WHO’S TAPPING AT OUR MURDER HOUSE WINDOW? No Wonder The House on Browdean Farm Was So Cheap

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

Speaker 2 (00:16):
You're 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,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise, sign up for

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

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

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

Speaker 8 (01:49):
Come in. Welcome.

Speaker 9 (01:54):
I'm E. G. Marshall.

Speaker 7 (01:56):
It's the time of Halloween when evils it's abound, ghouls,
and ghosts, pariahs and phenomena, witches and warlocks, vampires, werewolves, poultrygeists, emmunitions,
phantasmagoria and crawling things too awful to imagine, All the

(02:17):
outcasts from the natural world, not only the supernatural and
the dead, but the half dead, the haunting army of
the lost between two worlds.

Speaker 10 (02:29):
Look by a sepulcher.

Speaker 11 (02:31):
Hey, you get away from Maya?

Speaker 12 (02:34):
What do you want?

Speaker 3 (02:35):
No?

Speaker 13 (02:35):
Take a leave him.

Speaker 10 (02:36):
He's running away to Miss Linda.

Speaker 11 (02:38):
He was trying to break in.

Speaker 10 (02:39):
I can't believe it.

Speaker 14 (02:41):
Why would not Why would anyone want to break into
my mother's too?

Speaker 11 (02:45):
I don't know. I don't yes. Now that he's gone,
we are going to find out. Let's say I had
a notion you might have recognized him.

Speaker 14 (02:57):
Why would I recognize a complete stranger?

Speaker 7 (03:09):
Our mystery drama Absolute Zero was written especially for the
mystery theater by Ian Martin and stars Jadda Rowland. It
is sponsored in part by Certaintyed Fiberglass, Attic Insulation and
Buick Motor Division. I'll be back shortly with Act one.

(03:38):
If we are to believe Saint Peter that God is
no respector of persons, then it is one thing the
Almighty has in common with death. No money, no power,
no wisdom or guile can circumvent those dread wings once
they fold about you? Or can you escape the shadow

(03:59):
of finality? Long before the dawn of this twentieth century,
men had wandered and tried and failed. But with the
turn of the century and the giant leaps forward in
medical knowledge, did it become a possibility or was it
still only an illusion?

Speaker 15 (04:23):
Come away miles in a more george. Of course you
must weep for Emily, but not sorrow. She's gone home,
you know, ah, to her eternal rest. Oh, my dear
old friend, how can I comfort a man who's just
lost the wife?

Speaker 16 (04:41):
Here door?

Speaker 9 (04:42):
I need no comfort.

Speaker 16 (04:44):
In this case.

Speaker 15 (04:46):
I believe my kind of doctorate to be more capable
of prescription than yours. Oh, Reverend doctor Arbiser, I cannot
agree with your diagnosis. I have lost my wife out myself,
and the last thing I need in this world all
the next is divine guidance.

Speaker 14 (05:09):
Might have been hard put to describe my emotional state grief, terrible, drenching,
stifling grief the death of my mother, Even though it
had been expected killed that I hadn't been with her
during the last agonizing months that I had been coward

(05:30):
enough to accept my stepfather's offer to run away to
school in Europe. Pity for him, because doctor Miles Hendon
had been a loving husband my mother always deserved, and
a good father to me ever since my own papa
had died, and perhaps to my shame, frustration because I

(05:53):
was going to be too late for my own mother's funeral.

Speaker 11 (05:58):
Excuse me this?

Speaker 16 (06:00):
You all right?

Speaker 11 (06:00):
Can I get you a glass of water?

Speaker 10 (06:02):
You cannot?

Speaker 17 (06:04):
Why?

Speaker 11 (06:04):
Oh you looked a little pale, as if you were faint.

Speaker 10 (06:08):
Are you a doctor?

Speaker 11 (06:09):
No, Miss Donald, answered Kateon, attorney at law, and that's
your service.

Speaker 10 (06:14):
Did you think I looked as if I needed a lawyer?

Speaker 11 (06:16):
No, I thought you looked as if you needed a friend.

Speaker 14 (06:20):
I'd rather be left alone.

Speaker 11 (06:22):
I can do that. On the train, I must apologize
that we will be at much closer quarters on the coach.
What coach the coach from high Ass to Orleans? You
are going to Orleans, as far as the coach does,
You're going to well Fleet.

Speaker 18 (06:37):
How do you know?

Speaker 11 (06:38):
Oh, come, miss Hendon. You are from a well known family,
particularly in the Cape Cod area. But forgive me, I
had no wish to intrude on your privacy, only a
desire to help. If I could ease your troubles.

Speaker 14 (06:52):
I think you could best satisfy both by leaving me alone.
I could see him hesitate for moment at my blunt answer,
and in that instant I had the irrational urge to take.

Speaker 10 (07:05):
Back my dismissal.

Speaker 14 (07:08):
But in the moment of decision I had waited too late,
and with a deep bow he withdrew. I mean suddenly.
The train ride was over and I was seated next
to him and the coach from Hyannis to Orleans. The
other four men in the coach seem to know each

(07:28):
other well, and in the intimacy of their conversation we
were locked out and perforce thrown together.

Speaker 11 (07:36):
You all right, miss Linda, Miss Linda, I mean miss Hendon.

Speaker 10 (07:41):
My name actually is Russell.

Speaker 14 (07:43):
I didn't mean to be abrupt on the train.

Speaker 19 (07:47):
It's just, oh, it's it's all right.

Speaker 11 (07:49):
I quite understand.

Speaker 14 (07:51):
I'm sure you mean well, I.

Speaker 11 (07:53):
Hope I did you you want to talk about your mother?

Speaker 10 (07:59):
What does that mean?

Speaker 16 (08:00):
Well?

Speaker 11 (08:00):
You seem so terribly upset. I thought perhaps talking about
it might help.

Speaker 10 (08:05):
What is there to talk about? She had a cancer
of the blood. There's a new medical name for it.

Speaker 11 (08:14):
I don't know leukemia.

Speaker 10 (08:16):
I honestly don't know the name Maria.

Speaker 14 (08:19):
Well. In modern terms they call it progressive and terminal.

Speaker 10 (08:26):
How could it have been so quick?

Speaker 11 (08:29):
So many cancers become wild and untamed. It's hard to
anticipate how fatal they can become overnight. And yet yet what, oh? Nothing.
Let's just say that I'm an interested bystander, and that
I'll be staying at the Orlean seventeen seventy six house.
If you should need any help, you can always reach

(08:50):
me there.

Speaker 16 (09:00):
Linda, my dear, how nice to see you again.

Speaker 20 (09:04):
I'm master.

Speaker 10 (09:05):
Where is Miles? Doctor Hennett?

Speaker 16 (09:08):
Your father sends his deep regrets?

Speaker 15 (09:10):
But but what well he had? Quite frankly, my dear,
Ever since since your mother's demise, he has become what
should I say? He's gone into a kind of seclusion.

Speaker 10 (09:24):
He is expecting me back.

Speaker 15 (09:26):
Oh yes, yes, after all he's sent for you. Digger
Wells is here with a trap, but the horse threw
a shoe. He'll be long any minute.

Speaker 14 (09:36):
I am too late for my mother's funeral.

Speaker 16 (09:38):
I'm afraid, so, my dear, for the funeral.

Speaker 13 (09:42):
But not for what else?

Speaker 15 (09:45):
Well, I would hope there might be a sort of
memorial service. Why, well, I will it was a somewhat
how should I say, hasty affair, not altogether satisfying from
will in a religious sense, shall we say?

Speaker 16 (10:06):
No?

Speaker 15 (10:06):
No, don't let me put it that way? In a
ritual fashion is perhaps more precise.

Speaker 10 (10:12):
But Mamma is buried.

Speaker 15 (10:14):
Oh yes, yes, I saw her casket into the.

Speaker 21 (10:18):
Grave, and my stepfather was there beside me.

Speaker 10 (10:22):
Where is he now?

Speaker 16 (10:24):
Hold up on Slate Island.

Speaker 10 (10:27):
She's expecting me out there.

Speaker 9 (10:29):
If you want to.

Speaker 14 (10:30):
Go, after coming all the way back from Europe, I
haven't much choice.

Speaker 16 (10:36):
I don't know.

Speaker 15 (10:38):
It's no place for a young girl under the best
of circumstances, for that menacing pile of rock, and with
your mother gone, the house is a sad and lonely place.
I've tried to persuade Miles to leave it and come
back to the house in Boston.

Speaker 16 (10:55):
Money should be no problem.

Speaker 10 (10:57):
Then what is.

Speaker 16 (10:59):
Ghosts of the past?

Speaker 3 (11:01):
Now?

Speaker 15 (11:01):
I suppose that's why Myles has chased himself back to
the miserable Island, and because there he does have something
to grasp it. A picture of Emily by the sea,
a feeling of her footsteps in the house.

Speaker 16 (11:16):
And the linens of the bedroom.

Speaker 15 (11:19):
Preoccupation with the dead is a sterile emotion, and he
has so much to offer the living, A brilliant doctor,
and I don't think it's a healthy place for a
young girl to be.

Speaker 14 (11:31):
He needs me, Reven, I'm brusted, and she was my mother.

Speaker 15 (11:37):
I don't know why, but I have this uneasy feeling
that you should have more company on your trip.

Speaker 14 (11:44):
You are a perfect old darling, but I don't want
you to worry. I won't pretend it will be a
very happy trip. But what on earth would I have
to fear? I think a great deal over that exact
choice of words during the days to come. Of course,

(12:06):
I didn't know or even suspect that then. My head
was much too full with memories of my mother.

Speaker 11 (12:13):
Anyway, we're most all the ways to home about now.
I know Master should have met you.

Speaker 10 (12:22):
Why didn't he?

Speaker 19 (12:23):
Uh?

Speaker 11 (12:23):
Doctor is mighty busy ever since he Eh, don't see
much of him, busy doing what I don't rightly know.
Turned the turret room and the rest of the top
floor into a laboratory after you. Oh, I don't mean
to keep bringing it up, miss Linda.

Speaker 10 (12:42):
It's all right.

Speaker 14 (12:43):
Did her It isn't something any of us can dodge.

Speaker 10 (12:47):
Where did they? Where is Mama buried?

Speaker 11 (12:51):
We're in that fancy marble house your grandfather built in
the eastern churchyard.

Speaker 14 (12:57):
Could we stop there just a moment before we go
over to the island.

Speaker 11 (13:02):
Well, if you want to, I think I would ain't
nothing to see. She's closed up tight in the coffee.

Speaker 14 (13:09):
And I don't want to see anything, just feel. I
had a cold chivalry feeling think of going into that
dim echoing Maudley and my grandfather Russell had built for
the family. But I also knew I loved my mother,

(13:31):
and I had this overpowering desire to be near where
she lay, and just to whisper Mamma, I'm sorry. I
didn't want you to die, and I should have had
the courage to see you all the way. I was
almost ready to say to Digger, forget it, I'll come

(13:52):
some other time in the full light of day. Then
I reproached myself, what did I expect to see?

Speaker 10 (14:00):
And ghostly shape.

Speaker 14 (14:01):
My mother's snaking up in some strange ectoplasmic form from
the sealed coffin.

Speaker 11 (14:07):
I'll come with your mission. Bring one of the carriage.

Speaker 10 (14:11):
I'll be all right.

Speaker 21 (14:12):
Still just twilight, pretty duck right spooky here.

Speaker 11 (14:16):
In the grave.

Speaker 10 (14:17):
Yeah, oh, I have nothing to be.

Speaker 9 (14:19):
What is it?

Speaker 10 (14:20):
Mess duck there by the stepoker?

Speaker 11 (14:23):
Hey, hey, you get away from there? What do you want?

Speaker 22 (14:27):
No? No, leave him?

Speaker 10 (14:28):
He's running away, Hubert.

Speaker 11 (14:29):
He was trying to break you.

Speaker 10 (14:31):
If I can't believe it, I would not.

Speaker 14 (14:33):
I mean, why would anyone want to break into my
mother's too?

Speaker 23 (14:36):
What?

Speaker 11 (14:37):
I don't know? I don't guess. Now he's gone, we
are going to find out.

Speaker 9 (14:44):
Let's see.

Speaker 11 (14:46):
I got the notion. You seem to recognize him, Miss Lindon.

Speaker 14 (14:50):
Eh, why would I recognize a complete stranger?

Speaker 10 (14:56):
Come, let's go see.

Speaker 14 (14:57):
If any damage has been done.

Speaker 7 (15:06):
As they approached the dark tomb, Linda knows that she's
not being honest with Digger, and certainly not with herself.

Speaker 9 (15:15):
There's no doubt that it is.

Speaker 7 (15:16):
Don Katon, the young man who introduced himself on the train.
Why has Linda's first impulse been to protect him? Has
she been right to trust her heart rather than her head?
I shall return shortly to pursue that question in Act too.

(15:37):
You are Linda Russell Hendon back from school in Paris,
hastening in a race back to Cape Cod, a race
against death which has claimed your mother.

Speaker 8 (15:55):
At this moment, of all.

Speaker 7 (15:57):
Times in your life, you have met the young man,
man who might.

Speaker 8 (16:00):
Be the one you have dreamed of.

Speaker 19 (16:03):
But it's the wrong time.

Speaker 7 (16:05):
And worse than that, there is something mysterious about this
Don Kayton, and his seeming familiarity with your family. Who
is he, what brings him to the cape, and most
troubling of all, what brought him to the tomb or
your mother lies buried?

Speaker 11 (16:24):
Who was it, Miss Linda?

Speaker 14 (16:25):
I tell you, dig Her, I don't know. I only
caught a.

Speaker 10 (16:28):
Glimpse of him.

Speaker 11 (16:30):
Peered to me. I thought you knew him.

Speaker 14 (16:32):
I thought, for a moment I did, But in this
half light. Never mind that. Now the important thing is
not who it was, but what he wanted.

Speaker 10 (16:42):
Let's go.

Speaker 11 (16:45):
Couldn't get much. Tombs sealed ups at tight. You couldn't
get inside without a loaded dynamite. You're a key, course,
I have a key, only Reasonabrutch here wouldn't let no
one else but you, Miss Lindy. But there's nothing to see.

Speaker 14 (17:05):
I told you I don't expect to see anything.

Speaker 24 (17:07):
Just to feel.

Speaker 10 (17:09):
Oh that was before. Let's get the door open.

Speaker 11 (17:13):
You give me a moment. It's there now, escude. Yeah,
you take the lantern, they give you a bit of light,
and I'll stay by the door.

Speaker 10 (17:24):
What have you got there?

Speaker 13 (17:26):
A pistol?

Speaker 8 (17:27):
It was a probably a.

Speaker 11 (17:28):
Round right smart thing to have handy.

Speaker 14 (17:30):
Oh but I'm sure, Well, perhaps you're right. But if
he comes back, don't shoot till we talked to him first.

Speaker 25 (17:38):
Oh I would I, Missy, she a matter her self
defense and yours.

Speaker 10 (17:45):
Thank you, digger.

Speaker 14 (17:49):
My mother's coffin was a rich mahogany ornamented and heavy brass,
which shown no less brightly than the other sarcophag guy
and the ledges within the mausoleum that only had a newer,
more recent fatina. It was sealed tightly in the guttering
light of the lantern. I could see it was undisturbed,

(18:12):
the final proof the gossamer web of some spider who
had already fabricated his own seal to protect my mother's rest.
I thanked him silently in my heart and wondered vaguely
for a moment, what don kton, if indeed it was
he I had seen wanted in this place of private

(18:33):
sorrowneath my breath. I asked my mother to forgive me
for coming home too late, and then I asked Digga
to take me home.

Speaker 26 (18:50):
That weather making up real nor'easter?

Speaker 10 (18:54):
Why does father insist on living here?

Speaker 27 (18:55):
Now?

Speaker 11 (18:56):
Digger, I reckon, you have to ask him that Miss Emman,
Oh berdie, you see her waiting for.

Speaker 18 (19:02):
You on the dock.

Speaker 10 (19:03):
Where's Papa?

Speaker 12 (19:05):
Don't rightly know?

Speaker 28 (19:06):
But he is here on the island.

Speaker 11 (19:08):
Oh sure, up, only he keeps hisself to yourself as
Fella says that.

Speaker 29 (19:16):
Oh, them's geese.

Speaker 16 (19:18):
Better watch dogs and hounds.

Speaker 11 (19:20):
The master says he used to use him back in
ancient times. He says, won't no stranger set foot on
the island here without thinking of us, wanting warning against
what did? Well, it's uh, we're just born in The
person wants his privacy. Oh now there may maybe that's

(19:41):
what they were trying to tell us. Coming down of
a sudden like the fourteen days and nights, Why don't
you go below, miss Linda, till I make fast in
the dark.

Speaker 10 (20:00):
And sakes, child, let's.

Speaker 21 (20:02):
Get you out of that rain and have fine welcome home.

Speaker 14 (20:06):
I've got to say, Bertie, I don't exactly feel like
the prodigal son. Where's Papa upstairs?

Speaker 10 (20:12):
I reckon, is he expecting me home?

Speaker 11 (20:15):
Oh?

Speaker 10 (20:15):
My sure, but he's not here, not anywhere to meet me.
What's wrong with him?

Speaker 30 (20:20):
Bertie?

Speaker 10 (20:21):
Is he now?

Speaker 21 (20:22):
Lamb, let's get settled first. Yeah, I'll take your wet things.
Oh Nana, where were we?

Speaker 8 (20:27):
Oh?

Speaker 17 (20:28):
Your father?

Speaker 29 (20:30):
No love.

Speaker 21 (20:30):
He's hale and hearty enough outside, but inside, well he
took the missus going awful hard, even though everyone knew
it had to be sooner or later.

Speaker 14 (20:43):
But wasn't he looking forward to having me home?

Speaker 9 (20:46):
Oh?

Speaker 21 (20:48):
I don't know how to give that a straight answer.
Sometimes I think I don't know, as I just blame
him in a way. I think he was scared to
look on you again.

Speaker 30 (21:00):
Why why on earth?

Speaker 21 (21:02):
Well, because your mother has gone to the beyond. There's you,
full of health, and anyone looked at the two of
you in the bright heat and noonday sunlight, a person
that'd be hard put to know your part.

Speaker 14 (21:15):
And that's why Papa isn't here to meet Oh no,
not that alone.

Speaker 21 (21:21):
Ever since we later in the grave, he's took to
the turret room and shut off the whole top floor.

Speaker 10 (21:28):
He just hides a way up there.

Speaker 21 (21:30):
Lord knows what he does, but it sure isn't much sleeping.

Speaker 15 (21:39):
My dear sir, indifference to your credentials, I have submitted
to this interview and swallowed my impatience at the implications
of it.

Speaker 9 (21:48):
I accept you as a.

Speaker 19 (21:49):
Young man eager to do a good job in.

Speaker 15 (21:50):
Your chosen professions. Kington, that I don't like your implication
that I am trying to cover up something.

Speaker 11 (21:57):
But doctor Ferguson, you did sign the certificate for missus
Miles Handy.

Speaker 9 (22:01):
Yes, yes I did.

Speaker 11 (22:02):
And doctor Hendon is a close friend of your.

Speaker 16 (22:05):
That is besides the point.

Speaker 15 (22:07):
I signed the death certificate because I was called in
to examine a woman who had been my patient for
over three months. She was suffering from a cancer of
the blood, which was gradually officiating it to useless water.
I would admit that neither I nor my esteem colleague,
doctor Miles Hendon, her husband had anticipated the speed and

(22:28):
deterioration of the blood in that last week.

Speaker 11 (22:30):
But you both concurred that once this terminal stage set in,
death was inevity.

Speaker 9 (22:36):
It is the.

Speaker 15 (22:36):
Common pattern of this symptomatology.

Speaker 11 (22:39):
And on the last day, the day you signed the
death certificate.

Speaker 15 (22:43):
I examined a woman who had no pulse, who had
ceased to aspirate, who reacted to no reflex tests, and who,
on thorough ausculation, had not the slightest sign of a heartbeat.
I was examining, if you will, a copse. Naturally, I pronounced.

Speaker 11 (22:58):
Her dead, and there was no possibility of any.

Speaker 15 (23:01):
Mistake, Sir, by any criterion. We have to judge by
no possibility whatsoever.

Speaker 10 (23:16):
Miles.

Speaker 15 (23:16):
Oh, Linda, my dearest daughter, forgive me for welcoming you
so tidly.

Speaker 14 (23:22):
Oh, it's all right, I don't mind. I just I
just don't understand.

Speaker 15 (23:25):
Please, Linda, let me warn your mother in my own way.
I offer no excuses. I want to beg you to
allow me to control the conduct of my temporary bereevement.

Speaker 10 (23:38):
Temporary death is.

Speaker 19 (23:39):
A bridge between the known and the unknown.

Speaker 31 (23:41):
Why do we.

Speaker 15 (23:42):
Accept without cable that the traffic must be only one way?

Speaker 10 (23:46):
What are you talking about?

Speaker 19 (23:48):
Well, certainly not a subject for your homecoming.

Speaker 10 (23:53):
Not exactly the term might have picked for this return.

Speaker 15 (23:56):
Why surely this is your home with mother on what
it wasn't still is hers too?

Speaker 14 (24:03):
Only because she was so ill and wanted to hide
from the world. But she never loved this grim old island.

Speaker 19 (24:10):
Oh she'll find cause too before I'm done.

Speaker 14 (24:13):
Miles, Father, I know how much you were hurt. The
last thing Mamma would have asked of you was to
become a martyr, to bury yourself here.

Speaker 19 (24:24):
You don't understand what you are talking about, child.

Speaker 10 (24:27):
Better than you.

Speaker 14 (24:28):
Maybe it was nothing Mother would have wanted except for
her illness, and nothing she would have wanted from or
expected of you or me.

Speaker 10 (24:36):
I tell you frankly, I won't stay here, nor what
you must.

Speaker 14 (24:40):
I did come back to try to give you support.
I did intend to stay with you a while, till
the wounded healed. I was ashamed of myself for ever
allowing Mother and you to talk me into leaving when
her time was so short.

Speaker 15 (24:53):
Linda, she didn't expect I the doctor's No one expected
that it might be so sudden.

Speaker 10 (24:59):
No excuse. I should have been here to help her her.

Speaker 19 (25:03):
Well, then promise me you'll stay and do the same
for me.

Speaker 14 (25:06):
No, Mother had a reason for running away from life.
It was being taken from her. You don't staying here
the sickness.

Speaker 10 (25:16):
And I won't baby you if you won't fight it.

Speaker 14 (25:21):
I won't stand by you.

Speaker 15 (25:22):
Oh if you only knew while And I've just begun
to fight and I'm going to win.

Speaker 5 (25:28):
Win.

Speaker 15 (25:29):
What when when I'm ready to tell you, well, I'll
show you. Then you'll you'll thank me for it for
the rest of your days. You and my beloved Emily,
your mother. You'll stay and you'll see if you'll stay,
because you must stay.

Speaker 16 (25:48):
Well, perhaps tonight, That's all I ask, my darling.

Speaker 9 (25:54):
All I need a.

Speaker 11 (26:02):
Must we have that music, mister Downer.

Speaker 25 (26:05):
My apologies, mister Caton, reggae from Jamaica. Such a strong beat,
so full of life. I find it such a welcome
contrast for the necessary preoccupation of an undertaker with death.

Speaker 11 (26:17):
I just want to make certain now there was no
question of missus Hendon's death.

Speaker 9 (26:21):
Heavens no.

Speaker 25 (26:23):
I mean, we've drained the blood big one, to prepare
for embalming. She was already for perfusion, and that is
a preservatory chemical recirculated to God against well any deterioration
during the viewing.

Speaker 9 (26:41):
But there was no viewing.

Speaker 25 (26:43):
There was not such a pity a lovely woman, lovely woman,
Why it was the wish of the husband of the deceased.

Speaker 11 (26:50):
But you did place her in the coffin. That was
your responsibility.

Speaker 25 (26:54):
Well, now, I don't know if I like your tone,
but since you pressure me, not exactly.

Speaker 15 (27:03):
Oh what are you suggesting, mister Kayton.

Speaker 16 (27:10):
It is unconscionable. I won't be no part of it.

Speaker 11 (27:14):
I don't see how you can avoid it. Reverend arm Brewster,
you were the officiating minister at the burrier.

Speaker 16 (27:21):
I mean it. It's preposterous scene.

Speaker 11 (27:24):
My credentials, Reverend arm Brewster, you'll double checked on me.
And where a large enough sum of money is involved,
nothing is preposterous or even impossible.

Speaker 16 (27:33):
But what about the police?

Speaker 11 (27:35):
Haven't enough evidence? Even if I had, it would take
time to get an authorization from the courts. In the meantime,
I am concerned that another life is at stake. I'm
asking you, sir, can you and will you open missus
Hendon's coffin?

Speaker 16 (27:53):
What do you expect to find?

Speaker 11 (27:55):
Nothing, Reverend arm Brewster, neither her body nor her so
I expect to find that coffin empty.

Speaker 32 (28:09):
The Reverend George Armbrewster.

Speaker 7 (28:11):
Gazes at this intense, determined and completely sure young man,
and of all the questions buzzing in his startled mind, surely,
as with us, the main question must be why why
would he expect to find the coffin empty? I shall

(28:31):
return shortly with Act three. For the moment, the storm
a typical Southwestern has passed over the cape, although the
rain is still coming down in a steady drizzle. Approaching

(28:55):
the mausoleum by total dark, With the damp cedars dripping,
and the elms and maples rustling and ghost voices to
each other, the building looms even more eerily than earlier
in the day, And while the Reverend George Armbuster hesitates
thinking about changing his agreement to this strange young man's
request on Snake Island, Linda also is regretting her agreement

(29:20):
with her stepfather.

Speaker 11 (29:24):
Who's there?

Speaker 16 (29:26):
It's me digging home, miss Linda.

Speaker 11 (29:29):
But what are you doing out in this stomach? I'll
come in the barn quickly.

Speaker 14 (29:35):
Thanks, Ah, cozy in here. I love the smell of horses.

Speaker 25 (29:44):
It seems like you've got a friend who returns the favor.

Speaker 10 (29:48):
Not those geese.

Speaker 11 (29:50):
They quiet down once they know you, but they're hell
long wed with strangers. Let me close the door.

Speaker 14 (30:00):
I don't want to stay on the island to night, Digger.
I want you to run me over to the mainland. Oh,
in this weather, in any weather, I don't want to
stay here.

Speaker 10 (30:10):
You are told your father he doesn't want me to go.

Speaker 11 (30:14):
Then I'm afraid I couldn't take you, Tigger.

Speaker 10 (30:16):
I don't know why it is, and I'm scared.

Speaker 11 (30:20):
Nh, you're uh, you're not afraid to gohost share? Ye not?

Speaker 14 (30:26):
My mother's The last person she would harm is me,
and she's not here anyway. She lies in the family
tomb at Eastham. Brave words, because I was afraid of
what all of us are most afraid of the unknown.

(30:46):
Ever since I'd come back to the Cape, I had
sensed it. No, something was desperately wrong. I had to
fight this unimagined terror rising in my throat and the
feeling that something evil was about to engulf me.

Speaker 16 (31:06):
No, no, no, no, don't force it.

Speaker 11 (31:08):
Just this one last nail and well see for yourself. Oh,
dear lord, you are right empty. What does it mean?

(31:28):
I'm not quite sure. Evandn Brewster, But you're the detective.
You're the only one who's suspected. No, I'm not a detective,
just an insurance adjuster. Anytime a policy is written for
a million dollars, and death occurs within an unexpectedly short period,
the company has to investigate.

Speaker 25 (31:47):
Doctor Hindon insured his wife for that amount. Yes, quinn, oh,
just about one year ago.

Speaker 16 (31:54):
Oh at that time she was in perfect health.

Speaker 9 (31:57):
Why she will?

Speaker 16 (31:58):
I it seems so to me.

Speaker 11 (32:03):
Perhaps a doctor could have known better. I want to
know why missus Hendon's remains aren't buried in their own casket.

Speaker 16 (32:12):
What difference does it make she's dead?

Speaker 11 (32:16):
Are you sure?

Speaker 16 (32:17):
Of course? I saw her, so.

Speaker 11 (32:22):
I ought to bow out, But I'm a stubborn guy.
I met her daughter, and I'm just perverse enough to
have this big bump of I don't know what you
want to call it, extra sensory perception, maybe that she's
in danger of what it's natty. I can't justify it
in any way, but I have this insane notion that

(32:42):
missus Hendon is somehow still alive, and that it's her
daughter Linda who is in danger of ending up dead.

Speaker 21 (32:50):
Whether it's Birdie, dear, oh smell.

Speaker 11 (33:01):
I just brought you.

Speaker 21 (33:02):
Up one of my old toddies to help put you
to sleep.

Speaker 10 (33:05):
I don't feel much like sleeping. Where's my stepfather still
locked up?

Speaker 33 (33:10):
Above?

Speaker 29 (33:10):
There?

Speaker 21 (33:10):
In his chemistry laboratory or whatever it is.

Speaker 10 (33:13):
Does he know I want to see him?

Speaker 11 (33:15):
Digger must have told him.

Speaker 14 (33:17):
I don't want to stay here tonight, Bertie. I want
to get off this.

Speaker 11 (33:21):
Ihle, not darling.

Speaker 21 (33:22):
It's a terrible night out, no time to make the crossing.

Speaker 11 (33:25):
Where would you go?

Speaker 14 (33:27):
I just have this terrible feeling I shouldn't stay here
to night.

Speaker 21 (33:30):
Look what you need is a good night's rest at
your age. That makes a world of difference. Now, come on,
drink the old drink I used to brew for your
chocolate and my secret ingredient all those years you were
growing up. It always made you sleep like a top.

Speaker 14 (33:47):
All right, Bertie, No sense in trying to run tonight.
I'll wait for tomorrow.

Speaker 21 (33:53):
Want me to help you into bed?

Speaker 14 (33:56):
I think maybe I'm a little too old to tuck
in anymore, Bertie. But I promised to drink my drink.

Speaker 21 (34:01):
I wred good night and dear and sweet dreams, Sweet dreams.

Speaker 14 (34:11):
In hindsight, that was the most cynical statement since the
serpent said to Eve in the Bible that she and
Adam should eat the apple because then they would be
as gods. But I can't blame Bertie or even Digger,
because I truly believe they did not know my drink

(34:31):
was dropped. I might, as it happened, have slept through
all that dreadful night and what was to happen to
me if it hadn't been for the geese and their
warning cries?

Speaker 15 (34:44):
What's that the geese, sir, I was deserving?

Speaker 11 (34:47):
I don't know.

Speaker 25 (34:48):
Stranger on the island heard not in this Web's something
disturbed them tonight for all of us to be disturbed.

Speaker 19 (34:53):
Sir, all right, you can ease your conscience. You may
leave us now.

Speaker 11 (34:57):
I don't know, is I oh?

Speaker 9 (34:59):
I said, yes, you do as you're told.

Speaker 11 (35:01):
I serve the Russell family, not you, doctor Hendon, who
only married into it. It's miss Linde. I offered my
services too, yes, and protection when I speculate what you
have in mind.

Speaker 16 (35:14):
You can't fry.

Speaker 11 (35:16):
In the face of the almighty doctor, and.

Speaker 9 (35:20):
Are you fool?

Speaker 19 (35:22):
You can't stop me, No one can till I bring
Emily back to life again.

Speaker 34 (35:31):
It was like a dream, faces and figures elongated out
of focus, the sound of words far away and echoey,
not quite clear. What was happening too, bizarre and ghastly
to be anything but a nightmare. I saw Miles pick

(35:55):
up Digger's limp body and literally toss it into a corner.

Speaker 15 (36:02):
Miles, Yes, what is it, Linda?

Speaker 10 (36:07):
I feel so so weak. Everything sir so far away
now that.

Speaker 19 (36:14):
Says it should be. It's the sedative I put in
the drink.

Speaker 11 (36:16):
Bird he brought you Urdy drugged me.

Speaker 15 (36:21):
She had no idea what it contained. The anesthetic was mine.
I'm sorry all this commotion has brought you out of it.

Speaker 10 (36:30):
An anesthetic?

Speaker 11 (36:32):
What for?

Speaker 10 (36:34):
What are you doing? What's happening?

Speaker 15 (36:37):
It hasn't happened yet, but it's just about to the
miracle of the twentieth century.

Speaker 10 (36:46):
What are you planning to do?

Speaker 15 (36:47):
I am about to reverse the whole human process. I'm
about to bring the dead back to life.

Speaker 10 (36:58):
Moved away from me.

Speaker 14 (37:00):
I tried to sit up, but I found that I
was bound by heavy straps to a medical table on which.

Speaker 35 (37:06):
I was lying.

Speaker 14 (37:09):
I was conscious now of some sort of a machine
throbbing in a steady rhythm, turning my head in.

Speaker 10 (37:15):
The direction of the sound.

Speaker 14 (37:17):
Out of the corner of my eye, I could see
that myles had gone in that direction and was pulling
aside a heavy drape.

Speaker 10 (37:23):
On traveling rings.

Speaker 14 (37:25):
As he pulled aside. In one impatient movement, I saw,
Oh God, help me, and a kind of blinding flash
resting on a huge base what looked like.

Speaker 10 (37:37):
An enormous fish tank.

Speaker 14 (37:40):
The frame was heavily leaded, and the glass panels narrow
and heavily frosted through the tiny particles of ice and
snow that turned and swirled about beyond the glass.

Speaker 10 (37:54):
Inside the tank.

Speaker 14 (37:56):
In that one blinding flash, I could see a figure.

Speaker 10 (38:01):
My mother, wise mother's doing in that thing.

Speaker 15 (38:09):
She's dead, not dead, merely in suspended animation. The disease
blood has been taken away, her body purified, the flesh
and organs, and all the intricate convolution of brain and
web of nerves and artery preserved by being frozen with
liquid hydrogen and almost absolute zero, the body waiting only

(38:34):
for new blood to feed the heart and lungs and
all the rest, fresh.

Speaker 9 (38:41):
Wholesome blood from you and me.

Speaker 19 (38:44):
You'll feel nothing, my dear, I promise you, and have
no fears.

Speaker 8 (38:48):
It will be only temporary.

Speaker 10 (38:51):
Ride me.

Speaker 15 (38:52):
Blood must be harmonious, consanguineous, so that the organs.

Speaker 19 (38:57):
Do not reject it.

Speaker 15 (38:58):
No, moster, you will only be taking a mother's place
for a little while, and when the time is right,
I shall bring you back to life.

Speaker 11 (39:10):
Oh you you can't.

Speaker 15 (39:11):
I can do anything I want and no one can
stop me out.

Speaker 18 (39:17):
Whoa I'm not in the way I held.

Speaker 15 (39:22):
Then should have stayed decently at rest, very well.

Speaker 19 (39:27):
The first neggle will be for you.

Speaker 11 (39:28):
Iimon, you don't come near me.

Speaker 32 (39:30):
I have a pistol.

Speaker 15 (39:31):
You would you bet on me, old man? You're so
weak you can't even name it.

Speaker 11 (39:35):
Give it to me.

Speaker 9 (39:35):
I won you stay by.

Speaker 19 (39:37):
You wouldn't um me, Digger, I'm your master.

Speaker 10 (39:42):
Bigger has always served the Russell's family, not you.

Speaker 11 (39:45):
I know where my loyalties lie with you, Miss Linda.

Speaker 15 (39:48):
I can you good thought you'll hit the compression table.

Speaker 11 (39:53):
My man.

Speaker 18 (40:00):
All live again quickly, Bigger I got out.

Speaker 11 (40:03):
Of the flask.

Speaker 12 (40:04):
Who was fully one far the foorth.

Speaker 14 (40:15):
I never thought I'd be so glad to see a
man I'd seen only three times in my life. It
was Don Kayton who unstrapped me and carried me down
and outside the house, and just in time for suddenly
the flame from one of the lamps must have ignited
the hydrogen in the laboratory, and.

