MRS MEADOWSWEET’S GRUESOME GUESTHOUSE: You’ll Check Being Normal – You Won’t Check Out That Way - Retro Radio: Old Time Radio in the Dark

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

Speaker 2 (00:13):
Oh Fantasy.

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

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

Speaker 5 (00:36):
Present Suspense.

Speaker 6 (00:41):
I am the Whistler.

Speaker 7 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise, sign up for

(01:05):
my free newsletter, connect with me on social media, listen
to free audiobooks I've narrated. Plus you can visit the
Hope in the Darkness page. If you're struggling with depression,
dark thoughts, or addiction, you can find all of that
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 8 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 9 (01:50):
Come in.

Speaker 10 (01:53):
Welcome, I meet you, Marshall.

Speaker 8 (01:56):
What if each one of us were absolutely slated from
everyone else, doomed to travel the earth alone from birth
to death, destined never to see another face, touch another hand,
hear another voice, denied the least contact with another of
our own kind. Unthinkable, isn't it? For each one of us?

(02:20):
There has to be a meeting in some place at
some time, else we should all go mad. Strange, isn't
it the two of us showing up here.

Speaker 10 (02:35):
Both at the same time, in this weird place?

Speaker 8 (02:39):
How do you figure it? Implement?

Speaker 10 (02:41):
What was the storm?

Speaker 9 (02:42):
Of course?

Speaker 5 (02:43):
It was getting so bad, really.

Speaker 10 (02:44):
Terrible, frightening, impossible to go on.

Speaker 5 (02:49):
By the way, do you know where we are?

Speaker 10 (02:52):
I know? Don't you have?

Speaker 5 (02:55):
Nobody's idea?

Speaker 8 (03:06):
Our mystery drama Meeting by Chance, was written especially for
the Mystery Theater by elspeth Rik and stars Mendel Kramer
and Marion Seldie's. It is sponsored in part by Buick
Motor Division and Contact the twelve hour code capsule. I'll
be back shortly with Act one. Some meetings are casual,

(03:38):
some meetings are unavoidable, Some are planned, and others are
artfully contrived. Some occur in the natural course of ordinary living,
and others come about purely and simply by accident. It
is one of these incidental meetings that concerns us here.

Speaker 5 (04:01):
Damn it, I can't see a thing.

Speaker 8 (04:05):
Wow, that sounded close, dumb windshielded white was there worse
than nothing? Just slashed the rain from one side of
the other. But she forgot to get new blades, simple
thing like that, and chief against I told her a
dozen times, get new blades. Where am I? Anyway? Did

(04:28):
I get off the road somewhere? That fork aways back?
I took the left one instead of the right. I
swear I don't know. I can't see a thing.

Speaker 5 (04:39):
Boy, that was even closer.

Speaker 8 (04:42):
I wouldn't be swell to get hit by lightning out
here in the middle of nowhere. Come on, I can't
be nowhere. I must be somewhere, somewhere near home. I
can't see. Damn rain makes it impossible to see. Maybe
I should get out and take a look around. Yeah,

(05:05):
oh cow, what a soaka right now?

Speaker 9 (05:13):
Too close?

Speaker 8 (05:13):
Too close for comfort? Like they say, this is a
driveway looks driveway sort of under all its water.

Speaker 5 (05:22):
A mailbox.

Speaker 8 (05:24):
Yeah, no name, I don't name that.

Speaker 5 (05:27):
I can make out anyway. Driveway in a mailbox adds up.

Speaker 8 (05:31):
To a house that figures at the other end of
a driveway. There must be a house.

Speaker 9 (05:35):
People.

Speaker 8 (05:38):
You gotta get a roof over my head til the
downpour stops. Dangerous out of.

Speaker 9 (05:42):
Here, he can driveway.

Speaker 5 (05:51):
Nobody's using much where the trees stands to reason.

Speaker 8 (05:56):
No, there's a house that the other end. Some kind
of a house, any kind of a wow there it is, sure,
And I knew it be a house, or had to be.

Speaker 5 (06:10):
Right in the nick of time.

Speaker 8 (06:16):
That was doorbell, doorbell, hell't heard of mine?

Speaker 9 (06:19):
Please, somebody, somebody mind opening the door? Sad out here?

Speaker 11 (06:25):
It cakes?

Speaker 12 (06:26):
Anybody cares, Come on, Come on, come on.

Speaker 10 (06:35):
It could be anybody. It's certainly not the owner. The
owner would have a key. It could be a tramp
of some kind. You can't be too careful these days
ago and goodness, I locked that door. There's no way
anybody could get in. Pull the windows a lock, and
the back door too. I don't care who it is.

(06:56):
He's not going to get in it. You must be
a man, because the way he pounds the door. It
could be a thief or a lunatic, or a rapist.
There's plenty of those around. I think he's gone away,
gave up, silently, went away. Well that's something step, say

(07:20):
you you just stay. Don't you come in here?

Speaker 13 (07:24):
Come matter with you?

Speaker 10 (07:25):
What do you mean breaking in like this? I'll call
the police to hear me.

Speaker 9 (07:28):
Knock on the door.

Speaker 8 (07:28):
I heard you want you open it? Why should I
don't you open the door?

Speaker 14 (07:31):
No?

Speaker 10 (07:31):
Not just anybody.

Speaker 8 (07:33):
Look, I'm sorry I broke your window.

Speaker 10 (07:35):
It's not my window, This isn't my house.

Speaker 8 (07:39):
Well, how'd you get in here?

Speaker 5 (07:40):
Then somebody let you in?

Speaker 8 (07:42):
The door was open and then you locked it.

Speaker 10 (07:45):
Well, I was afraid not to look.

Speaker 8 (07:47):
I'll pay for the window. I could leave some money
if I've got to cover it.

Speaker 10 (07:51):
My car stopped all of a sudden, I say, I
went through a big puddle and it just stopped.

Speaker 5 (07:56):
Now the timer got wet.

Speaker 10 (07:57):
Oh, I don't know anything about autobiles. Who's that was
what I heard?

Speaker 8 (08:04):
Something he sounded like a cat, probably cat moss.

Speaker 10 (08:09):
Well, I guess there must be. What am I supposed
to do? Stuck here with this stranger. I hope he
doesn't get any funny ideas. He looks all right, But
you can't go by appearances. You read about a murderer
or a rapist in the newspaper, and then they show
you a picture of him. And he looks just like

(08:31):
anybody else.

Speaker 8 (08:33):
I don't care much for cats myself.

Speaker 10 (08:36):
They're very decorative people say.

Speaker 8 (08:38):
Like dogs, all right? Dogs are okay?

Speaker 10 (08:42):
Yes, dogs are nice.

Speaker 8 (08:48):
Not a bad looking dame. Not what you'd call good
looking either, my type at all. No me some doll
in person dough from dogs. Undressed though, too. But you
made a little number yourself. Loving hands at home.

Speaker 10 (09:08):
I wonder who lives here, no idea, whoever it is
isn't very tidy.

Speaker 5 (09:13):
Yeah, it is kind of messy.

Speaker 10 (09:14):
I hate a messy place.

Speaker 8 (09:15):
Yeah. Do you live near here?

Speaker 10 (09:19):
South Glendale?

Speaker 8 (09:22):
I live in Glendale Heights?

Speaker 10 (09:24):
Do you really?

Speaker 8 (09:25):
New development?

Speaker 10 (09:27):
Is it nice?

Speaker 9 (09:29):
It's a run.

Speaker 10 (09:33):
I don't think he's going to try anything funny. I
think he's safe.

Speaker 15 (09:39):
But I hope the.

Speaker 10 (09:40):
Storm lets up soon. And I'm running out of things
to talk about. I don't know anybody in Glenville Heights,
and I think that new development is horrible, ugly as sin.
Did you hear that the cat?

Speaker 9 (09:58):
Oh?

Speaker 5 (09:58):
Yeah, I wonder where it is in the kitchen probably.

Speaker 10 (10:04):
Oh it sounds hungry now.

Speaker 8 (10:07):
Speaking of hungry, I haven't had any lunch needs LEVI.
Now that you mention it, what do you say, we
see if there's any food in the house.

Speaker 10 (10:13):
Oh, well, if you think it's all right, we can
leave a couple of dollars.

Speaker 8 (10:18):
All right, anyway, it's something to do. Eat a sandwich,
maybe there's some beer past a little time. Boy, I
want a way to spend that afternoon. Hold up in
some creepy old house with some dull woman doesn't even
know how to conduct a conversation. The heck, it's under
a fault. What do we got in common?

Speaker 10 (10:40):
Anyway? Oh, let's see what's in this fridge. Oh, there's
some milk. That's something.

Speaker 8 (10:46):
Any beer in there?

Speaker 10 (10:47):
No, I don't see any Would you care for a
glass of milk? Now, I guess it'll have to do
is a little jar shrimps? No thanks, Well then we'll
just have milk, great as well. Well, it's better than nothing.

Speaker 8 (11:02):
Be grateful for small favors. I always say, there we are.
Uh you want to go back in the living room?

Speaker 10 (11:14):
No place to sit down here?

Speaker 9 (11:16):
Lead the way.

Speaker 10 (11:19):
It's really infuriating. I've got so much to do at home,
all that transplanting it. Well, I just couldn't do that
in the rain anyway. But but I could be sorting
the linen instead of being stuck here with this Glendal
Heights person.

Speaker 8 (11:34):
You find it cold in here, a little kind of damp,
don't you think?

Speaker 10 (11:40):
Yes, it is damp.

Speaker 8 (11:41):
I have this preseidis in my left arm, and dampness
always makes it worse. There's a fireplace, you ain't gotta
make a fire?

Speaker 10 (11:50):
Would they mind?

Speaker 5 (11:51):
Who?

Speaker 10 (11:52):
The people who live here?

Speaker 8 (11:53):
I don't see why they'd mind.

Speaker 10 (11:55):
I'm always afraid of catching cold. Once I catch a cold,
I can't get rid of it. Just hangs on, hangs
on for weeks. It seems like.

Speaker 8 (12:04):
They's a fascinating piece of information for you. She gets
cools that last for weeks. What do you know?

Speaker 1 (12:11):
Boy?

Speaker 8 (12:11):
I wish I was home. The golf clubs need cleaning
and polishing. It must be an ideal day for it.
Stead on my room, dear with like she's all right?
Stop picking?

Speaker 10 (12:22):
I know you know, shining light yourself. It doesn't seem
to be any kindling, does there?

Speaker 9 (12:28):
Well?

Speaker 5 (12:28):
If you roll the paper upside.

Speaker 10 (12:29):
Enough, those laves look kind of green.

Speaker 5 (12:31):
I'm pretty good at making fires.

Speaker 10 (12:34):
It really is damp in here, And if you've got
vercited it.

Speaker 8 (12:38):
Where till I get the fire gone?

Speaker 5 (12:39):
It'll dryer.

Speaker 10 (12:41):
I don't think it's gonna work.

Speaker 8 (12:42):
Give it a minute, it's gone out.

Speaker 10 (12:46):
Yeah, do you want me to try it?

Speaker 5 (12:48):
You think you can do better?

Speaker 10 (12:51):
I guess not. Manly pride. They're all alike.

Speaker 9 (12:58):
Oh, they can.

Speaker 10 (12:58):
All make fires and hang pictures and fixed cars. Only
when it comes right down to doing it, they can't.
So we'll just sit here and freeze and catch our deaths.

Speaker 5 (13:11):
I wonder what time it is.

Speaker 10 (13:13):
I don't have a watch. I took mine to be repaired.
I keep forgetting to pick it up.

Speaker 8 (13:17):
You can't tell the time of day by looking outside.
The blackest pitch out there.

Speaker 10 (13:20):
It most certainly is pitch black.

Speaker 8 (13:26):
Yeah, the blackest pitch pitch black.

Speaker 9 (13:29):
And where do we go for me? Yeah?

Speaker 8 (13:31):
It looks like a long, dreary afternoon, all right, fand
adict of cards that she probably doesn't play cards.

Speaker 10 (13:39):
Have you lived in Glenville Heights?

Speaker 8 (13:41):
Long? I see, I'm in real estate. Really, things are
kind of slow right now.

Speaker 10 (13:50):
I can imagine maybe they'll pick up though. My husband's
a lawyer. Don't say yes, he's a lawyer. It goes
that cat again. I wonder where it is.

Speaker 8 (14:06):
As long as it stays out of here. I don't
much care, but it sounds hungry, and I think I'm
allergic to cats.

Speaker 10 (14:14):
I suppose it's waiting for its owners to come home
and feed it.

Speaker 8 (14:17):
They're probably stuck somewhere, same as we are. Probably why
if they got a TV set around here someplace.

Speaker 10 (14:27):
I hope that cat isn't trapped somewhere.

Speaker 5 (14:29):
Do you see a TV?

Speaker 10 (14:30):
I'm going to go look for that cat.

Speaker 8 (14:31):
Radio, a little music? My hell, there's nothing, absolutely nothing.
I wonder what these people do for amusement?

Speaker 10 (14:41):
What's the matter? Come here, quick?

Speaker 5 (14:43):
What is it?

Speaker 10 (14:44):
Come here? I found the cat.

Speaker 8 (14:53):
Every meeting is a touching. Sometimes the touch is so
light that it is scarce we felt. Sometimes the touch
ignites something, something as mild as distaste, perhaps, or something
as strong as hatred. At times, the touch can kindle interest,

(15:14):
sometimes attraction, sometimes even love. Our return shortly with Act two.
Two people, a man and a woman, have sought refuge

(15:36):
from a violent storm in a strange house.

Speaker 10 (15:39):
Two people with very little to say to each other.

Speaker 8 (15:42):
A strange house, rather unkempt, seemingly inhabited by a solitary cat,
heard but as yet not seen by either of the intruders.
As our last act ended, However, we heard what's the matter?

Speaker 1 (15:59):
What is it?

Speaker 10 (16:00):
Come here? I found the cat?

Speaker 5 (16:03):
Where where is it?

Speaker 16 (16:07):
Up there?

Speaker 10 (16:09):
That's at the stairs? See looking down at Yeah? Are
you sure? What else could it be?

Speaker 9 (16:17):
It looks like it.

Speaker 10 (16:20):
Looks like a little white cloud. I'm sure of it.
See there, it's hut and gry. I'm going to go
and get it some milk. I think we left some.

Speaker 5 (16:31):
You want me to come with you?

Speaker 10 (16:32):
You stay here unless you're afraid to.

Speaker 8 (16:36):
I'm not afraid. What's there to be afraid of?

Speaker 10 (16:39):
And if there isn't any milk left, I'm going to
open that jar.

Speaker 8 (16:41):
Ships stuck here with a lady who's cat. Crazy women
and cats they go together. The cat, what's with you? You're
the biggest cat I ever saw? Beg and white?

Speaker 17 (16:56):
White?

Speaker 9 (16:56):
Is it white?

Speaker 5 (16:58):
Is than anything?

Speaker 10 (16:59):
Pure white?

Speaker 9 (17:01):
Or what? You even got?

Speaker 8 (17:04):
White eyes?

Speaker 10 (17:07):
Yeah?

Speaker 8 (17:08):
White eyes? Is that possible? A thing like that? White eyes?

Speaker 10 (17:15):
There wasn't any milk left, so I just brought this shrimp.
I'll put the dish here at the foot of the stairs,
and if it's really hungry, it'll come down and get it.

Speaker 8 (17:23):
It doesn't strike you as kind of peculiar a house
that's only got cat food in it.

Speaker 10 (17:29):
Now that you mention it, I mean, what if.

Speaker 8 (17:30):
We hadn't showed up here, will that cat have gone
to the refrigerator and fed herself or what?

Speaker 10 (17:35):
I hardly think? Why doesn't it come down get the shrimp.

Speaker 8 (17:42):
I'm scared of us. Maybe let's move back a little.
We could just leave it somehow, for some reason, I
want to do that. I know I'll put the dish
halfway up the stairs.

Speaker 10 (17:55):
How would that be?

Speaker 5 (17:55):
What do I know about feeding cats?

Speaker 10 (18:00):
Would you know about anything?

Speaker 9 (18:02):
Crass?

Speaker 10 (18:03):
Stupid, terrible man? Second, the rain stops on going to
get out of this house. I hope my car starts.
If it does, nice guys, I'll have to ask him
to drive me home. Oh well, I can't be helped.
It's an emergency, and maybe that'll do it.

Speaker 8 (18:23):
Cat's still standing there, just looking just wait. Cats love shrimp.

Speaker 5 (18:29):
Maybe not this one.

Speaker 8 (18:30):
Did you notice this one has white eyes?

Speaker 10 (18:33):
Cats don't have white eyes. No cat has white eyes.
This one does pale blue, maybe not white.

Speaker 8 (18:39):
He's still standing.

Speaker 10 (18:40):
There, Wonder why she doesn't just well, she must smell it.

Speaker 5 (18:47):
Let's leave him.

Speaker 10 (18:49):
What makes you think she's a male cat?

Speaker 8 (18:52):
What makes you think he's a female cat.

Speaker 10 (18:57):
I think she wants to shrimp brought upstairs too.

Speaker 8 (19:00):
Don't you think you've done enough? No, I don't wait
till my wife. Here's how I spent the afternoons. She
won't believe it. I broke into a spooky old house
to get out of the rain. And here's this simple
minded woman, and she and I spent the whole time
trying to get a big white cat to eat some shrimp.

(19:22):
That's what I did all afternoon, sweetie, sue me, but
that's what I did.

Speaker 10 (19:26):
Would you mind coming up here for a minute?

Speaker 18 (19:29):
What for?

Speaker 10 (19:31):
Come up stairs for a minute, will you?

Speaker 8 (19:34):
I don't get the point. Is there something wrong?

Speaker 19 (19:38):
Flee?

Speaker 3 (19:39):
Come up here.

Speaker 8 (19:41):
I've never done this much or a cat in my life. Actually,
I've never had anything.

Speaker 5 (19:46):
To do with a cat before. Now, what is it?
What's up?

Speaker 10 (19:48):
Come with me?

Speaker 8 (19:49):
Where's the cat in the bedroom?

Speaker 15 (19:52):
Well?

Speaker 5 (19:52):
Do you think it's okay to go in there?

Speaker 10 (19:54):
I know what you're thinking. It's not nice to make
free with other people's houses.

Speaker 8 (19:57):
Well it's kind of pushy, don't you think?

Speaker 10 (19:59):
Yes? I do think so. But there's the cat.

Speaker 8 (20:04):
Ah, she did want to eat the shrimp up here.

Speaker 10 (20:08):
When I came upstairs, she led me right into this room.
She waited for me to open the door, so I did,
and I went in and she started to purr. And
I put the dish down by the window, and she
started eating right away, purring all the time.

Speaker 8 (20:30):
Well, look, I guess we've done our duty by the cat.

Speaker 10 (20:33):
So don't go. Wait a minute. I want you to
look at something.

Speaker 8 (20:40):
One look out the window, okay, any window, any window.
What do you see? Wow, that's beautiful.

Speaker 10 (20:58):
Have you ever seen such a god? No, I never
have such flowering trees.

Speaker 8 (21:05):
Those little winding paths. I wonder where they go to.
It isn't raining, that's right, there's no rain. The thunders stopped.
But just a few seconds ago downstairs.

Speaker 9 (21:19):
I heard it.

Speaker 5 (21:19):
I know I heard it.

Speaker 10 (21:20):
Look out there, the grass isn't wet, the flowers are
all standing up straight, the paths are dry.

Speaker 8 (21:32):
Oh look, that's not possible. I mean, there couldn't have
been a terrific storm in one part of the house
and sunlight and roses and all those beautiful things in
another part. That's just not possible.

Speaker 10 (21:44):
I know, it isn't possible.

Speaker 8 (21:47):
It's unbelievable, but it's true.

Speaker 10 (21:53):
I have this funny feeling. I think it has something
to do with the cat.

Speaker 8 (22:03):
You mean the cat is some kind of a I
don't know, a magician or something. You mean some kind
of a magician in disguise. Maybe, well, maybe not a magician,
but a spirit, something unearthly.

Speaker 10 (22:18):
Don't laugh, I won't laugh. Something intangible, immaterial, captured in
a cat's body, something saintly. Promise not to laugh.

Speaker 8 (22:35):
I don't feel a bit like laughing.

Speaker 10 (22:37):
And whatever it is, it's not real, but it is real.
The storm, the rain, the thunder, the lightning, it all
stopped as soon as we came upstairs. You can't deny that.

Speaker 8 (22:53):
Look at the cat, she asleep, don't think so. Didn't
I tell you she has white eyes?

Speaker 10 (23:03):
She doesn't have white eyes. She's blind, blind, beautiful and blind.

Speaker 8 (23:15):
Is that why she wouldn't come downstairs?

Speaker 10 (23:17):
Maybe? And also she doesn't have any claws. If she
had claws, she'd be able to feel her way down.

Speaker 8 (23:28):
So I guess she stays up here all the time.

Speaker 10 (23:30):
Why wouldn't she?

Speaker 8 (23:33):
I would if I could be lucky enough to live
in this room, I'd never leave.

Speaker 10 (23:39):
What makes it so wonderful?

Speaker 20 (23:40):
Do you think.

Speaker 8 (23:43):
It's so different from the rooms downstairs. So clean, so RESTful,
but so exciting, don't you think so? Yes, RESTful and exciting.
That's about it.

Speaker 10 (23:56):
What it is is, Well, it's it's open, it's free.

Speaker 8 (24:05):
You feel as though anything could.

Speaker 10 (24:06):
Happen here, as though you could make anything happen.

Speaker 8 (24:08):
But everything is so nice the way it is. Why bother?

Speaker 10 (24:11):
Oh, what a perfect way to feel.

Speaker 8 (24:12):
Everybody could feel this way. They wouldn't drink, or they
wouldn't take dope, and they wouldn't start.

Speaker 10 (24:16):
Warming, being mean or spiteful to anybody.

Speaker 9 (24:18):
It seems so easy here.

Speaker 10 (24:21):
I never want to leave, never. You know, you're very attractive.
Me attractive, very I'm just a middle aged suburban housewife.

Speaker 8 (24:38):
You are an attractive woman. Go look at yourself in
that mirror.

Speaker 10 (24:43):
Are you serious?

Speaker 8 (24:44):
Gone?

Speaker 10 (24:46):
Well, if you it seems so silly, but if you
really are. I look, it's not what I expect it
at all. I mean, it's it's me, all right, but
it's not what I'm used to.

Speaker 8 (25:01):
There's a glow on your face. It looks really.

Speaker 10 (25:06):
I'm not going to pretend I don't see it too.

Speaker 8 (25:08):
Don't pretend, because that's part of the magic here in
this room.

Speaker 10 (25:11):
I think you know you look different too. Come on,
look look at yourself. If you say so, oh, I
wish you would.

Speaker 8 (25:17):
I'm different.

Speaker 10 (25:20):
Somehow, younger, it's true, and you look vulnerable me. Vulnerable
is though you could be hurt. I never thought of
myself that way, not for a long time, but now
you do.

Speaker 8 (25:41):
I don't want to be heard. I think it's terrible
to be heard. Only it's worse to be somebody who
can't be heard.

Speaker 10 (25:50):
I know just what you mean.

Speaker 5 (25:51):
You can get over being heard.

Speaker 8 (25:53):
I guess it might take a long time, but.

Speaker 5 (25:55):
You could get over it. But to be.

Speaker 8 (25:59):
What's the word invulnerable, Well that's to be dead, really
walking around and talking, but really dead.

Speaker 5 (26:07):
You know what I'm talking?

Speaker 8 (26:08):
Yes, oh, yes, I do something I have to get
used to.

Speaker 21 (26:13):
Do.

Speaker 10 (26:13):
You know what I want to do. I don't know
why I want to do it, though, What do you
want to do? I want to take my shoes off
that's still wet. I want to go and lie down
on that big bed and.

Speaker 9 (26:29):
Go ahead and do it.

Speaker 10 (26:30):
I want to lie down and and dream.

Speaker 9 (26:36):
What about.

Speaker 10 (26:40):
Things about love and kindness and what lies in back
of the stars, and how the sun warms everything, and
how it feels to stretch out and feel good. Say
that hasn't been made up?

Speaker 1 (27:02):
Did you know that?

Speaker 10 (27:04):
Really, that's strange in this neat, tidy room. Why woudn't
they straight in the bed?

Speaker 8 (27:08):
I don't know.

Speaker 10 (27:12):
Linen sheets. Been a long time since I've seen linen sheet.

Speaker 8 (27:17):
Look, I don't think you ought to disturb anything. I
don't know why I think that.

Speaker 10 (27:20):
I just I know what you mean. I won't touch
a thing up.

Speaker 22 (27:24):
I'll just.

Speaker 10 (27:26):
Lie down on the bed. The way it is.

Speaker 8 (27:28):
He doesn't want you to lie down on the bed's
protecting it. How did you know what you were going
to do. She's blind, she couldn't have seen you.

Speaker 10 (27:37):
It must be true. She's a she is a spirit, a.

Speaker 8 (27:42):
Spect She ate the shrimp like a real live cat.

Speaker 10 (27:45):
Then there's a spirit lodged in her. I don't know.
I don't ask me how why? But there's something here
we don't understand.

Speaker 8 (27:51):
There's plenty. I don't understand, plenty, like the way I
feel about you.

Speaker 10 (27:57):
You'll be careful, be careful of what you say.

Speaker 8 (28:02):
No, I don't want to be careful anymore. That's what
this room has.

Speaker 5 (28:07):
Done to me, or this cat or whatever.

Speaker 9 (28:13):
I love you.

Speaker 10 (28:16):
I was afraid you'd say that.

Speaker 9 (28:19):
Why were you afraid?

Speaker 8 (28:21):
That's a terrible thing to say.

Speaker 10 (28:24):
But now I have to say something to you.

Speaker 9 (28:26):
Well, please say it. I love you.

Speaker 8 (28:35):
Was that so awful?

Speaker 10 (28:36):
But that's not what I felt about you before. Downstairs,
down there, I thought you were crude and insensitive. I
didn't like you at all.

Speaker 8 (28:43):
There I thought you were silly and dull, and I
hated the idea of spending an afternoon with you.

Speaker 10 (28:48):
What happened? What changed?

Speaker 9 (28:51):
Oh? Was that nice door?

Speaker 8 (28:53):
It was a door that opened and shut the door downstairs,
front door.

Speaker 9 (28:59):
I'll bet.

Speaker 10 (29:01):
On home is he? It's the owner, the owner of
the house.

Speaker 9 (29:04):
He came home.

Speaker 8 (29:05):
Busy girl, you are What do we do now?

Speaker 23 (29:09):
You know you're okay, busy.

Speaker 10 (29:12):
You'll be coming up here. I just know it. You'll
be coming up here.

Speaker 8 (29:28):
This is what a meeting can do, Even a meeting,
by chance, change attitudes, change feelings, facts, even lives. A
whole set of circumstances which had seemed so stable, so permanent,
so unalterable, can shift and become something else for no

(29:48):
other reason than two people have met and touched. We'll
be back soon with Act three. Quite fortuitously, two people
have met in a house strange to them, both driven

(30:11):
there to escape from a riotous rainstorm. Neither is to
the other an ideal.

Speaker 5 (30:18):
Choice for such enforced.

Speaker 8 (30:19):
Companionship, until they followed the plaintive mewings of a large,
white blind cat to the second story of the house,
into a beautiful bedroom, from whose windows they could see
an exquisite garden bathed in sunshine. Tranquility seemed to fill
the room, and, to their intense surprise, new feelings began

(30:42):
to stir in their hearts.

Speaker 10 (30:44):
I have to say it, I love you? Is that
such an awful thing to say? Because I love you?

Speaker 9 (30:56):
Downstairs? I thought you were silly and though I.

Speaker 10 (30:58):
Found you crude, if I didn't like you at all?

Speaker 8 (31:01):
What happened? What change does.

Speaker 10 (31:06):
A door just opened? Downstairs?

Speaker 8 (31:08):
Opened and shut the front door.

Speaker 1 (31:11):
I bet it?

Speaker 9 (31:12):
Busy, I'm home?

Speaker 10 (31:14):
Is he he's the owner of the house.

Speaker 9 (31:17):
The owner of the cat.

Speaker 5 (31:18):
Busy girl, You are right?

Speaker 10 (31:21):
Who will we do? Now? He'll be coming up here?
He is coming up here.

Speaker 8 (31:28):
Oh, we can't hide. There's noping.

Speaker 10 (31:31):
I don't want him to find us here. He'll be angry,
he'll throw us out. You don't want to leave, not
when we've just found whatever it is, we've just found.

Speaker 9 (31:41):
I forgot your food with my girl, I claim for good.

Speaker 5 (31:44):
You must be hungry.

Speaker 9 (31:46):
I'll fetch you for you.

Speaker 8 (31:49):
He's going into the kitchen. What did you mean when
you said what we found out?

Speaker 9 (31:55):
Whatever it is?

Speaker 10 (31:56):
I don't know.

Speaker 8 (31:56):
It's just this feelings, strange new feeling.

Speaker 10 (32:01):
You said, I know I did, and you said you
loved me?

Speaker 9 (32:04):
Did you mean it?

Speaker 10 (32:04):
Did you?

Speaker 9 (32:05):
I think I did?

Speaker 8 (32:06):
Didn't you?

Speaker 10 (32:06):
I think so? But maybe maybe what maybe I just
felt what love was like? Does that make any sense
to you?

Speaker 9 (32:18):
No shrimp this time, but I've got side of ease
for you.

Speaker 5 (32:21):
I'm late, Lizzie because of the storm.

Speaker 9 (32:23):
It was a terrible storm.

Speaker 10 (32:24):
What will he do to us? Will I call the police?

Speaker 24 (32:28):
So, my little sweet eyed color, well, good afternoon.

Speaker 10 (32:35):
Madam sir oh, I hope you'll forgive us.

Speaker 5 (32:38):
We can explain how this happened.

Speaker 9 (32:39):
I imagine it was the storm.

Speaker 10 (32:41):
Yes, it was with the storm. My car went over
a huge puddle down the roadways and it simply stopped.
There was thunder and lightning, and.

Speaker 8 (32:48):
It certainly stopped my car just outside of your house.

Speaker 5 (32:51):
Because I couldn't see a thing.

Speaker 8 (32:53):
The windshield wipers might as well not have been working
at all, for all the good they did.

Speaker 9 (32:56):
You weren't in the same car, both of you.

Speaker 8 (33:00):
No, I actually we just met here a little while ago.

Speaker 10 (33:03):
I was here first. Your front door was open up.
I'm afraid I just walked in.

Speaker 9 (33:09):
How did you happen to get up here?

Speaker 10 (33:11):
It was the cat Lizzie was that her name, That's
what I call her. Well, she kept mewing and we
didn't know where she was.

Speaker 24 (33:18):
She sounded hungry, but I was late getting here.

Speaker 10 (33:21):
I'm afraid. We drank most of the milk and the refrigerator.
So then we put that shrimp in a dish and
we left it at the foot of the stairs, but
you wouldn't come down. And then we put it halfway
up the stairs and that didn't work either. Lizzie's blind, yes,
we found that out later. After I took the shrimp upstairs.

Speaker 8 (33:42):
She sort of led me to the bedroom, and this
is where she lives.

Speaker 5 (33:46):
Nobody could blame her for that.

Speaker 8 (33:48):
I'd like to live here myself. Oh, I mean downstairs,
there was this terrible storm in a wind and.

Speaker 10 (33:55):
Terrible thunder and lightning. Everything's different up here. If you
look out the window.

Speaker 9 (33:59):
I look out the window.

Speaker 25 (34:02):
Well, then you know.

Speaker 10 (34:04):
It's all sunlight and flowers, peaceful.

Speaker 8 (34:08):
It's just sort of benign, if you know what I mean.

Speaker 5 (34:11):
It's gentle, like I do know.

Speaker 10 (34:13):
And the mirrors. If you look in the mirrors in
this room, you look.

Speaker 8 (34:19):
Different somehow, not so worried, not so harassed, you know
what I mean?

Speaker 10 (34:26):
Sure, but why should that be?

Speaker 9 (34:28):
Well, it's kind of a long story.

Speaker 5 (34:30):
Well, we'd love to hear it, if you don't mind
telling it.

Speaker 24 (34:33):
I'm not sure you'll believe it. I'm not sure I
believe it, except that.

Speaker 10 (34:39):
It's so well, please tell us.

Speaker 5 (34:42):
Well, this house used.

Speaker 9 (34:43):
To belong to a couple.

Speaker 24 (34:45):
They bought it when they got married, almost one hundred
years ago. They were very happy here. They loved the
house and they loved each other. That's a good beginning
for happiness, wouldn't you say. But then they became even
happier when a daughter was born to them, Elizabeth. They
named her beautiful girl, sweet girl.

Speaker 9 (35:05):
But she was blind, blind, born blind, blind from.

Speaker 10 (35:10):
Birth, terribly sad.

Speaker 24 (35:12):
Old's not as sad as you might think. There was
so much love, love for parents, for each other, and
their love for her. Now no it wasn't sad. Unfortunate maybe,
but not really sad. Love can drive out sadness, provided
there's enough of it.

Speaker 10 (35:29):
I'm starting to think that that's true.

Speaker 8 (35:32):
What happened to all of them?

Speaker 24 (35:35):
Well, Elizabeth died, oh no, and her parents' hearts were broken,
of course.

Speaker 5 (35:43):
How old was she when she died?

Speaker 24 (35:44):
And getting on for thirty her father and mother went
in the morning, not just for the year that's customary, but.

Speaker 9 (35:51):
For year after year after year.

Speaker 5 (35:53):
I knew them well.

Speaker 24 (35:54):
I saw them every day, and I worried about them.
They were getting older, they were getting they were getting sad,
or they were losing themselves and their grief, and I
couldn't stand to see it. So one day I brought
them a cat, Lizzie. I rescued her from a laboratory
where they had put out her eyes.

Speaker 10 (36:13):
Oh why why did they do that?

Speaker 9 (36:15):
Who?

Speaker 24 (36:16):
No, there's some experiment they were conducting to prove something
or other. Oh, and after they blinded her, they were
going to kill her.

Speaker 9 (36:23):
But I said, don't do that.

Speaker 24 (36:24):
Give her to me, and they did, And you brought
her here to this house, to the old people. They
took to her right away, partly because she was blind.

Speaker 9 (36:34):
I guess, like their.

Speaker 10 (36:35):
Daughter, and so at least they had something to.

Speaker 9 (36:37):
Love, They had something to share their love with.

Speaker 5 (36:41):
How long ago was this?

Speaker 8 (36:43):
How long ago did they take the cat to live
with them?

Speaker 9 (36:46):
Twenty four years ago?

Speaker 10 (36:48):
She's that old.

Speaker 9 (36:49):
The cat is that old, probably older.

Speaker 8 (36:52):
I didn't know cats ever lived that long.

Speaker 9 (36:54):
Well, it's my idea. She'll live to be thirty.

Speaker 26 (36:57):
You mean.

Speaker 10 (36:58):
As long as Elizabeth few.

Speaker 9 (37:00):
That's what I mean. You don't mean.

Speaker 8 (37:04):
I mean, you can't mean that the girl's spirit has
come back in a cat's body. Why not be goad?
Because why all such things aren't possible?

Speaker 9 (37:16):
Why not?

Speaker 8 (37:17):
Well they're not.

Speaker 9 (37:18):
They're not real.

Speaker 24 (37:19):
The old people believe they were real. I believe they're real,
So they're real. Maybe not for other people. But other
people don't know everything that went on in.

Speaker 9 (37:29):
This house, and I do.

Speaker 10 (37:32):
But how does it happen that you know so much
about it?

Speaker 24 (37:36):
I was in love with Elizabeth. I was going to
marry her, so I know.

Speaker 10 (37:43):
Of course. Would you tell us one more thing?

Speaker 9 (37:47):
Whatever? You want to know?

Speaker 10 (37:48):
Why does the cat live upstairs?

Speaker 24 (37:52):
Because the old people moved upstairs after I brought them
the cats, They lived in this room. I ran the errands.
I brought them their food, whatever they needed, And after
they died, the cat went on living here. I went
on dropping in twice a day to feet and make
sure she's all right.

Speaker 9 (38:06):
It's the least I can do.

Speaker 10 (38:07):
Don't you think there's one more thing I'd like to know?
If you don't mind our being so curious. I don't
mind the bed. It's not made up. When the rest
of the room is so beautiful and so neat and tidy,
why isn't the bed made up?

Speaker 24 (38:25):
The old people died in that bed. They died there
with their arms around each other, And when both of
them were smiling, and the cat was watching them from
the foot of the bed.

Speaker 10 (38:38):
When I wanted to lie down, just to take a
little rest, the cat wouldn't let me.

Speaker 24 (38:44):
She wants to keep it the way it was for
the time when the old people come back.

Speaker 9 (38:49):
Can't blame her, can you?

Speaker 10 (38:50):
You mean she's really Elizabeth, Elizabeth reincarnate.

Speaker 9 (38:55):
I'm not saying she is. I'm saying she could be.

Speaker 24 (38:58):
Is that why you call her Lizzie? Her name is
really Elizabeth. Her name isn't Elizabeth.

Speaker 9 (39:03):
Oh, the old people called her Elysium.

Speaker 10 (39:08):
That's a strange name.

Speaker 24 (39:09):
Why they call her that elysium is the dwelling place
of happy souls after death. That's what they tried to
make out of this room, a happy place for their dead.

Speaker 9 (39:18):
Child to live.

Speaker 24 (39:20):
And while they did that, they made a happy place
for themselves. It couldn't help but be that way.

Speaker 8 (39:28):
I don't suppose it's possible for anybody to buy this place.

Speaker 9 (39:31):
Oh no, no, no, no no, it belongs to the cat.

Speaker 24 (39:36):
You mean if it's in the will well, after the
cat die, it comes to me. But she isn't going
to die for a long time.

Speaker 10 (39:44):
Tell me one more thing, will you, if it isn't
too painful? How did Elizabeth die?

Speaker 24 (39:52):
Why didn't I tell you? She broke her neck? She
fell downstairs and broke your neck.

Speaker 10 (40:01):
Wow, that's why the cat has no claws, isn't it.

Speaker 24 (40:08):
Yes, well, I think the worst of the storm must
be over by Now.

Speaker 9 (40:14):
Let's go downstairs, shall we.

Speaker 8 (40:24):
I'll drive you home. I don't think your car's dried
out yet, all right. It take a couple of hours
of sunshine before it'll start.

Speaker 10 (40:33):
Remember all that sunshine back in that upstairs room.

Speaker 5 (40:38):
You can't take it with you, Oh you can't. If
you haven't told me where you live.

Speaker 10 (40:43):
Oh, it's straight along this road. It's not far, I'll
tell you.

Speaker 8 (40:45):
When we've never introduced ourselves, do you realize that?

Speaker 10 (40:53):
I don't think we should.

Speaker 5 (40:57):
You may be right.

Speaker 10 (40:57):
We said some pretty impetuous things things to each other
up there in that room. I know we did things about.

Speaker 8 (41:05):
Love and all that seems so natural up there to.

Speaker 10 (41:08):
Say those things, but it isn't here.

Speaker 8 (41:13):
I wonder why we're the same people?

Speaker 10 (41:18):
Are we? Of course we are? And why don't we
feel the same? I wouldn't know, I think, But in
that upstairs room we were different because we were using
a different part of ourselves, the upper part, you might.

Speaker 5 (41:39):
Say, the better part, Yes.

Speaker 10 (41:43):
The part that reaches out and touches and doesn't hold
back and protect itself all the time.

