that can be it to the day sometimes.

Speaker 40 (04:40:25):
Did you practice in this area for your entire career?

Speaker 47 (04:40:28):
Doctor Slaide and my father before me, he died in harness.
I've not been so lucky.

Speaker 16 (04:40:38):
Can I offer you some tea?

Speaker 47 (04:40:40):
Perhaps?

Speaker 40 (04:40:41):
I really only came to introduce myself. We're each other
sole neighbors, after all. I'm sorry. Have I said something?
You were staring?

Speaker 47 (04:40:58):
You bought the place, then the house.

Speaker 40 (04:41:02):
Yes, we hope to move in properly when my husband arrives.
He's in Canada at the moment. The previous owner, Missus Harding.
I understand she lived at the house alone. You were

(04:41:23):
her doctor, won't you. Yes, she lived on the ground
floor only she was arthritic.

Speaker 47 (04:41:32):
I advised her not to tackle the stairs.

Speaker 40 (04:41:37):
Can I ask you a direct question? Would you mind?
What I mean actually is? Will you give me a
direct answer? You won't have a visitors, will you? You've
no intention of setting foot in that house again.

Speaker 47 (04:41:56):
Fuller told you that.

Speaker 40 (04:41:58):
He said, only that you'd heard. Well what people do here?

Speaker 47 (04:42:04):
I can't claim uniqueness on that score. Quite a few
head Piggy Harding lived with it for years.

Speaker 40 (04:42:13):
She didn't mind. She didn't mind.

Speaker 47 (04:42:18):
It ceased to be a problem for her. I mean,
if your central heating plays up occasionally, you don't turn
a hair, do you. It's only the not being able
to put a name to the noise that disturbs unease
is often due to know more than a lack of
adequate explanation, don't you think. Besides which, her hearing wasn't.

Speaker 9 (04:42:38):
Up to much.

Speaker 40 (04:42:40):
Full I said, you saw them, He said, you went
up to the room. The noises were particularly bad that night.
Missus Harding had phoned you.

Speaker 47 (04:42:49):
He said, you saw them, and you are suggesting that
I shouldn't have believed what I saw.

Speaker 40 (04:42:55):
No, I didn't say that.

Speaker 47 (04:42:59):
You know, as a doctor, you become quite familiar with
the fact that people can, given the circumstances, see things
that aren't actually well real. Shall we say, put enough
gin down some one for a set number of years,
and you'll produce the effect beautifully. It rather depends what
we mean by real. I suppose I've often wondered, is

(04:43:22):
it real because we see it? Or is the reality
lying there waiting to be discovered. I don't know, of
course you don't.

Speaker 10 (04:43:33):
Who does?

Speaker 50 (04:43:36):
But you.

Speaker 40 (04:43:39):
You believe what you saw.

Speaker 47 (04:43:42):
What I saw left me little choice. Missus Simons. Frankly,
I'm not sure I quite understand your interest. I mean,
you knew about it all before you bought the house.
Presumably it reduces itself to merely keeping the door lock
sure permanently, as Peggy did. One room less than the

(04:44:03):
house of that size is not really that much of
an inconvenience. I would have thought, I'm sleeping in the room,
Missus Simon's what do you want.

Speaker 40 (04:44:19):
I know the house. It's no great mystery. Since a child,
I've had a recurring dream of a particular house, well,
not very often, though it has increased over the past
couple of years. I came to know it very well.
It never seemed very strange to me.

Speaker 1 (04:44:37):
Your house my house?

Speaker 40 (04:44:43):
Did you dream the house was in a way inhabited?
I suppose would be the best way of by things
that had to happen, a sense of inevitability, not because
I or anyone else, for that matter, would decide anything,
particularly things happening for themselves. I think things can become

(04:45:05):
their own reason. Sometimes I suppose that sounds odd.

Speaker 47 (04:45:14):
Would you think me awfully rude if I asked you
to leave?

Speaker 10 (04:45:17):
Now?

Speaker 47 (04:45:18):
I get these funny turns, you see, It's better when
I lie down. I'm afraid your only neighbor tends to
be a bit crotchety. You'll forgive me, I know, Yes,
I see.

Speaker 40 (04:45:31):
May I call again?