Speaker 10 (40:35):
With one terrible roar. The house on Snake Island was
gone forever?

Speaker 18 (40:48):
Did everyone get out?

Speaker 16 (40:50):
Everyone except Marius.

Speaker 10 (40:54):
If you mean my mother.

Speaker 14 (40:57):
She was dead already, of course, and Miles.

Speaker 16 (41:02):
Miles was quite mad.

Speaker 15 (41:04):
If it hadn't been for this young man here, we
would all have been innocently involved in a terrible and
tragically unjustified death.

Speaker 11 (41:13):
Mine, well, not while I was around. Once I found you,
I wasn't gonna let you go.

Speaker 10 (41:18):
But I don't understand how.

Speaker 11 (41:20):
I'm an insurance of Jester Lindon. A year ago, your
stepfather took out an enormous policy on your mother. Now,
doctors didn't realize she had an incurable disease. It's not
very common, but apparently doctor Hendon did.

Speaker 15 (41:34):
He spent every cent of his own and your mother's
trying to find a cure for her. But in the
back of the mind he must always have had this,
this incredible scheme, and knowing how much money he would
need to even attempt what he dreamed, the insurance was
taken out.

Speaker 11 (41:54):
We uh, I mean, my company were alerted by some
strange things about your mother's funeral, and with the reverend here,
I found that her coffin was empty, so.

Speaker 14 (42:03):
That's what you were doing last night at the mausoleum
insurance business.

Speaker 11 (42:08):
I'd like to write a policy with you.

Speaker 10 (42:10):
Oh no thanks, I have no intention of dying.

Speaker 11 (42:14):
I have even less notion to allow you to. The
policy I had in mind was between you and me
for life. Linda and Don Caton were married by the
Reverend George Ambuster. Two months later, the bride was given
away by Digger Wells. Doctor Ferguson retired from practice, convinced

(42:39):
both in his heart and by the state Medical Board
that he had gotten too old to practice. As for
mister Downer, faced with false statements and the prospect of jail,
he gave up undertaking very suddenly, and the police are
still trying to overtake him.

Speaker 8 (42:58):
I'll be back shortly, you know.

Speaker 7 (43:11):
In the period of this story, cryobiology and cryogenics, the
study of living matter's reaction to intensely low and freezing temperatures,
was a gleam only in the science fiction writer's fertile mind.
Today they are recognized and viable sciences, and there exist
across the country many deceased who have elected, instead of burial,

(43:35):
to be frozen and preserved until someday human science might
be able to reverse divine will. I choose no side,
but only comment that once again it reminds us that
truth can be stranger than fiction. Our cast included Jadder, Roland, Russell, Horton,

(43:58):
Ian Martin, Briner, Raeburn and Benson. The entire production was
under the direction of Hymen Brown Radio. Mystery Theater was
sponsored in part by Anheuser Busch Incorporated, brewers of Budweiser,
True Value Hardware Stores and contact the twelve hour cold
capsule missus E. G. Marshall inviting you to return to

(44:19):
our Mystery Theater for another adventure in the macabre. Until
next time.

Speaker 8 (44:26):
Pleasant.

Speaker 36 (45:00):
Yeah, this is Nelson Olmsted, Sleep no.

Speaker 25 (45:18):
More, Sleep no More. Turn down the lights, sink back

(45:38):
in your chair, and don't look into the shadows. In
the shadows, there may be moving things tonight. It may
be you will sleep no more.

Speaker 9 (46:01):
Good evening.

Speaker 25 (46:03):
This is Van Guer introducing tonight's tale of terror, told
by Nelson Omsted on the National Broadcasting Company's.

Speaker 9 (46:09):
Presentation of Sleep No More.

Speaker 25 (46:13):
The story of terror can be as simple as a
sheeted ghost rattling chains.

Speaker 9 (46:19):
It can be a complex and hidden world of horror.

Speaker 25 (46:23):
Lurking in such unholy dimensions as only the dead and
the moon struck can glimpse. Or it can be those terrible,
fathomless shadows which lie buried deep in the primitive mind
of civilized man. And for this evening, well Nelson Omsted
tell us about.

Speaker 9 (46:42):
This evening story. Thank you, Ben.

Speaker 25 (46:45):
Our first story to night was written by the British
author Christopher Isherwood. Oh he's the one who wrote the
novel from which the play and movie I Am a
Camera was adapted. That's right, huh. But this tale is
in a quite different mood. It's the strange story of
a man who, through some peculiar quirk, is able to
get brief glimpses into the future.

Speaker 9 (47:03):
What's it called? I am waiting? We all the incidents
which I am about.

Speaker 25 (47:21):
To describe are true, but I can offer you no proof,
at least not for the next five years. By that
time you will probably forgotten that you ever heard this story.

Speaker 9 (47:32):
So please believe it or disbelieve it.

Speaker 12 (47:34):
Just as you wish.

Speaker 9 (47:36):
Today is my birthday.

Speaker 25 (47:38):
I am what you or anybody else would call a failure.
I have no career, no outstanding achievements behind me. I've
never been married, and I can truthfully say that I've
never been loved, though half a dozen people are perhaps
mildly fond of me. I live in a pleasant house
in the outskirts of the town, not far from Hartford, Connecticut.
The house belongs to my younger brother, a successful and

(47:59):
energetic lawyer. Mabel, my brother's wife, is very kind to
me on the whole, as long as I am careful
to be tidy and not unnecessarily visible. With reference to
the story which follows, I need only add that I
have never, at any time had reason to believe that
I possessed psychic powers. But on the evening of Friday,
July sixth of last year, I was sitting in the

(48:21):
drawing room of our house alone. The others had all
driven into town to go to a movie, so I
could enjoy the luxury of drawing my arm chair into
the very middle of the hearth rug, facing and monopolizing
the fire. The time was about twenty minutes to nine.
I remember this because I kept glancing at the clock
in the mantlepiece in order to be ready to turn
on the radio and listen to the news. Bulletin the
clock is the wedding present given to my brother by

(48:42):
the members of his firm. It's made of China and
is vaguely supposed to be valuable, with a boy and
a girl in peasant costumes supporting the clock itself.

Speaker 9 (48:51):
I may have dozed off, as I so often do.

Speaker 25 (48:52):
At any rate, I'd closed my eyes, and when I
reopened them, it was with a violent start, as though
somebody had called my name. Perhaps the others had returned
unexpectedly early. Some such thought passed through my mind, and
I didn't turn my head. I don't know why. All
my drowsy attention was focused upon the clock, and what
I immediately noticed was that the left hand was missing

(49:14):
from the China figure of the peasant boy. It's very
difficult for me to describe my precise sensations at that moment.
I saw only that the hand had been broken off.
I wondered how long it had been broken, and was
surprised that I had never noticed it before. Mabel would
be cross, I thought, and this led me to fear
that I might somehow have done the damage myself while

(49:34):
I was asleep. I rubbed my eyes and sat up
suddenly in my chair, and I blinked several times. How absurd.
I must have been dreaming for now. As I examined
the clock fully awake, I saw that I'd made a mistake.
The clock wasn't damaged, after all. The china hand was
still intact.

Speaker 37 (49:51):
Well.

Speaker 25 (49:52):
One morning, about a week later, when I was walking
in the garden, Mabel came out of the house and
confided to me that she would have to fire the
new maid because she had broken the drawing room. I
pushed past her toward the French windows which opened into
the drawing room. Entering, I saw what, in my excitement
I had dimly expected to see. The China boy's left
hand was broken off at the wrist. The second occurrence

(50:15):
took place at eleven twenty five a m On Monday,
August twentieth. I was in my bedroom, standing near a
bookcase which occupies the corner.

Speaker 9 (50:21):
Behind my bed. It was a gray morning.

Speaker 25 (50:24):
Although from where I stood I could not see out
of the window, I knew by the pattering sound on
the glass that it had begun to rain. As I
reached out my hand for a book, I experienced an
extraordinary sensation which swept over me, leaving my body tingling
and trembling in the sweat breaking out of my forehead.

Speaker 9 (50:40):
I stood there as if frozen, with my hand outstretched.

Speaker 25 (50:43):
What followed cannot have taken more than a minute, perhaps
it occupied only a few seconds. At first I was
aware only of a change of mood, very difficult to describe.
I felt lighter and happier, as though some oppression had
been lifted from my mind. Lighter, yes, that was the
exact word of the room was actually full of light,
a bright sunshine. As I stood, I began not only

(51:06):
to feel and see, but to hear also. Sounds were
coming up through the window from the garden below. I
heard laughter, voices, and the noise of a tennis ball
being hit back and forth across the net.

Speaker 9 (51:17):
And then one voice called out.

Speaker 12 (51:19):
Come on, Joyce, give him everything, net beginning to crack.

Speaker 9 (51:23):
It was my youngest nephew.

Speaker 25 (51:25):
Joyce is the name of his sister in law, my
eldest nephew's wife. No words of mine to describe the
strangeness of these familiar words and sounds. I listened to
him as a dead man might listen to the voices
of the living. They were so near to me and
yet so immeasurably remote.

Speaker 9 (51:40):
And I heard Joyce say, oh, tricky, very tricky, and Bob,
my eldest nephew, answered, what.

Speaker 38 (51:47):
Do you think you're playing?

Speaker 16 (51:48):
Paint palm?

Speaker 9 (51:50):
That was all.

Speaker 25 (51:51):
The next moment, the contact or whatever you'd like to
call it, was broken. My fingers had touched the book,
and there I was, back in the gray, clear continuity
of normal consciousness, with the rain pattering.

Speaker 9 (52:00):
Fast in the pane.

Speaker 25 (52:02):
I forget exactly what I did next. I think I
must have paced the room several times, backward and forward,
pausing to look down through the window at the wet
tennis court in the empty garden below. I was deeply
excited and disturbed. Although it still wasn't entirely clear what
had happened to me, I was aware that something had happened,
something so dimly tremendous that it dwarfed every other experience

(52:23):
of my whole life. I carefully wrote down what I
had heard and seen, as I have described it here.
When I finished, I felt very tired. I laid down
on my bed and slept soundly to lunch. Early in
the fall, Jack, my youngest nephew, came to visit us.
The fine weather had continued in the tennis court was
still in good condition. Whenever anybody spoke of tennis, I

(52:44):
felt my post throb with suppressed excitement. But where were
the other actors in the strange, meaningless little drama I
hoped to witness. I repeatedly asked Mabel and my brother
if Bob and Joyce were expected. No, they said not yet.
They wouldn't be likely to visit us before December. Well,
on the afternoon of Saturday, November three, I returned by
bus from shopping in town. It was about a quarter

(53:05):
to three. I went to my room, and as I
moved to the bookcase, I heard Jack's voice on the
lawn below, calling the score fifteen.

Speaker 9 (53:12):
All come on, Joyce, Kim everything. They're beginning to crack.

Speaker 25 (53:16):
It was there my moment, and even as with a
gasp I recognized that it was past, it flashed by
me and was gone long before I recovered, by which
sufficiently to hurry to the window. The actors had spoken
their familiar lines. The drama was over. Looking down into
the garden, I saw Jack, Bob, and Joyce, and a
strange girl chatting and joking across the net. At the

(53:37):
end of the game. The girl was a friend of Joyce's.
She had been brought over in the car from Providence,
Rhode Island. I discovered when Bob planned this surprise visit,
he had come to stay the weekend. Almost exactly two
weeks later. On the afternoon of Sunday, November eighteenth, I
had gone into the trunk room to hunt for some
old photographs. The trunk room is at the top of
the house. It has no windows, only a skylight led

(53:59):
into the roof. It is crowded with bits of damaged furniture,
cardboard boxes, and old trunks. Wondering where to begin my search,
I decided upon a scarred gladstone bag, which I opened,
and then as.

Speaker 9 (54:10):
I bent over the papers, the attack seized me.

Speaker 25 (54:14):
This time, the sensations were different and incomfortably more violent.
My ears began to sing, my limbs stiffened, and a
convulsion like an electric shock seemed to take place at
the base of my spine. Half fainting, breathless, dizzy, I
had barely time to think it's going to happen again,
and then I closed my eyes. Gradually, my arms and

(54:35):
legs relaxed, my head cleared, and I began to inhale
deeply and easily. The sense of relief was exquisite. Very cautiously,
I opened my eyes and looked about me. At first
I hardly recognized the room in which I found myself.
It was the same room, but the papers, the trunks,
and the furniture had all disappeared. The floor in which
I knew seemed to have been recently scrubbed. For several minutes,

(54:58):
I didn't move. I was scared, of course, but much
more excited than scared. Rising to my feet, I walked
over and turned the handle of the door.

Speaker 9 (55:05):
It was locked.

Speaker 25 (55:06):
For some moments, I stood stupidly twisting the knob in
my hand, and then I began to rattle.

Speaker 9 (55:11):
It and to beat the panel with my fist, And
finally I shouted.

Speaker 1 (55:14):
Alot, let me out, Let me out.

Speaker 9 (55:17):
There was no answer. After a while, I stopped. It
was no good.

Speaker 25 (55:20):
The house was empty. Slowly I returned to the middle
of the room. It was then that I made my
great discovery. In the shadows. On the far corner.

Speaker 9 (55:29):
Crumbled against the baseboard lay some dirty sheets of paper.

Speaker 25 (55:32):
Sitting down upon the floor. I smoothed them out with
trembling hands. They were the inside pages of a magazine.
I read its name. The cage Bird Fancier and the
date July nineteen sixty two. Only an archaeologist can imagine
the intensity of my excitement at that moment. Here was
an actual, tiny fragment of the future, itself palpable to.

Speaker 9 (55:56):
My present day fingers.

Speaker 25 (55:57):
It had been manufactured by men who could answer offhand
many of those burning questions which still perplex the wisest
mortals of nineteen fifty seven.

Speaker 9 (56:06):
Shaking with eagerness, I began to read. I suppose I
was very silly. My mind showdered questions.

Speaker 25 (56:12):
Had the United States jumped into war again, had there
been a revolution, what's happening in Europe, in China, in
the Near East? And the men of the future, as
if teasing my impatience would only answer. It is rather
difficult to give exact dimensions for stock cages, as they
often have to be built to suit the individual canary
breeders accommodations.

Speaker 9 (56:33):
For all the information that gave me.

Speaker 25 (56:35):
The Cage Bird Fancier might equally well have been written.

Speaker 9 (56:37):
In Turkish or Japanese.

Speaker 25 (56:39):
Yet I read on learning all manner of highly relevant
and unfruitful facts that the legs of a canary will
sometimes denote. Its approximate age that narrow perches.

Speaker 9 (56:49):
Are best for birds which have slip claw.

Speaker 25 (56:52):
These tiresome details are imprinted upon my memory forever. But nowhere,
nowhere could I find a trace of any wider implication.
Even as my eyes hurried along the last lines of
the print, I knew, in the deepest marrow of my
bones that I had outstayed my welcome. I protested, but
the singing noise was growing fast, clenching the papers in
my two fists.

Speaker 9 (57:11):
Like a fraying lifeline.

Speaker 25 (57:13):
I pitched forward into oblivion. When I recovered consciousness, I
found myself in bed in my own room, with Mabel
hovering anxiously around me. It was she who discovered me,
when she came upstairs to call me down to tee,
lying senseless on the trunk room floor, and I asked,
was there was there anything at my hand?

Speaker 9 (57:33):
Well?

Speaker 25 (57:33):
Yes, you found them all right, don't you remember I
found them? Well, yes, the photographs. One of them is
rather crumpled, but I'll iron it out. And now you're
not talk anymore. The doctor will be here in a moment. Well,
the doctor, when he arrived, could find nothing much of
the matter. He advised a thorough rests. Both he and
Abel were curious to know the exact circumstances under which

(57:55):
my fainting fit took place, and I answered their questions
as vaguely as possible, decided, of course, to tell them nothing.
I have no wish to end my days in a
mental home, and now here I am waiting for whatever
may come next. Sometimes I feel frightened, but in general
I managed to regard the whole business quite philosophically. I

(58:19):
am well aware that the next adventure, if there ever
is another, may be my last. The conditions of time
travel may prove too violent for my elderly frame.

Speaker 9 (58:29):
Perhaps I sha'n't survive the journey, but I wouldn't refuse.

Speaker 25 (58:33):
To make it on that account even if I could.
What other experience can be comparable to this? What else
have I to live for?

Speaker 9 (58:40):
Now?

Speaker 25 (58:41):
So let the moment call for me, whenever it will,
at whatever time, in whatever place, I shall be ready.
And so we leave our friend to wait and to wonder.

(59:02):
That was the story I Am Waiting by Christopher Isherwood.

Speaker 9 (59:06):
Now mister Olmstead for our second story, well.

Speaker 25 (59:08):
Our second offering, Ben is also by an English writer,
is a m Burrage it's about a particularly eerie place
which was haunted for a purpose. He calls it Browdian Farm.

(59:30):
Most people with limited vocabulary, such as mine, would describe
Browdian Farm loosely and comprehensively as picturesque.

Speaker 9 (59:38):
The house was quite a surprise to us.

Speaker 25 (59:41):
It showed few signs of damp considering the length of
time it had been untenanted, and it needed little in
the way of repairs. I inquired about the rent. It
was astonishingly low. My friend Rudge Jefferson had to live
somewhere while he finished a book, and I could look
forward to some months of idleness before returning to the
United States. We decided to take it. We'd been at

(01:00:01):
the farm about a month before Rudge Jefferson began to
show symptoms of nerves.

Speaker 9 (01:00:06):
I thought he was working too hard.

Speaker 25 (01:00:08):
It was about that time that I walking homewards one morning,
and just about lunchtime I met the local policeman just
outside the village in oh He was friendly enough, so
I invited him in for some ale, and he asked
me how we were getting on up at the farm. Well, admirably,
I told him, and then he looked at me closely,
as if to see if I were sincere, or rather
to search my eyes for the passing of some afterthought.

(01:00:29):
And then he said, well, sir, if anything happens up
at the farm, you needn't go.

Speaker 39 (01:00:35):
Talking about it.

Speaker 25 (01:00:36):
We've done our best. Now what's pausitive?

Speaker 9 (01:00:39):
Paused?

Speaker 4 (01:00:39):
And God be all done.

Speaker 25 (01:00:41):
I now sent in setting people against us.

Speaker 9 (01:00:44):
He didn't look at me while he spoke.

Speaker 25 (01:00:48):
Two evenings later, which is to say, the evening of
May the twenty first, I returned home at half past nine.

Speaker 9 (01:00:52):
Full of suppressed excitement.

Speaker 25 (01:00:54):
I had a story to tell Rudge, and I was
yet not sure if I should be wise in telling it.
His nerves had grown worse during the past two days.
Rather to my surprise, he wasn't in his room working.
Two minutes later, while I was reading what he had
left in his typewriter, I heard the gate click and
footfalls on the path. Naturally, I guessed it Rudge, temperamental

(01:01:15):
as he.

Speaker 9 (01:01:15):
Was, had suddenly tired of his work and gone out
for a walk.

Speaker 25 (01:01:19):
I heard the footsteps come to within a few yards
of the house. When they left the path fell softer
on grass and weeds, and approached the window. The curtain
obscured my view, but on the glass I heard the
tap of fingertips, and I called out right out and
went around to the front door to let him in.

(01:01:40):
Having opened the front door, I leaned out and saw him, Rudge,
I imagined, appearing in the study window. He was no
more than a dark bent shadow in the dusk, with
a soft felt hat such as he generally wore. Right out,
I said again, and I hurried to the kitchen to
put our supper on the table.

Speaker 9 (01:01:54):
I remember that as I walked through to the.

Speaker 25 (01:01:56):
Sink, one of the beams over my head creaked noisily.

Speaker 9 (01:02:01):
Well.

Speaker 25 (01:02:01):
He produced a book that supper and sat scowling at
it over his left arm. How we ate this was
permitted by our rules? But I had something to tell him,
And after a while I said, Rudge, I made a
discovery this evening. I know how we got this place
so cheap. He sat up with a start, and he said,
how well, this is Stanley Stride's old house.

Speaker 9 (01:02:21):
Do you remember him?

Speaker 25 (01:02:23):
He was pale already, but I saw him turn paler still,
and he said, yes, I remember the name vaguely.

Speaker 9 (01:02:29):
Wasn't he a murderer? He was?

Speaker 25 (01:02:32):
I didn't remember the case very well, but my memory
has been refreshed today. Everybody here thought we knew it
was rather a grizzly business. And the odd thing is
that local opinion is all in favor of Stride's innocence.

Speaker 9 (01:02:43):
Although he was hanged. So I remember the name, but
I forget the case.

Speaker 25 (01:02:47):
And tell me well, Stanley Stride was an artist who
rented this place. He got himself entangled with the daughter
of a neighboring farmer and found himself compelled to marry her.
But at the same time he fell in love with
another girl, so the old one here and murdered her.
He buried the body and afterwards tried to make out
she'd committed suicide. So of course the house is haunted.

(01:03:08):
So I don't know about haunted, but it's been a
devilish house to sit in for the past few evenings.
I mean a trylight. When I've been waiting for you.
My nerves have been pretty rolidly the night I couldn't
stand it, so I went out for a stroll. Oh yeah,
by the way, what made you go out the second time?

Speaker 9 (01:03:25):
I didn't, But my dear Chap, you did because the first.

Speaker 25 (01:03:29):
Time you came in you wore a hat and two
minutes later I saw you walking up the garden paths
without one.

Speaker 9 (01:03:35):
That's when I did come back.

Speaker 25 (01:03:36):
I haven't worn a hat all this evening, and that
reminds me when you were come in of an evening.
You needn't sneak up to the window and tap on
it with your fingers. It doesn't frighten me, and it's disconcerting.
You can always walk into the room and let me
know that you've come back. But my dear chap, I
I've done no such thing.

Speaker 8 (01:03:58):
Why you old liar.

Speaker 25 (01:03:59):
You've been doing it every evening for the past week
until tonight, when I didn't give you the chance. Well,
I swear I haven't, Rudge, But if you thought that,
it explains why you did the same thing to me tonight.
I I didn't even come near the window. But then, well,
then who was the man I saw peering in? I
saw him from the door.

Speaker 9 (01:04:19):
Well, it seems we've got our ghosts after all.

Speaker 25 (01:04:26):
At that moment, we heard a scuffling sound from the kitchen,
followed by the creaking of tin much lower than before.
Rudge moved in his chair and he said, not don't
laugh at me. I know this is all right. But
I've got a hideous feeling that things hidden and unseen
around us are moving steadily to a crisis. Well, you

(01:04:46):
cheerful brute, Yes, I know, it's only my nerves. Of course,
I don't want to detect you with him. But the
noises we hear, and the fellow who comes and taps
at the window, now they want some explaining away, now,
don't they, Especially now that we know somebody was murdered here.

Speaker 9 (01:05:03):
I'm beginning to wish we didn't know about that.

Speaker 25 (01:05:19):
That night, I read in the parlor and fell asleep
over my book, and just as the lamp was burning
out the last of its fuel, I awoke. And as
I watched the last flutterings of the lamp, I became
suddenly aware of the cause of my waking. I had
heard the latch snap on the garden gate, and in
that moment I began to hear them the footfalls. I
heard the rhythmic crunch of gravel, and then the swish
of long grass, and then the shadow knotted on the blind.

(01:05:42):
It loomed up large and suddenly became stationary. A loose
pain rattled under the impact of fingers. I saw only
the head and shoulders of a man who wore a
dented felt hat. His head lolled over onto his left shoulder,
just as I'd always imagined a man's head would lall
if well if he had been hanged, And I knew
it my blood, that he was a ghost and that
he wanted me for something. I felt my hair bristle,

(01:06:05):
and suddenly I was streaming with sweat eye. I don't
remember turning and running, but I have a vague recollection
of bouncing off the door post and stumbling in the hall.

Speaker 9 (01:06:13):
And when I reached my bed, I don't know if.

Speaker 25 (01:06:15):
I fainted or fell asleep. No, I didn't tell Rudge
the next day, his nerves were in a bad enough
state already. But I did question missus James, our charmoman,
when she arrived, and I saw a look half stubborn
and half.

Speaker 9 (01:06:29):
Guilty across her face.

Speaker 25 (01:06:31):
Yes, of course she remembered the murder happening, but she
didn't remember much about it.

Speaker 9 (01:06:36):
Mister Stride was quite a nice.

Speaker 25 (01:06:38):
Gentleman, although rather or one for the ladies, and Stride's
defense was that the poor girl had committed suicide, and
that he'd lost his head and buried the body when
he found it. Lots of people thought that was true,
but they hanged mister Strideford all the same and that
was all I could get out of missus James. That morning,
when I called the inn for my usual class, I

(01:07:00):
asked the landlord if he would tell me the date
of the.

Speaker 9 (01:07:03):
Murder, and he said, well, yes, sir, it was.

Speaker 25 (01:07:06):
Made that why it was eight years ago tonight. Well,
that evening I went out again and came in at
the usual hour and Rudge came down the path to

(01:07:27):
meet me. He was white and sick looking, and he
said he's been here again half an hour ago. You
saw him this time? Yes, I did as you did
and went around to the door. He is a ghost,
you know.

Speaker 9 (01:07:39):
Well what happened.

Speaker 25 (01:07:41):
I went around to the door when I heard him
tapping at the window, and there he was, as you
saw him yesterday evening, trying to look in through and
into the room.

Speaker 9 (01:07:48):
He must have heard before. He turned and stared, and
his head.

Speaker 25 (01:07:50):
Was all drooping on one side, like a poppy and
a broken stem. And he came toward me, and I
couldn't stand that, so I turned and I ran into.

Speaker 9 (01:07:57):
The house and locked the door.

Speaker 25 (01:08:00):
Well, after a pause, I said Ruge, this is the
anniversary of the murderer. Yeah, I should think something worse
would happen.

Speaker 9 (01:08:08):
Alid shall we see it through? Or shall we beat it?
And almost in a whisper, Rudge said, poor devil, he
wants to tell us something, you know, yes, or show
us something. So we agreed to stay.

Speaker 25 (01:08:27):
We were left in peace until just after eleven o'clock,
when once more we heard the garden gate being opened
as footfalls. We could see nothing, for our lamp was lit,
but I knew what it looked like.

Speaker 9 (01:08:38):
The thing that.

Speaker 25 (01:08:38):
Stood outside and now tapped softly on the glass. And
in spite of having rudged for company, I lost my
head and I screamed on it.

Speaker 22 (01:08:45):
Get right whatever you want to get back to hell.

Speaker 9 (01:08:48):
And it was Rudge who kept us head.

Speaker 25 (01:08:49):
He called up, no, no, no, no, come in, come
in if we can help you. The front door was locked,
but it was no barrier to our visitor.

Speaker 9 (01:08:58):
We heard slow footfalls shuffling through the hall.

Speaker 25 (01:09:02):
I died a thousand deaths as they approached the door
of our room, but they passed and died away up
the passage.

Speaker 9 (01:09:09):
And then I heard a whisper from Rudge. He's gone
through into the kitchen. I think he wants us to follow.

Speaker 25 (01:09:15):
Oh oh, I shouldn't have gone if Rudge hadn't half
dragged me by the hand.

Speaker 9 (01:09:21):
The kitchen door was closed.

Speaker 25 (01:09:23):
Rudge held his breath for a moment, lifted the latch,
and took a quick step across the threshold.

Speaker 26 (01:09:28):
And in that same instead he throws my child blood
of the stream, such as.

Speaker 9 (01:09:32):
I had heard in war time from a wounded horse.

Speaker 25 (01:09:36):
He had almost fainted when he returned and fell into
my arms. I half dragged, half carried him into the
dining room and gave him a brand in.

Speaker 40 (01:09:45):
Suddenly, suddenly I became aware that a great peace had
settled upon the house. I can only compare it to
the freshness and sweetness of the earth after a storm
has passed.

Speaker 25 (01:09:57):
Rudge felt it too, for presently began to talk. He
said he wasn't in the kitchen, not in the kitchen.
But then what who it was?

Speaker 9 (01:10:08):
She? Only she?

Speaker 25 (01:10:11):
She was kicking and struggling from the middle beam, you know,
and there was an overturned chairge of feet.

Speaker 9 (01:10:18):
She was worse than he fought. I was poor devil.
So he didn't kill her.

Speaker 25 (01:10:25):
You see, next morning we had it out with missus James,

(01:10:47):
and we didn't permit her memory to be hazy or defective.
She must have known that we had seen something, and
presently she spoke openly. She said, well, he said he'd
found her hanging in the kitchen, the poor cha gentleman,
and that he'd buried her because he was afraid people
would say that he'd done it. But the jury wouldn't
believe him, and the doctor's all said that it wasn't

(01:11:09):
true that the marks on her neck was where he'd
strangled her with the rope.

Speaker 9 (01:11:15):
I don't believe it to this day that he did it.
I don't. And that was all we heard and all
we wished to hear. Afterwards, Rudd said.

Speaker 25 (01:11:25):
To me, you know, for his sake, the truth as
we know it ought to be told everybody. If people
knew as we know, it might let him rest. I'm
sure that's what he wanted, just that people should know. Yes,
you write it, I can't, and so I have. You

(01:12:09):
can turn up the lights now, you can look around you.

Speaker 9 (01:12:14):
Nobody is there? Really? Everything is all right, isn't it?

Speaker 10 (01:12:28):
Now?

Speaker 25 (01:12:28):
Here is Nelson Olmstead to tell us about next week,
mister Olmstad. Next week, we have two unusually fine stories.
The first is by Catherine and Porter is entitled The
Jilting of Grannie Weatherall, and the second is the weird
tale of a Madman by Paul Ernst called Escape. You're

(01:12:55):
listening to Sleep no More, an NBC Radio Network production
directed by Kenneth McGregor until next week when Nelson Almstead
will again be here in person.

Speaker 9 (01:13:10):
This is Ben Grauer bidding you, but now.

Speaker 27 (01:13:28):
You have four minutes to launch the check proceeding navigation systems.

Speaker 10 (01:13:35):
Good comes.

Speaker 41 (01:13:40):
The Covered Beneath the Stairs by Mark Brecken.

Speaker 27 (01:13:45):
Where is he?

Speaker 42 (01:13:46):
Probably still in bed?

Speaker 27 (01:13:47):
I'm not today, surely, Barnie.

Speaker 22 (01:13:51):
Where the hell have you been?

Speaker 42 (01:13:53):
You're not bringing that case in here, Captain.

Speaker 43 (01:13:55):
There's no room.

Speaker 27 (01:13:55):
Barney just gets trapped in sticking together. Captain's Blog, Monday,
third of April. These are the tails of the spaceship
Zeus one, better known as the cupboard beneath the Stairs.
I don't know who first thought of it. We all
love watching stuff about the Moon missions. Barn is nearly

(01:14:18):
forty old enough to remember them. We were talking about
the strange juxtaposition, the vastness of space, the romance of
the voyage and the harsh reality of living in a
tin can with two other blokes.

Speaker 42 (01:14:32):
Two minutes, Thank you, Claire, have you let one off?

Speaker 16 (01:14:35):
No, don't look at me.

Speaker 42 (01:14:37):
Oh yeah, there's a dead mouse.

Speaker 44 (01:14:40):
What's very realistic in space, and there's vermin crawling out
from every skirting bore sauted.

Speaker 27 (01:14:51):
So we decided to do it, really do it, reenact
a Moon mission from the cupboard beneath the stairs. You
may well, I wonder why we'd spend our hard earned
holidays doing this, but then you probably don't live in Farnborough,
the home of British flying and quite possibly the dullest
town on Earth. Six months in the planning, it was

(01:15:15):
a top simulation program designed by Phil A virtual window
looking out onto a spectacular recreation of the view. Barney
conceptualize the space.

Speaker 11 (01:15:27):
I see it as a.

Speaker 44 (01:15:29):
Womb, a womb within the smallest room.

Speaker 27 (01:15:33):
Barney is our mission's artist in residence, and me, as
those two wouldn't serve under each other, I became commander
by default. For seven days, we will live, eat and
breathe together in a space the size of well a
cupboard five.

Speaker 38 (01:15:52):
Four three two one.

Speaker 3 (01:15:58):
We have lived on WHOA wow?

Speaker 44 (01:16:02):
That is it's real man, feel the falsekin vibrations.

Speaker 1 (01:16:07):
Two thousand mega tons of car boot speaker more from.

Speaker 42 (01:16:10):
A chat brother in law.

Speaker 44 (01:16:11):
Chat is a word used by nasty little little glass snubs.

Speaker 27 (01:16:14):
We go home, onwards and upwards, the sky turning from
light blue to dark blue and then to black, and suddenly,
eight minutes in farm Braa, we have Earth orbit.

Speaker 11 (01:16:29):
Oh wow, wow, I can feel it.

Speaker 19 (01:16:34):
I actually feel like I'm workless.

Speaker 45 (01:16:36):
The idea of your mighty bulk being weightless is very difficult,
even for a physicist to understand.

Speaker 27 (01:16:41):
Around the world in eighty minutes, then round again. Phil
has surpassed himself. The quality of the simulation is amazing.
Even Barney said, so, oh wow. Mission time elapsed two
hours forty one minutes. Time to go, tis gape velocity good.

Speaker 41 (01:17:08):
It's a copboard intended to fly the hallway.

Speaker 27 (01:17:12):
Barney, immerse yourself.

Speaker 44 (01:17:14):
Sorry, Captain fully immersed in five four three two one.

Speaker 27 (01:17:24):
Captain's blog Tuesday. Mission time elapsed twenty five hours, seventeen minutes.
We are all slowly adjusting to our strange and cramped
new world. Phil of course, has his head in the
computer most of the time, and I've been using rather
more of my drama teaching skills than expected. As for Barney, well.

Speaker 42 (01:17:45):
I'm bored. I am so utterly bored.

Speaker 20 (01:17:48):
Look at the moon.

Speaker 27 (01:17:50):
It's getting bigger by the hour.

Speaker 42 (01:17:51):
I've seen the moon. It's boring. There's music on the
computer music music.

Speaker 44 (01:17:55):
Yeah, how Barnie, can you possibly move without treading on people?

Speaker 42 (01:18:00):
It's too big for space travel? Fascist.

Speaker 22 (01:18:02):
Oh it's time we ate?

Speaker 27 (01:18:03):
Is you a surprise anyone? You've got to eat?

Speaker 42 (01:18:07):
Philm low residue diets.

Speaker 27 (01:18:08):
We're all on a low residue diet.

Speaker 42 (01:18:10):
I'm on an extra low residue diet.

Speaker 15 (01:18:13):
What's this?

Speaker 44 (01:18:15):
This is awful Country sugar.

Speaker 42 (01:18:18):
All played on apollow mission luckily.

Speaker 46 (01:18:20):
And I thought, hey, now where was it at the.

Speaker 31 (01:18:25):
Lay?

Speaker 9 (01:18:26):
Hey?

Speaker 47 (01:18:27):
Yeah, boys sends me, It really sends me.

Speaker 42 (01:18:32):
In Which mission? Was this played on one of the
later ones? I was there, remember? I heard him playing
it on the way to the loon.

Speaker 44 (01:18:38):
Didn't you watch some astronauts were aout two minutes and
then you went I'm bored and turned over to watch
White Horses.

Speaker 42 (01:18:44):
I mean, you've loaded it onto the navigation program. For
God's sake, I'm deleting it immediately.

Speaker 17 (01:18:49):
Captain, Come on, Phil, one track.

Speaker 14 (01:18:53):
It can't hurt, can it says lately Away.

Speaker 27 (01:18:59):
Captain's Blonde Wednesday. Barney played his track three hundred and
seventy nine times before I threatened him with loss of rations,
So now he is seeking other amusements.

Speaker 42 (01:19:10):
I mean reality.

Speaker 37 (01:19:13):
What is reality, man, Barney?

Speaker 27 (01:19:15):
Can you get your knee out of my back?

Speaker 9 (01:19:17):
Sorry?

