Classic Radio 11-19-25 - The Pseudo Spuds, Casting the Runes, and the Black Door - Classic Radio Theater with Wyatt Cox

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

Speaker 2 (00:15):
The Shadow, Note, Washington, Calling, David Honey, count A.

Speaker 3 (00:19):
Spy, Classic Radios, Theater.

Speaker 1 (00:21):
The Great Elderslide, Zipper McGhee and Molly Dragnet, Guns Alone Ranger.

Speaker 4 (00:29):
Now step back into a time machine.

Speaker 5 (00:31):
It's your host, Wyatt Cox.

Speaker 2 (00:34):
Good Evening Friend, Vionna Tanto.

Speaker 5 (00:39):
Crime on a Wednesday, with episodes of Counterspy starring Don
McLaughlin and Mandel Kramer, Escape and Casting the Round starring
John McIntyre, Suspense, The Black Door starring Bob Reddick from
nineteen sixty one, an episode of Calling All Cars from
nineteen thirty six, The Corpse, and The Red Necktime. And

(00:59):
we wrap it all up with an episode of Claudia.
That's all straight ahead on this Wednesday. And you know
what that means. This is the nineteenth day of November
three hundred and twenty third day of the year, just
forty two days left. In twenty twenty five, Christopher Columbus
went ashore on an island he first saw the day
before on this date in fourteen ninety three. He named

(01:21):
San Juan Bautista would later be renamed Puerto Rico. In
eighteen sixty three, President Lincoln delivered his historic Gettysburg Address.
Of course, no recording of this speech, but we do
have an excerpt from a recreation by Len Spencer made
in nineteen oh three.

Speaker 6 (01:39):
Oh God, seven years ago.

Speaker 2 (01:43):
Our fathers brought forth upon this continent in New Naco.

Speaker 5 (01:50):
Len Spencer in nineteen oh three recreation of the historic
Gettysburg Address made on this date. In eighteen sixty three,
Samuel Goldfish and Edward Selwyn established Goldwyn Company on this day.
In nineteen sixteen, Goldfish would rename himself Goldwyn. Eventually the
company would become one of the most successful independent filmmakers.

(02:13):
That was in nineteen sixteen. Sammy Davis Junior lost his
left eye on this date in nineteen fifty four in
an auto accident in San Bernardino, California. Five years later,
in nineteen fifty nine, four discontinued the Edsel. To this day,
the Edsel remains the stellar example of an auto brand

(02:39):
that flat out failed. Apollo twelve astronauts Charles Conrad and
Alan Bean landed in the Ocean of Storms on the
Moon on this date in nineteen sixty nine. They became
the third and fourth humans to walk on the moon.

Speaker 7 (02:54):
Okay, tied the copy of my pot well show you
very close to the phenomenal timeline. How about a em U chick? Okay, yeah,
we had a five mike, I say help everybody down

(03:15):
there and were out of it.

Speaker 8 (03:16):
Yet we had to.

Speaker 9 (03:16):
Put it up.

Speaker 5 (03:17):
The third and fourth men on the moon on this
date in nineteen sixty nine, in Apollo twelve, Egyptian President
and Mar Sadat became the first Arab leader to officially
visit Israel on this date in nineteen seventy seven, when
he met with former with Israeli Prime Minister monacolm Began
and spoke before the Kanessean in Jerusalem seeking a permanent

(03:40):
peace settlement.

Speaker 10 (03:41):
What I really at heart won't from this visit that
the worm of uh that was created between us and
israelis because of the tychological problems, come down a fifth ward,
this apological war come down.

Speaker 5 (04:04):
I'm okay and Marsadott On this date in nineteen seventy seven,
Iranian leader Ayatola Rutolo Komeni ordered the release of thirteen
female and black American hostages on this date in nineteen
seventy nine that were being held at the US Embassy
in Tehran. In nineteen eighty five, President Reagan and Soviet

(04:26):
leader Mikhail Gorbachev met for the first time in Geneva
in nineteen ninety. Pop group Millie Bnilli stripped of their
Grammy Award on this date in nineteen ninety because the
duo did not sing at all on the album that
they won a Grammy Award. Fore session musicians had provided
not only all the music, but all the vocals. It

(04:50):
was on this date in nineteen ninety seven in Des Moines, Iowa,
Bobby McCullough gave birth to septuplets in the second known
case where all seven ba were born alive. They would
go on to become the first set of scept tuplets
to survive infancy, with all seven still alive.

Speaker 11 (05:10):
This is one of the most blessed events that, however, encountered.

Speaker 5 (05:18):
The Mcauleycept tuplets all born on this date back in
nineteen ninety seven. They're twenty eight years old today and
it was the first go round. The House Judiciary Committee
began impeaching proceedings against President Clinton on this date. In
nineteen ninety eight. Independent Council Kenneth Starr denied that his
office was out to get the president.

Speaker 11 (05:40):
Any suggestion that the men and women of our office,
with whom I am privileged to serve, enjoyed, or relish
this investigation is wrong.

Speaker 5 (05:50):
Star said. Mister Clinton gave false statements on numerous occasions.

Speaker 11 (05:55):
The evidence thus suggests that the President, long aware that
Messlawsky was a likely topic of questioning at his deposition,
made not one or two, but a series of false
statements under oath.

Speaker 5 (06:08):
And I guess it never hurts to mention this again.
Bill Clinton was not being prosecuted or impeached for having
sex with Monica Lewinsky. He was being prosecuted for lying
about it under oath, which is an impeachable offense. But

(06:30):
the House never did it. It was twenty six years
ago today John Carpenter became the first contestant to win
a million dollars on Who Wants to Be a Millionaire Now.
It was on this date in two thousand and three.
We mentioned this yesterday, but it bears repeating today. An
arrest ward issued for Michael Jackson in connection with a

(06:53):
child molestation case. Santa Barbara County Sheriff Jim Anderson spoke
with reporters.

Speaker 12 (07:00):
The service of the warrants was part of an ongoing
investigation alleging criminal misconduct on the part of Michael Jackson.

Speaker 5 (07:07):
Jackson booked the following day and acquitted at a two
thousand and five trial. A brawl broke out on this
date in two thousand and four between Detroit Pistons and
Indiana Pacers fans players I should say Detroit Pistons and
Indiana Pacer players during their game at the Palace of
Auburn Hills. Brawl turned into an even larger fight between

(07:30):
Pacer players and Pistons fans. Now it was on this
date in two thousand and six, nineteen years ago today,
the we the Nintendo's game console, first went on sale.
It was on this date in two thousand and seven,
and Amazon introduced the Kindle, an electronic book reading device.

(07:51):
And in twenty twenty two, a gunman killed five and
injured seventeen at the Club Q gay nightclub in Colorado Springs, Colorado.
Among those who passed away on this date actor singer
dancer Stephan fetch It. He's best remembered for his film
Dances with the Young Shirley Temple. Singer songwriter Bobby Russell.

(08:16):
He wrote the hit song Honey for Bobby Goldsborough and
has done a number of good songs. They wrote a
number of good songs and he had one hit, Saturday
Morning Confusion, which was just a hoot. Actor, producer, director,
screenwriter Mike Nichols passing away on this date. Charlie Manson

(08:40):
of his Manson family fame passing away on this date.
Singer actress Dela Breeze, the singer songwriter Mel Tillis, and
for First Lady Rosalind Carter, all passing away on this date.
In history, birthdays on this day including Manchelist Billy Sunday.

Speaker 13 (09:03):
America needs a tidal wave of the old time religion.
America needs to be taken down a God's bath house
on the hose a turn on her, and the time
isn't far distant. One of the wheels of god judgment
are going to go sweeping through this old god hating world.
And I want to take a pledge and this audience
to join me in a pledge that you will never
rest until us old god hating Christ hating whiskey, soap

(09:26):
saber breaking, blaspheming, infinite bootlegging old world is bound to
the cross of Jesus Christ by the golden chains of love.

Speaker 5 (09:36):
The Fiery Preacher was radio's version of a televangelist. He
would barnstorm across the nation do his own radio shows,
and he was one of the driving forces behind the
abolition of alcohol in America. He was behind prohibition extensively.

(09:58):
Billy Sunday born on this dating. History Also President James A.
Garfield born on this date. Actor Clifton Webb, Man, leader
Tommy Dorsey, Indian Prime Minister Indira Gandhi, actor Gene Tierney,
actress teens Jean Tyranny. I should say Alan Young, who
was a very funny actor who ended up having to

(10:20):
play second to second duty, second chair straight man to
a horse for a lot of years.

Speaker 14 (10:29):
Leicester had a knack, even though he used a soft
nylon thread put.

Speaker 15 (10:36):
Under the lip.

Speaker 14 (10:39):
And then he had the end going down the bridle
and he just give it a little tug ed would
try to get rid of it. That was his cue,
and then he laid it crop across theirs fore legs
and that was cue to stop.

Speaker 15 (10:53):
That was it.

Speaker 14 (10:55):
For the second year. We could hardly stop him from talking.
As soon as he heard my voice stop his lips,
start to go.

Speaker 8 (11:03):
I'd go ride.

Speaker 14 (11:03):
I learned to ride on Ed and Lester and I
go riding Griffith Park together and we talk as he
wrote along. Suddenly Lester laughed. Lester didn't laugh very much.
He said, look look at Ed's mouth. When I stopped
talking Edward, he started to move his mouth. So he
was a smart horse.

Speaker 5 (11:24):
Mister Ed was a ham, That's what he was. Alan
Young talking about his experience with mister Ed. We lost
Alan Young back in twenty sixteen. Also born on this
date in history Baseball's Roy Campanella, US Ambassador to the
un Jeannie Kirkpatrick TV interviewer, Larry King who started on radio,

(11:48):
and Dan Haggerty, the actor. All those folks born on
this date in history, they have all left the building.

Speaker 16 (11:55):
Hi, this is Jeff Foxworthy.

Speaker 1 (11:56):
It is now time for the birthday announcements.

Speaker 6 (11:59):
The following people are now officially older than Dirt.

Speaker 5 (12:03):
We've talked of how Johnny Carson was the real star
of Late Night. One of the unsung stars of Late
Night who ran a very area dyke show was Dick
Cabot over on ABC. He is eighty nine years old today.
The man who created the Superstation TBS. Ted Turner eighty
seven today, clothing designer Calvin Klein is eighty three for

(12:28):
the West Wing, and Mom Alison Janny is sixty six.

Speaker 1 (12:32):
All she does is talk about skating all day and night.

Speaker 4 (12:35):
Can't shut her.

Speaker 1 (12:35):
Up about him, So it's easier for me to put
her on ice.

Speaker 2 (12:38):
If you know what I mean.

Speaker 5 (12:39):
From the movie about the Tanya Harding Escapade, it Tanya
Alison Janney sixty six today. From Sleepless in Seattle, Meg
Ryan sixty four.

Speaker 17 (12:51):
That was nothing compared to this humiliation.

Speaker 18 (12:54):
Nothing.

Speaker 4 (12:55):
But he saw you right, he saw me.

Speaker 19 (12:58):
You were face to face.

Speaker 2 (13:00):
He said hello.

Speaker 5 (13:01):
From Sleepless in Seattle, Meg Ryan, sixty four years of age,
My goodness. From Silence of the Lambs, Jody Foster sixty three.

Speaker 1 (13:14):
Iver squealing.

Speaker 2 (13:16):
They were slaughtering these Spring lambs.

Speaker 5 (13:20):
Very squealing with Anthony Hopkins. Jody Foster sixty three. Dax
in Star Trek Deep Space nine, Terry Ferrell sixty two.
Country singer Billy Currington is fifty two, the co founder
of Twitter and founder of Square. Jack Dorsey is forty nine.

(13:40):
Nineteen ninety six Olympic gold medal gymnast Carrie Shrug is
forty eight and from Star Force Star Wars The Force
Awakens Adam Driver is forty two.

Speaker 15 (13:52):
I know you've seen the map. It's in there, and
now you'll give it to me.

Speaker 5 (13:59):
Adam forty two years old. Today. Those just a few
of the people celebrating the nineteenth day of November is
their birthday. If this is your birthday, Hi.

Speaker 20 (14:09):
We're the four Freshmen and we just want to say
happy birthday.

Speaker 5 (14:15):
To and we roll on here on Classic Radio Theater
with Wyatt Cox with an episode of Counterspy from seventy
five years ago and the Tale of the Pseudo Spuds
that's coming up next after we remind you about our
friends at Professor Bees. Digested Aid a natural, no fuss

(14:39):
solution to take care of your belly problems. It's crafted
with only two ingredients, pure honey, an apitherium and that
apitheria herb from ancient Rome. That's it. No chemicals, you
can't understand. You just got the two things involved. It
was developed by a gentleman who was having severe digestive

(15:01):
problems while going through cancer treatments and it worked. So
this is something that's really good if you suffer from
throat problems. If you suffer from acid reflux flox, check
out Professor Bees Digestibate. You can see the link in
the key to the key to the link in the

(15:21):
show notes. You can also find the link at Classic
Radio dot stream. But what you can really do is
just go to profbees dot com. That's Profbees dot com.
Use my promo code wyat. Not only does it support
Classic Radio theater because we get a commissioned sale, but
you also get the lowest price possible by using my

(15:45):
promo code wyat. That's profbees dot com. Promo code wyat.
Treat your stomach well. You're only going to get one
for your life. Find out how to keep it doing
well with Professorbes Digestibate.

Speaker 21 (16:04):
Civil defense is common sense. Hi, this is Tony Bennett.

Speaker 2 (16:07):
Make sure you are prepared if nuclear attack ever comes.

Speaker 5 (16:11):
Now we head to November nineteenth, nineteen fifty, seventy five
years ago. Today. Don McLachlan Mandel Kramer in the fictionalized
FBI program Counterspy, and this is from November nineteenth, nineteen fifty.
This is the case of the pseudo Spuds.

Speaker 1 (16:32):
The National Broadcasting Compiny presents counter Spy Washington, calling David
Hunting Counterspy Washington, calling David Hunting Counterspy Harding, counter Spy Colleing, Washington, United.

Speaker 22 (17:03):
States counter Spy, Especially appointment to investigate and combat.

Speaker 2 (17:09):
The enemies of our country.

Speaker 8 (17:11):
Holl that hole and abral.

Speaker 1 (17:18):
These cotto spy reports to the American people are brought
you each week at this time. Now the case of
the pseudo spots. Yeah, just a minute, hello, Johnny, Okay,

(17:40):
well come on in nice joint. You got here for
what New York office?

Speaker 23 (17:45):
It'll do?

Speaker 1 (17:46):
I's with you a selkie long time. They'll see getting by.
Who you looking for?

Speaker 23 (17:51):
Lily?

Speaker 1 (17:52):
Never met her, just heard about her, Like to see her.
She home now, she's got one more shure to do
at the club tonight. Uh being about half an half
an hour? Euh yeah, stick around. You know I could
never figure the story on her. What do you mean, silk? Well,
here she has Dirk Martin on the string, biggest gambler
in town. Firk coats jewels anything she wants, and she

(18:15):
blows them all for you. What's wrong with that?

Speaker 23 (18:18):
Oh?

Speaker 1 (18:18):
Look, let's not kid ourselves. You're no big time?

Speaker 23 (18:21):
Are you?

Speaker 1 (18:21):
Just a small time? He would liably get his head
blown off any minute. What's a secret, Johnny, I'll show
it to you. Wedding ring Euh, that's right. I heard
you got married. It's as simple as that, Sulky. Too
bad Dirk didn't know the secret, look sulky. I don't
like the way the conversation's going. What's on your mind?
I guess you ain't heard, kid, heard what I'm working

(18:44):
for Dirk Martin now working for Martin. I didn't even
know you know him, didn't you? So he's still peeved
about Lily. No, No, he ain't peeved, Johnny. I'm glad
to hear that. He just hates your guts. That's why
he set me right. I'm going over.

Speaker 2 (18:59):
Huh.

Speaker 1 (19:00):
It ain't that simple, Johnny. He wants a little back.

Speaker 23 (19:04):
Oh he does.

Speaker 1 (19:05):
Well, let him try to get her to leave me. Yeah, Dirk,
figure she won't. That's why you're gonna leave her permanently.

Speaker 4 (19:25):
Had a letter, A letter, dude, Johnny, Johnny you home.

Speaker 18 (19:32):
I've got.

Speaker 4 (19:34):
Johnny Johnny.

Speaker 1 (19:46):
Car number fourteen, car number fourteen.

Speaker 6 (19:49):
This is a three to two signal.

Speaker 17 (19:51):
Investigate me more to murder four one three East Houston Street,
car number fourteen, Car number fourteen investigates.

Speaker 9 (19:59):
Before to murder.

Speaker 4 (20:15):
Johnny.

Speaker 1 (20:18):
Johnny, a place can become lonely all of a sudden. Candidate,
what I suppose I shouldn't intrude at a time like this,
Missus Darvell?

Speaker 4 (20:31):
What do you want?

Speaker 1 (20:32):
Who are you a friend? I hope and I think
I want the same thing as you do, same thing,
Johnny's murderer. I heard the flash on the radio the
other day, Johnny.

Speaker 2 (20:44):
Do you know who it was?

Speaker 15 (20:45):
Yes?

Speaker 18 (20:45):
Who tell me?

Speaker 1 (20:47):
Easy, Missus Darvell. I can't prove anything. I just know
it from the grapevine.

Speaker 18 (20:51):
Who what's his name?

Speaker 1 (20:53):
Can't you guess? Everybody liked Johnny?

Speaker 4 (20:55):
He did?

Speaker 1 (20:56):
Everybody except Dirk Martin. Dirk, that's the word that's out.
Sure a gun, Missus Darvell, that's hardly the smart thing.
I close the door.

Speaker 4 (21:10):
Don't try and stop me. Whoever you are, I should
have known it was.

Speaker 1 (21:14):
Missus Darvell. My name is Gordon, Silky Gordon. I want
to get Martin too, but not the stupid way. That's
why I came here.

Speaker 2 (21:21):
Now.

Speaker 1 (21:21):
I think that both of us can work together and
be in the clear. If you're trying to stop I'm
trying to help you. How would you like to take
Dirk Martin for a bundle of dough, frame him on
a federal rap that he'll never get out of, and
stay in the clear yourself. That's the real way to
even things up for your Johnny.

Speaker 4 (21:41):
All right, goodness talk, I got across the boarding.

Speaker 21 (21:54):
And.

Speaker 23 (21:56):
Raise your bets all bets down?

Speaker 4 (21:57):
Am I too late to put a blue chip on numbers?

Speaker 1 (22:00):
No, madam you Lily, Hello, Baldy, pay fifteen on the red.

Speaker 4 (22:06):
Upset Baldy.

Speaker 1 (22:07):
No glad to sing a little, but it's busy. Place
your bets all bets down? Hello, missus darvell Anything we
can do for you.

