The Ventriloquist's Dummy That Fell in Love and Caused a Murder

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

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

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

Speaker 4 (00:36):
Present Suspense.

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

Speaker 6 (00:43):
Welcome Weirdos. I'm Darren Marler and this is retro radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
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check out Weirddarkness dot com for merchandise. Sign up for

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

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

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

Speaker 4 (01:49):
Come in. Welcome.

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

Speaker 7 (01:54):
Marshall, a somewhat what shall I say, chastened and contemplative VEG.

Speaker 4 (02:01):
This time.

Speaker 7 (02:03):
It occurs to me that every time I open the
creaking door, well not every but most times, I let
in danger, fear, bad wings and vampires, terror, and a
thousand other unnamed nightmares to haunt your dreams.

Speaker 4 (02:19):
This time I thought.

Speaker 5 (02:20):
I might change things a little.

Speaker 7 (02:23):
And bring you some light and happiness, along with, of course,
a mystery.

Speaker 4 (02:29):
There is no.

Speaker 9 (02:30):
Need for our special masquerade an elongo signorina, you are right,
I am not mister.

Speaker 10 (02:36):
Regard the wind?

Speaker 11 (02:37):
Then who are you?

Speaker 4 (02:38):
A man with a purpose.

Speaker 9 (02:40):
You can see that I have changed the champagne glasses
for it a gun which I will not hesitate to use.
I am a desperate at the man, so just to
keep walking.

Speaker 7 (03:03):
Our mystery drama Masquerade was written especially for the Mystery
Theater by Ian Martin and stars Paul Hecht and Marion Seldy's.
It is sponsored in part by True Value Hardware Stores
and Buwick Motor Division. I'll be back shortly with that one.

(03:31):
I suppose there have been more observations made on happiness
than almost anything in the world. Anatole France said, what
we call happiness is what we do not know. Don
Marquis said it was the interval between periods of unhappiness.

(03:51):
But for this story, let this definition suffice for the
young man who will bring it to you. Happiness is
not having what you want, but wanting what you have.

Speaker 12 (04:11):
My name is Henry Carter, Lodge, Cabots, Godwin the Fourth.
I have far too many names and far too much money.
But then I wasn't responsible for either of those conditions.
The name I've cut, the cat the dough, although I've
gotten rid of it, and chunk still seems to roll in.

Speaker 10 (04:30):
I've been a tennis bomb, a member.

Speaker 12 (04:32):
Of the jet set, a compulsive gambler, a copy boy
beat reporter. Now I'm sort of a roving correspondent in Europe.
Most of my roving has to do with a woman
named Lucia Peragini.

Speaker 10 (04:47):
If you don't know her, where have you been.

Speaker 12 (04:49):
She's not only the world's greatest soprano, she is also
a most fabulously beautiful woman.

Speaker 4 (04:56):
The only thing that's wrong with.

Speaker 10 (04:57):
The whole deal is I can't get her.

Speaker 4 (04:59):
To marry me.

Speaker 10 (05:00):
And here in Rome, I've caught a cold.

Speaker 11 (05:06):
Why Fortuna, what it is? Untight?

Speaker 13 (05:10):
Oh?

Speaker 10 (05:10):
Why did you say so?

Speaker 11 (05:12):
I prefer Italian to Joe.

Speaker 12 (05:14):
I'm kind of partial to Italians myself, especially the feminine to.

Speaker 14 (05:18):
Keep away from me?

Speaker 11 (05:19):
Why you might be getting a cold?

Speaker 15 (05:22):
Are you?

Speaker 10 (05:22):
I don't think so.

Speaker 16 (05:23):
Well, I hope not.

Speaker 14 (05:24):
Just in case, scoot out of my dressing him like.

Speaker 17 (05:26):
A good boy.

Speaker 10 (05:27):
Do I see you after the opera.

Speaker 11 (05:28):
Or not tonight? Cab?

Speaker 12 (05:30):
I'm very tired, so am I of chasing you all
over Europe? You realize we only have two more nights
in Rome before you take off on tour again.

Speaker 14 (05:38):
But we'll make tomorrow a big night. Have it served
for two?

Speaker 10 (05:41):
You mean we can be alone?

Speaker 11 (05:42):
Cariesimo? Idiot? To have you forgotten what lou? I wish
you wouldn't call me that it's your name?

Speaker 14 (05:49):
Do you have to keep reminding me I'm a nice
little Jewish girl from Brooklyn?

Speaker 11 (05:53):
Why do you keep buzzing around? Cab?

Speaker 12 (05:55):
I love you, I want you to marry me, and
I love you, but you don't want to marry me.

Speaker 14 (06:00):
Give me time, man, I've got a career going here.
Aren't you satisfied with what we've got?

Speaker 18 (06:06):
Nope?

Speaker 10 (06:06):
I don't want to share you.

Speaker 11 (06:08):
You want to own me.

Speaker 4 (06:08):
Well, not exactly, hmm.

Speaker 11 (06:11):
Would you care to defind that?

Speaker 4 (06:12):
Okay?

Speaker 12 (06:12):
Put it this way tomorrow is our last night together.
I thought, since you're not scheduled to sing, couldn't we
just do something together for a change.

Speaker 14 (06:21):
But Darling, that's just what I thought we'd do.

Speaker 10 (06:24):
So why didn't you say so?

Speaker 14 (06:25):
Because you seem to have forgotten just what it is
we're going to do together? What Tomorrow night is the Masquerade,
the great mask ball given by the contin Contessa del Capeto.
Everybody who's anybody's going to be there, and aren't you
going to escort me?

Speaker 12 (06:44):
So I was stuck for something as out of date
as a mask ball. Luccia is a vision of loveliness,
as the last of the capculates the tragic and exquisite
Queen of romance, the Lady Juliet. The soft glow of
pearls in her net cap is put to shame by
the shining gold of her bare shoulders. Her waist is

(07:05):
impossibly small about the great flare of her full skirts,
and her eyes dancing through her mask are alive with
romance and adventure.

Speaker 11 (07:14):
Calve, isn't this sun?

Speaker 14 (07:16):
The air is full of excitement and romance?

Speaker 11 (07:19):
Can't you sense it?

Speaker 12 (07:20):
The only thing I sense is the pungent odor of
mothballs either through my cold.

Speaker 11 (07:24):
Oh, my poor darling. You having a good time now? Smart?

Speaker 4 (07:29):
Smart, I can't.

Speaker 12 (07:31):
I'm afraid my beard might come unstuck with Lucia as Juliet.
I had been cast as Romeo, but I balked at
tights and brocaded shorts instead. Here I am perspiring miserably,
and the high crinkled boots in the yard upon yard
of brightly colored but heavily woven material that used.

Speaker 10 (07:53):
To sway the three musketeers.

Speaker 12 (07:55):
I forget which one I'm supposed to be, the one
with a beard, whatever his name was was. My cold
is getting worse, and I'm finding it hard to remember
my own name.

Speaker 10 (08:14):
What am I apologizing for?

Speaker 19 (08:16):
Be silly?

Speaker 11 (08:17):
This is a dance.

Speaker 4 (08:18):
This is a dance a minuet.

Speaker 11 (08:21):
Now take my arm circle.

Speaker 12 (08:25):
I'll try, but you're talking to a square.

Speaker 11 (08:29):
I'm gonna leave you now.

Speaker 10 (08:30):
I'm not bad at dancer, it's just.

Speaker 11 (08:33):
That now it's time for us to change partners.

Speaker 10 (08:35):
It's great. Who do I draw?

Speaker 11 (08:37):
You lose a piecing lady?

Speaker 10 (08:39):
I got news for you, lou that's no wimple. Every
bit of it is hers. Oh that the two too
solid flash, It's got news.

Speaker 11 (08:46):
For you, darling.

Speaker 14 (08:47):
A whimple is a.

Speaker 9 (08:57):
When sini.

Speaker 11 (09:00):
You know me, I thought this was a masquerade.

Speaker 9 (09:03):
No disguise that could hide the beauty of the signorina.

Speaker 14 (09:07):
My curtsy is not only for the dance, but for
the compliment we can pain.

Speaker 4 (09:12):
And I bow to your courtesy.

Speaker 14 (09:15):
But you know me who in Rome does not know
the conte capedo. Besides, if you remember, you and the
contessant greeted all the guests as they arrived, and I
think you are the only monk at the past.

Speaker 9 (09:30):
Well then I hope my guys will keep your handsome
musketeer from stealing you back, if only for a moment.
You are, after all, the bell of the.

Speaker 14 (09:39):
Ball I wouldn't say so that Ira belongs to the contestant.
I see also she's wearing a fabulous capto pearls tonight.
To a woman they are an invaluable.

Speaker 9 (09:50):
Asset possibly, but to a man their main As it
is their value, one is always worried that they will
be stolen. That is the reason for the carabinieri tever
it all, no one can leave the ballroom without identifying himself.
I had to embarrass my guess, but the less of
such precautions are necessary.

Speaker 14 (10:11):
Well, which as I admire them, I promise I shall
not steal them.

Speaker 9 (10:16):
You could be honest to welcome, since there is something
I wish you to steal from.

Speaker 11 (10:22):
You come for really, I.

Speaker 9 (10:24):
Mean alday, a small fellowel after the minuette, will you
sing for us?

Speaker 20 (10:32):
Oh?

Speaker 14 (10:32):
If you wish, But for now, Chow, I must return
to my bold musketeer.

Speaker 11 (10:41):
Welcome, my darn. How is the lady with a whimple?

Speaker 10 (10:45):
Horror?

Speaker 14 (10:46):
There's no way to speak of our hostess.

Speaker 4 (10:48):
That's the contessa. Brother me. She choke you for one moment.

Speaker 12 (10:53):
I thought she would when I got all tangled up
with a rope of phony pearls she's wearing.

Speaker 21 (10:59):
Me.

Speaker 11 (11:00):
Those are not fake.

Speaker 14 (11:01):
They're a genuine article. They've been valued at over half
a million.

Speaker 10 (11:05):
Yeah, that's real heavy dough. And they suited her to
a tea. How do you make up with our Italian.

Speaker 11 (11:09):
Monk, you mean our host?

Speaker 10 (11:11):
Well, it is the conte, isn't it.

Speaker 14 (11:13):
None of that except that, since this is the night
for disguise, he's supposed to be sevenarola, he looks more.

Speaker 12 (11:19):
Like resputant and acted that way. He was all over you.

Speaker 10 (11:22):
Oh he was only asking you to sing for your supper.

Speaker 11 (11:24):
I'll knock it off, keV.

Speaker 14 (11:26):
This man spends a lot of money supporting opera. The
least I can do is show some appreciation.

Speaker 3 (11:31):
All right, honey, when right after the dance, as soon
as this one ends?

Speaker 10 (11:35):
Does it? Ever?

Speaker 11 (11:36):
Oh, poor baby, you're not enjoying yourself very much, are you?

Speaker 10 (11:40):
Blue cheer baby, I'm delirious with dejection.

Speaker 11 (11:44):
I'll tell you what.

Speaker 14 (11:45):
While I'm singing, you get two glasses of champagne and
meet me by that door right over there, And as
soon as I'm through, we'll sneak out of the gardens
for a little while together.

Speaker 10 (11:55):
Now you're talking my language.

Speaker 14 (11:57):
Maybe while I'm singing, you should have a glass yourself
to lift your spirits and fight that cold.

Speaker 4 (12:02):
You have no fear.

Speaker 10 (12:03):
I got it all figured out now. There had to
be some reason for these musketeers to wear these hip
hugger boots. What now, the way they droop, Who's going
to know?

Speaker 12 (12:10):
I'm smuggling out a special bottle for each of us
when we run through the guard. I'll meet you at
that side door after your second.

Speaker 14 (12:16):
Encore, and I could try to smuggle how bottles of
champagne just a joke.

Speaker 10 (12:19):
A poor one, but mine own. I'll settle for a glass.

Speaker 12 (12:22):
In each hand, and as long as I can have
with you alone.

Speaker 14 (12:35):
I am cab Oh, I see you have our champagne already.

Speaker 11 (12:38):
Should we go?

Speaker 4 (12:39):
Sure thing? Oh?

Speaker 11 (12:41):
Your coal sounds.

Speaker 14 (12:43):
Terrible, darling, you want to go home? Oh maybe some
fresh air will help. Excuse me, Kabinari.

Speaker 4 (12:49):
No, no sign.

Speaker 20 (12:50):
It is you who must excuse me. As you see,
I am of the police. It is necessary that you
must identify yourself before you go outside.

Speaker 11 (12:58):
You don't know me.

Speaker 20 (13:00):
It is to laugh, of course, even with a mask.

Speaker 13 (13:03):
Who could not know you?

Speaker 10 (13:04):
Signorina Perugini.

Speaker 20 (13:06):
But I have my orders, so perpieg All right.

Speaker 11 (13:11):
I have raised my mask. Now are you satisfied?

Speaker 4 (13:14):
Oh? Satisfied?

Speaker 20 (13:16):
No, the least imaginaria, only blinded because I have looked
on the sun.

Speaker 10 (13:22):
Of course, Please pass.

Speaker 14 (13:24):
My companion with a glass in each hand is my
Shall I take one of the glasses so he can
raise his noun?

Speaker 4 (13:31):
No?

Speaker 22 (13:31):
No, no, no no.

Speaker 20 (13:32):
If you are the most loved at the ball tonight,
this man with you is the most hated, hated, Well
he is everybody knows.

Speaker 10 (13:40):
The American of your.

Speaker 20 (13:41):
Choice so why should not every other man hate him?

Speaker 23 (13:45):
Ah?

Speaker 14 (13:45):
Thank you signor Caberrei for your lovely compliment.

Speaker 20 (13:49):
Thank you Signorina for your lovely singing.

Speaker 14 (13:54):
Where should we go?

Speaker 10 (13:55):
Cam down the steps behind the trees, there's a little piazza.

Speaker 14 (14:00):
I'm so right about your dying. You really are sick.
You just don't sound like yourself. Your voice is so strange.

Speaker 11 (14:08):
Ah, of course you're not tired.

Speaker 9 (14:12):
We won't need this champagne any more, or this special masquerade.

Speaker 4 (14:17):
No, I am not sure, mister Goodwin.

Speaker 11 (14:18):
Who are you?

Speaker 4 (14:20):
Just a man with a purpose.

Speaker 9 (14:22):
You can see that I have exchanged the champagne glasses
for this, which I would not hesitate to use. Lover
as you are, I am a desperate man.

Speaker 4 (14:32):
So keep walking.

Speaker 24 (14:36):
He crossed the.

Speaker 9 (14:36):
Driveway and around behind the lombard of populos.

Speaker 4 (14:41):
That's it.

Speaker 9 (14:43):
Don't try to do anything foolish there.

Speaker 4 (14:48):
Now, sit down?

Speaker 11 (14:52):
What's the purpose of all this? What are you doing?

Speaker 4 (14:55):
I am dying? You would do the chairs? Do you
give me enough of time?

Speaker 9 (14:59):
What with what I have stolen? And now before I
gave you, I stealed this so much a better way
to seal the deals of such way.

Speaker 4 (15:12):
Lovely.

Speaker 9 (15:16):
It should be enough, but for my safety laws that.

Speaker 11 (15:21):
You can't get away with me.

Speaker 9 (15:23):
Jesus is the only way I can get away with
what I have to.

Speaker 12 (15:32):
There are certain aspects of great romantic novels which are
never conceived of by the normal reader. For example, the
simple function of going to the bathroom certainly never entered
my mind as I gulped down all the excitement and
thrill of reading The Three Musketeers. Nor would I care
about such complicated problems as the voluminous and inefficient clothing

(15:55):
if it hadn't kept me away from Luccia. That and
the stupendous ditation and frustration that leaving the bathroom, I
discovered that the lock was infinitely more efficient in closing
me in than in shutting.

Speaker 10 (16:08):
The rest of the world out.

Speaker 12 (16:10):
If I had known what trouble Luccia was in, I
would have broken the door down, But considering the company
I was keeping in a certain feeling of decorum, I
contented myself with shouting hoarsely and hammering on the door.

Speaker 10 (16:24):
I didn't feel all that.

Speaker 12 (16:25):
Urgency, But then how could I know what was happening
outside the bounds of my private prison.

Speaker 7 (16:37):
Fascinating thing about locks. They are constructed to shut people.

Speaker 4 (16:42):
Out, wouldn't you say?

Speaker 7 (16:44):
But then, of course there is the whole pattern of
other countries, where they are constructed for exactly the opposite reason,
to lock people in. Do you suppose as dignified a
citizen as Henry Carter Lodge cap At Godwin could be
in such a position except by accident? I shall return

(17:04):
shortly with that too. We left our hero locked in
a small powder room, and our heroine tied up and
gagged on a romantic moonlit patio. Why ah, Since this

(17:26):
is after all a masquerade and a fantasy, our is
not to reason why and wait for the time honored
custom of the unmasking and hundertaking which the police are
busy with now having found Lucia and released her from
her bonds.

Speaker 20 (17:41):
And this musketeer who left the ballroom with your Signoria,
and now you say that you are certain it was
not the signor Godwin.

Speaker 14 (17:50):
When I left the ballroom I thought he was, thought, well, didn't.

Speaker 20 (17:55):
You the Signorina will remember that we took your word
for it and thrust you. He did not, of course
lift his masks.

Speaker 14 (18:03):
That's beside the point. It wasn't you cab was it?

Speaker 10 (18:06):
No, No, But where were you in the powder room?
And what were you doing there? What else? Combing my beard?

Speaker 11 (18:13):
Make jokes? Is that really where you were?

Speaker 20 (18:16):
That is where he said he was. But I was
for over one half of the hour.

Speaker 12 (18:22):
Really, I wasn't there by choice. Somebody locked me in,
locked you in. Look, I went to get the champagne.
I was feeling lousy with his coat, and I saw
this little joint under the stairs, and I went in
to take a couple of aspirint.

Speaker 10 (18:34):
When I started to leave, the door was stuck. It
wouldn't budge.

Speaker 12 (18:37):
If I'd had any idea what was going on, I'd
have broken it down. But I didn't, so I started
hollering till I got horse.

Speaker 10 (18:43):
At first, I gave that up, and I said to myself,
what the heck? Somebody else would eventually have to use
the facilities and let me out.

Speaker 12 (18:49):
Just as I was ready to bust the window, which
was too little to climb through, I hear kind of
a click at the door.

Speaker 10 (18:55):
In came the police.

Speaker 12 (18:56):
And that's all I've got to say.

Speaker 10 (18:59):
And that's just all I can say.

Speaker 20 (19:01):
Let me offer you another throat loss.

Speaker 4 (19:03):
Thanks.

Speaker 20 (19:05):
It is because there is a great deal more. You
must say, like, why how is it that, with no
problem at all, we opened the door and found you?

Speaker 12 (19:14):
I told you someone opened it again. I suppose whoever
locked me in?

Speaker 20 (19:19):
But how did you get back into the Palazza again?

Speaker 4 (19:21):
I was never out?

Speaker 11 (19:22):
Can't you understand?

Speaker 14 (19:24):
The same person must have locked cab in as masqueraded
as Senor Godwin and left the room with me.

Speaker 10 (19:31):
Then where did he go?

Speaker 14 (19:33):
But I told you I he tied me up and
gag me.

Speaker 9 (19:36):
I heard a car drive away, but we have checked
and it is positive that no car left the grounds
of the Palazza since the ball began.

Speaker 14 (19:47):
But then I don't know. I don't know what's going on.
Why is all this so important?

Speaker 3 (19:52):
No?

Speaker 12 (19:52):
Look now, baby, but somebody has made off with Countess Carpeto's.

Speaker 11 (19:55):
Necklace, those fabulous pearls.

Speaker 20 (19:58):
Oh Cisignina, a mayor of Bagatel. They are, after all lonely,
worth thirty or forty million leads blue Honest to Pete,
I think you blew your cork.

Speaker 4 (20:14):
I mean, why did you ask that comic opera cop.

Speaker 10 (20:17):
To give you till midnight to return the necklace?

Speaker 11 (20:19):
What else could I do?

Speaker 4 (20:20):
Cat?

Speaker 12 (20:20):
We'll sit tight let them search everyone. Either the necklace
will be found or it won't. So what what's it
going to do with us? We didn't steal it.

Speaker 11 (20:28):
Let the police think we did. Rather you didn't.

Speaker 10 (20:31):
Oh, come on, I don't care about them, but you.

Speaker 12 (20:34):
Don't, by any chance think I concealed the pearls beneath
my curling mustachios, pretending they were my smile of romance,
and then ducked into the powder room and disposed of
them by means known only to myself.

Speaker 11 (20:46):
I don't be ridiculous.

Speaker 14 (20:48):
This whole mess is no joke. What the police think
is what counts at the moment, and they think we're
in this together. Well, the best thing to do is
to catch the real thief.

Speaker 11 (20:59):
I know who he is.

Speaker 4 (21:02):
You do, Yes?

Speaker 14 (21:03):
Who the other musketeer? The one who wasn't you?

Speaker 11 (21:07):
Whoever he was?

Speaker 12 (21:07):
Oh great, Well that's all was the whole thing. I look, maybe, please,
would you do me a favor? Would you just lay
back and let the police find him?

Speaker 11 (21:15):
I don't think they will.

Speaker 14 (21:17):
Why not, first of all, because they already have you
and me, And secondly, because they're very important people at
this ball, and the police have to move very carefully
not to go stepping on any official toes. And third,
because they don't really believe there was another musketeer.

Speaker 11 (21:34):
And last, but not.

Speaker 14 (21:36):
Least, I have certain weapons and methods of attack that
are not open to the police.

Speaker 10 (21:43):
Oh like, for example, I mean, just what do you
have that they don't have?

Speaker 14 (21:47):
Something I didn't tell them He used a very distinctive cologne.

Speaker 4 (21:55):
Well, why didn't you tell him that?

Speaker 14 (21:56):
Because you can't describe a sin, you can only smell.

Speaker 10 (22:00):
You're not trying to tell me.

Speaker 12 (22:01):
You're going to start running around the dance floor sniffing
at all the men like the hound of the basketball.

Speaker 14 (22:05):
Not everyone, darling, only the ones that you pick out
for me.

Speaker 12 (22:09):
Lou, Lou, I have such a cold I couldn't snip
out a skunk in a rose guard.

Speaker 14 (22:14):
Don't be a goon. I'm going to sing again. And
while I'm singing, you'll.

Speaker 12 (22:19):
Do the circulating sidling up to guys and sniffing. I'll
get my head handed to me.

Speaker 11 (22:23):
Oh I want you to do is line up for me.
All the men of.

Speaker 14 (22:26):
The same height and build as yourself, and they have
to be American, are English?

Speaker 4 (22:31):
Then what then?

Speaker 14 (22:32):
I'm going to dance with them until I spot the
right one.

Speaker 10 (22:35):
I suppose he's not wearing the cologne anymore.

Speaker 14 (22:38):
Well, still, one other way I can tell him without fail.

Speaker 10 (22:41):
I think I'm braced for it.

Speaker 13 (22:43):
Okay, clue me in.

Speaker 14 (22:44):
The man, the one who pretended to be you before
he gagged me.

Speaker 11 (22:48):
He he kissed me.

Speaker 12 (22:51):
Well that's the first decent gesture. Hey wait, wait a minute.
You think I'm going to let the girl I want
to marry run around kissing every guy at the ball.

Speaker 14 (22:59):
No, darling, Just as I said, the ones you pick
out for me.

Speaker 12 (23:13):
Luccia went off to make arrangements for her aria with
the orchestra, and I.

Speaker 10 (23:17):
Started flushing the game. It was easier than I thought.

Speaker 12 (23:21):
Europeans in general are shorter than my six feet, and
since most of the men there were VIPs, they carried
a good bit more flesh on them than I can claim.

Speaker 9 (23:31):
Signoris signori, ladies are the gentleman. Yes, we are most fortunate.
The Sennoria Luccia Perugini has graciously assented to.

Speaker 4 (23:41):
Scene for a while.

Speaker 9 (23:44):
Please please before it, save for your applause until after
you have heard the glorious central libra from Latravata has
only Lucia Peagini can see.

Speaker 12 (23:56):
It By the time the floor had been cleared, introductions made,
and Lou was starting to sing. I had all the
possibilities lined up for size. I got it down to
eleven possibles and one probable. My favorite was a guy

(24:17):
from Texas who offered to beat my brains up while
the lady was singing. Wellcat holded, let's go out onto
the balcony, unless that's for.

Speaker 14 (24:29):
Boating winning room dog, I tell you I prefer Italian o.
It is, yes, it's just the way you say it.
But let's go out on the balcony.

Speaker 10 (24:41):
Well, any luck, I got a little list, a nice
round dozen.

Speaker 11 (24:46):
Was it too difficult?

Speaker 4 (24:46):
Cant a breeze to.

Speaker 10 (24:47):
An old heart and private eye like me?

Speaker 4 (24:49):
Here they all are.

Speaker 12 (24:50):
Checked for height, weight, nationality either English or American. As
for their choice of perfume, they could wreak of atar
of roses or skunk cabbage. For all of me, my
nose is as stuffy as my Boston heritage.

Speaker 10 (25:02):
The rest is up to you.

Speaker 14 (25:03):
Oh thank you coming. Don't be mad at me.

Speaker 4 (25:06):
I don't think. I don't think you're mad.

Speaker 14 (25:07):
I just think you're cru I'm not crazy, I'm just mad.
I mean I hate to be made a fool of
all right, now, come on, let's get back inside.

Speaker 4 (25:19):
How do we do this?

Speaker 11 (25:20):
We start dancing, We're on our way.

Speaker 14 (25:25):
And now, no, it's always permissible to change partners in
a masquerade.

Speaker 10 (25:30):
Well that's a crazy little customer.

Speaker 11 (25:32):
Are you jealous?

Speaker 4 (25:33):
Not me?

Speaker 10 (25:33):
My girl is your girl? Your time is my time.

Speaker 11 (25:36):
We're hacking around. You tell me who's the first.

Speaker 4 (25:38):
It's up to you.

Speaker 12 (25:40):
How about the Englishman and the brown velvet shirt and
collar looks like early Beatles or Christopher Sly or something.

Speaker 11 (25:45):
That isn't something that's supposed to be Lord byron.

Speaker 10 (25:48):
O hardon me. I thought he was a little lord
faunt La and us sailed.

Speaker 9 (26:01):
I have smashingly glad that we got sort of whatever
you said, cot and.

Speaker 14 (26:06):
I don't say, but why were you brought with your
other partner?

Speaker 4 (26:10):
Or what I say?

Speaker 9 (26:11):
Now that that's not exactly the sort of question one
can asa.

Speaker 4 (26:14):
Don't you know why? I mean a brough to you?
Is my wife?

Speaker 11 (26:19):
Oh course stuffy in here? Don't you think?

Speaker 4 (26:24):
Well up now? Yes?

Speaker 14 (26:26):
But no, I mean it's getting a little warm, don't
you think?

Speaker 4 (26:29):
Oh?

Speaker 9 (26:30):
Yes, yes, now that you have mentioned it, things do
seem to be getting sort of.

Speaker 11 (26:35):
Well maybe some air. Should we go out on the balcony?

Speaker 4 (26:39):
I say that would be Johnny after you?

Speaker 11 (26:43):
Thank you? Isn't it romantic?

Speaker 9 (26:49):
Yes, yes, yes, bracing, But I say, I mean, as
long as we're not dancing, it shouldn't be sort of
let go of each other.

Speaker 11 (27:00):
Why now that we've just found each other.

Speaker 9 (27:03):
Ah, oh yes, well, well, yes there is that.

Speaker 14 (27:07):
Two great lovers of history alone together, Juliet and Lord Byron.

Speaker 9 (27:14):
That's quite super.

Speaker 14 (27:17):
Can't you send the aroma of my perfume trailing in
the night?

Speaker 10 (27:21):
Oh well I have in.

Speaker 9 (27:22):
Yes, it's a delicious odor, that.

Speaker 14 (27:26):
All the maleness of you, honest sincere the man.

Speaker 4 (27:31):
Well, I hope you know.

Speaker 9 (27:34):
My wife says I should use colone, but it seems
sort of girlish, don't you know?

Speaker 11 (27:38):
I forget it?

Speaker 14 (27:40):
Byron and Juliet alone, Hold me closer, Lord Byron, don't
be afraid. I want to see us, just us now,
kiss me?

Speaker 9 (27:54):
Why say, I'll say?

Speaker 4 (27:58):
By cho Hi belief we're.

Speaker 14 (28:01):
Oh, thank you, that's all.

Speaker 11 (28:04):
Please take me inside.

Speaker 4 (28:06):
Oh dear look here, did I do something wrong?

Speaker 25 (28:08):
Oh?

Speaker 14 (28:09):
My dear Lord Byron or whoever you are nothing wrong,
not for a moment.

Speaker 10 (28:20):
What train is it cat, there's almost twelve. No luck
with number eleven.

Speaker 11 (28:23):
Now, who's least?

Speaker 12 (28:26):
I'm my favorite suspect, A guy from Texas. There he
is in the lions skin.

Speaker 11 (28:31):
What's he supposed to be dressed as?

Speaker 4 (28:33):
My guess is Samson? Look shall we knock off.

Speaker 14 (28:35):
This crazy Let me finish what I started. I just
got one more chance to bring it off.

Speaker 4 (28:40):
What gets me? Is it? With this big guy?

Speaker 10 (28:43):
A real chance might be just what you're taking.

Speaker 20 (28:50):
And I haven't given you the ale or even gorgeous.
But I didn't think I was getting through to you.
So when you cut in on me and suggested coming
out to the balcony, and I can tell you you
could knock me over with a fellow.

Speaker 14 (29:04):
Oh I'm sure it would have taken a lot more
than a knock you over, mister Sampson.

Speaker 20 (29:08):
Samson, Yes, and that's me just looking to get up
and get the joke. Huh sam Son? See the starting stripes,
Uncle Sam's son, Now you get it?

Speaker 11 (29:21):
Well, I wasn't thinking of only a costume.

Speaker 22 (29:25):
Oh yeah, yeah, you mean old Bill.

Speaker 20 (29:27):
Yes, sir, where I come from, they built us king
size Texas, great.

Speaker 10 (29:32):
Place to build up. Only we got another.

Speaker 11 (29:36):
Side, Yes, Texans don't.

Speaker 10 (29:38):
Believe in too much build up.

Speaker 11 (29:40):
If you get my dressed, I think I get your dress.

Speaker 4 (29:43):
Okay, gorgeous.

Speaker 20 (29:45):
Now let's do that little thing. Huh, let's drift Sweden
Sugar huh calls.

Speaker 10 (29:53):
Try it again?

Speaker 11 (29:54):
Oh, one kiss from you. It's mo than enough.

Speaker 10 (29:57):
Now, don't you get yourself?

Speaker 13 (29:59):
Honey?

Speaker 10 (29:59):
Where I come from, a.

Speaker 20 (30:00):
Man never gets you wanted to find out something, now,
don't don't.

Speaker 3 (30:08):
Don't.

Speaker 4 (30:08):
Don't you ever a kid? Old Sam?

Speaker 20 (30:10):
Now, I don't know what you wanted to know, but
here's what I have got to show you.

Speaker 26 (30:14):
Please, I better check out.

Speaker 4 (30:16):
It was taking too.

Speaker 11 (30:16):
Long, don't know, as long as it seemed to me.
Let me go.

Speaker 20 (30:20):
Please come on now the party is just getting started.

Speaker 10 (30:23):
You're a mistake, Bud, for you had just ended. Oh now,
just the moment, Yankee, for this Johnny rad be annoying
you man.

Speaker 14 (30:30):
Matter of fact, he's begun to annoy me.

Speaker 4 (30:31):
No end, Oh yes, there is, this is the end.

Speaker 10 (30:35):
Oh God, what a beautiful right cross as wasn't.

Speaker 12 (30:39):
I just take a look at mister Sampson. I just
slew him with his own jawbone. So none of them were.

Speaker 11 (30:50):
The guy huh, No, that guy you sacked was the
last possibility. I'll have to give up.

Speaker 4 (30:55):
I'm glad, I'm not.

Speaker 14 (30:58):
We're still technically under a rat.

Speaker 11 (31:01):
What are we going to do?

Speaker 7 (31:07):
A good question, Not that one can consider any serious
danger for our hero and heroine. Still, she is a
front rank soprano and fair bait for news stories and
every gossip column, particularly when her name is linked to
as illustrious a one as Henry All the name's Godwin,

(31:27):
but infinitely more embarrassing to cab and Lucia.

Speaker 4 (31:31):
Who is getting away with?

Speaker 25 (31:32):
What?

Speaker 7 (31:33):
And why should they end up? The patsys I shall
return shortly with act three.

Speaker 11 (31:42):
And.

Speaker 7 (31:50):
We started this story with some quotes about happiness. It's
a fascinating thing about quotes. Just because they come neatly
packaged in those neat little apostrophes, we tend to accept
them as absolute dicta true and totally believable. But are
they For example, the source doesn't matter, but here's a quote.

(32:11):
It is not easy to find happiness in ourselves, and
it is not possible to find it elsewhere. Believe that
if you will, But it would be hard to sell
that belief to Lucia Perugini or capit Godwin. Right at
this moment, what are we going to do? Why, lou honey,

(32:32):
there's nothing to worry about. A necklace has disappeared.

Speaker 14 (32:35):
And everyone thinks we stole that, but we didn't.

Speaker 10 (32:37):
Now, once everyone is searched, it'll be fun.

Speaker 27 (32:40):
You know.

Speaker 14 (32:40):
You don't believe that whoever took it planned this.

Speaker 10 (32:43):
The necklace is gone, it disappears, so if it has,
we're home free.

Speaker 11 (32:47):
Not quite.

Speaker 14 (32:48):
You forget that I'm news in Italy and some other
countries and you want nobody either.

Speaker 10 (32:53):
Well, I'm glad you finally noticed that. Now will you
marry me?

Speaker 14 (32:55):
Oh cab, will you stop trying to be funny?

Speaker 10 (32:57):
I was never more serious in my life.

Speaker 14 (33:00):
If I'm going to give up yet, I'm going to
find out some.

Speaker 4 (33:03):
Way in conte is on the way.

Speaker 10 (33:06):
If that guy makes one crack about you, hold it.

Speaker 9 (33:08):
Ah, there you are, Signorina FEDIGLINI.

Speaker 14 (33:11):
I have been looking for you, really ill county.

Speaker 9 (33:14):
Why it is nearly midnight and I must claim one
more dance with you.

Speaker 18 (33:19):
Will you do me the.

Speaker 11 (33:19):
Favor under the circumstances, I'm not.

Speaker 12 (33:22):
Signorina is very tired, sir. I don't think that she
has anything.

Speaker 14 (33:25):
To add and look, let me speak for myself. I'd
be delighted to dance with you at the Conte Wolves.
Perhaps would you ask the orchestra to play a wolz.

Speaker 9 (33:35):
If that is your desire, of course I would tell
them I'd return for you.

Speaker 11 (33:40):
What is it?

Speaker 14 (33:41):
It's him, that's the man. He is wearing the.

Speaker 12 (33:44):
Cologne, he's too short, He's Italian, not American.

Speaker 4 (33:47):
Why would he steal his own wife's jewel?

Speaker 14 (33:50):
Please, don't ask questions. Just get the policeman, the one
who wants to arrest us. Get him to hide with
you out there on the balcony somewhere.

Speaker 4 (33:57):
What are you planning to do?

Speaker 11 (33:58):
I'm going to.

Speaker 14 (33:58):
Bring the senior County out there, and I'm going to
prove to your satisfaction that he is the man who
stole the necklace. And if I can, I'll recover it.
Smell lemon trees. How lovely out here?

Speaker 4 (34:19):
Ah?

Speaker 9 (34:19):
Yes, but you did not like my dancing Signorina?

Speaker 14 (34:24):
Oh did I say that?

Speaker 11 (34:25):
Senior content?

Speaker 4 (34:27):
But why do you bring me out to the balcony.

Speaker 14 (34:29):
But at a masquerade ball? Why do a man and
a woman usually retire to the balcony to make love?

Speaker 11 (34:38):
To make love?

Speaker 9 (34:40):
I am flattered by the invitation.

Speaker 4 (34:42):
But the but the puzzle do no need to be?

Speaker 11 (34:46):
Who am me?

Speaker 9 (34:47):
Signorina?

Speaker 11 (34:48):
Why not senor content?

Speaker 9 (34:49):
There is a young American with you that everyone thinks
of as your lover.

Speaker 28 (34:53):
Ah.

Speaker 14 (34:53):
A singer has many lovers. My young American has a cold,
and I must avoid him like the plague. You've asked
me to sing for you twice. You're a lover of music,
and I must love you in return.

Speaker 4 (35:07):
Ah, for surely your joke.

Speaker 14 (35:09):
No where love is concerned, I do not joke. And
you're a patron who can help the opera? So a
favor for a faith? Signor I am in your debt
and I like to pay my debts. So we make love?

Speaker 11 (35:24):
But he no, no, here.

Speaker 14 (35:26):
We only seal the bargain with a kiss.

Speaker 9 (35:30):
See your Ina, It is an invitation no man could refuse.

Speaker 14 (35:41):
That is the second time you have kissed me tonight.
What the first time you addressed not as a monk
but as a musketeer.

Speaker 11 (35:52):
And my hands were tired.

Speaker 4 (35:53):
They were not the tide at this time.

Speaker 14 (35:55):
Which is so nice, because.

Speaker 4 (35:58):
What was that?

Speaker 14 (36:00):
Do even a score for all you have put me
through this evening?

Speaker 9 (36:03):
Very well, then, scenes, So the score is even how
are you quite feeling?

Speaker 14 (36:07):
Oh no, me, conte, I'm just beginning. We have some
business to discuss, you and I easiness, Yes, unless you
want me to tell the police that you stole your
wife's necklace.

Speaker 9 (36:17):
Okay, don't be ridiculous. How could you prove such.

Speaker 11 (36:20):
You dea, Oh, it shouldn't be hard.

Speaker 14 (36:22):
You gave the contessa her sleeping draft before the ball
didn't chill, and then when she got sleepy and had
to go to a room to lie down, you sneaked
in and stole the necklace. And then you changed your
costume to a musketeer's one and turned your monk's robe
inside out to serve as a cloak and use me
as a cover to get out unrecognized.

Speaker 9 (36:41):
You are almost convincing, Signora.

Speaker 4 (36:44):
But then the what did I do?

Speaker 14 (36:46):
You pretended to drive away, and you parked your car
on the other side of the palazzo, and you removed
the beard, and you changed back into your monk's robe.
I suppose you hit the costume under that loose garment
while you sneak back into the house.

Speaker 4 (36:59):
I see the passage.

Speaker 14 (37:00):
Perhaps No, I doubt that the servants quarters would serve
Why would they notice your comings and goings.

Speaker 11 (37:06):
After all, your the house.

Speaker 9 (37:07):
And what did I do with the necklace?

Speaker 14 (37:09):
That is what I want you to tell me.

Speaker 9 (37:13):
Why don't you ask Senor Godwin where it is?

Speaker 11 (37:16):
He doesn't have it, and you know it.

Speaker 4 (37:17):
The police think he does.

Speaker 9 (37:19):
I am not under suspicion.

Speaker 14 (37:21):
Oh why would the police think that cad would steal
a necklace?

Speaker 9 (37:24):
He is a very heavy gambler. His losses have been
quite large at the tables. And you are a very
expensive woman, Signorina, whom he desires.

Speaker 4 (37:33):
But perhaps cannot afford.

Speaker 9 (37:37):
And as you told me, and other people have overheard,
you desire that the necklace a very much.

Speaker 11 (37:44):
She won't get away with it.

Speaker 9 (37:45):
Oh, come, even if your little romance were true, you
can't prove.

Speaker 11 (37:50):
Are you quite sure?

Speaker 14 (37:51):
At least I could raise enough doubt to hold up
the insurance money being paid to you.

Speaker 11 (37:55):
You wouldn't like that, would you see her? Counting?

Speaker 14 (37:58):
Only you can have the money? As you say, I
have admired it. Maybe a better word is I coveted.
I want to own it.

Speaker 4 (38:09):
But you promised me also you would not steal it.

Speaker 11 (38:11):
But I didn't.

Speaker 7 (38:12):
You did.

Speaker 10 (38:15):
Very well.

Speaker 4 (38:16):
Suppose between us.

