A Teen Discovers The Deadly Power Within Her

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

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
I'm gonna thank some misses, A man us.

Speaker 4 (00:31):
Seal Present Suspense.

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

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

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

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

Speaker 7 (01:29):
Dark, the CBS Radio Mystery Theater Presents. Come in.

Speaker 8 (01:52):
Welcome. I'm E. G.

Speaker 9 (01:54):
Marshall.

Speaker 7 (01:57):
No one comes into the world by choice. No one
has a voice in this momentous decision. No one asks
to be born. Pushed by the mother, pulled by the doctor,
a brand new being is introduced to his life. There
is a highly respected theory that all later anxieties reproduce

(02:20):
the trauma of this first bloody battle, the one called birth,
the one from which no one emerges without wounds. This
has a logical sound to it, and for all I
know it's true.

Speaker 10 (02:36):
I am youth, I am beauty. I am a creative person.
I am light and love and everything harmonious. I am
in tune with the universe. I am everything that is good.
I am that truly remarkable human being, myself a precious

(03:00):
thing to be separate and unique, a goddess.

Speaker 7 (03:16):
Our mystery drama, I Pronounce You Dead, was written especially
for the Mystery Theater by Elsbeth Eric and stars Morgan Fairchild.
It is sponsored in part by x Lax and Buick
Motor Division.

Speaker 11 (03:31):
I'll be back shortly with that one.

Speaker 7 (03:44):
It's a Midwestern town, neither very large nor very small.

Speaker 8 (03:49):
Its citizens, for the most part.

Speaker 7 (03:51):
Are neither very rich nor very poor. They would call
themselves comfortable, and so they are. So are their home. Yes,
and it's in one of these homes that we begin
our story.

Speaker 10 (04:06):
My name is Helen Todd, and I live in this big,
old white house with my mother and my father and
my brother Kevin. I'm finishing up my last year in
high school. Right now, I'm dating Billy Masters, who is
tall and good looking, captain of the football team. I
was nominated to be president of my class, even though
I didn't win. It's obvious that I'm popular and well liked.

Speaker 12 (04:28):
But it's all this important. Really.

Speaker 10 (04:30):
I mean, I don't take any of it seriously because
the minute I graduate, I am going to cut out
of here and become an actress, and my whole life
will change. Nobody knows I'm going to do this, not
my father or my mother, or Kevin or even Billy,
no one, but I.

Speaker 12 (04:48):
Know it, and I know it will be wonderful. That's
your father.

Speaker 10 (04:57):
I heard his key of the Locke put the roads
on the Why can't Kevin do something?

Speaker 13 (05:02):
Oh he's out back fixing his motorcycle.

Speaker 12 (05:04):
He never does anything.

Speaker 13 (05:05):
Now, that'll be just about enough out of you.

Speaker 14 (05:07):
Young lady.

Speaker 10 (05:09):
Dinner's on the table, daddy, practically, Well that's my girl, Okay.

Speaker 13 (05:14):
Kevin, come inside, dinner.

Speaker 15 (05:18):
Roast beef euh and corn on the cob coming through.

Speaker 12 (05:23):
Hello, dear, have a good day.

Speaker 8 (05:24):
So so where's Kevin.

Speaker 13 (05:27):
Working on his precious motorcycle?

Speaker 8 (05:29):
Sometimes?

Speaker 15 (05:29):
I'm sorry we bought him that thing?

Speaker 16 (05:33):
Oh?

Speaker 17 (05:33):
There you are, Kevin.

Speaker 8 (05:34):
Huh? Didner ready sit down? Oh?

Speaker 13 (05:37):
Before you sit down, get the phone, will you?

Speaker 8 (05:39):
It's not for me?

Speaker 18 (05:40):
Now, how do you know?

Speaker 11 (05:41):
Kevin?

Speaker 15 (05:42):
Get it anyway?

Speaker 19 (05:43):
Okay?

Speaker 12 (05:44):
You never want to do anything?

Speaker 10 (05:45):
No, no, he gets everything he wants and he never
has to do anything.

Speaker 13 (05:49):
Well, he's a boy, Kevin. Hurry up before everything gets cold.
Start carving, dear, and Helen passed the corn.

Speaker 20 (05:57):
I told you it wasn't for me.

Speaker 14 (05:58):
Well, who's it for you, your highness?

Speaker 12 (06:01):
Oh? Excuse me, I better answer it.

Speaker 15 (06:04):
It's old creepy billy masters billy Helen.

Speaker 21 (06:10):
Do you think?

Speaker 8 (06:11):
Hi?

Speaker 4 (06:11):
This is billy?

Speaker 21 (06:12):
I know, Helen?

Speaker 4 (06:14):
I called you because well, get on the big dand
Saturday night?

Speaker 12 (06:19):
What about it?

Speaker 22 (06:20):
Well?

Speaker 12 (06:20):
I yeah, you see we are going, aren't we.

Speaker 4 (06:25):
That's why I called you.

Speaker 23 (06:27):
Uh?

Speaker 4 (06:27):
Turns out I can't can't? What can't thank you?

Speaker 12 (06:30):
Why not?

Speaker 8 (06:33):
Well?

Speaker 4 (06:33):
I haven't been feeling so good?

Speaker 12 (06:35):
And my mother says, well, what's the matter with you?

Speaker 4 (06:37):
Well? Well, nobody knows yet. The doctor isn't sure.

Speaker 12 (06:40):
Billy, I bought a new dress. What am I supposed
to do?

Speaker 4 (06:42):
We can get somebody else to take care.

Speaker 12 (06:44):
Everybody's got a date by.

Speaker 22 (06:45):
Now, Helen.

Speaker 4 (06:47):
I'm awfully sorry.

Speaker 12 (06:48):
Never mind, just never mind.

Speaker 19 (06:55):
Ellen, you're coming.

Speaker 24 (06:57):
Back to everything's getting gold.

Speaker 12 (07:00):
Billy call him back here.

Speaker 8 (07:03):
Please?

Speaker 10 (07:04):
Yes, Oh, mister Smith. Yes, this is Helen Todd.

Speaker 12 (07:10):
I have to see you. It's terribly important right now.

Speaker 10 (07:14):
Well after dinner, if that's all right with you, in
about an hour, Yes, that would be fine.

Speaker 4 (07:19):
I'll see you then the doll amol.

Speaker 12 (07:24):
Oh, thank you, mister Smith.

Speaker 25 (07:25):
Ellen.

Speaker 10 (07:26):
Yes, I have to go out right after dinner. Where
to none of your business? Ellen, don't be rude. Where
are you going?

Speaker 12 (07:33):
I have to see a friend.

Speaker 8 (07:35):
Oh, somebody we know?

Speaker 10 (07:36):
Well, no, I don't think so. It's somebody I just
met myself a short while ago.

Speaker 12 (07:41):
Would you pass the coin please? Mister Smith?

Speaker 26 (07:53):
In here, Helen, come on in.

Speaker 4 (07:57):
How are you all right?

Speaker 14 (07:59):
I guess you're disturbed about something. I can see that.

Speaker 12 (08:03):
Well, yes I am, well tell.

Speaker 8 (08:06):
Me about it. That's what I'm here for.

Speaker 12 (08:09):
I know you told me.

Speaker 8 (08:10):
Sit down. My attention is all yours.

Speaker 12 (08:14):
Well, mister Smith, why don't you.

Speaker 8 (08:17):
Call me Caesar?

Speaker 12 (08:19):
Caesar?

Speaker 14 (08:20):
It's my name, You're my friend, and all my friends
called me Caesar.

Speaker 12 (08:25):
I haven't known you for very long.

Speaker 8 (08:27):
Do you really believe that.

Speaker 12 (08:29):
I just met you last week?

Speaker 14 (08:30):
Don't you feel that we have known each other forever,
since the beginning of time or before that?

Speaker 12 (08:39):
In a way? I guess I do you.

Speaker 8 (08:41):
Remember when we met? I physically met?

Speaker 10 (08:44):
I mean, yes, That's why I told you about.

Speaker 14 (08:47):
The group mind feeling? Do you have that feeling?

Speaker 12 (08:53):
I think I'm beginning too, That's why I called you.

Speaker 8 (08:55):
And in the group mind we are.

Speaker 12 (08:58):
All was Yes, Yes, I believe that.

Speaker 14 (09:01):
Wherefore it must follow that you and I have known
each other forever?

Speaker 8 (09:05):
Must it not? I guess, So you must not guess, You.

Speaker 14 (09:10):
Must know, you must feel, you must believe otherwise I do.

Speaker 12 (09:17):
I know, I feel, I believe I do.

Speaker 14 (09:20):
I speak of the higher mind, of course, not the
minuscule part of the mind, which deals with multiplication tables
and the dates of treaties and wars.

Speaker 8 (09:29):
And such trivia.

Speaker 12 (09:30):
I know, I know, really I do.

Speaker 8 (09:31):
And this higher mind has a.

Speaker 14 (09:33):
Center, a core of magnetic power I know, which can
be animated into creative actions.

Speaker 12 (09:40):
Yes, I know it.

Speaker 14 (09:41):
And when I'm an actress, the center of dynamic power
can be charged precisely as a battery can be charged
with cosmic magnetism. Oh, yes, the magnetic field which can
attract into your orbit the money you want, the love
you desire, the friendship you seek, the work you aspire to,

(10:02):
and all the mental, material and spiritual treasures you yearn for.

Speaker 10 (10:08):
Oh, I believe that.

Speaker 12 (10:09):
I do. I do believe it.

Speaker 8 (10:12):
Are you sure? Are you sure you truly believe it?

Speaker 11 (10:17):
Yes?

Speaker 12 (10:18):
Yes, I do believe it to.

Speaker 8 (10:20):
The depths of your soul.

Speaker 11 (10:22):
Yes.

Speaker 8 (10:23):
And why are you here?

Speaker 12 (10:25):
Because because I can't believe it All the time.

Speaker 10 (10:30):
Things happen, What happens, People do things, They hurt my feelings,
what people, Oh, my mother, my brother, even my father
and now Billy Billy, Billy Masters. We've been going steady,
and tonight he called me and told me he couldn't
take me to the dance Saturday night because he's sick

(10:51):
or something, which I can't believe for one minute, because
I saw him at school today and he looked fine.
And it's too late now for anybody else to ask me.
And I have a new dress that I bought, especially
in well anyway, when he told me, that's what I
called you.

Speaker 14 (11:02):
Because your great faith, your great belief wasn't so strong anymore,
it was wavering. It needed reinforcement.

Speaker 10 (11:12):
Yes, yes, is that possible. It can be done?

Speaker 12 (11:19):
Can you? Will you do it?

Speaker 8 (11:22):
I can? I will?

Speaker 12 (11:26):
Oh please please.

Speaker 10 (11:28):
It was such a beautiful feeling when I believed I
loved everyone. I was in love with everyone. I even
loved myself.

Speaker 12 (11:35):
I love the world.

Speaker 14 (11:36):
Look deep into my eyes. Are you going to hypnotize me?
I'm going to make you believe. Call it telepathic hypnosis
if you like. Now look into my eye and lets
give me all your attention. Listen to what I am

(11:57):
saying and repeat eat my words.

Speaker 12 (12:02):
Yes, I will.

Speaker 8 (12:04):
I am Heaven Todd.

Speaker 10 (12:08):
I am Helen Todd.

Speaker 8 (12:10):
I am Youth, I am beauty. I am a creative person.

Speaker 10 (12:16):
I am youth. I am beauty. I am a creative person.

Speaker 14 (12:22):
I am light and love and everything harmonious. I am
in tune with the universe.

Speaker 10 (12:28):
I am light and love and everything harmonious.

Speaker 12 (12:33):
I am in tune with the universe.

Speaker 8 (12:35):
I am everything that is good.

Speaker 12 (12:36):

Speaker 14 (12:38):
thing to be separate and unique.

Speaker 10 (12:49):
I am that truly remarkable human being, myself a precious.

Speaker 14 (12:54):
Thing to be separate and unique, separate and unique. I
am a goddess.

Speaker 10 (13:05):
I am a goddess.

Speaker 8 (13:11):
How do you feel, Helen?

Speaker 12 (13:13):
It's come back?

Speaker 8 (13:14):
What's come back?

Speaker 12 (13:16):
That feeling?

Speaker 8 (13:17):
Tell me about it?

Speaker 10 (13:18):
I feel as though I could reach out and touch
the air.

Speaker 8 (13:22):
Is it a good feeling? Oh?

Speaker 27 (13:24):
Yes?

Speaker 8 (13:25):
Would you call it?

Speaker 15 (13:27):
What?

Speaker 8 (13:27):
Would you call it?

Speaker 12 (13:28):
Happiness? And no?

Speaker 10 (13:30):
No, no, it's more. It's it's joy, rapture, ecstasy. Will
let's stay with me for always.

Speaker 12 (13:39):
This feeling.

Speaker 14 (13:40):
It may have to be renewed from time to time.
Nothing lasts forever.

Speaker 12 (13:46):
Will you renew it for me?

Speaker 9 (13:47):
Of course?

Speaker 12 (13:49):
What if you're not here? What if I can't come
to see you?

Speaker 8 (13:51):
It's not absolutely necessary.

Speaker 14 (13:53):
I could produce the same state of consciousness if I
were a thousand miles away. I could produce sit over
the telephone.

Speaker 12 (14:01):
You mean that, really? You could? You could do it
over the telephone.

Speaker 14 (14:03):
Call it traveling clairvoyance, call it astral projection.

Speaker 8 (14:09):
Call it what you will.

Speaker 14 (14:10):
So long as it produces the altered state of consciousness,
that's all This is, but.

Speaker 10 (14:18):
I feel just an altered state of consciousness, like.

Speaker 8 (14:21):
Crawling asleep, another altered state.

Speaker 12 (14:24):
Oh it's much more than that, it's much better. I
feel so strong. Oh, mister Smith, I can't take you enough.

Speaker 8 (14:31):
No thanks id you and none expected.

Speaker 12 (14:34):
But I've been a nui since I've taken up so
much of your time.

Speaker 8 (14:37):
Wait, you're not leaving? Oh?

Speaker 12 (14:40):
Well, I think I should.

Speaker 8 (14:42):
What about young what's his name? Young? Masters? Really? Yes?
What about him?

Speaker 12 (14:50):
I don't know.

Speaker 8 (14:51):
Do you propose to leave him in peace?

Speaker 10 (14:55):
I don't know what to do exactly if there's nothing
I can do, nothing, nothing I can think of.

Speaker 14 (15:03):
But he has disturbed the peace and quiet of your existence?

Speaker 8 (15:07):
Has he not?

Speaker 12 (15:07):
Well?

Speaker 10 (15:08):
He did, But I feel all right now, I feel.

Speaker 14 (15:10):
Wonderful until he disturbs your tranquility again.

Speaker 8 (15:13):
Well do you think he should be allowed to do this?

Speaker 12 (15:16):
I don't know.

Speaker 8 (15:18):
You do you do?

Speaker 27 (15:20):
Well?

Speaker 12 (15:20):
There's nothing either.

Speaker 8 (15:21):
There's something A curse, a blast?

Speaker 12 (15:25):
You mean, like a hex? I mean I've heard of.

Speaker 8 (15:30):
Call it what you will, but I assure you.

Speaker 14 (15:32):
Helen, a hex or a curse or a blast can
only be brought down upon a person who deserves it.
It cannot be used promiscuously. Those who make trouble for
others deserve.

Speaker 8 (15:47):
What they get.

Speaker 12 (15:48):
I'm trying.

Speaker 14 (15:49):
Have you ever heard of the Fellowship of Ancient Mind?
It is six thousand years old? And the arch Druid Tyron.

Speaker 28 (16:07):
That you helen.

Speaker 8 (16:09):
Yes, daddy, it's kind of laid, isn't it.

Speaker 12 (16:11):
Oh, it's only ten o'clock.

Speaker 29 (16:13):
You have a good time with your friend.

Speaker 12 (16:15):
Yes, daddy, that's good. Going to bed now, yes, daddy?

Speaker 10 (16:20):
Well sleep well you too, Oh, great arch Druid, Great Tyron,
hear me. I want to invoke a curse against one
billy Masters who richly merits punishment, and who knows in

(16:44):
his heart he merits it, and in the dark recesses
of his mind is waiting for it and longing for it, Oh,
Great Tyron. I spoke to the Great Archdruid Tyrone for
nearly an hour. By then it was very late, and

(17:08):
I got undressed and went to bed.

Speaker 7 (17:17):
I myself believe there are those who invite punishment. Among
them are those who seek suicide in drugs or the rash,
incontinent behavior that drugs induce.

Speaker 8 (17:30):
Then there are.

Speaker 7 (17:30):
Others who do not resort to drugs to bring about
their own destruction. But slowly, quietly, with a plotting sort
of determination, subject themselves to humiliation and defeat. I shall
continue with that too. In a few moments. Our little heroine,

(17:59):
Helen Odd, eighteen year old high school student and aspiring actress,
has been wounded sorely by her boyfriend Billy Masters. Seeking
relief from her hurt, she has gone to see an
older man, Caesar Smith, who has produced in her an
altered state of consciousness, whose chief trait is a feeling

(18:20):
of great power. Close upon this, he has tutored her
in the ways of the fellowship of ancient mind.

Speaker 8 (18:28):
And the Great arch Druid Tyron, Oh.

Speaker 30 (18:35):
Great Tyron, hear me, Oh holy and revered arch Druid.

Speaker 10 (18:43):
I invoke a blast against Billy Masters, who richly deserves punishment,
who knows he deserves it, who in the dark recesses
of his mind is waiting for it and longing for it.

Speaker 12 (18:59):
Spoke to the Great arch Druid Tyran for nearly an hour.

Speaker 10 (19:03):
By then it was very late, and I got undressed
and went to bed. But I couldn't go to sleep.
I stared up into the dark. I was sure now
that I would be a famous actress. I repeated the
word Caesar Smith had taught me. I am youth, I
am beauty. I am a creative person. I am light

(19:29):
and love and everything harmonious. I am that truly remarkable
human being, myself separate and unique.

Speaker 21 (19:39):
I am a goddess.

Speaker 10 (19:46):
I remembered the first time I'd been on a stage.
It was a morality play in the sixth grade. I
played the part of Cheerfulness, who introduces the little girl
to all her feelings, good and bad, and explains them
to her. Everybody clapped hard when the was over.

Speaker 12 (20:00):
And then somebody shoved me on the stage to take
a bow by myself. I was so surprised. I was
so embarrassed.

Speaker 10 (20:06):
I was so exalted all at the same time.

Speaker 12 (20:12):
But afterwards at home.

Speaker 8 (20:14):
Boy, did you look stupid?

Speaker 13 (20:16):
Stupid, that dumb grin on your face?

Speaker 23 (20:18):
How I fit the buck?

Speaker 13 (20:20):
Kevin, leave your sister alone.

Speaker 10 (20:25):
My mother didn't really stick up for me. She never did,
just because Kevin was older and a boy. My mother
didn't like girls, I don't think, I mean anyway. She
never really liked me, not really, like when she made
me that blue taff at address stand still, Helen, what's this?
Or it's some plaid I had left over. I thought

(20:47):
we'd make a sad I hate it. I hate the
whole thing.

Speaker 12 (20:50):
It doesn't fit and make me look dumpy, Helen.

Speaker 13 (20:54):
I've worked a week on this.

Speaker 12 (20:57):
Well, I hate it is.

Speaker 13 (20:59):
That the thanks I work and slave it and go without,
And that's my thanks. You're selfish, Hellen, and your thoughtless.

Speaker 12 (21:10):
I never liked that dress.

Speaker 10 (21:12):
I never liked any of the dresses she made me,
but I never told her so again. And when I
got to high school she let me.

Speaker 12 (21:18):
Buy my own.

Speaker 15 (21:19):
Well, I don't see why, mother, I think the dresses
you make are pretty.

Speaker 13 (21:24):
It's just not worth it. She doesn't like anything, and
I have to put up with her complaining store clothes
and with my heart the way it is, I just
can't do it anymore.

Speaker 15 (21:35):
Oh well, all right, then.

Speaker 10 (21:43):
It wasn't for my sake, It was for hers that
I got to buy my own clothes. I thought about
the pretty beige lace with the black velvet butterflies that
was hanging in the closet I'd saved and saved out
of my allowance to buy that dress to wear Saturday night.
Masters had spoiled everything.

Speaker 4 (22:02):
I can't take your hell I'm not I see I
haven't at feeling so good. My mother says, well, my
doctor isn't sure.

Speaker 10 (22:09):
But I felt as though I'd never get to sleep never.
So I got out of bed and went into the
bathroom and opened the medicine chest. There were a whole
bunch of pills, Kevin's onto histamines, Mother's digitosin for her heart,
and yes, these must be Daddy's, some sleeping pills. I
took one, then I took another, just to be sure,

(22:34):
and I went back to my bedroom and looked out
the window. I could see Kevin's motorcycle in the backyard.
The moon was shining on the handlebars. How he loved
that motorcycle, so proud of it. Sitting on his damn cycle,
he thought he was some kind of king or something.

(22:55):
Went and laid down on the bed and stared at
the dark. I'd never even have a bicycle, I mean,
Daddy promised me one, but Mother talked him out of it.
She can talk him out of anything. He shouldn't give in.

Speaker 12 (23:09):
To her the way he does. I mean, he should have.

Speaker 10 (23:11):
Known how much I wanted a bicycle and not let
her talk him out of it. He gives in to
her about everything because she has a bad heart. Her
heart isn't that bad that he has to give in
to her about everything.

Speaker 12 (23:23):
But he does like the bicycle.

Speaker 10 (23:25):
I don't think he loves me at all, not the
way he loves her. I didn't know how I got there,
but there I was in the kitchen, standing there, opening
the drawer where the knives are kept.

Speaker 12 (23:40):
I picked the sharpest.

Speaker 10 (23:41):
Knife I could find and went out of the car.
There was Kevin's motorcycle, gleaming and perfect. It looked like
a throne and I hated it. I hated it, and
I took the knife. The seat of the motorcycle was
blue and white leather, all shiny and new and perfect,
and I slashed at.

Speaker 12 (24:00):
It with the knife.

Speaker 10 (24:01):
I slashed it then from the front and to the back,
and the sideways and the stuffing came out, and I
was flashing, you're.

Speaker 8 (24:06):
Doing You're are you nuts?

Speaker 29 (24:10):
You are?

Speaker 8 (24:10):
You're now give me the knife.

Speaker 12 (24:12):
No, I won't stay away from me, Helen.

Speaker 10 (24:15):
I was back in the kitchen and I've never felt
so sure of myself. The knife was in my hand,
and all of a sudden there was my mother. She
just walked in and was standing there. She looked she's
very calm and cool, so nothing had.

Speaker 13 (24:28):
Happened, Helen, Mother, What are you doing with that?

Speaker 8 (24:31):
Knight? Helen?

Speaker 13 (24:31):
That's my best carving knife. What are you doing with it?

Speaker 12 (24:34):
I cut up Kevin's motorcycle? You what?

Speaker 31 (24:37):
What did you say about the knife?

Speaker 12 (24:38):
I cut up Kevin with it?

Speaker 13 (24:40):
There's Kevin.

Speaker 8 (24:41):
Now do you know what this rotten kid has done?

Speaker 22 (24:43):
Mother?

Speaker 12 (24:43):
You deserved it, you asked for it.

Speaker 4 (24:45):
My motorcid cup.

Speaker 10 (24:46):
Shut up, shut now, Helen, Just shut up and leave
me alone. I didn't know I could do it, but
I did. I didn't know I was so strong. I
brought the knife down on Kevin. He put his hands
up to stop me, but I didn't do any good.
I didn't even feel him. I just kept stabbing at
him and stabbing and stabbing.

Speaker 12 (25:05):
I heard my mother, and then Kevin fell down. Kill
him your brother, Helen, you killed your brother. My mother
was walking towards me, and then she stopped and her
face got.

Speaker 10 (25:26):
And she grabbed her chest and she swaying back and forth,
and she reached for the table, but she couldn't reach
it him.

Speaker 4 (25:32):
She fell down.

Speaker 10 (25:34):
I looked at Kevin with all the blood coming out
of him, and I looked at my mother all mail,
and still I didn't feel powerful anymore. All my strength
had gone out of me. After a little while, I
knew what I had to do. I had to call
Caesar Smith and have him fix everything back to.

Speaker 12 (25:54):
What had been before. I am Helen Todd.

Speaker 10 (25:58):
I am youth, I am beauty, I am light and
love and everything that's harmonious.

Speaker 12 (26:01):

Speaker 10 (26:03):
I am that truly remarkable human being, myself the precious thing,
a separate and unique and I.

Speaker 12 (26:09):
Am a goddess, a goddess. Mister Smith, it's me. It's
Helen Todd.

Speaker 10 (26:17):
You know you remember what you said before that I
didn't have to come see you, that you could do
it over the telephone. Alter my statue of state of consciousness,
you remember, Well, I need it now because I'm losing it.
I'm going back. I'm getting confused and I don't know
what to do because I've I've killed my brother and
my mothers did too.

Speaker 32 (26:34):
She had a heart attack.

Speaker 31 (26:35):
Whence you saw what I've done.

Speaker 12 (26:36):
You see, she loved my brother, and when I stabbed
and she had a heart attack. And at the book
lying on the floor here, and I have to bring
them back to life. I have to stop Kevin's bleeding.
I have to get my mother's heart pills. They're upstairs.
Only only I can't move. All my strength has gone
out of me. I tried saying those words you taught me,
but it's not enough. It's just not enough.

Speaker 10 (26:57):
And I think if you could put me back where
I was before, I.

Speaker 12 (26:59):
Could say them, because I do love them, and you see,
I really do.

Speaker 10 (27:02):
Love them, and I want them to be alive. And
I'm sure I could do it if only you wait, wait.

Speaker 12 (27:09):
A minute, I used something. Wait, mister Smith, that's my
father's key in the look.

Speaker 10 (27:14):
I have got hanging up now, because he'll come out
in the kitchen. He always does, and he's going to
see what I've done. I'm hanging up now, Daddy, Daddy,
that you it's me.

Speaker 29 (27:25):
I'm home.

Speaker 4 (27:26):
Where are you in the kitchen?

Speaker 33 (27:27):
Don't come out here?

Speaker 29 (27:28):
Why not?

Speaker 10 (27:29):
Because I'm fixing you something something special?

Speaker 12 (27:32):
Oh that's that something a special drink.

Speaker 10 (27:36):
Oh, you stay right there and I'll bring it to you.

Speaker 29 (27:39):
Hurry up.

Speaker 21 (27:40):
My mind was working like lightning, my terrible sweet lightning.

Speaker 12 (27:44):
I filled the kettle, I got out the tea and.

Speaker 10 (27:53):
The brandy and then I took the sleeping pills out
of my pocket, very carefully. I broke them open, one
by one, all of them.

Speaker 21 (28:08):
And I put the contents into a cup.

Speaker 15 (28:12):
Helen, Yes, daddy, where's your mother?

Speaker 10 (28:15):
I don't know, Daddy, where, I don't know nobody home,
nobody except me and you, Me and you, Daddy. The
water was boiling by now, and I poured some into
the cup and added the brandy.

Speaker 32 (28:33):
Almost ready good.

Speaker 10 (28:37):
I stirred it and stirred it. I even took a
little taste of it, just to be sure. The tea
was strong, and with the brandy, you'd never know there
were twenty two sleeping filfs in the cup. I put
the cup and its saucer on a little tray and
I took it into the living room.

Speaker 8 (28:52):
Well, well, well what have we here?

Speaker 27 (28:57):
Tea?

Speaker 9 (28:57):
Oh?

Speaker 12 (28:58):
T you with brandy?

Speaker 8 (29:01):
Just the thing?

Speaker 15 (29:02):
We're a cold day.

Speaker 12 (29:04):
Aren't you going to drink it?

Speaker 8 (29:06):
Where's yours? Oh?

Speaker 12 (29:08):
I didn't want any?

Speaker 15 (29:09):
Well I don't want to drink alone.

Speaker 12 (29:10):
Oh you go ahead. I really don't want any have mine? No, no, no, god.

Speaker 10 (29:15):
No, I really don't want it. Sure you do, daddy,
I really I don't.

Speaker 12 (29:18):
It's for you.

Speaker 15 (29:19):
I'll go out in the kitchen and make myself a cup.

Speaker 8 (29:22):
You take this?

Speaker 10 (29:23):
No, No, that's not No, that's not the way it's
supposed to be.

Speaker 15 (29:26):
Why not why not tell them?

Speaker 23 (29:29):
Yeah, take the d.

Speaker 15 (29:33):
You deserve it, now, go on, take it.

Speaker 8 (29:37):
You want it?

Speaker 12 (29:39):
No, I don't want it to do? Sure you, no,
but I don't have it.

Speaker 15 (29:45):
Tell them no, I want you to have it. No,
I not drink it. That's my good world to drink it.

Speaker 8 (29:58):
I've never tried it. But murder can't be easy, of course.

Speaker 7 (30:03):
The thesis of this drama is that there are some
people who invite all sorts of disasters upon themselves, even
death by violence. The unproved thesis is that these people,
the world's masochists, bring these things upon themselves. But do
they really consent to being slaughtered? What happens when they

(30:25):
decide not to be murdered and turn.

Speaker 8 (30:28):
Upon the murderer.

Speaker 11 (30:30):
I shall come back shortly to you with Act three.

Speaker 7 (30:44):
Hurt and humiliated by being rejected by her boyfriend Billy Masters,
our young heroine Helen Todd has invoked a curse upon him.
She then attacked her brother Kevin with a knife. Her mother,
entering upon the bloody scenes to come to a heart attack.
Close upon this, Helen's father comes home, but before she

(31:05):
can be found out, Helen prepares a cup of tea
for him, into which she puts the contents of twenty
two sleeping pills. This she offers to her unsuspecting parent,
or does he suspect?

Speaker 8 (31:20):
Take the deal? You want to take it?

Speaker 12 (31:25):
No, I don't want to sure you.

Speaker 4 (31:27):
Now, I want you to have it.

Speaker 15 (31:29):
Helen, Come now?

Speaker 8 (31:31):
Think it that my good girl?

Speaker 19 (31:34):
God?

Speaker 15 (31:39):
No, Helen, Baby, wake up, Honey, it's daddy. We can't
wake up, honey, and daddy.

Speaker 12 (31:52):
Daddy, I don't want don't give it to me. I won't,
I won't.

Speaker 8 (31:56):
Oh daddy, Oh you had a dream, sweet No.

Speaker 12 (32:00):
No it happened.

Speaker 8 (32:01):
Oh no, nothing happened.

Speaker 15 (32:03):
Except you had a very bad dream.

Speaker 29 (32:05):
And it did.

Speaker 12 (32:06):
I did it?

Speaker 8 (32:07):
You did?

Speaker 12 (32:07):
I did it?

Speaker 8 (32:07):
You did? What?

Speaker 12 (32:08):
It was Kevin's bicycle, his motorcycle, his motorcycle. I took
a knife and that's what I started.

Speaker 15 (32:15):
What what started?

Speaker 10 (32:16):
I cut up his motorcycle. I slashed the seat of
Kevin's motorcycle.

Speaker 12 (32:20):
But he caught me.

Speaker 15 (32:21):
Oh now, Kevin's motorcycle.

Speaker 8 (32:24):
Is just fun. O.

Speaker 10 (32:25):
He caught me and I ran into the house and
he came after me, and then I slashed him.

Speaker 12 (32:30):
I slashed him and he fell down. He was all bloody.

Speaker 10 (32:32):
And then mother came in and she saw him on
the floor, and she saw him and she screamed, and
she came towards me, and I was going to do
something to her, but she had a heart attack.

Speaker 34 (32:42):
She fell down to and then.

Speaker 8 (32:43):
You came home. I've been here all the time, honey.

Speaker 10 (32:46):
I didn't want you to see them dead on the
floor in the kitchen, so I made you some tea,
and I put all the sleeping pills on the tea
and some brandy, and I took it to.

Speaker 12 (32:55):
You, but you wouldn't drink it.

Speaker 10 (32:56):
You tried to make me drink it, and I didn't
want to, but I started to.

Speaker 12 (33:00):
I was gonna drink it, but something happened.

Speaker 15 (33:03):
You screaming, baby. You woke yourself up. You see, you
woke yourself up out of a bad dream.

Speaker 12 (33:09):
Oh it wasn't a dream. It was real. It happened.
Oh hell, and it did I know it happened? Oh, daddy.
After I killed Kevin and Mother, I telephoned Caesar Smith.
I felt so awful. I wanted to save them. Oh see,
I thought that if.

Speaker 10 (33:27):
I could stop the bleeding, i'd get mothers, did you
talks and pills and pink ones. That way I could
save them. But I didn't feel strong enough, so I
called Caesar Smith. Only only then you came home.

Speaker 15 (33:39):
You couldn't kill anybody, but I did.

Speaker 12 (33:41):
I did, And you.

Speaker 15 (33:42):
Couldn't bring anybody back to life either. Look, baby, mother's
downstairs right now getting breakfast, and Kevin's there too, and
I'm here. So you see you didn't kill anybody. You
just had a bad dream.

Speaker 12 (34:00):
No, it was real.

Speaker 34 (34:01):
I did it.

Speaker 11 (34:02):
Now.

Speaker 15 (34:02):
You get out of bed right now, put on your
robe and come downstairs and we'll all have a nice,
big breakfast.

Speaker 10 (34:09):
Okay, you went out of the room, and I got
out of bed, and I put on a robe just
to please him, because I knew Kevin and Mother were
lying dead in the kitchen, but I went downstairs.

Speaker 12 (34:24):
Anyway, Come and sit down, Helen.

Speaker 13 (34:26):
Pancakes, get them while they're hot.

Speaker 8 (34:28):
Somebody passed the maple Syrplease.

Speaker 13 (34:29):
You're feeling better, dear, here's the syrup.

Speaker 8 (34:31):
Kevin, it must have been some dream.

Speaker 15 (34:34):
Well, I have had dreams like that. Scared me After death,
you want.

Speaker 12 (34:39):
To talk about it, dear.

Speaker 8 (34:40):
Sometimes that helps.

Speaker 15 (34:41):
I don't think she wants to talk about it right now.

Speaker 12 (34:44):
Maybe later.

Speaker 13 (34:46):
Eat your pancakes, selling and drink a nice glass of
cold milk, Kevin, Poor Helen, a nice glass of cold milk.

Speaker 8 (34:54):
Here, have some milk.

Speaker 15 (34:57):
Drink the milk, honey, Do you good?

Speaker 10 (35:01):
It was so silly because I knew they were dead.

Speaker 12 (35:07):
They just sat there talking.

Speaker 10 (35:08):
All this dumb talk when I knew they couldn't talk
because I had killed them and they were dead. I
hadn't been able to save them because Daddy walked in
at just the wrong moment, and I tried to kill
him to keep him from knowing, and then he had
tried to.

Speaker 12 (35:19):
Kill me, and of course I couldn't have that.

Speaker 10 (35:24):
Here they were just jabbering away as though nothing had happened.

Speaker 13 (35:27):
Oh, Helen, guess who called up this morning just before
you came downstairs, Dear?

Speaker 8 (35:31):
Who missus? Masters Masters?

Speaker 12 (35:34):
Yes, Billy Master's mother.

Speaker 15 (35:35):
Creepy old Billy mass Now none of that, Kevin.

Speaker 12 (35:37):
What did she want?

Speaker 13 (35:39):
Well, she wanted to tell me, and wanted me to
tell you that Billy's quite sick.

Speaker 8 (35:43):
What's that? Billy's sick?

Speaker 11 (35:44):
Yeah?

Speaker 12 (35:45):
It happened quite suddenly. It seems he had a cold.

Speaker 13 (35:47):
And of course they didn't say much attention to that,
Billy's always getting cold, but hung on and hung on,
and then yesterday the doctor said it might be in
for Wendy wasn't sure. Then last night, in the middle
of the night, he got much worse, and they called
the doctor and he said it was pneumonia.

Speaker 8 (36:04):
Pneumonia.

Speaker 15 (36:05):
Well, they have penicillin now, yes, but there's a.

Speaker 13 (36:09):
Certain kind of pneumonia that doesn't respond to penicillin or
any other kind of drug, and they're afraid that's the
kind that Billy's got.

Speaker 15 (36:18):
Well, I sure hope not.

Speaker 13 (36:22):
Where are you going, Helen upstairs? But what about your pancake?

Speaker 15 (36:26):
I'll leave her alone, let her do what she wants.

Speaker 12 (36:29):
Oh dear, she didn't even drink her milk.

Speaker 10 (36:33):
I got dressed in a hurry. I knew I had
to do something, and do it quick. It was bad
enough that I killed my mother and my brother and
almost killed my.

Speaker 12 (36:40):
Father, but now Billy masters was going to die too.
They'd catch me that put me in jail for a
million years. Where are you going, Helen out? Have you
picked up your room?

Speaker 10 (36:49):
Pasimply didn't understand. None of them did. I was a
black murderer and they didn't even know it.

Speaker 12 (36:55):
Nobody knew it but me and just possibly Caesar Smith.

Speaker 8 (37:02):
Come in. I've been waiting for you.

Speaker 12 (37:05):
I thought you'd be waiting.

Speaker 8 (37:07):
Sit down, my dear, Thank you. Now. How did it go?

Speaker 14 (37:13):
You mean about the hex, the curse, the blast?

Speaker 8 (37:18):
Has it taken effect? Oh? Yes, let's see. The young
man's name was Billy, wasn't it Billy Masters? Oh?

Speaker 12 (37:25):
Yes, and he's very sick.

Speaker 14 (37:29):
Oh well, he brought it on himself.

Speaker 10 (37:32):
You know.

Speaker 14 (37:34):
You do know that, don't you? When he upset you,
he brought it on himself.

Speaker 21 (37:39):
He may die.

Speaker 8 (37:40):
Oh I don't think so.

Speaker 14 (37:42):
Yes, I wouldn't have thought you had so much power.

Speaker 10 (37:46):
I killed my brother, Oh surely not, and my mother,
and I tried to kill my father. Don't you remember
I told you all of this on the telephone.