Speaker 4 (22:16):
Jack Martin. I thought Baldy would push his little button
when he saw me. You came promptly enough.

Speaker 1 (22:22):
I asked if there's anything we could do for you,
missus Darvelle.

Speaker 4 (22:25):
Oh you might offer me a drink, of.

Speaker 1 (22:28):
Course, Missus Gardell. Oh that's sitting in that end booth. Hey, Mike,
one martini dry with all of Yeah, that's it is man.
M I uh, I heard about Johnny too bad.

Speaker 4 (22:44):
Yeah. Leaves me kind of on the town again.

Speaker 1 (22:48):
And that's one way of putting it. What's the point of.

Speaker 4 (22:50):
This call money?

Speaker 1 (22:53):
Oh, he's that kind of blunt, Lily. After all, you
gave me the go by for Johnny if he didn't
leave your fix, that's too bad.

Speaker 4 (23:02):
Oh, I'm not asking you for any jerk. I'm offering
you a way to make some with me. In for
a cut, I can use dough right now.

Speaker 1 (23:10):
Yeah, so I imagine, Well, what's the pitch?

Speaker 4 (23:14):
What do you think of the war situation?

Speaker 1 (23:16):
Huh?

Speaker 4 (23:17):
Making conversations that came from right field? Well, what do
you think of the international situation?

Speaker 1 (23:23):
Bad? I suppose, sometimes good, but mostly bad.

Speaker 4 (23:27):
Why, it depends on how you look at it.

Speaker 1 (23:30):
That means what.

Speaker 4 (23:32):
There's one way to look at it. That might mean
close to a million dollars in cash for us a minute.
If you're not above such petty sums dirt, you can
find out more about it at my apartment tomorrow at
ten a m. Good Night. Hey wait a minute, Lily, sorry, Dirk,
good night.

Speaker 24 (24:01):
Harting.

Speaker 1 (24:01):
All the heads of our regional countress by offices are
assembled in the auditorium. How good, Peter? Have arrangements been
made to buy them back to their offices as soon
as the meeting's over?

Speaker 15 (24:08):
Yes, okay, let's.

Speaker 1 (24:09):
Go, gentlemen, Mister Hunting greeting gentlemen, it's been quite some
time since I have seen all our counters by regional
directors together like this, But I called you here for

(24:31):
briefing and information regarding the grave foreign situation. But first
a bit of good news. Our counterress by budget has
been increased considerably enough so that each regional office can
have almost twice the number of agents you are now
staffed with. This increase has been granted for a definite purpose.

(24:53):
The United States wants to make sure that there will
be no reputation repetition of the scrap metal to Japan's
that you wait at this particular time. The additional person
I will be used to check all export shipments leaving
this country. All suspicious shipments will be reported to this
headquarters immediately for further action.

Speaker 6 (25:15):
That is all, gentlemen.

Speaker 1 (25:15):
The rest of your instructions are in the mimeograph pamphlet
handed to you.

Speaker 4 (25:30):
Ah ten am on the dot, Dirk.

Speaker 1 (25:32):
You're promise, Yeah, I'm curious.

Speaker 4 (25:34):
I'm sure you would be got in. I want you
to meet someone. Meet someone, relaxed, Dirk. It's not the law,
and it's no one you know, Lily. If this is
a joke, I like you to meet Lily.

Speaker 1 (25:47):
Lily, is this a fellaw? You was telling me all
about hire stranger?

Speaker 8 (25:51):
Shake?

Speaker 1 (25:52):
Say yes, Gordon's name g o, I don Gordon, little
joke of my own. I never have to.

Speaker 24 (25:58):
Spell it out.

Speaker 1 (25:59):
No, Hey, I have a mighty good grip. You got there.
Stand up twenty man in Idaho except me.

Speaker 21 (26:04):
So what do you want?

Speaker 1 (26:05):
I hope I didn't hurt your boy. I got a
powerful grip myself. Get it from farm, and you know
it strengthens.

Speaker 4 (26:10):
Rich Mister Gordon, would you get me my cigarettes? They're
in the kitchen.

Speaker 1 (26:13):
Why sure, thing, little gal in two shakes of lambstail,
I've run back.

Speaker 4 (26:18):
What was that like him?

Speaker 1 (26:20):
Plowing jockey who likes her doesn't like?

Speaker 2 (26:23):
Well?

Speaker 21 (26:24):
Watch the play, Lily.

Speaker 1 (26:26):
First you mentioned the international situation and then a million bucks.
Now you spring this hay seed on me. I heard
that boy, hay seed?

Speaker 21 (26:33):
Is it?

Speaker 1 (26:34):
I look, mister, I like your looks, but I don't
allow no man to insult me. I take it easy, garden.

Speaker 4 (26:39):
I didn't, sir, I silky drop the egg. Save it
for the paying customer.

Speaker 1 (26:44):
Okay, Lily, Look, I got him a little wine around
the gills. He thought I was going to take a
swing out of him.

Speaker 4 (26:50):
Meat Silky Gordon one of the best con men in
the business.

Speaker 1 (26:53):
Oh yeah, Martin, I he'd you going euh yeah, yeah, Lily.

Speaker 4 (26:56):
I Silkey will take over from here. He's got an
idea that his act and your dough will never add
a million bucks to split three ways?

Speaker 1 (27:05):
How in one word? Potatoes? Why those little things you
fly boil or mash and that I grow out on
my idahole farm and supposedly deally potatoes? You mean a
million bucks out of spuds? Ay?

Speaker 15 (27:19):
Yeah, crazy, So.

Speaker 1 (27:21):
There's a fox. I've got the whole scheme mapped out
on paper.

Speaker 4 (27:24):
All we need is that old warehouse of yours and
fifty thousand dollars operating capital.

Speaker 15 (27:29):
What do you say?

Speaker 1 (27:30):
What am I supposed to say?

Speaker 8 (27:31):
Yes?

Speaker 1 (27:32):
And what you told me for fifty grand? I want
more information than that, sure, sure, take your time. Here's
a setup. Read it, Okay, give me a shot. Rundown
on it. Potatoes mottin price supported by Uncle Sam. You
know this? So this means the government buys them to

(27:52):
keep the market price up to a certain level. At
present A dollar and fifty too, oh, a dollar and
eight one hundred pounds? Yeah, I've heard tell. And then
they sell them for export at a cent one hundred
pounds just to get rid of them. I keep going, Well,
we buy them for that one cent one hundred pounds
you see, and then sell them right back to the
government again at a buck fifty one hundred pounds, just

(28:14):
like yeah, just like.

Speaker 4 (28:15):
That, simple, isn't it Dirk?

Speaker 1 (28:17):
Wait a minute. You said we had to buy them
for export to get them at a cent one hundred pounds.
That's right. We'll swear that we intend to dehydrate the potatoes.
That is a dry I'm an export I'm following you. Instead,
we'll fill cardboard cottons with sawdust, label them dehydrated potatoes,
and ship them to a stooge company in Europe, selling
the real potatoes back to Uncle Sam at ten or

(28:40):
twelve thousand percent profit. Nice? Real, nice?

Speaker 4 (28:45):
Are you in, Dirk?

Speaker 1 (28:46):
Maybe yes, And I'll give me a little tim. I
want to read this stuff Gordon gave me and figure
the angles. Take a lot of time. Uncle Sam will
still have the potatoes to sell.

Speaker 4 (28:58):
Call me here when you're just I'll be waiting, and
I'm sure you'll be calling hello. I knew you'd call

(29:21):
I in.

Speaker 1 (29:22):
Yeah, I'm having the boys clean out the warehouse.

Speaker 4 (29:24):
And uh, what about the fifty thousand dollars capital.

Speaker 6 (29:28):
You'll get it in a couple of days.

Speaker 4 (29:30):
That's the way we like to do business.

Speaker 1 (29:32):
Derek, and tell Silkey to start the ball rolling, and Lily, remember,
I'll be watching you all the way.

Speaker 4 (29:40):
I'm sure you will. Goodbye, Derek Clire. Yes, silky bit
with all his teeth, the rat wonderful.

Speaker 1 (29:51):
When's he coming across with the fifty g's a couple
of days, and as soon as we get his dough,
we start fitting him for the frame.

Speaker 4 (29:56):
That's what I'm in this for, Silk, and I'd better
be one he can't break out of.

Speaker 1 (30:01):
He won't.

Speaker 25 (30:02):
Baby.

Speaker 1 (30:03):
We'll work the deal just once, with fifty thousand bags
of potatoes. I've got the contacts in Washington, so I
can sell that many to the government. What do I
do now, I've gotten in touch with a logging camp
for the sawdust and cottons. You close the deal with
them and then apply for the export license for dehydrated
potatoes in Dirk's name.

Speaker 4 (30:22):
I'm beginning to get the picture.

Speaker 1 (30:24):
And then after I've collected from the government.

Speaker 4 (30:27):
We leave mister Dirk Martin holding one big empty bag.

Speaker 1 (30:41):
You are listening to the Case of the Pseudo Spuds
on counter Spy Tonight on NBC. It's the Big Show
once again over most of these stations. Tallula Bankhead is
your MC. And just listen to a few of the
stars who will be with you tonight. Bob Hope, Eddie Katter,
Jimmy Duranty, Perry Como, Jose Ferrer, Mendy Carson, Meredith Wilson
and his orchestra, and a host of other great performers

(31:04):
for an hour and a half the best in comedy,
music and drama. It's the Big Show tonight. Another Sunday
evening favorite is Theater Gil on the air, and this
week's our long Theater Gill production is Doctor Jicyle and
Mister Hyde, starring Frederick Marsh, Barbara Belghettis and You Williams.
The chimes are your invitation to top Sunday evening listening
here on NBC. Now back to conter Spy. Hello, well,

(31:39):
old farmer Gordon Speakings.

Speaker 4 (31:41):
Selki you hear anything yet?

Speaker 1 (31:43):
I just got an acknowledgment of receipt from the government.
They got my shipment of fifty thousand bags of fine
Idaho potatoes.

Speaker 4 (31:49):
What about the payment.

Speaker 1 (31:50):
I'll receive the check in fifteen days at my Idaho
farm address.

Speaker 4 (31:54):
A nice going, selk.

Speaker 26 (31:57):
How's your end of the deal.

Speaker 15 (31:58):
The saunas going all.

Speaker 4 (32:00):
The warehouse and cartons now ready to be the frame
around Dirk's neck.

Speaker 1 (32:04):
We'll put it there as soon as we cash that
check from Uncle Sam.

Speaker 6 (32:08):
So long a little.

Speaker 26 (32:10):
You'll be hearing from me when I need you.

Speaker 17 (32:21):
Your Commas by section Export section Commas department Export licensed
stompmanship with dehydrated potatoes at Trends Stored and warehouse at
nine to one four one tenth Street. Request routine check
and approve of your department before grinding license.

Speaker 1 (32:58):
Silchi right here well in the warehouse door.

Speaker 4 (33:03):
And they got the stuff.

Speaker 1 (33:05):
Two five gallon cans?

Speaker 15 (33:07):
Uh? How about the insurance?

Speaker 4 (33:09):
I took it out in Dirk Martin's name.

Speaker 1 (33:12):
No action on the UH export license yet, not so far.
And I was just wondering, thought they might send someone
around a check on the stuff.

Speaker 4 (33:20):
They only do that at the pier. Let's go in.
You sure Dirk won't yell copper?

Speaker 1 (33:29):
How can he? When we put this place on fire,
He's gonna have a mighty suspicious insurance company on his hands.
He'll probably have to wave up the claim, but it'll
keep him plenty busy while we make ourselves scarce.

Speaker 4 (33:40):
Alright, let's ship what list? Someone look.

Speaker 1 (33:48):
Down that isle of cottons a guy prying into him
customs department.

Speaker 4 (33:55):
I bet if he finds out about the sawdust.

Speaker 1 (33:58):
I know what you mean and sulky.

Speaker 4 (34:00):
Yeah, I'll go down and get his attention. You'll come
around the back of jumping right.

Speaker 1 (34:08):
You there?

Speaker 4 (34:09):
What what's the meaning of this?

Speaker 27 (34:11):
Who are you?

Speaker 19 (34:12):
Oh? Excuse me?

Speaker 1 (34:13):
Miss?

Speaker 18 (34:13):
What are you doing in this warehouse? How'd you get in?

Speaker 1 (34:16):
Are you connected with the firm that owns this place?

Speaker 15 (34:18):
Miss?

Speaker 4 (34:18):
Yes, I am, and I think it's my place to
ask the questions? Or would you rather I call an officer?

Speaker 1 (34:23):
Well, that won't be necessary. It's the.

Speaker 8 (34:30):
Oh no, no, you know.

Speaker 9 (34:33):
You're nice.

Speaker 1 (34:34):
You're not, brother, He was plenty of tough?

Speaker 28 (34:42):
Is he?

Speaker 15 (34:44):
Yeah?

Speaker 2 (34:45):
Dead?

Speaker 15 (34:45):
Who is he? Wait? I'll look through his pockets.

Speaker 1 (34:53):
Oh but the United States counterspy. This ain't good, lever,
it's wonderful perfect.

Speaker 4 (35:00):
Can take the rat for this too.

Speaker 2 (35:02):
Yeah, yeah, that's right.

Speaker 15 (35:03):
I'll get the kerosene.

Speaker 4 (35:04):
Cans and spill it all around sels.

Speaker 15 (35:07):
Don't worry.

Speaker 1 (35:08):
When we put a master this place, we want to
make sure the whole thing goes up. Opreakor opreaker, Get
me the fire department quickly. There's a fire in the
warehouse at tenth and Front Streets.

Speaker 6 (35:27):
This is the watchman on the pier across the way.

Speaker 29 (35:29):
You better get hire a quick it's blazing.

Speaker 1 (35:45):
Attention mister hiding countress by headquarters. Attention mister hiding counters
By Headquarters. This is an emergency.

Speaker 9 (35:52):
Three two flash, Peters, grab your.

Speaker 1 (36:04):
Hat and come on. The plane's waiting. Well, we're going
New York warehouse fire, explosion of export shipping.

Speaker 21 (36:09):
What'd I catch up there?

Speaker 1 (36:12):
Sabotage? I don't know. All I've got the warehouse address
and the nature of the shipping dehydrated potatoes. Potatoes supposed
to be The counters By agent was examining the ship
un at the time of the fire and explosion. There's
no news of you.

Speaker 2 (36:24):
Meant when we.

Speaker 1 (36:25):
Land, Peters, you follow up on the material I'll give you.
I'm going right to our New York laboratory and see
what they've got. Oh, there's were mister harding to our
electric furnace i'd with you, Grandwell, what's this set up for?

(36:46):
All that cardboard carton in the electric furnace, it's one
that was salvage from the one of the warehouse fire
contains munitions of some type, doesn't it now, sir? But
the explosion watch, mister harding house whitch the furnace on?
What's the point just a moment, sir. I had the
furnace on before you arrive and be up the right
temperature a few seconds.

Speaker 23 (37:08):
There.

Speaker 21 (37:08):
That's what I wanted to see.

Speaker 1 (37:10):
What kind of explosive is it?

Speaker 15 (37:12):
It isn't.

Speaker 1 (37:12):
Sim That cardboard box that just blew apart contained ordinary
sawdust packed in tightly sawdust. That's right, sim sawdust packed
tight and under intense heat generates its own explosive power.
But the right conditions, it's just as dangerous as dynamite,
not dehydrated potatoes or munition. No, sir, But there's something

(37:33):
crooked about the whole setup, our agent. Yeah, Now the
autopsy shows he wasn't killed by the fire. He was
murdered knife wounds rendered. What about the sawdust if you analygogen, heyes,
So we put it through the spectrograph, did a micro
chemical analysis on the reports are over here. Ordinary pine sawdust.

Speaker 2 (37:59):
That's right.

Speaker 1 (38:00):
The pitch content indicates Southern pine, and from the cellular
structure of the wood we place it is coming from
somewhere in Georgia or the Carolinas. The moisture content indicates
it's been freshly cut from logs instead of dried and
cured wood. That means that the stuff came from a
logging camp, not a lumberyard. Yes, sir, well, thank you, Crandell.
If anything else comes up, I'll be in the communications

(38:21):
room to all field offices Southern Regional District, United States counterspies.
Request immediate check of all logging camps in your field area.
Ascertained methods of disposal and sale of sawdust. Check thoroughly

(38:44):
and report to me on any new purchasers of item.
Give this top priority. Hello, chief, where have you been
checking on the ownership of that warehouse and the potato shipment?
Any difficulty? A lot less than I expected. The warehouse

(39:06):
is owned by a set of dummy corporations set up
to hide the real owner.

Speaker 15 (39:10):
One Dirk Martin, the Gambler.

Speaker 2 (39:12):
That's right, and that.

Speaker 1 (39:13):
Shipment of potatoes was bought and supposedly dehydrated by the
same mister Martin. Uh hidden ownership again, right, Dave, but
not very cleverly done? Any wait, hold a second vie.
Hello tack it from the Atlanta Field office. Okay, but anymore?
Hello Tacket. Yes, that's right, the sawdust or you did?

Speaker 23 (39:35):
Good?

Speaker 1 (39:35):
And who bought it?

Speaker 15 (39:38):
No?

Speaker 1 (39:38):
No, that company name isn't familiar. Did you find out
who owns and runs it?

Speaker 2 (39:42):
Good?

Speaker 1 (39:42):
Who?

Speaker 6 (39:45):
What?

Speaker 1 (39:46):
You're sure? Okay, take a nice job, goodbye?

Speaker 23 (39:52):
What is it?

Speaker 4 (39:53):
Dad?

Speaker 15 (39:53):
Peters?

Speaker 1 (39:54):
You knew about the sawdust in the explosion?

Speaker 15 (39:56):
Yes? Crandall told me well that.

Speaker 1 (39:58):
Two points the finger at dirt Martin.

Speaker 2 (40:01):
He bought it Martin?

Speaker 1 (40:03):
Yes, it doesn't wash.

Speaker 15 (40:05):
Chief.

Speaker 1 (40:06):
We know Martin's wrecked. He's a real cozy bird. He
doesn't leave blue sentence around this way. Three big neon
lighted arrows pointing right at him.

Speaker 23 (40:15):
Dave.

Speaker 1 (40:15):
I may be wrong, but this shapes up like a
great big frame. I know it does, Peters, and I
think we'll call on Dirk Martin right away and see
if we can find the picture that fits the frame.

Speaker 4 (40:36):
Silkie, get that. I've got to finish packing pretty insistent.
Whoever it is, well, open the door. That's the only
way we can leave anyway.

Speaker 1 (40:45):
I don't like it. Well you open it, I'll cover.

Speaker 23 (40:49):
You from behind the door.

Speaker 1 (40:54):
Sure that's right, baby.

Speaker 2 (40:56):
I'm sorry.