Speaker 8 (41:50):
What happens to that part?

Speaker 10 (41:52):
It gets smothered somehow, strangled.

Speaker 9 (41:56):
It gets killed.

Speaker 10 (42:01):
Why don't you let me off at the corner I
can take you to? You know, really rather you wouldn't.

Speaker 5 (42:07):
Better to leave things the way they are?

Speaker 10 (42:09):
I think, So thank you? Thank you for everything, for
what I don't know I should thank you for what I.

Speaker 8 (42:30):
Don't know.

Speaker 10 (42:31):
Anyway, I'll never forget you. I don't think I will.

Speaker 8 (42:42):
I'll never forget you, at least I hope I won't.
Is there a room some place where the heart expands
and accepts and is generous, where we cease to be

(43:06):
petty and irritable and sullen, where we stop being against
and start being four, where we can relax and endure
and stop resenting and envying. Every heart longs for such
a room, and for fleeting moments each heart finds it.

(43:28):
Does it really exist? I don't know, do you. I'll
be back shortly. Suppose such a room does exist, How

(43:50):
do we find and keep it?

Speaker 10 (43:52):
Does it have an address? Does anyone live there all the.

Speaker 8 (43:56):
Time, even a cat, a cat who is really a
ghost waiting for other ghosts? Or is the room within
the human heart? Is it a room that has been
closed off, locked, shuttered? Is it possible we can open
the room, unlock its door, and fling wide its shutters.

(44:20):
If it is possible, then only love can do it.
Of that much, I'm sure. Our cast included Marion Seldi's,
Mandel Kramer, and Bobby Reddick. The entire production was under
the direction of Hyman Brown. Radio Mystery Theater was sponsored
in part by Contact the twelve hour Cold Capsule and

(44:42):
Buick Motor Division.

Speaker 9 (44:44):
Missus E. G.

Speaker 8 (44:45):
Marshall inviting you to return to our Mystery theater for
another adventure in the macabre until next time.

Speaker 13 (44:55):
Pleasant truth is stranger, the fiction, this system, this is ripley.

Speaker 1 (45:26):
Believe it or not.

Speaker 27 (45:33):
In Cuba, in eighteen ninety eight, famed surgeon William C.
Gorgas performed surgery on a soldier by the light from a.

Speaker 8 (45:40):
Jar of fireflies.

Speaker 5 (45:41):
They leave it or not.

Speaker 27 (45:43):
In a moment, I'll tell you the story of the
King of Punishment. King Olav, second heraldson of Norway, who
reigned during the tenth and eleventh centuries, took his religion strongly,
and he set a severe example for himself when absent
mindedly he desecrated the Sabbath. Olav was with wood when
a passing servant remarked, Sire, tomorrow will be Monday. The king,

(46:04):
whose shame was so great, picked up a pile of
wood chips, placed it on his palm, set fire to it,
and watched as the offending limb was entirely consumed.

Speaker 5 (46:13):
They leave it or not.

Speaker 20 (46:19):
The National Broadcasting Company presents the Adventures of Sam Spade.

Speaker 28 (46:24):
Detective Sam say, detective agency, the.

Speaker 20 (46:34):
Sweetheart, what did awful say? Excruciating? If I suffered, girl,
how I suffered?

Speaker 29 (46:40):
But there's no other waste when they turned against.

Speaker 20 (46:43):
The true deer one true. But from somewhere I must
find strength. You must to pick up the shattered fragments
of my life, to raise my eyes once again to
the horizon, and piece by piece put them together again.
And the two of us, dear one, hand in hand,
shall go marching down the years to get the bash yourself, sweetheart,

(47:03):
Gather together the homely, humble tools of your trade. Find
six dry handkerchiefs, and prepare to greet me with a
smile behind the tiers. I'll be down before you can
change stations. With a report entitled The Soap Opera Caper FORIGNBC,
William Spear, Radio's outstanding producer director of History and crime Drama,

(47:27):
brings you the greatest private detective of them all in
the Adventures of Sam Spade, who calls Young Winter peren
lay as a soap opera ever over, Dear one, I know,
I know, but it's not the end.

Speaker 9 (47:47):
It's never the end.

Speaker 20 (47:48):
Pull up a chair, now, take a firm grip on pad,
pencil and your emotions got them. Good show to Agatha
Pilbeam from Samuel Stade, license number one three seven, five
nine six, subject the soap opera Caper. How was I

(48:12):
to know what was on her mind? This strange woman,
this mysterious Agatha Pilbeam, This voice on the telephone directing
me to the big sprawling.

Speaker 9 (48:22):
House in Hillsborough?

Speaker 10 (48:24):
Is that clear to our urgent?

Speaker 9 (48:25):
Is it, miss Pilbeam?

Speaker 22 (48:27):
Very very urgent, mister Spade. I don't know which way
to turn.

Speaker 20 (48:34):
So I went to the big sprawling house in Hillsboro,
pulled up behind an ancient Model A parked at the curb,
and was walking past it toward the gate, when Hi, oh, oh,
crock Morton, isn't it eh?

Speaker 14 (48:47):
Good old Sammy you remember?

Speaker 8 (48:49):
Yeah, yeah, when'd you get out? Oh?

Speaker 30 (48:52):
Last month? But I'm a good boy. Now here, take
one of my cards. Do you know anyone who.

Speaker 14 (48:57):
Needs a first class private? I cracks available? And what
are you doing?

Speaker 1 (49:00):
Is that the lady wants to see me?

Speaker 14 (49:02):
Soapaba queen?

Speaker 9 (49:03):
Is that what she used?

Speaker 14 (49:05):
Six or eight of them?

Speaker 30 (49:06):
She writes Behind the Clouds the Heart of Julia Juke's Life.

Speaker 14 (49:12):
I forget the rest beat.

Speaker 30 (49:13):
Gumshor and sent yeah, well right, if you get work, Crock,
I've got a job right now.

Speaker 20 (49:18):
I mean, you got your license already for me, wildlie wad.
You can always run off a photostat of someone else's
Oh Sam, that's me. Kroc was a crook, but a
nice crook. He never killed anybody. He was just an
uncurable camera fiend, specializing and taking pictures of people doing what.

Speaker 9 (49:41):
They hadn't ought to be doing, you know, stuff like that.

Speaker 20 (49:44):
Or if you wanted a photostat of somebody else's document.

Speaker 1 (49:47):
Quack was your man.

Speaker 8 (49:49):
Well.

Speaker 20 (49:50):
I walked up the drive to the door, through it,
past a white shirt front that turned out to have
a butler in it, and toward what seemed to be
your study, but it wasn't.

Speaker 9 (49:58):
It was your.

Speaker 20 (49:58):
Bedroom and you who were reclining on six pillows with
a cigarette and a long holder in one hand and
a mouthpiece of a dictating machine in the other.

Speaker 31 (50:06):
But John, hush, Melinda, there is no way to go now,
but ahead, John, You're so strong. I need you, I
need your courage. We must face this thing together.

Speaker 20 (50:17):
Melinda, the organ pornographed playing in her ear. I waited
for a notening, but there just wasn't any, so I
had a russ.

Speaker 28 (50:27):
We can't run.

Speaker 22 (50:27):
Away from life. We must approach this there, God, pardon
or just a minute my mood music?

Speaker 20 (50:37):
I see, I'm Sam Spade, Miss Pilgrim.

Speaker 31 (50:39):
Come come sit beside me, mister Spade, it's time we
talk things over.

Speaker 5 (50:44):
Well, thanks, Oh, maybe you'd better start at the.

Speaker 31 (50:47):
When a woman reaches forty, mister Spade, she comes to
lean upon her man, to look upon him, not just
as someone to cherish, but as a source, a spring,
a fountainous string.

Speaker 5 (50:59):
Are you still dictating?

Speaker 31 (51:01):
I'm talking about means to spain? Oh whom can I turn?

Speaker 9 (51:04):
To?

Speaker 32 (51:04):
Whom I grope?

Speaker 31 (51:06):
I flounder in the darkness, I cry out, I listen
in vain for an answer, but there is none.

Speaker 20 (51:11):
Well, you always have a better chance of getting an
answer when you.

Speaker 10 (51:13):
Ask a question, what do you mean?

Speaker 9 (51:16):
What are we talking about?

Speaker 1 (51:17):
What?

Speaker 20 (51:18):
Indeed, well, I haven't caught the show lately. You'll have
to bring me up to day. Why don't you run
through the announcer's park when you know, right after the
organ when he says, when we left Julia Jukes yesterday,
I'm sorry.

Speaker 22 (51:30):
I thought I told you on the telephone.

Speaker 9 (51:31):
No.

Speaker 31 (51:32):
For many days now I've seen somewhat of a strange
new look on my husband's face. Husband, doctor Martin Hawks,
Oh you're married?

Speaker 9 (51:40):
I thought it was miss Agatha Pilbey.

Speaker 33 (51:42):
Not two years ago?

Speaker 31 (51:43):
Today I met young doctor Hawks and married him. Life
became beautiful, a gay, laughing thing, a road to happiness.

Speaker 22 (51:50):
And then then a cloud passed.

Speaker 26 (51:53):
Over the sun.

Speaker 31 (51:53):
Martin became moody, sailent. I tried to penetrate the show,
but he only drew farther into it. A strange, terrifying
crevasse seem to have opened up between us.

Speaker 22 (52:02):
What is it, Martin? I asked him repeatedly.

Speaker 31 (52:05):
Did only stared silently out of the window, and finally
walked silently from the room.

Speaker 5 (52:12):
Well, h how long did this go on?

Speaker 9 (52:13):
Now?

Speaker 11 (52:14):
How long?

Speaker 10 (52:14):
As serious did you get.

Speaker 21 (52:15):
Out of it?

Speaker 31 (52:15):
For weeks until a few days ago when the final
blow fellow. It was evening and Agatha and Martin were
at dinner. Let's look in on them as Oh sorry,
we were at dinner when the doorbell rang and I
answered it was a telegram for Martin from Mexico. I
gave it to him and watched the blood drain from
his handsome features. As he read it, his hand trembled,

(52:37):
his jaw clenched.

Speaker 20 (52:39):
But you forced yourself to speak.

Speaker 22 (52:41):
Yes, what is it?

Speaker 9 (52:44):
Martin?

Speaker 22 (52:44):
I asked, tell me please, for the sake.

Speaker 20 (52:47):
Of our love, And he looked.

Speaker 22 (52:49):
Down at me as if I were a stranger.

Speaker 31 (52:51):
Then he crumpled the telegram, threw it savagely into the fireplace,
and strode silently.

Speaker 26 (52:55):
From the room.

Speaker 22 (52:56):
Here sure I rescued it from the flames.

Speaker 20 (53:00):
Read it, thank you, er regret must confirm your worst fears, Cardozer.

Speaker 10 (53:06):
What is the terrible secret of Martin hawks?

Speaker 31 (53:10):
Why did he act so strangely when the mysterious telegram
arrived from Mexico?

Speaker 10 (53:16):
And above all, where is he?

Speaker 20 (53:18):
You mean he didn't come back.

Speaker 9 (53:20):
He's been gone for.

Speaker 10 (53:20):
Four days, mister Spade.

Speaker 31 (53:22):
I must find him now, of all times, I need
his love when a woman reaches forth.

Speaker 1 (53:28):
He I know, I know?

Speaker 9 (53:29):
What do you mean? Now? Of all times?

Speaker 31 (53:32):
In just a week now, since the report came back
from the laboratory after my physical examination, the doctor from
Vienna who seems to Spade, I too have terrible secret, Wilder.

Speaker 9 (53:46):
Don't you want to tell me about it?

Speaker 26 (53:48):
Yes?

Speaker 31 (53:50):
I have a very rare incurable seas there are only
only six short weeks to live.

Speaker 9 (54:09):
Well.

Speaker 20 (54:09):
Less than an hour after his distressing interview with Agatha,
our boy Sammy walked into the beautifully appointed office of
young doctor Hawks at four fifty setter to find his nurse,
pretty young Norah shell Drake, a new character, working at
her desk in the reception room. In response to a
question from Sammy. We hear Nora saying, I have no.

Speaker 29 (54:29):
Idea where Martin is gone, mister Spate, but I can
tell you.

Speaker 20 (54:32):
Why tell me, Nora, Please feel free to tell me everything.

Speaker 10 (54:36):
It's that that woman, mister Spate.

Speaker 9 (54:41):
Agatha.

Speaker 29 (54:42):
Yes, yes, she never understood Martin. She doesn't understand Martin.
She never has tried to understand Martin.

Speaker 34 (54:49):
Do you hear me? She never is tried.

Speaker 20 (54:52):
I take it you don't care for Agatha Pillby.

Speaker 29 (54:54):
I ha, Norah, Do I hate her? She thinks her
money can buy everything, even Martin.

Speaker 3 (55:01):
Well it won't.

Speaker 34 (55:02):
She knows that.

Speaker 35 (55:02):
Now.

Speaker 20 (55:03):
Well, calm yourself, Norah, try and think back now to
the last time you saw Martin Hawks. It it was Monday,
four days ago.

Speaker 29 (55:14):
Yes, the call came from some legal firm named Vinnett.

Speaker 8 (55:20):
And Hatch sh'll let me write that down.

Speaker 29 (55:22):
I switched the call into Martin. I was worried for him.
I was concerned. I have to admit now I did
a terrible thing.

Speaker 10 (55:31):
Ah, you I did.

Speaker 29 (55:34):
They told him his sister was in town, that she
was working at some some nightclub and wanted to see him.

Speaker 5 (55:42):
What nightclub was this?

Speaker 10 (55:43):
Me? See it was the Tortuga. What else?

Speaker 34 (55:49):
That's all.

Speaker 29 (55:50):
They hung up then, and Martin came out. I watched
the blood drain from his handsome features.

Speaker 20 (55:57):
His hand trembled, his jaw clenched.

Speaker 29 (55:59):
Yes, I'm going out, Nora, he said. If I'm not there,
don't worry.

Speaker 10 (56:07):
That's all.

Speaker 29 (56:09):
It was so like Martin.

Speaker 5 (56:18):
The Tortuga.

Speaker 20 (56:19):
It was only a few blocks away on Post Street,
so I walked there. We're just hooling up for the
dinner trade. When I arrived, sailed around backstage like Billy
Rose on an inspection tour, filed the dormant and showed
them the snapshot. You would give me a young doctor,
hawks or tried.

Speaker 36 (56:33):
Looked him fellow. I told you we don't have no
dancer here.

Speaker 27 (56:36):
Name of Hawks, I ain't got name Dorman.

Speaker 35 (56:37):
Dorman.

Speaker 9 (56:38):
Please take a look at the picture.

Speaker 37 (56:39):
Oh, I ain't got Yeah, yeah, that fellow was here that.

Speaker 36 (56:47):
Tuesday, Monday night.

Speaker 5 (56:49):
It was, well, who do you come to see?

Speaker 36 (56:51):
Wasn't nobody named Hawks?

Speaker 11 (56:52):
Mister?

Speaker 8 (56:53):
Who was Beth Chardy?

Speaker 20 (56:54):
Well, bless you, dormand bless you, bless you, Thank you, Beth, John.

Speaker 9 (57:04):
D am In.

Speaker 22 (57:08):
I close the door, will you rasty?

Speaker 1 (57:11):
Yeah?

Speaker 9 (57:11):
Yeah? Is there anything I can he?

Speaker 14 (57:13):
Sure is?

Speaker 22 (57:15):
Sip me up? Jack?

Speaker 9 (57:16):
I'm Sam.

Speaker 22 (57:16):
I don't care if your boy's call off. You got
hands and set me up?

Speaker 8 (57:21):
Okay? You say when.

Speaker 1 (57:28):
When can you breathe?

Speaker 10 (57:30):
Oh no, you can't have everything out?

Speaker 22 (57:36):
That's done your mind?

Speaker 38 (57:37):
Jack?

Speaker 9 (57:37):
Martin Hawks?

Speaker 22 (57:39):
Sorry, never heard of him.

Speaker 20 (57:40):
Look, we're getting along beautifully up to now, and let's
not spoil it. You not only know Martin Hawks, you're
his sister. What makes you watch that card stuck over
there in the mirror? Bennett and Hatch attorneys at the law.
That's say Bennett and or a Hatch who called Martin
Monday afternoon and told him his sister wanted to see
him here?

Speaker 9 (57:57):
Now, what's this all about?

Speaker 8 (58:01):
Didn't tell you he got a telegram from Mexico. Mexico, Yeah,
upset him something awful.

Speaker 5 (58:06):
What it say regret.

Speaker 20 (58:08):
Must confirm your worst fear.

Speaker 3 (58:09):
You're dead.

Speaker 31 (58:10):
Huh Yeah, that's great.

Speaker 14 (58:14):
I'm great, pretty hilarious.

Speaker 22 (58:16):
Huh Jack, you just ain't got no idea.

Speaker 31 (58:19):
I got a piece of advice for you, Jack, Oh,
forget about Maudy Hawks and live a long and useful life.

Speaker 20 (58:27):
I got a tip for you too. You're in a
tight spot. Watch that zipper Jack. One of the heavier
soap opera typees Beeth was with a throaty voice and
the talent for the smirching reputations. What was the mysterious
influence she wheeled over young doctor Hawks? How much did

(58:49):
she know about his strange disappearance? What about the cryptic
telegram from Mexico City? And what about dinner? The last
question I could answer. I stopped at Schroeder's rasarbout in
the potato pan cakes, ran into the Larry Mahoney of Homicide.
It was off duty, and we stopped in at a
handy alley and bowled until eleven. I was walking back
down Market Street when I passed the Flood Building, which

(59:09):
reminded me of the firm of Bennett and Hatch, who
resided there. As a matter of fact, it looked like
they were there right now, since the lake was on
behind the second floor window with their name on it. Now,
the sensible thing would have been the call around nine
in the morning, but as I seldom do sensible things,
I hustled up the stairs and down the corridor to
their office. Some one other than Bennett or Hatch had

(59:33):
put in some time. Obviously, the drawers of a dozen
or more file cases had been pulled out and dumped
on the floor. The desk drawers likewise, and the market
clearly is the work of a thorough going professional. The
safe door was off its hinges. All this took me
back to the model A parked in front of your
house this afternoon, Agatha, and I was contemplating same when.

Speaker 8 (59:56):
Hello, minute, yeah.

Speaker 10 (59:57):
Good Christopher Cat, you wouldn't be there.

Speaker 9 (01:00:00):
You do it, baby, do it?

Speaker 10 (01:00:02):
Pull a string.

Speaker 31 (01:00:03):
We'll never make it with this guy with rough pull
a string here.

Speaker 33 (01:00:07):
Do it, baby?

Speaker 1 (01:00:08):
Do it?

Speaker 22 (01:00:08):
Make it?

Speaker 20 (01:00:09):
Hello, operator, Operator Operator. I finally got someone at the
Tortuga Club who knew where Beth Jardine lived, an apartment
on Russian Hill. I didn't stop to ask which apartment,
and when I got there, I found I didn't have.

Speaker 9 (01:00:26):
To all right, stand back any great? Stand Backgan? Oh hello, Sam,
what happened?

Speaker 10 (01:00:32):
Name?

Speaker 39 (01:00:32):
Just doctor Tefall come from a room.

Speaker 9 (01:00:34):
And he for stand back?

Speaker 21 (01:00:36):
You y out?

Speaker 20 (01:00:36):
There was no need to, but I looked at her anyway,
just to make sure it was Beth all right? Once
you said she was rush meant it. I was just
turning to go, and something big and a tan camel's
hair brushed past me and bent over the body.

Speaker 10 (01:00:48):
Where is she? Beth sister Beth Bell? Who?

Speaker 20 (01:01:00):
I recognized him from the snapshot, wild haired with a
four days growth of beard on his lean, handsome face.

Speaker 1 (01:01:05):
It was Martin Hawke's on.

Speaker 20 (01:01:07):
The verge of collapse. Officer Dugan and I helped him
through the crowd toward the ambulants that had just rolled up,
sat him on the running board, and began to question him.

Speaker 40 (01:01:14):
Oh what what was ever done?

Speaker 9 (01:01:16):
Your name?

Speaker 35 (01:01:17):
Your name?

Speaker 9 (01:01:18):
What's your name?

Speaker 40 (01:01:20):
My name?

Speaker 8 (01:01:22):
Of course, I i'll my name.

Speaker 5 (01:01:25):
I don't know, I don't know my name.

Speaker 20 (01:01:35):
It happens to everyone in soap operas.

Speaker 9 (01:01:37):
Sooner or later.

Speaker 20 (01:01:38):
When he filled out the forms on poor Beth Jardine,
old Doc Peterson gave Martin a double all, blew his
nose and enos for the twinkle in his eye ears
to me like young Doctor Hawks has got himself a
case of amnesia. Will the mind of young Doctor Hawks

(01:02:01):
come out of the fog? What does he know about
the death of Bet? Was it murder or suicide?

Speaker 8 (01:02:07):
Or both?

Speaker 20 (01:02:08):
And one of the mysterious telegram from Mexico City? Will
Agatha ever discover the terrible secret of Young Doctor Hawks?
And will stupid Sam ever discover anything? Before we continue,
a word from our announcer.

Speaker 18 (01:02:28):
You are listening to the weekly.

Speaker 20 (01:02:29):
Adventure of radio's most famous detective Sam's Fade. Three times
mean Good Times on NBC Saturday Night is Date Night,

(01:02:51):
But tomorrow poor Dennis Day has trouble with his girlfriend Gloria. However,
Dennis manages to sing his way out of trouble in
his charming boyish fashion, and say why not let Dennis
help your Saturday evening along too? And for more music
and fun tomorrow there's the Judy Canova Show starring Judy
in a melodic and carefree half hour of laughs. And
Grand o'laffrey was singing mc Redfoley and his special guest

(01:03:15):
cowboy Troubadour Ernie Tubb.

Speaker 14 (01:03:23):
Now back to.

Speaker 20 (01:03:24):
The soap opera caper Tonight's Adventure with Sam Spade. It's
a half hour later now, in the sterile whiteness of
a hospital room that the three of us, you, Agatha,
I and old Doc Peterson gather around the pale, quiet
form of young doctor Hawkes.

Speaker 10 (01:03:45):
Martin.

Speaker 22 (01:03:47):
Martin speak to me, Mardin.

Speaker 10 (01:03:51):
Darling, who are you AGAs?

Speaker 25 (01:03:57):
Your own?

Speaker 10 (01:03:58):
AGAs?

Speaker 9 (01:04:01):
He'll call Agathy?

Speaker 20 (01:04:02):
Better leave him be for now.

Speaker 10 (01:04:06):
I can't go on when a woman reading.

Speaker 20 (01:04:09):
I know, I know, You've got to be strong, Agathy, Sam,
We better leave him bee for now.

Speaker 5 (01:04:16):
Well you're the doctor.

Speaker 22 (01:04:20):
Oh, darc what could have done this to Martin?

Speaker 9 (01:04:23):
Oh shock?

Speaker 20 (01:04:24):
Sometimes you don't mean yes, I'm afraid I do.

Speaker 26 (01:04:30):
Seeing his sister then could.

Speaker 20 (01:04:32):
Be Or sometimes it's just a matter of a body
getting into such affects. His mind backs off and refuses
to have any part of it.

Speaker 31 (01:04:40):
The wire from Mexico City, his terrible secret, the strange
threat hanging over him and his sister, driving one to
suicide and the other the other.

Speaker 22 (01:04:54):
Well, no wonder poor Martin gave away before this.

Speaker 20 (01:04:58):
Sure, Sure, and there's still another expert.

Speaker 9 (01:05:00):
How's that Sam?

Speaker 20 (01:05:01):
That he figured amnesia was a nice easy way not
to have to account for what he's been up to
for the last four days, or where he was when
the Dame took off from the eighth story.

Speaker 22 (01:05:10):
Mister Spade, you're not accusing Mark.

Speaker 20 (01:05:12):
There's something buzzing around in his little mind. The nurse
tells me she got him into a pair of pajamas
and tucked him in nice and cozy before we got here. Well, yes,
well you may not have noticed Dagatha because he'd pulled
the covers up around his neck, but our boy had
his clothes back on.

Speaker 9 (01:05:29):
Just now, a.

Speaker 8 (01:05:32):
Martin, Hey, he's gone.

Speaker 20 (01:05:40):
Indeed he was was Martin, as we could plainly deduce
from the open window and the curtains blowing gently out
over the fire escape. Young Doctor Hawks indeed had packed
up his amnesia, his terrible secret, and his tooth brush
and taken off into the night. So I left you
serving gently on old Doc's shoulder, and found me a
phone in a drugstore, a safety instance away on the

(01:06:00):
forty eighth ring. Bennett of Bennett and Hatch Attorney's answered,
he was sleepy. I used all my soft dancers, and
he used all his hard ones, and finally we got
to the point. All right, spade. All right, the Jardine
dame left a sealed envelope with us.

Speaker 28 (01:06:15):
What was in it?

Speaker 32 (01:06:15):
How do I know?

Speaker 20 (01:06:16):
It was sealed mock personal and confidential to be delivered
to the city attorney in the event of my death.
Signed Beth Jardine Hawks, signed ow Beth Jardine Hawks, not
Beth Hawk's Jardine.

Speaker 28 (01:06:27):
No is it important?

Speaker 20 (01:06:29):
Just a tiresome detail, Bennett. So she brought you the
envelope page of fee, and you stuck it in the
vault for then what now? She had his caller brother
and tell him to meet it at the Tortuga period
ad in adar part of it.

Speaker 8 (01:06:39):
We didn't even get our feet wet.

Speaker 20 (01:06:41):
On the contrary, Bennett, you're up to your ears in
what blackmail by which explained many things to wit A
the lawyer from Mexico City, from a lawyer named Cardoza,
be the murder of Beth Jardine and c the reason
for young doctor talks mysterious flight from the hospital is

(01:07:02):
mine still flogged with amnesia. It did not, however, explain
why stupid Sam had kept crock Morton's business card in
his vest pocket for twenty one pages without doing something
about it. The advance was near Third and Howard, not
one of the better business sections, even for a private detective.
My walk down Third Street, past the Sherry and Muscatel joints,

(01:07:24):
looking at numbers, and then discovered it wasn't necessary. The
old Model A was pulled up in front of white
what might have been a respectable office building before the earthquake,
but now couldn't decide whether to be a warehouse or
a tenement. Thus far a harmonious picture. But behind the
Model A was something twice as long and three times
as shiny, with a motor running out of place by

(01:07:45):
about four thousand dollars. I've kind of laid, aren't you?

Speaker 41 (01:07:49):
Norah?

Speaker 9 (01:07:51):
Norah, Norah? Don't reach for the home?

Speaker 22 (01:07:55):
Could he tell me?

Speaker 9 (01:07:56):
Sure?

Speaker 20 (01:07:56):
And you believed it like everything else he told you.

Speaker 10 (01:07:58):
Come on, get up, will get out?

Speaker 5 (01:08:00):
Oh but you will.

Speaker 20 (01:08:02):
I'll pull you off by your pretty blonde hair.

Speaker 9 (01:08:04):
Come on, that's it.

Speaker 29 (01:08:09):
You can't do this to me, mister Spade. Nothing can
stop Martin and me. We have our right to happiness.

Speaker 20 (01:08:15):
Uh huh, that's the two of you. Chins up, eyes
on the horizon. Let the dead past bury its dead.

Speaker 21 (01:08:21):
How can you joke?

Speaker 9 (01:08:22):
It's no joke.

Speaker 20 (01:08:23):
Believe me.

Speaker 9 (01:08:23):
You got taxi fair?

Speaker 20 (01:08:25):
Why because you're going to get in my cab, go home,
put your hair up in curls, and go to bed.
After saying to yourself one thousand times what a lucky
little girl you are that Martin Hawks didn't shove you
on a window.

Speaker 5 (01:08:35):
Two now, scoot, scoot.

Speaker 20 (01:08:41):
It was a kind of a dark stairway that made
me yearn for the comfortable feel of a shoulder holster
under my left arm. At the top was a three
and a half watt bowls and at the other end
of the hallway a crack of light under.

Speaker 5 (01:08:52):
Croc's office door.

Speaker 20 (01:08:53):
Between the two was a cat More's the City. So,
abandoning my stealthy approach, I walked up to the door,
turned the knob, stuck my hand in my side coat
pocket like Edward G. Robinson, and kicked the door off.
Kroc was sitting at his desk behind a stack of bills.
The closet door was just closing. Soft Who was in
the closet and did he still have his tooth brush,

(01:09:15):
his terrible secret and his amnesia with him?

Speaker 30 (01:09:18):
Wow, Sammy, you took me up on it right quick.

Speaker 9 (01:09:23):
Huh?

Speaker 14 (01:09:24):
Have a chair.

Speaker 20 (01:09:25):
I sat on a chair in the corner, out of
line of the closet door behind the desk.

Speaker 30 (01:09:30):
Oh, Sammy, you got a job for me.

Speaker 20 (01:09:34):
Yeah, yeah, you don't look like you need a job.

Speaker 15 (01:09:36):
Crock.

Speaker 14 (01:09:37):
Oh this ah, this is nothing. Good day at the track.
That's what's on your mind.

Speaker 20 (01:09:42):
Remember the blenner has it? John, the one with the
letters before you went up?

Speaker 14 (01:09:46):
What are you talking about?

Speaker 20 (01:09:48):
The shakedown Kroc, the dame who wanted you to get
the letters back? Remember you know, so you got him
for delivered and collected after you had the photostats made.

Speaker 14 (01:09:56):
Samuel, you're crazy. I never done no such day.

Speaker 6 (01:09:58):
You can level with me.

Speaker 20 (01:09:59):
Crock collected on the photostats for eight years.

Speaker 14 (01:10:01):
Await sham well, I forget it anyway.

Speaker 20 (01:10:04):
I got another one. Doctor Martin Hawks, married to the
soap opera queen.

Speaker 9 (01:10:08):
You know what about it?

Speaker 20 (01:10:09):
She's wearing a couple of million bucks and has six
weeks to.

Speaker 1 (01:10:12):
Live as her husband. He's her only heir. I spot
the be in.

Speaker 14 (01:10:16):
Only he isn't her.

Speaker 20 (01:10:17):
Husband because the Mexican divorce from his first wife, the
late Beth Jardine Hawks, wasn't legal enough. She blew in
a month ago and began shaking him down after leaving
the marriage certificate in a batch of other papers with
some lawyers for life insurance. Sam, I just wait, you
wear the payoff, Crock. It's just like the dame with letters.

Speaker 14 (01:10:35):
What do you mean?

Speaker 20 (01:10:35):
Hawks hired someone to crack the lawyer's office and get
the papers out of the safe. Some smart guy, yeah,
an unfrocked private eye who.

Speaker 9 (01:10:42):
Doesn't have a license.

Speaker 20 (01:10:44):
I found out where he had the photostats made. Though
I can get coffee they for growing up out shop.
The closet door knob was turning slowly. I waved him
out of the way and picked up the chair.

Speaker 9 (01:10:56):
It was all over.

Speaker 20 (01:10:57):
Two seconds after it started. A door flew over. He
came out with a terrible secret, which turned.

Speaker 6 (01:11:03):
Out to be a gun.

Speaker 20 (01:11:04):
I rap the chair right around the time. So I
picked up the gun, and Clark and young doctor Hawks
and we all picked up our rides at headquarters. Only
one scene remained to be played in today's exciting episode.

Speaker 22 (01:11:17):
All right, I should try to be brave, mister Spade.
Sounds like such a cliche.

Speaker 20 (01:11:23):
Now, good show, Agatha, good show show.

Speaker 22 (01:11:27):
Life must go on. You know, even when a woman you.

Speaker 20 (01:11:30):
Were born in nineteen eleven.

Speaker 22 (01:11:31):
I believe, yes, said, I say.

Speaker 20 (01:11:35):
Life must go on even when a woman reached Indeed
it must, Indeed it must. We have our happy moments
and our sad ones, our pleasures, our trials, our joys,
and our heartbreaks.

Speaker 31 (01:11:44):
And sometimes, mister Speeds, Yes, sometimes at the bottom of
our couple of bitterness, we find a pood.

Speaker 20 (01:11:52):
We do the laboratory a mistake, Definitely, they got yours
mixed up with someone else's. And you have no incurable
disease and many years of happiness ahead of it.

Speaker 22 (01:12:02):
Yes, mister sped good happiness.

Speaker 31 (01:12:06):
I wonder can a woman past forty whose husband is
a convicted murder of fine happiness helone.

Speaker 10 (01:12:17):
Well?

Speaker 9 (01:12:19):
Good show.

Speaker 20 (01:12:28):
Period and the opera?

Speaker 34 (01:12:29):
Oh see.

Speaker 42 (01:12:32):
Day, I can't wait for tomorrow's episode.

Speaker 20 (01:12:33):
I'll be sure to tune in at this very same time, Cherub.
And meanwhile, answer me this, how long will it take
a woman past twenty to turn out a twenty five
page report?

Speaker 42 (01:12:43):
Yes, I'll have the answer after a brief word from
our announcer.

Speaker 20 (01:12:52):
Three times mean good Times. On NBC tomorrow, our Toto
Toscanini will conduct the renowned NBC Symphony in the fourth
of a Sad Day concert series for tomorrow is one
hour performance celebrated Maestro Toscanini has chosen works by W. C.
Respeky and Edward Elgar. You're invited tomorrow to the NBC
Symphony and Toscanini. Oh there there, little girl.

Speaker 22 (01:13:22):
No tears, no, no to their tears of gratitude.

Speaker 42 (01:13:24):
Sam, when I read all this about other people's trouble time,
I'm so grateful to.

Speaker 29 (01:13:28):
You for the smooth life we have together.

Speaker 8 (01:13:31):
Efie, fie, fie same that takes about ten seconds.

Speaker 10 (01:13:38):
Go ahead, I'm.

Speaker 34 (01:13:39):
Only merely a secretary, but.

Speaker 8 (01:13:42):
It's over now.

Speaker 9 (01:13:43):
Matter of fact, we're ten seconds over.

Speaker 43 (01:13:45):
Damn.

Speaker 25 (01:13:46):
I haven't even your wife to.

Speaker 10 (01:13:47):
Be versus nothing but peace.

Speaker 20 (01:13:50):
And choir, fairly regular paycheck with only a corpse now
and then to put this a ripple on the mirror
smoothness of our bliss beautiful thought.

Speaker 42 (01:13:58):
So you don't have them single terrible could either.

Speaker 20 (01:14:02):
No, but just to keep you interested, dear one, from
time to time, I shall pick up a piece of paper,
read it, let the blood drain slowly from my face,
then clasp you to me, thus holding you close, and
just before striding silently from the room, mutter in your shell,
pink ear, I know, good night, Sam, Good night Sweeter.

(01:14:35):
The Adventures of Sam Spade are produced, edited and directed
by William Spears. Sam'spade was played by Stephen Dunn, Loreen
Turtle as Effie. Script for the Night's Adventure by Harold Swarton,
Musical scoring by lud Bluskin, conducted by Robert Armbrewster. Join
us again next week, same time for another adventure with
Sam Spade. Join the Magnificent Montague and have fun a

(01:14:55):
Duffy's Tavern on NBC.

Speaker 44 (01:15:06):
The Seal Book once again.

Speaker 35 (01:15:30):
The Keeper of the Book has opened the ponderous door
to the secret vault, wherein has kept the Great Sealed Book,
in which has recorded all the secrets and mysteries of mankind.

Speaker 44 (01:15:42):
Through the ages.

Speaker 35 (01:15:44):
Here are tales of every kind, tales of murder, of madness,
of dark deeds, strange and terrible, beyond all beliefs. Keeper
of the Book, I would know what tale we tell.
Time open the great Book and let us read.

Speaker 45 (01:16:05):
Slowly.

Speaker 35 (01:16:07):
The Great Book opens one by one. The Keeper of
the Hook turns the pages and stops ah the strange

(01:16:27):
story of a web of death woven by fate to
trap three unsuspecting models in an evil design more terrible
than the mind can conceive, a tale titled Design for Death.

(01:17:32):
Here is the tale Designed for Death, as it is
written in the pages of the sealed book.

Speaker 36 (01:17:40):
Deep in the.

Speaker 35 (01:17:41):
Lonely solitude of the Main Woods, a young couple, Carl
and Dora Evans, stand at the side of a narrow road,
staring dazedly at the wreckage of their car and a
deep gulley beside the road, a wreck from which they
have miraculously escaped.

Speaker 46 (01:17:57):
Unheard, I told you we shouldn't try to make the
Canadian border by tonight. You hadn't been driving so fast,
you'd have been able to take that curve. Now what
are we going to do? And put here in the
woods with sundown not more than a half hour away?

Speaker 5 (01:18:11):
Or be quiet?

Speaker 4 (01:18:12):
I think I hear something.

Speaker 9 (01:18:14):
Listen all the music.

Speaker 4 (01:18:21):
Look, there's a path leading into the woods. There must
be a house back in there someplace.

Speaker 47 (01:18:25):
Ah, yes, I can.

Speaker 40 (01:18:29):
See it now, and the trees.

Speaker 34 (01:18:33):
How strange?

Speaker 4 (01:18:34):
Strange you mean, lucky? That's where we're going to stay tonight, Dora,
Come on, what.

Speaker 47 (01:18:41):
Doll We tell them the people that live in the house, house.

Speaker 4 (01:18:44):
We'll tell them with brother and sister on a vacation
trip that we accidentally wrecked our car. You act as
if you'd sprange your ankle, and they'll have to put
us up on the night. By morning, I'll have our
next move figured out, all right, too, Big?

Speaker 31 (01:18:59):
The housees who the world is supposed to live out here?

Speaker 47 (01:19:02):
So many miles even a horse row.

Speaker 9 (01:19:07):
Here you are.

Speaker 4 (01:19:09):
I'll come on, take my arm. That's it, lend.

Speaker 47 (01:19:13):
Wait car.

Speaker 10 (01:19:16):
Listen to music.

Speaker 34 (01:19:18):
That's a radio.

Speaker 47 (01:19:19):
That must be a real log.

Speaker 14 (01:19:22):
Strange news.

Speaker 4 (01:19:23):
All right, so it's a real log, and what of it?
I'm gonna knock I remember, play up your friend, ankle. Big,
we've got to get invited to spend the night. Here
here comes, Oh, good afternoon. I'm afraid I wasn't expecting
any callers. We've had an accident. My sister has been hurt.

(01:19:44):
May I bring her inside? Of course?

Speaker 1 (01:19:47):
Come in by all means, thank you, my ankle.

Speaker 4 (01:19:51):
I'm so sorry here, come this way into the library.

Speaker 21 (01:19:55):
Can you make it?

Speaker 47 (01:19:55):
Yes? Yes, I think so.

Speaker 21 (01:19:57):
Sit down here.

Speaker 4 (01:19:58):
You'll feel much better, Yes, very kind of yourself. You'll
let my sister rest here for a few hours.

Speaker 48 (01:20:03):
My dear sir, It almost dark you must both stay
here until morning, I insist. I thank you, No, don't
thank me. I lead a very lonely life, and I'm
delighted to have some company. Truly delighted.

Speaker 35 (01:20:24):
Their host introduced himself as Mordred Vance, a recluse whose
health required him to reside there in the embracing atmosphere
of the pine woods. When Vance told him that he
lived there alone, without servants of any kind, Carl's eyes
lit up with interest. Later, when Mordred Vance had shown
them to their rooms and said good night, Carl lingered

(01:20:46):
for a low voiced conversation with Dora.

Speaker 4 (01:20:50):
Well, Dora, how do you like it? Set up this house? Vance?

