MURDER IN A FALLING ELEVATOR: Everyone Saw Everything, But Nobody Saw the Killer

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Lets, Tony 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.

Speaker 5 (00:31):
Seal Present Suspense.

Speaker 1 (00:41):
I am the Whistler.

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

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

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

Speaker 7 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 8 (01:50):
Come in.

Speaker 9 (01:53):
Welcome.

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

Speaker 10 (01:55):
Marshall.

Speaker 7 (01:56):
In our world, nothing is lost. Things of birds fertilize
the ground, The ground sends up grass. The grass nourishes
the sheep. Evil lives on as well. A bit of
gossip becomes a rumor. The rumor grows into a falsehood.
The falsehood engenders fear, and the fear leads to a killing.

(02:21):
A malicious word wounds a soul. An act of the
indifference congeals a heart for good or for evil.

Speaker 10 (02:31):
Nothing is lost.

Speaker 11 (02:37):
I had nothing to do with it, nothing at all. Fate,
simply fate. Or if that answer doesn't satisfy you, call
it the machinations of some spirit, some minor deity bent
on mischief, a spirit whose name I don't know. If
such a spirit chose to work through me, and that's possible,

(02:59):
I suppose it was without my knowledge or my will.
I swear to you that's true.

Speaker 7 (03:15):
Our mystery drama, Nobody Dies was written especially for the
Mystery Theater by Elspeth Perry and stars Terry Keane and
Anne Shepherd. It is sponsored in part by True Value
Hardware stores and Buick Mortar Division. I'll be back shortly
without one. The story has its beginning fifty years ago.

(03:50):
It's a beautiful spring day. A young woman stands at
the door of a large colonial house, dignified and serene,
and surrounded by great stretches of clips lawn spotted here
and there by beds of bright flowers. There is something
tentative in the manner of the young woman, something timid.
As she raises her hand to touch the button by

(04:11):
the door.

Speaker 11 (04:16):
I'm thinking to myself, what am I doing here? The
advertisement in the local paper had said housekeeper wanted live
in private quarters, apply between nine and ten am. It
had given the address and the name Holt, and that
was all I knew. This was a very fancy section
of our town. In the minute I saw the big

(04:37):
white house with the green shutters, my knees started to shake.
Would anyone trust me with the care of such a house?
But I pushed the button and said a little prayer.
I was desperate. I needed this job more than anything
in the world. Yes, there she stood the woman who

(05:02):
had to be missus Holt, who held my future in
her hands.

Speaker 12 (05:07):
She was about my own age.

Speaker 11 (05:09):
She was tall, blonde and serene, and she was very,
very pregnant.

Speaker 13 (05:15):
You've come about the position the job. Yes, well, come on, man,
Oh thank you very much. Shall we go into the
living room?

Speaker 10 (05:25):
Yes, thank you.

Speaker 13 (05:28):
Sit down, any place. You look rather young? How old
are you twenty twenty nine?

Speaker 10 (05:36):
Ah?

Speaker 13 (05:37):
Will tell me about yourself? Or would you rather I
told you about the position first?

Speaker 12 (05:42):
That would be fine, fright.

Speaker 13 (05:45):
This house has ten rooms, five bedrooms. Two of them
are in the back of the house, and they had
their own bath. Those would be reserved for whoever takes
the position.

Speaker 12 (05:56):
That sounds very nice.

Speaker 13 (05:57):
And there's a cook cleaning woman comes into free times
a week. It's a question of making beds and doing
some dusting, answering the door, doing the shopping things like that,
and supervising the cook and the cleaning lady.

Speaker 12 (06:10):
It doesn't sound very hard.

Speaker 13 (06:12):
Well, it's what I used to do myself till I
got pregnant.

Speaker 10 (06:16):
When are you going to have your baby any minute? Now?

Speaker 13 (06:20):
Can't you tell?

Speaker 14 (06:21):
Now?

Speaker 13 (06:22):
Tell me about yourself. Don't think I mind. You're being young.
I'd like to have someone my own age around the house.

Speaker 11 (06:29):
Well, I used to have a house, I mean, not
a house like this, just a little house. But I
did all the work, and I think I kept it nice,
clean and nice, you know, and attractive.

Speaker 13 (06:41):
I'm sure you did. But you have a house now.
I couldn't afford it after my husband left me. Oh,
I'm sorry. Since he left me, I've been living.

Speaker 11 (06:53):
In a furnished room and I've been doing house cleaning
by the day. I'm very good at it. But it's
not like living in a real house. I mean having
something to count on. Oh, of course it isn't, especially
when you have a little boy.

Speaker 12 (07:09):
To think of a little boy.

Speaker 13 (07:11):
You have a little boy two years old, Well, how
do you manage working all day in other people's homes.

Speaker 12 (07:18):
Well, I take him with me.

Speaker 11 (07:20):
He has his toys and his coloring books, and he's
never any trouble. Really, he never cries, and he's never
been sick never, I mean, not even a cold.

Speaker 13 (07:27):
All right, all right, I understand. But if we could
be in the same house all the time, I understand,
I really do. What would you want in a way
of salary?

Speaker 9 (07:41):
Oh?

Speaker 10 (07:41):
Anything, whatever you want to pay.

Speaker 13 (07:44):
Happy, as generous as I possibly can. What's your little
boy's name, Jamie?

Speaker 10 (07:51):
His name is Jamie. That was the beginning of the
most beautiful part of my whole life.

Speaker 11 (08:00):
Missus Holt's baby was born about three weeks later, a
little girl, and she was named Verity.

Speaker 12 (08:07):
Isn't that a beautiful name?

Speaker 11 (08:09):
Verity? It means truth or reality. I looked it up.
It took me a while to get up the nerve
to ask her where mister Hold was the baby's father,
and when she told me he died right soon after
she got pregnant, I cried. Besides running the house.

Speaker 15 (08:30):
I helped take care of the baby, the little girl, Verity.

Speaker 11 (08:34):
And you don't have to believe this if you don't
want to. But Jamie was never one bit jealous of Verity.
Children are, you know, and very often they're jealous of
new babies, and you have to be careful.

Speaker 12 (08:45):
But even missus.

Speaker 10 (08:46):
Holt noticed how Jamie loved the baby.

Speaker 13 (08:49):
Alice, you'll never believe this.

Speaker 12 (08:51):
What won't I believe?

Speaker 13 (08:52):
I was in the nursery this morning and Jamie was
standing by the baby's crib, and you know what, I
heard him say, I love you Verity, A also and
a pig and a hother. Really I heard him. That's
what he said.

Speaker 10 (09:06):
That's what I used to say to him when he
was a baby.

Speaker 12 (09:09):
I still say it.

Speaker 13 (09:10):
Ah, you're a wonderful mother, Alice.

Speaker 11 (09:18):
Life just went on that way, and I was as
happy as it was possible to be. Alice, look at this,
what why It's a drawing in pastels of a little
bird on a branch. It's very good, don't you think
it's It's very touching, very sweet.

Speaker 13 (09:40):
Jamie gave it to me.

Speaker 12 (09:42):
Jamie he made it in school, but he's only eight
years old.

Speaker 13 (09:47):
No, I'm going to frame it and I'm going to
hang it on the wall.

Speaker 12 (09:55):
That's the way it went.

Speaker 11 (09:57):
Every day better than the one before, and nothing but
nice things to look forward to.

Speaker 13 (10:04):
Why did Jamie learn so much poetry?

Speaker 16 (10:06):
Alice?

Speaker 12 (10:07):
Well, I suppose he learned it in school.

Speaker 13 (10:09):
I heard him the other day. He and Verity were
out here in the garden, and I could hear them
through the window. Loud and clear, Stay sweet, and do
not rise. The light the Chinese comes from thine eyes.
The day breaks not it is my heart, because that
you and I must part, stay, or else my joys

(10:32):
will die and perish in their infancy.

Speaker 12 (10:37):
Well, for heaven's sake.

Speaker 13 (10:38):
I happen to know. That's John Donne from the sixteenth century.
And why a boy of fourteen would bother to learn it?
I can't imagine Jamie went on learning poetry. I never
asked him about it. Why he bothered? I thought it
was nice that he did. One day I heard his

(10:59):
boy in the conservatory.

Speaker 11 (11:01):
I stopped to listen, and then I realized he wasn't alone.

Speaker 10 (11:06):
But I, sweet love, remembered such wealth brings that. Then
I scorned to change my state with kings.

Speaker 11 (11:13):
Oh, Jamie, that's beautiful at Shakespeare, Jamie was just sixteen.
I didn't know a line of Shakespeare, and I'd never
known that he did. I couldn't help asking him about it.

Speaker 17 (11:30):
I know all of Shakespeare's sonnets by heart.

Speaker 12 (11:32):
My goodness, I am impressed.

Speaker 10 (11:34):
I hope Verity was impressed. I was trying to tell
her how much I love her.

Speaker 14 (11:41):
Love.

Speaker 11 (11:42):
You told her you loved her. I've always loved her.
She knows that you're both very young. Romeo and Juliet
were even younger.

Speaker 10 (11:53):
Mom. Well, life went on.

Speaker 11 (12:00):
Jamie got into the local college right in the same town,
lucky for us, because he could go on living at home.
He'd finished his second year, and Verity was enrolled to
start that full Mom.

Speaker 10 (12:12):
I'm going to ask Verity to marry me, Jamie. I
don't mean right away, I mean when she's finished college.

Speaker 18 (12:19):
But by then I'll be making a living.

Speaker 10 (12:20):
You're sure about that, of course, I'm sure, darling, there's
no need to rush into anything. I'm not rushing, I'm
just asking.

Speaker 12 (12:29):
But you'll meet other girls.

Speaker 10 (12:31):
Mom, I've loved Verity all my life. Don't you know that.

Speaker 15 (12:42):
He asked her to marry Well, of course he didn't
mean right away, after she finishes college, and he wouldn't
expect her to marry him. Now, that's very considerate, missus Holt.
I don't think we have to take it seriously.

Speaker 11 (12:55):
They'll both meet other people, Jamie says, that won't make
any difference.

Speaker 12 (12:59):
But you never can tell, can you.

Speaker 13 (13:02):
I think I'll send Veritie away to college, some good
Eastern school.

Speaker 11 (13:08):
Oh would you do that? They're both so happy here.

Speaker 13 (13:13):
Alice, how much did you have to do with this,
with what, missus Holt, with this, this attachment, this liaison
between your son and my daughter.

Speaker 12 (13:25):
I didn't have anything to do with it.

Speaker 13 (13:27):
You plotted, didn't you? From the beginning. You plotted, and
you schemed to make everything turn out this way.

Speaker 10 (13:34):
No, I had no idea anything.

Speaker 13 (13:36):
First, you worked your way into this house, bringing your
son with you. Then you made yourself indispensable. You pretended
to be my friend.

Speaker 12 (13:43):
Not pretend. None of this is.

Speaker 13 (13:45):
True, some kind of witch I think you are. And
you've been weaving spills up there alone in your room.

Speaker 12 (13:53):
Missus Holt, you.

Speaker 13 (13:54):
Know you've always known that my daughter could never marry
a son of yours. It's unthinkable.

Speaker 12 (14:03):
But I had had nothing to do with it, nothing at.

Speaker 11 (14:06):
All, Or had I had everything to do with it.
I don't know, and I have thought long and hard
about it. I'm reduced to calling it fate, simply fate,
or call it the machinations of some spirit, some spirit
perhaps lodged in me, a spirit whose name I don't know.

(14:29):
If such a spirit chose to work through me, it
was without my knowledge or my will. I swear that's true.
I swear I believe, I think it's true. Oh I
hope it's true.

Speaker 7 (14:53):
Of course, there are spirits in all of us, spirits
full of energy and of huge power. Some drive the
people they inhabit to great accomplishment. Then, of course there
are other spirits, equally potent, spirits which moved their possessors
to cowardice, to morbidity, to self destruction, even to the

(15:15):
annihilation of those they love. I'll be back shortly with
Act two, when Alice became housekeeper, to the affluent missus
hot It was a relief from a life of drudgery

(15:38):
and anxiety, and a haven both for herself and for
her son, Jamie two years old. When her employer soon
after gave birth to a daughter, it was only natural
that Alice should retain her position in the household, and
that the two children should grow up together. However, at
the close of act one, we heard.

Speaker 13 (16:00):
Alice, how much did you have to do with this?

Speaker 12 (16:03):
With what with this, with.

Speaker 13 (16:04):
This, this attachment, this liaison between your son and my daughter.

Speaker 12 (16:09):
I didn't have anything to do.

Speaker 13 (16:11):
Plotted, didn't you. You plotted and schemed and made everything
turn out this way. Surely you know you've always known
that my daughter could never marry a son of yours.
It's unthinkable.

Speaker 11 (16:26):
My beautiful life in her beautiful house had come to
an end. Our friendship had ended too, if indeed it
had ever been the friendship I.

Speaker 12 (16:37):
Thought it to be.

Speaker 11 (16:40):
For the first time, she had reminded me that I
was her servant, and my son was the son of
a servant, and that the marriage of her daughter to
the son of one such as myself was what was
the word unthinkable? I started to pack our clothes Jamie's in.

Speaker 13 (16:57):
Mine, Jamie, it's missus.

Speaker 19 (17:02):
Hold Alice, Oh, just a minute, I want to talk
to you, Alice.

Speaker 12 (17:13):
Well, all right, come in.

Speaker 11 (17:17):
Thank you. You've been packing. You don't want us here anymore, Oh, Alice.

Speaker 13 (17:25):
I didn't mean anything like that.

Speaker 11 (17:27):
You are afraid Verity might want to marry Jamie and
he's not good enough for her.

Speaker 13 (17:32):
As you said, Alice, they're both very young. They'll meet
other people. Now that I've had a little time to
think about it, I realize how right you are. I
it was just a kind of shock when you first
told me Very isn't not enough to marry anyway.

Speaker 11 (17:49):
You said I planned it for them to fall in
love and get married.

Speaker 13 (17:53):
That was a ridiculous thing for me to say. Please
forgive me. We've been together so long. Won't you forgive me?

Speaker 20 (18:03):
Please?

Speaker 11 (18:04):
I suppose the idea was kind of a shock to you.

Speaker 13 (18:11):
It was, or I couldn't have said those things.

Speaker 11 (18:16):
Well, if you if you really didn't mean I didn't.
I didn't, And I guess it's all right.

Speaker 12 (18:25):
Else.

Speaker 13 (18:27):
Thank you. You'll never regret it, and you will stay
on here, won't you.

Speaker 11 (18:33):
I've always loved it here, Missus Holt, and so is Jamie.

Speaker 13 (18:36):
Then it's settled. You'll stay on, So will Jamie.

Speaker 11 (18:44):
But she sent Verity away to a college in the East.
Missus Holt had said she would do it.

Speaker 12 (18:51):
And she did.

Speaker 11 (18:53):
Verity and Jamie wrote to each other almost every day.
I think he wrote every day. His ways grew quiet
at her, more reserved, but he'd always been like that,
more or less, and I didn't worry about him.

Speaker 12 (19:06):
Not until Verity came home for her vacation.

Speaker 10 (19:10):
Verity's engaged to some guy.

Speaker 11 (19:13):
Some guy, Oh, some guy she met in the East. Oh, Jamie,
what's the matter. Well, you mean you don't care?

Speaker 10 (19:24):
Well, why should I care? She won't marry him? How
can you be so sure? Very belongs to me? She
always has ever since she was born. Jamie's confidence frightened me.

Speaker 11 (19:40):
I thought back to when missus Holt had called me
some kind of a witch. I didn't want to hear
those words again from her lips. Besides, Jamie could be right.
Maybe Verity wouldn't marry the man she met in the East.
Maybe in some way I didn't comprehend she belonged.

Speaker 12 (19:58):
To my son.

Speaker 10 (20:01):
But then a year later it happened.

Speaker 13 (20:05):
We'll have the wedding right here in the house, I think,
or would it be better in a church?

Speaker 10 (20:11):
Oh? I think a church wedding would be the nicest.

Speaker 13 (20:15):
You're probably right. His parents will be here, they'll expect it.
His father's in the diplomatic service. Did I tell you no?

Speaker 10 (20:22):
You didn't tell me.

Speaker 13 (20:24):
Yes. I think we'll have the wedding in the church.

Speaker 12 (20:28):
I think that's best, Alice.

Speaker 13 (20:31):
Of course, Verity will want Jamie to be there, but
he needn't attend if he doesn't want to. We'll all understand.

Speaker 10 (20:46):
It wasn't their understanding I cared about. It was Jamie's.

Speaker 11 (20:51):
He had to understand that he'd aspired to something too
far above him, that he would never have the girl
he'd loved from the day she was born. He had
to understand and go on living as best he could
till some other girl could fill the void in his life.

Speaker 10 (21:07):
I'll be there, Why.

Speaker 11 (21:09):
Not, Jamie? If it's too painful, It will be painful,
but that's all right. I'm so glad you're taking it
this way.

Speaker 10 (21:19):
Huh what way am I taking it?

Speaker 21 (21:21):
Well?

Speaker 11 (21:22):
Realistically, facing up to it.

Speaker 10 (21:25):
Didn't you tell me that's what verity means, reality, the truth? Yes,
I did tell you that. Well, then, besides, Verity still
belongs to me. No matter what she does with her
life or I do with mine. Verity still belongs to me,
and she always will. That's reality and that's truth.

Speaker 11 (21:54):
His words echoed in my mind all during the ceremony,
Just as he'd said. Jamie was in the church, standing
up way in the back, his eyes never leaving the
handsome young couple at the altar. The young married couple
took off in their honeymoon. Jamie went on to finish college,
and missus Holt and I went on in the big house,

(22:17):
not quite the friends we once had been, but on
good terms.

Speaker 12 (22:23):
And one day.

Speaker 13 (22:23):
Another letter from verityth it's from London.

Speaker 12 (22:26):
What does she have to say?

Speaker 13 (22:28):
Ah, lots of things, dear mummy. We've settled here in
the dearest flat you've ever seen. It's in Chelsea, a
very old part of London, but fashionable in an arty
sort of way.

Speaker 15 (22:41):
We go to the theater all the time. The theater
is so wonderful here and not too expensive I.

Speaker 12 (22:47):
Mean compared with other things.

Speaker 15 (22:49):
And we go to parties, mostly with other couples living
the same kind of life. We do diplomatic service life.
I mean, we've made the dear friend.

Speaker 13 (22:57):
Friend and here goes down about their friends Bibs and
punk O and Topper and Jinky. I can't make out
all the names that here's one here that looks like
did somebody come in?

Speaker 12 (23:13):
I think it's Jamie, Jamie that you.

Speaker 8 (23:16):
I was just going upstairs.

Speaker 13 (23:18):
I've got a letter from Verity.

Speaker 10 (23:20):
Oh, and I was.

Speaker 13 (23:21):
Just reading it to your mother. You want to hear it?

Speaker 8 (23:23):
Well, I was just going upstairs.

Speaker 13 (23:25):
But I'm always finished here. Let's see where was I
all about?

Speaker 14 (23:30):
Ah?

Speaker 13 (23:30):
Yes, I've saved the best news for the last mummy.
I'm going to have a.

Speaker 10 (23:36):
Baby, a baby.

Speaker 12 (23:40):
Baradie's going to have a baby.

Speaker 13 (23:41):
Oh why didn't she send me a cable or call up?

Speaker 12 (23:45):
When is she going to have.

Speaker 13 (23:46):
She says, wait, wait, not for eight months, but she
couldn't resist. Tell Oh, I wonder if I should go
over there or if she'll she'll want to come here. Oh,
dear me, there's so much to think about my first grandchild.

Speaker 12 (23:59):
You madgin Ja Jamie.

Speaker 10 (24:02):
Where did Jamie go?

Speaker 13 (24:04):
Alice, I'm going to go down to the table office
and tell her to phone me collect tonight. I'll be
back right away.

Speaker 12 (24:10):
Jamie, and are you up there?

Speaker 13 (24:12):
And I'll give her your love Alice.

Speaker 12 (24:17):
Jamie, Where Jamie, Jamie?

Speaker 10 (24:23):
Are you all right, Jamie? I'm not dear.

Speaker 12 (24:28):
Don't let it, please, don't let it.

Speaker 10 (24:31):
Oh save me, Jamie. What have you done?

Speaker 11 (24:36):
I missed Joy, you're bleeding. I missed twice in your head.
He's bleeding.

Speaker 10 (24:48):
It's not so easy to kill yourself. No, I get
the doctor. No, don't leave me.

Speaker 11 (24:55):
Stay with me, Jamie. I have to call a doctor.
Please let go of my arm. I want you to
stay with me, Mom, Please Janey let me.

Speaker 22 (25:02):
I'll be all right.

Speaker 10 (25:03):
I want you with me.

Speaker 23 (25:06):
Mom.

Speaker 10 (25:06):
It's always been you and me. You've always been with me.
You've never gone off and let me. Don't go off
and leave me now.

Speaker 12 (25:14):
At least you've got to let me call the doctor. Please.

Speaker 10 (25:17):
I won't die. Nobody dies, mom, say me, And I
want I want you to tell that to verity.

Speaker 14 (25:28):
Mom.

Speaker 20 (25:28):
Would would you do that?

Speaker 12 (25:31):
Tell it?

Speaker 10 (25:32):
Nobody really dies? Everybody goes on and on. Please please
say that. Good old Mom. Yeah, you're really the best. Oh,
always there when I needed Gip, always right nearby, always
well you could see me and hear me, Remember, Mom,

(25:55):
all my life from way back. Be now, Mom, listen
to me, now, yes, yes, all right. Did you understand
what I told you about what to tell Verity?

Speaker 12 (26:14):
You mean nobody dies.

Speaker 10 (26:18):
That's right, Tell her that she'll understand. Just say nobody dies.

Speaker 11 (26:33):
The blood was still running from his poor head, and
he was still staring at me. But the hand that
had been gripping my arm went limp, and I knew
he was dead. The light had gone out of his eyes,

(26:54):
the light had gone out of his life.

Speaker 12 (26:58):
My son was dead. My son was dead.

Speaker 11 (27:06):
I tried to take that in even as his last
words echoed through my mind. Nobody dies, nobody dies.

Speaker 7 (27:29):
The beginning of mourning is the acceptance of the fact
of death. We twist and turn to evade the reality.
We make up fantasies to deny it. We comfort ourselves
with memories which hurt quieldly comfort. There simply is no
way to escape the awful pain unless, unless, perhaps we

(27:51):
can bring ourselves to believe what appears to be a
flagrant lie, Unless we can believe that nobody dies. I'll
return shortly with Act three. Toward the end of the

(28:15):
act just completed, Alice's son Jamie, shot himself after hearing
the news that the girl he loved all his life,
who had married another man, was now preparing to give.

Speaker 10 (28:26):
Birth to that man's child.

Speaker 7 (28:28):
Holding fast to his mother's hand, Jamie had spoken his
last words.

Speaker 10 (28:34):
Tell her that mom, very I'll understand. Tell her nobody dies.

Speaker 11 (28:46):
Missus Holt, of course, was dreadfully shocked when she came
home and I had to tell her what had happened.
We never discussed it or referred to it in any way,
but I'm certain she knew as well as I that
the fact of Verities being pregnant crushed Jamie's last hope
that one day she might return to him.

Speaker 10 (29:09):
At any rate.

Speaker 11 (29:11):
Missus Hope persuaded her daughter to come back to her
mother's house to have her child.

Speaker 15 (29:16):
Oh, Alice, it's so marvelous being here. You know, I
really didn't know ideed my mother so much, but the
first time, you know how it is.

Speaker 12 (29:25):
It's all so new, so important.

Speaker 11 (29:27):
Your husband couldn't come with you, No.

Speaker 10 (29:30):
Not right now.

Speaker 15 (29:30):
They can't spare him in London. Maybe later, Verity, I
have something I want to give to you. If you
don't mind, how could I possibly mind?

Speaker 12 (29:40):
Well?

Speaker 10 (29:41):
I don't want to make you sad.

Speaker 11 (29:43):
But these are some of Jamie's baby clothes. Oh and
now they may be old fashioned by now, and I
don't know what babies wear these days. It's not very much.
But they are all made by hand, and you don't
see much of that anymore.

Speaker 16 (29:56):
Oh they're lovely, you know.

Speaker 15 (30:01):
Jamie was my dearest friend for years and years, more
than a friend.

Speaker 11 (30:06):
More like a like a brother. He loved you, I
know he did. The last words he spoke before he
died they were for you, for me, really, he said,
nobody dies. Mom, tell Verity that she'll understand. Nobody dies.

(30:34):
That was the last thing he ever said. A couple
of seconds later, he was dead, Alice, Verity, do you
know what he meant? Well, no, not exact He said
that you would know. He was very definite about that.

Speaker 15 (30:56):
Well, perhaps he meant that that as long as a
person is room by the people who loved him, that
he isn't really dead.

Speaker 12 (31:05):
You think that's what he meant. I can't think of
anything else.

Speaker 8 (31:16):
Well.

Speaker 11 (31:16):
Verity had her baby, a darling little boy named John
after his father, and a few months later Verity went
back to London, but she phoned once a week at least,
and the letters flew thick and fast across the ocean.
Sometimes Verity would write to me about the baby, nice
chatty notes, full of all sorts of details.

Speaker 10 (31:37):
Then one day I got a present in the mail.

Speaker 11 (31:41):
Well, imagine all the way from London. Imagine Verity thinking
of me. That's really wonderful.

Speaker 12 (31:47):
Ever, what is it. Well, it's a drawing.

Speaker 11 (31:57):
So it is a drawing of a bird sitting on
the branch of a tree. So it is. She said,
it's little John's first drawing. Ah, and she wants me to.

Speaker 13 (32:12):
Have it turn in past hills.

Speaker 10 (32:16):
Yes, it's very good, don't you think, Alice?

Speaker 13 (32:25):
How old was Jamie when he did the picture of
the birds sitting on a branch?

Speaker 11 (32:33):
I said, I didn't remember, but I did. It was
when Jamie was precisely the age that little John was
when he painted his bird on a branch.

Speaker 10 (32:46):
One night the phone rang. It was London calling.

Speaker 11 (32:49):
Verity was on the other end, and Missus Holt told
me to listen in on the upstairs extension.

Speaker 13 (32:53):
Verity, mother, how are you doing.

Speaker 24 (32:56):
I'm fine?

Speaker 13 (32:57):
How are you fine? Fine?

Speaker 1 (32:58):
How's Alice?

Speaker 13 (33:00):
On the extension?

Speaker 11 (33:00):
Alis say hello, I'm fine Thereity, how's the boy?

Speaker 15 (33:05):
He's marvelous, simply marvelous, almost as tall as I am.

Speaker 13 (33:08):
No, you mean it right, you'd hardly believe it. Of
course I'd believe it. Why wouldn't I?

Speaker 15 (33:14):
Well, I never was listen. He knows poetry. Really, that's remarkable.
He recited a whole poem to me today, not a
long poem. Well, I should ade something by John Done
John Donne sixteenth century. Can you imagine something about stay,
oh sweet, and do not rise?

Speaker 11 (33:35):
I forget the light that shines comes from your eyes?

Speaker 12 (33:40):
Yes, that's it.

Speaker 8 (33:41):
Alice is at you.

Speaker 11 (33:43):
The day breaks not it is my heart because that
you and I must part?

Speaker 12 (33:48):
Do you know what?

Speaker 15 (33:49):
You really know?

Speaker 17 (33:50):
It?

Speaker 10 (33:51):
Stay?

Speaker 11 (33:51):
Or else my joys will die and perish in their infancy.

Speaker 15 (33:57):
That's it. Can you imagine a young boy knowing something
like that?

Speaker 13 (34:01):
Verity, veritee, my dear, we've talked long enough.

Speaker 15 (34:06):
Oh, but I have all kinds of things to tell you.

Speaker 13 (34:08):
Yes, it'll have to it'll have to do for now.
We're rather busy here.

Speaker 15 (34:14):
Oh oh okay, well i'll call you next week. Then
bye bye, Alice.

Speaker 13 (34:22):
Alice, Alice, will you come downstairs please?

Speaker 11 (34:30):
There was nothing I could say to missus Holton. Of course,
It was the same poem Jamie had learned and recited
at exactly the same age. But Jamie had died a
full year before this boy was born. This boy lived
three thousand miles away in a foreign country. Then came

(34:54):
the faithful day Verity arrived from London.

Speaker 13 (34:58):
Darling, How wonderful you've come.

Speaker 12 (35:00):
Oh mother, how are you? Verity? Welcome back?

Speaker 13 (35:03):
Alice Darling. You don't look at all, will don't? I?

Speaker 10 (35:08):
Have you been ill?

Speaker 5 (35:10):
No?

Speaker 12 (35:11):
Did your husband come with you?

Speaker 15 (35:14):
No? No, my son came with me, for Heaven's sake.

Speaker 13 (35:20):
Where is he?

Speaker 15 (35:20):
Oh, he'll be along presently. I wanted to see you
alone first.

Speaker 12 (35:25):
Well, I'll just go upstairs and see if it Alice, Alice,
please stay here. I want to talk to both of you.

Speaker 15 (35:33):
All right, mother, this is going to come as a
shock for you.

Speaker 10 (35:42):
My husband has left me. Oh, oh, Verity, I'm so
sorry to hear that.

Speaker 13 (35:51):
Perhaps it's not fine.

Speaker 11 (35:53):
Final, Well, whatever happened, I'm sure it wasn't your fault.

Speaker 16 (35:57):
I don't know whose fault it was.

Speaker 15 (35:58):
There are always two sides to or maybe it was
your fault, Alice mine, or maybe it was the fault
of your son.

Speaker 10 (36:06):
What what could Jamie have to do with it.

Speaker 15 (36:09):
I believe that he was some kind of sorcerer or
a wizard of some kind. And you are a witch
and I have really don't I believe the two of
you conspired against me from the very start, from the
day you entered this house.

Speaker 10 (36:21):
What are you talking about?

Speaker 15 (36:24):
You don't know?

Speaker 13 (36:26):
You really don't know, I swear.

Speaker 10 (36:28):
I don't know.

Speaker 13 (36:29):
Stay where you are, both of you.

Speaker 16 (36:31):
I have something to show you.

Speaker 25 (36:35):
Johnny, Johnny, can you come in here, please?

Speaker 12 (36:40):
Missus holp what happened?

Speaker 16 (36:41):
Quiet?

Speaker 12 (36:42):
Quiet, Alice, mother Alice, This is my son John, Grandma.

Speaker 26 (36:51):
It's been so long now?

Speaker 20 (36:53):
How many years?

Speaker 13 (36:56):
Could many?

Speaker 12 (36:57):
Yes?

Speaker 10 (36:58):
Well, you got a chest for me?

Speaker 12 (37:01):
How christ.

Speaker 10 (37:06):
And you're Alice Yellow Alice.

Speaker 11 (37:12):
I could only stare dumb struck at the handsome young
man who stood before me, holding out his hand, a warm,
friendly smile on his face. For that face, that smile,
that voice, all were exact replicas of the face and

(37:34):
the smile and the voice of my dead son. Young John,
in the innocence of his youth and the ignorance, were
the only one of the household who retained any self possession.

(37:55):
Already moved about the house with a tight mouth and
baleful looks kept to her room most of the time. When
I took her something to eat, she told me that
Verity and John would stay on with her. John was
going to teach at the local high school, and Verity, well,
where could Verity go?

Speaker 13 (38:15):
Verity's child was destined to be the precise image of Jamie. Why.
I don't know, but I don't blame you.

Speaker 12 (38:25):
Perhaps you should.

Speaker 11 (38:28):
I hoped for so many years that they would marry
and have a child. Perhaps all my hoping, my wishing,
my praying for something that never came to pass.

Speaker 12 (38:39):
But you mustn't think Jamie had anything to do with it.

Speaker 13 (38:42):
Didn't He wish, hope and pray.

Speaker 11 (38:46):
Yes, But he loved her so he'd never have wanted
anything like this to happen.

Speaker 13 (38:52):
I don't know. I don't know. I cannot tell, but
this I do know for a certainty. There are in
the world over which we have no control. Ellis, I
think you best leave this house tonight, if possible.

Speaker 11 (39:14):
I did leave that night and moved into a furnished room.
I got work almost immediately, cleaning by day, just as
I'd done before. Jamie and I became part of missus
Holt's household. Every now and then I would walk by
the high school just to catch a glimpse of young
John who was teaching there. It was a thrill, strange, macabre,

(39:41):
but still a thrill to see that straight, young figure,
that fresh young face, so exactly like that of my
dead son. One day, as school was letting out for
the day, I summoned my cur and spoke to him.

Speaker 10 (40:03):
Mister Holt, John, Well, wellether It's Alice, isn't it.

Speaker 12 (40:08):
Yes, it's Alice.

Speaker 23 (40:09):
Well.

Speaker 10 (40:09):
I've asked mother about you. Why aren't you living with
us anymore? You moved out so suddenly.

Speaker 12 (40:14):
Well with you and your mother there? You needed the room.

Speaker 10 (40:18):
Oh there's plenty of room.

Speaker 26 (40:19):
Now, come on, why don't you move?

Speaker 12 (40:21):
No?

Speaker 11 (40:21):
No, really, I couldn't tell me.

Speaker 10 (40:26):
What are you teaching? What subjects English literature? What I've always.

Speaker 9 (40:30):
Wanted to teach.

Speaker 10 (40:32):
Oh that's nice, with special emphasis on the greatest writer
of them all? You mean Shakespeare? Of course.

Speaker 12 (40:41):
You like Shakespeare.

Speaker 10 (40:43):
I worship him, I always have. I knew all of
Shakespeare's son It's all of them. By the time I
was sixteen, I.

Speaker 11 (40:54):
Stayed away from the school after that. I was afraid
of what might happen? Not a tangible fear, you understand,
for I had no idea what there was to be
afraid of. Only I think that I might indeed be
a witch, a sorceress. But then came a day when

(41:16):
it was imperative that I see not John but his mother, Verity.

Speaker 15 (41:22):
What was it you wanted to tell me, Alice? You
said it was important?

Speaker 27 (41:26):
It is.

Speaker 12 (41:28):
Tomorrow is John's birthday.

Speaker 15 (41:30):
I know that.

Speaker 11 (41:32):
Did you think I'd forget my own son's birthday? No,
of course I didn't think that. But you might not remember.
After tomorrow John will be of the same age as
Jamie was when.

Speaker 12 (41:47):
Jamie when he died. Is that what you mean?

Speaker 15 (41:52):
When he killed himself? Killed himself, Alice? No one ever
told me that. Mother said it was an accident.

Speaker 11 (42:04):
He shot himself twice when he heard that you were
going to have a child.

Speaker 15 (42:09):
Oh, Alice, I should have been told.

Speaker 10 (42:11):
What could you have done?

Speaker 15 (42:13):
Nothing, Alice, Alice, I must tell you something. If there
was any sorcery or any witchcraft, it was wrought by
me every day of the nine months I carried John
within me. I wished, I wished with all my heart
and all my soul that I could be carrying Jamie's child.

Speaker 11 (42:40):
The whole year has passed, nothing untoward has happened to John.
I believe him to be safe. I've still live in
a furnished room and go out to work by the day.
But on Thanksgiving and Christmas, and sometimes on other holidays,
I go to the Big White House and spend a

(43:02):
pleasant day. And when I hear John's voice, his laughter,
when I look at his handsome face, his friendly smile
so often directed at me, then I think to myself,
it's true, quite true, what Jamie said to me at

(43:25):
the last. Nobody dies, not really, nobody really dies.

Speaker 7 (43:43):
Our drama appears to end on a placid note. Four
people who gathered round a festive table. If you walked
in on them today, you would never guess that behind
their light talk, their pleasant smile, their solicitude for one another,
their consideration, and their kindness, is lies a deep and
mysterious tragedy which no one of them comprehends.

Speaker 10 (44:06):
I'll be back shortly.

Speaker 7 (44:19):
If there is a moral to be gleaned from our story,
and I do not think there is, and certainly there
was never meant to be. It is the old one.
Be careful what you wish for, you might get it.
But if you take my advice, you will not look
for a moral You will simply accept the whole thing
for what it is, and no more a story. Our

(44:43):
cast included Terry Keane and Shepherd, Jack Grimes and Morgan Fairchild.
The entire production was under the direction of Hyman Brown.
And now a preview of our next tale.