Speaker 18 (40:57):
Idea?

Speaker 1 (40:58):
Do you tell me what the idea? My boys got?

Speaker 24 (41:01):
Work to me?

Speaker 1 (41:01):
The warehouse is on fire, burned down?

Speaker 4 (41:03):
No kidding?

Speaker 21 (41:03):
Do I look like I'm kidding?

Speaker 4 (41:05):
But that's wonderful a break for all of us. Now
we're completely covered. The fire will hide everything. Because one
phony ship would have sawdust, we won't have to make.

Speaker 21 (41:13):
Was it phony?

Speaker 4 (41:14):
What do you mean?

Speaker 1 (41:15):
You said sawdust and the place blew up completely? Maybe
you were trying to use me as up front for
some other kind of ship and a be crazy. And
maybe you know something about the body they found in
the fire. Body. Yeah, look, baby, you had better start talking.
I'm gonna have to slap a lot of words. How
do you I wouldn't, Dirk. I had you covered from

(41:35):
the minute you entered. So so I was right, A
big double cross.

Speaker 4 (41:41):
That's right, Dick, you caught on a little too fast.

Speaker 15 (41:45):
What do we do with him? Low?

Speaker 4 (41:47):
Guess there's only one thing we can do.

Speaker 1 (41:49):
Same treatment like the guy in the warehouse. So you
did stalk that fires right?

Speaker 4 (41:53):
We had it all framed nicely, you'd have to stand
still for an arson wrap and keep quiet about us,
or you'd get a bigger Joel for swindling. They might
even have been that guy's death on you. That's one
way you would have paid for killing Johnny Johnny, Are
you not sell him, Sulk? Tell him what you told
me about how he killed Johnny?

Speaker 1 (42:12):
Me killed Johnny.

Speaker 4 (42:13):
Yes, you wanted me back, and it's the only way
you figured i'd come.

Speaker 1 (42:17):
Look, clearly, there isn't a quail in the world I'd
risk a murder rat for I didn't shoot your Johnny boy, Sulk.
You said she wouldn't believe everything I say, Leo, I
needed you to pull this racket on Dirk. Getting you
through Johnny was the fastest way you killed him. That's right, baby,
And it looks like the same deal for you and

(42:39):
Dirk Martin. So there'll be no more talking. Martin has
already talked what United States counterspines.

Speaker 9 (42:49):
He's not a action chief.

Speaker 1 (42:50):
You'd better not try the same move, missus, Darbell.

Speaker 4 (42:52):
So Dirk Martin's a stooling you.

Speaker 21 (42:54):
Bet, I am, baby.

Speaker 1 (42:55):
When it comes to standing still for a murder.

Speaker 4 (42:57):
I I tell you everything. Did he tell you about.

Speaker 1 (42:58):
The dealing he did, missus dar travel all about your
big swindle, stealing money from the government at the expense
of our fighting men at a time when we need
every dollar for defense, and he's going to stand trial
for it, not for murder. Baby, You can take that
one alone, all right, Peters, take them both out of here.

(43:24):
Tune him every week, same time, same station two.

Speaker 9 (43:28):
Counter Spy.

Speaker 1 (43:29):
Listen next week for the exciting case of the Hideous Hijacker.
When medical supplies sorely needed by our fighting men and
allies in Asia were hijacked, the counters By organization was
put on a double alert. By getting information from a
dead man, firing bullets into sawdust and putting cardboard under

(43:50):
a strange light, your counter spies uncovered a kettle of
fish that was fifteen thousand miles long. Be sure to
listen next week to the case of the Hideous Hijacker
on counter Spy. Tonight's Cotterer Spy program, originated in New York,

(44:15):
was directed by Marx by Low, dramatized by Pauma Thompson,
and featured Don McLaughlin and Mandel Kramer. Lionel Rico speaking
counter Spy is a Phillips h. Lloyd production.

Speaker 5 (44:36):
Seventy five years ago November nineteenth, nineteen fifty Counterspy here
on Classic Radio Theater with Wyatt Cox. We're going to
go back now seventy eight years November nineteenth, nineteen forty seven,
for an episode of Escape.

Speaker 30 (44:57):
Civil Defense is common sense. This is Fred McMurray. Home
shelters can be built for as little as one hundred dollars.
Simple plans for building inexpensive home shelters are available free
from your Civil Defense office. Ask for a copy of
the Family Fallout Shelter booklet.

Speaker 5 (45:12):
And information in the show notes about how you can
get those books. Okay, and well download them because their
print copies aren't really available anymore. We go back seventy
eight years November nineteenth, nineteen forty seven an episode of Escape.
John McIntyre stars in casting the rooms.

Speaker 31 (45:43):
Had a hard day at the office, back ache from
bending over a hot stove all day. Want to get
away from it all?

Speaker 23 (45:52):
We offer you escape.

Speaker 31 (46:05):
It is midnight and you are alone. Suddenly the room
is plunged into darkness. You sit frozen with terror because
something is there behind you, something you feared would come,
something from which you must escape.

Speaker 29 (46:24):
Escape, produced and directed by William N. Robson, and carefully
plotted to free you from the four walls of today
for a half hour of high adventure.

Speaker 31 (46:38):
Tonight we escape to London and a world made strange
and terrifying by the workings of an ancient barbary curse,
as Montague R. James tells it in his Weird story
Casting the Ruins.

Speaker 2 (47:07):
My name is Edward Dunning. I'm a scientist. I'm used
to dealing with facts, not fairy tales. I am regarded
as Britain's leading authority on medieval life, and as such
I have studied much of the ancient fears and barbaric
superstitions of those times. I should have been the first
to scoff at any suggestion that the ancient powers of evil,

(47:30):
the black magic of Teutonic days, could be believed and
practiced in the twentieth century. A few weeks ago, I
should have laughed had you told me that a curse
a HETX could kill a man. To day, I cannot laugh.
It has happened to a man I know of, and

(47:51):
now it's happening to me. My first presentment of danger
came on that day a few weeks ago, when I
dropped in to see Halfred Smith, secretary of the National
Science Association, and found him in a state of irritation.

Speaker 21 (48:09):
Lasted all, Dunning.

Speaker 1 (48:10):
I almost wish you hadn't been so brutally honest in
your report on that Carswell paper.

Speaker 2 (48:15):
Why what's the trouble. He's such a frightful fellow. He's
raising a terrible row. You mean Carswell himself.

Speaker 1 (48:21):
Yes, it's bad enough of vicious charlatan like that, calling
himself a scientist. But now he's taking all his vindictiveness
out on me.

Speaker 23 (48:29):
Sorry, old jaff, it's really me. He'd liked to get at.

Speaker 1 (48:32):
As a matter of fact, that's just what his last
letter was about. He wants to know what supposed authority
wrote the report rejecting his paper.

Speaker 2 (48:40):
You didn't give him my name, Hidvens.

Speaker 32 (48:42):
No.

Speaker 1 (48:43):
As a matter of fact, Dunning, I haven't and I won't,
And for a very special reason. Call it silly, call
it crazy, call it what you will. I have an
uncanny feeling about that man Carswell. Why do you know
anything about him?

Speaker 2 (48:56):
Nothing? I've never seen him. I only know that he
wrote a paper called the Truth of Alchemy. It was
hopeless precisely, and why was it hopeless? Well, besides being
abominably written, was supposed to prove that alchemy, black magic
and such rat actually exists.

Speaker 23 (49:12):
I think the man really believes it.

Speaker 1 (49:13):
Undoubtedly he does, and that's what I mean. He lives
in an isolated old house in Warwickshire. He's rarely seen elsewhere,
and in his whole career he's written only two things,
this paper and the History of Witchcraft, published ten years ago.

Speaker 2 (49:26):
Of course I remember now, So that's the man, Yes,
and that book was even worse than this paper. The
man has a warped mind.

Speaker 23 (49:34):
I'm sure he's tried every.

Speaker 1 (49:36):
Unhealthy experiment in alchemy, witchcraft and black magic. There's no
turning to what lengths of vindictiveness a man like that
might go.

Speaker 2 (49:43):
Well, does sound a bit queer, It's not queer, dumbing evil. Come.
Man is the right to believe what he likes. He
is right to be angry with me here. I've glibly
scoffed at the man's life's work.

Speaker 1 (49:57):
Well, perhaps I'm being overly suspicious and imaginative. I think
there's more than anger involved here.

Speaker 23 (50:02):
Edward.

Speaker 1 (50:03):
This may sound fantastic to you, but Well. John Harrington
wrote the report condemning that witchcraft book of Carswell's ten
years ago. Three months later, Harrington was dead.

Speaker 2 (50:15):
Alfred, what's the connection?

Speaker 1 (50:16):
Harrington died under very peculiar circumstances. He was walking home
alone late one night, and suddenly he screamed, broke into
a run, lost his hat and stick, and climbed up
a tree. The dead branch gave way, he fell and
broke his neck. No one's ever been able to explain
why it happened.

Speaker 2 (50:33):
Come now out with Jolie. Are not suggesting. I don't
know what I'm suggesting.

Speaker 1 (50:36):
I only know that after he reviewed Carswell's book, John
Harrington didn't have a moment's piece. Now you've written an
unfavorable review of this paper. If I were you, I
should keep that fact well hidden.

Speaker 2 (50:49):
Halfred Well, that's ridiculous. Yes, I laughed at Alfred smile'sphears.
How could I have known then that I was to
feel the same terror, the same agonized fear which gripped

(51:12):
the heart of John Harrington as he crouched panting on
the branch of a tree for another moment.

Speaker 15 (51:17):
Or two of life.

Speaker 2 (51:19):
While beneath him, the thing came closer and closer. I'd
almost forgotten the instant when a few nights later I
was riding home on the late train. I was half
drowsing in my seat, barely keeping awake by looking idly
at the car card Christmas. Men directly opposite me must

(51:40):
have been doing the same, because suddenly I.

Speaker 15 (51:42):
Had been sane.

Speaker 23 (51:43):
Now what can that one be advertising?

Speaker 2 (51:46):
I followed his eyes to the window beside my head.
What I saw brought me bolt upright in my seat.
In memory of John Errington Dodd September eighteenth, nineteen thirty seven,
by falling from.

Speaker 29 (51:58):
A tree months were allowed.

Speaker 2 (52:02):
Come, won't you say? That means her were I? I
don't know, but I did know smithe had been right.
The affair with Carswell was not aver, but only begun.
I asked the conductor about the card, but he was
as positive as I was. He had never seen it before.

(52:25):
The card must have been put there expressly for me.
That meant that Carswell knew. It was I who had
reviewed his paper. How have you found out? I got
the answer the next day. I was in the select
Manuscript department of the British Museum during some research in
the quiet almost deserted room. I had been working steadily

(52:48):
for an hour, oblivious to my surroundings, when suddenly adjusted
my shoulder, I heard a voice.

Speaker 6 (52:55):
It weren't Donning, you were allowed three months.

Speaker 2 (52:59):
I swung around my seat. There was no one within
twenty feet of me. I sat for a moment, shaken,
and then I stooped to pick up the papers I
had brushed to the floor. I straightened up to find
a stout, elderly gentleman standing in front of me. Excuse me, sir, Yes,
may I give you this paper? I think it should

(53:20):
be yours. Oh, yes, so it is. I thought I
had the more.

Speaker 15 (53:25):
This one seemed to have slide across the floor. Thank
you very much, not at all, sir, Good afternoon.

Speaker 2 (53:32):
He walked slowly away and out of the door. A kindly,
stout old gentleman. But there was something about him that
made me feel strange.

Speaker 15 (53:43):
I went over to the attendant.

Speaker 2 (53:45):
Yes, mister Darney, did you notice that gentleman I was
just speaking to. Oh, yes, of course, Can you tell
me his name? Why? That's mister Carswell. As a matter
of fact, he was asking about you only the other day,
asking about me. Well, He asked, who were the great
or authorities on medieval science, and of course I told
him you were the only one in the country. Ah,

(54:06):
I see, would you write to meet him, mister Dunning,
I'll see if I a no, thank you. It was
as simple as they now. Carswell knew what would be
his next move. What was I to expect? I reached

(54:31):
home at dusk and trouble stood on my doorstep in
the long face and stooped form of my family.

Speaker 15 (54:37):
Doctor.

Speaker 1 (54:38):
I had to upset your household arrangements. I'm sorry to say, Dunning,
I've had to send both your servants to hospital. But
what happened is something like to main prisoning. I should
think it's nothing serious.

Speaker 15 (54:52):
What could have caused it?

Speaker 2 (54:53):
Well, that's the rather odd thing. They tell me.

Speaker 1 (54:57):
They bought some shellfish from a hawker and headed for lunch.
I've made inquiries, but I can't find that a hawk
are cold at any other house on this street.

Speaker 2 (55:13):
Was this the next move? If so, it had succeeded.
I was alone in the house, and my nervousness increased
as darkness closed in and the hours advanced toward midnight.
I went to bed, but almost immediately I thought I
heard something. My study door opening downstairs. I went out

(55:33):
and leaned over the banister. There was nothing moving, nothing visible.
There was only a sudden, surprising gust of warm air playing.

Speaker 15 (55:42):
About my legs.

Speaker 2 (55:45):
I went back into my room and locked the door.
Suddenly the lights went out, No doubt it was only
a blown fuse, but the chills were playing up and
down my spine. I went over to the bed and
reached for my watch and the pillow. I suppose I
want to find out the time. I don't know why,
But fumbling on the pillow, my hand touched something far

(56:09):
different from a watch. It was like a mouth, with
sharp teeth and hair around it, not human at all.
I fled from my bedroom and spent a long and miserable.

Speaker 23 (56:24):
Night locked in a spare.

Speaker 2 (56:25):
Room, my ear to the door, but nothing came. I
was not disturbed again.

Speaker 23 (56:32):
In the morning.

Speaker 2 (56:33):
I searched the house and found nothing unusual. But the
mark of fear must have been stamped on my face
for Smythe noticed it next day.

Speaker 1 (56:39):
Darning euro because if you hadn't slept for weeks, is
anything wrong?

Speaker 23 (56:43):
I I don't know.

Speaker 2 (56:44):
Alfreda I, yes, there is, Caswell knows how they told
him at the museum.

Speaker 15 (56:53):
Of course we should have thought of that.

Speaker 2 (56:56):
Has anything happened yet? I don't know. It's too fantastic.
It probably my mind hip, not a suggestion of something.
But like that man Harrington, I have three months left.
Edward must have been hearing things. I'm all on age.
I don't know what to think.

Speaker 1 (57:11):
John Harrington had a brother, Henry. Perhaps i'd better get
you in touch with him. He might know more about
this man cars. Yes, yes, do it, and quickly. Three
months there's not a lot of time.

Speaker 15 (57:31):
It was arranged.

Speaker 2 (57:32):
That night I found myself walking down the dark street
that led from the railway station to the Harrington home.
It must have been along the same street that John
Harrington had walked that last night where he had broke
and run. It must have been one of these trees
bordering the lonely road in which he had spent his
last horrible moments. The way was dark and there was

(57:58):
no living soul in sight, and suddenly complete terror gripped me.
Somehow I knew that I was being followed. At first
I only felt it, and then I heard it. I
walked steadily on for a moment, my stomach like ice.
It was getting louder, coming closer. Unconsciously, my step quickened.

(58:19):
I could barely control myself. I wanted to scream and run.
The thing came closer, closer, I confess I broke and ran,
ran madly for my life. I was at a little
side street I turned down at doubling back to the
railway station. I thought I would never make it, But finally,

(58:40):
bright lights loomed before my eyes, and I think that
I never have been so grateful for human companionship.

Speaker 29 (58:45):
There's no need to run, Sir The, I thought he
won't be along for another five minutes.

Speaker 15 (58:52):
I felt it very foolish.

Speaker 2 (58:55):
I couldn't bring myself to walk back down that street
to Harrington. I could only take the train home furtively
and call Harrington next morning to beg his forgiveness. He
seemed very understanding and asked no questions. Undoubted his Smythe
had told him something about me. At any rate, He
agreed to visit me at a place two nights later,

(59:16):
and when he arrived and was made welcome, he began
to talk about his brother.

Speaker 1 (59:20):
Yes, mister Dunning, John was in a very bad state
for weeks before the accident. If that's what it was,
The principal thing seemed to be the notions he was
being followed became an obsession.

Speaker 2 (59:31):
Yes, I know, I don't think his death was an accident.
Then perhaps you can explain it. No, but I have
one clue. Your brother reviewed a book very severely not
long before he died. Just lately, I happened to cross
the path of the man who wrote that book.

Speaker 1 (59:49):
And his name, of course is Carswell. That's right, as
far as I am concerned, that does it. Before he died,
John was beginning to feel much against his will that
Caswell was at the.

Speaker 2 (01:00:01):
Bottom of his trouble. Why well, it doesn't make sense,
none of this, dues. But tell me. My brother liked music.

Speaker 1 (01:00:09):
He went to all the concerts in town, and he
made a hobby of collecting the programs. One night, about
three months before his death, he brought one home and
showed it to me. I nearly missed this one, he said.
It seems he'd lost his and was hunting for it
under his seat when a neighbor, a rather stout, elderly gentleman,
off to give John his.

Speaker 2 (01:00:28):
The kind gentleman was mister Caswell.

Speaker 1 (01:00:31):
Undoubtedly, I started a leaf through the program and noted
on the second page some rather curious letters carefully written
there in black and red ink mother of a skunk,
much of it except that the letters seemed to be.

Speaker 15 (01:00:43):
Runic runs ruins.

Speaker 1 (01:00:46):
Of course, for John thought it might be important, and
debated with her he shouldn't try to return the program to
the stout gentleman. But just then the door blew open,
and a gust of air, of strangely warm air, blew
into the room.

Speaker 2 (01:01:00):
Flash. It took the broom and blew it straight into
the fire.

Speaker 23 (01:01:02):
Yes, your brother was right, he should have returned it.

Speaker 2 (01:01:06):
There's nothing to be done then, perhaps none.

Speaker 23 (01:01:09):
But you know what runic letters.

Speaker 1 (01:01:10):
Mean, Well, they're all pre druid script I believe the
kind of writing the Barbaric tribes used long before the
Romans invaded Britain.

Speaker 2 (01:01:19):
That's right, casting the ruins, they used to call it
in the old days, casting the runes. What do you mean?

Speaker 33 (01:01:27):
But it was a curse a hicks In primitive England,
people thought by casting the runes, that is, handing a
person a piece of paper with certain runic letters on it,
that you could put that person out of the way,
destroy him.

Speaker 2 (01:01:39):
It's an old superstition. The only way to lift the
curse was to return the paper to the one who gave.

Speaker 23 (01:01:44):
It to you, to give it back without his knowing it.

Speaker 1 (01:01:48):
Right, I don't believe that kind of nonsense, neither do I.
Then what was it to kill John?

