MIND READER DISCOVERS HIS OWN MURDER PLOT: His Wife and Business Partner Want Him Dead

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

Speaker 2 (00:16):
You're gonna thank some miss.

Speaker 3 (00:26):
A man us Seal.

Speaker 4 (00:36):
Present Suspense.

Speaker 2 (00:41):
I am the Whistler.

Speaker 5 (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
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(01:05):
my free newsletter, connect with me on social media, listen
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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 6 (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 4 (01:55):
Marshall.

Speaker 6 (01:57):
Everything it is said happens to everyone sooner or later
if there's time enough What does that mean? Obviously that
we can't expect the best and we can expect the worst,
which might be quite tolerable if we were to receive
equal amounts of each. The trouble is most of us

(02:19):
get more than our fair share of one or the other.
Is there a way to redress the balance? Well, yes,
but this will call for a rearrangement of life and death.

Speaker 9 (02:32):
Tell me your name.

Speaker 7 (02:33):
What's the difference?

Speaker 9 (02:34):
How else will I know who you are?

Speaker 7 (02:36):
If I tell you my name?

Speaker 10 (02:37):
What will you know?

Speaker 11 (02:38):
Tom Smith, John Doe, Bob Jones. Those are all good names.
Choose anyone?

Speaker 9 (02:44):
Which one is yours?

Speaker 7 (02:45):
None of them?

Speaker 9 (02:46):
Well, I need a name I can call you.

Speaker 11 (02:49):
Let me give you the name that describes me. Killer.

Speaker 6 (03:01):
Our mystery drama, The Awakening was written especially for the
Mystery Theater by Sam Dan and stars Kim Hunter. It
is sponsored in part by sign Off, the Sinus Medicines
and Buick Motor Division. I'll be back shortly with Act one.

(03:29):
A sadder and wiser man he rows themorrow morn. What
is a poet telling us simply that a different person
woke up in the morning than at garden to bed
the night before. If you accept the basic principle. The
proposition doesn't necessarily have to operate for the better. You

(03:49):
don't have to awaken sadder and wiser. You can also
arise happier and dumber. A man of evil can become
a man of good, and it's just as likely the
other way round. What fantastic transformations can occur overnight?

Speaker 7 (04:08):
Listen, thank you, doctor.

Speaker 11 (04:10):
I can't tell you how much I appreciate your giving
up your lunchyard to see me. You said it was
an emergency. It's a matter of life and death. Rest
assured it's true. Why why did you choose me? The
fact is I don't know any psychiatrists here, and I
opened the classified pages under physicians and surgeons psychiatrists and

(04:32):
like abou ben Adam, your name, doctor Abbott led all the.

Speaker 12 (04:35):
Rest talking about names. What's yours?

Speaker 7 (04:39):
My name? Must I tell you my name?

Speaker 12 (04:43):
Yes? I can help you if I don't know who
you are?

Speaker 11 (04:46):
But can't you looked at me, listen to me and
know who.

Speaker 7 (04:49):
I am, what I am.

Speaker 13 (04:51):
I'm sorry, I must insist I cannot treat you if
you don't have complete confidence in me.

Speaker 7 (04:56):
Yes, yes, of course you're You're absolutely correct, But.

Speaker 11 (05:01):
I require a certain amount of time to develop that confidence.

Speaker 7 (05:06):
Doctor believed me.

Speaker 11 (05:07):
I'll tell you my name, not just yet, soon, Please
help me.

Speaker 12 (05:13):
To do what.

Speaker 7 (05:16):
I woke this morning and.

Speaker 14 (05:19):
He is.

Speaker 7 (05:22):
And I didn't know who I was?

Speaker 12 (05:25):
What do you mean?

Speaker 7 (05:26):
I still don't know who I am. I become somebody
else who I don't know?

Speaker 4 (05:34):
Doctor?

Speaker 7 (05:35):
Do you know who you are?

Speaker 15 (05:38):
Yes?

Speaker 7 (05:38):
How how do you know who you are?

Speaker 11 (05:42):
I'll tell you it's not just that you know your name.
Your name is just a label given to you by
your mother or father to label you on the outside.
But it's what you feel inside, that you, your feelings,
your thoughts, that's what you are. Do you understand, Yes,

(06:04):
there's that bundle of feelings and thoughts. That was the
me I had lived with for twenty years. This morning,
that me was gone inside. Now there's another me.

Speaker 7 (06:19):
I mean, I don't know me. That is terrific.

Speaker 11 (06:24):
Why because it's a strange, sinister.

Speaker 8 (06:27):
Alien me?

Speaker 12 (06:28):
In what way?

Speaker 11 (06:30):
I am made up of only one single feeling, one
solitary urge to kill?

Speaker 12 (06:39):
You never felt it before?

Speaker 7 (06:42):
I can't think of anything else just killing.

Speaker 12 (06:45):
Well, have you had a physical examination lately?

Speaker 11 (06:47):
It's my only feeling, my only emotion.

Speaker 12 (06:50):
Do you have headaches to peel?

Speaker 11 (06:53):
Just like a shark that knife through the water, the
tiger that prowls through the.

Speaker 7 (06:58):
Jungle, what did they each in his way?

Speaker 11 (07:01):
Is the personification of an elemental, irresistible killing force.

Speaker 4 (07:05):
Have you noticed a shortness of breath?

Speaker 7 (07:08):
They kill anything that crosses their path.

Speaker 4 (07:09):
Why have you had any serious illness?

Speaker 11 (07:11):
Yes this one. Can't you hear what I'm telling you?
Why do you waste our valuable time with these lattering,
nit picking questions that have absolutely.

Speaker 4 (07:22):
No bearing on what, sir, I am asking the necessary questions.

Speaker 11 (07:27):
Is it possible you haven't heard what I've said to
you to what I have awakened this morning?

Speaker 7 (07:33):
What has possessed me?

Speaker 8 (07:34):
Now?

Speaker 13 (07:35):
If you're going to start to talk about possession and
devils and spirit, I am possessed not by an evil
spirit perhaps, but possessed by what.

Speaker 11 (07:46):
Perhaps a germ, a virus, perhaps an idea, a thought,
a belief. I don't know, but it's possession. Perhaps it
isn't possession, hm. It could be an awakening, an awakening
and awakening to my true and essential nature. Yes, it's

(08:10):
an awakening, that's what it is.

Speaker 12 (08:12):
Please sit down.

Speaker 7 (08:14):
I can no longer fight against it.

Speaker 12 (08:16):
Now, sit down and everything will be all right.

Speaker 11 (08:19):
Yes, yes, everything will be all right. As soon as
I can get into it.

Speaker 7 (08:23):
As soon as I can kill That will bring me relief.

Speaker 11 (08:26):
No, relax, as soon as I kill anyone anything that
crosses my path.

Speaker 12 (08:32):
You no, no, you don't want to do that.

Speaker 7 (08:35):
So I'll kill you.

Speaker 12 (08:36):
In just a minute.

Speaker 7 (08:37):
I'm going to kill you. No, kill anyone that crosses
my path.

Speaker 12 (08:41):
I'll have to call a plea be dead?

Speaker 16 (08:43):
Go on?

Speaker 17 (08:44):
What do you God?

Speaker 7 (08:50):
How easy I can kill her? I can kill I
feel better, Hei, I feel so much better.

Speaker 4 (09:10):
And that's all we got in the tape, Doctor Zeltner.

Speaker 9 (09:15):
I suppose I'm lucky. My name is Zeltner. I have
the last listing in the directory. Poor Fred Abbott.

Speaker 4 (09:22):
Do you knew doctor Abbott?

Speaker 16 (09:24):
Oh?

Speaker 9 (09:24):
Yes, an excellent man.

Speaker 4 (09:26):
Well, doctor Zeltner, what does all this tell you?

Speaker 9 (09:30):
Well, he believed in tape recording all his sessions.

Speaker 4 (09:33):
And you don't.

Speaker 9 (09:34):
I don't have any hard and fast rule, Lieutenant. In
this case where fortunate he turned on the recorder the
moment his patient began talking. What was the exact cause
of death?

Speaker 4 (09:45):
Well, the killer evidently knew karate and used it there
were several sharply placed blows which did considerable damage. You
could hear on the tape how quickly, how definitely the
thing was done.

Speaker 9 (09:57):
No one saw him enter or leave the office.

Speaker 11 (10:00):
No.

Speaker 4 (10:01):
Doctor Abbot's nurse had already left on her lunch hour
when he arrived, and the doctor was dead when she returned.

Speaker 9 (10:08):
Well, did anyone in the vicinity notice anything suspicious?

Speaker 4 (10:11):
You're asking a detective's questions, doctor Zelder. Now we've covered
that ground already without results. I'm hoping you might be
able to ask a psychiatrist questions. You know, we're dealing
with someone mentally disturbed, and what kind of clues are
on this tape?

Speaker 9 (10:27):
Well, Lieutenant Kats, we know several important things, such as
he's a stranger because he didn't know any doctors in town,
nor did he have any friends who could recommend one.
Doctor Abbott was six feet tall in excellent physical condition,
yet the killer handled him easily. The killer could be

(10:49):
anywhere in his late thirties to early forties.

Speaker 4 (10:53):
Yeah, and I get that picture too, well spoken. Yeah,
he's obviously educated.

Speaker 9 (10:59):
Oh, he doesn't have to be educated exactly, Lieutenant, What.

Speaker 18 (11:03):
Do you mean?

Speaker 9 (11:05):
I'm not sure something about his speech. What let me
think about it? Ask yourself this question. What does the
killer do for a living? I know, well, we agree
he's a stranger in town. What is he doing here?

Speaker 4 (11:22):
Mine don't know that either.

Speaker 9 (11:23):
Is he visiting someone? Not likely? If it were a
social thing or even a business trip, he would have
someone to talk to, someone he could ask to recommend. Doctor.

Speaker 4 (11:34):
Okay, doctor Zeldner, you tell me what was the killer
doing here? Passing through perhaps, and he gets this seizure
and he goes to the first psychiatrist he can find.

Speaker 9 (11:48):
It appears that way, But our basic question remains unanswered.
What does the killer do?

Speaker 4 (11:56):
Why do you say he doesn't necessarily have to be educated?

Speaker 9 (12:00):
Something bothers me about that tape?

Speaker 8 (12:02):
What I don't know.

Speaker 9 (12:05):
Was anything taken from the office.

Speaker 4 (12:07):
No, there didn't seem to.

Speaker 9 (12:08):
Be Lieutenant doctor Abbot's office. Is it still exactly the
way it was when the body was discovered?

Speaker 4 (12:16):
It should be. We've had a man on guard.

Speaker 9 (12:18):
Just suppose I could see it.

Speaker 4 (12:20):
I don't know what good it'll do.

Speaker 9 (12:22):
Well, since you don't know, why don't we find out
you're missus Boyers Beatrice Boyer years Doctor? I used to
ring your number for doctor Abbott. What are you doing
here today? Life goes on. That is for the doctor's wife. See,

(12:44):
she still has bills to pay, and so I'm working
on the doctor's books for her. Oh I understand you
were not here when the when the man who killed
doctor Abbot phoned for the appointment. No, and I'll never
forgive myself.

Speaker 4 (12:58):
And why do you say that?

Speaker 9 (12:59):
Because tenant, had I answered the phone, I simply would
not have given them the appointment. But doctor Abbott couldn't
say no to anybody. I usually have lunch in here
every day. It's just on that particular day. You have
lunch in the office every day. Oh yes, I think
that was the first time I've gone out months. Look,

(13:19):
I'm sure this must be a very difficult time for you,
Miss Boyers. Please don't let us disturb you. Well, I'll
be in the reception room if you need me. Lieutenant.
This is doctor Abbott's desk. He was sitting behind it,
and this chair is for the patient. And here's the
tape recorder.

Speaker 4 (13:39):
Yes we know all this, don't we.

Speaker 9 (13:41):
Well notice the position of the tape recorder.

Speaker 4 (13:44):
What about it?

Speaker 9 (13:46):
It's standing on the desk in full view.

Speaker 12 (13:49):
What are you trying to estabi with doctor.

Speaker 9 (13:51):
Well, the fact that the taping wasn't a secret. The
killer knew that his conversation was being recorded.

Speaker 12 (13:57):
Okay, where does that lead us?

Speaker 9 (14:00):
Why didn't the killer destroy the tape?

Speaker 4 (14:03):
What does it make any difference?

Speaker 9 (14:05):
It's a clue he left his voice behind.

Speaker 4 (14:08):
Her voice on a tape recorder doesn't stand up a
positive identification.

Speaker 9 (14:13):
Well, perhaps, but some of his statements could be quite revealing,
such as, I don't know yet, I want to study
the tape.

Speaker 4 (14:24):
Maybe the killer didn't notice.

Speaker 9 (14:26):
Oh how could he not notice?

Speaker 4 (14:27):
Molly may have been too excited all.

Speaker 9 (14:29):
After all, he did commit murder.

Speaker 12 (14:32):
Yeah, we know that.

Speaker 9 (14:34):
And after he did it, if you remember the tape,
he seemed very calm. Such a person who who realizes
that he has committed a serious crime but becomes very careful.
He looks about to make sure he's covering his tracks,
not leaving any clues. Why didn't he destroy the tape?

Speaker 4 (14:53):
Why does it bother you?

Speaker 9 (14:55):
We have to find the answers to three questions. Who
is he? What is he doing here in town? And
why didn't he destroy the tape?

Speaker 4 (15:05):
Doctor? We're up against a stone wall. Now, he could
be any nude who walked in off the street. Didn't
you hear what he said in that tape? He says,
A great deal. Let's go back to your office and
listen again. Okay, miss Boyers. I don't know what we're
going to listen for. And we heard it.

Speaker 9 (15:22):
All, Yes, we heard it. Now we have to try
to understand it. Yes, Lieutenant, we're.

Speaker 4 (15:28):
Leaving now, missus Boyers. So if you can think of
anything that might be.

Speaker 12 (15:31):
Of use to us, you have my numbered headquarters.

Speaker 9 (15:34):
Yes, lieutenant, goodbye, Miss Boyers, goodbye, Doctor Sheelter.

Speaker 7 (15:46):
He ben knowing.

Speaker 9 (15:49):
You, Ben, why didn't you destroy that tape?

Speaker 19 (15:51):
Tape when you were talking to Abbot in the office.

Speaker 9 (15:54):
It was all being recorded, didn't you know it?

Speaker 7 (15:56):
Of course I knew it after it I even played
it back.

Speaker 4 (16:00):
Do you want it was such a beautiful scene?

Speaker 7 (16:03):
How could I erase it?

Speaker 9 (16:04):
You should have destroyed it.

Speaker 4 (16:06):
I've never been better.

Speaker 9 (16:07):
Do you realize the police had that tape?

Speaker 20 (16:10):
Of course?

Speaker 9 (16:10):
Still listen and listen sooner or later.

Speaker 4 (16:13):
Sooner or later, what they'll find out something, Beatrice Darling.

Speaker 11 (16:18):
They will listen and listen and be thrilled by the
greatest theatrical performance that has ever been recorded?

Speaker 7 (16:27):
What can they possibly find out?

Speaker 6 (16:38):
What can they possibly find out? What can you find
out by listening to a tape recording? Did you find
out anything? Actually, practically every clue that's needed is on
that tape. You're also already ahead of doctor Zeltoner and
Lieutenant Katz because you just heard the scene that took

(16:58):
place after they left the office. Let's see what we
can all find out in Act two, which follows in
just a few moments. What do the psychiatrists tell us

(17:22):
consider mister Booth shot mister Lincoln Queer in a theater?
Why Because mister Booth was an actor, and he saw
his deed primarily as a theatrical performance. But all of
us are actors in a sense. All of us perform,
all of us require applause of one kind or another,

(17:45):
even when we turn to murder.

Speaker 11 (17:49):
I'm a peaceable person. I studiously avoid arguments, conflicts, unpleasantness.
The mere thought of violence makes me you.

Speaker 9 (17:59):
How to take there for a moment, Lieutenant thought of
violence makes him ill. Yet he's accomplished in the aunt
of karate.

Speaker 4 (18:09):
It doesn't make sense, it doesn't have to.

Speaker 12 (18:11):
He's crazy.

Speaker 9 (18:11):
Well, even so called crazy people behave in what for
them is a logical manner. What we're supposed to get
from this tape is a profile of a hitherto mild
mannered man who has suddenly gone berserk. Is it not
the facts? This is a man who is no stranger
to violence?

Speaker 4 (18:30):
Okay, what difference does it make? He's still a psychotic killer?

Speaker 9 (18:34):
Maybe what do you mean? Maybe maybe he wants us
to think. So I listen to this.

Speaker 11 (18:42):
That dynamic package of feeling and thought. That was the
me I had lived with for twenty years. To me,
I knew, to me, I always loved to me, I
sometimes hated, But the familiar, dependable, comfortable me.

Speaker 9 (18:58):
What do you think of that?

Speaker 4 (19:00):
I still think so. It's the raving of a nut.

Speaker 9 (19:03):
Now, notice the smooth flow of language. Notice how the
sentence is builled. Notice how there's practically no hesitation, no
searching for words. Who talks like that?

Speaker 8 (19:15):
I don't know?

Speaker 9 (19:16):
An actor?

Speaker 4 (19:18):
An actor.

Speaker 12 (19:20):
Not always.

Speaker 9 (19:21):
He sounds like an actor who has rehearsed and prepared
his lines.

Speaker 4 (19:26):
Oh, assuming you're right, how could he do that?

Speaker 9 (19:30):
We listen again to kill?

Speaker 11 (19:33):
Just like a shark that knife through the water, a
tiger that prowls through the jungle.

Speaker 8 (19:38):
What are they?

Speaker 4 (19:39):
Each?

Speaker 11 (19:40):
In his way is the personification of an elemental, irresistible
killing force.

Speaker 4 (19:46):
This speech has been written by whom.

Speaker 9 (19:49):
By the killer, the killer who happens to be an actor.

Speaker 4 (19:53):
Once again, where is the proof?

Speaker 9 (19:55):
You're listening to the proof? When I heard this tape
for the first time, I said it bothered me, and
you tried to pin me down. What bothered me about it?
And I am still trying to pin you down.

Speaker 12 (20:07):
Doctor.

Speaker 9 (20:07):
I can now tell you everything. Everything about that tape
bothers me. It's a phony.

Speaker 4 (20:13):
Okay, okay, but you still haven't been able to prove
of What.

Speaker 2 (20:16):
Have we got?

Speaker 9 (20:17):
A presumed psychopath comes into doctor Abbot's office. He claims
to be very disturbed, but I don't think he's disturbed
at all. Let me spin back that tape. Why did
you choose me, asked doctor Abbott. Listen to the answer.

Speaker 11 (20:35):
I opened the classified pages under physicians, surgeons, psychiatrists, and
like a.

Speaker 7 (20:41):
Bull, ben Adam your name, let all the rest.

Speaker 4 (20:45):
So what do you want me to make of that?

Speaker 9 (20:46):
He's always on stage, always ready with the epigram or
the quotation. From beginning to end, the whole thing has
been superbly prepared. I'll run the tape ahead.

Speaker 11 (21:02):
Listen, Why do you fritter away our valuable time with
these gnattering, mydpicking questions?

Speaker 9 (21:12):
Who would possibly put together a sentence like that on
the spur of the moment.

Speaker 11 (21:16):
I am possessed, not by an evil spirit, but possessed
what Perhaps a germ, a virus, perhaps.

Speaker 8 (21:26):
An idea, a thought, a belief.

Speaker 7 (21:29):
Perhaps it isn't possession.

Speaker 11 (21:32):
It could be an awakening and awakening, an awakening to
my true and essential nature. Yes, it's an awakening.

Speaker 9 (21:43):
That is not the raving of a maniac.

Speaker 4 (21:46):
Okay, how a good fight are you? You're convinced the
guy isn't crazy?

Speaker 9 (21:50):
No, but I'm convinced the killer deliberately chose doctor Abbott.

Speaker 4 (21:55):
Why I don't.

Speaker 9 (21:56):
Know, But here the psychiatrist musield the detective, and what
do you want me to do? Change your hypothesis? At
this point? You believe the killer chose doctor Abbott at random.

Speaker 4 (22:09):
That's what happened.

Speaker 21 (22:10):
How do you know?

Speaker 4 (22:11):
Because well, because.

Speaker 9 (22:14):
Because he says so on the tape, I happen to
look in the classified and your name led all the rest.
See how he uses the tape to convince you. And
now I know why he didn't destroy it. Assume, Lieutenant,
that the killer had a motive to murder.

Speaker 4 (22:34):
Doctor Abbott, I have to keep asking what motive.

Speaker 9 (22:38):
Well, that's a policeman's question. You shouldn't be asking me.

Speaker 2 (22:46):
Enemies.

Speaker 9 (22:47):
Oh no, not Walter. Everyone loved him, Doctor Zeltner. Here
knew my husband, of course, Missus Abbott. Did you notice
anything unusual about Walter's behavior?

Speaker 2 (22:58):
Unusual?

Speaker 4 (22:59):
Does nervous, a worried, upset, you know, out of sort?

Speaker 17 (23:03):
Oh?

Speaker 2 (23:03):
No, not with me, Never with me.

Speaker 9 (23:07):
I never heard an unkind or impatient word from him.
And nothing bothered him that you knew of, missus Abbott. Oh,
everything bothered him. He worried about the slightest little things,
how things were going on in the world, about his patients.
Was he doing enough for them? Was there any unusual worry,
missus Abbott. Unusual? Well, he came home to dinner. It

(23:32):
was just the night night before before he was well.
We were having his favorite steak. He didn't seem to
know or even care about what he was eating.

Speaker 12 (23:45):
Then he was troubled.

Speaker 2 (23:46):
I suppose you.

Speaker 9 (23:48):
Could say that, and do you know what it was about,
missus Abbott.

Speaker 11 (23:52):
No, you didn't ask him, Well, yes, I.

Speaker 9 (23:55):
Did, and he said it was a professional problem. Once
he said that, I knew I couldn't press it. Doctor Sultneer.
You're a psychiatrist. You can understand. He said it was
a professional problem. That means it concerned a patient.

Speaker 12 (24:09):
Yes, who was the patient?

Speaker 9 (24:11):
I don't think I'm allowed to tell that. Well, you
don't have to tell us what the problem was, but
you can tell us who the patient is.

Speaker 21 (24:20):
Oh, all right, I.

Speaker 9 (24:23):
Think it was Roy Butterfield because he went into his
den right after dinner and got on the phone and
I think he was talking to Roy.

Speaker 4 (24:32):
You can't tell us what he was saying to Roy Butterfield.

Speaker 9 (24:36):
No, Lieutenant, she can't, but we can ask him.

Speaker 7 (24:46):
I have nothing to tell you, mister Butterfield.

Speaker 4 (24:49):
The night before he was murdered, Doctor Walter Abbott had
a very long conversation with you on telephone.

Speaker 7 (24:55):
Not didn't he?

Speaker 8 (24:55):
Who?

Speaker 7 (24:56):
Says?

Speaker 4 (24:56):
So?

Speaker 9 (24:57):
His wife, Missus Abbot said, here seemed quite troubled when
he spoke to you. Can you tell us why?

Speaker 7 (25:03):
No?

Speaker 9 (25:04):
And the next day he was killed. Was there a connection?

Speaker 8 (25:08):
Oh?

Speaker 11 (25:09):
I understand, some homicidal maniac did it.

Speaker 7 (25:13):
I really don't know how I can help you.

Speaker 9 (25:16):
Well, perhaps you can tell us how we can help you.

Speaker 8 (25:18):
What are you talking about.

Speaker 9 (25:20):
Mister Butterfield. You're a badly frightened man.

Speaker 7 (25:23):
Why, well, that's my business.

Speaker 9 (25:24):
Then you don't deny it.

Speaker 7 (25:27):
Look, if you don't have any more questions to ask me,
do you.

Speaker 9 (25:30):
Have any questions to ask us?

Speaker 7 (25:33):
What questions would I have?

Speaker 9 (25:35):
One very important question might be why are we here?

Speaker 7 (25:38):
Listen, I'm in enough trouble now what kind of trouble?

Speaker 8 (25:42):
Oh?

Speaker 7 (25:44):
If I told you, you might try to pin the
murder on me?

Speaker 9 (25:48):
Oh hardly, mister Butterfield. You're too short, too fat, too old.

Speaker 4 (25:53):
Are you a karate expert?

Speaker 12 (25:54):
Mister Butterfield, karate?

Speaker 7 (25:57):
I can hardly play croquet?

Speaker 9 (26:00):
Did better if you told us, mister Butterfield, better you?

Speaker 11 (26:03):
Oh all right, Look I've been married thirty years, very happy,
wonderful woman every way. Well, I ran into a very
beautiful young lady. She was also very intelligent. I really
wanted to keep it petnic, you know what I mean.

(26:25):
But well, we're all people of the world.

Speaker 9 (26:29):
Here, of course.

Speaker 11 (26:31):
I well, I was sorry I started, and my conscience
spotted me. So I well, the young lady and myself
we we barded and I thought I'd never do anything
like that again. But well, shortly after I became acquainted.

Speaker 7 (26:49):
With another young lady, and.

Speaker 11 (26:54):
I tried to stop it by going to a psychiatrist
to find out why I needed that sort of thing.
You understand, certainly, doctor Rabbit. They would have sessions. I
spoke all my thoughts into a tape recorder so he
could analyze them. Well, I I held nothing back. I

(27:17):
described everything in detail. I'm sure you know what I'm saying.

Speaker 9 (27:24):
Yes, yes, yes.

Speaker 7 (27:25):
And then last week a package came for me in
the mail. It was a tape becausette.

Speaker 11 (27:31):
There was a letter that said unless I paid ten
thousand dollars, a copy of that tape would be sent
to my wife.

Speaker 9 (27:40):
Was there anyway to a dentistm.

Speaker 11 (27:43):
No, No, it was just typewritten on a plain piece
of paper. No signature, no address, no nothing.

Speaker 4 (27:50):
Do you do you have a copy of the letter? No?

Speaker 18 (27:53):
No, I.

Speaker 4 (27:55):
Burned it up, mister Butterfield. There's been a murder anyone
who withholds evidence because that was an accessory. Now think hard,
did you really burn that letter.

Speaker 7 (28:04):
Diet Well, I was going to burn it just as
you people rang the bell. Oh here damn it right
here in my pocket.

Speaker 4 (28:15):
Thank you.

Speaker 11 (28:16):
All it says is they're going to be in touch
with me and tell me how they want me to
pay the money.

Speaker 9 (28:28):
We have another copy of this same tape. We mean business.
In a few days we will contact you with further
details of how to pay the ten thousand dollars.

Speaker 4 (28:37):
This nice clean typing.

Speaker 9 (28:39):
And you know where it was type, don't you know?
In doctor Abbott's office.

Speaker 4 (28:44):
But what are you talking about?

Speaker 9 (28:46):
It should be playing? His assistant, Beatrice Broyer's decides she
can blackmail some of his patients. Roy Butterfield is particularly vulnerable.
She sends him the tape and a note, but Butterfield
makes a fuss about it, confronts her that morning, and
fires her. She has a confederate He poses as a
psychopathic killer to create the impression that this is a

(29:09):
crime of random violence.

Speaker 4 (29:10):
You see, that's the big difference between a psychiatrist and
a detective. You doctors can get rich on theories, but
we can't get the first base without evidence.

Speaker 9 (29:19):
Oh there's evidence, just the evidence we need where it's
always been, where we saw it with our own eyes
in Abbot's office.

Speaker 6 (29:33):
Some evidence is strong, said the philosopher, as when you
find a trout in the milk. Doctor Amelia Zelner says
she has the evidence, but what may be evidence to
a psychiatrist may very well be way over the heads
of the rest of us.

Speaker 4 (29:50):
However, Act three, as.

Speaker 6 (29:52):
You know, is where it's all added up, and that
curtain shall rise in just a few moments. There is
the evidence of things not seen, the testimony of things

(30:15):
not heard. These form the professional diet of both the
detective and the psychiatrist. Things reveal themselves, things speak to
them in a manner not readily perceived.

Speaker 12 (30:29):
By the rest of us.

Speaker 6 (30:31):
But is what they see and what they hear always true?

Speaker 12 (30:37):
What kind of evidence are you talking about, doctor Zeltner?

Speaker 9 (30:39):
The evidence of this note. Look, it's typed.

Speaker 4 (30:43):
All we have to do is find the typewriter. Now
do you know how much of a job that can be.

Speaker 9 (30:47):
But we know where it is. It's in doctor Abbott's
office because Beatrice Boyers typed it.

Speaker 4 (30:53):
That's only a hypothesis.

Speaker 9 (30:55):
She typed it on her office machine.

Speaker 4 (30:57):
Okay, now let's go along with your theory.

Speaker 12 (30:59):
For the sake of argument.

Speaker 4 (31:01):
Beatrice Bowyers and a pal are going to use doctor
Abbot's files for blackmail purposes? Now, would she be so
crazy as to use the office typewriter to type the
blackmail note? Yes?

Speaker 7 (31:12):
No, I don't believe it.

Speaker 12 (31:14):
No one would be that stupid.

Speaker 9 (31:15):
She's a stupid woman. Sooner or later she has to
be caught.

Speaker 4 (31:20):
Well, there's only one way to find out. Oh, doctor's
out there, and Lieutenant Katz, may we come in, Miss Boyers,
who certainly?

Speaker 22 (31:34):
Now?

Speaker 9 (31:34):
Is there anything I can do for you?

Speaker 4 (31:36):
Would it be too much trouble for you to give
us a list of the appointments doctor Abbot had on
the day he was murdered.

Speaker 9 (31:41):
Oh, that'll be no trouble at all. I have his
book here and I can just type the names for you.

Speaker 4 (31:47):
Well, that's very kind of you, I'm sure.

Speaker 10 (31:50):
Well, it won't.

Speaker 9 (31:51):
Take me a minute.

Speaker 4 (32:03):
Here's the lists Bowyers typed on the office machine, and
here's the blackmail note Roy Butterfield received.

Speaker 9 (32:11):
So I find this hard to believe. Impossible.

Speaker 4 (32:15):
Man, I'm not an expert, but I don't think there's
any point calling one in. It's obviously a different typefhase.

Speaker 9 (32:22):
But it has to be, miss Bowyers, it has to be.
I still say she's guilty, ah saying isn't enough.

Speaker 4 (32:29):
There has to be evidence that a district attorney can
present to a jury. Now do you have that.

Speaker 9 (32:35):
Listen to the tape again. It is so patently a
device to make us think a homicidal maniac is at large.

Speaker 4 (32:43):
All right, doctor Zelton, Let's consider the tape. It gives
us a sound recording of a crime. I bring it
to you, a psychiatrist, in order to get some psychological
insight into the perpetrators.

Speaker 7 (32:55):
I've tried to sure you listen to it.

Speaker 4 (32:58):
You form a whole theory which holds that the guy
isn't a psycho, but knew what he was doing and
why he was doing.

Speaker 9 (33:06):
I have pointed out inconsistencies in the man's talk, theoretical inconsistencies,
stuff that made sense to you.

Speaker 4 (33:15):
Now I should tell you that other psychiatrists who analyzed
the tape did not come up with the same conclusions
you did.

Speaker 9 (33:21):
I'm telling you how I see it good.

Speaker 4 (33:24):
There has to be an anchor, something to hold it
all in place. Now I have Beatrice Boyers under accomplice
planned this murder. The anchor would have to be the typewriter. Well,
you yourself set that up, and I.

Speaker 9 (33:38):
Assume she'd be stupid enough to use the one in
the office very well. The fact that she's smarter than
I gave her credit for it doesn't change to the
veracity of what help.

Speaker 4 (33:48):
I want to thank you for your time and your
effort and your sincere interest, but goodbye. Well we've come
to a dead end. But if anything else occurred to you, you.

Speaker 9 (34:01):
Still insist on a random killing. But the fact is
you have a psychiatrist whose files are being used for blackmail.
And if Beatrice Boyers isn't using them, who is.

Speaker 4 (34:12):
The blackmail and the murder might be connected? Then again
they might not.

Speaker 9 (34:18):
There's only one explanation. Abbott confronted her that morning. He
accused Beatrice Bowyers. He fired her. She had him killed.
Why A he would see to it that she could
never work again in this field. B. He would take
away from her the source of blackmail. She'd no longer

(34:39):
have access to the files. She didn't leave the office
to go to lunch. She never went out to lunch.
She left the office because she was fired. But we
can't prove that if she isn't doing the blackmail, who
is who?

Speaker 12 (34:54):
All right?

Speaker 8 (34:55):
Ay?

Speaker 4 (34:56):
Any thief could have broken in b Doctor abbit himself.

Speaker 9 (35:00):
Doctor Abbott, that's ridiculous. I can't believe that.

Speaker 4 (35:03):
You mean you don't want to believe that a psychiatrist
could be involved in a secret blackmail scheme against.

Speaker 12 (35:08):
His own patients.

Speaker 4 (35:10):
It is impossible theoretically.

Speaker 9 (35:12):
You actually believe that, Lieutenant.

Speaker 4 (35:14):
Cats No, because before I believe anything, I need evidence.
I'm just doing what you're doing, theorizing well, see you around?

Speaker 9 (35:35):
Oh Ben?

Speaker 4 (35:35):
What are you doing here?

Speaker 23 (35:37):
And I had to see you.

Speaker 11 (35:38):
I don't want to see you when I'm at rehearsal.

Speaker 7 (35:41):
How many times.

Speaker 24 (35:42):
Do you listen?

Speaker 9 (35:43):
Let's leave town now.

Speaker 11 (35:45):
We haven't collected any money, my darling, money. We require money, Please.

Speaker 9 (35:49):
Ben, listen. You don't know how close we came to
getting caught.

Speaker 7 (35:53):
What are you saying? How could we possibly come close?

Speaker 11 (35:56):
This is the perfect crime, Ben, forget it.

Speaker 9 (35:59):
We don't know how to do such a thing. We've
been doing one stupid thing after another.

Speaker 11 (36:03):
First the tape, how can you say the tape?

Speaker 21 (36:05):
Please listen?

Speaker 9 (36:06):
Then I did something even more stupid. You know the
note I sent Roy Butterfield. I typed it on the
office machine. How cold you what the same reason you
didn't destroy the tape? Now the police and doctor Zeltner,
their wives. They came by and made an excuse to
get me to type something on the machine.

Speaker 4 (36:23):
And did you how could I refuse?

Speaker 9 (36:26):
But you see, we're lucky. The day before, yesterday, the
typewriter people took the machine away for repairs and left
a substitute one for me to.

Speaker 7 (36:35):
Use then, and they didn't discover I know, but.

Speaker 9 (36:39):
We can't keep hoping for miracles. Oh, it was such
a good idea. Blackmails some of the most vulnerable people.

Speaker 11 (36:46):
They're rich enough to afford it, but we just don't
know how.

Speaker 25 (36:49):
To do it.

Speaker 9 (36:50):
We lost control. They suspect us.

Speaker 4 (36:52):
Ooh the police.

Speaker 9 (36:53):
Maybe not the police so much, but this psychiatrist, this
lady doctor, doctor Zeltner.

Speaker 10 (36:59):
She scares me.

Speaker 7 (37:00):
Should the random killers strike again?

Speaker 26 (37:03):
Ben?

Speaker 7 (37:03):
No, all right, whatever you say, darling. I'm ready, willing
and able at all times to protect our interests.

Speaker 9 (37:21):
Doctor Zeltner. Oh, yes, Harry, I'm fine. No, I haven't
seen it. I have heard of it either. What is
this that? A traveling theatrical company in town? A play
with very valid psychiatric insights?

Speaker 6 (37:39):
Huh.

Speaker 9 (37:40):
The central character talks about an awakening. He wakes up
one morning and finds he someone else, a murderer. Oh well,
I'll certainly have to see it.

Speaker 11 (38:01):
I awoke this morning and I'm somebody else? Who am I?
I know my name?

Speaker 7 (38:08):
But what is your name?

Speaker 11 (38:10):
A label used to describe you on the outside, But
it's the inside that's you. I have but one desire
to kill. Kill like a shark knifing through water, kill.

Speaker 10 (38:27):
Like a tiger prowling the jungle.

