Aliens In The Mind: The Island of Telepathic Hybrids

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

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
I'm gonna thank some miss.

Speaker 4 (00:26):
A man us Seal.

Speaker 5 (00:36):
Present Suspense.

Speaker 1 (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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(01:05):
my free newsletter, connect with me on social media, listen
to free audiobooks I've narrated. Plus you can visit the
Hope in the Darkness page. If you're struggling with depression,
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and more at Weird Darkness dot com. Now bolt your doors,
lock your windows, turn off your lights, and come with

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

Speaker 4 (01:30):
The CBS Radio Mystery Theater presents.

Speaker 7 (01:50):
Come in.

Speaker 4 (01:53):
Welcome.

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

Speaker 7 (01:55):
Marshall.

Speaker 4 (01:57):
The boundaries which divide life from death, said Deed Grellan,
Poe are at best shadowy and vague. And who shall
say where the one ends and the other begins? Who, indeed,
certainly not mister Poe when he wrote those sentiments over
one hundred years ago, And how curiously modern they seem today?

(02:20):
Where does life and death begin? And who is to judge?

Speaker 9 (02:26):
What makes you so sure of yourself? Sir?

Speaker 4 (02:30):
I know what I believe, I know how I was raised,
I know my attitude toward life.

Speaker 1 (02:36):
It's that so.

Speaker 9 (02:38):
And do you consider yourself a moral, upright, honest man?

Speaker 7 (02:42):
With all modesty, I would say yes.

Speaker 9 (02:47):
Well, I've only known you for these past few minutes,
but I'll make a bit that I could make you
cheat on your wife, steal from your boss, and even
commit murder during the next forty eight hours.

Speaker 4 (03:10):
Our mystery drama, A Casual Affair was written especially for
the Mystery Theater by Sam Dan and stars Mason Adams.
It is sponsored in part by General Electric and Buick
Motor Division. I'll be back shortly with that one. The

(03:38):
traveling salesman used to be very much a part of
the folklore of America. The traveling salesman, or drummer as
he was also called, was usually brash, gordy, outrageous in
speech and manner. Well, times and types change. Today you
have men who travel for their companies who are the

(03:59):
very models of conservatism. They wear quiet but expensive clothes.
They stop at the best hotels and dine in the
most exclusive restaurants. One thing hasn't changed very much, though
it's a lonely job. The nights are too long, almost endless.

(04:20):
Richard Palmeroy is one thousand miles from home. He's waiting
to dine alone, sitting at the bar until he will
be shown to a table. Sitting next to him is
a rather attractive woman of about thirty. Richard is a
man who doesn't play around, but it shouldn't be implied

(04:41):
that he never thinks about it.

Speaker 7 (04:44):
Very nice.

Speaker 4 (04:46):
I wonder if she's married, swearing array, But is it a.

Speaker 7 (04:55):
Start? I wouldn't know how to start so far? Does
it just goes? They smile, say care for a drink,
and they're home.

Speaker 4 (05:05):
If I try something like that, all right, The truth
is I don't want to try it.

Speaker 7 (05:10):
I'm just not interested.

Speaker 4 (05:12):
I've never done anything like it in all the years
I've been married, and I don't intend to start now.

Speaker 9 (05:19):
Look, you want to buy me a drink, Buy me
a drink.

Speaker 7 (05:23):
I beg your pardon.

Speaker 9 (05:25):
Oh, you've done enough soul searching. You've made all the
normal objections. Are you a mind reader, I'll have a
bourbon sower.

Speaker 5 (05:34):
Ten Now they're the same here.

Speaker 9 (05:37):
No, I'd say I'm a mouth reader.

Speaker 7 (05:40):
A mouth reader, just watch.

Speaker 9 (05:42):
A person's mouth. See how his lips narrow become tight.
He'll bite one of his lips when he's und distress.
There are those who bite their upper lips and those
who bite the lower. Which type are you?

Speaker 7 (05:57):
I hadn't thought about it.

Speaker 9 (05:58):
Well, everybody bites one of the others. You're an upper bier.
I've been watching you. I never knew that upperviders from
the minority. They're usually highly introspective people.

Speaker 4 (06:12):
Yes, yes, I have been called introspective, scientifically inclined.

Speaker 7 (06:18):
So you know there might be something to it. I'm
an engineer.

Speaker 8 (06:21):
Huh.

Speaker 9 (06:21):
There you see proves my theory's court.

Speaker 7 (06:23):
Oh I don't.

Speaker 4 (06:24):
I don't work as an engineer exactly. I sell motors,
but I have to troubleshoot for the entire corporation.

Speaker 9 (06:31):
Unproviders are also very hard workers.

Speaker 5 (06:33):
Yes, that describes me all right. I've my name is Richard.

Speaker 9 (06:38):
Pomeroy, and I'm crestida'hilo cressitor.

Speaker 5 (06:42):
That's a most unusual name. That's very pretty.

Speaker 7 (06:46):
Are you? I mean?

Speaker 9 (06:49):
Am I waiting for anyone? No, I'd love to have
dinner with you.

Speaker 4 (06:54):
Oh well, of course, do you live here?

Speaker 9 (06:59):
No, I'm traveling just as you are.

Speaker 7 (07:02):
What do you do?

Speaker 9 (07:03):
What you do? I sell?

Speaker 5 (07:05):
Market research must be a fascinating field.

Speaker 9 (07:08):
It's a job. Do you really want to talk shop?

Speaker 1 (07:13):
No?

Speaker 7 (07:13):
Not really.

Speaker 9 (07:15):
Are you married?

Speaker 7 (07:18):
Yes?

Speaker 9 (07:20):
That slight hesitation is if you weren't sure how you
wanted to answer.

Speaker 4 (07:26):
You're a very disconcerting woman.

Speaker 9 (07:31):
Life is a disconcerting experience.

Speaker 5 (07:35):
Are you married, divorced?

Speaker 9 (07:38):
Are you happily married?

Speaker 7 (07:42):
Yes?

Speaker 9 (07:44):
I say you had to stop to think again.

Speaker 7 (07:47):
I wanted to be honest with.

Speaker 9 (07:50):
Me or yourself.

Speaker 7 (07:57):
Right now, I should.

Speaker 4 (07:58):
Run run from this place, go to the airport and
get on a plane. And there's nothing flying to Chicago
this hour. I should rent a car and drive through
till morning. I am getting involved. I never met anyone
like her in my life. I thought I did when
I met Jeanette. She's what I hoped Jeanette would become,

(08:22):
but never did. This gray eyed woman. She's like a goddess.
Something's happened between us. I know it, and she knows me, and.

Speaker 7 (08:33):
We'll end this evening in my room.

Speaker 4 (08:35):
Or hers, and I will have started something I won't
know how to finish. I should say goodbye right now,
But why can't it just end with dinner and a
pleasant good night? Who says it has to go further?

Speaker 9 (08:54):
I would assume you are doing something.

Speaker 5 (08:56):
For the first time, doing what.

Speaker 9 (09:00):
Technically what you've done is you've picked me up at
a bar.

Speaker 5 (09:04):
Technically I believe you spoke first, but you intended to
speak first, you just didn't know how, which.

Speaker 9 (09:12):
Leads me to assume you have very little experience at
this sort of thing. Practically non you can thank woman's
lib or what. In the ordinary way, I would never
have had the courage to strike up a conversation in
a bar with a strange man. But I've learned that
it simply isn't right for the man to have all
the options. If I see an attractive person, why shouldn't

(09:35):
I say hello? I agree, it's a difficult life, constantly traveling.
Why not have pleasant company at dinner?

Speaker 7 (09:50):
Dinner was wonderful.

Speaker 4 (09:52):
I've never felt so happy so excited, so filled with anticipation.
She looked more lovely with every passing a minute, and
I realized it was no longer a question of should I,
shouldn't I, but that we would just let things take
their proper course.

Speaker 7 (10:12):
And they did.

Speaker 4 (10:14):
Our hands met and clasped across the table, who we
looked deeply into each other's eyes. The moment had arrived,
and the movement was automatic. We kissed. It was a light,
brief brush of the lips, but it was a promise
of what was to come, of what had to be.

(10:38):
The following morning, we had breakfast together at the hotel.
And where will you be going today?

Speaker 9 (10:46):
Indianapolis? Indianapolis, Indiana.

Speaker 4 (10:49):
Did you know that's the only major city in the
United States that isn't on a river?

Speaker 10 (10:53):
No?

Speaker 9 (10:54):
Oh, you have a wealth of knowledge, Trivia.

Speaker 4 (10:58):
Do you know why I tell me, Darling, Because till
now I had nothing better to occupy my time.

Speaker 7 (11:07):
But now I have you?

Speaker 9 (11:10):
And where are you going?

Speaker 7 (11:11):
Chicago?

Speaker 5 (11:13):
Richard?

Speaker 9 (11:15):
Is this goodbye?

Speaker 7 (11:17):
Do you want it to be?

Speaker 9 (11:19):
Can you ask me that? After last night?

Speaker 7 (11:22):
When can we meet again?

Speaker 9 (11:24):
Whenever?

Speaker 5 (11:24):
You say, but, Darling, yes, how.

Speaker 9 (11:29):
How we can meet whenever we want each other? Or
need each other. All we have to do is board
an airplane. But it's another way of looking at the world, Richard.
You see, till now, the traveling each of us does
was a job, but now it's a joy and a deliverance.
It enables us to come together.

Speaker 5 (11:48):
But I don't see how we meet me.

Speaker 9 (11:50):
In San Francisco on Friday.

Speaker 7 (11:52):
I have no reason to go.

Speaker 9 (11:53):
Yes, you have. I'm the reason. I'm sure there are
motors which aren't functioning to your complete seta faction in
the San Francisco Black True.

Speaker 4 (12:02):
I've never really satisfied with our manufacturing processes, of course.

Speaker 9 (12:07):
And my company always has time to the extra service.

Speaker 7 (12:11):
Till Friday, Dolly to Friday.

Speaker 9 (12:24):
Would you care for some age, Richard?

Speaker 5 (12:27):
Oh no, thank you.

Speaker 9 (12:28):
Dear, the Collins have asked us to dinner.

Speaker 7 (12:30):
Well that's good. I like George and Marie.

Speaker 9 (12:32):
I know you do. Therefore I accepted without consulting.

Speaker 7 (12:35):
You, without consulting me.

Speaker 4 (12:39):
Really to that, you make it sound as if I'm
your lord and master, without whose permission you are scarcely
permitted to.

Speaker 9 (12:45):
Breathe, Richard, It's just that you travel so much.

Speaker 4 (12:48):
I told you you are incomplete charge of social.

Speaker 9 (12:51):
Arrangements very well, dinner at eight good Friday night.

Speaker 7 (12:56):
We can't go.

Speaker 5 (12:58):
I'm sorry to not really, I'll be out of town
on Friday.

Speaker 9 (13:03):
It's all right. The colins will understand. Is something everybody
understands today, the demands of a man's job.

Speaker 4 (13:10):
Yeah, Jeanette Darling, this this trip is absolutely necessary. It
is they see the Q series of motives, the ones
that power the operating armor.

Speaker 7 (13:20):
Wis Oh boy, I'm not. I'm not supposed to talk
about it.

Speaker 9 (13:24):
I'm sure I couldn't hope to understand.

Speaker 4 (13:26):
No, no, no, I'm not even supposed to say I'm
working on something top secret either, even not top secret.

Speaker 9 (13:32):
Richard H. Richard, Where will you be going Friday?

Speaker 7 (13:36):
Where? San Francisco?

Speaker 9 (13:40):
Do you suppose I could go with you?

Speaker 7 (13:43):
You you want to come with me?

Speaker 5 (13:44):
Yes?

Speaker 4 (13:45):
Oh, well, I would think that you had a million
things to do that as you usually have.

Speaker 9 (13:53):
Why shouldn't I come to San Francisco with you?

Speaker 5 (13:55):
What should be bored? Silly?

Speaker 9 (13:57):
The truth is I'm bored silly here. We could have
so much fun in Sent Francis.

Speaker 4 (14:03):
Well, yeah, but I'm not going there to have fun.
I'll be in meetings all day and they usually run
through dinner.

Speaker 9 (14:10):
I understand, but we could have Saturday and Sunday. There's
so much to do and succeee.

Speaker 5 (14:17):
The truth is, darling, we won't have Saturday and Sunday.

Speaker 7 (14:21):
See.

Speaker 4 (14:21):
The reason I'm going Friday is to watch the production
on an operation, and that leaves me the weekend when
the line is down, to make whatever alterations that I understand.

Speaker 7 (14:33):
I'll be at it straight through.

Speaker 4 (14:34):
I'll be lucky to finish on Sunday night and Monday.
Of course I have to be at the office. So
what kind of weekend would that be for you?

Speaker 1 (14:43):
Well?

Speaker 9 (14:45):
Another time, of course, another time.

Speaker 4 (14:51):
It was the first time I'd ever lied to Janetta.

Speaker 7 (14:55):
I'm sorry. I felt badly.

Speaker 4 (14:58):
As a matter of fact, I was still feeling badly
at dinner Friday night in San Francisco.

Speaker 7 (15:02):
Is president?

Speaker 9 (15:05):
You have a guilty conscience?

Speaker 8 (15:08):
How do you know.

Speaker 9 (15:10):
This is the first time for you again, isn't it?

Speaker 7 (15:13):
Yes? How about you me? Weren't you married?

Speaker 11 (15:17):
Oh?

Speaker 9 (15:17):
We grew tired of each other. It had to happen.
What do you mean, Well, you change every day. If
you're honest, you admit it. Most people don't. They try
to hold on to what they were what they had,
so they hardened into a mold and be heavy. You're
breaking out of yours, Richard.

Speaker 7 (15:36):
I am not sure I follow that.

Speaker 9 (15:38):
Oh, but you do? You and your wife. You're no
longer the same people you were when you met and
fell in love and married? Are you?

Speaker 12 (15:46):
No?

Speaker 9 (15:47):
And why do you try to hold onto it? Now?
Live now?

Speaker 5 (15:52):
Love now?

Speaker 9 (15:54):
Make no promise you cannot cheap it.

Speaker 7 (15:57):
President, I promise you.

Speaker 9 (15:59):
No, You love me now. It's enough.

Speaker 5 (16:02):
I've never really lived for the moment, but.

Speaker 9 (16:05):
The moment is all very I could never give you up, think, Richard.
Didn't you once say something like that to the woman
you married?

Speaker 7 (16:16):
Yes?

Speaker 4 (16:16):
I may have, But this time I mean it. I
could never give you up.

Speaker 9 (16:21):
You never know, Richard Darling, the time may come when
you can't wait to get rid of me.

Speaker 7 (16:27):
Never.

Speaker 9 (16:29):
Never is a long time, Richard.

Speaker 7 (16:38):
And so it is.

Speaker 4 (16:41):
What kind of lady is this Cressida Harlow? This beautiful
woman who only wants to be loved, who lives only
to bring pleasure and delight, who asks nothing in return.

Speaker 5 (16:54):
That is so far it's too good to be true.

Speaker 4 (16:59):
But only Act one Act two may bring us another perspective.

Speaker 1 (17:15):
Well, here we.

Speaker 4 (17:16):
Have mister Richard Palmroy, an engineer. We mention his profession
because engineers are as a group, serious, sober minded fellows
who weigh and measure and who deal in the sciences.
A conservative group, to say the least. Mister Palmroy has
been married for some fifteen years to a very quiet lady,

(17:38):
and suddenly he has strayed off the reservation. He has
been absolutely knocked off his feet.

Speaker 7 (17:45):
By a woman named Cretada harlow Well.

Speaker 4 (17:55):
The next several months past the villa dream a dream
of paradise.

Speaker 7 (18:03):
Each of us had.

Speaker 4 (18:03):
Jobs which allowed us unlimited, unquestioned travel, and we met
once or twice a week.

Speaker 7 (18:09):
All over the country, all over the world.

Speaker 4 (18:13):
My home was no longer my base of operations. It
was merely a place where I had to make certain
ritual visits.

Speaker 7 (18:20):
My true home was with Creditor. And then one morning,
Jeannette looked at me.

Speaker 5 (18:30):
Who who?

Speaker 7 (18:32):
Who is who?

Speaker 9 (18:33):
The woman with who you're having an affair?

Speaker 5 (18:37):
This is it isn't true. What makes you say I'm
having an affair?

Speaker 9 (18:43):
You dress differently now, Richard, You're lighter, quicker on your feet,
you seem happy. But Jeanette, I thought we'd built something
these past fifteen Yes, Jeannette, something that would sustain us.
But I suppose it. I know I'm no longer young
to that. Do you deny it?

Speaker 7 (19:03):
Please die?

Speaker 9 (19:04):
Do you want a divorce? I see you're not that
sure of her. What does she want?

Speaker 5 (19:13):
Richard?

Speaker 9 (19:14):
You make a very good living, but you don't have
what could be considered real money. What does she want?

Speaker 5 (19:21):
Has it ever occurred to you that she wants me? Why? Why?

Speaker 7 (19:27):
Why?

Speaker 4 (19:27):
Because because I'm an exciting person?

Speaker 9 (19:30):
No, Richard, exciting You're not serious. Sober minded, yes, but
exciting definitely not not.

Speaker 5 (19:40):
I don't want to talk about this now.

Speaker 9 (19:41):
She doesn't want to marry you. You're not all that rich.
What does she want?

Speaker 5 (19:48):
Richard?

Speaker 7 (19:52):
How could I hope to explain?

Speaker 4 (19:55):
There are free spirits in the world, and they come
down to Earth now and then Crest.

Speaker 5 (20:02):
Is one of them.

Speaker 4 (20:03):
And the last time she came down to earth I'm
talking figuratively. Now you understand she happened a light beside me.

Speaker 5 (20:11):
What does she want?

Speaker 4 (20:13):
She wants nothing, nothing but the joy of the moment.
How could I explain that the Janet I didn't I
simply left for the office.

Speaker 7 (20:24):
But just thinking about Cressita maybe water.

Speaker 4 (20:28):
And so as soon as I reached my desk, got
picked up my phone and I dialed a number and
it rang and then rang, and there was no answer. Funny,
she had a service. I could always leave a message.
I tried her at.

Speaker 5 (20:44):
Her office, Paul and Carson, Miss Crest at the Harlowe. Please,
miss Pressita Harlow is no longer with us.

Speaker 7 (20:53):
I beg your pardon.

Speaker 5 (20:54):
Miss Harlow is no longer with us?

Speaker 7 (20:57):
But where is she?

Speaker 5 (20:58):
Miss Hallow resigned last time? She couldn't have Where did
she go?

Speaker 1 (21:02):
A hollow said she would send us an address where
we could forward her messages.

Speaker 5 (21:07):
Would you care to leave your name?

Speaker 9 (21:10):
No?

Speaker 5 (21:18):
I was stunned, shocked. I couldn't imagine what had happened
or why? How could she just disappear?

Speaker 4 (21:27):
I know she had said it would be over one day,
but like this, so abruptly. But before I could think
it through, I became aware of a man standing next
to my desk.

Speaker 5 (21:39):
How'd you get in here? I walked in?

Speaker 7 (21:41):
Who?

Speaker 5 (21:43):
Boy? I think I better closed the door. And what
makes you think you can just barge in here? Okay, okay,
let's get with it. Never mind how I got in here,
and what do you think you can do about it?
I want you to do me a favor.

Speaker 7 (22:00):
Who are you?

Speaker 5 (22:01):
You'll be going to Paris next week? Who will be
going to pack you? You got to check out the
motors in the French factor. I refuse to hear another word.
You have no right to be in here. We're engaged
in government contracts. You can get a lot of trouble.
I'm going to call a guard this minute. Yeah, you
do that. You call a guard and I'll show him
this picture and then I'll show him this one. I

(22:29):
see you're not going to call a guy. That's very
good thinking. Where did you pick clicks? I who took
these photos? Isn't he just terrific? He calls it a
pictorial essay. Here's you and this gorgeous name sitting so
cozy in this nightclub. And here are you Romeo leaning

(22:49):
across the table to give her a great big kiss.
And the fat one that too takes place in the hotel.
How did you get how did you go ahead? Go ahead?
Damn them up? We have the negatives. This is words failure.
How they should Now? Why are you trying to find

(23:10):
the right ones? Let me analyze the situation. You're being
offered a job with my company, a part time job.
It won't interfere with your regular activity.

Speaker 7 (23:22):
I refuse to.

Speaker 5 (23:23):
Why do you interrupt? You're sitting there with a bust
hand against four races, not who you're trying to blow up.
You see, Richard, we deliver things from a client in
one country to a client and another Jewels and drugs,

(23:45):
for example, negotiable bonds. You're goin to get the idea
you can't coming. We need messengers, a kind of messenger
that no customs officer, no cop whatever. Dream to suspect,
I won't do it. You won't, Richard, What can you do?
Show those pictures to my wife? Well, she already knows

(24:05):
I'm having an affair, So do your worst, Richard, don't
make it come to the worst.

Speaker 4 (24:10):
I think that I actually thought I was in love
with that miss Cressitta.

Speaker 5 (24:15):
Harlow, And you gotta admit you does a great job.
Where is she now? And we call her sergeant Harlow?
You ever meet a better recruiting sergeant. You've stated your
proposition to answer is no Ah. You're upset, and I understand,

(24:36):
but you will be in shape to listen to reason
in a couple of days, what.

Speaker 4 (24:43):
Does she want from your Richard? I could hear Janette's question.
It was obvious what she wanted from me? Obvious? Now,
how could such a thing happen to me? I was
a foolish, middle aged man and looking for a fling.

Speaker 5 (25:02):
And the tragedy was I didn't know.

Speaker 7 (25:04):
I was looking.

Speaker 4 (25:06):
The marriage was ruined, but at least the damage would
stopped there.

Speaker 7 (25:11):
Blackmail?

Speaker 4 (25:12):
How could they hope to blackmail me by telling my wife?

Speaker 7 (25:16):
The fools?

Speaker 4 (25:17):
Didn't they realize I had already lost her.

Speaker 5 (25:21):
And in the midst of this reverie and the telephone rye, it.

Speaker 4 (25:24):
Was the Big Boss himself wanted to see me immediately. Yes,
mister Darling, always sit down, Richards down.

Speaker 8 (25:31):
Now what did I want.

Speaker 5 (25:33):
To see you about? Let me look down, Richards down?

Speaker 13 (25:36):
Now?

Speaker 8 (25:37):
What did I want to see you about? Let me
look it up?

Speaker 5 (25:40):
He Oh, yes, yes, how was j Night? Oh she's fine,
I'm going there.

Speaker 4 (25:45):
It's one of my favorite ladies. And very few ladies
around these days. Lots of women, but very few ladies.

Speaker 5 (25:51):
Oh here, yes, yes, yes, here it is my note.

Speaker 4 (25:54):
Tell Richard why I won't hire Jim Demmery you won't
hire Jim Demers No, I will not. But you asked
me for my recommendation. I ordered he's a first grade engineer.

Speaker 7 (26:05):
I'm sure he is.

Speaker 5 (26:06):
But I always hire the men of my department.

Speaker 4 (26:08):
You usually do, but we must make an exception in
the case of Jim Demorest.

Speaker 5 (26:12):
I won't have him my company.

Speaker 4 (26:13):
Why, mister Darling, man has no morals?

Speaker 5 (26:17):
What do you mean, sir?

Speaker 4 (26:20):
As far as women to concern, I don't think it's
necessary to go into detail.

Speaker 7 (26:25):
What is not Jim Demaris affair?

Speaker 4 (26:27):
No, Richard, he's a married man with children, and he's
a notorious rap.

Speaker 7 (26:32):
Well isn't that words still used today?

Speaker 1 (26:35):
Well?

Speaker 4 (26:35):
Whatever, the darling, a man's private life. A man who
cheats on his wife cheats part of his makeup if
he cheats her, and he's bound to her by the
laws of both the church and state. Well that does
sound good stuff?

Speaker 14 (26:47):
Yeah?

Speaker 13 (26:47):
Meant well?

Speaker 4 (26:49):
How else can I put it? Anyway?

Speaker 3 (26:51):
Why shouldn't he cheat me?

Speaker 4 (26:53):
I'm only his employers, the darling. Good engineers are very
hard to find.

Speaker 7 (26:57):
All good men are hard.

Speaker 4 (26:59):
To fine, and this is a hard company to work for.
We can only do quality work because we have quality
employees work for men like yourself, honest, loyal, sincere people.

Speaker 5 (27:12):
You understand, yes, sir, I understand? Uh mind if I joint, yes,
I do. I'll even pick up the tab. Who's nice
little joint?

Speaker 8 (27:28):
Here?

Speaker 5 (27:29):
How's the food?

Speaker 7 (27:30):
I told you I wouldn't have anything to do with.

Speaker 15 (27:31):
You right.

Speaker 4 (27:34):
Now?

Speaker 5 (27:34):
Let me tell you how it works?

Speaker 9 (27:35):
What works the switch?

Speaker 1 (27:38):
You see?

Speaker 5 (27:39):
You have an NSA case and we make up one
exactly like it now before you leave for the trip.
In this case, how many times do I have to
tell you? For an engineer, you really can't read diagrams
too good? You know what diagrams? That little pictorial that's that?
Show it to my wife. It doesn't matter. That's not

(28:02):
such a good idea. You see. We thought we'd show
it to your boss, Tom Richard. In all these situations,
you always go to the top. That's how to get results.

Speaker 7 (28:16):
You can't do that.

Speaker 5 (28:17):
He wouldn't fire your right off, Richard. He'd be very disappointed,
and at first he'd start cutting your various responsibilities, and
after a while you'd well, you just have to resign.

Speaker 7 (28:35):
What do you want from me?

Speaker 5 (28:37):
Just listen? You have this at a shaycase. When you
get off at Orleyfield in Paris. There's a news standing
near the gate. You'll see it. Go there, stop at
the counter, put you at a shake case down the floor.
You'll be looking at the newspapers. A man will come
over and stand next to you, and he'll have a

(28:58):
case just like your yours. He'll put it down next
to yours. You don't do anything. When he leaves, he'll
pick up your case instead of his. Then you pick
up his and be anyway Paris. I really have no
reason to go to Paris.

Speaker 1 (29:17):
Find one.

Speaker 5 (29:19):
We have a customer who has to send some merchant.
But you catchured. We've been through it all, but Paris.

Speaker 4 (29:27):
I'd have to convince my boss and Vincent. Listen, there's
one thing you don't seem to take into consideration. Yah me,
my personality. All right, you can force me to do this? Sure,
who would suspect me?

Speaker 5 (29:41):
No one ever has.

Speaker 4 (29:42):
That's because every time I travel I have nothing to hide.
But this time I'll have guilty knowledge. I'll be nervous,
I'll excite Suspicionly.

Speaker 5 (29:52):
You just have to stop being there. I can't control.
I might easily be arrested. That's always possible. Talk how
I can you tell him. I'll tell him about you.
You don't even know my name. I could describe you.
I deny it, but my description used with other information
could be just what they need. That's true, I wouldn't

(30:15):
worry about it. Look, I'm just trying to explain said
not to worry Richard. Things will never get that far.
If it looks like the cops are getting wise to you,
you never even get a chance to talk. We'd knock
your first.

Speaker 4 (30:34):
And that parting shot certainly had the ring of conviction,
didn't it. It doesn't get better for poor Richard, does it.
Of course, he could have avoided this entire problem by
not speaking to a beautiful stranger in a bar in
the first place. But I'm sure he wouldn't appreciate this
kind of moralizing. What he needs is a way out,

(30:54):
and what we need is a third act, which we
shall produce for you in just a few moments. If
I made paraphrase, Some men are born thieves, some become thieves.

(31:17):
Others have thievery thrust upon them. Does it matter if
the fault is in our stars or in us. Either way,
we pay the price, paying full price, with no hope
of rebate or discount.

Speaker 7 (31:31):
Is our friend Richard.

Speaker 4 (31:32):
Pomroy, And all he wanted was just a little female
companionship in a bar one night. Well, that sort of
thing can become prohibitively expensive. I walked about in a

(31:53):
days what was to become of me? I was a fool?
But to be punished so severely at home things had
become unbearable. Jannette, well, she was so understanding I could
kill her. Richard, why don't you come out with it

(32:16):
and tell me you want a divorce?

Speaker 9 (32:18):
But I don't want to divorce.

Speaker 7 (32:20):
I've been unfaithful to you, that's true.

Speaker 9 (32:23):
But is that a reason to divorce?

Speaker 5 (32:25):
I should think it'd be furious?

Speaker 9 (32:27):
I am, I was, But but what would I have?

Speaker 5 (32:32):
To be?

Speaker 9 (32:32):
Practical?

Speaker 5 (32:33):
Practical?

Speaker 9 (32:34):
You see, Richard, I can't afford to divorce you. I'm
too old, too old and too insecure to try to
be on my own. I'm frightened at least this way.
I'm still missing somebody.

Speaker 5 (32:47):
But that's wrong, of course, but it's practical, practical.

Speaker 9 (32:53):
Will you be home to dinner tomorrow?

Speaker 7 (32:56):
H No?

Speaker 9 (32:58):
Where will you be?

Speaker 7 (32:59):
Paris?

Speaker 9 (33:00):
Paris? But you hardly ever have to go overseas?

Speaker 7 (33:04):
I know it's an emergency at the Paris plan.

Speaker 9 (33:08):
Let me come with you, maybe if we could do
more things together. Well, ah, what is it, Richard?

Speaker 7 (33:18):
I can't have your company?

Speaker 9 (33:21):
Oh I'm sorry.

Speaker 4 (33:24):
No, no, no, no, no, it's not what you think.
It's not that at all.

Speaker 9 (33:28):
Then what is it, Richard?

Speaker 3 (33:31):
Tell me?

Speaker 4 (33:31):
I can't tell you. Don't ask me. You must never
ask me. And so there was no hope. What kind
of misfortune was dogging my footsteps? How much worse could
things get? Hee met me at the airport just a
few minutes before the plane was scheduled to take off.

Speaker 5 (33:54):
Yeah, I figured I wasn't reading. Listen, I having done
what I told you?

Speaker 7 (33:59):
Hi, I think.

Speaker 5 (34:01):
So you're at a shad case. You got nothing in it,
no legit papers you're gonna need for your job.

Speaker 7 (34:06):
My case is empty.

Speaker 5 (34:07):
Oh that's good, because this one I got here, this
one that's a dead ring for yours. This one ain't empty.

Speaker 7 (34:16):
What's it?

Speaker 5 (34:17):
A couple of pads, pencils, magazine and then there's a
little compartment on the bottom.

Speaker 7 (34:24):
What's in there?

Speaker 5 (34:26):
What do you care? The less you know, the less lively.

Speaker 1 (34:29):
Are to blow.

Speaker 5 (34:31):
Hey that rhymes? Wow? All right, Now let's each put
our Ada shay case on his empty seat, and when
we get up, I take your empty case and you
take my live one. It's like shooting fish in a bow.

Speaker 4 (34:49):
Yes, and I felt just like the fish. I took
us out the sharecase and boarded the plane. I thought
I'd feel terrified, but surprisingly I felt nothing, nothing at all.
It was only when the plane touched down that I
felt a wave of agitation sweeps through me. I knew

(35:10):
my entire body was trembling. As I approached the customs county.
The officer was a tall, fat man with small eyes
and a mean look.

Speaker 7 (35:16):
On his face.

Speaker 4 (35:18):
He permitted some people to just pass him by, but
he looked at me and he he made me stop.
A bad side could be my manner? Was he suspicious?
He nodded at me, opened my bag and suitcase. I
knew it was safe, and that inspection took less than

(35:39):
a minute.

Speaker 7 (35:39):
But then he.

Speaker 5 (35:40):
Said he are the shea case moosue he had the shakecase.
He smoothe we will check. Well, why should I object?

Speaker 4 (35:49):
I mean, if I were to object, would automatically mean
that I was hiding something, wouldn't it?

Speaker 5 (35:54):
He could fools mean that moss shoe.

Speaker 7 (35:57):
He's a fool.

Speaker 4 (35:58):
You're absolutely welcome to search the things as thoroughly as possible.
You mean, buss, monsieur, Thank you, Thank you very much.
Always the matter with me, I was so nervous. I
couldn't stop jabbering. This particular customers officer took me for
a fool, but another might really become suspicious. I almost

(36:20):
forgot what I was supposed to do, and then I remembered.
I walked over to the news stand and pretended to
be interested in some foreign.

Speaker 5 (36:26):
Papers, and becoming more and more frightened. Suddenly I became
aware of a voice in my ear. For that case
down down on the floor. You're holding it in your hand,
And so I was not just holding it, but gripping it,
clutching it, hanging on what is in my life depended
on it.

Speaker 4 (36:45):
I forced myself to relax my grip. I was aware
of a man in a raincoat with a hat pulled.

Speaker 14 (36:50):
Over his eyes.

Speaker 7 (36:51):
He placed his case down on the floor.

Speaker 4 (36:52):
Shape up, buddy, or you'll never get out of this
rackular line. He picked up my had to shay case,
leaving me his. Finally I was able to pick his up.

Speaker 5 (37:02):
And get out of there as fast as I could.
That was my first delivery, and it was successful at.

Speaker 7 (37:10):
Least once or twice a month.

Speaker 4 (37:12):
There were other deliveries, and although my face might have
been composed and relaxed, each time I became more and
more frightened. I didn't know how to escape.

Speaker 9 (37:23):
The great attachae case mystery?

Speaker 7 (37:27):
What did you say tonight?

Speaker 9 (37:28):
I've decided to do something in my old age. I've
decided to write mystery stories.

Speaker 5 (37:33):
Mystery stories?

Speaker 9 (37:34):
Why not the best of them seemed to be written
by mature ladies.

Speaker 5 (37:39):
Well, what's this about? An atta shay case?

Speaker 9 (37:41):
Perhaps I should have said, you're at the shay case?

Speaker 7 (37:45):
What about it?

Speaker 2 (37:46):
Well?

Speaker 9 (37:47):
I notice each time you return from a trip you
have a different one, a different what, a different ata
shake case?

Speaker 8 (37:54):
Who?

Speaker 9 (37:55):
They all look more or less the same, But not
to me. You see, there are my new differences in
size and shade, in the amount of wear, very trivial differences,
but obvious to me. Ask me, why go ahead?

Speaker 1 (38:11):
Why?

Speaker 9 (38:12):
I look at you very closely, Richard? I have nothing
else to do, so I sit and I speculate where
is he going and what is he doing? And at night,
when you're asleep, that is the night you're home, I
sneak downstairs and examine those.

Speaker 5 (38:32):
Briefcases, Jeannette.

Speaker 9 (38:35):
Each briefcase has a secret compartment, Jeannette. And so I
could only deduce that my husband is engaged in smuggling.

Speaker 5 (38:45):
How did you ever figure that?

Speaker 9 (38:48):
I'll be honest. Actually, you talk in your sleep, Oh darling, Darling.

Speaker 4 (38:56):
Let me help, you can help me. I don't frighten.
There are times when I could die of fright.

Speaker 7 (39:03):
You don't know what it is.

Speaker 5 (39:05):
Each time I carry that shay case. I think I'll
get a heart attack. Sooner or later I'll be picked
up and go to jail. I'll be disgraceful life that
those people don't kill me.

Speaker 9 (39:15):
First, let me help you help me?

Speaker 5 (39:18):
How can you help me?

Speaker 9 (39:19):
You'll go to the police.

Speaker 5 (39:20):
No, don't you think I thought of that? What good
would it do?

Speaker 9 (39:24):
We could explain how you were trapped. In return for
your cooperation, you'd be set free. It would probably never
even be published.

Speaker 5 (39:32):
I can't help me. Even if I get some of
them or rested, they could still make sure that mister
Darling sees those pictures.

Speaker 9 (39:39):
What pictures?

Speaker 5 (39:41):
I didn't I didn't talk about those in my sleep,
did I? No?

Speaker 4 (39:44):
There are pictures of me, photographs of me with that woman.
And so now I don't suppose.

Speaker 9 (39:51):
I'll save you, Richard.

Speaker 4 (39:57):
Anything I say it sounds so stupid, but I love you.
I've been stupid and I have been selfie, I know, but.

Speaker 5 (40:06):
I love you.

Speaker 7 (40:07):
I haven't really shown.

Speaker 9 (40:09):
It lately, that's true.

Speaker 7 (40:11):
What are we going to do?

Speaker 9 (40:12):
How are we let me do this? Richard? I have
to do it alone.

Speaker 7 (40:16):
Do what alone?

Speaker 9 (40:17):
I'm going to the police.

Speaker 7 (40:22):
Before I knew what she was doing, she was out
of the house.

Speaker 4 (40:27):
I didn't know what to think. Was she just playing
with me? Was she going to turn me in? Was
that to be her revenge? So why did I even
think that? But still, after the way I treated her,
would she save me? I don't know how long I
kept pushing it all around, but after a while she
came home.

Speaker 9 (40:48):
It's fixed fixed.

Speaker 5 (40:50):
What do you mean fixed?

Speaker 9 (40:51):
As far as you're concerned, it's all over over, just
like that. It will be over after your next job.
How you'll go to act, Just do the same thing
you always do.

Speaker 5 (41:02):
What's going to happen, You'll see?

Speaker 7 (41:06):
And I saw.

Speaker 4 (41:07):
I met him at the airport as usual, and we
chatted as usual, And then after each of us had
set his out to shakecase on an empty chair.

Speaker 5 (41:15):
I must say, Riches, you're getting to me an old timer,
as I saw, m cool, that's you really. First couple
of times thought we were going to lose you, but
you're like good wine pal, your mellow with age. You
better beat it, you'll miss your plane.