Speaker 12 (44:59):
Is he all right?

Speaker 10 (45:00):
Doctor?

Speaker 28 (45:00):
The operation appears to have been successful. He's in a
special recovery room we set up for him, but he
isn't conscious. Of course, won't be for a good long while.

Speaker 12 (45:09):
Can I Can.

Speaker 10 (45:12):
We see him?

Speaker 28 (45:13):
Not just yet? I'm afraid later on, maybe toward evening.
We don't want to complicate things.

Speaker 12 (45:21):
Doctor Peters.

Speaker 29 (45:22):
Yes, I haven't mentioned this to Jane, but I imagine
she's been wondering too. When he's better, and you know,
when he can talk about everything, which one is he
going to be?

Speaker 28 (45:37):
This is the first operation of its kind, You understand,
we're all waiting to see what will happen.

Speaker 10 (45:44):
Yes, but but who will he be?

Speaker 8 (45:49):
I can't really say Radio Mystery Theater.

Speaker 7 (45:53):
We're sponsored in part by Buick Motor Division and True
Value Hardware Stores.

Speaker 1 (45:58):
This is e g.

Speaker 7 (45:59):
Marshall andting you to return to our mystery theater for
another adventure in the macabre. Until next time, pleasant Dreams Suspense.

Speaker 30 (47:07):
This is the Man in Black here again to introduce
Columbia's program Suspense with us in Hollywood.

Speaker 8 (47:14):
Tonight.

Speaker 30 (47:15):
As star is mister Otto Kruger, whose career on the
screen and on the stage has afforded him a precisely
equal number of appearances as a character on the right
and on the wrong side of the law. Whether the
man mister Kruger Bortrays tonight is devil or saint, we
shall leave for you to judge when the play is over.
It is called After Dinner Stormy. The author is Cornell Woolwich.

(47:38):
The radio adapter Robert L.

Speaker 31 (47:39):
Richards.

Speaker 30 (47:41):
And so with the performance of Otto Kuger as mister Hardecker,
who told this extraordinary after dinner story, we again hope
to keep you in suspense.

Speaker 31 (48:00):
Mister Residence, I believe I'm expected for dinner.

Speaker 32 (48:05):
Your name, Sir Kenshaw's very good, sir, mister Hardaker.

Speaker 33 (48:11):
Mister Kenshaw, sir number one, good evening, mister Kenshaw.

Speaker 17 (48:18):
Is this where mister Hardeker lives.

Speaker 32 (48:20):
My name is Lambert, mister Hardaker, mister Lambert number two.
My name is Prendergast, I think, mister Hardaker, mister Prendergast,
number three. Mackenzie's the name, mister Hardegger, mister McKenzie.

Speaker 34 (48:41):
Number four, one two, three four. So you're all here, gentlemen. Yes,
then suppose we go into dinner, and after dinner I
shall tell you why you are here, what I have
in mind. In fact, I shall tell you the form
of a story, a sort of after dinner story.

Speaker 33 (49:13):
All right, that's a great cup of coffee.

Speaker 35 (49:16):
You enjoyed it?

Speaker 34 (49:19):
Well, gentlemen, did you enjoy your dinner?

Speaker 36 (49:21):
Yeah?

Speaker 1 (49:22):
Then if you'll excuse.

Speaker 34 (49:23):
Me for just a moment, I have certain instructions to
give the servants, and after that I shall rejoin you.

Speaker 9 (49:28):
I can't feel.

Speaker 3 (49:32):
Well, what did that crack mean?

Speaker 33 (49:35):
Certain instructions to the service? Should I know?

Speaker 35 (49:38):
I I don't like the looks of the whole thing.

Speaker 33 (49:41):
Why all the mystery?

Speaker 3 (49:42):
Well, I suggest that you have patience, mister ender guest.
Mister Hardacre clearly intends to tell.

Speaker 31 (49:47):
Us in his own good time.

Speaker 14 (49:49):
Yeah, and another thing, I don't even those fancy Park
Avenue joints as a room myself. But I've seen him
in the movies. They always passed the food around to everybody.
They don't I just don't bring it out of the
kitchen already on your plate and just hand.

Speaker 8 (50:03):
It to you.

Speaker 1 (50:04):
What possible difference can that to me?

Speaker 3 (50:06):
Well, I don't know, but I know it ain't right.

Speaker 33 (50:10):
Oh, none of it's right.

Speaker 37 (50:12):
Why does a man invite four perfect strangers to dinner?
What is this thing he has in mind for us?
He keeps talking about.

Speaker 14 (50:20):
Whoa, Well, I know he says he'll make it worth
Why I can use a little that worth your while stuff?

Speaker 33 (50:26):
The way business has been lately. Obviously, the connection between
us is that we were all in that elevator a
year ago.

Speaker 37 (50:33):
Oh what of it? There's no mystery about that. The
police cleared that up the very next day. Maybe mister
Hardeker doesn't think so.

Speaker 34 (50:40):
Sorry to have kept you gentlemen. Now, suppose we get
down to business and mister Hardickain.

Speaker 33 (50:47):
None of us wish to seem rude, but we were
just wondering what this business is all about?

Speaker 34 (50:52):
You have had you come to the obvious conclusion, of course,
that it has to do with my son.

Speaker 9 (50:57):
WHOA.

Speaker 33 (50:58):
Yeah, I don't see why. We're sorry naturally.

Speaker 38 (51:01):
But that's all over and done.

Speaker 34 (51:02):
With almost, But there are one or two little details
that I thought you, gentlemen, might help me to clarify.
Oh well, fine, well then if you don't mind, I
know you must remember most of it, but it's almost
a year ago. I'd like to go over the whole
story from the beginning.

Speaker 39 (51:18):
Wow.

Speaker 9 (51:20):
Well, it was just about just before.

Speaker 34 (51:22):
Five in the afternoon on August thirtieth of last year
when the matter which concerns us here this evening had
its beginning. And on that day, and at that time,
all four of you perfect strangers who had never seen
each other before in your lives, found yourselves for personal
and business reasons of your own, and various floors of

(51:42):
the Norfolk Building in Midtown Manhattan, waiting for the express
elevator to take you to the lobby. The first passengers
were on the twenty first floor.

Speaker 38 (51:52):
Twenty one going down please express car going down.

Speaker 34 (52:00):
All three men in the elevator, the operator, mister Kenshaw
and mister Lambert, who had gotten on at the twenty
first floor.

Speaker 38 (52:10):
Eighteen going down, Please face the doors, please going down.

Speaker 40 (52:18):
Now.

Speaker 34 (52:18):
There are five men in the car, mister Pendergast and
mister mackenzie had entered the elevator at the eighteenth.

Speaker 38 (52:23):
Floor, fifteenth express card of the lobby going down.

Speaker 9 (52:30):
Please say hello to ellenor for me you bet by dad?

Speaker 34 (52:34):
By six men in the elevator, the last to enter.
I had accompanied to the elevator door myself. He was
my son.

Speaker 3 (52:47):
These things drop pretty fast and too fast for me.

Speaker 33 (52:50):
Hey, this baby is moving.

Speaker 41 (52:54):
Look you can't stop.

Speaker 38 (52:56):
We're out of Come atolen.

Speaker 26 (52:57):
Look we're gonna help. O.

Speaker 1 (53:22):
M h.

Speaker 10 (53:25):
Y.

Speaker 33 (53:26):
Anybody anybody got a match? My leg's broken?

Speaker 35 (53:33):
Get me out of here. Look at a wife and kids.
Somebody get me out of here.

Speaker 37 (53:36):
Get me out after a.

Speaker 38 (53:37):
Minute, can't you?

Speaker 33 (53:39):
You're not the only one with a wife and kids.
Has anybody got a match? I've got to get this
door over Yeah? Why able to suffocate in here? These
things are practically yeah? Tight h where's the opera operator?

(53:59):
He's over here.

Speaker 3 (54:00):
I can feel the braid on his coat against.

Speaker 33 (54:02):
My hand, And what about it? Bud? You got a match?
So I can see what I'm doing here? The operator
he's he's dead.

Speaker 35 (54:12):
What doesn't somebody come? What's the matter with him?

Speaker 42 (54:13):
When they got down?

Speaker 33 (54:14):
When you pipe down? Yeah, yeah, I got it. Oh, well,
get a little lair anyway. Oh, there's a light up
there somewhere. Yeah. I can hear voices.

Speaker 1 (54:29):
Now you hear them say, there's no use your head off.

Speaker 33 (54:33):
They know we're down here. Yeah. I wish my leg
didn't hurt so bad to see you. I try wrapping
your shirt around it tight? They stop?

Speaker 43 (54:43):
Someone the pain?

Speaker 33 (54:44):
Thanks, no, nothing, just sit and wait.

Speaker 35 (54:52):
That's why don't they hurt? What are they waiting for?

Speaker 10 (54:55):
What?

Speaker 33 (54:55):
They take it easy? It could be worse off.

Speaker 35 (54:59):
Worse off.

Speaker 33 (55:00):
Yeah, like this poor guy, the operator, he's dead.

Speaker 34 (55:10):
And so you waited six men, five living, one dead.
I know how it must have been for all of you,
the minutes dragging by there in the darkness with nothing
to do.

Speaker 33 (55:21):
But wait, how's you're laying better?

Speaker 44 (55:26):
How long do you suppose we've been down here?

Speaker 35 (55:28):
And maybe to think we're all dead. Maybe they're just
taking their.

Speaker 33 (55:31):
Time and don't worry. They heard your holler.

Speaker 1 (55:33):
And on the poor guy.

Speaker 33 (55:36):
I wonder if he had meat kids, the operator.

Speaker 14 (55:38):
Yeah, I haven't wondered sometimes what would happen if one
of these things ever slept?

Speaker 35 (55:43):
Well, now you know I'll never ride in one again.

Speaker 14 (55:45):
So he's going to walk up sixty eight stories to
the rainbow room.

Speaker 38 (55:48):
I don't go to the rainbow room.

Speaker 3 (55:50):
Oh, certainly glad my father didn't get on his car
with me.

Speaker 33 (55:54):
He was going to.

Speaker 17 (55:55):
He changed his.

Speaker 33 (55:56):
Mind, which i'd changed my mind.

Speaker 14 (55:59):
You know, if I hadn't gone back to make a
phone call it, i'd have been on another car.

Speaker 33 (56:03):
What's the use of wishing? It's happening here we are,
listen the.

Speaker 45 (56:08):
Other they're gonna get us out.

Speaker 46 (56:09):
Hello, Hello, up there.

Speaker 41 (56:11):
Yeah, you're coming to worry against you hurried.

Speaker 45 (56:16):
Everybody?

Speaker 33 (56:17):
Yeah, one guy's dead.

Speaker 38 (56:22):
Oh, look look at that light.

Speaker 22 (56:30):
I'm settling parking.

Speaker 47 (56:32):
Yeah, they're gonna cut a hole in the room.

Speaker 5 (56:37):
What a racket.

Speaker 35 (56:38):
I'm nearly deaf already.

Speaker 17 (56:40):
You guys, we're coming throughs Hey, watch out a spots.

Speaker 23 (56:45):
Shut your horizon, stand back against the wall.

Speaker 47 (56:47):
Okay, I never knew those things made so much noise.

Speaker 38 (56:53):
He'd because we're closer.

Speaker 8 (56:57):
What we said, Why don't know?

Speaker 22 (56:59):
I thought out somebody hollow?

Speaker 8 (57:01):
Yes, all the eyes.

Speaker 47 (57:02):
Must say one of those guys up about, don't spark.

Speaker 35 (57:05):
They're enough to blind you do.

Speaker 33 (57:07):
Look at him, they will blind you.

Speaker 35 (57:09):
One went flag.

Speaker 47 (57:10):
Blind's gone to my face right across the car. They're
cutting them, they're dropping down.

Speaker 35 (57:15):
Did you see it?

Speaker 26 (57:16):
Which all the price just a reflection?

Speaker 9 (57:18):
Don't look at it.

Speaker 17 (57:21):
I guess I guess they got it cut through.

Speaker 43 (57:24):
Yeah.

Speaker 33 (57:25):
I couldn't have stood much more of that.

Speaker 45 (57:28):
They're pulling off the top.

Speaker 21 (57:30):
It won't be long.

Speaker 44 (57:30):
Now, all right, stand clear down there. I'm going to
jump down here.

Speaker 3 (57:39):
Cop and no coup ever looked lovely?

Speaker 44 (57:44):
All right, has ten ropes down now? Okay, hold it
all right? What's first?

Speaker 48 (57:50):
Now?

Speaker 44 (57:51):
Who's the worst heard.

Speaker 33 (57:51):
Of you are?

Speaker 44 (57:52):
How about this guy?

Speaker 33 (57:53):
And that's the operator?

Speaker 9 (57:55):
He's dead.

Speaker 33 (57:56):
Hey, look those other two guys that both passed down there? Shocking.

Speaker 35 (58:00):
I've got to get out of here. I feel pretty bad.

Speaker 33 (58:02):
Hold your horses, there's nothing wrong with you. That man's
got a broken leg, or's got a broken leg I have,
I think. All right, can you sit in this rope
sling here? Hang on with both your hands.

Speaker 44 (58:15):
I'll be all right. Okay, hu him up?

Speaker 45 (58:18):
Well, so long, fellas take care of that leg.

Speaker 41 (58:21):
Thanks?

Speaker 9 (58:22):
Yeah?

Speaker 41 (58:23):
Thanks.

Speaker 33 (58:23):
My name is Lambert Mius mackenzie. Maybe we'll run into
each other sometimes.

Speaker 41 (58:27):
Yeah, so long.

Speaker 44 (58:31):
All right, let me have that rope. Now, well, who's next?

Speaker 33 (58:35):
Now? Maybe a better take. Those two guys that passed out,
they might be hurt.

Speaker 44 (58:38):
Sure, how about this young fella.

Speaker 33 (58:41):
Sure, I ain't got a little blood on him, hasn't he?
He has that glass from the light pictures. I guess
I don't think it's serious. You don't he know? He
seemed to be all right.

Speaker 27 (58:51):
Well, whatever he seemed to be, he's not. Now this
man is dead. Dead, but he can't be Look here,
you don't seem to realize that you've come through a
pretty serious accident.

Speaker 33 (59:04):
No, but he can't be dead. We heard him talking
just a few minutes ago, isn't it right?

Speaker 9 (59:08):
Yes?

Speaker 33 (59:09):
I heard him, was sure he was talking.

Speaker 1 (59:11):
He was here in the dark.

Speaker 33 (59:11):
He said something about being glad his father wasn't on
his element.

Speaker 44 (59:14):
They can't help what he said or what you heard
him say.

Speaker 33 (59:18):
This man is dead.

Speaker 34 (59:27):
My son, who had survived the original accident without apparent injury,
was dead. You, gentlemen, were more fortunate you lived five
days later. You format again, who's a police headquarter? About
two thirty on a Friday afternoon. The last to arrive
was mister Lambert.

Speaker 44 (59:44):
Here, mister Lambert, Thanks.

Speaker 33 (59:47):
Hello, Hey, how's a lay?

Speaker 5 (59:51):
Pretty good?

Speaker 3 (59:51):
Mister Lambert. That's right, I'm Chief Inspector McMahon. Just take
a seat there. Well, we're all here now. Well, as
I told each of you on the phone, I won't
keep you very long. I just wanted to ask a
few routine questions about that business of the elevator the
other day.

Speaker 33 (01:00:12):
What's the matter? Something pony about it?

Speaker 3 (01:00:14):
Not for our money. It's an open and shutcase suicide.

Speaker 33 (01:00:18):
Suicide you mean the operator wanted to bump himself off?

Speaker 3 (01:00:22):
So no, no, no, not the operator. He died of
a fractured skull, Young Hardacre. We're interested in. His father
has been raising a row, so we said we'd investigate.
But I still don't get Wesley Hardacre was killed by
a thirty two caliber bullet through the heart.

Speaker 37 (01:00:39):
Do you mean he killed himself right in that car
with all of us else.

Speaker 3 (01:00:44):
He wasn't shot when he walked in, and he was
dead when we brought him out unless one of you
killed him. Any of you know him?

Speaker 5 (01:00:54):
No, no, they are.

Speaker 3 (01:00:56):
Even the father had to admit it as well as
he knew his son had never seen any of you
before in his life.

Speaker 17 (01:01:02):
But it don't make sense.

Speaker 33 (01:01:03):
What don't make sense?

Speaker 14 (01:01:04):
Well, I mean a guy shooting himself in an elevator
with four other people that nobody didn't even know it.

Speaker 3 (01:01:10):
Did any of you hear the shot?

Speaker 33 (01:01:12):
Not before they started the blow torches. I swear to
that couldn't have heard one anyway, you see, Hey, wait
a minute, did you hear something?

Speaker 5 (01:01:20):
No?

Speaker 14 (01:01:21):
But Mackenzie, remember I said when I was laying on
the floor of the elevator that I thought I saw
a spark from one of those blow torches that went
across the car instead.

Speaker 45 (01:01:29):
Of falling down.

Speaker 32 (01:01:30):
That's right, anybody else in the blow torches were absolutely blinding.

Speaker 21 (01:01:34):
You couldn't see it.

Speaker 3 (01:01:35):
How about you, mister Kenjaw.

Speaker 33 (01:01:37):
I'm afraid that I fainted for something silly like that.
I'm not a very strong person.

Speaker 3 (01:01:42):
Well, if it was probably the gunshot, all right, nothing
very mysterious about it. Don't belonged to young Hardiker, licensing
his name and had only his own.

Speaker 14 (01:01:50):
Fingerplays on it. Well, maybe I shouldn't ask, but why
did he do it?

Speaker 3 (01:01:55):
The official verdict the suicide while of unsound mine.

Speaker 33 (01:01:59):
He seemed all right, he talked, U was perfectly sensitively
just before it happened.

Speaker 3 (01:02:03):
Just goes to show you never can tell Kenny, I'd
always been nervous and highly strong. We got that out
of his father's training of being down on that black.

Speaker 17 (01:02:12):
Pedwid That's too much for him, that's all.

Speaker 35 (01:02:13):
Oh, what a terrible thing to break down.

Speaker 21 (01:02:16):
Just as we were about to be rescued.

Speaker 3 (01:02:18):
Yeah, it's too bad, boys to have everything to live
for too. What did we find that sort of thing?
All the time?

Speaker 38 (01:02:24):
The noise?

Speaker 37 (01:02:25):
I suppose I've read of cases of nervous breakdown caused
by noise.

Speaker 1 (01:02:28):
Yeah, that's it.

Speaker 3 (01:02:29):
Well, I guess I don't need to keep you gentlemen
any longer. I'm certainly glad there were no competitions. Oh,
don't worry one of you had anything to do with it.
You'd be back in a cell right now.

Speaker 34 (01:02:47):
That was almost a year ago. Last week, each of
you received a phone call from me. I can well
understand and sympathize with the fact that you were somewhat astonished.

Speaker 31 (01:02:55):
Perhaps a little suspicious of what you heard.

Speaker 34 (01:02:58):
I don't doubt that most of you debated at some
link in your mind the advisability of accepting.

Speaker 9 (01:03:03):
My invitation at all.

Speaker 34 (01:03:05):
You, for instance, mister McKenzie, you are married, as I remember,
I imagine that you talked quite seriously with your wife about
the whole a fale. I phoned your home I believe
at about eight thirty last Monday evenings.

Speaker 33 (01:03:20):
Yes, this is miss Mackenzie speaking. Well, I'm sorry, but
I don't seem to place you. Oh of course, mister Harricane. Well, frankly,
I don't see the point. You don't know me, I
don't know you. Yeah, yeah, I see. Well all right,

(01:03:46):
mister Harriker, I'll be there. That's a funny name. His
name is Hardiker, the part of that boy who killed
himself in the elevator last year.

Speaker 49 (01:03:56):
Oh what did you want?

Speaker 33 (01:04:00):
He wants to be to come to dinner with him
on Saturday at his home.

Speaker 12 (01:04:02):
Oh, how lovely.

Speaker 49 (01:04:04):
He's a very important man, isn't he? Did he ask
both of this?

Speaker 33 (01:04:07):
No, as a matter of fact, he's asking the four
men who were in that elevator with his son when
he when he died.

Speaker 49 (01:04:13):
What a strange idea. Seems sort of gruesome to me.

Speaker 33 (01:04:18):
Yeah, that's what I thought.

Speaker 49 (01:04:20):
Didn't he say anything?

Speaker 33 (01:04:21):
Oh, think quite a lot.

Speaker 49 (01:04:24):
What did he say?

Speaker 33 (01:04:27):
Just thankful?

Speaker 49 (01:04:28):
Well, now, please Stephen, don't sit there and be so tandalizing.

Speaker 50 (01:04:31):
What did he say?

Speaker 33 (01:04:32):
Well, he said something about his son's estate. Seems his
son had quite a lot of money in his own right.
The old man said he didn't need it, and he
weren't any other relations, and well, he sort of hinted
that he thought it might be a good idea to
split it up between the four men who were with
his son and his last moments of life.

Speaker 49 (01:04:49):
As he put it, well it's Stephen, how wonderful. Oh,
why aren't you excited? How much is it? Do you
suppose it's a lot of money?

Speaker 17 (01:04:56):
I don't know.

Speaker 49 (01:04:57):
It might be several thousand dollars. It might be several
hundred thousand dollars. Oh, Stephen, what's the matter with you?

Speaker 33 (01:05:04):
Well, he's such a crazy thing.

Speaker 9 (01:05:06):
To do that.

Speaker 49 (01:05:07):
Don't see that that makes any difference if a man
wants to do a nice, kind generous thing.

Speaker 33 (01:05:13):
Look, honey, if it was generosity, he'd give it to charity.
It was a sort of memorial to his son. Hele
he set up a scholarship for build a hospital or something. Well,
the old man was pretty broken up about it when happened.

Speaker 17 (01:05:28):
I remember reading something about his being in a.

Speaker 33 (01:05:30):
Sanitarium for a while afterwards, and he never did believe
the verdict of suicide. Police has much has told us
that at the time. How do I know he doesn't
think one of us killed a boy?

Speaker 32 (01:05:42):
Oh that's absurd, all right.

Speaker 33 (01:05:45):
But anybody who's crazy enough to divide up a wad
of dough between poul perfect strangers is crazy enough to
think a perfect stranger killed his son. Oh maybe he
thinks we all did it. Maybe he's whacking and has
some crazy idea about revenge and is going to use
the dough as bait to get us all together.

Speaker 49 (01:06:01):
I haven't thought of it out there. Perhaps you ought
not to go.

Speaker 33 (01:06:06):
I already said I would anyway, Maybe it's on the level.

Speaker 49 (01:06:10):
Stephen, do you still have that gun? Needs to have
me work at the bank?

Speaker 33 (01:06:15):
Yeah, I have it there.

Speaker 49 (01:06:17):
I think you ought to take it with you Saturday night.

Speaker 33 (01:06:20):
I think you've got something there. I think that's a
very good idea.

Speaker 34 (01:06:32):
And so, gentlemen, I'm quite gratified that you also fit
to accept my rather unique invitation and that we are
all here together this evening. By the way, mister McKenzie,
I'm afraid I must ask you to give me that
gun that you brought along.

Speaker 33 (01:06:47):
So that's it.

Speaker 34 (01:06:48):
And mister McKenzie. You will notice that one of my servants,
who are standing in the door directly behind you, has
got you covered as the phrase I believe.

Speaker 9 (01:06:59):
Okay, thank Jim.

Speaker 34 (01:07:01):
How did you know why the butler sort of patted
all your pockets when you remove your coats? But aside
from that, I've spent most of my waking hours during
the past year looking into the backgrounds of all you, gentlemen.

Speaker 33 (01:07:13):
So I was right about this set up after all.
Now look here, mister Honecker.

Speaker 22 (01:07:17):
I came here tonight.

Speaker 33 (01:07:17):
Is perfectly good. Right, I even cancel a very important business.

Speaker 34 (01:07:20):
At point with mister Joseph Donahue Selearoyd products.

Speaker 33 (01:07:24):
Yeah, oh right, let's cut out the mystery. What's this
all about?

Speaker 1 (01:07:27):
What's the idea?

Speaker 34 (01:07:28):
One moment, gentlemen, one moment. I didn't ask you up
here on the false pretenses. I fully intend to divide
my son's estate precisely as I suggested.

Speaker 9 (01:07:36):
Over the phone.

Speaker 34 (01:07:37):
I sincerely hope you don't resent my investigation of your
backgrounds well, Jean, mister.

Speaker 3 (01:07:42):
Hardeaker, my background is much I guess, but.

Speaker 30 (01:07:45):
Perhaps we all owe you an apology in mister Hardacre,
but you must admit the whole thing's been a little strange.

Speaker 9 (01:07:49):
It has indeed been very strange.

Speaker 34 (01:07:53):
I think, however, that that phase of the matters about
over now, before we get down to business, there is
one detail that I'd like you to help clear. Can
I bring it in an sir, you please? Is it
well mixed? Yes, sir, in the center of the table.

(01:08:15):
Thank you, Johnson. Now please see that we are not
disturbed on any account whatsoever.

Speaker 33 (01:08:21):
Yes, sir, shame.

Speaker 8 (01:08:27):
That looks good.

Speaker 33 (01:08:28):
What is it?

Speaker 34 (01:08:29):
Oh, it's got quite a number of things in it,
white of egg, mustard, milk.

Speaker 33 (01:08:34):
It sounds like an antidote for poison.

Speaker 34 (01:08:36):
It is an antidote for poison. Oh what, gentlemen, There
is a murderer in this room. One of you killed
my son and hasn't paid for it yet.

Speaker 33 (01:08:48):
Don't be a fool. The corner's verdict was suicide.

Speaker 34 (01:08:51):
This is not a discussion, mister Mackenzie. This is an execution.

Speaker 35 (01:08:57):
I'm getting out of here.

Speaker 34 (01:08:58):
There is a man with a gun outside each door.
You'll find them very unreceptive to that idea. Mister Brenda
gat sit down. He's got us well.

Speaker 33 (01:09:08):
The only thing we can do is try to talk
a little sense.

Speaker 34 (01:09:10):
I'm not open to arguments. Mister mackenzie, one of you
killed my son. I know who that man is taking
me a year to find out, but I now know
the food that man ate tonight was poisoned.

Speaker 9 (01:09:24):
West ten minutes, he'll drop dead.

Speaker 51 (01:09:28):
You can't take the laws you're own hands that way.

Speaker 34 (01:09:30):
Unfortunately, the law demands a very specific type of evidence.
The police, whom I consulted repeatedly do not believe it
possible to get a conviction on the evidence I have,
and therefore the conviction must come tonight.

Speaker 35 (01:09:42):
Well, you wouldn't, dare You couldn't kill a man in cold.

Speaker 26 (01:09:45):
Blood that way.

Speaker 34 (01:09:46):
There is an alternative, mister Prenda gat It is there
in the center of the table, the antidote.

Speaker 52 (01:09:52):
Oh.

Speaker 34 (01:09:53):
The murderer may either confess his crime by drinking the
contents of that bowl, or he may keep silent and
go to his death here to nine, privately executed for
what cannot be publicly proved.

Speaker 44 (01:10:06):
They could send you to the chair for that.

Speaker 34 (01:10:08):
I am quite aware of that contingency at the Crenshaw,
and quite willing to accept the consequences. But the murderer
will have gone to his death before me.

Speaker 35 (01:10:19):
But how do we know you poison the right.

Speaker 34 (01:10:21):
The murderer knows, mister Prenda, guess the rest need have
no fears.

Speaker 21 (01:10:26):
Hey, I think the guy's crazy, maybe poisoned all of us.

Speaker 33 (01:10:29):
Sluck, mister Harriker, this whole thing is insane. Nobody killed
your son.

Speaker 34 (01:10:33):
As to that, we shall shortly see. Mister McKenzie, the
man who killed my son has approximately seven minutes to live.

Speaker 35 (01:10:43):
It's me, I know it's me. He's poisoned my whole
inside her and fired me all for it, and me.

Speaker 33 (01:10:48):
You're sure the whole thing may be again?

Speaker 34 (01:10:50):
I assure you nothing has ever been more serious. Mister mackenzie.

Speaker 5 (01:10:54):
You know you know I feel so good myself.

Speaker 33 (01:10:58):
Why just indigestion, that's the dinner story? Like this is
enough to give indigestion to a horse.

Speaker 14 (01:11:04):
No kidding, hey, supposing to this guy's ambia. Suppose he
just made it all up in his own head and
poisoned all of us.

Speaker 33 (01:11:11):
Listen, mister hard, let me just tell you this. I
come out of this alive. I'm going to beat your
brains out of It's the last thing I I didn't do?

Speaker 15 (01:11:20):
What else?

Speaker 9 (01:11:25):
Five more minutes?

Speaker 1 (01:11:29):
Hey?

Speaker 17 (01:11:30):
I feel all?

Speaker 5 (01:11:31):
Maybe we all ought to take some.

Speaker 8 (01:11:32):
Of that stuff just in case.

Speaker 21 (01:11:35):
We'll all take it.

Speaker 33 (01:11:35):
Yeah, we'll take it first.

Speaker 34 (01:11:37):
Unfortunately, gentlemen, there's only enough antidote for one.

Speaker 1 (01:11:42):
Even if you're right heart, agare, this is no way
to do. This is my way. Oh crazy, I tell
you crazy.

Speaker 9 (01:11:47):
Perhaps have you a son.

Speaker 26 (01:11:54):
Kenshaw?

Speaker 8 (01:12:00):
But it saves me.

Speaker 9 (01:12:03):
Well, gentlemen, now you know.

Speaker 51 (01:12:06):
All right, all right?

Speaker 21 (01:12:07):
What do I care? I killed him and I do
it again.

Speaker 38 (01:12:12):
I hated him.

Speaker 8 (01:12:13):
I hated it all my life, in school, in college.

Speaker 21 (01:12:18):
He never even knew that I existed.

Speaker 40 (01:12:21):
He's too good for someone like me, and he had everything.

Speaker 5 (01:12:25):
Money, everything, And he married a girl that I loved.

Speaker 21 (01:12:30):
She didn't know how I felt.

Speaker 3 (01:12:31):
I never told her, and then then she died.

Speaker 21 (01:12:38):
You more, if they said she wouldn't have died she
hadn't married him.

Speaker 9 (01:12:42):
Okay, So I killed him.

Speaker 31 (01:12:45):
I saw him, didn't feel him, and then it failed.

Speaker 21 (01:12:51):
It felt, It was as though God.

Speaker 31 (01:12:56):
Had delivered it into my head.

Speaker 21 (01:12:59):
It came, didn't get in the dog.

Speaker 41 (01:13:02):
I chose him.

Speaker 9 (01:13:04):
I choked him in that and he got out of
his gun and I put my hand over his and
I turned it against him and fired.

Speaker 53 (01:13:16):
I'm hi glass, look helping somebody help him hould up
his head.

Speaker 33 (01:13:27):
Never mind, he's dead.

Speaker 35 (01:13:31):
It didn't work in time.

Speaker 33 (01:13:33):
You killed him.

Speaker 34 (01:13:34):
No, I didn't I tell you he's dead. Yes, I know,
but what he drank was not the antidote. It was
the poison.

Speaker 8 (01:13:44):
You see.

Speaker 34 (01:13:45):
I didn't exactly know which of you killed my son.
I only knew that one of you must have. And
so Robert Kenshaw convicted himself in front of all of you,
and was his own executioner. He was never poisoned at
all until until he drank the contents of that ball.

Speaker 10 (01:14:06):
Gee.

Speaker 34 (01:14:08):
I shall divide the estate, gentleman, as I promise. Meanwhile,
you may call the police if you like. Let the
law and divine providence decide whether this man died by
my hand or by the guilt that lay upon his
own soul.

Speaker 30 (01:14:41):
And so closes after dinner. Story by Cornell Woolrich starring
Otto Krueger, The Knight's Tale of Suspense. This is the
Man in Black. He conveys to you Columbia's invitation to
spend this half hour in suspense with us again next week,
same time, when our star will be Gene Lockhart in

(01:15:03):
the suspense play called Statement of Employee Henry Wilston. The
producer of suspense is William Spear, who tonight also directed
the broadcast, and who at lud Gluskin and Lucian Morowick
conductor and composer, and Robert L. Richard, the radio author,
elaborated on tonight's suspense.

Speaker 54 (01:15:29):
Are you one of the frightened? Careful row?

Speaker 55 (01:15:36):
Please don't walk under the latter that someone is placed
so carelessly against the building wall there. Possibly assigned paper
is working there. But that latter can.

Speaker 54 (01:15:47):
Only bring you trouble. Did you ever hear of the
tale of two robbers?

Speaker 55 (01:15:53):
It was in the days of medieval history, the days
of darkness and Gothic gloom and death.

Speaker 54 (01:16:01):
Their names were Gaspar and Francois.

Speaker 55 (01:16:05):
They were young men, but old in the ways of
treachery felony.

Speaker 54 (01:16:10):
They cut throats for fun as well as money. But
one April night.

Speaker 55 (01:16:14):
Gaspard Francois rousted and reveled in the infamous tavern of
the coach door. They'd been idle for days, and so
were taken recourse in drunken debauchery. Their fingers itched for
their curious profession. They hunger and to ply their wicked trade,
and so when a fat, wealthy merchant left the tavern

(01:16:36):
after announcing loudly to one and all his riches in
his little house at the end of the town, Gaspar
and Francois lunched in pursuit. The Paris streets were dark
and ill lit, but the two drunken thieves followed their
prey with eyes.

Speaker 54 (01:16:53):
Long used in the darkness. Happily, the distance was not far.

Speaker 55 (01:16:59):
Soon the fact merchant turned into a cobbled courtyard and
entered a stone, ivy covered building. The gas fire of
Francois waited patiently, and when candle light flickered in a
second story window.

Speaker 54 (01:17:13):
They made their plans.

Speaker 55 (01:17:15):
It was the work of a second to climb the
wall surrounding the house, and in the darkness of the
courtyard they found a cruel wooden ladder prompt.

Speaker 54 (01:17:24):
Near the barn door.

Speaker 55 (01:17:26):
Gaspar placed it gently against the vines until the top
run rested directly below the fat merchant's window. Francois licked
his lips greedily, and his dirty fingers.

Speaker 54 (01:17:38):
Tightened about the decker in his hand.

Speaker 55 (01:17:40):
He would make short work of the fat merchant, but
Gastar was already mounting the ladder as stealthily as a cat.
His knife gleamed in the darkness. He'd very nearly reached
the top run when the casement windows flew open and
there was the fat merchant thrusting a lighted torture to

(01:18:02):
his face. Gaspar screamed terribly, lashing out of his knife.
But this fat merchant had been rich two larm and
stained fat because he had known how to take care
of himself and his money. The long sword in his
fat fingers buried itself from Gaspar's chest up to the hilt.

(01:18:23):
At the bottom of the ladder, france Bis panicked and
scrambled off the rungs, coming around behind the ladder and hiding.

Speaker 54 (01:18:31):
Underneath it, Hugging the wall.

Speaker 55 (01:18:34):
He stared up above him as the great bulk of
Gaspar's dead body sagged against the rugs. The merchant shouted
from the police at the top of his lungs. Francois
was frozen where he stood the drunkenness of the evening,
still boiling in his blood.

Speaker 56 (01:18:53):
His eyes flashed about the courtyard, looking for the best
avenue of escape, and then gasps Bar's body, unevenly balanced
on the ladder, toppled through the space of one set
of runs and bend it.

Speaker 54 (01:19:08):
On his partner, Francois.

Speaker 55 (01:19:11):
Francois's eyes bulged with surprise, and the bloody moan bubbled
from his dirty throat as the point of the sword
jutting from Gasparre's back knifed into his heart. When the
police arrived to see what the commotion was, they found
gaspar Francois huddled behind the ladder, jammed against the wall

(01:19:33):
like two frightened children, locked in each other's arms against
the cold. And there you were. Legend has it, of course,
that Francois walked under a ladder and died terribly. But
well you've heard the story, and so please be careful.

(01:19:54):
You never can tell, can you. Well upon myself, here
comes the sign paint at get his ladder, And do
you know, my friend, you've been standing under it for
the longest time.