Speaker 44 (01:19:17):
There's many universes theory, man, Science that is unproven, science, Barney.
Each time two possibilities exist, one version of the skulls
on one path and one on the other.

Speaker 42 (01:19:28):
Impossible. I read my physics a bunch of Charlatans in
the unexplained section.

Speaker 44 (01:19:33):
I'll leave the mundane stuff to you engineers, loser. Oh,
it's all so easy for you, your nice little job,
your nice little house, your nice little Stepford wife. He
can't make you happy, Daisy, not like I did, Barney.

Speaker 27 (01:19:47):
Please God, oh my god, it's okay.

Speaker 42 (01:19:51):
For no, no, no, it's my stomach.

Speaker 39 (01:19:56):
Moving.

Speaker 26 (01:20:00):
You're down low residue tunea surprises.

Speaker 40 (01:20:06):
I've only eaten one, and it's disagree with my bloody constitution.

Speaker 44 (01:20:16):
Thank god, we've got gravity, man.

Speaker 19 (01:20:26):
Look at the earth, Look at what you've left behind.

Speaker 27 (01:20:30):
It's beautiful and now Look, leave the Fruster's alone bar
that's all right.

Speaker 8 (01:20:40):
Look where you're heading to?

Speaker 42 (01:20:41):
That great barren lump of rock.

Speaker 27 (01:20:44):
Oh that's me and Phil.

Speaker 15 (01:20:44):
I suppose.

Speaker 42 (01:20:48):
I know it's all between us, but why hear him?

Speaker 9 (01:20:50):
He's not right for your daisy.

Speaker 8 (01:20:52):
You have a bohemian like man.

Speaker 42 (01:20:55):
Me and Phil worked, didn't We were no fun though,
wasn't it?

Speaker 7 (01:21:00):
Yes?

Speaker 42 (01:21:02):
What's going on?

Speaker 9 (01:21:03):
What are you doing?

Speaker 27 (01:21:04):
It's nothing? Just kill him?

Speaker 16 (01:21:07):
I will kill us.

Speaker 9 (01:21:08):
I'm passionate.

Speaker 11 (01:21:09):
Last come on, then, come and get it.

Speaker 48 (01:21:10):
Mission abought it fifty five hours, fifty four Claire, I'm
coming out.

Speaker 27 (01:21:14):
It was nothing, Phil a peck on the cheek.

Speaker 9 (01:21:18):
What the hell you?

Speaker 8 (01:21:21):
Oh my god?

Speaker 42 (01:21:22):
Oxygen tank to explode.

Speaker 29 (01:21:24):
It doesn't exist.

Speaker 42 (01:21:25):
Main engine unusable farmer. We have a problem.

Speaker 11 (01:21:32):
Drown and shroud and night job your sir, it's dead.

Speaker 42 (01:21:37):
It's something wrong. I'm still going to kill him, and
so I get a stand from here. I'm definitely going
to kill him.

Speaker 27 (01:21:44):
How's it going on?

Speaker 9 (01:21:45):
Work?

Speaker 42 (01:21:45):
No fear of that exit lunar orbit at just the
right trajectory and slim shots effects sends us back to
us Captain's blog.

Speaker 27 (01:21:55):
Thursday. Mission time elapsed sixty five hours twelve. We are
now seven hours from the moon. Phil is totally absorbed
in his navigation, and miraculously he and Varney appear to
have called a truce for the moment. It is strange
since the explosion all of us have become totally immersed

(01:22:18):
for the first time. I feel as if we really
are in space.

Speaker 44 (01:22:22):
Just imagine if those Apollo thirteen guys hadn't got back
their faces when they're new, well they're dying days played
to a billion TV views.

Speaker 42 (01:22:32):
Imagine if they got stuck on the moon.

Speaker 27 (01:22:35):
That seems better somehow.

Speaker 13 (01:22:37):
At least you could go for a walk.

Speaker 44 (01:22:39):
Well if they wait for the oxygen to run out,
or just top themselves, top themselves.

Speaker 42 (01:22:44):
Sure, what a way to girl out on the surface,
no space soup?

Speaker 49 (01:22:49):
Naked?

Speaker 27 (01:22:49):
In fact, why naked?

Speaker 39 (01:22:51):
Why if you go?

Speaker 42 (01:22:52):
What better way than dancing naked.

Speaker 19 (01:22:53):
On the moon?

Speaker 42 (01:22:54):
The lungs would explode before you hit the bottom step.

Speaker 11 (01:23:01):
Sixteen got that farmbro.

Speaker 27 (01:23:04):
We are about to enter lunar orbit. It is a
half moon and matching half three hundred thousand miles behind us.
It is awesome to see it so close, but none
of that golden hue we sometimes get back home as
cold as granite, Farbra.

Speaker 42 (01:23:26):
We have Moon orbit.

Speaker 27 (01:23:30):
Around the near side. Then the Earth sinks low on
the horizon. The Earth sets no more, Claire. And now
the far side the features only the few have seen,
Sea of Moscow, craters, Apollo, Gagarin, Comarov.

Speaker 50 (01:23:54):
Get your head out of that computer film.

Speaker 10 (01:23:56):
Come and see.

Speaker 51 (01:24:00):
That.

Speaker 9 (01:24:00):
It is good.

Speaker 42 (01:24:02):
I never expected such a resolution.

Speaker 27 (01:24:05):
But all too soon the sun sets as well, and
we are in darkness.

Speaker 42 (01:24:12):
Zeus calling Farbra, Zeus calling Farmbra. Anyone see earth rise?

Speaker 9 (01:24:20):
Nothing, It's been an hour.

Speaker 8 (01:24:22):
We must be round.

Speaker 42 (01:24:25):
Zeus calling Claire.

Speaker 52 (01:24:27):
Claire.

Speaker 42 (01:24:28):
Oh, this is impossible.

Speaker 53 (01:24:30):
If these coordinates were correct, we'd be in a completely
different part of the universe.

Speaker 27 (01:24:36):
Captain's blog, Thursday. For six hours, Phil has worked on
the coordinates. But there's nothing. No Earth, no Claire, no Moon.
All of us are so in this now. None of
us want it to be the end, but this is it.

Speaker 19 (01:24:59):
Game over, welcomeboard, right now.

Speaker 44 (01:25:04):
I could murder a fight in the crown.

Speaker 30 (01:25:09):
Oh what is it?

Speaker 8 (01:25:13):
Ah, there's nothing there.

Speaker 42 (01:25:16):
It's farn bro.

Speaker 16 (01:25:19):
There's nothing out there, nothing at all.

Speaker 27 (01:25:24):
My god, He's right.

Speaker 50 (01:25:28):
There's nothing space, not space space, empty space, white space,
white space, My god.

Speaker 27 (01:25:46):
There's something in the distance.

Speaker 24 (01:25:47):
Another cupboard, another set of stairs.

Speaker 22 (01:25:51):
Oh, man, what are you doing.

Speaker 11 (01:25:55):
You're not working here to be propped by aliens.

Speaker 54 (01:25:58):
If this is it, I'm going out in the blaze
of Laurie.

Speaker 27 (01:26:00):
Stay where you are, Barney, and put your clothes back on.

Speaker 9 (01:26:06):
Tune.

Speaker 15 (01:26:07):
Oh oh, they're playing my tune of all the cublets
in all the universes.

Speaker 16 (01:26:14):
I knew it all my life, back tune calling me.

Speaker 42 (01:26:17):
You probably heard it in the wood.

Speaker 8 (01:26:18):
No, oh, I know this place.

Speaker 22 (01:26:22):
The door's opening, someone's coming out place.

Speaker 15 (01:26:25):
Two regular sized humanoids and hideously obese naked.

Speaker 6 (01:26:32):
Oh god, it's me.

Speaker 19 (01:26:35):
It's not the version of me and me and click
many universes.

Speaker 16 (01:26:40):
Man, you're on missing control.

Speaker 10 (01:26:45):
You and me, Barney.

Speaker 16 (01:26:47):
We look like we were an item, different universe, different choices.

Speaker 27 (01:26:51):
Get us down from here, film, Come, get us down
from here now.

Speaker 41 (01:26:58):
My horses horses lay ride away in the cupboard beneath
the stairs by Mark Brecken. Daisy was played by Emily Walkter,
Phil by Anthony Glennon, Bonney by Kim Wall and Claire
by Tracy Wilds. The director was Paul Arnold.

Speaker 21 (01:27:19):
White Houses Story, Rock Houses, Lord Ride.

Speaker 15 (01:27:25):
How.

Speaker 54 (01:27:29):
Strange Will's.

Speaker 48 (01:27:34):
Starring the distinguished Hollywood actor Warren William and featuring Loreene
Tuttle and leo' cleary, with Howard Culper and an all
star Hollywood cast original music by Del Castilio.

Speaker 9 (01:27:51):
Dead men's wills are often strange. We cannot attempt to
understand them or try.

Speaker 5 (01:27:58):
To find the answers weak and but tell the story.
This is Warren William bringing you the story of Miser's Gold.
But first.

Speaker 48 (01:29:14):
And now back to Warren William as John Francis O'Connell
in Miser's Gold.

Speaker 5 (01:29:27):
Of all the strange, weird characters I've had the pleasure
to represent in probate matters, none I think ever, can
measure up to the caliber of old Nick gold Minor Extraordinary.
I saw him for the first time on a cold
March morning when he came up to my office for
legal advice. He won another hat nor overcoat, and his

(01:29:47):
toes blue with cold was sticking out of his broken shoes.

Speaker 10 (01:29:52):
He was a.

Speaker 47 (01:29:55):
I'm an old man, sick man. I want to know
what happens to your money.

Speaker 5 (01:30:00):
You kick the bucket, well, Nick, Under the law, it
goes to your next of kin. If you have a
wife and children.

Speaker 47 (01:30:06):
Then I ain't got no wife and kids.

Speaker 5 (01:30:08):
Well, then to your blood relatives, that is, of course,
if you die without making a will, And if I
make your will, then to whomsoever you name has beneficiaries.

Speaker 47 (01:30:16):
Nick, I only got one sister and two brothers.

Speaker 5 (01:30:19):
How will you answered your own question?

Speaker 47 (01:30:20):
I don't want them to get my money. I hate them.

Speaker 5 (01:30:24):
WHOA Well, how about some charity?

Speaker 47 (01:30:27):
No, no, no, I ain't going to give my money
to no strangers.

Speaker 5 (01:30:30):
Neither, well, Nick, One thing is certain. If you have
any money, you can't very well take it with you can.

Speaker 47 (01:30:36):
No, No, that's right. I can't take it with me.

Speaker 54 (01:30:39):
But then I ain't going to give it to no strangers.
And I don't want.

Speaker 47 (01:30:44):
Well, I think it over, mister Conell. I'll think it over.
Oh how much did I owe.

Speaker 5 (01:30:51):
You owe me for that small consultation?

Speaker 9 (01:30:54):
Nothing?

Speaker 47 (01:30:55):
Nick, No, no, mister connell, that ain't how I do
my business. I pays for what I get. Take this
paper bag and keep what's in it, And when I
make up my mind, mister O'Connell, I'll get in tretch
with you.

Speaker 5 (01:31:09):
Very well, Nick, Good day to mae mister O'Connell.

Speaker 8 (01:31:14):
Bye.

Speaker 5 (01:31:24):
After Nick had left the office. I untied the string
around the little paper bag he'd given me. He felt
like a bag of sand. Maybe old Dick was a
beach comber. I poured the contents out on my desk.
Great seizure. What couldn't be true?

Speaker 22 (01:31:41):
There it was, Yes, mister O'Connell.

Speaker 5 (01:31:44):
Murrie, Marie, has that old character gone?

Speaker 22 (01:31:46):
Yes, I'm still fumigating the room.

Speaker 5 (01:31:48):
Come in here, Marie, Well, I'll be blessed.

Speaker 20 (01:31:53):
Were you exphyxiated too?

Speaker 5 (01:31:54):
Look look here on this paper.

Speaker 20 (01:31:56):
Don't tell me, let me guess it.

Speaker 5 (01:31:59):
Well, at least it looks like gold, right, Marie, A
little paper bag full of pure gold dust. That old
krodger gave it to me.

Speaker 22 (01:32:08):
And he looked like a pauper and smelled worse.

Speaker 29 (01:32:11):
Who is he?

Speaker 22 (01:32:12):
Why the gold?

Speaker 5 (01:32:13):
That's the strange part of it. Would you believe it, Marie?

Speaker 20 (01:32:16):
If I told you to tell me what mister O'Connell, Well, I.

Speaker 5 (01:32:19):
Only know him by the name of Nick. I don't
even know where he lives. But as it turned out,
that wasn't the last of old Nick. One morning, Marie
came running into my own.

Speaker 22 (01:32:41):
It's a postcard, and that character that came in to
see you. We know his last name now it's Nick Boller,
and we know where he lives too.

Speaker 5 (01:32:47):
Here give it to me, eh, mister O'Connell, I thought
over what you told me. Want you to come to
my shack tonight. Take Silver Canyon Road to end. Then
stop and you'll see a path that goes up mountain.
You'll have to walk the rest of the way. I
live on the top of the mountain. You can't miss it.

(01:33:08):
I want to make a will Nick Boller. Later that night,
Marie and I set out for Nick's shack in the mountains.
Who was this Nick Buller? Had he more gold?

Speaker 4 (01:33:26):
Well?

Speaker 5 (01:33:27):
That seemed to be the inevitable conclusion. In any event,
The next few hours would be decidedly.

Speaker 22 (01:33:34):
Well, mister O'Connell, you've already had your bag of gold.
Maybe after I transcribe all of your notes tonight he'll
love You'll give me one two maybe, But.

Speaker 5 (01:33:43):
Don't have any high hopes, Marie. This Nick is certainly
a crackpot. Maybe he won't have a dime.

Speaker 22 (01:33:49):
He probably gave you his life savings, But how do
you think he ever got the gold dust?

Speaker 5 (01:33:54):
Maybe he's a prospector.

Speaker 9 (01:33:56):
Well, here we are.

Speaker 22 (01:33:58):
This looks like the end of the road, Nick said,
when you get here, right here to stop.

Speaker 1 (01:34:02):
We couldn't go farther if we wanted to.

Speaker 5 (01:34:06):
Now, then let's find that pathe.

Speaker 22 (01:34:10):
Oh, I never knew there was such a deserted place
in the whole world.

Speaker 5 (01:34:15):
It's dark, isn't it.

Speaker 39 (01:34:19):
Now.

Speaker 5 (01:34:19):
I'll turn on a flashlight.

Speaker 22 (01:34:22):
There's the path, see over there, the right Look, that
must be it?

Speaker 12 (01:34:25):
All right?

Speaker 5 (01:34:26):
Well, are you ready for a good climb? Marine?

Speaker 22 (01:34:29):
I didn't wear these pedal pushes for nothing. Oh but
this mountain looks awfully high.

Speaker 5 (01:34:35):
And steep too. But let's get going.

Speaker 22 (01:34:50):
Say I'll about resting for a minute. This is the
charge of the light brigade, you know.

Speaker 5 (01:34:55):
Whew, Yes, maybe you're right. Isn't there any end of
this We must be near the top, can't be much farther.

Speaker 22 (01:35:03):
Suppose I give out with a few youths. Maybe you'll
hear us and show us a shortcut.

Speaker 5 (01:35:09):
Not a bad idea, try it? Hello, Hello, awake the dead.
Let's see if he heard us. Listen to those dogs say,
wait a minute, this might be serious.

Speaker 22 (01:35:30):
But coming this way, I think this is where we
start our return trip.

Speaker 1 (01:35:33):
We couldn't make the car before they caught up to us.

Speaker 22 (01:35:35):
Yes, but we might be able to get up in
this tree.

Speaker 1 (01:35:37):
All right, quick here, give me your foot take them.

Speaker 18 (01:35:40):
Both get then up you go. I'm up.

Speaker 10 (01:35:45):
Now you hurry, I'm here.

Speaker 18 (01:35:49):
Come just in time too, must be old Nick.

Speaker 1 (01:36:02):
Well here we are, Nick, up here in this tree.

Speaker 9 (01:36:05):
Dogs brushing down when they heard the woman's voice.

Speaker 54 (01:36:08):
See they don't like women.

Speaker 20 (01:36:10):
I'm not as popular as a polecat.

Speaker 5 (01:36:12):
Just a moment, Nick, I'll jump down. I brought my
secretary along to take notes.

Speaker 39 (01:36:17):
Nick.

Speaker 5 (01:36:17):
Miss Humphrey you know, Nick, of course.

Speaker 22 (01:36:21):
Well, if one of you gentlemen would please disengage me
from this tree.

Speaker 5 (01:36:24):
I'm sorry.

Speaker 1 (01:36:25):
Yeah, give me your hand.

Speaker 22 (01:36:26):
Over the days of Sir Walter Rawle.

Speaker 5 (01:36:29):
Now, then down you come.

Speaker 47 (01:36:31):
Oh and then you get here, mister O'Connell, and both
have you let me lead the way. I'm fair from here.

Speaker 5 (01:36:39):
Well, Marie, are you ready to begin climbing again?

Speaker 22 (01:36:43):
McDuff. After this workout, I'll be ready to play ball
with the Dodgers.

Speaker 54 (01:36:54):
Folks here.

Speaker 5 (01:36:54):
Yeah, So this is where you live, Nick, I wonder
you haven't any neighbors.

Speaker 54 (01:37:00):
Only got one.

Speaker 47 (01:37:01):
He lives about a mile away. And see I don't
live very fancy like it's just the one room shack
on the mountain.

Speaker 5 (01:37:07):
Traps ought to be nice and breezy.

Speaker 22 (01:37:09):
High on a windy hill.

Speaker 47 (01:37:11):
Sometimes I think the wind like to blow me and
the shack right down the mountain. That's going to get
down the brass tacke Not to.

Speaker 9 (01:37:18):
You, Marie.

Speaker 22 (01:37:21):
Well, chair, table and a pile of bags.

Speaker 47 (01:37:25):
Not much funny shave it. I can only sit on
one chair at the time.

Speaker 5 (01:37:31):
Marie, be a good girl and park yourself on the sandbag.

Speaker 22 (01:37:34):
Oh it's going to be ducky.

Speaker 5 (01:37:36):
Now then, Nick, we're ready to go to work.

Speaker 47 (01:37:38):
And I never told you much, mister colonel, and day
i'd come to your office.

Speaker 5 (01:37:42):
Well, suppose you tell me now just what you have
to will away and who you want to get it.

Speaker 47 (01:37:47):
I got a sister name is Sarah, and two brothers,
Herman and Natto.

Speaker 22 (01:37:52):
Getting this, Marie, heirs at law next to kin. Sister Sarah,
brothers Herman and Otto.

Speaker 47 (01:37:58):
Yeah, yeah, that's right. My sister was married, her husband
died named is stevens Now. She and my brothers all
live in town.

Speaker 22 (01:38:05):
Say, before we take inventory, I wish you'd pardon me
just a minute while I try making a sandbag a
little more comfortable.

Speaker 20 (01:38:14):
Doesn't dent very easily.

Speaker 22 (01:38:16):
It's more like concrete than sand.

Speaker 47 (01:38:19):
That's my battlest miss It helps to keep my house
from blowing off the mountain.

Speaker 54 (01:38:24):
Hold up there behind there, thank you.

Speaker 47 (01:38:29):
I don't know if you notice, but there are ten bags,
and each one's got a name.

Speaker 20 (01:38:34):
Oh you name the sandbags too.

Speaker 9 (01:38:36):
Yep.

Speaker 47 (01:38:36):
This one's Evelyn, and that one's Gert. And you were
sitting on Mert.

Speaker 20 (01:38:42):
Oh, oh, I'm so sorry, Mert.

Speaker 47 (01:38:44):
And below is Hattie, Alice and Marty.

Speaker 1 (01:38:46):
Those are your girls, eh, Nick, not.

Speaker 47 (01:38:48):
Exactly mister Connell, but they're the only women I have
a nude.

Speaker 12 (01:38:54):
I just like him.

Speaker 2 (01:38:55):
I just like him.

Speaker 47 (01:38:57):
Yep, each bag's got a name. Here, I'll show you
why they pardon me, missile. Oh, I'll open up, Mercer.
Put that paper on the floor, amish.

Speaker 22 (01:39:07):
But at night there on the floor.

Speaker 20 (01:39:10):
Now, what's coming on?

Speaker 9 (01:39:12):
Look gold?

Speaker 10 (01:39:14):
It's you?

Speaker 20 (01:39:17):
Oh no, no, I'm saying, oh no, it's gold.

Speaker 47 (01:39:22):
Everlast bag is filled with gold.

Speaker 31 (01:39:25):
Eh.

Speaker 47 (01:39:25):
Look at her, run.

Speaker 1 (01:39:34):
Let her.

Speaker 5 (01:39:35):
When I recovered my composure and Marie got over her shock,
Nick told me his story.

Speaker 47 (01:39:41):
You want to know how I got my gold, I'll
tell you in my family. I was always a dumb one.
My brothers and sisters would laugh at me because I
couldn't get no place in school.

Speaker 5 (01:39:50):
Oh well, you certainly had the last laugh.

Speaker 39 (01:39:52):
Night.

Speaker 47 (01:39:52):
When my father died, he left his business to my
two brothers, herman and nottto his house and money to
my sister, and to me. He just give me a mule,
a mule that he used in his business. Her name
was Annabella. When I took Annabella and went into the mountains,
and nobody said goodbye, they was glad to get rid
of me. One night I camped by the mountain stream.

(01:40:14):
I was down right lonely, hungry and sick of living.
Annabella had wandered off to look for grass.

Speaker 29 (01:40:21):
And then.

Speaker 47 (01:40:25):
Arabella, what's the matter?

Speaker 19 (01:40:29):
Wait?

Speaker 47 (01:40:30):
Wait, wait, Annabella, I'm coming. Oh oh yeah, let's see
what's your traveler?

Speaker 29 (01:40:39):
Quiet?

Speaker 47 (01:40:39):
Quiet with you now? So you caught your art rope
on a rock, eh, I'll keep your dandy down. I'll
have you loose in two shakes, step with the tight.
Come on, Annabella, you left to pull together and afterme on. Eh,
I had to pull half the mountain off to get
you loose. Be a good girl and bet yourself down.

(01:41:02):
Bet yourself, Hannamela, Look look where the stone came out.

Speaker 54 (01:41:11):
It's it's gold, gol Annabella.

Speaker 16 (01:41:14):
We've hit paydirt, you see, Send full of pure Gold.

Speaker 48 (01:41:30):
Part two of Strange Wills, written by Ken Crapene and
directed by Robert Webster. Light will follow in just a moment.
But first a word from your announcer, and now back

(01:43:04):
to the Strange Wills story. Miser's Gold with Warren William
as John Francis O'Connell.

Speaker 5 (01:43:15):
And in these bags, Nick, is what you got out
of your plaso mine?

Speaker 47 (01:43:19):
Yeah, mister O'Connell, I filled ten bags with gold, I did,
and then it ran out, but it was enough took
me over five years to get. Every night, when I
came in from the Diggins, I'd let the gold has
run through my fingers, and when I filled each bag,
I'd give it a name like well, kind.

Speaker 54 (01:43:37):
Of like a friend.

Speaker 22 (01:43:38):
I wish I had some friends like that, Nick, I'd
settle for even one. Marie, Well, girl, can wish, can't you?

Speaker 47 (01:43:45):
Well? Then my mule Arabella died, buried next to the mine.
Got kind of lonesome, and figured i'd pay a visit
to my kinfolks. Thought maybe the years. It softened them up.
I was ready to share my gold if they was.

Speaker 54 (01:44:01):
I went down to the city.

Speaker 22 (01:44:09):
We haven't anything for tramps.

Speaker 54 (01:44:11):
Remember I ain't a tramp, Sarah. Don't you know me?

Speaker 51 (01:44:15):
Know you?

Speaker 55 (01:44:16):
No?

Speaker 22 (01:44:17):
Why? Why your Nick?

Speaker 54 (01:44:20):
Yes, Sarah, I'm your brother Nick.

Speaker 22 (01:44:22):
Well what do you want?

Speaker 47 (01:44:24):
I thought i'd say to pay your visit? Sarah, I'm
I'm rich. Now you rich.

Speaker 22 (01:44:30):
You're crazier than ever. Wait a minute, here, take this
five dollar bill and go away. We don't want you
to disgrace our family name.

Speaker 54 (01:44:38):
But Sarah, don't you understand that.

Speaker 22 (01:44:40):
I don't want to understand anymore than I can see.
Take the money and go away now before I change
my mind.

Speaker 54 (01:44:46):
All right, Sarah, all right, I'll go, But here, take
your money.

Speaker 19 (01:44:53):
I don't need it.

Speaker 47 (01:45:02):
But news about my strike spread like wildfire through the town,
especially when I paid my bills in gold. My brother
Herman finally run in to me one day on the
main street.

Speaker 2 (01:45:13):
Nick.

Speaker 48 (01:45:14):
Nick, you can't imagine how glad we all are to
know that you're well and rich.

Speaker 1 (01:45:19):
Good to see you.

Speaker 54 (01:45:21):
Yeah, Herman, I don't all right.

Speaker 48 (01:45:23):
We want you to come to dinner tonight. He'll all
be there to kill the fatted calf.

Speaker 3 (01:45:30):
You know.

Speaker 54 (01:45:31):
Yeah, But Herman Sherrid told.

Speaker 48 (01:45:32):
Me and you must tell us all about your gold.
Maybe all of us can share in your good fortune. Hey, Nick,
after all, we are your blood relatives. Sure, come on
over for dinner about seven h.

Speaker 47 (01:45:48):
Nick, All right, Herman, I'll see you all tonight. I've
got to Hermann's house a little before seven.

Speaker 54 (01:46:02):
It's getting dark.

Speaker 47 (01:46:03):
I walked along the side of the house and passed
by an open window. Inside I could see my two
brothers in.

Speaker 54 (01:46:09):
Sarah, talker, have.

Speaker 22 (01:46:12):
You made arrangements with the judge?

Speaker 47 (01:46:13):
Otto, Now, Sarah, everything's taken care of. After he leaves
here tonight, he'll be picked up as a vagrant. Isn't
that right, Hermann?

Speaker 48 (01:46:19):
Yes, the judge promised to give him a hearing right
away and see that he's committed to an asylum.

Speaker 22 (01:46:25):
Yes, and Otto, as soon as we find out where
he lives, we'll just go out there and take possessions.

Speaker 51 (01:46:31):
Well.

Speaker 47 (01:46:31):
Of course, meantime, one of us will get appointed as
conservator of his estate. Does that mean anything to you, Sarah?

Speaker 22 (01:46:37):
As it will if we can find his gold, must
a lot have a lot of it hidden away somewhere.

Speaker 28 (01:46:42):
We'll find out where it is.

Speaker 5 (01:46:44):
Was always too dumb to be rich anyway, just like
that mule father willed him.

Speaker 54 (01:46:49):
Remember that.

Speaker 5 (01:47:01):
I come back to the hills, and I never seen
him since. Well, Nick, I can't rarely blame you for
not wanting to leave them your fortune. But if you don't,
it'll have to go to other people.

Speaker 51 (01:47:10):
I know.

Speaker 7 (01:47:10):
I know.

Speaker 47 (01:47:12):
For six months, night and day, I've been trying to
figure a way of giving it to him, and still
making sure they can't spend it.

Speaker 9 (01:47:19):
Huhh.

Speaker 47 (01:47:20):
And I guess it can't be done, and they're bound
to get it one way or another. I want you
to make my will given my kinfolks everything.

Speaker 54 (01:47:31):
I'll take care of the rest. I'll take care of
the rest.

Speaker 5 (01:47:44):
Realizing that Nick was rarely a very sick man, I
lost no time in preparing his will and taking it
out to his shack for his signature as I neared
the top of the mountain.

Speaker 1 (01:47:56):
Hello, Hello, Nick, Hello Nick.

Speaker 54 (01:48:01):
Oh, go right in the check, mister O'Connell.

Speaker 47 (01:48:03):
I'm just fixing things up underneath here.

Speaker 5 (01:48:06):
I'll be right up fixing things. Eh, well, this place
could stand a little fixing.

Speaker 54 (01:48:12):
He let my will.

Speaker 47 (01:48:16):
Yes, I've got a third Then let's get it over with.

Speaker 5 (01:48:30):
Old Nick must have had a premonition of what was coming,
because just a few days later, he was found dead
in his cabin by his only friend and neighbor on
the model. His neighbor called me immediately, as Nick had
instructed him to do. After reporting Nick's death to the
proper authorities, I called his sister, Sarah.

Speaker 56 (01:48:54):
Yes, are you missus?

Speaker 5 (01:48:56):
Sarah Stephens?

Speaker 39 (01:48:57):
Yes?

Speaker 22 (01:48:58):
Who is this and what do you want?

Speaker 5 (01:48:59):
This is John Francis O'Connell, attorney at law. You have
a brother, a brother named Nick?

Speaker 22 (01:49:04):
Yes, what about it?

Speaker 5 (01:49:06):
He asked me to call you as soon as I
was informed of his death.

Speaker 39 (01:49:10):
Death Nick dead?

Speaker 22 (01:49:13):
Where and where?

Speaker 5 (01:49:14):
I am informed that he died some time during the night.
A neighbor found his body this morning.

Speaker 9 (01:49:19):
Oh where in his house?

Speaker 5 (01:49:21):
He lived in a little shack on top of the
mountain at the end of Silver Canyon Road.

Speaker 22 (01:49:25):
Did he turn over anything to you?

Speaker 5 (01:49:26):
He says, no, No, nothing has been turned over. That,
of course, will have to be done through legal channel.

Speaker 22 (01:49:31):
When I look here, he was I brother, Wasn't he
What he had belongs to us? Herman Otto and me
are his only relatives?

Speaker 8 (01:49:38):
Yes?

Speaker 22 (01:49:38):
I know, but immediately in deac possession of his property
the end of Silver Canyon.

Speaker 5 (01:49:43):
Road to say, I wouldn't advise that for two reasons. First,
certain legal steps will have to be taken. The coroner
will have to examine the body, and then provision will
have to be made.

Speaker 22 (01:49:53):
All right, all right, so you've advised, as you've done
your duty. But just let someone try and stop us
from going. What he's got belongs to us, and mister
Wee aimed to get it.

Speaker 5 (01:50:06):
Well, what a charming female. I could see greed coming
right out of the telephone.

Speaker 22 (01:50:11):
I wonder why Old Nick insisted that you call her
as soon as you found out he was dead. Dasincy
didn't want those three vultures to get his.

Speaker 5 (01:50:18):
Goal at w No, he should have known that'd be
no stopping them once they heard the news.

Speaker 20 (01:50:22):
No stopping them.

Speaker 51 (01:50:23):
Right.

Speaker 22 (01:50:24):
I bet they're on the way right now.

Speaker 5 (01:50:26):
I wonder, Marie, I wonder if Old Nick didn't want
them to get there first?

Speaker 39 (01:50:32):
What? But why?

Speaker 12 (01:50:34):
Well?

Speaker 22 (01:50:35):
What did he say the last time you saw him?
How did he feel about it the day you went
out there to have him sign his will?

Speaker 5 (01:50:40):
We didn't say anything. Felt fine as far as I
could see. Yes, I remember he was all smiles, had
a saw in his hand when I met him.

Speaker 20 (01:50:48):
What was he doing trimming the shrubber?

Speaker 5 (01:50:51):
He might have been trimming his beard for all I know.
Wait a minute, Marie, wait.

Speaker 20 (01:50:55):
A minute, the man of mister O'Connell.

Speaker 11 (01:50:57):
You look sick.

Speaker 5 (01:50:58):
I am sick, Marie, get your hat and coat to talk. Now,
come on, we've got a trip to make. An every
second count. Why can't this cargo faster? Why can't it.

Speaker 22 (01:51:20):
You're already making seventy two? What do you expect when
you're climbing them out?

Speaker 9 (01:51:24):
Faster?

Speaker 1 (01:51:25):
Faster?

Speaker 5 (01:51:25):
We've got to go faster, almost almost up to the top, Marie,
don't give up.

Speaker 20 (01:51:44):
We've got to make it.

Speaker 12 (01:51:45):
We've got to look.

Speaker 1 (01:51:47):
Look, the shack is still there. It's still there.

Speaker 28 (01:51:50):
Oh, thank Heaven.

Speaker 5 (01:51:51):
Come on, let's run for it.

Speaker 18 (01:51:52):
I'm right behind you.

Speaker 10 (01:51:54):
We'll make it.

Speaker 12 (01:51:54):
We'll make it. There it goes to the shack.

Speaker 1 (01:51:58):
We're too late.

Speaker 5 (01:52:06):
There's old next answer, just as I fear you're right.

Speaker 20 (01:52:10):
Oh, how horrible, mister O'Connor. I can't believe it.

Speaker 48 (01:52:29):
Warren William will be back in just a moment to
tell you the rest of the story of the Probate
cause of miser's gold. But first, here is a brief
message from your announcer, and now again here is Warren

(01:53:12):
William as John Francis O'Connell.

Speaker 5 (01:53:15):
You see, Marie, Nick knew that if I had any
hinkling of his mad plan, I would have stopped it.

Speaker 22 (01:53:20):
But how did he ever manage to have the shack
tumble down the mountainside just when his two brothers and
sister were in it.

Speaker 5 (01:53:26):
His family may have called him the dumb one, but
in reality Nick was shrewd and crafty. He knew all
about the stress and strain of timbers from his experience
working his mind. He knew too that Sarah, Herman and
Otto were greedy, yet they would rush out to his
shack to find his horde of gold. A minute I
let them knowld Nick was dead, and if you remember,

(01:53:46):
Nick insisted time and time again that they should be
notified immediately. We know now that Nick sawed into and
weakened the supports that held his shack to the mountainside,
and waited for his greed relatives to bring him the
revenge he so wanted. Well, they came all right. They
stormed into the shack and began tearing everything apart looking

(01:54:07):
for the gold. Their combined weight brought their own destruction.
The supports collapsed, and the shack with its unholy three
crashed down the mountain side.

Speaker 22 (01:54:16):
It seems to me they were all guilty of one
sin or another, every.

Speaker 5 (01:54:20):
One of them, and how unnecessary. If Sarah would only
have listened, I would have told her that Nick had
made a will and left everything to them. There was
no necessity for their mad race to destruction. Well that's
about all you know, the rest of it.

Speaker 22 (01:54:34):
All, But one thing, When did you first realize what
all Nick was up to?

Speaker 5 (01:54:39):
Had suddenly dawned on me the morning in the office.
I remembered then that the day Nick signed his will,
I heard the sound of a saw, And then I
recalled how anxious he was to have me notify his
relatives as soon as he died. Too late, I saw
the plan.

Speaker 9 (01:54:56):
Of his revenge.

Speaker 20 (01:54:57):
He really got his revenge, didn't he?

Speaker 9 (01:54:59):
Yes, but not entirely.

Speaker 5 (01:55:01):
Sarah and Hermann died, of course, but Otto survived the fall,
and eventually he will get the entire fortune. See Marie,
old Nick never learned that two wrongs don't make a right.

(01:55:32):
Next week, I have a thriller for you about savage
love and romance in the unshotted wilds of the frigid North.
Into this desolate and rugged land north of Hudson's Bay,
a beautiful, wilful young girl comes to claim her inheritance,
an enormous tract of land left to her in the
last will of a deceased relative. Here she found a

(01:55:54):
peaceful land of virgin forests and Pierre Battiste le Blanc,
French Canadian trapper who moulds women to his way of
life or else. But the girl hat a mind of
her on that is until the night the timberwolve serenaded
her just outside her cabin door. And then, well, I

(01:56:15):
can promise you a story filled with action and suspense.
Will the strength and brawn of Pierre Battiste LeBlanc finally
win over the determination of this tampered, beautiful woman to
resist love In the frozen wastes of the far North.
You'll find the answer and the story we call East

(01:56:36):
of Hudson's Bay. This is Warren William inviting you to
listen again next week.