Speaker 4 (41:35):
I picked up the wrong briefcase as usual, and just
as I walked away, I turned around to look, I
saw some men suddenly converge on him, and they just
hustled him out of the terminal. The men did look
like police, and I became frightened. Was this Hudjanet would
help me? How would this stop them from sending the

(41:55):
pictures to mister Dolly. I worried about it all the
way to Paris, and there at the news stand, I
set the Ata shay case down on the ground, and
as usual, the man in the raincoat was waiting and
he picked up my Atta shaycase. He hadn't content feet
when a couple of gendarmes grabbed him.

Speaker 9 (42:18):
To that Richard Darling, your home or you know what happened?

Speaker 5 (42:22):
Both those men they were arrested. That's right, Well, how
does that help me?

Speaker 4 (42:25):
Mister Darling is definitely going to receive those photographs.

Speaker 9 (42:29):
Oh, I'm sure he will.

Speaker 5 (42:30):
Do you know what that means, He'll kick me out.
He won't tolerate that kind of conduct.

Speaker 9 (42:34):
I don't think he will.

Speaker 5 (42:36):
How can you say that, you know, mister Darling.

Speaker 9 (42:38):
Mister Darling has just received a letter from the police,
a letter I made sure of that, in which he
is told that an attempt would be made to black
leave you, certain photographs would be shown to him.

Speaker 5 (42:51):
Now he's going to get it for both sides.

Speaker 16 (42:53):
You see.

Speaker 9 (42:54):
He will be told that you were doing undercover work
for the police and that these pictures were made during
the line of duty. Oh and he is not to
even mention it to you in any way.

Speaker 7 (43:12):
Richard, you sent for me, mister Dolly.

Speaker 4 (43:14):
Yes, Richard, I think it's splendid that a private citizen,
a civilian, should go out of his way to assist
the authorities and undercover activities.

Speaker 7 (43:26):
Sir.

Speaker 5 (43:26):
No, I weren't supposed to.

Speaker 7 (43:28):
Say anything about it, but I.

Speaker 4 (43:31):
Want you to know that I appreciate what you've done
for law and order and moral of it.

Speaker 7 (43:38):
Thank you, sir.

Speaker 4 (43:46):
And there the matter must rest.

Speaker 7 (43:49):
Undercover activities.

Speaker 4 (43:50):
Indeed, I should tell you that Richard and Jeannette lived
happily ever after. Richard made that one mistake, and he
paid for it. And if some of you think he
should have paid more, well, what is it they say
about those who reside in glasshouses? I shall be back
in a few moments. This has been a story about

(44:23):
everyday people, non heroes, people who have no great talent
or ability, people who just get along as best they
can from day to day. People who have virtues and vices,
who range midway between the sinner and the saint. In short,
people very much like you and me. Our cast included

(44:47):
Mason Adams, E. V. Jester, and Robert Dryden. The entire
production was under the direction of Hyman Brown. And now
a preview of our next I'm a cop.

Speaker 9 (45:01):
A cop, Yeah, you put your pencil in ap but
you're a clerk. I love you, but I don't love you.
Why I don't even like you?

Speaker 5 (45:11):
Why?

Speaker 9 (45:12):
Because you give me the creeps?

Speaker 17 (45:14):
My face gives you the creeps.

Speaker 7 (45:18):
I'm ugly.

Speaker 17 (45:19):
I'm the ugliest man you ever seen in spades?

Speaker 9 (45:23):
How can get a nightmare just looking at you?

Speaker 7 (45:25):
All right?

Speaker 17 (45:26):
Would you like to never see my face anymore? I
can arrange for you never to see me again.

Speaker 5 (45:36):
Never do.

Speaker 17 (45:38):
You'll never see anybody's face anymore.

Speaker 9 (45:42):
Don't please, don't know, with a nice please.

Speaker 17 (45:48):
You'll never see anybody's face again, even the handsome ones.

Speaker 4 (45:53):
There Radio Mystery Theater. We're sponsored in park by a
Buick Mortar Division and General Electric.

Speaker 7 (46:00):
Missus E. G.

Speaker 4 (46:01):
Marshall, inviting you to return to our Mystery Theater for
another adventure in the macabre until next time, Pleasant Dream.

Speaker 18 (46:57):
Aliens in the Mind.

Speaker 19 (47:08):
Co starring Vincent Christ as Professor Curtis Lark and Peter
Cushing as John Cornelius.

Speaker 20 (47:26):
For as much as it hath pleased Almighty God to
take unto himself the soul of our brother, we commit
his body to the ground and to earth, ashes to ashes,

(47:47):
in the sure hope of the resurrection to eternal life
through our Lord Jesus christ Amy.

Speaker 7 (48:01):
Okay, that's that day.

Speaker 21 (48:03):
Well, we've been missing him.

Speaker 5 (48:05):
Dou Gie, the doctor.

Speaker 22 (48:07):
Twenty years has been with us. Do you know that
fellow at the grave site?

Speaker 5 (48:13):
Soon him before?

Speaker 22 (48:14):
I don't doubt we'll know him soon enough.

Speaker 23 (48:17):
Hi, the Minister's await him already.

Speaker 16 (48:20):
Old Donald's School has not wanting it a strange past
his greate.

Speaker 18 (48:26):
Part one Island Genesis.

Speaker 24 (48:31):
Good day to you, sir. I'm Donald's schooler, the minister here,
and you would be John Cornelius, a relative of the
doctor's maybe.

Speaker 14 (48:41):
No, just a friend, a very old friend. And have
you traveled far from London? I had hoped to be
here for the inquest and that was this morning. Accidental death,
of course tragic. Yes, could you tell me how he?
I mean, I readily fell from a.

Speaker 24 (49:02):
Cliff last Friday night. There was a heavy fog over
the island. We get a lot of it coming in
from the sea at this time of the year. It
seems he wandered off the cliff path. He was found
at the food of drochnahead four hundred and sixty feet.

Speaker 14 (49:17):
I see.

Speaker 24 (49:20):
You know there's no boat back to the mainland until tomorrow.

Speaker 14 (49:23):
Oh, yes, but I'm til there's an innl oh.

Speaker 24 (49:26):
Oh, no, you're welcome to stay at the mans.

Speaker 14 (49:28):
Well this that's very kind of you, not at all,
I insist.

Speaker 24 (49:32):
Well, thank you, Ay Mary, my housekeeper will be glad
to see a new face around the place.

Speaker 21 (49:45):
Mary, is that you minister?

Speaker 24 (49:50):
We have a guest, Mary and mister Carmilius. I'm glad
to meet you an old friend of the doctors.

Speaker 25 (49:56):
That's a sad day, sir. He was such a.

Speaker 24 (49:59):
Fine mister Cornelius. Can have the front geest throom, Mary,
can you not aye?

Speaker 21 (50:05):
Is that all you have with you?

Speaker 25 (50:07):
Just the one we bad?

Speaker 14 (50:08):
It's quite etdequate.

Speaker 13 (50:09):
I assure you I'll leave it with Mary.

Speaker 24 (50:11):
Mister Cornelius, thank you all.

Speaker 23 (50:13):
A way up and give the room and airry.

Speaker 24 (50:16):
Now you'll take a week ram just to warm you.

Speaker 14 (50:19):
A little whiskey would be most welcome. Thank you.

Speaker 24 (50:22):
Oh, I set yourself down, mister Carnelius, make yourself at home.

Speaker 14 (50:26):
That's lest kind. Thank you.

Speaker 24 (50:29):
Was it long since you've seen him?

Speaker 13 (50:31):
The doctor?

Speaker 14 (50:32):
We must be three or four years. I suppose we
wrote occasionally and kept promising to meet, but with the
distance and pressure of work. Well you know how it is.

Speaker 24 (50:40):
Hi, I can well imagine a here thank you, and
here's I have for you?

Speaker 14 (50:47):
God bless.

Speaker 24 (50:49):
And had you been corresponding lately with the doctor?

Speaker 14 (50:54):
No, I haven't heard from him for quite a while. Ah,
that's better.

Speaker 24 (51:02):
And he was your oldest friend, you see, one of them.

Speaker 14 (51:04):
We were inseparable in the old days, you and I
and a man called Curtislark cartis Lark.

Speaker 24 (51:10):
That's rather a quaint name, rather.

Speaker 14 (51:13):
A quaint man. I suppose a medical of course, the
three of us were together at the same hospital. You're
not free from aircraft noise.

Speaker 13 (51:22):
Even up here.

Speaker 24 (51:23):
And as the schooler, Oh, a helicopter from the naval
training station. It's not usual for them to fly so low.
Since you were at the same hospital, I take it
you are also a medical man. Yes, Should I not
be addressing you as doctor Cornelias? Then no, I'm a
certain ah here you be a specialist of some sort.

Speaker 14 (51:46):
Oh, yes, I'm a brain surgeon. Didn't you have a housekeeper.

Speaker 24 (51:51):
Molly Kayle and I or a fine woman.

Speaker 13 (51:54):
As she was at the service.

Speaker 14 (51:56):
Do you think she'd mind if I went out of
the house.

Speaker 24 (51:58):
I'm sure she'd expect it. Hm, why not know before
before it gets dark. I'll be glad to walk you
over there myself.

Speaker 14 (52:06):
Oh, that's very kind of you, minister.

Speaker 24 (52:09):
Come along man, mister Cornelius. Oh, if you could just
wait a moment, I better tell Mary we're going out.

Speaker 14 (52:16):
Certainly I'll be outside stretching my legs half fast, hmmm,
two minutes slow the devil?

Speaker 21 (52:39):
Oh, please now.

Speaker 14 (52:42):
My poor child. What is the matter.

Speaker 21 (52:44):
She's calling them, She's calling them a cab.

Speaker 26 (52:49):
Calling you, my dear, the fellowship, she's calling them away
from the fire.

Speaker 9 (52:54):
Who stop her?

Speaker 22 (52:56):
Stop her?

Speaker 16 (52:56):
Or he'll die too?

Speaker 14 (52:58):
Who will die?

Speaker 21 (53:00):
Who will? I? You will.

Speaker 14 (53:05):
Come here, my dear? What is your name?

Speaker 27 (53:09):
Laura?

Speaker 28 (53:10):
Laura?

Speaker 24 (53:10):
Come in sight at once?

Speaker 12 (53:12):
No, minister, I'm all right, I'm not hearing her voice.

Speaker 28 (53:17):
I'm not I'm.

Speaker 24 (53:24):
I'm sorry, mister Cornelius. I hope Laura wasn't bothering you,
as seems to be one of her bad days.

Speaker 14 (53:30):
What's wrong with her?

Speaker 24 (53:31):
Shack in the head. I'm afraid mental disorientation, the doctor
called it.

Speaker 14 (53:36):
Is she receiving any treatment?

Speaker 24 (53:38):
Prayer and faith in the Lord is the best possible treatment,
mister Cornelius. Many of the young folk and Lewis come
here troubled in spirit, and within a year or so
they're completely cured.

Speaker 1 (53:50):
That's why their parents send them to me.

Speaker 14 (53:53):
Really, are you a faith healer?

Speaker 24 (53:55):
Then no, mister Cornelius, I am just a shepherd to
my flock. Now shall we walk across to the doctor's house. Please,
it's just a few minutes over the headland. This is
Drachna head, mister Cornelius.

Speaker 14 (54:14):
Was it here that you fell?

Speaker 24 (54:15):
Ah down on those rocks? Seems rather a long way
straight from the path twenty four feet According to the coroner, he.

Speaker 14 (54:23):
Must have walked this way hundreds of times.

Speaker 24 (54:26):
You the thought that it was quite a fog we
had that night.

Speaker 14 (54:28):
Even so, the path here is wall to the bare rock,
but the mod you straight towards the edges of old grass,
thick grass.

Speaker 24 (54:34):
He was drunk, mister Cornelius. It wasn't said at the inquest,
of course, but everybody hears of the opinion that poor
doctor Dexter had taken a drop too.

Speaker 13 (54:43):
Much that night.

Speaker 14 (54:45):
That doesn't sound a bit like you?

Speaker 24 (54:47):
Wait, what's that well down there on the beach?

Speaker 13 (54:51):
You see?

Speaker 14 (54:52):
Where is there is some one down there?

Speaker 24 (54:54):
Ayes's taking the Cleff path up towards the doctor's house.
Come along, we'll no doubt run into him further along.

Speaker 14 (55:07):
Here we are much bigger than I expected.

Speaker 13 (55:10):
Hi.

Speaker 24 (55:10):
This was his surgery dispensary on the living quarters as well.

Speaker 25 (55:16):
Oh hello, minister.

Speaker 24 (55:18):
Hello, Molly, This is missus Kyle.

Speaker 14 (55:21):
Good afternoon, Missus Kyle.

Speaker 24 (55:23):
This is mister Cornelius Molly. He was a friend of
the doctors Oh, hi, hello there. Who is this now?

Speaker 14 (55:31):
Good lord? Is Curtis Locke? Where on earth did he
spring from?

Speaker 13 (55:35):
Hello? John? How are you?

Speaker 22 (55:37):
I'm fine, maw.

Speaker 14 (55:38):
Did you get here.

Speaker 13 (55:39):
By passenger jet, private charter plane and finally by one
of your Royal Navy's helicopters? A my in time?

Speaker 14 (55:47):
Not for Hugh's funerals, That's what you mean.

Speaker 13 (55:49):
When I did drive, but I was in wildest borneo
when I got the news. Oh, I'm sorry.

Speaker 14 (55:55):
Let me introduce you, Professor Curtis Locke, the minister, the
Reverend Donald's school professor, and Missus Kyle Hugh's house.

Speaker 25 (56:03):
William ad come inside, gentlemen.

Speaker 13 (56:06):
Thank you. After you, John, go street into the study,
if you would, If you would excuse me.

Speaker 25 (56:13):
Molly, Hey, you'll be wanting to get back to the
fellowship meeting.

Speaker 24 (56:17):
Fellowship, the Fellowship of the Kirk.

Speaker 14 (56:20):
Oh, I'll see you later then, Minister Hi, back.

Speaker 24 (56:23):
At the manch Good day to you, Professor habiantom Minister.

Speaker 14 (56:30):
Hmmm, early Edwardian Walnut hardly Hugh's taste.

Speaker 25 (56:34):
I would have thought, if it's the furniture you're talking about,
he bought it with the practice. It used to belong
to old dr Mingy's before. There's a picture over here
that you'll maybe recognized.

Speaker 13 (56:48):
Oh, yes, the class photograph.

Speaker 25 (56:51):
I think you're both there on it somewhere.

Speaker 14 (56:53):
Second room left, with you standing between us.

Speaker 13 (56:56):
You kids still remember the day when it was taken?
Really twenty years ago?

Speaker 14 (57:01):
No, it was nearly thirty.

Speaker 13 (57:03):
Oh, my goodness, all things considered, we still look remarkably young.

Speaker 14 (57:09):
All things considered, Courtish you probably need glasses?

Speaker 25 (57:12):
Happened when none of us getting any younger.

Speaker 13 (57:14):
Sir, missus Carl? Did he? I mean, did the doctor
ever wear glasses? Hey?

Speaker 25 (57:25):
He had a pair made last year just for reading.

Speaker 14 (57:29):
You know what time was it when the doctor went
out last Friday?

Speaker 25 (57:33):
I wasn't here that night, sir. I was over to
the mainland visit relatives.

Speaker 14 (57:38):
Oh I see, so you wouldn't know if he had
been drinking at all.

Speaker 25 (57:42):
No, sir, I'm afraid not. Can I get you gentlemen
something to eat?

Speaker 13 (57:48):
Oh that's an excellent idea. I had breakfast somewhere, but
I've quite forgotten where or even when it was.

Speaker 25 (57:56):
You must be started all away to see to it now.

Speaker 13 (57:58):
Oh, thank you you most Oh, dear dear John. I
can't tell you how glad I am to see you again.

Speaker 14 (58:06):
My dear fellow. I'm glad to see you too, and surprised. Surprised,
I'm astonished. It's less than a week since Hugh's death
was announced. It's quite incredible that you managed to get
here from where? Was it the wilds of Borneo?

Speaker 13 (58:18):
John, I wasn't in Borneo? Oh no, that was just
for the Minister's benefit. Ah, I'd left Borneo two days before.
I'm away here, and when I heard the news of
Hugh's death, I was actually making a stopover in Sydney, Australia.
You see, I received this letter from Hugh. Look you'd
better read it here.

Speaker 14 (58:39):
Thank you, My dear Curtis. Please read this scribble indulgently,
because it's extremely difficult for an island vegetable like me
to keep a steady leaf between lines. Hey, but it
doesn't make sense.

Speaker 13 (58:57):
Oh yes it does. Don't you remember that silly code
we devised when we suspected that horse faced matron of
opening our mail?

Speaker 14 (59:05):
Oh good lord, yes, let me see now? First too,
wasn't it right? First to and last two words in
every sentence?

Speaker 13 (59:13):
That's right? Now? You try it again, I know.

Speaker 14 (59:15):
Please read the last two between line right, A terrible
danger here, you must help me message in a terrible
danger here. It's as though he knew he.

Speaker 13 (59:31):
Was going to die, and who was going to kill him.

Speaker 14 (59:34):
You can't be serious.

Speaker 13 (59:35):
Well, he obviously thought his mayle was being intercepted.

Speaker 14 (59:38):
You can't suspect the postman.

Speaker 13 (59:40):
I don't even know the postman will then, and I
hardly know missus Kyle any better.

Speaker 14 (59:45):
Now that's preposterous.

Speaker 13 (59:46):
Well, someone was checking Hugh's mail.

Speaker 14 (59:48):
It doesn't follow they killed him, well, indeed, that anyone killed.

Speaker 13 (59:52):
Him, John, I found this pair of glasses on the beach,
shouldn't they're reading glasses.

Speaker 14 (01:00:00):
I can see that, But that's not necessarily Hughes.

Speaker 13 (01:00:03):
They were just about where his body would have been.

Speaker 14 (01:00:06):
Well, surely they would have been in the case.

Speaker 13 (01:00:08):
Hugh certainly had a case for them, John. Look, it's
right there on the desk, empty.

Speaker 14 (01:00:17):
But it still doesn't proven.

Speaker 13 (01:00:18):
Not in a court of law perhaps, but it's proof
enough for me. You can't really believe that Hugh or
anyone else, for that matter, would walk along a dangerous
cliff top at night in thick fog with a pair
of reading glasses stuck on his nose. It's just not possible.

Speaker 14 (01:00:36):
According to the minister, the general opinion is that Hugh
was drunk that much.

Speaker 13 (01:00:40):
John, that's not possible either. Why well, he swore off
liquor the night his wife died. Besides, I've seen the
autopsy report. Well, I made a courtesy call on the
coroner earlier today, before I arranged for the helicopter to
bring me over. But that's not a lot, I know,
I know. I think perhaps he was overwhelmed by my

(01:01:02):
medical reputation.

Speaker 14 (01:01:03):
I'm amazed. Perhaps we could come to the point, Curtis.

Speaker 13 (01:01:08):
The point, my dear John, is that, according to the
autopsy report, there was absolutely no trace of alcohol in
the body, not in the stomach, not in the blood,
not in the urine, none whatsoever.

Speaker 14 (01:01:20):
M curiusir and turiosir.

Speaker 13 (01:01:22):
Gosh, if we could only, if we only find something positive.

Speaker 14 (01:01:27):
What did you have in mind?

Speaker 13 (01:01:28):
I don't know, some notes of diary, a letter he
never dared send anything.

Speaker 14 (01:01:33):
Where do we start to look.

Speaker 13 (01:01:34):
Presumably where no one else would think of looking.

Speaker 14 (01:01:38):
You think he hit something.

Speaker 13 (01:01:39):
I certainly hope so. I would have done it in
his place.

Speaker 14 (01:01:43):
I'm sure you would.

Speaker 13 (01:01:44):
But don't just stand there, John, Try those filing cabinets.
Oh very well, nothing much in the desk. I'll try
these cupboards over here.

Speaker 14 (01:01:56):
Just medical reports here, what you expect?

Speaker 13 (01:02:00):
Really, Hey, there's a cassette recorder in here.

Speaker 14 (01:02:05):
I thought he was a high five man.

Speaker 13 (01:02:06):
Well he was.

Speaker 14 (01:02:07):
I can't imagine Mosco.

Speaker 13 (01:02:08):
The music had oh, Scottish folk music, see Chedi's the
Boston parbes. Never oh no, definitely not his se.

Speaker 14 (01:02:18):
If he had wanted light relief, he would have chosen
Vivaldi or Scarlettic.

Speaker 13 (01:02:22):
And certainly not on a cassette. He was too much
of a purist. Let's move on a bit.

Speaker 2 (01:02:32):
M enough.

Speaker 22 (01:02:37):
I've recorded message for John Cornelius, consultant surgeon to the
London Encepheery Hospital, or for Professor Curtis Lark of the
New York Institute of Paranormal Phenomena. I must admit from
the start that all my research records disappeared when my
study was burgled earlier in the year. Construe that how

(01:03:00):
you will. All that now remains is a notebook of
my observations, which I have lodged for safe keeping with
our old friend Wardlock.

Speaker 13 (01:03:10):
Who do you know anyone named Lock?

Speaker 14 (01:03:14):
I don't the only Lock I know had the misfortune
to be an encyclopedia. Are you talking, Ward Blocks Medical Encyclopedia.

Speaker 13 (01:03:24):
John, you're a genius and unsung genius. Yes, but we.

Speaker 14 (01:03:29):
Tend not to sing about it. On this idea of the Atlantic.

Speaker 13 (01:03:31):
Cut up, lock lock lock lock.

Speaker 14 (01:03:34):
That black Tom dear boy over on the left.

Speaker 13 (01:03:37):
Here it is Locks Medical Encyclopedia.

Speaker 14 (01:03:40):
Want to open it, Curtis, It won't bite you.

Speaker 7 (01:03:42):
Well?

Speaker 13 (01:03:43):
Look at that a halo has been cut into the center.

Speaker 14 (01:03:46):
Of the pages. Yes, but what's in size notebook?

Speaker 13 (01:03:49):
What else? I just returned moord Lock to, as you
would say, his appointed place in the order thing.

Speaker 14 (01:03:56):
Yes, but you'd better let me have that notebook. You're
always losing things.

Speaker 13 (01:04:00):
Are put it in a pock and I've even lost
the playback button. All right, there we are.

Speaker 22 (01:04:09):
If you can find time to contact Ward Locke, you
will see that my observations have led me to believe
that this island is in the throes of giving birth
to a new race, a mutant species. Physically they are human,
but my EEGs suggest that their brain is quite different
from ours. I know for a fact that they are

(01:04:32):
capable of some form of telepathy. It is the development
of this telepathic power during early adolescence that is directly
responsible for the high incidence of mental disorientation among the
younger people on the island. Almost invariably, the clinical symptoms
in these cases seem to disappear within about a year.

Speaker 14 (01:04:55):
Schoolers prayer and faith in the Lord.

Speaker 13 (01:04:58):
What's that supposed to me and to secures them?

Speaker 14 (01:05:01):
Or so he claims, the island of sickness he calls it.

Speaker 13 (01:05:04):
What Hugh is describing sounds more like an island genesis.

Speaker 14 (01:05:10):
Yes, I know, look, switch it on again.

Speaker 22 (01:05:12):
The single exception to this rule is a girl whose
development seems to have been arrested in the middle of
her own personal metamorphosis, as it were, so that she
retains all the disorientation symptoms. Logically, one would have expected
a complimentary arrest in the development of her brain, but
her eg suggests that her brain may in fact be

(01:05:36):
better developed.

Speaker 14 (01:05:37):
Than anyone else's.

Speaker 22 (01:05:39):
She has proved able on occasions to disrupt the telepathic
communication of other mutants, and this is what frightens me
to implant her own thoughts in their minds. It is
my belief that she may be a second phase mutant,

(01:06:00):
the prototype of a genetically selected master race. Her name
is Flora Kirik. You pray God she is only the prototype.
If there are others like her, the whole future of
mankind as we know it could be threatened.

Speaker 29 (01:06:19):
My god.

Speaker 14 (01:06:22):
Well, at least we know why you died, missus Kyle.

Speaker 13 (01:06:28):
I thought I heard the doctor you did, Missus Carle,
but it was only a tape recording.

Speaker 14 (01:06:34):
Sit down, missus Kyle.

Speaker 25 (01:06:37):
Thank you, thank you very much.

Speaker 13 (01:06:41):
Well I can understand it. It must have given you
quite a turn. Look, you'd better drink this, thank you.

Speaker 25 (01:06:52):
What a lasted.

Speaker 13 (01:06:54):
It shouldn't be, it said pure mald on the label.
Go on, drink it out my heart.

Speaker 25 (01:06:59):
Still, I just wasn't expecting it.

Speaker 14 (01:07:03):
You know you asked for the moment.

Speaker 13 (01:07:05):
You'll soon feel better, yes, now, look this will help
you to relax.

Speaker 25 (01:07:10):
I'm feeling quite dizzy.

Speaker 13 (01:07:11):
No, don't get up, don't get up, just rest there.

Speaker 14 (01:07:15):
Oh oh, the poor woman's fainted.

Speaker 13 (01:07:18):
It must be the shock of don't be an ass John.
I slipped of what is euphemistically known as a mickey finn.

Speaker 14 (01:07:25):
A mickey, it's nurse smell. What on earth was it?

Speaker 13 (01:07:28):
There was a curare derivative out in Borneo. There's a
tribe of headhunters who use it as a local anesthetic.

Speaker 14 (01:07:36):
Very interesting, John, but harghly relevant unless you intend taking
missus Kyle's head as a trophy now.

Speaker 13 (01:07:43):
But she may intend taking mine or yours, for that matter.
Let's be quite clear about our situation. John Hugh was killed,
presumably by mutants because he knew too much about him.
If they discover how much we know, we won't have
a snowballs chance in hell of getting off this island alive.

Speaker 14 (01:08:02):
But you surely don't suspect missus Carle of being a.

Speaker 13 (01:08:04):
Mutant until such time as we learn how to distinguish
mutants from non mutants. I intend, in the interests of
self preservation, to suspect everyone on this island of being
a mutant.

Speaker 14 (01:08:17):
Curtis, I met a girl called Flora earlier today at
the men's the Minister's house. She was about eighteen, I
shud think well past the age of puberty. Anyway, she
had all the symptoms of the case that you.

Speaker 13 (01:08:31):
Spoke of, the second phase mutant.

Speaker 14 (01:08:33):
It could be away off.

Speaker 13 (01:08:35):
To now the man's of course, that girl's our only lead.
What about missus Kyle, Oh, she'll sleep it off in
about a half hour or so. Are you coming?

Speaker 14 (01:08:44):
Just collecting the cassette?

Speaker 13 (01:08:47):
Very good thinking, my dear John.

Speaker 14 (01:08:50):
Thank you, right now, let's go.

Speaker 13 (01:08:55):
I'm coming.

Speaker 14 (01:09:02):
Look, Curtis, something's going on in the church.

Speaker 13 (01:09:05):
The lights on must be some sort of service the
fellowship meeting is that's right.

Speaker 14 (01:09:11):
The minister mentioned deserted Flora. She says something about calling
them away from the fire.

Speaker 7 (01:09:16):
What fire?

Speaker 14 (01:09:17):
I don't know.

Speaker 13 (01:09:18):
Then I think it's time we found out.

Speaker 27 (01:09:20):
Come on, I call you out to the House of God.

Speaker 13 (01:09:36):
In times of John, give me a leg up. I
want to do a liberal surrup picious eaves dropping.

Speaker 14 (01:09:47):
Says, you're overweight. Down it all those hot dogs, stuff it. Well,
let me down.

Speaker 29 (01:09:54):
It's the greatest of pleasure.

Speaker 13 (01:09:56):
There are rows and rows of them in there, just sitting.
They're like so many such listen.

Speaker 25 (01:10:04):
His sens handy work. It should be cast in alat.

Speaker 27 (01:10:09):
Of darkness, all at ever lasting hell fire.

Speaker 13 (01:10:15):
Those people make the Spanish inquisitions sound like a parlor game.

Speaker 23 (01:10:20):
If the devil's handiwork were consumed in eternal hell fire, and.

Speaker 28 (01:10:27):
I would not know from the house of God to save.

Speaker 22 (01:10:32):
It day and the asses should.

Speaker 14 (01:10:35):
Be cast Curtis, there's a fire up there on the hill.

Speaker 13 (01:10:38):
Oo, what a fire. It looks like the whole house
has gone up in flames Hugh's house.

Speaker 14 (01:10:45):
Yes, I've just remembered something worse. When I talked to Flora,
she said that if I didn't stop her calling them
away from the fire, I had died too.

Speaker 5 (01:10:55):
You.

Speaker 14 (01:10:56):
I didn't understand at the time, but I do now.
They wanted us to be in that house.

Speaker 13 (01:11:01):
And they will just sit there in their church and
let us quietly burn to death.

Speaker 14 (01:11:10):
Flora, what are you doing here.

Speaker 16 (01:11:13):
Waiting for her to die?

Speaker 14 (01:11:17):
Missus Kyle. She's up there in that inferno, probably still unconscious.

Speaker 22 (01:11:22):
She's awake.

Speaker 13 (01:11:23):
Now, what's going on in the church?

Speaker 26 (01:11:27):
She is calling them, calling them to the fires.

Speaker 30 (01:11:32):
sEH, No, see where you are?

Speaker 31 (01:11:48):
Sleepy, read good?

Speaker 28 (01:11:59):
Run the red is mine?

Speaker 14 (01:12:03):
Not at all?

Speaker 15 (01:12:05):
No?

Speaker 28 (01:12:08):
Not why lost along? That's not it? I again said,
there's funny, it is over.

Speaker 14 (01:12:43):
But she was calling them.

Speaker 16 (01:12:45):
Why didn't they go because I was telling them to
step Why for?

Speaker 14 (01:12:51):
Why?

Speaker 16 (01:12:52):
Because now Lewis is mine?

Speaker 21 (01:12:58):
Lewis is mine?

Speaker 13 (01:13:03):
So Missus Kyle was a second phase mutant two.

Speaker 14 (01:13:08):
You realize what that means.

Speaker 13 (01:13:09):
Yes, it means that Flora isn't just a prototype Hugh's
so called master Raises has been with us for at
least fifty years.

Speaker 14 (01:13:22):
Fifty years, three generations.

Speaker 13 (01:13:26):
And God said, go forth and multiply.

Speaker 19 (01:13:42):
That was Part one of Aliens in the Mind, co
starring Vincent Price as Curtis Knark and Peter Cushing as
John Cornelius, with Henry's Tamper as Donald Schuller, Sondra Clark,
Flora Curie, Shirley Dixon, Missus Kyle, Irene Suckcliffe, Mary and
Fraser Carr Doctor Hugh Dexter. Aliens in the Mind was

(01:14:05):
written by Rene Basilico from an idea by Robert Holmes.
Production by John Dias.

Speaker 18 (01:14:39):
Aliens in the Mind.

Speaker 19 (01:14:49):
Co starring Vincent Price as Curtis Mark and Peter Cushing
as John Cornelius on the remote Scottish isle of Luig,

(01:15:11):
Lark and Cornelius are convinced that the death of their friend,
doctor Hugh Dexter was no accident. From his research notes,
they diagnosed the island's sickness as early symptoms of a
strange genetic mutation affecting many of the island's inhabitants, turning
them into zombies. Blindly obeying orders from an unknown source.

(01:15:35):
The key to the mystery seems to be an apparently
simple minded eighteen year old girl, Flora Kiri, who saves
them from burning to death in a fire that destroys
doctor Dexter's house and with it, the housekeeper Molly Kyle.

Speaker 1 (01:15:52):
I no, do not.

Speaker 8 (01:16:06):
Why that's not.

Speaker 28 (01:16:12):
A fun.

Speaker 11 (01:16:14):
And yeah, that's funny, it is.

Speaker 9 (01:16:35):
But she was calling them Why didn't they go because
I was telling them to Steve.

Speaker 26 (01:16:42):
Why why because now Lewis is mine, Louis is mine?

Speaker 14 (01:16:58):
Hot to how did exodus.

Speaker 13 (01:17:14):
Come here? Morning? John? You're still in bed?

Speaker 14 (01:17:21):
Where else should one be at this unearthly hour? Ah? Look,
and I distinctly said, foreman's look at it? Damn things raw.

Speaker 13 (01:17:28):
You know, in some parts of the world, raw egg
is considered quite delicacy.

Speaker 14 (01:17:32):
We not here, it isn't Did you discover anything of
value in huge notes?

Speaker 13 (01:17:37):
Just bits and pieces. It's like a jigsaw puzzle with
most of the pieces missing, and.

Speaker 14 (01:17:42):
There's more than we expected. We'll have to put together
our own picture and then see how huge pieces fit in.

Speaker 13 (01:17:48):
Well, now let's see what have we got so farm.

Speaker 14 (01:17:52):
I've got a slight feeling of nausea from this revolting.

Speaker 13 (01:17:54):
Egg perfidious albumen, Please not at this time.

Speaker 14 (01:17:58):
And they look poormer some coffee.

Speaker 7 (01:18:00):
Sure it's my pleasure. No thanks.

Speaker 14 (01:18:05):
Now what have you got so far? The fact that
there occurred on this island a mutation of the human
species brought about by some genetic transformation of the brain
which enables it to receive some form of telepathic communication.

Speaker 13 (01:18:21):
Only to receive. Now, what about transmitting telepathic message?

Speaker 14 (01:18:25):
But that's not proven, is it?

Speaker 1 (01:18:26):
Now?

Speaker 14 (01:18:27):
We commit certain of only two cases, Moli Kyle, who
is now dead presumably, and Flora Kiri, who at best
is an imperfect example of a different, more highly developed mutation.
What Hugh was pleased to call the master.

Speaker 13 (01:18:41):
Race controllers would be a more accurate description of those
two bizarre ladies. They both seem to have this power
of implanting their own thoughts, their own will, in the
minds of other mutants.

Speaker 14 (01:18:54):
And so what ultwarately looked like ordinary human being had
become in fact extensions are the mind of the controller
without even being aware of it. That's terrifying.

Speaker 13 (01:19:04):
Think what Hitler or Stalin might have done with power
like that.

Speaker 14 (01:19:08):
Think what they did without it.

Speaker 13 (01:19:09):
According to Hugh's notes in the twenty years he was
on the island, there were one hundred and twenty cases
of mental disorientation, mutant metamorphosis what you will, which gives
us one hundred and twenty mutants under the age of say,
thirty three, and at least as many over that age
two hundred and fifty are all told, and all totally

(01:19:32):
indistinguishable from the rest of the inhabit except for Flora.

Speaker 14 (01:19:36):
Yes, except for Flora. We've got to get that girl
to London. It's the only way.

Speaker 13 (01:19:41):
Oh now, wait a minute, hang on, that could be
a pretty tall order.

Speaker 14 (01:19:44):
We must do it somehow. We need to run tests
on our medical checks.

Speaker 13 (01:19:48):
And do all the other things that Hugh Dexter tried
to do precisely and got himself murdered for you know
that blazed last night at here. His praise was no accident, John,
It was meant for someone out here just doesn't like
us knowing too much. That's why we have to get
Flora away from here. Surely you see, well, I can
see the sense in it, but what I can't see

(01:20:09):
is how to go about it.

Speaker 14 (01:20:10):
We'll start with the Minister.

Speaker 13 (01:20:12):
I'd like our chance. It's a lot better if I
disliked him a little less. That man really spooks me. Now, John,
about the Minister, there's no doubt that he's a mutant. Well,
he is a mutant, isn't.

Speaker 14 (01:20:31):
He Almost certainly on the evidence we have.

Speaker 13 (01:20:33):
But he's not a controller.

Speaker 14 (01:20:36):
I would say it's unlikely.

Speaker 15 (01:20:38):
You know.

Speaker 13 (01:20:38):
Once Flora realized Missus Kyle was dead, she said Lewig
was hers. I don't believe she would have dared say
that if the Minister was also a controller.

Speaker 14 (01:20:49):
Know, And when I first met her yesterday she seemed
completely overall by him. Mind you, here's a trifle of
a bearing you.

Speaker 13 (01:20:55):
Have to mention unpleasant. He's much too sinister for my case,
a sinister minister. Still, this little visit of ours should
dant his sanktimonious composure also, And I feel sure he hoped,
perhaps he even prayed, that we died last night.

Speaker 14 (01:21:16):
Well we'll soon find out.

Speaker 13 (01:21:20):
The next few minutes could be quite interesting.

Speaker 14 (01:21:26):
Oh, mister Carnelius, whatever's the matter?

Speaker 7 (01:21:30):
Mary?

Speaker 21 (01:21:31):
Come come in?

Speaker 5 (01:21:34):
Well?

Speaker 14 (01:21:34):
Thank you?

Speaker 13 (01:21:35):
You look as though you'd seen a ghost.

Speaker 25 (01:21:38):
Well we we thought you must be dead. What made
you think that you're on fire? Up at the doctor's
house last night?

Speaker 13 (01:21:47):
We had gone by then, Yes, fortunate, wasn't it?

Speaker 17 (01:21:51):
Ay?

Speaker 32 (01:21:52):
But mister Cornelias said he'd be staying here for the night,
and when he didn't come back.

Speaker 13 (01:21:57):
It's entirely mine Mary. I persuaded him to keep me
company at the inn.

Speaker 25 (01:22:02):
Hey, well as well, I suppose I'll get the minister.

Speaker 13 (01:22:12):
Minister, yes, Mary, Well what is it?

Speaker 5 (01:22:16):
Mary?

Speaker 25 (01:22:17):
There to visitorous to see mister Cornelius and.