Speaker 23 (01:01:55):
I don't know.

Speaker 2 (01:01:57):
Perhaps his sphere of the runs, perhaps brooding, a becoming
neurotic thinking, he saw things and heard things and touched
things that weren't there. Perhaps his own mind drove him
to death. And what's the difference once you're dead?

Speaker 15 (01:02:13):
No difference at all.

Speaker 2 (01:02:15):
Casting the ruins what rubbish, yes, of course, But good heavens,
what is it? I just remembered that day at the
British Museum. He cast the ruins on me. I went

(01:02:37):
swiftly to the writing table, Harrington close behind me. My
portfolio was there, full of the scribbled notes I'd been
working on that day in the museum. And as I
took it from my shaking hands and began leaping desperately
through them, one strip of thin light paper slipped and
fronted toward the open window with uncanny quickness. But Harrington
was even quicker and slammed the window shot just in time.
Got it. Well, Thank heaven, if it were lost and

(01:03:00):
destroyed like your brothers.

Speaker 1 (01:03:02):
Then you wouldn't be able to return it to mister Casmer. Yes,
look at it. It's identical with the one jart God.

Speaker 15 (01:03:11):
I looked at the flimsy paper.

Speaker 2 (01:03:13):
The characters carefully traced in red and black were runs,
all right, that ancient language used for the Aborigines of
prehistoric Britain.

Speaker 15 (01:03:22):
I couldn't decipher them.

Speaker 2 (01:03:24):
But as Harrington and I stood looking into each other's eyes,
each of us could read the other's thoughts. Science or not,
twentieth century or not. This sheet of foolscap spells death
for its possessor. It spells death for you us be returned, yes,
I know. Let's go back in such a way that
it doesn't. But he doesn't know he's received it. That

(01:03:46):
means we can't simply mail it.

Speaker 8 (01:03:48):
No, we can't.

Speaker 2 (01:03:49):
We must do it personally. That'll take doing.

Speaker 1 (01:03:53):
He knows you by sight, doesn't it. Yes, you must
shave your beard, fill alter your appearance. He might strike
any time.

Speaker 2 (01:04:00):
I had three months, as with the warning said, we've
got to make good Hones Dunning.

Speaker 1 (01:04:06):
I have searched ten years for my brother's murderer, and
now he must not escape.

Speaker 2 (01:04:20):
I dare not go near Carsley, so Harrington volunteered to
keep a watch on him, to let me know when
our chance came to return the rooms, if it was
ever to come. It is only a night or two
after Harrington was there that I arrived home and found
the calendar had come in the mail, or when I
examined it, I found everything after November nineteenth had been

(01:04:44):
torn out. The next night I had another envelope of
the mail. This time it was a wood cut an
illustration torn out of a book showing a dark, moonlit
road and a man walking on it, and right behind
him came a huge dark shape, some awful demon creature.

(01:05:07):
Under it were written some lines from the ancient Mariner,
And as I sat alone and read them aloud, I
felt that now familiar gust of warm air playing about
my legs. The man walks on and turns no more
his head because he knows a frightful fiend doth close

(01:05:31):
behind him. Tread. Now I knew the face of my terror,
and it was with me all this, walking down the
dark street at night, I heard its footsteps behind me.

(01:05:51):
In my lonely house at midnight at Rome, the halls
like the ancient mariner and John Herrington. I never turned
to look.

Speaker 15 (01:06:00):
I couldn't.

Speaker 2 (01:06:01):
My nerves were going and I could do nothing but wait.

Speaker 23 (01:06:06):
The days.

Speaker 2 (01:06:06):
The weeks slipped by, and still Harrington had no plan.
I checked off the days on the calendar cars where
I had sent. Now there eight days remaining, then six,
then three, two one. It was the evening of the eighteenth.
My last day on earth was to begin at midnight.

(01:06:30):
I was sitting alone in my living room, daved in perspiration,
fighting to keep my nerves and check. Suddenly I felt
that warm gust of air.

Speaker 15 (01:06:42):
I listened.

Speaker 2 (01:06:44):
There were soft footsteps, A shadow seemed to cross the
hall door, and then the footsteps landed into a loud banging. No, no,
not yet, I still got one day more, not yet, No,
it's me.

Speaker 23 (01:07:02):
Ah oh, hi, Heaven, herry.

Speaker 2 (01:07:06):
What's the metal man?

Speaker 17 (01:07:07):
What is it?

Speaker 15 (01:07:09):
It's you?

Speaker 2 (01:07:09):
You can knock you on the door. Your footsteps is
of course, thank Heaven, I thought, I look, man.

Speaker 1 (01:07:16):
You've got to pull yourself together. It's tonight. We have
our chance.

Speaker 15 (01:07:21):
What chance?

Speaker 1 (01:07:23):
Cars will leave the Victoria station by boat train to
night at ten. I'll get on with him. There, you
take the car I brought and drive to Croydon. Get
on the train there and be sure to bring the paper.

Speaker 15 (01:07:34):
Yes, yes, I have it.

Speaker 2 (01:07:36):
You've shaved already. Good. Everything depends on his not recognizing you.
It's Harrington.

Speaker 23 (01:07:42):
Yes.

Speaker 2 (01:07:43):
Suppose he changes his mind. Suppose he doesn't take that trip.
My time runs out tomorrow.

Speaker 1 (01:07:47):
He'll be there and you'll do it. You'll do it, well,
you've got to. I'm still on the platform and click
in my mind. The days I thought the train would
never come, but it did. I saw Herrington at the window.
He stared coolly at me. Of course, there was to

(01:08:08):
be no sign of recognition. I entered the coach and
slowly made my way down the aisle to the compartment,
where Harrington sat opposite him, staring full into my face.

Speaker 15 (01:08:16):
Was cars away.

Speaker 2 (01:08:18):
He looked up as I sat down, his eyes when
heavy did it his face blind.

Speaker 15 (01:08:23):
It was impossible to tell. For at the evening.

Speaker 2 (01:08:27):
The train started. The next stop was over at the
end of the line.

Speaker 15 (01:08:31):
My last chance.

Speaker 2 (01:08:33):
That was trying to cast the ruins. It was a
strange riot car's web and eyes he had face to face,
staring into each other's eyes. Harrington off to the side,
pulling in his face and twitching fingers. If I could
have only had a few whispering moments within the plan

(01:08:53):
on statitude, but that was impossible. The moments dragged tortuously.
No one moved. Suddenly Caswell leaned forward. I beg your pardon, sir.
Haven't we met that, Matt Well? I don't think so.
Was that not unless you're in the plumbing business. Plumbing, no, hardly.

(01:09:16):
I hadn't planned it that way. The words the accent
just seemed to come by themselves, and Caswell sat back,
an enigmatic expression on his face. I wished desperately to
know what he was thinking. Then suddenly he got up
and went out into the corridor as less my chance.
I was about to slip over to his bags to
see if there were a ways to secreet the rooms

(01:09:37):
with him, when I caught Herrington's eye and read a
warning him. Carswell from the corridor was watching, waiting to
see if we recognized each other. I muttered a prayer
of thanks.

Speaker 15 (01:09:47):
I hadn't moved.

Speaker 2 (01:09:49):
Caswell came back and took his seat. As he did so,
while with exultant hope surged up in my throat for something,
slipped off his seat and dropped noiselessly to the floor.

Speaker 15 (01:10:00):
It was his ticket case.

Speaker 2 (01:10:01):
And he didn't see it. It was a small cardboard
ticket case with a pocket on the cupboard. If I
could just get to it and slip that tiny piece
of paper into that pocket. For fifteen agonizing minutes, I
sat there and stared at it, if only cars that
would go out, But he sat stolidly, staring straight ahead.

(01:10:24):
We were coming into the outskirts of Dover, the train
slowing down. Suddenly Harrington stood up reached up to the
rack above Caswell to get.

Speaker 15 (01:10:32):
His coat and bag.

Speaker 2 (01:10:33):
I stared at him blankly for a moment, surprised by
his sudden clumsiness, and then I realized what he.

Speaker 23 (01:10:38):
Was up to.

Speaker 2 (01:10:38):
The bag, the coat, a briefcase off came tumbling down
upon cast Why say, I'm sorry, I'm terribly sorry.

Speaker 23 (01:10:44):
Clumsy fool, you might have ventured me.

Speaker 2 (01:10:46):
What were you trying to do when it was my
only chance? Coswell stayed facing until I reached down, got
the ticket case, and my trembling fingers slid the paper
into the pocket. He turned sharply to me and I
extended the case. Thought, all right, excuse me, sir, is
this yours?

Speaker 8 (01:11:01):
Yes?

Speaker 2 (01:11:02):
It's my ticket case, but you find it here on
the floor. Most dropped off when this. I'm much obliged
to yourself. Not all, not all. He looked at me fiercely,
his rage at Harrington still twisting his face into a
devil's mask. Then he glanced briefly into the ticket case

(01:11:24):
and put it into his pocket. On the railway pier
of job, Harrington and I followed a few steps behind Carswell.
I felt like I had my feet. Carswell went straight
to the gangway of the boat, and there the purser
stopped him.

Speaker 21 (01:11:43):
Does have a ticket?

Speaker 24 (01:11:45):
My friend?

Speaker 34 (01:11:46):
What the devil you mean I'm traveling alone?

Speaker 23 (01:11:48):
That's funny.

Speaker 1 (01:11:48):
I could have sworn there was another gentleman right there
beside you, walking just at your elbow.

Speaker 19 (01:11:53):
Well, there isn't, And I suggest you see an oculist.

Speaker 15 (01:11:56):
Oh I didn't see. I just felt sorry, said my
being your rugs my mistake. I'm undone.

Speaker 2 (01:12:04):
My job's done. I didn't sleep that night. I lay
awake and listened. But there were no footsteps, no warm gusts.
Are there nothing to disturb me. All day I felt

(01:12:25):
remarkably free, although this was to have been my last
day on earth. But only just now when Harrington came in.
Could I really relax? Have you seen the afternoon paper yet?
I know not yet? Well, here look at it on
the second page.

Speaker 23 (01:12:41):
There Abbeyville, France.

Speaker 2 (01:12:46):
An English traveler examining the front of Saint Wolfram's Cathedral today,
was struck on the head and killed instantly by a
stone falling from the scaffolding. A note of mystery was
added by the fact that, although the cathedral was undergoing repairs,
no workman was on the scaffolding at the time of

(01:13:06):
the accident. The traveler was identified by papers found on
him as a mister Carswell of Warwickshire. Of course it
could have been an accident, yes, as it could have been.

Speaker 29 (01:13:43):
Escape is produced and directed by William N. Robson and
Night Brought You Casting the Ruins by Montague R. James,
Adapted for radio by Irving Rabbits and John Duncle, with
John McIntyre as Edward Dunning, John Wolfs Harrington and Bill
Conrad as Carswell. Especially musical score was conceived and conducted
by Sifure. Next week, you are trapped in a hidden

(01:14:09):
valley high in the Andes walled in by sheer Rock
precipices and surrounding you, closing in on you is a band.

Speaker 31 (01:14:21):
Of blind men who want your eyes.

Speaker 29 (01:14:33):
Next week we Escape with HG. Wells gripping story of
the Country of the Blind. Good Night, then until the
same time next week when we again off of you.

Speaker 2 (01:14:42):
Escape.

Speaker 29 (01:14:45):
This is CBS, the Columbia Broadcasting System.

Speaker 5 (01:15:00):
And that's from seventy eight years ago, November nineteenth, nineteen
forty seven. Escape Here on Classic Radio Theater with Wyatt Coos.
I often refer to Escape as the redheaded step brother
or stepchild of Suspense. Some people argue with me of that,
saying Suspense was nowhere well because of its age and

(01:15:24):
the way it ran, the long run, and the great
sponsorships they had, the better scripts they were able to have.
Escape did not have the sponsorships, which meant that they
could have the big stars and the big budgets and
the big scripts, but it was still a wonderful show.

(01:15:46):
From seventy eight years ago, November nineteenth, nineteen forty seven, Escape.
We'll have an episode of Suspense coming up in a
moment after I tell you that. Coming up tomorrow on
the program, we're going to start looking at some shows
from Thanksgiving Time with an Amos and Anti Thanksgiving show
from nineteen forty nine, Let George Do It, a Thanksgiving

(01:16:09):
Show from nineteen fifty the Story of Thanksgiving as told
on a nineteen fifty one edition of Calvalcade of America,
and Jeff Reagan Investigator Pilgrim's Progress, and Yes that does
star Jack Webb. Now on Friday's show, we're going to
have episodes an All Thanksgiving based Lomon Abner Maxwell House,

(01:16:30):
Coffee Time, Jack Benny, and then on Saturday we are
going to have The Harold Perry Show along with a
Great Guildersley, both helmed by Harold Perry, so you can
hear there from different years, but you can hear why
some people say the Harold Perry Show was a direct

(01:16:54):
ripoff of The Great Gildersleeve, which you can hear judge
for yourself. To Thanksgiving from Doctor Christian and the story
of the African Thanksgiving from Tarzan. That'll all be coming
up on our Saturday show and then Sunday Thanksgiving shows
a plenty with episodes of the Good News of nineteen

(01:17:14):
forty Bobby Ellis and the Aldrich Family and the Turkey
and Jack Benny from nineteen forty one, another Thanksgiving show.
On Monday, we'll have Thanksgiving shows, also another episode of
the Good News show. This was the Good News of
nineteen thirty nine from nineteen thirty eight with the cast

(01:17:36):
of the Andy Hardy Movies. Also we'll also have an
episode of Sam Spade. Yeah, this is one star Steve Dunn,
but it's called a Terrified Turkey Caper, and an episode
of a show that I think we only have this
one episode of Point Sublime. It stars Clip ar Quatt
you remember him as Charlie Weaver and Mel Blanc and

(01:17:57):
this is from nineteen forty seven. On Monday, more Thanksgiving
shows with Abbott and Costello, the Hallmark Playhouse and the
New Edgar Bergen Hour. And then on Wednesday we will
have more Thanksgiving shows with a Father Knows Best Thanksgiving
Day show, a Jimmy Duranty show where Arthur Treacher is

(01:18:19):
auctioning off Jimmy's turkey, a visit from Uncle Dennis over
at Bibber and Molly, and another Jack Benny show where
they have Thanksgiving at Mary's house. And then on Thursday
we are going to have on Thanksgiving Day itself only
a single Thanksgiving show, and that's going to be Casey
Crime Photographer. But what we're going to do on Thursday

(01:18:42):
is we're going to have kind of a special show
with Classic Radio leaving Hollywood for New York City with
final episodes of suspense, Have Gun, Will Travel and Yours
truly Johnny Dollar before they close up operations of radio
in Hollywood and move them all to New York City.

(01:19:04):
It's coming up a week from tomorrow here on Classic
Radio Theater with why I've talk on Thanksgiving Day? Okay,
coming up next, Tier Radio's outstanding theater of thrill suspense
from New York City, an episode starring Bob Reddick and
the Black Door.

Speaker 35 (01:19:29):
Civil Defense is common sense. This is horrid thought. For
this reminder, six forty and twelve forty. These are the
connor Rad frequencies. During a national emergency. Six forty and
twelve forty on your regular radio will be your only
official means of receiving vital information. Remember six forty and
twelve forty.

Speaker 5 (01:19:46):
I don't always play the Connall Rad spots because a
lot of people don't know understand what Connall Rad was
all about. But I will tell you this, and here's
the kick you had a guy who got thrown out
of Hollywood because he was allegedly a communist. He was
published in red channels, and yet Howard Duff did these

(01:20:10):
spots for civil defense. Go figure. Now let's go to
nineteen sixty one, sixty four years ago today from next
to the last season of radio's outstanding theater thrill suspense,
Bob Reddick starring in The Black.

Speaker 22 (01:20:26):
Door, and now a tale well calculated to keep you in.

Speaker 15 (01:20:35):
Suspence.

Speaker 22 (01:20:38):
Listen now to Act one of The Black Door, starring
Robert Reddick, featuring Ralph Cabargo and written especially for suspense
by Robert Arthur.

Speaker 1 (01:20:56):
The mistake I made was going through that black Door.
If I left it shut the way it was sealed tight.

Speaker 15 (01:21:03):
Everything would have been fine.

Speaker 1 (01:21:06):
I'd have married Marsha, become a full professor, I had
my name in all the papers. Well, there's no use
telling the story backwards, is there? First things first, as
old Professor Wentworth always said, And the first thing in
this case is the Grand. I received a hunt for
a lost city in Central America, the City of the

(01:21:26):
Fire God, which might mean something or might mean nothing. Anyway,
I got the Grand from the university charted the modern
helicopter for three months, flew it down to Central America,
got the necessary government permissions, and made my base of
operations the tiny little town of San Marcos on the coast.

(01:21:48):
As nearly as I could figure from the manuscript, the
city of the Fire God was some place among the
mountains in that area. So I flew back and forth
over the mountains and the helicopter, keeping a lookout for
room was in the jungle or the mountain valleys. For
two and a half months, I saw nothing except trees
and rocks in the town. I was charitably looked upon

(01:22:12):
as a crazy yankie, and finally even the children stopped
staring at me, and I was getting pretty discouraged, trying
to forget my troubles with a glass of takia in
a little garden outside the town's only cafe, while some
natives with a guitar serenaded his girl nearby.

Speaker 21 (01:22:39):
Oh there you are part of the senor.

Speaker 15 (01:22:42):
I am not the waiter. He's busy, busy.

Speaker 1 (01:22:45):
No one's been busy in this town since Columbus is
covered in America. That's very true, Signor. But I have
bade the waiter to go somewhere else. That's why he's busy.
Look at they said, you're well.

Speaker 15 (01:22:59):
Let me see that.

Speaker 1 (01:23:01):
It's a tiny statue, very old statue, carved out of
volcanic basalt, in the style of the oldest known mayon carving.

Speaker 15 (01:23:09):
Where did you get that? Oh?

Speaker 1 (01:23:11):
That is easily, answered Senora. And tell me my grandfather
he gave it to me when he died.

Speaker 15 (01:23:15):
Well, where did he get it? Senor? That is a
harder question.

Speaker 1 (01:23:19):
Look at, you came here just to play games with no.

Speaker 15 (01:23:21):
No, senor, no, no, That is why I send away the.

Speaker 1 (01:23:24):
Waiter so we could talk confidentially. Yes, well, let's talk confidentially.
Where did that little statue come from?

Speaker 15 (01:23:31):
From the mountain? Senor?

Speaker 1 (01:23:32):
But the whole country is mountain easy, that is true.
But you see, my grandfather was a great hunter. Once
he followed a wounded jug war high into the mountain seat.
Some savage natives then followed my grandfather. Yes, he was wounded,
and to escape he climbed a great cliff, go on,
go on, And he reached the top, and on the

(01:23:54):
other side he saw a dead city, a dead city,
sezonor silent, lifeless, far below him, and he tried to
climb down to it.