Speaker 48 (01:56:51):
Strange Wills is a Tellaway's feature produced in Hollywood. M
Any similarity between names used on this broadcast and those
of living persons is purely coincidental.

Speaker 31 (01:57:13):
The story you're about to hear is true. But straw, honey,
you're shivering.

Speaker 12 (01:57:31):
You don't tell me. Ship's whistles always do that.

Speaker 22 (01:57:34):
No, it's not that poor.

Speaker 9 (01:57:36):
Well then what.

Speaker 12 (01:57:38):
Are you're leaving home? You and your fiance You're heading
for France getting married by the ship's capital. But honey, let's.

Speaker 10 (01:57:47):
Wait, do we get to France. It's such a strange feeling.

Speaker 9 (01:57:52):
What else?

Speaker 57 (01:57:53):
Well, I've never been to France, and yet, oh, I
have the feeling that somehow I'm going home that I
have been in France before.

Speaker 58 (01:58:11):
Strange True Stories of the Supernatural with your narrator, famous author,
lecture and expert on strange and weird events, Walter Gibson.

Speaker 56 (01:58:20):
Thank you, Charles Wood.

Speaker 59 (01:58:23):
Marlene Channing had never in her life been to France,
and yet when she and her fiancee Paul Wellman, got
off the boat of Cherbourg, the feeling that she was
once again on familiar ground was stronger than ever. It
was a feeling that grew as they took the boat

(01:58:43):
train to Paris that became even more positive as they
left their hotel and had a paratifs in an old
sidewalk cafe.

Speaker 12 (01:58:53):
Hey, Marlene, Honey, snap out of it. Got that far
away look in your eye again, Not far away, just
the opposite.

Speaker 57 (01:59:04):
Never mind, dear Wellene, look at I am.

Speaker 12 (01:59:10):
I mean really, you know you haven't really looked at
me since well since that bolt whistle went off back
in New York.

Speaker 10 (01:59:18):
Now, Paul, if you're going to talk about getting married.

Speaker 11 (01:59:20):
What else.

Speaker 12 (01:59:20):
That's what we're going to do, isn't it. We're going
to get married the first night out by the ship's captain,
and then you get some peculiar idea, and here we
are in Paris already and still not married.

Speaker 9 (01:59:33):
Don't you love me, honey?

Speaker 12 (01:59:35):
Well you know I do want look baby. In addition
to all the obvious comments, this is expensive, expensive for sure,
Separate state rooms, separate rooms at the hotel. Two can
live as cheaply as one, Marlne, but not this way.

Speaker 10 (01:59:51):
I don't know what to say.

Speaker 9 (01:59:54):
Well you do, I It's just.

Speaker 10 (01:59:58):
It's is if I'm think for what's something exactly?

Speaker 57 (02:00:04):
Someone a man, Paul, It doesn't make sense. I seem
to know him and respect him, but I don't love him.
But I have to meet him.

Speaker 10 (02:00:17):
I have to meet him before we can get married.

Speaker 59 (02:00:25):
Paul couldn't understand what Marlene was driving at, and neither
could she. Then the afternoon came when, like all American tourists,
they took a trip out to Versailles.

Speaker 10 (02:00:36):
Oh, Paul, it's beautiful, isn't it. Palaces and the grounds
in the gardens.

Speaker 12 (02:00:43):
Paul, No, we go this way, honey, you claim the tour.

Speaker 9 (02:00:46):
Never mind the tour, this.

Speaker 10 (02:00:47):
Way, this hedge. Well, there's a little opening in the hedge.

Speaker 22 (02:00:50):
I'm going in.

Speaker 12 (02:00:58):
Welcome to the tree, mademoiselle.

Speaker 10 (02:01:03):
It's not a masquerade?

Speaker 9 (02:01:05):
Is it the masquerade? Mademoiselle?

Speaker 10 (02:01:07):
All all these people inferior costumes.

Speaker 12 (02:01:09):
But most assure they not.

Speaker 10 (02:01:12):
And it's not Louis the fourteenth, is it.

Speaker 12 (02:01:14):
My dear young lady, The good Louis the fourteenth has
been dead for some time. This is the time of
Louis is sixteenth, the time of love. Everybody laughs, not you, Lisie, No, mademoiselle,
I do not for what is there to be gay about?

(02:01:35):
If one looks beyond the wall of this garden, if
one looks beyond the ramparts of France across the ocean,
what was it you stare at me.

Speaker 10 (02:01:48):
Tu, you look so familiar as if I've seen you before.
I'm sure I've ye before.

Speaker 22 (02:02:02):
But where where.

Speaker 12 (02:02:13):
Marlene?

Speaker 11 (02:02:14):
Huh?

Speaker 12 (02:02:16):
Werlene? What's the matter with you? I followed you through
the hedge, and then all at once you were gone.
I lost sight of you. I looked everywhere, Marlene, Oh.

Speaker 10 (02:02:25):
Where are they?

Speaker 9 (02:02:27):
Where's who?

Speaker 10 (02:02:27):
All the people the party? They were so gay only
he said they had no right to be gay.

Speaker 12 (02:02:32):
He just said, honey, what are you talking about? We're
all alone.

Speaker 57 (02:02:36):
We're alone, yes, yes, we are.

Speaker 12 (02:02:42):
Well sure, honey, Hey, come on, we've gone back to Paris.
Come on drinking your cocktail? Morlene? What's the song? Morlene?

Speaker 60 (02:03:09):
Song?

Speaker 10 (02:03:10):
What's a song called?

Speaker 12 (02:03:12):
You were just humming in I was, don't you remember?

Speaker 52 (02:03:17):
Mmm?

Speaker 10 (02:03:19):
Oh yes, it does sound familiar.

Speaker 12 (02:03:21):
I never heard it before, and I know you pretty well,
at least I thought I didn't until yesterday afternoon. I mean,
what happened up there?

Speaker 10 (02:03:32):
I met someone Paul who a man. He was young
and handsome.

Speaker 57 (02:03:39):
You're just all in blue, A blue coat edged with
gold lace ruffles, it a sleeves and neck.

Speaker 12 (02:03:46):
Sounds like a you know what I mean? I mean,
you're imagining something after all, this is the twentieth century,
not the eighteenth.

Speaker 10 (02:03:52):
It seems so rude.

Speaker 12 (02:03:53):
It's this country, or maybe it's the water or something
we're not accustom to. Mike, you ill, you can imagine anything.

Speaker 10 (02:03:58):
I didn't imagine him.

Speaker 52 (02:04:00):
He was real, as real as you are, and i'd
seen him before.

Speaker 24 (02:04:03):
I know, I have sure.

Speaker 12 (02:04:04):
That's great. You meet somebody back in the eighteenth century
and you're sure you've seen him before, when in some
former existence.

Speaker 10 (02:04:10):
Man, No, Paul, that's a strange part. What I say before,
I mean recently.

Speaker 57 (02:04:15):
I mean in my own life.

Speaker 12 (02:04:17):
Oh fine, you're scrambling time for sure, aren't you. Look Honey,
you've got to get over this. Yes we may not
be married, but I'm still responsible for There.

Speaker 10 (02:04:27):
Was something he wanted to talk over with me. There
was I can feel it, some big decision he had
to make.

Speaker 12 (02:04:33):
You've gotta let me feel you for it. Marline, you've
got a fever.

Speaker 18 (02:04:36):
Haven't Lady?

Speaker 12 (02:04:37):
You got a fever? Come on you going back to
the hotel. You're gonna rest.

Speaker 59 (02:04:47):
Marlene allowed herself to be led back to her hotel room.
She made no protest when Paul insisted she rest.

Speaker 9 (02:04:53):
While he went for the doctor.

Speaker 56 (02:04:55):
But half an hour later, when Paul returned, I'm sorry,
I touched a line marine.

Speaker 12 (02:05:06):
She's gone, She's not here. So, mademoiselle, you have come back,
and I must gradual.

Speaker 10 (02:05:25):
I thought I had to see you again.

Speaker 9 (02:05:27):
And I to speak with you.

Speaker 39 (02:05:29):
You are.

Speaker 9 (02:05:31):
You're not French?

Speaker 10 (02:05:33):
No, no, I am not.

Speaker 12 (02:05:35):
I thought you are not one of the accosted British.

Speaker 9 (02:05:38):
I am American, American? What is this?

Speaker 29 (02:05:42):
Oh?

Speaker 12 (02:05:43):
The current is no, that is where you're from. Across
the ocean, yes, across the ocean.

Speaker 8 (02:05:49):
What is that song?

Speaker 9 (02:05:51):
The song?

Speaker 12 (02:05:52):
Never mind the song. Let the other sing and dance,
they make laughter while the world falls up there there
are fools who cannot see the coming of the storm.
Where but everywhere on, mammoiselle. Here in France itself, perhaps,
but most assuredly, most assuredly, across the ocean, in your

(02:06:14):
own land?

Speaker 19 (02:06:15):
What kind of st How can you not know?

Speaker 12 (02:06:17):
They are not already rumblings of it? Are not your people?
Bitter against tyranny, against oppression? Yes, we always can you
speak as if your country had lived for centuries, when
it is even now just beginning, just killing.

Speaker 56 (02:06:31):
Mademoiselle.

Speaker 9 (02:06:33):
The question why should I stay here to lead this
empty life? Why should I not go to your cant
and fight for three men?

Speaker 12 (02:06:55):
Moraine Horain, Oh, Paul, there are honey see I I
I had a feeling you'd come out here to the
fifty tree and on it since I saw your hotel
room was empty.

Speaker 61 (02:07:07):
Eye?

Speaker 9 (02:07:10):
Why did you?

Speaker 12 (02:07:12):
Did you see this joker yours again?

Speaker 30 (02:07:14):
Yes?

Speaker 9 (02:07:16):
Did he make that decision?

Speaker 10 (02:07:19):
Decision? Yes? I think he too.

Speaker 59 (02:07:29):
It was the next day Marlene and Paul were back
in Paris. Paul had left Marlene at the hotel while
he went out to get a visa for them to
visit Switzerland. It was a hot day, and passing a
small museum, he heard music. It was the same music
he had heard Marlene hum He went in.

Speaker 9 (02:07:49):
And spoke to the curator.

Speaker 12 (02:07:50):
A young lady, Uh, pardon me that that song they're playing?
Is that a new song?

Speaker 10 (02:08:03):
In one sense, remiss it? But in another noose in
another it is very old?

Speaker 9 (02:08:18):
Or listen why?

Speaker 59 (02:08:19):
The curator talked, then went back to the hotel, taking
with him a small picture. Marlene was asleep, but she
awakened as.

Speaker 12 (02:08:27):
She heard, Mmmm, Hi, Honney, I I've found out about
your song you did. I also pick up this picture
look familiar.

Speaker 10 (02:08:47):
Well, that's him, is the man in the Petit trie?

Speaker 11 (02:08:50):
You known who is he?

Speaker 12 (02:08:51):
The song is from seventeen seventy five.

Speaker 56 (02:08:54):
Marlene, that has just been found, found.

Speaker 12 (02:08:58):
That was forgotten for centuries, and of a copy that
came to like just a week ago.

Speaker 10 (02:09:02):
Football I heard it.

Speaker 56 (02:09:04):
Yeah, I guess, honey, that you must have gone back
in time.

Speaker 12 (02:09:10):
You went back to seventeen seventy five and heard it,
and maybe you even helped influence the guy in this picture,
influence him to do what he did. You see, I
mean that was his favorite song, And you're right, he
looked familiar. We've seen his picture in history books.

Speaker 10 (02:09:29):
Whose picture.

Speaker 9 (02:09:33):
The Marquis de Lafayette.

Speaker 59 (02:09:45):
A strange passage back through time, one that was proved
to have actually happened when a lost song turned up
again after one hundred and fifty years. I'll bring you
another story of the supernatural, The Hand of Glory story
true but strange.

Speaker 58 (02:10:05):
Tune in at the same time for Walter Gibson. You're
expert on the supernatural stories of ghosts, of spirits, werewolves,
and voodoo, and each story you hear is true but strong.

Speaker 12 (02:10:25):
Strange.

Speaker 58 (02:10:25):
With Walter Gibson, as Your Expert, was directed by Bill Marshall.
In the cast were Anne Potoniac and Ian Martin. This
is Charles Wood speaking. Strange came to you from New York.

Speaker 62 (02:10:44):
Strange has come to you through the worldwide facilities of
the United States Armed Forces Radio and Television Service.

Speaker 61 (02:11:00):
I don't know, I don't know anything any.

Speaker 9 (02:12:13):
Suspense.

Speaker 63 (02:12:24):
This is the man in black here again, who introduced
Columbia's program Suspense with Us again a star as mister
Orson Well in the third of four successive appearances or
the Suspense Audience and sharing honors with mister Well. This
evening is a lovely and distinguished Hollywood leading lady, Miss
Geraldine Fitzgerald, our plays and it is from a short

(02:12:47):
story by Agatha Christian and so with Philomel Cottage and
with the performances of Geraldine.

Speaker 35 (02:12:53):
Fitzgerald as Alex Martin and.

Speaker 63 (02:12:55):
Of Howson Wells as her devoted husband gerald again, hope
to keep you in a swim.

Speaker 17 (02:13:22):
Philomel Cottage, what's that? I'm just reading the sign over
the gate? What a Philarmon name?

Speaker 52 (02:13:29):
Are you joking?

Speaker 51 (02:13:30):
No?

Speaker 52 (02:13:30):
Really, you little cockney. Then he has for three weeks
and you still don't know Pilomel is another name for
the birds. It's supposed to seeing only for lovers. You've
been hitting it every twilight, oh nightingale, of course and
signed Philamo Cottage is the main reason I wanted to
play for us spared you bought it.

Speaker 60 (02:13:50):
This was a fifty to fifty investment.

Speaker 52 (02:13:51):
And you note if fifty a thousand pounds from me
and two from you, could we do?

Speaker 60 (02:13:56):
You couldn't touch anymore of your capital at the time.
And well, when you find a country cotte to combine
an old world charm with new world plumbing, and wanted
to grab it.

Speaker 17 (02:14:05):
And we did have to have the place, didn't we?

Speaker 9 (02:14:09):
Yes, we did.

Speaker 52 (02:14:11):
I've often wondered if you went a bit lonely none you,
I mean, well, after living in the city all your life,
pretty much to ourselves, you know, two miles in the
nearest neighbor, the nearest eavesdropping I mean, not an utterly
hopeless romantic I know.

Speaker 17 (02:14:27):
So you can't get out of it now, Oh, Gerald,
do you know what.

Speaker 6 (02:14:30):
Day to day is?

Speaker 52 (02:14:31):
Today? It's the thirteenth.

Speaker 60 (02:14:33):
Anniversary, darling. We've known each other exactly a month.

Speaker 52 (02:14:37):
No, exactly, it's thirty days.

Speaker 35 (02:14:39):
Oh really, no, really, what is it, dear?

Speaker 17 (02:14:44):
Do you have a payny game?

Speaker 52 (02:14:47):
No, just do an indigestion?

Speaker 8 (02:14:52):
I think, yeah.

Speaker 10 (02:14:56):
Do you want me to get to you a bill.

Speaker 52 (02:15:00):
Eliots eleven twenty five, to get on to the village,
How to get that camera equipment and the human timetable
walks to the garden gate, My dear, there's nothing wrong
with system.

Speaker 19 (02:15:12):
Leaven all the honeymoon.

Speaker 52 (02:15:13):
Sooner I go, sooner I get back.

Speaker 17 (02:15:15):
Oh, come on, girl, forget your little photography. Why don't
you stand in some gardenings.

Speaker 9 (02:15:19):
To be good for you? For old George, he gets
paid for it.

Speaker 11 (02:15:22):
He did not do a game for Saturday.

Speaker 17 (02:15:24):
The place will go to rack and ve my dead
buddy right there. Don't walk too fast, you remember the
last time.

Speaker 35 (02:15:31):
Be careful, darling, be careful, but it just slipped out.

Speaker 63 (02:15:41):
Be care Alex Martin, swinging there on the garden gate,
smiling out the happiness across the part of England that
was as remote and placid.

Speaker 35 (02:15:50):
As any you care to find, wondered why she'd said
such a ridiculous thing. If this were London, say that
would have.

Speaker 52 (02:15:59):
London.

Speaker 35 (02:16:01):
Slowly the smile fell away.

Speaker 63 (02:16:03):
She knew then that the memory of that last week
in London had never really been far from my mind.

Speaker 35 (02:16:08):
That and that last talk with this on the top
deck of the bus crossing Profalda Square.

Speaker 19 (02:16:13):
She'd never seen him like that before.

Speaker 49 (02:16:15):
Sheer old Martin, I tell you, Alex, the man's a
perfect stranger too.

Speaker 35 (02:16:18):
You know nothing about him.

Speaker 64 (02:16:20):
I know that I love.

Speaker 9 (02:16:20):
How can you know in a week?

Speaker 24 (02:16:22):
People me mess?

Speaker 17 (02:16:23):
It doesn't take everyone seven years to find out. Then
of the girl that's.

Speaker 19 (02:16:27):
Men for me is Alex.

Speaker 17 (02:16:29):
It's no Harleys.

Speaker 19 (02:16:30):
Don't you know what it's been?

Speaker 51 (02:16:31):
Go mean?

Speaker 52 (02:16:32):
Not being able to tell you.

Speaker 63 (02:16:33):
I couldn't, not with the incum id is, and I
decided I couldn't wait anymore, and I was going to
tell you.

Speaker 35 (02:16:38):
Anyway, And you know what happened now.

Speaker 9 (02:16:39):
I'm afraid I know, yes, you would.

Speaker 19 (02:16:41):
Do that money you were in house, that money for
your cousin or uncle law whoever.

Speaker 65 (02:16:45):
I don't see what you didn't think.

Speaker 52 (02:16:46):
I could ask you to marry me?

Speaker 49 (02:16:47):
Then?

Speaker 35 (02:16:47):
Did you? You don't think I could live off your money?

Speaker 60 (02:16:50):
I am sorry, believe me, I am, But the day
it doesn't matter now, one way or the other doesn't matter,
does it?

Speaker 3 (02:16:57):
Then?

Speaker 35 (02:16:57):
That it matters to that mocking shop.

Speaker 3 (02:16:59):
But he's after you, mark my words, He's after your money.

Speaker 60 (02:17:02):
But might interest you to know that Daryl has money
of his own, far more than I have, and more
than I have.

Speaker 19 (02:17:06):
Maybe that's the deid.

Speaker 17 (02:17:07):
I've had enough of this.

Speaker 60 (02:17:08):
I'm getting over the next stop.

Speaker 35 (02:17:10):
I'll ex please all right.

Speaker 19 (02:17:12):
But let me tell you something.

Speaker 60 (02:17:13):
If you think I'm going to let Joe cut me off,
not do anything about it, Joe.

Speaker 9 (02:17:16):
Very much mistake him.

Speaker 35 (02:17:17):
I'll catch up with him.

Speaker 8 (02:17:18):
Do you hear.

Speaker 52 (02:17:19):
I'll catch up with him if it's the last thing
I do.

Speaker 35 (02:17:30):
I'll catch up with him, if it's the last thing
I do. To Alex. That thread of just one month
ago was merely a season, the moment outburst of word pride.

Speaker 63 (02:17:39):
And yet if she leaned on the gate of philamel Cotty,
She's kept going in her mind. What swepted away, what
brought her back to the rustic idealy happiness of her
life with Gerald's Martin, was the ring of the telephone inside.

Speaker 35 (02:17:50):
The cottee, who could be called.

Speaker 63 (02:17:54):
Gher oh Gerald, if party had time to get beyond
the turn in the road, except if if something had
happened to him, we had another attack, maybe one of
the villagers was trying to call.

Speaker 35 (02:18:03):
To say that he was. She hurried them in her hands,
sugar twice.

Speaker 17 (02:18:09):
Hello, Alex, Dick, What who did you say, Dick?

Speaker 9 (02:18:16):
Alex your voice, I wouldn't have known it, stick, tick,
one of us?

Speaker 66 (02:18:20):
Oh?

Speaker 17 (02:18:21):
Well, where are you?

Speaker 18 (02:18:22):
The traveler's arms?

Speaker 32 (02:18:24):
That is the right name, isn't it?

Speaker 14 (02:18:26):
Or aren't you a plained to your bel You mean
not here someone.

Speaker 23 (02:18:30):
On holiday doing but fishing and the objection to my looking.

Speaker 58 (02:18:33):
Up you two good people this afternoon?

Speaker 17 (02:18:35):
No, no, no, you mustn't by Alex, I beg your pardon.

Speaker 4 (02:18:40):
Of course I will bother you.

Speaker 17 (02:18:42):
I'm sorry, Dick. I only meant to be away this afternoon.
Why don't you come to see me?

Speaker 31 (02:18:48):
Thanks very much, but I'll probably be away by then,
depends my.

Speaker 17 (02:18:51):
Mother turns up by, Alex, good bye, Dick and I.

Speaker 63 (02:19:01):
For a long moment, Alex stood quite still, the memory
of Dick's threat flooding her mind. She walked across the spacious,
old beaned living room. By the time she reached the
side port, she made up her mind. Much as she
hated the seat, she would say nothing to gerald of
Dick's call. She stepped out into the garden and for
the second time that morning got a surprise.

Speaker 35 (02:19:21):
Their biggest live was our gardener, says lead from.

Speaker 60 (02:19:24):
Me ahead, Why George, I thought we'd read that Saturday
was your day here he thought.

Speaker 35 (02:19:32):
As he used to be surprised Missus Martin.

Speaker 49 (02:19:35):
This will be affair over the Squires on Saturday, he
says to me. He says, mister and missus Martin, they long,
did you or miss if I tells her one summer
Wednesday instead.

Speaker 35 (02:19:46):
There was Saturday, and of course not George.

Speaker 49 (02:19:49):
Then I thought too, I might as well see before
he he was a ree, so as to learn your
wishes with the borders.

Speaker 17 (02:19:56):
Before I go along to none of the mora. M
you going to London to miles? Where did you hear
of met.

Speaker 49 (02:20:04):
Mister Martin down the village yesterday? He told me you
were both going away to London to warror and it
was uncertain.

Speaker 35 (02:20:11):
When you'd be better again.

Speaker 49 (02:20:12):
I didn't now, don't tell me you when the master
is difficult in a already h.

Speaker 17 (02:20:21):
Oh naturally not just slip my mind get all the
left point.

Speaker 49 (02:20:27):
Yes, never could understand why anybody wanted to go up
to London.

Speaker 35 (02:20:32):
Know like mister Rains what he used to have this house.

Speaker 19 (02:20:36):
He wind up.

Speaker 49 (02:20:37):
There, I said, don't mind you, yes, And after fixing
up this place like he did, taps.

Speaker 35 (02:20:44):
All over everywhere. Well you're going to.

Speaker 49 (02:20:47):
Take a loss, he says to him, when I see
he's the place up for sale.

Speaker 35 (02:20:51):
They never run as away. You're fad for washing themselves
in every.

Speaker 49 (02:20:55):
Room in this house.

Speaker 35 (02:20:56):
And the man we're speaking, But George.

Speaker 49 (02:20:59):
He says, and you'll get everything, any of two thousand
bones for this house.

Speaker 35 (02:21:04):
He suing happy ways he got three thousand.

Speaker 49 (02:21:07):
Two thousands, And he was asking, was talkboub at the time?

Speaker 17 (02:21:13):
Really know you figured it was thought to be Now George,
you see I gave to render. Well it really was
three thousand.

Speaker 49 (02:21:22):
You don't tell me that mister Eames had the feast
to stand up to see breathe thousand breezing rape in
a loud voice.

Speaker 17 (02:21:29):
He didn't say to me. He said it too.

Speaker 35 (02:21:34):
He guess I'll lose some speed now more than two those.

Speaker 63 (02:21:47):
And Alex strolled on across the garden. She was conscious
of a thin, vague thought, struggling.

Speaker 35 (02:21:52):
To make itself hurt in.

Speaker 52 (02:21:54):
Abruptly it was gone.

Speaker 35 (02:21:56):
Her eye had fallen off on a small, dark green object.
Flying in the purpose one of the flower beds.

Speaker 19 (02:22:02):
Her husband's pocket directory.

Speaker 63 (02:22:04):
She picked it up and opened it, scanning the entry
with some amusement, once again reminded of Gerald's enslave them to.

Speaker 35 (02:22:10):
Time and system them. It was the entry on page
twenty one that brought the smile from the face after.

Speaker 17 (02:22:17):
Fourteen smell Alex and Peter.

Speaker 63 (02:22:20):
Sat two thousand and it was the entry on page
thirty I took that smile away. She stared, puzzled at
the date on the page, Wednesday, May thirteen.

Speaker 17 (02:22:31):
Why why that day.

Speaker 35 (02:22:34):
Only one thing was written there in red penny six pm?
Mean what was to happen at six pm?

Speaker 63 (02:22:44):
As she stood there, that small, vague thought struggle to
be heard once more, it was, Yes, it was something
Dick wounded that it said, not the threat, not that wild,
silly promise of vengeance, but by something else.

Speaker 35 (02:22:57):
And then it came.

Speaker 19 (02:23:00):
Stranger to you.

Speaker 9 (02:23:01):
It's nothing about him, nothing, it's true.

Speaker 19 (02:23:04):
What did she know about him?

Speaker 35 (02:23:05):
After all?

Speaker 49 (02:23:06):
He is.

Speaker 17 (02:23:09):
Gerald, I love him, I trusted him.

Speaker 35 (02:23:13):
But then she thought once again of that cryptic entry
six pm. It was just three o'clock when Gerald, his
arms laden with packages, walked up the garden path and
came out of the sidewalk.

Speaker 9 (02:23:31):
Well the women.

Speaker 63 (02:23:33):
He opened the door into the living room, he noticed
a rather odd kind of excitement about him.

Speaker 52 (02:23:38):
There you are, it's me, darling.

Speaker 17 (02:23:42):
Why wouldn't I You've had time to buy out the
whole lily?

Speaker 52 (02:23:46):
Only the camera's up now. I don't have the best
equipped dark room this side of London.

Speaker 60 (02:23:52):
It won't be my force if you're not careful that
dark room, if you is going to overflow the whole celler.

Speaker 17 (02:23:57):
Oh incidentally, here's something you've been wading, this cashed.

Speaker 16 (02:24:03):
Diary.

Speaker 52 (02:24:05):
He dropped it in the garden.

Speaker 60 (02:24:08):
I know all your secrets now, huh, not guilty, I'm
not for sure. What about your assignation at six pm today?

Speaker 52 (02:24:20):
Oh that's well, you've caught me at last. It's an
assignation with a very handsome young woman, quite remarkably like
you had fair.

Speaker 17 (02:24:28):
You're a vading reissue, not at all.

Speaker 52 (02:24:31):
Simply a reminder that I want you to help me
develop some negatives.

Speaker 60 (02:24:34):
This evening at six o'clock. That's at a peculiar time,
isn't it peculiar? Yes, I'm usually preparing dinner at that hour.

Speaker 52 (02:24:44):
Well, no harm and delay in of this. We might
have a sandwich or two and some coffee out on
the porch before we walk on the negatives to mean, yes,
it'll be pleasant, won't it. You know something, Alex, I
never found anybody yet who could touch your coffee that
covers Australia, in Canada.

Speaker 17 (02:25:01):
And furious path.

Speaker 9 (02:25:05):
Why do you say that?

Speaker 17 (02:25:06):
Oh reason? I oh, Joe, I do wish I didn't
know all about you Essex.

Speaker 29 (02:25:13):
You're I know it's.

Speaker 52 (02:25:19):
I've told you all about me, my boyhood in Sydney,
my life in Canada. Yes, I see you mean love affairs.
You women are all alike?

Speaker 19 (02:25:33):
Well, there must have been.

Speaker 17 (02:25:35):
There must have been other women. I mean, if I'm life, do.

Speaker 9 (02:25:39):
You think it?

Speaker 52 (02:25:40):
Why is Alex this bluebeard chamber of business? Mhm, let's
put your mind on such a subject anyway, I mentioned
it before.

Speaker 17 (02:25:53):
I don't know, Joe, you don't have an upset all day.
I imagine I can thank Old George for that. He
had some ridiculous idea we.

Speaker 35 (02:26:03):
Were going away to London. Said where did you see him?

Speaker 17 (02:26:06):
He can do work today saturd guess color Fly down here,
fly down here, Get some water here, darling.

Speaker 19 (02:26:24):
I'm all right, all right, oh, I'm sorry.

Speaker 17 (02:26:28):
Darling, getting you all upset.

Speaker 52 (02:26:30):
Well, it's a stupid old gardener. I made some weak
joke to him about being off to London in the morning.
You must have taken it seriously. If you didn't help her.

Speaker 51 (02:26:43):
You.

Speaker 52 (02:26:45):
It straightened him mouth.

Speaker 17 (02:26:46):
I suppose hardly.

Speaker 35 (02:26:48):
You know what a gossip is.

Speaker 60 (02:26:49):
I didn't want the whole body to think my husband
is leaving me in the dark about his plans.

Speaker 16 (02:26:54):
Are you all right now?

Speaker 52 (02:26:56):
You you told him we were going then?

Speaker 35 (02:27:05):
Yeah, of course.

Speaker 52 (02:27:08):
Sorry, you were placed in that kind of situation, Darling.
I don't suppose you ran into anybody else today.

Speaker 17 (02:27:18):
It's far from the world.

Speaker 67 (02:27:19):
Gerald.

Speaker 52 (02:27:21):
It isn't very likely, is it.

Speaker 39 (02:27:24):
No?

Speaker 52 (02:27:24):
Not another word, No, not another word. You aunt yourself now,
it's quite plain. I want you to have a little rest.
You'll be right as reigned by six.

Speaker 60 (02:27:35):
O'clock photographed tonight Afar.

Speaker 52 (02:27:39):
When one sets a time to do something, one should
stick to it. The only way to get through was
work all right up with you upstairs, hip bed now
very well, I'll be getting things arranged in the dark room.

Speaker 63 (02:28:00):
Of Mora Alex rest was more like a nightmare upstairs.
In her room, she told herself that there was no basis,
no basis whatever for her state of mind. Still, the turmoil,
that doubt, the odd, unaccountable sense of.

Speaker 35 (02:28:13):
Dread, persisted and grew, grew, until softly opened the door,
stepped out uprom the upstairs hallway. Quite clearly she knew
what she must do.

Speaker 63 (02:28:24):
Knew she must find some testimony to her husband's past,
something to reassure her, something to kill that agonizing dread
mounting within her.

Speaker 35 (02:28:32):
And strangely, she remembered that.

Speaker 63 (02:28:34):
Single locked drawer in Gerald's bureau. She dipped over to
the door the head of the stairs, opened it and
entered her husband's room.

Speaker 35 (02:28:43):
Yes, the key, if only she could find the key
that locked the drawer.

Speaker 63 (02:28:47):
But there was done in sight. She moved to the wardrobe,
went through his coat pockets, and then there at her feet,
there on the floor, she saw it.

Speaker 35 (02:28:53):
Swiftly, she stepped to the bureau, inserted the key, and
it w Alex Martin opened the drawer, looked down upon.

Speaker 63 (02:29:05):
A small packet of letters tied with a light blue ribbon,
and when she saw the uppermost envelope, her face reddened
with shade.

Speaker 52 (02:29:13):
By the milette they were her own.

Speaker 63 (02:29:15):
Letters love letters written to Gerild before they were married,
and there was nothing else in the drawer save a
role of ancient, faded newspaper clippings. Alex sighed with relief
as she glanced at the top clipping. It was from
an American paper, and it featured the trial of one
Charles la Mettre, a notorious swinder and bigamous. A skeleton

(02:29:37):
had been bound beneath the floor of his house, and
most of.

Speaker 35 (02:29:40):
The women he'd married had never been heard of the game.

Speaker 63 (02:29:43):
Another of the clippings described lamentor's behavior in court, his
interest in the cameras of the news photographers, his sensational
escape from prison.

Speaker 35 (02:29:50):
Another displayed his picture, long bearded.

Speaker 63 (02:29:53):
Scholarly looking follow She reminded her of someone, but whose
she couldn't tell.

Speaker 35 (02:30:00):
She glanced at the caption beneath the pictures, my blue
Beard smothered Bluebeard.

Speaker 63 (02:30:07):
Yes, that's what she read. Her eyes went back to
the picture, and in a flash they saw the resemblance.

Speaker 35 (02:30:14):
She ran through the other cliffs.

Speaker 63 (02:30:15):
Dates had been found in the man's pocket diary, dates
that was contended when he had done away with his victims.

Speaker 35 (02:30:20):
He was an amateur photographer. He was from Sydney from Canada.
He was subject to heart attacks.

Speaker 2 (02:30:25):
He was he was sharing the.

Speaker 35 (02:30:35):
Room whirled around her.

Speaker 52 (02:30:37):
He could try to warn her.

Speaker 9 (02:30:39):
Dick had been near her that morning.

Speaker 35 (02:30:40):
She turned him away. She was then that she noticed herself.

Speaker 63 (02:30:45):
She turned toward the brightened pipe in the corner, running
up through the room from below, near its base. Something
was striking that pipe, as though someone were.

Speaker 35 (02:30:52):
That was it, though someone were digging. The Matro was
preparing the dark room for the latest one.

Speaker 16 (02:30:58):
Of his victims. Six o'clock, we said.

Speaker 63 (02:31:02):
At six o'clock, but less than an hour from now.
Suddenly all the chip saw pieces shot in the place.
The money paid for the house, her money, her money,
only the bar. She didn't trust her for his keeping,
and so she had himself and digging get stopped.

Speaker 19 (02:31:18):
He was escape from the.

Speaker 35 (02:31:19):
House at once before he came up to the light
in the draw. Don't lock it, don't know, I just
get away the rest of the doll out of the hall.

Speaker 16 (02:31:25):
And stop crosing.

Speaker 60 (02:31:33):
My deah, you startled me. I was just trying to
find the mailfile.

Speaker 52 (02:31:41):
Well you do well, it's nothing to look so guilty about, now,
is it. Come on down? Getting makes you know, just
have time to make the coffee and sandwiches before we
do the i'd write down, Darling, really mustn't delay, must we.

Speaker 8 (02:32:06):
Coming?

Speaker 52 (02:32:06):
Alex very well? That yeah, let me give you a hand.
Never mind, Alex, how cold you are?

Speaker 65 (02:32:19):
Cold?

Speaker 52 (02:32:20):
Yes, I'll soon passed away, I'm sure. How long dear
into the kitchen, Alex.

Speaker 17 (02:32:30):
What is the matter, nothing, I'll be all right.

Speaker 11 (02:32:34):
The kitchen.

Speaker 60 (02:32:36):
Yes, I think of something the second. You just sit
here in the living room and no, the porch not
can be more comfortable.

Speaker 52 (02:32:43):
And I'd be right with you, blended, Alex, I'll just no,
of course, not, how roughen of me not to have
suggested it. Since you're feeding a bit under pie, you
can probably do.

Speaker 39 (02:32:59):
With some help.

Speaker 52 (02:33:01):
I'll come with you.

Speaker 63 (02:33:09):
She knew then that some way, somehow she must get
word to Dick Winderford. The fact that he might be
gone by now, the memory of him telling her so,
she resolutely put out.

Speaker 68 (02:33:18):
Of her mind.

Speaker 19 (02:33:19):
There must be no more panic.

Speaker 35 (02:33:21):
She must be in utter control of herselves.

Speaker 63 (02:33:24):
Alex, carrying the coffee out of the porch, glanced the
clock from the mantain ten minutes till six. Her very
life hung by those next ten minutes while her ability
to him cooling and swiftly, because standing beside her was
a man as determined as he was insane.

Speaker 52 (02:33:39):
The pity are so abstracted, My dear, what why do
you say that?

