THE STRANGE BURIAL OF ALEXANDER JORDAN: What Happens When You Are TOO Prepared For Death?

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

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
You're gonna thank some miss.

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

Speaker 5 (00:36):
Present Suspense.

Speaker 1 (00:41):
I am the Whistler.

Speaker 6 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
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(01:05):
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(01:25):
me into tonight's retro Radio Old Time Radio in the Dark, The.

Speaker 7 (01:30):
CBS Radio Mystery Theater Present, Come in, Well, let's come.

(01:54):
I'm Ejmarshall. In seventeen seventy eight, Friedrich Anton Mesmer astounded
Paris and the medical world by introducing what he termed
a new medical theory, the theory he called animal magnetism.
Although he was discredited and accused of being a practitioner
of black magic. Mesmerism was to continue to fascinate medical

(02:18):
men until it flowered into the present day, holy, scientific
and important branch of medicine called hypnotism that is today.
About a century and a half ago, it was misunderstood
and misused, with many of the men who practiced it
unprincipled and little better than sorcerers. This is the story

(02:42):
of one.

Speaker 8 (02:42):
Such Doctor Newton.

Speaker 9 (02:45):
You may now wake up.

Speaker 10 (02:48):
What did you say something?

Speaker 8 (02:50):
Professor Valdemar Clite goutil in the last five minutes?

Speaker 10 (02:55):
Doctor good lord? Is it five minutes since you put
me off? Believe it?

Speaker 8 (02:59):
Or in another few minutes. I'm going to let you
charge for yourself. I am going to let you put
me under the influence.

Speaker 7 (03:18):
Our mystery drama A Living Corpse was written especially for
the mystery theater by Ian Martin and stars Robert Dryden
and Kurt Peterson. Have you ever been hypnotized? It's a strange,

(03:40):
weird and terrifying feeling to know that you have lost
your identity, blanked out, that you have still been in
your own world, and yet not of it.

Speaker 10 (03:52):
A powerful for nine.

Speaker 7 (03:54):
To two in the hands of today's doctors, rigorously trained.
But once as recently as one hundred years ago, it
was a secret art, shunned by the reputable and condemned.

Speaker 10 (04:06):
By the devout. Yet it had its debutees.

Speaker 7 (04:10):
Men of inquiring scientific minds, as well as the Charlatans
and the legion of believers who have followed the lure
of the occult down strange paths since the dawn of time.

Speaker 11 (04:25):
Who that's up?

Speaker 12 (04:28):
The police?

Speaker 8 (04:29):
Calm yourself, Miss is Slisbury. No need for alarm, but
for the moment it seems three must wait to bring
you relieve. I will turn off the pacificator for the
moment while I answer the door.

Speaker 11 (04:44):
It's the police.

Speaker 8 (04:46):
This is Salisbury. The art I practice is not illegal,
however much it may be frowned upon by the No.
Nothing's besides. I shall close the door to the room
and leave, and you will be quite safe.

Speaker 13 (05:00):
Yes, gosh, very well, I'm coming coming better.

Speaker 8 (05:11):
Make sure.

Speaker 14 (05:14):
Who is it, doctor Craig Nagen, by your appointment, professor
only at one moment.

Speaker 8 (05:23):
Enter softly, my young physician, and keep your voice low.

Speaker 10 (05:28):
You were expecting me.

Speaker 8 (05:29):
You're earlier, much earlier. Your ivory now is awkward.

Speaker 14 (05:35):
I'm sorry I was held up on a case. If
it is inconvenient, I could return it some other time.

Speaker 15 (05:40):
No, no is a my effect.

Speaker 8 (05:42):
Perhaps it works out also the good I have a
patience with me. I was just about to put under
magnetic influence. You will have the opportunity to see and observe.
Come into this room, but softly, sir.

Speaker 14 (05:57):
Very well.

Speaker 8 (05:59):
I would have you in the same room, but the
lady is anxious to preserve her anonymity. However, if you
will come to this spot in the veins cutting, allow
me just slide this small shield to one side, and
it opens the eye on a portrait in the next role,

(06:22):
you will well be able to observe the technique and
practice of mespriism.

Speaker 14 (06:31):
At that moment, every instinct within me screamed and silent
warning for me to run.

Speaker 10 (06:37):
My venal ambition.

Speaker 14 (06:38):
Unbounded curiosity nailed me to the floor.

Speaker 16 (06:42):
I put my.

Speaker 14 (06:43):
Eye to the back of the portraits eye, and as
clearly as if I were present in the adjoining room,
I watched him jealous. Awe one human being attained total
mastery over another.

Speaker 8 (06:57):
What was it who would not say nothing at all?
An errand boy? I sent him packing. Let me start
the pacifically.

Speaker 17 (07:08):
Now.

Speaker 8 (07:09):
I want you to relax.

Speaker 18 (07:11):
My cat.

Speaker 8 (07:12):
I can't relact, of course you can. I want you
to watch the pacificator over my left shoulder.

Speaker 18 (07:22):
The night crush only to begin with.

Speaker 8 (07:27):
Just watch, listen to the sound, watch the spinning disk.

Speaker 17 (07:34):
Relax, Relax.

Speaker 8 (07:38):
You want to go to sleep.

Speaker 19 (07:41):
Sleep the yes, they look deep into my eyes. Feel
the magnetic influence spread to you and around you, warming,
relaxing and making you browsing.

Speaker 8 (08:04):
You are falling asleep. You can't find it. Your eyes
are grouping, topping. The tension is training away. And now
as I leave my hand on you and touch you,
you are asleep, sound asleep. You will lift your right

(08:32):
arm to shoulder height and hold it fair steadily, so
so very act Luton, Are you still there? As the

(08:54):
people ely it has no fear of speaking up. She
will not hear you. Certain she won't, just as certain
as I am that she will continue to hold out
her hand and arms straight from the shoulder, no matter
what way it is placed.

Speaker 17 (09:10):
On it.

Speaker 8 (09:11):
Yet observe.

Speaker 10 (09:14):
That having calls, she cann't possibly hold that with her arm.

Speaker 20 (09:17):
As it is.

Speaker 8 (09:18):
Oh, but she will, she can.

Speaker 10 (09:23):
Look, that's possible.

Speaker 8 (09:26):
With mesmerism, nothing is impossible, So she need holds this
no longer. The point is proven. You may put your
arms down now, missus Slisbury. That's right.

Speaker 21 (09:47):
Now.

Speaker 8 (09:48):
Do you still have your headache? Yes, my temples are bursting.

Speaker 22 (09:54):
It's like a nice plunging into my brain. If I
could home get some relief.

Speaker 8 (10:03):
You say that you would pay anything for that relief,
anything very well. Tomorrow you will remember this. When I
wake you up tomorrow, you will go to the bank
and take out ten thousand dollars and deposited in my
name as the Boston Federalist.

Speaker 22 (10:25):
I promise I will do as you say, if you
will only.

Speaker 8 (10:30):
Give me relief.

Speaker 10 (10:32):
I lay my.

Speaker 8 (10:33):
Hand on your brow. I pass it gently to and fro,
and as I do so, the pain diminishes, diminishes. Now
it is gone. Yes, oh yes, it is gone. Oh

(10:55):
oh what joy?

Speaker 23 (10:57):
What tea?

Speaker 8 (10:58):
It will not return? And then I wake you you
will know that it will never return.

Speaker 24 (11:07):
It we will never return, and you will forget everything
we have said about the money till tomorrow at ten
o'clock exactly you will make the transaction.

Speaker 14 (11:27):
I had watched all the four going in open mouthed amazement.
A woman cured of incurable migraine headache, for when she
woke it was gone, a woman paying him fifteen dollars
for the session, but who had promised to deposit ten
thousand the next day. Stunning revelation upon stunning revelation, and

(11:48):
the most stunning of all, with his tall, cadaverous cough,
written man should reveal his secrets and his criminality to me.
I had not long to w for the answer to this, well.

Speaker 8 (12:02):
Doctor Greek nugent, when you edified and.

Speaker 10 (12:09):
In both I under started.

Speaker 14 (12:12):
But yes, well at the moment as a doctor, perhaps
intrigued more than anything that cough of yours, sir, is
that the reason you bid me here?

Speaker 15 (12:24):
Yes?

Speaker 2 (12:26):
And no?

Speaker 8 (12:31):
We sit and talk first.

Speaker 14 (12:33):
I would prefer to osculate your chest, sir, form some opinion.

Speaker 8 (12:37):
Of forget it? Why the physicians? Then you have examined me.
The consumption is too well addvanced. My death is inevitable,
and in very short order there's no hope.

Speaker 10 (12:55):
Then why am I here?

Speaker 8 (12:56):
If you will sit with me, doctor, because I find
myself weak and diet. I will attempt to explain, but
first let me ring for my wife. I am sure
you would enjoy a glass of port.

Speaker 2 (13:12):
As we talk.

Speaker 8 (13:14):
In any case, I am anxious to have you meet her.

Speaker 14 (13:18):
I'm sure the pleasure and the privilege is all mine.
The idle phrase gagged and stung in my throat. Luana
Valdemar was, as always that vision of loveliness, scarce above
my own age, vile, that eyes great and deep enough
for a man to drown in, skin that seemed translucent

(13:40):
to an inner glow, and the dark cloud of jet
black hair tumbling to her waist that set my heart
pounding so loudly. I thought all three of us must
hear it. In one first look.

Speaker 10 (13:53):
I was in love, enchanted, and in chains.

Speaker 8 (13:57):
What will you have, doctor Lugian, Oh? I, for it
is far older man. May I suggest this Brandy, my dear,
This is a bride, young doctor, whom I expect we
loom large in music our future, Doctor Craig Nutrant, I

(14:22):
present my wife, Juanna, I.

Speaker 22 (14:27):
Am your will it be the brandy?

Speaker 8 (14:30):
Whatever you suggest you Area's suggestions turn out to be
more like krabas.

Speaker 25 (14:39):
Ah.

Speaker 8 (14:40):
Leave us, Lana, we.

Speaker 10 (14:43):
Have much to talk about.

Speaker 22 (14:44):
Don't stay up too late. I hope to meet you again, doctor, I.

Speaker 10 (14:50):
Sincerely hope so, Madam Baldemart.

Speaker 8 (14:53):
You will, you will now? Off? Is you whatever you can?
And you are not drinking your brandy?

Speaker 10 (15:07):
Doctor?

Speaker 26 (15:09):
Oh?

Speaker 14 (15:09):
Oh no, I yes, sir, it is an excellent brandy.

Speaker 10 (15:18):
I don't quite understand why I was invited here in
the first place.

Speaker 8 (15:23):
Of course you don't, I think. If you will entertain
my proposition, you and I have a great deal to
offer each other from a beginning. Excuse me if you
owe me some more port of course, and once I

(15:47):
have soothed this accursed scratching throat a mile, I can
make a start about explaining, explaining all about the end.

Speaker 7 (16:07):
As he reaches for the glass, Professor Valdemar's tall, gaunt
figure is shaken by yet another bout of the racking
cough that snatches away all his breath. In medical dismay,
young doctor Craig is helpless to do anything to relieve him,
or to imagine what on earth kind of service he
can offer this strange and half dead man. I shall

(16:30):
return shortly with that two for the moment, as the
smooth mellow port seems to assuage the paroxysm of coughing
by the older man, Craig has been eyeing him clinically dispassionately.

(16:54):
Now suddenly, from under the shaggy brows, he finds that
the Professor's dark, smoky eyes that are burning into his
and beyond them to his brain. For a second he
can almost feel the world slip away from him, and
then with an effort, as he tears his eyes away,

(17:15):
he finds himself his own man again, that.

Speaker 10 (17:22):
The wicked god, Professor Golomer, I.

Speaker 8 (17:27):
Am beyond medical help. However you might still help me.
How would you like to know all my secrets? The
study of a lifetime? You have one thing I never had,
that precious sheep's kind that open satain me to accept

(17:50):
and inspy everyone.

Speaker 10 (17:51):
I could never put anyone into a sleep or for
a trance.

Speaker 8 (17:55):
Oh you could if you knew the secret or as
is that?

Speaker 10 (18:01):
And you are prepared to tell me that if you prove.

Speaker 8 (18:06):
As apt a pupil, as I believe you will. And
on the giving of a solemn promise from you to me.

Speaker 10 (18:15):
I am a little bewildered. I don't know what to say.

Speaker 8 (18:18):
You need not answer to night. It is late and
I am they tired. But I must know by tomorrow
for my time. Well, I don't have to tell a
doctor my time is short.

Speaker 10 (18:34):
Must I make the promise before I learn the secret?

Speaker 4 (18:38):
No?

Speaker 10 (18:39):
Then suppose I refuse to give it after you've taught
me what you know.

Speaker 8 (18:43):
You won't, I promise you you won't.

Speaker 14 (18:52):
I left that strange house with my head spinning. I'd
walk there during the twilight, but now it was almost
pitch dark, my way lighted only by.

Speaker 10 (19:02):
An occasional street lamp.

Speaker 14 (19:04):
I hadn't gone more than fifty yards from the door
when suddenly a figure swam suddenly out of the murky gloom.

Speaker 10 (19:10):
Come with me, Conna, No, it's too dangerous. He might
see us. Shut out the past gate.

Speaker 8 (19:18):
Lord, I didn't have painted when I saw you in
the house tonight.

Speaker 27 (19:22):
What brought you there?

Speaker 8 (19:24):
He summoned Mee what he knows about it, oh darling?

Speaker 10 (19:30):
No, so he knows too much about too many things
that he.

Speaker 8 (19:37):
Makes my flesh crawl.

Speaker 10 (19:39):
How could you have married her?

Speaker 22 (19:40):
I told you a young girl has a little say
in picking a husband.

Speaker 10 (19:45):
I think he mesmerized both you and your father.

Speaker 22 (19:48):
Know he did past he had sent to him to
pursue his work.

Speaker 27 (19:52):
I have nothing.

Speaker 8 (19:55):
What's done is done.

Speaker 22 (19:57):
I don't want to know about Amada and why he
summoned you.

Speaker 14 (20:00):
He had heard somehow of my interest in mesmerism, Huh,
I don't know, not through you.

Speaker 28 (20:05):
Why you mad?

Speaker 22 (20:07):
If he knew about how, if he even suspected I
had ever met you?

Speaker 8 (20:10):
But football doesn't be thinking.

Speaker 29 (20:12):
How could he know?

Speaker 8 (20:13):
We've been so careful, ever too careful with him?

Speaker 22 (20:16):
He's diabolical feeling he knows if he ever did.

Speaker 10 (20:22):
If he ever did, what could he do ruin your career?

Speaker 22 (20:27):
Shame me is an adulter, though, But the ways to punish.

Speaker 27 (20:31):
Us and make us crawl? What other ways to have
his mind?

Speaker 8 (20:35):
Cruel?

Speaker 22 (20:36):
Vicious, distorted and half mad?

Speaker 30 (20:38):
To imagine them, My darling, he separated forever?

Speaker 20 (20:43):
No, not that ever, no.

Speaker 22 (20:45):
Way to stop it unless unless, what unless we got
rid of him, killed him.

Speaker 10 (20:52):
Somehow, No need for that. Providence will provide in time
and very shortly. You mean he's dying in the terminal
state is now?

Speaker 14 (21:00):
He knows it as well as any of us doctors for.

Speaker 22 (21:03):
A stampot until it happens I don't even see each other.

Speaker 10 (21:07):
No need for that. I must come back to the
house tomorrow.

Speaker 14 (21:10):
Why you've offered me a strange proposition which I feel
I can't afford to turn down.

Speaker 10 (21:16):
In return for a promise he he will teach me
the secret of Mesmers.

Speaker 8 (21:20):
What promise?

Speaker 10 (21:23):
I don't know that yet.

Speaker 22 (21:24):
Don't listen to him?

Speaker 10 (21:26):
Take you There no need for concern.

Speaker 14 (21:29):
Now he will teach me the secrets first before my promise,
and even after I have given it.

Speaker 10 (21:35):
Who says I must live up to it?

Speaker 8 (21:37):
I know it's the cat, least Craig.

Speaker 14 (21:40):
At least let me find out what cheese it's baited with.
Then let me make up my mind if you can.
I should have listened to Luana, but other compulsions were
driving me on.

Speaker 10 (21:59):
I don't defend myself.

Speaker 14 (22:01):
I was everything that Valdimir himself had named me, and
I had to gamble.

Speaker 10 (22:07):
I couldn't pass up a chance of a lifetime.

Speaker 8 (22:10):
So, my young friend, you have decided to accept the bargain.

Speaker 10 (22:15):
Yeah, at least to listen to the terms.

Speaker 8 (22:18):
Professor, by all means, would you believe that I could
put you in a trance in say one minute? No,
let us proceed and to test that by example rather
than precept. Now no no, no, no, police, remain seated
and just placing this lamb behind your head so that

(22:41):
you are in shadow. And as I moved to sit
in front of you, the light is full on my face.
Now I ask only one thing, that you focus your
entire attention on my left eye for one full minute.

(23:01):
Do not let it waver, and do not interrupt. Let
us both check our watches right whenever you are ready,
look as I ask, and indicate for me to begin.

Speaker 10 (23:15):
Very well, I'm ready.

Speaker 8 (23:20):
Look in my eye. Think of evening skies at dusk,
the clouds drifting softly, lower and lower shadows across your eyes.
Their weight heavy, heavy, and gender on your eyelids. Think

(23:44):
they want to close, to close. You feel all the
tension drain.

Speaker 14 (23:52):
Out of you, lose, loose like a rag doll, and
you want to sleep.

Speaker 31 (24:03):
Sleep.

Speaker 8 (24:06):
Your eyes are closing, the lids are heavy, heavy with sleep. Sleep.

Speaker 17 (24:19):
You are now fast.

Speaker 8 (24:21):
Asleep, Doctor Lucian, I'm not asleep at all. Huh of God,
you are. That's the secret, you see.

Speaker 10 (24:36):
I'm afraid ann figure.

Speaker 8 (24:37):
There is no magic magnetic influence that flows to the subject.
The subject is a magnet that asks for draws that
influence to himself. It is his desire that creates the traps,
conscious or unconscious. He must want to be mesmerized. You

(24:57):
did not want to be. You did it with all
your mind, didn't you?

Speaker 10 (25:03):
Naturally? I thought, if it was an experiment, that was
what was expected of me.

Speaker 8 (25:07):
It was this time you will cooperate, or at least
not fight me.

Speaker 10 (25:14):
I don't think you can do it, Professor Valdemar, but
I will try to cooperate.

Speaker 8 (25:19):
If I can look in my left I think of
evening skies at dusk, the clouds drifting softly lower, the
lower shadows across your eye, the main living you are

(25:52):
now fast asleep, asleep, doctor Luton, Can you hear me?

Speaker 25 (26:06):
Not?

Speaker 8 (26:06):
In the blink of an eye? I could cut your
throat from ear to ear for the haunts you have
put on my head, and you would be none survisor.
But softly, softly, you shall be made to pay in time. First,

(26:29):
I have a use for you, Doctor Utant. I tell
you now you can hear me?

Speaker 10 (26:40):
Do you I hear you?

Speaker 8 (26:44):
I suppose it would be useless to ask you to
admit that you and Blue Anna have been having an
affair for months?

Speaker 14 (26:53):
Who is Luana my wife? I just met your wife
last right for the first time.

Speaker 10 (27:04):
You introduced me to her.

Speaker 8 (27:07):
Very well. We shall leave that alone for the moment,
just to prove to you that you really were in
a trance, and to keep you thoroughly on edge about
how much you may have revealed. I want you to
forget all of this conversation, including what I am about

(27:28):
to tell you. At six this evening, you will take
off your left shoe and bring it or give it
to my wife, saying a bouquet of roses because I
love you, and to help with the old fool who

(27:49):
does not know what is going on. You will remember
doctor Lugent.

Speaker 27 (27:56):
Yes, you may now.

Speaker 8 (28:01):
Wake up?

Speaker 14 (28:03):
What can you say?

Speaker 10 (28:04):
Nothing? Because of relevant?

Speaker 8 (28:07):
Go eat a good deal?

Speaker 10 (28:08):
And did you really put.

Speaker 8 (28:09):
Me out I believe it or not. I'm going to
let you judge for yourself. I am going to let
you put.

Speaker 11 (28:17):
Me on that.

Speaker 8 (28:21):
But first it is time for me to ask for
my payment and your promise.

Speaker 10 (28:29):
I hope I can deliver it.

Speaker 8 (28:31):
Do I as you can hear. I have my own
doctor whom I trust implicitly. He finally has told me
that my life can be measured in hours. I want
you to promise to be by my bedside. I want

(28:56):
you to do for me what ha's never been done before.
I want you to mess my eyes me in articular
mortice in the act of death, but just before it,
so that the old man with the five will be

(29:16):
stopped in his tracks.

Speaker 7 (29:28):
In momentary stupefaction, Doctor Craig Mugant hears and tries to
absorb this amazing request, stirring and moiling beneath his frozen
amazement at the audacity.

Speaker 10 (29:41):
Of the conception.

Speaker 7 (29:43):
A barrage of questions, speculations, revulsions and doubts, struggle for expression,
and cry out for answers. I'll return shortly with that three.
Remember this is before the middle of the nineteenth century.

(30:05):
Physicians were just beginning to grapple with physiology. The process
of life. Death, the great mystery still and perhaps forever
was then a tobal one. There existed almost no apparatus
to prolonged life, such as is common practice today. Death

(30:27):
then was inevitable. It was occasionally.

Speaker 10 (30:31):
Predictable, but always total.

Speaker 7 (30:35):
Except in the case of Professor Amadeus Valdemar.

Speaker 8 (30:41):
Easy, lady, Easy, I have ladies brible.

Speaker 10 (30:45):
Let me help you. This mouth I can manage.

Speaker 21 (30:48):
Watch the she is nervous.

Speaker 22 (30:51):
Let's get back in among the trees by the river.

Speaker 10 (30:55):
Why did you risk passing me that notice? You saw
me out?

Speaker 8 (30:58):
I heard you make a problem.

Speaker 32 (31:00):
I hope you have no intention.

Speaker 22 (31:02):
Of keeping you heard the secret of the people in
the portrait I discovered long ago. How because on the
few occasions I've been able to resist his magnetic influence,
pretending to be unders I have watched, damadaeis like a
hawk hoping against hope somehow to find a way to freedom.

Speaker 10 (31:20):
Noise will not be long until you do, not with
your help.

Speaker 22 (31:23):
What do you mean until I met you, Graig? What
do you think has kept me alive during all these
low years? The knowledge that at least when he died,
I would be a rich woman. But if he doesn't die,
how can I inherit all his wealth?

Speaker 30 (31:40):
He will die, not if you keep the promise you made?

Speaker 33 (31:45):
The one?

Speaker 25 (31:46):
Am I darling?

Speaker 12 (31:46):
Not listen to me?

Speaker 10 (31:47):
Even if I did keep it. The body is finite.

Speaker 14 (31:51):
No occult power could keep it alive or stop the
disintegration of the cells.

Speaker 10 (31:55):
Once the heart has stopped and the blood ceased to flow.

Speaker 30 (31:57):
But suppose you are wrong, suppose you put my husband
just before death into a kind of suspended animation, then
what he's.

Speaker 10 (32:08):
Really on the point of death?

Speaker 14 (32:10):
I can always bring him out of it, Canna, I
don't know.

Speaker 22 (32:15):
I don't trust him a day he knows about us?

Speaker 10 (32:21):
What makes you think?

Speaker 22 (32:22):
So I will quote you his own words. Once he
had put you under, I could cut your throat for
the horns you have put on my head, and you
would be none the wiser. You shall be made to
pay in time.

Speaker 10 (32:35):
Oh, Craig, still not convinced. We cannot out with him.

Speaker 22 (32:39):
We are not in control.

Speaker 10 (32:42):
I am or I will be.

Speaker 8 (32:44):
Oh do you really believe that?

Speaker 10 (32:47):
Oh Craig, you are so naive? You me naive.

Speaker 14 (32:51):
I know exactly what I'm doing, exactly what I plan
to do, and no one can take over my mind
unless I want.

Speaker 10 (33:01):
Excuse me, you went of.

Speaker 14 (33:03):
A bouquet of roses because I love you, And the
hell with the old fool who doesn't know what's going on?

Speaker 10 (33:09):
What your boot? Don't take it? This bouquet of rose?

Speaker 34 (33:15):
Was it?

Speaker 10 (33:19):
That's odd?

Speaker 14 (33:21):
It's one of my boots that I'm holding in my hand,
the left.

Speaker 22 (33:25):
One, Just as he told you to offer me as
roses at six o'clock tonight.

Speaker 8 (33:31):
While you were mesmerized.

Speaker 22 (33:32):
Now do you see why I see him? He's always
one step ahead of us all the way.

Speaker 14 (33:44):
The next ten days passed the strange talker, a dream
like state.

Speaker 10 (33:49):
That paralyzed all thought, made me function like an automaton.

Speaker 14 (33:54):
Session after session with the professor affecting the techniques of mesmerism,
of the establishment of the trance, and then the careful
methods of bringing the patient out of it, no mention
of anything beyond the clinical except the closing question.

Speaker 10 (34:10):
Each time.

Speaker 8 (34:11):
You still do solemnly promise before this takes me, that
you will put me under the influence.

Speaker 14 (34:22):
My automatic reply, as sir professor, I do solemnly promise.
Until finally the fatal day arrived and the messenger came
to fetch me to fulfill my given vow.

Speaker 10 (34:41):
How is he?

Speaker 22 (34:42):
I think that's barely holding on to life.

Speaker 32 (34:46):
Why let him die?

Speaker 10 (34:48):
There would be a blessing.

Speaker 14 (34:49):
For all of us.

Speaker 10 (34:50):
I can't do that. You wanna?

Speaker 22 (34:51):
You realize if you keep him legally alive, that I
am left with nothing.

Speaker 20 (34:55):
You have me.

Speaker 22 (34:56):
I don't have you. I can't have you as long
as as I'm married to a day we can't not
even if I want to.

Speaker 30 (35:05):
People will be watching us.

Speaker 10 (35:06):
Now, I love you, How can you and make.

Speaker 22 (35:09):
Of me what you plan?

Speaker 25 (35:10):
To?

Speaker 22 (35:11):
A nurse to a living corpse tied hand and put
to its service night and day. You keep him alive,
and I might as well be dead forever as far
as you are concerned.

Speaker 14 (35:26):
I climbed the stairs outwardly calm, but inwardly a seething
storm of emotion and indecision. At the open doors of
the bedroom, I stopped that you nugent, Yes, professor.

Speaker 8 (35:42):
This is the name of conscience.

Speaker 22 (35:45):
Have you been?

Speaker 10 (35:47):
You still wish to be mesmerized?

Speaker 8 (35:50):
Wish I commanded by virtue of a comfort? And you'll say,
great and solemn promise.

Speaker 10 (36:02):
Which I might choose to break.

Speaker 8 (36:05):
Oh no, my dear doctor, I told you you will
keep that promise. If you entertain any notion of not
doing so. I have made certain provisions to make you
weigh your decision carefully.

Speaker 10 (36:23):
What provisions.

Speaker 8 (36:26):
My affairs are in the hands of my solicitor. Not
one penny goes to my wife by virtue of an
early marriage settlement, except an amount enough to maintain my
body in suspended animation with her as its keeper?

Speaker 10 (36:46):
Can you demand such a monstrous thing?

Speaker 8 (36:49):
How could you, with your young body and easy worrls,
have done such a monstrous thing. I still have for me.

Speaker 7 (37:01):
I beg you to understand it was not her fault,
cause I have no time to listen to yourself.

Speaker 10 (37:10):
Yeah, remember the foot and the flowers?

Speaker 8 (37:18):
Yes you mean, how can you even speculate on what
post mismeric suggestions I have implanted in your brain during
our sessions. Ah, you see, I have thought of everything,
and now make haste shadows gathering. Yes, hi, and do

(37:50):
what you have been trained to.

Speaker 10 (37:53):
Do within five minutes.

Speaker 14 (38:00):
Because the unequivocal signs of the mesmeric influence, the glassy
roll of the eye was exchanged for that unique expression
of uneasy inland examination. With a few lateral rapid passes,
I made the eyelids quiver as if in incipients sleeping,
and then closed them altogether. I then stiffened the limbs

(38:20):
of the sufferer, the legs at full length, the arms
nearly so, the head slightly elevated. By all the vital
signs pulse, respiration, the contraction of the heart.

Speaker 10 (38:34):
I would say, yes.

Speaker 8 (38:37):
Now, wait a minute, look at.

Speaker 17 (38:44):
It's moving.

Speaker 31 (38:46):
She is in dec.

Speaker 8 (38:53):
What make me I live again?

Speaker 23 (39:04):
But there is no cure but in sight so much
for you and your beloved.

Speaker 8 (39:14):
You had better that it comes.

Speaker 22 (39:20):
And so where, oh you chose your precious conscience over me?

Speaker 2 (39:29):
Fashion trust me?

Speaker 10 (39:31):
How can I trust you?

Speaker 22 (39:33):
You tried to assure me a court could not be measmerized.

Speaker 10 (39:36):
That's quite a court.

Speaker 14 (39:38):
But soon, believe me, the physical properties cannot sustain life,
no matter what the mental state.

Speaker 10 (39:45):
It is only a matter of waiting until he dies.

Speaker 14 (39:54):
And wait, we did our succeeding hours, day succeeding day,
and week and month, until finally it had to be
faced moribund.

Speaker 10 (40:06):
The professor might be dead, He was not, nor would
be till brought out of trance. Don't you see why.

Speaker 14 (40:20):
This has always been my way out if the worst
came to the worst. Physiologically there is not enough strength
to maintain life now it lasts. With a clear conscience,
I can do what I never.

Speaker 10 (40:33):
Promised not to do. I can bring him out of
the trace.

Speaker 32 (40:36):
Why have you waited this long?

Speaker 10 (40:39):
I could assigned many reasons.

Speaker 14 (40:43):
But suddenly I realized I don't quite know, only only
that we wait no longer Professor Valdemar.

Speaker 10 (40:53):
Can you hear me?

Speaker 2 (40:54):
Yes?

Speaker 10 (40:56):
Are you asleep?

Speaker 8 (40:58):
No?

Speaker 35 (41:00):
Not a sleep?

Speaker 20 (41:02):
What then?

Speaker 10 (41:03):
Dead?

Speaker 25 (41:04):
For alive?

Speaker 18 (41:06):
So lere in between?

Speaker 10 (41:10):
What are you waiting for?

Speaker 8 (41:12):
I'm sure there.

Speaker 10 (41:15):
Is no cure and we cannot wait. I'm calling you back.

Speaker 36 (41:22):
Are you.

Speaker 18 (41:24):
Are you so sure?

Speaker 10 (41:27):
You were the teacher you taught me how?

Speaker 18 (41:31):
I also never stinted on the warning?

Speaker 16 (41:36):
What warning?

Speaker 8 (41:37):
That there is no drink?

Speaker 37 (41:40):
It already depends on the subject, on his will, what
he is willing to do without his wris you.

Speaker 18 (41:53):
Have no control, no control, not ever to reach me again,
because I choose to.

Speaker 37 (42:07):
Stay where I am.

Speaker 10 (42:14):
So there we remain Amadeus, Luana and me Luana tied
to them as his.

Speaker 14 (42:22):
Nurse, myself forever trying unfruitfully to bring him back from
that half way house, either to life.

Speaker 10 (42:31):
To reason with him, or to.

Speaker 14 (42:33):
Death for his own peace and ours.

Speaker 7 (42:46):
In the Hall of Records, having heard this strange tale,
I busied myself to look up the principles. The records
are fragmentary and incomplete. There is no mention of Amadeus,
but I did discover two death certificates issued in a
case of accidental drownings or possibly a suicide fact listed

(43:09):
in police files. The names were doctor Nugent and a
woman identified only as a Missus Vladimir. Close enough to
prove or disprove our story, does it matter?

Speaker 10 (43:25):
I'll be back shortly.

Speaker 7 (43:31):
One loose end remains the body of Professor Valdemar, the
fact I could find no trace of, only vague hints
here and there of a cult that believed that death
might be held at bay by placing bodies in suspended animation,
much as the proponents of cryogenics or deep freezing proposed today.

(43:55):
Amadeas Valdemar could have been reawakened and long ago cured,
and with a passage of time, gone to his ultimate reward.

Speaker 10 (44:06):
The only thing that tends to earth is.

Speaker 7 (44:09):
That I'm sorry to tell you We'll never really quite know,
will we. Our guest included Robert Dryden, Kurt Peterson, and
Patricia Elliott. The entire production was under the direction of
Simon Brown.

Speaker 38 (44:26):
This is E. G.

Speaker 7 (44:26):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, pleasant.

Speaker 39 (44:36):
Dreams, we bring you Creeps by night. Tonight, once again

(45:17):
we introduce the man who has agreed to serve as
your guide and companion on these sometimes terrifying pilgrimages into
the world beyond the realm of human understanding.

Speaker 25 (45:31):
The man who, for reasons.

Speaker 39 (45:33):
That cannot be presently explained, must keep his identity a secret.
Creeps by Night brings you its anonymous master of mystery,
Doctor X. Believe me, this is Doctor X joining with

(46:00):
you for further research into the shadowy darkness of the
unexplored the darkness of the human mind.

Speaker 25 (46:09):
I wish, first, however, to thank you for your letters
commenting on.

Speaker 40 (46:12):
Last week's broadcast The Walking Dead. Many of you requested
that I reveal my identity, and a few of you
hazarded a guess as to who I am.

Speaker 25 (46:24):
In due time, perhaps I.