Speaker 15 (01:24:08):
And he fell, Senor.

Speaker 1 (01:24:09):
For three days he lay unconscious, and when he recovered
his senses he had the fever.

Speaker 15 (01:24:15):
And somehow he found his way out. He does not
know how he staggered back to his home.

Speaker 1 (01:24:20):
Had they found him in a jungle, crawling on his
hands and knees, clutching this little statue and saying over
and over la pertegra, la pertegra? What the black door? Senor?
The black door, Cesenor, And my poor grandfather. He was
never strong enough to go hunting again, but he kept
his little statue, and he said he'd had saved his life.

(01:24:43):
What do you mean by the black door? Oh, one
cannot say, Senor. He could not remember. Surely he went
back to the lost city when he was not strong enough. Besides,
there were the savages.

Speaker 28 (01:24:54):
I mean, nobody ever tried to find a city again.

Speaker 1 (01:24:56):
Well, why should they, Senor, It belonged to the dead.

Speaker 15 (01:25:00):
They might be angry if they're living. Came to disturb them.

Speaker 16 (01:25:03):
It was all superstitions, he said, you're now me, I
am not superstitious, eh I speak American. Well, the sen
your wishes to find this law city, I better for
mes know where it is. Go on, you see my
grandfather described it to me. The mountains where it is Hiddews.

Speaker 1 (01:25:24):
They are three days walk from here, three days, and
that's fifty or sixty miles.

Speaker 15 (01:25:28):
What direction, said you're That is the question?

Speaker 29 (01:25:32):
Hey?

Speaker 15 (01:25:33):
What direction? A most important question? Now I get it.

Speaker 1 (01:25:41):
How much a mere pittance for a rich youngkiest and
you're one thousand dollars a thousand dollars and one half
of all the treasure? What treasure is that? There must
be treasures in your Who else would you seek this?

Speaker 15 (01:25:55):
Law cities?

Speaker 1 (01:25:55):
Because I want to become a professor at the university
and marry a girl named Marsha whose father is head
of the department of archaeology. All right, one thousand dollars
if you actually guide me to the city, you say,
your grandfather found and half the treasure, Yes, half the
treasure if any we seal the bargain with the glass

(01:26:21):
of the quia. And the next day Pedro came with
me in the helicopter. He directed me to fly to
the southeast, and I did, hovering as low as I
did over the rocky edges in jungle. Oh we come
more than fifty miles, Pedro, I'll sign on that city yet, Oh, yes,
and your there to the lamp. There is the mountain.

(01:26:43):
Not that are you crazy? That's the tone of an
extinct volcano is.

Speaker 24 (01:26:47):
In your And the lost city is inside the volcano.

Speaker 21 (01:26:51):
And I wait a minute, how can that be?

Speaker 24 (01:26:52):
Well, I know, I do not know. I was not
better when he was built.

Speaker 1 (01:26:57):
On the other hand, City of the Fire God. And
I wonder, well, I haven't looked into that volcano yet.

Speaker 9 (01:27:05):
So here goes.

Speaker 1 (01:27:16):
We lift it high in the air over the top
of the old dead volcano, and we came out over
a deep circular valley grown up with jungle. Now but
there in the center of the jungles there's a group
of stone buildings dominated by a vast ruined temple.

Speaker 24 (01:27:33):
Tenor tenor the lost dy of my grandfather.

Speaker 15 (01:27:39):
Oh, it is reached with treasure.

Speaker 1 (01:27:41):
I have the feeling, well, leave it if it isn't.
This is one of the biggest finds in the history
of Central America.

Speaker 24 (01:27:46):
Are we going down now?

Speaker 1 (01:27:48):
We'll sit down on that level spot right in front
of the temple.

Speaker 15 (01:27:59):
We settled in front of the old temple.

Speaker 1 (01:28:02):
I got the motors and for a moment we just
sat there taking it in the stone towers, the ancient carvings,
the massive walls that had been put into place by
men whose bones had turned to dust, maybe three four
thousand years ago.

Speaker 15 (01:28:22):
And then we climbed out. We were both armed.

Speaker 1 (01:28:28):
We had flashlights, and I had a small hammer and
chisel tucked into my belt Aboard the helicopter. I had
a case of dynamite if any blasting was necessary. But
this was just to be a preliminary survey, so I
left it where it was. Pedro and I found ourselves
on a big stone plaza with the partially ruined temple

(01:28:50):
in front of us.

Speaker 28 (01:28:52):
The entrance was flagged by two tremendous stone carvings, oddly enough,
very something from Egypt, human figures with heads that were vaguely.

Speaker 1 (01:29:06):
Dog like, which made them seem most unhuman, Senor.

Speaker 15 (01:29:17):
Those statues, I.

Speaker 1 (01:29:19):
Do not like them, Yes, they are rather odd, But
I'm more interested in those designs carved in the rock
above them.

Speaker 15 (01:29:27):
Eh design, Senor. Oh, They but show the moon, the
new moon and the old moon.

Speaker 1 (01:29:32):
Yes, and there are more moons all over the front
of the temple.

Speaker 15 (01:29:37):
Now that's unusual.

Speaker 1 (01:29:38):
Most of the old civilizations in this area worship the.

Speaker 15 (01:29:41):
Sun, see Senor. But I cannot help wondering, wondering what.

Speaker 1 (01:29:48):
Why the man who made those of statues put the
heads of dogs on them. It was dark inside the temple,
but our flashlights gave us enough flight. Vast stone pillars
supported a roof high above us as we moved down

(01:30:08):
on a lengthy corridor, and then we came into a
central rod tunder and got some sunlights from a crack
in the roof.

Speaker 3 (01:30:19):
Looks on your cold, cold, tense statues, the twelve statues.

Speaker 24 (01:30:27):
And each of them silid gold. Come, come, looks and
your gold cold I have reached.

Speaker 2 (01:30:33):
I have read.

Speaker 15 (01:30:37):
Table was right.

Speaker 1 (01:30:38):
Ranged in a circle in the middle of the rotunda
were twelve golden statues about five feet high.

Speaker 2 (01:30:44):
They're all human figures with dog like heads, and they.

Speaker 1 (01:30:49):
Were all looking at a spot on the floor in
the middle of the circle.

Speaker 15 (01:30:54):
They made twelve.

Speaker 3 (01:30:57):
Look the jewels, jewels as gets off their boots and
your your eye am the rachest man in the world.

Speaker 1 (01:31:05):
At the foot of each statue a carved stone basket.
Each one is a handful of gems in it. Obviously,
these statues were worshiped. The gems were tribute.

Speaker 24 (01:31:20):
Pedro.

Speaker 1 (01:31:20):
Have you taken a good look at these statues. Shine
your light on this one, eh, mothering me again the
head of the dogs. They're all dog headed statues, and
all their eyes are focused on one spot. Over there
seems to be something carved on the floor. Let's see
what that.

Speaker 36 (01:31:38):
Is, Ah, send your hum That is more strange around,
black carving on the floor, almost like a globe or
a map.

Speaker 28 (01:31:57):
Good Lord, do you know what this is supposed to be?

Speaker 15 (01:32:03):
No, Senor, I cannot guess.

Speaker 1 (01:32:06):
It's the moon em carved on the floor and black
bass of the moon.

Speaker 15 (01:32:11):
I see. Oh, that is most strangess.

Speaker 1 (01:32:15):
You don't know the half of it because the formations
carved here, they're not the formations are astronomers. No, unless
the Russians have some new pictures and are talking about
if this carving represents the real geography of the moon Pedros,
the artists who carve this must at some time have

(01:32:39):
seen the dark side of the Moon, which no human
being has ever glimpsed. I know it sounds crazy, but
the more I studied that round black carving, the more

(01:32:59):
I convinced it was an accurate relief map.

Speaker 15 (01:33:02):
Of the dark side of the moon.

Speaker 1 (01:33:05):
And then we discovered something else around the rim of
that black disc was a series of crevices filled with tar.

Speaker 15 (01:33:10):
I dug the tar out and under it.

Speaker 1 (01:33:13):
In each crevice we found a small basal statuette like
the one that Pedro had originally showed me, in each crevice,
but one which was empty. Senor, See the story of
my grandfather is true.

Speaker 24 (01:33:26):
Hey, this little statue he brought back.

Speaker 15 (01:33:28):
Look he just feet into this tiny hole.

Speaker 1 (01:33:32):
Yes, yes, it does black door. This must be the
black door that.

Speaker 15 (01:33:35):
He talked about, O season the pertanegra the black door.
But how does it open? I don't know.

Speaker 1 (01:33:48):
No, wait, wait, suppose we stand each of these little
statues upright. Yes, yes, they fit tightly like handles. Now
if we pushed.

Speaker 15 (01:34:01):
Them, we potion it's turning.

Speaker 37 (01:34:05):
I see the black disk is turning. And now it's
loose and we can lift it up. Let us lift
it down there? Maybe more pressure, eh, more gold, more tools.

Speaker 24 (01:34:15):
All right, it's coming.

Speaker 1 (01:34:18):
See there there, it's open, and there's a well worn
flight of steps.

Speaker 15 (01:34:29):
Leading down to the heart of the old volcano.

Speaker 1 (01:34:36):
We stood staring down at that black passage way that
seemed to go down down endlessly.

Speaker 15 (01:34:42):
I didn't like the.

Speaker 1 (01:34:43):
Looks of it, but Pedro had gold fever. He thought
that there might be whole vaults of treasure down below.
I couldn't talk him out of looking, so I went
along to the tunnel, sloped down whatever, down in the
heart of the ancient volcano. We came across evidence of
much usage, broken pottery, strange carvings on the wall. Not curiosity,
Let us on until presently we came to a cabin

(01:35:04):
whose walls seem to be lined by a curious growth. Senor, Look, yes, yes,
mushrooms are something very much like mushrooms, solid sheets of it,
all lining a wall.

Speaker 38 (01:35:13):
No, no, no, Senor, that is not what I mean. Look here,
look through here, Oh, the narrow crevice. There's a room
in man, that's not a room. It is what is
in the room. Come shine your light, then let us sleep.
Say your what has got you so worked up? It
can't be treasure.

Speaker 1 (01:35:31):
I see see these skeletons in your Many skeletons, hundreds, many,
lying one upon the other. Yes, yes, that rocky room
is full of human bones, As much as I hate
to say it.

Speaker 2 (01:35:44):
What's your The ones I can see best have.

Speaker 15 (01:35:46):
Tooth marks on them.

Speaker 1 (01:35:47):
Oh, Senor, let us sleep here, swiftly, let us return
to the airplane.

Speaker 15 (01:35:51):
Let us take the treasure.

Speaker 1 (01:35:52):
And crazy enough, Heedro, these bones have been there hundreds
of years, maybe.

Speaker 15 (01:35:55):
Thousand balls, bones or new bones.

Speaker 1 (01:35:57):
I do not like these bones, no cause for alarm.

Speaker 15 (01:36:02):
I don't know.

Speaker 1 (01:36:04):
Why this is in your study so hard the mushrooms
on the wall. His mushrooms certainly haven't been here for
a thousand years, and along here it looks to me
as if big handfuls of them been broken.

Speaker 15 (01:36:13):
Off, broken off for why, there's.

Speaker 1 (01:36:17):
Only one thing I know of you even do with mushrooms,
and let's eat them.

Speaker 15 (01:36:26):
Pedro and I stood staring at each other.

Speaker 1 (01:36:29):
I was pretty sure that something or somebody had recently
been eating that mushroom like fungus, and I was beginning
to wonder what or who when we heard it from
somewhere far down below us, Sen, you're why's that sounded
like a dog howling?

Speaker 15 (01:36:44):
A dog?

Speaker 24 (01:36:45):
No?

Speaker 15 (01:36:45):
No, no, no, that is no dog. No what if
it's not a dog, what is it? A demons? And
you're they there all.

Speaker 28 (01:36:50):
Forget that superstition.

Speaker 1 (01:36:51):
There's something down there, impossible as it seems, something living,
And if we do not leave, there will be something
dying down here. Sen, you're please calm Comyn's but I'm
trying to figure out what on earth I could send.

Speaker 15 (01:37:01):
You're langreish.

Speaker 3 (01:37:02):
Those are not dogs upstairs, the statues the people with
heads of dogs.

Speaker 1 (01:37:06):
Upon them does this, and you're not realized where it
is that he's howling. Until that second, I hadn't made
the connection, and then I realized the full significance of
those statues. It couldn't be, it was impossible, But what
other answer was there? We turned a head of the surface,
and just as we did so, I saw something coming
up the tunnel told us something that was a pallid

(01:37:27):
white shape in the light of my flashlight, something running
on all fours and howling hungrily.

Speaker 15 (01:37:31):
A is a pixel.

Speaker 24 (01:37:33):
Shoots and you're a suit. Okay, that's stopped this.

Speaker 1 (01:37:39):
Now let's get out of here. We didn't even stop
to look at what I shot. I'm not sure I
wanted to look. We just turned and ran up that
long tunnel to the surface, and as we went, the
howling things pursuit us.

Speaker 15 (01:37:50):
We could hear them.

Speaker 1 (01:37:51):
Behind us, like a pack of hungry animals.

Speaker 24 (01:37:53):
From time to time to fire my gun and I
seem to scare them.

Speaker 1 (01:37:57):
We finally popped out into that room temple with a
twelve dog headed gods, and I understood at last what
that black door was for it see the entrance to
the underground world where they lived. Pedro and I flung
ourselves on the ground the great brown slab of black
rock was and we couldn't move it. It was wedged
open somehow, and we couldn't get it close.

Speaker 24 (01:38:19):
Senor quickly they will follow us in a moment.

Speaker 1 (01:38:22):
Gathered down there beyond the first bend. Obviously they don't
like light.

Speaker 24 (01:38:26):
They are getting up there. Cry to shut them in.

Speaker 1 (01:38:28):
We can't let those things loose, and we can't shut
the black door.

Speaker 24 (01:38:32):
We can do nothing. The helicopter quickly, I got it.

Speaker 1 (01:38:35):
The dynamite and my helicopter.

Speaker 24 (01:38:37):
We'll blow in them out of the tunnels. And you
heard me, it'll only take sixty seconds.

Speaker 1 (01:38:41):
Yeah, that'll take quiet another minute or two. Now, come on,
help me with that case of dynamite. It took us
less than a minute to get the case of dynamite,
bring it back inside the temple and light of fuse,
and then I shoved the whole case down the steps
into the black tunnel. Pedro and I hurried back into
the open, scrambling into the helicopter the start of the
just in case.

Speaker 24 (01:39:02):
Huh, Senor Landry, what is it? The treasure? The jewels?
We did not bring them.

Speaker 1 (01:39:08):
We can get them after the tunnel is blown in.
You don't want to tangle with those dog added.

Speaker 24 (01:39:12):
Creatures, do you?

Speaker 15 (01:39:13):
No?

Speaker 3 (01:39:13):
No, no for los antos. No, But Senor, what are they?
They must be demons, for surely they are not of
this world.

Speaker 1 (01:39:21):
I agree with you, but they're not demons. Listen, that
doesn't tunnel is closed for good.

Speaker 21 (01:39:29):
I'll pay you.

Speaker 3 (01:39:30):
The temple is collapsing and the earth is she's shaking, Senor,
he's an earthquake.

Speaker 24 (01:39:35):
He that's only one place for us to go, and
that's straight up.

Speaker 1 (01:39:44):
The helicopter jumped a thousand feet, straight up, just before
the temple crashed on the spot where we had been,
And then we watched from a box seats by the
lost city crumbled in the ruins. The dynamite blast had
triggered off an earthquake, and the earthquake rocked the ground
like a man shaking a baby's.

Speaker 3 (01:40:01):
Senor, Senor, the jewels, the gold they are down there
under under many rocks.

Speaker 24 (01:40:08):
And how the dog headed creatures. Suppose they'd got loose
on the.

Speaker 1 (01:40:12):
World after being kids underground for thousands of years.

Speaker 3 (01:40:14):
Oh, I can only think of all that pressure. For
a little while, I was the richest man in the world.
I owned the lost city, pool of jewels. Now now
I own nothing half the things.

Speaker 1 (01:40:27):
Quiet down, I can bring back an expedition. We'll dig
in the ruins. The jewels will still be there. You see,
you see that is true. No I will be reached yet.

Speaker 15 (01:40:34):
No.

Speaker 3 (01:40:35):
I would buy myself three automobiles and twelve seat shirts.
I will smoke cigars all day long and have servants
to do everything.

Speaker 24 (01:40:42):
Hi, senor ruined.

Speaker 1 (01:40:46):
I am rude.

Speaker 21 (01:40:47):
What does it now be?

Speaker 24 (01:40:48):
That volcano he's coming to life. See the smoke. He's
coming from the ground. So you're quite higher.

Speaker 6 (01:40:54):
We are done.

Speaker 15 (01:41:02):
Well.

Speaker 1 (01:41:03):
That tider the dynamite triggered an earthquake, and the earthquake
opened up fissures leading far down to where the volcanic
fires had been banked for thousands of years. And by
the time we got ten miles away, that entire mountain
was blowing up in a vast spouting fire and ashes
and molten rock. But somewhere, somewhere down in the heart

(01:41:26):
of that inferno.

Speaker 15 (01:41:29):
Was the Lost.

Speaker 1 (01:41:29):
City, the city of the fire God.

Speaker 15 (01:41:35):
It would have made my reputation enough treasure to pay off.

Speaker 1 (01:41:42):
The national debt, and a howling mob of creatures you
wouldn't want to meet this.

Speaker 15 (01:41:49):
Side of hell.

Speaker 1 (01:41:54):
Well that's the story about the new volcano, and.

Speaker 15 (01:42:03):
Now you know what caused it.

Speaker 1 (01:42:06):
Would you like to know my theory about those creatures, Well,
it's this six or seven thousand years ago, this sold
Earth had some visitors, refugees.

Speaker 9 (01:42:18):
You might call them.

Speaker 1 (01:42:20):
Some of them settled in Egypt, some in Central America.
They brought some highly scientific skills with them, including the
secret of overcoming gravity. They ruled for a while, worshiped
as gods, and then died out, all except a few
who found inside an old volcano a spot just about

(01:42:41):
my call. The native priests managed to lock them in
behind that black door and captain Christmas. After the natives
died out, the dog people existed underground, living on mushrooms
and keeping their race.

Speaker 15 (01:42:55):
Alive on an animal level, a la gana. But here's
a tip for the army and the Air Force.

Speaker 1 (01:43:06):
When you land your first missiles on the moon, keep
your eyes open and your gun's ready because inside those
tremendous craters of the Moon, living far under ground, where
maybe there's still warmth and air, I have a hunch

(01:43:27):
you're going to be running into people the moon, people
who look a lot like us except for their heads.