Speaker 9 (01:20:55):
Everything?

Speaker 4 (01:20:56):
If we had to have an accident, we couldn't have
picked a better spot.

Speaker 47 (01:21:00):
What, oh, what scheme of you in mind?

Speaker 9 (01:21:02):
Now?

Speaker 4 (01:21:02):
Listen, this guy Vance, as a recluse, hardly ever goes
into town. He hasn't any radio, never reads the newspapers.
That means there's practically no chance as ever finding out.
We're running away from the police. So you and I
are going to stay here as long as we can.

Speaker 47 (01:21:19):
Well, Vance Water is here.

Speaker 4 (01:21:20):
Oh sure, he went for you in a big way. Okay,
it'll be two or three days before you feel well
enough to leave you, and by then he'll be hooked.
We'll make him waters to stay. And look, baby, he
must be rich. You saw the rugs and furniture.

Speaker 47 (01:21:36):
Isn't that big organ in the library?

Speaker 1 (01:21:37):
What it cost thousands at least?

Speaker 4 (01:21:40):
Of course, he must be a bit of a crackpot
to want to live here with no servants. But he's
a nice, harmless one. Maybe he will be up to
cash in on him.

Speaker 36 (01:21:58):
That night.

Speaker 35 (01:21:59):
Carl slept well in the morning, inwardly exulting at their luck,
he helped Dora downstairs. As they descended, they heard their
host once again playing the organ in his library.

Speaker 47 (01:22:18):
What funny music he plays last night? That weird stuff?
This morning something sounds like church.

Speaker 35 (01:22:25):
Yeah, he's a queer.

Speaker 4 (01:22:26):
What hever? He's in a handle now, Remember he likes you,
so play up to him.

Speaker 47 (01:22:33):
Good Morning's Devance.

Speaker 48 (01:22:35):
Oh, good morning, my dear Miss Heavens and mister Evans.

Speaker 21 (01:22:39):
I hope you both.

Speaker 48 (01:22:40):
Slept well wonderfully like the top and the ankle, I
see it still.

Speaker 47 (01:22:45):
Oh it's much better this morning, really it is.

Speaker 48 (01:22:48):
I'm glad of that. But you must be hungry. I
have fixed breakfast there on the serving wagon. Sit down
and make yourself.

Speaker 4 (01:22:54):
Oh thanks, we will ahead, Dora, let me help you.

Speaker 47 (01:23:00):
Aren't you going to go on playings to dance?

Speaker 48 (01:23:02):
No truth is I was just playing to put out
of my mind a tragedy which happened last night, and
I broke the town for a few wits to supplies
a tragedy. The wife of my grocer died very unexpectedly and.

Speaker 9 (01:23:16):
Dropped in there to pay my bill.

Speaker 48 (01:23:18):
And after I'd paid it, she invited me to drink
a glass of wine with her and her husband, as
she always did. While we were sitting drinking and talking,
she was seized by a heart attack and died inside
a few minutes.

Speaker 4 (01:23:31):
Now, it must have been very upsetting.

Speaker 9 (01:23:33):
Yes, the sight of death moves me deeply.

Speaker 48 (01:23:37):
Why should we talk about death on a beautiful day
like this? There's something else I want to speak out,
mister Evans. Your sister's ankle must perceive rest. I'm going
to insist that you stay with me several days until
it's properly healed.

Speaker 4 (01:23:51):
Well, that's very generous of you, mister Vance.

Speaker 9 (01:23:53):
Generous, not at all.

Speaker 4 (01:23:55):
You will be doing me the favor by giving me
your company.

Speaker 47 (01:23:58):
Well, when you put it that way, how can we
say no?

Speaker 4 (01:24:02):
Then it's all settled.

Speaker 48 (01:24:03):
You are going to stay with me just as long
as I can possibly keep you.

Speaker 49 (01:24:38):
How did you like that, Dora?

Speaker 47 (01:24:40):
That was lovely, mister Van's you never played like that before.

Speaker 48 (01:24:45):
So so romantically. I was playing like that because of you,
because of me. Of course, listen to me, Dora. You've
been here a week. I'm surely by now you must
know I'm.

Speaker 9 (01:24:58):
In love with you.

Speaker 47 (01:24:59):
Yes, sir, I guess I did know it.

Speaker 1 (01:25:01):
I am not a poor man, you know.

Speaker 5 (01:25:04):
I'll show you something.

Speaker 4 (01:25:05):
Come over here, Dora, till I'm move this screen?

Speaker 44 (01:25:10):
Eh what?

Speaker 47 (01:25:13):
There's a safe behind it?

Speaker 48 (01:25:14):
Yes, now what I shall open it and you shall
see ere.

Speaker 4 (01:25:22):
Now this cash box, and look, my dear, what.

Speaker 19 (01:25:31):
It's full of money?

Speaker 48 (01:25:33):
Yes, fifty thousand dollars an hundred dollar bills, my emergency fund.

Speaker 4 (01:25:39):
I'll put it away now.

Speaker 48 (01:25:42):
I just wanted to show you that I am not pennist.
Because Dora, I want you to marry me.

Speaker 47 (01:25:50):
Marry you.

Speaker 46 (01:25:52):
Ah, you must give me a little time to think
about it, mister Vans.

Speaker 4 (01:25:56):
Of course, my dear, by all means give me your
answer to morrow.

Speaker 50 (01:26:01):
Remember, I'll not let you say no.

Speaker 35 (01:27:50):
And now to continue the story as it is written
in the Sealed book, not knowing that Dora is really
Carl's wife, Margaret Van Sir rich Recluse asked Dora to
marry him. Carl, for reasons of his own, was annoyed
with Dora for not accepting vance at once.

Speaker 4 (01:28:10):
He showed you fifty thousand dollars and asked you to
marry him, and you said you'd think it over.

Speaker 47 (01:28:16):
Carl, i'm your wife just because he thinks i'm yourself.

Speaker 4 (01:28:18):
Oh I know, But don't you see if he thought
you were going to marry him, we could stay here indefinitely.

Speaker 47 (01:28:23):
I didn't think of that.

Speaker 4 (01:28:24):
So you're going down and tell him you've decided to no.
Eight What is it, Carl? I have a better idea.
We need that fifty thousand dollars. It would fix us
up for life.

Speaker 47 (01:28:33):
What are you getting at?

Speaker 4 (01:28:34):
Listen, Dora, not a soul knows we're here outside the
three of us, of fans were dead, no one would know.

Speaker 1 (01:28:41):
We'd never live in here.

Speaker 19 (01:28:42):
You mean kill him and.

Speaker 4 (01:28:44):
Take the money, Yes, I do.

Speaker 47 (01:28:45):
Oh no, Carl, We've never killed anyone a sap.

Speaker 4 (01:28:48):
It'd be a cinch now, we're going back downstairs to
put him off his God, you're going to tell him
you marry him. Then tonight, after he's asleep, I'll make
sure he never wakes up.

Speaker 35 (01:29:11):
Obedient to Carl's instructions, daughter has told morderret advance that.

Speaker 5 (01:29:16):
She will marry him.

Speaker 35 (01:29:18):
Has Vans proposed a toast to their future happiness, And
now we'll bring.

Speaker 4 (01:29:24):
The toast to what's there the summer at the front door.

Speaker 50 (01:29:28):
But I'm not expecting anyone.

Speaker 1 (01:29:29):
Who in the world?

Speaker 44 (01:29:30):
Can it be, morny?

Speaker 1 (01:29:33):
Where are you, Justina?

Speaker 47 (01:29:35):
Oh?

Speaker 18 (01:29:36):
Here you are.

Speaker 21 (01:29:38):
Why didn't you come to the door.

Speaker 4 (01:29:39):
I was just going to I have guests, Yes.

Speaker 21 (01:29:42):
So I see, and who are they?

Speaker 48 (01:29:45):
Very dear friends of mine, missus Evans, mister Evans, my sister, Justina.

Speaker 21 (01:29:49):
How are you to How do you do morderd I'm surprised,
surprised at what you know perfectly well. But Justine, let's
not argue before your guests.

Speaker 48 (01:29:59):
No, of course, not, Dora. Carl, will you excuse me?
I haven't seen Justina in several months. We have some
family matters to talk over.

Speaker 47 (01:30:07):
Of course, we'll go on up to our room.

Speaker 4 (01:30:08):
Yes, it's just about time to turn in anyway, I'll
see you in the morning. Good night, Dora, Good night
car n.

Speaker 21 (01:30:16):
Well, so you've forgotten your promise, have you, Mordred?

Speaker 1 (01:30:19):
What promise?

Speaker 21 (01:30:19):
You know perfectly well the conditions on which the family
agreed that you could live out here in the woods, Mordred,
no visitors, no trips, complete isolation.

Speaker 48 (01:30:28):
I think I should tell you, Justina that miss Evans
has done me the honor to agree to marry me.

Speaker 21 (01:30:32):
Oh she has, has she?

Speaker 4 (01:30:34):
Well, I'll fix that, Justina. Use will not interfere Mordred.

Speaker 21 (01:30:37):
If they don't leave the first thing in the morning.
This whole arrangement is canceled, much as the family will
regret it. We'll have to see that you go to
an asylum.

Speaker 1 (01:30:47):
I'm perfectly will now, Justina.

Speaker 4 (01:30:50):
Just what brought you here anyway?

Speaker 21 (01:30:52):
An impulse brought me. I suddenly got to wondering about you,
and I drove up here to see how things were.

Speaker 48 (01:30:58):
Just in time, too, I see you just happened to
drive up here.

Speaker 4 (01:31:05):
Very well, Then they shall go. I suppose you plan
to stay all.

Speaker 21 (01:31:09):
Night, Yes I do. I'll stay until after they've gone.

Speaker 48 (01:31:14):
Then you can have the front room. You look tired,
Would you have a drink of wine with.

Speaker 40 (01:31:19):
Me before you go up.

Speaker 21 (01:31:21):
Well, perhaps a small glass tree blended.

Speaker 48 (01:31:25):
I know you have my interest. Hut, Justina, So we'll
drink to our continued friendship.

Speaker 35 (01:31:38):
What does Modred vance want to fetch a bottle of wine?
Dora and Carl were talking upstairs. Well, they had lingered
outside the closed door of the library long enough to
hear what passed between Modred and his sister Justina.

Speaker 47 (01:31:54):
She tried to send him to an asylum. Carl, he's
mentally unbalanced.

Speaker 4 (01:31:58):
Yes, that would explain everything. He's looking here in such isolation,
the scene.

Speaker 47 (01:32:02):
With his family's way of keeping him out of trouble.

Speaker 4 (01:32:05):
Oh, he's probably perfectly harmless.

Speaker 47 (01:32:07):
Well, anyway, we're going in the morning, and I'm glad
it turned.

Speaker 21 (01:32:10):
Out this way.

Speaker 40 (01:32:11):
Mm.

Speaker 4 (01:32:11):
There's no point in staying any longer now, but his
sister has seen us. It would be too risky to
try out little scheme. Hup, in the morning, we'll be
on our way.

Speaker 36 (01:32:28):
Relieved, Dora went to bed.

Speaker 35 (01:32:31):
Just as she fell asleep, she heard the sound of
music from downstairs, wild strange music. She listened a moment,
but she was used to hearing the organ play now,
and it did not disturb her sleep. In the morning,

(01:32:52):
when she and Kyle descended, their host was again playing
as he had been the first morning after their arrival,
curious music, almost unearthly in quality, But he stopped as
they entered the library.

Speaker 4 (01:33:09):
Oh, good morning, I hope you slept well. Yes, very well.

Speaker 47 (01:33:13):
How is your sister this morning?

Speaker 48 (01:33:16):
The truth is, my sister and I quarreled last night, quarreled.
We both have violent tempers, and well the argument brought
on a heart attack, and my sister a heart attack. Yes,
her heart has been weak for years. Before I could
go for a doctor.

Speaker 1 (01:33:34):
She was gone.

Speaker 47 (01:33:35):
Gone you mean dead?

Speaker 4 (01:33:37):
Yes, Dora, she died just after I got her upstairs
to her room.

Speaker 19 (01:33:41):
Oh how hard.

Speaker 4 (01:33:42):
But what are you going to do?

Speaker 9 (01:33:44):
Do?

Speaker 4 (01:33:45):
What is there to do? I mean you you're going
to call a doctor, nullify the authority? No, no, I
don't think I shall.

Speaker 1 (01:33:51):
You mean you're going to do nothing, Nora.

Speaker 9 (01:33:53):
My dear, listen to me.

Speaker 4 (01:33:55):
We must be married at once.

Speaker 1 (01:33:56):
We'll go away together.

Speaker 4 (01:33:57):
You Carl shall keep us company when we're fire awa.
There will be plenty of time for letting people know
about Justine.

Speaker 47 (01:34:02):
No, no, no, no, I couldn't. I I've changed my mind.

Speaker 4 (01:34:05):
I can't know you you've changed mine.

Speaker 47 (01:34:08):
No, I'm sorry, but I just can't. We're leaving today, Carl, Why, Dora?

Speaker 4 (01:34:13):
I love you very much.

Speaker 21 (01:34:15):
I couldn't let you leave.

Speaker 4 (01:34:16):
Of cause we're not leaving. Nora, dear, please wait at
least until tomorrow before you make up your mind. Definitely,
that's not much twice, because of course it is, and
she'll think it over at least until tomorrow.

Speaker 47 (01:34:40):
But why why can't we go to day? Why don't
we wait?

Speaker 4 (01:34:43):
Dora?

Speaker 9 (01:34:43):
Listen?

Speaker 4 (01:34:44):
I have a new plan. His sister is dead. Her
heart attack was a stroke of luck for us. Now
we can go ahead as we plan. You mean, yes,
we'll arrange it to look like a suicide. When their
bodies are found, the authorities will think he killed himself
in Greece.

Speaker 47 (01:34:57):
Well, I don't like it.

Speaker 4 (01:34:58):
It'll work perfectly, I tell you, and we need that money.

Speaker 47 (01:35:01):
Something can go wrong.

Speaker 4 (01:35:02):
I know nothing can go wrong. Now here's how we'll
work it.

Speaker 1 (01:35:05):
I have my god, what is it?

Speaker 47 (01:35:09):
He's playing that awful music?

Speaker 44 (01:35:11):
One of it.

Speaker 47 (01:35:11):
It frightens me out. I don't know why. It's just
so strange.

Speaker 4 (01:35:15):
I'll forget about it now, just before it gets stopped
we'll go down and I'll step.

Speaker 51 (01:35:20):
Up close to him. And then.

Speaker 35 (01:37:04):
And now, to continue the story as it is written
in the sealed book, In spite of Dora's forebodings, Carl
is going ahead with his plan for murdering Moderate Vance
and getting his money. Just as it was getting dusk
that evening, Carl and Dora entered the library to find
Vance sitting in his easy chair with a decanter of

(01:37:26):
wine and glasses beside him.

Speaker 44 (01:37:29):
Oh, there you are.

Speaker 4 (01:37:30):
I was just wondering what happened to you. We were
just off for a little stroll. Then you must be tired.

Speaker 6 (01:37:36):
Here.

Speaker 4 (01:37:36):
Let me pour you both some wine.

Speaker 47 (01:37:38):
I don't think I want any.

Speaker 4 (01:37:39):
Of course you do. Hey, you are in a moment.
There's something I want to talk about first. Indeed, what
is it, Carl? He's dead, Yes, and I couldn't have
been either. I'll clean my finger prints off the gun.

(01:38:02):
Then i'll put his fingerprints on it like this, And
with the gun on the floor here beside the chair,
and his hand dangling over the chair arm, it's a.

Speaker 47 (01:38:10):
Perfect case of so see, I want to get out
of here.

Speaker 4 (01:38:12):
Yes, yes, of course we can use that wine. Now
you need a drink, and so.

Speaker 47 (01:38:17):
Do I yes, yes, I do. Thanks.

Speaker 1 (01:38:21):
That helps.

Speaker 4 (01:38:23):
But now let's get that safe open over here behind
the screen is yes, here it is. I hope you
are smart enough to notice the combination when he opened
before you.

Speaker 47 (01:38:32):
Yes, I'll open it there.

Speaker 20 (01:38:37):
Good.

Speaker 4 (01:38:38):
Now let's see what we've got.

Speaker 47 (01:38:39):
The money was in that cash box right.

Speaker 4 (01:38:43):
There you are. Did you ever see a prettiest saint?

Speaker 47 (01:38:46):
Just take the money and go, please, cand.

Speaker 4 (01:38:48):
Don't be in such a hurry. Let's see what's in
this other box. That's funny. It just a bunch of
old newspaper clippings, some of the soul they've turned yellow.

Speaker 45 (01:39:01):
Good heavens.

Speaker 52 (01:39:02):
What is it called?

Speaker 4 (01:39:03):
They're all clippings about murders.

Speaker 47 (01:39:05):
What does it matter?

Speaker 18 (01:39:06):
Called?

Speaker 47 (01:39:07):
I really don't feel well?

Speaker 10 (01:39:08):
Can't we go now?

Speaker 8 (01:39:09):
Just a moment?

Speaker 4 (01:39:10):
Look at this headline.

Speaker 47 (01:39:13):
Local organist sort for murder.

Speaker 4 (01:39:15):
Senator Barbara California, June seventeenth, nineteen thirty five. Maxwell Lanning,
organist is being hunted by local authorities following the death
of a choir singer from a parent heart failure. The police,
becoming suspicious, searched Vanning's apartment and found a bottle of
rep poison whose symptoms duplicate those of heart failure.

Speaker 21 (01:39:36):
What does that mean?

Speaker 1 (01:39:37):
I don't know.

Speaker 4 (01:39:38):
Here are eight more clippings covering a period of about
ten years. Everyone about a murder by a parent heart failure,
and everyone committed by an organist whose initials were envy.
That's the only possible explanation. He was a homicidal maniac.
Why why, Dora, We've been here for more than a week.

Speaker 18 (01:39:58):
He might have killed us two?

Speaker 47 (01:39:59):
Who's going to car?

Speaker 18 (01:40:00):
He was going to?

Speaker 47 (01:40:01):
I know it, didn't you hear that music he was
playing this afternoon?

Speaker 1 (01:40:04):
What about it?

Speaker 47 (01:40:05):
The first evening we came here, he was playing it,
and that night he went to town.

Speaker 46 (01:40:09):
And you remember he said that while he was in town,
his grocer's wife had a glass of wine with.

Speaker 8 (01:40:12):
Him and died of heart fail Yes, you're right, he killed.

Speaker 47 (01:40:16):
And then last night, after his sister arrived, he was
playing that music again. And this morning his sister was
dead of heart failure.

Speaker 4 (01:40:23):
Yes, and several of these clip things mentioned weird organ
music heard before the bodies were discovered.

Speaker 47 (01:40:29):
This afternoon he was playing that same music again. That
means he was planning to kill us.

Speaker 49 (01:40:34):
Ask Carl, because we were going away right, Let's get
out of here quick, carlin.

Speaker 4 (01:40:40):
I feel it's because you're upset.

Speaker 45 (01:40:41):
Come on the fresh air face.

Speaker 4 (01:40:43):
I'm fine.

Speaker 18 (01:40:43):
No, I got here, I'll help.

Speaker 4 (01:40:48):
Something is wrong with me?

Speaker 18 (01:40:51):
Are you hot?

Speaker 47 (01:40:55):
No, No, that's not possible. It is wine, the wine
he tried to gets to drink just before you kill him?

Speaker 18 (01:41:02):
What we refused? We will, yes, but we thank you
the world. Yes, we did.

Speaker 47 (01:41:07):
And it was poisoned.

Speaker 35 (01:41:08):
Cal don't you see.

Speaker 3 (01:41:12):
That's how we planned to kill it, And he's done it.

Speaker 45 (01:41:16):
He's done it.

Speaker 4 (01:41:18):
That's funny. We planned to kill him and he planned
to kill us.

Speaker 1 (01:41:27):
And we we.

Speaker 53 (01:41:30):
Also see it.

Speaker 35 (01:41:42):
And that is the story of the strange and incredible
web woven by fate. The tale is written here in
the Sealed Book. Two murderers, each seeking a victim, met
and so brought about each other, is down for twisted indeed,

(01:42:03):
though the strands of fate in which destiny entangles mere mocks.

(01:43:15):
And now, keeper of the book, before you close the
great volume, show us the tale we tell next time?
This one, ah yes, a tale of two men who
tried to drive an old woman insane by turning themselves
into ghosts while they were still alive. And of the

(01:43:36):
strange and terrible success that crowned their efforts. The tale
is called the Ghost Makers. Be sure to be with

(01:44:01):
us again next time when the sound of the Great
Gong heralds another strange and exciting tale from.

Speaker 44 (01:44:12):
The steal book.

Speaker 11 (01:44:37):
Who knows what.

Speaker 49 (01:44:40):
Evil works in the hearts of men?

Speaker 9 (01:44:44):
The Shadows.

Speaker 49 (01:44:51):
The Shadow is on the air and a new series
of drawlling attentions drought you week week by the Bluepole
Dealers of America. These dramatizations are designed tom straight forcibly
to old and young alike. That crime does not take
in just a moment, we listen to the Oracle of death.
But first, here's an interesting fact. Do you know that

(01:45:14):
the Blue Coal Way is the easy way to heat
your home and save money too? You see, Blue Coal
is America's finest antra size specially prepared to make home
heating easy. Blue Coal gives you better heat with less attention. Besides,
when you order blue Coal, you get extra home heating service,
free advice on how to cut down the cost of

(01:45:35):
heating your home for money saving blue coal and free
heating service. Pull your friendly Blue Coal dealer tomorrow.

Speaker 11 (01:45:49):
The Shadows the serious characters who aided the forces.

Speaker 49 (01:45:52):
Of law and order is in reality the month Clemson
Welcome young Man about town. As the shadow, Cramson is
gifted with yourself color through cloud men's minds so that
they cannot see Cranston's friend and companions, The lovely Margot Lane,
is the only person who knows to whom the voice
of the invisible shadow below today's story the Oracle of Death. Hey,

(01:46:26):
it's with that car, Hey, which is switches rebe?

Speaker 2 (01:46:28):
You should know better than the speed around corners in.

Speaker 11 (01:46:30):
This tab And we have the police commissioner with us,
but with the Christion that is just.

Speaker 47 (01:46:34):
Why I'm seeing.

Speaker 49 (01:46:35):
That's why anay.

Speaker 36 (01:46:36):
Sdaron, I say, commission was we really had you with us?

Speaker 10 (01:46:40):
Yeah?

Speaker 20 (01:46:41):
Yes?

Speaker 2 (01:46:41):
And if I didn't feel so darn good natured after
that tenn excuse me? After that dinner you folks fed me.
I resented very much, Miss Lane.

Speaker 49 (01:46:49):
Dinner be done here, isn't it? Shall we persuade you
to change your mind and come alone in the theater
with us?

Speaker 2 (01:46:53):
No, No, I'm sorry, Cranston. I've got to get back
to headquarters.

Speaker 24 (01:46:56):
Oh no, Commissioner, please pretty please.

Speaker 2 (01:46:58):
Not even with sugar on it.

Speaker 37 (01:47:00):
I have to be on the god's been taking quite
a feating lately. Then a series of steady crimes all
over the city.

Speaker 2 (01:47:05):
When our percentage of arrest.

Speaker 37 (01:47:07):
Is too small to please the mayor's committee, I'm always
the first target hard on you. Yes, like some of
the so called first citizens of our city, they want
to clean everybody's house but their own. You know you
fall into that category too, Transton, I do wow, Well
that new servants you hired Rodney next con just got
a prison You know nothing about him. If you'd tick

(01:47:28):
like a steer, if you came home some night found
the place.

Speaker 47 (01:47:30):
Cleaned out, Oh, Commissioner Rodney would never do that.

Speaker 11 (01:47:33):
How do you know?

Speaker 25 (01:47:34):
Well, because Lordon perfectly harmon.

Speaker 42 (01:47:37):
Besides, I know for a fact that he was falke
and convicted of the.

Speaker 34 (01:47:40):
Crime that he went to jail for.

Speaker 11 (01:47:41):
Oh you do, do you?

Speaker 54 (01:47:42):
Yes?

Speaker 11 (01:47:43):
Who told you?

Speaker 53 (01:47:44):
Why Roden?

Speaker 11 (01:47:45):
Well, now that's what he told you. I've all said.

Speaker 2 (01:47:49):
Rodney told her, hey.

Speaker 49 (01:47:50):
Stop this tab your passing Headwatersay, okay, that's what It's
make me envous, they make me.

Speaker 2 (01:47:56):
He's a real fine, that hack driver.

Speaker 4 (01:47:58):
He is.

Speaker 11 (01:47:58):
He is a real fine.

Speaker 2 (01:48:00):
Well, thanks for the dinner, and look, Franton.

Speaker 38 (01:48:02):
Get rid of that servant?

Speaker 11 (01:48:03):
Will you, Commissioner, I have to report you to.

Speaker 49 (01:48:06):
The Mayor's committee. You good night, Okay, let's go see it.

Speaker 53 (01:48:11):
Well, if we're going to squinkle of an eye and
a twinkle, he sadn't Commissioner West and.

Speaker 49 (01:48:17):
By way down deep muggle he loves to be.

Speaker 31 (01:48:20):
Say did you see that booll step right in front
of my hands?

Speaker 2 (01:48:24):
We hit him, mamar, we hit that he walked right
in front of the cab.

Speaker 49 (01:48:27):
Come on, I couldn't help him.

Speaker 25 (01:48:29):
You saw what happened?

Speaker 18 (01:48:30):
I know, I know, I saw it.

Speaker 11 (01:48:32):
Well, he didn't run over him. That's one good thing.

Speaker 49 (01:48:34):
I shouldn't help him.

Speaker 2 (01:48:35):
Then, I know you couldn't see me.

Speaker 49 (01:48:38):
Wait a minute, he's not unconted.

Speaker 55 (01:48:41):
Come on, give me your hands.

Speaker 49 (01:48:42):
We're getting medical attention at once.

Speaker 22 (01:48:55):
Brought him around.

Speaker 49 (01:48:57):
Let's see if we can learn who he is.

Speaker 54 (01:48:59):
Weary?

Speaker 49 (01:49:01):
Hello, eh, you thing better?

Speaker 9 (01:49:03):
Huh?

Speaker 8 (01:49:04):
What happened?

Speaker 6 (01:49:05):
Am? I?

Speaker 49 (01:49:06):
I'll take it easier man, You're all right, I'm all right?

Speaker 9 (01:49:09):
Am I.

Speaker 55 (01:49:10):
Were you well?

Speaker 2 (01:49:11):
I'm a monk conson I you hit to my apartment
right after direction accidents? What accident?

Speaker 53 (01:49:17):
Don't you remember being hit by the cab?

Speaker 56 (01:49:19):
Mister Cranston and I were riding.

Speaker 2 (01:49:20):
In you'd buy a cab. I don't remember nothing like that.
Oh look, buddy, I want to write bedness.

Speaker 49 (01:49:26):
You want to you about twenty four hours?

Speaker 2 (01:49:29):
Twenty four hours. I never liked that. It makes today Monday.
I had an important takes Sunday.

Speaker 49 (01:49:35):
Well it's not take it easy, my friends. This is
not Monday. It's Sunday.

Speaker 2 (01:49:40):
Sunday. Yeah, crazy, this is Monday.

Speaker 49 (01:49:44):
No, truly, today is Sunday.

Speaker 2 (01:49:46):
Wait a minute, wait a minute. You got hit on
the head. Me you I know that yesterday was Sunday,
and I can prove it by the newspaperrector they were
selling on the street before I was hit.

Speaker 34 (01:49:53):
What was the extra?

Speaker 2 (01:49:54):
He's about that Young Society Day?

Speaker 21 (01:49:56):
It got murdered?

Speaker 49 (01:49:56):
So what Young Society Day?

Speaker 2 (01:49:58):
All right?

Speaker 11 (01:50:00):
Played dead guard?

Speaker 2 (01:50:01):
Well, I'm talking about Anne Clay, the wan who's plus
off a pen housetop and tell you what death you.

Speaker 42 (01:50:05):
Must have met Lamar our friend has quite an imagination.

Speaker 49 (01:50:08):
Yeah, I'm sorry, oh man.

Speaker 2 (01:50:10):
But and Clay is very much alive.

Speaker 49 (01:50:13):
We saw at dinner just about an hour ago.

Speaker 2 (01:50:14):
Let me say light stop food and Clay was killed
last night?

Speaker 16 (01:50:27):
Lost roupy about the ber.

Speaker 42 (01:50:39):
My mom is really amazing.

Speaker 53 (01:50:40):
That man actually for told the future.

Speaker 49 (01:50:42):
Yeah, he said no, denying that I've never heard of
anything like this.

Speaker 38 (01:50:48):
Oh yes, yes, it's dangerous, dangerous having someone like.

Speaker 2 (01:50:53):
That best man around me.

Speaker 10 (01:50:55):
Are you afraid of him?

Speaker 57 (01:50:56):
Modern?

Speaker 38 (01:50:57):
It's like Dinnis Lane, I am.

Speaker 53 (01:50:59):
That's super natural power. He seems I have to lead
to go to anything.

Speaker 49 (01:51:03):
I wouldn't let it worry aroun Now, my mother, I
want to go in and have another talk with our
psychic wonder. He still to have a lound.

Speaker 7 (01:51:10):
I know he is.

Speaker 49 (01:51:10):
Don't worry Rodney, Yeah, remind me not to worry too well. Hello, yeah, hello,
do you have any better? Yea? Now look Oh by
the way, what is your name?

Speaker 9 (01:51:22):
But just Bun?

Speaker 11 (01:51:24):
Yes?

Speaker 49 (01:51:25):
But m hmm, well looks fun.

Speaker 2 (01:51:28):
Something quite extraordinary has happened that I feel you should know.

Speaker 40 (01:51:32):
First.

Speaker 2 (01:51:32):
You've got to believe me when I tell you that
we were telling this truth. And we told you that
last night for Sunday, not Monday.

Speaker 9 (01:51:39):
What about it?

Speaker 10 (01:51:40):
Just this?

Speaker 2 (01:51:41):
You told us about the death at Young Ann's play
before it actually happened.

Speaker 49 (01:51:46):
Well, well, how do you talk for it? Fun? What
do you think made you do it?

Speaker 25 (01:51:51):
I don't know we had you always done this?

Speaker 31 (01:51:54):
Have you always been able to foretell?

Speaker 2 (01:51:55):
If you you think that'd have looked like I did
when you found me?

Speaker 49 (01:51:58):
If I could, lady, then what cause this thing?

Speaker 2 (01:52:02):
I know you think I'm nuts, but that makes us
even because I think you are nuts. Tell me, whise man,
what day do you think?

Speaker 34 (01:52:09):
This is?

Speaker 1 (01:52:10):
Monday?

Speaker 8 (01:52:11):
Of course?

Speaker 49 (01:52:13):
Well I say it's Tuesday.

Speaker 31 (01:52:15):
Here we go, man, Well look can you prove it?

Speaker 49 (01:52:20):
Yesterday?

Speaker 2 (01:52:21):
It's Monday according to me at three minutes past six
at night, it's not metal blank was not over?

Speaker 25 (01:52:28):
Do you think that's another prediction?

Speaker 11 (01:52:30):
Let me see it.

Speaker 49 (01:52:32):
It's five minutes past six.

Speaker 9 (01:52:33):
Now.

Speaker 2 (01:52:35):
Well, just to be on the safe side, I'll call
Commission the Western pass the word along.

Speaker 49 (01:52:39):
They'll don't believe me. No, I haven't said I don't
believe you spun, but.

Speaker 25 (01:52:42):
Just you'll forgive us if we do.

Speaker 10 (01:52:43):
Hope you're wrong.

Speaker 22 (01:52:44):
You can understand that.

Speaker 11 (01:52:46):
I'll tell you this much fun.

Speaker 55 (01:52:49):
Hello, Commission of Western A Hello, Commissioner. Yes, this is
Lamont Cunston.

Speaker 2 (01:53:00):
What on your mind?

Speaker 8 (01:53:00):
Dr?

Speaker 9 (01:53:01):
Look?

Speaker 49 (01:53:01):
No, I I don't want you to think I'm crazy,
and please don't ask me where I received my information.
But I have reason to believe that the Continental Bank
will soon be rubbed, So get the menover that quickly.
You're a very smart guy, Cotton Mender would rob five
minutes ago. All right, come on in model, come on

(01:53:26):
you would.

Speaker 10 (01:53:26):
You needn't be.

Speaker 32 (01:53:27):
Short with me, Lamar. He did your best to present
the Continental Bank, Robin and.

Speaker 2 (01:53:31):
I succeeded.

Speaker 53 (01:53:34):
Cranston. While you were gone.

Speaker 49 (01:53:36):
That man who he disappeared disappeared, he got away.

Speaker 53 (01:53:39):
What happened, well, just after you wore miss Lame went out.

Speaker 2 (01:53:41):
He called for his clothes.

Speaker 53 (01:53:43):
When I wouldn't get them to.

Speaker 38 (01:53:44):
Him, he took one of your seals. Didn't you try
to stop him?

Speaker 53 (01:53:47):
Yes, yes I did, but he overpowered me and left.

Speaker 2 (01:53:49):
Where did he go?

Speaker 53 (01:53:50):
Well, I saw him take his head in front of
the door, and when the driver returned, I learned the
address he was taken to. I dotted it down on
this piece of papers.

Speaker 49 (01:53:58):
Good work, Runny, hmm, one sixty South Street, lower end
of town.

Speaker 8 (01:54:04):
Oh, I did my best to keep him here first.

Speaker 2 (01:54:07):
Yes, I can tell that by the condition of your
left eye. He landed a lucky right hand eye. Wasn't
looking at oh mother, We've got to locate this man
at once. I've done a great deal of thinking about
those psychic powers of his, and I've come to the
conclusion that this whole thing has been a gigantic hook.

Speaker 1 (01:54:25):
What do you mean, I believe that our.

Speaker 2 (01:54:27):
Friend's budd has been acting as a tool for a
devilishly clever crime ring.

Speaker 53 (01:54:32):
You mean his predictions were all planned, sir.

Speaker 49 (01:54:34):
Yes, Rodney's planned in advance. That's how he was able
to foretell the future. Come along, mother, We're going to
the South Street adread see you later.

Speaker 2 (01:54:43):
N Yes, but do be careful, sir.

Speaker 42 (01:54:45):
You don't you think you ought to tell commiss and
West and all about fruit?

Speaker 2 (01:54:48):
No, model, My visit to our friend's Sudon is a
job for the cattle.

Speaker 49 (01:55:07):
But but muh, wake up, fun, Oh wake up, I say,
I want to talk to you.

Speaker 5 (01:55:17):
Who's there?

Speaker 2 (01:55:17):
Who's miss Roman?

Speaker 49 (01:55:18):
Why don't you put on the light?

Speaker 2 (01:55:19):
I see, yeah, yeah, go on a light?

Speaker 49 (01:55:23):
And uh, that's what is it?

Speaker 2 (01:55:26):
Nobody's here?

Speaker 49 (01:55:27):
Yes, there is someone to guess. But yes, I can't
see you, don't get it. I'm standing right here beside you.

Speaker 8 (01:55:35):
But and like can I see you?

Speaker 2 (01:55:36):
You can't see me because I've crouded your brain and
made myself invisible to your eyes? Who are you men?

Speaker 49 (01:55:43):
Call me the shadow arent?

Speaker 45 (01:55:47):
Exact?

Speaker 49 (01:55:47):
What's happening?

Speaker 2 (01:55:48):
Ain't nobody? Yeah, I'm going crazy, gift like they.

Speaker 4 (01:55:51):
Said I was?

Speaker 49 (01:55:52):
Who said you were? Who were you talking about?

Speaker 18 (01:55:55):
God?

Speaker 2 (01:55:55):
But I name of Cranston, I'm this girl.

Speaker 49 (01:55:57):
Man, it's stupid, Butler, all of them I was not.

Speaker 2 (01:56:02):
Maybe they're right.

Speaker 49 (01:56:03):
Why did they think you were crazy?

Speaker 2 (01:56:04):
Because I predicted things to him? I think it hadn't
even happened. You come up proved.

Speaker 49 (01:56:09):
How were you able to predict the future?

Speaker 58 (01:56:13):
Anthemys?

Speaker 49 (01:56:13):
But no, No, I insist that you tell me. Why
don't you tell me why?

Speaker 2 (01:56:19):
I can't say you and maybe I'll tip my hand too.

Speaker 49 (01:56:22):
I've already explained that, yeah, I have reason to believe,
but that all your predictions of the future were carefully
plaid that you knew they were going to happen.

Speaker 8 (01:56:34):
I see.

Speaker 2 (01:56:36):
Then, if you're that smart shadow, why don't you tell
me what I'm going to predict?

Speaker 49 (01:56:40):
Met I'd rather make you tell me.

Speaker 2 (01:56:42):
Okay, okay, I will You had mispeak of that guy
on Mark Ranson?

Speaker 49 (01:56:48):
Yes, well he's dead dead, Yeah.

Speaker 2 (01:56:53):
I think got killed last night at eight o'clock.

Speaker 11 (01:57:08):
More flud predictions in just a moment.

Speaker 49 (01:57:10):
Now, are you getting off of the right kind of
a start for heating season? Are you going to heat
your homes possibly and economically this year?

Speaker 11 (01:57:18):
Well, here's how you can be sure.

Speaker 49 (01:57:20):
Sit your beIN with blue coal, the fuel that's tinted
and trademark an unmistakable blue color to assure you of
getting America's finest satrifye. Thousands of personal experiences proved conclusively
that blue cold gives greater heating comfort at less costs,
more steady, more even more dependable heat.

Speaker 11 (01:57:40):
That's what you get when you burn blue cold.

Speaker 58 (01:57:42):
And that's not all.

Speaker 49 (01:57:44):
You also enjoy the friendly service and co operations of
your neighborhood's blue coal dealer.

Speaker 11 (01:57:49):
For you see, your blue coal dealer doesn't stop it
just delivering your order, not at all.

Speaker 49 (01:57:54):
He takes the personal interest in your heating problems and
give you helpful advice that saves.

Speaker 11 (01:57:59):
Time, heavens money.

Speaker 49 (01:58:01):
For instance, he'll demonstrate the proper way to operate furnace damperate.
He'll point out to you the time and money stating
advantages of a blue coal automatic heat regulator. George Heals
prove to you that the blue coal wave is really
the easy way to heat your home.

Speaker 11 (01:58:18):
Give your friendly blue coal dealer a call tomorrow.

Speaker 49 (01:58:21):
His name is listed in the Whare to buy a
section of your classified gellaphone directory under.

Speaker 11 (01:58:25):
The words blue coal now actually the oracle of death.

Speaker 2 (01:58:42):
Oh, Mike the corancient. He we are at your apart
and me we are my parents.

Speaker 49 (01:58:46):
Oh oh yes, yes, sir, fine treating man.

Speaker 54 (01:58:49):
I must say, show us who repoton me?

Speaker 53 (01:58:51):
For men who are in a gabby sage believe been
very young gabby all the way home?

Speaker 10 (01:58:55):
Is it trouble at following?

Speaker 3 (01:58:56):
Is it?

Speaker 11 (01:58:57):
He should cover it?

Speaker 9 (01:58:59):
No?

Speaker 2 (01:58:59):
No, no, no, see, I was just thinking about the appointment.

Speaker 10 (01:59:03):
I have it eight a plus.

Speaker 2 (01:59:05):
It's a quantom. You've got something on your mind?

Speaker 9 (01:59:07):
You have? Look?

