Classic Radio 11-10-25 - Engaged Girl Murder, King of the Chicago Hoodlums, and Bon Voyage - Classic Radio Theater with Wyatt Cox

Episode Transcript
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Speaker 1 (00:10):
Now the greatest radio shows of all time.

Speaker 2 (00:14):
Huspense, Shadow Note Washington calling David Honey count.

Speaker 1 (00:19):
As my classic radio theater, the Great Yeldesslide Laper McGhee
and Molly Dragones Guns Alone Ranger.

Speaker 3 (00:29):
Now step back into a time machine.

Speaker 4 (00:31):
If your host Wyatt Cox.

Speaker 5 (00:34):
Good evening friend, Vionna Danko.

Speaker 6 (00:39):
Drama on this Monday, Mister Keen, Tracer of Lost Persons
from nineteen forty nine, Broadway is My Beat from nineteen
fifty Whites Out and Monvoyage in a spooky episode. Wrap
it up with Danger, Doctor dan Field, Michael Dunn and
a Diamond Pendant and Claudia from nineteen forty seven. And

(01:03):
it looks like that cold is getting around that mama
had not fun anyway, Thanks for joining us. On this Monday,
the tenth day of November, three hundred and fourteenth day
of the year, fifty one days left. Last colonial Governor
of New Jersey, William Franklin, signed the charter of Queen's
College on this date. In seventeen sixty six, Queen's College

(01:23):
would become Rutgers University. Congress passed a resolution creating two
battalions of Continental Marines on this date in seventeen seventy five.
Those Continental Marines would, of course, later become the United
States Marine Corps. From the halls of Montezumer to the
shores of Triple le Yes. I watched entirely too much

(01:45):
gomber Pyle. But the Continental Marine served as landing troops
for the recently created Continental Navy. That's where that all
came about, you see, now, that was we go to
the nineteen nineteen the first National Convention of the American
Legion held in Minneapolis. Kate Smith on her weekly radio

(02:07):
show on This State in nineteen thirty eight, saying Irving
Berlin's God bless America for the first time. In nineteen
fifty one, direct dial coast to coast telephone service began
in the US.

Speaker 7 (02:20):
Direct distance dial. And what's direct distance dialing? Well, let's see,
here's a telephone call being dial a simple operation that
occurs thousands of times a day. But this is no
ordinary telephone call, for with each turn of the dial,
electronic impulses feed along miles of wire, or passed swiftly

(02:43):
as light from relay tower to relay.

Speaker 5 (02:45):
Tower to span half the nation.

Speaker 8 (02:49):
In a distant city.

Speaker 7 (02:51):
A few seconds after the dialing begins, a telephone rings
and two voices have been joined by one of the
most amazing communications advances of our time, direct distance styling
for DBD.

Speaker 6 (03:08):
An excerpt from a nineteen fifty nine Southwestern Bell film
promoting the news service. In nineteen sixty one, AT and
T would release another short film, this one starring Peg
Lynch and Alan Buntz as Ethel and Albert. You know

(03:32):
that not the couple next door, but the original private
lives of Ethel and Albert. And we have posted a
link to that on our Facebook page, and so check
it out over on Facebook. It also features a Mister Digit,
an animated character, the voice of which is one very

(03:53):
familiar to you, Howard mcneer. Now it was on this
date in nine eineteen sixty nine, National Educational Television, the
predecessor to PBS, the debuted Sesame Street. In nineteen seventy five,
the UN General Assembly passed a resolution equating Zionism with racism. Now,

(04:18):
just before the vote, Israeli ambassadorheim Herzog tore the resolution
to shreds literally for.

Speaker 9 (04:26):
Us, the Jewish people, this is no more than a
piece of paper, and we shall treat it as such.

Speaker 6 (04:34):
In the words of Rodney King, why can't we all
just get along? I mean, seriously, that's the biggest issue
that we face today in the world. People just don't
get along. It was on this date in nineteen eighty
two the newly finished Vietnam Veterans Memorial open to its

(04:56):
first visitors in Washington, WorldCom and MCI on this state.
In nineteen ninety seven, a thirty seven billion dollar merger,
the largest US merger at the time.

Speaker 10 (05:08):
We are excited by the remarkable opportunities this combination makes
possible for both companies shareholders, customers, and employees. The combined
company creates one of the world's leading fully integrated communications companies.
The combined company will be exceptionally well positioned to take
advantage of growth opportunities in the six hundred and seventy

(05:28):
billion dollar telecommunications market.

Speaker 6 (05:32):
Bernard Emertz, the president and CEO of World Come now.
You have to remember in nineteen ninety seven, we were
still in a world of landlines and having to find
the cheapest long distance Remember those days. The company declared
bankruptcy in two thousand and two after a series of
accounting scandals. Corporation purchased by Verizon with the deal finalizing

(05:58):
in two thousand and six, and that is now Verizon's
Enterprise Solutions division. The local residential divisions integrated slowly into
local Verizon subsidiaries. And just think about it. You know
you used to have to call after seven o'clock. You
know you wanted to get ten cents a minute on

(06:19):
your phone calls. It was insane anyway. In nineteen ninety seven,
the conviction of nineteen year old British old pair Louise
Woodward reduced from a second degree murder to involuntary manslaughter.
Her sentence reduced from life in prison time served. She
had been bound guilty less than two weeks earlier in

(06:41):
the baby Shaking death. World Trade Organization approved China's membership
on this date in two thousand and one, and Mozilla
Firefox first released on this date in two thousand and four.
Mozilla Firefox for a very long time a strong competitive
to the big leader at the time, which was of

(07:05):
course Microsoft Internet Explorer. It is now a distant third
or fourth when it comes to Internet browsers, and quite honestly,
I still use it for a few things. The main
browser I use is a browser called Brave, and the

(07:27):
main reason I use Brave is it's a serious ad blocker.

Speaker 11 (07:33):
Now.

Speaker 6 (07:33):
The National Museum of the Marine Corps in Quantico, Virginia,
opened on this date in two thousand and six. It
was dedicated by President Bush, who announced that Marine Corporal
Jason Dunham would posthumously receive the Medal of Honor for
actions served while with the third Battalion, seventh Marines during
the Iraq War. While on a patrol, he's unit attacked,

(07:56):
he deliberately covered an enemy grenade to save nearby Marines.
In two thousand and eight, over five months after landing
on Mars and Nasad declared the Phoenix Mission concluded after
communications with the lander were lost, and it was on
this date in two thousand and nine, Washington sniper John

(08:17):
Allan Mohammed executed seven years after the attacks that terrorized
the nation's capital. Virginia Corrections Department spokes when Larry Traylor
spoke with reporters.

Speaker 12 (08:28):
He seemed quiet and relaxed.

Speaker 13 (08:31):
He was.

Speaker 14 (08:31):
I never heard him utter a word or say anything
in particular at all.

Speaker 6 (08:36):
The story is really weird of the Beltway sniper attacks
that John Allen Muhammad, who was originally born John Allen Williams.
Before he converted to the Nation of Islam. He had
convinced his co conspirator, Lee Boyd Malvow, a young man

(08:59):
at the time. I'm a Jamaican national, that he was
seventeen when all this was going on, but he had
befriended him enlisted him. Supposedly they were seeking ransom from
the government to stop the siping ten million dollars ransom.

(09:20):
They were going to establish a utopian society for one
hundred and forty homeless black children on a Canadian compound,
and this strangeness strangeness anyway, Muhammad is dead and Lee
Boyd malvo is in prison to this day dealing with

(09:46):
those attacks. Some of those people who passed away on
this date include a former Russian general politician Soviet Union
had Leonid Brezhneff, William Applis, Dick the Bruiser, actor Chuck Conners,
the Rifleman, Carmen McCrae, wonderful singer boxer actor Jack Palance.

(10:11):
Also Lorraine Day, Norman Mahler, and Dino de Laurentis all
born on this date in history. Birthdays on this date
include a wonderful Japanese singer actor. He was a great singer,
produced a wonderful song, and the brilliant people in the
US because it was in Japanese called it sukiyaki kusaka moto.

(10:37):
It became a top ten tune. It is wonderful music.
Martin Luther, the Protestant Reformer born on this date. Actor
Claude Raines, the professor on Gilligan's Island. Russell Johnson, rich
D Button born on this date. Actor Roy Schneider, Kenny
Logan's second cousin, Dave Loggins had a hit single with

(11:00):
Please Come to Boston. And the actress Britney Murphy. All
those folks born on this date, they have all departed
this mortal coil.

Speaker 5 (11:10):
Hi, this is Jeff Foxworthy.

Speaker 15 (11:11):
It is now time for the birthday announcements.

Speaker 2 (11:14):
The following people are now officially older than Dirt.

Speaker 6 (11:18):
She is still the happiest girl in the whole USA.
Dona Fargo eighty years old Today. Sinbad the comedian is
thirty excuse me sixty nine.

Speaker 16 (11:30):
Last minute shopping huh yeah enough job a man is saying.

Speaker 6 (11:33):
In from the movie Jingle All the Way with Arnold
Schwarzenegger sixty nine years old Today is Sinbad from One
Day at a Time, The Daughter of John Phillips of
the Mamas and Papa's Mackenzie Phillips sixty six from Saturday
Night Live. Tracy Morgan is fifty seven.

Speaker 11 (11:55):
Hate that mouse, I his hair, walking around with his
little nails scratching a This is My kitchen Floor.

Speaker 6 (12:01):
From Saturday Night Live Tracy Morgan. Also from thirty Law
Rock and The Last Og Tracy Morgan fifty seven Today
from Grey's Anatomy, Ellen Pompeo is fifty six.

Speaker 17 (12:16):
To make it, really make it as a surgeon, it
takes major commitment.

Speaker 6 (12:24):
From Grey's Anatomy, Ellen Pompeo is fifty six. Country singer
Miranda Lambert forty two today and from Madmen and The
Chilling Adventures of Sabrina the Very Dark remake of that
and from Riverdale, kier Nan Shipka is twenty six. Those
just a few of the people celebrating the tenth day

(12:45):
of November is their birthday. If this is your birthday, hi.

Speaker 2 (12:50):
We're the four Freshmen and we just want to say
happy birthday.

Speaker 6 (12:55):
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(13:17):
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you greatly.

Speaker 19 (14:35):
This is Debbie Reynolds. If you've been wondering what you
can do to fight communism personally from your own home,
there is something you can do. Support Radio Free Europe,
the station built and financed by the contributions of the
American public to the Crusade for freedom. Radio Free Europe
is one Cold War operation the communist sphere and attack
constantly support Radio Free Europe. Send your truth dollars to

(14:59):
Crusade fore care of your local postmaster.

Speaker 6 (15:03):
We continue now on Classic Radio Theater with Wive Talks
with Bennett Killpack. In an episode of Mister Keen Tracer
of Loss Persons. This goes back seventy six years to
November tenth, nineteen forty nine, in the Engage Girl Murder Case.

Speaker 2 (15:20):
It's time now for Mister Keen Tracer of Lost Persons.
Ladies and Gentlemen, Amison and colin Ols present Mister Keen

(15:41):
Tracer of Lost Persons, one of the most famous characters
of American fiction, in one of radio's most thrilling dramas.

Speaker 20 (15:49):
Tonight and every Thursday.

Speaker 2 (15:51):
At the same time, the famous old investigator takes from
his file and brings to us one of his most
celebrated missing persons cases. To Night's case is entitled The
Engaged Girl Murder Case. When you are suffering from headache, neurritis,

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Now from mister Keene and The Engaged Girl Murder Case.

(17:10):
Our scene opens on a wealthy, fashionable estate in Connecticut.
A number of people are riding across the estate on horseback,
but two of them have fallen behind, not realizing that
they are both about to become participants in a tragedy.

Speaker 21 (17:26):
T a hurry, Audrey. The others are getting ahead of us. Wait,
let's walk the horses a bit.

Speaker 22 (17:33):
I want to talk to you, and this is the
first chance I've had to see you alone all day.

Speaker 9 (17:38):
What's the matter, Helene? You look concerned about something.

Speaker 23 (17:41):
I am concerned about your sister Martin.

Speaker 13 (17:44):
What Herbert?

Speaker 23 (17:45):
I don't think she wants you to marry.

Speaker 9 (17:48):
Me, but that sheer nonsense. Mart is very fond of you.

Speaker 23 (17:51):
She pretends to be in front of you, but I
believe she hates me.

Speaker 9 (17:55):
No, Audrey, don't you think you're being oversensitive?

Speaker 24 (17:57):
Herbert.

Speaker 22 (17:58):
I know how much you love your sister, and I
didn't imagine you'd believe me.

Speaker 21 (18:01):
But it's true.

Speaker 16 (18:01):
And I just said, what's that?

Speaker 9 (18:06):
It sounds like one of our dogs.

Speaker 21 (18:09):
It is.

Speaker 9 (18:10):
It's Sultan, my sister's dog. Here he is, Audrey, near
that clearing. Come on, let's ride over there, sudden.

Speaker 2 (18:20):
What's the matter by.

Speaker 21 (18:22):
Look, it's my sister Martha lying in the thicket.

Speaker 18 (18:26):
Oh my horse, while I just mounted dry.

Speaker 21 (18:31):
What's happened to Herberdy?

Speaker 13 (18:32):
Has she been hurt?

Speaker 20 (18:34):
Audrey?

Speaker 18 (18:35):
She's been struck on the hid.

Speaker 9 (18:39):
Martha's dead, the police said, mister Keane that someone must
have struck my sister Mytha on top.

Speaker 21 (18:57):
Of the hid with a heavy club and killed instantly.
This occurred while you and your guests were out riding,
mister Langley. Yes, was your sister Martha part of the
group who were on hossback.

Speaker 9 (19:09):
Yes, I thought she'd gone on ahead with the others
who hitting the horseback rider on the head with the
club when you'd stand on the ground, And that ain't
an easy trick.

Speaker 25 (19:19):
Somebody on the horse must have followed the girl and
struck her from the.

Speaker 21 (19:22):
Saddles, My pardoner, my clancy has a good point there,
mister Langley.

Speaker 26 (19:26):
Tell me.

Speaker 21 (19:26):
Were all your guests questioned by the local police.

Speaker 9 (19:29):
Yes, mister Kean, but none of them was held. They
were all Martha's close friends and mine. It's unthinkable that
any of them would have wanted to harm her in
any way.

Speaker 21 (19:39):
In other words, you can't put the finger of suspicion
on any of them, No, mister Kean.

Speaker 9 (19:45):
My sister Martha was a beautiful, intelligent woman, very popular
with men, though she never married. I loved her as
much as I've ever loved anyone in this world, with
the exception of Audrey.

Speaker 21 (19:58):
Perhaps mister Langley, tell me a little more about your fiance,
Audrey Stafford.

Speaker 9 (20:03):
She's a wonderful girl. We met last summer on a
cruise to Bermuda. She was on vacation at the time.
She worked for a banking firm, but she resigned her
position at my request shortly after we announced our engagement.
I see, I'm wealthy. My late father left his entire
estate to my sister Martha and to me. I didn't

(20:23):
think it was necessary for my future wife to retain
her job.

Speaker 25 (20:27):
What about that incident you mentioned when you told us
the story before, mister Langley. What incident, mister Clancy, I
imagine Mike is referring to your talk with your fiance
Audrey just before you found your sister's body, The talk
concerning her unfriendly attitude toward Audrey.

Speaker 21 (20:43):
Oh, oh, that it was nothing. I shouldn't even have
brought it up, mister Langley. I presume you came here
to ask me to solve the mystery of your sister's murder.

Speaker 9 (20:54):
Yes, mister Keane, I came to plead with you to
enter the case for Martha's sake and also for Audrey's.

Speaker 21 (21:01):
What do you mean what you told me mister Langley,
I imagine there is one suspect in this murder case.
You mean my fiancee. Yes, you said that Audrey told
you that Martha was against your marriage.

Speaker 9 (21:14):
But Audrey would never have murdered my sister for that
or for any reason.

Speaker 21 (21:18):
That still remains a question to be answered. We were
I can't accept the case, mister Langley, unless you tell
me everything openly and truthfully.

Speaker 9 (21:29):
I should have known better than to try to hide
my real feelings from you, sir. Yes, I want Audrey protected.
So far, no one knows that she quarreled with Martha
before the murder over you. Yes, mister Keane, I overheard
the argument. I said nothing to Audrey, thinking it would
pass over after the wedding.

Speaker 21 (21:47):
Why did your sister want to stop the marriage, mister Langley.

Speaker 9 (21:50):
For a very silly reason. Martha thought Audrey wanted to
marry me for my money. I never believed that, mister Kean,
and I never will.

Speaker 21 (22:00):
Same time. If I accept the case, you must be
prepared to have me include your fiance as a possible suspect.

Speaker 9 (22:06):
I understand that, miss Keane, and I'm willing to meet those.

Speaker 21 (22:09):
Terms all right now, how far is your estate from here.
It's just over the line in Connecticut.

Speaker 25 (22:16):
Oh, excuse me, mister Kane's office, Mike Clancy speaking.

Speaker 27 (22:21):
It's mister Herbert Langley there. Please, This is Missus Rights
and his housekeeper.

Speaker 18 (22:26):
Just a minute, your housekeeper, mister Langley.

Speaker 9 (22:29):
Oh, yes, I told her where i'd be in case
there were any messages. It must be important. Here you are,
thank you, mister Clancy.

Speaker 27 (22:35):
Hello, mister Langley, this is Missus Rights. Yes, mister Ernest
Porter's here to see you. He says it's very urgent,
and he wants to know when you'll be home.

Speaker 21 (22:44):
Is he near the phone, Missus.

Speaker 27 (22:45):
Wrightson, No, he stepped out on the guard.

Speaker 9 (22:47):
Well, tell him I expect to be home within an hour.
Mister Porter didn't say what his business was, did he.

Speaker 27 (22:53):
No, sir, but he acted like it was a matter of.

Speaker 28 (22:55):
Life and death.

Speaker 21 (22:56):
All right, Missus Rights, and I'm on my way.

Speaker 9 (22:58):
Goodbye, goodbye, mister Langley. It's a neighbor of mine, the
import of mister Kean. He seems to have something terribly
important to tell me. Who is he, mister Langley? He
has an estate near mine. He and his nephew, Allan
come over quite often. I can imagine what he's got
in his mind. Unless it refers to my sister Martha's murderer,

(23:18):
probably does. The sooner we find out just what it is,
the better. Mike Clancy and I will go with you
to your home right now.

Speaker 21 (23:38):
For just a moment, mister Keen, I have a keeps
front door. Well, Mike, while I'm inside the house, suppose
you make a look around, you know the usual check off, right, sir,
Come here, mister Kean. Oh, mister Langley, if I didn't
hear you, come here.

Speaker 9 (23:53):
This is mister Kean, Missus Writeston, Missus Wrights, and my housekeeper.

Speaker 21 (23:56):
I've heard of.

Speaker 27 (23:57):
Mister Kean, the great investigator. I'm very glad to know yourself.
Are you real, Missus Wrightson? Where's mister Porter in the study? Oh,
mister Kean and his partner, mister Clancy will be staying overnight.
Would you have one of the maid's prepare room of course.

Speaker 21 (24:09):
Mister Langley. Oh, miss audrecalled.

Speaker 9 (24:12):
She said she's.

Speaker 21 (24:13):
Coming out to see you at five o'clock.

Speaker 9 (24:15):
It's almost that now, sure, and when she arrives, please yes,
this way, mister Keane.

Speaker 21 (24:21):
Well, this is quite a handsome house you would have here,
mister Langley, it's been in the family for generations. Oh,
here's mister Porter, Herbert.

Speaker 9 (24:29):
I want to speak to you alone. This is mister Kean,
the famous investigator Ernest. Mister Kean, you mean he's taken
over the investigation of your sister's murder. Yes, then I
suppose I ought to say what I have to say
in front of him.