Speaker 8 (37:55):
You did when last night? Just when? Last night?

Speaker 12 (38:03):
I don't know.

Speaker 10 (38:04):
I got home around ten o'clock and I put the
hecks on Billy, and then after that I ruined Kevin's bicycle.

Speaker 12 (38:10):
And then I killed him and my mother.

Speaker 35 (38:13):
I called you because I was sorry i'd done it.

Speaker 12 (38:15):
I talked to you.

Speaker 8 (38:17):
What did I say?

Speaker 12 (38:19):
I don't know exactly.

Speaker 10 (38:21):
I don't remember because my father came in and I
tried to kill him, but he wouldn't.

Speaker 12 (38:25):
I I couldn't.

Speaker 14 (38:27):
I rich he wouldn't, or you couldn't.

Speaker 12 (38:32):
I forget how it was.

Speaker 14 (38:35):
You're a cold power as a sufficiently developed, my dear.

Speaker 12 (38:39):
That's why I'm here.

Speaker 10 (38:40):
I want you to you know, like you did before,
produced the altered state of consciousness. I don't want Billy
Masters to die. It's it's too late to do anything
about the others, but I don't want Billy Masters to die.
We went through the ritual again, the power coming back,

(39:02):
and when I left his house the words were still
ringing in my ears.

Speaker 12 (39:06):
I am youth, I am beauty.

Speaker 10 (39:10):
thing to be separate and unique.

Speaker 12 (39:17):
I am a goddess.

Speaker 10 (39:20):
By that time, I was at Billy Master's house and
his mother let me in to see him.

Speaker 15 (39:26):
Helen, I'm really sorry about the dance Saturday.

Speaker 12 (39:30):
Mother, really don't even think about that.

Speaker 8 (39:32):
I'm really sorry.

Speaker 12 (39:33):
You're going to be all right now, I know it.

Speaker 10 (39:36):
I've got to go home now because your mother said
I shouldn't stay more than a minute.

Speaker 12 (39:40):
But I want you to know, Billy, you're going to
get well. I still had my power.

Speaker 21 (39:50):
I could still feel it in my veins.

Speaker 10 (39:54):
I was that remarkable human being, myself, a precious thing
to be separate and unique, a goddess. Yes, absolutely, as
soon as I got home, I went up to my room.

Speaker 12 (40:11):
Oh great Tieron, oh great arch druid.

Speaker 10 (40:16):
Take back the curse I placed on Billy Masters.

Speaker 12 (40:20):
Let him be.

Speaker 30 (40:21):
Well, let him recover, let him not die, Let him
take me to the debts, Helen, Let him well.

Speaker 13 (40:35):
I have some news for you, Helen. Missus Masters just
owned Billy's much better. His temperature's gone down. It's not
normal yet. Oh my goodness, why don't you ever pick
up your room?

Speaker 12 (40:47):
It looks as I'll do it later.

Speaker 13 (40:50):
Missus Masters says, she thinks you're coming to see Billy
did him a lot of good old gracious what I'm
miss Oh, both.

Speaker 12 (40:56):
Your children, you're so on tired.

Speaker 13 (40:58):
Look, I said, I'll do it well, at least i'll
hang up your dressing down. What's the good of buying
you pretty things if you just throw them on the floor.
I've told you time and again, hang them up the
minute you take them?

Speaker 8 (41:11):
What's this?

Speaker 22 (41:13):
What?

Speaker 12 (41:13):
What's what in the pocket?

Speaker 13 (41:16):
It's a bottle of sleeping bills?

Speaker 12 (41:19):
What are they doing in your pocket?

Speaker 13 (41:21):
You don't take sleeping bills.

Speaker 12 (41:22):
I I took one last night.

Speaker 13 (41:23):
Oh now, I don't like your taking sleeping pills, Helen.
You didn't just take one? What what this bottle is empty?

Speaker 10 (41:33):
Is it?

Speaker 13 (41:34):
I'm certainly going to speak to your father about this.
I thought he only took a sleeping pill now and then,
but he's been taking them every night. Well, I'll soon
put a stop to that. Now, please finish picking up
your room and then come downstairs and help me decide
what to have for dinner.

Speaker 12 (41:52):
I get so tired of deciding what to have night
after night.

Speaker 10 (42:02):
It was weird listening to her carry on like that
about all those trivial things. She didn't know I had
the power of life and death over all of them,
even Billy masters. I thought, maybe, if he's well enough
by Saturday, I'll go to the dance with him and
wear my new baige dressed.

Speaker 12 (42:23):
With the black velvet butterflies.

Speaker 10 (42:26):
Then I'll start making plans for my career. I'll go
to New York and i'll become an actress. After all,
I am that truly remarkable human being, myself.

Speaker 21 (42:45):
Separate and unique.

Speaker 12 (42:49):
I am a goddess.

Speaker 7 (42:59):
It's a marvelous thing to feel that you are young
and beautiful and a truly remarkable human being, able to
command the world.

Speaker 8 (43:08):
At least, I guess it is.

Speaker 7 (43:10):
Later on, it's apt to be painful to discover that
your power is not quite so great as you'd once
felt to be, That you cannot pronounce people dead, that
they too have strengths of their own, that they persist
in living even after you have killed them, and when
they do, in truth, die in their own way and time,

(43:31):
you do not have the power.

Speaker 8 (43:33):
To bring them back to life.

Speaker 7 (43:35):
A painful discovery, but still a necessary one if you
live long enough to make it. I'll be back shortly.
There is one small part of Helen's incantation that I

(43:58):
find to be of value, and that is where she says,
I am that truly remarkable human being, myself separate and unique.
For I believe that each of us is a remarkable
human being, a particular set of genes that is duplicated
nowhere else. Each of us is absolutely unique, and each

(44:22):
of us is separate from every other set of genes,
every other remarkable human being. The traveil of life is
learning how to overcome that separateness and at the same
time to respect it, which is why life is hard.
Our cast included Morgan Fairchild, Mary Jane Higbee, Bob Caliban

(44:44):
and Russell Horton. The entire production was under the direction
of Hyman Brown. And now a preview of our next tale.

Speaker 15 (44:56):
Yes, I have a coit here and I want you
to look at it. Yes, well interesting, Yes, I thought so.
This is a Washington twenty five cent piece. They were
first struck in nineteen thirty two, the bicentennial Washington's birth.
The obverse is the face of George Washed.

Speaker 22 (45:14):
Yes, I know why.

Speaker 15 (45:15):
The reverse is the spread eager Yes, sir. But originally
and until nineteen sixty three, they were made of silly
But what I want to know now? However, they consist
They a copper silver.

Speaker 8 (45:25):
Allog Is it counterfeit?

Speaker 27 (45:26):
Oh?

Speaker 36 (45:27):
No, no, never.

Speaker 8 (45:28):
This is from the Denver mint. I can, yes, sir,
but the date?

Speaker 19 (45:32):
What about the dad?

Speaker 4 (45:33):
Well read it.

Speaker 28 (45:34):
I read it.

Speaker 8 (45:35):
That's all you can say.

Speaker 36 (45:36):
What do you want me to say?

Speaker 15 (45:37):
This coin was minted in nineteen eighty six.

Speaker 8 (45:40):
How can you say it was minted in nineteen eighty six?

Speaker 11 (45:43):
Yes?

Speaker 8 (45:43):
Interesting point?

Speaker 15 (45:45):
Should I say it will be minted in nineteen eighty six?

Speaker 7 (45:48):
Radio Mystery Theater was sponsored in part by Buick Motor
Division and x Lax.

Speaker 8 (45:53):
This is E. G.

Speaker 7 (45:54):
Marshall inviting you to return to our Mystery Theater for
another adventure in the cob. Until next time, pleasant.

Speaker 37 (46:05):
Dreams, the strange doctor weird.

Speaker 11 (46:55):
Good evening, I mean, won't you was the murder?

Speaker 38 (47:02):
Your hand and shaking? Surely you're not afraid of me.

Speaker 11 (47:07):
Though Gracid would steady to hear A little story that
was Death told me the story of a strange ship
that sails the Seventh Seas with no cru save death,
and no passengers, they said the day I call the
story the ghost Ship.

Speaker 38 (47:34):
My story.

Speaker 11 (47:34):
The ghost Ship begins in a badly battled life, both
pitching and passing on the surface of the South Atlantic.

Speaker 8 (47:42):
Three men wearily bail.

Speaker 11 (47:44):
Out the water which the breaking way was constantly pouring
into the boat. A fourth man, burly and broad shouldered,
is at the tillie.

Speaker 37 (47:54):
All right, failer man baler order.

Speaker 24 (47:56):
Figures of filing will never make lands. Why don't we
admit there SunFall and getting over with all that person.
We may side a ship on him. And if you've
been playing that ever a day for a weakness, haven't
been captain here.

Speaker 19 (48:08):
It is a great take it to shift you stow
each year the after court.

Speaker 24 (48:12):
All right, look, shopman, I don't see anything, just another
horse alarm?

Speaker 19 (48:16):
No, no, what's not captain, assay, you're heard.

Speaker 20 (48:18):
It's a small steamer ahead.

Speaker 19 (48:20):
And the quay.

Speaker 24 (48:20):
Yeah, yeah, I can make her out now. She's heading
straight for us. It's a kip, all right, But she
looks mighty funny. Look how Lacy is in the water.

Speaker 19 (48:29):
See the way she's see it. She does kind of
stagger back and forth.

Speaker 24 (48:33):
Maybe you're stealing toe broke And there's no smoke from
her funnels on it. If you ask me, she said,
dearly hell, every she is, even a durlic is better
than this lightebolt who is carrying across our courts?

Speaker 19 (48:44):
And where gona border.

Speaker 11 (48:51):
Half an hour later, the lfeboat rubbed against the side
of the strange shift.

Speaker 38 (48:56):
The four hungry, weary men came with.

Speaker 11 (48:58):
The border on themselves, greeted only by the uncanny slum
to the deserted sheep.

Speaker 19 (49:07):
See what about telling you this is a deadly blue.

Speaker 24 (49:11):
Yeah, she's a generic all right. Look at her iron
work covered with us I'd say she's been drifting about
for a good many months.

Speaker 19 (49:18):
Suppose the being of groove water boarders don't pot watered.

Speaker 24 (49:21):
Now, that's how we're gonna find out, right now, Cooc
and I don't searched the scarbine side of the ship.
You want a too, search a port side.

Speaker 19 (49:28):
I'm not driving now.

Speaker 24 (49:29):
We'll meet the chart woman three minutes, all right, both
don't want to do fine. We didn't find nothing, not
a single holly.

Speaker 18 (49:46):
To the thing I saw right, Captain.

Speaker 36 (49:48):
Of course, we're saloon on.

Speaker 24 (49:50):
The water and all the holes in the cabins below
deck are half flooded.

Speaker 19 (49:53):
But we searched everything else and we didn't find a face. Well,
Cook and I had butter luck.

Speaker 24 (49:57):
We found the gully dry and funny. You can go
in it.

Speaker 19 (50:00):
I left Rustle up some chow.

Speaker 24 (50:03):
He'll be bringing us a hot meal on any minute.

Speaker 10 (50:05):
Now.

Speaker 19 (50:05):
I'm fool, don't gone. That's what I was a warmer here.

Speaker 24 (50:08):
But I want to know is why was the great
are abandoned?

Speaker 8 (50:13):
Hey?

Speaker 4 (50:15):
What it is?

Speaker 19 (50:16):
The mermaider? Whee, there's her name, I'm a lord book,
she's the ghosted. Do you hear me?

Speaker 24 (50:22):
We come up all the ghosted. We gotta get over
her or we'll die. Wolston get hold of her.

Speaker 8 (50:27):
So we do.

Speaker 24 (50:28):
This is a mermaid girl and every even in the
world knows the batting while Tondo's captain, what is this?

Speaker 19 (50:34):
Sare a mermaid girl?

Speaker 24 (50:35):
This is al a story of the mermaid girl is
a curious one. Two years ago she had her hells
sold him and hurricane. But she's loaded with lumbering court,
which is why.

Speaker 19 (50:45):
She never sunk well.

Speaker 24 (50:47):
The first stayed out after the storm where the crew disappeared.

Speaker 22 (50:50):
Next not two more men wake and two more the
night off.

Speaker 19 (50:53):
I'm tulling it, hooge and turn.

Speaker 24 (50:54):
Every word is this curler men disappeared.

Speaker 19 (50:57):
Rest of the crew.

Speaker 18 (50:58):
You need an abandon ship.

Speaker 19 (51:00):
Only one lifeboat with time men in an every.

Speaker 24 (51:01):
Made port eyellow one's have spread the story.

Speaker 19 (51:04):
I never since then the Hormadejo's been drifted. A ghost
ship is sippy old. I'll send you. We've got to
get off it for real, die too.

Speaker 24 (51:14):
The cook flash quick outside comes.

Speaker 19 (51:20):
Captain, look were on the take a play?

Speaker 21 (51:24):
Who's cook?

Speaker 22 (51:25):
Singing?

Speaker 19 (51:26):
A close and so he he's Fanny.

Speaker 18 (51:34):
Gosher.

Speaker 39 (51:35):
Do you know you've been on the air for twenty
five weeks now, Evidently people like your radio show.

Speaker 8 (51:40):
That makes me very happy.

Speaker 38 (51:42):
And I thank him from the bottom of my cold blooded.

Speaker 39 (51:46):
Hat calling from you, doctor, that's really warm sentiment. And
WI we're about it. The makers of Adam Hast would
like to thank the many men who have recognized the
superiority of Adam Hast this season. Gentlemen, you've been keeping
our thousands of stores and authorized dealers mighty busy and
no wonder wide varieties in one hundred percent correct styles,

(52:09):
combined with finest fully materials and craftsmanships make Adam Hat
America's outstanding hat value.

Speaker 20 (52:17):
The well dressed man particularly.

Speaker 39 (52:19):
Appreciates the wide choice of shapes and shades available after
Adam Hat Store tomorrow, step into the Atom Hat Store
nearest you and ask to see the new line of
Adam Hast, price sensitively from three forty five to ten dollars.

Speaker 37 (52:37):
Now, Doctor Weird on the show, and.

Speaker 38 (52:45):
Now to continue my story the ghost ships.

Speaker 11 (52:48):
It is nice and an easy darkness half submerged the
Derek Steamship Mermaids go s Doneward across the waves, tossed
surface of the.

Speaker 38 (52:58):
South Atlantis in the chart room with two flickering lanterns
for life.

Speaker 11 (53:03):
The three shipbreak survivors discause the strange disappearance of the cook,
the fourth member of their group.

Speaker 24 (53:11):
I'll tell you the spoop got him for the tapu
or whatever it is that for the curse on this ship.
That takes more in the spot to make a drown
man vanished. For our trade, both for seeds different from
the land.

Speaker 19 (53:23):
There's civils that are the oat.

Speaker 24 (53:24):
And no land lover Canoa bet Hubert of the Flying Dutchman.

Speaker 19 (53:28):
Every depict reckon our hair? What about it? For one
hundred years or more.

Speaker 24 (53:33):
Men by pentoms he's been playing the seventeen four weeks
can always run with the storm dead discerned, the devil
to the people, the curse on us, and so the
Flying Dutchman will tie on for it. The applying Dutchman
is that the sailor superstition both and you know how
I suppose this ship we're on now, it's just a
super sick and two and the fact that she's been
disting for two.

Speaker 19 (53:53):
Years with no end of the realm I taken. We
got to get off of it for us, will die
care sh'll offer and.

Speaker 24 (53:59):
I force trump when we came aboard, So stell that
kind of heart person.

Speaker 19 (54:03):
That's what I say too. I don't believe in spooks
are devils bases.

Speaker 24 (54:07):
I got me a noose to go down on the
gallery right now and rustle up some grubs. I'm the
same thing that happens to the cook. Too happened and
you know nothing happened to me. Keaven, you got a
nextra revolver and you're parking. Yeah, well now just you
let me take it an off face Santa than to
get me some grubs. Watch three days since we had food,
and I'm too hovered, await for morning. All right, here's
an extra gun, has three shows of it, and take

(54:29):
a clamor but look sharp, I'll do that, kapn and
I'll free back whatever.

Speaker 19 (54:33):
I can, Caroline, and if I meet any I'll bring.

Speaker 24 (54:36):
Them back to shouldn't have let him go, Cuptain gill
me all right with a light the toun.

Speaker 19 (54:42):
We don't need food.

Speaker 24 (54:43):
You'll tea catting this stiff and gurse kipping.

Speaker 19 (54:49):
Come on, we gotta go to his o Captain. It's
too late. He's coffee.

Speaker 24 (54:53):
Whatever he disappointed, he ship and if we got out.

Speaker 19 (54:56):
There in the eyes, don't get us too.

Speaker 11 (55:06):
All night the two men huddled in the chart room,
the doors boarded the memory of take the screen ring
in their ears. In the morning, with a fog covering
the seas, they cautiously emerged and searched the ship. The
captain beating its revolves are always ready, and they found nothing.

Speaker 24 (55:27):
That's what we found is nothing but the smiles glance
on the empty cup line on the deck where takes
the top of the bard. Frankly, I think tacks the
cook went out of their heads and jumped overboard. There's
absolutely nothing on this ship that could have harmed on
the leaf. Only something you can't see that it once
you can figure star.

Speaker 19 (55:45):
That's ridiculous. Both listen to me. I tell you how
to wait.

Speaker 22 (55:50):
What is it thicker?

Speaker 36 (55:51):
What is the dob the hardlins?

Speaker 24 (55:54):
The steamshipped someplace with a hose off the starboard of us.

Speaker 22 (55:56):
And in this light, but you'll never see us.

Speaker 19 (55:59):
Look out pass the port is there?

Speaker 24 (56:02):
Yeah, we gotta work fast. There's a hen operated fog
level about all these vessels. Get up poor and starts
founding it all on for the stress pockets.

Speaker 22 (56:09):
We got to a cock at.

Speaker 24 (56:11):
Thanks him before that ship gets to file away all signal.

Speaker 19 (56:15):
They pross with the old.

Speaker 24 (56:16):
Good fast, she's past mess, turn of its life, face fog.
But haden's taken up so fast, would have been sighted.

Speaker 19 (56:28):
Yeah, what is it.

Speaker 8 (56:33):
Now?

Speaker 19 (56:34):
I'm coming for water? Water? Where are you.

Speaker 8 (56:43):
Come here?

Speaker 22 (56:44):
The old?

Speaker 19 (56:45):
Help me in the hole? What I can he an off?
A tiant octopus?

Speaker 2 (56:53):
He it stops me?

Speaker 19 (56:55):
Come here in the old. Don't call me you know
no xactly that's the honey. I can see it both
in the water. I'm gonna find too, honey like shallow
take back. It's my gun and see I've gotta chemacal

(57:28):
chnacal around my leg. I can't get loose. It's pour
me down into the whole too.

Speaker 11 (57:36):
If I like I can't, well, well, no wonder the
shipwrecked sailors who bordered the mermaid to It's fine. I

(58:00):
think the devil who haunted her was an underwater devil
whose presence they couldn't get, And so the mermaid girl
still lived on across the Seven Seas with death in
the shape of a giant octopus.

Speaker 38 (58:16):
The captain and dead men are only true.

Speaker 11 (58:22):
Perhaps some days. Oh you have to go now try
do hope you'll drop in a game soon. Just look
for the house from the other side of the cemetery,
the house of doctor Whir And I have from I

(58:58):
have saved, I have moved about this world of ours
and ever in search of.

Speaker 8 (59:03):
The finest of its kind.

Speaker 11 (59:05):
We bring you the top tin Pine chillers, the creaking door.

(59:27):
The manufacturers that they've expressed three five filter King's Cigarettes
take pleasure in presenting.

Speaker 40 (59:37):
The creaking door. Goodye me, friends of the creaking door.

Speaker 8 (59:59):
The creaking you do carey now, this is new reason
to hazy taste.

Speaker 9 (01:00:11):
You've new reason to fear, at.

Speaker 8 (01:00:15):
Least not yet.

Speaker 23 (01:00:18):
M Get three five yet the taste three five by
stage express. Get the taste of.

Speaker 11 (01:00:35):
International possess, the taste that's uniquely three five only when
no expense is there, and it's making cain a cigarette
taste so right, So smove those at a right dream
five yet the taste the case that sad Express creators

(01:00:57):
to you the taste that is made dreamy the King's
Side cigarette Dog International Success.

Speaker 23 (01:01:05):
Get three fives. Get the taste.

Speaker 41 (01:01:21):
The unconscious figure of Rendel's strength Live prone as He
still is being.

Speaker 9 (01:01:28):
Towed by the fishing neck towards the shore.

Speaker 8 (01:01:31):
The hot sun beats down.

Speaker 11 (01:01:33):
With interesting as though it's very rays has stuck from the.

Speaker 40 (01:01:37):
Man every vestige of energy.

Speaker 36 (01:01:44):
He still be hlarious point of the heaven.

Speaker 39 (01:01:47):
Don't know you've gotten the doctor the better. Yes, it's
it's been a bad way. Looks as though he's seen gt.

Speaker 11 (01:01:54):
It won't be long before doctor have.

Speaker 9 (01:01:56):
A look at him.

Speaker 11 (01:02:06):
Foun him drifting in the open seasay. Doctor threw a
tow line and told him in like the island is.

Speaker 19 (01:02:15):
Dead, not departed.

Speaker 8 (01:02:18):
He'd been talking of the island, how far to see
what you want?

Speaker 11 (01:02:21):
He was spotted about a couple of miles, But no
one but a madman would make for that island. And
if he was making fool file.

Speaker 19 (01:02:29):
Voices, the voice is a promise.

Speaker 11 (01:02:33):
All right, you were picked up by a fishing's neck.
You're in safe hands.

Speaker 28 (01:02:39):
Say say.

Speaker 41 (01:02:43):
I'll never be safe again.

Speaker 11 (01:02:48):
Kay A wax and beauty made in the admissive death.

Speaker 8 (01:02:53):
He's been to the island.

Speaker 11 (01:02:55):
Idea, your doctor, there's anything in his pockets. You will
have to notify somebody. Ah, here's something envelope Randolph trains
he pim and hotel pen then forty be knowledgy.

Speaker 9 (01:03:10):
Thanks.

Speaker 19 (01:03:14):
If I'm dead, let.

Speaker 10 (01:03:18):
It be it.

Speaker 28 (01:03:20):
Well death.

Speaker 11 (01:03:21):
You're not dead. You've had a terrible, terrible shock. You've
had too much sun. But you're very much alive. You
hear me, You're very much alive. I'm doctor Pascal. This
fisherman brought you in. You're safe and alive.

Speaker 27 (01:03:39):
Safe, lie.

Speaker 11 (01:03:43):
Lie yes still, Oh god man, it won't hurt you.
Pass that got the water will do? Thank you. No
drinking and no, no, I'm not so far.

Speaker 9 (01:04:00):
That's it.

Speaker 11 (01:04:01):
Sip it slowly now lie back, and I'll notice how.

Speaker 8 (01:04:07):
Your friends or relatives where you were.

Speaker 41 (01:04:09):
Friends, relatives, they seemed such say such matter of fact words.

Speaker 11 (01:04:18):
Your name is Randolph Strang, isn't it. I took the
limity of getting through your pockets.

Speaker 8 (01:04:24):
Yes, yes it is.

Speaker 41 (01:04:27):
Yes, my name is Randolph. Sat about the most effect
it began to drift.

Speaker 9 (01:04:37):
That explained it, my poor gentlemen.

Speaker 11 (01:04:40):
No one but a fool would try to make for
the island. John talking, mister Strang, You've had a terrible shot,
and the only way to release it from your symptom
is by talking about it. You had your motor boat
from try Yes, I thought I'd go fishing fish. No, no, please,
don't try to move, just relax. You haired a boat

(01:05:03):
and you went out to see too far out.

Speaker 9 (01:05:06):
Then suddenly I.

Speaker 11 (01:05:09):
Got caught them across palance.

Speaker 41 (01:05:11):
The boat to get to swell round and round, and
then just to suddenly the boat seemed to be still
for a second, and then if it gan to drift forward, drifted.

Speaker 8 (01:05:21):
The blackness in the distance. At first I thought it
was just.

Speaker 11 (01:05:26):
Northern the island, to the island of Lost Soul. Quiet,
So you drifted towards the island, and then I fell asleep.
I've been drifting for someher.

Speaker 41 (01:05:38):
When I awoke, everything was black and business, huge black
rocks acting as sentineaus. Huge rocks, you say, with the
boat it had become a weight between two small rocks
and what seemed to be able to go.

Speaker 40 (01:05:55):
I was god.

Speaker 8 (01:05:58):
I decided to explore. O pay.

Speaker 27 (01:06:14):
All right, Thank goodness, thanks for the daughter.

Speaker 8 (01:06:29):
I was just in black. Who are you? Where am I?

Speaker 12 (01:06:35):
Why have you come here? I'm busy? What are you
doing here?

Speaker 21 (01:06:40):
Go go before the keeper of enough does see you.

Speaker 8 (01:06:45):
Okay? Is that a death? But your boy, it has
the coorest.

Speaker 12 (01:06:52):
Of Tell me where the keeper the lost, pat.

Speaker 11 (01:07:04):
Who are you?

Speaker 8 (01:07:06):
What are you?

Speaker 21 (01:07:07):
Who am I?

Speaker 8 (01:07:08):
What am I?

Speaker 12 (01:07:09):
There is no I.

Speaker 10 (01:07:11):
You do not.

Speaker 12 (01:07:12):
Understand coming.

Speaker 11 (01:07:25):
As if I had summoned life by means of the switch.
The moon came from behind the black clouds, and I
was bathed.

Speaker 8 (01:07:31):
In the luminous light. Was this heaven? Was it?

Speaker 18 (01:07:35):
Hep?

Speaker 8 (01:07:36):
Was this indeed an island with those remains lost? For her?

Speaker 11 (01:07:40):
I a lot he.

Speaker 4 (01:07:43):
Where was she?

Speaker 13 (01:07:46):
Where?

Speaker 19 (01:07:47):
Look reasy?

Speaker 24 (01:07:48):
Please?

Speaker 19 (01:07:49):
Please please? I want to talk to you.

Speaker 36 (01:07:51):
You cannot communicate with her and.

Speaker 8 (01:07:56):
With you.

Speaker 22 (01:07:58):
It was not me that you to be on this island.

Speaker 23 (01:08:01):
That I'm not see you?

Speaker 19 (01:08:04):
Wherever you are to where you.

Speaker 11 (01:08:06):
Are seem cold.

Speaker 27 (01:08:10):
Hundred the lays the heart and the money is stop.

Speaker 19 (01:08:15):
Col all is in sharp comfort.

Speaker 8 (01:08:19):
Alpha is life.

Speaker 36 (01:08:22):
Yes is non love.

Speaker 8 (01:08:24):
I can't believe it.

Speaker 11 (01:08:26):
I'm wearing a shirt, trouser's shoes, that's like a matter.

Speaker 24 (01:08:29):
I'm breathing.

Speaker 8 (01:08:30):
I can feel a pose, my risk.

Speaker 19 (01:08:32):
I'm living. No one is going to deprive me of
my life. Foolish m man. It is giving every human
being to.

Speaker 42 (01:08:42):
Believe that, unlike others, they have to stop the.

Speaker 8 (01:08:46):
Li mortality within them.

Speaker 41 (01:08:48):
To you, you're you're trying to kill me that that
I'm dead, dead dead is al.

Speaker 27 (01:08:58):
The bananas, the degrees of the and nod.

Speaker 11 (01:09:03):
I don't understand you understand?

Speaker 8 (01:09:07):
What energy is this?

Speaker 11 (01:09:09):
Why should you dem the window that ha deluded many
kids of thousands of years?

Speaker 8 (01:09:15):
What are you going to do with me? The question
is not what I'm going to do with.

Speaker 11 (01:09:20):
You, but what you will do to yourself, your giver self, yourself?

Speaker 8 (01:09:28):
Tell me this?

Speaker 11 (01:09:30):
Was it just chance that might both drifted with the
tides of the island?

Speaker 8 (01:09:34):
Was it?

Speaker 36 (01:09:35):
See?

Speaker 19 (01:09:37):
Answer me?

Speaker 43 (01:09:41):
Answer me answers shout understand?

Speaker 27 (01:09:50):
Oh you stuff for me? Where did you come from from?

Speaker 16 (01:09:55):
Here?

Speaker 21 (01:09:55):
We do not arrive from anywhere or go anywhere?

Speaker 8 (01:09:59):
Why drift like that? All in black Polish.

Speaker 21 (01:10:03):
Man, He's not blackness anonymous with.

Speaker 8 (01:10:10):
This is a dream, isn't it. I'm not on an island.

Speaker 27 (01:10:14):
I don't sleep on that boat.

Speaker 8 (01:10:16):
I'm still dressing on the scene.

Speaker 11 (01:10:18):
You don't exist except in my mind.

Speaker 21 (01:10:21):
No, we do not use words that does exist. There
is no existence or none existing.

Speaker 11 (01:10:27):
What sort of dream is this?

Speaker 19 (01:10:29):
Even if I dream, I'm tired.

Speaker 8 (01:10:31):
Hungry, thet.

Speaker 35 (01:10:35):
Comes links into where usually have food and taking warm because.

Speaker 21 (01:10:40):
Even on the islands of love.

Speaker 14 (01:10:42):
So it is.

Speaker 11 (01:10:47):
I don't know whether this is a dream or not.
I don't know whether I'm alive or dead. I don't
know what sort of place it is, but I.

Speaker 8 (01:10:53):
Can't stand it.

Speaker 44 (01:10:54):
My clock write immortal, as long as you're on this island,
no longer inhabitro morcal bodies words like come.

Speaker 11 (01:11:03):
Their liquor there.

Speaker 12 (01:11:07):
Usually have the cheap.

Speaker 23 (01:11:29):
Get three fives. Get the taste three fives by State Express.

Speaker 11 (01:11:36):
Get the taste of international success, the taste that uniquely
three files. Only when no expense is bad and it's making,
can a cigarette taste so right? Both move those that
advice three fives get the taste, the taste the Stade

(01:11:58):
Express created for you, The taste that is made three yes,
the King's eyes cigarette of international success.

Speaker 23 (01:12:07):
Get three files, Get the tape.

Speaker 9 (01:12:25):
Will will will poor?

Speaker 18 (01:12:28):
Still?

Speaker 27 (01:12:31):
Excuse me?

Speaker 9 (01:12:32):
I should say poor lost?

Speaker 10 (01:12:36):
Will?

Speaker 11 (01:12:37):
I wonder where she's taking? Oh well, well assume why not?

Speaker 44 (01:12:52):
Yes, marry go on you harm will come to you.
Your heart is still filled with fear. Go on like
out enjoy what peace and rest made?

Speaker 4 (01:13:08):
Is hard?

Speaker 8 (01:13:09):
What you mean be allowed? What can happen? Don't?

Speaker 4 (01:13:17):
I must?

Speaker 12 (01:13:18):
I must?

Speaker 41 (01:13:23):
Dropping with tiredness as I was confused, in mind and spirits.
I tried to cling to reality by touching the bedpost.
It was stollid in my heart.

Speaker 11 (01:13:35):
The sheets and blankets could have come from the Pinan Hotel,
which I had left that morning.

Speaker 8 (01:13:40):
And you've seen a million life years away.

Speaker 41 (01:13:45):
My head was filled with a thousand jangling nerves.

Speaker 36 (01:13:49):
And then remember you who the draw is?

Speaker 8 (01:13:54):
There are all things going to have a man on her.

Speaker 45 (01:13:59):
I didn't.

Speaker 8 (01:14:03):
Listen taking petition.

Speaker 18 (01:14:09):
By so found my smell bels what man.

Speaker 10 (01:14:26):
No?

Speaker 8 (01:14:27):
So remember what she said?

Speaker 11 (01:14:38):
There will be no such being a car island, A
lot I must have.

Speaker 19 (01:14:47):
If it isn't, if it doesn't bolt it well ghost,
why wise?

Speaker 11 (01:14:52):
So lot serve your requested.

Speaker 21 (01:14:56):
I will open the door for you.

Speaker 11 (01:15:02):
So I'm no longer afraid I'm insane or Caun't dead
people be insane?

Speaker 22 (01:15:13):
What did it sing?

Speaker 8 (01:15:15):
Ex?

Speaker 21 (01:15:15):
Give you peaee?

Speaker 9 (01:15:31):
Then I was beyond all carry I drank once again.

Speaker 41 (01:15:37):
She took me by the hand and led me to
the four parts to bed. I don't know what was
in thattrink. Strange coness came over me. So I found
myself drifting, drifting.

Speaker 9 (01:15:54):
And then not consciousness, And then what happened?

Speaker 8 (01:15:57):
Nothing?

Speaker 41 (01:15:59):
Until on myself here wondering if you were wondering if
I'm get to care some findish tackle and whether I'm
gaing to care?

Speaker 11 (01:16:09):
Oh boy, you would like to hear her voice again?

Speaker 8 (01:16:14):
What you two?

Speaker 11 (01:16:17):
I'm not still have quite bless you her. You've been
down the Island of Lost Souls. Now you're in penance.
We brought you to Dr Pasco's surgery. You've been on
Wolf Island. You've had a terrible and harrowing experience. You're
all right now?

Speaker 39 (01:16:34):
Do you feel a little strange because I put you
under the day all right?

Speaker 16 (01:16:37):
To say it to my dying day?

Speaker 8 (01:16:39):
All?

Speaker 11 (01:16:39):
Yeah, those voices? Are those nice at Or shouldn't I
you such a phrase? Or has my dying day already happened?

Speaker 8 (01:16:46):
It's all to please believe me.

Speaker 11 (01:16:49):
If you're going to recover fully from your terrible experience,
you've got to cling to the fact that these things
happened to you.

Speaker 8 (01:16:56):
Ys a doctor's sister.

Speaker 11 (01:16:58):
You've been in that open boat, on it rusty, under
that hot sun for some hours.

Speaker 9 (01:17:03):
You was delirious, like the son.

Speaker 8 (01:17:06):
Affected my brain.

Speaker 22 (01:17:07):
I have imagined at all.

Speaker 11 (01:17:09):
No, you haven't imagined it at all, And it wasn't
the result of the delirium you stay ever since the
Cornish star went the ground on Wolf Island. They do
say that the island be aunted with the ghosts of
the poor sailors.

Speaker 8 (01:17:23):
What was drowned, lost souls.

Speaker 9 (01:17:26):
Baby smugglers they was, And they do say that when the.

Speaker 38 (01:17:30):
Moon beh you can hear the cries of the drone
in the sailing.

Speaker 11 (01:17:35):
Nonsense, pure superstition. Have you heard that Wolf Island is
known as the island of lost thous?

Speaker 9 (01:17:41):
No hear me ad.

Speaker 11 (01:17:44):
Cornish folklore has it that when evil do us be
their mortal body, Heaven is not their reward, But these
losteous remain in torment on Wolf Island.

Speaker 9 (01:17:53):
You see very little on the island.

Speaker 11 (01:17:56):
It's practically inaccessible the shipping of any size. About fifty
years ago the National Ornithological Society bought it for the
government to.

Speaker 8 (01:18:04):
The thank you are what happened every third day?

Speaker 9 (01:18:08):
Did they not dine?

Speaker 11 (01:18:09):
The island was too far from the sure that's.

Speaker 27 (01:18:12):
All very well for you to say, folk lor doctor.

Speaker 22 (01:18:15):
But this genius strength.

Speaker 11 (01:18:17):
You know how strong the tides are off the Cornish coast.
It's obvious that when you're out board there to fail
the tide carried you towards Wolf Island. You fell asleep,
then you're woke.

Speaker 8 (01:18:28):
A work Am I awake yet?

Speaker 11 (01:18:30):
Mister Strang, if you want to live a life of
nightmare and fears, you will not do as I suggest.
But there's only one way to remove the effects of
the horrible experience. Come with me to Woolf Island.

Speaker 9 (01:18:44):
The doctor.

Speaker 11 (01:18:45):
You now that you're physically recovered, we haven't had much
of a chance to exchange information about each other.

Speaker 2 (01:18:52):
You look as though you might just go Marster.

Speaker 11 (01:18:54):
Are ironically Enoughimer a lecture in science as brittle universe?
And then come with me. I'll take you in my Boatkay, doctor,
what do you do? Beg you for two reasons, one
for your own peace.

Speaker 9 (01:19:08):
Of mind and the other the valgulator.

Speaker 11 (01:19:12):
Only, instead of arriving at night, we will go now
when the sun is high and the sea is blue,
and the Wolf Island will be bathed in light.

Speaker 8 (01:19:20):
You're asking, it's a great deal of me. It is
for your sake that I an.

Speaker 11 (01:19:30):
My great great grandfather was the.

Speaker 23 (01:19:33):
One that discovered the end estate route of the island.

Speaker 29 (01:19:35):
It has to be around about noon.

Speaker 39 (01:19:37):
Where one can sail between the two currents. Then is
it in a bird of this size, even with the flex.

Speaker 11 (01:19:42):
Of palm on the walls of the sea, goes weaving
and diving over here, even with you sitting at the
pillar of the boat. Even now, I find myself trimming
at the thoughts of returning to the islands. If you
haven't told me why we're returning, and but almost there
to do so, it would.

Speaker 39 (01:20:00):
Be as unreal to you as your experience is last night.
I'm a doctor as a psychologist, but I have to
confront you with the.

Speaker 8 (01:20:08):
Demons of the night.

Speaker 39 (01:20:10):
I promise you that you'll be perfect to say, and
I promise you that you will understand everything, particularly with
your scientific train.

Speaker 11 (01:20:19):
Those rocks, those black rocks, different day.

Speaker 23 (01:20:25):
Of Peter's daylight, as many other things will.

Speaker 11 (01:20:28):
This is the self same creek you arrived there last night.
Let's get ready to beat for those. And I'm pretty
certain we are being observed already.

Speaker 24 (01:20:36):
Hello, Hello, Come and give that.

Speaker 27 (01:20:41):
I think I recognize that.

Speaker 8 (01:20:42):
For BEFO.