Speaker 47 (04:45:32):
No, Missus Simons, I don't think so.

Speaker 40 (04:45:35):
I don't understand, neither do I.

Speaker 47 (04:45:39):
Frankly, what did you see in that room? I have
asked you to leave on the pretexts of a perfectly
feeble excuse that both of us realize has nothing at
all to do with what I actually mean. It was
an attempt to preserve courtesy, Missus Simons. If you take
that from me, by your continual insistence, I should be

(04:46:02):
reduced to rudeness, and that is something I would genuinely regret.

Speaker 40 (04:46:08):
But what has been said? Yes, I see, I'm sorry.

Speaker 1 (04:46:14):
Doctor.

Speaker 14 (04:46:19):
You come back, don't you, don't you?

Speaker 58 (04:46:22):
You pretend you don't want me to hurt you, but
that is exactly what you want.

Speaker 26 (04:46:26):
You crawl around on it more, but never towards the door.
Come on, come on, there's money left.

Speaker 47 (04:46:36):
I get up, Get up.

Speaker 23 (04:46:44):
Then, but you don't want it to stop.

Speaker 10 (04:46:47):
Anne.

Speaker 47 (04:46:48):
You see that, don't you.

Speaker 23 (04:46:50):
You plead with me for escape, but you'll kill me
if I ever.

Speaker 2 (04:46:54):
Let you go.

Speaker 40 (04:46:57):
Oh that's it, isn't it. Of course you're a first.

Speaker 23 (04:47:02):
Doing little sequel. You are will to kill you, don't.

Speaker 14 (04:47:17):
Yes?

Speaker 47 (04:47:18):
Missus Simon's Alex Slade three things really. Firstly, an apology
for my boorishness the other day. No excuses, just the apology,
ill mannered and no two ways about it. Secondly, any
chance of getting called Alex?

Speaker 2 (04:47:35):
Do you think? It finds pretty much on whether the
apology washes.

Speaker 47 (04:47:39):
I suppose, finally, what about a spot of dinner somewhere
to make suitable amends.

Speaker 40 (04:47:44):
I think we should share the apology, dot Alex. I
was visiting largely on false pretenses here.

Speaker 47 (04:47:50):
As you were, but thinking it over, and I'm not
so sure you had all then much choice. Really, dinner
will get you a better explanation.

Speaker 40 (04:47:59):
I can't, Rebecca, I'm afraid. Couldn't you come out here
to supper? You won't come to the house. If I
can call your own it tonight then about six.

Speaker 47 (04:48:17):
Well, I haven't the slightest idea what I've just eaten,
but it was the best meal I've had in years.

Speaker 40 (04:48:23):
It was a Moroccan recipe.

Speaker 47 (04:48:24):
Actually good God, never mind, seemed.

Speaker 40 (04:48:28):
Rather odd to be laying a table that wasn't my own.
Even the cut through was Missus Harding's funny.

Speaker 47 (04:48:34):
Little tablecloths she always had. Peggy her mother made them,
you know, crochet or something, never fitted anything used to
train dogs. Missus Harding her mother Keerry Blues, sort of
large terrier. The place used to stink to high heaven.
The gardens full of them, you know, buried them all
over the place. Funny woman had a lot of shares

(04:48:57):
in Russian railways or something. Wouldn't talk about it much
pre revolution. You see lost the lot.

Speaker 40 (04:49:05):
We jumped off on rather the wrong foot, didn't we, Alex?
I'm genuinely sorry.

Speaker 24 (04:49:10):
For my part the same here.

Speaker 47 (04:49:13):
Oh there's still a good half bottle to go shirt?
Shall we finish it?

Speaker 1 (04:49:17):
You link?

Speaker 40 (04:49:18):
I went for the moment. Are we going to be
completely frank with each other?

Speaker 47 (04:49:24):
I expect so it's been difficult to be much else
on this vintage.

Speaker 40 (04:49:30):
When we first met, I asked, I think I must ask.

Speaker 47 (04:49:34):
You something first. It'll probably sound a bit well personal.
You just have to take it on trust that it
might have some bearing on what you want to know?
Are you happily married?

Speaker 2 (04:49:48):
Anne?

Speaker 40 (04:49:52):
My marriage is like sitting in a very cold room,
a room made empty by another's company. I will have
that glass of wine?