Speaker 11 (38:33):
A deadly sickness burns within me, a raging fever. To
what have I awakened this morning?

Speaker 7 (38:41):
What has possessed me? Am I possessed? Or have I awakened?

Speaker 16 (39:00):
Hello?

Speaker 9 (39:00):
Miss Boyer, it's a small world. Enjoying the play?

Speaker 23 (39:04):
Oh?

Speaker 9 (39:04):
Yes, are you leaving? Doctor? Yes? I have an appointment.
Pity I can't stay for the second act. Goodbye, miss Boyer, Yes, goodbye.
Every word you said in the play tonight is on
that tape.

Speaker 8 (39:22):
I know it is.

Speaker 9 (39:23):
That's why I said you raise it. She's on our
way home to call the police.

Speaker 7 (39:26):
How do you know?

Speaker 9 (39:27):
Because I saw her get into a cab and I
heard her tell the driver of the address. I'll get
there and go now.

Speaker 7 (39:32):
I have a second act.

Speaker 9 (39:34):
You'll play your last act in a courtroom. If you
don't get to her first, Lieutenant Cats please, Oh well,
I haven't called me at once. This is doctor Zeltner.
Thank you, Hello, Doctor Zeltner. Oh it's you.

Speaker 7 (39:54):
Do you have a tape recorder too, Doctor, you're.

Speaker 9 (39:57):
The very fine actor. I saw it night, Ben Bentley.

Speaker 11 (40:02):
I don't bother to play that recorded doctor. This time,
I'll erase the tape. Why you know why? You know
why I'm here. I didn't fool you when I killed
doctor Rabbit. I'm not fooling you now.

Speaker 9 (40:19):
How did you get into this fantasy?

Speaker 4 (40:23):
What fantasy?

Speaker 9 (40:25):
The fantasy that you killed someone?

Speaker 11 (40:28):
Where I killed Abbot? I had met Beatrice. We talked
about ways of raising money. I'm producing, directing and starring
in The Awakening.

Speaker 9 (40:40):
Yes, yes, I saw it tonight, beautiful play.

Speaker 4 (40:42):
You saw it?

Speaker 7 (40:44):
You know the truth?

Speaker 9 (40:46):
What truth are you talking about?

Speaker 7 (40:48):
Stupidly?

Speaker 11 (40:49):
I talked like that to doctor Abbot before I killed him.

Speaker 9 (40:53):
Are you serious? How could you have killed doctor Abbot?

Speaker 7 (40:58):
Listen, don't try anything.

Speaker 9 (41:00):
Did you kill doctor Abbot a few minutes ago?

Speaker 11 (41:04):
But the day before yesterday I went to his office.

Speaker 9 (41:08):
Got to Abbot. His wife and I were at the
theater tonight. We saw your play.

Speaker 7 (41:14):
Oh no, no.

Speaker 9 (41:15):
Now, listen, you've come to the right place. You bear
a tremendous burden. You're a genius. You have to fight
the critics, the public. It's a wearing battle, all right.
You're not a killer. You're a genius, a genius, and

(41:38):
the world is finally ready for you. I saw the play,
the audience, how they sat in silence. It was a
moving experience, a religious experience. It was theater.

Speaker 7 (41:54):
What are you saying?

Speaker 9 (41:56):
You sit quietly, calmly, was of mine. Now, relax, you
have victory within your grasp. Relax, don't fall prey to delusions.
You didn't murder anyone. You couldn't murder anyone. You're an actor.

(42:18):
You live your fantasies on the stage in the theater.
Think of your lines, your lines. Rest, Relax, Sleep, Sleep.

Speaker 4 (42:35):
Doctor Zeltler, did you wake him up?

Speaker 12 (42:38):
I was afraid he came here to kill you.

Speaker 27 (42:39):
He did.

Speaker 9 (42:40):
I thought you'd never show up.

Speaker 4 (42:41):
You were right about the typewriter. That it bothered me.
So I asked Roy Butterfield to show me a copy
of his last bill from Doctor Rabbit's office. The type
face matched.

Speaker 12 (42:52):
She was smart. She did not use the same machine.
How did he find you.

Speaker 9 (42:57):
I went to the theater, wrote for work the lines
from his player on the tape.

Speaker 12 (43:03):
We got him both thanks to you.

Speaker 9 (43:06):
Glad you arrived when you did. I don't know how
long I can keep him under.

Speaker 11 (43:11):
He's out cold.

Speaker 4 (43:14):
What are you so nervous about? You did a great
job hypnotizing.

Speaker 9 (43:18):
Yes, yes, but you see, it was the first time
I ever tried it.

Speaker 6 (43:32):
And with that she promptly fainted. Oh well, we talk
about an actor's vanity, but why is it different from
anyone else's? Poor Ben, he was distracted from doing what
had to be done by some very fulsome praise, but
let's face it, who among us.

Speaker 4 (43:55):
Really hates applause?

Speaker 6 (43:58):
I don't back for more in just a few moments.
The Awakening, a play starring Ben Bentley, is what the

(44:19):
poster proclaimed, But The Awakening can also be a real
life drama that can.

Speaker 28 (44:24):
Star any one of us.

Speaker 4 (44:26):
How do you know who you will.

Speaker 7 (44:28):
Be when you wake up tomorrow morning?

Speaker 12 (44:30):
You really don't.

Speaker 6 (44:32):
That's why going to bed at night can be so suspenseful.

Speaker 12 (44:36):
But before you do.

Speaker 6 (44:37):
Go to bed, make sure you will attuned. Us in
our cast included Kim Hunter, Leon, Jenny, Brianna Raeburn and
Earl Hammond. The entire productions under the direction of Hymon
Brown Radio. Mystery Theater was sponsored in part by Buick
Motor Division and sign Off the Sinus Medicines versus E. G. Marshall,

(44:59):
inviting you to turn to our Mystery Theater for another
adventure in the macabre until next time, pleasant dream.

Speaker 19 (45:39):
All you have to do is mix up a golf club,
a home baked jelly roll, and a bit of mind reading,
and you have a story called The Man Who Loved
Jelly Roll. The story we're going to tell you. I'm
Theater five.

Speaker 23 (46:32):
Well, good morning, mister Lambert. I wondered how soon you
were going to wake up?

Speaker 19 (46:38):
Who are you?

Speaker 23 (46:39):
Your nurse? Alice Collins nurse. You're in a hospital, mister Lambert.
But don't be alarmed. There's nothing seriously wrong with you.
What what what happened to me? You had an accident
last night? You were struck on the head by a
golf club. You were driven here by your wife and
a man named mister Tucker.

Speaker 19 (46:58):
Oh, yes, you Tucker, a relative of yours.

Speaker 23 (47:02):
He was terribly upset about you. No, no, Joe is
my assistant of the office. Yes, I remember now it
is all coming into focus. My wife had invited Joe
to our home for dinner, and and what go on,
mister Lambrett. Well we were in the basement, Joe and I,

(47:24):
while Edith was upstairs in the kitchen. We talked business
for a few minutes, and then Joe picked up one
of my golf clubs, and well, he took a few
practice swings with it. And well, now that's all I remember.
I don't wonder a swinging golf club can be fatal,
but you were lucky he received only a glancing blow.
How much damage was done to my head? You have

(47:45):
a nasty cut behind your left ear. That's about all.
You'll be kept here today for observation. But if all
goes well, the doctor says you might.

Speaker 19 (47:53):
Go home tomorrow afternoon. Ah oh, certainly, miss Collins, Please do.

Speaker 23 (48:00):
Please do what go down to the cafeteria and have
coffee with doctor Packard. Why did you know.

Speaker 19 (48:06):
That's what I was thinking of doing.

Speaker 23 (48:08):
I didn't say so.

Speaker 19 (48:10):
No, but it was very clear to me, just as
if you'd spoken out loud.

Speaker 21 (48:15):
I don't understand.

Speaker 23 (48:17):
I'd been no, no, no, wait, don't call the doctor,
And not just yet anyway.

Speaker 21 (48:23):
Mister Lambert, you're reading my thoughts and.

Speaker 23 (48:26):
You can forget about that. I assure you I don't
need it. You don't need what a restraining sheet? That's
what you have in mind, isn't it? Yes, yes, miss Collins,
you're quite right just as you're thinking.

Speaker 19 (48:41):
It is fantastic.

Speaker 23 (48:43):
And now you're wondering how it's possible for me to
know what you're thinking.

Speaker 19 (48:48):
Isn't that so?

Speaker 29 (48:50):
Yes?

Speaker 23 (48:50):
Yes, well I can't understand it myself, but your every
thought is coming to me unspoken.

Speaker 19 (48:57):
And now you're thinking of.

Speaker 23 (48:58):
Telling doctor Packard about this, But please don't don't tell anybody.
Maybe this hallucination or whatever it is will disappear. Oh,
mister Lambert, I know, I know you're thinking of yourself.
I wouldn't dare tell anybody. They'd say, Alice Collins is

(49:18):
losing her mind exactly, And for all I know, mister Lambert,
that may be true.

Speaker 19 (49:33):
Mister Lambert, Oh, missus Collins, I didn't hear you come in.

Speaker 23 (49:37):
Do you know why I came in?

Speaker 30 (49:39):
Oh?

Speaker 19 (49:39):
Yes, of course.

Speaker 23 (49:41):
And you're about to say that my wife has come
to visit me, and you're wondering whether I can read
her thoughts too.

Speaker 19 (49:47):
You're so right.

Speaker 23 (49:48):
Well, I don't know whether I can or not, but
I'll soon find out. Please show her in and leave
us alone, will you?

Speaker 4 (49:56):
Please?

Speaker 7 (49:56):
Very well?

Speaker 19 (49:58):
You may come in, missus Lambert.

Speaker 23 (50:00):
Thank you, nurse. Oh Bread, you poor darling.

Speaker 9 (50:04):
How are you feeling?

Speaker 23 (50:05):
Oh I'm fine, Edith. I have a slight headache, that's all.
I'm so glad to see you, sweetheart. Oh Fred, I
could hardly sleep.

Speaker 4 (50:12):
I was so worried, worried?

Speaker 19 (50:16):
Are you sure?

Speaker 8 (50:17):
Well?

Speaker 23 (50:17):
Of course Joe and I were beside ourselves.

Speaker 19 (50:19):
It was like a ghastly nightmare.

Speaker 21 (50:22):
Bred How did you know?

Speaker 23 (50:24):
I was going to say, Red? You've turned quite as
a sheet.

Speaker 19 (50:29):
What are you staring at that cardboard box you brought
with you?

Speaker 29 (50:32):
What's in it?

Speaker 21 (50:33):
Not so loud?

Speaker 29 (50:34):
What's in it?

Speaker 19 (50:34):
I said? Never mind? I know what's in it? One
of your homemade jelly rolls.

Speaker 23 (50:41):
Yes, your favorite dessert in all the world. I baked
it this morning, just for you.

Speaker 29 (50:46):
Just for me?

Speaker 19 (50:46):
Is right? Give me that box?

Speaker 31 (50:48):
Bread?

Speaker 23 (50:51):
There it is, Look at it, one of Edith Lambert's
famous jelly rolls. Here, eat a piece, Try a small
bite for flavor. No, I can't finish the sentence edith,
I can't because it's poisoned. How does Fred know? How
did he find out? Did someone see me.

Speaker 19 (51:11):
Take that bottle from the medicine closet?

Speaker 30 (51:13):
No impossible.

Speaker 23 (51:14):
I was alone in the house. Then how could he know?
Did Joe Tucker tell him? Joe wouldn't dare tell Fred,
not after he tried to kill him with the golf
club and failed.

Speaker 25 (51:25):
I'm afraid of you.

Speaker 23 (51:28):
I'm afraid of you, my wife, my own dear wife.
How did it happen without my suspecting it? When did
it all begin?

Speaker 19 (51:36):
Tell me? When did you both decide that I had
to die?

Speaker 21 (51:39):
We didn't insane? He accident?

Speaker 23 (51:43):
It did something strange to you. Indeed it did, but
it was no accident death. Joe bungled the attempt because
he was nervous and angry. And now you're remembering what
Joe told you after I fell to the floor. He
told you about my business talk before the golf club incident,
and I was thinking of terminating his contract. And now,
my homicidal partner, you're sweating with terror and thinking of

(52:08):
running out of this room. Everything you say is the line.

Speaker 19 (52:11):
You know it isn't. I read you so clearly. Yes,
you're right.

Speaker 23 (52:16):
You should phone Joe Tucker and ask him what to do,
But he won't know either. He will be every bit
as panic stricken as you are. Oh, yes he is.
You'd better take the poison evidence out with you, but
be very careful where you dispose of it. You wouldn't
want to poison a stray dog, would you.

Speaker 32 (52:33):
Oh well, mister Lambert, I see you've moved out of
bed into a chair.

Speaker 23 (52:48):
Good for you. I'm doctor Blaine Packard. I'm glad to
see you, doctor. How's the head feeling? Oh well enough,
I guess doctor. May I ask you something it's quite serious?

Speaker 12 (53:01):
Go ahead?

Speaker 23 (53:02):
Do you know anything about telepathy? Extra sensory perception, the
ability to read minds?

Speaker 33 (53:09):
Well, I've read up on it, of course.

Speaker 23 (53:12):
Well could such a phenomenon follow a head injury like mine?

Speaker 32 (53:18):
Why doubt it, mister Lambert. At least I've never heard
of such a reaction. Why do you ask?

Speaker 23 (53:24):
Because, doctor, ever since I woke up this morning, I
can do it. Now, it's obvious that you don't believe me.
In fact, you've already dismissed that thought, and now your
mind is dwelling on something that's distinctly non medical. Okay, doctor,

(53:44):
forget it. I hope you and my nurse enjoy your
evening together. Miss Collins told you that, no, she didn't,
poor miss Collins. What do you mean, poor miss Collins?
You're thinking of balling her out when you meet her
in the restaurant, aren't you?

Speaker 33 (54:00):
Darn well right I am.

Speaker 32 (54:02):
She had no business to tell you that, mister Lambert,
no business at all.

Speaker 19 (54:13):
Well, Joe Tucker, come in, Joe, I've been expecting you right.

Speaker 30 (54:18):
What's going on?

Speaker 19 (54:19):
Edith called me at the office when I got back
from lunch. What the devil was all that nonsense you
haded at about a poisoned cake or something?

Speaker 23 (54:25):
I know it was jelly rule, Joe, my favorite dessert
in all the world. Whatever it was doesn't matter. But
that was a terrible accusation you made. Fred What was
the idea? She was sobbing so hard she could hardly talk.
You've got her scared death as scared as you are.

Speaker 4 (54:39):
Joe.

Speaker 34 (54:40):
What are you talking about?

Speaker 29 (54:41):
Why?

Speaker 30 (54:42):
Why should I be scared?

Speaker 19 (54:43):
Because you're afraid that I can read the thoughts in
your mind too.

Speaker 30 (54:49):
That mind reading things a lot of buoy.

Speaker 8 (54:51):
Oh is it.

Speaker 19 (54:53):
Right now?

Speaker 23 (54:54):
Your mind's an open book quote. I wonder if this
louse really does know what I'm thinking?

Speaker 29 (55:00):
No, how could he?

Speaker 23 (55:02):
People can't really read mind, only on the stage, where
it's a trick. Fred, You want to hear more of
your thoughts?

Speaker 30 (55:08):
Joe?

Speaker 19 (55:09):
Okay, How did Fred know that Jelly Rowl was poisoned? Oh?

Speaker 23 (55:13):
No, No, Maybe maybe Edith got scared and confessed the
whole plot. Maybe she even told him that I suggested
the poison. Fred stopped nothing doing. Your thoughts are getting
much more interesting. Fred really is reading my mind. I
shall get him again with that golf club. Yes, I

(55:34):
really should have finished him off when he was lying
there unconscious.

Speaker 19 (55:38):
It would still have looked like an accident. How am
I doing, Joe.

Speaker 30 (55:44):
Fred, old man, listen.

Speaker 19 (55:46):
I hate to say this, but as your friend, i'd
be unkind not to I know you're not aware of it,
but you've been babbling along and not making any sense.
I think you're sick bread sicker than you real. Yeah,
I'm sick, all right, sick about you. An You've got
to stop that kind of crazy talk. Look, maybe maybe
a little fresh air will clear your mind.

Speaker 33 (56:06):
Come on, I'll help you over to the window.

Speaker 19 (56:07):
No, no, thank you.

Speaker 23 (56:08):
This is the tenth floor right now, waiting to the
What is it?

Speaker 25 (56:17):
What happened?

Speaker 19 (56:18):
I upset my table by accident. I'm very sorry.

Speaker 25 (56:23):
That's okay.

Speaker 23 (56:25):
I'll clear up the mess and the tick. No no, no,
no wait. My visitor here is just leaving. Would you
be good enough to show him out?

Speaker 29 (56:34):
Please?

Speaker 33 (56:58):
Doctor speaking?

Speaker 35 (57:00):
This is Edith.

Speaker 30 (57:01):
Where have you been?

Speaker 19 (57:02):
I've been trying to get you ever since noon.

Speaker 2 (57:04):
I was walking.

Speaker 9 (57:05):
I was afraid to go home, Joe. I'm afraid to
go anywhere. Did you see Fred?

Speaker 7 (57:10):
Yes?

Speaker 19 (57:10):
And he accused me too.

Speaker 12 (57:12):
You were right. He knows everything, but.

Speaker 30 (57:14):
I don't know.

Speaker 19 (57:15):
It's fantastic. Before today, I was only worried about my contract.
Now I'm worried about a murder charge.

Speaker 9 (57:22):
Oh no, Joe, what have we got to do?

Speaker 12 (57:25):
It's up to you, Edith.

Speaker 19 (57:26):
You've got to go back to the hospital tonight and
convince Fred that he's wrong about the whole thing. Tell
him he dreamed it, tell him anything.

Speaker 23 (57:33):
How can I He'll know what I'm thinking.

Speaker 29 (57:35):
Edith, don't argue.

Speaker 30 (57:36):
It's our last chance.

Speaker 19 (57:37):
If Fred tells anybody about what we tried to do
to him, the whole world and cave in on our heads. Well, Ada,
you look a bit pale tonight. Are you tired?

Speaker 17 (57:58):
No?

Speaker 23 (57:59):
I'm just take at heart, Fred, about the way you
acted when I was here this morning. You accused me
of horrible things that just aren't true, and Joe called
and said you accused him too.

Speaker 19 (58:09):
Did Joe tell you about the window incident?

Speaker 33 (58:12):
No?

Speaker 23 (58:13):
What does that mean?

Speaker 19 (58:15):
Never mind?

Speaker 23 (58:15):
I can see that he didn't mention it. I also
see that you brought me another jelly roll, yes, dear,
and I do hope that you eat it, at least
tasted to prove that you can trust me.

Speaker 12 (58:26):
Of course I did.

Speaker 25 (58:27):
Well.

Speaker 23 (58:29):
You're not afraid, Oh no.

Speaker 12 (58:31):
Not of this one.

Speaker 19 (58:32):
You're mine, tells me it's perfectly safe. M delicious? I
have a bite?

Speaker 23 (58:40):
No, Fred, I couldn't. I haven't eaten all day. I've
felt too miserable. Oh, darling, How could you possibly have
suspected me of putting something awful into that jelly roll
this morning?

Speaker 19 (58:51):
I know very well you did eat, so there's no
use denying.

Speaker 23 (58:55):
How can you be so cruel to me? And why
do you keep up that pretense of being able to
read my thought?

Speaker 19 (59:00):
Because I can.

Speaker 9 (59:02):
You will?

Speaker 23 (59:03):
What am I thinking?

Speaker 30 (59:04):
Now?

Speaker 25 (59:05):
Tell me.

Speaker 23 (59:06):
Okay, you're wondering whether I've told anybody about the plot
that you and Joe cooked up to get me.

Speaker 19 (59:12):
Out of the way.

Speaker 23 (59:13):
That isn't true, And to ease your mind, Edith, I
haven't told a soul. Yes, relieved, don't you. It's a
great weight off your mind. But now here.

Speaker 19 (59:22):
Comes a dark thought.

Speaker 23 (59:23):
You're wishing you'd poison this jelly roll too, so that
I'd never lived to tell anybody. But I might talk
at any time. So with that hold over you, I
feel fairly safe. If I should die suddenly, the police
would know exactly where to look. And now, my love,
I have a slight headache. Be doing a great kindness

(59:44):
if you'd get out of here and let me go
to sleep.

Speaker 33 (59:56):
Well, good morning, mister Lambert. It looks as though I've awaken.

Speaker 29 (01:00:01):
Oh why uh?

Speaker 36 (01:00:03):
Who are you?

Speaker 33 (01:00:04):
Blaine Packard? Your doctor?

Speaker 19 (01:00:06):
Doctor? What is this place? It looks like a hospital.

Speaker 32 (01:00:11):
Move you You mean to say you don't remember yesterday?

Speaker 19 (01:00:15):
What was I here yesterday?

Speaker 33 (01:00:17):
Well, of course you and I had a talk.

Speaker 19 (01:00:20):
Oh what uh? What day is this?

Speaker 33 (01:00:22):
Wednesday? You were brought here Monday night?

Speaker 19 (01:00:25):
What for?

Speaker 32 (01:00:27):
Uh, mister Lambert, I'd like to carry out a simple test.
I'll concentrate on the reason why you were brought here,
and you try to tell me what's in my mind.

Speaker 23 (01:00:37):
Look, doctor, if you're trying to use me as a
guinea pig from mental telepathy or whatever you call it,
I just won't have to suppose you dispense with all
that boat bill nonsense and tell me why I'm a
patient in this hospital.

Speaker 32 (01:00:49):
Very well, on Monday night, you received an accidental blow
on the head by a golf club Joe Tucker, Right,
Your wife and mister Tucker drove you here thinking the worst. Luckily, however,
your injury was only slight fracture, no concussion. In fact,
I wouldn't be surprised if you could go home this afternoon.

Speaker 23 (01:01:04):
Oh that's a relief. What about my wife? Was she
here yesterday?

Speaker 4 (01:01:08):
Yes?

Speaker 32 (01:01:08):
I'm told she was here twice, poor ed. She must
have been worried to day. She was, as one of
the nurses said, she looked a wreck. By the way,
I don't suppose you remember your nurse Ms Collins.

Speaker 23 (01:01:19):
No, no, doctor, I don't. The entire day is an
absolute blank.

Speaker 32 (01:01:23):
Now, mister Lambert, if you will sit up, I'd like
to give you a thorough physical examination, okay, but what
I think I really need is a mental examiner. You've
already had that, mister Lambert, and I gave you a
straight a.

Speaker 33 (01:01:42):
Yes, oh, missus Lambert, good afternoon, come right in.

Speaker 25 (01:01:47):
Thank you.

Speaker 23 (01:01:48):
Doctor. The nurse called and told me I could take
my husband home. But before I go up to his room,
i'd like to talk to you, if I may.

Speaker 33 (01:01:54):
Of course, do sit down.

Speaker 23 (01:01:55):
Thank you, Doctor Packard.

Speaker 21 (01:01:57):
How is my husband?

Speaker 33 (01:01:58):
It was perfectly fine. The question is how are you?

Speaker 23 (01:02:02):
Why do you ask?

Speaker 33 (01:02:03):
You seem terribly distraught.

Speaker 32 (01:02:04):
I know the anguish you've suffered naturally, but I suggest
you try to compose yourself for the sake of your
own health.

Speaker 23 (01:02:10):
But Doctor, my husband's accident was so terrifying. I've been
driven almost out of my mind with word.

Speaker 33 (01:02:15):
Oh, that's understandable.

Speaker 32 (01:02:16):
But now, happily it's all over, and I assure you
there's nothing to fear.

Speaker 23 (01:02:20):
But is it all over? I mean, is bread absolutely
all right?

Speaker 4 (01:02:24):
Yes?

Speaker 33 (01:02:24):
Otherwise I wouldn't permit him to leave the hospital.

Speaker 23 (01:02:27):
I hope you're right.

Speaker 33 (01:02:28):
You're still not convinced.

Speaker 23 (01:02:30):
Well, Dr Packard, did Fred tell you anything that happened
yesterday either about my visits or mister Tucker's visiting.

Speaker 33 (01:02:38):
No, not a word.

Speaker 32 (01:02:39):
As a matter of fact, I as I discovered this morning,
he doesn't even remember yesterday.

Speaker 23 (01:02:44):
Are you sure positive.

Speaker 33 (01:02:46):
The entire day is a perfect blank in his mind?

Speaker 16 (01:02:49):
Oh?

Speaker 23 (01:02:50):
Thank goodness.

Speaker 33 (01:02:51):
Feeling better now?

Speaker 32 (01:02:53):
Yes, yeah, you certainly look better, a little less like
a ghost.

Speaker 23 (01:02:57):
Well, thank you, doctor. I'm sorry I got so much
of your tingue.

Speaker 32 (01:03:01):
Not at all, missus Lambert, I quite understand your concern,
and now I suggest that you go up and rescue
your husband. He's waiting anxiously for you to take him home.

Speaker 23 (01:03:18):
If you'll hand me your plate, Fred, I've give ben
At a piece of steak.

Speaker 19 (01:03:21):
Oh, no, Edith, for once, I've had enough steak. Oh
what a homecoming dinner.

Speaker 23 (01:03:26):
I suppose any home cooking would taste better than a
hospital dinner, wouldn't it. Oh, don't ask me, sweetheart. I
have no idea what they served me last night. Pnie,
I don't remember your visits yesterday? How did I seem
to you? Perfectly normal? I would have known there was
anything wrong with you at all.

Speaker 19 (01:03:45):
Well?

Speaker 23 (01:03:45):
How did I act with Joe? Did he say I
sounded nutty or something? No, he just told me. You
were fine. Of course, he was relieved that you'd forgiven
him for the accident. All those things happen and they
can't be helped. I just hope you'll understand about his contract,
that's all. What about his contract, Fred, Well, I've decided
not to renew it. Oh, not for any reason that

(01:04:06):
I can put my finger on. I just feel somehow
that it's for the best. He's just got to go. Well,
we can't worry about Joe, can we.

Speaker 19 (01:04:15):
No, not Tonight's sweetheart. We're together again, and that's all
that matters.

Speaker 23 (01:04:20):
Yes, it is. Now what about dessert?

Speaker 19 (01:04:24):
Dessert? What are you gonna tap me with?

Speaker 23 (01:04:27):
Can't you guess? I think I can your homemade jelly roll?
Of course I made it for you while you were
in the hospital, but you couldn't eat it. I'll bring
it right in. Wait a second, yes, dear, I don't
want to hurt your feelings. But what Fred, It's funny,

(01:04:49):
but for some reason, I've suddenly lost my taste for
jelly roll.

Speaker 19 (01:05:01):
Bo Theater five has presented The Man who Loved Jelly Roll,

(01:05:23):
written by Albert G. Miller and directed by Warren Somerville.
In the cast, James Monks, Gertrude Warner, friend Carlin, Ralph Camargo,
and George Petrie. Audio engineer Marty Folia, sound technician Terry Ross,
script editor Jackson Wilson. Original music by Alexander Blast Dotsenko

(01:05:43):
Orchestra under the direction of Glennasser. Executive producer for Theater five,
Edward A.

Speaker 4 (01:05:54):
Byron.

Speaker 19 (01:05:55):
We invite your comments right to Theater five, New York, twenty.

Speaker 18 (01:05:59):
Three, New York.

Speaker 4 (01:06:02):
This is Fred Foy speaking.

Speaker 19 (01:06:30):
This has been an ABC Radio Network production.

Speaker 37 (01:06:34):
Joe is he really is a smart guy. It takes
a smart guy to be that stupid.

Speaker 38 (01:06:41):
Two thousand plus science fiction Adventures from the World of Tomorrow.
The years beyond two thousand ab two thousand plus prevents
the Brooklyn brain.

Speaker 39 (01:07:08):
Joe, I want to thank you for the very nice evening.

Speaker 40 (01:07:11):
The pleasure was online.

Speaker 39 (01:07:13):
Clarice's i'd have you come up on me. You gafter
twelve and positive sleep.

Speaker 41 (01:07:17):
That's all right?

Speaker 39 (01:07:18):
Well, good night, Joe.

Speaker 34 (01:07:20):
Uh.

Speaker 39 (01:07:21):
Clarie's yeah, Joe, you had a good time.

Speaker 40 (01:07:25):
Huh, I mean really good?

Speaker 37 (01:07:28):
Nice Joe.

Speaker 40 (01:07:29):
Well, wait a minute, Clarice's I got something to ask you.

Speaker 39 (01:07:33):
No, no, what, no?

Speaker 9 (01:07:35):
Kiss?

Speaker 39 (01:07:37):
I gave you one in the helicopter bus. I am
not distributing my favors with Lodge Jess.

Speaker 40 (01:07:42):
For you, certainly, no big boys.

Speaker 39 (01:07:45):
It's because I try to give myself culture every day.
In the fact, similarly newspapers, I do the crossway puzzle for.

Speaker 40 (01:07:52):
Sure, Clarice, I think that's fine. Only I got something answer.

Speaker 9 (01:07:56):
It isn't what I mean something else.

Speaker 40 (01:08:00):
Clarice's will you marry me?

Speaker 11 (01:08:03):
I mean that is.

Speaker 20 (01:08:05):
Will you?

Speaker 39 (01:08:07):
It is so sudden?

Speaker 40 (01:08:09):
She have known your three years.

Speaker 42 (01:08:10):
That ain't so sudden.

Speaker 39 (01:08:12):
Well, a girl likes to get proposals, But matrimony it's
a very important thing. It's it should not be entered
into lightly.

Speaker 40 (01:08:21):
I got a good job, a good future.

Speaker 9 (01:08:24):
Isn't that, Joe, What isn't that?

Speaker 39 (01:08:26):
I mean, like they say in psychology.

Speaker 40 (01:08:29):
I don't know what you're talking about, Clarice's.

Speaker 39 (01:08:31):
That's what I mean, Joe. You don't understand things like psychology.
I always read the Handy Hints for Mental Health column.
It's written by a psychologist. From such pursuits, I have
learned that culture is what counts in life or marriage.
The partners have to have a mental affinity.

Speaker 43 (01:08:51):
For each other.

Speaker 39 (01:08:53):
Mental take samwichon bag he knows about music or Fred Daniels.
He knows about art. They carry lester, he knows economics.

Speaker 40 (01:09:02):
He knows economics. I had a loan of five dollars.

Speaker 39 (01:09:04):
What has money got to do with it? Huh, Joe leave,
it's not quaro, but only you have paid me a
very high honor by asking me to be your wife.
But I can't say yes. Oh you mean, on the
other hand, I didn't say no. I can't pretend I
don't like it. Joe, you're basically a nice boy.

Speaker 9 (01:09:27):
Only if, oh, if you'd only.

Speaker 39 (01:09:29):
Get some culture, learn about things, so we could have
something to discuss, to talk about.

Speaker 40 (01:09:36):
Us it economical or.

Speaker 39 (01:09:38):
Similar high class subjects. Joe, see what you can do?

Speaker 40 (01:09:44):
Okay, Clarice, I'll try and then I'll let you know.

Speaker 4 (01:09:50):
Sure, And.

Speaker 39 (01:09:53):
Joe, Yeah, in light of the secondstances, are you I
assume my previous refuse?

Speaker 7 (01:10:02):
What does that mean?

Speaker 39 (01:10:04):
It means you can have a good night kiss?

Speaker 44 (01:10:20):
Are you?

Speaker 4 (01:10:21):
Are you ready?

Speaker 20 (01:10:21):
Called?

Speaker 29 (01:10:21):
Yes?

Speaker 42 (01:10:22):
Pretendon.

Speaker 45 (01:10:22):
Now remember, I'll try.

Speaker 3 (01:10:23):
Throw the switch.

Speaker 46 (01:10:24):
It will take several seconds for the accumulator to build up.
When the red light on the control panel flashes, you
throw your contact even I understand, all right, one, two, three.

Speaker 40 (01:10:46):
It's workings, it's working for your excellent try it again.

Speaker 46 (01:10:53):
Wonderful, wonderful, All right.

Speaker 28 (01:10:54):
Can't turn it off.

Speaker 45 (01:10:58):
I've checked every doctor every meeting.

Speaker 46 (01:11:00):
As the machine was running, and they all coordinate it precisely.

Speaker 10 (01:11:03):
Then it will work on a human being.

Speaker 46 (01:11:06):
Are you sure enough to let me try it on you?

Speaker 42 (01:11:13):
Well, it isn't that, professor, It's just that you kind
of need me to help you run the machine.

Speaker 46 (01:11:21):
Oh yeah, I understand, carl And, And since I am
the inventor, it would also be foolish for me to
volunteer to be the first human guinea pig. Well, obviously
we need we need somebody else to try it on.
In that ripe refers, imagine eleven years work. Here is
a machine that takes the tape recording of a human voice,

(01:11:43):
reading facts, figures to anything, and transforms it from sound
ways into electrical waves, then through electrodes attached to a
human head, charging that brain with the wave, so that
automatically the person getting the electrical shock has in for me,
charged into his memory.

Speaker 42 (01:12:02):
It will be a boon of education. Now people won't
have to go to school anymore. Your brain wave machine
will just charge their brains.

Speaker 46 (01:12:09):
With anything they want to know. Well, there's a lot
of experimenting we have yet to do, but so far
as we can know that, to this moment, the machine
should work, I hope.

Speaker 41 (01:12:22):
Now whom are you going to try it on?

Speaker 4 (01:12:26):
Yes? Whom?

Speaker 40 (01:12:27):
Well we'll run an ad.

Speaker 46 (01:12:31):
We'll try and find someone not too right, but someone
we can try to transform into a mental giant.

Speaker 40 (01:12:56):
Hello, Yes, this is Joe. We send him six dozen boxers.

Speaker 10 (01:13:02):
Like the orders ten days.

Speaker 41 (01:13:07):
Yes, Charlotte Tanford, right away, Flora, take a.

Speaker 8 (01:13:11):
Letter the boss thing, gotta check them.

Speaker 40 (01:13:13):
Saint Luini's mad.

Speaker 17 (01:13:14):
It doesn't pay him mad? Now got for customer relations?

Speaker 45 (01:13:19):
So long is a lot of going, uh this, sir?

Speaker 17 (01:13:24):
Uh, it's all how you say gosh.

Speaker 40 (01:13:29):
I don't know, Flora, I guess my mindy on my work?

Speaker 17 (01:13:33):
Where is it?

Speaker 40 (01:13:34):
I'm going to Clarisa's Stursday night for dinner.

Speaker 17 (01:13:37):
He's your girl, and you make your happy.

Speaker 47 (01:13:40):
Be happy.

Speaker 40 (01:13:42):
But she's having Sam Whitsonburg for dinner too, and he's
got culture.

Speaker 14 (01:13:46):
You got a job, Flora.

Speaker 40 (01:13:48):
You're a smart girl. You know how to find things
in the files. Tell me how do I learn about things?
How do I get culture?

Speaker 45 (01:13:57):
Buddy?

Speaker 40 (01:13:58):
How much time have I got? So he stay, there's
three days from now. What can I learn in that time?

Speaker 48 (01:14:04):
Not coachure?

Speaker 49 (01:14:05):
That's what I mean.

Speaker 45 (01:14:07):
I'm licked before I start.

Speaker 39 (01:14:09):
I have a teacher.

Speaker 40 (01:14:10):
That's expensive, just Sam. But I don't want to.

Speaker 17 (01:14:15):
Because the step I'm playing to the education of sexty
let me see it is it is French. Well I'm French.

Speaker 29 (01:14:25):
What would I do with French?

Speaker 17 (01:14:26):
Why would they do with culture to get married? Well,
I I'm only trying.

Speaker 39 (01:14:31):
To be helpful, going on Flora.

Speaker 40 (01:14:34):
What else is there?

Speaker 17 (01:14:37):
How they hypnotize nine easy lessons?

Speaker 50 (01:14:41):
Hey, that's interesting.

Speaker 17 (01:14:44):
If you learn how to hypnotize, I don't work for
you anymore. Oh, let's just being a mechanics theying the
soul of a machine, the machine crazy. Oh, here's know that.

Speaker 40 (01:15:01):
Well, what does it say, you.