Speaker 15 (01:43:45):
Suspense.

Speaker 22 (01:43:48):
You've been listening to The Black Door, starring Robert Reddick,
featuring Ralph Camargo and written especially for suspense by Robert Arthur.

Speaker 2 (01:44:02):
Suspence is produced and directed by.

Speaker 22 (01:44:04):
Bruno Zerato, junior music supervision by Ethel Hubert. Listen again
next week when we returned with Man Trapp, written by
John Roberts.

Speaker 2 (01:44:15):
Another tale well calculated to.

Speaker 15 (01:44:17):
Keep you in suspence.

Speaker 22 (01:44:22):
Listen to Carol Burnett and Richard Hayes weeknights on the
CBS Radio Network.

Speaker 5 (01:44:27):
Sixty four years ago in the Waning Days of Suspense.
Here on Classic Radio Theater with Wyatt Talks. If you'd
like to support the podcast, visit our web page Classic
Radio Dot Stream. We have items through sale there. You
can buy me a coffee. You can also find the
links to support us by purchasing professor Bees digested aid.

(01:44:49):
That's all there at Classic Radio Dot Stream. Use promo
code Wyatt to save ten percent and to support the program.
Up next on Classic Radio Theater, an episode Calling All Cars.

Speaker 32 (01:45:07):
Civil Defenses, Common Sense. This is Jonny James. After nuclear attack.
Our radio active fallout will be a potential threat to
every living thing. You can't hear, smell, or taste fallout.
Often you can't see it. So you must take shelter
and stay there until total it's safe to leave.

Speaker 5 (01:45:26):
By the way, in the show notes, I'm putting a
link to the Suspense Project if you want to hear
more about suspense and every episode of suspense and excellent
excellent fidelity and read the stories of radio's outstanding theater
of thrills. So that'll be in the show notes here

(01:45:48):
for the Suspense Project. Right now, though, we're going to
go back eighty nine years November nineteenth, nineteen thirty six
for an episode of Calling All Cars and the Tale
of the Corpse in the Red Necktie.

Speaker 6 (01:46:13):
Calling All Cars the copyrighted program created by the Rio
Grand the oil company.

Speaker 1 (01:46:21):
Los Angeles Police Calling All Cards, essentition all Los Angeles
County Sheriff's Cards, Broadcast one hundred and fifty six investigate
the nude body of a man found in Latigo Canyon. No.
Clues as to a dentity except one red necktie found
on his neck.

Speaker 6 (01:46:35):
That's all Rose and quizz. This broadcast marks the third

(01:46:55):
anniversary of Calling All Cars. For three concus years, the
solutions of actual crime cases have been thrilling. They dramatized
for the entertainment.

Speaker 39 (01:47:05):
Of millions of listeners.

Speaker 6 (01:47:07):
The Rio Grande Oil Company hopes you have enjoyed these
programs and that you will continue to enjoy many more.
If you have enjoyed them, it is primarily because they
are true. Truth is not only stranger, but more convinced,
fixing more convincing than fiction. Calling All Cars faithfully portrays
the temple of the modern war on crime. It is
your sheriff, you're chief of police, your district attorney, your

(01:47:30):
fire chief. Who is dramatized here. Their courage, their devotion
to duty, their efficiency is real. Calling All Cars is
not merely a play. It is a segment of life.
It gives you a vivid picture of what is done
in this modern world to make your daily goings and
coming safe, to guard what you own, protect what you cherish.
In these brilliant achievements, Rio Grandia is happy to be

(01:47:51):
playing a small but vital part. Rio Grande Cract gasoline
is used in more police cars, fire engines, ambulances and
other emergency equipment wherever it is so than any other brand.
Los Angeles, Oakland, Berkeley, Presno, Santa Barbara, San Diego, Metcopa,
the largest county in Arizona, and many many other citizen
counties have specified Rio Grande crack gasoline. Month after month.

(01:48:15):
You can buy from your independent Rio Grande dealer exactly
the same gasoline that these police cars use. If it
is sufficiently outstanding to be chosen time after time for
police cars, it should be the gasoline for you. And
now once again we present Chief James Davis of the
Los Angeles Police Department, Chief Davis.

Speaker 19 (01:48:35):
Good Evening friends.

Speaker 1 (01:48:37):
Tonight, another milestone rolls by as Calling All Cars enters
its third year of broadcasting. One hundred and fifty six
weeks have gone by since the initial broadcast. One hundred
and fifty six cases have been dramatized for the vast
listening audience. Tonight, I should like to express my appreciation
to you as the audience, for having made Calling All

(01:49:00):
Cars possible, and to my brother law enforcement agencies for
the willing cooperation at all times. And now I take
pleasure in presenting Captain a c jewel under Sheriff of
Los Angeles County, Captain Joel, Thank.

Speaker 39 (01:49:15):
You, Chief Davis.

Speaker 6 (01:49:16):
Good evening friends. There's an old saying, give give a
man enough rope, he'll hang himself. That is the theory
that we of the Lost Angus Sheriff's Office works on.
The man is innocent of a crime he has been
accused of, and is telling the truth and question he
should have no difficulty and give him the same answers

(01:49:36):
every time. But a man is lying, he has remember
every tiny thing he has said, which usually proves to
be too great a task for his mind. So we
give a man enough rope, or in other words, get
him to talk while we are making shorthand notes of
his conversation. Then we again all over again, ask the

(01:49:58):
same questions a little different order, and checking the original answers.

Speaker 39 (01:50:01):
Against the new one. And invariably, after.

Speaker 6 (01:50:05):
Pign this process a few times, the truth is certain
to come out. This is one of the many reasons
why once we get a gilly person and have a
little chance to use this effective method of questioning on them,
there's a little chance of their ending up anywhere but
where they belong in the penitentiary. December twenty eighth, nineteen

(01:50:31):
thirty one. Over the Santa Monica Mountains, huge purple rain
clouds move in from the ocean. Thunder mutters sullowly art.
Lightning stabs on the heaven to amitten. They lighting the tangled,
brush filled ravine that is Latigo Canyon. Then rain have
a blinding rain that sends a great torrent of water

(01:50:52):
roaring through the mountains to sweep trees, brush, massive boulders
before the end of the sea. On a small road
leading out of Ladigo Canyon, a model tea board zedan
crawl to a scuttering horn. Two men climb out, sink
up to their knees in the soft mud. We gotta

(01:51:15):
hurry the storms get from worse.

Speaker 19 (01:51:16):
Yeah, come on, don't give me a hand with him.

Speaker 6 (01:51:18):
Hopefully I'll take his leg.

Speaker 34 (01:51:20):
Hey, you're gonna leave the tie on them.

Speaker 39 (01:51:21):
Make you show a short show. Can't least any time?
Come on, all right, all right, carry him over here
by the cliff.

Speaker 3 (01:51:27):
Hurry, Oh, okay, this is all right now all the.

Speaker 8 (01:51:37):
Shall I throw his clothes over?

Speaker 2 (01:51:38):
Too hot?

Speaker 15 (01:51:39):
Now?

Speaker 39 (01:51:39):
Now we'll get rid of a mateus some way up
the road. Now let's get out of here. We gotta
hurry or we'll get caught here by the ring.

Speaker 6 (01:51:59):
Or two. The rain continues for two days. The Santa
Monica Mountains remains sprouted in a planket of ominous black clouds. Then,
as dawn breaks on the third day, the storm moves
back to sea, leaving a stillness broken only by the
monotonous dripping of water the occasional scream of a gull
wheeling high overhead. In the little shed of substation of

(01:52:23):
Malibu Canyon, deputy's Chapman and Nestor are preparing to drive
into Santa Monica Station when a car slides to a
skidding stop in front. A man climbs out, hurries to
the door.

Speaker 8 (01:52:32):
Looks like we got to.

Speaker 34 (01:52:33):
Visit his head.

Speaker 39 (01:52:34):
Yeah, hurries too.

Speaker 6 (01:52:36):
He view the sheriff.

Speaker 34 (01:52:38):
Well, not exactly the whole sheriff, but I'm in charge here.

Speaker 6 (01:52:42):
There's a body up the road, a dead body, man.

Speaker 40 (01:52:45):
Yeah, it hasn't any closer.

Speaker 34 (01:52:47):
Wait a minute, mister, take it easy, blims.

Speaker 6 (01:52:50):
I'm a dog.

Speaker 19 (01:52:51):
I had a breath again, dog, very.

Speaker 8 (01:52:53):
Well, this is a body in the road.

Speaker 40 (01:52:54):
Yeah, Uvanladigo Canyon, The heaven any closers, So you said
I hadn't, and Brown did one of the boys working
on the road with me, but he said he didn't
have any close.

Speaker 34 (01:53:05):
I think we better go out there and take a
look at you.

Speaker 40 (01:53:08):
I can take you back to the camp in my
car if you want not. The fellow that han it's
waiting up.

Speaker 34 (01:53:13):
We'll follow you in our car, save you the trip back.

Speaker 6 (01:53:15):
Brown says it it looks like murder. What made him
say that?

Speaker 40 (01:53:19):
Because the body didn't have any clothes except the neck
tie round his neck.

Speaker 41 (01:53:23):
All right, you go ahead and we'll follow, and don't
try to break any speed records on these roads.

Speaker 6 (01:53:26):
It's too slippery. I want you. You just found it. So,
with Deputies Nestro and Chapman following in their car, the
breathless road Foreman drives to the camp. There they pick
up Brown, the man who found the body, and drive
on up the little road into Latigo Canyon. It's just

(01:53:49):
up the road aways round that bend.

Speaker 34 (01:53:51):
Sure we can get all the way in the car.

Speaker 6 (01:53:53):
Yeah, the road's all right, you can make it.

Speaker 19 (01:53:55):
How'd you happen to find the body?

Speaker 31 (01:53:56):
Brown?

Speaker 6 (01:53:57):
Well, I was walking along, inspecting the road bed to
see what damnon, it's the rain and dumb. All of
a sudden, I saw a silver pencil lying right in.

Speaker 8 (01:54:03):
Front of me.

Speaker 6 (01:54:03):
I picked it up, and it seemed kind of queer
that a pencil should be there, So I started looking around.

Speaker 34 (01:54:07):
Got the pencil with you, Yes, sir, right here. Good,
might be some use of identification.

Speaker 6 (01:54:12):
So anyway, when I was looking around, I noticed something
white down on the side of the ravine, and hey, hey,
wait a minute, here's the place right here.

Speaker 39 (01:54:21):
The body's down that little hill there.

Speaker 6 (01:54:22):
I'll show you right over here.

Speaker 39 (01:54:25):
M nice cheerful spot, isn't it.

Speaker 6 (01:54:27):
Yeah? Yeah, see you can see his legs sticking out.

Speaker 8 (01:54:30):
Of that crack there.

Speaker 34 (01:54:30):
It's a body, all right, come on, let's get down her.

Speaker 6 (01:54:36):
Out of that right there. Yeah yeah, huh, naked as
the day was born, except for one thing, that red
tie around his neck. You gonna try to move him, No,
I think we better leave him right where he is
for the time being.

Speaker 39 (01:54:53):
The way that tie is.

Speaker 34 (01:54:55):
Pulled tight leads me to believe that maybe mister Brown's
not so wrong about his murder. Idea, we better go
back and report this the Sheriff's office. Joe Captain Bride
will want to see it before it's moved. Come on,
not abide by phone.

Speaker 6 (01:55:12):
Of the gruesome discovery. Captain Bright, in charge of the
homicide detail, proceeds, directed to the scene, examines the body.

Speaker 19 (01:55:18):
Now, thing's been tension. He was found now, sir, Hi, boys,
set up your camera and shoot this from all angles.

Speaker 8 (01:55:24):
Yes, sir, come on, hell, give me your head here.

Speaker 19 (01:55:26):
Any signs identification on him?

Speaker 34 (01:55:27):
He didn't look for any, Captains, but you'd want to
do that.

Speaker 19 (01:55:30):
And then let's see. We got to figure away getting
him out of here.

Speaker 41 (01:55:33):
It's gonna be a job, sir.

Speaker 6 (01:55:35):
Probably have to use ropes.

Speaker 19 (01:55:36):
Yeah, it looks like it. You got those shouts at boys?

Speaker 6 (01:55:39):
All set?

Speaker 19 (01:55:40):
Captain good enough, Rush them into town and get some
prints made as soon as possible. Tell the boys in
the armpial Din as soon as I can.

Speaker 34 (01:55:46):
Yes, come on, let's go.

Speaker 21 (01:55:48):
Now.

Speaker 19 (01:55:49):
All we have to do is figure out how to
get a block and tackle rigged up here, and we
can get started trying to identify the buddy, both of
which are liable to prove tough jobs.

Speaker 6 (01:56:04):
And a tough job it proves to be. But at last,
the corpse is raised to the road above and placed
in an ambulance. Then in a three car procession headed
by Captain Bright, the cavalcade drives to Los Angeles. After leaving,
the body still flows in the red necktire the County morgue.
Captain Bright begins the genious task of identifying it in
his possession. Or one silver pencil, one belt buckle bearing
the initial E, and the red necktire the only clues

(01:56:25):
bound of the scene. Or two days people file through
the morgue look at the dead man, but at the
end of that time there still is no lead as
to who he was. And then three days after the
discovery of the body, another road worker, William Brandenberger, reports
the bundle clothes found two miles up Ladergo Canyon. Acting
upon this report, Deputy share of Warner rushes to the spot,
makes a quick examination.

Speaker 42 (01:56:49):
Trousers, code, first shoes, underwear and heath complete wardrobe.

Speaker 34 (01:56:54):
Yeah, and here's something else I picked up while I
was waiting for you, the flickers parkluod wrench.

Speaker 6 (01:56:58):
Let me see.

Speaker 42 (01:57:00):
And that's what it is, all right, from the looks
of it. It wasn't used to remove a spark plug
the last time.

Speaker 29 (01:57:05):
And what do you mean?

Speaker 39 (01:57:06):
Look at the end of this here. See these dark.

Speaker 42 (01:57:09):
Brown stains, and notice how it's broken here unless time.
As my guess, those stains were made by blood, human blood.

Speaker 34 (01:57:19):
Do you think someone was hit with it?

Speaker 42 (01:57:20):
That's right, MutS More, I think I have a pretty
good idea who that someone was. You better come back
to town with me if you can spare the time.
I've got an idea we can find the person these
clothes fit, and.

Speaker 6 (01:57:36):
Deputy Sheriff Barner proved to be right when the closure
found to fit the mysterious corpse in the County Morgue,
a laundrymark found of the sobs gives the officers their
first real lead to work on. And, losing no time,
they set out on the tour of all the laundries
in town, hoping to find the one that will have
a mark coinciding with theirs. But after two days intensive canvassing,
no such place as found them. Acting on a sudden hunch,
Captain Ate C. Brewster the Santa Monica Shaff's office with

(01:57:58):
Deputys F. P. Dickerson and Oh clown, I'll turn from
the laundryes to local pickup stations, and the very first
place they go in Sawtel their luck changes by sure, sure,
I know them closed they little Jack urbins, I know
them anytime you know where the servan lives.

Speaker 19 (01:58:12):
Cure over the soldier's home.

Speaker 6 (01:58:14):
He's a patroot. Anybody over there knows them close too.

Speaker 34 (01:58:16):
Everybody knows little Jack.

Speaker 6 (01:58:18):
Thanks Alon, Oh I am I gonna ask you a
few questions a little later.

Speaker 19 (01:58:21):
You hear all the time, sure thing, anytime you want me,
I'm right here.

Speaker 6 (01:58:24):
That's fine. Come on, boys, let's take a ride over
to the soldiers home.

Speaker 8 (01:58:33):
Yes, those are urbands closed, all right? What's the trouble?
Jack and some kind of difficulties?

Speaker 6 (01:58:39):
I'm afraid so captain goes. In fact, he's dead, murdered.

Speaker 8 (01:58:42):
Plot little Jack Urban murdered. Way, that seems impossible. He
was liked by everybody.

Speaker 6 (01:58:48):
Amber the last captain. His body was found out in
not to Go Canyon three days ago. Both and no
more than a neck time. We found these closed up
the roadways.

Speaker 8 (01:58:55):
Well, who did it?

Speaker 6 (01:58:56):
That's one of the things we'd like to know. You
couldn't make any suggestions, good new No, I can't.

Speaker 8 (01:59:02):
Think of anyone who'd do it.

Speaker 19 (01:59:03):
Any particular spot where he might have spent a lot
of time, you know, pool Hall spots like that.

Speaker 8 (01:59:08):
There's Jack Showers store down the road. It ways, that's
where some of the men spend a good eat of time.

Speaker 19 (01:59:12):
No any of us particular pals here at the home, No,
I don't think I do.

Speaker 8 (01:59:15):
You see, I don't get a chance to see much
of them in my duties.

Speaker 6 (01:59:18):
And that's of course, captain. Oh boys, we might as
well look this Jack Showers place over there's a chance
we might get to leave. Goodbye, captain, and thanks.

Speaker 8 (01:59:26):
Let me know if you find anything out with you.
I'd certainly like to get my hands.

Speaker 6 (01:59:29):
And whoever did they sound, you'll worry if we find
the person, will take care of him, all right, very
good care, Come on, boys, let's go.

Speaker 8 (01:59:40):
Bye.

Speaker 19 (01:59:40):
Golly, that's too bad.

Speaker 6 (01:59:41):
They're a shame, that's what it is.

Speaker 43 (01:59:43):
Why that poor old devil wouldn't have chance to fight
of any sort?

Speaker 1 (01:59:46):
He was weak?

Speaker 6 (01:59:47):
Well, miss, when was the last time you saw erman?

Speaker 8 (01:59:50):
Last time?

Speaker 43 (01:59:51):
Well, let's me see for some time around noon and
the twenty eight I think, yeah, yeah, twenty eight, I remember,
because it was just a couple of days there.

Speaker 19 (01:59:59):
Christmas to anyone at that time?

Speaker 43 (02:00:01):
Oh sure, he always had a couple of people with him,
friendly sort of cushion, no matter of fact. He went
away with two young fellows last time.

Speaker 1 (02:00:06):
I saw you.

Speaker 42 (02:00:07):
Did he have any money with him?

Speaker 43 (02:00:08):
Yes, yes, I remember changing a couple of tenders for him.
She'd always have a lot of money on him.

Speaker 19 (02:00:12):
Had a great big diamond stickpin and a diamond ring to.

Speaker 6 (02:00:15):
Tell me ours was a little jack and drinker. I
mean a heavy one.

Speaker 43 (02:00:20):
He wasn't no seat toddler that day. I remember he
was pitt teoozie. I had to ask the fellows with
him to take him out before he got into trouble.
You know who those fellows were, No one of them
named Hendricks. John Hendrick thinks it is good.

Speaker 6 (02:00:33):
Will run that down right away where he lives.