Speaker 13 (01:22:20):
Professor Professor Lark returned from the dead. Minister, What you
did manage to escape?

Speaker 14 (01:22:28):
We left before the fire broke out.

Speaker 24 (01:22:30):
I you were fortunate.

Speaker 25 (01:22:32):
I feared the worst for Mary.

Speaker 21 (01:22:36):
Yes, yes, minister.

Speaker 13 (01:22:39):
What about missus Kyle?

Speaker 24 (01:22:41):
There's no real tragedy for you. Such a fine woman,
a real pillar of strength in the community.

Speaker 13 (01:22:47):
She is dead?

Speaker 1 (01:22:47):
Then?

Speaker 5 (01:22:48):
Hi?

Speaker 24 (01:22:48):
They brought down the body this morning or what was
left of it? Strange that they should have found her
in the doctor's study. Why not she should have She
was usually out and about in the garden at that
time of the day.

Speaker 13 (01:23:02):
Maybe she was looking for something.

Speaker 14 (01:23:06):
Do they know what caused the file?

Speaker 1 (01:23:08):
No?

Speaker 24 (01:23:08):
And I doubt they e her.

Speaker 15 (01:23:09):
Well.

Speaker 24 (01:23:10):
Frankly, when will you be returning to London?

Speaker 13 (01:23:14):
Will get the boat back? This afternoon. Most probably.

Speaker 24 (01:23:16):
I hi very wise, and we'd like to take Flora
with us. Flora, what would you want to do a
thing like that? For she is ill, Minister Ay, she
has the eyel on sickness. We don't need a brain
surgeon to tell us.

Speaker 14 (01:23:28):
That, Minister, I suspect that she has a tumor, a
tumor on the brain. She has all the classic symptoms,
and it's the most likely explanation why she has not
returned to normal like everyone else has done.

Speaker 24 (01:23:43):
Ah, she she and I suppose you will be wanting
to operate on her yourself, missed her, High and mighty Cornelius.

Speaker 14 (01:23:52):
Only if my first diagnosis proves correct.

Speaker 24 (01:23:54):
Well, I'm not committing that poor we elasi to having
our brain meddled with.

Speaker 13 (01:23:58):
I have no right anyway, You don't need one. She
has a perfect right of her own. She's of age.

Speaker 24 (01:24:05):
But she is not accomplishments?

Speaker 13 (01:24:08):
Is she not?

Speaker 14 (01:24:09):
All the time?

Speaker 13 (01:24:10):
Certainly some of the time. Her mentors is so concisus
it's almost out of sight.

Speaker 24 (01:24:14):
And what's that supported to mean?

Speaker 13 (01:24:16):
Just a manner of speaking, Minister, Well, Mary, what is
the mother?

Speaker 25 (01:24:21):
Have you seen Flora this morning?

Speaker 32 (01:24:23):
Minister No, why her bed has not been slept, and
she couldn't have come back last night.

Speaker 13 (01:24:28):
When it was the last time you saw her, Mary.

Speaker 25 (01:24:31):
When when she went out last evening.

Speaker 14 (01:24:33):
We'd better start looking for her now.

Speaker 24 (01:24:35):
I'm going straight down to the police station, the police station.
We can't at that girl roam around loose on the island.

Speaker 14 (01:24:39):
We've got to find her before she does some harm
to herself. My court, Mary, if you would, yes, yes, minister,
I'll come with you, minister.

Speaker 13 (01:24:48):
And what about you, professor No no, I had the
two his company just wander up to Hugh's house and
poke around in the ashes.

Speaker 22 (01:25:02):
You won't find much in there.

Speaker 13 (01:25:04):
What oh, yeah, you're right, officer.

Speaker 22 (01:25:08):
Sergeant, if you don't mind, sir, Sergeant mcbenney.

Speaker 13 (01:25:12):
Okay, sergeant, did the ministry send you, yes, sir? What
to keep an eye on me?

Speaker 14 (01:25:20):
To help you, sir.

Speaker 22 (01:25:21):
If you want.

Speaker 13 (01:25:23):
Nice of you.

Speaker 22 (01:25:25):
It's only two minutes on the bike. What you're we
looking for?

Speaker 13 (01:25:30):
By the way, I really don't know some of doctor
Dexter's research papers. Perhaps now, I don't think much could
have survived this. It's one of the most comprehensive fires
I've ever seen. Just as well, if you ask me.

Speaker 22 (01:25:43):
Some of the church fellowship took a great exception to
doctor Dexter's researches.

Speaker 13 (01:25:48):
Now why would they do that?

Speaker 22 (01:25:50):
Well, so over the past few years, those researches, as
you call them, seem to be aimed exclusively at the fellowship.
Come on, and to no one else. Practically every single
member of the fellowship had been investigated by doctor Dexter
at some time or another.

Speaker 13 (01:26:06):
Investigated side and all that's police language.

Speaker 22 (01:26:10):
You mean examined you, sir, I me mean investigated, professor,
brain pictures, blood samples and the like. He even went
into our family backgrounds our ancestry. Ough, it was an investigation,
right enough.

Speaker 13 (01:26:27):
Did he ever investigate you, sergeant?

Speaker 22 (01:26:31):
Yay, sir? He said it was for the influenza that
was just last year.

Speaker 13 (01:26:38):
So you're a member of the fellowship too, Eh.

Speaker 22 (01:26:42):
Well, I don't think you're going to find anything here, Professor.

Speaker 13 (01:26:47):
I guess you're right.

Speaker 22 (01:26:50):
I'll walk you back to the manse see if there's
any news what.

Speaker 13 (01:26:53):
Of young Flora. So you know about that, as I
was there when they found out.

Speaker 22 (01:27:02):
Hold on, sir, I'll just fetch.

Speaker 33 (01:27:04):
My bike, okay, I am I wonder what makes a
girl like that run off you mean Flora.

Speaker 22 (01:27:14):
Yeah, well, I hear you're wanting to operate on her head,
and she might not want to see it opened up
like a can of beans. It is her head, after all.

Speaker 13 (01:27:26):
But no one's told her about that yet. Maybe she
doesn't need to be told.

Speaker 22 (01:27:31):
Oh dear God, are you ready?

Speaker 14 (01:27:34):
No, sir, howkay?

Speaker 13 (01:27:35):
I'm coming.

Speaker 22 (01:27:42):
This is the beach road round the head. It's a
wee bit further than the path over the top, but
it's easier for me with the bike at all?

Speaker 13 (01:27:51):
Is that he dropping the head?

Speaker 22 (01:27:54):
Eye, sir, straight up above your.

Speaker 13 (01:27:56):
Long way to fall? Poor hum?

Speaker 22 (01:28:01):
It was an open and shut case, p face.

Speaker 13 (01:28:03):
Not open enough, sergeant, and shut too damn quick. Someone
up there.

Speaker 22 (01:28:09):
You couldn't see them from here.

Speaker 14 (01:28:10):
Even if there was.

Speaker 22 (01:28:12):
Nobody goes too near the edge. It's in danger of
giving way as it is.

Speaker 13 (01:28:17):
There's someone up there, now, you know.

Speaker 22 (01:28:19):
There are always we payables falling. It's the wind in
the rain that does it.

Speaker 14 (01:28:25):
Look out the cliff coming down, and good lord, what
was that?

Speaker 4 (01:28:43):
Oh?

Speaker 24 (01:28:43):
Nothing, it's just a cliff. There's been a lot of
rain recently, must have weakened the overhang. It's fortunate that
there was no one underneath, but there was Look, hi,
I there's two of them. It looks like Sergeant mcbenny.
Come on, we're best here.

Speaker 16 (01:29:01):
That all right?

Speaker 10 (01:29:09):
Are you hurt?

Speaker 5 (01:29:10):
Oh?

Speaker 13 (01:29:11):
I never felt better?

Speaker 14 (01:29:12):
What happened?

Speaker 13 (01:29:14):
That damn cliff tried to.

Speaker 22 (01:29:15):
Pull down and it near succeeded to.

Speaker 14 (01:29:20):
One man another drop the heads a pretty dangerous place.

Speaker 13 (01:29:23):
Especially to foreigners. What are you all doing here? Anyway?

Speaker 24 (01:29:28):
There's been news of Florida?

Speaker 14 (01:29:29):
Oh well, apparently she's been seen near an old bomb
which bardon is this.

Speaker 24 (01:29:35):
Old Mackenzie's place. One of your men brought the news
not five minutes since we've just an our way over there.

Speaker 22 (01:29:49):
I wondered what put it into her head to come
out here?

Speaker 14 (01:29:52):
Why did Flora stable you in the first place, Minister,
our parents center because she was troubled in spirit and
the will stayed with her.

Speaker 22 (01:30:01):
More's the pity?

Speaker 13 (01:30:02):
What about her parents, Minister, with the members of the fellowship,
our mother was but our.

Speaker 24 (01:30:06):
Father was an ungodly man.

Speaker 22 (01:30:08):
They were happy for Flora to stay with him her. Further,
it wasn't Old Keery kicked up a fuss about it.
Isn't that the right minister?

Speaker 12 (01:30:16):
Right?

Speaker 1 (01:30:17):
Enough?

Speaker 13 (01:30:17):
Is everyone talking about them in the past tense and
so they were dead.

Speaker 22 (01:30:21):
They are dead. They died about two four years ago,
a terrible accident.

Speaker 13 (01:30:28):
Not a fire by any chair.

Speaker 14 (01:30:31):
Hey, it was a fire.

Speaker 22 (01:30:34):
For if they said you must be fae.

Speaker 13 (01:30:36):
This island must be very inflammable. All right, that's the
bar up I head.

Speaker 22 (01:30:41):
Now, are you sure this is the right place, Minister?
It seems odd for elasity come here.

Speaker 24 (01:30:46):
It's one of your own men who told us shot.

Speaker 22 (01:30:48):
It seems ridiculous coming all the way up here. It's
a wild ghost chase.

Speaker 13 (01:30:52):
If you ask me, perhaps we are a turned back. Sergeant.

Speaker 24 (01:30:56):
There's no point in going into a police hrym.

Speaker 14 (01:31:00):
Stay out.

Speaker 8 (01:31:01):
She's not there.

Speaker 14 (01:31:02):
I tell you that's easily proved. Sergeant.

Speaker 22 (01:31:06):
Stay out of that man.

Speaker 13 (01:31:08):
Fine, don't argue with him. John, I'm ordering.

Speaker 22 (01:31:12):
You to stay out, and I am telling you I'm
going and keep out. I tell you keep him out.

Speaker 14 (01:31:20):
He mustn't come in.

Speaker 13 (01:31:22):
Take your hat off, my.

Speaker 28 (01:31:26):
Leave the man.

Speaker 13 (01:31:27):
It must not tell you what was all that about?
The police sergeant's are mutant. Didn't you see his eyes?

Speaker 8 (01:31:42):
Then?

Speaker 14 (01:31:42):
Why is he fighting the minister of all people?

Speaker 13 (01:31:44):
You're right, it doesn't make sense.

Speaker 14 (01:31:46):
Unless the Minister isn't a mutant which knocks our theory
on the head.

Speaker 13 (01:31:49):
I can't work that, or not, at least not now.
Come on, Flora, must be in here.

Speaker 21 (01:32:00):
Keep him out, keep.

Speaker 34 (01:32:03):
Him out over here in the corner, keep him out,
keep him out.

Speaker 14 (01:32:10):
It's all right, Flora, it's all over now. There's nothing
to be flattened of here. Blow your nose on.

Speaker 13 (01:32:16):
There, Flora. Can you make the policeman go home?

Speaker 14 (01:32:22):
What about the minister? O?

Speaker 21 (01:32:24):
Minister, Oh, keep him away.

Speaker 13 (01:32:27):
Minister's not here, Flora. Honestly, at least he's taking no
further interest in the proceedings. I think the sergeant hit
him with his nightstick truncheon. All right, the minister's asleep, Flora.

Speaker 14 (01:32:41):
You'll never find out about your being here unless Sergeant
macbinnie tells him.

Speaker 15 (01:32:46):
So.

Speaker 14 (01:32:47):
I want Sergeant macbinnie to go away, don't you, Yes,
I want I want Sergeant macbinnie.

Speaker 9 (01:32:59):
I want Sergeant mcbinny.

Speaker 35 (01:33:04):
To go to go away from him here. Wish hard, Flora,
wish Sarteant mcbinnie away from here.

Speaker 9 (01:33:16):
I wish Sergeant mcbinny away from here.

Speaker 13 (01:33:29):
He's going. He just turned and he's walking away like
a sleepwalk.

Speaker 14 (01:33:35):
Bye bye, Sergeant mcbinnie, Bye bye.

Speaker 13 (01:33:40):
I hate breaking things up, John, but I think it's
time we were moving out. That boat leaves in an.

Speaker 14 (01:33:45):
Hour, right, oh, Flora, I thought it might be rather
fun to go on a boat. Have you ever been
on one?

Speaker 21 (01:33:53):
No, Minister always for Babney.

Speaker 14 (01:33:55):
Well we won't let the Minister know. We'll just sneak
on board without telling him. Come on, then take my hand.
Uncle Cornelius is in charge now, Uncle Cornelius, you can
forget all about that, Holida, old minister.

Speaker 13 (01:34:10):
Uncle, Uncle Cornelius. Hey, wait for me, Uncle Cornelius.

Speaker 22 (01:34:21):
Mm hmmm, welcome a port side.

Speaker 36 (01:34:26):
May have your tickets please?

Speaker 24 (01:34:27):
Yes, there's three of us, Thank you very.

Speaker 1 (01:34:29):
Much, sir.

Speaker 22 (01:34:30):
Where are the cabins, Well, they're both after, one on
the port side, the other on the.

Speaker 7 (01:34:35):
Start of it.

Speaker 13 (01:34:35):
Harris is a cabinet after on the port side side.
Come right, John, Flora, after you, Flora, my dear, thank you.
The cabin is aft on the port side wherever.

Speaker 14 (01:34:46):
That is straight ahead on this side.

Speaker 13 (01:34:55):
Mmm, cabinet here we are, Hey, your cabin wait you corny,
do we have.

Speaker 11 (01:35:02):
To go in there?

Speaker 26 (01:35:04):
You don't want to, my dear, I want to stay
outside and look at all the people.

Speaker 14 (01:35:07):
All right, you do that, Curtis. We must keep an
eye on her. The least little thing could set her
off again.

Speaker 13 (01:35:13):
You mayy, you stay with the John. You're doing just fine.
I'll see if I can get some drinks brought up
to the cabin.

Speaker 14 (01:35:19):
Huh, Flora, would you like something to drink? What can
I have anything?

Speaker 4 (01:35:23):
You like?

Speaker 21 (01:35:25):
Could I have some wine?

Speaker 14 (01:35:27):
Why?

Speaker 13 (01:35:27):
Well, why not? She's over age? Whine it shall be
my lady. Won't take me a minute.

Speaker 21 (01:35:32):
Look, Look there's Mary down there, well down there by
the gangway.

Speaker 14 (01:35:37):
Oh yes, I wish.

Speaker 21 (01:35:39):
Mary could come. She'd love a boat, right.

Speaker 14 (01:35:42):
I shouldn't think she'd want to come.

Speaker 21 (01:35:43):
She'd want to if I wanted her to.

Speaker 14 (01:35:46):
Oh yes, I'm sure she would.

Speaker 21 (01:35:48):
Well, then I do want her to come, Flora.

Speaker 9 (01:35:51):
No, come on, little Mary, come for a boat to.

Speaker 14 (01:35:56):
No, Flaa. She doesn't want to come, she hasn't got time.
Want her to come?

Speaker 13 (01:36:01):
She will come.

Speaker 28 (01:36:03):
She has to.

Speaker 1 (01:36:08):
Welcome aboard, madam.

Speaker 11 (01:36:10):
I must have your ticket.

Speaker 13 (01:36:12):
I must go on, John, I've had the drinks put
in the cabin. The wine glass is her because it's.

Speaker 14 (01:36:22):
What the hell's going on? She's trying to call Mary
on board. Now, Flora, they won't let her almad out.
The ticket be reasonable.

Speaker 13 (01:36:29):
Why did you come and have a glass of wine
with dust or to celebrate?

Speaker 21 (01:36:33):
No, I want Mary to come where she can't and
I'm not coming.

Speaker 25 (01:36:38):
I don't want a boat trip.

Speaker 13 (01:36:40):
We can't get off now.

Speaker 14 (01:36:41):
Flora, it's too late to.

Speaker 13 (01:36:42):
Get into the cabin. Didn't here alone? No, I want
your care. Oh pursu how long before.

Speaker 24 (01:36:54):
We say any moment?

Speaker 17 (01:36:56):
Now?

Speaker 22 (01:36:56):
The but which was all that?

Speaker 13 (01:36:58):
Oh it's nothing. Person, just to this spoiled child who
doesn't want to go back home to London.

Speaker 36 (01:37:03):
I don't blame her.

Speaker 37 (01:37:04):
He wouldn't get me going into a big city burrow
at tea in China.

Speaker 13 (01:37:09):
No good shouting, Flora. You'll just stay there now until
we sail.

Speaker 22 (01:37:18):
Your ticket, spiezir, make me off your ticket, spiece.

Speaker 5 (01:37:24):
Look here.

Speaker 13 (01:37:28):
Me right, you go?

Speaker 8 (01:37:30):
Then down there when you just sam from.

Speaker 1 (01:37:35):
Me?

Speaker 8 (01:37:38):
I want you.

Speaker 13 (01:37:41):
I'm John, Let me in, Let me in, Oh my goodness, John,
do something. She must be calling every mutant on the
island to be a riot if we don't get her
under control.

Speaker 14 (01:37:56):
Any Way to do that is to knock her out exactly.

Speaker 24 (01:37:59):
And he said, m M.

Speaker 13 (01:38:01):
Just to these two, pop them in her wine grass
and make her drink. That should do the trick. I
hope you know what you're doing, trust me, John. Anyway,
I can't stay here chatting with you. I've got an
invasion to repel. And don't forget to lock the door
after me.

Speaker 18 (01:38:16):
Oh, I don't.

Speaker 13 (01:38:20):
Be off.

Speaker 1 (01:38:21):
Kick me off, it's locked, purser hit me off?

Speaker 13 (01:38:24):
Oh my god, no, you just stop kicking that door down?

Speaker 10 (01:38:28):
Off John for me?

Speaker 13 (01:38:31):
Twitcher off with you?

Speaker 8 (01:38:32):
Oh no, do come.

Speaker 13 (01:38:37):
You don't come off?

Speaker 36 (01:38:41):
Okay, what did you doing?

Speaker 22 (01:38:46):
I beg your pardon. I'm awfully sorry.

Speaker 13 (01:38:50):
Success quite all right, person. Well I thought you were
going to fall, so I just grabbed you.

Speaker 36 (01:38:56):
Thank you, thank you very much.

Speaker 13 (01:38:59):
You're hitting all right now.

Speaker 36 (01:39:00):
Yes, yes, thank you, sir.

Speaker 14 (01:39:03):
I wonder what came over me.

Speaker 37 (01:39:06):
Anyway, If you'll excuse me, sir, we'll be sailing almost immediately.

Speaker 36 (01:39:11):
I must attend to my duty.

Speaker 13 (01:39:13):
John, open up, John, it's me Curtis.

Speaker 14 (01:39:17):
I mean, what have you been doing?

Speaker 13 (01:39:20):
Oh I've been swapping bedtime stories with the purser. Where's
that drink, Jina? I think I've earned it.

Speaker 14 (01:39:26):
They are dear boy Scotch as usual. Oh boy, I
hope you don't mind. We started without you, didn't we?

Speaker 21 (01:39:35):
Yes, we did, Uncle Cornelius. Oh it's lovely.

Speaker 13 (01:39:39):
Say you like the wine, Flora?

Speaker 21 (01:39:41):
Yes, you never let me drink wine.

Speaker 14 (01:39:45):
The minister, Well, he'll have to let you, now, won I, as.

Speaker 21 (01:39:52):
Long as you don't tell him.

Speaker 13 (01:39:57):
Waiting?

Speaker 5 (01:39:57):
Sir?

Speaker 14 (01:39:58):
What was it your famous mickey again?

Speaker 13 (01:40:00):
Yes, sir, double measure.

Speaker 14 (01:40:02):
It's very good, isn't it is the best? What was
all that commotion outside the cabin?

Speaker 13 (01:40:07):
How, my dear John I was repelling borders, or trying
to quite apart from the little army of mutants down
in the dock, our friendly neighborhood pursue decided to join
in the fun and kick the door down.

Speaker 14 (01:40:22):
Great Scott, the purser, How did you stop it?

Speaker 8 (01:40:25):
Well?

Speaker 13 (01:40:25):
I interposed my body between him and the cabin door.
Clever ad He kicked me on the ankle down, my jew.
He wasn't really himself at the time, but when he
came to his senses, he apologized and went about his duties.

Speaker 29 (01:40:40):
Like a good little purser.

Speaker 14 (01:40:42):
Extraordinary the purser's an unexpected complicationality.

Speaker 13 (01:40:47):
Yes, he was a real shaker. I just wasn't prepared
for a mutant here on the boat.

Speaker 14 (01:40:52):
But it's a normal enough job for an islander, flying
back and forth to the mandant.

Speaker 13 (01:40:56):
Yeah, but I wonder how many mutants have used the
boat again off the island altogether, and whether they went
out their own free will or under order.

Speaker 19 (01:41:21):
That was Part two of Aliens in the Mind, co
starring Vincent Price as Curtis Lark and Peter Cushing as
John Cornelius, Henry Stamper as Donald Scula, Sandra Clark, Florda,
Currie Fraser, Carr Police, Sargent Irene Sactis Mary, and Andrew Sere.

Speaker 29 (01:41:39):
The person.

Speaker 19 (01:41:41):
Aliens in the Mind was written by Rennie Basilico from
an idea by Robert Holmes. Production by John Dias. Aliens

(01:42:18):
in the Mind co starring Vincent Price as Curtis Lark
and Peter Cushing as John Cornelius. Convinced that the apparently

(01:42:49):
simple minded Flora Key must be the key to the
mysterious genetic mutation affecting the inhabitants of Luig, Lark and
Cornelius persuade her to leave the island and come with
them to London, But no sooner have they got on
board the boat to the mainland. Then Flora changes her mind.

Speaker 14 (01:43:08):
I don't want a boat trip. We can't get off now, Flora.

Speaker 13 (01:43:12):
It's too late to get her into the camera.

Speaker 3 (01:43:14):
Isn't here?

Speaker 13 (01:43:15):
Come along?

Speaker 9 (01:43:16):
No?

Speaker 22 (01:43:16):
I want your.

Speaker 13 (01:43:22):
Oh pursu How long before we sail?

Speaker 22 (01:43:25):
Any moment, knowsir?

Speaker 14 (01:43:27):
But what was all that?

Speaker 13 (01:43:28):
Oh it's nothing person, just a rather spoiled child who
doesn't want to go back home to London.

Speaker 36 (01:43:33):
I don't blame her.

Speaker 22 (01:43:35):
He wouldn't get me going into a big city burrow
at tea in China.

Speaker 13 (01:43:40):
No good shouting, Flora. You'll just stay there now until
we sail.

Speaker 22 (01:43:48):
Your ticket, spie, sir, make me off your tickets fleece.

Speaker 24 (01:43:55):
Look here, right you go then down there?

Speaker 8 (01:44:02):
But you just imp I warn you, John, Let me in,
Let me in.

Speaker 13 (01:44:18):
Oh my goodness, it's John. Do something. She must be
calling every mutant on the island to be a riot
if we don't get her under control.

Speaker 14 (01:44:26):
Any Way to do that is to knock her out, yes, exactly,
And it's a mm hmm just to these two pop
them in her wineglss and make her drink.

Speaker 13 (01:44:35):
That should do the trick.

Speaker 14 (01:44:37):
I hope you know what you're doing.

Speaker 13 (01:44:38):
Trust me, John, anyway. I can't stay here chatting with you.
I've got an invasion to repel, and don't forget to
lock the door after me. Oh I don't.

Speaker 8 (01:44:51):
Kee off.

Speaker 24 (01:44:52):
Kick me off, it's locked.

Speaker 13 (01:44:53):
Purser hits me off.

Speaker 5 (01:44:55):
Oh my god, Now you just.

Speaker 38 (01:44:57):
Stop kicking that door down. John whitter off with you?
Oh no, you dont come off?

Speaker 13 (01:45:14):
What are you doing?

Speaker 14 (01:45:17):
I beg your pardon.

Speaker 36 (01:45:19):
I'm awfully sorry.

Speaker 13 (01:45:21):
That's quite all right, person. Well I thought you were
going to fall, so I just grabbed you.

Speaker 36 (01:45:27):
Thank you, Thank you very much.

Speaker 13 (01:45:29):
You're hitting all right now, yes, yes.

Speaker 36 (01:45:32):
Thank you sir.

Speaker 22 (01:45:34):
Wonder what came over me?

Speaker 29 (01:45:36):
Anyway?

Speaker 37 (01:45:37):
If you'll excuse me, sir, we will be sailing almost immediately.
I must attend to my duty.

Speaker 13 (01:45:43):
John, open up, John, it's me Curtis.

Speaker 8 (01:45:48):
Come in.

Speaker 14 (01:45:49):
What have you been doing?

Speaker 13 (01:45:50):
Oh? I've been swapping bedtime stories with the purser. Quite
apart from the little army of mutants down on the dock,
our friendly neighborhood per Sue decided to join in the
fun and kick the door down.

Speaker 14 (01:46:03):
Great Scott, the purser. How did you stop him?

Speaker 13 (01:46:07):
Well, I interposed my body between him and the cabin door. Clever.
He kicked me on the ankle down my jew. He
wasn't really himself at the time, but when he came
to his senses, he apologized and went about his duties
like a good little person.

Speaker 14 (01:46:23):
Extraordinary the purser's an unexpected complication stee.

Speaker 13 (01:46:29):
Yes, he was a real shaker. I just wasn't prepared
for a mutant here on the boat.

Speaker 14 (01:46:34):
But it's a normal enough job of an islander, flying
back and forth to the mandant.

Speaker 13 (01:46:38):
Yeah, but I wonder how many mutants have used the
boat to get off the island altogether, and whether they
went of their own free will or under orders.

Speaker 18 (01:46:55):
Part three Unexpected visitorians.

Speaker 13 (01:47:02):
Shall I no prefer Scotch.

Speaker 14 (01:47:06):
So when whoop, help yourself to water, Della?

Speaker 13 (01:47:13):
What about you?

Speaker 14 (01:47:15):
No thanks, I'll have a small man's elia.

Speaker 13 (01:47:18):
You know, John, I really envy you this apartment. Wish
I could afford a place I get.

Speaker 14 (01:47:24):
I wish I could afford three wives.

Speaker 13 (01:47:26):
Oh but you don't envy me my three wives.

Speaker 14 (01:47:30):
Oh no, not all three of them.

Speaker 13 (01:47:32):
Whereas I do envy you your apartment.

Speaker 14 (01:47:36):
But these were my consulting rooms originally.

Speaker 13 (01:47:38):
Yeah, I noticed all the equipment.

Speaker 14 (01:47:40):
Most of it's pretty out of date these days. Now,
That's why I insisted on taking Florida to the hospital.
We can do every test you can think of. There
is that where she is now? Yes, in the radioisotope laboratory.
I want to put it under the gamma camera.

Speaker 13 (01:47:54):
What do you expect to find, John, some sort of
brain lesion.

Speaker 14 (01:47:58):
Well, if the brain has a gone any physical change,
it's probably the best chance we have of finding it.

Speaker 13 (01:48:04):
Have you considered that there might be no physical abnormality involved,
to just an intensified refinement of some particular sense or sensitivity.
After all, telepathy is nothing new.

Speaker 14 (01:48:19):
This is not telepathy as much as thought transference, the
so called controllers transferring their thoughts to other mutants.

Speaker 13 (01:48:27):
Look, John, whatever form this mutation takes in Flora's case,
it's somehow gone askew. Most of the time she behaves
like a metally retarded child, when in fact she's really
as much a mutant controller as as missus Kyle was.

Speaker 14 (01:48:44):
Oh yes, but with Flora, that power only manifests itself
when she's frightened or disturbed in some.

Speaker 13 (01:48:49):
Way, emotionally disturbed. That's what I'm getting at, John.

Speaker 14 (01:48:54):
The point is why I have no idea.

Speaker 13 (01:48:56):
No, but she has, or at least she may have
some traumatic emotional experience. Her parents dying in that fire,
for instance, could have the same effect at puberty as
it does at the menopause.

Speaker 14 (01:49:12):
It's certainly possible.

Speaker 13 (01:49:13):
There must be ways of finding out. It could be
the key to the whole case. Yes, hey, you know
I know just the man Kalman Baramec a Persian.

Speaker 14 (01:49:26):
Why do all your friends have to live on the
other side of the world.

Speaker 13 (01:49:30):
You'll be glad to know that this one doesn't. He
lives on the other side of Regent's Park.

Speaker 14 (01:49:49):
Thereful for it's quite a big step.

Speaker 13 (01:49:50):
I'll take care of this quite a while, are you.
It'll be eighty five people, sir right here? Yeah, I
keep the change, Thank you, sir. When do you take John?
Nice location? Isn't it right opposite the zoo?

Speaker 14 (01:50:07):
Very therapeutic? Can we go and see the animals later, Flora?
When we've seen.

Speaker 13 (01:50:11):
Mister doctor barramc con men Barra Mac he's on the
second Flora, I think Witchley Hazel.

Speaker 14 (01:50:17):
Oh, here we are Barro Mac.

Speaker 1 (01:50:20):
Oh.

Speaker 21 (01:50:21):
Please let's go and see the animals.

Speaker 14 (01:50:23):
Later, Flora.

Speaker 13 (01:50:23):
That's a promise, Flora.

Speaker 22 (01:50:25):
Who is it Curtis Lark, come up to the second floor.

Speaker 14 (01:50:28):
Please, then we go. Flora, come in, Curtis.

Speaker 13 (01:50:36):
It's good to see you again. It's been a long time.
Came man. May I introduce my good friend John Cornelius,
after bartle Mac. How do you do? And this is
miss Flora Keary.

Speaker 14 (01:50:47):
Ah, So you are Flora. I'm very pleased to meet you.

Speaker 1 (01:50:51):
Hello.

Speaker 14 (01:50:52):
Make yourself comfortable.

Speaker 1 (01:50:53):
Please?

Speaker 14 (01:50:54):
Thank you? Now can I get you something to drink?

Speaker 13 (01:50:57):
A cup of tea?

Speaker 14 (01:50:57):
Perhaps that would be most welcome.

Speaker 39 (01:51:00):
Joanne, Joan, I think we do all like some tea,
and perhaps you could tempt the palette of this young lady.

Speaker 14 (01:51:09):
This is Flora here.

Speaker 36 (01:51:11):
Hello, I'm Joanne Harrington.

Speaker 22 (01:51:13):
Perhaps you could come and do something you like?

Speaker 25 (01:51:15):
Not really, come on, We've got all sorts of good
is hidden away in here.

Speaker 39 (01:51:21):
Mister Cornelius, May I ask you if you retain a
professional interest in this case, I mean as a brain search.

Speaker 14 (01:51:27):
No, only a personal one, at least for the moment.

Speaker 13 (01:51:30):
Where my own view is that there is some block,
some psychological block that inhibits her development, not a physical one.

Speaker 14 (01:51:40):
Not as far as we can ascertain, it is all
quite possible.

Speaker 13 (01:51:43):
But would you try come man hypnosis.

Speaker 39 (01:51:47):
I think so from what you told me on the telephone,
her subconscious will make much more sense than her conscious.

Speaker 14 (01:51:54):
When will you attempted?

Speaker 37 (01:51:55):
Now?

Speaker 14 (01:51:56):
Johan has already started.

Speaker 39 (01:51:58):
We asked the patient to look at some kaleidoscopic pattern
placed in front of her from all light. When we
revolve this pattern, it creates a rhythmic pulsation on the retina.

Speaker 13 (01:52:09):
Isn't this something to do with some research they did
with helicopter pilots just a few years back. That's right.

Speaker 39 (01:52:16):
The helicopter blades were stropping across the pilot's vision and
inducing almost instant drowsiness. I think i'd better go in now.
I'll call you when I've got the girl in hair?
How long will that be a few minutes?

Speaker 14 (01:52:30):
Only?

Speaker 13 (01:52:30):
No more?

Speaker 14 (01:52:32):
How is it going?

Speaker 1 (01:52:33):
Joanne?

Speaker 25 (01:52:34):
Quite well?

Speaker 30 (01:52:35):
Doctor?

Speaker 21 (01:52:36):
Now this one?

Speaker 25 (01:52:37):
Couldn't we look at this pattern a little longer?

Speaker 21 (01:52:39):
I've seen that one.

Speaker 25 (01:52:41):
Okay, then let's look at that one, Joanne, Just a moment, Flora,
you keep looking at this picture.

Speaker 40 (01:52:48):
Coming, doctor, we've got problems, I think, what problems? She
won't give it long enough. As soon as she seems
to be relaxing, she snaps out of an for a
new one, I.

Speaker 39 (01:53:01):
Say, Flora, Yes, what do you want? I want to
play a little game with this pattern. Can you see
a red spot, a tiny, tiny red spot just above
the middle of the pattern.

Speaker 21 (01:53:17):
Oh, yes, the one that keeps going on and off.

Speaker 13 (01:53:20):
That's the one.

Speaker 39 (01:53:22):
Now watch it carefully and tell me every time you
see it. Come on, just say now every time.

Speaker 14 (01:53:30):
You see it.

Speaker 41 (01:53:32):
No, no, that's good, very good. Now, no excellent, Flora,
No no, no, Marty, Oh no thanks.

Speaker 13 (01:53:46):
I'm fine like this, he said, a few minutes.

Speaker 14 (01:53:49):
It's over an hour. Now, what's happening.

Speaker 25 (01:53:51):
I'm afraid he's proving rather a difficult subject, and I.

Speaker 13 (01:53:53):
Suppose we should have expected it.

Speaker 14 (01:53:56):
Joanne, do you think you could keep an eye on her?

Speaker 24 (01:53:59):
Course, Doctor, let her lie down on the couch in there.

Speaker 14 (01:54:02):
The girl's exhausted.

Speaker 25 (01:54:04):
I'll get a blanket.

Speaker 13 (01:54:08):
Well, tell us what happened, Karmen.

Speaker 14 (01:54:11):
Nothing, You were unable to hypnotize her.

Speaker 39 (01:54:14):
Let us say rather that she successfully resisted all my efforts. Curtis,
when you briefed me about this case, you told me
that she had shown signs of extraordinary mental powers. Yes,
by extraordinary, did you mean extrasensory.

Speaker 13 (01:54:31):
That's what we suspect. We have indications, but no proof,
no positive proof.

Speaker 14 (01:54:36):
Nothing we could submit a scientific evidence.

Speaker 13 (01:54:38):
Unless you've discovered something. Calman, Yes, I felt something. It
was as though she had some sort of antennae. The energy,
the mental energy she was generating, was quite extraordinary.

Speaker 14 (01:54:53):
What do you do now? We have to find ways
of reducing her resistance?

Speaker 13 (01:54:58):
You mean drug, of course?

Speaker 15 (01:55:01):
Hmmm.

Speaker 39 (01:55:01):
It eyes a ban shoot suffice, if we'll bring her
to that drowsy twilight zone between waking and sleeping.

Speaker 14 (01:55:09):
It's very much like hypnotic trance. Anyway, when do you
propose to use the diazabin? That depends on whether you
want me to, mister Carnelius. Why it's not dangerous, is it?

Speaker 9 (01:55:19):
No?

Speaker 7 (01:55:19):
No, of course not.

Speaker 14 (01:55:21):
But the girl doesn't want me to continue.

Speaker 39 (01:55:23):
Subconsciously, her resistance is almost fanatical.

Speaker 13 (01:55:27):
Well, it's in her own interest to continue, car Man.

Speaker 14 (01:55:30):
No, Curtis, it's in our interests. It may be in
hers if we're.

Speaker 13 (01:55:35):
Lucky, and either way we have to go on, right, John,
I suppose so?

Speaker 39 (01:55:40):
Then I suggest that you should both return in about
now or so. I think we should let Flora rest
that long.

Speaker 13 (01:55:48):
Well, it looks like we've got an hour to kill.

Speaker 14 (01:55:50):
So what will you do? I think we should go
and see you. The monk is at the zoo, now whatever?

Speaker 1 (01:55:56):
For why not?

Speaker 14 (01:55:57):
I always find a very error e phrecisely.

Speaker 13 (01:56:01):
Okay, let's go to the zoo.

Speaker 14 (01:56:09):
Fascinating creatures.

Speaker 13 (01:56:10):
I suppose, sir, what do you mean?

Speaker 14 (01:56:12):
You suppose so all human nature is there in that cage.

Speaker 13 (01:56:16):
Yet when Darwin first propounded his theory of evolution, he
was life right out.

Speaker 14 (01:56:21):
Of course, only because no one wanted to believe.

Speaker 13 (01:56:23):
Him, and no one will want to believe us, John,
telepathy is a a musical act.

Speaker 14 (01:56:28):
Not on this scale.

Speaker 13 (01:56:29):
It isn't what scale, John, This is London, not the
Isle of Lewis. All we have is Flora.

Speaker 14 (01:56:35):
Curtis, you said she might be the key to this
whole case. I happen to agree with.

Speaker 7 (01:56:39):
Yes.

Speaker 13 (01:56:40):
But supposing Kalman does succeed in straightening her out, what then,
I mean? Does she become just another Molly Kyle? If
you allie a controller's powers with any sort of real ambition,
the consequences are unimaginable.