Speaker 40 (46:25):
Will be able to step out from under my croak
of mystery. But for the present I ask you to
bear with me, since I shall have to be known.

Speaker 25 (46:33):
Only as Doctor X.

Speaker 20 (46:38):
To night.

Speaker 40 (46:38):
I have a rare treat in store for you. Mister
Edmund Gwen, the celebrated English actor, is our guests. The
story I have chosen is drawn from the case book
of medical science and concerns itself with the often ghastly.

Speaker 25 (46:53):
Power of fear.

Speaker 40 (46:56):
Yes, we are all slaves to fear, in one.

Speaker 25 (46:58):
Form or another.

Speaker 40 (47:00):
But the fear that forms the basest barer of gramatization
to night is undoubtedly the most.

Speaker 25 (47:05):
Horrible of them all. It is the fear of.

Speaker 20 (47:10):
Wait.

Speaker 40 (47:12):
Let me draw aside the curtain and bring you, mister
Edmund gwen as Ramsay in the strange burial of Alexander Jordan.

Speaker 25 (47:27):
For more than a century, the old Jordan House has
stood on a gentle slope, mistress.

Speaker 40 (47:32):
Of the surrounding four hundred acres of birch woods and
pasture lands, and now inevitably death seems near to the
last of the strong men who have always owned it.
Aged irascible Alexander Jordan in his faded, musty bedroom. The
shades are drawn against the hot morning sun, and in
the half darkness, his pale, hollow cheeks blend into the

(47:57):
color of the pillow case.

Speaker 25 (48:00):
Stairs.

Speaker 40 (48:01):
As the door opens and his doctor enters, and you, Relige, come.

Speaker 25 (48:09):
In and sit down. Close the door. What's the trouble?
Alex had one of my cataleptic fits.

Speaker 23 (48:18):
Last night, the bad one. I'm going to die pretty soon.

Speaker 25 (48:25):
Let Richard, I suppose you let me do the guessing.

Speaker 23 (48:28):
Dorupt I'm not afraid to die, and you have never
told anyone this. But my greatest fear is that it
won't be death and they're bury me alive.

Speaker 25 (48:39):
Oh, I think we can be quickly sure if it
comes to that, don't be so positive.

Speaker 23 (48:44):
Thirty eight years ago, a young butcher who called himself
a doctor pronounced me dead when I had a cataleptic fit.

Speaker 25 (48:50):
You got me very too if I hadn't come out
of it on time. But it was thirty eight years ago.

Speaker 23 (48:55):
Could happen again that ridge. I don't care if I
some an old fool all my life.

Speaker 25 (49:02):
That scared me. The idea of somebody mistaking one of
those fits.

Speaker 23 (49:06):
For death the only nightmares I ever had. I wake
up in a coffin. I put my hands up and
I feel the lid there. Sometimes it's wood, sometimes.

Speaker 25 (49:16):
It's cold glass, but there's no room to turn around.
I put my hands down and I can feel the
silk lining.

Speaker 23 (49:24):
They have me dressed in a swallow tail. They have
a stiff collar on me. I'll reach up to tear
it away. I can't breathe.

Speaker 25 (49:32):
I have to have air pan. It grips me. I
try to shout, but no one can hear me. I
beat them a copper lig with my fists. I try
to break the glass and I can't do it. I
haven't enough room, And pretty.

Speaker 23 (49:46):
Soon I know that I'm dying, really dying in the
cold horror of the grave, because.

Speaker 25 (49:53):
Somebody mistook one of my cataleptic fits for death. I
don't want that to happen, and that's why I called
you who You're just getting worked up over nothing else.
To listen to me.

Speaker 23 (50:07):
When the day comes and my nephew Ramsey or his
wife Martha calls you, I want nobody but you to
come Ruggage. I don't want any other doctor to pronounce
me dead.

Speaker 25 (50:18):
Is that clear?

Speaker 20 (50:19):
You don't worry.

Speaker 23 (50:20):
I want you to go over me very carefully. If
you are absolutely.

Speaker 25 (50:24):
Satisfied that I'm dead, you can go ahead with the funeral.
But I don't want my body. I bound. I don't
want anything done to me except to put me in
a coffin.

Speaker 23 (50:35):
And getting a lawyer here to write all this down.
This happening on Ruggage. But I wanted you to hear
it too. I want my coffin put in the vault,
done with the birch woods. That's why I built the
vault right on this property, so that nobody would ever
bury me underground.

Speaker 25 (50:51):
All right, it'll be done just as you say. Now,
wait a minute, I'm not mished. This is the most
important path.

Speaker 23 (50:58):
I want a large brand bell placed on the wall
over the bed where Ramsey and Moth asleep.

Speaker 25 (51:04):
I want wires connected from that bell to the vault
electric wires.

Speaker 41 (51:09):
What for.

Speaker 23 (51:10):
I want to push button attached to the ends of
those wires, and I want the button placed in my
hands as I lie in the coffin, so that in
case I'm not dead, in case I.

Speaker 25 (51:21):
Awaken, I can ring the bell and let them know. Well,
I must say, Alex, I don't care what you say.
I don't care what anyone says. That's the way I want.

Speaker 39 (51:31):
It, all right, Alex, that's the way you'll get it,
and make sure I do well.

Speaker 20 (51:37):
I've got a run over to the pitchers.

Speaker 39 (51:39):
Nora is having another baby. Taking that digitalice faithfully. Yeah,
foolishness that I'm caky. Goodbye, Alex, Get up and soak
up some of that sunshine. I'll see you Thursday. Send
nothing Lord. All right, just a minute there, doctor Rutledge.

(52:04):
Oh hello, Ramsey, I'd like to know why you came this.

Speaker 17 (52:09):
Morning, doctor.

Speaker 20 (52:10):
I came because I.

Speaker 25 (52:11):
Was sent for. Why doesn't somebody tell me when the
doctor has been sent for? Is my uncle all right?

Speaker 20 (52:17):
He's not dead, But that's what you want to know.

Speaker 25 (52:20):
Not quite yet.

Speaker 39 (52:22):
See that he keeps on taking that prescription. I learned
he wants to see your wife alone.

Speaker 20 (52:28):
Martha, you heard me.

Speaker 25 (52:30):
Goodbye, Ramsey.

Speaker 20 (52:32):
I know the way out without your help.

Speaker 17 (52:33):
Goodbye, doctor Rutledge.

Speaker 25 (52:42):
Mother, wipe her hands. He wants to see you.

Speaker 28 (52:45):
What did you say there?

Speaker 25 (52:46):
I said, wipe your hands. He wants to see you.

Speaker 28 (52:48):
Is the doctor still in there?

Speaker 25 (52:49):
Is he all right?

Speaker 20 (52:50):
The doctor's gone?

Speaker 25 (52:52):
He wants you in there?

Speaker 20 (52:53):
Hello?

Speaker 25 (52:54):
Oh, for goodness sake, now what just a minute? Why
you see your asking to see you alone?

Speaker 10 (53:03):
By Ramsey?

Speaker 25 (53:04):
How should I know something's up?

Speaker 17 (53:07):
Ratley was in there.

Speaker 25 (53:08):
A long time. I wasn't right, totally resentful.

Speaker 42 (53:13):
Why well you were in the fields this morning when
he asked me to call the doctor next time?

Speaker 43 (53:19):
You tell me when he sends the people. And listen
when you get in there, watch what you say.

Speaker 10 (53:24):
Hi, Sansy, I don't know what you mean.

Speaker 25 (53:26):
You know very well what I mean. Just listen and
don't babble. He might like my.

Speaker 20 (53:31):
Ideas about what to do.

Speaker 25 (53:32):
With this place. Off he's dead. Go on in there now.
You already wash your hands six times?

Speaker 28 (53:39):
Yes, Ramsey, dear.

Speaker 10 (53:48):
You want me Uncle Alex.

Speaker 25 (53:50):
Yes, come in and shut the door, aren't it.

Speaker 42 (53:54):
Yes, Uncle Alex was the coffee all.

Speaker 11 (53:58):
Right this morning?

Speaker 25 (53:59):
Yes, fine, there's Ramsey. He's in the kitchen. Sit down, Martha, Yes,
Uncle Alex. I want to talk to you, Martha.

Speaker 23 (54:16):
Lawyer Gains will be here sometime this afternoon to fix
up my will.

Speaker 25 (54:20):
Oh good, the feeling my time is drawing near, Martha,
and I just.

Speaker 23 (54:26):
Want to make sure that worthless nephew of mine doesn't
get his hands on the Jordan place.

Speaker 25 (54:32):
I never made you.

Speaker 23 (54:33):
Marry him, Martha, never mind, none of my business. But
I could have told you he was no good, never
has been. I wouldn't trust him with the farm. He'd
sell it before my body turned cold.

Speaker 25 (54:49):
But I trust you, Martha.

Speaker 28 (54:52):
Thank you Uncle Aleck.

Speaker 25 (54:53):
Yes, I've thought it all over. I'm going to lead
the place to you.

Speaker 23 (54:58):
At least you'll have a room over your head and
some land you can call your own.

Speaker 25 (55:03):
You like it here, don't you, Oh?

Speaker 22 (55:06):
Yes, I do I'd be perfectly happy to stay here
the rest of my life.

Speaker 25 (55:11):
And that's fine because it's going to be yours all
of it. Oh, Uncle lavin you God, No, no, none
of that, thanks Doris.

Speaker 23 (55:23):
It's one more thing, mother, one important thing.

Speaker 32 (55:28):
Yes, Uncle Ali, I've.

Speaker 23 (55:30):
Given doctor Rutlidge some very careful instructions about my burial.

Speaker 11 (55:34):
Oh, please, Uncle Elly.

Speaker 25 (55:36):
Not to be afraid of math. When it comes, it'll come,
and that's all.

Speaker 23 (55:41):
Rutlidge knows what to do. He'll tell you, and I
want you to promise me that you'll follow the instructions.

Speaker 44 (55:49):
Yes, of course, Uncle Ali, on my word of honor,
as God is my witness.

Speaker 25 (55:55):
Thank you, mother. By Jove, you've made me feel.

Speaker 23 (55:59):
A good deal better knowing I have someone around I
can trust. Matter of fact, I think I'll get up
for supper tonight.

Speaker 39 (56:08):
Tell Ramsey to come in and help me dress after
lawyer gains leaves.

Speaker 25 (56:12):
Tell him I don't want him in here before then, Yes, unclad,
and don't breathe a word about this to Ramsey.

Speaker 11 (56:20):
I won't.

Speaker 42 (56:21):
If you need anything, Uncle Alex, call me, yes, I will.

Speaker 20 (56:29):
Oh what did the old buzzard.

Speaker 32 (56:30):
Want his lawyer's coming?

Speaker 11 (56:31):
This afternoon for you to go in and help him dress.
After the lawyer leaves.

Speaker 25 (56:35):
He's having supper at the table.

Speaker 42 (56:36):
Yes, bring in one of the special hands. I'll make
it with pineapples.

Speaker 43 (56:40):
You take your ten minutes in there to decide on
baked tam with pineapple for supper.

Speaker 11 (56:44):
What we decided is none of your business.

Speaker 25 (56:46):
What do you mean what you decided? I said it
was none of your business.

Speaker 38 (56:50):
But I got out to be the chicken.

Speaker 25 (56:51):
When did you start giving me orders?

Speaker 45 (56:53):
Oh?

Speaker 11 (56:53):
Go on out of my kitchen.

Speaker 25 (56:54):
I've got work to do.

Speaker 2 (56:55):
One.

Speaker 17 (56:56):
Just talk about him there.

Speaker 46 (56:58):
You're hurting my arm.

Speaker 25 (56:59):
I'll hurt more and back before I'm through. What's the
lawyer coming for?

Speaker 42 (57:03):
Would you like me to tell him you haven't that
chickens yet?

Speaker 25 (57:06):
Something suddenly made you awfully copy it seems to me.
Tell me what it is right now? Tell me I said,
get out of the house before I lose my keader.

Speaker 38 (57:20):
Do aren't get what's doing?

Speaker 25 (57:24):
If this ever happens again, Martha, you let me know. Yes,
uncle has, but you shouldn't have gotten out of bed
this way.

Speaker 20 (57:33):
Don't worry about me, Martha.

Speaker 17 (57:37):
I'm already.

Speaker 25 (57:58):
Baking and eggs for.

Speaker 22 (57:59):
His breakfast, and why not did you fix the fence
post over on the west pasture.

Speaker 25 (58:04):
Never mind the fence post. Give me that tray. You
attend to your own business.

Speaker 42 (58:08):
I'll take the tray into it. M your breakfast, Uncle Alix.

Speaker 44 (58:22):
Hm hmm, that's funny, Uncle Alex, Uncle Alex, Oh, my lord,
oh not.

Speaker 20 (58:36):
The I am the resurrection and the life.

Speaker 47 (58:59):
He that believe within me, though he were dead, yet
shall he have everlasting life?

Speaker 25 (59:07):
And whosoever liveth and.

Speaker 47 (59:09):
Believeth in me shall never die.

Speaker 25 (59:31):
What's the matter with Martha? Doctor?

Speaker 39 (59:33):
The funeral was evidently too much for him? I gave
re sedative and for the bed upstairs. Where's the undertaker
down at the vault with the electrician.

Speaker 43 (59:42):
They're waiting for you so he can close the coffin
of all this stupid He dead, isn't he?

Speaker 12 (59:48):
Yes?

Speaker 39 (59:49):
But we are observing his wishes to the letter of
grass bells and.

Speaker 25 (59:52):
Electric push buttons rot. Perhaps it is if that's how
he wanted it.

Speaker 47 (59:57):
And incidentally, his administrator of the estate that the remind
you that, according to the terms of the will, either
you or Martha must remain within ear.

Speaker 20 (01:00:05):
Shatter that bell.

Speaker 25 (01:00:06):
Upstairs for seven days.

Speaker 39 (01:00:08):
You understand that years to my life, from the home
to a woman that if you could do worse, Ramsey,
this is a nice place.

Speaker 25 (01:00:15):
I wish it will mind.

Speaker 39 (01:00:16):
If I had my way, you could fight in a minute.
Well that's not another See if Martha gets some rest.
And that's the bottle of medicine on the small table
beside the bed.

Speaker 25 (01:00:25):
She used to take it according to directions.

Speaker 20 (01:00:26):
If she has trouble sleeping, Lord, what's that?

Speaker 25 (01:00:30):
Her uncle wanted a bell loud enough to be heard.
He certainly got it.

Speaker 39 (01:00:37):
The undertaker of the electrician of the crip touched the pushbutton.

Speaker 25 (01:00:42):
Goodd I forgot the bell was hung right above the
bed where she was asleep. Come on, doctor, It doesn't
mean anything. But don't be fright.

Speaker 28 (01:00:53):
Oh thank goodness.

Speaker 48 (01:00:55):
I was asleep.

Speaker 32 (01:00:57):
Take me like a blow with his rain.

Speaker 28 (01:01:00):
I couldn't even move.

Speaker 25 (01:01:01):
I have a snake in a dream there there. That's
all right. Going back to bed before to sleep again
with the stuff.

Speaker 17 (01:01:08):
I gave you.

Speaker 25 (01:01:08):
The won't drink anymore.

Speaker 39 (01:01:10):
I'll go right on down to the vault and see
if the cortin's closed. Get it back into bed, Ramsey,
and got to have another teaspoonful of that medicine tonight.

Speaker 43 (01:01:18):
Just get over to the vault and stop there, monkey,
I'll think that her.

Speaker 39 (01:01:21):
See that you do, and remember, don't leave this place
for seven days?

Speaker 20 (01:01:43):
Oh what's the use?

Speaker 49 (01:01:48):
No thank you.

Speaker 27 (01:01:51):
To sleep?

Speaker 25 (01:01:52):
Nor sure you got to thinking your own way? Gone? Sleep?
You mind me? I'm just a hired man around here,
just a hired man. Can't you at least make a

(01:02:17):
coup of your man? Drive? Shock, that's what it is,
filthy stop.

Speaker 50 (01:02:21):
I haven't been able to get into town and get anything.

Speaker 25 (01:02:22):
Such a noise.

Speaker 42 (01:02:24):
It's just that you're nervous and not sleeping.

Speaker 1 (01:02:28):
We've still got five days to go.

Speaker 8 (01:02:43):
For Why can't I sleep?

Speaker 10 (01:02:49):
Why?

Speaker 25 (01:02:51):
Three nights of it now? Three nights with.

Speaker 17 (01:02:55):
A bill hanging over my head?

Speaker 25 (01:02:58):
Oh Martha, you're sleep.

Speaker 17 (01:03:04):
It must be that tough refence gaper.

Speaker 25 (01:03:08):
I'll take something. I can't sell it any longer. Now,
maybe maybe i'll sleep. I'll tell your Martha, there's only

(01:03:30):
one thing to do with the place. Selling. You're wasting
your time, Ramsey.

Speaker 42 (01:03:33):
I will not sell it off. I'm not getting any younger.

Speaker 27 (01:03:36):
I want a roof over my head.

Speaker 42 (01:03:38):
That's what Uncle Alex and Kendy.

Speaker 25 (01:03:40):
But loads of time to sell for if we can
get a good price.

Speaker 41 (01:03:42):
To begin with, Ramsey.

Speaker 25 (01:03:43):
It doesn't even belong to mell in two more days,
won't it?

Speaker 28 (01:03:47):
Yes, if that bell doesn't ring, m hm.

Speaker 17 (01:04:04):
Oh oh, I've got to sleep at night?

Speaker 25 (01:04:09):
Is so last night? Tomorrow the places ours.

Speaker 17 (01:04:16):
I'll take someone I'd mentioned to work before. Well, so.

Speaker 36 (01:04:26):
Oh oh h.

Speaker 25 (01:04:30):
Talking in her sleep? Mm hmmm, Well she's dreaming during
a nightmare. Too much of this, duke, Maybe you man
wake up?

Speaker 28 (01:04:44):
Not the oh.

Speaker 10 (01:04:48):
She was dead to the world.

Speaker 25 (01:04:51):
The stuffs gave of us.

Speaker 17 (01:04:52):
It's powerful.

Speaker 25 (01:04:55):
That gives me an idea. So trust you won't have
to trust me much longer.

Speaker 10 (01:05:06):
You'll ride up a fool.

Speaker 25 (01:05:08):
Let's have a look at this muddle. This is all right.

Speaker 43 (01:05:11):
To turn the lamp and she won't wake up. Yeah,
don't see what the label says. Maximum dose one teaspoonful
every twelve hours. Caution overdosing may be fatal.

Speaker 25 (01:05:30):
Overdosing, maybe freak securr. We'll see around this. Maximum dose
one teaspoonful. I could put three in her coffee in

(01:05:51):
the morrow morning. She never knows the difference. That stale
coffee as bitter as gone anywhere, and that it fits everything. Yeah, time,
her only relative. She dies, I get the police. Oh
why didn't I think of this before? Why did I
wait six days of nights with that bell hanging over
my head?

Speaker 43 (01:06:09):
Why did I?

Speaker 27 (01:06:10):
Oh?

Speaker 25 (01:06:11):
Good Lord, am I dreaming?

Speaker 34 (01:06:13):
No?

Speaker 29 (01:06:14):
No, it's congry.

Speaker 25 (01:06:15):
It can't stop stop it ringing.

Speaker 27 (01:06:18):
Sandy Thursday, the bell, I can hear it.

Speaker 28 (01:06:21):
Your feel clift the savery war.

Speaker 51 (01:06:24):
I'll stop it, Sandy.

Speaker 12 (01:06:28):
What did you do?

Speaker 25 (01:06:29):
What do you think I did?

Speaker 27 (01:06:31):
The wire?

Speaker 52 (01:06:31):
You put the bab are you.

Speaker 17 (01:06:33):
Under your winds?

Speaker 11 (01:06:34):
The key of alf where?

Speaker 53 (01:06:35):
This is what?

Speaker 41 (01:06:36):
The key?

Speaker 38 (01:06:37):
Alex crazy?

Speaker 17 (01:06:39):
The dreaming, get backed up, Give it to me.

Speaker 45 (01:06:43):
I'll take it easy.

Speaker 28 (01:06:44):
Telling me to take it easy because.

Speaker 54 (01:06:45):
Alex baby, fighting for breath.

Speaker 17 (01:06:47):
Baby, that's the cop step the key?

Speaker 25 (01:06:50):
All right, all right, out of down there, I'll go
with you. Don't need two people.

Speaker 20 (01:06:55):
Just let me get into my close.

Speaker 11 (01:06:56):
I don't trust you.

Speaker 38 (01:06:57):
Then you've got no right to say a thing like that.

Speaker 25 (01:07:00):
What difference does it make to me whether Alex is
alive or dead? I don't stand again anything. He left
the Jordan's place to you?

Speaker 29 (01:07:08):
Now?

Speaker 25 (01:07:08):
Where did I put that key?

Speaker 15 (01:07:10):
Must be in this draw?

Speaker 25 (01:07:12):
Sorry, man, I'm hurrying there.

Speaker 28 (01:07:15):
Here is you took something else out of that girl.

Speaker 25 (01:07:19):
If I did not just the key, what's the matter
with you? Anyway?

Speaker 41 (01:07:23):
You want to under the bed.

Speaker 25 (01:07:25):
I'll be watching from the window at me. The buncle
Alice is alive, yelled at me, and I'll phone.

Speaker 28 (01:07:30):
Up the rutledge.

Speaker 43 (01:07:37):
M and storm coming up that winds from east. Now,
let's see if this key fits fits all right? But

(01:08:01):
but it won't turn.

Speaker 25 (01:08:04):
There we are. Where's that light switch?

Speaker 53 (01:08:11):
Here it is?

Speaker 16 (01:08:13):
Yeah, that's better.

Speaker 17 (01:08:17):
Show or it's fouling here he smells the dead. There's
the coffin.

Speaker 25 (01:08:27):
I hope they didn't screw down the lid. No, no,
it comes right up. Yeah, he hasn't moved. He did, yes,
just the way he was when they put him in there,
his hands folded over the bow.

Speaker 27 (01:08:49):
He didn't ring that.

Speaker 17 (01:08:50):
No, who did the man?

Speaker 25 (01:08:55):
Oh? Now I know the storm lightning short of the wire.
Sure that's what it was. Must be still, I think
i'd better make sure while I'm down there. Yes, but
Martha almost caught me taking this darning needle out of
the door. But I'll work it's under his shirting. Gebbet

(01:09:19):
through his hurt. You're going to stay.

Speaker 7 (01:09:21):
There, Angeleleix no matter what.

Speaker 25 (01:09:23):
Standay mather to follow me.

Speaker 32 (01:09:27):
I as, what are you doing about?

Speaker 10 (01:09:29):
Donning your hand?

Speaker 25 (01:09:31):
Get out the way? Let me look Dave Stone dead?
Who rang the I know maybe it's both.

Speaker 8 (01:09:38):
You were about to do something with that needle.

Speaker 25 (01:09:40):
What you really want to know? All right, I'll tell
you I was going to Gebbet through his black heart.
I'm just going to make sure he was data, and
I'm still.

Speaker 20 (01:09:54):
Going to do it.

Speaker 25 (01:09:54):
I see you out with your money, am I? Who'll
see gap away from that?

Speaker 41 (01:09:58):
Cut off a scream?

Speaker 25 (01:10:00):
That's you know you won't yet I will? Well, so
that's wait till I close this door. Now, scream your
lands out, don't do anything you'll do.

Speaker 17 (01:10:14):
Breatful, that's okay.

Speaker 43 (01:10:18):
Why waste this need on an old dead Alex? I
might do much better than using it on you? Just
getting your heart?

Speaker 33 (01:10:29):
Why not?

Speaker 25 (01:10:30):
Then I get to own the place and sell it.
Listen to Rusten to you plented these last few weeks,
ever since he made you the high and mighty boss.
But now it's mighty down.

Speaker 43 (01:10:43):
Never find you down here, No, no, you'll dry up
and rut just like he's rocking in the covern.

Speaker 28 (01:10:50):
No YEA.

Speaker 25 (01:10:56):
Fainted before I such way to meet That gives me
an idea. There's a better way of doing it. Carry
her up to the house, all that medicine down her throat,
give it an overdose. Should be dead by morning and
no one can put it on me. Oh this is beautiful.

(01:11:19):
Everything's working up. Fine, You're going to be rich by
a figure if the door opened first, and then Lord
the te's on the outside when it's a SnapLock.

Speaker 38 (01:11:33):
No, no, what am I going to do?

Speaker 25 (01:11:38):
I'm locked in here.

Speaker 27 (01:11:39):
I can't get up the doors, so you know.

Speaker 10 (01:11:46):
There no windows nowhere.

Speaker 25 (01:11:51):
Well, what's in his head? If you bring it? Yes, sure,
a liquor someone on here. Yeah.

Speaker 17 (01:12:02):
Yeah.

Speaker 25 (01:12:02):
This was the questions of the macasts that founded to
investigator file teequins all night while.

Speaker 41 (01:12:19):
With the mountains the well.

Speaker 25 (01:12:24):
One freason?

Speaker 29 (01:12:26):
What come?

Speaker 25 (01:12:28):
What frock?

Speaker 27 (01:12:30):
Yeah?

Speaker 40 (01:12:51):
That was the strange barrio of Alexander Jordan starrying mister
Edmund Gwen.

Speaker 25 (01:13:00):
For our next exploration into the darkness of the human mind, I.

Speaker 26 (01:13:04):
Have invited the celebrated.

Speaker 40 (01:13:05):
Exponent of the mysterio so Peter Laura, to be our guest.
So join with us when once again we raise the
shadowy curtain of the unknown and look deep into the
souls of men. Until then, This is your master of Mystery,
Doctor X, leaving you with Creeps by Night.

Speaker 2 (01:13:46):
Creeps by Night.

Speaker 25 (01:13:48):
That's produced by Robert Maxwell.

Speaker 39 (01:13:51):
Original music composed by Paul Creston, conducted by Joseph Stopack,
supporting mister Gwen and tonight's presentation or Evertt's as Alexander Jordan,
Abby Lewis as Martha, Gregory Morton as Doctor Rutledge, and
Doctor X as himself. Edmund Graham appeared to the courtesy
of Metro Golden Mayor, whose twenty year anniversary picture The

(01:14:13):
White Cliffs.

Speaker 25 (01:14:14):
Of Dover is currently being released.

Speaker 39 (01:14:17):
George gunn Stick, there's there's the Blue Network.

Speaker 55 (01:14:30):
Hello, I hope I haven't kept you waiting. Yes, this
is the Crime Club. I'm the librarian. Murder Makes a Mummy.

Speaker 20 (01:14:42):
Yes, we have that story for you.

Speaker 31 (01:14:44):
Come right over.

Speaker 20 (01:15:00):
Ah, you're here good.

Speaker 55 (01:15:04):
Take the easy chair by the window. Comfortable. The manuscript
is on this shelf. Here it is Murder Make Some Mummy,
the very absorbing story of a corpse that wouldn't be
bound by the rules. Let's look at it under the
reading lamp. There are some people in this world who

(01:15:28):
just can't be satisfied. One of them was Barney Crawford,
some of Chief of Police Crawford. For most young men,
that would have been enough, but not Barney. Oh No,
Barney wanted to be an egyptologist too. It was early
one afternoon and Barney was feeling very much at home
in the Egyptian room of the local museum, who was

(01:15:50):
having a wonderful time explaining the wonders of a dead
civilization to Janice Turner, his fiancee, who at the moment
was sorry the civilization was not only but buried as well.

Speaker 53 (01:16:04):
Great mysterious Egypt criddle of civilization? What accomplishments? The Pyramids, mummification,
the sphinx.

Speaker 32 (01:16:13):
Oh, it's such a beautiful day. I'll bet there are
some people who are really enjoying it.

Speaker 53 (01:16:19):
Look here in this case is the scarab To you
and me an ordinary beetle. But to the ancient Egyptians
that god who is It's pretty? Of course it's solid
gold with emerald eyes.

Speaker 34 (01:16:31):
Now that would make a lovely pin on my new dress.

Speaker 53 (01:16:33):
Yeah, let's go on, jeneis there's something in that case
over there I want you to see.

Speaker 32 (01:16:38):
I'll probably never get over it.

Speaker 53 (01:16:39):
Yes, sir, one of the marvels of all time. The mummy.

Speaker 32 (01:16:45):
How do you do?

Speaker 53 (01:16:46):
Let's read what it says on the cord, if you must.
This mummy is unknown, but is believed to be the
remains of rah Marduk, the son of Shishak, pharaoh of
the twenty second dynasty.

Speaker 32 (01:16:56):
My goodness, as expensive as that.

Speaker 53 (01:17:00):
Dynasty, Janie, don't you realize that's almost three thousand years ago?

Speaker 32 (01:17:03):
Barney, I'm sure the ancient Egyptians were a great people.

Speaker 53 (01:17:07):
Great, they were tremendous.

Speaker 32 (01:17:09):
But I never knew they wore rubber heels in those days.

Speaker 53 (01:17:12):
Why they had inventions that? Huh?

Speaker 32 (01:17:15):
Well, I said, I never knew the Egyptians wore rubber heels.

Speaker 25 (01:17:19):
Well, of course they didn't.

Speaker 53 (01:17:20):
Whoever said they did, don't.

Speaker 32 (01:17:21):
Argue with me. I'm just looking at the feet of
this mummy where some of the rappings had come off.

Speaker 53 (01:17:27):
Holy mackerel, that is a rubber heel. Come on, Jans,
we better send for my father. This might be a murder.
And that's the whole story.

Speaker 4 (01:17:44):
Dad.

Speaker 53 (01:17:44):
We were all right until Janie noticed the rappings that
had come loose, and.

Speaker 34 (01:17:47):
There, as big as life, Chief Prawford with a black
shoe with a rubber heel staring me in the face.

Speaker 56 (01:17:52):
We'll soon find out who it belonging to it Aircum
sagon berling cheap.

Speaker 55 (01:17:56):
The car is all through with a stiff Good. Now
we can go the way, he says. The fellow was
killed by a knife in the back.

Speaker 31 (01:18:03):
Where's the knife?

Speaker 26 (01:18:04):
There's no sign of it, sir, Not yet.

Speaker 56 (01:18:06):
You find an identification on the body. Not a thing, Chief,
But the killer left all the labels in the dead
man's clothes. Okay, run them down, Yes.

Speaker 53 (01:18:13):
Sir, I can save to you a lot of time.

Speaker 56 (01:18:14):
Dad, Sure you can, Barney. Why don't you and Jannis
go someplace pleasant.

Speaker 32 (01:18:19):
That's a wonderful idea.

Speaker 34 (01:18:20):
We'll do something about it, right.

Speaker 53 (01:18:21):
No, wait, Jannis dead. I think I can identify the
dead man. Why, yes, he was Carni ball In, an
excavation engineer. I've seen his picture in the papers, in
connection with Egyptian expeditions.

Speaker 56 (01:18:31):
You main a Egyptian expedition.

Speaker 53 (01:18:33):
He used to dig into the tombs of the ancient pharaohs.

Speaker 32 (01:18:36):
What a way to make a living, Oh, Chief, that's.

Speaker 20 (01:18:38):
A matter of Baalley.

Speaker 53 (01:18:39):
That's something I forgot to tell you.

Speaker 56 (01:18:41):
The car and has said, this guy's body was embombed
and bombed.

Speaker 53 (01:18:45):
Oh yeah, that means the murderer must have him bombing facilities.

Speaker 56 (01:18:49):
Thanks for the tip, sn I never figured that out
for myself.

Speaker 29 (01:18:53):
I didn't think it was true.

Speaker 41 (01:18:54):
But now what are you on?

Speaker 50 (01:18:56):
I'm John Larnes, the character of the Egyptian section. My
assistant told me the police were here and that the
body of a murdered man was It was mister Lawrence
in this mummy case. So that's impossible. There was a
mummy in this case when I received it this morning.
This morning about so trouvelers ago. I can't understand it.

Speaker 56 (01:19:11):
Where did it come from from?

Speaker 50 (01:19:13):
Robert Prentiss, the millionaire jeweler. He's one of our most
generous benefactors. More than half the exhibits in this room
were donated by him.

Speaker 53 (01:19:19):
I see, well, Dad, would you mind if I asked
mister Lawrence a question?

Speaker 56 (01:19:22):
You see here, Barnie, this is police work. Why don't
you and jest?

Speaker 53 (01:19:26):
Mister Lawrence? Did you examine this supposed mummy when it
was delivered to you?

Speaker 25 (01:19:29):
Why?

Speaker 8 (01:19:31):
No?

Speaker 53 (01:19:31):
But I can expect you allowed it to be put
here for the public to look at.

Speaker 50 (01:19:35):
I'm sorry it was against the rules museum. But gentlemen,
I have so many duties, and this morning I was
unusually busy. Worth what, We're setting up a new filing
system in my office. Please on this tend mister Robert
Prentiss has given us thousands of dollars worth of Egyptian relics.

Speaker 53 (01:19:49):
If it had been anyone.

Speaker 56 (01:19:50):
Else had no excuse, Lawrence.

Speaker 50 (01:19:53):
This is the first time, positively the first time I've
allowed anything like this to happen.

Speaker 56 (01:19:57):
Believe me, yeah, barely. You and the boys stay head
of the here for me. Get us building a trot
going over?

Speaker 53 (01:20:04):
Where are we going?

Speaker 25 (01:20:05):
Dad?

Speaker 56 (01:20:05):
Robert Pretis's has what do you mean we?

Speaker 53 (01:20:08):
Well, this is a subject I know something about, and
I thought if you ran into something, it was over
your head.