Speaker 47 (04:50:02):
Ah good? Is that all I polished off the rest?
I'm afraid of?

Speaker 10 (04:50:07):
Sorry?

Speaker 40 (04:50:08):
Is that all you want to know?

Speaker 7 (04:50:10):
Oh?

Speaker 47 (04:50:13):
You've slept here?

Speaker 40 (04:50:15):
I've been sleeping in the room, Yes you know that,
and nothing, Nothing has happened, Alex. I've slept more soundly
than I can ever. Remember? When is your husband next week?
I don't have the exact date.

Speaker 47 (04:50:31):
Yet, what then, do you want to know from me.

Speaker 15 (04:50:37):
What you saw?

Speaker 47 (04:50:38):
I suppose I'd gone to bed fairly early, Ruthie, my
wife had stayed up because the cat had gone missing
or something. Anyway, I must have dozed off, because the
next thing I remember was her nudging me awake. The
phone was ringing. It was getting on for two in

(04:50:59):
the morning. It wasn't as if I was even on call.
It was Peggy, Peggy harding, I'm sorry to call you,
but they're very strong to night. I can hear her
voice now. It was the first time I'd known her
to sound concerned.

Speaker 40 (04:51:20):
But you knew about it before.

Speaker 47 (04:51:22):
Oh yes, we'd all lived with it for years. It's
surprising what you get used to, though. I'm damned if
I know how Peggy stuck it out alone.

Speaker 40 (04:51:32):
What happened.

Speaker 47 (04:51:33):
She was in front of the fire when I got there, downstairs, huddled.
It wasn't cold. She just looked at me.

Speaker 24 (04:51:42):
She was a very matter of fact.

Speaker 47 (04:51:44):
Was Peggy didn't treat it exactly as a joke, but
never made too much of it either, But that night
she was.

Speaker 9 (04:51:53):
Well.

Speaker 47 (04:51:53):
I just wish she hadn't looked at me quite like that.
I hadn't been in the house a few minutes when
the noise became even worse. Us banging, thumping, really and dragging,
dragging something in the room, only in the room. It
was always in the room. I think they want someone

(04:52:17):
to go up, Peggy said. I think it's their way
of asking. I remember thinking what she meant by they.

Speaker 10 (04:52:27):
How she knew I.

Speaker 47 (04:52:29):
I didn't ask. I didn't want to know. Really, all
I wanted was to persuade her to come back with
me for the night. But I knew that that wasn't on.
She wouldn't budge. It was almost a matter of principle
with her. She used to say she'd simply turn the
television up louder if they got too bad. That's how

(04:52:50):
she was, in a strange way. I think she almost
took pride in it.

Speaker 10 (04:52:56):
I don't know.

Speaker 40 (04:52:58):
And then you went upstairs.

Speaker 47 (04:53:00):
I sat with her by the fire, delaying the inevitable.
I suppose we talked a little, but it was no good.
There were voices then, no words really, just Peggy had
hold of my arm. For someone with arth writers, she
had a grip like a spanner. If you don't go up,

(04:53:22):
they'll come down. I know that I couldn't bear it
if they came down.

Speaker 24 (04:53:27):
She said.

Speaker 47 (04:53:30):
As soon as I reached the landing, they stopped. They
knew I was coming, and I knew they knew. When
I opened the door. They were as clear as day.
Two of them over by the window. It was difficult
to understand they were. One of them, the man was

(04:53:50):
on the bed. The other one had a I think
it was a chisel in her hand.

Speaker 10 (04:54:00):
She had.

Speaker 47 (04:54:02):
Used it. It seems absurd to say he was dead.
She turned as I entered and smiled. I couldn't have
moved then if I'd wanted to. I simply didn't know how.
She lifted the chisel, showing it to me, almost proudly.
I thought, Lata, she knew who I was, you see.

(04:54:26):
I I think somehow she felt I would appreciate her work.
Sawso very matter of fact. I think it was that
which terrified me the most, the casualness.

Speaker 15 (04:54:43):
And the man.

Speaker 47 (04:54:44):
I didn't see the man, clearly, I didn't go near.
She sat in the chair that the rocking chair, still smiling.

Speaker 10 (04:54:56):
Sweetly.