Speaker 14 (01:56:56):
Oh come on, Curtis, that's a bit far fetched, isn't it.
One of the reasons for bringing her to London that
there's no one here she can use us.

Speaker 13 (01:57:03):
Oh isn't there now? I know I'm only a poor,
ignorant foreigner, but I understood that there had been an
almost continuous migration from the Western House for the last
one hundred and fifty years.

Speaker 14 (01:57:15):
Maybe true?

Speaker 13 (01:57:15):
And isn't it also true that not so long ago
this country had a prime minister who was the grandson
of a Scottish crofter.

Speaker 14 (01:57:23):
Oh yes, but he went to eaton first.

Speaker 13 (01:57:26):
Don't be silly, that's not the point.

Speaker 14 (01:57:28):
No, But it does make a difference.

Speaker 13 (01:57:29):
Well, it might have made one hell of a difference
if that crofter had come from Lewig.

Speaker 14 (01:57:35):
Oh that's a bit of star spangled imagination if ever
I heard.

Speaker 13 (01:57:38):
One there You see, even you don't want to believe it.

Speaker 14 (01:57:42):
It Or we can't go marching up to the police
and announce that the prime minister may be a mutant
and a minister society?

Speaker 13 (01:57:48):
Who can we go marching up?

Speaker 14 (01:57:50):
Oh?

Speaker 13 (01:57:50):
Do be serious, Curtis, Please am serious? There have been
at least three generations of mutants are Lewig? Some of
them must have migrated south, and their descendants could by
now have risen to positions of immense power and influence.

Speaker 14 (01:58:06):
Then, if you're right, Curtis, presumably the mutant powers or
susceptibilities would have lain dormant and will continue to do.

Speaker 13 (01:58:14):
So unless there are any controllers around, John, Can you
really believe it's safe to assume that there are no
controllers around?

Speaker 14 (01:58:24):
They still wouldn't believe us, Curtis. We have to build
up an unshakable case supported by irrefutable scientific evidence.

Speaker 13 (01:58:32):
We could only do that by going back to Lewis,
and even that could take years.

Speaker 14 (01:58:36):
Yes or no. That's why Flora must be the key
to this case.

Speaker 13 (01:58:42):
Oh look, I think it's time we were getting back
to her.

Speaker 40 (01:58:52):
Oh, Professor Locke, Mister Cornelius, Thank god, you've can't mind
what's happened?

Speaker 21 (01:58:57):
It's Dr Baramec.

Speaker 14 (01:58:58):
Where is he in here?

Speaker 13 (01:59:01):
Come on? Are you all right?

Speaker 14 (01:59:04):
More or less? A little soul between the ears?

Speaker 13 (01:59:07):
Perhaps foot he'd killed him?

Speaker 14 (01:59:09):
You thought, what that man? That man?

Speaker 13 (01:59:12):
Nurse? Now, come over here and sit down and relax
a minute, and then tell us what happened from the start,
and I'll take it slowly and try not to leave
anything out.

Speaker 40 (01:59:24):
Well, it was not more than ten minutes ago. I
just looked at Flora. She was restless, very restless. I
was telling Dr Baramec when there was a ring at
the door, not the street door, the door of this apartment.

Speaker 14 (01:59:46):
Am I expecting someone?

Speaker 7 (01:59:47):
Joanne?

Speaker 23 (01:59:48):
We have no appointments.

Speaker 25 (01:59:50):
I wonder who let them in from the street.

Speaker 13 (01:59:52):
Perhaps she's the caretaker.

Speaker 22 (01:59:53):
I'll go and see. All right, all right, I'm coming.

Speaker 2 (02:00:01):
Can I help?

Speaker 42 (02:00:03):
Where do you think you're going?

Speaker 11 (02:00:06):
Doctor?

Speaker 25 (02:00:08):
Think just can't go barging?

Speaker 13 (02:00:10):
Look out? Doctor is ready?

Speaker 8 (02:00:13):
Sitter, won't you?

Speaker 13 (02:00:15):
And you sat down and told me about doctor. I
think it's all right, Satran. You can't go in there?
No kilted.

Speaker 28 (02:00:32):
Him away from you.

Speaker 25 (02:00:36):
We can go now, doctor. I'm ready, baram Are you
all right?

Speaker 13 (02:00:42):
Doctor?

Speaker 23 (02:00:43):
Oh my god, bye bye doctor Flora.

Speaker 30 (02:00:47):
I'm going now.

Speaker 23 (02:00:49):
This nice man's taking me away from here.

Speaker 22 (02:00:52):
But Flora, what about Professor Larchimist?

Speaker 21 (02:00:55):
Flora? You just can't walk out on them like that?

Speaker 14 (02:01:00):
But she did walk out just like that, yes, without coercion.

Speaker 21 (02:01:03):
But they went out hand in hand.

Speaker 13 (02:01:05):
Like a couple of young lovers.

Speaker 14 (02:01:07):
How old was this man?

Speaker 25 (02:01:09):
Mid forties?

Speaker 40 (02:01:09):
I suppose, you know, graying at the temple, quite distincuished looking, really.

Speaker 14 (02:01:14):
And a very distinguished from walking cane ebony by.

Speaker 18 (02:01:17):
The feel of it.

Speaker 13 (02:01:18):
Poor Come, I am sorry about that.

Speaker 14 (02:01:21):
I'm sorry about the girl. Do you want me to
give the policy or.

Speaker 13 (02:01:24):
If you could bear not to come and I'd be
very grateful.

Speaker 14 (02:01:28):
I thought that might be the case. John wanted to
phone them earlier. We should report that she's missing, just
missing Australi, but not stolen. Definitely not stolen, not yet.
Where's the phone?

Speaker 21 (02:01:40):
You could use the one in the office here, I'll
show you.

Speaker 14 (02:01:43):
Thank you.

Speaker 39 (02:01:48):
There are a hundred questions, Curt, yes, I know, old friend,
and so few answers, so very few. But when Joanne
was recounted what happened just now, it dawned upon me
that men was behaving in much the same way as
a person under direct.

Speaker 13 (02:02:04):
Yes, I know. The question is, my dear, come, man
under whose direction he tell? What did the police have
to say?

Speaker 14 (02:02:11):
They've already found her?

Speaker 13 (02:02:12):
Oh good.

Speaker 14 (02:02:12):
She was seen wandering about the streets in the days.
What about the men? They didn't mention him. They've taken
Flora straight round to my flat. I didn't want to
involve you, doctor badamye.

Speaker 39 (02:02:22):
Fat you it was a kind thought, but perhaps you
would allow me to involve myself.

Speaker 13 (02:02:26):
Well as long as you're coming, you might as well
bring that sedative with you.

Speaker 1 (02:02:29):
What was it?

Speaker 13 (02:02:32):
Well, you better bring some we might need it.

Speaker 14 (02:02:39):
I'll go, Curtis.

Speaker 36 (02:02:44):
Mister Cornelius, yes, I've brought back.

Speaker 14 (02:02:46):
Now Flora saying, heavens you're safe. We were so worried
about you. Curtis, it is Flora. You must be exhausted child.
Come along, take her into the sitting.

Speaker 13 (02:02:56):
Room, Curtis, all right, Come on, Flora, what happened to you?

Speaker 14 (02:03:00):
Thank you so much? Officer coming, won't you?

Speaker 31 (02:03:02):
Oh?

Speaker 7 (02:03:02):
Thank you.

Speaker 14 (02:03:03):
I can't tell you how relieved we are to have
Flora Beck.

Speaker 36 (02:03:05):
Glad to have been of service.

Speaker 7 (02:03:06):
Sir.

Speaker 36 (02:03:07):
She is, sir, all right, isn't she?

Speaker 14 (02:03:09):
Sir? How do you mean?

Speaker 7 (02:03:11):
Well?

Speaker 36 (02:03:11):
She was just wandering around in the middle of the road,
all over the place. She was the way she talked.

Speaker 34 (02:03:17):
At first we thought she was on a trip, a trip,
you know, drugged acid oh lsd oh.

Speaker 14 (02:03:24):
No, nothing, nothing like that. Now that she was probably
just disorientated. She's lived all her life in a remote
Scottish island. I think she was just overwhelmed by the
noise and battle of London.

Speaker 36 (02:03:34):
It happens sometimes, usually with old people, though.

Speaker 14 (02:03:37):
That's right officer. Anyway, thank you once more.

Speaker 36 (02:03:41):
All part of the service, sir, goodbye.

Speaker 13 (02:03:48):
But I still don't understand John why come and didn't
want to give the injection himself.

Speaker 14 (02:03:53):
He thought it was better for me to do it.
She doesn't trust him, you see.

Speaker 13 (02:03:56):
Oh, I see? Yes, well she seems to be fully
under Do you think it's safe to call him in?

Speaker 14 (02:04:01):
Yes? If you'll be so kind, Cursis, then we can
make a start.

Speaker 13 (02:04:04):
All right, calmen, you can come in now. I think
she's nearly ready. John gave her the injection.

Speaker 39 (02:04:15):
I'm sure I would right to keep out of the
way even now. The sound of my voice might upset her.
So could I suggest that you also carry out the
questioning yourself?

Speaker 14 (02:04:23):
Either love you or both? If you like.

Speaker 13 (02:04:26):
I'll just watch and keep an eye on things. Okay,
then you ready? John?

Speaker 14 (02:04:30):
Ready? And William?

Speaker 13 (02:04:32):
Well, let's not keep the lady waiting. Flora, Flora, can
you hear me?

Speaker 9 (02:04:38):
Yes?

Speaker 13 (02:04:39):
Where were you born? Flora?

Speaker 21 (02:04:41):
I was born at Lewis, on the isle of Lewig.

Speaker 13 (02:04:44):
And now Lewig is yours.

Speaker 1 (02:04:46):
Isn't it?

Speaker 4 (02:04:46):
Yes?

Speaker 21 (02:04:47):
Lewis is mine?

Speaker 13 (02:04:49):
Why Flora? Why is Louig yours?

Speaker 21 (02:04:53):
Because they have to do what I tell them, how.

Speaker 13 (02:04:57):
Do you tell them?

Speaker 14 (02:04:57):
Flora tell him confusion, She doesn't know.

Speaker 13 (02:05:02):
And the fellowship tell us what you tell them, not
what the minister tells.

Speaker 21 (02:05:09):
No, never, he just tells Molly Kyle what to tell them.

Speaker 14 (02:05:13):
So that was the setup.

Speaker 13 (02:05:16):
I never did like that sanctimonious.

Speaker 14 (02:05:19):
But Molly Kyle is dead, Flora.

Speaker 21 (02:05:22):
Molly Kyle's dead.

Speaker 13 (02:05:24):
And there's no one else that can tell them what
to do.

Speaker 21 (02:05:28):
Not now there's only me, Flora.

Speaker 13 (02:05:33):
Why did you let Molly Kyle die?

Speaker 18 (02:05:35):
Careful?

Speaker 21 (02:05:37):
Because because she killed my mother. I wanted to pay
her back the way she paid back.

Speaker 13 (02:05:46):
My mother made him back for what Flora maker tell
us about it.

Speaker 14 (02:05:52):
Tell us about it, Flora, take your time and tell
us about it.

Speaker 22 (02:05:57):
Very good.

Speaker 26 (02:05:58):
She found out Kerri was not my father, so she
she punished my mother, punished her for begetting me in sin.

Speaker 21 (02:06:13):
She burned her, burned her in hell fire.

Speaker 12 (02:06:18):
She told her her legs were paralyzed, and my mother
thought she couldn't walk, and she.

Speaker 43 (02:06:25):
Just lay there screaming and screaming for help, and the
flames came nearer and nearer her.

Speaker 26 (02:06:34):
I kept willing her to walk, but Molly Kyle was
too strong. She was willing my mother to keep struggling
and screaming, so that when Kerry came in to rescue her,
she wouldn't let him move her.

Speaker 42 (02:06:53):
And then it was too late that they were burning
hell fire and mother was still screaming for hell, hell, hell,
help with somebody.

Speaker 25 (02:07:06):
Oh my God's sake.

Speaker 39 (02:07:07):
It's all right, it's all right, hold down, shut it down, down,
Have we stop her?

Speaker 13 (02:07:16):
And Nicky King?

Speaker 14 (02:07:17):
Curtis your head hunters, and I.

Speaker 13 (02:07:18):
Wouldn't dare not on top of the other.

Speaker 14 (02:07:21):
It's all right, Flaura, it's all right. Get some water,
John play.

Speaker 8 (02:07:32):
There you are?

Speaker 14 (02:07:34):
What's that? What's going on? Sounds like somebody's breaking.

Speaker 13 (02:07:37):
Down your door.

Speaker 14 (02:07:38):
I don't find out.

Speaker 24 (02:07:45):
Hey, you know, what do you think you're doing?

Speaker 1 (02:07:48):
I do?

Speaker 13 (02:07:48):
Look down.

Speaker 39 (02:07:50):
Oh it's him, the same man as it's afternoon, No kidding, no, no,
noon keeps you?

Speaker 13 (02:07:55):
How nice it seems? I know, I know, but just
look at him. It's just the you were hypnotizing. He
doesn't even know we're here. Curtis, Are you just going
to let him become of the girl and walk out
with that? There's no way of stubbing him. Where is
he taking her? It didn't either of you recognize him,

(02:08:15):
recognize him? Why should we? Litian Sanderson, who's he?

Speaker 14 (02:08:19):
He's an MP. The opposition spoke to non defenseman, Oh
my god. Anybody going to follow him? What you can do?
But I think you'll find it's only taking her across
the road.

Speaker 13 (02:08:28):
What makes you say that?

Speaker 14 (02:08:29):
Because he lives there. But I just don't understand it.

Speaker 1 (02:08:33):
I think I do.

Speaker 14 (02:08:35):
What was a subject for scientific research has suddenly become
a question of national security.

Speaker 19 (02:09:04):
That was part three of Aliens in the Mind co
John Cornelius, with Sandra Clarke as Flora Kire, Steve Plitis,
Calmen Barramack, Joe Matheson, Joanne and Andrew Seer as the
police Constable. Aliens in the Mind was written by Rennie

(02:09:25):
Basilico from an idea by Robert Holmes. Production by John Dias.

(02:09:58):
Aliens in the Mind co starring Vincent Price as Curtis
Lark and Peter Cushing as John Cornelius. Lark and Cornelius

(02:10:30):
take Flora Keiy away from the remote Isle of Luig
with its frightening colony of mutants and bring her to London,
where they hoped to investigate her mysterious powers as a
controller under hypnosis. Flora unwittingly exposes more of the mutants
Nearer to home.

Speaker 13 (02:10:48):
Flora, why did you let Mollie Kyle die?

Speaker 26 (02:10:53):
Because she found out Kyrie was not my father? So
she she punished my mother, punished her for forgetting me
in sin. She burned her, burned her in hell fire.

Speaker 12 (02:11:14):
She told her her legs were paralyzed, and my mother
thought she couldn't walk, and she.

Speaker 43 (02:11:22):
Just laid there screaming and screaming for help, and the
flames came nearer and nearer her, and then it was
too late that they were burned in health fire and
mother was still screaming for help.

Speaker 21 (02:11:39):
Hell, Hell, help me, somebody.

Speaker 13 (02:11:44):
Oh my God's sake, issue right, arm, arm for the dogs.
And we stopped.

Speaker 14 (02:11:53):
But it's all right, flow, it's all right.

Speaker 8 (02:11:59):
You are what's that?

Speaker 14 (02:12:02):
What's going on?

Speaker 39 (02:12:07):
Hey?

Speaker 5 (02:12:08):
You know?

Speaker 28 (02:12:08):
What do you think you're doing? I say, look out, I.

Speaker 8 (02:12:13):
Didn't No, no, no, you still come for God?

Speaker 13 (02:12:18):
Sacratis? Are you just going to let him pick up
of a girl and walk out with But there's no
way of stabbing him?

Speaker 3 (02:12:24):
Where is he taking her?

Speaker 13 (02:12:25):
It didn't either of you recognize him? Recognize him? Why
should we?

Speaker 14 (02:12:28):
It's Ian Sanderson?

Speaker 13 (02:12:29):
Who's he?

Speaker 14 (02:12:30):
He's an MP, the opposition spokes non defense message. My god,
but I just don't understand it. I think I do.
What was a subject to a scientific research has suddenly
become a question of national security?

Speaker 18 (02:12:49):
Part four official intercessions?

Speaker 44 (02:12:58):
Would you mind just feeling that him? Certainly you too, Lisa?
Where is it a security passer?

Speaker 13 (02:13:05):
Where did they keep in your join the Grand Jewel?

Speaker 14 (02:13:08):
This is the Home Office, not the tart of London?

Speaker 13 (02:13:10):
Well what do they keep here?

Speaker 14 (02:13:12):
I sometimes wander?

Speaker 44 (02:13:14):
Thank you, thank your appoints with Colonel Gulliver?

Speaker 1 (02:13:18):
Is it so?

Speaker 7 (02:13:19):
That's right?

Speaker 44 (02:13:19):
Yes, he'd be in room. Yes, here we are room
five seven, five one seven, yes, So follow that colrador
down to the end and then take the lift of
the fifth floor. So if you turn right when you
get out, you'll find five one seven almost facing you.

Speaker 14 (02:13:32):
Thank you very much. Come along, Curtis.

Speaker 13 (02:13:35):
Coming, you can't missus. Serve The rooms are clearly numbered. John.
You know what I don't understand is if this Gulliver
is a colonel, what's he doing in the Home Office?

Speaker 9 (02:13:45):
So?

Speaker 14 (02:13:45):
Well, how are you Gulliver's ex army actually something to
do with security now. A bit tight lipped on the surface,
but it's not a bad sort when you get to know. Anyway.
You sometimes have generals in the White House, doesn't.

Speaker 13 (02:13:58):
Oh yes, and we usually end regret. What do they want? Coliver?

Speaker 45 (02:14:04):
I have no idea, sir, damn it, man.

Speaker 44 (02:14:07):
I would have thought you'd have enoughing to play without
inviting coach to some videos on Pokemon noses in the
security cabinets.

Speaker 36 (02:14:15):
Excuse me.

Speaker 8 (02:14:17):
Good day to you, sir, Good day to you.

Speaker 45 (02:14:20):
Ah, there you are, Cornelius.

Speaker 14 (02:14:23):
May I introduced Professor Curtis Lark. Colonel Galliver, please to
meet you.

Speaker 45 (02:14:27):
Professor.

Speaker 13 (02:14:31):
Who was that that just went out?

Speaker 45 (02:14:33):
Brigadier Sherman, my head of department like the.

Speaker 14 (02:14:35):
Tank, you know, take appeal, Thank you, thank you so much.

Speaker 45 (02:14:41):
Well, now what's all this about?

Speaker 8 (02:14:43):
You tell it?

Speaker 13 (02:14:44):
John me. Yeah, you won't embroidered as much as.

Speaker 14 (02:14:47):
I would very well. It all started on the Isle
of Louis. The hell is that, Luke, it's one of
the outer hebrides. Professor Lark and I had got up
there to attend the funeral of a mutual friend.

Speaker 45 (02:15:05):
Now let me get this straight. Cornelis you're telling me
that up on this Scottish island whatever it's called, the
Isle of Luig, there are these people, these mutants, didn't
you call them? That's right, who can be manipulated simply
by having thoughts put into their heads by these.

Speaker 13 (02:15:27):
Controllers, without the mutants being aware of it. That's the point, colonel.
They have no recollection of having been manipulated in this way.

Speaker 45 (02:15:36):
And it's all done by telepathy almost certainly. Well, it
all sounds a bit like science fiction. I must say.
It's lepathy and mutants and all that. I mean, it
sounds more like them like H. G.

Speaker 13 (02:15:48):
Wells, who wasn't it Wells who wrote in the Country
of the Blind, the One Eyed Man is King.

Speaker 45 (02:15:57):
You must admit it. It sounds rather unbelievable. I really
can't see why you should come to me with this
fairy tale.

Speaker 14 (02:16:02):
We found one of these controllers, as we call them,
a girl about nineteen years old called Flora Kire, and
we managed to get it to London for various tests
how they might prove something or other.

Speaker 45 (02:16:15):
Huh, that sounds more promising.

Speaker 13 (02:16:16):
Indeed, that somebody walked off with him last night, walked
off it stole, kidnapped.

Speaker 14 (02:16:21):
Abducted is the word, Curtis, Ah, thank you.

Speaker 13 (02:16:23):
Yes, someone abducted her, Colonel, And have.

Speaker 45 (02:16:26):
You informed the police of this abduction?

Speaker 14 (02:16:29):
That won't be necessary. We know who the man is
and why he did it.

Speaker 13 (02:16:33):
And why did he do it because she told him to.
She just put the thought in his head.

Speaker 45 (02:16:40):
You mean this fellow was one of these mutants?

Speaker 14 (02:16:45):
Is one of them? Colonel? He is also a member
of parliament.

Speaker 45 (02:16:49):
Is that meant to be some sort of joke, Cornelis?

Speaker 13 (02:16:51):
Or you haven't heard the payoff line yet?

Speaker 45 (02:16:53):
What does he mean? Cornelius? Come a damn fellow speaking to.

Speaker 14 (02:16:56):
My friends of an actor. You ain't heard nothing yet.
Come to the point, dammit, mutant MP is one of
the opposition spokesman on defense matters.

Speaker 13 (02:17:05):
Oh no, Now do you see why we came to
you with this fairy tale, Colonel? One way or another.
I think we put that over rather well.

Speaker 7 (02:17:16):
John.

Speaker 13 (02:17:17):
You know, we'd make quite a good double act on
the hall.

Speaker 14 (02:17:21):
Personally, I felt we were hemming, like man.

Speaker 46 (02:17:26):
Speak to you, okay, thank you, good day to you,
good day, Oh boy.

Speaker 13 (02:17:41):
Fresh air it masters.

Speaker 14 (02:17:43):
It was a bit stuffy in the so I think
old Gulliver got.

Speaker 13 (02:17:45):
The message in the end, Yes, but will he do
anything about it? I doubt it.

Speaker 14 (02:17:50):
He can't move openly against someone like Sanderson without definite proof,
and we have no proof without Flora. That's the next sturp,
isn't it?

Speaker 13 (02:17:58):
Yes?

Speaker 14 (02:17:58):
But what can we do?

Speaker 10 (02:17:59):
We can just walk up and ask for her bag?

Speaker 14 (02:18:02):
What what did you just say?

Speaker 13 (02:18:04):
I said, we can't just walk up to Sanderson and
ask him to give Flora back to it.

Speaker 14 (02:18:09):
But that's exactly what we can do. In fact, it's
the only way it is. My dear Curtis, who really
do have the most unerring nose for these things?

Speaker 13 (02:18:17):
I don't know, it's quite an ordinary nose, really, shekh
perhaps patrician, even a lot of that.

Speaker 14 (02:18:27):
Yes, John Cornelius, I telephoned earlier.

Speaker 24 (02:18:30):
Oh yes, mister Cornelius.

Speaker 13 (02:18:32):
And this must be Essor Curtis.

Speaker 22 (02:18:34):
Luck indeed to come in.

Speaker 45 (02:18:36):
Mister Sanderson is expecting you.

Speaker 1 (02:18:38):
Thank you.

Speaker 47 (02:18:40):
If you would care to wait here for a moment,
I'll inform mister Sanderson of your arrival.

Speaker 14 (02:18:45):
Thank you. If you'd excuse me.

Speaker 13 (02:18:48):
A real old world English butler. Isn't he just adorable?

Speaker 14 (02:18:53):
Dun Curtis?

Speaker 45 (02:18:54):
Down this way?

Speaker 47 (02:18:56):
If you please, mister Cornelius, Professor Locksha, thank you.

Speaker 22 (02:19:03):
Gwin do come in, won't you?

Speaker 14 (02:19:06):
This is Professor Larksa.

Speaker 48 (02:19:09):
How do you do?

Speaker 22 (02:19:11):
Sit yourselves down?

Speaker 14 (02:19:12):
Won't you?

Speaker 13 (02:19:12):
Thank you?

Speaker 22 (02:19:14):
I know you both by name, of course, and in
your case, mister Conniel is by a reputation. But I
can't pretend to understand the reason for this visit.

Speaker 14 (02:19:23):
I'll come straight to the point, Missus Hamerson. We've just
returned from the Isle of Luig Lewig.

Speaker 13 (02:19:29):
Good Heavens, I was born therestand Oh, it's.

Speaker 22 (02:19:33):
Such a beautiful place, marvelous place to grow up in.
It has many, many happy associations for me, you were
saying about Lewig.

Speaker 14 (02:19:43):
When we came back, we brought with us a young
lady who showed all the classic symptoms of what could
prove to be a brain tumor. We wanted to run
a series of medical checks on her.

Speaker 13 (02:19:54):
She's been living in John's apartment just across the road,
and told her yesterday evening when she disappeared.

Speaker 14 (02:20:01):
Yes, her name is Flora Carey.

Speaker 13 (02:20:04):
Yes, I know. O.

Speaker 14 (02:20:08):
Strange, isn't it?

Speaker 22 (02:20:09):
So many years later, not knowing what she was, or
where she was or what she looked like, and then
suddenly waking as from a dream, and finding she had
come from nowhere to hold your hand and asked to
be taken home for tea, And you suddenly realized that
all a life she will just stay a child and

(02:20:32):
never do anything but hold your hand and asked to
be taken home for tea.

Speaker 14 (02:20:38):
Ah, I'm sorry, I I don't quite follow.

Speaker 22 (02:20:41):
Oh You've brought me hope, mister carnelis a small hope,
but something that I can hang on to, that I
can at least begin to understand. And for that I
thank you, both for myself and my daughter. You what
Flora Carey is my daughter, professor, my natural daughter.

Speaker 14 (02:21:02):
Holy mackerel, never profane. The mackerel, my dear Curtis, It
is the most underrated fish, well spoked and washed down
with a little mousque day. It is to the more
discerning palette, eminently preferable to the more esteemed and popular trout.

Speaker 13 (02:21:20):
John hmm, it was I who suggested the mackerel, Did
you and the muskadee?

Speaker 14 (02:21:27):
Really? Then? I commend you, my dear Curtis. Your palette
is obviously improving.

Speaker 13 (02:21:33):
Could we get back to cases?

Speaker 7 (02:21:34):
Do you they?

Speaker 14 (02:21:35):
Or by all means you obviously doubt Santisan's claim to
be Flora's father.

Speaker 13 (02:21:41):
Yes, frankly I do, Joan, I honestly do. It's all
too pat too glared.

Speaker 14 (02:21:46):
Till he seems to believe it, And I think that
was genuine.

Speaker 13 (02:21:49):
Yes, But who's to say that she didn't put the
idea into his head?

Speaker 5 (02:21:53):
Hm?

Speaker 15 (02:21:53):
Hm.

Speaker 13 (02:21:54):
She desperately needs affection, security, someone to lean on. She
only had to think of him as her father and
he would have accepted it as fact.

Speaker 14 (02:22:03):
Agreed, But at least the dates matched, And I really
don't think she could have put all that background detail
into his head.

Speaker 13 (02:22:10):
You could be right. I can't see how she could
have known all that stuff either.

Speaker 14 (02:22:16):
No, I'm sure all she knew was that her mother
was murdered for what did you call it? Be getting
her in sin?

Speaker 7 (02:22:23):
Yes?

Speaker 13 (02:22:23):
Yes, it all comes back to the Reverend Donald's schooler,
doesn't it. That man's got an awful lot to answer for.

Speaker 14 (02:22:31):
And since the Reverend Schooler is the only person able
to verify Santalsan's story, we have no option but to
accept it at face value, at least for the moment.

Speaker 13 (02:22:41):
What does that mean we have to leave Flora in
Sunderfin's care.

Speaker 14 (02:22:44):
I really don't see what else we can do. She'll
be well looked after and we have complete access to her.

Speaker 13 (02:22:51):
Besides, why, well, what will.

Speaker 14 (02:22:54):
We do with Laura when we finished all our tests
and checks sent her back.

Speaker 13 (02:22:57):
To Louis into the Reverend school as tender clutches over
my dead body?

Speaker 14 (02:23:02):
Quite right, Sanderson's claim to be her father could shoot
us very well, very well.

Speaker 13 (02:23:08):
Indeed, could he jarin or could it be risking Flora's life?

Speaker 14 (02:23:14):
Curtis, melodrama does not become you. It sits badly on
your accent.

Speaker 13 (02:23:20):
Look now, honestly, seriously, there must be a controller behind sun.

Speaker 14 (02:23:25):
It doesn't necessarily follow just because Sanderson is a mutant.

Speaker 13 (02:23:29):
No, but it's possible, and you know it. I mean,
otherwise you would never have suggested going to someone like Gulliver.

Speaker 14 (02:23:37):
All right, Curtis, point taken.

Speaker 13 (02:23:39):
Good, Then, no fully fledged controller is going to take
kindly to a butterfly mind like Flora's fouling up the works.

Speaker 14 (02:23:48):
No, No, I would think that might will be true.
On the other hand, one could argue that if there
is another controller, Flora's butterfly mind might be just the
flush him out into the open.

Speaker 13 (02:24:02):
You make it sound more like a spread to catch
a mackerel.

Speaker 14 (02:24:06):
How appropriate? More wind if.

Speaker 7 (02:24:17):
Well?

Speaker 13 (02:24:17):
John. Once we get back to the flat, what's our
next step going to.

Speaker 14 (02:24:22):
Be to amuse Flora? Pource Sunderson seems most anxious for
us to maintain our professional interest in the girl, and
we certainly want to keep her under observation. Absolutely so,
it might be a nice gesture if you were to
invite Flora to do a little sight seeing me Why
me or why not? It's much more likely that you

(02:24:43):
would want to see the sights than I would. After all,
you are a foreigner.

Speaker 13 (02:24:47):
Xenophobia ill becomes you, John, though it does sit well
enough on that accent.

Speaker 14 (02:24:53):
I thought the changing of the guard might be appropriate.
Buckingham Palace, no horse guard's parade. Then I thought we
might perhaps pop in for morning coffee with Colonel Galliver.
His office is quite close by.

Speaker 13 (02:25:09):
And here I was thinking Mackie Valley was dead?

Speaker 21 (02:25:18):
Aren't the horses lovely?

Speaker 13 (02:25:21):
They're beautiful?

Speaker 21 (02:25:22):
Why aren't all the soldiers wearing red?

Speaker 14 (02:25:24):
Because they're from two different regiments? The ones in red
are the Lifeguards, the ones in blue are the Royal
horse Guards. Or is it the other way around, curt.

Speaker 13 (02:25:33):
Why ask me? They're your your soldiers.

Speaker 14 (02:25:38):
What's the matter, Flora?

Speaker 13 (02:25:40):
Someone's looking for Oh come on, Flora, relaxed. Look at
the soldiers. They're so pretty.

Speaker 14 (02:25:45):
I think striking would be more apt.

Speaker 13 (02:25:47):
I want to go home, but we've only just arrived.

Speaker 21 (02:25:50):
Someone's looking for me.

Speaker 14 (02:25:52):
Nonsense, I'm frightened.

Speaker 16 (02:25:55):
I want to go home.

Speaker 14 (02:25:56):
No, come on, love, Florida, do so silly. You're imagining things.

Speaker 13 (02:26:00):
Doesn't reassure me one way. Please, John, why don't you
take Flora go see our friend Gulliver?

Speaker 1 (02:26:06):
Huh?

Speaker 13 (02:26:06):
And what do you propose to Well, I'll hang around
here and make sure that no one is following her.

Speaker 14 (02:26:10):
Following Come on, Churches, please, I must go home.

Speaker 13 (02:26:15):
You know John as well as I do that Flora
has an unfortunate habit of being right about these things. Anyway,
it might even be the first of your mackerel. Please
do as I suggest, Please, John, take Flora to see Gulliver.
If anyone is following her, there's no way he can
cross the street as wide as white all without showing himself.

(02:26:35):
And if he does, but then I'll follow him, of course.

Speaker 14 (02:26:39):
Oh, oh very well, come along the Flora. Oh thank you,
there's no one following us here.

Speaker 21 (02:26:53):
He's still looking for me.

Speaker 14 (02:26:55):
Well, I wish you'd show himself. If he's going to I.

Speaker 21 (02:26:59):
Wish he'd show himself.

Speaker 13 (02:27:02):
I wish he'd show himself.

Speaker 14 (02:27:05):
On fright there, Flada, there's nothing to be frightened of
your cards. Safe enough with me, I promise you. Poor
devil slight concussion contusions on the face and arms, nothing serious, Colonel.

Speaker 13 (02:27:28):
Where is he in the hospital. Presumably they took him
off in an ambulance. And you think he was following you,
following Flora, Colonel, I'm sure of it.

Speaker 21 (02:27:37):
He was looking for me. He was the one.

Speaker 45 (02:27:40):
Well, he wasn't one of my men.

Speaker 14 (02:27:41):
His name was mcbinnie.

Speaker 13 (02:27:42):
How do you know that? Well, we checked his identity
before they put him in the ambulance.

Speaker 45 (02:27:46):
Well, I don't have anyone of that name on myst off.

Speaker 13 (02:27:48):
The police on the isle of Lewig have a sergeant
by that name.

Speaker 26 (02:27:52):
This wasn't the same man, though, No, But there's lots
of mcbinnie's on Lewig.

Speaker 45 (02:27:56):
Miscarry, Is there any reason, any reason at all, why
anyone from Lewig should.

Speaker 14 (02:28:02):
Be looking for you to take me back?

Speaker 13 (02:28:04):
Laura, listen to me. Did you want that man mcvinny,
did you want him to cross the road.

Speaker 21 (02:28:12):
I wanted him to show himself. I didn't mean to
hurt him. I wanted him to show himself.

Speaker 14 (02:28:19):
It's all right, La.

Speaker 21 (02:28:22):
You said you wanted him to show himself, so I
concentrated and willed him too. I didn't know he'd get hurt.

Speaker 8 (02:28:30):
Stop this.

Speaker 45 (02:28:32):
I don't believe a word of it. It's all some
damn fool pank. I'm surprised at you, Cornelius. I'm inn
in your position, and you, young lady, I don't know
what you hope to gain from.

Speaker 14 (02:28:40):
All this nonsense.

Speaker 21 (02:28:40):
I want to go home.

Speaker 45 (02:28:42):
Yeah, I'm sure you do it, but you're not going
take me hot. You're not going anywhere till we've got
to the bottle of this tissue of ludicrous lies. Take
me to damn steady, young or there's no need to
adopt that tone. I shall adopt one of a damned tone.
Eye piece, And it was stop that snibbling man.

Speaker 13 (02:29:00):
Now, Flora, be a good girl and keep quiet.

Speaker 31 (02:29:03):
Take me home.

Speaker 3 (02:29:05):
I want to go away from me, I say, know.

Speaker 13 (02:29:08):
Flora, just leave it to old uncle Corny. Eh, he's
going to talk our way.

Speaker 45 (02:29:14):
Out of this sorry, and I well, he certainly got
some explaining to them.

Speaker 13 (02:29:18):
He I to be a sherman. Hey, what can I
do for yourself? But there's nothing you can do.

Speaker 30 (02:29:28):
What we can go home?

Speaker 14 (02:29:31):
We can go home, please, we can go home.

Speaker 13 (02:29:38):
We can go home.

Speaker 8 (02:29:42):
We can go home.

Speaker 14 (02:29:46):
Where's he taking her home? By the sound of it,
we better go after them.

Speaker 13 (02:29:51):
You go, John, You might be able to sweep talk
her into switching off. And you I'd better stay here.
I've got some explaining to do.

Speaker 14 (02:29:59):
Do your best.

Speaker 29 (02:30:00):
It's okay.

Speaker 45 (02:30:04):
Would you mind filling me in what exactly is going
on round here?

Speaker 13 (02:30:08):
Well, to put it simply, Flora has been sending out
telepathic distress signals, and your gallant brigadier answered them, You
mean I do. And it couldn't happen to a nicer man.

Speaker 45 (02:30:21):
The brigadier the head of the department.

Speaker 13 (02:30:24):
In that case, Colonel, the department's got quite a headache.
You should have seen poor Gulliver's face. Johnny was a picture,
an absolute picture.

Speaker 14 (02:30:36):
So were Sherman's. He was halfway down the corridor and
I caught up with it, and he couldn't understand what
he was doing there. He was terribly concerned about himself anyway,
it's an little wind.

Speaker 21 (02:30:46):
Is this a street?

Speaker 7 (02:30:48):
Yes?

Speaker 14 (02:30:48):
Your father's house is just down there on the.

Speaker 21 (02:30:50):
Left were the ambulances.

Speaker 14 (02:30:53):
Ambulance?

Speaker 13 (02:30:53):
She's right, there is an ambulance and the police.

Speaker 14 (02:30:58):
The stop here driver, Very good, sir.

Speaker 13 (02:31:05):
Now, Flora, you stay with Uncle corne Is and I'll
just go and see what's going on now, all right, all.

Speaker 47 (02:31:14):
Right, stand back there, Please come on move along if
you would.

Speaker 14 (02:31:17):
There's nothing more to say. What happened, opo, that's what
we're trying to find out.

Speaker 13 (02:31:22):
But why are the ambulance.

Speaker 47 (02:31:24):
Because someone went and got themselves shot?

Speaker 14 (02:31:26):
Didn't they come along?

Speaker 10 (02:31:27):
Now it's all over the Who officer who's been shot?

Speaker 45 (02:31:31):
Are they bringing him out?

Speaker 13 (02:31:32):
NASA?

Speaker 14 (02:31:33):
Let us know if he's a friend of yours?

Speaker 24 (02:31:34):
Won't you now come along out?