Speaker 31 (01:20:12):
I'm right, all.

Speaker 56 (01:20:13):
Right, let's go. Oh, Chief crash Janie, I suppose you
want to trail along too?

Speaker 38 (01:20:18):
Well, sure, why not?

Speaker 56 (01:20:20):
You found the corpse?

Speaker 20 (01:20:21):
Come on, come on, we'll make.

Speaker 56 (01:20:22):
This a family affair. Oh wait a minute, mister Pretis,
relaxed for a prannite chief propert. Think of my position,
a reputable businessman, a figure in the car. I want
to know this, why you don't need that money? To
the museum, and now you say it's been replaced the
body of a mudded man? What do people thinking? I

(01:20:44):
can't worry about that.

Speaker 57 (01:20:45):
Now.

Speaker 56 (01:20:47):
Why did you get that mummy?

Speaker 53 (01:20:48):
I bought it from Professor Morton, an Egyptologists.

Speaker 20 (01:20:51):
Why did he get it?

Speaker 56 (01:20:52):
He brought it back from Egypt several weeks ago. Professor Morton, Barnie,
did you ever hear of him?

Speaker 2 (01:20:58):
Oh?

Speaker 53 (01:20:58):
I don't recall off him, Dad, neither do I teeth.

Speaker 50 (01:21:01):
I can a show all of you. Professor Moulton is
a scientist in good standing. I've had many dealeys with
him in the past. I don't doubt it about this mummy.
What proof have you got that you bought him?

Speaker 5 (01:21:12):
I'll show it to you right here in my dad.

Speaker 56 (01:21:17):
A bill of sales side by Professor Morton.

Speaker 53 (01:21:20):
Would you like to see it?

Speaker 58 (01:21:22):
I think so, one sark coffigures period one thousand to
nine hundred BC.

Speaker 2 (01:21:33):
Dad.

Speaker 53 (01:21:33):
Is that all it says?

Speaker 56 (01:21:35):
That's all, Bernie, nothing about Romar Duke, son of shishak Rah,
whose son of what?

Speaker 53 (01:21:40):
Oh?

Speaker 4 (01:21:40):
I guess.

Speaker 53 (01:21:41):
In the excitement of the museum, Jennison, I forgot to
tell you. You see, there was a car naturally, mister Crawford.

Speaker 50 (01:21:45):
Since Professor Morton had no positive proof that the mummy
was that of Ramar, Duke, we couldn't put that statement
on the bill of sale.

Speaker 53 (01:21:51):
Well then, actually you don't know what you bought, do you,
mister Prentis. Frankly, I didn't take the wrappings off.

Speaker 56 (01:21:55):
The look, and for all you know, it might have
been the body of a murdered man.

Speaker 50 (01:21:58):
I'll see here, see Robert, I'll be carry you. That's
a bit too far, I'll I'll let you know. Carter Baldwin,
I didn't.

Speaker 4 (01:22:03):
Know him at all.

Speaker 52 (01:22:03):
I thought have been, but I never met him.

Speaker 50 (01:22:05):
Why didn't you ask Professor Morton about him? He might
be able to give you some vital information such as
I couldn't say. But Morton and Borden went out in
several expeditions. It was a close professional relationship, and.

Speaker 31 (01:22:17):
It might lead the murder.

Speaker 50 (01:22:18):
One never knows what will lead a matter that Professor
Moulton never impressed me as a man of violent moods.

Speaker 56 (01:22:24):
We'll see, all right, mister Prattis, I'm sorry we bothered you.
No trouble at all.

Speaker 53 (01:22:30):
Anything I can do to.

Speaker 56 (01:22:31):
Help, we'll let you know.

Speaker 31 (01:22:33):
Come on, kids.

Speaker 56 (01:22:34):
We're going for another Let's help this thing doesn't turn
out to be a merry ground, Professor Morton. Yes, I'm

(01:22:55):
cheaf of police Crawford.

Speaker 53 (01:22:56):
Ch Oh have I done something?

Speaker 56 (01:23:00):
That's what we're here?

Speaker 4 (01:23:01):
If i'd not?

Speaker 56 (01:23:02):
And these people my son Barney craverin how do you, sir?

Speaker 32 (01:23:06):
And I'm Janis Turner.

Speaker 25 (01:23:07):
I'm so glad to meet you.

Speaker 32 (01:23:09):
Come in please, Oh Barney, look at this place. It's
like a museum.

Speaker 53 (01:23:16):
Thank you, Miss Turner.

Speaker 59 (01:23:17):
Everything you see here is an authentic relic of old Egypt. Oh,
but forgive me, I have no right to call them relics.
They are living things. This vase, for example, once a
door in the palace of Kiops, pharaoh of the Fourth Dynasty,
one of.

Speaker 25 (01:23:31):
The builders of the Great Pyramids.

Speaker 12 (01:23:33):
It's beautiful.

Speaker 11 (01:23:34):
And this solid bronze beam.

Speaker 56 (01:23:37):
Oh, and you too, get through with your tour of inspection.
I'd like to ask you a few questions, Professor, if
you won't mine.

Speaker 53 (01:23:44):
Oh, oh, yes, I'm very sorry.

Speaker 31 (01:23:47):
But what can I do for you?

Speaker 56 (01:23:48):
Tell me about the mummy you saw the Robert pranis
the jeweler.

Speaker 53 (01:23:52):
A fine specimen, and mister Prentiss is a fine.

Speaker 56 (01:23:55):
Why didn't you want to certify the mummy belonged to
Ramar Duke?

Speaker 11 (01:24:01):
Who was he?

Speaker 20 (01:24:02):
Well?

Speaker 29 (01:24:02):
He was?

Speaker 56 (01:24:03):
Ah, you tell him, Barney.

Speaker 53 (01:24:05):
Well, Ramar Duke was the son of Shishak, pharaoh of
the twenty second Dynasts.

Speaker 56 (01:24:09):
Oh, yes, I know intimately, but nah, see here, Morton,
you told Pranis the mummy might be Ramar Dukes, did i?
Professor Morton?

Speaker 60 (01:24:18):
Did you or did you not?

Speaker 56 (01:24:20):
Sell us our copagus to Robert Prtis a few weeks ago?

Speaker 4 (01:24:23):
Of course?

Speaker 53 (01:24:23):
It was my latest day.

Speaker 10 (01:24:24):
Was this true?

Speaker 56 (01:24:25):
The body of Carter Baldwin in it?

Speaker 4 (01:24:27):
Carter Baldin?

Speaker 56 (01:24:29):
Don't tell me you don't.

Speaker 38 (01:24:30):
Remember him either.

Speaker 53 (01:24:32):
I wasn't going to achieve Carton and I were.

Speaker 38 (01:24:37):
Or what well we were?

Speaker 26 (01:24:41):
Asso?

Speaker 56 (01:24:41):
Shoot, you didn't like him, did you?

Speaker 53 (01:24:44):
He was the world he type not very like him.

Speaker 56 (01:24:46):
You don't kill people for that, Professor?

Speaker 25 (01:24:49):
Was he?

Speaker 4 (01:24:50):
Yes?

Speaker 60 (01:24:50):
He was?

Speaker 32 (01:24:53):
What is it.

Speaker 4 (01:24:55):
The most wonderful collection of daggers?

Speaker 56 (01:24:57):
Daggers that you say were.

Speaker 32 (01:25:00):
Look at them as sharp as razors.

Speaker 59 (01:25:03):
Well, I'm really proud of this collection, Chet, It's the
reddest in the world.

Speaker 25 (01:25:07):
Wife.

Speaker 53 (01:25:07):
Some of these daggers have been traced back.

Speaker 56 (01:25:10):
Have the lecture Martin. I'm taking them all down the headquarters.

Speaker 2 (01:25:13):
You can't.

Speaker 53 (01:25:13):
They're priceless. Oh dear, this morbling world.

Speaker 11 (01:25:18):
Why must you take the movie?

Speaker 56 (01:25:20):
One of them might have bloodstains on it. They don't
go back three thousand years. Let's go, kids. Oh, stet
close to the house, Professor, we might need you, lady.

Speaker 53 (01:25:30):
I won't go away.

Speaker 32 (01:25:31):
But I don't understand, Chief Crawford. You don't think that
sweet old man is a murderer, do you maybe?

Speaker 25 (01:25:40):
Oh?

Speaker 32 (01:25:40):
Just because they had those daggers in his house?

Speaker 53 (01:25:42):
Good heaven, haven't we overlooked something?

Speaker 26 (01:25:45):
What?

Speaker 43 (01:25:45):
Now?

Speaker 53 (01:25:46):
The mummy?

Speaker 5 (01:25:47):
What about it?

Speaker 53 (01:25:48):
Carter Baldwin was found in a mummy case? Now where's
the mummy that was in that case when Robert Pretis
gave it to the museum?

Speaker 1 (01:25:54):
Where?

Speaker 53 (01:25:54):
Yes, how do we know Morton didn't substitute the body
of Carter Baldwin for the mummy before he sold it
to Robert prest Barney.

Speaker 32 (01:26:00):
I don't believe it.

Speaker 56 (01:26:01):
What do you think you mean Franis gave it to
the museum without knowing what was in it, that's right.

Speaker 41 (01:26:07):
Yeah.

Speaker 56 (01:26:09):
On the other hand, how do we know the switch
wasn't made by John Lawrence?

Speaker 38 (01:26:12):
The curated.

Speaker 32 (01:26:13):
That's what I say. Lawrence was in the best position
to do it.

Speaker 56 (01:26:16):
And if you ask, yeah, Lawrence was the last stop
on the line for that. Sorry Covegus. Why didn't he
check it before he put it in a room Republic exhibits?

Speaker 22 (01:26:25):
He didn't have to.

Speaker 32 (01:26:26):
He knew what was under those wrapping.

Speaker 56 (01:26:30):
I'm going back to the museum. We're a talk with
that curating dad.

Speaker 53 (01:26:33):
Would you mind if Jennis and I didn't.

Speaker 56 (01:26:34):
Go, Oh, that would be a pleasure. Barney. You call
me at headquarters later. I'll live it, give you a
first hand report.

Speaker 53 (01:26:42):
No, Barney Crawford, Jennie, I wonder if Morton might have
an extra mummy lying around.

Speaker 32 (01:26:48):
Shall we go back and ask him?

Speaker 53 (01:26:50):
No, dear, We'll go forward towards the back of the
house and look for a cellar door.

Speaker 32 (01:27:03):
Say when, Barney, if you need another hairpin?

Speaker 53 (01:27:05):
No, thanks, this'll do.

Speaker 34 (01:27:07):
I still think we're going about this the wrong.

Speaker 53 (01:27:09):
Way, patient, Janie. I'll have this door open in a minute.

Speaker 32 (01:27:11):
That's not what I'm talking about.

Speaker 8 (01:27:13):
Not.

Speaker 34 (01:27:14):
Instead of looking for a mummy, we should be looking.

Speaker 32 (01:27:16):
For a motive.

Speaker 53 (01:27:17):
I told you that comes later.

Speaker 32 (01:27:19):
But a motive deer usually points to a murder or a.

Speaker 53 (01:27:22):
Dozen people can have motives. Here goes to the lock.
I'll open this door without making too much noise.

Speaker 26 (01:27:32):
So far, so good.

Speaker 53 (01:27:34):
Let's get down those steps. Now you go first, I'll
close the door after me.

Speaker 27 (01:27:42):
Where are you?

Speaker 4 (01:27:43):
It's pitch black in the here.

Speaker 53 (01:27:45):
Wait a minute, I'll get my cigarette lighter. How's that?

Speaker 32 (01:27:50):
It gives life but very little comfort to take my arm.

Speaker 53 (01:27:53):
We've got a lot of exploring to do.

Speaker 32 (01:27:56):
Ooh, this is the eeriest seller I've ever seen. Just
walls and corridors.

Speaker 53 (01:28:02):
Pretty queer for a private house.

Speaker 32 (01:28:04):
Well, we've got no right to expect anything else. Professor
Morton is an Egyptologist.

Speaker 53 (01:28:08):
There's an open door, jays, let's see what's in that world.

Speaker 34 (01:28:11):
But that doesn't make him a murderer. Why that sweet
old man must cry every time he accidentally steps on
a bug?

Speaker 53 (01:28:18):
Oh, Barney, what the matter?

Speaker 32 (01:28:21):
Look those animals.

Speaker 53 (01:28:23):
All over the room, Oh, doors, they won't buite you.
They are only bronze figures. There's some cats. There's a
bull over there on the shelf.

Speaker 34 (01:28:31):
Some falcons, bulls, the fiercest looking thing I ever saw.
And in this light, Barney, what's the idea of the menagerie.

Speaker 53 (01:28:39):
Well, the ancient Egyptians worshiped these animals ares gods. They
must be priceless.

Speaker 32 (01:28:43):
I wish they were somewhere ill.

Speaker 53 (01:28:44):
Ah, here's what I'm looking for. What all those mommy cases?
One of them might contain.

Speaker 32 (01:28:50):
Wait a minute, Barnie, why did it the lish? Well,
someone's closed the door we're locked in.

Speaker 53 (01:29:08):
Must have been the professor. Hey, let up on the door,
Bang on the door, party, I don't hear you doing.

Speaker 32 (01:29:16):
What do you mean?

Speaker 25 (01:29:17):
Well?

Speaker 53 (01:29:17):
The door is made of solid stone. Here when I
light my ladder again? Yeah, and look at the walls,
all stone, just like the inside of an ancient Egyptian tomb.

Speaker 32 (01:29:30):
I'm thrilled.

Speaker 34 (01:29:31):
What are we going to do?

Speaker 53 (01:29:32):
I don't know. It looks like I have outsmarted the
two of us.

Speaker 31 (01:29:37):
But good.

Speaker 32 (01:29:50):
Barnie, how much longer are you going to open and close?
Mummy keys?

Speaker 53 (01:29:53):
This is the last one, Janni?

Speaker 32 (01:29:56):
Well, no, Mummy thinks.

Speaker 34 (01:29:58):
All I need now is Mummy to cheer me up.

Speaker 32 (01:30:01):
You know your father should have arrested that that professor Morton.

Speaker 53 (01:30:04):
Oh have you changed your mind about him?

Speaker 41 (01:30:06):
Barney?

Speaker 32 (01:30:06):
What do you think he'll do with us?

Speaker 53 (01:30:08):
I don't know.

Speaker 34 (01:30:09):
Afterward dead do you think he'll embomb us and sell
us to the museum as mummies?

Speaker 53 (01:30:13):
What I thought? Did you say him bomb?

Speaker 32 (01:30:16):
Yes, but I'd rather forget it.

Speaker 53 (01:30:17):
That's it, Jennis. If Morton killed Carter Ball and wrapped
up his body as a mummy, then he must have
been bombed.

Speaker 34 (01:30:23):
And if he did, don't tell me you're going to
start hunting for the embalming, Oh, Barney, not want to
get out of here, Barney.

Speaker 32 (01:30:31):
If we don't find a way out, then I promise
you I'll go out.

Speaker 12 (01:30:34):
Of my mind.

Speaker 53 (01:30:34):
Please, dear, take it easy, can I.

Speaker 34 (01:30:36):
With all these animals surrounding.

Speaker 53 (01:30:38):
Me, you're only bronze figures? Don't wait?

Speaker 34 (01:30:40):
And that bull standing there in the middle of the
floor and staring at me, just staring at me, How
I'd like to poke my fingers into his eyes?

Speaker 11 (01:30:49):
I will.

Speaker 25 (01:30:55):
What What was that?

Speaker 32 (01:30:57):
I don't know. I'm afraid to look.

Speaker 2 (01:30:59):
Janie.

Speaker 53 (01:30:59):
You'ld you tested the spring in the bull's eye and
the wall opened?

Speaker 32 (01:31:04):
Does that mean you were free?

Speaker 53 (01:31:05):
It means something. Let's see, oh Barney, it's not an
outside Na just leads to another room and there's.

Speaker 34 (01:31:14):
Another bull standing on a platform that Dolly happens to
be a cow.

Speaker 32 (01:31:18):
Well, I don't care.

Speaker 53 (01:31:19):
And if my guess is right, it's Hathor, the ancient
Egyptian cow goddess.

Speaker 32 (01:31:23):
This is no time to get technical.

Speaker 53 (01:31:25):
I was only trying to explain.

Speaker 32 (01:31:26):
You explain us out of here? Is this room a
solid ball.

Speaker 53 (01:31:30):
Too, seems to be, and it's outfittled like an ancient
sacrificial chamber.

Speaker 34 (01:31:36):
Sacrificial old Barney Janis, come on, what are you going
to do? Walk us through a solid wall?

Speaker 53 (01:31:43):
I'm going to poke my fingers into the cow's eyes.
Maybe the same magical work twice?

Speaker 32 (01:31:48):
Oh sure, just like in the movies, Barney, it's open.

Speaker 53 (01:31:57):
Let's not stop to admire the scenery.

Speaker 32 (01:32:00):
I never thought a hole in the wall would be
so beautiful. See there's a flight of stairs, Yes, after.

Speaker 53 (01:32:06):
The professor's living quarters.

Speaker 32 (01:32:07):
You your professor. How I'd love to wrap him up.

Speaker 53 (01:32:10):
I could take it easy. We may have to take
him by surprise.

Speaker 32 (01:32:12):
Nothing would give me greater pleasure.

Speaker 34 (01:32:14):
Yes, and I hope we scare the pyramids at this.

Speaker 53 (01:32:18):
You'll have to be very careful.

Speaker 32 (01:32:20):
Now do you think he might have a gun?

Speaker 25 (01:32:21):
Maybe?

Speaker 27 (01:32:26):
Is he there?

Speaker 53 (01:32:27):
I don't see him. Let's not get frisky. He might
be in one of the other rooms.

Speaker 12 (01:32:32):
Oh, what's that?

Speaker 53 (01:32:34):
Only the telephone. Let's get outside, Jennis. Professor should be
coming in here to answer it.

Speaker 12 (01:32:50):
Hmm.

Speaker 53 (01:32:50):
Nobody home unless he's got an extension upstairs. Come on,
I'm going to pick up the receiver and listen. Nobody
else on the line. Professor's out, he's run away. Yes, well,
I better call Dad at headquarters and tell him about
it and why you're.

Speaker 34 (01:33:06):
Giving him an earful Tell him all that sweet old
man locked us in an airtight bolt and left.

Speaker 32 (01:33:10):
This is stuff acing.

Speaker 53 (01:33:11):
I'll get him full report. Hello, please, headquarters, Chief Crawford, Please,
this is his son. Oh yeah, yeah, yeah, try him there,
Thank you, goodbye. Will Dad's still to the museum and
that's where we're going.

Speaker 34 (01:33:30):
I want to hear tell him about Morton right away
before that murderer has a chance to go too far.

Speaker 56 (01:33:46):
Hey, Bailey, Bailey, what are you standing around for? I
told you to turn this place upside down? The gottvery
man working. What do you want, Barney?

Speaker 53 (01:33:54):
I tried to get you ahead.

Speaker 56 (01:33:55):
They got away, John Lawrence got away slip right through
my fingers.

Speaker 27 (01:33:58):
Will we tell you what we now?

Speaker 31 (01:34:00):
Janie?

Speaker 4 (01:34:01):
Please?

Speaker 53 (01:34:01):
What about Lawrence? Dad.

Speaker 56 (01:34:02):
We got here right after closing time. That curator was
not in his office, so we decided to look here
in the Egyptian room, and of course, yeah, Harry was
with his nose stuck halfway in one of those mummy cases.
He took one look at me, wrapped the lid right
out of the room. On the other side. We haven't
able to find him since what.

Speaker 53 (01:34:17):
About the missing mummy, Dad, that too.

Speaker 56 (01:34:19):
I searched this billing room, roof to cellar, every mummy
case that's supposed to be empty, every closet, the barler room.
We now, we even checked the furnace.

Speaker 53 (01:34:27):
But no mummy.

Speaker 56 (01:34:28):
I see by get head Corners on the phone, tell
him I send out a nationwide alarm. I'll get this guy, Lawrence,
if it's the last thing I do.

Speaker 34 (01:34:38):
Woo, Your pop's really in a huff or we should
have told him about Morton.

Speaker 53 (01:34:42):
Anyway, Come on, Janis, we've got things to do. What
time it's nine o'clock and the public library closes at ten.
We'll have to hurry.

Speaker 32 (01:34:47):
What are we going to do with the public library?

Speaker 53 (01:34:49):
What are we going to do?

Speaker 11 (01:34:50):
Some reading?

Speaker 34 (01:34:51):
Of course, Barney, will you stop being mysterious now? Why
did you drag me all the way here and to
the section with the dustiest book here?

Speaker 32 (01:35:13):
It is?

Speaker 53 (01:35:14):
What a history of the pharaohs?

Speaker 56 (01:35:16):
Oh?

Speaker 34 (01:35:16):
No, now, what's that got to do with the murder
of Carter Baldwin our twentieth century excavation Engineershack, Shack, will
you stop the baby talk and answer my question?

Speaker 53 (01:35:27):
Shishak pharaoh of the twenty second dynasty, the father of
Romart Duke.

Speaker 32 (01:35:31):
Remember, no, dear, I wasn't there when it happened.

Speaker 53 (01:35:34):
Back here it is page ninety.

Speaker 34 (01:35:36):
And it would have been a wonderful thing for all
of us if Morton hadn't been there either, Shack, m
Shishak ra Mard Duke. Oh, what names to hand down
from father to son? Boy, How those people must have
hated each.

Speaker 53 (01:35:49):
Other, Janie, we've been chasing all over town for nothing.
Shishak never had a son by the name of Ramar Duke.
Someone pulled a fast one on the museum by sticking
a phony label on the mummy Robert Prenis donated Professor Morton. Janie,
you are absolutely the cleverest girl I've ever known. No,
he tells me, Remember how you argued with me about
looking for a motive instead of a mummy.

Speaker 34 (01:36:08):
I'll never forget it.

Speaker 53 (01:36:09):
Why, you were right, That's what we should have done
from the start.

Speaker 32 (01:36:12):
Come on, wonderful, where are we rushing to now.

Speaker 53 (01:36:16):
To the home of Carter Baldwin, the murdered man. I'd
like to poke into his private papers if they're still around.

Speaker 32 (01:36:29):
Well, Barney, what goes?

Speaker 53 (01:36:30):
I think Janie has gone through every paper in this desk.

Speaker 32 (01:36:34):
Baldwo may have had other hiding places. Why don't we
turn on the room like.

Speaker 53 (01:36:37):
Well the cigarette later I'll have to do well, let's
have to be seen from the outside.

Speaker 32 (01:36:41):
Yes, darling, but suppose the well runs dry. What's this discovery?

Speaker 53 (01:36:47):
This book on the table, The Great Jewel Robbery.

Speaker 32 (01:36:50):
Barney.

Speaker 53 (01:36:51):
You're not going to read it now, No, dear, I
did that once before, sometime ago. It's very interesting, and
I think it sounds our case.

Speaker 25 (01:36:56):
Barnie.

Speaker 32 (01:36:56):
You sure you're all right?

Speaker 53 (01:36:57):
I'm perfect. This book tells me all I want to
know about the murderer and his motive.

Speaker 34 (01:37:01):
I knew it too much.

Speaker 53 (01:37:02):
Egyptolics, let's not tell you the story. It's about a
band of thieves. It became very rich plundering the tombs
of the Egyptian pharaohs. You know a lot of those
tombs are studded with emeralds, rubies, and other precious stones
worth millions.

Speaker 32 (01:37:13):
So on, I'm beginning to see what you mean.

Speaker 53 (01:37:14):
Well, legally those stones belong to the Egyptian government, and
excavators are duty bound to turn them over to the authority.

Speaker 34 (01:37:19):
But just gangs smuggled the stones out of the yes.

Speaker 53 (01:37:22):
Then, posing as egyptologists, they transported the mummies and other
contents of the tombs that either sold them or donated
them to museums.

Speaker 34 (01:37:28):
With Carter Baldwin mixed up in that kind of way,
it might have been. He was an excavation engineer, and
he and Professor Mortnach Barney. Kill that light or someone
at the front door.

Speaker 53 (01:37:37):
Let's get behind the sofa. Stand as you are what,
don't turn around and don't turn off that flashlight or
will shoot. Put your hands over your head. That's a
good boy. Given covered boys, I'm going to frisk him. Yeah,

(01:38:03):
just as I thought a gun. All right, Jennie, you're
gonna put the room lights on. Dennis, just keep facing
that wall. I'll tell you when to turn around. Now
what it's Robert Prentiss surprise honey, well, aren't you not anymore?

Speaker 31 (01:38:18):
Well?

Speaker 53 (01:38:18):
Apprentice?

Speaker 56 (01:38:19):
I have nothing to say to you, mister Ruffort.

Speaker 53 (01:38:20):
Oh come on now, let's not be coy. What did
you expect to find in Carter Baldwin's wall safe?

Speaker 56 (01:38:25):
I said, I have nothing?

Speaker 53 (01:38:26):
Whatever evidence? Wasn't it evidence that you and Baldwin were
robbing the tombs of the Egyptian pharaohs? Don't quire rocket?
Wasn't it Baldwin explored and plundered, and you prenticed the
fashionable jeweler sold the precious stones to innocent purchasers. Why
did you kill him?

Speaker 56 (01:38:41):
You were accusing me of murdered Why not?

Speaker 53 (01:38:43):
It's the truth, isn't it. I should say it isn't,
young man.

Speaker 56 (01:38:45):
And if you want more careful about your.

Speaker 53 (01:38:46):
Saying preis It's the end of the line. Would you
like me to tell you what mistakes you made? Mistakes
Number one showing my father that bill of sale for
a sarcophagist.

Speaker 56 (01:38:57):
I bought it a legal transaction.

Speaker 53 (01:38:59):
Number two, telling the museum the mummy might have been
that of Romart, Duke's son of Shishak.

Speaker 50 (01:39:04):
Professor Morton gave me that information without putting it on
the bill of sale. He didn't want his assumptions I wanted.

Speaker 53 (01:39:09):
And he gave them to you. But he said nothing
about Romart Duke because he knew that Shishak had no
son but that name.

Speaker 4 (01:39:15):
And he lied to me.

Speaker 56 (01:39:16):
I bought that, Mummy and good faith. You're so eager
to find a murderer, then I suggested.

Speaker 53 (01:39:20):
Jell a third mistake. You told my father that you
had never met Carter Baldwin. Now who told you about
his wall safe?

Speaker 25 (01:39:27):
His ghost?

Speaker 1 (01:39:30):
That does it?

Speaker 25 (01:39:31):
Doesn't it?

Speaker 53 (01:39:32):
I knew we'd get you eventually, It's just a matter
of time. Well, Janie, Prentis just made a full confession
to death. Is it worth listening to Barney? Well, that
depends on if you care. Baldwin was going to cut
Prentis out of the racket, so Prentis killed.

Speaker 32 (01:39:51):
Him and had him then bombed.

Speaker 12 (01:39:53):
Who did that?

Speaker 53 (01:39:53):
Barney an undertaker's assistant. The fellow's answering a lot of
Dad's questions right now.

Speaker 32 (01:39:58):
But Barney, why did and lock us in that vault?

Speaker 53 (01:40:01):
Well, he didn't know we were there. He went out
of the house and simply closed the door to his
storeroom and we just happened to be in it.

Speaker 29 (01:40:07):
That's all, And it.

Speaker 34 (01:40:07):
Would have been that's all for both of us, if
I hadn't made a bulls.

Speaker 53 (01:40:11):
Eye, or if I hadn't made a cow's eye.

Speaker 32 (01:40:13):
I'm going to ignore that, Barney. But what about John Lawrence,
the curacter?

Speaker 1 (01:40:19):
Well?

Speaker 53 (01:40:20):
I knew he was innocent the minute Dad told me
what Lawrence was doing in the Egyptian room.

Speaker 34 (01:40:23):
He was looking into a mommy case, wasn't he y?

Speaker 53 (01:40:26):
And obviously he was looking for the missing mummy. Now,
if he'd been.

Speaker 32 (01:40:29):
The murderer, he'd have known where he'd hidden the mummy,
of course.

Speaker 53 (01:40:32):
Oh no, no, dear, he'd have known there'd never been
a mummy. What no, look here, Barney craft Apprentice showed
us a bill of sale for a sarcophagus, didn't he.

Speaker 32 (01:40:42):
I know all about that, But what I don't.

Speaker 53 (01:40:44):
Well, a sarcophagus is a mummy case and nothing more.
There had been a mummy in it, the bill of
sale would have said, so oh oh, so that's.

Speaker 32 (01:40:53):
Why you rushed to the library to find out about
Ramarduke Romarduke.

Speaker 53 (01:40:58):
I haven't got the slightest idea who you talking about it, Barney? Well,
that's better I know him. The other guy never existed.
He was never even born, and so close is tonight's story,
Murder Makes a Mummy. Stedman Coles wrote the radio script.

(01:41:19):
Jock McGregor produced and directed for Roger Bauer. Tonight's cast
included Lawson Zerby as Barney Crawford, Jane Harvin as Janice Turner.
Al Hodge was Chief Crawford, Lon Clark was Robert Prentiss,
and Ted Osborne.

Speaker 55 (01:41:34):
Played Professor Martin. Oh, I beg your pardon. Hello, I
hope I haven't kept you waiting. Yes, this is the
Crime Club. I'm the librarian. Yes, come over a week
from tonight.

Speaker 25 (01:41:50):
Good.

Speaker 55 (01:41:51):
We have the very exciting story of a vacancy that
was filled by death. It's called Murder Rents a Room
by Sarah Elizabeth Mason. In the meantime, well, in the meantime,
there is a new Crime Club book available this week
and every week at bookstores everywhere. Yes, it's available now, fine,

(01:42:15):
and we look for you next week.

Speaker 61 (01:42:22):
Before the war, the United States with the fourth rate
military power, with a standing army of only one hundred
and seventy eight thousand men, and that's smaller than Poland's
Romanias or Turkeys.

Speaker 53 (01:42:32):
But the United States emerged from.

Speaker 61 (01:42:33):
World War II in a position of world leadership with
all the many attendant responsibilities, and although maintain the Peace
and Bill for future security, the Congress has authorized the
building of the largest peacetime army in our history, an
all volunteer army of over a million men. Today's Regular
Army is one of the greatest scientific research organizations in
the world, and because of its emphasis on scientific research

(01:42:56):
and development, it's men are highly skilled in radar, small arms,
eemical warfare, photography, or any of the many other highly
specialized services. Remember, the regular Army man of today is
not in the army because he couldn't get a job
anywhere else.

Speaker 53 (01:43:10):
He is in because he has brains.

Speaker 61 (01:43:11):
And ability and desires to profit by technical training that
is second to none.

Speaker 53 (01:43:30):
This program came from New York. This is the mutual
broadcasting system.

Speaker 25 (01:43:47):
Deep Night.

Speaker 62 (01:44:05):
There is a boundary that marks the scene from the invisible,
a veil separating the well lit world of the familiar
from another place less easily known. We might try to escape,
but try as we may, we are pulled back, only
to find ourselves more heavily shackled in the shadows. Eroo

(01:44:27):
may look like your typical teenage boy. But everyone in
town knows he has a secret, so does the town
he lives in. For what ero knows, he faces oblivion
in the darkness of deep night Tonight Bone House by

(01:44:50):
Kendra Fanconi.

Speaker 63 (01:45:02):
When I say something there it is, the sentence ends
and the next one starts. They don't go around in
a circle. One goes after another. I lay these sentences
end to end, like laying a road. When I talk,

(01:45:25):
I am not talking about anything but towards something. There
is no good road out of the town where I
grew up. The closest town to us is long distance
over bad roads along the Number one Highway. If you

(01:45:47):
ask someone there about us, they'll say they see one
of our townsmen when he comes for supplies, but mostly
we keep to ourselves. They'll say, only good folks live here.
There is no door to the contrary. They can pass along,
so you won't have heard of us before. Now maybe

(01:46:07):
you have driven through the prairies on the Number one.
By now you are a long way off. Hopefully this
story is long enough to reach you. If it does,
you can pass it on. If everybody tells everybody else,
I'll be better off. This story is the secret of

(01:46:30):
this town. The first time I run away, I run
right back. I get caught halfway on a barbed wire fence,
and two old farmers find me. They lead me home.
They stay outside while I eat in the kitchen. I

(01:46:51):
hear them in the yard and hollisleep. I open my eyes.
It's morning. I am in my bed and the old
farmers are gone.

Speaker 52 (01:47:11):
The sun is up.

Speaker 63 (01:47:13):
Everyone is in the barn. I should high tailor down there. Instead,
I go to EM's.

Speaker 10 (01:47:23):
We're going to do.

Speaker 38 (01:47:27):
Now?

Speaker 63 (01:47:27):
Am is really m Zena. We still use the old names,
though most of them are falling apart by now. MS
is one of them. She runs the diner, and I'm
in love with her. She is someone in between a
grandma and a girlfriend, which means if I were littler,

(01:47:47):
I would crawl up on her lap and put my
nose on her neck, and if I were bigger, I'd
pull her onto my lap and put my chin on
her head. As it is, I eat pancakes and am
that way. Both their miles are busy. The pancakes are good,
but the coffee tastes like slew.

Speaker 64 (01:48:09):
Hey ah, watch your mouth.

Speaker 63 (01:48:12):
Why a dozen in m Good morning, M.

Speaker 65 (01:48:17):
Must be midnight. If it were mornings, and you'd be
at your chores.

Speaker 63 (01:48:21):
No one woke me for chores.

Speaker 65 (01:48:22):
I'll bring you pancakes.

Speaker 63 (01:48:26):
Last night I tried to run away.