Speaker 49 (01:59:08):
Can I help you out?

Speaker 9 (01:59:09):
Leave?

Speaker 49 (01:59:09):
No, shurely, I'll take care of it myself. But in
case anything should go wrong, I want you to wait
outside the building and watch everyone who enters and leaves
like a hawk.

Speaker 2 (01:59:17):
I will, like a hawk watch you.

Speaker 49 (01:59:18):
And at mate should be if I don't come downstairs
by by ten fifteen, you come.

Speaker 50 (01:59:26):
Up and get me.

Speaker 38 (01:59:40):
Oh, I didn't know you were in here at the carteen,
sitting in the dark.

Speaker 2 (01:59:45):
That's all right, Rodney, I'm waiting for someone call at
eighty pluck.

Speaker 38 (01:59:50):
I see, well it's almost that now I'll take it
on me. You'll excuse me, then I have some wealth
to finish in the pan.

Speaker 49 (01:59:56):
Yes, of course, Hello, yes, commission Oh yes, Commissioner.

Speaker 37 (02:00:02):
Look here, man, I want to find out how you
know about that Continental Bank to pick up?

Speaker 45 (02:00:06):
Why?

Speaker 11 (02:00:06):
Well, because of.

Speaker 37 (02:00:07):
Your call telling us about it before the news broke
on the speech. You're suspected by the Mayor's committee of
having public job yourself.

Speaker 49 (02:00:13):
Now, Commissioner.

Speaker 11 (02:00:14):
You don't believe, then, do you?

Speaker 49 (02:00:16):
I don't know what to believe at this point, Look, Commissioner.
All I can tell you is that I received my
information from a man that I picked up who claimed
to have pack his powers if I told the murder
of Anne Clay, the looting of the Continental Bank, and
right now I'm waiting for the third crime that he
predicted to happen.

Speaker 39 (02:00:37):
What is it this time?

Speaker 9 (02:00:38):
I'm sorry I can't tell you.

Speaker 49 (02:00:40):
You can't if you're obstructing justice with the law night, Commissioner. Sorry, Western,
I couldn't tell you any more, Oh, Rodney, I the
government you're still here, Yes, I sha'n't need you money longer.
Tonight I'm expecting a.

Speaker 53 (02:00:56):
Call ready, but the state now I can wait until I.

Speaker 11 (02:01:00):
Listened to it.

Speaker 2 (02:01:01):
Night, good night, good night, good night.

Speaker 54 (02:01:06):
You're sure your all right?

Speaker 2 (02:01:07):
Less plan?

Speaker 49 (02:01:08):
I hope?

Speaker 2 (02:01:09):
Good night?

Speaker 1 (02:01:09):
Good night?

Speaker 49 (02:01:13):
Mm hmm eighty.

Speaker 11 (02:01:17):
Well you know.

Speaker 23 (02:01:22):
Certainly own age. Well it appears to be one time
that a young man's prophecy didn't work a good sort.

Speaker 24 (02:01:44):
Well I could use it good nightly?

Speaker 11 (02:01:47):
Yeah, what do you think.

Speaker 10 (02:01:54):
That?

Speaker 39 (02:01:54):
Luck?

Speaker 20 (02:02:00):
Oh?

Speaker 53 (02:02:03):
So you speak mission West And I was thankly worried
about the whole situation.

Speaker 11 (02:02:07):
And when I heard mister.

Speaker 53 (02:02:08):
Panston speak you on the phone tonight, I said, this
my adulity to receive you.

Speaker 49 (02:02:12):
Just who this man who made the properties is?

Speaker 11 (02:02:15):
Yes, you did the right thing, rob me?

Speaker 1 (02:02:16):
Thank you.

Speaker 6 (02:02:18):
This must be his room right here, sir.

Speaker 18 (02:02:20):
Lets you look in.

Speaker 49 (02:02:22):
Incidentally, it might be.

Speaker 2 (02:02:24):
Wise and not to mention with you from the police.

Speaker 59 (02:02:26):
Not from the police.

Speaker 2 (02:02:28):
Oh, come on, open up.

Speaker 11 (02:02:34):
I only said that.

Speaker 49 (02:02:36):
Oh yes, it's.

Speaker 53 (02:02:40):
Robbed me mister Clanston's butler.

Speaker 49 (02:02:42):
Don't you remember me?

Speaker 15 (02:02:44):
What was this guy?

Speaker 53 (02:02:45):
He's a friend of mine who was interested in your case.

Speaker 37 (02:02:48):
He wants to talk to you, okay, boys, you're gonna
ask me a lot of crazy questions too. No, I'm
just very curious to learn more about this psychic Oh
you're supposed to have your captain, I said.

Speaker 2 (02:03:03):
I was here to ask about your psychic power, and
I don't see nothing wonderful about it.

Speaker 49 (02:03:09):
I just don't agree with the rest of you people.

Speaker 11 (02:03:10):
So what day it is?

Speaker 2 (02:03:11):
And it's all everyone else is a day behind me?

Speaker 11 (02:03:15):
That's truly. No, not if you're telling the truth.

Speaker 49 (02:03:18):
Oh, I'm telling the truth.

Speaker 9 (02:03:19):
I'll approved of you.

Speaker 11 (02:03:21):
And what day do you say?

Speaker 10 (02:03:22):
This is?

Speaker 11 (02:03:22):
Who is there?

Speaker 2 (02:03:23):
Of course you see and I know this oneness power?

Speaker 4 (02:03:27):
He says.

Speaker 2 (02:03:28):
Last night Tuesday, half of this town was blown up
by bomb. What god, the railroad station, hotels, there is
every place on the east side of town. You are
crazy to night that later. I ain't finished.

Speaker 49 (02:03:39):
They got the power plane over on the west side too.
Go at the faces, kill every.

Speaker 2 (02:03:43):
One in the joint?

Speaker 11 (02:03:43):
What time did all this happen?

Speaker 2 (02:03:45):
About ten thirty last night? That's the mattert thing I've
ever heard. Okay, Okay, I ain't asking you to believe it.

Speaker 53 (02:03:50):
Oh, look, mister Weston, whatever your personal reaction may be,
I must day you.

Speaker 38 (02:03:54):
Believe me, everything else that he's foretold us happened.

Speaker 10 (02:03:57):
Right to the minute.

Speaker 2 (02:03:58):
This is too fantastic, but you can lose anything.

Speaker 49 (02:04:00):
By taking precaution.

Speaker 53 (02:04:02):
Suppose the power plant should blow up. Would you want
to be responsible blow all those deaths?

Speaker 9 (02:04:06):
No?

Speaker 6 (02:04:06):
No, of course not.

Speaker 53 (02:04:07):
And he's always been right before, you know that, And
the call you made, mister.

Speaker 2 (02:04:11):
Cranston, Yes, that's true. Well, I guess I'll have to
take the gamble. If this prediction doesn't come off, I'll
be laughed off the foss But if it proves to
be right, it's worth it.

Speaker 49 (02:04:24):
Try what time is it now?

Speaker 9 (02:04:25):
Five minutes?

Speaker 37 (02:04:26):
And I have exactly twenty five minutes to evacuate that
powerhouse and send every armed man in his apartment to
the east side to protect its.

Speaker 11 (02:04:32):
Most bombing.

Speaker 2 (02:04:39):
Duffy call the power plant not at all workers to
leave the building until further noted.

Speaker 9 (02:04:42):
Yes, Sir.

Speaker 37 (02:04:46):
Edwards, I want to offices posted at every pay the
hotel and public building on the east side, right, I
don't not pot the.

Speaker 9 (02:04:54):
Court and the men around the railroad station.

Speaker 15 (02:04:55):
Have them pick up any and all that's been.

Speaker 22 (02:04:57):
As characters they mine and hurry, man, hurry.

Speaker 2 (02:05:04):
It's the craft it's the crasser.

Speaker 18 (02:05:07):
What's happening?

Speaker 49 (02:05:07):
It's the crasson. What's the matter with you? H what's
it's ourn?

Speaker 9 (02:05:12):
He shot for spho shoulders.

Speaker 2 (02:05:15):
Oh my gosh, now you're right, ice guy.

Speaker 49 (02:05:17):
I'm all who's got it?

Speaker 60 (02:05:19):
Where is it?

Speaker 49 (02:05:20):
I'm not sure who did it?

Speaker 53 (02:05:21):
They gotta tough me.

Speaker 11 (02:05:22):
Did you see?

Speaker 49 (02:05:22):
And these strangers come out of the building. So I
was watching too, I was I did you hardly?

Speaker 18 (02:05:27):
Pay no attention?

Speaker 49 (02:05:28):
All on police alarms. It was coming over the radio
water alarms.

Speaker 11 (02:05:31):
What were they?

Speaker 49 (02:05:31):
He send a bunch of.

Speaker 53 (02:05:32):
Riots squads over the east side of town, sending me
top over there.

Speaker 49 (02:05:35):
Something was expected to happen, and they moved everybody out
of the West side powerhouse too.

Speaker 11 (02:05:39):
Why did Weston do that? The fool Treevy.

Speaker 49 (02:05:41):
You've got to get word to the commissioner at once,
pay something long?

Speaker 11 (02:05:44):
Is it twenty fine Western and tell him to order.

Speaker 49 (02:05:45):
His police back to the west side, and he must
send a squad to the power plant too right away?

Speaker 2 (02:05:49):
Okay, okay, but what about you.

Speaker 11 (02:05:51):
I'll take care of myself. Go ahead, and I hurry.

Speaker 38 (02:05:52):
I'm gone to the west side.

Speaker 53 (02:05:55):
I'm gone.

Speaker 49 (02:05:57):
I can stand my feet long enough. The shadow play
a parking this thing too.

Speaker 11 (02:06:10):
The things looked good.

Speaker 49 (02:06:12):
Well, I've been all through the power I mean I
stole around. They've done a good job of scaring them.
But why don't take no credit.

Speaker 2 (02:06:18):
The chief was the one that was going up the
whole scheme, and that's wake.

Speaker 49 (02:06:21):
And wake and piping.

Speaker 2 (02:06:23):
All we have to do is cut the main switch
here in the power plant and the sounds byead.

Speaker 11 (02:06:29):
I lost the team.

Speaker 49 (02:06:29):
You pull off that predicted stuff.

Speaker 11 (02:06:31):
It was that it was a regular wizard.

Speaker 49 (02:06:33):
But yeah, they felt pretty good.

Speaker 2 (02:06:36):
Nobody with that soap on month Clanson stumbled it was
played like clockwork. He's been taking care of cause you'd
have seen that white guy police commissioned west and he
went red figure none of the others.

Speaker 61 (02:06:48):
Yeah, I got anything else that to cut off the
power everything set up, Yeah, pipe they didn't even leave
about watching good.

Speaker 24 (02:06:59):
I got the rest of them posted a doubly worthwhile
stare and money center on the west side.

Speaker 2 (02:07:03):
When we pulled the switch and the lights go off,
they begin working, and that exapt about it.

Speaker 54 (02:07:08):
No, No, they're all over the east side waiting.

Speaker 49 (02:07:11):
For the bombs that will never explod.

Speaker 4 (02:07:14):
Well we might as well get things started. Where's that
main twitch?

Speaker 2 (02:07:18):
And I like the honor of pulling it myself? Okay,
this is it?

Speaker 45 (02:07:25):
That he goes up?

Speaker 5 (02:07:27):
Who knocked my hand off?

Speaker 2 (02:07:28):
That twitches?

Speaker 49 (02:07:33):
All rights for your plan, gentleman?

Speaker 11 (02:07:35):
Who got sharped?

Speaker 49 (02:07:37):
I don't see nobody right here. I am right here
beside you, gentlemen, And don't hi look for me.

Speaker 1 (02:07:44):
You won't see me.

Speaker 59 (02:07:45):
Why are you?

Speaker 49 (02:07:47):
I am known as the Shadow? Oh so you've heard
of me?

Speaker 40 (02:07:52):
Yea.

Speaker 9 (02:07:53):
It came to call on me before, that's right.

Speaker 49 (02:07:55):
But I called on you to learn more about your
power to foretell the future. And I learned enough from
you to know that you were planning just.

Speaker 62 (02:08:02):
Such a horror as this.

Speaker 8 (02:08:03):
What are you going to do?

Speaker 38 (02:08:04):
And I'm like it, boy, shut up.

Speaker 11 (02:08:05):
You'll folder let him fight you.

Speaker 8 (02:08:06):
That'll be signed it.

Speaker 11 (02:08:08):
I can't see him. I ain't scared of somebody I
can see.

Speaker 49 (02:08:10):
But no, I have no fear of anyone.

Speaker 45 (02:08:12):
I can't see you, hear that shadow?

Speaker 49 (02:08:15):
Yes, a very brave statement, especially from such a meek
man as yourself.

Speaker 8 (02:08:21):
Rodney.

Speaker 10 (02:08:23):
You know me.

Speaker 49 (02:08:24):
I know that you're a valid of La mont Quent,
a man whom you'd tried to murder just two hours ago. Oh,
I see you're pretty smart an. I'm smart enough to
know that you and your gang of cutthroats murdered an
playing rob the Continental Bank, and that now you are
planning to loot and terrorize.

Speaker 4 (02:08:39):
The entire city.

Speaker 2 (02:08:40):
All right, what are you going to do about it?

Speaker 10 (02:08:44):
Don't worry.

Speaker 11 (02:08:45):
I've already taken care of things.

Speaker 39 (02:08:47):
You hear that, gentleman to.

Speaker 59 (02:08:51):
Rosney.

Speaker 11 (02:08:51):
You didn't frighten them away after all?

Speaker 45 (02:08:53):
Don't you forget that?

Speaker 49 (02:08:54):
I can take your hand away from that which Runney?

Speaker 11 (02:08:56):
Or shall I shoot it away? You're not scaring me?

Speaker 45 (02:08:59):
Shadow here?

Speaker 49 (02:09:00):
Yeah, before it gets afraid, it's too late.

Speaker 37 (02:09:05):
We can't get out now.

Speaker 49 (02:09:07):
The officers of the law are going to have just
a tougher time getting in.

Speaker 37 (02:09:11):
I'm making a break.

Speaker 45 (02:09:12):
The first man that makes a break will get it
from me.

Speaker 49 (02:09:15):
You're three against one, gentleman.

Speaker 11 (02:09:17):
Are you going to let him tell you what to do?

Speaker 49 (02:09:18):
Shut up?

Speaker 1 (02:09:23):
Get us.

Speaker 11 (02:09:29):
Well.

Speaker 49 (02:09:30):
You're being treated you tear against gentlemen.

Speaker 11 (02:09:32):
Kick that thing out of here.

Speaker 30 (02:09:33):
I think that will make you all change your mind.

Speaker 49 (02:09:38):
There's a second ball.

Speaker 45 (02:09:41):
Going to quick until I get you first.

Speaker 2 (02:09:48):
I've had a very easy star, and try again you
I'll get you yet.

Speaker 49 (02:09:54):
All right, you missed again.

Speaker 11 (02:09:57):
Okay, okay, so come and get us.

Speaker 49 (02:10:11):
How did you an healing nicely?

Speaker 2 (02:10:13):
Mother, you'll be happy to learn Lamont, your man Rodney
and his entire gang.

Speaker 9 (02:10:17):
If it rounded up and put behind bar.

Speaker 11 (02:10:19):
Good work, Comssion.

Speaker 2 (02:10:20):
This art was nothing. Really, I was wise to those
birds right along that played with them like a cat
at a mouse. And when I was ready, I set
my trap for them by purposely pretending to put all
of my offices on the other side of town.

Speaker 11 (02:10:35):
Yes, routine pre strategist.

Speaker 49 (02:10:37):
Why commission West and you know that, Mama.

Speaker 11 (02:10:39):
Yes, Margo, he knows that.

Speaker 49 (02:10:41):
I'm very proud of it. Besides, we mustn't forget that election.
A commission all the election.

Speaker 11 (02:11:00):
And now it's our privileged to bring you John Buckley,
America's home Heating Extra with Buckler.

Speaker 54 (02:11:05):
Thank you, Ken Roberts, and good evening friends. Last week
I attended the golden wedding anniversary of two of my
best friends. Well fis the years is a long time
Him and Amy.

Speaker 11 (02:11:19):
Aren't a surprised they used to be there.

Speaker 54 (02:11:22):
As an anniversary gift, I gave him a blue coal
automatic heat regulators. Now I know they'll be more comfortable
and a lot happier this winter because they won't have
to keep going up and downstairs for regular dampers.

Speaker 49 (02:11:39):
You know, folks, more and more people every day.

Speaker 54 (02:11:43):
Are learning about the time and money they saved with
blue coal and a blue coal heat regulators. And remember,
when you order blue coal, you get extra home heating persons,
it's de folks, you get the free heating advice of
the John Barkley trained service man. He'll show you how

(02:12:04):
to get more heat for every dollar you spend. And
his advice is only a part of the everyday service
given you by your friendly Blue Cold deal So hone
your neighborhood Blue Cold Dealer, first thing in the morning.

Speaker 62 (02:12:19):
Thank you.

Speaker 11 (02:12:33):
Today's program is based on a story copyrighted by The
Shadow magazine. The characters names places and plots or fictitious
and if similarity to the person's living or dead, it's
purely coincident.

Speaker 49 (02:12:57):
The weeed of crime, there's bitter fruit.

Speaker 8 (02:13:03):
Crime does not pay the Shadow.

Speaker 49 (02:13:07):
No next week, same time, same stations.

Speaker 63 (02:13:14):
The Blue Coal Dealers of America bring you one of
the most thrilling adventures The Shadow has ever experienced. So
be sure to listen, and be sure to phone your
friendly blue coal dealer for greater heating comforts at less
cop Lances Ken Roberts saying, keep the home fires burning
with blue coat.

Speaker 64 (02:13:34):
This is Nelson Olmsted, Sleep no more, Sleep no more.

Speaker 1 (02:13:58):
Turn down the lights, sink back in your chair, and
don't look into the shadows. In the shadows, there may
be moving things tonight. It may be you will sleep
no more.

Speaker 20 (02:14:24):
Good evening, missus Van Grower introducing to Night's tale of Terror,
told by Nelson Olmstead on the National Broadcasting Company's presentation
of Sleep No More. The story of terror can be
as simple as a sheeted ghost rattling chains. It can
be a complex and hidden world of horror, lurking in

(02:14:46):
such unholy dimensions as only the dead and the moon
struck and glimpse. Or it can be those terrible, fathomless
shadows which lie buried deep in the primitive mind of
civilized man. And for this evening, well Nelson Omsted tell
us about this evening story.

Speaker 1 (02:15:06):
Thank you, Ben. For some reason which our psychologists probably
know all about. There are not many stories by women
authors of the type we like to tell on Sleep
No More. But tonight we're going to open with a
story by one of our finest women writers, Catherine and Porter,
from her collection of tales called Flowering Judas. This story

(02:15:27):
is entitled the Jolting of Granny Weatherall doesn't sound much
like a ghost story. It's not been, but wait till
you hear it. She flicked herrists nearly out of doctor
Harry's pudgy, careful fingers, and pulled the sheet up to

(02:15:47):
her chin. Whither Bratt ought to be in knee breeches.
Doctor round the country with spectacles on his nose. She said,
now get along, now, take your school books and go.
That's nothing wrong with me. Doctor Harry's better warm paw
like a cushion on her forehead, and.

Speaker 45 (02:16:02):
Said, now now be a good girl. We'll have you
up in no time.

Speaker 1 (02:16:06):
That's no way to speak to a woman nearly eighty
years old. Just cush she's down. I'll have your respect,
your elders, young man. Well miss, excuse me, but I've
got a warn you have it. I oh, you're a marvel,
but you must be careful or you're going to be good.
And sorry, don't you tell me what I'm going to be.
I'm on my feet now. Morally speaking, it's my daughter, Cornelia,

(02:16:29):
I had to go to bed to get rid of her.
Her bones felt loose and floated around in her skin,
and doctor Harry floated like a balloon around the foot
of the bed. He floated and pulled down his waistcoit
and swung his glasses on a cord. Well, stay where
you are, certainly can't hurt you. I'll get along and
doctor you're sick, leave a well woman alone. I'll call

(02:16:51):
for you when I want you. Now, where were you
forty years ago when I pulled through milkleg and double pneumonia? Well,
you weren't even born. And don't let Cornelia, Hey John,
I pay my own bills and I die. I don't
throw my money away. Nonsense. She meant to wave goodbye,
but it was too much trouble. Her eyes closed to themselves,
and it was like a dark curtain drawn around the bed.

(02:17:12):
The pillow rose and floated under her, pleasant as a
hammock in a light wind. She listened to the leaves
rustling outside the window. No, somebody was swishing newspapers. No
Cornelian doctor Harry were whispering together. She leaped broad awake,
thinking they were whispering in her ear she was never
like this, never liked this. Well, what can we expect? Yes,

(02:17:36):
eighty years old? Well, and what if she was she
still had ears. It was like Cornelia to whisper around
the doors. She always kept things secret in such a
public way. She was always being tactful and kind. Cornelia
was dutiful. That was the trouble with her. Dutiful and good,
So good and dutiful. Said Grannie that I'd like to
spank her. She saw herself spanking Cornelian, making a fine

(02:18:00):
job of it. What did you say, mother? Granny felt
her face tying up in hard knots. Can't about a
think I'd like to know. I thought you might want
something I do. I want a lot of things. Pushed off,
go away, and don't whisper. She lay and drowsed, hoping

(02:18:20):
in her sleep that the children would keep out and
let her restimatet it. It had been a long day. Oh,
not that she was tired. There's always so much to
be done. Now let me see tomorrow. Tomorrow is far away,
and there was nothing to trouble about. Things were finished
somehow when the time came. Thank God, there was always
a little margin left over for peace and then a

(02:18:42):
person could spread out the plan of life and tuck
in the edges orderly. The box in the attic with
all those letters tied up, well, she'd have to go
through that tomorrow. All those letters, George's letters and John's letters,
and her letters to them, both lying around for the
children to find afterwards, made her unease. Yes, that would
be tomorrow's business. No used to let them know how

(02:19:05):
silly she had been. Once, while she was rummaging around,
she found death in her mind, and it felt clammy
and unfamiliar. She had spent so much time preparing for death,
there was no need for bringing it up again, and
let it take care of itself now. When she was sixty,
she had felt very old, finished, and went around making

(02:19:25):
farewell trips to see her children and grandchildren with a
secret in her mind, this is the very last of
your mother and children. And then she made her will
and came down with a long fever. That was all
just a notion, like a lot of other things. But
it was lucky too, for she once and for all
got over the idea of dying for a long time.

(02:19:47):
Doubt she couldn't be worried. She hoped she had better
sense now. Her father lived to one hundred and two
years old and a drunken noggin of strong hot toddy.
On his last birthday, he told the reporters it was
his daily habit, and he owed his long life to that.
He made quite a scandal and was very pleased about it.
Grannie believed she just plagued Cornelia. A little Cornelia Cornelia,

(02:20:14):
no footsteps but a sudden hand on her cheek.

Speaker 9 (02:20:16):
Oh, bless you?

Speaker 1 (02:20:17):
Or where have you been here? Mother? Well, Cornelia, I
wanted to knock on a strong hot toddy today. Are
you cold, darling? I'm chilly? Cornelia, lying in bed stops
the circulation. I must have told you that a thousand times. Well,
she could just hear Cornelia telling her husband that mother
was getting a little childish and they'd have to humor her.

(02:20:40):
The thing that most annoyed her was that Cornelia thought
she was deaf, dumb and blind. Little hasty glances and
tiny gestures tossed around her and over her head, saying, now,
don't cross her, let her have her way. She's eighty
years old, and she's sitting there as if she lived
in a thin glass cage. Sometimes Grannie almost made up
her mind to pack up and move back to her
own house, where nobody could remind her every minute that

(02:21:02):
she was old. Wait, wait, Cornelia, till your own children
whispered behind your back. In her day, she had kept
a better house, and she had got more work done.
She wasn't too old yet for Lydia to be driving
eighty miles for advice. When one of the children jumped
the track and Jimmy he still dropped in and he
talked things over, saying, now, Mammy, you've got a good

(02:21:22):
business head. I want to know what you think of this.
Old Cornelia couldn't change the furniture around without asking little things,
little things. Oh, they'd been so sweet when they were little.
Grannie wished the old days were back again, with the
children young and everything to be done over. It had
been a hard pull, but not too much for her

(02:21:44):
when she thought of all the food she had cooked,
and all the clothes she had cut and sewed, in
all the gardens she had made. Well, the children showed
it there. They were made out of her, and they
couldn't get away from it. Sometimes she wanted to see John,
her husband, and again and point to them and say, well,
didn't do so badly, did I, But that would have

(02:22:04):
to wait.

Speaker 9 (02:22:05):
That was for tomorrow.

Speaker 1 (02:22:08):
She used to think of him as a grown man,
but now all that children were older than their father,
and he would be a child beside her. If she
saw now, it seemed strange, and there was something wrong
in the idea why he couldn't possibly recognize her. She
had fenced in one hundred acres once, digging the postholes
herself and clamping the wires with just a boy to help.
That changed a woman. John would be looking for a

(02:22:31):
young woman with the peaked Spanish comb in her hair
and the painted fan. Digging postholes changed a woman. Riding
country roads in the winter when women had their babies
was another thing. Sitting up nights with sick horses and
sick help and sick children, and hardly ever losing one John, I,
hardly ever lost one of them. John would see that

(02:22:52):
in a minute that would be something he could understand.
She wouldn't have to explain anything. It made her feel
like rolling up her sleeves and putting the whole place
to rights again. No matter if Cornelia was determined to
be everywhere at once, there were a great many things
left undone in this place. She would start tomorrow and
do them. It was good to be strong enough for everything,

(02:23:14):
even if all you made melted and changed and slipped
under your hands, so that by the time you finished
you almost forgot what you were working for. What was
it I set out to do, she asked herself intently,
But she could not remember. The pillow rose about her
shoulders and pressed against her heart, and the memory was

(02:23:37):
being squeezed out of it. Oh, pushed down the pillow somebody.
It didn't smother her. She tried to hold it. Such
a fresh breeze blowing, and such.

Speaker 9 (02:23:47):
A green day with no threats in it.

Speaker 1 (02:23:51):
She remembered that day she was to marry George, and
he had not come. What does a woman do when
she has put on the white veil and set out
the cake for a man and he doesn't come. She
tried to remember. That day was hell. She knew hell when.

Speaker 9 (02:24:07):
She saw it.

Speaker 1 (02:24:09):
For sixty years she had prayed against remembering George and
against losing her soul in the deep pit of hell,
And now the two things were mingled in one, and
the thought of him was a smoky cloud from hell
that moved and crept in her head. When she had
just got rid of doctor Harry and was trying to
rest a minute. Wounded vanity, Ellen said a sharp voice

(02:24:33):
in the top of her mind. Don't let your wounded
vanity get the upper hand of you. Now. Plenty of
girls get jolted. You were jilted, weren't you? Then stand
up to it. Her eyelids wavered and let in streamers
of blue gray light like tissue paper over her eyes. Ah,
she must get up and pull the shades down or
she'd never sleep. She was in bed again, and the

(02:24:53):
shades were knocked down. How could that happen? Then her
turnover hide from the lights, sleeping in the light gave
you nightmares?

Speaker 9 (02:25:03):
Mother?

Speaker 1 (02:25:03):
How do you feel now? Hepsie, George Lydia, Jimmy. No, Cornelia,
and her features were swollen and full of little puddles.
Go wash your face, trials, you look funny. Instead of obeying,
Cornelia knelt down and put her head in the pillow.
She seemed to be talking, but there was no sound.

(02:25:24):
Well are your tongue tied? Whose birthday is it? You're
going to have a party? No, mother, Oh no, no,
what Cornelia? Here's here's doctor Harry. Now I won't see
that boy again. He just left five minutes ago. That
was this morning. Mother, it's night. Now, here's the nurse.

(02:25:48):
This is doctor Harry. Grannie weather Or I never saw
you look so young and happy. Yes, never be young again,
but I'd be happy if they'd let me lie and
and get rested.

Speaker 10 (02:26:03):
She thought.

Speaker 1 (02:26:03):
She spoke up loudly, but no one answered. A warm
weight on her forehead, a warm bracelet on her wrist,
and a breeze went on whispering, trying to tell her something.
A shuffle of leaves in the everlasting hand of God.
He blew on them, and they danced and rattled. Yes,
there was something, Granny woted. She would like again to

(02:26:26):
see George, who jilted her sixty years ago. I want
you to find George, Cornelia. Be sure to tell him
I forgot him. I want him to know that I
had my husband just the same in my children and
my house like any other woman, a good house too,
and a good husband that I loved, and find children
out of him better than I'd hoped for. Even tell

(02:26:46):
him I was given back everything he took away.

Speaker 40 (02:26:49):
More.

Speaker 1 (02:26:50):
Oh no, oh god, no, there was something else beside
the house and the man and the children, Oh, surely
they were not all breath crowded down under her ribs
and grew into a monstrous, frightening shape with cutting edges
that bored into her head. And the agony was unbelievable. Yes, John,
get the doctor now, no more talk. My time has come.

(02:27:13):
When this one was born, it should be the last.
It should have been born first, for it was the
one she truly wanted. She was strong, and in three
days she would be as well as ever better. Mother,
Do you hear me?

Speaker 3 (02:27:27):
Mother?

Speaker 1 (02:27:29):
Father Connley's here, But now I went to Holy Communion
on the last week, Cornegie, and I tell him I'm
not so sinful as all that. Father just wants to
speak to you. Well, he could speak as much as
he pleased. It was like him to drop in and
inquire about her soul as if it were a teething baby,
and then stay on for a cup of tea and

(02:27:49):
a round of cards and gossip. Grannie felt easy about
her soul. She had a secret, comfortable understanding with a
few favorite saints who cleared a straight road to God
or all as surely signed and sealed as the papers
for the new forty Acres forever, heirs and assigns forever.
So there was nothing to worry about anymore, except sometimes

(02:28:11):
in the night. One of the children screamed in a nightmare,
and they both hustled out, shaking and hunting for the
matches and calling. Then I'll wait a minute. Here we are, John,
get the doctor. Hapsey's time has coming. But there was
Hapsy standing by the bed in a white cap. Carnee
tell Hapsy to take off her cap. I can't see
her plane. Her eyes opened very wide, and the room

(02:28:34):
stood out like a picture she had seen somewhere. The
light was blue from Cornelia's silk lamp shades. You had
to live forty years with kerosene lamps to appreciate honest electricity.
She felt very strong and saw doctor Harry with a
rosy nimbus around him. You looked like a saint, doctor Harry,

(02:28:57):
And I vow that's as near as you'll ever come to.
She's saying something I heard you, Cornelia. Now, what's all
this carrying on? Cornelia's voice staggered and bumped like a
cart in a bad road. Granny put her hand in
the bosom of her dress and pulled out a rosary,
and Father Conny murmured Latin in a very solemn voice
and tickled her feet. And good Lord, will you stop

(02:29:18):
this nonsense. I'm a married woman. What if George did
run away and leave me to face the priest by myself?
I found another whole world better. I wouldn't have exchanged
my husband for anybody except Saint Michael himself. And you
may tell them that for me with a thank you.
In the bargain, light flashed on her closed eyelids, and
a deep roaring shook her. Cornelia, is that lightning? I

(02:29:40):
hear thunder's going to be a storm. I close the windows,
Call the children in, mother, here, we are, all of us.
Is that jew Hapsey? Oh no, I'm Lydia. We drove
as fast as we could. Their faces drifted above her,
drifted away. The rosary fell out of her hands, and
Lydia put it back. Jimmy tried to help, and Granny

(02:30:01):
closed two fingers around Jimmy's thumb beads. Wouldn't do it
must be something alive. So, my dear Lord, this is
my death, and I wasn't even thinking about it. My
children have come to see me die, but I can't.
It's not time I wanted to give Cornelia the amethyst set,
and Cornelia, you're to have the amethyst set, but Hapsey's
to wear it when she wants. And doctor Harry, do
shut up? Nobody sent for you. Oh my dear lord,

(02:30:23):
do wait a minute. I meant to do something about
the forty acres. Jimmy doesn't need it, and Lydia will
later on with that worthless husband of hers. And I
meant to finish the altar cloth and send six bottles
of wine as sister board her for it a spepsia.
Father Conley, Now, don't let me forget mother, Oh mother,
Oh Mother, I'm not gone, Cornelia, I'm taking by surprise,

(02:30:44):
I can't go. You'll see Hepsey again. Granny made a
long journey outward looking for Hepsey. What if I don't
find her?

Speaker 9 (02:30:53):
What then?

Speaker 1 (02:30:55):
Granny's heart sank down and down, and there was no
bottom to death.

Speaker 9 (02:30:59):
She couldn't come to the end of it.

Speaker 1 (02:31:01):
The blue light from Cornelia's lampshade drew into a tiny
point in the center of her brain. It flickered and
winked like an eye. Quietly, it fluttered and dwindled. Grannie
lay curled down within herself, amazed and watchful, staring at
the point of light that was herself. Her body was
now only a deeper mass of shadow in an endless darkness,
and this darkness would curl around the light and swallow

(02:31:23):
it up. God give a sign for the second time.
There was no sign again, no bridegroom and the priest
in the house. She couldn't remember any other sorrow, because
this grief wiped them all away. Oh no, there's nothing
more cruel than this. I'll never forgive it. She stretched
herself with a deep breath and blew out the light.

Speaker 20 (02:31:57):
A fine and touching story, The Jilting of Granny weatherall
from Flowering Judas and other stories by Catherine Ann Pora
published by A.

Speaker 1 (02:32:11):
Hawkett, Brace and Company.

Speaker 20 (02:32:13):
Now Here is Nelson Omsteed to introduce a second story
for tonight, mister Olmstedden as a.

Speaker 1 (02:32:19):
Change of pace, Ben, I have a little shocker here
by Paul ernst It's the weird tale of a madman
who knew many strange things, and it's called Escape. He
had the oddest form of insanity I've ever seen. Of course,

(02:32:41):
I hasten to add I haven't seen much or I'd
been through an asylum once before, as now to get
a story from my paper on treatment and conditions of
state inmates. And that was all. On that former trip,
I'd witnessed nothing like this, nor had I till now
on this trip. The man didn't look insane, so often
they don't. He was a medium sized chap with gray

(02:33:03):
in his hair and a look of sadness on his thin,
mild face, a look of sadness and determination. Neatly dressed,
precisive movement. He was very busy in his cell. He
paid no attention for a file. As the guard and
I stood at the bar door and watched him. He
was building something. He would pick up a tool, adjusted

(02:33:25):
carefully work with all the delicacy of a watchmaker for
a moment. Then he would lay the tool down and
pick up the gage and check his work, all very
accurate and careful. The only thing was that you couldn't
see what he was building, and you couldn't see any tools,
nor gages, nor workbench. There was nothing in the cell
but the man and a bolted down cot and chair.

(02:33:46):
Now he was boring a hole, obviously a very small hole,
with a tiny metal drill equipped with an egg beater handle,
Now he was just touching the surface with a file.
Now he was sawing something else, after which he took
the sawd apart from an imaginary workbench and tried it
in its place, whatever and wherever that was. Each little
period of accurate workmanship ended with the trip four steps

(02:34:09):
to his left to a corner of his cell, which
was bright with sunlight. It was uncanny. There simply ought
to have been something there, a cabinet, a chair or
what not, and there wasn't. For the first time, acknowledging
our presence there, he said, Hello Nick WELLO said the attendant.
Meet mister Frere, Mister Gannett. Mister Fair's with a newspaper.

(02:34:32):
Oh yeah, how are you doing with your your what's it's,
mister Gannett? Pretty well, this devil of a floor is
in quite level. It's three thirty seconds of an inch
to a foot off. Yes, I have to allow for
that in every line and angle, and makes it needlessly difficult.
Well what is it you're building? You won't tell any

(02:34:53):
of us, But won't you tell mister Frere for his
newspaper story? There it is see for yourself. As we
walked away, I asked the attendant has he been going
through that set of motions very long?

Speaker 9 (02:35:07):
Started right after he got here, that was a year ago.

Speaker 1 (02:35:10):
Oh. Some days he works only a few hours, and
sometimes all day long, and up until lights out at night. Well,
has anybody, however, felt around that corner where he spends
his time? Ay, boy, easy, Now, pretty soon we'll be
sending a wagon for you. Come on, Has anybody, Well, No,
that's the one thing that brings out Gannett's kink. If

(02:35:32):
anybody gets too close to that corner, he gets quite violent.
So we don't even clean there. We're trying to cure
these folks, not upset them needlessly. All that evening I
kept thinking of that spare, mild mannered man with the sad,
determined eyes. After I'd handed my story into the paper,

(02:35:54):
I kept thinking about him. Next afternoon and the next
afternoon saw me at the asylum again, standing in front
of Gannett's barred or. He was busy, as he had
been yesterday, and as he had done yesterday, he paid
no attention to observers at his door at first, but
finally he spoke, without looking up from his task. Hello, Freir, Hello,

(02:36:14):
you come for another story. Well, in a way, I
don't see how you stand it.

Speaker 9 (02:36:20):
Who you.

Speaker 1 (02:36:23):
Stand what you work? Madness and despair of humanity. That's
your stock and trade. You deal in war and famine,
flood and social injustice, and political and civil brutalities. They
are the intimate facts of your life. I don't see
how you can live among such things. I can't even
read about them. Well, mister Gannet, whether you face the

(02:36:44):
facts intimately or not, there are still facts, and they're
still there. You can't avoid them, but you can es
at least I can, and I'm going to. I'm getting
out of all this. He squatted on his haunches and
began running his hands slowly over space, up and down,
and then horizontally. He straightened and repeated the process, and
I'll swear I could make out what he had in

(02:37:05):
his mind. It was a sort of a chair with
a very high back and unusually high arms, And just
as I had decided this, he sat in it. Now
you've seen clowns sit in chairs with arms folded when
there were no chairs to sit in, Well, that was
just the same. I gaped a Gannett sitting in thin air,
not an impossible stunt, but always in a resting one,

(02:37:27):
he got up and came to the door. Well, I
can't take life as it's lived today. Far the weakness,
no doubt.

Speaker 10 (02:37:33):
But there you are.

Speaker 1 (02:37:35):
So I'm getting out of it. Oh no, it's not
for nothing that I'm a mathematician and an inventor. No, please,
you need a hut up, Nick. I'm not hitting it suicide.
It's some more literal escape that I mean escape with
these bar doors and high walls, outside walls bars. Mister Frere,
come back tomorrow. You may have another story. And then

(02:37:59):
he turned his back thereby dismissing me. I wasn't coming
back anymore. I didn't want to see Gannett again. He
was such a nice little guy. But next noon saw
me knocking for admittance a third time. Someone buy a

(02:38:20):
call from Nick said, well, I've got an exclusive for
you if you wanted an escape. I don't know that
it's very important, but we've never had one before. That
might make it worth a couple of inches in the escape. Yeah,
your man gan it, So he did it. But how
well suppose you tell me in the night. No, a
little while ago, in broad daylight, he was seen in

(02:38:42):
to sell at ten. An hour later, the room was empty.
He was gone. But he couldn't have simply walked out
of the place in broad daylight.

Speaker 8 (02:38:49):
Non, he couldn't.

Speaker 1 (02:38:50):
It was his door unlocked. It was not. It was
locked from the outside. When we came to investigate the
report that he was gone. His window bars all right too.
You've searched the grounds. Of course he isn't in them.
He isn't in any of the buildings. Nobody saw him
after eleven o'clock. He's just gone with his cell still locked.
So even a monkey couldn't slip out. You must have

(02:39:14):
some idea how he got away. No idea, No, because
it can't be done only it was. Now, Look, how
am I going to get a story out of that?