Speaker 8 (02:31:37):
Stand back if you please?

Speaker 28 (02:31:38):
Let the man ring a little?

Speaker 18 (02:31:40):
My god, it's gwint wwint?

Speaker 29 (02:31:45):
Who's he?

Speaker 13 (02:31:45):
Sounderson's butler? What now you understand why I was hustling
you and Flora away from Yes, well I couldn't say
much in front of her. No, no, of course it
could have set the whole clockwork orange ticking all over again.

Speaker 14 (02:31:58):
My word, Yes, it's a businesses.

Speaker 13 (02:32:01):
You can say that again. Well, cheers, cheers. Where's Flora now.

Speaker 14 (02:32:08):
Staring out of her bedroom window waiting for her father
for Sundersen to come back.

Speaker 13 (02:32:12):
It shouldn't be long now. Apparently he went down to
the police station to make a formal statement.

Speaker 14 (02:32:18):
There's things and drag on for hours. Wonder if Gulliver's
heard the news.

Speaker 13 (02:32:23):
And if the left hand ever knoweth what the right
hand do with?

Speaker 14 (02:32:26):
No, it doesn't. That's the British definition of security. I'd
better go and phone him. You do just that, Hello Flora, Hello, uncle,
go on in. I'll be with you in a second.
Just have to make a phone call.

Speaker 22 (02:32:41):
Hello Flora, Hello, professor.

Speaker 13 (02:32:43):
Your daddy not back yet.

Speaker 21 (02:32:44):
Well he came back just now.

Speaker 13 (02:32:46):
Oh good, that'll make you happy.

Speaker 21 (02:32:48):
Yes, he came in a big car. There were two
other men with him.

Speaker 13 (02:32:52):
Oh yes, there were two with a were just policemen,
probably policeman after him. Your daddy's a very important man,
you know. Yes, anyway, let's go tell mister Cornel used
for the good news and they would take care.

Speaker 14 (02:33:08):
Of I'd be most grateful if you were telling that.

Speaker 13 (02:33:12):
Bye.

Speaker 14 (02:33:13):
Well he wasn't there.

Speaker 13 (02:33:16):
Well, Saunderson's just got back.

Speaker 7 (02:33:19):
Oh, there.

Speaker 13 (02:33:21):
I thought i'd just walk her atrot.

Speaker 14 (02:33:23):
Right, John Cornelius, Ian Sanderson speaking. Is Florida with you?

Speaker 1 (02:33:28):
Oh?

Speaker 14 (02:33:28):
Yes she is, hold on, Curtis. She was just about
to leave.

Speaker 22 (02:33:32):
Well, i'd rather she didn't, not just at the moment.
The place isn't a bit of.

Speaker 14 (02:33:38):
A shambles, Yes, I imagine it would be.

Speaker 22 (02:33:41):
I don't want to see it like this.

Speaker 14 (02:33:43):
It might upset her. I can understand that. Don't concern
yourself about her. Perhaps you'll let us know when you'd
like her to come back. Yes, yes, I will thank you,
not at all.

Speaker 22 (02:33:54):
By the way, Yes, there are two men on the
way over to you know, policemen. Oh, they want to
talk to Flora about the business here. This afternoon, someone
broke into my flat, you know, damn near killed my butler.

Speaker 14 (02:34:08):
Yeah, yes, so I heard. But Flora knows nothing about it.
She was with us all the afternoon.

Speaker 22 (02:34:13):
Yes, I told them that, but they insist. They seem
to think Flora was the intended victim, not Quint Cornelius.

Speaker 14 (02:34:21):
They could very well be right, mister Sanderson. They could
very well be right or later. Goodbye, goodbye. That's odd.

Speaker 13 (02:34:33):
Where is it?

Speaker 14 (02:34:33):
Charl Sundersan said, there's a couple of policemen on their
way over to talk to Flora, so.

Speaker 13 (02:34:40):
It must be them already.

Speaker 14 (02:34:42):
Well as I better let them in.

Speaker 21 (02:34:43):
No, no, don't let them in.

Speaker 13 (02:34:46):
But they're only policemen, Florida. They'll be silly.

Speaker 21 (02:34:49):
Don't let the men.

Speaker 16 (02:34:50):
Don't let the men.

Speaker 28 (02:34:53):
Give them bye, give them all.

Speaker 13 (02:34:56):
She's putting the chain on the door.

Speaker 24 (02:34:58):
Flora.

Speaker 13 (02:34:58):
They got to kill me, to kill John, She means
a quick phone Gulliver, I did, he's not there. We
mustn't let those men in.

Speaker 4 (02:35:07):
They're going to kill me.

Speaker 28 (02:35:08):
I'm going to kill.

Speaker 13 (02:35:10):
Calm down, Flora. Calm down and concentrate.

Speaker 16 (02:35:13):
I'm going to kill.

Speaker 13 (02:35:20):
Listen to me, Flora. They they can't kill you. If
you want them to go away, now, will then to
go away? Make them go away, Flora. Con you can
do it if you want to, My god, try.

Speaker 14 (02:35:41):
Try try, Come on, Flora.

Speaker 9 (02:35:45):
It's not working.

Speaker 1 (02:35:46):
Man.

Speaker 21 (02:35:49):

Speaker 13 (02:35:53):
Get down for me, Get down, Keep down, Flora. Don't move, Flora, Flora.
Are you all right?

Speaker 14 (02:36:06):
Flora?

Speaker 7 (02:36:10):
Flora is dead.

Speaker 14 (02:36:11):
I can't believe it. Such a waste.

Speaker 13 (02:36:15):
Yes, John, but now you have to believe that there
there is another controller right here. In London.

Speaker 19 (02:36:37):
That was part four of Aliens in the Mind co
John Cornelius, with Sandra Clarke as Flora Carey Fraser carr
Ian Sanderson, William Edle, Gulliver Clifford Norgate Brigadier Sherman, and
Michael Harbor as Gwynt. Aliens in the Mind was written

(02:37:00):
by Rennie Basilico from an idea by Robert Holmes. Production
by John Dias.

Speaker 18 (02:37:33):
Aliens in the Mind co starring Vincent.

Speaker 19 (02:37:45):
Price as Curtis Lark and Peter Cushing as John Connellius.
Lark and Cornelius have established the existence of another colony

(02:38:07):
of mutants, this time in the heart of London. Flora
Kerey unwittingly identifies two of them, the Brigadier in charge
of security at the Home Office and an mp Ian Sanderson,
who later admits to being Flora's real father. But a
new group of mutants surely means another Controller, and Lark

(02:38:29):
and Cornelius hope that with Flora's help, they can uncover him. Instead,
Flora is murdered.

Speaker 13 (02:38:37):
No, no, don't let the men that they are only
police and floridelic filling.

Speaker 21 (02:38:42):
No, don't let the men.

Speaker 23 (02:38:44):
Don't let the men.

Speaker 28 (02:38:46):
Give them.

Speaker 13 (02:38:49):
She's putting the chain on the door.

Speaker 8 (02:38:51):
Flaura.

Speaker 30 (02:38:52):

Speaker 1 (02:38:53):
I'm going to kill Calm.

Speaker 13 (02:38:55):
Down, Flora, Calm down and concentrate. Listen to me, Flora.
They can't kill you. If you want them to go away, now,
will then to go away? Make them go away, Flora,

(02:39:17):
from mind. You can do it.

Speaker 14 (02:39:19):
If you want to a cad again, try try, try, Flora.

Speaker 25 (02:39:29):
It's not working.

Speaker 21 (02:39:31):
Man's not working.

Speaker 30 (02:39:34):

Speaker 10 (02:39:38):
Get down from me, Get down, keep down, Flora.

Speaker 13 (02:39:43):
Don't move Flora, Flora. Are you all right, Flora? What
Flora's dead?

Speaker 14 (02:39:55):
I can't believe it.

Speaker 13 (02:39:58):
Such waste, yes, child, But now you have to believe
that there there is another controller right here in London,
Part five Genetic Revelations.

Speaker 49 (02:40:24):
For as much as it has pleased Almighty God in
his great mercy, to take unto himself, the soul of
our sister Flora here departed, we therefore commit her body
to the ground, earth to earth, ashes to ashes, dust
to dust, in the sure uncertain hope of the resurrection

(02:40:44):
to eternal life through our Lord Jesus christ Amen, Amen.

Speaker 13 (02:40:49):
Amen, Court Flora.

Speaker 14 (02:40:59):
I feel sorrys Anderson to discover his daughter one week
and bury her the next, if she really was his daughter,
Jeosh Curtis is coming over.

Speaker 22 (02:41:11):
Oh thank you both very much for being here. It
would have been pretty lonely without you.

Speaker 13 (02:41:16):
Well, it was the least we could do. She had
no other friends here in London.

Speaker 22 (02:41:21):
Not much of a send off.

Speaker 14 (02:41:23):
Was it just the three of us? It would have
been different on Luig.

Speaker 13 (02:41:27):
Yes, she really belonged to that island.

Speaker 14 (02:41:31):
Poor Flora.

Speaker 22 (02:41:33):
She didn't even know why she died, did she.

Speaker 29 (02:41:37):
Or did she?

Speaker 13 (02:41:39):
Well?

Speaker 14 (02:41:40):
I I've a right to know, and you both know
more than you have ever let on Ian, Why don't
you come back to my pleasure and have a drink
with us? I all right, I will reviill I thank you?

Speaker 13 (02:42:00):
God is no thanks. I'm fine for the moment.

Speaker 22 (02:42:04):
So it looks as if Flora's murder was not the first.
What you're saying is that her mother was murdered too.

Speaker 14 (02:42:10):
Yes, I'm afraid so.

Speaker 22 (02:42:13):
And you're convinced that the shock of that event was
sufficient to unhinge the poor girl. Yes, and but for
that she would have become aware of her own power.
Over these so called mutants on.

Speaker 13 (02:42:24):
Lewick Yes, that's right, but we know now it's not
limited to Lewis.

Speaker 14 (02:42:30):
Quite a number of them are established here in London.

Speaker 13 (02:42:32):
With a controller behind them, an unknown controller.

Speaker 22 (02:42:36):
What's more, seems incredible to me. Are you sure, really sure?
You're fat?

Speaker 14 (02:42:41):
Positively?

Speaker 22 (02:42:43):
Do you know the names of these mutants?

Speaker 8 (02:42:45):
Well?

Speaker 13 (02:42:46):
Yeah, we're looking at one right now, you.

Speaker 14 (02:42:53):
Me, you mean I We are sorry, truly sorry, crazy
out of your minds, both of them.

Speaker 13 (02:43:02):
Can you explain why else you would walk into a
psychiatrists consulting room and just lead Flora away? Yes, you
knocked him unconscious with your walking canaan, and you man
handled his assistant, and then.

Speaker 14 (02:43:16):
You just left Flora in the street as if you
were a total stranger.

Speaker 35 (02:43:19):
It's not true.

Speaker 22 (02:43:20):
It's just not pastime.

Speaker 13 (02:43:22):
I'm afraid it is ian. That same psychiatrist was here
with us in this very apartment when you did the
whole thing over again. We saw you.

Speaker 14 (02:43:33):
I'm no recollection of doing any of those things, absolutely none.

Speaker 13 (02:43:37):
That's par for the course.

Speaker 14 (02:43:38):
They were actions motivated not by your own thought processes,
but by Flora's. That's why you don't remember them.

Speaker 13 (02:43:44):
You see you simply obey them blindly.

Speaker 14 (02:43:49):
But why was I the only one?

Speaker 22 (02:43:52):
Why didn't any of the other mutants respond to her signals?

Speaker 14 (02:43:55):
Or you were probably the only one within range. We
think a mile is a limit this part can carry.
At least that's been our experience.

Speaker 13 (02:44:02):
I wouldn't mind another Scotch now, John Mayor.

Speaker 14 (02:44:04):
Oh, please help yourself.

Speaker 13 (02:44:05):
Thank you.

Speaker 22 (02:44:07):
I feel dirty somehow. It's as though my mind had
been raped. It's not a nice feeling, not being able
to call your mind your own.

Speaker 14 (02:44:17):
We had to tell you.

Speaker 22 (02:44:19):
Oh yeah, I realized that, but well it's ruined my career,
of course, wiped out everything i'd ever hope to achieve.

Speaker 13 (02:44:26):
Oh no, that may not necessarily be true. And you see,
you are the first mutant to know that he's a mutant.
I'm sorry to.

Speaker 22 (02:44:35):
Use that word, but that's no other way to put it,
is there?

Speaker 13 (02:44:38):
Now go on, Well, now you know what is being
done to you, you may at least be aware of
the actions you have taken and be able to counter
them in some way.

Speaker 14 (02:44:50):
It is possible, I will. I hope you're both right,
and it could be of immense value to us. You see,
we don't know who your controller is.

Speaker 22 (02:45:00):
The one who ordered Flora's death.

Speaker 14 (02:45:02):
Yes, and we must uncover him. I don't think we
can do that without your help.

Speaker 22 (02:45:07):
I I should like to uncover him. I should like
that very much.

Speaker 14 (02:45:13):
Indeed, then let's start by asking if you are really
quite sure that Flora was your daughter? Yes, of course,
aren't you.

Speaker 13 (02:45:22):
Are you positive Flora didn't put the idea into your head?

Speaker 22 (02:45:27):
Quite literally, off, I thought, never crossed my mud. It's
going to take me a little while to grasp the
full potential of this phenomenon.

Speaker 14 (02:45:35):
I can see. Yes, it is rather frightening. I must admit.

Speaker 22 (02:45:39):
Did Flora put the idea into my mind? It's an
ingenious idea, Curtis, But no, definitely no.

Speaker 1 (02:45:47):
No.

Speaker 22 (02:45:48):
I knew Flora Carey was my child before she was
even born. It was the reason that I had to
stop seeing her mother. I had to let Flora be
passed off as Angus Keyri's daughter. The people on the
island at pretty straight laced even today, in any sort
of scandal, would have been enough for them to rescind
my scholarship to the university.

Speaker 13 (02:46:07):
For who to resin the scholarship.

Speaker 22 (02:46:09):
The Fellowship of the Church of Lewis h What's the matter, Curtis.

Speaker 13 (02:46:14):
Well, I don't know what you're going to say to this,
but well, Ian, every member of that fellowship is a mutant.

Speaker 14 (02:46:23):
Except the Minister Donald School.

Speaker 13 (02:46:27):
And for some reason we haven't yet fathomed, he was
in cahoots with Maley Kyle Lewig's controller.

Speaker 14 (02:46:34):
Molly Kyle, the controller. Are you sure?

Speaker 7 (02:46:38):
Oh he is.

Speaker 22 (02:46:40):
She was a great friend of my parents, who were
both members of the fellowship. Hi, it's snowballing even as
we talk about it.

Speaker 14 (02:46:48):
Tell us about that scholarship of Yoursean.

Speaker 22 (02:46:51):
Well, it's straightforward enough. It's a simple trust set up
to pay for the further education of the brighter children
on the island, normally sent away to school in the
main land and then on through university, all expenses paid.

Speaker 14 (02:47:04):
Were there many such scholarships?

Speaker 22 (02:47:07):
Three or four a year on average?

Speaker 13 (02:47:09):
Boys and girls?

Speaker 14 (02:47:11):
I can you remember any of their names?

Speaker 22 (02:47:13):
Of course?

Speaker 14 (02:47:14):
Do you know who their parents were?

Speaker 22 (02:47:16):
Don't you mean I cannot remember if their parents were
members of the fellowship.

Speaker 13 (02:47:20):
Yes, that's exactly what he means in the roundabout work.

Speaker 22 (02:47:24):
Well, I could easily check that up and let you know.

Speaker 13 (02:47:27):
Oh that's excellence.

Speaker 14 (02:47:28):
Excuse me, just a better see who that is you know, Ian, I.

Speaker 13 (02:47:33):
Can't help asking myself if all those brighter children who
received scholarships were we were like you?

Speaker 22 (02:47:42):
You mean mutants?

Speaker 7 (02:47:43):
Yes?

Speaker 13 (02:47:44):
And are they all holding down important jobs like you?

Speaker 14 (02:47:49):
Curtius?

Speaker 22 (02:47:51):
Are you saying that there is a conspiracy to take
over the country.

Speaker 13 (02:47:54):
I don't know. I just don't know.

Speaker 22 (02:47:58):
It's odd.

Speaker 13 (02:47:59):
What is John?

Speaker 14 (02:48:00):
There are two of Gulliver's men at the door. They
want us to accompany them to the Home Office.

Speaker 13 (02:48:05):
But who says their Gulliver's men? Can you be sure?
I mean, have you had them checked? Well?

Speaker 14 (02:48:09):
Their papers are all in order. But they want you
to bring your passport with you?

Speaker 13 (02:48:14):
My passport?

Speaker 18 (02:48:14):
What they hell for that?

Speaker 14 (02:48:16):
Apparently there have been formal complaints laid against us?

Speaker 13 (02:48:19):
What by who?

Speaker 14 (02:48:21):
A certain member of Parliament? By you?

Speaker 1 (02:48:24):
Ian?

Speaker 49 (02:48:32):
It is my duty to inform you, Professor Lark, that,
as a result of formal complaints laid against you, her
Majesty's Government regrets that it has no alternative but to
invite you to leave the country within seventy two hours.
What I must ask you to surrender your passport. It
will of course be returned to at your point of departure.
When you finally leave the country.

Speaker 14 (02:48:53):
I must protest, sir. I protest in the strongest possible terms.
You are in no position to test, mister Cornelias.

Speaker 49 (02:49:02):
Your own activities appear to have brought you perilously close.

Speaker 14 (02:49:05):
To breaking the Official Secrets Act.

Speaker 49 (02:49:07):
As it is Official Secrets Act, not to mention your
own code of medical practice, or do you call it
medical ethics these days?

Speaker 14 (02:49:17):
Ethics? But what on earth are you talking about me?

Speaker 49 (02:49:20):
In your particular case, mister Cornelia's, I would have thought
it unethical in the extreme for a brain surgeon to
publicize the name of a patient in the national press,
especially when that patient is a senior government official holding
a politically sensitive appointment.

Speaker 14 (02:49:39):
You can't mean Ian Sanderson. I mean Brigadier Sherman.

Speaker 13 (02:49:43):
Sir, who ah, you remember it, that gold braided blimp
who came blundering into Gullery's office.

Speaker 8 (02:49:49):
Oh him?

Speaker 14 (02:49:50):
Well, in that case, Sir, I can state, without fear
of contradiction, that Brigadier Sherman is not, repeat not one
of my patients, and never has been.

Speaker 49 (02:49:59):
That only compounds the situation, as far as I can see.

Speaker 14 (02:50:02):
So I don't even know the man, only laid eyes
on him once in my life.

Speaker 13 (02:50:06):
Oh, forget it, turn forget it. They've got the drop
on us.

Speaker 49 (02:50:09):
Your passport, Professor Lark, if you please, all right, there,
take it, thank you, here's your receipt.

Speaker 14 (02:50:19):
This is preposterous, I warn you, sir. I intend to
take this matter to the highest possible authority.

Speaker 49 (02:50:24):
I assure you, mister Cornelius, this matter has already been
to the highest possible authority.

Speaker 13 (02:50:30):
We've been well and truly set up, John. We just
got a grim and bear it.

Speaker 49 (02:50:35):
I don't know whether you gentlemen were hoping to perpetrate
some sort of political hoax, but I'm bound to advise
you that the allegations you've made against mister Ian Sanderson
are so vicious as to invite legal action on the
most stringent terms, where they're not so outrageous, so impossible.

Speaker 13 (02:50:53):
As to read like something we like science fiction.

Speaker 14 (02:50:58):
Precisely not so long ago, Oh, they were saying the
same thing about getting a man to the moon.

Speaker 49 (02:51:04):
I'll get Major Manson to see you out, Yes, sir,
Oh Manson, perhaps you'll be good enough to escort these
gentlemen safely out of the building.

Speaker 36 (02:51:14):
Sudden Lisa, this way, gentlemen, Thank thank.

Speaker 14 (02:51:17):
You, seventy two hours, professor.

Speaker 49 (02:51:20):
That's all, And please be so kind as to advisers
of your time and place of departure.

Speaker 13 (02:51:28):
Pompous idiot, cool it, John, you'll burst a blood vessel.

Speaker 36 (02:51:32):
Well, I ask you this way, cannot gallip it like
a few words with you?

Speaker 14 (02:51:41):
Good. I've got a few choice words I'd like to
say to him.

Speaker 13 (02:51:47):
Coffee, strong and blacky.

Speaker 50 (02:51:52):
Well, thank you, Cornelius, the same for me, if you please,
sugar please, Yes, I'm sorry about all.

Speaker 14 (02:52:04):
Then, so you damn well should be thanks.

Speaker 45 (02:52:08):
Oh what else can I do? Once he and Sanderson's
complaint came in, the fat was in the fire.

Speaker 14 (02:52:12):
I find it a little surprising, to say the least.
This morning I felt sure he was on our side.

Speaker 45 (02:52:17):
I think he may well be. He phoned as soon
as you've been picked up. I don't know where he
got my name from.

Speaker 13 (02:52:22):
From us. He almost certainly heard John say it was
your men at the door.

Speaker 45 (02:52:26):
Anyway, He told me he hadn't laid a complaint against
either of you. He suggested the whole thing was either
a mistake or at least a misunderstanding.

Speaker 13 (02:52:33):
Well, we still can't afford to take in for granted, John,
he may want to be on our side, but he's
still a mutant.

Speaker 14 (02:52:40):
You think he might have been under orders to make that.

Speaker 13 (02:52:42):
Complaint almost certainly. The interesting part is that he seems
to have pieced it all together when we were picked up,
and reacted accordingly, just as you hoped he would. Well,
at least it's a hopeful sigh.

Speaker 14 (02:52:55):
Yes, Now, what about this ridiculous newspaper story, Colonel, that
really has put the cat among the pigeons.

Speaker 45 (02:53:02):
Yes, I'm sorry about that too.

Speaker 14 (02:53:03):
I'll be lucky if I'm not hauled up before the
BMA for that little nonsense.

Speaker 13 (02:53:06):
Worried about me being booted out of the country like
an enemy alily?

Speaker 45 (02:53:10):
Well, that was something I hadn't foreseen, I must admit.

Speaker 13 (02:53:13):
Do I understand you correctly? Colonel?

Speaker 45 (02:53:16):
I should think so, Professor, all over his fool It.

Speaker 13 (02:53:18):
Was you who gave that story to the press.

Speaker 45 (02:53:21):
Yes, but why quite simply because I happened to believe
your story one hundred percent. I also believe that the
two men who killed Flora were almost certainly mutants acting
under orders under who is the orders? That's the point,
isn't it, Professor? But before I could come to grips
with that I had to deal with another problem much
closer to home.

Speaker 14 (02:53:38):
Brigadier Sherman.

Speaker 45 (02:53:39):
Yeah, Sherman is the head of this department and my
immediate superior and a mute undeniably and quite possibly acting
under orders even here in this building. If this investigation
was to get anywhere, I had to get rid of
the Brigadier.

Speaker 13 (02:53:52):
You would see how leaking the story did the press
can help well.

Speaker 14 (02:53:55):
It brings the investigation out into the open curtains, into
what is called public domain.

Speaker 45 (02:54:00):
More than that, it pinpoints Sherman was the key figure
in what could be a very embarrassing front page story.

Speaker 14 (02:54:05):
And however your lords and masters reacted so far to
this levious scheme of yours.

Speaker 45 (02:54:09):
Brigadier Sherman even now is en route for the south
of France for a period of indefinitely, pending a full investigation.
And I'm in charge of that investigation.

Speaker 14 (02:54:18):
Congratulations, and I am to be deported.

Speaker 45 (02:54:21):
More congratulations, we laxed, Professor. I've already made application for
that order to be rescinded.

Speaker 13 (02:54:26):
Do I get my passport back?

Speaker 45 (02:54:28):
Not until I've completed my inquiries. I'm afraid I just
can't allow you to leave the country and.

Speaker 13 (02:54:32):
To think Britain used to be called the cradle of democracy.

Speaker 14 (02:54:36):
That was Greece. Deir boy, Oh, I'm.

Speaker 13 (02:54:43):
Glad to get out of that place. It was beginning
to feel like sing sing at one stage.

Speaker 14 (02:54:48):
I've never been there, but I think I know the feeling. Ah,
there's a news stand over the road.

Speaker 13 (02:54:53):
You want to read about what they said about Sherman.

Speaker 1 (02:54:56):
Huh.

Speaker 14 (02:54:56):
No, I want to make sure they've kept my name
out of it. Otherwise we'll be up what ears and
reporters for the next few days. I will be a minute.

Speaker 10 (02:55:03):
Okay, John, look out John, John, are you all right?

Speaker 14 (02:55:16):
It's my arm?

Speaker 13 (02:55:18):
Is it broken?

Speaker 1 (02:55:19):
No?

Speaker 14 (02:55:19):
No, I don't think so. Oh, the damn driver could
have killed me.

Speaker 13 (02:55:24):
That was almost certainly his intention.

Speaker 14 (02:55:27):
You seriously, boy, are you better?

Speaker 13 (02:55:29):
I'm serious. Me in America and you in the hospital
are worse, No doubt about it.

Speaker 7 (02:55:33):
John.

Speaker 13 (02:55:34):
Somebody's marked our card with a vengeance.

Speaker 14 (02:55:43):
Come in morning, John, Good morning. Oh, it's as well
as gonna be expected. If I might coin a friend.

Speaker 13 (02:55:51):
Yeah, maybe this is a tea. Yeah, look there four
minute a dagg I remembered coffee orangeese coasting marmalade a lot.

Speaker 14 (02:55:59):
Just like my I used to make now shall I
feed you?

Speaker 7 (02:56:02):
Oh?

Speaker 14 (02:56:02):
No, no, no things, I think I can coach.

Speaker 13 (02:56:07):
What have you called there?

Speaker 14 (02:56:08):
Oh?

Speaker 13 (02:56:09):
This is from Sonderson. He must have pushed it through
the letterbox first thing this morning. It's a list of
all those he can remember as having been educated by
the Trust. It's an interesting little collection of names, plus
details of parentage, of course, all very comprehensive. Here see

(02:56:29):
for yourself.

Speaker 14 (02:56:33):
Colonel Gallibus should read this.

Speaker 13 (02:56:35):
He may be able to tack these people down, yes,
and find out what they're doing. Now. I was checking
hughes observations against these facts that Sounderson has given us.

Speaker 14 (02:56:46):
And what did you find?

Speaker 13 (02:56:48):
Nothing? It's as though I had a key in my
hand and couldn't find a lock to fit it.

Speaker 14 (02:56:55):
I wonder if I've got the answer.

Speaker 13 (02:56:57):
What's that?

Speaker 14 (02:56:59):
I couldn't sleep last night? This wretched arm kept me awake.
And the strange thing was I couldn't get Flora's mother
out of my mind.

Speaker 13 (02:57:08):
Flora's mother and why? But according to.

Speaker 14 (02:57:11):
Flora, her mother was murdered by Molly Kyle because she
had begotten Flora in sin.

Speaker 13 (02:57:17):
As she put it with the young Ian Sanderson here.

Speaker 14 (02:57:21):
Well, now, why would Molly Kyle suddenly punish a mutant
for something that done thirteen or fourteen years before.

Speaker 13 (02:57:29):
She'd only just found out.

Speaker 14 (02:57:30):
But how and who could have told her? Only Ian
Sanderson and Flora's mother knew the secret. He had left
the island, and she would never have risked breaking up her.

Speaker 13 (02:57:39):
Marriage, not after thirteen years. Certainly, then the answer must
have been Flora herself exactly.

Speaker 14 (02:57:47):
And when Flora suddenly started developing into her controller.

Speaker 13 (02:57:50):
I must have given our Molly one hell of a shock.

Speaker 14 (02:57:52):
To put it mildly. And what's more, Molly would have
known instantly how it had happened. Yeah, what do you
know about Flora's assumed father, Angus Kearing?

Speaker 13 (02:58:04):
Well, he wasn't a mutant, but his father was.

Speaker 30 (02:58:08):
Ah.

Speaker 14 (02:58:09):
Oh, where does Sandersan say that he doesn't? Huh?

Speaker 13 (02:58:12):
I marked all the passages in Hugh's notebook that refer
to Flora here look see.

Speaker 14 (02:58:18):
Ah huh good? Un Then what about Flora's mother?

Speaker 13 (02:58:23):
Well, just a minute, let's see, yer, No, both her
parents were mutants, and so were Sunderson's. He told us
that himself.

Speaker 14 (02:58:34):
All right, so we have a working hypothesis. A controller
is borne out of the union of two mutants and
the parents of both of them must be mutants too.

Speaker 13 (02:58:44):
We may have to go back even further than that, John.
We we can't be sure.

Speaker 14 (02:58:49):
I know it is enough to be getting on with, surely,
O kay. There are half a dozen nails on this
list to have two mutant parents.

Speaker 13 (02:58:55):
And a lot of their grandparents will be dead by now,
so we can't check them out.

Speaker 14 (02:59:00):
So any one of these could be a controller.

Speaker 13 (02:59:03):
John, supposing none of them were controllers.

Speaker 14 (02:59:07):
Oh, come on, Curtis, there must be two whole generations here.
There has to be at least one controller. If not,
where else do we find him?

Speaker 13 (02:59:16):
That's the big question, John, And the answer gives me
a feeling like hairy legged spiders crawling over my scalp.

Speaker 14 (02:59:24):
In this country we call that Dan Druff.

Speaker 13 (02:59:27):
You know, for a so called upright Englishman, you spend
an awful lot of your time burbling on your backside.

Speaker 14 (02:59:33):
Well, I have a poorly arm and I had to
enjoy this delicious breakfast which you prepare for me with
such loving care.

Speaker 13 (02:59:39):
Well you've finished it now You've absolutely no excuse for
staying in bed any longer. Come on, now, get up,
all right, and let's go over to Saunderson's place. It's important, John.

Speaker 22 (02:59:51):
Come on, can I offer you something? Tea coffee?

Speaker 8 (02:59:59):
Love me?

Speaker 14 (03:00:00):
I've had breakfast in bed.

Speaker 22 (03:00:02):
Well what is it that brings you here in such
a hurry?

Speaker 13 (03:00:05):
We want some information from you about this educational trust?

Speaker 4 (03:00:10):
Oh?

Speaker 13 (03:00:10):
Why where was it administered on Luig?

Speaker 22 (03:00:13):
Of course Curtis by the Fellows?

Speaker 13 (03:00:15):
Oh no, no, no, that's where the beneficiaries are, where
the scholarships are awarded. We want to know where the
money is. It can't just be suspended in space. I
mean someone has to be responsible for it, for its investment,
for collecting and distributing the interest. If we could find
out who does that.

Speaker 14 (03:00:34):
We'll be getting much closer to the truth.

Speaker 22 (03:00:36):
Ay, well, it's administered here in London by a small
merchant bank. I should know because I'm a member of
its board of directors.

Speaker 13 (03:00:45):
You are what are we waiting for?

Speaker 22 (03:00:49):
Well, if it'll help, I'll make an appointment for you
to meet the bank's chairman.

Speaker 14 (03:00:54):
Fine on our way. We might as well drop into
the Home Office and leave that list of names with
Colonel Gulliver or by the bye eh.

Speaker 22 (03:01:02):
If you'd care to come and look out of the window. Look,
don't they see that man in a dark jacket and
pinstriped trousers. What about him, Well, he's been there for
two and a half hours. I just thought it rather strange.

Speaker 14 (03:01:17):
Ah, it might be one of Gulliver's men.

Speaker 13 (03:01:20):
On the other hand, it might not. Anyway, if he
follows us to the bank, I think we'd be justified
and asking him for his account number.

Speaker 34 (03:01:36):
If you wouldn't mind waiting in here for a few moments, gentlemen,
Sir Graham mccledden has someone with him at the moment,
but he ought to be free directly.

Speaker 14 (03:01:44):
Thank you.

Speaker 13 (03:01:45):
Thanks.

Speaker 22 (03:01:48):
I hate having this floort to seem in.

Speaker 14 (03:01:50):
Glass all around, so do I makes me feel like
a goldfish in a.

Speaker 13 (03:01:53):
Bowl or a germ under a microscope.

Speaker 14 (03:01:56):
Oh really, curses, you have an uncanny neck of luring
the tone of any confort station.

Speaker 13 (03:02:01):
Well, it can often be quite beneficial to get back
to basics earlier.

Speaker 14 (03:02:06):
You're obviously about to expand another of your extraordinary there.

Speaker 13 (03:02:09):
Is Oh wily, Uncle Corney. You know, it just dawned
on me that we've been looking at this education trust
is something which has developed quite naturally out of the
situation on Lewig.

Speaker 14 (03:02:22):
I thought we would all agreed on that.

Speaker 13 (03:02:24):
What from one tiny island, a few hundred simple hard
working god fearing Croft is organizing this, this fellowship, this
education trust. It's all too much, John, it's.

Speaker 14 (03:02:36):
Far too much of what's the alternative?

Speaker 13 (03:02:39):
That Lewig may have started as an accident of nature,
but it has been deliberately built up, exploited for the
sole purpose of producing mutants who can be groomed for
high office, like Ian Hero or Brigadiy Sherman.

Speaker 14 (03:02:55):
And half the names on IAM's list.

Speaker 22 (03:02:57):
I shouldn't be supplied, right, You mean it's been said
up like a sort of mutant breeder unit, more like
a stud farm.

Speaker 13 (03:03:03):
Oh it's horrible, yes, especially when you think of Molly
Kyle and the Reverend Donald's schooler as the farmer's farm managers.

Speaker 14 (03:03:12):
More likely, now, if you're right, then the real villains,
the master minds of this business, are hiding behind the
facade of this merchant.

Speaker 13 (03:03:21):
Bank, all this plate grass apulence around us.

Speaker 34 (03:03:24):
Excuse me, gentlemen, Sir Graham is free to see you now,
if you kindly care to step this way.

Speaker 13 (03:03:29):
Oh just a minute, who's that who just came out?

Speaker 51 (03:03:34):
That was Sir Graham's last appointment sir, the Reverend Donald Schooler.
There he is now, sir, just going towards the main door.
Do you know him by any chance?

Speaker 1 (03:03:43):
Oh?

Speaker 7 (03:03:44):
Yes, we know him all right.

Speaker 14 (03:03:46):
And the man he's talking to now, oh do you sir?
That's Sir Graham's chauffeur.

Speaker 22 (03:03:53):
But he's the man who has been waiting outside my
flat for two and a half hours.

Speaker 13 (03:03:57):
I'm sure as hell he wasn't waiting for a bus.

Speaker 19 (03:04:19):
That was part five of Aliens in the Mind, co
John Cornelius, with Fraser Carr as Ian Sunderson, William Edle Gulliver,
James Thomason home office official, and Andrew Seer as Manson.
Aliens in the Mind was written by Rennie Basilico from

(03:04:40):
an idea by Robert Holmes. Production by John Dias. Aliens

(03:05:13):
in the Mind co starring Vincent Price as Curtis Lark
and Peter Cushing as John Cornelius. When Flora Carey is murdered,

(03:05:45):
Lark and Cornelius decide to tell her father, the mp
Ian Sanderson, that he is himself a mutant, able to
be manipulated by the unidentified controller, the same person who
ordered his daughter's death. Shocked and horrified, Saunderson agrees to
help them trace the organization back to its source. Their

(03:06:07):
search finally leads them to an educational trust with headquarters
at a merchant bank in the city.

Speaker 13 (03:06:15):
We've been looking at. This education trust is something which
has developed quite naturally out of this situation on Lewig.

Speaker 14 (03:06:22):
I thought we were all agreed on that.

Speaker 13 (03:06:24):
What from one tiny island, a few hundred simple, hard working,
god fearing crofties organizing this, this fellowship, this education trust
lost the alternative that Lewig may have started as an
accident of nature, but it has been deliberately built up,
exploited for the sole purpose of producing mutants who can

(03:06:48):
be groomed for high office, like Ian Hero or Brigadier Sherman.

Speaker 14 (03:06:52):
And half the names on Ian's list.

Speaker 22 (03:06:54):
I shouldn't be supplied, right, You mean it's been set
up like a sort of mutant breeder unit, more like
a studfar Oh it's horrible.

Speaker 13 (03:07:01):
Yes, especially when you think of Molly Kyle and the
Reverend Donald's scholar as the farmer's farm managers.

Speaker 14 (03:07:09):
More likely now, if you're right, than the real villains.
The master minds of this business are hiding behind the
facade of this merchant bank.

Speaker 13 (03:07:18):
All this plate grass opulence around us.

Speaker 34 (03:07:20):
Excuse me, gentlemen, Sir Graham is free to see you
now just a minute.

Speaker 13 (03:07:25):
Who is that who just came out?

Speaker 51 (03:07:27):
That was Sir Graham's last appointment, sir, the Reverend Donald Schooler.
There he is now, sir, just going towards the main door.
Do you know him by any chance?

Speaker 1 (03:07:37):
Oh?

Speaker 13 (03:07:37):
Yes, we know him all right.

Speaker 14 (03:07:40):
And the man he's talking to now, oh do you sir?

Speaker 22 (03:07:44):
That's Sir Graham's chauffeur. But he's the man who has
been waiting outside my flat for two and a half hours.

Speaker 13 (03:07:50):
I'm sure as hell he wasn't waiting for a bus.

Speaker 14 (03:07:56):
Pout six final tribulations.

Speaker 36 (03:08:02):
I mean, if you please, gentlemen, Sir Graham will see
you now.

Speaker 13 (03:08:05):
Thank you, Come in in.