Speaker 47 (04:54:56):
Almost. But he wasn't dead, you see, not quite. He
knew who I was too. He was asking for help,
making noises. But she didn't want that, not at all.
He stopped her smiling and went for the chisel again.
I'm sorry you want me to stop. Look, I'm only

(04:55:22):
telling you this, Anne, because I believe it's over. Your
coming here has stopped it. I don't know why or how,
but for the first time in years, this house is silent.
I can feel it.

Speaker 40 (04:55:36):
It's waiting, Alex. That's why it's silent.

Speaker 47 (04:55:39):
Trust me, Anne, it's over, Sherry.

Speaker 40 (04:55:50):
That's all that's left. I'm afraid.

Speaker 47 (04:55:51):
A fellow advocate of the medicinal binge.

Speaker 40 (04:55:54):
It has been known. When I was very young, we
lived in the country, not so far from here. Actually,
my father and I used to drive to the nearest
town in a pony and trap. It was only for fun, really,

(04:56:16):
he knew I enjoyed it. One day there was an accident.
The axle snapped. My father was pulled from the seat
by the pony.

Speaker 10 (04:56:28):
He was.

Speaker 40 (04:56:31):
Caught up somehow on the spokes of the broken wheel.
I could only watch, listen to the noises he was making.
He couldn't speak, only with his eyes. They had to
cut him out, eventually, only his clothes. But it seemed,
with all the blood, it seemed as if they were

(04:56:52):
actually cutting him. I was only a child, That's how
it seemed to me. They took him to a house
near by, but he was dead before they could find
a doctor. I couldn't move, couldn't help. It was soon
after the accident that I first began dreaming of the house.

Speaker 47 (04:57:19):
That might explain a lot, you know, perhaps you're dreaming
down the air somehow well haunted this place. It made
your pain come alive in a very peculiar way. It
wanted life, It wanted to be seen in a way
that it did not before. It took form in those figures.

(04:57:42):
They existed on behalf of your but of your guilt.
I suppose now it's out in the open. There's simply
no lead for them any more.

Speaker 40 (04:57:53):
You're considered diagnosis.

Speaker 10 (04:57:55):
Doctor.

Speaker 47 (04:57:55):
Well, if it's wrong, and it can't be far out,
it fits the fact such as they are. Look, nothing
has happened since you arrived. You said so yourself, But
I was expecting it to inside the dream had gone.
There was nothing left. What you were expecting was no

(04:58:16):
more than the memory of what you've been living with
for years.

Speaker 40 (04:58:21):
How can you be so sure?

Speaker 47 (04:58:24):
Well I'm not.

Speaker 40 (04:58:25):
And if you're wrong, So what.

Speaker 47 (04:58:29):
And nothing is happening.

Speaker 74 (04:58:35):
Last night, apparently they took him into the cottage hospital,
but I believe they're moving into the general later in
the day.

Speaker 40 (04:58:41):
Is it serious, Yes, I think it probably is.

Speaker 2 (04:58:43):
It's the old Robina.

Speaker 40 (04:58:45):
Thank you for calling, mister Fuller.

Speaker 1 (04:58:47):
It was nice of you at all.

Speaker 2 (04:58:49):
I thought you'd want to know anyway, how are you
said it?

Speaker 40 (04:58:58):
I came as soon as I heard, I literally did.

Speaker 47 (04:59:02):
I put it down to the rock and meal that
sort of thing. Takes a couple of days to catch
up with you. Rebecca in the.

Speaker 40 (04:59:13):
Car, and even let her use her watercolors on the
front seat.

Speaker 47 (04:59:19):
I'm glad you came. I never was as good as
I looked, you know, you always looked awful. It's as
much as bad as can be. Actually, damn silly, A
dying doctor on their hands, and still I have to
suffer their professional tact.

Speaker 40 (04:59:42):
I'm sorry, Alex.

Speaker 47 (04:59:46):
There was something I wanted to say. I wasn't going
to UC but now, well, that night Anne the room
at the house, and the woman I saw was you.

Speaker 6 (05:00:10):
I don't understand.

Speaker 47 (05:00:13):
I'm not sure I do, but I recognized you unmistakably
when we first met. But the fear of God up
me at the time, I didn't know then what I
know now.