Speaker 26 (01:15:03):
See if you would like to larn any subject in
the world without effort, and are willing to volunteer for
a scientific experiment like to box one ninety three for
the fact similar time.

Speaker 40 (01:15:17):
Hey, I don't like that volunteer for scientific experiment part.

Speaker 17 (01:15:21):
But it also says if you would like to lay
any subject in the world without effort.

Speaker 40 (01:15:28):
Do you do you think I should like them, or
you lose to the stamp.

Speaker 17 (01:15:33):
Use the company's stamps, you'll lose nothing.

Speaker 40 (01:15:36):
Okay, So since you'll never get culture, just wish it
for it.

Speaker 8 (01:15:39):
Take a letter.

Speaker 12 (01:15:41):
Dear sir, we.

Speaker 40 (01:15:43):
Signed logan there's our host this box one nine, three
four the fact s many times in response to your advertisement.
Permit me to say that I would very much like people.

Speaker 42 (01:16:03):
Carl, Have you.

Speaker 46 (01:16:05):
Read these letters from people who want to volunteer for
our machine?

Speaker 45 (01:16:09):
All sex?

Speaker 29 (01:16:10):
You think it's wise to take people such mentality?

Speaker 10 (01:16:13):
Well, it would be a good test for the machine.

Speaker 46 (01:16:16):
Yes, almost any change would be an improvement for them,
judging from the letters.

Speaker 42 (01:16:21):
Whatever else may be said, Professor, the people who wrote
those letters are human beings, Yes, I suppose, and we
need a human being to test with after also farthing.

Speaker 10 (01:16:32):
Only living thing we have used was a dog that
the dog loute.

Speaker 46 (01:16:36):
It proves the machine's electrical charge in the head does
not kill.

Speaker 42 (01:16:39):
The charge doesn't kill, but does it force knowledge into
the brain? We mean the recording of the Einstein theory
into the dog.

Speaker 40 (01:16:47):
But the dog can't talk.

Speaker 3 (01:16:48):
What good is it to him?

Speaker 46 (01:16:50):
But Karl, doesn't it give you satisfaction to know? That
because of our invention, there is one dog in this
city who actually knows the Einstein theory. Did any of
know the theory before our invention?

Speaker 16 (01:17:03):
No?

Speaker 1 (01:17:03):
All right, so we have reason to believe the machine
will work. That is why we are looking for that
human being, just to be sure.

Speaker 42 (01:17:11):
But which one of these letters, which one of these
people shall we take?

Speaker 46 (01:17:17):
Well, whichever one has the greatest need for knowledge? They
all need it, yes, but I mean whichever one believes
he needs it most, that person will have an incentive
to cooperate with us.

Speaker 27 (01:17:30):
I see.

Speaker 10 (01:17:31):
Well, in that case, this one.

Speaker 40 (01:17:42):
For a look, I gotta let they selected me congratulation.
It says here, please choose your subjects art, music, economics,
facts for me.

Speaker 17 (01:17:56):
You should all say a lot of subjects. How do
you get stay lord to pay its bill?

Speaker 12 (01:18:01):
That in culture?

Speaker 17 (01:18:03):
Who says the lady's gone? And businesses?

Speaker 25 (01:18:05):
Culture?

Speaker 3 (01:18:06):
Gosh, Flora, you know what I mean?

Speaker 40 (01:18:08):
What Clarice says, there's more to living than just having
a job.

Speaker 17 (01:18:13):
You have a time living without a job.

Speaker 40 (01:18:16):
Art, music, economics. I'll show Sam Wichson, boy, he's not
the only one who knows those things.

Speaker 3 (01:18:23):
I'll show Clarice too.

Speaker 17 (01:18:25):
Calling him this letter and making the payments for you.

Speaker 40 (01:18:28):
Watch Flora, she takes a lot.

Speaker 51 (01:18:29):
Okay, hello, I'm calling mister John Martin.

Speaker 17 (01:18:42):
You tell him a letter. But yeah, yeah, that's sir. Yes,
he's like a a parment today.

Speaker 39 (01:18:51):
Oh Joe's today.

Speaker 27 (01:18:52):
I rang.

Speaker 17 (01:18:55):
Mister Martin is in conference now, but I believe it
could be rained. Yes, a music economics. No, no, you
take one for today's hell that's so different. Yes, thank
you for what is the addressed after travel cart? Today

(01:19:19):
you'll have couches.

Speaker 46 (01:19:30):
Oh, mister Martin, if you just lie down here on
this surgical.

Speaker 4 (01:19:34):
Table, surgical table.

Speaker 40 (01:19:38):
I didn't come for an operation.

Speaker 46 (01:19:39):
I came for an edie came and you shall get one,
my boy, you shall get one.

Speaker 10 (01:19:43):
After today you'll be an expert on art, you know, painting, insculption.

Speaker 20 (01:19:46):
All that sort of thing.

Speaker 8 (01:19:47):
A lie down and see what are you gonna do? Well?

Speaker 11 (01:19:49):
You see, mister Martin, you have brain waves.

Speaker 29 (01:19:52):
I have.

Speaker 45 (01:19:54):
Everybody has.

Speaker 9 (01:19:54):
You see.

Speaker 10 (01:19:55):
The brain gives us power.

Speaker 12 (01:19:57):
That's why.

Speaker 46 (01:19:57):
Now what we do well to describe, It's simply is
clear recording of some subject you want to learn. Now,
the sound ways are transformed into electrical ways and are.

Speaker 28 (01:20:07):
Charged into your brain.

Speaker 10 (01:20:08):
The result is you have the knowledge impressed into your mind.
It's not wonderful.

Speaker 40 (01:20:14):
I just remember, like another mister Martin, in your.

Speaker 42 (01:20:17):
Letter you said you wanted to show your girl that
you could learn things, be smart, get culture.

Speaker 40 (01:20:27):
When I put my.

Speaker 41 (01:20:28):
Head here on your head, I hear your feet down there, splendid, splendid.

Speaker 46 (01:20:39):
Now Kyle attached the.

Speaker 7 (01:20:40):
Electrodes to his head with you.

Speaker 46 (01:20:42):
Yes, well you will never know what gets you.

Speaker 45 (01:20:45):
I mean, not at all, not at all.

Speaker 28 (01:20:47):
Just relaxes to Martin.

Speaker 10 (01:20:49):
Everything is ready for a present, all right, Kyle?

Speaker 31 (01:20:53):
One two three?

Speaker 8 (01:21:00):
I don't know, it's just warming up.

Speaker 40 (01:21:02):
The staat's so nervous.

Speaker 3 (01:21:05):
Shall I start the recording now in one moment.

Speaker 7 (01:21:07):
You see it's a parting.

Speaker 46 (01:21:09):
Caw will start the recording that he dictated this morning,
and then I've charged the knowledge into your brain. See
could begin the recording.

Speaker 8 (01:21:17):
Yes.

Speaker 52 (01:21:19):
Among the new school of paintings which have excited modern credictions,
which are likely to have a profound effect upon future
intensitive forms, the new secular school and impressionistic painting is outstanding.

Speaker 8 (01:21:30):
No for the charge, Vibran, how is he?

Speaker 4 (01:21:36):
Professor is all right?

Speaker 41 (01:21:38):
He's a little glassy eye.

Speaker 10 (01:21:39):
Maybe we've got to stop the EXPERI no, no, no,
we will.

Speaker 46 (01:21:42):
We'll try it once more, only speed up the recording
so we can charge its brain more quickly.

Speaker 53 (01:21:47):
All right, if you say so, Here goes.

Speaker 52 (01:21:52):
Coordinate relationship with stimulate the senses and.

Speaker 54 (01:21:55):
Exciting imagination to take your school manager to get a professional.

Speaker 10 (01:22:04):
Now the charge.

Speaker 46 (01:22:09):
That's enough, that's enough, car, shut up the equipment.

Speaker 10 (01:22:13):
He is alive, isn't he?

Speaker 17 (01:22:16):
Yeah?

Speaker 15 (01:22:18):
I think so, mister Martin, Mister.

Speaker 10 (01:22:21):
Martin, wake up, mister matting to what.

Speaker 29 (01:22:26):
Happened?

Speaker 41 (01:22:28):
Oh he's an honor.

Speaker 7 (01:22:30):
Yes, that's all for today.

Speaker 40 (01:22:32):
And I and I got culture.

Speaker 46 (01:22:35):
So far as we know, everything seemed to work.

Speaker 41 (01:22:37):
I got a headache too.

Speaker 10 (01:22:38):
Would you like the guys of other No?

Speaker 40 (01:22:40):
I I think I better gone now I gotta get
back to work.

Speaker 18 (01:22:46):
How long follows?

Speaker 8 (01:22:51):
Oh, professor?

Speaker 3 (01:22:59):
Should we have let him go like that?

Speaker 8 (01:23:03):
Let's look out of the window.

Speaker 46 (01:23:09):
Ah, there he is, who just came out of the
door onto the street. He's a little wobbly.

Speaker 2 (01:23:16):
Maybe a couple think he's drunk.

Speaker 46 (01:23:18):
Frankly, I'm a little worried about him. I wonder if
the experiment really worked.

Speaker 42 (01:23:24):
I'm worried about him too, because even if the experiment
did work.

Speaker 10 (01:23:28):
We speeded the record up so fast.

Speaker 25 (01:23:30):
Good heavens.

Speaker 29 (01:23:31):
But I said, what if he ends up sucking like
Donald Duck.

Speaker 39 (01:23:50):
You played the piano so beautifully.

Speaker 10 (01:23:53):
Drug, It's not long the break over the brook.

Speaker 19 (01:23:55):
Once and nothing.

Speaker 39 (01:23:56):
I know exactly what you mean. When Data said you
look like a bum. You never got a haircut. I said,
it's because you're autistics not getting a haircut. I mean, oh,
excuse me. There's a door bell company. It's probably Joe. Now, Sam,
don't you and Joe start anything?

Speaker 29 (01:24:19):
Hello?

Speaker 4 (01:24:20):
Clarice's come in, Joe.

Speaker 19 (01:24:25):
Nice party.

Speaker 39 (01:24:26):
I hope you like it, Joe.

Speaker 40 (01:24:28):
Clarie's have you made up your mind yet?

Speaker 39 (01:24:32):
Made up my mind?

Speaker 19 (01:24:33):
You know?

Speaker 46 (01:24:34):
Clarice's about us, Joe.

Speaker 39 (01:24:36):
This is not the place to pursue that question.

Speaker 18 (01:24:38):
Well, I just thought that maybe if.

Speaker 39 (01:24:41):
You I don't know yet, Joe, come into the party.

Speaker 4 (01:24:47):
Sure, Clarice's Wow.

Speaker 37 (01:24:48):
Well, Well if it isn't Joe, how are you Joe?

Speaker 25 (01:24:52):
Hello? Sam?

Speaker 17 (01:24:54):
Sam was playing the piano.

Speaker 37 (01:24:56):
Yeah, I heard write any good books?

Speaker 9 (01:24:59):
Likely Joe.

Speaker 40 (01:25:00):
Well, we're taking inventory at the store and I've been
kind of busy.

Speaker 39 (01:25:04):
Yeah, Joe works very hard.

Speaker 8 (01:25:05):
A hard head.

Speaker 37 (01:25:06):
You gotta work hard. Ain't Joe.

Speaker 40 (01:25:08):
The only reason you've got a soft head is you
got so much hair on it.

Speaker 18 (01:25:11):
It's like a matches.

Speaker 37 (01:25:12):
But Clarice says it's artistic.

Speaker 40 (01:25:16):
Claris says, did you say that.

Speaker 39 (01:25:21):
Well, Joe, I meant he looks like an artist, artist,
way long hair.

Speaker 37 (01:25:28):
And speaking of artist, Joe, what do you think of
the new secular school of Impressionistic painting? Well, do you
think the dynamism of the blues is more effective than
the interpretive qualities of the Bible?

Speaker 40 (01:25:39):
Yellows?

Speaker 39 (01:25:40):
Well sured Joe, Yeah, absolutely right. By the way, Clarice's I.

Speaker 37 (01:25:48):
Bought you and I go to the arts the Institute
the more after that.

Speaker 39 (01:25:51):
Oh that's very nice, Sam, Joe, Joe, what's the matter?

Speaker 4 (01:25:56):
Sure?

Speaker 40 (01:25:57):
Sure, going into the art Institute, maybe he'll get a job.
They'll use them as a ham uff for thus the
paintings with Ciao. You want to know what I think
about the new circular school of Impressionistic.

Speaker 10 (01:26:08):
Paintings, I'll tell you.

Speaker 40 (01:26:09):
I think the press work of the Garo is infinitely
superior to the technique of Martinelli, but that the interpretive
approach of both of them is immature. Hiao, you're so smart, Sam,
with some braid. Let me ask you a few questions.
Why does Gregory Thompson, the British impressionist, conceive all legendary.

Speaker 10 (01:26:27):
Characters and his paintings as cubistic?

Speaker 23 (01:26:29):
Why?

Speaker 17 (01:26:30):
Why?

Speaker 13 (01:26:31):
It's because?

Speaker 37 (01:26:32):
Uh, it's because because because why?

Speaker 55 (01:26:38):
Sam?

Speaker 40 (01:26:41):
I don't know, Sam, you don't know. You don't know
that cubistic because Thompson is a cubist and not a
circular school at all.

Speaker 29 (01:26:49):
You didn't know that.

Speaker 17 (01:26:50):
Huh.

Speaker 45 (01:26:50):
But you're a blockhead, so.

Speaker 40 (01:26:52):
You, of all people, should know a cubist. Now let
me tell you something else. The important los in our
circles is the recordescence of nineteenth century painting, with partikul
emphasis on the portraits of that period. In fact, I
think I will go myself tomorrow to the Autist to
Do and just look at that nineteenth century stuff. What's
your life to come?

Speaker 22 (01:27:09):
Clariss?

Speaker 1 (01:27:11):
Jill?

Speaker 30 (01:27:13):
Okay?

Speaker 40 (01:27:15):
Now, oh oh we we can't go tomorrow. It's Friday.
I gotta finish in.

Speaker 39 (01:27:22):
The next all right, Jill, with those saturdays anytime you stay.

Speaker 45 (01:27:26):
Jill okay, but you only go with me to the
Autist to do?

Speaker 4 (01:27:30):
You understand?

Speaker 39 (01:27:31):
Yes?

Speaker 40 (01:27:32):
Joe, So what are you gonna do?

Speaker 42 (01:27:36):
Tomorrow, Sam, I I think I'll get a heck.

Speaker 40 (01:27:55):
Hell, Laura already from aning his foight?

Speaker 22 (01:28:01):
Where's that there file from Saint Louis you.

Speaker 40 (01:28:05):
Feeling your right to great like a million dollars?

Speaker 26 (01:28:10):
Awful?

Speaker 17 (01:28:10):
Conscious?

Speaker 40 (01:28:11):
Flora, you should have been there.

Speaker 39 (01:28:13):
I was so smart.

Speaker 8 (01:28:14):
The boys were so big.

Speaker 40 (01:28:15):
Even I couldn't understand what I was saying.

Speaker 17 (01:28:18):
That's some education you got.

Speaker 40 (01:28:19):
Science is wonderful. Imagine those professors doing what they did
to me. They shoot me full of praying waves. One
minute I'm a dope and the next minute I'm a
next point on.

Speaker 56 (01:28:31):
Uh are.

Speaker 30 (01:28:35):
Music?

Speaker 4 (01:28:37):
I canotic?

Speaker 26 (01:28:39):
Which one is it?

Speaker 40 (01:28:41):
I don't remember.

Speaker 17 (01:28:45):
That's not good.

Speaker 40 (01:28:46):
Let me think Sam was there. It must have been
about art, because because tomorrow I'm taking clarities to the
Art Institute.

Speaker 17 (01:28:57):
If you're gone now, you very must have said.

Speaker 40 (01:29:00):
I know, but I can't remember what it was.

Speaker 2 (01:29:04):
Flora.

Speaker 40 (01:29:05):
Ask me some questions. Maybe it'll come back to me.

Speaker 17 (01:29:08):
Why do you like section?

Speaker 8 (01:29:11):
I don't know?

Speaker 17 (01:29:12):
Yes, yeah, I stop section in the magazine. Let's not
bost up foxes in the junk yard. It's called sunset
in Hawaii magazine. That was a cubist pictures that make
sense to you. No, can't explained even if you couldn't
have a teleg you sime, No, you needn't.

Speaker 57 (01:29:31):
Not a shot in the head.

Speaker 40 (01:29:33):
Yeah, yeah, that's right for a color professors will make
me another appointment. I gotta take clarities to the aut
Institute tomorrow. And I can't remember anything at all.

Speaker 46 (01:30:00):
Now now, now, mister Marton, please don't be so nervous,
Just answer my questions.

Speaker 16 (01:30:04):
But she's my gyl.

Speaker 40 (01:30:05):
I'm finally making progress and this has to happen.

Speaker 46 (01:30:09):
Carl put on the recording again.

Speaker 3 (01:30:11):
Let mister Martin hear it.

Speaker 54 (01:30:12):
Yes, at comprehension, already leaving explains of the circular school
of Impressionist extaining the girl and Martin Nelly are perhaps
best known. Another school which is managed to rechange some
influence on contemporary trends despite the vigorous unprove of the
impressionist is that God best exemplified by the work of
Gregory Timpson, who was an impressionist.

Speaker 8 (01:30:33):
Yeah, now you remember that, don't you.

Speaker 40 (01:30:36):
I don't remember and I don't understand it.

Speaker 45 (01:30:38):
But we charged your brain with that information.

Speaker 40 (01:30:41):
Do you charge that you try to collect it? I
don't know where it is.

Speaker 41 (01:30:44):
Kyl, I'd like to talk to you alone for a moment.

Speaker 3 (01:30:47):
Excuse us, mister Martin.

Speaker 1 (01:30:48):
Yeah, you're you're sure the machine worked properly when we
experimented on him.

Speaker 42 (01:30:57):
When I dismantled the machine this morning, everything was perfec
But what could have happened? Apparently it makes only a
brief impression on the brain about twenty four to thirty
six hours.

Speaker 33 (01:31:06):
Oh that's terrible.

Speaker 7 (01:31:08):
What's terrible about it?

Speaker 19 (01:31:09):
At least we're on the right track.

Speaker 42 (01:31:10):
In a year or two, we'll protect it so people
can remember all the time.

Speaker 46 (01:31:13):
People people can't learn things even if we don't protect
the machine. But what I most regret is there's no
longer a dog in the whole world who knows the
Einstein theory. Well, I'm sorry, missus Marton, but obviously the
experiment wasn't as successful as we had hoped it would be.

Speaker 40 (01:31:32):
Will they give it to me again?

Speaker 58 (01:31:34):
Profess?

Speaker 8 (01:31:35):
I just kind of aw about it.

Speaker 40 (01:31:36):
I'm taking claries to the institute tomorrow.

Speaker 3 (01:31:38):
Wouldn't you take it to a movie?

Speaker 39 (01:31:40):
In staid?

Speaker 40 (01:31:41):
But I'm not afraid anymore. Put those things on my
head again.

Speaker 10 (01:31:44):
Give me a mamples.

Speaker 20 (01:31:45):
I like it.

Speaker 10 (01:31:46):
I like him I'm afraid that's impossible.

Speaker 46 (01:31:48):
You see, we dismantle the machines. We're moving it to
a laboratory.

Speaker 8 (01:31:51):
Upstated.

Speaker 46 (01:31:51):
We'll take at least a month until we put.

Speaker 22 (01:31:53):
It together again.

Speaker 46 (01:31:54):
Comment but tomorrow, I'm sorry, mister Martin lar Is won't
worry me now.

Speaker 39 (01:32:26):
Oh hello, Joe, You're right on time for us at
the institute. I'm so excited coming joke.

Speaker 56 (01:32:32):
Hello Claver.

Speaker 9 (01:32:34):
We'll see all.

Speaker 39 (01:32:34):
The pitches and you'll explain them to me.

Speaker 40 (01:32:36):
Won't you, Joe Clarice's there's something I.

Speaker 41 (01:32:40):
Want to tell you.

Speaker 9 (01:32:41):
Yes, Joe's, that's about my culture.

Speaker 10 (01:32:44):
About what I said about art.

Speaker 27 (01:32:45):
The other day.

Speaker 39 (01:32:45):
Oh, Joe, you were wonderful. I thought Sam Woodsenderger dropped it.
You know what, after you left, he said you knew
more about art than anybody you ever knew. He said,
And you were so masterful when you told him you
were taking me to the instant. Josh, Joe, I tell you,
I made up my mind. Joe, don't you understand I

(01:33:10):
made up my mind. Accept your proposal.

Speaker 27 (01:33:14):
You mean.

Speaker 39 (01:33:16):
It's right, Joe, You've got culture. We'll have our mental
affinity close.

Speaker 40 (01:33:22):
Let's get married right away today. Let's not even go
to the art Institute. The Jo absence will go away
on a honeymoon for a month.

Speaker 59 (01:33:29):
A month, a whole month, and then when we get.

Speaker 3 (01:33:32):
Back, then we got time for culture.

Speaker 40 (01:33:34):
I promise you after one month, I will absolutely be
charged with culture.

Speaker 30 (01:33:39):
Jo.

Speaker 17 (01:33:40):
It's just so sudden, so romantic.

Speaker 39 (01:33:43):
Oh, but I don't have a truth. So I need clothes.

Speaker 46 (01:33:46):
Look, look, I wake in the ladies garment business.

Speaker 9 (01:33:48):
I'll go to the store.

Speaker 40 (01:33:49):
I'll get you all old you need. Only let's get
married and.

Speaker 18 (01:33:51):
Not go to the art Institue.

Speaker 17 (01:33:53):
Yoe're just so smart, you think of everything I do.
I'll bet you even know the Einstein.

Speaker 38 (01:34:13):
Next Week two thousand plus presents a thrilling melodrama of
adventure and terror.

Speaker 7 (01:34:18):
Be sure to listen.

Speaker 45 (01:34:21):
Two thousand plus is produced by Dryer and.

Speaker 38 (01:34:23):
When Elson Productions, Incorporated In Today's cast, Bryana Raper and
portrayed Paris and Flora.

Speaker 45 (01:34:29):
Gilbert Mack with Joe William keem Sam and Mercer McLoud
with the Professor.

Speaker 38 (01:34:42):
The orchestra was conducted by Emerson Buckley.

Speaker 19 (01:34:44):
Music composed by Elliott Chirkobe sound Wolf Shaver and Adrian
Tenner engineer and Formica.

Speaker 45 (01:34:50):
This is Ken Marvin Sticky. This program came from.

Speaker 36 (01:35:13):
New York, from Hollywood, Jackie Cooper.

Speaker 60 (01:35:17):
In the Unexpected, the Unexpected, the unexpected.

Speaker 61 (01:35:34):
Life is filled with the unexpected, romantic, tragic, and mysterious
endings to our most ordinary actions. Dreams come true, or
dreams are shattered by sudden twists of fate in the Unexpected.

(01:35:55):
But first, a word from your announcer. No Jackie Coup,

(01:37:00):
famous motion picture and stage star. In museum A drama
of the unexpected.

Speaker 34 (01:37:11):
That's what it was.

Speaker 35 (01:37:13):
A museum, old and decayed, row after row of paintings,
long narrow hallways of statues and tapestries, and rooms filled
with worn out, worm eaten furniture. Wasn't a place to
live in. Was just a collection of antiques. And the
people there had grown cold and impersonal and heartless. Like
everything else in Nahus, they were antiques too.

Speaker 8 (01:37:36):
That's why I hated the place.

Speaker 35 (01:37:37):
Hated every moment I had to stay there, and hated
myself for stay.

Speaker 62 (01:37:44):
Stephen, come here, Stephen, Yes, Miss Thompson, I want you
to polish the armor in the upstairs hallway. It's become
very dull, and I noticed a speck.

Speaker 1 (01:37:53):
Of rust this morning.

Speaker 36 (01:37:54):
I'll take care of it.

Speaker 62 (01:37:55):
I don't see why I have to remind you of
these matters.

Speaker 21 (01:37:58):
Why can't you.

Speaker 1 (01:37:59):
Show little initiative?

Speaker 8 (01:38:01):
I'm sorry.

Speaker 62 (01:38:02):
When you finish with the armor, then clean the china
in the showcase under the stairway hasn't been washed in months. Yes,
ma'am Stephen, just a minute. Yes, aren't you happy here
in my home? If you aren't, you can get out.
It doesn't make any difference that I've looked after you
since you were a child, treated you as if you

(01:38:23):
were my own son. You needn't feel any obligation toward me.
You can leave this place any time you choose.

Speaker 36 (01:38:31):
Where would I go?

Speaker 62 (01:38:33):
I really have no idea. Now go upstairs and get
me a book or a magazine. I want something to read.

Speaker 9 (01:38:41):
We'll do as I.

Speaker 62 (01:38:41):
Tell you, Stephen, I don't like to be kept waiting.

Speaker 36 (01:38:44):
Yes, Miss Thompson, I'll be right back.

Speaker 9 (01:38:46):
Oh look out, you blundering fool.

Speaker 36 (01:38:50):
What's the matter?

Speaker 62 (01:38:50):
Oh you stupid boy? Can't you watch where you're going?
You nearly knocked over that mean dase. Don't you know
it's priceless? Why if anything happened to that? I well,
I I don't know what i'd do.

Speaker 8 (01:39:06):
I'm sorry.

Speaker 62 (01:39:07):
Some day you'll be sorry too late, Stephen. Just remember that.

Speaker 36 (01:39:16):
And that's the way it was, day after day.

Speaker 35 (01:39:20):
I suppose Miss Thompson was nice to me in her way,
but she kept me in that awful house until I
thought I couldn't stand it for another hour.

Speaker 36 (01:39:27):
A hundred times I started to run away.

Speaker 63 (01:39:30):
There was no place to go.

Speaker 35 (01:39:31):
She knew that, and I'd given up hoping that I'd
ever leave Glenwood till that morning when mister Clinton, her
personal secretary, walked up behind me and twittered in my.

Speaker 1 (01:39:41):
Ear, Stephen, how would you like to leave this house?

Speaker 8 (01:39:45):
What do you mean, mister Clinton?

Speaker 20 (01:39:47):
Well, I've been.

Speaker 1 (01:39:48):
Thinking about you. There isn't much of a life here
at Glenwood for a young man. You ought to be
with people your own age, having a little fun, and
may be going to school somewhere.

Speaker 36 (01:40:00):
So I've got now.

Speaker 1 (01:40:01):
Don't be bitter, Stephen. Miss Dampson agrees with me. Her
doctor has advised a change of climate, so she's going
to close up the place and move north for the fall.

Speaker 36 (01:40:10):
You mean it, mister Clinton, Of course I mean it.

Speaker 20 (01:40:14):
So if things work.

Speaker 8 (01:40:15):
Out in a few weeks, you'll be in college. College.

Speaker 35 (01:40:18):
That's wonderful, I will see. I just can't believe it.
It's too good to be true. See thanks for telling me,
mister Clinton. Thanks a lot.

Speaker 29 (01:40:28):
The phase.

Speaker 1 (01:40:30):
Oh that was very callous, Stephen, very careless. But I
don't know what Miss Thompson will say. It was one
of her favorite pieces.

Speaker 35 (01:40:37):
Well, you're not gonna tell her, mister Clinton. She'd never
forgive me, she'd never let me go to college if
she found out.

Speaker 20 (01:40:42):
You won't tell her.

Speaker 1 (01:40:43):
William, my dear boy, I have a responsibility to miss Thompson.

Speaker 36 (01:40:47):
Now, I'm the one who broke it. It's up to
me to say something if if there's anything to be said.

Speaker 1 (01:40:53):
Don't you know, Stephen, that the man who conceals knowledge
of a crime is just as guilty as the man
who commits.

Speaker 36 (01:41:00):
It wasn't any crime.

Speaker 29 (01:41:01):
It was just an accident.

Speaker 1 (01:41:03):
Where we'll let Miss Thompson decide about that.

Speaker 62 (01:41:11):
Don't argue with me, Stephen. Mister Clinton has told me
exactly what happened.

Speaker 35 (01:41:17):
I didn't mean to knock it over, Miss Thompson. I
was just excited about going to college.

Speaker 2 (01:41:22):
Well you can curb your pleasure now.

Speaker 36 (01:41:25):
You mean you aren't going away?

Speaker 17 (01:41:27):
Oh?

Speaker 36 (01:41:27):
Yes, yes, I am you're you're not taking me with you.

Speaker 62 (01:41:32):
I should hardly think so, Stephen. You're not going anywhere
until you learn to conduct yourself like a gentleman.

Speaker 36 (01:41:39):
But no, that's not fair, not a bit fair. It
was just an old flower pot.

Speaker 2 (01:41:46):
You're quite right.

Speaker 1 (01:41:48):
It was a very old flower pot, and it was.

Speaker 62 (01:41:53):
Worth a great deal more than money. But I don't
expect you to understand that's, Stephen.

Speaker 19 (01:42:01):
Not yet.

Speaker 36 (01:42:01):
Oh, I understand, all right, I understand that all this
junk around here means more to you than people are,
their feelings and desires, even their lives.

Speaker 21 (01:42:10):
That will do, Steven.

Speaker 36 (01:42:11):
You just don't want to hear the truth. But it
is the truth, and you know it.

Speaker 35 (01:42:14):
The only thing in the world it matters to you
is this house and the vases and paintings and furniture.

Speaker 36 (01:42:18):
Stephen, this isn't a.

Speaker 35 (01:42:19):
House, it's a museum. And you aren't a person, miss Thompson, No,
not really. You're just a statue without feelings, like everything
else in this place.

Speaker 2 (01:42:27):
Thank you, Stephen.

Speaker 62 (01:42:29):
Now I know how you feel about me and about
my things. Yes, you know, when your parents died, Stephen,
I thought I could rear you instill a love of
beauty and fine art and craftsmanship. It's obvious I haven't succeeded,
but I won't give up quite so easily. I think

(01:42:50):
there's still hope for you, Stephen. And so while mister
Clinton and I are up north, I'm going to permit
you to rein at Glenwood.

Speaker 36 (01:43:02):
I'm going to stay here.

Speaker 27 (01:43:03):
You don't have to. You're always free to leave.

Speaker 21 (01:43:06):
Stephen.

Speaker 62 (01:43:07):
Yeah, of course, if you should decide to remain, perhaps
then you'll learn a true appreciation of fine art. One
must live with art in order to understand it.

Speaker 12 (01:43:18):
I'll stay, Miss Johnson.

Speaker 30 (01:43:20):
Oh, yes, I'll stay.

Speaker 2 (01:43:21):
I thought you would.

Speaker 20 (01:43:23):
Well.

Speaker 62 (01:43:24):
I'll tell the caretaker he won't be needed. You'll be
able to look after everything, won't you, Stephen, Yes.

Speaker 29 (01:43:32):
I'll look after everything.

Speaker 35 (01:43:37):
So I stayed on in Glenwood all through the end
of that long hot summer, alone, with only the smell
of old furniture and painted canvas for company. As the
days went by, I realized I could never break free
from Glenwood.

Speaker 36 (01:43:52):
I was really trapped, now, caught forever.

Speaker 35 (01:43:55):
In a maze of dust and old brocade and stained glass.
It wasn't any way out, I was sure of that,
until one afternoon when I saw a chance to get out.
I was working in the garden when I first noticed it.
A faint pungeing odor smoke. Yeah, something was burning inside

(01:44:16):
the house. A fire had broken out. I ran through
the front door into the main drawing room and stopped
suddenly as I saw what had happened. A little pile
of oil rags i'd been using to clean some of
the portraits had caught on fire. I don't know how
it started exactly. Maybe the sun had been magnified by
the curved glass and one of the showcases until it

(01:44:37):
burned through the inflammable cloth. Anyway, by the time I
got there, little tongues of flames were licking up an
old French tapestry, eating it hungrily in small, dainty bites.
I stood there for a moment, watching the tapestry disappear,
and I woke up. There was still time to save
the house, so I hurried into the kitchen for a
bucket of water and raced back.

Speaker 8 (01:44:55):
To the living room.

Speaker 35 (01:44:58):
All was still just a harmless little one pailful would
have put it off. I raised a bucket and held
it back with her to throw the water against the wall.
Then I hesitated Why should I save the house? All
these antiques and price was painted.

Speaker 36 (01:45:15):
What did they mean to me? Nothing but misery and unhappiness.
Let them burn. I didn't care. Let them burn.

Speaker 35 (01:45:23):
I set the bucket on the floor and watched the fire,
fascinated as it grew like a boar, constricted, getting bigger
as it devoured more and more of the wall. Because
I started to back out of the room, I had
a sharp pang of conscience. Miss Thompson didn't carry insurance.
She always said there wasn't enough money in the world
to cover the value of the price was objects the
house contained. She'd lose everything she owned in the fire. Well,

(01:45:46):
that wasn't my worry. I didn't know, or anything I
never had. One of the seiling beams came crashing down
beside me, and I knew I had to get out
of there and get out fast. So I ran down
the hall, a heat following on my heel, out the
open door and across the garden. How I felt cruel, calm,
and unexcited. Behind me, the dying house chuckled and laughed

(01:46:07):
as a fire embraced it an unrelending arm, and with
a final steam, the roof crashed the settled to its doom.
The museum was gone, burned up. I was free, free,
at last, I'd never have to look at that house again.

(01:46:28):
I had escaped it forever.

Speaker 33 (01:46:41):
You think the story is over, don't you. But wait,
fate takes a hand.

Speaker 61 (01:46:47):
Wait for the unexpected, and now for the surprising conclusion

(01:47:57):
of Museum. Hamilton Whitney product starring Jackie Cooper, written by
Robert Libbert and Frank Bert, and directed by Frank K.

Speaker 53 (01:48:05):
Danzing.

Speaker 35 (01:48:09):
It was the next day before I could get a
call through to mister Clinton, and when I finally did
talk to him, he didn't give me a chance to
mention the fire.

Speaker 36 (01:48:16):
He had something much more important on his mind.

Speaker 1 (01:48:19):
I'm so glad you called me, Stephen. I've been trying
to reach you for several hours. Miss Thompson.

Speaker 8 (01:48:25):
What about Miss Thompson.

Speaker 64 (01:48:26):
You must be brave, Stephen.

Speaker 1 (01:48:28):
Miss Thompson passed on last night, very sudden.

Speaker 4 (01:48:32):
A heart attack.

Speaker 36 (01:48:33):
You you mean she's dead.

Speaker 1 (01:48:36):
Yes, that's why I've been trying to call you. And
I don't suppose I should mention this shit. But you're
a very wealthy mand Stephen. But you see, I know
about the win. Miss Thompson left you the house and
everything in it. Yes, Stephen, you certainly are fortunate. I
wish I had your luck.

Speaker 61 (01:49:08):
Museum star Jackie Cooper, Listen again soon for another of
your favorite motion picture stars and a drama of the unexpected.
This program was transcribed in Hollywood.

Speaker 65 (01:50:00):
Mysteries murder most howls, as in the best it is,

(01:50:23):
but this most howls strange and unnatural. Had William Shakespeare
penned these lines about the murder in the Room Rgue,
his description could not have been more fitting. The murder
in the Room Orgue was not only strange, it was incredible.
It was impossible.

Speaker 8 (01:50:39):
Yet it was.

Speaker 47 (01:51:00):
Yessiccilty, the first thinking.

Speaker 14 (01:51:13):
For something, that something I.

Speaker 3 (01:52:02):
The scene is Paris.

Speaker 65 (01:52:04):
Not the Paris of the bright lights, the boulevards, the
cafes and the theaters, but that Paris of dark, narrow,
crooked streets, That Paris in which murder is no stranger,
That Paris where the wrong glance, the carelessly spoken word
is answered by the knife thrust, and the offender is
found cold and stark, staring with glassy eyes.

Speaker 8 (01:52:22):
At a waning two o'clock in the morning.

Speaker 65 (01:52:27):
Mademoiselle Ruse de la cour turns into La rue Morgue.
The Govering street lamp shows her lithe of figure, pretty
of face at Themoiselle of the boulevards. She stops at
her apartment number sixteen and rings the bell, VELAs who.

Speaker 25 (01:52:44):
Is it, Rose? You are very late, rolls I'm very child. No,
not the reason, not what it was. No, young gentleman,
who buy the ere?