Speaker 57 (01:20:52):
The Adventures of the Saint starring Vincent Price. The Saint
based on characters created by Leslie Charteris and known to
millions from books, magazines, and motion pictures. The robin Hood

(01:21:15):
of modern crime now comes transcribe to radio, starring Hollywood's
brilliant and talented actor Vincent Price as the.

Speaker 9 (01:21:24):
Saint just a moment.

Speaker 18 (01:21:31):
Yeah, are you Simon Templar, the man they call a saint?

Speaker 9 (01:21:35):
Yes? I am?

Speaker 20 (01:21:37):
Who am I?

Speaker 9 (01:21:38):
What do I get if I come up with a
correct dancer?

Speaker 18 (01:21:41):
Let mean, and I'll show you.

Speaker 9 (01:21:44):
And you're in If you're carrying your laundry in that
little black bag, Jack Benny, I said.

Speaker 20 (01:21:49):
I'll show you.

Speaker 9 (01:21:52):
Here. Oh, laundry never looked like this.

Speaker 18 (01:21:55):
Don't touch just look. It's almost all big bills. The
whole bag full of big bills. What did you do?
Said your cart on its John? That's what I want
you to tell me.

Speaker 9 (01:22:06):
You mean you don't know how you got all this money.

Speaker 18 (01:22:08):
I don't know anything that goes for who I am,
where I came from, where I'm going. I see an
hour ago I woke up. I'm a taxi and we're
driving through the park. I got a bump on the
head the size of an ostrich egg, and this bag
full of sugar beside him.

Speaker 9 (01:22:22):
When I wake up from a bump on the head,
I'm lucky if I find an aspirin beside me.

Speaker 18 (01:22:27):
I got no wallet, no papers, no keys, not even
a match. But my pockets are empty and sows my head.
I remember nothing. The cab driver, Oh, he's waiting for
me downstairs, says he picked me up on a midtown street,
says I gave him a ten spot to drive me
through the park while I took a nap.

Speaker 9 (01:22:44):
So for a thousand.

Speaker 18 (01:22:45):
Dollars from this joy jam bag, Saint, who am I.

Speaker 9 (01:22:49):
My friend? I'm afraid you have amnesia. You'd better tear
some doctor away from his cigarette test and have yourself
looked at your nuts.

Speaker 18 (01:22:58):
You go to a doctor with a knock on and nogging,
the doctor calls the cops. The cops come calling and
write your own finish. You don't like cots with a
hat like I'm wearing. I'm not even positive I hate spinach.
It isn't what I might think of cops. It's important, Saint,
it's what they might think of me.

Speaker 9 (01:23:15):
You mean the money, I mean exactly nothing else.

Speaker 18 (01:23:19):
Anybody carrying this kind of dough these days is either
been stealing from a banker holding out on the government.
No hospital, Saint, no doctors, no cops, no explanations, no jails.
You me you once again, Saint? For a thousand bucks?
Who am I?

Speaker 9 (01:23:35):
All right? A thousand dollars goes to the Red cross
in anticipation of the day that I become a natural disaster.
You just made a deal. There's for you. You'd better
go into my guest room, lock yourself and your money
in and sleep off that bump. Huh before it grows
into another head and wants to know who it is.
You find sleeping pills in the medicine chest.

Speaker 18 (01:23:55):
If you need them, I'll need them. You're going somewhere.

Speaker 9 (01:23:59):
I want to see if that the cab driver left
his meter running. Thanks a lot, mister Templey. You're very welcome. Mister.
I can't help you there at the time being, I'll
just call you mister sugar.

Speaker 8 (01:24:20):
Mister. All I know is the guy climbs in the
cab at forty eight, Madison hands me a ten spot,
tells me to take it off through the park while
he snatches forty.

Speaker 9 (01:24:27):
He handed you the money before you took him riding, Yeah,
before h let me have how come?

Speaker 8 (01:24:33):
Because I didn't want him in my cabin. That's how come.
The way he was bobbing and waving, I thought he
was lushed. I didn't want no trouble.

Speaker 10 (01:24:40):
With no drunks.

Speaker 9 (01:24:41):
He had a little argument, a little discussion.

Speaker 8 (01:24:43):
Then he takes out a ten dollar bill and forces
it on me. So I stopped discussing and stop driving.

Speaker 9 (01:24:48):
The ten dollar bill. He took it out of his pocket.

Speaker 20 (01:24:51):
Huh.

Speaker 8 (01:24:51):
If you know one the other place a guy can
carry his, don't let me know. And I'll take the
bill off of my wife's neck when we go to
bed nights.

Speaker 9 (01:24:57):
Hm, out of his pocket.

Speaker 8 (01:25:00):
Matter you think I'm lying.

Speaker 9 (01:25:01):
You're not lying. Now. I know how my old grandmother
felt when the medicine man's swore that the snake oil
would cure her rheumatism.

Speaker 8 (01:25:09):
Having trouble finding out what the score is.

Speaker 9 (01:25:11):
H I don't care what the score is. I'd just
like to know what the game is.

Speaker 43 (01:25:25):
Wow. Wow, Here he is your long lass.

Speaker 31 (01:25:28):
Yeah, and I'm very class.

Speaker 10 (01:25:30):
It's all so claar.

Speaker 9 (01:25:31):
You were waiting for me.

Speaker 58 (01:25:32):
Yeah, we've seen you chatting with the cab push outside shant.

Speaker 1 (01:25:35):
We didn't want it to.

Speaker 58 (01:25:36):
Rupt, so we come here and to do her to
await you.

Speaker 43 (01:25:39):
We want to have a chat toe with you.

Speaker 9 (01:25:41):
What you please? Now, one a head at the time.
Now what we chat about?

Speaker 15 (01:25:44):
Oh?

Speaker 36 (01:25:45):
Man?

Speaker 9 (01:25:45):
Which man?

Speaker 20 (01:25:46):
Man?

Speaker 8 (01:25:46):
We've buen shagging?

Speaker 9 (01:25:47):
Shagging he means following the guys in your apartment.

Speaker 58 (01:25:50):
Now, when we phoned the Bush and tell him, the
Bush has a.

Speaker 8 (01:25:53):
Reaction right while he's talking to him.

Speaker 9 (01:25:55):
I can understand it. I feel a little thick myself.

Speaker 59 (01:25:57):
The boss says, we should collar you want to politely?

Speaker 43 (01:26:01):
No, Bagil, he said, first ask him politely.

Speaker 10 (01:26:04):
Oh thank you, cecil.

Speaker 59 (01:26:05):
So we are asking politely, So why don't you politely
tell us?

Speaker 9 (01:26:10):
Look, if you boys are auditioning a new television act,
radio city went that away.

Speaker 43 (01:26:14):
We almost do a light of politely sht.

Speaker 8 (01:26:17):
We hardly got one good man and left.

Speaker 58 (01:26:19):
So what goes with the man in your apartment? Ain't
the boss said, he wants to know.

Speaker 8 (01:26:22):
The boss says he got to know.

Speaker 59 (01:26:24):
The boss says he don't want that old trouble with
a loss should start up again.

Speaker 60 (01:26:28):
Basil, you're talking too much. I apologize, Jane, you are
not talking enough. Now politely for the final time. The
man with the black bag, what's he up toe?

Speaker 20 (01:26:38):
Yeah?

Speaker 9 (01:26:39):
And what's he carrying in a bag? Mustache wag mustache waxy.
It's a new kind of mustache wax. Homoginized. He dropped
in to give me a free home demonstration.

Speaker 10 (01:26:48):
Why don't give us none of that?

Speaker 9 (01:26:49):
Yount even got a mustard, but he said he didn't
mind waiting.

Speaker 58 (01:26:52):
Oh damn Basil, Shall you hold him while I hit him?

Speaker 43 (01:26:55):
Or shall I hold him while you hit him?

Speaker 5 (01:26:57):
No?

Speaker 9 (01:26:57):
You mike the choice?

Speaker 43 (01:26:59):
No, no bad A lion.

Speaker 26 (01:27:07):
Friend broken out.

Speaker 1 (01:27:15):
Hello we start.

Speaker 9 (01:27:22):
Hello, boss, Hello, you're just in time to accept my
thank you. You're thanking me, yeah for making me a
member of the Thug of the Month club. To think
of all the money I've been wasting on gymnasiums.

Speaker 36 (01:27:33):
From where I sat, it didn't look wasted. Go and
beat it, boys, I'll talk to you later.

Speaker 26 (01:27:37):
I saw a boss.

Speaker 38 (01:27:38):
We try to beat light then, yeah.

Speaker 20 (01:27:41):
Yeah, beat it, beat it?

Speaker 9 (01:27:43):
You know me template not as well as I would
if I bet on horse races. Thank O'Connor. You're a
book maker.

Speaker 36 (01:27:49):
When you don't know me at all, Saint, I'm not
a bookmaker. I'm the bookmaker and bully for you. We'll
get right to the heart of the thing. How much
have yeah? Noth even say or try Macy. Oh, let's
be a little realistic template. The way you live, the
way you dress. You know you got that dollar. Look,

(01:28:09):
all that you gotta do is tell me in fifty words,
or less. What I want to know about your guest
inside and the big cash price is yours.

Speaker 20 (01:28:18):
What's he up to?

Speaker 9 (01:28:19):
He doesn't know either, he says, Oh, come on, fella,
give a little.

Speaker 36 (01:28:23):
Do I have to start mentioning amounts?

Speaker 9 (01:28:25):
You can mention any amounts of amounts you want. I
have nothing to sell you, Okonna.

Speaker 10 (01:28:29):
All right, okay, if that's the way you want to
play the hand, but you.

Speaker 20 (01:28:33):
Won't hold out along.

Speaker 36 (01:28:35):
I've found that people and race horses have one important
thing in common.

Speaker 20 (01:28:40):
They both have a price.

Speaker 9 (01:28:41):
And then right bother me with your impossible questions. Gonna
make a deal with citation, Not a deal will be
what you say. And if my money won't make the record,
spend The boys have a way all day wrong? Mmm, yes,
the boys. It's too bad they weren't able to stick
around and play a little longer. But I guess the
zoo is getting anst or you.

Speaker 36 (01:29:00):
Will be seeing them again soon, insane, Maybe you'd better
start getting anxious.

Speaker 8 (01:29:21):
Ah, love, what's thou? And I, with fate conspire to
change this sorry scheme of things entire? Would we not
shutter it to bits?

Speaker 9 (01:29:32):
And then anyone who recites oh Mark, I am to
a highball. Either loves no Mark I am, or loves highball.

Speaker 8 (01:29:39):
I'm happy to say that I love and I'm faithful
to both. And what brings the great Saint, the scourge
of the wicked, the nemesis of evil, to this humble
drinking place.

Speaker 9 (01:29:49):
I have a brain to pick with you, Murphy?

Speaker 10 (01:29:51):
Whose brain?

Speaker 9 (01:29:52):
Your brain? Ah?

Speaker 8 (01:29:53):
You've made a wise choice. Do we haggle about price?

Speaker 10 (01:29:57):
Or is it the usual?

Speaker 9 (01:29:59):
The price is what it always is.

Speaker 8 (01:30:01):
Splendid, splendid. I will accept payment.

Speaker 9 (01:30:03):
Now, Yeah, a bottle of bourbon for my friend, one
of the stamped for services rendered. Yeah, yeah, uh, thank you,
and now uh render friend.

Speaker 10 (01:30:19):
At your service?

Speaker 21 (01:30:20):
Friends.

Speaker 8 (01:30:23):
Ah, Now, which branch of my fabulous brain have you purchase?

Speaker 9 (01:30:29):
Memory? Branch? Mice and Men Division, Department of Thugs and
Bookmakers to file on Frank O'Connor m.

Speaker 8 (01:30:35):
Frank O'Connor born in Boston in nineteen twelve, Father.

Speaker 9 (01:30:39):
Well, which brings us up to recent years and in
old trouble with the law that he doesn't want should
start up again. To quote a thug named Basil.

Speaker 8 (01:30:47):
The case of the Missing paint man Pain.

Speaker 9 (01:30:50):
Huh uh, let's have that in Walstein.

Speaker 8 (01:30:52):
George Pain pains paints. He liked to play the horses.
He didn't like to pay the bookmaker. He didn't mind
making promises, though, when was this? Oh, a couple of
years ago he owed O'Connor what could easily have been
the annual budget of a small Latin American republic.

Speaker 9 (01:31:11):
How did it all come out?

Speaker 8 (01:31:12):
He disappeared, disappeared like the buttons on a shirt and
a ten cent launder. It created quite a splash. An
how come you were in Las Vegas at the time?
The hotel Flamingo I believe it was Rooum two ten
and the lady you liked in the floor show was.

Speaker 9 (01:31:28):
Named ivon Eh. Some day, when you have time, would
you mind riding my memoir? But right now, let's go
on with the opera.

Speaker 4 (01:31:36):
Yea.

Speaker 8 (01:31:37):
The police found out about Payne's debt to O'Connor. They
picked O'Connor up, grilled in medium rare, made him very uncomfortable.
All they couldn't pin anything on him, turned him loose
and pain Where are the snows of yesteryear? The popular
theory is that he is a victim of avenesia somewhere amnesia.

Speaker 10 (01:31:59):
He had it twice.

Speaker 8 (01:31:59):
Be what his doctor said, so be kind to the
next bomber asks for a handout, Simon, he may own
a million dollar paint factory in Long Island City. Any
relative wife, much younger, much prettier too. They tell me
she's running the paint factory now, bigger and better than ever.

Speaker 9 (01:32:17):
That's all clothes file.

Speaker 8 (01:32:19):
And I got my money's right, naturally, I do have
a remarkable brain.

Speaker 9 (01:32:24):
Do that fabulous?

Speaker 8 (01:32:26):
Anytime? It's the temporary time. I am here at my
office every day.

Speaker 61 (01:32:47):
Excuse me, you're excused, but with reluctance, I'd like to
get by, Please you get by anywhere.

Speaker 16 (01:32:54):
Look, I'm a very busy woman.

Speaker 61 (01:32:55):
I have no intention of standing here on a catwalk
suspended over a thousand gallon vat of boiling resin while
it's er throws passes at me.

Speaker 9 (01:33:01):
So that's what's boiling in that outsized tub below us,
huh resin? And I had hopes it would turn out
to be a hot Tom and Jerry.

Speaker 1 (01:33:09):
See here?

Speaker 8 (01:33:10):
Who are you?

Speaker 16 (01:33:11):
What are you doing here?

Speaker 22 (01:33:12):
Well?

Speaker 9 (01:33:12):
They told me in the front office that missus Pain
would be back here in the production office. I'm uh, simon, templar.

Speaker 61 (01:33:18):
I'm missus Pain. And if you wanna talk to me,
mister Templer. Let's get away from the heat of that
vet before my make up runs.

Speaker 9 (01:33:25):
Well, if it runs, I'll chase it for you.

Speaker 16 (01:33:35):
Come into my office.

Speaker 9 (01:33:36):
Oh thank you, Ms Pain, I'm uh. I'm here to
talk to you about your husband.

Speaker 21 (01:33:45):
My husband.

Speaker 16 (01:33:47):
You know something about George?

Speaker 13 (01:33:48):
You know where he is?

Speaker 9 (01:33:49):
Well, let's just say I know where a man with
amnesia is. At least he says he has amnesia.

Speaker 16 (01:33:54):
He s says, I'm afraid I don't understand.

Speaker 9 (01:33:58):
Oh, Frankly, neither do I yet.

Speaker 16 (01:33:59):
And what makes you think you?

Speaker 9 (01:34:00):
Well, a book maker named Frank O'Connor. O'Connor, yeah, and
two patrons of the arts named Basil and Cecil who
work for him.

Speaker 16 (01:34:10):
I'm afraid I don't follow you.

Speaker 9 (01:34:12):
In the course of a dull conversation, Basil. Let it
slip at their interest in my man with the paralyzed
memory is a continuation of their one time interest in
your husband.

Speaker 16 (01:34:22):
So you think that the man with amnesia and my
husband are one of the same.

Speaker 9 (01:34:26):
Mm It's the theory that I'm working on, if.

Speaker 61 (01:34:28):
Only it turns out to be more than a theory.
Mister Templar, When can I meet this man, I'll get
your head.

Speaker 12 (01:34:34):
No, all right.

Speaker 9 (01:34:36):
Only look, if you're worried about that resin you have cooking,
couldn't you get some obliging neighbor to turn it off
when it's done.

Speaker 61 (01:34:43):
My only obliging neighbor is the foreman of this planet.
I can leave as soon as he comes back.

Speaker 9 (01:34:48):
Here's my card, thank you.

Speaker 61 (01:34:51):
Oh, if only I could have George back again, mister templar,
if the man with a bump on his head does
turn out to be my husband, I should eternally in
your debt.

Speaker 9 (01:35:03):
That idea has some fascinating kind oftentions. If I say yes,

(01:35:28):
Joe Foller, Interurban Insurance Company, Oh, I don't need any Oh,
I'm not a salesman.

Speaker 14 (01:35:32):
I'm an investigator of what people mostly here. You've dug
up a guy who might be George Payne.

Speaker 9 (01:35:39):
You have big ears.

Speaker 14 (01:35:40):
I have a big telephone. Missus Payne called me right
after you left her. I'd like to have a talk
with this guy who might be George Payne.

Speaker 9 (01:35:51):
Come on in, Foller. If there's anything left to the
guy when I get through with him, it's yours. You
don't sound happy about this character, No, and I won't
be until I know why he's pretending to have amnesia
pretending Yeah, why is the insurance company dipping an oar
into this quarter.

Speaker 10 (01:36:09):
Of a million bucks?

Speaker 20 (01:36:10):
Good reason?

Speaker 9 (01:36:11):
Two hundred and fifty thousand good reasons. That's the amount
you won't have to pay if mister Payne is still living.

Speaker 20 (01:36:17):
That's it.

Speaker 9 (01:36:18):
Come and meet my guest. I'd like to very much,
mister sugar. He didn't luck.

Speaker 8 (01:36:33):
Hanging from the Oh wait, he committed suicide.

Speaker 9 (01:36:38):
Yeah, it looks that way. He was supposed to look
that way. But if he could talk, I think he'd
tell us he's been murdered. Cheerful place, isn't it?

Speaker 8 (01:36:54):
Fither waiting rooms of morgues in't supposed to be cheerful.

Speaker 9 (01:36:58):
You're pretty sure that the unfortunate that victim is pain,
aren't you?

Speaker 23 (01:37:01):
Oh?

Speaker 8 (01:37:01):
I didn't say that, saint. I said he fits the
physical description.

Speaker 9 (01:37:04):
But if the lovely missus pain should tell us that
she is satisfied with the identification that the course is
her husband, then what.

Speaker 14 (01:37:11):
And in all likelihood the insurance company will be equally satisfied.

Speaker 9 (01:37:15):
And two hundred and fifty thousand dollars moves from your
pocket to hers.

Speaker 14 (01:37:19):
That's the way it goes, Saint, When a policy holder dies,
we pay. It's the basic principle of life insurance.

Speaker 9 (01:37:25):
You know, I know, but in this particular instance a
few things strike me as being a little too basic.

Speaker 20 (01:37:32):
What do you mean?

Speaker 9 (01:37:33):
And I can answer that partially as of now, but
I prefer to answer it entirely as of later.

Speaker 20 (01:37:39):
You still think pain was murdered, Saint?

Speaker 9 (01:37:41):
Verly guess what mathematics the well worn problem of two
added to two in equaling four, only in this case
it was ten and ten equalling twenty twenty? What sleeping pills?
Sleeping pills, twenty sleeping pills, each one guaranteed by the
manufacturer to make you dream of Eddie Lamar. They they're
in my medicine chest.

Speaker 10 (01:38:02):
Oh to day, I'm stupid.

Speaker 9 (01:38:04):
The late lamented knew I had dream pills in my
medicine chest, even said he thought he would need one.

Speaker 14 (01:38:10):
So he took one, and it didn't work, and he
lay awake with a bump on the head and a
skullful of amnesia, and being mentally upset. He became depressed
and he could out a betant hung himself power.

Speaker 9 (01:38:20):
Have you ever hung yourself? Yep?

Speaker 17 (01:38:22):
Huh.

Speaker 9 (01:38:22):
It's a difficult thing to do, and it's a dreary
way to die painful too. You can swing and sway
in agony for as much as five minutes before you
pronounce yourself dead. But people have been known to do it.
Sht not people who have twenty sleeping pills available. See
what you mean?

Speaker 8 (01:38:40):
If he wanted to kill himself, he had gone after
the pills instead.

Speaker 10 (01:38:43):
Of the cords.

Speaker 9 (01:38:43):
Say you are a detective, but why was he murdered?
Some people call it the root of all evil. You
and I simply refer to it as money.

Speaker 14 (01:38:51):
This is where I get off. If he was knocked
off for anything, it was certainly not for money. Or
didn't you notice that little black bag was.

Speaker 10 (01:38:58):
Still with him?

Speaker 9 (01:38:59):
If the killer had I had taken the little black
bag with its little green contents, the suicide he hoped
to make everyone think it was would no longer look
like suicide.

Speaker 14 (01:39:08):
There's a lot of sugar in that bag, Saint, and
the killer could have so easily taken it cost him
a lot of money to.

Speaker 10 (01:39:13):
Make this murder look like suicide.

Speaker 9 (01:39:14):
The way I'm thinking, it didn't cost him one red scent.

Speaker 54 (01:39:17):
What do you mean?

Speaker 9 (01:39:18):
Not one Chinese dime, because that little black bag, with
its cargo of joy, every last penny of it will
now go back to its lawful owner. Lawful owner, But
who the killer? I don't think I'll wait any longer
for missus Pain to come and identify the body. I
have a sudden urge to talk to a certain bookmaker.

Speaker 14 (01:39:38):
You're going, You're not interested in knowing whether or not
missus Pain identifies the guy's.

Speaker 10 (01:39:41):
Or husband, ste Fowler, are you kidding.

Speaker 18 (01:39:52):
A taxi?

Speaker 9 (01:39:53):
Taxi?

Speaker 43 (01:39:54):
You don't want a taxi? Mister Temple, does she passil.

Speaker 9 (01:40:00):
Not?

Speaker 10 (01:40:00):
Cecil? You have used your head.

Speaker 9 (01:40:02):
He's used both his heads. Is it recess time at
the monkey house again? Boys?

Speaker 43 (01:40:09):
He is funny, is he Bazil?

Speaker 20 (01:40:12):
He is funny now, Cecil?

Speaker 10 (01:40:14):
But will he be funny later?

Speaker 43 (01:40:17):
No? He will not.

Speaker 60 (01:40:19):
Bas It is not possible to be funny when you
are sleeping in the river bed and a pair of
sea member Germans.

Speaker 9 (01:40:26):
I want you, knights at the round table, to take
me somewhere.

Speaker 10 (01:40:29):
Oh, we're gonna take you somewhere.

Speaker 9 (01:40:31):
Yeah. I want to see O'Connor. There are some questions
I intend to make him answer.

Speaker 60 (01:40:36):
You are gonna make him Bazil. Either this chapter screw
you or somebody already beat his brains up.

Speaker 58 (01:40:44):
I'm saying the bus is awaiting in the curb.

Speaker 9 (01:40:47):
Well, I hope he hasn't been awaiting too long this.

Speaker 59 (01:40:50):
Way, Bitchin and sant well are just the bottom of
whys you're losing a politeness?

Speaker 20 (01:40:56):
Are we not cesel?

Speaker 53 (01:40:57):
We?

Speaker 60 (01:40:57):
Indeed are what my color means, Saint is don't venture
to try?

Speaker 36 (01:41:03):
And yes, Saint, like I told you, people and race
horses they both have a price. You wouldn't talk for
money set up prices now a painless rubout, as against

(01:41:24):
one that's full of agony.

Speaker 9 (01:41:25):
Hey, being far too generous though kind of?

Speaker 8 (01:41:28):
They drive carefully?

Speaker 21 (01:41:29):
You hold again?

Speaker 20 (01:41:30):
You want the cops on us?

Speaker 3 (01:41:31):
I'm sorry, Boss, don't.

Speaker 43 (01:41:33):
Wear me, but I will see the badger drive care.

Speaker 36 (01:41:37):
Yeah, well, Saint, look, I'll make the offer even more attractive.

Speaker 20 (01:41:43):
I'll let you choose the spot where the bullets go.

Speaker 9 (01:41:47):
Already, now that's too much.

Speaker 36 (01:41:48):
Frankly, Saint, I'd like to be able to tell you
that I'll let you go after you told me what
I want. You know, maybe with just a couple of
broken bones here and ass a little stuff. But I
can't do it. I can't let you continue alive. You're
too smart and unless you're running away, you off form.
You've stirred up a fire I thought i'd put out

(01:42:09):
three years ago.

Speaker 9 (01:42:10):
You did kill Pain the paint man three years ago,
didn't you.

Speaker 20 (01:42:13):
Well, he owed me.

Speaker 36 (01:42:13):
Some pretty important money, the boys, and I called on
him to collect and he said no.

Speaker 9 (01:42:18):
And the boys when it action.

Speaker 43 (01:42:19):
I'll stay with that.

Speaker 36 (01:42:21):
Yeah, there's two wapes of mind they made with a
little too much action.

Speaker 20 (01:42:25):
See.

Speaker 36 (01:42:25):
I didn't want George Payne killed, just wanted them scared
of the pain up.

Speaker 9 (01:42:30):
Mmm, the Pain died and the river bottom has been
his home these last three years.

Speaker 36 (01:42:35):
And yeah, yeah that's it. And tonight he's gonna have
company on that lonely river bottom. But it won't be
no mermaid ready to give me an air form? Now,
Saint not quite ready.

Speaker 3 (01:42:49):
We'll make him ready when we get to the shack Bud.

Speaker 41 (01:42:52):
Yeah, I'll be just screaming to talk.

Speaker 9 (01:42:55):
Meanwhile, then let's have some more of your reminiscences O'Connor.
For instance, what made you so interested in the little
man with the black bag? Huh?

Speaker 20 (01:43:03):
What made me interested? Are you crazy?

Speaker 36 (01:43:06):
Here we go, We knock a guy off three years ago,
and for three years he's laying in a river. Oh
how would you feel if you see him or his
exact dupe lo get the same close, same everything on
the street one day last week.

Speaker 9 (01:43:20):
I'd feel hearted. So you had the boys tail him
for a couple of days. Yeah, and one of the
places he went was my apartment.

Speaker 36 (01:43:27):
Yeah, yeah, but where he goes twice before that, that's
what I get to worry over.

Speaker 9 (01:43:33):
Yeah, he went to the place where George Pain would
be most apt to go, didn't he?

Speaker 20 (01:43:37):
He sure did, so he.

Speaker 9 (01:43:39):
Began to worry about it. Huh. He didn't want George
Pain or anything concerning him to pop up anywhere.

Speaker 20 (01:43:44):
Yeah, Yeah, that's it.

Speaker 9 (01:43:45):
You worried because whatever Pains Double was up to had
to be a swindle, and you were afraid that the
swindle might interest the police again in the Pain affair,
and that you'd be on the carpet again and maybe
this time you'd be nailed as Pains came.

Speaker 20 (01:44:00):
Yeah, I knew that you had it figured. Saint. You
see what brains do for a guy, though, you are gonna.

Speaker 10 (01:44:07):
Be killed because you got brains.

Speaker 36 (01:44:10):
Sand Come on, Saint, come on, give give spare the
boys some bruised knuckles. What's the swindle the guy who
looks like pain is pulling?

Speaker 9 (01:44:20):
Yeah, if he's pulling his any swindle right now, it's
trying to convince Saint Peter that he belongs Eh. Yeah,
the man you're worried about is dead.

Speaker 43 (01:44:29):
Dead.

Speaker 20 (01:44:31):
Now you're pulling a swindle.

Speaker 9 (01:44:33):
A little sight seeing trip to the Morgue will convince you. Okay,
all right, we'll take that trip, Saint. And if the
guy is dead like you say, maybe you'll live a little.
But if he's not, you're gonna be dead a little.

(01:44:56):
And I'm glad you're still here. I see everyone else
is gone.

Speaker 16 (01:45:00):
I dread the thought of going.

Speaker 61 (01:45:01):
Home after seeing my poor husband and the Moor guy.
I thought maybe if I could work out, I'd not
think too much.

Speaker 9 (01:45:08):
And what do I do now? A plaud the performance
the speech you just gave, missus Payne. Frankly speaking, you're
just about as bad an actress as you are a swindler.

Speaker 16 (01:45:18):
Why how dare you look?

Speaker 9 (01:45:19):
Are you gonna climb down off that high dudgeon? Or
must I push you? Your little plot was a honey.
It was so simple it almost worked.

Speaker 39 (01:45:27):
Oka here.

Speaker 16 (01:45:27):
I demand to know what's.

Speaker 9 (01:45:28):
Such a simple swindle? Almost stupid. We have a mister
Paine who has been missing for three years. We have
a Missus Payn who is dying to get her hot
little hands on a quarter of a million dollars worth
of insurance money.

Speaker 16 (01:45:39):
You're insane.

Speaker 9 (01:45:40):
Finally, we have the highly fortuitous appearance of a man
who looks so much like the missing mister Payne that
even his bookie gives him a double take.

Speaker 20 (01:45:49):
Plot.

Speaker 9 (01:45:50):
Make a deal with the double have him fake amnesia,
tell him to call on the Saint and ask the
Saint to find out who are you is.

Speaker 16 (01:45:56):
I don't know what you're talking about.

Speaker 9 (01:45:57):
Giving a man a proper bag of money so that
the man can say, I wouldn't be bothering you, Saint.
I'd go to the police and ask them to find
out who I am, except that this money I've got
is probably illegal. So the Saint puts his fabulous nose
to the grindstone and sniffs out that the man is George.

Speaker 61 (01:46:13):
Payne, and the man, of course willingly allows himself to
be murdered so that I can collect my husband's insurance.

Speaker 9 (01:46:19):
The man thought he would take over a paint factor.
That's all he thought. He didn't know about insurance. So
the man is then murdered by me. Of course, no, no,
you and I were here together. Remember we were standing
over that hot bat of resin at the time the
man was murdered.

Speaker 16 (01:46:34):
Well, thank you at least for not accusing me of.

Speaker 9 (01:46:36):
Murder, mister Temple, I said, you didn't actually commit the murder,
but your colleague did, so you are just as much
of a candidate for the chair as he is.

Speaker 61 (01:46:45):
Oh, I have a colleague VI with an imagination like yours,
mister Temper. I'm surprised you didn't make it a whole game.

Speaker 9 (01:46:52):
So the man is murdered, and missus Pain says yep,
that's George Pain and collects all the insurance money as
of now without having to wait that long, long dreary
seven years before her missing spouse can be declared legally
dead and plot.

Speaker 16 (01:47:07):
You should write comic books, mister Templary.

Speaker 9 (01:47:09):
I should, at least the murderers in that business are
all made of ink. You know, this whole affair might
have given me great difficulties, weren't for one thing, Oh
what a stupid thing. The man with the alleged amnesia,
telling me he awoke from his deep nap with his
pockets picked dry. And yet the cab driver telling me

(01:47:29):
that he took a ten dollar bill out of his
pocket a little unimportant and stupid.

Speaker 16 (01:47:35):
Of course, you can prove all the wild things you
can do.

Speaker 9 (01:47:38):
There's only one thing that still consumes my curiosity, Missus Paine.
Who is your accomplice, the man who actually committed the murderer.

Speaker 61 (01:47:47):
Well, all you have to do, mister template, is turn
around and you'll see him, and.

Speaker 8 (01:47:51):
You'll see this beautiful gun I'm holding two.

Speaker 9 (01:47:53):
Hour Yes, an insurance company detective would be a big
help in swindling and insurance company. Stay away, our saint,
I said, stay.

Speaker 17 (01:48:02):
Away, thank you, give me that, come give it to me,
thank you.

Speaker 9 (01:48:09):
Run And that won't help me. Say, someday somebody is
going to buy a can of your paint, missus pain
and wonder where they are. But you don't follow, Missus Payne.

(01:48:32):
I've been called it before. What do you say we
go drop in on some police.

Speaker 57 (01:48:50):
You've been listening to one of the transcribed adventures of
the Saints, The robin Hood of Modern Crime.

Speaker 9 (01:48:55):
Now here is our starve and some Price ladies and gentlemen.
In tonight's cast you heard Joe Banks as Missus Payne
and Sheldon Leonard Is Frank ed Max and Tony Barrett
with Cecil and Basil, Sidney Miller with Murphy Lamont Johnson
Mister Sugar and Jack Moyle's Fowler. This is Vincent Price
inviting you to join us again next week at this
same time for another exciting adventure of the Saint. Good Night.

Speaker 57 (01:49:27):
This Adventure of the Saint was written by Michael Cramolly.
The Saint, based on characters Greeted by Leslie Trotters, is
a James L. Safier production and is directed by Helen
mac Vincent Price is soon to be seen co starring
with Micheline Prol and Harold Flynnan William Marshall's production of Bloodline.

Speaker 1 (01:49:42):
Are You Saint?

Speaker 57 (01:49:43):
Fans will be glad to know The Saint comic books
are available on all news stands. Three Times Mean Good
Times on NBC Next Sunday, You're invited to the Theater Guild
on the airs full hour and a half production of
Shakespeare's masterpiece Hamlet. The Pages of Hamlet Come to Life
on Theatergild next Sunday, March fourth, on NBC.

Speaker 62 (01:50:01):
It was orange, absolutely orange, and you never heard anything
like it, But you will as we hear the story
of Captain Gamble's uniform on Theater five.

Speaker 17 (01:50:47):
Mister Tubburn, I can you see him?

Speaker 4 (01:50:52):
I think, sir, he's done bridge.

Speaker 17 (01:50:56):
You bote zero voted the cut. He's got away for nightfall.
The hawk not sitting here like a duck with a
busted port screw. If he had a reload cabin, you
might have given up in this storm. Put your nose
into that god, mister Tuppen, we're down window diesel oil.
When you've been in this war long enough, you'll know

(01:51:16):
the think of a U boat. He's sitting out there waiting,
picking his teeth and his own good time. Got that screw, Henderson,
the boy split away open.

Speaker 26 (01:51:40):
The shaft.

Speaker 8 (01:51:41):
Whole thing's blown out of line.

Speaker 9 (01:51:43):
Mister ha, Yes, sir.

Speaker 17 (01:51:45):
When I send for a man from the bridge, I
mean for him to come. I do not mean in
his own good time. I do not mean I will
come for him. I mean he will come when I
call him. Yes, sir, but we can't move on his screw.
Captain the poor chaft is booed let the mechanics on it.
We want results, mister Hayes, not your expert opinion, Gambo Street.

Speaker 43 (01:52:08):
Mountain answer, he's gonnaway again?

Speaker 17 (01:52:11):
Right for runner, mister coming downstation a lot. I want
you on the bridge, mister Hayes. Now, mister hole manned

(01:52:32):
the boat. Pay ready, all of you.

Speaker 43 (01:52:34):
Two get bridge.

Speaker 5 (01:52:35):
He's coming on.

Speaker 17 (01:52:36):
Get on that gun, mister Hayes. When you see him,
fire fifteen hundred gas two coming fire, mister fire Street,
jammy forward magazine is Brady fire in the hole?

Speaker 45 (01:52:52):
Not more Runner? What a sway.

Speaker 26 (01:52:56):
Over to the sac ridge?

Speaker 5 (01:53:00):
A band that?

Speaker 43 (01:53:15):
All right?

Speaker 8 (01:53:15):
Anderson as burns are festering in the sun.

Speaker 26 (01:53:19):
Miller too. If we only had something to cover them.

Speaker 8 (01:53:23):
Nothing left.

Speaker 17 (01:53:25):
All the men in ducks taught them up for bandages
of storm.

Speaker 8 (01:53:28):
But the rest you get to glide down, they're still
heading spands. What's left of him?

Speaker 17 (01:53:34):
Takes a lot to cover a man his size.

Speaker 43 (01:53:36):
Yeah, we got out of that sea.

Speaker 8 (01:53:39):
You live anyway? That was something, yeah, but not much.

Speaker 9 (01:53:44):
What do we do now?

Speaker 17 (01:53:46):
Oh, somebody will pick us up on the convoy roots.

Speaker 8 (01:53:48):
If we don't lose it, they will break convoy for us.