Speaker 14 (38:18):
I admit it very well. And then suppose you give
me that necklace.

Speaker 9 (38:22):
I am afraid that is beyond my power to give you.
Why you see the little cross about my neck and
what it hangs from there is your necklace?

Speaker 11 (38:33):
But does run a glass pea correct?

Speaker 4 (38:36):
You wash?

Speaker 9 (38:36):
Imitation fails in acetone and the poof like that, the
illusion is gone, the coating dissolves, and you are left
with nothing but the glass beats imitation. Perse Oh yes, Siorina,
I stole the real necklace some time ago and replaced.

Speaker 4 (38:54):
It with a cheap replica.

Speaker 9 (38:55):
I had to have the insurance money to pay my debts,
and for all this time I have lived in terror
that they might find out or even worse my wife.
I kept on gambling, hoping to make money, but I lost.
My only hope was to have the imitation that was
stolen in such a way that I could correct the

(39:16):
insurance on the real one.

Speaker 4 (39:18):
So now you know everything.

Speaker 10 (39:22):
I will gladly.

Speaker 9 (39:23):
Pay for your silence as soon as I have the
money ten twenty thousand.

Speaker 4 (39:27):
You can name your own pride.

Speaker 14 (39:28):
I will name it right now.

Speaker 11 (39:32):
Cad senior Caberari, you can come out of hiding now
and arrest him Senior Conte.

Speaker 20 (39:38):
Regrettably, I must place the handcuffs on you.

Speaker 4 (39:40):
Kick us as why you two timing? Little you will
cross me? I should have.

Speaker 29 (39:47):
Passed as Senior Ayama.

Speaker 30 (39:50):
Yeah.

Speaker 4 (39:51):
Yeah, for Pete's sake, let's get out.

Speaker 11 (39:53):
Of here, oh Senior Conte.

Speaker 31 (39:56):
Yeah, now I am satisfied.

Speaker 17 (40:01):
Why you.

Speaker 4 (40:03):
Drop dead?

Speaker 10 (40:07):
You mean the Count is an American?

Speaker 11 (40:10):
No, not quite. He grew up in America.

Speaker 14 (40:13):
He used to be a bass baritone pretty good when
I was a little girl. Suddenly remembered that I'd seen
him in an English version of Madame Butterfly. He played sharpless,
the man from the American counsulate. His American accent was flawless.

Speaker 10 (40:27):
And then he came back and married the Count contest.

Speaker 14 (40:29):
No, no, no, he was married to the contesta all alonge.

Speaker 10 (40:31):
You mean his title isn't phony?

Speaker 14 (40:33):
Oh no, of course not. The Italian police aren't that stupid?
Only the pearls were phony.

Speaker 4 (40:37):
There's just one thing I don't get.

Speaker 12 (40:39):
How could you have thought a little guy like him
could be my height?

Speaker 14 (40:43):
Okay, here's a little old fashioned now, but there used
to be a phraise my father quoted just because he
wasn't all that tall.

Speaker 11 (40:50):
You too can be taller than sheer.

Speaker 10 (40:53):
You mean, like elevator.

Speaker 4 (40:54):
Shoes what today?

Speaker 14 (40:54):
It could be clogs or cowboy heels, Cuban.

Speaker 10 (40:57):
Heels, you name it, elevator shoes. His boots were built up.

Speaker 14 (41:00):
If you've tried them on, you might be playing in
the National Basketball Association.

Speaker 10 (41:04):
In that league, i'd still be a shorty.

Speaker 4 (41:07):
What's that midnight?

Speaker 10 (41:09):
So we just made it under the wire.

Speaker 14 (41:12):
It signals other things can like, it's time to unmask.

Speaker 10 (41:18):
It's time to get these things off.

Speaker 11 (41:19):
It's the custom at midnight.

Speaker 10 (41:21):
Great, I'm tired of being any number of things. I'm not.

Speaker 11 (41:24):
I've got the same feeling you have.

Speaker 14 (41:27):
Yeah, I'm ready to throw away so many old habits.

Speaker 10 (41:32):
Me too, Like I promise you I'll give up the gambling.
Who needs it?

Speaker 11 (41:37):
Well, I can understand.

Speaker 14 (41:39):
For once I had to make a.

Speaker 22 (41:40):
Big gamble and you came out ahead.

Speaker 4 (41:42):
I think, so then that's the time to quit for
both of us.

Speaker 14 (41:46):
You mean, as long as we come out winners. That's
the notion, John, Let's have a good hard look at
you and me. There is still one other custom at
a masquerade.

Speaker 11 (41:56):
Whatever girl you're with.

Speaker 14 (41:58):
At midnight, when you unmask, you must kiss you mean
I have the inside track for once for all time.
If that's what you want. Sure, can you look at
me and doubt it?

Speaker 10 (42:13):
Well, I'm not the first this evening, oh.

Speaker 14 (42:16):
Which doesn't exclude you from being the last?

Speaker 11 (42:19):
And how can you deny me?

Speaker 14 (42:20):
Camp or who face it? With the exception of the
count and the nice policeman, You're just about the only
man at the ball tonight. I haven't kissed.

Speaker 12 (42:30):
You can face something yourself. If I do kiss you,
I'll be the last man you do.

Speaker 11 (42:37):
And did I ever say there was anything wrong in that?

Speaker 7 (42:46):
Sometimes I get letters saying that I emphasize the macabre
over just plain mystery or vice versa.

Speaker 4 (42:54):
It's a matter of selection.

Speaker 7 (42:56):
What I try to bring you time after time for
your enjoy and escape are stories that are fascinating, that
contain unforgettable characters, and reflect honestly on the human conflict
of life.

Speaker 4 (43:10):
I shall be back shortly.

Speaker 7 (43:23):
Did Cab and Lucia marry each other? I can't and
don't want to answer that each story I bring you,
I feel has its own resolution, or if it doesn't
have that entirely, it is not for me to resolve it,
but you, after all, it is a subjective thing. To
relate a story, not to evaluate it and decide its meaning,

(43:46):
its purpose, and its resolution is strictly up to you,
the listener. At the end of it all, you must
make your own selections of write and roll. That's the
urge and thrill of a story that it brings an
audience alive and the characters that live in it, as
I hope this one has done for you. Our cast

(44:06):
included Paul hect Mariyonceldi's, Ian Martin, and Earl Hammond. The
entire production was under the direction of Hymon Brown and
now a preview of our next tale.

Speaker 10 (44:20):
He doesn't look like much to me, that's true. A meek, little, watery,
blooded clerk.

Speaker 11 (44:26):
If you asked me, that's what he looks like.

Speaker 32 (44:29):
He's a tiger inside, a lover, killer, ruthless, reckless, fit
to be the guest of honor.

Speaker 4 (44:35):
Then let the party begin.

Speaker 32 (44:39):
Let the party begins.

Speaker 4 (44:46):
What's what's happening to the lights?

Speaker 10 (44:47):
That's getting dark in here?

Speaker 4 (44:49):
Who shall speak the invocation?

Speaker 11 (44:51):
It's your baby? Without the prayer? Tiger, what prayer?

Speaker 4 (44:56):
The Sabbath?

Speaker 17 (44:56):
Prayer?

Speaker 10 (44:58):
Let the Sabbath begin, Sabbath.

Speaker 4 (45:00):
I thought this was a party.

Speaker 33 (45:01):
Well it is, baby, say the Sabbath prayer?

Speaker 34 (45:04):
What kind of sabbath A witches Sabbath?

Speaker 11 (45:07):
A witches sabbath?

Speaker 4 (45:08):
Sabbath for witches?

Speaker 7 (45:09):
A Radio Mystery Theater were sponsored in part by Buick
Motor Division and True Value Hardware Stores.

Speaker 4 (45:19):
Missus e g.

Speaker 7 (45:20):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre until next time, pleasant dreams.

Speaker 35 (46:00):
H if you really want to know what happened to

(46:23):
inspector asked Toby. Yes, Toby, who's only a vent physical dummy.

Speaker 16 (46:28):
For who knows more than you think.

Speaker 36 (46:31):
If you want to hang me, let him be a witness.

Speaker 18 (46:41):
Out of this world.

Speaker 34 (46:44):
Columbia's Parade of outstanding stories of those moments when reality
turns to.

Speaker 1 (46:49):
Alluson when fancy becomes fact, sharp shocking fact.

Speaker 37 (46:55):
When I hear remarkable adventure from the successful English moment
picture dead of Night.

Speaker 26 (47:00):
Sorry with for the.

Speaker 23 (47:00):
Next half hour, I will take you out out this world.

Speaker 26 (47:15):
Dnal on that noise, you're the same and all the other.

Speaker 34 (47:18):
Prisoners where.

Speaker 13 (47:21):
So it's Toby again?

Speaker 2 (47:22):
Is it now?

Speaker 21 (47:23):
Stop all that fuss about the dummy.

Speaker 1 (47:25):
I won't ever thought any more noise in that solitary
confinement for you.

Speaker 18 (47:29):
But I must say, oh God, God anything if you'll
bring it by you then Philip with a queer one.

Speaker 1 (47:37):
All this fuss about a talking door, he's not a
talking doll.

Speaker 34 (47:40):
Don't un tend.

Speaker 38 (47:43):
Toby.

Speaker 16 (47:45):
Where is he?

Speaker 34 (47:45):
What happened to him? How shoudano?

Speaker 4 (47:47):
Probably safe enough?

Speaker 34 (47:49):
Inspector will take care of him. Will you tell the
inspector then tell me?

Speaker 4 (47:52):
Back to me, back to me?

Speaker 26 (47:53):
Do you hear?

Speaker 30 (47:54):
Tell him?

Speaker 2 (47:55):
I what Toby and I want him right now?

Speaker 21 (47:57):
I'm sure sure inspected they'll be happy.

Speaker 38 (48:00):
Don't do anything you say.

Speaker 16 (48:04):
There.

Speaker 38 (48:04):
You're a wrap one.

Speaker 5 (48:05):
All right.

Speaker 18 (48:07):
You're just lucky.

Speaker 1 (48:08):
Ain't in f I murder lucky that fella les Well,
your shot is coming along, all right.

Speaker 36 (48:14):
That happens to him makes no difference to me.

Speaker 4 (48:18):
I wish he was there.

Speaker 18 (48:20):
He tried to steal Toby from me, Now that.

Speaker 23 (48:23):
Are pretty thing.

Speaker 39 (48:28):
All I wanted one somebody, because anybody has got to
see Toby. I've got to see Toby.

Speaker 5 (48:50):
He's raising the devil of a rowdown in the field.

Speaker 11 (48:53):
Keep yell, and he wants his dummy brought.

Speaker 21 (48:55):
That to him. See, well, it's letting Tompkins have a
dummy will inquiet.

Speaker 18 (49:00):
Perhaps we've been rated so good everything. Let him there
in the chair.

Speaker 21 (49:04):
Huh oh, yes, that's Toby.

Speaker 34 (49:07):
That's true in the chair real life, like, don't you inspected?

Speaker 21 (49:12):
It's fantastic that the man be attest thing queer out.

Speaker 1 (49:16):
Tom can keep saying that if you want to know
why he shot laswell asked the dummy. He's a odd one,
all right, and negine asking anything from the likes of
this just blankyotic little face he's got. Yeah, so yo, Toby,
are you so it's you that's responsible for all the
trouble I'm having with your master today, Poor mister Tompkins.

(49:40):
If I wasn't a mild man, I'll change that smelly
smirk on your face.

Speaker 11 (49:44):
I'll give you a real said look I.

Speaker 2 (49:46):
Would with the eye.

Speaker 21 (49:47):
Now hold on there, do you think I shouldick a wood?

Speaker 2 (49:49):
Will answer you?

Speaker 21 (49:50):
Eh, you know very well. Only event Trili was going
again dummy talk Now, I'm guess I did look a
bit before we.

Speaker 4 (49:58):
All do to get at the bottle of it.

Speaker 21 (50:00):
God being competent up here time we had a little talk, Tompkins.

Speaker 8 (50:17):
If I promise that Toby.

Speaker 21 (50:18):
Will soon be returned to you, will you cooperate with me.

Speaker 38 (50:21):
Toby, is he here?

Speaker 25 (50:25):
Is he near me?

Speaker 4 (50:26):
Here is?

Speaker 21 (50:27):
But you can't see him yet.

Speaker 34 (50:28):
I must see him.

Speaker 21 (50:29):
In fact, you will not before I have certain facts,
certain what your.

Speaker 4 (50:34):
Quarrel with mel Lasmo.

Speaker 34 (50:36):
If you tell me.

Speaker 21 (50:37):
The whole story, I may be able to help you.

Speaker 18 (50:39):
Help me.

Speaker 34 (50:41):
Why why should the police help me?

Speaker 11 (50:43):
Because it's part of my job.

Speaker 34 (50:45):
As you've done your job.

Speaker 4 (50:46):
I've admitted I shot last wha I did it? What
else matters your motive?

Speaker 34 (50:50):
He tried to steal Toby from me? Isn't that motive enough? Tompkins?

Speaker 1 (50:53):
I really can't understand you, unfend of course you can't.

Speaker 34 (50:57):
Understand I wouldn't expect you to.

Speaker 1 (51:00):
You've never spent years, less years playing shoddy, cheap musicals.

Speaker 4 (51:07):
Starming out of the elbow.

Speaker 39 (51:08):
Because you couldn't find a partner who understood you.

Speaker 35 (51:11):
You never toiled day and night for weeks on then
creating somebody like Toby who could go to the big
time with you.

Speaker 18 (51:19):
Oh, Soby can tell you what it's been like, all right?

Speaker 21 (51:22):
Unfortunately, Tompkins, Toby has shown no inclination to speak.

Speaker 13 (51:27):
To me as yet.

Speaker 20 (51:28):
Okay, we really appreciate that makes the word.

Speaker 40 (51:37):
Really you mus seem sooner.

Speaker 18 (51:40):
Now my probatue.

Speaker 21 (51:41):
But first I want to know what makes you think
mel Lad will try to steal Toby. I'm aware of
that those intentions right from the start, even before I
met him.

Speaker 34 (51:51):
I had a remolition.

Speaker 40 (51:52):
It's something might separate from I couldn't stand there. I'm
much to him and me, I see you.

Speaker 21 (52:04):
When I met Lad at the club that night, I
realized almost once.

Speaker 36 (52:07):
That he might be the one to cause the trouble.

Speaker 4 (52:10):
I suppose you're seeing that's well, you know that thought.

Speaker 1 (52:13):
He is regular trouble Mas Tompkins. I've seen him now
come to the point.

Speaker 41 (52:18):
And I Inmitte before terbing Ha been came all but
that the music hall without a few years, not believe.

Speaker 2 (52:26):
And then we.

Speaker 41 (52:27):
Got our engagement of the same nightclub.

Speaker 38 (52:31):
That's about as high as Toby and I or.

Speaker 41 (52:33):
Any actor man and go is standing back stage bringing
to the dark to finish their tour. So they stand
to that not particularly hard for to follow.

Speaker 34 (52:43):
And then piguelow the master's ceremonies, get off.

Speaker 18 (52:47):
That's the way to go, Tompkins, you're on.

Speaker 26 (52:49):
So as they finished the wall, we know our.

Speaker 31 (52:51):
Act mister Pigel well just see you know yours as well.
Not well, I don't want him to forget to take
the chair out tonight.

Speaker 4 (52:58):
I have the chair right in.

Speaker 38 (52:59):
I don't worry more happened like it did last night.

Speaker 31 (53:01):
And there was the favor of getting off the floor
when you've introduced us. You messed up the whole first
part of our acts standing behind us.

Speaker 4 (53:08):
Yeah no, and I don't say that. After all, it
was your opening night.

Speaker 38 (53:10):
And how was I to know your act?

Speaker 4 (53:11):
You did a deliberate race.

Speaker 38 (53:12):
You were trying to suck him.

Speaker 42 (53:13):
On our last Look here, I don't have to take
this kind of.

Speaker 4 (53:16):
Stufferb That was not at all professional.

Speaker 18 (53:18):
Mister Bigge.

Speaker 12 (53:18):
Though I apologize, and Toby doesn't seem to have the
grace to do it very well.

Speaker 43 (53:23):
I accepted, h well, what do you think of that?

Speaker 4 (53:29):
How do you think you'd take me in?

Speaker 1 (53:30):
Tompkins use if I don't get to thinking that dummy
is a living thing.

Speaker 31 (53:35):
Bigel was a terrible ass as the dumpkin.

Speaker 25 (53:40):
You.

Speaker 1 (53:40):
It's a remarkable, tremendously real, you know the illusions. Oh,
by the way, you'll want to be particularly good to
see if you have.

Speaker 23 (53:47):
A rival out there.

Speaker 5 (53:49):
Las Well met Laswell.

Speaker 8 (53:50):
The American.

Speaker 4 (53:51):
The lent philippis from these seats that don't tub.

Speaker 5 (53:54):
You haven't heard him on the wild?

Speaker 4 (53:55):
Yes, have a look. He's at the front table the left.

Speaker 16 (54:01):
Oh yeah, doesn't see him?

Speaker 38 (54:04):
Oh man, who's the gorgeous young lady?

Speaker 30 (54:07):
His wife?

Speaker 5 (54:08):
He's awfully good, well, the greatest ventolo christ i've heard.

Speaker 11 (54:11):
Say I like her?

Speaker 18 (54:15):
Don't you recognize better than dream big low?

Speaker 34 (54:18):
He may be the best in the game. He may
not be the best.

Speaker 38 (54:21):
And you're pretty jealous, aren't you? Dumpkins?

Speaker 5 (54:23):
Nothing ever?

Speaker 31 (54:24):
Sat In fact, you'll feel more uncomfortable over the night
working in front of a real office. But did you
you all carry you along?

Speaker 34 (54:33):
You'll carry me. I'll have you know, I carry this out.

Speaker 4 (54:36):
Please, I'll see here, Joseph Joe.

Speaker 5 (54:40):
But when you used to.

Speaker 38 (54:42):
By George, you took me up.

Speaker 1 (54:44):
Then against Jumpkon, I thought you in this wooden him
were rolling, thought he was human, in me thinking he's
actually human.

Speaker 4 (55:00):
Laboring rebel.

Speaker 31 (55:01):
Let's go there by his talk and don't see.

Speaker 44 (55:06):
Here it is.

Speaker 34 (55:06):
I'm going to reduce class all its might.

Speaker 35 (55:08):
You are my.

Speaker 42 (55:13):
He that fight in the warm roll waste my hands
if I don't seen all my kingdom and now ladies and.

Speaker 34 (55:21):
Gentlemen and visiting royalty.

Speaker 11 (55:25):
Before I present you our next little feature, I like.

Speaker 42 (55:28):
To call on a distinguished variety artist who it here tonight.

Speaker 26 (55:32):
You've all heard him on the American violence.

Speaker 4 (55:34):
I've seen him in the American cinema.

Speaker 11 (55:36):
No, that's well, tell I will stands up with historier.

Speaker 38 (55:41):
That bird don't get that hospitality.

Speaker 11 (55:43):
I'm sure that beautiful.

Speaker 38 (55:44):
Woman he's with is on much heavier burn on his knee.

Speaker 9 (55:47):
That Mikill'toole, whom you've seen so many times, turn up
Melvin l.

Speaker 45 (55:56):
And now and now I want to bring on the
next like which visualized well has never seen British mensip
Annie Thompson, and.

Speaker 11 (56:05):
He's talking Timber, tell me.

Speaker 46 (56:14):
Good morning, good morning.

Speaker 34 (56:15):
Good morning.

Speaker 38 (56:16):
Hey Gosten going here with morning sir? That's there, look
like the steward officer.

Speaker 34 (56:22):
Why that shouldn't Mommy, you tell me you've been a
very good boy.

Speaker 38 (56:25):
I happened to Why, yes, but I'm out of school
all the school? Why all the school? Because you haven't
spend the time.

Speaker 11 (56:32):
No, not because I had it.

Speaker 38 (56:33):
That's because I couldn't spell it.

Speaker 34 (56:38):
Probably, my lad, what's that depending to job?

Speaker 4 (56:41):
After all?

Speaker 34 (56:42):
People?

Speaker 23 (56:42):
Dog fendividers, you know, and then you see a skeleton.

Speaker 34 (56:44):
I bet you don't even know what a skeleton is.

Speaker 22 (56:46):
I got up on your nose, darlings, and that guy's
got the.

Speaker 4 (56:49):
Worst my care of you.

Speaker 47 (56:52):
So you're enjoying me. He's gonna watching.

Speaker 31 (56:55):
What is the skeletal is a lot of thoms with
all the people's great door.

Speaker 48 (57:02):
You don't have me.

Speaker 13 (57:04):
I know, I've got a very strange things.

Speaker 4 (57:06):
The other day.

Speaker 38 (57:10):
I said, I saw a very strange thing the other day.
All right, it's all very strange things the other day.

Speaker 18 (57:17):
I don't blame the dummy him, No it's not.

Speaker 34 (57:22):
But if I can like you, I said, I saw
a strange thing the other day, the cow men standing
under one umbrella, and not one of them got wet.

Speaker 38 (57:31):
They're not one of them got wet.

Speaker 11 (57:33):
I know the playoffs of this game, but I won't say.

Speaker 38 (57:36):
And Miss Madwell thro too, don't you, Miss Ladwell? Come
come now with the lady, know you do you give
the answer?

Speaker 18 (57:48):
This guy keeps writing me, I will get into.

Speaker 45 (57:51):
Tell me dummies, these all wld man under one bro.

Speaker 13 (57:54):
I'm not one of them, not West.

Speaker 45 (57:55):
So why not the ladswell because it wasn't raining right,
It wasn't Rainy doesn't know everybody knows your joke.

Speaker 38 (58:06):
I'm humiliated, I read humiliated to be up on the third.

Speaker 49 (58:09):
Lay then pull?

Speaker 25 (58:10):
It is like you.

Speaker 34 (58:11):
If you don't like your material, why don't you try
rewriting it? Rewrite it?

Speaker 31 (58:16):
Did you over hear of anybody going into Saint Paul's
and all things to rewrite the vibe?

Speaker 11 (58:22):
And what you're to do about I don't work from it?

Speaker 45 (58:26):
The lie well in a minute, if you had me
never then I work for you.

Speaker 38 (58:34):
May I'm all as.

Speaker 27 (58:35):
Well, well, I play make your two seventy five cents
a week, you'll wind up in.

Speaker 34 (58:40):
My fireplace and you'll work for fifty.

Speaker 31 (58:46):
While waterside, I don't lady and gentlemen, do you think
this is all the actual?

Speaker 38 (59:00):
Did I think?

Speaker 33 (59:01):
Just live?

Speaker 31 (59:01):
The lads Well is the greatest friend Filip with law
babies and gentlemen, Please don't bring.

Speaker 15 (59:05):
Me for this.

Speaker 50 (59:07):
He's seeking all this through Toby.

Speaker 9 (59:08):
He's trying to see.

Speaker 11 (59:09):
Everywhere from it knows that true you had something to
do with it, RelA.

Speaker 18 (59:14):
Can you get the rest of this routine?

Speaker 45 (59:15):
See why you says the lads Well, I'll work for
you and you don't you see me?

Speaker 11 (59:21):
Now are you speaking to Toby?

Speaker 46 (59:23):
Well, well, will you.

Speaker 5 (59:24):
Say you watch him trying to get out of that's
one play.

Speaker 34 (59:27):
I'm thinking about it, Toby. Oh no, Toby, and you'll
be head you something. I think you off the floor.

Speaker 31 (59:32):
That's right, that's right, yess when I'm about to get
a good job, call me empty bag telling me over
run and I go out Tom and.

Speaker 14 (59:40):
See your hell?

Speaker 11 (59:41):
All right?

Speaker 18 (59:42):
All right, just because they jumped in, Thank you, brother,
it's about time.

Speaker 38 (59:52):
Thinking give him a n.

Speaker 51 (01:00:10):
That's how I knew, Inspector that last row had taken
more than casual notice of told me I could have
forgiven him for his interference on the floor of the club.
That might have been mere professional discourtesy, because.

Speaker 4 (01:00:23):
There was something else in las rosttity was It.

Speaker 18 (01:00:25):
Made me feel the name It was his personal interest
in Toby.

Speaker 4 (01:00:31):
Now he wanted to separator.

Speaker 19 (01:00:33):
I became certain of this later when he came back
to my dressing.

Speaker 18 (01:00:36):
Room pretending friendliness.

Speaker 23 (01:00:40):
Anyone in there?

Speaker 2 (01:00:45):
Who is it?

Speaker 13 (01:00:46):
All right?

Speaker 11 (01:00:47):
Well then.

Speaker 13 (01:00:50):
This is the last one.

Speaker 10 (01:00:52):
Well, how do you do?

Speaker 18 (01:00:54):
Do you mind if we come in for a moment?

Speaker 4 (01:00:57):
All right? What do you do?

Speaker 11 (01:00:59):
This is my wife.

Speaker 27 (01:01:00):
Mister Rogers, it do those doesn't come from the thanks Well.

Speaker 18 (01:01:07):
So this is your boy, nice coming job.

Speaker 38 (01:01:11):
I'm very handsome, don't you think so?

Speaker 18 (01:01:14):
Missus Lawell, and you certainly are, Toby Tompkins. I've been
curious to know who made him for you on him.

Speaker 4 (01:01:22):
I just heard that you left the Toby alone, and
certainly you needn't worry.

Speaker 18 (01:01:26):
I'm quite handy with dummies myself.

Speaker 27 (01:01:32):
You will certainly surprise me with that little act out
front your own part, and it surprised me.

Speaker 18 (01:01:37):
Mister l will believe me, Tompkins.

Speaker 31 (01:01:40):
You'll seeous level Tompkins at It will requires some sympathy.

Speaker 38 (01:01:44):
He's quite aware he's mother equal.

Speaker 34 (01:01:47):
Quiet, Toby Tomkins.

Speaker 4 (01:01:48):
How hard does this get go? That depends on you,
mister letter. And I just why you came to my pressing.

Speaker 11 (01:01:53):
On a professional curtity.

Speaker 18 (01:01:55):
You've come to make some sort of a barga, Toby.
I'm not going to commit you now wait, mister Tompkins,
will have.

Speaker 31 (01:02:00):
Wait, Tompkins, whatever the Laswells have to say to me
is my affair. You might even pretend you're a gentleman
and make a grateful expert Toby.

Speaker 38 (01:02:09):
If you're trying to make me the ridiculous I'm succeeding.

Speaker 4 (01:02:12):
Yes, I know.

Speaker 31 (01:02:13):
Now I'll go on over behind the screen and get
your makeup off.

Speaker 2 (01:02:18):
That I want you feed it.

Speaker 38 (01:02:21):
Pay no attention to him, Missus.

Speaker 36 (01:02:22):
Laswell, I don't.

Speaker 4 (01:02:24):
I don't amazing at all.

Speaker 31 (01:02:27):
He's stupid, really constantly interfering of my affairs. Missus Laswell,
Now that we're alone, may I tell you something something
I'm sure you've heard before.

Speaker 36 (01:02:40):
What is it, Tomky, that you're.

Speaker 31 (01:02:42):
Very beautiful, that I'm very fond of you, Missus Laswell,
Oh look here, and whatever Tompkins thinks. Missus Laswell, you're
really a very nice woman.

Speaker 18 (01:02:54):
No, I don't like Tompkins come out here?

Speaker 13 (01:03:00):
Well, what is it?

Speaker 18 (01:03:02):
How far do you want to carry a joke a joke?

Speaker 22 (01:03:04):
Either?

Speaker 37 (01:03:04):
You apologize to missus last, pologize for the last crack
you just made through Toby?

Speaker 36 (01:03:10):
Did I listen you? Really?

Speaker 18 (01:03:12):
I don't know what you're talking about.

Speaker 29 (01:03:14):
No, darling, let's get out of here.

Speaker 38 (01:03:15):
You're not going to leave me, are you?

Speaker 1 (01:03:16):
Mister Laswell, please don't, and I'll please, punny fella Tompkins,
don't blame me for all this.

Speaker 38 (01:03:22):
Take me with you, mister Laswell.

Speaker 11 (01:03:23):
I just want to be near her.

Speaker 38 (01:03:25):
If you're afraid I will make love well, you needn't worry.

Speaker 34 (01:03:27):
I wasn't, Tomkins.

Speaker 4 (01:03:29):
This is the most disgraceful demonstration I've ever heard.

Speaker 34 (01:03:31):
What can I do about him?

Speaker 5 (01:03:32):
No?

Speaker 11 (01:03:33):
Please, come on, I love her.

Speaker 31 (01:03:34):
I'll do anything if you just let me go with you,
mister Laswell, anything.

Speaker 34 (01:03:38):
All right, Tompkins, you ask for it?

Speaker 29 (01:03:45):
Why did you do it?

Speaker 34 (01:03:46):
The man's not natural?

Speaker 11 (01:03:48):
What's going on?

Speaker 27 (01:03:50):
I don't know what's eating that fellow ReBs are rid,
but he doesn't know where to stop.

Speaker 18 (01:03:54):
I guess he got the last laugh on me, making.

Speaker 11 (01:03:56):
Me lose my temper, and he doesn't seem to be
doing much.

Speaker 18 (01:04:00):
He's all right, the dummy.

Speaker 38 (01:04:03):
He didn't have it coming though.

Speaker 33 (01:04:05):
Oh darling, I'm sad he didn't break the jummy when
he fell.

Speaker 38 (01:04:11):
Then you do care what happens to me? I love you,
Missus Landswill, So you see inspect.

Speaker 9 (01:04:26):
I should have known then that I couldn't prevent less.

Speaker 18 (01:04:28):
Of getting to me.

Speaker 34 (01:04:29):
I knew they'd be plumping to him.

Speaker 18 (01:04:31):
I see one question, mister Tompkins.

Speaker 21 (01:04:34):
Would you say that Missus Laswell is an exceptionally attractive
woman to some men perhaps, And since we know that
you think and speak through the dummy, isn't it just
possible that you may yourself find missus Laswell?

Speaker 4 (01:04:50):
Oh what is this puppy you're talking?

Speaker 34 (01:04:51):
Are you interested in learning it through the one? Haven't right?
You trying to muddle me up?

Speaker 13 (01:04:55):
I'd like to hear the man.

Speaker 18 (01:04:57):
About mister Tomkins, as.

Speaker 21 (01:05:02):
You're well now.

Speaker 34 (01:05:03):
I was sacked by the kitcat on the spot. I
had this booked to Toby all.

Speaker 30 (01:05:08):
The way home.

Speaker 34 (01:05:09):
I wanted to impress upon him when it's fortune he'd
cast us the first I hooked with Toby's attention.

Speaker 51 (01:05:14):
To missus, Ladswold had embarrassed him both so much for
Lasword would no.

Speaker 34 (01:05:17):
Longer feel any interest in him.

Speaker 35 (01:05:20):
In my heart, I knew the Ladsweld's happened to finished,
But at that very moment they must have been plopping,
plopping their next move to get Toby away from me.

Speaker 18 (01:05:33):
I'll tell you what that next move was.

Speaker 38 (01:05:35):
In our hotel, I care to return the key in
the lock.

Speaker 4 (01:05:39):
Toby and I was secured for the night.

Speaker 51 (01:05:41):
I'll put him in his own little bed, and then
made ready to bed myself.

Speaker 11 (01:05:45):
But I moved around the room his eyes followed me.

Speaker 51 (01:05:48):
Calm for me, and I thought of the revolver in
my bag and took it up, with the revolve on.

Speaker 36 (01:05:54):
My right hand and the key in my left. I
lay down on the day.

Speaker 18 (01:06:05):
I do.

Speaker 36 (01:06:06):
I don't know for how long.

Speaker 34 (01:06:08):
Suddenly I was awake, my eyes scaring. Toby was gone.

Speaker 4 (01:06:17):
What is it?

Speaker 30 (01:06:18):
That's well, I'm going to.

Speaker 4 (01:06:19):
Talk to you, don't, Toby.

Speaker 18 (01:06:25):
Get off, Tompkins.

Speaker 34 (01:06:26):
Now, come for Toby. Verything you've sold? Toby, I mean,
I'm on him back.

Speaker 43 (01:06:29):
I don't know what you're talking about, but if you're
referring to your dummy, I haven't seen him not.

Speaker 4 (01:06:32):
Now get out.

Speaker 25 (01:06:35):
What do you.

Speaker 38 (01:06:37):
From the store?

Speaker 4 (01:06:39):
From the Toby?

Speaker 5 (01:06:44):
Toby there I found you.

Speaker 4 (01:06:48):
Oh my poor.

Speaker 18 (01:06:50):
Love, Tompkins. I don't know how your dummy got here.

Speaker 34 (01:06:53):
Toby, Sorry, speak to me, Wake up, Toby, look me Coo.

Speaker 52 (01:07:01):
He's shaking the norwful thing.

Speaker 11 (01:07:02):
Ah are he's trying to freak.

Speaker 18 (01:07:03):
You're not deceiving me, Koby.

Speaker 4 (01:07:05):
You know very well I'm here.

Speaker 38 (01:07:06):
Go away and leave me alone. I'm fro with your thumpkins.

Speaker 4 (01:07:11):
Take it easy, Clodia.

Speaker 18 (01:07:13):
We've had all we can take of the thumpkins.

Speaker 34 (01:07:15):
Are you going to deny. You still Toby from me.

Speaker 4 (01:07:17):
I certainly am. Look here, man, you're you're man, you're ill.

Speaker 11 (01:07:20):
Ill.

Speaker 34 (01:07:22):
You took Toby from me, and you say I'm ill.
I didn't take Toby.

Speaker 18 (01:07:26):
You brought the dummy here.

Speaker 4 (01:07:27):
You must have brought it.

Speaker 34 (01:07:28):
Here, maybe while you were walking in your sleep, but
you brought it here.

Speaker 18 (01:07:32):
I'm going to prove it away.

Speaker 2 (01:07:35):
You can shoot in your.

Speaker 1 (01:07:36):
Life, but I'm going to prove to you that hello, hello,
give me the death blug thumpkins.

Speaker 4 (01:07:42):
I won't go with you.

Speaker 31 (01:07:43):
I'm going to stay with her forever. Mister Laswell, will
let me bluck.

Speaker 34 (01:07:47):
This is mister Laswell in seven twenty two. I want
to know if someone came.

Speaker 18 (01:07:51):
To my room a few hours ago.

Speaker 36 (01:07:52):
It's a sort of trick.

Speaker 43 (01:07:53):
A man came to say, and he was carrying of
in pilip with dummy.

Speaker 4 (01:07:57):
You let him come up?

Speaker 2 (01:07:58):
Did you hear that?

Speaker 18 (01:07:59):
Sumping?

Speaker 34 (01:08:00):
I'm not deceived by this. Will you describe the man
for me?

Speaker 30 (01:08:03):
Please?

Speaker 34 (01:08:04):
No, you're a devil. Lads Well, you still tub it
from me. Now you're trying to drive me there.

Speaker 26 (01:08:09):
Well, yeah, take the phone.

Speaker 4 (01:08:12):
You're taking me again.

Speaker 34 (01:08:13):
Let me carey, you won't succeed this time.

Speaker 53 (01:08:22):
No, I don't rely, but I shot las We inspected,
but I believe that provocation was a I dare say
you would agree. After all, Laswell turned a friend against
me and old and the very value.

Speaker 16 (01:08:38):
Am so I'm getting.

Speaker 21 (01:08:43):
In due time, I may ask you to sign a
formal confession on the basis of the story you just
told me, no.

Speaker 4 (01:08:49):
Objection, not the way I inspected.

Speaker 41 (01:08:52):
I wonder if now you might can't see Toby Canada.

Speaker 4 (01:08:55):
I'd like to oblige you. It's only for a.

Speaker 34 (01:09:00):
I'm not seeing him, especially after our trouble, and you're
giving me a little time together. Perhaps Toby and I
could straighten out our affairs if you like.

Speaker 21 (01:09:06):
I think I can manage it, perhaps having brought out yourself.

Speaker 34 (01:09:12):
Yes, yes, I'm looking forward to seeing Toby again. I am, indeed.

Speaker 12 (01:09:27):
And that's the story is Tompkins told us to be
mister Laswell, and it's incredible.

Speaker 4 (01:09:30):
I had some idea what was going on with those
mind with but that is well.

Speaker 22 (01:09:34):
I'm so sorry for just one question, mister Laswell.

Speaker 13 (01:09:37):
You'll pot my asking.

Speaker 18 (01:09:39):
Yes, did you have.

Speaker 21 (01:09:40):
Anything to do with what's happened? If you kid cat,
I mean you didn't project your voice through Toby.

Speaker 18 (01:09:45):
Certainly not so.

Speaker 13 (01:09:46):
I thought this.

Speaker 18 (01:09:47):
Business has been baffled.

Speaker 21 (01:09:49):
I thought Tompkins might be more dangerous, but he's already true.

Speaker 34 (01:09:52):
I'm afraid there is that possibility.

Speaker 18 (01:09:54):
Inspector, Huh, it may be.

Speaker 27 (01:09:55):
The Tompkins has become so accustomed to thinking as two
persons to the personalities have actually become divided. Is that
possible for one man to have two separate and distinct personalities?

Speaker 4 (01:10:07):
Yes, that's not rare.

Speaker 18 (01:10:08):
Well, I'll admit I've I've never heard of anything exactly
like this. Didn't What will happen to him?

Speaker 25 (01:10:13):
Now?

Speaker 18 (01:10:13):
It's a battle that.

Speaker 43 (01:10:14):
Tompkins will have to fight out within himself. As long
as he's in that cell without the dummy, he may
learn to think for himself as himself again because it's
heavy mouth. Look here, I permitted that dummy to be
taken to the Tompkins in his cell.

Speaker 34 (01:10:26):
You what Chumpkins were so.

Speaker 4 (01:10:28):
Keen on having a dummy with them.

Speaker 11 (01:10:29):
I do you think that will harm him?

Speaker 24 (01:10:30):
I don't know, but.

Speaker 34 (01:10:33):
I am it said Tompkins, chetting on something afule.

Speaker 2 (01:10:37):
In this cell? What's happened?

Speaker 4 (01:10:38):
We put the big doll in with him?

Speaker 34 (01:10:39):
Like you said, and right off to be an Orgian
with it, chelling on a fight.

Speaker 31 (01:10:43):
Real life like it's just like two people worried each.

Speaker 13 (01:10:46):
Other as well.

Speaker 18 (01:10:47):
You were right. Come on, we better get to them.

Speaker 13 (01:10:49):
The voice too late.

Speaker 31 (01:11:00):
Well, all I can say is I knew you'd wind
up this way sometimes put away for keeps and jailbir Oh.

Speaker 25 (01:11:06):
Toby, I can't stand that way?

Speaker 34 (01:11:09):
How can you beat their ungrateful?

Speaker 4 (01:11:13):
I made you everything you are.

Speaker 30 (01:11:15):
You made me?

Speaker 38 (01:11:17):
Did you see you were the smallest of the small
till I tingle?

Speaker 34 (01:11:20):
You have you forgotten that once? You were an empty,
lifeless stick of wood.

Speaker 38 (01:11:24):
Oh, come off at Tompkins. You're a regular swash pot
of sentimentality.

Speaker 31 (01:11:31):
Anyway, I got stand the bigger.

Speaker 4 (01:11:34):
Why should I have anything to do with you?

Speaker 38 (01:11:35):
You've never done anything right. You couldn't even kill us.

Speaker 34 (01:11:39):
Terresa, don't talk to me.

Speaker 38 (01:11:42):
I wish you had killed him, and his wife would
belong to me.

Speaker 11 (01:11:45):
I could be with her.

Speaker 34 (01:11:48):
Oh, you fool. Don't you know that's impossible.

Speaker 31 (01:11:51):
You're just saying that you're jealous because I love her.

Speaker 4 (01:11:54):
No, I.

Speaker 34 (01:11:58):
Don't have to get rid of you to continue to
story something.

Speaker 31 (01:12:03):
Take your hands off me I'm brill to take a
hands off.

Speaker 34 (01:12:05):
No, no, kill you you mong a little SPI.

Speaker 11 (01:12:14):
Why to fache yourself?

Speaker 36 (01:12:23):
H No, talk back to you read the monster, not
to me.

Speaker 38 (01:12:28):
I feel that everything but fixed your faith. You gotta
jill me.

Speaker 18 (01:12:36):
What the hell you ry?