Speaker 23 (01:52:58):
You have guessed yourself time?

Speaker 3 (01:53:00):
No, you love that I am angling.

Speaker 25 (01:53:02):
Come with me into my room. The coffee he is hot,
the bread, the things perhaps, but not those days. Well,
why do you not go to the country, away from
all this? Me to the country.

Speaker 66 (01:53:17):
I cannot believe without my pari the not to be
say the theaters.

Speaker 21 (01:53:22):
Because favorite no, no, no, no, they can perceive.

Speaker 66 (01:53:27):
No one call upon me today, Not one single does mutually,
not one come company, drink the coffee.

Speaker 23 (01:53:33):
I mean to sleep.

Speaker 25 (01:53:35):
Tomorrow may be brighter.

Speaker 27 (01:53:37):
You have been very good to me.

Speaker 21 (01:53:39):
I will do what you say.

Speaker 23 (01:53:40):
I will go to bed, but not to sleep, and
then no, no, not to sleep.

Speaker 65 (01:53:52):
Slowly Rose de la cour makes her way up the creaky,
rickular stairs. I have flight of them, with the ruben
wormington pan giving under her touch as she pulls herself
wearily onward her own room. At last, the heavy door
groans as she opens it closes it. The rasping of
the lock she turns the key, the dull click of

(01:54:12):
the boats top and bottom of the door as she
forces them home. The one window, with its leaded panes
of glass, slams as she closes it and turns the
catch that locks it in place. Dreary silence broken only
by the hammer like ticks.

Speaker 4 (01:54:26):
Of the old clock.

Speaker 65 (01:54:27):
Has rolls undresses and gets into bed a puff and
the candle itself is dying.

Speaker 3 (01:54:33):
Flare showing wisp of smoke, curling ceiling.

Speaker 66 (01:54:35):
Words, ruse road, get up my Sherrid, this pillow clock,

(01:54:56):
I have the coffee in the rolls.

Speaker 25 (01:55:01):
Boos what is it?

Speaker 3 (01:55:04):
Madam?

Speaker 25 (01:55:04):
There is something wrong, I know it. She doesn't answer me.

Speaker 3 (01:55:08):
Or perhaps it is that she is tired and sleep.

Speaker 25 (01:55:10):
No, no, it is nothing for you.

Speaker 66 (01:55:12):
But I am afraid cool when he's quickly cooled, Rose, Anthony,
think to me it is to end to friend.

Speaker 16 (01:55:21):
What is it?

Speaker 19 (01:55:21):
You?

Speaker 22 (01:55:22):
She is dead?

Speaker 16 (01:55:22):
I know it, Rose.

Speaker 25 (01:55:27):
She doesn't answer me.

Speaker 3 (01:55:28):
Yeah, let me knock on the door. No answer that
We break down the door.

Speaker 66 (01:55:33):
Ut you cannot break down that door without a knack.

Speaker 3 (01:55:36):
Oh yes, bring a nut.

Speaker 8 (01:55:38):
We take that.

Speaker 3 (01:55:39):
We cannot break on the door. I sha, you were together,
wait to get the door. Oh yes, I said.

Speaker 25 (01:55:50):
Without the act, you can do nothing here.

Speaker 3 (01:55:53):
This is the biggies back in the give stand back.

Speaker 25 (01:55:58):
If it both at the top anyother.

Speaker 3 (01:56:01):
But down back.

Speaker 27 (01:56:04):
I can't it.

Speaker 20 (01:56:05):
I told it.

Speaker 3 (01:56:05):
I should have reached the boat through the leading high fighter.
This was no nighte crass.

Speaker 58 (01:56:17):
No, that that's sort or something right through and four
through the night she said, yeah, said madam your room.

Speaker 3 (01:56:27):
Wait dad, hope we can affect. Yes, this is very strange.

Speaker 58 (01:56:34):
The window is left on the entire possibly loo tennis.
It is he or she could not have come in
run out that way. It is sixty about the crown,
nothing to go on to, no way to get in
or out. I'm no mark in't even though they both
the top and bottom, whoever they did, couldn't have turned
the key in the lock.

Speaker 49 (01:56:49):
But they both No.

Speaker 3 (01:56:51):
One could not shoot the balls after leaving the room.
Did you not that way either wanted?

Speaker 18 (01:56:56):
If ease?

Speaker 58 (01:56:57):
If anything smaller than usual, you see a tire chimney,
not even large enough for a cat.

Speaker 3 (01:57:02):
Nothing bigger than a bird could get through that chimney.
But somebody somehow got in here, killed Rose and get
out again. Hoddan hodd On, Yes, who came in here
last night?

Speaker 4 (01:57:10):
With road?

Speaker 3 (01:57:12):
Single person you are certain.

Speaker 66 (01:57:14):
Is Ruse came home at two o'clock. She rang the bell,
I myself opened the door. She dress and because here
in my room, and then she came upstairs.

Speaker 25 (01:57:21):
I watch her go.

Speaker 3 (01:57:22):
No one could get into it out without patting.

Speaker 56 (01:57:23):
Your role and.

Speaker 66 (01:57:24):
Perceived Cleerre looks over the house before ten o'clock. Then
a tend the door is bolted, and no one can
get inside after that without me, Madame de Frans.

Speaker 3 (01:57:33):
Seeing them, And whoever committed the murder must have got
in before that and eating in.

Speaker 25 (01:57:36):
The house, but he could not get out again. I
have the key to different.

Speaker 58 (01:57:39):
Door, and then you wade that right, not explain how
he got into Roy's room. And he does not explain
how he gets out again. Oh, thank the post. I'm inside, sucker.
But nothing before I see anything like this, noque, nothing
a ported door. It's a window sixty feet.

Speaker 3 (01:57:53):
Above the ground.

Speaker 58 (01:57:54):
I'm fussy, I'm fussing happened. I'm huck we'ld go to this.
You see, I'm would a core work on this cliff.

Speaker 65 (01:58:01):
But neither Monsieur LeCun nor any of the other brilliant
minds of the French police could find any clue upon
which to start an investigation. The apartment was searched almost
all apart in an effort to find the trapped door
or secret passage. Nothing nor the suggestion of anything. Always
a bolted door, a locked window. Two weeks later, Monsieur
le Cour is seated in his office of the sites

(01:58:23):
taps talking to the Lieutenant will look no further development
in the Delicourt case.

Speaker 3 (01:58:29):
Nothing with you. I have cone the underworld of party,
hoping for the chance for a single thing that one might.

Speaker 4 (01:58:34):
Call it clue.

Speaker 3 (01:58:35):
Don't see any enemies, no, monsieur, not that at the fine,
No money, nothing to be.

Speaker 8 (01:58:39):
A robbert, not what.

Speaker 3 (01:58:44):
You had someone watching at the morgue. When the when the.

Speaker 58 (01:58:47):
Road Delacour was laid down, we resid not to put
the use to one morbid crowd, no, no underworld character,
and decided that everyone that I have pick up at
this presently as the alibi. At that time, you have
no suspicion of Madame de France, No which is decided,
no woman that glanted, which she could have admitted the
murder and let him out again.

Speaker 3 (01:59:05):
That still does not account for the door bolted.

Speaker 65 (01:59:07):
On the INSI may we, of course, no, lutono, Always
we come to the door bolted on the ins.

Speaker 58 (01:59:12):
Head always with you, till my dying day, I shall
find myself face to fay for that's out outdoor bolted
top and bottom at lady, glass window locked on the inside,
and all de la cour lying there carrying unseen at
the sdion.

Speaker 65 (01:59:27):
And today, almost half a century later, when the Paris
police discussed the murder in the room Morgue, they come
face to face with the same problem, the locked window,
the door bolted top and bottom on the inside. Our
deference to people who are still alive, character names in
these unsolved mysteries have been changed inasmuch as any solution
must of necessity, supposition, liberties of time, place, and character

(01:59:50):
exist in the solution that will be presented after you
have heard from your sponsor.

Speaker 29 (01:59:59):
Oh.

Speaker 57 (02:00:18):
Making userti the pet.

Speaker 3 (02:01:26):
Ladies and gentlemen, the solution for what you have been waiting.

Speaker 65 (02:01:29):
Tell me, monsieur lecur have you no idea after all
these years to how the murder of Rose Dellacur was perpetrated.

Speaker 3 (02:01:35):
Marie, which is I think I have a possible solution.

Speaker 65 (02:01:38):
You must understand, monsieur, that at the time of the murders,
in the room or the chimneys weep was a familiar
figure on the rooftops and among the chimney pots of Paris.
Chimney this week, Missus Marie, the chimneys Week cleaned the
chimneys of Pari by lowering a round brush on a
piece of rope or a pole made of many pieces
of wood fitted together.

Speaker 3 (02:01:53):
I understand you understand, monsieur, that I.

Speaker 65 (02:01:55):
Have no idea who the murderer might be, but I
think I know how he committed the crime. His murderer
realized very chimney swek would hardly be noticed on the
roof of Ros Delacour's apartment. I can see him dunning
his disguise an old foot grind suit, carrying his bag
of paraphernalia. But hidden in that bag was a French bayonet.
I can hear him as he creeps over the tiles, muttering.

Speaker 67 (02:02:16):
To himself the way I have planet, it cannot free.
And there are these two oaks on the two lengths
of string. Now you are the payet, and I will
go to rouse.

Speaker 7 (02:02:27):
La course room.

Speaker 67 (02:02:28):
I will lie under the bed, and she is fast
asleep by killer. In a few moments, I fixed the
ook to the door and the strings to the boats.

Speaker 4 (02:02:39):
It is so simple and very to the roof.

Speaker 68 (02:02:42):
I pulled it too, Stringe and Huilla the boats stair closed.
I pulled his syring and the hooks of the chimney.
And yes, I must not forget. I must not forget
the third string. I pulled him too, because.

Speaker 29 (02:02:56):
On that I have the pay in it.

Speaker 67 (02:03:00):
They will puzzle over the mystery, these French police.

Speaker 3 (02:03:04):
And puzzle they did, these French police, and with them
the rest of the world.

Speaker 65 (02:03:09):
Edgar Allan Paul wrote his solution, but Paul was writing fiction,
and so in order to give a legitimate literary punch
to his anemo, he ignored the fact that the chimney
was too small for even the tiniest.

Speaker 3 (02:03:19):
Monkey, let alone an ape to get.

Speaker 69 (02:03:22):
Through this season the first time.

Speaker 25 (02:04:32):
At something a light, a something a.

Speaker 18 (02:04:51):
Dark avenger.

Speaker 70 (02:05:00):
Over the minds of mortal men come many shadows, Shadows
of greed and hate, jealousy and fear, Shadows which fogged
the minds of men and women, which urged them on

(02:05:23):
into their venture in the dark.

Speaker 18 (02:05:32):
Dark Venture.

Speaker 70 (02:05:47):
The American Broadcasting Company presents Dark Venture, written by Larry Marcus,
directed by William T. Johnson, and featuring John Banks in
Elizabeth is Frightened and now your host. What a night's
journey into darkness, John Newland.

Speaker 19 (02:06:07):
And.

Speaker 71 (02:06:11):
This is John Newland. Tonight we search through the dark
city for Elizabeth. The night is unbroken by stars or moon.
There are only the thin, pitiful street lamps, the flashing
headlights of an occasional speeding car. The hour is two,

(02:06:32):
The chimes and the gray cathedral boom hollowly in the
empty streets. An ambulance races down Maine, It's red warning
light flashing on and off quickly. A newsboy stands on
a street corner, waiting for the last bus. A tall
girl in a thin coat hides in the shadows of
a cigar store, waiting for nothing at all. But we

(02:06:54):
go on, for we must find Elizabeth. Down Artmore Drive.

Speaker 8 (02:07:00):
Barkness deepens.

Speaker 71 (02:07:01):
Now it is a quiet, dignified darkness, draping itself over
these fine homes.

Speaker 30 (02:07:06):
And now here, at last, we have reached Elizabeth.

Speaker 71 (02:07:11):
This is Elizabeth, tossing and turning in her sleep, in
the grip of some terrible dream that will not release her.
But the faint moonlight filtering through the curtains we watch
her strange struggle, her head twisting feverishly from side to side,
her fingers clawing at some invisible enemy. And then suddenly
the struggle becomes too much.

Speaker 72 (02:07:32):
No, no, no, it's only a dream. Everything all right,
it's only a dream. You won't hurt me again.

Speaker 30 (02:07:53):
Go back to sleep.

Speaker 72 (02:07:56):
But I can't sleep, remembering, yes, always the same. I
can't forget you, Philip, no matter how hard I tried.

(02:08:22):
I don't know who introduced me to the stranger in town,
Philip Bailey. I suppose we were brought together because at
forty five, he was an eligible widower, and at twenty
eight I was.

Speaker 21 (02:08:32):
Well on my way to being an ineligible old maid.

Speaker 72 (02:08:35):
But from the very first I was fascinated by him,
by his strange mind, and he was so honest and kind,
and I admired him for that. I remember how he
spoke of his first wife, Martha.

Speaker 73 (02:08:48):
You would have liked Martha, Elizabeth. She was so wonderfully alive.
The winter she took sick of pneumonia and died. I
simply couldn't believe it. For weeks afterwards, every time the
doorbell rang, I thought, this will be Martha. I've been
dreaming this terrible thing. I've only to throw.

Speaker 30 (02:09:05):
Open the door and she'll be standing there smiling.

Speaker 21 (02:09:15):
A month after we met, Philip asked me to marry him,
and I accepted it.

Speaker 8 (02:09:19):
Once.

Speaker 72 (02:09:20):
Everyone was happy for me. Everyone agreed it was a
good match. Everyone but my housekeeper Flora. When she heard
I was to be married, she let me know how
she felt, no uncertain way.

Speaker 74 (02:09:32):
I've known you since your mama brought you home in
a pink blanket, and I can speak plain, Elizabeth, I
think you're making a mistake.

Speaker 21 (02:09:39):
How can you say that, Flora? You hardly know Philip
got a feeling, that's all all a feeling.

Speaker 2 (02:09:47):
But what do you know about him, Elizabeth?

Speaker 29 (02:09:49):
You really know?

Speaker 21 (02:09:51):
I know that when I'm with him, I'm very very happy.

Speaker 74 (02:09:55):
He knows that when he's with you, he's within grabbing
distance of a lot of money.

Speaker 21 (02:10:01):
Oh, Philip was right.

Speaker 72 (02:10:03):
He warned me that's what people would say, that he
was marrying me for my money. Well, I want to
show you something, Flora. I have a copy of it
right here in my desk. Here I want you to
read this.

Speaker 75 (02:10:18):
Waiver of rights, I, Philip Dailey, do here by relinquish
all rights and claims to all real and personal property
of Elizabeth Bronson for the duration of her natural life.

Speaker 16 (02:10:32):
How do you like that, Flora, Well, on paper, it
looks all right.

Speaker 72 (02:10:46):
When we returned from our honeymoon, Philip took over the
side room on the first floor for his study. He
filled it with his books and sealed himself off from
everyone for hours. Yet we still had time for dinners
in the theater and house parties.

Speaker 21 (02:11:00):
One not in our home.

Speaker 72 (02:11:01):
Philip met doctor Davis, who'd been our family physician for
many years, and here was the first indication of what
was to come.

Speaker 49 (02:11:08):
Now, Doctor, I don't agree at all.

Speaker 73 (02:11:09):
I have found that the most exciting aspect of psychiatry
is the brutal and terrifying manner in which one mind
could dominate another.

Speaker 18 (02:11:16):
You mean hypnosis, mister Banner.

Speaker 16 (02:11:18):
hYP knows I.

Speaker 73 (02:11:18):
Dislike that word. It smacks at the vaudeville stage. But
to me it's utterly fascinating. How I can look into
another man's eyes thrust my will into his very soul
and force him to do my bidding.

Speaker 18 (02:11:28):
Of course, but only a quack would use hypnosis.

Speaker 72 (02:11:31):
That it sounds like you two are about ready to
start punching each other in the nose.

Speaker 18 (02:11:37):
Think I'll be going, Elizabeth, but doctor you to stay
for dinner.

Speaker 49 (02:11:39):
I'll let the doctor go, Elizabeth. I don't think he'd
enjoy his dinner anyhow.

Speaker 72 (02:11:46):
But everything really began two days later, in the early evening,
with the ringing of the telephone.

Speaker 49 (02:11:53):
I'll get a little hello, Oh, hello Helen. A bridge
game tonight.

Speaker 73 (02:12:04):
Well, I'd like you, Helen, but Elizabeth hasn't been feeling
too well lately.

Speaker 49 (02:12:09):
I guess it's just nerves. She does need rest, you know.
Could you excuse her just for the night. Thanks Helen,
Thank you, goodbye, Philip.

Speaker 72 (02:12:20):
Why in the world did you tell her I wasn't
feeling well? I feel wonderful.

Speaker 76 (02:12:25):
I guess I'm just selfish. I don't want you to
do any it's got any bridge game tonight, darny. I
want you to stay home with me. I see why
else would I tell her that?

Speaker 16 (02:12:39):
Darling and will let be all missus Bailey, let me.

Speaker 21 (02:12:49):
See raise blades toothpaste home cream. Yes, I guess that's all,
mister Martin.

Speaker 33 (02:12:54):
Okay.

Speaker 16 (02:12:55):
Oh, by the way, I though sleeping pills helping you, any.

Speaker 59 (02:13:00):
Sleeping pills, those pills your husband picked up for your nerves.

Speaker 2 (02:13:04):
My nerves.

Speaker 21 (02:13:07):
But I don't understand. Never mind.

Speaker 16 (02:13:12):
Are you feeling better these days?

Speaker 21 (02:13:15):
Yes, yes, I'm feeling much better.

Speaker 29 (02:13:26):
Of course.

Speaker 49 (02:13:26):
I told the druggists they were for you, Darling. I
thought they'd be easier to get that way.

Speaker 21 (02:13:31):
Oh, then you really bought them for yourself?

Speaker 73 (02:13:32):
Yes, I guess I've been doing too much reading lately,
just haven't been able to sleep so well, Philip.

Speaker 72 (02:13:39):
What do you mean easier to get? It's only a
mild sedative. Anyone can buy that medicine.

Speaker 49 (02:13:45):
Well, I just did want a lot of people gossiping
about me.

Speaker 73 (02:13:48):
Why it makes such a big issue out of it, Elizabeth,
Why else would I have told the druggists.

Speaker 77 (02:13:53):
That is that you?

Speaker 21 (02:14:01):
Flora?

Speaker 23 (02:14:01):
Yes, it's me, all right, it's me.

Speaker 21 (02:14:04):
You get all the groceries for dinner tonight?

Speaker 2 (02:14:06):
Yes, I got everything.

Speaker 72 (02:14:07):
Oh, I want everything to be just right. It's quite
a celebration, you know. Just six months ago today I
met Philip. What's the matter, Flora?

Speaker 2 (02:14:17):
You feel all right, don't you?

Speaker 21 (02:14:21):
Of course I feel fun more.

Speaker 74 (02:14:24):
People stop me on the street to tell me how
sorry they are your feelings are bad, and they hope
you'll be better soon.

Speaker 21 (02:14:30):
Well, I don't understand better. I don't understand it at all.
I'll get the fun.

Speaker 2 (02:14:36):
Hello.

Speaker 21 (02:14:36):
Hello, Yes, this is mister Oh, yes, mister ROSSI are
the cakes for the night ready?

Speaker 7 (02:14:44):
Yet?

Speaker 29 (02:14:44):
What's that?

Speaker 16 (02:14:45):
What's the matter with you, missus Bailey?

Speaker 21 (02:14:48):
I beg your pardon.

Speaker 16 (02:14:49):
Less than a one hour?

Speaker 40 (02:14:50):
I go.

Speaker 78 (02:14:51):
Your husband come by to told me to candle the order.
You're too shake for the party tonight, I say, less
than one hour.

Speaker 64 (02:14:58):
I go.

Speaker 21 (02:15:00):
I heard what you said, mister Rossie. What did you call?

Speaker 8 (02:15:04):
Well?

Speaker 16 (02:15:04):
I forget to tell your husband.

Speaker 78 (02:15:07):
I think you should pay for the cakes anyhow. I
make them a speciality for you. I'm not going to
sell them to anyone else to then by.

Speaker 72 (02:15:14):
Tomorrow they well, will you hold a lot a minute?
I want to talk to my husband about this. He's
in his study, sure too sick for the party tonight?
Why is Philip saying such things?

Speaker 21 (02:15:27):
Why is he? I must see you right away, Philip.

Speaker 73 (02:15:30):
I'm coming in many times not to come into my study,
but I want to ask, am I being too presumptuous
and wanting a place where I can read and think
in privacy.

Speaker 21 (02:15:39):
Philip, I didn't mean to disturb you.

Speaker 72 (02:15:40):
But mister Rossie, the baker who was supposed to have
prepared our cakes for me, he called, saying, you cancel
the order because I wasn't well.

Speaker 49 (02:15:50):
Oh yeah, yeah. I told him not to bother you.

Speaker 73 (02:15:53):
I'm tired of all these parties.

Speaker 49 (02:15:56):
I want time to read and be alone.

Speaker 73 (02:15:57):
Elizabeth, I couldn't tell him that was the reason for
the cancelation, so I said you were ill.

Speaker 49 (02:16:03):
I meant to explain it slipped my mind. Is that
so terrible?

Speaker 78 (02:16:08):
No?

Speaker 21 (02:16:10):
No, I suppose not.

Speaker 49 (02:16:13):
Why else would I have told the baker that, Elizabeth.

Speaker 21 (02:16:19):
No, Anne, I'm not really sick. Who told you I was?

Speaker 72 (02:16:23):
Mister Rossi, well, I'm perfectly all right, just a little
tired maybe, But Francis, I'm all right, Really I am.
I know I know what Anne said, but it's just
my nerves, that's all.

Speaker 21 (02:16:40):
No, Francis is wrong. I'm not ill. I'm just tired,
that's all.

Speaker 2 (02:16:44):
Grace. Well, I may not.

Speaker 21 (02:16:46):
Sound too well, but I assure you, I assure you I.

Speaker 2 (02:16:48):
Am all right.

Speaker 21 (02:16:50):
Yes, I'll take it easy. Yes, I promise, I promise.

Speaker 2 (02:17:00):
What is that husband of yours trying to do?

Speaker 16 (02:17:02):
Elizabeth?

Speaker 31 (02:17:03):
Why?

Speaker 21 (02:17:03):
What do you mean, Flora?

Speaker 16 (02:17:05):
You know what he told me this morning?

Speaker 74 (02:17:07):
What he told me to throw your sleeping pills in
the furnace.

Speaker 21 (02:17:12):
But there never were mine. He bought them for himself.

Speaker 72 (02:17:16):
I've just been taking him for the last few nights
because all this talk about my health has made me
so upset.

Speaker 51 (02:17:21):
I know that.

Speaker 23 (02:17:22):
But do you know why he wanted me to throw
away the pills?

Speaker 29 (02:17:27):
Why?

Speaker 23 (02:17:29):
Because, according to.

Speaker 74 (02:17:30):
Him, he was afraid you were thinking of committing suicide.

Speaker 49 (02:17:36):
You can pack up your clothes, floora get out of
this house.

Speaker 2 (02:17:38):
You'd like that, wouldn't you.

Speaker 74 (02:17:39):
Well I'm not getting out of this house.

Speaker 21 (02:17:41):
Mighty, Hi, mighty, I say, Flora, go into the kitchen please.

Speaker 2 (02:17:47):
I want to talk to mister Daniel.

Speaker 21 (02:17:50):
Flora, please do as I say.

Speaker 2 (02:17:52):
Go into the kitchen the day when he came to
this house.

Speaker 25 (02:17:54):
That's all I can say.

Speaker 49 (02:17:56):
She'll have to leave, Darling. I won't allow her to
upset your.

Speaker 21 (02:17:58):
She is not upsetting me, Philip. I'm perfectly all right.

Speaker 16 (02:18:01):
Well, of course you are, but you should rest more.

Speaker 49 (02:18:04):
You shouldn't allow yourself to become so excited.

Speaker 72 (02:18:07):
So much has happened that I can't understand why everyone
in town seems.

Speaker 21 (02:18:10):
To think that I'm practically.

Speaker 23 (02:18:13):
Practically on the verge of suicide.

Speaker 73 (02:18:15):
Elizabeth, what are you saying? You mustn't even think it's true.
It's that woman who upsets you with her lie. She's
got to leave this house, Elizabeth.

Speaker 21 (02:18:22):
Flora lived in this house even before I did.

Speaker 16 (02:18:24):
Philip.

Speaker 2 (02:18:26):
I can't tell her to leave, and my wishes mean nothing.

Speaker 49 (02:18:30):
Oh it's not that I know the mind and how
it works. I know it far better than your doctor's.

Speaker 73 (02:18:35):
I know you're in peril, that you need rest and quiet,
and I won't allow this fish wife to fill your
brain with poison.

Speaker 49 (02:18:41):
You must make a goal, Elizabeth. No, I see you
imagine that she is your wall against all evil? Is
that it, Elizabeth?

Speaker 21 (02:18:53):
Perhaps she is?

Speaker 30 (02:18:54):
Philip?

Speaker 49 (02:18:54):
Well, I think you need a lesson.

Speaker 72 (02:19:03):
I spent the rest of the day in my room.
I was so confused. I didn't know where to turn.
What had happened to me, to Philip, to our marriage?

Speaker 7 (02:19:14):
What was going on?

Speaker 72 (02:19:17):
Come in, oh, Flora, I meant to come down and
see you. I'm sorry about what happened this afternoon? Philip
didn't mean half of what he said.

Speaker 21 (02:19:32):
Flora, what's wrong? You looks so strange? Flora answered me?

Speaker 2 (02:19:40):
What's wrong? Flora?

Speaker 25 (02:19:43):
Talked to me?

Speaker 23 (02:19:44):
Flora?

Speaker 36 (02:19:44):
What are you going to do?

Speaker 21 (02:19:48):
You slapped me? Have you come crazy?

Speaker 23 (02:19:53):
Flora?

Speaker 21 (02:19:54):
Come back here, Flora? Why did you do this to me?
Speak to me?

Speaker 25 (02:19:58):
Why did you do this to me?

Speaker 21 (02:19:59):
Flora?

Speaker 25 (02:20:00):
Ah, all right?

Speaker 21 (02:20:07):
I was stunned.

Speaker 72 (02:20:10):
I couldn't believe what had happened. But I could still
feel the sting of her hand. Why had she done
this to me? After a while, I found enough courage
to go looking for her. She was in the kitchen
preparing suppers. Then nothing had happened. She looked up when
I entered. Hello, Elizabeth, you look tired, Dear Flora.

Speaker 21 (02:20:30):
Why did you do it?

Speaker 28 (02:20:32):
You mean, tell that husband of yours what I thought
of him?

Speaker 21 (02:20:34):
I just as not what I mean? Why did you
come to my room and come to your room?

Speaker 16 (02:20:41):
What are you talking about?

Speaker 74 (02:20:42):
I've been down in this kitchen all afternoon preparing supper.

Speaker 21 (02:20:46):
You're lying, Flora?

Speaker 50 (02:20:48):
Now?

Speaker 2 (02:20:49):
Why should I lie?

Speaker 33 (02:20:51):
Honey?

Speaker 2 (02:20:52):
What's wrong with you?

Speaker 74 (02:20:53):
The only time I left this kitchen was when mister
Bailey called me in the library to apologize for the
way he talked.

Speaker 2 (02:21:00):
I took his apology with a grain of salt.

Speaker 72 (02:21:02):
I can tell you then you werened in to see
me this afternoon. No, Flora telephoned doctor Davis. Tell him
I must say him right away. Then I want you
to go over to your sister's house.

Speaker 8 (02:21:14):
Stay there.

Speaker 2 (02:21:15):
I call you.

Speaker 18 (02:21:24):
And when Flora came into your room, how did she look, Elizabeth?

Speaker 21 (02:21:27):
Well, I didn't realize it at the time, doctor Davis,
but she walked as though in her sleep.

Speaker 18 (02:21:34):
And she told you that she was with your husband
before this happened. Yes, then, under the circumstances, i'd say
Flora was walking in her sleep, a hypnotic sleep.

Speaker 21 (02:21:45):
Hypnotic sleep.

Speaker 18 (02:21:46):
I never mentioned this to you, Elizabeth, But when I
first met your husband, I discovered he was a firm
believer in hypnosis.

Speaker 21 (02:21:52):
But but what has Philip to gain by doing that
to Flora?

Speaker 18 (02:22:00):
You go toed him into his little display of hypnotic power.
The real question is what would he gain by doing
that same thing to you?

Speaker 72 (02:22:08):
Nothing at all. He couldn't touch my money, if that's
what you mean. He just about have to talk me
into killing myself.

Speaker 12 (02:22:20):
Doctor.

Speaker 72 (02:22:20):
Yes, this morning, he told Flora he was afraid I
was going to commit suicide.

Speaker 21 (02:22:26):
He started talking Tom that I'm moody and nervous, and he.

Speaker 18 (02:22:30):
Pardon me, Yes, nurse, what is it?

Speaker 9 (02:22:33):
Mister Bailey is in the waiting room?

Speaker 18 (02:22:35):
Oh, doctor, what does he want?

Speaker 79 (02:22:37):
Oh?

Speaker 2 (02:22:37):
He just wants to know when missus Bailey will be
ready to go home.

Speaker 4 (02:22:40):
He stopped by to pick her up.

Speaker 18 (02:22:41):
Doctor, send mister Bailey in.

Speaker 21 (02:22:44):
Yes, I don't want to see him. I never want
to see him again.

Speaker 16 (02:22:48):
What's happened on?

Speaker 18 (02:22:49):
Your wife fell ill? So she came to see me?
Mister Bailey, Well it is wrong. Let's not waste time.
There's a train leaving here for the East at six o'clock.
That's just thirty minutes from now. You'd better buy a
ticket for that train.

Speaker 30 (02:22:59):
Listeners, what's he talking about?

Speaker 49 (02:23:00):
I don't understand.

Speaker 18 (02:23:01):
I'll help you to understand. Your wife is afraid that
you're trying to make a commit suicide. If everything else fails,
you'll use your knowledge of hypnosis to accomplish her death,
just as you used it on Flora this afternoon. Now,
maybe I don't have enough evidence to accuse you of
trying to kill her. But if you're not on that
six o'clock train, I'll talk to the district attorney.

Speaker 30 (02:23:20):
Do you believe this, Elizabeth?

Speaker 14 (02:23:23):
Yes?

Speaker 49 (02:23:24):
Do you want me to leave?

Speaker 30 (02:23:27):
Yes?

Speaker 49 (02:23:29):
All right, I'll go. I'll why are you lady? You
can send my things on to me.

Speaker 30 (02:23:35):
Goodbye.

Speaker 72 (02:23:36):
List Later, I drove with doctor Davis to the railway station,
and from the parked car, I watched Philip emerge from
the station carrying a suitcase and board the waiting train.
I waited until the train was gone, and then I

(02:23:57):
telephoned Flora. Or he's gone, He's gone.

Speaker 23 (02:24:01):
For good rubbish, I say, I'll go right over to
the house.

Speaker 72 (02:24:05):
No, Flora, No, you stay with your sister tonight. I
I'd rather be alone, just.

Speaker 80 (02:24:11):
For the night.

Speaker 3 (02:24:12):
Maybe that's a good idea.

Speaker 9 (02:24:14):
My sister and I were planning to go to the movie.

Speaker 3 (02:24:17):
Well, you'll call me in the morning, won't you.

Speaker 72 (02:24:19):
Yes, Flora, I'll call you afterwards. I had a good dinner,
went to a picture show. It was during this show
that I started getting the strangest feeling, almost a premonition.

Speaker 21 (02:24:38):
I couldn't understand it.

Speaker 72 (02:24:40):
I thought, perhaps it was just the darkness of the
theater and the natural reaction of everything that had happened today.
I left the theater and wandered around the streets, trying
to find a reason for not going home.

Speaker 21 (02:24:51):
What was wrong with me?

Speaker 2 (02:24:52):
What was I afraid of?

Speaker 21 (02:24:53):
And then, for no reason that I can explain, I
call the railroad station. Hello, I'd like to inquire about
the six pm train please tomorrow night. No, no, the
one that left to night.

Speaker 4 (02:25:07):
Guess what about it?

Speaker 72 (02:25:08):
Well, there hasn't been any trouble with it, has there?
I mean, it wasn't delayed any place along the line
or anything like that.

Speaker 4 (02:25:16):
Oh no, of course not that trains four hundred miles.

Speaker 72 (02:25:19):
From here by now, thank you, thank you very much.
Now that was a silly thing to do. And then
I did something even more silly. I dove my own number.

Speaker 21 (02:25:37):
What was wrong with me?

Speaker 72 (02:25:39):
Who did I expect to answer the phone in that
empty house? After a while, I hung up. Then I
went outside and took a cab home. I just couldn't.

(02:26:01):
I sat up in bed and turned on the lamp.
The clock said one thirty five. Perhaps a glass of
warm milk would help me relax. I started for the
kitchen to prepare it. When I passed Philip's study. I
saw the door was half open. Oh, it gave me
a start. I heard over and turned on the light.
Study was empty, of course, but all his books were

(02:26:23):
still there. Then I went to the kitchen.

Speaker 21 (02:26:26):
I prepared the warm milk, and I took it back
to my room with me. But the milk didn't help
it all. I couldn't sleep.

Speaker 72 (02:26:32):
I thought of calling Flora, but I couldn't disturb her
at this time of night. And then a tiny feeling
started growing in me, as faint as the ticking of
a watch. I wanted to go back to Philip's study.

(02:26:53):
The feeling grew gnawing at me. I wanted to go
back to Philip's study. Finally, I couldn't stand it any longer.
I got from my bed and put on my robe
and started down the hall. I opened his door again
and snapped on the light. I told myself the reason
I had come here was to decide what i'd do
with this room. I'd destroy every evidence he had ever

(02:27:14):
lived here. I'd throw out the bookcases and paper the walls,
and change the curtains. How I went over to his desk.
In the top drawer, I found a packet of papers,
letters from Martha's first wife, their marriage license.

Speaker 21 (02:27:29):
Here was her death certificate.

Speaker 72 (02:27:32):
Martha Ellen Bailey died August twenty third, nineteen forty four,
aged twenty five. Cause of death suicide, But she told
me she died of pneumonia.

Speaker 76 (02:27:49):
No, Martha killed herself, Elizabeth. Yes, she killed herself, poor dear,
and she was so young.

Speaker 21 (02:28:00):
I I saw you get on a train.

Speaker 30 (02:28:05):
The train makes so many stops, Elizabeth.

Speaker 21 (02:28:09):
What are you going to do?

Speaker 30 (02:28:10):
Nothing? Not a thing.

Speaker 76 (02:28:13):
But I rather imagine your doctor Davis will be sorry
when he finds out that, in spite of my going
you killed Jesse. But then again, perhaps you'll think you
killed yourself because of.

Speaker 30 (02:28:25):
My going out of love, My darling, why are you
doing this? There are many reasons.

Speaker 76 (02:28:34):
The one that you would understand concerns your money, of course,
the fact that it becomes all mine upon your death.

Speaker 30 (02:28:43):
Elizabeth, Way, you'll not run away.

Speaker 7 (02:28:48):
You'll not run.

Speaker 30 (02:28:51):
Look at Elizabeth, look at me.

Speaker 8 (02:28:55):
You not run.

Speaker 30 (02:28:59):
You not run away, Elizabeth.

Speaker 81 (02:29:03):
You stay here because you want to stay. You want
to stay, Elizabeth. You don't want to run away. You
want to stay with me. You want to stay with me.

Speaker 30 (02:29:22):
Listen, you want to stay with me. You see, I'll
let you go.

Speaker 76 (02:29:35):
You could run away if you wanted to, but you
no longer desire to run away.

Speaker 82 (02:29:41):
You want to stay with me. I you want to
stay with me. Isn't that right, Elizabeth?

Speaker 21 (02:29:56):
Yes, I want to stay with you.

Speaker 30 (02:30:01):
Of course you do. You love me very much.