Speaker 16 (02:33:45):
Well?

Speaker 19 (02:33:46):
Cause you are.

Speaker 52 (02:33:47):
Missing the loveliest sight you ever like to see again,
I can't be on the garden first soft shades of twilight,
m twilight over silver mail cottage. Now I say, Alex,

(02:34:08):
you are below par.

Speaker 9 (02:34:09):
What do you mean?

Speaker 52 (02:34:10):
First time you've ever slept on the coffee must have
talked in the entire canister.

Speaker 17 (02:34:16):
I'll be more careful after this. Oh dear, that's mind.

Speaker 39 (02:34:20):
Where are you going?

Speaker 17 (02:34:21):
Something to get excited about? Gerald? I forgot to order
meat for tomorrow. I'm just going to found the butcher.

Speaker 60 (02:34:27):
The butcher he generally he generally stays late on Wednesday.

Speaker 17 (02:34:32):
I'll be right back, darling.

Speaker 52 (02:34:33):
Don't shut the door.

Speaker 17 (02:34:35):
It keeps the insects out of the living room. You're
not afraid. I'm going to make love to the butcher.

Speaker 35 (02:34:40):
Are you op later?

Speaker 60 (02:34:48):
Get me the traveler's arms, please hurry, Hello travels on
mister winder for.

Speaker 30 (02:34:56):
Please what you don't know?

Speaker 17 (02:35:00):
If he's still there, we'll see one you it's most important.

Speaker 52 (02:35:07):
Don't let me disturb you?

Speaker 17 (02:35:08):
Well, darling, you do.

Speaker 60 (02:35:10):
I hate anyone listening when I telephone, but I do, Gerald, truly, you're.

Speaker 52 (02:35:15):
Quite sure you're really calling the butcher.

Speaker 57 (02:35:19):
Wow.

Speaker 17 (02:35:21):
As a matter of fact, I'm not sure what.

Speaker 52 (02:35:26):
What I mean you're talking about.

Speaker 60 (02:35:29):
I'm afraid I've got the wrong person, a perfect stranger.

Speaker 52 (02:35:34):
Don't understand someone I know nothing about? You know nothing
about them? Why don't you hang up? It was a
stand of that Wirelet hello?

Speaker 2 (02:35:42):
Hello?

Speaker 52 (02:35:45):
Did all right? My girl? How do I get started?

Speaker 11 (02:35:50):
Late?

Speaker 19 (02:35:50):
Now?

Speaker 52 (02:35:52):
Three minutes past six?

Speaker 60 (02:35:53):
Why, Jerald, it won't be six o'clock for eight minutes.
Look at there on the mantel.

Speaker 9 (02:35:57):
I don't go by that relic.

Speaker 52 (02:35:58):
I go by my own redah and stop pasting.

Speaker 35 (02:36:01):
And listening to me.

Speaker 17 (02:36:03):
I don't feel up to it tonight.

Speaker 60 (02:36:05):
I'm upset.

Speaker 17 (02:36:06):
I'm tired.

Speaker 52 (02:36:07):
I promise you you won't be a bit tired after
it's over. I'm not going to wait one minute longer.

Speaker 35 (02:36:16):
Carry you were here.

Speaker 17 (02:36:22):
I've got something to tell you, something to confess. Confess, Yes,
to confess something something I told you before.

Speaker 35 (02:36:32):
I've had.

Speaker 17 (02:36:34):
I've had my secret path too.

Speaker 9 (02:36:38):
For my lover. I suppose in a.

Speaker 60 (02:36:40):
Way, but something else you'd call it. Yes, I expect
you'd call it a crime.

Speaker 52 (02:36:49):
You Yes, I don't believe it.

Speaker 24 (02:36:51):
Yes, you better.

Speaker 60 (02:36:53):
You better sit down, John. I I told you i'd
never been married before. That wasn't entirely true.

Speaker 17 (02:37:06):
There was a marriage.

Speaker 60 (02:37:09):
When I was twenty two. He was an elderly man
with a little property. I induced him to ensure his
life in my favor. At one time, I was a
nurse with access to a number of poisons. There's one
poison White's pout of it.

Speaker 35 (02:37:27):
You know something about poisons, perhaps, No, I know very.

Speaker 52 (02:37:29):
Little about them.

Speaker 60 (02:37:33):
This one is very much like it's absolutely untraceable. Any
doctor would give a certificate of hot failure in that.

Speaker 14 (02:37:39):
And that.

Speaker 35 (02:37:42):
No content, No, No, another time, another time.

Speaker 52 (02:37:47):
Now I want to hear.

Speaker 35 (02:37:50):
How did you get him to take it?

Speaker 17 (02:37:52):
How did I get him to take it out?

Speaker 16 (02:37:53):
Yes?

Speaker 17 (02:37:55):
Well, I.

Speaker 60 (02:37:58):
Always made his coffee for Yes, one night I put
a pinch of this of this poison in his cup.
I remember that evening, how very much like this it was.
How peaceful He gasped a little, tried to move from
his chair, but he couldn't. Presently he died.

Speaker 9 (02:38:17):
How much.

Speaker 52 (02:38:20):
How much was the insurance?

Speaker 60 (02:38:21):
About two thousand pounds I speculated I lost it.

Speaker 17 (02:38:25):
It was over two years before I before I married again.
He was a much younger man, quite well off. There
was a will in my favor. He liked me to
make his coffee too, just as my first husband had done.
I make very good coffee.

Speaker 52 (02:38:37):
Hair.

Speaker 17 (02:38:38):
It was the same along without twilight. I remember it perfectly.

Speaker 60 (02:38:41):
I'm nervous and upset. I've been all day wondering if
it would turn out all right.

Speaker 11 (02:38:46):
But it did.

Speaker 10 (02:38:47):
It was the same of the other.

Speaker 17 (02:38:48):
He just sat there in his chair and he died.
I believe doctor pronounced heart failure. My husband did have
a week card to see him.

Speaker 35 (02:38:56):
That helped the great him.

Speaker 60 (02:38:59):
That metal me of a four thousand pound I didn't
speculate coffee.

Speaker 3 (02:39:03):
That's why I cast died that way.

Speaker 35 (02:39:04):
You'd care?

Speaker 1 (02:39:04):
Were you poisoning me?

Speaker 16 (02:39:08):
You poison me?

Speaker 17 (02:39:09):
Yes, yea, And already the poison is working.

Speaker 52 (02:39:16):
More from your chest, lying, lying, I'll kill you.

Speaker 17 (02:39:22):
You can't move your horselet.

Speaker 3 (02:39:24):
You are you constable?

Speaker 35 (02:39:45):
What's been happening in that room?

Speaker 9 (02:39:47):
I said, you can't?

Speaker 17 (02:39:49):
Who didn't hear me?

Speaker 19 (02:39:50):
Silly girl?

Speaker 3 (02:39:52):
A couple of called me up and talk about someone
you knew nothing about it.

Speaker 19 (02:39:55):
That's when you enough to excuse me, saying what did
the fun consort man sitting in your chair heart.

Speaker 52 (02:40:00):
Probably looks like saying, yes, we'll say he did.

Speaker 9 (02:40:05):
Your husband.

Speaker 17 (02:40:06):
Men might say a perfect stranger.

Speaker 10 (02:40:17):
He was sitting in his chair, and.

Speaker 17 (02:40:22):
Presently he died.

Speaker 63 (02:40:38):
And so closes Philomel Cottage Jack at the Christie's Story
of Love from a Stranger, starring Geraldine Fitzgerald and Awson
Wells's Tonight's Tale of Suspense. This is your narrator, the
man in Black, who conveys to you Columbia's invitation to
spend this half hour in suspense with us on October nineteenth,
one week from Tuesday, when awesome else will.

Speaker 9 (02:41:00):
Again be askedar.

Speaker 35 (02:41:02):
Our next broadcast in the series will be Tuesday.

Speaker 63 (02:41:04):
October nineteenth at ten o'clock Eastern wartime, seven o'clock Pacific wartime.
The producer of Suspense is William Spear, who tonight also
directed the broadcast, and who with wilberhat Tri, Lucian Mollowick,
conductor and composer, and Harold Medford, the radio author, collaborated
on tonight's suspense.

Speaker 35 (02:41:32):
This is CBS the Columbia Broadcasting System.

Speaker 46 (02:41:40):
Are you one of the frightened? Have you ever tried
to run away from something? You do everything in your
power to put something of defeat the hand of fate.

Speaker 42 (02:41:55):
Then it happened anyway.

Speaker 9 (02:41:58):
Oh, you must know what I mean.

Speaker 46 (02:42:00):
Surely in your own lifetime you've tried to avoid some
one or something, only to have destiny come upon you
as inexorably as the grave approaches us. Draw your chair
closer to the fire. No, no, no, don't draw away.
That's a mistake. I'll show you. Why have you ever

(02:42:24):
heard the incredible tale of blush to Singe. He was
a Hindu man servant, and what happened to him in
India a long time ago is something no living soul
can afford to ignore. So listen closely. Ugly vultures wheeled

(02:42:46):
through the summer sky that day, and the people of
the village bowed their heads towards Mecca. It was a
time of the plague and starvation, and the street were
filled with the wasting bodies of death. Something hung like

(02:43:08):
a pall in the air, something poised to strike, But
there was only prayer to comfort the sink.

Speaker 42 (02:43:19):
The wants of the house had been many and the.

Speaker 46 (02:43:21):
Master had sent his trusted servant, Vashtu Singh into the
village to stuck up unfooled and supplies for the coming week.
The sands in the glass had shifted many times over,
and the Master was impatient for the return of Vashtu Singh.
But he was not prepared for the sight of his
manservant rushing into the house, his turban awry, his eyes

(02:43:43):
wild and unreasoning. A flurry of frightened words bubbled on
Vashtu Singh's lips.

Speaker 35 (02:43:50):
The Master quieted him down and asked to.

Speaker 46 (02:43:53):
Hear what had occurred. Master pleaded Vashtu Singh, I was
in the market, placed by food, and I saw death.

Speaker 42 (02:44:03):
He looked right at me.

Speaker 46 (02:44:05):
Master, you must give me your fastest horse, and I
will ride to Samara to escape my fate. The Master listened, and,
knowing the ways of the Hindu, gave vash to the horse.
He leadeed and bade him flee at all possible speed.
But after the servant had gone, the Master's curiosity got

(02:44:25):
the better of him. Guarding himself in the flowing burnoos,
he went out into the stable, mounted a horse and
rode into the village. The marketplace was teeming with life
and hoarse cries of venger urging the sails to.

Speaker 9 (02:44:39):
The passer by.

Speaker 42 (02:44:40):
And the Master is not dead. Standing out of the ground,
the Master grew.

Speaker 46 (02:44:47):
Abreast of him, dismounted death, saw him coming and waiting.
The blackness of his robes offset that the.

Speaker 9 (02:44:54):
Deadly wax of his features.

Speaker 42 (02:44:58):
But the Master was not afraid of death.

Speaker 46 (02:45:00):
He was angry at the loss of his favorite servant.
See here, he demanded, angrily, What the devil do you
mean by frightening my man's servant like that? Now he's
gone off, and it's all your fault. The utter surprise
on the white face of death was unmistakably genuine. I'm sorry,
he said in a flat, separchful cold. I myself was

(02:45:23):
very startled to see vash Do sing here in the
market place. You see, I have an appointment with him
to morrow in Samarra. So you see how it is
vash Do sing, like so many of us, try to
run away from his destiny, only to run right into it.

(02:45:47):
You're feeling cold, well, T're closer to the fire there now,
isn't that better? And remember, please don't be late for
our appointment to morrow. You you know how I hate
to wait, and I'll catch up the deal eventually.

Speaker 45 (02:46:33):
The Adventures of the Saint starring Vincent Price. The Saint,
based on characters created by Leslie Charters and known to
millions from books, magazines, and motion pictures. The Robinhood of

(02:46:56):
Modern Crime now comes transcribe to radio, starring Hollywood's brille
and talented actor.

Speaker 9 (02:47:01):
Vincent Price as the Saint.

Speaker 25 (02:47:10):
Katy personally, lady, the name is Louie.

Speaker 22 (02:47:12):
But please hurry.

Speaker 19 (02:47:15):
Okay, but where too?

Speaker 31 (02:47:16):
I don't care you don't.

Speaker 64 (02:47:20):
I don't like to mention this, lady, but I think
you mislaid your groom. What of course a girl get married.
She's kind of excited. Maybe she forgets a little stuff
from here and there.

Speaker 9 (02:47:27):
But lady, not your husband.

Speaker 28 (02:47:30):
I'm not married.

Speaker 9 (02:47:31):
Look, you're all dressed up like your bride. You come
running out of that church there was having a wedding mine.

Speaker 28 (02:47:35):
They thought they were.

Speaker 22 (02:47:36):
But oh, I want Jimmy.

Speaker 9 (02:47:40):
Please, lady, don't don't cry. If I had Jimmy, I
give him to you. Who's Jimmy.

Speaker 28 (02:47:45):
I love him and we were going to get married.

Speaker 22 (02:47:47):
And I went to the church and everybody.

Speaker 19 (02:47:48):
Was there except except Jimmy.

Speaker 22 (02:47:53):
I called everywhere.

Speaker 10 (02:47:54):
I know something terrible must have happened to it.

Speaker 64 (02:47:59):
For a girl in your position, you know what I
think you need? What a saint, mister Temple. I hope
you don't mind, not Budge.

Speaker 9 (02:48:17):
You didn't like this, of course, not louiin but you
see this here.

Speaker 28 (02:48:20):
Is I'm Carol Blair.

Speaker 19 (02:48:22):
Uh huh, Miss Blair.

Speaker 9 (02:48:23):
But by this time she's supposed to have been missus Snyder.

Speaker 19 (02:48:27):
Yeah, but she ain't.

Speaker 9 (02:48:27):
Not a kind of mister Snyder didn't show up at
the altar. So miss Blair, please sit down, thank you.
Uh here, have a handkerchief.

Speaker 13 (02:48:37):
I don't want a hankerchier.

Speaker 9 (02:48:39):
I want Jimmy, and I don't have Jimmy. I might
perhaps try to find him, whether I can or not?
Is something else again? However, have you thought of the
possibility that he might have changed his mind about matrimony?

Speaker 28 (02:48:52):
Oh no, he wouldn't have. She loved me well, mister Temple,
there's nothing that could have kept Jimmy from marrying me.
Nothing accept death. Thank you for bringing me home, mister Temple.

Speaker 9 (02:49:10):
You're very welcome.

Speaker 12 (02:49:11):
Carol.

Speaker 28 (02:49:12):
I'm sorry I cried so much.

Speaker 9 (02:49:14):
I'll call you as soon as I have any news.
Good night.

Speaker 64 (02:49:23):
Yeah, Miss Blair lives in a very mansion. That mansion,
so she does. Well, let's go, Louis. Okay, what James
Nyder's apartment?

Speaker 9 (02:49:37):
You think maybe overslept? I doubt it. And mister Temple,
I read a book once, sir.

Speaker 64 (02:49:43):
I wouldn't brood about it, Louis, Oh, listen, in this
here book, a girl's fellow don't show up to marry her,
and a kind of he's dead.

Speaker 9 (02:49:49):
You know what, A kind of somebody killed him. Oh well,
that would explain why he's dead, all right, so the
girl says, sounds in those days girls used to say song.
That ain't what missus Carrol Blair said.

Speaker 19 (02:50:00):
I guess she didn't read the book.

Speaker 9 (02:50:01):
Probably too busy clipping her coupones. Wha, he's loaded up,
she is loaded well, money and everything. I wonder if
that's what James Snyder thought. Huh oh yeah, Miss Blatt
told us he was broke. Hey, I got the solution, yes, Louis,
maybe he got a job.

Speaker 64 (02:50:34):
This year is a very fancy type hallway, mister Temples,
So it is guardy, but not neat one see one,
see yes.

Speaker 9 (02:50:44):
How can a guy with no doll affought to live here? Well,
I will ask him if he answers that door. He's in.

Speaker 19 (02:50:54):
Hello, except he's a she.

Speaker 9 (02:50:59):
Good evening. May we come in?

Speaker 38 (02:51:01):
All right?

Speaker 9 (02:51:02):
Thank you?

Speaker 19 (02:51:04):
It was a Templer. Maybe she's why Snyder didn't show up.

Speaker 28 (02:51:09):
I think we stop here?

Speaker 9 (02:51:10):
Not Yes, miss, I am Mary, Oh Mary, this is
Louis Hello. Yeah, and I'm Simon Templar.

Speaker 10 (02:51:19):
Ah, you are the same.

Speaker 9 (02:51:22):
I'm afraid I am spending the winter.

Speaker 10 (02:51:25):
Here in this apartment right now.

Speaker 28 (02:51:28):
I have read the book you see.

Speaker 9 (02:51:31):
Vocan American History. You're a student. What do you think?
I think you graduated?

Speaker 5 (02:51:37):
Say?

Speaker 9 (02:51:37):
Oh, why the book?

Speaker 38 (02:51:38):
Then?

Speaker 28 (02:51:38):
Well, I'm not so long in this country, and I
wish to.

Speaker 19 (02:51:42):
Learn about the American people.

Speaker 9 (02:51:44):
American men, Oh, they're not that different from frenchmen.

Speaker 10 (02:51:48):
Maybe so, but it's the little difference that counts.

Speaker 9 (02:51:52):
Perhaps, you know there are better ways of learning than
from books. Why don't you ask Jimmy he is out.

Speaker 28 (02:52:00):
Yes, he's marrying himself. It is not right what I'm saying.

Speaker 10 (02:52:06):
He's marrying a girl.

Speaker 9 (02:52:07):
That's more usual. You don't mind.

Speaker 16 (02:52:10):
I do not mind.

Speaker 9 (02:52:11):
Sometimes close friends of the groom do they say things like,
what on earth does he see in her?

Speaker 28 (02:52:18):
But I am knowing what he sees in hair.

Speaker 9 (02:52:20):
Be careful.

Speaker 10 (02:52:21):
One million dollars is not bad.

Speaker 19 (02:52:24):
He is fine.

Speaker 9 (02:52:25):
Well that is. Carol is a very pretty girl too,
despite her million dollars. Who cares because you'll probably laugh
and laugh And are you Jimmy's sister? But if you're
not his sister, you must be.

Speaker 28 (02:52:42):
You look very pretty in red simon, but it is
not necessary to blush.

Speaker 10 (02:52:47):
I am Jimmy.

Speaker 19 (02:52:48):
Whoop Kiddy's time for bed?

Speaker 9 (02:52:50):
You said wife, wife?

Speaker 28 (02:52:54):
Excuse me? H? Hello, ah, he's not here. Monsieur templar
is here.

Speaker 10 (02:53:04):
Goodbye?

Speaker 30 (02:53:07):
Was the door man.

Speaker 32 (02:53:09):
I was saying.

Speaker 9 (02:53:09):
You said you were Jimmy's wife.

Speaker 28 (02:53:11):
He's true.

Speaker 9 (02:53:12):
Well, then if he'd married Carol, it would have also
been bigger me.

Speaker 10 (02:53:16):
I am fine.

Speaker 28 (02:53:17):
The lawyers a divorced not so good. So now Jimmy
marry a rich girl. Maybe Jimmy gives me a big present.

Speaker 9 (02:53:26):
Big presents. Another name for it is so so. The
other name is blackmail.

Speaker 19 (02:53:32):
You're a funny man.

Speaker 9 (02:53:33):
I haven't been trying.

Speaker 28 (02:53:34):
Maybe you go away.

Speaker 9 (02:53:35):
Now I'm married. I have news for you. What kind
of news Jimmy didn't show up at the altar.

Speaker 13 (02:53:41):
You make the joke once more, No joke, he's.

Speaker 9 (02:53:44):
Terrible, which means that Jimmy hasn't married that million dollars yet.

Speaker 22 (02:53:48):
I think of the.

Speaker 28 (02:53:49):
Poor girl who waits at the altar. Almost I cry
for her.

Speaker 9 (02:53:54):
Your eyes are dry, I said, almost goodbye. You want
to be alone?

Speaker 38 (02:54:00):
You?

Speaker 28 (02:54:00):
Yes, goodbye also to you.

Speaker 64 (02:54:04):
Oh oh, thanks for remembering me in time to say goodbye.
Mister Templey, we're leaving doing except Marie. If you happen
to run into Jimmy, yes, advise him to be very careful.
So to date he's left one woman at the altar,
another in his apartment. He'd be safe for juggling dynamite.

Speaker 69 (02:54:23):
About Marie's character, I got nothing to say but about
her figure.

Speaker 19 (02:54:36):
I also got nothing to say. Oh, I can dream.
It's dark.

Speaker 9 (02:54:43):
It usually is at this time of night. I know,
but I don't hope to mention it back to the
care I suppose that, hey, you tempt lester me. Yeah,
who wants to know? Who's asking you?

Speaker 8 (02:54:57):
You are?

Speaker 9 (02:54:57):
So figure it out, all right? You got a pencil
and paper, maybe, wise guy, if you don't mind my
intruding Einstein intender. Well thanks, for telling me silly. Hey,
you can't. I did.

Speaker 70 (02:55:10):
I don't move too quick him. I gave the butt,
But you are pointing a business end getting the car.

Speaker 9 (02:55:15):
Not just yet. If you've hurt Louis, you want to
get shot, not especially the first time. Gonna look at Louis.
He's unconscious. Hey, what was the idea? All I wanted
was you?

Speaker 70 (02:55:27):
So let's get going with Louis. From what I gave him,
he'll wake up, but you won't if you don't get
in the car very well.

Speaker 9 (02:55:39):
Your name would be h You already know mine? Where
are we going?

Speaker 70 (02:55:43):
That's what you're gonna tell me? I am yeah, because
we're on our way to visit Jimmy Snyder. You've told
me just so happens is the present? Address slips my mind?
So give her or else? No, no, tonight. We don't
play tonight. It's what keeps Take me to Snyder. Nobody

(02:56:05):
likes to die. This is where you live and.

Speaker 9 (02:56:15):
Not quite yet. Hallways, it's so drafting.

Speaker 70 (02:56:19):
Huh, thank you. Snyder's in your apartment. It will be
inside in the moment, hold it, hold rot shine up? Okay,
oh small straight ahead?

Speaker 9 (02:56:39):
You uh mean now you've cased the joint.

Speaker 61 (02:56:42):
I mean.

Speaker 9 (02:56:44):
I wanted to get that light up now, uh Tepler, Yeah,
I don't see Snyder. You know, now that you mention it,
I don't see either.

Speaker 19 (02:56:53):
You could overdo that light stuff, you really think?

Speaker 9 (02:56:56):
So where is he? I don't know, but he might
be along at any moment? Yeah, why not? How'd you
like a slapp of the eye? Put your gun down
and try it? Decides? Would Marie approve of your language?
Not to mention your tactics. She don't have to want
no one who gives her orders? And thank you? Oh

(02:57:17):
what telling me that you're the person who spoke to
her over the phone a little while ago back at
Snyder's apartment, explains how you happen to know? I was there,
big good? And now what I want to know is
when is Snyder going to show here? Of course, he
may have mislaid his timetable, Yeah, or perhaps even his life.

Speaker 70 (02:57:43):
Ay templar, Yes, I'm beginning to think that Snyder made
me ain't gonna show as the beginning he shows promise
in time. You may have lots of little thoughts, all
of them that he might be along. I offered no guarantees.

Speaker 19 (02:57:58):
Nobody's offered a guarantee on your life from sheer overside.

Speaker 9 (02:58:03):
You could be playing me for adult. Oh good heavens, no,
are you a dope? Where snyder? Well, men who have
just been married usually spend the time immediately thereat. No, no,
he ducked the church. Yeah it's interesting, but how did
you now? I know something else, however, that you don't know?
What's that? The door behind you has just being sneaked open,

(02:58:25):
very very softly. Hah hah hah. Oh, I amuse you.
You kill me. You're so funny, you exaggerate. I'm not
the one who may kill you. There's a revolver barrel
poking it snout around the edge of that door. Point
if it's aimed at you. Oh, I don't take my
eyes off you, mister. I don't suppose there's anything I
could say that would stop that little stranger from shooting

(02:58:47):
whoever he or she is. I do dislike having my
home used as a shooting gallery, though neighbors complain. So,
mister Davan, would you mind going away and being shot
someplace out? I am staying right here. Get out of
my way.

Speaker 1 (02:59:04):
No, oh, you fool.

Speaker 9 (02:59:05):
I want to go after whoever shot you. No, that's
a trick. It's some kind of trick.

Speaker 4 (02:59:09):
You're moving up, oh, Lieutenant Archer homicide.

Speaker 9 (02:59:23):
Hello, Lieutenant, this is Simon Temple.

Speaker 45 (02:59:25):
Lieutenant Archer just grabbed his nash for a quick trip
to the yupper Amazon.

Speaker 9 (02:59:29):
Lieutenant Archer hasn't got a nash.

Speaker 4 (02:59:30):
He's doing it the hard way.

Speaker 9 (02:59:31):
Good night, Lieutenant. Yeah, looks. Stop gnashing your teeth and
guess what I've got.

Speaker 4 (02:59:36):
I wouldn't want it. I'm a married man.

Speaker 9 (02:59:38):
His name used to be Dugan, Anthony Dugan.

Speaker 4 (02:59:40):
I don't like him.

Speaker 9 (02:59:41):
Someone else didn't like him harder. So now he's dead.
My apartment at the Killer there too. Sorry.

Speaker 4 (02:59:47):
No, well, get in touch with me when you do.

Speaker 9 (02:59:49):
All right, Lieutenant, I'll be right down.

Speaker 4 (02:59:51):
Simon.

Speaker 64 (03:00:00):
He doesn't make a pretty corpse, and he makes a
very dead one, though, friend of yours, Lieutenant, neither of
us really care. Yeah, company, Simon. Who Oh, Louis Louis,
he says, that's what he said, Louis, You're not hurt.

Speaker 51 (03:00:15):
No.

Speaker 9 (03:00:15):
No, in my family, everybody goes around with two heads.
There was nothing I could do. Hang out with the
Saints and see Johns Hopkins from a bottle.

Speaker 19 (03:00:24):
Mister templeware. Is that wol looking I'm gonna that's him?

Speaker 9 (03:00:29):
Yeah, Louis, but he ain't he ain't breathing, No, Louis, Lieutenant, Yeah, Louis,
and I have an errand you mind are leaving? Thanks
for asking, it's so long, go back, Louie coming but
to wear I think perhaps it's time we visited Carol Blair.
Huh do you think maybe she needs help? Help or

(03:00:53):
an alibi?

Speaker 19 (03:01:04):
Looks like the mansion has all closed up for the night.

Speaker 9 (03:01:06):
I hope not. Maybe she's asleep. She is, she hasn't
read the right books. A woman has just been left
at the altar never sleeps, so now I don't get sleepy.
I have nothing but nothing to say to the press.
Who's he? I don't know? To me, he looks like
an outfielder from left field, I might, Louis. I beg
your pardon, You, sir, would be devold a Blair. What

(03:01:29):
does the A stand for? You may make all the
jokes after I shut the door. Good night, We are
coming in, mister Blair. Thank you pushing type only when necessary.
You're Carol's father, uncle, young man uncle? And who are you?

Speaker 64 (03:01:45):
Simon Templar? This is Lewis hm hm tonight everybody goes hmmm.
Why does he have to use a question.

Speaker 19 (03:01:51):
Mark for me?

Speaker 9 (03:01:52):
Your niece asked me to help her, Mister Blair, Carol
is a young idiot. Youth has no monopoly on idiocy. Er,
I am almost square. Something that hasn't happened to me
in years. How about an offer of employment? The last
one I received was in the early thirties. Since then,
no one's been vulgar enough to That is hardly your concern,

(03:02:14):
is it? It might be by the way Marie sends
your love Vin, sir, not here, I big your bard. Well,
we're men of the world. True, But still then you
knew Jimmy was married. I Er, would you like a
spot of something true? I'm afraid we're temporarily out of
that Commanditor Dugan is dead, mister Blair. Indeed, how pleasant

(03:02:34):
to discover that thugs like him are mortal? Were you
the one who tested his mortality? Oh he was murdered, Uh,
no doubt. Whoever murdered him did so with the best
of intentions.

Speaker 19 (03:02:45):
It wasn't I.

Speaker 9 (03:02:46):
However, you haven't asked me where Jimmy is. You haven't
implied that you know do you know you want to know?
Of course I do, in order to test his mortality.
Nandren I wanted Jimmy to Medicrrol wanted it very badly. Oh,
mister Templer and Louie, I'm keeping the franchise open. Hello,
Louis Ullo, I hope you were asleep.

Speaker 28 (03:03:07):
Oh no, I couldn't, Simon, Have you found Jimmy?

Speaker 9 (03:03:10):
No, I did find Marie.

Speaker 19 (03:03:12):
However, who who is Marie?

Speaker 9 (03:03:15):
Uncle Theobo can tell you, probably with more details than
I would know.

Speaker 28 (03:03:19):
Uncle.

Speaker 9 (03:03:20):
Is she well? Leady? She used to be yer well
friendly with Jimmy at one time.

Speaker 28 (03:03:26):
Friendly.

Speaker 9 (03:03:27):
Well, you might say that as a matter of fact,
she carried it to the extent of marrying him.

Speaker 28 (03:03:32):
Oh no, Uncle, your joke.

Speaker 9 (03:03:34):
No, my dear, Perhaps you'd better lie down.

Speaker 28 (03:03:37):
Uncle, I warned you time and time again. I'm not
a child.

Speaker 19 (03:03:39):
I never thought you were. I.

Speaker 10 (03:03:40):
Oh, mister Templar, it isn't true, is it?

Speaker 9 (03:03:42):
Jimmy was married? I'm afraid it is.

Speaker 10 (03:03:45):
But it can't be otherwise.

Speaker 9 (03:03:47):
Why would he have been ready to marry you? But
he was under the impression that he'd been divorced from
his first wife.

Speaker 28 (03:03:54):
Oh, and the divorce wasn't any good, so it seems
then then Jimmy did love me.

Speaker 9 (03:03:59):
Jimmy would be the best one to answer that, which
reminds me. Louis and I have another errand to perform,
and I can't tell us yet whether it would be
a matter for the police or for the medical examiner

(03:04:21):
the tampil. You're excited, worried? What about Marie? That's why
we're ringing a doorbell. No answer. It's locked. I don't
like that. It's not much of a lock. Don't look now,
but you just ruined that lock. It's not important. What
is important is oh, Marie, Yes, blood on him? I

(03:04:44):
can she's dead? Who shot her? Yes? Close range? Trail
of blood leads from the couch there to this overturned
end table. Means she crawled after whoever shot her left
her for dead at the out she wasn't quite dead.
She held to the floor, managed to reach the end table,

(03:05:05):
knocked it over him, and started to read a magazine
or something, because there's one right onto her hand to read. Actually,
she tore a page out. That's all she was able
to do. Writing on her now, which means, let's see
one sides the back cover. Yeah, there's a full page
advertisement for Hamilton watches. Howbe she wanted to know what time?

(03:05:27):
It was a bad joke, but I don't feel good.
She was evidently trying to tell us something with that ad,
something about her murderer. Hey, maybe the guy who shot
he was a watchmaker. Huh yeah, possibly that more obviously
that his name was Hamilton. So far as we know,
there's been no Hamilton connected with the case, and it
would be stretching coincidence too far anyway that he made

(03:05:50):
clue like that. Now I'll have to wait. Yeah, they
can wait too. I'm calling the Blairs. You want to
let I don't know a husband is now a widower.
I want to find out who's home. Hello, Carol Simon, Templar, Simon,
you found Jimmy, Not exactly, Carol, is your uncle in.

Speaker 14 (03:06:11):
No, He went for a walk in the park.

Speaker 9 (03:06:13):
He was upset, Thanks Carol, goodbye. Come on, Lily, where
we're going? We're upset too, so let's make it the park.

Speaker 19 (03:06:28):
You know, this year just happens to be a very
very dark.

Speaker 9 (03:06:33):
No sign of uncle theobo's templar. You think there's something
funny about him taking a walk this time of night. Tony.
Not necessarily, it's called it dangerous. No, I'm nervous. Let's not.
Maybe maybe he used to be a watchmaker. It's possible,
mister Temple. You don't just thought of something else. You

(03:06:54):
kind of stopped looking for Jimmy Snyder. You think it's
it's hopeless. I don't know how the things to worry about. First,
it's the snider. If he's still alive, you wouldn't bet
on letter. Hey, look up ahead by the side of
the road.

Speaker 42 (03:07:08):
Yeah, the bold.

Speaker 9 (03:07:10):
He's waiting for the traffic lights to change. There's not
many cars or driving around through the pol this time
a night thought, but there is one park down the
road of it. Come on, Yeah, lights changed, you're starting
to cross shows the car tea.

Speaker 12 (03:07:23):
Bolt see a bold.

Speaker 9 (03:07:25):
You ain't heard. He's off the road with cle boat.
The car hit him, no lights, no license, play type.

Speaker 19 (03:07:36):
As she did, No.

Speaker 9 (03:07:39):
Car just side swiping. Oh hey, de Bolt, Hello, bad driving? No, no,
no murder is driving that car? Tried to kid you, Well,
we'll get an ambulance for you. He'll be all right.
But I've got to know something. Do you have a
place of your own besides Carol's house?

Speaker 26 (03:07:59):
H oh, yes, I keep a small room, shabby vanity
of mind, but it belongs to me.

Speaker 9 (03:08:07):
Where is it? Thanking tennis space? The partner three? Have fun?
Then I sainted? Do we go get helpful him? Way?
Did he get back? And then and then we'll remember
the forgotten man. Hmm here ain't a very elegant, dumb Louis.

(03:08:39):
I'm worried about who's killing everybody? No, I think that's
fairly clear. Oh, you speak for yourself, John, But Mary's
dying action it puzzles me. That ad for watches it
seems to point nowhere just adds an unnecessary complication. To me,
All complications are unnecessary. No, mister Temple, maybe what you
need is a secret or what all I said was

(03:09:01):
a Louis, I love you?

Speaker 39 (03:09:03):
What?

Speaker 16 (03:09:03):
Look?

Speaker 9 (03:09:03):
This is my busy weekend. Please his apartment three? Oh,
this is where he hangs out when he ain't to
be attle rich. Hey, yeah, if I'm back there, this
is closet. Oh look now, but that day must be
Jimmy Snyder all tied up and gag. You're quite right, Louis.

(03:09:26):
I better on time, Louis, Huh, you better make a
phone call to the police. Mister Snyder can untie himself
without too much difficulty. I suspect, hey, hey, he's.

Speaker 1 (03:09:36):
Got a hand.

Speaker 9 (03:09:36):
I rather thought you would. I'll take that gun and
from oh you felt you had to do that.

Speaker 19 (03:09:44):
Of course, he wasn't tied up very good?

Speaker 9 (03:09:46):
No, you all right? I'll phone the police.

Speaker 12 (03:09:50):
But what'll I tell him.

Speaker 9 (03:09:51):
To come and pick up mister James Snyder, vanishing bride grooman.

Speaker 28 (03:09:55):
Murderer, Simon, I don't understand. How could it have been.

Speaker 9 (03:10:08):
Jimmy, Well, he was married to Marie. Marie and her
happy little trigger man Dugan were preparing to blackmail him
as soon as he'd married you, Carol. Jimmy didn't care
for the program, and so he killed him, right, Louis,
Your uncle also knew so that meant that he too
would have to die. But Jimmy tried to arrange it
so that Theobole's death would seem to be an accident.

(03:10:29):
After he had ran him down in the park, he
went to Theobol's apartment and tied himself up. He knew
someone would find him there.

Speaker 28 (03:10:35):
Shortly, and everybody would have thought that uncle had killed
Marie and Dugan. Simon, However, did you know Marie.