Speaker 17 (01:53:52):
Why could they break convironments to maxim. The command of
a ship means discipline, order from talked about it? Do
you understand that too, to mister Hayes, order from top
to bottom? Yes, sir, Then get on those doors again,
you too, mister tublam pie.

Speaker 20 (01:54:05):
Sir?

Speaker 8 (01:54:13):
When I want to know, Captain, is where we headed?

Speaker 43 (01:54:16):
With all this rowing?

Speaker 17 (01:54:16):
Everybody watched them off? Are we holding the convoy roots?

Speaker 26 (01:54:21):
Where are the ships?

Speaker 17 (01:54:22):
I am not aware that a commanding officer is obliged
to report to his crew rowing in the sun as
senseless captain unless we're at it somewhere?

Speaker 8 (01:54:31):
Are we making the Antilles?

Speaker 17 (01:54:33):
See? I headed, mister Hayes, for ships, order and discipline.
Unless it's achieved, I'll nail you before the maritime court.

Speaker 23 (01:54:40):
And let me warn you.

Speaker 17 (01:54:41):
All my ears as sharp as an elks, and I'm
as big as an ox. Now lean to those doors,
all of you.

Speaker 1 (01:54:57):
I tell you he's none of his Go.

Speaker 17 (01:55:00):
Yeah, you'll run this thing in say, just because he
calls his border.

Speaker 26 (01:55:05):
It's a week now, Hayes.

Speaker 17 (01:55:08):
The brain men are worse if he doesn't say where
we're going on for here?

Speaker 8 (01:55:13):
For what you heard what Henderson said? He's gonna die,
isn't he? I'm afraid, Sir, A dang man knows.

Speaker 23 (01:55:22):
Get rid of me, said, get rid of Captain Gamble.

Speaker 26 (01:55:26):
You're the one he lays into it. You're a small guy, Hayes.

Speaker 17 (01:55:30):
I know, I know, I sleep lightly, mister Hayes when
I'm listening to conspiracy. You all know the consequence of
mutiny at sea. I'll see that they hang you for it.

Speaker 9 (01:55:43):
Now.

Speaker 17 (01:55:44):
I've got the only gun who's gonna take it away
ten days rowing in this time, I'll get the gun, Gamble,
and then Accent. Don't be an idiot to back and
let him come back to come and wait?

Speaker 8 (01:55:54):
Look what is the light?

Speaker 12 (01:55:55):
The light?

Speaker 45 (01:55:56):
It's right, and light lean too.

Speaker 4 (01:55:58):
The oars.

Speaker 17 (01:56:07):
Not too rigiven to her.

Speaker 13 (01:56:11):
Lord Uncle Albert.

Speaker 63 (01:56:12):
There near Darnin they have been half naked in this time.

Speaker 41 (01:56:17):
Water it what what happened?

Speaker 39 (01:56:19):
Water?

Speaker 17 (01:56:20):
And will not turn now here? These many doctors her hospital?
Can you get them marri at once?

Speaker 41 (01:56:30):
Oh yes, yes, sir. The ambula said, what toilet?

Speaker 8 (01:56:34):
What happens?

Speaker 39 (01:56:35):
Sir?

Speaker 64 (01:56:36):
What's your ship?

Speaker 8 (01:56:37):
Tud he does, that's right, submarine?

Speaker 43 (01:56:40):
What place is this?

Speaker 1 (01:56:42):
Where are we?

Speaker 64 (01:56:43):
Sad dencent island?

Speaker 17 (01:56:45):
What indies?

Speaker 26 (01:56:46):
Yes, sir Winward a land?

Speaker 65 (01:56:48):
All right?

Speaker 17 (01:56:48):
You can we get some clothing. Here's something to cover ourselves.

Speaker 23 (01:56:51):
Oh, cotton is quite scarcer because of the hostility.

Speaker 8 (01:56:55):
But we shall find something. Oh we have a tailor
who is a wheeler.

Speaker 17 (01:57:04):
Oh quite nice, handsome, sir, like a merchant uniform.

Speaker 26 (01:57:10):
White ducks, you call it.

Speaker 17 (01:57:12):
I call it white ducks, my good man, And I
say you're one genius of a tailor.

Speaker 10 (01:57:18):
I am too.

Speaker 26 (01:57:19):
But it is the end of white ducks.

Speaker 17 (01:57:22):
All that caton is gone, now.

Speaker 8 (01:57:25):
Finished, no more on the island.

Speaker 17 (01:57:27):
What about Captain Gamble's uniform. We had only end pieces.
Your commander is a very large man. No single piece
was big enough. But you've fed the others these smaller pieces, sir.
But I have other cloth for Gamble, beautiful cloth.

Speaker 21 (01:57:46):
Or a very large man.

Speaker 17 (01:57:57):
Do you mean to tell me mister Hayes that he
couldn't find anything else?

Speaker 14 (01:58:00):
There's uh, there's no more white sir. This is a
sample of all that's left.

Speaker 17 (01:58:06):
But tell him to get it from another island.

Speaker 8 (01:58:08):
There's no shipping, sir.

Speaker 17 (01:58:10):
Naked in this room a week and this is what
you find me. You expect the ships comand and to
wear a suit made of this.

Speaker 8 (01:58:16):
It's very cool, sir, call me blowed.

Speaker 17 (01:58:19):
Look at the color, Miss Daze. It's orange orange, absolutely orange.

Speaker 8 (01:58:34):
Hays over here, I said, Ian Hendy got wrong. What
you have? I have rum.

Speaker 17 (01:58:40):
You gotta fight the war. This is the way to
do it is the U boats everywhere. Now that's all right,
But I got a family. I want to get away
from here before the captain's suit is finished. Now, mister Hayes,
you list the whole purpose of this shipwreck. You know,
stay to see gamble in that suit. He's gonna have
thief pretty as a sunset. I've been wondering, how do

(01:59:04):
you give ordered an orange suit? Give orange orders the
way I did. It's poetic justice. When he gets into
that thing, nobody's going to keep a straight face, including
the natives.

Speaker 8 (01:59:18):
You see to that, won't you.

Speaker 12 (01:59:29):
Come on?

Speaker 41 (01:59:30):
I'll lift you, Toby. Can you see through the window?

Speaker 14 (01:59:34):
Yeah?

Speaker 13 (01:59:34):
That too many in frog.

Speaker 66 (01:59:36):
Give me more higher stuff.

Speaker 33 (01:59:37):
Let me know what he looks in the mirror, Toby.

Speaker 17 (01:59:39):
He won't have to.

Speaker 15 (01:59:41):
You'll hear it.

Speaker 49 (01:59:42):
He's coming out stairs.

Speaker 64 (01:59:43):
He's walking through the door.

Speaker 63 (01:59:45):
Oh, he did a beautiful suit and very or on suit.

Speaker 8 (01:59:54):
Don't do it, Max, And he knows how he looks.

Speaker 26 (01:59:58):
One kid, tell him.

Speaker 17 (01:59:59):
He's pretty like a deep fire, Captain, like a start
range fire. You'll blow like a whale, laughing, Thank you,
thank you.

Speaker 8 (02:00:17):
All, thank you.

Speaker 43 (02:00:21):
What kind of an answer is that?

Speaker 8 (02:00:22):
What she doing walking down the street shaking hands.

Speaker 17 (02:00:48):
And with all the act days in a few more
days in that suit and go up like a grenade.
You gotta give him credit the way he walk down
that street with everybody laughing.

Speaker 26 (02:00:57):
He'll give him credit. I remember what he is.

Speaker 17 (02:00:59):
Yeah, don't forget the life boat after mister gentlemen, yourn
up that equipment ours, Yes, that it's been mept in
Kingston generated too, Yes, sir, but we don't have anyone
who understand it.

Speaker 8 (02:01:14):
If you got those parts will make.

Speaker 17 (02:01:16):
It work ever known anybody so anxious to get back
into the wall.

Speaker 21 (02:01:22):
Why why here he comes?

Speaker 38 (02:01:23):
An't they need long?

Speaker 8 (02:01:25):
Mister tub afternoon? Captain?

Speaker 17 (02:01:28):
Mind if I join you, mister Maxon? Mine, no, sir, bartender,
drink from what from? Mister Hayes?

Speaker 8 (02:01:38):
Well, uh, yes, sir.

Speaker 17 (02:01:40):
You know there's one thing about this suit. Everybody knows
who I am and where they can't miss you. That's that,
mister Maxon. They knew I was there in the hospital
and then then I walked in the door. You you
went to see the crew. Yes, so now we've got
to get that transmitter rigged. There's men need good hospitals,
and if you don't mind, i'd i'd like to work
with you. Of course, in this suit, i'd be a

(02:02:01):
good signal. Just standing on the mountain. Hey, Maxim, here
he comes the orange elephant.

Speaker 26 (02:02:13):
Look at them follow him down the street.

Speaker 43 (02:02:15):
It's just nuts.

Speaker 8 (02:02:16):
I mean with that suit.

Speaker 1 (02:02:17):
Did do him?

Speaker 26 (02:02:18):
I think he likes the crazy thing.

Speaker 17 (02:02:21):
Look at him out there waving and smiling like he
just told a big joke or something. Then Loo, good afternoon, afternoon, sir.
I've been back to the hospital. The man like to
hear about the rest of you. Makes them feel better.
I meant to tell you, Sir Sawrence and told me
how much your visits mean to them. Is that right?

Speaker 1 (02:02:43):
Yes?

Speaker 17 (02:02:44):
Fine? Men, all of.

Speaker 1 (02:02:45):
Them to Jr.

Speaker 17 (02:02:52):
Saint Vincent's signal zero five six four zero, come.

Speaker 8 (02:02:56):
In, Come in maybe the signals week.

Speaker 17 (02:02:59):
We've been calling three days now around the clock. I'll
take the headphones now. No time to be discouraged, mister Tuban.
We just got to stay at it. Duja, Saint Vincent,
come in come in.

Speaker 26 (02:03:11):
I'll take the next tour maxim. He'll look pushed.

Speaker 17 (02:03:14):
Signal zero five six four zero Saint Vincent, Come in,
come in, come in x more.

Speaker 26 (02:03:22):
What's he got?

Speaker 45 (02:03:23):
Read me x more.

Speaker 17 (02:03:25):
Crew of American merchant vessel Hughes.

Speaker 41 (02:03:27):
At Saint Vincent.

Speaker 26 (02:03:29):
When is it, sir?

Speaker 9 (02:03:29):
What do you got?

Speaker 17 (02:03:30):
Pretty supply ship? X more out of Trinidad. We can
make caracas from there and on to another ship.

Speaker 9 (02:03:35):
Read me x more.

Speaker 17 (02:03:37):
The Hughes with torpedoes, crew at Saint Vincent? Can you
take us off?

Speaker 26 (02:03:43):
What's he saying? What you saying, sir?

Speaker 41 (02:03:46):
Gene A m.

Speaker 17 (02:03:47):
B l E zero five six four zero Saint Vincent.
I read that x more out What is it, sir?
What do they say? They're checking our registration when it's
very fied. They'll pick us up three days maybe hoy.

Speaker 8 (02:04:01):
Way next three days, sir. In a week you'll have
a new command.

Speaker 26 (02:04:06):
Three days and we'll.

Speaker 1 (02:04:07):
Be away.

Speaker 17 (02:04:17):
Well. If taken care of all of it. Men will
be brought down in ambulances.

Speaker 21 (02:04:20):
X Moore has.

Speaker 17 (02:04:20):
Cleared space for them, and she'll be in for sure tomorrow.

Speaker 8 (02:04:24):
Or tomorrow night.

Speaker 17 (02:04:24):
They want the cover of dark coming out on the
open sea.

Speaker 23 (02:04:27):
We shall miss you, Captain Gamble on SUITSA.

Speaker 17 (02:04:31):
Toby, My boy, it's been an experience. I won't forget
this suit if I live two hundred years.

Speaker 42 (02:04:36):
To bad, sir, But it was all Victor could find.

Speaker 17 (02:04:39):
That's all right, you've treated us well, Albert. Not a
man among us can complain. Oh yeah, bye, Toby.

Speaker 8 (02:04:44):
A nice right, thank you, sir.

Speaker 17 (02:04:49):
Well, it looks like the end of the Castaways. And well,
now there's something I'd like to say to you men.
When we get back to the States, they will restore
my command and on another ship. But well, no crew
will ever mean what you men have meant to me.
It would be the deepest down that I could know

(02:05:11):
if you'd sign a board with me.

Speaker 9 (02:05:13):
Again.

Speaker 8 (02:05:15):
I don't know about the others, sir, but the honor
would be mine.

Speaker 17 (02:05:22):
That's the way I feel, So yes, says so do I. Well,
then drink up, gentlemen, there's another round coming. Listen to that,
Captain Gamble a Bosun's whistler piping as a board my
bloody royalty.

Speaker 8 (02:05:43):
Maybe they picked up Chakill too.

Speaker 17 (02:05:47):
No, mister Dubman, no, they're whistling at my suit. Hey o,
Captain Gamble, get out of that thing. Now skip his compliments.
He says he weighed more when the war started. He
passes this uniform down of you said, ah, look at that,

(02:06:07):
mister Hayes, pure linen and the fit or close enough.
Let me get it on Harvey.

Speaker 8 (02:06:13):
Back, sir.

Speaker 17 (02:06:14):
The skipper wants our personal list. He's making up his table.
This is a cruise, mister Hayes. Oh we need a champagne.
Come in, Come in.

Speaker 43 (02:06:28):
Look at that, will you. That's the real uniform, sir.

Speaker 26 (02:06:32):
It's great to see you in the right thing.

Speaker 67 (02:06:34):
Sir.

Speaker 8 (02:06:34):
He's a commanding officer again as well.

Speaker 17 (02:06:36):
Now we can shape up, gentlemen. Put things back in order.
There's a button off that shirt, mister Tubman. Yes, sir,
see that it's replaced before dinner. Yes, mister Maxon, you
need a shave. Yes, And when you shine those shoes,
you'll find me on the bridge. Misterage.

Speaker 8 (02:06:53):
What's with him? Oh, you'll be all right.

Speaker 17 (02:06:57):
It's probably the role of the sea. I wouldn't smoke
on deck Tubman moving out to sea if you ask me.

Speaker 8 (02:07:13):
We've been had right back where we were.

Speaker 17 (02:07:16):
He was even given orders to the captain. No, he wasn't.
This skipper is not used to open water. He wanted
Gamble's advice, that's all. Maybe when you're at the captain's table,
you don't get up until he does.

Speaker 8 (02:07:28):
Gamble walked away though the ship was his. He said
he was tired. It's been a big day.

Speaker 10 (02:07:36):
For me too.

Speaker 8 (02:07:37):
I'm turning in.

Speaker 4 (02:07:40):
Is that human page?

Speaker 8 (02:07:42):
Yes, sir, but clean up that gear there, you let mike.

Speaker 17 (02:07:44):
Water is like a flophouse when I get out of
the shower, I want everything sold.

Speaker 8 (02:07:49):
Half of this stuff is his telling the lumpets and.

Speaker 4 (02:07:52):
Get rid of that oh range, stupid page.

Speaker 8 (02:07:56):
Throw it overboard, hide up of the finger parral. There's
your ansom, miss Hayes. Yeah, I guess you're right. The
minute he got out.

Speaker 1 (02:08:05):
Of this thing, they get meant something dirty?

Speaker 8 (02:08:08):
Two maybe something clean?

Speaker 1 (02:08:10):
What do you mean?

Speaker 44 (02:08:12):
I don't know.

Speaker 26 (02:08:14):
What's that?

Speaker 17 (02:08:14):
National work?

Speaker 14 (02:08:15):
They've picked up an enemy sounding not again, haven't we
had it?

Speaker 17 (02:08:19):
Get out of head something. Get to the boat, mister Hayes.
Mister Hayes, the story is gam Get me out of
your hie back to.

Speaker 41 (02:08:28):
Get to the boats.

Speaker 45 (02:08:28):
I'll take care of you.

Speaker 52 (02:08:29):
Hey, yeah, you look tired, mister Tumman. Let me take that.

Speaker 43 (02:08:49):
All a while.

Speaker 33 (02:08:51):
Thank you.

Speaker 26 (02:08:51):
Captain camellon.

Speaker 8 (02:08:53):
He's been running relief all night. He's a good man, Gamblings.

Speaker 17 (02:08:59):
What'd you do with the uniform?

Speaker 31 (02:09:01):
The white one?

Speaker 68 (02:09:03):
I threw it overboard nice Year to pick up his
other suit. He'd have been stacked naked without it. I
thought of that too. That's no way to go back
to Saint Francent.

Speaker 17 (02:09:42):
Theater five has presented Captain Gamble's Uniform, written by Richard
McCracken and directed by Ted Bell In. The cast Peter Donald,
George Petrie, Evelyn Guster, Gilbert.

Speaker 8 (02:09:54):
Max, Sam Raskin and Guy Sorel.

Speaker 17 (02:09:57):
Audio engineer Marty Folio, sound technician Terry Ross, script editor
Jacksie Wilson. Original music by Alexander Blast Dot Senko Orchestra
under the direction of Glennawser.

Speaker 8 (02:10:11):
We hope you've.

Speaker 69 (02:10:11):
Enjoyed our Theater five presentation this evening, and we welcome
your comments on these plays. Right to Theater five WLSFM
three sixteen off Michigan Avenue, Chicago, six oh six oh one.

Speaker 23 (02:10:33):
Story of a soldier and a War Beyond the Moon,
a gi in the years beyond two thousand plus.

Speaker 70 (02:10:42):
Two thousand plus science fiction adventures from the world of
tomorrow The years beyond two thousand AV two thousand plus
presents A veteran comes home.

Speaker 53 (02:11:15):
I Rocky.

Speaker 71 (02:11:18):
Rocket Ship are rising, rock Moon and rocket frail four.

Speaker 64 (02:11:27):
Mommy, is Addy? Is that the one who's daddy?

Speaker 12 (02:11:30):
Honest, Billy?

Speaker 29 (02:11:31):
I told you before Daddy's spaceship arrived here several hours ago.

Speaker 49 (02:11:34):
The spaceship from Mars has been here since eleven o'clock.

Speaker 15 (02:11:37):
Then where is he?

Speaker 25 (02:11:38):
Why don't I see?

Speaker 23 (02:11:39):
My daddy, calls Darling.

Speaker 11 (02:11:41):
All the soldiers have to go through quarantine and army
regulations and all sorts of things.

Speaker 64 (02:11:46):
Boy, my daddy's a space soldier. Ah, Betty had all
sorts of adventures all Betty.

Speaker 12 (02:11:53):
Lee Quiet, Billy, listen, Oh.

Speaker 71 (02:11:57):
It is a military person now of rocket Chef Millicent
life A two Rock Mars.

Speaker 72 (02:12:05):
Oh they blue far report.

Speaker 8 (02:12:08):
Blue K five.

Speaker 73 (02:12:10):
Oh, Billy, that's us.

Speaker 64 (02:12:13):
The soldiers are going to come out in a few minutes.
Come on, Darling, come.

Speaker 13 (02:12:16):
On, really know me, ma'm wan know me?

Speaker 64 (02:12:19):
Lineal here, watch for your walking Billy.

Speaker 12 (02:12:22):
Of course you'll know you, dear. He'll see me first.

Speaker 49 (02:12:25):
And then you'll see you.

Speaker 64 (02:12:27):
How I ever saw his picture?

Speaker 49 (02:12:29):
Stand by that rope, Billy, we can see gate five
from here.

Speaker 64 (02:12:32):
Well, you tell me all about the war on Mars.

Speaker 23 (02:12:35):
Oh, Billy, it's so good to have him back.

Speaker 64 (02:12:39):
Five years, five long years. Can I see the spaceship later,
ham much later?

Speaker 71 (02:12:45):
Maybe relative dot philisari personnel of spaceshif philoicon. They do
not class the wife line.

Speaker 12 (02:12:56):
They're starting to come out now.

Speaker 74 (02:12:59):
That man there, my uniform, he's an a tonic gunner.

Speaker 64 (02:13:02):
My picture books tell us all about them.

Speaker 29 (02:13:04):
Eleven weeks on the space ship getting to Mar, eleven
weeks coming back.

Speaker 17 (02:13:09):
To Earth, and more than four years fighting on Mars.

Speaker 13 (02:13:15):
Hive, You, Billy, stand back, do across the white line?

Speaker 71 (02:13:20):
Why rocket stiff Fraser from Earth to Moon? Will last
walk in instant ro rocket spread line, last sack shot.

Speaker 4 (02:13:34):
Area, the area over there?

Speaker 64 (02:13:38):
Lucknammy a band they're going to play us.

Speaker 75 (02:13:41):
They're welcoming the soldiers home, Billy, the first soldier's.

Speaker 64 (02:13:45):
Home from the warm mom ry soldiers.

Speaker 13 (02:13:49):
He coming out, Mommy, Oh Billy, I'm so excited, he seem.

Speaker 64 (02:13:54):
Hey, mom, that's a rocket team with a green uniform.
Oh boy, is you rocket gun by him?

Speaker 24 (02:14:01):
I don't see him yet.

Speaker 64 (02:14:02):
So many men, so many? Can I have a drink
of water? Mamma, I'm thirsty.

Speaker 25 (02:14:08):
I don't see him yet.

Speaker 76 (02:14:10):
I still don't see him.

Speaker 64 (02:14:11):
I want to drink, Philly, not now.

Speaker 17 (02:14:14):
Oh look I think that's daddy.

Speaker 13 (02:14:17):
No, no, it's not.

Speaker 74 (02:14:20):
Oh, Mia, Michael, will you I'm gonna show my daddy
my toy guns.

Speaker 64 (02:14:24):
We'll play space hold together. Well, finally, Billy, I see him.

Speaker 24 (02:14:31):
I see your daddy.

Speaker 4 (02:14:32):
Weird?

Speaker 64 (02:14:32):
Which one is he?

Speaker 39 (02:14:33):
Wait?

Speaker 64 (02:14:34):
Twim?

Speaker 50 (02:14:34):
Billy'll be looking around to see if we're here in
the yellow uniform.

Speaker 13 (02:14:39):
Over there, Michael, Michael, Dolly, here we are, Michael.

Speaker 64 (02:14:44):
He sees this, Mommy. He's running too, and he's pushing
the other people away.

Speaker 13 (02:14:48):
Oh he looks so wonderful, Michael, Michael, Marma, Why are
you crying?

Speaker 77 (02:14:59):
Because he home?

Speaker 17 (02:15:00):
Dude, Michaels come home.

Speaker 4 (02:15:04):
Yeah, okay, he comes.

Speaker 64 (02:15:08):
Oh my.

Speaker 33 (02:15:12):
Mary, Darling, Darling, so long since I've held you.

Speaker 12 (02:15:20):
But Michael, you've.

Speaker 64 (02:15:22):
Got to meet your son.

Speaker 78 (02:15:25):
Hello, son, Hello?

Speaker 64 (02:15:32):
Is that all you've got to say to your dad?

Speaker 23 (02:15:34):
He doesn't have to say anything, Just let me look
at him.

Speaker 77 (02:15:39):
Oh, you've got forever to do that now, Darling, because
you are home.

Speaker 17 (02:15:44):
Our soldier has come home.

Speaker 64 (02:16:04):
It's three o'clock in the afternoon. Why is Daddy asleep?

Speaker 10 (02:16:09):
He was tired, Billy, he wanted to rest.

Speaker 64 (02:16:11):
He didn't talk much when he came home.

Speaker 24 (02:16:13):
Diddy, No, but.

Speaker 10 (02:16:15):
He will you and he will have a lot to
talk about.

Speaker 64 (02:16:19):
Hey, I think I heard him getting up.

Speaker 10 (02:16:21):
We'll open the door carefully and peek in.

Speaker 13 (02:16:24):
I'll be quiet and Katie still asleep?

Speaker 23 (02:16:30):
All right, I'm awake.

Speaker 12 (02:16:32):
Oh, well you've slept two hours.

Speaker 23 (02:16:35):
I haven't been asleep.

Speaker 78 (02:16:37):
I'm just lying here.

Speaker 12 (02:16:39):
Here's something wrong, Michael. Do you feel all right?

Speaker 23 (02:16:41):
Sure? Sure, just can't get used to being home.

Speaker 12 (02:16:45):
I'll make a snack for you.

Speaker 78 (02:16:47):
Billy, Now you can talk to your father.

Speaker 23 (02:16:50):
Come here, son, sit on the bed.

Speaker 64 (02:16:53):
Okay, Dad, I'll call you when everything's ready.

Speaker 23 (02:16:58):
What do you want to tell me, Billy?

Speaker 9 (02:17:02):
I don't know, but your mother said, do you like me?

Speaker 8 (02:17:09):
Of course I like you.

Speaker 64 (02:17:11):
Will you play with me?

Speaker 13 (02:17:13):
Well?

Speaker 23 (02:17:13):
I'm a little tired, son, but I guess it can
be arranged.

Speaker 8 (02:17:17):
What do you want to play?

Speaker 64 (02:17:18):
Soldiers? Space Soldiers? You're a soldier or something else?

Speaker 23 (02:17:24):
You don't like me, just just play something else.

Speaker 64 (02:17:28):
Oh, the kids think it's wrong. My dad's a space soldier.

Speaker 74 (02:17:31):
Nobody else in my gang has a dad who's gone
to mind? I told him when my dad came home,
he showed me how to play real soldier and about it.

Speaker 23 (02:17:41):
Yes, sure, I don't say yes, sir, tell me, I
don't ever want to hear you say that. Stop crying. Man,
aren't supposed to cry. Space two hundred years. The world
hasn't had a war two hundred years. The human race

(02:18:03):
finally got peace federated world. In the years after two thousand,
science flourishes, civilization grows. Then we learn how to travel
in outer space, first the Moon for scientific observations, Then
we go on to other planets. Mars, the one planet

(02:18:28):
we know is capable of sustaining human life, and all
the two hundred years of peace gets rotted away because
the Earth wants to explore Mars and the Martians object
new worlds to conquer. Where the columbuses of two thousand
plus the interplanetary war begins. We have to fight for

(02:18:51):
every canal, every inch on Mars. Well, I don't want
any son of mine thinking it's so great.

Speaker 22 (02:18:57):
I hate it, hate it.

Speaker 64 (02:19:00):
I was gonna place space soldiers.

Speaker 23 (02:19:03):
With space soldier.

Speaker 14 (02:19:04):
What did I do?

Speaker 23 (02:19:05):
Full of the romance of Mars or mysteries of the unknown.
How can you or anybody on this particular world know
what it's like in that unhuman place called Mars play
space soldier play. I remember the patrol patrol into the
red grass, blade sharpest swords and covered with that sickening

(02:19:30):
ooze of the Martian vegetation. We went on patrol fourteen
of US. I was the patrol leader.

Speaker 78 (02:19:44):
All right, let's stop in it.

Speaker 23 (02:19:46):
Oh see anything, just the red grass, like about a
mile and a half over there, sand belt and give
me a glasses. Yeah, that's rifle.

Speaker 8 (02:20:01):
The grass meets the sand belt.

Speaker 23 (02:20:02):
We gotta be careful.

Speaker 8 (02:20:04):
Those sand spiders more dangerous.

Speaker 47 (02:20:06):
In a cobra one biting, You're dead in half a minute.

Speaker 23 (02:20:09):
Men are all wearing shin boots.

Speaker 72 (02:20:11):
We better put on our mask and gloves too. Sometimes
a spider crawls up the clothing.

Speaker 23 (02:20:16):
Okay, masks and gloves, protective gear.

Speaker 4 (02:20:18):
Protective gear.

Speaker 72 (02:20:19):
Oh no, it's too quiet. I've always got the feeling
the Martians are around when it's just quiet.

Speaker 23 (02:20:26):
I know what you mean.

Speaker 18 (02:20:27):
We'll go on now.

Speaker 23 (02:20:28):
Leo, you take four men and cover the left. Use
electric rifle, yes, sir, have mulroney.

Speaker 78 (02:20:32):
Take four men and cover the right.

Speaker 23 (02:20:33):
Torpedo pistols, Yes, sir, Ted, and I'll take the other
men and move straight on.

Speaker 1 (02:20:38):
Ted.

Speaker 23 (02:20:38):
We'll use atomic shell clips in our guns. We meet
opposition and have to blast them. Leo's and Mulroney's groups
can cover us as we move around.

Speaker 78 (02:20:45):
The area we've radiated.

Speaker 23 (02:20:47):
Better keep our belt, Geiger counter's handy.

Speaker 17 (02:20:49):
Okay, let's move.

Speaker 72 (02:20:56):
The slime from the grass sticks to every damn.

Speaker 23 (02:21:02):
Careful his sharp rush.

Speaker 72 (02:21:06):
There certainly aren't any Martians on that sand ought we'd
see them. They're around here at all. They're between us
and the sand belt, hiding in this red grass. Gons
step on it, good lord, I didn't see it a toothflower.
Those flowers are hot as ivory. It's a carnivorous plant.

Speaker 23 (02:21:26):
You walk too close to it will.

Speaker 72 (02:21:27):
Bite your leg and half Mars the nightmare planet.

Speaker 17 (02:21:32):
It will keep.

Speaker 23 (02:21:32):
Moving and keep your eyes peeled for killer of vegetation
and enemy martians.

Speaker 72 (02:21:38):
God getting hot.

Speaker 23 (02:21:42):
I always get a novel about this time of day.

Speaker 72 (02:21:46):
The US group is moving ahead. Apparently they found nothing
dangerous yet.

Speaker 78 (02:21:52):
Hello, hello, a waving. Everything's okay, I'll be too sure.

Speaker 23 (02:21:58):
Look over there, sandstorm slipping across the sand belt like
come up in seconds, blast by one hundreds of miles
an hour.

Speaker 26 (02:22:05):
T money down, hits.

Speaker 23 (02:22:08):
Kings crash.

Speaker 78 (02:22:13):
Who's all over this?

Speaker 10 (02:22:15):
There?

Speaker 23 (02:22:15):
This grass blades like an idiom taker lying down in
a bed of knife.

Speaker 26 (02:22:19):
Hundred fish on the sandsor on.

Speaker 1 (02:22:28):
Two hundred miles from now, my bo.

Speaker 77 (02:22:36):
Let's see it's billing with dust going down, the star
going down.

Speaker 78 (02:22:46):
Wait a few seconds, all right, set up.

Speaker 72 (02:22:57):
Seven eighty nine eleven, Well, well, two men missing.

Speaker 47 (02:23:04):
It comes Leo.

Speaker 26 (02:23:08):
Two men, Davis and Martin.

Speaker 17 (02:23:09):
What happened?

Speaker 5 (02:23:10):
Are dead?

Speaker 8 (02:23:10):
Sir? Wind toward davis jacket.

Speaker 5 (02:23:12):
A sand spider bit him.

Speaker 8 (02:23:13):
Wind carried his swarm up into the grass.

Speaker 33 (02:23:15):
What about Martin?

Speaker 8 (02:23:16):
You don't know what caused it.

Speaker 31 (02:23:17):
He's dead, alrighty, go on, that's a big away.

Speaker 5 (02:23:26):
There he is there.

Speaker 23 (02:23:27):
Skin is natural and not blue the way it turns
when the sand spider kills you. Let me see, good lord,
what's the matter the Martians? Martians I got him during
the same storm. Must be around somewhere. Look at his
back where I opened the jacket hit by a sonic beam, right,
super sound wave, gadget of ass turned your guts to jelly.

(02:23:47):
The Martians a.

Speaker 78 (02:23:48):
Hero, right now warn the men right on.

Speaker 23 (02:23:53):
Give me your pocket mag and speaker quick he rusher right, Leo,
crawling your belly over to the boys.

Speaker 17 (02:23:58):
Keep blowing. Okay, let me when you get there.

Speaker 23 (02:24:01):
Meanwhile, I'll talk on the magnets because yes, sir, martians
will hear me. So here's some lingo they won't understand.

Speaker 71 (02:24:13):
Now we got company with Kenny. You're happy, and remember
the animal.

Speaker 9 (02:24:22):
Is Leo.

Speaker 17 (02:24:23):
There can't see him.

Speaker 72 (02:24:25):
Wait, he's coming on the uh chef talkie. Snap on
your your phone.

Speaker 9 (02:24:30):
Okay, Leo, I'll sign of the enemy.

Speaker 40 (02:24:34):
We're fanning out.

Speaker 23 (02:24:35):
We're covered by the red grass.

Speaker 8 (02:24:37):
We passed words shoot first.

Speaker 55 (02:24:38):
Good, that's an electric rifle.

Speaker 72 (02:24:42):
Enemy signed the jelly cut when there reached two hundred yards.

Speaker 23 (02:24:45):
Let's move in. Give him everything, come right by.

Speaker 41 (02:24:48):
Yeah you've heard.

Speaker 21 (02:24:53):
Try to crawl through this grass.

Speaker 10 (02:25:01):
Torpedo pistols our own.

Speaker 72 (02:25:03):
His group has made contact.

Speaker 78 (02:25:04):
Leo, Leo.

Speaker 23 (02:25:07):
Whoever reaches one hundred yards throw atomic grenade.

Speaker 72 (02:25:11):
Martians haven't returned any fire yet.

Speaker 23 (02:25:13):
They're probably waiting to way it closer and they'll fan
the area with that sonic beam.

Speaker 31 (02:25:17):
Of the ass shed loves.

Speaker 14 (02:25:19):
At one hundred yards he's throwing the cookies any second,
plug your ears check.

Speaker 72 (02:25:34):
I should have cleaned them out.

Speaker 17 (02:25:35):
We've got to be careful.

Speaker 23 (02:25:37):
We can't go in to see. We don't have any
anti radiation.

Speaker 72 (02:25:40):
Gear, no sound from the Martians, nothing.

Speaker 78 (02:25:44):
Leo Lao, any report from you.

Speaker 8 (02:25:47):
I think we've got absolutely no sign of life.

Speaker 23 (02:25:50):
Those souths a few hundred yards then east. Probe their positions, right, Captain,
I'm pretty sure it's all player, Yeah, probably right. I
just feel conservative.

Speaker 78 (02:26:02):
Right now I'll be having to verify.

Speaker 72 (02:26:03):
The Martians are cleaned out, this seat, the stinking grass.

Speaker 9 (02:26:08):
What a planet?

Speaker 23 (02:26:09):
At least the moon is dead. Why would we set
us when when we got to the moon we had
to go on to this forsaken.

Speaker 26 (02:26:16):
Listen the Sunday theme.

Speaker 17 (02:26:17):
The Martians are.

Speaker 79 (02:26:17):
Attacking the US have had a group to the south.

Speaker 41 (02:26:22):
There shouting us down.

Speaker 22 (02:26:25):
We can't help just those men, don't you think I
know that?

Speaker 23 (02:26:28):
What are two of us against the Martian patrol? Try
to reach Leo, Lego, Lego, come in, Leo response, hy
golly it over, you're staying here.

Speaker 22 (02:26:38):
You got to stay here and try to get out later.

Speaker 72 (02:26:40):
But Leo, Leo's my brother, My brothers.

Speaker 10 (02:26:58):
Here just nack darling.

Speaker 12 (02:27:01):
I hope you like it's Billy.

Speaker 80 (02:27:04):
I thought he was in here with you.

Speaker 23 (02:27:06):
He went up to play.

Speaker 78 (02:27:08):
I don't know.

Speaker 61 (02:27:10):
Oh, he has been so looking forward to having his
daddy back.

Speaker 13 (02:27:13):
All the kids in the neighborhood are waiting to meet you.

Speaker 16 (02:27:16):
He's been voting about you for months, ever since we
got worried that you.

Speaker 5 (02:27:19):
Were coming home.

Speaker 78 (02:27:20):
Yeah, I know, Michael, is something wrong?

Speaker 16 (02:27:25):
Did you and Billy have a quarrel?

Speaker 23 (02:27:27):
He's he's a stranger to me, married a stranger.

Speaker 78 (02:27:33):
He was just a baby when I left.

Speaker 23 (02:27:35):
I can't get used to him.

Speaker 39 (02:27:37):
Oh, but you will. You can't help loving you.

Speaker 23 (02:27:41):
You can't get to know hiuntil he stops this terrible
business of reminding me all the time, reminding me of
what I want to forget.

Speaker 13 (02:27:47):
But he's proud of you, what you've done.

Speaker 78 (02:27:50):
I told him what it was really like up there.
He ran out of here crying.