Speaker 83 (02:30:07):
You believe in me, Isn't that right, Elizabeth? I believe
in you, Philip, Elizabeth. This afternoon you told me to
go away, that you no longer love me.

Speaker 30 (02:30:25):
No kiss me, Elizabeth.

Speaker 76 (02:30:33):
H You see, there are no magic words, no secret formula,
merely my mind imposing its will upon yours.

Speaker 30 (02:30:45):
Elizabeth. In the bottom drawer of my desk, you'll find
a gun.

Speaker 29 (02:30:53):
Get that gun.

Speaker 20 (02:31:01):
That's right.

Speaker 84 (02:31:03):
Now, come back here to me and give me that gun.
You do these things because my mind is stronger than yours.

Speaker 30 (02:31:17):
Elizabeth.

Speaker 76 (02:31:19):
You would stand here and you would let me kill
you if I wanted to, wouldn't you, Elizabeth?

Speaker 21 (02:31:28):
I would stand here and let you kill me.

Speaker 30 (02:31:32):
I do not want to kill you. You take the gun, Elizabeth,
that's right. You take the gun.

Speaker 76 (02:31:38):
They'll find your fingers stiffened around the trigger. And I'll
return to the town I left, and in the morning
someone will call me and tell me you killed yourself
because I left you, and I will be very unhappy.
Take the gun and turn the bell to your heart, Elizabeth, God,

(02:32:03):
turn it to your.

Speaker 30 (02:32:04):
Heart, not to me, Elizabeth Hlize.

Speaker 72 (02:32:19):
Some one heard the shots and found me standing over
Philip's body. I explained that Philip had hypnotized me. There
was no trouble at all, not even a trial, because
no one is responsible for their actions and a hypnotic state.
And since then everyone has been so nice to me,
Doctor Davis, Flora, my friends, Everyone's been so helpful and understanding,

(02:32:43):
and I am very grateful.

Speaker 21 (02:32:47):
But still I find it so hard to sleep, because always,
I wonder, does everybody truly believe that when I killed
Philip I was actually hypnotized.

Speaker 71 (02:33:16):
Yes, Elizabeth has trouble sleeping, and when she finally falls asleep,
her dreams are far worse than any insomnia, because no
matter how many times she tells herself that Philip deserved
to die, she still remains a victim of her own guilt.
Maybe we've found our moral that deep within each of
us is a pathetic longing to do only good in

(02:33:39):
this fleeting life, and that no matter how we may
ridicule this longing, no matter how we may rebel against it,
no matter how it annoys us in this sophisticated world,
the goodness remains to torture us when we do evil,
and to always remind us that we are more than
we seem to be, that perhaps we might even be
the children of God. And if that thought embarrasses you, well,

(02:34:04):
I'd rather imagine there are times when it also embarrasses him.

Speaker 12 (02:34:09):
Good Night, folks, See you next week.

Speaker 70 (02:34:26):
Listen next week for another dark venture with John Newland.
Featured in tonight's story was John Banks as Elizabeth. The
others in the cast were Janet Scott, Bonnie Phillips, Jack Petruzzie,
and Hans Conrad is Philip.

Speaker 85 (02:34:48):
No we circle in this day by the restless scene.
We are met to call from out the past, stories
strange and weird.

Speaker 8 (02:35:10):
Bell.

Speaker 85 (02:35:10):
Keeper, pull the bell so all may know. We are
gathered again in the weird circle, out of the.

Speaker 86 (02:35:54):
Past, phantoms of a world gone by, speak again the
immortal tale.

Speaker 15 (02:36:01):
The wooden ghosts.

Speaker 20 (02:36:12):
Bring her down.

Speaker 3 (02:36:13):
Look yonder on the road.

Speaker 4 (02:36:15):
What is it?

Speaker 20 (02:36:15):
Fandril? A man hearing us to stop? What shall I do?
Where I don't see a thing but darkness.

Speaker 3 (02:36:23):
He may be a highwayman.

Speaker 20 (02:36:24):
You have your pistol. Oh, yes, I see him. Now
stop the carriage man. Trill man may need help. Now
where did he go? Fandril? Can you see him from
your box? Up there?

Speaker 3 (02:36:38):
Woman her?

Speaker 7 (02:36:39):
He disappeared?

Speaker 3 (02:36:41):
Oh, look me and her down there in the shadows
beside the road, a.

Speaker 20 (02:36:46):
Tall man in a cape and white brimmed hat. Fandril,
drive on.

Speaker 3 (02:36:53):
Oh the rains being her? Now what shall I do?

Speaker 20 (02:36:57):
He's coming toward the carriage Frontril?

Speaker 29 (02:37:00):
Wait?

Speaker 63 (02:37:07):
Are you mainhair? Gerard d'au?

Speaker 20 (02:37:11):
I am what do you want?

Speaker 87 (02:37:14):
I have been waiting until your return from Rotterdam. You
are the uncle and guardian of Rose folderkaust I believe, yes, yes,
I am to night, but the clock of the statters.
I will call at your studio in Leiden to see
you on an urgent matter.

Speaker 20 (02:37:32):
Yes, but what urgent matter?

Speaker 19 (02:37:35):
Is it?

Speaker 20 (02:37:35):
Mineher?

Speaker 87 (02:37:36):
I will tell you of it. Then here is my card.
Expect me at seven. Good evening to you. Good evening.

Speaker 20 (02:37:49):
Been heard out? What kind of a man is he?
I could not see his face, nor could I vantrial.
It was as if he had no face. Oh, the
saints protect us. Drive away from here as fast as
you can't.

Speaker 77 (02:38:10):
And I'd admit your good uncle's the best teacher in
holland that, without a shadow of doubt, I am his
most promising student. But I can't understand how you rose.
Felderkaust can expect anybody to paint a portrait of a
man without a face.

Speaker 27 (02:38:23):
But Godfrey, I told you I've never seen his face.

Speaker 77 (02:38:26):
Well then, when did you first meet him?

Speaker 27 (02:38:27):
Oh long ago, when I was a little girl and
Uncle Gerard and I lived in Rotterdam. One day we
went for a long walk outside the city and ate
our lunch on the steps of an ancient house that's
fallen to ruin. The statue was there, life size in
a niche in one of the worlds. It was carved
of wood. Since that time, I beaved him him every birthday?

Speaker 77 (02:38:47):
You mean all this is a dream.

Speaker 27 (02:38:50):
Of course you didn't think he was real, did you?

Speaker 77 (02:38:52):
All the saints preservers, he's a dream. Of course I
thought it was real from the way you spoke of him.

Speaker 27 (02:38:57):
Well, perhaps he is, after all, How else did the
old coins appear so mysteriously on my dresser every birthday?

Speaker 77 (02:39:03):
Why he rose, my darling, I really think you believe
in this dream ghost or whatever you call him.

Speaker 27 (02:39:09):
He wishes me well, he looks over me, brings good luck.
Why shouldn't I believe in him?

Speaker 77 (02:39:13):
Of course you should if you want to, Rose.

Speaker 27 (02:39:16):
Where are you here, uncle Gerard? With Godfrey in the studio?

Speaker 4 (02:39:20):
Oh?

Speaker 77 (02:39:20):
I thought he wasn't returning till late tonight. Something must
have happened.

Speaker 20 (02:39:23):
Oh dear, what a trip. Two hours of being bounced
and jostled in one of Andrea's infernal carriages. I'll never
rint another one from him.

Speaker 27 (02:39:32):
Never was it so bad, Uncle Gerard? You do look tired?

Speaker 4 (02:39:36):
I do?

Speaker 29 (02:39:37):
Do? I?

Speaker 20 (02:39:38):
Well?

Speaker 17 (02:39:38):
I am?

Speaker 4 (02:39:39):
Now?

Speaker 20 (02:39:40):
Where's your new frock?

Speaker 16 (02:39:41):
Go?

Speaker 20 (02:39:42):
Put on your new frock? Rose look pretty for Godfrey
and for me this evening.

Speaker 27 (02:39:46):
But I was planning to wear it tomorrow on my birthday.

Speaker 20 (02:39:49):
Girl should always look pretty birthday or not? You run
along roads? Put it on all right?

Speaker 27 (02:39:55):
If you say so? Do you know we'll be ready
before long?

Speaker 20 (02:39:59):
There she's gone, Godfrey. The most extraordinary thing happened to
me on the road to Rotterdam just a little while ago.
Oh what time is it now?

Speaker 77 (02:40:09):
Oh a little before seven?

Speaker 20 (02:40:11):
Oh we've made it, And to drive like fury. But
We've made it. Godfrey, listen and I'll tell you what happened.
Then he walked away quickly into the darkness. I tell you,
my boy, the hare's on my head. Oh there's the

(02:40:32):
Studhurst clock. Godfrey, don't leave me. You stay here face
him with me.

Speaker 63 (02:40:37):
Of course I will, sir.

Speaker 77 (02:40:38):
Oh but the card?

Speaker 12 (02:40:39):
What does the card?

Speaker 20 (02:40:40):
See read? For yourself? You'd better turn up the lamp.

Speaker 3 (02:40:43):
A little lizard.

Speaker 12 (02:40:45):
How strange?

Speaker 77 (02:40:46):
Rissel Vandersen, Rotterdam Manor House of the boom Quay.

Speaker 87 (02:40:52):
Gentlemen, how do you do? Did I startle you? I
am sorry?

Speaker 63 (02:41:01):
My appointment was for seven, I believe.

Speaker 20 (02:41:04):
Yes, of course it was for seven. Come in, sir,
Welcome to my house.

Speaker 87 (02:41:11):
Thank you, But I can stay only a few minutes.
This young man, oh, forgive me.

Speaker 20 (02:41:17):
He is Godfrey Shulcan, a student of mine.

Speaker 63 (02:41:20):
Is he to be trusted?

Speaker 2 (02:41:21):
Trust in?

Speaker 20 (02:41:22):
Indeed he's a friend as well as a pupil.

Speaker 87 (02:41:25):
Then perhaps he will do an errand for us a
matter of fetching a box from my carriage if manha
Da wishes me to, indeed.

Speaker 20 (02:41:33):
I do, Godfrey, our visitor's wish is mine.

Speaker 87 (02:41:36):
It's a small box resting on the carriage floor. Will
you bring it to us?

Speaker 12 (02:41:42):
Why, I'll be happy to do so, sir.

Speaker 20 (02:41:45):
Now what can I do for you?

Speaker 53 (02:41:48):
Sir?

Speaker 87 (02:41:49):
You are the guardian of Rose Felderkaust. I believe she
is your ward.

Speaker 28 (02:41:54):
Yes, that's right.

Speaker 87 (02:41:56):
I am prepared to offer her five times the future.
She has a right to expect from her husband.

Speaker 20 (02:42:02):
Will you are asking for the hand of my niece.
I don't believe she's acquainted with you, but it is
a tempting offer from so fine a gentleman as you.

Speaker 87 (02:42:14):
Then it is only necessary to sign the engagement. I
have the paper with me, But.

Speaker 20 (02:42:19):
Under the circumstances, well, I I think it best to
consult with my niece about such unexpected business.

Speaker 87 (02:42:27):
As you wish after the engagement is signed.

Speaker 63 (02:42:31):
Here there's ink and quill on the table.

Speaker 20 (02:42:34):
But let me call my niece.

Speaker 63 (02:42:35):
You are not content.

Speaker 20 (02:42:37):
Another day, sir, when I know my words inclination.

Speaker 63 (02:42:40):
Time is too precious, not another hour.

Speaker 20 (02:42:42):
But I do not know.

Speaker 87 (02:42:44):
If you write your name to the engagement.

Speaker 20 (02:42:48):
Yes, as you say, there.

Speaker 29 (02:43:00):
It is done.

Speaker 87 (02:43:02):
Speak of this to your ward when I am gone,
Tell how the time has come. Tell her she need
have no fear that with me she will be safe
from harm forever. Say I will return during the first
hour of her eighteenth year. Tell her roseal van der
Herzen will watch over her as he has done from

(02:43:22):
the moment she was born.

Speaker 20 (02:43:24):
Yes, I will tell her what you say.

Speaker 3 (02:43:27):
Here is the box.

Speaker 77 (02:43:28):
It is as heavy as a block of lead.

Speaker 87 (02:43:30):
Now it is in your hands made hair dau assurance
of my promise.

Speaker 8 (02:43:36):
Good night?

Speaker 20 (02:43:37):
But must you go, really, my niece?

Speaker 63 (02:43:39):
Tell her I will return.

Speaker 30 (02:43:42):
Good night?

Speaker 12 (02:43:44):
Then, har da you you've gone white with fear?

Speaker 77 (02:43:47):
What did that man say to all the saints?

Speaker 20 (02:43:49):
Forgive me, Godfrey for what I've done?

Speaker 8 (02:43:50):
What do you mean?

Speaker 16 (02:43:51):
So?

Speaker 77 (02:43:51):
What happened?

Speaker 20 (02:43:52):
He took the paper with him, Godfrey, call Rose to
us quickly.

Speaker 27 (02:43:56):
Here I am uncle Gerrard. All got up in my
newest crop. I even h my cheeks to make them rosy.
Now do I please you both?

Speaker 20 (02:44:03):
Rose, my child, I've done a terrible thing.

Speaker 64 (02:44:06):
What is it?

Speaker 27 (02:44:07):
What happened? Godfrey?

Speaker 77 (02:44:08):
Your uncle had a visitor named Roussel Vanderhusen.

Speaker 23 (02:44:11):
What Russ?

Speaker 20 (02:44:13):
Such a man was here and demanded that I signed
the paper an engagement in marriage for you Rose. And
this this man who says you are acquainted with him,
that you'd welcome his proposal and engagement paper.

Speaker 77 (02:44:26):
Rose. Did you know anything about this?

Speaker 27 (02:44:27):
No, of course I didn't. Rusal isn't a real person.

Speaker 77 (02:44:31):
He was quite real to your untle and me. Look
what he left A box full of gold, ancient gold coins.

Speaker 27 (02:44:36):
Goldy, then it's true he Israel. It's my birthday gold. Godfrey,
don't you see men head?

Speaker 20 (02:44:44):
Now let me have that cause, yes, of course, my boy.
Here here it is.

Speaker 77 (02:44:46):
I'm going to find out what this is all about.

Speaker 8 (02:44:48):
Before it's too late.

Speaker 20 (02:44:49):
Godfrey, where are you going to Rotterdam?

Speaker 77 (02:44:50):
That's where I'm going to look up this Russell vander
Hewson at the manor house of the boom Quay wherever
that is, and bring back the engagement for Godfrey.

Speaker 27 (02:44:57):
Wait, oh, what is he doing? Uncle Rod? Stop him?

Speaker 20 (02:45:01):
No, no, no, no, my child, let him go. I
for one will welcome information about this stranger.

Speaker 27 (02:45:07):
But didn't this man say who he was? Didn't he
ask to see me?

Speaker 20 (02:45:11):
No, my dear, And he was gone almost before we
knew it. He did say one thing, though, He said
to tell you that you need have no fear that
he'd returned during the first hour of your eighteenth year.

Speaker 27 (02:45:24):
The first hour then that's tonight, five hours from now,
Uncle Gerard. Tonight rose felt the cowst Oh, oh, who

(02:45:45):
is that in the garden?

Speaker 16 (02:45:47):
It is?

Speaker 87 (02:45:47):
I come to you as I said I would you.
You are rousel, of course, don't you recognize me?

Speaker 27 (02:45:58):
Yes, the wide hat, a long cape, just as I
used to dream of you on nights before my birthdays.
But I don't understand I I thought you were a.

Speaker 87 (02:46:09):
Recurring dream, and so I have been till now.

Speaker 27 (02:46:14):
My my uncle Gerard waits for you in his study,
and I was waiting here in the garden until he
called me in. You didn't see him.

Speaker 87 (02:46:22):
We have nothing to say to one another. You and
I will set the marriage time I come. We have
much to say.

Speaker 27 (02:46:31):
I'm afraid minehere.

Speaker 63 (02:46:33):
The fear will go take my hand.

Speaker 87 (02:46:37):
I cannot leave the garden, but there is much I
would show you, And at last the time is now.
It has been too long. My carriage waits on the street.

Speaker 27 (02:46:49):
Will you take me away?

Speaker 80 (02:46:52):
Only to show you wonders, to have you say you'll
love me with an understanding heart. Come here is the garden.

Speaker 3 (02:47:03):
Gate man he now where are you?

Speaker 20 (02:47:28):
Oh Godfrey? Oh it's you, Oh, thank heaven, you've come.
The Saints preserves. My boy, we are dealing with the demon.

Speaker 36 (02:47:36):
My boy Rose?

Speaker 20 (02:47:37):
Where is she gone? Gone into the night with that demon? Stranger?

Speaker 19 (02:47:41):
Where?

Speaker 20 (02:47:41):
Why didn't you stop?

Speaker 3 (02:47:42):
Oh?

Speaker 20 (02:47:42):
I'm an old man. I cannot stand this harrowing business.
He returned a short while ago, just after midnight, And
then I thought I took precaution. Rose was in the
garden and I waited here for his knock on the door,
but he didn't come. And when I chanced to look out,
he was helping Rose into a carriage, and in a
moment they were gone.

Speaker 77 (02:48:01):
Which road did they take to Rotterdam?

Speaker 20 (02:48:03):
You must have passed them, surely, Yes, it.

Speaker 77 (02:48:05):
Was one of Hudria's rented characters speeding along the road.

Speaker 20 (02:48:08):
What will we do? Where is he taken to Rotterdam?
No doubt to any visited to juris houses.

Speaker 77 (02:48:12):
Now this man has no houses in Rotterdam. There is
no such place as the boom Key. What do you
why them must it doesn't exist, I tell you. But
what I did find out is enough to make your
heart stand still?

Speaker 20 (02:48:23):
What, my boy, what did you find out?

Speaker 77 (02:48:25):
The manorial records do list of vander Hersens giving their residence?
Is the manor house of the boom Quy. But here
is for vander Hersen has been dead for three centuries
and the line ended when he died.

Speaker 4 (02:48:37):
Man head.

Speaker 77 (02:48:38):
Now Rose is engaged in marriage to a dead man.

Speaker 20 (02:49:11):
What, my boy? What did you find out?

Speaker 77 (02:49:13):
The manorial records duel list of Vanderhusens giving their residence
as the manor house of the boom Quay. But rules
will find a Heerdson has been dead for three centuries
and the line ended when he died.

Speaker 88 (02:49:23):
Benhadaw.

Speaker 77 (02:49:25):
Rose is engaged in marriage to a dead man.

Speaker 20 (02:49:29):
A dead man. But Godfrey, he was real, He was
no ghost.

Speaker 77 (02:49:33):
How can you know that minhadou touas he appeared to
be nothing more than a large hat and a flowing
black cape. What is underneath them? A man or an
invisible being?

Speaker 20 (02:49:42):
And the gold? Godfrey? The coins are ancient ones antiques.
Even the dates you see more than three centuries back.

Speaker 77 (02:49:50):
Is a peril too. He wore a costume out of
the past.

Speaker 20 (02:49:53):
What shall we do? How do you look for a ghost?

Speaker 77 (02:49:57):
I don't know, but we must find them.

Speaker 20 (02:50:00):
Rose, What can this general sympathy be? This bound to
be more to this than we could possibly know?

Speaker 77 (02:50:06):
Menhado The carriage it was one of Andanrida's. I know
it was, and this stranger must have rented it. Put
on your coat. We're going to find roads.

Speaker 20 (02:50:14):
How my boy, what do you intend to do?

Speaker 77 (02:50:16):
Andrea will tell us where he was directed to go.
If somewhere there exists a ghost world belonging to this
dead man, we'll find it, even if it's beyond the
common strength of man to do so. Andreal drive as
fast as the darkness will allow you. Are you sure
you can find the place?

Speaker 56 (02:50:35):
I think I can.

Speaker 89 (02:50:37):
It was some miles this side of Roberda, by a
little road to right, next to a canal.

Speaker 20 (02:50:41):
And Patril, did they just disembark in this deserted place
on the road?

Speaker 89 (02:50:46):
That's right, he said, Drive until I saw two men
standing the one side of.

Speaker 77 (02:50:51):
The highway, but handrel When did the stranger hire your carriage?

Speaker 20 (02:50:56):
A little before midtime? I heard a loud knock on
my door.

Speaker 3 (02:51:00):
When I opened it, very storch.

Speaker 20 (02:51:02):
What did he say?

Speaker 89 (02:51:03):
Said he wanted to hire a carriage and offered me
a whole sack of coal. Naturally I couldn't refuse that,
even if it were a funny time of night.

Speaker 19 (02:51:17):
Set.

Speaker 8 (02:51:17):
He beat me in.

Speaker 89 (02:51:18):
Front of your house may head out, and you waited
there until he came out of your garden gate with
your niece.

Speaker 77 (02:51:25):
So he told you then to drive toward Rotterdam until
you saw these men waiting on the side of the road.

Speaker 18 (02:51:31):
What were they like?

Speaker 8 (02:51:32):
I really couldn't say, sir.

Speaker 20 (02:51:34):
I mean it was very dark. I could only catch
a glimpse down.

Speaker 7 (02:51:38):
None of the clad.

Speaker 20 (02:51:41):
Looked very old fashioned me get all. I think one
was a footman and the other coachman.

Speaker 89 (02:51:47):
Yeah, yeah, I saw a very ancient and dilaporated looking
buggy standing on the narrow road that branched off from
the highway.

Speaker 77 (02:51:56):
But they took this second carriage to wear.

Speaker 20 (02:52:00):
It's hopeless, my boy, how can we ever trace them?

Speaker 77 (02:52:04):
Did he mention where he was going?

Speaker 18 (02:52:05):
Vril?

Speaker 20 (02:52:06):
No, he didn't say a word.

Speaker 8 (02:52:08):
But this road?

Speaker 20 (02:52:09):
What road is it?

Speaker 36 (02:52:10):
Do you know where it goes?

Speaker 4 (02:52:12):
Well?

Speaker 89 (02:52:13):
If I remember rightly, it runs a few miles over
the moors to an old old house that's fallen the road.
It's far off the Beeton Tark and nobody ever goes there.
Then that must leaves the name for it an ancient burnerhouse.
It is call the boom Key.

Speaker 20 (02:52:30):
I think the boom Key. I'd free instant very saying you.

Speaker 7 (02:52:33):
A boom Key.

Speaker 18 (02:52:34):
So that's where it is.

Speaker 77 (02:52:35):
Yeah, bed head out, a lady of good luck, rise
with us this night, Andriel take the road to the ruin,
to the bon key.

Speaker 63 (02:52:42):
Yeah, you see, there is nothing to be afraid of,
my Rose.

Speaker 4 (02:52:56):
We are at home.

Speaker 27 (02:52:57):
But let us come another time, mine hair. It's so
dark here, and there's lightning in the western sky.

Speaker 80 (02:53:03):
I will protect you even from the lightning.

Speaker 87 (02:53:07):
Look is the manor house of boom Key, to your liking.

Speaker 80 (02:53:11):
Boom Key?

Speaker 27 (02:53:13):
Is that where you've brought me, mine hair?

Speaker 63 (02:53:15):
It is our home, and.

Speaker 80 (02:53:16):
You will be a lady here with beautiful gowns and servants,
anything you desired.

Speaker 27 (02:53:23):
I was here before, long ago, I know.

Speaker 63 (02:53:26):
I remember it well.

Speaker 80 (02:53:29):
You are a little girl then, But who are you?

Speaker 27 (02:53:32):
I don't ever remember seeing you before, except in my dreams,
Mine Hair, I don't understand who are you.

Speaker 87 (02:53:40):
I am one who has waited beyond the generations for
this night when you would.

Speaker 8 (02:53:46):
Come to me.

Speaker 27 (02:53:47):
But I'm afraid I don't like it here, mine hair.
Take me away back home, Please take me away.

Speaker 80 (02:53:53):
I cannot know, my Rose. The risk is too great.

Speaker 12 (02:53:57):
Come.

Speaker 80 (02:53:59):
There is nothing to.

Speaker 12 (02:54:01):
Take my hand.

Speaker 80 (02:54:02):
No, No, we have so much to say. We must
set the wedding day, and I would show you treasures
and shower you with precious gifts.

Speaker 27 (02:54:12):
The statue there in a niche, That's where the statue was.

Speaker 8 (02:54:17):
You remember it?

Speaker 30 (02:54:18):
Then?

Speaker 80 (02:54:19):
It was a statue of myself.

Speaker 27 (02:54:21):
Where is it?

Speaker 19 (02:54:22):
Now?

Speaker 63 (02:54:23):
Come with me.

Speaker 80 (02:54:25):
I will show you.

Speaker 27 (02:54:26):
But where would you take me?

Speaker 30 (02:54:28):
To the tower?

Speaker 80 (02:54:30):
There you can see the splendor of the boom key,
all that I offer you for a bit of affection
in return, a bit of love in exchange for the
outrageous riches of a king.

Speaker 27 (02:54:41):
Oh, take me away, take me back. This is but
a ruin. There's nothing here except the k and the
feel of death.

Speaker 63 (02:54:48):
But that's not true.

Speaker 80 (02:54:50):
There is beauty here. I have tended it all these
years just for you.

Speaker 27 (02:54:57):
Then why do you hide from me? Now behind that
cape and hat, show me your face so that I
won't be afraid.

Speaker 80 (02:55:03):
Come then, and I will show you. Come with me
to the tower.

Speaker 8 (02:55:10):
Here in the stairs.

Speaker 27 (02:55:15):
The tower stands alone in her ruins. The stairway is
open to the sky. But then will you take me
back mine hair?

Speaker 10 (02:55:24):
My uncle?

Speaker 27 (02:55:25):
He will grow alarmed. He's an old man.

Speaker 20 (02:55:27):
He loves you too.

Speaker 27 (02:55:29):
How can you love me whom you have never known?

Speaker 80 (02:55:31):
Mine hair, How it began very long ago?

Speaker 87 (02:55:36):
She was as beautiful as you, limpid brown eyes and
dazzling cheeks, and her hair.

Speaker 64 (02:55:42):
Was like the shining ripples of a canal water.

Speaker 63 (02:55:46):
But what was her heart like, my rose?

Speaker 64 (02:55:49):
It was like a stone on which the frost sits.

Speaker 4 (02:55:53):
And she betrayed me.

Speaker 27 (02:55:55):
Who who was this woman?

Speaker 80 (02:55:58):
Look here, the tower, the fields of tulips, stagnant marshes.
They are the abby in the windmills.

Speaker 27 (02:56:07):
Piles of musty stones.

Speaker 80 (02:56:09):
She would have had it all, but she betrayed me.

Speaker 27 (02:56:14):
Who betrayed you?

Speaker 64 (02:56:15):
So mane hair, Oh, my rose, Now you can save me.
A man who is never loved, who can never die
till he feels.

Speaker 12 (02:56:23):
The warmth of a woman's heart.

Speaker 63 (02:56:25):
Say you love me?

Speaker 27 (02:56:26):
Now, say you do no, No, mine hair, take me away,
Please take me away.

Speaker 64 (02:56:31):
But she was your grandmother four times removed.

Speaker 63 (02:56:34):
And I loved her more than I loved my own life.

Speaker 80 (02:56:37):
And even as you.

Speaker 2 (02:56:39):
Her name was Rose, my name's sake.

Speaker 27 (02:56:42):
She's been dead three centuries, mine hair.

Speaker 80 (02:56:45):
Even is I ha ha.

Speaker 64 (02:56:48):
And when she betrayed me, I stood here in the
night time and climbed here to the tower's ledge, and
my body dropped from this height to the ground below
one hair.

Speaker 29 (02:56:58):
But I could not die.

Speaker 64 (02:57:00):
My ghost lived on, hungry and cold for the want
of a woman's love.

Speaker 90 (02:57:06):
And none will set me free, save yours mine, my love,
because you are the first girl child of your line.

Speaker 80 (02:57:17):
Since she betrayed me, and I have waited and tended
the boone Key and longed for the.

Speaker 64 (02:57:23):
Time when three words from your lips would unbind me
from the earth.

Speaker 27 (02:57:28):
You are a ghost, you are a dead man.

Speaker 63 (02:57:31):
Don't turn away from me.

Speaker 64 (02:57:34):
Look look am.

Speaker 23 (02:57:36):
I fat.

Speaker 27 (02:57:38):
Ah the statue, the wooden statue.

Speaker 80 (02:57:43):
It is the only physical being I know.

Speaker 64 (02:57:47):
Is it such a frightful thing?

Speaker 4 (02:57:50):
Rose?

Speaker 16 (02:57:51):
Rose?

Speaker 90 (02:57:51):
Say the words that will send me on my way?
Is your heart, so wimpty of a gift of kindness,
even as hers below in the cellars of boom keya
coffers of precious.

Speaker 20 (02:58:04):
Gold, and I offer it all to you for three
soul will help me.

Speaker 29 (02:58:09):
Whose look thanky the paw.

Speaker 63 (02:58:13):
They have come to.

Speaker 25 (02:58:14):
Stair away to the tower.

Speaker 20 (02:58:16):
You see he's open to the sky.

Speaker 64 (02:58:19):
I have waited three centuries for this night, and for you.

Speaker 30 (02:58:24):
They shall not take you back.

Speaker 36 (02:58:27):
What will you do my hair?

Speaker 20 (02:58:29):
Come back the gossy.

Speaker 27 (02:58:32):
He's coming down the stairway.

Speaker 30 (02:58:34):
He has a sword.

Speaker 10 (02:58:37):
Hill.

Speaker 3 (02:58:38):
But hello, look there he comes.

Speaker 8 (02:58:40):
Stay back.

Speaker 20 (02:58:41):
He's furnishing us.

Speaker 84 (02:58:42):
On my hair.

Speaker 14 (02:58:43):
I think of you.

Speaker 15 (02:58:44):
Do them no harm for my sake.

Speaker 27 (02:58:46):
I will say anything you wish for my hot cries
with pity. He is not compassion enough. Then, I do
love you with grief mine hair, and I would have
you free.

Speaker 14 (02:58:57):
Do you hear me?

Speaker 8 (02:58:59):
Do you hear me?

Speaker 90 (02:59:00):
Man here?

Speaker 27 (02:59:01):
I love you with sorrow because you are lost, and.

Speaker 64 (02:59:04):
I would have you free.

Speaker 77 (02:59:10):
Look the lightning struck him and he fell to the ground.

Speaker 12 (02:59:13):
The ficker burns like kildring.

Speaker 20 (02:59:15):
Oh what a terrible thing to see. Look how straight
it lies, like a statue.

Speaker 5 (02:59:22):
Of wood rose rose, Are my darling?

Speaker 4 (02:59:25):
Are you all right?

Speaker 27 (02:59:25):
God?

Speaker 63 (02:59:26):
I was so frightened, so fright, But now it's all right.

Speaker 77 (02:59:30):
You're safe, and the ghost is destroyed.

Speaker 12 (02:59:33):
Look where it burns.

Speaker 27 (02:59:34):
He was a ghost in a wooden statue, a phantom
caught between two worlds and belonging to neither.

Speaker 20 (02:59:42):
Come, my child, Let us leave this dreadful place. It's
like a tomb here.

Speaker 27 (02:59:49):
Now he is dead, Uncle Gerard, When I said the words.
Did you see the lightning set him free?

Speaker 4 (02:59:56):
Yes, my darling, we saw.

Speaker 49 (02:59:58):
And above all he.

Speaker 27 (02:59:59):
Wanted me to say I loved him. He gave me
the riches of a king, Godfrey, just to say I
loved him.

Speaker 3 (03:00:06):
The carriage is waiting in her dal We're.

Speaker 20 (03:00:09):
Coming from you.

Speaker 27 (03:00:12):
And he met no harm, Godfrey, for his heart was
full of kindness. He was lost, he had no place
to go. And the sword, the sword was only a
wooden one after all.

Speaker 86 (03:00:36):
From the time worn pages of the past, we have
brought you the story the wooden ghost.

Speaker 91 (03:00:45):
Bell peper all the bells.

Speaker 14 (03:01:10):
Oh oh oh, oh, oh.

Speaker 88 (03:01:35):
Oh oh, Let every ghosts sing no, remind you that

(03:02:10):
you do go farther with signal Gasoline. The Signal Oil
Program bringing you another strange tale by the whistler tonight,
the story of a fabulous fortune with no one to
claim it, and the search that ended with finders weepers.

(03:02:44):
I am the whistler, and I know many things, For
I walk by night.

Speaker 50 (03:02:49):
I know many strange tales, many secrets hidden in the
hearts of men and women who have stepped into the shadows.

Speaker 29 (03:02:56):
Yes, I know can presently I'll tell you the nameless
terrors of which they dare not speak, but now.

Speaker 88 (03:03:09):
A tip I think you'll appreciate about the expected battery
shortage this winter. One out of every four motorists who
needed a new battery last winter couldn't get one, and
this winter shortage is likely to be even more serious
for these two reasons. First, all cars are a year older,
so more of them will need new batteries, and secondly,
fewer new batteries will be available to civilians because of

(03:03:31):
increased demands of the army. That means, if you want
to play safe, now is the time to find out
what condition your battery is in.

Speaker 8 (03:03:39):
The easy way to do that is to.

Speaker 88 (03:03:41):
Drive into your neighborhood Signal gasoline dealer for a free
battery inspection. If tests show you need a new battery,
be wise get a good.

Speaker 8 (03:03:50):
One, one that will last.

Speaker 88 (03:03:52):
Most Signal gasoline dealers still have a limited number of
the famous deluxe quality Signal batteries. These big, rugged batteries
are built of Signal's own specifications for longer trouble free service.
In fact, the Signal Oil Company backs each one with
a guarantee after two years. With such a battery in
your car, you won't have to worry about shortage, because

(03:04:14):
you'll be set for quick starts for a long time
to come.

Speaker 8 (03:04:19):
And now the whistler.

Speaker 50 (03:04:30):
Inside a darkened room and a great old mansion in
Los Angeles, an elderly man lies unconscious. He's the well
known industrialist ar Peters. And a doctor bends over his
still form.

Speaker 29 (03:04:42):
Outside the closed door.

Speaker 50 (03:04:44):
Stand two men, Alan Fiermont, Peter's business partner, and John Blackburn,
his secretary.

Speaker 29 (03:04:50):
They speak in low, hushed tones.

Speaker 8 (03:04:52):
Almost an hour now that he told you anything?

Speaker 55 (03:04:56):
Nothing, I call him.

Speaker 8 (03:04:57):
As soon as mister Peters became ill. He hasn't left
his sight. It seems very strange to me. Arthur never
complained of his heart.

Speaker 4 (03:05:03):
What do you mean strange?

Speaker 19 (03:05:05):
Heart attacks are not uncommon?

Speaker 8 (03:05:06):
No, no, But in all the years of our business partnership,
I've never known him to have even a flutter.

Speaker 55 (03:05:11):
What are you driving at, mister Fairmont. You're not suggesting.

Speaker 8 (03:05:13):
I am not suggesting anything. I only said it was strange.
What's the matter with you, young man? You're not suffering
from a guilty conscience.

Speaker 7 (03:05:19):
Are you?

Speaker 29 (03:05:20):
Certainly not?

Speaker 8 (03:05:20):
No, No, of course not. These last five years as
Arthur's secretary have been profitable for you. Haven't they.

Speaker 55 (03:05:26):
I look out for myself.

Speaker 8 (03:05:29):
Oh doctor, how is he?

Speaker 43 (03:05:32):
Grantly mister till moontime, persons, he's rending a high fever,
and I'm sure he's fighting, but what well it seems
to be his heart. But mister Peters's condition before his
illness gave no indication of any weakness. His health has
been exceptionally good for his age.

Speaker 8 (03:05:48):
And what are his chances now?

Speaker 7 (03:05:50):
Not good?

Speaker 53 (03:05:51):
In fact, i'd advise you to notify any family is
right away asked him to come.

Speaker 8 (03:05:55):
It's that bad.

Speaker 29 (03:05:56):
Yes, I'll be back to me.

Speaker 8 (03:05:58):
That good days, goodbye? Doctor.

Speaker 29 (03:06:02):
Well that means Celia.

Speaker 8 (03:06:04):
See what do you know about Celia?

Speaker 55 (03:06:06):
I know that she's the only family he has. His
daughter Will ran away from home just before I came
here and hasn't been heard from.