Speaker 9 (03:10:43):
She was murdered in her living room. She was wearing
a nightgown at the time. It's hardly likely she would
have perceived any ordinary visitor in that state except the
husband Jimmy right, lo only no, look watch the business.

Speaker 19 (03:10:55):
With the watch ad.

Speaker 9 (03:10:56):
Well, we know that Marie dying tore a page out
of a man magazine, obviously because that page contained an
indication of who had killed it. White a minute, all
that page contained was an ad for Hamilton watching. You're
forgetting something doing. What was Murray doing? The first time
that we met her, she was Oh, yeah, she was
reading a book about American history. I remembered that. And

(03:11:18):
then when you mentioned the word secretary, Yeah, this, I
mentioned Lauraight, I knew whom she'd named it her murderer.
Uh huh, I still don't know. Louis. Yeah, like in
American history, who was Alexander Hamilton?

Speaker 64 (03:11:31):
Oh?

Speaker 9 (03:11:32):
Oh, well, pilgrim father, No, Pilgrim's son. Louis Alexander Hamilton
was the first Secretary of the Treasury. Ah, so, so
who's the Secretary of the Treasury today? Oh, well, that's
a guy named the Wait a minute, let me look
at the dollar bill. Oh, yeah, yeah, right, And Jimmy

(03:11:55):
Snyder was a suspect. So it goes to show people
on to read American history.

Speaker 28 (03:12:00):
You know, Marie was awfully bright.

Speaker 71 (03:12:03):
I'm not. I feel terrible.

Speaker 30 (03:12:06):
Simon.

Speaker 9 (03:12:07):
You needn't Carol. You'll get over Jimmy, Do you.

Speaker 10 (03:12:10):
Think so, Simon?

Speaker 9 (03:12:13):
How well? Uh er Louis, Oh youngster Temple, please go
take a cab.

Speaker 45 (03:12:35):
You have been listening to another transcribed adventure of the Saint,
the robin Hood of modern crime. Now here is our star,
thencent price.

Speaker 9 (03:12:43):
Ladies and gentlemen. From the past, we have received a heritage,
our American heritage, and it consists of many things. It's
an ideal and a way of life. It's everything America
stands for our heritage. We can repay the past only
by using our heritage well to day, by taking pride

(03:13:05):
in the most complete expression of individual liberties, civil rights,
and personal dignity. And by doing so we'll be guaranteeing
our future. For we have learned from history that unused
freedom as a habit of slipping away. Of course, using
our freedom makes certain demands upon us, But to the

(03:13:25):
people of many countries to day, these demands would constitute
a gift beyond price. They mean voting in an informed way,
serving on juries, taking an interest in having a voice
in all the affairs of the community, the state, and
the nation. All this preserves our heritage. By exercising it
and by making our form of government work better at home,

(03:13:48):
we strengthen democracy everywhere. We provide an example of free
people governing themselves through a free government, a dynamic example
of man's finest ideals at work. To every American, then
falls the task of protecting our heritage. For freedom is
everybody's job. This is Vincent Price inviting you to join

(03:14:11):
us again next week at this same time for another
exciting adventure of the Saint. Good Night.

Speaker 45 (03:14:31):
This script of the Saint was written by Lewis Vitties.
In our cast, you heard Violivan as Marie and Sharon
Douglas as Carol. Sheldon Leonard was Dugan Ted Osborne uncle
Theobald Frank Gerstel was Lieutenant Archer. Louis is played by
Larry Dodkin. The Saint, based on character is created by
Leslie Charteris as a James L. Saffier production, and is
directed by Helen mac Vincent Price is soon to be

(03:14:53):
seen co starring with Errol Flynn and Michelin Prowl in
William Marshall's production of Bloodline. While You Saint fans will
be glad to know that the same comic books are
now on sale of all news stands. Three chimes mean
good Times on NBC.

Speaker 51 (03:15:07):
And then suppose you were sitting beside a man who
wanted to die, who really wanted to die. That's my
situation in a story called an Honorable Way to Die,
the story.

Speaker 10 (03:15:19):
You're going to hear on theater five.

Speaker 13 (03:15:47):
Well, you came aboard in the nick of time.

Speaker 17 (03:15:50):
Miss, We're just about to take all I know.

Speaker 51 (03:15:52):
My cab got caught in a simply fabulous traffic jam
just outside the all Anyway, I'm here. I'm supposed to.

Speaker 10 (03:15:59):
Have seat the B Yes, I have it here on
my chart.

Speaker 32 (03:16:02):
You're a miss Turner.

Speaker 10 (03:16:03):
That's right.

Speaker 51 (03:16:04):
Your seat is right there on your list, the one
on the aisle next to the gentlemen wearing sunress.

Speaker 13 (03:16:08):
Thanks, I see it.

Speaker 18 (03:16:09):
I'll take your coat just as soon as we're airborne.

Speaker 71 (03:16:11):
Okay, thanks a lot.

Speaker 11 (03:16:14):
Hi, I'm your seat mate.

Speaker 32 (03:16:16):
I was wondering if I was going to have one
before you settle down, wouldn't you rather have this seat
by the window.

Speaker 29 (03:16:21):
No, thank you.

Speaker 32 (03:16:22):
Well, there isn't much to see from a jet in flight,
but I'll badly exchange with.

Speaker 9 (03:16:25):
You if you like.

Speaker 51 (03:16:26):
Oh that's very sweet of you, mister Block.

Speaker 9 (03:16:28):
Howard Block.

Speaker 71 (03:16:29):
Oh hi, I'm Betty Turner.

Speaker 51 (03:16:30):
Well it's nice of you, but I wouldn't look out
that little window for a million dollars flying.

Speaker 72 (03:16:37):
Good morning, ladies and gentlemen.

Speaker 13 (03:16:39):
Oh it comes to bad news.

Speaker 9 (03:16:41):
We're gonna leave.

Speaker 72 (03:16:42):
Welcome aboard flight four nineteen to Los Angeles. I am
miss Harper, your stewardess, and your pilot and co pilot
are Captain Ellis and Lieutenant Gannon. The weather across the
continent is excellent, and we should arrive in LA on
schedule in a court with regulations. Please see that your

(03:17:03):
seat belts are properly fastened and observe the no smoking sign.

Speaker 65 (03:17:08):
Thank you.

Speaker 51 (03:17:08):
Gosh, mister Block, that bit about fasten your seat belt
always knocks me out. It's like they're inviting something to happen,
don't you think, No, Miss.

Speaker 32 (03:17:16):
Turner, I find all superstitions rather primitive.

Speaker 10 (03:17:19):
Say do you know who's on this plane?

Speaker 29 (03:17:22):
Up there?

Speaker 18 (03:17:22):
Across the aisle?

Speaker 9 (03:17:23):
Looks vaguely familiar.

Speaker 17 (03:17:24):
That is Dhite Manning, you know, yes.

Speaker 32 (03:17:27):
Wall Street real Estate, International Oil. While you certainly should
feel better with.

Speaker 16 (03:17:31):
Him on boys a funny way, I do.

Speaker 51 (03:17:34):
I mean he wouldn't be on the plane if it
weren't safe.

Speaker 32 (03:17:37):
Would at least Dwight Benning's name would add class to
the obituaries.

Speaker 51 (03:17:42):
He was honestly not scared of flying, not even a little.

Speaker 73 (03:17:45):
Wh I certainly envie you.

Speaker 10 (03:17:47):
I always think it's the end.

Speaker 9 (03:17:49):
Well, why are you so frightened of dying?

Speaker 10 (03:17:51):
Because I like living, don't you?

Speaker 39 (03:17:54):
No?

Speaker 32 (03:17:55):
I don't care when or how I go, as long
as it's sudden and painless.

Speaker 13 (03:18:00):
It's a terrible thing to say.

Speaker 71 (03:18:02):
Listen, talking like that might bring us bad luck.

Speaker 9 (03:18:04):
In that case, Miss Turner, you should have got to
bring a rabbit's foot.

Speaker 71 (03:18:09):
Please, please, let us just get up off the ground.

Speaker 9 (03:18:23):
You may open your eyes now, Miss Turner. We survived
the takeoff.

Speaker 11 (03:18:28):
I am a quivering wreck.

Speaker 71 (03:18:30):
Well anyway, we made it right.

Speaker 9 (03:18:32):
I'm afraid, so you're afraid.

Speaker 51 (03:18:34):
So look, mister Block, I wish you wouldn't get that way.

Speaker 24 (03:18:37):
It really isn't very funny.

Speaker 9 (03:18:38):
Was I'm trying to be funny? I'm not a comedian.
Well you can say that again.

Speaker 13 (03:18:42):
If this was what's my line?

Speaker 72 (03:18:43):
I guess you were an.

Speaker 9 (03:18:44):
Undertaker, right, No, I'm a writer.

Speaker 13 (03:18:47):
Really, I'm an actress. That's why I'm going to Hollywood.

Speaker 51 (03:18:50):
I'm getting a screen test and I'm so excited I
can hardly breathe.

Speaker 18 (03:18:56):
Why are you going?

Speaker 10 (03:18:57):
You don't mind my asking?

Speaker 32 (03:18:58):
No, I'm going to the coast to try for a
certain screenwriting assignments.

Speaker 9 (03:19:02):
But I'm only going to humor my wife. I know
very well I won't get the job.

Speaker 11 (03:19:07):
Why do you say that, friends day.

Speaker 9 (03:19:09):
Because in my case, that's the usual pattern.

Speaker 32 (03:19:11):
Either the picture will already have been canceled or the
producer will have hired his son in law.

Speaker 26 (03:19:17):
I don't understand you. I really don't.

Speaker 51 (03:19:19):
Honestly, mister Block, you are the most pessimistic person I've
ever met.

Speaker 9 (03:19:23):
I don't doubt it. But now, if you'll excuse me,
I'm I'm glad to fuddy could do this.

Speaker 71 (03:19:28):
Sleep well, pleasant dreams, mister.

Speaker 10 (03:19:45):
Mister Black.

Speaker 9 (03:19:47):
Not really, not quite.

Speaker 52 (03:19:48):
Are we coming.

Speaker 9 (03:19:50):
Into Los Angeles?

Speaker 51 (03:19:50):
No, Stewardis just said we'll be there in about about
forty minutes. Look, please don't go back to sleep.

Speaker 13 (03:19:57):
I have to talk to you.

Speaker 11 (03:19:58):
I'm worried.

Speaker 74 (03:19:59):
Well, the funniest things have been happening.

Speaker 51 (03:20:02):
First the pilot came out and hurried down the aisle,
and after that the cool pilot did the same thing.

Speaker 30 (03:20:09):
Both of them.

Speaker 51 (03:20:10):
Looked kind of grin and I'm just sure something's gone wrong.

Speaker 71 (03:20:14):
I don't mind telling you.

Speaker 10 (03:20:15):
I am scared.

Speaker 9 (03:20:16):
Look, Miss Jennifer.

Speaker 73 (03:20:17):
Ladies and gentlemen, this is your pilot speaking. There's no
need to be alarmed, but to avoid confusion, what it
would advise you that we have a little mechanical trouble.

Speaker 29 (03:20:28):
I knew it.

Speaker 73 (03:20:29):
The fact is our landing gear seems to be jammed.
Everything possible has been done to shake it loose, so
to speak, but no can do so. It looks like
we'll have to come down with our wheels, what we
call a belly landing.

Speaker 58 (03:20:44):
Honey.

Speaker 73 (03:20:45):
This has been done before in cases like this, and
it can be done again. The airport's been alerted and
every precaution will be taken on the ground.

Speaker 12 (03:20:53):
Please be calm and follow any instructions we give you.

Speaker 57 (03:20:58):
We're all going to be you.

Speaker 52 (03:21:00):
I don't want to die.

Speaker 18 (03:21:01):
I don't want to die.

Speaker 14 (03:21:03):
I turn to stop it.

Speaker 12 (03:21:04):
Be quiet, why did.

Speaker 10 (03:21:05):
I ever take this plane? I'm going to begin.

Speaker 25 (03:21:08):
You want to die, Miss Turner, I'll still be quiet.

Speaker 13 (03:21:17):
Thanks, Miss Block.

Speaker 32 (03:21:18):
I'll please do And after that you'd better go and
maybe those.

Speaker 10 (03:21:23):
Mister Block, I don't think you should talk like never mind?

Speaker 71 (03:21:36):
Well, Miss Turner, how are you feeling now?

Speaker 29 (03:21:40):
I guess kind of days?

Speaker 39 (03:21:43):
Well?

Speaker 22 (03:21:43):
What did you give me anywhere?

Speaker 14 (03:21:44):
Just a small.

Speaker 52 (03:21:45):
Harmless plain, Miss Harper.

Speaker 9 (03:21:47):
How soon do we arrive at the moment of truth?

Speaker 51 (03:21:50):
We land in twenty minutes, mister Block, Miss Turner, if
you need me, just ring the bell. Okay, mister Block,
I'm about the way I fell apart.

Speaker 10 (03:22:03):
Do you I think we're going to crash?

Speaker 32 (03:22:06):
That's a fascinating question that won't be answered for twenty minutes.

Speaker 9 (03:22:09):
But if we do crash, we'll never know the answer.

Speaker 32 (03:22:13):
A typical irony, isn't it to be cheated out of
the denoumo?

Speaker 16 (03:22:17):
I don't like the way you talk, mister Block.

Speaker 11 (03:22:19):
By the way you look either.

Speaker 16 (03:22:21):
Why are you smiling?

Speaker 32 (03:22:22):
I'm a musing on the impending prospect of each technical the.

Speaker 13 (03:22:26):
Awful think you say?

Speaker 72 (03:22:27):
Give me the creed?

Speaker 9 (03:22:29):
You know what?

Speaker 13 (03:22:30):
I really think?

Speaker 10 (03:22:31):
You want to die?

Speaker 14 (03:22:34):
Am I right?

Speaker 11 (03:22:35):
Mister block, do you, mister Bloton.

Speaker 9 (03:22:40):
Oh, I'm sorry, I was musing again.

Speaker 24 (03:22:43):
What did you asks you?

Speaker 19 (03:22:44):
Oh?

Speaker 9 (03:22:44):
Yes, your query concerned.

Speaker 32 (03:22:46):
The possible death wish? Am I that transparent? Or are
you acutely perceptive?

Speaker 51 (03:22:52):
I don't know what you mean.

Speaker 9 (03:22:53):
It's strange.

Speaker 32 (03:22:54):
No one has ever seen behind my mask before, not
even poor Jenny Jenny, my wife.

Speaker 9 (03:23:00):
Course, Jenny.

Speaker 32 (03:23:02):
On the other hand, she may have since my despair
long ago and kept silent to save me the pain
of making an admission of feet.

Speaker 9 (03:23:11):
Did you send s Jenny? Tell me truly?

Speaker 32 (03:23:15):
How long have you been aware of the fact that
I've been searching for an honorable.

Speaker 9 (03:23:19):
Way to die?

Speaker 32 (03:23:20):
Mister blood, I've often thought of destroying myself, my good harming,
knowing that you'd be better rid of me. That would
have been the ultimate intignity to thrust upon you. No,
I must set you free in a less painful way.
At this moment, I find myself on the threshold of
the honorable death I've been seeking.

Speaker 9 (03:23:42):
This, at last might be your day of freedom.

Speaker 51 (03:23:45):
Mister black What are you talking about? Mm you were
kind of far away. You said something about destroying yourself.
Did you mean suicide?

Speaker 32 (03:23:56):
No, that would be impossible. Ah, I could never do
that to Jenny. I love her too well to bring
disgrace upon her.

Speaker 11 (03:24:06):
Why do you wanna die.

Speaker 32 (03:24:09):
Because I'm a complete and absolute failure. She'd be better
off rid of me. I told you I was a writer.

Speaker 52 (03:24:16):
Yeah, a bitter joke.

Speaker 32 (03:24:18):
During the past two years, I haven't earned a dollar
at the typewriter. Every manuscript shows promise for a short time,
then withers and dies. Editors who like my work one
day changed their minds and rejected the next. It's as
if I were a Jonah. Jenny has stood by me faithfully,
but with each of my failures, she is manifestly more heartsick,

(03:24:42):
more wary, and forlorn. Oh, Jenny, I keep promising you
that tomorrow will bring a change in our fortunes, but
you know I'm only lying to you and to myself
as well.

Speaker 9 (03:24:56):
Aware of my.

Speaker 32 (03:24:56):
Hopelessness investration, you'll pay stoic excite my feeling of guilt
at having failed you.

Speaker 9 (03:25:03):
Darling. It's almost more than I compare, and.

Speaker 32 (03:25:06):
The fact that you stand at my side without voicing
a complaint only increases my terrible burden.

Speaker 9 (03:25:13):
Not to block. Please stop it, please?

Speaker 32 (03:25:16):
Oh eh, Well, my wife is still an attractive woman,
Miss Turner, a quite beautiful in fact, that she should
have washed her hands of me long ago.

Speaker 9 (03:25:27):
Would you like to hear a strange confession?

Speaker 14 (03:25:29):
Hm, I I don't know.

Speaker 9 (03:25:31):
I I spent our last dollar for this useless flight to.

Speaker 32 (03:25:34):
Hollywood, and now I'll tell you why I'm not upset
about our present danger. Before I bordered this plane, I
bought the limit in flight insurance, naming Jenny as my beneficiary,
and so if I were to die, I would at
last have done something worthwhile for my beloved wife.

Speaker 9 (03:25:54):
Can you appreciate the simple beauty of that solution?

Speaker 51 (03:25:58):
No?

Speaker 45 (03:25:59):
No, I can't.

Speaker 10 (03:26:01):
Like you said, you are a tuna.

Speaker 51 (03:26:04):
This trouble with the aeroplane is all your fault, mister Black.
You really want this plane a crash?

Speaker 18 (03:26:09):
He wants to plane of brass.

Speaker 32 (03:26:10):
Everybody turn somebody else, this girl of the ladies room,

(03:26:41):
and quiet it out.

Speaker 72 (03:26:42):
I'm sorry, Come on this Turner quickly?

Speaker 19 (03:26:44):
Did Jon do you hear everybody?

Speaker 15 (03:26:46):
I'm Jonah, it's all it's molly down.

Speaker 60 (03:26:48):
If it's money, he want.

Speaker 1 (03:26:50):
His body, let's tie it down.

Speaker 9 (03:26:52):
Quiet, I said, knock at all.

Speaker 1 (03:26:55):
Oh, now that's better.

Speaker 39 (03:26:56):
My situation is fairly serious.

Speaker 9 (03:26:58):
But Childie's panic.

Speaker 52 (03:26:59):
Isn't going to help.

Speaker 9 (03:27:00):
But what about that man that job?

Speaker 56 (03:27:02):
That's nonsense.

Speaker 9 (03:27:03):
The girl was hysterical, that's all she said.

Speaker 59 (03:27:06):
He wants us to cray.

Speaker 9 (03:27:07):
Well I can't believe that, but I'll sit down here
and have a talk with it.

Speaker 19 (03:27:11):
Tell him to pray like the rest of them.

Speaker 73 (03:27:13):
I'll do that, mister Block. That's right, Captain Wright. Let's
make it brief what you been telling that girl. But
I'm prepared to die willing.

Speaker 9 (03:27:20):
In fact, don't you care about the others aboard this airplane?
Not particularly? I doubt that they care about me. Mister Block,
you better change your thinking. Everyone else is hoping, praying
that we'll pull through. That's their privilege.

Speaker 32 (03:27:33):
But surely you can't believe that a change in my
thinking can influence the outcome of this mechanical emergency. Either
we'll land safely or we won't, and no amount of
mental gymnastics can alter the result.

Speaker 9 (03:27:45):
I was a practical man, Captain. You must know that
I'm right. Well, I've got time to argue that point.

Speaker 73 (03:27:50):
You're a countless man, mister Block, and hope you live
to regret your irresponsible statements.

Speaker 32 (03:27:55):
You already know what I hope. Goodbye, Captain. Sorry, I
can't say good luck.

Speaker 9 (03:28:06):
Mister Block.

Speaker 52 (03:28:07):
That is your name.

Speaker 32 (03:28:08):
I believe Howard Block. Yet I'm your new seat mate.

Speaker 9 (03:28:12):
Oh what happened to that emotional young lady?

Speaker 32 (03:28:14):
She refused to sit next to you again, so I
change places with her.

Speaker 9 (03:28:18):
I want to talk to you.

Speaker 32 (03:28:19):
There isn't much time as ten or fifteen minutes. My
name is Dwight Manning.

Speaker 9 (03:28:24):
Yes, I know.

Speaker 32 (03:28:25):
I assume you've heard of me. Finance yachtsman, art collector.

Speaker 9 (03:28:29):
You are that one?

Speaker 32 (03:28:30):
An't correct? Now let's get to the point. That girl
was babbling about your wanting this plane to crash. Any
truth in that. Yes, she was right in the classic expression,
I have nothing to live, but I have a great
deal to live for, mister Block, both for myself and others,
business wife, children, that order.

Speaker 9 (03:28:48):
I'm sure. Are you always so insufferably rude?

Speaker 32 (03:28:51):
Your prying into the mind of a stranger isn't exactly courteous.
There's little time for fencing Block, regardless of your own feelings.
Don't you care about the to the passengers? Captain Ellis
pose that same question. My answer was not particularly It
still stands and I suggest that you alter your cynical attitude.
Our present danger is real enough without your tempting fate

(03:29:14):
by mocking it.

Speaker 9 (03:29:15):
Till now there's an interesting revelation.

Speaker 32 (03:29:17):
The practical monolithic joint manning is humanly superstitious.

Speaker 9 (03:29:21):
Mister Block.

Speaker 32 (03:29:22):
Any man who denies holding certain beliefs of that nature
is a liar. I also give credence to the laws
of chance and probability.

Speaker 9 (03:29:31):
During the past decade.

Speaker 32 (03:29:32):
I've survived two airplane disasters. The odds on my surviving
a third are not in my favor. True, But you
spoke of my altering my cynical attitude. How do you
actually believe that if I hold the right thought, the.

Speaker 9 (03:29:47):
Odds on your survival will be improved. Yes, I do.

Speaker 32 (03:29:50):
My whole career, my fortune is based on such beliefs.
Why do you want to die, mister Block. For my
wife's sake, she'd be better off rid of me. I
beg your pardon, As I told my formacy mate, I'm
heavily insured for this flight.

Speaker 9 (03:30:04):
If I were to win my bet with the insurance company,
my wife would gain economic.

Speaker 32 (03:30:09):
Security, a chance to live which I haven't been able
to give her. You're willing to die for money. Let's
say I'm unwilling to live without it. Then it's merely
a lack of money that motivates your ghoulish attitude.

Speaker 9 (03:30:25):
At this moment, it's a powerful motivation.

Speaker 2 (03:30:27):
Call it what you will.

Speaker 32 (03:30:29):
Relieved of money problems, I'd be quite willing to share
your wish to live. You're a wealthy man, mister Manning,
would you care to underwrite a sudden change in my
ghoulish attitude?

Speaker 1 (03:30:41):
Block?

Speaker 9 (03:30:42):
How's that for an unrealistic business proposition? It may not
be as unrealistic as you think.

Speaker 39 (03:30:49):
What do you mean?

Speaker 32 (03:30:50):
That hysterical girl called you a jonah? She may have
been right for the good of the majority. The biblical
Jonah is cast into the sea of course of action,
which unfortunately we cannot emulate.

Speaker 9 (03:31:02):
Now, mister Block, exactly.

Speaker 32 (03:31:04):
How much money would it take to underwrite your proposed
change of attitude?

Speaker 9 (03:31:08):
Well, I'll go along with the gag.

Speaker 32 (03:31:10):
As the comedian say, what about twenty five thousand dollars
a fair price?

Speaker 9 (03:31:16):
You've just made a deal.

Speaker 2 (03:31:17):
What here? What are you doing?

Speaker 32 (03:31:20):
I'm writing you a check? But are you serious? I'm
a businessman, mister Block. To me, it's an investment. I
want every chance to get out of this alive. I
want everyone on this plane to hope and pray for safety.
And when I want something, I buy it.

Speaker 9 (03:31:39):
Yes, but.

Speaker 32 (03:31:42):
Here's your check. It's real, It's really real. Twenty five
thousand dollars, Jenny, Jenny, were free. But now for your
part of the bargain. In a few minutes we have left,
you must truly fervently hope and pray that we come

(03:32:02):
down safely. I will, I will do you, swear it
on the love of my wife. I beg you to
listen to you said.

Speaker 19 (03:32:12):
Now understand.

Speaker 9 (03:32:20):
Captain ellis speaking that you can see we're coming in
for a landing.

Speaker 8 (03:32:24):
The cockpit.

Speaker 73 (03:32:25):
We can see that every possible thing because it's being
taken on the spit. Pray with me, Do you remember
that I'm in this Arab.

Speaker 9 (03:32:32):
Places much as you do.

Speaker 73 (03:32:36):
Be sure also whether this out together, and with good luck,
we'll make it okay.

Speaker 9 (03:32:41):
Now keep your belts tight.

Speaker 4 (03:32:43):
We're coming in.

Speaker 32 (03:32:56):
Oh, mis Turner, Miss Turner, over here in the phone booth.

Speaker 29 (03:33:04):
Oh who is it?

Speaker 9 (03:33:06):
Oh, it's you.

Speaker 22 (03:33:07):
Well, I don't want to talk.

Speaker 9 (03:33:08):
To you, mister Brobs. This it's no time to be sullen.
We're alive and breathing.

Speaker 51 (03:33:12):
I heard about that twenty five thousand dollars check. We
all heard about it, and we say it's blood money.
You ask me, you are the nastiest, most gruesome.

Speaker 10 (03:33:21):
Character I ever met.

Speaker 32 (03:33:22):
That's very funny, as the man says, I'm going to laugh.

Speaker 12 (03:33:25):
All the way to the bank.

Speaker 51 (03:33:26):
Yes, and why your marth is hanging over and I
hope you choke. What are you doing in this phone
booth canceling your funeral reservation.

Speaker 32 (03:33:33):
I'm calling my wife in New York to tell her
the good news.

Speaker 51 (03:33:35):
She'll be extended, Yes, especially when you tell her how
you got that money.

Speaker 9 (03:33:39):
Wait, wait, I'm getting my connection.

Speaker 32 (03:33:41):
Wouldn't you like to talk to Jenny and tell her
how he chieved the Angel of death together?

Speaker 51 (03:33:45):
Look, the only thing I could tell your wife is
that she's married to.

Speaker 22 (03:33:48):
A maniac song friend and please drop dead alone.

Speaker 9 (03:33:55):
How Oh, Jenny, Hi Dotting.

Speaker 32 (03:33:57):
Oh, Look, just arrived in LA and I've got the
most wonderful news you ever.

Speaker 9 (03:34:03):
Heard in your life. Howard, Jenny Darling, we'll never have
to worry again.

Speaker 11 (03:34:08):
As long as you.

Speaker 9 (03:34:11):
Don't you want to hear what happened.

Speaker 32 (03:34:12):
I've got twenty five thousand dollars.

Speaker 67 (03:34:14):
Yes, I'm sure you have. Listen, Howard, I'm no longer
interested in your fantasy, but it isn't the.

Speaker 27 (03:34:21):
Fact you Please be quiet listen.

Speaker 67 (03:34:25):
After you left this morning, I talked to a lawyer,
A lawyer, why if he can arrange it. I never
want to see you again. No, I'm divorcing you hard.
No I'm rid of you, rid of your last journey.

Speaker 12 (03:34:40):
No, I'm sorry, Howard.

Speaker 65 (03:34:43):
Goodbye journey, journey. Time to tell tales.

Speaker 33 (03:34:58):
Will be uncomfortable of apparitions by night and phantoms and shadows.

Speaker 19 (03:35:04):
It's time to tell strange stories of fantasy and the supernatural.

Speaker 33 (03:35:13):
Freeter ten thirty presents two Little Punctures by Anthony Lee Flanders,
starring John Scott as George, with Paul Kleigman as Harry
and Ed McNamara as Bills.

Speaker 19 (03:35:31):
Yes, it was very clever of you to find me.

Speaker 23 (03:35:33):
It's not many that would have suspected my connection with
an event that happened so long ago and so far
away that you're quite right. I was in Peru in
nineteen forty eight, and though my name was never connected
with the story, I was there when it happened.

Speaker 19 (03:35:48):
I suppose it doesn't matter now if I tell you
about it, and it isn't often with the newspaper sends
out a pretty young lady to interview me. So I'll
tell you the story.

Speaker 23 (03:36:00):
It can't hurt me now. I'm an engineer, practical man,
thirty five years of.

Speaker 9 (03:36:06):
The same oil company.

Speaker 23 (03:36:08):
I have a house, mortgage paid off, two cars, a family,
a portfolio of investments.

Speaker 19 (03:36:16):
Not exactly what you'd call a nut. So I'll tell
you about it. It was actually in late nineteen forty seven.
I was sent to Telera, Peru. It's on the Pacific coast,
the first point west on the South American continent.

Speaker 8 (03:36:37):
A job.

Speaker 19 (03:36:39):
So they thanks you down here, too, greedy company. They
just entered the oil out of the ground fast enough.
They said, it's pretty busy here.

Speaker 9 (03:36:46):
Bill.

Speaker 66 (03:36:47):
Busy, that's hardly the word for it. Can you imagine
we're building a whole bloody town right here on the coast.
It's like an invasion. The right big weaponents applies like
the door, our style. The report is it's one of
the largest strikes the companies ever had.

Speaker 4 (03:37:01):
It is George, it is.

Speaker 9 (03:37:07):
He was right.

Speaker 23 (03:37:08):
The activity was phenomenal. They were already paved highways for
the trucks. The place was a forest of wood and
oil derics. When they were done with a derec they
just left it and moved on, and they were building
a town. A house of day was being completed in
assembly line fashion, and as fast as they finished them,
the employees brought their families in to live there.

Speaker 9 (03:37:31):
I sent for Barbara, my wife.

Speaker 19 (03:37:36):
Gorge not exactly that picture.

Speaker 9 (03:37:40):
Well, how did you picture?

Speaker 38 (03:37:41):
Well, I expected the last topic.

Speaker 30 (03:37:44):
Not it just rolling desert ride.

Speaker 9 (03:37:47):
Up to the host.

Speaker 19 (03:37:48):
We'll look over there. Those are the Andes. Because he
didn't quite plainly on it.

Speaker 4 (03:37:52):
There.

Speaker 23 (03:37:53):
Now, just back of them, there's the Amazon jungle. Here,
it's just sandy hills leading up to the mountains. Barbara
and I moved into one of the just completed houses.
We held a little party with some of our friends.
Harry Thompson was there. He was the interpreter. He just
come back to the trip.

Speaker 66 (03:38:15):
I was just up to some of the villages in
the Andes. It's pretty spooky there. Nothing you can put
your finger on, just a feeling something in the air,
or maybe the look in their eyes.

Speaker 19 (03:38:26):
Ah, but it bothers me. But you think it's something
that we should warn the rest of us. And trouble is,
I don't know exactly what to want them about.

Speaker 23 (03:38:36):
Let's just keep our eyes over though. Okay, I was
inclined to listen to Harry. He's been here a long
time and if he had a hunch it was probably
something to it. And besides, he knew the natives pretty well.
But nothing seemed to come of it. Of course, it
was impossible to tell if things were normal because the

(03:38:58):
whole area.

Speaker 19 (03:38:59):
Was in such a confus Then there was an event
that didn't make things any easier.

Speaker 9 (03:39:07):
Your Yorge, Harpara, we are here.

Speaker 19 (03:39:11):
Come on, we gotta get out of here.

Speaker 14 (03:39:12):
When you get the whole house is taking this earthquake?

Speaker 9 (03:39:15):
Go on, juty what house?

Speaker 19 (03:39:30):
It was one hell of an earthquake.

Speaker 23 (03:39:33):
Actually, a whole series of them between the end is
in the Pacific coast for a couple of hundred miles north.

Speaker 19 (03:39:38):
And so.

Speaker 23 (03:39:48):
Wow, George, George, Yeah, and I talked to you from Yeah, sure, doc,
what is it? Well, look, we're going out of our
minds over.

Speaker 19 (03:39:58):
At the hospital.

Speaker 23 (03:39:59):
We've got for forty facings and god only knows how
many hundreds we need medical help. They're camped all over
town now, can you engineers give us a hand set
up from emergency bedding for.

Speaker 19 (03:40:11):
The bad cases?

Speaker 10 (03:40:12):
Yes?

Speaker 19 (03:40:13):
Yes, how about the warehouse to start good?

Speaker 9 (03:40:18):
Oh?

Speaker 19 (03:40:19):
Another thing we've radio for medical surprise.

Speaker 8 (03:40:22):
We want to fly the man.

Speaker 23 (03:40:23):
You think your boys could build a strift big enough
for a DC free the lane. That'll take a bit
of doing.

Speaker 19 (03:40:30):
Who is it?

Speaker 23 (03:40:31):
Coming from Red Cross headquarters and wind? But I'll get
to work in the warehouse. I'll see what can be
done about it.

Speaker 22 (03:40:37):
Rip.

Speaker 23 (03:40:39):
That was the situation, chaotic and primitive. The natives were
completely illiterate. Most wandered around naked all the time. The
people from the company had been inoculated against everything, and
of course we got the best medical treatment, but there
just wasn't enough to go around for all the natures.
They were dying in a astonishing rates. The ones who

(03:41:02):
weren't ill just sat around little dumbfounded by the whole thing.
I guess they thought they offended the gods or something.
And then something's happened that told me the whole situation
was a lot more explosive than we thought. No, I
haven't noticed anything unusual at all, Harry, I mean, Hall,

(03:41:23):
it's an unusual situation, but it's been.

Speaker 19 (03:41:25):
Like this for about ten days.

Speaker 9 (03:41:27):
That's what I mean.

Speaker 19 (03:41:28):
Even unusual situations settled down to their own form of normal.
But last night I thought I noticed something different.

Speaker 75 (03:41:36):
Hey, it's funny you should mention that I had a
weird feeling last night. I was walking around camp second
on the supplies, and then a peculiar feeling somebody was
watching me.

Speaker 19 (03:41:50):
I checked and everything. Com on, you guys, you sure
you ain't got a fever or something?

Speaker 55 (03:41:55):
No?

Speaker 19 (03:41:55):
Why didn't you ask the doctor?

Speaker 9 (03:41:57):
Here he comes now?

Speaker 52 (03:41:58):
George.

Speaker 19 (03:41:59):
Oh, George, I want to talk to you. Can I
see you for a minute? Yeah, sure, don't What is
it being private jooring? Yes, we're here, George. It's nothing
you should get too worried about. I mean, I think

(03:42:20):
it's not serious. We'll get to the point doctor. Well
it's Barbara.

Speaker 38 (03:42:25):
Barbara.

Speaker 23 (03:42:26):
Now don't get excited. If something's familar with Barbara, let's
hear about it. Look, I saw her this morning, the
routine check up of the company people. She seemed no
right except well except for one thing. She seemed listless.

Speaker 9 (03:42:47):
Is that all? But she's tired of this place, you know, Barbara.

Speaker 23 (03:42:51):
She misses shopping the cocktail party circuit getting oldress up
for a concert.

Speaker 9 (03:42:55):
She just bore here.

Speaker 61 (03:42:57):
Yeah, sure, George, Yeah that must be well. Did you
see anything? Should have to be something else? She looked
a little.

Speaker 55 (03:43:10):
A meaning.

Speaker 19 (03:43:13):
She hasn't been sleeping. Well, it's a confusion.

Speaker 23 (03:43:17):
She's got used to earthquakes and thousands of natives camped
on her doorstep, dying faster than we can bury them.
Now there's a real problem for you, doctor. It's a
hazard of the community's help. We've got to bury those
bodies a lot quicker. The situation was getting steadily worse.