Speaker 48 (03:08:08):
It's nice to see you again. You seem to have
been away for ages.

Speaker 7 (03:08:12):
Graham.

Speaker 22 (03:08:13):
May I introduce John Cornelius, the eminent brain surgeon. Mister Cornelius,
it's good of you to see a stagram and the
professor cut his lark.

Speaker 13 (03:08:21):
Professor, nice office you have here in Sta Graham must
be a good working environment perfect, but.

Speaker 48 (03:08:28):
Then luxury always is. Won't you sit down? Gentlemen?

Speaker 7 (03:08:32):
Thank you?

Speaker 24 (03:08:33):
Now?

Speaker 48 (03:08:34):
What brings two such unlikely visitors from the hallowed bottles
of a merchant bank?

Speaker 7 (03:08:39):
Money?

Speaker 13 (03:08:40):
What else?

Speaker 7 (03:08:41):
Sir Graham?

Speaker 48 (03:08:41):
Well, at least you've come to the right man.

Speaker 13 (03:08:44):
We sincerely hope so well tell me all about it.

Speaker 14 (03:08:47):
What's your problem? We've just returned from the Isle of Louis.

Speaker 13 (03:08:51):
You know the Isle of Lewis, sa Graham?

Speaker 46 (03:08:52):
Well, of course I do.

Speaker 1 (03:08:53):
I was born there.

Speaker 13 (03:08:54):
What a coincidence?

Speaker 48 (03:08:56):
What you mean because of im?

Speaker 9 (03:08:58):
Not?

Speaker 1 (03:08:58):
Really?

Speaker 14 (03:08:59):
Were you also educated on the island Stagram to start with?

Speaker 13 (03:09:02):
Of course?

Speaker 48 (03:09:02):
But then my family emigrated to Canada. Oh but that
was years and years ago.

Speaker 22 (03:09:07):
Graham was the Leuig Educational trust in existence in those days,
of course.

Speaker 48 (03:09:12):
Not Ian. That wasn't until just before the war nineteen
thirty eight or nine. Could you tell us who established
the trust?

Speaker 8 (03:09:22):
I did?

Speaker 48 (03:09:23):
It's always been very much my own private term manufactur. Yes,
something like that, in gratitude for all the favors received.

Speaker 13 (03:09:31):
And in lively expectation of further favors to come.

Speaker 48 (03:09:35):
That's a nice turn of phrase, you have, professor.

Speaker 13 (03:09:38):
It's not original. I'm afraid, indeed.

Speaker 14 (03:09:40):
Not, I believe it was her said of King John.
Oh you know everything, So Graham, do you know anything
about the island sickness island?

Speaker 13 (03:09:48):
See what island?

Speaker 52 (03:09:51):
Sickness on Lewis?

Speaker 14 (03:09:53):
Graham?

Speaker 1 (03:09:53):
All that?

Speaker 14 (03:09:54):
Oh that's nothing, nothing much.

Speaker 13 (03:09:57):
Do you realize that the incidents of mental disord orientation
in the young is higher on this one tidy island,
with the population of a few hundred than it is
in the rest of the United Kingdom. You caught that
nothing much, Sir Graham. It's the biggest nothing much I've
ever heard of.

Speaker 48 (03:10:13):
Put like that, Professor. I might agree it sounds horribly impressive,
But as I understand it, this sickness is no more
than a passing phase, like growing pain.

Speaker 22 (03:10:27):
The point is, Graham, that whatever this sickness is, it
didn't turn out to be a passing phase with my daughter.

Speaker 48 (03:10:34):
You're I didn't even know you had a daughter.

Speaker 22 (03:10:37):
No, I think I'd almost forgotten it myself until last week.

Speaker 48 (03:10:42):
Why what happened last week?

Speaker 22 (03:10:45):
My daughter was murdered, murdered.

Speaker 14 (03:10:49):
My poor ian.

Speaker 52 (03:10:51):
I had no idea.

Speaker 48 (03:10:53):
Oh but this is awful, terrible. I can't tell you
how bold I am.

Speaker 13 (03:11:00):
Don't you want to know who did it?

Speaker 14 (03:11:02):
Hmm, oh, yes, yes, of course I do, so do we.
It was too complete strangers, strangers to.

Speaker 7 (03:11:10):
Us, that is.

Speaker 48 (03:11:10):
But why earn in God's name?

Speaker 13 (03:11:13):
Why we hoped you might hazard a guess, Sir Graham.

Speaker 48 (03:11:16):
I don't know why you should think that, don't you.

Speaker 13 (03:11:21):
Anyway?

Speaker 22 (03:11:21):
The the point is that I'd like to make some
sort of lasting memorial to her.

Speaker 13 (03:11:26):
Of course you would.

Speaker 22 (03:11:28):
What I had in mind was some sort of grant
to allow proper research into the causes of this island sickness.

Speaker 48 (03:11:34):
An luis where else It sounds a marvelous I dear,
we thought.

Speaker 22 (03:11:41):
You'd like it, and I was wondering if you'd be
prepared to let the Trust sponsor it.

Speaker 14 (03:11:46):
The trust?

Speaker 13 (03:11:47):
And why not?

Speaker 14 (03:11:48):
So, Graham, isn't the aim of the trust to improve
conditions for the islanders?

Speaker 24 (03:11:52):
Er will?

Speaker 14 (03:11:54):
Yes?

Speaker 13 (03:11:54):
Yes, and where I suppose well, believe me this would
improve their lot.

Speaker 48 (03:12:00):
Art Oh, excuse me a moment, Yes, Charles.

Speaker 1 (03:12:08):
Lady mccleoden has arrived, said Graham.

Speaker 48 (03:12:10):
Oh, ask her to wait just a few no, no, no,
one second thoughts. Ask her to come straight up. Very
good to Graham, I hope you don't mind gentlemen, I'm
meant to be taking my wife to land.

Speaker 22 (03:12:22):
It's ages since I saw her last.

Speaker 13 (03:12:25):
Is your wife also a native of luig Segret?

Speaker 48 (03:12:28):
Oh no, no, no, she was born in Canada. Actually
that's where I first met her.

Speaker 22 (03:12:32):
That she does take a great interest in affairs on
the island.

Speaker 48 (03:12:35):
Oh, yes, indeed, she want to know a great deal
about this suggestion of yours.

Speaker 23 (03:12:40):
Oh, I'm sorry, dear, I didn't.

Speaker 48 (03:12:42):
Mean no, no, no, it's quite all right, dear, come
on in.

Speaker 23 (03:12:45):
Well, if you're sure.

Speaker 8 (03:12:47):
You were you know, yeah, And of course, of course.

Speaker 23 (03:12:50):
It's been so long I'm in danger of forgetting.

Speaker 22 (03:12:52):
What you look like.

Speaker 1 (03:12:53):
Here.

Speaker 48 (03:12:54):
Now, let me introduce you to mister John Cornelius, the
brain surgeons, lady and sfessor Curtis Luck.

Speaker 23 (03:13:01):
You know Curtis Luck, the author.

Speaker 13 (03:13:03):
Are you well, I do write the odd book or
two man.

Speaker 23 (03:13:06):
Yes, I've just read one of them.

Speaker 8 (03:13:08):
H thank you.

Speaker 13 (03:13:09):
I'm gratified to find I'm not my only reader.

Speaker 23 (03:13:12):
No, seriously, I find your predictions of the future use
of telepathy and telekinus is quite fascinating.

Speaker 13 (03:13:19):
Yes, it is a fascinating subject.

Speaker 23 (03:13:23):
And not a little frightening. Forgive me, I've obviously broken
up something terribly important.

Speaker 22 (03:13:28):
On the contrary, your arrival could be quite opportune.

Speaker 48 (03:13:31):
Y shit down, my dear here, we hope you.

Speaker 14 (03:13:35):
Might be able to persuade Sa Graham to support our scheme.

Speaker 13 (03:13:39):
It's a modest medical research grant.

Speaker 23 (03:13:42):
That seems a worthy enough couse what you intend to research?

Speaker 14 (03:13:45):
Mental illness?

Speaker 13 (03:13:47):
Lady, I'm a tiny Scottish island called lewig Uig.

Speaker 23 (03:13:52):
But there's no mental illness on Lewig.

Speaker 14 (03:13:54):
Oh, but there is, I assure you.

Speaker 13 (03:13:56):
The so called island's sickness is almost approaching an epple.

Speaker 48 (03:14:00):
They want the trust to sponsor the idea.

Speaker 23 (03:14:04):
If they're serious, why not? It sounds a marvelous idea.

Speaker 14 (03:14:10):
That's what your husband say, exactly what your husband said,
word for word.

Speaker 23 (03:14:17):
Of course, we'd have to put it to the other trustees.

Speaker 14 (03:14:19):
Oh, I thought it was a private trust.

Speaker 22 (03:14:21):
Graham did say that he set up the trust.

Speaker 23 (03:14:25):
He did as agent for the trustees.

Speaker 22 (03:14:28):
Could we approach them?

Speaker 14 (03:14:29):
I don't see why not?

Speaker 13 (03:14:30):
When?

Speaker 8 (03:14:30):
When?

Speaker 9 (03:14:31):
What?

Speaker 13 (03:14:31):
When?

Speaker 1 (03:14:32):
Could we put it to them tonight?

Speaker 4 (03:14:34):
If you like?

Speaker 23 (03:14:36):
Well, Graham and I are both trustees, and the chief
executor is dining with us. Three gives a quorum.

Speaker 48 (03:14:41):
Well, then you'd better come to dinner. You can put
your proposition on mass what.

Speaker 22 (03:14:46):
All three of us?

Speaker 3 (03:14:47):
Why not?

Speaker 23 (03:14:47):
The more the merrier.

Speaker 22 (03:14:50):
Well, what a splendid idea. We'd love to come, wouldn't we, Yes?

Speaker 13 (03:14:55):
I guess we would it there.

Speaker 23 (03:14:56):
Make it eight for eight thirty of them. We'll send
a car foril. Then you won't have to worry about
driving home.

Speaker 14 (03:15:03):
That is most awfully kind of you.

Speaker 13 (03:15:17):
Drink no thanks. I want to have that wide awake
feeling all evening.

Speaker 14 (03:15:23):
You have a suspicious mind, dear boy. I don't expect
it'll be anything, but I perfectly altunary did.

Speaker 13 (03:15:28):
A part, Yes, except that we could find ourselves playing
foot see with a controller.

Speaker 14 (03:15:34):
You think it's mcludden, don't you.

Speaker 13 (03:15:36):
Well, I don't know. But it's not a bad position
for a controller to be in, now, is it. I mean,
head of a merchant bank, finger in every pie, pulling
every strings. Sounds awfully messy, it sounds terribly legitimate. What
better front could a controller have?

Speaker 14 (03:15:50):
You're right about that every snippet of information in the
right hands could be worth a million dollars.

Speaker 13 (03:15:55):
It'ch have pounds over here anymore?

Speaker 1 (03:15:57):
Oh?

Speaker 14 (03:15:58):
Yes, yes, but they're not the same as those we
used to know and love.

Speaker 13 (03:16:02):
How does my bow tie look terrible and tired? Why
did you buy a clip on like my?

Speaker 14 (03:16:07):
Oh that's most uncivilized. Besides, I'd be terrified I'll be
falling into the.

Speaker 13 (03:16:10):
Sup Well, it might improve the days now, who knows that?
Want me to get it?

Speaker 9 (03:16:15):
No?

Speaker 14 (03:16:15):
No, no, no, I'll go all right, all right, I'm coming. Oh,
Major Manson, May I come in? Yes, of course, go
straight through?

Speaker 13 (03:16:24):
Huge the smell of camphor.

Speaker 14 (03:16:28):
It's Major Manson.

Speaker 36 (03:16:29):
Good evening, professor, Oh.

Speaker 13 (03:16:30):
Good evening. Major. Will you join me in a drink
Scotch straight?

Speaker 22 (03:16:34):
A little water?

Speaker 7 (03:16:35):
Please? Okay?

Speaker 14 (03:16:36):
I thought you weren't going to drink to night, Curtis, Well,
I changed my mind.

Speaker 13 (03:16:40):
This monkey suit of mine smells so much a moth balls.
It's making my eyes water.

Speaker 14 (03:16:45):
You should get that jacket a good brush.

Speaker 36 (03:16:47):
Does that get rid of the smell?

Speaker 9 (03:16:48):
No?

Speaker 13 (03:16:49):
But it scares the hell out of them all I say,
I say, I say my mind.

Speaker 14 (03:16:54):
That's Major.

Speaker 13 (03:16:54):
You are major, news to you and cheers. Why did
you take the weight off your feet and tell us
the new.

Speaker 34 (03:17:01):
Well you've certainly stirred up a hornet's nest. Colonel Gulliver's
with the Home Secretary.

Speaker 13 (03:17:06):
Now, well, I'm glad to see someone's taking this seriously.

Speaker 34 (03:17:09):
He's taking the whole show very seriously, indeed regarded as
a full scale attempt to subvert the government of this country.

Speaker 13 (03:17:16):
But the question is who by?

Speaker 14 (03:17:18):
Perhaps we'll find out at dinner tonight. Excuse me, why not?

Speaker 1 (03:17:23):
What?

Speaker 13 (03:17:23):
Who's behind it all?

Speaker 14 (03:17:31):
John Cornelius here?

Speaker 22 (03:17:33):
Oh it's Ian Sanderson here?

Speaker 2 (03:17:34):
Oh?

Speaker 22 (03:17:34):
Hello, Hi, I've just seen Sir Graham's car pull up
outside your door. But I think the show for is
coming to you first, so I'll be down in a
couple of minutes.

Speaker 14 (03:17:42):
Oh, well, thank you, see you in a few moments then, iye, fine,
bye bye. That's all. It's very odd.

Speaker 13 (03:17:55):
Something come up? John?

Speaker 14 (03:17:56):
No, Well, at least what's Saunderson? He rang us say
mclodden's chaufour is on his way.

Speaker 1 (03:18:03):
Up for us.

Speaker 36 (03:18:04):
Simple courtesy?

Speaker 14 (03:18:05):
Surely, Well, I don't know. He warned us once before,
didn't he.

Speaker 13 (03:18:09):
Cat, Yes, you're right when Flora got killed.

Speaker 36 (03:18:11):
You think he's trying to warn you again.

Speaker 14 (03:18:13):
It's possible.

Speaker 5 (03:18:14):
Hello.

Speaker 14 (03:18:15):
The trouble is once a mutant, always a mutant. We
can never be sure here, girls, John, Yes.

Speaker 13 (03:18:22):
Be ready for anything.

Speaker 36 (03:18:24):
Mister Cornelius, keep your body right behind the front.

Speaker 18 (03:18:27):
Door all the time.

Speaker 13 (03:18:27):
Don't worry. I will What about me, you, professor, keep
clear of this doorway.

Speaker 14 (03:18:31):
Okay, mister yes, well he won't keep you a minute.
Just about Rody, have the wait, professor.

Speaker 28 (03:18:39):
Look Johnny, keep the way.

Speaker 13 (03:18:43):
John Are you all right?

Speaker 14 (03:18:46):
I'm still in one piece.

Speaker 13 (03:18:47):
I think I'm shaking like a jelly, but that's probably
just the reaction. What about him?

Speaker 1 (03:18:54):
What about him?

Speaker 36 (03:18:55):
Have you ever seen him before?

Speaker 13 (03:18:57):
Yes, he was watching Sanderson's apartment this morning, and then.

Speaker 14 (03:19:00):
We saw him talking to Schooler at the bank.

Speaker 36 (03:19:02):
Schooler, Yes, the preacher fellow from your island.

Speaker 13 (03:19:05):
Yeah, that's the one.

Speaker 36 (03:19:06):
Now, I wonder what brings him to town.

Speaker 14 (03:19:08):
Well, that's something else we may learn during dinner.

Speaker 36 (03:19:11):
This dinner party, is it meant to be taking place?

Speaker 14 (03:19:13):
That's a that's a Graham Mclutten's mclutten.

Speaker 36 (03:19:16):
You mean the merchant banker? Is he involved?

Speaker 14 (03:19:19):
And how where this chauffeur certainly was, And.

Speaker 36 (03:19:21):
You're determined to go through with this dinner quite determined
in spite of all that's happened.

Speaker 13 (03:19:26):
Because of all that's happened, you know.

Speaker 36 (03:19:28):
You could be putting your head in the lion's mouth.

Speaker 14 (03:19:31):
Well let herpe it doesn't suffer from a helito.

Speaker 13 (03:19:33):
I like that better?

Speaker 36 (03:19:36):
Do you mind if I use your phone?

Speaker 10 (03:19:37):
Oh?

Speaker 14 (03:19:37):
Help yourself?

Speaker 13 (03:19:38):
What are you going to do?

Speaker 36 (03:19:39):
You'll require transport, won't you?

Speaker 14 (03:19:49):
But we're the Graham chauffeur.

Speaker 22 (03:19:51):
What's happened to him?

Speaker 13 (03:19:52):
Why don't you tell lies?

Speaker 14 (03:19:53):
We were actually ready when you phoned, and then we
stood around waiting for nearly half an hour. That's strange,
especially as the car was still parked in the street.
I presume it was Sir Graham's car.

Speaker 10 (03:20:05):
Oh, I am sure of that.

Speaker 13 (03:20:07):
I can't think of any place as chauffe had go
without his car.

Speaker 14 (03:20:11):
Perhaps he couldn't take it with him.

Speaker 13 (03:20:12):
Oh, mccledden's won't think it very funny either.

Speaker 22 (03:20:15):
I were already half an hour late as it is.

Speaker 37 (03:20:24):
Mister Ian Sanderson, mister John Cornelius and Professor Curtis Luck.

Speaker 23 (03:20:31):
Oh I thought you were never coming?

Speaker 14 (03:20:34):
We very nearly won't. Well what happened?

Speaker 48 (03:20:37):
Did the car not arrive in time?

Speaker 4 (03:20:39):
Oh?

Speaker 13 (03:20:39):
No, the carra rines, but the chauffeur didn't.

Speaker 48 (03:20:42):
Oh well, perhaps you run out of Petrow.

Speaker 13 (03:20:44):
Why couldn't we have thought of that.

Speaker 23 (03:20:47):
Let me introduce you to the Chief Executor.

Speaker 24 (03:20:51):
Good evening, professor, you reverend Schooler, mister Carnelius.

Speaker 23 (03:20:56):
Of course you know my cousin Donald, don't you, cousin.

Speaker 14 (03:21:00):
I had no idea you were released.

Speaker 23 (03:21:02):
Oh, a long way removed.

Speaker 24 (03:21:03):
I'm afraid I'm bound to say I am surprised to
see you again, Professor.

Speaker 13 (03:21:08):
Yes, I can imagine.

Speaker 23 (03:21:11):
Do you think we could all go through to dinner?

Speaker 30 (03:21:13):
Now?

Speaker 23 (03:21:14):
I think they are ready to serve.

Speaker 24 (03:21:18):
So what's this nonsense? I hear about you wanting to
trust to sponsor some new fangled scheme on the island.

Speaker 1 (03:21:24):
Again.

Speaker 22 (03:21:25):
Oh, it's hardly a nonsense, Minister. I went to set
up a research grant as a memorial to my daughter.

Speaker 13 (03:21:32):
Ah Flora.

Speaker 24 (03:21:35):
I heard about that. Very distressing.

Speaker 22 (03:21:37):
That must have been more than you can know.

Speaker 24 (03:21:40):
Mind, that girl would have been alive today if she
had been left with us on the island where she
was safe and well cared for.

Speaker 14 (03:21:47):
Flora needed treatment, Minister.

Speaker 24 (03:21:49):
She was ill, Ay, she had the island sickness. There
have been many that had it before you came poking
your nose in, and none of them seen any other
worse for it.

Speaker 23 (03:21:58):
Please don't, mister Cornel, this.

Speaker 13 (03:22:00):
Is a guest. It's a fair point, though, my dear.

Speaker 48 (03:22:03):
I mean I suffered from it, and he came.

Speaker 22 (03:22:06):
Through, all right, so did I, and so did your butler.

Speaker 23 (03:22:09):
I believe Joshua, Yes, I think he did.

Speaker 14 (03:22:13):
Also apparently the entire fellowship on Luis.

Speaker 13 (03:22:17):
What makes you say that it was the price of
the ticket?

Speaker 14 (03:22:21):
What he means that was the reason for joining the fellowship?

Speaker 13 (03:22:25):
How do you know that?

Speaker 14 (03:22:27):
From the things Flora said and from what Satisan has
told us Ian yes.

Speaker 13 (03:22:32):
And from Hugh Dexter's notebook, of course, but not book.
We found no no what, minister.

Speaker 24 (03:22:39):
I'm just surprised that anything could have survived that fire
at doctor Dexter's house.

Speaker 13 (03:22:44):
It didn't. We had the notebook in our pocket by then.

Speaker 14 (03:22:48):
And he told everything here discovered before he was so
rudely taken from us.

Speaker 23 (03:22:53):
Joshua serves some more wine, if you please.

Speaker 36 (03:22:55):
Very well, my lady.

Speaker 48 (03:22:57):
What was it that this sir dick fellow discovered.

Speaker 22 (03:23:02):
Will He discovered that, owing to some strange genetic mutation
of the brain, many of the Islanders, myself included, could
be controlled the way Robert can be controlled. But anyone
with the ability to transmit instructions teleperthectally.

Speaker 23 (03:23:18):
Ian must come into you.

Speaker 45 (03:23:19):
Ian, listen to me.

Speaker 48 (03:23:23):
A man in your position must have and must keep
the confidence of the general public. Whatever you believe or
think you believe, you cannot afford to talk like that,
even in private.

Speaker 22 (03:23:36):
I can't afford to be a slave to somebody else's ambitions.
A politician must be his own master, Sir Graham, that
was extremely well said.

Speaker 48 (03:23:44):
Well, I'm only a banker. I may be a bit
naive about these things. But if Ian and others like
him have been turned into slaves, who are you accusing.

Speaker 14 (03:23:56):
Of being the masters? Flora care for one Ians?

Speaker 13 (03:24:01):
Doctor?

Speaker 14 (03:24:02):
Oh but that's preposterous.

Speaker 24 (03:24:05):
Ay, we keep coming back to that poor we lassie,
don't we, And we're going to keep coming right on
back to her.

Speaker 13 (03:24:12):
She was the only floor in the pattern, wasn't she?

Speaker 23 (03:24:15):
I must say, Professor, this is even more intriguing than
your book.

Speaker 48 (03:24:19):
And a damn sight more far fetched.

Speaker 14 (03:24:21):
Oh no, Sagram. You see, we've discovered the exact genetic
combination that will produce a musent child, a slave, as
you call him.

Speaker 13 (03:24:29):
What we don't know is the exact genetic combination that
produces an infant controller one of your masters.

Speaker 14 (03:24:36):
We were hoping one of you would enlighten us.

Speaker 5 (03:24:39):
Why us?

Speaker 48 (03:24:39):
But I suggest you direct that question to some one
who breeds thoroughbreds.

Speaker 14 (03:24:45):
It's not so far removed, Sir Graham. We're talking about
another form of selective breeding, very selective and to the
point of not pairing people who might produce unwanted controllers
like Flora Kiri. Only her mother ruined everything by having
an affair with Ian. I've never heard such nonsense.

Speaker 13 (03:25:04):
I told you it's not nonsense, and you both know it.

Speaker 22 (03:25:06):
In the end, it was the reason Flora had to
be killed, wasn't it? Said Graham?

Speaker 14 (03:25:12):
What you had one control of too many, didn't you?

Speaker 1 (03:25:15):
Aye?

Speaker 24 (03:25:15):
And now we've got a pair of meddling besy buggies.

Speaker 23 (03:25:18):
That's an aft all. There's no point in abusing our guests.
They're intelligent men, after all. They must realize their predicament
by now what predicament?

Speaker 14 (03:25:29):
Oh, of course, Curtis, I'm sorry.

Speaker 22 (03:25:34):
I should have realized you should.

Speaker 24 (03:25:35):
Indeed, mister cornel Rye, with all your fancy training, and
you could not work out that it might be another woman.

Speaker 23 (03:25:42):
If there's still any doubt in your minds?

Speaker 15 (03:25:45):
Just what.

Speaker 23 (03:25:48):
Listen to me? Concentrate, concentrate. Look around you, gentlemen, Ian Sanderson,
my husband, the butler.

Speaker 24 (03:26:04):
Ha ha ha aye, and a whole house full of.

Speaker 23 (03:26:07):
Servants them carefully, don't you notice something strange? They're blank looks.
Not one of them has a thought in his head
except to carry out my instructions.

Speaker 13 (03:26:18):
Heide mac clutton. Who'd have thought it?

Speaker 24 (03:26:21):
Or you should have done? Especially after Flora and my sister,
your sister Molly can Molly Kyle was your sister.

Speaker 13 (03:26:30):
What will you try to do, minister? Keep it in
the family, aye, something like that, professor, And you were
just riding on her coat tails power by proxy. Un
it figures special.

Speaker 24 (03:26:43):
You didn't figure it earlier then that was your big mistake, Professor.

Speaker 14 (03:26:47):
What do you intend to do with us, Lady maclutton.

Speaker 23 (03:26:50):
Well, I have only a will that you should be
taken out and killed.

Speaker 13 (03:26:54):
And you will be with the chorus of zombies chanting
kill him, kill him.

Speaker 23 (03:26:59):
No, they don't have to chant. You can have it
in complete silence if you like.

Speaker 13 (03:27:04):
Could we have them praying for our eternal souls? Just
to keep the minister happy.

Speaker 24 (03:27:08):
The time for the wise cracks as well, past, Professor.

Speaker 23 (03:27:12):
Outside now, and please let's not have any unpleasantness. It
would visit a pity to ruin such a delightful and
informative evening.

Speaker 13 (03:27:22):
Oh, yes, of course, and blood stains are so rough
on the carpets.

Speaker 23 (03:27:26):
Precisely, Professor, I knew you'd understand. Perhaps you would proceed
us into the garden. Please just at the edge of
the lawn, if you would, much far enough. But now,
now we wait for the helicopter. It shouldn't be more

(03:27:49):
than a few minutes.

Speaker 24 (03:27:50):
The bank on an air taxis shervis. Sir Graham often
uses it to get him to the airport.

Speaker 23 (03:27:55):
Is that where we're going, Yes, Professor, we booked a
flight to New York for.

Speaker 24 (03:27:59):
You and Cornelius and Sanderson. Whe're going to see you off.

Speaker 13 (03:28:04):
We're going to see me off.

Speaker 53 (03:28:06):
Yes.

Speaker 24 (03:28:07):
Unfortunately the helicopter crashed, killing all the passengers.

Speaker 13 (03:28:11):
What about the crew.

Speaker 23 (03:28:13):
The pilot's one of my mutants. He'll do what I
will him to.

Speaker 13 (03:28:18):
You mean, he'll just kill himself like some kemi kazi pilot.

Speaker 23 (03:28:22):
If I want him to.

Speaker 24 (03:28:31):
Right on time.

Speaker 23 (03:28:32):
It's no good looking round, professor. There's no way out
nowhere to run.

Speaker 13 (03:28:37):
Even if I did run, Lady mclenden, I have no
doubt you could will a whole army of zombies in.
They're catching up with me.

Speaker 23 (03:28:43):
That's right, Professor.

Speaker 13 (03:28:44):
How many zombies do you control? Anyway?

Speaker 36 (03:28:46):
All right, Lady mcletten, stand quite still.

Speaker 24 (03:28:48):
The party's over, Manson and about time.

Speaker 1 (03:28:51):
Kill him.

Speaker 13 (03:28:53):
Kill him careful Manson, be careful, sees the controller.

Speaker 24 (03:28:57):
Pull him up, Lady mcletten, pull him off.

Speaker 28 (03:29:01):
Kill him, kill kill him, tell him here, you will
hear him?

Speaker 14 (03:29:11):
What am I?

Speaker 48 (03:29:12):
What's been happening?

Speaker 36 (03:29:13):
Mister cornelius? Professor?

Speaker 14 (03:29:15):
You are right fine, mansion fine, you left it rather late.

Speaker 36 (03:29:19):
Yes, I'm sorry about that.

Speaker 13 (03:29:21):
My wife, My wife, what's happened to her?

Speaker 24 (03:29:25):
Carolina's dad, Graham?

Speaker 8 (03:29:27):
They have killed her?

Speaker 1 (03:29:28):
What? Oh?

Speaker 38 (03:29:30):
No, Caroline, my dear, damn you luck calm, you're interfering
on the cast color.

Speaker 36 (03:29:42):
I half expected he would have a gun, rather hooped
he would actually.

Speaker 13 (03:29:46):
What about lady mcludden.

Speaker 14 (03:29:48):
She was unharmed, But why should she bother with the
gun when she had a whole army of instant zombies
at her command?

Speaker 36 (03:29:53):
That's what I was thinking.

Speaker 22 (03:29:55):
Well, I suppose that's the end of this business, is
it except for picking up the pieces on Luig. I mean,
perhaps you'd allow me to look after that. You Obviously,
I can't continue in politics. I'm too big a security
arrest to ever achieve high office. And that's what it's
really all about, is.

Speaker 14 (03:30:12):
Can't you stay on the back bench?

Speaker 1 (03:30:14):
No?

Speaker 22 (03:30:14):
No, no, I don't think so. I'd keep remembering my ambitions.
It had hurt too much. No, I'd rather do something
useful back home in Luig for a while until I
can think it over.

Speaker 36 (03:30:23):
What about sir gram poor man.

Speaker 13 (03:30:25):
I don't think he understands what's going on.

Speaker 22 (03:30:27):
I'm not surprised. It'll take quite a lot of explaining.

Speaker 14 (03:30:30):
Believe me, here, Sian, and you might be the best
person to do it.

Speaker 52 (03:30:34):
Bye, I'll try.

Speaker 22 (03:30:36):
No, what about you John? What will you do?

Speaker 14 (03:30:39):
Return to surgery before I lose my touch?

Speaker 13 (03:30:42):
And you Curtis or I shouldn't be surprised if I've
got quite a lot of traveling to do?

Speaker 14 (03:30:47):
What back to Bornere, all over the place?

Speaker 13 (03:30:51):
I don't believe we've seen the end of this business.
Oh surely cut No, seriously, I mean, Lady mcclunden came
from Canada. The next controller could come from anywhere on Earth.
They could spring up like Marshall.

Speaker 14 (03:31:06):
No, don't start that again, Curtis, please start.

Speaker 13 (03:31:09):
What anything, my dear John, I think it started already.

Speaker 19 (03:31:29):
That was the final episode of Aliens in the Mind,
co starring Vincent Price as Curtis Lark and Peter Cushing
as John Cornelius, with Richard Herndle as Sir Graham Mcludden,
John Benham Lady Mcludden, Fraser carr Ian Sanderson, Henry Stamper,
Donald Sculler, and Andrew Sea as Manson. Electronic effects for

(03:31:52):
the series were by Chris Jenkins. Aliens in the Mind
was written by Rene Basilico from an idea by Robert Homes.

Speaker 14 (03:32:01):
Production by John.

Speaker 29 (03:32:02):
Dias, which of the world's wise echos, I wonder was

(03:32:37):
responsible for the aphorism that the best things in life
are to be found at its edges. It's too vague,
of course, so much depends on what you mean by
best and edges. Most of us prefer the central. It
is safe, you know where you are, but amusing well,

(03:33:00):
quite so, as my friend mister Bloom would have said.
But then mister Bloom has now ventured over the borderline.
He is, I imagine interested in Edges no longer. I've
been reminded of him again, as if there were any need,
by an advertisement in the Times. It announces that his house, Montressor,

(03:33:21):
is for sale, This charming freehold residential property, thirty eight acres,
the matured grounds of unusual beauty. I don't deny it,
but was it quite discreet to describe the house as imposing?

Speaker 13 (03:33:36):
A pair of.

Speaker 29 (03:33:37):
Slippers in my possession? Prompts this query? It is important
in such matters to be clear and precise and alas
all I can say about mister Bloom can only be
vague and inconclusive, as indeed he was. It was an
afternoon in May. I'd been to see a friend who,
after a long illness, was now creeping back into the

(03:33:59):
world again. It is a relief to leave a sickrum,
to breathe freely again after that stagnant atmosphere. I even
found myself whistling. As I climbed into my two seater.
I released the break she leaped to life. I felt adventurous.
It would be miserably unenterprising to go back by the

(03:34:20):
way I'd come. I would just chance my way home
two or three miles further on. I caught my first
glimpse of mister Bloom's house of Montresor, and the mere, quiet,
diffident looks of it brought me instantly to a standstill,
imposing it must have been built around seventeen fifty, and

(03:34:42):
at second sight was merely of pleasing proportions. To all appearance,
it was vacant, high grown trees towered around it, chiefly chestnuts.
The sun had set, and a diffused light hung over
the walls and roof. I had been debating whether to
approach nearer on foot or to drive boldly in. I

(03:35:03):
chose the second alternative, with a faint notion in my mind,
perhaps that it would insure me, if necessary, a speedier retreat.
But then premonitions are apt to display themselves a little
clearer in retrospect. Anyhow, if I had walked up to
the house that night would not have been spent with
mister Bloom. But it looked harmless enough, and I drove

(03:35:24):
under the chestnut trees to the entrance. I sat on
in the car idly surveying the scene. No notice whatever
seemed to have been taken of my intrusion, so presently
I got out and mooned off to the end of
the shallow stone vase terrace, only a dense shrubbery beyond.
I sighed and turned back. I came to the conclusion

(03:35:47):
that the place was unoccupied. Indeed, my foot was actually
on the step of the car, when, as if at
a summons, I turned my head and discovered not only
that the door was now open, but that a figure,
mister Blooms, was standing on the threshold. Mister Bloom a
memorable figure. It was well over six feet in height.

(03:36:11):
He was both stout and fat, and his clothes hung
loosely upon him, a black morning coat and waistcoat, brown trousers,
and well cut boots. His head was bald, but his
face was bushly bearded. He was surveying me from under
very powerful magnifying spectacles. Are you interested in my house?

(03:36:31):
He was saying, I made the lay mist. Apologies adding
some trivial comment on the picturesqueness of the scene. But
of this I am certain. The one thing uppermost in
my mind, even at this stage in our brief acquaintance,
was the desire not to continue it. Far from countenancing
this inclination, however, mister Bloom was suggesting that I should

(03:36:53):
come in there was a suppressed eagerness in the eyes
behind those glasses. And yet even so, why should I
have distrusted him? He pushed the door open. The glimpse
within decided me, for the hall beyond was peculiarly attractive.
It was paneled in light wood, the carving on its

(03:37:15):
pilasters tinged with gilt. Empty, it would have been a
fascinating room, but just now it was grotesquely packed with
old furniture. It might have been some antique dealer's interior,
prepared for a moonlight flit. But having thus enticed me
in under his roof, mister Bloom rapidly motioned me on.
At the dusky twist of the corridor, I found him

(03:37:37):
awaiting me his hand on an inner door. This is
a study, he informed me one moment, though I think
I neglected to shut The outer door. Dimmed old Persian
rugs lay on the floor. There was a loud writing table.
The immense arm chairs were covered in vermilion Morocco leather,

(03:37:59):
and the walls were lined with books. The lofty chimney
piece was surmounted by moldings in plaster. Some pagan scene.
I was looking out of the long windows when mister
Bloom reappeared. You are a lover of books, he was murmuring,
and we were soon conversing amiably enough on the diversions
of literature. At last, I bluntly held out my hand,

(03:38:22):
and in spite of his protestations, made my way out
of the room. Mister Bloom followed me, cooing his regrets
that I could spare him no more time the garden
my china. I persisted nevertheless, and myself opened the outer door,
and there in the twilight sat my car. I had
actually taken my seat in it when I noticed that,

(03:38:43):
in a moment of absent mindedness, I must not only
have locked the gears, but that the Yale gear key
was missing. I searched my pockets, leaped out and searched
them again, and not only in vain, but without the
faintest recollection of having even touched the key. I turned
to me to Bloom. He was watching my efforts with
an almost paternal concern. I've mislaid the key. Is it

(03:39:06):
of importance? It's the gear key, I snapped. She's fixed, immovable, useless.
I wish to have an most vexatious dear me, do
you think by any chance, mister Dash, you can have
put it into your pocket. I stared at him. The
suggestion was little short of imbecile, And yet he had
evidently had the sagacity to look for my name on
the license. Where's the nearest town, I said, the nearest er.

(03:39:32):
Let me see. Come in again. We must get a map.
I produced my own from the car, but only an
owl could have read it in that light. There was
no alternative. I followed mister Bloom into the house again,
and on into his study. He lit a couple of candles,
and we sat at the writing table and examined the map.