Speaker 5 (03:06:12):
For five years.

Speaker 8 (03:06:13):
Yes, she just seemly disappear.

Speaker 55 (03:06:14):
But now she might be coming back. In fact, it
would be very profitable if she did come back. You
know about that too, of course, is mister Peter's secretary. Naturally,
I know its container's will, and I know about the
change he made. If Celia Peter's returned here before her
twenty first birthday, all would be forgiven, and she didn't
hear the cool quarter of a million.

Speaker 8 (03:06:34):
Yes, that's right.

Speaker 55 (03:06:35):
I know something else too. I looked up Celia's birthday.
She'll be twenty one the seventeenth of this month, in
just eight days. That's all the time that's left.

Speaker 8 (03:06:44):
You're mighty interested in Celia, Blackburn.

Speaker 29 (03:06:47):
Why purly business emment?

Speaker 8 (03:06:50):
I don't understand.

Speaker 55 (03:06:52):
Well, Celia doesn't know about her inheritance unless someone tells
her about it. She's not coming back here to claim it.
But don't you suppose that information should be worth We'll
say fifty thousand.

Speaker 8 (03:07:03):
To you, chiseling scoundrel. I've always had my doubts about you, Blackburn.
Don't you have one ounce of common decency? A girl's
father is dying, and you have the gall to plan
coldly to blackmailer at the part.

Speaker 55 (03:07:14):
Of her Estay, Okay, forget it. I'll do it my
own way.

Speaker 8 (03:07:17):
Oh no, you won't, Blackburn, because I'm going to find
Celia myself and bring her back as the closest friend
of the family. It's my place too, anyway. But now, well,
you can just forget a Blackburn, because I'll see to
it that Celia gets what's coming to her.

Speaker 55 (03:07:30):
You'll have to find the first fair months, and I
doubt if.

Speaker 8 (03:07:32):
You can do that before We'll see about that. I'm
leaving for New York tonight.

Speaker 55 (03:07:36):
All right, fair month, maybe i'll see you the.

Speaker 29 (03:07:44):
Nice fellow, this blackburn. You'll have to work fast here.
Months two days have passed already, and you've just arrived
in New York.

Speaker 50 (03:07:51):
Only six days left. In six days, you must find
Celia Peters and convincers. You must return with you six
days to comb a city of seven million people for
a girl whose face will be only vaguely familiar after
five years, the girl.

Speaker 29 (03:08:06):
Who may have changed the name, moved away, or even
have died. Yes, dear Mond, it's a hard task you've
cut out for yourself, a hard task skin them such
a short time.

Speaker 25 (03:08:19):
Can I help you, sir?

Speaker 8 (03:08:20):
Yes?

Speaker 53 (03:08:20):
I like your room for you, Yes, sir, signally there
you are, mister Hermud of Los Angeles are Yes.

Speaker 8 (03:08:32):
Yes, I'm wanting to ask you something. You may be
able to help me. This postcard here, is it familiar
to room? Oh? Yes, sir, those are our card.

Speaker 53 (03:08:41):
Yes, you put them in the room.

Speaker 8 (03:08:43):
This card was mailed from here about a year ago
by a miss Celia Peters. Is she registered here? Peters?

Speaker 53 (03:08:49):
Oh, I'm sorry, sir, she was registered here for quite
a while. That she checked out about three months ago.

Speaker 8 (03:08:54):
Oh, you'll have her forwarding a dress.

Speaker 53 (03:08:56):
I'm sorry, but she didn't leave one. You see, I
know because there's been others asking about others.

Speaker 8 (03:09:02):
Blackburn.

Speaker 53 (03:09:04):
You'll find your room quite pleasant. I'm sure it hasn't one.

Speaker 8 (03:09:07):
Who's worth these other people who have been inquiring from
miss Peters.

Speaker 53 (03:09:09):
I'm sorry, sir, but I'm not at liberty to disclose
the private affairs of our guests. It's the nine clad
drille at the hotels. Boy, take this gentleman to seven
twenty nine.

Speaker 29 (03:09:27):
Up in the elevator.

Speaker 50 (03:09:28):
You go, Fiarmont one strike against you. Blackburn's here and
ahead of you. It's going to be more difficult than
you imagine to find Celia Peters. You better get busy.
Call that number you heard about.

Speaker 15 (03:09:46):
I'm a Rogan.

Speaker 8 (03:09:46):
This is Alan Fairmont speaking. Yes, sir, I'd like to
employ the services of your agency.

Speaker 15 (03:09:51):
We'll be at my office until five this afternoon.

Speaker 8 (03:09:53):
I'm at the Iroquois. Will you come over immediately?

Speaker 15 (03:09:56):
Can't you stay your business over the phone?

Speaker 8 (03:09:57):
Impossible?

Speaker 15 (03:09:58):
Well, I don't make a habit of calling him respective clients.

Speaker 8 (03:10:00):
Mister Fairmont, I'm an actual client, mister Maroukian. I have
very quite a lot about you, and I want a
job done. I'd like you to do it. What a
five hundred dollars retainer help your decision? It is persuasive
one thousand. You've convinced me, Eric Wire, Room seven twenty nine.

Speaker 56 (03:10:15):
I'll be there in twenty minutes, A private detective to
tray Celia.

Speaker 29 (03:10:26):
Yes, but I'm a rookian.

Speaker 50 (03:10:28):
Isn't the only one in town? There's Pat Sheffield, and
he too has received a call.

Speaker 53 (03:10:33):
Name Celia Peters, age about twenty one. Look, how do
I know there's things on the level, mister Sheffield.

Speaker 8 (03:10:39):
I'm not in the habit of calling detective papacy just
for recreation. I told you all about myself. That should
be sufficient to convince you I'm serious. If it isn't,
you'll have my check in to Mars mail to help
you make up your mind.

Speaker 53 (03:10:49):
Okay, let's get on with the description. What does this
girl do? What her habits?

Speaker 8 (03:10:53):
As Peters left home five years ago after an argument
with her father. She's pretty, rather small and blonde, according
to those her then.

Speaker 53 (03:11:01):
She's working here in New York.

Speaker 8 (03:11:02):
Probably she has no other means of support. And one
more thing, no publicity, not at all. The search must
be kept quiet.

Speaker 53 (03:11:09):
You don't want the police interest today, I guess no,
but not for the reasons.

Speaker 8 (03:11:13):
You may think you have my address and I'll expect
to report right away. We have no time to lose.

Speaker 15 (03:11:34):
He muh, yes, broke in.

Speaker 8 (03:11:36):
Oh, come in, come in that annoy him? Here, sit down.
First of all, here's here's your retainer. Well, thanks, I'll
pay you on a digital flowers. And when you find
the person I want.

Speaker 15 (03:11:46):
He's in New York.

Speaker 8 (03:11:47):
She is that is? I think she is old girl.

Speaker 3 (03:11:51):
Huh.

Speaker 15 (03:11:51):
What can you tell me about her?

Speaker 8 (03:11:53):
Not very much, I'm afraid, but it's absolutely necessary that
I find her, and without publicity.

Speaker 15 (03:11:58):
Discretion is the motto of my agency.

Speaker 8 (03:12:00):
I dare say, but there must be no slip ups.
Publicity would spoil everything.

Speaker 15 (03:12:04):
I understand.

Speaker 8 (03:12:05):
Her name is Celia Peters. Here. Here's a picture that
was taken about five years ago. I don't know if
it will help you.

Speaker 4 (03:12:12):
Annie.

Speaker 8 (03:12:12):
She's a child, she was sixteen at the time. Still
have freckles. I don't know, very pretty. That was snap,
just a few days before she left home in Los Angeles.
I have no doubt that she's even prettier today.

Speaker 15 (03:12:24):
Lots of jobs for a pretty girl like that here
in New York.

Speaker 8 (03:12:27):
You know what she's doing, I'm not sure. The only
word we've had from her in the last five years
was this postcard sent from this hotel about a year ago.
On it, she said she was working as a model.

Speaker 4 (03:12:37):
A model.

Speaker 15 (03:12:38):
Yeah, that's the most logical for a pretty girl of
her breathing. And you've seen her pictures in the magazine?

Speaker 8 (03:12:42):
Ooh no, no, we haven't.

Speaker 4 (03:12:45):
Never.

Speaker 15 (03:12:46):
What's the matter. Don't you read magazines out there? Models
are always photographs and get their pictures in the magazine.

Speaker 8 (03:12:51):
Yes, yes, but I've never seen Celia's picture in anything.

Speaker 15 (03:12:54):
And she's not a model. Probably maybe she's going in
a show business. That's the next best place to find
a pretty girl.

Speaker 8 (03:12:59):
Well parsible, I suppose allough Celia wasn't trained for anything.
She never worked a day in her life when she
left home.

Speaker 15 (03:13:06):
Okay, if that's all the information you can get me,
I'll get.

Speaker 8 (03:13:09):
Started fine on a Marukian. I can't impress upon you
too much. There's no time to lose miss Peters must
be in Los Angeles within six days, and there may
be others trying to reach her. It's imperative that I
find her first. There's a quarter of a million dollars involved.
I see.

Speaker 15 (03:13:26):
Then you're right. There is no time to lose.

Speaker 50 (03:13:36):
Yes, there's no time to lose. The search for Celia's on.
I'm Eroukian, Detective Extraordinary. Pat Sheffield's man Hunted Deluxe and
who else? Each followed his own path. Sheffield calls in
the rooming houses, a model agencies. Maroukian tracks down the
theatrical offices, a nightclub, the beauty parlors.

Speaker 15 (03:13:55):
Do you recognize the girl in this picture?

Speaker 16 (03:13:57):
No?

Speaker 29 (03:14:00):
All after call, the trail is hard to pick up.

Speaker 50 (03:14:03):
But there's something else to pick up. Another hunter crossing
the trail time and time again.

Speaker 53 (03:14:08):
But I didn't call here before.

Speaker 92 (03:14:10):
Well, I gave the same information to another man yesterday.

Speaker 29 (03:14:13):
Another man's is it Maroukian?

Speaker 50 (03:14:15):
Do you suppose?

Speaker 15 (03:14:15):
Or is it Blackburn?

Speaker 7 (03:14:17):
Oh?

Speaker 15 (03:14:17):
My name is not Blackburn.

Speaker 29 (03:14:19):
Yes, mister Blackburn seems to be getting ahead of you, Maroukian.

Speaker 56 (03:14:23):
Or is it Sheffield?

Speaker 29 (03:14:25):
Maybe you better get together and compare notes.

Speaker 50 (03:14:28):
You'll find Sheffield down in Benny's bar sipping a scotch,
and you might find his conversation interesting.

Speaker 29 (03:14:34):
Even if you can find out who he's working for,
you might get a tip.

Speaker 53 (03:14:38):
This case is very interesting. A quarter of a million bucks.
I wouldn't mind being in this Peter's groceres.

Speaker 15 (03:14:46):
Ooh yeah, thanks Sheffield? What for or an idea you
have just given me?

Speaker 8 (03:14:53):
See you later?

Speaker 29 (03:14:55):
An idea? And what an idea?

Speaker 50 (03:14:57):
Maroukian like to be in senior Peter shoes? Sheffield said,
shoes set me. Why didn't you think of that? Celia
Peters might be a model, after all, all models are
pictured full fates. Some model shoes, hand gloves. Maybe Celia
has especially pretty hands or feet.

Speaker 15 (03:15:14):
The Matrix photographic salon. He specialize in advertising photographs of
shoes and footwear. Don't you h well, do you have
a model by the name of Celia Peters?

Speaker 19 (03:15:26):
No?

Speaker 15 (03:15:28):
Oh, Celia Arthur, would you give me your address?

Speaker 16 (03:15:33):
No?

Speaker 15 (03:15:33):
I didn't call you before. This is a fashion magazine.
We want an interviewer. Uh huh, two thirty five West
fifty eighth Street.

Speaker 29 (03:15:44):
Thanks, yes, it was an idea. Now Marookian is on
the track. He picks up Fearmont and they go to
West fifty.

Speaker 8 (03:15:57):
Eighth Street, Celia Arthur, eh right, Yes, she might choose
that name. It's her father's first name. Are you sure
this is the right address?

Speaker 15 (03:16:08):
Yep, Come on, Apartment B.

Speaker 8 (03:16:14):
Back this way, all right.

Speaker 15 (03:16:17):
There's one thing I wanted to ask you, mister Fairmont,
about Sheffield.

Speaker 7 (03:16:21):
Did you hire him too?

Speaker 8 (03:16:22):
Yes? And he hasn't had much work.

Speaker 15 (03:16:24):
Oh, Sheffield's not so dumb. I wonder maybe he just
hasn't passed his information onto it.

Speaker 8 (03:16:32):
You don't mean you think that he would. I don't know.

Speaker 15 (03:16:34):
I just wanted to know if you were sure who
Sheffield was working for. Let's see, this should be it, Apartment.

Speaker 8 (03:16:41):
B right with the door's ajar. Yes, we might just
as well go on in.

Speaker 29 (03:16:46):
Wait.

Speaker 15 (03:16:47):
Wait, there's someone sitting at a desk going through papers.

Speaker 8 (03:16:50):
But that's not Celia.

Speaker 29 (03:16:53):
It's a man.

Speaker 8 (03:16:55):
It's Blackburn.

Speaker 88 (03:17:04):
You are listening to the Signal Oil program. Let every
ghost signal reminds you that you do go farther with
signal gasoline.

Speaker 50 (03:17:29):
Just as Marukian and Fearmont seem on the point of
finding Celia Peters, they arrive at her apartment only to
discover that Blackburn has beaten them and it seems that
you've done a good job of it, haven't you, Blackburn Oo,
Just as Marukian and Fearmont seem on the point of

(03:17:51):
finding Celia Peters, they arrive at her apartment, only to
discover that Blackburn has beaten them. And it seems that
this you've done a good jo up of it, haven't you, Blackburn?

Speaker 55 (03:18:01):
Well, Fairmount, so you finally arrive.

Speaker 8 (03:18:03):
We're Celia.

Speaker 20 (03:18:04):
He's not here.

Speaker 8 (03:18:04):
What if you're done with her?

Speaker 55 (03:18:05):
He's perfectly safe, but you won't be able to find her,
not before we get on that plane in Los Angeles.

Speaker 8 (03:18:09):
You mean ceo that you talk her into giving you
a cutover fortune.

Speaker 55 (03:18:12):
Let's say we've just reached a little agreement. The game's over, Fairmont,
and I've won. You may as well call up your
detective and go home.

Speaker 8 (03:18:18):
Why you cheap for a little cheat. I'll have you
thrown in jail for their top rage.

Speaker 15 (03:18:22):
I'll thrash you, my child, now, mister Fairmont, calm down,
there's no need for violence.

Speaker 8 (03:18:26):
You shut up. Who sided you on anyway? You're supposed
to be working for me, and you'll let this chiseler
get in ahead of it. Maybe you even helped him
for all I know.

Speaker 15 (03:18:33):
Maybe I did for all you know, but I'm telling
you now there's only one thing to do.

Speaker 18 (03:18:36):
Bow out gracefully.

Speaker 15 (03:18:38):
Come on, mister Fairmont, let's.

Speaker 8 (03:18:39):
Go all right, all right, but you haven't worn yet, Blackburn.

Speaker 55 (03:18:42):
We'll see about that.

Speaker 15 (03:18:43):
Come on, mister Fairmont, let's get out of here fast.

Speaker 8 (03:18:48):
I don't understand you, Marukian. Who are you working for me? Here? Blackburn?

Speaker 15 (03:18:53):
Keep your shirt on and don't talk so loud.

Speaker 4 (03:18:55):
I listen.

Speaker 15 (03:18:56):
Go back to your hotel and wait a few minutes.
I'll have Senia Peter's there inside of three hours. But
black Blackburn doesn't know any more about her than you do.
He hasn't even seen her yet.

Speaker 8 (03:19:06):
How do you know that?

Speaker 15 (03:19:07):
I don't know for sure. But otherwise, why should he
be waiting here in her apartment, rifling through the papers
in her desk as he was when we came in.
He's still looking for her himself with them.

Speaker 8 (03:19:16):
If he waits here, he'll get her when she comes home.

Speaker 15 (03:19:18):
Right, But we'll get her before she comes home.

Speaker 8 (03:19:21):
You'll leave it to me. I'm not sure I trust you, Marukian.

Speaker 15 (03:19:26):
All right, then don't only. I don't charge for goods
not delivered, so you can depend on me bringing in
Cedia Peters and soon.

Speaker 50 (03:19:41):
Yes, mister Fearmant, that's all you can do. Go back
to your hotel and wait, trusting Marukian. But your first
caller isn't Maroukian. It's Sheffield.

Speaker 8 (03:19:51):
Hello, come in Sheffield. You're just in time.

Speaker 53 (03:19:54):
Nice and I guess we haven't had much lurk.

Speaker 8 (03:19:58):
You exhausted your possibilities.

Speaker 53 (03:20:01):
Look said way, it's pretty easy for a girl like
that to be swallowed up in this big city.

Speaker 8 (03:20:06):
You're giving up, then that's up to you. Of course,
I'll give you your fee.

Speaker 53 (03:20:13):
No, I didn't find it. I'm not entitled to anything.

Speaker 8 (03:20:17):
Could it be you've already gotten your fee from somebody else?

Speaker 53 (03:20:20):
What do you mean I mean that?

Speaker 8 (03:20:25):
Yes? Who oh, all right, thank you? Well that was
the desplat, he said Celia Peters, and I'm Roukian are
on their way up.

Speaker 53 (03:20:37):
Celia Peters, Eh, so we found the raft. Well that
lets me out, and I might as well be going.

Speaker 8 (03:20:45):
I'd rather you waited. I'd like for you to be here.

Speaker 53 (03:20:48):
You were just telling me that you didn't trust me, so.

Speaker 8 (03:20:51):
I don't trust Maroukian either, so I want you both here.
Well here, they are now come in? Well it's Fairmount.

Speaker 25 (03:21:00):
Here.

Speaker 15 (03:21:00):
She is Cedia Peters.

Speaker 8 (03:21:02):
Hello, mister Philmon, you're Celia Peters.

Speaker 92 (03:21:04):
Yes, don't you recognize me? I know I've changed in
these five years, but I thought you'd still remember them.

Speaker 8 (03:21:10):
Yes, of course i'd remember Cevia Peters. Mister Miroukian. Would
you say there was much resemblance between the photograph I
showed you and this girl?

Speaker 15 (03:21:20):
Well, that wasn't a very good picture, and it's been
a long time.

Speaker 8 (03:21:23):
What would you say, Sheffield take a look?

Speaker 53 (03:21:26):
Hmm, well, oh that.

Speaker 92 (03:21:30):
I remember that picture. Patty took it one summer afternoon
out on the lawn. Hattie, Yes, he is our housekeeper. Well,
of course you remember her, mister Fairmont.

Speaker 8 (03:21:38):
What was her full name?

Speaker 92 (03:21:41):
Well it was missus. Isn't that funny? I can't seem
to remember that we called her Hattie?

Speaker 8 (03:21:46):
Or you just weren't coached quite well enough? Were you
a young lady?

Speaker 21 (03:21:50):
What do you mean?

Speaker 8 (03:21:51):
I mean that this girl is not Celia Peter's at all.
I don't know who she is, but she's not Celia.

Speaker 92 (03:21:55):
Mister Fairmount. Of course I'm Celia. Surely you would know
me after only.

Speaker 8 (03:21:59):
Five Yes, yes I would, And you are not senior.
Your game's up, young lady, whoever you are. I have
a good idea that Blackburners put you up to this
slick way for him to get his hands on some money.
But mister Fairmont, and that goes for you too, Marouki,
I'm not so sure you both aren't mixed up in
it too.

Speaker 92 (03:22:15):
Now, Look, mister Piermont, I don't know what this is
all about, and I didn't ask to come here. This
man came and got me away from my work, telling
me you wanted to see me because you're an old
family friend. I came, but I don't intend to stay
and be accused of some kind of conspiracy. You'll excuse me.

Speaker 8 (03:22:30):
Yes, you'd better get our young lady before I call
the police.

Speaker 23 (03:22:33):
Police.

Speaker 92 (03:22:34):
I never cared much for you, mister Pilmont. Now I'm
sure I was right.

Speaker 2 (03:22:39):
Goodbye.

Speaker 50 (03:22:48):
Well, after all that frantic search, it turned out to
be the wrong girl and fear Mont.

Speaker 29 (03:22:53):
Suspects a fraud plot. You were lucky to get out
of this without an explanation to the police, weren't you.

Speaker 53 (03:22:59):
Sheffield And I'm glad this one is over, Murk, and
I'm not so sure that it is over Eh, how
do you figure it's possible if Fairmont made a mistake
that that was Cedia Peters.

Speaker 15 (03:23:11):
After all, she's probably changed a lot since she was
a kid of sixteen. There, it's more possible that he
made a mistake than that we did. After all, you
and I were crossing each other's trails all along, and
this other guy at Blackburn, he followed a different trail
and arrived at the same girl. It doesn't seem reasonable
we'd all make the same mistake. You're right. And another thing.

(03:23:32):
When I brought her into the hotel to see Fairmont,
the desk clerk recognized her and called her miss Peters.

Speaker 53 (03:23:37):
Yeah, he and asked her that way over the form.

Speaker 15 (03:23:39):
Well, Celia Peters lived in that hotel a year ago
and the clerk would know her.

Speaker 53 (03:23:44):
Sure then that wasn't Clia Peters.

Speaker 8 (03:23:46):
Yeah?

Speaker 53 (03:23:48):
Ayah, But what good does it do. We were hired
by Fairmont. If he doesn't accept her, our job is done.

Speaker 15 (03:23:56):
And I wonder there's still Blackburn and there's something fishy
about the whole thing. I'm going to get to the
bottom of it. Maybe we can both save our fees.

Speaker 8 (03:24:05):
Okay, what do we do? You taill?

Speaker 15 (03:24:06):
Celia Peters, I've got some calls to make. I'll meet
you later, probably at the airport.

Speaker 50 (03:24:20):
Now what is Maroukian thinking of airport? Yes, of course,
because Blackburn had two tickets for the Los Angeles plane.
And right now Blackburn is waiting for Celia and her apartment.

Speaker 29 (03:24:33):
Oh hello, who are you?

Speaker 55 (03:24:35):
You don't remember me, miss Peters, but I'm Blackburn, your
father's secretary. I've been with him ever since you left.

Speaker 29 (03:24:41):
Oh, I see, how did.

Speaker 55 (03:24:44):
I find you here? It was quite a job. But
now that I have there's no time to waste. Close
the door and I'll start talking to the door open,
and then I'll be brief. How would you like a
quarter of a million dollars? I'm not joking. You can
have it in two days. Is it worth fifty thousand
of it to know how you can get it?

Speaker 92 (03:25:03):
I don't understand what you're talking about. I haven't fifty
thousand dollars.

Speaker 55 (03:25:06):
No, but you will have if you play ball with me,
and you'll have the other two hundred thousand left for yourself.

Speaker 92 (03:25:11):
I don't think I like the sound of this.

Speaker 25 (03:25:14):
You better go go.

Speaker 55 (03:25:17):
Oh no, I spent too much time looking for you.
I'm not going to give up. Now you're going to
the airport with me, and we're flying to Los Angeles.

Speaker 92 (03:25:23):
I most certainly am not.

Speaker 29 (03:25:24):
Maybe this will help you decide, gone, what do you
want here?

Speaker 8 (03:25:31):
Well, it seems I was just trying, Celia. I was hasty.
I see that now. I got to thinking after you
f and I thought i'd better investigate further. Now I
see you're not in league where it's blackburn, and if
you have some letters or identification, I'll be convinced that
you are indeed Celia Peters.

Speaker 92 (03:25:47):
What difference does it make?

Speaker 9 (03:25:49):
What is this all about?

Speaker 8 (03:25:50):
Celia? You must come with me to Los Angeles. I've
charted a plane. We'll leave immediately.

Speaker 92 (03:25:54):
I'm not going anywhere with you.

Speaker 21 (03:25:55):
Why should I?

Speaker 8 (03:25:56):
Your father he's desperately ill.

Speaker 20 (03:25:59):
He need you.

Speaker 8 (03:26:00):
Whatever argument you had in the past have forgotten. Surely
they won't stop you from going to his bedside.

Speaker 21 (03:26:06):
To his bedside. Is he dying?

Speaker 8 (03:26:10):
Yes?

Speaker 25 (03:26:10):
Oh no, oh poor father.

Speaker 92 (03:26:12):
Course I'll go.

Speaker 55 (03:26:12):
Listen, say you let me handle you.

Speaker 8 (03:26:14):
Keep out of this, you chilry. Celia. Your father's will
gives you a quarter of a million dollars if you
return before your twenty first birthday. That's Friday.

Speaker 92 (03:26:23):
So that's what mister Blackburn was talking about.

Speaker 8 (03:26:25):
Yes, and thank goodness I got here when I did.

Speaker 92 (03:26:28):
It's not the money, mister film, and it's father he
needs me.

Speaker 2 (03:26:31):
I'll go.

Speaker 55 (03:26:31):
Okay, so I lose, you might as well have my
two plane tickets.

Speaker 8 (03:26:35):
No, thank you, Blackburn. I've charted a plane and we'll
have to hurry Celia. There's still not too much time
to get to California.

Speaker 29 (03:26:48):
Well, Celia's going to show up at the airport after all.

Speaker 34 (03:26:51):
But that was Blackburn.

Speaker 29 (03:26:53):
I wonder if that will upset mister Morukian's plan.

Speaker 15 (03:26:58):
But mister Marukian, I just thought i'd see you off.

Speaker 8 (03:27:02):
Oh here's mer again. Yes, he's the right girl. After all.
I'll drop a check for you, mister Sheffield in the
mail of tomorrow.

Speaker 15 (03:27:08):
Thanks. So you're off the Collective Fortune Not in Los Angeles, Peters, Yes,
sure you've got the right plane.

Speaker 21 (03:27:16):
What do you mean?

Speaker 15 (03:27:17):
Have you asked the pilot if he's going to Los Angeles?

Speaker 19 (03:27:20):
No?

Speaker 8 (03:27:21):
Well I have he isn't.

Speaker 15 (03:27:23):
This plane was chartered for a trip to Florida.

Speaker 8 (03:27:25):
I don't understand. There must be some mistake.

Speaker 15 (03:27:28):
There is, and you made it, Fairmont.

Speaker 53 (03:27:29):
Eh, what's going on here.

Speaker 15 (03:27:31):
Hello Sheffield, glad you're here. You can help me hold
Fairmont for the police.

Speaker 8 (03:27:34):
Police. Why what do you mean?

Speaker 15 (03:27:36):
I mean the police will be glad to get ahold
of you Fairmont. You don't want it for murder.

Speaker 88 (03:27:49):
The whistler will give you the strange answer to the
night's story in just a moment. Meantime, I want to
tell you about the game that's now top favorite among
men in the Armed forces. It's Salvo s a LVO,
the exciting game of military strategy in which two persons
match ws trying to sink each other's battleships. Signal Oil
Company has been supplying thousands of Salvo games to men

(03:28:12):
in uniform, and these letters will give you an idea
of how wet leave Ringer, a naval recreation officer, writes,
Salvo games are especially popular among troops aboard transports bound
for overseas, and those men sincerely appreciate signals generosity and thoughtfulness.
And from Major Wolf of the Army Special Services comes

(03:28:32):
this letter. The Salvo game that Signal Oil Company has
distributed to Army, Navy and Marine personnel overseas have turned
many dull hours into fund well friends. Since boys in
the service have gotten such a kick out of playing Salvo.
The Signal Oil Company thought that you too would enjoy
this game. So, in addition to the thousands that will

(03:28:54):
continue to be sent overseas, Signal has been able to
get a limited number for distribution here at home. To
get yours, simply stop at your neighborhood's Signal Gasoline dealers
soon while his supply lasts and ask for a Salve
old game.

Speaker 8 (03:29:09):
S a l v O.

Speaker 88 (03:29:11):
Remember it's free, and it's the same exciting game for
which fighting men around the world are writing Signal Oil
Companies these enthusiastic letters. And now back to the whistler.

Speaker 29 (03:29:29):
Well, I'm Marukian was right. The police were very glad
to get a hold of.

Speaker 50 (03:29:33):
Mister Allan Fiermont, that fine upstanding friend of the Peters family.
He wasn't such a friend after all, as it turned out,
Marukian said, murder, And that's what it was, the murder
by poisoning of.

Speaker 29 (03:29:45):
All mister Peters.

Speaker 50 (03:29:47):
Yes, it wasn't her failure at all, but Fiarmont didn't
think that that would ever be found out. His anxiety
to get to Celia before Blackburn did was explained when
the details of Peter's will came out. If Celia didn't
get back to claim her fortune, the money went into
the business Fiarmont's business now, so when Blackburn found Celia,

(03:30:07):
Searmont had to intervene. He tried to take her on
the airplane trip to Florida to keep her away from
Los Angeles until after her birthday. But Maroukian suspected Fiarmont
when he refused to identify Cecilia and found out that
the airplane trip and then contacted Los Angeles to learn
about mister Peters's mysterious death.

Speaker 29 (03:30:26):
A smart detective, wasn't he.

Speaker 50 (03:30:28):
Yes, Stephen Sheffield found that out because Maroukian deduced the
fact that Sheffield was working for both Blackburn and Fiarmont.

Speaker 15 (03:30:37):
And as he put it, I'll just take half the
fees for keeping my mouth shut about it.

Speaker 93 (03:31:01):
Will bring you the witness tale written and produced by
Alonzo Dean Cold. And now let us join old Nancy

(03:32:10):
and Satan her Wise black time.

Speaker 44 (03:32:19):
Hannah and thirteen year old I did today, yes, sir
Hannah and testeen year old that's right, Satan, tell folks
about half them light So we can get right down
to business. Now draw up to the fire and gaze.

Speaker 22 (03:32:38):
Into thember, Gaze into indeed.

Speaker 9 (03:32:42):
And soon you'll be with us in old Kentucky bar
amongst the mountains.

Speaker 44 (03:32:49):
Folks knows out eight and our hate no law at
the gai ayah about a fuel it and I the
rule between the greenway and the models who's been killing
one another? For an idea, we called this story the

(03:33:10):
title of a happy ending. A happy ending.

Speaker 29 (03:33:31):
A mean.

Speaker 94 (03:33:34):
Put him there on the bed room him into quicker crimes.
It's my man being brown home dead, not yours. It's
only time for tears. And the one that kills him,
his six feet under the rod, it will ma shata. Boy,
don't see him do it?

Speaker 30 (03:33:55):
Living rooms.

Speaker 49 (03:33:56):
Your time to speak up?

Speaker 3 (03:33:58):
Me, boy, goes les name piston him.

Speaker 44 (03:34:01):
Jean Way was laying at his side, and well they
load's not arcotic.

Speaker 37 (03:34:06):
Bo it means never had a change.

Speaker 87 (03:34:09):
You know.

Speaker 49 (03:34:09):
We noticed that the sheriff's have to look right now.

Speaker 94 (03:34:13):
Yes, the twind of the greenway.

Speaker 19 (03:34:15):
Calls from the law.

Speaker 94 (03:34:18):
There ain't no greenways less than you and Clinton, me
and Clinton of the Fosters. When you drive to town,
when you have a station agent telegraph, my son, you
don't know what school.

Speaker 93 (03:34:29):
Ask yes, why do you want arge important telegram?

Speaker 94 (03:34:33):
Yesterday the kilter PATHAE bring their guns?

Speaker 12 (03:34:38):
Sinstance with you five years?

Speaker 15 (03:34:40):
Lets anyway the city and his school is there?

Speaker 25 (03:34:42):
Changing?

Speaker 94 (03:34:44):
Greenway never changes?

Speaker 77 (03:34:46):
For maw this the sun.

Speaker 3 (03:34:58):
Are you documents yet?

Speaker 22 (03:35:03):
Yeah?

Speaker 3 (03:35:04):
We started a couple of the office tree. Yeah you're
the first pati. But it is your water dak and.

Speaker 22 (03:35:09):
I am too mile.

Speaker 7 (03:35:11):
You get off your own purpose?

Speaker 95 (03:35:13):
I reckon I did uncle?

Speaker 10 (03:35:15):
You will tell me where I can hire a car?
A hawk taking up in the heels were your head?

Speaker 16 (03:35:20):
No?

Speaker 10 (03:35:20):
I want to go right up for the gap? No, please,
not here to have nothing.

Speaker 50 (03:35:26):
If your want to go the gap, you have to walk.

Speaker 18 (03:35:29):
I was sort of appear to that.

Speaker 16 (03:35:32):
Well, just thought of that good day.

Speaker 25 (03:35:35):
Wait a minute, all was right?

Speaker 64 (03:35:36):
Man?

Speaker 36 (03:35:36):
I hear car?

Speaker 29 (03:35:36):
Come, maybe somebody give you a lip?

Speaker 25 (03:35:38):
Part way?

Speaker 10 (03:35:39):
Lords in the river keep taking women two miles again,
sures you winners.

Speaker 7 (03:35:45):
Oh wait, I can't ask the woman.

Speaker 29 (03:35:48):
You'll be glad to do it.

Speaker 20 (03:35:49):
Oh, miss pathis.

Speaker 27 (03:35:52):
This is your city?

Speaker 19 (03:35:53):
Man?

Speaker 22 (03:35:54):
Has Besy just got off the train He wanted to
go to the gap.

Speaker 23 (03:35:58):
She's glad to take him here.

Speaker 10 (03:36:00):
It's mighty kind of you, miss, But I really can't.

Speaker 22 (03:36:03):
It's just a neighborly thing to do.

Speaker 44 (03:36:06):
Throw your just stack in the back and said here
and you want.

Speaker 10 (03:36:09):
To throw your bag, I'm certainly much blinds.

Speaker 44 (03:36:13):
To you, miss, he's got a tongue case. Then you'll
come to these here.

Speaker 2 (03:36:18):
So yes, I've come here for got your bags in badli.

Speaker 10 (03:36:26):
Yeah, thank him? What's the blinds to you?

Speaker 22 (03:36:30):
Bottle Sea.

Speaker 29 (03:36:36):
Dog more?

Speaker 20 (03:36:37):
If you need all this?

Speaker 28 (03:36:39):
He really hope here looks like that he's somewhere.

Speaker 55 (03:36:43):
Fool me too, And we ain't never seen no folks
around jail with.

Speaker 2 (03:36:47):
City clothes out him.

Speaker 28 (03:36:49):
Teacher, Huh, that's really Greenway cabin is.

Speaker 10 (03:36:56):
Greenway's coming home?

Speaker 30 (03:36:57):
No, this Clint Green.

Speaker 2 (03:37:00):
Where's who that white man is?

Speaker 10 (03:37:01):
He's been a wait five years, we didn't know.

Speaker 2 (03:37:05):
Who's the customers.

Speaker 22 (03:37:08):
Good lord of the mess.

Speaker 20 (03:37:10):
And we just tell him on that car with miss Beth.

Speaker 22 (03:37:12):
Morol, we talk sir that I can take you.

Speaker 95 (03:37:24):
Mister.

Speaker 18 (03:37:24):
I'm certainly much blind.

Speaker 44 (03:37:26):
For all you kind of sorry, can't drive you right away?

Speaker 16 (03:37:30):
You reckon?

Speaker 10 (03:37:31):
No carton goingy for the past. That ridge is not
much of a road from there under the gas.

Speaker 22 (03:37:37):
Oh you know that I thought he was exchange of el.

Speaker 10 (03:37:42):
I have friends who told me things about it.

Speaker 39 (03:37:45):
No, honey, shall workman, I don't like to talk about himselves.

Speaker 44 (03:37:50):
You ain't said a wood about who y'all, what you're doing.

Speaker 26 (03:37:53):
It's too our reason driving.

Speaker 24 (03:37:55):
Maybe I've been waiting for you to talk about yourself,
to be your so better.

Speaker 23 (03:38:00):
If I got talking and thinking about.

Speaker 44 (03:38:02):
Anything else they're driving, we'd be over the side of
a cliff for.

Speaker 96 (03:38:05):
This time cliff were on the edge of Now show it,
damn this, say down for fet from the roof.

Speaker 17 (03:38:11):
Yet there ain't have you?