Speaker 43 (02:00:35):
Well, I heard him say something about the street in Pasadena,
big streets, something like that, it's Burrow.

Speaker 6 (02:00:41):
And that's plenty clown. Yes, you better get on that
right away. Go to Pasadena and find that John Hendrix
on Lake Street. You find him, bring him in with him. Okay,
I'm gonna stay around here and question a few more people.
See back in down right. So the first real progress
want the bewildering enigma of Ladigo Canyon. While wit Cloud

(02:01:05):
speaks to Patadena. In search of the perspective, John Henvicks,
Brewster and Dickerson ask innumerable questions of inmates the whole
but as a result they learned that a man named
Hugh Thomas owned an old Cadillac car, the same kind
and years the one the spark plug wrench.

Speaker 39 (02:01:18):
Found that the canyon is bronzed.

Speaker 6 (02:01:19):
With this information in hand, and they lose no time
in picking Thomas up and bringing him to Captain Bright's
office for questioning.

Speaker 39 (02:01:25):
So, then, mister Thomas, thank you.

Speaker 19 (02:01:27):
Oh what's your full name?

Speaker 6 (02:01:29):
You Samuel Thomas? When you knew for a living well,
I am an automobile mechanic by trade. I had no
compensation from the soldiers home.

Speaker 8 (02:01:38):
Though, I said I live or Have you ever been
in j O Thomas?

Speaker 39 (02:01:41):
Yes, sir, once in a check.

Speaker 1 (02:01:43):
Church here in Ela.

Speaker 39 (02:01:44):
I'm on probation right now.

Speaker 34 (02:01:46):
Any other times a few times for vaguancy, you know, yes, sir?

Speaker 19 (02:01:51):
Do you own a car?

Speaker 8 (02:01:52):
Yes?

Speaker 19 (02:01:53):
No, candle lag that's right, mister Thomas. Have you ever
seen this spark plug wrench before?

Speaker 23 (02:01:59):
Why? Let me look.

Speaker 19 (02:02:01):
It's from the same maker your car. I know that
that's your range.

Speaker 6 (02:02:07):
Well, it's a matter of fact, it is I can
tell from this little broken piece here.

Speaker 8 (02:02:13):
Where'd you get it? Don't you know?

Speaker 39 (02:02:14):
No, sir, that's why I'm asking.

Speaker 19 (02:02:16):
I was picked up off the road about two miles
from home. We found the body of little jack Er
one jack Er.

Speaker 8 (02:02:21):
Yeah, you know, I'm sure anyway about it?

Speaker 23 (02:02:24):
To whome I know.

Speaker 19 (02:02:25):
Anything about his death?

Speaker 39 (02:02:26):
No, sir, I didn't even know he was dead.

Speaker 19 (02:02:28):
He was murdered, Thomas, and we have a pretty good
idea that it was this range that did the job.

Speaker 6 (02:02:34):
How do you think of that?

Speaker 39 (02:02:35):
You mean my range?

Speaker 8 (02:02:37):
That's right, Well, I don't know anything about it.

Speaker 39 (02:02:39):
Good gosh, you don't think I had something to do.

Speaker 23 (02:02:41):
With it, do you.

Speaker 8 (02:02:43):
Well?

Speaker 19 (02:02:43):
It doesn't look any too good for me.

Speaker 8 (02:02:44):
It doesn't.

Speaker 6 (02:02:44):
But I didn't have anything to do with it, honest.

Speaker 19 (02:02:47):
You're going to stick to that, of course, it's true,
and my friend will have to hone. You own suspicion
of murder, and so we make a little more investigation
than Thomas.

Speaker 8 (02:02:53):
But I didn't even know he was dead.

Speaker 6 (02:02:54):
This is the first time I've heard of it.

Speaker 19 (02:02:56):
I'm sorry, Thomas. He might be the most innocent man
in the world at the time being. We explain this
wrench I'll have to hold you in custody.

Speaker 6 (02:03:04):
Oh, that's all. Hugh Thomas is placed in jail, still
denying any knowledge of the crime, and Captain Bright, Brewster,
Deputy's Cloud, and Differson renew their investigation. Then in Pasadena,
Cloud locate the man who admits his name is Hendricks
but denies any knowledge of the crime. In Captain Bright's office,

(02:03:26):
the man questioned him, your name is John Hendricks. That's right.
I understand you're quite a friend of little Jacker. When
not at the soldier's home, you must have the wrong guy. Then,
I don't know any little Jack anybody. You don't know
that little cripple fellow out there.

Speaker 39 (02:03:41):
There's a lot of cripple plots there.

Speaker 6 (02:03:42):
That doesn't answer my question. I asked if you knew
little Jack Erwin, and I told you, no, it's not enough. No,
not that A long ways about Jack Sharp?

Speaker 29 (02:03:52):
You know him?

Speaker 6 (02:03:52):
Don't you sure hang around that much part of the time?

Speaker 19 (02:03:56):
Yeah?

Speaker 6 (02:03:57):
Were you in there the twenty at the last month?

Speaker 39 (02:03:58):
How should I know? I can't remember that.

Speaker 6 (02:04:00):
You'd be a lot better off if you made an
effort to remember that one.

Speaker 39 (02:04:02):
Oh well, let me stay the twenty eight. Yeah, yeah,
I think I won't.

Speaker 6 (02:04:09):
That's better anyone else with him?

Speaker 19 (02:04:12):
Sam?

Speaker 6 (02:04:12):
That's all Sam?

Speaker 40 (02:04:13):
Who?

Speaker 6 (02:04:13):
Sam Schwartz?

Speaker 1 (02:04:14):
A guy?

Speaker 7 (02:04:14):
I know?

Speaker 6 (02:04:15):
A little Jack with him?

Speaker 19 (02:04:16):
I told you about a dozen times.

Speaker 34 (02:04:17):
I don't know any little Jack.

Speaker 6 (02:04:18):
You're getting pretty hot under the collar for no reason.

Speaker 39 (02:04:20):
Well, I don't like to be pinned down with a
lot of questions.

Speaker 6 (02:04:22):
Why you hard to think of answers to them?

Speaker 39 (02:04:25):
No, No, it's just annoying, that's all.

Speaker 6 (02:04:27):
Was this Sam Swartz drinking with anyone beside you? Now?

Speaker 39 (02:04:29):
I guess he was. I I don't remember.

Speaker 6 (02:04:32):
Did you see an old man with him? I'm all
about one leg shorter than the other eye, I don't know.
Did you know Little Jack had been killed?

Speaker 39 (02:04:39):
I read about some guy being killed last week? That
the guy you mean?

Speaker 1 (02:04:44):
Yeah?

Speaker 6 (02:04:45):
Little Jack?

Speaker 12 (02:04:45):
Her?

Speaker 39 (02:04:45):
Well, all I know is what I read in the paper.

Speaker 6 (02:04:48):
How the paper say was killed?

Speaker 39 (02:04:50):
Something about his being strangled with his tie.

Speaker 6 (02:04:53):
That's all you know about little Jack? Yeah?

Speaker 19 (02:04:55):
Where can I find this swartzman?

Speaker 6 (02:04:56):
A doctor?

Speaker 19 (02:04:57):
I don't know you?

Speaker 8 (02:04:57):
Are you you hurt me?

Speaker 6 (02:04:58):
I said, I don't know all I Hendrix. I'm not
gonna waste any more time with you. When you decide
to remember a few things and word to me until then.
I've reserved a nice cell for you upstairs. Take him away.
So the second suspect is lodged in jail and the
investigation resumed. But an hour after Hendrix had been locked

(02:05:19):
in his cell, a report comes in from Samuel Schwartz
stating that John Hendrix had stolen his car. Faced with
this new development, Schwartz has brought in for questioning.

Speaker 19 (02:05:27):
Oh, it was very convenient of you, to Schwartz calling
in at that moment.

Speaker 34 (02:05:31):
I mean, what do you mean convenience.

Speaker 19 (02:05:33):
Well, we were just going out to look for you.
I didn't know quite where to begin, and then suddenly
there you are.

Speaker 6 (02:05:38):
Was the idea looking for me.

Speaker 19 (02:05:40):
Your friend Hendrix mentioned you a few times, and we
were questioning him. Thought you might be able to.

Speaker 6 (02:05:44):
Clear up a few things.

Speaker 19 (02:05:44):
Hendrix ain't my friend any longer.

Speaker 8 (02:05:46):
He stole my car.

Speaker 19 (02:05:47):
He used to be your friend. And right, yeah, I
guess so, Schwartz, I want to know where you were
about noon and the Scember the twenty eighth. Whoa, there
was a lot of places where, For instance.

Speaker 6 (02:05:58):
Oh, drove around town, stopped over at Hendrick's sister's house
for a while, and what time you to go to Jack.

Speaker 19 (02:06:05):
Showers that place? Did Hendrix say?

Speaker 39 (02:06:08):
We were in Charles's place?

Speaker 19 (02:06:09):
It doesn't matter what Hendrick said.

Speaker 6 (02:06:11):
What do you say?

Speaker 39 (02:06:12):
Well, I don't know what time was we were there
for a while.

Speaker 8 (02:06:16):
Were you with a little jack?

Speaker 19 (02:06:17):
I wouldn't No, I was with Hendrick. But you bought
at a jack a couple of drinks, didn't you?

Speaker 39 (02:06:20):
No, sir, I don't remember that.

Speaker 19 (02:06:22):
Where does Henrick's sister live, Schwartz?

Speaker 34 (02:06:24):
I don't see why I should tell you that.

Speaker 6 (02:06:25):
What she got to do with all this, I don't
know yet.

Speaker 19 (02:06:27):
I wanna know where she lives.

Speaker 39 (02:06:29):
Well, she's got a little place over at one fifteen, Bobo.

Speaker 19 (02:06:33):
One fifteen move, Uh huh. All right, Schwartz, I'm going
to have to keep you here for a while. Then
I talked to her. Maybe she can straighten things out
for us.

Speaker 6 (02:06:41):
I don't see how she.

Speaker 8 (02:06:44):
Said.

Speaker 19 (02:06:45):
All you wanna say? Yeah, all right, Bruce, don look
this man is suspicion a murder, suspicial murder. What are
you trying to pull here? Nothing, mister Schwartz, nothing at all.
You just go along with Brewster here. I'll tell you
all about it later.

Speaker 6 (02:07:02):
Oh, Sam Schwartz, Sis put away in the County Jail
has number three suspect and Deputy Dickerson is sent to
the Bauville Street adress, where you interviews first the landlady,
then Hendrick's sister.

Speaker 8 (02:07:13):
Oh, Missus Clifton, I've just been talking to your landlady,
Missus Doyle, and she tells me that you get something
on your mind that you ought to tell me.

Speaker 27 (02:07:19):
Well, I don't know what to do. I feel that
I should tell you, and yet it's it's an awful
thing to have on my mind if I do.

Speaker 8 (02:07:27):
If you're hiding evidence of a crime, Missus Flifton, who
weigh a lot heavy on your mind?

Speaker 19 (02:07:30):
If you don't DEVI it, What can I do, Missus Doyle,
what's the right thing to do?

Speaker 6 (02:07:34):
Sure?

Speaker 40 (02:07:35):
And you know how I feel about it, Nellie, You've
got to get a job.

Speaker 27 (02:07:37):
With you, all right.

Speaker 39 (02:07:40):
I guess it's best.

Speaker 8 (02:07:40):
Hey, take this down, Lynch Goya.

Speaker 27 (02:07:44):
My brother John came into my room the other night
woke me up. He was terribly excited and scared, and
he sat on my bed and told me.

Speaker 8 (02:07:54):
Oh, Missus Flifton, he told you what.

Speaker 27 (02:07:56):
Well, it's it's hard to do this to my own brother.

Speaker 19 (02:07:59):
Of course, but it's the right thing to do, all right.

Speaker 27 (02:08:02):
He told me that he was afraid, and he asked
me if I had read about the murder of the
old man in the papers.

Speaker 19 (02:08:08):
Yes, I told him my head.

Speaker 27 (02:08:10):
And then I looked at his eyes, and I knew
what he was afraid of. I knew right then, and
I asked him if he'd done it.

Speaker 19 (02:08:18):
He said, he said yes, he and Sam eating Sam's worts.

Speaker 2 (02:08:24):
Yes.

Speaker 27 (02:08:24):
And I asked him why he had done it, and
he said that he and Sam had been over at
some place drinking with this man, and that the man
got drunk and the proprietor asked him to take him out,
and they did out in their car and they started
riding around to sober him up. Then he he got
ABUSI him and started trying to steer the car off
the road and a lot of things, and John picked

(02:08:46):
up a wrench from the floor and hit him, not hard,
but just picked quiet him.

Speaker 6 (02:08:51):
Ah.

Speaker 8 (02:08:51):
What happened then?

Speaker 34 (02:08:52):
Well?

Speaker 27 (02:08:53):
John said that they drove around some more and then
this man started getting mean again, so they stopped the
car and they start to get out.

Speaker 6 (02:09:01):
There was a.

Speaker 27 (02:09:02):
Struggle or something, and John hit him again. Then this
Sam grabbed his tie and he pulled a tight until
the man stopped moving.

Speaker 8 (02:09:10):
Sam did that part of it?

Speaker 27 (02:09:11):
Well, that's what John told me, And he said they
took his clothes off and drove down to some canyon,
threw him out of the car, and later they threw
the clothes out.

Speaker 8 (02:09:22):
No, Missus Skipton, will you be willing to sign a
statement of what you've just told me?

Speaker 6 (02:09:26):
Who?

Speaker 8 (02:09:28):
Yes, yes, I will thank you, and if you will
witness it, Missus Doyle, I won't bother you anymore, he says,
all we need to complete our case.

Speaker 4 (02:09:34):
What will they do to John?

Speaker 19 (02:09:35):
Well, I can't say, ma'am. That'll be entirely after the
judge and the jury. I might hazard a guess that
it wouldn't mean anything, so I won't try it.

Speaker 8 (02:09:42):
Well, goodbye.

Speaker 41 (02:09:43):
Thanks.

Speaker 6 (02:09:50):
Armed with a full confession from Hendrick's sister, the first suspect,
Hugh Thomas, is released and Captain Bright fields the evidence
strong enough to bring the man to trial. Suddenly, in
the midst of it, a sudden new development throws the
court room into confusion. George Morgan, the prisoner of the
County Jail on charges of murder. Allw's attorney Cooper in
Wyshi approacher to his cell and makes a starting statement.

Speaker 41 (02:10:12):
You guys are trying to hang the wrong guy for
that uh winch job?

Speaker 19 (02:10:15):
What do you mean by that?

Speaker 30 (02:10:16):
More?

Speaker 34 (02:10:16):
That's what I said.

Speaker 6 (02:10:18):
Those fellows didn't do it.

Speaker 8 (02:10:19):
I did?

Speaker 19 (02:10:20):
You did?

Speaker 6 (02:10:20):
Sure?

Speaker 41 (02:10:21):
Me and a friend was driving a car and we
ran over him. We were scared to report it, so
we drove him out to a place and throw him off.

Speaker 6 (02:10:27):
You and who else? Guy? I know what's his name?

Speaker 41 (02:10:30):
His name I don't remember.

Speaker 19 (02:10:33):
Oh yeah, yeah, Keller, that's it.

Speaker 6 (02:10:34):
Who was driving the car?

Speaker 8 (02:10:36):
He was Keller.

Speaker 6 (02:10:37):
He didn't see the guy until we hit him. Where
were you when you Hiti Morgan got by the house
Soldier's home on the road dead? And where was the
place you threw the money? And I know exactly there
was a typical mountain road down by the beach. You're
on the same tank with John Henrick's on you.

Speaker 19 (02:10:50):
Yeah, what's that got to do with it?

Speaker 6 (02:10:52):
How much did he pay you for this? Say? What
are you talking about?

Speaker 41 (02:10:55):
I'm making a confession to save some innocent guys from
hanging that so out put he suddenly to.

Speaker 6 (02:10:59):
Go up on the murder charge. You're in four now, Aunt, Morgan.
I guess the one more murder wouldn't make much difference
to you.

Speaker 19 (02:11:05):
I don't get it all right.

Speaker 6 (02:11:06):
I'll put it in pliny words. You and Hendrix have
been together in the same tank somewhere other Hendrix has
talked to you, and they're taking the rap for him.

Speaker 19 (02:11:13):
Isn't that run No, that's not right.

Speaker 41 (02:11:15):
It seems to me this is a pretty funny place
when a guy can't even confess to or kill him
without being handed the third degree.

Speaker 6 (02:11:32):
But when Confessor Morgan is questioned closely as to the
details of the crime, he becomes so confused that it
is obvious he is lying. So Hendrix and Schwartz are
tried and Judge Butcher Boren's caught on charges of murder
and robberies. He got eleven thirty On the morning of
March nineteen, three months after the brutal slaying.

Speaker 39 (02:11:46):
In Ladigo Canyon.

Speaker 6 (02:11:47):
The jury files in and the verdict to the court clerk.

Speaker 8 (02:11:55):
Will the clerk meet him very please?

Speaker 34 (02:11:57):
We the jury find the defendant guilty of murder here
is the first degree, and recommend life in prison.

Speaker 6 (02:12:17):
Sam Schwartz and John Henricks were sentenced to San Quentin
for life with an added clause stating that no parole
should be given. So, through the work of Captain Bright,
Deputies Brewster, Dickerson, and Cloud, the brutal slaying of little
Jackerwin was solved and the perpetrators placed in the penitentiary
for as long as they shall live. In our three

(02:12:37):
years association with law enforcement agencies, we have developed profound
respect for the efficiency of the men on the firing
line who guard your life and property against fire, accidents
and crime. They take no chances of failure in the
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(02:13:00):
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(02:13:21):
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Speaker 1 (02:14:02):
Also of the police, Calling All Cars Attention all Los
Angles County Sheriff's cards. The cancelation broadcast one hundred and
fifty six regarding.

Speaker 6 (02:14:09):
A body found in Latigo Canyon.

Speaker 1 (02:14:12):
This case has now been solved.

Speaker 6 (02:14:14):
That's all rosen quiz. Your narrator, Frederick Lind's laving you

(02:14:53):
good night for the Rio Grande Oil Company.

Speaker 5 (02:14:56):
Only broadcast on the West coast of the United States,
because that's the only place that Rio Grande gasoline was available.
Calling All Cars eighty nine years ago, November nineteenth, nineteen
thirty six, Here on Classic Radio Theater with Wyatt Cocks up. Next,
let's see what's going on with Claudia.

Speaker 15 (02:15:16):
And David.

Speaker 12 (02:15:24):
Lesson and learn through civil defense.

Speaker 2 (02:15:26):
This is Johnny Cash.

Speaker 12 (02:15:28):
I'd like all of you to remember that America can
withstand enemy attack if we support the emergency plans of
our community and learn to help ourselves. Make sure you're prepared.
Contact your local civil Defense office today.