Speaker 11 (01:20:43):
If you had last night and he under different circumstances,
I had no alternatives. You went too far, Randolph Strang
meet Professor Hailbrey.

Speaker 8 (01:20:56):
He is or was in more line of countries.

Speaker 40 (01:20:59):
No it's not the heir, the prey.

Speaker 11 (01:21:01):
Serious dynamics, good heaven. It is an honor. Won't do
when you've heard everything? You insist on the thika.

Speaker 36 (01:21:09):
Yes, let's go in.

Speaker 39 (01:21:14):
Everything you heard last night, missus Strange, with designs, so
that when you told your story on her journey to
the mainland, it would be so outrageous that.

Speaker 11 (01:21:22):
No one will believe. In naps I've erected on this island.
Certain sounds to fighting everyone away, you heard me last
night on the amplification systems, So when you told your story,
it would keep the supersticious Cornish woman in terror of
a visiting with island.

Speaker 8 (01:21:40):
I can't believe it prevents her. There were things that
you couldn't.

Speaker 11 (01:21:44):
Do mechanically or scientifically. That girl, Yes, you'll soon see.

Speaker 8 (01:21:56):
You.

Speaker 21 (01:21:56):
Who are are the travel healthy?

Speaker 9 (01:21:59):
To have you come to bath to judgements not judgment?

Speaker 11 (01:22:03):
And I brought GM one to speak with you.

Speaker 12 (01:22:05):
Of course last night he had left his mortal party.

Speaker 8 (01:22:10):
Look please, that's my stop.

Speaker 11 (01:22:12):
This is a This is an explanation as to what
happened up nightly is a stucker come out side peace,
missus Strange. Where's raining ourselves upon your mercy? What my
brother in law did was unforgivable. Brother in law, Yeah,

(01:22:33):
the poor child got seen as my niece. Unfortunately, my
sister Prossor Hailsby's wife was stricken with a rare disease
some five years ago. She was there within a matter
of week. My niece never recovered from a blow.

Speaker 8 (01:22:45):
She went out of her mind. She was no fashion trade.
She was born and brought up in this part.

Speaker 11 (01:22:50):
Of the world, and she insisted that her mother's Philip
was on this island, which ever since the ship wrecked
two hundred years ago, has been known as the Island
of Lost shows. I've had the world's leading alienists and
mental health spacialists. She is not incurable, but they wanted
to to put her away. I both resided in secretly

(01:23:11):
three years ago and if if he means the world
to be done a bore with all this. About a
year ago, a young couple had discovered the route they landed,
and I frightened them away before they could discover the
truth they were a calling couple and leave that they
were getting goot. I decided to take no more chances.
When we saw you walking.

Speaker 8 (01:23:28):
From the creek, I knew I had to frighten you too.

Speaker 28 (01:23:31):
I'm sorry.

Speaker 11 (01:23:33):
I had hoped that would be so scared that you
wouldn't mention it to anyone. But there's phantoms of strange
vision betide the effect.

Speaker 8 (01:23:39):
I put something in the drink. My daughter proffered you
one of the loose natary drugs.

Speaker 11 (01:23:44):
Then while you were asteep, I carried you, or rather
half drag girl put you into your boat, knowing that
the morning tide would carry her towards the mainland. Please,
mister Dangs, if you report this, I shall have to
have my daughter certified, and she'll be taken away for
me half.

Speaker 8 (01:24:01):
Of good forever. But what if that strange larf I
had could come. I'll show you there's a switch at
our advantage points.

Speaker 11 (01:24:17):
Now you will see why none of the locals will
bring their boats within Getting this took of the island,
that everything your thought would sit to me, she believe.

Speaker 9 (01:24:23):
I wish she didn't.

Speaker 11 (01:24:25):
I wish that she too, were part of my defenses
to frighten the people. Where Jack the beers, the fisherman
who picked up at the stranger.

Speaker 9 (01:24:31):
Taking him in the hospital.

Speaker 11 (01:24:32):
You don't know what incalculable harm would have been done.
I injured her harmter. I knew that you would be
picked up by some class or other. I'd hoped that
you would come to believe with what you was for
on the island was part of bad dreams. I knew
that you would never be able to find a way
back there. In more to find out whether it would
be dreaming or not. We owe it to this gentleman
to bring in here, to tell him the truth of

(01:24:53):
his own peace of mind.

Speaker 8 (01:24:55):
Yes, yes, no, she has.

Speaker 11 (01:25:03):
Proper Do I hear something I think him? Oh?

Speaker 4 (01:25:07):
No, no no.

Speaker 11 (01:25:09):
Although with a friends living on this island with my daughter,
I feel very close to my wife. In fact, I
sometimes imagine that she rarely does speak to me.

Speaker 8 (01:25:32):
Will Will Well. It just goes to show what a.

Speaker 40 (01:25:37):
Failed outboard motor can do to a man.

Speaker 11 (01:25:42):
Before he's able to take any buildings, he finds himself
up the mental creek, so to speak.

Speaker 23 (01:25:56):
Get three fives, Get the take three fives by State Express.

Speaker 11 (01:26:03):
Get the taste of international success, the taste that uniquely
free fives only when no expense is better than it's making.

Speaker 23 (01:26:11):
Can a cigarette taste? So might those moves, those satisfies
dream pies. Yet the taste.

Speaker 11 (01:26:24):
The case that state Express created for you the taste
that has made green pies the King size cigarette of
international success.

Speaker 23 (01:26:34):
Get three fives, Get the taste.

Speaker 11 (01:26:42):
This is your hoost back again, Yes, a reminders on
the zoo nixt Tee.

Speaker 40 (01:26:51):
Weirker through the creakingdle of coat.

Speaker 11 (01:27:03):
The manufacturers of Date Express three five filter King Cigarettes
invite you to listen next Saturday at nine o'clock, when
they will again present.

Speaker 9 (01:27:18):
The creaking gold.

Speaker 46 (01:27:48):
Time, the silent herald of life and death, success or failure,
the unseen force that measures man's destiny, reaching its most
faithful moment as it slowly strikes the eleven out.

Speaker 47 (01:28:27):
The judge was bored, the jury listless, the courtroom hot
and airless that July afternoon, as the voice of the
prosecutor droned on wheeling out Edward Brown's confession of murder.
The defense had made no effort to keep that confession
from being admitted as evidence, so the trial was as

(01:28:49):
good as over. Eddie Brown would hang in the press gallery.
I hadn't bothered making shorthand notes. I'd heard it is
confession before. He had, in fact made it first to me.

Speaker 8 (01:29:05):
In the dock.

Speaker 47 (01:29:05):
The prisoner betrayed no sign that he was soon to
drop a bomb and turn his trial into one of
the most sensational I'd ever witnessed. No, Eddie's handsome, twenty
three year old face showed nothing. He listened impassively as
mister Cecil Pollock, crowned prosecutor read the statements.

Speaker 8 (01:29:24):
So willingly sign this.

Speaker 48 (01:29:27):
Passage, the prisoner says, the Soho shop was untenanted.

Speaker 8 (01:29:33):
I had been engaged by the owners to repaint the
front of the building.

Speaker 48 (01:29:37):
They had given me the keys so I could change
inside and store my painting ladders in the back room.
I stopped work early and was standing in front of
the shop, killing time and looking at the passers by,
when a girl came down the street. She was wearing
a summer frock and carrying a large handbag. She stopped

(01:29:57):
and looked me over carefully. Then she opened her handbag,
took out a packet of American cigarettes and came over
to me.

Speaker 8 (01:30:08):
Hi a busser.

Speaker 32 (01:30:09):
Hi, you got a match or do I have to
use my own?

Speaker 8 (01:30:13):
Sorry, a match is in the back room in my
other clothes.

Speaker 10 (01:30:17):
Uh huh.

Speaker 49 (01:30:19):
Oh, well why do you know I haven't got a match?

Speaker 32 (01:30:21):
My purse of bath.

Speaker 8 (01:30:22):
Oh if you wait a second, I'll get you one.

Speaker 50 (01:30:24):
No hurry, That isn't why I stopped. No, no, oh look,
I know this sounds kind of funny, but it isn't. See,
I'm American. I've just been divorced.

Speaker 34 (01:30:35):
I got quite a nice little settlement out of the chump.

Speaker 21 (01:30:37):
I was married to ye and me and my girlfriend Mabel,
we decided.

Speaker 31 (01:30:41):
To take a little trip.

Speaker 8 (01:30:42):
Yeah.

Speaker 51 (01:30:43):
Well, well we came to London first on account of you.

Speaker 35 (01:30:45):
People understand American, even if you don't speak it.

Speaker 34 (01:30:48):
Well, we've been sitting up in our hotel room for
three days.

Speaker 51 (01:30:52):
I'm not one man has spoken to us, so even
giving us says, I don't know whether.

Speaker 32 (01:30:56):
We've got the plague or there just stuck up. Well, anyway,
I told maybe I was sick of it.

Speaker 51 (01:31:01):
I was going out in the street and speak to
the first dead looking man I saw him.

Speaker 50 (01:31:04):
Make him a proposition, a proposition, Oh, look, fust to
the kind of places we want to see in this
time he can't get into without a man.

Speaker 51 (01:31:12):
Oh, we've got plenty of doll we'll pay for everything
and give you something for your time.

Speaker 21 (01:31:17):
We want to guide see, Well, how about it?

Speaker 8 (01:31:21):
I don't know GUIDs one thing aigglers another.

Speaker 21 (01:31:25):
You're a right buster, and make no mistake about it.

Speaker 31 (01:31:27):
What we want as a guide?

Speaker 42 (01:31:29):
Yeah, well tell you what we'll do. Come inside, we'll
have a cigarette and talking over.

Speaker 35 (01:31:35):
Oh ook it, gosh, he's kind of dark in here
with a blind pole.

Speaker 8 (01:31:44):
All right, give me your hand, all lead the way.

Speaker 35 (01:31:49):
Maybe we should leave the door open, or don't.

Speaker 8 (01:31:52):
Give me your hand. In the following passage, the prisoner
clearly states his motive.

Speaker 48 (01:32:02):
He says, while the girl, who subsequently identified herself as
Juanita Bell, was rummaging in her purse for a match,
I had seen a large roll of banknotes in the
back room. I tried to take the purse from her.
She struggled and began to scream. I put my hands
around her throat in an effort to silence her. I

(01:32:24):
lost control and forgot the strength of my hands. The
next thing I remember, she was lying slumped on the
floor dead. I ran out of the shop. I was
so agitated by what I had done that I forgot
to lock the door. Later, I threw the key into

(01:32:46):
the Thames. I wandered around aimlessly, trying to think what
to do. Finally I went back to my rooming house
and hurriedly began to peck, intending to run away.

Speaker 8 (01:32:58):
There was a knock at the door. I was half
out of my mind with fear. Who's there, Inspector Clark,
Scotland Yard. I'd like to talk to you, mister Brown.

Speaker 18 (01:33:11):
Just a minute.

Speaker 36 (01:33:12):
I'm shaving, getting somewhere, mister Brown.

Speaker 42 (01:33:15):
Why no, I'm unpacking as a matter of factor, not
going anyway. Oh but you are, mister Brown. We'd like
to have a word with you down at the yard.
I understand you have the keys to a vacant shop
in Soho keys. Why I did have him, I don't
have him now. I came him to a chap late
this afternoon. Who was this tep Well? He said he

(01:33:38):
was a prospective tenant. Said he just wanted to look
round and the owners have told him to get.

Speaker 8 (01:33:43):
The keys from me. I gat him to him and
left before he did it. And he described this man.

Speaker 42 (01:33:49):
Oh, he just a man, medium, ordinary sort of face,
and nothing very special about him. As he you can't
tell us anything that will help us to identify him.
Uh oh, yes, see he was wearing a leather coat,
you know, a long leather coat like German officers War
I doubt level help us very much. A lot of

(01:34:09):
soldiers brought those back from Germany after the wall. Oh yes,
I suppose it did. Would you recognize as men again? Yes,
I think so, and as those you will come along
with me, mister Brown? What for just to help us
the little information and so forth? Good morning, mister Brown.

(01:34:40):
Sleep well, now I didn't You had no right to
keep me here all night, sorry, but we thought it
was necessary. Now they shouldn't take very long, all right, sergeant,
you can start the men through the line up.

Speaker 52 (01:34:51):
Now, walk out on the platform and stand facing the
inspector gent sideway, sharing your profile.

Speaker 8 (01:34:58):
They go off the other side.

Speaker 42 (01:35:01):
Let's go out closely. Now see if you recognize the
man you gave the key to him? All right, Inspector,
you have no.

Speaker 8 (01:35:08):
Right to put me in a mine. Up. I haven't
done anything. That's him. That's the man in the leather coat.
What have I done?

Speaker 10 (01:35:15):
Wi you?

Speaker 8 (01:35:16):
What are you accusing me? Off? That's the man I
gave the ca to. Hey killed to inspector hate killed her.

Speaker 48 (01:35:27):
The prisoner's confession continues as follows. When the man I
had falsely identified as the one to whom I had
given the key was able to prove his whereabouts at
the time of the murder. The inspector again turned his
attention to me. Again and again I was questioned, but
I stopped to my original statement that I had given

(01:35:49):
my key to a man in a leather coat. After
several days, I was released for the police could not
prove enough against me to.

Speaker 42 (01:35:57):
Bring me to trial. Over the next two years, I
brooded about what I had done. November of nineteen forty eight,
I went to the offices of a large London newspaper
and asked to see mister Kent Rogers, the court reporter.
I had often read his accounts of trials and the press.

(01:36:18):
Mister Rogers, Yes, what's on your mind? I want to
confess to a murder.

Speaker 8 (01:36:23):
You would you mind saying that again?

Speaker 42 (01:36:27):
Two years ago I strangled an American girl named Janita Bell.
The police couldn't prove what.

Speaker 47 (01:36:33):
Did it, so they were listen to me, mister Bell,
if you're some kind of a crank, try and get publicity.

Speaker 8 (01:36:37):
I'm not a crank. I can tell you exactly how
I did it everything. It's well, why tell me? Why
didn't you go to the police.

Speaker 42 (01:36:44):
I like the way you write up trials in the
newspaper got a nice style anyway, Why are you complaining
to scoop for isn't it yes? Yes, if it's true,
it's true or right? Besides, I got another reason for
telling you what reason?

Speaker 16 (01:37:02):
Never mind?

Speaker 8 (01:37:03):
We just take down what I say.

Speaker 42 (01:37:05):
Then you can check the inspector Clark at Scotland jar
he handled a cake before.

Speaker 8 (01:37:11):
Milard.

Speaker 48 (01:37:12):
Gentlemen of the jury, the prisoner Edward Brown stands convicted
of murder out of his own mouth, by his own
voluntary statement. There for the Crown need present no further evidence,
and on these words his own words, the Crown raists
its case.

Speaker 53 (01:37:33):
Is counsel for the defense now ready to present his case.

Speaker 36 (01:37:36):
Yes, you may proceed, misters en.

Speaker 18 (01:37:39):
Thank you, gentleman of the jury.

Speaker 54 (01:37:42):
In order to save the court's time, I will waive
the customary opening remarks usually made by defense counsel. I
will call my first and only witness, the defendant, Edward Brown.

Speaker 47 (01:37:57):
We were surprised at the defense had decided to call
the prisoner. There was a stir of interest in the court,
but no sympathy crossed the faces of the jurors as
Eddie Brown took the stem.

Speaker 8 (01:38:10):
Now, then mister Brown, you have heard the statement read
out in this court I have.

Speaker 26 (01:38:16):
Is it the truth?

Speaker 8 (01:38:17):
It's an absolute lie?

Speaker 53 (01:38:23):
And mister Brown, do I understand that you repudiate your confession? No, madad,
I said those things in Simon and to them, but
they're all lies. I never saw a nature better in
my life.

Speaker 55 (01:38:36):
I gave the key to the shop to the man
in the leather, Curtis, as I told the inspector. First,
you may perceive with your examination, mister Ends, Thank you,
your confession is entirely false. It is, yet you voluntarily
made the statement to the police, and you made the
same statement.

Speaker 54 (01:38:53):
To the court reporter Ken Rogers, I did I see?

Speaker 22 (01:38:58):
Then?

Speaker 54 (01:38:58):
Tell me why did you go to Roger's office, that's
the newspaper and tell him this story? If it were
not proof?

Speaker 55 (01:39:05):
For two years, I didn't run a suspicion, no unemployee,
my friends won't associate with me.

Speaker 36 (01:39:13):
Yet no chance to ever been laid against me.

Speaker 42 (01:39:16):
Ifore I know how whoever, clearing my eye, I've decided
to confess so that I'd have to be brought to trial.

Speaker 8 (01:39:24):
That's why I told mister Rogers the story.

Speaker 53 (01:39:27):
That's why I'm here to clear an eye, mister Pollock.

Speaker 56 (01:39:33):
Yes, and in your closing remarks to the court, I
understood you to say that you intend to offer no
evidence other than the prisoner's confession.

Speaker 29 (01:39:42):
Is that correct?

Speaker 56 (01:39:43):
Yes, they see, gentlemen of the jury. It is obvious
that the defendant is a liar. But it is of
course equally obvious that he cannot be convicted.

Speaker 19 (01:39:57):
Because of.

Speaker 47 (01:40:26):
Edward Brown, a self confessed murderer, left the court of
free men. The case of the curious Confession would have
ended up another of London's unsolve crimes, except for a
strange course of events in which I was again to
figure in my capacity as court reporter. It was almost
two years later that I dropped into Scotland Yard late

(01:40:49):
one afternoon to call on inspected Clark.

Speaker 57 (01:40:53):
Well, Rogers, haven't seen you for several weeks.

Speaker 18 (01:40:55):
You haven't been in court lately?

Speaker 42 (01:40:56):
No, I haven't where things are going. I may never
get my present case to court. What's on your mind?

Speaker 8 (01:41:02):
Well, I'm doing a spot of crime reporting at the moment. Yeah.
Is the change as good as a holiday? Well?

Speaker 47 (01:41:06):
I got a bit stale on court reporting. Like to
get out among my raw material. Occasionally see the people
I write about before they appear in court. I'm covering
the case you're working on now, Silk Stocking murday.

Speaker 42 (01:41:19):
You press chests, glamorize everything, so that Stocking wasn't silk,
it was Lyle. And the murdered woman was not young
and beautiful as she was written up. She was over
forty and she looked it. Yes, we do color the
pects a little sometimes. After all, a Lyle Stocking suggested, well,
the housemaid. We couldn't call the case there the Lyle

(01:41:40):
Stocking murder. It's a euphobius. In more memories, you know
the details as both are more or less.

Speaker 8 (01:41:47):
Yes, but I'd like to hear them from you, just
for the record.

Speaker 35 (01:41:51):
Hmmm.

Speaker 42 (01:41:51):
There is certain book keeper and married had a basement
paed and Victorian. During the night, somebody entered up flat
with the intention of robbingham. She was in bed, she
hadn't been awaken The burglar grabbed the first thing hand here, stocking,
and then strangled over it. He then took what money
he could find and left the flatter. She discovered the
next morning. My neighbors would hurt nothing at all during
the night. Any clues None, Sometimes, though, you get a

(01:42:13):
break in the salt kid, Leez. That's what I've been
telling my Come in.

Speaker 52 (01:42:20):
There's a young woman outside who wants to see you, inspector.
What about an RAF deserter?

Speaker 8 (01:42:26):
Well, can't you handle it?

Speaker 19 (01:42:27):
Certain?

Speaker 52 (01:42:27):
Oh yes, but she's ready about you in the paper
and she says talking to you will be more like
talking to someone she knows.

Speaker 42 (01:42:33):
For pete say the penalty of favorite and who's responsible
your reporters?

Speaker 8 (01:42:38):
All right? Certain centering?

Speaker 58 (01:42:40):
Yeah?

Speaker 8 (01:42:40):
Yes, Oh we want me to stait outside? No, no,
you didn't stay.

Speaker 57 (01:42:44):
I'll just have a word with them and i'll pass
one of the sergeant.

Speaker 8 (01:42:47):
You can go right in, Miss Corfield, Thank you, Come in,
miss thank you.

Speaker 21 (01:42:54):
I'm Laura Corfield, Inspector.

Speaker 28 (01:42:56):
How do you do?

Speaker 8 (01:42:57):
This is mister rogers in? Good afternoon, Good afternoon. Is
it done.

Speaker 11 (01:43:02):
Now?

Speaker 37 (01:43:02):
Then?

Speaker 8 (01:43:02):
Missus? I was troubling you will.

Speaker 51 (01:43:06):
It's about me young man, or rather he was a
young man up until a few weeks ago. He had
few too many at the pub one evening and he
told me he was a deserter from the RAF.

Speaker 12 (01:43:18):
Will.

Speaker 51 (01:43:19):
Naturally I refused to see him after that, but he
kept coming round and well Will threatening me. Well, I
don't like it about his being a dessert. But I
wouldn't put him eat. I mean, I hate doing a
thing like this. Only you see, I'm afraid afraid.

Speaker 8 (01:43:37):
I'm afraid of what will.

Speaker 51 (01:43:39):
Every night he comes and stands across the street and
watches me window.

Speaker 21 (01:43:44):
If I go out, he stopped me and we argue last.

Speaker 12 (01:43:48):
Night it was really wild.

Speaker 51 (01:43:50):
He hinted that he'd taken care of other girls who
tried to throw him over and Will.

Speaker 12 (01:43:57):
I'm afraid of him.

Speaker 8 (01:43:58):
I really am only have perfectly of writing coming along
with it. Beg could be wrong?

Speaker 37 (01:44:03):
Are you?

Speaker 8 (01:44:03):
You hadn't come, could have meant trouble for it?

Speaker 12 (01:44:06):
That's what I thought.

Speaker 8 (01:44:07):
You just go outside.

Speaker 42 (01:44:08):
Told this the sergeant William give me a name and
address and he'll arrange to have the young men picked up.

Speaker 51 (01:44:12):
Oh yes, look I brought this along. Say you know
him when you see him. It's a snap we had
taken right after we first meet.

Speaker 25 (01:44:21):
Here is here?

Speaker 8 (01:44:22):
Thank you. It's gonna be quite a big help to us.
That rogers.

Speaker 22 (01:44:26):
Eh.

Speaker 8 (01:44:26):
Oh, yes, it's Victor. Take a look at this. Recognize him?
He does look a bit truly. Yes, well, I can't
say that I do.

Speaker 42 (01:44:36):
When you last saw him, he had no mustache, and
he looked much younger. Yeah, very much longer hair and
short cropped like this. Yes, of course, inspect you have
run along this.

Speaker 8 (01:44:46):
And tell us all about it. We'll take care of everything.

Speaker 12 (01:44:49):
Oh, I will all write Inspector, thanks very much.

Speaker 26 (01:44:54):
Oh I miss.

Speaker 57 (01:44:55):
We asked the sergeant just to step in here for
a moment.

Speaker 4 (01:44:58):
Yes, is it?

Speaker 8 (01:45:00):
It's a photo Eddy Brown. That's all right. I've always
wondered what happened to him. Hey, young lady says you
wanted to see me, then, yes, keep it here while
I go out and become my boyfriend. But I thought
you weren't going to handle it. I changed to mind.
I have a cart in Brown. I shall believing at
once I'd like to go with you to pick him up,
and I'm sure you would.

Speaker 42 (01:45:19):
Unfortunately regulations when quite admit that you're not Brown. In
the morning, I'll let you tell the story. Then it'll
be interesting to see Eddie Brown again.

Speaker 47 (01:45:43):
My morning in Victory, the sergeant tells me you picked
up Brown last night. He certainly did anything in it
for me. One of the best stories I've ever struck
that you can't print it?

Speaker 8 (01:45:55):
Well, might not? Eddie Brown confessed to the silk Stocking murder.
He what you heard me?

Speaker 42 (01:46:01):
He convince the murder of Mary Satturn, just like he
did in the Oneita Bell case.

Speaker 8 (01:46:05):
I say this is getting a bit of a habit.

Speaker 42 (01:46:06):
You can say that again. This case beginning to follow
an all too familiar pattern. He got away with it once,
and he might do so again.

Speaker 8 (01:46:13):
You don't mean it, I'm reread I do.

Speaker 42 (01:46:15):
You can't print if he's been tried the murder before,
nor can that fact be introduced as.

Speaker 8 (01:46:19):
Evidence of his trial. No, no, that's true.

Speaker 42 (01:46:22):
It's a fundamental tenet of British lord. A jury can't
be told of defendant's previous conviction or trial.

Speaker 8 (01:46:27):
Let me see him, inspecting me. I can.

Speaker 57 (01:46:29):
You'll see him, all right, you'll see him in court.

Speaker 47 (01:46:42):
And so incredible as it seems, I again took my
place in the press gallery and looked down at Edward
Brown for the second time a prisoner in the dock.

Speaker 8 (01:46:52):
As the Crown.

Speaker 47 (01:46:53):
Prosecutor read out Brown's confession, only three people in the
courtroom realized that his earlier trial was being re enacted
in an amazing fashion. So changed was Brown's appearance that
few had recognized him, and so common was the name
that had gone well, let's say, unnoticed, but fate had decreed.
Another remarkable coincidence, the crown prosecutor who rose to read

(01:47:16):
out his confession was the same who had faced him before,
mister Cecil Pollock.

Speaker 8 (01:47:22):
His presence in court must have given the defendant of shock,
didn't his father.

Speaker 47 (01:47:25):
Mister Pollock paused, took a sip of water, and continued
reading Brown's statement.

Speaker 48 (01:47:31):
For several weeks, I had been hiding out during the
day in a basement cupboard across from Mary Sutton's flat.
The door of the building was never locked, and I
was able to go in and out at will. On
the night of October the seventh, I entered Mary Sutton's flat.
She was asleep, but in the light of a street
lamp outside, I could see her purse lying on a

(01:47:53):
table beside her bed. I crept over and was about
to take the purse when she awakened and began to scream.

Speaker 8 (01:48:01):
We struggle.

Speaker 48 (01:48:03):
Somehow I managed to get us stocking round her throat.
I choked her with that. Then I took the money
in her purse and left the flat. Three days later
I was arrested by the police as a deserter from
the rim, at which time I made this voluntary statement,
signed Edward Brown.

Speaker 47 (01:48:27):
Step by step, the trial progressed with its incredibly familiar pattern.
As his first witness, the prisoner's counselor, mister R. G. Williams,
called Edward Brown to the stand.

Speaker 36 (01:48:39):
You have heard your statements right out by the lenning prosecutor.

Speaker 18 (01:48:43):
I have.

Speaker 8 (01:48:44):
Is it any collage used to make yes, I did
not kill mary Son.

Speaker 55 (01:48:52):
Does counsel for the defense intend to claim that the
confession was expected under duress?

Speaker 52 (01:48:59):
No, lad, we claim that, for reasons which the defendant
will explain, he did not tell the truth in his statement.

Speaker 42 (01:49:05):
If the Crown wishes to move from an adjournment, I
will hear such a motion.

Speaker 8 (01:49:10):
The Crown does not require a germanis my lad? We
are prepared this time, milod, I am ja time. The
prosecutor's final remark we did need to turn the record.
I will draw the remark, my lad.

Speaker 59 (01:49:21):
The journey of disregard the prosecutor's remark we are prepared
this time can fill, but the defense may proceed with examination.

Speaker 8 (01:49:31):
Mister Brown, do you deny all of your statement to
the police, No, sir, I am a result from the if.

Speaker 42 (01:49:38):
I didn't arn a a saddle the flat on the
night of the murder, but I did it because I
heard a struggling side. Then a man ran out of
the door and run up the steps. I wanted to
say what was wrong? I found it dead. I was
about to leave when suddenly I decided to confess to
the murder. Why I was responded, I didn't want to

(01:49:59):
go on living. I was a deserter, couldn't find a job.
I was desperately never with me go Laura Corfield and
she had turned me over general or later. I knew
i'd be caught and probably convicted of the Sutton murder. Anyway,
i'd believe I hadn't done it. When my girlfriend turned
me to the police, I confess to a murder.

Speaker 8 (01:50:21):
I did not commit. No more questions.

Speaker 36 (01:50:24):
You may proceed with cross examinations.

Speaker 42 (01:50:27):
To Pollock, mister Brown, you wished to confess to a
murder you did not commit, Yes, sir, you decided that
while you were in the room, Yes, sir, and see
if you wished to confess, why didn't you go direct
to the police and do so?

Speaker 45 (01:50:48):
Well?

Speaker 42 (01:50:49):
I guess I decided later that is not what you
said a moment ago. Now that I think it over,
I decided later. Yes, see, did you touch the body eh?
Did you touch the stocking?

Speaker 11 (01:51:04):
Eh?

Speaker 8 (01:51:05):
But you saw it in the light thrown by the
street lamp outside. Yes, sir, mister Brown, Will you describe
the stocking? It was.

Speaker 42 (01:51:17):
Just an ordinary lial stocking, nothing special about it, an
ordinary lile stocking.

Speaker 8 (01:51:23):
Yes, mister Brown.

Speaker 42 (01:51:25):
Are you aware that in all newspaper accounts of this
case it has been referred to as the silk stocking murder?
You could not possibly know but lyle unless you had
committed the murder yourself.

Speaker 8 (01:51:37):
No, I read it somewhere.

Speaker 48 (01:51:40):
I submit that your entire confession is true, that you
murdered Mary's Hutton exactly as you said you did.

Speaker 8 (01:51:47):
That you are guilty guilty of murder as charged.

Speaker 47 (01:52:03):
The jury was out forty minutes, then they returned a
verdict of guilty. The man who confessed once too often
was convicted and later hanged. What curious compulsion made Edward
Brown confess me? Evidently some twisted bravado drove him to

(01:52:25):
crave center stage in the drama of the courtroom. So
it took five years and two trials to accomplish it.
Justice was finally done and Edward Brown paid for his
crimes with his life.

Speaker 8 (01:52:38):
In his case, there was no reprieve. Eleventh power.

Speaker 60 (01:53:00):
Mm hm.

Speaker 61 (01:53:03):
Be listening to another mounting drama of action and suspense
when we again bring you the eleventh Hour. The Case
of a Curious Confession was written by Sulla ball Bright
and produced by Jim Bradley for our transor.

Speaker 8 (01:53:52):
M hm.

Speaker 62 (01:53:55):
Hm hm hm.

Speaker 63 (01:54:43):
Fed Up with the everyday grind, tired out by the
dull routine, I want to get away.

Speaker 8 (01:54:51):
From it all.

Speaker 5 (01:54:53):
We offer you.

Speaker 64 (01:54:55):
Escape, escape designed to free you from the four walls
of today, for a half hour of high adventure.

Speaker 63 (01:55:08):
You are speeding through the English countryside, the fast Express
train rocking beneath your feet, and you know that somewhere
in the dark ahead of you, a band of men
are plotting the destruction of the train, are planning the
moment of your death.

Speaker 64 (01:55:36):
Today we escape to England at the turn of the
century and the story of a complete train that vanished
from the face of the earth. As Sir Arthur Conan
Doyle told it in his fascinating tale The Lost Special.

Speaker 45 (01:56:01):
Twenty years with Scotland Yard had brought me into contact
with many weird and unusual events in human affairs, but
none more strength than the occurrences which began on the
afternoon of June third, eighteen ninety in the railway station
at Liverpool. On no case before had I ever felt
myself so helpless, groping blindly, as it were, for an

(01:56:22):
unseen adversary, not being certain of the nature of the crime,
not even knowing, in fact, if it were a crime.
Suffice to say that along a short stretch of railway
line in western England, I learned what is truly meant
by terror of the unknown. At four o'clock of the

(01:56:45):
afternoon in question, having completed a rather minor investigation which
had brought me to Liverpool, I was sitting in the
waiting room of the railway station, reading and waiting for
the six o'clock train for London, entirely unaware at that
moment of a rather ordinary conversation that was taking place.
It's in the office of mister James Bland, the station master,
a few yards away.

Speaker 65 (01:57:04):
I'm very happy to know you, mister Carrotle, and you
mister Gomez, And now if I might learn the nature
of your wishes.

Speaker 66 (01:57:10):
Simply this mister Blend, my companion and I have arrived
on the steamer from Central America, which docked less than
an hour ago. It is of the utmost importance that
we reach London as quickly as possible in order to
arrange passage across the channel to France.

Speaker 65 (01:57:23):
I see it, well, it's unfortunate you missed the three
o'clock train, mister Carrottle. However, they'll be limited leaving at
six that will put you in London.

Speaker 45 (01:57:30):
That is not soon enough, mister Blend.

Speaker 66 (01:57:33):
I cannot stress too highly the importance of my reaching
Paris at the earliest possible moment.

Speaker 65 (01:57:37):
I can understand that. But there simply isn't any other
training quite so, quite so.

Speaker 66 (01:57:42):
I am informed, however, that it is possible to charter
a special train upon occasion especial.

Speaker 65 (01:57:47):
Yes, it's possible, rather expensive, though the.

Speaker 66 (01:57:50):
Cost is not important, mister Bland. How soon can the
arrangements be made?

Speaker 65 (01:57:54):
Well, mister Hood, do we have an engine available, Sir
number two forty seven on the north siding under emergency steam? Good,
very well, mister Carotile.

Speaker 45 (01:58:04):
It's four oh eight.

Speaker 65 (01:58:05):
Now we can roll a special out of here at
four thirty. The charges fifty five.

Speaker 66 (01:58:09):
Pounds, Gomez, you will pay mister Blend fifty five pounds.

Speaker 65 (01:58:13):
Who is on the stand by chrowmist Hood, Let's say
John Slater's engineer McPherson, god Smith Farman. Call them at once,
help them carry two standard coaches behind the engine, and
telegraph the station master at Saint Helens to hold the
local onsiding there until the special goes through. Make sure
the line is clear as far as Manchester, Sir, I'll

(01:58:34):
send for a porter to take care of your briefcase.
Mister Carrotle seems to be rather heavy.

Speaker 22 (01:58:38):
Thank you.

Speaker 66 (01:58:38):
No, I prefer to keep it with me if you
don't mind.

Speaker 65 (01:58:42):
Certainly, whatever you wish. Now, if you leave here at
four thirty you should be a Manchester at quarter to six.
The station master there will clear you onto London, and
I trust you'll have a very pleasant journey.

Speaker 45 (01:59:00):
As I say, I was not aware of these events
until a while later, and would have placed no significance
on them in any case. At four thirty one, the
special train, with its two passengers and three crew members
pulled out of Liverpool Station and headed to Manchester, and
at ten minutes to six I was summoned to the
office with mister James Bland, the station master, and so.

Speaker 65 (01:59:21):
That seems to be it very likely. I have no
real reason at all to be worried, Inspector Collins, but
since I saw you below there in the station, I
thought it was call you.

Speaker 29 (01:59:29):
We're not.

Speaker 45 (01:59:29):
I'm happy if you have any help, mister Bland, as
I understand it, your Special train is running behind schedule?

Speaker 65 (01:59:34):
Is that incredibly behind the schedule? C nearly half an
hour overdue at Manchester right now. We've wired them to
check and report back.

Speaker 45 (01:59:41):
It isn't exactly unheard of for a train to run slow,
mister Bland.

Speaker 65 (01:59:44):
It is unless as some reason, and I can't think
of one. In this case, the Special had clear track
all the way. It passed through Saint Helen's at four
fifty two, right on time. They wired us, and then
fifteen minutes later released the local to follow along behind
it into Manchester.

Speaker 45 (01:59:58):
You mentioned something about mister Carratta having a companion. I believe, yes, a.

Speaker 65 (02:00:01):
Great hulking brute named Gomeres. He didn't that for a
word while they were here. Seemed to be a sort
of bodyguard. Caratil himself was small and stooped with a
swathe complexion, possibly a Latin America.

Speaker 45 (02:00:14):
And you got the impression that he was carrying something
rather valuable in his briefcase.

Speaker 65 (02:00:17):
Yes, he wouldn't let it out of his hands, and
he seemed to be in great fear of something, though
I haven't any idea.

Speaker 45 (02:00:22):
Of what it may What about this second chapter is
more English.

Speaker 65 (02:00:25):
About forty years old. Seemed very anxious to reach his
sick wife in London.

Speaker 67 (02:00:29):
Now, yes, Manchester on the wire. Now, mister Blaow good,
what do they watch the moment?

Speaker 22 (02:00:38):
Eh?

Speaker 67 (02:00:39):
Well, here's a message. Assume change in your original plan.
Local from Saint Helen's arrived. Manchester reports no sign special train.

Speaker 68 (02:00:50):
Oh but that's impossible.

Speaker 65 (02:00:51):
Saint Helen's reported the special through ahead of the local.

Speaker 45 (02:00:54):
Is there a branch line between Saint Helens and Manchester,
mister Bland, No, not.

Speaker 65 (02:00:57):
Even a double track. There's only a single track made
line straight through sidings, of course at the local stations
for loading purposes. But mister Hood, so check every local
operated from Saint Helen's arm We've got to get to
the bottom of this. I can't understand it, Inspector Collins.
A locomotive and two coaches can't simply, well, it's utterly impossible.

(02:01:18):
It can't have just disappeared.

Speaker 45 (02:01:24):
Then a few moments the answers began coming in over
the wire. The first was from Saint Helen's.

Speaker 67 (02:01:29):
Repeating our previous message. A special train past heyre of
four fifty two local departed fifteen minutes later than from
Collins Green Special past here five o'clock, followed by a
local train seventeen minutes later, and then Earl's Time special
Pastyre five oh six, followed by a local eighteen minutes later,
Newton Special past here five twelve, local train seventeen minutes later,

(02:01:52):
at Kenyan Junction, special through here at five twenty local
pass nineteen minutes later, and then button Muss local through
five fifty three now special train fast here today.

Speaker 65 (02:02:09):
I tell you it's absolutely unprecedented, Inspector Collins, an entire
train and five human beings vanishing from an open track
between two local stations only eight miles apart. It's impossible.