Speaker 4 (01:12:40):
Comes? Hurry?

Speaker 36 (01:12:49):
M oh mm hmmmm, don't me what right?

Speaker 34 (01:13:01):
Toby hand never make mm.

Speaker 4 (01:13:07):
Mm hmmmm.

Speaker 20 (01:13:15):
Wait there we are now he's nice to dummy.

Speaker 26 (01:13:24):
It's cappy.

Speaker 18 (01:13:25):
We didn't reach him in time. He seems to have painted.

Speaker 54 (01:13:27):
I guess we better see what we can do for
the poor devil made a pile of kindling out of
his dummy, didn't he?

Speaker 33 (01:13:32):
Oh no?

Speaker 4 (01:13:33):
What did it do to him?

Speaker 11 (01:13:34):
And he sees what he's done?

Speaker 18 (01:13:35):
They how is the inspects coming around? All right?

Speaker 11 (01:13:38):
Tommy com kas come out of the color.

Speaker 4 (01:13:41):
Everything's going to be all right.

Speaker 47 (01:13:42):
He's rein. You don't mean come on.

Speaker 55 (01:13:45):
Now, I will help you sit up as a color?

Speaker 18 (01:13:49):
Yeah, feeling a little better now.

Speaker 11 (01:13:51):
He's he's looking around for the dummy.

Speaker 2 (01:13:54):
Here we are.

Speaker 13 (01:13:56):
I guess this is what you're looking for him. His
dummy's broken up a bit.

Speaker 11 (01:14:00):
He'll be all right.

Speaker 31 (01:14:05):
He said he killed me, but I told him he
couldn't I killed him?

Speaker 38 (01:14:12):
Isn't it wonderful? Missus? Leslie Tompkins is dead? So we
can be together for as thousand three? You want me,
don't you?

Speaker 56 (01:14:24):
Missus?

Speaker 38 (01:14:25):
Ladwell, You've got to want me because I think you're
you and I love you and I'll be your slave always.

Speaker 36 (01:14:34):
Alway, oh oh mis.

Speaker 37 (01:14:50):
WHOA For the past thirty minute CBS that presented Out
of This World bringing you, Charles Guslum's adaptation of the
motion picture Dad of Night Darry Kroger was featured at
Tompkins and Art Connie Yes Toby. Original music by Albert Burman.

(01:15:20):
Out of This World is directed by John Moseman for
CBS the Columbia Broadcasting System.

Speaker 57 (01:15:39):
Mystery in the Air starring Peter Laurie, presented by Camo Cigarettes.

Speaker 18 (01:16:10):
And it is the sentence of.

Speaker 58 (01:16:12):
This card that you'll be hanged by the neck and
til you are dead, and may God have mercy on
your soul.

Speaker 4 (01:16:19):
Honor.

Speaker 59 (01:16:26):
No, I neither expect nor solicit belief for this wild story.
I would be mad to expect it. Yet mad I'm not,
and very surely I do not dream. But while there
is still time, I don't know why I feel compelled
to report a series of mere household events. In their consequences,
these events have terrified, half tortured, have destroyed me. Perhaps

(01:16:51):
someone more calm, more logically, but certainly far less excitable
than I will be able to explain them.

Speaker 19 (01:16:58):
I cannot. I can only tell you the facts, and
that I have to do today because tomorrow I die.

Speaker 57 (01:17:18):
Each week at this time, camel cigarettes bring you Peter
Laurie in the excitement of the great stories, of the
strange and unusual, of dark and compelling masterpieces culled from
the four corners of world literature. Tonight, Edgar Allan Poe's
immortal American classic The Black Cat.

Speaker 58 (01:17:43):
Mystery in the Air, starring Peter Laurie, brought to you
by camel.

Speaker 46 (01:17:48):
Cigarette experience is the best teacher.

Speaker 8 (01:18:03):
Try a camel.

Speaker 58 (01:18:04):
Let your own experience tell you why more people are
smoking camels than ever before. Give your tea zone the
experience of enjoying a camel and see if you don't
join the millions of other smokers who say camels suit
my tea zone. To a tea your tea zone that's
tea for taste and tea for throat is your true
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(01:18:27):
flavor isn't a delightful experience for your taste, If camel's
cool mildness isn't more than welcome to your throat, try
a camel.

Speaker 59 (01:18:48):
No, believe me that there was nothing, absolutely nothing in
my childhood which forecasts a terrible events that were to come. No,
as a child, I was very gently. I got along
well with everyone, but.

Speaker 19 (01:19:02):
The most like animals. Yes, all kinds of animals.

Speaker 59 (01:19:05):
And then I married quite young, and I was very
happy to find that my wife she had my feelings.
Very soon we had quite a collection. Oh we had
We had birds and goldfish. We had a dog and
some rabbits, and we had a cat. I'll never forget
the day my wife brought it home.

Speaker 19 (01:19:25):
Hello, Hello at home so early child.

Speaker 11 (01:19:29):
Look look what I've brought.

Speaker 19 (01:19:31):
Oh, oh, look to old the little cur Where did
you get it, darling?

Speaker 2 (01:19:36):
Oh?

Speaker 60 (01:19:37):
The poor little things? Some dogs were chasing it, and
I just rescued at in time.

Speaker 33 (01:19:41):
It was so fun.

Speaker 19 (01:19:42):
Yes, but it isn't frighten anymore.

Speaker 47 (01:19:45):
Oh, it seems to love you, child, Then that's not strange.
All animals do.

Speaker 61 (01:19:49):
Yes, yes, yes, nobody's going to hurt.

Speaker 19 (01:19:52):
You're kiddy, kitty Norman.

Speaker 5 (01:19:54):
About of milk?

Speaker 19 (01:19:58):
Yeah, yeah, you see. Oh, he must have been very hungry. Hey,
what's your name?

Speaker 47 (01:20:05):
And I suppose he has a name.

Speaker 52 (01:20:06):
He's so young.

Speaker 47 (01:20:08):
I don't think he belongs to anybody.

Speaker 19 (01:20:10):
Well, and then we have to give him a name.

Speaker 59 (01:20:12):
We can keep him, keep him. What are you talking about?
He has no home. We can't turn him out in
the streets.

Speaker 11 (01:20:18):
Child.

Speaker 47 (01:20:18):
I was hoping you'd let him stay, of course.

Speaker 19 (01:20:20):
But he must have a name. Yes, let's see.

Speaker 59 (01:20:24):
Oh you're so black, yes, all black, beautiful, not a
single white mother.

Speaker 61 (01:20:29):
Oh, oh, I have it.

Speaker 19 (01:20:31):
He's as black as the devil. Let's call him Pluto. Yes,
we'll call you Pluto.

Speaker 59 (01:20:45):
Well, Pluto grew up to be a remarkably beautiful cat,
and of all the animals in our house, he became
my favorite, to my playmate.

Speaker 19 (01:20:54):
Yes, and until it all changed.

Speaker 59 (01:20:56):
Yes, And as the years went on, my charact to
suffer the radical change, and everything changed.

Speaker 19 (01:21:04):
Huh Why, Well, I I'm ashamed. I hate to admit it.

Speaker 59 (01:21:11):
Through through two in temperance, Yes, through in temperance, and
then as uh, his drink became more and more necessary
to me.

Speaker 19 (01:21:20):
I became more and more moody and irritable.

Speaker 15 (01:21:32):
Where are you going?

Speaker 47 (01:21:33):
I don't have to tell you what I'm going, Oh, chos,
what's happening?

Speaker 17 (01:21:36):
Do you mean?

Speaker 2 (01:21:36):
What's happening to you?

Speaker 33 (01:21:37):
Never used to go out.

Speaker 47 (01:21:38):
Every night of those files.

Speaker 19 (01:21:40):
Please didn't stop it. I go on because I can't
stand listening to you, not all day long.

Speaker 11 (01:21:49):
I don't know what's come over you.

Speaker 19 (01:21:52):
There. Yeah, I see.

Speaker 59 (01:21:54):
Why don't you learn from Pluke? It's only a cat.
He doesn't ask me where I'm going.

Speaker 19 (01:21:59):
Yeah, that's right.

Speaker 24 (01:22:00):
You never drew more.

Speaker 19 (01:22:01):
Come here, Yes, I like it.

Speaker 33 (01:22:04):
Came here careful.

Speaker 47 (01:22:06):
I can't pick him up like that.

Speaker 19 (01:22:07):
I hear him here my never.

Speaker 2 (01:22:12):
He bet me, he beat me, you gave I show you.

Speaker 4 (01:22:31):
Yes.

Speaker 59 (01:22:32):
I I hate to admit it, but I was so furious.
I kicked Pluto, and I kicked him again and hardened.

Speaker 19 (01:22:39):
The next morning, I.

Speaker 59 (01:22:42):
Saw that his ear was torn, and I was filled
with remorse for what I had done. From then on,
Pluto ran away in terror whenever I approached, and and I,
in turn made me more and more irritated. And and
in the end, it it was shere perversceything else, yes,
shield and unexplainable perverseness.

Speaker 11 (01:23:04):
That made me do what I did.

Speaker 59 (01:23:06):
Heah, I brushed to admit it. But but one morning
I stranged animal. Yeah, I killed it only because I
knew that I had loved me, and because because it
can't given.

Speaker 19 (01:23:21):
Me no reason for offense.

Speaker 59 (01:23:23):
No, I'm offering no excuse. I'm only recounting what happened.

Speaker 19 (01:23:30):
Well, and in the evening I went through the inn
as there's one.

Speaker 59 (01:23:36):
I came home very late, and I fell fast asleep
with my clothes on, and then I was awakening suddenly.

Speaker 62 (01:23:49):
Charles Chile's wake up child, it must be a fire.

Speaker 19 (01:23:54):
No smoke, good heavens, look at it's our house.

Speaker 24 (01:23:58):
Our houses, come on, telling them we'll be placked.

Speaker 11 (01:24:02):
Don't hurry up.

Speaker 7 (01:24:06):
Stair up here.

Speaker 17 (01:24:08):
I don't talk, don't talk.

Speaker 30 (01:24:10):
You don't.

Speaker 47 (01:24:12):
I can get you through the flames.

Speaker 2 (01:24:15):
Don't gee.

Speaker 19 (01:24:22):
Here's the front door.

Speaker 17 (01:24:30):
We made.

Speaker 11 (01:24:33):
We don't go home.

Speaker 17 (01:24:38):
Anybody else in there, anybody else just as well.

Speaker 19 (01:24:42):
Never could get them out.

Speaker 4 (01:24:43):
Now are you the owner?

Speaker 19 (01:24:45):
Yes, that was our house.

Speaker 46 (01:24:48):
Well you haven't got much left.

Speaker 8 (01:24:49):
Then we can't save it.

Speaker 47 (01:24:50):
Now, everybody the.

Speaker 4 (01:25:08):
Well, it's now now funny.

Speaker 17 (01:25:10):
Nothing is left with that one wall in the middle.

Speaker 33 (01:25:13):
Look at it?

Speaker 2 (01:25:14):
What about it?

Speaker 63 (01:25:14):
We look at it on the wall.

Speaker 17 (01:25:16):
That is strange.

Speaker 19 (01:25:18):
What are you talking about?

Speaker 24 (01:25:19):
What's strange?

Speaker 34 (01:25:19):
There?

Speaker 11 (01:25:19):
They're on the wall.

Speaker 26 (01:25:20):
It's still staring up the marks on the marks.

Speaker 19 (01:25:23):
What marks?

Speaker 2 (01:25:24):
What's the matter? You're blind?

Speaker 17 (01:25:25):
Right up there in the wall. A black figure.

Speaker 33 (01:25:28):
It looks like it can.

Speaker 64 (01:25:31):
Must have done it.

Speaker 42 (01:25:31):
But what looks like a cat care and it's got
one floppy here.

Speaker 11 (01:25:40):
Honey, honey, honey.

Speaker 24 (01:25:42):
It's not funny.

Speaker 11 (01:25:43):
It is not funny at all.

Speaker 63 (01:25:45):
You're here.

Speaker 4 (01:25:46):
I know what it is.

Speaker 30 (01:25:48):
You know it is.

Speaker 19 (01:25:50):
Yes, it's blueto. I recognize him.

Speaker 42 (01:25:53):
Yes, there see he's here.

Speaker 2 (01:25:56):
Is torn?

Speaker 19 (01:25:57):
Oh you you beast.

Speaker 11 (01:26:00):
That's hideous beasts. It's come back to me to haunt me.

Speaker 4 (01:26:05):
Leave me alone.

Speaker 2 (01:26:06):
You're here.

Speaker 65 (01:26:07):
I can't stand it, but.

Speaker 61 (01:26:09):
You okay, okay, it's some water.

Speaker 18 (01:26:15):
Somebody.

Speaker 8 (01:26:16):
This man's fainted.

Speaker 57 (01:26:48):
The black cat is dead, killed by its master. The
house is burned to the ground, with everything in it
completely destroyed. Now the scene is the almost deserted, candle
lit tap room of a local inn.

Speaker 17 (01:27:07):
Don't you think you'd better go on home, sir?

Speaker 10 (01:27:10):
It's getting late.

Speaker 2 (01:27:12):
Home, man.

Speaker 61 (01:27:13):
You should see the terrible place where we were living now.

Speaker 17 (01:27:17):
Yeah, yeah, I heard you lost everything in that fire.

Speaker 19 (01:27:20):
Lost everything? Yes, I lost everything. I lost my house.
I lost everything.

Speaker 17 (01:27:26):
Well, how about that black cat of yours you used
to talk about.

Speaker 21 (01:27:29):
All the time?

Speaker 4 (01:27:30):
Huh? What was his name?

Speaker 19 (01:27:34):
Yes, CREWD is gone too. Oh I tell you I
miss him. I miss him very much.

Speaker 17 (01:27:43):
And if you miss him that much, why don't you
get another cat?

Speaker 19 (01:27:47):
Give me a drink?

Speaker 17 (01:27:48):
It's getting pretty.

Speaker 10 (01:27:49):
Late, sir.

Speaker 17 (01:27:50):
I mean, won't your.

Speaker 19 (01:27:51):
Wife be expecting you give me a drink?

Speaker 17 (01:27:55):
Yes, sir, and I'll have to fetch another bottle.

Speaker 59 (01:28:00):
Why don't I get another cat? I took his side?
Woll Why don't I No reason I shouldn't. There's no
reason to be in a deep so despair just because
of a cat. If I get another cat, maybe maybe

(01:28:21):
I'll be able to forget her.

Speaker 61 (01:28:24):
What's that? Oh there's a cat now? Yeah, sitting on
top of the taible. Black cat.

Speaker 59 (01:28:39):
That's stranger. I've been staring at that table for five minutes.
I could swear there was no cat on it anyway.
Where did you come from?

Speaker 4 (01:28:52):
Oh?

Speaker 59 (01:28:52):
Yeah, you got a beautiful cat. Yeah you're just as
black as blue. Yeah, except you you guys. Plot of
white on your chest?

Speaker 19 (01:29:04):
Yea the child?

Speaker 61 (01:29:07):
Yeah, yes, come come sit on my laugh huh oh yeah, kitty.

Speaker 59 (01:29:13):
Kid, Yes, you're a nice kitty.

Speaker 61 (01:29:17):
Had a nice cat? Hey, sir, where did this cat
come from?

Speaker 17 (01:29:23):
Cat?

Speaker 66 (01:29:23):
Oh?

Speaker 4 (01:29:24):
Oh?

Speaker 67 (01:29:24):
Yeah, a big one, isn't he? I don't know where
it came from or how it got in either. For
that matter, I never seen it around here before.

Speaker 19 (01:29:32):
Don't know what it belongs to.

Speaker 67 (01:29:33):
No, as far as I'm concerned, it belongs to you.
If you want it, can't keep it here. My wife
doesn't like cats, especially black ones.

Speaker 2 (01:29:42):
Light cats.

Speaker 19 (01:29:43):
H how stupid? Mmm see I wanted Yes, sir, I
want it very much. I'll take it home with me
right now.

Speaker 60 (01:30:04):
Charles, this is such a wonderful cat. Just since last week,
it's made itself so much at home. Well you think
it had lived here always?

Speaker 19 (01:30:14):
Yes, Yes, I've noticed that.

Speaker 33 (01:30:16):
He reminds me so much of Pluto.

Speaker 19 (01:30:18):
Yes, but this one has a patch of white on
its chest. Don't forget that.

Speaker 60 (01:30:21):
Yes, but I can't help wondering. I wonder whatever became
of Pluto. He disappeared the day of the fire.

Speaker 59 (01:30:30):
I know, I know he disappeared, and well, maybe he
knew the house was going to burn down.

Speaker 52 (01:30:37):
I'll see how it loves you.

Speaker 60 (01:30:39):
It's rubbing against your leg, just the way Pluto used
to Pluto.

Speaker 2 (01:30:42):
Pluto.

Speaker 19 (01:30:43):
Stop talking about Pluto.

Speaker 47 (01:30:45):
I didn't mean anything.

Speaker 61 (01:30:46):
I'm sorry, I'm sorry, I'm sorry.

Speaker 59 (01:30:49):
Bier always talk about how much this new cat resembles Pluto.

Speaker 19 (01:30:53):
It it just makes me nervous.

Speaker 59 (01:30:56):
Look, actually, there's hardly any resemblance at all. Really, and
sipped it chipped it. They're both black. This one has
a white patch.

Speaker 60 (01:31:05):
On its chest and all the poor thing, Charles. Look,
his ear is torn, see here under the fur. Oh,
I never noticed that before.

Speaker 47 (01:31:15):
It's just the way Pluto's I.

Speaker 61 (01:31:17):
Meant it's torn, it's dorn.

Speaker 19 (01:31:21):
Yes, it's just the way Pluto's ear was torn when
I kicked him.

Speaker 60 (01:31:25):
That's it isn't He must have been in a fight
or something. But it's curious we didn't notice.

Speaker 19 (01:31:30):
Curious.

Speaker 59 (01:31:31):
Huh you have no idea? How curious it is, no idea?
Gift that cat out of my son.

Speaker 60 (01:31:38):
Charles a mad How can you act that worry about
a poor dumb animal.

Speaker 58 (01:31:43):
So much?

Speaker 47 (01:31:44):
Oh, now you're frightened.

Speaker 19 (01:31:45):
Deer away from me.

Speaker 60 (01:31:46):
You hear me the way you talk anybody think you
don't even like the poor cat.

Speaker 19 (01:31:51):
Cat. I hate it, I tell you, I hate it.

Speaker 52 (01:31:56):
I hate I hate you.

Speaker 59 (01:32:07):
Yes, And in a short time the cat had been
with us. I had come to look upon it with
unutterable loathing.

Speaker 19 (01:32:14):
Why why? I don't know.

Speaker 4 (01:32:15):
Yet the more I.

Speaker 68 (01:32:17):
Hated it, the more affectionate it acted tourd me. Wherever
I went, it followed, whatever I sat down, it would
sprang upon my knees and cover me. Would it slowsome caresses,
as if death were not enough.

Speaker 19 (01:32:32):
To the white patch on its chest, which.

Speaker 59 (01:32:35):
Originally it had been very indefinite in shape, but gradually
it assumed a very definite outline.

Speaker 61 (01:32:42):
Yes, the unmistakable and the ghastly shape.

Speaker 49 (01:32:47):
Of the gallows, the terrible engine of horror, of agony,
and of dearth.

Speaker 59 (01:32:53):
I longed to destroy the path I was prevented by
an absolute, unreasonable drey.

Speaker 11 (01:33:00):
I was sure I was losing my mind.

Speaker 47 (01:33:13):
Charles, Are you going out again?

Speaker 25 (01:33:16):
Yes?

Speaker 19 (01:33:16):
I'm going out.

Speaker 17 (01:33:18):
I don't know when I'll be back.

Speaker 47 (01:33:21):
Before you go, do you suppose will you help me
bring up some wood from the cellar?

Speaker 19 (01:33:26):
Why do you always want more wood?

Speaker 60 (01:33:28):
The house is cold? You know I haven't been feeling well,
I'm not strong enough to carry on.

Speaker 19 (01:33:34):
All right, come on, I'll help you. You might have
thought of this before.

Speaker 32 (01:33:41):
Look, that's a beast. They give me Charles under my feet.
He tried to trip me on the stairs. Oh no,
I'm sure I'll get right off that beast once and
for all. Get Charles, put down that cobal.

Speaker 19 (01:33:56):
Get out of my way.

Speaker 24 (01:33:57):
No, get out of my way than my.

Speaker 47 (01:34:00):
Arms, my arm?

Speaker 4 (01:34:02):
Are you going to like all? I said my fag.

Speaker 61 (01:34:10):
M hm, why don't letting me go? Mm hmmm.

Speaker 59 (01:34:24):
Yes, she she had famed dead without a groan to
my blind range. My rage against the cat that struck
my wife and killed her. Well, nothing I can do
about it now. All I could do was to set
myself to the task of concealing the body. Yes, I

(01:34:46):
I thought, and I deliberated, and and then it occurred
to me that, yes, in the Middle Ages, they used
to wall up their victims, and I determined to do
the same thing.

Speaker 19 (01:34:58):
Yes, behind the wall in a.

Speaker 59 (01:34:59):
Cell, I managed to dis large section of bricks near
the chimney, and in a hole behind them I propped body.
Then I carefully laid the bricks back in their original possession,
and when I had finished, no one, no one.

Speaker 19 (01:35:16):
Could have told that the wall had been disturbed at all.

Speaker 59 (01:35:20):
Well, I, I could say to myself triumphantly, Here, at least.

Speaker 19 (01:35:27):
My labor has not been in vain.

Speaker 59 (01:35:31):
My next step then was to look for the beast
that had been a cause of so much misery.

Speaker 61 (01:35:36):
But but then I became aware that it had completely disappeared.

Speaker 4 (01:35:42):
Huh.

Speaker 59 (01:35:43):
Three days passed them and still my tormento did not appeared. Holy,
it's impossible to describe. Could you imagine the deep sense
of my relief For the first time a month I left, Yes, sir.

Speaker 69 (01:36:02):
Oh I left even with a.

Speaker 19 (01:36:05):
Burden of murderer my soul.

Speaker 41 (01:36:09):
Yes.

Speaker 59 (01:36:09):
Some few inquiries were made about my wife's wereabouts, and
the search of the house was conducted, but nothing was discovered.

Speaker 19 (01:36:19):
Oh, I finally could look upon my futures.

Speaker 28 (01:36:23):
If you.

Speaker 8 (01:36:34):
Yes, Sorry to disturb you again, sir.

Speaker 19 (01:36:39):
It's your cards, And is there anything I can do
for you?

Speaker 8 (01:36:42):
Well, they're still puzzled about your wife's disappearance.

Speaker 19 (01:36:46):
Well so am I.

Speaker 8 (01:36:48):
Some of her friends have been around at the police station.

Speaker 19 (01:36:50):
What's that got to do with me? Huh, you've already
searched us twice.

Speaker 6 (01:36:55):
What do you want.

Speaker 70 (01:36:55):
Well, I know, sir, but well the captain sent me
in the constable here to look around just once more
to be sure there's no clues been overlooked.

Speaker 8 (01:37:03):
This will be the last time, sir, only a matter
of routine. We won't bother you again. All right, come in,
Thank you, sir, Come on, jong, But.

Speaker 19 (01:37:14):
What would you like to look first?

Speaker 8 (01:37:15):
Well we might as well begin with the cellar seller.

Speaker 19 (01:37:18):
All right, yes, right down these steps. I'll come with you.

Speaker 8 (01:37:26):
As I always say, searching a house is like getting
ahead in the world.

Speaker 10 (01:37:30):
You start at the bottom.

Speaker 19 (01:37:34):
Yes, I see, it's very funny.

Speaker 8 (01:37:38):
Well, come on, constant gets work right.

Speaker 59 (01:37:45):
While we searched, I folded my arms and watched. As
before they discovered nothing nothing.

Speaker 19 (01:37:54):
But as they were about to depart to glee, my
heart was too strong to be restrained.

Speaker 5 (01:38:01):
I burned to see.

Speaker 19 (01:38:02):
But one wood is just one wood by way of triumphant.
And as they started up the steps.

Speaker 59 (01:38:10):
I said, uh, so you have you noticed this is
a very well constructed house?

Speaker 19 (01:38:17):
You know, hey, gentlemen, you're not going on.

Speaker 59 (01:38:21):
Yes, it's a it's an excellently well constructed house. You're
never scene such a well constructed house in a frenzy
of my bravado upon a very portion of the brick wood,
behind which stood the courts of my WiFi.

Speaker 2 (01:38:37):
I rapped with my chnd me.

Speaker 11 (01:38:44):
Heaven deliver me from the arch fiend.

Speaker 2 (01:38:49):
How is that?

Speaker 4 (01:38:57):
What was that?

Speaker 19 (01:39:00):
Win?

Speaker 4 (01:39:00):
Probably wind?

Speaker 8 (01:39:02):
That's not the wind.

Speaker 11 (01:39:03):
Hey, When you hit this wall.

Speaker 46 (01:39:04):
Here, whatever it is, it's behind these bricks side here, take.

Speaker 11 (01:39:11):
This crow bar and knock that wall down right quite
a minute, you keep.

Speaker 8 (01:39:19):
Wait a minute, where are you going? You stay right here?

Speaker 46 (01:39:24):
Hey, this is new plaster that hasn't had time to set.

Speaker 18 (01:39:26):
You pull it down.

Speaker 17 (01:39:34):
If it comes to click out.

Speaker 61 (01:39:40):
Oh m hmm, there's what we're looking for, all right,
his wife's body.

Speaker 17 (01:39:48):
What's that horrible looking thing sitting on our head?

Speaker 18 (01:39:53):
How did that cat get in there?

Speaker 71 (01:39:55):
I know how it got, Yes, I don't know what
I must have hold it up? Be a tomb I
never knew it. No, look at that red mouse.

Speaker 11 (01:40:06):
That was a burning eyes.

Speaker 19 (01:40:09):
You you hideous, you beast, you monster, you you are
the devil.

Speaker 2 (01:40:15):
You made me a murderer.

Speaker 19 (01:40:17):
No, for three days you've been in there waiting, waiting to.

Speaker 11 (01:40:22):
Send me to the gallows.

Speaker 19 (01:40:25):
The hangman will get me, Yes, I hope I hope
You're sidified. I hope You're sidified.

Speaker 57 (01:40:56):
Next Week, Mystery in the Air, starring mister Peter Laurie,
brings you an adaptation of one of our star's greatest
motion pictures, Crime and Punishment, based on the book by
Fyodor Dostovski, with a special musical score composed and conducted
by Paul Barron.

Speaker 4 (01:41:15):
This is NBC, the National Broadcasting Company.

Speaker 43 (01:41:18):
Get set for the Molay Mystery Fitter and details later
on about Molay's big twenty five thousand dollars contest, my
Closest Shave, first prize, a three five hundred dollars vacation trip,
other prizes five new Ford deluxeidans, ten late model television sets,
and many other big cash prizes.

Speaker 54 (01:41:57):
Good Evening, This is Effree Barnes welcoming you to the
Molay Mystery Theater, the program that presents the best in
mystery and detective fiction. Tonight's story by George and Gertrude
Fast is entitled solo Performance. Our stars the very versatile
Everett Sloan stage, screen and radio actor, currently appearing with

(01:42:21):
Rita Hayworth and Orson Wells in the motion picture Lady
from Shanghai tonight, mister Sloane Will played the part of
Albert Perry, an actor who's forced by circumstances to play
the most difficult role of his career, a role wherein
his life depends upon his solo performance.

Speaker 43 (01:42:42):
But first, as short remind you, friends, the story of
your closest shape, your narrowest escape from danger of any kind,
may win a grand prize in Molay's twenty five thousand
dollars contest My Closest Shave.

Speaker 4 (01:42:55):
Listen for full details later.

Speaker 54 (01:42:58):
This is Jeffrey Barnes again and at one of tonight's
Moley Mystery solo performance starring Everettslan as Albert Perry.

Speaker 33 (01:43:22):
Miss Johnson, Yes, mister Hammil, I was just leaving for
the day. Shall I bring the mailien?

Speaker 4 (01:43:27):
No, leave it on your desk before you go.

Speaker 49 (01:43:29):
Vid, you do something for me, yes, mister Hamil, phone
the theater and ask Blaine to come over here and
see me after rehearsal.

Speaker 4 (01:43:35):
I've be'll wait for him, Yes, mister Hamil.

Speaker 47 (01:43:37):
Anything else?

Speaker 3 (01:43:38):
No?

Speaker 4 (01:43:39):
Good night, Miss Johnson, good night.

Speaker 72 (01:43:40):
I say.

Speaker 49 (01:43:46):
It was over the most difficult performance of my career.
I had played the part of Lee Hammill's theatrical producer,
with Lee's body lying not fifteen feet away. I suppose
I'd had better roles, more artistic ones, that is, but
never a tougher one. This one had lasted five and

(01:44:07):
a half hours, and my life hanging on every minute
of it. Looking back, I can see now how inevitable
that performance was. From that night two weeks before, when
I waited for Elspeth at Luigi's.

Speaker 11 (01:44:21):
Hey, mister Perry, you order dinner now?

Speaker 49 (01:44:23):
No, not you, at Luigi. I'm still waiting for my wife.
She's late for some reason. Yes, I can see you
wait for two hours, and look what you do to
the table, claud mister Perry writing all over it like that.

Speaker 4 (01:44:34):
That's not nice. Good learn.

Speaker 11 (01:44:36):
But if she complained, it's hard to get out.

Speaker 24 (01:44:39):
I'm sorry, Luigi. Uh, bring me a glass of Kianti.

Speaker 11 (01:44:42):
Yes, mister Perry, glass to kiante.

Speaker 73 (01:44:44):
Oh, Albert, I'm sorry, I'm laid my poor star Darling, WHOA. Finally,
i'd kept you waiting till you ordered yet. Just a
glass of wine, one glass, Luigi, bring a whole bottle.

Speaker 24 (01:44:54):
We're celebrating, Darling, celebrating what your arrival.

Speaker 33 (01:44:58):
I got the part. Think of that, my sweet isn't
it wonderful?

Speaker 24 (01:45:01):
Well, sure, that's great news. But why did it take
this long?

Speaker 4 (01:45:04):
Oh?

Speaker 33 (01:45:04):
Well, you know how Lee Hamma likes to talk.

Speaker 73 (01:45:06):
And then after he decided to give me the part,
he had to go into a long discourse on how
to interpret the role. I have called if I could,
but I just couldn't interrupt him. And when I finally
did break away, I didn't want.

Speaker 24 (01:45:16):
To lose a minute.

Speaker 33 (01:45:19):
Chianti. It should be champagne.

Speaker 24 (01:45:21):
You know as well as I do. We can't even
afford this, but we can.

Speaker 33 (01:45:24):
I'll be getting five hundred a week. Think of that.

Speaker 73 (01:45:27):
Oh, darling, I didn't tell you. I think there's a
part for you, the part of Tony. He's just your type.
When I see Lee tomorrow, I'll talk to him about it.

Speaker 24 (01:45:36):
Save your breath. I saw him last week.

Speaker 33 (01:45:38):
Hip you did you didn't tell me?

Speaker 24 (01:45:41):
Well, it was nothing to tell.

Speaker 74 (01:45:42):
But what did he say?

Speaker 4 (01:45:44):
He said there was nothing for me in the play?

Speaker 24 (01:45:46):
Nothing?

Speaker 33 (01:45:47):
But that was last week, Darling.

Speaker 73 (01:45:49):
Now he may feel different, especially if I ask him.
If you ask him, I'll turn on the fatal charm.

Speaker 24 (01:45:56):
You'll do nothing of the kind, not with that wolf.

Speaker 14 (01:45:59):
Silly.

Speaker 73 (01:45:59):
I'm kidd but you just leave it to me, Darling.
We'll be a husband and wife team yet. Oh I
can see it now. Night Cafe, a Lee.

Speaker 33 (01:46:08):
Hammel production starring Albert and Elsbeth Perry.

Speaker 4 (01:46:27):
Albert, what look at you? What's the occasion?

Speaker 33 (01:46:30):
I'm going downtown to meet Lee?

Speaker 75 (01:46:32):
What for?

Speaker 24 (01:46:33):
Rehearsal sounds starting already?

Speaker 30 (01:46:34):
Are they?

Speaker 76 (01:46:35):
No?

Speaker 73 (01:46:35):
But he wants to discuss the play with me, and
that gives me just the opportunity. I want, you know,
to ask him about you.

Speaker 24 (01:46:41):
Look, baby, I just as soon you didn't. Any favor
Hammel does for anyone has to be paid for. What
time you be home?

Speaker 51 (01:46:49):
Oh?

Speaker 33 (01:46:50):
I don't know. But if I'm late, you just go
right ahead and eat, don't wait for me.

Speaker 24 (01:46:53):
Well okay?

Speaker 33 (01:46:54):
Oh the script I left to hear on the disk.

Speaker 4 (01:46:57):
Oh, I was looking it over here?

Speaker 11 (01:46:58):
It is?

Speaker 3 (01:46:59):
You know.

Speaker 24 (01:47:00):
I guess I could handle that Tony roll all right?

Speaker 2 (01:47:02):
Oh?

Speaker 33 (01:47:02):
I know you can't.

Speaker 4 (01:47:05):
Oh, Albert, Now what is it?

Speaker 33 (01:47:07):
Look what you've done to this script? Why do you
have to scribble on things?

Speaker 4 (01:47:11):
Well?

Speaker 49 (01:47:11):
If I didn't do that, I'd probably bite my nails.
Just nervousness.

Speaker 73 (01:47:15):
Goodbye, my pet, and don't worry. The part as good
as yours and Hammil won't eat me, you know, not
unless I let it.

Speaker 33 (01:47:21):
Bye, Darling.

Speaker 49 (01:47:28):
Well, every day the following week she went down to
see Lee to discuss interpretations.

Speaker 4 (01:47:33):
She said we'd meet at.

Speaker 49 (01:47:35):
Luigi's every night at six.

Speaker 4 (01:47:37):
She'd come in.

Speaker 49 (01:47:38):
Bubbling over with excitement and always with the assurance that
she was on the point of landing the role for me.
But Thursday morning I found an item in Variety. I
handed the paper to her to.

Speaker 73 (01:47:50):
Read, Lee Hammel signs Matt Blaine for a featured role
in Night Cafe opposite Elsabeth Perry.

Speaker 24 (01:47:59):
So you're still looking on Lee to give me the part,
are you?

Speaker 49 (01:48:02):
Oh?

Speaker 73 (01:48:02):
But Darling, I knew about Matt Blaine. As a matter
of fact, Lee signed him on Monday, and today is Thursday.

Speaker 4 (01:48:07):
Why didn't you tell me Monday that Blaine had the part?

Speaker 73 (01:48:09):
Because on Monday I didn't want to make you feel bad,
and after what happened Tuesday, I wasn't so sure you
couldn't still.

Speaker 66 (01:48:15):
Have the part.

Speaker 24 (01:48:16):
All right? What happened Tuesday?

Speaker 73 (01:48:18):
Well, we were all in Lee's out of office, waiting
for Lee to call us in. But you know how
Blaine is always doing takeoffs on people to prove what
a good mimic he is.

Speaker 24 (01:48:26):
He thinks he's good.

Speaker 73 (01:48:27):
Well, this time he decided he'd give an imitation of
Lee interpreting rolls for us. Now, my DearS, pay close attention,
descript calls.

Speaker 2 (01:48:37):
Let me do it.

Speaker 24 (01:48:38):
Here's the way Lee sounds.

Speaker 49 (01:48:40):
Now, my DearS, my darling, this wonderful script. Demn stark realism.
Life in the raw is stripping down to essensials.

Speaker 33 (01:48:51):
Oh that's Lea did a life over well. Blaine did
it fairly well too.

Speaker 73 (01:48:55):
He was going great guns when Lee opened the door
of his private office and stood there, taking at all
in sore.

Speaker 4 (01:49:01):
As a boil.

Speaker 24 (01:49:02):
Rough break for Blaine.

Speaker 73 (01:49:04):
Lee didn't speak to him all that day. Blaine is
so unnerved that I'm sure you'll mangle's part.

Speaker 24 (01:49:09):
Oh I see.

Speaker 49 (01:49:10):
So now I'm supposed to sit around and pray that
Blaine gets the sack.

Speaker 73 (01:49:14):
Oh, don't feel that way about it. He's just not
right for the part anyway. To keep your chin up sweet,
all right?

Speaker 24 (01:49:21):
What about dinner tonight?

Speaker 3 (01:49:22):
Oh?

Speaker 33 (01:49:23):
Oh, I forgot to tell you. Lee asked me to
have dinner with him.

Speaker 24 (01:49:27):
Oh you're not going to, are you?

Speaker 33 (01:49:29):
Oh? I never would.

Speaker 73 (01:49:30):
Only he's asked the cast up to his apartment after
dinner for the first reading, and since I'll be in
the city anyway, I thought it might be just as
well to accept his invitation.

Speaker 49 (01:49:40):
Well, I'll go along downtown with you. I'll lead at
the Lambs and pick you up after your reading.

Speaker 33 (01:49:45):
Oh but now, but I don't know how soon we'll finish.

Speaker 24 (01:49:47):
All right, so I won't pick you up. Least you
don't mind my coming downtown with you?

Speaker 33 (01:49:52):
Oh, not at all, But hurry and dress. I don't
want to be late.

Speaker 49 (01:50:05):
I'd had dinner at the Lambs Club and was knocking
some balls around in the billiard room when I saw
Matt Blaine. Hi, Albert, Oh hello, Matt, what are you
doing here?

Speaker 9 (01:50:15):
All?

Speaker 77 (01:50:15):
Same thing?

Speaker 26 (01:50:16):
You are wasting time?

Speaker 24 (01:50:17):
Won a game? Oh don't you have a reading tonight
at Lee Hammill's reading. Oh no, we don't begin until Friday.
First rehearsal. I'll rack him up. Let's go the next day.

Speaker 49 (01:50:36):
I didn't mention to else with my meeting Blaine at
the Lambs, but when she told me she was going
to visit her mother that night, I simply said I'd
go along.

Speaker 73 (01:50:46):
But Albert, what why spore your evening? You know you
and mother never get along.

Speaker 49 (01:50:51):
All right, If that's the way you want it, why
don't you go to a movie or something that's an idea.

Speaker 33 (01:50:58):
You have a much better time, and.

Speaker 44 (01:51:01):
So will I.

Speaker 49 (01:51:08):
I got my hat and left, But instead of going
to the movies, I waited in the shadows near the
subway entrance. When Elsbeth came out, I followed her into
the subway unseen. She got off at fifty ninth Street,
and the sense of shame I had at following her
was replaced by a feeling of rage and frustration when
she went into Lee Hammill's hotel on Central Park South.

(01:51:32):
I waited outside the hotel until midnight, and when she
didn't come out, I left.

Speaker 24 (01:51:39):
At that moment I felt I could kill Lee Hammeil.

Speaker 54 (01:52:00):
This is Jeffrey Barnes again in just a Moment, Act two.
But first, here's Dan Seymour with an important announcement.

Speaker 43 (01:52:06):
Friends, here's your chance to get that luxurious vacation trip
you and your family have been waiting for, all expenses paid.
That's right, A three five hundred dollars vacation trip or
cash is the grand prize in Molai's fascinating contest, My
closest shave, and there are one hundred and six other prizes,
five new Ford sedans, ten of Emerson's latest table model

(01:52:28):
television sets installed, or radio phonographs, and also seventy five
cash prizes totaling five thousand dollars. Now that's twenty five
thousand dollars worth of prizes in all. Tell us more, Danny,
how do you enter the contest? Well, it's easy, it's fun.
Get the printed rules and suggestions from your druggist. Then
write the story of your closest shave, your narrowest escape

(01:52:50):
from danger, embarrassment, or failure, your most exciting experience of
any kind.

Speaker 4 (01:52:54):
The story, not the writing, is what counts.

Speaker 43 (01:52:57):
Send your entry with two end flaps bearing the name
from any Molay carton, mail to Molay Post Office Box
forty nine, New York eight, New York.

Speaker 54 (01:53:08):
That's Molay Bucks four nine, New York, eight, New York.

Speaker 43 (01:53:13):
The whole family can get in this grand contest. Send
as many entries as you wish, but include two Molay
en flaps from the carton with each entry. Remember, one
hundred and seven prizes worth twenty five thousand dollars, including
trade prizes, are waiting to be won, So get your
close shave entry in soon.