(03:43:53):
The earthquakes had struck for hundreds of miles up and
down the coast, and medical supplies were desperately short. The
Red costfly what they could, but it wasn't nearly enough.
The natives continued to die. There was a change of
mood in the camp, a growing restlessness feeling. It's hard
to describe among the natives. One morning it was more

(03:44:17):
noticeable than ever.

Speaker 75 (03:44:20):
It doesn't love good, No, No, we were just discussing
in Jersey night. There is something strange going on.

Speaker 19 (03:44:28):
Did you notice the natives?

Speaker 9 (03:44:30):
The looks hell?

Speaker 19 (03:44:31):
I can it behind One this morning when the shoulder
Dame there jumped out of his skin. And something happened
last night.

Speaker 9 (03:44:38):
I don't know what it was.

Speaker 19 (03:44:39):
I heard a couple of them talking and they were
whispering about something they saw last night. I asked them
what they were talking about, but they wouldn't answer. They
just slunk off. Same thing with all the others, I asked,
I think we'd.

Speaker 75 (03:44:52):
Better keep it close once and thank out the weapons.
Beaman issues. They're out numbered here twenty five to one.
If they ever side that went our wealth, well, look
go Harry.

Speaker 19 (03:45:02):
They wouldn't do that thing.

Speaker 9 (03:45:04):
Know we're friendly. I'm not sure.

Speaker 19 (03:45:06):
There's a spooky bunch. No one can tell for sure
what they're thinking. Maybe Bill's right, we better get the
guns out just for our own protection.

Speaker 23 (03:45:20):
I didn't like that the neighbors would see the guns
and think if we had a reason for being scared,
I said, But I was overruled, and as it turned out,
I was damn glad.

Speaker 51 (03:45:30):
I was.

Speaker 9 (03:45:45):
What is it?

Speaker 1 (03:45:46):
I don't know.

Speaker 75 (03:45:47):
I was just sitting up there and guide when all
of a sudden there was a panic, just like that,
A stampede.

Speaker 19 (03:45:52):
Natives running everywhere. It's raymon and yelling.

Speaker 75 (03:45:55):
It looked like they were scared out of their minds.
They were about over the supply, so I fired in
the air a few times. That quieted them. It seemed
to settle down. I thought that the chiefs are trying
to get them back into the camp. Did you see anything,
h No, not myself, but I heard some of.

Speaker 19 (03:46:15):
Them yelling about a woman in white up there.

Speaker 9 (03:46:19):
On the cliffs.

Speaker 75 (03:46:20):
Oh that wind need some crazy woman walking around in
the moonlight, bootie.

Speaker 19 (03:46:26):
Savages like Flighty in a situation like this. The woman
in white was Barbara Well, I'm pretty sure it was anyway,
and I got home. She was in bed wearing her
white Negligee, the full length one. It was dirty around
the bottom. She had clear on her feet. Play from

(03:46:47):
the cliffs. I thinkured that she had one of her dreams,
but she'd taken the sleeping pills the doctor gave her.
She couldn't wake up, so she ended up walking in
her sleep. I used to walk in my sleep when
I was a kid, so I knew something about that.
I didn't tell anyone at was Barbera. Though there's no
need to get people upset. I didn't even tell her.

(03:47:11):
She was nervous enough about the situation telling her she
was sleepwalking. Wouldn't have made her feel any better.

Speaker 23 (03:47:19):
I told her I had tracked the clay into the house,
since she must have picked it up that way.

Speaker 19 (03:47:26):
She didn't say anything. In fact, she didn't even seem
to notice. She seemed well.

Speaker 55 (03:47:33):
Well.

Speaker 19 (03:47:34):
The partick is the word. I think. The situation in town, though,
is the complete opposite. That night, what are they up to?
I'm not sure it's some kind of ceremony supposed to

(03:47:57):
drive away evil spirits or something. Let's hope they don't
decide where the evil spirits, because.

Speaker 16 (03:48:05):
My god, it's the woman there.

Speaker 19 (03:48:09):
I'm on the clip. We got the shop house ahead.

Speaker 9 (03:48:27):
No, what are they doing?

Speaker 19 (03:48:28):
I think the chief wants to talk to us. I'll
go see what it is.

Speaker 9 (03:48:31):
No, you better not.

Speaker 19 (03:48:31):
I think it's okay. He wants to show me something.

Speaker 9 (03:48:37):
I don't like it.

Speaker 19 (03:48:40):
Hey, hey, doctor, come in.

Speaker 9 (03:48:43):
Did you kill any of them?

Speaker 51 (03:48:44):
No?

Speaker 19 (03:48:45):
No, boy, I shot over their head in factor, What
name hell is going on? I think I have an
you come with me, they'll.

Speaker 38 (03:48:56):
They'll calls York up here.

Speaker 19 (03:49:02):
I was guarding the food supplies when Bill came down
and got me. I went up to see the doctor, George.

Speaker 9 (03:49:10):
That woman was Barbara.

Speaker 23 (03:49:13):
Yes, I know she can sleepwalking. That's probably true, George,
But you've got a stopper from walking up there on
those cliffs. She's probably saved herself. Sleepwalkers are all right
unless there's suddenly disturbed. But she's scaring the hell out
of the natives. Well, she did look a little area,
but that shouldn't scare them mischief. A woman can't harm them.

(03:49:33):
That isn't what they think. They think she's a vampire.
Tell me Rid to k I know she is an
a vampire. You know she is an vampire.

Speaker 19 (03:49:44):
But they think she is.

Speaker 23 (03:49:47):
And I didn't want to mention it before, but they
have reason to think that. We've been warned on the
medical bulletins that the earthquakes have changed the migratory patterns of.

Speaker 65 (03:49:59):
A lot of the wildlife.

Speaker 23 (03:50:00):
But what's that got to do with Barbara. There is
a species of vampire bats. It's found in parts of
Mexico and Central America. Maybe it's found in the Amazon too.
Nobody's in there to check anyway. I think that species
has suddenly shown a fear. The earthquakes caused them to come.

(03:50:25):
They live on the blood of metals. The quakes drove
all the mammals out of the andes, the bats must
have fallen. I've had eight cases of native dying from
a cause I couldn't determine, but I went back and checked.

Speaker 65 (03:50:42):
On all eight.

Speaker 23 (03:50:45):
There were two little punctures in the nets right on
the juggler ban.

Speaker 19 (03:50:53):
Oh.

Speaker 61 (03:50:53):
I haven't had any of our people because we sleep
in houses with the insect necks on.

Speaker 19 (03:51:00):
Went doctor, what are the symptoms? I'm not sure. I've
only seen them dead. If I suspect general listlessness, lethargy,
I mean, who's the bother symptoms? That's right, he's been

(03:51:22):
sleepwalking would be the same as being bitten in their
sleep in bed.

Speaker 35 (03:51:26):
Oh.

Speaker 61 (03:51:37):
Look at this, George, two small punctures on her throat,
right over the juggler vein.

Speaker 55 (03:51:47):
You've got to do something difficult, George. It's very difficult.
We have no idea what the effects of this are.

Speaker 8 (03:51:57):
The people are.

Speaker 55 (03:51:58):
Dying from it.

Speaker 61 (03:52:00):
I don't know why we got don't make sure that
she doesn't get out again, and make sure nothing gets in.

Speaker 9 (03:52:07):
You keep a watch on it.

Speaker 19 (03:52:09):
I'll wear the Red Cross and Lema. We should have
some experience with this sort of thing. I'll get right at.

Speaker 61 (03:52:19):
I kept the constant watch on Barbara. I don't think
I slept for two whole days. On the second night,
she seemed better.

Speaker 19 (03:52:31):
Here. I brought you some food.

Speaker 30 (03:52:34):
Yes, I think I'd like to eat now.

Speaker 19 (03:52:38):
You haven't eaten for three days. Do you remember anything? No,
I've been sleeping.

Speaker 30 (03:52:45):
I think so tired lately, I've had red dreams. Well, George,
you can relieve here. I'm so frightened. If we don't
leave right away, something terrible is going to happen, something great.

Speaker 9 (03:53:00):
Yeah, Barbara was right.

Speaker 23 (03:53:12):
Somehow the place seemed to have subtly changed. At first,
not knowing what to expect, everything I've seen South America
had seemed natural to me. I'd just taken it for granted,
that is, until that evening, and then, for some reason,
the whole thing seemed well, like a picture suddenly gone

(03:53:38):
out of focus. Perhaps it was because I was so.

Speaker 19 (03:53:42):
Tired from staying up and watching Barbara. I fell asleep
in the chair. Anybody home, sure, wake up?

Speaker 9 (03:54:01):
Wak up?

Speaker 11 (03:54:02):
Oh what is this?

Speaker 9 (03:54:04):
Wake up?

Speaker 38 (03:54:04):
Man?

Speaker 9 (03:54:05):
Doctor?

Speaker 19 (03:54:06):
What are you doing here? Where's Barbara?

Speaker 9 (03:54:08):
Barbara?

Speaker 19 (03:54:09):
She's in the beduin I think not.

Speaker 2 (03:54:14):
Not here.

Speaker 23 (03:54:15):
I thought I saw a woman in white down near
the natives camp.

Speaker 75 (03:54:18):
We gotta find her. Where did you find it? Do
hop on the cliffs again? I think the doctor a
better look at her choice. There's blood out her neck.

(03:54:38):
Oh much worse, George. I have to give her a transfusion.
I don't know how she gets the energy to go
tramping around the cliffs when she's so weak. It's like

(03:55:00):
a compulsion. Whether it seems anyway. She hasn't improved by morning,
I'm going to have her flown to Lima. The Red
Cross are better equipped for this sort of thing. They
didn't get the chance to send it to Lima. During
the night she died.

Speaker 61 (03:55:16):
The doctor put on the death city date an unidentified
tropical infection of the blood.

Speaker 9 (03:55:24):
We buried it that morning with no waiting.

Speaker 8 (03:55:27):
I was numb.

Speaker 9 (03:55:28):
I didn't know what to do.

Speaker 61 (03:55:31):
All that day I worked as hard as I could,
helping a doctor with natives, sitting in the construction of
a new hospital and what used to be the warehouse.
I was blown tired, but I couldn't sleep. I didn't
want to lay down and have to face my thoughts.
That night, still not able to sleep, I stood guard

(03:55:52):
duty with Bill Buddy night Ye shine, damn.

Speaker 19 (03:56:07):
They just the light would overrund the place.

Speaker 2 (03:56:10):
Why what is it?

Speaker 19 (03:56:11):
Superstitious bunch?

Speaker 66 (03:56:13):
I think they saw the woman in white on the cliff,
Just a spooky bunch of primitives imagining things.

Speaker 19 (03:56:20):
Look, George, why don't you.

Speaker 55 (03:56:23):
Get some sleep.

Speaker 23 (03:56:24):
Get the doctor to give you something. The doctor gave
me some pills. I took two of them and fell
asleep almost immediately. That was exactly what I wanted. But
I kept dreaming about Barbara. I dreamt I saw her
walking on the cliffs, the white flowing down, trailing out

(03:56:47):
behind her, silhouetted against the sky.

Speaker 61 (03:56:51):
I dreamt she came to me while I was sleeping.
She shouldn't make a sound. She seemed to glide in
the room, but not from there through the window. She
came to the bed and leaned over me, and then
she kissed me on the neck for long this time,

(03:57:18):
and then.

Speaker 9 (03:57:18):
She left.

Speaker 23 (03:57:23):
In the morning, Lord, you look worse this morning than before.
I think i'd better send you back home.

Speaker 19 (03:57:31):
I can justify it on medical grounds, and company will
take you back to Canada.

Speaker 23 (03:57:35):
No, no, I don't think for doctor, at least not yet.
I've got to adjust this whole situation in my mind.
If I go back, it'll be unresolved. I would have
accepted anything. I don't think I could live with it
if I just run away. Let me stay a little longer,
well in a few more days. But if you don't
show any improvement, back you go.

Speaker 19 (03:57:58):
I didn't tell the doctor my real He isn't a
wanting stay. Actually, I wanted to get out of there.
I hated the place, and I wasn't ready to leave Barbara,
not yet. The doctor gave me a Saturday that night,
injected it and went out, like the proverbial light, stepped

(03:58:18):
peacefully for several hours. Then I seemed to be half awake,
semi conscious. I was aware that there was someone in
the room. I looked at the window and Barbara was
standing there in a long white gown. She smiled at me,

(03:58:42):
walked over to the bed, leaned over and kissed me
on the neck.

Speaker 9 (03:58:50):
The long is.

Speaker 61 (03:58:53):
The same as the night before. And then I had
an incredible feeling peace settling over me. I said sound
little about three in the morning, and then suddenly I
awoke with a terrible feeling of dread. It was silent,
and then I was suddenly very frightened. I heard voices

(03:59:18):
in the next room, where's George in? There was sleep, good.

Speaker 19 (03:59:26):
Sleep. Still, the most terrible things happened. The natives dug
up Barbara's coffin. They found the body, and they drove
a stick right through the heart, and that was the
end of its, Young lady, It's the closest I ever
came to. The vampire's a rare breed of South American

(03:59:49):
death that killed my first wife and some delirious dreams
brought on by tropical fever. I don't know if that
story is then. I used to hear editor. I doubted
the ties in it all, with its recent wave of
unexplained deaths.

Speaker 9 (04:00:04):
But if you come.

Speaker 23 (04:00:05):
Closer, that's it. A little closer. I doubt if these
modern scientific types will look at the necks of the
victims hand out, if he'll notice there's two little punctures
on your neck. Did you enjoy the story, young lady?

Speaker 19 (04:00:30):
You did.

Speaker 39 (04:00:32):
Well.

Speaker 19 (04:00:33):
You will come back tomorrow night, won't you?

Speaker 9 (04:00:39):
Yeah?

Speaker 19 (04:00:40):
Let me I had crackle of bloody neck.

Speaker 33 (04:00:53):
Theater ten thirty has presented Two Little Punctures by Anthony
Lee Flanders with John Scott as George. Vivian Reese says
Barbara his wife and ed McNamara as Bill. His friend
Paul Kligman was heard as Harry, and Neil le Roy
as the doctor. Sound effects were by John Sliz Technical Operation,

(04:01:18):
John Skillen Theater. Ten thirty is the CDC Toronto presentation.
This is Bill Laurin speaking.

Speaker 26 (04:01:56):
This is Security Police Headquarters. We've just seen the photoprint
and it's impossible. I said, impossible. No matter what the
evidence proves, no man can be two places at once.

Speaker 45 (04:02:07):
Two thousand plus Science fiction Adventures in the World of
Tomorrow two thousand plus presents The.

Speaker 19 (04:02:15):
Other Man.

Speaker 39 (04:02:39):
Here.

Speaker 19 (04:02:39):
I'm hey, now, ain't you home?

Speaker 57 (04:02:43):
Hey?

Speaker 19 (04:02:44):
When I come home, I want my wife.

Speaker 9 (04:02:45):
To be here.

Speaker 52 (04:02:48):
Maryan here?

Speaker 9 (04:02:49):
Hey, didn't you hear mebody?

Speaker 51 (04:02:51):
Oh?

Speaker 19 (04:02:52):
My knowing Scotty, Scotty haven't se what's the matter?

Speaker 10 (04:02:58):
When did you escape?

Speaker 12 (04:02:59):
How did you get escape?

Speaker 19 (04:03:01):
Would you mind telling you quiet?

Speaker 13 (04:03:05):
I thought I heard someone just a moment, Darling.

Speaker 74 (04:03:14):
There, Now we can talk.

Speaker 10 (04:03:17):
Oh, Scottie. I couldn't understand what had happened to you.
I was so worried. I couldn't believe it.

Speaker 29 (04:03:23):
Mira.

Speaker 76 (04:03:24):
I hate to stand here like an idiot. I just
can't go on repeating your silly phrases. After what are
you talking about?

Speaker 30 (04:03:29):
Then?

Speaker 10 (04:03:30):
You didn't kill the man in the blue turban?

Speaker 9 (04:03:32):
Where was I supposed to have killed him?

Speaker 10 (04:03:34):
In Cairo?

Speaker 2 (04:03:35):
Cairo?

Speaker 12 (04:03:36):
When this morning, love, Darling.

Speaker 76 (04:03:39):
I know this is the year twenty plus one hundred
and twenty, But even in this age of super science,
there's no jet plane fast enough to fly me from Cairo,
Egypt to Metropolitan City, USA that fast, Scotty, I'm telling.

Speaker 10 (04:03:49):
You the truth. Look I'll show you. It's all over
the front pages of this similar newspaper.

Speaker 74 (04:03:57):
See the whole story in headlines and your picture too.

Speaker 16 (04:04:03):
Read it.

Speaker 10 (04:04:04):
Read it.

Speaker 76 (04:04:06):
The world Security Police and a daring action in Cairo,
Egypt today captured Scott Douglas, chief of the Eastern Zone
Security Police Section, as the chief criminal behind the world
wide black market operation running into millions of dollars annually.
In the struggle preceding his arrest, mister Douglas shot and

(04:04:31):
killed a mysterious stranger wearing a blue turban.

Speaker 10 (04:04:34):
You see, Darling, it is true not only in the papers,
but all day in the televox news. I've seen it, Scotty,
with my own eyes. Being taken to the police to
the airport.

Speaker 9 (04:04:44):
It was yours guy, I tell you this is not true.
It's not me.

Speaker 19 (04:04:49):
Look, call my office, ask for the chief, ask him
what this is all about it.

Speaker 10 (04:04:52):
I know you've escaped. They'll come here.

Speaker 13 (04:04:54):
That don't capture you.

Speaker 76 (04:04:55):
I don't do any such thing because none of it's true. Look,
if you're worried about it, don't tell him.

Speaker 19 (04:05:01):
I'm here. Yes, you deny it, but if I Heaven's say,
call him?

Speaker 10 (04:05:06):
All right, Scotty here, all right, mister Enright, Hello, Mirah.

Speaker 9 (04:05:16):
I was rather expecting you to call. You want to
know about Scotty, don't you.

Speaker 13 (04:05:20):
I can't understand it, mister Enwright.

Speaker 10 (04:05:22):
I've seen it in the papers on the telephons, but
I can't believe we've it.

Speaker 9 (04:05:25):
It's true, Mira.

Speaker 13 (04:05:27):
But are you certain it's Scotty?

Speaker 9 (04:05:28):
There's no doubt of it. How do you know by
the obvious methods? It looks like Scotty, it talks like Scotty.

Speaker 26 (04:05:34):
It's wearing Scotty's clothes, carrying Scotty's wallet with your picture,
and there's private papers in it. A small birthmark on
the left arm, same blood type, same fillings in the teeth,
and the fingerprints are exactly Scotty's. I had everything double
checked by audio from Egypt against Scotty's personal identification.

Speaker 9 (04:05:50):
File here at the top.

Speaker 4 (04:05:51):
It all off, Mirror.

Speaker 26 (04:05:53):
I talked to him by audiophone just a few minutes
before the jet plane took off.

Speaker 19 (04:05:57):
I'm sorry, hum I see thank you, mister A Just
one thing more, Mirror.

Speaker 26 (04:06:03):
Scotty as due to land in about three hours. I'll
send someone over in a little while to pick you up.

Speaker 9 (04:06:08):
I know you'd want to see him.

Speaker 13 (04:06:10):
Thank you.

Speaker 19 (04:06:13):
It's unbelievable. It's fantastic. Mirror.

Speaker 16 (04:06:17):
Who are you?

Speaker 19 (04:06:20):
Who are you?

Speaker 4 (04:06:21):
Who am I?

Speaker 19 (04:06:23):
I'm your husband. I'm Scott Douglas.

Speaker 10 (04:06:25):
I'm going to call the police.

Speaker 2 (04:06:26):
Stop it.

Speaker 9 (04:06:27):
I am Scottie.

Speaker 19 (04:06:30):
Look at my mirror.

Speaker 9 (04:06:32):
I am your husband.

Speaker 19 (04:06:34):
No one can fool you about that. Look at me,
good lord, Mirror. Look look look here's my wallet, the
one he talked about.

Speaker 9 (04:06:42):
See it is mine, you know it? Look touch it,
thumb through it. There's a picture. There's the stitching where
I had it repaired last October.

Speaker 19 (04:06:52):
Remember, Mirror, when I didn't want to throw it away
for sentimental reasons, because we bought it that night last
summer at the little bazaar. Who would know that, mirrors,
expt Your husband. Who would remember that except me? Here?
Look at this, pull my sleep up, the birth Michael
I left arm. Nobody could fake that ugly thing, you
know that mark, every twist of a fingerprints, fingerprints. I'll

(04:07:14):
give you all you want, have them checked anywhere you want.
I am spat Douglas, I am your husband.

Speaker 9 (04:07:21):
Then who.

Speaker 74 (04:07:23):
Who is the other man? That's the police, Scottie.

Speaker 19 (04:07:44):
They're here to pick me up and take the airport
to meet your husband.

Speaker 13 (04:07:47):
Oh, Scottie, I'm frightened.

Speaker 19 (04:07:49):
You must never let anyone know that. It's the only
way I'll ever be able to figure this thing out.

Speaker 10 (04:07:54):
I'll try, Darling, just a moment.

Speaker 18 (04:07:56):
I'm coming.

Speaker 10 (04:07:58):
Oh Darling, I remember.

Speaker 76 (04:08:00):
This whole thing may be a trick. I don't know
why or for what reason, but there's always the possibility
of this was a deliberate deception.

Speaker 30 (04:08:06):
But they can't for me.

Speaker 76 (04:08:07):
For you, Mirror, you believed all the publicity, all the
newspaper reports, everything you saw in the telebox. That's what
I can't understand. This whole thing's being carried out so openly,
so boldly. The actors, if they're so sure of themselves.

Speaker 10 (04:08:19):
I've got to go now. There'll be suspicious.

Speaker 76 (04:08:21):
Yes, yes, now remember our plan. After you leave, I'll
get out of here. I don't know where I'll go,
but I'll get in touch with you from time to time.
You always know it's me and not the other man,
because I'll use the code word bizarre.

Speaker 29 (04:08:31):
I know, Darling.

Speaker 10 (04:08:31):
You don't have to tell me again, all right?

Speaker 76 (04:08:33):
And I told this other man as if he really
were me. At least do that for a while. It's
obviously what they expect of you.

Speaker 74 (04:08:39):
Yes, yes, Godi, you've told me a dozen times.

Speaker 29 (04:08:41):
I know what to do.

Speaker 13 (04:08:43):
Good bye, darling.

Speaker 9 (04:08:59):
Yes, what is it? Plane from Cairo with Douglas aboard?
Coming in, sir?

Speaker 26 (04:09:02):
Okay, over here, Mira, you can see the plane land
from this window. We'll be landing over there by that ramp.

Speaker 9 (04:09:13):
Who are those NaNs security police?

Speaker 26 (04:09:14):
I'm sorry, mirror, but we can't take any chance of
Scotty escaping.

Speaker 9 (04:09:17):
We've taken great care ever since his arrest. Thanks coming
in now.

Speaker 10 (04:09:22):
I wonder what what you look like a.

Speaker 26 (04:09:26):
Little tired perhaps, But it's Scotty. I told you that
the plane stops, you'll see him in a moment nearrow. Now,
look when he comes in here, don't break down. He's
going to need all the courage and help you can
give him.

Speaker 10 (04:09:38):
There, Look it doesn't look like Scotty.

Speaker 26 (04:09:44):
Yes, prisons coming up, sir, bring him in the moment
he arrives. Yes, do you like a drink?

Speaker 15 (04:09:51):
Mirror?

Speaker 4 (04:09:51):
No?

Speaker 9 (04:09:52):
No cigarette?

Speaker 10 (04:09:54):
Nothing, please, I'll hear that, all right.

Speaker 9 (04:09:59):
Man outside, leave Douglas with me.

Speaker 19 (04:10:05):
Hello, Scottie, Hello Chief, Hello Mirah. Hello.

Speaker 12 (04:10:12):
Uh.

Speaker 1 (04:10:12):
I think I'll look.

Speaker 9 (04:10:14):
I'll leave you to alone for a while.

Speaker 19 (04:10:16):
Thanks, Jeef. I'm glad you hear mir I was wondering
if you would be.

Speaker 9 (04:10:29):
Mirror.

Speaker 76 (04:10:30):
What's the matter? You're so cold, so distant, Darling. I
don't understand. Don't you want to talk to me?

Speaker 39 (04:10:40):
Mirror?

Speaker 51 (04:10:41):
I don't know.

Speaker 10 (04:10:42):
I'm I don't know.

Speaker 19 (04:10:45):
It's all been a terrible shock to you, hasn't it.

Speaker 8 (04:10:48):
What did you learn?

Speaker 9 (04:10:49):
Did the chief call him?

Speaker 10 (04:10:52):
I first learned to the newspaper, then the telebox.

Speaker 19 (04:10:55):
You mean it's it's been published, broadcast?

Speaker 9 (04:10:59):
Good luck?

Speaker 19 (04:11:00):
Everybody knows? Then that's right, Oh, Darling. I'm sorry.

Speaker 76 (04:11:05):
I hardly know what happened myself. The last few days
are a blur, a blank. All I remember is a
room in a hotel in Cairo, A man with a
blue turban the police. I became panic stricken. There was
a fighter shot, and then the arrest and the talk
about the black market.

Speaker 19 (04:11:25):
I don't know what that means. Mary looks so strange.
For heaven's sake, what's the matter. Don't touch me, don't
touch you. I'm your husband, Darling.

Speaker 31 (04:11:39):
Darling, I can't.

Speaker 10 (04:11:43):
You're not Scotty, You're not.

Speaker 19 (04:11:44):
I'm I'm not Scotty. Amera.

Speaker 9 (04:11:48):
Stop is hysteria at once?

Speaker 12 (04:11:49):
What do you mean?

Speaker 19 (04:11:50):
I'm not Scotty.

Speaker 10 (04:11:51):
It's a trick.

Speaker 13 (04:11:52):
It's a cruel.

Speaker 9 (04:11:55):
I think you're serious.

Speaker 18 (04:11:57):
Tell them I know.

Speaker 9 (04:12:00):
You said to you.

Speaker 10 (04:12:01):
I could ask you those questions, and I could also
ask you who are you?

Speaker 29 (04:12:06):
Who?

Speaker 39 (04:12:06):
Am?

Speaker 19 (04:12:08):
This is crazy?

Speaker 13 (04:12:10):
Let me see your birthmark?

Speaker 1 (04:12:11):
What all right?

Speaker 9 (04:12:14):
Look it's me Dolly, you know that's real.

Speaker 13 (04:12:19):
I let me see the wallet?

Speaker 19 (04:12:22):
You mean this here? It is your picture, even the
stitching I had done when I wouldn't throw it away,
You remember, Darting.

Speaker 20 (04:12:31):
It is the wallet.

Speaker 10 (04:12:33):
It looks just like it.

Speaker 9 (04:12:34):
What did you expect that.

Speaker 29 (04:12:36):
They could fake it?

Speaker 10 (04:12:36):
They have ways a wallet could be faked.

Speaker 19 (04:12:40):
Look, miream, I don't understand all this, but I am
your husband. I am Scottie.

Speaker 9 (04:12:46):
Let me prove it.

Speaker 19 (04:12:47):
Do you ask me anything about us anything?

Speaker 10 (04:12:50):
Where did we go last summer to Paris?

Speaker 9 (04:12:52):
For two weeks? We stayed at the Hotel George Fifth.

Speaker 10 (04:12:54):
What did we do when we first got there?

Speaker 76 (04:12:55):
We opened the window and sang a silly song about Paris.
We made it up as we went along, and then
and then I kissed you.

Speaker 30 (04:13:03):
We were alone.

Speaker 13 (04:13:04):
No one could have seen.

Speaker 19 (04:13:05):
We went out, had a drink. You ordered champagne in
the afternoon.

Speaker 9 (04:13:09):
The way to try to talk you out it.

Speaker 10 (04:13:13):
I don't know how you know the thing you seem
to be studying.

Speaker 9 (04:13:19):
And yeah, darling, darling, I you aready gone.

Speaker 2 (04:13:24):
I was on the plane.

Speaker 16 (04:13:25):
You saw that, all right?

Speaker 19 (04:13:28):
All right, darling. If you says I take it easy, honey, don't,
don't don't, then if you say Scottie.

Speaker 9 (04:13:35):
Was at home, then that's where I was home.

Speaker 38 (04:13:39):
Home.

Speaker 43 (04:13:52):
I've got the reports from Cairo chief complete, as complete
as I'll ever be. They just came in by a
high frequency Telemarx, and we have photoprints made here.

Speaker 9 (04:13:59):
They are. Just give me the highlights.

Speaker 43 (04:14:01):
Well, the man in the blue turbine was Mustafa Cornelius.
He made his living in art, sold pictures and things.
How was he doing in Scotty's room, Oh, primarily picking
up some stuff.

Speaker 39 (04:14:10):
You know.

Speaker 9 (04:14:11):
The place was filled with pictures. And Scotty said he
doesn't know how they got there.

Speaker 26 (04:14:14):
He said that even when we showed him Egyptian police
reports that he and Mustafa had been followed for two days,
and on several occasions, Scotty was carrying pictures himself.

Speaker 12 (04:14:21):
So he was lying.

Speaker 9 (04:14:23):
No, he wasn't.

Speaker 26 (04:14:24):
He gave him a lie detective test and he came
through one hundred percent. I didn't know that, but it's true.
And why was Scotty and Cairo anyway? He had no
orders to go there? How do you explained it didn't?
He said he couldn't remember.

Speaker 9 (04:14:35):
This is one for the books. Sounds like two other guys.
That's not so funny. What do you mean that's not
so funny.

Speaker 26 (04:14:42):
When Scotty got off the plane and came in here,
I turned on the intercom and left him and Mirror together.

Speaker 9 (04:14:47):
I listened to their conversation from the outer office.

Speaker 35 (04:14:49):
Learn anything.

Speaker 9 (04:14:50):
I don't know, except that Mirror seemed to doubt it
was Scotty. Now wait a minute, it was Sky know
it was Scotti, And you know it was Scotty.

Speaker 26 (04:14:58):
But why wouldn't Scotty's own wife know it with Scotty,
I don't know.

Speaker 9 (04:15:02):
I don't either to other guys.

Speaker 26 (04:15:05):
Huh, Well, we know that the Scotty who got off
the plane is safely locked up in this building. You
and I are going to see his wife and try
to figure this puzzle out. Come on, hello, Mirah, mister Roy,

(04:15:31):
I want to talk to you. Close the door, Paul right,
you shouldn't have come here.

Speaker 19 (04:15:38):
Why.

Speaker 9 (04:15:38):
I have some questions to ask you.

Speaker 10 (04:15:40):
I'm expecting someone to please go.

Speaker 9 (04:15:42):
It'll only take a few minutes. Miro. I want to
help Scotty, but I can't do it alone.

Speaker 43 (04:15:46):
I'll come to your office, but the chief wants some answers.

Speaker 9 (04:15:48):
Now, missus Douglas, Oh, then come in here.

Speaker 13 (04:16:01):
When my visitor comes, I must ask you to.

Speaker 10 (04:16:03):
Stay in here.

Speaker 26 (04:16:04):
Of course, I'm sorry to have disturbed you like this,
but there are some very strange things about this man.

Speaker 16 (04:16:11):
What do you mean strange?

Speaker 9 (04:16:13):
Why didn't you believe that was Scotty in my office?

Speaker 10 (04:16:16):
Then he told you that he isn't Scotty.

Speaker 26 (04:16:18):
He told me nothing. I listened in and it was Scotty.
It's the Scotty. I know now, Why don't you believe that?
That's one of the things that puzzles me, one of
the strange things.

Speaker 13 (04:16:28):
Where's Scotty?

Speaker 25 (04:16:29):
Now, that's your doorbell person, you're explain where's Scotty's.

Speaker 26 (04:16:32):
Detention house in a cell? Why aren't you answering the door?

Speaker 13 (04:16:36):
You stay here, Please stay here till.

Speaker 22 (04:16:38):
I get back.

Speaker 19 (04:16:43):
She's as nervous as a raid of skull.

Speaker 9 (04:16:46):
Quiet. Put your ear to the door and listen. It's
a man. Can't make out what they're saying. Something vaguely familiar.

Speaker 8 (04:16:55):
Oh no, it can't be.

Speaker 9 (04:16:56):
What do you mean you take your gun?

Speaker 18 (04:16:59):
All right?

Speaker 51 (04:16:59):
Now?

Speaker 2 (04:16:59):
Just ant more?

Speaker 9 (04:17:01):
How about gief Man was just telling me you were here, Scotty.

Speaker 26 (04:17:06):
I don't know how you did it, but escaping from
detention is a very.

Speaker 19 (04:17:09):
Serious I didn't escape. I've never been there. I've never
been to Cairo. I don't know what's going on and right,
but I'm glad you're here so this whole mess can
be clear us.

Speaker 9 (04:17:17):
Don't move, Scotty.

Speaker 26 (04:17:19):
Get on the audiophone, Paul, Yes, I call headquarters.

Speaker 9 (04:17:21):
Have them check on Scotty.

Speaker 26 (04:17:22):
Right, Scotty, you and I have been friends for ten
years now, what kind of a game.

Speaker 9 (04:17:28):
Are you playing?

Speaker 19 (04:17:29):
I don't think friends. Hold, but what do you want
me to do?

Speaker 26 (04:17:31):
Let you get away again?

Speaker 68 (04:17:32):
Mister?

Speaker 9 (04:17:33):
And you're as.

Speaker 26 (04:17:34):
Mixed up as I am, admitted you see, Scotty, I
overheard the conversation you and Mirror had at.

Speaker 9 (04:17:39):
Headquarters, but I wasn't I argue about it. We'll know
in a moment. Hey, that's what is it.

Speaker 38 (04:17:44):
I talked the headquarters Chief.

Speaker 9 (04:17:45):
Well, Scotti is still there in a cell?

Speaker 13 (04:17:48):
What still there?

Speaker 5 (04:17:50):
Now?

Speaker 9 (04:17:50):
Wait a minute. That's what they said with them to
put Scotty on the phone.

Speaker 26 (04:17:53):
Yes, sir, we'll get to the bottom of this pretty quickly.
Now let's go into the other room.

Speaker 9 (04:17:59):
Come on one. That's right, all right, whole line. Chief
wants to talk to you here he is keep them covered.

Speaker 26 (04:18:08):
Hello, Yes, Chief, that you Scotty, Yes, sir, I just
wanted to be sure, Chief, for night is going on.

Speaker 2 (04:18:16):
You don't have to talk to me to be sure,
not when you've got me locked and to sell the.

Speaker 15 (04:18:19):
Dynamo I couldn't blow.

Speaker 9 (04:18:20):
Okay, Scotty, who are you talking to?

Speaker 26 (04:18:24):
The Scott Douglas who got off the plane from Cairo
this morning.

Speaker 9 (04:18:27):
I'm Scott Douglas.

Speaker 19 (04:18:29):
Chief, you've seen mirror. I want to talk to her again.

Speaker 9 (04:18:31):
Just hang on a moment. I just repeat after me.
I am Scott Douglas of the World Security Police. Now
look you.

Speaker 19 (04:18:40):
All right, I am Scott Douglas of the World Security Police.

Speaker 9 (04:18:45):
Okay, let's hear you say that.

Speaker 19 (04:18:48):
I tell you I am Scott Douglas of the World
Security Police.

Speaker 26 (04:18:53):
Sounded exactly alike, mcre What do you do is what
you've been doing all day? You wait for me in
your cell and you're coming along with me.

Speaker 13 (04:19:02):
What are you going to do?

Speaker 26 (04:19:03):
Missus Douglas. I'm going to take you and your husband
to meet your husband. He's out here, Chief, bring him
in mirror. Scotty, you stand over there, all right?

Speaker 9 (04:19:22):
She now wants it for all. Tellt mirror.

Speaker 12 (04:19:27):
Oh darling, I'm glad, good lord.

Speaker 10 (04:19:34):
I can't believe.