(03:39:52):
The position was ludicrous. Montressor was miles from the nearest village.
I folded my map and sat glooming. But why be disturbed,
he entreated me. Why a misadventure but of no importance.
You will give me the pleasure of being my guest
for the night. Say no more, I protested, and once

(03:40:15):
again began searching my pockets. Ah, I see what is
in your mind? Think nothing of it? Yes, yes, yes,
comfort's convenience curtailed. I agree, But my good housekeeper always
prepares a meal sufficient for two mere habit mister Dash
and I will forage for myself, he beamed. As a

(03:40:37):
matter of fact, I am preparing to leave, he told me,
as soon as it is convenient. Meanwhile, I camp on
the ground floor. It amused my secretary the system of picnicking.
Poor fellow, at least for a while. He came to
a standstill on the threshold of the room into which
he was leading me. Candles burned on the oak table

(03:41:00):
set for our evening meal. I must explain. He was
saying that my secretary has left me. He's left me
for good. He is dead. He glanced over his shoulder
into the corridor. I miss him. On the other hand,
we mustn't allow our personal feelings to interfere with the

(03:41:20):
enjoyment of what I am afraid is a lamentably modest
little meal. It was, by no means a modest little meal.
Ah cold bouye. All was followed by a pair of
spring chickens, the white sauce on their breasts, adorned with
fragments of cucumber, truffle and mushroom. There was an asparagus salad,

(03:41:41):
and neighboring it were silver dishes of meringues and a
wine jelly thickly clotted with cream. Champagne was our only wine.
Between mauthfuls. Mister Bloom indulged in general conversation of the
exclamatory order. It covered a pretty wide autobiographical field. He
told me of his boyhood in Montresor. The estate had

(03:42:03):
been in his family for two centuries. For some years
he shared it with his three sisters, all now dead.
By the time we'd set to work on some Camembert cheese,
mister Bloom's remarks about his secretary had become almost aggrieved.
He was of indispensable use to me in my work,
indispensable We differed our views. Of course, no human beings

(03:42:27):
ever see perfectly eye to eye on such a topic.
In a word, the occult. He laid his left hand
on the table. We succeeded in attaining the most curious
and interesting results from our little experiments. I could astonish you.
I tried in vain to welcome the suggestion. My own

(03:42:49):
personal view, he explained, is that his ill health was
in no way due to these investigations. My secretary, mister
Dash was found dead in his bed, that is, in
his bedroom. Speaking for myself, I should prefer to go
quickly when I have.

Speaker 7 (03:43:07):
To go at all.

Speaker 29 (03:43:09):
You will agree, my dear sir, that to see I
to eye with an invalid for any protracted period is
a strain. Not a happy you, ever, but still meaning well.
We shared the same interests. He had his own views,
but was at times exceedingly obstinate about them. He had

(03:43:32):
little staying power. He refilled his glass, you know the
general process, of course, and he forthwith embarked on a
long and tedious discourse concerning the uses of the planchette,
of automatic writing, table tapping, and all the other paraphernalia
of the spiritualistic sales. Nothing I can say or do,

(03:43:52):
not even deliberate yawning, had the least effect on mister
Bloom's fluency. Lung trouble appeared to have been the cause
of his secretary's final resignation. But if the unfortunate young
man had, night after night been submitted to the experience
I was known during boredom alone would have accounted for it.
The cascade of talk suddenly ended. Mister Bloom fixed me

(03:44:16):
in silence under his glasses. You yourself have possibly dabbled
a little in my hobby. I had, Indeed, in my
young days my family had possessed an elderly female friend,
a miss Allgood. She was gaunt, loquacious, and affectionate, and
she had a consuming interest in the other world. I

(03:44:38):
hear her now on the other side, my dear Charles,
another plain Charles. I used to go to tea with
her occasionally, and she would bring out the little round
table and the wine glass and the cardboard alphabet, and
we would ask questions of the unseen, and she would
become flushed and excited, while she urged me now to
empty my mind, and now to concentrate, and we enjoyed

(03:45:02):
astonishing revelations. These spiritualistic answers to our cross examination were
at the same time so unintelligibly intelligent and yet so useless,
that I had been cured once and for all of
the faintest interest in the other side. I explained this
to mister Bloom. I don't say that you get nowhere,

(03:45:22):
but my personal opinion is that the whole business is
a silly and dangerous waste of time. His eyes never wavered,
quite so, but not exactly nowhere it may be. And
then as I sat looking at him, his face went out,
so to speak, It became vacant. The unspeculating eyes remained open,

(03:45:48):
but he, mister Bloom, was gone, And for perhaps two
minutes I sat there in a solitude I do not
covert to experience again yet, as I really even then,
mister Bloom had succeeded in this miserable maneuver merely by
a trick. The next instant, his bluish eyes became occupied,

(03:46:11):
and he looked at me with a leer of triumph.
He gave me no time to reflect on this piece
of buffoonery. So so he was informing me shut us
up or shut us down. We are what we are,
and what you've been saying, my dear mister Dash amuses
me extraordinary, most amusing. Quite so like a fool, I

(03:46:34):
mentioned miss Orgood, I see a superannuated novice. You pay
your money and you take your choice. Pooh.

Speaker 1 (03:46:43):
But now.

Speaker 29 (03:46:45):
I hotly defended my old friend. Ah, indeed, an old maid.
Have no fear. Mister Dash is not on my visiting list.
With that, he took out his watch, a gold half hunter.
Now let me see nine o'clock, just nine. We have
a long evening before us. Believe me, I am exceedingly

(03:47:06):
grateful for your company and regret that I see you've
already condemned an old man's foibles. There was something curiously aimless,
even pathetic, in the tone of that last remark. He
rose from the table with one of the candlesticks in
his hand. In his study, a dusky moonlight loomed beyond

(03:47:29):
the windows. And now, mister dash your room, where shall
we be put? He stood, looking at me, My secretaries,
now but one has reluctances. Perhaps I myself sleep in here.
He stepped across and drew aside. A curtain hung between

(03:47:49):
the bookcases, but there was not light enough to see beyond.
The room, I propose is also on this floor. So
we should not, if need be, be far apart eh,
or think we well now come this way. He led
me out to a room along the corridor. It was

(03:48:10):
a bed and a sitting room combined, and its curtains
and upholstery were of pale purple. The bed was in
a corner by the window, and there again the dusky
moonlight showed this was the last place on earth, These walls,
these colors, this bookcase, that table which mister Bloom's secretary

(03:48:30):
had set eyes on before setting out not to return.
How's that, then, my host watched me. I mumbled my thanks,
capital cried mister Bloom, ureca my only apprehension, Well, you
know how sensitive people can be. I leave you reconciled, then,

(03:48:52):
my dear mister Dash, you will find me in the study.
He lit the candles on the writing table and with drew.
I took one of the candles and glanced at the books.
They were chiefly of fiction and a little poetry. On
the writing table were a couple more, and a black book,

(03:49:13):
its cover stamped Diary, and on the fly leaf s
s Champneys. I turned to the last entry, dated just
months before, just a few scribbled words, not me at
any rate, not me, but even if I could get away,

(03:49:33):
for the ink was smudged, a mere scrap of handwriting,
and that hasty smudge of ink they resembled an incantation.
I shot the book and turned away. To my astonishment,
a log fire was burning handsomely in the grate when
I returned to the study, and mister Bloom, having drawn

(03:49:55):
up two of his voluminous arm chairs in front of it,
was now encased in one of them. I hope was
his greeting. You found everything needful, mister Dash In the circumstances,
not that you wouldn't find a complete trousseau in the wardrobe.
My secretary, in fact, was inclined to the fombish no blame,
no blame, fine feathers, mister dush. It is thank Heaven,

(03:50:19):
an unusual experience to be compelled to spend an evening
as the guest of a stranger one distrusts. Mister Bloom
did his best to make himself amusing. We discussed music
and art, We talked of chance and dreams, and disease
and heredity, edged on to woman and skatered rapidly away.
In the midst of a discourse on the progress of

(03:50:40):
human thought, he suddenly inquired if I cared for the
game of backgammon, and why not? Or solitaire? Mister Dash
a grossly underestimated amusement. But all this badinage, these high
spirits were clearly an elaborate disguise. He was keeping it
up to keep me up, and his attention was divided.

(03:51:02):
One at least of those long hairy ears was cocked
in another direction. And at last, the question that had
been on my tongue most of the evening popped out,
almost inadvertently. I asked if he was expecting a visitor.
At the moment his back was turned on me, he
was rummaging in a cupboard for glasses to accompany the
decanter of whiskey had produced. His head turned slyly. A

(03:51:29):
visitor here, now, you amuse me? Callers? Oh, thank heaven?
Not so you came, you saw, but you did not
expect a welcome. The unworthy tenant of Montresor took you
by surprise. Confess it?

Speaker 7 (03:51:48):
And why not?

Speaker 29 (03:51:50):
What if you yourself were I looked for visitor? What then? Yes, yes,
I agree, I was on the watch, patiently, patiently, in
due time, your charming little carr appears at my gate.
You pause, I say to myself. Here he is company

(03:52:10):
at last discussion, pow wow, even controversy perhaps?

Speaker 18 (03:52:16):
Why not?

Speaker 29 (03:52:17):
I stepped downstairs, and here we are. I assured mister
Bloom that if it had not been for the loss
of my key, I shouldn't have stayed five minutes?

Speaker 13 (03:52:28):
He chuckled.

Speaker 29 (03:52:29):
How are we not forgetting that such little misadventures are
merely pardon pucel.

Speaker 14 (03:52:36):
Of the general plan?

Speaker 29 (03:52:37):
What general plan, mister dash pray? Let us no longer
treat each other like witnesses in the witness box have
a little whisky pumult a tot. One of the few
exasperating things about my poor secretary, mister Champney's was his
aversion to alcohol, his own word, three hundred a year,

(03:53:00):
mister dush, no less, and everything found so the water
or a pollinaris in sheer chagrin. I drank the stuff
and rose to turn in not a bit of it,
with covert glances at his watch. Mister Bloom kept me
there until it was long past midnight, and try as

(03:53:22):
he might to conceal it to the DISQUIETU that had
peeped out earlier in the evening became more and more
obvious once he raised his hand and openly sat listening.
Tell me, mister dash, was I deceived into thinking I
heard a distant knocking in a house as large as this?
Articles of some value we read of violence? I inquired,

(03:53:46):
with clumsy irony, if there would be anything remarkable in
a knocking. Don't your friends from the other side of
a volunteer a rap or two on their own account?
A rap or two? He echoed me blandly, but his
lips trembled. I had had enough, and this time had
my way. He accompanied me to the door of the

(03:54:09):
study and held out his hand. If by any chance
you should want anything in the night, you will remember
where to find me. I am in there, he pointed.
And now our evening is it an inn? But who knows,
never matter what must come comes. At last I was free.

(03:54:34):
I made my way to mister Champney's bedroom and locked
the door. The one thing in my mind was relief
at finding myself alone again. No talker has ever more
completely exhausted me than mister Bloom. Half dressed, I lay
down on the bed, drew its purple quilt over me.
After all, mister Bloom's secretary had not died in it

(03:54:55):
and blew out my candle. I must have at once
fallen asleep. And now, as if in a moment, I
was awake again, wide awake, night had gone. The creeping
gray dawn was at the window. I lay there, stiff
and cold, eyeing the door, and then I heard the

(03:55:17):
sound of voices at a distance. At that a deadly
chill came over me. I stepped soundlessly on to the floor,
looked about me, but in vain in the half light.
For the coat I had been wearing the previous night,
and slipped on instead a pair of mister Champney's slippers
and the silk dressing gown that hung on the door hook.

(03:55:39):
In these I was not exactly myself, but at any
rate ready for action. I unlocked the door. The voices
were more distinct now. One of them I fancied was
mister Blooms, but there was a curious similarity between them.
It might have been mister Bloom talking to himself. I listened,
but could take no words. And then the talking ceased.

(03:56:04):
There came a thump, and then overhead the sound as
of someone retreating towards me. Inaction is unnerving, and yet
I hesitated, detesting the thought of meeting mister Bloom again,
but that risk had to be taken. I tiptoed along
the corridor and looked into his study. The curtain between

(03:56:25):
the bookcases was drawn aside. I crossed the room and
looked in. Beside a chair on which a black morning
coat had been flung, was a small bed, half covered
by a rug, and standing next to it a familiar
pair of boots on a table lay the miscellaneous contents
obviously of mister Bloom's pockets the old gold watch, a

(03:56:46):
note case, a silver toothpick, a bunch of keys. I
see them all, but I see even more distinctly a
Yale key. Never until this moment had it occurred to
me that mister Bloom himself might have been responsible for
the loss of my key, that he had in fact
purloined it. I stole nearer and examined.

Speaker 13 (03:57:07):
It was this mine.

Speaker 29 (03:57:09):
I was uncertain I must risk it. The footsteps seemed
now to be thumping down the stairs, and it was
unmistakably his voice that I heard, Yes, Yes, coming coming.

Speaker 7 (03:57:22):
Well.

Speaker 29 (03:57:22):
I had no wish to meddle in any assignation. What
as I turned round I was not prepared for was
the spectacle of mister Bloom's bed. When I entered the room,
I am certain that it had been empty.

Speaker 9 (03:57:34):
Not so.

Speaker 29 (03:57:35):
Now the lower part was entirely flat, But on the pillow,
the gray flecked beard protruding over the turned down sheet
now showed what appeared to be the head of mister Bloom.
It was a flawless facsimile, waxen motionless, but it was

(03:57:56):
not real. It was an hallucination. How induced is quite
another matter, but it was inconceivably shocking. This house was
not haunted, it was infested. Without another glance at the bed,
I made my way as rapidly as possible to the

(03:58:18):
door and broke into a run. Just as I had
left to the previous evening. My car stood awaiting me
beneath the porch. My heart literally stood still as I
inserted the key, but all was well. The first faint
purring of the engine was accompanied by the sound of
a window being flung open. It was above me and
behind me. I turned my head and detected a grayish

(03:58:38):
figure standing within the trees, but he too may have
been pure illusion. When I blinked and looked again, he
was gone, but the gambling was increasing overhead. In an
instant I had shot out from under the porch and
was on my way down the drive, But to my
utter confusion, the gates at the end of it were
heavily padlocked. I all but stripped the gears in my
haste to retreat, and then, without so much as turn

(03:59:00):
in my head towards the house, I drove clean across
the lawn. In five minutes, I must have been nearly
as many miles from mister Bloom's precincts.

Speaker 13 (03:59:09):
It was fortunate.

Speaker 29 (03:59:10):
Perhaps the day was so early. Even the most phlegmatic
of constables might look a little askance at a motorist
desperately defying the speed limit in a purple dressing gown
and red Morocco slippers. But I was innocent of robbery,
for in exchange for these articles, I had left behind
a valuable jacket and a pair of leather shoes. I
wonder what they'll fetch at the sail. I wonder if

(03:59:32):
mister Bloom would have offered me mister Champneys three hundred
pounds per annum, if I had consented to stay. He
was sorely in need. I'm afraid of human company, but
I ran away. Now it's too late to make amends.
He's gone home as we all shall, and taken his wages.

(03:59:53):
And what troubles me is the thought of miss Allgood.
She dabbled her fingers in the obscure waters for quented
by mister Bloom. I hate to think of the possibility
of her meeting him. For whatever mister Bloom's company in
his charming house may have consisted of, and here edges
in the obscure problem of what the creatures of our

(04:00:15):
thoughts are made on, and quite a part too, from
mister Bloom's character and effects. My chief quarrel with him
was his scorn of my harmless old friend. I would
like if only I could to warn her against him.
Those affectionate, saddened, hungry eyes.

Speaker 1 (04:00:45):
Welcome, ladies and gentlemen.

Speaker 54 (04:00:46):
This is Basil Rathbone, inviting you to join me beyond
the green door. Today's story is about Rory Flunn, a
daring young astronaut whose great flight into space carried him
all the way to Mark, unfortunately had also brought him
beyond the green door. Flynn's take off from Earth went perfectly,

(04:01:10):
and his flight in space was uneventful, but he encountered
real difficulties in trying to land his craft. The surface
of Mars rushed short him, and Flynn struggled factically the controls.
At last, he was able to put down safely and
to relay his news to Earth. He was on Mars,

(04:01:32):
but he was there in much the same way a battlesphere.

Speaker 1 (04:01:36):
Is on the ocean floor.

Speaker 54 (04:01:38):
Flynn's explicit instructions were to stay within his spacecraft in
order to avoid any dangers which the planet might offer.
He had been told to observe what he could through
the thick quartz windows, and to blast off at the
first sign of danger.

Speaker 5 (04:01:54):
It seemed as though every safety precaution.

Speaker 1 (04:01:55):
Had been taken.

Speaker 54 (04:01:57):
Flynn looked out muffling men's first sight of the flat,
glassy plains of Mars. He saw that he had landed
in the middle of a shallow depression. What was remarkable
about this was the fact that it seemed to have
been dug out artificially. Through binoculars, Flynn could see that

(04:02:17):
the sides of the depression were sharp and sheer, and
with any vegetation, the fresh dirt might have been shoveled
out just the other day. Oh this was strange enough,
but even stranger was the curious and completely irregular shape
of the depression. Since he was in the orders not
to leave his ship, Flynn had to be content with

(04:02:40):
measuring the dimensions of the depression from within. He was
equipped with special survey instruments, and he went to work
at once. Flyn couldn't understand why anyone would want to
dig a large and apparently worth his hole like this,
but he thought he might have something to do with
cultural significance. Towards evening, Flynn finished his measurements and knocked

(04:03:02):
down the last coordinates on paper. There was a sound
of thunder in the distance, and he was glad to
be sheltered within his reinforced steel walls. He sketched in
the lines between coordinates, and the storm came closer.

Speaker 8 (04:03:19):
Closer.

Speaker 54 (04:03:20):
Great crashes were more frequent as Flynn finished his sketch
and tried to figure out what it represented.

Speaker 1 (04:03:28):
He stared for a long time at what he had drawn,
and he threw.

Speaker 54 (04:03:32):
Down the sketch and reached frantically for the blast off button.
For now he knew that the depression was not man
made and the sounds outside were not thunder. His finger
was almost on the button when the spacecraft was violently joted,
throwing flint to the floor.

Speaker 52 (04:03:50):
Dazed and horrified, he stared upward.

Speaker 54 (04:03:53):
And saw the steel walls of the craft slowly and
inexorably being crushed in upon him. She'd realized too late
that the only thing his sketch resembled was an impossibly
gigantic footprint.

Speaker 8 (04:04:33):
The Westland Ghosts.

Speaker 55 (04:04:42):
Happy in California on their way back from the state
capital up north after taken care of some bar twenty
business California who used to live in this territory, has
talked happy and had taken a shortcut to Elbow Creek,
where they planned to spend the night before they finished
the ride down to the bar twe the next day.
They should have been an Elbow Creek hours ago, but

(04:05:05):
California's shortcut has taken a lot longer than he expected.

Speaker 8 (04:05:11):
No, Dad, burn it happy. Now, I went and got
us lost. If I'd knowed, I was taking us a
long way around, and I had kept my mouth shit
tighter than a spung bear crap.

Speaker 52 (04:05:21):
Huh, We're not lost, California. We just don't know where
we are.

Speaker 8 (04:05:24):
And I ought to know. I practically growed up in
now a Bowl Creek. Hey, hold on a minute, Yep,
right up, here's Paddy Bowman's head. Uh, friend of your friend.
Oh why Paddy and me was like brothers. Once did say, Hoppy,
why don't we bump there tonight? He'd be glad to
put us up. That's a good idea. I could show

(04:05:45):
you some sleep, and my I could show you some supper.
Oh boy, bacon bean always high.

Speaker 52 (04:05:57):
I didn't seem to be in his cabin. No light,
you know, smoke him a chimney.

Speaker 3 (04:06:03):
Listen, Yeah, he's Paddy. That's the way he always used
to whistle.

Speaker 8 (04:06:12):
That's his tune. I'd know it anywhere. Oh, he's in
the ravine down there. Let's get down a meeting Paddy,
Paddy Varman. What kind of hospitality he's at. He's a
shooting at us. Hey, Paddy, it's me.

Speaker 3 (04:06:27):
California, Carleton, your old friend.

Speaker 8 (04:06:32):
The last two charts was closed.

Speaker 56 (04:06:34):
I'm glad that last one wasn't in the closer. Come on,
let's get over behind the caram I'm right with you.

Speaker 8 (04:06:39):
Hoppey. Oh, Paddy must be out of his head shooting
at us like they wait. Look up there, he's driving
off over the hill. See him? Oh yeah, yeah, I
see him? All right?

Speaker 52 (04:06:50):
Did you see that horse? Red and gold cubeball stadion?

Speaker 7 (04:06:54):
Eh?

Speaker 8 (04:06:54):
Big? Do there have no chance catching him?

Speaker 1 (04:06:56):
Now?

Speaker 52 (04:06:57):
Come on, let's get in that town.

Speaker 8 (04:07:08):
Hef this is it? Terrible creek? He changed this and
that's the palace bar over there. Let's go in. I'm thirsty,
how about you, California. For a non drinking man, you
sure do have an awful hard.

Speaker 3 (04:07:22):
Time passing a bar.

Speaker 8 (04:07:31):
God, what do you have?

Speaker 3 (04:07:33):
Strangers?

Speaker 8 (04:07:33):
I ain't no stranger. I practically grow it up around here.

Speaker 3 (04:07:37):
Why California, Carlton, as I live and dread.

Speaker 8 (04:07:41):
It's glad to see again, Mike. This is my partner,
hop Along Cassedy.

Speaker 3 (04:07:46):
We're glad to know you.

Speaker 52 (04:07:47):
Why am Ike like that? A couple of sasparillas?

Speaker 7 (04:07:50):
What do you like? Well?

Speaker 3 (04:07:51):
Now, what kind of celebration is that?

Speaker 5 (04:07:54):
Oh?

Speaker 3 (04:07:54):
Well, you boys look like you hold your drink juice asparillian.

Speaker 52 (04:07:59):
You might have said a couple of questions for it. Mike.

Speaker 8 (04:08:01):
We'll sure glad to if I can you see what's
come over? My old friend Paddy Bowman? Has he gone
crazy or something? He just now shot at us as
we was coming in What California? You must be the
one that's crazy. Paddy Bowman was murdered two months ago

(04:08:32):
on their way to.

Speaker 55 (04:08:33):
Wel Bolt Creek Copy in California, stopped by the cabin
of California's old friend Paddy Bowman. They thought they heard
Paddy whistling from down in the ravine, but the bartender
says Patty has been dead for two months. While they're
talking to the bartender, another man steps over to join.

Speaker 8 (04:08:50):
Them, evening sheriff, will it beat? I heard you fellows
talking about Paddy Booman's mind. If I George, you have
the sheriff here down your name sheriff?

Speaker 3 (04:09:01):
You remember California Carlson, don't you? This is hop long cat.

Speaker 8 (04:09:08):
Is Paddy really dead like this fellow sands herif? Yeah,
he is. He's found up in his cabin about two
months ago. Somebody tortured him then killed him. I'd sure
like to catch a Roman who did it too?

Speaker 24 (04:09:21):
You all like Paddy around here?

Speaker 52 (04:09:23):
Well, if that wasn't Paddy Bowen we heard up there,
and who wasn't.

Speaker 8 (04:09:26):
And some folks around here think it's Paddy's ghost, the
whistling ghost they call him, shows up every two three nights.
Been around for a couple of weeks. Now I'm more
as well for a ghost. He was doing some mighty
real shooting. Oh they was real bullet all right. Takes
a few shots at anybody that pokes around up there.
And in case you got a good look at.

Speaker 14 (04:09:48):
Him, did you?

Speaker 8 (04:09:48):
None of us? We got a pretty good look at
his horse here. Oh well, then we're getting someplace. Come on,
I won't hear all about this? Sure you know? Sense
talking the crowded bar? Now about this horse? He was
the prettiest red and gold Steve ball Stallion I ever saw.
And he was big too. I know which karl went

(04:10:10):
step Ball Stadion ought to be in right now. You
fella think you'd note if you saw it again?

Speaker 52 (04:10:15):
I'm sure we would.

Speaker 8 (04:10:16):
All right, let's get over there. Whose place is this?

Speaker 52 (04:10:29):
Sir?

Speaker 8 (04:10:30):
The family of the name is Sleeve, but he'd far
remember him. Taul, black haired dutchman with bright, squinty eyes
runs the essay on that sleep. All right, Well, here's
the corral, a good thing that moves out here. Where's
the red stallion?

Speaker 1 (04:10:45):
Oh?

Speaker 8 (04:10:46):
I see his bee's chestnuts and mustangs? There he is?
Or whatever the shed that's the one.

Speaker 5 (04:10:50):
Let's go over and.

Speaker 8 (04:10:51):
See if he's winded.

Speaker 56 (04:10:53):
He's not only windowed. This horse has worked up a ladder.
Lady must have ridden him pretty fast to get back here.
Well do we have a talk mister Slade?

Speaker 1 (04:11:00):
Now?

Speaker 8 (04:11:01):
Well, I don't know. Maybe he wouldn't do as much
good as that.

Speaker 52 (04:11:06):
What's the trouble, sheriff?

Speaker 8 (04:11:07):
Well, I cansidy. I don't like to admit I'm a
beaten man, but Slave's won every trick so far, and
I guess he's just about got me Buffalo, I'll come. Well,
he's mister big around here, practical, the old Jelbo Creek.
I w I q Slade or something I can't prove.
I'm out he will.

Speaker 7 (04:11:25):
See to that.

Speaker 52 (04:11:26):
Just what are you trying to prove?

Speaker 8 (04:11:28):
Well? I think Slade is the Whistling Ghost, and I
think the Whistlan Ghost kill Paddy. I've got plenty of
reasons for thinking so, but I don't know how to
make it stick.

Speaker 52 (04:11:38):
I got a little store to settle with him myself, Jeff.

Speaker 8 (04:11:41):
I've heard a lot about you, Cassidy. When I was
standing there in the Palace bar a while ago and
heard California mentione your name, I said to myself, that's providence.
There's help when I need it most. But well, now
I don't know pretty big thing to ask of.

Speaker 1 (04:11:58):
You help me out on this.

Speaker 8 (04:11:59):
If anybody can catch him, you can. I'm sure wish
you would. Happy Paddy was a friend of mine, all right, California.
I guess any friend of yours a friend of mine.
It's like the bark when they're gonna have to get
along without us for a few days more, that's fine.
Why don't you fellows come on over to the house.
For shupper supper. Thank you idea.

Speaker 5 (04:12:18):
It's sure.

Speaker 9 (04:12:36):
You men about ready for dessert.

Speaker 8 (04:12:38):
We got three kinds of pie, apple, mint meat.

Speaker 9 (04:12:41):
And custards.

Speaker 8 (04:12:42):
Now there's three reasons why I wish I was a
married man. Apple, mince meat, and hustard.

Speaker 3 (04:12:48):
Oh my goodness.

Speaker 9 (04:12:50):
So I'll just have to give you one to eat.
You guess I'll pitch you out.

Speaker 5 (04:12:54):
In the kitchen.

Speaker 56 (04:12:56):
Well, I guess we're about ready to get out in
the business share. I'd like to get all the facts.

Speaker 8 (04:13:00):
That's why I asked Ben Clayton to come over. Yep,
between us.

Speaker 3 (04:13:03):
I think we can give you the whole picture, Cassidy.

Speaker 52 (04:13:06):
That'll be a great help.

Speaker 8 (04:13:07):
Ben can tell you more about Patty than almost anybody.
He was coach friends ever since Ben set up his
law practice here.

Speaker 52 (04:13:14):
Just whether if he's got on the slave Jeff enough.

Speaker 8 (04:13:17):
To hang anyone but a man as big as he is.
While we've got three witnesses saw him go off to
Patty's ranch the afternoon he was killed. But when I
asked Slade about that, he said he hadn't been near there,
denied the whole thing.

Speaker 52 (04:13:29):
And what about your whistling ghost.

Speaker 8 (04:13:31):
Where you saw the horse? He was riding. Yeah, Sheriff
and I rode up to Patty's place about a week ago.

Speaker 3 (04:13:36):
We both heard this whistland ghost, but he got away.

Speaker 52 (04:13:39):
And where was Slave at that time?

Speaker 3 (04:13:40):
He said he was in the back room of his
office work in Lee.

Speaker 8 (04:13:44):
Nobody saw him there. Nobody even saw leave. Three times
when the whistling ghost was up there. Slave was in
his back room working.

Speaker 52 (04:13:51):
He said, you left out one big thing, Sheriff. What's that?

Speaker 8 (04:13:55):
Both is well for one thing, Slade and Patty, you
wear it out for years?

Speaker 52 (04:14:01):
What about gold? One man had it and another wanted it.

Speaker 8 (04:14:05):
Huh, well exactly. Paddy toreed some diggings into the assay office,
oh about fifteen years ago. Slade told him it was
fool's gold.

Speaker 3 (04:14:15):
Yeah, I ain't Piratis looks like gold.

Speaker 8 (04:14:17):
You'll find it the same way, but it's not worth
the trouble of carrying.

Speaker 52 (04:14:21):
It to the assay office.

Speaker 8 (04:14:22):
That's right. Paddy said. Slade was lying and he wouldn't
have anything more to do with Slave. And that's why
Paddy's wife left him, wasn't it Yep? That Tip went
right back he and took clear kid with her too.
I remember, I guess the boy was six or seven
years old. Yea, She said Paddy was a fool and
would disliked him to wind up with fool's gold.

Speaker 9 (04:14:42):
Were you talking about Patty still?

Speaker 1 (04:14:44):
Oh?

Speaker 9 (04:14:45):
He did take it off hard when his wife left him.

Speaker 57 (04:14:48):
Figured she wouldn't have died if it hadn't been for Slade,
that fool gold business.

Speaker 8 (04:14:54):
Well here's the pie. Oh boy, he does that look good?

Speaker 56 (04:15:00):
Clinton, speaking as his lawyer, what am mister Patty's ranch
now that he's dead?

Speaker 3 (04:15:04):
I wrote to his family, but they haven't even answered.

Speaker 5 (04:15:07):
I imagine they'll want to sell.

Speaker 8 (04:15:08):
You know, some folks say the whistling ghost is haunting
the ranch so we can get the price down and
buy it cheap. Has anyone been trying to buy the
rant since Patty is killing? Yes, Slade.

Speaker 3 (04:15:19):
He came to my office and made me an offer
a few days ago.

Speaker 8 (04:15:22):
My theory is Paddy wouldn't sell, so Slade killed him.
They expecting to pick up the ranch cheap after Paddy
was dead.

Speaker 52 (04:15:29):
But why does he wanted if there's no goal up there?

Speaker 3 (04:15:31):
That's just what I'd like to know.

Speaker 8 (04:15:33):
I searched Paddy's cabin from top to bottom master he
was killed, and I didn't find the thing.

Speaker 56 (04:15:39):
I think we'd better ask the whistling ghost what he's after. Oh,
I can see it coming. We're a gone ghost hunting.

Speaker 8 (04:15:46):
Well, he's not always up there, just when you want him.
Clayton rode up with me several times, but we only
heard him at once.

Speaker 52 (04:15:53):
That's right. Suppose I stopped.

Speaker 56 (04:15:55):
Buy and I have a little talk with Slade in
the morning, and while I'm at it, I'll give the
whistling ghost a spatial invitation to our party.

Speaker 55 (04:16:13):
While riding through Elbow Creek, California, learns that his old
friend Patty Bowman has been murdered. So now hop Along
in California are digging their spurs into fresh trouble trying
to run down the murderer. The sheriff suspects that the
whistling ghost who haunts Patty's cabin is none other than
mister Slade's owner of the assay office. So now hop

(04:16:34):
Along in California are calling on the Dutchman to see
if they can't pick.

Speaker 5 (04:16:38):
Up a few interest in facts. Yes, since what can
I do for you?

Speaker 52 (04:16:46):
I am looking for missus Slade.

Speaker 8 (04:16:47):
He's busy and back right now. Couldn't I help him?
I'm looking for some information. There's a piece of property
around here that's for sale. I understand. I know what's
on top of the ground. Now I want to find
out what's under what property? Are you interested in Patty
Bowman's place? See you know something about it? Yes, I've
heard mister.

Speaker 3 (04:17:07):
Slade speak of it. I think maybe he'd want to
handle this himself.

Speaker 58 (04:17:11):
Lorraine, go tell mister sladey man is here asking about
Patty Bowman's ranch.

Speaker 11 (04:17:15):
All right, you're all go getting right now.

Speaker 56 (04:17:18):
Oh, the gold business must be pretty good around here.
There's quite an office staff.

Speaker 58 (04:17:22):
Oh somebody finds a little gold now man. Mister Slade
and Lorraine ran the office till lately. I'm just learning
the business.

Speaker 3 (04:17:31):
Give me that pole down the rainbow mine, Yes, sir,
where is it? It's been the top drawer, all the pole,
the top.

Speaker 8 (04:17:38):
How long is it going to take you to line
wrap things? Are?

Speaker 3 (04:17:41):
You're in here three weeks now? You can't even shop
at a pencil without asking me how to do it.

Speaker 11 (04:17:45):
I don't know why I hire doing the first place.

Speaker 8 (04:17:48):
Yes, sir, he's driving. Stay out of this. What are
you doing back here?

Speaker 14 (04:17:54):
Anyway?

Speaker 8 (04:17:55):
I just came back to tell you.

Speaker 9 (04:17:56):
There's two gentlemen up Fred asking about Patty Bowman's rent.

Speaker 8 (04:18:00):
Why didn't you say so?

Speaker 3 (04:18:06):
California Carlson, Howdy, Slade, this is my partner.

Speaker 8 (04:18:10):
Hop Along cashdy?

Speaker 52 (04:18:11):
Uh?

Speaker 8 (04:18:13):
What can I do for you?

Speaker 5 (04:18:14):
Fellow?

Speaker 52 (04:18:15):
I'm looking for some information about the Paddy Bowman ranch.

Speaker 8 (04:18:18):
Why ask me about it?

Speaker 56 (04:18:20):
You're running the essay office. You ought to know all
about the property around here. I want to know if
there's gold.

Speaker 52 (04:18:25):
On the ranch.

Speaker 8 (04:18:26):
Sure, fool's gold, plenty of it.

Speaker 52 (04:18:29):
Is there any other?

Speaker 8 (04:18:30):
Real? Stir?

Speaker 52 (04:18:30):
I told Paddy.

Speaker 13 (04:18:31):
Bowman fifteen years ago that all he had was fool's gold?

Speaker 8 (04:18:34):
But I said them still stands.

Speaker 52 (04:18:36):
And how come you want to buy the place?

Speaker 8 (04:18:38):
Did you come in here to ask questions about your
business or my business?

Speaker 56 (04:18:43):
Maybe your business is my business, Slade. A man riding
a skewball stallion just like your shadowed us last night,
that makes it my business. Wait a minute, I'm talking
the westling goes through that last night up at Paddy
Bowman place.

Speaker 52 (04:18:58):
He was riding a horse that looked mighty like your horse.

Speaker 5 (04:19:01):
Just what are you getting at? That?

Speaker 56 (04:19:04):
Red stagging didn't work up a lad between this offs
and the corral at your house.

Speaker 8 (04:19:07):
If you want to stay healthy, cash to keep your
nose out of my business and stay off my property too.
I'll get out of here.

Speaker 56 (04:19:13):
I haven't finished, Sladen. You're gonna get Tuck. You better
be able to back it up.

Speaker 8 (04:19:16):
Maybe this will convince you.

Speaker 52 (04:19:20):
And I'll get you. Know where's Slade?

Speaker 3 (04:19:28):
Hoppy's a mistake, custody. You haven't got anything on mease.

Speaker 56 (04:19:33):
Somebody's after something up there, Slide. We're pulling that ghost
to scare everybody else away. I don't scare that easy.

Speaker 3 (04:19:39):
You've got everything figured out, hasn't.

Speaker 52 (04:19:41):
You, Slaid.

Speaker 56 (04:19:42):
I've got a pretty good idea of what's hidden up there,
and I'm gonna find it tonight.

Speaker 52 (04:19:45):
Ghost or no ghost.

Speaker 8 (04:19:46):
If you think I'm the whistling ghost, you're crazy.

Speaker 3 (04:19:48):
I've got my own theory about who that is.

Speaker 52 (04:19:51):
I bet you have. Come on, come upon you, please say,
let's get out of Pure Happy.

Speaker 8 (04:20:05):
What are you gonna do, Hobby.

Speaker 56 (04:20:06):
We're gonna ask the sheriff to go up the Patty's
ranch with us, and I for I guess Clayton to
come along. We fan out the ghost can't shoot it
all of us at once. One of us will catch
him I want to find out what he's answered.

Speaker 8 (04:20:17):
Well, I thought you knew you you just said that
she even knew what it was.

Speaker 56 (04:20:21):
That's was Dave's California day. We want to be sure
our whistling ghost is up there tonight, so I just
gave him an invitation to our party, and uh, California.
You know this is going to be a surprise party
for a lot of people over there.

Speaker 8 (04:20:48):
See, I don't think we're near enough yet. Now this
is foolish.

Speaker 5 (04:20:52):
Are we just gonna ride up together and let him
pick us off like clay pigeons?

Speaker 8 (04:20:55):
Oh, we'll fan out.

Speaker 5 (04:20:56):
Well, let's do it, Jaylor.

Speaker 8 (04:21:01):
That's him down and noise in there. We had let
them cut down to the ravine. Let shephard and get
down there.

Speaker 2 (04:21:10):
What do you want me to do?

Speaker 8 (04:21:11):
Happy, Let's go straight down to that cold keep your
eyes open and don't miss a thing. We gotta work faster.
Somebody will get more than he bargained for tonight.

Speaker 3 (04:21:20):
Can listen, he's whistling again. Happy, somebody got him.

Speaker 8 (04:21:26):
Go on, let's get down there. You got here somewhere
here he is over here, skirl, Let's get this handkerchief
all this face? Yes, son, how do you feel who

(04:21:47):
was shot? But that's Archer, Slave's no assistant.

Speaker 56 (04:21:50):
Let's get him up to the cabin and see what
we can do for him. All right, that'll stop the bleeding.
You feel better?

Speaker 3 (04:22:08):
Yeah, thanks a lot.

Speaker 52 (04:22:10):
I lie back and the rest.

Speaker 8 (04:22:12):
What's he doing up here?

Speaker 52 (04:22:14):
This is your whistling ghost, Sheriff Archer?

Speaker 8 (04:22:17):
What Slave's the whistling ghost? Ain't you got one ghost
too many? Happy?