Speaker 10 (02:27:55):
Michael, what do you want me to do?

Speaker 23 (02:27:57):
Throw out my chest and brag about being a hero.
Pretend that a planet called Mars that Satan himself with
aid of a few million devils must have created. Pretend
that Mars is heaven, that fighting a war so far
away it takes months to get there is fun for
the kiddies. I'm sorry.

Speaker 12 (02:28:17):
Just leave me alone, Michael.

Speaker 81 (02:28:20):
This isn't like you.

Speaker 23 (02:28:21):
You know what I'm like after all these years, I
hardly know myself at this moment, five years away from people,
away even from the one world in the universe it
contains human beings.

Speaker 74 (02:28:34):
But there were other men with you all the time,
one hundred thousands of them.

Speaker 10 (02:28:38):
What do you mean you were alone?

Speaker 23 (02:28:40):
You don't understand, Michael Darling.

Speaker 12 (02:28:44):
I'm worried about you.

Speaker 23 (02:28:45):
A spaceship half a mile long, eleven weeks in flight,
confined quarters, the same blank faces of men torn from
their planet, catapulted into infinity, a fleck of controlled cosmic just.

Speaker 78 (02:29:01):
Being alone.

Speaker 23 (02:29:04):
And on Mars, the base dug underground, living in plastic
shells for barracks, never being able to move except in patrols,
all of us men in a nightmare, and being alone
in our souls alone.

Speaker 1 (02:29:23):
Give me some.

Speaker 12 (02:29:24):
Coffee, all right, Michael. Here you are.

Speaker 64 (02:29:35):
Thanks Michael.

Speaker 12 (02:29:38):
You're home now and you're not alone anymore.

Speaker 78 (02:29:42):
It's good coffee.

Speaker 12 (02:29:46):
Tomorrow, tomorrow, afternoon and evening.

Speaker 17 (02:29:49):
That is.

Speaker 11 (02:29:50):
Yes, I'm giving a party for you.

Speaker 12 (02:29:53):
At first, I was going to have a surprise for you,
but I think you should know.

Speaker 78 (02:29:58):
I don't want a party.

Speaker 12 (02:30:00):
We've our families here and all your old friends. They
want to see you, Michael.

Speaker 64 (02:30:04):
Everyone's so happy you're home.

Speaker 78 (02:30:06):
Call it off.

Speaker 23 (02:30:07):
I don't want to see them. Can you understand I
don't want to see them. They're smug, Hello, they're glad
you're back. Cheddar though, what's it like in another world?
And how's mars old man questions? They wouldn't understand the
answers if I could somehow force myself to talk about it,
But it won't be like that.

Speaker 73 (02:30:27):
They love you.

Speaker 12 (02:30:28):
They're happy time, though, Darling.

Speaker 49 (02:30:33):
You can't go on like this, fighting the Martians and
your memories and fighting.

Speaker 16 (02:30:39):
The human beings who love you.

Speaker 22 (02:30:42):
For your sake, Michael, I am not going to call
off the party.

Speaker 12 (02:30:46):
Everyone is coming just as I plan, and you've got
to meet them and see for yourself.

Speaker 13 (02:30:50):
You've got to understand for yourself that you are home
again on Earth and.

Speaker 64 (02:30:55):
That you have a life to live once more.

Speaker 78 (02:30:58):
Do you mean that, Mary?

Speaker 1 (02:31:00):
Do?

Speaker 10 (02:31:00):
Michael Downing?

Speaker 1 (02:31:01):
I do, because I love you.

Speaker 23 (02:31:05):
Well, I'm really a stranger in this house, not really
the head of it. Still alone barracks filled with chintz.
Havannah Bobby.

Speaker 78 (02:31:21):
All right, Mariam, have your party without the guest. Havanna, Michael, Michael.

Speaker 23 (02:31:47):
It's good to get out of the house. Walk. I'll
walk forever. Sunshine, beautiful and peaceful trees, tall trees, green
and yellow leaves, No red grass, no red grass anywhere.
The birds, the wonderful sounds they made. Five years.

Speaker 78 (02:32:14):
Never saw never heard a bird.

Speaker 23 (02:32:17):
The only creatures that ever made a sound of there
were the Martian Controlley's fat, greasy lizards that screamed like
tortured souls. Look at those flowers, blue green, burnt orange, clean, white, sweet,

(02:32:38):
glorious smell peaceful, so peaceful in which to be alone.

Speaker 78 (02:32:45):
The grass.

Speaker 23 (02:32:47):
The grass was short, soft, carpet like blades, a carpet
of green, cool and gentle. I just sat on the grass,
lie on the grass, and red breast and think, think, think.

(02:33:08):
I remember when Ted and I got back to command posts.
The Martian sky was dark clouds up there and never looked.

Speaker 1 (02:33:15):
Like these clouds.

Speaker 23 (02:33:17):
We hadn't spoken to each other for a long while.
Now we got away alive from the ambush I'll never know.
And now we were coming to the base and the
commander that before report, Captain, Yes, commander that writes, sir.

(02:33:43):
A fourth success pul ambushed by the Martians in as
many days.

Speaker 9 (02:33:46):
We're gonna have to.

Speaker 23 (02:33:47):
Do something drastic to stop it. Air observation doesn't help.
Endless miles of grass and sand.

Speaker 78 (02:33:53):
The Martians are.

Speaker 23 (02:33:54):
Small, hide in the stuff, take on its coloring like fameleons.
It weren't for their sonic, those killing sound ways. They
could probably handle them.

Speaker 17 (02:34:02):
I know, I know.

Speaker 72 (02:34:03):
Can't the Earth Science Council work out offenser.

Speaker 55 (02:34:05):
As they're trying to.

Speaker 23 (02:34:06):
But even if they do, we get it up here,
we'll all be decimated. I'm thinking of an old weapon poisoned. Yes,
that's an outlawed weapon, isn't it commanding out load on Earth? Yes?

Speaker 78 (02:34:17):
They we're not fighting on Earth.

Speaker 7 (02:34:18):
Captains.

Speaker 23 (02:34:20):
Sometimes I wish they'd never invented spaceships.

Speaker 78 (02:34:25):
Oh, let's not worry about it.

Speaker 9 (02:34:26):
Now.

Speaker 1 (02:34:26):
You may need some rest.

Speaker 78 (02:34:27):
Report to the hospital barracks.

Speaker 23 (02:34:28):
Take five days there, yes, sir. Oh one more thing, Lieutenant.

Speaker 14 (02:34:32):
The twelve men and the patroller were lost.

Speaker 78 (02:34:34):
One was your brother, all right.

Speaker 23 (02:34:35):
Yes, sir, I'm sorry, Thank you, sir. I get to
the barracks and get some rest. We've got a lot
to do in five days. That's all, gentlemen.

Speaker 72 (02:34:49):
The commander is sorry.

Speaker 26 (02:34:51):
I get to the barracks.

Speaker 78 (02:34:52):
Don't take it so hard to no, Why shouldn't I.

Speaker 72 (02:34:56):
It isn't just because Leo was my brother, but because
he was someone special up here on this rotten apple
called Mars, where all people out of touch with the
decent things.

Speaker 78 (02:35:08):
Of our world are little kid.

Speaker 72 (02:35:10):
Every man who lives here, lives up here, is in
his own vacuum. Can't believe what's happened to him, finding
himself in a place where things that are unreal to
the human mind are everyday realities.

Speaker 8 (02:35:25):
But I had something.

Speaker 72 (02:35:28):
I had the one thing that made me a human
being up here. I had someone who loved me, whom
I loved.

Speaker 8 (02:35:39):
And now he's dead, and I've got no one.

Speaker 78 (02:35:44):
I'm like everyone else up here.

Speaker 22 (02:35:45):
Now I've got no one.

Speaker 1 (02:36:10):
Mary Mary, Mary.

Speaker 64 (02:36:19):
Mommy isn't here.

Speaker 1 (02:36:21):
What is she?

Speaker 8 (02:36:22):
Billy?

Speaker 25 (02:36:23):
She was crying.

Speaker 64 (02:36:24):
She went next door to the neighbors. Why'd you make
my mommy cry?

Speaker 24 (02:36:29):
You're not nice.

Speaker 77 (02:36:30):
I don't like you.

Speaker 23 (02:36:32):
I'm I'm sorry, sir, I guess I haven't been very
nice at that. Come here, Billy.

Speaker 78 (02:36:45):
Son, I brought back a lot.

Speaker 23 (02:36:47):
Of bitterness from the other side of the universe. But
a little while ago, I thought back to what another
man told me on Mars, and I realized something that
I didn't understand.

Speaker 8 (02:36:58):
At the time.

Speaker 23 (02:37:00):
I'll be all right.

Speaker 78 (02:37:00):
From now on, Billy, you and I are going to
be real friends.

Speaker 81 (02:37:04):
Real pals.

Speaker 64 (02:37:04):
Can we can we play Soldia?

Speaker 78 (02:37:07):
How would you like to play baseball? Or build model
jet planes together? Or go on a hike in the woods.

Speaker 64 (02:37:13):
Geez, that'll be swell.

Speaker 78 (02:37:15):
I like that you didn't care what you did with
your dad, just so you did something with him, and
all you could think. I was soldier because that's what
I did. Just proved, all right, Ted, was to be
together and to love someone.

Speaker 23 (02:37:33):
That's what makes us human beings.

Speaker 74 (02:37:37):
Michael, Hell, Mary Keeddy and I are going to play
baseball and have a hike and everything.

Speaker 12 (02:37:43):
Oh, Michael, Michael.

Speaker 23 (02:37:46):
It's all right now, Darling.

Speaker 1 (02:37:48):
It's all right.

Speaker 78 (02:37:50):
Your soldiers come.

Speaker 8 (02:37:52):
Home next week.

Speaker 23 (02:38:01):
Another exciting and unusual story from the world tomorrow over
the years beyond two thousand a d. The Suretlism two
thousand plus is produced by Dryer and win Olson Productions
Incorporated in today's cast. Bill Griffiths portrayed, Mike John Shay
was Mary, Alan Shay was Billy, Charles Smith was Ted,
and Lon Clark was the Commander. The orchestra was conducted

(02:38:22):
by Emerson Buckley. Music composed by Elliott Jacoby, sound Waal
Shaver and Adrian Penner.

Speaker 78 (02:38:27):
Engineer Bob Albright.

Speaker 23 (02:38:29):
This is Ken Marvin speaking.

Speaker 17 (02:38:38):
From Hollywood.

Speaker 82 (02:38:42):
Louren Tuckle in.

Speaker 23 (02:38:49):
The Unexpected, the unexpected, The unexpected.

Speaker 82 (02:39:00):
Life is filled with the unexpected, romantic, tragic, and mysterious
endings to our most ordinary actions. Dreams come true, or
dreams are shattered by sudden twists of fate in the Unexpected.

(02:39:23):
But first, a word from your announswer And now Laurene Tuttle,

(02:40:29):
outstanding radio and screen star in understudy, A drama of
the unexpected.

Speaker 25 (02:40:42):
All right, Stephen, you've won. You've convinced them all that
I'm insane.

Speaker 4 (02:40:47):
They wouldn't have believed you if it weren't true, would they, Stephen.

Speaker 8 (02:40:51):
And I'll tell you a secret.

Speaker 5 (02:40:53):
I think they're right.

Speaker 75 (02:40:54):
I think I am mad, because if I weren't, I'd
never be able to take this Penniven, that's your precious
oil paintings.

Speaker 10 (02:41:01):
Would I.

Speaker 25 (02:41:04):
Now now you know what infanity means.

Speaker 83 (02:41:07):
It means I can destroy everything, everything that my hand touches.

Speaker 25 (02:41:11):
Your books, your lamp, your antique nerves. And the day
will come when I can destroy life. Except aren't you happy, Stephen?
Now that I'm really inside, really rellan man.

Speaker 73 (02:41:40):
And the break Marrying Dance and is finish another performance?
How many curtain calls will she take tonight?

Speaker 39 (02:41:47):
Six?

Speaker 73 (02:41:48):
Seven, eight, eight curtain calls for a cheap phony job
of acting that a second rate amateur would be ashamed of,
because she's marrying dance. Now clap into their hands a
raw just because I'm an understudy. They'll never know how
that part could be played. But I won't get the chance. No,

(02:42:09):
I'll stand here in the wings, night after night, waiting
for the opportunity that will never come.

Speaker 31 (02:42:15):
Never, unless, yes.

Speaker 73 (02:42:20):
Unless something should happen to the great star, Unless Marian
Denton should become ill.

Speaker 39 (02:42:28):
Or better yet have an.

Speaker 83 (02:42:30):
Accident, wonderful, joy, oh joy, did you come into my
dressing room?

Speaker 75 (02:42:42):
Please close the I hadn't closed the door, darling, or
the place will be simply swarming with autograph.

Speaker 7 (02:42:50):
Thank you.

Speaker 75 (02:42:51):
I'm simply exhausted. You have no idea what a performance
like that takes out of one?

Speaker 39 (02:42:56):
No, no, I really haven't.

Speaker 16 (02:42:58):
That's why I ask you to come in.

Speaker 75 (02:43:00):
My maid's been called out of Tom and I wonder
if you'd be good enough to help me into my
street things. I know you don't have to do it,
but being my understudy, I didn't think you'd mind. After all,
you haven't done any acting to earn your salary, and
it doesn't seem likely you will, does.

Speaker 39 (02:43:15):
It, Darling, I really have no idea.

Speaker 75 (02:43:18):
Don't tell me you're one of those understudies who secretly
praised that something might happen to the star.

Speaker 39 (02:43:22):
Oh you aren't like that, are.

Speaker 21 (02:43:24):
You, Joyce?

Speaker 39 (02:43:24):
No, no, miss dad, And I'm not like that.

Speaker 25 (02:43:27):
Well I'm so glad to hear it, oh darling.

Speaker 75 (02:43:29):
And don't you just I'm zitty and give me those
stockings over on the chair, and then I'll want that
blue and white in the closet.

Speaker 39 (02:43:35):
You know where it is.

Speaker 73 (02:43:39):
So I'm a dresser now handing this death in a
street clothes, helping her under her coat, and smiling sweetly
as she leaves the theater.

Speaker 25 (02:43:50):
Good night, darling, Thanks for being such a fulling understudy.
You're welcome to danding good night.

Speaker 79 (02:44:01):
Oh sorry, you ought to know better than the walk
around of stage and we're setting up scenery.

Speaker 39 (02:44:05):
I guess I should. I was thinking about something else.

Speaker 9 (02:44:07):
Hey, and I know you, I don't know, do you
for sure?

Speaker 67 (02:44:11):
You're Joyce Michaels. I was a stage hand up at
Lake Leonard. That's some of you were in the company.

Speaker 39 (02:44:16):
Oh oh yes, yes I remember.

Speaker 67 (02:44:18):
My name is Ned Carpenter.

Speaker 39 (02:44:19):
Well, hello, need nice to see you again.

Speaker 1 (02:44:21):
Are you with this show?

Speaker 39 (02:44:22):
Well, in a way, I'm understudying Danton.

Speaker 67 (02:44:25):
Oh I see, I just started to work as a replacement.
I'm handling the stuff up there in the flies. Too bad,
the job would last.

Speaker 21 (02:44:33):
What do you mean?

Speaker 67 (02:44:34):
Haven't you heard? Miss Danton's going back to Hollywood to
do a picture. Show closes next Saturday. Why didn't you
know that?

Speaker 39 (02:44:40):
No, I hadn't heard.

Speaker 73 (02:44:46):
So the great Danton is giving up the theater again.

Speaker 39 (02:44:49):
How nice?

Speaker 73 (02:44:50):
For of course, the show will close in mid seas
and the whole company will be out of work, and
I've lost my one real chance to prove that I'm
an actress. Doesn't matter to anyone but me, and there's
nothing I can do about it, is there? How could
I force fade. How could I keep Danton from going
on for just one night, just one little nigh?

Speaker 5 (02:45:14):
Oh?

Speaker 33 (02:45:17):
Ned?

Speaker 39 (02:45:18):
Yeah, you said you were working in the scenery up
there over the stage.

Speaker 67 (02:45:23):
Yeah, that's right.

Speaker 39 (02:45:24):
Are you up there while the play's going on?

Speaker 33 (02:45:26):
Sure?

Speaker 39 (02:45:27):
It must be funny to be able to look down
and watch a show. Can you see the actor?

Speaker 1 (02:45:32):
Yeah?

Speaker 9 (02:45:32):
The tops of their heads?

Speaker 67 (02:45:33):
Anyway, of course, you don't get much of an idea
of what the play's about.

Speaker 39 (02:45:36):
No, I suppose you don't.

Speaker 67 (02:45:38):
Anyway, I'm too busy to pay much attention. I'm all
alone in the flies.

Speaker 66 (02:45:42):
I see.

Speaker 39 (02:45:44):
Hey, why don't I let you take me home?

Speaker 9 (02:45:47):
Well?

Speaker 31 (02:45:48):
Why don't you send you in the fifth?

Speaker 39 (02:45:50):
Man? I think i'll give in. Can I give you
another drink?

Speaker 9 (02:46:03):
Why not?

Speaker 39 (02:46:05):
That's right, I say, why not?

Speaker 67 (02:46:08):
Hey, you've changed your dress. You weren't wearing that thing before.

Speaker 10 (02:46:12):
Oh I like to be comfortable.

Speaker 9 (02:46:15):
Yeah, I like you to be comfortable.

Speaker 67 (02:46:19):
And I'm sorry I haven't been on the show before.
We could have spent a lot of time together. Yeah,
but I suppose you'll still be in town.

Speaker 39 (02:46:27):
No, man, not when the play closes. Oh no, I'm broke.
I'll have to give it up and go home.

Speaker 20 (02:46:36):
Oh that's a shame.

Speaker 73 (02:46:37):
Oh, I don't care so much for myself, but all
the rest of the cast and the crew they'll be
out of work too.

Speaker 9 (02:46:43):
Yeah, well that's show business.

Speaker 73 (02:46:45):
But this time it isn't fair, Ned, because the show
could continue. I know every line of Danton's part, and
I could play it so much better than she ever could. Well,
the play could run on.

Speaker 67 (02:46:55):
Without her, I believe you, Joyce. You don't have to
convince me.

Speaker 39 (02:46:58):
Ope, I just got the chance to play it once.
They wouldn't have to close the show. Everybody would know
how good I was.

Speaker 67 (02:47:04):
No, but you can't play it unless something happens to Denton.

Speaker 39 (02:47:07):
Well how about you me?

Speaker 67 (02:47:12):
You made it.

Speaker 73 (02:47:13):
Sure you're up over her head. Suppose something fell just
as she was making their first entrance. You wouldn't have
to hit her or anything, just maybe frighten her a
little bit and get us so nervous she couldn't go on.

Speaker 31 (02:47:26):
And then yeah, yeah, I see, Oh darling.

Speaker 39 (02:47:29):
Do you do you really?

Speaker 73 (02:47:32):
They couldn't blame you. It would be an accident. I'd
play the part and we could go on being together.
You'll do it tomorrow, I want to, Ned. Just as
she makes her infant down that flight the stairs, a
sandbag or anything can fall, and then and then I'll
play the part.

Speaker 39 (02:47:46):
Oh ned, but a performance, I'll be well.

Speaker 67 (02:47:50):
If it didn't work, i'd be out of a job
next weekend.

Speaker 39 (02:47:53):
Oh you're a wonderful darling. You're wonderful. You know something.

Speaker 73 (02:47:59):
I'm really glad you're such an a real guy. I'm
going to try to follow your dad.

Speaker 39 (02:48:12):
Eight thirty curtain time.

Speaker 73 (02:48:15):
The audience sits back shuffling programs, waiting for another Marion
dan In performance. Miss Dandon will be indisposed and able
to appear placed by an unknown, but by the time
the show ends, they'll be applauding, giving curtain calls to a.

Speaker 24 (02:48:29):
New star, to Joyce Michaels.

Speaker 73 (02:48:34):
Eight thirty two Denton sits in her dressing room. She
rubs an extra dab of greasepaint into the circles in
her eyes, gives a sign of jerk to her costume,
and walks towards the wings. Eight thirty five Danton's walking
up the backstage steps and across the platform to her entrance.

Speaker 39 (02:48:55):
Now she stands there waiting for a queue.

Speaker 73 (02:48:57):
She can't seen it in the bar bubble and the
fly can't know the danger that blurts over her head.
Ned looks down, just able to make out the white
cap she's wearing, and then he raises his hand and
something whips past Danton's face, falling crashing door.

Speaker 1 (02:49:17):
She's hurt, not.

Speaker 73 (02:49:18):
Badly, but she can't go on now. Now they're remembering me,
mister beaton. The stage manager's walking toward my dressing room.
In just a moment, he'll knock on the door, and
my lucky break will step in and tell me to
get ready for my first night on Broadway.

Speaker 4 (02:49:34):
Come in, miss Michaels.

Speaker 79 (02:49:37):
Miss Danton's been in an accident. Oh, you will have
to get the costume right away. We'll hold the show
for you and Joyce. You will be able to play
the pod, won't you.

Speaker 39 (02:49:45):
Oh yeah, mister Beetan, I'll be able to play the pod.
Don't worry. I won't let you down. I can play
the pod very well.

Speaker 31 (02:49:51):
Yes, yes, of course, good luck, this is it.

Speaker 39 (02:49:56):
My big night has come last.

Speaker 31 (02:49:59):
Thanks.

Speaker 82 (02:50:11):
You think the story is over, don't you, But wait,
they takes a hand. Wait for the unexpected.

Speaker 4 (02:50:32):
Uh uh.

Speaker 82 (02:51:25):
And now for the surprising conclusion of understudy Hamilton Whitney
production starring Miss Loreene Tuttle, written by Robert Libbard and
Frank Bert and directed by Frank K.

Speaker 33 (02:51:36):
Danzig.

Speaker 73 (02:51:42):
That's my cue, now I smile, open the door and
step on stage for my first.

Speaker 26 (02:51:50):
Entrance, Miss Michaels, Miss Michaels, are you all right?

Speaker 10 (02:51:59):
Ms?

Speaker 31 (02:52:00):
Oh?

Speaker 17 (02:52:01):
Good?

Speaker 79 (02:52:01):
Heavens, how could that stupid stage hand have been so clumsy?
Ring down the curtain someone?

Speaker 26 (02:52:07):
This is simply too much.

Speaker 79 (02:52:08):
First Danon gets hurt in an automobile accident, and now
Miss Michaels has been hit by a sandbag.

Speaker 67 (02:52:14):
Oh well, the poor girl probably wouldn't have been very
good in the part anyway. She's only an understudy.

Speaker 82 (02:52:30):
Understudy starred Miss Loreene Tuttle. Listen soon for another of
your favorite motion picture stars in a drama of the unexpected.

(02:52:53):
This program was transcribed in Hollywood.

Speaker 5 (02:53:25):
Unsolved Mysteries. Two white men who have lived all their

(02:53:46):
lives in Africa. The feats performed by the witch doctors
are beyond understanding, but anyone who has lived in Africa
knows them to be true, whereas those who have not
lived in Africa dismissed these phenomena by saying, I don't
believe it you're saying, I don't believe it does not, however,
expose of the proven fact. From both banks of the

(02:55:30):
Calibar River in West Africa, the dense jungle stretches forward
into tomorrow and backward into yesterday. A soggy, muggy fog
rises Perpetrola from the bank mosque, and in the midst
of this nature's primal setting, Harry Hockey, an ivory trader,
has made his home an old hulk of a boat

(02:55:51):
with masts cut away and superstructure remodeled floats on the
Calabar River. And this is Harry's home. Tonight, the Ivory
trader is entertaining as the far I bound before the
Gold Coast natives, glistening black in the moonlight, carry away
the empty dinner dishes as the guests, with Harry in
their midst, settle down to coffee and cigar.

Speaker 39 (02:56:14):
And you have a very comfortable home.

Speaker 2 (02:56:17):
Oh yeah, this all held has been my trading post
or home combined for the best part of sixty years.

Speaker 39 (02:56:23):
You'll never belong to your native country a Hockey once
in a.

Speaker 5 (02:56:26):
Long long while, perhaps iight think of it, but this Africa.

Speaker 10 (02:56:29):
Is in my blood.

Speaker 8 (02:56:30):
Take me away.

Speaker 2 (02:56:31):
From it whill I would die. There's something about it
that gets you. Sometimes you do think it's the jungle
and one, then you think it's the natives. Then you
say to yourself, perhaps it's the which doctor soon their magic?
And then you sum it all up and decide that
it's Africa. You mentioned which doctor there are? Yeah, tell me, honestly,
there's no time out here. Do they do half the

(02:56:52):
things they're credited with, your Captain Parklay they do. I
could keep you up all night with strawies of their
black magic. I could make your blood drunk cold telling
you of some of the things I have seen with
my own eyes. But we shan't call it black magic,
because often as not, what they do is as white
as any white man's medicine.

Speaker 5 (02:57:13):
I owe my life to black magic. So called you
a fear about it.

Speaker 22 (02:57:18):
I know a lot about this.

Speaker 5 (02:57:19):
Africa now, But when I first come out here, I
knew nothing. Nothing.

Speaker 2 (02:57:23):
I laughed at which doctors I pooh poohed black magic.
I was a white man, and what did these poor
black heavens know? Anyhow, I was out on the trail
of a load of ivory, six weeks.

Speaker 22 (02:57:36):
Away from home.

Speaker 5 (02:57:37):
I was when I went down with fever.

Speaker 2 (02:57:39):
I'm spoken. Our own Fritz Hoffmann were with me. I
remember it was night when the lions they were out
on the powel, whom the jungle was uneasy because we
white men had invaded.

Speaker 5 (02:57:56):
That they can't carryer.

Speaker 1 (02:57:58):
Maybe, Oh entire, I think I have the fever here.

Speaker 5 (02:58:02):
It's the fever that you have, Harry, that.

Speaker 3 (02:58:05):
It is finer.

Speaker 5 (02:58:07):
Order the boys to make a fine hair. We can
camp here. And when they have the baggage, lay, I
just playing the klin. I don't take it. Oh, boll
they made bomber here this number one place Bonna for metcamp.

Speaker 23 (02:58:18):
You fix the number one?

Speaker 5 (02:58:19):
Wanna I get them boys? Fix him Boma. Yeah, that's
a good ruler here, Harry, and better you lie down here.

Speaker 17 (02:58:26):
Thank you.

Speaker 9 (02:58:26):
Finish.

Speaker 5 (02:58:27):
It's the klimine, Harry. The package with the other waterproof
covering in this enameled box. Harry, Yeah, yeah, yeah, that's
the one. Now, the paper package package you Harry nine.
The other bils give us, look, it must be there,
it must be there. Radically, the two men tear open
the veils lying on the ground, and then his carriers

(02:58:49):
draw back into the shadows as they see the look
of despair on Harry's face, the looks of anguish on
the faces of his two friends. Again and again, they
searched the bales, but the light saving quinine is not
to be found. I didn't play. The two friends seat
themselves beside Harry. The navys draw further into the deeper shadows.
Even the jungle beasts, sensing the approach of death, draw

(02:59:12):
off into the dense underbrush, leaving the three white men
to Therefore. Fritt here's a step behind him, and looks
up to see Cooler, the number one boy is standing
looking down at him. White man medicine, no gotten nine cooler,
white man medicine, No God, Erry wonna die, white man medicine,
no can find fire.

Speaker 22 (02:59:32):
Cooler, frit Yeah, cooler, Harry Bonner die.

Speaker 5 (02:59:36):
Oh you can't, Harry Bonner back to live a home.

Speaker 40 (02:59:40):
You will leave me here?

Speaker 5 (02:59:41):
Yeah, He'll take you back there. White man believes black
man medicine. B No die, that's just stat cooler ber
and wanna Fritt buanna believe black man?

Speaker 23 (02:59:55):
Which doctor?

Speaker 5 (02:59:56):
Then Harry Banna, no die? Me Fritz really give anything,
give anything everything your parent one, I do the same thing.
Cooler he speak witch doctor this white man medicine. Where
you leave him? Can you hear Harry there that you
leave the fine?

Speaker 21 (03:00:13):
It must be on the desk in my room.

Speaker 5 (03:00:16):
Oh yeah, I remember now I forgot to park here.
Never mind that, now, Harry, fine, fine, I'm that white
man medicine. Yeah, cooler, which doctor man? He gets him
a cooler six speaks journey back of the river. Even
the fastest runner could not do it. Left the type
we go, Now seak witch doctor. If witch doctors say

(03:00:38):
yes you no speak, no say one word? You sit
you look see all right, but no speak, no move?

Speaker 22 (03:00:46):
Yeah, yeah, cooler anything but you say.

Speaker 5 (03:00:49):
Cooler moves into the shadows. The second screep by like ours.
Each man here's the beating of his own heart, and
each man is afraid to look at his friend. Fritz
draws a deep, hissing breath as the witch Doctor, an
old man hideous to look at, comes into the rim
of the firelight. With a sharpened twig. The witch Doctor

(03:01:13):
draws a crude circle.

Speaker 9 (03:01:14):
On the ground.

Speaker 5 (03:01:15):
Then he gazes fixed me at Harry lying before him
in semisupa. Now the witch Doctor lies down in the circle,
and Coola, bending over him, ties his hands and feet. Slowly,
the native carriers men and women come into the ruddy
globe of the firelight, and slowly they begin to circle
the witch doctor. The drums begin to from softly at first,

(03:01:39):
then as the stamping of bare feet becomes more vigorous,
the circling more rapid, the drum props become a frenzy feet.
One by one, the native's fall exhausted to the ground.
The long night drags on, the pale light of day

(03:02:02):
breaks over the tree tops and through the branches. One
single ray of light falls on the witch Doctor's feet. Huh, Suffridge,
Look look at the mitch Doctor's feet of vice package?
Gotten him?

Speaker 8 (03:02:16):
The package?

Speaker 5 (03:02:17):
Or Harry left it all?

Speaker 59 (03:02:18):
Yeah?

Speaker 5 (03:02:18):
He hut, Fritz the bite package, Fitch theinine. Good lordy,
I can hardly believe it. I can.

Speaker 39 (03:02:28):
Your story was so real as stuff. I was actually
there sitting beside in the jungle. I saw it all,
heard the drum.

Speaker 8 (03:02:35):
Yeah.

Speaker 5 (03:02:35):
Yeah, I am an old man now, but I have
not forgotten that night. I should think you wouldn't. It
must have been horrible girl. Captain Parklay what you see now?
Why I say that black magic.

Speaker 8 (03:02:46):
Saved my life?

Speaker 5 (03:02:47):
But how do you account for it. How do you
explain the transporting of that quinine over six weeks distance?
In what no I cannot be served?

Speaker 2 (03:02:54):
And of course I have tried to explain it to
myself and the period explaining that he and I will
put excuse me a moment, I am forgetting. I must
see that the guards are posting, while hair Heart yes,
says to the posting of the guards, your sponsor has
a word for you. After that you will hear an explanation.
Inasmuch as all the characters of our story are long.

Speaker 5 (03:03:15):
Since dead, in bringing them back to life, the traumatized
solution of this mystery must have necessary to take considerable
liberties with time, ladies and gentlemen, a solution for which

(03:04:58):
you have been waiting to. To begin with, I should
explain that I have done a great deal.

Speaker 2 (03:05:03):
Of reading in order to find the scientific explanation of
some of the things achieved by the witch dropped us.
Will search Urns Frasiers, Golden Bold, Why One Black Magic
by Doctor Hartman, Roaring Bones.

Speaker 5 (03:05:19):
By gustavnd Sweden. The ja seems to me that he
says something about a rifle being transported over a great
distance in the short space of time.

Speaker 2 (03:05:27):
That is right when he speaks of one of the
ob who transported himself from the hinterland to a coast
in the night every time he wanted to count his
money back at the trading post. You understand, thoughts can
go to any locality, no matter how far, because all
locality is within the sphere of the mind that is,
under ordinary circumstances. Even though thoughts are sent out into

(03:05:51):
the realm of mind, actual consciousness remains with the body
you mean him.

Speaker 5 (03:05:56):
There's only one more step to send you in myself,
so this week on a journey, so that you'll be
aware of everything you've seen or heard and can remember
it when you return to ordinary consciousness.

Speaker 33 (03:06:05):
Yeah, that is it, won't you see?

Speaker 2 (03:06:08):
The witch Doctor, which preach soon hunts on the native boys,
all concentrating on bringing the quinine who saved me made
it possible for the witch Doctor's astrobody.

Speaker 84 (03:06:18):
Although I do not like that word, but.

Speaker 5 (03:06:20):
It made it possible for him to travel back to
the trading post when returned.

Speaker 33 (03:06:24):
With the Klini.

Speaker 5 (03:06:24):
So's pro fact, of course that the witch Doctor is
in practicing that very thing for you.

Speaker 17 (03:06:29):
Yeah, yeah, you are right.

Speaker 2 (03:06:30):
People forget to credit to other people the ability to
do things that they themselves cannot do. Just as some
people are inclined to think of the witch doctors as stakes.

Speaker 5 (03:06:41):
Well, I'll admit that after your story tonight, I'll never
think of a which doctor is a fake again.

Speaker 33 (03:07:32):
The sting of the first.

Speaker 4 (03:07:42):
Prefer dark venture.

Speaker 85 (03:08:40):
Over the minds of mortal men come many shadows, shadows
of greed and hate, jealousy and fear. Darkness is the
absence of light. So in the sudden shadows which fog
the minds of men and women are to be found
the strange impulses which urge them on to their venture

(03:09:02):
in the dark. There are some men whose entire lives

(03:09:24):
are concerned with evil. They're born to flourish and die
in the shadows. Their every move is a venture in
the dark. It is this story we tell you tonight,
as we present Marvin Miller and Eric Snowden in pursuit

(03:09:48):
a dark, deserted side street within the inner reaches of London.
In the distance, Big Ben sombrely tolls the evening our
quiet now here he comes.

Speaker 31 (03:10:03):
You see, Henry, You see how I followed your orders
every day for a week. I've watched him that so
loud every day he takes the same streets, patigious little
man walled in by heabit.

Speaker 21 (03:10:16):
What's it?

Speaker 9 (03:10:16):
Nothing?

Speaker 23 (03:10:17):
Bad?

Speaker 9 (03:10:17):
Nothing?

Speaker 31 (03:10:20):
He has the money sure as death, Henry. When he
left his office, he was counting the notes.

Speaker 21 (03:10:25):
See how I am.

Speaker 9 (03:10:28):
And he gets here.

Speaker 86 (03:10:29):
You know what to do.

Speaker 31 (03:10:30):
Don't make any mistakes this time?

Speaker 21 (03:10:33):
What do I ever do?

Speaker 31 (03:10:33):
That was shut up by he said, it is go on.

Speaker 21 (03:10:39):
Big pardon sir?

Speaker 9 (03:10:42):
What's that you?

Speaker 21 (03:10:43):
Who wouldn't have?

Speaker 1 (03:10:44):
Who have a match?

Speaker 17 (03:10:44):
Now?

Speaker 21 (03:10:44):
Would you?

Speaker 54 (03:10:45):
Oh?

Speaker 5 (03:10:46):
A match?

Speaker 86 (03:10:48):
Startled me for a moment. I didn't see you there
in the darkness. Yes, certainly I haven't met.

Speaker 21 (03:10:52):
Did you give her a smoke?

Speaker 23 (03:10:53):
No?

Speaker 86 (03:10:53):
Thank Yeah, I'll strike the match for you.

Speaker 35 (03:10:58):
That frame.

Speaker 31 (03:10:58):
But what keep your hands what they are now? You
shouldn't let him strike that match your pool. But get
down the street and keep a sharp watch.

Speaker 21 (03:11:04):
Now see your go on part more. But I didn't
mean to have him strike the match.

Speaker 41 (03:11:08):
Swoop me.

Speaker 1 (03:11:08):
I didn't go right to your wallet.

Speaker 86 (03:11:11):
You'll not get away with this. I have influence. I
want you to know, great influence. You've picked the wrong
men tonight.

Speaker 31 (03:11:19):
Stop chatting and take that ring off your finger. Come on,
get it off. What are you're trembling about a man
with your influence.

Speaker 1 (03:11:28):
The ring stuck. You better hurry and get it off.

Speaker 9 (03:11:31):
Fister, here you.