Speaker 10 (02:39:24):
Well?

Speaker 1 (02:39:24):
How and thunder would I know? That's your worry? Well, Nick, look,
what in the world do you suppose he thought he
was building? I don't suppose anything about it. If I did,
I'd be as bad off as he was. Well, there's
your exclusive, if you know what to do with it.
Nobody ever saw Ganet again. Nobody ever thought of him again,

(02:39:46):
I guess except me. I had a rash of curiosity
a few days later and went to a cell armed
with a level and the steel rule. The floor of
the barn cubicle gan it once occupied is three thirty
seconds of an inch to the foot off level. Now,
how do you suppose he could have determined that without
tools of any kind to aid the naked eye.

Speaker 20 (02:40:36):
You can turn up the lights now, you can look
around you. Nobody is there? Really, everything is all right,
isn't it? Step over here, Nelson Omsted and tell us

(02:40:57):
about next week's story.

Speaker 1 (02:40:59):
Then next week I plan to offer two particularly good stories.
Band post Chair by Rupert Kroft Cook is the story
of a detective who calls upon a ghost to help
him solve a murder. However, it turns out to be
an eerie experience for everyone. The second is by Get
Him Uposoft, entitled a Coward Don't forget to.

Speaker 20 (02:41:19):
Be with us next week. You've been listening to Sleep
No More, an NBC Radio Network production directed by Kenneth McGregor.
Mister Ramstead's albums are recorded exclusively for Vanguard Records until

(02:41:40):
next week, when Nelson Omstead will again be here in person.

Speaker 65 (02:41:45):
This is Ben Grauer bidding you goodnight, missus m by
David Campton with Raseberry Leech and Jamison and Roger Hume, missus.

Speaker 66 (02:42:06):
M If you can't speak without swearing, you might as
well save your breath.

Speaker 18 (02:42:12):
I only asked where the hell we were.

Speaker 66 (02:42:15):
We are supposed to be outside Honiton. We'd be outside
Honiton if you could read a map. I only hope
we reach civilization before sunset.

Speaker 3 (02:42:24):
And when we do, perhaps we shall get some tea typical.

Speaker 6 (02:42:27):
Adrift in the wilderness. And you wit are about tea.

Speaker 3 (02:42:30):
It's nearly five hours since that lousy plowman's lunch.

Speaker 66 (02:42:33):
You chose the pub, My sweet, you're the one who
shouted stop.

Speaker 47 (02:42:37):
Stop stop?

Speaker 9 (02:42:41):
What is it now?

Speaker 3 (02:42:43):
That sign it says respite?

Speaker 10 (02:42:45):
What of it?

Speaker 3 (02:42:46):
Well they might serve teas?

Speaker 67 (02:42:47):
Does the sign say teas?

Speaker 3 (02:42:49):
The madam put us up for the night? Ever the optimist, Oh, well,
we could ask. Look, there's the drive that.

Speaker 6 (02:42:55):
Is private property.

Speaker 3 (02:42:57):
Well it doesn't say private.

Speaker 67 (02:42:59):
It doesn't have too.

Speaker 3 (02:43:01):
Oh you're not driving on What.

Speaker 6 (02:43:03):
Else do you expect respite?

Speaker 67 (02:43:07):
What sort of a sign is that redspite?

Speaker 47 (02:43:14):
Welcome to respite?

Speaker 19 (02:43:15):
My DearS?

Speaker 66 (02:43:16):
Do you expect anyone to find this place half a
mile up a cart truck?

Speaker 19 (02:43:19):
I always say, if people are meant to find us,
they'll find us.

Speaker 45 (02:43:23):
We wanted.

Speaker 3 (02:43:24):
It's nearly over, but no need to hurry. You'd like
to do something about the dust first.

Speaker 19 (02:43:28):
There's hot and cold in all rooms.

Speaker 67 (02:43:30):
I haven't said anything about a room.

Speaker 43 (02:43:32):
There's always a welcome at respite, mister Benson. I'm missus
meadow Sweet. You can sign the registerator, mister Benson.

Speaker 67 (02:43:40):
Really, why you will?

Speaker 10 (02:43:43):
Yes?

Speaker 67 (02:43:43):
I didn't say yes.

Speaker 3 (02:43:44):
I said yes, Safer, I'll be staying. You'll complete yourself.

Speaker 43 (02:43:48):
Inger can lend a handle the cases. Inger, we're putting
mister and missus Benson in the Honeysuckle Room. My dear
mister and Missus Benson are saying, just for tonight, as.

Speaker 19 (02:44:01):
Long as you need, stay, just as long as you need.

Speaker 68 (02:44:07):
This is the Honeysuckle Room. All the rooms are named
after flowers. At least there's a lavender and a wild thyme,
and a musk rose. Tea is being served in the
dining room.

Speaker 66 (02:44:19):
Oh, this is a lovely room, probably a lovely price.
Do you realize we didn't even ask we could a
charge the earth? These rustics and as duft as the sound.

Speaker 18 (02:44:29):
Shut up, will you?

Speaker 3 (02:44:31):
Oh there's a lovely view from the window.

Speaker 69 (02:44:35):
Missus meadow Sweet said, yes, there's a lovely view, lovely gardens,
lovely trees. Oh they make a lovely screen.

Speaker 3 (02:44:48):
What's behind the trees?

Speaker 67 (02:44:49):
I probably the lovely sewage farm.

Speaker 3 (02:44:53):
I shan't tell you again, Arthur. So peaceful here? Oh yes, peace?
How long have you been here?

Speaker 20 (02:45:03):
Me?

Speaker 25 (02:45:05):
My name's Inger?

Speaker 3 (02:45:07):
Oh well, thank you?

Speaker 8 (02:45:10):
Inger.

Speaker 3 (02:45:12):
Tears served in the dining room.

Speaker 66 (02:45:17):
Congratulations, my love? All devon to choose from, and we
end in a wendy house stuffed by cretinism.

Speaker 3 (02:45:24):
All right, all right, so you still want to fight?

Speaker 67 (02:45:29):
You wouldn't still be brooding about that boy, would you.

Speaker 3 (02:45:32):
You were in a foul mood even before we picked
him up.

Speaker 66 (02:45:34):
Do you really think I can be put out by
a mere stupid Oh?

Speaker 18 (02:45:38):
Save it?

Speaker 3 (02:45:39):
Look, we've got to get down while there still serving tea?
Where can we sit?

Speaker 18 (02:45:48):
Why not?

Speaker 40 (02:45:49):
Sit?

Speaker 34 (02:45:49):
Here?

Speaker 19 (02:45:50):
Gets as sent from the garden, you know, and you.

Speaker 3 (02:45:52):
See so much more of him here?

Speaker 32 (02:45:54):
Thank you.

Speaker 3 (02:45:55):
I'm missus Bray's nosing Benson.

Speaker 15 (02:45:59):
This is my wife.

Speaker 3 (02:46:00):
Any more about us you'd like to know, you'll have
to forgive my husband missus Bray's noses. He's not always
so uncouth. He's only when he's with me.

Speaker 18 (02:46:09):
My spouse has a gift for rousing the worst in anyone.

Speaker 3 (02:46:13):
Please don't vicer everybody at rest.

Speaker 52 (02:46:15):
It is so happy, delightful for the Missus Meadwisweet is responsible.

Speaker 19 (02:46:19):
Of course, a chat with Missus Meadwisweet can be so soothing.

Speaker 39 (02:46:24):
Have a word with her.

Speaker 3 (02:46:25):
Well, we'll have to speak to her about the terms. Anyway,
we're on holiday, just you know, meandering. We don't book
anywhere in advance.

Speaker 67 (02:46:34):
That way, if you don't like the place, you've owing
yourself to blame.

Speaker 3 (02:46:37):
Well, some people can find fault with anything, Thank you,
Inge hinger.

Speaker 67 (02:46:43):
Are you all the stuff they can muster?

Speaker 17 (02:46:44):
Hear me?

Speaker 47 (02:46:47):
I think there's.

Speaker 3 (02:46:50):
There's more tea if you ring for it.

Speaker 68 (02:46:53):
A dinner is sirved at half past seven.

Speaker 3 (02:46:57):
A tip doesn't always make up for rudeness. You who's rudeness,
even if that bloody mindedness is second nature.

Speaker 47 (02:47:04):
Please, we're not used to squabbling here.

Speaker 3 (02:47:07):
I shall have to see Missus Meadowsweet, But miss Pray's
no good.

Speaker 67 (02:47:12):
I'm quite prepared to pay what we owe and leave.

Speaker 3 (02:47:16):
I'll see Missus meadow Sweet.

Speaker 67 (02:47:17):
Now, why you're letting you two get cold? I understood
you were breaking your neck for it.

Speaker 3 (02:47:22):
You'll enjoy your scone so much more when you know
how much you're paying, unless, of course, it chokes you.

Speaker 47 (02:47:29):
Where does was?

Speaker 3 (02:47:30):
I'll find missus M.

Speaker 67 (02:47:32):
With your sense of direction?

Speaker 3 (02:47:33):
It could take some time, thanks, missus M. I'll do
that at once. Oh, miss Pray's nose looking for me? Well,
I'm looking for missus Meadow's sweet. But I ought to
apologize to you. We didn't mean to drive you from
your tailor apologize.

Speaker 18 (02:47:53):
Never explain who are you?

Speaker 3 (02:47:55):
Anyway? You don't remember me?

Speaker 1 (02:47:57):
Should I?

Speaker 19 (02:47:59):
You'll find missus M in there?

Speaker 3 (02:48:02):
Oh, thank you.

Speaker 47 (02:48:13):
No need to stand knocking, my dear, come in.

Speaker 40 (02:48:19):
Now.

Speaker 3 (02:48:19):
What can be troubling you? Well, we haven't asked how
much our room is going to cost.

Speaker 19 (02:48:25):
No more than you can afford, my dear.

Speaker 70 (02:48:28):
That you've more on your mind than our price list,
haven't you?

Speaker 3 (02:48:32):
Of course, was Miss sprays Now's complaining.

Speaker 19 (02:48:36):
Oh, guests come and go with their problems, they say,
I'm a good listener.

Speaker 3 (02:48:43):
Oh it's so silly. It started with a hitchhiker.

Speaker 45 (02:48:48):
Do sit down.

Speaker 3 (02:48:50):
It wasn't worth quarreling over.

Speaker 19 (02:48:55):
I'm listening, my dear.

Speaker 3 (02:48:56):
You know the sort that gives stroppy students a bad name.
Oh why did I insist that we ought to pick
him up.

Speaker 8 (02:49:04):
I don't know.

Speaker 3 (02:49:05):
No, you're right, I do to put one over on
Arthur for the row over the plowman's lunch, so he
was stuck with. Said his name was Simon something. I
wasn't taking much notice, too busy swapping insults with Arthur,
a pretty expert, and after a few miles, the bulshey

(02:49:29):
in the back demanded to be put down again. He
said we were giving him a splitting head. His nerves
couldn't take any more, and if we didn't stop it
throw itself out.

Speaker 39 (02:49:38):
Well.

Speaker 3 (02:49:38):
Arthur and I did not ru another word for at
least ten miles, stunned. Mind you, we've found our voices.

Speaker 67 (02:49:45):
After that.

Speaker 19 (02:49:48):
I always say, there's nothing in this world as bitter
as a memory turned sour. But you're not going to
worry about it any longer, are you? I say, you're
not going to worry worry?

Speaker 3 (02:50:03):
What about?

Speaker 19 (02:50:04):
Never mind, my dear. I always say, what you can't
remember can't hurt chip.

Speaker 70 (02:50:11):
I meana, I I came to see you about something
your room, I hope honeysuckles to your liking.

Speaker 3 (02:50:21):
Oh, no problem there, I'm sure I'll sleep well.

Speaker 19 (02:50:25):
But now, don't go chasing after old memories, my dear.
Let them go, And if anything else bothers you, I'm
always ready to listen.

Speaker 67 (02:50:40):
Haven't you finished snuffling at that window yet?

Speaker 3 (02:50:43):
There's a bed of nights and it's stock below us.

Speaker 67 (02:50:46):
All this sweetness and light is leading up to something.

Speaker 3 (02:50:49):
I can't understand. Why you're in such a bad mood.

Speaker 67 (02:50:53):
Oh, this afternoon never happened, of course, this afternoon, you
know very well. I've to the plowman's lunch.

Speaker 3 (02:51:02):
What plowman's lungs?

Speaker 71 (02:51:04):
What a convenient memory, The plowman's lunch. Wrong bread, wrong cheese,
wrong pickle? Remember no, but who cares?

Speaker 3 (02:51:16):
Oh pinks, jilivers and evening primroses. Very well, where are
you going?

Speaker 67 (02:51:26):
I Am going down to that garden.

Speaker 72 (02:51:28):
I'm going to blow cigar smoke all over the night
scented stocks. I might even jump on the bloody pinks.

Speaker 3 (02:51:39):
This table again, No, miss Bray's nose.

Speaker 67 (02:51:43):
She struck me as an early riser.

Speaker 3 (02:51:46):
Isn't that her bringing in a tray from the kitchen.

Speaker 67 (02:51:51):
I said they were short of stuff.

Speaker 66 (02:51:53):
Trust that one not to lose time before I took
it into her kidneys and bacon she's not coming.

Speaker 3 (02:51:57):
Over here, pay down on another table. She's going back.
She's serving.

Speaker 67 (02:52:08):
Why don't ask me? I don't run the place?

Speaker 3 (02:52:11):
Tea or coffee?

Speaker 4 (02:52:12):
Oh?

Speaker 19 (02:52:14):
Inger, isn't it?

Speaker 54 (02:52:15):
Yes?

Speaker 9 (02:52:16):
Inger?

Speaker 3 (02:52:17):
Isn't that Miss Prai's nose serving at table?

Speaker 67 (02:52:21):
Couldn't you pay the bill?

Speaker 3 (02:52:23):
Tea or coffee, fruit juice or cereal?

Speaker 67 (02:52:26):
You get more sense out of a telephone answering machine.

Speaker 35 (02:52:29):
What do you know?

Speaker 73 (02:52:30):
Girl?

Speaker 19 (02:52:30):
And tea?

Speaker 3 (02:52:31):
Pleasinger and fruit juice.

Speaker 67 (02:52:33):
Coffee and porridge.

Speaker 3 (02:52:36):
Surely miss Sprai's nose is one of the guests. Guests
don't usually eat coffee, fruit, juice and cereal.

Speaker 67 (02:52:46):
Well, let's look on the bright side. This is our
last meal here?

Speaker 18 (02:52:51):
Are you so sure?

Speaker 67 (02:52:52):
Positive?

Speaker 1 (02:52:53):
You pack?

Speaker 74 (02:52:53):
While I check the car, your beautiful car, Mist Benson.

Speaker 66 (02:53:08):
She'll do till I find it better at the price,
just making sure she's ready for off.

Speaker 74 (02:53:13):
You are going?

Speaker 10 (02:53:14):
Then?

Speaker 66 (02:53:15):
One day here, next day miles ahead. I say, keep moving,
even on.

Speaker 74 (02:53:19):
Holiday and after the holiday.

Speaker 6 (02:53:21):
There's always a business to your own.

Speaker 66 (02:53:24):
Of course, I started it borrowed capital in a fourteen
day week. I take things more easily now, no more
than a twenty four hour day.

Speaker 19 (02:53:34):
When you first set foot in respite, I said, there's
a man with a load on his mind.

Speaker 67 (02:53:41):
Who do I settle with?

Speaker 53 (02:53:42):
Who but me?

Speaker 3 (02:53:43):
Dear?

Speaker 34 (02:53:44):
Why shall we take the pretty way back to the
house through the garden.

Speaker 10 (02:53:48):
Tell me more about what you do exactly?

Speaker 74 (02:53:51):
How did the business begin?

Speaker 73 (02:53:56):
What's good for business isn't always so good for a marriage.
I suppose in a way, that's where things started.

Speaker 45 (02:54:00):
To go wrong.

Speaker 57 (02:54:01):
The marriage hasn't gone wrong, my dear.

Speaker 19 (02:54:05):
You only have to give it as much attention as
you do.

Speaker 9 (02:54:07):
The car, car.

Speaker 67 (02:54:09):
Would you like to know something?

Speaker 19 (02:54:11):
I'm listening.

Speaker 66 (02:54:12):
I didn't really want that car in the first place,
too extravagant, wasteful to run. But once I'd started to
beat the cellar down, I couldn't stop, Especially when I
readized he got to sell. I almost felt sorry for him.
Only feeling sorry isn't good for business. It was a
bargain I could sell tomorrow and make a profit.

Speaker 73 (02:54:32):
He was almost crying at the promise.

Speaker 19 (02:54:35):
Does it hurt to remember?

Speaker 36 (02:54:37):
Remember?

Speaker 1 (02:54:38):
Remember what.

Speaker 47 (02:54:41):
We bargaining?

Speaker 75 (02:54:42):
Can be a fine and exciting way to earn a living.
But I'd say it was too much for a twenty
four hour day. Oh for a change, I'd suggest something
more relaxing.

Speaker 45 (02:54:54):
Gardening, Now, gardening.

Speaker 73 (02:54:56):
I've always hated gardening.

Speaker 57 (02:54:59):
Always.

Speaker 73 (02:55:00):
When I was at the Christopher Robin Age, I was
scared by a slug?

Speaker 15 (02:55:03):
Is that a fatah?

Speaker 45 (02:55:04):
All right?

Speaker 73 (02:55:05):
Black thing more like a leech. Must have seemed enormous
to a child. I can remember it now. You don't
like slubs either, miss Meda Sweet.

Speaker 75 (02:55:16):
I don't like false memories, mister Benson. Oh, oh, all
false memories worse than a bad nut sickening?

Speaker 67 (02:55:26):
Yeah, would you be calling me a liar?

Speaker 57 (02:55:31):
Exactly? Why don't you like guardian mister Benson?

Speaker 19 (02:55:36):
Just what is it you'd rather not remember?

Speaker 1 (02:55:39):
I'll tell you.

Speaker 73 (02:55:44):
You're a knowing old devil, missus mender.

Speaker 19 (02:55:46):
Sweet, I bad experience.

Speaker 66 (02:55:49):
I don't know why I bother telling you, But you see,
my father actually liked gardening. He always kept his tools
bright and shining. You could have used his spade as.

Speaker 18 (02:55:58):
A mirror, and manners speaking well.

Speaker 66 (02:56:01):
One day I thought i'd help I dug up with
the dahlias. Not only that I left his spade out
in the rain. He made no allowance for you for inexperience.
He half killed me that beating at me more than
a dirt yim. I can tell you it still does
when I think about it.

Speaker 57 (02:56:20):
Memories can be so painful, my dear. No, I'm sure
that one's better an than in.

Speaker 19 (02:56:29):
So why don't you like gardening?

Speaker 73 (02:56:31):
Who said I don't like gardening? I just can't spare
the time.

Speaker 19 (02:56:36):
Would you like to see our tool shed?

Speaker 1 (02:56:39):
Oh?

Speaker 19 (02:56:39):
The last gardener left everything so spotless.

Speaker 57 (02:56:43):
He left us not so long ago. But the weeds
are creeping back, coat grass under the roses and such life.

Speaker 75 (02:56:51):
Oh, bless me, we've walked full circle. That's a beautiful calm,
mister Benson.

Speaker 73 (02:57:00):
But it's like some women lovely to look at, but
a bitch to run.

Speaker 45 (02:57:04):
Do you know whose it is?

Speaker 73 (02:57:06):
Somebody just sign in?

Speaker 57 (02:57:07):
Never you mind, my dear, This is the way to
the part in shed.

Speaker 3 (02:57:21):
Mispraise knows well what are you doing in our own?
Making beds?

Speaker 57 (02:57:27):
Of course?

Speaker 19 (02:57:29):
But why beds have to be made?

Speaker 3 (02:57:33):
They come unmade every night? Yes, but you didn't make
the bed yesterday, did you?

Speaker 19 (02:57:39):
I'm making them today.

Speaker 3 (02:57:42):
I'm afraid you're wasting your time. We shan't be here tonight.
I've just come in to back.

Speaker 19 (02:57:48):
That's up to you.

Speaker 3 (02:57:50):
I was told to make these beds.

Speaker 19 (02:57:53):
Are you telling me to stop.

Speaker 3 (02:57:56):
Well, no, if you've been told, h, I must, I
must have a word with Arthur.

Speaker 47 (02:58:07):
What on it's got into you?

Speaker 66 (02:58:09):
Amazing how weeds get mixed up with groundcover they're not
supposed to.

Speaker 1 (02:58:14):
What are these?

Speaker 45 (02:58:15):
Arthur?

Speaker 6 (02:58:16):
You went to get the car out, remember, OK?

Speaker 74 (02:58:20):
While I packed?

Speaker 18 (02:58:22):
Pack?

Speaker 74 (02:58:23):
Why pack?

Speaker 18 (02:58:24):
We're leaving, Arthur.

Speaker 3 (02:58:26):
Eh, there is something about this place. There's miss Brais
knows doing the bedrooms.

Speaker 9 (02:58:32):
And now this is just not you.

Speaker 3 (02:58:37):
You never even want to cut the lawn.

Speaker 67 (02:58:39):
She didn't mention the lawn.

Speaker 32 (02:58:40):
This is Meadow sweet.

Speaker 3 (02:58:43):
You've been talking to missus meadow Sweet.

Speaker 67 (02:58:46):
She's a good listener.

Speaker 3 (02:58:47):
Oh, for goodness sake, climb out of those idiotic dungarees
and let's make a start.

Speaker 67 (02:58:51):
If she wants a trench digging tomorrow.

Speaker 45 (02:58:53):
Wo sellenly as some such.

Speaker 3 (02:58:54):
I'm going to have a few words with missus Meadow's sweet.

Speaker 6 (02:58:58):
Myself now, missus.

Speaker 3 (02:59:03):
M my dear, what is going on here?

Speaker 19 (02:59:06):
Nothing that hasn't been going on for long enough, My dear.

Speaker 3 (02:59:09):
I've just left my husband on all fours grubbing about
the garden.

Speaker 19 (02:59:12):
He seemed happy enough when I left.

Speaker 3 (02:59:14):
Oh, he's happy enough now, as I like to leave
people happy. That's not the point. He's like a kid
playing with sand castles.

Speaker 1 (02:59:22):
What have you done to him?

Speaker 10 (02:59:23):
Done, my dear?

Speaker 3 (02:59:24):
When he left me, he was set to pay the bill.

Speaker 19 (02:59:26):
Oh, let's not bother about bills.

Speaker 57 (02:59:28):
Do we have to?

Speaker 3 (02:59:29):
We were on our way out, like bat's out of hell.
In Arthur's own words, I remember them perfectly.

Speaker 19 (02:59:35):
Do you, my dear?

Speaker 3 (02:59:36):
Are you asking me to repeat them? He said?

Speaker 51 (02:59:40):
Oh?

Speaker 3 (02:59:41):
And another thing? Are you listening?

Speaker 19 (02:59:44):
I'm here?

Speaker 3 (02:59:46):
What about Miss Brais knows? Tell me yesterday she was
complaining about us like a regular. Today she's doing the rooms.
That's right now. Tell me it's none of my business.
If if you like, oh, I wouldn't do that by then?

Speaker 40 (03:00:04):
Why?

Speaker 10 (03:00:06):
Oh?

Speaker 19 (03:00:06):
Miss Bray's nose has some very unhappy memories locked away deep,
so deep and so unhappy. Whole days had to go
by before she brings just one of them to me.
I'm afraid they're not all out yet.

Speaker 3 (03:00:24):
I just don't understand.

Speaker 19 (03:00:27):
I can't take memories, you see, only accept what's offered,
even false memories, though we won't talk about them. If
you don't mind, it's not nice at all.

Speaker 3 (03:00:39):
Exactly what does that mean?

Speaker 19 (03:00:42):
I'm often surprised that the way folk will cling to
something that must be hurting so much, particularly when there's
somebody at hand to take the pain away.

Speaker 3 (03:00:54):
Let's get this straight, Yes, my dear, they often say
that you're telling me that you can remove memories like
like stains, only when freely bestold. I can't take any
unpleasantness I don't know about, though I believe I am

(03:01:16):
allowed to prompt still in my experience, when one bit
of beastliness comes out to the others follow I left
Arthur digging. Did he talk to you about his memories?

Speaker 19 (03:01:29):
All an unhappy man, my dear, but lighter hearted now
I reckon.

Speaker 3 (03:01:36):
He actually unburdened himself to a stranger.

Speaker 19 (03:01:40):
Why not?

Speaker 3 (03:01:42):
Because he never would to me, never.

Speaker 19 (03:01:45):
Oh, you have to learn to listen, my dear. Listening
is a skill that improves with practice. Might you the
knack has to be there in the first place. You
mustn't blame yourself if you never had it.

Speaker 3 (03:02:00):
Of wrangling when all he had to do was open
up years, my dear, years of brooding silences and storms
out of clear blue skies, years without a word of
what was going on underneath, all on account of that
damn business go on, my dear, what you were telling me? No,

(03:02:26):
whatever I told you already was too much. I'm not
telling you anymore.

Speaker 73 (03:02:31):
I know what you can do.

Speaker 3 (03:02:33):
I don't know how.

Speaker 9 (03:02:35):
But my name is Inger.

Speaker 3 (03:02:39):
That girl wandering about in a fuddled haze. Yes, all
she knows is her name, if she knows even that much.
By now everything else is gone. Inger, missus Bray's knows Arthur?
Is that what happens to them all?

Speaker 76 (03:02:58):
Oh?

Speaker 32 (03:02:59):
God?

Speaker 3 (03:02:59):
Well, Arthur?

Speaker 67 (03:02:59):
And like Inger?

Speaker 25 (03:03:01):
You remember Inger?

Speaker 7 (03:03:03):
Do you?

Speaker 3 (03:03:03):
Who could forget her?

Speaker 19 (03:03:05):
And remembering Inger upsets you?

Speaker 74 (03:03:07):
My dear?

Speaker 3 (03:03:09):
What do you expect?

Speaker 19 (03:03:11):
I shouldn't let Inger be a worry if I were you.

Speaker 70 (03:03:14):
As far as you're concerned, there never was an Inger?

Speaker 58 (03:03:19):
Now?

Speaker 19 (03:03:19):
Doesn't that make you feel better?

Speaker 3 (03:03:22):
What do you mean make me feel better?

Speaker 19 (03:03:24):
Not knowing about Inger?

Speaker 8 (03:03:27):
Inger?

Speaker 3 (03:03:28):
I don't know who Inger may have been, but I
know who Arthur is.

Speaker 9 (03:03:33):
I know what he was.

Speaker 3 (03:03:35):
You're telling me that you make a habit of turning
normal human beings.

Speaker 19 (03:03:40):
Unhappy, twisted, mixed up beings, My dear.

Speaker 3 (03:03:43):
All right, have turning everyday neurotics into happy zombies.

Speaker 19 (03:03:48):
If you like to put it that way, My dear,
I just did very well, I accept the way you
put it. Now what can I do for you? You
have a lovely touch with fruit cake, my dear, Oh
thank you, But it's time for thinking about dinner.

Speaker 3 (03:04:10):
The doctor come.

Speaker 19 (03:04:11):
Why not get a hand selling peas?

Speaker 70 (03:04:14):
Ah, No, Bray's nose.

Speaker 19 (03:04:16):
It wasn't the timer, the bell in the hall. I'll
answer it in a minute and just carry on the
scrape of potatoes. If those aren't enough, I'll get out
to do that. The more I remember potatoes in the wall,
I'm sure you do. Bray's nose in the.

Speaker 70 (03:04:29):
Eighties, piles of them each day.

Speaker 19 (03:04:34):
I'm coming jump to it.

Speaker 3 (03:04:36):
I'd say, call that peeled who left those eyes in
it was a sergeant in those days where you do
you lonely life.

Speaker 77 (03:04:46):
Nobody loves a sergeant, at least one did, but he
didn't last think of him.

Speaker 3 (03:04:55):
Sometimes you've never mentioned the eightes before Spray's nose, and
it would be a kind nurse not to mention it again,
Missus Benson.

Speaker 19 (03:05:04):
Painful memories are best not put back. I said, I'm coming. No,
my DearS, just keep yourselves happy with peas and potatoes.

Speaker 3 (03:05:14):
There's a visitor waiting.

Speaker 19 (03:05:19):
Good after noon, you'll be wanting a room.

Speaker 18 (03:05:24):
I don't know yet.

Speaker 19 (03:05:26):
Is that all the baggage you've brought?

Speaker 18 (03:05:28):
Never go by appearances it must be powerful.

Speaker 19 (03:05:31):
Heavy on your bag? Why not take it off?

Speaker 56 (03:05:35):
Never stop at a place like this before. It doesn't
look as though you're cater for students.

Speaker 19 (03:05:40):
You'd be surprised if we take in. I always say,
if you find your way here, you're.

Speaker 18 (03:05:44):
Meant to be here, in the middle of nowhere, or.

Speaker 19 (03:05:47):
Put the other way around. If you weren't meant to
be here, you'd never have found it at all. I
can't pay, but of course you pay, my dear guests
always do.

Speaker 22 (03:05:58):
I'll get mad to show you too.

Speaker 19 (03:06:02):
Yes, compree, it's next to the bathroom.

Speaker 18 (03:06:08):
This is Comfrey.

Speaker 3 (03:06:10):
It's named after a flower. I've never seen any Comphy myself,
but I'll take missus Hem's word for it.

Speaker 18 (03:06:17):
Don't I know you me?

Speaker 3 (03:06:21):
Why should you think that?

Speaker 18 (03:06:22):
Well, my name's Scratton, Simon Scratton. You picked me up
the other day. No, you must be mistaken.

Speaker 3 (03:06:32):
You can see the gardens from these windows, the red car,
but the size of fire engine. Only vegetable gardens on
this side of the house. I'm afraid, Oh, oh, wonder
why is digging that hole.

Speaker 56 (03:06:44):
You must remember me and the chap you had a
fight over. When you drove off, you were still racketing over.

Speaker 32 (03:06:50):
Me, over you.

Speaker 3 (03:06:52):
You can't have forgotten, honestly, mister, I've never seen you before.

Speaker 56 (03:06:59):
I well, I suppose I could have made a mistake,
A sworn She might have been older, but you just
like her except for the wrinkles mine hers.

Speaker 18 (03:07:12):
You talk like her husband had gray hair. She called
him Arthur.

Speaker 3 (03:07:16):
Oh, Arthur's down their digging where?

Speaker 9 (03:07:20):
What? Well?

Speaker 3 (03:07:22):
That's him?

Speaker 18 (03:07:25):
Well, if he's him, you must be you. Just what
are you after? Young man?

Speaker 9 (03:07:30):
Me?

Speaker 3 (03:07:31):
And it can't be blackmail.

Speaker 18 (03:07:33):
I'm going down to that garden. Let's hear what he
has got to say?

Speaker 3 (03:07:36):
My husband?

Speaker 18 (03:07:37):
You sure he's your husband?

Speaker 40 (03:07:38):
Are you?

Speaker 18 (03:07:39):
Can you remember where you married him?

Speaker 3 (03:07:42):
Of course? I remember we were married in weren't we? Hey?

Speaker 34 (03:07:58):
There?

Speaker 45 (03:07:58):
You have you ever grown?

Speaker 67 (03:08:01):
Celery?

Speaker 73 (03:08:02):
Somehow this hole doesn't look right?

Speaker 18 (03:08:04):
You're half offensive. I suppose I must be. I remember
you from a couple of days back. Remember me.

Speaker 45 (03:08:10):
Let's see what was I doing a couple of days back?

Speaker 18 (03:08:13):
Giving me a lift?

Speaker 4 (03:08:14):
Was I?

Speaker 18 (03:08:15):
My name's Scratton. I don't expect you to remember that.

Speaker 45 (03:08:18):
Well, it's not a name to forget an ardie.

Speaker 18 (03:08:21):
You look like.

Speaker 45 (03:08:23):
You ever done a real day's work in your life.

Speaker 18 (03:08:25):
I told you I'm a student, medical failed.

Speaker 6 (03:08:28):
Typical your generation, no moral fiber.

Speaker 18 (03:08:31):
Ah, yes you're the fascist smile I met the other day.

Speaker 45 (03:08:33):
All right, Ah, you're thinking of someone else?

Speaker 11 (03:08:36):
Will you excuse me?

Speaker 45 (03:08:36):
This spade needs cleaning. Wipe everything as soon as you
finished with it.

Speaker 56 (03:08:40):
Whether you're a nutcase of a bigger slob than your wife.
All right, So you don't want to know me, but
at least have the guts to say so. Don't give
me that glass eyed look, not after the row your
head over me.

Speaker 45 (03:08:51):
My, you are a mixed up yob. You ought ever
taught to missus M. She's straighten you out.

Speaker 40 (03:08:57):
There's this missus M.

Speaker 45 (03:08:58):
She runs this place.

Speaker 18 (03:09:00):
What sort of a place is this?

Speaker 9 (03:09:01):
Oh?

Speaker 78 (03:09:01):
Now you're asking how long have you been here? I
oh tongue it must be oh before that, Oh ask me?

Speaker 73 (03:09:13):
She's him shure, no, if you don't mind, put this
spade away.

Speaker 18 (03:09:17):
Hey, this isn't a guest, as you know. It's a
funny shop. That's why they let me in with no questions.

Speaker 45 (03:09:23):
The guy belong here.

Speaker 57 (03:09:24):
Of course you do, my dear.

Speaker 34 (03:09:26):
Eh, Arthur digs in me.

Speaker 19 (03:09:29):
Hold, isn't he he never think so to look at him?

Speaker 18 (03:09:33):
What are you sneaking around after?

Speaker 34 (03:09:36):
Well you didn't hear me on the path.

Speaker 19 (03:09:38):
I expect you were otherwise occupied.

Speaker 57 (03:09:41):
I shouldn't try.

Speaker 19 (03:09:41):
To put back the day before yesterday if I were you.
It can't be done, and it's down.

Speaker 57 (03:09:47):
To confuse Arthur. You know him?

Speaker 58 (03:09:52):
Do you?

Speaker 18 (03:09:53):
Oh?

Speaker 1 (03:09:54):
Forget it?

Speaker 19 (03:09:55):
How did you come to meet? I've fed up with
both him and her long go on recently?

Speaker 10 (03:10:01):
I let it go.

Speaker 19 (03:10:02):
You don't want to get it off your chest?

Speaker 57 (03:10:04):
No, let's walk the pretty way.

Speaker 75 (03:10:11):
Spinach is already fine, but it can't compare with sweet
peas for color.

Speaker 19 (03:10:17):
We find the flowers RESTful.

Speaker 18 (03:10:20):
Well, I don't.

Speaker 75 (03:10:22):
You haven't given respite much chance? Shep my dear, Now,
what's on your mind?

Speaker 18 (03:10:31):
Nothing broderiction?

Speaker 57 (03:10:34):
That's not strictly true.

Speaker 18 (03:10:36):
But it's more polite than up yours? Or don't you
expect manners from me?

Speaker 79 (03:10:42):
Ah?

Speaker 57 (03:10:42):
That's the path to the plotting shed. We'll turn this way.

Speaker 34 (03:10:47):
Oh the car you've seen it before, that red monster?

Speaker 10 (03:10:54):
Never again?

Speaker 57 (03:11:00):
No insult intended, young man, But sometimes a lie tells
more than the truth. Why shouldn't you recognize this red monster?

Speaker 18 (03:11:12):
Why should you want to know I'm here? Aren't I
just another bed and breakfast? You want to know how
I got here? On my two feet? They were hurting.

Speaker 56 (03:11:21):
I saw the sign in the lane, and I followed
the potholes that you ought to do something about that?

Speaker 18 (03:11:25):
Drive anyway? Here I am on my feet, still hurt,
not for long.

Speaker 75 (03:11:30):
I'm sure you'll find unburdening comes easier with practice.

Speaker 19 (03:11:36):
You sure you don't want to tell me what happened
in the car? I never force anyone, of course that
Sooner or later they come to me. You'll see.

Speaker 3 (03:11:53):
Arthur, Arthur I in the tool shed, coming quick to
dream the things you know, like our wedding. Look Madge
on the sacks?

Speaker 18 (03:12:03):
Ooh, who is she?

Speaker 67 (03:12:07):
You know as well as I do?

Speaker 21 (03:12:08):
Who she is?

Speaker 1 (03:12:10):
Did I?

Speaker 3 (03:12:10):
It's Inger?

Speaker 45 (03:12:12):
Inger?

Speaker 67 (03:12:13):
She is no time for playing silly fools.

Speaker 3 (03:12:15):
What's the matter with her?

Speaker 18 (03:12:17):
You're a woman?

Speaker 1 (03:12:17):
You ought to know?

Speaker 17 (03:12:18):
Who is she?

Speaker 67 (03:12:19):
I'm asking you.

Speaker 3 (03:12:21):
She's very still, I can.

Speaker 80 (03:12:22):
See that, and cold and stiff and staring. Then she
must be I tell you, I don't know what She's
nothing to do with us? There is she I found her.
There could be questions, how.

Speaker 3 (03:12:37):
Come you recognize her when I don't?

Speaker 67 (03:12:39):
Of course you recognize her.

Speaker 32 (03:12:41):
What are you trying to do?

Speaker 67 (03:12:43):
Insist that I'm responsible if she.

Speaker 3 (03:12:45):
Didn't just lie down on those sacks.

Speaker 67 (03:12:47):
And we don't know that she is, do we?

Speaker 3 (03:12:51):
We'd better talk to missus m I have a better idea.

Speaker 72 (03:12:54):
Well, I was talking to a young chapel while ago
and medical student, he said, failed, but even a failed
medical still not to be able to tell the difference
between and I mean, if she's really you, but you
you'll stop here?

Speaker 9 (03:13:07):
Why you think?

Speaker 3 (03:13:19):
Did you find a Martha?

Speaker 18 (03:13:21):
Amazing? Now we can be mates together. When you're wanting something,
you know me, now do you?

Speaker 3 (03:13:25):
Of course I showed you to your This is our
time for all that.

Speaker 67 (03:13:29):
I have a look at that one in the corner.

Speaker 3 (03:13:31):
She hasn't battered than eyelid since you left Arthur.

Speaker 67 (03:13:33):
You don't win you're in her condition. She does worry me.
I suppose I feel I found her.

Speaker 18 (03:13:38):
Will you two stop witering and give me a chance.

Speaker 73 (03:13:41):
With bedside manners like yours, it's as well the patients
are corpse.

Speaker 8 (03:13:44):
She's not.

Speaker 9 (03:13:45):
She looks it.

Speaker 56 (03:13:46):
I may have failed my finals but I can tell
a dead body from a live one. This is more
like suspended animation catalepsy.

Speaker 18 (03:13:55):
But what do you know about her?

Speaker 67 (03:13:56):
She didn't know much about herself.

Speaker 45 (03:13:58):
What does that mean?

Speaker 18 (03:13:59):
She couldn't even remember how she got here?

Speaker 1 (03:14:01):
Can you can you.

Speaker 9 (03:14:05):
Good point?

Speaker 18 (03:14:07):
I was walking down the lane, then I was being
shown to a room, and what came in between nothin?
But I'm prepared to admit it. You see nothing blank?

Speaker 33 (03:14:19):
Odd?

Speaker 3 (03:14:21):
You're all right, though? What about that one?