Speaker 45 (02:02:20):
It's the only thing to the contrary being the fact
that it has apparently happened. But I can't understand, mister Bland.
I think you'd better make arrangements to get us out
to Kenyon Junction as quickly as possible. Within ten minutes
we were in a coach behind a goods engine moving

(02:02:41):
at full throttle on the main line east out of
Miller of Liverpool. Since the missing Special had been reported
safely through Kenyon Junction, there was no need for concern
with the country this side at that station. While the
coach rattled and banged along the miles, we spent the
time pouring over a large scale map about eight miles
stretch between the junction and Barton must.

Speaker 65 (02:02:59):
As you can see the surf on the map, Inspector Collins,
it's rather open country through there, low rolling hills, mostly
with quite a lot of coal mining and one steel mill.
No towns or villages near.

Speaker 8 (02:03:10):
The railway line.

Speaker 45 (02:03:10):
Yes, so I see, mister Blander. What about these spur
tracks that join the main line. There must be a
dozen or more of them, fourteen to be exact. Isn't
it possible the Special could have been switched onto one
of those spurs?

Speaker 65 (02:03:20):
Well, yes, and no. Eight of them can be eliminated immediately.
Besides being narrow gauge tracks, they are also much too
flimsy to bear the weight of a standard locomotive. Furthermore,
they end at loading bins adjacent to the main line.
They're not actually connected to it.

Speaker 45 (02:03:36):
I see, well, let's still leave six are the all
standard gauge.

Speaker 65 (02:03:40):
Yes, but three of those six can be eliminated too,
since they've been abandoned for years. The mines they were
built for are no longer operated. The Red Gauntlet, Despond
and hat s Eas collieries.

Speaker 45 (02:03:51):
Yes, but abandoned or not. If the tracks are still there,
couldn't they be used?

Speaker 10 (02:03:54):
No?

Speaker 65 (02:03:55):
No, they could not. When service to the three mines
was discontinued years ago, The which is along the several
hundred yards of track adjacent to the main line were
removed to prevent accidents.

Speaker 45 (02:04:05):
That settles that. But we still have three lines left.

Speaker 65 (02:04:08):
Yes, and all in operation. They serve the Big ben
and Perseverance callieries and the calm stock iron work.

Speaker 45 (02:04:13):
Good that there's the probable area of our investigation.

Speaker 65 (02:04:16):
Probable inspector, I failed to see anything probable about a
train scheduled from Manchester turning up in a dead end siding.

Speaker 45 (02:04:25):
Well for many years now, mister blanned, I've been approaching
problems of this sort with a certain theory of logic.
Once both the obvious and the impossible are eliminated, and
we seemprogreon those, then the solution must lie in the
realm of the improbable, no matter how fantastic it may
at first see.

Speaker 65 (02:04:40):
I can't believe it. Why wouldn't the train crew report?
What about mister Cartle's anxiety to get to London?

Speaker 22 (02:04:46):
Why would wait?

Speaker 45 (02:04:47):
Wait, we're slowing down, aren't we.

Speaker 22 (02:04:48):
That's write chay. We're pulling it to Kenyon junction.

Speaker 45 (02:04:51):
This is the last station to report seeing the last special.
Very well, gentlemen, this is where we start to work.
We stopped in the junction only long enough to rig
asceatelene spot lanterns at either side of the coach, directed
in such fashion as to light up the roadbed and

(02:05:13):
embankment along both sides of the track, and then we
pumped slowly out onto the main line and headed towards
Barton Moss, eight miles away. The first mile of those
eight dropped behind us and brought no significant discovery, and
we moved on through the second mile. Save for the
flood of light from our lanterns and the dull red

(02:05:33):
glow from the fire box of the engine, the night
was as black as pitch now and again, the ugly
shape of a loading bin for one of the narrow
gage feeder lines would loom out of the darkness ahead
of us and float past ghostly for a moment in
our lights, and then desirave a way behind us into
the blackness. But on the roadbed, the rails themselves remained unmarred, undisturbed,

(02:06:02):
and offered not the slightest clue to explain a disappearance
that grew more mysterious by the minute. We completed the
second mile and moved on. And then suddenly, what is it, inspector?

Speaker 65 (02:06:14):
What do you see?

Speaker 45 (02:06:15):
I stop the engine at once, mister hood es sir,
what is it, inspector? I think I've seen something.

Speaker 65 (02:06:24):
I don't see a thing.

Speaker 45 (02:06:26):
Let's just stop them thanks there near to the bushes.
We'll need a hand light here, sir, good? All right,
come on now, let's have a look.

Speaker 65 (02:06:35):
By heaven there.

Speaker 45 (02:06:36):
There is something right enough, I say, no, Well, it
looks like a man lying there. It's more likely the
body of a man from the position he's in. Well, now, lad,
let's turn you over and have a glimpse of your face.

Speaker 65 (02:06:50):
H what, inspector, why this is John Slater.

Speaker 45 (02:06:55):
H And who is John Slater?

Speaker 65 (02:06:57):
He was the engineer on the special.

Speaker 45 (02:07:00):
Well, he's dead the next broken Indeed, I'll venture a
quick guess it was caused by a fall from the
cab of his engine traveling rather fast at the time.
I'd say, you can see where he rolled through the
bushes for some little distance there. But then what happened
to the locomotive inspector afterward on me that still remains
to be seen. Mister Hood. It can be fairly certain
of one thing, though, A special must have come at

(02:07:20):
least this far out of the junction. Otherwise it's pretty
difficult to account for the engineer's body being here.

Speaker 65 (02:07:24):
No more difficult, surely than it is to account for
any of this. This whole thing is incredible impossible.

Speaker 45 (02:07:31):
Well, we still have our improbabilities, mister Bland. Those three
connected spur lines are ahead of us yet, and the
chances are one of them is going to supply some
kind of an answer. By midnight I'd completed a thorough
check of the three lines. The first one to the
Big ben Collier ran a mile and a half back

(02:07:52):
into the hills and ended against the face of a
huge pile of coal not large enough, however, to cover
a locomotive and two coaches.

Speaker 11 (02:08:00):
Certain of that the.

Speaker 45 (02:08:01):
Line of the Perseverance Coulliery was hardly more than a
half mile long. It'd been blocked all day, and it
was still blocked by a string of loaded orchys and
ended beyond them against the open rock face of a quarry.
The last line, running to the Carnstock Iron Works was
a double track and had been left open all day. However,
a sleepy superintendent informed me that over two hundred repair

(02:08:22):
men had been busy on the road bed until well
after dusk, and it was impossible to imagine a non
scheduled train passing through such a horror of witnesses unnoticed.
Oh shortly after midnight, dog tired, we walked into Barton
must station, still without the slightest explanation of the mystery.
I want to send a wire through Scotland yard, Yes, sir,

(02:08:44):
h I am prepared to postpone further investigation in mistigation
until daylight, Yes, sir, no sign it Collins. Can you
get that up right away?

Speaker 69 (02:08:57):
Right away?

Speaker 45 (02:08:57):
So peaceful English countryside in a dead.

Speaker 16 (02:09:03):
Engine driving you're speaking of me?

Speaker 45 (02:09:05):
Si, Yeah, no, no, it is strange, though strange in
broad daylight, a forty ton locomotive with two carriages and
four passengers has vanished from the face of the earth.

Speaker 64 (02:09:24):
In just a moment, we will return to Escape. But first,
ten great shows come to you every Sunday Night on CBS,
and right and bright in the middle is America's number
one comedy, The Jack Benny Show. Tomorrow night, Jack will
take his place on CBS All Star Night with the
cast that's made the Jack Benny Show a welcome visitor
in millions of American homes. Yes, Jack, Benny, Amos and Andy,

(02:09:46):
Helen Hayes, Eve Arden and all the other great stars
come to you over most of these same stations in
CBS's ten Great Shows on Sunday Nights.

Speaker 65 (02:09:56):
And now with our star.

Speaker 64 (02:09:57):
Ben Wright, we returned to the second act of Escape
and the last special.

Speaker 45 (02:10:11):
By the next morning, of course, the story was out
and the daily papers went to work on it. But
fortunately for Scotland Yard, the main attention of the press
was directed at the moment toward the international scandal which
had been brewing for a week or two among high
financial circles in France. As it was, however, letters to
the editor in the morning postscape has quite a rough
god oh, with all manner of crack scenes.

Speaker 70 (02:10:32):
To believe that the worthy operators of Scotland Yard have
overlooked the one obvious explanations to the whereabout the missing train?
May I advise them that some two miles from Barton
Moss the railroad line crosses the West Branch Canal. Unquestionably
the special left from the bridge and lies now in
the muddy.

Speaker 71 (02:10:52):
This whole affair is obviously the work of some subversive organization,
and until the culprits are brought in to face their
just desserts, no man, woman or child in England can
be considered safe.

Speaker 66 (02:11:05):
Now, why atter sing the fulfillment of ancient prophecies. The
forces of evil grow bolder and begin now to invade
the earth openly. There is no doubt but what that
strange man carat all was rarely the devil in disguise.

Speaker 70 (02:11:21):
And it is my action this morning is to gaze
quickly across the city toward Westminster Abbey. Considering the recently
demonstrated inefficiency of Scotland Yard and the Manchester Liverpool railway affair,
it's quite possible the abbey may be spirited away some night.

Speaker 45 (02:11:38):
Soon a week passed, and then two weeks we scoured
the whole western countryside, following up a relief, tracking down
each rumor, and we got nowhere. Three weeks four, and
then the press began to ignore the matter. Two months
went by, nothing new. Three months and the activity of
Scotland Yard in the matter had come to a stand.

(02:12:00):
The reason was simple enough. We had no idea what
else to do, So the records were finally taken from
the active file and barked. Case still open and unsolved.

(02:12:21):
Even though I worked on other assignments, my mind kept
turning continually back to the case of the lost special
I tried to think of some avenue left untried, some
path overlooked, and I could think of nothing. I reviewed
all of the improbabilities I tested and disproved, and I
tried to improbabilities. Suddenly a fallacy in my own logic

(02:12:44):
began to dawn on me. Arbitrarily, I had called certain
explanations impossible, and touched them only lightly in my investigation.
And yet what could really be classed as impossible in
a case which itself was utterly impossible? Back down to
Barton Muss again and then ten days of painstaking work.

(02:13:08):
At the end of those ten days, I was certain
that I'd found at least the essentials of the answer,
and I was equally certain that I could never prove it.
I could see only one bare chance, a desperate chance
against long odds. I laid my plan before the Chief Inspector,
and then Scotland Yard went into action.

Speaker 70 (02:13:31):
In London Times twenty one November eighteen ninety, rumors are
circulating that a man named Dalton, arriving in Liverpool and
the steam of Vistulo tomorrow, may hold the key to
the long standing Manchester railway mystery. According to reliable sources,
mister Dalton possesses recently discovered copies of the documents which
were carried in the briefcase of the ill fated mister Caraitol.

(02:13:52):
It is further stated that Scotland Yard is arranging to
meet mister Dalton at the Liverpool pier and rush him
forthwith to London.

Speaker 45 (02:14:01):
The next afternoon. Accompanied by mister Dalton, I walked into
the office of mister James Bland, station Master at Liverpool
and charted a special train for London.

Speaker 65 (02:14:10):
We shall have the train ready for leaven ten minutes,
Inspector Collins.

Speaker 45 (02:14:13):
Yah, good, I'm as anxious to get mister Dalton and
his briefcase to London as quickly as possible.

Speaker 65 (02:14:17):
Yes, I saw the squib in yesterday's paper and I
was afraid then you'd be wanting a special train arranged.
I'm still worried about it. As a matter of fact.

Speaker 45 (02:14:25):
Oh, I hardly think there's any need to be. You've
run a good many specials up to Manchester since that
a fair six months ago, and you've never lost another one, now,
have you?

Speaker 8 (02:14:32):
No?

Speaker 65 (02:14:33):
But I'll confess I've shaken in my boots every time
i've watched one of them. Full out of here, I.

Speaker 63 (02:14:37):
Say, now you're going to have me jumping in my
own shadow.

Speaker 45 (02:14:41):
Oh don't worry, mister Dalton. I'll have you in London
before you know it and done the worst for the trip.

Speaker 65 (02:14:45):
Nevertheless, Inspector, you'll have to admit the situation today is
very much like the one six months ago.

Speaker 45 (02:14:50):
Oh yes, in some ways.

Speaker 65 (02:14:51):
The mysterious stranger arriving by steamer from South America and
in urgent haste to reach London. The carefully watched briefcase, which,
according to rumor, can the very same sort of material
mister Caratal was carrying.

Speaker 45 (02:15:02):
But there is one difference. Mister Dalton is being accompanied
by an agent from Scotland Yard.

Speaker 65 (02:15:07):
Yes, but mister Carroll also had a guard that Chap Gomez,
and both of them disappeared.

Speaker 63 (02:15:13):
Oh come now, surely you don't think that anything so
fantastic could possible.

Speaker 45 (02:15:18):
No, he's right, mister Dalton. It did happen once, and
a number of the elements are similar. Well, mister bland
our yu, as soon as we reached Manchester.

Speaker 65 (02:15:26):
Howly necessary, Inspector. I think I shall go along with you.

Speaker 45 (02:15:31):
Work good, But if you're looking forward to excitement, I
can't promise you no.

Speaker 65 (02:15:35):
It will probably be a very ordnate fit. But if
I stayed here I'd be a nervous wreck for the
time you reached Manchester.

Speaker 45 (02:15:40):
Well, then come along by all means, mister Dalton, and
I will enjoy your company.

Speaker 22 (02:15:43):
You are trained to just pull up the platform, gentlemen.

Speaker 45 (02:15:46):
Good well, gentlemen. We uh, we can't keep the fates waiting. Huh,
let's get aboard.

Speaker 65 (02:16:02):
Well, it's certainly been an uneventful journey so far.

Speaker 45 (02:16:05):
Why I hardly expected anything to happen the side of
Kenyon Junction, and it's right ahead of us there.

Speaker 65 (02:16:10):
Inspector Collins, Do you mean you are expecting something to
happen on the other side of it?

Speaker 10 (02:16:14):
Oh?

Speaker 45 (02:16:14):
Yes, yes, that's the whole purpose of the trip. I
don't believe I follow you. Yes, I imagine it is
about time that you were brought in on this, mister Bland.
I didn't want to take any chances by discussing it
before we were well along towards the danger area.

Speaker 65 (02:16:28):
We're passing through Kenyon Junction, Inspector.

Speaker 45 (02:16:32):
Mister Dalton. There as a Scotland yard agent by the way,
mister Bland. Oh, and all he's carrying, and that mysterious
briefcase is half a dozen ham sandwiches.

Speaker 65 (02:16:42):
I think I should welcome some sort of explanation, Inspector Collins.

Speaker 45 (02:16:47):
Yes, do you ever hear of the old trick and
archer uses when he loses an arrow, he shoots another
in the same general direction, follows it, and sometimes he
finds both of them. Well, this train and all of
us abought it. Come to the second arrow, mister Bland.

Speaker 65 (02:17:01):
Do you mean you're expecting this train to vanish like
the other? Why you're deliberately risking our life, or the
risk is.

Speaker 45 (02:17:07):
Not quite so great as you may imagine.

Speaker 65 (02:17:09):
But what makes you believe the attempt will be repeated?

Speaker 45 (02:17:11):
I've created as nearly as possible the same set of
conditions that led to the first disappearance. If I'm right
about the motivation, the party's concerned can hardly afford not
to repeat.

Speaker 65 (02:17:20):
What motivation I failed to see one?

Speaker 45 (02:17:23):
Well, it requires a bit of assuming, mister Bland, But
the assumption seemed to fit the facts as well as
the method used. Let's take some of those facts. Mister
Carrator was in a frantic hurry to reach Paris. His
briefcase apparently contained something of great value. He was afraid
an attempt to be made to prevent his reaching Paris. Yes,
in Paris at that time, a huge financial scandal was brewing,

(02:17:44):
which later came to nothing because of lack of evidence.
The scandal involved illegal land operations in Central America. If
mister Carrator had just arrived from Central America with his briefcase,
even and finally, it must require a good deal of
money to bring about the disappearance of a local motive
and coaches, whereas ordinary criminals rarely have a good deal
of money. Now do you follow me?

Speaker 65 (02:18:06):
Yes, yes, of course. If all that's true, then the
idea was to eliminate Caratal completely along with his evidence.

Speaker 45 (02:18:13):
And that's exactly what was done. Inspector.

Speaker 63 (02:18:16):
We just passed the spot where John Slater's body was found.

Speaker 45 (02:18:19):
Then heads up, mister Daughton. It's only a few hundred yards.

Speaker 65 (02:18:21):
Now tell me this, inspector. Have you also discovered how
the thing was done?

Speaker 22 (02:18:26):
Oh?

Speaker 45 (02:18:27):
Yes, but I'm in the unfortunate position of not being
able to prove it.

Speaker 65 (02:18:31):
And what do you think is going to prove if
the same thing happens to us?

Speaker 15 (02:18:34):
Ah?

Speaker 45 (02:18:35):
That well, I forgot to mention that there are twenty
agents of Scotland Yard concealed in the coach behind us.
They're specially selected, armed with rifles, and are there for
the express purpose of making sure the same thing does
not happen to us. We're slowing down, Inspector Collins, Well,
I think this is it slowing down why we're leaving
the main line.

Speaker 65 (02:18:54):
But we can't leave the main line. There's no siding here.

Speaker 45 (02:18:57):
Oh yes, there is, as the spur track to the
High Colorate, but it's abandoned.

Speaker 65 (02:19:02):
There's no connection to the main line. The rails were
taken away years ago.

Speaker 45 (02:19:06):
Ordinarily you would be right, mister Bland. But at the
moment there's an excellent switch in store at the main line,
and also a very serviceable set of rails connecting it
with the old track traveling over them. Now, as a
matter of fact, you see anything, mister Dalton, not, yes, sir,
the train is being manned incidentally by Scotland yard agents.
I took the liberty of holding the regular crew and

(02:19:26):
the coach behind us until we could find out which
of them has been bought off, which scheduled to end
up like John Slater.

Speaker 65 (02:19:33):
But I'm confessed.

Speaker 63 (02:19:34):
Look, men are coming out of the bushes behind it.

Speaker 65 (02:19:37):
You're already starting to pull.

Speaker 8 (02:19:38):
Up the rail.

Speaker 45 (02:19:38):
You'll see, mister Bland. In fifteen minutes you'll be right again.
There'll be no connection between the hot seas siding and
the main line.

Speaker 65 (02:19:46):
Yes, yes, I see now.

Speaker 45 (02:19:48):
By heaven, I never missed the plan. It won't do
any good to try to signal with that pocket handkerchief.

Speaker 65 (02:19:53):
I'm I'm afraid I don't quite understand you inspected.

Speaker 45 (02:19:58):
Then perhaps you'll understand the fact that you're under arrest
for the murder of Caratol Gomes and John Slater.

Speaker 65 (02:20:03):
Why that's utterly ridiculous. Why have we stopped.

Speaker 45 (02:20:07):
In order to permit it? Ah, here's your answer. I
think the twenty agents of Scotland Yard should prove more
than a match for your assistance.

Speaker 65 (02:20:16):
Your guesses are nothing less than preposterous. Inspector, what could
I or anyone else gained by merely switching a train
onto an abandoned siding? The other special if you recall disappear.

Speaker 45 (02:20:27):
Ah, yes, yes, so it did, and straight ahead of
us a mile and a half. If you recall, mister Bland,
this spur ends at the heart SI's mind shaft, one
of the largest inclined shots in this part of the country.
According to the records, it used to be nine hundred
feet deep, but upon investigating it last week I found
it closed off by a tremendous cave in at four

(02:20:47):
hundred feet. Now tell me, mister Bland, was the cave
in caused by the explosion of the locomotives boiler when
it struck the bottom or did you dynamite the shaft
after the train when you do it?

Speaker 65 (02:20:58):
You've no proof of any of this and no evidence
whatsoever against.

Speaker 45 (02:21:02):
Me, your train crew in the coach behind us, of
all science statements, and I think we'll get a good
deal more evidence from the men who being rounded.

Speaker 22 (02:21:08):
Up out there.

Speaker 39 (02:21:09):
Now.

Speaker 65 (02:21:09):
I have nothing further to say.

Speaker 45 (02:21:13):
There's nothing you can say, mister Bland. We've seen your
bank account with those mysterious and heavy entries which had
dated about the time the Special disappeared, which I am
sure we shall be able to trace to certain French sources.
We've succeeded in tracing down Macpherson and Smith, a farman
and conductor you bribed to Vanish. Too bad you couldn't
bribe Slater the engineer, because his death was most unfortunate.

(02:21:38):
You see, his body furnished us with our first clue. Yes,
mister Bland. Without Slater's body, we might really have thought
that the Lost Special had disappeared into thin air.

Speaker 64 (02:21:54):
Escape is produced and directed by Norman McDonald. We have
presented The Lost Special by Conan Doyle, adapted for radio
by Less Crutchfield, with editorial supervision by John Buncle starred
as Inspector Collins was Ben Wright, and the featured players
were Parley Bear, John Dayner, Edgar Barrier, Larry Dapkin and

(02:22:16):
Paul Freeze. The special music was arranged and played by
Ivan det Bars.

Speaker 63 (02:22:23):
Next week, you were aboard the Orient Express, rushing through
the European night, bound for Constantinople, and in your compartment
with you a gun pointed at your head. A small
mysterious foreigner is about to take your life.

Speaker 64 (02:22:52):
Next week we escape with Graham Greene's exciting novel of
intrigue Orient Express. Good by that until this same time
next week, when CBS again offers you escape for more adventures.

(02:23:18):
Seek it out with two top CBS shows tonight, The
Adventures of Philip Marlowe and Gangbusters, both regular Saturday features
on most of the same CBS network stations. Be sure
to hear them tonight. Now stay tuned for five minutes
of the latest news, to be followed by the Let's
Pretend program over most of these same CBS stations. This

(02:23:49):
is Roy Rowan speaking for CBS the Columbia Broadcasting System.

Speaker 39 (02:24:15):
Every Man's Theater, written and created by Arch Obler, Oxidol
invites you to hear Catwife, a mystery drama that will
give you a thrill a minute, featuring Betty Winkler and

(02:24:36):
Raymond Edward.

Speaker 8 (02:24:36):
Johnson.

Speaker 39 (02:24:38):
Catwife is especially written for radio, part of a series
of nineteen forty one style entertainment brought to you each
Friday at this time and over this station by Procterine Gamble,
the makers of high test Oxidoll.

Speaker 8 (02:24:50):
Oh wait, though, are you putting.

Speaker 39 (02:24:52):
Up with some old style laundry soap, an old fashioned
slow polk soap because you feel it's economical and saving
your money.

Speaker 8 (02:24:58):
Well, look, here's the way.

Speaker 39 (02:24:59):
Many these soaps can and do actually lose money for you,
enough money so you'll be ahead using a laundry soap
like oxidol. First, those slow poke soaps don't make as
much SuDS. Well, every bit of oxidol goes to making SuDS.
The result is that oxidol gives more SuDS cup for
cup than twenty three popular laundry soaps soaps we test
it against. Second, oxidol SuDS last straight through your wah.

(02:25:23):
Old fashioned, less economical soaps don't last this long, as
you know from experience. Compared to them, Oxidol can cut
your laundry soap bills as much as one fourth. You'll
save that in the amount of soap you use alone.
And third, you don't scrub and boil clothes with oxidol.
You save that wear and tear and tatterin fray of
constant washboard scrubby because oxidol soaks dirt out in ten minutes.

(02:25:45):
Throw your boiler and washboard away. Why ten minutes soaking
in thick oxidol SuDS, A good daus and a few
quick rubs per ext for dirty spots like collison cups,
a rinse, and you're through clothes sparkling clean with so
much less washing wear that they'll last longer and look
that are too. Hundreds of thousands of women have found
this out by actual trial. Thousands more are changing to
oxid all every week because it's so economical to use

(02:26:09):
compared to old style ineffishient soaps. You get more SuDS
and use less soap, and you get clothes clean and
friced with far less wear and tear than if you'd
scrubbed and boil them. Remember that when you buy a
laund resap tomorrow. Now here's our writer, creator Arts Obler,
to introduce Tonight's nineteen forty one style radio program.

Speaker 72 (02:26:27):
Since the time when mankind sat around fires and caves,
stories of the mysterious and unusual have been the most
welcome you and I like to be thrilled. So tonight,
just for fun, let's listen to the story of a
man and his wife, A very unusual wife.

Speaker 23 (02:26:49):
I got that online.

Speaker 73 (02:26:50):
I don't know the.

Speaker 74 (02:26:54):
Ct it cut it out, hut it out with standing
in a minute.

Speaker 31 (02:27:01):
Yeah, so what give me my drink? Cleanie?

Speaker 8 (02:27:04):
Oh baby?

Speaker 31 (02:27:05):
Do I feel swell?

Speaker 74 (02:27:08):
Come on, Queenie, we better blow out of here.

Speaker 31 (02:27:10):
No, no, don't go, don't go. I don't want to
be alone.

Speaker 36 (02:27:14):
What do you mean alone? That guy?

Speaker 31 (02:27:18):
What does he know about having fun?

Speaker 11 (02:27:20):
Work?

Speaker 45 (02:27:20):
Work?

Speaker 31 (02:27:21):
Work makes me sicker. I've never been sick before.

Speaker 5 (02:27:24):
That's pretty good.

Speaker 34 (02:27:25):
Come on, stick around this, have some more fun.

Speaker 45 (02:27:27):
Say no way, woman, with all the time?

Speaker 31 (02:27:32):
Well, speak of the devil? Hi you Johnny boy? Come
on in the water is fine?

Speaker 26 (02:27:38):
Water work?

Speaker 12 (02:27:41):
I go way, go away?

Speaker 31 (02:27:42):
Your sport on my party? He still him out of here, Kenny,
He's only my husband.

Speaker 18 (02:27:48):
Whatever your name is, listen to him.

Speaker 35 (02:27:53):
It's my house, my house.

Speaker 8 (02:27:55):
What you.

Speaker 31 (02:27:58):
You kick them out?

Speaker 11 (02:28:00):
My friend?

Speaker 18 (02:28:01):
I beg you people with you to keep these people
out of this house while I'm trying to get some
work done. Haven't you any consideration at all?

Speaker 31 (02:28:08):
You kick them out, my friend.

Speaker 18 (02:28:10):
Yes, and I'll do it again every time I find
them here. They're no good, not of one of them.
You've promised me time and time again to give them up.

Speaker 31 (02:28:17):
I'll call them back.

Speaker 8 (02:28:18):
I'll call them all back.

Speaker 31 (02:28:19):
You can't tell me what to do, not me. They're
my friend's morning. I'll give a doutner you for one
of them, all.

Speaker 18 (02:28:27):
Right, Linda, If that's the way you feel, you haven't
got a grain of.

Speaker 20 (02:28:32):
Loyalty in you.

Speaker 18 (02:28:33):
Oh, I ask is a little piece and quiet in
my own home, and I can't even have that night
after night you and these people yowling and screaming like
a pack of alley cats, and you the worst of all.
I'm through, lind I'm through with you for good.

Speaker 4 (02:28:46):
Oh no, you're not.

Speaker 49 (02:28:49):
Oh no, you're not.

Speaker 18 (02:28:51):
Keep away cheep, Oh Linda, See.

Speaker 21 (02:29:01):
You're not through with me at all. You'll never be
through with me.

Speaker 8 (02:29:07):
Never.

Speaker 10 (02:29:11):
No.

Speaker 31 (02:29:12):
I don't want you, you fool.

Speaker 12 (02:29:14):
You're not through with me.

Speaker 31 (02:29:16):
I'm through with you.

Speaker 32 (02:29:17):
I'm tired of you, do hear me?

Speaker 21 (02:29:18):
Tired of you.

Speaker 73 (02:29:20):
I'm gonna get so far away from that smug face
of yours I couldn't see it with a telescope.

Speaker 31 (02:29:26):
Your wife. Why do you think I married you?

Speaker 22 (02:29:29):
You love me?

Speaker 31 (02:29:31):
I married you because I was sick.

Speaker 73 (02:29:33):
Of working in a two bit barbershop, because I was
sick of living in a hall bedroom wearing bargains heale dresses.
I want a dope, plenty of it all I could get,
and you were the best chance to get it.

Speaker 18 (02:29:43):
That came a lind love me. You must have loved
me well.

Speaker 73 (02:29:47):
I loved you about as much as that canary up there,
love this cage. I told myself, I stay with you
a year, divorce you, stick.

Speaker 31 (02:29:53):
You for plenty of alimony, and then get out.

Speaker 18 (02:29:55):
You've been married five years?

Speaker 31 (02:29:56):
Yeah, five years because you fooled me. That's why I
fooled you.

Speaker 73 (02:30:03):
You started to make a lot of money, more money
than I ever thought you could make.

Speaker 22 (02:30:09):
So you're giving me the no.

Speaker 18 (02:30:12):
No, Linda, I love you. I didn't mean when I
said I didn't, but I did. Linda, don't believe me.

Speaker 22 (02:30:17):
You're no good.

Speaker 18 (02:30:17):
I know you're not good, but Heaven help me. I
love you. I don't never love anybody else. Get no, no,
I won't let you go. You've got to say good.
You cust me my self respect. But you stay with me.
You stay with me, or I'll cut you off without
a scent. You'll never get a dime for me, not
a dime.

Speaker 26 (02:30:34):
Stop laughing, you.

Speaker 4 (02:30:41):
Stop that.

Speaker 21 (02:30:44):
Mmmm.

Speaker 31 (02:30:46):
So you're gonna cut me off without a scent?

Speaker 8 (02:30:50):
Why you fool?

Speaker 31 (02:30:52):
I've got everything that belongs to you now you hear
me everything?

Speaker 8 (02:30:56):
What are you talking about?

Speaker 31 (02:30:58):
This house it's in my name, isn't it? The car
it's in my name, isn't.

Speaker 8 (02:31:03):
No, No, you wouldn't, Oh wouldn't.

Speaker 31 (02:31:05):
I Well listen to this, my darling husband. I cleaned
out the bank account, Yes, in every set of it.
I won't be in the street.

Speaker 8 (02:31:15):
Oh no you will.

Speaker 31 (02:31:17):
Now this is my i'se Get your things and get
out of here.

Speaker 8 (02:31:20):
I'll kill you. I'll kill you.

Speaker 19 (02:31:24):
You don't.

Speaker 32 (02:31:31):
Catch me again, I'll terrialize that you can't get out
of my way.

Speaker 28 (02:31:37):
That's what you want.

Speaker 18 (02:31:38):
A cat, A big, quite heartless cat, you think like
when your streets like on your claw like one.

Speaker 28 (02:31:45):
You even look like one.

Speaker 18 (02:31:46):
Your eyes their cat's eyes, that's what they are. Cats,
can't I didn't know a woman.

Speaker 28 (02:31:53):
I married a cat. Go ahead, laugh.

Speaker 22 (02:31:59):
Sneaking, yell me.

Speaker 31 (02:32:06):
No, that's another that I don't like. It cap saying it?
Catch John, Stop staring at me like that.

Speaker 12 (02:32:16):
Stop staring at me, John.

Speaker 31 (02:32:21):
What's happening to me? John?

Speaker 12 (02:32:24):
My head?

Speaker 31 (02:32:26):
I can hardly see.

Speaker 32 (02:32:29):
Don't help me, John, What are you staring?

Speaker 12 (02:32:35):
What are you sing?

Speaker 8 (02:32:38):
William?

Speaker 5 (02:32:59):
Oh?

Speaker 37 (02:33:00):
How John?

Speaker 39 (02:33:00):
You've got to control yourself. Everything will be all right,
Doctor John, Please please pull yourself together.

Speaker 12 (02:33:09):
I can't.

Speaker 8 (02:33:09):
You're not entirely to blame for what happened.

Speaker 28 (02:33:12):
I did it.

Speaker 8 (02:33:12):
And to blame?

Speaker 22 (02:33:14):
What do I do?

Speaker 4 (02:33:15):
Will I do?

Speaker 39 (02:33:15):
Stop talking like that. It's preposterous to say you are
to blame. She was in a hysterical condition. The suggestion
that she was a cat caught her in an unguarded
moment and resulted in intemporary neurosis.

Speaker 8 (02:33:30):
Doctor.

Speaker 18 (02:33:33):
Can I go in and see?

Speaker 8 (02:33:34):
But I tell you she's sleeping?

Speaker 37 (02:33:35):
I know, but doctor, I've got to see her.

Speaker 8 (02:33:38):
I've got to look at her.

Speaker 18 (02:33:39):
I've got to make sure she's all right, don't you see,
I've got to make sure. How John, Please, you had
a hard time of it. You better get to bed
and get some rest. No, no, doctor listened to me.
I got to see her again. I've got to make
sure she's all right. I can't rest until I know that.

Speaker 75 (02:33:54):
I tell you, Oh, very well, just for the moment, yes,
be very quiet. Yes, there you see. She's resting very nicely.

Speaker 18 (02:34:10):
Doctor. Look what her hands? Look at her hands and
her teeth.

Speaker 8 (02:34:16):
Linda, No, no, John, you you make a John.

Speaker 10 (02:34:19):
Linda m hm.

Speaker 37 (02:34:37):
Doctor.

Speaker 18 (02:34:37):
Listened to her, Listen to her, steady, John, I can't
stand at her. Tell you, doctor, what is it? What's
happening to her?

Speaker 8 (02:34:43):
I don't know, John, I don't know.

Speaker 18 (02:34:46):
Oh, listen to her.

Speaker 20 (02:34:48):
What'll I do?

Speaker 8 (02:34:48):
What'll I do? Fingers into claws, teeth into thangs. It
can't be happy what it is, and yet I've seed
it with my own hand.

Speaker 18 (02:34:58):
You've got to do something, doctor, You're you've got to
you're my friends. You've got to help me.

Speaker 8 (02:35:02):
But what in the name of all that's rational?

Speaker 29 (02:35:04):
What you think?

Speaker 18 (02:35:06):
There must be something you can do, a drug, something,
something aren't John?

Speaker 9 (02:35:10):
I I don't know what to say.

Speaker 8 (02:35:13):
I can't think. I'll call in someone else. Yes, that's
it island.

Speaker 26 (02:35:17):
Inform the authorities.

Speaker 36 (02:35:18):
They'll take care of everything.

Speaker 8 (02:35:19):
No, no, no, wait, doctor, Wait, what's the matter. What
is it you.

Speaker 18 (02:35:25):
You're going to inform me of sorry?

Speaker 39 (02:35:27):
Yes, yes, of course, don't you see my boy. It's
the simplest way out of this, of course, of course,
for you and for me. What do you mean this
horrible thing that's happened to Linda? He goes beyond just
you and me. It goes beyond the normal into the supernatural.
The world should know about it.

Speaker 18 (02:35:46):
You mean you're going to let everyone know what's happened
to Linda?

Speaker 8 (02:35:49):
Of course, but you can't do that.

Speaker 18 (02:35:52):
She's my wife, do you hear me?

Speaker 25 (02:35:54):
My wife?

Speaker 10 (02:35:55):
No?

Speaker 39 (02:35:55):
No, And I don't get excited again, John, listen. Insensibly
we a to sia science. Who cares about science? She's Linda,
she's my wife, and I cursed her the garden. I
turned you into a yawning beast. It's my shame, mine,
And you're not going to tell anyone else about it?

Speaker 6 (02:36:13):
No one.

Speaker 8 (02:36:13):
It's my dauty, John. I must inform the authorogy.

Speaker 18 (02:36:16):
No, keep away from that phone, Keep away, I say.

Speaker 8 (02:36:21):
I'm sorry, John, I must call John my friend.

Speaker 39 (02:36:47):
And now, while we get our breath back and for life,
for one need of breathing spell, well, let me remind
you of those dazzling snowy whitewash as oxidol gets every
week as much as nine to eleven timtometer shades whiter
than so help after yourself. We test it against yet
washable colored things come out bright and lovely looking wash
after wash. It's easy on hands too. It doesn't harm

(02:37:08):
your manicure or ruin your price. Nail polies, all these things, oxid,
all promises, and we'll.

Speaker 18 (02:37:13):
Give you if you use it.

Speaker 8 (02:37:14):
Monday.

Speaker 18 (02:37:33):
No, No, try to sleep, darling. Try to sleep. Yes, yes,
I know, I know, darling, but it's almost morning.

Speaker 8 (02:37:43):
You must dress.

Speaker 18 (02:37:45):
Sleep to sleep, man, Darling. All right, all right, darling,
I won't cry. I've got to be strong. I've got
to help you, and I did help you. He was
going to tell him about you. Everyone that have taken

(02:38:07):
you away from me, locked you up, pointed at you,
laughed at you. But I stopped him, Linda, I stopped
him for you. He called me friend. But you're my wife, beloved,
and I love you. I pleased you, haven't I my darling?

(02:38:29):
I never could please you before, could I? But now
I've pleased you. I tell him he never came here
and no one will ever know, Darling, no one but
you and I.

Speaker 8 (02:38:48):
What is it, darling? What's the matter?

Speaker 18 (02:38:51):
Why are you getting up?

Speaker 8 (02:38:54):
What?

Speaker 10 (02:38:54):
Is it.

Speaker 8 (02:38:57):
I go to the window. What do you want up there?

Speaker 18 (02:39:01):
If I could only understand you, if I could only
know what you're trying to say to me?

Speaker 28 (02:39:10):
Oh no, Linda, then to stop and the lease, I'm
begging you to stop.

Speaker 19 (02:39:23):
Stop stop again.

Speaker 18 (02:39:45):
Yes, yes, I'm coming. I'm culling.

Speaker 22 (02:39:49):
My miss dinner.

Speaker 18 (02:39:50):
Oh to you.

Speaker 76 (02:39:51):
I found there's notes saying you wanted to talk to
me and yeah, I hope you're not going to quit
taking milk from No.

Speaker 18 (02:39:55):
No, no, I'm not going to stop taking milk. That's
what I wanted to see you. But I want milk,
more milk, cream everything?

Speaker 8 (02:40:02):
Well, sure, sure? How much do you want? Four bottles
of milk?

Speaker 10 (02:40:05):
No?

Speaker 12 (02:40:06):
No?

Speaker 10 (02:40:06):
No?

Speaker 8 (02:40:06):
Six?

Speaker 4 (02:40:07):
Six?