Speaker 31 (03:11:33):
Are, someone's coming down the street.

Speaker 8 (03:11:36):
You see.

Speaker 21 (03:11:37):
You'll never get away with it.

Speaker 31 (03:11:38):
Now your pocket watch hung so elegantly across your plump stomach.

Speaker 41 (03:11:43):
Henry, still coming.

Speaker 31 (03:11:44):
Hurry, m fine looking watch.

Speaker 86 (03:11:49):
You'll pay for this, You'll see, I'll have you tracked down.
Remember I saw your faces when I struck the light.

Speaker 31 (03:11:55):
But you did it there, didn't you?

Speaker 1 (03:11:58):
Well?

Speaker 31 (03:12:00):
But at least I think I hear it's true.

Speaker 1 (03:12:04):
Just down the street, I'm almost through.

Speaker 31 (03:12:07):
No, it's too bad of such keen eyesight, my friend,
Really don't think I could identify you positively.

Speaker 86 (03:12:14):
I mean, I just caught a momentary glimpse of yes. Please,
please don't do anything to me. I've got three children
at home.

Speaker 31 (03:12:24):
It's very unfortunate.

Speaker 1 (03:12:26):
I feel so sorry for your three children.

Speaker 33 (03:12:28):
Don't use that gun.

Speaker 1 (03:12:29):
Please, I'll give you anything.

Speaker 21 (03:12:32):
Oh you shouting?

Speaker 31 (03:12:37):
You shouldn't have done that, Enry, what's this? But are
you trying to tell me what to do?

Speaker 21 (03:12:42):
Now? But you had what he said. He's a man
of influence, and let that bother you.

Speaker 31 (03:12:45):
But his influence is now at a name.

Speaker 21 (03:13:04):
I'll be glad to get in the house tonight.

Speaker 8 (03:13:06):
Right now.

Speaker 21 (03:13:07):
This not's done me in.

Speaker 31 (03:13:08):
It's a fine night, Barb. Look at those stars winking
down at us as if they shared out every secret.

Speaker 21 (03:13:16):
There you go, talking crazy again.

Speaker 31 (03:13:18):
I wonder what we got out of him and accounted
when we get in the room.

Speaker 21 (03:13:21):
You see how I'm learning. Henry knew just the streets.

Speaker 1 (03:13:24):
You'd take, and right to the minute.

Speaker 31 (03:13:26):
Yes, it was also very clever of you to let
him strike that match.

Speaker 21 (03:13:30):
Well, here we are, own sweet home, up the stairs.

Speaker 31 (03:13:33):
And walking down the street.

Speaker 9 (03:13:34):
What was I say?

Speaker 31 (03:13:35):
Sure, Henry? What natural?

Speaker 17 (03:13:37):
Not too fast?

Speaker 1 (03:13:38):
What's wrong?

Speaker 9 (03:13:39):
I don't know?

Speaker 31 (03:13:41):
But there were two policemen waiting for us in the hallway. Ah, Hello,

(03:14:07):
this is Henry Bell, missus Graham.

Speaker 5 (03:14:10):
What are you calling me for?

Speaker 17 (03:14:12):
I don't want no trouble.

Speaker 31 (03:14:13):
Oh, I'm trying to keep you from trouble. A friend
of mine said he passed your rooming house tonight. There
were police in the hallway. Knew I roomed with you,
so he told me. I just called to see if
I could be of help.

Speaker 1 (03:14:27):
That's all.

Speaker 21 (03:14:28):
Oh, are you.

Speaker 87 (03:14:28):
Trying to fool and rebel? H You know why the
police are admiress. They're waiting for you and bath for me.
I should go right with it all and call them.
Where are you telephoning from?

Speaker 1 (03:14:41):
What do they want of us?

Speaker 76 (03:14:43):
By the looks at them, it's no social call.

Speaker 31 (03:14:46):
We've not done anything.

Speaker 76 (03:14:48):
That's not what they say.

Speaker 15 (03:14:50):
They say you've killed a man very important.

Speaker 33 (03:14:54):
That's a lie.

Speaker 87 (03:14:55):
And according to them, the men saw your faces for
a moment from his description before I died.

Speaker 17 (03:15:01):
The police nurds you.

Speaker 31 (03:15:02):
But thank you very much, missus Graham.

Speaker 76 (03:15:07):
If I find out anything else where, can I reach you?

Speaker 1 (03:15:10):
What's there? What are you trying to pull off?

Speaker 31 (03:15:15):
Nothing?

Speaker 5 (03:15:16):
Nothing at all.

Speaker 76 (03:15:17):
I just want to help you and Bart.

Speaker 1 (03:15:19):
That's all.

Speaker 31 (03:15:20):
Goodbye, missus Gray up. Do you think I'm going to
give you time to trace this call? I'm so sorry
I can't oblige.

Speaker 43 (03:15:29):
Bell.

Speaker 5 (03:15:30):
This is inspected line of Scotland Yard.

Speaker 1 (03:15:33):
Yes, Inspector, goodbye to you too.

Speaker 9 (03:15:35):
It's no use, Bell.

Speaker 17 (03:15:37):
You haven't a chance in the world. Give yourself up.

Speaker 31 (03:15:39):
I don't think so, Inspector.

Speaker 88 (03:15:42):
You shot the wrong man tonight, Bell, you shot Donald Bailey,
the right honorable Donald Bailey with a seat House of Commons.
Getting up in the world, aren't I we'll catch you
before morning. We're forming a drag net that stretches across
the entire city.

Speaker 84 (03:16:00):
You can't.

Speaker 17 (03:16:01):
Is that so?

Speaker 1 (03:16:01):
It's bigtor?

Speaker 31 (03:16:03):
Would you like to wait your army? Well, you get
the train tickets.

Speaker 21 (03:16:17):
I couldn't, Henry, I just couldn't. They got cop us
all over the round.

Speaker 31 (03:16:20):
Which I should do anything right anymore?

Speaker 21 (03:16:22):
What are we gonna do, Henry?

Speaker 45 (03:16:23):
What are we gonna do?

Speaker 1 (03:16:32):
Hello, Dick, listen, you've got to hide us out. We've
been running through the police all night. We can't take
it much longer, Dick, dicklar you there? Hello, Hello, Hello, Henry.

(03:16:54):
That's allowed? Will he help us?

Speaker 21 (03:16:55):
I'm worn out, I tell you, I'm worn out.

Speaker 31 (03:16:57):
Willy help us?

Speaker 21 (03:16:58):
He wants no part of us. No one in the
old blooming city will help us. And that's a fact.

Speaker 31 (03:17:02):
I'm great.

Speaker 21 (03:17:03):
And that ain't all, Henry.

Speaker 89 (03:17:04):
What the coppers are throwing a barricade around this entire district,
won't let anyone in, all out and all the time,
thus squeezing in tighter, squeezing in tighter, Henry, what makes

(03:17:28):
you think Sam olilpus.

Speaker 31 (03:17:29):
Henry, Sam will do anything for money.

Speaker 21 (03:17:32):
You shouldn't have killed him, Henry, not a right honorable
gentleman like him, right honorable gentleman.

Speaker 1 (03:17:38):
What else should I have done?

Speaker 21 (03:17:40):
I don't know. You're the one that always figures out
you're supposed to watch out for us.

Speaker 1 (03:17:46):
I am watching out for us.

Speaker 31 (03:17:48):
If you hadn't let him strike that match and let
him see our faces, this would never have happened.

Speaker 21 (03:17:52):
I do like you tell me, Henry. It's like I
always say, you got the brains, but you need more
than brains. And that's where I come in.

Speaker 31 (03:17:58):
And as I tell you, now, stop talking.

Speaker 18 (03:18:00):
Come along.

Speaker 31 (03:18:01):
Look someone walking down the street. Let him walk like natural.
I think it's a copper, Henry. Just keep walking. Yeah,
let's stand on the.

Speaker 21 (03:18:11):
Street, Henry, Henry, I'll tell you it's a copper. Look
he's turning down the street with.

Speaker 31 (03:18:16):
Us, all right, Just take it easy, don't do anything
to raise a suspicion.

Speaker 21 (03:18:20):
I'm scared, Henry, I'm scared.

Speaker 31 (03:18:28):
Yeah, you see, he didn't follow us. Yeah, it's Sam's
house just ahead.

Speaker 1 (03:18:35):
He led us out.

Speaker 31 (03:18:36):
I hope so up be staired.

Speaker 17 (03:18:41):
Hor ring the bill.

Speaker 21 (03:18:45):
Why doesn't the answer that take it easy?

Speaker 1 (03:18:49):
Where is he? It's me? Sam?

Speaker 21 (03:18:52):
Henry?

Speaker 1 (03:18:53):
Okay, Sam?

Speaker 21 (03:18:55):
We're in trouble, terrible.

Speaker 31 (03:18:56):
Sorry about Sam.

Speaker 1 (03:18:59):
We got into a little mix up tonight. I heard
all about it.

Speaker 21 (03:19:02):
Yeah, we're oblige, same much obliged. Been right from the
coppers all night.

Speaker 34 (03:19:07):
Yeah.

Speaker 1 (03:19:07):
Sure, what's it on? Tress yourself? That gets a bit excited. Same,
it's really not.

Speaker 21 (03:19:14):
That bad, not bad, he says.

Speaker 1 (03:19:17):
How much did you get off the game? Well, we
haven't counted it yet.

Speaker 90 (03:19:21):
Look, every cap and town is looking for you. I'm
taking a big chance doing this. What do you mean, Sam,
how much did you get?

Speaker 1 (03:19:29):
Oh, we'll take care of you said, I'll take care
of myself.

Speaker 17 (03:19:34):
So that's the way it is.

Speaker 1 (03:19:36):
Eh, that's the way it is.

Speaker 31 (03:19:38):
It's a dirty trick, you think.

Speaker 1 (03:19:40):
So come here to the window, look through these curtains.

Speaker 31 (03:19:49):
The copper right, Yeah, he's the one that was following us.

Speaker 1 (03:19:53):
You see, I'm sticking my neck way out and I'm
not doing it for my help.

Speaker 31 (03:19:58):
We didn't get very much.

Speaker 1 (03:20:01):
Don't give me that. Come on, let's say it. But yes, Henry,
I want to talk to Sam alone.

Speaker 21 (03:20:07):
But Henry, we don't have no secrets. You and I
we are partners.

Speaker 1 (03:20:11):
We are. But why don't you go on the back
and watch up, don't you do? As Sam says, but
go on?

Speaker 89 (03:20:19):
All right, all right, But it's a mighty peculiar way
for a partner to act.

Speaker 1 (03:20:24):
If you ask me, now, what did you want to
talk about? Henry?

Speaker 31 (03:20:31):
I need the money I got tonight, Sam, I've got plans,
great plans running through my brain. You have, huh You
don't imagine for one minute to you, Sam, I'm content
doing what I am now. But seems content that ocs
he hadn't let that fellow strike that match, we wouldn't
have been in this mess at all. No, I'm afraid

(03:20:53):
my plans go beyond my friend.

Speaker 1 (03:20:55):
But well, what's all that's gotta do with me?

Speaker 31 (03:21:00):
From America where they know how to think big? I
admi you Sam? You think like I think. You're quick
to grab hold of an opportunity when it presents itself.

Speaker 17 (03:21:10):
I like that in a man.

Speaker 31 (03:21:12):
Well, I've got a few deals in my mind where
I could use a man like you. You're smart, Sam
very sma.

Speaker 90 (03:21:22):
Yeah, yeah, maybe I know one thing. I'm too smart
to hook up with a marked man. But you've killed
the wrong follow Henry of a deapless parts for I
don't care whose fall it was you've got a take
with a noose. They made a layd by thrashing about
this way and that, but in the end they'll catch it.

Speaker 31 (03:21:42):
It's not true.

Speaker 21 (03:21:43):
Have you finished your little talking too?

Speaker 1 (03:21:45):
I think so.

Speaker 90 (03:21:47):
I'll take the wallet, Henry. It's not fair, Sam, all right,
I'm a reasonable man. I'll take nothing and you can
go back to the street.

Speaker 9 (03:21:59):
Here's the wallet.

Speaker 1 (03:22:00):
Thank you.

Speaker 90 (03:22:01):
After all, Henry, you just said you admired me because
I grab hold of an opportunity when it presents itself.
Anything else, just this ring? How about couplings or watches?
Didn't you pick the guy's watch? He wasn't carrying a watch.

Speaker 1 (03:22:16):
Okay, you two go on the next room and get
some sleep.

Speaker 21 (03:22:21):
Go on, I's a fag out. I could sleep forever.

Speaker 1 (03:22:24):
He'll be on the lookout rogers An Sure, sure, Oh
I'm go to sleep, and don't worry.

Speaker 20 (03:22:32):
Lighter.

Speaker 31 (03:22:33):
He had no business taking a ring and wallet. Well,
there ain't much we can do about it. He took everything,
not everything, What do you mean? I'm not exactly a fool,
But look at his watch?

Speaker 17 (03:22:45):
Didn't get that?

Speaker 20 (03:22:47):
Say?

Speaker 10 (03:22:47):
That looks pretty?

Speaker 31 (03:22:48):
It's a fine watch. Solid goal.

Speaker 21 (03:22:50):
Yeah, we'll be able to get ten pounds on that
or on a.

Speaker 31 (03:22:52):
Ten pounds nothing. I'm I'm retaining this watch. I've been
needing one for some time now. Yeah, that I ain't
fear it.

Speaker 9 (03:22:59):
Why not?

Speaker 21 (03:23:00):
Oh, it's supposed to be partners.

Speaker 91 (03:23:01):
We are.

Speaker 21 (03:23:01):
That means fifty to fifty on everything.

Speaker 31 (03:23:03):
Nobody such a fool. But I'm the one that runs
this little partnership. Remember that as all the same.

Speaker 9 (03:23:09):
Nothing.

Speaker 31 (03:23:11):
I'm keeping this watch, and I don't want to hear
you mention it again.

Speaker 21 (03:23:14):
You're acting mighty queer, Henry. You didn't used to.

Speaker 67 (03:23:18):
Be like this.

Speaker 31 (03:23:19):
Perhaps I don't appreciate your stupidity as much as I should. Yes,
perhaps that's it.

Speaker 21 (03:23:27):
Tonight was just a mistake, Just a mistake.

Speaker 31 (03:23:31):
There you're going, I'm going to turn out my lights.
Why I want to see if that copper's still out
in front? Well, let's more like it bad. It shows
some signs of having a brain when you think of
things like that. I'll just raise this blind a bit.
Henry stops shouting like that, Come here quick, what is

(03:23:51):
it now? Look down there on the street we are.
There is Sam talking to the policeman and he's pointing
to this house. Why now that coming across the street.

Speaker 21 (03:24:00):
What are you going to do?

Speaker 1 (03:24:00):
Come on quick, there's a back entrance to this house.

Speaker 23 (03:24:02):
Where can we go?

Speaker 1 (03:24:03):
No time to think about that. Let's get out of here.

Speaker 53 (03:24:30):
Would it be Jens cup of tea? Same for me
to curpsity? Nothing else. I've got some fine slab ca.

Speaker 31 (03:24:42):
J What are we going to do?

Speaker 77 (03:24:46):
Then?

Speaker 31 (03:24:46):
They think if we only had enough money to get away,
we could.

Speaker 20 (03:24:50):
Hire a car.

Speaker 31 (03:24:50):
Who's talking about that having a penny? You could get
some money for that watch at this time, and we
could find a pawn shop somewhere. We could sell it
to someone on the street.

Speaker 1 (03:24:59):
It's out.

Speaker 31 (03:25:01):
I have a right to keep the watch. Gives me
a certain distinction. I don't intend to give it up.
But it's all wait's coming back?

Speaker 43 (03:25:10):
Isity?

Speaker 53 (03:25:13):
You sure you don't want some slab cake? How late
you stay open till midnight? The underground train stopped running
it off past a living and I get a pretty
good trade from them.

Speaker 31 (03:25:29):
Suppose you bring me a slice of that cake. If
it's as good as you say it is slag cake?

Speaker 92 (03:25:34):
Right though you hear what he said, that's a good
business here, must have plenty in the two that's what
you were thinking, I, Henry, if we had enough money,
we could get away from it till it cools off.

Speaker 20 (03:25:46):
That's right.

Speaker 31 (03:25:47):
You suppose you could do something right for a change.

Speaker 53 (03:25:50):
Then we are. I didn't mean to here it comes again.
Here you are now, if you don't mind, I want
to get the news. It's just coming on.

Speaker 4 (03:26:02):
This is the VBC news.

Speaker 86 (03:26:04):
You mean, the conference of Potsdams proceeding well according to reports.

Speaker 31 (03:26:11):
Next time he comes back, we'll do it all right, Henry.
When I put the gun on him, it makes a
right for the case register to move fast because the
customer might come in at any minute.

Speaker 8 (03:26:23):
Listen to the ones.

Speaker 86 (03:26:24):
It's about us, promise and arrest within a very few hours.
Names and descriptions of the criminals are known to the authorities.
Means escapes being watched.

Speaker 21 (03:27:00):
Why don't we give ourselves up? Her, It's no use.

Speaker 31 (03:27:02):
We'll not give ourselves up. But I told you before,
I'm making the decisions.

Speaker 21 (03:27:08):
They're getting closer all the time. I can feel it.
I can like a noose round in it and talk
like that, and all for nothing. All we got out
of it was an oh what, that's the breaks.

Speaker 9 (03:27:16):
Of the game.

Speaker 31 (03:27:17):
It's a mighty fine watch all the.

Speaker 21 (03:27:19):
Time getting closer. You word what the wile is said.
There's nothing left for us to do.

Speaker 31 (03:27:25):
It comes a car down the street. It's here in
the stocky stopping.

Speaker 4 (03:27:32):
All right, men, let's give.

Speaker 1 (03:27:33):
This, Yes, I hear it. All right, let's give up,
and maybe they give us a chance.

Speaker 31 (03:27:41):
Not give us any chance. He walked on this anyway,
Keep close to the wall.

Speaker 21 (03:27:46):
We'll never get away.

Speaker 1 (03:27:47):
Heaven caught us yet there, No, it's only begun.

Speaker 31 (03:27:52):
What's that entrance down there at the end of the street.
I don't see it there there with the warning lights
burning over, It looks like the sub entrance. There's a
sign on it. Let's see if I can read it
by the light of the street lamp. The cops will
be honest in a few moments. Be quiet.

Speaker 1 (03:28:08):
Let me see.

Speaker 31 (03:28:11):
Station no longer in use. Enter through Brighton station, two
squares north. Come on, Enrys gives me an idea.

Speaker 21 (03:28:20):
We can't waste any time.

Speaker 31 (03:28:21):
Remember what the waiter said. What he said, The train
stop running at eleven thirty. After that, the tube's empty
until early morning. Well, he me, look at my watch.
Almost twenty minutes to twelve. We finally got a break.
The subways will be empty. We can escape through the tube,
is it? Sigh of certainly it's safe. Look at the

(03:28:42):
watch for yourself. Eleven forty, it says, Henry.

Speaker 21 (03:28:46):
It's them.

Speaker 53 (03:28:47):
Tell me steps, hurry, hurry, hurry, Oh my ankle, come on,
come on, kiss, you can.

Speaker 1 (03:28:56):
Bring up the light.

Speaker 31 (03:28:59):
Tramped, Henry, we're not. We're going along the tracks. It's dangerous,
not dangerous. Remember for the train stopped running fifteen minutes ago.

Speaker 93 (03:29:06):
Come on, why words, Henry, catch us the star? No,
I keep stumbling against the rail like a match and
seeing where we are That's what got us into trouble before.

Speaker 94 (03:29:23):
They have to take a chance now, Hebrew, forget it.

Speaker 9 (03:29:30):
We've a way out.

Speaker 31 (03:29:32):
I can see him a light just as the celebrate
branches off. We have fifty to fifty chance and take
the tunnel.

Speaker 1 (03:29:38):
To the left.

Speaker 31 (03:29:39):
Two constables.

Speaker 26 (03:29:39):
Woodn't death.

Speaker 4 (03:29:40):
But of knowing I have a gun.

Speaker 10 (03:29:41):
Ye, maybe that's right.

Speaker 21 (03:29:42):
I know it's right.

Speaker 47 (03:29:45):
I'm afraid I can't oblige inspector, afraid I can't go fly.

Speaker 8 (03:30:01):
From me, Henry.

Speaker 21 (03:30:09):
I think we're going to be all right.

Speaker 23 (03:30:10):
I told yourself.

Speaker 9 (03:30:12):
They took the main tale just as I figure.

Speaker 92 (03:30:16):
You can't frightened too easily bad that it's so black
here and error just room for the riyals.

Speaker 9 (03:30:22):
That's what it was made for.

Speaker 4 (03:30:23):
We have to be careful to get out.

Speaker 8 (03:30:25):
Before morning, before the train start running again.

Speaker 31 (03:30:27):
You don't have to worry about that. But if we
went asleep, Oh, I have to think about whatever I said,
you won't have to worry about it. What do you
mean I've been thinking about?

Speaker 4 (03:30:41):
What about a lot of things?

Speaker 17 (03:30:43):
You know?

Speaker 31 (03:30:44):
Being down here one hundred feet the earth is good.

Speaker 9 (03:30:47):
For the bye.

Speaker 95 (03:30:48):
There you go talking crazy again? Crazy, Well, here's something
for you to think of, My boy, What are you
talking about? You're stillbid bad to know that your world.
You're big and strong, but you can't think of you
rely on me for everything?

Speaker 43 (03:31:06):
Do we fished in?

Speaker 31 (03:31:07):
You can't stand a very bad habit of interrupting God.

Speaker 10 (03:31:11):
I'm sorry.

Speaker 94 (03:31:12):
Didn't you ever wonder why I bothered to take you
along with me on these jobs? When I'll tell you
about I'm a man of mentality. I have a planner,
but I don't like to soil my hands with dirty work.
That's why I let you hang around just to do
my dirty work.

Speaker 21 (03:31:31):
I always figure you need more than brains. You need
muscles too. I didn't think it is dirty work for me.
I don't know what you're geting.

Speaker 1 (03:31:39):
It, just this.

Speaker 4 (03:31:41):
You're no help to me anymore.

Speaker 31 (03:31:44):
You've hurt your ankles in the morning, you have trouble
moving around, and then too, your attitude annoying. What if
I'm annoyed by someone, I just walk out of them.

Speaker 9 (03:31:58):
But in your case there's a drawback to that.

Speaker 20 (03:32:01):
You see.

Speaker 31 (03:32:02):
I don't want you around and talk to the police.
So the only one thing I can do, I'll have
to kill you.

Speaker 20 (03:32:10):
You might have the brain right, but I'm strong enough.

Speaker 44 (03:32:14):
To kill you with one st.

Speaker 9 (03:32:18):
I have forgotten stage, isn't it how it?

Speaker 31 (03:32:22):
God can make me just as starts as you?

Speaker 4 (03:32:26):
Don't do it, Nry, We've always been a team.

Speaker 1 (03:32:29):
Don't do it.

Speaker 85 (03:32:41):
As the body of Bart drops to the tracks, a
thin smile acrosses Henry's lips. Then he straightens his clothes
and begins walking down the tracks. Somewhere along the line
there'd be a station he would escape through that. Without Bart,
he could move around quickly, lay low toally, excitement, died down,
then come back again. He began whistling as he walked

(03:33:05):
along his hands in his pocket. His fingers touched the
fine gold watch. That was something really to be proud of. Yes,
he would go away, maybe maybe he'd go to the sea.
A nice rest wouldn't hurt him. He'd always find a
way to pick up a few pounds and maybe find

(03:33:26):
a sweet young thing to what's it? Henry pauses uncertainly,
looks back where the sound is growing. But the sound
was getting nearer and nearer the training camp compy, I've
got it out of here, got to get out of here.

Speaker 9 (03:33:46):
It stumbles over the tracks.

Speaker 85 (03:33:48):
He jumps to his feet, rushes on his hands, brushed
the narrow walls for some way of escape.

Speaker 41 (03:33:57):
He campy, compy, his train, stop running it a little,
it'll be.

Speaker 85 (03:34:01):
But now the sound of the approaching train fills the tunnel.
No escape, nor escape. Then the growing light, Henry sees
a way out.

Speaker 1 (03:34:09):
What's all an emergency to all get it open.

Speaker 85 (03:34:14):
He throws himself against the door, his fingers tightened around
the handle, and the rumble of the train is now
a continuous thunder.

Speaker 8 (03:34:26):
Most of us.

Speaker 85 (03:34:27):
But the handle, unused for years, refuses to budge. Now
the train is rounding the last bend, and tunnel it's
head light spearing through the gloom.

Speaker 23 (03:34:36):
Open olpen.

Speaker 85 (03:34:41):
But Henry hasn't the strength to open the door. In
his last frantic terror, as he turns to face the
on rushing train, a sudden thought nice its way to
his tortured mind.

Speaker 21 (03:34:51):
You need more than brains, Henry, you need muscles too.

Speaker 85 (03:34:55):
Bart had said that Bart had the strength, Bart could
have opened the door. Henry raises his arms as if
to ward all a terrible blow, and the train thunders
on across London. In the small office in the City Morgue,

(03:35:27):
the widow of the Right Honorable Donald Bailey has come
to claim the personal effects of her late husband.

Speaker 88 (03:35:34):
This is all we found on him, Madam, his clothes,
his tire clip, the umbrella, and the loose change.

Speaker 76 (03:35:42):
They weren't satisfied to steal his wallet and his ring.
They even had to take his watch.

Speaker 1 (03:35:49):
Was it a valuable but only to him?

Speaker 76 (03:35:53):
It had been his family for generations and had become
quite antiqueted. Kept time very badly in narday or more, Yes,
I dare say, whoever still the watch will have nothing
but trouble time means anything to him.

Speaker 85 (03:36:17):
Next week, over most of these stations we'll bring you
another original story about the Land of the Shadows. Eclipse,
the strange tale of a man who woke from unconsciousness
to find himself a hunted murderer. It will give you
another opportunity to examine it close range. The strange impulses
which lure human beings into their dark venture.

Speaker 96 (03:36:58):
Pursuit was written by Larry Marcus and Robert Light and
featured Marvin Miller as Henry and Derrick Snawden as Bart.
The narrator was John Lake. Original music by Dean Fossler.

(03:37:19):
Ladies and gentlemen, your government needs your help during the
current meat shortage. Yes, your government asks you as a
patriotic duty to play square with meat. If every person
played no more than legal sealing prices and exchanged the
proper ration points for meat, the black market would be
stamped out. It's that simple and that difficult. Your government,

(03:37:41):
through the Office of Prize Administration, sets these rationing and
price controls to protect you, to ensure you that you
will get your fair share of the meat available.

Speaker 1 (03:37:51):
So do your share. Play square with meat.

Speaker 96 (03:37:54):
This is ABC, the American Broadcasting Company, the Weird.

Speaker 97 (03:38:04):
Circle in this cave by the restless scene, we are
met to call from out the past stories strange and weird. Bellkeeper,

(03:38:26):
pull the bell so all may know. We are gathered
again in the weird circle. Out of the past, phantoms

(03:39:06):
of a world gone by, speak again the immortal tale,
the last day of a condemned man.

Speaker 98 (03:39:26):
This is the voice of a man condemned, condemned by
the law of the state and by freakish circumstance. I am,
by all ordinary standards, a good citizen of France. I
have fought under Bonaparte. I have served my country, married
and fathered a child. But all those things come to

(03:39:47):
nothing in the south the condemned.

Speaker 17 (03:39:51):
Hour by hour, I await my pardon, but it will
not come.

Speaker 98 (03:39:57):
I know that, for this is the working of a curse,
a curse placed upon my father to last through all
the generations of his line, for having loved too well
a woman who has promised to another man. Each day,
the specters of those who have gone before me in
this cell accused me and passed before me to disappoint

(03:40:20):
all my.

Speaker 17 (03:40:21):
Hopes and to horrify me. They're here again, murderous thieves,
all of the Andre Andre your nerves, sit down, my friend,
control yourself. These things are only pictures in your mind.
Ah ah, they're real, Francois.

Speaker 98 (03:40:38):
They are the homeless spirits of the condemned, murderers and
thieves who are in this selling years gone by. They've
come to haunt me, to welcome me among the condemned.

Speaker 17 (03:40:46):
You know you've done nothing, really nothing, that is a
crime that everyone thinks. I have, my wife, my daughter.
They've accused me. Think of a Francois. They have accused
me of my own murder and of a crime against
my own family.

Speaker 98 (03:41:02):
Oh, Francois, I wouldn't even harm a hair of their
precious heads.

Speaker 17 (03:41:06):
Then these ghosts are They know of the curse, They
know my.

Speaker 98 (03:41:11):
Release is impossible since the state has condemned me, Francois, Francois, What.

Speaker 17 (03:41:20):
If some of them were as innocent as I am?
Condemned and executed on false evidence. Perhaps that's why they've
come to welcome me to the guillotine. But you have
every reason to hope for a pardon when the case
is reviewed. Andre, you know you're innocent. Forget these ghosts, Andrea,
when you are free, they have vanished from your mind,

(03:41:41):
from your side of these bars.

Speaker 98 (03:41:42):
It is easy to say that you are in prison
only for being my companion. But in the two inches
of space between ourselves there is a world of difference.
Here on my side lie the spirits of men condemned
to death for crime, and on your side are the
spirits of those who served their sentences and gone again
into the world of life.

Speaker 17 (03:42:03):
But you may yet be pardoned. Andrea, those faces, the
way they looked at me, they looked at you. You
saw their faces. Yes, for the first time to day
they set for my my execution. I saw them. They
carry their heads under their arms, and the eyes of

(03:42:25):
those heads looked at me. They seemed to tell me
certainly that I soon would be with them. All they
are your imagination. You bring on those images by thinking
about those names scratched on the wall.

Speaker 98 (03:42:35):
Of yourself, and the scratchings of those dead men. Yes,
they were all here here in this very cell, And they, Francois,
they were all killed by the guillotine, the guillotine that
they've constructed again in the courtyard out there for me.

Speaker 17 (03:42:52):
But they were murderers and thieves.

Speaker 21 (03:42:54):
That's the difference.

Speaker 1 (03:42:55):
You are not.

Speaker 17 (03:42:55):
But they even they have accepted me among their number.
They know, I can tell by the way they looked
at me, that the guillotine won't be robbed. Oh, Francois, Francois,
she would only come if the child would repent. Then
they could not look at me. So she will, Andre,

(03:43:17):
be certain of that child will come, and all will
be para, Francois. Even I know that my hopes are
in vain.

Speaker 98 (03:43:27):
That is part of the curse, that my own wife
and children will disown me in the hour of danger
and will not even know me.

Speaker 45 (03:43:35):
And it works, Francois, The curse is working.

Speaker 17 (03:43:41):
You remember how it happened, Francois.

Speaker 1 (03:43:43):
You were with me.

Speaker 17 (03:43:44):
Then we were walking along a road toward a village.
We were laughing and talking and feeling happy in a
new freedom. Just think Andre tomorrow.

Speaker 98 (03:44:00):
Oh well, behold ha Paris, our wives, everything we've been dreaming.
I have Only a few days ago we were forgotten men,
prisoners of war, forgotten after.

Speaker 17 (03:44:10):
The war was over. And now Napoleon was.

Speaker 31 (03:44:12):
Defeated, but we're still left to right.

Speaker 17 (03:44:15):
That's the price of defeat. Hah, Francois. But we have
escaped from those horrors. This is friends.

Speaker 98 (03:44:22):
That should be enough, I suppose. But think of home, Francois,
home after so long. Perhaps after so long, Paris will
not be the way you imagine it. Perhaps it's change
Paris never, Paris does not change, not as home the
heart of one who loves you as well as my Lorrain,
my wife, Lorraine loves me.

Speaker 1 (03:44:45):
Ha.

Speaker 17 (03:44:46):
Let us stop for a moment in restaurant.

Speaker 98 (03:44:51):
Tell me, aren't you anxious to get back to your
wife and your child? My wife is dead, Andre, and
we never had a child. I'm sorry, Francois. I didn't
know it's long past now.

Speaker 20 (03:45:05):
Andre.

Speaker 17 (03:45:06):
Thank you though for your sympathy. But I do know
that tomorrow or the next day, when we do come
to Paris, after this long journey, you will feel happy.
And I'm glad for you. Thank you, Francois. I'm glad
for you, because there's never been a better companion Andre.
Through everything, we've never had trouble. You are, I believe,
the gentlest man I've ever.

Speaker 98 (03:45:27):
Met, And you, too, Francois, have been a good companion.
But a tired one, eh perhaps, but I suppose anyone's
entitled to that after what we've been through.

Speaker 17 (03:45:39):
But here, my stomach's crying for food. I'll go on
into the village alone and see what I can get now.
It's better anyway. You're better at getting people to give
us fool than I am. Just think after tomorrow, we'll
never beg again. If you don't come back within a
short time. I'll follow you into the village and help
you should you have foreign trouble. Oh, there will be
no trouble. People don't mind giving the poor tired soldiers

(03:46:01):
like us. I'll be back France while I'll meet you here.

Speaker 24 (03:46:13):
Yes, monsieur, hello, little one, What is it you want?

Speaker 17 (03:46:16):
If you will open the door a little wider, I can.

Speaker 66 (03:46:18):
Tell you there a little wider now, monsieur, is.

Speaker 17 (03:46:23):
Your mamma at home?

Speaker 66 (03:46:24):
She is busy.

Speaker 17 (03:46:26):
I am a soldier, little one. I only want to
ask you for some food.

Speaker 66 (03:46:30):
If you're a soldier, you need nothing. But you don't
look like a soldier in those dirty clothes. I don't
believe you.

Speaker 1 (03:46:37):
What is your name?

Speaker 66 (03:46:38):
Never mind, but I don't like you.

Speaker 64 (03:46:40):
Go away.

Speaker 17 (03:46:42):
I wouldn't hurt you.

Speaker 64 (03:46:42):
I don't care.

Speaker 39 (03:46:44):
Go away, go away.

Speaker 17 (03:46:45):
Somehow you you look? If you do look like another
little girl, I know she'd be just about your age too.
Who Her name is Bernice and she lives in Paris.

Speaker 66 (03:46:59):
I lived in Paris once.

Speaker 17 (03:47:01):
This little girl is still there. I am a father.
What's your name, Bernice? Oh you see you're very much
like this other little girl. How long have you been
away from Paris?

Speaker 66 (03:47:14):
Only? Never mind going away?

Speaker 17 (03:47:18):
But maybe you No, no, you couldn't be my little girl,
could you? Where is your papa?

Speaker 66 (03:47:28):
Papa's gone gone away for a long time. He died
in the war.

Speaker 17 (03:47:35):
I'm sorry, Bernice. Would you give me something to eat?

Speaker 66 (03:47:40):
No, I won't go to the market if you want
something to eat. They have food there, Oh, Bernice, door, Yes, Mama,
was there someone at the door, A nasty man who
said he was a.

Speaker 24 (03:47:52):
Soldier, a soldier.

Speaker 66 (03:47:54):
He didn't look like a soldier to me. He was
all dressed in awful old clothes.

Speaker 17 (03:47:59):
What did he want?

Speaker 66 (03:48:00):
He wanted something to eat. I sent him to the market.

Speaker 99 (03:48:03):
They are food there, Bernice. You shouldn't have done that. Oh, well,
it doesn't matter. He will find something. But Bernice, is
that the man going off down the street there?

Speaker 64 (03:48:18):
Yes, he's.

Speaker 99 (03:48:22):
There's something about him.

Speaker 24 (03:48:25):
He's back.

Speaker 16 (03:48:25):
Perhaps that it looks like your father.

Speaker 99 (03:48:29):
That's impossible, andres did we had the report from the
general himself.

Speaker 64 (03:48:36):
Papa was a hero.

Speaker 66 (03:48:37):
You said so, mamma.

Speaker 99 (03:48:39):
Yes, but sometimes, darling, I wish we hadn't moved from
Paris quite so quickly after we heard Perhaps sometimes I
think there might be a chance that he'd come back. Ah,
but these aren't things for you to worry about.

Speaker 64 (03:48:55):
It, Darling.

Speaker 99 (03:48:56):
I want you to run down to market and buy
a loaf of bread for lunch.

Speaker 16 (03:48:59):
We'll need it.