Speaker 54 (01:53:32):
This is Jeffrey Barnes again, returning you to the Mystery
Theater and Act two of solo performance starring Everett Sloan
as Albert Perry.

Speaker 33 (01:53:53):
What would you like for breakfast?

Speaker 24 (01:53:54):
Dear dusk coffee? You came in pretty late last night?

Speaker 33 (01:53:59):
Oh you know how mother is? She kept me at
jen Rummy till past midnight?

Speaker 4 (01:54:04):
Else?

Speaker 49 (01:54:05):
Was that movie last night? Started wheels turning in my brain?
I got an idea, an idea.

Speaker 24 (01:54:10):
Why don't we go out to Hollywood and have a
try it pictures?

Speaker 33 (01:54:13):
You seem to forget. I have a contract, and a
darn good one.

Speaker 24 (01:54:17):
You seem to forget I have no darn good contract.
I've made up my mind. Else but we're going.

Speaker 33 (01:54:22):
Oh but I can't break my contract with Lee, the
devil with Lee. This part will make me out, but
it's practically a starring role.

Speaker 4 (01:54:29):
Lee means more to you than I do, doesn't he
he will?

Speaker 69 (01:54:33):
No.

Speaker 33 (01:54:34):
I begin to see you're not crazy. You're only jealous.

Speaker 4 (01:54:37):
I'm not jealous.

Speaker 33 (01:54:38):
Oh yes, you are, well, believe it or not. I'm relieved.

Speaker 73 (01:54:41):
That's a normal reaction anyway, After all, I guess I
have been spending quite a bit of time with Lee.

Speaker 11 (01:54:46):
But just let me.

Speaker 33 (01:54:47):
Assure you do.

Speaker 24 (01:54:48):
You don't have to bother.

Speaker 33 (01:54:49):
Oh but wait, wait, we begin rehearsals on Friday.

Speaker 73 (01:54:52):
Blame will be fired then, I'm sure of it. Lee
didn't exactly promise me, but you're almost certain to get
the part. Won't you wait until Friday?

Speaker 4 (01:54:59):
Dear?

Speaker 30 (01:55:01):
All right?

Speaker 24 (01:55:03):
I wait until Friday.

Speaker 49 (01:55:11):
Friday afternoon, I went downtown and waited outside the theater.
At one the cast began to leave by the stage door.
Then Lee and Elspeth came out together and hopped into
Lee's car.

Speaker 24 (01:55:22):
I knew where they were going.

Speaker 4 (01:55:27):
Elsbeth said very little to.

Speaker 24 (01:55:29):
Me that weekend.

Speaker 49 (01:55:30):
Maybe she knew I wouldn't take any more of that
line about trying to get me Blaine's part. Monday's rehearsal
was called for two thirty. I figured Lee Hamil would
be in his office all morning preparing for it. At
eleven thirty.

Speaker 4 (01:55:43):
I entered his reception.

Speaker 33 (01:55:47):
Oh, good morning, mister Perry.

Speaker 24 (01:55:49):
Moria, Miss Johnson. Will you tell mister Hamil I'd like
to see him?

Speaker 78 (01:55:52):
Of course, sit down, won't you, Elsbeth? Perry's husband is here, Yes, sir, Yes,
mister Hamil. I'm sorry, mister Perry, but he's just too
busy to speak to anyone.

Speaker 33 (01:56:05):
He's not casting you enough.

Speaker 24 (01:56:07):
But this is important, it's something personal.

Speaker 33 (01:56:09):
I'm really sorry, mister Perry, but you can't see mister
Hamil today.

Speaker 49 (01:56:12):
Well, okay, I I'll drop in again tomorrow, Miss Johnson.

Speaker 47 (01:56:16):
Do that, mister Perry.

Speaker 49 (01:56:23):
But I didn't take the elevator down. Instead, I slipped
into an alcove at one end of the corridor. It
was close to twelve, and I knew the girl would
soon be going to lunch. At about ten to twelve,
I heard the door open and the girl's footsteps going
off toward the ladies room. I walked quickly back to
Hamil's office, across the reception room and entered his private office.

Speaker 4 (01:56:41):
Yes, oh it's you, petty. Missus Johnson told you I
was busy, did she not?

Speaker 49 (01:56:47):
She did, But you're going to listen to me, whether
you can spare a moment of your precious time or not.
Before you begin, mister Petty, please understand I have no
work for you. I know that then they have nothing
to say to each other. I asked you to leave
my office I'm not leaving mister Petty immediately. Because I
have engaged your wife to act in my play is

(01:57:08):
no excuse for.

Speaker 4 (01:57:09):
You to force yourself on me. Then I have no
time for you.

Speaker 49 (01:57:12):
You've got plenty of time for my wife, haven't you.
And listen to me, Hambled, No louse of a producer
is going to live the brag that he walked off
with my wife. Say oh, this is too much. Get
out of my artist. Take your hands off me, Hamble, I.

Speaker 54 (01:57:25):
Warn you, get out, get out, for I'll brain you.

Speaker 24 (01:57:29):
Hysterical fool picked up a paperweight and came at me.

Speaker 49 (01:57:32):
I grappled with him, and then suddenly the hatred I
felt for him swept over me. In a blind rage,
my groping right hand seized an object on his desk,
and I plunged my.

Speaker 4 (01:57:41):
Fist into his chest.

Speaker 2 (01:57:43):
Ha oh.

Speaker 49 (01:57:51):
He was on the floor dead, and in my hand
I held a silver letter open, a dripping blood. I
dropped it and made for the door. I had to
get out before the girl came back. But just as
my hand gripped the knob, I heard the outer door open.
I was trapped, and then the inner office phone. If
it was man said she'd come in here, acting almost

(01:58:15):
on reflex. I walked over and picked it up.

Speaker 78 (01:58:19):
Hello, mister Hammil, mister Hamil, Yes, I'm ordering this a
sandwich for lunch.

Speaker 2 (01:58:29):
Mister Hamil, Shall I order something for you?

Speaker 3 (01:58:31):
No?

Speaker 24 (01:58:32):
No, thank you, Miss Johnson, very well, mister hamp.

Speaker 49 (01:58:38):
I'd carried it off. Now, she'd have a lunch in
the office and then go out to the shop. Probably
all I had to do was wait. My eye fell
on the body quietly. I pulled it to the closet
and pushed it in, And then I wiped the handle
of the letter opener and threw that into the closet too.
The telephone, the doorknob, and the key. I had to
get my fingerprints off them. My handkerchief did it quickly.

(01:59:01):
I pulled on my gloves. I'd take no further chances
of leaving a print behind. Half an hour to wait,
and to think things over in comfort. I sat down
at Lee's desk and lit a cigarette. The clock had

(01:59:22):
ticked away the minutes five ten, fifteen twenty.

Speaker 33 (01:59:26):
When yes, mister van Dyke is on the phone.

Speaker 4 (01:59:37):
I cannot talk to him now, but he says.

Speaker 11 (01:59:39):
He must discuss a very important problem of direction.

Speaker 4 (01:59:41):
Very well put him on. Hello Lee, what about that
first entrance of the girl?

Speaker 2 (01:59:48):
What have you decided about it?

Speaker 4 (01:59:50):
Oh? Yes, yes, the entrance.

Speaker 79 (01:59:52):
I leave it.

Speaker 4 (01:59:53):
Talk to you. You are the director. Do it however
you think best.

Speaker 2 (01:59:56):
But you said yesterday, Yes I was wrong.

Speaker 4 (01:59:58):
You are right, Yes, yes, just as you said.

Speaker 24 (02:00:02):
It should be.

Speaker 49 (02:00:03):
God if you say so, only after what you told
me yesterday, I heard a man can change his mind.

Speaker 4 (02:00:07):
No, I have thought it over. You are right and
I am wrong.

Speaker 2 (02:00:11):
That is all okay.

Speaker 49 (02:00:21):
For the next two hours nothing happened, and then I
was startled by the ringing of the phone. I realized
it was a call on Lee's private wire.

Speaker 33 (02:00:33):
Hello Lee, Elsbeth, Elsbeth.

Speaker 4 (02:00:37):
Now I really began to sweat.

Speaker 49 (02:00:39):
Could I possibly fool my own wife, especially since she
had already heard my impersonation of Lee.

Speaker 11 (02:00:45):
Hello, Hello Lee.

Speaker 4 (02:00:49):
Yes, Elsma's darling then.

Speaker 33 (02:00:51):
Just told us you wouldn't be here at rehearsal. I
just had to speak to her.

Speaker 4 (02:00:55):
What is it, my dear?

Speaker 24 (02:00:56):
You know?

Speaker 4 (02:00:58):
Uh what? What would you like me to say?

Speaker 47 (02:01:01):
Just three little words?

Speaker 2 (02:01:04):
What Lee? Dear?

Speaker 33 (02:01:05):
I just can't continue without knowing?

Speaker 4 (02:01:08):
Oh so you want an answer?

Speaker 49 (02:01:11):
Yes, please let me hear you say them first, those
three little words you want.

Speaker 2 (02:01:17):
He has it.

Speaker 19 (02:01:19):
He has it.

Speaker 33 (02:01:20):
Yes, the job, the part of Tony.

Speaker 8 (02:01:22):
Oh oh Lee.

Speaker 33 (02:01:23):
It means so much to me. And Albert would be
so much better than Blain.

Speaker 54 (02:01:27):
You know that?

Speaker 4 (02:01:28):
Is this why you have been so nice to me.

Speaker 33 (02:01:31):
Don't be angryly You know how I feel about Albert.
But if he doesn't get the job, he's going to
the coast.

Speaker 49 (02:01:36):
So and if he does, I'm going with him and
break your contract.

Speaker 33 (02:01:40):
I have no alternative.

Speaker 4 (02:01:42):
Well, in that case, I.

Speaker 24 (02:01:44):
Have no alternative, my dear, the.

Speaker 4 (02:01:46):
Job is his.

Speaker 33 (02:01:47):
Oh you, darling, thanks a million way.

Speaker 49 (02:01:53):
Why not wait and tell him personally tonight? The pleasure
would perhaps.

Speaker 33 (02:01:57):
Be greater, How perfectly right? I will wait. Oh, thanks again, darling.

Speaker 49 (02:02:07):
How does a fellow feel who has just discovered that
the wife he suspected was never anything but loyal to him,
that the man he has just murdered in a jealous
rage was never anything more to her than a business acquaintance.

Speaker 4 (02:02:22):
I'll tell you how it feels.

Speaker 49 (02:02:24):
It may surprise you by its very simplicity. He wants
to escape the consequences of his crime. Yes, that's all.

Speaker 4 (02:02:34):
He just wants to escape.

Speaker 54 (02:02:56):
This is Jeffrey Barnes again, and just a moment, we'll
bring you Act three solo performance. Now a word from
George Putnam.

Speaker 64 (02:03:04):
Thousands of dandruff sufferers who've been ready to give up
in despair after trying other methods without success, have found
that double danderene gives them real relief. You see, outstanding
authorities point out that a germ pity ross Poromo valley
is the cause of the most common kind of dandrff.
Methods that simply wash away loose dandriff are ineffective because
they don't destroy this germ. For real relief, it must

(02:03:27):
be destroyed, and double danderene does that. It actually kills
this germ on contact. Even in many severe cases, double
danderene has given remarkable results. Now, the reason for double
Danderene's amazing efficiency is a special ingredient, an active antiseptic
that's used by many hospitals because of its astonishing effectiveness
in double danderene.

Speaker 24 (02:03:47):
We call it al zan.

Speaker 64 (02:03:49):
So try double danderene and see if you don't agree
that it really does more than many dandriff fighting methods.
Methods that actually are no better than plain water get
double danderene tomorrow money back if not satisfied.

Speaker 24 (02:04:08):
At last.

Speaker 49 (02:04:09):
It was five point thirty and the secretary left. Ten
minutes later, I walked down the stairs unseen, mingled with
the crowds leaving the building and took the subway. In
forty minutes, I was home and now the clincher, still
impersonating Lee Hammill and pretending to be at the office.
I phoned Van Dyke at the theater and told him
I was dismissing Blaine from the cast. My alibi was

(02:04:32):
complete since Elspeth had dutifully reported to me that I
was to replace Blaine in the cast of Night Cafe.
I attended the rehearsal the next day.

Speaker 4 (02:04:45):
I wasn't very.

Speaker 27 (02:04:46):
Surprised when the police walked in, but the rest of
the cast were electrical.

Speaker 17 (02:04:53):
Quiet, pleace, quiet quietly.

Speaker 26 (02:04:58):
Mister Hamill was murdered.

Speaker 10 (02:05:00):
Come here, oh my well, just one minute please.

Speaker 7 (02:05:04):
Was murdered sometime between six twenty last night at midnight.
He was alive at six twenty, according to his director,
who spoke to him on the phone. Now, I want
you all to understand that none of you is under suspicions,
but I am asking you to come down to headquarters
with me so we can round up some facts. At

(02:05:29):
headquarters we found Blaine looking like a ghost. He'd been
questioned already, and he showed it. We were all separated
and put into individual rooms. I sat down at an
old battered desk and had myself a cigarette. There was
a pad of yellow ruled paper and a pen.

Speaker 24 (02:05:46):
And Inkwell there.

Speaker 4 (02:05:48):
It made me smile.

Speaker 49 (02:05:50):
If I had wanted to write my confession, all I
had to do was pick up the pen and start.
All afternoon, the questioning went on while I waited alone
in the room. I ran out of cigarettes at about seven,
and they wouldn't let me send for any Finally, at ten,
Plowman opened my.

Speaker 24 (02:06:06):
Door and came in. You're perry, aren't you. Yes, no, no,
don't get up.

Speaker 18 (02:06:13):
Just here we are.

Speaker 24 (02:06:13):
I'll use the corner of the desk.

Speaker 38 (02:06:16):
Er.

Speaker 24 (02:06:16):
I understand you were up to see Hammel yesterday morning.

Speaker 49 (02:06:20):
Yes, I'd heard there might be a chance for me
to take Blaine's place in the place, so I went
to speak to mister Hamil about it, and he wouldn't
see it on. His secretary said he was busy. He
told you there was no casting, didn't he No, he
didn't tell me anything. Miss Johnson told me, but not
mister Hamil himself. What made you think he'd give you
Blaine's place? My wife told me there was that possibility,

(02:06:43):
and as a matter of fact, when she called him
later that afternoon, he did tell her that I had the.

Speaker 24 (02:06:47):
Part sort of tough on Blaine, wasn't it.

Speaker 33 (02:06:50):
Uh?

Speaker 24 (02:06:50):
You know how those things are fortunes of war.

Speaker 7 (02:06:53):
And I suppose Blaine was plenty sore about it. Eh,
Sorry at Hammel, I mean, yes, I suppose.

Speaker 75 (02:07:00):
Uh.

Speaker 4 (02:07:01):
Does he have an alibi for last night?

Speaker 7 (02:07:03):
Suppose you leave the questions to meet Perry? What about
your own alibi?

Speaker 24 (02:07:09):
That's easy.

Speaker 49 (02:07:10):
From about six thirty to eight, I was at Luigi's,
a little Italian restaurant uptown.

Speaker 24 (02:07:15):
You can check with Luigi.

Speaker 49 (02:07:17):
After that, my wife can alibi me, if you'll accept
her word. And before six thirty, well does that matter?
If Hamil was alive until six twenty, and.

Speaker 7 (02:07:28):
Ike swears he was. He talked to him on the phone.
But somehow our medical examiner has other ideas. He thinks
Hammil was killed earlier in the afternoon.

Speaker 24 (02:07:36):
But how could that be? Where were you yesterday afternoon?

Speaker 4 (02:07:41):
Why?

Speaker 24 (02:07:42):
Home, and he wouldn't say, no, do I need any
Tell me, Perry.

Speaker 7 (02:07:48):
When you came to see Hamil yesterday morning, did you
go into Hammel's private.

Speaker 24 (02:07:51):
Office at all?

Speaker 11 (02:07:52):
No?

Speaker 7 (02:07:53):
The girl must have told you, and you weren't in
that private office at any.

Speaker 24 (02:07:56):
Time during the afternoon.

Speaker 25 (02:07:57):
I was not.

Speaker 4 (02:07:57):
I was at home.

Speaker 24 (02:07:58):
I give you my word. Mind a particular pad in
the desk. Suddenly not.

Speaker 4 (02:08:05):
You do this?

Speaker 29 (02:08:06):
What?

Speaker 48 (02:08:08):
Oh?

Speaker 24 (02:08:08):
Oh, yes, bad habit of mine. I scrawled cats.

Speaker 7 (02:08:11):
All over everything and have it is right bearing so
bad it's gonna send you to the chair.

Speaker 44 (02:08:18):
What do you mean?

Speaker 7 (02:08:19):
We found cats just like these doodle down Hammil's bladder pair.

Speaker 49 (02:08:23):
But my wife spoke to Hamil Van Dyke spoke to
him later in the afternoon.

Speaker 75 (02:08:27):
He was alive.

Speaker 24 (02:08:28):
You're an actor, Perry.

Speaker 7 (02:08:29):
Tell me you're pretty good at imitations. Has to have
been hard at it all afternoon on the phone and
between times scrawled cats all over the nice clean blodder.

Speaker 24 (02:08:39):
That's why we kept all your folks waiting in separate rooms.
A new parlor game. We thought that we call it
find the Doodler.

Speaker 49 (02:08:55):
It did an act as hard good to hear them
at the trial right down the line else that Vandyke
and Hamill secretary, each one swore it was Hamill's voice
and not mine that came through the telephone that afternoon. Yes,
that testimony added up to a rave notice from George
Gene Nathan. I'd have gone free too if it hadn't

(02:09:16):
been for the cats. But then there's always an iff,
isn't there.

Speaker 54 (02:09:37):
This is Jeffrey Barnes again inviting you to be with
us next week, when our star will be the glamorous
stage and screen actress Virginia Gilmore, who is currently appearing
in the motion picture close up. Is Gilmour play the
leading role in the story by Paul Mownash entitled Deadly Nuisance.

Speaker 43 (02:09:54):
The original music for the Mulei Mystery Theater is composed
and conducted by Alexander Semler.

Speaker 4 (02:10:00):
Everett Sloan was starred.

Speaker 43 (02:10:01):
And Elizabeth Morgan featured in tonight's performance. Any resemblance between
the names and characters used on this show and any
actual persons living or dead is purely coincidental. And now
this is dan Seymour saying good night until next week
at this same time, when the Mystery Theater presents Deadly Nuisance,

(02:10:23):
starring Virginia Gilmore, The.

Speaker 80 (02:11:56):
World Adventurous come get you once again, as you mean know.
This unique organization is composed solely of brave, intrepid adventurers
and explorers. Only those who have passed through some thrilling
or blood curdling experience may qualify for membership. Ladies and gentlemen,
the World Adventurous Club.

Speaker 42 (02:12:19):
Gentlemen, gentlemen, the meeting.

Speaker 26 (02:12:22):
Will come to order. What's on the carpet for the night,
mister chairman?

Speaker 42 (02:12:26):
Something you young? I can promise you allow me to
present the guest of the evening, mister Arnold Manning. Mister Manning,
have you that little story prepared for us?

Speaker 26 (02:12:42):
I believe so very well, then pro seed.

Speaker 55 (02:12:46):
It so happened that a few years ago I was
in Urubia in search of the tomb of an Egyptian king,
tollow me.

Speaker 30 (02:12:53):
Ray by name.

Speaker 55 (02:12:55):
After many weary weeks of searching in the terrific heat
of the desert, my native boy and I is stumbled
upon the hidden tomb near a groove of fantastic and
gnarled fig trees. But imagine our surprise to find the
band of fierce Arabs with the campfires gathered near the grove.
I heard the beat of that drums and knew what

(02:13:15):
they meant. They were driving away the evil spirits.

Speaker 11 (02:13:25):
It is must It is better we go away and
return later.

Speaker 81 (02:13:30):
Why Mustafa, he's very bad man, he rob and steeve.

Speaker 4 (02:13:35):
Nonsense.

Speaker 11 (02:13:36):
I'll go speak to him, won't here.

Speaker 26 (02:13:40):
You are, Mustapha bay may I ask what you are
doing here?

Speaker 34 (02:13:45):
You question me?

Speaker 26 (02:13:46):
Must your manning? It is I who should question you.
You know me? Then I have been watching you.

Speaker 2 (02:13:55):
So you have found the.

Speaker 9 (02:13:58):
Hidden too, Yes, after much hard work.

Speaker 26 (02:14:01):
Actual man, Why do you laugh? It is that the
joke seems to be on you, monsieur.

Speaker 42 (02:14:09):
If you will proceed to the tomb, you will observe
that someone has been ahead of you.

Speaker 55 (02:14:16):
What come, I will show you why the stone doors
move back the tomb is open.

Speaker 26 (02:14:27):
You did this, I know, monsieur Many.

Speaker 42 (02:14:31):
I would not enter that tomb herald the money in
the world, but I am interested in what you will
find within that tomb.

Speaker 16 (02:14:44):
I and my man will wait outside.

Speaker 55 (02:14:49):
Come we quick, No, but I am wondering what's inside
that interests Mustapa in that flash light.

Speaker 10 (02:14:56):
I'm going in.

Speaker 26 (02:14:57):
Oh please, the evil spirit can't go.

Speaker 55 (02:15:00):
With me morrow, this Mustafa can do us no harm.
We're far from the village.

Speaker 11 (02:15:04):
Man, I'm afraid. Don't be silly.

Speaker 4 (02:15:08):
Come on, it certainly is dark in here.

Speaker 24 (02:15:14):
Pick up their feet.

Speaker 4 (02:15:15):
Morrow, I'll flash this light above.

Speaker 11 (02:15:19):
What was old the strong door. Oh, Mustafa has closed.

Speaker 6 (02:15:26):
We are shut in.

Speaker 4 (02:15:27):
Oh, yeah, are.

Speaker 26 (02:15:35):
Open up, I say, Mustapa, I'll feel you for this.

Speaker 36 (02:15:41):
Uh, it's no use.

Speaker 26 (02:15:44):
The stone door is in place. It looks as if.

Speaker 4 (02:15:47):
You were right moral. We are very alive.

Speaker 48 (02:15:52):
You have found hard of me too, and joy.

Speaker 11 (02:16:01):
Oh oh, oh, you're as good as Dan, Sir.

Speaker 79 (02:16:09):
I warn you.

Speaker 55 (02:16:11):
Yes, it looks like curtains for a Smorrow. Strange how
that stone was moved back, and Mustafa being here while
he opened it with the intention.

Speaker 24 (02:16:22):
Of locking us in to die.

Speaker 55 (02:16:23):
Oh no, sir, most of our afraid of evil spirit,
he did not do it.

Speaker 26 (02:16:30):
Well, I may as well look round.

Speaker 13 (02:16:34):
Mm hmm.

Speaker 55 (02:16:35):
Whereas the sarcophagus of ptolemy, ray, isn't it beautiful?

Speaker 4 (02:16:41):
Smell the musk and spice it.

Speaker 24 (02:16:45):
And the dust.

Speaker 55 (02:16:47):
Oh, it is getting warm. We will soon stop breathing. Yes,
the oxygen will soon be exhausted.

Speaker 46 (02:17:05):
Covered.

Speaker 47 (02:17:06):
It is movie.

Speaker 2 (02:17:08):
Good.

Speaker 38 (02:17:09):
Heavens it came from that sutc My joke.

Speaker 82 (02:17:14):
That cover is moving. Well, I'm going to see what's inside. Listen,
there are no evil spirits. When the top of the
money case moves, there is something physically.

Speaker 4 (02:17:30):
Alive in there.

Speaker 26 (02:17:32):
It may be a rat.

Speaker 4 (02:17:33):
I'm going to.

Speaker 26 (02:17:34):
See you, brave man her, I keep close.

Speaker 29 (02:17:40):
Even till death.

Speaker 26 (02:17:42):
That's the idea. More, well, here goes, I'll pull it off.

Speaker 11 (02:17:49):
Oh it's alive the money side.

Speaker 55 (02:17:56):
So it is a living mummy. But this mummy is
a beautiful girl. She's rosing, she's sitting up, her eyes open.

Speaker 38 (02:18:08):
Please do not hurt me.

Speaker 74 (02:18:10):
Monsieur, who are you?

Speaker 4 (02:18:14):
What are you doing in the sarcophagus?

Speaker 11 (02:18:17):
And where is the money mummy?

Speaker 79 (02:18:19):
I found my money when I escaped from Mustapha Bay
while he was camping here.

Speaker 11 (02:18:25):
I saw the door of these two open.

Speaker 74 (02:18:27):
Now, I mean I was afraid he might enter the
search for.

Speaker 33 (02:18:30):
Me, so I cand in here and pull the cover
over me.

Speaker 55 (02:18:33):
You say you escape from Mustafa Bay?

Speaker 74 (02:18:37):
Why he captured me for my uncle's caravan?

Speaker 79 (02:18:41):
Why dread the faith I knew was ahead of me,
and I would rather die and hear them.

Speaker 55 (02:18:48):
I must see, yes, I see, But I still can't
fathom how that stone door came to be opened.

Speaker 47 (02:18:58):
She's getting hot, am stifly?

Speaker 63 (02:19:03):
Can we not leave here?

Speaker 11 (02:19:04):
What's your name?

Speaker 4 (02:19:07):
I am sorry, Sonya.

Speaker 55 (02:19:09):
Mustapha Bay has closed the door and we are buried alive.

Speaker 4 (02:19:16):
Oh, we must be brave.

Speaker 47 (02:19:18):
We are to die, and these too.

Speaker 3 (02:19:20):
But do not want to die.

Speaker 81 (02:19:24):
I do not want to.

Speaker 83 (02:19:26):
Die there there, we must be brave, Oh master, If
I may hold your arm, it will allow me to
wed for death.

Speaker 4 (02:19:44):
I'll prop this blush light so the light won't.

Speaker 11 (02:19:47):
Leave us, Watson, the world it is moving?

Speaker 4 (02:19:53):
Wait why I turn this light? By jove, it is moving.

Speaker 55 (02:20:00):
Looks like a huge human fall.

Speaker 29 (02:20:02):
It's an even spirit.

Speaker 4 (02:20:04):
I should stuff give me that gun.

Speaker 55 (02:20:07):
Whatever it is, he is moving toward the stone door.

Speaker 24 (02:20:11):
Yes, it's climbing down.

Speaker 11 (02:20:14):
If it is live, it must breathe.

Speaker 33 (02:20:17):
He must know how to get out.

Speaker 4 (02:20:18):
You're right, Sonya. There it is.

Speaker 55 (02:20:21):
It's pushing against the door. It's an ape, a huge ape.

Speaker 47 (02:20:28):
Yeah it is.

Speaker 11 (02:20:31):
There is a sacred ape squad.

Speaker 55 (02:20:35):
He's searching for a certain stone. He seems to be weak. Yes,
it's hard for him to breathe in here. Hurry hurry,
old man, or we won't last to enjoy our freedom.
Hurry hurry, Oh, he's founded. He's moving. The stone, door

(02:20:56):
is moving.

Speaker 81 (02:20:57):
Breath the door is open, and he's gone. Oh breathe
that wonderful air. Morrow, can you get out? Sonya has painted?

Speaker 24 (02:21:12):
I am all right.

Speaker 55 (02:21:13):
Come then, let's get out of here as fast as
he can. Oh the sun again, the beautiful son Sonya, Sonya,
we are free.

Speaker 11 (02:21:30):
Oh, oh, we are saved. Most Obay does not come back.

Speaker 26 (02:21:35):
He's gone for good, I hope.

Speaker 55 (02:21:37):
Look the ape is swinging joyously from tree to tree
in the grove.

Speaker 11 (02:21:44):
You have saved my life.

Speaker 5 (02:21:46):
I am great, thanks the ape.

Speaker 26 (02:21:49):
Much obliged, old fellow. May you live to a ripe
old age. Ah, well, yeah, that's right, I yarned.

Speaker 42 (02:22:04):
I was almost suffocating while you were telling the story,
mister Manning, the weirdest yarn I ever heard.

Speaker 26 (02:22:09):
But what became of Sonya the living money?

Speaker 2 (02:22:11):
Oh?

Speaker 55 (02:22:11):
Would you have a nam mister Chimman, Why i'd have
you married a girl that you always do?

Speaker 2 (02:22:17):
Just what I did?

Speaker 26 (02:22:22):
And now we believe I'm making come to life.

Speaker 9 (02:22:25):
Well listen again and be thrilled by another strange adventure
in strange land.

Speaker 8 (02:23:21):
The midnight.

Speaker 17 (02:24:05):
Let from my arms. I'll give you money, all the money.

Speaker 84 (02:24:08):
Who wants you now, you monsters, I'll make you pay
for this.

Speaker 28 (02:24:22):
Midnight, the witching hour, when the night is darkest, our
fears the strongest, and our strength at it's lowest. Ebb midnight,
when the graves gape open and death strikes. How you'll
learn the ansertain in just a minute.

Speaker 65 (02:24:43):
And murders a lonely business and now murder at midnight.

Speaker 84 (02:25:08):
Unusual stories of terror and mystery by radio's Masters of
the Macabre. This tale, a study of murder in duet,
is by William Morewood. Its title murders a lonely business

(02:25:35):
at a cemetery, a burial is taking places, Almighty God
and his great Mercy himself.

Speaker 28 (02:25:44):
The soul of the two chief mourters, Fred and Grace
Tilson stand beside the open grave, And as he looks
at his wife bitter thoughts of course, friend's mind.

Speaker 29 (02:25:59):
Look at her standing there, dabbing her eyes with a handkerchief, tears,
real tears, after what she did, after what she made
me do. She doesn't know what sincerity is, or love
or pity either. She's hard, hard all the way through.
And I never knew, never even suspected to her until

(02:26:21):
we killed him. Now that's the way she acted.

Speaker 4 (02:26:25):
I'll never forget it.

Speaker 29 (02:26:26):
Never and I were always.

Speaker 24 (02:26:31):
How can I go on living with her?

Speaker 29 (02:26:33):
How can I ever trust her again?

Speaker 24 (02:26:35):
What am I to do?

Speaker 85 (02:26:37):
Oh?

Speaker 29 (02:26:38):
Lord, I'd give anything for.

Speaker 86 (02:26:41):
I think I ever married that sniffling creature. I believe
he's really crying, really sorry, as if he cared a
hoop about his Uncle Edward. Outside of the money he
could get out of him, he was ready enough to
help put the old man out of the way the
other night. Now his nerve's gone. All he can think
about as a drink. That's the only time I feel safe.

(02:27:05):
He's drunk, and not always then, the way he's been
carrying on lately, Lord knows what he'll say or do next.

Speaker 79 (02:27:14):
I'll have to watch him every minute of the time.

Speaker 29 (02:27:21):
And rain us with the Father and the Holy Ghost
ever one god world without end.

Speaker 18 (02:27:28):
Amen, m.

Speaker 33 (02:27:35):
Goodbye, Uncle Edward.

Speaker 86 (02:27:37):
They're throwing dirt on your coffin now, but you won't mind.
You're cold and silent now, very different from the way
you were three nights ago.

Speaker 4 (02:27:49):
Three nights ago, was that all?

Speaker 11 (02:27:52):
It was?

Speaker 29 (02:27:53):
Another lifetime? Yes, that's right, Driving up to his house
in the dock, putting ourselves in, Uncle Edward.

Speaker 33 (02:28:07):
He must be up in his study.

Speaker 29 (02:28:09):
I guess, so, servant's not up, Uncle Edward.

Speaker 86 (02:28:13):
The door bob opened and Uncle Edward started down the
marble staircase. In my mind's eye, instead of Uncle Edward,
I could see my friend, there's a whole crowd filling
the room, and myself in a gorgeous gown descending to
greet them, a much more fitting picture than a starchy
form of Uncle Edward. As he came down toward us.

Speaker 29 (02:28:32):
Well, well, this is a surprise, and I thought we'd
drop in Uncle Edward. It's been a long time.

Speaker 26 (02:28:37):
Six weeks, to be exact.

Speaker 17 (02:28:38):
Fred, Ow are you grace wonderful?

Speaker 79 (02:28:40):
Thanks Uncle Edwards.

Speaker 17 (02:28:41):
I'm glad to hear it.

Speaker 66 (02:28:42):
You look a little off your feed. Come on in
the library. We'll be more comfortable here. Oh drink, Fred,
Why don't be polite when I hear you're rarely seen
without one these days?

Speaker 79 (02:28:57):
He sounded if you'd had spies watching as a.

Speaker 66 (02:29:00):
It's entirely possible. I've certainly been interested in your activities.
For instance, I hear you can be found at a
gambling house almost every evening.

Speaker 86 (02:29:09):
Grace, only the fashionable one where everybody goes.

Speaker 79 (02:29:12):
You've got to keep in the swim nowadays.

Speaker 17 (02:29:14):
If you can afford it. You can't, not on Fred's salary.

Speaker 79 (02:29:19):
That's the trouble.

Speaker 29 (02:29:20):
Well, frankly, Uncle Edward, that's why we've come here to mind.
We're in a jam.

Speaker 66 (02:29:24):
Again, money, what else? And you want me to bear
you out? Uh, Well, I'll be equally frank with you
this time. I'm not going to do it.

Speaker 55 (02:29:34):
Justice.

Speaker 17 (02:29:34):
I'm sorry.

Speaker 66 (02:29:35):
I've helped you out of messes often enough in the past.
Each time I hoped you'd pull yourself together, settle down,
and lead solid, respectable lives.

Speaker 17 (02:29:44):
But each time you disappointed me. Now I've given up hoping.

Speaker 7 (02:29:47):
Uncle Edward, I promise you laid Fred. I can't believe
your promises anymore. I've given you and Grace every chance.
Now I am washing my hands of you. You can't
expect help.

Speaker 17 (02:29:58):
From me ever again, now.

Speaker 4 (02:30:01):
Or in the future.

Speaker 79 (02:30:02):
Exactly what does that mean?

Speaker 66 (02:30:05):
My lawyer is coming here tomorrow and I'm going to
cut Fred out of my will, cut him out entirely,
Uncle Edward.

Speaker 17 (02:30:12):
Every cent I have is to be left to charity.

Speaker 29 (02:30:14):
Well, you're not serious.

Speaker 24 (02:30:15):
You can't be it.

Speaker 29 (02:30:16):
It's not fair. I'm your only nephew.

Speaker 66 (02:30:18):
Will not no use talking, Fred, My mind is made up, eh.
Now would you care to discuss the weather?

Speaker 3 (02:30:26):
No?

Speaker 17 (02:30:26):
I thought you wouldn't, Grace, Come on.

Speaker 86 (02:30:28):
Fred, uncle Edward, I advise you to change your mind
about this. I beg your pardon, because if you don't,
you may live to be sorry.

Speaker 29 (02:30:38):
We went outside. Grace was in a white rage and
I was all jumping myself. We walked around the garden
paths trying to get hold of ourselves before we started
back to town.

Speaker 86 (02:30:50):
You know what this means, don't you, Fred, The end
of everything. We'll never be able to get credit once
it's known that Uncle Edward's cut.

Speaker 16 (02:30:57):
Us off.

Speaker 79 (02:30:58):
Somehow, some way. We've got to stop him from changing
his will.

Speaker 29 (02:31:03):
But how you know there's no use arguing with him.
He's a stubborn as a mule. Besides, there's no time left.

Speaker 86 (02:31:09):
He's going to do it tomorrow, I know, unless, of course,
something happened to him before that, such as he could.

Speaker 29 (02:31:18):
Die suddenly, sudden chance. He's as healthy, Grace, What are
you thinking now?

Speaker 5 (02:31:28):
You know?

Speaker 79 (02:31:29):
If you want to spend the rest of your life
struggling with debts, not able to do anything, I don't
everything's perfect for it. The old man's alone in the house.
No one knows we call this even no one's to
be a man for point in your life. Everything you want, money,
luxury for five minutes. Work the gun. The gun, he
keeps it in the desk in his study. You've seen it.

Speaker 86 (02:31:47):
Yes, we'll take the money valuable to make it look
like a robbery. Will What are you afraid of the
sight of a little blood, Grace, I don't know you
when you talked like this, I know what I'm after
for both of us. It's only chance of a future together.

Speaker 79 (02:32:04):
Are you coming?

Speaker 4 (02:32:05):
Huh?

Speaker 29 (02:32:08):
Yes, all right, let's go in.

Speaker 79 (02:32:11):
The servants will be coming back. We haven't any time
to waste.

Speaker 29 (02:32:19):
We went back into the house, climbed the long staircase
to Uncle Edward's study. My mouth was dry when these
were shaking when we reached the landing.

Speaker 79 (02:32:32):
Knock on the door. It's too late to suppose anything.

Speaker 17 (02:32:36):
Knock, eh, I mean I was expecting you back. You were, certainly.
I didn't think you let the money go that easily, not.

Speaker 66 (02:32:47):
After Grace's threat. What do you mean you should have
been a man, Grace. You're a completely ruthless speaking you.
You stop at nothing to get what you're after. No
wonder you've led poor Fred around by the nose Alon,
I'll look here, Uncle Edwin. Sorry to hurt your feelings, Fred,
but you must admit it's true. Now, if you too,
explain why you came back, we hope to make you

(02:33:07):
change your mind. You should know me better than that.
I've said my last.

Speaker 79 (02:33:10):
Word, not your last, Uncle Edward.

Speaker 29 (02:33:12):
What Grace means.

Speaker 66 (02:33:13):
You don't have to explain, Fred. Her interest in my
desk explains itself. The right hand draw, Grace, Were you
by any chance looking for this?

Speaker 29 (02:33:25):
We're done.

Speaker 17 (02:33:26):
Yes, I took the precaution of removing it. As I said,
I was expecting you back.

Speaker 86 (02:33:31):
I don't know what you're talking about, Uncle Edward. I
was only looking to your checkbook. I thought the least
that you could do was to help us out of
our present difficult.

Speaker 17 (02:33:39):
It's a good story, Grace, but not quite good enough.

Speaker 66 (02:33:42):
Now, as it's almost twelve, perhaps you'd both be good
enough to leave my house permanently.

Speaker 86 (02:33:48):
Well, you were, Uncle Edward. I suppose we were foolish
to think that we could find a soft spot in
that stone heart of yours.

Speaker 17 (02:33:55):
You were foolish all right this way.

Speaker 39 (02:34:00):
M hm.

Speaker 86 (02:34:06):
This reminds me of the old days when Fred and
I were first married, when we used to come and
visit you.

Speaker 79 (02:34:13):
You used to see us to the head of the
stairs when it came time to go, just like this,
And that was a long time ago. I wish those
days could come back.

Speaker 17 (02:34:22):
Impossible. Good night, Fred, and goodbye.

Speaker 79 (02:34:27):
Aren't you going to shake hands with your only nephew?

Speaker 17 (02:34:30):
Well, since it's for the last time, goodbye, Fred. I'll
give you money, all the money you want.

Speaker 81 (02:34:43):
I'll make you.

Speaker 87 (02:34:43):
Pay for this.

Speaker 29 (02:34:51):
Grace, What did we do?

Speaker 79 (02:34:54):
What does you get down there quick?

Speaker 29 (02:35:06):
The snow post.

Speaker 17 (02:35:11):
Race when you find him?

Speaker 33 (02:35:12):
An accident?

Speaker 79 (02:35:14):
The old man dripped on the stairs and broke his back.
The money's always read everything we wanted.

Speaker 2 (02:35:32):
Wool, so you think it's used.

Speaker 8 (02:35:37):
Never is yours?

Speaker 85 (02:35:38):
But because you're.

Speaker 4 (02:35:41):
Going to came.

Speaker 28 (02:35:51):
A dead man lying at the foot of the stairs,
and the white faced couple staring at each other. Did
they hear a voice from beyond? Is it possible for
the dead to make the living pay for murder?

Speaker 11 (02:36:10):
Me?

Speaker 88 (02:36:10):
Now here is Grace Tilton to continue our story?

Speaker 79 (02:36:35):
It went according to plan. The inquest raised no ugly
questions or suspicions, and.

Speaker 86 (02:36:41):
Then after Uncle Edward's funeral, we settled down in the
great old mansion. I could have been happy, so happy,
except for Fred. He'd taken the drinking again. Haven't you
had enough bread.