Speaker 67 (03:14:24):
She can't be left to displace?

Speaker 56 (03:14:26):
As I see it, there are two options. Either she'll
be taken off to hospital or dumped.

Speaker 18 (03:14:31):
In that hole you've been digging. Tell you that hole's
for Celery's the right size and shape for her. Odd again,
but very handy.

Speaker 3 (03:14:39):
Hospital phone for an ambulance, quick quick get missus emer No.

Speaker 18 (03:14:44):
If you don't mind taking yourself in?

Speaker 1 (03:14:47):
What the wheelbarder of?

Speaker 18 (03:14:48):
Why not the car?

Speaker 81 (03:14:50):
A car's a big expensive talk sense.

Speaker 45 (03:14:56):
I've been in it.

Speaker 18 (03:14:57):
I might even have enjoyed the ride of edmen for
the company. But nobody could forget a car like that.

Speaker 56 (03:15:02):
As you say, no, I'm not sure any longer which
of us belongs in Santa's fairy grotto. But you owe
me a favor, right I suppose so? So come with
me now and cast an eye over that red monster
standing in the drive.

Speaker 67 (03:15:20):
That it belongs in a fair ground. I wouldn't give
it garage space.

Speaker 73 (03:15:25):
But the keys are still in.

Speaker 18 (03:15:27):
Did he leave in a hurry?

Speaker 67 (03:15:28):
It's nothing to me. If some fool gets his car nicked.

Speaker 18 (03:15:31):
Will I tell you it's your car? You're open. See,
I've got you one thing.

Speaker 56 (03:15:37):
Either you've got a really twisted sense of humor or
you're lacking somewhere.

Speaker 45 (03:15:41):
I couldn't have forgotten this object.

Speaker 82 (03:15:44):
Oh sorry, there's bits of pieces and stuff in the
glove compartment. You want to say, al envelopes, Benson Enterprises.

Speaker 18 (03:15:55):
You're Arthur Benson, aren't you.

Speaker 67 (03:15:56):
I don't know anything about Benson Enterprises?

Speaker 1 (03:15:59):
Do you me?

Speaker 18 (03:16:00):
No picture?

Speaker 56 (03:16:01):
Postguards stamped, addressed and ready for the box? Dear Doris
back on Monday, got lost yesterday? You should have been
with us, Arthur him, madge, who's Doris?

Speaker 3 (03:16:11):
She's Oh, isn't she a secretary?

Speaker 18 (03:16:16):
Or we are coming on? What's a secretary for?

Speaker 4 (03:16:19):
Well?

Speaker 45 (03:16:20):
She said, Arthur, what does what does Doris do?

Speaker 3 (03:16:25):
I'll tell you I've never heard.

Speaker 1 (03:16:26):
Of a Doris.

Speaker 18 (03:16:27):
You run a business, You've got a secretary? What else think?

Speaker 9 (03:16:31):
I can't?

Speaker 6 (03:16:34):
It's wrong? Well, what's happening to him?

Speaker 1 (03:16:37):
To us?

Speaker 18 (03:16:38):
I've got an idea. She tried it on me.

Speaker 56 (03:16:41):
Didn't get very far because I'm an awkward sort of
a bastard. But even in that time, I lost the
bit between the lane and here.

Speaker 73 (03:16:47):
I don't even know what he's talking about her.

Speaker 3 (03:16:49):
You wouldn't, I'm scared, don't.

Speaker 73 (03:16:52):
Can't you see this is his idea of a joke.

Speaker 18 (03:16:54):
If you just keep quiet for a minute, I'm trying
to work this out, like I for you. One of
us can still think.

Speaker 73 (03:16:59):
I've had about enough for you, young man.

Speaker 56 (03:17:01):
I don't know how she does it, but that doesn't matter.
Only one thing counts. Once you give her a memory,
it's gone.

Speaker 73 (03:17:07):
You'll give him me a headache.

Speaker 18 (03:17:08):
Well, what are you gonna do now? Complain to her?
Oh that's been tried over and over.

Speaker 56 (03:17:13):
By the time you've done complaining, you've forgotten what you
were complaining about.

Speaker 73 (03:17:18):
You're batty man.

Speaker 18 (03:17:19):
Yeah, and when so much has.

Speaker 82 (03:17:20):
Been wiped out, you can't say for certain who you
are or how you got here.

Speaker 18 (03:17:24):
You can always dig the garden.

Speaker 32 (03:17:26):
Or make beds.

Speaker 73 (03:17:27):
You're not making sense?

Speaker 18 (03:17:28):
What about that one stretched out stiff in the shed
inger you called her? Is that the end? When everything's gone?
How many do you record? May be pushing up the spinach?

Speaker 45 (03:17:37):
Oh, take the notice of him, do what you like?

Speaker 1 (03:17:40):
Him on my way?

Speaker 73 (03:17:41):
No, you'll we can't leave the girl in that condition.

Speaker 67 (03:17:47):
We'll have to get to a proper doctor.

Speaker 3 (03:17:49):
You will help, weren't you?

Speaker 10 (03:17:51):
Uh?

Speaker 18 (03:17:51):
Well, only because I want to move fast and you've
got the car. Well, give me a hand with the patient.

Speaker 56 (03:17:56):
I'm gonna walk out of here on her own, and
you can fetch my rucksacked lady on the bed.

Speaker 18 (03:18:00):
Where I dropped it.

Speaker 3 (03:18:01):
We've got a case up there too.

Speaker 18 (03:18:02):
Move then, keep your eyes open for the sweet lady
in charge? And what are you standing about?

Speaker 9 (03:18:07):
For?

Speaker 47 (03:18:13):
Where are you going? My dear?

Speaker 19 (03:18:16):
The gentleman's baggage belongs in his room, as does yours.

Speaker 3 (03:18:22):
You can't stop me, missus meadow sweet?

Speaker 19 (03:18:24):
Now, why should I want to stop anybody? You've been
talking to that young man, haven't you.

Speaker 1 (03:18:32):
I won't talk to you.

Speaker 3 (03:18:34):
I won't.

Speaker 19 (03:18:35):
I don't know what you may have done to make
you so scared?

Speaker 9 (03:18:39):
What I've done? What have you done?

Speaker 19 (03:18:43):
I made you happy, my dear, Now admit it. In
these past few days you've been happier than you've been
since you were young and innocent.

Speaker 3 (03:18:53):
Please stand aside.

Speaker 19 (03:18:55):
If you're afraid there must be some nastiness, we haven't
got that yet.

Speaker 3 (03:19:00):
I've seen that girl in the shed.

Speaker 19 (03:19:02):
Don't be afraid of that, my dear.

Speaker 47 (03:19:04):
All come to it. I saw the hole.

Speaker 19 (03:19:08):
We aren't going to let girls and holes drive us away.

Speaker 6 (03:19:12):
Surely what girl?

Speaker 10 (03:19:17):
What hole? Ough?

Speaker 45 (03:19:20):
Oh, you've done it again?

Speaker 19 (03:19:22):
Done what, my dear?

Speaker 3 (03:19:23):
I still remember Miss Bray's knows. Now will she disappear?
It doesn't matter, because now I know what you're doing.
If I don't tell you how, I know you can't
change my mind.

Speaker 18 (03:19:38):
I don't know why you do it.

Speaker 19 (03:19:40):
Kindness, my dear, pure kindness.

Speaker 3 (03:19:43):
You kill people. You take away everything that makes them
what they are.

Speaker 19 (03:19:48):
Only the bad be it.

Speaker 3 (03:19:50):
Sadness is part of all of us. Take it away,
and what done for?

Speaker 35 (03:19:56):
All?

Speaker 45 (03:19:56):
Right?

Speaker 3 (03:19:56):
I remember stealing cake and letting my sister get whack.

Speaker 19 (03:20:00):
Remembering badness only makes it worse.

Speaker 3 (03:20:03):
That's me doing things I shouldn't have done. Behind the
bicycle shed. I remember disappointments and meanness and bitterness, and
without them I shouldn't be me. You're not going to
take them away. Listen to me, my dear, No, you
listen to me.

Speaker 67 (03:20:25):
That girl can't be comfortable in the back there, not
stiff like that.

Speaker 18 (03:20:29):
We can't break her legs to make them fit.

Speaker 9 (03:20:32):
Where's Madge got to?

Speaker 18 (03:20:33):
She only had to grab a couple of cases and
can't hang around much longer.

Speaker 1 (03:20:37):
Might all get caught?

Speaker 54 (03:20:38):
Caught?

Speaker 56 (03:20:40):
You don't think, missus m Look, get in the car,
be ready to start the minute I leave the house.

Speaker 1 (03:20:45):
What about my wife?

Speaker 18 (03:20:46):
Yeah, I'm a fool to risk my neck, but I'm
going back for her.

Speaker 19 (03:20:52):
You don't have to grasp that case so tightly, my dear.
If you won't let go, it must lie in the cellary.

Speaker 9 (03:20:58):
Bed with you.

Speaker 3 (03:20:59):
Don't just stand there.

Speaker 19 (03:21:03):
Oh my god, what have you been telling? Missus Benson?

Speaker 67 (03:21:10):
No, you don't catch me that way?

Speaker 18 (03:21:14):
She told you the lot, didn't she. Now she's blanked
out and sit like a waxwork, just like the other.

Speaker 19 (03:21:19):
You've seen the other.

Speaker 18 (03:21:20):
I've just left her, have you?

Speaker 19 (03:21:25):
How did Arthur look when you saw him last?

Speaker 67 (03:21:28):
You won't make me forget.

Speaker 18 (03:21:29):
You won't, and you'll let that one go.

Speaker 19 (03:21:31):
Go where, young man? Can you remember where you were going,
where you came from.

Speaker 10 (03:21:40):
Who you are?

Speaker 44 (03:21:42):
I can remember all I want to.

Speaker 19 (03:21:45):
A little lie that. Let that pass. After all the
lies are used up, we are left with the truth.
So you met the Bensons before? No, that means yes,
they gave a lift to a young man. Was the
young man you?

Speaker 9 (03:22:05):
No?

Speaker 19 (03:22:08):
Untruths turned my stomach. But when it's in a good cause,
remember the ride.

Speaker 18 (03:22:16):
I won't. I mean, it wasn't like that at all,
my dear. As a matter of fact, we had met
before on the beach at Monty.

Speaker 19 (03:22:31):
Don't be observed A bit like.

Speaker 56 (03:22:33):
Blackpool, actually, only more of everything. Oh yes, I remember
that well son sam Sea and the women throwing themselves
at me. You're giving I was celebrating my finals passed brilliantly.

Speaker 9 (03:22:47):
Of course.

Speaker 18 (03:22:48):
It's a specializing in brain surgery. It's an actual gift.

Speaker 56 (03:22:52):
My dad bought me a junior surgeon's outfit when I
was five, and I never looked back. I remember my
first set of scalpels gleaming under the light of the
Christmas tree.

Speaker 18 (03:23:01):
By boxing. They and operated on Mum Grant and the
cat next door. Appendix Pan here and in growing total.

Speaker 3 (03:23:15):
Madge.

Speaker 18 (03:23:16):
Your wife's out cold rigid, had to dragon mons of
the way here. Well, I'll have to lie on top
of each other in the back. Neither of them is
going to bend. I if that hell can on the floor,
I shall not stay squirming for long. Haven't you got
that engine started yet?

Speaker 1 (03:23:37):
What do you do?

Speaker 67 (03:23:38):
You're the driver? I can't remember. It's gone, It's all gone.
You will have to drive?

Speaker 18 (03:23:41):
Would I never learn? Where would I get the money
for a car? She'll be outside in a minute after tricks.
We don't even guess.

Speaker 8 (03:23:47):
I'm stuck.

Speaker 67 (03:23:47):
I tell you, I don't know where to start. Let
them move over.

Speaker 18 (03:23:55):
When you read a kid's joy riding, so it can't
be too hard. I do what I can. Okay, don't
blame me if we end up a tree. I suppose
you turn this?

Speaker 45 (03:24:06):
Ah, Now what do I do?

Speaker 73 (03:24:09):
You're on your own only I was?

Speaker 67 (03:24:14):
Is she coming?

Speaker 11 (03:24:16):
I can't say.

Speaker 67 (03:24:17):
Don't turn to look back.

Speaker 18 (03:24:19):
But the drive twists and turn and twist and turn
with it.

Speaker 56 (03:24:22):
She'll try something, I know she will. Some of them
must have tried to escape before, but they didn't make
it there. The papers would have been full of it.

Speaker 67 (03:24:29):
How did she turn them back? Concentrate on the road,
will you? Or slow down?

Speaker 35 (03:24:33):
How?

Speaker 18 (03:24:34):
Oh? Look mess? She is in the middle of the drive.

Speaker 67 (03:24:37):
There's no way around.

Speaker 18 (03:24:38):
We can't run her over.

Speaker 45 (03:24:39):
Well then stop stop stop?

Speaker 67 (03:24:44):
Oh you didn't stop.

Speaker 18 (03:24:47):
I trod on the wrong things smashed into her.

Speaker 45 (03:24:51):
Do you want to go back?

Speaker 67 (03:24:52):
No, no prison on that, science says stop?

Speaker 45 (03:24:59):
Main road ahead?

Speaker 47 (03:25:00):
What do I do?

Speaker 45 (03:25:00):
You stop?

Speaker 66 (03:25:01):
You take your foot off the accelerator and jump it
on the brake. Now the handbrake, litten.

Speaker 45 (03:25:10):
You remembered?

Speaker 67 (03:25:11):
Remember what how to use the brake?

Speaker 66 (03:25:14):
Ohhy shouldn't I? And what are you doing at the wheel?
You tired of our company? Twenty miles back there?

Speaker 62 (03:25:19):
Pardon me?

Speaker 56 (03:25:20):
That was days ago and I got out because somebody's
grizzling was giving me the gripes.

Speaker 66 (03:25:24):
If you got out, how did you get back? If
I picked you up again, I must have a remarkably
forgiving nature. It's all very well for you taking it
easy in the back. If you hadn't insisted, we'd never
picked him up in the first place.

Speaker 3 (03:25:36):
Who's this in the back with me?

Speaker 47 (03:25:39):
My name's Inger? What What am I doing here?

Speaker 74 (03:25:43):
Who are you?

Speaker 66 (03:25:44):
I'm not sure, madam I thought my name was Benson,
but I've been picking up strays like Bernardo. Now, if
you don't mind me driving my own car, Partha change places.

Speaker 3 (03:25:54):
So what are you doing in those dungarees?

Speaker 65 (03:26:01):
In Missus m by David Campton, Rosemary Leitch was Missus Meadow,
Sweet Anne Jamison was Madge and Roger Hume. Arthur Simon
was played by Telly Molloy, Miss Bresno's Joyce Gibbs and
inga Patricia Gallimore. The play was directed in Our Birmingham

(03:26:22):
Studios by Peter Windows.

Speaker 45 (03:26:27):
Strange Wills.

Speaker 83 (03:26:33):
Starring the distinguished Hollywood actor Warren William and featuring Marvin
Miller and Loreen Tuttle, with Howard Culper and an all
star Hollywood cast. Original music by Del Castillio. Dead men's
wills are often strange. We cannot attempt to understand them

(03:26:56):
or try to find the answers.

Speaker 6 (03:26:58):
We can but tell the story. This is Warren William
bringing you the story East of Hudson's Bay at first,

(03:28:11):
and now back to Warren William as John Francis O'Connell
in East of Hudson's Bay. In If I spend my
winters in Sunnay California or Baby Florida. Well it's not
without just cause I can assure you, once, and only once,

(03:28:32):
I had the very dubious pleasure of visiting a client
east of Hudson's Bay. Oh it wasn't a pleasure, Tripp,
Believe me. Only the diarist of circumstances made me go.
It all started in the crispy month of October. It
was one of those rare fall days Indian summer, in fact,
when the lovely, young and headstrong Angela Nelson came into

(03:28:53):
my office to see me.

Speaker 34 (03:28:55):
Just imagine, John, Just imagine me falling heir to a
ten thousand acre red It's the most spilling thing that.

Speaker 22 (03:29:01):
Ever happened to me.

Speaker 6 (03:29:02):
Well, Angela, inheriting a ranch that size is about all
that's left for you to get. Your grandfather gave you
one fortune, then your father made you sole heir of
his estate, and now your uncle comes through with a ranch.
But there's a catch, Angela, there's a catch, a catch.

Speaker 34 (03:29:18):
Oh, you're fooling John. Here it is down in black
and white. Now wait a minute, I'll read it to you.
To Angela Nelson, my beloved niece. I devise and bequeath
a parcel of land consisting of approximately ten thousand acres.

Speaker 6 (03:29:30):
Huh, the interesting part is still to come, Angela. Remember
I wrote the will.

Speaker 34 (03:29:34):
All right, I shall continue said tract of land is
situated between the Leaf River on the north and the
Saint George River on the south, in the province of Quebec.

Speaker 6 (03:29:43):
Suppose you tell me, young lady, if you have any
idea where the Leaf River is.

Speaker 34 (03:29:48):
Why it's in Quebec.

Speaker 74 (03:29:49):
Of course, it says so right here.

Speaker 6 (03:29:51):
Your education has been sadly neglected. You've never learned how
big Quebec really is. Look, here's a Mapple Canada. Now,
then let's find Leaf River.

Speaker 34 (03:30:02):
Hey, you're trying to find the North Poole.

Speaker 6 (03:30:04):
No, not at all. Oh, here it is there.

Speaker 34 (03:30:08):
See then Harry must have used it as a jumping
off place and is rid of the pool.

Speaker 6 (03:30:12):
Well I wouldn't go that far, Angela, but you may
rest assured that you won't die of heat prostration, even
in the middle of summer.

Speaker 34 (03:30:18):
Oh, you're being fastatious. Look at all the towns on
the map around Releaf River. People must live there, Oh.

Speaker 6 (03:30:24):
People live there all right, fur trappers Indian woodsman at
least a dozen in every town.

Speaker 34 (03:30:30):
I'd say, well, this is only October. October the fifth
can't be too cold up there on Leaf River. Yet.
I tell you what I want you to do for me.

Speaker 6 (03:30:40):
Order a team of huskies and a sled.

Speaker 34 (03:30:41):
No, order a private play, that's it. Charter a plane
for me. I want to see my ranch. I want
to go to Leaf River tomorrow.

Speaker 6 (03:30:49):
Well, after all, it's your ranch, and I can't stop
you from going. But promise you'll be back in two weeks, Angela.
I don't want to have to go up there and
dig you out of the snow. I promise, all right.
I order a plane to take you to Let's see,
here's a town called luck to Flumbau.

Speaker 34 (03:31:09):
Sounds like red flannel shirts, an adventure east of Hudson's Bay,
all thrown in for the price of one plane ticket.

Speaker 6 (03:31:16):
It's worth it. But watch out, young lady. I've heard
tails of those rugged French Canadian woes.

Speaker 34 (03:31:21):
Oh John, you are old fashioned, aren't you? Men or
men no matter where you find them, you better read
more of Kipling.

Speaker 6 (03:31:29):
Men are men, all Ryan, but some men aren't as
easy to handle as others.

Speaker 34 (03:31:33):
Aunt is easy to handle. Well, John, you've never seen
Angela Nelson.

Speaker 6 (03:31:38):
In action, and Angela really went into action. Less than
forty eight hours after our conversation, she was in Quitbeck.

Speaker 83 (03:31:53):
As land Commissioner, Miss Nelson, I can only tell you
that you've picked out her rugged assignment. But I can
see that you're determined to make the trip to your
uncle's property. So I've sent for the best guide Easter
Hudson's Bay. He'll be here any minute.

Speaker 34 (03:32:07):
Well, thank you, Commissioner mcdarvish.

Speaker 83 (03:32:09):
One thing about him, though he hasn't much use for her. Well,
shall we say, women who neither toil.

Speaker 34 (03:32:16):
Nor spin, we want some rough and ready?

Speaker 22 (03:32:18):
Is that what you mean?

Speaker 45 (03:32:19):
That's what I mean.

Speaker 83 (03:32:20):
But then Pierre is a man of the North Country.
You'll be perfectly safe with him. Neither one of us
will have to worry.

Speaker 45 (03:32:26):
My gorrish, this commissioner, why he send for Pierre? What
is la plants timasday.

Speaker 83 (03:32:32):
Ah, come in, Pierre, Come in, by God, I army Pierre. Eh,
this is miss Nelson, Miss Angela Nelson.

Speaker 45 (03:32:41):
Oh, by God, Commissioner. She's a petty woman.

Speaker 34 (03:32:46):
Thank you, thank you, Pierre.

Speaker 45 (03:32:48):
Pierre.

Speaker 83 (03:32:49):
Miss Nelson is going to take a trip into the interior.
She wants you to be her guide.

Speaker 45 (03:32:54):
Oh he wants me to be your guide?

Speaker 81 (03:32:57):
Suckle seems when does he write Pierre, but is LeBlanc
It's the finest trapper in all the North Country actors.
Nurse maid too to such an infant, such a child?
What No, No, commissioner, I have more important things to do.

Speaker 34 (03:33:11):
Excuse me, Pierre, wait and I want to speak to
you alone.

Speaker 45 (03:33:16):
I'll wait outside here.

Speaker 34 (03:33:19):
Well, Pierre, or shall I say, Pierre bautistla Blanc, greatest
trapper of the whole North Country. We are the fan
and you.

Speaker 45 (03:33:30):
Do not take offense? Ma'am said what I say about?

Speaker 81 (03:33:35):
Well, but a nurse maid only you s was small,
too lovely to go into the first I would have
to carry.

Speaker 45 (03:33:44):
You like a papoos.

Speaker 47 (03:33:46):
Yeah.

Speaker 34 (03:33:46):
Did you ever hear of the Vikings.

Speaker 45 (03:33:49):
Vikings? No, ma'm said, well, the Vikings.

Speaker 34 (03:33:52):
Pierre came to this country when there were no people.
They were big men here, bigger even than you, biggers.

Speaker 45 (03:33:57):
Than me, Pierre.

Speaker 81 (03:34:00):
But this LeBlanc is six feet four inches and you
weigh two hundred and sixty pounds.

Speaker 34 (03:34:04):
They were braver than you, Pierre, because they had no guns,
only spears.

Speaker 81 (03:34:08):
She's Vikings had only spears to kill the Calibou and Sapao.

Speaker 45 (03:34:11):
Ah, you joke, ma'am's sake.

Speaker 34 (03:34:13):
I tell you the truth, Pierre. And one more thing.
They respected their women because they too were brave and
afraid of nothing.

Speaker 45 (03:34:21):
By God, I.

Speaker 81 (03:34:22):
Would like to meet one of these women, say killed
calibou and bear with a spear.

Speaker 45 (03:34:26):
Oh suck cray blur. That is a woman for Pierre.
But is LeBlanc?

Speaker 74 (03:34:31):
You have met one?

Speaker 34 (03:34:32):
Pierre, I am a descendant of the Viking.

Speaker 81 (03:34:36):
You yes, oh suck crab blur your birthday? What you say,
little fun white of six shadows.

Speaker 34 (03:34:44):
No, I'm going to show you, Pierre, the size is
of little importance. I can do anything you can do. No,
you are going to go with me, and we're starting tomorrow.

Speaker 45 (03:34:54):
Morning, Starting tomorrow morning.

Speaker 34 (03:34:56):
Now, he has two hundred dollars by what's necessary for
the trip?

Speaker 21 (03:34:58):
You need more?

Speaker 34 (03:34:59):
Albeita home of Commissioner by Tavish? Is everything clear?

Speaker 9 (03:35:03):
Bye?

Speaker 1 (03:35:04):
Girl?

Speaker 81 (03:35:05):
Maybe Perre, but this LeBlanc is wrong. Maybe you are
what you call Viking girl. Yeah, maybe you're a brave
like fines Canadian.

Speaker 45 (03:35:15):
I find dow die, find doll you like the words
mom said.

Speaker 81 (03:35:31):
For three days now you have seen nothing but pine, trees,
swift river, caribou.

Speaker 34 (03:35:36):
And the Oh it's wonderful, Pierre, wonderful.

Speaker 45 (03:35:39):
And tomorrow morning we reached the Leaf River. How long
you stay?

Speaker 47 (03:35:44):
Only for a day or two?

Speaker 34 (03:35:45):
I promised, be back in the States in two weeks.

Speaker 81 (03:35:49):
Oh, mom said, smells hair. It was a smell of
pine and boil some Soon we'll come pink snow.

Speaker 45 (03:35:58):
Saint Pierre will set it.

Speaker 34 (03:36:00):
What do you catch, Pierre?

Speaker 81 (03:36:01):
You mean noise on sable Helmin's weezl. I love some
here and right for us.

Speaker 34 (03:36:07):
Don't you ever get lonesome, Pierre? Not here alone all
the way?

Speaker 45 (03:36:10):
No, no, Ma'm said.

Speaker 81 (03:36:12):
I have my cabin, my snow shoes, my gun, and
I sing. I see even see dear ship run away.
What you hear for your atlan singing? It's a body.

Speaker 45 (03:36:28):
What does mamselle do once a cold morning?

Speaker 9 (03:36:31):
Yeah?

Speaker 34 (03:36:32):
Well, I follow the sun, Pierre. When winter comes, I
packed my bag and go to California. I sing too,
But it's not like this, Pierre.

Speaker 6 (03:36:55):
At the end of the first two weeks of Angela's absence,
I received a wire stating that tomorrow weeks were necessary
to complete her mission. Well, it was still Indian summer,
at least in the city. But when the two additional
weeks passed and no further word came from Angela, it
bothered me.

Speaker 45 (03:37:12):
As it's cold tonight. Soon s snow will come.

Speaker 81 (03:37:16):
Mamselle.

Speaker 36 (03:37:18):
We must go back.

Speaker 34 (03:37:19):
Tomorrow now, Pierre, I really hate to think of going back.
It's been so wonderful, so wonderful. I've learned to tell
direction by the stars. The royal caribou steaks over an
open fire, even the men my own clothes.

Speaker 81 (03:37:36):
But now things will change with the winter. The wolves
will come out as a forest for food. The snow
she will pile up Irson's roof of this cabin.

Speaker 45 (03:37:47):
Well, ma'msell, I will go to my cabin.

Speaker 9 (03:37:50):
Now.

Speaker 81 (03:37:51):
We must get plenty of sleep. We start back for
lactive flambo. Whence it's un come up?

Speaker 45 (03:37:55):
All right, Pierre, bye girl, I say you have been
a brave girl.

Speaker 81 (03:38:02):
These Vikings are good people's almost as good as a
French Canadian.

Speaker 34 (03:38:10):
Good night, I'm said, good night, Pierre. What's that?

Speaker 45 (03:38:15):
Here's the wolf? The winter she has come, the wolf.

Speaker 34 (03:38:21):
Oh Pierre, they frightened.

Speaker 81 (03:38:22):
Me right, and you, oh, you joke, ma'am, you says
the vikings are a fright of nursing ware.

Speaker 45 (03:38:29):
I go now good night, No no, no, please, don't
go yet.

Speaker 25 (03:38:32):
Pierre.

Speaker 34 (03:38:35):
Oh there at the door, Oh here, oh hold me,
hold me tired.

Speaker 81 (03:38:43):
Oh there there, little ANGELA big strong Pierre hold you
tight in his arms.

Speaker 9 (03:38:51):
Lexis don't like co Pierre.

Speaker 10 (03:38:55):
Don't like.

Speaker 45 (03:38:58):
Wait wait st chasing wolf away? Sudn't I come back
and hold you some more? This wolf is one fine animal.
Suck It's enough, go away wolf for Pierre. But this
is the plants. The cry is trappling all of Canada
with kilo. Okay, yeah it is. Yeah, the wolf is gone.

(03:39:24):
Now we come close again.

Speaker 34 (03:39:26):
And just a minute here about he's the blank. But
what what is I heard that that wolf speak to you?

Speaker 45 (03:39:35):
Speak to me this Viking girl. Chere's a wolf speak
to beer?

Speaker 34 (03:39:43):
Despeakable creature?

Speaker 45 (03:39:48):
Stop cheating my chest? Mom said, maybe you make hurt
on beer.

Speaker 34 (03:39:52):
Check me into your arms, just like.

Speaker 19 (03:39:54):
You do your weasels.

Speaker 81 (03:40:00):
Okay, okay, I have Indian friend make wolf call, so
you come to my arms. Okay, but well, Pierre, but
is le Blanc love you, ma'amselle, Only you don't know
the world to tell you.

Speaker 45 (03:40:21):
So I fix the wolf to make what you call
the proposal for me.

Speaker 34 (03:40:27):
Well I should have known. Oh, mister LeBlanc, you can
go back to your cabin right now. I won't be
afraid of any more of your wolves, and I'll be
ready to leave at sunrise.

Speaker 81 (03:40:41):
All right, ma'amselle Pierre, he make one big mistake. He
thinks Angela love him too?

Speaker 10 (03:40:53):
Good night.

Speaker 34 (03:40:56):
Who does that big ploka think he is?

Speaker 1 (03:40:58):
What a sucker?

Speaker 34 (03:40:59):
I am rush into his arms when I heard a wolf?
There's nothing but a drugstore romeo wearing a stocking cap.
Oh at it again? Is he this time? I'll fix it.
One pail of water for a small alex. All right,
mister wolf.

Speaker 47 (03:41:15):
You ask for it.

Speaker 45 (03:41:24):
Oh look at Jim. She's one big timber wolf. Oh
my god, she aren't you?

Speaker 22 (03:41:31):
Pierre.

Speaker 34 (03:41:31):
I'm all right, just right, and I guess. Oh would
you please hold me for a minute again?

Speaker 81 (03:41:43):
Just like oil oil you, Oh Pierre battist le Blanc
with oil you like he's old. No other woman in
his own life. My god, that is a promise.

Speaker 83 (03:42:06):
Part two of East of Hudson's Bay, written by Ken
Crapene and directed by Robert Webster, Light will follow in
just a moment. But first, here is a brief message
from your announcer. And here again is Warren william as

(03:43:41):
John Francis O'Connell in east of Hudson's Bay.

Speaker 6 (03:43:49):
After a month had gone by and no further message
came from Angela Nelson, I took medicin into my own hands.
After all, there was a limit. I telephoned Commissioner McTavish
and told him I fly to lock the Flambo to
help him organize the searching party. Things have gone far enough. Meanwhile,
Pierre and Angelo were having that trouble.

Speaker 34 (03:44:09):
Blizzard never stop. It's been snowing for three days.

Speaker 81 (03:44:13):
She won't stop until the snow is six ten maybe
twelve feet. Die Now I'm late with my traps, minks,
the otters and beavers, and we'll all run around the
snow and say, wait, is this white Pierre, but this
LeBlanc ho.

Speaker 45 (03:44:30):
Say, we'll sink I'm dead.

Speaker 59 (03:44:33):
Here.

Speaker 34 (03:44:33):
I have only seekh with love, Oh Pierre, listen, Ever
since that night in the cabin when the wolf.

Speaker 45 (03:44:44):
Came, when you ask me to hold you in my
arms at you, yes.

Speaker 74 (03:44:48):
That didn't mean it?

Speaker 34 (03:44:50):
Well, Pierre, is this way just because you held me
in your arms. Doesn't mean that I'm in.

Speaker 45 (03:44:56):
Love with you. You're not in love with me. But
I kissed you. You kiss me too? My god, what
monkey business this is?

Speaker 34 (03:45:06):
Call it a romantic and alude, call it a weak
moment if you will. But Pierre, don't you see I
have a social position to remember. What would my friends
say if they knew that that well, that I was
in love with the north woodsman. Don't you understand?

Speaker 45 (03:45:22):
No, I do not understand to me.

Speaker 81 (03:45:25):
When Pierre batist la Blanc kisses a woman, she's his woman. Ah,
we will go to the chaise with mission that La
like the Flambeaux and get married.

Speaker 34 (03:45:37):
No, no, Pierre, No, I must go back home. We
can't fall in love.

Speaker 47 (03:45:43):
Pierre.

Speaker 34 (03:45:45):
I'm sorry for both of us. And I suppose you
get me back as quickly as you can, and then
you can trap your wasels.

Speaker 81 (03:45:52):
Huh No, don't know, so setisite, So Pierre Battista le
Blanc is I'm not good enough for you?

Speaker 14 (03:46:02):
My god.

Speaker 45 (03:46:03):
Okay, I get you back, I get you back to
Lucky Prambo. If I have to carry you once away.

Speaker 6 (03:46:17):
Well, while all this was taking place, I was over
one hundred miles away. Trying to keep warm and mister
mctavish's home. The weather had softened up a bit. It
was only thirty below mile.

Speaker 45 (03:46:29):
He called it. Well, John, we'll start out in the morning.

Speaker 6 (03:46:33):
How do we travel by dog's led?

Speaker 83 (03:46:35):
Exactly? We're taken two Indian guides. Be there in three days.
The snow is as slick as glass.

Speaker 45 (03:46:41):
We'll make good time.

Speaker 6 (03:46:42):
You will be able to make it any too fast
to suit me. Walking or riding one hundred miles when
it's thirty or forty degrees below zero isn't exactly my
idea of fun.

Speaker 34 (03:47:01):
Pierre, Pierre, the snow. It's coming down so fast. I
can't see where I'm going.

Speaker 45 (03:47:07):
My gosh, he's blowing bad. Wait, I call you, Oh,
would you please?

Speaker 34 (03:47:12):
These snow shoes so clums you.

Speaker 81 (03:47:16):
I carry you like injured squad carry because, like I
tell you in Commissioner's.

Speaker 34 (03:47:22):
Office, how much further is it a lot of flambeau?

Speaker 45 (03:47:26):
I think only about ten miles. We make it sometime today.

Speaker 34 (03:47:30):
Yeah, we Mum said, I'm sorry I spoke as I
did the other night. I didn't mean to hurt your feeling.

Speaker 81 (03:47:37):
Oh he's all right, Mom said, Yeah, should know better
than to think you marry big bum like him.

Speaker 34 (03:47:46):
Oh, what isn't it that I think you're a big
bump here? It's I mean, oh, well skip it.

Speaker 45 (03:47:55):
What do you do with ranch? Mom said, sell him.

Speaker 34 (03:47:57):
I don't know yet. Oh it is beautiful place, isn't it, Pierre?
Pine trees River, two lakes, twelve feet of snow. What
spring will come someday even up here, won't Pierre?

Speaker 81 (03:48:11):
I love the snow, Mam, say to me. It's like
God's blanket of forgiveness. It covers over all nature so
it can sleep and grow strong again.

Speaker 34 (03:48:23):
You will come back here again, Pierre.

Speaker 45 (03:48:26):
Oh, just as soon I take you to like to Flambo,
I will get my traps, my dogs and come back
to Leaf River.

Speaker 34 (03:48:32):
Won't you get lonesome?

Speaker 45 (03:48:33):
Get lonesome?

Speaker 39 (03:48:35):
Oh?

Speaker 45 (03:48:36):
Here, but these get lonesome? No, Ma'm saying.

Speaker 81 (03:48:41):
Now, I have got so many things to remember, such
a like snight I have Indian make.

Speaker 45 (03:48:48):
Wolf call to fight at you.

Speaker 36 (03:48:51):
It was very, very funny.

Speaker 34 (03:48:53):
It wasn't funny when the real wolf came.

Speaker 45 (03:48:55):
No, by gosh, wait, wait hear you dogs listen. Someone
come on, dogs, said, maybe look for us.

Speaker 28 (03:49:05):
Pierre.

Speaker 84 (03:49:06):
Oh, then you won't have to carry me anymore, just
when I was beginning to like it too. By God,
I'm happy to see you John, and you too, mister McTavish.

Speaker 6 (03:49:25):
Bye, God, you are right, Angela.

Speaker 34 (03:49:27):
Oh, by God, I say, I am caught in the
blizzard though. That's why we're late, isn't it, Pierre.

Speaker 45 (03:49:33):
Oh, I'm there, very sorry, buddy steam, But we get back, okay.

Speaker 83 (03:49:38):
I'm said, we thought you were a snowbound and mister
O'Connell insisted we come to your rescue.

Speaker 6 (03:49:43):
And I hope Angela that you enjoyed this grand and
glorious frozen oil.

Speaker 34 (03:49:46):
Oh it's been wonderful, John, just wonderful every single minute.

Speaker 6 (03:49:50):
But at least for my sake. Next time, pick out
a place like well, like Palm Springs or Tampa. You
know how cold it is.

Speaker 83 (03:49:59):
Only about I told jannat was still mild, but he
doesn't seem to believe me.

Speaker 45 (03:50:04):
Well, Commissioner, my job. She's true. See, young lady, she's safe.
Now I go to town, get my traps and suck
I blu.

Speaker 1 (03:50:12):
I come back.

Speaker 45 (03:50:14):
I am late to catch the weasels. Thank you, Pierre,
thank you. We'll see you at luck.

Speaker 6 (03:50:19):
The Flambaud Well Pierre, knowing miss Nelson as I do.
You must have had your hands.

Speaker 45 (03:50:25):
For Oh no, monsieur. He's one fine girl, just like
what you call the Viking.

Speaker 34 (03:50:33):
Remember, Pierre, the Viking girl was afraid of the wolf,
big bad wolf. Said Okay.

Speaker 6 (03:50:50):
Next afternoon, back at mctavish's house, we were all sitting
around the huge open fireplace, watching the last of the
blizzard wearing itself out.

Speaker 45 (03:51:00):
John, I'm gonna take you out so that you can
shoot your moose.

Speaker 6 (03:51:02):
But how about that cariboo? You promise me?

Speaker 9 (03:51:04):
And that too.

Speaker 45 (03:51:05):
You won't have to walk far either. This time of year,
they come right.

Speaker 34 (03:51:09):
Into town and then it's back to sunny California.

Speaker 45 (03:51:12):
That sounds a.

Speaker 6 (03:51:12):
Little reluctant, Angela. Seems to me you've adjusted yourself to
this rugged country off lay fast.

Speaker 74 (03:51:21):
What care he's.

Speaker 34 (03:51:25):
Coming, this dog team. He must be going back to
Leif River.

Speaker 6 (03:51:28):
Well let him in, come in, come in, Pierre, ma'am said, yeah,
I'm glad to see you again. My heavens, you look
as if you're going someplace back on back dog team
and slid outside.

Speaker 45 (03:51:44):
I start out again for Leaf River?

Speaker 34 (03:51:46):
Are you going back again? So soon?

Speaker 10 (03:51:48):
I start now?

Speaker 45 (03:51:50):
By night I will be deep in the forest. Please her.

Speaker 34 (03:51:54):
She's over, and you've come to say goodbye.

Speaker 81 (03:51:57):
To say goodbye. I hope you have many happy memories
of the great forests, the leaf waver and your little
cabin in the woods.

Speaker 34 (03:52:10):
Yes, yes, thank you, Pierre, and I wish you many
happy moments too when you're trapping your weasels juneing timberworld.

Speaker 45 (03:52:21):
Well, Pierre, good trapping. You'll be gone through spring.

Speaker 81 (03:52:25):
I suppose when the eye smelts on the rivers the
trees put on a coat of birds. I will come
back to luck with Flambeau. Well here, but this LeBlanc.
He's ready for a grand aren't you.

Speaker 6 (03:52:40):
Goodbye, Pierre, and thank you once more for taking care
of Angela.

Speaker 18 (03:52:44):
Goodbye, Pierre, Goodbye to all of you.

Speaker 45 (03:52:47):
Boy, Well, there he goes and some fellow, isn't it?

Speaker 22 (03:52:56):
Goodbye John?

Speaker 6 (03:52:58):
Angela?