Speaker 18 (02:40:07):
Yes, some cream? Six bottles of cream? Is is something
wrong with Taylor wrong? Why do you think something's wrong?

Speaker 16 (02:40:15):
Well, I only.

Speaker 76 (02:40:18):
Speak up your met what we don't get service to Taylor.
I just meant, well, you know it looks so well,
and well you know how it is. Sometimes a fella
has a couple too many and starts orting all the
milk in the world.

Speaker 18 (02:40:29):
Fool, I'm not drunk. Do you want to sum of
that milk? Or do I have to get another milk?

Speaker 28 (02:40:33):
Mill.

Speaker 8 (02:40:33):
No, no, I'll get it for you.

Speaker 39 (02:40:34):
I'll get it for you.

Speaker 8 (02:40:35):
Hurry, six course, six cream only him and his old lady.
The guy's nuts.

Speaker 77 (02:41:03):
Well, good morning, mister Taylor. Early again this morning at
my first customer. Every morning for the last three days,
I was saying to my wife.

Speaker 18 (02:41:14):
Yes, yes, mister Heinrich some other time. I'm in a
hurry my order please, sure.

Speaker 57 (02:41:18):
But you didn't give me an order yet. How about
a nice broiling stuff?

Speaker 8 (02:41:22):
No, no, nothing like that.

Speaker 18 (02:41:24):
But I'm in a hurry.

Speaker 78 (02:41:25):
I tell you all right, all right, you don't have
to get so excited, mister Taylor. Now, if you'll tell
me what you want, I'll get it for you.

Speaker 18 (02:41:34):
Oh well, I uh, I don't know exactly. A couple
of pounds of fresh liver. Yes, that's a fresh liver.

Speaker 78 (02:41:44):
Again, don't hurt me, Sure I hurt you, But but
you care for for three days now ever since your
wife went away.

Speaker 4 (02:41:51):
You you eat nothing but live.

Speaker 18 (02:41:53):
You want to feel my order?

Speaker 8 (02:41:54):
Sure, sure, I'll fill you.

Speaker 36 (02:41:58):
Nice and fresh.

Speaker 11 (02:41:59):
Uh for two pounds? Here we are?

Speaker 24 (02:42:05):
Hey, hey, you.

Speaker 36 (02:42:07):
Think there was raising cats or something?

Speaker 37 (02:42:11):
Why do you say that?

Speaker 4 (02:42:13):
Well?

Speaker 78 (02:42:13):
You buy liver every day. Oh, this morning, I caught
a couple of mice in the tramp. Maybe you'd like
to take them along for the cat to Don't say that,
don't say, mister Taylor the liver deliver.

Speaker 8 (02:42:28):
Forgot.

Speaker 36 (02:42:29):
Hey, man's crazy.

Speaker 9 (02:42:33):
What did I say?

Speaker 11 (02:42:34):
That was wrong?

Speaker 8 (02:42:36):
Cats like to eat mice.

Speaker 79 (02:42:58):
Uh?

Speaker 80 (02:43:00):
My, Vinda, my dear, Linda, close to me, so close
to me. Oh, my darling, my darling.

Speaker 4 (02:43:16):
It's better this way.

Speaker 18 (02:43:18):
You can't leave me now. I'll have you with me
all this. I'll keep your head, yes, just you and I.
I won't answer it. Go go away, all right, I'll

(02:43:41):
answer it. It can't be anyone that knows he's dead.
I buried him, Linda, you know that. Ah No, no, no,
stay here. They mustn't see you.

Speaker 8 (02:43:59):
Be very quiet.

Speaker 18 (02:44:09):
Yes, yes, I'm coming, I'm coming.

Speaker 8 (02:44:14):
Well what is it?

Speaker 81 (02:44:15):
What is it?

Speaker 20 (02:44:15):
Are you the owner of this building?

Speaker 18 (02:44:17):
Yes, that's what he want.

Speaker 26 (02:44:19):
Kerrigan's the name.

Speaker 39 (02:44:20):
I am your name, but I've got the place across
the alley.

Speaker 8 (02:44:22):
Bro Oh, my my name, Kerrigan's the name. I'm with
the department Department.

Speaker 39 (02:44:28):
I'm that's sergeant at the third District Station.

Speaker 8 (02:44:32):
Police.

Speaker 39 (02:44:33):
Yeah, I'm all duty today, So I thought i'd drop
over and speak to you.

Speaker 20 (02:44:37):
Do you mind if I step in for a moment,
step in.

Speaker 8 (02:44:40):
Oh no, no, not at all, not at all, Thank you,
thank you.

Speaker 10 (02:44:47):
Hey.

Speaker 39 (02:44:47):
You got a nice place here, Yes, yes, nice, very nice.
You know, the same contractors made this place has made mine.

Speaker 20 (02:44:54):
You didn't know that a bit.

Speaker 18 (02:44:56):
No, no, I didn't.

Speaker 39 (02:44:57):
And an irishman with the name of Gilholey jumped out
of the tense story window. They tell me the day
after the stock market grace. Lucky for him too, he
was alive. Now some of the people along here that
bought places with him.

Speaker 20 (02:45:10):
And murder him.

Speaker 39 (02:45:11):
But with the trouble of heaven. Oh trouble, yeah, cheap material,
plastic crack and floor sag and stuff like that.

Speaker 8 (02:45:18):
Oh oh, I see what you mean. Now you take
my place.

Speaker 39 (02:45:21):
I've had to have a new roof put on and
new gutters put in, and I never know what'll go
wrong next, anything.

Speaker 8 (02:45:27):
Wrong around here? If oh no, no, no, nothing at all,
And you're lucky, you say, what's the matter.

Speaker 20 (02:45:35):
I just remember when I come over.

Speaker 8 (02:45:37):
If you don't mind, I'll tell you.

Speaker 9 (02:45:39):
Yes.

Speaker 8 (02:45:40):
Now, it ain't me that's complaining, mister Taylor.

Speaker 39 (02:45:42):
I'm the kind of a man that can sleep in
a boiler factory.

Speaker 36 (02:45:46):
But it's my Ela.

Speaker 8 (02:45:47):
There's a light sleeper for you.

Speaker 39 (02:45:49):
I always say that if a star in heaven twinkles
too much, the noise wakes up me.

Speaker 20 (02:45:53):
Ela.

Speaker 8 (02:45:54):
What what's the trouble. Oh, no trouble at all, mister Taylor.

Speaker 39 (02:45:58):
Like I'm telling now, I'm the last man in the
world to go around having trouble with me neighbors. But
you know how the women are who are always finding
something to make a use about. See, I'm not disturbing
a disturbing Yeah, you know you're missus. She's not sleeping
in the bedroom there, No, no, no, of course not.

Speaker 18 (02:46:16):
There's no one in there.

Speaker 8 (02:46:18):
I thought maybe he's seeing the daughter's grown.

Speaker 18 (02:46:20):
No, no, I tell her there's no one in there.

Speaker 8 (02:46:21):
My my wife is out of town. Ah, well, that's fine.

Speaker 39 (02:46:25):
I always like to talk things over manned a man
without the women are on.

Speaker 8 (02:46:30):
That's where I made my Ella stay home.

Speaker 16 (02:46:32):
Let me handle this.

Speaker 8 (02:46:34):
I says, there's anything wrong, I says.

Speaker 18 (02:46:36):
Let me do the talking and we'll stay God, what
is it? What's wrong? What do you want to tell me?

Speaker 8 (02:46:40):
Where you put it? Plain? It's the cat cat?

Speaker 11 (02:46:46):
Yeah, the cat you just got it, didn't.

Speaker 5 (02:46:49):
You you.

Speaker 45 (02:46:51):
You had a cat.

Speaker 39 (02:46:52):
Yeah, it started a few nights ago.

Speaker 8 (02:46:54):
No, it ain't disturbed me, not like I says.

Speaker 39 (02:46:56):
But my ella, well you see our bedroom window faces
on the alley and by gully. She hears every meal
that animal.

Speaker 4 (02:47:03):
Mate.

Speaker 20 (02:47:03):
You you're wrong, huh.

Speaker 8 (02:47:06):
I have no cat, but my ella had I heard
it too.

Speaker 39 (02:47:11):
For that matter, I have no cat, but I'm telling
you it came from this house.

Speaker 28 (02:47:14):
I tell you I have no cat.

Speaker 18 (02:47:15):
Isn't that sufficient?

Speaker 28 (02:47:16):
World?

Speaker 12 (02:47:17):
Now?

Speaker 39 (02:47:17):
Seeing as you put it to a plane, I'll be
speaking of playing myself. I am telling you I heard
a cat yall and last night, and the night before
and the night before that, and it shuts me. Name's
Thomas Kerrigan. It came right from this house.

Speaker 18 (02:47:29):
Now what do you say to that? Get out?

Speaker 39 (02:47:33):
Oh wait a second, may boko, get on your.

Speaker 18 (02:47:36):
High horse, get out, get out of my house.

Speaker 20 (02:47:40):
You sure I am.

Speaker 39 (02:47:41):
Making a lot of noise about nothing, young color. But
it's your house, and if that's the kind of a
neighbor you.

Speaker 18 (02:47:46):
Want to be, I guess I could what he's telling
there for.

Speaker 8 (02:47:52):
Get out, get out just a minute, take it easy,
No cat?

Speaker 24 (02:47:56):
Eh?

Speaker 22 (02:47:58):
Well, what was that?

Speaker 39 (02:47:59):
I just said?

Speaker 18 (02:47:59):
Nothing at all? You've got no right to Begelly.

Speaker 39 (02:48:02):
You may not be a liar, but you're sure of
something close to it. If I hit the cat in
that bedroom there, then I ain't never heard the cat.

Speaker 28 (02:48:07):
Get out, get out of here.

Speaker 39 (02:48:09):
Oh no, I won't listen to that cat. If that
ain't creating a public nuisance, I'd.

Speaker 78 (02:48:14):
Like to know what it is.

Speaker 20 (02:48:15):
It's one of your business.

Speaker 18 (02:48:16):
Get out of here.

Speaker 5 (02:48:17):
This is my house.

Speaker 28 (02:48:17):
Get up, Stop pulling at me.

Speaker 11 (02:48:19):
Bucco.

Speaker 39 (02:48:20):
I may be off duty, but I'm still an officer
of the law, and I'm telling you that cat in
there is violating the city ordinance. I said, don't make
it shut up and disturbing, Miella.

Speaker 18 (02:48:30):
I will stay away from that door. Stay away from
that door.

Speaker 8 (02:48:34):
Say listen to it.

Speaker 22 (02:48:37):
I ain't no cat you've got in there.

Speaker 28 (02:48:39):
Yes, yes, a lie. It is a cat.

Speaker 20 (02:48:41):
It's just a cat.

Speaker 28 (02:48:42):
But I'll make it be quiet.

Speaker 20 (02:48:43):
But go away, go away.

Speaker 39 (02:48:44):
Wait a minute, take it easy, It's just a cat.
What are you getting so excited about. Just looking afo
at your your eyes blazing?

Speaker 22 (02:48:52):
What's going on here? I think I'll have a lull.

Speaker 18 (02:48:55):
No, stay away, no, get away, take it away.

Speaker 19 (02:49:02):
I told you, I told you my gun.

Speaker 29 (02:49:05):
I'll get my gun, my gun.

Speaker 8 (02:49:09):
Wow, Linda, did you hear him his gun?

Speaker 11 (02:49:20):
Yes?

Speaker 18 (02:49:21):
Close to me, Yes, darling, stay close to me. If
he comes back you No, Now, they won't hurt you.
I won't let them.

Speaker 20 (02:49:33):
I did this to you.

Speaker 28 (02:49:34):
I did.

Speaker 26 (02:49:35):
I cursed you the God.

Speaker 18 (02:49:38):
No, they won't hurt you.

Speaker 37 (02:49:40):
They won't.

Speaker 18 (02:49:41):
Wait there, wait there, I got to wh they won't hurt.

Speaker 36 (02:49:47):
You, Linda.

Speaker 8 (02:49:48):
No, I got it.

Speaker 10 (02:49:54):
Now.

Speaker 8 (02:49:54):
They won't hurt you.

Speaker 9 (02:49:55):
In there.

Speaker 18 (02:49:57):
I swear they won't ever hurt you. No, no, don't
look at my hand. No, why shouldn't you look at it. Yes,
there's a gun in my hand, but not to hurt you, darling.
It's just to help you.

Speaker 8 (02:50:15):
I swear to help you. Yes, so close to me.

Speaker 18 (02:50:23):
I must do it quickly.

Speaker 28 (02:50:26):
No, no, don't don't try to pull away. No no, Linda,
stay here. I must hold you. I must.

Speaker 4 (02:50:33):
He'll be back in a moment.

Speaker 19 (02:50:35):
I mustn't miss.

Speaker 28 (02:50:38):
Linda, my darling.

Speaker 18 (02:50:55):
I heard, my beloved.

Speaker 36 (02:50:58):
I heard you.

Speaker 8 (02:51:04):
Wait for me, my good life. This is arch Ovaler.

Speaker 72 (02:51:37):
Tonight's play Catwife, featured Betty Winkler and Raymond Edward Johnson.

Speaker 9 (02:51:43):
Music by Gordon Jenkins.

Speaker 72 (02:51:46):
About Next Week well, the actor's two of our favorites,
Mister and Missus Houston Walter Houston and Mann Sunderland. The
play a story of two people who perhaps lived in
your own town, who lived a strange, night and filled
life that you perhaps knew nothing about. The title of
the play, Mister and Missus Chump.

Speaker 39 (02:52:07):
Before we leave you, just one more word about next
Monday's wash. But you've heard me tell of box, the
doll's economy, the white clean washes, you get, it's safety
to every washable color. Well, it's all up to you
now if you want those results in Monday's wash, and
even if some other lawn resolp is your favorite. Now
the last for oxidol o x y DL Tomorrow You'll

(02:52:29):
always be glad you changed, and be back with us
next Friday at the same time for every Man's Theater.
Every Man's Theater brings you something new, something different every
single week, and next Friday it's Mister and Missus Walter
Houston in a great new radio.

Speaker 8 (02:52:47):
Play, Mister and Missus Chump, Thank you, and good night.

Speaker 18 (02:52:58):
Every Man's Theater is written and created by arch.

Speaker 82 (02:53:01):
Obler Murder By experts the Mutual Broadcasting System presents Murder

(02:53:37):
by Experts, with your host and narrator, mister John Dixon Carr,
world famous mystery novelist and author of the recently published
bestseller The Life of Sir Arthur Conan Doyle.

Speaker 83 (02:53:50):
This is John Dixon Carr. Each evening at this time,
Murder by Experts brings you a story of crime and
mystery which has been chosen for your approval by one
of the world's leading detective writers, those experts who are
themselves masters the art of murder and can hold tensity

(02:54:10):
at its highest. Tonight's guest expert is mister Hugh Pentecost,
author of many memorable thrillers, who has selected a story
by a young newcomer. You'll do, World of Watch Andrew Evans.
Be very careful as you listen, for, as mister Pentecost
says of this thriller, the story has not only a twist,

(02:54:33):
but an unforeseen double twist which takes one completely by surprise.
And now we present summer heat. Look now, but the

(02:54:53):
old elms, the ivy covered buildings on the campus of
a i'm all Midwestern university. It's a fine June afternoon
when you hear laughter and the greetings the reunion of
the class of thirty six, twelve.

Speaker 8 (02:55:12):
Years of fast.

Speaker 83 (02:55:14):
None of them members of the cluss, seems much older
to each other. There's the dark haired Paul Baxter, wondering
rather strangely, they're two of his old friends, prosperous now
judged by their clothes, and boisterous in greeting.

Speaker 22 (02:55:32):
Paul, Poor Baxter, you old rascal.

Speaker 84 (02:55:36):
It's sure good to see you again, losty Bert.

Speaker 22 (02:55:41):
This is a surprise. Why didn't you have a right
to us, Paul? You had our addresses?

Speaker 84 (02:55:45):
Why sure, that's no way to treat old classmates. Just
think twelve years so they sure have gone fast.

Speaker 85 (02:55:53):
Hoo fast to suit me, say, Paul, you've turned off
a gray for only thirty three.

Speaker 84 (02:55:59):
Well he always did take things too seriously, I suppose
by now, Paul, you're one of the biggest lawyers in
the state.

Speaker 22 (02:56:07):
How's Marshia?

Speaker 85 (02:56:08):
Yeah, you were all set to marry her after graduation,
remember yes, and you were going to become her father's
junior law partner.

Speaker 8 (02:56:15):
You sure had a sweet set up there.

Speaker 22 (02:56:20):
Things worked out a little differently. You see that party
we had graduation night? Do you remember it?

Speaker 29 (02:56:28):
Remember it?

Speaker 5 (02:56:30):
How can we forget it?

Speaker 29 (02:56:34):
How were you tied?

Speaker 22 (02:56:37):
You know, that party sort of changed my whole life,
change your life? Well, how well? I don't remember much
about the party itself. I guess I had too many drinks.
In fact, I don't remember anything until I woke up
the next morning. I could hear Old Trinity ringing. I

(02:57:05):
awoke to find myself on the couch in my living room.
It was noon and the room was hot, stiflingly hot.
I remembered I had a date with Marcia and her
father at one o'clock. I got to my feet, my
head ache, no heat waves before my eyes. Feeling sick,

(02:57:28):
I staggered toward my bedroom. Then I saw him, the
man asleep on my bed, his back to me. For
a moment, I stood there, trying to remember if someone
had come home from the party with me, but the
night before was a total blank. I crossed the bed,

(02:57:49):
bent over.

Speaker 8 (02:57:50):
It shook his shoulder.

Speaker 22 (02:57:53):
Hey, fella, hey, it's noon, wake up, Come on, wake up.

Speaker 8 (02:58:00):
Shook him.

Speaker 22 (02:58:00):
He had flopped over and looked up at me with
staring eyes. He was dead, and there was a knife
in his chest, my hunting knife. I stood stunned, staring
down at the body on my bed, The dead man

(02:58:22):
was an utter stranger to me. He was neatly dressed
in old clothes and my knife, My knife was in
his heart.

Speaker 17 (02:58:32):
I killed him.

Speaker 22 (02:58:34):
I couldn't remember when, or how or why, but I
killed him. Frantically I tried to remember what had happened.
Was he a panhandler, someone I had met on the
street and drunkenly brought home with me.

Speaker 8 (02:58:47):
I didn't know. I couldn't remember.

Speaker 22 (02:58:50):
As I stood there, tried to get a grip on myself,
I suddenly realized there was someone at the door. Instinctively,
I walked into the living room and towards the door.
Just as I was to open it, I realized the
danger of letting anyone into the apartment. I put my
ear against the door and listened. I heard voices, yours
Steve and yours Bert.

Speaker 29 (02:59:13):
Hey, Paul, probably want to take a boe.

Speaker 22 (02:59:15):
I'me ond poor wake up? Were leaving for California at
fifteen minutes.

Speaker 29 (02:59:21):
I guess so Paul, isn't it?

Speaker 74 (02:59:23):
Yeah?

Speaker 22 (02:59:23):
I wonder how he felt when he woke up.

Speaker 29 (02:59:25):
Boh, I went ahead. He must have had still.

Speaker 22 (02:59:28):
I sure hate to leave without saying goodbye.

Speaker 60 (02:59:31):
Well, he has our California address, he can write to us,
come on and we'll miss that train.

Speaker 22 (02:59:36):
And they were both gone, and I dared to breathe again.
I tried to think, calmly, figure out what to do.
I knew I should call the police, but they they
might charge me with murder. What defense could I offer?
I thought of Marcia, the slightest scandal, and everything would
be off, our marriage, my job, my future. I couldn't

(02:59:59):
call police. I couldn't call them and sacrifice everything I'd
worked for. Somehow I had to get the body out
of my apartment, get rid of it before it was found.

Speaker 4 (03:00:10):
Then he came to me.

Speaker 22 (03:00:12):
My car was in the basement garage. The dumb waiter
in the kitchen led down to the basement. I could
put the dead man in the dumb waiter, lure him
to the basement, get him in my car.

Speaker 29 (03:00:22):
And then mister Paul, Oh, mister Paul.

Speaker 22 (03:00:25):
It was Jenny, the cleaning woman. She let herself in
with a key. I hurried into the living room, closing
the bedroom door behind me.

Speaker 33 (03:00:34):
There you are a fine time for a rising young
lawyer to be getting up.

Speaker 22 (03:00:38):
Oh, hello, Jenny, I I guess I overslept. I was
at a party last night.

Speaker 74 (03:00:43):
How far she was it everyone on the campus is
talking about and the complaints.

Speaker 33 (03:00:48):
He'll now step aside and let me into that bedroom.

Speaker 22 (03:00:50):
I gotta start cleaning, Jenny. Can't you come back later
into the place.

Speaker 39 (03:00:53):
No, I can't.

Speaker 10 (03:00:54):
Now get out of me.

Speaker 22 (03:00:55):
Wait, Jenny, wait, I don't want you to clean up yet.

Speaker 33 (03:01:00):
Why are you blocking the door like that?

Speaker 11 (03:01:02):
Bro?

Speaker 22 (03:01:03):
The truth of the matter is one of the boys
had a bit too much last night and he's in
my bedroom sleeping in off. Oh, well, get him out
of there, take him to a Turkish bath. Oh, yes,
that's that's a good idea. Look, Jenny, just give me
half an hour to get him dressed out of here,
then you can come back and clean up.

Speaker 33 (03:01:20):
A half hour off, and I'll give you exactly five minutes.

Speaker 22 (03:01:23):
All right, Jenny, I'll have him out of here by then.

Speaker 29 (03:01:25):
You'd better.

Speaker 22 (03:01:28):
She was gone and I had five minutes, just five minutes.
I went into the bedroom and quickly went through the
dead man's pockets. They were empty, There was no identification
in them. The thin, pinched face told me he was
a nobody, a derelict, someone who might never be missed.
As I was about to lift him off the bed.

(03:01:49):
The phone rang, The shrew ring filled the room.

Speaker 45 (03:01:56):
Hello, Hello, darling, Marsha, how is your stag party?

Speaker 18 (03:01:59):
Lad?

Speaker 10 (03:02:00):
Now?

Speaker 4 (03:02:00):
Did you miss me?

Speaker 22 (03:02:01):
Miss you?

Speaker 5 (03:02:02):
You sound as though you have.

Speaker 33 (03:02:03):
A dreadful hangover?

Speaker 22 (03:02:05):
Hangover?

Speaker 5 (03:02:07):
Yes?

Speaker 22 (03:02:08):
Or excuse me minute, Masha. There's someone at the door.

Speaker 86 (03:02:10):
Yes, I'll be coming in to clean your room in
another minute, Paul, Jenny, So.

Speaker 8 (03:02:15):
Get your friend out of there?

Speaker 22 (03:02:16):
Well, yes, Jenny, yes, just give me another minute and
now we'll be out of here. My shad, I can't
talk to you any longer. I'm in a hurry.

Speaker 33 (03:02:24):
Then you haven't forgotten your appointment with father and myself
at one o'clock.

Speaker 22 (03:02:27):
No, no, no, I may be a little late, but
I'll be there.

Speaker 11 (03:02:29):
Paul.

Speaker 33 (03:02:29):
You mustn't be late. I've told you over and over
what a stickler Father is for punctuality. He can't stand
people who are late for appointments. Well, you recall how
furious he was when you did.

Speaker 22 (03:02:39):
I know, Mysha, But you have forty.

Speaker 33 (03:02:41):
Five minutes to shave, shower, and dress. That's plenty of time.
And Paul, wear your brave flannel suit with a blue
needed tie.

Speaker 68 (03:02:48):
And be sure you're there.

Speaker 22 (03:02:49):
Yes, yes, but I've got to hang up. Jenny will
be coming back any minute that.

Speaker 4 (03:02:52):
I know what if she is?

Speaker 33 (03:02:55):
Now, Darling, you haven't forgotten what we discussed yesterday afternoon.

Speaker 22 (03:02:59):
Yesterday afternoon.

Speaker 33 (03:03:00):
Yes, no, I know, Father's brusk can incline the bully people.
But don't let it upset you. After all, it's our future.

Speaker 28 (03:03:06):
He's watch.

Speaker 22 (03:03:07):
I can't talk any longer. I've got to hang up.
Jenny will be back. I've only seconds left.

Speaker 33 (03:03:11):
What are you talking about now?

Speaker 22 (03:03:13):
When Father I got to hang up, I got to
good bye. I hung up the phone and wiped the
sweat running down my face. It took only a moment
to lift him off the bed, carry him into the kitchen,
pull the dumb waiter up, and put his body into it.
I closed the door to the dumb waiter, ran out
of the apartment and started down the stairs to the basement.

(03:03:41):
I got down to the basement to find Ben, the janitor,
leisurely pulling on the dumbwaiter rope.

Speaker 17 (03:03:46):
Ben o, Ben, Oh, well have it your cai or after?
It's there by the door?

Speaker 15 (03:03:52):
All?

Speaker 36 (03:03:52):
Why?

Speaker 10 (03:03:53):
Like?

Speaker 22 (03:03:53):
Yeah, thanks? But Ben, stop a minute? Well you I
want you to do something for me?

Speaker 17 (03:03:56):
God well, just so as I've emptied this thumbware.

Speaker 22 (03:03:59):
Well, stop blowing that dumb stuck in here?

Speaker 7 (03:04:03):
Hi?

Speaker 17 (03:04:04):
What's wrong with you? You're acting mighty strange.

Speaker 22 (03:04:08):
Hi, I'm sorry I shuddered like that. Then it's just
a there's a package up in my apartment that i'd
like you to may right away.

Speaker 87 (03:04:16):
There there's a dollar in it for you, all right,
But there ain't no need to rush today Sunday the
post office is closed.

Speaker 8 (03:04:25):
Close.

Speaker 17 (03:04:26):
Sure, say what's the matter with you? Anyway? What's been
a heat something? Wuffle? Have you on it some way?

Speaker 22 (03:04:35):
Wait a minute, there's something else.

Speaker 19 (03:04:37):
I stop him in will How can I talk to
you while you're lowing that dumb with it?

Speaker 87 (03:04:41):
Go ahead, I can hear everything that's saying, Hi, you're
going crazy or something up. Half of mind to call
a soper and tell him why, no, no.

Speaker 19 (03:04:51):
No, don't do that?

Speaker 22 (03:04:55):
Been up in my apartment. There's a bottle bottle. Yes,
I brought it home last night. It's half full. I
wanted you to have it for cleaning the car.

Speaker 17 (03:05:06):
Oh thanks, I sure appreciate that.

Speaker 87 (03:05:10):
I'll go up and get it as soon as I've
emptied this thumbwareter call him out stand there.

Speaker 22 (03:05:14):
Ben Jenny just went in to clean. You know how
she feels about.

Speaker 87 (03:05:16):
Drinking hot Jenny jumping grasshoppers. Why didn't you say so
that mom? Old port all down and drain if I
don't get their part.

Speaker 22 (03:05:25):
Soon, the s bend disappeared up the stairs. I pulled
the dumb winter the rest of the way down, opened
the door, and he fell into my arms. Slinging the
body over my shoulder. I staggered with it to my
car and swiftly dropped him on the floor in the back.
It was an old touring car. The top was long
since gone. To hide the body from view, I covered

(03:05:45):
it with an old blanket. A moment later, I started
the owner and rolled smoothly out of the basement and
into the driveway. As I did, I heard Ben shouting
to me from my window.

Speaker 74 (03:05:56):
Oh, I poor away man.

Speaker 8 (03:05:57):
I got something.

Speaker 22 (03:05:58):
I pretended not to hear. Ben jed.

Speaker 19 (03:06:00):
I stepped on the gas.

Speaker 22 (03:06:09):
I was almost proud of myself as I drove past
the campus. I was in trouble, but I was thinking fast,
as a good lawyer should. I'd already decided I'd have
to get rid of him by dumping him into the river.
As I came to main Street, driving neither too fast
nor too slow. I turned left toward the river. There
was very little traffic and I was just about to
speed up. One behind me, I heard a whistle blowing.

(03:06:31):
It was Dugan, the town's only traffic cup, and he
was blowing for me to stop. There was nothing to
do but pull over to the curb. His Dugan hurried
up to me. I realized I'd driven through a red light.

Speaker 29 (03:06:42):
Hello Dugan, Never mind that, Hello Dugan, stuff?

Speaker 20 (03:06:47):
What's the matter?

Speaker 22 (03:06:47):
You color blind? I'm sorry, Dugan, I just didn't notice
the light. You just didn't notice the light. That's fine.
Think you and me had better take a.

Speaker 68 (03:06:57):
Ride over to Justice Miller.

Speaker 22 (03:06:58):
Oh, don't run me and dogget won't happen again. That's
what all your college cut ups say.

Speaker 5 (03:07:02):
Next thing, you know, you'll be telling me.

Speaker 60 (03:07:05):
What do you got there in the back underneath that blanket?

Speaker 22 (03:07:10):
Under the blanket hurt me? What's under it?

Speaker 36 (03:07:14):
Why?

Speaker 22 (03:07:16):
That's Roy Hamilton, one of my classmates. Yeah, well, what's
he lying on the floor under a blanket on a
hot day like this? For last night at our farewell shindig,
Roy had a few too money. He's still out of
time taking him home. Where does he live at missus
Randolph's morning house? What are you handing me?

Speaker 5 (03:07:35):
That's in the other direction.

Speaker 22 (03:07:37):
Yes, yes, I know, but the first time taking him
to the Turkish bath on Elm Street. Yeah. Well, by
the time you get him there, the poor guy will
be dead. Ain't you got no sense? What do you mean?

Speaker 60 (03:07:47):
Look at the way you got the blanket over his
head and then his heat too. I better pull a
blanket off his face so he can breathe. Oh no,
I mean I covered his face on purpose. Suppose Dean
Richards somebody saw Roy like this.

Speaker 20 (03:08:01):
Yeah, that's right, just the same.

Speaker 28 (03:08:04):
I bet I gotta.

Speaker 19 (03:08:07):
I'll be right with you, Jensen.

Speaker 20 (03:08:09):
Where will we Backster?

Speaker 8 (03:08:11):
Oh?

Speaker 60 (03:08:11):
Yeah, the guy in the back you smother to death.

Speaker 29 (03:08:15):
If we don't, I'm coming. I'm coming.

Speaker 60 (03:08:21):
I won't run you in this time, Backster, but from
now on, stay awake when you're driving. I will Dugan, and,
for Pete's sake, pull the blanket off that guy's head.

Speaker 19 (03:08:31):
Take it easy, Jensen, I'm coming.

Speaker 22 (03:08:39):
Because I stepped on the gas. I muttered a prayer
of thanks for Old Johnson, the janitor of the medical
school building, who had called Dugan just as he was
reaching for the blanket that covered my passenger. It was
a few minutes after one. As I drove out of town,
I could picture Marsha's father fuming in my lateness. The
sun was squatching in my open cars along river Road,

(03:09:01):
looking for a place to hide the body. I needed
one where there were trees to hide me. The hours
that followed were like a nightmare. The heat was stifling
and I could feel my hand shaking on the wheel
from nervous tension.

Speaker 88 (03:09:21):
I drove and drove and drove, looking for a place
to get rid of the body. But the whole countryside
seemed to be swarming with people. Families picnicking, boy scouts,
camping kids in swimming couples and parked cars. No matter
where I turned, there was always someone in sight. A
little spots danced before my eyes. Waves of faintness swept

(03:09:42):
over me. My hand began to ache in my head
too unbearably. It was already long after three. I was
late for my date with Marsha and her father.

Speaker 22 (03:09:54):
That didn't matter, Nothing mattered, but to get rid of
the body in the back of the car. Had to
get rid of it my head to I drove a
mile after a mile, turning from one road to another,

(03:10:15):
searching endlessly for a safe place to stop. Then I
realized I was running out of gas. I saw a
gas station ahead, and I decided to stop there. It
was a risk, but I had to take it.

Speaker 5 (03:10:35):
Okay, mystery, it's five gallons. Want me check your l No,
no thanks, how much? It's a dollar fifteen?

Speaker 12 (03:10:45):
Boy?

Speaker 22 (03:10:45):
It's hot it yes, it's hot.

Speaker 8 (03:10:48):
All right.

Speaker 5 (03:10:49):
Here you are, that's one fifteen or five? Now get
you change. Hey, yeah, this rear tire looks a little flat.

Speaker 22 (03:10:57):
That's all right.

Speaker 5 (03:10:58):
You want me to check it won't take a minute.

Speaker 22 (03:11:00):
It's all right, I tell you.

Speaker 5 (03:11:02):
Okay, mister, Just you say, uh, your rear doors open?
I better shut that for you.

Speaker 8 (03:11:07):
Leave that door.

Speaker 37 (03:11:08):
Ah, but.

Speaker 5 (03:11:10):
You don't want to drive along with your rear door open.
That's funny. There's something in the car jamming it.

Speaker 22 (03:11:17):
I better have leave loely get my train.

Speaker 18 (03:11:19):
But you.

Speaker 5 (03:11:23):
Yeah, all right, mister, he said, you say, get your change.

Speaker 8 (03:11:34):
He hurried into the station.

Speaker 22 (03:11:36):
I looked in the back of the car and saw
what had kept the.

Speaker 8 (03:11:38):
Door from closing.

Speaker 22 (03:11:40):
It was a hand, his hand sticking out from under
the blanket. The attendant had seen it. He would be
phoning the police. I drove faster and faster. The police
would be on the lookout for me. Now my whole

(03:12:01):
future depended on what I did in the next few minutes.
And then it came to me, in one brief moment,
it came to me the perfect way to get rid
of the body. It was so simple, so perfect, that
I laughed aloud with relief. A half hour later, I

(03:12:23):
was parked in an alley behind one of the university buildings.
It was Sunday and the place was deserted. Despite my
fatigue and aching head, it took me but a moment
to carry the body into the basement of the medical
building and down the corridor to the basement room where
the bodies for the dissecting classes were kept. Where does
a wise man hide a leaf in a forest? Where

(03:12:48):
does a wise man hide a body in the dissecting.

Speaker 8 (03:12:53):
The room was big and cool and dimly lit.

Speaker 22 (03:12:57):
The far end was a long metal tank. I reached
the tank and lowered him to the stone floor beside it.
I had only to open the tank, slip him inside,
and leave. I reached for the lid of the preserving
tank and was about to open it when I heard
a voice, Hey, hey.

Speaker 29 (03:13:17):
Old dinner.

Speaker 22 (03:13:18):
It was Johnson, the janitor, and hotly dropped behind the
tank and waited, holding my breath.

Speaker 20 (03:13:26):
I heard you.

Speaker 29 (03:13:28):
Stop rightening, come out.

Speaker 28 (03:13:30):
I know you're here.

Speaker 22 (03:13:31):
I just saw you come through the window. You better
come out if you know what's good for you.

Speaker 8 (03:13:38):
He'd seen my car. He knew I was in the room.

Speaker 22 (03:13:41):
But if I kept my head, there.

Speaker 68 (03:13:42):
Was a chance, just a chance.

Speaker 22 (03:13:45):
All right, Johnson, Here, I am.

Speaker 19 (03:13:49):
Boxter. Eh.

Speaker 22 (03:13:51):
So it's you, is it? You're the one that wait
a minute, let me explain, explain.

Speaker 85 (03:13:56):
After last night, I'm not listening to any fancy stories.
I'm the one who gets blamed when watch that on
the floor behind you there on the floor, But.

Speaker 22 (03:14:09):
Nothing, Johnson? Do you think I'm blamed? There's something? Step
aside and let me see what.

Speaker 19 (03:14:16):
Why.

Speaker 22 (03:14:16):
It's your body? Yes, it's a body.

Speaker 85 (03:14:20):
Oh that's it. I thought you were trying to steal one.
Instead you were bringing it.

Speaker 22 (03:14:25):
Yes, I was bringing. And just what were you going
to do with that gentleman on the floor. Put him
back in the tank with the rest.

Speaker 8 (03:14:32):
Yes, that's right.

Speaker 22 (03:14:33):
I I thought he might not be noticed, as if
I wouldn't have known. Well, gone call the cops.

Speaker 8 (03:14:42):
Let's get it over with.

Speaker 85 (03:14:44):
H all right, back, of course, I don't have to
call the cops. Nobody knows about this but you and me.

Speaker 8 (03:14:57):
But what do you mean?

Speaker 85 (03:15:00):
Well, I was going to make a report, but this
way there's no harm done, so I might be able
to overlook the whole thing. If I was persuaded properly, you.

Speaker 8 (03:15:13):
Might overlook it.

Speaker 22 (03:15:15):
Eh, that's right. You just leave this fellow to me,
and there's no fuss because nobody's the wiser you do that.
You keep your mouth shut. I guess I could be
persuaded too.

Speaker 8 (03:15:30):
How much?

Speaker 22 (03:15:31):
Ey? Well, suppose we say fifty dollars.

Speaker 85 (03:15:36):
Fifty dollars, That isn't much considering what would happen if
I reported you.

Speaker 22 (03:15:42):
No, no, it isn't fifty dollars. That's just very cheap
to help me cover up a murder. Murder, more of
your jokes. I'm not talking about murder. I'm talking about
putting number thirty seven here back in his proper place.
Number thirty seven, Yes, thirty seven.

Speaker 85 (03:16:00):
He just came in yesterday from the County poor farm,
and last night he disappeared stolen by you and your
drunken friends and dressed up.

Speaker 22 (03:16:08):
For a joke.

Speaker 85 (03:16:09):
While I don't like jokes like that. I drove downtown
a while back to tell dug In the Constable about him,
and well, I didn't tell him, Anathon, it would mean
trouble for me for being asleep in a job.

Speaker 8 (03:16:24):
Number thirty seven. He was stolen from here last night.

Speaker 22 (03:16:30):
That's what I said.

Speaker 85 (03:16:31):
As long as you've brought him back, there's no harm,
and that's why I'm willing to keep it quiet.

Speaker 22 (03:16:37):
Then then I didn't kill him. It was just a joke.
Somebody played. Honey, it's a practical joke. Here's here here,
you know what's wrong with you.