Speaker 22 (03:38:13):
Beautiful?

Speaker 8 (03:38:15):
Sure is?

Speaker 1 (03:38:16):
You ain't looking at it?

Speaker 40 (03:38:17):
You you're looking at me?

Speaker 19 (03:38:18):
Why?

Speaker 6 (03:38:20):
Uh huh?

Speaker 3 (03:38:20):
I wasn't he thank you?

Speaker 44 (03:38:23):
You're blushing, actually blushing.

Speaker 17 (03:38:26):
I'm used a man looking at me.

Speaker 44 (03:38:28):
But I never seen one turn read a poll and
I spoke about it.

Speaker 25 (03:38:33):
Good looking in it?

Speaker 33 (03:38:35):
So very beautiful?

Speaker 95 (03:38:37):
You awful?

Speaker 7 (03:38:37):
Now, Hannah's sweet block, sweet blot.

Speaker 97 (03:38:41):
Uh huh.

Speaker 7 (03:38:42):
They ain't been wrong girl time?

Speaker 10 (03:38:44):
Why he never had very much time?

Speaker 22 (03:38:48):
I knew it.

Speaker 37 (03:38:49):
James foiled.

Speaker 10 (03:38:52):
Holy you twenty two, that's uh huh.

Speaker 23 (03:38:57):
I'm nineteen.

Speaker 33 (03:39:01):
Let's say here you are to ridge.

Speaker 10 (03:39:04):
Yeah, this is where I have to get out and
leave you. I kind of hate to I kind of
hate to have you both to myself.

Speaker 27 (03:39:15):
We don't go the same way from here on.

Speaker 3 (03:39:21):
God, I'm sorry too.

Speaker 10 (03:39:25):
Well, what's flight for the list?

Speaker 39 (03:39:28):
See you must be hungry after this long ride.

Speaker 80 (03:39:31):
I am.

Speaker 25 (03:39:32):
I got a little smack in the back.

Speaker 44 (03:39:34):
If you ain't, no hurry, we good to sit down.

Speaker 4 (03:39:36):
And have a pill.

Speaker 20 (03:39:37):
Her, I'm terrible hungry.

Speaker 16 (03:39:41):
Off his motive.

Speaker 39 (03:39:42):
Then now you're you're fish in the back and find
a run.

Speaker 95 (03:39:45):
Bet he is right side to.

Speaker 21 (03:39:49):
Me.

Speaker 44 (03:39:50):
I'll wrap it careful and use the paper for table flock.

Speaker 10 (03:39:53):
There's a good places present, yeah, and just.

Speaker 44 (03:39:56):
A beautiful I'll come here off.

Speaker 22 (03:40:00):
It's still romantic life.

Speaker 10 (03:40:01):
Well, it has a romantic history that his lover's leap.

Speaker 22 (03:40:05):
Oh, you know, folks call it love us.

Speaker 10 (03:40:09):
Friends that have choy.

Speaker 44 (03:40:11):
Seems don frendy on it told you a lot about.

Speaker 24 (03:40:14):
The well history everybody's heard about lovers leap or kind.

Speaker 23 (03:40:18):
Of the legend you mean the story Yeah, about.

Speaker 24 (03:40:22):
The Indian boy and girl three hundred years ago humped
from its edge and were killed upon the rocks below.

Speaker 25 (03:40:27):
Oh, they killed himself because.

Speaker 44 (03:40:29):
They loved each chilly, and the folks try to keep
them apart. The said ron here the ghost his regas
the glorical bad.

Speaker 23 (03:40:37):
Lot to see him for the only peast.

Speaker 98 (03:40:39):
Of them, and was a coach in the bes.

Speaker 44 (03:40:43):
I've heard that, yeah, sort when they had a happy ended.

Speaker 24 (03:40:49):
Go to Story's where the lovers get married as Yeah,
they live happy the acid.

Speaker 22 (03:40:56):
I love to be like right, go to lie youn't
need me my life?

Speaker 2 (03:41:02):
Uh huh, I'm glad am.

Speaker 44 (03:41:09):
I even decided to rapt his word yeah, and I
left it.

Speaker 10 (03:41:14):
Down a guncase.

Speaker 44 (03:41:16):
Pop around on the sandwiches didn't do any good, but
I reckonize what the final food.

Speaker 24 (03:41:23):
Yes, it was bound so to fool.

Speaker 10 (03:41:26):
It's only a few are sometime like you for the
first time. Yes, I was thinking it seems as though
I had known.

Speaker 15 (03:41:32):
You all the way.

Speaker 44 (03:41:36):
I was thinking thing about you.

Speaker 33 (03:41:38):
I'm glad so much.

Speaker 10 (03:41:41):
You see you come off into this ridge and I'll.

Speaker 59 (03:41:44):
Say your head again sometimes I dumb he almost every
day round so I'll be here every day round time.

Speaker 44 (03:41:52):
Say oh, yes, it is crazy, I'm talking out like this.
Just why we don't even know each other's me.

Speaker 10 (03:42:05):
I had the doctors back there call you miss Dance,
and the rest of your name just didn't seem the
matter you could growing dances you want.

Speaker 23 (03:42:12):
I'd like to yah, I ain't had no part of
your meat.

Speaker 24 (03:42:19):
I didn't introduce myself on purpose when we met, because
I don't want pet and folks to know I'm an
these kid.

Speaker 6 (03:42:27):
Bet.

Speaker 24 (03:42:28):
I hope you will forgive me for lying to you.
No friend told me about these mountains. I was born here,
my mother's cabins.

Speaker 8 (03:42:35):
At the gap the dance.

Speaker 22 (03:42:37):
What's the matter your p s greenway?

Speaker 50 (03:42:41):
Yes?

Speaker 8 (03:42:42):
But what.

Speaker 2 (03:42:45):
That's what's the matter?

Speaker 25 (03:42:46):
Fact?

Speaker 10 (03:42:47):
Come back here?

Speaker 51 (03:42:47):
Wait, let me take your hands on me.

Speaker 27 (03:42:50):
I'm a note.

Speaker 23 (03:42:50):
We never could be friends. But why can't wait?

Speaker 27 (03:42:53):
Tell me?

Speaker 2 (03:42:53):
What's the matter?

Speaker 56 (03:42:55):
Check?

Speaker 22 (03:42:56):
My name is Tomorrow.

Speaker 14 (03:43:00):
I thought that's let me go.

Speaker 23 (03:43:03):
Yeah, Hanks Mars done his brother.

Speaker 44 (03:43:06):
My uncle Lucas the man you are, Moss, accuse me
of having killed your pathy.

Speaker 2 (03:43:10):
My blood.

Speaker 44 (03:43:11):
Kin's the reason you come back to these hills and
brought a gun.

Speaker 25 (03:43:14):
Go buy me.

Speaker 26 (03:43:15):
It's just I can leave.

Speaker 44 (03:43:16):
One of us, will keep that pointing to meet on this.

Speaker 23 (03:43:18):
Reade, drunk sunset, Wait, don't go.

Speaker 44 (03:43:21):
Nothing can change the Morrows and the green roots for
each other.

Speaker 8 (03:43:26):
Something can change it. Something has changed me.

Speaker 10 (03:43:29):
I can't dare to think I won't see you anymore.

Speaker 95 (03:43:31):
I can't hate you.

Speaker 10 (03:43:33):
I gotta know you don't hate me. After you say
we'll meet again, it's brand.

Speaker 20 (03:43:39):
Oh.

Speaker 10 (03:43:40):
I don't care whether I've known you two hours.

Speaker 18 (03:43:41):
Or two years.

Speaker 20 (03:43:42):
I don't care what your name is.

Speaker 8 (03:43:47):
Yeah, I wouldn't help that. I don't know what's happened
to me.

Speaker 29 (03:43:54):
Yes, think I love you.

Speaker 95 (03:44:01):
Yes, but we can't.

Speaker 19 (03:44:03):
I cannot stand between.

Speaker 22 (03:44:04):
It will be just like them in Indian alone.

Speaker 29 (03:44:07):
No, we won't. For us.

Speaker 8 (03:44:10):
There's going to be a happy ending.

Speaker 44 (03:44:25):
Come see me in sake next time I have a birthday,
and we'll tell you about that happy ending.

Speaker 93 (03:45:37):
We bring you the Wittes Sale, written and produced by
Alonzo Dean Hole.

Speaker 28 (03:46:43):
And now let us join old.

Speaker 93 (03:46:45):
Man Ki and Satan, A wise black cat.

Speaker 44 (03:46:56):
Hannah and three year old I do today, Yes, a
color and three year old take them tell posted out
south and light. And he'd seen the finish about thirty
Litegan we started last time.

Speaker 37 (03:47:14):
That's kid.

Speaker 44 (03:47:15):
Now we told you how them two seven families, the
Greenway and the Morrow, had been a hated one another for.

Speaker 37 (03:47:23):
A long long time.

Speaker 44 (03:47:26):
And how then young Chris Greenway, who was away at college,
stuck a telegram saying his father had been killed by
Luke Morrow. He just packs up his gun and started
home for a day. But before he got that, he
met and fell in love with Luke Nie Bessy, and

(03:47:50):
they exchanged their first kiss at a place.

Speaker 2 (03:47:53):
Called Lover's Leaf.

Speaker 44 (03:47:55):
While an injun boy and girl once jumped to yes,
half their throats wouldn't let him marry, And he said,
they're ghosts, the fears of people who are gonna die
and sell, drop to the fire and daze in November

(03:48:17):
days into compeat. And soon you'll be with us for
him amongst the hills of all Kentucky. Soon he'll hear
the finish of iron, which he calls a happy ending.

Speaker 23 (03:48:35):
A happy end.

Speaker 10 (03:48:36):
And I don't care who were king is. We're going
to be married for that.

Speaker 94 (03:48:52):
How you spink a candy who we think a com
holes according her, get a hunting down the many chuck
of happy planning. I'm HARRYA Morris, got a watch it, but.

Speaker 22 (03:49:01):
It can't kill one.

Speaker 19 (03:49:03):
Ma.

Speaker 9 (03:49:04):
Don't call me mam.

Speaker 15 (03:49:05):
You'll no longer call of mine.

Speaker 98 (03:49:07):
You're no breainway, I'm.

Speaker 9 (03:49:09):
A chain, I have a pall.

Speaker 10 (03:49:11):
No, no wait, you gotta kill me. You're trying to understand.

Speaker 23 (03:49:13):
I do understand.

Speaker 98 (03:49:14):
You're a coward.

Speaker 22 (03:49:16):
A prayer to your team.

Speaker 25 (03:49:17):
That's not proof.

Speaker 9 (03:49:18):
Oh, your pappy is lady's grave.

Speaker 10 (03:49:19):
Puts all by her blood out so you don't know
that it ain't no proof and no pr no proof.

Speaker 94 (03:49:25):
No O get his tenspnute war.

Speaker 10 (03:49:27):
With I, and that's all you have to beat an excubation.
No one tell him pile the shot.

Speaker 24 (03:49:32):
A dozen people swear he was miles away that Oh
I've heard that pappy's dying profounded like loose names.

Speaker 3 (03:49:37):
Yeah, but it may not have been a name he
tried to speak.

Speaker 10 (03:49:40):
And if it was, there's twenty loops around here. Might
have had a grunt, grudgy guinea. Nobody's got to figure that.

Speaker 4 (03:49:46):
No more touch your papa, kill my man?

Speaker 39 (03:49:49):
I say he cut him down without nor.

Speaker 25 (03:49:51):
Wont is your pappy? Tu?

Speaker 10 (03:49:53):
You won't even part?

Speaker 44 (03:49:54):
And you willing to let damn lios so I can
take his me for water.

Speaker 10 (03:49:58):
I'm not willing to let didn't live. If he really did,
it needs.

Speaker 16 (03:50:02):
For the law to try it for the Lord of honey.

Speaker 44 (03:50:05):
If he's guilty of green way calling on the laws,
just what I'm doing.

Speaker 3 (03:50:10):
Luke's giving himself up to it. You mean I've been
to see Hank Marbs.

Speaker 10 (03:50:14):
If God has happiness is more important than an old
time grudged him. He's in Canada, best me married. He's
shaken hands.

Speaker 46 (03:50:22):
You and Omar shaken here for us.

Speaker 10 (03:50:25):
The few that has ended. The next takes between us.
He's persuaded Luke to come from hiding and go and
stands a trial.

Speaker 22 (03:50:33):
Luke will be in the sheriff hand tomorrow.

Speaker 94 (03:50:35):
He'll be hating jail tomorrow where nobody.

Speaker 10 (03:50:39):
No One's gonna try it again.

Speaker 22 (03:50:40):
The feud is ended.

Speaker 10 (03:50:42):
I'm leaving justice for the law. Oh my, won't you
be like.

Speaker 2 (03:50:47):
Betty's father and give us lessons said?

Speaker 10 (03:50:49):
Excepting that I love.

Speaker 27 (03:50:51):
Her like you love.

Speaker 78 (03:50:54):
You and me?

Speaker 55 (03:50:54):
The only green way to know.

Speaker 29 (03:50:57):
I'm all you have you all I have stepping bed.

Speaker 33 (03:51:02):
I want to boot.

Speaker 10 (03:51:05):
Let me bring her here tomorrow with her father and
you and him shake hands.

Speaker 98 (03:51:10):
Please tomorrow you can bring Hank More and his dale, Jill, Luke,
you Eddie's giving us keep up to the law.

Speaker 27 (03:51:21):
I want him do it.

Speaker 16 (03:51:24):
You want to see this.

Speaker 24 (03:51:27):
Luke gets then then then then you shake hands with
Hank and kicking Bessy's You doing.

Speaker 94 (03:51:34):
What do you bring lucafore me, I'll do anything you want.

Speaker 10 (03:51:37):
Oh Ma, I told Bessy you te thing down way.
I told her for us that.

Speaker 79 (03:51:45):
Happy every.

Speaker 24 (03:51:53):
Mm hmm, almost the cabin, Honey, in a minute, mine
you'll be friends eighty one.

Speaker 17 (03:52:01):
Haw.

Speaker 51 (03:52:01):
Things turns we're going to have.

Speaker 15 (03:52:05):
Just like a love.

Speaker 10 (03:52:06):
I told you out for twade. Our cannot stand between it.

Speaker 24 (03:52:11):
And shake yourself on the ridge last night it was only,
of course, they were just clouds, and this looked so like.

Speaker 44 (03:52:24):
To talk to an Indian love.

Speaker 3 (03:52:28):
For there was you imagine eighty ninety.

Speaker 24 (03:52:31):
Get those gros ride out of your mind, no place
for anything but sunshine. They are to day for all
our troubles over the see, we're almost to clear.

Speaker 10 (03:52:41):
You can see our cabin over beyonders.

Speaker 23 (03:52:43):
We better wait here for Pa and Uncle.

Speaker 10 (03:52:45):
Well, they're coming out behind your mother going to have
a share with us. He's probably in the cabin now,
she said, she tend to everything.

Speaker 22 (03:52:50):
Wait before you.

Speaker 93 (03:52:54):
Gotta go ahead, and before your mouth God, oh you'll
stay here with.

Speaker 12 (03:52:58):
Us, you man.

Speaker 25 (03:52:59):
I ain't taking Uncle loop Quint wrong.

Speaker 17 (03:53:02):
And I still can't.

Speaker 93 (03:53:03):
Understand why I to be coming here to give myself
to the Carroll, and if here the same pear til for.

Speaker 10 (03:53:09):
Killing a Canulba had no hand in him.

Speaker 50 (03:53:11):
But it's hard for me to start.

Speaker 96 (03:53:13):
The greenway you just handed Uncle quin me is gone
there not swear that everything's just like our children, My
only ones to see who stands fair tribal law, Prince,
the only greenway left.

Speaker 44 (03:53:24):
Outside plenty of us.

Speaker 3 (03:53:27):
You know his life wouldn't be worth a cop of
penny if he's tied a double cross.

Speaker 10 (03:53:31):
Come on, all right, oh, your mother and the sheriff
to come out to my cabin.

Speaker 29 (03:53:36):
He can't call them here.

Speaker 53 (03:53:37):
I don't step out of that tear.

Speaker 28 (03:53:39):
And while a rival may be started, unease my dog window.

Speaker 8 (03:53:42):
All right, it's I'll do like he was.

Speaker 10 (03:53:45):
Oh, Ma, Ma, we're here. Come on out and bring
the share and come out without no gun teller like.

Speaker 20 (03:53:52):
We come here to her that she is?

Speaker 4 (03:53:54):
I think you said he she's got no rocks.

Speaker 10 (03:53:56):
Come on wait, I don't see no sheriff with her. Well,
where's the sheriff?

Speaker 99 (03:54:02):
Ma?

Speaker 10 (03:54:03):
You said you'd have here?

Speaker 99 (03:54:04):
Why are.

Speaker 44 (03:54:07):
You mad to say the green way.

Speaker 23 (03:54:11):
Talking?

Speaker 28 (03:54:11):
I don't blame you stroking here like it was a
feared one old woman.

Speaker 46 (03:54:15):
Come on now, all right here we are mistree with
coming peace and friendship.

Speaker 22 (03:54:21):
In the wall that's been atweens.

Speaker 56 (03:54:24):
From don shoot.

Speaker 34 (03:54:30):
Kill my brother, me kills my life.

Speaker 7 (03:54:39):
He's a snake of lotus. He's brought us care for this.
I swell for your tough fish being with.

Speaker 10 (03:54:45):
I'm gunning for you, and I shoot on.

Speaker 76 (03:54:47):
Say listen to pair.

Speaker 19 (03:54:54):
Paid sam changers.

Speaker 46 (03:54:56):
This green ray never changes.

Speaker 41 (03:54:59):
Mrs all Right, say.

Speaker 31 (03:55:06):
My best.

Speaker 16 (03:55:20):
You've come to.

Speaker 39 (03:55:22):
Take that's right.

Speaker 24 (03:55:25):
However, I've been here this ridge hoping for a bag
of you, praying that.

Speaker 23 (03:55:30):
You would come a chance I get away without you?

Speaker 4 (03:55:34):
Still love me?

Speaker 10 (03:55:34):
Bet you don't believe I had a hand in the
awful thing.

Speaker 9 (03:55:39):
Of course, it's gotta get away.

Speaker 10 (03:55:45):
Ain't no way I can find an easial father. But
I don't go away from here without you.

Speaker 95 (03:55:50):
You think I'm the other.

Speaker 22 (03:55:51):
I'm not coming to go with you wherever you may
take it.

Speaker 10 (03:55:54):
I hope you'd say that.

Speaker 24 (03:55:56):
And we've got right now. It's midnight, five hours. Walk
a ba into the railroad in between the case it
will take.

Speaker 10 (03:56:02):
It into elections and we'll be marriging yes as soon
as sight of all you can in mind, you and
me are gonna have our happy endings.

Speaker 25 (03:56:11):
Please look on the edge of the reason.

Speaker 10 (03:56:18):
Thanks to me, clouds and this.

Speaker 9 (03:56:21):
Let's know, I train is hasty.

Speaker 23 (03:56:24):
You no, it's only shadows there, just shadow.

Speaker 25 (03:56:30):
You see me and you stand and hand in hand
upon me the course.

Speaker 10 (03:56:37):
Oh no, no, no, no, come on, come on, let's
get away moving, come on, yeh see come.

Speaker 94 (03:56:50):
On there, wait you'll go flow, Come on wait, cleset
do you.

Speaker 22 (03:56:58):
Think that there?

Speaker 79 (03:57:00):
Oh?

Speaker 4 (03:57:01):
What is it?

Speaker 35 (03:57:02):
Well?

Speaker 9 (03:57:02):
I would right or wrong?

Speaker 7 (03:57:03):
It's done.

Speaker 79 (03:57:04):
Fill my stone.

Speaker 56 (03:57:06):
You'll need the only green waveless.

Speaker 44 (03:57:10):
Oh, by the way, because the kid only one page
your mother's plan.

Speaker 37 (03:57:18):
I will do you no more.

Speaker 69 (03:57:22):
Killing women.

Speaker 29 (03:57:24):
You don't take.

Speaker 40 (03:57:30):
Back to get a says what's call it?

Speaker 23 (03:57:38):
Baby?

Speaker 9 (03:57:47):
H stop die.

Speaker 56 (03:57:59):
Don't well that doesn't mean.

Speaker 3 (03:58:06):
No.

Speaker 53 (03:58:08):
And you killed her?

Speaker 99 (03:58:10):
You kill her? You too?

Speaker 10 (03:58:12):
You want to fallified the shop and you my mother
getting crossed the joy go away, don't dare to touch her.
She's got your she's mine.

Speaker 42 (03:58:23):
Leave it alone.

Speaker 10 (03:58:24):
You both done all you can now. Beth and I
are going to be free. That'sney And now we saw
them Indian lovers then and man and man.

Speaker 20 (03:58:36):
Together on his trip.

Speaker 10 (03:58:38):
Look as though they sound they're happy and well, I reckon,
We'll find out.

Speaker 27 (03:58:47):
Come back, come.

Speaker 95 (03:58:48):
Back, it's.

Speaker 28 (03:58:58):
God.

Speaker 8 (03:58:59):
Yeah, oh.

Speaker 44 (03:59:16):
The best something is ion about a happy end name
Satan and maybe it was happy.

Speaker 23 (03:59:23):
And then after all.

Speaker 97 (04:00:08):
In just a moment X minus one. But first, a
quiz program does not always improve your i Q. But
what's an NBC Radio quiz program? Well, you can be
sure to improve your disposition s. NBC offers listeners a
laugh lesson every Wednesday night with two funfilled questions and
answer shows. One is Truth or Consequences And though you

(04:00:28):
may never learn why a chicken crosses the road, you'll
howl as contestants perform the stunts streamed up by MC
jack Bailey. The other is you bet your life and
with a quiz matter like Groucho Marx, your good time
is always guaranteed. Here Truth or Consequences, and you bet
your life with Groucho Marx Tomorrow Now stay tuned for
X minus one on NBC.

Speaker 31 (04:00:50):
Come down for Blast Off X minus five four three
two X minus one. Fire from the far horizons of

(04:01:26):
the Unknown come transcribed tales of new dimensions in time
and space.

Speaker 4 (04:01:31):
These are stories of the future.

Speaker 31 (04:01:33):
Adventures in which you'll live in a million could be
years on a thousand maybe worlds, the National Broadcasting Company,
in cooperation with Galaxies Science Fiction Magazine presents he.

Speaker 3 (04:01:45):
He minus minus minus minus minus.

Speaker 31 (04:01:48):
One Tonight, Project Trojan by Ernest Cannoy. Most of the

(04:02:11):
greatest contributions and biggest messes in history have been made
by two kinds of brains, the devious and the literal.
We quote from the monthly column written for Galaxy by
its editor H. L. Gold for our story tonight has
been inspired by one of his recent columns discussing the
exceedingly thin line that sometimes lies between science fiction and

(04:02:33):
science fact, and of the strange use that both Allied
and German intelligence made of science fiction during the recent
World War II.

Speaker 28 (04:02:42):
Our report, of course, is entirely.

Speaker 31 (04:02:44):
Fictional, but similar schemes are known to have been attempted
by both sides, and now here.

Speaker 28 (04:02:50):
Is Project Trojan.

Speaker 31 (04:03:02):
The idea of Project Croton was originally conceived in February
of nineteen forty three. The Intelligence Plans Commission and adjunct
two Joint Army and Naval Intelligence was under the command
of Colonel Sir Harold Bostwick. The first antecedent of Project
Trujan occurred on an afternoon in February, Corporal Arthur Muggridge
were serving tea to Lieutenant Morris Withering and Captain Amos McKenzie.

Speaker 100 (04:03:27):
Hey, you are say that's real butter on the bread?
I won five pounds of it from one of those
yank messageants over at the Crownell Lands.

Speaker 59 (04:03:36):
Ah, butter, I say, Mackenzie, Hmmm, we'll confounded. Mary might
show some interest here. Muggage tangles with the eighth They
are forced to improve your team, and you sit there
reading What the Devil is?

Speaker 2 (04:03:47):
So engrossing?

Speaker 100 (04:03:48):
No, never mind if it's me, you're worrying about your
needn't sir? I was clear for most confidential, top secret
before I set foot in the pantry.

Speaker 31 (04:03:56):
What is it, mackenzie? Well, I was reading about a
fascinating notion. It's a machine us it readly engineers. It's
a method of setting up a reverse polarization field about
a given metallic surface. Say the plates on a submarine
or a tank makes them five times as strong. A
little more cream, Muggridge eats powdered milks. Hush lea meeting
my illusion.

Speaker 59 (04:04:17):
Mackenzie, How can you be so calm? Don't you realize
what this means tanks five times are strong?

Speaker 2 (04:04:23):
Is it in production?

Speaker 59 (04:04:24):
I mean, when are the first models going to combat?
It's certainly been a well kept secret.

Speaker 31 (04:04:28):
I wouldn't say that there's about fifty thousand people who
know all about it here in England and a cost
a great.

Speaker 28 (04:04:33):
Many more in America.

Speaker 31 (04:04:34):
Oh that's impossible, but I doubt if it will ever
be used in combat.

Speaker 2 (04:04:37):
Your stark raving crackers A secret l like it? Where
did you find this?

Speaker 30 (04:04:43):
Now?

Speaker 2 (04:04:44):
Let me see that you are incredible science fiction?

Speaker 28 (04:04:49):
It's an American magazine.

Speaker 2 (04:04:50):
You mean this is a story one of those jewels
burned things you've been pulling my leg?

Speaker 20 (04:04:54):
Well?

Speaker 2 (04:04:55):
I mean, after all, well, Captain Mackenzie, I hardly think that.

Speaker 28 (04:05:00):
Well, now, don't get stuffy man?

Speaker 2 (04:05:01):
After all? Do chaff me before the ranks?

Speaker 16 (04:05:04):
Oh?

Speaker 19 (04:05:04):
I don't minds.

Speaker 28 (04:05:06):
But it did have you going, didn't it.

Speaker 21 (04:05:07):
Well?

Speaker 59 (04:05:07):
It sounded plausible. I don't know a confounded thing about
electrical fields, and.

Speaker 28 (04:05:12):
Even if you did, it might take you in.

Speaker 53 (04:05:14):
Huh.

Speaker 31 (04:05:14):
You see the trick these science fiction lads do is
to take something that's solid as a rock and then
to push it, just to weep it forward. Did you
simply can't tell where the science ends and the fiction begins.

Speaker 59 (04:05:26):
Still, I wish you'd exercise your ingenuity and deceiving Jerry
rather than me.

Speaker 31 (04:05:31):
Good Lord, that's a fine idea. What is if an intelligent,
brilliant officer and gentleman like yourself might be taken in
by a wild day like this, whom else's leg might
be pulled? Magridge, another bread and butter sandwich, if you please,
and take one yourself. Lieutenant Weathering and Captain McKenzie worked

(04:05:57):
out preliminary plans for Project Drug and presented them at
an appropriate time to Colonel Sir.

Speaker 2 (04:06:03):
Harold Bostwick a sit down with Ring McKinzie. Thank you, sir.

Speaker 31 (04:06:06):
We had breakfast and this time corporate muggriage has been
playing darts with the Yanks.

Speaker 28 (04:06:11):
Again the refresh eggs for breakfast. We've had breakfast.

Speaker 2 (04:06:13):
Oh well, then we have a plan, sir, Capital Capital.

Speaker 31 (04:06:18):
You remember, sir, our intelligence reports indicated the concentration of
German research scientists working near Hanau. Certainly I recall they've
got the whole lot of them instead of mountain we
tried bombing.

Speaker 28 (04:06:27):
I doubt if they even noticed.

Speaker 31 (04:06:28):
That they're supplying the basic research for the German guided
missile program, as we know that the reaction motor for
the v ones came out of the Hanno labor Mugglage,
did you see that.

Speaker 59 (04:06:37):
If a considerable number of those research scientists were diverted
to another project, the rocket program would be crippled as well?

Speaker 8 (04:06:43):
Of course it would.

Speaker 31 (04:06:44):
What are you going to do with advertising the times
and offer them higher wages? I said, oh, muggerage this coffee.
Ah ah, No, next time you go to the Crown
and Lance, keep coffee in mandview.

Speaker 100 (04:06:54):
I say, only the Yanks are getting fair dives at that.
It was touch and gold with the eggs.

Speaker 28 (04:06:59):
Only inspect you to do your best. I'll try, sir.

Speaker 59 (04:07:02):
Well, Now come to the point, gentlemen, suppose the Germans
got hold of one of our top new development weapons,
something so completely overwhelming that they'd have to pull almost
every man off rockets.

Speaker 4 (04:07:12):
To work on it.

Speaker 28 (04:07:13):
Now, look here, McKenzie, Therese Jenrys.

Speaker 31 (04:07:15):
Scientists are not exactly playing about with small boys chemistry sets.
There are a cut above our own chaps in several fields.
What makes you think you could.

Speaker 28 (04:07:23):
Plant something on them is science fiction?

Speaker 12 (04:07:25):
Sir?

Speaker 31 (04:07:26):
I beg your pardon. You see this magazine. Yes, incredible
science fiction. What's that chasing that girl? That's a martian, Sir,
you can tell by his tentacles.

Speaker 28 (04:07:36):
McKenzie.

Speaker 31 (04:07:37):
Are you singing this along preliminary to a plan for
compassionate leave on the grounds that you're overworked?

Speaker 2 (04:07:41):
No, sir, it's a good plan.

Speaker 31 (04:07:43):
We invent a weapon, a weapon that might exist but doesn't,
and we leave it lying about where the Germans can
snapple it, and then they take most of the scientists
fell off the rocket program to work.

Speaker 20 (04:07:54):
On our weapon.

Speaker 31 (04:07:54):
Unless the most preposterous nonsense I've ever heard, But Sir,
I don't want to hear anything more about it.

Speaker 2 (04:08:01):
Yes, sir, I suppose she was right?

Speaker 4 (04:08:04):
Who was right?

Speaker 8 (04:08:05):
This Wren?

Speaker 59 (04:08:06):
I met her going up to London, rather proper little type.
Tell you got to love her? Then this is rather
a firebrand.

Speaker 31 (04:08:14):
Captain McKenzie, Please spare the sordid details of your off
duty speculation, sir. You see she's a secretary to Admiral
Sir Alan Grummins. They're talking of dropping this unit. They
feel that other intelligence groups are quite competent to handle
the routine, unimaginative work that we've been doing.

Speaker 28 (04:08:32):
Oh, I see of course, they'd reassign personnel.

Speaker 31 (04:08:38):
Would you say this the science fiction scheme of yours
was an imaginative.

Speaker 2 (04:08:43):
Choice, practically visionary.

Speaker 31 (04:08:44):
Well, suppose you do some preliminary work, Thank you, sir,
routine an.

Speaker 28 (04:08:49):
Imaginative eh bah.

Speaker 31 (04:08:59):
On the fourteenth of February, preliminary work was begun on
Project Croton. At first, Lieutenant Withering and Captain McKenzie worked
alone researching the source material of the project.

Speaker 59 (04:09:11):
Slamming the firing keys, brick blasted down on the Crowell warship.
Bright beams of crisp destruction launced out from the giant
dreadnought and licked along the plates of bricks.

Speaker 2 (04:09:23):
One man's scout, nothing in that one.

Speaker 4 (04:09:27):
What have you got?

Speaker 59 (04:09:28):
It's a story about two robots who fall in love.
What's the name of that Johnny who came closest Herman?

Speaker 28 (04:09:34):
Jared Herman.

Speaker 59 (04:09:37):
He got half a dozen ideas that are close which
he spars he is somewhere in the States. I suppose
that's no use, then why look man, Perhaps we can
put a query through Central Chafe intelligence. The Anks ought
to be able to dig up as Herman chap for us.
It's worth a try.

Speaker 2 (04:10:00):
It took seven.

Speaker 101 (04:10:01):
Days for the report to reach IPC.

Speaker 31 (04:10:03):
That one Jacob David Herman, a private first class in
the American Air Force, was based on a field north
of Cheltenham in the Gloucester area. Lieutenant Withering and Captain
McKenzie requisition to transport and visited Herman at his place
of duty. You don't mind if I go ahead with
my job, do you? I gotta have this place ready
for inspection by thirteen hundred.

Speaker 4 (04:10:24):
Go right ahead.

Speaker 2 (04:10:25):
Hand me the cleaning power, will you please?

Speaker 16 (04:10:27):
Oh?

Speaker 20 (04:10:27):
Yes, way?

Speaker 2 (04:10:28):
What are they put in porcelaind and England?

Speaker 28 (04:10:30):
Break your arm trying to get a.

Speaker 2 (04:10:32):
Clean Private Herman? You are Jad Herman writer.

Speaker 31 (04:10:37):
Yeah, that's a pen name, Jed. I use the press
f stuff. I used to write for the Confessions under
the name of Cynthia Herman. I remember one article I
was saved by the YWCA from a life of shame.
We're interested in your science fiction articles at the moment. Well,

(04:11:00):
I know we had some sci fi fans in England,
but we are not exactly a sci fi fans.

Speaker 2 (04:11:07):
We're from anybody else here.

Speaker 101 (04:11:10):
Look for yourself.

Speaker 28 (04:11:11):
There's no hiding place down here.

Speaker 21 (04:11:12):
Well, we are from intelligence plans Commission.

Speaker 28 (04:11:17):
Uh huh, we need your assistance, sir, mister Herman.

Speaker 59 (04:11:22):
No, kid, we have a project that calls for your
particular talents. You gotta Latraine needs cleaning.

Speaker 28 (04:11:29):
We're quite serious, mister Herman.

Speaker 31 (04:11:31):
Would you kindly pack your things and be ready to
come with us within one hour? Oh I'm sorry, gentlemen.
I couldn't possibly leave until after inspection. I've got too
much of myself invested in this latrine. But after that
I'm mature service.

Speaker 101 (04:11:53):
Private first class. Jacob D.

Speaker 31 (04:11:55):
Herman three two nine six two one two six was
transferred on vessel Detect due to your two project Drudgen,
and after briefing, was set to work on basic plans.
All look, Mac, here's the way I see it. If
you want a Khan as scientist, you've got to be
pretty straight all away. You can't get away with more
than one phony step in the process. Precisely, Here's the

(04:12:16):
way I see it. It's a focusing beam weapon. The
electronics on that a square. I use it in the story.
About two years ago. Fine Schreibert, Mit and Temple and
Westover at the Bell Telephone Laboratories worked out the basic
field formulas.

Speaker 2 (04:12:31):
You mean it's real.

Speaker 31 (04:12:32):
Well, up to a point, everything's on the level till
you get to the catalytic action on the grid.

Speaker 28 (04:12:38):
Now, that just won't work.

Speaker 31 (04:12:42):
It's a basic problem in physics and it makes the
whole thing impossible.

Speaker 28 (04:12:46):
But don't the Germans know that?

Speaker 31 (04:12:48):
Oh sure, sure, you see you make up plans for
the weapon, call it a death ray.

Speaker 28 (04:12:56):
You let the Germans steal everything but.

Speaker 2 (04:12:57):
The catalyst formula.

Speaker 31 (04:13:00):
I think we've got it licked, and break their necks
trying to duplicate it before we put the weapon in production.

Speaker 28 (04:13:05):
I see, but we can't call it a death ray.

Speaker 2 (04:13:08):
Well, how how.

Speaker 31 (04:13:09):
About projector electronic grid deflecting Type three? That is the
braw ring to it, My lad, I've got the basic
idea of the thing, but you'll have to get some
of your science boys to work it out.

Speaker 2 (04:13:23):
And we'll put a requisition into the Manpower Commission.

Speaker 31 (04:13:26):
In the morning, Doctors Montague, Felder, Harrison, Sisenby, and Kilsudsky,
with a signed to Project Trojan, and under the direction
of Private First Class Jacob's, complete specifications and plans for
projector Electronic Grid Deflecting Type three were drawn up. Project

(04:13:47):
Trojan was ready for Phase two have we got everything?

Speaker 16 (04:13:50):
Blueprints?

Speaker 59 (04:13:51):
Check specification, check machine tool, infantors, check letter rejecting the
plans from the War Office. Check endorsement from Supreme Headquarters.
Rejecting plans, check note from ten Downing Street, overwriting, rejections,
handwritten PostScript, Build the confounded.