Speaker 45 (03:52:59):
What are you doing? Where are you going back.

Speaker 34 (03:53:01):
To God's country? I'm going back with per If you'll
take me. Oh, it's love, John, truelove, per p Are
away from me, Pierre away, I'm going with you.

Speaker 83 (03:53:24):
Warren William will be back in just a moment to
tell you the rest of the story of east of
Hudson's Bay. But first, here is a brief message from
your announcer, and here again is Warren William as John

(03:54:05):
Francis O'Connell.

Speaker 6 (03:54:07):
Evidently love can't be regulated by climate. Angela Nelson found
her love in the frigid north east of Hudson's Bay.
She and Pierre were married in the Little Jesuit mission
at Luck de Flambeau, and a few hours later they
started out for Leaf River and her ranch to spend
a nice, quiet honeymoon. To day one year later, there

(03:54:28):
is a little Pierre Battiste le Blanc, who shows every
promise of becoming the greatest trapper in all the North Country.
At least that's what Angela tells me, And by gir,
I think she's right, don't you. Next week we have
a story for you straight from Hollywood, I mean, as

(03:54:52):
straight as anything can come from this fabulous city of
make believe. It's the story of a man, a young,
handsome and dashing motion picture star, who wrote his autograph
for a beautiful young lady. Now we know, of course,
that signing one's autograph in Hollywood is an everyday circumstance,
but not this one. No sooner was Peter Layton's signature

(03:55:13):
down on that piece of paper than things began happening.
We call this intriguing story autograph.

Speaker 45 (03:55:22):
Girl.

Speaker 6 (03:55:24):
This is Warren William inviting you to listen again next week.

Speaker 83 (03:55:39):
Strange Wills is a Tellaway's feature produced in Hollywood. Any
similarity between names used on this broadcast and those of
living persons is purely coincidental.

Speaker 28 (03:56:07):
The story you are about to hear is true.

Speaker 32 (03:56:09):
But what's happened? I heard a shot and I don't

(03:56:34):
know that is there?

Speaker 85 (03:56:36):
Dundee to shoot a creget in the back? Gone shoot
me again? I'm dying in anyways.

Speaker 32 (03:56:47):
Yeah, looks like you are for certain shooting me in
the back.

Speaker 10 (03:56:52):
You got it wrong, No clicking, don't want me.

Speaker 15 (03:56:57):
I don't need just lies or his dying.

Speaker 32 (03:57:02):
Here's my gun, smell of it, no trace of powders.
Yeah no, I didn't. Never pulled a trigger. I got
no love for you. I hate all Clegg with a
big grab me for this and Homie off to the jailhouse.
You better come back from wherever you're going.

Speaker 10 (03:57:21):
To be my witness.

Speaker 1 (03:57:22):
You better.

Speaker 32 (03:57:25):
Right, Yes he did.

Speaker 86 (03:57:37):
ABC Radio Network presents strange true stories of the Supernatural
with your narrator, famous author, lecturer and expert on strange
and weird events.

Speaker 28 (03:57:47):
Walter Gibson.

Speaker 20 (03:57:49):
Thank you, Jim McKay. Around the turn of the century,
one of the strongest hues in the Tennessee backcountry was
between the Lundy's and the Plegets. It was never made much,
but what followed the death of Dankleggett received wide publicity
because of the strange result. A short time after Dan

(03:58:16):
Kleggett was shot in the back and killed, his body.

Speaker 1 (03:58:19):
Was discovered by his cousin Zeke.

Speaker 20 (03:58:22):
Zeke had the sharp eye of the hunter, and what
he saw made him bring Sheriff Reagan on the run.

Speaker 39 (03:58:29):
Oh here see for yourself. Here not only shot in
the back, but here's the tracks of the man that done.

Speaker 87 (03:58:35):
It's more than once said a track Seke. Yeah, there's
old right, they it's this set right here. First off,
he got Dan from behind, an he come out of
the brush.

Speaker 26 (03:58:46):
Calm if you please to make certain he.

Speaker 87 (03:58:48):
Was done for you figure, Jim Lundy, don't you plain
as a o's on your face.

Speaker 39 (03:58:54):
Didn't Lundy swear he'd put a boat into Dan, didn't he?

Speaker 12 (03:58:57):
You folks are always gunning for each other matter of
strict fact that I'm plump, sick and tired of it.

Speaker 40 (03:59:03):
It was Lundy.

Speaker 9 (03:59:04):
I tell you.

Speaker 39 (03:59:05):
Look at here, the footprint, the boots, Big Jesse's side.

Speaker 9 (03:59:09):
There's a nick on the heel. It's his, all right.

Speaker 12 (03:59:12):
How'd you know he had a nick in the heel?
Been trailing him some yourself?

Speaker 18 (03:59:16):
Eat?

Speaker 39 (03:59:16):
Right's so happy I have. I should have been doing
it today or too, and then Dan be alive. It'd
be Lundy was dead.

Speaker 12 (03:59:23):
And I'd be taking you to the jail.

Speaker 9 (03:59:25):
I'll look at here.

Speaker 39 (03:59:26):
I called you, didn't I I brung in the law
when I could have just as soon not. Either you
start tracking him down or what.

Speaker 40 (03:59:36):
That's a long self.

Speaker 10 (03:59:39):
Hold, onesie.

Speaker 12 (03:59:42):
I'll handle it like the law for eyes.

Speaker 32 (03:59:45):
But I'm telling you this also.

Speaker 12 (03:59:47):
One thing I want to buy is you or anybody
else taking the law into your own hands, because I'll
jump on you just as quick as I will on
your cousin's mind.

Speaker 39 (03:59:57):
Draft git jump a sheriff, there's your tracks, bitch out
your blood hair.

Speaker 1 (04:00:09):
Sheriff Reagan got his deputy and his bloodhouse.

Speaker 20 (04:00:12):
They picked up a trail near the body of Dan
Flaggert and followed it straight at the string to Jim
Lundy's cabin.

Speaker 9 (04:00:22):
Campy, clean eye.

Speaker 39 (04:00:25):
He's just gone on hot tailed for somewhere.

Speaker 40 (04:00:29):
The hounds.

Speaker 12 (04:00:32):
Another trail heading away from the cabin. All right, if
it is, let him run reckons he was right, must
have been Jim Lundy eat a steed.

Speaker 20 (04:00:45):
Put it was apparent that Jim Lundy was running away
from the trail. The hounds followed it led high over
sleepy rigs and stayed off the road, but Lundy had
to break trails, so those who followed was faster. Soon
they had Lundy hold up against a rocky.

Speaker 44 (04:01:04):
Clipper Funday Monday.

Speaker 32 (04:01:09):
Listen to me, this is Sarah breaking.

Speaker 1 (04:01:12):
I know.

Speaker 45 (04:01:13):
Put up that gun.

Speaker 32 (04:01:15):
We got the corner.

Speaker 10 (04:01:16):
Do you want me to talking?

Speaker 28 (04:01:20):
All right?

Speaker 32 (04:01:21):
You're asking for.

Speaker 40 (04:01:25):
We'll cut around the other side.

Speaker 14 (04:01:27):
At it in Russia.

Speaker 10 (04:01:39):
Drop it Sunday, rup it.

Speaker 15 (04:01:43):
I record.

Speaker 32 (04:01:44):
I might as well.

Speaker 12 (04:01:47):
Don't give us a rough time of the kimmer. You
know what we want for I record, open end shut.
They'll be a tried. Of course, I didn't kill them, sir,
You ran, you resisted red thing.

Speaker 10 (04:02:00):
I might as well nobody believe me.

Speaker 12 (04:02:02):
If you got an hour buy you bet.

Speaker 26 (04:02:04):
I haven't handed Jim.

Speaker 32 (04:02:05):
Elibi only alibi.

Speaker 45 (04:02:07):
I got it dead.

Speaker 54 (04:02:09):
Huhn't right now?

Speaker 32 (04:02:11):
I reckon he knows I didn't do him in. But
now that's gonna help me.

Speaker 79 (04:02:15):
I can't figure now even if it was true, which
now well, hey ain't up to me, Jim. But if
I was on a jewel, yeah.

Speaker 20 (04:02:32):
Jim Lundy was locked up in the local jail and
closely guarded, not only to prevent his escape but also
to prevent any of the Klagates from getting out it.
It was while he was in jail awaiting trial, but
Jim Lundy first heard a voice.

Speaker 2 (04:02:48):
Gottee gohe.

Speaker 3 (04:02:56):
You can't see me.

Speaker 12 (04:02:58):
I'm here mhm, So like.

Speaker 11 (04:03:03):
It is, Dan'll click it.

Speaker 79 (04:03:06):
You won't hang, you won't hang.

Speaker 12 (04:03:17):
Shut what's got into you?

Speaker 44 (04:03:22):
Londee?

Speaker 32 (04:03:22):
Yelling and shouting that a way? Here was him, sharp him,
what I don't see?

Speaker 12 (04:03:27):
No one nobody got in her? There was him, Yeah,
crag Dan, Chris, what you fix to do? Lunday Fleet
in Santa there.

Speaker 10 (04:03:37):
Shout me here.

Speaker 32 (04:03:38):
If I heard his voice, he said, I won't.

Speaker 40 (04:03:40):
Hang he did?

Speaker 9 (04:03:42):
Uh, you better tell that to the court marrow.

Speaker 10 (04:03:46):
Why the trial tomorrow?

Speaker 4 (04:03:50):
Sure?

Speaker 40 (04:03:51):
What's that you're holding me in your hand.

Speaker 39 (04:03:55):
Rope, new rope, hanging rope.

Speaker 20 (04:04:06):
The next day, the court was crowded for the raptors
as Lundy underwent his trial. All through the spectators noticed
that he kept looking around. He seemed to be searching
for someone, whispering, why did it?

Speaker 1 (04:04:20):
Where are you?

Speaker 32 (04:04:22):
I don't have a single witness.

Speaker 9 (04:04:26):
Good, yes, sir.

Speaker 39 (04:04:36):
Many times I heard the defendant, Jim Lundy there swear
to kill my cousin at least a dozen times.

Speaker 9 (04:04:44):
There's others that heard the very scene.

Speaker 87 (04:04:56):
That's right, flow Downs picked up his trail right.

Speaker 32 (04:05:00):
At the scene of the murder. Hear them all, you know,
only tried to skip down. You resistant a rant.

Speaker 45 (04:05:15):
I didn't kill him.

Speaker 10 (04:05:17):
I don't know who did, but it weren't me.

Speaker 45 (04:05:19):
I'd never shoot a man in the back.

Speaker 18 (04:05:20):
Never.

Speaker 49 (04:05:22):
I couldn't do it.

Speaker 10 (04:05:24):
Clegget dance, clegg At doom.

Speaker 41 (04:05:26):
I didn't do it, though, But damn Pleggett's ghost did nothing.

Speaker 20 (04:05:40):
The sentence was to be hanged by the neck until
he was dead. That afternoon and evening, Jim could hear
the gallows being erected.

Speaker 32 (04:05:50):
There are you, Pett? Can you hear that? Whoever you are,
can you hear.

Speaker 1 (04:05:57):
You?

Speaker 22 (04:05:57):
Said?

Speaker 10 (04:05:57):
I wouldn't hang you said that.

Speaker 32 (04:06:00):
It's gonna be in the morning.

Speaker 10 (04:06:02):
You can hang me in the morning, Cleggett.

Speaker 39 (04:06:05):
Dry it's nine o'clock. Already here comes along. Blame him

(04:06:26):
for walking up those steps so slow ahead that executioner
the neck go on. I said, oh, holy shirk.

Speaker 26 (04:06:43):
I feel bad.

Speaker 9 (04:06:45):
What perse guilty is sin?

Speaker 26 (04:06:47):
I don't know. I just gotta feeling now that.

Speaker 39 (04:06:51):
Jerry said he was a judge agreed all that nonsense
London was spouting at the trial. My only witness is
Jim Cleggett. Cleggett knows I didn't killing.

Speaker 26 (04:07:02):
Wow, it's time.

Speaker 9 (04:07:06):
Oh bring the trap.

Speaker 10 (04:07:13):
It wasn't the sunder, but the rope that's not is untied.
Monday's alive.

Speaker 8 (04:07:19):
Come on.

Speaker 32 (04:07:22):
Monday, he said, I wouldn't raige you.

Speaker 10 (04:07:27):
He said, you saw that.

Speaker 39 (04:07:31):
Yeah, the rope, it didn't break it.

Speaker 32 (04:07:37):
It's just on wound, as if somebody did it on purpose.

Speaker 39 (04:07:43):
I shure.

Speaker 21 (04:07:46):
Somebody did.

Speaker 20 (04:08:01):
A week later, a man dying in another jail for
another crime confessed to the fatal shooting of Dankleggett. Jim
Lundy lived, and everyone who saw the attempted hanging is
convinced that it was Dan Kleggett who saved him strange.

Speaker 86 (04:08:23):
Tune it or Walter Gibson. You're expert on the supernatural
stories of ghosts, of spirits, werewolves, and voodoo.

Speaker 88 (04:08:32):
And each story you hear is true but strange.

Speaker 86 (04:08:42):
With Walter Gibson as your host, was directed by Clark Andrews.
In the cast were Bob Dryden and Lawson Zerby.

Speaker 36 (04:08:49):
This is Jim McKay speaking.

Speaker 9 (04:08:55):
Strange.

Speaker 36 (04:08:55):
Came to you from New York.

Speaker 8 (04:08:59):
This is the United States Height Armed Forces Radio and
Television Service.

Speaker 16 (04:10:26):
As things and.

Speaker 9 (04:10:44):
And and.

Speaker 89 (04:11:22):
Are you men and women in the Armed Forces of
the United Nations, We present one of America's top spine tinglers,
a radio rebroadcast of a program dedicated to the mysterious,
the unusual, and sometimes the supernatural, a program of.

Speaker 36 (04:11:48):
Sapence.

Speaker 9 (04:11:53):
This is the truth. Do you understand the truth? It
must be the truth. It has to be.

Speaker 88 (04:12:10):
Hi, Robert Wensley Graham, a doctor and psychiatrist by profession,
do hereby my own free will and volition, albeit with
deepest regret, make the following full and complete statement relative
to that all but unbelievable series of events which has
brought such disaster and misfortune to my house, particularly to
my poor wife Isabelle. It had its beginning, properly speaking,

(04:12:31):
some two months ago, to be exacted. On the evening
of July twenty fifth. We were in the drawing room,
Isabelle at the piano, practicing, as she said, her aunt
Jane and I on the opposite sides of the room.

Speaker 25 (04:12:46):
Isabelle, that's the matter. I don't know. I can't seem
to keep my mind on anything anymore. Even my music.

Speaker 9 (04:12:55):
Nurse knows who Isabelle.

Speaker 88 (04:12:58):
Yes, Robert, I don't wish to dis stress you, but
it's going on for quite a little while now.

Speaker 9 (04:13:02):
It's not getting any better.

Speaker 58 (04:13:04):
I know.

Speaker 25 (04:13:05):
Let's not discuss it, shall I.

Speaker 9 (04:13:07):
We should let me prescribe treatment for you. I could
prescribe something for her do remarkable things.

Speaker 88 (04:13:13):
Now it's just the common old drugs under proper control drugs.

Speaker 52 (04:13:17):
It's not drugs that she needs. It's to get out
of this house for a while. It's to get back
to the concert stage where she belongs. It's worm hand chain.

Speaker 25 (04:13:24):
Please, I'm sorry.

Speaker 52 (04:13:26):
I don't believe in beating around the bush. You're an artist,
You've got talent. There's no sense in you're trying to
subordinate yourself as somebody a hand chain.

Speaker 25 (04:13:33):
That's enough. I'm not subordinating myself to.

Speaker 9 (04:13:36):
Anyone, really, Aunt Jane, you mustn't interfere.

Speaker 25 (04:13:38):
You know Robert doesn't want me to go back on
the stage.

Speaker 88 (04:13:40):
Darling. It isn't that I don't want you to go back.
I'm proud of you, you know that. It's only because
I think, because I know that going back to a
professional career in your present mental condition would be terribly harmful.
I know, Robert, I know you're Oh, after all, I'm
a doctor. It's my business to know these things.

Speaker 9 (04:13:58):
H I get it. Probably in the hospital. Hello, hello, yes,
the doctor Graham. Oh yes, who hum?

Speaker 88 (04:14:15):
Well, why when would you like to see me? All right? Fine, no, no, no,
nout of trouble at all. Well, I'll be expecting him.
Good goodbye. Do you suppose that was Roger hulkm Do
you remember the.

Speaker 25 (04:14:32):
Case Roger Holm?

Speaker 9 (04:14:33):
I remember it, of course you do.

Speaker 88 (04:14:34):
The fellow was brought back from the dead, as the
newspapers put about a year ago.

Speaker 9 (04:14:39):
Yeah, yeah, you really.

Speaker 88 (04:14:41):
It was dead for four or four minutes as far
as medical science was concerned. Then Nate brought him around.
It was nine days wonder at the time.

Speaker 25 (04:14:47):
But what did he want to see you about?

Speaker 9 (04:14:49):
It was something to do with his experience, obviously. It
was a terribly agitated state.

Speaker 88 (04:14:52):
Boil had been walking up and down in front of
the house for a now, trying to get up.

Speaker 9 (04:14:55):
Courage to ring the bell. Finally phone from the corner
drug store.

Speaker 25 (04:14:58):
Why the poor man, Why in the world should he.

Speaker 9 (04:15:00):
That anxiety and neuroses?

Speaker 88 (04:15:01):
They hounded him, you know, the most shocking way got
out of the hospital. Preachers and spiritulous movie agents.

Speaker 9 (04:15:08):
Just plain fakers. People trying to find out if you
remembered anything of.

Speaker 88 (04:15:11):
The four minutes he's supposed to be dead. People just
trying to exploit him. Oh, must be Holcomb. Now take
him into the office, doctor Grayham. Yes you're Roger HOOKEMB. Yes,
come in.

Speaker 9 (04:15:31):
I just meet you. Mister HOOKEMB. You've come this way.
Please my office and I just sit down anywhere, lie
down on the cup if you like.

Speaker 11 (04:15:40):
You tired?

Speaker 9 (04:15:41):
I am tired. Tired me your hand please, I haven's.

Speaker 40 (04:15:44):
Sake, there's nothing wrong with my pulse. But that's all
you think it is.

Speaker 88 (04:15:47):
I'll go Why did you come to me, mister Holkam?
You know my history yes, most medical men do. Up
until your disappearance.

Speaker 58 (04:15:57):
Most medical men do.

Speaker 40 (04:15:58):
All right, then tell me I'm crazy?

Speaker 9 (04:16:01):
Do you think you are, mister Hope, I see you're
like all the rest. Let go of me just a
minute to help him.

Speaker 88 (04:16:08):
You gave me through advice Treatmentest you tell me your story?

Speaker 58 (04:16:13):
Well, I was told you you specialized strange case thinks
of other men can't explain it.

Speaker 9 (04:16:20):
That's true in a way.

Speaker 58 (04:16:22):
You know what happened when I got out of the hospital,
followed me and questioned me, hounded me day and night,
trying to find out if I remembered.

Speaker 9 (04:16:29):
Anything I'd experienced, anything.

Speaker 67 (04:16:31):
Beyond the grave.

Speaker 9 (04:16:33):
Yes, I remember that.

Speaker 1 (04:16:35):
Well, then you remember that.

Speaker 9 (04:16:36):
My answer was always the same. But I remember nothing,
but I knew nothing. Well I was wrong. Oh what
did you experience during those four minutes?

Speaker 1 (04:16:49):
I don't know.

Speaker 26 (04:16:50):
There must have been something something I don't even dare
to think about.

Speaker 9 (04:16:54):
How do you notice?

Speaker 58 (04:16:56):
Well, it happened the first time on a boat trip
which I'd taken to recover my health. I found myself
chatting with a woman who was seated at my table
in the dining salon. She found occasion, as such, women
often will to mention her age. She said, after all,
I'm not yet forty. And then it happened, what happened
well from somewhere came crashing into my mind a certain

(04:17:18):
knowledge of the exact day and year of that woman's birth,
and with it a compulsion to speak out, a compulsion
which I could no more have resisted than I could
have resisted breathing. I said, madam, you were born in May,
weren't you May thirtieth? And she looked at me in
such astonishment we never even seen each other before in
our lives, and said yes. And then I added the date,

(04:17:41):
the year nineteen hundred. See, she was well over forty.
She'd lied to me, innocent enough thing.

Speaker 26 (04:17:47):
But I had known the truth, and I'd been forced
to speak.

Speaker 9 (04:17:52):
I have been ever since. This phenomena is good, often
more times than I can remember.

Speaker 58 (04:18:00):
Every time a direct lie, no matter how trivial, is
hottered in my presence, I suddenly know.

Speaker 26 (04:18:05):
The answer to that lie. I know the truth, and
I'm compelled to speak.

Speaker 9 (04:18:11):
And this condition has existed only since You're It's my
four minutes beyond the grave.

Speaker 26 (04:18:19):
It's as though in that brief time I glimpse eternity
if I seem revealed all truth of all the ages,
I can never tell you how horrible I see.

Speaker 9 (04:18:31):
I found this man. Even the most honest of men
live by lie. Tell me you have a family, friends
who are understanding.

Speaker 40 (04:18:39):
Oh, for heaven, beg doctor, don't you understand that they've
it's done to me. Yes, I had a family and
friends or girl I.

Speaker 58 (04:18:45):
Was gonna marry, So they are I'm an outcast pariah,
and I'm shunned, feared, I'm hated.

Speaker 88 (04:18:52):
Yet let's talk, and I believe that this condition is
very real to you across it's you, very real anguish.

Speaker 9 (04:19:01):
I want to help you. Do you think you can?
I'm confident that I care, because.

Speaker 88 (04:19:05):
You could arrange to stay with me, head at my
home for a matter of weeks or months if necessary.

Speaker 9 (04:19:09):
Well, I'll do anything, anything in the world to be
a normal man again.

Speaker 40 (04:19:13):
But what, doctor Graham.

Speaker 9 (04:19:16):
I I can see that you still don't believe more. Now,
I beg of you.

Speaker 40 (04:19:20):
You don't know the terrible responsibility I'd beat you here.

Speaker 58 (04:19:23):
I'd be like a spy, like some inexorable prosecutor from
another world?

Speaker 9 (04:19:26):
Did you O come? Can't be worried about that? All? Right?

Speaker 40 (04:19:32):
Is there anyone else in your household as might object.

Speaker 9 (04:19:35):
Oh tell me, my wife and your aunt have your
own quarter? Is be quite comfortable?

Speaker 8 (04:19:38):
I show you.

Speaker 9 (04:19:39):
I'm sure I'll be a lovely house. But I've seen
a Yes, I'm rather lucky. I'm interested in research primarily,
not much money in that, you know. But a couple
of years ago I came into quite a nice inheritance.
Ilse went with it?

Speaker 49 (04:19:52):
What is it?

Speaker 9 (04:19:53):
What the matter?

Speaker 10 (04:19:54):
See?

Speaker 40 (04:19:55):
Inheritance was not yours because your wife, the house is
your wife.

Speaker 88 (04:20:03):
You were hennineless, that's true. I don't know why I
lied to you, tried, I suppose.

Speaker 40 (04:20:16):
I'm sorry. I told you I couldn't help it.

Speaker 1 (04:20:19):
No, I'll go now.

Speaker 9 (04:20:20):
Please. My fall is a small matter, and you see
now that I want to help you.

Speaker 40 (04:20:28):
Do you believe now?

Speaker 9 (04:20:30):
I believe, mister Hulcombe, either that you are far more
ill than I realized that months come.

Speaker 88 (04:20:37):
You and I'm adventure into a realm before explored by
mortal man. It was utterly fantastically yet it was true.
I checked the facts again and again. He could not

(04:20:58):
possibly have known, and yet he knew. Could you imagine
what this meant to a man of science? If I
could fathom the depths of Roger Holcombe's mind, I could
make a contribution to the body of scientific knowledge, absolutely
without parallel in modern times would be more famous and
Pastura Elik.

Speaker 9 (04:21:19):
It remained the problem of Isabel. I was aware of
the danger.

Speaker 88 (04:21:22):
Of course, I was acutely a well of the peculiarly
delicate balance of her mind at that time, and the
fact that the presence of a man like Roger Holcombe
I might be seriously detrimental to my rather well conceived
plans for Isabel.

Speaker 5 (04:21:36):
I believed I could control the situation. I determined to proceed.

Speaker 88 (04:21:40):
Actually, Holcomb's presence made itself felt almost immediately.

Speaker 9 (04:21:44):
The first incident came.

Speaker 52 (04:21:45):
After Isabel, please stop that playing and listen to me
and Jane. You know Robert had said I mustn't talk
about it bad for me. I don't care what Robert says,
but he's my doctor and my husband, and I'm not
sure that he should be either, has Jane.

Speaker 77 (04:22:08):
I don't know much about psychiatry, but I do know
that making trouble between a husband and a wife are
not making anything that.

Speaker 9 (04:22:13):
Isn't there already. And you know it.

Speaker 52 (04:22:16):
Good Heavens, girl, look at yourself. Look what's happened to
you since you're married. I've been said he's made you
See that's ridiculous.

Speaker 25 (04:22:22):
Maybe it's just that he's afraid of losing you.

Speaker 21 (04:22:25):
Maybe he's even afraid.

Speaker 52 (04:22:26):
Of losing your money. But I'm absolutely convinced that whether
he's meant or not, he's made you be either's something
the matter with you that isn't haunts Jane.

Speaker 25 (04:22:34):
I simply forbid you to talk this way.

Speaker 77 (04:22:35):
And now he brings this, this psychopath into the house,
and don't bring Roger into it. He's Robert's patient, it's
Robert's work, and it's none of our business. But about
your own word, it doesn't matter, doesn't.

Speaker 22 (04:22:46):
Matter, Jane.

Speaker 25 (04:22:46):
You simply don't understand.

Speaker 52 (04:22:49):
Robert is my husband. I trust him and I love him.
Nothing can ever come between us. I destroy anything, I
kill anyone who tried is abel Isabelle, do something before
it's too late, too hot, get away, leave him, divorce
him anything.

Speaker 58 (04:23:06):
I hope we're not interrupting, of course, not yelling hello, Roger,
good afternoon.

Speaker 25 (04:23:13):
How are you feeling, Roger.

Speaker 9 (04:23:16):
I think it would be better if we didn't discuss
our states of mind. Isabelle of course, I'm sorry.

Speaker 25 (04:23:23):
Well, would you like me to play something for you?
You know, I think I'm beginning to get the feel
of it again.

Speaker 9 (04:23:29):
Really, I'm sure we haven't interrupted some conversation of good not.

Speaker 52 (04:23:33):
We were just discussing how helpful you've been and getting
Isabelle back to her work again.

Speaker 40 (04:23:39):
Roger, No, No, you're not. Youre telling is about to
divorce her husband.

Speaker 9 (04:23:50):
Isabel I'm sorry, Roger, come back, Isabelle. Is that true?

Speaker 33 (04:23:55):
You brought him in here to debate?

Speaker 9 (04:23:57):
Is that's true?

Speaker 25 (04:23:57):
It doesn't matter.

Speaker 52 (04:23:58):
I suppose you've known how myself for a long time.

Speaker 9 (04:24:01):
I'm afraid I have, Robert.

Speaker 47 (04:24:02):
It was also silly.

Speaker 25 (04:24:03):
She didn't mean it.

Speaker 9 (04:24:04):
I didn't mean it, but I did mean it.

Speaker 25 (04:24:05):
I'm sorry, Isabelle, but I've.

Speaker 33 (04:24:07):
Been uber this group too long as it is.

Speaker 25 (04:24:08):
Oh, Jane, you're not leaving it.

Speaker 22 (04:24:10):
It's best, Isabelle.

Speaker 9 (04:24:12):
Yes, And I think it's unquestionably best birth that you
go at once she left us.

Speaker 88 (04:24:25):
Of course, I'd always believe that Jane exercised an unfortunate
influence over Isabel. I did not dream and to reach
such a point as this, Yet this incident gave me
my first insight into the relationship which was destined to
develop between Isabel, Roger and myself. The first and most
obvious result was that within a matter of weeks, Isabel

(04:24:47):
was to lose every friend she had. We became further
estranged because each day passed it was difficult to speak
of even the most.

Speaker 9 (04:24:55):
Casual things with this.

Speaker 88 (04:24:57):
Strangely terrifying specter of truth always our elbow.

Speaker 9 (04:25:03):
Situation reached its inevitable climax.

Speaker 88 (04:25:05):
The evening that Lebel Srenski, the famous conductor of the
Los Angeles Symphony, was to call on Isabel with a
view toal resumption of the professional career under his offices.

Speaker 9 (04:25:14):
Give a great deal of thought to that evening had
to be handled with a great.

Speaker 40 (04:25:21):
Robert.

Speaker 25 (04:25:21):
You will help me, won't you?

Speaker 9 (04:25:22):
Of course I will, Darling.

Speaker 25 (04:25:23):
I don't know whether you realize how important it is
to me. I have nothing but the music now. I've
been working so hard it's paying sometimes half to night
by usk.

Speaker 77 (04:25:33):
I've heard you sometimes, it seems it with the pianos
all that's helping me to keep my serventy.

Speaker 9 (04:25:39):
My darling, I want you to let me prescribe something
for you. Time we faced this thing, your trouble.

Speaker 25 (04:25:45):
I mean, Robert, does he have to have dinner with
this tonight?

Speaker 88 (04:25:49):
Roger is a bel you know how I stand on that. Yes,
but just even once, Isabelle keep him in his room
like a spoiled.

Speaker 9 (04:25:57):
Child and we have guests. Though it might undo everything
I've accomplished in weeks. Of course, You're right, Roger, come in, Robert.

Speaker 26 (04:26:07):
I was wondering if I might be excused just to night.

Speaker 9 (04:26:11):
You're having dinner with us? Roger must I you know
you must, Roger?

Speaker 5 (04:26:15):
And you know why?

Speaker 47 (04:26:16):
Why?

Speaker 40 (04:26:16):
Roger?

Speaker 25 (04:26:16):
Don't you want to meet the great Ley of Poulsriinski.
He's really a wonderful person.

Speaker 26 (04:26:20):
Indeed, I was very much you know.

Speaker 77 (04:26:22):
I made my debut with him in nineteen thirty four.
I did a council with him every year until my.

Speaker 9 (04:26:28):
I Isabelle was very talented.

Speaker 22 (04:26:30):
You I what I am?

Speaker 77 (04:26:34):
Oh, Roger, I'm going to play with him again. You
want me to open the season in November. Can you
imagine what that means to me? I'm so.

Speaker 25 (04:26:41):
And Robert has finally given his consent, haven't you, dear?

Speaker 9 (04:26:45):
I'm sorry? What was it you said?

Speaker 25 (04:26:47):
As though I said, you've given your consent to my
playing with.

Speaker 88 (04:26:50):
Sirrinsky, why Isabel you you know, I don't want you
to think that I never stand in your way.

Speaker 77 (04:26:57):
I know, Dear Roger, I'll do the Emperor Concerto and
you will come to hear me. You do want you,
don't you?

Speaker 14 (04:27:04):
Roger?

Speaker 40 (04:27:05):
Please, visible don't ask things of me that Can's the matter.

Speaker 25 (04:27:08):
What's the matter with both of you?

Speaker 77 (04:27:11):
You asked as though you thought I wouldn't be able
to appear, as though the whole idea we're hopeless of something.

Speaker 25 (04:27:17):
I am going to play. I'll be better than I
ever wife. You know I will, don't you?

Speaker 34 (04:27:22):
Don't you?

Speaker 58 (04:27:23):
Of course you play wonderfully, Roger, No, Robert, you you're
very certainess Isabel will be prevented from ever playing again.

Speaker 40 (04:27:34):
Bye Cay.

Speaker 10 (04:27:38):
Death Forgurfer my death.

Speaker 76 (04:27:45):
No oh no, please Roger, it's not true. Tell me
it isn't Roger, Answer me, Answer me, Roger, do you
hear me?

Speaker 10 (04:27:56):
Answer me?

Speaker 77 (04:27:58):
Answer me.

Speaker 9 (04:28:09):
When Sorrensky arrived, I told him it'd be quite impossible
for Isabel to leave her room.

Speaker 88 (04:28:13):
The concert was canceled, and indeed my knowledge, she's never
touched the piano since that day. By now, to even
the most casual observer. It must appear only natural that
Isabel had every motive for a desperate, almost paranoid hatred
of Roger Olgum. This much was clear to me. The
rest not yet. But one thing, from any point of
view was certain. I had to keep Roger and Isabell apart.

(04:28:35):
Perhaps what I feared was indeed inevitable. I honestly did
not think it so at the time. It's a precautionary measure. However,
I prescribed a drug for Isabel which she had last
consented to take. I gave her her own supply. She
administered to her self as I had directed.

Speaker 26 (04:28:57):
Roger, what are you wrong?

Speaker 77 (04:29:01):
Let me please, It's terribly important. But he said it
would be all right this time. Yes, yes, please, m.

Speaker 26 (04:29:13):
Hm, No, what do you want?

Speaker 25 (04:29:17):
I want to talk to you, that's all.

Speaker 40 (04:29:19):
What about that?

Speaker 9 (04:29:20):
It's important?

Speaker 22 (04:29:22):
Roger?

Speaker 25 (04:29:23):
Why don't you ever leave your room anymore?

Speaker 49 (04:29:26):
Don't you guess?

Speaker 25 (04:29:28):
Do you think I hate you?

Speaker 67 (04:29:31):
I don't know what to think anymore?

Speaker 25 (04:29:32):
You do, don't you?

Speaker 9 (04:29:34):
I warned him, I told him it would happened. Now
I'm doing mad at you. I think of the anguish
I've caused you.

Speaker 25 (04:29:39):
Roger. I don't you must believe me.

Speaker 10 (04:29:41):
I know what it's.

Speaker 25 (04:29:44):
For the first time in my life, I think my
husband is wrong about something.

Speaker 77 (04:29:50):
Yes, don't you see he's been worried about both of us,
and so this, this distrust is grown up between us.

Speaker 9 (04:29:58):
I don't distrust you.

Speaker 26 (04:30:00):
You've been more wonderful than men, but you're you're afraid
of me, and.

Speaker 25 (04:30:03):
That amounts to the same thing, and it's bad for
the both of us. It's it's hurting part of this.

Speaker 9 (04:30:10):
I love himself.

Speaker 40 (04:30:10):
I wanted to talk to you, be your part.

Speaker 25 (04:30:12):
Oh, you don't have to do that. We're both sick.

Speaker 77 (04:30:16):
But I think if we saw each other sometimes, if
we talked the whole thing out, it would it would help.

Speaker 40 (04:30:21):
Us both Rather think so too.

Speaker 26 (04:30:25):
No, then then he didn't tell you it was all
right to see me.

Speaker 10 (04:30:30):
No, I lied to you.

Speaker 25 (04:30:32):
I lied to you.

Speaker 18 (04:30:35):
You like me, and and it didn't happen.

Speaker 26 (04:30:39):
It's about, don't you see I am getting well.

Speaker 45 (04:30:41):
It didn't happen.

Speaker 9 (04:30:42):
I know.

Speaker 25 (04:30:43):
I don't think it does happen anymore. It's definitely probably
it's positable. What makes you think I don't know something
about the way he acts, the way he is.

Speaker 26 (04:30:56):
He is curing me that perhaps you shouldn't have No, No,
don't you understand.

Speaker 25 (04:31:00):
We must see each other, We must talk.

Speaker 40 (04:31:02):
Listeners, Robert, something's happened.

Speaker 9 (04:31:06):
I'm a flee But Roberie, if.

Speaker 20 (04:31:09):
I must persist, why did you do this sedative? Right
away as I'll get the bottle from your robe? Yes,
please hurry, Robert, she lied to me, yes, says I know.
But Roger, I'm absolutely forbid you to talk now.

Speaker 26 (04:31:20):
You must trust all right later, I want to have
a long talk.

Speaker 88 (04:31:26):
I'm grad you did the other one's miss laid temer.

Speaker 10 (04:31:29):
Will you give it to him?

Speaker 9 (04:31:31):
Yes? I'm sorry, but this is upsetting me around the
bed and my hands are shaking terrible. Now give him
a hypodermic. Me up around? Thank you leave us now,
please visible all right? How are you feeling now, Roger?

Speaker 40 (04:31:47):
Well, I'm fine, Robert. I think I'm better than i've
been in mine.

Speaker 9 (04:31:50):
I know you're better. That's why I'm so upset to
see you.

Speaker 58 (04:31:54):
Why, Robert.

Speaker 9 (04:31:55):
I can't tell you all my reasons now, but you
must trust me and believe in me. I do only
But I'm afraid your health, Roger.

Speaker 40 (04:32:05):
No, you're a afraid of murder.

Speaker 8 (04:32:10):
What murder?

Speaker 9 (04:32:12):
Roger, listened to me, Roger Man, Roger, what are you
talking about? Roger?

Speaker 45 (04:32:22):
Roger?

Speaker 9 (04:32:31):
It was clear to me.

Speaker 88 (04:32:32):
Now I knew I must take immediate action. I knew
that the most terrible consequences might result if Isabelle were
alone with Roger in for a moment. But he knew that,
he said so. There was no other explanation. I thought
it through most carefully, and yet no plans are perfect.
No man is infallible.

Speaker 9 (04:33:00):
Bell What are you doing?

Speaker 77 (04:33:03):
Nothing?

Speaker 9 (04:33:03):
Don't lie to me, Isabelle. You were coming from Roger's room.

Speaker 34 (04:33:06):
No, no, I swear.

Speaker 88 (04:33:08):
Don't you understand that you're sick. I've insisted on these
things for your own good and his all.

Speaker 25 (04:33:15):
I was going to talk to.

Speaker 9 (04:33:18):
Why you trying to tell me that?

Speaker 47 (04:33:20):
But it's true? But really true?

Speaker 9 (04:33:22):
Is it? Roger Roger?

Speaker 25 (04:33:28):
What's the matter?

Speaker 88 (04:33:33):
Look Rother, No, it couldn't it is He's dead. Hypodemic
by inside the drug, your drug, your hypodemic. But it's
on it in large enough quantity.

Speaker 9 (04:33:47):
It's fatal.

Speaker 1 (04:33:47):
You knew that, Robert.

Speaker 9 (04:33:48):
Don't listen to isabel Why why I won't.

Speaker 47 (04:33:51):
Rob look at me?

Speaker 34 (04:33:52):
Isabel is your wife?

Speaker 57 (04:33:54):
You can't?

Speaker 45 (04:33:55):
Oh?

Speaker 34 (04:33:55):
No, where are you going to come back.

Speaker 9 (04:33:58):
I'm going to call the police.

Speaker 88 (04:34:11):
It was perhaps the most terrible decision a man ever
had to make, even though it did come not as
a shock to me, even from my point of view
as a scientist, it was terrible enough.

Speaker 9 (04:34:22):
Yet it had to be done, and I had done it.

Speaker 10 (04:34:26):
I did not speak to her as we.

Speaker 9 (04:34:27):
Waited, and she made no further attempt to appeal to me.

Speaker 88 (04:34:30):
She seemed utterly stupefied, perhaps as a result of the
drug she had herself been taking, perhaps because she suddenly
realized she was hopelessly trapped.

Speaker 9 (04:34:39):
Police arrived. I told the story with a little emotion.

Speaker 20 (04:34:44):
Yes, if her fingerprints all right on both the bottles.

Speaker 9 (04:34:48):
My wifs, of course they both belonged to it. Is
that true, missus?