Speaker 65 (01:48:31):
Well, ero, I should be such a thing. Now I
can tell you the founders of this town were all runaways.

Speaker 63 (01:48:41):
They were.

Speaker 65 (01:48:43):
Because my grandfather left the old country, first landed in Newfoundland,
put on his shoes and walked a thousand miles.

Speaker 63 (01:48:50):
What stopped him, Well, his feet got.

Speaker 65 (01:48:52):
Sore, so he said, awhile here with his feet in
the creek. He had to soak his shoes to get
him off.

Speaker 63 (01:49:01):
I like to imagine a walk like that.

Speaker 65 (01:49:03):
The soil here looks so good you could sprinkle it
on ice cream. He wrote that in a letter to
his brother. And the men started coming, and there were
ornery cusses, but they hammered themselves together till they stuck.
We are the timber and the pegs of this town.
So if you pull one of us out, the whole
thing crashes down. You're gonna say, well, folks die, And

(01:49:27):
yes they do. We lose some, and that's a blow.
It hits us the same way as spring storm shakes
a barn. But the barn itself doesn't get up and
wander away. Us town is here because I pour coffee
and you eat pancakes. That's the secret of this town.

Speaker 63 (01:49:46):
You and me are holding it together.

Speaker 53 (01:49:51):
Heero, you got a job to do.

Speaker 63 (01:49:55):
I took a bite so big my cheeks hurt. It
meant I understand good em slid three more pancakes on
my plate. I had to finish them quick. I had chores.
I had school. I had to help in the fields.
I had to grow up, grow crops, improve the well, harvest,

(01:50:15):
and butcher. I had a new barn to raise. I
had my parents to bury and children to sire. I
had to raise them right and marry them off. I
had to lose my hair and get a hat and
become an old farmer. I'm off now, am M. We'll
be saying, yeah.

Speaker 66 (01:50:41):
I heard you run away last night. Year Oh oh yes, sir, okay.

Speaker 63 (01:50:46):
I just had an itch.

Speaker 66 (01:50:50):
A few had a skated bite itched.

Speaker 31 (01:50:54):
Would you scratch it?

Speaker 52 (01:50:57):
No, I wouldn't.

Speaker 63 (01:50:58):
It doesn't help to scratch. You should slap it hot,
Oh boy, that you'd cury you. We have a preacher
in town, but we listen to the old farmers. They
have seen everything the Bible, as far as we can tell,

(01:51:20):
happened over in a desert with sand dunes and olive trees.
That's far off from us. If there is a question
in town, we take it to the old farmers.

Speaker 10 (01:51:30):
They take their.

Speaker 63 (01:51:31):
Answers from the land. Everything is flat here. No person
is different from any other person. We eat the same,
and sleep and wake the same. We plant together and
harvest together, and the old farmers tell us what to
do next. Now I'll tell you about the second time

(01:51:54):
I ran away. It's plowing time. We boys are sent
ahead into the furrows to pick out stones. We pitch
them over the fence and into the prairie grass. The
men are behind with the horses. The tractor is rusting

(01:52:18):
by the barn. So I am working at it. All
the boys are.

Speaker 34 (01:52:26):
There.

Speaker 66 (01:52:27):
There's two, there's three, one, two, three four. Look at him.

Speaker 4 (01:52:39):
What are you doing, ero? Name?

Speaker 63 (01:52:42):
Is you pitching rocks?

Speaker 56 (01:52:43):
Uh?

Speaker 25 (01:52:43):
Uh?

Speaker 63 (01:52:44):
We are hauling out the biggins. You're just messing with pebbles. Sure,
if you let a small rock in the ground, it's
gonna grow like a potato, and then the next year
it would be a rock as big as your head.
Pebbles are little rock seats.

Speaker 53 (01:52:59):
Is that for real?

Speaker 63 (01:53:00):
I figured it out? Makes sense, don't it?

Speaker 53 (01:53:03):
Don't be a cuss?

Speaker 2 (01:53:05):
Hey that hurt.

Speaker 6 (01:53:06):
If you're lucky, it wasn't a rock cuss.

Speaker 11 (01:53:09):
Hey, Hey, you where you go?

Speaker 63 (01:53:11):
You dive through the fence and run. The boys aren't
far behind me, The men aren't far behind them. The
ladies are worrying the railing off the porch. I don't
get any further than the fuck thrush?

Speaker 26 (01:53:34):
Where are you going?

Speaker 63 (01:53:36):
Old Pavo has my arm? The others walk ahead.

Speaker 67 (01:53:43):
You wonder if there's something out there for you? Why
shouldn't we let you go find out? Let's think about that.
Say you leave, you're gone only one. All the other
boys are left wondering what you're doing out there while
they do your chores, And they'll picture you and Saskatoon

(01:54:03):
taking up with movie stars. Yeah, another will follow you
and the ones who are left now and they do
double at work, so they go too. And when the
boys are gone, they'll get to the men.

Speaker 31 (01:54:19):
We'll lose our men.

Speaker 67 (01:54:21):
And what happens to this town with no boys and
no men? But yeah, well, the crops don't go in
the ground and you they don't come out, and the
fences will fall, and the cows will wander. When the
snow comes, the roof caves, and we are left bare
to the sky.

Speaker 3 (01:54:39):
As old men and the good women and the little
babes in their arms. That's how this town will die.

Speaker 67 (01:54:48):
Is it there for one boy to wander and kill
the whole town?

Speaker 31 (01:54:55):
You think about that.

Speaker 63 (01:54:59):
We went back to the heels.

Speaker 17 (01:55:03):
That year.

Speaker 63 (01:55:03):
You could shoot a rifle down the furrows. They were
so straight that year. Instead of golden, the wheat turns brown.
The others head home for dinner. I sneak off towards
the sick horse stable till my sister Una calls me.

(01:55:26):
You can almost hear her from there, can't ye. I
don't pay her any mind. I keep walking. Una talks
in circles. Her sentences go round and round. Eero. Time
to get up. Your chores are waiting, and take that sweelpail. Eero.

Speaker 68 (01:55:46):
Those towns can then time to supper, hiero.

Speaker 63 (01:55:52):
She is surly on account of the drought and the grasshoppers.
These things don't fuss my father. There is a finished
word for the thing he has se sue ce sue
is what keeps you sitting in the sauna downright cussedness.
He has it sitting in the sauna. Sausages are curing

(01:56:16):
in the smoke by his head, and he doesn't budge.
When I get to the stable door. My father's lady.

Speaker 66 (01:56:29):
Here, all yes, sir.

Speaker 38 (01:56:34):
When you see a sky like that, what does it mean?

Speaker 63 (01:56:37):
I look up. One of the clouds is a horse.
Anyone could see that it is flying in the wind?
A horse now around here. They tell us to learn
from the animals. When you see a bush rabbit dozing,
it is too hot to be in the fields. If

(01:56:57):
your dog takes a bite out of your neighbor's dog,
your two families better eat together that night. Better to
eat together than to eat each other. An animal will
teach you that a horse has got secret wings. I
look at that horse in the sky and tell them
what it means. Maybe I got wings too, I don't

(01:57:18):
know about, but if I knew how to work, it
might fly too. He puts his hand on my shoulder
so hard my heels sink in the ground.

Speaker 33 (01:57:26):
A cloud like that means rain.

Speaker 63 (01:57:31):
Suddenly I'm in the dirt. Cover up the hay, still
in the dirt. When he walks off, I roll on
my back. A cloud that is a horse, turns into
a hand and points to me. I am thirteen, and

(01:57:54):
my brain is growing curly instead of straight. I put
my hand down on something in the grass. I sit up.
I stand up, and I'm running full tilt towards EM's.
The diner is almost full up.

Speaker 17 (01:58:15):
Shucks.

Speaker 63 (01:58:16):
I order myself some pie in the afternoon. Am serves
herself a piece of pie to keep you company. She
keeps it at your table and needs a fork full
when she's by. A problem needs pie like a crop
needs rain. BlackBerry Heero, thanks em?

Speaker 65 (01:58:34):
Something wrong?

Speaker 63 (01:58:37):
Not exactly?

Speaker 65 (01:58:39):
What's in your hand?

Speaker 10 (01:58:41):
Fork?

Speaker 65 (01:58:41):
Other one?

Speaker 10 (01:58:43):
Oh?

Speaker 63 (01:58:43):
Nothing?

Speaker 65 (01:58:45):
Can I see it?

Speaker 32 (01:58:49):
A rock?

Speaker 63 (01:58:50):
Look on the other side. That rock's got a seashell
pressed right in it.

Speaker 65 (01:58:54):
Oh mind, mind, must be a fossil.

Speaker 63 (01:58:57):
That is a rock from a hayfield. Cough thinking about
the ocean. I'm not the only one who wants to
get out of here.

Speaker 64 (01:59:04):
Shoot, I don't mean eero. I am going to tell
you something now, and you are going to listen, So
shut your yap and open your ears. Okay, I'm going
to tell you about a rabbit now. A rabbit is
a living thing because it's either real good at hiding

(01:59:25):
or real good at running.

Speaker 63 (01:59:28):
You better be good at one or the other.

Speaker 64 (01:59:29):
Earro hiding.

Speaker 66 (01:59:33):
Or running.

Speaker 63 (01:59:37):
That is my last bite of pie. I go to
hide that rock in the sick horse stable. I have
a collection hidden in the straw. See we got stone
fruit around here. Nothing unusual there anyone I know can

(01:59:58):
eyeball a low branch of cherries and the size of
the pie. The first cherry I ate this year had
a triple pit in it, stuck together like a snowman.
I got another pebble winks at you like an eyeball.

(02:00:18):
And when m had a gallstone removed, well, the doctor
didn't want it. Then there's a chunk of shale in
the shape of the State of Texas. My brother had
it in his hand and was going to chuck it.
Did you know that if you took the State of
Texas and flipped it up, the tip of it would
nearly touch our town. I caught that rock mid air,

(02:00:42):
and my hand stung till supper. I lay them all out.
It isn't enough to look at them. I want to
sit on them like a hen. I don't tell anyone
about my collection, of course, everyone finds out. How watch

(02:01:06):
that you guys, I show him. Old Seppo puts each
rock in his palm and closes his fingers. This man
has been a dairy man all his life, so he
can't hardly know a thing without milking it a little.

Speaker 25 (02:01:21):
What do you think?

Speaker 31 (02:01:24):
You think they're all special? But what matters? Boy said,
They're all stones.

Speaker 63 (02:01:30):
Old Spo pours them into my hands.

Speaker 20 (02:01:36):
Come with me.

Speaker 63 (02:01:38):
We walk out to the edge of the field.

Speaker 31 (02:01:43):
Stones don't belong in a horse stable.

Speaker 26 (02:01:48):
Roam into coolition.

Speaker 31 (02:01:54):
Now get home where you belong.

Speaker 63 (02:02:00):
Instead. I wait in the grass till sundown. The third time,
I run because the horizon is the only thing left alive.
Maybe they were watching me from their windows. I reached
the buffalo rubbing stone. It's a decent place to catch
my breath. I'm crouching watching the old farmers are coming

(02:02:26):
from me. They give me a whooping. If you hold
your hind tight, you don't much feel it. Old Pavo

(02:02:46):
helps me walk back to his henhouse. We watch his
chicks grappling in the dirt.

Speaker 67 (02:02:54):
You see them chickens, Yes, sir, A chicken you can
cook up before is born or after it's dead.

Speaker 43 (02:03:02):
Useful creature.

Speaker 67 (02:03:03):
Some things can be real useful dead, but everything is useful.

Speaker 63 (02:03:14):
Dead folk here are treated nice. The town is careful
about making sure that dead is dead. At a funeral,
they always tie a thread around one finger of a
dead man. If it swelled up, he's alive after all,
and you put him back in bed instead of in
the ground. If they do put a body in the ground,

(02:03:36):
it is a big deal and a good time. The
graveyard is in the center of town, and it's so
crowded that in order for a body to go in
the ground, one's got to come out. We take the
one who has been under the longest, so there's a
good chance that meets off the bone. The skull we
take off and put up in the rafters.

Speaker 25 (02:03:56):
Of the church.

Speaker 63 (02:03:58):
If you look up to heaven, that's what you see.
Then the bones go in the bone house. Following the drought,
we had a summer so wet the seed molded instead
of sprouting. Then that winter the snow was so deep

(02:04:20):
you could step over the power lines, so we lost
some cows. The next year was pretty much the same,
step worse, even because the silos were empty. Now it's
harvest and already there is food rationing and arguments about it.
By now, I am almost sixteen. My thoughts are sunk

(02:04:42):
inside me. I am only hands and feet. I might
have stayed that way if it weren't for the rat king.
I'm done with my chores. With fewer cows, it doesn't

(02:05:05):
take long. I'm walking back by the tack room. I
want you to see it now like I saw it then.
These rats had been running about scrabbling for food, and
they got themselves in a tangle. Imagine a pack of

(02:05:26):
rats with their tails in a knot in the center,
and they were trying to run, but tied together, they
couldn't get anywhere, and it didn't take long till they
collapsed from the effort. It happens. It does happen often
enough that someone can remember that they heard it happened
once before they were born. Someone remembered that it's called

(02:05:51):
a rat king. Yes, every rat was dead. The rats
had become their own tree. I wanted to tell someone.
The kitchen ladies are waiting for the carrots to cool

(02:06:13):
so they can finish cooking for chicken Tuesday. They are
sitting on the back stoop of the hall, thumbing their calluses.
I hold up the rat king, and their eyes darken.
When I leave with it, they follow me into town.
On the way, I hear that sound. I was thinking

(02:06:38):
Una might faint from seeing the rat king, but she
wipes her hands. I am walking to the center of
town with my family behind me and the kitchen ladies
behind them, and in front of me, I have the
rat king, with every one watching.

Speaker 25 (02:07:01):
I lay.

Speaker 63 (02:07:02):
The rat came down. There wasn't anywhere else to put it.
It belongs at the center of everything, the way a
belly button does. The boys and the girls, and the ladies,
and the men and the old farmers draw in around
the tangle of rats. No one speaks. You can tell

(02:07:25):
the temperature by how many times a cricket chirps in
a minute. It is getting hotter.

Speaker 69 (02:07:35):
You see those rats.

Speaker 33 (02:07:38):
You want us to die like that?

Speaker 63 (02:07:41):
I pick up the rat case and I put it
on my head.

Speaker 1 (02:07:48):
It was time.

Speaker 63 (02:07:50):
It was the sign they had to let me go.
I am sure you cannot guess what happened. Then Old
Pavo gives the rat king to his barncats, and it
is dawn by morning.

Speaker 25 (02:08:09):
I go to M's.

Speaker 63 (02:08:18):
I'd like some pie out of pie. You can't be
you must be going now. I'll have a coffee. Out
of coffee, we'll make some heero.

Speaker 64 (02:08:31):
There is nothing I can do.

Speaker 63 (02:08:36):
That is the fourth time I run away. The fourth
time I would run low and hide myself in the grass,
but the rabbit hiding or running or both. The fourth
time they take hiway in their shoes. They beat the
bottoms of my feet. If I couldn't walk, how could

(02:08:57):
I run? Fifth time I run barefoot alongside the cows
going to night pasture, through the frozen thistles.

Speaker 10 (02:09:05):
I run.

Speaker 63 (02:09:07):
They find me at dawn, standing in a fresh cowpie
to keep my toes from freezing. That was the fifth time.
Now five is a number you can handle. Five you
can count on your head. Six is something else. The

(02:09:33):
sixth time they put me here in the bone house.
The bone house is a small stone house with a
heavy door. It takes three men to push that door open. Inside,
all the bones piled up together, all the boneset the

(02:09:54):
skulls you see, which are up in the rafters of
the church. Like I said before, they said they would
be back by new.

Speaker 5 (02:10:04):
Well.

Speaker 63 (02:10:05):
For that long I could sit sideways on and quick offense.
With it so dark in here, it could have been
an hour that's passed or three days. It could have
been forty years.

Speaker 26 (02:10:20):
It has been a long time.

Speaker 70 (02:10:21):
Since they went away.

Speaker 63 (02:10:26):
I went through being scared, and then bored, and then
plain mad, then curious about being with all the dead folk.
I couldn't help feeling friendly with.

Speaker 33 (02:10:40):
Them, stuck in here just like me, but not like me.

Speaker 63 (02:10:53):
I never heard of this town having one like me.
I really thought about that. Nature makes a handful of
funny stones. How come I am the only strange one
in this town? Until I got bored with thinking and

(02:11:15):
wished they would come, I yelled the worst word I knew,
and I felt good. Then after that I felt terrible,
which pretty much brings me to naw Cause a minute
ago I put my hand on something, not a bone

(02:11:45):
like all the other bones here, a skull.

Speaker 25 (02:11:54):
What do you make of that?

Speaker 63 (02:11:58):
Weren't you listening? I told you skulls grew up in
the rafters of the church. Now isn't that curious that
one would be in the bone house? If there had
been a skull was missing from the rafters of the church,
why there would be a story about it. That is
something to talk about, and there is no story. What

(02:12:23):
do you make of that? Do you think this skull
was accidentally, like tossed in. Do you think people in
this town do things accidentally?

Speaker 33 (02:12:41):
Or do you think.

Speaker 31 (02:12:50):
They never came?

Speaker 25 (02:12:51):
Did they?

Speaker 63 (02:12:56):
I am the secret of this town. I gotta keep talking.
When I say something, there it is the sentence ends
and the next one starts. They don't go around in
a circle, One goes after another. I lay these sentences

(02:13:19):
end to end, like laying a road. So when I talk,
I am not talking about anything but towards something. I
will talk my way out of here. I will talk
through the cracks. I will talk over the fields in

(02:13:40):
between the barbed wire. I will weave through the prairie
grass and talk into the sunrise. I will talk until
I get somewhere.

Speaker 62 (02:14:16):
Bonehouse was written by Kendra Fancani. David Baisley played Ero,
Nicola Cavendish was Mcina, Frank c. Turner was Perty, Alex
Diacon played Pavo, and Eric Schneider was Seppo. Mara Coward
was Una, and Tom macbeth played the Father, with Christopher

(02:14:36):
Murray and Ryan Beale as the boys. The script editor
was Beverly Cooper. Bonehouse was produced in Vancouver by Heather Brown,

(02:14:58):
The Next Voices and Deep Night which is worse an
uninvited guest who outstays their welcome, or someone something we
invite across the threshold and then refuses to leave. And
even worse, what if Mom finds out the guest from
beyond the veil is moved into the bedroom closet.

Speaker 71 (02:15:20):
Go away, Brittany and busy plotting my revenge.

Speaker 63 (02:15:25):
I only have an hour.

Speaker 71 (02:15:27):
It's time to reveal the means by which I will
get Kalsaki. In the necronomic on literally a book of
dead names a nasty little grimoire whose sole purpose is
the summoning of supernatural forces. I'm amazed that such an
unspeakable tone of evil is available on Amazon dot Com

(02:15:49):
nineteen ninety eight, shipping not included. One can only conclude
that the World Wide Web is a force for evil.
Back when my father was he used to read me HP.
Lovecraft at bedtime. He was a bit of a sicko,
but I remember those stories well. At night under the covers,
shivering in fear at the names of Cthulhu, Yog sought

(02:16:12):
off and the many tent gold Mongloth Cagalanatron. Their nightmare
pseudopods rose up from the inky pool of my subconscious
boozing suckers, pulling me down, down, down into the murky,
obsidian depths of crazy evil badness, until finally they became
real to me. They are real, and with the help

(02:16:34):
of the Necronomicon, there now might command.

Speaker 3 (02:16:40):
I wanted my.

Speaker 71 (02:16:41):
Supernatural revenge on mister Kazaki for humiliating me, so it
was time to summon up a demon lord to eat
his soul.

Speaker 62 (02:16:48):
The thing from beyond my closet takes up residence in
the deep night.

Speaker 72 (02:16:53):
Next week, lights out for the devil, and mister oh.

Speaker 32 (02:17:12):
It is.

Speaker 73 (02:17:16):
Later then you think, turn out your lights now.

Speaker 46 (02:17:36):
We bring you stories of the supernatural and the super normal,
dramatizing the fantasies and the mysteries.

Speaker 16 (02:17:43):
Of the unknown.

Speaker 46 (02:17:45):
We tell you this frankly, so that if you wish
to avoid the excitement and tention of these imaginative plays,
we urge you, calmly but sincerely, to turn off your radio.

Speaker 10 (02:17:56):
Now.

Speaker 16 (02:18:04):
This is mister o arch Over. Do you enjoy going
to auctions?

Speaker 46 (02:18:09):
Do you get excitement out of opening old boxes, old packages,
old trunks that you buy under the auctioneer's hammer as
you lift the end of that old steamer trunk, does
your heart beat a little faster as you think, maybe
it'll be full of gold coins or letters from Lincoln
or or all right, all right, that's a very human trait, anticipation.

(02:18:29):
So let's anticipate today's play the chest, which happens after
a short message.

Speaker 1 (02:18:36):
Doctor Campbell Moses, medical director of the American Heart Association,
talks about a serious health problem in America today.

Speaker 74 (02:18:43):
Thousands of Americans die unnecessarily each year from heart attack
because they don't know the symptoms and delay getting medical care.

Speaker 31 (02:18:51):
What are the symptoms.

Speaker 74 (02:18:53):
They vary, but they often start with a squeezing pain
in the center of the chest, behind the breast bone,
the pain radiating the show arm, neck, or jaw. It's
often accompanied by sweating and occasionally by nausea, vomiting, and
shortness of breath. If this happens to you, don't delay.
Call your doctor and carefully describe your symptoms. If you

(02:19:14):
can't reach your doctor, get to a hospital emergency room
as quickly as possible. Remember that frequently the symptoms of
heart attack subside completely and then recur.

Speaker 1 (02:19:23):
In heart attack, minutes count, So act promptly. Helping you
to feel better and live better longer is just one
of the services of your Heart Association, just one of
the reasons you should give to your heart funds.

Speaker 46 (02:19:37):
And now, if you haven't already done so, turn off
your lights now and listen to the chest.

Speaker 75 (02:19:53):
All right, gentlemen, All right, gentlemen. Now here's an opportunity
you can't afford to me as your emergency and the
opportunity of a lifetime. Are you sure you that no
single piece has more pretentious value than this genuine oak
and traveling product. As you see, gentlemen, is bound in
brass and lock tight and secure with a massive genuine

(02:20:15):
brass lock.

Speaker 20 (02:20:16):
What's in it? Nobody knows?

Speaker 75 (02:20:18):
What the law says that being unclaimed strange merchandise? Who
everybody gets it?

Speaker 23 (02:20:24):
All?

Speaker 75 (02:20:25):
You might say, with all the chin it he'd gold,
a silver plate or the Jews of India.

Speaker 20 (02:20:31):
Now what am I offered for this chest?

Speaker 75 (02:20:33):
Make your bids and make them good, gentlemen.

Speaker 29 (02:20:36):
Do I hear someone say ten pounds shilling?

Speaker 75 (02:20:39):
No, gentlemen, look at it, locked tight and nobody knows
what's inside. A fortune waiting here and somebody talks of
five shilling. Now, come, let's on with it. What am
I offered? A gentleman? For firewood alone.

Speaker 40 (02:20:58):
For six six and six seven.

Speaker 75 (02:21:02):
Well, gentlemen, it appears we are having a competition in
little numbers.

Speaker 20 (02:21:07):
Is there anybody here would like to raise a bit
and ape me seven and six?

Speaker 75 (02:21:11):
Eight gentlemen, I ask you eight or anybody here? What's
heard what I said about this? Just be locked and sealed.

Speaker 45 (02:21:19):
He let it go.

Speaker 2 (02:21:20):
It's the last thing I've got to auction.

Speaker 75 (02:21:23):
Shall let it go. We all go home, going to
the little gentlemen right down the air for eight chilling even?

Speaker 2 (02:21:30):
Are you anymore?

Speaker 53 (02:21:33):
So?

Speaker 45 (02:21:35):
Step right up here, sir and claim your purchase?

Speaker 34 (02:21:38):
Now?

Speaker 20 (02:21:38):
What might your name be?

Speaker 45 (02:21:40):
For the record name?

Speaker 41 (02:21:42):
My name is Megs, Yes, Harold Meggs.

Speaker 75 (02:21:44):
And the money mister Mags.

Speaker 41 (02:21:46):
Oh yes, my pocket book got it already eight chilling sir?

Speaker 25 (02:21:49):
Here?

Speaker 20 (02:21:50):
You are right?

Speaker 37 (02:21:50):
You are?

Speaker 20 (02:21:51):
You understand?

Speaker 25 (02:21:52):
Of course?

Speaker 20 (02:21:52):
The cottage is extra Oh?

Speaker 27 (02:21:55):
Oh is it right?

Speaker 22 (02:21:56):
You are?

Speaker 32 (02:21:57):
Now?

Speaker 29 (02:21:57):
Where do I send the chest?

Speaker 41 (02:21:58):
I don't know, I mean extra charges?

Speaker 4 (02:22:01):
Where will I send it?

Speaker 41 (02:22:02):
Ninety two apple get southwest? Three?

Speaker 20 (02:22:05):
R are?

Speaker 25 (02:22:06):
Is Is that?

Speaker 7 (02:22:07):
All? That's all?

Speaker 75 (02:22:08):
The chest is yours?

Speaker 41 (02:22:09):
You'll get it in the morning, in the morning, but
I'll be at work in the morning.

Speaker 20 (02:22:13):
The old woman will be home, won't she?

Speaker 75 (02:22:15):
Oh yes, but she doesn't in morning, and they'll ever
eaten in the morning.

Speaker 20 (02:22:19):
You'll get it.

Speaker 75 (02:22:19):
Good night to yet, good night and thank you, thank you.

Speaker 45 (02:22:26):
Thank you me eh, if you knew what I know
that trunk, you wouldn't be thanking me. It crushed me
to the devil.

Speaker 7 (02:22:52):
Thank you.

Speaker 54 (02:22:54):
Yes, well, I must say, it's a fine time for
a man to be getting old.

Speaker 41 (02:22:58):
Mister Benders asked me to stay and see.

Speaker 54 (02:23:00):
Never mind what mister Brainbridge said. Did you get anything
extra for doing what mister Bainbridge said? Well, I never
mind what he said. I tell you what you get
from me? A coal suffered that's what.

Speaker 7 (02:23:11):
Oh, it's all right?

Speaker 41 (02:23:12):
Oh is it now?

Speaker 54 (02:23:14):
Just a minute, mister Harold and Eggs? Something else I
want to talk to you about. Yes, how much money
have you been making on the races?

Speaker 25 (02:23:22):
Races?

Speaker 41 (02:23:23):
Me e oh no, you know I never played the horses.

Speaker 54 (02:23:26):
And how much money did that rich uncle of yours
and Australia leave you Australia?

Speaker 29 (02:23:31):
Me?

Speaker 41 (02:23:32):
Why Eisa, what are you talking about? I haven't got
my uncles in Australia.

Speaker 54 (02:23:36):
Then maybe it's a goal mind you discovered, or maybe
a well that gives one hundred gallon of petrol a minute.

Speaker 41 (02:23:42):
Eggs, Are you all right, chest?

Speaker 54 (02:23:46):
Why did you buy it? Well, I didn't give it
to you today.

Speaker 41 (02:23:49):
It was only eight hillings and that only eight shillings.

Speaker 54 (02:23:53):
You mean, just tender and tell me you spent eight Hoh, God,
give me shillings for that thing. Yes, her own eggs.

Speaker 76 (02:24:01):
Eye your mind.

Speaker 54 (02:24:03):
Forred up in the garret, Yes, yes, up in the garret,
or the great price of yours is up in the
garret where you should be until your head's examined. It's
Freddy waking the thing open to see what's.

Speaker 41 (02:24:15):
Inside, breaking it open.

Speaker 54 (02:24:17):
Yes, And I told him to do it. Freddy, have
you opened it yet, ma'am?

Speaker 41 (02:24:24):
Please, I don't want him to keep quiet.

Speaker 54 (02:24:27):
I know you haven't got a key to it. But
Raymond told me all about this prize package. They did,
but plunt it right down in the middle of the
kitchen floor, and poor Freddie and I had to carry
it all.

Speaker 41 (02:24:37):
The way upstairs.

Speaker 54 (02:24:38):
Oh, we'll find out what's in it.

Speaker 41 (02:24:40):
So no, please, you shouldn't break the lockets A good one.

Speaker 29 (02:24:43):
Maybe I could pick it. I'll go up.

Speaker 54 (02:24:44):
No, No, Harold, come back here. Let Freddy do what
I told him to. Harold, Harold, come back here this minute, Harold.
You regret this making me climb these tails? Harold, do
you hear me?

Speaker 77 (02:24:57):
Ma'am?

Speaker 54 (02:24:58):
Ma'am Harold, Harold, what come over?

Speaker 7 (02:25:02):
You smash my chest?

Speaker 38 (02:25:03):
You won't?

Speaker 9 (02:25:04):
Mom said I could?

Speaker 28 (02:25:05):
She did?

Speaker 27 (02:25:05):
She did?

Speaker 54 (02:25:06):
She strike that boy?

Speaker 25 (02:25:08):
Oh?

Speaker 41 (02:25:08):
I didn't.

Speaker 54 (02:25:08):
We get thought about it. He may not be your
flesh and blood, Harold Leggs, but she's mine.

Speaker 41 (02:25:14):
He's a big loud thirty years old.

Speaker 54 (02:25:16):
He Wait up, Harold Legs, give me that hammer. Yes,
I'll fix your precious chest, your precious lot.

Speaker 41 (02:25:28):
Show him, show him.

Speaker 54 (02:25:31):
But when momnice didn't, you'll keep quiet by a cat
in the pope where you'll get him. Well, now we'll
see your grand bargain. Help me lift the lid, pretty
sure thing? Well?

Speaker 68 (02:25:46):
What weak goodness, ma'am?

Speaker 21 (02:25:51):
Why why it's empty empty? Harold Legs?

Speaker 54 (02:25:56):
Wretchel taking the bread out of the mouths of your
wife and your son to buy empty trumps?

Speaker 22 (02:26:02):
Wait?

Speaker 27 (02:26:03):
Wait for what for?

Speaker 41 (02:26:04):
What it's not empty?

Speaker 54 (02:26:08):
What are you talking about?

Speaker 4 (02:26:10):
See the whole.

Speaker 41 (02:26:12):
Inside crushed it with dried blood.

Speaker 21 (02:26:34):
Hrod, Harold Wright's not mourning.

Speaker 41 (02:26:49):
I heard something? Well, what did you hear.

Speaker 54 (02:26:52):
Didn't you hear anymore? I said, there's someone in the house.

Speaker 41 (02:26:57):
What do you mean, I don't hear anything?

Speaker 21 (02:27:04):
You hurried?

Speaker 54 (02:27:06):
Yes, up in the garret, or get up and do something?
Going to let them steal a house away from us?
There again?

Speaker 29 (02:27:15):
But why in the garret?

Speaker 54 (02:27:17):
You're gonna lie there talking wildly, but we.

Speaker 41 (02:27:19):
Have nothing there for anyone to talk.

Speaker 54 (02:27:25):
It's Freddy ready, Come on, No, no, not Harold, Come
back and don't leave me alone to be murdered.

Speaker 11 (02:27:32):
Harold, don't go up there.

Speaker 28 (02:27:33):
Harold, don't frighten me. Come up here quickly, No, no,
I'm afraid quickly, all right.

Speaker 54 (02:27:40):
All right, I'm more afraid down here than I'll be
a player much to be afraid of if.

Speaker 21 (02:27:48):
You're not afraid, Harold, so dark up here? Well, Harold,
what is it?

Speaker 78 (02:27:54):
Come here?

Speaker 27 (02:27:54):
Help me?

Speaker 68 (02:27:55):
Well?

Speaker 23 (02:27:55):
What is it?

Speaker 54 (02:27:56):
What's the matter with you?

Speaker 29 (02:27:56):
What you're Freddy?

Speaker 21 (02:27:59):
Freddy baber?

Speaker 41 (02:28:05):
The lid of the chest seems to be closed on
his head, and I can't seem to open it.

Speaker 16 (02:28:20):
We leave our the Devil and misteros story of the
Chest for a message.

Speaker 79 (02:28:26):
When you've got a family to feed, there are ways
to cut high food costs. And we'd like to tell
you about an economical, tasty way to serve top quality
meat dishes. Today's answer is high protein ham ha M
Crackus and Atalanta imported polish ham. When you buy Crackus
or Atalanta polish ham, there's no waste, no gristle, no

(02:28:49):
bone to throw away, and there's no water added either.
It's all lean, flavorful ham down to the last tasty bit.
You can even use the small amount of jelly broth
to make soups more nourishing or to create delicious graviies.
And warm weather is time for relaxing. Feeding your family
can be less work and entertaining will be more fun

(02:29:10):
if you get the Polish ham habit. It's great for
all outdoor or indoor dining, for snacks, picnics.

Speaker 20 (02:29:17):
And for every good food occasion.

Speaker 79 (02:29:19):
And polish ham may be just the most economical answer
to hotter cold meals your family and guests will love.
It's the easiest food you can prepare because polish ham
is fully cooked when you buy it, so if you wish,
just zip open the tin, slice, serve, and enjoy from
end to end.

Speaker 16 (02:29:41):
And now back to our story of the chest.

Speaker 41 (02:30:08):
It's no use going on like this.

Speaker 29 (02:30:11):
There's nothing we can do for him.

Speaker 41 (02:30:15):
I knew you loved the boy. Yes, he's the only
thing you ever loved in all your life.