Speaker 21 (24:42):
I think you should, mister Potter, if it concerns the
murder of Martha Langley. It does, mister Keane, then what
is it you want to tell us?

Speaker 7 (24:51):
I have a.

Speaker 9 (24:51):
Nephew, Allan, of whom I'm very fond. He's been living
with me since his parents died, and I'd stand behind
him under any circumstances.

Speaker 21 (24:59):
What do you trying to say, mister Porter.

Speaker 9 (25:01):
Mister Kean, you can accuse me for that matter, or
anyone else who was along on that morning ride. My
nephew's innocent and completely honest. What are you driving at, Aernest?

Speaker 21 (25:09):
I think I know what mister Porter's trying to say,
mister Langley. Apparently his nephew, Allan is connected with your
sister's murder in some way. Mister Potter is attempting to
clear him even before he's been accused.

Speaker 9 (25:23):
Mister Kean, knowing you for what you are a fair man,
I don't mind putting my cards on the table. My
nephew Allan came to me today and confessed that he
was the first one to find Martha's body. You mean
he found her there near the woods before I did, apparently, Herbert, How.

Speaker 21 (25:41):
Did you happen to find Martha's body, mister Porter?

Speaker 9 (25:43):
He dropped behind the rest of us as we were
riding through the woods. Reason he said nothing about it
up to now is that he didn't want to become involved.
Mister Keenan.

Speaker 21 (25:50):
That's not a very good excuse.

Speaker 9 (25:52):
The boy was excited frightened by aps at any rate,
he admitted the truth didn't be.

Speaker 21 (25:56):
Yes, and it's in his favor, mister Potter's. Is there
anything else she wanted to say to mister Langley.

Speaker 9 (26:03):
No, except that he has my deepest sympathy. I appreciate
that innest and thanks. In recent months, you and my
sister Martha had become fast friends, and I I know
you miss her as we all do.

Speaker 21 (26:18):
In recent months.

Speaker 9 (26:19):
Did you say, mister Kean, Martha Langley and I were
better than friends? I dared to hope that she would
marry me. I didn't know better, so I said nothing, Herbert,
because she turned me down. It was too bad. Both
our families are rich and would have been a most
advantageous marriage, as well as a happy one for me.

Speaker 21 (26:37):
Had you brought that out by yourself, mister Potter.

Speaker 9 (26:40):
You mean if I'd hidden it, I too would have
become a suspect. Well, mister Keen, as far as that
sounded like a gun, it was came from the back
of your house. Most you, gentlemen, remain where you are.
I'm going out to investigate.

Speaker 18 (27:01):
All right, John Feller, just stay away, y'all.

Speaker 25 (27:03):
What's happened, Mike, mister Kane, I heard this fellow prowl
around in the shrubbery, and when I yelled, he started
to run. I fired two shots in the here to
scare him. He stopped in a hurry.

Speaker 9 (27:13):
Who are you?

Speaker 8 (27:14):
Alan?

Speaker 18 (27:15):
Porter?

Speaker 8 (27:15):
Is my name?

Speaker 21 (27:16):
I thought I was being attacked by a maniac. That's
why I tried to run. You are Ernest Potter's nephew.

Speaker 18 (27:21):
Yes, mister Kane. Who's a car coming up the road.

Speaker 21 (27:25):
Take young Porter back to the house. Mike. I'll join
you in just a minute.

Speaker 18 (27:28):
Okay, here, let's go.

Speaker 21 (27:37):
Good evening.

Speaker 23 (27:38):
Who are you?

Speaker 22 (27:39):
My name is Keene, oh, the famous investigator. I'm Audrey Stafford.

Speaker 21 (27:44):
I'm glad you come, Audrey. I wanted to ask you
a few questions in regard to the murderer of Martha Langley.
Leave her alone. I beg your pardon. Oh it's you,
missus rights.

Speaker 23 (27:55):
Please, missus rights, and I can handle this alone.

Speaker 21 (27:57):
Audrey hasn't done anything, mister Kean. You have no right
to question her, aren't you taking a few liberties? Considering
that mister Langley asked me to investigate this case and
you're one of his employees.

Speaker 27 (28:07):
It's not meant as disrespect, mister Kean, but I've come
to look on miss Audrey as my future mistress, and.

Speaker 21 (28:13):
I want to protect her. What makes you feel that
she needs protection?

Speaker 27 (28:17):
You suspect her of being one of Miss Martha's enemies,
don't you.

Speaker 21 (28:21):
I haven't mentioned that to anyone. Neither has mister Langley.
I'm sure.

Speaker 27 (28:25):
Oh, then I made a mistake. I beg your pardon,
mister Kean.

Speaker 21 (28:30):
However, you're not far from wrong what I do suspect
Miss Audrey. Mister Kean, you do can't suspect. Miss Audrey
admitted to Herbert Langley that his sister Martha was against
their marriage, and that alone could be construed as motive
enough for murders.

Speaker 27 (28:47):
Don't say, mister Kean, don't say that word of it.

Speaker 1 (28:50):
Please mother, don't.

Speaker 21 (28:52):
Audrey? Did you say?

Speaker 8 (28:55):
Mother?

Speaker 21 (28:56):
She lied?

Speaker 26 (28:57):
I'm not her.

Speaker 21 (28:58):
Won't help missus Wrightson ties in with your strange desire
to protect some one who should be almost a strange
to you. So Audrey is your daughter? No one knew
up to now. There are many more things still concealed
in this murder case, Missus wrightsm but I intend to

(29:18):
bring them all to the surface and at the same
time bring Martha Langley's killer to justice.

Speaker 2 (29:36):
In just a moment, we'll return to mister Keene and
the engaged girl murder case. Meanwhile, beware of unpleasing breath
that breathes between the teeth. Use Commono's toothpaste with dental
false action. Those cracks and crevices where food particles can
decay must be reached to have a really clean mouth
or welcome brath. Your dentist knows this to be true.

(29:59):
Use common toothpaste with dental floss action. Klinos gives amazing
dental floss action that is, sends thousands of active cleansing
bubbles to penetrate hard to reach dental areas. Helps dis
large bits of food that can cause unpleasing breath.

Speaker 21 (30:14):
And tooth decay.

Speaker 2 (30:16):
Use Colonos toothpaste with dental floss action. Klinos has high
polishing action too, brightens dingy teeth by removing ordinary yellow
surface stains. Colinos is gentle, safe even for children's teeth
and tender guns. Enjoy its cool, clean, minty flavor. Colinos
is dentist recommended. Cleans your teeth bright, keeps your breath right.

(30:39):
Use Colonos toothpaste with dental floss action. Yet Colonos with
dental class action.

Speaker 8 (30:45):
Today.

Speaker 2 (30:51):
Now back to mister Keene and the Engaged Girl murder case.
The murder of wealthy Martha Langley brings mister Kean, the
Great Investigation and his partner, My Clancy to the fabulous
Langley Estate in Connecticut, where mister Kean begins a difficult investigation.
He has just discovered that missus Wrightson, the Langley housekeeper,

(31:11):
is actually the mother of Audrey Stafford, who is about
to marry the victim's brother, Herbert. After learning of this
startling revelation on the driveway in front of Herbert Langley's
palatial home, mister Keane continues to question Missus Wrightson and
Audrey in the hope of obtaining further information.

Speaker 21 (31:31):
Missus Wrightson, I advise you to be truthful with me
if you really want to protect your daughter Audrey.

Speaker 27 (31:37):
As long as you know my secret, mister Kean, I'll
tell you everything, but not in front of Audrey.

Speaker 23 (31:41):
You shouldn't have made me keep that secret.

Speaker 11 (31:43):
Mother.

Speaker 23 (31:44):
I wanted Herbert to know about it.

Speaker 27 (31:46):
Please, dear, let me speak to mister Keen alone for
a few minutes.

Speaker 21 (31:50):
Very well, mother Audrey, you'll find your fiancee, Herbert Langley
in the house, along with his neighbors mister Porter and
his nephew Allan.

Speaker 18 (31:58):
I'll talk to you later, darling.

Speaker 27 (32:02):
Mister Keene, there's one thing you must understand. My daughter
Audrey is no snob. She pleaded desperately with me to
allow her to tell mister Langley I was her.

Speaker 21 (32:11):
Mother, and why didn't you?

Speaker 27 (32:12):
I thought it would hurt her marriage, at least socially.
Since I'm mister Langley's housekeeper. I was so happy knowing
she'd get those things in life. I always dreamed she'd
have well social position and happiness.

Speaker 21 (32:25):
Go on, Missus Richlin. It was easy to keep.

Speaker 27 (32:28):
The secret as far as our names were concerned.

Speaker 21 (32:31):
I married twice.

Speaker 27 (32:33):
Audrey's name is Stafford, but I kept the name of
my second husband, John Wrightsy.

Speaker 21 (32:38):
I did it thinking that one.

Speaker 27 (32:39):
Day I might not want Audrey to admit that her
mother was poor and ordinary.

Speaker 21 (32:44):
I wouldn't call your love for your daughter ordinary, Missus Richlin.

Speaker 27 (32:47):
Her meeting with Herbert Langley was just a coincidence. I
came here to work as his housekeeper after Audrey left
on her cruise to permuta her and she didn't know
about my new job until she got back. Then I
cautioned her to say nothing about it to mister Langley.

Speaker 21 (33:03):
I see, is there anything else you'd like to tell me,
Missus Wrightson.

Speaker 27 (33:07):
Only that Herbert Langley wasn't the only millionaire who wanted
to marry Audrey.

Speaker 21 (33:12):
Who else was there? Alan Porter?

Speaker 27 (33:15):
He was mad about her, and he's very rich. Mister
Kean a well known polo player. He wanted to marry
Audrey too, But she loves Herbert and Martha Langley Allan
Porter and his uncle altogether couldn't change that love.

Speaker 21 (33:29):
How do you mean, Missus Richeson, did they try to
stop the marriage, mister Keane.

Speaker 27 (33:35):
Two hours before Martha Langley's body was found, I happened
to pass by the Chinese Tea House.

Speaker 21 (33:40):
The Chinese Tea House.

Speaker 27 (33:42):
It's a small cottage on the estate over there in
the woods. Inside the tea house, Martha Langley, mister Porter,
and Allan were having a conversation.

Speaker 21 (33:50):
What were they saying, Missus Wrightson. Mister Porter was.

Speaker 27 (33:53):
Saying that Audrey and his nephew, Allan would make a
good match. Martha Langley seemed to be irritated Young Alan
why he hadn't been able to win Audrey away from
her brother?

Speaker 21 (34:03):
And what was Allan's answer?

Speaker 27 (34:05):
He didn't have time to answer, mister Keane. That moment
my daughter Audrey walked into the tea house, so they
changed the conversation.

Speaker 21 (34:12):
It's very interesting, Missus Wrightson. It puts a new aspect
on the case.

Speaker 8 (34:18):
What do you mean, mister Keith.

Speaker 21 (34:19):
I'll explain later. Meanwhile, would you please ask my partner
Mike Clancy to meet me inside the Chinese Tea House
immediately and tell him. It's very important, Mike, is that yours?

(34:42):
I'm over here on the tea house porch. This is
certainly a fantasy shack, isn't it? Poss So it looks
like something from a Chinese palace. Mike, come inside for
a moment. I want to show you something. Oh, look
at this.

Speaker 25 (35:01):
Say, it's preserves like someone must have tried to tear
the house down, mister Kean.

Speaker 21 (35:06):
There's a hole right.

Speaker 18 (35:07):
Through the wall.

Speaker 21 (35:08):
The walls of flimsy, Mike, but they've been reinforced with short,
narrow beams. That's the one part of this tea house
that isn't authentically Chinese. One of those wooden beams, small
but solid, has been pulled out right here, mister Kean.

Speaker 25 (35:26):
That missus piece of wood could have been the murder
weapon exactly.

Speaker 21 (35:29):
And here's something else, Mike. Why it's a bit of cloth.
I found it hanging on this nail head here where
the beam was torn out. Now, if you wanted to
tear a beam out of this wall with the aid
of a chisels, eh, how would you brace yourself?

Speaker 25 (35:46):
Well, I'd stick me knee up again the wall on
this side for leverage.

Speaker 21 (35:51):
That's just what the killer did, Mike, but he unknowingly
left this bit of cloth on the head of that nail.
This bit of cloth comes from writing breaches, so the
killer probably never even scratched himself or herself. Huso. Well,
nowadays women wear heavy riding breeches too, Mike, with mister Kane.

(36:12):
That still leaves us with the job of picking out
the killer. Several people will write in that day when MARKA.
Langley was murdered.

Speaker 9 (36:18):
I know that.

Speaker 21 (36:20):
However, I think I have an idea. Tomorrow morning, Mike,
we'll all go writing here on the Langley estate and
turn my murder theory into a fact. Mister Kean, would

(36:43):
you like to ride with Audrey and me? We're going
through the woods. No, you better ride on ahead of us,
mister Langley, My partner Mike Clancy and I will join
you in a few minutes. All am, Ski, come on, horses.

Speaker 25 (36:57):
Ain't exactly in my line, boss, but I'm try to
keep up.

Speaker 9 (37:00):
Kid.

Speaker 20 (37:01):
You're right very well.

Speaker 18 (37:02):
Mine not half as good as you do.

Speaker 25 (37:04):
Hold up there, you, old partner, Take it easy, I'm
sure they were all. I'm pretty curious about why you
wanted to take that ride this morning.

Speaker 21 (37:13):
My reason paid dividends Bike. It did, Boss, I know
who murders Martin Langley. All I need now is proof
of how it was done. That's what it comes Alan Porter.

Speaker 2 (37:28):
Mister Keith, Yes, Allan, I don't know why you suggested
this ride, but I feel I owe you an explanation.
What last night when mister Clancy fired at me, I
wasn't prowling.

Speaker 21 (37:41):
I only it was a natural mistake in all our parts. Alan,
you seem to take it more seriously than it warrants.

Speaker 2 (37:47):
Well, I just wanted you to know that I'm being
honest and I have nothing to hide.

Speaker 21 (37:54):
I'll see you later, mister Keith.

Speaker 25 (37:58):
Sure, and he sounded like a young man with a
guilty conscience. Boss might have a very good reason for that, Mike.

Speaker 21 (38:05):
I found out last night, after seeing a picture of
the murdered girl, Martha Langley, that she and Audrey were
the same height and often wore identical writing habits. What
does that mean, Sir? Alan realizes that I may know
that Audrey refused his proposal of marriage and so may
have wanted to take revenge.

Speaker 25 (38:24):
You mean that he may have killed the wrong girl
because they looked alike in their writing clothes.

Speaker 21 (38:30):
Yes, it's possible, Mike. You see that thicket over there,
under the apple tree. That's where Marked Langley's body was found.
Seeing it gave me an idea. Yeah, let's get near
the tree. Oh all right, Mike, right here, would you

(38:54):
mind dismounting.

Speaker 25 (38:55):
It'll be a pleasure to get off this night.

Speaker 21 (38:57):
Boss the.

Speaker 18 (39:01):
Twitter round away.

Speaker 21 (39:02):
We'll round him up later.

Speaker 8 (39:04):
Mike.

Speaker 21 (39:05):
The lowest branch of this tree is just a little
above the head of a writer on horseback. Climb up
there now, I'll explain what I'm getting at.

Speaker 8 (39:13):
I do my best.

Speaker 25 (39:14):
Boss, riding horses to tree, climbing death for his harvest
the investigating businesses sure getting the mess.

Speaker 21 (39:25):
That's good work, Mike. Now, unless I look up and
peer very carefully through the branches, I wouldn't see you.

Speaker 25 (39:33):
Well, then, mister King, the killer could swing from here
in the tree and as his victim came.

Speaker 21 (39:38):
By on horseback, hit her on the head. Yes, Mike,
I'm convinced that's the way it was done. Who was
the murderer? Boss? He seems to be joining us right now.
Be quiet, Mike, stay up there in the tree, out
of sight. Tired of riding with the others, Mister Porter.

(39:59):
What are you doing here, mister Kean, solving a murder?
That's why you decided to see what I was up to.
What do you mean the man I intend to arrest
for Martha Langley's murder? Is you Porter? I think you
can prove that I killed Martha very easily. I have
a tiny piece of cloth torn from your riding breeches,
and you pulled your murder weapon or wouldn't be mout

(40:21):
of the tea house wall. There's the hole in your breeches.
I saw it just before we left the house. Don't
spur your horse, Keen, or I'll shoot you out of
a saddle. That gun won't help Porter.

Speaker 9 (40:31):
The other is are riding half a mile away by now,
and you seem to have lost your partner too. I
think this gun may help a great deal. Why did
you kill Matha Langley? I don't mind telling you. You'll
never get a chance to pass it on to anyone else.
I killed Martha to protect myself, Keene, protect yourself. How
five years ago my brother left two million dollars to

(40:52):
his son Alan and made me his guardian until he
came of age. Allan comes of age tomorrow. He's twenty one.

Speaker 21 (40:59):
Did you see his inheritance? No, I spent it.

Speaker 9 (41:02):
I knew how to enjoy it, and I only spent
most of that money, but I left it in some
of the most fashionable gambling houses in the world.

Speaker 21 (41:10):
How did you think you get away with it? When
your nephew Allan became of age.

Speaker 9 (41:14):
It would have been simple if it wasn't for Martha Langley.
I was going to tell Allan his parents lost the
money in those gambling houses, and that I kept it
from him all these years just to save their reputations.

Speaker 21 (41:25):
Martha Langley found out the truth.

Speaker 9 (41:27):
Yes, she made a deal, though, said if I could
get my nephew Allan to marry Audrey, she'd keep my secret.
And I had fifty thousand dollars in the bargain.

Speaker 21 (41:36):
But you didn't succeed.

Speaker 9 (41:37):
No, that fool nephew of mine was crazy about Audrey,
but she fell for Herbert Langley.

Speaker 21 (41:41):
I think I know the rest part her, do you.
Martha Langley became angry when you couldn't fulfill your part
of the bargain. It was her only hope of separating
her brother from Audrey. You thought she'd give you away,
and you killed her to prevent that away. I'm killing
you Keene right now. Good work, Mike. Wait a minute,

(42:03):
I'll dismount. He's out, called mister king.

Speaker 25 (42:08):
When I hopped on his head from that Branchiwse fell
right on top of him.

Speaker 18 (42:12):
He hit the ground first.

Speaker 21 (42:13):
Yes, Mike Porter met justice on the same spot he
committed his crime. He lured Mata Langley over here when
she became separated from the others, probably by calling her
as he crouched in the tree. Then he struck from above.
Now he'll pay for his treachery in a court of law.

Speaker 2 (42:46):
Saw mister Kane finds a solution to the engaged girl
murder case. The next time you are suffering from the
pains of headache, neurritis, or neraudia, try anison. You'll bless

(43:07):
the day you heard of this incredibly fast way to
relieve these pains. Now the reason anison is so wonderfully
fast acting and effective as this anison is like a
doctor's prescription.

Speaker 8 (43:18):
That is, anison contains not just one but.

Speaker 2 (43:21):
A combination of medically proven active ingredients and easy to
take tablet form. Thousands of people have received envelopes containing
anison tablets from their own dentist or position, and in
this way have discovered the incredibly fast relief anison brings
from pain of headache, neuratis or an erousier. So next

(43:42):
time such pains strike, take anison for most effective relief.

Speaker 21 (43:47):
Use only is directed.

Speaker 2 (43:48):
Your druggist has Anison and handy boxes of twelve and
thirty and economical family sized bottles of fifty and one hundred.
The name is Anison a na ci n. Mister Keen

(44:14):
Tracer of Lost Persons is based on the novel Mister Keene.
The radio sequels originated and produced by Frank and Nan Hummert.
Dialogue by Lawrence Klee Bena Killpack plays Mister Keene. It
is on the air every Thursday at this time. Don't
miss mister Kean next Thursday. When the kindly old Tracer

(44:34):
turns to the concrete cellar murder case.