Speaker 56 (04:22:21):
No, California. Archer is the only whistling ghost around here.
But jashity, he was up here trying to tramp Slade.
You see, Archer is Patty Bowman's son.

Speaker 8 (04:22:32):
Parties, boy, what will you be on Davy? Davy Bowman? Wait,
he didn't kill Paddy, did he?

Speaker 56 (04:22:39):
Of course he didn't share if he was trying to
tramp his father killer. That's why you're playing whistling ghost.

Speaker 8 (04:22:44):
You mean we're looking for two people.

Speaker 56 (04:22:47):
That's right, We've got our whistling ghost, but we still
have to catch a killer.

Speaker 58 (04:22:51):
Slade must have followed me up here a while ago.
I guess he almost got me the way he got
my father. But happy, Oh, we saw the whistling ghost
on slaves. Of course, remember Davy barred Slave's horse to
come up here.

Speaker 8 (04:23:03):
But what was the big idea?

Speaker 56 (04:23:04):
He was using himself as bait, thinking the man who
killed his father would see through the ghost acting come
after him.

Speaker 3 (04:23:10):
That's right, And I could trap him when he came
after me.

Speaker 8 (04:23:13):
And another reason he hung around up here was to
keep people away from the cabin while he.

Speaker 52 (04:23:16):
Was searching it. Didn't that right, Davy? A lot of good?

Speaker 7 (04:23:19):
It did too.

Speaker 3 (04:23:21):
I guess Dad was just kidding in that last letter.

Speaker 8 (04:23:24):
Why what did your father write, your daby? Well he
was gonna sell the place and come east to live
with me, Is that all?

Speaker 13 (04:23:30):
Well?

Speaker 3 (04:23:30):
He said he had been going over.

Speaker 58 (04:23:32):
His records and he thought he could get a pretty
good price for the ranch considering what he'd taken out
of it so far.

Speaker 8 (04:23:38):
Just as I thought, the.

Speaker 3 (04:23:40):
Way he wrote it sounded like he had something pretty valuable.

Speaker 13 (04:23:43):
There was gold.

Speaker 58 (04:23:45):
But then I got Clayton's letter saying he is dead
and the ranch wasn't worth much.

Speaker 52 (04:23:50):
So you came out to see it for yourself.

Speaker 7 (04:23:51):
Well, if there.

Speaker 58 (04:23:52):
Wasn't a gold here, I didn't see it, and I
did a little talking around enough to make me suspicious,
and I got a job at slaves Off so I
could keep an eye on him.

Speaker 8 (04:24:01):
There's just one more thing, Davy. What are the words
to that song you were whispering? As well?

Speaker 3 (04:24:08):
Tell you since there's nothing to it anyway, Dad used
to sing.

Speaker 53 (04:24:12):
Here's a lyrical lesson for the young and for the old,
a fellow who is a fool to hank or after gold.
And just about the time you think you're getting pretty warm,
you find it's all whis further than you can stretch
an arms.

Speaker 52 (04:24:29):
Nah, we're getting somewhere.

Speaker 58 (04:24:31):
I thought the song might tell me where something was hidden.
But I looked everywhere, and I didn't find anything. I
covered all the walls from Florida ceiling, and they're all solid.

Speaker 56 (04:24:41):
You say your father mentioned the letter that he kept
the record of all these transactions.

Speaker 3 (04:24:45):
He must have said he'd been going over his records,
but I didn't find anything like that.

Speaker 56 (04:24:50):
We've got to find that record book. It'll show who
Patty was soon he's gold to That's the one man
who knew Patty had gold hidden without evidence. You're a
man as good as high sheriff, right.

Speaker 8 (04:25:00):
I searched the cabin from top to bottom if we
found Patty, and I didn't come across anything like that.

Speaker 56 (04:25:07):
Well, Sheriff, I guess there's no time to worry about
hunting business records. We can come back in the morning
and find them.

Speaker 8 (04:25:12):
Huh. Right now, this boy needs a doctor. Come on,
let's get him back into town.

Speaker 52 (04:25:18):
Witton. Uh, why don't you ride on the head.

Speaker 8 (04:25:19):
And have a doctor ready for us when we got there.
Oh that's a good idea.

Speaker 3 (04:25:24):
I'll see you later.

Speaker 8 (04:25:25):
You all right, man, will meet you in town. Well,
let's get going. Can you manage the right, Davy?

Speaker 3 (04:25:34):
Of course I can. Shoulders are right, it doesn't hurt
much now, Wall cansidy, that's for sure.

Speaker 8 (04:25:43):
Good night's work, Edmund Few. I never would have thought
of looking for two different people. Thanks to you, we've
got her wish, some ghosts, and pretty soon have her killer,
maybe sooner than you. Thanks Sheriff. What do you mean
by that, Poppy? I knowed you was up to something
when you hustle us out of that cabin. So all hard, quick,
what are you.

Speaker 1 (04:26:01):
Going to do?

Speaker 56 (04:26:02):
In about five minutes, you and I are going back
to the cabin California. After all, we gave our killer
an invitation, didn't we.

Speaker 59 (04:26:09):
The heck with his shoulder, I'm staying with you he's
in there, already in there the money. He's sitting on
that bench.

Speaker 56 (04:26:29):
He's turning out the wall above the fireplace, Daviy, just
what I thought he'd be doing. Wait here, I'm going in.

Speaker 2 (04:26:43):
Okay, I come not tike it for to night out hobby.

Speaker 3 (04:26:45):
He's got a thick hack, all right, Come down off
that SnCH.

Speaker 8 (04:26:53):
I got something to say to you. I kick your
hand off that gun.

Speaker 28 (04:26:56):
I was coming in there.

Speaker 3 (04:27:01):
Now, let's fight.

Speaker 56 (04:27:02):
It went out the artillery. The law can take care
of you from now on, Sheriff, like that landing, Will you.

Speaker 8 (04:27:19):
Quite there is Clayton? I never would have taught it,
But are you sure, Jim Kesh?

Speaker 56 (04:27:27):
The same thing pulled both out a sheriff as long
as we thought the whistling ghost was a killer, had
never occurred to us to suspect Clayton.

Speaker 8 (04:27:33):
That's right, But I see it all now. Lake was
still searching for that record book. He gets part of
that versus meaning right that line and just about the
time you think you're getting warm does point to the fireplace.

Speaker 3 (04:27:46):
But I looked all over up there. There isn't anything
hidden in those walls.

Speaker 56 (04:27:51):
And that last line that both you and Clayton, Miss Davy,
you'll find it's always further and you can stretch an arm.
That verse was sung to you when you were.

Speaker 8 (04:27:59):
A little boy. It's just a little feather, and a
boy's a harm will reach what sugar?

Speaker 52 (04:28:05):
That's what dad man, Sheriff.

Speaker 56 (04:28:07):
If you will help me lift the stone slab mantelpiece off,
I think we'll find Patty's cash and record book inside.

Speaker 8 (04:28:16):
Revorse.

Speaker 3 (04:28:17):
Why didn't I think of that?

Speaker 8 (04:28:19):
It never occurred to me to look up there? Will?
Will you look at that where there must be thousands
of dollars worth of goold nuggets and dust in there?

Speaker 3 (04:28:29):
I knowed you can find it. Hoppy, is this must
be the record book you're talking about, Cassidy.

Speaker 8 (04:28:34):
Let me have a look at that, Sheriff. Uh huh,
I thought so. June fourth, Clayton sold two ounces. August tenth,
Clayton sold ten ounces. Well this is the proof, no wonder.
Clayton was frantic to get this book A happy I
knowed when we started looking for the fellow that killed Paddy,
he didn't have a ghost of a change.

Speaker 56 (04:28:58):
You think so kind upon you look behind you, California.
Don't you know we just thought the only ghost that
was around here.

Speaker 60 (04:29:30):
Box thirteen with a star of Paramount Pictures, Alan ladd
as Dan Holiday.

Speaker 15 (04:29:43):
Box thirteen, Box thirteen, Fox thirteen, Hid.

Speaker 14 (04:30:03):
Why I am as Holiday?

Speaker 1 (04:30:05):
What do you saying?

Speaker 13 (04:30:06):
That's said?

Speaker 15 (04:30:07):
Hi?

Speaker 24 (04:30:08):
Holiday?

Speaker 1 (04:30:08):
Hi?

Speaker 24 (04:30:09):
Chirt the first paragram and I'm simon story.

Speaker 1 (04:30:11):
Hia damn? How are you? Hia? Susie?

Speaker 10 (04:30:15):
Hi?

Speaker 16 (04:30:16):
You're after Holiday?

Speaker 1 (04:30:17):
Watson? Box thirteen?

Speaker 60 (04:30:23):
You are listening to Box thirteen starring Alan ladd as
Dan Holiday. Now for Box thirteen starring Alan ladd as

(04:30:46):
Dan Holiday.

Speaker 1 (04:30:55):
Well here, I am again standing at the want ad
count of the Star Times looking forward. What an idea
for a story? I could have stayed here as a reporter.
I could have been searching for facts instead, I'm fumbling
for fiction instead of a blonde. I'm meeting a deadline
instead of Chanel number five. I'm heading for a snip

(04:31:17):
of printers ink. Holiday. You're a dope, mister Holiday. What's that, Susie?

Speaker 61 (04:31:23):
I said, there's a letter in box thirteen for you.
It's special, special, special delivery. It was nailed only a
couple of hours ago. Something like that could be important.

Speaker 1 (04:31:34):
It could be could be adventure, could be could be
a girl could be by the way, Susie. How come
you're working so late to see me?

Speaker 14 (04:31:45):
Oh?

Speaker 16 (04:31:45):
My boys asked me to. He's paying me overtime time
in three.

Speaker 1 (04:31:49):
Quarters, time and three quarters.

Speaker 16 (04:31:51):
I held out for double time when he offered me
time and a half.

Speaker 1 (04:31:55):
Oh what happened?

Speaker 16 (04:31:56):
Oh we affected a compromise.

Speaker 1 (04:31:58):
Goodbye, Susie. Special delivery. Well this could be very important
also it couldn't. Well come on, open it up, Holiday,
I haven't got all name. I'm in terrible trouble. Please

(04:32:20):
come to room seven eighteen at the Bradford Hotel. Hurry
signed Agatha Marsh. That sounds urgent.

Speaker 16 (04:32:37):
Who are you, young man? What do you want?

Speaker 1 (04:32:39):
I'm the man from box thirteen. I'm looking for Agatha Marsh.

Speaker 16 (04:32:43):
Him, Agatha Marsh.

Speaker 1 (04:32:44):
Come in, Come in your Agatha Marsh.

Speaker 16 (04:32:47):
But don't stand there with your mouth open. You never
can tell who might be snooping around the hall. Find
a chancey down now? What's your name?

Speaker 1 (04:32:56):
Dan Holiday?

Speaker 16 (04:32:57):
Well, mister Halliday, I don't believe in drinking, or i'd
offer you one, but I have got some Sauer Kraut
juice in my thermos.

Speaker 1 (04:33:03):
Boggle. Oh no, thanks, just the same.

Speaker 16 (04:33:07):
I like you, mister Holliday. I liked your ad in
the paper Adventure wanted. We'll go any place, do anything.
It was just what I needed.

Speaker 1 (04:33:15):
Well, thanks again.

Speaker 16 (04:33:15):
Now, then what's your charge charge for helping me? Your fee?

Speaker 1 (04:33:20):
Oh? That no charge? Was march?

Speaker 16 (04:33:22):
You trying to be chivalrous?

Speaker 1 (04:33:23):
Oh you say I'm a writer. I'm looking for ideas.
If I get a good idea, I consider I've been
well paid.

Speaker 16 (04:33:28):
That seems a little silly.

Speaker 1 (04:33:30):
Might I ask just what your trouble is?

Speaker 16 (04:33:32):
Oh you don't think a girl my age could get
into trouble, do you?

Speaker 1 (04:33:35):
Oh? Hell, you look like a very charming old Oh I'm.

Speaker 16 (04:33:38):
Sorry, Oh lady, old lady, let's not beat around the
bush now, no doubt. You want to know a few
things about me?

Speaker 1 (04:33:45):
Well that would be very interesting.

Speaker 16 (04:33:47):
Yes, well, I live in Munsey, Indiana alone. I've got
a big house and an independent income. Every year I
go someplace for a vacation, and this year I came here.

Speaker 1 (04:33:56):
Uh is that all?

Speaker 16 (04:33:56):
Isn't that enough?

Speaker 1 (04:33:58):
But the letter he wrote me you said you were
in terrible trouble.

Speaker 16 (04:34:01):
Well I am. If anyone ever finds out about this,
I don't know what will happen.

Speaker 1 (04:34:07):
Finds out about what.

Speaker 16 (04:34:09):
Come over here to the closet. I want to show
you something. Look on the floor, Well.

Speaker 1 (04:34:18):
That's a dead man lying there. Well, this will make
a good opening chapter for a story. Young man goes
to help charming old lady who is in terrible trouble.
Terrible trouble turns out to be a corpse. Corpse. Hey,
wake up, holiday, this is the.

Speaker 16 (04:34:39):
Real thing now, now do you believe me?

Speaker 9 (04:34:42):
Young man?

Speaker 1 (04:34:43):
When did you find him?

Speaker 16 (04:34:44):
Just before I wrote you that letter?

Speaker 1 (04:34:46):
Before you wrote the letter? All that's hours ago, I know.

Speaker 16 (04:34:48):
But what could I do?

Speaker 1 (04:34:50):
What could you do? Miss Marsh? You could call the
police and get my name in the papers.

Speaker 16 (04:34:55):
Have all the folks back in Muncie. No, there was
a dead man in my room.

Speaker 1 (04:34:58):
Oh no, Miss Mars, to me, please, there's a dead
man in that closet. There's a law about dead man.
We have to notify the police immediately. You can go
to jail for hiding a body.

Speaker 22 (04:35:08):
Fiddlesticks.

Speaker 1 (04:35:09):
But miss Marsh, look at this man who's been shot
at close range. There are powder burns on his coat.

Speaker 16 (04:35:14):
I know I examined him before I wrote you. You see,
I read all the current detective stories.

Speaker 1 (04:35:19):
Detective stories. This isn't a story. This is the real thing.
I know.

Speaker 16 (04:35:24):
Why don't you try to prove that I did it with.

Speaker 1 (04:35:27):
What a cap pistol? Now you're a nice person, miss Smash,
but this is going to be tough.

Speaker 16 (04:35:31):
But don't get so excited. A girl my age could
kill a man if she wanted to rub him out,
as they say in the murder mysteries.

Speaker 1 (04:35:39):
Please miss Marsh, be sensible. You've got a murdered man
in your closet. I'll pick up that phone and call
the police right away.

Speaker 16 (04:35:44):
Mister Holliday, in all seriousness, I can't do it. Think
of what my lifelong friends would say.

Speaker 1 (04:35:50):
Yes, yes, I know it doesn't look I can.

Speaker 16 (04:35:52):
See the headlines now, prominent Muncie pioneer woman found with
dead body and hotel. Oh please miss to Holiday, he
helped me?

Speaker 1 (04:36:02):
Well, I don't know. This is a little out of
my department.

Speaker 16 (04:36:05):
Justice once, mister Holiday, I've never asked for help before.
I'm an old woman.

Speaker 1 (04:36:12):
Well, all right, what do you want me to do?

Speaker 16 (04:36:15):
I want you to help me get rid of the body.

Speaker 1 (04:36:17):
Get rid of the body. Now, look, miss Marsh, you're
not serious. You didn't mean no, you don't know me.

Speaker 16 (04:36:25):
I fully intend to get rid of that body.

Speaker 1 (04:36:27):
Okay, go right ahead. It's your car and you're going
to help me. No, no, I'm sorry. Try a bella
and have him.

Speaker 16 (04:36:33):
Snitch to the desk clerk. Besides, you advertise for adventure,
but this isn't that venture.

Speaker 1 (04:36:38):
It's a nightmare. Come on, miss marsh. Let me notify
the police.

Speaker 16 (04:36:41):
Now there's a broom. Close it down the hole.

Speaker 1 (04:36:43):
That's very interesting. I just remember I'm meeting someone in
the lobby.

Speaker 16 (04:36:47):
I take the body there myself, but I'm not strong enough.

Speaker 57 (04:36:49):
Good Bye, miss Smash, I'll scream, go right ahead. The
hotel detective will show up, just the man I'd love
to see, and I'll tell him you kill that man. Oh,
now would you help me?

Speaker 1 (04:37:03):
Suppose we get caught up and you'll help me.

Speaker 9 (04:37:05):
Now wait a minute, you said we.

Speaker 16 (04:37:07):
Now I opened the door and watch the hole in
case the joint as they say in the mysteries, And
then you whisked the body into the closet. You're strong,
you can do it.

Speaker 1 (04:37:16):
Oh sure, I'm strong, all right, but not in the head. Oh,
this can't be happening to you. Holiday. You can't be
dragging your body down the hall of the Bradford Hotel.

Speaker 7 (04:37:33):
You know better, and as soon.

Speaker 1 (04:37:35):
As you can get away from this charming but cracked
old gare you're going to talk to the police.

Speaker 16 (04:37:42):
Harry, Harry, I opened the plast door.

Speaker 8 (04:37:47):
Right there.

Speaker 1 (04:37:49):
Stick him in.

Speaker 7 (04:37:49):
Good, I must be crazy.

Speaker 16 (04:37:57):
Good, Now back into my room before anybody sees us.

Speaker 1 (04:38:04):
Here.

Speaker 16 (04:38:05):
Isn't that easy?

Speaker 1 (04:38:06):
Easy?

Speaker 7 (04:38:07):
She says?

Speaker 16 (04:38:08):
He I must say. You carry out your part very well?

Speaker 1 (04:38:11):
What's next in this little scheme of yours? Ms? Moss?

Speaker 16 (04:38:14):
Why don't you know we have to find out who
killed that Michael O'Brien.

Speaker 1 (04:38:20):
You know who he is? What I do now?

Speaker 16 (04:38:23):
I went through his pockets, frisked him, as they say
in the stories, Well it cuts it.

Speaker 1 (04:38:28):
You stay here, I'm going downstairs. Who's that?

Speaker 16 (04:38:32):
Just keep cool, I'll handle everything.

Speaker 15 (04:38:35):
Oh.

Speaker 1 (04:38:35):
I can't believe this. It just can't happen. My name
is Kling, Lieutenant Homicide Burea.

Speaker 16 (04:38:42):
Oh, come in, come in, won't you?

Speaker 1 (04:38:43):
I intend to.

Speaker 7 (04:38:47):
Holiday?

Speaker 1 (04:38:47):
What are you doing here? Hello, Lieutenant? Oh?

Speaker 16 (04:38:50):
Do you two know each other?

Speaker 62 (04:38:52):
Never mind the social chatter? I thought this was some
kind of a gag. Now I'm sure of it. Holiday.

Speaker 1 (04:38:57):
Just what are you trying to dream up? If I
told you cling you would never believe me.

Speaker 16 (04:39:01):
It's a down Lieutenant. Can I get you some sour
curt juice?

Speaker 1 (04:39:05):
Well, I don't mind if from somewhat star crot juice.

Speaker 7 (04:39:09):
Uh no, thanks.

Speaker 62 (04:39:11):
Now listen, somebody some crackpotform in the tip that there
was a dead man in this room.

Speaker 16 (04:39:15):
Why, lieutenant? How can you say such things?

Speaker 1 (04:39:17):
Lieutenant? Now listen, you'll be quiet. It's marsh. Mind if
I have a look around.

Speaker 16 (04:39:21):
Not it, doll not at He's a closet, Heathern. You
can see for yourself, Lieutenant, there's nobody there.

Speaker 62 (04:39:32):
I got your name from the desk clerk, Miss Marsh.
Maybe you better tell me about yourself.

Speaker 1 (04:39:37):
I can tell you all about it. I was talking
to miss Marsh. Are you Miss Marsh right now? I
think I'm dead?

Speaker 62 (04:39:42):
It will be if you keep interrupting. Go ahead, Miss Marsh,
tell me about yourself.

Speaker 16 (04:39:47):
Certainly. I live in Munsey, Indiana. I arrived this morning
for a two week vacation. I'm well known back there,
and you can find out everything about me if you
care to wire.

Speaker 62 (04:39:57):
Uh uh, you happen to meet mister Holliday here, Look, lieutenant,
if you'll permit me.

Speaker 1 (04:40:03):
To time, asking the lady.

Speaker 16 (04:40:04):
I went to school with his mother, That's what I did.

Speaker 62 (04:40:06):
Huh see, well, I guess it was the work of
some would be comic, but I had to investigate it,
just to say, well, of course you do. Ah, But
Kling listened the rhyme, Miss Marsh, it's allong holiday.

Speaker 1 (04:40:18):
But cling, wait, I want to go with you.

Speaker 24 (04:40:20):
Why don't you too have a fast game of hearts.

Speaker 16 (04:40:24):
Mister Holiday?

Speaker 1 (04:40:25):
Wasn't that really just like in the magazines, Miss Marsh?
You're going to stay in this room until I get
cleaned back here?

Speaker 16 (04:40:32):
Oh no, no, no, I want to solve this case myself.

Speaker 1 (04:40:35):
I wonder how Kling found out that, Miss Marsh. Yes,
I'm not the suspicious type, you understand, but a little bird,
a tiny little bird, is intimated that perhaps you might
know who tipped off the lieutenant.

Speaker 16 (04:40:49):
Of course I know it was I.

Speaker 1 (04:40:53):
What in the world are you doing?

Speaker 16 (04:40:55):
I made the call from the corner drugs join a
little while ago. I wanted to throw the lieutenant off
the tree, like they say.

Speaker 1 (04:41:01):
You know what, I say, No, what You're going down
to police headquarters and tell the truth.

Speaker 16 (04:41:07):
Oh just to techn excuse me, Yes, yes, this is
miss Marsh.

Speaker 30 (04:41:15):
Oh you did.

Speaker 16 (04:41:17):
I thought so. It should have had eight seventeen instead
of this room. Oh no, don't bother. I like it here.
I I knew it all the time.

Speaker 1 (04:41:29):
What did you know?

Speaker 16 (04:41:29):
That was the room clerk. He got my reservation mixed up.
I was supposed to get eight seventeen and I got
seven eighteen instead.

Speaker 1 (04:41:37):
You mean the person who killed Michael o'bron wanted to
get back in here to remove the body. No, no, no,
it doesn't sound reason, no, it doesn't.

Speaker 16 (04:41:44):
Well, guess who was supposed to get this room?

Speaker 1 (04:41:46):
Never mind, we're going to police headquak. It was Tony
Best Scary, Tony Best Scarry. He's the biggest racketeer in
Tony's Dynamite. This Marsh is deadly.

Speaker 16 (04:41:59):
I know Holiday and I love it.

Speaker 60 (04:42:03):
Oh no, you are listening to Box thirteen starring Alan
Ladd as Dan Holiday. Now back to Box thirteen starring

(04:42:30):
Alan Ladd.

Speaker 1 (04:42:31):
As Dan Holiday. Two o'clock in the morning and I
can't go to sleep. The little old girl has me
worried that death. She wouldn't go to the police headquarters.
And when I went down and talked that clinging act

(04:42:51):
as though were a big joke and sent me on
my old bag.

Speaker 16 (04:42:57):
Hello missus, Jaki sama, Now what where are you at
the hotel? I went up to see Tony Bescaray, you
what the.

Speaker 1 (04:43:06):
Marsh don't you know that's the worst thing you could
have done.

Speaker 16 (04:43:08):
I had to talk with him. I put the heat
on him, as they say.

Speaker 1 (04:43:12):
In the Murder Mysteries, and you're still alive.

Speaker 16 (04:43:14):
I accused him of killing that O'Brien man. I came
right up with it. But of course he wouldn't admit
a thing.

Speaker 1 (04:43:21):
Would you expect him to do? Break down and confess?

Speaker 16 (04:43:23):
And I think I've got him on the run. But
I'm worried.

Speaker 1 (04:43:26):
If I had twenty best carry on the run, I'd
be worried too.

Speaker 16 (04:43:29):
Because when I came back, I discovered someone had searched
my room.

Speaker 1 (04:43:33):
Will you call a police? You should have done it
a long time ago.

Speaker 14 (04:43:36):
Oh no, no, no, I couldn't.

Speaker 16 (04:43:37):
I want you to come over right away. At two
in the morning, mister Holiday, someone's trying my door.

Speaker 1 (04:43:46):
Hang up, quick call a room closer, mister Holiday. Hurry,
I said, a dear little medlesome old fool, and you're
clothes Holiday, because here we go again. And then don't
forget your voice, Scott Badge, you make the beaver patrol tonight.

(04:44:10):
Clerk said she hadn't called the desk.

Speaker 8 (04:44:11):
I wonder.

Speaker 1 (04:44:13):
No, she would have screamed. Someone would have heard her.
It's open, think not completely, no, miss Smash. No clothes,
no nothing, not even a piece of notepaper. Hey, what's
this paper? Airplane? Like the ones I used to make
in school? But why should she be making paper airplanes? Airplanes?

(04:44:40):
The airport that's where they took her. Keep that more runningup?

Speaker 13 (04:44:52):
You right back?

Speaker 1 (04:44:55):
How many people around this hour of the night. Oh,
there she is. Man with her has his hand in
his pocket, and I don't think it's there because it's cold.
What I need now is a little fast talking, a
little faster action. Okay, I'll take off from here.

Speaker 8 (04:45:14):
Who are you?

Speaker 24 (04:45:14):
What are you talking about?

Speaker 1 (04:45:15):
The old doll bestcarry wants to back.

Speaker 24 (04:45:18):
Carrie told me to put her on a plane.

Speaker 8 (04:45:20):
I'm doing it.

Speaker 1 (04:45:21):
Yeah, changed his mind, he wants to back.

Speaker 52 (04:45:24):
I don't think so.

Speaker 24 (04:45:25):
Besides, I never saw you before.

Speaker 1 (04:45:28):
I tell you, if you don't turn her over, Best
Garry might get so. When he called me, it's only
a half hour ago. I was still at the hotel.
He could have called and spilled everything out of fond Yeah. Nuts,
this don't sound right. Yeah, I forget it, taking the
old dog back with me. Wait a minute, I'm gonna

(04:45:48):
call Tony first. Go ahead, stupid, get your ears burned off.
Oh you calling stupid? Show me something that will prove
Tony sent you got a match? Stops stalin.

Speaker 24 (04:46:00):
This is a gun in my pocket.

Speaker 1 (04:46:01):
Let's talk to Tony.

Speaker 16 (04:46:03):
I've got some matches here.

Speaker 1 (04:46:05):
Thanks.

Speaker 5 (04:46:06):
Yeah.

Speaker 16 (04:46:07):
Oh give him mister holiday quick, I'm coming here. Oh
got you fast. I'm not as young as I.

Speaker 1 (04:46:16):
Used to be. You should have remembered that before you
got mixed up in there, said why I get in?
Try to get out of here fast? What did you
do to that guy? Anyway?

Speaker 16 (04:46:29):
I struck him with my head pin.

Speaker 1 (04:46:31):
I might have guessed, now, miss marsh what happened at
the hotel?

Speaker 16 (04:46:42):
Well? I hung up when I heard him trying the door,
but I was too late. The door was unlocked, so.

Speaker 1 (04:46:48):
It was Tony. Best carry you want to do out
of town fast.

Speaker 16 (04:46:52):
But they were very nice to me.

Speaker 1 (04:46:54):
You can thank your lucky stars for that. Usually bestcarry's
enemies wind up in some ditch.

Speaker 16 (04:47:00):
I didn't see him again. That man, the one you
knocked out at the airport, he was the one who
came in my room.

Speaker 1 (04:47:05):
You must have their goods on Bascarry. You must have
killed this man or had him killed. But why didn't
he take him out of the hotel right away? There
was a.

Speaker 16 (04:47:13):
Convention there last night. The whole place was literally crawling
with people.

Speaker 1 (04:47:18):
Oh that's the reason all that paper airplane. That was
fast thinking, Miss Marsh.

Speaker 16 (04:47:24):
Thank you. Now we can go back to Bescary. We've
got the goods on it. We can crack the cakes.
Like they say in the murder mysteries.

Speaker 1 (04:47:33):
Miss Marsh, I've got news for you. We're not going
to see Basquery.

Speaker 16 (04:47:38):
We're not well. Where are we going?

Speaker 1 (04:47:40):
You'll hate me, I know, But it's the police station. Well, Holiday,
what happens now? You've taken miss Marsh to Cling's office.
She looks at him. He nods her into his private office,
and suddenly she comes out smiling. You try to only

(04:48:01):
clean stops you. You'll stay here Holiday clean. You can't
let her walk the streets alone. Best carrier will get her.

Speaker 8 (04:48:07):
Forget it.

Speaker 1 (04:48:08):
I got a man telling her Okay, okay, But what
happened in that office. What does she tell you? Plenty,
my friend, she preferred charges against you. She preferred charges
against me. Now what are you talking about? Kidnapping?

Speaker 13 (04:48:22):
I kidnapped her.

Speaker 1 (04:48:23):
You took her off the plane by force, didn't you listen?

Speaker 24 (04:48:25):
Clean?

Speaker 1 (04:48:25):
That little old lady is a who done it happy?
She'll get herself killed. There really was a body in
the hotel, you know. Look, Holiday, do you know what
you're saying? Sure? I know what I'm saying. There really
was a body in that hotel.

Speaker 7 (04:48:40):
Holiday.

Speaker 1 (04:48:41):
Why didn't you tell me? I tried to twice once
in the room in the last time when I came
in here. Now think Holiday carefully. Where is the body
in up room, closet, down the hall? I put it there?
You put it there? Yes, I put it there. Holiday,
get out of here. Well, Holiday, now you're fixed. Stephen

(04:49:08):
Kling looked at you like those things in your belf.
They weren't bats. They're more like eagles. But you're in
it now, so you've got to follow through. And that
indicates a fast ride over to the Bradford Hotel. Oh, clerk, hey, clerk, years,
I'd like to find out who occupied I get the
Marsh's room the day before she dies. That question is

(04:49:28):
highly irregular. Oh, then here's a ten dollar bill. That's
highly regular.

Speaker 63 (04:49:34):
Oh let me think she has seventy eighteen. She checked
in the day before yesterday. Yes, the man who had
the room before that was a traveling salesman in lady suits.

Speaker 13 (04:49:44):
I believe you.

Speaker 1 (04:49:46):
Must have cut quite a figure. She must be in
this hotel someplace. Her room's empty, but she must be around.

Speaker 7 (04:49:58):
But where.

Speaker 1 (04:50:02):
What are you worrying about? Holiday? You couldn't wait to
get rid of her, now you can't wait to get
her back. You're a character who belongs back in the
Middle Ages with a ten union suit for cold knights.
He'll probably show up safely with that detective tailing hair.
The broom closet, one of the dead men is still

(04:50:22):
in there. He must be cling hasn't showed up yet.

Speaker 16 (04:50:27):
Oh, oh hello, mister Holliday's.

Speaker 1 (04:50:32):
Marsh What happened? How'd you get in that closet?

Speaker 16 (04:50:34):
Isn't this thrilling?

Speaker 1 (04:50:35):
No, it isn't.

Speaker 16 (04:50:36):
It was a detective trading me. But he was knocked unconscious,
shapped as they say in the murder mysteries. And you
were brought up here by the same man who tried
to put me on the plane. He hit the detective,
put me in the car and brought me here.

Speaker 1 (04:50:48):
Well, you two, what are we playing now? Where is
the man I put on you, Miss Marsh?

Speaker 16 (04:50:54):
He was hit over the head, Lieutenant, But I'm sure
he's all right.

Speaker 62 (04:50:57):
Now it's the closet where you said the body was
was is right, lieutenant, And let me take a look.
You know what I think, Holiday what I think. Both
of you crackpots are making this all up. I don't
believe there ever was a body clean.

Speaker 13 (04:51:14):
You have my word for it.

Speaker 1 (04:51:15):
Your word doesn't mean as much as a Chinese dollar. Clan. Listen,
they brought her back here, locked her up. They took
that body away, didn't they? Miss Marsh?

Speaker 16 (04:51:23):
Probably going to sink it in cement, as they say
in the Murder Mysteries.

Speaker 1 (04:51:27):
That's scarious in his room.

Speaker 13 (04:51:28):
I'fack.

Speaker 1 (04:51:28):
Go ahead and talk to him. Surely, put the heat
on him, just once more.

Speaker 62 (04:51:32):
I'll play with you kiddies. Come along where miss Marsh's room.
I'm locking you pixies in till I get to the
bottle of.

Speaker 1 (04:51:40):
This Claig's been gone fifteen minutes. I I wonder what's
happening up there not much.

Speaker 16 (04:51:50):
I haven't heard any shooting.

Speaker 1 (04:51:52):
No, that's I haven't heard any In that case, How
could a man be shot here and that's shot not
be heard?

Speaker 16 (04:52:00):
What's very easy, mister Holliday. The killer would use.

Speaker 1 (04:52:04):
This ims marsh. No, how'd you get that gun?

Speaker 16 (04:52:07):
Just took it out of the drawer. It was here
all the time.

Speaker 1 (04:52:11):
Well, I'll put it down until Kling returns.

Speaker 16 (04:52:13):
But I just want to show you why the shot
wouldn't be heard.

Speaker 1 (04:52:17):
What do you mean you excuse me?

Speaker 16 (04:52:22):
You see this bath towel, mister Holliday, Yes, what about it?
The smart person would take the gun like this, wrapped
the bath towel around it like this.

Speaker 1 (04:52:33):
It only smart. You found out a lot since you
came here.

Speaker 16 (04:52:35):
Oh yes, I've done alright since early this morning.

Speaker 1 (04:52:39):
Early this morning. But the clerk said, I told it,
don't even scarry any.

Speaker 16 (04:52:43):
Safe you mismask me the thing you shouldn't have moved,
mister Holliday, I was really shooting it.

Speaker 17 (04:52:50):
You.

Speaker 1 (04:52:51):
What's this all about? Holiday? What was she doing with
that gun in her hand? She was going to kill me,
just like she killed Michael O'Brien, That little old lady
killing somebody smart sar, you're dead killing, didn't you? And
you called me and you got clinged to come up
here and catch me dragging the body away. Only he
came a little late as usual. Now wait a minute, Holiday,

(04:53:15):
And when you couldn't put it on me, you tried
to hang it on twenty But scary, Now, what did
you do with the body?

Speaker 16 (04:53:20):
Dragged it back to the closet in this room?

Speaker 1 (04:53:23):
Oh? And I suppose you sat the detective who followed
you too.

Speaker 16 (04:53:27):
It was easy. I got him to turn around and
hit him over the head with my purse.

Speaker 1 (04:53:32):
Why did you kill Michael O'Brien. Did you have something
against him?

Speaker 5 (04:53:35):
No?

Speaker 16 (04:53:35):
No, I never saw him before.

Speaker 1 (04:53:37):
Then why kill a perfect stranger?

Speaker 16 (04:53:41):
I saw play once. I liked those ladies in that play.
They killed lots of people I wanted to also, Only
I should have done it like the ladies.

Speaker 1 (04:53:54):
You don't mean our stinking old lace.

Speaker 16 (04:53:56):
Yes, and I should have worn the lace and given
you the.

Speaker 1 (04:54:16):
Well holiday, You're back in your apartment again. The sun
is shining through the window, a sun you might never
seen again. You know, I've got an idea for you. Holiday,
Give up this business and go into something quiet like
night watchmen. In a cemetery. Holiday, Well, what's that thing?

Speaker 62 (04:54:36):
They examined the old girl down at the psychopathic water
of the City hospital.

Speaker 1 (04:54:40):
She's baddy as alone, you're telling me. I saw that
in her eyes when she wrapped the towel around that gun.
But what happened to Best carrying his stooge? When she
heard he was the room above? She tried to pin
the body on him. Ah, so he tried to get
her out of town in self defense. Holiday, you're a
very lucky, lucky guy. You can say that again and again.

Speaker 16 (04:55:05):
And again, or just a minute, hello, mister Holliday.

Speaker 1 (04:55:12):
Susie, what are you doing up here in my apartment?
Why aren't you down at the Star Times?

Speaker 61 (04:55:16):
Well, my Boughts and I have been talking about another compromise,
another one.

Speaker 16 (04:55:21):
He wants to fire me and I want to quit.

Speaker 1 (04:55:23):
Oh but Susie, if you left the paper, what would
I do for my mail?

Speaker 61 (04:55:27):
I was thinking maybe you'd like to hire a good
combination stenographer and secretary.

Speaker 1 (04:55:32):
Huh, that's you, that's me. Well, I don't know, Susie,
But as they say in murder Mysteries, I'll have to
think it over.

Speaker 16 (04:55:41):
You better think fast. Good help is hard to find.

Speaker 7 (04:55:44):
Goodbye Susie.

Speaker 1 (04:55:50):
Next week, same time.

Speaker 60 (04:55:52):
Alan ladds dars as Dan Holiday in Box thirteen. Alan
Ladd appears through the courtesy a Paramount Pictures and may
currently be seen in Wild Harvest. Box thirteen is written
and directed by Ted Hediger. Original music was composed and

(04:56:13):
conducted by Rody Schrager. This is a Mayfair productionist.

Speaker 6 (04:56:25):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:56:46):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page.

Speaker 13 (04:56:56):
If you or.

Speaker 6 (04:56:57):
Someone you know is struggling with depression, addiction, or thoughts
of harming yourself or others, you can find all of
that and more at weird Darkness dot com. I'm Darrenmarler.
Thanks for joining me for tonight's retro radio, Old Time
Radio in the Dark

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