Speaker 68 (03:16:49):
It's a joke.

Speaker 22 (03:16:52):
It's a very good joke on me.

Speaker 39 (03:16:55):
It's all after new driving, driving in the heat, trying
to get rid of him.

Speaker 29 (03:17:00):
It was just a joke, a joke.

Speaker 22 (03:17:04):
Kill for goodness sake. She's fainted. So that's the story

(03:17:24):
of what happened the day after our graduation party twelve
years ago. When I came to I was in the
college hospital. I'd been unconscious a week. They they said
it was just a slight breakdown brought on by sunstroke.

(03:17:45):
I was all right after a while, but somehow I
wasn't interested in law anymore. Marcia and I didn't get married,
and I didn't become her father's junior law partner.

Speaker 69 (03:18:01):
Good lord, Paul, we never knew any of us. Gosh, Paul,
I can't tell you how sorry I am. We never
dreamed our gag would turn out like that.

Speaker 22 (03:18:15):
You're gay?

Speaker 20 (03:18:18):
Why sure?

Speaker 85 (03:18:20):
See, after the party broke up that night, we were
feeling pretty high, and well, it was a crazy idea
that we thought it would be funny to steal a
cadaver from the medical college and leave it in your
room with with your knife in it.

Speaker 22 (03:18:38):
It was you, the two of you.

Speaker 5 (03:18:42):
Well, yes, Paul, gosh, I feel terrible about this.

Speaker 69 (03:18:46):
Well, that day we left, we came up to your
apartment to tell you about a little joker, only you
went in.

Speaker 85 (03:18:51):
We had a rush for our train, but we phoned
from the station. Then the janitor answered and we told
him to explain about the cadaver.

Speaker 22 (03:18:59):
Heard him calling, but I didn't stop.

Speaker 5 (03:19:02):
Paul, Will you ever be able to forgive us for
what happened?

Speaker 22 (03:19:05):
Forgive you? Forgive you?

Speaker 29 (03:19:09):
No, No, I'm going to kill you. I'm going to
kill you.

Speaker 10 (03:19:14):
Do you hear?

Speaker 15 (03:19:15):
Kill you?

Speaker 29 (03:19:16):
Wait a minute, I'm joking me, grabbed me.

Speaker 22 (03:19:31):
We get him acted last killer, take him killer.

Speaker 82 (03:19:40):
H you heard mister, No, No, I'm all right, but
you came just in time.

Speaker 68 (03:19:51):
He was trying to kill me.

Speaker 22 (03:19:54):
He sure was. He he just went crazy.

Speaker 89 (03:19:56):
I'm sure sorry this happened. See, he slipped away from
the hospital this afternoon. We figured he'd head this way
the hospital. Yes, poor fellow had a bad breakdown just
after he graduated twelve years ago.

Speaker 17 (03:20:11):
He's been locked up ever since, locked top.

Speaker 22 (03:20:14):
Yeah.

Speaker 89 (03:20:15):
He's always been perfectly harmless, though. He just went around
all the time looking for a place to hide something.
This is the first time he ever got violent. I
can't figure out what came over him.

Speaker 83 (03:20:45):
And so the curtain falls on Summer Heat, which was
chosen by guest expert Jue Pentecost, whose latest thriller, Where
the Snow Was Red, will be published next month. Welcome
your comments on tonight's story. All letters should be addressed
to Murder by Experts, care of Mutual Broadcasting System, New

(03:21:08):
York eighteen, New York. Next week at this time, Murder
by Experts brings you the story or a woman who
pitted her wits against death, A story selected for your
approval by Brett Halliday, creator of the rough, tough detective
known as Mike Shane. Until then, this is your host,

(03:21:32):
John Dixon Carr saying good night.

Speaker 82 (03:21:49):
In our cast were Laws and Survey, Briana Rayburn, Ian
Martin Cameron, Andrews, Bill Zuckert, and Frank Barns. Summer Heat
by Andrew Evans was adapted for radio by Robert A.
Arthur and David Cogan. Original music was composed by Richard Lapage.
The orchestra was conducted by Emerson Buckley. Murder by Experts
is produced and directed by Robert A.

Speaker 20 (03:22:10):
Arthur and David Cogan.

Speaker 82 (03:22:12):
All characters in this story were fictitious, and any resemblance
to the names of actual persons was purely coincidental. Ptil
Talkin' speaking. This is the world's largest network, serving more
than five hundred radio stations, the Mutual Broadcasting System.

Speaker 59 (03:22:46):
Now step into the incredible, amazing future as we go
explore to Laura.

Speaker 20 (03:23:07):
And now here is your guide.

Speaker 36 (03:23:08):
To these adventures of the mind. John Campbell Jr.

Speaker 11 (03:23:13):
Is the old saying, you'll do it and like it,
And of course a man can by physical force make
you do it. How would you like to have it
so that you would like it too. There are two
basic ways that you can be happy in this world. One,
of course, is to have everything you want in just

(03:23:34):
the way you want it, and never have any difficulties
or troubles. This method is ideal, perhaps, but not very probable.
Only one person in the world could have that, I guess.
The other method for absolute complete happiness would be to
like anything that you've got, no matter what it was.

(03:23:57):
The first approach is the one that makes sense. Of course,
that's the one we work for, we earn it. The
other seems so much easier.

Speaker 29 (03:24:09):
Stop market, stop.

Speaker 22 (03:24:11):
The market, stop bought.

Speaker 36 (03:24:15):
Marking, all all that.

Speaker 45 (03:24:19):
That's all right, dog, Do you work.

Speaker 11 (03:24:20):
As much as you want? Oh how I wish I
could get mad. The old days, I had have gone
up that dog and told him to shut up, and
that had been that.

Speaker 36 (03:24:29):
But no more.

Speaker 11 (03:24:31):
Just as soon as I start to get good and
sorry about something, my mind kind of all creams up
in the happiness effect, and I'm not sorry anymore. And
everybody here in Bedden, I guess most everybody in the
country is just like me. We've all had our brains
written on and we're all happy here. I am chief
of police of bedding, and never a crime is big
of unless it's overtime air parking.

Speaker 36 (03:24:52):
And what kind of crime you call that?

Speaker 8 (03:24:55):
Oh?

Speaker 36 (03:24:55):
Here he comes.

Speaker 11 (03:24:56):
I don't Doc Roight, the man responsible for all our happiness.
He's supposed to be just about the best brain riding
this side of the Mississippi. Slavo, that's what I call him,
Old West lips, always do good and always grinning. But
behind that grin leave me ice. If you need an enemy,
just have Doc Royd.

Speaker 36 (03:25:14):
And for a friend, Henry, Henry, didn't you hear me
calling to it?

Speaker 90 (03:25:18):
Sorry?

Speaker 11 (03:25:18):
Doc, I guess I just kind of stand here thinking
happy thoughts. I oh sure, happy thoughts?

Speaker 37 (03:25:23):
Sure?

Speaker 4 (03:25:24):
Sure?

Speaker 8 (03:25:25):
What can I do for you?

Speaker 11 (03:25:26):
A fellow just came into town, suspicious the painting pictures
out at Willahalla. There's law against painting pictures wille.

Speaker 36 (03:25:32):
Hollow I, Henry, you know I got to keep my
eyes on things. Wasn't for us brain meers.

Speaker 11 (03:25:37):
That'll be all kinds of irresponsibles wrote me around, And
these artists they're the worst kind.

Speaker 12 (03:25:42):
You know that.

Speaker 11 (03:25:43):
You remember there was a day when you were headed
for that kind of trimve. Yeah, I remember I was
a pretty good bad told too. You sure brain wrote
me out of that note. And aren't you better for it.
You're a responsible citizen, happily married, well justed doing a
job that's socially useful.

Speaker 36 (03:26:00):
Yeah, what about this fellow. I'm supposed to investigate the name.

Speaker 11 (03:26:03):
Of Arnold Vivian and he's been painting up at will o'hallow,
and that's right. Doesn't do anything all day long, butt
paint single No, I few children know nothing.

Speaker 8 (03:26:12):
He just paints.

Speaker 11 (03:26:13):
Well, remember, as long as he just paints. That's a
legal no, Henry, Now, don't henry me, doc.

Speaker 36 (03:26:18):
I'll look into it. That's all I can problem, that's
all I ask.

Speaker 18 (03:26:22):
Goodbye, Henry.

Speaker 36 (03:26:46):
Yeah, that's mighty pretty landscape you're painting.

Speaker 20 (03:26:49):
Why, thank you.

Speaker 11 (03:26:52):
Will o'hallow makes a mighty pretty landscape paint.

Speaker 36 (03:26:55):
I'm sorry to interrupt you. Oh no, that's all right,
never mind little talk when I'm painting.

Speaker 8 (03:27:01):
What can I do for you?

Speaker 11 (03:27:02):
Your name, Arnold Vivin's right. I'm Henry Horner, chief of police.
Nice to meet you, chief of what seems to be
the trouble.

Speaker 36 (03:27:12):
No, no trouble.

Speaker 11 (03:27:13):
I just out here to give you a kind of
friendly warning about what in this town of Benton you're
in needs new young men. Arnold, if you should happen
to get in any trouble here, we got a real
fast brain rider who likes to straighten people out.

Speaker 36 (03:27:29):
I don't get into trouble.

Speaker 11 (03:27:30):
Well, just keep in mind we need workers these days.
Like our brain rider would say, who needs pictures on canvas?
Who needs pictures on canvas? Why, mister policeman me. Maybe
someday a few others will agree with me. Maybe I
used to be a sort of artistic fellow myself baritone

(03:27:52):
concert style. Yeah, I bet you're good on a police
whistle tool. Don't worry about me, mister Horner. Go back
and tell your brain writer here's one traveling man. He
won't ever get to use his scalpelon. Every Saturday night

(03:28:23):
Betton has a dance. I usually don't want to hear
it myself, because since the brain writing, everybody's pretty well
adjusted and ain't any police.

Speaker 36 (03:28:30):
Type trouble this Saturday night, though I dropped in.

Speaker 11 (03:28:33):
Toward the middle of evening, I mister Horner, Ahi.

Speaker 36 (03:28:36):
Hello, I don't having a good time.

Speaker 11 (03:28:38):
Heck, yes, I've been asking with all the girls they
love me and I love them staying out of trouble.
The only trouble I ever have is with pictures on canvas. Well,
don't go getting drunk and sign a job contract with
Big Fellow at the brickyard or with Tom Hart, or.

Speaker 36 (03:28:52):
You will forget picture.

Speaker 18 (03:28:53):
I'm a mule a job contract.

Speaker 11 (03:28:55):
Also, I may interest you to know that both mister
Haarth and mister Fellow each point of painting for me.

Speaker 36 (03:29:00):
Did I pay cash on the fire land? Well that's
a surprise. Well what they're up to? Why should they
be up to anything?

Speaker 4 (03:29:07):
They just like my pictures.

Speaker 22 (03:29:09):
I guess they like me too.

Speaker 36 (03:29:11):
They invited me to play poker with them after the
dance tonight. You turn them down to go?

Speaker 11 (03:29:15):
Heck no, I like taking money for people at poker.

Speaker 36 (03:29:18):
Well they're more likely to do the taken. And once
you're broke, you'll just have to go to work.

Speaker 11 (03:29:22):
Mister Horner, when are you gonna stop worrying about me?
I told you I can take care of myself, and
he could too.

Speaker 36 (03:29:37):
When the poker game broke up about three am, he
was the winner.

Speaker 11 (03:29:41):
Everybody was gripe, and all except Doc Royd and who
sat there his close set eyes glittering behind thick spectacles.
Imagine him taking me for thirty bucks. Imagine he knows
people in those cars.

Speaker 36 (03:29:54):
He knows women. You're not gonna brain ripe that boy.
You want to bet Henry. You just want to make
a little bet.

Speaker 91 (03:30:12):
Whether it's a crowded highway or a narrow street, a smooth,
even flow of traffic is one of the essentials of
safe driving. Speeding is an obvious hazard, but it can
also be suicide. Slow polk driving is dangerous too, because
it causes rare end collisions and tempts other motorists into
taking deadly chances in passing. The eccentric behavior of the

(03:30:35):
lane switcher, the driver who weaves in and out, often
is the cause behind frightful smashups.

Speaker 36 (03:30:42):
So don't be a cause and don't be a victim.

Speaker 8 (03:30:45):
Arrive alive.

Speaker 36 (03:30:50):
There are two difficulties with the happiness idea.

Speaker 11 (03:30:54):
One of them is that actually we need to earn
happiness to enjoy it, that want to work for it.

Speaker 36 (03:31:02):
The drug addict has happiness that he doesn't have to
work for.

Speaker 8 (03:31:06):
Really.

Speaker 11 (03:31:07):
The other difficulty is that happiness in whose terms many
times are the other fellow figures that you ought to
be happy with what he's giving you.

Speaker 8 (03:31:19):
Eh, it was a good sire, Henry, wake up.

Speaker 36 (03:31:24):
And scoot over to Tony holland shack on the end
of the hollow. I smarter at Doc.

Speaker 11 (03:31:28):
There's been a crime. Get over here as fast as
you can. Somebody's got to keep an eye on our
citizens at the police force.

Speaker 36 (03:31:37):
I'll wait a minut.

Speaker 11 (03:31:38):
It's a good thing I was out this way whereas
Tony and I give him a sleep injection. Poor fellow,
he was bashed on the head and all his savings
was stolen three hundred and two dollars.

Speaker 36 (03:31:46):
Can't you wake him up so he can tell himself?

Speaker 18 (03:31:48):
No need.

Speaker 11 (03:31:49):
I got all the information you'll want. Who does he
think did it? He doesn't know, but I've got a
good idea.

Speaker 28 (03:31:54):
Yeah, I like who.

Speaker 11 (03:31:55):
Well, let's eliminate it couldn't have been a passing tramp
since brain writing the heart any and if he can't
say it was anyone in town, they're all adjusted and
wouldn't commit no crimes. So it might be somebody around
who wonders in the holler in the daytime, poking around
and pretending.

Speaker 5 (03:32:10):
To be what he eats.

Speaker 11 (03:32:11):
Well, it wasn't Arnold Vivian. You know, because he's not
that stupid. He knows he'd be the most likely suspect.

Speaker 36 (03:32:18):
You'd just better check up on him and me. Doc,
you're the brain writer. They called you in after the
maladjusted guy's been caught.

Speaker 8 (03:32:25):
But I'm the cop.

Speaker 11 (03:32:26):
I run my investigations the way I want, and I'm
not gonna be able the case against Arnold Vivian.

Speaker 22 (03:32:30):
What are you going to do?

Speaker 36 (03:32:31):
You write on brains? Try read one so you figure
Doc Ryden's trying to frame me.

Speaker 8 (03:32:45):
He looks that way.

Speaker 11 (03:32:46):
That's ridiculous. I just took you people at poker for
enough money to live for three weeks. Why should I
take a chance on getting my head written on? Have
you missed any of your stuff?

Speaker 31 (03:32:54):
Oh?

Speaker 11 (03:32:55):
Just my pennant pencil center I lost jumping around at
the dance last night.

Speaker 18 (03:32:59):
Hey, wait a minute, Wait a minute.

Speaker 36 (03:33:00):
I'll make a fine clue. Wouldn't it at the scene
of the crime.

Speaker 18 (03:33:04):
It sure would well was it found over there?

Speaker 36 (03:33:06):
Not yet, but it will be. That's not important though.

Speaker 11 (03:33:09):
What is important as this Tony Holland has one peculiarity
marks twenty dollar bills figures he can follow how the
money goes around town that way. Now you don't draw
any money from the local bank or in salary, so
you just better not have any local twenty dollar bills.

Speaker 36 (03:33:25):
Marked by Tony. Hey, whose side are you on?

Speaker 11 (03:33:28):
I used to sing baritone, remember, police, I like you, artist,
I kind of like you too, Hitary, Look what.

Speaker 36 (03:33:37):
We found at Tony Look here? Yeah, I know you
found a clue a pen or a pencil or both.

Speaker 22 (03:33:43):
We know all about it.

Speaker 36 (03:33:44):
Doc, I'd not better run you in, at least until
we can investigate further. It'll look better.

Speaker 11 (03:33:49):
Well, certainly, no trouble at August Horner glad to come along.
I pressed for hearing right away, figuring that Idol could
be cleared, and then town He figured the same, that
it wasn't healthy to hang around a place that needed
new talent so bad.

Speaker 36 (03:34:06):
The hearing went refined from the start.

Speaker 11 (03:34:08):
I testified the Dinald had been fast asleep at the
time the crime was committed, and I swore that the
pen and pencil had been planted in Tony's house. Then
suddenly they were talking about marked twenty dollar bills.

Speaker 36 (03:34:20):
Well, I couldn't.

Speaker 11 (03:34:21):
I couldn't possibly have any twenties, Judge, I just told
you there's absolutely no way that I could not.

Speaker 92 (03:34:30):
No, no, let me out of here, Let me out
of here. In the frame of it, the frame of
my tell you, there is no tool.

Speaker 11 (03:34:46):
It's either good or evil. There's nothing that in itself
is good or bad. It's the way it's used. Logic
is a wonderful thing. It's great value to man and
his pro gris. But in this trial here, you've seen
what can be done with logic when someone is out

(03:35:08):
to prove what he wants.

Speaker 36 (03:35:09):
To prove, and he's not the slightest interested in getting
the truth. Just one thing I want to say.

Speaker 11 (03:35:18):
I've seen a lot of raw deals, but the way
you have it here with the singing cock to set
it up, is the slickest I ever saw you win.

Speaker 36 (03:35:33):
As chief of police, I had to be present at
the brain riding. Doc's nurse gave.

Speaker 11 (03:35:37):
Ronold the needle jab in the back of the neck,
and after that he sat there like a stone man,
able to hear but paralyzed.

Speaker 8 (03:35:45):
Ah.

Speaker 22 (03:35:45):
Now I mean there we are.

Speaker 11 (03:35:48):
Yes, Yes, the clay model is ready to take the
impressions from Arnold's brain, so we'll have an exact duplicate.
Now we put this cap on Arnold's head. So he
electronic thinker.

Speaker 36 (03:36:00):
Is in it can do the measuring.

Speaker 8 (03:36:01):
That's what for.

Speaker 93 (03:36:03):
I won't take long.

Speaker 11 (03:36:03):
Now that's these wires to the automatic computer that we
put above the Clay model.

Speaker 36 (03:36:10):
And here we are an exact model of Arnold's brain.

Speaker 8 (03:36:17):
And I just take a look.

Speaker 36 (03:36:20):
Oh me, oh my, there's a brain that needs writing.

Speaker 11 (03:36:25):
All right, all right, all right, look here you see
that decayed memory response, artistic imagination, decayed sensory impression.

Speaker 36 (03:36:35):
It's quite useless in an adjusted society.

Speaker 11 (03:36:38):
Now we just take the scalpel and start doing away
with these six synopses in the brain model, substituting good ones.

Speaker 36 (03:36:46):
Isn't that what we do, Henry, Yeah, that's what we do,
all right.

Speaker 11 (03:36:49):
You raise the bad ones and carve some good ones,
and then when his own brain gets the impression, the
guy's adjusted. From then on, everybody does what they should
and they don't need no religion, no moral was, no psychology, nothing,
just brain ripe in the world's work gets.

Speaker 36 (03:37:05):
Henry, you always miss the most important part.

Speaker 11 (03:37:09):
After I get rid of the illogical synopsis, I do
one special cup with my stylust the there I'm doing
it now, and that's the happiness of it.

Speaker 36 (03:37:20):
Then you're adjusted. Man not only does what he ought to,
he's happy about it.

Speaker 11 (03:37:24):
He that looks beautiful. All that looks almost like the
master brain. Let me get it and show it to you, Henry.
It's real interesting. I'll be back in a second.

Speaker 36 (03:37:43):
I sure wish I could help you.

Speaker 8 (03:37:46):
Wait a minute, maybe I came.

Speaker 94 (03:37:49):
I will try to put back some of those synopses
he cut out. Here's a scounbal. You know, there's one
he did, and there's another. I can help you keep
some of your artistic talentild.

Speaker 4 (03:38:03):
Yeah, you're the final one.

Speaker 11 (03:38:06):
One day, Henry will be able to duplicate this master
brain in everyone.

Speaker 36 (03:38:11):
It's brilliant.

Speaker 11 (03:38:12):
Take a look at it while I prepare for the
transference from the clay model.

Speaker 36 (03:38:16):
To Nold's brain. Sure, there's fine look in this master brain. Yes, yes, yes,
Now we're ready to go. Now, Henry, Henry.

Speaker 11 (03:38:23):
When I closed this switch, the new brain shape will
flash the signal to the cap on Idol's head. The
electronic fingers will dig in, and he'll have a new brain. Oh,
I tell you, Henry, this is the real moment of birth.
Most people are.

Speaker 36 (03:38:37):
Born wrong for this world. This is where they get right,
and here we go.

Speaker 8 (03:38:44):
It's gonna hurt a little.

Speaker 36 (03:38:50):
Well, Henry, we did it. We created a useful citizen.

Speaker 11 (03:39:01):
Those six months went by and it looked as if
Doc was right. Arnold took a job, settled down and
got himself married. And then, Henry, Henry, have you seen
that picture exhibition up at the town hall? Picture exhibition? No, Doc,
what's it about? Id Ovivia? The sneak pictures of me
holding me up to ridicule. I'll be the laughing stock
of this town. You've got to stop it. There's nothing

(03:39:23):
illegal my pictures, Doc, But come on, let's take a look.
We went to the town hall and there was the
neatest collection of pictures you ever saw. Iron looked data

(03:39:43):
Doc Ryden more than fifty times, and in each picture
he cut the basic evil of the man. Doc was
shown at the council meeting at church at the dance,
his face revealing every grimace of deceat powerless Connivan. Picture
was titled the Happiness Effect, and everyone was.

Speaker 36 (03:40:04):
My sould already. I knew that or there that Doc
Ruyden was finished in metal, Henery. Please, I'm too old
to start over at another time.

Speaker 29 (03:40:14):
I've got to stay Benton.

Speaker 36 (03:40:16):
Please Henry, get rid of those pictures my doc. It
sounds to me like your maladjusted your environment. You ought
to be brain written in the Happiness.

Speaker 11 (03:40:28):
Henry, Henry Man, I've been looking all over for you.
I wanted to tell you thanks for using Doc Scalfolks
to save a piece of my challenge. Why it was
a pleasure, Idol. Thanks to you for giving us back
a little woman making it. A lot of people tend

(03:41:09):
to think that happiness is something you have, but I
think it is that. I think it's more on the
nature of something you do. You know, the founders of
our country were no fools, and in the Declaration of
Independence they said that men had certainly inalienable rights, among
which were the pursuit of happiness. No man has ever

(03:41:35):
declared that happiness itself is the right of man. The
pursuit of happiness is it's worth working for.

Speaker 59 (03:41:56):
Join us for a fascinating adventure in Explorer Tomorrow. Heard
in Our Cast Tonight from Mason Adams, Charlie Holmes, and
Lawson Zerby. The script was taken from a story by
Raymond Banks, produced and directed by Sandford Marshall.

Speaker 95 (03:42:12):
Here in New York Bill Maher speaking. We pause now
for station identification.

Speaker 8 (03:42:38):
Darth Fantasy Resolution eighteen forty one.

Speaker 96 (03:43:11):
My name is Laura Cabot. It is January two, nineteen
forty two, the second.

Speaker 21 (03:43:18):
Day of a new year.

Speaker 96 (03:43:21):
As I speak these words, even I myself can't believe
that what has happened is true. It began only a
few short hours ago, less than forty eight to be exact,
and yet it has changed everything for me, even life itself.

Speaker 21 (03:43:44):
I must tell someone, and so I'm telling you.

Speaker 96 (03:43:53):
It all began night before last New Year's Eve. A
number of us had braved the deep snow and cold
north wind to go out of the old Cabot Place
north of Quincy to see the new year in. There
were four of us, Ed and Helen Richards, who had
just been married a year, and a business friend of

(03:44:13):
Ed's named Duke Tobeck.

Speaker 21 (03:44:17):
We had to leave Ed's.

Speaker 96 (03:44:18):
Car down at the road and walk up the narrow,
unused lane leading to the big.

Speaker 21 (03:44:31):
Talk about nineteen forty one, leaving with a vengeance.

Speaker 8 (03:44:34):
It's cool, isn't it. Nose drifting deeper, Oh, Helen, to
the right, deer.

Speaker 21 (03:44:40):
The house is over there, all right, Laura and I
didn't know it'd have to work.

Speaker 8 (03:44:46):
It'll be good for us.

Speaker 21 (03:44:47):
I wonder what your friend must think of us like
this on New Year's Even?

Speaker 8 (03:44:51):
A duke, Oh, duke's a good sport.

Speaker 97 (03:44:55):
Besides, dear, haven't we made a practice of spending New
Year's Even the old Cabot Place the last three years?

Speaker 8 (03:45:01):
Yes, said we have.

Speaker 97 (03:45:02):
Besides, wouldn't want to spoil the fun anyway. I think
that he makes a fine partner for Laura, don't you. Yes,
he's very handsome and wealthy. Heaven do you think she
likes him?

Speaker 35 (03:45:15):
Well, the way she's hanging on to him and laughing,
I wouldn't exactly say she's.

Speaker 21 (03:45:26):
Oh, mister Doba, you certainly must think that we're idiots.

Speaker 8 (03:45:30):
I wish you'd call me duke. I've been calling you
Laura all evening.

Speaker 96 (03:45:33):
Well, I guess it's because I'm so fascinated by your
last name that I use it.

Speaker 21 (03:45:38):
But tell me, how do you spell it?

Speaker 98 (03:45:39):
And just like it sounds to obac duke, Yes, Laura,
spell your last name backwards m toe back spelled backwards.

Speaker 21 (03:45:53):
It's Kevin my name. I say, you're right, Well, that's
the most unusual thing I've.

Speaker 8 (03:46:00):
Ever heard of Well, I'm an unusual person, are you.

Speaker 96 (03:46:04):
Don't you think so, Laura, I really haven't had time
to decide yet, but I'm awfully glad you came along
with Helen and Ed tonight. We do this every year,
you know, Yes, Sir Richard's told me who This old
house has been in my family for more than a century.
It was just three years ago that I discovered it
belonged to me, that's all.

Speaker 22 (03:46:22):
M Oh.

Speaker 96 (03:46:23):
They were back Texas galore on the place, but I
paid them up, and every New Year since then, the
Richards and I have spent New Year's Eve.

Speaker 8 (03:46:31):
For charming custom. You know, I rather think I'm going
to enjoy being laid in on.

Speaker 96 (03:46:35):
It, I hope, so, Duke, really I do. I want
this to be the best New Year's Eve we've ever enjoyed.

Speaker 21 (03:46:42):
Helen, Helen, you.

Speaker 96 (03:46:44):
And Ed wade up for you have to stand at
the door till we catch up with you, SORRAI, Duke,
what's wrong?

Speaker 10 (03:46:52):
No?

Speaker 22 (03:46:53):
Wait?

Speaker 8 (03:46:54):
What is it?

Speaker 10 (03:46:55):
Is?

Speaker 8 (03:46:56):
Is that the house?

Speaker 36 (03:46:58):
Why?

Speaker 22 (03:46:59):
Why?

Speaker 8 (03:46:59):
Yes? I don't know. It seems so familiar looking. I've
seen it before someplace.

Speaker 96 (03:47:09):
Well, if you've seen it, it's been right here. Come on, Laura,
I locked the door. All right, here's the key here.

Speaker 8 (03:47:19):
I'll open yeah, I mean you go, Laura.

Speaker 21 (03:47:26):
Oh, for heaven's sake, then come in and close that door. Hurry, dear,
nose blowing into the place.

Speaker 8 (03:47:31):
Here, ol man, let me give you handle that door.

Speaker 9 (03:47:33):
Huh.

Speaker 8 (03:47:34):
Thanks, quite a wintry blast.

Speaker 21 (03:47:39):
Yeah, stop off the rug on this rag, the snow
on this rag rug, that's what it's for. Oh, it's
nice and warm in here, he is.

Speaker 8 (03:47:46):
I'm surprised you been out here earlier today.

Speaker 10 (03:47:48):
No.

Speaker 96 (03:47:49):
Oh, mister Johnson owns the farm across the way. He
always comes over on the last day of December and
built a fire far can you see he expects us.
The place seems so strange tonight.

Speaker 8 (03:48:01):
Strange. What do you mean, Laura, I don't know.

Speaker 21 (03:48:07):
Does it really feel warm to you folks? It certainly does,
of course it does, Dear.

Speaker 8 (03:48:11):
It's fine.

Speaker 18 (03:48:12):
Well.

Speaker 8 (03:48:12):
It sure makes it handy to come here and have
the place all heated for it, Yes, but.

Speaker 21 (03:48:18):
It doesn't seem the same in here as it's always
has before.

Speaker 8 (03:48:22):
Well, personally, I think it's very homely, so do I.

Speaker 21 (03:48:25):
It's a pity now and live's here. It's such a
nice place.

Speaker 35 (03:48:28):
I've tried to convince Laura she should stay here instead
of renting in town.

Speaker 21 (03:48:33):
I've had this feeling before. It's so strange, almost weird, weird.

Speaker 8 (03:48:41):
Why this place is far from being weird?

Speaker 21 (03:48:44):
Of course, Oh, I'm just being silly.

Speaker 96 (03:48:47):
Come on, Helen, let's take our coats into the other
room and see what condition the kitchen's is.

Speaker 21 (03:48:52):
All right, ed, you'd better throw a log on the fire.

Speaker 8 (03:48:54):
How about some refreshments all around?

Speaker 96 (03:48:56):
Huh oh, you just leave that to us, gentlemen. There
are plenty of refreshments in the kitchen.

Speaker 21 (03:49:00):
Yes, Indeed, Laura and I hadn't set out yesterday.

Speaker 8 (03:49:11):
Smoked you the things. Well, how do you like her, Laura, Charley?
Hold not do? Is? Is that all you've got to say?
For Well? I haven't known her but a few hours,
and yet yes do Yet it.

Speaker 97 (03:49:34):
Seems that I have known her before somewhere sometime. What
makes you think that I can't say something about her?
The way she acts and when she talks. Possibly, I
don't know. Well have you asked Laura if she'd met
you before?

Speaker 8 (03:49:53):
I thought that rather a silly thing to say.

Speaker 97 (03:49:55):
Besides that, that's what men always say to women when
they're trying to make conversation, and Laura is very easy
to talk to. She talked so so comfortably with me,
and though she'd known me someplace before.

Speaker 8 (03:50:08):
Two hmm.

Speaker 97 (03:50:11):
Well, I know how you feel, Duke. I felt the
same way about folks I'd just been introduced to.

Speaker 8 (03:50:17):
Sensations like that are hard to explain. They generally not explain.

Speaker 97 (03:50:22):
Look here, Duke, this is your first trip to Quincy,
isn't it not only my first trip to Quincy, it's
my first trip to Massachusetts. Well, now, Laura's lived here
all her life, she's been away a summer or two
on vacation. Though possibly you met her then, Yes, that
could be the answer. But it does seem we've been
acquainted before. And the strangest part of it all is
it seems that we were once very close to each other,

(03:50:45):
very close.

Speaker 21 (03:51:01):
Oh, Helen, will you use these lenses for me?

Speaker 12 (03:51:04):
Please?

Speaker 11 (03:51:04):
How many?

Speaker 8 (03:51:05):
Oh?

Speaker 9 (03:51:06):
Half?

Speaker 21 (03:51:06):
It doesn't to begin with, I guess, Oh, come on
over here on the small table. Oh all right, Lara, Yes,
what do you think of Duke?

Speaker 8 (03:51:16):
Oh?

Speaker 21 (03:51:16):
I don't know. He gives me a little more time.

Speaker 35 (03:51:19):
He seems to be attracted to you, does he does
he indeed, I caught him three times staring at you
like that, with a sort of fascination, like.

Speaker 21 (03:51:28):
He couldn't get used to you. Well, perhaps you're right,
maybe he can't get used to me.

Speaker 35 (03:51:34):
Oh no, I didn't mean that way. I I mean, well,
he stared at you like he was trying to remember something. Yes,
I noticed that, and I caught you staring the same
way at him.

Speaker 8 (03:51:48):
Yes, what is it, Laura?

Speaker 21 (03:51:53):
I don't know you like him all right, don't you?
That's just it. I feel that suddenly I like him
too much. Oh now, you needn't fall in love with
him right off the handle.

Speaker 8 (03:52:06):
Oh no, it isn't there.

Speaker 96 (03:52:07):
It's a different kind of a feeling, an affection, but
not the kind of woman has for a man.

Speaker 21 (03:52:14):
It's different from that.

Speaker 96 (03:52:16):
I don't understand what you mean, Laura. I wonder if
I understand what I mean myself. It's it's something that
seems to draw me very close to him. Oh, love
at first sight. I've always believed in it. No, not that,
something else, something different, something greater. He hasn't made love

(03:52:40):
to you already. Hey, Helen, will you please stop talking
about love? Love has nothing to do.

Speaker 21 (03:52:46):
With it, Laura, You need a lift, Come on and
me fix you one.

Speaker 96 (03:52:50):
No, not now, you know, Helen, I'm positive I've never
met Yuke Tobec before, and and yet it seems that
I did know him once, a long, long time ago.

Speaker 21 (03:53:01):
Well it couldn't be very long ago. You're only twenty three. No,
I mean further back than that.

Speaker 96 (03:53:08):
Even Hey, wait a minute, his name. It's so strange, Toback.
It's so very strange.

Speaker 8 (03:53:32):
Eleven thirty.

Speaker 21 (03:53:33):
No, just thirty more minutes. Then it's goodbye nineteen forty one.
I can't wait.

Speaker 96 (03:53:37):
I've had enough of the past three hundred and sixty
five days. I want a brand new year, to start
out everything with a clean seave.

Speaker 8 (03:53:45):
Now you're talking, Laura, here's the nineteen forty two. Yes,
here's to the new year.

Speaker 12 (03:53:49):
Okay, I'm in on that.

Speaker 96 (03:53:51):
May all our troubles disappear like bubbles with champagne, especially
as quickly as the bubbles in any champagne that might
be left around our place.

Speaker 21 (03:54:01):
Would you pardon me?

Speaker 8 (03:54:02):
Now?

Speaker 21 (03:54:02):
I want to go upstairs for a moment.

Speaker 12 (03:54:04):
I'll go with you.

Speaker 21 (03:54:04):
Oh no, Dad, it's cold up there, And besides, I won't.

Speaker 78 (03:54:06):
Be but a moment.

Speaker 8 (03:54:07):
Elen, you got work to do in the kitchen. We'll
I'll be right back.

Speaker 21 (03:54:09):
Yes, I'll only be a moment. Make yourself at home.
She seems strange tonight, doesn't she add?

Speaker 8 (03:54:17):
Yeah? You know she was right enough when we left town.

Speaker 97 (03:54:22):
Do you know the minute she stepped into this house tonight,
something came over or I think she's quite attractive.

Speaker 21 (03:54:28):
You had you ever met her before tonight?

Speaker 8 (03:54:32):
Well? No, at least I don't think I have.

Speaker 21 (03:54:34):
That's what she said about you.

Speaker 4 (03:54:36):
She did.

Speaker 21 (03:54:37):
Yes, she acted so strangely too. She said she whoa
that you attracted her in a strange sort of way.

Speaker 8 (03:54:46):
Oh that's a pretty compliment.

Speaker 21 (03:54:48):
Oh what I mean, du kid? Laura told me she
seems to have known you before somewhere.

Speaker 8 (03:54:57):
You know that's odd. Duke just said the same about
Laura not more than thirty minutes ago.

Speaker 12 (03:55:02):
Do you mean it?

Speaker 8 (03:55:04):
Yes? It it's so stranger. I'm trying hard to remember.

Speaker 97 (03:55:10):
No, I wouldn't worry about it. I've had the same
thing happened to me, just some trick in nature. You
meet a person for a moment, you'd swear you had.

Speaker 11 (03:55:17):
Met him before.

Speaker 35 (03:55:18):
But isn't it strange that Laura should have the same
feeling about Duke.

Speaker 97 (03:55:22):
Yes, I was about to forget the whole affair, but now, well,
I wonder. Well, now my advice is that you two
get together a little more. Talk over the places you've visited,
places you've been. Now, I'll wager one of my Christmas
tires you met at the seashore or at Satura Nita,
maybe on some dude.

Speaker 8 (03:55:40):
Ranch, possibly, But it doesn't seem that way. You know.
I haven't said this before, but even this old house
seems familiar to me.

Speaker 21 (03:55:50):
It does.

Speaker 97 (03:55:51):
Yes, when I first saw it outside, I stopped deading
my tracks. Something seemed to stop me, and well, I'd
have sworn I'd walked up that same lane out.

Speaker 8 (03:55:59):
There dozens and dozens of times. Well that's incredible.

Speaker 97 (03:56:02):
This room, with its high ceiling and huge fireplace, these
pine walls, the heavy oak floors, decorations, they all seem
so vaguely familiar.

Speaker 21 (03:56:17):
But why should they. You've never been here before?

Speaker 8 (03:56:20):
No, I haven't. Don't you too?

Speaker 97 (03:56:23):
Think it's getting chilly in here? Yes, little No, there're
no more lugs. I guess i'd better go fetch you.

Speaker 8 (03:56:27):
Come know it, I'll do it.

Speaker 21 (03:56:28):
No, there's no reason that both thought you to go
out in the coach.

Speaker 8 (03:56:31):
Ed you go just like a wife?

Speaker 10 (03:56:32):
No?

Speaker 8 (03:56:33):
Ed you stayed here. I know exactly where the logs are.
I saw them when I came in. I'll be right
back with a couple. Better put a coat on the man. No,
it won't be out long enough.

Speaker 36 (03:56:40):
It's just around the corner of the house.

Speaker 21 (03:56:54):
Oh, Laura, I didn't see you come back.

Speaker 8 (03:56:56):
Oh, he's gone to get some logs for the fire.
Insisted on going along.

Speaker 21 (03:57:00):
Laura, what a beautiful dress.