Speaker 40 (05:00:27):
You see, it was you, Anne, and there was someone
else there on the bed.

Speaker 30 (05:00:40):
Wasn't there.

Speaker 47 (05:00:43):
Your father?

Speaker 15 (05:00:45):
My father?

Speaker 47 (05:00:47):
After the accident, they took him to the nearest house.
Remember what was that house like?

Speaker 40 (05:00:55):
Oh, Alex, I was only a child.

Speaker 47 (05:00:57):
They laid him on a bed. Do you You told
me you felt guilty about that all your life. You
thought you'd killed him, or at least had been the
cause of his death. How did they free him, Hanne?
What from the wreckage of the cart? How did they

(05:01:21):
get him free?

Speaker 40 (05:01:23):
I don't know. Someone used a fence poster as a
lever that there was a local workman, He had tools.

Speaker 47 (05:01:36):
He used a chisel, didn't he the chisel I saw
in your hand at night? The dream is over and
I don't know why or how, but to stop. There
can only be pieced there for you now. That makes

(05:02:00):
me very happy.

Speaker 57 (05:02:07):
He's doctor Slad dead.

Speaker 40 (05:02:09):
I wish you wouldn't always untuck your blankets.

Speaker 23 (05:02:14):
Yes, did he.

Speaker 57 (05:02:16):
Tell you the story, Mummy?

Speaker 4 (05:02:17):
All of it?

Speaker 10 (05:02:19):
What?

Speaker 15 (05:02:22):
Yes?

Speaker 40 (05:02:23):
He told me the story, Becky.

Speaker 4 (05:02:26):
Didn't he know then?

Speaker 57 (05:02:29):
Didn't you tell him? Mummy? You should have told him
really you know now you'll never know.

Speaker 23 (05:02:41):
It was my mommy, Ralph, the implication being that you
actually know what to do with it. I suppose.

Speaker 40 (05:02:47):
I'm sorry you're annoyed, but I actually like the house,
so do I.

Speaker 23 (05:02:51):
Well, you don't have to travel from it, or in
this case, to it.

Speaker 40 (05:02:55):
There was no other way I could let you know
in time you were already in flight. I left a
message of the airport. It's the best I could do.

Speaker 23 (05:03:03):
The best you could do would have been to have
met me. Who was this Alex Slade? Anyway, our neighbor.

Speaker 40 (05:03:11):
There was no one else to go. I felt I
knew him. It was just the priest and a couple
of locals. It was very sudden.

Speaker 23 (05:03:20):
And how's my Becky been good? Have you missed daddy? Yes,
you've excelled yourself, An, she's even less communicative than usual.

Speaker 40 (05:03:38):
Get ready for bed now, Becky, I'll be up soon.

Speaker 23 (05:03:40):
Yes, Mabby rising. The child leaves the room, dutifully ignoring
her father as she goes. The meal was very good,
Thank you. Shall we go to bed.

Speaker 40 (05:03:58):
It's too early.

Speaker 23 (05:03:58):
I never sleep, An, you always had such a picturesque
form of refusal.

Speaker 47 (05:04:06):
It suits.

Speaker 23 (05:04:07):
Actually, I just thought ah, Yes, I know. I know
you just thought. I'm sorry about the airport.

Speaker 40 (05:04:16):
Ralph.

Speaker 23 (05:04:17):
You simply preferred attending the funeral of a stranger to
meeting your husband.

Speaker 47 (05:04:20):
There's no problem.

Speaker 40 (05:04:22):
I felt I owed it to him.

Speaker 47 (05:04:25):
Were you lovers?

Speaker 16 (05:04:26):
What?

Speaker 50 (05:04:27):
No?

Speaker 23 (05:04:28):
No, Now I can see you weren't that wonderful transparency
of yours?

Speaker 10 (05:04:33):
Anne.

Speaker 40 (05:04:33):
I know you're annoyed. I've said I'm sorry. If you
want a full blooded rather, let's have it and get
the thing over.

Speaker 23 (05:04:39):
I don't want to rah rah.

Speaker 40 (05:04:41):
You've been here barely a day and I feel exhausted.

Speaker 23 (05:04:45):
You always tired easily.

Speaker 18 (05:04:47):
You drain me.