Speaker 16 (04:14:05):
Thing w C.

Speaker 59 (04:14:06):
Check don't you think that's going a little too far?
The rejections, not at all. That's the master touch.

Speaker 31 (04:14:11):
A rejection of an idea by the War Office makes
it appear most genuine, All right, private herman, If this
thing were real, if it could be built, what would
it do?

Speaker 16 (04:14:22):
Ah, don't ask.

Speaker 31 (04:14:23):
You could blow a hole in a mountain ten miles
away where you could not down a whole wing of
bombers without even aiming.

Speaker 28 (04:14:29):
Oh, dear lucky, it won't work, you should.

Speaker 2 (04:14:32):
Say, sir, well now to get this lovely thing into
Jerry's hands.

Speaker 31 (04:14:43):
Phase three of Project Croton was commenced on the fifteenth
of March nineteen forty three. Central Counterintelligence Agency had discovered
the infiltration of a German agent, a Belfast artistman named Gogety,
into the blueprint division of Clark and Portster, a printing
firm doing some subcontract work for the Air Ministry. Yogurty,

(04:15:03):
the German agent, presumably micro filmed the plans because shortly
thereafter he received word that his sister, living in the
Artists Free State, was to be married to a bus conductor.
British agents attending the wedding disguised as farm laborers, lost
track of Yogurty for several hours due to circumstances beyond
their control.

Speaker 20 (04:15:22):
Then we have no way of.

Speaker 31 (04:15:23):
Knowing whether Gogurty delivered a Project Trojan plans. Oh well, sir,
there was a submarine sight of the day before off
the coast. It's likely he made contact.

Speaker 28 (04:15:30):
Will keep informed. That's all we need now another disaster?

Speaker 2 (04:15:34):
Did something else go wrong?

Speaker 28 (04:15:35):
Jolly bell? Right, Muggrit has been playing darts with the
anks again.

Speaker 31 (04:15:38):
Oh what have you got this time? But her or
beef staking nothing? That black has lost My whole month's
whiskey ration. Now the cover operation supporting Project Trojan was undertaken.

(04:16:00):
A battalion of the Royal Engineers was detailed to practice
at secret installations with wooden mock ups of the projector.
A Lance corporal in this detachment a volunteer afterwards awarded
the George Medal was court martialed and sentenced to seven
years hard labour for revealing information about the project while
drunk on a three day leave to Tynecastle. This particular

(04:16:20):
aspect of Project Trojan has been in the news recently,
inasmuch as several backbench Labor members of Parliament have asked
questions in the House as it came out that the
corporal served the full seven years and wasn't released until
nineteen fifty one. The Home Secretary explained that this was
an unfortunate oversight and there were jeers from the opposition,

(04:16:40):
with mister Anouiden Bevn taking the occasion to call for
the resignation of the government. At the time, March and
April nineteen forty three, the Intelligence Plan's Commission awaited reports
from British operatives. Sir, there's been a shift in assignment
at the research laboratories at Hanau. Professor Schlickmann and doctors Hirsch,
vance Zula and Krishmann had been transferred from Rocket research

(04:17:02):
to another Project Trojan.

Speaker 28 (04:17:05):
We must assume so, but that's only four name.

Speaker 31 (04:17:07):
But they're the top experts in electronics, chemistry and metallurgy.
If they're really working on Trojan, we've set the German
rocket program back a year while their scientists go yelping
off after a red heaving.

Speaker 28 (04:17:18):
Let's hope so big merely. Further reports, as soon as received.

Speaker 31 (04:17:28):
British intelligence reports filtering back through occupied Norway and neutral Sweden,
continued to indicate the success of Project Crotin. For more,
top scientists were known to be transferred from the rocket
research base at Penaminde to the Hanau Laboratories. Definite knowledge
was obtained that the new assignment was a startling new weapon.
Agreeing in detail with Project Trojan, ha ha, what a

(04:17:52):
sale McKinzie, what a stunt. Yes, sir, we shall have
to have a little party to celebrate. We'll have that
herman chapin for a drink. I've been sending Muggriage off
to play darts with some of the free French over
a German manor He ought to be back soon with
the champagne pour all round, Private Herman, thank you all right,

(04:18:19):
Now to the projector electronic brid deflecting Type three. The
biggest frauds is the south Sea bubble.

Speaker 28 (04:18:28):
Oh take a glass. We're just thinking to Trojan Well.

Speaker 59 (04:18:31):
I think I'd rather not, sir, Well What do you
mean there's a dispatch from Germany?

Speaker 28 (04:18:36):
What about it?

Speaker 2 (04:18:37):
A section of the mountain overlooking Hanau has disappeared. What
it's true.

Speaker 59 (04:18:42):
It was on the reconnaissance maps yesterday and it was
gone this morning. A ten miles slice of mountain.

Speaker 28 (04:18:48):
That's impossible.

Speaker 31 (04:18:49):
Oh it isn't it works? Trojan works, But it can't.
There's no catalyst. It's impossible. All our scientists said, so, Well,
I guess they We're wrong.

Speaker 2 (04:18:56):
It works. They must have found the catalyst.

Speaker 28 (04:18:58):
I suppose we should have foreseen that scientists working on it.

Speaker 31 (04:19:01):
They must have built a model and tried it out.

Speaker 28 (04:19:03):
It won't take them more than three months to put
it into production.

Speaker 19 (04:19:05):
Well, here goes the war Muggridge, I said, fill the
glasses up again.

Speaker 31 (04:19:20):
Intelligence Plans Commission now waited for additional dispatches concerning the
reaction to Project Trojan in Germany. It was decided as
a matter of policy to confine knowledge of these latest
developments to the personnel of the project. Anything new, McKenzie, no, sir,
except that aerial reconnaissance confirms the damage to the mountain
at Hanau. It's not quite as extensive as the first dispatch,

(04:19:41):
but it is a bit of a whole. Oh what
they think caused it? The Air Ministry seems to feel
that an ammunition dump must have blown up.

Speaker 28 (04:19:49):
Couldn't that be it? I'm afraid not, sir.

Speaker 31 (04:19:51):
We have an intelligence report about several captured British and
American tanks being brought to Hanau for testing. They were
spotted the next day completely destroyed. Trojan Trojan. There's been
an alert a factories producing parts for V one and
V two rockets to prepare for retooling. They're going to
make the projector it would seem so, sir. I suppose
I'd better go up to London tomorrow and make a

(04:20:12):
clean breast of it.

Speaker 28 (04:20:13):
I'm afraid so, sir.

Speaker 31 (04:20:15):
Well, that's the end seems rather than sporting, doesn't it?
Just handing the war over to them. I hate to
think what the War Office will say. Not to mention
the Prime Minister, Project Trojan was nearing its closing phase.

(04:20:36):
At precisely six hundred the next morning, Colonel Sir Harold
Bostwick ordered his staff car, and, taking a thermos of tea,
proceeded to leave his office. Just before the staff car
got underway, Lieutenant Withering appeared with another dispatch, accompanied by
Captain Mackenzie and Private Herman Colonel BOSTWICKSA wait, so.

Speaker 28 (04:20:55):
What is it withering?

Speaker 2 (04:20:56):
Another dispatch?

Speaker 28 (04:20:57):
Well, don't please, it's bad enough.

Speaker 2 (04:20:59):
There's been another design, Masterard Hannah.

Speaker 28 (04:21:01):
They knocked another mountain with our little present to them.

Speaker 31 (04:21:03):
No, sir, they've knocked themselves out. What the laboratory under
the mountain, it's exploded. It has well up like a
Roman candle.

Speaker 21 (04:21:10):
We've got pictures.

Speaker 31 (04:21:11):
There was a flight of mosquito bombers over at the time.

Speaker 2 (04:21:13):
What happened the projector?

Speaker 28 (04:21:14):
It backfired?

Speaker 2 (04:21:15):
How do you know it had?

Speaker 31 (04:21:16):
So that's why the catalyst is impossible. You see the
metal fatigue on the grid is a function of another
man man. Are you sure, yes, sir, we have a
reliable agents report. The Germans are completely confused. They were
operating the projector under a top secret designation. Nobody knew
any of the details except the dozen scientists working on it,
and they were inside the laboratory when it blew.

Speaker 28 (04:21:36):
Our man was in the rescue squad. There is nothing there, sir, plans,
models or scientists.

Speaker 2 (04:21:42):
Sir, do you realize that Project Trojan was a success.

Speaker 59 (04:21:44):
We've diverted a dozen top scientists in the rocket program permanently.

Speaker 2 (04:21:48):
Would you think we'll be decorated?

Speaker 28 (04:21:50):
The Lieutenant withering in as match.

Speaker 31 (04:21:52):
As we came particularly close to handing the whole water
the Germans on a silver platter, I suggest we forget
Project Trojan.

Speaker 2 (04:22:00):
Oh yes, yes, I see. Of course you're very canny, sir.

Speaker 31 (04:22:05):
I think we had all better returned precisely what we
were doing before the whole nest in miss started. The
final phase of Project Croton was completed on the twenty
second of March nineteen forty three. The file, through some
inadvertent error, was lost before the Intelligence Plan's Commission had

(04:22:29):
a chance to report to the War Office. All personnel
returned to their previous assignment. All right, all right, no
splashing on the floor.

Speaker 19 (04:22:39):
I gotta get this with them ready for inspection.

Speaker 31 (04:22:41):
By thirteen hundred, you have just heard X minus one,
presented by the National Broadcasting Company in cooperation with Galaxy
Science Fiction magazine, which this month features the William Ten
novelette Time in Advance, the story of a man who
made a strange bargain and in U You're the worst
the Galaxy had to offer, so that someday he could

(04:23:03):
make the Earth sweat. Galaxy Magazine on your new stand Today,
good Night by Transcription X minus one has brought you
Project Trojan, an original story by Ernest Cannoy based on
an idea contained in an editorial in Galaxy written by H. L.

Speaker 15 (04:23:19):
Gold.

Speaker 28 (04:23:21):
Featured in the cast were Burford.

Speaker 31 (04:23:22):
Hampton, Alistair Duncan, Ivoor, Francis Alfred Shirley, Bill Quinn, and
your narrator was Alfred Hisler. Your announcer Fred Collins. X
minus one was directed by Daniel Sutter and is an
NBC Radio Network production.

Speaker 56 (04:24:01):
It's Mystery Time Time now for the best in mystery.

Speaker 8 (04:24:09):
Tonight.

Speaker 56 (04:24:10):
Mystery Classics stars Sir Lawrence Olivier in the picture of
Dorian Gray. Every impulse that we strive to strangle broods
in the mind and poison us.

Speaker 34 (04:24:22):
The only way to get rid of it in fision
is to yield to it.

Speaker 102 (04:24:31):
Good Evening, This is Don Daoud, your host for Mystery
Time Tonight. As on every Thursday night, Mystery Time brings.

Speaker 88 (04:24:39):
You Mystery Classics, great stories.

Speaker 56 (04:24:42):
Of crime and punishment performed by famous stars.

Speaker 34 (04:24:45):
Tonight a real treat.

Speaker 102 (04:24:47):
Sir Laurence Olivier regarded by many as the foremost actor
in the world. Brings to life Oscar While's chilling classic
story of a man in his portrait The Picture of
Dorian Gray. Here is a powerful temptation of evil and
of the consequences. It's sure to hold you.

Speaker 34 (04:25:06):
Spell them so.

Speaker 102 (04:25:07):
Now transcribed Oscar Wilds The Picture of Dorian Gray, starring
Sir Larrence Olivier as Lord Henry Wolfson.

Speaker 34 (04:25:32):
It was in Battlefallwood Studio that I first met Dorian Gray.

Speaker 56 (04:25:37):
Olber and I had been friends at Oxford, and after
a few lee years he had emerged as one of London's.

Speaker 34 (04:25:44):
Most fashionable and successful painters.

Speaker 56 (04:25:48):
I'd dropped in to see him one afternoon and found
him putting the finishing touches to his latest picture, the
full length Portrait of a young Man Good looks.

Speaker 34 (04:26:00):
Described. That's beautiful. It's your best work.

Speaker 86 (04:26:05):
Meat.

Speaker 56 (04:26:05):
You may certainly send it next to you under the rover.
The academy is too large and too vulgar. I don't
think I'll send it anywhere. I know you'll laugh at me,
but I really can't exhibit it. I put too much
of myself into it, too much of yourself in it.
I can't see any resemblance between you and this young
of Donat. He looks as though he was made out
of ivory and Rosalie, some of the wonder one that

(04:26:26):
he isn't too good? Look at me, am all with
the sort of fatality about all physical and intellectual distinction.
And Dorian Gray's beauty is another Dorian Gray.

Speaker 34 (04:26:35):
So that's his name? Yes, So I didn't intend to
tell you why not? No, I can't explain.

Speaker 56 (04:26:40):
When I like people immensely, I never tell their name
to anyone. It's like surrendering a part of them. That's
what do you think?

Speaker 34 (04:26:47):
That's food?

Speaker 56 (04:26:48):
Oh, my dear Basel, you seem to forget that I'm married,
And the one charm of marriage.

Speaker 34 (04:26:51):
Is that it makes a life of a deception absolutely
necessary to both parties.

Speaker 56 (04:26:55):
You know you don't believe that, Harry, You never say
a moral thing and never do a wrong one. Your
cynicism is simply a posed, and being natural is simply
a pose, the most irritating pose I know. Now, tell
me more about mister Dorrian Gray. How often do you
see him?

Speaker 34 (04:27:10):
Every day? He's all my heart to me now I
see him everything I think that I.

Speaker 56 (04:27:16):
Suppose he would say.

Speaker 34 (04:27:18):
He is fat. I look forward to meeting him.

Speaker 56 (04:27:20):
I don't want you to meet me, Harry, And I
was far too well at the moment, dory and simple,
sincere and charming. I know just how to amuse your
change and make him hard and cynical, ambitious, all that
you like to think you are yourself. I don't want
that to happen. I want to keep Dory anyway he
is now, But I need to do to play looks
in nature? Oh oh, come in, Dorian, this is Lord Henry.

(04:27:45):
Will ask a friend of mine, how do you do?

Speaker 34 (04:27:48):
Lord him? Yes, he was suddenly wonderfully happy.

Speaker 56 (04:27:58):
There was something in his face which made one like
him at once, all the candor of youth with them,
as well as all youths passionate purity. Are you really
a bad influence of your friends, Lord Henry, like Battle
says you are. There is no such thing as a
good influence, mister Gray. All influence is immoral. Why because

(04:28:18):
to influence a person is to give him one's soul.
He does not think his natural thoughts or burn that
his natural passion, his virtues are not real to him.
His sins, if there are such things as sins or
borrows I had never thought it that way. The aim
of life is such development. I believe that if one
man were to live out his life fully and completely,

(04:28:40):
the world would gain such a fresh impulse of joy.

Speaker 34 (04:28:43):
We would forget all our melodies. As it is, we
are punished for our refusals.

Speaker 56 (04:28:48):
Every impulse that we strive to strangle broods in the
mind and poisons us.

Speaker 34 (04:28:53):
The only way to get rid of a temptation is
to yield to it.

Speaker 56 (04:28:57):
Live the wonderful life that is in you, while you
are still young and yes and beautiful.

Speaker 34 (04:29:04):
She'll bewildering me.

Speaker 56 (04:29:05):
I don't know what to say.

Speaker 34 (04:29:07):
There must be some answer to you, but I feel confumed.
I don't know what nonsense Harry has been telling you.

Speaker 56 (04:29:11):
I wasn't even listening to certainly, give me my most
wonderful expression. I really think I've caught it on the campus.
Any nations shall surprise me. Come with you, too, pick,
I really think it's your master be. I'll give you
anything you'd like to ask for it.

Speaker 4 (04:29:26):
Just mind, what is it?

Speaker 42 (04:29:27):
Then?

Speaker 34 (04:29:28):
Sorry, of course it's a lucky fellow. Then how sad
is it?

Speaker 56 (04:29:33):
I shall grow old and horrible and readful, but this
picture will always remain young. It'll never be older than
this particular day in June. If only I were the
other way around, if only it was either would stay
young and the picture that was to grow old. For that,
I would give everything. There's nothing in the world that
I wouldn't give. I would even give my soul. In

(04:29:56):
the moment I first set eyes under all, I knew
the power and influence I could exist over him. In
a month, Dorion was a new and busy being. Never
marry a woman like my wife with straw colored hair, Odion,
Why not have it because there's a sentimental But I

(04:30:18):
like sentimentary. Never marry at all. Da Men marry because
they're tired, women because they're curious. Both that disappointed. I
don't think I like it to many. Hey, I'm too
much in love. That is going to go after.

Speaker 34 (04:30:32):
I'm putting it into practice as I do everything. And
who are you in love with? Jorian with an actress?
An actress that's rather a commonplace deboo. Who is she?

Speaker 56 (04:30:41):
Her name is Sybils, but people will some day she's
a genius.

Speaker 34 (04:30:46):
My dear boy, No woman as a genius. Women are
a decorative sex. They never have anything to say, but
they say it. Charming.

Speaker 56 (04:30:54):
Women represent the triumph of matter of a mind, just
as men represent the triumph of mind over moral views. Telly,
never mind that how long have you known her? About
three weeks. It would never have happened if I hadn't
met you. You filled me with a wild desire to
know everything about life. For days after I met you,
something seemed to throb in my vease. I began to
wander all over London looking for new experience, and I

(04:31:16):
found her in a cheap little theater in the East
as she was playing Juliet. I have never seen anything
so explicitive. She is a wonderful act. You've met her,
I see her, even her and her mother, who lays in.

Speaker 34 (04:31:28):
The same company. Their whole everything else is lean and.

Speaker 56 (04:31:33):
Accola, un squatted, civil, herself transmuted the world around her.
She is the great passion of my life. Means she's
the first romancer of your life.

Speaker 29 (04:31:43):
This is real.

Speaker 56 (04:31:44):
At the beginning, you think my nature is so shallow.
I know, boy, the people who only loved once in
their lives are really the shallow people. What they call
their loyalty and their fidelity.

Speaker 34 (04:31:53):
I call that lack of imagination. How hot did you want.

Speaker 56 (04:31:57):
I wish I had never told her that. You wouldn't
help telling me, Dorian, you will always tell me everything
you do. Dorrian's love affair was really a considerable ball,
as it meant that he was never to be found
in the club for dinner. Like the knew, Dorian himself
passionately exciting.

Speaker 34 (04:32:17):
I rather regarded that love affair as my own creation, and.

Speaker 56 (04:32:20):
I was perfectly sure that I could put a stop
to it whenever I felt so disposed. When Dorrian solemnly
announced that he was going to marry the girl, therefore,
I felt that the plan had come. I went with
him to the theater to see his Juliet and a flatter,
more uninspired bit of acting I've never seen my life.

Speaker 34 (04:32:38):
Even the gatherery booed the poor Jain.

Speaker 29 (04:32:49):
But what on earth is the matter?

Speaker 34 (04:32:51):
I've never seen her accent matter. She was like a difference,
very beautiful, Dolly, and I grant you, but she.

Speaker 56 (04:32:56):
Certainly cannot act. I can't understand. Perhaps she was ill
or something come around to mid her dressing. Thank you, No,
I prefer the club. Why don't you come to and
forget all about it. We'll drink to the beauty of
Sybil Vain, For she is beautiful, and what more can
you want?

Speaker 34 (04:33:11):
The mare? After all?

Speaker 56 (04:33:12):
I don't suppose you want your wife to act to him?
So what's the matter if she plays Juliet like a
wooden doll? After all, if she knows as little about
life as she does about acting, he should be a
delightful experience.

Speaker 34 (04:33:24):
Go away happy.

Speaker 56 (04:33:25):
I want to be alone with her, fut I'm curious
that you should have seen her gifts it as terrible before.
There must be some reason for me.

Speaker 34 (04:33:32):
I've got to find out.

Speaker 56 (04:33:33):
Whatever reason, and not have explained to him that love
is very much the same thing as art, since both
are simply forms of imitations. It was his discovery of
their interdependence threw him rather out of continence.

Speaker 34 (04:33:46):
Well it might if his account the interview was correct.

Speaker 95 (04:33:50):
Sil A master, you mean, how badly I asked?

Speaker 34 (04:33:55):
Was drift?

Speaker 56 (04:33:56):
Are you ill? You've no idea what I thought? I
brought a close friend. See, you told him that you
were a gutry.

Speaker 99 (04:34:02):
And you should have understood why I was dead to night,
why I shall always be bad, why I shall never
act well again?

Speaker 56 (04:34:09):
You're when you're illusion act, you make yourself ridiculous. My
friend was bored, so was I.

Speaker 95 (04:34:15):
Storian. Before I knew you, acting was the one reality
of my life.

Speaker 99 (04:34:20):
It was only in the.

Speaker 95 (04:34:21):
Data that I knew.

Speaker 103 (04:34:22):
I thought that it was all true. I was rather
than one night Potchie another. I believed in everything. The
people I acted with seemed godlike. The painted scene were
my worst.

Speaker 34 (04:34:33):
I don't know what you're trying to say.

Speaker 95 (04:34:34):
Sorry, and you told me what reality really is. Night.

Speaker 99 (04:34:39):
For the first time in my life, I got through
the hollowness, the shamless, silliness of the part I was playing.

Speaker 95 (04:34:45):
I saw that Romeo was hideous and old, and painted
that the scenery was the bulger and the moonlight falls.

Speaker 99 (04:34:51):
The words I had to speaker unwell, not my worst,
not what I wanted to say. You had brought me
something higher, something which I can only try and respect
with made me understand what loves may is. Now you're
more to me than all art can ever be. Take
me away, Dorian, take you away with you, well we can.

Speaker 95 (04:35:13):
Be quite alone. I hate this page. I cannot mimic
a love that burns me like a flame.

Speaker 56 (04:35:21):
You've killed my love. You used to stir my imagination.
Now you don't even stir my curial.

Speaker 25 (04:35:28):
Doorin.

Speaker 95 (04:35:29):
Don't say such terrible things.

Speaker 25 (04:35:30):
I love you.

Speaker 22 (04:35:32):
I love you.

Speaker 95 (04:35:32):
Don't you love me anymore?

Speaker 28 (04:35:34):
Love you.

Speaker 56 (04:35:35):
I'll never see you again. I never even think of
you a mention your name. I wish i'd never laid
eyes on you. You spoiled are a.

Speaker 34 (04:35:41):
Mens of my life.

Speaker 95 (04:35:43):
Dorian, don't leave me. He does not like this.

Speaker 25 (04:35:46):
Forgive me.

Speaker 27 (04:35:46):
I work so hard.

Speaker 95 (04:35:47):
I'll try and act well again.

Speaker 9 (04:35:49):
Don't leave me, because I love you more than anything
else in the world.

Speaker 56 (04:35:52):
I'm going to I don't wish to be unkind, but
I can't ever see you again.

Speaker 34 (04:35:56):
You've disappointed.

Speaker 26 (04:36:00):
Well.

Speaker 56 (04:36:04):
That night, Sybil Zane played her greatest tragic role in Earnest.
She committed suicide. I was the first to bring the
news Totorian next morning, hoping that he would not be
too desperately upset by it. The most submitted he was,
he took it with a surprising degree of calm. I thought,
I'm mad half of telling I really must admiss that

(04:36:28):
this death doesn't affect me, that it surreness. It seems
to me it's been simply like a wonderful ending to
a wonderful player. It has all the terrible beauty of
a Greek tragedy, the tragedy in which I took a
leading part to which I've not been said. You're right
to take it so far, the supic one for a
filia if you like good, ashes on your head because
Cordelia was strangled. But don't waste your tears over sybil Ven.

(04:36:51):
She was less real than that. We won't talk about
it anymore. It's been a marvelous new experience that I
wonder if life has any more stor life had everything
in store for you. Organ, it looks like yours. Nothing
you won't be.

Speaker 34 (04:37:04):
Able to do.

Speaker 56 (04:37:05):
But suppose I become old and hackered and rainfall head?
What then then you may have to fight for your
victories as it is they're given to you. No, d Organ,
you must keep your good Look.

Speaker 34 (04:37:17):
By the way, where's your portraits? Used? Not to hang
on the wall?

Speaker 12 (04:37:19):
There?

Speaker 56 (04:37:20):
Yes, sir, I sent it back to the picture tras.
I wanted the frame of the but it wasn't the
frame of the picture that has altered. The picture itself
had undergone a strange autation since that rather distasteful scene
sybil Vain, the expression of the painted portrait had become

(04:37:42):
mysteriously different. A smile which had been so beautiful it
was beautiful no longer it had twisted itself into a
cruel sneer. Jordian Gray's wish had been granted, the wish

(04:38:07):
that he had uttered in battle Hallward's studio.

Speaker 34 (04:38:10):
He had wished that he himself might remain young, and
that the.

Speaker 56 (04:38:14):
Portrait might grow old, that his own beauty might be untarnished,
and the face on the canvas bear the burden of
his passions and his sins. That the painted image might
be seared with the lines of suffering and thought, and
that he might keep all the delicate bloom and the
loveliness of his youth. And impossible, as it seemed, the

(04:38:39):
wish had been granted. But now the portrait had become
more than a mere work of art. It has become
an accusing conscience, which mirrored within itself all the thoughts
and deeds which Dorian Gray strove to conceal from the world.
And that was why the portrait must be hidden and
locked away, and the evil of its look the world

(04:39:02):
should see him to the soul, and Dorian Gray should
be betray means nothing, my dear Battle, It's only shadow
people who require years to get rid of an emotion.
A man who is master of himself and ended sorrow
as easily as he can invent a pleasure. Dorium, this
is horrible. Something has changed you completely. You look the same,

(04:39:24):
but you're different, which as if you have no heart,
no pity in you. All Harry's influence.

Speaker 34 (04:39:30):
I can see that.

Speaker 56 (04:39:31):
I owe a great deal to Harry, that more than
I owe to you. You only taught me to be Vay.
I'm punished to that Dorian, or shall be some day.
I don't know what you mean by that guy, or
what you want. I want that Dorrian gray eye painted?
By the way, Where is it? If you ever take
it down? Yes, it began to depress me. I couldn't

(04:39:53):
bear no good?

Speaker 16 (04:39:54):
Why not?

Speaker 34 (04:39:56):
Where is it? Let me look at it again?

Speaker 80 (04:39:59):
No better?

Speaker 34 (04:40:00):
I don't want to show to you anymore, not show
me my own work?

Speaker 30 (04:40:03):
Are you serious?

Speaker 34 (04:40:04):
Quite?

Speaker 56 (04:40:06):
I can't give you any reasons, and you're not to
ask for anything. Well, if that's the way you feel
about it, really it seems a rather absurd I changed
my mind. I was going to exhibit it in Paris
in the autumn exhibit it human put it on show
for people to gape at. I never thought you would
object to being admired. I can't explain it the way

(04:40:28):
I feel there seems to me to be something fatal
about a pocket. After a while it begins to have
a life of it. Though, Oh, Dorian, I can see
no change in your hopefully character, Yes, not a feature.
May they never changed, For if you're serious, they're all

(04:40:49):
that I shall ever have to remember My greatest painting by.

Speaker 79 (04:40:56):
Oh No, the portrait of Dorian Gray was no longer
the work of that could be placed on exhibition. The
portrait was becoming more revealing every day. The horizons of
Dorian Gray's experience were rapidly widening. New sensations were being explored,
new pleasures tasted. If it was I that he chose

(04:41:16):
to take as his model, at least he exceeded his
model in the power to carry his pleasures lightly. The
youthful beauty of Dorian Gray remained unchanged. It was only
upon the face of his portrait that the harsh lines
began to stray.

Speaker 34 (04:41:34):
How horb.

Speaker 56 (04:41:37):
So that's what I have grown into already within a year.
It is though half a lifetime of meanness and spite
and evil had been gathered into that aging.

Speaker 34 (04:41:49):
Within a year and by our week by week, the
face is very older.

Speaker 56 (04:41:57):
If it escapes the hideoustance of sin, the hideousness of age.

Speaker 34 (04:42:00):
Is still in store for it. The cheeks will become
hollow or.

Speaker 56 (04:42:05):
Left yellow clothes. Feet will creep around the saving eyes
and make them horrible. The hair will lose its brightness.
The mouse will gap or droop, be foolish or gross
as mouths of old men are.

Speaker 34 (04:42:19):
Oh, it is more than horrible.

Speaker 95 (04:42:23):
It is desperate.

Speaker 56 (04:42:25):
Suppose it's how much to find here?

Speaker 95 (04:42:27):
Break into the room and.

Speaker 56 (04:42:28):
Sit for themselves. Dorian Gray as he really is.

Speaker 34 (04:42:33):
Well so far the secrets.

Speaker 56 (04:42:43):
No, you must admit that I don't age very much.

Speaker 34 (04:42:47):
Despite my excesses over the last twelve years. If there's
nothing can laugh about, Dorian.

Speaker 56 (04:42:51):
They're saying that you corrupt everyone with whom you will
coming to me quite enough, youll enter our house for
shame of some kind to follow after. There's all that's
a little unnecessary business. Lord Tame was one of my
greatest friends in Oxford. He showed me a letter that
his wife of Britain then, when she was dying alone
in her villa in Mentoni, your name was implicated and
in the most terrible confession I've ever read.

Speaker 4 (04:43:11):
What on it?

Speaker 56 (04:43:12):
This story was probably true? Lord Henry is your closest friend.
Surely her battery is to know other. You shouldn't have
made his sister's name on my word when you met her.
Not a better scandal ever touched her. Is there a
single decent woman in London now who'd drive with her
in the park? Can I help the weaknesses of my friends?
You also have known me? I wonder whether I really

(04:43:34):
do know you? If I can answer that, I should
have to see your soul. To see my soul. Yes,
but you needn't want me. Only God can do that.
Joe shall see it yourself tonight.

Speaker 3 (04:43:46):
Come.

Speaker 56 (04:43:46):
It's your own hand work. Why shouldn't you look at it?
You will tell the world about it afterwards that you choose,
But nobody believe you. If they did, they'd like me
all the better for it. I know more about the
world than you do. Come on, you chatted long enough
about corruption, Now come and see it. Face the pain.

(04:44:24):
You think that it's only God who sees the soul?
Battle draw back and cutting and see my mad Dorian
you want, then let me.

Speaker 19 (04:44:31):
Do it for you.

Speaker 56 (04:44:36):
Where he recognizes that is the picture of my soul.
Years ago, when we first met, you flattered me and
taught me to be vain about my looks. Do you
introduce me to a friend of yours who explained to
me the wonder of you? Then you finished the portraits
that revealed to me the wonder of beauty. In a
madden moment, I made a wish, perhaps you would call
it a player. Well, remember that is the picture you painted.

(04:44:57):
Possible knew would have got on the cameras the paint,
so you would have mineral poison. I can't believe it's
my Why can't you see your ideal in it?

Speaker 34 (04:45:04):
There was nothing evil in that, nothing shameful. You would
meet such an ideals I shall never meet again. It's
left rousing, Tomory, And what a lesson, and an awful lesson.

Speaker 56 (04:45:12):
The lesson has come to It's never too kneel down
and pray with my soul. The laring at me picture
you must have destroyed it.

Speaker 34 (04:45:23):
You are wrong.

Speaker 56 (04:45:24):
Your picture has destroyed.

Speaker 34 (04:45:26):
Me, Cory. What you're doing?

Speaker 56 (04:45:29):
Put that night down.

Speaker 34 (04:45:40):
Battel Halward was dead.

Speaker 56 (04:45:43):
The uncontrollable feeling of hatred that had come over, Dorian
Gray might well.

Speaker 79 (04:45:48):
Have been whispered into his ear by the grinning face
of the painting on the wall, the painting that had
once been the picture of Dorian Gray. He would destroy it.
Why did he keep it so long? Once it had
given him pleasure to watch it changing and growing old.
It stood before it for hours, a silver mirror in
his hand, comparing the hideous likeness with the image of

(04:46:09):
his own perfect beauty. The very sharpness of the contrast
had once quickened his sense of delight. Now he felt
no such pleasure. The picture had become no more than
an accusing conscience to him, and he would destroy it.

Speaker 56 (04:46:25):
There on the floor, beside the body was the knife
at which he had just committed murder. As it had
killed the painter, so it would kill the painter's.

Speaker 34 (04:46:33):
Work and all that it meant. It would kill the past,
And when that was dead, he would be free.

Speaker 56 (04:47:00):
Hammered on the golden veins they entered, they found hanging
on the walls the splendid portrait of their masters, with
lost nim in all the wonder of his exquisite youth
and beauty. Lying on the floor were two dead men,
one with the artists who had painted the portrait spasil Holborn.
The other was an old man, withered, wrinkled, and loathesome

(04:47:24):
of visage, with a knife driven into his heart.

Speaker 79 (04:47:30):
It was nothing to examine the rings on his claw
like fingers that I recognized to his worst.

Speaker 30 (04:47:49):
Range at or.

Speaker 48 (04:47:53):
Buckslade and Dutch Brinker moored their salvage schooner in the
glassy waters of the tiny lagoon. At last they had
crossed long miles from Suva to this little uncharted atoll
the natives called the island below the wind or here
far south of the trade winds, No storms ever rose.
Slade thought of the last time he had been in
these waters. It had been two years ago, and he

(04:48:16):
had another partner then, Barry Kent. Barry had shown him
a rough chart that gave the location of the sunken
treasure ship, and the two men had made plans to
recover the lost fortunes. As Dutch, his present partner, helped
him on with his diving suit, the treasure seeker could
not erase from his mind that last day that he
had been here. He was standing at the rail of

(04:48:36):
the schooner when Kent's voice came to him over the telephone.

Speaker 53 (04:48:40):
Slade, I found it. There's an old hook down here
with a side ripped out, and there's a strong buck
in one of the cabins. Send down the cable and.

Speaker 36 (04:48:49):
I'll make it fast.

Speaker 48 (04:48:51):
Slade yelled to the natives that comprised the crew, tebe
keep busy without air, pumpkins and trouble. Already he was
planning his diabolical scheme. Slade descended to the bottom and
entered the wreck through the gaping hole in the bulkhead.
Kent was busily tugging at the heavy chest, trying to
move it with swing clear. Slade then moved forward and

(04:49:11):
inflated his suit so that he rose a few feet
above Kent. Then, with a quick movement, he drew his
knife and flashed at his partner's air hose. A second later,
the lifeline, too, fell limp As Kent struggled in the
agony that could end only in death, Suddenly Slade felt
a pressure creep over him and tug at his lifeline.
Soon he was aboard the vessel, suffering from the terror

(04:49:34):
of all divers the bends, too sick and too weak
to carry on his work of lifting his stolen pressure
Slade sailed back to Suva. Then he met dutch Brinker
and told him of the sunken pressure. And now a
word from Dutch brought him out of his reverie. Slade,
everything is ready now. Slade dropped to the bottom and

(04:49:56):
had no difficulty in locating the treasure ship. He entered
to move toward the chest. Then he stopped, frozen with terror.
Setting upon the strong box and leaning back against the
side of the ship was the diving suit platform of
the man he murdered, Barry Kent. Slade struggled to regain
his composure. He tried to lift barry Kent's body, but

(04:50:19):
the heavy body toppled forward upon him, pinning him to
the floor. He tugged weakly at his lifeline, Paralyzed with fear,
He looked up to see both his air holes and
his lifeline fouled on a broken timber. He tried to rise,
but the weight of his suit and that of his
body held him down. Then he fell into oblivion. A
few minutes later, dutch Brinker stared at Slade's lifeless body

(04:50:42):
sprawled upon the deck. He shook his head as he
spoke to the samoone at his side. Yeah, he's dead,
but he did not die because of a fouled air horse.

Speaker 8 (04:50:51):
He died of fright.

Speaker 48 (04:50:54):
This is Pat mcgehinn in Hollywood, California, saying goodbye for
my writer Charles Trad and inviting you to listen again
to another Tale of Stray Adventure.

Speaker 5 (04:51:08):
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
strained 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

(04:51:29):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page. If you or 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 Darren Marler. Thanks

(04:51:50):
for joining me for tonight's Retro Radio, old time radio,
and the dark

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MIND READER DISCOVERS HIS OWN MURDER PLOT: His Wife and Business Partner Want Him Dead

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