Speaker 6 (44:49):
If he's a tracer of lost persons, why does he
always have murder cases? Hummert's never fully explain that, then
at kill Pack. Mister Keen Tracer of Lost per since
seventy six years ago, November tenth, nineteen forty nine. Here
on Classic Radio Theater with Wyatt Cocks, a show that

(45:09):
started out as just another detective show took on a
whole new life when Elliott Lewis got a hold of it.
We're going to hear Broadway Is My Beat, starring Larry
Thor as Detective Danny Clover.

Speaker 8 (45:22):
Next driving Tonight.

Speaker 21 (45:29):
Then remember this.

Speaker 29 (45:30):
Most highway deaths are caused by two temptations to cut
out of line and to go too fast. Crossing the
center line of the road is more dangerous than you realize.
Statistics proven excessive speed is just as dangerous as officials say.
You can predict your own impulses, but you can never
predict the other drivers. When driving tonight, drive cautiously.

Speaker 8 (45:50):
Please.

Speaker 6 (45:51):
The first six episodes of Broadway Is My Beat starred
Anthony Ross as Danny Clover, and then it moved to
Hollywood in later in nineteen forty nine, About six weeks
after it started, Larry Thor began playing the show and
the producer changed Elliott Lewis. A whole new cast scripts

(46:15):
by Morton Vine and David Friedkin, and the show started
out to be one thing, but it ended up being
something entirely different and quite the program. Let's hear Broadway
Is My Beat because it has that typical Elliott Lewis
touch to it that gives you the idea very earthy

(46:37):
and gritty. This episode of the program was originally broadcast
seventy five years ago today November tenth, nineteen fifty These shows, Yeah,
no dealing with missing persons here, well, not often. We're
dealing with the flat out murder here.

Speaker 5 (47:05):
Broadways my beat from Times Square to Columbus Circle, the gaudiest,
the most violent, the lonesomest mile in the world.

Speaker 15 (47:20):
Broadways, My beat with very Thor as Detective Danny Clover.

Speaker 5 (47:34):
Broadway takes its nighttime out of the river. The autumn
mists rise from the water, scirl down the furious avenues
of the city, and moisten the shadows, and for an
instant Broadway is stunned. Night has come too swiftly. It's
suddenly November, and the people of the time clock go
home to dinner in darkness. And I watched it from
my window at headquarters, the crowd fragments breaking off here

(47:56):
and there to try its luck in this doorway, and
that wipe my hand across the frosting glass and considered it.
That's why I didn't hear the man when he came
in huh, man's lying dead? Who are you? What are
you talking about?

Speaker 30 (48:12):
I'm Finch, Room Service, Hotel, heddn Finch.

Speaker 5 (48:16):
What are you trying to tell me about? A man
lying dead?

Speaker 30 (48:18):
And the penthouse Hotel Hedn. I walked in, delivered the drinks,
noted that the drapes were drawn, noted that the spread
had not been drawn back, noted that he hadn't taken
off his shoes, and noted.

Speaker 20 (48:30):
That he was dead.

Speaker 5 (48:30):
How could you tell?

Speaker 30 (48:32):
He didn't move? And I tapped him on the shoulder,
he didn't breathe either in here or ex hill.

Speaker 5 (48:38):
That's being dead. And you notified the manager?

Speaker 30 (48:41):
Did you hear me say I did that?

Speaker 5 (48:42):
No, man o.

Speaker 30 (48:44):
I'm reporting it directly to the police, so it'll be
on the records that I found the man. Finch found him.
Finch fi n h alan Finch. You'll tell the papers that.

Speaker 5 (48:56):
Danny Clover speaking.

Speaker 31 (48:57):
Homer Shade, Danny gorgeous came in where hotel?

Speaker 5 (49:01):
You want to take it right away to Tigla.

Speaker 30 (49:03):
Finch If I n c h Alan Finch, don't forget it.

Speaker 32 (49:34):
What do you want to? Oh it's you, daddy. I'm
glad it's you.

Speaker 5 (49:38):
Makes you happy? I'morrow.

Speaker 32 (49:39):
Yeah, come on it. That comic on television. He kills me.
You ever watch him, Danny?

Speaker 26 (49:45):
You should?

Speaker 32 (49:46):
You should look look at him. He kills me. Where
is he mar the dead one? He's in the bedroom.

Speaker 5 (49:59):
Because if you could tear yourself away from the comic.

Speaker 32 (50:03):
Danny, don't be like that? How many laughs does the
house did get in the day? I mean for free?
Here he is, Danny on his twenty bucket day bed.

Speaker 5 (50:12):
Shut the door.

Speaker 32 (50:13):
The television is for free too, Danny. In every room
we can top a look in between, you know, shut
the door. Whenever you say, Danny, who was he here?
I'll hold up his head so you can look at him.
Looks different.

Speaker 8 (50:27):
Huh.

Speaker 32 (50:28):
We've been waiting a long time to see him like.

Speaker 26 (50:30):
This, Hi, Danny.

Speaker 5 (50:31):
Johnny Hill?

Speaker 32 (50:32):
The same, a little punctured, but the same, Johnny Hill.

Speaker 5 (50:37):
Tell me about it.

Speaker 32 (50:38):
A lady was bidding a gentleman good night at the door.
While lost in a kiss. She heard shot.

Speaker 8 (50:43):
She told me, so on the four.

Speaker 5 (50:44):
Did she see anyone leave this apartment?

Speaker 13 (50:46):
Uh?

Speaker 32 (50:46):
Uh, it was all too frustrating. She didn't see a
thing because her eyes were filled with tears. She told me,
boyfriend scurried away. Didn't want to get caught in the mess.
The lady wept any ideas Morrow, And who puts so
many holes in him? Yeah, except everybody whoever wanted Johnny
Hill dead. Johnny Hill, king of the Chicago Hooligans, wanted

(51:07):
for all a small print in the book. Who was
to put the finger on? Who wanted him dead? I
wanted it? You wanted it? Who didn't want it?

Speaker 26 (51:14):
Danny?

Speaker 32 (51:15):
Tell me? So I can get him a free room
in this classy fleabag.

Speaker 5 (51:21):
After that, there wasn't anything much. Morrow said he was
going back and look at the comic, except now the
comic was through and there was a cowboy instead, which
was even better. Morrow assured me. And when the boys
from Technical came, they were on Morrow's side. When I
asked everybody why the cowboy carried three guns, they sneered
at me, So I left. Then it was legwork find

(51:45):
out why a hoodlum from Chicago had come to New
York to die ring doorbells. Ask a man in the
Midnight Blue Dinner Jacket what he knew about the death
of Johnny Hill. Have him beckoned the five more Midnight
Blue Dinner Jackets alibis. Then the nightclub circuit start where

(52:06):
the cover charges ten dollars in the upholstery genuine and
ask questions and get no answers. Then to the joints
of plastic leather and no dance floor, no minimum, and
get no answers. Then to the dives of the open
collar and the biggest beer in town for a dime.

(52:28):
And in one of them there's a man. His name
is Benny Fane. He's not happy.

Speaker 30 (52:32):
We'll go way then.

Speaker 5 (52:34):
What's the matter with you, Benny?

Speaker 30 (52:35):
Nothing?

Speaker 5 (52:36):
He used to help us out. What happened?

Speaker 30 (52:38):
I'm not stooling them more. That's all.

Speaker 5 (52:40):
Go away, man, Because you don't want to tell me
about Johnny Hill. Yes, go away. Suppose the boys around
got to know you used to work for me, Benny?
What about Johnny Hill?

Speaker 30 (52:50):
Yesterday? That's when he hit time?

Speaker 5 (52:52):
Where'd he go?

Speaker 30 (52:53):
There's people watching.

Speaker 5 (52:54):
These days, nobody watching us. Where'd he go?

Speaker 30 (52:57):
Chicked into the head? They went to where they oh, Danny.

Speaker 33 (53:00):
The Griffin Club.

Speaker 30 (53:02):
Please go away?

Speaker 5 (53:04):
That's all you know.

Speaker 30 (53:05):
I swear on the missus.

Speaker 5 (53:07):
Missus is doing time at the State Reformatory.

Speaker 30 (53:09):
And you'll be out in the Griffin Club Bennie.

Speaker 5 (53:22):
The Griffin Club was a polite brownstone mansion that peaked
at the park through white lace curtains, needle pointed with
aqua graffonds. It's the core late Prohibition. It's membership, lovely ladies,
an equally elegant gentleman, their amusement, conversation of latter day
hooligans who have become quality folk. I knew that because
when I walked in, the tinkle stopped, the whisper of

(53:44):
silk took over, and I was looked at as if
I were a cheap wine spilled on the pawn colored rug.
A lady rose quickly to wipe away the stain I
was making in their drawing room.

Speaker 34 (53:53):
I'm afraid you've made a mistake. We are only from members.
We suggest the wise right now.

Speaker 5 (53:58):
Don't you know me bets a bull of them?

Speaker 34 (54:01):
Aren't you mistakes? I'm missus Craig, vice president in charge
of accepting and rejecting.

Speaker 5 (54:07):
Sure you are, Betsy, all right?

Speaker 34 (54:09):
So I know you. You're running out of your class,
aren't you, Danny?

Speaker 5 (54:12):
I don't think so. Johnny Hill made me a.

Speaker 34 (54:14):
Member, having a lovely time till you walked in. You
turned it sour. But I recall that's the way you.

Speaker 5 (54:21):
Are, I said, Johnny Hill. And you didn't even drop
your fanily drop at Betsy, so I'll have to pick
it up for you.

Speaker 34 (54:26):
Isn't Chicago, ah in the morgue.

Speaker 5 (54:28):
But you know that, don't.

Speaker 8 (54:29):
You, Betsy.

Speaker 34 (54:30):
He finally made it. I'm glad for Johnny.

Speaker 30 (54:33):
You'll tell him before that.

Speaker 5 (54:34):
He did all the normal things for him, checked in
at the hadd and penthouse, came here, then back to
the headen, died in his bed, normal for Johnny.

Speaker 34 (54:42):
I'll tell my friends how it was, thanks Danny. They've
been itching to know.

Speaker 5 (54:45):
And you'll tell me the things that Johnny did here,
won't you, Betsy? For old time sake.

Speaker 34 (54:51):
Grab a handful of Kennopyes, Danny, take some of your
friends because we're through reminiscing. Wait, I'll get you a
brown paper bag.

Speaker 5 (54:57):
I couldn't go without you, Betsy.

Speaker 34 (54:59):
You've got nothing, not on me, not on the club.

Speaker 5 (55:01):
Only a murdered Johnny Hill. You know how these things work, Betsy.
We hold you on suspicion day a month, as long
as you want. What happens to your vice presidency.

Speaker 34 (55:10):
Then it took me a long time. It's mine. No
part of it belongs to anyone else.

Speaker 5 (55:14):
Sure, think how hard you worked for Betsy.

Speaker 34 (55:17):
I rocked myself to sleep thinking about it.

Speaker 20 (55:20):
All right.

Speaker 34 (55:21):
Johnny came in here about four o'clock last night, alone
for a while, alone for about an hour. He nibbled
at the caviar, the entertainment, and he got bored. Called
Nick Joyner.

Speaker 5 (55:30):
Nick was here.

Speaker 34 (55:31):
Johnny called him, didn't he? Johnny calls people come used
to they played cards. Then something must have happened because
they started calling each other names. So I called Johnny's
boy to break it up.

Speaker 5 (55:43):
He came, He did, Johnny's boy. Who is it now?

Speaker 34 (55:46):
Harry Bishop? Where nineteen twenty three's forty seven? Having awfully
good to you, Danny. It didn't cost you a cent.

Speaker 5 (55:54):
Not a penny.

Speaker 34 (55:56):
Clutch it close to you because that's all you get.
Goode forever, Jenny.

Speaker 5 (56:16):
Yeah, you're Harry visher maker.

Speaker 20 (56:19):
Let's go inside with Queen.

Speaker 5 (56:21):
Let's go Harry.

Speaker 35 (56:23):
Sounded like law later, lawyers.

Speaker 12 (56:26):
The mood will come to me in our carse.

Speaker 5 (56:27):
It sat inside inside. You got a permit from this gun? Gun?
Harry on the bed, Holy smokes a gun? Did you
shoot Johnny Hill? With it.

Speaker 12 (56:44):
You have yourself a sniff.

Speaker 35 (56:46):
See as we used since the modown Ducks in Lake Michigan,
I duck hunt with a thirty eight.

Speaker 12 (56:50):
The ducks appreciate it. I wonder how that gun got here.
I thought it wasn't Chicago.

Speaker 5 (56:55):
I'll ask your gun, Harry, did you shoot Johnny with it?

Speaker 12 (56:57):
You lost your MIBs? Johnny was done with that.

Speaker 5 (56:59):
Forty How'd you know that? It wasn't in the papers?

Speaker 12 (57:02):
Nick carried a forty five? Nick Joyner, the guy who
shot Johnny?

Speaker 5 (57:05):
You're sure of it?

Speaker 36 (57:06):
Huh?

Speaker 12 (57:06):
Johnny was killed with a forty five, wasn't he?

Speaker 5 (57:08):
That's right?

Speaker 12 (57:09):
See Nick Joyner?

Speaker 5 (57:11):
What happened at the Griffin Club last night?

Speaker 12 (57:13):
The card game with peckled cards?

Speaker 35 (57:16):
Johnny dropped maybe fifty g's Nick wont it with peckled cards?

Speaker 12 (57:19):
Maybe Johnny wasn't gonna stand for it. Maybe Nick beat
him to it.

Speaker 5 (57:22):
You took Johnny home after the game.

Speaker 12 (57:24):
Back to the hat and tucked him in.

Speaker 5 (57:26):
Where's Nick?

Speaker 12 (57:28):
I'll find him?

Speaker 5 (57:29):
That's why the gun, Harry. You're gonna take care of Nick.
Where's Nick?

Speaker 12 (57:32):
Leave him to me?

Speaker 8 (57:33):
Let's go.

Speaker 12 (57:34):
If we go, you're never gonna find Nick.

Speaker 5 (57:36):
Come on, Harry, I'm booking you on our weapons charge.

Speaker 12 (57:39):
You're taking me in where is he? Where else?

Speaker 32 (57:42):
Hotel?

Speaker 12 (57:43):
Haddn't under an alias?

Speaker 5 (57:44):
What alias?

Speaker 12 (57:45):
Marko Merkle? Something I don't know. I can save you
the trouble cap. I owe it to Johnny.

Speaker 5 (57:51):
Then you'll be held for homicide.

Speaker 12 (57:54):
Then you'll have to catch me.

Speaker 5 (57:56):
I already did. Turn off your radio and let's go, Harry.

Speaker 32 (58:14):
Imagine Nick Joyner living under an alias Merkle Merkle. The
things that guy will go through. It a dinner room.

Speaker 5 (58:22):
You didn't know about it.

Speaker 32 (58:22):
I'm oral, So I help me, Danny, not till you
told me. This is a big hole. I can't keep
my eye on everything that crawls into it. So help me, Danny.

Speaker 5 (58:29):
All right, you didn't know you.

Speaker 32 (58:30):
Think next the one that got to Jenny. I asked
you several questions. The least you can do? Yeah, yeah,
twelve eighteen. The room reserved for shoe salesman usually must
be slow and shoes. Maybe next out. Maybe you got
a pass show Danny, I got everything, But maybe Nick,

(58:53):
whoever you say, Danny see Nanny's out? Is there another
room be one with rooms with bath? Nick?

Speaker 37 (59:07):
I am sorry, to barge in. But guess who. Hey,
Danny's in the shower, Nick Nick, Hey, Nack.

Speaker 5 (59:21):
Opening Mara, tell him we're here, Nick, Nick. Nick can't
hear you, Mar. He can't hear anything anymore. Nick is dead.

Speaker 15 (59:45):
You are listening to broadways My Beat, written by Morton
Fine and David Friedkin and starring Larry Thor as Detective
Danny cloverg How's for trying to sing it again this
Saturday night? Five thousand dollars in cold hard cash and
ten thousand dollars in fine prices are waiting for the
CBS listener who can solve the new Phantom Voice mystery.

(01:00:06):
Dan Seymour will be on hand with those coast to
coast phone calls, and Allandale, Judy Lynn, Bob Howard and
the Riddlers will be making music. It's an hour of
fun and song to entertain you and perhaps pay off
every Saturday night on most of these same CBS stations.
Here sing it again this Saturday, won't you?

Speaker 5 (01:00:33):
Broadway stands on a street corner and raises its collective
coat collar against the coming of winter's night, tries to
find warmth in the blaze of neon or in the
ashes of a summer night's dream. For a time, Broadway
warms its hands at memory, tasting its glow, watching it flicker,
watching it die. Then it goes looking somewhere else. The

(01:00:53):
translux screams in its ear murder. It screams, gangster dead
in swank hotel. Nick Joyner found dead. Broadway is happy,
Broadway is daring. He goes right ahead and accepts the substitute. Grins.
It found what it was looking for. That police headquarters

(01:01:14):
the next day, the probing over the murder of two men,
Johnny Hill and Nick Joyner, and assisting at the probe
a man with an apple in his mouth.

Speaker 31 (01:01:26):
M good What I was merely remarking that this apple
is woom good trying to bite Danny some other time, Roger,
I will save you a piece of Wake's paper. Look
for around the water cooler, Danny.

Speaker 5 (01:01:40):
That way, you'll keep cool anything else you're saving for me?

Speaker 31 (01:01:43):
You know, no nothing?

Speaker 5 (01:01:46):
Oh you mean uh huh?

Speaker 36 (01:01:48):
Hi.

Speaker 31 (01:01:49):
You didn't have to mention it, Danny. I was coming
out with it anyway.

Speaker 5 (01:01:52):
I'm sorry.

Speaker 31 (01:01:53):
Ah, you're forgiving. If I don't forgive you, who should I?
All right, Danny? All right? In the matter of the
killing of Johnny Hill hailing from Chicago. He'll tell me
it goes without saying. Established by technical said Johnny Hill
was undone by a revolver at caliber forty five. I
know that they've checked on the bullets, found them to

(01:02:14):
stem from a gun owned by Nick Joiner, hailing lately
from this city.

Speaker 5 (01:02:18):
That means that, permit me to finish your thought, Danny.

Speaker 31 (01:02:21):
That means that, without a shadow of a doubt, or,
as Mike Shrek, the bald headed miracle detective from Philadelphi would.

Speaker 5 (01:02:27):
Have it, it.

Speaker 31 (01:02:27):
Means that Johnny of Chicago was undone by Nick of
this city because of an argument over a friendly game
of cards. You know, Danny, Mike Shrek coined a phrase
for such cases, open and shut.

Speaker 30 (01:02:40):
That's Shreke.

Speaker 5 (01:02:42):
Now you will tell me about Nick Joyner.

Speaker 31 (01:02:44):
I need you ask. Nick Joyner was undone by a
poisoned title of which can be found in any child's
chemistry magazine. What else, uh, Danny, we found someone who
might be sorry Nick is dead, that's what else? Oh,
his missus, missus Claire Joiner of nine two Banking Road,
Forest Hills. You know, I think I'll kind of note
the Shrek about this. Why, Well, it's a riddle to

(01:03:07):
his liking.

Speaker 8 (01:03:07):
Danny.

Speaker 31 (01:03:08):
Look if Nick killed Johnny, who killed Nick? Or Johnny's
friends are in the cooler or in Chicago? That leaves
a large question mark. You know you don't mind if
I write the Shrek about it?

Speaker 38 (01:03:20):
Bye?

Speaker 36 (01:03:21):
Danny?

Speaker 39 (01:03:41):
Can you come back?

Speaker 3 (01:03:42):
Oh?

Speaker 39 (01:03:43):
Oh, I'm sorry, sorry, but what I thought you were?
The daughter door tea salesman. The jewel truck is across
the street, and I was going to tell him, who
are you?