Speaker 23 (05:04:49):
I really must stop.

Speaker 40 (05:04:50):
Must night never stops. You know that is war, open
and pitiless. I hate you, Ralph.

Speaker 23 (05:05:01):
Yes, well, then why why stay together when we need to?

Speaker 10 (05:05:07):
My love?

Speaker 40 (05:05:09):
It's a terrible thing to say.

Speaker 23 (05:05:12):
I can't offer you an explanation, merely a feeling of pleasure.
I suppose enjoyment anyway, the enjoyment in watching you hate
the frustration it causes you. Is it cruel?

Speaker 47 (05:05:27):
Do you think I expect it must be?

Speaker 23 (05:05:30):
But I can't help it. Well, I don't want to
help it, really, I think it probably excites me. I
guess your doctor friend would call that perverse, wouldn't he?

Speaker 40 (05:05:40):
In anyone else? It would be for you? Ralphis?

Speaker 23 (05:05:42):
Would you like a divorce?

Speaker 24 (05:05:44):
What you would?

Speaker 23 (05:05:47):
Of course?

Speaker 40 (05:05:50):
Are you playing with me?

Speaker 52 (05:05:51):
Ralph?

Speaker 23 (05:05:52):
Seriously?

Speaker 40 (05:05:55):
Why would you do that?

Speaker 23 (05:05:57):
It's perverse enough, isn't it. I'm offering you a freedom
you spend your whole life secretly avoiding calling your bluff.

Speaker 18 (05:06:06):
If you like?

Speaker 40 (05:06:10):
Yes, sorry, yes, I would like a divorse.

Speaker 23 (05:06:17):
You wouldn't really, you know, not really with me?

Speaker 61 (05:06:23):
No?

Speaker 23 (05:06:23):
I get custody of Becky. That goes without saying eh?
Shall we go to bed now? Isn't that the best
place to try and persuade me?

Speaker 40 (05:06:44):
Is it my disgust then that you want so badly and.

Speaker 23 (05:06:48):
You're not being honest again? I know you O, yes,
I'm afraid I do. I know you need to wallow
to your guilt. You see, where would you be without it?

Speaker 47 (05:07:04):
I have to be in London in the morning. I
won't be back late.

Speaker 57 (05:07:20):
Can I sit on your lap? Mummy? I like the
rocking chair? What do they call that thing? Mummy? Will
Daddy be late?

Speaker 18 (05:07:34):
Do you think.

Speaker 1 (05:07:37):
I like this house?

Speaker 50 (05:07:38):
Now?

Speaker 57 (05:07:39):
We could sleep in.

Speaker 77 (05:07:40):
The same room, couldn't we? After I mean we'd have
the same window. I'll go downstairs when Daddy comes, shall
I just for a little while? Then I'll come and
see you again. Uh uh chisel, that's what Dr Slade

(05:08:07):
called it, didn't he?

Speaker 57 (05:08:09):
It's very sharp, isn't it? He knew it was you,
didn't he?

Speaker 52 (05:08:18):
Mummy?

Speaker 57 (05:08:30):
Wasn't it silly of him to think it was Grandpa
on the bed?

Speaker 40 (05:08:42):
Mm hmmm.

Speaker 36 (05:08:57):
In figures by Colin Hayden Evans and I mus See
was Anne Blaine Fairman was Ralph Simmons, Jill Lidstone was
Rebecca Simmons, and John Strickland was Peter Fuller. The director
was Ian Cultural.

Speaker 5 (05:09:11):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(05:09:33):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus it's where you can find the
Hope in the Darkness page. If you or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weird Darkness dot com. I'm Darren Marler. Thanks

(05:09:54):
for joining me for tonight's retro radio Old Time Radio
in the Dark

All Episodes

Episode Transcript

Popular Podcasts

NFL Daily with Gregg Rosenthal

On Purpose with Jay Shetty

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}THE SHADOW, “Ghost Town”: The Only Residents At This Hotel Are Specters

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}NFL Daily with Gregg Rosenthal

On Purpose with Jay Shetty

Dateline NBC

All Episodes

THE SHADOW, “Ghost Town”: The Only Residents At This Hotel Are Specters

NFL Daily with Gregg Rosenthal