Speaker 21 (02:30:21):
Oh, do something, do something you want me?

Speaker 20 (02:30:25):
What is there to do? Starn so bad?

Speaker 41 (02:30:29):
Just have to wait until morning, that's all.

Speaker 54 (02:30:31):
If you hadn't bought that infernal chest, if I hadn't
bodied you hated him for the memory of my first husband.

Speaker 41 (02:30:42):
Now I wouldn't say that.

Speaker 12 (02:30:44):
Why not.

Speaker 54 (02:30:45):
You bought the chest, so it's your doing.

Speaker 41 (02:30:48):
Well in a way, You're right. I brought the evil
into the house, now, didn't I? What are you talking about?
An unhappy house and now there's evil in it? What
do you say since we came downstairs? All these hours
since it happened, I've been thinking, thinking four, how do
you think Freddy died?

Speaker 29 (02:31:08):
And why?

Speaker 41 (02:31:09):
You're crazy?

Speaker 54 (02:31:10):
Asking me if I know how he died? I saw it,
didn't I?

Speaker 41 (02:31:14):
But I asked you why did he die?

Speaker 31 (02:31:16):
Why?

Speaker 27 (02:31:16):
Why?

Speaker 54 (02:31:17):
Because the infernal lid bit fell on his head, That's why.

Speaker 29 (02:31:21):
Oh the evil did it?

Speaker 27 (02:31:26):
Evil?

Speaker 1 (02:31:27):
Evil?

Speaker 21 (02:31:28):
You are crazy?

Speaker 54 (02:31:29):
The only thing evil which you are buying it.

Speaker 41 (02:31:32):
You just don't understand, do you?

Speaker 54 (02:31:35):
What are you're looking at me like that, for I
tell you the lid held down on his head.

Speaker 72 (02:31:39):
Evil.

Speaker 54 (02:31:42):
Stop trying to make me as.

Speaker 41 (02:31:43):
Crazy as you are.

Speaker 54 (02:31:45):
Come on back up there and help me carry my
son down so I can stretch him out, decent and respectful,
for when the Undertaker comes.

Speaker 41 (02:31:54):
I've made up my mind I won't go up there again.

Speaker 8 (02:31:56):
Oh yes you will.

Speaker 54 (02:31:58):
He lied dead in a bait.

Speaker 41 (02:32:00):
It my son not up there, No aggus, I've made
up my mind.

Speaker 27 (02:32:05):
I figured out that.

Speaker 41 (02:32:06):
Up in the garret the evil has be blasted my son.

Speaker 54 (02:32:12):
You will help me carry him down. Don't stand there,
don't stand there. Storm's over. Help me carry down his
body so I can lay it out.

Speaker 29 (02:32:20):
De Nogatha, No, hear me out.

Speaker 41 (02:32:23):
It's evil. I'll have you locked away and tell you evil.
And I knew somehow that it was there. That's why
I dragged you downstairs again so quickly. You never thought
much of me, aggie, But this time, believe me, if
I go up there with you, it means my life.

Speaker 54 (02:32:37):
I've listened to enough a split headed little word.

Speaker 21 (02:32:41):
That's what you are.

Speaker 54 (02:32:42):
There's nothing up there but that blasted chest you bought
and Predy's body. And if you won't help me bring
him down, then Craciel, I'll bring him down myself.

Speaker 41 (02:32:53):
No, Agatha, come back, come back. If I beg you, Aga,
you shouldn't have this once in all these years, you
should have listened to me. If you'd have listened this time,
I would have meant something more than.

Speaker 53 (02:33:13):
Agatha, Agusa, what's doing up there?

Speaker 7 (02:33:16):
You all right?

Speaker 27 (02:33:17):
Agasa?

Speaker 29 (02:33:17):
Do you hear me?

Speaker 43 (02:33:18):
You all right?

Speaker 41 (02:33:19):
What the matter?

Speaker 25 (02:33:24):
What?

Speaker 27 (02:33:26):
Agusa? What I haven't what's the matter?

Speaker 33 (02:33:29):
Oh?

Speaker 27 (02:33:30):
I guess I haven't helped me. I can't come up
to you.

Speaker 29 (02:33:33):
I'm afraid, Agusa.

Speaker 41 (02:33:51):
That's another hour. It's hard waiting. Eusa. I've got to
keep so quiet. I've got to listen. Perhaps you'll say something.
Call me again. I've got to know what happened. Man
can go crazy not knowing what happened. I'll keep very quiet.

(02:34:17):
Perhaps i'll hear you saying something up there, Agatha, wind.
I hear nothing but the wind, Agatha. I'm afraid to
move out of this chair, Agatha, as afraid as I've

(02:34:37):
ever been in all my life. And that's been many times. Agatha,
something safe about this chair. It's my chair. I have
said in it so many times. It knows me and
while I mean it, nothing can happen to me now,
can it? But if I were to get up, leave it,

(02:35:04):
walk toward the door, No, I won't do that. I'll
sit here and wait in the chair. And when it's
daylight again, hah, Agatha, is that you?

Speaker 29 (02:35:16):
I heard you again? Agatha?

Speaker 4 (02:35:19):
Agatha?

Speaker 29 (02:35:22):
Agatha?

Speaker 1 (02:35:22):
Why don't you answer me?

Speaker 27 (02:35:23):
I hear you moving around?

Speaker 41 (02:35:24):
Why don't you answer me?

Speaker 11 (02:35:27):
Agatha?

Speaker 27 (02:35:32):
Agatha?

Speaker 68 (02:35:33):
Isn't it you?

Speaker 41 (02:35:37):
Sounds as if.

Speaker 68 (02:35:40):
As if the heavy chest were being moved, moved along
to the head of the stairs.

Speaker 17 (02:35:53):
No, nothing more.

Speaker 68 (02:35:58):
So quiet ah, coming down the steps, coming down.

Speaker 27 (02:36:11):
At you?

Speaker 29 (02:36:13):
You're bringing the chest down.

Speaker 25 (02:36:16):
At you.

Speaker 41 (02:36:18):
No, No, it couldn't be you could have aga, And
who is bringing it down?

Speaker 1 (02:36:26):
Who is it?

Speaker 29 (02:36:26):
Answer me? Answer me?

Speaker 68 (02:36:34):
I gotta get out of here, run but I can't.

Speaker 27 (02:36:39):
I can't, too afraid.

Speaker 68 (02:36:42):
Who who is it?

Speaker 29 (02:36:45):
Because here's you, isn't it?

Speaker 53 (02:36:47):
It must be you?

Speaker 41 (02:36:49):
It must be m not many more steps than I'll see. No, No,
I won't look.

Speaker 27 (02:36:56):
I won't stop you. Whoever you are, don't bring that
chest down here? Stop stop, stop it, no further stopped.

Speaker 41 (02:37:17):
I won't have to see. I won't have to see her.
Oh no, so close by them of the stairs.

Speaker 68 (02:37:30):
I'll see you, I'll see I'll see.

Speaker 26 (02:37:35):
What.

Speaker 41 (02:37:37):
Oh if I could close my eyes only one more.

Speaker 29 (02:37:41):
Step, I know it, I know it.

Speaker 27 (02:37:45):
No, no, no, how could it be?

Speaker 45 (02:37:57):
No one?

Speaker 25 (02:37:59):
Just just no one with it?

Speaker 29 (02:38:03):
How can that be?

Speaker 52 (02:38:08):
No one?

Speaker 41 (02:38:10):
How could a trunk come down the stairs.

Speaker 27 (02:38:15):
One at a time.

Speaker 41 (02:38:18):
Alone? Daylight? Why doesn't daylight come? There's something buzzing in

(02:38:42):
my head? Oh my head? Why was it here? Staring
at that thing of evil? I've got to know, Yes,
I have gotten more.

Speaker 7 (02:39:03):
Get up.

Speaker 10 (02:39:05):
Close to it.

Speaker 41 (02:39:08):
Just a chest? Why should I be afraid of it?
Just a chest? Put my hand on it, bored moved
under my hand, sing of evil.

Speaker 27 (02:39:24):
I'll get you. You won't get me. I'll get you
my axe. Where's my ass.

Speaker 53 (02:39:30):
Closet wasn't here?

Speaker 9 (02:39:32):
Yes, you've got to find my axe.

Speaker 27 (02:39:34):
Won't get me, you blasted chest?

Speaker 25 (02:39:36):
You got it?

Speaker 41 (02:39:37):
You hear me?

Speaker 27 (02:39:38):
You evil?

Speaker 41 (02:39:39):
Axe in my hand.

Speaker 27 (02:39:40):
I'm coming for you. You came after me, but I'll
get you.

Speaker 68 (02:39:44):
I see you there at the foot of the steps,
you chest, you.

Speaker 27 (02:39:48):
Lying there so quiet.

Speaker 72 (02:39:50):
Don't you.

Speaker 68 (02:39:52):
Think I'll open you and then you'll get me too?

Speaker 41 (02:39:57):
When you won't you won't. I'm coming for you. Let's see,
I'm creeping close to you, slowly, slowly, the way you
crept down the stairs for me.

Speaker 17 (02:40:12):
How do you like it?

Speaker 41 (02:40:13):
Your evil waiting for your doom. I'll get close to you.
I'll swing my ax and then your evil will be overwhelmed.
You'll be wood wood and twisted bands of brass. And
then I won't have to be afraid anymore, now, will I?

Speaker 27 (02:40:27):
Nah, I'm close enough your doom.

Speaker 41 (02:40:30):
Just I'm your doom here. I did it, I did it,
you evill chest. You cracked you wide open.

Speaker 21 (02:40:40):
I'll pull the rest of you wide apart, and then.

Speaker 28 (02:40:50):
You were in it.

Speaker 27 (02:40:51):
My axits in your stall.

Speaker 75 (02:41:02):
Harry, Oh, Harry, mister Jamison, Harry, the chest you delivered
over applicate way.

Speaker 20 (02:41:11):
Where's the scient.

Speaker 25 (02:41:12):
Recept for you?

Speaker 45 (02:41:13):
It is a line right here, received one chess.

Speaker 78 (02:41:22):
What are you laughing at, mister Jamison?

Speaker 80 (02:41:24):
Yes, thinking, thinking of what my art.

Speaker 45 (02:41:26):
Is thinking and wondering if they've found out that the
chest was the one in which that murderer the young
last Wednesday used.

Speaker 29 (02:41:37):
To stuff his murdered victim.

Speaker 7 (02:41:39):
Cool.

Speaker 36 (02:41:40):
I wonder if that little man that bought it, what
would his name, Maggs found out about his bog.

Speaker 25 (02:41:51):
And yet.

Speaker 16 (02:41:57):
This is mister jo R. Joebler.

Speaker 46 (02:41:59):
I can just tear's somebody in the Joliet or is
a Deubut saying, Hey, wait a minute, mister Owl, you
mean to say that old chest actually killed someone? Now listen, friend,
the super normal and coincidence, who can separate the two.
I'll tell you something that really happened to me, a
very strange happening. After this pause for station business.

Speaker 68 (02:42:20):
See see leaf right here in my hands.

Speaker 27 (02:42:23):
Oh, yer, isn't a new leaf?

Speaker 12 (02:42:26):
Yes, it is a new leaf here.

Speaker 11 (02:42:29):
I'm going to turn over a new leaf. Yetty leap
new What does that mean?

Speaker 20 (02:42:36):
They turn over a new leaf?

Speaker 16 (02:42:37):
Well, I'm serious.

Speaker 68 (02:42:40):
Means that you're going to have a little.

Speaker 21 (02:42:41):
Change from what to what come there to good?

Speaker 25 (02:42:45):
Oh? Really?

Speaker 27 (02:42:46):
Yeah?

Speaker 26 (02:42:47):
Well, I suppose somebody was crying.

Speaker 54 (02:42:49):
They could switch some tears to swear.

Speaker 25 (02:42:52):
Suppose they were lonely.

Speaker 63 (02:42:54):
They could go from.

Speaker 21 (02:42:55):
Lonely neiness to having so many to plants.

Speaker 26 (02:42:58):
Well, suppose somebody wasn't loved.

Speaker 16 (02:43:00):
Did they turn over a new lea.

Speaker 54 (02:43:02):
They could go from that loving summary to love somebody.

Speaker 16 (02:43:05):
How did they do that?

Speaker 12 (02:43:07):
Oh?

Speaker 54 (02:43:07):
They have to do strider up? Somebody, just try here
so you seem to love people when you try.

Speaker 26 (02:43:13):
Love makes all things new again.

Speaker 32 (02:43:16):
Hey, what was that another sound of love from the Franciscans.

Speaker 16 (02:43:24):
This is mister Owigain.

Speaker 46 (02:43:25):
Yes, about that thin line between coincidence and the super normal.
A number of years ago, late at night, I sat
down at my typewriter to write a story. I sat
and I sat, but no ideas. Then, just as the
clock struck twelve, the idea came quickly.

Speaker 16 (02:43:41):
I began to type the story.

Speaker 46 (02:43:43):
A criminal in a hotel room, hiding from the police.
He climbs out the window and hangs from a narrow
edge high above the street. Well, I got that far
with the plot, and then, suddenly tired, I went to bed.
The next morning, the headline of the paper told of
a criminal who had hidden in the whole tell room,
and then, when the police broke in exactly at midnight,

(02:44:04):
had tried to escape by hanging from his fingers from
the narrow ledge outside the room. In other words, as
I was writing that story at the very moment, it
was actually happening.

Speaker 16 (02:44:15):
Coincidence super normal?

Speaker 20 (02:44:17):
Who knows?

Speaker 2 (02:44:18):
Now?

Speaker 16 (02:44:18):
That brings us to our next play on the series.

Speaker 46 (02:44:21):
Its title is Paris macab and it concerns itself with
two undergraduates on a summer tour of Europe who decide
to see, you know, the real Paris. They crash a
dance and discover that well, as usual, you're going to
have to wait for the rest of that until next week.

Speaker 25 (02:44:45):
It is.

Speaker 73 (02:44:49):
Later then.

Speaker 31 (02:44:53):
You thing.

Speaker 8 (02:45:12):
And the Diary of.

Speaker 81 (02:45:21):
Space plays no favorite it could happen to you, Book
seventy four, page three hundred and nine. In the Diary
of Faith, Yes, here it is the name Trina Crowley, housewife.

(02:45:53):
A record was little to distinguish it until towards the
end of the page, and there the patients become more crowded,
more distasteful. For twenty three years Trina Crowley has lived
on this dirt, and now she sits stobbing alone. For

(02:46:16):
in a few moments she will start her walk to
the gas chamber, cursing me faith for the bonds of
circumstance I wove around her.

Speaker 5 (02:46:29):
In a moment, I will read from her record in
the Diary of Faith.

Speaker 70 (02:46:35):
I hope you'll understand.

Speaker 15 (02:46:53):
Put that phone down, Jake the gun so you knew
about the money in the trunk that's just what I thought.

Speaker 5 (02:47:00):
Draw that pone, Jake, give me that gun, Trina, Hey,
where you are?

Speaker 25 (02:47:04):
Trina?

Speaker 15 (02:47:04):
Give me that he.

Speaker 11 (02:47:08):
Oh Jacob.

Speaker 69 (02:47:15):
For six years, Trina had been married to Jake Crowley,
and she felt but a certain affection for him. To Trina,
Jake had come as an answer to her prayers, the
means by which she could escape the humdrum life of
red living. But the wonderful lodge which Jake owned in

(02:47:36):
the mystic Mojave had become a dusty auto court in
the scifling desert. But let us go back to a
June morning, the last day of the tourist season. Until November,
you and your husband would be alone, Trina, merely existing

(02:47:58):
until cooler weather allowed you to open that game. You
were having breakfast with Jake, thinking of the ordeal of
surviving the lonely months ahead.

Speaker 11 (02:48:11):
Cock take the money. And it's so hot already you
can't read coffee? No, Jake, why don't we get away
somewhere this summer? Say you have to read the paper while.

Speaker 15 (02:48:23):
I'm talking, says here a guy up in pens to me.

Speaker 11 (02:48:27):
I'm sicking tired of all of this heat. The fighters say,
why don't we get a change and go away somewhere
like we used to.

Speaker 15 (02:48:34):
We can have fun, Jake, look, trainer. We can't go
away and that's final. We have some fixing up to this.
We don't have money enough.

Speaker 70 (02:48:42):
To go away.

Speaker 15 (02:48:43):
We do, we don't know.

Speaker 5 (02:48:44):
You let me read the paper you're gonna read.

Speaker 11 (02:48:47):
You might at least let me have some of the paper.

Speaker 15 (02:48:50):
That's my goodness sake here?

Speaker 11 (02:48:51):
Oh, never mind, it's not that important.

Speaker 48 (02:48:56):
Probably life nothing but a shack in the Who gentle
Bessy Halton, She maybe it's.

Speaker 15 (02:49:03):
A good thing or not?

Speaker 11 (02:49:04):
Why listen to this?

Speaker 15 (02:49:08):
Bessie Halton, owner of the Halton Lodge More Harvey, is
believed to have disappeared. It is thought she was on
her way to the bank with deposits from the lodge
when last scene she was with a tall, handsome man
about thirty five police suspect.

Speaker 11 (02:49:28):
Oh that's a lot of hooey.

Speaker 15 (02:49:30):
What do you mean hooy? She had twenty thousand dollars
with her.

Speaker 11 (02:49:33):
If I know Bessie, she'll do all right.

Speaker 15 (02:49:35):
She'll turn up and the police are all wrong.

Speaker 11 (02:49:38):
She's probably gone off somewhere having the time of her life.

Speaker 15 (02:49:42):
Stay for here, says a tall handsome stranger. That's what
happens when you play around with strange men.

Speaker 82 (02:49:48):
Oh, for goodness sake, Jake, she'll turn up someplace and
then crow about the wonderful time she had on her trip.

Speaker 11 (02:49:54):
If I know Bessie, she'll turn up.

Speaker 5 (02:49:59):
The day war on.

Speaker 69 (02:50:01):
You forgot about everything, didn't you, Trina, Everything except the heat.
And you're growing resistance towards your husband. It was growing
dark because you and he sat at the dinner table
in silence, and then a car pulled to the stop outside.

Speaker 11 (02:50:20):
Remember, Jake, there's someone outside.

Speaker 2 (02:50:27):
I heard it.

Speaker 12 (02:50:32):
Whoa.

Speaker 15 (02:50:33):
Oh listen for a room?

Speaker 5 (02:50:35):
Yeah, I was. You're not closed.

Speaker 15 (02:50:37):
I closed tomorrow. This is our last day for the season.

Speaker 70 (02:50:40):
You got something I can have for tonight?

Speaker 15 (02:50:42):
That three is open. It's the only one. It's four
or fifty.

Speaker 69 (02:50:47):
That's good enough that I found. Your place is like
a shower after a hot day like to day. And
I didn't really see the idea of driving all night.

Speaker 15 (02:50:55):
I want to go right to your room. You can
come back to the office and race her later.

Speaker 5 (02:50:59):
Thanks, I'll do that, uh say mister Barton.

Speaker 15 (02:51:04):
Look, I'll drive a car down. Mister Barton, you might
as well racer now.

Speaker 5 (02:51:07):
Oh, that's okay.

Speaker 69 (02:51:08):
I'll drive down myself while I just doesnt matter something, I'll.

Speaker 15 (02:51:14):
I'll tell you the truth.

Speaker 5 (02:51:15):
You see this close.

Speaker 15 (02:51:16):
At the end of the season, we get Payton exam.
Oh yeah, fifty dollars. It's just a minute. I'll get
to change.

Speaker 11 (02:51:31):
What's the matter, Jake?

Speaker 15 (02:51:32):
Who was that old guy named Barton driving a new packer? Well,
I'm going to put him in three eights. Yeah, gave
me fifty.

Speaker 11 (02:51:41):
Fifty dollars doll to pay for a two dollars room.

Speaker 15 (02:51:43):
I told him it was four fifty. It's trema. There's
blood on the seat of his car.

Speaker 48 (02:51:51):
Oh no, you're playing sure, I call him Ska be smart.

Speaker 15 (02:51:54):
I tell you it's blood. Something funny about that guy?

Speaker 11 (02:51:58):
Oh, Jake, stop making as he.

Speaker 15 (02:52:00):
Gets settled in three A I'm going to have a
look at his car. See it now, what you gotta say?

Speaker 10 (02:52:10):
It does?

Speaker 15 (02:52:12):
I knew there was something funny about Barton. That's why
I got into pay in advance.

Speaker 5 (02:52:16):
You're looking for something.

Speaker 15 (02:52:19):
We just noticed.

Speaker 69 (02:52:20):
There's blood on the city of your car. At least
it looks like it is blood. I cut my hand
on the windway, bandage it with my hakeachief. Not too good,
but it'll do.

Speaker 15 (02:52:29):
Oh, I'm sorry, missus Carley.

Speaker 11 (02:52:32):
We just came down to see if there was anything
you wanted.

Speaker 15 (02:52:35):
No, okay, they say, I see you got a trunk
in the back there. Want some help with it?

Speaker 5 (02:52:40):
No, I'll leave it in the car.

Speaker 15 (02:52:41):
I'll be glad to help you into the cabin with it.
You must have a lot of clothes in it.

Speaker 69 (02:52:46):
As a matter of fact, that TI is that whole
big trunk. I'm traveling for the Sword Being Tie company.
Those are samples.

Speaker 15 (02:52:53):
Sure you don't want anything, Well.

Speaker 5 (02:52:54):
Everything's fine.

Speaker 70 (02:52:55):
Thanks, don't worry about me.

Speaker 5 (02:52:56):
I'll be okay.

Speaker 11 (02:52:57):
If you want anything, mister Boughton, be sure to let no.

Speaker 69 (02:53:06):
As you walked back to the office with your husband,
you thought about his stupidity, about the heat, about his
childish imagination, and about the handsome Ralph Barton. As he
sat down a little cigarette, you realize Jake.

Speaker 15 (02:53:24):
Was talking and that a routine about cutting his hand
on the Windway TRAINA there's something funny about all this.

Speaker 11 (02:53:31):
If mister Boughton says that's how he cut his hand,
that's how it was. He doesn't look like he lies trunk.

Speaker 15 (02:53:37):
Why should he leave the trunk out in the car.

Speaker 11 (02:53:39):
He said there were ties in a his size.

Speaker 15 (02:53:42):
You never saw a whole trunk full of tige TRAINA
what look down there down the drive of three eighths?

Speaker 11 (02:53:50):
Why he's carrying his talk inside the cabin.

Speaker 15 (02:53:54):
TRAINA Essey Halton's lodge isn't too far.

Speaker 11 (02:53:57):
From here, you know, what are you trying to build
up to?

Speaker 25 (02:54:00):
Well?

Speaker 15 (02:54:00):
Beffy Houghton had disappeared and they said, a tall, handsome stranger.
It's I mister Barton is that's his name? Is tallin Hanco. Trina,
that trunk folly, you're not thinking that.

Speaker 5 (02:54:14):
I don't know.

Speaker 15 (02:54:15):
I don't know.

Speaker 69 (02:54:22):
The next morning, Trina, Jake was outside working on the
water pumping the shed. Looking up, you saw Barking walking
towards the office and you put a hand up to
brush back some unruly hair, straighten your dress.

Speaker 5 (02:54:39):
At the end of the office you.

Speaker 69 (02:54:40):
Noticed his eyes were sun breaks, like Jake, they were
deep and blue of the morning?

Speaker 70 (02:54:48):
Was the sally? Last night?

Speaker 69 (02:54:49):
Your husband said you were closing up for the season. Yes,
I just wanted if it were an absolute deadline, I'd
like to stay all a while if I could.

Speaker 11 (02:54:58):
Well, we officially I believe that.

Speaker 69 (02:55:00):
I suppose well, according to my itinerary, I don't have
to be in Carson City for four more days.

Speaker 5 (02:55:06):
And I like the heat.

Speaker 11 (02:55:09):
You like the heat here?

Speaker 69 (02:55:10):
Yes, sanely enough, I do. It's good to my sinus.
And there are too many people. I mean, I like
to quiet.

Speaker 11 (02:55:18):
Well, there's plenty of that.

Speaker 70 (02:55:19):
I think it's all right.

Speaker 5 (02:55:20):
I'll just pay in advance for four more days.

Speaker 25 (02:55:23):
There.

Speaker 82 (02:55:23):
My husband likes to play botman, so you'll have to
check with him. But just say I think it's okay,
and I'm sure we'll be able to make an exception.

Speaker 11 (02:55:31):
In your case. You can find them out in the shit.

Speaker 70 (02:55:33):
Good I'll go out and tell it.

Speaker 69 (02:55:41):
You were very pleased the chance had brought into your
draft existence something out of the usual dull routine.

Speaker 5 (02:55:49):
You had grown to hate. Ralph spot.

Speaker 69 (02:55:54):
Standing behind the curtains at the window, you could hear
your husband talking to Barton.

Speaker 15 (02:56:00):
Well, if Trina, missus Crowley said it was all right, it's.

Speaker 5 (02:56:03):
Okay with me.

Speaker 31 (02:56:04):
Good.

Speaker 70 (02:56:05):
Now, there's one other thing. I'd like to put my
car in the garage.

Speaker 69 (02:56:08):
I guess usually leave the cars out, I know, but
if I'm going to be here four more days i'd
like to protect.

Speaker 70 (02:56:14):
It from the sun.

Speaker 15 (02:56:15):
Well, I keep my car in the garage, and to
get your man, i'd have.

Speaker 70 (02:56:17):
To move a lot of stuff.

Speaker 51 (02:56:19):
And it's really pretty importantly I want to rule and
thanks God. Perhaps the ten dollars bill would make some diste. Yeah, yeah,
perhaps it would. I'll have Trina good lunch for three.

Speaker 11 (02:56:38):
Lunch is ready anytime, Jake.

Speaker 15 (02:56:40):
Okay, Now, before I call Bartan and I want to
tell you something, I'm not going to be here to
eat with you. Well, all I talk about having to
put his car in the garage. Something funny about that.
You just keep barting here and keeping business.

Speaker 11 (02:56:54):
What do you mean keeping business for how long?

Speaker 15 (02:56:57):
Look, I'm going to call Barton and tell him lunch
is ready. I won't be at the table. Can you
tell him I had to finish that work on the
pump out of the shed. Well, even let me finish,
will you? And you don't have to keep them busy
talking and eating for at least twenty minutes. While you
two are busy eating, I'm going to have a look
in that trunk.

Speaker 69 (02:57:21):
Yes, Trina Crowley, you were drawn by mixed emotions. On
the one hand, you were pleased and fluffered by Ralph
Barton's courtesy and attension. On the other hand, there was
cold fear and the thought that your husband's desicions might
prove to be correct. Thoughts become the parents of the deed.

(02:57:45):
But no mortal can conceal anything. All are written on
the pages of time, and now it is time for
another entry on your page. When I have written, I
will read from your record in the Diary of faith. Yes,

(02:58:25):
Trina Crowley, your own greed, your evil mind would soon
bring forth a decision. Or while I locked your pyeing
Ralph Barton's attention, you knew your husband Jake, was in
the cabin trying to solve the mystery of the trunk.
Something more, mister, But it says had I don't limit advertised. Certainly,

(02:58:50):
whyn't wonderful life miss Too bad your husband missed it.

Speaker 11 (02:58:54):
Oh he's so used to MICHAELA. He doesn't think twice
about it anymore.

Speaker 69 (02:58:58):
Lucky man, mister Crawley. Although I can't be a good fly, well,
if you'll.

Speaker 11 (02:59:04):
Excuse me, But you can't go yet. I have some
fresh fairy power for you.

Speaker 69 (02:59:09):
Oh no, I've got to stop sometimes kill everybody to
say here forever terrible. I think it might be fun,
but I don't think the whole office would approve nothing.
Get you that, Piers, nothing more.

Speaker 5 (02:59:23):
I'm going back to my dad. Oh, mister Barker, what
are you doing in here? Carley?

Speaker 70 (02:59:33):
Oh?

Speaker 15 (02:59:33):
I came down to clean up your room.

Speaker 70 (02:59:35):
Your wife said you were up back.

Speaker 69 (02:59:37):
Well, I thought I might just as well clean your
room for lunch. When you clean the guest rooms, you
always try to open trunks. I suggest that you leave now.

Speaker 15 (02:59:46):
Look, mister Barker, you've got this all wrong.

Speaker 70 (02:59:49):
I wouldn't want anything to happen to you, mister Caley. Yes, sir, yes, sir.

Speaker 26 (02:59:54):
Mister Barker.

Speaker 15 (03:00:00):
Told you to keep Barton here at the table until
I got back.

Speaker 11 (03:00:03):
Well, the man wasn't hungry.

Speaker 49 (03:00:04):
What can I do?

Speaker 11 (03:00:05):
Time up and force food down his throat? I tell
you I did everything I could.

Speaker 15 (03:00:09):
All right, don't blow your top. Let's trina. I'm convinced
he's got something besides tides in that trunk. He's still
concerned about it.

Speaker 11 (03:00:17):
He's important to kill her, don't.

Speaker 15 (03:00:19):
I'm convinced that, Jacob, What are you going to do?
I'm taking a car going into Mohabby to get the lady,
say you're going to leave me here, He'll be all right.
Just stay here inside. You can keep an eye on
Bark if there's a reward.

Speaker 11 (03:00:33):
I wanted, shake, Shake. What do you think really is
in that trunk?

Speaker 15 (03:00:40):
I think it's the body of Bessie Hawkins.

Speaker 69 (03:00:47):
And sold Trina. Your husband left for more hobby. He
wouldn't be back for over an hour. If you were
alone with Ralph boxing again. You had that same mixture
emotionally here that he might be the killer, and yet
a quickening of the pulse he thought of a attractiveness.

Speaker 5 (03:01:10):
And suddenly a card drove up. Good afternoon, Good afternoon, missus.

Speaker 83 (03:01:20):
Carling, would you come in, no thanks to stop buying
for a moment. Got some unpleasant news for you. They
found Bessie Holton's body in Rock Canyon. Hell, he didn't
find any money. The killer must have got away with
about twenty thousand dollars. Sure he may have more, but
they figured Bessie Holton had at least that, and I
think he left his lives.

Speaker 11 (03:01:40):
I really came out to ask you questions about what
I wondered.

Speaker 15 (03:01:43):
If you've seen any strange men.

Speaker 83 (03:01:46):
Around during the last couple of days, Why, well, I
know you're closed down for the season, so I won't
ask to see you right now. Oh, yes we are anyway,
I noticed they're on any cars in front of your cabin.

Speaker 11 (03:01:57):
Oh no, no, they're on any Do you think this
man still have the twenty thousand dollars?

Speaker 26 (03:02:02):
Oh, we're sure of it.

Speaker 5 (03:02:03):
Man, you haven't seen any of this.

Speaker 11 (03:02:05):
No, no, I haven't seen any.

Speaker 15 (03:02:08):
Get along then, thank missus Troll.

Speaker 5 (03:02:10):
Sorry to bother you, but if you happen to see
a stranger around.

Speaker 26 (03:02:14):
You, let it know.

Speaker 15 (03:02:15):
You might be that guy we're looking for.

Speaker 11 (03:02:17):
Yes, I will the dollar by streams. There was twenty
thousand dollars. Twenty thousand dollars in cash.

Speaker 5 (03:02:32):
Yes, Trina Crowley, twenty thousand dollars. Your husband was wrong.

Speaker 69 (03:02:38):
There was indeed, there couldn't be a body in that chunk,
but there couldn't be money. You've thought of this that
you walked toward cabin three as and you were smiling
as he knocked on the door of Ralph Barton's cabin. Oh, hello,
missus Crowley, I brought down and pillow capers.

Speaker 70 (03:03:01):
Oh, very thoughtful of you.

Speaker 11 (03:03:03):
Once you come in, yes, I will say, I guess
Jake was a little out of line up.

Speaker 69 (03:03:08):
Oh, I'd forgotten, I guess I blew up. Well, I'm
glad the pretty member of the College family forgives me.

Speaker 82 (03:03:16):
You see Jake so tied up in this murderer the
betthey Halton Mrs. Surely you knew about that.

Speaker 26 (03:03:23):
Well.

Speaker 70 (03:03:23):
I did read something about a disappearance that wasn't too interested.

Speaker 82 (03:03:26):
Jake was, and he went into town to get the
late papers. Wants to see if they've caught the killer yet.

Speaker 70 (03:03:34):
Oh do you think they have?

Speaker 68 (03:03:36):
No?

Speaker 11 (03:03:38):
And I think he's too smart to get caught. It's
a long drived in the hobby. They could be gone
an hour.

Speaker 70 (03:03:44):
Ageing uh strena. Yes, wasn't that a police car that
came into college?

Speaker 11 (03:03:52):
Yes, it was.

Speaker 82 (03:03:54):
The officer wanted to know if they're getting any changes
as on here, but I told him that happen'd afterwards.
You're in not exchanger now, oh y yeah, yeah. They
found us his body in Red Rock Canyons, but they
didn't find any money. The man who killed him must

(03:04:14):
still have it listened, twenty thousand dollars.

Speaker 70 (03:04:18):
Twenty thousands A lot of iron men.

Speaker 11 (03:04:21):
What did you do if you had twenty thousand dollars.

Speaker 70 (03:04:24):
Oh, I don't know, Trina.

Speaker 2 (03:04:26):
Why.

Speaker 12 (03:04:27):
Oh?

Speaker 82 (03:04:27):
I was just thinking. The guy that got that money
isn't going to have a worry in the world. Do
you suppose he has a girl?

Speaker 70 (03:04:34):
Oh, I wouldn't know.

Speaker 11 (03:04:36):
She's lucky. You know.