Speaker 19 (04:19:35):
It's absolutely incredible.

Speaker 9 (04:19:37):
He looks just like me.

Speaker 1 (04:19:39):
What is this?

Speaker 9 (04:19:40):
Chief? What have either of you who have ever seen
each other.

Speaker 19 (04:19:42):
Before every morning in the mirror?

Speaker 12 (04:19:45):
What kind of a gag is? I'll be quiet, both
of you.

Speaker 9 (04:19:48):
Yes, have you got those reports about two minutes? Let
me know now one of you two is an impostor.

Speaker 12 (04:19:55):
I will say this.

Speaker 9 (04:19:56):
The resemblance is fantastic. You the one we had in
the cell.

Speaker 26 (04:20:01):
We got your fingerprints, teeth, identifications, birthmark and so on
when you were arrested. They all verified that you are
the real Scott Douglas.

Speaker 19 (04:20:08):
I've told you that all along. I'm Scott Douglas. Chief,
whatever is going.

Speaker 52 (04:20:11):
On who you are.

Speaker 26 (04:20:12):
In a few minutes, we'll have the results of the
fingerprint and identification check we had you take before I
brought Scotti up from downstairs.

Speaker 9 (04:20:20):
Yes, I've got the report.

Speaker 39 (04:20:21):
Chief.

Speaker 9 (04:20:22):
Well, everything checks, sir. Now come on talk sense, will you?

Speaker 26 (04:20:24):
What do you mean?

Speaker 9 (04:20:25):
Everything checks?

Speaker 43 (04:20:26):
Fingerprints, teeth, identification, birthmarks, everything checks, sir.

Speaker 19 (04:20:30):
They're both Scott Douglas.

Speaker 26 (04:20:41):
All right now, I remember, don't interrupt me. The only
way I can tell you to a part is a
by the clothes you wear. You you're wearing a tropical suit,
the one you had on when we picked you up
in Cairo. Yes, sir, but I'm going to call you
tropical and you with.

Speaker 9 (04:20:57):
The Tweed that's your name, Tweed. That clear.

Speaker 26 (04:21:01):
The last two hours of questioning has revealed that the
memory of your lives is exactly the same up to
four days ago.

Speaker 9 (04:21:08):
Whatever questions you were asked separately.

Speaker 26 (04:21:10):
You both answered the same intimate questions, family questions, every kind.
But as of four days ago, the police interrogators report
that you tropical. You are hazy, almost blank until the
arrest and murder in Cairo.

Speaker 9 (04:21:24):
That's right.

Speaker 26 (04:21:25):
On the other hand, you Tweed, you have a clear
memory except for a few hours three days ago.

Speaker 9 (04:21:30):
Here let me read it.

Speaker 26 (04:21:32):
Pursuing to file one nine eighth, I was ordered to
visit a mister David Eidner, suspected of dealing in black
market paintings, at two twenty three West eighteenth Street, and.

Speaker 9 (04:21:42):
To pose as a buyer of rare paintings.

Speaker 26 (04:21:45):
Mister Eichner conducted himself in a reasonable and normal manner
and exhibited several paintings, allegedly genuine old Masters. During our conversation,
I heard a faint, oscillating sound in the room and
inquired whether it was the air conditioning unit, and then
I blacked out. Now at this point your two memories separate.

Speaker 9 (04:22:03):
You both remember everything up to the moment.

Speaker 26 (04:22:05):
Scott Douglas blacked out, but after that Tweed's memory does
not pick up until two hours has passed. Then he
reports the next thing I knew I awoke lying on
the floor. I thought I had been slugged, but subsequent
examination by police medical authority showed no injury of any sort.
The assumption was that I had fainted, but no reason
for this possibility was advanced. The paintings, together with mister Eidner,

(04:22:28):
were nowhere to be found when I regained consciousness. Subsequent
police investigation failed to reveal any trace of mister Eiitner
or his paintings. So there it is, and you tropical.
You remember nothing for the next several days until we
picked you up in Cairo.

Speaker 19 (04:22:43):
I remember that report very well.

Speaker 9 (04:22:45):
I wrote it.

Speaker 19 (04:22:46):
But he couldn't have known about the first part of
that report. I went along, no one else I was there.
That was my report.

Speaker 29 (04:22:53):
You too.

Speaker 26 (04:22:54):
It's bad enough seeing double without you two, talking double
and remembering double.

Speaker 9 (04:23:01):
Two hours two hours? What happened in those two hours?

Speaker 19 (04:23:06):
Chief, I've got an idea.

Speaker 68 (04:23:08):
What is it?

Speaker 19 (04:23:09):
Probably nothing to it after three days, but why don't
we visit two twenty three West eighteenth Street again. Let's
see whether mister Etoner possibly left something behind when he
fled with the paintings.

Speaker 9 (04:23:39):
This is the place looks pretty empty.

Speaker 76 (04:23:49):
Now, this is where he had several old paintings hanging
on the wall. This is where I was standing when
I blacked out.

Speaker 19 (04:23:59):
That's right, if I walked over there from here and
then it happened.

Speaker 9 (04:24:02):
What's that that sounds?

Speaker 19 (04:24:04):
Get him over there?

Speaker 38 (04:24:04):
That class.

Speaker 9 (04:24:07):
colorI coloras Do not shoot?

Speaker 29 (04:24:11):
Say hib no, do not kill me. Do not kill me?

Speaker 9 (04:24:15):
Sah, What are you doing here in this room?

Speaker 16 (04:24:16):
Talk?

Speaker 47 (04:24:17):
Talk?

Speaker 2 (04:24:18):
Do not kill me?

Speaker 26 (04:24:20):
If you don't talk, I make no promises.

Speaker 29 (04:24:21):
I have children, I.

Speaker 12 (04:24:23):
Have a and I've got a gun.

Speaker 9 (04:24:24):
Well, if I talk, you let me leave. Talk.

Speaker 29 (04:24:29):
I come to destroy the instrument?

Speaker 9 (04:24:32):
What instruments?

Speaker 29 (04:24:34):
It is in here? Ship the instrument of Mustafa Cornelius,
the man of the Blood Serven. I swear to come
back and destroy it if he ever died. It is
built into this closet behind this secret panel. It made
Mustafa and me very rich.

Speaker 9 (04:24:50):
Let's see that instrument open. The panel.

Speaker 19 (04:24:55):
Looks like a control board. What's I do not know
the I want.

Speaker 29 (04:25:00):
To describe it only Mustafan now, because he was very
wise and very scientific.

Speaker 9 (04:25:07):
You know how to operate this?

Speaker 29 (04:25:08):
Oh yes, sir, Hi Mustafa showed me what to do,
and I work longer. I was doing that for our
both becoming very rich.

Speaker 19 (04:25:17):
Show us what it does, and remember any dangerousults. This
man has a gun.

Speaker 9 (04:25:22):
You'll be the first to die.

Speaker 29 (04:25:23):
I understand, sir hip. Give me something for the instrument.

Speaker 9 (04:25:29):
What do you mean, give you something?

Speaker 29 (04:25:31):
I tried to explain. Give me something picture?

Speaker 9 (04:25:36):
Perhaps there are no pictures here?

Speaker 29 (04:25:38):
Then I ring, perhaps a watch, would his shoe, a dog?

Speaker 12 (04:25:45):
Anything?

Speaker 26 (04:25:46):
Does this make any sense?

Speaker 9 (04:25:47):
Silent on, Chief, here has.

Speaker 19 (04:25:49):
A ring and a watch.

Speaker 29 (04:25:51):
Thank you, sir, Hi. I placed them in here and
closed the small door. I turn on the instrument.

Speaker 19 (04:26:07):
That's a psalm. The psalm I heard. He's right, Chief,
the psalm before I blacked out.

Speaker 39 (04:26:13):
Now what do you do?

Speaker 29 (04:26:14):
A moment until the bell song? She's finished. No, you
see there are not two watches, two rings.

Speaker 19 (04:26:33):
Let me see them great xynamos, and I ant rather
exactly alike, even though the scratches, the the dirt marks
everything you see.

Speaker 9 (04:26:45):
You're right identical. Perfect copies.

Speaker 29 (04:26:49):
No, no, sir him, they are not copies.

Speaker 19 (04:26:52):
All our original, But that can't be. The ones I
gave you were the originals.

Speaker 12 (04:26:57):
The others are the copies.

Speaker 19 (04:26:59):
Just a mintican. I've got a smoking I like a duplicator.

Speaker 11 (04:27:05):
What did you say.

Speaker 9 (04:27:06):
I like the duplicator. That's right.

Speaker 19 (04:27:10):
That means that somehow, well it's possible theoretically, but it
means that the molecules and atoms of the originals are
perfectly duplicated. And we know that if somehow the atoms
and molecules could be exactly arranged, you actually have two
originals where only one existed before.

Speaker 29 (04:27:28):
Yes, yes, that is what Mustafa see. Those are the
words that I do not know how to use.

Speaker 19 (04:27:36):
All right, now, listen to me. It doesn't Rath. Does
this machine work on anything other than inanimate objects?

Speaker 29 (04:27:41):
I do not understand.

Speaker 19 (04:27:43):
He doesn't work on living things, dogs, birds, human beings.

Speaker 29 (04:27:49):
It has work on the dogs. Mustafa, he had a
dog he likes so much. He makes himself another dog like.

Speaker 19 (04:27:58):
It with this is through me, and it would work
on human beings too.

Speaker 29 (04:28:04):
But the dog one of them, I do not know
which one of them. The dog he die very.

Speaker 9 (04:28:12):
Horribly, so he what do you mean?

Speaker 19 (04:28:16):
Died horribly?

Speaker 29 (04:28:18):
One day, about a month after the first dog become
two dogs. One day the dog bark and whine. It
is in agony, Sahib, and before my eyes, I do
not know how to say. It is disappeared slowly as

(04:28:39):
if it fall apart, and in a little while there
is nothing left.

Speaker 16 (04:28:46):
Nothing.

Speaker 19 (04:28:49):
Molecular disintegration and having flesh. The effect of the machine
lasts only elemented time. Chief which one of us him
oh me, which one of us is Scott Douglas.

Speaker 45 (04:29:28):
Next Week two thousand plus presents another exciting melodrama from
the world of tomorrow. For a thrilling for thrillers that
are different, join us again next week and every Week.
Two thousand plus is produced by Dryer And with Olson
Productions incorporated. In the day's cast, Ralph Fell for trade.

(04:29:49):
Scottie John Shay was mirror, Nat Poland was the Chief,
and Gilbert mac was the eraand the orchestra was conducted
by Emerson Buckley. Music composed by Elliott Chircoby, sound Wolfshaver
and Adrian Penner Engineer and Formica.

Speaker 9 (04:30:12):
This is Ken Marvin Speaking.

Speaker 62 (04:31:00):
Two thousand plus is a regular presentation of the United
States Armed Forces Radio Service.

Speaker 9 (04:32:29):
From Hollywood.

Speaker 62 (04:32:33):
Loreene Tuttle In.

Speaker 22 (04:32:40):
The Unexpected, the unexpected, the unexpected.

Speaker 16 (04:32:46):
Uh.

Speaker 62 (04:32:51):
Life is filled with the unexpected, romantic, tragic, and mysterious
endings to our most ordinary actions.

Speaker 5 (04:32:59):
Dreams come true, Dreams are.

Speaker 62 (04:33:01):
Shattered by sudden twists of fate in the Unexpected.

Speaker 12 (04:33:12):
But first a word from your announcer.

Speaker 62 (04:34:17):
And now Loreene Tuttle, outstanding radio and screen star in Legacy,
a drama of the unexpected.

Speaker 22 (04:34:32):
How would you feel if it happened to you?

Speaker 51 (04:34:35):
Oh?

Speaker 22 (04:34:35):
Sure, you can sit there now and say that I
was crazy, that I didn't have a chance. But put
yourself in my place. Go ahead, try it for a
little while. You're a blonde, not too bad looking, with
good legs and enough of a figure to make an
eighteen ninety five dress look like fifty bucks. You're working

(04:34:57):
a dreamland, going round and round like a horse on
a carousel, getting nice fat blisters on top of the
nice fat blisters that used to be your feet. You
provide smiles, conversation, occasional brush offs, and amusement for a
new guy every five minutes, and it only costs him
ten cents. That's it, just ten cents. Then one room

(04:35:27):
by the long lanky character you're dancing with lifts a
seven pound boot off your instead, leans down and purs
in your ear.

Speaker 24 (04:35:34):
Baby, how'd you like to make ten million dollars?

Speaker 8 (04:35:37):
How much? Ten million?

Speaker 22 (04:35:39):
Only ten? It was the guy last week who offered
me twenty So did he last week?

Speaker 24 (04:35:46):
Okay, baby, so you like being poor?

Speaker 9 (04:35:48):
Goodbye?

Speaker 24 (04:35:53):
Hey wait a minute, sorry, miss can too. Dancing with
you costs money.

Speaker 22 (04:35:57):
Remember how'd you find out my name?

Speaker 24 (04:36:00):
Somebody mentioned it?

Speaker 22 (04:36:01):
Yeah?

Speaker 24 (04:36:01):
Yeah, that's why I danced with you.

Speaker 22 (04:36:03):
Because of Monday, among other things.

Speaker 71 (04:36:10):
My partners usually.

Speaker 22 (04:36:11):
Asked for encores.

Speaker 24 (04:36:12):
I only bought one ticket.

Speaker 20 (04:36:13):
You weren't very optimistic.

Speaker 24 (04:36:15):
No, I thought that's all it would take.

Speaker 22 (04:36:18):
You were wrong, So I was wrong.

Speaker 24 (04:36:20):
I've been turned on before. I'll get over it.

Speaker 22 (04:36:22):
Okay, busted, So long you got a different line anyway.
You're a big hearted millionaire in disguise has a weak
spot for taxi dancers.

Speaker 24 (04:36:30):
Not exactly. I'm a show for a small hearted millionaire
who never heard.

Speaker 9 (04:36:34):
Of taxi dancers.

Speaker 22 (04:36:35):
Oh he's missed a lot.

Speaker 24 (04:36:37):
Yeah, yeah, quite a bit. I'd like to have him
meet one sometime me.

Speaker 22 (04:36:42):
You maybe we should dance again.

Speaker 24 (04:36:45):
No more tickets?

Speaker 22 (04:36:46):
Oh I've got an extra one. I keep it for emergency.

Speaker 24 (04:36:48):
Isn't that against the rules.

Speaker 22 (04:36:50):
I break lots of rules.

Speaker 47 (04:36:51):
Busted.

Speaker 24 (04:36:52):
You're a bad girl.

Speaker 22 (04:36:53):
Do we dance?

Speaker 9 (04:36:55):
We can try.

Speaker 39 (04:37:00):
All?

Speaker 7 (04:37:01):
Right?

Speaker 22 (04:37:01):
Buster?

Speaker 24 (04:37:01):
What's the score A touchdown, you'll carry the ball?

Speaker 22 (04:37:04):
Do you call the signals?

Speaker 39 (04:37:05):
Right?

Speaker 22 (04:37:06):
Well, let's go.

Speaker 24 (04:37:08):
Out on the terrace. I want to give you the rules.

Speaker 22 (04:37:16):
I figured he was just another wolf with a slightly
new approach, but at least I could stop dancing for
a few minutes. Besides, he was tall and interesting looking
in a sunburn sort of way.

Speaker 20 (04:37:27):
Well what would you have done?

Speaker 22 (04:37:29):
I did just that and smiled as I took his
arm and walked out to the terrace.

Speaker 24 (04:37:34):
Is your name really, Irene Canfield?

Speaker 71 (04:37:36):
Why not?

Speaker 24 (04:37:37):
Any relation to Jay Frederick Canfield?

Speaker 22 (04:37:40):
A millionaire?

Speaker 20 (04:37:42):
No relation?

Speaker 24 (04:37:43):
How'd you like to be his niece?

Speaker 22 (04:37:44):
How would he like it?

Speaker 24 (04:37:45):
He wouldn't know the difference.

Speaker 20 (04:37:47):
What have I got to.

Speaker 24 (04:37:48):
Lose ten million bucks if it doesn't work? And your
good name?

Speaker 22 (04:37:51):
Oh, I wouldn't want to lose a ten million? What's
the pitch?

Speaker 24 (04:37:55):
Oh Man, Canfield's dying. I read it in the papers,
and there's nobody to collect when he passes on, Nobody
except the niece. Nor yet a can for you. But
she's disappeared. Nobody's heard her since the war began. She
was caught in Europe and then no letters, no telegrams,
no nothing.

Speaker 22 (04:38:13):
Maybe she'll turn up.

Speaker 24 (04:38:14):
It's a chance we take.

Speaker 22 (04:38:16):
What did she look like?

Speaker 9 (04:38:18):
Eh?

Speaker 24 (04:38:18):
The old man hasn't seen her for over fifteen years.
The work could have changed her anyway, you'll do.

Speaker 22 (04:38:23):
Why'd you pick me?

Speaker 9 (04:38:25):
Hunch?

Speaker 24 (04:38:25):
Same name, same looks, Just a hunch.

Speaker 20 (04:38:28):
What's in it for you?

Speaker 24 (04:38:30):
I figure you'll be a generous heiress.

Speaker 22 (04:38:32):
How generous. Very But it couldn't work, busting the names.
It couldn't work. Probably wasn't a chance, too much risk.
It signed me off before you started. Well, when do
we begin? Well, after all, the girl has to take
some chances if she's going to get ahead in the world.

(04:38:55):
You know what I mean. Next morning, Rex and I
had a long huddle and then called our signals for
the first play. I drew my savings out of the
toe of a snag nile on a blew the whole
thing on a couple of broad shouldered, slim waisted, simple
and fetty expensive guns. Meanwhile, Rex got hold of a

(04:39:15):
friend in New York who wired the joyful news of
my impending arrival to the Canfield minaive. Then properly equipped,
I strolled casually through the back door of the local airport,
carrying a suitcase covered with Paris labels, and was met
at the front door by Rex. In a matter of minutes,
we were on our way in a long black limousine.

Speaker 24 (04:39:37):
All set, baby, I guess, so that's going to be
a cinch.

Speaker 9 (04:39:41):
Maybe sure?

Speaker 24 (04:39:42):
Telegram did it? The old man say a matter word.

Speaker 9 (04:39:46):
He's too sick to tone.

Speaker 24 (04:39:47):
The others they earned any others. None of the servants new.
Dear Marietta. I'm scared, be scared, baby.

Speaker 9 (04:39:55):
They all think it's grief.

Speaker 24 (04:39:57):
Well, here we are, Welcome home, Miss Marietta Canfield.

Speaker 37 (04:40:11):
How do you do, Miss Canfield?

Speaker 30 (04:40:13):
How do you do?

Speaker 37 (04:40:13):
I'm mister Canfields butler. Of course, man show you to
your roope.

Speaker 20 (04:40:16):
Thank you.

Speaker 37 (04:40:17):
Unless you'd prepare to see your uncle first?

Speaker 22 (04:40:19):
Well, I see, I mean should I?

Speaker 37 (04:40:22):
After all, that's why you're here, isn't it.

Speaker 20 (04:40:24):
I'm afraid i'd be very well.

Speaker 37 (04:40:26):
Follow me, please, I'll take you right to mister Canfield.

Speaker 22 (04:40:31):
I f one a little scream forming down at the
pit of my stomach.

Speaker 47 (04:40:34):
It was too risky.

Speaker 22 (04:40:36):
The old man was still alive.

Speaker 74 (04:40:38):
He'd picked me for a phony.

Speaker 22 (04:40:39):
At first glance, my mind rushed out of that baulted
hallway into the sleek limousine and back to my nice, noisy,
peaceful dance hall. I wanted to run away, but my
feet walked up the curving marble staircase and followed Hubert's
rock coated back into a tiny, ansized room. In an

(04:41:00):
oversized bed lay my new uncle j Frederick.

Speaker 37 (04:41:06):
Can Miss Marriott is here, mister Canfield. I knew you'd
want to see her immediately.

Speaker 20 (04:41:16):
Hello, Uncle Fred.

Speaker 22 (04:41:19):
Skeleton like figure on the bed moved one long nailed
claw with great effort. He was trying to say something,
but he couldn't quite make the grade, so he just
turned his head in my direction slowly, as if he
had to get out and push. He smiled at me,
his eyebrows coming together and his gray necks turning up
at the corner. And then I saw that it wasn't

(04:41:41):
a smile at all, it was an evil grin. I'll
leave now, Uncle Fred. I don't want to tire you,
but we'll have a long talk about old times as
soon as you're bed.

Speaker 20 (04:41:56):
Good night, Uncle Fred, have a good sleep.

Speaker 16 (04:42:01):
He did.

Speaker 22 (04:42:02):
He had a very good sleep, because the next morning
the butler rapped on my door, opened it and walked in,
wearing a face that looked as if it had been
tied in black ribbons.

Speaker 68 (04:42:13):
Sorry to awaken you, miss Canfield, but I have some
very bad news, very unpleasant.

Speaker 37 (04:42:18):
Yeah, your uncle died last night.

Speaker 22 (04:42:24):
For the next couple of days, I was plenty scared
when no relatives turned up for the funeral. It looked
like Rex and I had really pulled it off. Of course,
we couldn't be sure until after mister Smithson had read
the will, but we weren't worried.

Speaker 68 (04:42:38):
And to each of my faithful servants who were in
my employ at the time of my death, I bequeathed
ten thousand dollars the remainder of my estate, to be
delivered to my niece, Marietta Canfield at her request. Pardon
me for digressing, Miss Canfield, but that should amount to
something in the neighborhood of nine million dollars. Did you

(04:42:59):
hear what I said, Miss Canfield?

Speaker 22 (04:43:01):
Yeah, yeah, I heard Jim's dismissing. He said I was
going to inherit something in the neighborhood of nine million dollars.

Speaker 62 (04:43:17):
You think the story is over, don't you, But wait,
fate takes a hand. Wait for the unexpected, and now

(04:44:32):
for the surprising conclusion of Legacy starring miss Laurene Tuttle,
Hamilton Whitney production written by Robert Lippard and Frank Bert
and directed by Frank K.

Speaker 39 (04:44:42):
Danzig.

Speaker 22 (04:44:46):
Mister Smithson continued reading the will Rex moved behind my
chair and I felt his fingers grip my shoulder hard.
I smiled up at him, A nine million dollars smile.

Speaker 68 (04:45:00):
Now there's just one thing, miss Canfield, before I go on. Yeah,
you didn't get here until after your uncle's death, did you.

Speaker 51 (04:45:08):
No?

Speaker 22 (04:45:08):
No, the night before he was very much alive. He
smiled at me and nodded, Are you sure of course?
Mister Canfield's butler is there. He'll back me up.

Speaker 68 (04:45:16):
Oh well, then I'm obliged to read an amendment which
your uncle fixed to this testament. Let me see oh here,
in view of the fact that my niece Marietta has
seen fit to disobey my wishes at every opportunity, it
is my desire that I never see her again. And
in the event that she disobeys this final command and

(04:45:37):
appears before me at any time during my life, the
bequest to her is canceled. The money is to be
paid to the municipal hospital. Signed and witnessed, J. Frederick Canfield.

Speaker 22 (04:45:52):
So I'm back at dream Land, as bad as ever
may be worse. But I don't suppose i'd have known
what to do with nine million dollars anyway, would you?

Speaker 62 (04:46:13):
Legacy starred Miss Lourene Tuttle, Listen soon for another of
your favorite motion picture stars in a drama of the unexpected.

Speaker 5 (04:46:45):
This program was transcribed in Hollywood.

Speaker 39 (04:47:00):
MH Unsolved Mysteries.

Speaker 77 (04:47:37):
The Nights Unsolved Mystery is made in that land of
many Mysteries, India, where squalorant wealth side by side, bow
the head and bends the neat a strange gods, India,
where every baza are, every temple, every compound has its
funk eir or holy man, a sort of privileged beggar
whom white men and black alike fear more than.

Speaker 38 (04:47:57):
They admitting.

Speaker 51 (04:48:27):
Pa.

Speaker 19 (04:48:37):
I coment.

Speaker 2 (04:49:19):
The scene is the United Services Club in cinema.

Speaker 78 (04:49:22):
Officers in their stip lip started topical mess dreads sit
around the veranda, cooling off under a waving punctor, while
barefooted Native servants carried phrase of glasses, which resounds to
the musical and appetizing tinkle of cubes of ices.

Speaker 2 (04:49:36):
I tell colonel, I'll say this for India. Do you
certainly know how to make use how comfortable we have
to backlip? If we didn't, we wouldn't be able to
stick it out in the hot Seaton. But tell me, Bucky,
what exactly did you mean when you said I'll say
this or in oh nothing in particular, colonel, or you
follows don't realize it. You're always trafacing a remark or
following it. But this is India. Well well, I mean,

(04:49:56):
it's all right. The stuff hooks back home with all
the time it ought about India's in India's mystery, and
it couldn't happen any place out for India. But after all,
you know the nigga's here does ordinary human beings? No
different meny places. Helse gotta listen, Bucklyn, you'll been out
here executed four months now. You will if your wives
never carscinated, never laugh at his sales, never ridicule his ideas,
and above all, don't try to show your superiority by

(04:50:18):
time to expose one of their facia. You actually mean, Carol,
that you believe in their superstitious bunk lesson Buckling, I
like you pull your care over this way a little,
and I'll tell you something. A good number of years
a go, I was promoted to captain. I had three
months leave in England.

Speaker 8 (04:50:34):
I was young.

Speaker 2 (04:50:34):
I'm very proud of my Captain Skips. I've been in
love with every pretty girl I saw back home. Well,
I fell hard for a school day sweetheart. We were married,
and doroth and is sale on the piano. A marvelous
skip landed a Bombay and I found orders waiting for
me to proceed on duilty Bangalore. I wid lou sing.
My bar un told him to get everything ready, caught
the plain and just at dust we pulled up my

(04:50:56):
quarter regimes. Captain chaid cheerio, love thing thing. Here's the
new memphive. The heaven is on and this daring is
what we call the living room. And in there behind
the bead Captain in the combination's working room, then library,
card room and general again a place.

Speaker 16 (04:51:11):
Books, books, in our books.

Speaker 22 (04:51:13):
I'm going to spend hours in there when you're on duty.

Speaker 2 (04:51:16):
Oh, in the complete stet of kippling is and anything
you want it isn't there? Up, Why donty, what's wrong?

Speaker 14 (04:51:23):
Oh Georgia, I'm straight sending came over me.

Speaker 74 (04:51:26):
I don't know it seems as if someone were trying.

Speaker 30 (04:51:29):
To compare me to do something and go.

Speaker 20 (04:51:32):
Cold all over.

Speaker 30 (04:51:35):
Look, you get out there in the in front of
the count of cameras.

Speaker 51 (04:51:38):
Well.

Speaker 9 (04:51:39):
Oh oh, the old fact here.

Speaker 2 (04:51:41):
He hangs around here quite a bit.

Speaker 13 (04:51:43):
Send him away.

Speaker 14 (04:51:44):
She's doing this to me.

Speaker 2 (04:51:45):
I know he iss just sending away.

Speaker 30 (04:51:47):
I can't stand.

Speaker 2 (04:51:49):
But Dorothy, are consident there, partly confident?

Speaker 22 (04:51:51):
They can't you.

Speaker 14 (04:51:52):
Why can't you tell someone to get off your own ground.

Speaker 2 (04:51:54):
It's a little bit hard to understand, Dorothy. A stranger here,
but one doesn't order Fact here to do anything. It's well,
the natives will be offenders. Curse I'm the natives dislike
you can offer that and my fear of him listen
to reasons. Well in India now, I'm not joliy d England,
you know, for we must do things according to the country,
and it's nearly native.

Speaker 22 (04:52:12):
To get off your own trooperies against the Christom of.

Speaker 2 (04:52:13):
The country by jo Yes, you know it really isn't done,
don't you see?

Speaker 9 (04:52:20):
Ye Oh yes, oh too bad?

Speaker 39 (04:52:25):
Oh, yes, of course that.

Speaker 2 (04:52:26):
As soon as I can slip into service dogs. Why yes, though,
right though I won't bother to change. Oh is down
with a touch of fever. I have to take guard
due tonight. Yes, judge, I don't want to be less
my dear the flow sing and that met it in
the compound, and the best in the water. Carr As
sleeps all night on the rand.

Speaker 30 (04:52:48):
Shouldn't have to do.

Speaker 2 (04:52:49):
It's got to help out when the chap goes down
with fever. Don't you know you might turn some day? Oh, Jerry, goodbye,
it's me. Oh, here's chipplings at the end of the said,
probably a good.

Speaker 22 (04:53:02):
Chest nerve yees, oh two, that's a here.

Speaker 18 (04:53:08):
What do you want?

Speaker 10 (04:53:09):
Yeah, you know, I come into the room.

Speaker 2 (04:53:11):
The memoshipe does not like wulgras m.

Speaker 22 (04:53:14):
Yeah, no, no, I don't.

Speaker 10 (04:53:15):
I don't want to name now.

Speaker 17 (04:53:16):
I'll call that see a simple child.

Speaker 11 (04:53:21):
He would not dare enter the room.

Speaker 2 (04:53:23):
While rastam beg is business for your and the men.
Hype is given to be the thing which I desire.

Speaker 19 (04:53:29):
What do you want?

Speaker 17 (04:53:29):
I'll give you anything to get you out of here.

Speaker 9 (04:53:31):
Some bag, one solettle, one standard, the memside.

Speaker 2 (04:53:35):
Hair no more stand my hair, that's fat.

Speaker 19 (04:53:39):
The members I would not understand.

Speaker 2 (04:53:41):
It is for a charm, a charm for my nephew
who is in the ill country and very sick.

Speaker 22 (04:53:48):
I'll give you a send my hair brands.

Speaker 2 (04:53:51):
Women type is very kind, old time will not forget.

Speaker 19 (04:53:56):
I wait on them.

Speaker 21 (04:53:57):
I'm not being kind, I'm doing it good of your
ridiculous idea send with my hair. I'd like to make
a fool of him and his charm, and I can't
do that Chinese rug it's made of his almost the
identical color of mine.

Speaker 22 (04:54:17):
Yes said, you're stand of.

Speaker 2 (04:54:19):
Your Oh that some thanks the men time and now
for the present. Good bye, Oh goodness, he's gone.

Speaker 10 (04:54:28):
I wonder where the else thing can be?

Speaker 74 (04:54:30):
I didn't you keep a putt here out of the bungalow?

Speaker 22 (04:54:32):
Now sing.

Speaker 9 (04:54:34):
No answer?

Speaker 10 (04:54:36):
What can it happen?

Speaker 22 (04:54:37):
Yeah?

Speaker 14 (04:54:37):
Thing, let's sing?

Speaker 19 (04:54:39):
Where are you?

Speaker 30 (04:54:40):
Something's wrong?

Speaker 29 (04:54:41):
I know it is?

Speaker 10 (04:54:42):
Well things we don't being wrong.

Speaker 22 (04:54:45):
Feeling back because the skinning us txing disy disy mm hmm.

Speaker 12 (04:55:00):
Up doth me?

Speaker 2 (04:55:01):
Where are you?

Speaker 8 (04:55:03):
She says?

Speaker 2 (04:55:04):
Things helping me lift her on the wick the coach
side that easy way.

Speaker 22 (04:55:09):
There, Amus, Oh, don't.

Speaker 2 (04:55:12):
Until they tell me if you can't what happened?

Speaker 22 (04:55:14):
Why did you come down?

Speaker 2 (04:55:14):
That thing ran down to the back for me, But
he saw the fat come out of the randow. Why
didn't you change a bree He couldn't raise his hand.
Check atack here, my dear, but never mind, tell me
what happened here? You wouldn't leave.

Speaker 22 (04:55:24):
I gave him this ten in my hair.

Speaker 10 (04:55:26):
You m one side.

Speaker 14 (04:55:28):
I gave him a sense.

Speaker 10 (04:55:29):
And that Chinese rug in the other room.

Speaker 2 (04:55:30):
Oh that's a top, darling, that's the game on your feet.

Speaker 17 (04:55:33):
You want this time in my hair?

Speaker 21 (04:55:35):
I don't know, but if I do know, when I
lay hands, my dear, you can't even touch your fair
you know, can't.

Speaker 2 (04:55:41):
You'll just like to see what I can do. Oh,
my my dear, coming in the back group, now down.

Speaker 10 (04:55:46):
I know it more.

Speaker 28 (04:55:50):
Something moving, I don't think.

Speaker 53 (04:55:57):
God no, he's stopping out on the Randa's ty tolastic
by mean nothing and then duny okay, not in front
of the cambra lighting on the ground shoe.

Speaker 12 (04:56:09):
Then love without.

Speaker 30 (04:56:12):
Can't delete it.

Speaker 2 (04:56:13):
It's impartable, not impossible, not impossible.

Speaker 55 (04:56:15):
It is.

Speaker 2 (04:56:16):
It's Chinese rugs heed two bullet holes in it.

Speaker 9 (04:56:19):
It shaved the mumstaives life.

Speaker 2 (04:56:21):
Yes, loves the Chinese rug, and it saves more than
a mem fives life. Well, that is an amazing story
that major happened to Dolly and me. We never talk
of it. But you see, old I never sneered it
needed beliefs. But ternal you didn't finish our story.

Speaker 19 (04:56:38):
What do you mean?

Speaker 2 (04:56:38):
What about the park here? Did you hawk him? I
didn't hurt to no. No, next morning, lou Thing came
and got me. We went out in the compound and
they're right in front of the camp of cameras wrapped
in the tangling poles of the Chinese rugs, say the
old Fakir dead out of deference to people who are
still alive. Character names in these unsolved mister is have

(04:57:00):
been changed in as much as any solution must have
necessity be supposition, liberties of time, place, and character exist
in the solution that will be presented after you have
heard from your sponsor.

Speaker 19 (04:58:00):
Yeah, ladies and gentlemen, the solution for what you have

(04:58:48):
been waiting.

Speaker 2 (04:58:49):
But tell me, didn't you ever try to find out
how such a thing could be possible? You want to
send a course of workers in black medic, but then
they didn't Ethic or India believe it's something personal kind
of hair finer sitting in such slight are an essentially
breed into the popular their black heart and your wife, Dorothy,
and taking the stand of hair from the Chinese rug
and giving that to the park here prevented his powers

(04:59:10):
from controlling her.

Speaker 52 (04:59:11):
Exactly.

Speaker 2 (04:59:12):
All the concentration and all the pent up theory, the
hatred and diabolical cunning at the Pacia what leveled at
the object most totally connected with.

Speaker 8 (04:59:19):
That kind of hair.

Speaker 2 (04:59:20):
I can understand that, and I can understand since there
is so that the Parkia might have done harmed Dorothy,
who is a living being. But that such power could
really affect a thing like a rug is something else. Again,
Tians just are divided in their opinion as to how
such things are possible. But here let me show you
a brief quotation from the Encyclopedia Pritannica. Physical phenomena can

(04:59:41):
be grouped under two main hits. Teliconsis or the movement
of objects at a distance other than by ordinary critical means.
And then it pis me or the exclusions from the
body of the medium of the substance, sometimes amorphous, sometimes
resembling portions of the human body, or even complete figures.
A number of both these kinds have long been familiar.
At the end the quotition. Then telekinesis the movement of

(05:00:03):
an object is recognized by a scientists as being possible
decided to sewe and I can assure you that if
you'll live in India long enough, you will see more
than one demonstration of the power of concentrated mine over
purely inanimate meta. Thank you, Colonel i'd have for hearing
your story. I really don't believe that I want to.

Speaker 6 (05:00:49):
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
trained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot com as also

(05:01:10):
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 are someone you
know is struggling with depression, addiction, or thoughts of harming yourself,
or others. You can find all of that and more
at Weirddarkness dot com. I'm Darren Marler. Thanks for joining

(05:01:32):
me for tonight's retro Radio, Old Time Radio in the Dark.

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