Speaker 5 (01:03:52):
Danny Clover?

Speaker 39 (01:03:53):
Police, Please come in in here, please sit down, thank you.
I'm afraid I haven't very much time Nick. I know
I want to see him, just once more. He's at
the mortuary. I feel I ought to see him.

Speaker 5 (01:04:10):
How long has it been since you and your husband
lived together?

Speaker 39 (01:04:14):
I don't know exactly how to answer that, mister Clover.

Speaker 5 (01:04:17):
A month year?

Speaker 39 (01:04:18):
Oh, no longer than that. Once Nick brought home a
black gown, strapless and cut. Well, you know I put
it on. I looked like a housewife, looking ridiculous in
a strapless gown.

Speaker 26 (01:04:32):
Nick left.

Speaker 5 (01:04:33):
Then he moved out.

Speaker 39 (01:04:34):
No, no, he moved out just a month ago. It's
been three years since he bought me the gown.

Speaker 5 (01:04:39):
You knew about.

Speaker 39 (01:04:41):
Nick's business affairs, that he was a thief, that it
was a hoodlum. I knew about that.

Speaker 5 (01:04:47):
It didn't matter.

Speaker 39 (01:04:48):
I'll tell you something, mister Clover. Nick would go out
and something would happen to him. Maybe he'd beat a
man with a gun. He'd come home and stare at me.
He needed me so he could feel ashamed.

Speaker 5 (01:05:00):
Still loved him.

Speaker 38 (01:05:00):
Oh he was here.

Speaker 39 (01:05:01):
I was glad he's gone, but I'm not sorry. Nick
wasn't the kind of man who could live very long,
but I had him for a part of the time
that he did.

Speaker 5 (01:05:11):
Missus join her.

Speaker 39 (01:05:12):
No, please, you understand, mister Clover. Long ago Nick wanted
me to move some place, you know, Park Avenue, place
like that. But Park Avenue, well, it was like the
strapless gown.

Speaker 5 (01:05:23):
Did you ever meet any of Nick's friends.

Speaker 39 (01:05:25):
Nick didn't have any friends. He had people he had
fun with.

Speaker 5 (01:05:28):
Like who so many of them women, of course, lots
of them.

Speaker 39 (01:05:35):
But he never felt ashamed before any of them.

Speaker 5 (01:05:38):
It wasn't there someone someone special.

Speaker 39 (01:05:40):
Miss Lisbon was special. I saw her once. I saw
her walking on Broadway with Nick on Broadway, mister Clover,
and she only saw Nick, Miss Lisbon pull at Lisbon.
Nick told me about her. She stayed at the hotel,
hadn't I believed maybe she poisoned Nick.

Speaker 5 (01:05:56):
Maybe, And I'm sorry for her.

Speaker 39 (01:05:59):
She doesn't know what.

Speaker 5 (01:06:03):
The woman turned away from me, walked over to the
hall mirror, adjusted a wisp of colorless hair under her hat,
smoothed her gloves, looked once at her face, looked away,
then walked out for one more time with Nick. She'd
left the door open. I closed it far. At headquarters,

(01:06:25):
there was a file on paul At Lisbon Kansas City,
Las Vegas, Chicago, Paris, the Italian Riviera, the girl who
opened the door for me at the hotel hat and
was the sum of all the places in which she'd
been whispered to, clothed in silk, the s of all
the hands that had stroked, the shadows on her throat,
the edges of her mouth. All there was in the
room was Paulette Lisbon.

Speaker 1 (01:06:48):
Thank you for what?

Speaker 34 (01:06:49):
For the way you look at me?

Speaker 5 (01:06:51):
I thank you, Miss Lisbon.

Speaker 3 (01:06:53):
Nick looked at me like that.

Speaker 4 (01:06:54):
Sometimes other men makes a girl feel good, I mean good.

Speaker 5 (01:07:00):
Who liked Nick?

Speaker 4 (01:07:01):
They brought me pretty flowers and these on my neck
on my arm, those boxes on the dressing table.

Speaker 5 (01:07:07):
Sure, I like Nick, and maybe you'll help us find
his killer.

Speaker 4 (01:07:10):
You really want him the killer? I mean, so many
people are celebrating Nick's time all over town. I know
because I've been invited.

Speaker 5 (01:07:18):
You're not going.

Speaker 4 (01:07:19):
No, No, I think Nick would like me to grieve
a little after that.

Speaker 3 (01:07:23):
I'm on my own.

Speaker 4 (01:07:24):
He told me so lots of times.

Speaker 5 (01:07:26):
He was poisoned. Maybe you can tell me why.

Speaker 4 (01:07:29):
I can give you a lot of wise, but don't
ask me who.

Speaker 5 (01:07:32):
You'd tell me if you knew across my heart and
hope to die. Who needed him dead?

Speaker 40 (01:07:37):
You?

Speaker 4 (01:07:38):
The citizens, the people of the country. My Niki was
a stain that brings us to you. M I needed
him alive. Girl like me doesn't know where her next
Nick is coming from. Would you open up for me, Danny?

Speaker 1 (01:07:54):
Please?

Speaker 4 (01:07:55):
This robe the guest might whisper.

Speaker 41 (01:07:59):
Is this.

Speaker 30 (01:08:02):
Oh bought you?

Speaker 11 (01:08:04):
I know?

Speaker 5 (01:08:04):
Come out in French?

Speaker 30 (01:08:05):
Hey, you don't keep a promise. I even spelled my
name for him.

Speaker 4 (01:08:08):
Would you bring me this time?

Speaker 33 (01:08:09):
Finch?

Speaker 30 (01:08:10):
Oh, you'd be so pleased. Miss Lisbon. I stole it
from the kitchen uncle Pheasant and this cool wife M
I stole it for you. There's no charge.

Speaker 3 (01:08:18):
Well, there's some bills on my dresser. Finch, help yourself.

Speaker 30 (01:08:21):
Oh you know I don't do it for that, Miss Lizabeth.
You know he just helped herself to these goods.

Speaker 39 (01:08:27):
Have some, Danny.

Speaker 3 (01:08:28):
It's on the house, always is with Finch.

Speaker 5 (01:08:30):
No thanks.

Speaker 30 (01:08:31):
It killed you and mister John didn't they, Miss Lisbon.
He they had to be brave to kill a man
like mister Johnny.

Speaker 3 (01:08:37):
M you like it that way?

Speaker 30 (01:08:39):
You just called me to clean up the mess when
you're through, buy miss Lisbon.

Speaker 4 (01:08:46):
Uh, there are so many many kinds, a whole different.
Sure you won't have some, Danny a funeral feast? No,
don't throw it away from me, will you?

Speaker 36 (01:08:55):
Danny?

Speaker 3 (01:08:56):
Please? Out the window? Was fun, lots of fun, Danny.

Speaker 5 (01:09:13):
Oh hello, doctor Sinsk, Come on in, what's on your mind?

Speaker 35 (01:09:18):
You got a cigarette?

Speaker 26 (01:09:19):
Danny?

Speaker 8 (01:09:20):
Here?

Speaker 5 (01:09:20):
You are light.

Speaker 26 (01:09:22):
I wouldn't think of it.

Speaker 12 (01:09:24):
I carry my own Manchester.

Speaker 35 (01:09:29):
A very strange thing just happened, Danny. I like what
I just finished an autopsy on Johnny Hill.

Speaker 5 (01:09:34):
Autopsy? What for he was shot to death? What you
need an autopsy for?

Speaker 35 (01:09:38):
Because he wasn't shot to death.

Speaker 5 (01:09:40):
We're talking about it of course he was shot.

Speaker 35 (01:09:42):
Of course he was with three forty five caliber bullets.
But that's not what killed him. Look, please, Danny, let
me have my minute of glory.

Speaker 21 (01:09:50):
Thank you.

Speaker 35 (01:09:52):
I happened to see the photographs taken of Johnny by
our boys. Why, I asked myself, is this a little
blood from a man who's been shot by a large
caliber bullet? Then the more guy examined Johnny, very little
blood on his clothes.

Speaker 5 (01:10:04):
So he performed an out just to prove my point.

Speaker 35 (01:10:07):
Johnny was dead before he was shot. What Johnny was
poisoned to death with the same poison that killed Nick Joyner. Know,
anybody who didn't like those two fellas.

Speaker 26 (01:10:17):
Danny here here is Danny.

Speaker 5 (01:10:32):
Sit down me him you leave Morrow. Oh, Danny, I
lend you my office. Be polite out Okay, okay, I said,
you can sit down.

Speaker 30 (01:10:44):
I'm not gonna habit of sitting down. Room service. R Finch,
room service.

Speaker 5 (01:10:50):
Tell me about yourself, Finch. I told you room service.
I mean how you live, your friends, what you do
outside of the hotel.

Speaker 30 (01:10:58):
You're interested?

Speaker 8 (01:11:00):
Yeah?

Speaker 30 (01:11:00):
Yeah, well thanks, yeah, I tell you how do I live?
Work eight hours? Read a lot, go out the movie's lot.
Write letters to the newspapers.

Speaker 33 (01:11:10):
They printed some of them.

Speaker 5 (01:11:11):
Spell your name right always.

Speaker 30 (01:11:12):
I have such a simple name to remember. Maybe that's
why everybody forgets it.

Speaker 5 (01:11:17):
What about your friends?

Speaker 30 (01:11:19):
I've tried that people don't measure up?

Speaker 5 (01:11:21):
Does miss Lisbon measure up? She's beautiful? I'd like her
to admire me, But I really doesn't matter. Don't you
care what people think about your future?

Speaker 30 (01:11:33):
Used to bother me. I used to try when I
was younger. I took physical culture exercises and correspondence courses
and personality and I never finished.

Speaker 8 (01:11:42):
I don't know someone.

Speaker 30 (01:11:43):
Oh well, I don't know.

Speaker 5 (01:11:45):
Now you don't care.

Speaker 9 (01:11:46):
Ah.

Speaker 33 (01:11:46):
People are stupid.

Speaker 30 (01:11:48):
They don't know what goes on inside of other people.

Speaker 20 (01:11:52):
Me.

Speaker 30 (01:11:54):
Why you asking me.

Speaker 5 (01:11:55):
These things, mister Clinton? Because I admire you?

Speaker 30 (01:11:58):
Oh, thank you, thank you. Oh see, let me show
you something. I have me right here in my coat pocket.
It's a letter I'm writing to the Times.

Speaker 5 (01:12:06):
Read it, tell me about it.

Speaker 30 (01:12:08):
It's about there's two men who were murdered in this hotel.
Society to think, whoever did it? Give him a medal?
Don't you think that was glory?

Speaker 5 (01:12:17):
Think?

Speaker 30 (01:12:17):
What give him a medal? Whoever poison those two men?

Speaker 5 (01:12:21):
Yeah, that's that's one way of looking out a bench.

Speaker 30 (01:12:24):
You know it, mister Glover, You and I think alike,
you can understand a man. I think we can be
great friends.

Speaker 9 (01:12:29):
Uh huh.

Speaker 5 (01:12:29):
I think I would have hated Nick Joyner myself. Yeah,
that's right, that's right.

Speaker 33 (01:12:33):
Tell me about it.

Speaker 5 (01:12:34):
Well, if if I would have poisoned a big man
like Johnny Hill, and if someone would have come along
and taken all the credit for it by emptying his
gun into Johnny.

Speaker 30 (01:12:42):
What kind of curries that take? Killing a dead man?

Speaker 5 (01:12:45):
Maybe Nick didn't know Johnny was dead. He probably just
thought Johnny was sleeping.

Speaker 30 (01:12:48):
Well, that doesn't make any difference. Nick got all the
glory for killing Johnny.

Speaker 5 (01:12:51):
And you couldn't stand that, could you? You wanted that glory?

Speaker 8 (01:12:55):
What's that?

Speaker 5 (01:12:55):
You killed them both, didn't you? Johnny and Nick? What's
that poisoned? Only because of how important it would make
you feel inside yourself? You could walk the streets and
look at the people and know they didn't know how
important you are. I didn't say that, mister neck messed
it up for you. So yeah, Kilnick, No.

Speaker 30 (01:13:10):
No, no, no, no, that's not right, miss Glover.

Speaker 5 (01:13:12):
You said they were both poisoned. How'd you know? I
just found it and I reported the first murder to
me yesterday. It took great pains to give me details.
But you didn't say he was shot because you didn't
know he was You've got to listen now, you listen
to me. Think about it, Finch. Alan Finch kills two big,

(01:13:32):
notorious gangsters. But look, mister clever, think about it, Finch.
Your picture and all the papers, your name, and all
the headlines, Alan Finch, not just letters to the editor, the.

Speaker 30 (01:13:45):
Pictures, headlines, personal interviews about how I did. Sure, of course,
maybe a picture Miss Lisbon and me and she'll be crying.

Speaker 5 (01:13:57):
That's gonna tell the papers about it.

Speaker 36 (01:13:59):
Finch.

Speaker 33 (01:14:00):
Finch, Helen Finch. If I didn't see Finch, It's.

Speaker 5 (01:14:27):
The happy time on Broadway. It's after the movies. Nobody
wants to go home. It's a place strung against the
night like a phosphorescent valley. Their heap cure, the golden girl,
the bright eyed kid, the man with the promises, and
the guy who believes him. It's Broadway, the gaudiest, the

(01:14:50):
most violent, the lonesomest mile in the world. Broadway My beat,

(01:15:13):
Broadway's my beat.

Speaker 15 (01:15:14):
Stars Larry Thor as Detective Danny Clover with Charles Calvert
as Tartaglia. The program is produced and directed by Elliot Lewis,
with musical score composed and conducted by Alexander Courage. Included
in tonight's cast were Howard mcneer, Marlow Dwyer, G. G. Pearson,
Adrian Mardin, Lou Merrill, and Jack Krusian. We Americans have

(01:15:36):
a valuable heritage, a heritage of individual freedom that includes
the freedom to worship as we wish at the church
or synagogue of our own choice. By attending church regularly,
we can gain the moral and spiritual strength to meet
the many problems which confront us today. Help support your
church and attend regularly with your family. Dan Coverly speaking,

(01:16:01):
this is CBS were yours truly? Johnny Dollar brings Adventure
Saturday nights on the Columbia Broadcasting System.

Speaker 6 (01:16:22):
A little more Howard mcneer Always on my Radio with more.
Howard mcneer, seventy five years ago, November tenth, nineteen fifty.
Larry Thor Broadway is my beat here on Classic Radio
Theater with Wyatt Cox. Now, let's talk about what's coming
up here on our Tuesday Podcast, and we'll get back

(01:16:44):
to comedy with the Milton Burrow a Salute to Washington,
d c in Politics from nineteen forty seven, Archie Andrews
with a Mouse in the House from nineteen fifty, Abbott
and Costello with another Sam Spade Adventure from nineteen forty eight,
and the CBS Radio Workshop production of Report on the

(01:17:05):
Wiians documentary sort of. I think we'd call it a
mockumentary today. Anyway. On Wednesday show, we're gonna have a
mixed bag. We're gonna open up with part two of Escape,
John Dyer in the Earth Abides from nineteen fifty, Jimmy
Duranty from nineteen fifty seven, and The Chasing Sanborn Hour

(01:17:26):
with guest star Geen Arthur from nineteen thirty nine. On Thursday,
we'll have Westerns with Gunsmoke, Have Gun Will Travel, Saunders
of the Circle X and Romance. On Friday, episodes of
Mister President, another episode of Romance, Dark Fantasy, and the
Whistler Beautiful part about Romance is our anthology. So we're

(01:17:50):
not going to the same Well, if you catch my drift, now,
let us go to Saturday show. Did I say Mister
President Romance, Dark Fantasy, and The Whistler on Friday, and
then on Saturday, more Westerns with Gene Autry's Melody Ranch,
The six Shooter, and then episodes of Have Gun Will

(01:18:10):
Travel and Gun Smoke. Sunday we'll have comedies with Jack, Benny,
Avin and Costello, the Aldrich Family and Amos and Andy.
And then on Monday, a week from today, another episode
of Broadway is My Beat. We'll go out west for
an episode of Calling All Cars, Frank Sinatra as Rocky Fortune,

(01:18:31):
and a Sam Spade adventure Cape Caper Over My Dead Body.
That'll be coming up, I said, Avan Costello is gonna
have a Sam Spade That's not what's his I forget
what his his character is, I've forgotten, but it'll be
funny and we'll have that coming up here in the

(01:18:54):
next week here on Classic Radio Theater with Wyatt Cox.
Anytime at Classic Radio Nuts stream to support the podcast.
Up next, Lights.

Speaker 42 (01:19:04):
Out Alert, Americans will Heat Histories Lessons throughout history, Surprise
has had a leading role in military disasters today. An
anime capable of surprise air attack could leave chaos in
his way. That's why you should be in the civilian
ground Observer Corps volunteering a few hours a week to

(01:19:27):
guard our skies.

Speaker 8 (01:19:28):
Be a ground observer. Contact your local civilian defense office.

Speaker 6 (01:19:32):
Okay, we continue now on Classic Radio Theater with Wyatt
Coox with an episode of Lights Out. Two little old
ladies going on an ocean liner. But this an ocean
liner isn't typical after all. Our jobler's the guy who's
in charge. And it lights out, and it goes back

(01:19:53):
eighty three years to November tenth, nineteen forty two, so
you know there's something funny going on.

Speaker 8 (01:20:00):
Ironized Yeast presents Lights Out, everybody.

Speaker 28 (01:20:12):
It is.

Speaker 43 (01:20:17):
Later than.

Speaker 41 (01:20:21):
You thing.

Speaker 40 (01:20:29):
Lights Out brings you stories of the supernatural and the supernormal,
dramatizing the fantasies and the terrors of the unknown. We
tell you this frankly, so if you wish to avoid
the excitement and tention of these imaginative plays, we urge you,
calmly but sincerely, to turn off your radio now.

Speaker 8 (01:21:01):
My name Arch Obler.

Speaker 44 (01:21:03):
Bon Voyage is the title of tonight's story. In other words,
a good journey. Remember back in the days when one
could go vacationing on shipboard, Well, those were the days
when two old women began this most amazing bon voyage tonight.
I'm very curious to see if you really feel as
I do about the events to unfold in this extremely

(01:21:26):
strange travelog.

Speaker 45 (01:21:28):
So turn off your lights and listen.

Speaker 25 (01:21:40):
Now.

Speaker 46 (01:21:40):
Are you sure the trunk is tied on securely? Mister cabdriver?

Speaker 41 (01:21:43):
Yes, I'm good and tied.

Speaker 1 (01:21:45):
Ask him if he's absolutely sure, Julia, Are you absolutely sure,
mister cabdriver?

Speaker 41 (01:21:50):
Lady, so help me. If that trunk falls off, I'll
give him a cure.

Speaker 46 (01:21:53):
Now just a minute, young man, that's your attitude. Let
me want you my sister and I can always take
another camp.

Speaker 41 (01:21:58):
That's out, Lady, sir, help me. I ain't taken any attitude,
believe me. The trunks tied, aren't tied. You want to
get to the dock in time.

Speaker 1 (01:22:05):
To drive slowly? Julian, all right, getting I'll drive slowly,
young man.

Speaker 26 (01:22:09):
Yes, ma'am.

Speaker 46 (01:22:13):
We might at least have come up to say goodbye. Now,
Sister Emma, you know mighty well they're jealous of us.

Speaker 1 (01:22:20):
Every one of them's our cross and we must bear it.

Speaker 46 (01:22:23):
This is McDonald, missus McDonald is just like the rest
of them in that house. She takes our rent each week.
But she's as jealous as any of them, young men.

Speaker 1 (01:22:31):
Drives slowly, or we'll leave your cab. Yes, never should
have stayed there.

Speaker 46 (01:22:35):
I told you that fifteen years ago when we first
moved in. I remember distinctly saying, Emma, we shouldn't stay
in a boarding house where there isn't a solitary soul
about the status of a trades person.