Speaker 48 (03:04:38):
I'd do anything for twenty thousand dollars or half of it, anything.
I might even kill for it.

Speaker 70 (03:04:46):
That's pretty broad, isn't it.

Speaker 11 (03:04:48):
Well, because you had that money, If I say, would
you take me away with you?

Speaker 84 (03:04:54):
You're married? Remember, I'm pretty one that uh you know,
let's not get involved, y, Trainer.

Speaker 25 (03:05:11):
That shouldn't have happened.

Speaker 11 (03:05:14):
Shouldn't have happen.

Speaker 69 (03:05:17):
Ye, you're very attractive girl, cat, but you're married. Why
couldn't let's keep dragging him? Now, come on, we'll walk
out to meet him. We must colley back earlier.

Speaker 15 (03:05:32):
Yes, picked up a paper at Fens and Corners. Didn't
have to go all the way to my hobby.

Speaker 11 (03:05:37):
What's the matter, Jake.

Speaker 15 (03:05:39):
Coming to the house, Trainer. I want to talk to you,
and mister Barton is you can wipe that lipstick off
and a minute I leave you make a passive park Look, Jacob,
just one of one of those things. Yeah, yeah, I
know I ended up, stand you, Trina, it.

Speaker 11 (03:06:01):
Was perfectly harmless.

Speaker 15 (03:06:03):
That man in three is probably the murderer, and you
sink making love to him is perfectly and I.

Speaker 11 (03:06:08):
Wasn't making love to him. He grabbed me and kissed me,
and then.

Speaker 15 (03:06:11):
You came in and you're sure you're not thinking about
the twenty g's in that trunk of his. The paper
say the police found the body but not the money.
So he's got the money and I'm going to turn
him in.

Speaker 5 (03:06:24):
What are you going to do on the police?

Speaker 15 (03:06:28):
Tell him where this guy is? What do you mean
that man's a killer?

Speaker 11 (03:06:32):
Put that phone down, Jake?

Speaker 15 (03:06:33):
The gun so you knew about the money in the trunk,
that's just what I thought. You give me that gun, Trina, Trina.

Speaker 38 (03:06:43):
Give me that.

Speaker 69 (03:06:49):
You stood there, terror struck for a moment, Trina, and
then the gun paddled from nerveless fingers.

Speaker 5 (03:06:57):
Your husband was dead at your feet. You'd kill him.

Speaker 11 (03:07:05):
He shot for help, said, Jake said, I shot him, Trieta,
you darlin. We've got to get away. But listen, don't
you understand?

Speaker 82 (03:07:12):
Jake said, We've got to get away, but you've got
him and he loves him, and if we can go away,
far away, maybe Mexico.

Speaker 11 (03:07:18):
Trina, You've got more money in your true and will
ever be able to say, hurry.

Speaker 5 (03:07:22):
Please traina let.

Speaker 11 (03:07:23):
Money the most important in the world. I've always got
your much. Now I've killed her. Oh my darling, hurry please.

Speaker 5 (03:07:29):
I'm trying to tell you, Trader that I don't I
love you.

Speaker 11 (03:07:32):
I always have, ever since you first walked in the door.

Speaker 69 (03:07:40):
But Ralph just stood there, Trina. He wouldn't admit to
having any money, and he wouldn't leave with you. And
then you heard something, A car, a police car was
coming in the drive, and the web was closing more
tightly around you. And then he decided on a last gamble.

Speaker 82 (03:08:06):
To please Carl Ralph, this is your last candid. If
you don't leave with me, I'll I choose you of
my husband's murder. You've already killed one person. The police
will believe anything I.

Speaker 11 (03:08:15):
Say, no say, and I won't. Okay. Officer started to
call pack in here.

Speaker 5 (03:08:24):
Hello, missus Crowley.

Speaker 25 (03:08:26):
There he is.

Speaker 11 (03:08:26):
That's the man, the murderer.

Speaker 15 (03:08:28):
He's a killer, the killer, Missus Starling.

Speaker 11 (03:08:30):
He murdered Betsy Halton, Bessy.

Speaker 83 (03:08:33):
I'm afraid there's a mistake we found the killer this
afternoon in Reno. He confessed the whole story. He was
romancing Vessey Halton for her money when she wouldn't part
with it. Well, that's not true.

Speaker 11 (03:08:44):
This man did it. I know he did it. Look
in the trunk if you don't.

Speaker 83 (03:08:48):
Believe me, all right, missus Carley, all right, take it easy.
We're looking at junk. Come on, mister, let's have a look.

Speaker 69 (03:08:58):
And so the three of you, the officer, Ralph Barton
and you Trina went to cabin three as if he
watched as the trunk was open. As the lid swung up,
the officer looked into the depths and seldom on the content.
Then he straightened.

Speaker 83 (03:09:18):
I don't know that I see anything incriminating about a
trunk full of tithes.

Speaker 11 (03:09:24):
They were tied all the time.

Speaker 69 (03:09:27):
Now, Officer, I think you'd better have a look in
the bedroom of the other house. This lady's husband is
there dead. Now my hand, the hand of fate, writes

(03:09:55):
the final entry. Lest any immortals should think Seyton kind,
cruel or unmindful of justice that must be needed out.
In a moment, I will read from the page of TWEENA.
Crawley in the Diary of Faith, and now the plan

(03:10:50):
is finished complete. A moment ago, a deadly pellet was
dropped automatically into were liquid beneath the chair in an
isolated cubicle at state.

Speaker 70 (03:11:06):
Prison, and now Treena Crawley is dead.

Speaker 69 (03:11:14):
Investigation by the authorities proved beyond a doubt that Treena
Crawley murdered her own husband. Ralph Barton was exonerated of
all suspicions. His watchfulness over his front was due to
the fact that twice before, during his career as a

(03:11:37):
salesman of men's neck where he had been robbed, And
so I closed the book. Another page in the life
of a mortal has been duly recorded in a ledger
of the universe by me Faith, I who am but

(03:11:57):
the instrument in the plans take heed? Are you who
listen and remember? There is a page for you in.

Speaker 81 (03:12:09):
The Diary of Faith, produced by Larry Finley. Diary of
Faith is a Findley transcription brought to you from Hollywood.

(03:13:41):
Adventures in Time and Space told in functure the tents.

(03:14:04):
Can you predict what will come in one hundred years,
or in ten or in the next minute. Some people
think they can nuclear scientists, mathematicians, astronomers, biologists. They'll predict
the shape of the future. Why because they make the future,

(03:14:25):
because they see beyond the known dimensions of time and
space into the unknown dimension X.

Speaker 85 (03:14:37):
We go ahead now in time to nineteen sixty five.
We're on a vast concrete runway set in the desert
of the Southwest. A giant metal ship stands before us,
prow pointed for the stars, and in five minutes the
signal will flash and it will tear up through the
atmosphere to the outer limitation.

Speaker 2 (03:15:00):
Attention, weird feel or take off?

Speaker 31 (03:15:05):
Five minutes to take off?

Speaker 38 (03:15:07):
WI up, Callie, I want to hold the procedure again,
Steve Orry, I got it straight.

Speaker 26 (03:15:15):
You just make sure, okay.

Speaker 38 (03:15:17):
I take her up on jets to fifty thousand and
then I cut in the rocket. No lore, or your
tail blast will burn out three counties. I climb four
minutes on rockets, then start Panova tests.

Speaker 31 (03:15:26):
Remember that no more than four minutes.

Speaker 1 (03:15:27):
Right.

Speaker 38 (03:15:28):
This ship isn't like those strut of rockets you've been testing.
She's the first one built for outer space.

Speaker 2 (03:15:33):
She works.

Speaker 31 (03:15:34):
She can go clear to the moon. But I know
that i'd have brought my tooth right and I'll off
this trip.

Speaker 38 (03:15:38):
I'll get this to you. You've got power there to
clear the Erth's gravitational field. But remember, after you cut
in the rockets, you've only got ten minutes fuel. If
you go beyond the outer limit and don't save fuel for.

Speaker 1 (03:15:50):
The return, I know I won't get down again.

Speaker 38 (03:15:53):
That's right, Steve, you will drift off into space. Get
that now.

Speaker 31 (03:15:57):
Ten minutes fuel got you.

Speaker 38 (03:15:59):
As far as I'm concerned, this project is a lot
more important than that cosmic ray bomb they're testing out
from the Pacific tonight.

Speaker 1 (03:16:05):
A security commission brass doesn't think so. I don't see
any undersecretaries under anything.

Speaker 31 (03:16:09):
Don't worry the long run.

Speaker 38 (03:16:11):
Our ship will make the cr bomb back paid stuff.
But in the meantime it's just as dangerous. Remember half
the principles and this ship of pure theory, Steve Slide
ruled stuff. If anything goes wrong, we may have to
scrape you off the landscape with a soup scowl.

Speaker 26 (03:16:25):
You have a charming sense a humor, and here's what
I'm getting at.

Speaker 38 (03:16:28):
We're risking your neck in this test. If anything blows,
we don't want to have the next man pull the
same boner. I i'll hank, so keep your mic open
and keep talking. If anything goes wrong, we want to
know exactly why, and we won't be able to ask you.
Let us know before you pull every switch, before you
do anything.

Speaker 31 (03:16:46):
You got thing. Yeah, even if you only have to
blow your nue.

Speaker 56 (03:16:50):
I get the stew light the way I'll throw.

Speaker 38 (03:16:53):
Well, I guess that's about all, Steve.

Speaker 1 (03:16:56):
If that reminds me. Look if Mary calls, I'm just
up on a milk run. I didn't tell today was that?

Speaker 25 (03:17:01):
How is she?

Speaker 1 (03:17:02):
She's okay, but.

Speaker 26 (03:17:02):
She's due about now, and I don't want her to
be nervous.

Speaker 38 (03:17:05):
Hey, I didn't know the baby was that close. Yeah, Steve,
I I really ought to be sending a single man
on this job.

Speaker 1 (03:17:11):
But cut me out of a paycheck. Forget it, Hank.
You know you can't get anybody else who can take
fifteen g's acceleration when those rockets cut in.

Speaker 25 (03:17:19):
Yeah, I know.

Speaker 1 (03:17:21):
It's time, Steve. Yeah, Well see you later. I'll worry, Hank.
I'll sweat for both of this. Button her up, Kelly,
sr Hank so long.

Speaker 38 (03:17:32):
We'll give you the life from control.

Speaker 4 (03:17:47):
Thanks hardy control El Are you there?

Speaker 38 (03:17:51):
Ye okay, Steve, got you on the speaker. I'm ready
to go, mister ready on radars, ergeant, mister you.

Speaker 1 (03:17:57):
Better see this.

Speaker 32 (03:17:58):
What is message sent Steve? Missus Weston just left for
the hospital.

Speaker 31 (03:18:02):
What hello, Steve, Yeah, stand by him?

Speaker 11 (03:18:04):
Mann Shall we hold the take off mister him?

Speaker 38 (03:18:06):
Oh yes, No, wait just a minute, it's it's too late.

Speaker 32 (03:18:10):
Now are you going to tell him?

Speaker 38 (03:18:12):
Maybe he's got enough to worry about.

Speaker 4 (03:18:13):
Hey, what's telling it's up hanging something.

Speaker 10 (03:18:15):
In your mind?

Speaker 38 (03:18:16):
No, no, it's it's nothing, Steve. I just wanted to
say good luck Claire for take off. Charlie, right, okay,
give him the light. All right, Steve, I'm reading your

(03:18:42):
clear I'm at twenty.

Speaker 4 (03:18:44):
Thousand, air speed sixth shundred. She's running fine. It's signed
for being works. There's a third degree waiver a the
ag white pressure.

Speaker 2 (03:18:53):
Got that, Charlie.

Speaker 1 (03:18:54):
Check a dead center on radar, mister hand eventy thousand
now cutting out the point yet how a stabber.

Speaker 4 (03:19:03):
Rock gents air speed dropping.

Speaker 56 (03:19:07):
Opening the rockets switchtaks a little, Charlie, ixy alcohol pressure
three fifty.

Speaker 4 (03:19:16):
All right, now I'm advancing to the ignition key.

Speaker 38 (03:19:19):
It goes rocket one, Steve, Steve.

Speaker 2 (03:19:27):
You all right?

Speaker 1 (03:19:28):
Yeah, you know somebody's smacking with his slench hammer hair speed.

Speaker 4 (03:19:33):
Nor there goes number two.

Speaker 20 (03:19:48):
Hello, Steve.

Speaker 4 (03:19:49):
Elapsed rocket time is now four minutes.

Speaker 2 (03:19:51):
What's your altitude?

Speaker 38 (03:19:53):
Over to you?

Speaker 1 (03:19:54):
Speed forty four hundred still climbing altitude two hundred ninety
seven miles.

Speaker 38 (03:20:00):
Alright, you're at the owner limit level off from an
uber test.

Speaker 4 (03:20:03):
You've got exactly six minutes fewel.

Speaker 1 (03:20:05):
Left, okay, starting a three degree left bank. It's a
little sluggish, that's all right. Now there's a low vibration someplace,
maybe the cockpit hatch. I'm straightening out five left now
I'm starting a three degree you're hey.

Speaker 7 (03:20:27):
What's mattering?

Speaker 4 (03:20:28):
What's wrong?

Speaker 1 (03:20:29):
There's something up here, something shining?

Speaker 38 (03:20:32):
What are you talking about?

Speaker 1 (03:20:33):
Something above me? Hank. I'm gonna chase it.

Speaker 38 (03:20:35):
Steve, Steve, you're at the order limit now I can
see it playing. Now you don't go any higher. You've
only got four minutes left. You've only got static.

Speaker 1 (03:20:44):
I can't hear you hack instead ahead, Now I'm gonna
make a pass at it.

Speaker 3 (03:20:48):
Get a good look.

Speaker 1 (03:20:51):
Hey, it's swearing to meet me instead ahead now it's
bed ahead.

Speaker 38 (03:21:07):
Hello, Hello, Hello Steve, Steve.

Speaker 49 (03:21:11):
Come in nine minutes you're gone.

Speaker 10 (03:21:13):
Still no sign on radar.

Speaker 38 (03:21:14):
Hello, Hello Steve, Steve, what's happened, Charlie, Get out the
christ squad Tell the army squadron to alert their search planes.
Right nine in a half, Hello, Hello, Steve, what's happening? Hello,
Come in, Steve, the search squad. Come in.

Speaker 56 (03:21:31):
Mister Hanson's busy.

Speaker 38 (03:21:32):
Hello, hello Steve, Hello Steve.

Speaker 32 (03:21:38):
Ten minutes, mister Hanson, that's the end of this steel.

Speaker 31 (03:22:00):
How long has it been now?

Speaker 26 (03:22:02):
Don't know?

Speaker 31 (03:22:03):
Is mister Hanson nothing more on radar? Sergeant screens blank.

Speaker 32 (03:22:08):
Colonel called in.

Speaker 11 (03:22:10):
Search planes are back. I didn't find anything.

Speaker 31 (03:22:12):
Should be some trace.

Speaker 32 (03:22:15):
Couldn't have failed out?

Speaker 38 (03:22:16):
Could he don't hit the cilk at forty four hundred
miles an hour, either went past the outer limit, ran
out of fuel. Something blue and we'll find the pieces
scattered from here to the coast. Why does it have
to be the best man, always the best.

Speaker 31 (03:22:29):
Man, I'll Charlie, Charlie. We you know, we've got to
figure out what was wrong. Something something must have belonged.

Speaker 49 (03:22:38):
As a message from Northside Hospital for the Steve.

Speaker 32 (03:22:43):
Missus Weston's fine.

Speaker 12 (03:22:45):
It's a boy.

Speaker 31 (03:22:46):
Thank you, Elsie, it's a boy, Charlie. Oh fine, fine,
it's a boy. He didn't even know she went to
the hospital. How am I going to tell Mary.

Speaker 26 (03:22:59):
That wasn't your fault, mister Hanson. Ship had to be tensed.

Speaker 25 (03:23:04):
Yeah.

Speaker 38 (03:23:04):
Yeah, we'll build another one and some other flying fool
shoot past the outer limit into space. Oh I'm getting old, Charlie.
You can remember when I used to take him up myself.
Now I've got to send other men. It's a job,
mister Hanson. Now I'm afraid. Every time I hear a
jet go off, I jump. Every time I have to
send someone up in a new model, I start to sweat.

Speaker 53 (03:23:26):
Mister Hanson.

Speaker 4 (03:23:27):
Yeah, I think there's something on the radar.

Speaker 38 (03:23:30):
No flight schedule in either, Elsie.

Speaker 32 (03:23:32):
We have a whole day clear it.

Speaker 31 (03:23:34):
It's coming in behind it.

Speaker 53 (03:23:35):
Here it runs over the building.

Speaker 38 (03:23:39):
What crazy jock is buzzing the field like that? Is
not an army plane, Charlie. I can't say it's churning, Charlie,
lurked the field. I know that engine, Steve. That's impossible,
I said, ship, it can't be. There's no other model
like that. It's steam all right.

Speaker 31 (03:24:01):
Coming in, Thank God, Thank God. All right, So Steve Quicker,

(03:24:21):
we get this done.

Speaker 38 (03:24:22):
The Quicker you get over to see Mary and the baby.

Speaker 63 (03:24:24):
Hank.

Speaker 38 (03:24:24):
Elsie give the order to check and refuel the rockets.
I don't want anybody in here until I get Steve's reports,
Bury any calls.

Speaker 31 (03:24:31):
All right, let's have it.

Speaker 38 (03:24:32):
What the devil happened here?

Speaker 4 (03:24:33):
Hank?

Speaker 1 (03:24:34):
Does that cosmic ray bomb still go off tonight?

Speaker 38 (03:24:36):
What are you talking about? Straightened out, Steve? Where you've
been for the last ten hours?

Speaker 1 (03:24:41):
Listen, Hank, there's something more.

Speaker 38 (03:24:43):
I'm come on, come on, I've got to get a
report on the screen to Washington, so let's have it.
I've got to know how you stretch ten minutes fuel
to keep you in the air for ten hours. One
thing before I talk, Stee.

Speaker 1 (03:24:52):
Geigerman run over the ship before they refuel, but you
run into so help me, Hank, I don't know better,
and make sure it isn't radioactive.

Speaker 38 (03:25:02):
Elsie had a guy to report on the standard check Steve.
Maybe we better have a doc look you over too.

Speaker 1 (03:25:08):
No, no, I'll be all right. They said I'd be
all right.

Speaker 38 (03:25:12):
They look son, I know you've had a tough time,
but we've had this feel on the alert for ten hours.
One of the army boys cracked up looking for you,
and he's hurt bad. So let's have a story. Let's
have it straight.

Speaker 1 (03:25:25):
I don't know how to tell you, Hank, I saw
something up there at three hundred miles. I chased something
up there, Hank, and I caught it.

Speaker 31 (03:25:34):
I don't hand me that with Steve.

Speaker 1 (03:25:36):
I was cruising alown, just starting the right bank, when
I spotted something must have been going about half my speed.
It was eagg shaped and smooth. I made a pass
at it, and I was coming back for another and
then there was a humming sound, humming, the sort of vibration,
and I blacked out. I was headed straight forward at
forty four hundred miles an hour. I thought it was

(03:25:56):
going to be the biggest smash in Hiroshima.

Speaker 31 (03:26:00):
I guess they were drinking that bottle.

Speaker 38 (03:26:01):
Never mind that, Steve, what happened I came to inside
their ship, Steve, this whole thing has been a devil
of a strain on you. I'm going to call Major
Donaldson from the Army base ask him to sit in psychiatrist.

Speaker 1 (03:26:20):
Yeah, yeah, that's a good idea. Let him run his tests.
He'll tell you I'm not kidding, because, Hank, unless I
miss my guests, I've just been tipped off to the
way the world ends.

Speaker 26 (03:26:40):
All right, mister Weston, Suppose you continue your story.

Speaker 31 (03:26:43):
Is let's have it, Steve.

Speaker 1 (03:26:44):
You woke up inside the ship, Yes, and the place
was jammed with machinery, dials, blinkers. I couldn't recognize anything.

Speaker 31 (03:26:54):
And you were surrounded by these men from Mars.

Speaker 1 (03:26:57):
I didn't say anything about men from Mars, didn't even
say they were men. I couldn't see them clearly. They
were just there.

Speaker 31 (03:27:06):
Where did they come from?

Speaker 25 (03:27:07):
Them?

Speaker 1 (03:27:08):
Another galaxy? Millions of miles outside of our solar system,
that's all I know. You figure out where they came from.
And they came all that distance to find the Earth.

Speaker 26 (03:27:18):
Yes, did they tell you that?

Speaker 31 (03:27:19):
Yes?

Speaker 26 (03:27:20):
You mean they spoke English to you?

Speaker 1 (03:27:22):
Oh, no, they didn't.

Speaker 26 (03:27:24):
It's funny.

Speaker 1 (03:27:25):
I hadn't thought. They didn't really speak to me at all.
They just planted the thoughts in my mind.

Speaker 26 (03:27:33):
You mean thought transfers, telepathy. Yes, that's right.

Speaker 31 (03:27:35):
Well, see what brought them here?

Speaker 25 (03:27:38):
We did, Hank.

Speaker 1 (03:27:39):
We rang their bell. We brought them in with our
atomic explosions. That's why you've got to stop that bomb
test tonight. You've got to believe me, Hank, Oh, how
can I make you understand? Maybe I can help mister Wist,
would you submit to Narcos iconotry? What's that under proper drugs?
I put you back in this ship by suggestion. Then

(03:28:05):
we can get a playback record of the memory pattern.

Speaker 26 (03:28:07):
On the audio circuit.

Speaker 1 (03:28:08):
How long will it take?

Speaker 26 (03:28:09):
Half an hour? We'll have to go over to the lab.

Speaker 1 (03:28:12):
Will you believe me? If it checks, it will give
us an accurate memory picture of what your mind reports.
All right, let's go. Thank you gotta believe me. We
haven't got much time.

Speaker 26 (03:28:36):
You should be getting drowsy. Now count back? What's feed ten?
Day nine eight seven.

Speaker 25 (03:28:51):
Sick?

Speaker 86 (03:28:55):
See he's under Now we attach the headplate, electrodes cord
will pick up look out for that.

Speaker 1 (03:29:10):
Why mister Henson, three old sitting thirty one point three?
Now though that's witch, mister Henson. I have to start
him off by suggestion. All right, Steve, you're in your ship.
Now you're in the rocket. Fuck, you're in the rocket.

(03:29:38):
You're in the rocket, and you've just cited something strange.
Now I'm starting at three degree. Right, Hey, there's something
up there, something shining his memory.

Speaker 26 (03:29:50):
Pat him. We're picking it up electronically.

Speaker 1 (03:29:52):
Something above me. Hank, I'm gonna chase.

Speaker 26 (03:29:54):
Its piped through the audio circuits.

Speaker 4 (03:29:56):
I'm getting static.

Speaker 27 (03:29:57):
I can't.

Speaker 31 (03:29:58):
Hey, Hank, this is where we lost contact with him.

Speaker 4 (03:30:00):
I'm going to make a pass out of it. Hey,
it's werving to meet me.

Speaker 32 (03:30:04):
It's not now, it's not a.

Speaker 25 (03:30:10):
No.

Speaker 26 (03:30:11):
But this is where he blacked out. There's no telling
how long minutes a hours?

Speaker 38 (03:30:16):
What's that?

Speaker 31 (03:30:17):
Noised?

Speaker 20 (03:30:17):
I don't know, clas.

Speaker 1 (03:30:20):
What How did I get in here?

Speaker 32 (03:30:24):
What?

Speaker 10 (03:30:25):
Who are you?

Speaker 25 (03:30:26):
Is he seeing things?

Speaker 31 (03:30:28):
Intergalactic patrol?

Speaker 49 (03:30:31):
What's that?

Speaker 26 (03:30:32):
What are they saying, Steve? What are they saying?

Speaker 31 (03:30:36):
It's about nuclear fission.

Speaker 38 (03:30:39):
They know about it, they know the.

Speaker 10 (03:30:42):
Danger of it.

Speaker 31 (03:30:44):
Long ago they had wars that almost destroyed.

Speaker 20 (03:30:46):
Them, and finally they learned.

Speaker 31 (03:30:49):
Now they've outlawed war.

Speaker 20 (03:30:52):
Go on, Steve.

Speaker 31 (03:30:53):
They patrol space.

Speaker 1 (03:30:56):
When their detective picks up an atomic.

Speaker 38 (03:30:58):
Explosion, they send the petrol.

Speaker 26 (03:31:01):
What are they going to do?

Speaker 87 (03:31:02):
They've quarantined us, quarantine, they've isolated the Earth because we
don't know how to control ourselves yet. Until we learn,
will be a menace to the whole universe.

Speaker 26 (03:31:15):
How are they going to do with Steve.

Speaker 88 (03:31:17):
They've spread a layer out here of I don't know
how to call it, all around the Earth, miles deep.

Speaker 1 (03:31:26):
When there's an atomic explosion on Earth, the radioactive particles
will drift up to this layer and set off a
chain reaction. You'll go around the world in microseconds.

Speaker 12 (03:31:37):
And that's the end.

Speaker 88 (03:31:40):
Yes, yes, I understand. I've got to bring back the warning.
You're going to put me back in my ship.

Speaker 17 (03:31:51):
To bring the watering.

Speaker 20 (03:31:58):
No one blacked out again.

Speaker 26 (03:32:01):
I guess that's all.

Speaker 31 (03:32:04):
What does all that mean?

Speaker 1 (03:32:05):
It's what he remembers. I don't think that really happened.
Oh No, knocos coometry circuits produced what he remembers. It
just means that Steve believes this happened.

Speaker 31 (03:32:14):
I don't like to see this.

Speaker 38 (03:32:17):
I've seen too many tough pilot snap Steve is the
best I've known.

Speaker 31 (03:32:23):
How bad you think he is?

Speaker 1 (03:32:24):
Frankly, outside of the presence of this well organized this hallucination,
there's no sign of unbalance. It may not be too serious.
If they had a more plausible story, I'd be inclined
to believe me. Why, Hank, it's all right, boy? Did
you hear it, Hank, understand, sure, sure, we've been quarantine.

Speaker 26 (03:32:45):
Let me give you something to make you sleep, Steve, don't.

Speaker 1 (03:32:48):
Jennie stand They fixed it so that if we set
off one more nuclear explosion, that'll be it.

Speaker 26 (03:32:53):
Of course, don't you sleep down.

Speaker 1 (03:32:56):
You don't believe me.

Speaker 31 (03:32:56):
Now take it easy, Steve.

Speaker 1 (03:32:57):
At the test to night setting off the see our bomb?
Think what time is it?

Speaker 31 (03:33:02):
Eleven twenty?

Speaker 1 (03:33:03):
Well, let's schedule for midnight. I think we got to
stop that bomb.

Speaker 31 (03:33:07):
Steve.

Speaker 38 (03:33:07):
Let Donaldson and give you the hyph phones.

Speaker 1 (03:33:09):
Thank you've gotta believe me.

Speaker 38 (03:33:10):
I saw them.

Speaker 27 (03:33:10):
I got the warning.

Speaker 1 (03:33:12):
If we touch off that bomb tonight, it'll be the
biggest galactic Fourth of July of all time. The whole
earth will go up like a Roman candle. April tenth,
nineteen sixty five, the end.

Speaker 38 (03:33:21):
I look, Steve, you better calm down. Don't you want
to see Mary and the baby. You've got a new son, remember, Yeah.

Speaker 1 (03:33:27):
It's just that I want to see my son. I
want him to live if that bomb goes off. I
think we've got to stop them, mister Henson. I think
we bet get over to the base. Huse, Thank you've
gotta believe.

Speaker 38 (03:33:37):
Sure, sure, Steve, maybe there is something to do it. Look,
it's out of your hands. I'll put it in a
report and shove it into Washington in the morning.

Speaker 1 (03:33:43):
In the morning. There isn't gonna be any morning, Hank.
Don't you understand. You've got to call Washington now, get
the head of the Security Commission and postpone that tet.

Speaker 10 (03:33:51):
No.

Speaker 38 (03:33:51):
You know I can't do that, Steve, Mine, that could
be out a mile. Besides, this is nineteen sixty five,
not forty five. Twenty countries have atomic arms. Now, what's
the use of stopping just this one? The rest will
keep right on popping them.

Speaker 1 (03:34:04):
We'll have to call an international conference, can't you understand, Hank,
the first one that Guzo finishes. That's at the end.
They've given us the quarantine.

Speaker 26 (03:34:13):
Morning, Steve, I think you'd better go with us to
the base hospital.

Speaker 38 (03:34:16):
Look, Steve, we can call up for a detail.

Speaker 31 (03:34:19):
If we have to.

Speaker 38 (03:34:21):
All right, all right, I'll go with you.

Speaker 2 (03:34:25):
You don't need a straight jacket.

Speaker 26 (03:34:26):
That's the way, Steve. You'll probably feel better by morning.
Let's go.

Speaker 38 (03:34:42):
We'll ask Steve tomorrow. I'll drive you over to the hospital.
See Mary and the kid. Sure, we'll give a ship
under the floodlights pretty high. You'll be flying her again soon,
don't you worry?

Speaker 2 (03:34:53):
Yeah?

Speaker 31 (03:34:54):
Yeah, I guess so.

Speaker 1 (03:34:55):
H but you don't have in the line the fuel.

Speaker 38 (03:35:00):
Yeah, we got close. It's coming in tomorrow from Denver
for another test.

Speaker 20 (03:35:03):
Figure.

Speaker 31 (03:35:03):
We give you a day off and that's good.

Speaker 38 (03:35:06):
That's fine. Steeve, Steve, come back, come on, don't Steve. Steve. Wait,
he's heading for the rocket. Look there he goes up
that crazy cool You can't get out there now that
covers armor glass. He's waving towards control. It's the radio.
He needs the radio.

Speaker 1 (03:35:25):
Come on, I should have got some hell on the radio.

Speaker 25 (03:35:32):
Steve.

Speaker 38 (03:35:33):
Look kep here, Hello, hello, Steve.

Speaker 4 (03:35:36):
Listen to me, Hank, you got a Carl Washington.

Speaker 38 (03:35:39):
Now, come out of that rocket, Steve. I'll call my Bene.

Speaker 4 (03:35:41):
Don't try anything, Hank. They wreath you old the rocket
for tomorrow.

Speaker 38 (03:35:44):
Take it easy, Steve.

Speaker 4 (03:35:45):
Listen. You know what I'll happen when I fire on
the rocket Tooke's down here.

Speaker 38 (03:35:48):
He don't turn out every building for five miles, all.

Speaker 4 (03:35:51):
Of us in one big flash.

Speaker 38 (03:35:52):
Steve, what do you want?

Speaker 4 (03:35:54):
You've got to stop that Bob.

Speaker 38 (03:35:55):
You got a Carl Washington right now, they won't believe me.

Speaker 53 (03:35:58):
You make that caller right cut in the I mean it,
thank what Mike screen to yours in parallel.

Speaker 38 (03:36:04):
I want to see exactly what you're doing, all right,
all right, just don't fire those rockets.

Speaker 4 (03:36:10):
You got twelve minutes to make that call and stop
that far.

Speaker 38 (03:36:12):
All right, I'm making the parallel hook up right now.

Speaker 31 (03:36:15):
Donaldson, you think you'll really blash?

Speaker 25 (03:36:16):
I don't know.

Speaker 26 (03:36:17):
Up to now, I don't will say it was normal.
But now he's liable to do anything.

Speaker 38 (03:36:20):
Hanson, Steve, Steve, there, you're getting it on your screen. Yeah,
put that craw through, all right, Operator Business screen to Washington.

Speaker 2 (03:36:29):
The business screen circuits are busy, sir.

Speaker 38 (03:36:31):
If you'll try again in half an hour, this is
Security Commission Priority break in. Get me a line, yes, sir,
just a moment, please listen, Steve, I'm trying.

Speaker 2 (03:36:40):
Ready to take your call, sir.

Speaker 38 (03:36:41):
Washington, Security Commission three.

Speaker 53 (03:36:43):
This is urgent.

Speaker 38 (03:36:44):
I want Under Secretary Herbert.

Speaker 2 (03:36:46):
Ames Washington three. One moment, please.

Speaker 38 (03:36:49):
Hurry, will you one moment?

Speaker 2 (03:36:50):
Please?

Speaker 31 (03:36:51):
What time is it? Donaldson?

Speaker 26 (03:36:52):
Eleven fifty one?

Speaker 31 (03:36:53):
Do you think you'll fire those rockets?

Speaker 38 (03:36:54):
You might Washington visits Screen three. Mister Herbert Ames, please
code exchange.

Speaker 49 (03:37:00):
I cannot accept your call without clearance.

Speaker 4 (03:37:01):
Get it through.

Speaker 38 (03:37:02):
Listen, Washington, put it through. This is mister Hanson at
San Marco air Base. This is a priority call. I'm
coding one moment.

Speaker 49 (03:37:09):
Please I will check your code number.

Speaker 4 (03:37:10):
Get that through us off at twout.

Speaker 38 (03:37:12):
Will you be reasonable, Steve, your call has cleared San Marco.

Speaker 49 (03:37:15):
Washington visits Screen three, Server Dames, Please.

Speaker 2 (03:37:20):
Security Commission Aimes.

Speaker 31 (03:37:22):
Listen to Ames Aimes.

Speaker 38 (03:37:23):
You gotta get me to the chief. Are you kidding?
He's in the test control room. Yes, I know, but
get him for me.

Speaker 4 (03:37:28):
What's up?