Speaker 13 (03:49:00):
Here's the money, and do be careful, Darling.

Speaker 100 (03:49:03):
Yes, the mamma. I'll be right down. Monsieur, Monsieur Baker.
My mamma said he's to come of that bread.

Speaker 66 (03:49:15):
She likes him much.

Speaker 45 (03:49:16):
Why, Bernice Jermaine, I thought your mamma was going away
to visit in Leo.

Speaker 66 (03:49:21):
Well she is, monsieur, but she hasn't left yet.

Speaker 17 (03:49:25):
But did I hear you call this child Bernice Jermaine. Yes,
that is her name, her niece Jermaine.

Speaker 1 (03:49:33):
Then it is you.

Speaker 17 (03:49:34):
You are, my little girl.

Speaker 39 (03:49:35):
Oh wait, I don't know.

Speaker 17 (03:49:36):
You shall leave the child alone? Can't you see that
you're frightening her?

Speaker 1 (03:49:40):
She is she is my own away.

Speaker 31 (03:49:42):
I don't know.

Speaker 39 (03:49:43):
I don't like him.

Speaker 64 (03:49:43):
Think Baker's hit him away?

Speaker 81 (03:49:45):
My child?

Speaker 17 (03:49:46):
Why would you not recognize me?

Speaker 39 (03:49:48):
Away?

Speaker 66 (03:49:49):
Why won't you go away.

Speaker 44 (03:49:50):
The child is right.

Speaker 45 (03:49:51):
Kill out, now, get out, leave her alone, But.

Speaker 86 (03:49:54):
Very well, I'll go.

Speaker 24 (03:49:58):
Goodbye, little one, Thank heaven he's gone.

Speaker 17 (03:50:04):
Men like that are no good. Good riddance. I will
get the bread that your mother likes. I will have
to get it from the oven in the back room.

Speaker 24 (03:50:14):
Bernice, go away.

Speaker 66 (03:50:16):
Didn't you hear what the beggar said?

Speaker 17 (03:50:17):
But he's wrong.

Speaker 66 (03:50:19):
I am monsieur. Why would you not go? I tried
to help you when I struggle.

Speaker 1 (03:50:23):
So a minute ago you tried to help me.

Speaker 74 (03:50:27):
I saw you steal that loaf of bread when I
came into the shop. My mother said that I should
have helped you before I made a fussy.

Speaker 101 (03:50:35):
You could get away my own daughter helping her father
to steal. Then you do recognize your father. My father
is dead, but your father is not dead.

Speaker 17 (03:50:47):
Child. Look here, Venice, Here on my sword, my name
is engraved there.

Speaker 12 (03:50:54):
You kill, you kill my mother?

Speaker 45 (03:50:57):
Be quiet, child?

Speaker 39 (03:50:58):
Go away? You don't hurt me?

Speaker 45 (03:51:03):
Oh you then hell should murder?

Speaker 33 (03:51:06):
Monsieur?

Speaker 14 (03:51:07):
I apo.

Speaker 45 (03:51:10):
Stuck true, Oh, sir monsieur. Hey Hey there you know theme?

Speaker 10 (03:51:16):
Go hey?

Speaker 17 (03:51:17):
What is this?

Speaker 5 (03:51:18):
What goes on here?

Speaker 45 (03:51:19):
What had happened? Let me go?

Speaker 17 (03:51:20):
Let me go, I've done nothing.

Speaker 39 (03:51:22):
Try to kill me.

Speaker 66 (03:51:23):
He came at me with that sword.

Speaker 26 (03:51:24):
Hey, stay there, he got What did you do nothing?

Speaker 17 (03:51:29):
Look at the sword you will find your answer. The
truth is they are engraved on the blade.

Speaker 4 (03:51:34):
Get me that sword, baker.

Speaker 17 (03:51:36):
Let me have a look at you.

Speaker 1 (03:51:38):
Here this uh now, let me see.

Speaker 19 (03:51:41):
He's done it.

Speaker 25 (03:51:42):
He told me so, he's done it for my father.

Speaker 45 (03:51:44):
And raise your main officer in the army of Napoleon.

Speaker 4 (03:51:49):
Uh.

Speaker 43 (03:51:49):
Where did you come by this, monsieur?

Speaker 66 (03:51:51):
He's done you tell me so?

Speaker 45 (03:51:53):
Hungry Francois, hear my friend? Come here? What's going on?

Speaker 17 (03:51:57):
What are all these people here? This shandon?

Speaker 45 (03:51:59):
Tell them I am Francois by heaven say tell them,
oh I am a minute?

Speaker 23 (03:52:04):
Who are you?

Speaker 45 (03:52:05):
I was waiting in the fields for my friend to
come back. We're we're on our way to Paris.

Speaker 102 (03:52:09):
Waiting in the field, murderer, Steves, that's what you are,
roaming around the countryside, wundering small villages.

Speaker 45 (03:52:18):
Come with me, both of you hold office.

Speaker 17 (03:52:21):
In just a moment.

Speaker 45 (03:52:22):
That voice, that's the voice of my wife, Lorraine.

Speaker 44 (03:52:25):
Oh you are mad.

Speaker 24 (03:52:26):
Come along, is my darling. What has happened then? To
come in with his sword.

Speaker 45 (03:52:33):
He says, Madame, that he is your husband, Lorraine.

Speaker 17 (03:52:38):
Don't you know me?

Speaker 33 (03:52:40):
Don't you know me?

Speaker 45 (03:52:41):
Lorraine?

Speaker 99 (03:52:43):
But my andre have these few years changed me so much? Loreine, No, no,
you are not my husband. My Andreid died. My Andreid
died years ago.

Speaker 17 (03:53:36):
My Andred died. My Andred died years ago. I heard
those words.

Speaker 98 (03:53:43):
From the lips of my own life, and I knew
in that moment, as I now know, that it was
the working of the curse.

Speaker 17 (03:53:52):
They have set four o'clock today is the hour of
my end.

Speaker 98 (03:53:56):
So that is the hour when the rabble can feed
their curiosity upon the spectacle. And I can only cling
to the shred of hope that the child or her
mother will come, will accept me as they're on.

Speaker 17 (03:54:11):
But now it will not happen. I thought for a
moment at the trial that the.

Speaker 12 (03:54:17):
Curse was broken, that man was at our door.

Speaker 24 (03:54:26):
He threatened my child.

Speaker 99 (03:54:27):
Then, from what she says, later, when I came looking
for at the market, I found the scene I've told
you about.

Speaker 30 (03:54:35):
That'll be all, Madame, thank you, and East Domaine please
take the sand, and East Germain. I remember, child that
all you say must be the truth. Tell us what
happened on that day in the market.

Speaker 9 (03:54:49):
When you met this man there?

Speaker 66 (03:54:50):
He tried to kill me with a soy.

Speaker 17 (03:54:57):
Why did he do this, Sir Bernise?

Speaker 74 (03:55:00):
He said he was my father. But my father is dead.
I know because Mama said so. And he wanted to
show me his sword, he said. Then he swung it
at me.

Speaker 17 (03:55:12):
Say is this the sword Beneze? Yes? Did he take
it out of its sheaf?

Speaker 1 (03:55:17):
Oh?

Speaker 17 (03:55:18):
Yes?

Speaker 1 (03:55:18):
He said?

Speaker 66 (03:55:19):
It had writing on it, but I can't read, Monsieur,
so I don't know that is it?

Speaker 30 (03:55:25):
Is this the writing he showed you Beernese? Yes, Monsieur
Andre Germain, officer in the army of Napoleon.

Speaker 66 (03:55:31):
And then then he swung it at me, Monsieur, I screamed,
and he came after me.

Speaker 98 (03:55:38):
My own child sat there and accused me. But it
was not that which held my attention. It was the
look in the eyes of Lorraine and my wife. For
a moment it seemed that she recognized me, and then
as the attorney reached the final words of his charge,
she looked.

Speaker 5 (03:55:58):
At me again.

Speaker 103 (03:55:59):
It's a strange it is to find Andre Germaine guilty
not only of attempting to murder this child, but a
murder of a fellow officer on the field up back
his companion runs fall via.

Speaker 5 (03:56:12):
You must find guilty of aiding in the attempted crime, monsieur.

Speaker 2 (03:56:18):
Monsieur.

Speaker 99 (03:56:18):
Yes, I don't know why you call me by my
first name, Monsieur, but I did not wish to have
you so seriously charged your punishment for attempting to kill
my child. Yes, I wanted that, But the other charge no,

(03:56:39):
for I know, I know well that my Andre died
honorably on the field of battle.

Speaker 17 (03:56:43):
But the rain I am Andre. Don't you recognize me?
Don't you know me?

Speaker 99 (03:56:49):
I will do everything I can to have you acquitted
of the charge of his murder, monsieur.

Speaker 24 (03:56:54):
But Andre is dead.

Speaker 98 (03:57:01):
My cell was like a stone coffin my bed, only
a pallette of damp straw.

Speaker 9 (03:57:09):
In the room.

Speaker 98 (03:57:10):
I could feel the spirit of those who had gone
before me. I was separated from Francois by a thick
warb There was a small opening through which we could talk,
and so he could hear me that first time when
the processions appeared before my eyes.

Speaker 45 (03:57:27):
Francois, Francois, what is it, Andre?

Speaker 4 (03:57:31):
What is it?

Speaker 98 (03:57:32):
These walls, they are covered with names here is dut
two eighteen fifteen and Pula eighteen eighteen. He killed his
father Jean Ma'mpetaie eighteen twenty one poison. And I am
among these thieves and murderers.

Speaker 45 (03:57:49):
Everyone who has been here in this.

Speaker 17 (03:57:51):
Cell have come to welcome me, Andre, Andre, stopman become
letting your imagination run.

Speaker 44 (03:57:57):
Away with you.

Speaker 17 (03:57:57):
But they were here, Francois, saw them, dim vague shapes,
but they passed by me. They came to welcome me, Francois.
They know that I am condemned. They accept me as
one of them. But you have done nothing, Andrea, remember
that you have done nothing. The pardon will come.

Speaker 5 (03:58:13):
It will come, But.

Speaker 98 (03:58:16):
I know better, for I have waited this long time
for a pardon, while the machinery of state rolls slowly
onward the little document that is my request, where a
pardon is tossed from one place to another, and no
one will pay it any heed, for that is the
way of the state and the way of the curse.

(03:58:39):
It is but an hour left, and after that I
fear that another figure will join that procession of shapes
that comes across myself.

Speaker 102 (03:58:49):
And man, yes, is there anything you wish in this
last hour. No nothing, Then stand forward here, open your collar.
Madame Guillotine will need some help, eh, Now you are ready.

Speaker 17 (03:59:10):
The priest will be in shortly to talk with you,
so I'm not to bother. I have nothing to say.

Speaker 5 (03:59:15):
That is for your own soul to say.

Speaker 102 (03:59:17):
Andresami, if you want to take that last walk alone,
yours is the choice.

Speaker 17 (03:59:26):
Andre, Yes, why did you do that?

Speaker 3 (03:59:29):
Refuse to see the priest?

Speaker 98 (03:59:32):
Perhaps, Francois, Perhaps I still have more hope than even
you have for my release. Even now, after the crowd
of blood hungry watches have started to Gathero there in
the courtyard, I still have hope.

Speaker 45 (03:59:47):
The child will come.

Speaker 17 (03:59:48):
Yes, Andrea, she will come.

Speaker 45 (03:59:52):
What's happening out that, Francois, I can't see. The window
is too high, the road is shouting in a group
of prisoners.

Speaker 98 (03:59:59):
Just thrink, Francois, I'll I'll shout when I go up
those steps.

Speaker 101 (04:00:10):
I don't want to come here, Mamma, you must you
must go quickly, Bernice, quickly, pernice Lorene.

Speaker 45 (04:00:16):
They've come.

Speaker 5 (04:00:19):
Issell is here, Madame.

Speaker 17 (04:00:21):
You may not stay long.

Speaker 66 (04:00:23):
I don't want to Memo.

Speaker 99 (04:00:24):
Go quickly, Bernice, go up to the bars.

Speaker 17 (04:00:28):
Here come along, Pernice.

Speaker 45 (04:00:30):
My child start the man.

Speaker 17 (04:00:32):
Memo.

Speaker 24 (04:00:33):
Yes, he looks so different.

Speaker 5 (04:00:36):
It is dark in here.

Speaker 17 (04:00:38):
Lorene, Bernice, my child says something.

Speaker 76 (04:00:44):
The child thought, Monsieur.

Speaker 17 (04:00:47):
Bernice says something.

Speaker 45 (04:00:50):
Bernice, Lorraine, No memo.

Speaker 39 (04:00:57):
The child thought, Monsieur, that perhaps she had been mistaken.

Speaker 17 (04:01:01):
You, Loreen, you must know me.

Speaker 99 (04:01:04):
No, Monsieur, neither Bernice nor I was wrong. My husband
died on the battlefields. My Andre is mourned as a
hero of France. No, monsieur, you couldn't possibly be that man.

Speaker 17 (04:01:30):
No, indeed, I am condemned. She knew me, but she
would not recognize me. But you are not guilty, Andrea,
remember that. But they they do not believe that. Francois.

Speaker 45 (04:01:46):
What is it, Andrea, They are coming again.

Speaker 17 (04:01:49):
They're coming back.

Speaker 45 (04:01:50):
Oh no, no, they've gone, Andrea. They won't be back.
It's hopeless. They will never go.

Speaker 17 (04:01:55):
They know that I'll be with him, Andrea. The ghosts,
the condemned dead, they are coming for me. Now, look, Francois,
they're here. Poor Jean Martin Casta one hundred dollars. They

(04:02:16):
are coming for me. Look look, Francois, they are here,
all of them. They carry their heads, the mouths are smiling.
The mouths are smiling at me. They are beckoning. They
want me me, Francois. Andre Star start passing by me, Francois,

(04:02:40):
But each one beckons as he goes.

Speaker 45 (04:02:44):
Then then they wait when they are passed, Look back, Francois.

Speaker 17 (04:02:53):
They're waiting. It is another figure that they're waiting for, Francois. Look.
Look he's coming now, a new one. It is me, Francois.

Speaker 45 (04:03:11):
It is my figure coming, coming to join the others.
It's time now, Andreas remain.

Speaker 98 (04:03:19):
Yes, it's time. Now, it's time. I'm with them already.
They need wait no longer. The kis is finished.

Speaker 102 (04:03:46):
From the time worn pages of the past, we have
brought you the story the last.

Speaker 17 (04:03:53):
Day of a condemned man.

Speaker 8 (04:03:56):
Bellkeeper told bell.

Speaker 22 (04:04:03):
Fo fo.

Speaker 10 (04:04:38):
H.

Speaker 91 (04:05:23):
Let every ghost signal remind you that you do go
farther with signal gasoline, the signal oil program. Signal oil
brings you another strange tale by the whistler tonight, the
story of a man who gambled with life, and of

(04:05:45):
the tale the dead man told.

Speaker 1 (04:06:03):
I am the.

Speaker 33 (04:06:04):
Whistler, and I know many things. For I walk by night.

Speaker 40 (04:06:08):
I know many strange tales, many secrets hidden in the
hearts of men and women who have stepped into the shadows. Yes,
I know the nameless terrors of which they dare not speak.

Speaker 91 (04:06:24):
Before the Westler brings you to Night's story, I want
to pass along to you a few of the enthusiastic
comments coming in from men in uniform to whom the
Signal Oil Company has been sending thousands of the exciting
battleship games called Salvo s A L v O. Lieutenant
Commander Harton, commanding the U. S. S. Bladon writes, Signal's

(04:06:44):
generous gift of Salvo games is of inestimable recreational value
and will do much for the morale of the ship's
personnel and Commander A. L.

Speaker 33 (04:06:54):
Mayor of the U. S. S.

Speaker 91 (04:06:55):
Haskell writes, the crew of this vessel deeply appreciates Signal's kindness.
Salvo games provide much pleasure during leisure hours. Well, friends,
Because of the popularity of this great game for two persons,
Signal Oil Companies thought you too would enjoy playing Salvo, So,
in addition to those going to the armed forces, Signal

(04:07:15):
has been able to get a limited number to be
given away by neighborhood Signal Gasoline dealers. A salvo game
is yours for the asking, but i'd suggest getting yours tomorrow. Sure,
because folks over here are sure to go for salvo
in just as big a way as men overseas are
going for the salvo games. Signal Oil Company is sending them.

(04:07:36):
And now the whistler.

Speaker 40 (04:07:47):
A driving rain slants down outside the Golden Pheasant Nightclub.
It drenches the streets, but it doesn't seem to dampen
the gayety of the crowd inside. Yes, it's a gay crowd,
happy and carefree. It just goes to prove once again
that all the glitters is not gold. A couple detach themselves,
make the short dash from door to curb and climb

(04:08:08):
into a car.

Speaker 33 (04:08:09):
They seem far from carefree.

Speaker 22 (04:08:13):
I can't understand it. It's only eleven o'clock. I'll come.
You're tired already.

Speaker 11 (04:08:17):
I'm not tired.

Speaker 104 (04:08:19):
I just want to go home.

Speaker 22 (04:08:20):
Okay, So we're going home, darling.

Speaker 39 (04:08:25):
Don't be angry with me or I'm not.

Speaker 22 (04:08:28):
How can I be angry with you?

Speaker 105 (04:08:31):
Sandra here is so sweet, so understand well.

Speaker 22 (04:08:34):
I don't understand this. We were going to have fun tonight,
going on to Sami's place after the Golden Pheasants, make.

Speaker 35 (04:08:40):
A night of it?

Speaker 105 (04:08:40):
You were going to those were your plans?

Speaker 16 (04:08:42):
Well, those weren't my plans.

Speaker 104 (04:08:45):
And you know, sweetheart, that we always do what I
want to do?

Speaker 42 (04:08:48):
Is that?

Speaker 105 (04:08:48):
So you know, Sweethart, that I can make you do
anything I want to do?

Speaker 76 (04:08:55):
Canada?

Speaker 1 (04:08:56):
Is that so will?

Speaker 23 (04:09:01):
Yeah?

Speaker 17 (04:09:01):
I guess you can any little minks.

Speaker 76 (04:09:06):
That's visit.

Speaker 22 (04:09:08):
So I take you home when we could be having
a good time. But what I wanna know is why?

Speaker 104 (04:09:14):
All right, I'll tell you because I'm afraid of author.
I'm afraid you might get home ahead of us.

Speaker 22 (04:09:18):
Look, baby, I told you your husband is at the office.
I left him there myself at six o'clock. He said
he'd probably be there all night of most of it
going over the books. This is inventory time. Very convenient.

Speaker 35 (04:09:29):
Uh, it is very convenient for us.

Speaker 105 (04:09:34):
By the way, brit didn't you say you wanted to
stop at the office on the way home.

Speaker 22 (04:09:37):
Yeah, I'm going to Richmond tomorrow morning. I might as
well pick up my papers and things tonight. Thanks for
reminding me. What would I do without you?

Speaker 76 (04:09:44):
Oh?

Speaker 12 (04:09:45):
You've got along pretty.

Speaker 22 (04:09:46):
Well, but I'm not going to get along forever without you, Sandra,
When are you going to quit?

Speaker 17 (04:09:50):
Author?

Speaker 22 (04:09:51):
When are you going to make the break?

Speaker 104 (04:09:52):
Oh, let's not worry about that just yet. Maybe something
happened to make things easy.

Speaker 22 (04:09:56):
But this has been going on now for months. I'm
not going to wait forever.

Speaker 12 (04:09:59):
Real, wait, darling, just be patient.

Speaker 22 (04:10:02):
How can you be so common in Sandra? You're a
wonderful woman, a remarkable woman.

Speaker 40 (04:10:19):
Yes, Bert William Sandra is a remarkable woman, so remarkable
that you're risking everything to be nearer. Your friendship for Arthur,
her husband, your business partnership with him, your reputation, none
of the matter. If you can just persuade Sandra to
leave Arthur for you. But it's going to take a
little more time, it seems.

Speaker 22 (04:10:40):
I'll just be a minute. I'm coming with you.

Speaker 104 (04:10:42):
But you're not going to leave me out here on
the rain, on his dark street.

Speaker 19 (04:10:45):
Long.

Speaker 22 (04:10:46):
No, but listens, Sandra, Author's up there. He might hear
us and come out.

Speaker 105 (04:10:49):
He won't see me, I'll promise you.

Speaker 19 (04:10:52):
Oh I like that.

Speaker 80 (04:10:53):
Come on, he might as well find out now as later.

Speaker 40 (04:11:05):
Anyway, it mightn't be burnt.

Speaker 33 (04:11:07):
That might be the best way.

Speaker 54 (04:11:08):
Just get it over with.

Speaker 40 (04:11:10):
So you walk up not being especially careful about the
footsteps down the hall into your office.

Speaker 1 (04:11:17):
Get the papers back past his office, across that patch
of light.

Speaker 40 (04:11:22):
On the floor coming through his closed door.

Speaker 10 (04:11:25):
That's funnish.

Speaker 24 (04:11:27):
What listen?

Speaker 5 (04:11:29):
Not song?

Speaker 17 (04:11:30):
Well, we wouldn't be talking to himself.

Speaker 104 (04:11:32):
No, but maybe he's already gone and forgotten to turn
out to life.

Speaker 22 (04:11:34):
Arthur and waste electricity.

Speaker 104 (04:11:37):
Still he might have. Maybe you better stick your head
in and see. I'll stand back out of sight. He'll no, no, no,
not as well side. Do you think it was funny
you didn't stop and say good night?

Speaker 1 (04:11:47):
Yeah?

Speaker 9 (04:11:47):
I suppose so.

Speaker 22 (04:11:49):
Okay, just a minute, Hi, very old workhoorse? What are
you up to?

Speaker 9 (04:11:58):
It's funny.

Speaker 8 (04:11:58):
He must have fallen asleep, Arthur.

Speaker 22 (04:12:02):
There's a fine way to act. Come on, wake Arthur, Arthur.
Good lord, Sandra, stay out of here, Sandra, go.

Speaker 17 (04:12:14):
Backstay something the matter with Arthur?

Speaker 105 (04:12:16):
Why do you lie now with his head on the desk?

Speaker 39 (04:12:18):
What?

Speaker 13 (04:12:20):
Oh?

Speaker 22 (04:12:21):
Oh, archer, Sandra, be calm. I don't know what happened.
He's dead, isn't he Yes, he's dead, all right, pull
it right through his temper?

Speaker 35 (04:12:30):
Oh no, why should he do a thing like that?

Speaker 22 (04:12:33):
I don't know.

Speaker 17 (04:12:35):
It does look like suicelle. Sandra, sit down, try to
keep calm. Oh I would through with him.

Speaker 22 (04:12:43):
I would try to leave him.

Speaker 17 (04:12:44):
But I wish him of course, not darling, I know that.

Speaker 20 (04:12:48):
Not just take it eat.

Speaker 35 (04:12:49):
I can't believe he'd commit suicide.

Speaker 22 (04:12:51):
Why maybe he left a note? They usually do. Let's
see here, there is something on the desk here here,
look gets addressed to me.

Speaker 17 (04:13:01):
You.

Speaker 22 (04:13:01):
Yeah, dear Bert, this will probably be a shock to you,
but believe me, it's best.

Speaker 8 (04:13:09):
Business is bad, but.

Speaker 22 (04:13:10):
That's only part of it. You'll be able to carry
on with me out of the way. Just one thing,
look after Sandra for me, will you goodbye?

Speaker 10 (04:13:19):
Arthur Arth?

Speaker 105 (04:13:22):
How could he do such a thing.

Speaker 22 (04:13:24):
I can't tell from this whether he knew or not.
What does this mean? You'll be able to carry on.

Speaker 17 (04:13:32):
With me out of the way?

Speaker 12 (04:13:33):
I don't know this. Of course he meant the insurance.

Speaker 49 (04:13:38):
Sure, yes, didn't you do have some kind of partnership insurance?

Speaker 8 (04:13:41):
Yes, that's right.

Speaker 22 (04:13:42):
Of course we took it out when we first started
in business. If one of us died, the other got
one hundred thousand dollars.

Speaker 104 (04:13:48):
That's what he meant.

Speaker 105 (04:13:49):
Business was there, but if he died, you get a
hundred thousands that help with.

Speaker 17 (04:13:51):
The business, only, Sandra, what a fool. He made a
terrible mistake.

Speaker 22 (04:13:57):
I won't get any hundred thousand. I won't get a sense.
Why not because there's a suicide clause in the insurance.
It's paid for any natural or accidental death, but not
for suicide.

Speaker 33 (04:14:05):
Suicide voids the insurance.

Speaker 105 (04:14:07):
It's all for nothing. You didn't all for nothing.

Speaker 22 (04:14:10):
Oh, it was a fool, even in death.

Speaker 105 (04:14:12):
But how can you talk like that?

Speaker 22 (04:14:14):
Why not, Sandra? He stood between me and what I
wanted most in the world. You now, there's nothing standing
between us. We can be married, live the life we've
wanted together. But I haven't a center outside the business will.

Speaker 105 (04:14:26):
Think of a way?

Speaker 35 (04:14:28):
Cyronic?

Speaker 105 (04:14:29):
You know, only we had that one hundred thousands, we.

Speaker 22 (04:14:32):
Might have two, if only he hadn't made it. So
obviously suicide. You don't suppose suppose what it is?

Speaker 24 (04:14:40):
Suicide, isn't it.

Speaker 16 (04:14:42):
It couldn't have been.

Speaker 22 (04:14:44):
Murder, good lord, Sandra, who could have murdered him?

Speaker 49 (04:14:49):
I don't know, but a robber someone?

Speaker 22 (04:14:52):
No, of course it's suicide. There's the note.

Speaker 17 (04:14:55):
Obviously a suicide note.

Speaker 105 (04:14:59):
There hadn't been a note, it.

Speaker 49 (04:15:01):
Might have looked like.

Speaker 22 (04:15:03):
Murder, Sandra.

Speaker 17 (04:15:06):
Sandra listened.

Speaker 22 (04:15:07):
If there was no note, if the police didn't find
a note, it might look like murder to them, What
do you mean? And if they called it murder, the
insurance company would pay the hundred thousand.

Speaker 73 (04:15:17):
Do not think?

Speaker 1 (04:15:17):
Why not?

Speaker 22 (04:15:19):
What difference would it make to him? He must have
intended that I get the insurance money. Well, why should
I be robbed of it just because he forgot something?

Speaker 71 (04:15:25):
It's not right?

Speaker 14 (04:15:26):
Why not?

Speaker 22 (04:15:26):
It's what he wanted. We're just carrying out the wishes
of the dead. It's nobody else's business.

Speaker 13 (04:15:31):
You're forgetting.

Speaker 104 (04:15:32):
If it looks like murder, then it is somebody else's business.

Speaker 49 (04:15:35):
The police, they'd have to find.

Speaker 22 (04:15:37):
The murder, which they couldn't do because there is no murder.
They might accuse her, even you me, Yes, I hadn't
thought of that.

Speaker 39 (04:15:48):
The gun, who's gun?

Speaker 15 (04:15:49):
Is that?

Speaker 105 (04:15:50):
I did not not I had a gun?

Speaker 17 (04:15:51):
He didn't.

Speaker 22 (04:15:53):
Oh, good lord, that's my gun. He must have taken
it out of my desk.

Speaker 39 (04:15:57):
Your gun.

Speaker 105 (04:15:58):
But then if it's taken.

Speaker 22 (04:15:59):
Yes, unless wait a minute, would they.

Speaker 105 (04:16:02):
It would help your fingerprints out?

Speaker 22 (04:16:04):
Naturally, it's my gun and it has his on it too,
because he used it.

Speaker 49 (04:16:08):
That would prove it, sus.

Speaker 22 (04:16:09):
Yes, unless we wipe them off and put mine back on.
The murderer would wipe his off.

Speaker 17 (04:16:14):
Anyway, but it would be natural for mine to be there.

Speaker 49 (04:16:17):
Oh yes, that's right, of course.

Speaker 104 (04:16:19):
But they still might say you killed him for the insurance.

Speaker 22 (04:16:21):
They might say that.

Speaker 17 (04:16:22):
But look, Sandra, I have a perfect alibi.

Speaker 67 (04:16:25):
I was with you.

Speaker 22 (04:16:26):
We'd been at the Golden Pheasant all evening since seven thirty.
Plenty of people saw us.

Speaker 105 (04:16:29):
The way I please take a minute more. I wouldn't
want anything to happen to you.

Speaker 22 (04:16:33):
Now, don't worry.

Speaker 33 (04:16:34):
It's simple.

Speaker 22 (04:16:35):
They couldn't possibly convict me, even if they did decide
I did it.

Speaker 20 (04:16:39):
Now, don't worry.

Speaker 17 (04:16:40):
Everything's going to be all right.

Speaker 22 (04:16:42):
I just wiped the prince off with my scarf, then
grip the gun there, wipe it again, but not too well,
so some of my prints will be left on. Now
I drop it carelessly on the floor. Now the note,
Just touch a match to it. Here there goes the evidence,

(04:17:08):
just a pile of ashes and the ash tray.

Speaker 105 (04:17:09):
Couldn't they get your real destroying evidence.

Speaker 22 (04:17:11):
If they don't know whatever existed and how can they
Only you and I know.

Speaker 104 (04:17:14):
They find the ashes and the ash tree, won't they
examine them as something?

Speaker 22 (04:17:18):
They won't find them because now we dump the ashtray
out the window and scatter the ashes to the four
winds there. Yeah, that doesn't.

Speaker 45 (04:17:30):
Now we're all set, oh, Darling, I hope.

Speaker 10 (04:17:33):
So I'm scared.

Speaker 22 (04:17:35):
Don't read, baby, It'll be simple. Just leave it to me,
and you better cry a little more so you'll be
properly tear stained when the police get here.

Speaker 17 (04:17:45):
Police.

Speaker 22 (04:17:46):
Sure, that's the next step. Hello, operator, get me the
police station. Yes, the homicide division.

Speaker 40 (04:18:05):
Well, Bert, you're skating on thin ice, don't you think
making the police believe that Arthur's suicide is murder and
possibly making him think you did it. That's a dangerous
game you're playing. But now that it's done, the police
seemed to fall for your trick. At the coroner's inquest,
they're eyeing you with suspicion. Your testimony to the karner

(04:18:25):
doesn't help much.

Speaker 22 (04:18:27):
No, I definitely don't think it's suicide. He wasn't the
type to commit suicide.

Speaker 81 (04:18:31):
He had no reason for that I know of, and
perhaps he had enemies who might have wanted to put
him out.

Speaker 59 (04:18:35):
Of the way.

Speaker 44 (04:18:35):
No, no, not that I know of.

Speaker 40 (04:18:39):
The coroner seemed satisfied with your testimony, then Sandra answers
the questions.

Speaker 105 (04:18:45):
Yes, mister Williams and I spent the entire evening at
the Golden Second.

Speaker 81 (04:18:48):
Nightclub and your husband didn't come along.

Speaker 105 (04:18:50):
He said he had some work to do. We dropped
in at eleven to pick him up. That's from your phoned.

Speaker 81 (04:18:58):
Your husband ever speak of taking his whe he despondents
albers you think your husband committed suicide.

Speaker 105 (04:19:07):
I feel sure that if he were to do such
a thing, he would at least have left me a note,
some explanation.

Speaker 31 (04:19:14):
But he didn't.

Speaker 39 (04:19:16):
Therefore, I can't believe he took his own life.

Speaker 40 (04:19:20):
That went over big, didn't it. Burt that practically clinched it.
They can't call it suicide now, Sandra convinced him. But
just to add another link, there's the police officer to
add his testimony.

Speaker 46 (04:19:33):
Bullet entered the right temple on a two hundred and
fifty degree angle that is slightly from the rear and
moving forward. Powder burns on the skin indicated that the
gun was not held directly to the head, but several
inches from it, perhaps three or four.

Speaker 81 (04:19:48):
Your estimation, Captain. Could it have been possible for the
dead man to.

Speaker 46 (04:19:51):
Have fired the fatal shot himself, Well, yes, possible, but
it would have been an awkward position if he had
shot himself. But it seemed more like for him to
place the muzzle directly against his temple.

Speaker 81 (04:20:03):
Here and in your opinion, the gun was probably fired
by someone else, someone who came up from behind him.

Speaker 22 (04:20:10):
Perhaps, Well, that would only be an opinion.

Speaker 9 (04:20:12):
It might not have been.

Speaker 22 (04:20:14):
It could have been either.

Speaker 40 (04:20:17):
Well, Bert, there's a break for you, a break you
hadn't counted on. Arthur was very obliging. You can see
him right now deciding to hold the gun away from
his head. No doubt he wanted to avoid unnecessary unpleasantness.

Speaker 10 (04:20:31):
He was so fastidious.

Speaker 40 (04:20:33):
Well, offer up a few thanks, Bert, because that did it.
The coroner's jury has reached its verdict.

Speaker 81 (04:20:39):
The jury finds the deceased Arthur Alberts met death at
the hands of a person or a person's unknown.

Speaker 91 (04:20:56):
You are listening to the signal oil program. Let every
ghost signal mind you that you do go farther with
signal gasoline.

Speaker 40 (04:21:20):
Well, Bert Williams, you pulled it off, didn't you. The
kindness jury called it murder by person or person's unknown. Oh,
there'll be an investigation, but you're not worried about that.
You'll be able to prove that you didn't do it.
But now you've fixed it so that you can get
that one hundred thousand dollars. Go ahead, go on down
to the insurance company and collect it.

Speaker 84 (04:21:41):
Yes, naturally, mister Williams, you want the insurance fan of it.
It's rather customary to give us a little time to
investigate a case like this in which there seems to
be some question of doubt.

Speaker 22 (04:21:52):
But I need the money right away, the business, you see.

Speaker 84 (04:21:55):
Yes, yes, of course, of course I understand that. But
you see, in case it were later proved that mister
Albert's death was by suicide, then we'd not be able
to pay.

Speaker 39 (04:22:04):
I know that.

Speaker 22 (04:22:04):
But the car in this jury has already said that
it was murder. Unless I'm very much mistaken.

Speaker 17 (04:22:08):
That makes it legal, yes, unless we could prove otherwise.

Speaker 22 (04:22:12):
You mean you will investigate further on your own.

Speaker 84 (04:22:15):
Yes, yes, of course we're required to do so.

Speaker 22 (04:22:17):
But you're also required to pay me since it's officially
called murder at least until you prove otherwise. Yes, then
I'll take that chance and pay you back if I
am wrong and it is suicide.

Speaker 84 (04:22:27):
There's only one thing about that, mister Williams. By taking
the money now, I warn you you might be letting
yourself open to suspicion of fraud in case it turned
out to be suicide.

Speaker 10 (04:22:37):
Fraud.

Speaker 84 (04:22:37):
Yeah, oh now, please don't misunderstand, or don't. I'm not
accusing you of anything. I only warn you that the
courts might view your.

Speaker 22 (04:22:45):
Action as suspicious.

Speaker 84 (04:22:46):
I'm suggesting that it might be better to wait let
the decision be final before you collect your benefits.

Speaker 22 (04:22:51):
I'll take the chance. I want the money now, very well,
miss Williams, as you wish.

Speaker 40 (04:23:03):
Yes, you're sure of yourself, now, aren't you?

Speaker 9 (04:23:05):
Bert? Very sure?

Speaker 33 (04:23:07):
And why not?

Speaker 40 (04:23:08):
You've deposited that certified check for one hundred thousand dollars
in your bank and they can't touch you. So you
go to Sandra to tell her the good news.

Speaker 22 (04:23:17):
Now, baby, we can get out, maybe in a week
or two when it's all blown overhead for Mexico or Florida. Anyway.

Speaker 105 (04:23:22):
You say, wonderful, darling, and like to start out right
thou I we.

Speaker 22 (04:23:26):
Better let things cool off a little first. The insurance
company might smell a right if we pull out too quickly.

Speaker 104 (04:23:30):
The insurance company has nothing to do with me. I
could leave right now, rest after the strain at.

Speaker 22 (04:23:35):
The funeral, you know, without me, ain't none of that.
From now on, it's us together.

Speaker 105 (04:23:41):
It's a fallacy, you know.

Speaker 39 (04:23:41):
The two can live as cheaply as one.