Speaker 29 (02:36:56):
A little drink?

Speaker 79 (02:36:56):
Won't You're such an idiot the way you've been acting
ever since.

Speaker 29 (02:37:03):
Since we did in Poor Uncle Edward, don't have made
the same grace. We're alone now?

Speaker 79 (02:37:10):
Why did you give up your job so suddenly?

Speaker 29 (02:37:12):
I'm a rich man now don't need to work?

Speaker 79 (02:37:15):
But it looks so suspicious. And the way you've let
yourself slip that dirty shirt. You haven't shaved in two days.

Speaker 29 (02:37:22):
Don't tell me you're ashamed of.

Speaker 86 (02:37:23):
I can't ask anyone of the house. And I had
such plans for us entertaining parties, making a name for ourselves.

Speaker 29 (02:37:29):
Sorry of my idea of a career in Heaven's name?

Speaker 4 (02:37:32):
What is drinks?

Speaker 29 (02:37:34):
More drinks?

Speaker 79 (02:37:37):
I won't let you turn into a drunken bum. I
won't be disgraced like that.

Speaker 29 (02:37:40):
I'll do exactly what I like, and you won't stop me.
Don't forget my love. We share a little secret together.
I'm not forgetting no matter what happens, You're tied to
me for the rest of your life.

Speaker 79 (02:37:55):
I wouldn't be too sure of that.

Speaker 51 (02:37:56):
Bread.

Speaker 79 (02:37:57):
If I get a chance at what I want, you
want stand in my way? Nothing will.

Speaker 24 (02:38:04):
What did she mean by that?

Speaker 29 (02:38:07):
I thought about it, brooded over it couldn't forget it.
Then one evening, as we sat together in a nightclub,
things became clearer.

Speaker 33 (02:38:16):
Did you hear me, Fred, bu I said I wanted
a cigarette?

Speaker 29 (02:38:20):
Oh certainly, manna anyway, match, if you.

Speaker 79 (02:38:27):
Can hold it steady enough, Why do you have to
get sous every time we go out?

Speaker 29 (02:38:31):
A tribute to your intoxicate in charge?

Speaker 33 (02:38:34):
Oh, don't be so.

Speaker 79 (02:38:35):
Oh well, there's Ronnie, good.

Speaker 29 (02:38:37):
Old Ronnie Dowager's delight.

Speaker 79 (02:38:39):
Now if you only look over this way that dress you're.

Speaker 33 (02:38:42):
Wearing, you will, Ronnie, Oh, Ronnie, the.

Speaker 29 (02:38:46):
Change it came over, smile, sparkling eyes as he came
over to our team. Well, hellover, this is a pleasant surprise.

Speaker 3 (02:38:55):
Bumping into you again, Helson's You need.

Speaker 29 (02:38:57):
To be a regular routine, the theater, the races, everywhere
I go with Grace as we seem to share a
lot in common.

Speaker 79 (02:39:04):
Fred, you down, Ronnie?

Speaker 33 (02:39:05):
What you had to do?

Speaker 9 (02:39:06):
Oh?

Speaker 3 (02:39:06):
Nothing, Thanks, I've had my quarter for the evening.

Speaker 79 (02:39:10):
Well, I'm glad someone knows when to stop.

Speaker 29 (02:39:12):
Maybe Ronnie's got other vices, have Fred, one of them
dancing to mind if I take Grace out on the
floor for a turn, Why ask me? I'm sure Grace
will agree to anything you.

Speaker 79 (02:39:23):
Say, Fred, Now, what kind of a net?

Speaker 2 (02:39:25):
Come on, Grace.

Speaker 3 (02:39:26):
Fred didn't mean anything.

Speaker 29 (02:39:27):
I'll see you later, all boy. They danced well together.
As I watched them, I remembered the things I'd heard
about Ronnie, of his rich wife who died so conveniently,
the fortune he'd run through. I saw Grace look into
his eyes, her lips moved. The suspicion grew on me,

(02:39:49):
so it became a certainty they were plotting my death.
The veins stood out on my forehead. My hands grew cold.
But I knew exactly what I had to do.

Speaker 4 (02:39:57):
I had to strike first.

Speaker 29 (02:39:59):
I had to kill them if they killed me. If
only I knew what they were plotting, only I could hear.

Speaker 61 (02:40:05):
They were whispering to each other.

Speaker 11 (02:40:09):
Grace, darling, you are so silent.

Speaker 33 (02:40:12):
It's Fred.

Speaker 79 (02:40:13):
How dare he act that way?

Speaker 66 (02:40:15):
Oh he's a.

Speaker 10 (02:40:16):
Very unpleasant person.

Speaker 33 (02:40:18):
Of course, he's under the weather.

Speaker 11 (02:40:20):
But that's no excuse.

Speaker 17 (02:40:21):
That means he doesn't give a rap for you, never had.

Speaker 3 (02:40:25):
Well, don't let's talk about him, right. Music's lovely, Yes,
so are you, Ronny. You dance like an angel. I
can hold you in my arms forever. Or we're just
made for each other. You know that, Grace, don't you.

Speaker 79 (02:40:45):
I'd rather not think about it, but.

Speaker 11 (02:40:48):
You must.

Speaker 3 (02:40:51):
Have. You considered what we talked about the other day.

Speaker 79 (02:40:54):
It's impossible.

Speaker 3 (02:40:55):
Why I love you more than anything in the world.
We have the same tastes and themis. We could be
a wonderful success together. But you love me too, don't you?

Speaker 4 (02:41:05):
Oh?

Speaker 3 (02:41:06):
Yes, yes, Well then what's stopping us? What's so precious
about the life of a drunken bumble?

Speaker 79 (02:41:12):
Fred's my husband, husband?

Speaker 4 (02:41:15):
You love him even respected?

Speaker 79 (02:41:19):
No, I did feel sorry for him, but not anymore,
not after the night I hate him.

Speaker 18 (02:41:26):
That's more like it.

Speaker 3 (02:41:28):
Now.

Speaker 4 (02:41:28):
Then there's nothing to interfere except the danger.

Speaker 22 (02:41:32):
Yes, leave that in my hands.

Speaker 3 (02:41:36):
You have just one job to do, Grace, and that
get Fred up to my place in the mountains for
a vacation.

Speaker 22 (02:41:45):
I guarantee he'll never come back.

Speaker 86 (02:41:54):
I don't know if I should have been suspicious Fred
agreed to go up to Ronnie's place with surprising ease.
It was almost as if you'd been expecting the invitation.
The night we planned to do it, we sat in
the living room, just the three of us. Ronnie was
playing the piano.

Speaker 29 (02:42:14):
Rad I'm awfully rusty.

Speaker 2 (02:42:15):
I haven't practiced in week.

Speaker 79 (02:42:17):
It sounds grand to me, Ronnie, but don't you join him?

Speaker 24 (02:42:19):
Grace.

Speaker 29 (02:42:20):
I know you're just dying to play with Ronnie. I mean, well,
that's all we have time for.

Speaker 3 (02:42:26):
Anyway. I promised the persons we wouldn't be late.

Speaker 29 (02:42:28):
Oh that beach picnic. Tell you the truth, I don't
feel much.

Speaker 3 (02:42:31):
Like it, but you promised to go free do your
world A good old boy, A wonderful.

Speaker 4 (02:42:35):
Night for a swim.

Speaker 29 (02:42:37):
You both seem very anxious to get me down to
that lake.

Speaker 17 (02:42:40):
But not at all.

Speaker 29 (02:42:42):
If you want Grace and me to go alone, all right,
I'll come, but I've got to go upstairs for my
bathing suit.

Speaker 18 (02:42:49):
Wait for me here, I hurried up.

Speaker 17 (02:42:51):
Oh boy, I'll suck Grace.

Speaker 4 (02:42:56):
You know exactly what to do.

Speaker 3 (02:42:58):
I think you make it grape fuss about Fred drinking,
that'll be remembered, activeies. I'll take care of him at
the raft. Push his head underwater and struggle. You'll call out,
Not in the condition he's in. He's as weak as
a baby. Be all over in a few minutes. I'll
swim back.

Speaker 5 (02:43:11):
Rannie.

Speaker 79 (02:43:11):
Yes, isn't there some other way?

Speaker 33 (02:43:13):
We love that you do so much?

Speaker 22 (02:43:14):
Can't we just run off together?

Speaker 3 (02:43:17):
Let's be realistic, darling. We need the money, his money.
Love in a cottage isn't our style?

Speaker 79 (02:43:26):
I suppose not?

Speaker 11 (02:43:27):
Where is he?

Speaker 79 (02:43:28):
What's keeping him so long?

Speaker 4 (02:43:29):
I'm just as glad.

Speaker 3 (02:43:30):
Come on, Grace, I want to make sure this nicet
bottle of whiskey for him in the car. This way, Darling,
through here into the garage.

Speaker 63 (02:43:38):
Give me your hand, run a darling.

Speaker 16 (02:43:39):
Everything's going to be all right.

Speaker 11 (02:43:41):
Just being with you, Ronny.

Speaker 79 (02:43:45):
I saw something moving over there behind the car.

Speaker 29 (02:43:50):
Fred, Well, I don't hurry things up by coming straight
out to the garage.

Speaker 79 (02:43:55):
Well you you gave us quite a start.

Speaker 29 (02:43:57):
Why, Grace, something on your car?

Speaker 3 (02:44:00):
How the persons will be on our necks if we
don't get started soon now, then you go.

Speaker 4 (02:44:04):
We're off to the races.

Speaker 29 (02:44:05):
But just try to pick the winner.

Speaker 18 (02:44:11):
To roll out to the road.

Speaker 29 (02:44:13):
The winding road that led down to the valley, and
you just the spot where I had to leave them.

Speaker 9 (02:44:19):
From there on, their.

Speaker 29 (02:44:20):
Only companion would be the man with a sickle. Slow
down running, I'm not going to the picnic after all.

Speaker 4 (02:44:27):
My head's splitting.

Speaker 79 (02:44:28):
But it's too late to drive you back for you.

Speaker 18 (02:44:30):
But you won't have to. I'll I'll walk.

Speaker 4 (02:44:33):
Just let me know very well.

Speaker 8 (02:44:35):
But Runny, it's all right, Grace.

Speaker 3 (02:44:37):
We don't want Fred to have a miserable time at
the picnic when we can settle things so much better
this way.

Speaker 29 (02:44:45):
Thanks. I hate to run out on you, but I've
got my health to think of.

Speaker 24 (02:44:48):
Oh sure.

Speaker 3 (02:44:49):
Oh incidentally, there's a short cut back to the house
through the fence.

Speaker 89 (02:44:53):
There.

Speaker 3 (02:44:54):
Go on ahead, I'll turn the headlights on it.

Speaker 2 (02:44:56):
Thanks, so on.

Speaker 26 (02:45:00):
Trip where you're going.

Speaker 33 (02:45:09):
You read him down?

Speaker 2 (02:45:11):
You killed him.

Speaker 24 (02:45:12):
That's what we wanted, isn't it.

Speaker 11 (02:45:13):
Not here?

Speaker 33 (02:45:14):
Not out here on the road.

Speaker 3 (02:45:15):
It'll look like a hit and run. Next we'll double
back at the bottom of the hill, pretend we came
from another dress.

Speaker 79 (02:45:19):
Oh we won't get away with it, Runny, it's no use,
no catches.

Speaker 3 (02:45:28):
Sorry, but you've got to get hold of yourself.

Speaker 5 (02:45:31):
Yes, yes I must.

Speaker 79 (02:45:34):
You can't call it a piece of my hands are
coming to Where are you going?

Speaker 29 (02:45:39):
You're going to drive?

Speaker 5 (02:45:40):
No?

Speaker 79 (02:45:40):
I'll move forward one No.

Speaker 24 (02:45:45):
Now drive.

Speaker 3 (02:45:46):
Your life depends on it, both our lives.

Speaker 86 (02:45:54):
I started down the steep six egg road, and slowly
my nerves relaxed.

Speaker 79 (02:46:00):
As the car swooped around the curves. I felt a
strange exhilaration.

Speaker 3 (02:46:05):
Busy on these curves, Grace, it's a sheer drop if
we go over the cliff.

Speaker 11 (02:46:08):
Are you scared now, Ronnie?

Speaker 27 (02:46:10):
Well?

Speaker 3 (02:46:10):
I want to keep my neck in one piece.

Speaker 33 (02:46:11):
You needn't worry.

Speaker 79 (02:46:12):
I'm a good driver, bred always.

Speaker 18 (02:46:16):
What's the matter?

Speaker 3 (02:46:17):
Nothing, Keep your mind on the road. There's a hairpin
bend ahead of here.

Speaker 33 (02:46:21):
That hey, look out, Okay, I see it.

Speaker 79 (02:46:23):
I pushed on the brake. The pedal went all the
way to the floor, but nothing caught.

Speaker 29 (02:46:27):
Now do you know what I was doing there in
the garage?

Speaker 2 (02:46:31):
I disconnected the brakes. Than Grace, slow down, coming on.

Speaker 11 (02:46:42):
It was too late. Now, a long, long drop.

Speaker 2 (02:47:02):
You see how it works out? And you read you
made one little most kill me? You've thought the company.

Speaker 30 (02:47:14):
It does.

Speaker 72 (02:47:16):
Murderers a low business, a fair lowly business.

Speaker 28 (02:47:28):
One body lying crumbled in the middle of the road,
and two more the shattered wreckage of the card at
the foot of the cliff. Three people lonely no longer
as the clock strikes twelve for murder.

Speaker 30 (02:47:47):
That mid.

Speaker 28 (02:48:14):
Remember to be with us again when death plays host
and the clocks strike twelve for murder.

Speaker 18 (02:48:24):
At me.

Speaker 84 (02:48:30):
The part of Grace was played by Helen Shields. Wendell
Holmes was her husband, Carl Emery her lover, with music
by Charles Paul. Murder at Midnight was directed by Anton
m Leader.

Speaker 16 (02:49:19):
This is Awson Wells speaking from London. The Black Museum
a repository of death, a repertorium of violence. Here in
the grim Stone structure on the Thames, which houses Scotland Yard,

(02:49:43):
is a warehouse of homicide where everyday objects a teacup
and its saucer, ladies, parasol, a surveyor's chain.

Speaker 4 (02:49:52):
All.

Speaker 16 (02:49:54):
Are touched by murder. Now you take this lady's shoe,
it's a familiar object. Higher heel, neat cross straps, dainty
design on the toe, an excellent sample of the art
of the modern boot maker.

Speaker 1 (02:50:14):
Like my new shoes, Henry Lovely idea shoes of your
instep perfectly and the way it breaks away from the
curve of your life.

Speaker 11 (02:50:23):
Enticy, definitely enticing idea. Henry, You're impossible and I love it.

Speaker 16 (02:50:34):
A nice couple talking about a pair of shoes. You'll
hear more about that couple and more about the shoes.
One of those shoes, by the way, is to be
found today in the Black Museum.

Speaker 90 (02:50:57):
From the annals of the Criminal Investigation Department of the
London Police, we bring you the dramatic stories of the
crimes recorded by the objects in Scotland Yards Gallery of Death,
the Black Museum.

Speaker 16 (02:51:27):
Here we are in the Black Museum, Scotland Yards Mausoleum
of Murder. Here lies death, entombed neatly with printed labels
with records of names, places, times, Each white card a
kind of tombstone. Very interesting collection in this museum. Here

(02:51:50):
there's a gardener's clippers. If you have a hedge around
your property, you own one long, short triangular blades. They're
fine for clipping boxwood, fine too, it was learned for
clipping jugular veins. And he has a true weapon, a
revolved The lady's gone. That's little twenty two. But the

(02:52:12):
lady who used this one one summer evening made very
short of her victim. She coated the tiny bullets with cyanide.
There's a shoe of the parallem, of course, charming, delightful.
That's the type of fragile footwear a lady of some
means would be expected to own. Elizabeth Marlowe was just

(02:52:35):
such a lady, and she bought the shoes to please
Henry Higley, who persuaded her that her age or nearly forty,
was not too old for marriage, and she wore them
as she drove through the stormy night which marked the beginning.

Speaker 4 (02:52:51):
Of her home.

Speaker 1 (02:52:53):
The storm seems to be getting worse, Henry, Darling, don't worry,
my dear.

Speaker 4 (02:52:57):
Here'd be in the lights just to hit to bed.

Speaker 11 (02:53:00):
The house wasn't ready for us tonight.

Speaker 4 (02:53:03):
Our birthnight, in our own house.

Speaker 11 (02:53:08):
I'd have loved it, dear.

Speaker 91 (02:53:10):
It's so charming, so Elizabethan, from half timber to the moat,
imagine a.

Speaker 11 (02:53:15):
House with a moat.

Speaker 1 (02:53:17):
I wanted something Elizabethan, Darling. After all, it'll be a
setting for my Elizabeth.

Speaker 16 (02:53:24):
Gay happy conversation, honeymoons or in spite of the rain
pouring over the windshields, spite of the dramatic lightning and
the rolling thunder. Henry helped Elizabeth out of the worst
of the rain, had it a fire little terrier named Patsy,
which Elizabeth insisted on bringing with her, and knocked on
the door of Webbley's.

Speaker 11 (02:53:45):
In Harry to keep you waiting. Come please, I'm Henry Higgley,
this is my wife. You're a Martha Webley. I've given
you up.

Speaker 92 (02:53:59):
What were the weather and all?

Speaker 91 (02:54:02):
We wouldn't have missed this for the world, Missus Webbley
was storm well, it's almost romantic.

Speaker 11 (02:54:09):
Oh the little dog, or isn't he sweet?

Speaker 4 (02:54:12):
Are our rooms ready, Missus Webbly and.

Speaker 11 (02:54:15):
The far going against the storm? And may I take
the opportunity, ma'am sir of wishing you all the happiness.

Speaker 16 (02:54:25):
The Hegary stayed at the Webley and for several weeks
until the house was ready, elizabethan house with half timbers
and the moat standing on the edge of the moor.
As Martha Webley put it, they were.

Speaker 11 (02:54:38):
So happy, middle aged, the happiest kids.

Speaker 16 (02:54:44):
If laughter and enjoyment of simple things is happiness, then
Henry and Elizabeth knew happiness. They drove over to their
house each day, and each evening they discussed its progress.

Speaker 11 (02:54:54):
Would you like the moat range, but the water is
part of it, the just a ditch. I thought perhaps
you'd like to make.

Speaker 16 (02:55:03):
A rose garden of it. There was a garden at
the rear of the house, so the water stayed in
the moat. A mark drawbridge was always down, and they
soon Henry carried Elizabeth across the bridge and into their.

Speaker 4 (02:55:17):
Home home at last.

Speaker 11 (02:55:21):
It's going to be wonderful.

Speaker 4 (02:55:23):
Glad you bought the place.

Speaker 11 (02:55:25):
We bought it, Darling.

Speaker 4 (02:55:26):
Your money sweed, but mine is yours.

Speaker 11 (02:55:30):
Ours, Darling always now come along upstairs.

Speaker 16 (02:55:33):
And there was a lot to do in a ten
room house. Nobody with any sense trys to run a
place of that size without help. So Henry, with Elizabeth's approval,
he interviewed several local young ladies.

Speaker 79 (02:55:44):
What's your name, young woman, Jim Godwin said, and here's
my reference.

Speaker 11 (02:55:49):
Yes, I see upstairs made also a parliament. Any cooking,
just playing cooking.

Speaker 18 (02:55:55):
My wife and I are playing people.

Speaker 1 (02:55:56):
We thought we'd try to get along without a regular
cook for a while.

Speaker 11 (02:56:00):
I do my best, sir, I'm sure you will. Then
I'm hard mister Wickley.

Speaker 4 (02:56:06):
Why not?

Speaker 1 (02:56:07):
You've a good reference that'll please your mistress and you've
your share of good looks.

Speaker 11 (02:56:12):
That pleases me.

Speaker 16 (02:56:23):
So that was the way the wind will, was it?
And so soon after the wedding, well, well, well, little
June Godwin went about her business, dismissing a remark as
the pleasant kid the new employer wanted to feel at home. Now,
Henry established the custom in that household of giving his

(02:56:46):
wife a breakfast in bed. June prepared the tray and
took it upstairs. She'd been doing this for about a week.
Oh my, don't you look fresh and me beautiful this morning?

Speaker 11 (02:57:02):
Mister? Please, sir, don't shy?

Speaker 25 (02:57:05):
Are you?

Speaker 4 (02:57:06):
With those eyes?

Speaker 38 (02:57:07):
And that figure?

Speaker 11 (02:57:08):
Got here? A little one? No, sir, Please?

Speaker 18 (02:57:11):
Do you know what do the boys hear about to
think of you?

Speaker 11 (02:57:14):
I wouldn't know, sir. If you'll excuse me, sir, I'll
take the tray to missus.

Speaker 16 (02:57:18):
Iggley handled herself well, didn't. She's her country girl. There's
no nonsense about John Gardwine.

Speaker 4 (02:57:23):
She needed the job.

Speaker 16 (02:57:25):
She was a loyal girl, loyal to a mistress and
to herself.

Speaker 10 (02:57:28):
In a way.

Speaker 16 (02:57:29):
Maybe that's where she spoke as she did. She departited
the breakfast train Elizabeth.

Speaker 93 (02:57:33):
Higley's bedroom, ma'am, if I can speak to you a minute,
of course, June.

Speaker 11 (02:57:40):
What's the trouble it's about mister Wrigley, ma'am. Oh, he well, ma'am.
It's not that I'm giving my notice or anything. But
I'm a nice girl, ma'am. Of course you are. Mister Wriggly, ma'am,
will try to take privileges this morning. Perhaps you'd better
try to.

Speaker 16 (02:57:57):
June finally managed to tell her mistress to tales. Elizabeth
was hardly pleased, but she showed nothing of her feelings
to Henry, at least on that score. Of course, there
may have been something more than a slight edge to
her tone. Later that day, and she said to him.

Speaker 91 (02:58:15):
Though the notice from the bank, Henry, it says my
account is overdrawn?

Speaker 30 (02:58:19):
How much?

Speaker 91 (02:58:21):
Almost three hundred pounds. This never happened to me before
I added your signature to the account.

Speaker 4 (02:58:27):
There was plenty there, I know.

Speaker 91 (02:58:29):
But there's a check here which I thought was for
thirty pounds, and it turned out about for three hundred.

Speaker 11 (02:58:34):
I thought I told you, darling, it was three hundred.

Speaker 1 (02:58:38):
In any case, Yeah, your dividends are you in a
few days, so let's not worry about it.

Speaker 16 (02:58:42):
A simple explanation and very smooth, just the type of
explanation an infatuated woman can be expected to accept. But
for Elizabeth, the infatuation and the honeymoon were over. They
came to an abrupt end about a week later.

Speaker 11 (02:59:00):
June, let you, June, I want to see you a moment.
Can it wait to morning, mister Wrigley, please possible. I
must see you now. I can't let you in.

Speaker 47 (02:59:09):
I'm in bad I'm not dressed.

Speaker 38 (02:59:10):
It doesn't matter.

Speaker 11 (02:59:11):
Let me in, June. I have to talk to you now.

Speaker 4 (02:59:14):
I lose my master.

Speaker 11 (02:59:15):
Keys open let me shut up, your little fool.

Speaker 4 (02:59:19):
Open the door, all.

Speaker 11 (02:59:21):
Right, but we'll settle bas and soon.

Speaker 47 (02:59:30):
What wrong you are you?

Speaker 2 (02:59:32):
Ill? Missus Higley?

Speaker 33 (02:59:38):
I'm so frightened.

Speaker 11 (02:59:39):
I understand you. It was my husband again. Wasn't it.

Speaker 16 (02:59:52):
The end of the honeymoon? It came quickly after that,
Elizabeth said, simply.

Speaker 11 (03:00:00):
Henry, I'm leaving your I'm going to London to talk
with my lawyer.

Speaker 4 (03:00:04):
After your talk.

Speaker 1 (03:00:05):
With him, you'll change your mind. Taking a servant's word
against mine. Really, my dear, what train are you making?

Speaker 11 (03:00:12):
I'll arrive you into town.

Speaker 16 (03:00:13):
A little while later, Henry dropped into the kitchen and
told John quite coolly.

Speaker 4 (03:00:17):
I'm driving missus Higley into the station.

Speaker 11 (03:00:19):
She's going up to London. I'll pick her up on
the nine forty five tonight when she comes back.

Speaker 16 (03:00:24):
At nine p fifteen that night, Henry told the servant.

Speaker 11 (03:00:27):
Girl, I'm going in to pick up missus Higley. We
should be back a little after ten.

Speaker 16 (03:00:31):
And at ten fifteen Henry came back.

Speaker 1 (03:00:35):
Funny, missus Higgley wasn't at the station. She must have
missed the train and decided to stay in town for
the night.

Speaker 4 (03:00:42):
And then the next day, I've had.

Speaker 1 (03:00:44):
A letter from missus Higgley. She's staying with relatives in
London for a few days. Nothing to worry about.

Speaker 16 (03:00:50):
But John did worry, and she took her worries to
her mother.

Speaker 93 (03:00:58):
I'm sure he's lying, Mom's I'm sure sure of it now, Julie,
don't be excitable.

Speaker 11 (03:01:02):
Not Mom's, I'm not. He told me he was going
to the station to call for it, but I didn't
hear the car. Perhaps you weren't paying attention.

Speaker 93 (03:01:09):
Said he had a letter, and the postman never called
that morning, and last night you tried to get into
my room again.

Speaker 63 (03:01:15):
I won't go back month now, a mom again I
won't go.

Speaker 26 (03:01:17):
Back, Arson Wells, We'll be back with you in just
a moment.

Speaker 16 (03:01:31):
This was gossip, Oh, this gossip indeed. But Missus Goodwin
restrained herself for a while. After all, there was only
one other person in the village who knew the higglis.
That was Missus Webbley at the inn. Yes, Missus Webbley.

Speaker 11 (03:01:45):
Now what's all rock, Why it's the dog pets?

Speaker 49 (03:01:50):
Were here?

Speaker 11 (03:01:51):
Pets? What's the trouble doggie? Mister mistress?

Speaker 33 (03:01:54):
Is that it?

Speaker 11 (03:01:55):
Do you, miss your mistress?

Speaker 94 (03:01:57):
Oh?

Speaker 16 (03:02:05):
The shoe, by the way, reposes today in an honored
position in the Black Museum. A dog howls at the

(03:02:32):
back door and winds with fear. Then it wags its
tail and snuffles in appreciation of a pat on the head,
But mention its mistress and the howling begins again. Is
this a clue to a possible crime? Certainly to have
no meaning in a court of law, a clever defense

(03:02:52):
counselor have it stricken from the records within minutes. But
it would have meaning among plain people who are sensitive
to many of the law of nature.

Speaker 11 (03:03:04):
Another cup of tea, Missus Gardwin, No, thank you, Missus Webbley.
June deary, I couldn't touch a thing. I'm so upset
about the poor little dog. Or she's all right. I'm
sure you said you call them out house and he
came for the dog right away? What dat feel hurt?

Speaker 93 (03:03:17):
The little animal has other things on his mind, he
has with that one working for him, that Murial you
mean exactly? I'm glad I am that my June up
and left him when she did. Have you seen or
heard of missus Higlider? Not a word, no signs, But
then maybe she.

Speaker 9 (03:03:33):
Knows about that.

Speaker 16 (03:03:34):
Three people knew about that Muriel by now, and you
hire and go at any Henley's house, and before very
long others would know. But this held no foreboding for
Henry Hegley, that Muriel, Now.

Speaker 95 (03:03:49):
Mister, you mustn't.

Speaker 11 (03:03:51):
Why not, my dear, who's to know except you and me?

Speaker 2 (03:03:54):
Mister?

Speaker 33 (03:03:55):
I used to go on.

Speaker 11 (03:03:59):
He was a Ki's pretty one. But never say I
don't wait.

Speaker 18 (03:04:02):
With a job.

Speaker 11 (03:04:03):
Well, just one, Urial, when you're going to stop calling
me mister?

Speaker 16 (03:04:11):
A kind of mean paradise surrounded by a moat filled
with water, reached by a mock drawbridge which was never
raised and entered that pseudo idyllic setting across that bridge
and strode a collar. He rang the doorbell.

Speaker 11 (03:04:34):
Yes, sir, is mister Higgli at home?

Speaker 69 (03:04:36):
Who might be calling?

Speaker 35 (03:04:37):
Sir?

Speaker 11 (03:04:38):
Inspector Sterret, Scotland yard.

Speaker 16 (03:04:40):
Three people knew, and soon many more words spread The
police events some interest. The inspector called and was invited in.
He was offered a drink tea. He refused politely.

Speaker 96 (03:04:54):
Thanks, mister Higglin. No, I've only a short while. May
I ask the whereabouts of missus Higgler? Of course you
may ask. As far as I know, she's staying with
friends in London. I have some letters if you can
seen them. Oh, we'll take your word for it, mister Hegler.
But there's been some talk, ugly rumors, you understand, I'm sure, yes,
I had to discharge a servant girl. We were given
to understand. She left of her own a coat, not

(03:05:16):
at all.

Speaker 1 (03:05:17):
The girl seemed to trifle hard of hearing. Couldn't hear
my car on the driveway, mister postman's whistle constantly?

Speaker 11 (03:05:23):
I see? And then there's a little dog seems to
have been howling a bit.

Speaker 1 (03:05:28):
If you look out of the window there in the
back garden, Eh, seems quite contentent, doesn't she?

Speaker 11 (03:05:34):
Yes, yes, yes, he does. Well, thank you very much
for the Curtis.

Speaker 16 (03:05:38):
The inspector took his leave as the door closed behind him.
Henry Hagley did some thinking. The next day he spoke to.

Speaker 11 (03:05:47):
Muriel, how would you like to take a trip with me? Muriel,
you mean close at the house?

Speaker 4 (03:05:52):
Why not?

Speaker 14 (03:05:52):
I'm not sure I want to go away.

Speaker 11 (03:05:55):
Oh you're a sweet man.

Speaker 63 (03:05:56):
Me, I live here.

Speaker 4 (03:05:58):
You have no idea how we could nave?

Speaker 11 (03:06:00):
What fun we could have.

Speaker 1 (03:06:01):
I can draw all the cash from the banks in
ten and twenty five pound notes, so it wouldn't take
too much room, and we could have a time in London.

Speaker 11 (03:06:08):
A real time ad buys them.

Speaker 16 (03:06:09):
So Henry planned a little trip, and he took the trip.
Oddly enough, Muriel didn't go along. Her permanent tie was
not in her plans at the moment. She stayed behind
in the house with a little dog for company, or
with Quiets after Henry went away. Quiets, yes inactive.

Speaker 11 (03:06:36):
No tell me, mister Marlow, when did you last hear
from your sister?

Speaker 92 (03:06:44):
Elizabeth wrote, just after she moved into the house with
her husband. I'm afraid we never answered her. The family
disapproved of higl.

Speaker 11 (03:06:53):
Uci Oh any particular reason. Well, he was penniless.

Speaker 92 (03:06:57):
Elizabeth, as you probably know, has a nice income, quite
a bit of capital.

Speaker 96 (03:07:01):
She bought the house, you see. Yes, yes we heard
about that. That's one reason we sought you out. Mister Marlowe, Are.

Speaker 11 (03:07:08):
You intimating the possibility of trouble, inspector.

Speaker 96 (03:07:12):
There's always the possibility when a grown person disappears without
a trace, and there have been rumors and a few
odd coincidences. In any case, we check the bank. The
manager showed us these papers of what are they? A
d transfer giving full title to the house and property
to Henry Higgley.

Speaker 11 (03:07:29):
Is this your sister's signature, mister mallow? Oh, let me see.

Speaker 16 (03:07:34):
I need my glasses. I'm afraid here now.

Speaker 89 (03:07:36):
Then, oh, strange looks like hers, But since she'd suddenly
grown old, it wavers.

Speaker 11 (03:07:47):
So there, for instance, the.

Speaker 92 (03:07:50):
EL and the W with the marlow Elizabeth Marlowe Higgly, Inspector.
I want to compare it with her letters, but I
think I can say with reasonable certainty that this.

Speaker 4 (03:08:03):
Is not my sister's signature.

Speaker 10 (03:08:06):
Thank you, mister mollow.

Speaker 11 (03:08:08):
Thank you.

Speaker 96 (03:08:12):
To all stations alert for one Henry higlif wanted for forgery.
Notify all banks the following serial numbers out of twenty
five pound notes connected with forgery. Case appearance of any
of these notes could be called to the attention of
the local police at once, in the usual manner.

Speaker 16 (03:08:38):
At long last the hunt was on the charge pending forgery.
The days past nothing was reported, but an occasional bank
note that the proper serial number did turn up in
the ordinary course of business. Patiently, the places where the
notes appeared were charted.

Speaker 96 (03:08:54):
First Rams get then over a week later, Folkston. I
imagine we'll and you spent a few days in Paris
after that, Kingston, I expect we'll be hearing from London itself.

Speaker 16 (03:09:06):
Shortly from London itself?

Speaker 11 (03:09:13):
How long did it take to change up there? Twenty
five pounds? One would think the Bank of England had
that much cash in small denominations.

Speaker 90 (03:09:19):
Lying about, I beg pardon, sir, you a gentleman wanted
to change this note? I am Would you mind stepping
this way.

Speaker 10 (03:09:25):
For a moment, sir.

Speaker 90 (03:09:26):
I'm over in a hurry something with the note no
a microdential, sir.

Speaker 1 (03:09:31):
I see Detective Inspector Andrews and user Higley Henry Higley,
why all the mystery, Inspector.

Speaker 90 (03:09:38):
I'm afraid I shall have to ask you to come
with us, sir. You see the serial number of this banknote,
and several others have been published in a small matter
of forgery.

Speaker 4 (03:09:46):
Forgery? What's that to do with me?

Speaker 90 (03:09:48):
I'm sure you had nothing to do with it, mister Higgley,
and that you will be most anxious to cooperate with
the police this way, sir, if you don't mind.

Speaker 16 (03:09:57):
Henry did mind. His sense of cooperation became stunted quite suddenly.
He found very little to tell Inspector Steris and Andrews.

Speaker 11 (03:10:08):
Of course I drew the money.

Speaker 4 (03:10:09):
It was a joint account. I had a right to.

Speaker 11 (03:10:11):
And what is your explanation of the transfer of the house.
There's none I can give you now. Queen Elizabeth Richards,
where is your wife Higley?

Speaker 4 (03:10:18):
She didn't say, just staying with friends?

Speaker 26 (03:10:20):
Any reason for that?

Speaker 4 (03:10:21):
We are well.

Speaker 1 (03:10:22):
We had a quadle, a lover's poddle. She'll get over
it when she comes back. You seem very certain she
will come back. Have you any reason, inspectortle, doubt that
she will?

Speaker 11 (03:10:31):
No, not at the moment, nor any reason to doubt
that you will be here awaiting her. Do you mean
to say you're thinking of holding.

Speaker 2 (03:10:38):
Me on charges?

Speaker 96 (03:10:39):
Frankly, we are you see, Higglely, we did a little
routine checking. We found that you've been arrested three times,
convicted once. In each case the charge was swindling women
who were old enough to know better.

Speaker 11 (03:10:51):
So we are holding you, Higgly, and the charge is forgery.
Now the direction of.

Speaker 16 (03:11:01):
The search changed somewhat. Henry Higgey was safe, and he
remained so until Elizabeth Smilow Higglely was found.

Speaker 11 (03:11:12):
No right to take the house apart like this, mister
Higgley Wood, I'm sorry, my girl, we have a warrant.
I don't understand. What are you looking for?

Speaker 10 (03:11:20):
Not what my girl?

Speaker 11 (03:11:22):
Whom we're looking for? Missus Higley in the cupboards and
under the floor. Now now, oh, it isn't true.

Speaker 91 (03:11:32):
It isn't.

Speaker 16 (03:11:33):
She went away, took the house apart and put it
back together again.

Speaker 4 (03:11:37):
Nothing.

Speaker 16 (03:11:39):
They dragged the moat around the house. Nothing, Then they
drained it.

Speaker 90 (03:11:45):
There it is start dry as it ever will be,
and nothing not a sign. Mud looks mighty deep. It's
a quagma down there.

Speaker 11 (03:11:52):
I watch this.

Speaker 90 (03:11:55):
Takes that stone as if it were nothing. He couldn't
have thrown a body that far out, and there's no
sign of anything on the side.

Speaker 11 (03:12:01):
He might have waded out, Andrews, the water wasn't particularly deep.

Speaker 90 (03:12:04):
He'd have gone in up to his waist if he'd
tried that. You know, it takes good soil to make
mud like that.

Speaker 96 (03:12:10):
Yes, I noticed finally the way they let the garden
go to see woh, is not too bad, except for
that patch of stunted bush over there there where.

Speaker 11 (03:12:18):
The dog's lying.

Speaker 90 (03:12:19):
Let's have a look at that shower. You never quit still, uster.

Speaker 96 (03:12:25):
Human beings can't disappear without a trace. They just don't settle. Oh,
that's a good dog. There we are there.

Speaker 11 (03:12:34):
These aren't stunted, Andrews, These are new planting.

Speaker 34 (03:12:37):
You're right.

Speaker 90 (03:12:38):
Look here, the whole area straight to the moat. This
earth was turned, and fairly recently, at least ten yards
of it.

Speaker 96 (03:12:44):
That's a ditch, Andrews, a ditch that has been filled in.
I think maybe we ought to start digging hereabout eight
hours now and still nothing.

Speaker 11 (03:13:04):
Will be nothing. Another good idea gone wrong.

Speaker 90 (03:13:08):
Shall I tell the men to stop?

Speaker 11 (03:13:09):
Yes, you may as well.

Speaker 10 (03:13:12):
Well.

Speaker 11 (03:13:12):
That dog she's found something here something just tricker good,
yes's I never help or.

Speaker 96 (03:13:20):
All right, you're gonna start digging again, but carefully now
all around that spot, it's pretty obvious, Andrews, there's our
body attached to that lady's shoe.

Speaker 16 (03:13:34):
And as I told you at the beginning of this story,
that shoe reposes today in an honored position in the
Black Museum. The medical examiner swore that a thirty two
caliber bullet had killed Elizabeth Marlowe. The ballistics expert testified
the bullet had come from the gun in Henry Higley's

(03:13:55):
possession the day of his arrest in the Bank of England.
Another expert adjusted the noose, placed the white hood over
Higley's head, heard the man whisper the admission of his guilt,
and sprang the trap. Martha Webley has Patsy now, and

(03:14:17):
the little dog enjoys the fields around Webley's inn a
fit reward. I think you will grieve with the faithfulness
which brought her mistress's killer to final justice. And as
I told her, the dainty shoe remains in its customary position,
and that big stone building on the Thames in Scotland
yard in the Black Museum now until next time, and

(03:14:42):
till another story about the Black Museum. I remains always
obediently yours.

Speaker 20 (03:15:15):
The Mutual Broadcasting System presents The Mysterious Traveler, written, produced and.

Speaker 34 (03:15:20):
Directed by Robert A.

Speaker 20 (03:15:21):
Arthur and David Colgan, and starting tonight, two of radio's
foremost personalities, Chester Stratton and John Tompkins in The Lady
in Red.

Speaker 70 (03:15:37):
This is the Mysterious Traveler, inviting you to join me
on another journey in the vaurel of the strange and
the terrifying.

Speaker 22 (03:15:45):
I hope that you enjoy the trip, that it thrills
you a little and chills you a little.

Speaker 70 (03:15:51):
So settle back and a good rip on your nerves
and be comfortable if you can, as we join crime
reporter Bill Storm.

Speaker 22 (03:15:59):
On the Strangest Man i'n't ever conducted me.

Speaker 70 (03:16:10):
And now here's the story, just as Bill Storm wrote
it down when he began to be afraid that maybe
he was going to succeed and find these strange and
dangerous woman he knew only as the Lady in Red.

Speaker 5 (03:16:25):
My name is Bill Storm. I'm a newspaper reporter, and
I'm writing this because I have a date tonight, a
date with a gorgeous brunette with big dark eyes and
the softest voice in the world. Sounds nice, doesn't she. Well,
I'd like to believe she's nice, but I can't. In

(03:16:49):
my heart. I know she's the most dangerous woman in
the world, and up to a week ago, I've never
even heard of her. A week ago, the day of
Rusty Dean's funeral, you know, the big shun gambling slot
machines killed by a solitary gunman while stepping out of
his nightclub. They didn't catch the killer, and they gave

(03:17:09):
Rusty the biggest funeral since pro Envision. I was on
the rewrite desk that afternoon. My best friend Tom Jarvis
was covering the funeral. Well along about four he phoned
in Percy, gave me all the dope on the funeral,
and then he started telling me about some brunette. He
just meant he was always a sucker for brunettes.