Speaker 5 (02:15:43):
Thank you, Johnny. Now an episode of Claudia. This goes
back seventy eight years to November nineteenth, nineteen forty seven.
In the story of the opera tickets.

Speaker 25 (02:15:54):
Your Coca Cola bottler presents Claudia. Claudia based on the
original stories by Rose Franken, brought to you transcribed Monday
through Friday by your friendly neighbor who bottles Coca Cola.

(02:16:18):
Relax and while you're listening, refresh yourself.

Speaker 6 (02:16:22):
Have a coke.

Speaker 23 (02:16:29):
And now Claudia.

Speaker 9 (02:16:42):
Hey, here's the lady of the house in the lady
of the house is in here?

Speaker 21 (02:16:47):
Where is here? In the bedroom?

Speaker 20 (02:16:49):
Where'd you think I could think? In the kitchen and
the cupboard under the piano. We haven't got in the bathtub. Hi, Hey,
what are you doing?

Speaker 18 (02:16:57):
I'm starting to undress?

Speaker 21 (02:16:58):
That was the general impression, and that I got why.

Speaker 18 (02:17:01):
Because I was dressed up.

Speaker 20 (02:17:02):
Oh, that is something you have to do before you undress. Yes,
I followed that far, but I still don't get it
at this time of day. Say you are I'm sick
or something me sick? Sure you haven't picked up that
round robin cold your mother and I have?

Speaker 21 (02:17:17):
Oh, not a sniffle. I never catch cold, you know that.

Speaker 20 (02:17:19):
Don't boast you will if you stand around in a
slip like that. I still don't know why you're undressing.

Speaker 1 (02:17:26):
I'm not anymore undressing up again.

Speaker 2 (02:17:28):
I was just rehearsing.

Speaker 8 (02:17:29):
Mm.

Speaker 21 (02:17:29):
Sounds like a fire drill timing yourself.

Speaker 18 (02:17:32):
Nope, I was just seeing how I looked in an
evening gown.

Speaker 21 (02:17:34):
You look right nice in an evening gown. You're going somewhere.

Speaker 18 (02:17:37):
Got a date?

Speaker 23 (02:17:38):
Oh, that's good.

Speaker 18 (02:17:39):
I think it's gonna be.

Speaker 21 (02:17:40):
Very good with uh anybody I know.

Speaker 1 (02:17:43):
Mm. He's tall, handsome, very masterful, and I'm very much in.

Speaker 26 (02:17:48):
Love with him.

Speaker 15 (02:17:49):
That's nice.

Speaker 21 (02:17:51):
Now, what's up for tonight?

Speaker 34 (02:17:52):
Oom?

Speaker 1 (02:17:53):
Nothing?

Speaker 6 (02:17:54):
Who would you like to do?

Speaker 21 (02:17:55):
Nothing? But you said we had a date.

Speaker 18 (02:17:57):
Oh didn't I tell you?

Speaker 21 (02:17:58):
The date isn't tonight, it's tomorrow. You haven't told me
anything up to this moment. That makes sense.

Speaker 9 (02:18:03):
I'm sure I told you.

Speaker 21 (02:18:05):
Over the phone this afternoon.

Speaker 18 (02:18:07):
Oh no, that's right.

Speaker 37 (02:18:07):
When I called your office you were out.

Speaker 18 (02:18:09):
I I did mention it to.

Speaker 21 (02:18:10):
Roger and Roger was out when I got back to
the office.

Speaker 18 (02:18:13):
Now suppose you bring me up to date, Julie send
his tickets to the.

Speaker 21 (02:18:17):
Theater, then we have got a date for the night.

Speaker 6 (02:18:19):
I didn't say for the night.

Speaker 30 (02:18:20):
It's for tomorrow night.

Speaker 21 (02:18:21):
Oh, and that's why you were dressing up when I
came in.

Speaker 6 (02:18:25):
I wasn't dressing up.

Speaker 25 (02:18:27):
I was dressing on.

Speaker 18 (02:18:28):
I mean I was undressing.

Speaker 20 (02:18:29):
I was just trying on my gown to go to
the theater tomorrow night. From a long experience of looking
gift horses in the mouths, people usually give away tickets
to the theater because they know it's a dull show.

Speaker 18 (02:18:41):
Oh, it couldn't be that.

Speaker 27 (02:18:42):
Julie told me they'd got mixed up and they had
tickets to the horse show tour or something, and.

Speaker 21 (02:18:46):
They would rather look at horses because it would be
more fun. What show Tistan Tristan and it's soldest.

Speaker 20 (02:18:54):
That's what I thought you said, m Look, Claudia, Uh,
Tristan is an opera. I know you don't call going
to the opera going to a show. Come right out
with it, like a man, say opera right off. It's
one of those times when it's permissible to call a
spade a spade.

Speaker 2 (02:19:11):
Don't you like music?

Speaker 21 (02:19:13):
I love music?

Speaker 9 (02:19:14):
Well, don't you like Tristan?

Speaker 21 (02:19:15):
Then I love Tristan? Well, then what I do? Not
like the opera?

Speaker 9 (02:19:20):
Oh but that's where they play Tristan.

Speaker 21 (02:19:24):
I mean, if you like Tristan, that's where you're here,
not me, my docky.

Speaker 20 (02:19:28):
I take my Tristan on the phonograph or on the radio.
But then you can't see it exactly. My sweet music
was meant to be heard, not seen. Have you ever
noticed at the opera how people sit with their eyes closed?

Speaker 21 (02:19:40):
Real music?

Speaker 17 (02:19:41):
Love?

Speaker 1 (02:19:41):
Is that how they enjoy the music?

Speaker 21 (02:19:43):
No, darling, that is so that they will not enjoy
it less.

Speaker 20 (02:19:46):
By closing their eyes they manage to shut out the
image of a three hundred and sixty pound Tristan pouring
out his love to a three hundred and eighty pounds
of solders.

Speaker 18 (02:19:56):
Oh all opera stars aren't fat?

Speaker 10 (02:19:58):
Are they?

Speaker 7 (02:19:59):
No?

Speaker 23 (02:20:00):
All of them?

Speaker 21 (02:20:01):
Well, then come on, be a gamed.

Speaker 18 (02:20:03):
They take a chance. Maybe archers down and the soldo
will be nice and romantic tomorrow night.

Speaker 21 (02:20:08):
There isn't a chance. Are these the tickets on the dresser?

Speaker 23 (02:20:12):
Yup?

Speaker 4 (02:20:13):
Oh?

Speaker 21 (02:20:14):
What now? Worse and more of it. These are box seats.

Speaker 32 (02:20:18):
Isn't that the best?

Speaker 21 (02:20:19):
There couldn't be anything worse. In the first place, there's
the chairs.

Speaker 18 (02:20:23):
What's wrong with the chairs?

Speaker 21 (02:20:25):
Little spindly gold things, and your leg goes to sleep.
And then there's the people. What's wrong with the people.

Speaker 20 (02:20:31):
Everything's wrong with the people. People who sit in boxes
sit there not to hear music, but to be seen
hearing music. And then they're not sound asleep, and they
sound asleep and snoring, and nice little upper class snores.

Speaker 21 (02:20:45):
If they're not doing that, they all make it sound
very attractive.

Speaker 20 (02:20:48):
Doesn't look, darling, You really wanted to go, didn't you. Well,
you got yourself all and the frame of minds look
forward to it sort of.

Speaker 21 (02:20:56):
Then we're going to the opera tomorrow night. What's more,
we'll have a swell time. You change your tune very quickly.

Speaker 20 (02:21:03):
Well, I never tried listening to Tristan sitting beside the
woman I love.

Speaker 1 (02:21:08):
That sounds very romantic the way you say it.

Speaker 21 (02:21:11):
A King of England was pretty romantic when he said it, too, Darling, David.
Can a woman ever be so important to a man
that he could give up the most important thing in
his life?

Speaker 1 (02:21:22):
For not regret it.

Speaker 21 (02:21:24):
Why I did give up the widest mountain. No, I'd
give up the deepest river. I'd give up the throne
of England if I had.

Speaker 6 (02:21:36):
You.

Speaker 21 (02:21:37):
Do you realize you didn't kiss me when you came home?
And what do you think I'm doing now kissing me?

Speaker 20 (02:21:53):
We have another cup of coffee, dear, just half a cup,
you know, Darling, this box at the opera for tomorrow
night raise his certain rather fundamental.

Speaker 21 (02:22:00):
Problem as for instance, Well, for one, I can't sit.

Speaker 20 (02:22:04):
Beside a beautiful woman in evening clothes, dressed in my
comfortable old flannel suit. If you look nice in you, Darling,
my dinner jacket would be just as out of place
as an opera box as.

Speaker 21 (02:22:13):
A suit of Overall, I don't follow you.

Speaker 20 (02:22:15):
A dinner jacket is dressed enough to sit in the
orchestra at the opera, But nothing less than tails is
acceptable in a box?

Speaker 21 (02:22:23):
Yeah, what's so funny?

Speaker 15 (02:22:24):
Oh?

Speaker 18 (02:22:24):
I don't know, it's just the idea of it. Somehow
I don't see you in tails.

Speaker 21 (02:22:28):
It's it's just not your type. Oh it is my type,
isn't it? And just what type, young lady, do you
think I am?

Speaker 23 (02:22:33):
Oh?

Speaker 21 (02:22:33):
Sort?

Speaker 18 (02:22:34):
Of loungey with a pipe in your mouth. And no,
it's just just not the type, darling. Maybe we can
change the tickets to orchards.

Speaker 21 (02:22:41):
We'll do nothing of the kind. It'll be a box
or nothing. So you don't think I have a full
dress suit. I know everything you have and you have
and we men have.

Speaker 15 (02:22:49):
Our secrets, you know.

Speaker 21 (02:22:51):
Remember that big box on the top shelf.

Speaker 15 (02:22:54):
Of the closet.

Speaker 21 (02:22:55):
Yes, that is my hidden past and my tails. And
there's something else that you don't know. How I got
my tale How.

Speaker 18 (02:23:04):
The Elephant got his trunk by Rudyard Kipling. If I
didn't know you had him, how could I know how
you got them?

Speaker 27 (02:23:11):
Tell you how you did get him, David, Well, it's
a long story, you mean a long tale.

Speaker 20 (02:23:15):
Puns are the lowest form of humor. Well, once a
pun a time. No, I was in my college glee club.

Speaker 18 (02:23:23):
David, you never told me.

Speaker 20 (02:23:24):
Well, I wasn't in the glee club very long. I
only sang once and that was the beginning and end
of my career. And the first time and the last
time I ever wore my full dress suit.

Speaker 21 (02:23:34):
What happened? Have you ever heard of a great singer
losing his voice. Well, I lost mine the first time out.

Speaker 4 (02:23:41):
Ah.

Speaker 21 (02:23:41):
Actually I am the only living singer to lose his voice.

Speaker 20 (02:23:45):
By a popular election, the whole glee club voted that
I couldn't carry a tune.

Speaker 21 (02:23:51):
They wouldn't even let me carry the music. Say, my
pipe must be in the other room.

Speaker 18 (02:23:56):
It's on the table beside your chair.

Speaker 21 (02:23:58):
Oh oh, here it is. This pipe has a habit
of losing itself just where you leave it.

Speaker 4 (02:24:04):
What are you doing now.

Speaker 20 (02:24:05):
Getting a chair to stand on to get my dress
suit off the shelfs top of I think a dress
rehearsal is in.

Speaker 21 (02:24:14):
Order for me too.

Speaker 23 (02:24:15):
Whoop?

Speaker 21 (02:24:17):
What wearing?

Speaker 23 (02:24:18):
The suit?

Speaker 21 (02:24:20):
Smell like it just came from a moth's funeral. It
smells like camper. The curfew tolls the knell of paul
parting moth. The flitting swarm flies quickly away from me.

Speaker 18 (02:24:33):
Maybe if I wear a lot of perfume.

Speaker 21 (02:24:34):
Would smell like beauty and the beast. How long since
you warrant years? Well, here goes, I'll try them.

Speaker 2 (02:24:42):
All mm hmm.

Speaker 21 (02:24:46):
Yeah, And do you suppose the tailor could let out
these trousers.

Speaker 18 (02:24:51):
I'll take them first thing in the morning.

Speaker 20 (02:24:53):
All right, we'll play the trousers over the chair. Now,
now here goes the coat.

Speaker 21 (02:25:00):
Hmmm, not that what the distinction is wearing this season?
What's wrong? Hey? Tell me? It isn't polite just to
stand and laugh at people. If I were a shy,
shrinking violet. If you're not, it's the tails, and naturally
it's the tailor. Oh you're not the type, David? And

(02:25:22):
why am I not the type?

Speaker 18 (02:25:23):
You're still smoking your pipe and that coat in your trousers?

Speaker 21 (02:25:26):
And what's wrong with my trousers?

Speaker 27 (02:25:28):
Nothing darling except they're hanging over the chair loop, So
they are the darling.

Speaker 21 (02:25:34):
Even if you're not the type, I prefer you as
you are this hour of the night, I don't know,
I'll see Hey, wait, wait, don't let them in my trousers.
Let me get in the bedroom.

Speaker 18 (02:25:45):
Coming?

Speaker 4 (02:25:47):
Why mama?

Speaker 6 (02:25:48):
Hello?

Speaker 18 (02:25:48):
Claudia.

Speaker 20 (02:25:53):
Seem to be providing both of you ladies with a
degree of unrestrained and, if I may say so, unseemly
after this evening?

Speaker 21 (02:26:01):
Can I really be that funny? Oh?

Speaker 1 (02:26:03):
Dave?

Speaker 23 (02:26:04):
Is that coat?

Speaker 21 (02:26:05):
What's wrong with this coat?

Speaker 18 (02:26:06):
And move short?

Speaker 21 (02:26:07):
Now? Both of you ladies have seen shorts before, but
I've never.

Speaker 18 (02:26:11):
Seen them before in combination with the tales of a
full dress coat? What is this a fatty dress party?

Speaker 21 (02:26:17):
I am going to the opera like that? And if
you hadn't, if you'd come in an instant later, you'd
have found me gone.

Speaker 18 (02:26:23):
But you better hurry. It's after eight already. I smell something.
Could it be mothballs?

Speaker 27 (02:26:28):
Yes?

Speaker 20 (02:26:29):
I think that's what it is, Claudia and I had
about decided it was mothballs before you came in.

Speaker 21 (02:26:34):
We didn't expect you this evening, or we wouldn't have
planned to go out.

Speaker 18 (02:26:38):
You needn't expect me now. How you long get dressed
or you'll be late for the opera.

Speaker 21 (02:26:42):
Oh, we don't have to get there early. I don't
come on until the second act. You don't fot, don't
come on?

Speaker 2 (02:26:48):
Sing?

Speaker 21 (02:26:50):
You know, ef girl, pig fee, David, I said, bigol, Yes, dear,
I was singing, oh, singing, Claudia. Let's not go to
the opera tonight, all right, let's not.

Speaker 23 (02:27:07):
You know.

Speaker 20 (02:27:07):
I have an idea that when Mama came over here
this evening, she was she was lonely. It would be
sort of mean just to pick up and walk out
on her.

Speaker 18 (02:27:15):
Are you two children utterly crazy?

Speaker 21 (02:27:18):
We don't like the opera too much.

Speaker 18 (02:27:19):
Anyway, I'll never dock in your door again.

Speaker 21 (02:27:21):
She'll never dock in our door again.

Speaker 20 (02:27:23):
Corn pure corn, missus Brown, never darken our door again.
I'm surprised at you that went out with east Lynn.

Speaker 18 (02:27:30):
And I'll not be shouted down.

Speaker 21 (02:27:31):
She will not be shouted down. She will not be
shouted down.

Speaker 6 (02:27:35):
You will not be shotted.

Speaker 18 (02:27:39):
Why yeah, now, hurry up and get dressed. You're only
half dressed, and you have tickets for the opera. Be good,
all all, I don't believe you really were going to
the opera.

Speaker 24 (02:27:50):
You don't.

Speaker 18 (02:27:51):
Well, look here the tickets so they are. Well, I'll
be and box seats to there next time.

Speaker 21 (02:27:55):
You better believe us.

Speaker 18 (02:27:56):
Hold on a minute. Today's Wednesday, and these tickets off
a Thursday night.

Speaker 23 (02:28:02):
Here.

Speaker 21 (02:28:02):
Let me see, let's see, you know what to say.
Let's see. Just as clean as you Right there, it
is there. They are Thursday night, Claudia, That's what they are.
Thursday night.

Speaker 3 (02:28:12):
They can't be.

Speaker 21 (02:28:14):
They can't Oh, they are I sayl.

Speaker 20 (02:28:17):
Thing I think would have an embarrassment it would have
been to go to the opera on the wrong night,
the wrong Nightness going.

Speaker 25 (02:28:26):
Right now, all story material used on this broadcast of
Claudia was under the supervision of Rose Franken and William
Brown Maloney. American hospitality has never depended on extravagance. Being

(02:28:59):
hospitable is easy, as easy as opening a bottle of
ice cold Coca cola. And now, happily there's plenty of
coke to go round again. You can welcome stranger or friend.
You can welcome your own companions or those of your children,
with the friendly words have a coke. Then watch them
sit back and enjoy your hospitality and the pause that refreshes.

(02:29:39):
Every day, Monday through Friday, Claudia 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 Joe King saying a revoir. And remember,
whoever you are, whatever you do, wherever you may be.

(02:30:00):
When you think of refreshment, think of coca cola or
ice cold coca cola makes any pause the pause that refreshes.

Speaker 5 (02:30:38):
You know, I orn owned a gorgeous double breasted tux
and ordered it and loved it for years and years.
And uh then along the years here uh it just
sort of eventually fell apart.

Speaker 27 (02:30:55):
It was just old.

Speaker 5 (02:30:57):
But boy, uh, getting dressed up in a nice tux.
I don't like getting dressed up anymore in a suit
and tie, but wearing a tux it was great. Seventy
eight years ago, November nineteenth, nineteen forty seven, Claudia here
on Classic Radio Theater with Wyattcox. Join us tomorrow as

(02:31:18):
we'll get started on a Thursday show with some Thanksgiving
stuff Amos and Andy, let George do it, the Cavalcade
of America and Jeff Reagan Investigator all Thanksgiving shows, and
of course we'll Capitala with Claudi and David going.

Speaker 1 (02:31:37):
To the Opera.

Speaker 5 (02:31:38):
Have yourself a great day, how great Wednesday. We'll see
you tomorrow for more Classic Radio Theater. I'm Wyattcox

Speaker 15 (02:32:00):
And

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Classic Radio 11-19-25 - The Pseudo Spuds, Casting the Runes, and the Black Door

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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 11-19-25 - The Pseudo Spuds, Casting the Runes, and the Black Door