Speaker 8 (03:57:03):
Hey, wasn't the clothes you wore out here?

Speaker 35 (03:57:07):
Wherever did you find such a quaint outfit?

Speaker 99 (03:57:09):
Darling?

Speaker 96 (03:57:10):
It's a dress my mother used to treasure. It's been
in my family for almost a century.

Speaker 21 (03:57:15):
Oh, it's beautiful. I thought it would be fun to
put it on tonight.

Speaker 35 (03:57:20):
I found it upstairs in an old Try and just
wait until Duke sees you in that dress.

Speaker 21 (03:57:24):
Maybe that'll help him remember where he knew you before.
He he thinks he's known me before.

Speaker 8 (03:57:32):
And Helen says, you feel that you've met him before too, Well.

Speaker 31 (03:57:36):
Yes, I do feel that way.

Speaker 21 (03:57:38):
But oh, I don't know what to think.

Speaker 35 (03:57:42):
I'm so upset tonight, Laura, What is wrong to night
Edie and I've both noticed it.

Speaker 8 (03:57:49):
You know what's wrong?

Speaker 24 (03:57:49):
Laura.

Speaker 21 (03:57:50):
Oh, I didn't want to mention it, but there something
is wrong.

Speaker 8 (03:57:54):
Can we help you?

Speaker 96 (03:57:55):
No, I I couldn't ask you to. Well, you two
know how very fond I've grown of this old house
and the property.

Speaker 97 (03:58:04):
Yeah, you certainly spent a lot of money putting it
into shape. I still don't see why you don't live here.

Speaker 96 (03:58:10):
Oh, it's some memories and more than anything, and the
fact that my grandmother and her grandmother and hers lived
here for so many years.

Speaker 21 (03:58:19):
Oh, Laura, you don't mean you're going to lose the place.
I'm afraid so.

Speaker 9 (03:58:25):
Oh.

Speaker 21 (03:58:26):
You see, it's heavily mortgaged. I'm in debt more than
three thousand dollars. I can't meet that dead.

Speaker 8 (03:58:34):
Hm. Well it's a little more money than we've got.

Speaker 21 (03:58:37):
Right now, Yes, quite a bit more, duke.

Speaker 35 (03:58:44):
Oh, oh, and see what's wrong? For heaven's sake, don't
just stand there.

Speaker 13 (03:58:48):
Hurry?

Speaker 8 (03:58:58):
What man? Your head? What happened? Speak to me, duke?
Are you all right? But here not? I'll take it easy.
I'll carry you into the house. Um on my neck.

Speaker 4 (03:59:10):
That's it? Is he all right?

Speaker 26 (03:59:21):
Do you think?

Speaker 8 (03:59:22):
Yeah? That's quite a pile of wood out there.

Speaker 97 (03:59:25):
Picked up a piece near the bottom and the lot
slid down on him, just knocked him out, that's all.

Speaker 21 (03:59:29):
He looked so pale. Here here, looseny's color there? You
better take your time, duke, Duke, are you all right?

Speaker 8 (03:59:41):
Feeling better?

Speaker 35 (03:59:42):
No?

Speaker 4 (03:59:42):
Old man?

Speaker 8 (03:59:44):
What is something wrong?

Speaker 21 (03:59:47):
You had an accident?

Speaker 36 (03:59:48):
Duke?

Speaker 21 (03:59:49):
Do you feel all right now?

Speaker 8 (03:59:53):
Yes?

Speaker 68 (03:59:54):
Duke?

Speaker 8 (03:59:54):
All right? Why do you call me that?

Speaker 19 (03:59:58):
Lauren?

Speaker 8 (04:00:00):
Who? Who are these people?

Speaker 19 (04:00:04):
Duke?

Speaker 8 (04:00:05):
What?

Speaker 21 (04:00:05):
You you'll be all right?

Speaker 8 (04:00:06):
Who are these people? Why am I lying here? Where's
your mother?

Speaker 9 (04:00:12):
Laurenan?

Speaker 21 (04:00:14):
You'll be all right now, just liestill?

Speaker 8 (04:00:16):
What do you speak like that? Why do you look
at me like that? Daughter?

Speaker 26 (04:00:22):
Daughter?

Speaker 8 (04:00:22):
What's the double here? Suddenly you're so strange?

Speaker 21 (04:00:29):
It's you who are strange?

Speaker 8 (04:00:31):
What you call your father's strange? You call me Jeremiah
Cabots strange.

Speaker 21 (04:00:36):
Jeremiah Cabot, Of.

Speaker 8 (04:00:38):
Course, Jeremiah Cabot. Don't tell me. I have to remind
you who I am.

Speaker 35 (04:00:42):
But Jeremiah Cabot was my mother's great great grandfather.

Speaker 21 (04:00:48):
Duke, for heaven's sake, what's the matter with you?

Speaker 8 (04:00:54):
This is so strange. I I'm afraid I don't know
your friends, Laurenan, you young lady, Oh you sir? Oh, now,
do cut the kidding.

Speaker 21 (04:01:03):
Just a moment, I think I'm beginning to understand.

Speaker 8 (04:01:08):
Oh. Oh, for a moment, child, I thought you were
my daughter. Now I now I know the truth you.

Speaker 21 (04:01:23):
Yes, that must be it for Laura.

Speaker 4 (04:01:27):
What on earth?

Speaker 8 (04:01:28):
Moment, Helen?

Speaker 96 (04:01:31):
Jeremiah Cabot he built this house. His daughter was named
Laura Len. The name has been in a family for
a century.

Speaker 8 (04:01:41):
Lauren, she looked so much like you. I still don't
get this.

Speaker 96 (04:01:47):
Y Wait, I think I can explain, at least partially.
There's an old legend in our family that one New
Year's Eve, Jeremiah Cabot was asked by his family to
join them in making years resolutions. In the spirit of jest.
Jeremiah resolved one thing to return to this.

Speaker 21 (04:02:08):
Earth one hundred years from the night he made the resolution.

Speaker 97 (04:02:11):
That's it, Yes, of course, the resolution. The brick in
the fireplace. The brick, what does he mean?

Speaker 8 (04:02:20):
I remember?

Speaker 97 (04:02:20):
Now here, I'll show you this brick, this one behind
the others. See it's loose, you can remove it.

Speaker 21 (04:02:32):
But what are you trying to tell?

Speaker 8 (04:02:35):
Here?

Speaker 97 (04:02:36):
You see a hiding place behind the brick. This is
where the papers are hidden and the money.

Speaker 8 (04:02:44):
Will somebody please tell me what's going on around it?

Speaker 15 (04:02:46):
Eh?

Speaker 97 (04:02:48):
That's real money, ten thousand dollars, you see. I it
has been hidden here for years. And here pictures and
the original deed to the Cabot property. This is most amazing,
and this, this is what I was looking for. Here, Lauren,

(04:03:13):
read this? Go ahead, child, read it?

Speaker 8 (04:03:18):
What is it say, Laura? Do you want me to
read it?

Speaker 10 (04:03:20):
No?

Speaker 93 (04:03:23):
Just a moment.

Speaker 21 (04:03:26):
It's quite fated. The ink is almost gone, it says.

Speaker 100 (04:03:34):
I, Jeremiah Cabot, being in my right and the same mind,
do solemnly resolve this night.

Speaker 21 (04:03:49):
To return to Earth.

Speaker 96 (04:03:53):
Again exactly one hundred years from now, if it be
within the realm.

Speaker 8 (04:04:05):
Of power.

Speaker 96 (04:04:07):
Sorry, Jeremiah Cabbot, December thirty first, eighteen forty one.

Speaker 8 (04:04:30):
What happened? Is something wrong? What am I doing here?

Speaker 10 (04:04:35):
Oh?

Speaker 8 (04:04:36):
My head, duke? Why are you looking at me like that?

Speaker 11 (04:04:40):
Oh?

Speaker 8 (04:04:41):
I remember now the logs colding here? Duke? Where are
you going?

Speaker 10 (04:04:45):
No?

Speaker 18 (04:04:45):
No, you stay here.

Speaker 8 (04:04:46):
I know exactly where the logs are. So then when
we came in, I'll be right back. A fantasy.

Speaker 97 (04:05:32):
Resolution eighteen forty one Tonight's Tale of Dark Fantasy, written
by Scott Bishop. Charles Carshon played Duke Toback Many, Joe
Curtis was Laura Cabot, Eleanor Naylor Corn was Helen Richards,
and Ben Morris played Ed Richards. Next Friday Night, at

(04:05:54):
the same time, the National Broadcasting Company will bring you
the eighth in the series of stories of the supernatural
and the Unusual created for you by Scott Bishop. Listen
for the weird and Hodding. The Curse of the Neanderthal,
the story of a grave forty thousand years old and

(04:06:14):
the awesome secret that it contained. Dark Pantasy originates each
Friday night in the studios of wk.

Speaker 8 (04:06:22):
Y, Oklahoma.

Speaker 97 (04:06:23):
Sateday Tom Paxton speaking, this is the National Broadcasting Company,
with the approach.

Speaker 101 (04:06:28):
Of Valentine's Day. I want to tell you with special
story showing the lengths that lovers will go to keep
in touch. In the words of Ambrose Bierst, the telephone
is an invention of the devil, which abrogates some of
the advantages of making a disagreeable person keep his distance.
But occasionally the telephone can offer quite literally a lifeline.

Speaker 8 (04:06:53):
Two seven one one eight.

Speaker 102 (04:07:03):
You are about to be connected to Lifeline. Lifeline is
a premium rate shared line conversation and information exchange. All
calls and conversations are closely monitored. Names are not allowed.
Home addresses are not allowed. The exchange of personal telephone
numbers is not allowed. Any infringement of these simple rules

(04:07:25):
will result in immediate disconnection. Lifeline is for telephone discussion only,
and direct contact between subscribers is not allowed.

Speaker 12 (04:07:33):
You may accept these conditions.

Speaker 102 (04:07:34):
By touching the numbers five and nine on your telephone keypad.
You are now connected to Lifeline.

Speaker 68 (04:07:49):
Anybody want to be the worst thing I ever saw?

Speaker 103 (04:07:53):
Only it's two o'clock in the morning, and I don't
know if it's the kind of thing we ought to
be talking about.

Speaker 68 (04:07:57):
Why don't you just tell us and then we can
hear from somebody else.

Speaker 78 (04:08:00):
Yeah?

Speaker 8 (04:08:00):
Right.

Speaker 103 (04:08:01):
I was fourteen. I was at school and we were
having a biology lesson. The teacher brought out this frog.
I'm sure it was alive.

Speaker 8 (04:08:08):
He did something to it.

Speaker 103 (04:08:09):
I couldn't quite see what it was, but then he
just pulled and the whole thing turned inside out like
a glove.

Speaker 68 (04:08:15):
Oh it was horrible.

Speaker 19 (04:08:17):
I still get nightmares.

Speaker 28 (04:08:18):
About it.

Speaker 68 (04:08:20):
Anywhere else.

Speaker 93 (04:08:23):
I'll keep having this dream, Abias, rude, keep it to yourself.

Speaker 8 (04:08:28):
Then, oh God, listen to them.

Speaker 4 (04:08:30):
Where is she?

Speaker 99 (04:08:32):
I had a dream once I was walking towards this car.
I knew there was a bomb inside, but I couldn't
stop myself. When I was about ten feet away, the
bomb went off. The whole world went white, and I
could feel this hot wind or she know for me,

(04:08:52):
and I knew it was taking my skin away and
that I was going to die.

Speaker 8 (04:08:55):
It must have been terrible. Sorry, I said, that must
have been terrible. What you know?

Speaker 99 (04:09:03):
I think it was probably the most beautiful thing I
ever saw in my life.

Speaker 86 (04:09:11):
One cappuccino Acino who asked for Froppie coffee call it.

Speaker 8 (04:09:16):
I need for all day breakfast.

Speaker 21 (04:09:18):
I need them now.

Speaker 8 (04:09:19):
Callin to Ryan.

Speaker 68 (04:09:20):
Oh well, that takes presidents, doesn't he.

Speaker 8 (04:09:23):
I'm for coffee, Love, it's coming.

Speaker 68 (04:09:25):
I'm getting you in trouble again.

Speaker 2 (04:09:26):
I'm always in trouble. Ryan is Tempe. Just make that
phone call. Yeah, I don't suppose there's any chance of
getting something on the sligher.

Speaker 8 (04:09:35):
I've got no food.

Speaker 68 (04:09:36):
A tour on the well.

Speaker 2 (04:09:37):
Susan goes on a break in half an hour, I'll
get you something. Myces out of the way.

Speaker 8 (04:09:41):
I'll pay you on fixed.

Speaker 2 (04:09:41):
Yeah that's what the fins to Melo told me.

Speaker 8 (04:09:43):
My most breakfast ready, Yeah, just coming up.

Speaker 2 (04:09:46):
Give us a chance, could have he advertising department police.
I want a place now to sell a car. What's
he doing now trying to sell his car?

Speaker 21 (04:10:00):
I didn't know he had a car.

Speaker 2 (04:10:01):
One hasn't moved in three years. It's probably said to
appear on the next ordinance survey map.

Speaker 21 (04:10:04):
You've given him the money for that call, don't you
lose change?

Speaker 86 (04:10:07):
So this is a man who walked two hours from
home just so that he can scround a tenpenny piece.

Speaker 8 (04:10:11):
No one's that hard out.

Speaker 2 (04:10:12):
I'd rather think he is. He's a loser calling and
nobody's my oldest friend of mem answer.

Speaker 68 (04:10:17):
Doesn't like much an artist, and I do these days.

Speaker 2 (04:10:19):
I suppose it's only a greasy calf field of an
artistic statement.

Speaker 21 (04:10:22):
Well, at least you can hold.

Speaker 22 (04:10:23):
Your head up.

Speaker 8 (04:10:23):
Yeah, you're such a muggle.

Speaker 86 (04:10:27):
There's not a straight dug in town hasn't memorized your
addressing case of emergency.

Speaker 104 (04:10:32):
And if you're gonna feed him, at least make him
wait until it's quieter. All right, yeah, yeah, all right, yeah,
there'd like to be a couple in a minute, just
working on the chips.

Speaker 8 (04:10:41):
What was she saying, if I've got to lead?

Speaker 68 (04:10:43):
No, No, you're right, Colin.

Speaker 8 (04:10:45):
What there's business going? All right?

Speaker 2 (04:10:48):
Why you've got there two hundred quid? You could lend
us owner, Like Colin, you can get sick of having
corn floats for three meals a day. I'll tell you something, Ryan,
if you need to undred quid for a phone, believe
we better off in the don't taken away. The bill
hasn't actually arrived yet. It probably more war Who have
you been calling everyone in Brisbane?

Speaker 10 (04:11:05):
No?

Speaker 2 (04:11:06):
No, it's a bit more complicated than that. Did you
ever hear tell of an outfit called Lifeline?

Speaker 68 (04:11:13):
Isn't that the one where you're in veiled if you
get pregnant?

Speaker 8 (04:11:15):
No, it's not like that.

Speaker 68 (04:11:17):
It's like all different people ring in and talk to
each other.

Speaker 8 (04:11:21):
I mean, oh a chat line?

Speaker 2 (04:11:23):
Are they stillegal?

Speaker 8 (04:11:24):
I don't know.

Speaker 2 (04:11:24):
It's something deeper than there. They never advertised, but the
right calls just seem to find their way on.

Speaker 8 (04:11:30):
You wouldn't believe it, but.

Speaker 11 (04:11:30):
They do, Ryan.

Speaker 2 (04:11:31):
Those things run on premium rates. They cast a bomb. Yeah,
when they're wonder's so scared of getting the bill. The
only thing I'm scared of that they'll cut off the
phone when I can't pay.

Speaker 68 (04:11:40):
They'll be doing you a favor. I know you may
get lonely sometimes, but that's no answer. So what if
they cut me off on Belinda tries to call?

Speaker 8 (04:11:49):
What do you mean?

Speaker 68 (04:11:50):
She calls the old number? Sorry, no reply?

Speaker 8 (04:11:51):
What you going to think? No, I know what you're thinking.
But I've heard her Colin on lifeline.

Speaker 2 (04:11:58):
You heard somebody like her.

Speaker 68 (04:11:59):
There is nobody like her. They never try to tell
me that. I don't know her voice. She's out there
and she's lonely too, and I know she's trying to
get back in.

Speaker 8 (04:12:07):
Tryan.

Speaker 2 (04:12:07):
Belinda's dead.

Speaker 8 (04:12:09):
She's dead. Well, I didn't expect you to understand.

Speaker 68 (04:12:14):
Well, what's to understand?

Speaker 2 (04:12:15):
She's dead, she died. She's not going to be giving
you a call. Come to the flat and I'll prove
it to you. Prove what's the proof?

Speaker 22 (04:12:23):
So that's it?

Speaker 8 (04:12:23):
Is it?

Speaker 68 (04:12:24):
You're right and I'm wrong, And never mind the evidence.
Come to the flat, right.

Speaker 2 (04:12:32):
Where's all the furniture sold it?

Speaker 8 (04:12:34):
This is a furnished flat.

Speaker 29 (04:12:37):
None of it was yours the self.

Speaker 68 (04:12:38):
You want to replace it when I can, land Lord
won't know when you can.

Speaker 2 (04:12:41):
Ryan, I found you three jobs to the people who
come in the cab, all regulars. They will give me
a personal favor. And even told one of those jobs
down more than six weeks. I mean you and night
watch her on a pile of topsail.

Speaker 29 (04:12:51):
How simple can a job be?

Speaker 93 (04:12:52):
But they're still looking for it.

Speaker 8 (04:12:53):
Colin, shut up.

Speaker 68 (04:12:54):
There's not a thing wrong with me.

Speaker 12 (04:12:56):
Nothing wrong.

Speaker 22 (04:12:57):
You have an empty flat.

Speaker 2 (04:12:59):
You have no car, but you have no furnit chats
to do well. You have one table for the telephone
and one chair to sit. This is an answering machine
in case blinder calls. It does more than just take messages.
It can record anything on the line. That's why I
chose it. How much the sofa? Oh, and one of
the wardrobe, one of the water.

Speaker 68 (04:13:15):
There's junk shop pro deustraight exchange. It looks ancient, but
it does work.

Speaker 22 (04:13:19):
I don't know what to do with you.

Speaker 68 (04:13:23):
I heard her last night.

Speaker 2 (04:13:25):
You're making it worse.

Speaker 68 (04:13:26):
Sit down, Colin, listen and then you can judge me.

Speaker 79 (04:13:33):
How long have you been spending on this chat line
or three four hours a night, I've typed over my
entire led Zeppelin connection.

Speaker 2 (04:13:39):
That's the first scene action you've told me about since
I've been here four hours a night.

Speaker 68 (04:13:43):
I know sometimes I call the no one answers.

Speaker 105 (04:13:47):
You've gone wait until about two in the morning before
it starts to mean anything.

Speaker 68 (04:13:51):
Why, Well, that's the time when people start to open up.
You don't get so many time wasters.

Speaker 8 (04:13:56):
Then.

Speaker 68 (04:13:59):
I was sure that i'd her a few times before,
but she never said much, and I was scared to
join in.

Speaker 8 (04:14:03):
But yeah, listen to this.

Speaker 99 (04:14:07):
And I could feel this hot wind, what you know,
for me, and I knew it was taking my skin
away and that I was going to die.

Speaker 8 (04:14:15):
That must have been terrible, I said, that must have
been terrible.

Speaker 18 (04:14:21):
What you know?

Speaker 99 (04:14:23):
I think it was probably the most beautiful thing I
ever saw in my life.

Speaker 19 (04:14:28):
Do you want to hear mine?

Speaker 8 (04:14:30):
Yes, my three mappins on a cliff. I'm standing on
the edge and I'm looking out.

Speaker 99 (04:14:39):
To see and it's night and all I can see
these distant lights somewhere across the water.

Speaker 12 (04:14:47):
I keep thinking they're the lights of home.

Speaker 93 (04:14:50):
And all I had to do is take one step
out and I'll be there.

Speaker 8 (04:14:56):
One step all.

Speaker 68 (04:14:59):
It takes the nerve to do it.

Speaker 8 (04:15:03):
And do you know.

Speaker 68 (04:15:06):
In the dream do you take the steps?

Speaker 106 (04:15:11):
I can never remember.

Speaker 68 (04:15:15):
They have these rules, no full names, no trying to
set anything up, but it is what they do if
you try.

Speaker 93 (04:15:22):
I can see the sun coming up.

Speaker 27 (04:15:25):
Is anyone else still there?

Speaker 26 (04:15:27):
Only me?

Speaker 12 (04:15:28):
I think the others have gone.

Speaker 93 (04:15:31):
I've got a confession to make. I was waiting for this,
so was I.

Speaker 19 (04:15:39):
Belinda.

Speaker 8 (04:15:40):
Why don't they?

Speaker 102 (04:15:42):
Addresses are not allowed.

Speaker 68 (04:15:44):
They just cut you off.

Speaker 8 (04:15:47):
But it was, wasn't it.

Speaker 102 (04:15:51):
Lifeline is for telephone discussion only, and direct contact between
subscribers is not allowed.

Speaker 107 (04:15:58):
The other person has cleared, the other person has cleared.
The other person has cleared. The other person has cleared,
the other person.

Speaker 21 (04:16:09):
Has how's the window just keeping you awake?

Speaker 8 (04:16:19):
He's not the noise.

Speaker 103 (04:16:21):
It's Ryan.

Speaker 21 (04:16:23):
Don't keep secrets from me, Colin, you'll know good it is.

Speaker 2 (04:16:27):
He thinks Belinda's trying to get in touch with him.

Speaker 21 (04:16:29):
Who's Belinda?

Speaker 8 (04:16:30):
Before your time? She died?

Speaker 21 (04:16:34):
Oh, I don't know about her.

Speaker 2 (04:16:36):
Now he's heard someone on this chat line thing.

Speaker 8 (04:16:39):
I don't know it.

Speaker 2 (04:16:41):
You can't blame him. She did sound like Belinda, I
keep thinking about some of the things this woman said, haven't.
I know it's only a coincidence, But if I can't
get it out of my mind, what must it be
like for him?

Speaker 8 (04:16:54):
Who is she like?

Speaker 2 (04:16:56):
She was just this plain girl. I don't know that
when it's so deep. Suppose they were touchy and they
were insecure, they were like a couple of fifteen year olds.

Speaker 8 (04:17:07):
What happened to her?

Speaker 2 (04:17:08):
Well, they had a big row and she took a
train to the coast. They found her all smashed up.

Speaker 8 (04:17:14):
At the foot of a cliff.

Speaker 21 (04:17:16):
Oh god.

Speaker 2 (04:17:17):
Post Morton said she was pregnant. Her family wouldn't let
Ryan anywhere near the funeral.

Speaker 8 (04:17:22):
Well, you can't really blame them, I know.

Speaker 2 (04:17:26):
I think it's because of that. He's never been able
to accept that she's really dead. He said that the
row was about nothing. Everyone, as seems, was about the baby.
But he says he didn't even know. Do you want
to know what you started me thinking about? I always
do whenever I think about the two of them stray dogs,

(04:17:46):
I reckon there's no dog more devoted than astray from
the dog's home because they know just how lucky they are. Well,
that's how Ryan and Belinda were with each other. I
don't think you'll ever get over it. I think that's
why you'll always be.

Speaker 8 (04:18:01):
The way he is.

Speaker 2 (04:18:07):
If you ever died and there was a way, would
you try to come back to me?

Speaker 12 (04:18:15):
How much would you want me to.

Speaker 102 (04:18:18):
Lifeline is for telephone discussion only, and direct contact between
subscribers is not allowed. You may accept these conditions by
touching the numbers five and nine.

Speaker 12 (04:18:28):
On your telephone key head. You are now connected to Lifeline.

Speaker 68 (04:18:34):
Is there anybody there? I know it's late, huh. I
know some of you just listen sometimes. I know because
I've done it myself.

Speaker 105 (04:18:46):
So I'll just carry on for a while, and if
there is anyone there who wants to join in, or
if you're out there and you don't work, that's fine
as well.

Speaker 2 (04:18:57):
It's not easy to talk spiss talk about things that matter.
I don't know why they make it so afraid, but
perhaps we just don't like to make fools of ourselves.

Speaker 68 (04:19:08):
But you think that when it was important when somehow.

Speaker 105 (04:19:14):
Yeah, there never works out that way, does it. He
always realized too late. I learned something too late. I
learned that everything you love you lose it in the end,
and the end always comes lots sooner than you'd think.
But now I'm starting to wonder are they second chances

(04:19:35):
after all?

Speaker 8 (04:19:37):
Or is that just a dream? Does anyone know anyone?

Speaker 106 (04:19:51):
Oh?

Speaker 10 (04:19:51):
Yeah?

Speaker 29 (04:19:53):
Question seven?

Speaker 10 (04:19:58):
Do you know?

Speaker 8 (04:19:58):
Darling?

Speaker 22 (04:20:05):
You met?

Speaker 37 (04:20:06):
You're early?

Speaker 8 (04:20:07):
I haven't slept, haven't been at the place.

Speaker 2 (04:20:09):
God, you're a terrible thanks. I wonder why anybody come in?

Speaker 8 (04:20:15):
You know? It was her, don't you?

Speaker 2 (04:20:16):
It couldn't be right, and you could They could have
found a body, anybody on the beach and stuck and
name might I never really know? Even you don't believe
that your brother did the identification.

Speaker 8 (04:20:25):
The manta told him that a plank given.

Speaker 68 (04:20:26):
A plank wouldn't mistake his own sister. It was her
on the line, though, wasn't it.

Speaker 8 (04:20:35):
What are you doing in some early?

Speaker 9 (04:20:36):
Anyway?

Speaker 10 (04:20:37):
This?

Speaker 68 (04:20:40):
The phone built the first post?

Speaker 8 (04:20:41):
Read it?

Speaker 2 (04:20:42):
What they itemize everything these days?

Speaker 8 (04:20:44):
What do you say?

Speaker 68 (04:20:46):
What did the rental test units?

Speaker 29 (04:20:48):
The eighty?

Speaker 8 (04:20:49):
Yeah?

Speaker 2 (04:20:49):
Look at its twelve units? Only twelve? You said you'd
made hundreds of premium rate calls. That's got to be wrong,
guess is?

Speaker 8 (04:20:56):
Don't you see?

Speaker 2 (04:20:57):
I only used the phone for calling lifeline. I haven't
called anyone else in ages. I even placed the newspaper
on from here.

Speaker 68 (04:21:05):
It's a mistake, Ryan, that's all it is. I don't know.
I think it's got some kind of significance, like what.

Speaker 8 (04:21:11):
I don't know.

Speaker 2 (04:21:11):
They'll catch up with you on the next one. It's
it's not something you're gonna.

Speaker 68 (04:21:14):
Get away with. You're missing the point, Callie.

Speaker 2 (04:21:16):
There is no point.

Speaker 11 (04:21:17):
Ryan.

Speaker 2 (04:21:19):
Something got stuck in the works and you've got a
breathing space. Don't try reading anything into that.

Speaker 8 (04:21:23):
You're scared.

Speaker 68 (04:21:24):
End of conversations, and I'm going to be scared about Colin.

Speaker 22 (04:21:28):
I'm not locked up.

Speaker 2 (04:21:30):
Yeah, I have a notice in the window for the
pie man. You know, when I was a kid, one
of my friends used to live over a fish and
chip shop, Chippy Thompson. So everybody called him his house
or was smelled of it, and so did he. When
I can't bear, I can't smell a.

Speaker 68 (04:21:48):
Thing, it's probably there, you just don't notice it.

Speaker 2 (04:21:51):
Chippy Thompson didn't either.

Speaker 104 (04:21:53):
What's the point you're trying to make there?

Speaker 68 (04:21:56):
I sit down.

Speaker 21 (04:21:58):
Now, either speaker or shut up.

Speaker 86 (04:22:00):
I've had a hard day and I'm not going to
waste time trying to fish for what you.

Speaker 12 (04:22:03):
Want me to find?

Speaker 2 (04:22:04):
Well, look at me, miss out of the dream I had?

Speaker 10 (04:22:07):
Is it?

Speaker 8 (04:22:08):
Ah?

Speaker 12 (04:22:08):
Do you think this is mine?

Speaker 68 (04:22:09):
I'm not trying to start a competition, so well.

Speaker 21 (04:22:11):
I'm sorry, but we've been here before.

Speaker 86 (04:22:13):
You get the mopes and you start in on all
the things you could have done and should have done.

Speaker 104 (04:22:17):
Get that magazine out, Colin, the one the art school sends.

Speaker 86 (04:22:20):
You every year with all that stuff about where are
they now? Most of them are just like you, and
a lot of them can't hold their heads up as high.
But all you can see are the four millionaires, four
out of how many? One of them's already dying.

Speaker 2 (04:22:34):
How am I supposed to answer that?

Speaker 8 (04:22:35):
Oh?

Speaker 21 (04:22:35):
It's that bloody Ryan, isn't it.

Speaker 104 (04:22:37):
I don't know how or why, but I'm sure it's
down to him.

Speaker 2 (04:22:40):
It's not Ryan, it's just me.

Speaker 104 (04:22:43):
Look, I know he's your friend, and I'm very sorry
and all that. I don't want to see him around
here again. If you want to meet him, go off
somewhere and I won't even ask. But I don't want
any more of his misery in my life.

Speaker 21 (04:22:58):
I've got enough to coat with it.

Speaker 8 (04:22:59):
It is, do you know right now?

Speaker 2 (04:23:02):
I think is the happiest man. I know I could
get through before. Why can't I get through now?

Speaker 103 (04:23:07):
I've been checking with the engineer caller and he says
the same, meaning, what exactly the number that you've given
me isn't one that will connect you to any of
our exchanges.

Speaker 79 (04:23:14):
I've dialed it, I've dialed it loads of times, but
suddenly nothing's happening, and I don't know why.

Speaker 103 (04:23:18):
All I can say is that perhaps you've made a
mistake in noting it down. If I've valid for any line.

Speaker 68 (04:23:23):
On the system, that lifeline is called lifeline.

Speaker 103 (04:23:27):
Could you perhaps be thinking of a Samaritan?

Speaker 22 (04:23:29):
No?

Speaker 68 (04:23:29):
Look, look, I've called it every night. I've spent hours
on it. I know the number off by heart, and
you're trying to tell me it doesn't exist.

Speaker 103 (04:23:35):
I can only suggest you try directory inquiry.

Speaker 68 (04:23:37):
I tried them first.

Speaker 8 (04:23:38):
They send me to you.

Speaker 79 (04:23:39):
Look, I've been phoning this number. I've been getting through.
It's a premium rate line. You must have some way
of keeping track of them.

Speaker 103 (04:23:46):
I could put you onto telephone accounts for It depends
on your local exchange, but they should be able to
provide you with an itemized breakdown of your bill. That
way you may be able to see what number it
was that you were actually dialing whenever you were getting connected. Coler,
my bill, Oh it doesn't like it used to be
these days. If it's on your bill, I can track
it down my.

Speaker 8 (04:24:09):
Yeah, thanks, Shall I put you through? No, not right now?
No things. I must be mad off my rocker. I've
always had my doubts about it.

Speaker 2 (04:24:17):
I should be home in there with Susan instead of
tramping the streets, in the poor and rain, peering in
the phone box.

Speaker 68 (04:24:21):
And I didn't ask it to come, Colin.

Speaker 8 (04:24:22):
All I asked you for was a lender your church.

Speaker 68 (04:24:25):
Just shine it around your life.

Speaker 2 (04:24:27):
The stickers more human lives here last the blonde bombshell,
French minstress, vigers and chains shaven haven. I can remember
a time when the boldest thing you could ever hope
to see was the corse of free section in Ranta's fashion, Cataline.
You're getting all collings starting to feel it. Have you
found anything shot it down here? Why should Lifeline onto

(04:24:49):
advertise in a place like this.

Speaker 68 (04:24:51):
Because because of the law, I've seen a herd of
anywhere else.

Speaker 2 (04:24:54):
What were you doing studying all the cool girls?

Speaker 8 (04:24:57):
Please don't ask me that Colin.

Speaker 68 (04:25:00):
Sorry, it's here where it.

Speaker 2 (04:25:05):
Looks dead in this orange label stuck to the glass
there lost low.

Speaker 68 (04:25:09):
Now call lifeline.

Speaker 8 (04:25:12):
It is the same number.

Speaker 68 (04:25:14):
He's the one I've been dying.

Speaker 8 (04:25:15):
I knew I hadn't made a mistake.

Speaker 2 (04:25:17):
So this is the number where you used to be
able to get through, but now you can't exactly when
did you stop being able to get connected? It was
just after, just after you broke the so called rules
and spoke to her by name.

Speaker 8 (04:25:31):
Perhaps it's not the number that's the problem.

Speaker 2 (04:25:33):
Whether the telephone people say, perhaps it's me I broke
the rules and so they're frozen me out.

Speaker 68 (04:25:40):
How can they do that?

Speaker 2 (04:25:42):
How would they know?

Speaker 8 (04:25:42):
No idea.

Speaker 2 (04:25:44):
I really think you should give it up, Brian.

Speaker 68 (04:25:46):
Could you, I mean, if you were me, could you
come so far and then give up?

Speaker 2 (04:25:51):
She's still dead, Ryan, whether you've been talking to Belinda's
still dead.

Speaker 8 (04:25:58):
I don't care you wring them for me?

Speaker 10 (04:26:00):
For me?

Speaker 2 (04:26:01):
Now help this, Ryan, please before it goes too far.

Speaker 8 (04:26:08):
I'm gonna find her. I know she wants me to.

Speaker 68 (04:26:10):
I'm gonna have something that most people want.

Speaker 8 (04:26:12):
And almost no one ever gets. I'm gonna have a
second chance.

Speaker 102 (04:26:20):
You are about to be connected to Lifeline.

Speaker 8 (04:26:22):
It's Lifeline Life.

Speaker 68 (04:26:27):
Public and I'm not even going to say anything, so
I'll never have a way of hang it's me.

Speaker 2 (04:26:38):
I'm sorry, Ryan.

Speaker 8 (04:26:41):
There's got to be something I can do to get
back in. There's gotta be something. This is brilliant.

Speaker 2 (04:26:48):
What is I've heard this record many things. Brilliant's never been.

Speaker 11 (04:26:52):
One of them.

Speaker 68 (04:26:53):
Next left, there's two phone boos, don't.

Speaker 2 (04:26:57):
I can't see anyone turning out in this.

Speaker 103 (04:26:59):
Someone's going to be out there tonight putting the stickers
in the boxes.

Speaker 68 (04:27:03):
We just have to find out who. Why is it?

Speaker 2 (04:27:05):
We've been driving around for two hours. We've covered just
about every public phone in the middle of town. Would
have seen them by now, who's that? It's just someone
making a call. I suppose you find this life that outfit.
It's probably a few thousand quidsworth of gear and a
chromic back room somewhere, a few machines and somebody reading
a newspaper. All these voices telling their hard luck stories

(04:27:26):
to each other way off into the night. How does
that get you any closer to Belinda.

Speaker 8 (04:27:31):
They've got to help me find her. I'll make them
help me.

Speaker 2 (04:27:35):
For all you know they could be anywhere, some other
town or right down the other end of the country.

Speaker 68 (04:27:40):
That guy there with the shoulder back, he's going into
that phone box. He's probably gonna ring for a text
on the van.

Speaker 2 (04:27:46):
I can't stop here, Ryan, What the hell do you
think you're doing.

Speaker 8 (04:27:51):
I'll be back as quick as I can.

Speaker 19 (04:27:52):
Right, I can't wait here, all right.

Speaker 68 (04:27:58):
All right, I'm moving out of the way.

Speaker 29 (04:28:02):
I want to get your head examine.

Speaker 2 (04:28:05):
No one ever said a truer word, mate, Ryan. Come on, Colin, Colin,
come on, Ryan, get in.

Speaker 22 (04:28:16):
Let's go.

Speaker 2 (04:28:16):
No, not yet, I said Gelin.

Speaker 8 (04:28:20):
He knows where they are.

Speaker 68 (04:28:21):
He said, to give me an address for twenty quid.
So I haven't got it. If you sold your car,
how would you please, Colin.

Speaker 108 (04:28:30):
I'll never ask you for anything else after this, I promise.
I'm not even going to pretend I can pay you back.
I'll just stay out of your life for good, Colin, Please,
he won't wait.

Speaker 2 (04:28:48):
Some offers are just too good to be refused.

Speaker 8 (04:28:54):
This can't be right. If it is, I can feel it.

Speaker 2 (04:28:58):
We're only half a mile from home, isn't it amazing?

Speaker 8 (04:29:02):
Man?

Speaker 2 (04:29:03):
That's a row of derelict buildings over there. I'd I said,
you've been taking for a four. That wasn't for the
fact you did it with my money.

Speaker 8 (04:29:09):
I have a little faith, Colin.

Speaker 2 (04:29:11):
You're not going over there.

Speaker 8 (04:29:13):
You don't have to wait for me.

Speaker 2 (04:29:14):
There's nothing to see. No one's lived in the street
for years. I'm going to find Blina on the demolition side.
The world is full of wonder's Colin, or will you
expect them least.

Speaker 68 (04:29:29):
Two minutes.

Speaker 2 (04:29:30):
You'll be back here within two minutes.

Speaker 8 (04:29:34):
You've been a good friend to me, Colin. Thanks two minutes.

Speaker 2 (04:29:50):
Col Sorry, I came in as quietly as I call
it the min wake you up.

Speaker 104 (04:29:56):
I couldn't get to sleep anyway. There were police cars
and all sorts getting past at about one o'clock. It's
been like Piccadilly's circus out there.

Speaker 2 (04:30:04):
Somebody got hurt on the railway line.

Speaker 11 (04:30:06):
Oh it was Ryan.

Speaker 8 (04:30:09):
Ryan? Is he badly hurts?

Speaker 2 (04:30:13):
There was somebody he wanted to go, so I took
him there. It was all tied him with Belinda. Is
it too complicated to explain?

Speaker 8 (04:30:20):
The dress?