Speaker 2 (03:17:27):
Bill, She's a knockout, big black.

Speaker 97 (03:17:29):
Eyes and the smoothest, softest voice in the world.

Speaker 2 (03:17:33):
I want you to meet her.

Speaker 5 (03:17:34):
No blonde are more my style.

Speaker 25 (03:17:35):
Tom.

Speaker 5 (03:17:36):
Anyway, here's supposed to be working or have you forgotten
I am working?

Speaker 97 (03:17:40):
Listen, Bill, I got a front page story here.

Speaker 2 (03:17:42):
Theda led me to it. Who did Theita? That's her
th e d A Theda like Theita barrow the old
silent pictures start.

Speaker 33 (03:17:50):
Now, this is how it happened.

Speaker 97 (03:17:52):
I was watching the crowd at Rusty's funeral when I
spotted a trim little number in red whispering to Joe Nelson.

Speaker 5 (03:17:57):
Who's Nelson?

Speaker 2 (03:17:59):
Joe Nelson, the small time fuck.

Speaker 97 (03:18:01):
Well, anyway, she moved off, and I thought she might
be a relative of the deceased, So I asked Joe
about it. He claimed he'd never seen her before. And
then all she said to him was four o'clock at
the banner Bar and grill.

Speaker 5 (03:18:14):
Four o'clock at the banner Bar and grill. That sounds
like a message.

Speaker 2 (03:18:17):
Well that's what Joe.

Speaker 97 (03:18:18):
Figured, Only he decided she delivered it to the wrong guy. Well,
I sort of wanted to see her again, so I
persuaded Nelson he needed a drink. We slipped around the
corner here to the banner Bar and grill, and sure or.

Speaker 2 (03:18:30):
Not, she was here waiting for us.

Speaker 5 (03:18:31):
Now, Tom, watch your so.

Speaker 2 (03:18:33):
Bill, You've got the wrong idea. She's a perfect lady.

Speaker 5 (03:18:38):
H Now, what about that big story? You claimed your had.

Speaker 2 (03:18:42):
Oh well, I'm coming to that. But honest, Bill, I
want you to meet Theta. You'll go for her now. Look,
I'm gonna put her on the phone to say Hello.
Here she is, Tita.

Speaker 11 (03:18:50):
Hello, Bill's Tom.

Speaker 5 (03:18:52):
Hello Theta? Is that your real name?

Speaker 44 (03:18:55):
Yes?

Speaker 25 (03:18:56):
Don't you like it?

Speaker 21 (03:18:57):
Bill?

Speaker 4 (03:18:58):
Sure?

Speaker 10 (03:18:58):
I like it.

Speaker 11 (03:19:00):
There isn't any rest of it.

Speaker 5 (03:19:02):
Phil, just theater nobody. It's just one name. Not these
days I have Phil.

Speaker 47 (03:19:09):
But here's Tom again.

Speaker 97 (03:19:12):
Listen, Bill, I'm gonna fix up a date with her
for you.

Speaker 2 (03:19:14):
But here's the story I promised you.

Speaker 97 (03:19:16):
Joe Nelson has been getting quietly plastered, and from when
he's let slip, I'm positive he's the gunman who killed Rusty.

Speaker 5 (03:19:23):
Deb he is.

Speaker 97 (03:19:24):
Then hang on to him, I am. Now, you got
a car and come down here. We'll smuggle him up
to the office and work on him. Maybe we can
get the whole.

Speaker 2 (03:19:30):
Story out of him.

Speaker 5 (03:19:31):
I'll be there in fifteen minutes. Keep buying him drinks
till I get there. What's the address.

Speaker 97 (03:19:35):
It's on the corner of Fifth and Spruce. Hey, hey, Bill,
two men just came in the door and they got
Tommy Gunns. Thereafter Joe Nelson.

Speaker 4 (03:19:45):
Tom, what happened?

Speaker 97 (03:19:46):
He just mowed him down and thet's gone. She slipped
away when they came in. Hey, Bill coming over toward
this phone booth. They're gonna shoot.

Speaker 87 (03:19:59):
Bill.

Speaker 2 (03:20:00):
Find that girl. She knows who they are, she's working
with them.

Speaker 5 (03:20:15):
I was there in five minutes. Even before the police
got there. The place was deserted except for the two
dead men, Joe Nelson, the gunman and Tom tom My
best friend. Led was death by a girl in a
red dress. Well, the police didn't find the gunman who
did the shooting, so I set out to find a
girl to track them down through her. Once I found her,

(03:20:38):
she was going to talk plenty. I began the hunt
by calling on the man who had been Rusty Dean's
chief lieutenant and was running his enterprises.

Speaker 8 (03:20:46):
Now, Nick Murray sit down still, said you wanted to
talk to me?

Speaker 5 (03:20:52):
What about Murray? Did your boys kill Joe Nelson this afternoon?

Speaker 17 (03:20:56):
My boys, No, Bill, they didn't.

Speaker 4 (03:20:58):
Why should they?

Speaker 5 (03:21:00):
Maybe because it was Nelson who bumped off Rusty Dean
he did.

Speaker 17 (03:21:05):
How do you know that?

Speaker 5 (03:21:07):
You mean you didn't know it.

Speaker 10 (03:21:09):
If I'd ha known it, Nelson would have been dead
long before this am.

Speaker 5 (03:21:13):
I figured then that's what made me think you were
in the clear. You haven't told me how you know
Nelson killed Rusty. Well, he had a few drinks this
afternoon and let it slip out to Tom Jarvis.

Speaker 25 (03:21:23):
MM.

Speaker 5 (03:21:23):
Just before those two hoodlums riddle them both, a brunette
named Theta put Nelson and Tom on the spot for him.

Speaker 4 (03:21:30):
Brunette named Theda.

Speaker 5 (03:21:32):
Never heard of her, Mum, I hoped you might have
trim figure, deep dark eyes, low soft voice. Looks like
a lady, hm h some lady.

Speaker 4 (03:21:45):
If she works for a bump of game.

Speaker 17 (03:21:48):
No, I never heard of her.

Speaker 70 (03:21:49):
But if she's working with any local marble'll hear about it.
Any of the boys run across, uh, I'll let you.

Speaker 5 (03:21:56):
Know, thanks, Murray, but warn them if they do meet her,
watch out. She's pure dynamite. Well it was one need
that got me no place. So next I dropped in
on Captain Hughes, the head of homicide, to ask if

(03:22:16):
the police had gotten any fingerprints off the glass that
the girl had.

Speaker 8 (03:22:19):
Been drinking from.

Speaker 5 (03:22:20):
Sorry, Bill, no dice, You mean you didn't get anything
from the girl's glass, not a thing, you see, she.

Speaker 17 (03:22:26):
Hadn't touched it. None of the liquor was gone.

Speaker 70 (03:22:29):
Well, now i'd prove she wasn't on the level, well,
not necessarily, but I've issued orders to have her picked
up if she's fouled.

Speaker 5 (03:22:36):
We tried to get a description from Gomez, the waiter
who served them.

Speaker 22 (03:22:40):
But but what he says he didn't get a good
look at her when she slipped away.

Speaker 4 (03:22:44):
He didn't even see a go.

Speaker 5 (03:22:45):
Some eyes he must have. I suppose he didn't even
see the shooting.

Speaker 2 (03:22:48):
Not much of it.

Speaker 5 (03:22:49):
He dived down the cellar steps when it started.

Speaker 17 (03:22:52):
He's in the civic hospital.

Speaker 5 (03:22:53):
Now I'm going out there to talk to him. He
must have noticed something. It wasn't much of a lead,
but it was all I had. It was pretty late
by now, and when I got there, the hospital had
settled down for the night. They put Gomez in a ward,

(03:23:14):
and outside the ward I found a nurse out in duty,
a blonde kid who turned as I came up.

Speaker 63 (03:23:19):
Oh, good evening.

Speaker 33 (03:23:20):
You looking for someone.

Speaker 5 (03:23:21):
Yes, my name is Thorm. I'm looking for a patient
named Gomez.

Speaker 11 (03:23:24):
Gomez.

Speaker 69 (03:23:24):
Oh, yes, broken arm and internal injuries.

Speaker 4 (03:23:27):
How was he? Is he awake?

Speaker 5 (03:23:29):
Yes?

Speaker 69 (03:23:30):
Feeling badly? Complains of pains in his chest.

Speaker 5 (03:23:32):
He is awake.

Speaker 18 (03:23:33):
I want to talk to him.

Speaker 5 (03:23:34):
This is police business. What beggiean?

Speaker 59 (03:23:37):
Well?

Speaker 98 (03:23:38):
The last one down by the far door, but I'll
have to ask the doctor if you can see him.

Speaker 33 (03:23:42):
Wait here, please.

Speaker 5 (03:23:43):
She disappeared down the hall, but I didn't wait.

Speaker 8 (03:23:47):
The ward was dark.

Speaker 5 (03:23:47):
Except for a couple of dim lights. I started for
the far end, and then I saw him. She was
just a figure in a red dress, bending over the
last bed, but it was He'd all right, it had
to be. I tiptoed down the room. She was talking
to Gomez. He was moaning a little.

Speaker 69 (03:24:08):
If her it's done at Gomez, Yes, of course it does.

Speaker 63 (03:24:11):
But it'll go away.

Speaker 5 (03:24:12):
So he mumbled something, and then he reached for a
glass on the table beside his bed.

Speaker 11 (03:24:17):
A drink of water.

Speaker 69 (03:24:18):
Of course, let me help you.

Speaker 5 (03:24:21):
She helped him lift the glass to his lips, and
then I knew what she was up to, and.

Speaker 9 (03:24:25):
I yelled, go in, drop that glass, don't break out
of him.

Speaker 5 (03:24:30):
He dropped it, all right, but it was too late.
He'd already drunk from it. He turned the stair at me,
his mouth opened, and she moved toward the door right
beside her. I ran after her.

Speaker 9 (03:24:37):
But I was too late, and I reached that she
was gone.

Speaker 5 (03:24:40):
Swallowed up in a dark corror. I knew it wasn't
in use hunting for her, and I turned to Gomez.
In my impatience, I grabbed his shoulder.

Speaker 2 (03:24:47):
Gomez, Who was she?

Speaker 11 (03:24:48):
What did she want to the talk?

Speaker 33 (03:24:50):
You're not supposed to be in here? What are you
doing to my patient?

Speaker 5 (03:24:52):
I'm gonna make her mask?

Speaker 33 (03:24:53):
You leave him alone. Well, he's not going to answer
any questions for you tonight.

Speaker 17 (03:24:58):
And I see, yes, I'm.

Speaker 69 (03:25:00):
Afraid not mister Storm.

Speaker 11 (03:25:02):
He's dead.

Speaker 5 (03:25:09):
Yeah, she was dead, alright, the only possible witness who
could let me to her, and she eliminated me. Then
I knew whoever she was and whatever her game was.
Trying to find out what was gonna be about as
safe as moving into a den of rattlesnakes. I put

(03:25:30):
in a bad night trying to figure it all out.
And next morning, when I got down to the paper,
my eyes looking like two holes burning my blotter. I
hunted up my editor, Henry Halloway in the city wall.

Speaker 2 (03:25:43):
Ah, look at Frankenstein.

Speaker 25 (03:25:45):
What happened to you?

Speaker 30 (03:25:46):
Bill?

Speaker 5 (03:25:47):
Oh? I'm alright anyway, isn't anything new? Coming about those
thugs who killed Tom.

Speaker 17 (03:25:51):
Not a thing. The paper is needling the police.

Speaker 70 (03:25:54):
But uh well, so far no results, and.

Speaker 5 (03:25:57):
I won't be either till we find that girl in Rigs.
She's the key to the whole thing.

Speaker 70 (03:26:01):
I know it ain't you're getting a little hyped up
about that girl in red. After all, she may be
perfectly anothing And oh.

Speaker 5 (03:26:07):
Yeah, and how do you explain her killing Gomez last night?
Just before I could question that, well.

Speaker 17 (03:26:12):
Are you sure that you didn't imagine?

Speaker 70 (03:26:14):
You shore at the hospital after all, nobody else did
not even a.

Speaker 5 (03:26:17):
Nerve imagine it. I heard her talking to him in
a soft honey voice, as if you would bring him
flowers instead of poison.

Speaker 70 (03:26:24):
That's another thing. Hospital at topsy Go, mass we've found
her face of poison. They claiming was internal hemorrhage and
shock that killed him.

Speaker 5 (03:26:32):
Sir, the shock of a nice, healthy slug of poison
in his glass of water. I suppose they didn't find anything.

Speaker 2 (03:26:37):
They weren't looking for.

Speaker 5 (03:26:38):
It, that's all.

Speaker 2 (03:26:39):
And I I saw her kill them. Okay, okay, you
sure her now what?

Speaker 5 (03:26:44):
I want to be relieved of all assignments until I
find her. That's what She's in this city, and I'll
run her down inside of a week, or I'll quit
calling myself a reporter a week.

Speaker 4 (03:26:59):
Guys, it.

Speaker 5 (03:27:01):
Didn't take any week to find her.

Speaker 24 (03:27:03):
Not that girl.

Speaker 5 (03:27:04):
She got around too much. I saw her again just
one hour later. It happened like this. I went back
to my apartment, dropped into a chair beside my window,
and I started to figure my next move. The window
looks out on another building across an airshaft, not ten

(03:27:25):
feet away. Well, I'd been sitting there about half an
hour when out of the corner of my eye I
saw someone in the room directly across from me come
to the window and stand there looking over at me.
It was a girl in a red dress wearing a
cute little hat with a veil down over her eyes.
As soon as I saw I knew it was Tita. Oh,

(03:27:46):
don't ask me how I knew.

Speaker 4 (03:27:48):
I just did.

Speaker 5 (03:27:50):
Standing there with a ten foot air shaft separating us.

Speaker 4 (03:27:53):
Well, I did what I could.

Speaker 5 (03:27:55):
I turned so that she couldn't see what I was doing,
and I got Captain Hughes on the farm. He said
he had the building surrounded. If I can only keep
her talking for about five minutes, I hung up the phone.
I turned back towards the window, trying to act casual.
Hello theeter looking for me?

Speaker 7 (03:28:10):
Hello?

Speaker 69 (03:28:10):
Bill, No, it's just accidental that I'm here.

Speaker 15 (03:28:14):
But you're looking for me, aren't you?

Speaker 5 (03:28:18):
Her voice did something to me. I can't explain it,
but a minute ago I had hated her, and nah, well,
now I knew why Tom had gone overboard about her.
I I I said something anything to keep her talking. Oh, yeah,
I've been looking for you. You're a hard girl to find.

(03:28:39):
I have to be Bill, But why theater l Look,
you're just a kid. What kind of racket are you
mixed up in?

Speaker 24 (03:28:46):
Anyway?

Speaker 87 (03:28:47):
I'm sorry, Bill, I can't answer that bother.

Speaker 5 (03:28:50):
Listen, y you you could be anything you wanted. You
don't have to be mixed up with murder.

Speaker 99 (03:28:56):
Then you think I'm a murderer?

Speaker 5 (03:28:58):
Oh what else can I think? Last night you killed
that poor devil at the hospital. I saw you.

Speaker 87 (03:29:02):
Yes, I know you wouldn't believe me if I told
you you're wrong?

Speaker 25 (03:29:06):
Would you?

Speaker 30 (03:29:07):
I'd like to, but I.

Speaker 5 (03:29:10):
I can't see, I can't.

Speaker 69 (03:29:11):
I'm sorry, Bill.

Speaker 63 (03:29:13):
Someday you'll know the truth.

Speaker 33 (03:29:15):
Now I have to go.

Speaker 5 (03:29:16):
Oh don't no, wait, let me look at you. I
think we met some place before. Yes, yeah, it was
in Chicago, m but I can't remember where.

Speaker 63 (03:29:29):
Please don't try to do and don't try to find
me anymore.

Speaker 33 (03:29:34):
I could die, no, no, no where.

Speaker 5 (03:29:37):
But she was gone. And then somebody else appeared at
the window, a window washer. He started to climb out
on the sill to fasten his belt to the safety hooks,
and I yelled at him, Hey, you uh that girl.

Speaker 4 (03:29:48):
Who was there?

Speaker 26 (03:29:48):
Stopper d You mean a little number.

Speaker 4 (03:29:50):
Of the red dress?

Speaker 2 (03:29:51):
Yeah? Where'd she go?

Speaker 5 (03:29:52):
Well?

Speaker 70 (03:29:52):
She went on just as I come in, go.

Speaker 5 (03:29:54):
After a graver.

Speaker 2 (03:29:55):
He's wanted by the police.

Speaker 20 (03:29:57):
And mister Mere to wash windows, not to chase dames
the police water let them catch her.

Speaker 2 (03:30:02):
I quit bother me.

Speaker 34 (03:30:03):
I get a job to do.

Speaker 2 (03:30:04):
Look out, your safety hooks are bending her.

Speaker 4 (03:30:05):
What off?

Speaker 19 (03:30:07):
Oh?

Speaker 5 (03:30:08):
Right in front of my eyes he fell fifteen floors.
I saw the safety hook's break as he leaned his
weight against him, and then I knew why she'd been there.
She'd been there a week in those hooks, to make
sure that poor devil fell and killed himself. Well, Storm,

(03:30:31):
we didn't get her.

Speaker 8 (03:30:33):
She slipped through our fingers.

Speaker 5 (03:30:34):
Somehow she was there, Captain.

Speaker 17 (03:30:35):
I saw her.

Speaker 2 (03:30:36):
I talked to him.

Speaker 17 (03:30:37):
Yeah, she was there, all right.

Speaker 70 (03:30:38):
We found a woman's handkerchief in the room, initial j
on it heavy perfume.

Speaker 18 (03:30:43):
Here it is.

Speaker 5 (03:30:46):
Lilac, drenched in lilac, but the initials jay. She said
her name was Theater.

Speaker 17 (03:30:54):
She was kidding him, but she did the job all right.
Those safety hooks had been fired.

Speaker 4 (03:31:00):
Away to nothing.

Speaker 13 (03:31:01):
One of the local mobs.

Speaker 70 (03:31:03):
Is trying to get control of the window washers union.
That's why he was killed. Intimidation er, sweet little lady,
that one. But uh Storm, the elevator boy who took
her up, says she was a blonde out a brunette.

Speaker 5 (03:31:17):
Oh he's crazy. Her hair is as black and soft
as midnight.

Speaker 8 (03:31:24):
You're getting poetic, aren't she.

Speaker 22 (03:31:27):
I wonder if you're still as anxious to find that.

Speaker 16 (03:31:29):
Girl as you were. Why.

Speaker 5 (03:31:33):
Of course I am. And when I find her, she'll
get what's coming to her. That's what I said. I
didn't know for sure whether I meant it or not.
I just knew I had to find it again. For
four days I combed the town for that girl. And
then two nights ago, as I was walking home just

(03:31:54):
about midnight, I ran into Dutton, a cop I knew,
looking down the darks feet and scratching his head. Oh
that'n that's it matters.

Speaker 70 (03:32:04):
He goes, Oh hello, mister Storm. Now, but I got
a funny feeling. I just saw that girl. Captain Hughes
once picked up.

Speaker 5 (03:32:11):
You did where when?

Speaker 70 (03:32:12):
Well, just a minute ago, I was walking my beat
when the stame comes past me, all dressed in red.

Speaker 5 (03:32:17):
Go on, what happened?

Speaker 41 (03:32:17):
Then?

Speaker 5 (03:32:17):
Where'd you go?

Speaker 4 (03:32:18):
Down the street?

Speaker 5 (03:32:19):
She turned into that door down there?

Speaker 29 (03:32:21):
And then come on?

Speaker 5 (03:32:22):
In thirty seconds, we were standing before the dark door
that Dnon said the girl had turned into her It
was partly open and.

Speaker 10 (03:32:28):
That's the door, mister Storm.

Speaker 22 (03:32:30):
But that's the entrance to her first storage loft.

Speaker 5 (03:32:33):
Why should she go in there? I don't know what
we'll find out? Better, let me go first, I.

Speaker 70 (03:32:36):
Get a gun here, I'll see what's going on inside here.

Speaker 5 (03:32:40):
He pushed the door open and stepped into the dark hall,
and then I heard him call up, Hey, lady, I.

Speaker 17 (03:32:44):
Want to talk to you.

Speaker 2 (03:32:46):
Hey, you up there?

Speaker 96 (03:32:46):
Put on those phone?

Speaker 5 (03:32:49):
Oh who shot you?

Speaker 4 (03:32:51):
What was it?

Speaker 25 (03:32:52):
The girl?

Speaker 100 (03:32:53):
No, she was just standing there. It was two guys upstairs. Hi,
Jack on Thursday, Dutton. But listen, Storm, You say you

(03:33:15):
didn't see her, then how do.

Speaker 5 (03:33:16):
You know it was the same girl? I know, Captain
you she was acting as a lookout for those furthives.
She deliberately lured him in there to his death.

Speaker 17 (03:33:24):
Maybe and maybe not.

Speaker 70 (03:33:28):
I'm seriously beginning to doubt if it's the same girl
mixed up in all these cases.

Speaker 5 (03:33:34):
I think it's just a theory.

Speaker 17 (03:33:36):
Your theory.

Speaker 5 (03:33:37):
Well, I'll prove it to you. She's definitely mixed up
in the rackets. Why now, Nick Murray and his boys
must have learned something about her. I'm going over there
to find out. When I got to Murray's club, one
of the boys showed me up to the office.

Speaker 28 (03:33:56):
Hello, Storms, do thanks?

Speaker 5 (03:33:59):
I will then I fixed your drink and oh thanks.
I just wondered if you had picked up any trace
of that girl I was asking you about.

Speaker 83 (03:34:07):
Did it?

Speaker 47 (03:34:08):
No?

Speaker 13 (03:34:08):
Other boys haven't turned up a thing.

Speaker 5 (03:34:11):
You sure you're not just imagining it. That's what the
police are beginning to think too. If I tell you
I'm not, she's really all like it.

Speaker 22 (03:34:18):
There was any such girl working in this man's town.

Speaker 13 (03:34:20):
I know about it by now.

Speaker 5 (03:34:21):
Unless she's awfully smart and it looks like this one is.

Speaker 11 (03:34:26):
Well.

Speaker 5 (03:34:26):
I guess I better go and get some sleep.

Speaker 24 (03:34:28):
I need it.

Speaker 70 (03:34:28):
Oh before you go, Yeah, I don't know anything about
the girl, but tomorrow I may be able to tell.

Speaker 4 (03:34:35):
You who killed you.

Speaker 5 (03:34:36):
A sidekick, Tom Jobs, you may whin.

Speaker 70 (03:34:39):
I won't have the dope until tomorrow night. You'll meet
me around ten. I can give it to you and
i'll meet you. Just say where the other Timbrine barn
that avenue.

Speaker 5 (03:34:48):
No, I'm but I can find it.

Speaker 22 (03:34:50):
There's a back room. Get me there about ten, come
alone about.

Speaker 5 (03:34:56):
Ten, I'll be that. I went home, but I didn't
get much sleep and it was too keyed up. About three,
I got up and put on a dressing gown and
sat down by the window to smoke. And then behind me, Hello,

(03:35:17):
Bill Storm. I turned.

Speaker 33 (03:35:21):
And she was there.

Speaker 5 (03:35:23):
I started to stand up.

Speaker 69 (03:35:24):
Oh stay where you're all, Bill. Unless you do, i'll
leave thee her.

Speaker 5 (03:35:29):
Why have you coming here?

Speaker 69 (03:35:31):
You've been looking for me so hard I thought I
ought to look.

Speaker 5 (03:35:37):
I I won't touch you, try to make you stay,
but let me get up and fix your drinks.

Speaker 87 (03:35:42):
Sorry, Bill, I can't stay, but I wanted to tell
you the times come when I can let you know
the truth about me.

Speaker 5 (03:35:49):
I mean, you're gonna tell me who you are and
why you've done what you've done.

Speaker 87 (03:35:53):
Everything, Bill, But not tonight. I'll see you again tomorrow, Bill.
Where when you have an appointment? Don't you with Nick Murray?

Speaker 24 (03:36:05):
Yeah?

Speaker 4 (03:36:06):
How do you know?

Speaker 5 (03:36:08):
Are you working with him?

Speaker 69 (03:36:09):
Don't ask me any questions now, I'll tell you everything
tomorrow night. Good night, Bill.

Speaker 5 (03:36:16):
Oh no, no, wait y, you can't go yet. But
she was gone by the time I reached the door.
She was out of sight.

Speaker 4 (03:36:26):
Well.

Speaker 5 (03:36:27):
I went back to bed, but I didn't get any sleep.
I was groggy, bunch drunk. I knew she was guilty,
but I I wanted to believe she was innocent.

Speaker 4 (03:36:37):
I couldn't.

Speaker 24 (03:36:44):
Well, now I'm.

Speaker 5 (03:36:45):
Gonna learn the truth. I'm waiting here in the back
room of the Tambourine Bar. It's almost ten and I'm
just finishing up this report that I started this morning.
She should be here soon, so should Nick Murray. If
she convinces me she's innocent, and I'll tear this up.

(03:37:05):
But if she isn't, well, I'm gonna find out because
she's coming through the door. Now, Hello, Bill, Hello, Then
so it did come.

Speaker 69 (03:37:16):
Of course I came. Believe me, Bill, I'm not wicked.
Look at me, see if you really think I'm bad.

Speaker 5 (03:37:25):
She lifted her veil, and at last I saw her
face clearly. It was just as I thought it would, be.

Speaker 4 (03:37:33):
A beautiful face with.

Speaker 5 (03:37:35):
Dark eyes that I could see into deeper and deeper,
like looking into the heart of night itself.

Speaker 69 (03:37:43):
Now, Bill, do you really think I'm wicked?

Speaker 2 (03:37:48):
Oh?

Speaker 4 (03:37:48):
No, no I don't.

Speaker 5 (03:37:53):
But who are you then?

Speaker 11 (03:37:55):
What?

Speaker 5 (03:37:55):
What's your connection with these murders?

Speaker 69 (03:37:56):
We'll know soon. I have to leave now, just for
a minute or two, just while you talked to Murray.
He's coming now.

Speaker 5 (03:38:05):
She slipped out one door while Murray came to the other.
Nick closed the door and sat down.

Speaker 10 (03:38:10):
Well, I see you here on times to him.

Speaker 5 (03:38:13):
Yes, if you can tell me who killed Tom Jarvis,
I wanna know.

Speaker 22 (03:38:16):
That's what I'm here for. Two of my boys killed him,
two of your boys.

Speaker 10 (03:38:21):
You see.

Speaker 70 (03:38:22):
Joe Nelson killed Rusty Dean for me so I could
take over his rackets. And I saw your friend trying
to pump Joe. I couldn't afford to take chances. I
had to get rid of them both.

Speaker 5 (03:38:33):
And that explains a lot but what about the girl?

Speaker 17 (03:38:37):
Another thing about her?

Speaker 70 (03:38:39):
I think you just made her up as an excuse
to come asking questions.

Speaker 5 (03:38:42):
No, I didn't.

Speaker 4 (03:38:43):
She's reading.

Speaker 22 (03:38:44):
I know better because you did.

Speaker 70 (03:38:46):
See a girl in that apartment where the window washer fell,
but not a girl in a red dress.

Speaker 17 (03:38:51):
You saw a janis my girl?

Speaker 4 (03:38:54):
Your girl?

Speaker 70 (03:38:55):
She filed those safety hooks and lost that handkerchief the
police found. You mean you had that fella killed? Two
little business deal. I'm interested in protection stuff. Last night
I decided you were getting to be a nuisance. That's
why I'm telling you this now, because you're not gonna
pass it on.

Speaker 5 (03:39:11):
No, I'll put that away.

Speaker 34 (03:39:13):
You can't get away with.

Speaker 17 (03:39:14):
It, so storm. I won't be meeting again.

Speaker 64 (03:39:22):
Peter Si here I am.

Speaker 4 (03:39:26):
Call it doctor quick.

Speaker 69 (03:39:28):
You'll be all right. They'll don't worry.

Speaker 33 (03:39:30):
I'm a doctor.

Speaker 69 (03:39:35):
Yes, I know you know.

Speaker 5 (03:39:39):
I know where I saw you that time.

Speaker 69 (03:39:41):
I knew you'd remember.

Speaker 5 (03:39:43):
No, don't stay away from me. I won't let you
come near me. I'm getting out of here. No, I won't.

Speaker 11 (03:39:56):
You're not gonna get me.

Speaker 33 (03:39:58):
Let's just start a storm. Can you hear me?

Speaker 5 (03:40:03):
Huh? Oh?

Speaker 11 (03:40:07):
Where am I?

Speaker 5 (03:40:09):
You're a nurse?

Speaker 69 (03:40:10):
Yes, you're in Civic Hospital. You were brought here an
hour ago, shot in the chest. A policeman found you
crawling down Third Avenue.

Speaker 5 (03:40:19):
I remember one nice pick this time Nick Murray shot me.
Get word of the morning.

Speaker 69 (03:40:26):
Let you certainly now please lie quietly while I go
get the doctor. I'll only be a minute. Hello, do pudle?

Speaker 5 (03:40:41):
So you followed me here?

Speaker 69 (03:40:43):
You shouldn't live run away.

Speaker 5 (03:40:45):
I did it because I remembered where I saw you
last in Chicago, the time I was in a taxi accident.
I saw you in the other car just before we
hitty people were killed.

Speaker 69 (03:40:59):
Yes, though you did see me then, and now you
know who I am.

Speaker 5 (03:41:05):
Yes, now I understand why you were around when moost
people die. I never expected you to be.

Speaker 24 (03:41:17):
A beautiful girl.

Speaker 33 (03:41:19):
Why not?

Speaker 87 (03:41:20):
Just because people think of me as an ugly old
man with a sight, does that make it true?

Speaker 69 (03:41:26):
I'm not really ugly enough. I'm not someone you have
to be afraid of.

Speaker 5 (03:41:33):
No, I'm glad that you're.

Speaker 4 (03:41:37):
Beautiful.

Speaker 5 (03:41:39):
It makes it it. It's it's your swam.

Speaker 69 (03:41:45):
Now take my hands, Bill, It's time for us to go.

Speaker 5 (03:41:51):
Yeah, sure, I'm ready.

Speaker 69 (03:42:04):
He recovered consciousness a minute ago.

Speaker 98 (03:42:06):
Doctor Clark I came for you at once seemedly quite
strong and doctor, doctor Clark, he's dead.

Speaker 70 (03:42:37):
This is the Mysterious Traveler again. So that was the
secret of the lady in Rain The did a strange
name th H E D A.

Speaker 22 (03:42:51):
I wonder if Phil ever did realize those.

Speaker 70 (03:42:53):
Are the same letters that spelled death. But he did
what he set out to do. He learned the ruth
benevented his friend.

Speaker 22 (03:43:02):
But if you should meet an alluringly beautiful girl who.

Speaker 70 (03:43:05):
What, Oh, you have to get off here, I'm sorry,
I'm sure you'll meet again. I take this same train
every week at this same time.

Speaker 20 (03:43:27):
You have just heard The Mysterious Traveler with a title
role played by Maurice Tartman. Others in our cast were
Chester Stratton, Johan Tompkins, Joseph Sanders, and Larry Black.

Speaker 5 (03:43:37):
Original music composed and played by Alfinelli.

Speaker 20 (03:43:39):
All characters in the story were fictitious, and he resemblance
to the names of actual persons, purely coincidental.

Speaker 5 (03:43:44):
Bill Talkin' speaking. This li Mutual Broadcasting.

Speaker 77 (03:43:47):
System Mystery House, Mystery House That's Strange Publishing prmoonned by

(03:44:32):
Dan and Barbara Glenn, where each new novel is acted
out by the Mystery House staff before this is accepted
for publication Mystery House.

Speaker 101 (03:44:52):
The story for tonight's Mystery House Trial. Barbie Murder is
an art Does it deal with some artistic form of mayem?

Speaker 33 (03:44:59):
It's the method artistic Dan. It's a story of domestic
trouble that ends in unpleasant death, and there's a real
puzzle to unravel.

Speaker 4 (03:45:07):
Well, let's start unraveling.

Speaker 17 (03:45:08):
I'm ready to go the rest of the folk.

Speaker 77 (03:45:10):
I bet nobody's as enthusiastic as I am.

Speaker 17 (03:45:12):
Yeah, well, how come you're so enthusiastic?

Speaker 53 (03:45:14):
Tom?

Speaker 17 (03:45:15):
You know you aren't playing a part tonight in the show.
That is a side narrator.

Speaker 77 (03:45:18):
Oh yes, I am mister Glenna might important part.

Speaker 17 (03:45:21):
Just listen, okay, faces, everybody set the scene with your Tom.

Speaker 77 (03:45:37):
Murder is an art our story opens in the acid
steep workroom of Alre Wales's top commercial photographer. Alrey's wife Josephine,
is talking to Cal Grayson, a young artist, offering him encouragement.

Speaker 62 (03:45:53):
Your word eats coming along beautifully, Cal. These new watercolors
they show much improvement.

Speaker 44 (03:46:00):
I don't want to talk about watercolors, Josie.

Speaker 62 (03:46:02):
No, now you should talk about them. Think about them
and dream about them. You must make me proud to
have helped.

Speaker 63 (03:46:08):
You, even so little.

Speaker 44 (03:46:10):
You could help me plenty.

Speaker 63 (03:46:12):
Kelvin, remember your promise.

Speaker 44 (03:46:15):
But hang it, Josie, I love you. What difference does
it make what I promise?

Speaker 33 (03:46:20):
Please care?

Speaker 5 (03:46:22):
You are so young?

Speaker 33 (03:46:23):
Love for you?

Speaker 63 (03:46:24):
It is with a young girl, not me.

Speaker 44 (03:46:28):
You're young, beautiful. What difference does ten years make?

Speaker 63 (03:46:31):
I'm old enough to you need a girl of your
own age and not a married woman. Henri and I.

Speaker 17 (03:46:38):
You don't love Ari.

Speaker 11 (03:46:40):
You couldn't know.

Speaker 63 (03:46:41):
You said you would not talk like that.

Speaker 44 (03:46:43):
Alri is my husband, a photographer.

Speaker 63 (03:46:46):
Ari is an artiste.

Speaker 11 (03:46:48):
His photographs are the finest.

Speaker 44 (03:46:50):
You know know why they're good, don't you? Because he
makes you sit in this filthy, smelly room retouching stuff.
You a painter who could do great things.

Speaker 63 (03:46:59):
You don't know what I could do.

Speaker 62 (03:47:01):
I am Henri's wife and my duty beauty to that.
Lou Shelvin, I can't have you talking, so you must
stop coming here. I try to encourage you because you
have this spark of artistic talent, but romances for young people.
You and Cynthia, Cynthia and you I want, Josie, you

(03:47:22):
kill you stay away from me.

Speaker 15 (03:47:25):
Oh damn.

Speaker 5 (03:47:25):
I love you, Josie.

Speaker 62 (03:47:27):
You're a boy, a romantic, spoiled boy, and you must
not I cannot see you.

Speaker 44 (03:47:33):
Don't go, Please stay here. I've got to make you understand.

Speaker 63 (03:47:36):
Kelvin.

Speaker 33 (03:47:37):
Let go of my arm. You I still do.

Speaker 44 (03:47:40):
Please, Josie, listen to me, Try to understand.

Speaker 63 (03:47:43):
Kelvin.

Speaker 62 (03:47:43):
You're hurting me. You're a young fool. I'm going to
tell Henri about you, about how you you You wouldn't
dare you leave me no choice when you act like this?

Speaker 11 (03:47:53):
Yes, I will tell him.

Speaker 44 (03:47:54):
No, you're not going to wreck everything in the world
for me.

Speaker 5 (03:47:57):
You're not going to do it.

Speaker 44 (03:47:58):
Understand. I won't let you.

Speaker 17 (03:48:01):
Your fingers.

Speaker 63 (03:48:05):
Caill I can't let me go.

Speaker 33 (03:48:09):
What the love of.

Speaker 44 (03:48:12):
Josie?

Speaker 4 (03:48:13):
J Hugh, what is it?

Speaker 44 (03:48:16):
What's wrong?

Speaker 29 (03:48:17):
Hungry Josie?

Speaker 4 (03:48:22):
Come on?

Speaker 11 (03:48:23):
What's happened?

Speaker 44 (03:48:24):
What's wrong with you? Don't scam me like this? You water,
I'll get you a glass of water. You'll be all right.
You've got to be all right. I didn't mean to
hurt you, Josie. You know I didn't mean to hurt you.
I wouldn't have strangled you.

Speaker 2 (03:48:36):
I was just madden upset.

Speaker 44 (03:48:38):
I didn't know what I was doing. Josie, Josie, wake up.
You've got to wake up, Censia.

Speaker 4 (03:48:44):
What did you do?

Speaker 33 (03:48:45):
My what a touching scene? What happened to her?

Speaker 17 (03:48:49):
I did it?

Speaker 44 (03:48:50):
I lost my head and did what made her faint?

Speaker 33 (03:48:53):
With her weak heart, almost anything to make her faint. No,
I'll put yourself together and get a glass of water.
But first maybe we should put her on the.

Speaker 79 (03:49:02):
See she's really how cold?

Speaker 33 (03:49:04):
I read someplace that rubbing the wrist stimulates the circulation.
Kel you you think she's coming to No, there's no polts.
I think she's dead.

Speaker 44 (03:49:30):
I killed her, murdered it.

Speaker 33 (03:49:32):
Call stop saying that. I'll put yourself together. We've got
to figure.

Speaker 44 (03:49:35):
Out call the police. No use my trying to run away.

Speaker 33 (03:49:40):
You're not going to run away. But before I call
the police, we've got to figure out what you're going.

Speaker 79 (03:49:44):
To tell them.

Speaker 44 (03:49:45):
There's nothing to tell them except that I killed her.
I knew about her heart. I shouldn't have Somebody just
came in the studio reception room. What I can't do it, Cynthia,
grow up?

Speaker 33 (03:49:56):
You staying here and I see who it is and
don't go to pieces. But the police the police couldn't
know about this. It'll be a customer. Sit there and
keep quiet. Why hello, Taffy, Hi sweetheart?

Speaker 63 (03:50:12):
A little slow getting out here, aren't you? I have
to work for a living. I'll ignore that crag, Darling?
Where is he?

Speaker 33 (03:50:18):
Where's who?

Speaker 2 (03:50:19):
You know?

Speaker 5 (03:50:20):
Who?

Speaker 33 (03:50:21):
Why he's gone a job?

Speaker 63 (03:50:23):
You wouldn't lie to me, dear.

Speaker 4 (03:50:25):
Uh.

Speaker 63 (03:50:25):
He wouldn't be in the back room, would he?

Speaker 3 (03:50:27):
No?

Speaker 33 (03:50:28):
No, you can't.

Speaker 63 (03:50:29):
What's getting you in such an uproar?

Speaker 33 (03:50:31):
Oh, don't open that door, Taffy. Harmy's not there.

Speaker 63 (03:50:35):
If I can't open it with you standing in front
of it, that's for sure. You're hiding something, Taffy.

Speaker 33 (03:50:40):
Please don't go back there. You know how Josie feels
about you.

Speaker 63 (03:50:44):
Oh so she's in there?

Speaker 33 (03:50:46):
Yes, And you shouldn't come here, Taffy. Henri promised her
he wouldn't see you any more.

Speaker 63 (03:50:52):
But he promised her is no concern of mine. But
you can tell him for me that if he stands
me up on one more?

Speaker 33 (03:51:00):
Why not tell him yourself, Taffy, You will undoubtedly see
him before I do. I just work here, okay, goodbye, darling?
Cow Who was it? Never mind? It was nothing to
worry about.

Speaker 44 (03:51:17):
Nothing to worry about. Well, her dead in there? What
am I gonna tell a police?

Speaker 33 (03:51:22):
If you pipe down a minute, maybe I could think
of something. You're in a spot if I didn't love
you so much.