Speaker 2 (03:37:29):
You look lousy? Or is it a bad circuit?

Speaker 31 (03:37:30):
There's no time.

Speaker 38 (03:37:31):
I've got to get him before the test. It's about
the see our ball.

Speaker 2 (03:37:34):
I can't take that responsibility through right play what's going
on there?

Speaker 5 (03:37:38):
Ames?

Speaker 38 (03:37:38):
My project has a high enough rating. This is a
priority eight call.

Speaker 2 (03:37:41):
What okay, it's your an eck. I'll try to get
him for you.

Speaker 43 (03:37:45):
He's in the control room, so you'll have to switch
off your screen and speaker and go on airphones.

Speaker 2 (03:37:49):
Too much going on in there security room.

Speaker 38 (03:37:51):
Here, let's Steve, I've got to cut the incoming screen.

Speaker 4 (03:37:54):
All right, don't try anything. Eight minutes Hank.

Speaker 38 (03:38:00):
Hello, Hello, what got Yes, this is Hansome at San Marco. No, sir,
priority request to cancel the bomb test. No, no, I'm serious.
It's deadly serious. We sent the X two JTR up
today to the outer limit. We uncovered evidence. Yes, on

(03:38:23):
the automatic instruments. I was no possible chain reaction. No,
I can't tell you the whole story. There isn't time here. Yes, yes,
I'll bring the readings into Washington the morning. You've got
to postpone the test till you see them. Look, I've
worked on contracts with the Commission for ten years. Yes, yes,
I have complete confidence in my information. You can record that.
All right, I'll call you back immediately.

Speaker 20 (03:38:44):
Bye.

Speaker 38 (03:38:46):
Hey, Hey, he's agreed to cancel. Steve, the bomb won't
go off.

Speaker 31 (03:38:53):
All right, boy, you can come down. I'll shoot me.

Speaker 1 (03:39:13):
He's opening up.

Speaker 31 (03:39:16):
Here.

Speaker 26 (03:39:16):
He comes.

Speaker 38 (03:39:19):
All right, Steve, come on down.

Speaker 4 (03:39:21):
Sure, thank it's a second.

Speaker 70 (03:39:25):
Eh, thank you.

Speaker 31 (03:39:30):
I was scared.

Speaker 1 (03:39:32):
I was plain scared.

Speaker 31 (03:39:33):
He's in the house all over. The bomb won't go off,
Thank god.

Speaker 1 (03:39:39):
Look, I want to see Mary and the baby. Can
you get me transportation now wait a minute, it's almost twelve.
They won't let you in the hospital.

Speaker 25 (03:39:46):
Now.

Speaker 1 (03:39:46):
I want to see the baby, Sure you do, but
you've been under the strain. I've got a shot for you.
Here's Steve. Give you a good night sleep all right,
roll up your sleeve. Yeah here, yeah, that'll make you sleep, sergeant.

Speaker 26 (03:40:02):
We'll find you a bed, yes, sir, Come on, mister Weston, Okay.

Speaker 1 (03:40:07):
Good night, Hank. I'm kind of beat.

Speaker 4 (03:40:10):
It's been a tough night.

Speaker 1 (03:40:17):
It sure has. I thought for a minute he was
going to blast those rockets and send us all the kingdom.

Speaker 25 (03:40:23):
Come.

Speaker 31 (03:40:23):
Yeah.

Speaker 26 (03:40:25):
Quite a stunt getting the ray bomb test called off.

Speaker 38 (03:40:28):
It isn't call, but the chief Simes couldn't get the
chief I was talking to a dead circuit.

Speaker 31 (03:40:36):
Bomb goes off in a couple of minutes.

Speaker 26 (03:40:39):
Oh, poor Steve was one of the best.

Speaker 31 (03:40:45):
He was the best one and ten million some.

Speaker 1 (03:40:49):
Story of this poor guy. For a while, he almost
had me believing that quarantine. That's a very common delusion,
end of the world.

Speaker 31 (03:41:00):
Yeah, I suppose, so this nice night.

Speaker 38 (03:41:06):
Never saw the stars of right, we better be getting in.

Speaker 26 (03:41:09):
That wind is cold.

Speaker 31 (03:41:13):
The bomb goes up in thirty seconds.

Speaker 1 (03:41:17):
Of poor Steve will Hanson.

Speaker 26 (03:41:20):
There's just one thing.

Speaker 1 (03:41:22):
Yeah, it's outside my field, but I'm curious how did
he keep that ship in the air for ten hours
with only ten minutes fuel.

Speaker 57 (03:41:50):
You have just heard The Outer Limits by Graham Dor
an adventure in time space and the unknown the.

Speaker 25 (03:41:59):
Amount of.

Speaker 85 (03:42:13):
Now about next week? Have you ever heard of the
Mark three, the amazing electronic brain at Harvard that instantly
solves the most complicated scientific problems. Suppose you had a
mechanical brain like that in your house, a robot that
was always at your service, so that you could just

(03:42:34):
sit with folded hands and relax the rest of your life.
That would be nice, wouldn't perfect. That's what they thought
when it happened in the year two thousand and six.
But they were wrong, terribly wrong. How I'll tell you
next week? Tonight's story transcribed on the Mansion X. The

(03:43:00):
Outer Limit by Graham Dorr was adapted for radio by
Ernest Cannoy. Featured in the cast.

Speaker 57 (03:43:05):
Where Joseph Julian and Steve Wendell Holmes is hanked and
Joe de Santiss Major Donaldson. Your host is Norman Rose.
Music was by Albert Berman. Sound designed by Sam and
Rowe Edward King directed.

Speaker 31 (03:43:30):
Tomorrow. Here's Sam Spade. Now It's Truth or Consequences on NBC.

Speaker 89 (03:43:39):
The Strange, Doctor Weird. Good evening, Honey, won't you.

Speaker 20 (03:43:55):
Why?

Speaker 5 (03:43:56):
What's the matter?

Speaker 73 (03:43:57):
Nervous?

Speaker 25 (03:43:58):
Are you?

Speaker 89 (03:43:59):
I don't want you to be nervous. Perhaps if I
told you a story it might help to calm you.
I know a very nice story about a man who
tried to live another man's life for him. I call
it the Two Faces of Death. And now for my story,

(03:44:27):
The Two Faces of Death. In an office high about
the city, George Post of the financial firm of Post
and Joan is dictating to his secretary Nelson Smith, and
the telephorm.

Speaker 90 (03:44:40):
Ring shall I answered, mister Post, No, I'll gotta know
some hell Post speaking who Oh yes, yes, I say,
Monday morning, you say, and the tip came from.

Speaker 52 (03:44:59):
H Yes, I get it. I'll take the necessary steps
to mine.

Speaker 25 (03:45:06):
Nelson.

Speaker 45 (03:45:07):
Where are you going?

Speaker 10 (03:45:09):
Going to the washroom?

Speaker 52 (03:45:10):
Come back here, Nelson.

Speaker 90 (03:45:12):
That phone call was from a friend of mine, says
The authorities are going to investigate the firm's books Monday morning.
They got a tip that we're indulging in phony stop
deals and that tip came from you.

Speaker 2 (03:45:23):
No, no, mister turned us in.

Speaker 79 (03:45:27):
I don't know what you're talking about.

Speaker 1 (03:45:29):
What are you doing with that paper?

Speaker 25 (03:45:30):
Night?

Speaker 52 (03:45:30):
I am just going to teach you a little lesson.

Speaker 1 (03:45:34):
Don't stay away with receip.

Speaker 52 (03:45:39):
That Nelson is. Howis tool pigeon always winds up dead?

Speaker 29 (03:45:44):
Anything wrong?

Speaker 25 (03:45:45):
Girk?

Speaker 52 (03:45:45):
I thought, good lord, what if you are Dirk listen Waller?
Nelson tipped off the heads that our stop deals have
been phonies. We've got to clear out. I had to
kill Nelson. Are here to have the cops? Right, actress? Yes,
more worry. I have a plan.

Speaker 90 (03:45:58):
Well, like Nelson's body in the cloud, this is Friday,
they won't be found on Monday.

Speaker 52 (03:46:02):
But then what all right?

Speaker 90 (03:46:02):
You'll see right now, we're going to drive up to
my lodge in the mountains. I have a new lodge
keeper up there named Tonyamato. And Tony is going to
surprise you, Walter. He's going to surprise you very much.

Speaker 89 (03:46:21):
Late that evening, the two partners reached the Lonely hunting
lodge in the Aronde. And when Walter Jones comes with
a splint of Tonyamato, the lodge keeper is get me
concealing the donishment.

Speaker 70 (03:46:35):
George Post gave Tony orders to prepare dinner.

Speaker 52 (03:46:39):
I'll just rip up anything i've got.

Speaker 90 (03:46:41):
Tony where stars, Yes, mister Post, I'll had something ready
in half an hour.

Speaker 52 (03:46:44):
Good, we'll wash up me my right at the post.

Speaker 10 (03:46:48):
Wait, gosh, good?

Speaker 52 (03:46:50):
Is that the surprising why he looks just like you?

Speaker 29 (03:46:52):
He could be a twin brother.

Speaker 52 (03:46:54):
That's a surprise, Waller. You know, shape works in funny ways.
I was driving back from.

Speaker 90 (03:46:59):
Chicago as winner, and I picked up a hitchhriker Tony.
He was broken, desperate, confessed to me the police wanted
him for petty largs me. When I offered him this
job as lunchekeeper, he was so gratefully, almost crying. I
see both Tony and I recognized that we looked alike.
He thought I was helping him because of that. Actually,
I figured I might need a fall guys sometime soon,

(03:47:22):
and he'd be now.

Speaker 5 (03:47:23):
The time is year, right.

Speaker 90 (03:47:27):
Suppose the police raid this lodge and find Tony a
motto dead wearing my clothes beside him.

Speaker 52 (03:47:33):
There's a note contesting everything. What'll it look like? And
Sis died? Of course they'll bury him and stop looking
for you. Exactly you going back to town and claim
you didn't know what was going on. I'll take all
the blame and clear you entirely.

Speaker 5 (03:47:47):
Why that's perfect Joy.

Speaker 70 (03:47:49):
But after you've taken care of Tony A Motto's identity, what.

Speaker 2 (03:47:54):
Will you do.

Speaker 52 (03:47:54):
I'll go back to Chicago and get myself up to
the police.

Speaker 90 (03:47:57):
What I'll claim, Oh, they I can't remember what happened.
They're just that I committed some kind of crime and
I want to clear myself. If necessary, I'll go to
jail for six months for pretty largely it'll be.

Speaker 52 (03:48:11):
The perfect hiding place.

Speaker 91 (03:48:13):
Well, lou be jigging brilliant joy positively, Yes, Well, suppose
we get ready for dinner, going to be an important
dinner for Tony A Motto.

Speaker 52 (03:48:24):
Is least.

Speaker 92 (03:48:29):
If George spends a few months in jail, we can
certainly spend a few seconds on an important detail or
two details can be important, you know.

Speaker 2 (03:48:38):
In hats, for example, but the tails does.

Speaker 52 (03:48:40):
See how wide does the brim is the evenly fit?

Speaker 92 (03:48:45):
Is the hat fan distinctive? And does the shade harmonized
with the rest of the hat? If the size labels
as seven in a quarter, is it exactly seven in
a quarter? Or more like seven and three eight, gentlemen.
Seed may seem like small details, but add them up
and you have the difference between an ordinary hat and
one that really looks right on you. The maker is

(03:49:05):
of Adam Hat.

Speaker 20 (03:49:07):
All this well.

Speaker 52 (03:49:08):
They take a special care in the fashioning of every
detail in their long line.

Speaker 5 (03:49:12):
Of smart hats.

Speaker 4 (03:49:14):
It's this sort of style to things that assures you
of correct.

Speaker 92 (03:49:18):
Hat styling when you buy an Adam Now, doctor weird.

Speaker 89 (03:49:28):
Now our continued life story, The Two Faces of Death.
Dinner Founding Lodge is over, and George Post is inviting
Tonia Motto, who looks so faintly like him, sit down
and have a drink with Jos. Tommy is almost pasthetically
graceful doing him joy See.

Speaker 90 (03:49:48):
Mister Post, I don't know what I'd have done if
you hadn't picked me up that day.

Speaker 52 (03:49:52):
I can't tell you what this.

Speaker 5 (03:49:53):
Job means to me.

Speaker 52 (03:49:54):
George like that big hearted here coming on. It's well,
mister Jones, quietn't you? You haven't been into the village much,
have you town?

Speaker 70 (03:50:05):
Oh no, mister Post, you warned me about that.

Speaker 52 (03:50:07):
I haven't been to town once in the whole dream much. Well,
let's finish our drinks. Here's the crime.

Speaker 5 (03:50:16):
Well, mister Post, I'll clear off.

Speaker 10 (03:50:22):
That's so funny.

Speaker 70 (03:50:23):
What's wrong with me?

Speaker 52 (03:50:26):
You're dying, Tony.

Speaker 90 (03:50:27):
That's wrong dying, Yes, and poison and I drink you See, Tony,
I need your life.

Speaker 52 (03:50:33):
You're going to die and become me. I'm going to
live and become you. Simple is it?

Speaker 4 (03:50:38):
You're going to become me?

Speaker 10 (03:50:43):
Well, I'm hoping giant die.

Speaker 20 (03:50:46):
I hope you enjoyed being Tony a mote.

Speaker 52 (03:50:54):
Oh God, very nicely done, George. Yes, I think so.
In the moment, you'll join wall.

Speaker 7 (03:51:01):
I'll do it.

Speaker 52 (03:51:01):
What do you say, just that I poisoned your drink?
To you poisoned?

Speaker 15 (03:51:05):
You?

Speaker 90 (03:51:05):
Don't think I could leave you alive to double cross
me for the money we've got hitting away to I
was going to double cross Jorge, but you.

Speaker 25 (03:51:14):
Make me do it.

Speaker 12 (03:51:19):
So thank you.

Speaker 23 (03:51:24):
Day.

Speaker 70 (03:51:31):
Two days later, in the early evening, your post dressing clothes.

Speaker 89 (03:51:36):
That had belonged to his next notch a Tonier motto
detended from a bat in me down Chicago.

Speaker 5 (03:51:43):
You walked a few blocks and stopped the.

Speaker 12 (03:51:45):
Buying and paper.

Speaker 20 (03:51:48):
Should be here.

Speaker 90 (03:51:49):
I've had plenty of time to find the bodies. Here
it is thanking firm partners and suicides guys. Police dis
close to day that George Coast and Wallace Jones and
stuff for Greech firm of Posting Jones took.

Speaker 52 (03:52:02):
Their own lives save for a complete auditing.

Speaker 90 (03:52:07):
Of the books to determine the size of the swindle.
Authorities that mark the case closed. Well that said George
post is dead. Now to carry out the rest of
the plan, to get myself up to the police and
clear Tony a Motto's record.

Speaker 52 (03:52:23):
Oh oh, here comes the policeman.

Speaker 5 (03:52:25):
Now he'll do Oh, officer, what is it?

Speaker 52 (03:52:29):
Officer? I want to give myself up up?

Speaker 4 (03:52:32):
Would you be giving.

Speaker 52 (03:52:34):
Your curve up now?

Speaker 8 (03:52:35):
Tony and Mottoy?

Speaker 38 (03:52:37):
But what brings you back to Chicago?

Speaker 2 (03:52:39):
Toy?

Speaker 4 (03:52:40):
You'll know me.

Speaker 1 (03:52:41):
I know your to didn't I see you often enough,
hanging out in the pool rooms, hearing you be Oh
and then you must know what I did and what
I'm wanted for?

Speaker 25 (03:52:50):
Huh.

Speaker 90 (03:52:50):
Well, you see, I was in an auto accent I
hit my head. I can't remember much except my name
and that I was running away from the police.

Speaker 8 (03:52:57):
The police.

Speaker 2 (03:52:58):
You're running away?

Speaker 52 (03:52:59):
Yes, I I think I stole a little money. I
want to clear my So you think you to all
the different money.

Speaker 56 (03:53:05):
That's a hot one with Maybe you did, but we
don't watch it.

Speaker 53 (03:53:09):
Tony, your praise a win for all week here?

Speaker 52 (03:53:12):
You mean, I'm I'm not want to put anything, not
as far as we are conturn. But that's fine.

Speaker 20 (03:53:18):
And I I guess my memory.

Speaker 10 (03:53:36):
Your he is instinct.

Speaker 52 (03:53:39):
That's Tony all right? So that Scarlet mab got him
to Then.

Speaker 8 (03:53:43):
I tell the car coming eyes up just in time.

Speaker 52 (03:53:46):
I want to brought Tony back to Chicago.

Speaker 90 (03:53:49):
Must have known Joe Scarlett was after him for holding
out on his numbers collection.

Speaker 1 (03:53:53):
Figure it out.

Speaker 52 (03:53:54):
He was trying to tell me something about losing memory
when he got it. One of the bodies must have
seen him on the spear, recognize him. I guess we'll
have all.

Speaker 12 (03:54:04):
You speak.

Speaker 53 (03:54:05):
What is it called?

Speaker 4 (03:54:07):
I not you're going to become me?

Speaker 10 (03:54:11):
That's you're never.

Speaker 2 (03:54:14):
George very clever?

Speaker 63 (03:54:17):
No, I'm not not.

Speaker 52 (03:54:21):
Oh could he hear?

Speaker 25 (03:54:23):
And I hope you enjoy being Tony about wealth day, George,
you'll be.

Speaker 2 (03:54:29):
Too clever, too clever.

Speaker 25 (03:54:41):
He's dead in picture Tony is dead.

Speaker 89 (03:54:55):
Yeah, okak, George wants clever. But when you try to
leave somebody of his life. You can never be sure
what you're letting yourself in for Daniel, That's why it's
always best to be yourself. So if you ever meet
somebody who looks exactly like you, don't let yourself be

(03:55:16):
tempted to try what George did. I knew a man
once who thought he could. Oh, you have to go now,
and perhaps you're not in again to look for the
house on the other side of the cemetery, the house
of doctor Will.

Speaker 7 (03:55:51):
I have flown, I have said, I have moved about
this world of ours, and never in search of the
final of its kinds.

Speaker 12 (03:56:01):
We bring you the top in fine chills.

Speaker 7 (03:56:11):
The creaking door. The manufacturers of State expressed three five
sil the King's cigarettes take pleasure in presenting.

Speaker 12 (03:56:32):
The creaking door.

Speaker 7 (03:56:49):
Good evening trims, the creaking doors.

Speaker 12 (03:56:54):
The creakingle.

Speaker 7 (03:56:58):
Still do him, Les said, character Over there, he hit
his girl, trimmed over the head with a chopper, put
her in his wardrobe. It wasn't long before he had
a skeleton in his cabot. Get three fives, Get the

(03:57:32):
taste three five by stead Express, Get the taste of
international success, the taste that's.

Speaker 45 (03:57:40):
Uniquely three files.

Speaker 7 (03:57:42):
Only when no expense is better than it's making. Can
a cigarette taste so right, those moves so satisfied? Three fives?
Yet the taste, the taste that d expression created, Feel
the taste that has made three fives the King's eyes

(03:58:03):
cigarette of internationals advance.

Speaker 12 (03:58:05):
Man, get three fives to get the taste the situation?

(03:58:28):
Whose is an odd question? Can a perfect.

Speaker 7 (03:58:33):
Alibi save a murderer from the gallows? A murderer, mind you,
who died yesterday? Provoking a course matching wits with the
public hangman?

Speaker 12 (03:58:47):
But let the architect of the nightmare.

Speaker 7 (03:58:50):
Steve Barrett, speak for himself, has been up before. I'm standing.
I take a lot of kidding. That other time I
was stayed to a pair of murderers got their wild

(03:59:20):
I was in the black yellow cafe, working up the
courage to telephone, to.

Speaker 72 (03:59:34):
Call teller, my wife, my wife.

Speaker 12 (03:59:41):
I never know of words mean less.

Speaker 25 (03:59:48):
M hm.

Speaker 7 (03:59:50):
An engaged signal having you, I always got a busy
signal When I looked for a little cheer from Stella.
It was the out of murderers got their wires cut.

Speaker 77 (04:00:04):
Mystery capable of any violence against the old. You're never free,
you never let go my way escape.

Speaker 27 (04:00:17):
Beyond this.

Speaker 12 (04:00:18):
He's murdering you every minute, every day.

Speaker 28 (04:00:24):
That every day.

Speaker 7 (04:00:27):
You want.

Speaker 49 (04:00:31):
By this.

Speaker 10 (04:00:33):
We mean the gang on.

Speaker 9 (04:00:35):
In one hour we talk.

Speaker 22 (04:00:37):
You want.

Speaker 7 (04:00:41):
Wild and a lady named Seller dial herm and hear
your life.

Speaker 12 (04:00:46):
Sentence of the death.

Speaker 7 (04:00:52):
My wife is another steller. My stomach nearly answer A ton.

Speaker 76 (04:00:57):
Of live codes blowing heat to my brain.

Speaker 7 (04:01:01):
Common give me the same double.

Speaker 12 (04:01:12):
Later at home, I waited for.

Speaker 29 (04:01:30):
She came at.

Speaker 7 (04:01:31):
Midnight so I could get a key in the door,
an executioner and an evening gun, a symphony in black.
Run to herself, I'm first run home. This time I
waited to give you satay.

Speaker 12 (04:01:50):
You didn't come.

Speaker 7 (04:01:51):
I was delayed somewhere, talking to myself, leaving dads there,
I went with the friend. Good, you've got a friend.

Speaker 22 (04:02:00):
N If he's done, I'm dry, and.

Speaker 7 (04:02:12):
My sick mind.

Speaker 12 (04:02:20):
Foot called the kettle black.

Speaker 8 (04:02:24):
I watched her sleep, and.

Speaker 76 (04:02:42):
I watched the monk sleep in her sleep.

Speaker 7 (04:02:47):
I watched the make believe face.

Speaker 70 (04:02:48):
She all specially me away.

Speaker 7 (04:02:54):
Now A dark dream was painting her cheeks and her mouth,
her death.

Speaker 76 (04:03:03):
Des my dream of murder, dream of By before morning,

(04:03:30):
I found the price for my life and pride.

Speaker 12 (04:03:35):
A writ excuse lying.

Speaker 7 (04:03:38):
Carelessly in her talking box. My insurance Brillium paid in
full and duly.

Speaker 12 (04:03:43):
Recited forty pounds of past New York past. But clothes
to wear mon't just dreamy talk. It just needed my course.

Speaker 2 (04:04:00):
You say.

Speaker 7 (04:04:03):
Coffee and tell how our finances? Say existing?

Speaker 10 (04:04:08):
Who's the good?

Speaker 22 (04:04:09):
Christ?

Speaker 7 (04:04:09):
Say what you want to say? The last job ei
theft for three months ago. But we're eating. The landlord's
not threatening, and you wore a new dress last night.
I'll have that coffee now, thanks. Oh and my insurance
is all paid up. Surprise, no arrears. Coffee's dice code. Well,

(04:04:36):
what's the answer, Stella?

Speaker 12 (04:04:39):
As well?

Speaker 22 (04:04:41):
Karl Stanley?

Speaker 7 (04:04:42):
Why does Karl care? Who's your friends making secret loans
of money at my wife?

Speaker 12 (04:04:48):
I wanted the loans.

Speaker 7 (04:04:50):
It's twice to stay your pride, you would think people
you're obligated to even fain not again us?

Speaker 10 (04:04:58):
Why what is secret?

Speaker 9 (04:04:59):
Do I did this inquisition?

Speaker 7 (04:05:02):
You're brooding, miss Chaps.

Speaker 12 (04:05:04):
Of a simple act of kindness.

Speaker 27 (04:05:06):
The search for hidden murders where there are any.

Speaker 12 (04:05:12):
Degree my friend Carl and fellow's lover.

Speaker 7 (04:05:23):
I knew the other man nam I went to thank
Carl for favors.

Speaker 12 (04:05:27):
Received doctor car dwarf with greedy eyes.

Speaker 80 (04:05:35):
And that's the blonde you're dropping in like this.

Speaker 7 (04:05:47):
I had a dream about your her dream and that
you were a cat, and that you swallowed me. You're
not laughing, No, I never laughted symptoms, how but you
are laughing behind that cat smile. There's a laugh going, Steve.

Speaker 80 (04:06:05):
You're in a bad way.

Speaker 7 (04:06:06):
I didn't come here for consultation, doctor.

Speaker 80 (04:06:08):
You came to attack me well.

Speaker 7 (04:06:10):
Being careless about money. So you know about the loss
I found out a pat them. You've been keeping me
alive from You're my friend, so you owe me and
fella were in porn.

Speaker 5 (04:06:25):
So you're you've.

Speaker 7 (04:06:26):
Always put things badly, Steve, And what's the analysis for that?
But since you ask insecurity, you can't accept kindness for
what they are. Your anxiety is in now. I also
ow you a pee. I'm not your physician, Steve, nor
could I be. I'm your friend, my wife's friend, your friend.

(04:06:47):
We were together once and it was good, Steve. Steve,
let's go back to those days. Well, well were we
before her mountain climbing a log fire and pipoked before
we turned in? Remember Devil's before?

Speaker 12 (04:07:04):
What a climb let's go back to its.

Speaker 7 (04:07:07):
De fu stone at mountain cabin bejutter. We left it,
and the season is officially open. Let's go back to
its eve, all right, let's go back to it cast.

Speaker 12 (04:07:24):
We went back to it. It was open seats officially
for hunting.

Speaker 7 (04:07:34):
Deer and an officialist on an accidental fall with a
push from behind to help them four thousand feet to
smash against the boats for an accidental rifle bullet intended
for the dear.

Speaker 28 (04:07:52):
Hello, oh, oh.

Speaker 38 (04:08:04):
Sep yesterday my hat?

Speaker 12 (04:08:09):
Ye your hair?

Speaker 7 (04:08:11):
But but I'm bad? Did I didn't wear my hat?
I hung it up over there on the branch of
thattery a bulls eye car. It would have torn my
head off.

Speaker 80 (04:08:21):
How did you t to hang your hat on the branch?

Speaker 7 (04:08:24):
How did you come to shoot?

Speaker 12 (04:08:26):
Toward the movement in a portion?

Speaker 7 (04:08:28):
And then a shadow dropping his start And here I
thought him, Steve, Steve, what is this come out in
the open? If I had I began.

Speaker 8 (04:08:40):
You take you stand after.

Speaker 38 (04:08:45):
I'm foting for a rattle.

Speaker 7 (04:08:47):
Car see murder me and tom it o for an
a hundred five hundred yards of the bus.

Speaker 12 (04:08:52):
It could be a tragic mistake.

Speaker 7 (04:08:54):
The coroner wouldn't even look at your cross eyed I
had my hat on that branch to bake you, to
catch your handysn as make it a sin you as
you believe. I thok you up here where I know
it's you thought that, Why do you come to watch
my murder?

Speaker 35 (04:09:11):
To enjoy, to see you make the kill and lose it,
to see that cat smile, freeze on your mouth the
way it's freezing, nor madau i cow.

Speaker 4 (04:09:30):
It's tied against some of the time and some of
the time calm.

Speaker 7 (04:09:44):
But the next try was the mine too, death, sever
and car and a perfect alibi to the engineer, a
perfect alibi so that I would live.

Speaker 12 (04:09:58):
And tint their prayers.

Speaker 7 (04:10:11):
Get three five. Get the taste three fives by State Express.
Get the taste of international success, the taste that's uniquely
three five only when no expense is there and it's
making kin a cigarette.

Speaker 9 (04:10:27):
Taste so right, so smooth, so satisfied.

Speaker 12 (04:10:34):
Three five.

Speaker 7 (04:10:35):
Yet the taste, the taste that State Express created for you,
the taste that has made three five the king size
cigarettes of international success.

Speaker 12 (04:10:49):
Get three five.

Speaker 7 (04:10:50):
Get the taste, and now let's return to the nice
terrible tale. You wouldn't think a pair of crosswires could

(04:11:10):
produce such a double cross. Foolish steam to think that
there is such a thing as a perfect alibi.

Speaker 12 (04:11:20):
She's so intent on telephony.

Speaker 7 (04:11:41):
Hello United Airlines, I want to reserve a flight ticket
to blackout the night's plain it's got to be seven tonight.
I've got urgent business. God Steve Barrett, twenty seven sand Street, Kensington,
Flight eleven.

Speaker 2 (04:12:00):
Thank you.

Speaker 7 (04:12:01):
Oh wait, wait a minute, how long the blacker as
a plane lands at ten pm?

Speaker 10 (04:12:06):
Good?

Speaker 7 (04:12:06):
Thanks again. Top number two with an airport ticket. Off
is another airport, a competing airline, the Bristoe Airline.

Speaker 12 (04:12:27):
But I wasn't Steve gathered at this airport.

Speaker 7 (04:12:30):
Ticket off is a proper mustache face puffed out with
one of cotton stuck between my guns and cheeks. Wan
smile lines, we age the face and changes the abit
of the AdPT going up. Yes, that's a ticket to
Glasco for the eight pm side tonight.

Speaker 12 (04:12:47):
It went with me.

Speaker 7 (04:12:49):
Yes, there'll see available light seven six.

Speaker 12 (04:12:51):
The name of the sham Sham Colbert.

Speaker 7 (04:12:54):
I leave with Gilford In'm sorry about time to we
land and the brain Land with eleven pm on here.
Toper Number three was a black Arrow cafe talk a
man into hiring.

Speaker 70 (04:13:10):
Our sort of jobs.

Speaker 10 (04:13:14):
All right, I'll do it.

Speaker 25 (04:13:17):
I need that sea minion.

Speaker 7 (04:13:18):
Hey, you'll get on a new night at Airlines train
for Glasgow to night.

Speaker 12 (04:13:22):
From top to seven. You're me Steve Barrett.

Speaker 8 (04:13:25):
On the plane.

Speaker 7 (04:13:25):
You mind your own business the technom more attention necessary.

Speaker 12 (04:13:28):
Go to speak at the newspaper in your face?

Speaker 25 (04:13:30):
What do I do?

Speaker 7 (04:13:30):
On landing at ten pm? You telephone this telegram.

Speaker 26 (04:13:36):
Tells run past concerning newspapers, your.

Speaker 25 (04:13:39):
Pass and so on and so on.

Speaker 7 (04:13:41):
Phone it in from place close to ten pm as
you can, and then bludes yourself, take a train somewhere.
And then when you've murdered your wife and you're in
the clear with a perfect.

Speaker 53 (04:13:52):
Alibi, what's my caney in news?

Speaker 25 (04:13:56):
Quick?

Speaker 12 (04:13:57):
Rolling your eyes gather you'll skip it hard to work out.

Speaker 25 (04:14:00):
You know.

Speaker 7 (04:14:02):
I had forgotten as ever, tool wasn't Oh, and I'm
sure you forgot.

Speaker 25 (04:14:06):
I forgot it wasn't very you.

Speaker 12 (04:14:09):
In a daze.

Speaker 7 (04:14:11):
You know your instructions. I know something else is and
me this perfect murder has been a long time edge
with you. That's why you made inquiries about me. But
across you've been weeks trying to find.

Speaker 12 (04:14:22):
It to be blown by me.

Speaker 7 (04:14:25):
Oh I got I'm your boy now, but you're.

Speaker 45 (04:14:27):
My boy, Tom.

Speaker 12 (04:14:30):
I'll be reading about your in the newspapers.

Speaker 7 (04:14:40):
Had the perfect murder for Steller's insurance. It's been a
long time hatching with me. Had McKay a perfect stranger
reached deeper into my mind?

Speaker 12 (04:14:49):
And mind?

Speaker 7 (04:14:49):
Hadn't but Kell and Carla Crosse wise only why week?
My motive to kill, my reason for revenge was only
one week ago. I was in Carl's apartment at six

(04:15:12):
p m.

Speaker 12 (04:15:12):
Sharp waiting for him.

Speaker 7 (04:15:14):
We shared MS once before my manage to tell her
I knew Karl Harry's home at six to shave before
dinner out and his evening consultation.

Speaker 25 (04:15:30):
And car dog.

Speaker 7 (04:15:33):
Welcome home, Karl, Stee. You'll notice that I'm not using
a rifle.

Speaker 80 (04:15:41):
You're here murder me.

Speaker 7 (04:15:42):
No, I'm going to murder Tella through you, Steve, get
hold of him. No consultation, doctor, I owe you too
much already, don't have as I say.

Speaker 8 (04:15:52):
As you say, Steve, he's drinking.

Speaker 7 (04:15:56):
Let's stick initial cigarette case pace temperachief. Mentors left by
Stella in her rondezvo here with you. Scatter them about
the room, Carl, or one in a dressing table. Draw
one cares for here one there, Steve, see your mistake.

Speaker 9 (04:16:12):
Believe the other of them.

Speaker 54 (04:16:13):
Karl.

Speaker 7 (04:16:18):
Good, Now they're on the table, past the pencil and paper,
your personal stationary writers. I dictate and write in a strall, Carl,
though ready enough, ready, Tella Barras shot me.

Speaker 17 (04:16:39):
We quarreled.

Speaker 7 (04:16:41):
I wanted to end our affair, that's all. Karl dropped
your pencil.

Speaker 12 (04:16:49):
Taylor shot you and left.

Speaker 7 (04:16:52):
But you weren't dead or not at once a breath
of life was lived, just enough to name your murderer.
See see why, spirit there was nothing between your wife
and me, only concerned with you, concern enough to plot
to murder me.

Speaker 32 (04:17:05):
Steve.

Speaker 7 (04:17:05):
It's only in your mind, some morbid ideas. But I
overhurt you. You over your telephone talk is Tella? A
week ago? You got your wires crossed?