Speaker 105 (04:23:44):
One hundred thousand, go a lot farther, but just.

Speaker 22 (04:23:47):
One of us, Sandra, I don't understand you. Naturally, you're
going to share it with me. I don't care anything
about the money except for what I can do for you.

Speaker 104 (04:23:55):
Really, darling, Well that's very nice, because you see, I
decided that I'll just take it off. So if you
don't mind, you might write me a check or make
out a bank draft to something.

Speaker 17 (04:24:05):
Sandra, what is this a joke?

Speaker 104 (04:24:06):
It's no joke, I assure you, dear. I'm very attached
to money, and the thought of that hundred thousand thrills me.
So I'd rather not have a piece meal like a
housewife's allowance.

Speaker 16 (04:24:16):
I want it now.

Speaker 22 (04:24:17):
But Lord, Sandra, do you realize what you're saying. You're
telling me it's the money you want not me.

Speaker 11 (04:24:21):
You might put it that way.

Speaker 22 (04:24:23):
Are you trying to tell me that all this time
I've meant no more to you than that?

Speaker 105 (04:24:26):
Oh, it's been fun, darling, fun, Sandra. You can't mean
I'm afraid I do Bert, So there's not much need
for any further talk. Just transfer the hundred.

Speaker 104 (04:24:34):
Thousand to my account to morrow morning and we'll call everything.

Speaker 22 (04:24:37):
Even what fantastic notion makes you think I'd give you
the money?

Speaker 104 (04:24:41):
Now, far from fantastic.

Speaker 105 (04:24:43):
I have a notion.

Speaker 104 (04:24:44):
You wouldn't like for me to tell the insurance company
and the police that you've perpetrated as fraud. But Arthur
really did commit suicide and you destroyed the other.

Speaker 22 (04:24:53):
You wouldn't fare tell them. They wouldn't believe you in
the first place.

Speaker 104 (04:24:55):
How could you prove it's a little snipp of paper
I have that's a note, A note from Arthur came
registered mail the day after he died. You might call
it a suicide note.

Speaker 105 (04:25:04):
No, yes, isn't it logical that he's right one to
his wife as well as to his business partner.

Speaker 104 (04:25:10):
I never thought of it, No, darling, you didn't, did you,
But it turned out very nicely for me. Now, when
you transfer the money to my account and bring you
the bank book.

Speaker 13 (04:25:20):
I'll do you a favor.

Speaker 105 (04:25:21):
I'll burn this little note like you've burned the otherwist.

Speaker 17 (04:25:25):
Okay, you win, Sandra.

Speaker 10 (04:25:29):
That's a good boy.

Speaker 105 (04:25:30):
I'll expect you then about ten in the morning.

Speaker 33 (04:25:34):
Go well, Bert, that's what you might call poetic justice.

Speaker 40 (04:25:45):
Well poetic anyway. You really got taken, didn't you. But
there's nothing to be done about it. She had you
on a spot, and so you'll have to go down
and transfer that hundred thousand to her account and bring
her a deposit thing. You watch her burn the notes
and destroy.

Speaker 33 (04:26:00):
The ashes, and now you're even thanks Darling.

Speaker 17 (04:26:04):
Some day, Sunder, you'll pay for this.

Speaker 22 (04:26:07):
Some day you'll get what you deserve, perhaps, who knows.

Speaker 104 (04:26:11):
But in the meantime I'll be so comfortable thanks to you.

Speaker 40 (04:26:18):
Yes, she rubbed it in, didn't she.

Speaker 9 (04:26:20):
Bert?

Speaker 40 (04:26:21):
And you go back to your apartment, smarting under her words.
But you don't have too much time to think about it, Bert,
because there's a man from the DA's office waiting for
you when you get there, and he takes you downtown
to talk to the boss.

Speaker 81 (04:26:34):
That's a couple of questions. I want to ask you,
mister Williams, just to clear up a few points, all right,
anything I can do. First and minor point. Did either
you or Missus Albert smoke while you were in Albert's
office before the police arrived?

Speaker 22 (04:26:48):
No, no, I'm sure we didn't.

Speaker 81 (04:26:51):
Sure right now, you say you were with missus Alberts
all even.

Speaker 22 (04:26:55):
Yes, we went to the Golden Peasant Nightclub for dinner
and dancing by time you arrived there, Oh, rather early,
about seven thirty, i'd say.

Speaker 81 (04:27:03):
And where were you before the Well, I was.

Speaker 22 (04:27:05):
At the office till about six, Then I went to
my apartment to dress. I suppose I can't really remember.

Speaker 81 (04:27:10):
Missus Albers was not with you then?

Speaker 22 (04:27:12):
No, I picked her up about seven fifteen.

Speaker 81 (04:27:16):
Why, well, you see, mister Williams, the autopsy cruise that
Albers was killed between six and seven.

Speaker 17 (04:27:24):
Oh, I thought you thought what I thought?

Speaker 22 (04:27:28):
It was probably later.

Speaker 55 (04:27:29):
Than that's all.

Speaker 81 (04:27:31):
That's a no, it was definitely between six and seven,
or just a short time after. You say you left
the office and you were not with Missus Albers until
seven thirty, an hour later.

Speaker 22 (04:27:43):
Why no, I I was at the apartment. But well,
I'm sure I can prove that the elevator boy would
have seen me. I'm the maid. I have a maid.
She testified that I was there.

Speaker 81 (04:27:52):
Mister Williams, I'm not questioning where you were. You're not
under suspicion for Albert's death.

Speaker 22 (04:27:59):
I'm not, no, of course not, you never were.

Speaker 81 (04:28:02):
You see, from the very beginning we had a pretty
clear line on the real murderer.

Speaker 1 (04:28:07):
Worry may.

Speaker 81 (04:28:08):
The ashtray was the first clue. You see, it was
a little strange that a man working late at night
hadn't piled up an ashtray full of cigarette butts. The
ashtray has been used, but there were no butts left
in it. It hadn't been dumped into the waste basket,
so we got a little suspicious. We found that it
had been dumped out the window out door. Yes, and

(04:28:32):
among the cigarette butts that we found was one especially
that interested us. It was smudged with lipstick. This naturally
led us to think of a woman, a woman, not one, ah, no,
not one of the office employees, because we found that
the janitress had cleaned that ashtray about six after all,
but mister Albers had left for the day. And you

(04:28:55):
told us that missus Albers didn't smoke when you two
came in later that night.

Speaker 8 (04:29:00):
That's right.

Speaker 81 (04:29:01):
That meant that there was a woman there about the
time Alberts died. So we began looking around, and we
got the main clue from the dead man's lips. From yes,
you might almost say, he told us. You see on
his lip was a smudge of lipstick that told us
that indeed there had been a woman there, and she
had been someone known intimately enough to kiss him and

(04:29:24):
incidentally to stand behind him without arousing his suspicion from
where she placed the gun to his head and fired.

Speaker 17 (04:29:31):
But that might have been his wife's lipstick.

Speaker 81 (04:29:32):
Yes, it might mightn't it, But I.

Speaker 22 (04:29:35):
Mean, it could have been there all day, ever since
she kissed him good bye that morning.

Speaker 81 (04:29:39):
It's possible, but not probable. He'd have seen it and
wiped it off, or it would have worn off. But anyway,
the next clue pointed in the same direction. Your prince
on the gun had been smudged with some kind of fabric,
not a handkerchief. We decided it could have been gloves worn,
but the murderer, not leather gloves, but cloth gloves like
a woman wears. Now, what woman might know where you

(04:30:02):
kept your gun, be in the habit of kissing Albers
and so on, only one since Albers was the kind
of a man.

Speaker 10 (04:30:09):
He was his wife.

Speaker 1 (04:30:12):
You mean.

Speaker 22 (04:30:14):
You're charging Sandra with the murder.

Speaker 81 (04:30:16):
Yes, you clinched it with what you just told me.
What do you mean you told me the truth that
you didn't pick Sandra Albers up until seven point fifteen?

Speaker 31 (04:30:25):
She slipped.

Speaker 81 (04:30:26):
She told me you picked her up shortly after six,
at exactly the time she was killing her house.

Speaker 22 (04:30:31):
No, she didn't what you're making a terrible mistake. I
know she didn't know, mister william because offer Albers committed suicide.

Speaker 81 (04:30:37):
Come now, Williams, he did.

Speaker 22 (04:30:38):
There was a note a suicide. Know what happened to her?

Speaker 35 (04:30:40):
I burned it.

Speaker 22 (04:30:40):
I burned it so it would look like murder and
I'd get the insurance money.

Speaker 81 (04:30:45):
Mister Williams, I know how you feel about missus Albers,
and I know you're trying to protect her, but I
warn you she's not worth lying for. She's going to
be prosecuted for the murder of her husband, and she's
going to be convicted.

Speaker 17 (04:31:01):
Nothing you say can help her.

Speaker 91 (04:31:13):
The whistler will revise this strange ending of this tale
in just a moment. Meanwhile, I'd like to tell you
about Roy Jacobson, for thirteen years a signal gasoline dealer
in Berkeley, California. What with preparing tires, relining brakes, replacing mufflers,
and other jeffs to keep aging cars on the road,
Jacobson is a busy man. While I was waiting for him,
a customer who had just had his brakes relying, commented,

(04:31:36):
I've been having my car service at Jacobson's signal station
for thirteen years and I have yet to hear a
customer squawk. I know I can depend on his work
because he's so conscientious. Conscientious that word, friends characterizes the
kind of service you will find in signal gasoline stations
from Canada to Mexico. And the reason for their conscientious,

(04:31:56):
thorough service is that every signal dealer is in business
for himself, most of them for many years. Like Roy Jacobson.
Naturally they want to serve you so well you'll be
their permanent customer. While with Uncle Sam predicting that one
car in every twelve will go off the road this year,
such service can be mighty important. That's why so many

(04:32:16):
drivers these days are switching to those friendly signal gasoline
dealers who make a permanent business of helping cars go farther.

Speaker 8 (04:32:25):
And now back to the Whistler.

Speaker 40 (04:32:35):
Well, the district attorney was right. He did convict Sandra
Alberts for the murder of her husband. All through the trial,
Bert Williams kept trying to explain the cus they brought in,
kept protesting Sandra's innocence, but it was no use. Nobody
believed him. And when she died something happened to him.
He said he'd murdered her, that ghosts haunted him, that

(04:32:57):
he heard her calling to him. His friends decide that
his mind had snapped, and they had him put away.

Speaker 33 (04:33:03):
Too bad, No need for it at all. No, because
what Bert didn't know was that Sandra really had killed
her husband.

Speaker 40 (04:33:12):
Yes, the district attorney was right, and Bert, who had
started out to make it look like he had committed
a murder, he hadn't ended up in a madhouse because
he thought he had committed one that he hadn't Funny,
isn't it.

Speaker 91 (04:33:51):
Next Monday, at nine o'clock, the Signal Oil Program will
bring you another strange tale by the Whistler. The Signal
Oil program is broadcast for your entertainment by the Signal
Oil Company, marketers of signals famous go Farther Gasoline and
motor oil, and by your neighborhood signal oil dealer, who
is at your service daily to keep your car running
for the duration. The Signal Oil Program, produced and directed

(04:34:14):
by George w Allen. The story by John Uncle and
music by Wilbur Hatch, is transmitted to our troops overseas
by the Armed Forces Radio Service. Bill Pannell, speaking for
your friends the Signal Oil Company, and suggesting once again
that you let every ghost signal remind you that you
do go farther with Signal gasoline. This is CBS, the

(04:34:42):
Columbia Broadcasting System.

Speaker 41 (04:35:02):
A witch heal.

Speaker 17 (04:35:17):
The fascinations of the early weird, blood chilling tales told
by Old Nancy, the Witch of Salem, and Satan, a
wise black cat.

Speaker 8 (04:35:27):
They are waiting waiting for.

Speaker 63 (04:35:29):
You and two year old I be today, Yes, sir,
I'm writing two.

Speaker 8 (04:35:47):
Year old.

Speaker 63 (04:35:50):
Where seen now?

Speaker 25 (04:35:51):
It's time just in these oaks.

Speaker 63 (04:35:53):
Another of our cheerful little bedtime stories, thouselting light, so
we'll have it nice and dark. When he listens to
our tails are sitting in the gloom. It helps you
to have petty dreams. Now, draw up to the fire

(04:36:14):
and gaze into the embers, daze.

Speaker 39 (04:36:17):
And torm deep.

Speaker 63 (04:36:19):
I'm soon you'll be away out west in the chicken.
I'm there in a fine big house. Why does a
party going on begins?

Speaker 25 (04:36:27):
Our yarn called wretting a trip?

Speaker 1 (04:36:34):
A trip?

Speaker 17 (04:36:44):
Know you're out here and Branda Delly enjoying the night here,
mister Kappa as well as blazers inside.

Speaker 8 (04:36:51):
The young fellas like you should be in that dancing in.

Speaker 33 (04:36:53):
Spite of the heat.

Speaker 31 (04:36:54):
Afraid I'm not much of a dancer.

Speaker 14 (04:36:55):
I mean when the only girl you care to dance
well does nothing to be around. Eh ha ha, San,
you're certain near model of her husband. Too bad Lucy
didn't come in.

Speaker 8 (04:37:05):
With her this morning. She'd have enjoyed this.

Speaker 106 (04:37:07):
I wish she had come along the wait things turned out,
but you know, I expected to return on the late
afternoon train.

Speaker 8 (04:37:12):
I'm glad to miss that last train so we can
have you here tonight.

Speaker 106 (04:37:15):
Yes, it's nice to be here, but this is the
first night Lucy and I have been separated since our marriage.

Speaker 8 (04:37:20):
And nowadays ladies have the boat.

Speaker 14 (04:37:23):
One of the first things a rising young lawyer with
political ambitions must learn is not to appear too much merried.

Speaker 23 (04:37:31):
I forgot that you're trying to make me president someday
I may.

Speaker 14 (04:37:36):
Right now, we'll compromise on the United States Senator. Seriously, Son,
you have the stuff, and people will have begun to
talk about you. You're pretty young for the job. But
I've about decided to run you for prosecutor next election.
I think you can make good I Oh, all I
can say he is to the house, do my best.

Speaker 8 (04:37:56):
That's pretty fair from what you've shown so far.

Speaker 14 (04:37:58):
But you have a couple of farts that won't fit
so well in the district attorney's office.

Speaker 9 (04:38:04):
Oh what do you mean?

Speaker 14 (04:38:06):
You know you've shut off your mouth a lot about
certain disagreements you have with our criminal code.

Speaker 106 (04:38:10):
Well, I've said that our laws unfitted to the crimes
they were designed to control.

Speaker 41 (04:38:14):
I've said that because I think it.

Speaker 106 (04:38:16):
Our penal code is wholly unsuited to cope with the
thousand and one types of crime the faired individuals who committed.

Speaker 41 (04:38:23):
If I had the power, I'd amend that code so
that it.

Speaker 106 (04:38:26):
Would cease to be a makeshift of political expediency and
instead would truly.

Speaker 8 (04:38:31):
Serve the cause of justice.

Speaker 14 (04:38:32):
Ah gone, that's as good a pace of campaign propagander
as I have will listen to. So I meant what
I said, Maybe it did, but just said it like
a politician, and that's what interests me.

Speaker 8 (04:38:42):
I take back what I said about your faults. Develop them.

Speaker 17 (04:38:47):
It is getting late.

Speaker 23 (04:38:48):
Come and dance with some of those pretty girls inside
before the party breaks. I'd better telephone Lucy first. I
feel a little uneasy and some a place of ours
is so isolated back in the woods, and.

Speaker 8 (04:38:58):
Lucy's not alone.

Speaker 106 (04:38:59):
There no Laura Loud and his wife or with her,
or she'd been alone, i'd have hired a cabin driven
back to night instead of waiting for the morning train. O.

Speaker 8 (04:39:07):
Well, those roads you'll arrive tomorrow afternoon. Come on, let's
go inside.

Speaker 25 (04:39:12):
Oh there you are there. Oh, we've been looking for
you everywhere. You and Ethna. This is a lovely little
blonde since you've done to meet you.

Speaker 41 (04:39:19):
Oh well, I've come gladly to save her life.

Speaker 8 (04:39:22):
But I really think I should call up Lucy once more.

Speaker 33 (04:39:24):
If you don't mind, I do mind.

Speaker 63 (04:39:26):
So Lucy, if you call her, he'sa yeah, she'll be
sound asleep.

Speaker 23 (04:39:30):
I suppose you're right, but somehow speaking of telephones.

Speaker 8 (04:39:36):
Hello, who do you want, Daniel?

Speaker 1 (04:39:40):
Never or for me?

Speaker 8 (04:39:41):
It's Lucy, Lucy, Dan, she's prying. There's something the matter,
something the.

Speaker 23 (04:39:46):
Matter, Give me that phone, Lucy.

Speaker 8 (04:39:49):
Yes, Dear, this is Dan.

Speaker 106 (04:39:51):
That's wrong, Darling, this sounds hysterical. You say the Laura
lads were called away this afternoon.

Speaker 9 (04:39:59):
You're alone.

Speaker 41 (04:40:00):
Three men are breaking in the house, Lucy, Lucy.

Speaker 25 (04:40:05):
Oh my god, three tempy hobos, sunken boots. They're breaking in.

Speaker 107 (04:40:22):
They'll be in time to house in a moment. Yes,
you can't help me, and I can't help myself. We're
both helpless, helpless, rapped in a crap. My God, forgive
me for what I'm making you a talker, but I
had to call.

Speaker 25 (04:40:37):
You, dear, your boys for the last time, Yes, the
last seven a beast. They're drunken. They know I'm alone.
Then I have it in my hands. I fired all
the shops for one. I save that for myself. There,
it's the only way.

Speaker 17 (04:40:55):
Listen.

Speaker 107 (04:40:55):
Please, you can't help me now, but maybe you've been
tunished after I'm dead. God, thanks for a little time.

Speaker 25 (04:41:03):
The leader came here. Death loon living food. And I
saw him plainly. He's a big, dark, unshaven man. He
delivered criss cross star above his left eye that runs
from round temple. Remember remember wait, mister Laura Lad drove
him away, said La law Lad. We're called at home.
The man had been watching.

Speaker 50 (04:41:21):
He came back with two us, one short with red hair,
the other a blonde man with a limb. Remember their
Remember live in the house. Locked this door, one hold
the moment, the beat.

Speaker 25 (04:41:34):
He had a dog.

Speaker 39 (04:41:36):
The door is give me.

Speaker 25 (04:41:38):
I haven't done ready on it through my head.

Speaker 64 (04:41:40):
They got hurt me.

Speaker 25 (04:41:42):
Remember them here. Remember I love you, deary.

Speaker 51 (04:41:53):
Oh and boy, you shouldn't have come to my office today.

Speaker 14 (04:42:06):
A man who has just spent six months in the
hospital has no business to even Pokey's nose outside of doors.

Speaker 8 (04:42:10):
I'm quite strong now, mister Cowper, and I had to
come and have a talk to you while I was
in the hospital out of what you thought was kindness.
It's sensible. Police reports to me.

Speaker 15 (04:42:20):
Now.

Speaker 106 (04:42:20):
I want you to tell me whether they honestly expect
to ever find the creatures.

Speaker 14 (04:42:26):
Cause my wife to put a pullet to a head.
I want the truth, all right, son, I won't lie
to you. I've kept the cops working on this case
as they've never worked before.

Speaker 8 (04:42:40):
They haven't fallen down because they've.

Speaker 14 (04:42:42):
Never had a single worthwhile clue to work on. When
they arrived at your house in the woods that night.
The men who broke in and disappeared, we assume they
were hoboes and the most appraved type.

Speaker 8 (04:42:52):
That's all we know about them.

Speaker 14 (04:42:54):
We found no fingerprints, We have no clue to their appearance,
even except the meat description of poor frantic Lucy.

Speaker 8 (04:43:02):
Yes and me a description for Frantic Lucy. A big
dark man with a livid crisscrosscard of his.

Speaker 65 (04:43:11):
Left eye and runs from brown to temple remembered, remember.
And a short man with red hair the third of
blonde man with a limp remembered, Remember, son.

Speaker 8 (04:43:27):
The cops have picked up hundreds, only be imported to
turn loose again. There's no evidence of any kind.

Speaker 44 (04:43:33):
If we had the.

Speaker 14 (04:43:34):
Guilty groups before us in this room, we couldn't prove
it without their own confessions. As a lawyer, you know
what went up against.

Speaker 106 (04:43:42):
An impossible job for lawyers and police, and if our
law couldn't catch them in.

Speaker 8 (04:43:47):
Its net, the code provides no punishment to fit their crime.

Speaker 23 (04:43:52):
Good Bye, mister.

Speaker 31 (04:43:53):
Kapper, goodbye.

Speaker 8 (04:43:55):
Why you say that is though we might have beat again.

Speaker 17 (04:43:57):
We may not.

Speaker 31 (04:43:58):
I'm even down tomorrow.

Speaker 8 (04:44:00):
I've got a job to do.

Speaker 14 (04:44:01):
Say look here, you haven't that crazy idea that you
can find those men yourself? Damn delicate those three boots
and secure evidence against them. A man might have to
search the whole both jungles of this country an entire lifetime.

Speaker 8 (04:44:14):
I know how bitter your feel, son, but.

Speaker 14 (04:44:17):
The first is past, and grief and hatred won't unmake it.
I've got big things and stop for you.

Speaker 17 (04:44:24):
Boy.

Speaker 38 (04:44:25):
Pick up the.

Speaker 14 (04:44:26):
Threads of your normal life again. Think of your future,
your career.

Speaker 8 (04:44:30):
My future is to remember. My career is to repay. Goodbye,
mister Calvin.

Speaker 9 (04:44:43):
Lloyd's ones.

Speaker 41 (04:44:45):
That Yankee Pardner, you're a run.

Speaker 8 (04:44:47):
You might find him down by the railroad yards. Jesse,
Hey Warden sure picks you some some funny friends.

Speaker 23 (04:44:55):
Well spoosey likes in trends.

Speaker 48 (04:44:56):
Lais have an idea show the men's being turn off
on an eight year now, Yet no one knows him.

Speaker 41 (04:45:04):
I wouldn't say that, Jesse, I know him pretty well.

Speaker 8 (04:45:07):
No white jumps like a shell shop soldier every time
the telephony. No, no wise has no wife.

Speaker 48 (04:45:12):
We need to day more for he no know what
his real name was, boy changed it to Dave Martin.

Speaker 41 (04:45:19):
No, and them thinks it's none of my business.

Speaker 8 (04:45:21):
Law yours just the same.

Speaker 23 (04:45:23):
There's a mystery about that man that so worries me.

Speaker 48 (04:45:26):
Lawyer Thomas, Well, do you suppose your partner, Llawyer Morton.
He's me five dollars cash money for every tramp we
did in the jail house.

Speaker 26 (04:45:34):
Who I persuaded to take him for.

Speaker 8 (04:45:36):
Tony, my heart, I paid you money to secure your
MOBO clients.

Speaker 26 (04:45:41):
Are you here now to bring him such a.

Speaker 48 (04:45:43):
Cage this time is just for joke, he claimed, I'm
bringing him today? Is that tramp who murdered the old woman?
Big Mike? Yeah, the dog Sheriff Greedy rescues from the
lynchion mob last night. Mike asked me to get him,
get him, mister Moulton.

Speaker 17 (04:45:56):
For his lawyer.

Speaker 9 (04:45:57):
Yeah, the pell hasn't told him about him.

Speaker 41 (04:46:00):
Partner of mine's touching his keys.

Speaker 106 (04:46:02):
If Morton got the brute off by a miracle, they
both belitched Hello Jessey.

Speaker 41 (04:46:08):
Hello time all day.

Speaker 48 (04:46:10):
Lowyer Morton, the man over at the jailhouse. We ain't
got no money, wants to hire you to get him out.

Speaker 106 (04:46:14):
Thanks for bringing the message, Jesse. But if you're speaking
of Big Mic, I've already seen him. I'm going to
defend him.

Speaker 48 (04:46:21):
Don't go to the fame Big Mic, Tim Lawyer Morton,
you're joking, Dave, You're mad.

Speaker 41 (04:46:25):
The man is guilty, guilty as hell.

Speaker 106 (04:46:27):
I'm going to save him from the rope because I
like his looks. He's a big dark man with a
scar above his left eye, A living crisscross scarlet runs
from brows of temple.

Speaker 14 (04:46:55):
It's long.

Speaker 41 (04:47:00):
Why not juty extra? Pay more than when's the quite
old jewelry?

Speaker 77 (04:47:07):
Please?

Speaker 8 (04:47:07):
Big Mike.

Speaker 22 (04:47:14):
God A lot of.

Speaker 42 (04:47:16):
The people behind damn papers and then standing around reading
and talking about me. If you hadn't to sneak me
here to your house, boss, they'd have had me swinging
on the lamp post by.

Speaker 33 (04:47:27):
Now, come away from the window.

Speaker 42 (04:47:29):
You're safe here, Mike gee, I hope so. But you
gotta get me out of town quick, and they look.

Speaker 38 (04:47:35):
For me here and string me up.

Speaker 106 (04:47:36):
The mate, I'm taking care of you now, but I
have another drink and I draw those curtains tighter.

Speaker 8 (04:47:44):
I do need another hook a bus and I'm drinking
to take you.

Speaker 17 (04:47:51):
No other a mouth piece in the world could have
swung that jury so they'd bring avoid ittive not guilty.

Speaker 31 (04:47:56):
No no other in the world.

Speaker 106 (04:48:00):
I use perjured testimony, lying witnesses, a framed alibi. I
used every dirty pick in the book. But I got
you off, Mike, out of jail, away from the hangman,
and I've got you now.

Speaker 9 (04:48:13):
Alone with me.

Speaker 42 (04:48:15):
See your action, little crazy boss, say I have another
You know I can't forget you out?

Speaker 33 (04:48:24):
Boss?

Speaker 8 (04:48:25):
Why do you make me tell you how I crooked
that old woman for you to take my case. I
was interested in you, Mike, and for ten years has.

Speaker 41 (04:48:33):
Been my rule.

Speaker 106 (04:48:34):
I know the truth about my client's guilty or innocence
before I took a case.

Speaker 23 (04:48:38):
Yeah, I heard that an Avery hobo from Meine to
California says that spilling you the truth never brought him harm.
That's why I told you the Wicks right off the bat.
He's got a great name in the jungle.

Speaker 15 (04:48:51):
Boss.

Speaker 26 (04:48:52):
It took me ten.

Speaker 41 (04:48:53):
Years to build that reputation.

Speaker 5 (04:48:55):
Mike.

Speaker 41 (04:48:55):
Won't you have another drink?

Speaker 10 (04:48:57):
Nice?

Speaker 17 (04:48:58):
But gee, you love me?

Speaker 8 (04:49:00):
Stilled in a minute.

Speaker 91 (04:49:04):
He is.

Speaker 42 (04:49:04):
How again, See, you're a funny guy. You not only
spend your own dough to buy witnesses and all, but
don't you bring me to your house and treat.

Speaker 10 (04:49:15):
Me like a prince.

Speaker 8 (04:49:16):
It's very simple, Mike.

Speaker 106 (04:49:18):
I've done the things I have because you interest me. Yeah,
interest me tremendously. I'd like to know more about your life,
about your travels, experiences, other little pecadillos. Before you so
neatly strangle that last old woman, say, were you always
asking me questions about what I'd done before we met?

(04:49:39):
I'm afraid to trust a man who saved your life,
but you ask such nutty questions.

Speaker 8 (04:49:44):
How long I'd had this crooked scar over my eye?
For instance?

Speaker 23 (04:49:48):
I was merely curious as to whether you had it
ten years ago when you were in Michigan.

Speaker 106 (04:49:52):
And I told you I don't know nothing about my
I'll come on, Mike, you lied about that lie enough.

Speaker 23 (04:49:57):
I never mentioned it before, But friend of yours have
told me you were their white friends.

Speaker 9 (04:50:02):
Let me see now.

Speaker 41 (04:50:04):
Oh yeah, the names were red and Olympy, right and Lympy.

Speaker 8 (04:50:08):
You know damn quite well.

Speaker 41 (04:50:12):
I haven't seen.

Speaker 31 (04:50:13):
Them lately of you.

Speaker 8 (04:50:15):
No, neither has anyone else.

Speaker 42 (04:50:18):
What do you mean that they disappeared from the road
and they ain't in jail nowhere, They're just gone.

Speaker 8 (04:50:27):
What they tell you about me in Michigan.

Speaker 106 (04:50:29):
The most interesting story I've ever heard about a house
in the woods.

Speaker 1 (04:50:34):
And a woman.

Speaker 8 (04:50:35):
They call you that, Yes, have another drink. I opened
this fresh bottle and join us. Oh, you tell me
about your Michigan adventure. I didn't have no part in it.

Speaker 54 (04:50:48):
I didn't.

Speaker 108 (04:50:49):
Here's your drink, Mike. I must be off my not
to be afraid of you. I got reason to trust you,
and I need help.

Speaker 8 (04:51:00):
About that Michigan job. Needed bad.

Speaker 42 (04:51:03):
Listen, the white's gone round that that dame's husband has
been such and ever since it happened that he's been
on the road with the bows and riding the rails,
living in the jungles. Ask him questions trying to laine
who caused his wife to shoot herself? They say he
did for Red and Limpy, and no one's even found
their bodies.

Speaker 8 (04:51:25):
He used to be a lawyer, just like you, boss.

Speaker 1 (04:51:27):
He was.

Speaker 8 (04:51:29):
God, why are you stopping me? The nursean just crossed
my mind that you might be him.

Speaker 42 (04:51:38):
I must be drunk to think a thing like that
about the guy who saved me from their own If
you wish her husband had he had a sent me there, said,
give me that drink, boss, and I'll spill the whites.

Speaker 8 (04:51:54):
This liquor tastes funny, but it's good. That's swill.

Speaker 42 (04:51:58):
Drink yourn too, boss, and I'll tell you all about
the pretty little damon the house in the woods.

Speaker 8 (04:52:05):
Helpless. She was as a rat in a trap, helpless, frightened.

Speaker 10 (04:52:10):
Like I like to see them too bad.

Speaker 8 (04:52:14):
She shot herself before say Boss, what's it?

Speaker 42 (04:52:19):
And you crush that glass in your hand as if
it was paper, and the eyes look crazy.

Speaker 23 (04:52:25):
See what you're putting in curtains on the wall for
so you can see what lies behind them?

Speaker 42 (04:52:31):
Just a couple of plaster statues of two guys heads
and shoulders, but the faces is all gone, so the
bones are shown through.

Speaker 8 (04:52:40):
What happened to those faces?

Speaker 23 (04:52:42):
Hgging you find out, Mike, just as redlipulent, red, and
limp these busts of their death masks, taking himself plaster
after they layed here, helpless, helpless, helpless as rats in
a trap. It's all going to lie there helpless while
your punishment fits her.

Speaker 41 (04:52:58):
Crack God, the time. I'm the husband of the girls
who brought her there. I'm gonna get out of here.
You can't You can't rise from that chair. Don't me, Liquor.

Speaker 8 (04:53:10):
I can't move Mile, move her.

Speaker 23 (04:53:12):
Down the color below, down to my cellar, which I've
saved you from the gallows.

Speaker 8 (04:53:18):
The lose for you would be too easy, Mike. Your
punishment will fit your crime.

Speaker 23 (04:53:23):
Let me go, Let me go. I panishment will fix
your crime. Your punishment will fix your crime.

Speaker 8 (04:53:37):
I can't see a thing in this cellar.

Speaker 9 (04:53:39):
Can you, Mike?

Speaker 8 (04:53:40):
And no one's so helpless as when they're in the dark.

Speaker 10 (04:53:43):
I want you to be very helpless, Mike.

Speaker 106 (04:53:46):
More helpless than a rat in a trap. Helpless is
a woman alone in the house in the woods. Helpless
is a man who loved learn who heard you fifty
miles away. Helpless is a man who heard the shot
that Tudor couldn't raise to say.

Speaker 8 (04:54:00):
What you're gonna do to me? Let me tight, states
spreading on the floor.

Speaker 41 (04:54:06):
But how are you gonna kill me? What you're gonna door?

Speaker 106 (04:54:09):
Struggling, Mike, But your bombs will hold I tied them
very tight. What did you do to Red and Lympy
that you're gonna go to me and them pass to
bust upstairs?

Speaker 41 (04:54:19):
What happened to their faces? Yes, Mike, yes, you don't
tell me.

Speaker 25 (04:54:23):
I can nuts nuts?

Speaker 41 (04:54:25):
Not tell you raven nuts?

Speaker 33 (04:54:27):
Oh no, you won't.

Speaker 44 (04:54:28):
Not the many are.

Speaker 106 (04:54:30):
I've investigated the length of time required to drive men. Man,
your brain's undeveloped, so it'll take you longer than mose.

Speaker 41 (04:54:38):
God, if I can only see you, you're putting something
over my head.

Speaker 106 (04:54:43):
Yeah, part of a little aparators that made red and
lympy features. Use your imagination, Mike, you may guess how
it's done.

Speaker 8 (04:54:51):
Oh God, why don't you curse me?

Speaker 41 (04:54:56):
Beep me, kick me, do something I can understand? What
are you gonna do to me when you leave me?
How am I gonna die?

Speaker 106 (04:55:04):
When I reached the top of these stairs, you'll know
when I opened the secret panel.

Speaker 41 (04:55:09):
It will soon be the dar of your tomb.

Speaker 106 (04:55:12):
Then you'll have a moment's light, just enough for a
quick short dimpse around you.

Speaker 41 (04:55:20):
Uh goo, students beside me, the bounds of red and nippy.

Speaker 8 (04:55:26):
What else do you say?

Speaker 41 (04:55:27):
There's a cage you're coming over my head? O cage
like a rector?

Speaker 25 (04:55:32):
Oh my, did the rectorated.

Speaker 41 (04:55:36):
The tape with me soy be crawling over me.

Speaker 39 (04:55:39):
A head and biping.

Speaker 25 (04:55:41):
Ah, that's what happened to the other spaces.

Speaker 10 (04:55:44):
A rat now no, no, don leave me?

Speaker 22 (04:55:48):
And the dark wait and.

Speaker 25 (04:55:49):
Novel guessing when that right's gonna start a bike.

Speaker 41 (04:55:53):
That's your punishment?

Speaker 4 (04:55:54):
Might Oh good by.

Speaker 31 (04:56:01):
The third Lucy and the last?

Speaker 13 (04:56:05):
I remember?

Speaker 77 (04:56:08):
And what martin, Tom, I hear you take me in quick,
at your value, your life?

Speaker 20 (04:56:19):
I let you in, Tom.

Speaker 8 (04:56:23):
What's the matter of Tom?

Speaker 41 (04:56:24):
What you would be the matter? When they got big
micro quitit, pollnsion, mothers polled, and I cann't put this house.

Speaker 8 (04:56:30):
They won't find Big Mike here.

Speaker 9 (04:56:31):
He's gone.

Speaker 41 (04:56:32):
I ain't after him and come in here with the
wrong to hang.

Speaker 39 (04:56:35):
You, Dave.

Speaker 106 (04:56:36):
They can hang me if they want to, Tom. They
think I wish to live. I don't why you talking
like a pool?

Speaker 41 (04:56:42):
Come on, I ain't time to talk, but I want
to talk.

Speaker 106 (04:56:45):
Tom about imagination. Imagination that can see a living rat
in a trumpled, old gray rag and mutilated human faces
into old, broken plaster bust of poor blind justice.

Speaker 8 (04:56:58):
Imagination that kills.

Speaker 106 (04:57:00):
More horribly and surely than if the things that seized
were real, Kate, I think you're mad.

Speaker 41 (04:57:08):
Mama's almost here and they'll hang you to a tree.
Came away from that front orm here.

Speaker 4 (04:57:16):
What are you going to do?

Speaker 106 (04:57:17):
I'm going to make them so who you sat the
pace of justice must expect of punishment to fit their crime.

Speaker 63 (04:57:45):
Well, let's the end of that satan. Next time we'll
have another party.

Speaker 38 (04:57:51):
Yarn.

Speaker 25 (04:57:52):
That's been these folks a very purty yarn.

Speaker 6 (04:58:16):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:58:37):
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

(04:58:59):
joining me for tonight's Retro Radio, Old time Radio, and
the Dark

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