Speaker 1 (01:22:47):
You remember I said that. Ask him if we'll get
to the dock in plenty of time, young man. We
won't be late, now, will we.

Speaker 41 (01:22:52):
I'll get you there, lady sir help me.

Speaker 1 (01:22:54):
Hell see that you do beneath us.

Speaker 46 (01:22:58):
It's no doubt about sister Emma, and everyone's always been
jealous of us, no doubt about it.

Speaker 1 (01:23:08):
Sea air should be good for our trouble.

Speaker 9 (01:23:10):
Don't talk about it.

Speaker 46 (01:23:11):
He can't hear us driving. No, I suppose he can't.
It's been twenty years. Oh why should we think about it?

Speaker 1 (01:23:21):
The sea air will blow it away. Ask him, if
we're almost there, young man, how much.

Speaker 18 (01:23:28):
Further right to be there?

Speaker 1 (01:23:29):
Ma'am?

Speaker 9 (01:23:29):
We got plenty of time.

Speaker 41 (01:23:31):
It's half hour to midnight.

Speaker 1 (01:23:32):
I'll see to it that we get there in time,
or you'll regret it sailing at midnight. I don't like it,
and talk like that. It was the only time we're
slowing up. Ask him, what's the matter, young man, what's
the trouble?

Speaker 20 (01:23:50):
No trouble, al ma'am. Worth the dog.

Speaker 1 (01:23:54):
See earl. Make me stop dreaming those dreams. Don't you
think so, sister Julia, tell you don't talk about it.

Speaker 41 (01:24:00):
Hey, all it is got him plenty of time.

Speaker 1 (01:24:02):
Ask him if it's the right dock.

Speaker 41 (01:24:04):
Sure it is, lady doc eleven. Hey, should I take
a trunk off?

Speaker 21 (01:24:08):
No?

Speaker 9 (01:24:08):
No, it'll charge.

Speaker 46 (01:24:09):
Extra for that, and there'll be someone from the steamship
company to do that. What's your fare?

Speaker 2 (01:24:14):
Here?

Speaker 41 (01:24:15):
It is on a meter, man, a dollar a quarter.
Here's a dollar a dollar a quarter, ma'am. You can
see for yourself the meter.

Speaker 46 (01:24:22):
The mean, I don't care what the meter says. Took
much less time than I thought. Well, I don't want
to hear any more about it. Come yeah, no, lady,
and to one side driver.

Speaker 41 (01:24:32):
Let us out now, lady, if the meter reads a
dollar quarter, I got to collect a.

Speaker 6 (01:24:35):
Dollar a quarter, not another bird.

Speaker 1 (01:24:37):
Pass in the trunk fair and go.

Speaker 41 (01:24:38):
About your business, good lady, I got oh, I give.

Speaker 46 (01:24:42):
Are you sure it's the right dock, sister Julia, Of
course it is. See Doc eleven what it says on
the tickets.

Speaker 41 (01:24:49):
There's your trunk. Someboy ex up both here.

Speaker 46 (01:24:52):
Incidence Coundro left a trunk lying right there in the street.
Save money, anyhow, Get one of the ship's people to
put it on. No one around strange. Everything's so quiet,
and just before seiling time there's a sailor. Ask him
to take our trunk aboard.

Speaker 1 (01:25:11):
Mister sailor. Mister sailor, you.

Speaker 45 (01:25:15):
Call me, lady.

Speaker 46 (01:25:16):
Ask him if he's connected with the ship. Are you
connected with the ship?

Speaker 45 (01:25:20):
Yes, you want to go on board?

Speaker 1 (01:25:22):
We certainly do, Julia. Look people wait, did they One
minute there was nobody and now so many people getting
on board. Julia asked me to.

Speaker 9 (01:25:35):
Get your trunk this way to the gang plank.

Speaker 1 (01:25:37):
Yes, yes, of course done, sister Enna. You don't have
to tip on the things, sister Julia. Part of the service.

Speaker 45 (01:25:43):
Weekend, I know, I know this way to the gang plank.

Speaker 46 (01:25:46):
Lady, Oh, got your tickets ready, sister Julia, I got them,
I got them.

Speaker 1 (01:25:49):
Walk quickly.

Speaker 9 (01:25:50):
Don't want to.

Speaker 1 (01:25:51):
Lose sight of that man with her truncker. This way, ladies, boots,
so crowded, so many people.

Speaker 46 (01:25:57):
Nobody seems to want to look at our tickets. That's
all right too.

Speaker 1 (01:26:01):
I'm ahead of him.

Speaker 45 (01:26:02):
Up your cabin, lady.

Speaker 46 (01:26:09):
Ask him if it's the right one, Junior, Now, are
you sure it's the right one?

Speaker 45 (01:26:13):
Say that you're Drunk's inside, Ladies all ship shape, they will.

Speaker 1 (01:26:17):
I'm ahead him up all right.

Speaker 8 (01:26:19):
Now.

Speaker 46 (01:26:20):
You don't have to tip him anything, Julia. It isn't
necessary at all. Boy, there isn't much of a cabin,
much smaller than they told us. I'll speak to the captain.

Speaker 26 (01:26:30):
No, no, not now.

Speaker 1 (01:26:32):
After we sail. Don't leave me alone in this place, now, Emma,
I don't now, Emma me, you got the same thoughts.
Don't talk about it.

Speaker 46 (01:26:39):
Yeah, Seattle will do us both good that way. Now,
don't talk about it. They're starting. Yeah, I'm going out
to see a start.

Speaker 9 (01:26:57):
No, don't wait for me.

Speaker 28 (01:27:01):
There.

Speaker 1 (01:27:01):
I must by the rail. I've taken down the gangplank already.
I seek. That means we're free to the land and
everything on it doesen to them. Don't talk about it.
Isn't it enough? For twenty years we're starting? Ships moving?
How fast the dock and all the people on it
are fading away.

Speaker 46 (01:27:23):
Yes, yes, they're almost out of sight. Julia, What did
you notice all those people on the shore. They were
waving handkerchiefs, but they were crying.

Speaker 16 (01:27:41):
Let's pause right here. We'll return two lights out in
a moment.

Speaker 47 (01:27:50):
Attention fans of old time radio, call now and get
the greatest old time radio shows of the twentieth century
is selected by Walter Cronkite, had an amazing twenty dollars
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now one eight hundred radio forty eighth. That's one eight

(01:28:11):
hundred seven two three four six four.

Speaker 14 (01:28:14):
Eight, and now let's return two lights out. And a
terrifying tale by Arch Oderler.

Speaker 1 (01:28:34):
Sister Julia Watt for the time, What time is it?

Speaker 9 (01:28:39):
I don't know?

Speaker 1 (01:28:40):
Reach over and turn on the light. Ships rolling so badly?
Oh there, twenty minutes after two the longest night. Haven't
been able to sleep a wink? Why does the ship
have to go so bad? That's all right, taking us
away from the cursed land.

Speaker 9 (01:28:58):
I seeing that.

Speaker 1 (01:28:59):
Stream child for twenty years of face can come to
one and the nice stuff. I tell you, I'm going
up on deck. You no, don't leave me here. I'll
go with you. Come ahead, come ahead, but keep your
mouth closed. Are you going to get dress?

Speaker 31 (01:29:12):
Oled?

Speaker 41 (01:29:12):
No?

Speaker 1 (01:29:12):
Just a cold fine night slippers might be cold and
stay here.

Speaker 38 (01:29:17):
No, no, I'll go with you.

Speaker 1 (01:29:19):
I got my coat already. Don't leave me ahead. So
quiet those night must be binge. Everyone is asleep.

Speaker 46 (01:29:33):
It's good to be getting away from the land here
up these stairs.

Speaker 1 (01:29:39):
Well, can't you see the sign from an odd deck? Oh? Yesterday?
That'll be nice? And now don't fall.

Speaker 48 (01:29:57):
Ah.

Speaker 1 (01:29:59):
I think we should go up there this time of
Night's sister, Julia, you're like the cabin any better. You
were as much to blame as I the blood stuffered
stop it come out here when you wanted to come
out here?

Speaker 28 (01:30:15):
Where?

Speaker 26 (01:30:16):
Where will we walk?

Speaker 1 (01:30:17):
Where does one walk on shipboard?

Speaker 9 (01:30:18):
Come?

Speaker 1 (01:30:23):
They drive the ship's affairs. It's frightening.

Speaker 46 (01:30:25):
Then go below, Julia, walk best. I want to keep walking, Julia,
what is it?

Speaker 1 (01:30:33):
We've been all around the dirt well and we haven't
seen anyone. It's the middle of the night. But no,
what you expected three in the morning, a brass van.
There should be somewhere. Go down to the room, Julia.
Did you hear that? Nothing but the wind?

Speaker 20 (01:30:50):
No?

Speaker 28 (01:30:51):
Something else?

Speaker 1 (01:30:55):
Nothing? You what's over the side of the ship. Eh
a hen, no, no it isn't. Oh, Julia, come back there. No, no, no,
you're crazy. There's nothing. But I saw I went to

(01:31:16):
the rail. There was nothing.

Speaker 48 (01:31:17):
Oh.

Speaker 1 (01:31:18):
Shouldn't have killed him, Julia.

Speaker 49 (01:31:20):
Oh no, If I talk about it, maybe I'll find
a little rest from the crazy thoughts that have been.

Speaker 28 (01:31:25):
In my head for twenty years.

Speaker 1 (01:31:26):
Stop talking, Stop your fool. Ever since that night, Julia,
they've been tearing at me crazy. It's hoolool. That's such
a pool, I thought.

Speaker 49 (01:31:34):
If it's made you an old woman, cryme alright, you too, Julia,
all these years you've been afraid to.

Speaker 1 (01:31:40):
Will you ever stopped talking at night? Sometimes I hear
you cry out in your sleep? No, I don't you do, Julia, dude,
you do in fear of him?

Speaker 9 (01:31:48):
Here?

Speaker 1 (01:31:49):
Why should I be frightened? Can you help me.

Speaker 46 (01:31:51):
Carry him down the steps to the basement, Junior. Remember,
I'm not afraid his bones there Despine?

Speaker 1 (01:31:59):
How were to care of that. You are frightened, you
are tell you no, no, no, no, get away from
Stop talking to me. There's nothing to be frightened up.

Speaker 46 (01:32:09):
What miles at sea, water between us and the land,
miles between us and where we buried him?

Speaker 1 (01:32:14):
Why should I be afraid of something bad for twenty years?
I'm not afraid.

Speaker 38 (01:32:18):
I'm not.

Speaker 1 (01:32:23):
What what look his face?

Speaker 28 (01:32:29):
His face in the sky, sister enough what this is?

Speaker 1 (01:32:45):
This the right carl? Get out of my Kevin. Got
to get to Heaven.

Speaker 46 (01:32:50):
Close the door locked, yes, yes, lock It can't hurt
as if we were behind.

Speaker 26 (01:32:53):
The locked door.

Speaker 1 (01:32:54):
It wasn't locked before, Hope. But that isn't our cab
and Drew, what are you talking about? Of course it is. No,
I tell you what, Junie. No, no, this cabin here,
oh for its too. Got to get in, got to
get inside, Stewart, Let be in my cabin. No, no,
you'll wake everybody else?

Speaker 11 (01:33:11):
Do it?

Speaker 23 (01:33:12):
Come here and let me be in my camera.

Speaker 1 (01:33:13):
No steal it all, no one, no one hurt you.
I'll meet someone. Hear me.

Speaker 11 (01:33:23):
Let me in.

Speaker 1 (01:33:24):
I'll try another door.

Speaker 39 (01:33:28):
Let me in.

Speaker 1 (01:33:29):
Wake up, somebody, let me in. Openlease, open the door, Oh,
open the door. Please open, pick up somebody and let
me in.

Speaker 20 (01:33:36):
Let open the door.

Speaker 24 (01:33:38):
Wick up somebody and let me in.

Speaker 28 (01:33:39):
I say, o, me know, Julia, Johnny in sud.

Speaker 1 (01:33:44):
It's no use. But what do you mean they'll never
answer us. They've found out about him. You're crazy. Come
on the next stick, find someone to let us in
our cabin. Stewart ste it, don't let me wait on
you do it? Somebody, somebody wake up. I want to
get in my cabin, Julia, mister Julia.

Speaker 46 (01:34:05):
Wait, they got to answer me. Look that room, it
says Chief Stewards. I'll show him not to answer me.
I'll show him, Julia, what empty?

Speaker 1 (01:34:19):
And this one empty? And this one's empty too? What
if your pounds waving your hands at me? Talk the
ship till you're tearing through the night. Don't you understand
we're alone? We're alone?

Speaker 46 (01:34:42):
Yep, it doesn't seem possible. We've been all over the ship.

Speaker 1 (01:34:48):
But what what makes it go? Stop you?

Speaker 24 (01:34:55):
I can't stand it on your walls closing in on me.

Speaker 23 (01:35:00):
No, no stay here, oh no, let me go.

Speaker 1 (01:35:02):
No no, no, you won't go on that.

Speaker 38 (01:35:04):
You want to go on deck and live.

Speaker 1 (01:35:05):
You won't let to get out of it not a fair.
I'm not frightened.

Speaker 23 (01:35:10):
I didn't see his face.

Speaker 1 (01:35:11):
You didn't stay here, choked that tongue out my deck.
That's the way you killed if that's the way you No,
you killed him.

Speaker 4 (01:35:20):
You.

Speaker 1 (01:35:21):
I only held his neck. Your hand was on the knight.
You stand him again and.

Speaker 32 (01:35:26):
Again and again.

Speaker 38 (01:35:27):
No, No, I'll go up there.

Speaker 1 (01:35:28):
Oh, Emma ever, come back on deck. Don't leave me,
don't leave me, Emma ever, come back, don't leave me.

Speaker 28 (01:35:38):
Every where are you? Emma?

Speaker 26 (01:35:41):
Em where are you?

Speaker 1 (01:35:42):
I admitted, I am afraid. I am afraid, Emma, Emma,
where are you so dark?

Speaker 30 (01:35:48):
Here?

Speaker 18 (01:35:49):
All these shirs?

Speaker 1 (01:35:50):
We've been together. You can't run off and leave me now?

Speaker 38 (01:35:52):
And I tell you I'm afraid.

Speaker 1 (01:35:53):
You don't lie there. We've got to stay together the
way we always.

Speaker 23 (01:36:04):
Into killing him?

Speaker 1 (01:36:05):
You did, Oh, I did so, I did.

Speaker 46 (01:36:08):
But you and I have got to stay together, I
tell you, until we get off this horrible ship. This
never a ship can't go without men making it go.

Speaker 23 (01:36:18):
Day and there's no one only here in the pool.

Speaker 46 (01:36:22):
How many times must I tell you he's dead and
dust imagination, nothing more.

Speaker 1 (01:36:29):
And that's so black? I admit, I'm frightened.

Speaker 46 (01:36:32):
Of course, i'd sleep the thing I didn't want to
see you. Listen and I'll tell you a great ocean
liner like this one. There are men in the engine
room and men on the bridge. What if there aren't
any passengers, it just means we got on the wrong boat.
I tell you there is someone someone up there on
the bridge steering the ship.

Speaker 1 (01:36:52):
If there was no steering, we go in circles. Look
see how straight through the waves we're going. There's no
come up to the bridge.

Speaker 46 (01:37:00):
Do you not show you there's a manifest here in
this boat, a man of passion blood.

Speaker 1 (01:37:05):
There must be, There must be.

Speaker 16 (01:37:12):
Arch Obler will be back with lights out in a moment.

Speaker 50 (01:37:24):
George Burns and Gracie Allens hop along to the Edgar Burgher,
John and Blanche Pickerson.

Speaker 35 (01:37:32):
Choose from among thousands of downloadable old time radio shows
and spoken word.

Speaker 16 (01:37:36):
Titles at mediaday dot com.

Speaker 45 (01:37:40):
The best voice on the net.

Speaker 14 (01:37:46):
And now let's rejoin lights out and the conclusion of
arch Obler's Von Voyage.

Speaker 1 (01:38:03):
I'm afraid to climb, But how can you know? A
man must dear this ship?

Speaker 23 (01:38:09):
There's no one there.

Speaker 1 (01:38:13):
So dark, I can't see this. This is up where
the steering thing should be nom afraid. There the wheelhouse
they call it. Yes, that's it.

Speaker 46 (01:38:23):
There's windows around it. You see someone in there wheel?
There must be someone there. Come close, look windows coming
with miss looking there, Emma, your eyes are better than ninth.

Speaker 1 (01:38:34):
Tell me there's someone steering. No, no, get out of
the way. That close to the window. I'll see a
steering wheel.

Speaker 28 (01:38:46):
Emma, we are alt.

Speaker 1 (01:38:51):
No, stop the ship.

Speaker 28 (01:38:52):
Stop?

Speaker 1 (01:38:53):
Where are you taking me? Stop nor yourself?

Speaker 32 (01:38:56):
So you for us in the ship.

Speaker 1 (01:39:00):
So we confess. I confess, Yes, I confess. I killed them.
We killed the mermoris money twenty years ago. We did
it together.

Speaker 4 (01:39:08):
We needed money.

Speaker 1 (01:39:08):
We needed money. He has I must have him. I
did cut him off, and we buried in in the basement,
and no one ever knew the confessed. Now stop stop, Emma,
you have the whistle. Someone is a boy who I am?

(01:39:31):
Sailor you the.

Speaker 28 (01:39:33):
Man who took us on this ship?

Speaker 45 (01:39:35):
The same, madam?

Speaker 11 (01:39:36):
You?

Speaker 6 (01:39:36):
Who are you?

Speaker 45 (01:39:37):
The captain of the ship, mate, captain captain? My unfortunate pleasure?

Speaker 8 (01:39:41):
Madam?

Speaker 45 (01:39:42):
What will if you will excuse me, madam? I must
go in there. It is time to take the wheel.

Speaker 1 (01:39:49):
There's no one. How could the ship you.

Speaker 45 (01:39:51):
Will excuse me. It is time you got to tell us.
You will step into the wheelhouse this way, okay, I
will set the course.

Speaker 1 (01:40:04):
You've got to tell us what is the ship? Where
is it? Why did you bring us here?

Speaker 9 (01:40:08):
North?

Speaker 8 (01:40:09):
By east?

Speaker 45 (01:40:11):
That's the course?

Speaker 1 (01:40:12):
Will you answer me? Culia? Make him tell us, I'll
christ he captain. Whatever you are, tell us where we are,
tell us where we're going.

Speaker 45 (01:40:21):
We've got to where you are. Yes on my ship,
my lady?

Speaker 1 (01:40:25):
What ship? Why did you bring us here?

Speaker 45 (01:40:28):
Because you killed a man for profit?

Speaker 28 (01:40:31):
How did you?

Speaker 8 (01:40:32):
How did I know?

Speaker 45 (01:40:34):
When one is as I am, one knows many things?

Speaker 1 (01:40:38):
You are?

Speaker 45 (01:40:41):
Your other question, madam? Where are we going?

Speaker 28 (01:40:45):
Elsewhere?

Speaker 45 (01:40:46):
You go to your doom?

Speaker 1 (01:40:49):
The man's insane. But that's it.

Speaker 9 (01:40:51):
We're on the ship with a maden No, madam, a
dead man.

Speaker 1 (01:40:55):
You're crazy, Julia.

Speaker 20 (01:40:57):
What do we do?

Speaker 45 (01:40:58):
What found yourself? My ladies? And listened, yes, listen closely.
It's no more than fair that it'd all be very
clear in your minds before it happens. What this is
my ship? And on a night like this many years ago,
I stood here just as I stand now, my two

(01:41:19):
hands tight upon the wheel.

Speaker 1 (01:41:21):
What's he talking?

Speaker 45 (01:41:22):
Listen to me. I stood here and below the decks,
asleep and trusting me their captain were five hundred souls,
five hundred men, women and their children.