Speaker 2 (04:30:20):
Was that row volt cottage is down by the railways.
It's just a row of shells with a roof on top.
There'sn't even any back with them. But he insisted on
going in when I waited, but he didn't come back,
so I went to look. One of the doors was open,
and that was when I realized there was nothing on
the other side of the front wall. I was just
looking down this embankment full of rubble to the railway lines.

(04:30:41):
Ryan was down there on the tracks on What was
he doing waiting? I shouted to him and didn't hear me.
Couldn't hear me because there was a train coming. I
couldn't see it because of the darkness under the bridge,
but I could hear it. Ryan knew it was coming.
He was facing on the track and into the dark.

(04:31:02):
It was the train he was waiting for. He was
standing there and he kind of set himself ready, made
his hands into fists, and he kind of leaned forward,
like a box or or a runner waiting for the
starting gun. I tried to move, it was a waste
of time. Train lights were already coming around the bend.
He was standing there between the tracks, and I could

(04:31:23):
see the train under the bridge, and then the driver
saw him and put on the brakes, but it was
too late to make any difference. I could see the
wind blowing his hair back. As the train came on,
he closed his eyes. It was as if he was
feeling I don't know.

Speaker 8 (04:31:39):
Bliss.

Speaker 21 (04:31:42):
What happened?

Speaker 2 (04:31:44):
He was there, he was gone, like a burst in balloon.
The train was going at full speed. I called the police.
They brought search lights and stuff. I couldn't stay to watch.
I think I'd just like to stay here for a while.

Speaker 8 (04:32:02):
Is that all right?

Speaker 10 (04:32:03):
No?

Speaker 104 (04:32:04):
Come up stairs?

Speaker 2 (04:32:04):
Honestly, it's what I want.

Speaker 8 (04:32:06):
You mustn't.

Speaker 104 (04:32:07):
You've had a terrible shot Colin sitting here with the
lights house isn't right?

Speaker 2 (04:32:12):
Then I'll come up. I promise there's someone I.

Speaker 9 (04:32:15):
Want to call.

Speaker 102 (04:32:17):
These simple rules will result in immediate disconnection. Lifeline is
for telephone discussion only, and direct contact between subscribers is
not allowed. You may accept these conditions by touching the
numbers five and nine on your telephone keypad.

Speaker 8 (04:32:33):
Five.

Speaker 12 (04:32:35):
You are now connected to Lifeline.

Speaker 22 (04:32:42):
Hello.

Speaker 12 (04:32:44):
Yes, someone has just joined us. No names.

Speaker 21 (04:32:46):
Remember we're talking about dreams again.

Speaker 12 (04:32:50):
Do you have some particular dream that you'd like.

Speaker 93 (04:32:52):
To tell us about?

Speaker 2 (04:32:54):
I don't know, not right now. I think I'd rather
hear from someone else.

Speaker 8 (04:33:00):
Near one man.

Speaker 2 (04:33:04):
Does anybody ever have a dream about dying.

Speaker 8 (04:33:09):
Everybody hear dreams about dying.

Speaker 68 (04:33:13):
Hire one of those dreams.

Speaker 8 (04:33:14):
Once when was this? I don't know.

Speaker 93 (04:33:19):
It's not to be sure, it's not to be certain
of anything.

Speaker 2 (04:33:23):
I think I'd like to hear it.

Speaker 93 (04:33:25):
I was standing on a railway line and a train
was coming towards me.

Speaker 79 (04:33:30):
I just had to stand there. As his lights got
bigger and bigger. I could hear the breaks, but they
made no difference. He came up so fast that it
filled the world from one side.

Speaker 8 (04:33:43):
To the other.

Speaker 2 (04:33:44):
That must have been terrible.

Speaker 68 (04:33:46):
Was the most beautiful thing I ever saw in my life.

Speaker 20 (04:33:49):
Where are you?

Speaker 4 (04:33:50):
Ryan?

Speaker 102 (04:33:51):
Names are not allowed, Home addresses are not allowed. The
exchange of personal numbers is not allowed. Any infringement of
these Immediate Disconnection Lifeline is for telephone discussion only, and
direct contact between subscribers is not allowed.

Speaker 107 (04:34:08):
The other person has cleared, The other person has cleared.
The other person has cleared, the other person has cleared, And.

Speaker 101 (04:34:18):
In that moment, have you ever failed to believe, with
a passionate certainty that there would be an answer. Perhaps
you're looking at the phone right now, Perhaps you're considering that.
Let me give you a warning. To make the call
is to break the spell. We can't quite believe in death.
That's our eternal problem. But oh how we long to

(04:34:39):
believe the dead can communicate. Nicholas Merchip played Ryan, Jonathan Taffler,
Colin Maya, Leslie, Susan Federrat Holmes, Belinda and Windsor the
Lifeline operator, Matthew Morgan, the telephone engineer, Melinda Walker, Kate Binschey,
and Julian Ryan tut The voices. Lifeline was written by

(04:35:04):
Stephen Gallagher and directed by Martin Jenkins. This is Edward
de Sousa, the Man in Black, signing off until the
next time we meet for another series of Fear on four.

Speaker 5 (04:35:26):
Another five minutes.

Speaker 39 (04:35:27):
Mystery.

Speaker 16 (04:36:04):
Mmddy daddy got a hold my arm?

Speaker 74 (04:36:08):
Still bullseye, Sergeant.

Speaker 16 (04:36:12):
Yeah, it's the mighty fine revolver you have here, Captain.

Speaker 74 (04:36:15):
I picked it up for a song and a pawn
shop yesterday.

Speaker 16 (04:36:17):
Here, load her up and let's see your aim.

Speaker 74 (04:36:20):
It's really a sweet jab.

Speaker 109 (04:36:22):
It is a nice gun, Captain. Only trouble is I'm lazy.
I don't like a revolver. You have to go to
all the trouble of picking the U shells out and
reloading personally, give me an automatic, slip a clip in
and Captain Jenkins.

Speaker 4 (04:36:36):
You're wanted upstairs immediately.

Speaker 5 (04:36:38):
A report has just come in over the radio of
a shooting on the west side.

Speaker 16 (04:36:42):
There goes our target practice.

Speaker 74 (04:36:43):
I've come along, Sergeant. We'll drive out and see what
gives you say your husband was sitting here by the
open window when you heard the shot, Missus Williams.

Speaker 12 (04:36:54):
That's right, I was in the kitchen.

Speaker 34 (04:36:56):
I came running in just in time to see Ben
slumping down in the chair and some man running down
towards the river.

Speaker 74 (04:37:02):
There shot and take a look outside the window for
footprints right at it? Did you get a good look
at the man, Missus Williams, No, No.

Speaker 34 (04:37:08):
I didn't, Captain, he was too far away and running.

Speaker 74 (04:37:12):
Why should anyone want to kill your husband?

Speaker 34 (04:37:14):
Quite wealthy, captain, and well perhaps he's been a bit
ruthless in his business dealings, made enemies, especially among the
people in the tenements he owns.

Speaker 16 (04:37:23):
No, Captain, not a sign of a footprint.

Speaker 74 (04:37:26):
Well, I didn't expect to find any. You see, mister
Williams has powder burns on the right cheek where the
bullet entered.

Speaker 16 (04:37:31):
Well, I'll be he was a suicide.

Speaker 74 (04:37:34):
Then, Missus Williams, there's no use in your lying where's
the gun?

Speaker 44 (04:37:37):
Gun?

Speaker 17 (04:37:38):
Why?

Speaker 34 (04:37:38):
There's all right, it's in the closet of the basement stairs.

Speaker 16 (04:37:43):
But I only thought get it.

Speaker 12 (04:37:44):
I didn't mean to do anything.

Speaker 10 (04:37:45):
Wrong, Captain.

Speaker 74 (04:37:46):
It's only I think I understand.

Speaker 110 (04:37:47):
I didn't want any publicity to get out that Ben
had committed suicide.

Speaker 34 (04:37:52):
It wouldn't be good.

Speaker 74 (04:37:53):
Well, just what did happen?

Speaker 8 (04:37:54):
Now?

Speaker 34 (04:37:55):
When I heard the shot and came in from the kitchen,
I saw what Ben had done. The gun was still
in his right hand. I gently removed the gun and
put it in the closet. Then I made up the
story of seeing.

Speaker 12 (04:38:07):
The man running.

Speaker 74 (04:38:08):
You didn't do anything else, didn't touch the gun in
any other way, or it didn't change anything about your husband.

Speaker 109 (04:38:12):
No, here's the gun, Captain, ma all calibery barber one
cartridge missing from the chamber.

Speaker 74 (04:38:18):
Where's the missing cartridge, Missus Williams.

Speaker 34 (04:38:20):
I threw it into the scenes. It was lying on
the floor. Then hands, Oh, I've.

Speaker 31 (04:38:26):
Made such a blunderous thing.

Speaker 74 (04:38:29):
I'll say you have, Missus Williams, You've blunted yourself right
into a murder.

Speaker 18 (04:38:32):
Charge in just a moment.

Speaker 111 (04:38:36):
We shall return for the solution to our mystery in
the meantime, and now back to our stories.

Speaker 74 (04:39:27):
Yes, missus Williams, you blooded on every move, but especially
when you stated you would pick the cartridges off the
floor from under Ben's hand. You couldn't have picked the
cartridges off the floor, as a revolver doesn't eject its cartridges.
If your husband had committed suicide, he couldn't have removed it,
But you did and threw it in the firstest part
of the plan. I wonder what story you'll cook up
for the jury.

Speaker 58 (04:40:20):
Audrey and Jill were college students. The summer before their
junior year, the girls had decided to rent a cottage
together on a secluded island. A number of their friends
from college were doing the same. They found an adorable
little cottage nestled in a wooden area. Each cottage had
a sign over the door. Their sign read Comfort Cottage.

(04:40:43):
They got themselves waitress jobs at a local inn and
spent the rest of their time partying and relaxing on
the beach. Audrey's motive for escape was not as simple
as Jill's. Audrey and her boyfriend aj had decided to
call it quits. Audrey did everything she could her mind
of a Jane, but it was hopeless. She was still

(04:41:03):
in love. Apparently aj felt the same way. He called
Audrey and asked her if he could come onto the
island for the weekend. He had gone home for the summer,
but would fly into the city if she would come
meet him and escort him back to the island. Audrey agreed.
As Audrey was packing, Jill returned to the house with
a dreadful sunburn. Audrey yelled in shock as she saw

(04:41:26):
Jill's red blistered body walking painfully up the wooden stairs
at the cottage. She rushed to help Jill lie in
the bed. Jill seemed to relieve just to be off
her feet. As Audrey applied the ointment over Jill's burnt body,
she told her about her phone call from a Jane.
Audrey was hesitant to leave Jill in such a state,
but Jill insisted she would be fine. She was simply

(04:41:48):
going to go to sleep. Audrey reluctantly left, assuring Jill
she would be back for a thing in the morning
to check on her. Audrey got in her car and
drove off down at road the fairy was about three
miles from their cottage, and she was already running late
to catch the last one. Half way to the fairy,
Audrey realized she had left her as no medicine back

(04:42:11):
at the house. She thought for a moment, then decided
she must go back for it. She drove as quickly
as she could through the dense fog on those rocky
cliff roads. When she got to the house, all the
lights were turned off. Not wanting to disturb Jill, she
quietly tiptoed into the house, leaving the lights off. She
made her way to the bathroom and grabbed her in

(04:42:33):
hail her in medicine. As she was leaving the house,
she stopped. She said something. She reached over to turn
on the light, but could not find the chain to pull.
A small thud sounded as she knocked over a book
from the table. Cursing to herself and whiskers. She then
paused for a moment and listened nothing. Deciding all was

(04:42:55):
well and not wanting to wake up Jill, she quietly
hurried out the door. Audrey and a j had an
incredible night together and decided they had been foolish to
break up. The next morning, Audrey insisted they catch the
six am ferry so they could get back to check
gu on Jill. Audrey was worried about jill sunburn. She

(04:43:16):
bought a bag full of ointments, a couple of fashion magazines,
Jill's favorite gent food, and headed back to the cottage.
As they got out of the car, Audrey noticed something strange.
The Comfort Cottage sign had fallen off the door and
was lying face down at the foot of the stairs.
Audrey quickly walked up the stairs.

Speaker 4 (04:43:36):
Toward the door.

Speaker 58 (04:43:38):
AJ flipped over the sign. There were bloody handprints all
over it. AJ examined it, not knowing what it was,
then realizing, he yelled to Audrey, who had already entered
the house. A blaring screech sounded from the house. AJ
ran up the stairs and threw open the screen door.
He rushed through the house to the bedroom to find

(04:43:59):
Jill slain, bloody body strewn across the bed. Her sunburned
arms were tied to the bedpost. AJ frantically ill for Audrey.
He ran into the bedroom to where Audrey was slumped
over the sink. She had just thrown up him. On
the bathroom mirror, written in blood for the words just

(04:44:20):
be glad you didn't turn on the light.

Speaker 112 (04:44:35):
Stay tuned now for adventure and excitement in the world
of the future, entertainment for the entire family, produced right
here in Kalamazoo.

Speaker 68 (04:44:55):
June Now went up page into another to mature.

Speaker 36 (04:45:02):
The journey into our realmless.

Speaker 1 (04:45:05):
Infinite and limical, says time itself our destination, the farthest
bleaches of the imagination.

Speaker 36 (04:45:22):
W m UK Special Projects presents.

Speaker 8 (04:45:27):
Future Takes.

Speaker 26 (04:45:41):
Author of Loneman by Beardore Thurdeon. My name is Jason Vaniety.
I'm a newspaper reporter thirty five years old. I write poetry,

(04:46:05):
but I don't show it to anybody because they might laugh.
And the things I write about are very important to me.
I was an only child. I never went with girls
much because I'm too ugly and too sensitive, and they
used to hurt me. I live along. It isn't much fun.
I'm not painting this picture of myself to get sympathy.

Speaker 8 (04:46:27):
I don't need it.

Speaker 26 (04:46:28):
But it's important that you should know the kind of
person I am, Otherwise you won't understand what I'm going
to tell you. It happened tonight. The thing I'm going
to tell you about tonight, the twenty fifth of June
nineteen eighty two.

Speaker 8 (04:46:46):
I was down on the beach.

Speaker 21 (04:46:50):
Hey, yeser, hey, yesther.

Speaker 8 (04:46:53):
Oh what is it, kid?

Speaker 113 (04:46:54):
You've need a cop around any play?

Speaker 26 (04:46:57):
I'm just beach.

Speaker 12 (04:46:58):
I found it quild.

Speaker 49 (04:47:00):
Close down near the rack the lady's dressing shoes.

Speaker 26 (04:47:03):
Oh did you did you see anybody?

Speaker 23 (04:47:05):
A girl?

Speaker 34 (04:47:06):
Well, I think though, but she was running along the
sand in the moonlight.

Speaker 31 (04:47:11):
I yelled to her, but she just kept running.

Speaker 8 (04:47:14):
And then I found these Oh look.

Speaker 26 (04:47:15):
Look, kid, you go try to find a cop someplace
and I'll see if I can find a girl. Okay,
I thought to myself, she's dead. I'll never find her now,
in this white flood of moonlight, with a surf seeding.

Speaker 110 (04:47:38):
In over the pale sand, I ran and ran until
my knees buckled. Me went down the swirl of it,
the sea on my lips with the taste of tears,
and the whole white night shouted and went.

Speaker 43 (04:47:53):
And then I saw her waist deep walking into the surf.
To stop stop it, come back, come on, come out,
let go, let me go.

Speaker 22 (04:48:05):
Don't do it.

Speaker 26 (04:48:06):
Please please don't.

Speaker 2 (04:48:08):
Leave me alone.

Speaker 26 (04:48:09):
I'm going to have to hit you.

Speaker 11 (04:48:11):
Forgive me.

Speaker 26 (04:48:25):
I hit her in the neck with the edge of
my hand, and she slumped over. I brought her ashore
and carried her to where the dunes between us and
the water, and then I rubbed her wrists. She had
a pale, beautiful face with ancient, bottomless blue eyes.

Speaker 114 (04:48:47):
She opened them and looked at me after a moment.
It's it's all right here. Put my coat on you.
Why couldn't you leave me alone?

Speaker 8 (04:49:00):
I couldn't.

Speaker 26 (04:49:01):
Why because it's important to you.

Speaker 49 (04:49:06):
I suppose you want to know why I did.

Speaker 26 (04:49:09):
If I told you I understand, would you believe me?

Speaker 49 (04:49:13):
How could you understand?

Speaker 26 (04:49:15):
Maybe I know what it means to be lonely. That's it,
isn't it.

Speaker 8 (04:49:24):
I don't know.

Speaker 49 (04:49:26):
I'm not terribly tired.

Speaker 26 (04:49:29):
Put your head against my arm and just stand. Don't
be afraid. I've been looking for you for a long time, looking.

Speaker 8 (04:49:40):
For me all my life.

Speaker 93 (04:49:45):
How did you know?

Speaker 49 (04:49:47):
I don't believe you?

Speaker 26 (04:49:49):
Oh it's true. I found your message, So you see,
there's there's nothing to be afraid of, not anymore.

Speaker 8 (04:50:01):
Just rested.

Speaker 26 (04:50:05):
The moonlight is terribly white.

Speaker 21 (04:50:09):
Yes, I like to rest for a while.

Speaker 26 (04:50:25):
She didn't remember it, of course, but I was one
of the reporters who had covered the story when it
first happened five years ago. I'll never forget that day.
I was working the police blodder. It was a quiet
summer afternoon when they brought her in, two big cops,
blue uniforms.

Speaker 49 (04:50:44):
Come on, now, girl, come on go, I haven't done anything.

Speaker 115 (04:50:48):
Take it easy, now, what's the trouble Connelly disturbing the peace?
Sergeant at that central park?

Speaker 8 (04:50:53):
Call, ay, this is it?

Speaker 20 (04:50:55):
I thought you radio that there was a near.

Speaker 8 (04:50:56):
Riot up there.

Speaker 26 (04:50:57):
Ah, you should have seen the place, all right, d
me of the report.

Speaker 115 (04:51:01):
Well, the fennett got up there and there was a
mob of people all surrounding this girl. See, so we
bust through and there in the middle of maybe six
hundred people, she's lying there sort of in a faint.
I asked a couple of people what the difficulty was.
They told me it's the flying saucer. The what the

(04:51:22):
flying saucer? What flying saucer? Let me finish, sergeant, what
flying saucer?

Speaker 10 (04:51:29):
I am?

Speaker 25 (04:51:30):
And then they says that this girl was standing on
the green and suddenly this saucer comes down and starts
whirling over her head like a hangelo. What is this messa,
gag it happened, it did?

Speaker 11 (04:51:43):
Huh?

Speaker 18 (04:51:44):
Well, I suppose you tell me your.

Speaker 49 (04:51:45):
I'm standing in the park and I looked up.

Speaker 8 (04:51:48):
And there it was.

Speaker 20 (04:51:49):
Describe it.

Speaker 26 (04:51:51):
It was beautiful.

Speaker 49 (04:51:53):
It was golden with a dusty finish, like an unripe
conquered grape. It made a faint sound, a cord of
two tones, and it circled over my head like some
great round hummingbird.

Speaker 15 (04:52:09):
Go on.

Speaker 113 (04:52:10):
Other people must have seen it, because they were all
looking at me and pointing. I saw one man.

Speaker 49 (04:52:16):
Cross himself, and then it came down and touched me
and spoke to me.

Speaker 20 (04:52:25):
This flying saucer spoke to you. Yes, And just what
did it say to you?

Speaker 26 (04:52:31):
I said, what did it say?

Speaker 115 (04:52:34):
I can't tell you, secret man, Yes, I see Connley,
this girl is for Bellevue. Well, sergeant, the plain fact
is that it happened just like that, And and ten
witnesses all greened.

Speaker 81 (04:52:49):
Did are you trying to tell me that there was
such a thing as this word humming bird.

Speaker 28 (04:52:53):
Of a saucer? Either?

Speaker 10 (04:52:55):
Was that?

Speaker 28 (04:52:55):
Sergeant?

Speaker 20 (04:52:56):
And just how do you know, Connelly?

Speaker 22 (04:52:58):
Whoa?

Speaker 20 (04:52:58):
We've got the.

Speaker 25 (04:52:59):
Thing out on this squad car.

Speaker 115 (04:53:00):
You want Bennett's bringing it in now see about thirty
six inches across it is and covered with strange marking.

Speaker 8 (04:53:09):
Great mother, What did you call the bomb squad?

Speaker 28 (04:53:12):
I didn't think we'll.

Speaker 29 (04:53:13):
Think of it.

Speaker 81 (04:53:13):
Man, there's maybe some kind of atomic weapon. I'll turn
it over the bulist. Never mind about the listics. Called
the FBI, tell them we've got this thing. Yeah, what
about the girl, We'll book her on disturbing the piece.
I got a feeling the government man may want to
work with her.

Speaker 20 (04:53:27):
What is it the nineties?

Speaker 26 (04:53:28):
I'd like to do a story on this for my paper.
Could I have a look at the saucer? We'd better
clear it first, or could I talk to the girl
after she's been booked? Connolly?

Speaker 62 (04:53:36):
Is the crowd still up at the park?

Speaker 25 (04:53:38):
H very likely.

Speaker 26 (04:53:40):
I'll run up there and get some eye witnesses.

Speaker 62 (04:53:42):
And I'd like to come back and talk to the
girl up at the park.

Speaker 26 (04:53:52):
They were still buzzing about it. Some said she was
a communist agitator. Some said it was a flying saucer
from Mars and she'd stepped out of it. Others said
she was a saint and it was her halo. I
took some notes for the paper and went back downtown
to talk to her, but there were a couple of agents.

Speaker 62 (04:54:11):
With her and they wouldn't let me in.

Speaker 20 (04:54:14):
Now, then, miss, you told the sergeant this saucer spoke
to you. Is that correct? I did it speak to
you in English?

Speaker 49 (04:54:22):
I don't know you did.

Speaker 20 (04:54:24):
Understand it, though?

Speaker 8 (04:54:25):
Yes?

Speaker 20 (04:54:26):
Do you speak any other languages?

Speaker 10 (04:54:28):
No?

Speaker 20 (04:54:30):
Tell me what message did you receive from this instrument?

Speaker 49 (04:54:35):
It wasn't anything, really, I suppose you tell me.

Speaker 20 (04:54:39):
I'd rather not, miss, and let me be very frank.
I'm not a policeman. I'm a security agent.

Speaker 116 (04:54:47):
That means I deal with problems that affect the security
of our country. You understand now, we've examined this flying
saucer enough to know that it is not of American manufacturer,
also possesses an extremely high radioactive count, and now that
means it was made in an area where radioactive materials
are in great abundance, such as an.

Speaker 62 (04:55:09):
Area where at them bombs are made.

Speaker 26 (04:55:13):
And that's why we want to know the message you
received from the saucer.

Speaker 49 (04:55:17):
There was no message.

Speaker 20 (04:55:19):
You just made it up.

Speaker 26 (04:55:22):
Yes, I'm afraid you're lying.

Speaker 116 (04:55:25):
Suppose we have some soldiers bring the saucer in here
and hold it over your head?

Speaker 20 (04:55:28):
Would you object?

Speaker 22 (04:55:29):
I don't care what you do.

Speaker 90 (04:55:31):
All right, boys, Brendan, All right, now, when I tell
the man to hold it over your head, you try
to recall.

Speaker 20 (04:55:44):
What it's says.

Speaker 57 (04:55:45):
I don't know what it's says.

Speaker 20 (04:55:47):
Lift it up, boy, so hold it right over your head.
It's talking to you. Now, what does it say? What
did it say?

Speaker 116 (04:56:05):
All right, boys, create it up and send it down
to the National Research laboratories.

Speaker 20 (04:56:10):
Right?

Speaker 62 (04:56:11):
What about the girls, sir?

Speaker 116 (04:56:12):
We won't get nothing out of her. I don't believe
she really knows what that humming noise is. Better have
a psychiatrist, examiner. They took her to the city hospital
and she had a room to herself. Whenever the door opened,

(04:56:33):
she could see the policeman outside, and the door opened
quite often. There were a lot of important people, some
in army uniforms, who came up from Washington just to
see her talk to her. Apparently they had analyzed the
flying saucer and discovered something that made this girl about
the most important person in the country.

Speaker 26 (04:56:53):
I used to stand outside. I could identify the heads
of certain security agencies, but nobody would answer the questions
that the reporter shot at sir, excuse me. Yes, I'm
Jason Vanietes from the trib I've been assigned to this
flying saucers story as chief of.

Speaker 20 (04:57:09):
The security sectary.

Speaker 26 (04:57:10):
I have no Well, can you tell me how long
the girl will be held?

Speaker 20 (04:57:13):
That's no matter for the civil authorities.

Speaker 116 (04:57:14):
We'll have the psychiatrist determined the exact mister Vaniades, my.

Speaker 26 (04:57:18):
Car is waiting. A few days later, she was released
from the hospital and returned to the court to be
tried on a disorderly conduct charge. They found her guilty
and find her fifteen dollars and turn her loose. When
she walked out of the courtroom, she was handed to
subpoena to will appear before a Congressional committee in private session.

(04:57:40):
She answered all their questions except one. My paper sent
me over to cover the hearing.

Speaker 106 (04:57:49):
Now, young lady, I want to remind you that I'm
a Senator of the United States.

Speaker 20 (04:57:54):
And empowered by the people.

Speaker 26 (04:57:55):
Of this country to ask questions relating.

Speaker 106 (04:57:58):
To matters of security. You understand, yes, your name is
Janet Voice, is it not. I told you that now
at an earlier session, you testified that, as a young girl,
you were a member of a certain organization in your neighborhood.

Speaker 62 (04:58:15):
Would you name it?

Speaker 49 (04:58:17):
We didn't have a name that It.

Speaker 113 (04:58:19):
Was just a bunch of girls who got together to
go bike riding and listen.

Speaker 26 (04:58:22):
To recording any particular recordings.

Speaker 49 (04:58:25):
Mostly Dannie Osma.

Speaker 26 (04:58:27):
I see now, this flying saucer. You said it talk
to you.

Speaker 20 (04:58:33):
You did say that, didn't you.

Speaker 62 (04:58:35):
Yes, then you're denied it?

Speaker 19 (04:58:37):
Yes?

Speaker 49 (04:58:38):
Why because I was tired of answering questions, young woman.

Speaker 106 (04:58:42):
Let me put something to you squarely, by the way,
I think if there are members of the press there,
I can devulge your other spectacular piece of information to you.
This flying saucer has been thoroughly examined an analyzed, and
I wish to inform the people of this great nation

(04:59:02):
that it definitely, I repeat it, definitely did.

Speaker 42 (04:59:06):
Not originate on this planet other than this voice.

Speaker 106 (04:59:13):
Consider that it is possible that our Earth might be
attacked from outer space by beings much more clever and
stronger than we are, And considered that perhaps you have
the key to our defense against these beings.

Speaker 20 (04:59:29):
Don't you owe it to the world.

Speaker 49 (04:59:32):
I don't think I owe anything to anybody, even.

Speaker 26 (04:59:35):
If the Earth was not attacked.

Speaker 106 (04:59:37):
Just think what an advantage you would give this country
over its enemy. Young woman, I ask you, what did
that flying saucer say to you? You know that what
you're doing is not amount to working for the enemies
of your country. I will give you one more chance.

Speaker 26 (05:00:02):
What was the message?

Speaker 21 (05:00:04):
It was personal?

Speaker 20 (05:00:08):
Gentlemen.

Speaker 106 (05:00:10):
I'm moved that miss gannet voice be cited for contempt.

Speaker 26 (05:00:26):
The furre was fantastic. The Chief of Security blasted the
Senator for divulging secret information about the origins of the
Flying Saucer, and the Senator said the people had a
right to know, and besides, he was just guessing anyway,
and happened to guess right. And meanwhile, the press printed
the girl's picture all over the front page and ran
banner headlines like girl refuses to betray Martian secret Flying

(05:00:52):
Saucer girl won't talk. Cited for contempt. The contempt trial
was equally spectacular. She didn't plead any amendments or she
just said the saucer was talking to her and there
was nobody else's business. She was convicted and sentenced to
five years in prison. Yes, Chief for the Sunday supplement. Yeah,

(05:01:22):
good will you think there's anything in it?

Speaker 38 (05:01:26):
Okay?

Speaker 26 (05:01:27):
Whatever, you say, Mike, give me everything you can on
that plying saucer girl, will you. Yeah, you know the
one that was sent to jail about four years ago,
and see if you can find out what she's doing now.
And she was released about six months ago. I think,
mm hmm, yeah, yeah, the boss wants a feature for

(05:01:51):
the Sunday supplement.

Speaker 20 (05:01:52):
Okay.

Speaker 26 (05:02:08):
I found out she'd gotten a job cleaning at night
and offices and stores down near the beach front. There
weren't many to clean, but that meant there weren't many
people to remember her face from the newspapers. I tracked
her down and caught up with her in a one
armed coffee joint about four in the morning. Excuse me, miss,

(05:02:30):
do you mind if I sit here?

Speaker 10 (05:02:32):
No?

Speaker 26 (05:02:34):
Nice night?

Speaker 8 (05:02:35):
Isn't it all right? And everything?

Speaker 49 (05:02:37):
Which are you security? Newspapers? It's just somebody out for
a good time.

Speaker 26 (05:02:43):
You're pretty bitter, aren't you?

Speaker 49 (05:02:44):
Shouldn't I be?

Speaker 8 (05:02:46):
Yeah?

Speaker 26 (05:02:46):
I guess you should. My name is Jason Benyats. I'm
with the newspaper.

Speaker 49 (05:02:52):
It's been nice meeting you.

Speaker 8 (05:02:54):
I have to go now just a minute. Please.

Speaker 26 (05:02:57):
I can't blame you, but did you find me one
of the legmen? I located your mother. I talked to
her earlier tonight. How is she still hitting the bottle?
The way she knew where you were. You would sent
her some flowers on her birthday?

Speaker 49 (05:03:14):
Remember, yes, she wouldn't talk to me that You didn't
want a daughter who was a jail bird.

Speaker 26 (05:03:21):
Tell me how it's been, but you can write about it.
I promise you. I won't write anything you don't want
me to write, Okay, you.

Speaker 49 (05:03:30):
Want to know how it's been. Right after I got
out of jail, I met a man at a restaurant night.
Man asked me for a date. I spent everything I
had on a red handbag to go with my red shoes.

Speaker 113 (05:03:42):
They weren't the same shade, but anyway, they were both red.
I was very excited about the day you went to move. Afterward,
he didn't even try to kiss me or anything. He
just wanted to know what the flying saucer had told me.

Speaker 26 (05:03:58):
I didn't say anything.

Speaker 49 (05:04:00):
I just went home cried all night.

Speaker 22 (05:04:04):
That was it.

Speaker 49 (05:04:05):
No, I had another date, gets pretty lonely.

Speaker 22 (05:04:09):
This time.

Speaker 113 (05:04:10):
They arrested the man I was with. He was a
Russian agent. And Christmas Eve, four men called me up
and sang me a home.

Speaker 49 (05:04:17):
Would you like to hear the words?

Speaker 8 (05:04:19):
They go?

Speaker 113 (05:04:20):
The Flying Saucer came down one day and taught her
a brand new way to play. And what it was
she will not say, but she takes me out of
this world.

Speaker 26 (05:04:30):
I'm sorry.

Speaker 49 (05:04:31):
Now you go away and leave you alone. Yes, you
can ask me the big question. No, everybody does.

Speaker 26 (05:04:41):
Yeah, well not me.

Speaker 8 (05:04:42):
He will sooner or later.

Speaker 9 (05:04:45):
Maybe.

Speaker 26 (05:04:47):
Look, can I take you home?

Speaker 10 (05:04:50):
No?

Speaker 26 (05:04:52):
Can I see you?

Speaker 11 (05:04:53):
Yeh?

Speaker 26 (05:04:54):
Please No, I don't know.

Speaker 49 (05:04:57):
I'm afraid to let myself like anyone me.

Speaker 20 (05:05:00):
Will you.

Speaker 49 (05:05:02):
I'm not sure?

Speaker 26 (05:05:04):
Maybe maybe I'll wait here for you tomorrow night?

Speaker 8 (05:05:10):
All right?

Speaker 26 (05:05:19):
The next night I went back to the coffee. You
want to wait for her? I knew she got through
about four in the morning. I got there about fifteen
minutes early. Mister Ivy, Yes, I would say. You're the
chief of the security section, aren't you. You used to
work with the memory my device it down? Well, I'm

(05:05:42):
expecting someone, Yes, I know how I see. I'd like
to talk with you. Go ahead. You You probably know
that we've been trying to gain the confidence of this
girl for some years now.

Speaker 8 (05:05:57):
Yes, and.

Speaker 26 (05:06:00):
Apparently you succeeded where we fail. Well, not really. In
any event, you seem to be making some progress. She
may not even show up.

Speaker 28 (05:06:08):
I think she will.

Speaker 26 (05:06:10):
Now I'm going to ask you to help us. Help
and what way can I help? We have reason to
believe that this girl is a courier for some alien
power on What do you base that? Oh, well, that
was the incident of the saucer. Of course, we've definitely
established that it came from some other planet. And recently

(05:06:32):
she's been throwing messages inside bottles into the ocean, but
sort of method it.

Speaker 20 (05:06:37):
They're always the same. And now I have one right here.
You're welcome to read it and see if it makes
any sense. We've had every.

Speaker 26 (05:06:44):
Decoding expert in the service trying to break it out,
but we can't seem to find the key. I see.

Speaker 116 (05:06:51):
She's thrown literally hundreds of these messages and bottles into
the sea. We've got many of them, but not all naturally.

Speaker 26 (05:06:57):
Now, what we're most interested in is locating the car
attach and that's where you it is. We'd like you
to gain this girl's confidence even further. Try to find
out just what these messages mean, and beyond that, what
the spacer said to him will be doing us a
favor in your country, a great service. You're certain this

(05:07:19):
is some subversive activity on her part.

Speaker 20 (05:07:22):
How else can you explain the fact that she won't
tell us your secret?

Speaker 26 (05:07:25):
Maybe because it's hers and everybody has a right to
have something of his own.

Speaker 62 (05:07:31):
Are you trying to tell me that you won't cooperate?

Speaker 26 (05:07:35):
I didn't say that.

Speaker 116 (05:07:37):
I'd like to remind you of mister Beniade, is that
you have a duty to us. I know that I
also have a duty to myself to God.

Speaker 26 (05:07:47):
Now you'll excuse me. I pulled the bottle message and

(05:08:09):
put it in my pocket. I waited for her to
show up, and minutes went by, in the hours, and
I knew she wasn't coming, or she had come and
seen me with the chief and changed her mind. And
that's when I left the cafe and walked down to
the beach. That's when I dragged her out of the
surf before she could follow one of her bottles under

(05:08:30):
the water. How do you feel now? Are you cool?

Speaker 49 (05:08:35):
Why should you care?

Speaker 8 (05:08:37):
I do?

Speaker 49 (05:08:38):
Is that why you were sitting with a security chief
in a cafe.

Speaker 26 (05:08:42):
I didn't arrange that meeting. He asked me to spy
on you.

Speaker 49 (05:08:49):
I suppose he told you about the bottle.

Speaker 26 (05:08:51):
Yes, I wonder how.

Speaker 49 (05:08:54):
Much of the text payers money they spent gathering the
mother I think they'd get tired of all the writing
and the bottles are the same.

Speaker 26 (05:09:04):
Maybe you could have saved a lot of trouble thanks.

Speaker 113 (05:09:07):
To all of them, Judge Jailer's juke boxes. People, do
you really think it would have saved me a minute's
trouble if I told them the whole truth at the
very beginning, They wouldn't have believed me. What they wanted
was a weapon, some super scientific super science from some

(05:09:33):
alien super race.

Speaker 8 (05:09:37):
Science.

Speaker 49 (05:09:39):
That's all they think about.

Speaker 26 (05:09:41):
Well, it is pretty important.

Speaker 117 (05:09:43):
Would it ever occurred to them that this super race
from another planet might have super fiends or super longing,
so a super longing.

Speaker 49 (05:09:57):
No, all they think.

Speaker 8 (05:09:59):
About is weapons.

Speaker 49 (05:10:03):
In the time you ask me what the source is
in No, they all ask me.

Speaker 26 (05:10:11):
I don't have to ask you.

Speaker 103 (05:10:14):
I know.

Speaker 21 (05:10:17):
You know.

Speaker 26 (05:10:20):
Let me read it to you. There is in certain
living souls a quality of loneliness unspeakable, so great it
must be shared as company is shared by lesser beings.

(05:10:40):
Such a loneliness is mine. So know by this that
in immensity there is one lonelier than you.

Speaker 8 (05:10:54):
Did you know?

Speaker 26 (05:10:56):
It's the message you put in the bottles, the same
message that some lonely strange being in some other world
put into a bottle, only his bottle was a flying
saucer and sent across space to you. I'm lonely too, Okay,

(05:11:19):
I've never had the love of a woman. You think
I'm pretty ugly, knew not ugly. No, I don't feel
ugly right now. Darn and my feats from the saucery.
Know by this that in immensity there is one lonelier

(05:11:43):
than you.

Speaker 49 (05:11:47):
I wonder if whoever first voted it found somewhere.

Speaker 26 (05:11:53):
I think perhaps he has. She looked at me and
said nothing, But it was as if a light came

(05:12:17):
from her, more light than even the practiced moond could cast.
Among the many things it meant was the fact that
even to loneliness, there is an end for those who
are lonely enough long enough.

Speaker 112 (05:13:00):
WMUK Special Projects has presented sauthor of Loneliness, written by A.
Theodore Sturgeon and adapted for radio by George Leffards. Mark
spinc was featured as Vanietes and Peg Small played Janet Voyce.

Speaker 26 (05:13:16):
Our cast included Tom Small.

Speaker 112 (05:13:18):
As a security chief, Richard me Sink as a senator,
Martin Gingrich as the cops, John Scott as the Sergeant,
Rock Bartley as the Boy, and Ico Generator as the saucer.
Future Tense is produced and directed by Ellie Siegel

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