Speaker 9 (04:17:18):
Car, I was on that line calling her.

Speaker 7 (04:17:22):
My dialed home and heard myself sentenced to death.

Speaker 9 (04:17:24):
Steve, there never was such a telibien the.

Speaker 7 (04:17:27):
Light you met stellar at the cafe Creole. You've forgotten, Car.

Speaker 9 (04:17:31):
I've never been in a cafy Creole, not once in
my life.

Speaker 7 (04:17:35):
It's just something you've invented, You've just put.

Speaker 34 (04:17:37):
It out of either.

Speaker 7 (04:17:38):
It won't work, Carl, you can't mix me up.

Speaker 10 (04:17:43):
Steez.

Speaker 7 (04:17:46):
It's no reason why I am trying to hang on
to what I know.

Speaker 12 (04:17:53):
It's a minute of the sixth Car.

Speaker 7 (04:17:54):
I'm here murdering you, but at the moment I'm in
a plane ten thousand feet in the air, fled to Bascote.

Speaker 12 (04:18:00):
I know all I want to know.

Speaker 7 (04:18:03):
You'll have scattered all yourself when she's hanged your murder.

Speaker 72 (04:18:07):
Don't see no more.

Speaker 7 (04:18:18):
I struck Carl's arm against the floor where he'd fallen
to break his response. Fixed the time of his death
at two minutes PASTI. I was on a plane to
Glasgow at alias Sam Talbot as guilt study at eight
p m sharp. Sam Tolbert was a man with a
mustache and of pagi, says no resentbrance to me. My
crime had a sea next that makes murder and us bungling.

(04:18:42):
Two deaths, Carl and Stella and the perfect Adavis the engineer,
a perfect Adabs, so that I could live.

Speaker 12 (04:18:48):
In ten gays.

Speaker 7 (04:18:59):
And nights sleep with my name on a Glasgow hotel
registered in a routine application for the newspaper Drop to
cover my trip. When I was back in London late
afternoon the next day, let's say table was full of
the tempational arrest of Stella. That Stella was caught in

(04:19:23):
the toils murder of the supreme penalty. Her death was
only a question.

Speaker 12 (04:19:27):
Of time now, only time.

Speaker 10 (04:19:34):
Later.

Speaker 12 (04:19:34):
I saw a dimission of you. We said. It is
still noole this time by what her executioner now. But
her eyes on me.

Speaker 11 (04:19:49):
Poor have pity.

Speaker 27 (04:19:51):
He don't care of death.

Speaker 72 (04:19:53):
They convict me and put me to death.

Speaker 12 (04:19:55):
I know I didn't care. I wanted to be like that.
You wanted to be like that.

Speaker 9 (04:20:02):
You saw the dead to say, you live a life
to paint.

Speaker 12 (04:20:08):
I wouldn't have it any other way. You're getting what
you deserve to do.

Speaker 44 (04:20:13):
Said, because you're insaney.

Speaker 7 (04:20:17):
I never realized how, said, I must think what I
know to be, so you know only what your insanity invents.

Speaker 9 (04:20:27):
I'm sorry for you, You're sorry for me, You're sorry
for me, words with words.

Speaker 7 (04:20:46):
Stead was trying to unnerve me, steal my victory by
making me suspect my old motives, suspect my seventy car,
tried to.

Speaker 12 (04:20:56):
I was at the same after she was. When I
married her.

Speaker 7 (04:21:02):
The public prosecutor was the final ordeal, another attempt to
steal my degress. This is perfect alibi, Barret, no really
think you're anny for it. Across. I was in Glasgow
when Kyle Stanley was mad. I cabled my wife, Oh,
we know all that you ought to know that you
murdered Kyle Stanley, and it seemed to imdicate your wife.

(04:21:25):
I was in Glasgow. I left at seven pm before
the murder of karlstan There was ten thousand feet in
the air when Carl Stanley was murdered. I arrived in
glasco at ten pm. I immediately wired my wife a
very good memory about it.

Speaker 5 (04:21:36):
As it went.

Speaker 7 (04:21:36):
Savior, do ought to like to make a question me?
You was a rich sick You can, but my alibi stands.
I was in Glasgow, I left at seven pm before
the murder of Karl Stanley. I was ten thousand feet
in the air. All right, all right, I supposing irish
to tell you something even odder than that. Tell me
what you're right here now reciting your perfect alibi. You're

(04:21:56):
not here, You're dead. You died yesterday.

Speaker 9 (04:22:02):
I died yesterday, and yesterday's.

Speaker 7 (04:22:05):
Seven am flights to Glasgow on United Airlines Flight eleven
was never completed. The plane crashed. Steve Will Will Will

(04:22:28):
It seems that those Terrison lines were not merely crossed,
They were double crossed. For Steve Well, there's only one
perfect method for an alibi. When policemen asked you to

(04:22:48):
account for every minute of your time, just read them
the date from your tombstone. Get three fives.

Speaker 45 (04:23:06):
Get the taste.

Speaker 7 (04:23:09):
Three five by State Express. Get the tapes of international success,
the taste that's uniquely three five. Only when no expense
is saved and it's making, can a cigarette taste so right?
Those moves, those satisfies.

Speaker 12 (04:23:27):
Three fives.

Speaker 7 (04:23:28):
Get the taste, the taste that State Express creates for you,
the taste that has made three fives the king side
cigarette of international success.

Speaker 10 (04:23:42):
Get three five.

Speaker 9 (04:23:44):
Get the taste.

Speaker 7 (04:23:50):
This is your host taking in just a reminder of rondezvoue.

Speaker 25 (04:23:57):
Tweets were us.

Speaker 7 (04:24:12):
The manufacturers of State Express three five build a king cigarette.
Invite you to listen next Saturday at nine o'clock, when
they will again present.

Speaker 12 (04:24:27):
The creaking.

Speaker 93 (04:24:39):
Fed up with the every day grind, tied out from
the summer heat, you want to get away from it.

Speaker 38 (04:24:47):
Now we offer you.

Speaker 94 (04:24:51):
Escape, escape designed to free you from the four walls
of today.

Speaker 38 (04:24:58):
For a half hour of I adventure.

Speaker 93 (04:25:03):
You are trapped in the dark streets of an old
French town with two remaining avenues of escape. The workshop
of a fearsome knife maker are the arms of a
beautiful but deadly woman.

Speaker 94 (04:25:27):
Tonight we escape to the south of France and to
the manhunt of a master criminal. As Vincent Stara told
it in his Unusual Story the Fugitive.

Speaker 3 (04:25:46):
I had been six months in the prison of Tarante,
at the top of the hill above the little village
of Saint Just as you know. Of course, Saint just
is in the very south of France, buried in those
dark forests that lead up to the great crags of
the Pyrenee. I was enjoying this enforced hospitality after having
been convicted as a thief, and quite rightly so. Oh,

(04:26:08):
it is the fancy of some men to become bankers
of other soldiers, and had always suited my own fancy
to be a thief of it, no matter day after
they went by, with nothing to do but to look
out over the forests, watch the sunsets and the lights
in the shattood motto, and six months began to seem
like a lifetime. So in my customary logical fashion, I

(04:26:31):
decided to escape. You were addressing me, monsie le meeux.

Speaker 78 (04:26:37):
Who else do you think I expect to find you
entertaining visitors behind his hand?

Speaker 3 (04:26:43):
Who knows what the detective may think? I have never
found enough mentality in one to be able to analyze it.

Speaker 25 (04:26:48):
Ah, you still have spirit?

Speaker 20 (04:26:51):
You please?

Speaker 78 (04:26:52):
What your pity for I to be wasted and I
prison there?

Speaker 53 (04:26:55):
Well?

Speaker 3 (04:26:55):
I confess I would much rather be outside there with
you than inside here with me, And I.

Speaker 31 (04:27:01):
Can almost wish that you were.

Speaker 5 (04:27:03):
Perhaps then I will not be subored.

Speaker 3 (04:27:05):
Oh, my deepest sympathy, lemieux, have the wine cellars at
the Chateau gone Ride? Does the singer no longer serve
those luscious meals you have told me so much about.

Speaker 78 (04:27:16):
I've grown weary of it, my friend. I am a
hunter of men by nature, not the bone bevo. Sometimes
I wish you much contrive some means of escaping. I
should enjoy this spot of dragging you.

Speaker 3 (04:27:31):
Down again in that casemas you're the key.

Speaker 78 (04:27:33):
Oh, I dare say it would be rather easy the
second time I know just how your mind turns all
your little fans.

Speaker 3 (04:27:40):
Hell the key, monsieur.

Speaker 78 (04:27:41):
Then I'm a master of these guises. Should you pause
by a stream, the fisherman who handed you I drink
would suddenly turn out.

Speaker 20 (04:27:50):
To be Lemieux.

Speaker 3 (04:27:52):
You astonish me.

Speaker 78 (04:27:53):
You will perhaps register to me. Then the clerk would
smile at you, and you would seem with me. Why
dream of the impossible? Deep you heaving another foreign a
half years to serve in tarantine, and I am dining
at the ship of the moon, thou and.

Speaker 3 (04:28:15):
So Lemieux, Why not imagine I am contriving some way
to escape that should give you an appetite.

Speaker 2 (04:28:20):
You please see your way?

Speaker 20 (04:28:21):
Do deserve it?

Speaker 56 (04:28:22):
You speak of absurdities.

Speaker 3 (04:28:24):
Now, perhaps you are right. Oh well, I'm sure. Ah,
but he was gunning this lumire, sleek and pretty like
a weasel. But have you ever seen the teeth of
a weasel slashed that out of a bob? I have,
and I have seen LUMIAU do somewhat similar things. Ah,

(04:28:44):
Oh well, no matter. Half an hour after he had gone,
when dusk was falling, I lifted two iron bars from
the window of my cell, slid through and climbed down
the wall. But it was not so simple as it sounds.

Speaker 29 (04:28:57):
You know.

Speaker 3 (04:28:58):
I had been working on it for nearly two months,
secretly and quietly, and now I was free. I slunk
furtively and fearfully through the underbrush, making my way rapidly

(04:29:19):
toward the village of Saintsruis at the foot of the hill.
Behind me, At any moment, the great gun would boom
from the walls of toronteal informing the world that one
of the prisoners had made an escape. Ahead of me.
Faint flaies of lightning, warmth of a storm to come
by my happy day pace with my footsteps. I thought
to myself, how terrible indeed is this business of freedom?

(04:29:40):
How much simpler it is to.

Speaker 33 (04:29:41):
Be in prison?

Speaker 3 (04:29:43):
Well, as you may have perceived already, I am something
of a philosopher. Well no matter. It was then that
I suddenly saw a light gleaming ahead of me, and
I began to hear a strange sound. I could make
out the shape of a small open hut a few
paces ahe ahead of me. The light was thrown out
by the glowing coals in a foge, and the sound

(04:30:05):
was made by an old man beating out a piece
of metal on an angle. He was small, wrinkled, and bald,
except for two white tufts of hair that grew in
front of his eels. As I drew near quietly, I
could see that he was making a knife, and that
other knives hung on the walls of the hut. And
I had no weapon, and I began to wonder if

(04:30:26):
by some means I might steal one from him.

Speaker 53 (04:30:32):
Come in, my son, huh, it may start raining in
a moment.

Speaker 3 (04:30:36):
Well, seems you. I'm a stranger hereabouts. I lost my
way in the wood.

Speaker 31 (04:30:43):
No need I understand you were.

Speaker 3 (04:30:45):
You are a maker, own knives.

Speaker 60 (04:30:47):
Way, monsieur, you had luck to have one, perhaps.

Speaker 3 (04:30:49):
Well, old man. The fact of the matter is that,
being a law abiding citizen, I really have little need
of a knife. However, they are pretty, and the forest
is very dire. Okay, But I am at the moment
without fund, so.

Speaker 31 (04:31:02):
There is no charge.

Speaker 38 (04:31:03):
My son, Yeah, look at this one.

Speaker 3 (04:31:07):
Oh, it is a beautiful knife.

Speaker 66 (04:31:10):
Try the edge.

Speaker 3 (04:31:11):
It is quite sharp, mon diieu. Yeah right, this weapon
would say the king himself. Oh, a prince of thieves.
You are a philosopher, my son, or a thief. But
what there are words engraved on the blade, on one side,
reason and on the other irony, Reason and irony. You're

(04:31:34):
something of a philosopher your self, old maker of knives.

Speaker 63 (04:31:37):
I use different words.

Speaker 3 (04:31:39):
And different blades, but the quality is always the same.
It fits well in my hand.

Speaker 33 (04:31:44):
Then take it it is yours.

Speaker 3 (04:31:46):
With such a blade, the man could fight his way
through hell itself. I should like to see the look
on the face of monsieur. Wait, you are, not, by
any chance lumieux.

Speaker 60 (04:31:58):
Ah ha, the great gun in the wall of taranteal,
some prison or as escaped.

Speaker 3 (04:32:05):
No, my son, I am not limieux.

Speaker 33 (04:32:08):
Why do you ask?

Speaker 3 (04:32:09):
I thought for a moment, but no, no, of course not. Well,
I must be awful knife maker. I have a long
way to go, and it is starting to rain. My
deepest gratitude for your generosity.

Speaker 60 (04:32:21):
Oh we shall meet again, my son. Tell me then
after you have tried the blade. Of course, Oh wow,
the blessing.

Speaker 3 (04:32:40):
I was not afraid anymore. The rain smashed and splattered
in the trees, and the dark shadows became old friends.
I ran through the night, laughing and sometimes singing, slashing
with my knife at the leaves on the branches. Reason
and irony slash. I forgot the prison behind me, forgot
everything except my goal, a tiny cottage standing at the

(04:33:03):
very outskirts of Saint Just Mary. See mar would be
waiting there where I had left her, soft, warm, beautiful Marie,
of whom I had dreamed every night in that cusset cell.
We would go into the village together, then to the
inn of bulg Spar and with the bag of jewels
I had left with him, escape up to the Spanish

(04:33:24):
frontier to freedom. Marry, Marry, it is I'm a deep you.
Please see open the door quickly, Please what you inside?

Speaker 33 (04:33:46):
First?

Speaker 3 (04:33:47):
Ha, that is better? The shutters all closed? Good? Come
now tell me how glad you are.

Speaker 63 (04:33:53):
To see me.

Speaker 32 (04:33:54):
I am glad, but surprised. How are you here?

Speaker 3 (04:33:59):
They have not released you, not intentionally, my dear. I
reviewed my own case and decided you please see, you
are really a very fine fellow and by no means
belong here, So I released myself. You have a skipped
not completely or had any rate not yet. What oh,
what a lovely scent you are wearing married moon arm

(04:34:22):
and that dress and you one is it not?

Speaker 95 (04:34:26):
It was given to me by here, the old woman
who lives in the next cottage down the way.

Speaker 3 (04:34:32):
Well, I must leave a small diamond for her after
we have seen Paul.

Speaker 32 (04:34:35):
For this part.

Speaker 95 (04:34:36):
You are going to see him.

Speaker 3 (04:34:38):
But of course, masually we shall need money to live
in Spain.

Speaker 95 (04:34:41):
I see to please you are very wet. You must
be tired. Rest here in his chair while I run
down to the old woman's and bring whine.

Speaker 3 (04:34:49):
Then, little No, there is not time.

Speaker 95 (04:34:51):
It will only take a moment. We can go to
purse afterwards. Surely you know you're safe.

Speaker 3 (04:34:57):
Here with me, safe while le Mieux is out there place.
The others, the soldiers and the guards, they are fools,
but not Lemieux. He is cunning. I'm beginning to fancy
that I see him behind every face I meet.

Speaker 66 (04:35:09):
But surely you do not.

Speaker 3 (04:35:10):
Think of one thing. I answered that you are not Lemieux. Come,
I must touch you.

Speaker 95 (04:35:16):
It has been such a long time, so perhaps I
should go borrow a dry coat.

Speaker 3 (04:35:21):
For no, no, no, no, the rain has stopped. I
shall be dry, and by the time reach the little
ring I gave you one with the heart, you are
not wearing it.

Speaker 12 (04:35:31):
Put it away.

Speaker 95 (04:35:32):
I did not to wear it until you were with me.

Speaker 3 (04:35:35):
Again, which I am from this moment on a teeth.

Speaker 32 (04:35:38):
So it is no time to waste.

Speaker 95 (04:35:41):
We must leave now and hurry we go to Paul.
The sparse this moment now.

Speaker 3 (04:35:50):
But a few paces brought us into the streets of
the village of Saint Just. We moved quickly, and I
kept the color of my coat turned high on my face.
Soon we were making our way among the handful of
patrons who still linger at the tables of the inn,
talking in the light of candles held in empty bottles.
I kept my hand on the knife beneath my coat,
but no one glanced up. As we cross to the

(04:36:12):
far side of the room.

Speaker 95 (04:36:13):
There is at the little table in front of the office.

Speaker 3 (04:36:16):
We measurely, so he is and not changed a bit.

Speaker 56 (04:36:19):
My, what a surprise.

Speaker 53 (04:36:21):
I had no idea that you might do.

Speaker 3 (04:36:24):
You play, see mon Ami, you play?

Speaker 96 (04:36:26):
See you what?

Speaker 34 (04:36:27):
In?

Speaker 95 (04:36:27):
There is not time, Paul take him in the office.

Speaker 11 (04:36:30):
But of course I have things which must be done.

Speaker 95 (04:36:33):
I should be back very shortly.

Speaker 3 (04:36:35):
Paul, wait, I understand and come to place.

Speaker 32 (04:36:38):
See I shall her.

Speaker 33 (04:36:41):
Never fear.

Speaker 31 (04:36:44):
There it is locked, ben Amie.

Speaker 38 (04:36:47):
This is quite a surprise.

Speaker 3 (04:36:49):
I take it you are on an unofficial leaver absence completely.
So Paul, I have a pass, which is good only
so long as Lemu does not catch up with Oh
here is the one, all right. Indeed he is almost
as clever as you. Please see, but no matter you
have kept a little bag of you will say for
me quite safe. Yeah, they will sell me well in Spain.

(04:37:11):
I hope to be a cast of Frontier in an hour,
so so soon.

Speaker 31 (04:37:15):
But we have so many things to talk about.

Speaker 3 (04:37:18):
There's a little chance for talk, Paul, when a man
is running for his life.

Speaker 25 (04:37:21):
That you was.

Speaker 3 (04:37:21):
Are here across the time, nearby, nearby. We'll get them now, Paul. Well,
the fact that the matter is, they are at my
house on the other side of town.

Speaker 25 (04:37:29):
Fish.

Speaker 96 (04:37:29):
It will It will take only.

Speaker 3 (04:37:30):
A moment, and I can send someone to wait.

Speaker 20 (04:37:32):
Wait.

Speaker 3 (04:37:33):
Voices outside the door. Hear nothing, nothing at all. You
are only you signaled someone before we came in here.

Speaker 38 (04:37:39):
No no, no, no, no, no no, no, your mistake.

Speaker 3 (04:37:41):
I saw you, not the way man out there at
one of the tables. No, no, you must believe me.
I did not tie away from that door.

Speaker 38 (04:37:47):
I called you, my friend.

Speaker 3 (04:37:49):
The card will break down that door in a moment.

Speaker 32 (04:37:51):
You had better give up.

Speaker 3 (04:37:52):
You are a fool, dupless see and an hour from
now you will be back in the hotel where you belong.
I doubt it this far You'm not get on the
back door. Will either way you will not know about it?

Speaker 25 (04:38:03):
Did you.

Speaker 3 (04:38:05):
Away from that door?

Speaker 53 (04:38:07):
No, you cannot, murderous piece.

Speaker 3 (04:38:10):
I will stop you for your gold pieces horn in
my head?

Speaker 33 (04:38:14):
Ha ha ha ha.

Speaker 3 (04:38:16):
Now where is the spot in killing a man whose
only weapon is a bag of money? I am a
philosopher gold pieces. I ran down the dark streets from
the back of the inn turn corner, stuched away from
the shadows far off, like the sound of hunting dogs.

(04:38:38):
I could hear the voice of the mob, and you not.
We have to find Mary, nor of any man now
who might be tested. I ran blindly. One direction was
as good as another, and the things of reality became
clouded with those of imaginations, so I could no longer
tell them apart. Such is the great fear of the hunted,
which knows only to run, to run from unknown to

(04:39:00):
another unknown, but always to run and.

Speaker 33 (04:39:02):
Run and run.

Speaker 3 (04:39:06):
I had come to an unfamiliar part of the town,
into an open square with a building facing me. People
moved past slowly, but they paid no attention, and I
knew they were not part of the mob which followed.
Then I saw that all of them were going through
the door into the great building, the cathedral. What a
place to hide for a moment. I joined them and

(04:39:29):
was carried along in the crowd. I found myself near
the front, with people all around me. I kept my
head down and couched there, trying to stop trembling.

Speaker 96 (04:39:45):
You are to pret my friend. You seem frightened silence.

Speaker 3 (04:39:49):
Do you wish to disturb the service? Have a fear
it will continue regardless you please see one moment, monsieur,
and I shall cut your throat.

Speaker 96 (04:39:58):
Come now, put away, then, knife. I am your friend.

Speaker 3 (04:40:02):
I have always admired you.

Speaker 1 (04:40:03):
Who are you?

Speaker 96 (04:40:04):
Mayor?

Speaker 97 (04:40:05):
I keep a little shop in the village, perfume, spices, flavorings,
all things calculated to make life more agreeable.

Speaker 3 (04:40:13):
You are Alumnia in disguise, ridiculous Monsieur Lemieux at the
chat to the Monteaux.

Speaker 96 (04:40:19):
I passed him on his way there. He thinks the
mob will do his work for him. Put away, then,
I you have nothing to fear on me.

Speaker 3 (04:40:26):
That may be, but I feel much better while I
hold it in my hand, courtious.

Speaker 96 (04:40:30):
To pleasing, like the great adventurer.

Speaker 97 (04:40:33):
I always admired adventurer, a very prince of thieves, a
king of poets, and teacher of philosopher.

Speaker 3 (04:40:40):
Well, I am quite a fallow all.

Speaker 97 (04:40:42):
Indeed, you are a man who should be standing up,
not hiding his face swidering.

Speaker 3 (04:40:48):
And you are really a fellow of discernment.

Speaker 1 (04:40:52):
Indeed you are.

Speaker 3 (04:40:57):
But it is a very good knife. It has words
written on the blaze.

Speaker 31 (04:41:00):
No matter, knives are not permitted, monsieur.

Speaker 97 (04:41:02):
Look you pa see de seen you now, my friend.
You must run, but never fear we shall meet again,
I think very soon.

Speaker 3 (04:41:23):
I escaped from them again and found myself finally on
the outskirts of the far side of town. I knew
not where to go next. I looked up and my
eyes fell upon the lighted windows of the Chateau de Morteau,
standing alone above the countryside, at the very top of
a point of rock. A sudden thought occurred to me,

(04:41:45):
raising and audacious. What better sanctuary than the very chateau.
Orniere himself waited for a word of my capture. I
smiled to myself in the darkness, and then began to
climb swiftly up the face of the hoarse I stood

(04:42:07):
at last on a tiny parapet, close against the massive
stone walls of the chateau high above the countryside. Behind
me were lighted windows and the sound of voices. But
out there on the parapet there was only the night
and the stillness, stars, and a ghostly moon riding like

(04:42:30):
a silver galleon in the black pillows of the sky.
Its pale light fell on the tumbled forest below me,
on the tiny.

Speaker 33 (04:42:39):
Little village of SAgs, and touched.

Speaker 3 (04:42:43):
Faintly in the distance the far off crags of the Pyrenee,
beyond the Spanish Montier. I do not know how long
I stood there, looking down on the world. Perhaps I
was a little mad by then, of that, I'm not

(04:43:03):
quite sure. Suddenly I saw someone coming toward me on
the parapet. They had not yet seen me. Bui, mademoiselle,
Who is he?

Speaker 12 (04:43:16):
It is?

Speaker 3 (04:43:16):
I marry? Do you please?

Speaker 53 (04:43:17):
Hee?

Speaker 95 (04:43:19):
What What are you doing here?

Speaker 3 (04:43:20):
A very good question. As a matter of fact, I
think I shall use it myself. What are you doing here?

Speaker 95 (04:43:27):
I came here to find a mirror after I lost you,
of course, and you found him. I we w inside
in the banquet hall with the others. I thought that
if he should find you, then I would be there
to help.

Speaker 3 (04:43:43):
How thoughtful of you measurelie but to help him? But you,
of course, oh, how can you taught me ah very
easily this night? In fact, I believe I could doubt
the universe itself.

Speaker 95 (04:43:59):
You on it such things when you are fancying yourself
a philosopher, Oh.

Speaker 3 (04:44:03):
A fool, which is much the same thing. But here,
look at you, another new dress. The old woman is
very good.

Speaker 33 (04:44:13):
Do you marry?

Speaker 95 (04:44:15):
I am quite grateful to her.

Speaker 3 (04:44:18):
And did she also give you the ring, my dear,
the ring? The ring you are wearing, the ring which
I saw so many times on a hand that would
gasp the bars of my cell, the hand of the mere.

Speaker 32 (04:44:30):
I swear to you, it is nothing I found found.

Speaker 3 (04:44:34):
It perhaps in the same place why you lost mine.

Speaker 32 (04:44:37):
Put away the knife.

Speaker 3 (04:44:38):
It is all a mistake. It was you who brought
them up to the inn, and Paul knew you had
gone to.

Speaker 95 (04:44:42):
Do it to someone else.

Speaker 32 (04:44:44):
Please do not kill me.

Speaker 3 (04:44:47):
Let me go go away back inside to warn Amieu
that I am here.

Speaker 95 (04:44:53):
I should cut down the path here. See, Oh, you
cannot kill me. You loved me once, did you not remember?

Speaker 3 (04:45:00):
Please let me go, Then go quickly before I change
my mind.

Speaker 95 (04:45:04):
I am going and will not harm you.

Speaker 3 (04:45:08):
To the test a woman thoroughly, it is necessary first
to have love. Well, I really I am quite a fellow,
after all, a true philosopher.

Speaker 96 (04:45:20):
You h It is one of the things for which
I have always admired you.

Speaker 3 (04:45:25):
Oh, it is you, monsieur Merle the cellar of perfumes.

Speaker 96 (04:45:30):
Must you always carry that vicious knife in your hand?

Speaker 3 (04:45:33):
It is a good knife. An old man gave it
to me, and there are words on the blade. See
on one side, reason on the other, irony, Well, we.

Speaker 97 (04:45:44):
Shall have little need for either. Once we are across
the frontier in Spain. Tell me, monsieur, why do you
wish to help me? Because I like you, because you
are the press see whom I admire. And something great,
as great as that moon that shines over us, as
great as something glinted on your hand when you held
it up there.

Speaker 3 (04:46:02):
Let me see it. Nothing, It was only attack of
the moonlight. Let me see your hand.

Speaker 1 (04:46:06):
But I tell you that you too.

Speaker 3 (04:46:09):
The little ring with a heart that I gave to
her a long time ago, it is nothing my friend
I found as she found the muse. They have gone
too long without knowing for certain if this is really
a good life.

Speaker 96 (04:46:21):
Oh you you cannot mean that.

Speaker 3 (04:46:23):
Oh no, no, And you find you play see I
am going to take you to take me away, monsieur ha.
Now we shall see whether you can fly without wings? There,

(04:46:48):
down and down and down by heaven. It is like
a scene from a play. This parapet is stage, the
moon for a spotlight and a body pirouetting through space.

Speaker 60 (04:47:02):
True enough, my son, But you should not have killed him. Ah,
the weapon was made for stronger opponents.

Speaker 3 (04:47:11):
Well, old maker of knives, you said, we should probably
meet again.

Speaker 60 (04:47:18):
He is gone out of sight, and there are only
the stars and the night and the moon.

Speaker 3 (04:47:26):
What now do blessy? I do not know Spain.

Speaker 60 (04:47:30):
Perhaps Lemier would follow and there would be another marry,
another pole, and another male waiting in Spain to tell
him where you were.

Speaker 3 (04:47:41):
Have I escaped from prison to find this is everything false?
Is there no man left in the world who is true?

Speaker 70 (04:47:50):
I am only a knife maker.

Speaker 3 (04:47:52):
Well it is a good knife. It worked very well.
You have not yet tried it against.

Speaker 96 (04:48:00):
No, you are right.

Speaker 3 (04:48:04):
He is inside there in the banquet hall.

Speaker 60 (04:48:07):
It will not be an easy thing, my son, but
I know not how to warm you. You must find
it out for yourself.

Speaker 3 (04:48:16):
Warning when has do you please see if I had
need of warning. Ne'er see Monsieur and knife maker for
your excellent intentions, and I shall find out for myself.
Now the stone corridors of the chateau were empty, though

(04:48:39):
as I drew nearer I could hear the sound of
voices in the great banquet hall. I made my way
quietly to a low balcony overlooking the room, and soon
was peering through the drawn curtains that screened off the
table below. Lemieux was there, and Paul and the singer
of the Chateau, Mariad come back. So somehow, and there

(04:49:01):
were others too. Lemieux was talking.

Speaker 25 (04:49:06):
You place.

Speaker 56 (04:49:07):
He would be captured sooner or later. That I can
assure you.

Speaker 78 (04:49:09):
I know the few know how his mind works. This
is why do not even brother to chase him. He
will trap himself.

Speaker 53 (04:49:15):
Most certainly.

Speaker 31 (04:49:16):
You are right, Monsieur Lemieux.

Speaker 53 (04:49:17):
And the sooner the better, more wine my shevom bassy.

Speaker 2 (04:49:24):
Yes, you will rest a bit easier, Monsieur le Sena.

Speaker 20 (04:49:27):
Once the fellow was taken.

Speaker 95 (04:49:28):
Why did you say that?

Speaker 78 (04:49:30):
Look at those paintings of the world. Beyond the balcony.
Behind the curtain is a rum brand worth at least
a million francs. Quite a temptation for the very pie,
if he did not have something more important on his mind.

Speaker 3 (04:49:44):
I thought for one moment they were going to draw
back the curtains to reveal me standing there above them.
But then they talked of other things, and the danger passed.
I looked down upon them, couched like weasels, around the people,
tearing at their full sharp little teeth. Half mad from
the fear of being hunted. I began to fancy that
they were all animals, and their wine was the blood

(04:50:06):
of birds. While I stood there watching, Merle came in
quietly and sat down with him, Merle, whom I had
killed at all for the rabbit. I realized then what
the old maker of knives had tired to tell me.
I had not killed Merle, but only thought I had
done so, for how can a man kill his own vanity?
And Paul would always be here, of course, ready to

(04:50:28):
buy and sail with his bags of gold, and married too,
luring me with a voice filled with the warmths offtness
of pleasure and Lemieux incarnation of fate, the hundred of men?

Speaker 25 (04:50:38):
What of le Mieux?

Speaker 3 (04:50:40):
As I stared through the curtains, I knew suddenly that
I I could never kill Lemieux, that he would take
me sooner or later. For in my half crazed mind,
every face now looked the same, and every one was
the face of Lumieux. I turned to look at the
tall painting, the Rembrandt, that hung on the wall behind me.

(04:51:01):
It was the portrait of a cavalier, proud and hoty,
frozen in a pose of nobility, with one hand resting
on his sword. Should I an even better man, a
prince of thieves and philosophers, permit myself to be on
to earth at last by a pack of dogs who
did not be far better to give myself up at
my old choice. Showed them at the same time their

(04:51:22):
littleness and hard live of their victory. While I had decided,
with the point of my knife, I cut the painting
from its frame and threw it to one side. I
looked at my blade, so useless now on one side,
raison on the other irony, and then drove it into

(04:51:43):
the wood at the top of the frame.

Speaker 96 (04:51:46):
It quivered very.

Speaker 3 (04:51:46):
Moment and then was still carefully. I lighted the two
tall candles on either side, then stepped up and stood
in the frame with my back against the wall. I
smiled a moment to myself, and then reached out my
hand and took hold of the cord to draw aside
the curtains.

Speaker 94 (04:52:15):
Escape is produced and directed by Norman MacDonald. Tonight, we
have brought you The Fugitive by Vincent Starrett, adapted for
radio by Less Crutchfield, with editorial supervision by John Duckell.
Featured in tonight's cast was Louis van Rutten with Ben Wright,
Gloria Blondell, Barry Kroger Wilms Herbert and John Dayner. Special
music by Ivan Ditmarge.

Speaker 93 (04:52:40):
Next week, you were trapped a border ill fated ocean
liner captained by a dying man, while a mysterious passenger
haunting you, menacing you, seems intent on sending you to destruction.

Speaker 94 (04:53:07):
Next week we escape with James gould Cousin's dripping story
SS San Pedro.

Speaker 38 (04:53:13):
Goodnight.

Speaker 94 (04:53:14):
Then until this same time next week, when once again
we offer you escape.

Speaker 6 (04:53:38):
Thanks for listening.

Speaker 38 (04:53:40):
If you like what you heard.

Speaker 6 (04:53:40):
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 so where you can listen to free audiobooks

(04:54:01):
I've narrated, get the email newsletter, visit the store for
creepy and cool Weird Darkness merchandise. Plus, it's where you
can find the Hope in the Darkness page. If you
are someone you know is struggling with depression, addiction, or
thoughts of harming yourself or others, you can find all
of that and more at Weird Darkness dot com. I'm
Darren Marler. Thanks for joining me for tonight's retro radio

(04:54:23):
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THE STRANGE BURIAL OF ALEXANDER JORDAN: What Happens When You Are TOO Prepared For Death?

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