Speaker 1 (01:41:38):
What's that got to do with us?

Speaker 8 (01:41:40):
Asleep?

Speaker 45 (01:41:41):
You hear me? Five hundred souls, I their captain. My
hands on the wheel, an empty sea ahead, mine to
make the course, mine to turn the wheel. I closed
my eyes. I slept, I the captain slept. I didn't see.

Speaker 9 (01:41:57):
I didn't hear a power, a cliff advice.

Speaker 45 (01:42:00):
I had we Christ, I christ and sank five hundred souls,
and I there, captain, he is crazy. So the captain
lost his ship and lost his life, and five hundred
lives with it, And so we sail again tonight.

Speaker 1 (01:42:24):
What's what's it all to do with us?

Speaker 21 (01:42:27):
With them?

Speaker 1 (01:42:27):
Honey?

Speaker 45 (01:42:28):
The captain who slept and died made a bargain with
the devil, a good bargain to bring him peace and rest.
What and each year my ship rises out of the
sea again? Once each year I sail.

Speaker 20 (01:42:43):
It would, Julia, why are we talking like that?

Speaker 45 (01:42:46):
I said the course the same as I said it
on that very night. The wind it blows the same,
But with me now, not five hundred souls, but two,
two of evil like yourself.

Speaker 51 (01:43:01):
My hands are on the wheel, and on and on
the ship. It tosses beneath her feet. I close my
eyes again, just as I did that night. Suddenly straight ahead,
and I spoke.

Speaker 28 (01:43:13):
Julia, Look, it's true.

Speaker 1 (01:43:16):
Something is I spur. My eyes are closed tightly as
I wear that night.

Speaker 9 (01:43:20):
I cannot see it.

Speaker 1 (01:43:21):
I cannot. Don't turn the wheel over. Your eyes will
gray lash over your eyes tie the wheel.

Speaker 51 (01:43:27):
Now my eyes take closed. Don't you understand you? Two
cuts my bargain with the Black One.

Speaker 9 (01:43:34):
Each year, on this very night, I bring someone evil
to the dead.

Speaker 51 (01:43:38):
And for each one that ties with me this way,
they brought out one of those five hundred who drowned
beneath me, taken off my soul.

Speaker 26 (01:43:48):
One of them.

Speaker 46 (01:43:49):
For each of you your eyes and I spoke, Blake
will die tied the wheel.

Speaker 9 (01:43:56):
You know I want you to die style Black One. Listen,
I give you two more evil ones too.

Speaker 52 (01:44:06):
More mister Robbler, Whatever gave you the idea of such

(01:44:36):
a story as bon boy, I.

Speaker 45 (01:44:39):
Well, Frank.

Speaker 44 (01:44:39):
Some of our stories are based on fact. Some are
a mixture of scientific fact and fiction. Now there's are
ghost stories founded upon unexplainable but nevertheless apparently real happenings
to real people. I think bon Boy shows what can
happen in the minds of people who have an overpowering
sense of guilt. Some say that there is an inevi

(01:45:00):
a law of compensation.

Speaker 8 (01:45:01):
Who knows.

Speaker 6 (01:45:07):
Gotta love our childbler eighty three years ago, November tenth,
nineteen forty two. Here on Classic Radio Theater with Wyatt Cox.
We appreciate your support and hope that you will visit
Classic Radio dot Stream. We have a number of items
for sale there, and we hope you will embrace a
healthier gut with Professor Bees. Let it restore your digestive balance,

(01:45:31):
totally naturally pure honey and apithera. Check it out at
profbees dot com. Click the link in the show notes,
click the link at Classic Radio dot stream. Use our
promo code WYAT and that will save you ten percent.
And by purchasing it, you'll support the program because we

(01:45:51):
do get a commission out those sales.

Speaker 9 (01:45:52):
So there you go.

Speaker 6 (01:45:54):
Up next an episode of Danger, Doctor Dan.

Speaker 53 (01:45:57):
Build Ladies and gentlemen, make Tomorrow your d Day. Get
an extra bond for defense. Step into any bank or
post office and by yourself a profitable share in America's future.
As an investment, bonds are better than ever. They can

(01:46:19):
help you save safely, conveniently, and profitably, so whether you
already buy on the payroll savings plan where you work
or the bond a month plan where you bank get
an extra bond for defense tomorrow.

Speaker 6 (01:46:32):
I've heard from some of you you've listened to Danger
Doctor Danfield other places. Not a very good show. But
then Michael Dunn has a reputation, and that has to
do with his dealing with Sam Spade after the original
actor got booted because they showed up in the red channels.

(01:46:54):
Let's listen to though Michael Dunn is Doctor Danfield in
Danger Doctor Danfield nine years ago, Nove tenth, nineteen forty.

Speaker 43 (01:47:03):
Six, Danger Doctor Danfield.

Speaker 8 (01:47:17):
The human mind is like a cave.

Speaker 2 (01:47:20):
Beyond the light, there are doc passageways and mysterious recesses.
I Doctor Daniel Danfield, have explored those unknown retreats and
know their secrets in a moment to return Danger Doctor

(01:47:41):
dan Field. But first, Doctor Daniel Danfield, Authority on crime Psychology,
has an unhappy faculty for getting himself mixed up and
hazardous predicaments because of its astonishing revelations regarding the workings
of the criminal mind. As our story opens, we find

(01:48:02):
doctor Dan feel in his office dictating to his pretty
young secretary of Rusty Fairfax. It is therefore with regret
that I'm forced to use the following incident as an
example of this type of criminal minds. Miss Fairfax and
I had been invited to attend the engagement party of
Miss Hazel Humphrey and Count Andre Devigier.

Speaker 9 (01:48:27):
Oh, there you are in field, enjoying yourself.

Speaker 8 (01:48:30):
I am, mister Humphrey.

Speaker 2 (01:48:31):
It's been a long time since I've seen so many
celebrities at one gathering.

Speaker 9 (01:48:34):
Are you not as any criminal types among them? Yes,
As a matter of fact, they're quite a few.

Speaker 26 (01:48:39):
What for who?

Speaker 8 (01:48:40):
For Heaven's sake, would be hardly discreet for me.

Speaker 2 (01:48:43):
To single out those among your friends whom I believe
about criminal tendencies, mister Humphrey.

Speaker 9 (01:48:47):
But look here, you can't just make a sweeping statement
like that and then refuse.

Speaker 2 (01:48:50):
I'm sorry, mister Humphrey, but unless you can tolerate sweeping statements,
you shouldn't ask sweeping questions here.

Speaker 8 (01:48:56):
I say, I think we better understand each other, mister Humphrey.

Speaker 2 (01:49:00):
Yeah, I strongly suspect that you invited Miss fair Facts
and myself to your weekend house party because you're secretly
amused by.

Speaker 8 (01:49:06):
The nature of my work.

Speaker 2 (01:49:07):
Really, Danfield, I take my work quite seriously, and i'm
missdown Free. I tend to be honest in my opinions also,
otherwise I could hardly hope for success.

Speaker 8 (01:49:16):
Honesty is the best policy, don't you think, of course?

Speaker 2 (01:49:19):
Of course, And now that we've reached an understanding, Miss
fair Facts and I would be happy to.

Speaker 9 (01:49:22):
Leave if you feel it not at all, or look
here at Infield, perhaps I owe you an apology.

Speaker 8 (01:49:28):
No, no, frequently I want this sort of thing.

Speaker 2 (01:49:30):
It's often necessary to point out to my friends that
I'm not an entertainer but a professional man.

Speaker 9 (01:49:36):
Quite quite As a matter of fact, Danfield, I'm rather
glad you're here. Oh my wife is wearing her diamond
pendant quite valuable, you know.

Speaker 8 (01:49:45):
Oh, indeed, I do know. Humphrey pendant is famous.

Speaker 2 (01:49:48):
I understand it's been evaluated at one hundred thousand dollars.

Speaker 9 (01:49:51):
Yes, and now that you've mentioned that, well that there
are criminals present.

Speaker 8 (01:49:56):
Upon you misunderstood me, missdhump free.

Speaker 2 (01:49:58):
I didn't say there were criminals present, said there were
many people present who possessed criminal tendency.

Speaker 9 (01:50:03):
That amounts to the same thing. All right, jove, Now
I am alarmed. I think perhaps i'd better warn it.
None suggest that she. Wow, here's a young lady.

Speaker 24 (01:50:12):
Yes, some party a dad? Hello there, mister Humphrey.

Speaker 9 (01:50:16):
Hello, Oh, yes, yes, of course you're miss Fairfax Manfield secretary.
I'm sorry, I don't.

Speaker 11 (01:50:22):
Don't apologize with this gang. I don't blame you for
forgetting the names of half of them, or do you
know them all?

Speaker 9 (01:50:28):
No, I'm sorry to say I don't. And now, if
you'll excuse me, I must find it.

Speaker 43 (01:50:32):
Now.

Speaker 24 (01:50:33):
What's the matter with him? Am I poison or something?

Speaker 2 (01:50:36):
Mister Humphrey is disturbed over the fact that his wife
is wearing her famous diamond pendant.

Speaker 8 (01:50:40):
Miss Fairfax, Well.

Speaker 24 (01:50:41):
Why shouldn't she wear it? What kind of a bang?
And she get out of owning the thing if she
keeps it locked away in a safe all the time?

Speaker 8 (01:50:47):
Oh, Miss Fairfax, I'm afraid you will never understand human nature.

Speaker 2 (01:50:50):
Some people enjoy possessing valuable articles even though they may
never see them.

Speaker 11 (01:50:55):
Maybe you're right, Maybe I don't know much about human nature,
but I know an unhappy bride to be when I
see one.

Speaker 8 (01:51:01):
Oh and to whom are you were recurring?

Speaker 24 (01:51:03):
That's fair Facts, Hazel Humphrey.

Speaker 2 (01:51:04):
Who else, Hazel Humphrey, the young lady who's engagement is
about to be announced?

Speaker 8 (01:51:10):
Come come, it's fairfaxt Hazel Humphrey is making an excellent match?

Speaker 38 (01:51:13):
Who says?

Speaker 11 (01:51:14):
So?

Speaker 21 (01:51:14):
Why?

Speaker 8 (01:51:15):
Why everybody? The papers have been full of it?

Speaker 9 (01:51:17):
Have they?

Speaker 24 (01:51:18):
And how do the papers know how a girl feels deep.

Speaker 38 (01:51:20):
Down in her heart?

Speaker 2 (01:51:21):
I haven't the remotest idea how the newspapers happen. Oh,
no such things, Miss Fairfax.

Speaker 8 (01:51:26):
Yet I must confess that they published facts with an
air of assurance.

Speaker 24 (01:51:29):
Well, this time they missed the boat.

Speaker 8 (01:51:31):
Take a look over there, overware of s Fairfax.

Speaker 11 (01:51:34):
Over there in the doorway to the dining room. See
that tall blonde girl talking to the short man with
a mustache.

Speaker 8 (01:51:39):
Oh yes, what a gorgeous creature you would notice that?

Speaker 24 (01:51:44):
Well, anyway, that's Hazel Humphrey. And the person she's talking
to is Count Andre Debailler.

Speaker 8 (01:51:49):
Is it really well?

Speaker 24 (01:51:51):
Does she look happy to you?

Speaker 8 (01:51:54):
I see what you mean. She doesn't seem to be
playing the role of the ecstatic bride to b does she? Oh? Well,
probably a lovers tif.

Speaker 24 (01:52:01):
Lover's tif my foot.

Speaker 11 (01:52:03):
She doesn't want to marry the guy her mother is
driving her into it because Count Fatso has a title.

Speaker 24 (01:52:09):
Oh Dan, can't you do something?

Speaker 8 (01:52:11):
Do something? I come, come, miss Fairfact. Let's be serious.

Speaker 24 (01:52:16):
I am serious.

Speaker 11 (01:52:18):
Look, you're supposed to know all there is to know
about human nature and human instincts and all that sort
of thing.

Speaker 24 (01:52:23):
Why don't you get in there and help that poor
girl out.

Speaker 8 (01:52:25):
Miss Fairfax? Must I remind you?

Speaker 24 (01:52:27):
Yes, yes, I know you're only interested in the criminal mind.

Speaker 11 (01:52:31):
All right, it's criminal if you stand to one side
and let that poor girl fall under the clutches of
that money grabbing folk.

Speaker 2 (01:52:37):
That's quite enough, Miss Fairfax. I'm not conducting an advice
to the love Lauren Bureau. I haven't the faintest interest
in whether Miss Humphrey marries Count Devier or whether she
jumps from the Brooklyn Bridge tomorrow at dawn.

Speaker 8 (01:52:46):
How is that clear?

Speaker 11 (01:52:47):
It certainly is, and a lot of other things are
clear also, Doctor Daniel Vanfield, it's clear that you're stubborn
and selfish, and that you can't see beyond the end
of your.

Speaker 8 (01:52:55):
Nose, Fairfax.

Speaker 11 (01:52:56):
It's clear that I was a fool who have ever
hoped that someday you might out an ex human human.
It's clear that I that I think you're you're a prude,
and that someday I hope you'll fall in loving and learn.

Speaker 26 (01:53:06):
What it's like.

Speaker 50 (01:53:15):
Oh Ma, Cherie, tonight you are very, very lovely.

Speaker 45 (01:53:19):
You are like this summer sunset over the ocean.

Speaker 17 (01:53:22):
You went, Oh, Andre, for heaven's sake, I look, darling,
let's get things straight once and for all.

Speaker 24 (01:53:29):
You don't have to put on an ax for my benefit.

Speaker 23 (01:53:32):
I know you don't love me.

Speaker 8 (01:53:34):
Marsery, what is these things you say?

Speaker 1 (01:53:36):
Well do you?

Speaker 26 (01:53:38):
But relise?

Speaker 50 (01:53:40):
You must understand to me you are like the summer shower.

Speaker 18 (01:53:43):
To get you are lame.

Speaker 17 (01:53:46):
Oh nuts, Andre, listen, you're a good guy and all that.
It weren't such a little half baked ROLLI PAULI, I
could probably go for you. That does the matter is
I'm in love with someone else, Musherie. Oh, don't get
me wrong, I'm not going to double cross you. We've
made a deal, and an a deal my you, my
family's got money, and you want in Okay, you have

(01:54:07):
a title and my mother and father are willing to
pay for it.

Speaker 26 (01:54:11):
I'm the girl.

Speaker 18 (01:54:12):
What is good?

Speaker 23 (01:54:13):
I'll forget it, darling. Other girls have been sold down
the river before.

Speaker 1 (01:54:17):
Why don't you run along?

Speaker 4 (01:54:19):
And mon?

Speaker 9 (01:54:19):
Do you all the stalk of selling goods down?

Speaker 8 (01:54:22):
I do not understand.

Speaker 18 (01:54:24):
Please, I have more words to speak.

Speaker 9 (01:54:26):
I can't Andre Amy Pierre. You have the great law
for you.

Speaker 8 (01:54:30):
You must understand.

Speaker 9 (01:54:32):
You know what that way will I make with the marriage?

Speaker 23 (01:54:34):
Oh that's well, now that it will leave us. Forget
the double talk and mate with the merryman?

Speaker 1 (01:54:39):
Shall we we?

Speaker 8 (01:54:40):
So long as there is between us?

Speaker 20 (01:54:42):
Do you understand it?

Speaker 9 (01:54:43):
We are interrupted?

Speaker 23 (01:54:45):
Hello, Edwin's what's on your mind?

Speaker 26 (01:54:47):
The big Pardon?

Speaker 9 (01:54:47):
Miss? There's a gentleman waiting to see you in the library.

Speaker 23 (01:54:52):
I'll be right there, I'm darling.

Speaker 38 (01:54:55):
You have to excuse me for a minute.

Speaker 23 (01:54:57):
Why don't you go to the dining.

Speaker 21 (01:55:00):
Oh?

Speaker 17 (01:55:00):
Nobody important, darling, just insurance. Say do you want to
talk to me about our engagement?

Speaker 11 (01:55:04):
Him?

Speaker 23 (01:55:06):
Don't, father, Darling. I'm prefer the hand but myself.

Speaker 1 (01:55:10):
See you lady.

Speaker 4 (01:55:12):
Already?

Speaker 11 (01:55:18):
Ray?

Speaker 23 (01:55:19):
Oh ray, why did you come here? Don't you realize
what will happen.

Speaker 8 (01:55:23):
If you can't make any difference.

Speaker 21 (01:55:24):
Now I'm seeing no difference.

Speaker 8 (01:55:27):
But came to say goodbye, Hazel, goodbye.

Speaker 23 (01:55:32):
Oh Ray, you mustn't talk like that.

Speaker 1 (01:55:34):
You mustn't.

Speaker 9 (01:55:34):
Sorry, Darling started all over it. It just won't work
with us. It wouldn't be fair to you.

Speaker 23 (01:55:41):
Oh now, stop it, Ray, You don't mean that. You
can't mean.

Speaker 9 (01:55:43):
I'd be a loss if if I took you away
from the things you're used to, from the manner of living.

Speaker 23 (01:55:50):
Which, Ray, Hey, we've been all over that before, which
settled it. We agreed that neither of us could be
happy without the other. Don't those promises me anything.

Speaker 9 (01:56:00):
I haven't got a nick, Hazel. I'm your father's gardener.
This sort of thing is for story books. It doesn't
work in real life.

Speaker 17 (01:56:07):
It does it will, Oh, Ray, don't you realize what
you're doing to me? It's only because of you that
I've been able to go through with all this engagement business.
Tolerate the sentimental mush of that detestable little frenchman.

Speaker 8 (01:56:21):
Devlie's your type.

Speaker 23 (01:56:22):
He can give you what you want, isn't my type?
He can't give me what I want. Well, I'll not
marry him.

Speaker 17 (01:56:29):
Whatever happens, Hazel, you've got to have I Oh, Ray,
have you stopped loving me?

Speaker 9 (01:56:36):
Is that it?

Speaker 11 (01:56:37):
You know?

Speaker 8 (01:56:38):
It isn't. I'll never stop loving.

Speaker 23 (01:56:40):
And there's only one an'sidarning. We'll have to go through
with our plans because if.

Speaker 38 (01:56:44):
We don't, well, I'll make.

Speaker 23 (01:56:46):
A worst mess out of things.

Speaker 8 (01:56:47):
Oh, Hazel, do you mean that? Oh? I hope that's
what you'd say, Oh.

Speaker 49 (01:56:54):
Ray, Rayel Hazel the idea?

Speaker 1 (01:57:00):
Oh, mother, So this is what's been going on, Hazel.

Speaker 9 (01:57:03):
I'm a shop just a minute, missus Humphrey, it isn't
Hazel's father.

Speaker 49 (01:57:07):
That's quite enough, young man. Go back to your quarters
at once, pack your.

Speaker 9 (01:57:12):
Things and get out.

Speaker 23 (01:57:13):
No, Ray, you stay here, please, Hazel?

Speaker 24 (01:57:17):
How dare you defy me?

Speaker 9 (01:57:18):
Well?

Speaker 23 (01:57:18):
I'm sorry, mother, I hope we could avoid this scene.
I hoped it well. I hoped it would be all
over before you found out.

Speaker 17 (01:57:25):
Pound out what I'm not going to marry? Count w
a mother, I'm going to marry Ray. Hazily out of
your mind, I'm quite saying. I can't help. But it's
Ray I love, and it's Ray I'm going to marry.

Speaker 8 (01:57:37):
Is it.

Speaker 21 (01:57:39):
We'll see about that.

Speaker 49 (01:57:41):
Well, Raymond, are you going to obey my orders.

Speaker 8 (01:57:44):
I'm sorry, missus Humphrey, leave this house at once.

Speaker 21 (01:57:46):
When I do, I'm taking Hazel with me.

Speaker 1 (01:57:49):
Why you you got a mother and you my own daughter?
Is this the way you express your gratitude?