Speaker 44 (03:51:28):
Love, don't even talk about such a thing that with
her back there murdered.

Speaker 33 (03:51:32):
Be quiet. You choked her. But there'll be marks on
her neck, but the police won't know they're your finger marks.

Speaker 17 (03:51:39):
Pottery will know.

Speaker 44 (03:51:40):
He suspects me anyway. He's told me to stay away
from Josie.

Speaker 33 (03:51:43):
He's been out of the biggest take all day mate,
taking pictures. You won't suspect.

Speaker 44 (03:51:47):
Anything, but he's jealous of me.

Speaker 33 (03:51:49):
You'll flatter yourself. Now, let's see, we'll say that someone
came in, mister stranger.

Speaker 44 (03:51:58):
You can't get away with that.

Speaker 33 (03:52:00):
Character came in while you and I were in the
developing room. You came into the dark room to see me,
and we heard Josie's scream.

Speaker 4 (03:52:09):
That's it now.

Speaker 33 (03:52:10):
We heard her scream and both ran out here. Josie
was all crumpled up on the floor. The door of
the reception room was opened. You ran out there and
saw our mysterious character landing out the door. He had
too much of a start on you.

Speaker 44 (03:52:22):
They won't believe it.

Speaker 33 (03:52:24):
They'll have to believe it. I'll be backing up your story.
Can you remember it? You didn't see enough of the
fellow to be able to give a good description of him.
I'll dwell the story into your head, cow and stick
to it. Stick to it unless you do. You're done,

(03:52:53):
Lieutenant Camick. I'm Cynthia Bradley, Censia Bradley.

Speaker 17 (03:52:57):
Eh, you work here?

Speaker 33 (03:52:59):
Yes, And this is my friend Cal Grayson. We were
together when we heard Josie's scream.

Speaker 17 (03:53:04):
Yeah, and you saw the guy who did it?

Speaker 18 (03:53:07):
Right? Hi?

Speaker 2 (03:53:09):
I guess?

Speaker 17 (03:53:10):
So what do you mean?

Speaker 4 (03:53:10):
You guess?

Speaker 30 (03:53:11):
So?

Speaker 17 (03:53:12):
Did you or didn't you? Why?

Speaker 44 (03:53:13):
Yes?

Speaker 30 (03:53:14):
Yes?

Speaker 33 (03:53:14):
Which all he's upset, Lieutenant. He's an artist, well, a
sensitive person. And missus Wales was a good friend.

Speaker 17 (03:53:21):
Where's her husband?

Speaker 61 (03:53:22):
Why?

Speaker 17 (03:53:22):
Why isn't he here?

Speaker 33 (03:53:24):
I called him, Lieutenant. He was on a job taking
pictures out of the big estate.

Speaker 17 (03:53:28):
Mm hm, just you two alone here?

Speaker 10 (03:53:30):
Uh?

Speaker 33 (03:53:31):
Yes, I called mister Wales right after I called you.
He'll be here soon. But to get back to the story, Cal,
I suppose you let.

Speaker 17 (03:53:39):
Cal tell me what he was doing? Well, young man,
what's the story?

Speaker 44 (03:53:44):
I I came here to see Cynthia. We used to
go to art school together.

Speaker 17 (03:53:50):
What's I'd got to do with it?

Speaker 33 (03:53:51):
What he's trying to say is that we've been going together, Lieutenant,
Let him say it.

Speaker 17 (03:53:56):
Then, where were you when you heard this stream?

Speaker 44 (03:54:00):
Cynthia was working in the dark room, and I had
gone in to talk to her, and then the.

Speaker 33 (03:54:04):
Screen and Cal ran out and there was Josie all
cry right.

Speaker 44 (03:54:07):
I saw someone running through the door.

Speaker 33 (03:54:10):
A man we'd never seen him before.

Speaker 17 (03:54:12):
He didn't have much of a start on your Grayson,
I know, but I.

Speaker 44 (03:54:16):
Was stunned at seeing missus Wales. I well, I guess
I stood there too long, just doing nothing. When I
came to and up to chase him, I.

Speaker 17 (03:54:24):
Was too late. And Josie, Josie, you too, seem pretty
familiar with the woman.

Speaker 33 (03:54:30):
Well, of course, she was a painter before she married
Henri Wales, and she did a lot to encourage young
painters like Cal. She'd given up her own work.

Speaker 44 (03:54:38):
He made her do it.

Speaker 33 (03:54:39):
No, Cal, you see that. And Henry Wales is a
fine photographer, and his wife did expert retouching.

Speaker 4 (03:54:45):
She was too good for that.

Speaker 33 (03:54:46):
He had no right to why mister Wales, Cynthia this.

Speaker 17 (03:54:51):
Why don't you tell me on the phone.

Speaker 5 (03:54:52):
It is true.

Speaker 4 (03:54:53):
I got here as fast as I could.

Speaker 11 (03:54:55):
Where is she quit her?

Speaker 2 (03:54:58):
My wife? Well?

Speaker 3 (03:54:58):
What is up?

Speaker 10 (03:54:59):
Your wife's there? Whales.

Speaker 17 (03:55:00):
There's nothing you can do to help right now, to
help us figure out how it happened.

Speaker 33 (03:55:05):
Josephine, What what is this young man doing here here
to see me when it happened? Mister ware, I told
him that.

Speaker 11 (03:55:15):
I'm excited. I do not mean to be nasty cal
There's only this Josephine.

Speaker 33 (03:55:21):
It's my fault.

Speaker 5 (03:55:22):
Cow was here.

Speaker 17 (03:55:23):
I asked him to drop in smell of whales. That's
I've done something to make you sore.

Speaker 2 (03:55:27):
Nothing nothing.

Speaker 17 (03:55:28):
You were about to make a crack about telling him
to keep away from here.

Speaker 11 (03:55:32):
It was just that once I was a little jealous.

Speaker 33 (03:55:37):
Kel brought his paintings and for Josie to criticize, and
she admired his work.

Speaker 17 (03:55:42):
Yeah, and a man is jealous, he usually has some reason.

Speaker 66 (03:55:46):
Josephine was so much to me, But when this boy
seems so crazy about her, cost was nothing to her.

Speaker 44 (03:55:54):
She thought more of me than you are.

Speaker 79 (03:55:56):
A call you.

Speaker 11 (03:55:57):
She was a woman, and you were a little I'm.

Speaker 44 (03:56:00):
Old enough to know what love is, and I loved
her a lot more than you ever get your heel.

Speaker 33 (03:56:05):
You don't say he doesn't know what he's saying, Lieutenant,
he's all mixed up.

Speaker 101 (03:56:08):
Yeah, he's mixed up, all right. Maybe he don't know
what he's saying, but I do. I'm beginning to.

Speaker 17 (03:56:14):
See what happens. You're wrong, this mysterious stranger, Greyson. What
do you look like?

Speaker 44 (03:56:19):
Hi?

Speaker 102 (03:56:20):
I don't know.

Speaker 44 (03:56:21):
I didn't see enough of him.

Speaker 17 (03:56:23):
You choked her yourself, didn't you? He'll answer me.

Speaker 33 (03:56:26):
Don't let him bully your calf. I was with him, Lieutenant,
See out of this.

Speaker 17 (03:56:31):
He admitted you loved the woman Grayson. You told her,
didn't you, and she was still a love of her husband.
She wouldn't have anything to do with you, isn't your packing?
Oh you got mad and grabbed her with the throat.

Speaker 44 (03:56:40):
No, No, it wasn't like that at all.

Speaker 33 (03:56:42):
He was with me, Lieutenant, How many times there this boy?

Speaker 11 (03:56:47):
He's not a murderer, Officer. He is an artist, a
sensitive emotionally.

Speaker 17 (03:56:52):
Emotional enough to get crazy mad.

Speaker 4 (03:56:54):
But it is not in an artist to destroy.

Speaker 11 (03:56:57):
An artist creates things, beautiful things.

Speaker 17 (03:57:00):
Dad, artists go crazy quicker than anybody. Come on, genius,
it's never mind, I'll get it. Hello, Yes, it's Cami.
Huh what you're kidding? You're sure?

Speaker 10 (03:57:20):
Eh?

Speaker 101 (03:57:22):
And I guess that loughs us things up good for me, Joe.
I thought I had this one on a platter. Yeah,
so long anybody who gets on the homicide squad to
have his head examined.

Speaker 17 (03:57:35):
Of all that there is something wrong of hisself wrong.
He just got the medical examiner's report on the body.
What about it? She wasn't strangled at it?

Speaker 5 (03:57:45):
What?

Speaker 17 (03:57:46):
No sign of choking at all?

Speaker 11 (03:57:48):
Her heart?

Speaker 101 (03:57:49):
Yes, yeah, it was her heart, all right. She died
from an overdose of digitalian, enough to kill a healthy horse.

Speaker 17 (03:57:58):
She was poisoned.

Speaker 77 (03:58:23):
Josephine Wal's poison. But I thought, well, we'll find out
who poisoned her and why in the second act. Meanwhile,

(03:58:46):
and now, the second act of murder is an art.
Lieutenant Caemick, baffled by the medical examiner's report, is questioning
the dead woman's husband.

Speaker 17 (03:58:57):
Else, I want to look over the whole lay out here.

Speaker 11 (03:59:00):
You are welcome to Luke, But I've been trying to
tell you your turn.

Speaker 4 (03:59:04):
My wife was taking digitalian.

Speaker 101 (03:59:06):
It was prescribed the way she took it at once
and prescribed. Doctor says there wasn't enough in those tablets?

Speaker 17 (03:59:12):
Are hers heart was very weak?

Speaker 4 (03:59:14):
Perhaps the doctor did not realize she realizes the way.

Speaker 17 (03:59:17):
She was loaded with her stuff. Is this the room
where she worked?

Speaker 10 (03:59:22):
Yes, these are her things?

Speaker 17 (03:59:25):
Brushes, what's this stuff here?

Speaker 11 (03:59:28):
Or pigs?

Speaker 19 (03:59:29):
Paints?

Speaker 10 (03:59:29):
Fury touching my pictures?

Speaker 17 (03:59:31):
Okay, where do you work? You my cameras?

Speaker 29 (03:59:35):
My this?

Speaker 4 (03:59:36):
Yeah?

Speaker 17 (03:59:37):
Like you think your wife is leading this boy cal on.

Speaker 4 (03:59:41):
But no, he is only a boy.

Speaker 17 (03:59:43):
He says he was in love with her.

Speaker 11 (03:59:44):
He's a little fool, Josephine.

Speaker 4 (03:59:47):
She liked to encourage your young painters.

Speaker 17 (03:59:52):
What are you doing?

Speaker 11 (03:59:53):
Does are my?

Speaker 17 (03:59:54):
I know I know your letters, but the personal you
have no.

Speaker 11 (03:59:57):
Right to go through my desk.

Speaker 90 (03:59:58):
Now, I demand the.

Speaker 17 (03:59:59):
Dog get excited. Yeah, who's Taffy?

Speaker 11 (04:00:06):
Give me those letters?

Speaker 4 (04:00:07):
They have nothing to do with that.

Speaker 17 (04:00:08):
Who's Tappy? Well, only a girl, a model? Your wife
know about her?

Speaker 11 (04:00:17):
Give me those letters. They have no concern to you.

Speaker 101 (04:00:19):
Oh, I like to talk to this Taffy. Maybe she
knows something about digitalent.

Speaker 2 (04:00:25):
Digitalian is a medicine, a prescription.

Speaker 101 (04:00:28):
And in this case a prescription for death. Bradley, what
do you know about Taffy Landon?

Speaker 44 (04:00:43):
Taffy Landon? Who is she?

Speaker 33 (04:00:44):
You are making a mistake coming there once in a while, Lieutenant,
when Jersey wasn't here, she was in love with Henri.

Speaker 17 (04:00:52):
Those letters showed that a letter she was a friend. Yeah,
I could tell that, and what a friend. But that
is over I central way.

Speaker 101 (04:01:00):
You can ask her, I don't worry, I will, But
what does all this have to do with Jose It
is a mistake.

Speaker 33 (04:01:06):
Hi, Taffy, well quite her party?

Speaker 63 (04:01:10):
No welcome, Henri, there's.

Speaker 17 (04:01:11):
No time for welcome, sister. What's this between you and Wales?

Speaker 33 (04:01:15):
Why as Josie's tried to make some trouble, Jersey's dead
Taffy murdered.

Speaker 79 (04:01:23):
Oh but I can't believe that.

Speaker 17 (04:01:26):
Oh it's true anyway? What was the deal between you
and Wales?

Speaker 63 (04:01:29):
Why he promised to marry me as soon as no.

Speaker 19 (04:01:33):
Daffy for the love of Eaver.

Speaker 11 (04:01:34):
It was only a flirtation, your tenant.

Speaker 62 (04:01:36):
Henri, you promised you'd marry me as soon as you
could get rid of I mean, divorce her.

Speaker 101 (04:01:42):
You know you did well and just avad does it?
You had to get rid of your wife so he
could marry this girl.

Speaker 11 (04:01:47):
It isn't true.

Speaker 4 (04:01:47):
I love my wife. Taffy was only one of my
mother's letters.

Speaker 17 (04:01:52):
Don't read that way, but I can. You have plenty
of time to prove things, Wales. I'm taking you into
the station right now.

Speaker 63 (04:02:10):
It's awfully nice of you to bring me home, Lieutenant.

Speaker 17 (04:02:12):
Oh, it's a pleasure. You were pretty crazy about Wales. Eh, well,
he was sweet.

Speaker 63 (04:02:20):
Isn't there any chance that he'll get off?

Speaker 17 (04:02:22):
You can't tell him what a jury'll do. Maybe you'll
get him back.

Speaker 63 (04:02:26):
Oh be your age, Lieutenant. Henri wouldn't ever marry me.
He isn't that kind. He doesn't take love seriously. Oh,
here's my house.

Speaker 17 (04:02:36):
Yes a minute. You mean you don't think he'd have
married you if he hadn't got caught.

Speaker 63 (04:02:43):
I don't think he'd ever marry anybody again. He's not
the marrying kind.

Speaker 17 (04:02:48):
But his moody for murder, you're it.

Speaker 63 (04:02:51):
Don't be silly, lieutenant.

Speaker 62 (04:02:53):
He didn't need to kill his wife to see me
whenever he wanted to, and he was tired of me anyway.

Speaker 63 (04:02:59):
He'd been standing me up on dates.

Speaker 17 (04:03:02):
But if that's so, I've got the wrong guy.

Speaker 33 (04:03:04):
I wouldn't know.

Speaker 63 (04:03:06):
I'm just a girl trying to get along in the world.

Speaker 17 (04:03:09):
Well, good night, where's Wales? Miss Bradley?

Speaker 33 (04:03:24):
How should I know? And jail?

Speaker 17 (04:03:26):
I suppose they bled him out on bail. You haven't
seen him, have you?

Speaker 33 (04:03:30):
Of course?

Speaker 7 (04:03:30):
Not?

Speaker 17 (04:03:31):
Why somebody just took a wild shot at Happy Landing?

Speaker 33 (04:03:35):
She's killed, just scared?

Speaker 101 (04:03:38):
Why should here he saw that the girl's story about
him promising to marry her wasn't gonna do him any good.

Speaker 33 (04:03:43):
But why would he shoot at her.

Speaker 17 (04:03:44):
To scare so she couldn't testify in court?

Speaker 33 (04:03:47):
Oh but I can't believe that, Lieutenant. I'll bet, yeah,
what I'll bet she fired a shot herself and then
call the police, don't you see? To throw suspicion away
from her suspicion?

Speaker 17 (04:03:58):
Who's suspecting her?

Speaker 30 (04:04:00):
Why?

Speaker 33 (04:04:01):
Look, Henri Wales told Taffy he'd marry or if he
could get his wife out of the way. That doesn't
give Taffy a motive for the murder. Yeah, maybe it
does that she had the only motive that makes sense.

Speaker 17 (04:04:14):
Maybe you're right. It's worth talking to her anyway.

Speaker 33 (04:04:17):
So long, goodbye, lieutenant, good luck? But why kel you win?
The dark room.

Speaker 17 (04:04:29):
What were you doing there, Heidi?

Speaker 29 (04:04:32):
What for to hear what was going on?

Speaker 5 (04:04:35):
Oh?

Speaker 33 (04:04:35):
Then you know that Taffy pull a fake shooting to
throw suspicion on somebody else. Lieutenant Cammick, has just you.

Speaker 44 (04:04:40):
Fired that shot?

Speaker 33 (04:04:41):
Cynthia, I kill Topie silly.

Speaker 44 (04:04:45):
I'm not being silly, I'm just getting smart, Cynthia. I
spilled a bottle of Josie's opaque when I was snooping
around here too. What's that got to do with plenty?
There was something funny about that paint. I could smell it.

Speaker 33 (04:04:58):
Oh, your imagination's getting the best.

Speaker 44 (04:05:00):
That paint had digitalin mixed with it, a lot of it.

Speaker 33 (04:05:03):
Every bottle you must be mistaken with.

Speaker 44 (04:05:05):
Oh you won't get to destroy it, Cynthia. I've hidden it,
but I don't see. Josie always moistened the ends of
her paint brushes with her lips and tongue. I re
talked to her about it not being sanitary, so had I.

Speaker 2 (04:05:17):
She just laughed at us.

Speaker 44 (04:05:18):
We all talked about it, and the paint on those
brushes was loaded with digitalin. Every time she licked a
paint brush, she got more digitalin. The poison was accumulated.

Speaker 33 (04:05:29):
Where there's bottles of opaque Cynthia put.

Speaker 44 (04:05:31):
Down a gun.

Speaker 33 (04:05:32):
Where are they tell me before?

Speaker 44 (04:05:33):
So you did kill Josie?

Speaker 33 (04:05:35):
Yes, and I'll get away with a tool. Once you're
out of the way. You might get them suspecting me
with your story. They don't even consider me now.

Speaker 44 (04:05:44):
But you could have let me take the blame in
the first place. I thought I had killed her.

Speaker 33 (04:05:48):
I owe you, poor dope. I knew I could handle
you anyway I wanted, but I needed to poses your
girlfriend the loyal stand by so they wouldn't suspect me,
and Tathy was to be the real fall guy. Eh.
It's working out that way too. Gets her out of
the way, Taffy out of the way of why you
were so crazy about Josie. You couldn't see anything here

(04:06:10):
and I have been in love for months, but Taffy,
she's sure. That's why everybody will think Taffy's guilty. She's
just a gold egger. Henri doesn't really give two hoots
for her, but he'll marry me. He knows I'm serious.

Speaker 44 (04:06:23):
Oh, that's why you killed Josie.

Speaker 33 (04:06:25):
From the way she talked to you, I knew she'd
never divorce him and I started poisoning her months ago
when the doctor began giving her digitalian medicine. A little
of it, but too much of it was death. All
she needed was a little shocked to make her heart.

Speaker 44 (04:06:39):
When I tried, when I got mad at her, was
sure was.

Speaker 33 (04:06:42):
Too much for her heart. You see, Kel, you really
did kill her. No, I can even tell them I
killed you. I'll tell them it's self defense. Doesn't get
Taffy out of the picture. But I can't take care
of her.

Speaker 44 (04:06:55):
You couldn't get away with it.

Speaker 33 (04:06:56):
I'll tell him I found out about the digitalian in
the paint bottles. I accused you, and you tried to
kill me. You killed her because she wouldn't have anything
to do with you. Oh, I'll make the story stick,
don't worry, and then I'll have on the just as
I planned to stand back. No superman stuff. I'm a
good shot.

Speaker 69 (04:07:15):
Call.

Speaker 31 (04:07:15):
I'm mourning, scrush.

Speaker 44 (04:07:20):
I'm going to get that drum, your fingers out of
my eyes.

Speaker 33 (04:07:24):
You so you thought you would get the gun if
you could knock it out of my hand with that chair,
did you. Well You're not good.

Speaker 17 (04:07:32):
Enough and not the gun, Miss Bradley.

Speaker 33 (04:07:36):
No, I've cut your murder for your lieutenant. I figured
it all out, and miss.

Speaker 17 (04:07:40):
Bradley, I heard the whole thing.

Speaker 101 (04:07:42):
You know what, people don't think of a cop being
an artist, but my sneaking a dictograph in here, Eh,
that was kind of a work of art. If I
do say so, give me the gun, Miss Bradley, Well.

Speaker 44 (04:07:55):
Go all right.

Speaker 101 (04:07:57):
Yeah, you may have been all right at retouching photograph.
When you start trying to change human lives, you ain't.

Speaker 24 (04:08:05):
That much of an artist.

Speaker 4 (04:09:04):
No no, no no no no no no no no
no no no no no no no no no no

(04:09:24):
no no.

Speaker 11 (04:09:25):
No no.

Speaker 40 (04:09:27):
Oh.

Speaker 94 (04:09:57):
If it's neither winning nor losing, but playing, that counts
for you. Listen, this is nightfall, good evening, dear friends.

(04:10:23):
I'm Frederick hend your referee in Tonight's Little Challenge. Gamesmanship
is an old and fascinating occupation which has involved people's
minds and skills for many a year. To night, we
journey into the future where some games are played with
more zeal than you might be prepared to handle. A

(04:10:47):
Satin game by John G. Fisher is a story that
looks hard at the small print in the rule book.
So pick your player and cross your fingers.

Speaker 26 (04:11:06):
Joel, excuse me?

Speaker 103 (04:11:11):
Is this he taking?

Speaker 4 (04:11:12):
No? No?

Speaker 11 (04:11:13):
Go right ahead?

Speaker 24 (04:11:14):
Thanks?

Speaker 104 (04:11:15):
Hey, hey, you're Joel, I'm saying, aren't just kind of
a lie?

Speaker 4 (04:11:19):
Yes? I am?

Speaker 75 (04:11:21):
Yeah, I seen your picture of the university paper room
a student at National.

Speaker 26 (04:11:25):
Is that where you're going down?

Speaker 4 (04:11:26):
That's right? First day of classes, you know, all.

Speaker 55 (04:11:28):
Right, your final year on computer science.

Speaker 4 (04:11:31):
Hey, you know an awful lot about me? Sir.

Speaker 26 (04:11:33):
Well, hey, you're famous kid.

Speaker 104 (04:11:35):
I mean you made it into the finals last year.

Speaker 4 (04:11:37):
That's when I seen your picture, right, What about the
game this year? Are you going to be in it?

Speaker 33 (04:11:41):
Well?

Speaker 4 (04:11:41):
I don't have much choice. You know, it's required by
the university, sir. Oh, don't be so modest, Joel.

Speaker 104 (04:11:45):
It's only required if your marks are in the.

Speaker 4 (04:11:47):
Top five percent.

Speaker 104 (04:11:49):
And you don't mind if I call you Joel?

Speaker 4 (04:11:50):
Do you know whatever you want?

Speaker 104 (04:11:52):
Well, Joel, tell me how many people did you blow
away last.

Speaker 5 (04:11:55):
Year to get into the finals?

Speaker 4 (04:11:56):
I mean, nobody really gets killed, you know, yes, sure?
But how okay?

Speaker 75 (04:12:01):
I made seventeen hits last year. I managed to avoid
the same number of A ten sign meets satisfied. That's
the name of the game, hit or b hits.

Speaker 4 (04:12:09):
That's really something man.

Speaker 24 (04:12:11):
Oh, this is my staff coming up.

Speaker 4 (04:12:12):
Wait a minute, just a second. Now, what's your name?
What do you do?

Speaker 89 (04:12:15):
Oh?

Speaker 3 (04:12:16):
Me?

Speaker 26 (04:12:16):
Oh, nothing much.

Speaker 5 (04:12:17):
I'm a mainan's worker at the University power Plant.

Speaker 103 (04:12:24):
National University Transport Center, National University Transport Center.

Speaker 11 (04:12:30):
All first year.

Speaker 103 (04:12:31):
Students report to Quadrant D Main Auditorium for processing. Game
participants proceed directly to the video annex for the presidential address.

Speaker 33 (04:12:41):
Participants are reminded to use pedestrian Conveyor twelve only.

Speaker 103 (04:12:46):
National University Transport Center, National University Transport Center.

Speaker 33 (04:12:56):
Joe over here, the good summer, not bad.

Speaker 4 (04:13:02):
Welcome back to video.

Speaker 75 (04:13:04):
Really, I've never seen so many TVs except for a
last year at the same.

Speaker 4 (04:13:08):
Time, the same place game. So how's the start? Assassin
in National? You forgetting I lost?

Speaker 75 (04:13:17):
You have to be remembering you're the only third year
student to play in the finals and you made it
to the Semis Marty.

Speaker 5 (04:13:21):
Yeah, between you and me, I'm glad I took that
job off of Venezuela.

Speaker 4 (04:13:25):
I hear the competition might get too rough this year.
Rough What are you talking about?

Speaker 24 (04:13:28):
Nothing, just that I want to play so hard this
year I got job security.

Speaker 4 (04:13:32):
We'll take it so seriously.

Speaker 18 (04:13:33):
It's just a game.

Speaker 75 (04:13:34):
Listen, I'm gonna find myself a console. Presidente's addresses in
a couple of minutes.

Speaker 4 (04:13:38):
You your mine, Come on, sit down, Okay.

Speaker 75 (04:13:41):
I heard some of the third year students did some
pretty rough train all summer.

Speaker 4 (04:13:46):
Oh that I know. It was illegal? Yeah, illegal as
far as the university goes. Some companies call it the
summer employment for their recruiting program. Capitalism will find a way. Yeah,
I think I know exactly how that. I think you
do too, Joel. I hear will petroleums looking for you
at the end of last turn? Yeah, I found me.

Speaker 61 (04:14:02):
So what have you signed with?

Speaker 27 (04:14:03):
You?

Speaker 94 (04:14:03):
Then?

Speaker 24 (04:14:03):
I turned them down.

Speaker 75 (04:14:04):
I told you I'd better things to do than attend
one of their training camps.

Speaker 4 (04:14:09):
You think that was wise? I mean, I didn't think
those guys took no for an answer, and I want
anything to do with those guys.

Speaker 33 (04:14:14):
That's so.

Speaker 4 (04:14:14):
Yeah, screens on. I wonder what the presidents can come
up with this year.

Speaker 75 (04:14:19):
Yeah, concentrate on your studies. A long tradition of glastic excellence.

Speaker 105 (04:14:26):
Welcome, Welcome to the nineteen ninety four academic session of
the National University. And it has been fourteen years since
the University instituted the game as an integral part of
the curriculum. Now that you are in your third or
fourth year, I wish to commend you all on your

(04:14:48):
excellent progress. You game participants have proven yourselves to be
the best and brightest in the country.

Speaker 4 (04:14:58):
And now a word about the game.

Speaker 105 (04:15:00):
Section one eighteen of the Criminal Code has been revoked
for all bona Fidee game participant. Certain practices previously forbidden
are now allowed. These include persistently following a participant from
place to place, watching a house or place of business
where a participant may be, and intimidation.

Speaker 5 (04:15:21):
Of a fellow participant.

Speaker 10 (04:15:23):
Although the game is a required.

Speaker 105 (04:15:25):
Part of the curriculum for you, the top five percent,
let me remind you that it is a small part
of your experience here. First round victim dossier's will be
issued this afternoon by the Games Computer.

Speaker 10 (04:15:40):
Best of luck to you all.

Speaker 4 (04:15:42):
They tell you, what do you make of act y'all?
I don't like it one bit.

Speaker 75 (04:15:44):
On the one hand, he says, the games are a
small part of our experience here. On the other hand,
they're revoking the criminal told you it was going to
get rougher first this year.

Speaker 4 (04:15:52):
To get referendus and everywhere else too. Yeah, well, I'm
off to my department. Wait a second, walk it kill
doesn't it?

Speaker 75 (04:15:58):
Doesn't it ever bother you this same time as you
get someone's dusty, someone else gets you.

Speaker 4 (04:16:03):
You're so paranoid.

Speaker 9 (04:16:05):
I'll take it so seriously.

Speaker 4 (04:16:06):
It's just a game. There's a party that much. I mean,
it doesn't give out names. It doesn't if you're careful
or perfect.

Speaker 50 (04:16:14):
You say perfect, Joey, I got it. Excuse me, miss Yeah?
Do you mind if I sit next year here right
next to you?

Speaker 17 (04:16:28):
Thanks?

Speaker 4 (04:16:29):
So, how is the food food?

Speaker 38 (04:16:31):
I'm talking about this stuff on my plate right.

Speaker 4 (04:16:34):
That's a dumb question.

Speaker 33 (04:16:36):
So what you said down here to ask a dumb quest?

Speaker 75 (04:16:37):
Yes, I thought I'd just make some dumb conversations right here. No,
I really thought I could talk to you about you
over dinner.

Speaker 24 (04:16:45):
You want my phone?

Speaker 4 (04:16:46):
Absolutely wrong?

Speaker 76 (04:16:48):
No.

Speaker 75 (04:16:48):
I thought we could hop subway, go downtown to a
small but very high class restaurant and whine and dine
until the wee hours, and then we could consummate our
relationship on a deserted beach.

Speaker 74 (04:16:58):
If you really want to know what I was the
beaches in the Caribbean.

Speaker 4 (04:17:03):
No, very close.

Speaker 75 (04:17:04):
Actually, I had a few truckloads of sand dumtime my
living in carpet last month and get.

Speaker 4 (04:17:08):
Rolled around in that. Okay, you're on really great, Just
one more thing, dead right?

Speaker 73 (04:17:20):
You cheated me?

Speaker 75 (04:17:21):
Take it easy here, let me take the dart out
of your spirit away from me.

Speaker 62 (04:17:26):
It's just a game, a game like hell, I'm graduating
this year, geez.

Speaker 103 (04:17:31):
If I placed time up, I would have been hired
by North American Investment.

Speaker 5 (04:17:36):
Not my fault.

Speaker 28 (04:17:37):
What was I supposed to do?

Speaker 4 (04:17:38):
The computer picture is my victim.

Speaker 98 (04:17:39):
I didn't give me all about charming bullshit.

Speaker 50 (04:17:41):
Oh no, no, listen, I meant all that. I just
got interested in you as soon as I read your DASA.
You want to talk about all this charming bullshit over
my dead body?

Speaker 38 (04:17:55):
Nice showing another.

Speaker 4 (04:17:58):
I've cut your whole And the hell?

Speaker 24 (04:18:00):
Are you an innocent?

Speaker 15 (04:18:02):
Five seas to meet you?

Speaker 4 (04:18:05):
Sure?

Speaker 74 (04:18:07):
You're Joel Linson?

Speaker 4 (04:18:08):
And how do you know that?

Speaker 106 (04:18:10):
I make a point of knowing.

Speaker 33 (04:18:11):
Who the favorites are?

Speaker 4 (04:18:12):
How you have a competitive interest here?

Speaker 25 (04:18:13):
Miss?

Speaker 4 (04:18:14):
You're just a fan I play?

Speaker 16 (04:18:15):
Oh you do?

Speaker 74 (04:18:17):
Put your diet, get away your life?

Speaker 4 (04:18:18):
See you in my current? What'd you say? Your name was? I?

Speaker 74 (04:18:22):
Didn't.

Speaker 106 (04:18:23):
But seeing as you ask, it's Wendy. I was beginning
to feel a bit excited until I realized why you.

Speaker 56 (04:18:29):
Were so interested in that girl?

Speaker 4 (04:18:30):
Oh really, she didn't seem to very interested in me.

Speaker 33 (04:18:33):
Not too likely when he.

Speaker 74 (04:18:33):
Blowed away in the last him into the vent. You
cut it pretty close, didn't she?

Speaker 4 (04:18:37):
Oh?

Speaker 75 (04:18:37):
Well, you have to be sure before you make a hit.
You hit the wrong person, you're disqualified.

Speaker 86 (04:18:41):
How did you know she was going to be here?

Speaker 4 (04:18:42):
Oh? Habit? I mean she always eats here. She always
eats here at this particular time. It's really a stupid
thing to do for.

Speaker 75 (04:18:48):
Your player regular habits, you know, because the problem with
this game is to know your target, where he hangs out,
whose friends are, how he works.

Speaker 4 (04:18:54):
And when he becomes predictable? You got him or her
or her?

Speaker 61 (04:19:00):
Mm about it?

Speaker 95 (04:19:03):
Maybe you'd like to share some of your expert Well.

Speaker 4 (04:19:06):
I'm not really used to working with anybody. Why should
I really be interested?

Speaker 74 (04:19:10):
Has it ever occurred to you that Sunday you might
need a favor?

Speaker 11 (04:19:13):
Frankly, No, Look, this isn't strictly business.

Speaker 75 (04:19:19):
I like you, really really, but I don't usually give
to torreals. You see, I don't usually take Well. Look,
I'm I'm sorry. I'm just so suspicious at the beginning
of the games, I get really paranoid. Didn't mean to
give you such a hard time. Honestly, I'm a nice guy.
Here's my number. Just ask for Cassanova.

Speaker 4 (04:19:41):
It was a nice meeting you, A nice meeting, Wendy.
Hesh So see you around.

Speaker 17 (04:19:49):
I hope. Hello.

Speaker 75 (04:19:55):
I'm not in right now, but if you'd care to
leave a message, I'll get back to you.

Speaker 17 (04:19:58):
Wait for the tone and thanks for car.

Speaker 2 (04:20:01):
Joel.

Speaker 56 (04:20:02):
This is Wendy.

Speaker 75 (04:20:03):
Call me as soon as you get into Wendy, you
can talk to me right now. I'm just using the
machine to monitor calls. I'm not interested in letting people
know i'm home.

Speaker 4 (04:20:10):
You know what I mean.

Speaker 56 (04:20:10):
I'm calling you to do you that favor.

Speaker 74 (04:20:12):
I promise, I take it.

Speaker 56 (04:20:13):
You're still active, still in the game.

Speaker 4 (04:20:15):
Well, still lucky? How about you?

Speaker 33 (04:20:17):
Still lucky?

Speaker 4 (04:20:18):
Good congatulations. What's up? You know Glenn Stoner Glenn's.

Speaker 75 (04:20:22):
Talk communications with graduated last year. Yeah, yeah, I heard
he'd taken an extended vacation to some tropical paradise courtesy
of satellite communications.

Speaker 56 (04:20:30):
Well he's back and I had him rigg up a
phone tap on certain university nines.

Speaker 4 (04:20:35):
We all have our little helpers, don't.

Speaker 74 (04:20:37):
He's a friend.

Speaker 11 (04:20:38):
That's all nothing to us right now.

Speaker 56 (04:20:42):
Anyway, Glenn's been setting up this gear for me and
he's discovered something very interesting. Someone else been setting up
wire tapped too.

Speaker 38 (04:20:50):
No student, no way, no student could have reaped this up.

Speaker 56 (04:20:53):
According to Stoney, he couldn't figure out exactly what the
guy had done, but he thinks whatever it was has
some kind of destructive capability.

Speaker 4 (04:21:01):
Constructive capability that supposed to mean.

Speaker 56 (04:21:05):
So I'll put you this way, and this is a favor.
Don't answer your phone, Okay, don't even let your answering
machine answer your phone.

Speaker 4 (04:21:16):
Well, thanks for calling. Martin Barney speaking.

Speaker 99 (04:21:31):
You are a student at National University study political science. Correct, So.

Speaker 25 (04:21:40):
Is that?

Speaker 4 (04:21:41):
Who is this?

Speaker 2 (04:21:42):
Yes or no?

Speaker 4 (04:21:43):
We'll do what if I am.

Speaker 99 (04:21:47):
We have reason to believe that you are considering working
with a Venezuelan government.

Speaker 4 (04:21:53):
That's one of your business, mister.

Speaker 99 (04:21:55):
I'm afraid it is my business. We feel that your
employment by that government would be country very do our
best interest.

Speaker 4 (04:22:01):
That doesn't mean a thing to me.

Speaker 99 (04:22:03):
What if it's contrary to your best interest?

Speaker 4 (04:22:05):
And i'd say you were trying to threaten me.

Speaker 99 (04:22:07):
Mister, I am authorized to offer alternative employment. Not interested,
don't be stupid.

Speaker 2 (04:22:14):
This is very real.

Speaker 99 (04:22:15):
This isn't some classroom exercise.

Speaker 4 (04:22:19):
I'm still not interested.

Speaker 30 (04:22:22):
That's too bad.

Speaker 4 (04:22:24):
Now listen, who is this? Hello?

Speaker 74 (04:22:34):
Attention students.

Speaker 103 (04:22:36):
Game participants are requested to report to the Central Games
Computer for victim Darciers. Participants are reminded to use pedestrians.

Speaker 47 (04:22:45):
Conveying pay.

Speaker 4 (04:22:47):
Hey are you still playing?

Speaker 75 (04:22:52):
When you if I wouldn't be on this convey Well,
do you see that bank of bright lights up ahead?
That's why you're on this conveyor. When you pass through
that light, then know who you are. You are whatever
you've done during your illustrious academic career.

Speaker 106 (04:23:03):
Actually, we're on this conveyor so they know whether or
not you're playing the game for security.

Speaker 4 (04:23:06):
Oh, here we go.

Speaker 24 (04:23:09):
You never.

Speaker 74 (04:23:13):
Did you hear the news? What news player from political
science got his head learned?

Speaker 94 (04:23:18):
Well?

Speaker 4 (04:23:18):
You spare me the details.

Speaker 106 (04:23:19):
Okay, Well you remember what I was telling you about
phone taps and about destructive capable.

Speaker 75 (04:23:24):
I think you're reading a lot into this, Wendy. I
mean I read in the papers the death was listed
as accidental.

Speaker 74 (04:23:29):
Yeah, it could have been your head all over the
one instead of that guy.

Speaker 75 (04:23:32):
That guy's name was Martin. He was my best friend.
So thanks anyway, Joe, I'm.

Speaker 4 (04:23:37):
Sorry, I'm sorry anything. Yeah, I know, I know, I
just like forget about the whole things. You don't mind
it past here we are, time to get off.

Speaker 15 (04:23:47):
There's my.

Speaker 76 (04:23:50):
Up.

Speaker 34 (04:23:50):
Okay, look, uh you want to have a beer.

Speaker 75 (04:23:56):
Uh tonight, I'll meet you at the Inner Circuit around
eight thirty. You, Alec, may be my best friend, right, Okay, Alec,

(04:24:17):
I'm gonna voice feed you the data on my next victim.

Speaker 4 (04:24:19):
I want you to run the usual analysis. Are you ready?

Speaker 26 (04:24:21):
I already say that?

Speaker 4 (04:24:23):
Ah, so you have? Okay, here we go.

Speaker 75 (04:24:26):
Female, age twenty four, brown eyes, brown hair, height one
two meters.

Speaker 4 (04:24:30):
Wait forty nine k the information is incomplete.

Speaker 75 (04:24:35):
Hm oh right sorry Department Telecommunications, third year work. Oh uh, Alec,
I want you to tap into the central Games computer
and extract everything you can about our track reck work.
One more thing, Alec, yes, all see if you can
find out if this person has any industrial or political sponsor.

Speaker 19 (04:24:55):
Sponsors are forbidden on Section five Game Regulations.

Speaker 75 (04:24:59):
Sorry you, Alec, be careful I wouldn't like it if
you were traced back to me, and don't print any
of the information.

Speaker 4 (04:25:07):
I'll ask for it when I get back. I have
a date. I didn't program you to pry in my
personal life. I'll see you later, Yes, Alec, don't worry
about it. Good evening, Wenby.

Speaker 106 (04:25:27):
If it isn't my night in Shining Armor. I hope
this isn't your idea of a nice place.

Speaker 75 (04:25:31):
Well, I never said anything about it being nice.

Speaker 74 (04:25:34):
Listen, you come here often, I mean fun Land.

Speaker 4 (04:25:37):
Well, it's out of the way for one thing, and
I used to work here in the summer.

Speaker 106 (04:25:40):
You know this makes you a natural, a National University
Scholarship's most promising student.

Speaker 75 (04:25:47):
I'm not sure I get the connection. What was in
your envelope?

Speaker 106 (04:25:52):
Huh oh, my next victim, I haven't thought about it.

Speaker 74 (04:25:56):
I'm on holidays to night.

Speaker 4 (04:25:58):
Trying to tell me you didn't even look at the dock.

Speaker 74 (04:26:00):
Yeah, of course I looked at it. It's nobody specialis cake?

Speaker 4 (04:26:04):
How about you? I'm working on it.