Speaker 50 (04:34:51):
Graham?

Speaker 15 (04:34:52):
Yes, that's a Graham.

Speaker 20 (04:34:54):
Do I understand then that you are formally charging your
wife for the murder of ry Oldham?

Speaker 9 (04:34:58):
Well, you could hardly expect me to do that, could
simply telling you the fact that you said she hated
houlcm and you knew it.

Speaker 88 (04:35:03):
My wife has been mentally ill for some time, and
many people can testify it that you're freed in sanities.

Speaker 1 (04:35:08):
Of course, Graham.

Speaker 20 (04:35:09):
I can't tell you how sorry I am. But the
things you've told me add up to only one thing
yourself obviously recognized. Yes, your wife Isabel Graham murdered Roger Holcomb.

Speaker 39 (04:35:23):
What did you say?

Speaker 20 (04:35:24):
I said, your wife Isabel Graham murdered Roger HOLCMB.

Speaker 9 (04:35:29):
No I murdered him. What. I tried to make it
appear that Isabelle had done it, and I succeeded. But

(04:35:50):
I killed him. No plans are perfect, No man is infallible.

Speaker 88 (04:36:12):
Yes, I killed Roja Hokumb, and he himself revealed the truth.
I'd planned to dispose of Isabelle for many months.

Speaker 9 (04:36:22):
I'd never loved her.

Speaker 88 (04:36:24):
I'd loved only science. I wanted her money, and Holcum
found it out. That was the risk, I read, Could
any chance lie in his presence, either by isabel or myself,
to bring out the truth? And it did, and no
alternative once he'd discovered that, But to kill him. It's

(04:36:47):
easy enough to throw the blame on Isabelle. I had
not counted on that terrible compulsion for the truth, that
strange affriction of Roja Hocumb.

Speaker 9 (04:37:01):
To its power over me. Did it transfer itself at
his death to me?

Speaker 21 (04:37:10):
Or was it.

Speaker 9 (04:37:19):
He's a fascinating case.

Speaker 20 (04:37:37):
And so closes Ladder's Walks starring Auston Wells The Night's
Tale of us Fence?

Speaker 5 (04:37:54):
Are you one of the frightened?

Speaker 62 (04:37:58):
Arthur Winkett was a fairly well to do lawyer and
the small town of Morrisville. It's a quiet, orderly time.
Nothing out of the way ever happens there, or so.

Speaker 9 (04:38:08):
He would have thought for thirty years.

Speaker 62 (04:38:11):
But then one day all of he changed, and his
whole life lay before him, just like the day he
saw those men digging that fresh grave just inside the
cemetery gate on his way home from work. You resemble
Arthur wind good friend. So listened closely and.

Speaker 4 (04:38:29):
You may avoid the terrible thing that happened to him.

Speaker 62 (04:38:32):
It had been a hot, dusty day in Morrisville. Possibly
it was the hot sun, but a sudden headache came
over Arthur winoed. His hands were moist, his brow feverish.
He decided to go home to his own farmland just
over the hill beyond the time. It wasn't too long
a walk, and maybe the fresh air would do him

(04:38:53):
so good. So Arthur wingerd left his office and walks
slowly down Main Street, it was odd, but he met
no one on the way. Soon he was drawing abreast
of the long, low lying wall that bordered Morrisville's only cemetery,
the rhythmic sound of pick axes attacking the soft sun
came to him from beyond the wall. Someone had died.

(04:39:18):
Life and death went on in Morrisville, same as any
other time. But opposite the front gate were the sounds
of digging, the loudest. After Winket suddenly halted.

Speaker 10 (04:39:27):
A confined from them.

Speaker 62 (04:39:29):
No one had died bacently to his knowledge, except, of course,
the starkey boy in his burial, had been a month ago.
Puzzled after Wingot went into the cemetery, and just inside
the walls, two men were grimly spading the earth into heaping,
ugly mounds. The heads and shoulders of the men were

(04:39:51):
barely visible. Wingard approached them and asked them what they
were doing. The faces of the two men were strange
to win, but they both seemed to consider his question
even stranger.

Speaker 5 (04:40:03):
Somebody died.

Speaker 62 (04:40:04):
The taller of the two sneered, and they both jeered
at Arthur Winget, whose headache was suddenly worse. Feverishly, he
stumbled from the cemetery and finally reached home.

Speaker 1 (04:40:16):
The day had been too much for him.

Speaker 62 (04:40:18):
He fell into a long, exhausted sleep, but his mind
wouldn't let him rest. The scene that the cemetery stayed
with him. Who could have died? Arthur Wingott felt the
cold wind of something fan his spine. He had a
curious sensation of unreality that he could not shake off.

(04:40:41):
He couldn't wait a second longer. He left his home
near midnight and ran to the cemetery. It looked earie,
forlorn and cold in the moonlight. The metal gate squealed
as he stepped inside. He splashed light in the direction
where he remembered the grave to be. It was still there.
There was something else too. The pine box was placed

(04:41:04):
to one side of the gravey. Its lid angled backwards
showed its contents. Arthur Winket drew nearer and slowly, fearfully
aimed his flashlight at the interior of the oblong box.
The fact that it was empty him was far more
frightening than if it had been occupied.

Speaker 18 (04:41:23):
There was attack as the box daggling.

Speaker 62 (04:41:25):
From a metal end.

Speaker 90 (04:41:27):
The wind in the graveyard howled and tore at the
thing as Arthur Winket held it up to the light,
scrawled across the tag in the spidery hand with the
words Arthur Winket.

Speaker 62 (04:41:39):
Nineteen seven, nineteen fifty seven.

Speaker 10 (04:41:45):
He saw no more.

Speaker 62 (04:41:46):
A hideous scream ripped from his throat, to be pitched
forward into the empty box, the lids slamming down behind him,
shutting him in. Of course, when they found him there
the next morning, he was dead heart attack.

Speaker 5 (04:42:01):
Nothing had been written on.

Speaker 62 (04:42:02):
The tag except a series of number indicating the grave's dimensions,
and the box had been for the Starkey Boy because
his grave was being moved at his mother's request, and
Arthur Wingott had met his death by premonition, by faith,
by manifest destiny. Yet perhaps it's an interesting tale.

Speaker 9 (04:42:25):
Isn't it?

Speaker 5 (04:42:26):
Quiet?

Speaker 62 (04:42:27):
Unusual? But I hear them all the time in my business,
you understand. Huh Oh, I'm an undertaker. Can I interest
you in a plot of ground at our summer rates?

Speaker 91 (04:43:09):
The Adventures of the Saint starring Vincent Price. The Saint
based on characters created by Leslie Charterers and known to
millions from books, magazines, and motion pictures. The robin Hood

(04:43:32):
of modern crime now comes transcribed to radio starring Hollywood's
brilliant and talented actor Vincent Price as.

Speaker 9 (04:43:40):
The Saint.

Speaker 15 (04:43:46):
All right, all right, I'm coming, wait until I put
my head on, can't you.

Speaker 10 (04:43:58):
You?

Speaker 15 (04:43:59):
This is an unexpected displeasure.

Speaker 9 (04:44:01):
I gotta talk to your saying quick, all right, Blanco,
But I'm surprised at you.

Speaker 15 (04:44:07):
Four o'clock in the Morning's no time for a man
in your profession to pay social calls.

Speaker 9 (04:44:11):
Like I say, I gotta talk and you gotta listen.
I'm listening. They've got a job gonna be pull tomorrow today.
I mean, it's a big deal, Saint, big deal.

Speaker 92 (04:44:22):
I'm glad. I'd hate to think you'd retired from crime, Blanco.
I would throw so many deserving policemen out of work.

Speaker 9 (04:44:29):
It's a dirty dealer, Welsie. It sounds like something right
up your alley. Not this kind of thing is saying.
This is one line I draw, and it's a straight line.

Speaker 15 (04:44:39):
You hear, yes, I hear.

Speaker 20 (04:44:40):
Before I know what the score is, before I know
who they gonna use it on. I rig it the
best job of it's kind I ever do. It's gonna work,
and he ain't gonna leave a trace.

Speaker 92 (04:44:53):
I should never have had that cimony right after a
lobster dinner, Blanco, Do you think if I get up
and take some bicarb, you and the rest of this
dream will go wait.

Speaker 20 (04:45:02):
Until I can't go to the cops. You're the only one.
You gotta stop it saying you got it. I got it, Yeah,
you got it, And you only got your loan, Blancot.

Speaker 92 (04:45:15):
At the rate you're painting this picture, it's going to
be at least noon before I know what it's all about.

Speaker 9 (04:45:20):
It's about two mud.

Speaker 92 (04:45:22):
Oh, well, let's get down to personalities. Who is going
to be murdered by whom, why, and how? Let's have
the name of the potential victim as an appetizer.

Speaker 15 (04:45:31):
Huh.

Speaker 10 (04:45:31):
We'll get down to the main course later.

Speaker 9 (04:45:33):
That calls for a kind of complicated that.

Speaker 15 (04:45:35):
It was kind of a complicated question, but doing your
best neatness counts.

Speaker 9 (04:45:40):
You remember franker Kin.

Speaker 92 (04:45:42):
Of the Chicago Kanes, of course, who could ever forget
the inventor of the game of in case your friends
in a barrel of cement and dump them in the river?

Speaker 9 (04:45:50):
You remember?

Speaker 92 (04:45:51):
I also remember that when the federal men were just
about to catch up with him in Central America a
few years ago he was discourteous enough to die a
natural there. Yeah, somebody died in South America three years ago,
not Frank Kine. There are places for a buck here,
and a buck there can get any monaca you want
on a de certificate.

Speaker 20 (04:46:12):
And Ken had to plant their box. Getting the corpse
to plant in that same monarchy is easy.

Speaker 9 (04:46:19):
So Frank Kine's still alive. Yeah, he's alive, but that
en'd all he was still Wait, you hear something sort
of something?

Speaker 92 (04:46:31):
I want to move in the horror for yourself, some
brandy and try and get your nerves back into walstime.

Speaker 15 (04:46:37):
Hey, Branco, now look what about Frank Kine. You're sure
you didn't hear something.

Speaker 9 (04:46:43):
Very nice? Turn off down, get down, Ranchael, or about.

Speaker 13 (04:46:58):
Yeah the girl.

Speaker 20 (04:47:02):
Letting kill a blank? She's on way to party? Consit o, God, don't.

Speaker 36 (04:47:27):
It's good to see you again, mister Templeoo. And here
I've been thinking you'd given up after I was drinking.

Speaker 15 (04:47:32):
Here just about half. And it's a pity because I
like this bar of yours, Morgan.

Speaker 92 (04:47:36):
Why didn't you make an honest saloon out of it
and open up during legal hours?

Speaker 36 (04:47:40):
My customers would never stand for it.

Speaker 93 (04:47:42):
No, My customers all earned a drink during cohibition and speakeasies.
The way they look at it, the drink just doesn't
have any kick in it if it's legal.

Speaker 15 (04:47:51):
And this is the part of the lost generation, it's
still lost.

Speaker 36 (04:47:56):
You like the table?

Speaker 10 (04:47:57):
Just an information?

Speaker 92 (04:47:58):
Yes, About a year ago, when I was one of
your regular patrons, a lady used to frequent this place.

Speaker 36 (04:48:04):
Old lady in this place.

Speaker 15 (04:48:06):
Her name was Violent, and so it was the color
of her hair. She used to sit at a table
around the bend there and make tender speeches to a
bottle of scotch. Do you remember Violent?

Speaker 36 (04:48:17):
Indeed I do.

Speaker 15 (04:48:18):
Where can I find it?

Speaker 36 (04:48:19):
At a table around the bend there, making tender speeches
to a bottle of scotch?

Speaker 92 (04:48:23):
I should have known there was a love that was
faded to last. Thanks Mark, you're welcome, mister Tumblin. Hello
Violet Away. Oh, now that's no way to treat an
old friend.

Speaker 9 (04:48:39):
Oh you're an old friend. Don't have friends?

Speaker 14 (04:48:43):
Away?

Speaker 15 (04:48:43):
You mean you've forgotten me?

Speaker 33 (04:48:45):
What's your name?

Speaker 15 (04:48:46):
It's an old Scotch name, eight years old. Sit down, friend,
Thank you, hey waiter. The usual for the lady doubled.

Speaker 10 (04:48:57):
Stood down, My good friend.

Speaker 9 (04:49:00):
Thanks.

Speaker 8 (04:49:03):
Mm.

Speaker 15 (04:49:04):
Look, speaking of friends, whatever became of Lewis Blanco?

Speaker 33 (04:49:10):
Blanco?

Speaker 15 (04:49:11):
You a friend of Blanco, a former friend?

Speaker 33 (04:49:13):
What are you warm for your cop?

Speaker 56 (04:49:16):
No?

Speaker 15 (04:49:16):
No, I have some money for him?

Speaker 9 (04:49:19):
Money you own money?

Speaker 10 (04:49:21):
Well?

Speaker 9 (04:49:21):
Four? Well? He uh he did a job for me,
job a rubout.

Speaker 15 (04:49:28):
I'd like to pay him before he gets the wrong idea.

Speaker 40 (04:49:31):
Uh.

Speaker 10 (04:49:32):
Where did he hang out?

Speaker 33 (04:49:33):
You don't know what about the job he got? The garage?

Speaker 15 (04:49:37):
What garage?

Speaker 33 (04:49:38):
Central Garage, fifty fifth Street?

Speaker 9 (04:49:40):
Oh oh, yes, of course lost myle friend, Violet.

Speaker 15 (04:49:45):
Let him tell me something?

Speaker 8 (04:49:47):
You know?

Speaker 58 (04:49:47):
I like you?

Speaker 9 (04:49:49):
Yeah, I like you, Vi.

Speaker 15 (04:49:51):
But tell me why does a fella like Blanco hang
around a garage?

Speaker 3 (04:49:56):
You don't know?

Speaker 9 (04:49:57):
No, you're no friend of Blanco.

Speaker 33 (04:50:00):
Oh you're a cop, and you're pumping me for him?
From him the savage?

Speaker 15 (04:50:07):
How's Frank these days? You know Blanco? You certainly must
know Frank Blanco used to work for him in the
old days.

Speaker 33 (04:50:14):
Frank, how do you talk to me like this?

Speaker 6 (04:50:17):
You know?

Speaker 32 (04:50:18):
Frank?

Speaker 9 (04:50:18):
Did you're sure sure?

Speaker 33 (04:50:21):
I ought to know whether or not I'm a widow?

Speaker 32 (04:50:24):
Why do you think I drink like this?

Speaker 45 (04:50:27):
What do you think?

Speaker 76 (04:50:29):
Oh?

Speaker 15 (04:50:46):
Wake up?

Speaker 9 (04:50:47):
Hey, come on, wake up.

Speaker 33 (04:50:48):
Huh, I guess I fell asleep.

Speaker 9 (04:50:52):
It's kind of lonesome here in his garage all night.

Speaker 15 (04:50:55):
I'm sorry I woke you.

Speaker 8 (04:50:57):
That's okay, mister, you're bringing a car in.

Speaker 15 (04:51:02):
No take, go on out there. I just want to talk.

Speaker 92 (04:51:05):
He woke me up just to talk to me. You
said you were lonesome. What do you know about a
man named Blanco Blanco customer? I thought perhaps he worked here.

Speaker 17 (04:51:15):
Uh, nobody by that name here, mister, you sure sure?
I'm sure there's four of us working here. Me Ed Williams,
Pulaski on a new guy, Stevens. We take turns working nights.

Speaker 15 (04:51:27):
The night was my turn, the new man, Stevens. What
did he look like?

Speaker 9 (04:51:32):
Luck, pal? Why don't you give a guy a break?

Speaker 33 (04:51:34):
Huh?

Speaker 9 (04:51:34):
So we did time once.

Speaker 17 (04:51:36):
Is that any reason for you cops to come checking
up on him every time?

Speaker 9 (04:51:39):
He got nothing else to do? What did he look like? Uh?

Speaker 17 (04:51:42):
You don't get any help from me. I'm a law
abiding citizen. I believe in helping the law, but not
when it starts hounding a guy.

Speaker 10 (04:51:48):
And I give it to you straight.

Speaker 49 (04:51:50):
Friends.

Speaker 15 (04:51:51):
There was a murder committed tonight.

Speaker 9 (04:51:53):
A lot of chances are the guy you were asking
about had nothing to do with.

Speaker 15 (04:51:56):
If Stevens and Blanco are the same man, he had
a lot to do with it.

Speaker 33 (04:52:00):
I think he killed somebody.

Speaker 15 (04:52:01):
He's the courts.

Speaker 10 (04:52:02):
He's dead.

Speaker 15 (04:52:06):
What did he look like about?

Speaker 17 (04:52:09):
Medium hike doc hair doc guy's sort of doc complexion.

Speaker 9 (04:52:13):
He's dead.

Speaker 10 (04:52:14):
That's Blanker. Gee, well who didn't That's what you're gonna
help me find out?

Speaker 52 (04:52:19):
Me?

Speaker 15 (04:52:20):
What did Blanker do around here?

Speaker 10 (04:52:22):
Same as we all do?

Speaker 15 (04:52:24):
Sleep were mechanics?

Speaker 9 (04:52:25):
Mister? Last night was the guy's night on. It was
supposed to be my turn, but he asked me to
swamp with him last night. Yeah, so I swapped. It
made no difference to me him.

Speaker 33 (04:52:34):
He made out like it was important.

Speaker 15 (04:52:37):
What did he work on while he was here last night?

Speaker 9 (04:52:39):
How should I know?

Speaker 15 (04:52:40):
Didn't you keep records? Well sure, then that's how you
should know.

Speaker 9 (04:52:44):
All right, come on in the office.

Speaker 15 (04:52:50):
This is your record filer.

Speaker 92 (04:52:52):
Yeah mmmmmm yeah, yeah, here's the report, yesterday's eight mechanicks.
Stevens LUTH's job Andrews.

Speaker 17 (04:53:04):
Oh yeah, that's a Hudson hornet out there. Blaunch a
real classy chick.

Speaker 15 (04:53:10):
And here's another report. Engine two Maddox Maddox.

Speaker 17 (04:53:15):
Oh yeah, that's a foreign job, the chauffeur driven bus
over there.

Speaker 9 (04:53:18):
But you know that's funny.

Speaker 17 (04:53:20):
Oh, I tuned the engine on that heap only three
days ago, and I did a good job.

Speaker 32 (04:53:25):
Why should they want it done again?

Speaker 15 (04:53:27):
Let's go take a look. Maybe we can find out.

Speaker 76 (04:53:30):
Yeah.

Speaker 15 (04:53:48):
Yes, Oh, my name is Templar. I'd like to see
miss Maddox.

Speaker 60 (04:53:53):
Please, Ms Maddis, Miss Virginia Maddics. Yes, forgive me for
being inquisitive, but it isn't quite eight o'clock yet, a
little early for a social call. Are you acquainted with
miss Maddicks?

Speaker 15 (04:54:07):
We went to school together, you did?

Speaker 33 (04:54:10):
Who is it, Carson?

Speaker 9 (04:54:12):
There's a gentleman calling on Miss Maddicks.

Speaker 33 (04:54:14):
What's calling on?

Speaker 9 (04:54:17):
You?

Speaker 33 (04:54:17):
Wish to see Miss Maddocks?

Speaker 15 (04:54:19):
Yes, I didn't realize i'd create this much of a sensation.

Speaker 92 (04:54:22):
I just remembered to include i'd like to see Miss
Maddocks in my repertoire, startling things to say.

Speaker 33 (04:54:28):
Well, I'm missus Anders, I'm in charge of this household.
Do you know miss Maddocks?

Speaker 9 (04:54:33):
Gentlemen went to school with Miss Maddis.

Speaker 33 (04:54:35):
He went to school with her, That's what he.

Speaker 92 (04:54:37):
Said, You know, There's something about all this that reminds
me of the time a friend of mine tried to
negotiate a federal loan.

Speaker 94 (04:54:44):
Oh showed the gentleman into the library, Carson, I'll go
call miss Madocks.

Speaker 9 (04:54:51):
If you will just be seated, mister Templar, i't think no.

Speaker 33 (04:54:55):
I didn't catch his name. But if someone who went
to school with you, you.

Speaker 10 (04:54:58):
Know how read it's back.

Speaker 54 (04:55:00):
So why you're not that?

Speaker 30 (04:55:03):
So?

Speaker 92 (04:55:04):
I suppose I should say thank you, But certainly you're
not Nismatics.

Speaker 10 (04:55:09):
Why of course I am.

Speaker 33 (04:55:11):
Now, don't tell me she's changed that much since your
school day.

Speaker 15 (04:55:15):
I'm afraid I'm the one who's changed.

Speaker 92 (04:55:17):
As a matter of fact, I feel myself changing slightly
this very moment.

Speaker 94 (04:55:22):
Oh, well, when you find the right Virginia Maddics, you
can both have a laugh over there.

Speaker 29 (04:55:27):
Yes, a good wrong wrap.

Speaker 15 (04:55:29):
I think the time to laugh is right now and
you can all join in.

Speaker 10 (04:55:32):
You see, this is the Virginia Madtics I'm looking for.

Speaker 25 (04:55:36):
I beg your pardon.

Speaker 92 (04:55:37):
There's a foreign car and it's not a Fashini at
the Central Garage registered to a Virginia Maddics at this addressed.

Speaker 29 (04:55:44):
Well, of course it's mine.

Speaker 10 (04:55:46):
Yours.

Speaker 29 (04:55:47):
Oh, it's mine, all right, although naturally I don't drive it.
You see, I'm only eight.

Speaker 15 (04:55:52):
If you lived in California, you'd have been driving it
for years.

Speaker 33 (04:55:56):
I'm afraid I don't understand what you're trying to say.

Speaker 92 (04:55:58):
I'm not saying, missus Anders, I'm asking. Did you ever
hear of a man named Blanco?

Speaker 33 (04:56:05):
Blanco? No, I hope we've I ever had I have one,
have you, Carson?

Speaker 9 (04:56:11):
No, Miss Virginia, I don't wait a minute.

Speaker 60 (04:56:14):
When I took the Assata down to the garage the
other day, that there's a new mechanic there, I think
his name is Blanco.

Speaker 9 (04:56:20):
That's interesting.

Speaker 10 (04:56:21):
You are detective.

Speaker 15 (04:56:23):
That's what you are, a detective, No, Virginia.

Speaker 92 (04:56:27):
Besides, if I were a detective, I'd know the answer
to something Carson just said without having to ask.

Speaker 9 (04:56:33):
And what does that mean?

Speaker 15 (04:56:34):
I suppose you tell me what?

Speaker 92 (04:56:37):
How you knew that the new mechanic's name was Blanco
when even the man who worked with him.

Speaker 15 (04:56:42):
Thought it was Stephens.

Speaker 9 (04:56:45):
Maybe it was another man.

Speaker 15 (04:56:47):
I mean, I'll tell you what I mean, Carson.

Speaker 92 (04:56:50):
The first real link, the first hopeful sign that I'm
heading in the right direction.

Speaker 33 (04:56:55):
Look here, what is this all about.

Speaker 15 (04:56:57):
Uh, Virginia, didn't I just hear your doll cry?

Speaker 29 (04:57:01):
Oh, mister Temple, I haven't played with dolls since I
was a child.

Speaker 10 (04:57:06):
Oh, yes, of course I should have known.

Speaker 29 (04:57:08):
You don't have to make an excuse, mister Temple. I
know you want me to leave the room. You want
to talk, grown up talk.

Speaker 9 (04:57:15):
Virginia.

Speaker 92 (04:57:15):
You're the most fascinating woman I've met in years, But
there are a few questions.

Speaker 10 (04:57:20):
I want Carson dnswering.

Speaker 9 (04:57:22):
Mister whatever your name is. I'll give you just three
seconds to.

Speaker 59 (04:57:25):
Put up your hands very well if you insist. And now, Sir,
I should like to know what you mean by forcing
your way into this house.

Speaker 29 (04:57:32):
But Uncle Roger, can't you see he's a detective, just
like in the calleag Brook.

Speaker 92 (04:57:38):
Exactly by that gun, sir, and our bleed ink all
over this handsome carpet.

Speaker 94 (04:57:42):
He forced his way in on the POTENTI of seeing Virginia,
mister Pearce, But it appears that it was really Carson
he wanted.

Speaker 9 (04:57:48):
To see you know this man Carson, No, mister Pearce,
I never saw him before.

Speaker 59 (04:57:52):
His name is Templar, Templar, Simon Templar, and I'm certainly
not fat so am I, Virginia?

Speaker 9 (04:57:57):
No, so you're the saint. I am very glad to
meet you.

Speaker 15 (04:58:01):
Then, may I put my hands down?

Speaker 9 (04:58:04):
Of course?

Speaker 59 (04:58:05):
Er, But what's the reason for this rather strange and
uh unsaintly visit, mister Temple, Virginia.

Speaker 10 (04:58:11):
Why don't you go try on your party dress?

Speaker 3 (04:58:13):
Huh?

Speaker 15 (04:58:13):
The one you're going to wear this afternoon.

Speaker 29 (04:58:15):
Oh, I've already tried it. But how did you know
I was going to Jane's Fuller's party this afternoon?

Speaker 10 (04:58:22):
We comic book detectives know everything.

Speaker 15 (04:58:25):
Is Carson gonna drive you in the car.

Speaker 21 (04:58:27):
Of course.

Speaker 29 (04:58:28):
The only way to get to Janese's house is by car,
unless you feel like walking all the way up the
mountain mountain.

Speaker 9 (04:58:36):
Uh.

Speaker 15 (04:58:36):
Yes, it would have to be a mass, wouldn't it,
mountain road with a great many.

Speaker 59 (04:58:41):
I uh, I'm still waiting for your explanation. Temple, the
child leave the room, Virginia.

Speaker 9 (04:58:47):
No I wanted, Virginia.

Speaker 29 (04:58:50):
Oh, very well, But you know I'll find out everything anyway.
Carson will tell me, won't you Carson?

Speaker 15 (04:58:58):
If I can do good? Why, mister Templar, goodbye, Virginia.
I've enjoyed meeting you.

Speaker 9 (04:59:06):
Er now mister Templar, What did you want to see
us about?

Speaker 92 (04:59:09):
About murder, mister Pearce, one that was committed a few
hours back in another one that I helped to prevent
its schedule to take place in a few hours from now.

Speaker 33 (04:59:18):
What, mister Templar, please explain?

Speaker 15 (04:59:20):
Well, a few hours ago I was paid a call
by a hoodlum named Blanco.

Speaker 92 (04:59:24):
This led to a brief but informative conversation with a
lady barfly named Violet, which in turn led to an
interesting half hour with a limousine named Thesta Fraschini.

Speaker 15 (04:59:36):
And so here I am.

Speaker 92 (04:59:38):
I I'm afraid I don't read, I don't understand, Eida.
All it's clear to me is of now is that
there's been a murder, and there's a good chance there's
gonna be another one.

Speaker 9 (04:59:47):
Murder. Who who was murdered, mister.

Speaker 92 (04:59:49):
Templar, the aforementioned hoodlum blancm but uh shed no tears.
He'll be missed only by the manufacturers of small arms ammunition, who,
I'm afraid are going to notice a round. The remarkable
drop in the essays, What it's the car that I'm
here about, mister Pierce, the Asada Fraschini that spends its
spare time at the Central Garage.

Speaker 15 (05:00:09):
The registration slip says that it lives here.

Speaker 9 (05:00:12):
Yes, that's our car. It is the central garage we
use Carson, is it not?

Speaker 92 (05:00:16):
Yes, sir, I understand the car is owned by that
charming child, although she informs me she doesn't actually drive. Yes,
the car is hers, mister Pierce. I hope you won't
think I have an ulterior motive. I'm a little old
for Virginia, but she's loaded.

Speaker 59 (05:00:34):
She's extremely wealthy, you see, mister Templar. Shortly before Virginia's
father died in South America, he drew up a will
giving the child his entire fortune. I was designated her
guardian until she comes a day, so then you're not
really her uncle.

Speaker 9 (05:00:49):
I am an uncle in name only. I think.

Speaker 92 (05:00:52):
Tell me something. Where in South America? Did the child's
father die in the Honduras?

Speaker 10 (05:00:57):
That's Central America?

Speaker 9 (05:00:59):
Boy, is it? I do believe it is.

Speaker 92 (05:01:02):
Why do you ask, mister Templin. I wasn't really asking.
I was shooting in the dark. What when I returned
to this house? In an hour or two, mister Pearce,
we must all have another delightful talk. It will be
a different kind of talk, perhaps, but nonetheless delightful.

Speaker 9 (05:01:17):
But what in heaven?

Speaker 15 (05:01:19):
Later, mister Piers Later?

Speaker 39 (05:01:21):
Right now?

Speaker 92 (05:01:21):
I have a date with a lady, a lady with
violet hair, who thinks I'm a bottle of scotch?

Speaker 49 (05:01:43):
Yeah?

Speaker 32 (05:01:44):
Who is it?

Speaker 15 (05:01:44):
Package package?

Speaker 32 (05:01:46):
I didn't order any package from.

Speaker 15 (05:01:48):
What What is this? Hello, vile?

Speaker 9 (05:01:51):
I'd like to have a talk with you.

Speaker 33 (05:01:52):
Let's talk.

Speaker 9 (05:01:53):
Say, look here, I don't know who you are, but
if you let me in?

Speaker 32 (05:01:59):
What you mean by forcing your way in?

Speaker 9 (05:02:00):
Here?

Speaker 15 (05:02:01):
Argument while I was stimulating takes time and I don't
have much time.

Speaker 33 (05:02:04):
What's it all about?

Speaker 15 (05:02:05):
Blanco's dead?

Speaker 20 (05:02:06):
Blank?

Speaker 40 (05:02:07):
Yeah?

Speaker 9 (05:02:09):
What's that to me?

Speaker 15 (05:02:10):
I'm not the police. My name is Simon Temper, the saint,
Gerviolet Caine, Frank Kine's wife widow.

Speaker 10 (05:02:18):
Yeah, that's another argument. We're not gonna have time for nuts.

Speaker 33 (05:02:22):
Frank, We're alive. I'd know it's drink.

Speaker 10 (05:02:25):
No, suh, that's better.

Speaker 33 (05:02:30):
Alright, we can talk now.

Speaker 9 (05:02:32):
What's Blanco's murder got to do with me?

Speaker 15 (05:02:34):
You're next on the list and you dropped your glass?

Speaker 33 (05:02:38):
What do you mean by that crack? There's nobody.

Speaker 10 (05:02:43):
I don't feel so good not help you.

Speaker 9 (05:02:45):
No, I what who who'd wanna kill me?

Speaker 15 (05:02:50):
Somebody who was related to you?

Speaker 10 (05:02:51):
I'm not sure related to me, but I I've only
got one what I feel so good? What is it?

Speaker 47 (05:03:01):
Ooh?

Speaker 10 (05:03:03):
It burns?

Speaker 22 (05:03:05):
Let me No, it's're on the table only relative.

Speaker 92 (05:03:23):
I love there Morgan. Oh but mister Templar, mm what
brings you out in the cream of the day. I'd
imagine a man who runs in after hours saloon would
naturally indulge in after hours sleep. As a matter of fact,
I was just about to go home, on my way
to pick up my car, not by any chance, at
the central garage.

Speaker 36 (05:03:40):
Oh yes, how'd you know?

Speaker 15 (05:03:42):
Production? That's incredible, not too incredible. It's easy enough to
deduce that a man would keep his current a garage
that it happens to be the owner of.

Speaker 9 (05:03:51):
So you know that too. There isn't very much you miss,
is there, mister Templar.

Speaker 92 (05:03:55):
Murder has a way of sharpening one's sense. His murder
man named Blanca. Should we go into the garage right
behind him? You uh said his name was Bunco. Yeah,

(05:04:16):
and just now, uh Violet came Violet dead but howl some.

Speaker 15 (05:04:22):
Inevidently thought her whiskey would have a bigger kick with
a pinch of poison.

Speaker 10 (05:04:25):
In the bottle.

Speaker 9 (05:04:27):
It yeah, schastly, terrible, But.

Speaker 36 (05:04:29):
Who who did this thing?

Speaker 9 (05:04:31):
You did me?

Speaker 93 (05:04:33):
I realize it's rather early in the day for a
man to be at his best, But don't you think
that joke is in bad taste?

Speaker 92 (05:04:39):
To wor a joke it would be uh. They suck
a beautiful automobile that child owns, isn't it. Look at
those lines, those sleek, so graceful. Get in, Morgan, Get in.
It's perfect morning for a drive. I don't think anyone
would mind if we took her out. You see, I'm uh,

(05:05:00):
I'm rather friendly with the owner.

Speaker 9 (05:05:01):
She likes me.

Speaker 15 (05:05:03):
To her, I'm a character straight out of her favorite
comic book. Get him know?

Speaker 9 (05:05:08):
Oh?

Speaker 15 (05:05:08):
Thanks? Why not we take a climbing.

Speaker 92 (05:05:12):
I'd like to see what you'll do on a mountain
road road with a couple of hairpin curves come some
other times?

Speaker 10 (05:05:20):
Say it won't be another time.

Speaker 15 (05:05:22):
But didn't you see the beautiful job Blanco did on
the tie rod.

Speaker 92 (05:05:25):
No sob through until it's hanging together by the proverbial
hair One sharp turn like the turns you'd find on
a mountain road, the steering system collapses, there's an accident. Yeah, yeah,
Blanco did an excellent job until he learned who the
victim was to be. It was too much for even
his stomach.

Speaker 93 (05:05:45):
Oh you're dreaming. Why would anybody want to wreck an
expensive bus like this?

Speaker 15 (05:05:48):
A little girl who is going to a party on
top of a mountain this afternoon has too much money,
more than.

Speaker 92 (05:05:54):
If she should happen to fall off that mountain in
this car. Some happy next of kin, a very happy fortune.

Speaker 36 (05:06:01):
Well that lets me out, Saint I'm nobody's next to Kin.

Speaker 92 (05:06:05):
There was a picture Violet pointed out to me before
she died, a snapshot taken at a wedding, And do
you know who the bride and groom were?

Speaker 93 (05:06:14):
Okay, okay, we've talked long enough. Saint Frank Kin left
a lot of money when he died. I'm too close
to It's another mistake he made. Morgan's huh made Frank
Cain Caine say what are you pulling your cars in
the chauffeur.

Speaker 92 (05:06:28):
Carson's only his nom toplastic surgery. It's Kine with a
new name and a new face.

Speaker 9 (05:06:33):
Yeah, but with the same old trigger eye. Kan Kane,
are you yeah, but never mind me. Don't let him
get away.

Speaker 15 (05:06:43):
You took care of that. You're the one who didn't
let him get away, Kane. A man loses all inclination
to run when there's a bullet in his kneecut.

Speaker 9 (05:06:50):
You'll keep until the police come.

Speaker 95 (05:06:52):
Good, Good, Saint Virginia, little girl, see, don't try to
gotta tell you see the chief, the chief.

Speaker 15 (05:07:05):
Don't worry, Kane. Your daughter will be safe. I'm gonna
make sure of that right now.

Speaker 33 (05:07:20):
It's beyond belief, mister Tempter.

Speaker 9 (05:07:23):
What sort of fiend could even dream of harming that child?

Speaker 92 (05:07:26):
It was a team of fiends, mister Pearce. One of
the fiends has just given up his membership in the
inhuman race.

Speaker 10 (05:07:33):
There were two of them, yes, Miss Ander's.

Speaker 92 (05:07:35):
Two of them Morgan and someone else, someone who would
be uh, Virginia's only surviving relative once Violet came.

Speaker 10 (05:07:44):
The child's mother been a race.

Speaker 15 (05:07:46):
From the picture, the only surviving relative and inheritor.

Speaker 9 (05:07:51):
Of the child squad.

Speaker 33 (05:07:53):
We know of no relatives, do we, Roger?

Speaker 92 (05:07:56):
There was only Frank Kane, her father, but uh, legally
at least he was. Now he's dead in fact as well,
but there is another relative. I'm amazed that you don't
know who. Violet pointed to a wedding picture she was dying.
Was your wedding picture, Miss Xanders. You were the bride,
Morgan was the groom.

Speaker 33 (05:08:17):
Kiss Ah, I was married to Morgan once.

Speaker 10 (05:08:23):
But surely that doesn't mean that I'm look here templer.

Speaker 92 (05:08:25):
This is preposter would be even more preposterous if Violet
hadn't had a sentimental nature. What do you mean the snapshot?
She wrote the names of each member of the wedding
party on the snapshot.

Speaker 9 (05:08:38):
The name she had your name written.

Speaker 15 (05:08:41):
Rose, isn't it?

Speaker 92 (05:08:42):
What makes the photograph really interesting is the man standing
next to the groom was mister Pears.

Speaker 6 (05:08:49):
Of course it was me.

Speaker 9 (05:08:50):
Is it a crime to attend a wedding or have
one's name written on a picture? No?

Speaker 15 (05:08:55):
But in this case itselves a crime because mister Pierce.
Under your picture, Violet affectionately wrote, my dear brother, Roger,
what you don't?

Speaker 92 (05:09:05):
You don't bother? I'm sure I've been called it before.
Come on, brother, we're going visiting. There's a new district
attorney downtown who's dying to make himself a reputation Virginia,

(05:09:27):
I've brought your present.

Speaker 29 (05:09:29):
Oh, mister Temper, you shouldn't have, but I'm so glad
you did.

Speaker 40 (05:09:35):
But go on open it.

Speaker 96 (05:09:37):
Oh it's some beautiful bow I ever saw.

Speaker 9 (05:09:50):
You did tell me once that she hadn't played with
dolls since you were a child.

Speaker 29 (05:09:54):
But mister Temple, I'll tell you a secret. What Virginia,
I just said that to be sophisticated.

Speaker 15 (05:10:02):
M something tells me that a certain young man named
Fatso is going to be trimmed right down to your size.

Speaker 91 (05:10:23):
You have been listening to another transcribed adventure of the
Saint the robin Hood of Modern Crime, and now here
is our star, Vincent Price.

Speaker 15 (05:10:34):
Ladies and gentlemen. In tonight's cast, you heard Maggie Morley
as Violet and Anne Whitfield as Little Virginia. Edmund McDonald
played Blanco, Jack Moyles Carson, Ted von Els was Roger
Irene Tedrow Missus Andes Morgan was played by Barney Phillips
and the garage Man by Jerry Hausman. Missus Vincent Price

(05:10:55):
inviting you to join us again next week at the
same time for another exciting venture of the Saint.

Speaker 10 (05:11:01):
Good Night.

Speaker 91 (05:11:26):
This adventure of the Saint was written by Michael Kremine.
The Saint, based on characters created by Leslie Chuckers, is
a James L. Safia production and is directed by Helen Mack.
Vincent Price is soon to be seen co starring in
RKO's production of His Kind Of Woman. And all you

(05:11:46):
Saint fans will be glad to know that the Saint
comic books are on sale at all newsstands. This is
Don Stanley speaking.

Speaker 7 (05:11:57):
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

(05:12:18):
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 Weirddarkness dot com. I'm Darren Marler. Thanks for

(05:12:40):
joining me for tonight's Retro Radio, Old time Radio and
the Dark

All Episodes

MRS MEADOWSWEET’S GRUESOME GUESTHOUSE: You’ll Check Being Normal – You Won’t Check Out That Way

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

The Joe Rogan Experience

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}MRS MEADOWSWEET’S GRUESOME GUESTHOUSE: You’ll Check Being Normal – You Won’t Check Out That Way