Speaker 49 (01:57:56):
After all your father and I have done for you,
giving you every advantage, sending you to the best schools,
arranging for you.

Speaker 17 (01:58:03):
To meet the right people, and now this, Oh mother,
I know I'm grateful for what you've done for me,
only only some time. I've got to begin living my
own life, doing things that I think.

Speaker 1 (01:58:15):
Are right, things that you think are right.

Speaker 49 (01:58:17):
Do you think it's right to hold a clandestine meeting
with your your sweetheart at your own engagement party?

Speaker 1 (01:58:24):
Do you know how much this party is costing your
father and me?

Speaker 6 (01:58:28):
No?

Speaker 23 (01:58:29):
And I don't care. I didn't want the party, and
you know it.

Speaker 17 (01:58:32):
What was your own doing? I've told you a thousand
times I didn't love Count Daber, that I wouldn't marry him.
As you went ahead, planning and scheming, convinced that I'd
be carried away with all the glittering, glamour.

Speaker 23 (01:58:43):
And yield, Well I won't, Fazel. You should be thankful
I didn't embarrass you by not appearing at all.

Speaker 9 (01:58:50):
I can't believe it.

Speaker 49 (01:58:51):
Oh, this isn't my girl talking. This isn't the child
I reared with such loving care of that. Oh, mother,
stop it, stop it, little girl, whom I've sheltered and protected.

Speaker 23 (01:59:03):
For Heaven's sake, Mother, stop the drama. Haven't you any feelings?
You realize that Ray and I love.

Speaker 1 (01:59:09):
Each other, love each other.

Speaker 49 (01:59:11):
Oh, you're not capable of knowing whether you love anyone
or not love. Indeed, what has love got to do
with it when you have an opportunity to marry a man.

Speaker 9 (01:59:22):
With a time, just a moment, Missus Humphrey, Please, well,
what do you want? I want to tell you my
purpose in coming here tonight. I came to tell Hazel
I was going away. I came to tell her that
you were right that a marriage between us wouldn't work.
I asked her to release me from my promise.

Speaker 8 (01:59:38):
Well she refused, Missus Humphrey, and.

Speaker 9 (01:59:41):
I thank Heaven I had sense enough to listen. Now
that I know what kind of a woman you are,
how selfish and and unfeeling and cruel, there's nothing could
stop me from taking her away.

Speaker 49 (01:59:51):
Oh, Ray, you young, stupid fool.

Speaker 1 (01:59:55):
How are you going to live on the money you make?

Speaker 9 (01:59:58):
Haus I got, I won't a gardener forever. If Hazel
isn't satisfied with the money I make, I'll get more.

Speaker 21 (02:00:05):
I'll get it up.

Speaker 8 (02:00:06):
I have to steal it.

Speaker 2 (02:00:16):
Had I known of the foregoing incidents the time the
diamond tendon was stolen, it would have helped him measurably
and apprehending the criminals. Missus Humphrey and her young man
did not leave the party last night.

Speaker 8 (02:00:27):
Whether this was out of.

Speaker 2 (02:00:28):
Consideration of the girl's parents or whether they felt it
by waitning a few days they could convince mister and
Missus Humphrey of the wisdom of their decision. I did
not discover at any rate. Both the young people were
present when the robbery occurred. I was sleeping soundly when
mister Humphrey.

Speaker 8 (02:00:43):
Knocked on my bedroom.

Speaker 20 (02:00:47):
Huh oh, oh, oh.

Speaker 8 (02:00:53):
It's mister Humphrey Danfield.

Speaker 9 (02:00:55):
In Heaven's name, get up. Something terrible has happened.

Speaker 8 (02:00:57):
Oh, something terrible.

Speaker 9 (02:00:59):
My wife's diamond penn and has been stolen. So yes, stolen,
good Heavens man, don't you understand what this means?

Speaker 45 (02:01:06):
Well?

Speaker 2 (02:01:06):
Naturally, mister Humphrey, the loss of the pennant must mean
considerable more than.

Speaker 9 (02:01:10):
The mere loss of the Pendent. Danfield listened to me.
If those diamonds aren't recovered, it will mean my complete
financial ruin.

Speaker 8 (02:01:18):
I uh, I don't believe. I understand.

Speaker 9 (02:01:21):
I had intended to sell the pennant next week. Things
have not been going well with me financially. It's been
necessary to keep up appearances, Danfielder, I suppose this will
shock you, as it would many people. But the truth
is I'm broke.

Speaker 8 (02:01:35):
Hmm, well that explains explains what?

Speaker 47 (02:01:39):
Oh?

Speaker 8 (02:01:39):
Nothing, nothing, Eh tell me, mister Humphrey.

Speaker 9 (02:01:42):
This marriage of your daughter to Count Deabier d'abier has connections.
He believes that I'm rich. With the funds I received
for the pendant, I could have satisfied my creditors until
Darbier put me next to something good.

Speaker 20 (02:01:54):
Hm.

Speaker 8 (02:01:55):
This is indeed amazing. Was the Pendent insured, mister Humphrey.

Speaker 9 (02:02:00):
Eh, I was forced to allow the insurance to lapse.

Speaker 8 (02:02:04):
When did the robbery take place?

Speaker 9 (02:02:05):
Sometime in the night, there was a brief shower to
woke missus Humphrey. She lay for a while listening, thinking
she'd heard a noise. Presently it stopped raining completely, and
she heard the heavy breathing of a man.

Speaker 8 (02:02:16):
And then what did she do?

Speaker 9 (02:02:17):
Nothing? She lay still waiting. Apparently the burglar must have
thought that she'd gone back to sleep. He crossed to
the open window and jumped to the lawn below.

Speaker 2 (02:02:25):
That's rather an extraordinary story, mister Humphrey. As a matter
of fact, I don't believe it.

Speaker 9 (02:02:29):
I beg your pardon.

Speaker 8 (02:02:30):
I should think you might.

Speaker 2 (02:02:32):
I suppose missus Humphrey screamed and aroused the household, demanding
everybody's arrest.

Speaker 9 (02:02:36):
I know she told no one but me. I rather
thought it best to keep the thing quiet until you'd
had a chance to investigate. Now, look here, Danefield, if
you suggest, and.

Speaker 2 (02:02:44):
Did that last statement interests me? Mister Humphrey, tell me,
did your wife recognize the figure that jumped from the window?

Speaker 9 (02:02:50):
Why?

Speaker 11 (02:02:51):
No?

Speaker 1 (02:02:51):
That is she?

Speaker 9 (02:02:53):
Whoa? She rather thought at first that it was our gardener,
a young man named Raymond Arrow. But she was by
no means sure?

Speaker 2 (02:03:00):
Ah?

Speaker 8 (02:03:01):
What do you mean?

Speaker 20 (02:03:02):
Ah?

Speaker 8 (02:03:02):
Nothing? Just ah, where's your wife now, mister Humphrey.

Speaker 9 (02:03:07):
She remained in bed. The experience upset her considerably. I've
sent for doctor chambler.

Speaker 8 (02:03:12):
I see now we do please some of the time.

Speaker 9 (02:03:16):
Time.

Speaker 8 (02:03:17):
Why it's six forty five. Thank you, mister Humphrey.

Speaker 2 (02:03:21):
If you awake Miss Fairfax and ask her to join
me outside in fifteen minutes, I think I shall not
only be able to identify your thief, but recover your
wife's diamond pendant.

Speaker 9 (02:03:37):
Will return to die danger, doctor Danfield in the moment.

Speaker 11 (02:03:40):
But first, it seems to me you were bragging too
much when you told mister Humphrey you recover the pendant.

Speaker 2 (02:03:56):
Form.

Speaker 8 (02:03:57):
Oh really, Miss yes really, do you know who stole it?

Speaker 24 (02:04:01):
And if you did know, what good would it do you?
The thief wouldn't be fool enough to leave it lying
around when you could pick it up.

Speaker 8 (02:04:06):
That's a logical deduction, Miss Fairfax.

Speaker 24 (02:04:09):
Well, then I don't see why.

Speaker 2 (02:04:10):
We are That window up there opens to the missus
Humphrey's bedroom, doesn't.

Speaker 8 (02:04:14):
He Yes, Dan, Look why George? Two footprints plainly embedded
from the soft earth beneath the.

Speaker 11 (02:04:21):
Window, and they're deep enough to have been made by
a man jumping from the window above.

Speaker 2 (02:04:25):
Yes me, they are, Miss Fairfacts. Look they are in
that leaf that's lying in the right heel.

Speaker 24 (02:04:30):
Mark, Well, what is it?

Speaker 8 (02:04:32):
Oh my mistake.

Speaker 2 (02:04:34):
For a moment I thought the reflection of the sunlight
on the water cupt in the leaf was Missus Humphrey's
diamond pendance.

Speaker 11 (02:04:39):
Dan Danfield, you're stalling. You didn't expect to find these footprints.
You didn't believe that there'd been a burger in Missus
Humphrey's bedroom at all.

Speaker 8 (02:04:46):
Miss Fairfax, you're not fooling me.

Speaker 11 (02:04:49):
When mister Humphrey told you the burgler jumped from the window,
you expected to prove he was lying because you didn't
think you'd find any footprints.

Speaker 8 (02:04:56):
Didn't you, Miss Fairfax.

Speaker 11 (02:04:57):
Oh I stop calling me, Miss Fairfax and admit the
truth for once. You're completely wrong.

Speaker 8 (02:05:03):
Miss Fairfax. I'm never wrong. It's high time you realize that.

Speaker 24 (02:05:06):
Oh well, then, just how are you going to explain
these foot preys.

Speaker 8 (02:05:10):
You'll come with me.

Speaker 2 (02:05:11):
I'll show you not only the pair of shoes that
made those footprints, but the man who owns them.

Speaker 9 (02:05:23):
There you are, Danfield, and Miss Fairfax, come in, Come in.
Have you apprehended the criminal?

Speaker 8 (02:05:28):
Yes, as a matter of fact, we have. It was
quite simple, wasn't it, Miss Fairfax?

Speaker 13 (02:05:31):
Oh?

Speaker 9 (02:05:32):
Nothing to it?

Speaker 24 (02:05:33):
Of course, I don't know who the criminal is yet.

Speaker 8 (02:05:35):
Missus Fairfax. Please I'll do the talking.

Speaker 9 (02:05:37):
If you don't mind, Well you ask me a question, boy,
I say, Danfield, is that a pair of shoes you're carrying?

Speaker 13 (02:05:42):
It?

Speaker 8 (02:05:42):
It is, mister Humphrey. Does anyone here recognize them?

Speaker 11 (02:05:45):
Well?

Speaker 1 (02:05:46):
Suddenly, not mine?

Speaker 9 (02:05:47):
Naturally they're not head now they're men's shoes. What did
you get to things, dan Field? They look like a
pair of workmen's boots.

Speaker 8 (02:05:53):
I believe they are. Mister Humphrey, do you recognize the
Miss Humphrey?

Speaker 23 (02:05:57):
I why should I RECOGNI of course not. I've never
seen them before my life.

Speaker 2 (02:06:03):
Oh pardon me, Miss Humphrey, But you sound altogether too definite.
I think you've seen these shoes before, and on many
occasions they belong to your gardener friend, mister Raymond Arrow.

Speaker 9 (02:06:11):
Sure if Godrey man wear shoes, because the.

Speaker 2 (02:06:13):
Most anyone would wear shoes my friend when he plans
to jump to the ground from an upstairs window.

Speaker 23 (02:06:17):
I knew it.

Speaker 9 (02:06:18):
It was that gardener who stole my pen.

Speaker 50 (02:06:20):
It wasn't it couldn't have been, Oh this gody man
with the Cornish lottery teeth, my cherie at least I icon.

Speaker 17 (02:06:26):
Oh Andra but pity take me still, they didn't steal
a pendant, and this Danfield person or anyone else can't
prove that he did.

Speaker 23 (02:06:34):
Dan Are you gonna talk.

Speaker 38 (02:06:35):
To you like this?

Speaker 8 (02:06:36):
Miss fairfacts? Please?

Speaker 2 (02:06:38):
I'm sorry, Miss Humphrey. These shoes belonged to mister Errol
by his own admission. I don't believe the design on
the rubber heels is identical to the designs on the
heels of the imprints beneath your mother's window.

Speaker 23 (02:06:48):
They could be one hundred pairs of shoes of the
same design.

Speaker 2 (02:06:51):
The mud which mister Errol's scraped from the shoes is
the same in texture as that near the imprint, right,
Miss perfect I guess, so never guess, Miss Fairfax.

Speaker 8 (02:06:59):
P specific Why should I?

Speaker 24 (02:07:00):
You don't pay any attention for just a.

Speaker 9 (02:07:02):
Moment, Danfield, there's something amiss here for some reason or other.
You're stalling with a lot of nonsensical stalling, mister hump Yes, stalling.
If Earl is guilty, why haven't you? What's the matter?
What is wrong? What's at the window?

Speaker 8 (02:07:17):
He's there?

Speaker 26 (02:07:18):
I saw him.

Speaker 49 (02:07:19):
He had a gun.

Speaker 23 (02:07:19):
Are you talking about?

Speaker 1 (02:07:20):
Who?

Speaker 9 (02:07:20):
Where's it gone? I saw him go after it.

Speaker 2 (02:07:23):
It's won't be necessary to go after Missus Humprey. Come in,
mister ara.

Speaker 21 (02:07:27):
Alay, Hello, darling, So I had to fucking.

Speaker 8 (02:07:31):
Your mother though Errol?

Speaker 9 (02:07:32):
Was that you outside the window?

Speaker 8 (02:07:34):
Yes, sir, it was.

Speaker 9 (02:07:35):
What's the meaning of this to Danfield?

Speaker 2 (02:07:38):
That I haven't the authority to arrest him even though
he were the thief?

Speaker 8 (02:07:42):
Missus Humphrey, what do you mean even though.

Speaker 30 (02:07:45):
You were the thief?

Speaker 9 (02:07:46):
He is the thief.

Speaker 23 (02:07:47):
You've already proved it all, Darling.

Speaker 9 (02:07:49):
I knew you didn't do it, Danfield. Will you be
good enough to explain what this is all about?

Speaker 8 (02:07:53):
If given the opportunity, I'll be glad.

Speaker 9 (02:07:55):
To mister Humprey, there's no need for any first.

Speaker 2 (02:07:59):
I think, Missus Humphrey, your husband's suggestion is a good one.
The more you talk, the worse you make it for yourself.

Speaker 9 (02:08:05):
The ideas.

Speaker 2 (02:08:05):
Every since your husband told me of the man jumping
from your bedroom window, Missus Humphrey, I wondered why you
didn't scream when you saw it happen.

Speaker 16 (02:08:12):
Why I didn't scream?

Speaker 2 (02:08:13):
Yes, you see, there's not one woman in a million
who would lie in a bed and watch a strange
man prowl about a room and then see him jump
from her window without raising her voice by a scream.

Speaker 8 (02:08:23):
Oh no, you'd rather give yourself.

Speaker 2 (02:08:25):
Away, missus Humphrey when you glimpsed mister Arrow's face outside.

Speaker 8 (02:08:27):
The window a moment ago.

Speaker 2 (02:08:29):
Of course, the reason you didn't scream last night when
the prowler was in your room is because you knew
his identity.

Speaker 8 (02:08:34):
And knew why he was there.

Speaker 1 (02:08:35):
The idea?

Speaker 9 (02:08:37):
Is this true?

Speaker 8 (02:08:38):
Who was this man? I am in chot flee.

Speaker 21 (02:08:41):
You'll stay right here until we get through with you.

Speaker 9 (02:08:43):
Keep your hands off men, got any mad?

Speaker 21 (02:08:46):
Make it easy, mister Why.

Speaker 24 (02:08:47):
Don't you challenge him to a duel? Frenchie?

Speaker 38 (02:08:49):
It was Andre who was.

Speaker 1 (02:08:50):
In mother's room.

Speaker 17 (02:08:52):
Mother, Andre canspy to make it appear as though Raver's thief.

Speaker 23 (02:08:56):
I wouldn't marry him. Oh mother, how could you know?

Speaker 8 (02:09:00):
Is this true? Speak up?

Speaker 9 (02:09:03):
Yes, yes, it's true.

Speaker 49 (02:09:06):
I didn't want her to marry Ray. I wanted her
to marry Andre because because he.

Speaker 9 (02:09:12):
Had a title and independent.

Speaker 47 (02:09:15):
Or is it.

Speaker 16 (02:09:17):
It's in my room?

Speaker 9 (02:09:20):
I hid it there, so every woman thinks that.

Speaker 50 (02:09:24):
Ray had stolen pectively, I mean shult one momentute longer.

Speaker 9 (02:09:29):
I will not stay here. I count Andre frendly, with
apologies to the good neighbor policy. Here's a little memento
that you can take back overseas with you.

Speaker 2 (02:09:48):
Well, return for the conclusion of danger, doctor dan Field
in a moment, but first.

Speaker 8 (02:10:01):
For the conclusion of danger, Doctor dan Field.

Speaker 2 (02:10:10):
The details of how this matter was concluded are, of
course unimportant. It is, however, significant that those involved in
the conspiracy who jeopardized the reputation of young mister Errol
where were Holmss Fairfax.

Speaker 24 (02:10:23):
Don't your lecture classes ever get bored?

Speaker 26 (02:10:26):
Dr dan Field?

Speaker 2 (02:10:27):
Bored my lecture classes? Come, Miss Fairfax. Whatever put that
idea into your mind.

Speaker 11 (02:10:33):
Because you're always feeding them this double talk about criminal
potentialities and the workings of the criminal mind.

Speaker 8 (02:10:38):
Well, Miss Fairfax, why don't you.

Speaker 24 (02:10:40):
Make it a little spicy?

Speaker 11 (02:10:41):
Tell him about how Hazel and Ray eloped the next
day and the old lady finally broke down and admitted
that she didn't want a.

Speaker 24 (02:10:47):
Title anyway, Miss Fairfax.

Speaker 11 (02:10:48):
Tell him when Ray found out that French she'd swiped
his shoes and what he used him for.

Speaker 24 (02:10:52):
He sucked the guy again, which pleased everybody.

Speaker 8 (02:10:55):
Miss Fairfax, it seems to me.

Speaker 11 (02:10:56):
Tell him how you knew that the old lady was
lying when she gave out that story about a burglar
jumping out of her window.

Speaker 8 (02:11:02):
She wasn't flying.

Speaker 2 (02:11:03):
Count w I did actually jump from the window so
that we'd find his footprints. Well, I know that, But
there was merely a discrepancy in missus Humphrey's story which
aroused my suspicions. You see, she told her husband that
she lay awake until it stopped raining completely, then she
heard a man's breathing, and then she saw him jump
from the window. Well, why, miss Fairfax, you yourself saw
the rain drops in the leaf that we found in
the footprints. The sun shone on them, which made me

(02:11:25):
think for a moment we'd found the.

Speaker 8 (02:11:26):
Lost diamonds, for gosh sake. Now do you understand, miss Fairfax?

Speaker 11 (02:11:31):
Why? Sure, if the burglar had jumped from the window
after it had stopped raining, there wouldn't be any rain
drops in the leaf wood there.

Speaker 8 (02:11:38):
Quite right, Miss Fairfax. Now shall we continue?

Speaker 26 (02:11:42):
Oh, let's not.

Speaker 8 (02:11:44):
Let's not.

Speaker 24 (02:11:45):
Then, aren't you ever going to learn to be human?

Speaker 8 (02:11:49):
Human? Hmm? S Fairfax, Rusty, would you lift your chin
just a little bit higher? Yes? Yes, that's fine?

Speaker 9 (02:12:02):
Wow?

Speaker 26 (02:12:05):
Wow?

Speaker 24 (02:12:07):
How human can a guy, get its reflects.

Speaker 8 (02:12:11):
See what you mean?