Speaker 74 (04:26:07):
Let's just forget about it for tonight.

Speaker 11 (04:26:08):
Okay.

Speaker 74 (04:26:09):
I need to rest and said.

Speaker 26 (04:26:19):
You are your hair sticks got you?

Speaker 2 (04:26:24):
My arms got scorched.

Speaker 26 (04:26:26):
Leave me alone.

Speaker 75 (04:26:27):
Okay, what do you think you or me who was
supposed to get fried?

Speaker 65 (04:26:32):
Hey, it was you.

Speaker 75 (04:26:32):
They were was some student with my Dasie who decided
to play for keeps my son some of my school.

Speaker 4 (04:26:38):
Goddamn lazier pistol, laser pistol, Joel.

Speaker 95 (04:26:42):
I'd like you to be stayed at my place tonight.
I'll fix your arm. Yeah, okay, Joe, are you awake?

Speaker 47 (04:26:57):
What time is that?

Speaker 4 (04:27:00):
I don't know if I have forty something. It's just
starting to get light.

Speaker 15 (04:27:03):
Up, kissing.

Speaker 95 (04:27:08):
What are you thinking about?

Speaker 4 (04:27:11):
I don't know.

Speaker 36 (04:27:12):
I just I can't sleep.

Speaker 75 (04:27:15):
I keep thinking about Martin getting killed that way. Han,
Maybe you're right, maybe it wasn't an accident. Look, I'm
going to head out to the school. The trains will
be empty.

Speaker 4 (04:27:29):
Now.

Speaker 18 (04:27:32):
Good morning.

Speaker 61 (04:27:34):
You're Joe Hudson.

Speaker 4 (04:27:34):
I' you No, Oh, it's you. You're the guy who
works at the power plant.

Speaker 7 (04:27:39):
Right.

Speaker 4 (04:27:40):
What's with the suit?

Speaker 61 (04:27:41):
Ass down?

Speaker 85 (04:27:42):
Sure?

Speaker 104 (04:27:44):
I'm employed by World Petroleum here microd angels, So you
work for World Petroleum.

Speaker 4 (04:27:50):
So what we heard?

Speaker 104 (04:27:51):
You were attacked last night with a real weapon, a
weapon very much like this way.

Speaker 75 (04:27:56):
I didn't really get a very close look. I assume
that's a laser pistol.

Speaker 104 (04:28:02):
Correct, here, take it.

Speaker 4 (04:28:06):
We'd like you to keep it, Joel.

Speaker 61 (04:28:08):
We're interested in you, and we like to protect our interests.

Speaker 75 (04:28:10):
Wait, wait, wait, wait a minute, this would almost kill me.

Speaker 4 (04:28:13):
How do I know you're not just giving you some
of candy?

Speaker 104 (04:28:15):
You don't, Joe, look at your arm. The game is
a little more serious this year, wouldn't.

Speaker 4 (04:28:21):
You say so? Yeah, I'd say so.

Speaker 104 (04:28:24):
And World Petroleum is not the only corporation taking an
active interest in the outcome, is it? What do you
mean you are friends with Martin Varney, weren't you.

Speaker 75 (04:28:34):
We think satellite communications had something to do with his accident.

Speaker 1 (04:28:38):
So take the weapon, or if you'd rather just leave
it there on the seat, someone else might use it.

Speaker 4 (04:28:46):
It's up to you.

Speaker 19 (04:28:48):
I look forward to seeing you graduate, Joel.

Speaker 11 (04:28:51):
Well if I.

Speaker 26 (04:28:52):
Graduate, oh, we're counting on you. Goodbye.

Speaker 103 (04:29:00):
National University Transport Center, National University Transports Center.

Speaker 4 (04:29:06):
That's okay, sit down.

Speaker 95 (04:29:09):
What's in your mind?

Speaker 4 (04:29:09):
Listen?

Speaker 75 (04:29:09):
I've been thinking maybe you should quit the game at
least consider it.

Speaker 74 (04:29:13):
Look, it's not me who's getting shot at. You should quit.

Speaker 75 (04:29:16):
The point is that the game is being used by
some very powerful people from outside the university.

Speaker 4 (04:29:21):
I think, I don't know.

Speaker 75 (04:29:22):
I think they're trying to protect their interest. Somehow they're
eliminating potential competition. I think they have access to the
games computer and they used.

Speaker 4 (04:29:28):
It to set me up.

Speaker 74 (04:29:30):
I don't think that degree of manipulation is possible.

Speaker 4 (04:29:32):
I think Martin's name was picked up a hat or something.

Speaker 74 (04:29:34):
But who would want one's head and who would want yours?

Speaker 4 (04:29:37):
University needs fund? Where does it go?

Speaker 33 (04:29:43):
Industry?

Speaker 4 (04:29:44):
Right? Question too? What masters that game? Is your president
and the.

Speaker 75 (04:29:49):
Board of governor.

Speaker 11 (04:29:49):
It's the same people that go ahead in my hand
to ask for money.

Speaker 2 (04:29:53):
So what do we do?

Speaker 47 (04:29:54):
So what do we do?

Speaker 4 (04:29:55):
We see the president. If he doesn't know what's.

Speaker 11 (04:29:57):
Going on, then we'll tell them, And if he knows.

Speaker 75 (04:30:04):
He knows, then both quit and we tell everyone we
know to do the same thing, and we go to
the newspapers.

Speaker 11 (04:30:12):
If you let us.

Speaker 44 (04:30:15):
Right?

Speaker 16 (04:30:15):
Right?

Speaker 74 (04:30:16):
But how do we find out if he's involved without letting.

Speaker 33 (04:30:19):
Him know we know?

Speaker 75 (04:30:20):
I I guess we have to check out his office
after hours. There must be something in there. It'll tell
us one one or the other.

Speaker 61 (04:30:28):
I finished classified not too early, too early?

Speaker 75 (04:30:30):
We wait until I'm thirty maybe you don't be anybody around. Okay, okay, good,
I'll see you later.

Speaker 4 (04:30:48):
Hello, I'm not in night now, but if you'd care
to leave a message, I'll get back to you. Do
you mind this one Marquee override.

Speaker 2 (04:30:57):
Working?

Speaker 4 (04:31:00):
This is Joel a voice springs match?

Speaker 30 (04:31:03):
How about Joel?

Speaker 11 (04:31:04):
Alex?

Speaker 4 (04:31:04):
Listen?

Speaker 75 (04:31:04):
I want you to scramble list and answer the following
questions red Question one, is there an.

Speaker 4 (04:31:09):
External tap into the central games computer?

Speaker 99 (04:31:13):
I am an external tap into the central.

Speaker 4 (04:31:15):
Gal I thank you, Alec.

Speaker 75 (04:31:17):
Is there another external tap into the Central Games computer working?

Speaker 4 (04:31:22):
Yes? Igu?

Speaker 38 (04:31:25):
What's its capability control?

Speaker 4 (04:31:28):
Who's its parent? Gat information?

Speaker 11 (04:31:30):
Not pracable?

Speaker 4 (04:31:32):
Okay? I like a question two? What's the result of
the analysis on my next victim? Probable identity?

Speaker 10 (04:31:38):
Wendy her how probable?

Speaker 75 (04:31:42):
Ninety two percent subjects made twelve kills last year?

Speaker 56 (04:31:46):
Man that a day of twelve kills was to gain.

Speaker 11 (04:31:48):
Confidence of stop hersh Wendy.

Speaker 4 (04:31:51):
Sponsor inquiry rat.

Speaker 75 (04:31:53):
Is seven draft choice by satellite communicating as international probability.

Speaker 19 (04:31:57):
Of affiliation as two.

Speaker 4 (04:32:01):
Thanks al Like I'll be home late tonight.

Speaker 15 (04:32:13):
Joel, Joel, I'm behind on there.

Speaker 4 (04:32:19):
What's for the surprise You're my next victim.

Speaker 33 (04:32:23):
You got me.

Speaker 74 (04:32:25):
I'm dead, Okay, I'll register it tomorrow.

Speaker 75 (04:32:27):
I want to ask you something about Satellite Communications.

Speaker 74 (04:32:29):
I thought we were going to the presidents.

Speaker 4 (04:32:31):
This is not a dark gun, Joel.

Speaker 15 (04:32:34):
What's happened?

Speaker 4 (04:32:34):
What are you doing? What are you doing?

Speaker 75 (04:32:36):
You're ranting number two by Satellite Communications.

Speaker 11 (04:32:38):
They must think a lot of you.

Speaker 29 (04:32:40):
Did They put you up to it?

Speaker 74 (04:32:41):
Satellite has been paying my way for the past two years.
I'm a scholarship student, but I don't work.

Speaker 75 (04:32:46):
Oh, I say, I don't suppose you had anything to
do with my getting shot out?

Speaker 33 (04:32:49):
No I did not.

Speaker 74 (04:32:51):
But let me ask you a question.

Speaker 11 (04:32:53):
Who gave you that laser pistol?

Speaker 4 (04:32:55):
Someone from World Petroleum. They thought I might.

Speaker 15 (04:32:58):
Need it writing their head. Who do you think arranged
for me to be your next victim?

Speaker 11 (04:33:03):
You know who mine is. It's you, Joe.

Speaker 74 (04:33:05):
That's a nice coincidence, isn't it.

Speaker 34 (04:33:07):
Well?

Speaker 4 (04:33:07):
I don't believe in coincidence.

Speaker 74 (04:33:08):
Why you're holding that pistol.

Speaker 75 (04:33:09):
And you knew about the phones and you worked for Satellite.

Speaker 24 (04:33:11):
You say, til't Satellite killed Martin, probably with a little help.

Speaker 11 (04:33:15):
Why are you laying that on me?

Speaker 4 (04:33:16):
I think you killed Martin?

Speaker 29 (04:33:19):
Use it.

Speaker 79 (04:33:20):
If you think I killed in use it, tell me,
tell me I didn't.

Speaker 15 (04:33:26):
If you don't believe me, shoot.

Speaker 11 (04:33:30):
Wendy, Wait wait, I believe you. Let's get this office.

Speaker 4 (04:33:39):
M So this is what this place actually looks like.

Speaker 74 (04:33:46):
There's an engine desk and a television camera.

Speaker 4 (04:33:50):
I guess you makes it broadcast for me.

Speaker 11 (04:33:52):
What all these mirrors?

Speaker 4 (04:33:52):
You have no idea? Just check that desk out over there,
kind of sweat here.

Speaker 11 (04:33:58):
What's that red light?

Speaker 4 (04:33:59):
I'm not sure what, amute, it's getting brighter? Get back.

Speaker 75 (04:34:04):
Oh my god, look I think we're about to meet
the President in person.

Speaker 105 (04:34:08):
Welcome, Welcome to the nineteen ninety four academic session of
the National Jams.

Speaker 4 (04:34:15):
Getting across the sixty sixth anniversary.

Speaker 24 (04:34:18):
It's the president living three D and it has been
fourteen years.

Speaker 75 (04:34:21):
I don't tell you satellite communications, Well show you.

Speaker 11 (04:34:26):
Jesus will fix you.

Speaker 95 (04:34:31):
Oh god, look Joe that those red lights cans?

Speaker 4 (04:34:35):
Robert, how long they're not.

Speaker 14 (04:34:45):
Let's get out of here, hurry.

Speaker 95 (04:34:54):
So this is where you live.

Speaker 75 (04:34:57):
I'll introduce you to Alec Alex, my computer I built him.

Speaker 11 (04:35:02):
The secret of your success.

Speaker 4 (04:35:04):
Well, let's just say he's a big help. He can
tap into the games Computer. Watch this.

Speaker 75 (04:35:08):
I'll put Alec through his paces. I want to check
on the new victim assignments.

Speaker 5 (04:35:12):
What for?

Speaker 75 (04:35:13):
I had Alec to sponsoring Qurey on you. I'd never
done that before. I want him to do it again,
except this time for all the remaining active players.

Speaker 4 (04:35:19):
I don't know.

Speaker 75 (04:35:19):
It should be about four hundred of them, Wendy, we
seldom got to the bottom of this. There there might
be a pattern in the selection of victims that will
show us who's running the game.

Speaker 4 (04:35:28):
Do it, Alec.

Speaker 75 (04:35:31):
I want you to cut into the games computer and
examine the ninth round victim assignments and then a sponsoring
Quy on. Remaining players were pretty impressive. Yeah, but this
should take him a while. Listen, Wendy, I'm worried those
two cameras in the hall. I didn't knock them out.

Speaker 33 (04:35:49):
They know who we are, right, I don't know.

Speaker 4 (04:35:52):
If they don't know already, they will tomorrow. What should
we do? You tell me right now? We'll just have
to wait for Alec.

Speaker 74 (04:35:58):
So look, what does that mean?

Speaker 75 (04:36:07):
Has come up with an anomaly? He's never seen this before,
Alec report, well.

Speaker 70 (04:36:16):
Another sign for ninth round seven players victims signing for.

Speaker 4 (04:36:23):
Ninth round.

Speaker 74 (04:36:25):
Names, since what is it giving up names? It never
gives up names?

Speaker 75 (04:36:29):
Report Alec, give me all the assigned victims for the
next round.

Speaker 4 (04:36:33):
Joel us why hersh Joel? Why hers Joel?

Speaker 30 (04:36:40):
When he.

Speaker 4 (04:36:44):
And they all have our names?

Speaker 25 (04:36:48):
When Joel?

Speaker 94 (04:36:50):
When there are times when reaching the top can be
very lonely. Indeed, here's mister Hunt.

Speaker 4 (04:37:03):
The Assassin game by John G.

Speaker 107 (04:37:06):
Fisher starred Saul Rubinek as Joel and Nicki Guadani as Wendy.
Also featured were David Ferry as Martin, Rap McPherson as Alex,
Peter Jovin as the Computer and the Man, Chris Wiggins
as the President, and Barbara Kyle as Miss and the
PA announcer. Technical engineering was by Brian Pape, with sound

(04:37:28):
effects by Katy Perry. Production assistant Peggy Esta. Assassin Game
was produced and directed in Toronto by Stephen Katz.

Speaker 4 (04:37:40):
Now your host, I'm Frederick Hendon for Nightfall.

Speaker 13 (04:38:17):
A Shah.

Speaker 85 (04:38:45):
The act of taking something that doesn't belong to us
is marked down simply as fact, but there can be
different ways to view the situation. If we felt that
life or that measure of happiness, and we proceeded to
get it in spite of what might happen.

Speaker 13 (04:39:06):
This might alter the word.

Speaker 10 (04:39:09):
It could also become an.

Speaker 25 (04:39:10):
Evil and a force that might become an obsession.

Speaker 13 (04:39:28):
A stranger to the old house on the lonely road
outside the small town of Midlands.

Speaker 12 (04:39:37):
In the dark, the gaping holes of windows stared dulling
out to the night.

Speaker 10 (04:39:43):
Weeds grow deep in the yard.

Speaker 7 (04:39:46):
The sagging fence completes the picture of desolation and reflect
up the straggling path.

Speaker 13 (04:39:54):
A man walks, his mind, surging with dark thoughts.

Speaker 85 (04:39:59):
Angry laughter beat his mind the background for his obsession.

Speaker 16 (04:40:10):
Four, what a joint?

Speaker 13 (04:40:15):
So this is the dump I've come two thousand miles
to get. If I ain't even played.

Speaker 30 (04:40:22):
For a sucker, I'll leached.

Speaker 66 (04:40:23):
My hat.

Speaker 11 (04:40:25):
Was there?

Speaker 51 (04:40:26):
It was there?

Speaker 13 (04:40:27):
I thought somebody moved.

Speaker 18 (04:40:28):
Stay where you are here?

Speaker 30 (04:40:31):
Oh hello, say what the.

Speaker 76 (04:40:36):
I thought this house was empty? I wouldn't have come
in if I've known. I only wanted to get out
of the ring.

Speaker 4 (04:40:43):
Oh what, but you're hurt?

Speaker 52 (04:40:47):
Oh it's my ankle.

Speaker 4 (04:40:48):
I turned there.

Speaker 13 (04:40:51):
Now we can see something. You're a pretty sight.

Speaker 4 (04:40:55):
You're what cleaned through, weren't you?

Speaker 108 (04:40:57):
I didn't have any matches, or I'd have made a
fire a lot of old papers.

Speaker 13 (04:41:02):
What are you doing out in this god forsaken place?
A girl like you has no business out like this
and you're with Never mind about me, let's stay where
yard life? So to get my bearings around here?

Speaker 52 (04:41:15):
Isn't it sure house?

Speaker 2 (04:41:16):
Huh?

Speaker 4 (04:41:17):
Yeah?

Speaker 30 (04:41:17):
Sure, sure?

Speaker 2 (04:41:18):
This is my house.

Speaker 102 (04:41:19):
I guess got it done over for spring, and I
can't find my way around.

Speaker 11 (04:41:24):
This isn't your house?

Speaker 47 (04:41:26):
What are you doing here?

Speaker 13 (04:41:28):
And sister, that's my business.

Speaker 102 (04:41:29):
Stop asking questions and roll up some of those old
papers while I see if there's any wood.

Speaker 11 (04:41:34):
There is in that room over there.

Speaker 52 (04:41:36):
I fell over it when I first came in.

Speaker 87 (04:41:39):
Oh yeah, yeah, sure, lots of us.

Speaker 30 (04:41:42):
I'm nearly to the ceiling.

Speaker 21 (04:41:45):
Gosh, with that, would we could stay warm for the
rest of my life?

Speaker 47 (04:41:49):
Imagine being warm the rest of your life.

Speaker 11 (04:41:52):
Maybe that's why I'm going to California.

Speaker 13 (04:41:54):
California?

Speaker 4 (04:41:55):
Is that where you're going?

Speaker 30 (04:41:56):
Yeah?

Speaker 13 (04:41:56):
I got an answer.

Speaker 47 (04:41:57):
She doesn't know I'm coming.

Speaker 108 (04:42:00):
I don't know how glad you'd be the scene either,
but I haven't got any other place to go. I'll
here's some more papers.

Speaker 13 (04:42:06):
Oh okay, yeah, yeah.

Speaker 30 (04:42:09):
They're okay, y.

Speaker 11 (04:42:15):
See, very well, the.

Speaker 13 (04:42:16):
Boys scattered me. Well it's not bad, is it.

Speaker 11 (04:42:21):
It's wonderful.

Speaker 61 (04:42:23):
Yeah, I feel better already.

Speaker 11 (04:42:25):
What's your name, nine Evans, mine's it.

Speaker 13 (04:42:30):
Mine's Todd, Toadla Todd's good enough. Well, uh, we'd better
be thinking of getting some shut eye. I want to
get on my way early in the morning.

Speaker 102 (04:42:42):
And I guess if you're going to California, you'll lead
some shut eye too.

Speaker 76 (04:42:46):
I wonder if they have fireplaces in California.

Speaker 13 (04:42:49):
What for they got some?

Speaker 52 (04:42:52):
It's a long way to California, especially if you're hitch hiking.

Speaker 13 (04:42:56):
Say, look, I got some dough. We'll not forget your
bust take it.

Speaker 76 (04:43:00):
I know I wouldn't think that.

Speaker 102 (04:43:01):
Well, it isn't right for a girl to go hitchhiking
around the country, not a guy like you.

Speaker 76 (04:43:07):
You haven't got enough for yourself?

Speaker 13 (04:43:09):
Who said I didn't have enough?

Speaker 23 (04:43:11):
I got a car.

Speaker 13 (04:43:12):
I ran it into a ditch down the road, but
I'll get it out in the morning.

Speaker 47 (04:43:16):
Where are you bound?

Speaker 13 (04:43:17):
Back where I came from?

Speaker 102 (04:43:19):
And I thought I was coming to sort of a
heaven on a house land all mine for the taking.

Speaker 13 (04:43:27):
And what do I get? A broken down wood pile
with a lot of weeds around it.

Speaker 4 (04:43:32):
You mean this house is really yours now, Look we've.

Speaker 13 (04:43:36):
Talked it out.

Speaker 102 (04:43:38):
Oh here here, put my coat over here, and stop
worrying about things that don't consume you.

Speaker 52 (04:43:43):
But where are you going to sleep?

Speaker 13 (04:43:45):
There's a pile of papers in that other room. I'll
be warming up there.

Speaker 30 (04:43:49):
Good night, good night. Oh hey, I never heard such
a racket.

Speaker 13 (04:44:10):
Those aren't goods.

Speaker 47 (04:44:11):
You should It must be thousands of them.

Speaker 34 (04:44:14):
Before, And I thought the country was supposed to be quiet.

Speaker 18 (04:44:17):
It sounds like Times Square on New Year's Eve, the.

Speaker 11 (04:44:20):
Storm's over and the sun's out. Times.

Speaker 52 (04:44:23):
I want you to see what the place looks like
in daytime.

Speaker 13 (04:44:25):
Oh I saw the weeds last night.

Speaker 11 (04:44:27):
Not the weeds, the trees, the fruit trees.

Speaker 18 (04:44:31):
Look heay, not bad as that is it?

Speaker 85 (04:44:36):
That's beautiful.

Speaker 76 (04:44:38):
All those fields stretching out green beyond the house, they
must all belong to it, because if it's just the
same as a house.

Speaker 47 (04:44:46):
Imagine all that ground.

Speaker 76 (04:44:50):
I didn't know there was so much ground.

Speaker 88 (04:44:51):
Left in the world.

Speaker 30 (04:44:53):
Yeah, but the weeds.

Speaker 11 (04:44:55):
So why wouldn't the weeds.

Speaker 30 (04:44:56):
Be waste time?

Speaker 76 (04:44:58):
Anything would grow here?

Speaker 52 (04:44:59):
You can tell just all the out there.

Speaker 76 (04:45:01):
I bet you could have flowers and all the best
because you wanted almost no time.

Speaker 72 (04:45:05):
Yeah, yeah, I suppose maybe you could.

Speaker 52 (04:45:09):
And Todd, there's a kitchen too, with a stove, old
fashioned range as big as all outdoors.

Speaker 108 (04:45:15):
And there's an upstairs to the.

Speaker 76 (04:45:16):
House, and above got an attic.

Speaker 52 (04:45:18):
It's funny up there, kind of like a perfume moment.

Speaker 13 (04:45:23):
You're pretty excited about this joy, don't you. Your eyes
are shining like a kid.

Speaker 66 (04:45:29):
Maybe it.

Speaker 108 (04:45:31):
Can breathe, You can actually breathe.

Speaker 25 (04:45:36):
I just try, not me.

Speaker 30 (04:45:38):
I couldn't stand it.

Speaker 13 (04:45:39):
Well, I'm going someplace, see.

Speaker 4 (04:45:41):
If I can run up some grub.

Speaker 13 (04:45:42):
I'm hungry. Well, it's bound to.

Speaker 30 (04:45:45):
Be a store around someplace.

Speaker 102 (04:45:46):
I'm bacon and eggs go pretty good right now, huhh
and coffee.

Speaker 11 (04:45:49):
Don't forget coffee, Yes, sir, I'll be back in the
with the maker.

Speaker 63 (04:46:09):
Hello.

Speaker 49 (04:46:10):
Yeah, I thought you were.

Speaker 47 (04:46:11):
Never going to find that breach.

Speaker 13 (04:46:13):
I found it, all right, found trouble along with it.

Speaker 85 (04:46:16):
What happened?

Speaker 30 (04:46:18):
We got to get out of here?

Speaker 11 (04:46:20):
What's happen?

Speaker 13 (04:46:20):
Funny?

Speaker 30 (04:46:21):
Funny?

Speaker 13 (04:46:22):
Look, here's the dolt for your best fair and obviously
in you.

Speaker 11 (04:46:25):
I don't want your money.

Speaker 76 (04:46:27):
I've made my own way all my life.

Speaker 52 (04:46:29):
I don't need help from you or anybody else.

Speaker 95 (04:46:31):
Goodbye.

Speaker 13 (04:46:33):
You're a hot temper to the number, aren't you. You're okay?
I like you, and just because I do, I'll explain
about this house. It isn't really mine.

Speaker 102 (04:46:46):
Oh, it belonged to a fellow named Todd Brandon, that
belonged to his family. He was the last We were
both in the rocket in New York. You mean I
never killed anybody, but I was running along with the gang.
They got Brandon, but before he died, he gave me
all the papers and the deed to the house, told

(04:47:06):
me to take his name and live out here, just
like I was a Brandon. I gathered from him that
the Brandons were a special kind of people out here.

Speaker 47 (04:47:15):
Did you mean a new chance for you to put
your past behind you?

Speaker 76 (04:47:20):
That was wonderful of him.

Speaker 102 (04:47:21):
Yes, But there's an uncle, an uncle Caleb Brandon out
from California somewhere. He's sick and can't get about much,
and he hasn't seen Brandon since he was nine.

Speaker 47 (04:47:29):
And then you wouldn't have to worry about him.

Speaker 76 (04:47:32):
All you have to do is fill out the papers
he gave you. Tell everybody you're top Brandon.

Speaker 30 (04:47:36):
And you're yeah, and just like that, I'm a guy
of property, and all this land.

Speaker 76 (04:47:40):
Would be your top.

Speaker 47 (04:47:42):
You've got to see what, don't you see?

Speaker 102 (04:47:46):
It's your one chance, my chance for what to spend
my life picking weeds.

Speaker 11 (04:47:51):
He said you had a little money.

Speaker 13 (04:47:52):
All about three hundred bucks. That's all.

Speaker 52 (04:47:54):
Well, that three hundred will buy seeds to put your land.
It'll buy paint to fix your house.

Speaker 11 (04:48:00):
It's enough to buy life. Tod, you're crazy.

Speaker 52 (04:48:04):
Oh, look out there. The trees and the grass, even
the weeds are green and strong and healthy, part.

Speaker 74 (04:48:12):
Of the earth.

Speaker 11 (04:48:14):
They belong.

Speaker 52 (04:48:16):
No where do you belong nowhere?

Speaker 108 (04:48:19):
Huh, You're just as much a part.

Speaker 4 (04:48:21):
Of that earth as they are.

Speaker 13 (04:48:24):
That's fine talk for you. What did would you want
to stay on in this dump?

Speaker 17 (04:48:31):
Would I?

Speaker 25 (04:48:33):
Oh?

Speaker 52 (04:48:34):
For all your life you've been shoved around.

Speaker 76 (04:48:36):
Know where I go that you belong no one to
care whether your state or went. And if one day
someone said that there was a house to live in
land to make you're living on and it was yours
for as long as you care to stay. Do you
think I'd say?

Speaker 102 (04:48:50):
Oh, all right, all right, Suppose I do like you say,
Suppose I do stick on pretend I'm Brandon.

Speaker 16 (04:48:59):
Would you with me.

Speaker 44 (04:49:02):
Me?

Speaker 21 (04:49:02):
Tod back there in the store, an old fossil that
runs into place got in his.

Speaker 102 (04:49:07):
Head that I really want Todd Brandon, and that I
brought back a wife with me.

Speaker 11 (04:49:12):
You mean you mean you marry me.

Speaker 102 (04:49:16):
Well, if I'm going to plow the fields and plant
whatever a fellow plants, and a dump like this, there's
still a house. And the house without a woman isn't
much of a house, and a man's life would be
pretty empty unless there were regular meals to come to
and well, somebody could.

Speaker 13 (04:49:31):
Talk things over with him when his work was done.

Speaker 108 (04:49:35):
I can't believe what you're saying.

Speaker 11 (04:49:36):
It's true.

Speaker 13 (04:49:38):
Will you will you stay?

Speaker 25 (04:49:42):
Oh?

Speaker 47 (04:49:42):
Sure I will.

Speaker 108 (04:49:45):
I guess neither of us have gone any paths to
brag about.

Speaker 76 (04:49:49):
Well, maybe that's not important, but Todd remembers it.

Speaker 52 (04:49:54):
If things don't work out, you can go your way,
and I'll understand.

Speaker 21 (04:50:01):
You're a good kid, and I'm not going to pass
up a hunch, so we'll give it a whirl.

Speaker 11 (04:50:07):
Baby, Yea.

Speaker 108 (04:50:09):
And what's more, I think you'll make a great I'm
getting on Todd Brandon's.

Speaker 13 (04:50:24):
And as Mary said, Todd was shoved around.

Speaker 90 (04:50:28):
All his life, no one cared whether he stayed or not.

Speaker 85 (04:50:33):
But now here was a chance, a long chance without discovery.
He could be Todd Brandon.

Speaker 13 (04:50:42):
He could forget the old angry thoughts.

Speaker 18 (04:50:46):
But maybe the.

Speaker 25 (04:50:47):
Fear of detection might become the foundation or another obsession.

(04:51:22):
And now back to our stories, Starrying Brenda Marshall. Time
goes its round, and the farm begins to show improvement,
and both merry and to find joy and simple work
and live. Life is measured now by rows of newly

(04:51:43):
plowder and forgotten, not equips of obsession.

Speaker 18 (04:52:00):
Huh, WHOA, what's that?

Speaker 76 (04:52:02):
But I hate to bother you when you're applying. I
just couldn't wait.

Speaker 2 (04:52:05):
I let it just came for you.

Speaker 76 (04:52:07):
I hadn't know what was in it from your uncle
Caleb out in California.

Speaker 13 (04:52:11):
Oh that means trouble.

Speaker 17 (04:52:13):
Let me have it time.

Speaker 11 (04:52:15):
What he's coming?

Speaker 108 (04:52:17):
Isn't he coming to see it?

Speaker 5 (04:52:19):
Yeah?

Speaker 30 (04:52:19):
How'd you get?

Speaker 11 (04:52:21):
I just know that's all I've.

Speaker 76 (04:52:23):
Known all along, that it was going to happen someday.

Speaker 52 (04:52:27):
It's been too perfect to last.

Speaker 13 (04:52:29):
Coming for Thanksgiving?

Speaker 30 (04:52:30):
Oh, Todd, that's what do we do?

Speaker 85 (04:52:32):
Mary?

Speaker 108 (04:52:33):
We'll just go on doing what we've been doing. How
is he going to guess you're not his real nephew.

Speaker 47 (04:52:38):
He never saw the real Todd since he was a kid.

Speaker 108 (04:52:41):
Ezra and Maddy can be fool AND's open, Uncle Caleb.

Speaker 11 (04:52:44):
There'll be questions. There'll be his eyes looking at us,
wondering watching it.

Speaker 76 (04:52:49):
Watch listen, this place is ours, this earth is ours, yours,
and mine off feels right with the grain that we've planted.
It's all gardens that have fed us. It's maybe that's
fixed up the place and painted the house.

Speaker 47 (04:53:02):
And see the home of it it got and no
Uncle calib or.

Speaker 108 (04:53:06):
Anyone else is ever gonna take it from us.

Speaker 70 (04:53:25):
Yes, Caleb, God good, I better pick you up yet?

Speaker 13 (04:53:28):
Help Mary? You know that nephew York is made of
the real Brandon stuff.

Speaker 30 (04:53:33):
Yes, sir, Reeve really Ezra and her little wife here.

Speaker 4 (04:53:37):
She's armed inger too.

Speaker 30 (04:53:39):
When they tore into that house, would have thought.

Speaker 13 (04:53:41):
It was the last chance on her, the last chance.

Speaker 48 (04:53:44):
They painted the place up, got hold of some fancy ideas.

Speaker 102 (04:53:48):
About irrigation, and five guys start growing the best vegetables
and fruits in midlands.

Speaker 25 (04:53:53):
Does she looked like the family?

Speaker 2 (04:53:56):
Well?

Speaker 38 (04:53:56):
I care about the funny thing kind.

Speaker 30 (04:54:00):
And all right to their lad.

Speaker 13 (04:54:02):
But you don't look like him.

Speaker 30 (04:54:03):
He's handsomer than any Brandon never was.

Speaker 13 (04:54:07):
No, I can't likely say there's much resemblance.

Speaker 25 (04:54:10):
And see, hey, there's.

Speaker 72 (04:54:11):
House now, the old house, just like you used to
look when I was a kid, same f famed welcome
rook By, a house that could sell for quite a
bit of money nowadays.

Speaker 65 (04:54:27):
Couldn't sure, just off the highway and Midland's blowing like anything.

Speaker 13 (04:54:32):
But their neighbors say not.

Speaker 25 (04:54:34):
God, Mary, who've seem very sure.

Speaker 66 (04:54:37):
Is hey, if there's something in the back of your mind,
something worrying, something you ain't sure you're right about.

Speaker 13 (04:54:47):
If it taught, maybe it is Ezra and may be changed.
But I'll know for long.

Speaker 4 (04:54:54):
I'll know for sure.

Speaker 13 (04:55:08):
Most everything.

Speaker 21 (04:55:09):
Merry, And I've learned about a farm, Uncle Caleb.

Speaker 1 (04:55:11):
We've read out of books, so it looks as if
the books are pretty fair.

Speaker 13 (04:55:16):
Teachers. Well, we've had luck on our side too.

Speaker 7 (04:55:20):
That's a pretty handy thing, especially when you're taking a
long chance.

Speaker 13 (04:55:25):
Yeah, especially then.

Speaker 52 (04:55:30):
You were Uncle Cale about why don't you come in down,
have something to drink. I build a fine you can
talk and be comfortable too.

Speaker 48 (04:55:36):
There's a good idea young lady, them old age and
the surprise they used to be.

Speaker 108 (04:55:45):
Yeah, sit in that comfortable chair for Caleb.

Speaker 76 (04:55:48):
Wee gotten around to doing much about the furniture.

Speaker 108 (04:55:51):
We thought we'd wait till win it when there wasn't
too much work to be done outside.

Speaker 11 (04:55:55):
You broke up the fire.

Speaker 30 (04:55:56):
That taught him.

Speaker 2 (04:55:57):
I'll get to drink all right.

Speaker 48 (04:55:58):
Mean, eh, you know what, Todd, it's good to sit
here in this old room again. I guess when you
get as old as I am, you get sentimental.

Speaker 13 (04:56:12):
About the places you've known when you were young.

Speaker 48 (04:56:16):
You see, Todd, we Brandons belonged to the real America,
the America that French should be dared and built in
the days when life wasn't so easy as it is now,
and the land was the thing, the great thing.

Speaker 72 (04:56:35):
That's why I've let this house stand empty.

Speaker 48 (04:56:37):
All these years, just waiting for a Brandon to come back,
because we Brandons have always felt that it would never
be right for anybody but the Brandon to.

Speaker 4 (04:56:49):
Live in it.

Speaker 13 (04:56:50):
I think I understand how you feel here.

Speaker 108 (04:56:53):
You are here, you drink Uncle.

Speaker 13 (04:56:55):
Calea, Oh thank you, thanks, honey. Well, here's to.

Speaker 11 (04:57:05):
Yes, Here's to the Brandons.

Speaker 13 (04:57:08):
Yes, the brand.

Speaker 4 (04:57:28):
Todd.

Speaker 52 (04:57:29):
Todd's got to tell the truth.

Speaker 13 (04:57:31):
There's only tonight.

Speaker 16 (04:57:32):
He'll be gone after tonight.

Speaker 83 (04:57:34):
I couldn't stay on.

Speaker 74 (04:57:35):
Top him, not know.

Speaker 108 (04:57:37):
It'd be like living with a life everywhere I turn
in the house, where i'd go in the field, there
haunting me.

Speaker 47 (04:57:45):
I can do it, Todd, Neither can you.

Speaker 108 (04:57:49):
I've seen it in your eyes since he's been here.

Speaker 76 (04:57:52):
I've heard it in your voice.

Speaker 108 (04:57:53):
Tonight he told us about the family. You can't go
on anymore than I can, even if it's me giving
up everything.

Speaker 13 (04:58:03):
Okay, you're right, honey, go tell tonight.

Speaker 52 (04:58:08):
I'm so glad I'm new to say.

Speaker 16 (04:58:23):
Well, good night Mary, good night Dad.

Speaker 13 (04:58:27):
This has been a wonderful week. But said he gets
some sheep.

Speaker 11 (04:58:32):
I am leaving early tomorrow.

Speaker 52 (04:58:35):
Just a minute, Uncle, Caleb, before you leave, has something
to it?

Speaker 13 (04:58:41):
Couldn't it wait till morning?

Speaker 47 (04:58:43):
Oh No, we've got to.

Speaker 108 (04:58:44):
Say it now because maybe it'll change your plans about
leaving tomorrow.

Speaker 13 (04:58:50):
Tell him, God, we hadn't planned to tell you, at
least I hadn't.

Speaker 21 (04:58:56):
Tomorrow would have come and you would have gone, and things.

Speaker 55 (04:58:58):
For us would have been just the same.

Speaker 102 (04:59:00):
We could have gone on living here, making our living
off your farm, becoming a part of the town, carrying
your name, because it really isn't God.

Speaker 13 (04:59:10):
I'm not Todd Brandon.

Speaker 72 (04:59:12):
Oh oh, I see my name.

Speaker 13 (04:59:18):
My real name is Conway. When Todd died, the real Tod,
he gave me the deed of this place. I found
it like it was my own.

Speaker 52 (04:59:26):
But believe me, it wasn't stealing.

Speaker 108 (04:59:28):
We didn't mean to steal it, Uncle Caleb.

Speaker 4 (04:59:30):
It was.

Speaker 52 (04:59:31):
It was just that it was the only chance to
make a life for ourselves. We made vegetables and crops
and fruit brokes.

Speaker 76 (04:59:38):
Only weeds were growing.

Speaker 21 (04:59:39):
Before we built a home out of a broken down
wood pile.

Speaker 108 (04:59:42):
Was it just a little while this earth was out?

Speaker 15 (04:59:46):
We were Brandon's too.

Speaker 13 (04:59:48):
I got to tell you something else.

Speaker 21 (04:59:49):
I'm compute something I've never told Mary before.

Speaker 13 (04:59:52):
It's her doing. Really, without her, I wouldn't be here now.
She taught me what it means to live.

Speaker 2 (04:59:55):
She taught me what it means to love.

Speaker 13 (04:59:57):
That's why I stayed on because of her.

Speaker 52 (04:59:59):
It isn't exactly He taught me the meaning of living too.

Speaker 14 (05:00:03):
He taught me about love.

Speaker 52 (05:00:04):
And then when you came me so I swhere you
were and we talked it over it.

Speaker 108 (05:00:09):
We knew we couldn't go on living alone, not any longer.

Speaker 72 (05:00:13):
I am glad you decided the way you did, though
I wouldn't have said anything.

Speaker 4 (05:00:18):
In any case.

Speaker 11 (05:00:20):
You mean you knew I wasn't Todd Brandon. I knew
when he died.

Speaker 72 (05:00:24):
I'd been hunting him for some time. I just learned
about him, what he was, and what he did, and
how he died.

Speaker 34 (05:00:34):
I was planning to come back here.

Speaker 48 (05:00:37):
Then I got your letter saying you'd come back to
the farm to live. I thought i'd wait and see
what happened.

Speaker 4 (05:00:45):
That's why I came back.

Speaker 16 (05:00:47):
I'm so glad we told.

Speaker 48 (05:00:48):
You well after all, being a Brandon there's a quality
that's in a man, whether it's Tom Dicker, Harry or
Todd Brandon.

Speaker 25 (05:00:57):
This earth is yours because.

Speaker 11 (05:01:00):
You've made it, chose you belong here, both of yours.

Speaker 4 (05:01:03):
You belong in this house.

Speaker 13 (05:01:05):
Gosh, I don't know what to say.

Speaker 48 (05:01:07):
It's as if I were suddenly made hold again.

Speaker 11 (05:01:09):
Only one thing I've got to say.

Speaker 13 (05:01:11):
It was mostly Mary's doings.

Speaker 102 (05:01:12):
Without her, I couldn't have even pretended to be a Brandon.

Speaker 11 (05:01:15):
And it took both of you to do it. Shun
believe me, Uncle Caleb.

Speaker 76 (05:01:19):
I promise you this that as long as time and
I live, you'll never be ashamed of our bearing your name.

Speaker 25 (05:01:25):
That's right.

Speaker 4 (05:01:26):
We've learned what this earth of our means. We've learned
what it.

Speaker 21 (05:01:30):
Means to be a brandon, what it means to be
an American.

Speaker 13 (05:01:42):
You have been listening to Obsession.

Speaker 6 (05:02:10):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(05:02:32):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page. If you or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weird Darkness dot com. I'm Darren Marler. Thanks

(05:02:53):
for joining me for tonight's Retro Radio, Old Time Radio
and the Dark

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