Speaker 6 (02:12:22):
Michael Dunn Danger Doctor Danfield, seventy nine years ago, November tenth,
nineteen forty six, Here on Classic Radio Theater with Wyatt
Cocks Up. Next, we'll check in with David and Claudia
and the cold it's getting passed around the family.

Speaker 54 (02:12:42):
The Crusade for Freedom is a crusade for your freedom
and mind. The truth dollars people send the Cruseaid for
Freedom help reserve our own freedom even as they get
the truth and hope to people behind the Iron curtain.
Truth dollars help finance Radio Free Europe and Radio Free Asia,
the most effective weapons westernocracy has for countering lies and distortion.

(02:13:03):
Send your contribution to the CRUSE Aide for Freedom care
of your local postmaster. That's Cruseaid for Freedom Care of
your local postmaster.

Speaker 6 (02:13:12):
Okay. We wrap up this edition of Class Radio Theater
with Wyatt Coox with an episode of Claudia. This episode
with Catherine Bart and Paul kat Crabtree, go back seventy
eight years to November tenth, nineteen forty seven.

Speaker 55 (02:13:26):
Your Coca Cola Butler presents Claudia. Claudia based on the
original stories by Rose Franken brought to you transcribe Monday
through Friday by your friendly neighbor who bottles Coca cola.

(02:13:49):
Relax and while you're listening, refresh yourself.

Speaker 26 (02:13:54):
Have a coke.

Speaker 20 (02:14:03):
And now, Claudia.

Speaker 13 (02:14:15):
Day day, breakfast on the table.

Speaker 20 (02:14:18):
I'll be right in darn anything I can do to
help you to hurry, not a thing. Did you call
your mother yet? See how she was this morning?

Speaker 13 (02:14:25):
Oh uh, she sounded all right. But you know, I think,
just to be on the safe side, she shouldn't go out,
don't you.

Speaker 20 (02:14:31):
I'm certainly glad I'm not mama. Why what about break.

Speaker 13 (02:14:35):
I'll bring it in if you'll get the mail at
the door.

Speaker 20 (02:14:37):
Were you expecting a letter?

Speaker 13 (02:14:39):
No, but I wrote a lot of thank you notes.
I might be getting some thank you notes from my
thank you notes.

Speaker 20 (02:14:44):
I agree, Oda, Well, no thank you notes, thank you
just paper. Disappointed?

Speaker 48 (02:14:51):
Well, half and half. I thought there might be a
stray wedding presents. Look at the presents I found on
the stove addressed to you?

Speaker 13 (02:14:58):
Are they stunning?

Speaker 20 (02:15:00):
Very stunning?

Speaker 56 (02:15:01):
And stunning isn't the word you use about jelly pancakes?
And jelly pancakes are not for breakfast?

Speaker 13 (02:15:06):
Why not. You ordered them on our honeymoon once for breakfast,
and that was different.

Speaker 20 (02:15:11):
Darling. You know I never take a heavy breakfast when
I go to the office.

Speaker 13 (02:15:14):
Not bragging. That's not so smart.

Speaker 38 (02:15:16):
You know, how do you expect to.

Speaker 13 (02:15:17):
Keep well if you let your weight go down?

Speaker 20 (02:15:19):
My weights? All right?

Speaker 13 (02:15:20):
You said yourself you lost four pounds.

Speaker 20 (02:15:22):
Well, I've been working to lose them.

Speaker 13 (02:15:24):
Oh well, I liked you better with the four pounds.
There was more of you to like. Won't you even
taste them?

Speaker 36 (02:15:31):
David?

Speaker 20 (02:15:32):
Oh, all right, I'll taste one, just taste you.

Speaker 13 (02:15:36):
You don't have to eat 'em.

Speaker 20 (02:15:37):
I am a glutton for punishment.

Speaker 13 (02:15:39):
You mean pancakes.

Speaker 20 (02:15:41):
They're not bad, not bad?

Speaker 28 (02:15:43):
You really like 'em?

Speaker 20 (02:15:44):
Sure you do, aren't you having any?

Speaker 13 (02:15:46):
I have mine for lunch. I made all these just
for you, all.

Speaker 20 (02:15:49):
Four of them. They're very small, smaller than they look.
I hope much.

Speaker 13 (02:15:54):
I could have made each one into two and you'd
hardly have noticed.

Speaker 20 (02:15:57):
I'd have noticed eight of them twice as much.

Speaker 48 (02:15:59):
Well, David, Now you'll feel better all day for having
had a decent breakfast to start out with.

Speaker 20 (02:16:05):
Hey, they're pretty rich. What'd you put in them?

Speaker 13 (02:16:07):
Usual things?

Speaker 48 (02:16:08):
Mostly batter mostly butter. You mean very funny. There's not
a bit of butter in them.

Speaker 13 (02:16:13):
They're very light, no see, and so many you practically
finish them all.

Speaker 20 (02:16:19):
They practically finished me. Now I'll have to waddle along.
I'm don't hurry.

Speaker 13 (02:16:26):
You've got plenty of time. We're early today.

Speaker 20 (02:16:29):
Huh, David, Oh, I.

Speaker 13 (02:16:33):
Know what you've caught?

Speaker 38 (02:16:34):
Cold?

Speaker 20 (02:16:35):
Ridiculous, ridiculous.

Speaker 32 (02:16:36):
Nothing you have.

Speaker 20 (02:16:38):
Sneeze not three times?

Speaker 13 (02:16:40):
Three times always means a cold, David.

Speaker 20 (02:16:48):
That shows you I sneezed four times.

Speaker 13 (02:16:50):
That's a worse cold, David. You've caught mama's flue.

Speaker 48 (02:16:54):
Oh David, please be sensible, Please stay home today, Williams
stay home for a sneeze.

Speaker 13 (02:17:01):
Anyway, You are perfectly willing to make Mama stay home today.

Speaker 20 (02:17:03):
Well Mama was really sick. Now I've got to go, Darling.
It's getting late.

Speaker 13 (02:17:07):
It's like John forgot your overcoat.

Speaker 20 (02:17:09):
I don't need an overcoat. It's a warm day, it
is not.

Speaker 13 (02:17:12):
There's a nasty wind blowing. I've been chilly all morning.

Speaker 20 (02:17:15):
This is too much. You're chili and I have to
wear an overcoat.

Speaker 48 (02:17:18):
It does sound silly when you put it, like very silly.
Goodbye Darling, Goodbye David Darling. Would you like his extra
handkerchief in case?

Speaker 20 (02:17:28):
No, well, just in case.

Speaker 13 (02:17:43):
I'm coming, coming, coming, coming, coming, coming, Mamma, it's you.

Speaker 38 (02:17:48):
Don't look at me like that, Claudie. I'm not a ghost.

Speaker 13 (02:17:50):
You should be home in bed.

Speaker 38 (02:17:52):
I'm tired of being home.

Speaker 13 (02:17:53):
Hey, don't sit down near that window. I'll close it. Mammy,
you know your voice sounds normal for the first time.

Speaker 38 (02:18:00):
I think I've had this flu working in me for
a long time.

Speaker 13 (02:18:03):
I wouldn't be surprised. Not take your coat off so
you won't catch another colt any more. Orders. I was
just coming over to see you.

Speaker 38 (02:18:09):
I saved you the trip.

Speaker 13 (02:18:10):
I wish she hadn't been so smart, Gordie.

Speaker 38 (02:18:12):
I can't spend the rest of my life at home
even to please you.

Speaker 13 (02:18:15):
You won't have any rest of your life if you're
not sensible. Oh, Mammy, you're hopeless. I'm not gonna pay
any more attention.

Speaker 38 (02:18:22):
To your good That suits me fine. How's David?

Speaker 13 (02:18:24):
He's not so good. I think he's caught your flu.

Speaker 38 (02:18:27):
What makes you think so? He sneezes Everyone sneezes. Well,
I wouldn't worry too much about him, he'd just stayed
at home if he wasn't all right?

Speaker 48 (02:18:36):
Mm, just like you.

Speaker 38 (02:18:38):
If this is all the welcome I get, I will
go home and please stay there. I'm not promising anything.

Speaker 13 (02:18:44):
Hey, would you stay put if you had something to do?

Speaker 38 (02:18:47):
It all depends get wait here? Where are you going?

Speaker 13 (02:18:51):
I'll be right back and sit still.

Speaker 38 (02:18:53):
If David's smart, he won't come home at all.

Speaker 48 (02:18:56):
You're feeling strong, Missus Brown, strong enough to resist all
your trip.

Speaker 38 (02:19:00):
It's missus Norton, and here you are.

Speaker 13 (02:19:02):
Hold your hands out?

Speaker 38 (02:19:03):
What years old?

Speaker 4 (02:19:04):
What do you think?

Speaker 13 (02:19:05):
Socks to die?

Speaker 38 (02:19:06):
Heavens? There must be pounds of them. How long have
you been saving them up?

Speaker 13 (02:19:10):
I didn't.

Speaker 48 (02:19:10):
They sort of sneaked up on me. You know, I
never saw anything like it. How that man wears his
socks out?

Speaker 38 (02:19:17):
Probably because he has two feet, he could wear out
two holes at one time. Could be you're very pleased
with yourself. I bet you planned all this, yup.

Speaker 48 (02:19:25):
I cut all those little holes out myself, just to
keep you quietly indoors.

Speaker 38 (02:19:29):
I wouldn't put it past you your idea of occupational therapy.
Telephone that's probably David.

Speaker 13 (02:19:37):
Hello, Oh hello Roger. No, he's not home yet. Mm hm, yup.
I'll be sure to give him your message. The appointments
at ten o'clock instead of nine thirty. Fine, what he did.

Speaker 21 (02:19:53):
Well?

Speaker 13 (02:19:53):
I didn't think he looked badly. Thanks, Roger. I'll see
that he doesn't. Yes, I'll make him take it easy.
Good bye.

Speaker 38 (02:20:03):
What did Roger say?

Speaker 28 (02:20:05):
I know it he is sick.

Speaker 48 (02:20:07):
Roger said he hoped David it'd be better and not
to come in tomorrow. He said he left the office
feeling simply awful.

Speaker 38 (02:20:13):
And he has got my clue. I'm afraid he but
cheer up. If he takes care of himself, he'll be
all right. Put him right to bed.

Speaker 13 (02:20:20):
He won't be put to bed so easily. Oh Mama,
My being right complicates everything.

Speaker 38 (02:20:26):
What do you mean, well, David, it.

Speaker 13 (02:20:28):
Hit the ceiling.

Speaker 48 (02:20:29):
If I told him, I told you so, I dare
say now he'll never admit he's sick. He'll just try
to go right on as if he weren't well.

Speaker 38 (02:20:36):
Whatever you do, don't nagging. Oh, don't worry.

Speaker 13 (02:20:40):
I've learned that much. You know.

Speaker 48 (02:20:42):
This will be my first big lesson and how to
handle a husband with kid gloves.

Speaker 38 (02:20:46):
I wish I could be here, to see it.

Speaker 20 (02:20:56):
Dotia, come out, come out up wherever you are?

Speaker 38 (02:21:02):
And aren't you gay the season?

Speaker 20 (02:21:03):
And why shouldn't I be coming home to a lovely
young wife?

Speaker 13 (02:21:06):
Careful you'll turn my head? Yeah, turn it this way
on the forehead like a stranger.

Speaker 20 (02:21:12):
How many strangers have kissed you on the forehead recently? Mm?

Speaker 38 (02:21:16):
None?

Speaker 13 (02:21:16):
So chubbing as you.

Speaker 20 (02:21:20):
How are you feeling fine?

Speaker 21 (02:21:21):
Why?

Speaker 49 (02:21:22):
No reason?

Speaker 13 (02:21:22):
Just friendly curiosity?

Speaker 9 (02:21:24):
Hey?

Speaker 20 (02:21:26):
What are you doing in your pajamas at this hour
of the afternoon?

Speaker 13 (02:21:30):
It is practically night. Don't you like him?

Speaker 20 (02:21:33):
You look like a bedtime story.

Speaker 13 (02:21:36):
That's nice. It's the perfect hour for bedtime stories. Almost
six o'clock.

Speaker 20 (02:21:41):
Mm. You're not sleepy, are you?

Speaker 13 (02:21:45):
I have been all day? M I thought i'd go
to bed early tonight.

Speaker 20 (02:21:49):
No visit to mama tonight.

Speaker 45 (02:21:51):
We don't have to.

Speaker 13 (02:21:53):
So you can get into your pajamas too, you want.

Speaker 20 (02:21:56):
I'll think about it. What are we punishing Mama for for.

Speaker 13 (02:21:59):
Coming over here this afternoon when she was supposed to
stay home?

Speaker 8 (02:22:03):
Good enough?

Speaker 20 (02:22:04):
Eh? Mine feels nice to sit down, doesn't it.

Speaker 13 (02:22:08):
There's nothing like sitting down when you've been standing up?
I always say?

Speaker 20 (02:22:12):
Is that what you always say?

Speaker 13 (02:22:13):
Yep, oh, bless you, thank you.

Speaker 38 (02:22:18):
Well, you're still sneezing.

Speaker 48 (02:22:20):
What do you know?

Speaker 20 (02:22:21):
Who I am?

Speaker 8 (02:22:21):
What do you know?

Speaker 13 (02:22:23):
I sneeze to today?

Speaker 20 (02:22:24):
Congratulations?

Speaker 13 (02:22:25):
It doesn't mean a thing, not a thing.

Speaker 20 (02:22:27):
You've certainly changed your song since this morning.

Speaker 13 (02:22:29):
Why do I really have to tell you?

Speaker 1 (02:22:33):
All Right?

Speaker 48 (02:22:34):
I ate four of those blasted pancakes for lunch, and
have I felt I'm delighted.

Speaker 20 (02:22:40):
I'm delighted.

Speaker 48 (02:22:41):
So I thought we'd have a very light supper tonight,
all right, and the makeup. I'm going to have myself
some hot tea.

Speaker 20 (02:22:48):
This many hot tea.

Speaker 13 (02:22:49):
I feel just like hot tea.

Speaker 38 (02:22:51):
Isn't that funny?

Speaker 20 (02:22:52):
Not so funny? I could use a cup too. It's
pretty raw out.

Speaker 13 (02:22:55):
Good. You stay here and make yourself comfortable. I'll bring
it in and put your feet up.

Speaker 20 (02:22:59):
They are up.

Speaker 38 (02:23:01):
Do you'll have a good day?

Speaker 20 (02:23:02):
Excellent? No, No, it's this old pipe.

Speaker 13 (02:23:08):
I told you you needed a new one.

Speaker 20 (02:23:10):
Don't don't be an eye told you so's but.

Speaker 13 (02:23:14):
I'm not here. Drink it while it's hot. It's good
for you. Good for what?

Speaker 31 (02:23:19):
Oh?

Speaker 13 (02:23:20):
I don't know anything.

Speaker 20 (02:23:22):
Nay, I think this is all I want for dinner.

Speaker 13 (02:23:24):
Let's take it into the bedroom. You can drink it
while you're getting into your pajamas.

Speaker 20 (02:23:29):
I have to get out of this chair now, I
just got into it.

Speaker 13 (02:23:32):
Let's stay where, y'all. I'll bring your pajamas in you
you will not.

Speaker 56 (02:23:35):
When I want them, I shall go to them. But
there's all this business about pajamas anyway.

Speaker 13 (02:23:42):
Your voice sounds husky, is it? I like it?

Speaker 38 (02:23:47):
It's a it's it's exciting.

Speaker 13 (02:23:51):
It is nice, isn't it? M comfortable?

Speaker 34 (02:23:55):
Mm m?

Speaker 20 (02:23:58):
Stop hovering, Claudia, I'm not hovering.

Speaker 8 (02:24:01):
I look, darling.

Speaker 56 (02:24:02):
You're being very sweet, but not very subtle. You're not
fooling me with this pajama business.

Speaker 13 (02:24:08):
What do you mean?

Speaker 20 (02:24:10):
I know you've made up your mind that I have
a cold?

Speaker 13 (02:24:13):
You have a cold?

Speaker 1 (02:24:15):
Oh, that's ridiculous.

Speaker 48 (02:24:16):
Why you're much too big and strong to have such
a silly little thing of cold, MAMMONI had one hundred
and two with.

Speaker 13 (02:24:22):
Her as what's that to worry about?

Speaker 20 (02:24:24):
That was your mother, She's a woman. It has nothing
but sever to do with me, David.

Speaker 13 (02:24:33):
Why pretend it's not your fault.

Speaker 48 (02:24:35):
You can't help having caught it. Call what Oh you
and your manly masculine pride. It'd be much simpler if
I had the cold. At least i'd admit I felt terrible.

Speaker 20 (02:24:46):
I did feel terrible. It'd be because I overeate it break.

Speaker 13 (02:24:49):
That would be your stomach, not your head. They're miles apart.

Speaker 56 (02:24:53):
They work together and you. I should have stayed at
the office. I could have pneumonia and still be a
lot feel.

Speaker 13 (02:25:00):
Fine, David, don't say that.

Speaker 20 (02:25:02):
Don't look so tragic, Darling. I do not have pneumonia.
Here on your way back. Take this cup you didn't
finish well.

Speaker 57 (02:25:13):
I don't feel like finishing it. All right, all right,
I have a cold. Now, let's not discuss it anymore.

Speaker 38 (02:25:24):
All right, we won't. Oh.

Speaker 48 (02:25:28):
I nearly forgot through him, but Roger called. He said,
your appointment for tomorrow has been changed to ten o'clock.

Speaker 20 (02:25:35):
Good.

Speaker 13 (02:25:36):
But he said to it if it weren't up to it,
not to go to the office at all.

Speaker 11 (02:25:41):
No.

Speaker 56 (02:25:42):
Oh, I see, So he's the one I have to
thank for this tea in bed business. Well, wait till
I see him, Wait till I get my hands on him. Yes, sir,
I'll tell him a thing or two about telling tales
to my wife.

Speaker 13 (02:25:55):
Now, David, Roger hardly said anything.

Speaker 56 (02:25:57):
I'll bet he's a hypochondria act from way back. If
it hadn't been for Roger getting excited, you'd never.

Speaker 20 (02:26:04):
Guess that I had a head. Lend me your finger, what,
oh darling.

Speaker 13 (02:26:12):
Oh heavens, certainly not. I'd have thought it was just
the four little jelly pancakes.

Speaker 55 (02:26:30):
All story material used on this broadcast of Claudia was
under the supervision of Rose Franken and William Brown Maloney.

Speaker 20 (02:26:42):
Hospitality is a two way thing.

Speaker 55 (02:26:44):
You take genuine pleasure in being able to offer a
guest ice cold Coca cola, and your guest enjoys the
pause that refreshes talk flows smoother, Companionship is easier, and
good food taste even better, accompanied by frosty, delicious coke.
Make sure you have plenty on ice, then you'll be

(02:27:05):
prepared for whoever drops in. Every day, Monday through Friday,
Qualia comes to you, transcribed with the best wishes of
your friendly neighbor who bottles Coca cola. So listen again
tomorrow at the same time. And now this is joking,
saying au revoir. And remember, whoever you are, whatever you do,

(02:27:26):
wherever you may be. When you think of refreshment. Think
of coca cola or ice cold. Coca cola makes any pause,
the pause that refreshes.

Speaker 6 (02:28:03):
From seventy eight years ago, November tenth, nineteen forty seven,
Claudia here on Classic Radio Theater with Wyattcox. Join us
tomorrow for comedy with Uncle Milty, Archie, andrews Abin and Costello.
Sam Shobble was who I was trying to think of.
Also the CBS Radio Workshop report on the Wiens a

(02:28:25):
mockumentary As you Will, and Claudia. That's all coming up
on tomorrow's program. Have a great Monday. We'll see you
tomorrow for more Classic Radio Theater. I'm Wyatcox.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Classic Radio 11-10-25 - Engaged Girl Murder, King of the Chicago Hoodlums, and Bon Voyage